Basilica of Sant'Andrea, Mantua

Facade and belltower
The Sacred Vessels containing the relic of the Blood of Christ.
Plan and drawings of the crypt
Elements of the arches on the lateral façade. Photo by Paolo Monti

Roman Catholic co-cathedral and minor basilica in Mantua, Lombardy .

- Basilica of Sant'Andrea, Mantua

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Leon Battista Alberti

Italian Renaissance humanist author, artist, architect, poet, priest, linguist, philosopher, and cryptographer; he epitomised the nature of those identified now as polymaths.

Presumed self-portrait of Leon Battista Alberti
A portrait of Alberti by Filippino Lippi is thought to exist in the Brancacci Chapel, as part of Lippi's completion of the Masaccio painting, the Raising of the Son of Theophilus and St. Peter Enthroned
Palazzo Rucellai
English title page of the first edition of Giacomo Leoni's translation of Alberti's De Re Aedificatoria (1452) - the book is bilingual, with the Italian version being printed on the left and the English version printed on the right
Piazza Pio II in Pienza, looking toward the Palazzo Piccolomini
Detail of the facade of Tempio Malatestiano
The upper storey of Santa Maria Novella
One of the giant scrolls at Santa Maria Novella
A window of the Rucellai Palace

Alberti was employed to design two churches in Mantua, San Sebastiano, which was never completed and for which Alberti's intention can only be speculated upon, and the Basilica of Sant'Andrea.

Giant order

Order whose columns or pilasters span two storeys.

Michelangelo's Palazzo dei Conservatori in Rome
Facade of Sant'Andrea, Mantua
Front facade of the Palazzo Barbaran da Porto with Giant order, from I quattro libri dell'architettura (1570).
St Mark's Church in Aberdeen.
Giant coupled columns. Phoenix House, Sandhill, Newcastle upon Tyne.
Her Majesty's Theatre in Haymarket, London.

One of the earliest uses of this feature in the Renaissance was at the Basilica of Sant'Andrea, Mantua, designed by Leon Battista Alberti and begun in 1472; this adapted the Roman triumphal arch to a church facade.

Antonio da Correggio

The foremost painter of the Parma school of the High Italian Renaissance, who was responsible for some of the most vigorous and sensuous works of the sixteenth century.

Antonio Allegri da Correggio
Nativity (c.1529–30)
Jupiter and Io (c. 1531) typifies the unabashed eroticism, radiance, and cool, pearly colors associated with Correggio's best work.
Leda and the Swan (c. 1532)
Allegory of Virtues, c. 1525-1530
The Mystic Marriage of St. Catherine (c. 1526–27)
Head of Christ (1525–1530)
The Holy Family with Saint Jerome (1515)
Leda with the Swan (1531–32)
Venus and Cupid (1525)
Assumption of the Virgin, Cupola of the Duomo, Parma
Adoration of the Christ Child (1526)
Ganymede Abducted by the Eagle (1531–32)
Portrait of a Man (c. 1520), Thyssen-Bornemisza Museum, Madrid

In 1514, he probably finished three tondos for the entrance of the church of Sant'Andrea in Mantua, and then returned to Correggio, where, as an independent and increasingly renowned artist, he signed a contract for the Madonna altarpiece in the local monastery of St. Francis (now in the Dresden Gemäldegalerie).

Barrel vault

Architectural element formed by the extrusion of a single curve along a given distance.

Coffered ceiling of the barrel-vaulted nave in the Temple of Jupiter at Diocletian's Palace in Split, Croatia. Built early 4th century.
Nave of Lisbon Cathedral with a barrel vaulted soffit. Note the absence of clerestory windows, all of the light being provided by the Rose window at one end of the vault.
The Cloisters, New York City
Roman barrel vault at the villa rustica Bad Neuenahr-Ahrweiler, Germany.
Pointed barrel vault showing direction of lateral forces.
Barrel vault in a mausoleum at the Recoleta Cemetery, Buenos Aires, Argentina
Barrel vault in the early 20th century main post office of Toledo, Ohio

However, with the coming of the Renaissance and the Baroque style, and revived interest in art and architecture of antiquity, barrel vaulting was re-introduced on a truly grandiose scale, and employed in the construction of many famous buildings and churches, such as Basilica di Sant'Andrea di Mantova by Leone Battista Alberti, San Giorgio Maggiore by Andrea Palladio, and perhaps most glorious of all, St. Peter's Basilica in Rome, where a huge barrel vault spans the 27 m-wide nave.

Renaissance architecture

European architecture of the period between the early 14th and early 16th centuries in different regions, demonstrating a conscious revival and development of certain elements of ancient Greek and Roman thought and material culture.

Tempietto di San Pietro in Montorio, Rome, 1502, by Bramante. This small temple marks the place where St Peter was put to death
Temple of Vesta, Rome, 205 AD. As one of the most important temples of Ancient Rome, it became the model for Bramante's Tempietto
Palladio's engraving of Bramante's Tempietto
Plan of Bramante's Tempietto in Montorio
The Piazza del Campidoglio
The Romanesque Florence Baptistery was the object of Brunelleschi's studies of perspective
Pope Sixtus IV, 1477, builder of the Sistine Chapel. Fresco by Melozzo da Forlì in the Vatican Palace.
Four Humanist philosophers under the patronage of the Medici: Marsilio Ficino, Cristoforo Landino, Angelo Poliziano and Demetrius Chalcondyles. Fresco by Domenico Ghirlandaio.
Cosimo de' Medici the Elder, head of the Medici Bank, sponsored civic building programs. Posthumous portrait by Pontormo.
The Church of the Certosa di Pavia, Lombardy
Scuola Grande di San Marco, Venice
Raphael's unused plan for St. Peter's Basilica
Facade of Sant'Agostino, Rome, built in 1483 by Giacomo di Pietrasanta
Classical Orders, engraving from the Encyclopédie vol. 18. 18th century.
The Dome of St Peter's Basilica, Rome.
Courtyard of Palazzo Strozzi, Florence
Ospedale degli Innocenti in Florence.
The dome of Florence Cathedral (the Basilica di Santa Maria del Fiore)
The church of San Lorenzo
Palazzo Medici Riccardi by Michelozzo. Florence, 1444
Basilica of Sant'Andrea, Mantua, the façade
Façade of Santa Maria Novella, 1456–70
The crossing of Santa Maria della Grazie, Milan (1490)
picture above
The Palazzo Farnese, Rome (1534–1545). Designed by Sangallo and Michelangelo.
Palazzo Pandolfini, Florence, by Raphael
Palazzo Massimo alle Colonne.
Palazzo Te, Mantua
St Peter's Basilica
The vestibule of the Laurentian Library
Il Gesù, designed by Giacomo della Porta.
Villa Capra "La Rotonda"
Keystone with a profile of a man, Palazzo Giusti, Verona, Italy
The House of the Blackheads in Riga, Latvia
Royal Summer Palace in Prague is considered the purest Renaissance architecture outside of Italy.
Cathedral of St James, Šibenik
English Renaissance: Hardwick Hall (1590–1597).
French Renaissance: Château de Chambord (1519–39)
Juleum in Helmstedt, Germany (example of Weser Renaissance)
Antwerp City Hall (finished in 1564)
Courtyard of Wawel Castle exemplifies first period of Polish Renaissance
Cloister of the Convent of Christ, Tomar, Portugal, (1557–1591), Diogo de Torralva and Filippo Terzi.
The Palace of Facets on the Cathedral Square of the Moscow Kremlin.
Nordic Renaissance: Frederiksborg Palace (1602–20)
The Escorial (1563–1584), Madrid
Cathedral Basilica of Salvador built between 1657 and 1746, a UNESCO WHS.
The large Basilica of San Francisco in Quito, built between 1535 and 1650, a UNESCO World Heritage Site city.

In Mantua at the court of the Gonzaga, Alberti designed two churches, the Basilica of Sant'Andrea and San Sebastiano.

Blood of Christ

"Blood of Jesus" redirects here.

Holy Blood relic in Santa Maria della Scala, Siena.

Basilica di Sant'Andrea di Mantova, Mantua, Italy

Andrea Mantegna

Italian painter, a student of Roman archeology, and son-in-law of Jacopo Bellini.

Bust attributed to Gian Marco Cavalli
St. Sebastian, 1480; panel; Musée du Louvre
The Agony in the Garden (left panel of the predella of the San Zeno Altarpiece, 1455) National Gallery, London is the pinnacle of Mantegna's early style.
Christ as the Suffering Redeemer. Christ resurrecting, depicted according to Luke 24:1–2, praising the Lord with a hymn (c. 1488–1500)
on the San Zeno Altarpiece, central panel, San Zeno, Verona
Judith and Holofernes, by Andrea Mantegna or possibly Giulio Campagnola, c. 1495
a series of full compositions in fresco
Detail of Camera degli Sposi
The Madonna of the Cherubim (1485).
The Virgin Mary in Andrea Mantegna's San Zeno Altarpiece combines pseudo-Arabic halos and garment hems, with an Oriental carpet at her feet (1456–1459).
Bacchanal with a wine vat, engraving by Mantegna, c. 1475, 278 × 422 mm
The Lamentation over the Dead Christ Tempera on canvas, 68×81 cm, 1490; Pinacoteca di Brera, Milan.

In 1516, a handsome monument was set up to him by his sons in the church of Sant'Andrea, where he had painted the altarpiece of the mortuary chapel.

Filippo Juvarra

Italian architect, active in a late-Baroque style, who worked primarily in Italy, Spain, and Portugal.

Filippo Juvarra (c.1707), by Agostino Masucci (Real Academia de Bellas Artes de San Fernando, Madrid)
The Cappella Antamori in San Girolamo della Carità, by Juvarra and Le Gros
Basilica of Superga
Church of San Gregorio, Messina
Project of Filippo Juvarra for the Royal Palace of Lisbon
Palace of Stupinigi.
Palazzo Madama.
Project of Filippo Juvarra for the Royal Palace of Madrid
Cupola of the church of Sant'Andrea in Mantua
Santa Teresa in Turin
Painting of plans for harborside Messina
Sketch of harborside plans of Messina
Basilica of Superga

In Mantua, he added a tall buttressed dome to the Alberti church of Sant'Andrea.

Matilda of Tuscany

Member of the House of Canossa (also known as the Attonids) and one of the most powerful nobles in Italy in the second half of the eleventh century.

Matilda of Canossa and Hugh of Cluny as advocates of Henry IV
Adalbert-Atto of Canossa and his wife Hildegard surrounded by arches, and their sons Rudolph, Geoffrey (Gotofred) and Tedald at their feet. Donizo's Vita Mathildis (Vatican Library, Codex Vat. Lat. 4922, fol. 20v)
The states of the Apennine Peninsula in the second half of the 11th century.
Miniature of Matilda from the frontispiece of Donizo's Vita Mathildis (Vatican Library, Codex Vat. Lat. 4922, fol. 7v.). Matilda is depicted seated. On her right, Donizo is presenting her with a copy of the Vita Mathildis, on her left is a man with a sword (possibly her man-at-arms). The script underneath reads: Mathildis lucens, precor hoc cape cara volumen (Resplendent Matilda, please accept this book, oh you dear one.)
Ruins of the Canossa Castle.
Depiction of Pope Gregory VII at the beginning of the Vita Gregorii VII of Pauls von Bernried in the manuscript Heiligenkreuz, Stiftsbibliothek, Cod. 12, fol. 181v.
Matilda's wedding with Welf V (l), and she presents her property to her new husband (r). Illumination from the 14th century in a manuscript of the Nuova Chronica by Giovanni Villani. Vatican Library, Chigi LVIII 296, fol. 56r.
Anselm of Canterbury hands over his work to Matilda. Miniature in a manuscript by Anselm's Orationes (Diocese of Salzburg, around 1160). Admont, Abbey Library, Ms. 289, fol. 1v.
Matilda's signature ("Matilda, Dei gratia si quid est"), quite tremulous due to her old age. Notitia Confirmationis (Prato, June 1107), Archivio Storico Diocesano of Lucca, Diplomatico Arcivescovile, perg. ++ I29
Abbey of San Benedetto in Polirone
Gospels of Matilda of Tuscany, San Benedetto Po (al Polirone), before 1099. New York, Morgan Library & Museum, MS M.492, fol. 84r.
Matilda's tombstone at St. Peter's Basilica, by Bernini

By the end of 1071, Matilda had left her husband and returned to Italy, where her stay in Mantua on 19 January 1072 can be proven: there she and her mother issued a deed of donation for the Monastery of Sant'Andrea.

Roman Catholic Diocese of Mantua

Latin Church ecclesiastical territory or diocese of the Catholic Church in Italy.

Mantua Cathedral
Basilica di S. Andrea Apostolo (Co-cathedral)

Mantua also contains the Basilica di Sant'Andrea di Mantova.