5025 x 3350 px | 42,5 x 28,4 cm | 16,8 x 11,2 inches | 300dpi
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Illustrated travels a record of discovery geography and adventure edited by h w bates assistant secretary of the royal geographical society with engravings from original drawings by celebrated artists cassell petter and & galpin London paris new york. Stefano Maderno is best known for the seemingly unposed, naturalistic recumbent marble of Santa Cecilia in the Church of Santa Cecilia in Trastevere (1599-1600). The sculpture was a counter-statement to the current dry and hectic complications of Mannerism, to which it confronted a simple sweeping outline and a stark pose. This is not a sanitized hagiographical representation of a saint, but the graphic representation of an uncorrupted corpse, claimed to be positioned just as it had been found. The saint's tomb had been opened in 1599, and Paolo Emilio Cardinal Sfondrato commissioned Maderno, aged 23 at the time, to recreate the martyr's body in marble. Compare this statue with the passionately theatrical representations of Saint Theresa and Ludovica Albertoni by Bernini, and the Santa Rosa de Lima by Melchiorre Caffà. The Santa Cecilia immediately established Maderno's reputation: elected to the Accademia di San Luca in 1607, he became the pre-eminent sculptor of his generation, on the cusp between Mannerism and Baroque, rivalled in his prime only by Camillo Mariani, though he was eclipsed in his later years by the rapidly rising star of Bernini. He provided a marble Prudence for the tomb of Michele Bonelli, Cardinal Alessandrino, in Santa Maria sopra Minerva, and also provided two bas-reliefs for Paul V's Cappella Paolina at Santa Maria Maggiore (1608–1615); probably the figure of St. Peter for the façade of the Palazzo del Quirinale; a statue of St. Charles Borromeo in the church of San Lorenzo in Damaso; decorative figures of putti in the Sistine Chapel of Santa Maria Maggiore, angels of the Madonna di Loreto and Santa Maria sopra Minerva and the reclining figures of Peace and Justice for the high altar.
