Çàãàäêè - ðàçâëå÷åíèå äëÿ ëþáîçíàòåëüíûõ!

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Ó Þáåðà íåò êàïåëëû...
Âñòðå÷àëàñü ëè Âàì èíôîðìàöèÿ î íåé?

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Íî Ôðàí÷åñêî Ïèðàíåçè òîæå ïðîÿâèë ôàíòàçèþ ñî ñâåòèëüíèêîì.

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Ó Þáåðà íåò êàïåëëû...

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On October 29, 1793, at the beginning of the Terror, Hubert Robert was arrested and jailed by the Revolutionary authorities for having failed to renew his citizen's card. He was held initially at the convent of Sainte-Pélagie and transferred, on the night of January 30-31, 1794, to the seminary of Saint-Lazare, the site of a former leper's house. He was not released until after the fall of Robespierre in July of that year. While imprisoned, he consoled himself by painting and drawing (fig. 1). Materials on which to paint were scarce and he began to use the earthenware prison plates on which his food was served as his "canvases." While some of these plates depict scenes of life within the prison, the majority are landscapes.

The present painting depicts a group of figures in the Grotta di Posillipo in Naples; its dark and dramatic lighting recalls the moody prison scenes of Magnasco and Goya, as well as the famous Carceri etchings by Piranesi. Robert spent a little over a decade in Italy, and during that time completed a drawing expedition to the southern city in 1760 with the Abbé de Saint-Non, whom he met in Rome. Robert, a prolific artist, would return to his sketches of Italy throughout his career for inspiration in his paintings, though it is likely that the present work (as it was painted while he was imprisoned) came from the artist's memory.

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Íà òþðåìíîé òàðåëêå! Ñâåòèëüíèê ïîä ïîòîëêîì êàê íà êàðòèíå Æàíà Äåïðå. È, åñëè ÿ íå îøèáàþñü, ôèãóðû ñïðàâà ìîëÿòñÿ ïåðåä âõîäîì â êàïåëëó. Âîçìîæíî, äàæå èçîáðàæåí ôðàãìåíò êàïåëëû - åùå ïðàâåå, ïåðåä ìîëÿùèìèñÿ. Ñîãëàñíû?

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Madonna Ogiditria
Sulla parete opposta della grotta si trova un altro dipinto, ugualmente intrigante. A una decina di metri dal suolo, in una nicchia scavata nel tufo, c’è un affresco della seconda metà del XIV secolo. E nell’immagine, raffigurante la Madonna col Bambino e una coppia di santi, Annalisa Porzio ha riconosciuto la mano «di un maestro, probabilmente napoletano di cultura postgiottesca». Ma il bello viene ora. Perché il restauratore Simone Colalucci ha individuato sotto quest’affresco altri cinque strati pittorici. Ed ha anche scoperto l’esistenza, alle spalle del dipinto, di un’intercapedine. Ed, avendo poi inserito in una lacuna della muratura una sonda a fibre ottiche, ha riscontrato la presenza nell’interstizio di ulteriori «tre strati d’intonaco sovrapposti, (...) con campiture di colore nero, ocra e rosso»

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Nel 1548 il viceré Pedro de Toledo fece erigere a metà tragitto una edicola votiva dedicata alla Vergine Marià

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