Perugia, IT: Church of Saint Peter

The Chiesa di San Pietro is part of a monastery complex in Perugia, Italy. A religious building was on the site as early as 102 CE. The church was burnt in 1398, suppressed in 1799, and resident part of a revolt against the pope in 1859. A colorful history to be sure. It would seem that at some point in the 14th century the original east end apse was razed and a new larger structure constructed. Within the new apse was located the choir and space for an organ. My black and white post card is unused. It shows the "new" apse area with famous wooden choir stalls. In a recessed area in the upper middle section pies of the organ can be seen. I have not been able to find any information about the instrument. I was able to find a few pictures of the choir area, but none of them showed any more of the organ than appears in the card.

 

Bologna, Pinacoteca: St Cecilia

This postcard reproduces the painting Estasi di Santa Cecilia by Raffaello Sanzio. Dating from 1514 the painting now hangs in the Pinacoteca Museum in Bologna, Italy. The painting shows the saint in center surrounded by St Paul, St John the evangelist, St Augustine and Mary Magdelene. Cecilia is holding (barely) a portativ organ. It is upside down, and a couple of pipes are missing. At her feet are other musical instruments. Overheard is a chorus of angelic figures. I cannot determine exactly how the painting was executed. Mention is made in the sources of a "board," "canvas," and "altarpiece." During the Napoleonic Wars the piece was removed to Paris, but ultimately returned.

The museum website includes this information.


Incisori bolognesi ed emiliani del sec. XVI, schede di S. Ferrara, revisione di G. Gaeta Bertelà, Bologna, 1975, n. 37; M. Bietti in L'estasi di Santa Cecilia di Raffaello da Urbino nella Pinacoteca Nazionale di Bologna, catalogo della mostra (Bologna 1983), Bologna,1983, p. 350, n. 53; S. Massari, Giulio Bonasone, Roma, 1983, I, p. 34, n. 2a; M. Cirillo Archer, The Illustrated Bartsch, 28 Commentary, New York, 1995, pp. 284-285, n. 074; M. Faietti, Giulio Bonasone disegnatore, in "Grafica d'Arte", 11, 2000, 44, p. 4; E. Rossoni, Stampe di Giulio Bonasoni pittore e intagliatore, in "Aperto. Bollettino del Gabinetto dei Disegni e delle Stampe della Pinacoteca Nazionale di Bologna", n. 1, 2008, www.aperto.pinacotecabologna.beniculturali.it/

Bolognese engravers and Emilians of the century XVI, cards by S. Ferrara, revision by G. Gaeta Bertelà, Bologna, 1975, n. 37; M. Bietti in The Ecstasy of Santa Cecilia by Raffaello da Urbino in the Pinacoteca Nazionale di Bologna, catalog of the exhibition (Bologna 1983), Bologna, 1983, p. 350, n. 53; S. Massari, Giulio Bonasone, Rome, 1983, I, p. 34, n. 2a; M. Cirillo Archer, The Illustrated Bartsch, 28 Commentary, New York, 1995, pp. 284-285, n. 074; M. Faietti, Giulio Bonasone designer, in "Graphic Art", 11, 2000, 44, p. 4; E. Rossoni, Prints by Giulio Bonasoni painter and engraver, in "Open Bulletin of the Cabinet of Drawings and Prints of the National Art Gallery of Bologna", n. 1, 2008, www.aperto.pinacotecabologna.beniculturali.it/

Elsewhere it includes this explanation.
Eseguita intorno al 1518 per la cappella della beata Elena Duglioli, che aveva costruito la propria immagine di santità richiamandosi alla leggenda di santa Cecilia. La figura della martire viene proposta in una inedita raffigurazione "musicale" carica di significati simbolici, che agli occhi del devoto richiama i temi dell'amore divino e del disprezzo dei beni mondani, simboleggiati dagli strumenti della musica terrena e profana abbandonati a terra. Una delle opere predilette dai Carracci e da Guido Reni, rivestì un ruolo fondamentale nell'ambito della cultura figurativa dell'Ideale Classico seicentesco.

Performed around 1518 for the chapel of Blessed Elena Duglioli, who had built her own image of holiness recalling the legend of St. Cecilia. The figure of the martyr is proposed in an unprecedented "musical" representation charged with symbolic meanings, which in the eyes of the devotee recalls the themes of divine love and the contempt of worldly goods, symbolized by the instruments of earthly and profane music left on the ground. One of the works favored by the Carracci and Guido Reni, played a key role in the figurative culture of the classic seventeenth century. 

My postcard is in black and white, with red lettering on the front. There is no additional identifying information on the reverse. The word(s) "postcard" appear in a remarkable 16 different languages on the reverse! 

Perugia, IT, Cathedral

Perugia's main religious space dates from before 1000 CE. The current building dates from 1345, with worked suspended for some time and resumed in 1437. Major work was done leading up to consecration in 1569.

The organ as it exists now dates from 1967, built by Tamburini. Most recently work was done 2014-2015 with celebratory concerts in November, 2015. This blogger gives helpful information, including a specification.

My unused card is black-and-white, with red lettering on the front. There is no information about when it was produced. The organ facade depicted is different from the current manifestation. Since the Tamburini instrument dates from 1967, we can surmise there was a different instrument in place prior to that time. I have not been able to find information about the previous instrument(s).

Monreal (IT): Duomo

Monreale is a small town in the Palermo province of Sicily, Italy. It was begun in 1174 in a basilica plan, with three apses in the choir area. The instrument no doubt has a colorful history, given its setting in such an old facility. However, I could find no helpful sites describing the instrument. Ruffatti did work on it in 1967, such that it is now comprised of 137 ranks, and possessed of a 6-manual console. I bought my two cards at different time, no doubt forgetting I had the first when I purchased the second. The console is visible in the older cards. The modern image reveals that the console has been removed to another location.