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@gmt_mikey: Cristiano Ronaldo 🐐👑 #football #futebol #cristianoronaldo #cr7 #viral

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Thursday 29 October 2026 20:55:32 GMT
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The most beautiful Dome in all of my travels. The Church of Sant’Agnese in Agone on Piazza Navona The most striking feature of Sant’Agnese in Agone is its dome fresco, The Apotheosis of Saint Agnes (also called the Glory of Saint Agnes or Saint Agnes Introduced into the Glory of Paradise). Ciro Ferri, a pupil of Pietro da Cortona, began the work in 1670; after his death in 1689, his pupil Sebastiano Corbellini completed it. The illusionistic painting opens the cupola to heaven: Saint Agnes is received amid clouds, angels, saints, martyrs, and figures from the Old and New Testaments, with the Virgin Mary presenting her toward Christ and God the Father. Spiraling movement and foreshortening intensify the sense of an infinite celestial vault. Below the drum, an inscription reads: Ingressa Agnes turpitudinis locum angelum Domini praeparatum invenit (“On entering the place of shame, Agnes found the angel of the Lord ready”). The four pendentives, painted between roughly 1662/1667 and 1672 by Giovanni Battista Gaulli (Il Baciccio), depict the Cardinal Virtues—Prudence, Justice, Fortitude, and Temperance—sometimes accompanied by related figures. These frescoes form the visual climax of a richly gilded and marbled interior. The church stands on the western side of Piazza Navona, built over part of the ancient Stadium of Domitian (the Campus Agonis), a first-century complex used for athletic contests. Tradition holds that the young Roman virgin martyr Saint Agnes (about twelve or thirteen years old) was executed here around 304 during the Diocletian persecutions. According to legend, when she was stripped in a place of shame, her hair miraculously grew to cover her body before she was put to death. An oratory or small church dedicated to her existed by the eighth century; a medieval church on the site was consecrated in 1123. The name “in Agone” derives from the Latin in agone (“at the place of the contests”), referring to the stadium, not to the saint’s “agony.” In the mid-seventeenth century, Pope Innocent X (Giovanni Battista Pamphilj) commissioned a grand new church as a family chapel linked to the adjacent Palazzo Pamphilj. Work began in 1652 under the family architects Girolamo Rainaldi and his son Carlo. They adopted a centralized Greek-cross plan and reoriented the entrance toward the piazza, which Innocent was reshaping as a Pamphilj showcase. Criticism of the early design led to their replacement in 1653 by Francesco Borromini. Working with the existing foundations, Borromini introduced the celebrated concave façade—curving inward to give greater prominence to the dome—along with twin flanking bell towers and a raised drum. His interventions created a dynamic, theatrical front that reads powerfully from the relatively narrow square. After Innocent’s death in 1655, progress slowed; Borromini resigned in 1657. Carlo Rainaldi returned and modified the towers, while Gian Lorenzo Bernini briefly supervised elements under Donna Olimpia Aldobrandini, contributing a straightforward pediment and interior entablature. In 1668 Camillo Borghese resumed patronage, reinstated Rainaldi, and commissioned Ferri for the dome. The church was consecrated in 1672, though decoration continued for years afterward. Inside, the near-circular Greek-cross space is sheathed in polychrome marbles and gilded stucco. Unusually for a Roman Baroque church, the altars feature large marble reliefs rather than painted altarpieces, executed by sculptors including Alessandro Algardi, Ercole Ferrata, Antonio Raggi, Melchiorre Cafà, and Domenico Guidi. Notable works include Guidi’s Holy Family on the high altar, Ferrata’s Saint Agnes on the Pyre, and Cafà’s Martyrdom of Saint Eustace. A crypt beneath, incorporating remains of the stadium and the medieval oratory, preserves Algardi’s relief of the Miracle of Saint Agnes’s Hair and houses her skull. Pope Innocent X’s modest tomb monument, by Giovanni Battista Maini, sits above the entrance.
The most beautiful Dome in all of my travels. The Church of Sant’Agnese in Agone on Piazza Navona The most striking feature of Sant’Agnese in Agone is its dome fresco, The Apotheosis of Saint Agnes (also called the Glory of Saint Agnes or Saint Agnes Introduced into the Glory of Paradise). Ciro Ferri, a pupil of Pietro da Cortona, began the work in 1670; after his death in 1689, his pupil Sebastiano Corbellini completed it. The illusionistic painting opens the cupola to heaven: Saint Agnes is received amid clouds, angels, saints, martyrs, and figures from the Old and New Testaments, with the Virgin Mary presenting her toward Christ and God the Father. Spiraling movement and foreshortening intensify the sense of an infinite celestial vault. Below the drum, an inscription reads: Ingressa Agnes turpitudinis locum angelum Domini praeparatum invenit (“On entering the place of shame, Agnes found the angel of the Lord ready”). The four pendentives, painted between roughly 1662/1667 and 1672 by Giovanni Battista Gaulli (Il Baciccio), depict the Cardinal Virtues—Prudence, Justice, Fortitude, and Temperance—sometimes accompanied by related figures. These frescoes form the visual climax of a richly gilded and marbled interior. The church stands on the western side of Piazza Navona, built over part of the ancient Stadium of Domitian (the Campus Agonis), a first-century complex used for athletic contests. Tradition holds that the young Roman virgin martyr Saint Agnes (about twelve or thirteen years old) was executed here around 304 during the Diocletian persecutions. According to legend, when she was stripped in a place of shame, her hair miraculously grew to cover her body before she was put to death. An oratory or small church dedicated to her existed by the eighth century; a medieval church on the site was consecrated in 1123. The name “in Agone” derives from the Latin in agone (“at the place of the contests”), referring to the stadium, not to the saint’s “agony.” In the mid-seventeenth century, Pope Innocent X (Giovanni Battista Pamphilj) commissioned a grand new church as a family chapel linked to the adjacent Palazzo Pamphilj. Work began in 1652 under the family architects Girolamo Rainaldi and his son Carlo. They adopted a centralized Greek-cross plan and reoriented the entrance toward the piazza, which Innocent was reshaping as a Pamphilj showcase. Criticism of the early design led to their replacement in 1653 by Francesco Borromini. Working with the existing foundations, Borromini introduced the celebrated concave façade—curving inward to give greater prominence to the dome—along with twin flanking bell towers and a raised drum. His interventions created a dynamic, theatrical front that reads powerfully from the relatively narrow square. After Innocent’s death in 1655, progress slowed; Borromini resigned in 1657. Carlo Rainaldi returned and modified the towers, while Gian Lorenzo Bernini briefly supervised elements under Donna Olimpia Aldobrandini, contributing a straightforward pediment and interior entablature. In 1668 Camillo Borghese resumed patronage, reinstated Rainaldi, and commissioned Ferri for the dome. The church was consecrated in 1672, though decoration continued for years afterward. Inside, the near-circular Greek-cross space is sheathed in polychrome marbles and gilded stucco. Unusually for a Roman Baroque church, the altars feature large marble reliefs rather than painted altarpieces, executed by sculptors including Alessandro Algardi, Ercole Ferrata, Antonio Raggi, Melchiorre Cafà, and Domenico Guidi. Notable works include Guidi’s Holy Family on the high altar, Ferrata’s Saint Agnes on the Pyre, and Cafà’s Martyrdom of Saint Eustace. A crypt beneath, incorporating remains of the stadium and the medieval oratory, preserves Algardi’s relief of the Miracle of Saint Agnes’s Hair and houses her skull. Pope Innocent X’s modest tomb monument, by Giovanni Battista Maini, sits above the entrance.
Fast AF Boiiii #fastAF #seeya #superfast #bye #catchmeifyoucan
Fast AF Boiiii #fastAF #seeya #superfast #bye #catchmeifyoucan
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#ngefamous #ngefamousxtehtjapsolo #tehtjapsolo #teh #praktis
inaresto sa QC ang mamamahayag na si Philip Lustre Jr. dahil sa cyberlibel warrant mula sa Davao City.#pbbm #bagongpilipinas #insurance #cappensioner #solar
inaresto sa QC ang mamamahayag na si Philip Lustre Jr. dahil sa cyberlibel warrant mula sa Davao City.#pbbm #bagongpilipinas #insurance #cappensioner #solar
Retro FDNY. OG’s Don’t play around.#fdny #jobtown🚒🔥 #Firefighter #Jobs #fyp
Retro FDNY. OG’s Don’t play around.#fdny #jobtown🚒🔥 #Firefighter #Jobs #fyp


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