Page:Catholic Encyclopedia, volume 9.djvu/556

 BCADEBMO 513 BCADIAMITES

favourable effect produced, but in so doin^ obstructed 1599. Before closing the tomb again, Clement VUI

the former unbroken vista in the side aisles. How- summoned Mademo, the most skilful artist of his da^

ever, notwithstanding the extension, the great basilica to make an exact reproduction of the figure. His

has not lost its sublime grandeur. statue represents a delicate, rather small body, lying

The new facade was widened. It is an ornamental face downward,with the knees drawn together, the arms

structure independent of the building itself, and its extended along the side and crossing at the wrists, the

impressive size does not harmonise with the character head enveloped in a veil. A gold fillet marks the

of the decorations. The length measures 112 metres wound in the back of the partly-severed neck. The

(367 ft. 4 in.) and the height 44 metres (144 ft. 4 in.^. form is so natural and lifelike, so full of modesty and

£ight gigantic columns, 27 metres (88 ft. 6i in.) m grace, that one scarcely needs the sculptor's testimony

height, stand in two divisions, on both sides of which graven on the base: '^ Behold the body of the most

are pillars and imbedded pillars. Above Ijliese extends holy virgin Cecilia whom I myself saw lying incorrupt

an entablature with balustrades, and an arch sur- in her tomb. I have in this marble expressed for thee

mounts the portals. Upon this entablature stand thesamesaintinthe very same posture of body". If

•statues of Christ and the Apostles, 5 to 7 metres (16 it were art alone, it would be consummate art, but

to 22 ft.) high. Massive comer-pieces were intended Cico^nara bears witness that in the nerfect simplicity

for bell-towers, the lack of which at the present day of this work, more unstudied and nexuous than his

weakens the effect of the facade. In the arran^ment other productions, the youthful sculptor must have

of the foreground and background, and in the different been guided solelv by the nature of the object before

effects of intercolumniation. much freedom is used, him, and followed it with unswerving docihty. not without many happy shadow effects. Between Stefano is supposed to have assisted in the construe-

the building, which was itself lengthened by 50 metres tion of the Pauline Chapel of Sta Maria Maggiore,

(164 ft.), and the facade, there is a vestibule 71 metres where two of his reliefs are to be found: one in marble

(nearly 233 ft.) wide, 13 metres (42 ft. 6 in.) deep, aiid representing a battle, the other, the story of the

20 metres (65 ft. 6 in.) high, leading into the five snow-fall in August, the origin of the basilica. Also

entrances. The interior of this vestibule is the finest attributed to Stefano, but quite without importance,

work of the master, and it has even been rated one of are: the figure of St. Peter for the facade of the

the most beautiful architectural works of Rome, on Quirinal Palace: a statue of St. Charles Borromeo

account of the lordly proportions, the svmmetrical in the church of S. Lorenzo in Damaso, decorative

arrangement, and the simple colouring, the relief on figures of children in the Sixtine Chapel of Sta.

the ceiling being painted in white and aark yellow. l£iria Maggiore, angels of the Madonna di Loreto and

The two fountains in the open space {piazza) before Sta Maria sopra Mmerva and the allegories of Peace

St. Peter's are also much admired. The faQade of St. and Justice at Sta Maria della Pace. Count Gaspare

Susanna and that of the Incurabili, as lesser works, Rivaldi, for whom Mademo executed various commis-

were better suited to the genius of Madema. He also sions, having sought to reward him by procuring for

grovided Sta. Francesca Romana with a f&^Ade in the him a lucrative position at the excise offices of the Ga-

iaroque style. In all these works, the want of har- belle di Ripetta. the sculptor's time became unfortu-

mony between the fapade and the main body of the nately engrossed by his new duties to the exclusion of.

church was an inheritance from the Renaissance. But his art. He died in Rome in 1636. it was partially through the influence of Fontana. Cicoonaka, gtona <irfte Scuttura (V<pice^

his uncle, that Madema was even then dominated by f'J^'^ ^^ew York, 1890); Grande Encydop^die (Pans. 1886).

the freedom of the Baroque style, which, in its later M. L. Handlby. development, broke loose from all restraint. The

serious dignity of the facade of the GesiX is not inter- Madianites (in A. V. Midianiteb), an Arabian

fered with by its charming rhythm, varying shadow tribe: Heb. D'^HO Sept. Mo8«;witbt and MaJiawfrcu,

effects and nch decoration; and there is no lack of Lat. Madianitse). Comparison of Gen., xxxvi, 35,

harmony of the whole, or of symmetry. The interior with xxxvii^ 28, 36 proves that the Biblical authors

of Sant' Andrea della Valle, majestic and rich in tone, employ indifferently the simple form Madian (Heb.

gives us even now a true idea of the artistic taste of jno Sept. Maduii', Lat. Madian) instead of the

Madema. He built a part of the Palasso Mattel (the tribal jHural. The collective Madian appears in

court, with lofty loggias) and, with Bernini, the Jrai- Judges, vi-viii, and seems to have been subsequently

a2zo Barberini (the central building, with three orders preferred (cf. Is., ix, 3; Xj 26; Ps. Ixxxiii, 10). In I

of columns and an open arcade). He co-operated, be- ICings, xi, 18, and Hab., iii, 7, for example, if Madian

sides^ in many works at Rome, for example, the denotes a country, it is by transposition of the name of

Quinnal Gardens. At Ferrara, he designed the forti- the people, which was not the primitive usage. By

fications. a specious, but inconclusive, argument, P. Haupt

QuATREii|Ri! De Quinct, Hm*. d<MpiuB cfUbtM archOectea ("Midian und Sinai" in "Zeitschrift der Deutschen

L&V^ew"^^."(^cfe morgenlftndischenGe^llschaft", bciii, 1909, p. 506)

G. GiETMANN. *M^8 evcnreoently sought to prove that Madian was an

abstract term denoting a religious association such

Mademo, Stefano ^1576-1636), a sculptor of the as the Gredu called an Amphictyony (dfjupucTvowia), Roman School and of the era just preceding Bernini. The term Madianites must, m tmit case, have been his contemporary. He is believed to be of Lombard used somewhat as we say Muastdmans, origin from the neighbourhood of Como; probably he The Madianites were mtroduced into history in the was related to Carlo Madema, the architect and sculp- texts of Gen., xxv, 1-4 and I Chron., i, 32 sq. which tor, who was also bom near Como, at Bissone. Ste- aasign as their ancestor an eponym called Maaian, the fano's works are found frequently in churches upon son of Abraham by Qetourah (D.V. Cetura), which which Carlo was engaged. Stefano began by copying signifies " incense ** or conveys the idea of incense and the antique and made several highly esteemed models aromatios (cf. Beut., xxxiii, 10). Of the five other in bronze. His fame rests, however, upon the statue sons which Abraham had by Cetura the only other one of St. Cecilia over her tomb in the church of St. Ce- who can now be identified is Shii^ fD.V. Sue). For a cilia in Trastevere, Rome. He never surpassed, or long time Delitzsch had suggested a connexion be- even equalled this, which he executed in hia twenty- tween this name and that oTSuhu, a country, men- third year. The body of the martyr, discovered by tioned in the Ase^rrian documents (" Wo lag das Para- Pope Paschal I (fourth century) in the Catacomb of dies", Ldpzig, 1881, 297 sq.), which is the desert St. Callistus and brought by him to the church which region between the Euphrates and Syria (see Ed. had been her dwelling, was viewed anew unchanged in .Meyer "Die Israeliter und ihre NachbaxstAx&ssAf > IX.— .3