DOCSLIB.ORG

Toward the Study of Archaeological Museums in Italy, Greece, and Israel

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Toward the Study of Archaeological Museums in Italy, Greece, and Israel Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Bryn Mawr College Dissertations and Theses 2012 A Walk through the Past: Toward the Study of Archaeological Museums in Italy, Greece, and Israel Andrea Guzzetti Bryn Mawr College, [email protected] Follow this and additional works at: https://repository.brynmawr.edu/dissertations Part of the History of Art, Architecture, and Archaeology Commons Custom Citation Guzzetti, Andrea. “A Walk through the Past: Toward the Study of Archaeological Museums in Italy, Greece, and Israel.” PhD diss., Bryn Mawr College, 2012. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. https://repository.brynmawr.edu/dissertations/57 For more information, please contact [email protected]. Fig. 2.1. Rome, Roman National Museum – Palazzo Altemps Southeast corner and visitors' entrance, January 2011 Fig. 2.2. Rome, Roman National Museum – Palazzo Altemps Plan, ground floor (after De Angelis d'Ossat, Scultura antica, 30) Fig. 2.3. Rome, Roman National Museum – Palazzo Altemps Main courtyard (under renovation, January 2011), north side Fig. 2.4. Rome, Roman National Museum – Palazzo Altemps Old entrance to the palace Fig. 2.5. Rome, Roman National Museum – Palazzo Altemps Southern Portico and Southern Balcony Fig. 2.6. Rome, Roman National Museum – Palazzo Altemps Northern Portico and Painted Balcony Fig. 2.7. Rome, Roman National Museum – Palazzo Altemps Main courtyard, southeast corner (starting point of the tour) Fig. 2.8. Rome, Roman National Museum – Palazzo Altemps Main courtyard, southeast corner and bottom of main staircase with a torso of Herakles (left) and two statues of draped females (center and right) Fig. 2.9. Rome, Roman National Museum – Palazzo Altemps Main courtyard, east side Fountain Fig. 2.10. Rome, Roman National Museum – Palazzo Altemps Southern Portico, west end Entrance to the Atrium of Antoninus Pius, framing a statue of the emperor Fig. 2.11. Rome, Roman National Museum – Palazzo Altemps Atrium of Antoninus Pius, southwest corner Statue of the emperor and bust of Demeter Fig. 2.12. Rome, Roman National Museum – Palazzo Altemps Atrium of Antoninus Pius, north end Entrance to the Hall of the Herms, framing the herm of Athena Fig. 2.13. Rome, Roman National Museum – Palazzo Altemps Passage of Pluto and Zeus, view from the Atrium of Antoninus Pius Bust of Pluto and head of Zeus Fig. 2.14. Rome, Roman National Museum – Palazzo Altemps Atrium of Antoninus Pius, south end Bust of Demeter and entrances to the Passage of Pluto and Zeus (left) and to the Hall of the Portraits (center) Fig. 2.15. Rome, Roman National Museum – Palazzo Altemps Hall of the Portraits, southwest corner Busts of Marcus Aurelius (right) and of an unidentified bearded male (center) and entrance to the Tower Room Fig. 2.16. Rome, Roman National Museum – Palazzo Altemps Hall of the Portraits, northwest corner Busts of Marcus Aurelius (left), Antinous (center) and Demosthenes (right) Fig. 2.17. Rome, Roman National Museum – Palazzo Altemps Hall of the Portraits, east side Busts of an unidentified bearded male (right), of Matidia (center), and of Giulia (left) Fig. 2.18. Rome, Roman National Museum – Palazzo Altemps Hall of the Portraits, northeast section Busts of Demosthenes, Julius Caesar (left) and Giulia (right) and entrance to the Passage of Pluto and Zeus Fig. 2.19. Rome, Roman National Museum – Boncompagni Ludovisi Collection, old installation at the Baths of Diocletian Bust of Demeter, now in the Atrium of Antoninus Pius at Palazzo Altemps (after Palma and de Lachenal, Marmi Ludovisi, 116) The plaque on the base identifies the subject as “veiled Demeter” (Demeter velata) Fig. 2.20. Rome, Roman National Museum, Palazzo Altemps Atrium of Antoninus Pius Bust of Demeter, close view (after De Angelis d'Ossat, Scultura antica, 61) The old plaque has been replaced by a more modern-looking one, which provides some more details on the work Fig. 2.21. Rome, Roman National Museum – Palazzo Altemps Tower Room Fig. 2.22. Rome, Roman National Museum – Palazzo Altemps Hall of the Herms, view northeast coming from the Tower Room Fig. 2.23. Rome, Roman National Museum – Palazzo Altemps Hall of the Herms, view northwest coming from the Atrium of Antoninus Pius Fig. 2.24. Rome, Roman National Museum – Palazzo Altemps Hall of the Herms, view south coming from the old entrance to the Palazzo Riario Fig. 2.25. Rome, Roman National Museum – Palazzo Altemps Hall of the Herms, view southeast coming from the old entrance to the Palazzo Riario Fig. 2.26. Rome, Roman National Museum Museum – Palazzo Altemps Old entrance to the Palazzo Riario, view north coming from the Hall of the Herms Draped female figure restored as Demeter Fig. 2.27. Rome, Roman National Museum – Palazzo Altemps Old entrance to the Palazzo Riario, northeast corner Draped female (“Demeter”), bust and full image of Knidian Aphrodite Fig. 2.28. Rome, Roman National Museum – Palazzo Altemps Room of the Algardi Athena View northwest coming from the Hall of the Herms Fig. 2.29. Rome, Roman National Museum – Palazzo Altemps Room of the Athena Parthenos View northwest coming from Room of the Algardi Athena, with entrance to the Room of the Sarcophagi Fig. 2.30. Rome, Roman National Museum – Palazzo Altemps Room of the Athena Parthenos, view southwest coming from the main courtyard Fig. 2.31. Rome, Roman National Museum – Palazzo Altemps Room of the Sarcophagi, west side Partial view north coming from old entrance to Palazzo Riario Fig. 2.32. Rome, Roman National Museum – Palazzo Altemps Room of the Sarcophagi, view southeast coming from the Room of the Maenad Fig. 2.33. Rome, Roman National Museum – Palazzo Altemps Room of the Maenad, view northeast coming from the Room of the Sarcophagi Fig. 2.34. Rome, Roman National Museum – Palazzo Altemps Room of Ulysses and Polyphemus, view northwest from the Room of the Athena Parthenos Fig. 2.35. Rome, Roman National Museum – Palazzo Altemps Room of Ulysses and Polyphemus, north side Entrance to the Room of the Dionysus and Satyr, framing the titular group Fig. 2.36. Rome, Roman National Museum – Palazzo Altemps Northern Portico, view from the west end Fig. 2.37. Rome, Roman National Museum – Palazzo Altemps Northern Portico, entrance to the private theater of the palace, flanked by statues of Dionysus and a draped female of the Pudicitia type Fig. 2.38. Rome, Roman National Museum – Palazzo Altemps Northern Portico, east end with statue of Dacian Fig. 2.39. Rome, Roman National Museum – Palazzo Altemps Main staircase, stairs between the first and the second floor First flight of steps, view upwards Fig. 2.40. Rome, Roman National Museum – Palazzo Altemps Main staircase, stairs between the first and the second floor Middle landing and second flight of steps, view upwards Fig. 2.41. Rome, Roman National Museum – Palazzo Altemps Main staircase, stairs between the second and the third floor (closed to visitors) First flight of steps, view upwards Fig. 2.42. Rome, Roman National Museum – Palazzo Altemps Main staircase, second floor landing and relief with loutrophoros View from the stairs between the second and the third floor (closed to visitors) Fig. 2.43. Rome, Roman National Museum – Palazzo Altemps Plan, second floor (after De Angelis d'Ossat, Scultura antica in Palazzo Altemps, 31) Fig. 2.44. Rome, Roman National Museum – Palazzo Altemps Southern Balcony, east end Entrances to the main staircase, flanked by a peplophoros and a draped figure, and to the Apartment of Roberto Altemps Fig. 2.45. Rome, Roman National Museum – Palazzo Altemps Southern Balcony, west side and entrance to the Room of the Painted Perspectives Fig. 2.46. Rome, Roman National Museum – Palazzo Altemps Southern Balcony, west side Entrances to the Room of Aphrodite and to the Room of the Young Bull Fig. 2.47. Rome, Roman National Museum – Palazzo Altemps Southern Balcony, east side Entrances to the Rooms of the Clergy of Isis and of the “Iseo Campense” Fig. 2.48. Rome, Roman National Museum – Palazzo Altemps Room of Public and Private Cults or Room of the Young Bull, southeast corner Entrances to the Rooms of the “Iseo Campense” and of Roman Isis Fig. 2.49. Rome, Roman National Museum – Palazzo Altemps Room of Public and Private Cults or Room of the Young Bull, northeast corner Entrance to the Room of the Shrine of the Gianicolo Fig. 2.50. Rome, Roman National Museum – Palazzo Altemps Room of Roman Isis or Room of the Mother Goddesses, southeast corner Head of Ephesian Artemis (left) and statue of Isis (right) Fig. 2.51. Rome, Roman National Museum – Palazzo Altemps Room of Serapis and of the Roman Emperors, view southwest Fig. 2.52. Rome, Roman National Museum – Palazzo Altemps Room of the Clergy of Isis, view west and entrances to the Room of the Shrine of the Gianicolo Fig. 2.53. Rome, Roman National Museum – Palazzo Altemps Room of the Bacchuses, view northwest Fig. 2.54. Rome, Roman National Museum – Palazzo Altemps Room of the Painted Perspectives, south side Clockwise: Statue of Herakles resting, statue of Asklepios, composite work Fig. 2.55. Rome, Roman National Museum – Palazzo Altemps Room of the Painted Perspectives, southeast section Statues of Herakles resting and of Asklepios Fig. 2.56. Rome, Roman National Museum – Palazzo Altemps Room of the Painted Perspectives Southeast corner Statue of Asklepios Fig. 2.57. Rome, Roman National Museum – Palazzo Altemps Room of the Painted Perspectives Southwest corner Composite work Fig. 2.58. Rome, Roman National Museum – Palazzo Altemps Room of the Painted Perspectives, west side Composite work and statue of Hermes with modern head removed Fig. 2.59. Rome, Roman National Museum – Palazzo Altemps Room of the Painted Perspectives Northwest section Statue of Hermes with modern head removed Fig. 2.60. Rome, Roman National Museum – Palazzo Altemps Room of the Painted Perspectives North side Statue of Hermes Loghios and east entrance to the Room of the Cupboard, framing the group of Orestes and Elektra Fig.
Load more

Recommended publications
  • Zur Sprache Nikos Kazantzakis' Auf Grund Des Romans
    * iiiìi., -Ji*:' - i ;:: u* i--i i.l ,å iì.ì :.',.1 i.-l I î r Ëriâili;ung c*' akaiem' tìracles Magister / Magistra Phil. l.sLD rr--.r -S¡RÇ!{ N\.,?oU LÜL' Approbieri am; ;¿l'b;? >tre u er/inz '\N z ,,ZtJt Sprache Nikos Kazantzakis' auf Grund des Romans <O Kapetan Michalis>. Ein Beitrag zur neugriechischen Lexikographie." Diplomarbeit zur Erlangung des akademischen Grades MagisterderM f,'4't''"¡^*""i eingereicht an der ge isteswissenschaft lichen F akultät der Universität Wien r-" "Ç, ft ;l ,i,Í t./ r.; ,l .i¡ .' von Antonios Koliadis Wien, anZ3,Februar 2000 Danksagungen An dieser Stelle möchte ich mich aufrichtig bei meiner Betreuerin Frau Univ.-Ass. Dr. M. Stassinopoulou für ihre Untersttitzung, sowie bei Herrn.Univ.-Prof. J. Koder fi¡r das Interesse, das er gezeigl hat und für seine wertvollen Kommentare, bedanken. Weiters ist Georgios Matsaridis (Rhethymnon) zu danken, der eines Nachts zu mir in Birmingham mit der Idee eines kazantzakischen Lexikons kam. Das zugrundeliegende Konzept dieser Diplomarbeit entstand in jener Nacht. Tief verpflichtet bin ich auch Herrn Ass-Prof. Dr. A. Mohay (Budapest) und Herrn Univ.- Prof. D. Tziovas (Birmingham), die von Anfang an das Thema der votliegenden Diplomarbeit beg¡tißt und mich in meinen Untersuchungen motiviert haben. Wertvolle Hinweise verdanke ich außerdem Herrn Univ.-Prof. E. Trapp (Bonn) und Herm Univ.-Prof. Chr. Tzitzilis (Thessaloniki) bezüglich der Gestaltung des lexikographischen Anhanges und Herrn A. Mamalis für semantische Ratsciläge bezüglich der Bedeutungen vieler Wörter des Anhanges, sowie Frau B. Lienhard und Herrn Dr, M. Hinterberger für das Durchlesen einiger Stellen des Manuskripts.
    [Show full text]
  • Sunday Mass at the Metropolitan Greek Orthodox Cathedral of Athens
    Athens Metropolitan Cathedral Organizational Info The Metropolitan Cathedral is dedicated to the Annunciation of the Mother of God, but is colloquially known only as the “Metropolis.” It is the cathedral church of the Archbishopric of Athens, which is the senior diocese, or episcopal jurisdiction, in Greece and the primary seat of the Orthodox Church of Greece. As an autocephalous (independent, but in communion) Orthodox Church, the Church of Greece’s highest position does not directly report to any other authority. The position is dubbed the Archbishop of Athens and All Greece. The archbishop seat in Athens is currently held by Ieronymos II, who was elected in 2008. In addition to regular liturgical services, the cathedral is the site of many important services and ceremonies and is considered a major city landmark. Construction The first plans were drafted by the same Danish architect who constructed the Academy of Athens and the National Library, Theophil Hansen. In order to build the church, marble was gathered form 72 different demolished churches and brought to the site in Athens. The cornerstone was laid by King Otto and Queen Amalia in December 1842; construction was completed in May 1862. Building was briefly interrupted early on due to financial struggles. However, after the return of the project, it was taken over by Dimitrios Zezos. After Zezos’ death, the construction was completed by French architect Francois Boulanger. The building is a three-aisled, domed basilica. The cathedral was constructed directly beside a 15th century Byzantine church, commonly known as the “Little Mitropoli,” dedicated to Saint Eleutherios. The church suffered damages from two earthquakes and was supported for decades by scaffolding.
    [Show full text]
  • Italian Villas and Their Gardens
    Italian Villas and Their Gardens By Edith Wharton INTRODUCTION ITALIAN GARDEN-MAGIC Though it is an exaggeration to say that there are no flowers in Italian gardens, yet to enjoy and appreciate the Italian garden-craft one must always bear in mind that it is independent of floriculture. The Italian garden does not exist for its flowers; its flowers exist for it: they are a late and infrequent adjunct to its beauties, a parenthetical grace counting only as one more touch in the general effect of enchantment. This is no doubt partly explained by the difficulty of cultivating any but spring flowers in so hot and dry a climate, and the result has been a wonderful development of the more permanent effects to be obtained from the three other factors in garden-composition—marble, water and perennial verdure—and the achievement, by their skilful blending, of a charm independent of the seasons. It is hard to explain to the modern garden-lover, whose whole conception of the charm of gardens is formed of successive pictures of flower-loveliness, how this effect of enchantment can be produced by anything so dull and monotonous as a mere combination of clipped green and stonework. The traveller returning from Italy, with his eyes and imagination full of the ineffable Italian garden-magic, knows vaguely that the enchantment exists; that he has been under its spell, and that it is more potent, more enduring, more intoxicating to every sense than the most elaborate and glowing effects of modern horticulture; but he may not have found the key to the mystery.
    [Show full text]
  • Giovanni LAZZONI by Cristiano Giometti - Biographical Dictionary of Italians - Volume 64 (2005)
    Giovanni LAZZONI by Cristiano Giometti - Biographical Dictionary of Italians - Volume 64 (2005) The founder of a family of Carrara sculptors whose activity took place mainly in Tuscany, Rome and the Duchy of Modena from the second half of the seventeenth century, Lazzoni was born in Carrara in 1618 by Andrea (Campori). His debut at the service of the Este can be traced back with certainty to 17 November. 1645 ( Ducale palazzo ... ), when he began to receive a commission for his participation in the decorative enterprise of the Ducal palace in Sassuolo. The polyphonic choir of the workers and plastics gathered for the occasion was cleverly coordinated by Luca Colombi, who assigned to Lazzoni the execution of the four stucco statues placed in the niches of the ground floor atrium of the palace depicting the Seasons . In these same years we can also trace the two allegories of Nobility and Glory placed at the sides of the Este coat of arms placed above the illusionistic perspective frescoed by Angelo Michele Colonna and Agostino Mitelli on the entrance staircase of the same building (Riccomini). The last payment to Lazzoni for this series of interventions is recorded on the date of 3 April. 1647 ( Ducal Palace ... ); and it is very probable that, in a short span of time, he had moved to Rome, almost certainly recalled by the enticing possibilities of work offered by the numerous papal factories promoted in view of the Jubilee year. Starting from the spring of 1647, in fact, the plastic decoration of the pillars of the nave of St.
    [Show full text]
  • Reading Room
    Reading Room Christine Göttler, Peter J. Schneemann, Birgitt Borkopp-Restle, Norberto Gramaccini, Peter W. Marx und Bernd Nicolai (Hrsg.) Reading Room Re-Lektüren des Innenraums Publiziert mit Unterstützung des Schweizerischen Nationalfonds zur Förderung der wissenschaftlichen Forschung. ISBN 978-3-11-059125-5 e-ISBN 978-3-11-059246-7 e-ISBN 978-3-11-059130-9 Library of Congress Control Number: 2018959159 Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.dnb.de abrufbar. © 2019 Walter de Gruyter GmbH, Berlin/Boston Coverabbildung: Ilya Kabakov, The Reading Room, Installation, 1996, Deichtorhallen, Hamburg, Fotografie von Quirin Leppert © 2018, ProLitteris Zürich Satz: LVD Gesellschaft für Datenverarbeitung mbH, Berlin Druck und Bindung: Beltz Grafische Betriebe GmbH, Bad Langensalza www.degruyter.com INHALTSVERZEICHNIS Vorwort Christine Göttler und Peter J. Schneemann 9 Atelier: Werkstatt, Showroom, Museum, Tempel Tabea Schindler 15 Boudoir und Salon: Geschlechterstrategeme im höfischen Interieur Norberto Gramaccini 25 Designing the Social: Zeitgenössische Installationskunst zwischen Zelle und Museumscafé im Verweis auf Utopien der Moderne Peter J. Schneemann 35 Dioramen: Wenn Außenräume mit Museumsräumen verschmelzen Noémie Étienne 45 Einrichten: Der Innenraum als Handlungsraum weiblicher Identität und Intimität Simone Neuhauser 53 Eremitage / Einsiedelei: (Innen-)Räume der Wildnis und Wüste am vormodernen Hof Christine Göttler 61 Fragmentierungen: Szenografische Prozesse der Dekonstruktion und Rekonstruktion Peter J. Schneemann 73 Gegen-Räume: Die utopische Dimension des Raums Bernd Nicolai 83 Gesamtkunstwerk: Parvenü-Kultur und Reformkonzepte des Interieurs Bernd Nicolai 93 Geschichtsräume / narrative Räume: Der zeitgenössische Period Room als Reflexionsmodell zu Konstruktion und Aneignung von Geschichte Peter J.
    [Show full text]
  • Eserciti Papali in Ungheria. La Presa Di Strigonia
    ESERCITI PAPALI IN UNGHERIA LA PRESA DI STRIGONIA Nel corso del Medioevo l’Ungheria aveva adempito ripetutamente e con onore alla sua missione storica : difendere la civiltà cristiana del­ l’Occidente e diffonderla verso Oriente ; meritandosi, con le proprie forze, l’ambito epiteto di «baluardo dell’Occidente». Ma l’Occidente si rese conto preciso dell’importanza di tale missione soltanto Quando si vide minacciato direttamente dall’espansione turca nei suoi interessi più vitali. Sul principio del CinQuecento, logorata dalle lotte intestine, che ne ave­ vano intaccato le vitali energie, la Nazione ungherese cede all’aggressione della Mezzaluna e soccombe sui campi di Mohàcs (1526). L’Ungheria perde due terzi del suo territorio : non è più capace di resistere da sola, e tanto meno di arginare la pressione orientale che si fa sempre più tenace e petulante. E precisamente allora che si matura nelle Corti europee l’idea di una coalizione contro il Turco ; l’idea trova terreno particolar­ mente propizio, e altrimenti non avrebbe potuto essere, nella Corte romana, la Quale se ne fa la banditrice più tenace ed animosa. Ben più difficile appare invece conciliare i vari interessi delle Potenze laiche e ricondurli ad un comune denominatore : gli sforzi della diplomazia papale risultano vani. Se si riesce ad ottenere risultati positivi e successi militari contro il Turco, ciò si deve Quasi sempre all’intervento diretto dei Papi i Quali danno alle imprese non solo il loro appoggio materiale ma partecipano direttamente alle campagne con i loro eserciti mercenari. L’avvenimento più importante delle campagne combattute contro il Turco negli ultimi anni del CinQuecento è l’espugnazione della fortezza e della città di Strigonia (in ungherese Esztergom), che è dovuta essenzial­ mente all’intervento ed all’appoggio di un Papa, Clemente V ili.
    [Show full text]
  • Giovanni Battista Braccelli's Etched Devotions Before the Vatican
    Giovanni Battista Braccelli’s Etched Devotions before the Vatican Bronze Saint Peter Erin Giffin, Ludwig-Maximilians-Universität München, Germany IN THE MID-SEVENTEENTH CENTURY, the artist Giovanni Battista Braccelli (ca. 1584–1650) created an etching of the bronze Saint Peter cult statue at the Vat- ican surrounded by devotees and votives (fig. 1).1 This previously unpublished print, titled The Bronze Saint Peter with Votives, offers a detailed representation of the devotional object in its early modern location (figs. 2–3): against the northeast pier of the crossing of Saint Peter’s Basilica, where Pope Paul V Borghese (r. 1605– 21) had installed it on May 29, 1620 (still in situ today). The print details a group of early modern visitors gathered around the sculpture—well-dressed men, women, and children to the left of the composition, and an assortment of humbler lay and religious personages to the right. At the center, two pilgrims with walking sticks in hand and broad-brimmed hats slung over their shoulders approach the foot of the sculpted Saint Peter with great reverence. The first of the two bows down to touch the top of his head to the underside of the sculpted foot in an act of extreme humility, bracing himself against the sculpture’s base as the crowd looks on with approval. Emanating up from the devotees, a series of ex-voto offerings blanket the flanking pilasters of Saint Peter’s. One can make out the barest references of standard votive imagery and objects on the sketchily rendered plaques—kneel- ing figures and canopied beds before floating apparitions—accompanied by Contact Erin Giffin at Ludwig-Maximilians-Universität München (erin.giffin@kunstgeschichte .uni-muenchen.de).
    [Show full text]
  • Art and Architecture in Italy 1600 to 1750
    RUDOLF WITTKOWER ART AND ARCHITECTURE IN ITALY 1600 TO 1750 PUBLISHED BY PENGUIN BOOKS CONTENTS LIST OF FIGURES XI LIST OF PLATES X1U FOREWORD XXI Part One The Period of Transition and the Early Baroque circa 1600-circa 162$ 1. ROME: SIXTUS V TO PAUL V (1585-1621) I The Council of Trent and the Arts - The Church and the Reformers - The 'Style Sixtus V and its Transformation - Paul V and Cardinal Scipione Borghese as Patrons - Caravaggios and Annibale Carracci s Supporters - The new Churches and the new Iconography - The Evolution of the 'Genres' 2. CARAVAGGIO 21 3. THE CARRACCI 31 4. CARAVAGGIO'S FOLLOWERS AND THE CARRACCI SCHOOL IN ROME 42 The Caravaggisti - The Bolognese in Rome and Early Baroque Classicism 5. PAINTING OUTSIDE ROME 55 Bologna and Neighbouring Cities 56 Florence and Siena 59 Milan 61 Genoa 64 Venice 65 Conclusion 67 6. ARCHITECTURE AND SCULPTURE 69 Architecture 69 Rome: Carlo Maderno (1556-1629) - Architecture outside Rome Sculpture 83 Rome - Sculpture outside Rome vii CONTENTS Part Two The Age of the High Baroque circa 1625-circa 167 s 7. INTRODUCTION 89 Seicento Devotion and Religious Imagery - Rhetoric and Baroque Procedure - Patronage 8. GIANLORENZO BERNINI 96 Introduction 96 Sculpture 97 Stylistic Development - Sculpture with One and Many Views - Colour and Light - The Transcending of Traditional Modes - New Iconographical Types - The Role of the 'Concetto' - Working Procedure Painting 112 Architecture 114 Ecclesiastical Buildings - Secular Buildings - The Piazza of St Peter's 9. FRANCESCO BORROMINI (1599-1667) I3O S. Carlo alle Quattro Fontane - S. Ivo della Sapienza - S. Giovanni in Laterano, S.
    [Show full text]
  • Registration and Promotion of Monumental Olive Trees in Greece. Advances in Social Sciences Research Journal, 7(4) 107-121
    Advances in Social Sciences Research Journal – Vol.7, No.4 Publication Date: Apr. 25, 2020 DOI:10.14738/assrj.74.7977. Koniditsiotis, S. (2020). Registration and Promotion of Monumental Olive Trees in Greece. Advances in Social Sciences Research Journal, 7(4) 107-121. Registration and Promotion of Monumental Olive Trees in Greece. Koniditsiotis Stavros Msc of Cultural Policy and Development, Open University of Cyprus, Cyprus ABSTRACT The history oF the olive tree, its cultivation and its products is known For centuries. Some olive tree have survived over millennia and their history dates back to antiquity. In many cases, it is related to mythology and religion. The olive tree is associated with Folk tradition, people's everyday liFe, and customs. In Greece, monumental olive trees are found in the Peloponnese, Crete, Euboea, Chios, Pelion and Attica. This paper explores and describes the particular morphological Features such as shape, size, wood, cavities and age, as well as the cultural characteristics such as historical or religious events, myths and traditions that deFine an olive tree and characterize it as monumental. The main aim oF our research is to examine the key position that monumental olive trees and their materialistic and symbolic maniFestations consist a natural and cultural heritage as well. In this framework the study focuses on various key issues related to monumental olives trees and their natural, historical, social and cultural value. Keywords: Monumental Olive Trees, Nature conservation monuments, Natural sites, Greek monumental Olive Trees, Cultural heritage of olive Trees. 1. INTRODUCTION The present study is a part of a wider research on the value of the natural heritage and specially on ancient olives trees as natural monuments and cultural heritage of all Mediterranean regions.
    [Show full text]
  • EAA2021 Sessions 14 July-1.Pdf
    ORGANISERS 27th EAA Annual Meeting (Kiel Virtual, 2021) - Sessions Names, titles and affiliations are reproduced as submitted by the session organisers and/or authors. Language and wording were not revised. Technical editing: Kateřina Kleinová (EAA) Design and layout: Kateřina Kleinová (EAA) Design cover page: Janine Cordts (Institut für Ur- und Frühgeschichte Universität Kiel) European Association of Archaeologists Prague, June 2021 © European Association of Archaeologists, 2021 Tuesday 7 September 2021 #EAA2021 5 UNDERSTANDING PREHISTORIC DEMOGRAPHY Time: 9:00 - 16:30 CEST, 7 September 2021 Theme: 5. Assembling archaeological theory and the archaeological sciences Format: Regular session Organisers: Armit, Ian (University of York) - Damm, Charlotte (University of Tromso) - Črešnar, Matija (University of Ljubljana) ABSTRACTS 9:00 INTRODUCTION 9:15 THE COLOGNE PROTOCOL: ESTIMATING PAST POPULATION DENSITIES Schmidt, Isabell (University of Cologne) - Hilpert, Johanna (Kiel University - CAU) - Kretschmer, Inga (Landesamt für Denkmalpflege Stuttgart) - Peters, Robin (Landschaftsverband Rheinland) - Broich, Manue - Schiesberg, Sara - Vo- gels, Oliver - Wendt, Karl Peter - Zimmermann, Andreas - Maier, Andreas (University of Cologne) 9:30 DWELLINGS, SETTLEMENT ORGANISATION AND POPULATION FLUCTUATIONS: A MULTI-SCALAR CASE STUDY FROM ARCTIC NORWAY Damm, Charlotte (Arctic University of Norway) 9:45 EXPLORING LOCAL GEOGRAPHICAL CONDITIONS UNDERPINNING REGIONAL DEMOGRAPHIC CHANGE AMONG HUNTER-FISHER-GATHERERS IN SOUTHWEST COASTAL NORWAY (11,500-4300 CAL BP) Lundström, Victor - Bergsvik, Knut (University Museum, University of Bergen) 10:00 TERRITORIES, STRATEGIES AND TWO GENERATIONS Odgaard, Ulla (Independent researcher) 10:15 POPULATION DYNAMICS AND THE EXPANSION OF AGRICULTURE. ASSESSING THE RADIOCARBON GAPS DURING THE NEOLITHIZATION PROCESS IN THE WESTERN MEDITERRANEAN Cortell-Nicolau, Alfredo (Departament de Prehistòria, Arqueologia i Història Antiga. Universitat de València) - Crema, Enrico (Department of Archaeology.
    [Show full text]
  • Alessandro Algardi Christ Resurrected
    Alessandro Algardi Christ Resurrected Alessandro Algardi (Bologna, 1598 - Rome, 1654) Christ Resurrected Terracotta, height 52 cm Provenance: Private collection, Italy; Heim Gallery, London; Arthur M. Sackler collection, New York his fine and moving terracotta was first simple planes’. Dr. Montagu expressed some recognized by Dr. Jennifer Montagu and criticism to the handling of the torso, a point Twas subsequently published for the first also taken up by Avery, which, in our opinion, time by Dr. Charles Avery in the 1981 Sackler has wrongly caused some concern about the au- collection exhibition catalogue, making use of tograph nature of the torso, a question which notes by Montagu for her (then) forthcoming needs to be addressed. These problems seem publication on Algardi. to arise principally from the condition of the sculpture, lacking both arms: Christ’s raised Dr. Montagu’s attribution to Algardi was made right arm is severed at the shoulder but a close on purely stylistic grounds, and, regarding the inspection of this area suggests that at least head, she commented on ‘…the flow of the hair, some of the clay was cut before firing, implying partly modelled freely in waving masses, partly that it was modelled seperately; the left missing incised with the modelling tool, and the sweet left arm is evidentally the result of an accidental expression in a face constructed in large and break. The head and torso are divided just below the shoulders and this curving division is relatively even, suggesting that the join was not acciden- tal. Probably Avery’s proposal that the head and shoulders were the first part to be modelled, ‘…as a study of facial features and expression, and, as the sculptor’s conception developed, the torso was afterwards modelled to fit on to it’, is in fact correct.
    [Show full text]
  • Artisans in the Service of the Royalty at Dendra and Their Role in the Formation of Fashion Trends
    Artisans in the Service of the Royalty at Dendra and their Role in the Formation of Fashion Trends Eleni Konstantinidi-Syvridi1 Abstract: Through its remarkable finds the necropolis at Dendra, covering the periods LH IIB–IIIB, offers an eloquent picture of the luxury possessed by the aristocracy up to the final phase of the early Mycenaean period. It is a time when art and crafts shift away from the hitherto Minoan influences to create forms and symbols that are purely Mycenaean, in search of a new identity. Metalwork of an advanced workmanship, testifying to the presence of highly skilled craftsmen, furnished the distinguished deceased in the necropolis. Craftsmen in the service of the elite seem to have circulated between various areas of the Aegean and Cyprus, forming through their creations common codes between its members. Being one of the few unplundered tholoi of the period, the Dendra tomb gathers most of those features that became fashionable in art and crafts among the early Mycenaean elite. A re-evaluation of the grave goods can therefore provide the impetus for a discussion on the production, manufacture and trade of luxurious items, especially metalwork, at the threshold of the Mycenaean Palatial period. Keywords: Dendra, warrior burials, metalwork, metal vessels, tholos tombs Within the fragile socio-political landscape of the early Mycenaean period, the elite families fought for the establishment of their political and economic power over the region,2 and at the same time shared a network of common values and symbols of
    [Show full text]