The Choir Books of Santa Maria in Aracoeli and Patronage Strategies of Pope Alexander VI
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Negotiating Julio-Claudian Memory: the Vespasianic Building Program and the Representation of Imperial Power in Ancient Rome Joseph V
Macalester College DigitalCommons@Macalester College Classics Honors Projects Classics Department Spring 5-2-2014 Negotiating Julio-Claudian Memory: The Vespasianic Building Program and the Representation of Imperial Power in Ancient Rome Joseph V. Frankl Macalester College, [email protected] Follow this and additional works at: http://digitalcommons.macalester.edu/classics_honors Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, and the Classics Commons Recommended Citation Frankl, Joseph V., "Negotiating Julio-Claudian Memory: The eV spasianic Building Program and the Representation of Imperial Power in Ancient Rome" (2014). Classics Honors Projects. Paper 19. http://digitalcommons.macalester.edu/classics_honors/19 This Honors Project is brought to you for free and open access by the Classics Department at DigitalCommons@Macalester College. It has been accepted for inclusion in Classics Honors Projects by an authorized administrator of DigitalCommons@Macalester College. For more information, please contact [email protected]. Negotiating Julio-Claudian Memory: The Vespasianic Building Program and the Representation of Imperial Power in Ancient Rome By Joseph Frankl Advised by Professor Beth Severy-Hoven Macalester College Classics Department Submitted May 2, 2014 INTRODUCTION In 68 C.E., the Roman Emperor Nero died, marking the end of the Julio-Claudian imperial dynasty established by Augustus in 27 B.C.E (Suetonius, Nero 57.1). A year-long civil war ensued, concluding with the general Titus Flavius Vespasianus seizing power. Upon his succession, Vespasian faced several challenges to his legitimacy as emperor. Most importantly, Vespasian was not a member of the Julio-Claudian family, nor any noble Roman gens (Suetonius, Vespasian 1.1). -
The Quietest Painting in the Room
The Quietest Painting in the Room cardus.ca/comment/article/the-quietest-painting-in-the-room/ I hate that line in Good Will Hunting when the counselor (Robin Williams) says to the genius janitor (Matt Damon): So if I asked you about art, you'd probably give me the skinny on every art book ever written. Michelangelo, you know a lot about him. Life's work, political aspirations, him and the pope, sexual orientations, the whole works, right? But I'll bet you can't tell me what it smells like in the Sistine Chapel. I hate it not because it seems to me a kind of bullying, like age condescending to youth and inexperience (though that's true), but because the Sistine Chapel doesn't have any particular smell. The Domus Aurea, sure: a bit mossy and dank, but cool, and with imaginary lavender. The Palatine smells vaguely of cats and burning wheat. Even Saint Peter's, just a stone's throw from Capella Sistina, has a scent: clay, and neoprene rope, and tourists. But the Sistine Chapel hasn't even an olfactory trace of incense, or oil paints, or sweating sixteenth century architects lying on their backs. It may have had all those things when, in 1598, another painter named Michelangelo (Merisi da Caravaggio), from a town by whose name he was eventually known, made the first of his many visits there to see the great painting that his namesake had called forth from the abyss. We think of the Sistine ceiling as heavenly and eternal, but it helps to remember it was new once, shocking, and influential in a different sense than we mean it now. -
Kings on Coins: the Appearance of Numa on Augustan Coinage
Kings on Coins: The Appearance of Numa on Augustan Coinage AIMEE TURNER1 iconography, which he began to develop and experiment with in the triumviral period, and continued to utilise into his principate.6 Many In 22 BCE, an as was minted bearing the of the images he employed focus on religious image of Augustus Caesar on the obverse and iconography which promoted Augustus as a 7 Numa Pompilius on the reverse. Discussion of restorer of Roman tradition. In 22 BCE, an this coin in the context of Augustan ideology as was produced that featured the image of has been limited.2 Although one aspect of the Augustus on the obverse and Numa Pompilius, coin’s message relates to the promotion of the second king of Rome, on the reverse. the moneyer’s family, a closer analysis of its Numa was the quasi-legendary second king 8 iconographical and historical context provides of Rome, following Romulus. He is credited important evidence for the early public image with establishing the major religious practices 9 of Augustus, particularly in regard to religion. of the city as well as its first peaceful period. To that end, this paper intends to establish the As one of the earliest coins of the principate, traditional use of kings in Republican coins it offers important evidence for the early and the development of religious iconography public image of Augustus and the direction he in early Augustan coinage. By ascertaining intended to take at that time. His propaganda this framework, the full significance of the as was fluid, changing to meet the demands of the of 22 BCE becomes clearer. -
The Conservation Works the Hall of Masks in the Domus Aurea Conservation Studies Held in the 80'S Conservation Works of the H
The conservation works the Hall of Masks in the Domus Aurea Donatella Cavezzali1, Annamaria Giovagnoli, Elisabetta Giani, Bruno Mazzone, Carlo Cacace, Fabio Aramini 1 Istituto Superiore per la Conservazione ed il Restauro (ISCR), Rome, Italy Since 2004 the Istituto Superiore per la Conservazione ed il Restauro (ISCR) of Rome has begun to study the conservation conditions of the Hall of Masks in the Domus Aurea (64-68 AD), the palace of Emperor Nero whose decorations have inspired artist such as Rafael, Giovanni da Udine and Vasari becoming reference model for all the Renaissance. Conservation studies and restoration works have been focused in particular on two rooms of the great hypogeal palace, the Hall of Masks (room n. 114) and the nearby Corridor (room n. 131), whose frescoes are among the most famous and better preserved of all the site. In the last twenty years the rooms have been experimentally confined with airtight doors (1986) to test the microclimatic conditions in absence of light and thermo-hygrometric exchanges. After this long period of experimentation ISCR has lead a pilot conservation project to deal with the conservation and musealization of the Hall of Masks and Corridor n. 131. Conservation studies held in the 80’s Since 1969 the Central Institute of Restoration (now ISCR) began to study the preservation of the Domus Aurea, in particular focusing on the frescoes of the Golden Vault. Later (1986) began the studies in The Hall of Masks and the Corridor n. 131, focused on the stabilization of the microclimate as preventive conservation of the paintings. The two connected rooms were confined with airtight doors and restoration tests of frescoes were held to experiment maintenance in time. -
Tuccia and Her Sieve: the Nachleben of the Vestal in Art
KU LEUVEN FACULTY OF ARTS BLIJDE INKOMSTSTRAAT 21 BOX 3301 3000 LEUVEN, BELGIË Tuccia and her sieve: The Nachleben of the Vestal in art. Sarah Eycken Presented in fulfilment of the requirements for the degree of Master of Arts in Art History Supervisor: prof. dr. Barbara Baert Lector: Katlijne Van der Stighelen Academic year 2017-2018 371.201 characters (without spaces) KU LEUVEN FACULTY OF ARTS BLIJDE INKOMSTSTRAAT 21 BOX 3301 3000 LEUVEN, BELGIË I hereby declare that, in line with the Faculty of Arts’ code of conduct for research integrity, the work submitted here is my own original work and that any additional sources of information have been duly cited. I! Abstract This master dissertation on the Nachleben in art of the Vestal Tuccia and her sieve, tries to chart the motif’s course throughout the history of art, using a transhistorical approach excluding an exhaustive study which lies outside the confines of this paper. Nevertheless, different iconographical types of the representations of Tuccia, as well as of their relative importance, were established. The role of Tuccia in art history and, by ex- tension, literature, is not very substantial, but nonetheless significant. An interdisciplinary perspective is adopted with an emphasis on gender, literature, anthropology and religion. In the Warburgian spirit, the art forms discussed in this dissertation are various, from high art to low art: paintings, prints, emblemata, cas- soni, spalliere, etc. The research starts with a discussion on the role of the Vestal Virgins in the Roman Re- public. The tale of the Vestal Virgin Tuccia and her paradoxically impermeable sieve, which was a symbol of her chastity, has spoken to the imagination of artists throughout the ages. -
Renaissance Popes and What They Did Source: Mcbrien, Richard; Lives of the Popes, Harper Collins, San Francisco, 1997
Renaissance Popes and what they did Source: McBrien, Richard; Lives of the Popes, Harper Collins, San Francisco, 1997. Nicholas V (1447-1455) • The first Renaissance Pope. • His book collection formed the nucleus of the Vatican Library • Was Pope when Constantinople fell • Tried to organize a crusade to retake Constantinople; couldn’t raise the funds Calixtus III (Spanish, 1455-1458) • Tried to finance a fleet to retake Constantinople (Indulgences, taxes, selling Vatican artworks/books) • French and Germans objected to heavy-handed fundraising tactics. • Made two nephews into Cardinals, one of whom became Pope Alexander VI (nepotism) Pius II (1458-1464) • Encouraged arts and literature to thrive • Called for Crusade against the Turks o Met opposition from rulers because of funding concerns o Blamed church councils for his weakness and opposed conciliarism • Went on Crusade anyway and died in transit Paul II (1464-1471) • A true medieval Pope, the only one of this period who was not a humanist • Banned the study of pagan poetry, such as Virgil and Homer • Angered humanists and was one of the least popular Popes in history • Also tried to send a Crusade to Constantinople and also failed Sixtus IV (1471-1484) • Sistine Chapel begun and named after him • Authorized Spanish Inquisition • Made two nephews cardinals, one of whom became Pope Julius II • Wanted a Crusade against Turks but rulers still didn’t really care for it • Drained treasury and approved the sale of indulgences to replenish it • Paid little attention to qualifications when -
Medici, Borgia, Hapsburg, and Plantagenet
ChurchChurch HistoryHistory ChurchChurch HistoryHistory IntroductionIntroduction toto ChurchChurch HistoryHistory st rd TheThe AncientAncient ChurchChurch AD 11st-3-3rd centuriescenturies th th TheThe RiseRise ofof ChristendomChristendom AD 44th-5-5th centuriescenturies th th TheThe EarlyEarly MiddleMiddle AgesAges AD 66th-10-10th centuriescenturies th th TheThe AgeAge ofof CrusadesCrusades AD 1111th-13-13th centuriescenturies th th TheThe RenaissanceRenaissance AD 1414th-15-15th centuriescenturies th ConquestConquest andand ReformationReformation AD 1616th centurycentury th th TheThe AgeAge ofof EnlightenmentEnlightenment AD 1717th-18-18th centuriescenturies th TheThe AgeAge ofof RevolutionRevolution AD 1919th centurycentury th TheThe ModernModern AgeAge AD 2020th centurycentury st TheThe PostmodernPostmodern AgeAge AD 2121st centurycentury ChurchChurch HistoryHistory IntroductionIntroduction toto ChurchChurch HistoryHistory st rd TheThe AncientAncient ChurchChurch AD 11st-3-3rd centuriescenturies th th TheThe RiseRise ofof ChristendomChristendom AD 44th-5-5th centuriescenturies th th TheThe EarlyEarly MiddleMiddle AgesAges AD 66th-10-10th centuriescenturies th th TheThe AgeAge ofof CrusadesCrusades AD 1111th-13-13th centuriescenturies th th TheThe RenaissanceRenaissance AD 1414th-15-15th centuriescenturies Welcome to the Renaissance Turnovers... The Black Death and a Century of War Wobbling Out of Control (part 3) TheThe RenaissanceRenaissance ImportantImportant familiesfamilies changedchanged everythingeverything 14151415 HenryHenry -
Gian Cristoforo Romano in Rome: with Some Thoughts on the Mausoleum of Halicarnassus and the Tomb of Julius II
Gian Cristoforo Romano in Rome: With some thoughts on the Mausoleum of Halicarnassus and the Tomb of Julius II Sally Hickson University of Guelph En 1505, Michel-Ange est appelé à Rome pour travailler sur le tombeau monumental du pape Jules II. Six mois plus tard, alors que Michel-Ange se trouvait à Carrare, le sculpteur et antiquaire Gian Cristoforo Romano était également appelé à Rome par Jules II. En juin 1506, un agent de la cour de Mantoue rapportait que les « premiers sculpteurs de Rome », Michel-Ange et Gian Cristoforo Romano, avaient été appelés ensemble à Rome afin d’inspecter et d’authentifier le Laocoön, récemment découvert. Que faisait Gian Cristoforo à Rome, et que faisait-il avec Michel-Ange? Pourquoi a-t-il été appelé spécifi- quement pour authentifier une statue de Rhodes. Cet essai propose l’hypothèse que Gian Cristoforo a été appelé à Rome par le pape probablement pour contribuer aux plans de son tombeau, étant donné qu’il avait travaillé sur des tombeaux monumentaux à Pavie et Crémone, avait voyagé dans le Levant et vu les ruines du Mausolée d’Halicarnasse, et qu’il était un sculpteur et un expert en antiquités reconnu. De plus, cette hypothèse renforce l’appartenance du développement du tombeau de Jules II dans le contexte anti- quaire de la Rome papale de ce temps, et montre, comme Cammy Brothers l’a avancé dans son étude des dessins architecturaux de Michel-Ange (2008), que les idées de ce dernier étaient influencées par la tradition et par ses contacts avec ses collègues artistes. -
THE PRINCE by Nicolo Machiavelli
THE PRINCE by Nicolo Machiavelli CHAPTER I HOW MANY KINDS OF PRINCIPALITIES THERE ARE, AND BY WHAT MEANS THEY ARE ACQUIRED All states, all powers, that have held and hold rule over men have been and are either republics or principalities. Principalities are either hereditary, in which the family has been long established; or they are new. The new are either entirely new, as was Milan to Francesco Sforza, or they are, as it were, members annexed to the hereditary state of the prince who has acquired them, as was the kingdom of Naples to that of the King of Spain. Such dominions thus acquired are either accustomed to live under a prince, or to live in freedom; and are acquired either by the arms of the prince himself, or of others, or else by fortune or by ability. CHAPTER II CONCERNING HEREDITARY PRINCIPALITIES I will leave out all discussion on republics, inasmuch as in another place I have written of them at length, and will address myself only to principalities. In doing so I will keep to the order indicated above, and discuss how such principalities are to be ruled and preserved. I say at once there are fewer difficulties in holding hereditary states, and those long accustomed to the family of their prince, than new ones; for it is sufficient only not to transgress the customs of his ancestors, and to deal prudently with circumstances as they arise, for a prince of average powers to maintain himself in his state, unless he be deprived of it by some extraordinary and excessive force; and if he should be so deprived of it, whenever anything sinister happens to the usurper, he will regain it. -
Il Passato Riscoperto Cap 05 Notizie Storiche 1451-1500
Il passato riscoperto CENNI SULLA STORIA DELLA CHIESA DI S. CALOCERO CAPITOLO 5 - IL 1450-1500 GLI ARTISTI CIVATESI – LA COMMENDA 1451 Riconferma e ampliamento di esenzioni ed immunità vennero dal duca Francesco Sforza nel 1451 (epoca dalla quale ricorre per il territorio della Martesana superiore la denominazione di “Monte di Brianza”), da Galeazzo Maria Sforza nel 1476, da Bona di Savoia nel 1478. 5 maggio 1451 . Il Duca Francesco Sforza concede al Monastero di San Pietro di Civate la conferma di tutte le esenzioni ed immunità già concesse da Filippo Maria Visconti il 1 ° ottobre 1423. 1 2 Conferma delle esenzioni concesse al Monastero di San Pietro di Civate, Ducato di Milano. 1 Atto originale.(ASM, Registri Ducali, Frammenti, Cartella 1’, fascicolo X °, fogli 583-584). 2 Confirmatio exemptionum Monasterij Sancti Petri de Clivate, Ducatus Mediolani. Dux Mediolani etc. Supplicato nobis pro parte domini abbatis et Monacorum, Capituli et conventus Monasterij Sancti Petri de Clivate, uti litteras exemptionis et immunitatis, alias sibi per illustres dominus Vicecomites praecessores meos et per illustrem dominum quondam principem et dominum Filippum Maria Vicecomitent patrem et socerum meum proxime decessum concessas et confirmatas, de speciali gratia approbare et confirmare dignaremur, quorum ordini litterarum tenor sequitur ut infra videlicet: Filippus Maria Anglus dux Mediolani etc. Supplicato nobis pro parte venerabilis abbatis, Monacorum Capituli et conventus Monasterij Sancti Petri de Clivate ducatus nostri Mediolani et alias cellebris memore, Illustrissimus quondam dominus dux Genitor noster, ob singularem devotionem quam ad ipsum habebat Monasterium, eiusdem abbati, Monacis, Capitulo et conventui, immunitatem et exemptionem concesserat per speciales eius litteras, per illustrem quondam dominum Germanum meum olim ducem Mediolani confirmatas continentie subsequentis videlicet: Dux Mediolani etc. -
Christopher White Table of Contents
Christopher White Table of Contents Introduction .................................................................................................................................................. 4 Peter the “rock”? ...................................................................................................................................... 4 Churches change over time ...................................................................................................................... 6 The Church and her earthly pilgrimage .................................................................................................... 7 Chapter 1 The Apostle Peter (d. 64?) : First Bishop and Pope of Rome? .................................................. 11 Peter in Rome ......................................................................................................................................... 12 Yes and No .............................................................................................................................................. 13 The death of Peter .................................................................................................................................. 15 Chapter 2 Pope Sylvester (314-335): Constantine’s Pope ......................................................................... 16 Constantine and his imprint .................................................................................................................... 17 “Remembering” Sylvester ...................................................................................................................... -
Saints of Hysteria a Half-Century of Collaborative American Poetry Edited by Denise Duhamel, Maureen Seaton & David Trinidad
Saints of Hysteria A Half-Century of Collaborative American Poetry Edited by Denise Duhamel, Maureen Seaton & David Trinidad Saints of Hysteria A Half-Century of Collaborative American Poetry Edited by Denise Duhamel, Maureen Seaton & David Trinidad Soft Skull Press Brooklyn, NY 2007 Contents Denise Duhamel, Maureen Seaton & David Trinidad i Introduction Charles Henri Ford et al. International Chainpoem 1 Neal Cassady, Allen Ginsberg & Jack Kerouac Pull My Daisy 3 Copyright © 2007 by Denise Duhamel, Maureen Seaton & David Trinidad Jack Kerouac & Lew Welch Masterpiece 5 Cover art: Good’n Fruity Madonna © 1968 Joe Brainard John Ashbery & Kenneth Koch Used by permission of the Estate of Joe Brainard. A Postcard to Popeye 7 Crone Rhapsody 9 Credits & acknowledgments for the poems begin on page 389. Jane Freilicher & Kenneth Koch The Car 12 Soft Skull project editor & book designer: Shanna Compton Bill Berkson & Frank O’Hara St. Bridget’s Neighborhood 13 A note on the text: Because the poems in this anthology were created over seven decades Song Heard Around St. Bridget’s 16 by more than 200 authors, certain idiosyncrasies of style, orthography, and form St. Bridget’s Efficacy 17 have been preserved in order to present the works as their authors intended. These Reverdy 19 variations are characteristic textural effects of the collaborative process Bill Berkson, Michael Brownstein & Ron Padgett and should not be interpreted as errors. Waves of Particles 21 Ron Padgett & James Schuyler Soft Skull Press Within the Dome 22 55 Washington Street