Star Polyhedra: from St Mark's Basilica in Venice To
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EGYPT in ROME (AND BEYOND) JC Zietsman University Of
ACTA CLASSICA LII (2009) 1-21 ISSN 0065-1141 CHAIRPERSON’S ADDRESS • VOORSITTERSREDE CROSSING THE ROMAN FRONTIER: EGYPT IN ROME (AND BEYOND) J.C. Zietsman University of the Free State ABSTRACT A coin issued by Octavian in 27 BC, when he became the Emperor Augustus, pro- claims AEGYPTO CAPTA, ‘Egypt has been captured.’ In actual fact Egyptian culture, architecture, art and religion crossed the Roman frontier and captured the imagination of the Roman world. Apart from Greece, no other country had greater influence over the Romans. The most distinctive evidence of Egyptian presence in Rome is the obelisks. Several of the obelisks exalted the military victories of the pharaohs to whom they were originally dedicated. The Roman emperors, as rulers of Egypt, identified with this use for their own imperialistic and propagandistic purposes. This article will look at the afterlife of some of the most famous obelisks in and beyond the Eternal City after the fall of Rome. Introduction In 264 BC Rome became involved in the First Punic War against Carthage. By the end of this war (241 BC) the Romans found themselves in possession of Sicily, which became the first Roman province. The Third Punic War ended in 146 BC, when the defeated Carthaginian territory became the pro- vince of Africa. Macedonia and Achaea became Roman provinces in the same year. Cunliffe argues that ‘the rise of Rome in the Mediterranean did not lead to a confrontation with Egypt, although the internal quarrels among the mem- bers of the Egyptian dynasty did give Rome some say in the internal matters of Egypt.1 Under the Ptolemies economic and political decay had set in and by the time that Egypt was drawn into the Roman political arena in the second half of the first century BC, the country was in a state of near collapse.’ 1 Cunliffe 1978:232. -
The Small Stellated Dodecahedron Code and Friends
Downloaded from http://rsta.royalsocietypublishing.org/ on September 5, 2018 The small stellated dodecahedron code and rsta.royalsocietypublishing.org friends J. Conrad1,C.Chamberland2,N.P.Breuckmann3 and Research B. M. Terhal4,5 Cite this article: Conrad J, Chamberland C, 1JARA Institute for Quantum Information, RWTH Aachen University, Breuckmann NP,Terhal BM. 2018 The small Aachen 52056, Germany stellated dodecahedron code and friends. Phil. 2Institute for Quantum Computing and Department of Physics and Trans. R. Soc. A 376: 20170323. Astronomy, University of Waterloo, Waterloo, Ontario, Canada N2L http://dx.doi.org/10.1098/rsta.2017.0323 3G1 3Department of Physics and Astronomy, University College London, Accepted: 16 March 2018 London WC1E 6BT, UK 4QuTech, Delft University of Technology, PO Box 5046, 2600 GA Delft, One contribution of 17 to a discussion meeting The Netherlands issue ‘Foundations of quantum mechanics and 5Institute for Theoretical Nanoelectronics, Forschungszentrum their impact on contemporary society’. Juelich, 52425 Juelich, Germany Subject Areas: CC, 0000-0003-3239-5783 quantum computing, quantum physics We explore a distance-3 homological CSS quantum Keywords: code, namely the small stellated dodecahedron code, quantum error correction, fault tolerance, for dense storage of quantum information and we compare its performance with the distance-3 surface homological quantum codes code. The data and ancilla qubits of the small stellated dodecahedron code can be located on Author for correspondence: the edges respectively vertices of a small stellated B. M. Terhal dodecahedron, making this code suitable for three- e-mail: [email protected] dimensional connectivity. This code encodes eight logical qubits into 30 physical qubits (plus 22 ancilla qubits for parity check measurements) in contrast with one logical qubit into nine physical qubits (plus eight ancilla qubits) for the surface code. -
Terracotta Tableau Sculpture in Italy, 1450-1530
PALPABLE POLITICS AND EMBODIED PASSIONS: TERRACOTTA TABLEAU SCULPTURE IN ITALY, 1450-1530 by Betsy Bennett Purvis A thesis submitted in conformity with the requirements for the degree of Doctorate of Philosophy Department of Art University of Toronto ©Copyright by Betsy Bennett Purvis 2012 Palpable Politics and Embodied Passions: Terracotta Tableau Sculpture in Italy, 1450-1530 Doctorate of Philosophy 2012 Betsy Bennett Purvis Department of Art University of Toronto ABSTRACT Polychrome terracotta tableau sculpture is one of the most unique genres of 15th- century Italian Renaissance sculpture. In particular, Lamentation tableaux by Niccolò dell’Arca and Guido Mazzoni, with their intense sense of realism and expressive pathos, are among the most potent representatives of the Renaissance fascination with life-like imagery and its use as a powerful means of conveying psychologically and emotionally moving narratives. This dissertation examines the versatility of terracotta within the artistic economy of Italian Renaissance sculpture as well as its distinct mimetic qualities and expressive capacities. It casts new light on the historical conditions surrounding the development of the Lamentation tableau and repositions this particular genre of sculpture as a significant form of figurative sculpture, rather than simply an artifact of popular culture. In terms of historical context, this dissertation explores overlooked links between the theme of the Lamentation, the Holy Sepulcher in Jerusalem, codes of chivalric honor and piety, and resurgent crusade rhetoric spurred by the fall of Constantinople in 1453. Reconnected to its religious and political history rooted in medieval forms of Sepulchre devotion, the terracotta Lamentation tableau emerges as a key monument that both ii reflected and directed the cultural and political tensions surrounding East-West relations in later 15th-century Italy. -
Are Your Polyhedra the Same As My Polyhedra?
Are Your Polyhedra the Same as My Polyhedra? Branko Gr¨unbaum 1 Introduction “Polyhedron” means different things to different people. There is very little in common between the meaning of the word in topology and in geometry. But even if we confine attention to geometry of the 3-dimensional Euclidean space – as we shall do from now on – “polyhedron” can mean either a solid (as in “Platonic solids”, convex polyhedron, and other contexts), or a surface (such as the polyhedral models constructed from cardboard using “nets”, which were introduced by Albrecht D¨urer [17] in 1525, or, in a more mod- ern version, by Aleksandrov [1]), or the 1-dimensional complex consisting of points (“vertices”) and line-segments (“edges”) organized in a suitable way into polygons (“faces”) subject to certain restrictions (“skeletal polyhedra”, diagrams of which have been presented first by Luca Pacioli [44] in 1498 and attributed to Leonardo da Vinci). The last alternative is the least usual one – but it is close to what seems to be the most useful approach to the theory of general polyhedra. Indeed, it does not restrict faces to be planar, and it makes possible to retrieve the other characterizations in circumstances in which they reasonably apply: If the faces of a “surface” polyhedron are sim- ple polygons, in most cases the polyhedron is unambiguously determined by the boundary circuits of the faces. And if the polyhedron itself is without selfintersections, then the “solid” can be found from the faces. These reasons, as well as some others, seem to warrant the choice of our approach. -
Donato Bramante 1 Donato Bramante
Donato Bramante 1 Donato Bramante Donato Bramante Donato Bramante Birth name Donato di Pascuccio d'Antonio Born 1444Fermignano, Italy Died 11 April 1514 (Aged about 70)Rome Nationality Italian Field Architecture, Painting Movement High Renaissance Works San Pietro in Montorio Christ at the column Donato Bramante (1444 – 11 March 1514) was an Italian architect, who introduced the Early Renaissance style to Milan and the High Renaissance style to Rome, where his most famous design was St. Peter's Basilica. Urbino and Milan Bramante was born in Monte Asdrualdo (now Fermignano), under name Donato di Pascuccio d'Antonio, near Urbino: here, in 1467 Luciano Laurana was adding to the Palazzo Ducale an arcaded courtyard and other features that seemed to have the true ring of a reborn antiquity to Federico da Montefeltro's ducal palace. Bramante's architecture has eclipsed his painting skills: he knew the painters Melozzo da Forlì and Piero della Francesca well, who were interested in the rules of perspective and illusionistic features in Mantegna's painting. Around 1474, Bramante moved to Milan, a city with a deep Gothic architectural tradition, and built several churches in the new Antique style. The Duke, Ludovico Sforza, made him virtually his court architect, beginning in 1476, with commissions that culminated in the famous trompe-l'oeil choir of the church of Santa Maria presso San Satiro (1482–1486). Space was limited, and Bramante made a theatrical apse in bas-relief, combining the painterly arts of perspective with Roman details. There is an octagonal sacristy, surmounted by a dome. In Milan, Bramante also built the tribune of Santa Maria delle Grazie (1492–99); other early works include the cloisters of Sant'Ambrogio, Milan (1497–1498), and some other constructions in Pavia and possibly Legnano. -
Representing the Sporadic Archimedean Polyhedra As Abstract Polytopes$
CORE Metadata, citation and similar papers at core.ac.uk Provided by Elsevier - Publisher Connector Discrete Mathematics 310 (2010) 1835–1844 Contents lists available at ScienceDirect Discrete Mathematics journal homepage: www.elsevier.com/locate/disc Representing the sporadic Archimedean polyhedra as abstract polytopesI Michael I. Hartley a, Gordon I. Williams b,∗ a DownUnder GeoSolutions, 80 Churchill Ave, Subiaco, 6008, Western Australia, Australia b Department of Mathematics and Statistics, University of Alaska Fairbanks, PO Box 756660, Fairbanks, AK 99775-6660, United States article info a b s t r a c t Article history: We present the results of an investigation into the representations of Archimedean Received 29 August 2007 polyhedra (those polyhedra containing only one type of vertex figure) as quotients of Accepted 26 January 2010 regular abstract polytopes. Two methods of generating these presentations are discussed, Available online 13 February 2010 one of which may be applied in a general setting, and another which makes use of a regular polytope with the same automorphism group as the desired quotient. Representations Keywords: of the 14 sporadic Archimedean polyhedra (including the pseudorhombicuboctahedron) Abstract polytope as quotients of regular abstract polyhedra are obtained, and summarised in a table. The Archimedean polyhedron Uniform polyhedron information is used to characterize which of these polyhedra have acoptic Petrie schemes Quotient polytope (that is, have well-defined Petrie duals). Regular cover ' 2010 Elsevier B.V. All rights reserved. Flag action Exchange map 1. Introduction Much of the focus in the study of abstract polytopes has been on the regular abstract polytopes. A publication of the first author [6] introduced a method for representing any abstract polytope as a quotient of regular polytopes. -
6 X 10.Long.P65
Cambridge University Press 052180809X - The Cambridge Companion to Raphael Edited by Marcia B. Hall Excerpt More information Introduction Marcia B. Hall Raphael is the rare painter who was never out of fashion. The closest he has ever come is the present reserved acknowledgment of his past glory. Even when he was criticized it was within the context that he was regarded as the nearly perfect paragon, as Giovanna Perini shows in her essay in this collection. Beginning early in his short life and continuing throughout the sixteenth century he continued to inspire new generations of successors. During his lifetime his generosity and geniality endeared him to patrons and pupils alike. After his death in 1520 his followers were able to learn his style, and it served as the fertile basis for their new inventions. This was in contrast to both his great contemporaries, Leonardo da Vinci and Michelangelo, who fostered slavish imitators but few, if any, followers with the freedom to develop their own art on the foundation of what they had learned from their master. Raphael was born in Urbino, the son of Giovanni Santi, who was charac- terized by Vasari as a painter “of no great merit, but of good intelligence.” Sometime after his father’s death in 1494, Raphael went to Perugia to assist Perugino, the most renowned painter in central Italy at the time. There is debate among scholars about whether he went as an apprentice or later as a more mature assistant in the workshop. The two authors in this volume who touch on this question, Jeryldene Wood and Sheryl Reiss, disagree. -
Dinner in Piazza Della Rotonda
Pont. Max. Campo Marzio feet in width and fifteen feet in depth The entire interior space of the Pantheon mea- sures some 142 feet in diameter, as well as in height—a perfect sphere—large enough to contain the aforementioned dome of St Peter’s or the nave of Chartres Cathedral; yet unlike Chartres, a completely freestanding structure As I proceeded to the center of this immense rotunda, I found myself completing a 360 degree circuit beneath the oculus to take it all in—an idealized circle of Had- rian’s invulnerable empire and representation of heaven itself; the physical sanction of “all the gods” that Rome (under Hadrian, of course) should rule the world But the Pantheon’s interior is more than a doorway to Rome’s imperial past, for the tombs in its pavement and niches are also windows into the Italian Renaissance and the Risorgi- mento under the Savoy kings Along the western wall above the pavement I visited the tomb of Raphael, who had requested in his will to be buried in the Church of Santa Maria della Rotonda, as the Pantheon has also been known ever since Pope Boniface IV (608–615) received it from the Byzantine Emperor Phocas and converted it into a church in dedication to the Virgin and all the Christian martyrs Further on, toward the altar that rests against the wall opposite the entrance, I came upon the tomb of the Savoy King Umberto I, and continuing past the altar to the right, were the highly ornamented tombs of the Savoys Vittorio Emanuele II and Umberto II The inscription for Victor Emmanuel II reads: “Vittorio Emanuele -
Sebastiano Del Piombo and His Collaboration with Michelangelo: Distance and Proximity to the Divine in Catholic Reformation Rome
SEBASTIANO DEL PIOMBO AND HIS COLLABORATION WITH MICHELANGELO: DISTANCE AND PROXIMITY TO THE DIVINE IN CATHOLIC REFORMATION ROME by Marsha Libina A dissertation submitted to the Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland April, 2015 © 2015 Marsha Libina All Rights Reserved Abstract This dissertation is structured around seven paintings that mark decisive moments in Sebastiano del Piombo’s Roman career (1511-47) and his collaboration with Michelangelo. Scholarship on Sebastiano’s collaborative works with Michelangelo typically concentrates on the artists’ division of labor and explains the works as a reconciliation of Venetian colorito (coloring) and Tuscan disegno (design). Consequently, discourses of interregional rivalry, center and periphery, and the normativity of the Roman High Renaissance become the overriding terms in which Sebastiano’s work is discussed. What has been overlooked is Sebastiano’s own visual intelligence, his active rather than passive use of Michelangelo’s skills, and the novelty of his works, made in response to reform currents of the early sixteenth century. This study investigates the significance behind Sebastiano’s repeating, slowing down, and narrowing in on the figure of Christ in his Roman works. The dissertation begins by addressing Sebastiano’s use of Michelangelo’s drawings as catalysts for his own inventions, demonstrating his investment in collaboration and strategies of citation as tools for artistic image-making. Focusing on Sebastiano’s reinvention of his partner’s drawings, it then looks at the ways in which the artist engaged with the central debates of the Catholic Reformation – debates on the Church’s mediation of the divine, the role of the individual in the path to personal salvation, and the increasingly problematic distance between the layperson and God. -
Step + Don Do Rome
Step + Don do Rome February 2, 2018 - February 5, 2018 Friday ColosseumB8 • Piazza del Colosseo, 00184 February 2, 2018 Rome Ciampino Airport F11 • Roma Ciampino Airport (Giovan Battista Pastine Airport), Via Appia Nuova B&B La Terrazza sul Colosseo 1651, 00040 Rome Ciampino, Italy B9 • Via Ruggero Bonghi 13/b, 00184 Rome Basilica of Saint Mary Major B9 • Piazza di S. Maria Maggiore, 42, 00100 Roma RM, Italy Palazzo delle Esposizioni B8 • Via Nazionale 194, Rome, Latium, 00184, Italy Church of St Andrea della Valle B8 • Corso del Rinascimento Rome, Italy 00186 Trevi Fountain B8 • Piazza di Trevi, 00187 Roma, Italy Caffè Tazza d'Oro B8 • 84 Via degli Orfani, 00186 Pantheon B8 • Piazza della Rotonda, 00186 Roma, Italy Freni e Frizioni B8 • Rome Trastevere B8 • Rome Area sacra dell'Argentina B8 • Rome Venice Square B8 • Rome Monument to Vittorio Emanuele II B8 • Piazza Venezia, 00187 Roma, Italy Trajan's Column B8 • Via dei Fori Imperiali, Roma, Italy Imperial Forums B8 • Largo della Salara Vecchia 5/6, 9 00184 Roma, Italy Forum of Augustus B8 • Via dei Fori Imperiali, Rome, Latium, 00186, Italy Forum of Trajan B8 • Via IV Novembre 94, 00187 Roma, Italy Saturday Sunday February 3, 2018 February 4, 2018 B&B La Terrazza sul Colosseo B&B La Terrazza sul Colosseo B9 • Via Ruggero Bonghi 13/b, 00184 Rome B9 • Via Ruggero Bonghi 13/b, 00184 Rome Colosseum Navona Square B8 • Piazza del Colosseo, 00184 B8 • Piazza Navona, 00186 Rome, Italy Imperial Forums Pantheon B8 • Largo della Salara Vecchia 5/6, 9 00184 Roma, Italy B8 • Piazza della Rotonda, -
Representing the Sporadic Archimedean Polyhedra As Abstract Polytopes
REPRESENTING THE SPORADIC ARCHIMEDEAN POLYHEDRA AS ABSTRACT POLYTOPES MICHAEL I. HARTLEY AND GORDON I. WILLIAMS Abstract. We present the results of an investigation into the representations of Archimedean polyhedra (those polyhedra containing only one type of vertex gure) as quotients of regu- lar abstract polytopes. Two methods of generating these presentations are discussed, one of which may be applied in a general setting, and another which makes use of a regular poly- tope with the same automorphism group as the desired quotient. Representations of the 14 sporadic Archimedean polyhedra (including the pseudorhombicuboctahedron) as quotients of regular abstract polyhedra are obtained, and summarised in a table. The information is used to characterise which of these polyhedra have acoptic Petrie schemes (that is, have well-dened Petrie duals). 1. Introduction Much of the focus in the study of abstract polytopes has been on the study of the regular abstract polytopes. A publication of the rst author [Har99a] introduced a method for rep- resenting any abstract polytope as a quotient of regular polytopes. In the current work we present the application of this technique to the familiar, but still interesting, Archimedean polyhedra and discuss implications for the general theory of such representations that arose in trying to systematically develop these representations. We discuss the theory and presen- tations of the thirteen classical (uniform) Archimedean polyhedra as well as the pseudorhom- bicuboctahedron, which we will refer to as the fourteen sporadic Archimedean polyhedra. In a separate study, we will present and discuss the presentations for the two innite families of uniform convex polyhedra, the prisms and antiprisms. -
7 Dee's Decad of Shapes and Plato's Number.Pdf
Dee’s Decad of Shapes and Plato’s Number i © 2010 by Jim Egan. All Rights reserved. ISBN_10: ISBN-13: LCCN: Published by Cosmopolite Press 153 Mill Street Newport, Rhode Island 02840 Visit johndeetower.com for more information. Printed in the United States of America ii Dee’s Decad of Shapes and Plato’s Number by Jim Egan Cosmopolite Press Newport, Rhode Island C S O S S E M R O P POLITE “Citizen of the World” (Cosmopolite, is a word coined by John Dee, from the Greek words cosmos meaning “world” and politês meaning ”citizen”) iii Dedication To Plato for his pursuit of “Truth, Goodness, and Beauty” and for writing a mathematical riddle for Dee and me to figure out. iv Table of Contents page 1 “Intertransformability” of the 5 Platonic Solids 15 The hidden geometric solids on the Title page of the Monas Hieroglyphica 65 Renewed enthusiasm for the Platonic and Archimedean solids in the Renaissance 87 Brief Biography of Plato 91 Plato’s Number(s) in Republic 8:546 101 An even closer look at Plato’s Number(s) in Republic 8:546 129 Plato shows his love of 360, 2520, and 12-ness in the Ideal City of “The Laws” 153 Dee plants more clues about Plato’s Number v vi “Intertransformability” of the 5 Platonic Solids Of all the polyhedra, only 5 have the stuff required to be considered “regular polyhedra” or Platonic solids: Rule 1. The faces must be all the same shape and be “regular” polygons (all the polygon’s angles must be identical).