Richard P. Stebbins, Ph.D

Total Page:16

File Type:pdf, Size:1020Kb

Richard P. Stebbins, Ph.D This index was compiled and graciously contributed to the Sophie Library by Richard P. Stebbins, Ph.D. This text is copyrighted material, and is used by written permission of the author. Fair usage laws apply. © 2005 1 BRUN, ROMAN DIARY associated pagan deities or (BRUN95 TWO-VOLUME INDEX) Catholic saints, the word This index to Friederike "Saint" being treated as an Brun's diary of her Italian integral part of the name. experiences in the years 1795 and 1796 offers several Third, the spelling of unusual features which were all personal and geographic adopted on a trial basis in names, still somewhat variable the hope of enhancing the in Friederike Brun's time, has usefulness of the English been standardized to some translation. degree in the text and more fully in the index, where First, it covers both of standard contemporary Brun's original volumes, which orthography is used in most are here referred to instances. respectively by the abbreviations D1 and D2 (for Fourth, page references Diary volumes 1 and 2). in this index follow the page numbers of the original German Second, the index was edition, in which numbered designed to follow a simple, pages are approximately three uniform method of designating times as numerous as in the streets, sguares, churches, English translation, where the palaces and other sites of German page numbers are historical and/or touristic plainly repeated at the interest. This, it was hoped, appropriate points in the could be accomplished by English text. This form of listing in order, first, the citation permits more precise category to which the site reference to the original belongs (street, sguare, subject matter and would church, palace, museum, bridge, doubtless be retained in any villa, etc.), followed by the future reprintings of the official or distinctive name by English text. which that particular site is commonly known Fifth, some but by no (usually a personal name in means all individuals, Italian or Latin), with simple monuments, and historic places cross references to sites that have been identified where are better known to English such identification is not speakers under some other name. readily available in standard Although this system has proved reference works. difficult to apply consistently, the reader will While aware of its many find in most instances that technical flaws, the compiler both Roman temples and is confident that the index Christian churches are listed will provide real assistance under the names of the to future users. 2 D2:60,85,86 Alban (wine?), D1:167 Abélard, Dl: 305 Alban Hills, Abildgaard, D1:285 D1:9,31,4l,72,109,133, Abruzzo, Abruzzi, Dl: 51; 173,213,217,336; Alban D2:l35,193,213,271,289, Lake,D1:42,87; excursion 323,405; Abruzzo U~tra, to, D2:56-69,7l; Alban D1: 329; Abruzzian Mountain, D1:224,244- Apennino, D2:153; 5;D2:8,38,40,43,60,69,88; Neapolitan Abruzzi, ("Albaner"),231 D2:370,4l0; Roman Albano,D1:72,102,149,216,218, Abruzzi,D2:370 239,302,353,361; Academy of St. Luke, D1:332-3 D2:60,68,69,83 Achilles, D1:90,151; D2:317 86,99,112,203 Adam and Eve, D1:37n.,89,182 Albanum, D1: 9 Adonis, D1:152,187; D2:333; Albergini, art restorer, Gardens of, Dl:115 D1:323-5 Adoration of the Magi Albulae, D1:155n. (Carracci), D2:25 Albunea, D1:165,167,170,178 Aegisthus, D1:368 Alcibiades, D2:30 Aeneas, D1:93,95; D2:84; Alcina, D2:274 Aeneid, D1:115; D2:86 Aldobrandini, Prince, D1:309; Aegui, Aeguians, ancient Aldobrandini Gallery, tribe, D1:9,122,303 D1:309,312n., Aesculapius,D1:l87; D2:16,314; 390; Aldobrandinian Lake of, D1:203; Temp~e Wedding, Dl:293-4 of, Dl: 6 Alexander (the Great), Aether, D1:169 D1:90,194,325; D2:309 Agamemnon, D1:44n.,368 Alexander Severus, D1: 89 Agathon,1767 novel of C.M. Algidus,D1:42,121,126, Wieland, D2:320 302,303,317,323,362; Agesander, Dl:346 D2:40,42,47,49 Agnani, D2:ll2,356,369; Agnano a11e Croce11i, NeapoAltan inn, Lake, D2:l31,168- D2:361 9,171,177,343, 355,396; Allegri da Correggio, D1: 387 Agnano Valley, D2:136 Al1iance god (B:ndesgott), Agrippa, Marcus, D1:8,4l,53; Temple of, D2:89 D2:21,176,300; Agueduct Alps, D1:5,87,166,266,362; of, D1:41 D2:4,6,7,228,34l,350,356, Agrippina, Dl:39; D2:175 375,403,407, 425; ai Apostoli, church, D1:64,135 Transalpine Alps, D2:204 Ajax, D2:313 Amalfi, D2:206 Alxxxi, Cardinal (name Amanda, D2:181 disguised), D1:277 America, Dl:361 Alba Longa, D1:84,121,133,302; Amor, D1:152,19l,209,344; see 3 also Cupid and Eros Dl:32 Amphitrite, D2:179,274,364,374 Appian Way, see Via Appia Anacharsis, D2:382 Appius Claudius Caecus, agueduct of, D1:120,122 Ananias, D1:349-50 Andromeda, D2:389 Agua Gettosa, Angelica, Angelika, see D1:307,308,354,363 Kaufmann Agua Paolo/Paoli, Angels' Bridge, see Ponte D1:96,98,124,2l6,238,358 Sant'Angelo Agua-Santa, D1:149 Annio, river at TivoAl, Agua Virgo, D1:4l D1:40,41,164-5,170,173 Agua-Vita, Prince, D2:380 5,178,373-85; D2:29,40,71 Agueducts, views of, D1:216 Anna-Capri (Anacapri), Ara Coeli Church, D1:137-8; D2:325,397 Christmas Eve tabLeaux, Annunciation, The, by Guido D1: 143 Reni, D1:234 Arbusto, IL, D2:381 Antinous, D1:62,130 "Arcadians," D1:231 31,302,324,325,333,334, Arch of Constantine, Drusus, 369; D2:l7,47 ete., see personal names Antiope, D1:132 Archytas of Tarentum, D2:309 Antonine, the (Marcus Arcus Consularis, D1:119-20 AureAlus),Dl:130; Ariadne, D1:40,43,264; Ariadne Antonines, D1:335; on Naxos, D1:81; Antonine Column, Capitoline Ariadne, D1:188,269; D1:211 Antoninus,Dl:228; Aricia, D2:68 Antoninus Pius, D1:339; Ario del Grano, D2: 255 D2:3l Ariosto, Ludovico, Antonio, "fish-saint," D2:253 D1:178,195,328; Antwerp, D2:28 D2:154,230,236,264 Anxur, D2:94 Aristophanes, D1:282 Anzio, D2:71 Aristot1e D1:328; D2:317 Apennines,Dl:llO,166,217,266, Armida, Dl:289; D2:274 329,354,357;D2:44,70,100, Arria and Paetus, D1:44-6,333 206,221, 264,271,345,364, Artemis, D1:370; see also 369,394,410 Diana Apollo, Dl:55,74,132,146,152, Ascanius, D2:69,84 232,329,341,371; D2:31; Asiatic coins, D2:322 Apollo Belvedere, D1:56, Asmus, D1:249 220,345; Apo1lo Aspasia, D2:30 Giustiniani, D1:91; Assumption, The, D2:14,24-5 Apollo Musagetes, Astrumi/Astruni, Dl:59,116; Apollo D2:112,333,343,356,369; Saurocthonos, Dl:78 Astrumi Valley, D2: 168, Apollonius, son of Nestor, 177 4 Atella, D2:106 Athena, Athene, D1:146.246; Athene AThani, D1:300; see also Pallas Athens, D1:112; D2:402; School Barberini Sleeping Faun, of (by Raphael), D1:328 D1:388; D2:3l3 Atrio del Cavallo, D1:287; Barberini Palace, see Palazzo D2:341,348,349 Barberini Auge, D1:339 Bartolommei, D1:82 Augustus, Emperor,D1:53,97n.,106, Basilicata, D2:235,244,27l 114,115,120,325; Albrary Battoni, Pompeo, D1:289 of, D1:334 Bau1i, D2:174,180,363,402 Augustus, English prince, Bayreuth, Dl:203; D2:61 Bear, D1:220,349; D2:332,36ln. The, constellation, Aurelian, D2:80; Wall of, D2:389 D1:15,109 Bel1ini, Joan (Giovanni), Aurora, D1:37,90 Dl:295 Avella, D2:299 Belvedere (Naples), Aventine Hill, D2:132,147,165 Dl:7,10,13,15,95,97,101, Belvedere(Rome), see Vatican 223,243,266,268-9,291,323 Bembo, Dl:328 Averno, D2:173,369; Avernian Benda, musical family, D1:86 Lake, D2:82 Berenice, D2:309 Aversa, D2:106 BerLin, D1:87 Bernardin de Saint-Pierre, Bacchanale, Dl:367 D2: 111 Bacchante, D2:314,333 Bacchus, Bernese, D2:29 D1:43,74,131 Bernini, Giovanni, CoLonnade 2,133,264,339; in St. Peter's Sguare, D2:17,18,19,33; D1:19; statues in St. Temple of, Dl:40 Peter's, 20 Bach, Johann Sebastian, D1:86 Bernstorf, Joachim von, Bagnoli hills, D2:132,180,191 D1:198; D2:285 Baia/Baiae,D2:172,173,174,175, Birth of Christ, by Guido 180,191,289,343,363,368, Reni, D1:235; by 399,400,402,406 Carracci, D2:25 Bailly, Jean-Sylvain, D1:366n. Blandusia, D1:175 and n. Baldus, D1:375 Bocca delLa Verita, D1:94 Bandettini, improvisatrice, Bocca nuove (sic), D2:353 D1:232-3 Bode, Dl:188 Barbary Coast, D2:324 Bo1ogna, D1:297,304 Barberini Gardens (AThano), Bolsena, Mass of, D1:198,327 D2:67 Bonaventura Monastery, D1:245 Barberini Muse, D1:388; Bonnet, Char1es, Swiss 5 naturalist, D2:406-7,408-9,425; D1: 63, 240; travel pLans, D2:323- D2:l08,109 4,357, 425-6; Bonstetten, Karl Viktor von, takes leave of "beloved Swiss writer, D1:186; brother," D2:83; poems, D2:372n. D2:87,287 Bordeaux (wine), D2:286 Brun, Ida, D1:226 Borghese Gallery, D2:3l; Brun, Kar1,D1:213,2l6,290,292, Borghese, Prince, D2:49 372;D2:105,118,124,143, Borghese Palace, see 167,177,209- Palazzo Borghese; 10,242,247,267,346,347, Borghese Villa,see Villa 348,392,411,418-19; 12l Borghese birthday, April 20,1796, Borgia, Alexander (Pope D2:53 Alexander VI), D1:18 and Brunswick, D2:146 n.; Borgia, Cardinal, Brutus, Marcus Junius, D1:140; D2:91-2; Borgia, D1:25,54,83,163,193,386; Cesare, D1:249 D2:31,151,301-2; Brutus Borgo de' Daci, D2:l17 family, D1:12 Borgo d'Ischia, Busch, sculptor, D1:211-12 D2:365,393,394,397,398, 400 Caelian Hill, Caelius, Bosco Doria, D2:67 D1:70,244,296,313 Braschi Princes, D1:322; Duke, Caesar, JuLius, D1:54,325,340; D2:15 D2:151,301 Bregenz, Forest of, D2:5 Caesar Augustus, see Augustus Brislack, Abbot, D2:390,392 Cajeta, ancient name of Gaeta, Bristol, Duke of, Dl:203,282 D2:101,104,406; Cajetan Britain, D1:286; British, the, foothilLs, D2:370 Dl:25l,361 Ca1abria, D2:158,235 Ca1igu1a, Brun, Augusta (Gustchen), D1:117; Bridge of, D2:288 D2:174,180,363 Brun, Constantin, husband of CalLot, Jacgues, D2:278 Friederike, D2:409 Camaldolensian Cloister Brun, Charlotte (Lotte), (NapLes), D1:288; D1:322,344; D2:131,159,189,190, D2:l0,109,124,143,195, 343,368; (Tusculum), 209-10,278,283,347,372 D2:54-5; Camaldo1ensian Brun, Friederike, birthday, HiLL (Naples), D2:111 June 3, 1796,
Recommended publications
  • Gods and Heroes: the Influence of the Classical World on Art in the 17Th & 18Th Centuries
    12/09/2017 Cycladic Figure c 2500 BC Minoan Bull Leaper c 1500 BC Gods and Heroes: the Influence of the Classical World on Art in the 17th & 18th centuries Sophia Schliemann wearing “Helen’s Jewellery” Dr William Sterling Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk Heracles from the Parthenon Paris and Helen krater c 700 BC Roman copy of Hellenistic bust of Homer Small bronze statue of Alexander the Great c 100 BC Dr William Sterling Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk Judgement of Paris from Etruria c 550 BC Tiberius sword hilt showing Augustus as Jupiter Arrival of Aeneas in Italy Blacas Cameo showing Augustus with aegis breastplate Augustus of Prima Porta c 25 AD Dr William Sterling (discovered 1863) Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk 1 12/09/2017 Romulus and Remus on the Franks Casket c 700 AD Siege of Jerusalem from the Franks Casket Mantegna Triumph of Caesar Mantua c 1490 Très Riches Heures du Duc de Berry c 1410 – tapestry of Trojan War Dr William Sterling Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk The Colosseum Rome The Parthenon Athens The Pantheon Rome Artist’s Impression of the Mausoleum of Halicarnassus showing surviving sculpture Dr William Sterling Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk Hera and Zeus on the Parthenon Frieze in the British Museum Hermes, Dionysus, Demeter and Ares on the Parthenon Frieze Dr William Sterling Dr William Sterling www.williamsterling.co.uk
    [Show full text]
  • History of the Franciscan Movement
    HISTORY OF THE FRANCISCAN MOVEMENT Volume 2 FROM THE YEAR 1517 TO THE SECOND VATICAN COUNCIL On-line course in Franciscan History at Washington Theological Union Washington DC By Noel Muscat OFM Jerusalem 2008 History of the Franciscan Movement. Volume 2: From 1517 to the Second Vatican Council Chapter 10 NEW REFORMS AND NEW DIVISIONS: THE BIRTH OF THE CAPUCHINS AND REFORMS WITHIN THE OBSERVANCE The friars “of the Holy Gospel” The Order of Friars Minor of the Regular Observance, after the union of all the reformed families in 1517, became a powerful religious family dedicated mainly to apostolic missions. A minority of friars, however, continued to insist upon living a simpler Franciscan life in the hermitages. Besides the Amadeiti and Coletani, there were other congregations which preferred eremitical life, like the Clareni and the friars “of the Holy Gospel” or Capuciati. This last religious family was one which the Bulla Ite vos of Leo X (1517) had not managed to integrate within the Order of the Friars Minor of the Regular Observance. They were born, as we have already seen, with the initiative of Juan de la Puebla, who had made an experience of Franciscan life in the Umbrian hermitages of central Italy, and then had returned to Spain, founding a congregation of friars who lived the literal observance of the Rule in the hermitages. Among his followers there was Juan de Guadalupe, who in 1508 obtained the approval of the Province “of the Holy Gospel”.1 The negative reaction of the Spanish Observants, who persecuted the new religious family, compelled the brothers of the Custody of Estremadura to place themselves under the obedience of the Conventuals in 1515, and thus became to be known by the name of “Reformed Conventuals”.2 They wore a short tunic with a pyramidal hood, and hence also the name Capuciati.
    [Show full text]
  • Bernini Breaking Barriers – Sensuality Sculpted in Stone
    Bernini Breaking Barriers – Sensuality Sculpted in Stone Sandra Mifsud Bonnici [email protected] Abstract This paper will attempt to demonstrate that with his virtuosity, the Baroque sculptor, Gian Lorenzo Bernini managed to challenge the barriers which the medium he worked with, namely stone (marble) offered, to produce dynamic, lifelike and realistic works that also managed to express a previously unknown element in sculpture, that of sensuality. It will try to highlight how the spiritual and physical could come together in his works. The first masterpiece that will be focused upon will be the portrait bust of Bernini’s lover Costanza Piccolomini, a private work Bernini sculpted when he was thirty-nine years of age, chosen to represent the passion and worldly love that he felt for this woman. By way of contrast, the second masterpiece studied in this paper is the figure of the Blessed Ludovica Albertoni, one of his last works, chosen to represent Bernini’s concept of the culmination of spiritual love that also incorporated a sensual element. The third and final masterpiece is the ecstasy of St. Teresa of Avila found in the Cornaro Chapel in the Church of Santa Maria della Vittoria, considered by many as his greatest work, as an example of how mysticism also has a sensual element to it. Keywords: Baroque sculpture, Gian Lorenzo Bernini, sensuality, Costanza Piccolomini, Ludovica Albertoni, St Teresa d’Avila. No one can deny that Gian Lorenzo Bernini had the extraordinary technical skill and expertise to sculpt anything that he visualised or saw. The numerous works of art that he continued to create into his maturity and almost up to his death are evidence of this.
    [Show full text]
  • The Aqua Traiana / Aqua Paola and Their Effects on The
    THE AQUA TRAIANA / AQUA PAOLA AND THEIR EFFECTS ON THE URBAN FABRIC OF ROME Carolyn A. Mess A Thesis Presented to the Faculty of the Department of Architectural History In Partial Fulfillment of the Requirements for the Degree Master of Architectural History May 2014 Cammy Brothers __________________ Sheila Crane __________________ John Dobbins __________________ ii ABSTRACT Infrastructure has always played an important role in urban planning, though the focus of urban form is often the road system and the water system is only secondary. This is a misconception as often times the hydraulic infrastructure determined where roads were placed. Architectural structures were built where easily accessible potable water was found. People established towns and cities around water, like coasts, riverbanks, and natural springs. This study isolates two aqueducts, the Aqua Traiana and its Renaissance counterpart, the Aqua Paola. Both of these aqueducts were exceptional feats of engineering in their planning, building techniques, and functionality; however, by the end of their construction, they symbolized more than their outward utilitarian architecture. Within their given time periods, these aqueducts impacted an entire region of Rome that had twice been cut off from the rest of the city because of its lack of a water supply and its remote location across the Tiber. The Aqua Traiana and Aqua Paola completely transformed this area by improving residents’ hygiene, building up an industrial district, and beautifying the area of Trastevere. This study
    [Show full text]
  • Powers of Divergence Emphasises Its Potential for the Emergence of the New and for the Problematisation of the Limits of Musical Semiotics
    ORPHEUS What does it mean to produce resemblance in the performance of written ORPHEUS music? Starting from how this question is commonly answered by the practice of interpretation in Western notated art music, this book proposes a move beyond commonly accepted codes, conventions, and territories of music performance. Appropriating reflections from post-structural philosophy, visual arts, and semiotics, and crucially based upon an artistic research project with a strong creative and practical component, it proposes a new approach to music performance. This approach is based on divergence, on the difference produced by intensifying Powers of the chasm between the symbolic aspect of music notation and the irreducible materiality of performance. Instead of regarding performance as reiteration, reconstruction, and reproduction of past musical works, Powers of Divergence emphasises its potential for the emergence of the new and for the problematisation of the limits of musical semiotics. Divergence Lucia D’Errico is a musician and artistic researcher. A research fellow at the Orpheus Institute (Ghent, Belgium), she has been part of the research project MusicExperiment21, exploring notions of experimentation in the performance of Western notated art music. An Experimental Approach She holds a PhD from KU Leuven (docARTES programme) and a master’s degree in English literature, and is also active as a guitarist, graphic artist, and video performer. to Music Performance P “‘Woe to those who do not have a problem,’ Gilles Deleuze exhorts his audience owers of Divergence during one of his seminars. And a ‘problem’ in this philosophical sense is not something to dispense with, a difficulty to resolve, an obstacle to eliminate; nor is it something one inherits ready-made.
    [Show full text]
  • Favorite Places in Rome Provided by Marie Lorenz, December 2017
    Favorite Places in Rome provided by Marie Lorenz, December 2017 Marie lived in Rome during her third year at the Rhode Island School of Design. She returned for a second year as a Fellow at the American Academy in Rome. http://www.aarome.org/ She mapped out each of the spots listed below here. 1) THE TRASTEVERE CHURCHES These churches are only a 15 minute walk from Campo de Fiori and a bit off the tourist path, so they present a rare opportunity to sit quietly with some of the most beautiful artwork in Rome, for free! San Francesco a Ripa Piazza di S. Francesco d'Assisi, 88, 00153 Roma This early Franciscan convent holds Bernini’s masterpiece, Beata Ludovica Albertoni. "The sculpture and surrounding chapel honors a Roman noble woman who entered the Order of St. Francis following the death of her husband. The day before her own death from fever, Ludovica received the eucharist and then ordered everyone out of her room. When her servants were finally recalled, “they found her face aflame, but so cheerful that she seemed to have returned from Paradise.” (paraphrased from wikipedia) By representing this decisive moment, and like many of his other sculptures, Bernini seems to mingle the idea of physical ecstasy and religious martyrdom. In its day, this sculpture would have scandalized the recently reformed protestant church which considered any representation of a divine figure blasphemous. Bernini finished the sculpture in 1674 when he was seventy one years old. Santa Cecilia in Trastevere Piazza di Santa Cecilia, 22, 00153 Roma 5th-century church devoted to the Roman martyr Saint Cecilia.
    [Show full text]
  • PAVM Newsletter – November 2019
    N O V E M B E R 2 0 1 9 1 TEXAS CHAPTER REPORT Patrons of the Arts in the Vatican Museums T e x a s B o a r d m e m b e r s a n d P a t r o n s e x p e r i e n c e a p e r s o n a l i z e d t o u r o f R o m e . I N T H I S I S S U E Texas Chapter Visits Rome TEXAS CHAPTER VISITS ROME On October 1, a diverse group of people from the western United 1 States embarked on a week-long pilgrimage to Rome hosted by the Texas Chapter of the Patrons of the Arts in the Vatican Museums. It ANNUAL CHAPTER was a wonderful week filled with awe for history and art. The patrons viewed some of the oldest artworks in Europe and were granted LEADERS MEETING access to little known spots in the Vatican, including behind-the scenes looks at the work done in its renowned restoration labs. NOLI ME TANGERE Among the participants were Texas Chapter Leader Lori Wrinkle, TAPESTRY 3 along with board members Carol Ikard, Gary Tigges and Joe Popolo. Jill Alexy of Martyrian Journeys guided the patrons through Rome. MEET THE INTERNS The group enjoyed the hospitality of Hotel Horti 14, a new boutique 4 hotel in Trastevere. The pilgrimage officially began with the celebration of Mass in the Basilica of San Francesco a Ripa, after which the patrons were given the opportunity to pray in the cell of St.
    [Show full text]
  • Diana Al-Hadid SUBLIMATIONS
    Diana Al-Hadid SUBLIMATIONS Visually extravagant and conceptually provocative, Diana Al-Hadid’s sculptures, wall panels, and drawings are inspired by a range of sources, from art and architectural history to mythology and literature from around the world. Transforming the vestiges of such inheritances into improvised assemblages, intricate fields of dripping gypsum, and partially articulated human figures, Al-Hadid meditates on cycles of dissipation and renewal within and among cultures. Just as the word sublimation denotes a chemical transformation from one state of being into another, her work suggests changes wrought by time, as substance mutates into sensation and thought. Although she starts her process by responding to existing images and models, Al-Hadid ultimately camouflages these sources within an elaborate framework, prompting a reading that is intriguing and inexplicit. Hints of narrative and symbolism within these baroque configurations make each work a tantalizing projection of an imagined archaeology, where the salvaged detritus of society and the body holds its secrets close. The inseparability of material, process, and content is most evident in works made with polymer gypsum, a strengthened, weather-resistant form of the sulfate mineral used in plaster and wallboard. In works like Gradiva, for example, sinewy gypsum lacework evokes the profuse swirls of Abstract Expressionism, in which a subject is often buried within raw paint. Al-Hadid’s source of inspiration is likewise hidden within these tangled surfaces, where elongated drips seem to simultaneously swirl downward like roots after water and grow upward like vines seeking the sun (fig. 1). Like other works in this exhibition, Gradiva (Latin for “she who walks”) revisits archetypal narratives that depict the female body in socially prescriptive terms, which Al-Hadid challenges, transforms, or dissolves.
    [Show full text]
  • Presentazione Di Powerpoint
    Metodologia di conoscenzaInternational e catalogazione Training Project dei beni 2021 culturali/archeologici “Focusing on the Forum" Walk across the Roman Forum from the Capitol Hill (Campidoglio) to the Colosseum and back • Enhancing a photographic archive through tracing thematic routes • The case of the Archive of the General Directorate of Antiquity and Fine Arts (MPI) Ministry of Culture Marta Moi Central Institute for Cataloguing and Documentation "Focusing on the Forum" Claude Lorrain, Campo Vaccino, 1636, Paris, Louvre Ministry of Culture Central Institute for Cataloguing and Documentation "Focusing on the Forum" G.B. Piranesi, Campo Vaccino, etching, around 1750, Rome, Senate of the Republic Ministry of Culture Central Institute for Cataloguing and Documentation "Focusing on the Forum" The monuments of Rome have represented an irresistible attraction for researchers of any nationality for centuries. The city was the favorite and final destination of the grand tour, the long trip around continental Europe that rich european aristocracy (later also american) and artists would take, starting from the XVII century until the XIX century, with the purpose of improving their knowledge. The length of the trip was not well-defined, and usually the final destination was Italy, and particularly Rome. Travelers were yearning for Rome because of its classical beauty but also for its medieval, renaissance and baroque monuments. W. Turner, Campo Vaccino, 1839, London, Tate Modern Ministry of Culture Central Institute for Cataloguing and Documentation "Focusing on the Forum" Within the Photographic Fund of the General Directorate of Antiquity and Fine Arts of the Ministry of Education, in the R partition- Rome toponym, there is a significant group of photographs and photographic series depicting symbolic places of Ancient Rome.
    [Show full text]
  • Texts to the Illustrations
    UvA-DARE (Digital Academic Repository) Antiquity in plaster : production, reception and destruction of plaster copies from the Athenian Agora to Felix Meritis in Amsterdam Godin, F.T.J. Publication date 2009 Link to publication Citation for published version (APA): Godin, F. T. J. (2009). Antiquity in plaster : production, reception and destruction of plaster copies from the Athenian Agora to Felix Meritis in Amsterdam. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:27 Sep 2021 Venus or Diana (ancient Roman statue in Treves) ill.3-6 Victory: statue at the temple in Henna 38 Victory statue: controversy over the statue at the Curia in Rome 43 Vier Bücher von menschlicher Proportion
    [Show full text]
  • Journal of Roman Studies the Palatine, from Evander to Elagabalus
    Journal of Roman Studies http://journals.cambridge.org/JRS Additional services for Journal of Roman Studies: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here The Palatine, from Evander to Elagabalus T. P. Wiseman Journal of Roman Studies / Volume 103 / November 2013, pp 234 - 268 DOI: 10.1017/S0075435813000117, Published online: 07 August 2013 Link to this article: http://journals.cambridge.org/abstract_S0075435813000117 How to cite this article: T. P. Wiseman (2013). The Palatine, from Evander to Elagabalus. Journal of Roman Studies, 103, pp 234-268 doi:10.1017/S0075435813000117 Request Permissions : Click here Downloaded from http://journals.cambridge.org/JRS, IP address: 66.44.111.238 on 20 Feb 2015 The Palatine, from Evander to Elagabalus T. P. WISEMAN F. COARELLI, PALATIUM: IL PALATINO DALLE ORIGINI ALL’IMPERO. Rome: Quasar, 2012. Pp. xvi + 589, illus. ISBN 978-88-7140-478-3. €57.00. A. CARANDINI (ED., with P. CARAFA), ATLANTE DI ROMA ANTICA: BIOGRAFIA E RITRATTI DELLA CITTÀ. 2 vols: 1. TESTI E IMMAGINI; 2. TAVOLE E INDICI. Milan: Mondadori Electa, 2012. Pp. 638, 446, illus. ISBN 978-88-8370-851-0. €150.00. The two titles are abbreviated below as Pal. and ARA; other titles by Andrea Carandini and Filippo Coarelli (listed in the Select Bibliography) are referred to by the author’s initials and the date of publication (e.g. AC 1986, FC 1968). I It is nearly forty years since Filippo Coarelli’s brilliant Guida archeologica di Roma (FC 1974) announced the arrival of a new era in Roman topographical studies.
    [Show full text]
  • Collecting and Treating Casts of Greek and Roman Sculpture, 1850- 1939 Emma M
    Casting a New Canon: Collecting and Treating Casts of Greek and Roman Sculpture, 1850- 1939 Emma M. Payne0 King’s College London Abstract From the mid-nineteenth century, it became de rigueur for Classics Departments to acquire casts of Greek and Roman sculpture to form reference and experimental collections. Recent scholarship has revived such casts, investigating their role as instruments of teaching and research, and their wavering popularity. This paper further examines the aims of those responsible for collecting casts, and discusses how these objectives influenced their materiality and treatment, as well as showing how the de facto creation of a new canon of casts through their repetition across the collections of different institutions contributed to the decline in their perceived importance. Introduction The role of casts in the study and teaching of ancient Greek and Roman sculpture is one that has generated considerable scholarly interest of late. This is in distinct contrast to the treatment of such casts through much of the twentieth century when collections were marginalized, reduced, and sometimes destroyed: factors which have only now increased the appeal of the remaining examples. Why did they survive? How were they used and can we still learn from them? What brought about their downfall? Many recent conferences and publications have sought to answer some or all of these questions, and more. Typically, these focus on certain collections or aspects of their history. Donna Kurtz (2000a), for example, has examined the acquisition and use of Oxford’s plaster casts, including their relationship with the rise of classical archaeology as an academic discipline at the university.
    [Show full text]