Cambridge University Press 978-1-107-07986-1 — Pliny the Elder and the Emergence of Renaissance Architecture Peter Fane-Saunders Index More Information
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The Rough Guide to Naples & the Amalfi Coast
HEK=> =K?:;I J>;HEK=>=K?:;je CVeaZh i]Z6bVaÒ8dVhi D7FB;IJ>;7C7B<?9E7IJ 7ZcZkZcid BdcYgV\dcZ 8{ejV HVc<^dg\^d 8VhZgiV HVciÉ6\ViV YZaHVcc^d YZ^<di^ HVciVBVg^V 8{ejVKiZgZ 8VhiZaKdaijgcd 8VhVaY^ Eg^cX^eZ 6g^Zcod / AV\dY^EVig^V BVg^\a^Vcd 6kZaa^cd 9WfeZ_Y^_de CdaV 8jbV CVeaZh AV\dY^;jhVgd Edoojda^ BiKZhjk^jh BZgXVidHVcHZkZg^cd EgX^YV :gXdaVcd Fecf[__ >hX]^V EdbeZ^ >hX]^V IdggZ6ccjco^ViV 8VhiZaaVbbVgZY^HiVW^V 7Vnd[CVeaZh GVkZaad HdggZcid Edh^iVcd HVaZgcd 6bVa[^ 8{eg^ <ja[d[HVaZgcd 6cVX{eg^ 8{eg^ CVeaZh I]Z8Vbe^;aZ\gZ^ Hdji]d[CVeaZh I]Z6bVa[^8dVhi I]Z^haVcYh LN Cdgi]d[CVeaZh FW[ijkc About this book Rough Guides are designed to be good to read and easy to use. The book is divided into the following sections, and you should be able to find whatever you need in one of them. The introductory colour section is designed to give you a feel for Naples and the Amalfi Coast, suggesting when to go and what not to miss, and includes a full list of contents. Then comes basics, for pre-departure information and other practicalities. The guide chapters cover the region in depth, each starting with a highlights panel, introduction and a map to help you plan your route. Contexts fills you in on history, books and film while individual colour sections introduce Neapolitan cuisine and performance. Language gives you an extensive menu reader and enough Italian to get by. 9 781843 537144 ISBN 978-1-84353-714-4 The book concludes with all the small print, including details of how to send in updates and corrections, and a comprehensive index. -
Pharaonic Egypt Through the Eyes of a European Traveller and Collector
Pharaonic Egypt through the eyes of a European traveller and collector Excerpts from the travel diary of Johann Michael Wansleben (1672-3), with an introduction and annotations by Esther de Groot Esther de Groot s0901245 Book and Digital Media Studies University of Leiden First Reader: P.G. Hoftijzer Second reader: R.J. Demarée 0 1 2 Pharaonic Egypt through the eyes of a European traveller and collector Excerpts from the travel diary of Johann Michael Wansleben (1672-3), with an introduction and annotations by Esther de Groot. 3 4 For Harold M. Hays 1965-2013 Who taught me how to read hieroglyphs 5 6 Contents List of illustrations p. 8 Introduction p. 9 Editorial note p. 11 Johann Michael Wansleben: A traveller of his time p. 12 Egypt in the Ottoman Empire p. 21 The journal p. 28 Travelled places p. 53 Acknowledgments p. 67 Bibliography p. 68 Appendix p. 73 7 List of illustrations Figure 1. Giza, BNF Ms. Italien 435, folio 104 p. 54 Figure 2. The pillar of Marcus Aurelius, BNF Ms. Italien 435, folio 123 p. 59 Figure 3. Satellite view of Der Abu Hennis and Der el Bersha p. 60 Figure 4. Map of Der Abu Hennis from the original manuscript p. 61 Figure 5. Map of the visited places in Egypt p. 65 Figure 6. Map of the visited places in the Faiyum p. 66 Figure 7. An offering table from Saqqara, BNF Ms. Italien 435, folio 39 p. 73 Figure 8. A stela from Saqqara, BNF Ms. Italien 435, folio 40 p. 74 Figure 9. -
2 the Cinderella Story in Antiquity
2 THE CINDERELLA STORY IN ANTIQUITY Cinderella can fairly be claimed as the best known of fairytales in modern times, as well as the first tale to be subjected to attempts at the ‘exhaustive’ collecting of its variants. It was long assumed that the story, or rather group of stories, did not date much further back than the early seventeenth century, when a recognisable form of it appeared as Basile’s La Gatta Cenerentola.1 But from time to time throughout this century discoveries have been made to show that the tale must be much older, and few who have seriously examined the evidence would be tempted to measure the tale as a whole by the yardstick of its most famous example, the version published by Charles Perrault in 1697.2 It can now be seen that a number of the Perrault features such as glass slipper, pumpkin coach, clock striking midnight, and others, are not essential, or even necessarily characteristic, of the orally transmitted story. Taken as a whole, the hundreds of versions known present the heroine under a variety of names: Cinderella, Ashiepattle and Popelutschka are the most obvious European variations; sometimes she has sisters (often less beautiful, rather than ugly), sometimes not; sometimes she has a fairy godmother helper, sometimes a helpful animal or plant, sometimes even a fairy godfather, or some combination of such forces. The basic framework for the story printed by Aarne-Thompson can be slightly abridged as follows:3 I The persecuted heroine 1. The heroine is abused by her stepmother and stepsisters; she stays on the hearth and ashes; and 2. -
Bergamo Photo: Leoks/Shutterstock.Com in the Alpine Foothills, Just 50 Km from Milan, Bergamo Is the Most Striking City in Lombardy
Bergamo Photo: leoks/Shutterstock.com In the Alpine foothills, just 50 km from Milan, Bergamo is the most striking city in Lombardy. Structured in two levels, the lower city is more modern and dynamic, whilst the famous ‘upper city’ boasts a stunning historic centre full of monuments and works of art. In the area around the city the Iseo Lake is well worth a visit, as is the sanctuary at Caravaggio and Crespi d’Adda – the most important company town in Italy, listed as a world heritage site by UNESCO. Viacheslav Lopatin/Shutterstock.com Top 5 Piazza Vecchia Piazza Vecchia represents the core of Città Alta: it has been the heart of p... The Venetian Walls Bergamo wouldn’t be the same without its impressive Venetian Walls. This spe... City Centre - Lower Town michelangeloop/Shutterstock.com Leave time for a walk in the modern centre – the large area around piazza Vi... Basilica of Santa Maria Ma... The Basilica (built in 1137) is the most remarkable religious building in th... Accademia Carrara This gallery hosts one of the richest collections in Italy with around 2,000... Englishrose/Shutterstock.com Updated 21 March 2019 Destination: Bergamo Publishing date: 2019-03-21 THE CITY DO & SEE Matteo Ceruti/Shutterstock.com Gambarini Gianandrea/Shutterstock.com Bergamo is one of the richest and most elegant Bergamo is the perfect city to enjoy a nice cities in Italy. The splendour of the city is in weekend or a longer stay. Just walking around large part thanks to the domination of Venice, the city center and nding a nice café to enjoy a who ruled the city from the beginning of the 15th good cup of coee is relaxing itself. -
INGO GILDENHARD Cicero, Philippic 2, 44–50, 78–92, 100–119 Latin Text, Study Aids with Vocabulary, and Commentary CICERO, PHILIPPIC 2, 44–50, 78–92, 100–119
INGO GILDENHARD Cicero, Philippic 2, 44–50, 78–92, 100–119 Latin text, study aids with vocabulary, and commentary CICERO, PHILIPPIC 2, 44–50, 78–92, 100–119 Cicero, Philippic 2, 44–50, 78–92, 100–119 Latin text, study aids with vocabulary, and commentary Ingo Gildenhard https://www.openbookpublishers.com © 2018 Ingo Gildenhard The text of this work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt the text and to make commercial use of the text providing attribution is made to the author(s), but not in any way that suggests that they endorse you or your use of the work. Attribution should include the following information: Ingo Gildenhard, Cicero, Philippic 2, 44–50, 78–92, 100–119. Latin Text, Study Aids with Vocabulary, and Commentary. Cambridge, UK: Open Book Publishers, 2018. https://doi. org/10.11647/OBP.0156 Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. In order to access detailed and updated information on the license, please visit https:// www.openbookpublishers.com/product/845#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/ by/4.0/ All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Digital material and resources associated with this volume are available at https://www. -
Map 44 Latium-Campania Compiled by N
Map 44 Latium-Campania Compiled by N. Purcell, 1997 Introduction The landscape of central Italy has not been intrinsically stable. The steep slopes of the mountains have been deforested–several times in many cases–with consequent erosion; frane or avalanches remove large tracts of regolith, and doubly obliterate the archaeological record. In the valley-bottoms active streams have deposited and eroded successive layers of fill, sealing and destroying the evidence of settlement in many relatively favored niches. The more extensive lowlands have also seen substantial depositions of alluvial and colluvial material; the coasts have been exposed to erosion, aggradation and occasional tectonic deformation, or–spectacularly in the Bay of Naples– alternating collapse and re-elevation (“bradyseism”) at a staggeringly rapid pace. Earthquakes everywhere have accelerated the rate of change; vulcanicity in Campania has several times transformed substantial tracts of landscape beyond recognition–and reconstruction (thus no attempt is made here to re-create the contours of any of the sometimes very different forerunners of today’s Mt. Vesuvius). To this instability must be added the effect of intensive and continuous intervention by humanity. Episodes of depopulation in the Italian peninsula have arguably been neither prolonged nor pronounced within the timespan of the map and beyond. Even so, over the centuries the settlement pattern has been more than usually mutable, which has tended to obscure or damage the archaeological record. More archaeological evidence has emerged as modern urbanization spreads; but even more has been destroyed. What is available to the historical cartographer varies in quality from area to area in surprising ways. -
Janson. History of Art. Chapter 16: The
16_CH16_P556-589.qxp 12/10/09 09:16 Page 556 16_CH16_P556-589.qxp 12/10/09 09:16 Page 557 CHAPTER 16 CHAPTER The High Renaissance in Italy, 1495 1520 OOKINGBACKATTHEARTISTSOFTHEFIFTEENTHCENTURY , THE artist and art historian Giorgio Vasari wrote in 1550, Truly great was the advancement conferred on the arts of architecture, painting, and L sculpture by those excellent masters. From Vasari s perspective, the earlier generation had provided the groundwork that enabled sixteenth-century artists to surpass the age of the ancients. Later artists and critics agreed Leonardo, Bramante, Michelangelo, Raphael, Giorgione, and with Vasari s judgment that the artists who worked in the decades Titian were all sought after in early sixteenth-century Italy, and just before and after 1500 attained a perfection in their art worthy the two who lived beyond 1520, Michelangelo and Titian, were of admiration and emulation. internationally celebrated during their lifetimes. This fame was For Vasari, the artists of this generation were paragons of their part of a wholesale change in the status of artists that had been profession. Following Vasari, artists and art teachers of subse- occurring gradually during the course of the fifteenth century and quent centuries have used the works of this 25-year period which gained strength with these artists. Despite the qualities of between 1495 and 1520, known as the High Renaissance, as a their births, or the differences in their styles and personalities, benchmark against which to measure their own. Yet the idea of a these artists were given the respect due to intellectuals and High Renaissance presupposes that it follows something humanists. -
Tacitus on Titus' Visit to the Temple of Venus at Paphos1
Studia Philologica Valentina ISSN: 1135-9560 Vol. 22, n.s. 19 (2020) 103-114 e-ISSN: 2695-8945 Tacitus on Titus’ Visit to the Temple of Venus at Paphos1 Spyridon Tzounakas <[email protected]> https://orcid.org/0000-0002-7779-0464 University of Cyprus Faculty of Letters Department of Classics and Philosophy P.O. Box 20537 CY - 1678 Nicosia (Cyprus) Fecha de recepción: 30/06/2020 Fecha de aceptación: 15/10/2020 ABSTRACT: This article deals with Titus’ visit to the temple of Venus at Paphos in the second book of Tacitus’ Historiae. I argue that apart from its other literary intentions already mentioned by scholars, this digression implicitly connects Titus not only with Aeneas but also with Julius Caesar. Titus’ affair with Berenice that recalls Caesar’s affair with Cleopatra, Tacitus’ allusions to Lucan’s De Bello Civili where Caesar’s visit to the tomb of Alexander the Great is described, the πόθος- Motiv and fortuna’s favour that characterise both Roman generals, all contribute to connect Titus with Caesar and allow the reader to view a parallel between the Flavian and the Julio-Claudian dynasty. Furthermore, the particular digression allows the historian to present certain aspects of his work and his historiographic practices and to reinforce his credibility. KEYWORDS: Tacitus – Titus – Lucan – Caesar – Paphian Venus As a result of its geographical position, cultural contribution and multifaceted presence in historical developments, Cyprus makes a frequent appearance not only in ancient Greek, but also in Latin literature. Roman writers usually view the island as an important point of transition from the Greek world to the East and to Egypt, while they rarely neglect to turn their attention to Cyprus’ connection to the worship of the goddess Venus. -
Locating Boccaccio in 2013
Locating Boccaccio in 2013 Locating Boccaccio in 2013 11 July to 20 December 2013 Mon 12.00 – 5.00 Tue – Sat 10.00 – 5.00 Sun 12.00 – 5.00 The John Rylands Library The University of Manchester 150 Deansgate, Manchester, M3 3EH Designed by Epigram 0161 237 9660 1 2 Contents Locating Boccaccio in 2013 2 The Life of Giovanni Boccaccio (1313-1375) 3 Tales through Time 4 Boccaccio and Women 6 Boccaccio as Mediator 8 Transmissions and Transformations 10 Innovations in Print 12 Censorship and Erotica 14 Aesthetics of the Historic Book 16 Boccaccio in Manchester 18 Boccaccio and the Artists’ Book 20 Further Reading and Resources 28 Acknowledgements 29 1 Locating Boccaccio Te Life of Giovanni in 2013 Boccaccio (1313-1375) 2013 is the 700th anniversary of Boccaccio’s twenty-first century? His status as one of the Giovanni Boccaccio was born in 1313, either Author portrait, birth, and this occasion offers us the tre corone (three crowns) of Italian medieval in Florence or nearby Certaldo, the son of Decameron (Venice: 1546), opportunity not only to commemorate this literature, alongside Dante and Petrarch is a merchant who worked for the famous fol. *3v great author and his works, but also to reflect unchallenged, yet he is often perceived as Bardi company. In 1327 the young Boccaccio upon his legacy and meanings today. The the lesser figure of the three. Rather than moved to Naples to join his father who exhibition forms part of a series of events simply defining Boccaccio in automatic was posted there. As a trainee merchant around the world celebrating Boccaccio in relation to the other great men in his life, Boccaccio learnt the basic skills of arithmetic 2013 and is accompanied by an international then, we seek to re-present him as a central and accounting before commencing training conference held at the historic Manchester figure in the classical revival, and innovator as a canon lawyer. -
Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G
Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G Latin text, study aids with vocabulary, and commentary ILDENHARD INGO GILDENHARD AND JOHN HENDERSON A dead boy (Pallas) and the death of a girl (Camilla) loom over the opening and the closing part of the eleventh book of the Aeneid. Following the savage slaughter in Aeneid 10, the AND book opens in a mournful mood as the warring parti es revisit yesterday’s killing fi elds to att end to their dead. One casualty in parti cular commands att enti on: Aeneas’ protégé H Pallas, killed and despoiled by Turnus in the previous book. His death plunges his father ENDERSON Evander and his surrogate father Aeneas into heart-rending despair – and helps set up the foundati onal act of sacrifi cial brutality that caps the poem, when Aeneas seeks to avenge Pallas by slaying Turnus in wrathful fury. Turnus’ departure from the living is prefi gured by that of his ally Camilla, a maiden schooled in the marti al arts, who sets the mold for warrior princesses such as Xena and Wonder Woman. In the fi nal third of Aeneid 11, she wreaks havoc not just on the batt lefi eld but on gender stereotypes and the conventi ons of the epic genre, before she too succumbs to a premature death. In the porti ons of the book selected for discussion here, Virgil off ers some of his most emoti ve (and disturbing) meditati ons on the tragic nature of human existence – but also knows how to lighten the mood with a bit of drag. -
Ships in the Eastern Mediterranean During the Hellenistic Period N ANTET EDITED by EMMANUEL NANTET with a PREFACE by ALAIN BRESSON (
E Sailing from Polis to Empire MMANUEL Ships in the Eastern Mediterranean during the Hellenistic Period N ANTET EDITED BY EMMANUEL NANTET WITH A PREFACE BY ALAIN BRESSON ( ED Sailing from Polis to Empire What can the architecture of ancient ships tell us about their capacity to carry cargo or to .) navigate certain trade routes? How do such insights inform our knowledge of the ancient S economies that depended on mari� me trade across the Mediterranean? These and similar ques� ons lie behind Sailing from Polis to Empire, a fascina� ng insight into the prac� cali� es of trading by boat in the ancient world. Allying modern scien� fi c knowledge with Hellenis� c sources, this interdisciplinary collec� on brings together experts in various fi elds of ship archaeology to shed new light on the role played by ships and AILING sailing in the exchange networks of the Mediterranean. Covering all parts of the Eastern Mediterranean, these outstanding contribu� ons delve into a broad array of data – literary, epigraphical, papyrological, iconographic and archaeological – to understand the trade FROM routes that connected the economies of individual ci� es and kingdoms. Unique in its interdisciplinary approach and focus on the Hellenis� c period, this collec� on P digs into the ques� ons that others don’t think to ask, and comes up with (some� mes OLIS surprising) answers. It will be of value to researchers in the fi elds of naval architecture, Classical and Hellenis� c history, social history and ancient geography, and to all those with TO an interest in the ancient world or the seafaring life. -
Background Information 1
BACKGROUND INFORMATION 1. Centennial candle, Motherhouse, 1988. 2. Father Ivo Schaible, SDS; stained glass window in convent chapel, Münster (D). 3. Statue of Father Jordan in the courtyard of the convent at Steinfeld (D). Bronze, cast from an original by Ferdinand Seeboeck of 1930/31. 5. GURTWEIL, the origin of the name goes back to a Merovingian-Frankish settlement: GURTWILA (CURTVILLA) - curtis - a large estate (at the place of the castle) - villa, villare - a small hamlet (North to the estate a few houses, the villa) The first written document regarding GURTWILA dates from 873. It testifies to the fact that Count Adibreht made Gurtweil over to the Monastery of Rheinau; about 20 years later, it belongs to the Monastery of St. Gallen (CH); by the end of the 12th century St. Gallen had lost its rights over Gurtweil in favour of 'secular' Lords. In 1646 the property was sold to the Monastery of St. Blasien. With the secularization and the suppression of the Monastery, the area fell to Baden in 1807, and much of the property was sold to individuals. (cf. LEO BERINGER, Geschichte des Dorfes Gurtweil, 1960, S. 25f) 6. The house was owned by the Jordan family from 1842-1894. After 1878, it was built up with bricks, the windows on the first floor and the outside stairway were added, and the roof was covered with tiles. Because of debts, Father Jordan's brother Martin had to sell it in auction in 1894. Josepha Griesser re-sold it to Leo Müller already in 1895. (cf. DSS XIII, p.