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Elenco Manoscritti
Elenco Manoscritti Bibl. Nazionale 1 FRONTINI.= De Re Militari in cambio del 259 2 Ricordanze di Neri di Bicci dipintore, da Biblioteca 1453-1475 Strozzi 3 ADRIANO Marcello Juniore = De Categoria 4 S.S. PATRUM = Opuscolo D. Augusti et Bibl. Nazionale Hyaronimi. Come sopra 5 VACCA FLAMINIO = Antichità di Roma da Biblioteca Strozzi 6 Epitaffio et elogia (Cod. Cartaceo del sec. XVI) 7 Inscriptiones Romanae (2 voll.) da Biblioteca Strozzi 8 Trattato sopra i nomi dalle Tribù da Biblioteca Strozzi 9 BOCCHI = Sulle opere di Andrea del Sarto da Biblioteca Strozzi (Borghini invenzione della cupola) 10 VASARI = Alcuni disegni di macchine, da Biblioteca Statuti della Accademia del Strozzi Disegno...(1584) 11 Ragionamento con Francesco de' Medici da Biblioteca Strozzi sopra le pitture di Palazzo Vecchio.... (Del Vasari) 12 STROZZI = Iscrizioni antiche da Biblioteca Strozzi ? 13 NORIS = Epistolae e studi diversi (Cod. del XVII sec.) 14 Medaglie d'oro della serie Imperiale. 15 Tavole di pittura e sculture egregio. 16 PANETALIO, P. = Trattato della pittura del Lomazzo. da Biblioteca Strozzi 17 MIRABELLA = Medaglie consolari. da Biblioteca 18 Erudizione orientale di numismatica. Strozzi 19 BACINI lasciati per legato alla Casa Medici.... 20 BIANCHI = Descrizione dalla R. Galleria 21 BIANCHI = Catalogo della Imperial Galleria di Firenze. 22 COCCHI = Studi diversi di antiquaria. 23 " = Notizie sopra alcune medaglie 24 " = Indice di Medaglie per classi (5 filze) 25 PELLI BENCIVENNI = Notizie della R. Galleria 26 Studi degli antiquari Bassetti, Querci e Pelli. 27 LANZI = Miscellanea (4 volumi) 28 LANZI = Repertorivm earum ..Inscriptiones pert.. 29 LANZI = Repertorio di Medaglie consolari... 30 LANZI = Repertorium de caracteribus 31 LANZI = Repertorio di antichità figurate. -
The European Garden I :
The European Garden I : ............................................ I ............................................ Progetto editoriale: Angelo Pontecorboli Tutti i diritti riservati Angelo Pontecorboli Editore, Firenze www.pontecorboli.com – [email protected] ISBN 978-88-00000-00-0 2 Mariella Zoppi e European Garden ANGELO PONTECORBOLI EDITORE FIRENZE 3 4 C 5 Introduction As with all written histories of the garden, this one begins with the most ancient civilizations and thus dedicates much attention to the Roman Empire. is way, the ordinary has little that is ritual or can be foreseen and one can witness the true origins of gardens which arrived from western culture. ese origins were not lost in the centuries which passed by each other, but were a constant source of inspiration for the civilizations which came and went in the Mediterranean Basin. e Mediterranean, for an extremely long period stretching from 2000 BC to the late fourteenth century, was almost exclusively the scenery of western culture. Diverse peoples acquired economic and political hegemony, they imposed laws, customs and artistic models which merged with pre-existing backgrounds and styles which then expanded throughout Northern European and African countries. Ideas from the East, such as science, religion and artistic models, fil- tered throughout the Mediterranean. Nomadic populations reached Mediterranean shores and so cultures and customs were brought to- gether for several centuries in a relatively small circle. It was on the edges of the Mediterranean where the two fundamental ideas of gar- den design, the formal and the informal, were created and confronted each other. Here, the garden became the idealization of a perfect and immutable world, the mimesis of nature. -
Tesi Dottorato.Pdf
DOTTORATO DI RICERCA IN STORIA DELLE ARTI E DELLO SPETTACOLO (Curriculum Storia dell’arte) CICLO XXX COORDINATORE prof. Andrea De Marchi PERCORSI ARTISTICI TRA FIRENZE E GLI STATI UNITI, 1815-1850. NUOVE PROSPETTIVE DI RICERCA Settore Scientifico Disciplinare L-ART/03 Dottorando Tutore dr. Michele Amedei prof. Antonio Pinelli Coordinatore prof. Andrea De Marchi a. a. 2014-2015/2016-2017 A Carlo Del Bravo Intendo ringraziare, in ordine sparso, quanti hanno contribuito, in vario modo, alla riuscita di questo lavoro; sono particolarmente grato a Cinzia Maria Sicca, Giovanna De Lorenzi, Karen Lemmey, Eleanor Harvey, Cristiano Giometti, Joe Madura, Alan Wallach, William Gerdts, William Truettner, Daniele Mazzolai, Anne Evenhaugen, Alexandra Reigle, Anna Marley, Crawford Alexander Mann III, Silvestra Bietoletti, Melissa Dabakis, Michele Cohen, Amelia Goerlitz, Tiziano Antognozzi, John F. McGuigan, Jr., Mary K. McGuigan, Kent Ahrens, Liletta Fornasari, Sandro Bellesi, Ettore Spalletti, Elisa Zucchini, John Allen, Fabio Cafagna, Valeria Bruni, Enrico Sartoni, Caterina Del Vivo e Simona Pasquinucci. Indice Introduzione................................................................................................p. 1 Capitolo 1. La colonia statunitense nel Granducato di Toscana nel primo Ottocento. Parte I. Statunitensi a Firenze. I-A. Cenni storici.....................................................................................................p. 9 I-B. Giacomo Ombrosi, console degli Stati Uniti d'America a Firenze................p. 17 Parte -
A Few Typographical Errors Have Been Corrected. They Are Shown in the Text with Mouse-Hover Popups
A few typographical errors have been corrected. They are shown in the text with mouse-hover popups. Preface, Itineraries and List of Maps (separate file) Paris to Marseilles (separate file) The Riviera: Itineraries The Riviera: Maps The Riviera: Text Italy and the Alps and General Index (separate file) ITINERARY (pages 107–280) THE RIVIERA. The Riviera. Hotels, productions, climate 107 Marseilles. Hotels, trams, sights, excursions 111 MARSEILLES to MENTON. The French Riviera 122 Marseilles to Toulon, passing several pretty little towns, of which the most important is La Seyne (p. 123). From Toulon omnibuses and diligences run to the neighbouring villages and to the more distant towns in the interior. The most start from the Place d’Italie (pp. 124 and 129). Toulon to Dardenne from the “Place” to the W. of the Place Puget (p. 128), to Hyères from the Place Puget (pp. 124, 133), Cap Brun and Ste. Marguerite from the Place d’Italie (p. 128), to Le Pradet from the Place d’Italie (p. 128). Toulon to Meounes and Brignoles by Belgentier, by diligence. As far as Meounes the road traverses a picturesque country (p. 129), to Collobrières by La Crau and Pierrefeu (p. 130). Steamer to La Seyne (pp. 124, 127), to St. Mandrier (p. 127), to the Iles d’Hyères or d’Or (pp. 124, 131). The Iles d’Or. Porquerolles, Port-Cros, Ile du Levant 131 Toulon to Hyères 132 Hyères. Hotels, cabs, drives, stage-coaches, excursions, productions, climate 133 Hyères to Les Salins, La Plage and the peninsula of Giens (p. 140); to Carqueyranne by Pomponiana (p. -
Imagines-Number-2-2018-August
Imagines è pubblicata a Firenze dalle Gallerie degli Uffizi Direttore responsabile Eike D. Schmidt Redazione Dipartimento Informatica e Strategie Digitali Coordinatore Gianluca Ciccardi Coordinatore delle iniziative scientifiche delle Gallerie degli Uffizi Fabrizio Paolucci Hanno lavorato a questo numero Andrea Biotti, Patrizia Naldini, Marianna Petricelli Traduzioni: Eurotrad con la supervisione di Giovanna Pecorilla ISSN n. 2533-2015 2 august 2018 index n. 2 (2018, August) 6 EIKE SCHMIDT Digital reflexions 10 SILVIA MASCALCHI School/Work programmes at the Uffizi Galleries. Diary of an experience in progress 20 SIMONE ROVIDA When Art Takes Centre Stage. Uffizi Live and live performance arts as a means to capitalise on museum resources 38 ELVIRA ALTIERO, FEDERICA CAPPELLI, LUCIA LO STIMOLO, GIANLUCA MATARRELLI An online database for the conservation and study of the Uffizi ancient sculptures 52 ALESSANDRO MUSCILLO The forgotten Grand Duke. The series of Medici-Lorraine busts and their commendation in the so-called Antiricetto of the Gallery of Statues and Paintings 84 ADELINA MODESTI Maestra Elisabetta Sirani, “Virtuosa del Pennello” 98 CARLA BASAGNI PABLO LÓPEZ MARCOS Traces of the “Museo Firenze com’era in the Uffizi: the archive of Piero Aranguren (Prato 1911- Florence 1988), donated to the Library catalog 107 FABRIZIO PAOLUCCI ROMAN ART II SEC. D. C., Sleepimg Ariadne 118 VINCENZO SALADINO ROMAN ART, Apoxyomenos (athlete with a Scraper) 123 DANIELA PARENTI Spinello Aretino, Christ Blessing Niccolò di Pietro Gerini, Crocifixion 132 ELVIRA ALTIERO Niccolò di Buonaccorso, Presentation of the Virgin in the Temple n.2 | august 2018 Eike Schmidt DIGITAL REFLEXIONS 6 n Abbas Kiarostami’s film Shirin (2008), sing questions of guilt and responsibility for an hour and a half we see women – would have been superimposed upon Iin a theatre in Iran watching a fictio- its famous first half, the action-packed nal movie based on the tragic and twi- Nibelungenlied (Song of the Nibelungs). -
Classical Mythology in Florence
Tom Sienkewicz Monmouth College [email protected] Classical Mythology in Florence Museo Archeologico especially the Chimaera, and the François Vase Minos and Scylla, Theseus and the Minotaur (Ovid 8.1-185) Calydonian Boar Hunt (Ovid 8.260-546) Homer. Iliad XXIII (Funeral Games of Patroclus) Ulysses and Polyphemus (Ovid 14.160-220) Classical Mythology at the Duomo Porta della Mandorla, Campanile and Opera del Duomo Orpheus/Eurydice (Ovid 10.1-80) Daedalus/Icarus (Ovid 8.185-260) Public sculpture Piazza della Signoria and Loggia Dei Lanzi. Hercules and Cacus (Ovid. Fasti.1.540ff) Perseus and Medusa (Ovid 4.610-803) Classical Mythology in the Palazzo Vecchio Circe (Ovid 14.240-310) Rape and Intervention of Sabine Women (Livy 1.9-10) Hercules and Nessus (Ovid 9.1-150) Classical Mythology in the Studiolo di Francesco Primo Classical Mythology in the Palazzo Medici-Riccardi Rape of Persephone (Ovid 5.380-500) The Mythology in the Public Sculpture of Florence Apollo and Daphne 1.450-570 Classical Mythology in the Bargello Classical Mythology in the Uffiizi Classical Mythology in the Pitti Palace Classical Mythology in the Boboli Gardens especially the Grotta of Buontalenti Classical Mythology in the Medici Villa at Poggio a Caiano Hercules in Florence The François Vase c.570 B.C. found in tomb at Fonte Rotella near Chiusi in 1844-45 Made by Ergotomos Painted by Kleitias Side A Side B Calydonian Boar Hunt Theseus' Crane Dance The Funeral Games of Patroclus Battle of Lapiths and Centaurs The Marriage of Peleus and Thetis The Marriage -
Jan Zahle THORVALDSEN THORVALDSEN THORVALDSEN Collector of Plaster Casts from Antiquity and the Early Modern Period I
jan zahle THORVALDSEN THORVALDSEN Collector of Plaster Casts from Antiquity and the Early Modern Period I jan zahle I thorvaldsens museum & aarhus university press 112763_cover_thorvaldsen_I_.indd 1 06/05/2020 09.44 thorvaldsen · Collector of Plaster Casts from Antiquity and the Early Modern Period The Ancients have already employed the majority of the natural postures, and if one will not take refuge in distortions and exaggerations like Bernini . it is quite difficult to invent something new. Thorvaldsen, in Hauch 1871, 238 Presso i Formatori in gesso si rinviene qualsivoglia Statua, Busto, Bassorilievo, Vaso, Candelabro e Ornamento Architettonico formato sul marmo; delle quali cose sono ripiene le Sale delle Accademie, gli Studj degli Artisti, non che ornati ancora i Palazzi e le Case. Keller 1824, 21 Und doch, was für eine Freude bringt es, zu einem Gipsgießer hineinzutreten, wo man die herrlichen Glieder der Statuen einzeln aus der Form hervorgehen sieht und dadurch ganz neue Ansichten der Gestalten gewinnt! Alsdann erblickt man nebeneinander, was sich in Rom zerstreut befindet; welches zur Vergleichung unschätzbar dienlich ist. Goethe, Italienische Reise 25 December 1786 THORVALDSEN Collector of Plaster Casts from Antiquity and the Early Modern Period jan zahle I The Roman Plaster Cast Market, 1750–1840 Technical descriptions by Hans Effenberger The Egyptian casts by Thomas Christiansen thorvaldsens museum & aarhus university press · 2020 Preface and acknowledgements Work on Thorvaldsen’s collection of casts was initiated in 2008 due From the very beginning it has been a great privilege and pleas- to a generous grant from the Velux Foundation. In my application ure to be part of the devoted and friendly team of the Thorvaldsen a separate, minor field of study was also listed: copies of Ancient Museum, until 2016 directed by Stig Miss, who encouraged my Greek stelai in Danish cemeteries from c. -
Production at Doccia Between 1790 -1847 and Royal Commissions for the Lucca Palaces
PRODUCTION AT DOCCIA BETWEEN 1790 -1847 AND ROYAL COMMISSIONS FOR THE LUCCA PALACES By Atidrcina d’Agliano Production at the Doccia manufactory in the last decade of the 18th century was particularly influ enced by the taste for the antique, which affected the development of the Tuscan manufactory in two principal directions. On the one hand there was the influence of the taste for classical ruins introduced through prints by French artists working in Rome in the circle of Piranesi1, and on the other hand the archaeological discoveries made in Naples, and the dynastic links between the Neapolitan and the Florentine courts, which added extensive Neapolitan iconographical sources to the Doccia repertoire2. In 1785, the extremely good relationship between the Marchesi Ginori and the Neapolitan sovereigns inspired Ferdinand IV of Naples to send Lorenzo Ginori the first two volumes of the most valuable publication to be printed in Naples, Le Antichitd di Ercolano esposte. This was a collection of prints repre senting the frescoes and statues brought to light during the archaeological excavations at Hercula Figure 2. Two biscuit statuettes representing the Flora Farnese neum and Pompeii. Published in ten volumes (1757- and Bacchus, Doccia, 1800-1815, 8'/inches (21 cm) and 8 inches (20.5 cm) high. Musco dclle Porcellanc, Palazzo Pitti. 1792) to be found today in the archives at Doccia, they had immense impact on the shapes and decora tion of the tableware produced at Doccia at the turn Further innovations, especially technical and of the century ' (fig. 1). stylistic, were introduced in the first fifteen years of the 19th century when Tuscany was politically reorganised during the Napoleonic era. -
PIAZZA SIGNORIA E DINTORNI Centro Storico Di Firenze Inscritto Nella Lista Del Patrimonio Mondiale Nel 1982 SOMMARIO / TABLE of CONTENTS
PIAZZA SIGNORIA E DINTORNI Centro Storico di Firenze inscritto nella Lista del Patrimonio Mondiale nel 1982 SOMMARIO / TABLE OF CONTENTS Storia History 4 Itinerario Itinerary 7 Approfondimenti Further Insights 21 Informazioni Information 55 HISTORY In questa visita ti porteremo attraverso il Centro Storico a spasso nel cuore politico e commerciale della città, in alcune delle piazze più belle di Firenze, da piazza della Repubblica a piazza della Signoria. Questa area era una delle più caratteristiche di Firenze, punteggiata non solo di chiese, tabernacoli, torri medievali, palazzi nobiliari, ma anche di botteghe storiche e delle sedi delle corporazioni delle Arti. Avevano qui sede soprattutto botteghe di abbigliamento e di calzature, ma anche laboratori di artisti come Donatello e Michelozzo. Traccia di questa antica presenza sono, ad esempio, le monumentali statue delle nicchie di Orsanmichele, ciascuna dedicata ai rispettivi santi protettori delle diverse Arti e opera di grandi scultori come Donatello, Verrocchio, Ghiberti e Giambologna. L’intera area subì pesanti trasformazioni a fine Ottocento, in occasione di Firenze capitale d’Italia, trasformazioni che interessarono non soltanto piazza della Repubblica, ma anche via dei Calzaiuoli, sottoposta a diversi progetti di ampliamento. Piazza della Repubblica, centro nevralgico fin da epoca romana, che aveva mantenuto durante tutto il Medioevo la funzione di luogo di ritrovo destinato al commercio, vide stravolto il proprio assetto. A conservare in gran parte, invece, il proprio antico aspetto è stata piazza della Signoria, zona di grande importanza fin dall’epoca romana, i cui resti sono ancora oggi visitabili sotto Palazzo Vecchio. La piazza iniziò ad assumere l’attuale forma intorno al 1268, in seguito alla demolizione delle case dei Ghibellini da parte dei Guelfi vincitori. -
© in This Web Service Cambridge University
Cambridge University Press 978-0-521-85142-8 - The Past is a Foreign Country – Revisited David Lowenthal Index More information INDEX Entries in bold typeface denote illustrations and photographs Abbey, Edward, 67 in humans, 213–24, 216, 240, heirs demoralized by, 185, 201, Abbo of Fleury, Passio sancti 287–8 203–4 Eadmundi, 379 and memory, 323, 404 heirs venerate, 197–9, 205, 392, Abbotsford, Scotland (Walter Scott), in nations, 230–2 406, 528, 534 177, 439 old things should look, 247–54, legacy re-tooled, 6, 200–2, 461, Abelard, Peter, 215 251 538 Accolti, Benedetto, 152 organic analogy, 211–13 re-enacted, 431, 436, 481–2, 484, accretion, 11, 122–6, 123,172–3, 282, patina, 259–68 491–2 419, 561, 575 in plants and animals, 224–6 reflects liberal child-rearing, Achebe, Chinua, 352, 427 ruins, 285 186–7 Aciman, André, 326 Ahasurias, the Wandering Jew and Amiens, France, 252 Acton, John Emerich Edward last man, 214–15 Cathedral, 175, 179 Dahlberg, Lord, 141, 345, Akunin, Boris, 38 Amis, Martin, 215 538, 600 Alabama, University of, 607 amnesia, 14, 88, 305–6, 540, 590, Adams, Brooks, 417 Alain-Fournier, Henri, Le Grand 592 Adams, Charles Francis, 199 Meaulnes, 307 childhood, 312, 319 Adams, Douglas, 359, 594 Alamo, San Antonio, Texas, 580 as statecraft, 17, 129, 138–40, 509, Adams, Henry, 45, 203, 570 Alaric, sack of Rome, 360 540–1 Adams, John, 30n32, 186, 548 Alberti, Leon Battista, 153 as therapy, 40, 149 Adamsville, Rhode Island, 502 Aldiss, Brian W., 76 anachronism, 352, 358–61, 363, 365, Addison, Joseph, 170, 235, 266 Aldrovandi, Ulisse, -
The Palazzi of Lucca
The Palazzi of Lucca PALAZZI 287 Palazzi For entries followed by (F) the family is dealt with in the Family section. 1. Palazzo Moriconi—Reconstructed in the 1500s on medieval houses and the remains of the Roman theatre. The entranceway with a lovely iron lunette is very similar to the nearby Palazzo Fanucci (#7). Evidence of Guelph windows can be seen on the piano nobile. (F) 2. Palazzo Boccella—One of the grandest and most interesting mansions. It was built in the 1500s and 1600s by the extremely wealthy Boccella family in the Manneristic style of the great Tuscan villas. It is an extravagance in conservative Lucca and was looked on somewhat askance when it was built. The exterior has a profusion of fantastic mascheroni (grotesque masks), an imposing main entrance, and excellent detailing on the wood eaves. The interior was once elaborately painted and the salon is still in excellent condition. The themes of its paintings are somewhat uncertain, portraying what looks like Pope Julius II but is perhaps Paul III, who visited Lucca in 1541. (The Boccella family had long and close ties with the papacy.) Another painting portrays a victory over the Turks, and others show familial scenes and banquets, all done in a vibrant Mannerist palette. The stemma (coat of arms) over the main door is that of the Bernardini, who were its later owners. (F) 3. Palazzo Ottolini—Today best known as Palazzo Poschi Meuron. Along Via San Giorgio it has a typical Lucchese façade of the 1500s, understated but with a grand entrance door. -
Urns, Planters & Finials
Urns, Planters & Finials ‘A vase with a rounded body, usually a narrowed mouth and often a foot’. The Urn, alongside Statues and Fountains, is one of the key elements in any classic garden and as such can be traced back to Antiquity. It is here that many of the models we are familiar with today were conceived and with the rebirth in the Italian Renaissance of interest in the classical world, newly discovered (excavated) models laid the foundations for the designs of the preceding centuries. The most famous and much copied examples are the Vases Borghese, discovered around 1569 near the present day Casino Massimo in Rome, and Medici, discovered around the same time at the Villa Medici also in Rome. The Borghese Vase came to its namesake Villa in 1645 and there it stayed for 150 years until purchased by Napoleon and transported back to Paris around 1809, eventually being on permanent display at the Louvre. The Medici Vase, now in the Uffizzi Florence, is often paired with the Borghese Vase. One sees these models being copied in Terracotta by Coade and then Blashfield, in the late 18th and early 19th Centuries. However, they were not only copied in terracotta – stone, marble, lead, bronze, and cast iron versions have been made by many makers, such is the iconic power of these beautiful urns. The Warwick and Townley vases, both discovered by Gavin Hamilton, the former at Hadrian’s Villa in 1770, have also been much copied. Their stories give a sense of how it was in the 18th Century with the great collecting wealth of the English Country House and the Grand Tour that developed the English love of Neo Classical ornamentation in the garden.