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Hassler's Roma: a Publication That Descrive Tutte Le Meraviglie Intorno Al Nostro Al- Describes All the Marvels, Both Hidden and Not, Bergo, Nascoste E Non
HASSLER’S ROMA A CURA DI FILIPPO COSMELLI Prodotto in esclusiva per l’Hotel Hassler direzione creativa: Filippo Cosmelli direzione editoriale: Daniela Bianco fotografie: Alessandro Celani testi: Filippo Cosmelli & Giacomo Levi ricerche iconografiche: Pietro Aldobrandini traduzione: Logos Srls. - Creative services assistente: Carmen Mariel Di Buono mappe disegnate a mano: Mario Camerini progetto grafico: Leonardo Magrelli stampato presso: Varigrafica, Roma Tutti I Diritti Riservati Nessuna parte di questo libro può essere riprodotta in nessuna forma senza il preventivo permesso da parte dell’Hotel Hassler 2018. If/Books · Marchio di Proprietà di If S.r.l. Via di Parione 17, 00186 Roma · www.ifbooks.it Gentilissimi ospiti, cari amici, Dear guests, dear friends, Le strade, le piazze e i monumenti che circonda- The streets, squares and buildings that surround no l’Hotel Hassler sono senza dubbio parte inte- the Hassler Hotel are without a doubt an in- grante della nostra identità. Attraversando ogni tegral part of our identity. Crossing Trinità de mattina la piazza di Trinità de Monti, circonda- Monti every morning, surrounded by the stair- ta dalla scalinata, dal verde brillante del Pincio case, the brilliant greenery of the Pincio and the e dalla quiete di via Gregoriana, è inevitabile silence of Via Gregoriana, the desire to preser- che sorga il desiderio di preservare, e traman- ve and hand so much beauty down to future ge- dare tanta bellezza. È per questo che sono feli- nerations is inevitable. This is why I am pleased ce di presentarvi Hassler’s Roma: un volume che to present Hassler's Roma: a publication that descrive tutte le meraviglie intorno al nostro al- describes all the marvels, both hidden and not, bergo, nascoste e non. -
Trevi Fountain Rome, Italy Trevi Fountain: Rome, Italy the Architects
Trevi Fountain Rome, Italy Trevi Fountain: Rome, Italy The Architects The Trevi Fountain (Fontana di Trevi) is the most famous and arguably Little of Nicola Salvi’s (1697–1751) work beyond the Trevi Fountain remains the most beautiful fountain in Rome. This impressive Baroque-styled today and relatively little is known of the architect himself. He was monument was completed in 1762 and still dominates the small Trevi admitted to the Roman Academy of Arcadia in 1717 and only became square located in the city’s Quirinale district. an architect after studying mathematics and philosophy. His friend and colleague, the sculptor Pietro Bracci (1700–1773), would eventually go on to complete the fountain. Bracci’s most famous piece of work, the statue of Oceanus, forms the centerpiece of the fountain. 2 History The imposing fountain sits at the junction of three roads, or tre vie, which many believe gave the fountain its name, and marks the terminal point of one of the original aqueducts that supplied water to ancient Rome. Built by Marcu Vipsanius Agrippa in 19 BC, the Aqua Virgo aqueduct was over 13 miles (21 km) long and even then had a fountain at its terminus. The aqueduct and fountain served Rome for over 400 years, but after the invasion of the Goths in AD 537, the aqueduct was cut off and the final portion abandoned, forcing the medieval Romans to draw water from wells and the River Tiber. It would be over 1,000 years, and the advent of the Early Renaissance period, before a fountain would again stand in the location we know today. -
Journal of Italian Translation
Journal of Italian Translation Journal of Italian Translation is an international journal devoted to the translation of literary works Editor from and into Italian-English-Italian dialects. All Luigi Bonaffini translations are published with the original text. It also publishes essays and reviews dealing with Italian Associate Editors translation. It is published twice a year. Gaetano Cipolla Michael Palma Submissions should be in electronic form. Trans- Joseph Perricone lations must be accompanied by the original texts Assistant Editor and brief profiles of the translator and the author. Paul D’Agostino Original texts and translations should be in separate files. All inquiries should be addressed to Journal of Editorial Board Italian Translation, Dept. of Modern Languages and Adria Bernardi Literatures, 2900 Bedford Ave. Brooklyn, NY 11210 Geoffrey Brock or [email protected] Franco Buffoni Barbara Carle Book reviews should be sent to Joseph Perricone, Peter Carravetta John Du Val Dept. of Modern Language and Literature, Fordham Anna Maria Farabbi University, Columbus Ave & 60th Street, New York, Rina Ferrarelli NY 10023 or [email protected] Luigi Fontanella Irene Marchegiani Website: www.jitonline.org Francesco Marroni Subscription rates: U.S. and Canada. Sebastiano Martelli Individuals $30.00 a year, $50 for 2 years. Adeodato Piazza Institutions $35.00 a year. Nicolai Single copies $18.00. Stephen Sartarelli Achille Serrao Cosma Siani For all mailing abroad please add $10 per issue. Marco Sonzogni Payments in U.S. dollars. Joseph Tusiani Make checks payable to Journal of Italian Trans- Lawrence Venuti lation Pasquale Verdicchio Journal of Italian Translation is grateful to the Paolo Valesio Sonia Raiziss Giop Charitable Foundation for its Justin Vitiello generous support. -
Bizhan Bassiri Solo Exhibitions
BIZHAN BASSIRI Born in Tehran (Iran) in 1954. He lives in Rome, Chiusi (Siena) and Tehran. SOLO EXHIBITIONS 2019 Raad, curated by Bruno Corà, Dastan Gallery, Tehran, Iran. Meteotite Narvalo, curated by Gabriella Belli and Elisabetta Barisoni, Ca’ Pesaro Galleria Internazionale d’Arte Moderna, Venice. Nottambulo, curated by Bruno Corà, National Museum of Iran, Tehran. 2018 Veglia, curated by Bruno Corà, Museo Riso, Palermo. Veglia, curated by Bruno Corà, Fondazione Volume, Rome 2017 Tapesh. The Golden Reserve of Maghmatic Thougut, curated by Majid Mollanoruzi, Biennale Arte 2017, Iranian Pavilion, Palazzo Donà delle Rose, Venice.* Corpo Celeste, curated by Bruno Corà, Tempio di San Martino a Petroro, Todi (Perugia). Girone della Sorte, curated by Bruno Corà, Museo Nazionale Etrusco, Chiusi (Siena). The Temple of Destiny, curated by Bruno Corà, Abadan Museum of Contemporary Art, Tehran Museum of Contemporary Art, Abadan, Iran.* 2016 La Riserva Aurea del Pensiero Magmatico, curated by Bruno Corà and Costantino Dorazio, Museo Macro Testaccio, Rome.* Specchio Solare [Noor], curated by Bruno Corà, Museo Carlo Bilotti – Aranciera di Villa Borghese, Rome. 2015 Motlaq, curated by Bruno Corà and Fabio De Chirico, Tehran Museum of Contemporary Art, Tehran, Iran.* Noor, curated by Bruno Corà, Aun Gallery, Tehran, Iran. 2014 La Meteorite, curated by Fabio De Chirico, Piazza Solferino, Terni. La Battaglia, curated by Bruno Corà and Fabio De Chirico, Salone dei Cinquecento, Museo di Palazzo Vecchio, Florence. 2013 Evaporazioni Notturne, curated by Bruno Corà, Gallerja, Rome. Riserva Aurea, curated by Bruno Corà and Fabio De Chirico, Galleria Nazionale dell’Umbria, Perugia. 2011 La Caduta delle Meteoriti, curated by Bruno Corà, Museo Archeologico Nazionale di Venezia, Venice.* Impatto, curated by Bruno Corà, La Nuova Pesa, Centro per l’Arte Contemporanea, Rome. -
Download the Media Advisory
Media Advisory DOCUMENTING OUR HERITAGE AT RISK ROME, PALAZZO POLI (TREVI FOUNTAIN), 19 MAY EX PLANETARIO, TERME DI DIOCLEZIANO, 20 MAY Uniting the international community around a project of universal cataloguing for artistic and archaeological heritage. Facilitating the classification of cultural heritage at risk. Promoting the convergence of scientific techniques and shared adoption of advanced technologies, under the stewardship of UNESCO and with the empowerment of ICCROM (an intergovernmental organization specializing in cultural heritage conservation, with headquarters in Rome), in view of upcoming restorations and reconstructions. These are the goals of the International Conference "Documenting our Heritage at Risk", organized by the Incontro di Civiltà Association, chaired by Francesco Rutelli, and ICCROM (International Centre for the Study of the Preservation and Restoration of Cultural Property) on 19-20 May in Rome, thanks to the essential contribution of the Fondazione Terzo Pilastro – Italia e Mediterraneo and its President, Prof. Emmanuele F. M. Emanuele, as well as the contribution of Fouad Alghanim & Sons Group of Companies. The first day at Palazzo Poli, Dante Room, is organized into three sessions. Panels of experts from the academic and scientific worlds representing art and innovation will share their different experiences, including in conflict areas, along with projects of heritage requalification and local development. Amongst the speakers will be the Minister of Cultural Heritage and Tourism, Dario Franceschini; UNESCO Assistant Director General for Culture, Francesco Bandarin; UNESCO Special Advisor for Cultural Heritage, Mounir Bouchenaki; Deputy Mayor of Rome and Culture Councilor, Luca Bergamo; and representatives of the most prominent international scientific institutions and companies involved in these sectors (see attached programme). -
Rome Architecture Guide 2020
WHAT Architect WHERE Notes Zone 1: Ancient Rome The Flavium Amphitheatre was built in 80 AD of concrete and stone as the largest amphitheatre in the world. The Colosseum could hold, it is estimated, between 50,000 and 80,000 spectators, and was used The Colosseum or for gladiatorial contests and public spectacles such as mock sea Amphitheatrum ***** Unknown Piazza del Colosseo battles, animal hunts, executions, re-enactments of famous battles, Flavium and dramas based on Classical mythology. General Admission €14, Students €7,5 (includes Colosseum, Foro Romano + Palatino). Hypogeum can be visited with previous reservation (+8€). Mon-Sun (8.30am-1h before sunset) On the western side of the Colosseum, this monumental triple arch was built in AD 315 to celebrate the emperor Constantine's victory over his rival Maxentius at the Battle of the Milvian Bridge (AD 312). Rising to a height of 25m, it's the largest of Rome's surviving ***** Arch of Constantine Unknown Piazza del Colosseo triumphal arches. Above the archways is placed the attic, composed of brickwork revetted (faced) with marble. A staircase within the arch is entered from a door at some height from the ground, on the west side, facing the Palatine Hill. The arch served as the finish line for the marathon athletic event for the 1960 Summer Olympics. The Domus Aurea was a vast landscaped palace built by the Emperor Nero in the heart of ancient Rome after the great fire in 64 AD had destroyed a large part of the city and the aristocratic villas on the Palatine Hill. -
Cbc Conservazione Beni Culturali
DIPINTI MURALI E STUCCHI CBC CONSERVAZIONE BENI CULTURALI La Cooperativa CBC Conservazione Beni Culturali si è costituita nel 1977 tra restauratori provenienti dai corsi dell'Istituto Centrale del Restauro. E' attualmente formata da diciotto soci, il cui curriculum di studio è consultabile su questo sito. Opera sia per Enti pubblici (Soprintendenze regionali, Comuni, Musei Civici, etc.), che per privati, anche come strutture od Enti, sia in Italia che all’estero. Nel seguente curriculum si dà conto dettagliatamente dell'attività svolta nel settore specifico, ordinata per anno di esecuzione. Presso la sua sede laboratorio sono consultabili le documentazioni sia scritte che fotografiche dei lavori svolti, di cui è stata consegnata copia ai committenti; alcuni lavori sono inoltre stati oggetto di approfondimento e pubblicazione. Contatti Sede legale e laboratorio in Laboratorio in Via dei Priori, 84 Viale Manzoni, 26 - 00185 Roma 06123 Perugia Tel: 06-70.49.52.82 fax: 06-77.200.500 Tel: 075-57.31.532 Mail: [email protected] Mail: [email protected] Sito: www.cbccoop.it FB: @cbccoop Dati Amministrativi Codice Fiscale e numero d’iscrizione al Registro delle Imprese di Roma: N. 02681720583 P.IVA: N. 01101321006 – R.E.A. di Roma: N. 413625 del 12.03.1977 Albo Provinciale delle Imprese Artigiane: N. 133916 del 05.06.1980 Albo delle Società Cooperative al n. A125967 del 23/03/2005 Attestazione di qualificazione alla esecuzione dei lavori pubblici n. 8971/58/01 rilasciata dalla ITALSOA SpA per la Categoria OS2A Classifica IV. DIPINTI MURALI E STUCCHI 2018 Milano, Villa Simonetta Decorazioni dipinte e stucchi delle due stanzette a lato dell’abside nella Cappella Gentilizia Scuole Civiche di Milano 2018-2017 Roma, Chiesa di Santa Maria in Monticelli Attr. -
Corsini Library Collection
THE CORSINI PROJE ct The prestigious drawing collection of the Fondo Corsini (Corsini Library Collection) - now preserved at the National Graphics Institute in Palazzo Poli at the Trevi Fountain - was created under the auspices of Neri Maria Corsini, a diplomat and man of culture born to a noble Florentine family. He was the grandson of Clement XII, who was pope from 1730 to 1740; in addition to their collection of prints and drawings, both uncle and nephew amassed a rich library, numerous paintings, and art of the past as well as works of their own times. To accommodate this large collection, the Corsini family acquired Palazzo Riario alla Lungara. The building was renovated and expanded by the Florentine architect Ferdinando Fuga, and soon became Rome’s largest private palazzo. The volumes containing the drawings and prints were stored, along with printed books, on the first floor of Palazzo Corsini, in the library the pope had given his nephew in 1733 after making him cardinal. The Florentine scholar Giovanni Gaetano Bottari was hired as librarian, and alongside Neri Maria he helped shape the library’s cultural framework, making it the great institution it remains to this day. The Corsini collection of drawings and prints continued to grow, but in 1883 Prince Tommaso Corsini decided to return to Florence. He sold the palazzo, donated the paintings to the state, and bequeathed the library to the Accademia dei Lincei, which was headquartered in the building. The works of art in the Corsini collection then became the core of the new National Gallery of Ancient Art, while the library holdings were incorporated with the library of the Accademia dei Lincei. -
CULTURAL HERITAGE Working Paper Final
EUI Working Papers AEL 2009/9 ACADEMY OF EUROPEAN LAW Cultural heritage project THE ILLICIT TRAFFIC OF CULTURAL OBJECTS IN THE MEDITERRANEAN edited by Ana Filipa Vrdoljak and Francesco Francioni EUROPEAN UNIVERSITY INSTITUTE , FLORENCE ACADEMY OF EUROPEAN LAW ROBERT SCHUMAN CENTRE MEDITERRANEAN PROGRAMME The Illicit Traffic of Cultural Objects in the Mediterranean EDITED BY ANA FILIPA VRDOLJAK AND FRANCESCO FRANCIONI EUI W orking Paper AEL 2009/9 This text may be downloaded for personal research purposes only. Any additional reproduction for other purposes, whether in hard copy or electronically, requires the consent of the author(s), editor(s). If c ited or quoted, reference should be made to the full name of the author(s), editor(s), the title, the working paper or other series, the year, and the publisher. The author(s)/editor(s) should inform the Academy of European Law if the paper is to be published elsewhere, and should also assume responsibility for any consequent obligation(s). ISSN 1831-4066 © 2009 Ana Filipa Vrdoljak and Francesco Francioni (editors) Printed in Italy European University Institute Badia Fiesolana I – 50014 San Domenico di Fiesole (FI) Italy www.eui.eu cadmus.eui.eu Abstract Ongoing high profile litigation in Europe and the United States against museum officials and art dealers reveals that the illicit trade in cultural heritage is flourishing rather than abating. Ironically, the disparity between the failure of states to sign on to and implement certain multilateral agreements, and escalating cultural loss is particularly significant in the Mediterranean region, because of the cultural wealth located in the Mediterranean Sea and the countries which surround it. -
Rome in the 18R.Li Century
fl urn Rome in the 18r.li Century •ii" On the cover: Giovanni Battista Piranesi Detail of the Fontana di Trevi WS'? 0FP/C6- SLIDE UBRARY Artists in Rome in the 18th Century: Drawings and Prints The Metropolitan Museum of Art February 28 - May 7, 1978 Copyright © 1978 by The Metropolitan Museum of Art • This exhibition has been made possible through <^ a grant from the Esther Annenberg Simon Trust V V The drawings, prints, and oil sketches brought together for this exhibition offer eloquent testimony to the rich diversity of artistic activity in eighteenth-century Rome. They are the work of artists of many nationalities—Italian, French, English, Dutch, Flemish, and German—but all were executed in Rome in the course of the century. The city retained in the 1700's its position as a major artistic center, though outdistanced by Paris for first place. Rome continued to be the city to which artists came to learn, by studying and copying the ruins of Classical Antiquity and the great works of the Renaissance and Baroque periods. Papal and princely patronage continued to attract artists from all Europe, but commissions were no longer on the very grand scale of previous centuries. History painting remained a Roman specialty, occupying the highest rank in the hierarchy of painting. Preparatory drawings for major projects by Giuseppe Chiari, Pompeo Batoni, Benedetto Luti, and the Frenchman Pierre Subleyras document this side of Roman production. Sculpture flourished—witness drawings by Pietro Bracci and Camillo Rusconi for important tombs, and Luigi Vanvitelli's designs for the throne of St. -
Arch. Massimo Locci Via Arbia 70, 00199 Roma, Tel 06.8415615, [email protected]
Arch. Massimo Locci via Arbia 70, 00199 Roma, tel 06.8415615, [email protected] Massimo Locci curriculum vitae Massimo Locci è nato a Cagliari nel 1952, si è laureato in Architettura a Roma nel 1978 con il massimo dei voti, dal 1979 è iscritto all'Ordine degli Architetti di Roma e Provincia. Dal 1983 svolge attività didattica come professore a contratto in numerose Università italiane tenendo corsi di Composizione, Gestione dell’innovazione e dei processi progettuali, Allestimento. Ha scritto numerosi libri e saggi su riviste di settore di analisi urbana, storia e critica architettonica. E’ membro della Giunta e del Consiglio direttivo nazionale dell'IN/ARCH (Istituto Nazionale di Architettura) e del Comitato Scientifico della Casa dell’Architettura di Roma. Fa parte della redazione della rivista on line Presst/Letter e della rivista internazionale “Le Carrè Bleu”. E’ stato direttore del canale multimediale MEDIARCH e vicedirettore della rivista AR, entrambi dell’Ordine degli Architetti di Roma, ha fatto parte delle redazioni delle riviste: L’Architettura C/S, L’Architetto Italiano, Compasses, D’Architettura. Nell’attività professionale si è occupato di recupero urbano, attrezzature e servizi pubblici (uffici, scuole, parchi, strutture universitarie ed espositive) e privati (alberghi, uffici, centri commerciali). Molte sue opere sono state pubblicate su Domus, Casabella, Controspazio, Wettbewerbe. In considerazione delle finalità del Corso tra i lavori professionali svolti da Massimo Locci in qualità di progettista sono stati -
The Trevi Fountain Like You've Never Seen It Before
The Trevi Fountain Like You’ve Never Seen it Before Published on iItaly.org (http://iitaly.org) The Trevi Fountain Like You’ve Never Seen it Before Roberta Cutillo (January 23, 2020) Rome’s Palazzo Poli opens its doors to visitors, who will be able to enjoy a unique view of the iconic Trevi Fountain from the historic villa’s terrace. Built in the 1500s and renovated during the 1700s and 1800s, Palazzo Poli is located in one of the highest points in Rome and serves as the backdrop of the iconic Trevi Fountain, a symbol of the city which attracts thousands of tourists every day. Part of the National Institute for Graphics, the historical palazzo is being turned into a museum. Visitors will be able to tour its beautifully decorated rooms and then proceed up the spiral staircase leading the main attraction: a glorious terrace with breathtaking views of the city and of the fountain designed by Nicola Salvi in 1762, situated directly below. From this unique perspective, visitors will have the chance to see the Roman landmark, which has been featured in countless films (most famously, La Dolce Vita and Roman Holiday) in a whole new light. They will be able to admire details they’ve never seen before, like the two minutely rendered Page 1 of 2 The Trevi Fountain Like You’ve Never Seen it Before Published on iItaly.org (http://iitaly.org) tuba-playing angels holding up the emblem of Pope Clement XII at the very top. The idea of turning Palazzo Poli into a museum came from Maria Cristina Misiti, the Director of the National Institute for Graphics.