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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. -
Mattia & Marianovella Romano
Mattia & MariaNovella Romano A Selection of Master Drawings A Selection of Master Drawings Mattia & Maria Novella Romano A Selection of Drawings are sold mounted but not framed. Master Drawings © Copyright Mattia & Maria Novelaa Romano, 2015 Designed by Mattia & Maria Novella Romano and Saverio Fontini 2015 Mattia & Maria Novella Romano 36, Borgo Ognissanti 50123 Florence – Italy Telephone +39 055 239 60 06 Email: [email protected] www.antiksimoneromanoefigli.com Mattia & Maria Novella Romano A Selection of Master Drawings 2015 F R FRATELLI ROMANO 36, Borgo Ognissanti Florence - Italy Acknowledgements Index of Artists We would like to thank Luisa Berretti, Carlo Falciani, Catherine Gouguel, Martin Hirschoeck, Ellida Minelli, Cristiana Romalli, Annalisa Scarpa and Julien Stock for their help in the preparation of this catalogue. Index of Artists 15 1 3 BARGHEER EDUARD BERTANI GIOVAN BAttISTA BRIZIO FRANCESCO (?) 5 9 7 8 CANTARINI SIMONE CONCA SEBASTIANO DE FERRARI GREGORIO DE MAttEIS PAOLO 12 10 14 6 FISCHEttI FEDELE FONTEBASSO FRANCESCO GEMITO VINCENZO GIORDANO LUCA 2 11 13 4 MARCHEttI MARCO MENESCARDI GIUSTINO SABATELLI LUIGI TASSI AGOSTINO 1. GIOVAN BAttISTA BERTANI Mantua c. 1516 – 1576 Bacchus and Erigone Pen, ink and watercoloured ink on watermarked laid paper squared in chalk 208 x 163 mm. (8 ¼ x 6 ⅜ in.) PROVENANCE Private collection. Giovan Battista Bertani was the successor to Giulio At the centre of the composition a man with long hair Romano in the prestigious work site of the Ducal Palace seems to be holding a woman close to him. She is seen in Mantua.1 His name is first mentioned in documents of from behind, with vines clinging to her; to the sides of 1531 as ‘pictor’, under the direction of the master, during the central group, there are two pairs of little erotes who the construction works of the “Palazzina della Paleologa”, play among themselves, passing bunches of grapes to each which no longer exists, in the Ducal Palace.2 According other. -
The Red Plaques of Gibraltar
THE RED PLAQUES OF GIBRALTAR This document has been compiled by: Julia Harris Contact on: [email protected] Date completed: May 2014 THANKS TO: - Gail Francis-Tiron for her help when needed - Pepe Rosado for reading this and making his valued comments - Claire Montado for giving me some of the older photos to use - My parents for their gentle ‘reminders’ to get this finished and proof reading! INTRODUCTION: These cast iron red plaques were placed around Gibraltar between 1959 and 1975 in possibly the first attempt to present the rocks history to visitors and residents. They were the work of the Gibraltar Museum Committee which at the time was under the chairmanship of the Hon. Mrs Dorothy Ellicott O.B.E., J.P. (see appendix III). Modern information boards will perhaps replace them (see ‘Future’ section below), but I hope this will not happen. They are their own piece of Gibraltar’s history. When I first noticed and started taking photos of these red plaques I looked for a record of how many there were to find. After speaking to The Heritage Trust and Tourist Board I was told there was not an up to date, completed list. So, here is mine, consisting of 49 plaques, some in situ, some not. There could be more around the rock, or in storage, as there are details of up to 53 in a document attached, dated October 1977, (see Appendix I). From this list there are 43 that I have found and are on mine, another 10 I did not find (some I know have been removed from site with no details of where they are stored) and there are 4 that I found that are not on it. -
The Collecting, Dealing and Patronage Practices of Gaspare Roomer
ART AND BUSINESS IN SEVENTEENTH-CENTURY NAPLES: THE COLLECTING, DEALING AND PATRONAGE PRACTICES OF GASPARE ROOMER by Chantelle Lepine-Cercone A thesis submitted to the Department of Art History In conformity with the requirements for the degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada (November, 2014) Copyright ©Chantelle Lepine-Cercone, 2014 Abstract This thesis examines the cultural influence of the seventeenth-century Flemish merchant Gaspare Roomer, who lived in Naples from 1616 until 1674. Specifically, it explores his art dealing, collecting and patronage activities, which exerted a notable influence on Neapolitan society. Using bank documents, letters, artist biographies and guidebooks, Roomer’s practices as an art dealer are studied and his importance as a major figure in the artistic exchange between Northern and Sourthern Europe is elucidated. His collection is primarily reconstructed using inventories, wills and artist biographies. Through this examination, Roomer emerges as one of Naples’ most prominent collectors of landscapes, still lifes and battle scenes, in addition to being a sophisticated collector of history paintings. The merchant’s relationship to the Spanish viceregal government of Naples is also discussed, as are his contributions to charity. Giving paintings to notable individuals and large donations to religious institutions were another way in which Roomer exacted influence. This study of Roomer’s cultural importance is comprehensive, exploring both Northern and Southern European sources. Through extensive use of primary source material, the full extent of Roomer’s art dealing, collecting and patronage practices are thoroughly examined. ii Acknowledgements I am deeply thankful to my thesis supervisor, Dr. Sebastian Schütze. -
Public Health Act
Public Health 1950-07 PUBLIC HEALTH ACT Principal Act Act. No. 1950-07 Commencement 1.4.1950 Enactment 30.3.1950 Amending Relevant current Commencement enactments provisions date Acts 1951-02 s.287 1954-18 s.265(2) 1955-07 s.279 1955-20 – 1955-21 – 1956-12 s.1 1957-06 ss.2, 26, 55, 81, 153, 178(1), 236(1) and 169 1958-07 s.279 1959-11 s.294 1960-15 s.303(1) 1961-12 ss.19(1), 20(4), 24(3), 25(2), 26(3), 27(5), 28(3), 30(2), 36(1), 40(2), 58-60, 77(4), 82(2), 236(4), 255(2), 262(2), 284, 287(3), 293(6), 302(1), 302(1), 303(2) and (3), 306(2) and 330 1961-16 s.143 1961-21 – 1963-03 s.211(1) 1963-19 – 1964-07 – 1964-13 s.269 1965-07 ss.214, 250(2) and 266(1) 1965-30 s.280 1966-07 s.218 1967-12 – 1968-04 ss.214, 216 and 280(10) 1968-21 s.294 Order of 14.10.1969 © Government of Gibraltar (www.gibraltarlaws.gov.gi) 1950-07 Public Health 25.11.1969 Regs. of 28.5.1970 Acts 1971-02 s.282 1972-05 ss.13(12), 21(3), 25(3), 29(2), 30(3), 31(2), 32, 33(6), 37(4), 38(1), 39(2), 40(4), 41(2), 42(2), 43(2), 55(2), 61(3), 65(2), 66(3), 72(2), 77(1), 78(2), 83(2), 84(1), 94, 111, 124, 126(1), 127, 128(1), 129, 130(1), 131(2), 141, 143(4), 144(2), 147, 154(2), 156(1), 157, 158(1), 159(3), 160(4), 163(3), 164, 165, 170(3), 173(4), 174(2), 190, 207, 233, 253(2), 254(2), 257, 259(2), 261(2) and (3), 263(3), 314, 321, 322(2) and 330(6) 1973-08 – 1973-18 s.242 1974-04 s.258 1975-17 ss.100(2), 103-109, 112(1), 116, 117, 119-121, 124, 218, 258 and 337 1976-19 – 1976-20 ss.273, 275, 282(1), 294(1), (4) and (5), 295 and 297(2) 1977-03 ss.113(3), 117(2) and (4), 120(3), 271(1) and (2), 272(3) and Schs. -
Pappagallo Fall 2017
PAPPAGALLOPPAPPAGALLOAPP ’17AGALLOPAPPAGALLO ’17 Funded by the Greater Rockford Italian American Association - GRIAA Fall 2017 P.O. Box 1915 • Rockford, Illinois 61110-0415 A Tribute to Our Veterans Sam Caruana, Carlo Rossi, Benny Frisella awed constructed to replace the bombed out Ramagen Bridge. The by Vets Roll trip that was ‘absolutely amazing’ 104th liberated the Nordhausen Concentration Camp on April 12, 1945. Carlo served in the U.S. Air Force during the Korean War with the 301st Air Police Squadron at Barksdale Air Force Base in Shreveport, Louisiana. Not surprisingly, the site that had the greatest impact on him was the Korean War Memorial. “I was really set off by that,” he said. “It has life-size statues walking through the swamps of Korea, and it’s like you are walking with them.” Benny served in a heavy artillery unit at a missile site in Ne- braska from 1961-64. “Shortly after I got out, President Johnson Carlo Rossi (left), Benny Frisella and Sam Caurana visited Washington, closed up all the missile sites and a lot of guys I was stationed D.C., and other places with ended up in Vietnam,” he said. “I lost quite a few friends.” By Mike Doyle He was impressed by all the sites they visited and singled They numbered 200, representing 12 states, and they were out the Lincoln Memorial and the U.S. Air Force Museum at awed by how they were honored for their service and contribu- Wright-Patterson Air Force Base in Dayton, Ohio, the first stop on tions. On May 21, 2017, Vets Roll 8 took to the road as part of the tour. -
The Urban Development of Rome in the Age of Alexander VII by Dorothy Metzger Habel Review By: John E
Masthead Logo Smith ScholarWorks Art: Faculty Publications Art 6-2006 Reviewed Work(s): The rbU an Development of Rome in the Age of Alexander VII by Dorothy Metzger Habel John E. Moore Smith College, [email protected] Follow this and additional works at: https://scholarworks.smith.edu/art_facpubs Part of the Arts and Humanities Commons Recommended Citation Moore, John E., "Reviewed Work(s): The rU ban Development of Rome in the Age of Alexander VII by Dorothy Metzger Habel" (2006). Art: Faculty Publications, Smith College, Northampton, MA. https://scholarworks.smith.edu/art_facpubs/7 This Book Review has been accepted for inclusion in Art: Faculty Publications by an authorized administrator of Smith ScholarWorks. For more information, please contact [email protected] Review Reviewed Work(s): The Urban Development of Rome in the Age of Alexander VII by Dorothy Metzger Habel Review by: John E. Moore Source: Journal of the Society of Architectural Historians, Vol. 65, No. 2 (Jun., 2006), pp. 306-308 Published by: University of California Press on behalf of the Society of Architectural Historians Stable URL: http://www.jstor.org/stable/25068281 Accessed: 09-07-2018 15:51 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive -
Step + Don Do Rome
Step + Don do Rome February 2, 2018 - February 5, 2018 Friday ColosseumB8 • Piazza del Colosseo, 00184 February 2, 2018 Rome Ciampino Airport F11 • Roma Ciampino Airport (Giovan Battista Pastine Airport), Via Appia Nuova B&B La Terrazza sul Colosseo 1651, 00040 Rome Ciampino, Italy B9 • Via Ruggero Bonghi 13/b, 00184 Rome Basilica of Saint Mary Major B9 • Piazza di S. Maria Maggiore, 42, 00100 Roma RM, Italy Palazzo delle Esposizioni B8 • Via Nazionale 194, Rome, Latium, 00184, Italy Church of St Andrea della Valle B8 • Corso del Rinascimento Rome, Italy 00186 Trevi Fountain B8 • Piazza di Trevi, 00187 Roma, Italy Caffè Tazza d'Oro B8 • 84 Via degli Orfani, 00186 Pantheon B8 • Piazza della Rotonda, 00186 Roma, Italy Freni e Frizioni B8 • Rome Trastevere B8 • Rome Area sacra dell'Argentina B8 • Rome Venice Square B8 • Rome Monument to Vittorio Emanuele II B8 • Piazza Venezia, 00187 Roma, Italy Trajan's Column B8 • Via dei Fori Imperiali, Roma, Italy Imperial Forums B8 • Largo della Salara Vecchia 5/6, 9 00184 Roma, Italy Forum of Augustus B8 • Via dei Fori Imperiali, Rome, Latium, 00186, Italy Forum of Trajan B8 • Via IV Novembre 94, 00187 Roma, Italy Saturday Sunday February 3, 2018 February 4, 2018 B&B La Terrazza sul Colosseo B&B La Terrazza sul Colosseo B9 • Via Ruggero Bonghi 13/b, 00184 Rome B9 • Via Ruggero Bonghi 13/b, 00184 Rome Colosseum Navona Square B8 • Piazza del Colosseo, 00184 B8 • Piazza Navona, 00186 Rome, Italy Imperial Forums Pantheon B8 • Largo della Salara Vecchia 5/6, 9 00184 Roma, Italy B8 • Piazza della Rotonda, -
• Final Exam • Thursday, March 17, 10:3O—12:20, Bagley 131 • Early
• Final exam • Thursday, March 17, 10:3O—12:20, Bagley 131 • Early Final • Saturday, March 12, 1:00-3:00, Smith 304 • Bring Bluebook • Visual ID review posted The Third Rome Matteo Renzi Rome as capital of the Italian nation --1870-1945: Constitutional monarchy --1922-1943/5: Fascist dictatorship (with monarchy) --1946-present: Republic (without monarchy) Victor Emmanuel II (1849-1878) La Questione Romana (The Roman Question) Major issue: temporal power of Papacy Papal position: Temporal power guarantees independence for Pope and Church Italian position: Release from temporal power lets papacy tend to spiritual mission --A capital divided: Italian Rome v. Papal (Black) Rome • Pope Pius IX: 1846-1878 (liberal to conservative) – Neoguelphism: federation of Italian states under Pope – 1848: Pius refuses to support war against Austria --1848-1849 Roman Republic. Mazzini and Garibaldi. --1860-61 Italian Unification Piedmont occupies Papal States except Lazio --September 20, 1870: Italians take Rome after Napoleon III shifts troops to Franco-Prussian War --Pope does not recognize Italian sovereignty and self-declares as prisoner of the Vatican Rome 1870, Italian troops enter city near Porta Pia Quirinal Palace: summer residence of popes becomes the residence of King of Italy Pius IX’s Culture wars --1854 Dogma of Immaculate Conception of Mary --1858 Kidnapping of Edgardo Mortara --1864 Syllabus of Errors Papal condemnation of modern relativism: no religious pluralism, freedom of press, separation of church and state Error #80 “It is anathema -
The Roman Catholic Religion in Italy
BIBLIOTHECA SACRA THEOLOGICAL REVIEW. NO. xx. NOVEMBER, 1848. ARTICLE 1. THE ROMAN CATHOLIC RELIGION IN ITALY. By B. R. Edwards, Prof""""r at Andover. OVER the door of the Basilica of St. John Lateran in Rome are the wordS: Sacro sancia Lateranensis Eccleaia, omnium urbis et orbis Eccleaiarum Mater et Caput. This is no idle boast. The realm over which Augustus Caesar swayed his sceptre was narrow compared with that of his spiritual successor. The encyclical letter which emanates from the Quirinal Palace is addressed to one half the' civ ilized world, and binds the consciences of a fourth of the human race. What is the complexion of this religion at home? What are its fea tures when seen on its native ~il? Does tbe heart of the great sy.. &em beat with energy, or does it give signs of decay and dissolution? We are naturally interested in visiting the spring of a mighty river. in examining the elements of an influence that has shaped the destiny of the world through one third of its duration. When viewed historically the subject is one of extraordinary inter est. It is often said that men are never aroused in the highest de gree, except on religious grounds; that to accomplish a great and difficult political object, the conscience must be invoked; motives that· reach beyond the grave must be appealed to. In Italy this complex ity of motives, this intermingling of human passions with the awful aaoctions of religion, this blending of civil and ecclesiastical interests have been witnessed as they have been nowhere elae. -
Barocci's Immacolata Within 'Franciscan' Umbria
IAN VERSTEGEN Barocci’s Immacolata within ‘Franciscan’ Umbria Abstract This article addresses the iconography of Federico Barocci's Immaculate Conception by inves- tigating local customs. Seeing Urbino and greater Umbria as a region of semiofficial Franciscan belief makes it is possible to understand how Barocci was able to reflect in a precocious way on this venerable subject. Because the belief in Mary's immaculacy was taken for granted, it was possible for an audience to work with a more abbreviated iconography, which became a model for seventeenth century art. The model of sectarian belief is useful for understanding the uni- versality of counterreformation belief and its enforcement in post-Tridentine Italy. Fig. 1: Federico Barocci, Immaculate Conception, c. 1577, Oil on canvas, Galleria Nazionale delle Marche, Urbino 1. Introduction <1> Rome and province, center-periphery, Catholic rite and local custom, have been at the center of definitions of Catholic reform.1 After exchanging the monolithic “counter-reformation” for a more flexible concept of Catholic reform, historians have sought to define how and when canonical teachings and edicts of the pope were actually observed in Italy. One way to discern regularity without demanding the full uniformity of a classic counter-reformation definition of Catholicism is to study the sectarian beliefs that were allowed to be practiced within those same sects. For example, the powerful Franciscans held to aggressive beliefs about Mary that were contrary to accepted church doctrine yet were allowed to use their own breviary, even after Pius V’s reform of the liturgy. <2> This article examines such a case of regional belief that was allowed to seep even into the met- ropolitan structure of a city – Urbino – where the dogma of the Immaculate Conception was celebrated in the conventual church of San Francesco via Federico Barocci’s precocious paint- ing (Fig. -
Shifting Definitions of Movement and Place in Early Modern Rome
THE PALACE-CITY INTERFACE: SHIFTING DEFINITIONS OF MOVEMENT AND PLACE IN EARLY MODERN ROME by MATTHEW G. MCKINNON A THESIS Presented to the Department of History of Art and Architecture and the Robert D. Clark Honors College in partial fulfillment of the requirements for the degree of Bachelor of Arts June 2019 An Abstract of the Thesis of Matthew G. McKinnon for the degree of Bachelor of Arts in the Department of History of Art and Architecture to be taken June 2019 The Palace-City Interface: Shifting Definitions of Movement and Place in Early Modern Rome Approved: _______________________________________ James G. Harper This essay considers four seventeenth-century Roman palaces in the contexts of topographical setting and city circulation, with particular attention to the façade as a definer of place. It draws on seventeenth-century guidebooks, etchings, and maps, analyzing them within the frameworks of papal urbanism and dynastic self- representation. The results of the analysis show that, during each pontificate from 1605-67, the pope encouraged his relatives to develop or redevelop the family palace in a way that would inscribe their image onto the city. Once constructed, each palace became the center of an urban node, symbolically connected with other monumental landmarks by the viewer’s movement through the city. The space around the palace façade was also subject to design, and each pope utilized different strategies to enhance the location and context of his family’s palace. Comparing the cases, the essay argues that Innocent X and Alexander VII integrated public-welfare urbanism more fully into the family palace project.