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Regione Lazio
REGIONE LAZIO Direzione: POLITICHE ABITATIVE E LA PIANIFICAZIONE TERRITORIALE, PAESISTICA E URBANISTICA Area: SUPPORTO AI COMUNI PER LA PIANIFICAZIONE URBANISTICA, IL RECUPERO DEI CENTRI STORICI E LA RIQUALIFICAZIONE URBANA DETERMINAZIONE (con firma digitale) N. G13489 del 13/11/2020 Proposta n. 17157 del 06/11/2020 Oggetto: L.R.38/1999-DGR n.855 del 20/12/2018- Bando di concessione contributi ai Comuni, ad esclusione di Roma Capitale, per la realizzazione di opere e lavori pubblici finalizzati alla tutela e al recupero degli insediamenti urbani storici, ex L.R. n. 38/1999. Presa d'atto dei lavori della Commissione. Proponente: Estensore LO GATTO GIULIA _________firma elettronica______ Responsabile del procedimento LO GATTO GIULIA _________firma elettronica______ Responsabile dell' Area F. BISOGNI __________firma digitale________ Direttore Regionale M. MANETTI __________firma digitale________ Firma di Concerto Pagina 1 / 12 Richiesta di pubblicazione sul BUR: SI OGGETTO: L.R.38/1999-DGR n.855 del 20/12/2018- Bando di concessione contributi ai Comuni, ad esclusione di Roma Capitale, per la realizzazione di opere e lavori pubblici finalizzati alla tutela e al recupero degli insediamenti urbani storici, ex L.R. n. 38/1999. Presa d’atto dei lavori della Commissione. IL DIRETTORE DELLA DIREZIONE PER LE POLITICHE ABITATIVE E LA PIANIFICAZIONE TERRITORIALE, PAESISTICA E URBANISTICA Su proposta del Dirigente dell’Area Supporto ai Comuni per la Pianificazione Urbanistica il Recupero dei Centri storici e la Riqualificazione Urbana VISTA la Legge statutaria 11 novembre 2004, n. 1 “Nuovo Statuto della Regione Lazio”; VISTA la Legge regionale 18 febbraio 2002, n. 6 e successive modificazioni “Disciplina del sistema organizzativo della Giunta e del Consiglio e disposizioni relative alla dirigenza ed al personale regionale”; VISTO il regolamento regionale 6 settembre 2002, n. -
Liturgy, Space, and Community in the Basilica Julii (Santa Maria in Trastevere)
DALE KINNEY Liturgy, Space, and Community in the Basilica Julii (Santa Maria in Trastevere) Abstract The Basilica Julii (also known as titulus Callisti and later as Santa Maria in Trastevere) provides a case study of the physical and social conditions in which early Christian liturgies ‘rewired’ their participants. This paper demon- strates that liturgical transformation was a two-way process, in which liturgy was the object as well as the agent of change. Three essential factors – the liturgy of the Eucharist, the space of the early Christian basilica, and the local Christian community – are described as they existed in Rome from the fourth through the ninth centuries. The essay then takes up the specific case of the Basilica Julii, showing how these three factors interacted in the con- crete conditions of a particular titular church. The basilica’s early Christian liturgical layout endured until the ninth century, when it was reconfigured by Pope Gregory IV (827-844) to bring the liturgical sub-spaces up-to- date. In Pope Gregory’s remodeling the original non-hierarchical layout was replaced by one in which celebrants were elevated above the congregation, women were segregated from men, and higher-ranking lay people were accorded places of honor distinct from those of lesser stature. These alterations brought the Basilica Julii in line with the requirements of the ninth-century papal stational liturgy. The stational liturgy was hierarchically orga- nized from the beginning, but distinctions became sharper in the course of the early Middle Ages in accordance with the expansion of papal authority and changes in lay society. -
Falda's Map As a Work Of
The Art Bulletin ISSN: 0004-3079 (Print) 1559-6478 (Online) Journal homepage: https://www.tandfonline.com/loi/rcab20 Falda’s Map as a Work of Art Sarah McPhee To cite this article: Sarah McPhee (2019) Falda’s Map as a Work of Art, The Art Bulletin, 101:2, 7-28, DOI: 10.1080/00043079.2019.1527632 To link to this article: https://doi.org/10.1080/00043079.2019.1527632 Published online: 20 May 2019. Submit your article to this journal Article views: 79 View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rcab20 Falda’s Map as a Work of Art sarah mcphee In The Anatomy of Melancholy, first published in the 1620s, the Oxford don Robert Burton remarks on the pleasure of maps: Methinks it would please any man to look upon a geographical map, . to behold, as it were, all the remote provinces, towns, cities of the world, and never to go forth of the limits of his study, to measure by the scale and compass their extent, distance, examine their site. .1 In the seventeenth century large and elaborate ornamental maps adorned the walls of country houses, princely galleries, and scholars’ studies. Burton’s words invoke the gallery of maps Pope Alexander VII assembled in Castel Gandolfo outside Rome in 1665 and animate Sutton Nicholls’s ink-and-wash drawing of Samuel Pepys’s library in London in 1693 (Fig. 1).2 There, in a room lined with bookcases and portraits, a map stands out, mounted on canvas and sus- pended from two cords; it is Giovanni Battista Falda’s view of Rome, published in 1676. -
Borgo Pignano - Italy, Tuscany, Siena Area
BORGO PIGNANO - ITALY, TUSCANY, SIENA AREA 100 GUESTS, 40 BEDROOMS BORGO PIGNANO SUMMARY Italy, Tuscany, Siena Area Countryside views Eco-friendly property 100 Guests Swimming pool 40 Bedrooms Landscaped gardens Spa facilities Outdoor living & dining Music & games rooms Wine cellar Events & weddings Wi-Fi LOCATION A magnificent 750 acres estate boasting lush gardens and incredible views of the countryside Italy, Tuscany, Siena Area Borgo Pignano is an 18th century property perched on a GUESTS hilltop, 500 metres above sea level. Located near Volterra and San Gimignano in Tuscany, the “borgo” (hamlet) is up to 100 comprised of an 18th century villa, a 13th century consecrated church, and multiple restored farmhouses and cottages, sleeping just under 100 guests in total. BEDROOMS The 300 hectares of land surrounding the hamlet are divided 40 into woods, fields, ponds, vegetable gardens and pastures for horses, making it an idyllic countryside escape. RENTAL PERIOD The main villa is stunning and immaculate, with a style that Nightly crosses effortlessly from historical to contemporary. It is composed of two wings; the western wing looks out towards the Mediterranean Sea and the eastern wing faces the fields PRICE and hills that lead to San Gimignano. From 20,000 EUR On the western side, the lawn leads on to the countryside with hills rolling away towards the far horizon. There is a MORE stunning pool carved from an ancient limestone quarry and its infinity edge overlooks the woods and hills below. Price per night. Minimum stay 3 nights in peak season, The eastern wing opens on to a luscious Mediterranean 2 nights in high and mid- garden with purple, mauve and lavender hues whilst the seasons, 1 night in shoulder northern garden of the property leads into the surrounding seasons. -
Borgo Pignano Press Pack 2021.Pdf
PRESS PACK 2021 ABOUT BORGO PIGNANO Borgo Pignano is set in the heart of a picturesque 750-acre organic estate in Tuscany, where Etruscans were the first settlers. The estate is a short drive from the medieval hilltop towns of Volterra and San Gimignano and is only 1 hour’s drive from Florence. Today, this sensitively restored and privately-owned Borgo offers warm hospitality in a tranquil setting at 500 metres above sea level, with some of the most commanding views in all of Tuscany. ACCOMMODATION Accommodation is spread over the estate and includes: • The 18th century Villa • The Hamlet • La Canonica (The Priest’s House) • Individual luxury villas NEW for 2021: Refurbished Villa La Fonte New Villa La Lavandaia THE VILLA Borgo Pignano’s main building is an 18th century noble house, surrounded by traditionally planted English gardens overlooking pristine landscapes of Tuscany that have changed little since Renaissance times. The Villa offers 14 elegant rooms and suites, some with original frescoes and all with en- suite white marble and travertine bathrooms. A grand stone staircase leads to the upper floors also accessible by an elevator. Rooms are furnished with exquisite antiques, original artworks, Italian linens and chandeliers. The main villa also features spacious common rooms that complete the country house atmosphere: the library, billiard room, ballroom and lounge offer a variety of environments where guests can relax. LA CANONICA Dating back to the 13th century, La Canonica can be used as one large three-bedroomed house or, independently, divided as two separate suites. La Canonica, the Priest’s house, is located next to the ancient church of San Bartolomeo and contains original features such as medieval stonework, archways, columns, vaulted ceilings, terracotta floors and restored medieval frescoes. -
Sezioni Mostra
SEZIONI MOSTRA L’esposizione è suddivisa in tre sezioni : Prima della Spina La Spina dei Borghi Cavare la “spina” a San Pietro PRIMA DELLA SPINA Tramite sculture, affreschi, disegni, dipinti e cartografie si racconterà come questo territorio passò dall’essere marginale e inospitale ad esercitare una forte attrazione urbanistica su Roma divenendone parte integrante. Escluso dal perimetro delle mura, povero e malsano a causa dei frequenti straripamenti del Tevere, questo territorio iniziò ad esercitare una forte attrazione urbanistica su Roma solo a partire dalla prima età imperiale. A seguito di interventi di bonifica furono realizzate le prime ville suburbane le più famose delle quali appartenevano ad Agrippina e Domizia. Giardini dal ricco arredo scultoreo si alternavano a costruzioni sfruttando scenograficamente la topografia dei luoghi, vicini al fiume e prossimi ai rilievi del colle Vaticano, del Monte Santo Spirito e del Gianicolo. Lungo le due strade principali che attraversavano la zona, la via Triumphalis e la via Cornelia, si addensarono diversi monumenti funerari (tra le memorie più evidenti, oggi, il mausoleo di Adriano, la necropoli vaticana – sotto la Basilica – e quella dell’Autoparco Vaticano e di S. Rosa). Se il termine “ Vaticano ” è oggi immediatamente riconducibile a San Pietro e al cristianesimo, in età imperiale ebbe una valenza fortemente pagana : quest’area ospitò infatti un luogo di culto dedicato alla dea frigia Cibele chiamato, per l’appunto, Vaticanum o Phrygianum Vaticanum frequentato ancora fin quasi alla fine del IV sec. d.C ., in compresenza e forse in contrapposizione alla nuova fede emergente, il cristianesimo. Nel corso dell’alto medioevo, intorno alla Basilica si sviluppò una vera e propria area sacra con monasteri, diaconie, chiese: burgs era il termine con cui i pellegrini germanici definivano l’agglomerato da cui “Borgo”. -
Roman Literature from Its Earliest Period to the Augustan Age
The Project Gutenberg EBook of History of Roman Literature from its Earliest Period to the Augustan Age. Volume I by John Dunlop This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at http://www.gutenberg.org/license Title: History of Roman Literature from its Earliest Period to the Augustan Age. Volume I Author: John Dunlop Release Date: April 1, 2011 [Ebook 35750] Language: English ***START OF THE PROJECT GUTENBERG EBOOK HISTORY OF ROMAN LITERATURE FROM ITS EARLIEST PERIOD TO THE AUGUSTAN AGE. VOLUME I*** HISTORY OF ROMAN LITERATURE, FROM ITS EARLIEST PERIOD TO THE AUGUSTAN AGE. IN TWO VOLUMES. BY John Dunlop, AUTHOR OF THE HISTORY OF FICTION. ivHistory of Roman Literature from its Earliest Period to the Augustan Age. Volume I FROM THE LAST LONDON EDITION. VOL. I. PUBLISHED BY E. LITTELL, CHESTNUT STREET, PHILADELPHIA. G. & C. CARVILL, BROADWAY, NEW YORK. 1827 James Kay, Jun. Printer, S. E. Corner of Race & Sixth Streets, Philadelphia. Contents. Preface . ix Etruria . 11 Livius Andronicus . 49 Cneius Nævius . 55 Ennius . 63 Plautus . 108 Cæcilius . 202 Afranius . 204 Luscius Lavinius . 206 Trabea . 209 Terence . 211 Pacuvius . 256 Attius . 262 Satire . 286 Lucilius . 294 Titus Lucretius Carus . 311 Caius Valerius Catullus . 340 Valerius Ædituus . 411 Laberius . 418 Publius Syrus . 423 Index . 453 Transcriber's note . 457 [iii] PREFACE. There are few subjects on which a greater number of laborious volumes have been compiled, than the History and Antiquities of ROME. -
The Soundscape of the Trevi Fountain in Covid-19 Silence Received Jul 15, 2020; Accepted Sep 28, 2020 1 Introduction
Noise Mapp. 2020; 7:212–222 Research Article Enza De Lauro*, Mariarosaria Falanga, and Laura Tedeschini Lalli The soundscape of the Trevi fountain in Covid-19 silence https://doi.org/10.1515/noise-2020-0018 Received Jul 15, 2020; accepted Sep 28, 2020 1 Introduction Abstract: This paper is devoted to the analyses of sound- This paper is about the soundscape of the famous Piazza scape at fontana di Trevi in Rome (Italy) with the aim to Fontana di Trevi in Rome. The piazza itself is a culturally compare its characteristics during the Italian lockdown important place, so that a study of the "sound signature" due to the (Sars-COV2) Covid-19 sanitary emergency and its of the fountain is important for heritage studies. In this pa- characteristics before and after such time. The lockdown per we address the differences that can be objectively mea- has represented an exceptional environment due to the sured in very different situations regarding background silence everywhere, never occurred in centuries, offering noise. the opportunity to recognize the "signature" of the sound At the end of December 2019, in a market of Wuhan in the emitted by the famous Fontana di Trevi and recognize Hubei Province (China), there was a first documented case how it interacts with other features. The signature is im- of anomalous pneumonia, thereafter denominated Covid- portant for preservation issues and cultural heritage. The 19 disease. On January 9, 2020, the Chinese CDC reported soundscape was documented in a field survey by means of that this anomalous pneumonia was due to a new coro- hand held microphones, which acquired simultaneously navirus that was responsible of a Severe Acute Respira- the acoustic wavefield all around the fountain. -
Spolia from the Baths of Caracalla in Sta. Maria in Trastevere Dale Kinney Bryn Mawr College, [email protected]
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College History of Art Faculty Research and Scholarship History of Art 1986 Spolia from the Baths of Caracalla in Sta. Maria in Trastevere Dale Kinney Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: https://repository.brynmawr.edu/hart_pubs Part of the History of Art, Architecture, and Archaeology Commons Custom Citation Kinney, Dale. 1986. " Spolia from the Baths of Caracalla in Sta. Maria in Trastevere." The Art Bulletin 68.3: 379-397. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. https://repository.brynmawr.edu/hart_pubs/90 For more information, please contact [email protected]. Spolia from the Baths of Caracallain Sta. Maria in Trastevere Dale Kinney Eight third-century Ionic capitals with images of Isis, Serapis, and Harpocrates, now in the nave colonnades of Sta. Maria in Trastevere, were taken from one or both of the rooms currently identified as libraries in the Baths of Caracalla. The capitals were transferred around 1140, when the church was rebuilt by Pope In- nocent II. The capitals would have been acquired by confiscation, juridically the pope's prerogative as head of the papal state; the lavish display of all kinds of spolia in Sta. Maria in Trastevere is here interpreted as a self-conscious demon- stration of that prerogative. The identity of the capitals' pagan images would have been unknown to most twelfth-century observers, because the only accessible keys to the correct identifications were one sentence in Varro's De lingua latina and another in Saint Augustine's De civitate Dei. -
In Lazio, Umbria E Toscana Ci Sono Antichi Borghi Dove Rivivere Culture E Tradizioni Di Un Tempo. Tour Operator
Tour Operator In Lazio, Umbria e Toscana ci sono antichi borghi dove rivivere culture e tradizioni di un tempo. Tour Operator Pensiamo e realizziamo viaggi per vivere le tradizioni ancora custodite in luoghi lontani dal turismo di massa. “Ogni volta che costruisco un tour per un cliente la mia mente vola in quei luoghi. È come se fossi lì a respirare quell’aria... Che bello! È affascinante e straordinariamente coinvolgente. Amo il mio lavoro” Stefano Capoccioni Try Nature www.trynature.it 1 La città scelta dai Papi, nel cuore della Tuscia. viterbo Dal contrasto tra le vecchie e le nuove tendenze artistiche gli umili costruttori viterbesi del dodicesimo secolo seppero trarre, con innato e tradizionale senso dell’arte, gli elementi per abbellire ed in- gentilire le loro case creando un proprio stile che desta sorpresa e ammirazione. Non per la grandiosità degli edifici, sibbene per la originalità dei particolari per la eleganza degli ornati, per l’ardi- tezza delle scale esterne o per lo slancio dei balconi, ogni abitazione, anche la più modesta, si distingue e si nobilita nell’ar- monia dell’insieme. Forse è per questo che tutto il quartiere di San Pellegrino ha conservato pressoché immutato, per tanti secoli, il suo origi- nario aspetto attraverso il quale pare di sentire lo spirito. A.D. 1961 Associazione Amici dei Monumenti 2 3 Questo borgo è stato nei secoli chiamato dai poeti “La città che muore” per via dei lenti franamenti della montagna sulla quale è adagiato; oggi, come uno scrigno, conserva le culture e le tradizioni di un tempo. -
Statistiche Regionali Lazio 2019
Statistiche regionali Il mercato immobiliare residenziale LAZIO data di pubblicazione: 4 giugno 2019 periodo di riferimento: anno 2018 a cura della Direzione Regionale Lazio (Moreno Balestro) in collaborazione con Ufficio Provinciale Territorio di Roma (Emanuela Fantaccione) Direzione provinciale di Frosinone – Ufficio Provinciale Territorio (Giovanni De Vincentis) Direzione provinciale di Latina – Ufficio Provinciale Territorio (Angela Sileo) Direzione provinciale di Rieti – Ufficio Provinciale Territorio (Alessandro Micheli) Direzione provinciale di Viterbo – Ufficio Provinciale Territorio (Laura Mencarini) Direzione Centrale Servizi Estimativi e Osservatorio Mercato Immobiliare [email protected] data di pubblicazione: 4 giugno 2019 periodo di riferimento: anno 2018 Le informazioni rese nella presente nota sono di proprietà esclusiva dell’Agenzia delle Entrate. Non è consentito vendere, affittare, trasferire, cedere i dati contenuti in questa pubblicazione, o assumere alcune altre obbligazioni verso terzi. Le informazioni possono essere utilizzate, anche ai fini della loro elaborazione, purché, nel caso di pubblicazione, venga citata la relativa fonte. Indice Il mercato immobiliare residenziale della regione ....................................................................................................................................3 Le compravendite ................................................................................................................................................................................4 -
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.