DOCSLIB.ORG

Velkommen Til

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Velkommen Til Velkommen til Romatur 1.–7.april 2017 Gruppe A #lvsroma2017 #lundeneset I dette heftet finner du program, praktiske opplysninger, deltakerliste m.m. Endringer vil mest sannsynlig forekomme. Følg derfor alltid med på beskjedene som blir gitt i plenum. Navn: Innholdsliste Innholdsliste ..................................................................................................................................................................... 1 Velkommen til Romatur! .................................................................................................................................................. 2 Reglement for studietur 2017 .................................................................................................................................. 2 Husk å ta med ........................................................................................................................................................... 2 La være å pakke ........................................................................................................................................................ 2 Program og logg ....................................................................................................................................................... 2 Måltider og mat ........................................................................................................................................................ 3 Innreise og helse ...................................................................................................................................................... 3 Strøm ........................................................................................................................................................................ 3 Trafikk ....................................................................................................................................................................... 3 Nødtelefon ............................................................................................................................................................... 3 Skikk og bruk ............................................................................................................................................................ 3 Fakta om Roma ........................................................................................................................................................ 3 Hotellet vårt ..................................................................................................................................................................... 4 Romfordeling på hotellet og telefonliste ................................................................................................................. 4 Metro ............................................................................................................................................................................... 5 Praktiske reisetips ............................................................................................................................................................ 6 Tips til aktiviteter ............................................................................................................................................................. 7 Lørdag 1. april ................................................................................................................................................................... 8 Søndag 2. april .................................................................................................................................................................. 9 Mandag 3. april .............................................................................................................................................................. 10 Tirsdag 4. april ................................................................................................................................................................ 11 Onsdag 5. april ............................................................................................................................................................... 12 Torsdag 6. april ............................................................................................................................................................... 13 Fredag 7. april ................................................................................................................................................................. 14 Egne notater: .................................................................................................................................................................. 14 Egne notater: .................................................................................................................................................................. 15 1 Velkommen til Romatur! Vi har som målsetting at alle skal trives, ha det gøy, lære MYE nytt og få oppleve nye og spennende steder. Dette har vi absolutt mulighet til når vi skal tilbringe nesten uke i denne innholdsrike byen i Italia. Byen har vært sentral for Europas utvikling opp igjennom historien og preger i stor grad landet vårt i dag. Noe av dette vil vi forhåpentligvis lære om på studieturen. Vi gleder oss, gjør du? Vi anbefaler å sette seg inn i programmet for dagene! Reglement for studietur 2017 For at vi skal få til den turen vi ønsker, må vi ha noen rammer å holde oss til. Dette er en studietur i Lundenesets regi, og skolereglementet ligger til grunn. Men vi vil poengtere følgende: 1. Instrukser fra turlederne skal respekteres. 2. Vis respekt for lokale regler og lover. 3. Gå aldri ut alene! Gi beskjed til en av turlederne når og hvor dere går. 4. Alle må være med på de obligatoriske programpostene. 5. Alle skal være tilbake til hotellet innen kl. 22.00 om ikke annet er avtalt. 6. All bruk og kjøp av alkohol og andre rusmiddel er forbudt. Brudd på denne regelen vil føre til tidsavgrensa utvisning fra skolen. 7. Det er ikke lov å ta tatovering, piercing eller lignende. 8. I og med at dette er en skoletur, vil eventuelle brudd kunne føre til ordens-/ adferds merknader på skolen. Husk å ta med • Pass • Helsetrygdekort • Reiseforsikringsbevis • Penger/VISA kort (eller annet bankkort) • Gode sko (Joggesko! Vi skal gå nokså mye) • Skrivesaker, bibel etc. • Klær: Litt sommerklær og litt varme klær (husk jakke). Husk kleskode i kirker. Sjekk YR.no eller Accuweather.com. • Lader/adapter • Max bagasje 20 kg koffert + håndbagasje 10 kg. Gjelder begge veier. • Sekk til å bære på ryggen når vi er ute og går. La være å pakke • Skarpe ting i handbagasjen • Beholdere på over 100 ml i handbagasjen Program og logg På de neste sidene følger opplysninger om hotell, reiseråd til landa (UD), dagsprogram og plass til å skrive logg. Det kan bli endringer på programmet dersom det blir nødvendig, eller det skulle dukke opp noe spennende! Husk å føre logg hver dag. Den er kjekk å ha når du skal se tilbake på turen! I tillegg vil du få bruk for den i skolearbeidet når vi kommer tilbake til Lundeneset. 2 Måltider og mat Alle får utdelt matpenger på forhånd som skal dekke de måltidene som ikke er felles under turen (se på dagsprogram). Når det står i programmet at måltidene er «På egen hånd», betyr det at du bruker av de pengene du har fått utdelt. Innreise og helse • Gyldig pass. • Helsetrygdekort. Strøm Italia har samme strømstyrke som Norge, men ofte trenger man adapter pga stor variasjon av støpsler. Trafikk Italienere har en mer offensiv kjørekultur enn vi er vant med i Norge. Fotgjengere bør være oppmerksomme og se seg godt for før de går over veien, selv på grønt lys og i fotgjengeroverganger. Nødtelefon Felles nødnummer i Italia: 112 Pass godt på vesker og verdisaker. Pass må alltid medbringes for å kunne identifisere seg i Italia. Helsemessige og sanitære forhold er stort sett gode, men kan variere. Skikk og bruk • Turister må ikke gå med bare skuldre/mage og korte skjørt/shorts ved besøk i kirker og religiøse institusjoner. • Vær oppmerksom på at italienere i større grad enn nordmenn legger vekt på formell høflighet. • Hvis man er i en større gruppe, så vær klar over at det er forbudt å hindre fri fremkomst på offentlig fortau eller gangvei, så pass alltid på at andre kan komme forbi. • Bruk av engelsk er ikke utbredt, og det kan derfor være vanskelig å kommunisere. Selv på hoteller kan man oppleve å møte ansatte i resepsjonen som ikke behersker engelsk. Men om man kan selv bare noen få ord på italiensk, verdsettes dette vanligvis høyt. Fakta om Roma • Hovedstad i Italia • Innbyggertall i Roma er 2,7 millioner. (Innbyggertall i Italia er 58 millioner). • Tidsforskjell: Heldigvis slipper du å stille klokka – samme tidssone som Norge. • Gjennom byen renner elven Tiber, og byen lå opprinnelig på en høyde langs denne elven, men har vokst og spredt seg utover. • Valuta: Myntenheten i Italia er euro. De fleste kredittkort kan anvendes, men bruk av kontanter og sjekker er vesentlig mer utbredt enn i Norge. • Den norske ambassaden Via delle Terme Deciane, 7, 00153 ROMA Ambassadør: Bjørn T. Grydeland Tel: +47 23 95 29 00 +39 06 4523 8100 Internett: http://www.amb-norvegia.it E-post: [email protected] 3 Hotellet vårt HOTEL AREA ROMA Via del Forte Ostiense, 21 00146 Roma, Italia [email protected] Tlf: (+39) 06 5943183 Romfordeling på hotellet og telefonliste Anna Bakkevig Mari Egeland Caroline Sund Naomi Egeland Margrethe
Load more

Recommended publications
  • Rome: a Pilgrim’S Guide to the Eternal City James L
    Rome: A Pilgrim’s Guide to the Eternal City James L. Papandrea, Ph.D. Checklist of Things to See at the Sites Capitoline Museums Building 1 Pieces of the Colossal Statue of Constantine Statue of Mars Bronze She-wolf with Twins Romulus and Remus Bernini’s Head of Medusa Statue of the Emperor Commodus dressed as Hercules Marcus Aurelius Equestrian Statue Statue of Hercules Foundation of the Temple of Jupiter Optimus Maximus In the Tunnel Grave Markers, Some with Christian Symbols Tabularium Balconies with View of the Forum Building 2 Hall of the Philosophers Hall of the Emperors National Museum @ Baths of Diocletian (Therme) Early Roman Empire Wall Paintings Roman Mosaic Floors Statue of Augustus as Pontifex Maximus (main floor atrium) Ancient Coins and Jewelry (in the basement) Vatican Museums Christian Sarcophagi (Early Christian Room) Painting of the Battle at the Milvian Bridge (Constantine Room) Painting of Pope Leo meeting Attila the Hun (Raphael Rooms) Raphael’s School of Athens (Raphael Rooms) The painting Fire in the Borgo, showing old St. Peter’s (Fire Room) Sistine Chapel San Clemente In the Current Church Seams in the schola cantorum Where it was Cut to Fit the Smaller Basilica The Bishop’s Chair is Made from the Tomb Marker of a Martyr Apse Mosaic with “Tree of Life” Cross In the Scavi Fourth Century Basilica with Ninth/Tenth Century Frescos Mithraeum Alleyway between Warehouse and Public Building/Roman House Santa Croce in Gerusalemme Find the Original Fourth Century Columns (look for the seams in the bases) Altar Tomb: St. Caesarius of Arles, Presider at the Council of Orange, 529 Titulus Crucis Brick, Found in 1492 In the St.
    [Show full text]
  • 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.
    [Show full text]
  • 21 CHAPTER I the Formation of the Missionary Gaspar's Youth The
    !21 CHAPTER I The Formation of the Missionary Gaspar’s Youth The Servant of God was born on January 6, 1786 and was baptized in the parochial church of San Martino ai Monti on the following day. On that occasion, he was given the names of the Holy Magi since the solemnity of the Epiphany was being celebrated. I received this information from the Servant of God himself during our familiar conversations. The Servant of God’s parents were Antonio Del Bufalo and Annunziata Quartieroni. I likewise learned from conversation with the father of the Servant of God as well as from him that at first Antonio was engaged in work in the fields but later, when his income was running short, he applied as a cook in service to the most excellent Altieri house. The Del Bufalos were upright people and were endowed sufficiently for their own maintenance as well as that of the family. They had two sons: one was named Luigi who married the upright young lady Paolina Castellini and were the parents of a daughter whose name was Luigia. The other son, our Servant of God. Luigi and Gaspar’s sister-in-law, as well as his father and mother, are now deceased. As far as I know, the aforementioned parents were full of faith, piety and other virtues made know to me not only by the Servant of God, honoring his father and mother, but also by Monsignor [Antonio] Santelli who was the confessor of his mother and a close friend of the Del Bufalo family.
    [Show full text]
  • LIST of PLATES 1. Aula Palatina, Trier, External and Internal View
    vii LIST OF PLATES 1. Aula Palatina, Trier, external and internal view. Photo: J. Hawkes. 2. Basilica Nova, Rome, present view and reconstruction. Photo: author; reconstruction: J. Hawkes. 3. Fragments of the monumental statue of Constantine, Rome. Photo: J. Hawkes. 4. Constantine Arch, Rome. Photo: author. 5. Septimius Severus Arch, Rome. Photo: from Wikimedia Commons. 6. Constantine Arch, re-used Hadrianic tondoes. Photo: author. 7. Map of Constantinian foundations. Photo: from LEHMANN, edited by the author. 8. Plan of St Peter’s Basilica and of Lateran Basilica. Photo: from BRANDENBURG. 9. Plan of Circus Basilicas. Photo: from BRANDENBURG. 10. Santa Costanza, Rome, plan and aerial view. Photo: plan from BRANDENBURG; aerial view: J. Hawkes. 11. Examples of Roman Mausolea. a) Mausoleum of Cecilia Metella, Rome. Photo: author. b) mausoleum of Diocletian, Split. Photo: J. Hawkes. c) Mausoleum of Hadrian, Rome. Photo: author. 12. Santa Costanza, Rome, vault mosaics, cross and lozenges. Photo: author. 13. Santa Costanza, Rome, vault mosaic, vintage scene. Photo: author. 14. Santa Costanza, Rome, vault mosaics, Traditio Legis. Photo: author. 15. Santa Costanza, Rome, vault mosaics, Traditio Pacis. Photo: author. 16. St Peter’s Basilica, Rome, reconstruction of apse mosaic. Photo: from Christiana Loca. 17. San Paolo fuori le mura, Rome, apse mosaic. Photo: from BRANDENBURG. 18. Lateran Basilica, Rome, apse mosaic. Photo: from Wikimedia Commons. 19. Santa Pudenziana, Rome, apse mosaic. Photo: author. 20. Reconstruction of the fastigium at the Lateran Basilica. Photo: from TEASDALE SMITH. 21. Santa Sabina, Rome. Photo: author. 22. Plan of titulus Pammachii (SS Giovanni e Paolo), Rome. Photo: from DI GIACOMO.
    [Show full text]
  • Medieval Rome and Its Monuments
    Dr. Max Grossman Art History 5390 UTEP/John Cabot University Summer II, 2014 Tiber Campus, room 1.3 CRN# 34255 [email protected] MW 9:00am-1:00pm Medieval Rome and its Monuments Dr. Grossman earned his B.A. in Art History and English at the University of California- Berkeley, and his M.A., M.Phil. and Ph.D. in Art History at Columbia University. After seven years of residence in Tuscany, he completed his dissertation on the civic architecture, urbanism and iconography of the Sienese Republic in the Middle Ages and Early Renaissance. He served on the faculty of the School of Art and Design at San Jose State University in 2006-2009, taught art history for Stanford University in 2007-2009, and joined the Department of Art at the University of Texas at El Paso as Assistant Professor of Art History in 2009. During summers he is Coordinator of the UTEP Department of Art in Rome program and Adjunct Assistant Professor of Art History at John Cabot University. He has presented papers and chaired sessions at conferences throughout the United States, including at the annual meeting of the Renaissance Society of America, and in Europe, at the annual meetings of the European Architectural History Network. In April 2012 in Detroit he chaired a session at the 65th Annual Meeting of the Society of Architectural Historians: “Medieval Structures in Early Modern Palaces;” and in the following June he chaired a session at the 2nd International Meeting of the European Architectural History Network in Brussels: “Architecture and Territoriality in Medieval Europe,” which was published in the conference proceedings.
    [Show full text]
  • Translations of the Sacred City Between Jerusalem and Rome
    136 De Blaauw Chapter 6 Translations of the Sacred City between Jerusalem and Rome Sible de Blaauw Several cities and individual churches in the Middle Ages were associated with the idea of representing or incorporating Jerusalem in one manner or another. This widely attested phenomenon occurred in a large range of variants, de- pending on the ‘type’ of Jerusalem represented and the way in which the rep- resentation was made concrete.1 In this contribution, I aim to discuss one of the earliest, and perhaps one of the most notable cases of ‘being’ Jerusalem outside Jerusalem. The church leaders of Rome may have had very specific rea- sons for appropriating the significance of the historical Jerusalem as the an- cient capital of the Roman Empire. Moreover, they may have utilized very specific instruments in order for this claim to materialize. It was rooted in the idea that Christian Rome had been founded directly from Jerusalem by the mission of the apostles Peter and Paul. Rome was, in the words of Jennifer O’Reilly: ‘the western extremity of their evangelizing mission from the biblical centre of the earth at Jerusalem and became the new centre from which their papal successors continued the apostolic mission to the ends of the earth’.2 The existence of the apostles’ tombs, reinforced by the recollections of numer- ous Christian martyrs, was the fundamental factor in making Rome into the new spiritual capital of the Christian world. This claim urged Christian Rome to establish new terms for its relationship with what qualified, perhaps, as ‘the ideological centre of the Christian empire’ in Jerusalem.3 It has been argued that the Roman Church did so by a literal transfer of the significance of earthly Jerusalem to Rome, and hence by making Jerusalem superfluous.
    [Show full text]
  • The Spolia Churches of Rome
    fabricius maria hansen ISBNisbn 978-87-7124-210-2 978-87-7124-210-2 A tour around the Rome of old maria fabricius hansen The church-builders of the Middle 1 The Lateran Baptistery Piazza di San Giovanni in Laterano Ages treated the architecture of 2 Sant’Agnese fuori le Mura Via Nomentana 349 ancient Rome like a quarry full of pre- 3 San Clemente Piazza di San Clemente fabricated building materials. This 4 Santa Costanza Via Nomentana 349 THE 9 788771 242102 resulted in some very eclectically 5 San Giorgio in Velabro Via del Velabro 3 and ingeniously constructed churches. THE SPOLIA 6 San Lorenzo fuori le Mura Piazzale del Verano 3 Søndergaard In The Spolia Churches of Rome we SPOLIA 7 Santa Maria in Cosmedin Piazza Bocca della Verità Trine learn of the principles for the distri- 8 Santa Maria in Trastevere Piazza di Santa Maria in Trastevere Photo: bution of these antique architectural elements and the significance of CHURCHES 9 San Nicola in Carcere Via del Teatro di Marcello 35 About the author breaking down and building on the past. 10 Santa Sabina Piazza Pietro d’Illiria Maria Fabricius Hansen is Also presented here is a selection of 11 Santo Stefano Rotondo Via di Santo Stefano Rotondo 6 eleven particularly beautiful churches an art historian and associate CHURCHES featuring a wide variety of spolia. OF ROME professor at the University of 1 Sant’ Adriano Foro Romano This book contains maps and other Copenhagen. She has written 2 San Bartolomeo all’Isola Piazza di San Bartolomeo all’Isola practical information which make it books and articles on the 3 San Benedetto in Piscinula Piazza in Piscinula the ideal companion when seeking out legacy and presence of antiquity 4 Santa Bibiana Via Giolitti 150 the past in modern-day Rome.
    [Show full text]
  • 018-Santa Pudenziana
    (018/14) Santa Pudenziana ! Main entrance of the church. Santa Pudenziana is a palaeo-Christian church dedicated to St Pudentiana, a legendary Roman martyr. It is also a converted 2nd century Roman bath-house, and one of the few ancient Roman buildings in Rome that has never been a ruin. It is located on the Viminale hill near Santa Maria Maggiore on today’s via Urbana, which corresponds to the old Vicus Patricius. It is now the national church of The Philippines, and is a minor basilica. History The church is one of the tituli, the first parish churches in Rome. It was known as the Titulus Pudentiana, named after the daughter of the Roman Senator St Pudens. It's mentioned in the Liber Pontificalis, and a tombstone from 384 refers to a man named Leopardus as lector de Pudentiana, this name refers to St Pudentiana. This latter form is first attested in the 4th century apse mosaic; earlier (018/14) documents and inscriptions use Pudentiana, who was a daughter of St Pudens and sister of St Praxedes (the nearby church of Santa Prassede is dedicated to her). Though the story of the sisters is somewhat uncertain, it is certain that there was a Christian named Pudens. The house was inherited by his son Novato, who built a bathhouse on the site. Pius I (141-155) later built an oratory in the bathouse, which was rebuilt in the fourth century. The first time this interpretation is mentioned in written sources is in a document from 745. The church is built over the house of St Pudens, which after the deaths of Peter and Paul was used as a 'house church'.
    [Show full text]
  • Expanding the Christian Footprint: Church Building in the City and the Suburbium 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 2017 Expanding the Christian Footprint: Church Building in the City and the Suburbium 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. 2017. "Expanding the Christian Footprint: Church Building in the City and the Suburbium." In I. Foletti and M. Gianandrea (eds.), The iF fth eC ntury in Rome: Art, Liturgy, Patronage, Rome, Viella: 65-97. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. https://repository.brynmawr.edu/hart_pubs/105 For more information, please contact [email protected]. I libri di Viella Arte Studia Artium Mediaevalium Brunensia, 4 Editorial board: Klára Benešovská, Ivan Foletti (dir.), Herbert Kessler, Serena Romano, Elisabetta Scirocco Ivan Foletti Manuela Gianandrea The Fifth Century in Rome: Art, Liturgy, Patronage With articles by Sible de Blaauw, Olof Brandt, Zuzana Frantová and Dale Kinney viella Copyright © 2017 – Viella s.r.l. All rights reserved First published 2017 ISBN 978-88-6728-211-1 Published with the support of the Department of Art History, Masaryk University, Brno Edited by Adrien Palladino viella libreria editrice via delle Alpi 32 I-00198 ROMA tel. 06 84 17 75 8 fax 06 85 35 39 60 www.viella.it Table of contents Introduction 7 I. New Languages Old Patterns Ivan Foletti God From God.
    [Show full text]
  • Book Review—Maria Cristina Carile, the Vision of the Palace of The
    Architecture Publications Architecture 2013 Book Review—Maria Cristina Carile, The iV sion of the Palace of the Byzantine Emperors as a Heavenly Jerusalem Jelena Bogdanović Iowa State University, [email protected] Follow this and additional works at: http://lib.dr.iastate.edu/arch_pubs Part of the Architectural History and Criticism Commons, and the Near Eastern Languages and Societies Commons The ompc lete bibliographic information for this item can be found at http://lib.dr.iastate.edu/ arch_pubs/3. For information on how to cite this item, please visit http://lib.dr.iastate.edu/ howtocite.html. This Article is brought to you for free and open access by the Architecture at Iowa State University Digital Repository. It has been accepted for inclusion in Architecture Publications by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Book Review—Maria Cristina Carile, The iV sion of the Palace of the Byzantine Emperors as a Heavenly Jerusalem Abstract In this inspiring book, The iV sion of the Palace of the Byzantine Emperors as a Heavenly Jerusalem, which is based on her doctoral dissertation (joint doctorate Università degli Studi di Bologna and the University of Birmingham, 2007), art historian Maria Cristina Carile provides an interdisciplinary study about the relationship between the Imperial Palace and the Heavenly Jerusalem. Disciplines Architectural History and Criticism | Architecture | Near Eastern Languages and Societies Comments This book review is from Byzantine Zeitschrift 106 (2013): 193–198, doi:10.1515/bz-2013-0015. Posted with permission. This article is available at Iowa State University Digital Repository: http://lib.dr.iastate.edu/arch_pubs/3 DOI 10.1515/bz-2013-0015 BZ 2013; 106(1): 193–232 II.
    [Show full text]
  • Art, Ritual, and Reform: the Archconfraternity of the Holy
    ART, RITUAL, AND REFORM: THE ARCHCONFRATERNITY OF THE HOLY CRUCIFIX OF SAN MARCELLO IN ROME By KIRA MAYE ALBINSKY A dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Art History Written under the direction of Catherine Puglisi And approved by ___________________________________ ___________________________________ ___________________________________ ___________________________________ New Brunswick, New Jersey October, 2017 ABSTRACT OF THE DISSERTATION Art, Ritual, and Reform: The Archconfraternity of the Holy Crucifix of San Marcello in Rome By KIRA MAYE ALBINSKY Dissertation Director: Catherine Puglisi “Art, Ritual, and Reform” is the first comprehensive study of the social history, devotional practices, and art patronage of the Arciconfraternita del SS. Crocifisso di San Marcello a Roma, one of the most prominent lay religious associations in sixteenth- century Italy. Divided into four main chapters, the dissertation first develops the innovative theory of conspicuous devotion through a documented examination of the company’s religious rituals and urban processions during the Catholic Reformation. The following chapters apply the theory to analyses of the confraternity’s commissions in the Cappella del Crocifisso in San Marcello and the nearby Oratorio del Crocifisso, in which Perino del Vaga (1501–47), Daniele da Volterra (1509–66), Giovanni de’ Vecchi (ca. 1536–1615), Cesare Nebbia (ca. 1536–1614), and Niccolò Circignani (ca. 1517/24–after 1596) painted. Challenging traditional interpretations of Central Italian painting from 1520 to 1590, the object-focused project argues that conspicuous meaning and form served conspicuous devotion to both instruct and inspire, in accordance with the reforms of the Catholic Church.
    [Show full text]
  • The Invention of the Eternal City in Flavio Biondo's Roma Instaurata
    Bard College Bard Digital Commons Senior Projects Spring 2016 Bard Undergraduate Senior Projects Spring 2016 Viget Certe Viget Adhuc: The Invention of the Eternal City in Flavio Biondo's Roma Instaurata Ryan G. Warwick Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2016 Part of the Ancient History, Greek and Roman through Late Antiquity Commons, and the Other Classics Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Warwick, Ryan G., "Viget Certe Viget Adhuc: The Invention of the Eternal City in Flavio Biondo's Roma Instaurata" (2016). Senior Projects Spring 2016. 168. https://digitalcommons.bard.edu/senproj_s2016/168 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Viget certe viget adhuc: The Invention of the Eternal City in Flavio Biondo’s Roma Instaurata Senior Project submitted to The Division of Languages and Literature of Bard College by: By Ryan Warwick Annandale-on-Hudson, New York May 2016 To Professor Lauren Curtis, who taught me how to lose myself in my work and to Ezra, who taught me how to find myself again.
    [Show full text]