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VESPASIAN. AD 68, Though Not a Particularly Constructive Year For
138 VESPASIAN. AD 68, though not a particularly constructive year for Nero, was to prove fertile ground for senators lion the make". Not that they were to have the time to build anything much other than to carve out a niche for themselves in the annals of history. It was not until the dust finally settled, leaving Vespasian as the last contender standing, that any major building projects were to be initiated under Imperial auspices. However, that does not mean that there is nothing in this period that is of interest to this study. Though Galba, Otho and Vitellius may have had little opportunity to indulge in any significant building activity, and probably given the length and nature of their reigns even less opportunity to consider the possibility of building for their future glory, they did however at the very least use the existing imperial buildings to their own ends, in their own ways continuing what were by now the deeply rooted traditions of the principate. Galba installed himself in what Suetonius terms the palatium (Suet. Galba. 18), which may not necessarily have been the Golden House of Nero, but was part at least of the by now agglomerated sprawl of Imperial residences in Rome that stretched from the summit of the Palatine hill across the valley where now stands the Colosseum to the slopes of the Oppian, and included the Golden House. Vitellius too is said to have used the palatium as his base in Rome (Suet. Vito 16), 139 and is shown by Suetonius to have actively allied himself with Nero's obviously still popular memory (Suet. -
Roman Architecture with Professor Diana EE Kleiner Lecture 13
HSAR 252 - Roman Architecture with Professor Diana E. E. Kleiner Lecture 13 – The Prince and the Palace: Human Made Divine on the Palatine Hill 1. Title page with course logo. 2. Domus Aurea, Rome, sketch plan of park. Reproduced from Roman Imperial Architecture by John B. Ward-Perkins (1981), fig. 26. Courtesy of Yale University Press. 3. Portrait of Titus, from Herculaneum, now Naples, Archaeological Museum. Reproduced from Roman Sculpture by Diana E. E. Kleiner (1992), fig. 141. Portrait of Vespasian, Copenhagen. Reproduced from A History of Roman Art by Fred S. Kleiner (2007), fig. 9-4. 4. Roman Forum and Palatine Hill, aerial view. Credit: Google Earth. 5. Via Sacra, Rome. Image Credit: Diana E. E. Kleiner. Arch of Titus, Rome, Via Sacra. Reproduced from Rome of the Caesars by Leonardo B. Dal Maso (1977), p. 45. 6. Arch of Titus, Rome, from side facing Roman Forum [online image]. Wikimedia Commons. http://commons.wikimedia.org/wiki/File:RomeArchofTitus02.jpg (Accessed February 24, 2009). 7. Arch of Titus, Rome, 18th-century painting [online image]. Wikimedia Commons. http://commons.wikimedia.org/wiki/File:7_Rome_View_of_the_Arch_of_Titus.jpg (Accessed February 24, 2009). Arch of Titus, Rome, from side facing Colosseum. Image Credit: Diana E. E. Kleiner. 8. Arch of Titus, Rome, attic inscription and triumphal frieze. Image Credit: Diana E. E. Kleiner. 9. Arch of Titus, Rome, triumphal frieze, victory spandrels, and keystone. Image Credit: Diana E. E. Kleiner. 10. Arch of Titus, Rome, composite capital. Image Credit: Diana E. E. Kleiner. 11. Arch of Titus, Rome, triumph panel. Image Credit: Diana E. E. -
A Study of the Pantheon Through Time Caitlin Williams
Union College Union | Digital Works Honors Theses Student Work 6-2018 A Study of the Pantheon Through Time Caitlin Williams Follow this and additional works at: https://digitalworks.union.edu/theses Part of the Ancient History, Greek and Roman through Late Antiquity Commons, and the Classical Archaeology and Art History Commons Recommended Citation Williams, Caitlin, "A Study of the Pantheon Through Time" (2018). Honors Theses. 1689. https://digitalworks.union.edu/theses/1689 This Open Access is brought to you for free and open access by the Student Work at Union | Digital Works. It has been accepted for inclusion in Honors Theses by an authorized administrator of Union | Digital Works. For more information, please contact [email protected]. A Study of the Pantheon Through Time By Caitlin Williams * * * * * * * Submitted in partial fulfillment of the requirements for Honors in the Department of Classics UNION COLLEGE June, 2018 ABSTRACT WILLIAMS, CAITLIN A Study of the Pantheon Through Time. Department of Classics, June, 2018. ADVISOR: Hans-Friedrich Mueller. I analyze the Pantheon, one of the most well-preserVed buildings from antiquity, through time. I start with Agrippa's Pantheon, the original Pantheon that is no longer standing, which was built in 27 or 25 BC. What did it look like originally under Augustus? Why was it built? We then shift to the Pantheon that stands today, Hadrian-Trajan's Pantheon, which was completed around AD 125-128, and represents an example of an architectural reVolution. Was it eVen a temple? We also look at the Pantheon's conversion to a church, which helps explain why it is so well preserVed. -
St. Peter's Basilica
UF “ROME PROJECT” LESSON 1 Reading and comprehension COLOSSEUM The Colosseum, or the Coliseum, originally the Flavian Amphitheatre (Anfiteatro Flavio or Colosseo), is an amphitheatre in the centre of the city of Rome. It’s the largest amphitheatre ever built in the Roman Empire. It is elliptical in plan and it’s 188 metres long. Inside the Colosseum there were about 50,000 seats for the spectators. The height of the outer wall is 48 meters. The Colosseum was used for gladiatorial contests and public spectacles such as mock sea battles, animal hunts, executions and dramas based on Classical mythology. The Colosseum is one of the symbols of Imperial Rome. ST. PETER’S BASILICA The Papal Basilica of Saint Peter is commonly known as Saint Peter's Basilica and it is a Late Renaissance church located within the Vatican City. In Roman Catholic tradition, the basilica is the burial site of its namesake Saint Peter, who was one of the twelve apostles of Jesus. The basilica is within a forecourt in two sections, both surrounded by tall colonnades. The basilica is cruciform in shape, with an elongated nave in the Latin cross form. The basilica contains a large number of tombs of popes considered outstanding artworks. There are also a number of sculptures in niches and chapels, including Michelangelo’s “Pieta”. The central feature is a baldachin over the Papal Altar designed by Lorenzo Bernini. The Basilica of St. Peter is one of four papal basilicas (Major Basilicas) of Rome: the other basilicas are The Basilica of St. John Lateran, Santa Maria Maggiore and St. -
Spoliation in Medieval Rome 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 2013 Spoliation in Medieval Rome Dale Kinney Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/hart_pubs Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons Custom Citation Kinney, Dale. "Spoliation in Medieval Rome." In Perspektiven der Spolienforschung: Spoliierung und Transposition. Ed. Stefan Altekamp, Carmen Marcks-Jacobs, and Peter Seiler. Boston: De Gruyter, 2013. 261-286. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/hart_pubs/70 For more information, please contact [email protected]. Topoi Perspektiven der Spolienforschung 1 Berlin Studies of the Ancient World Spoliierung und Transposition Edited by Excellence Cluster Topoi Volume 15 Herausgegeben von Stefan Altekamp Carmen Marcks-Jacobs Peter Seiler De Gruyter De Gruyter Dale Kinney Spoliation in Medieval Rome i% The study of spoliation, as opposed to spolia, is quite recent. Spoliation marks an endpoint, the termination of a buildlng's original form and purpose, whÿe archaeologists tradition- ally have been concerned with origins and with the reconstruction of ancient buildings in their pristine state. Afterlife was not of interest. Richard Krautheimer's pioneering chapters L.,,,, on the "inheritance" of ancient Rome in the middle ages are illustrated by nineteenth-cen- tury photographs, modem maps, and drawings from the late fifteenth through seventeenth centuries, all of which show spoliation as afalt accomplU Had he written the same work just a generation later, he might have included the brilliant graphics of Studio Inklink, which visualize spoliation not as a past event of indeterminate duration, but as a process with its own history and clearly delineated stages (Fig. -
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. -
(Thalamus) in Images of the Annunciation of the 14Th-15Th Centuries in the Light of Latin Patristics
International Journal of History and Cultural Studies (IJHCS) Volume 5, Issue 4, 2019, PP 49-70 ISSN 2454-7646 (Print) & ISSN 2454-7654 (Online) DOI: http://dx.doi.org/10.20431/2454-7654.0504005 www.arcjournals.org The Symbol of Bed (Thalamus) in Images of the Annunciation of the 14th-15th Centuries in the Light of Latin Patristics José María Salvador-González* Professor of Art History, Faculty of Geography and History, Complutense University of Madrid, Spain *Corresponding Author: José María Salvador-González, Professor of Art History, Faculty of Geography and History, Complutense University of Madrid, Spain Abstract: This article attempts to interpret the doctrinal meanings hidden under the bed symbol in some images of the Annunciation of the 14th and 15th centuries. For this purpose, thirteen Annunciations of this period which include that piece of furniture are analyzed, and in passing some inadequate interpretations that have been given about any of these pictorial images are evidenced. To justify our interpretations, we rely on an abundant corpus of texts through which many Fathers and theologians of the Latin Church consider the thalamus concept as an eloquent metaphor for the incarnation of the Son of God as a man in the Virgin Mary’s womb, as well as for her virginal divine maternity. Keywords: Christian Iconography – Medieval Art – Annunciation – Christ’s Incarnation. The increasingly complex and detailed images of the Annunciation of the 14th and 15th centuries include almost always some narrative details –such as a stem of lilies,1 a book of prayers, a house in the form of a temple,2 the divine ray of light descending, with the dove of the Holy Spirit, towards the Mary‘s ear,3 or the submissive and demure attitude of the Virgin Mary4—, whose respective symbolism has been highlighted, with greater or lesser success, by numerous experts. -
PDF Hosted at the Radboud Repository of the Radboud University Nijmegen
PDF hosted at the Radboud Repository of the Radboud University Nijmegen The following full text is a publisher's version. For additional information about this publication click this link. http://hdl.handle.net/2066/85949 Please be advised that this information was generated on 2021-10-07 and may be subject to change. KLIO 92 2010 1 65––82 Lien Foubert (Nijmegen) The Palatine dwelling of the mater familias:houses as symbolic space in the Julio-Claudian period Part of Augustus’ architectural programme was to establish „lieux de me´moire“ that were specifically associated with him and his family.1 The ideological function of his female relativesinthisprocesshasremainedunderexposed.2 In a recent study on the Forum Augustum, Geiger argued for the inclusion of statues of women among those of the summi viri of Rome’s past.3 In his view, figures such as Caesar’s daughter Julia or Aeneas’ wife Lavinia would have harmonized with the male ancestors of the Julii, thus providing them with a fundamental role in the historical past of the City. The archaeological evi- dence, however, is meagre and literary references to statues of women on the Forum Augustum are non-existing.4 A comparable architectural lieu de me´moire was Augustus’ mausoleum on the Campus Martius.5 The ideological presence of women in this monument is more straight-forward. InmuchthesamewayastheForumAugustum,themausoleumofferedAugustus’fel- low-citizens a canon of excellence: only those who were considered worthy received a statue on the Forum or burial in the mausoleum.6 The explicit admission or refusal of Julio-Claudian women in Augustus’ tomb shows that they too were considered exempla. -
Reconstructing the Baths of Caracalla
Digital Applications in Archaeology and Cultural Heritage 1 (2014) 45–54 Contents lists available at ScienceDirect Digital Applications in Archaeology and Cultural Heritage journal homepage: www.elsevier.com/locate/daach Reconstructing the Baths of Caracalla Taylor Oetelaar Department of Mechanical and Manufacturing Engineering, University of Calgary, 2500 University Drive, NW Calgary, AB, Canada T2N 1N4 article info abstract Article history: The Baths of Caracalla are the second largest but most complete bathing complex in the city of Rome. Received 20 May 2013 They are a representation of the might, wealth, and ingenuity of the Roman Empire. As such, a brief Received in revised form introduction to the site of the Baths of Caracalla and its layout is advantageous. This article chronicles the 5 October 2013 digital reconstruction process that began as a means to obtain the geometry of one room for the purposes Accepted 9 December 2013 of a thermal analysis. Unlike many reconstructions, this one uses a parametric design program, Available online 21 December 2013 SolidWorks, as the base because it allows for easy and precise manipulation of the geometry. While this recreation still has rough textures, it provides insights into the geometry: particularly surrounding the glass in the windows. The 3D model allows the viewer to partially experience the atmosphere of the site and illustrates its enormity. & 2014 Elsevier Ltd. All rights reserved. 1. Introduction not fully capture the opulence of the Baths, it is a 3D scale model that can provide scholars measurements not available with comparative The Baths of Caracalla in Rome, Italy were the second largest models. -
The Choir Books of Santa Maria in Aracoeli and Patronage Strategies of Pope Alexander VI
University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School January 2013 The hoirC Books of Santa Maria in Aracoeli and Patronage Strategies of Pope Alexander VI Maureen Elizabeth Cox University of South Florida, [email protected] Follow this and additional works at: http://scholarcommons.usf.edu/etd Part of the History of Art, Architecture, and Archaeology Commons, and the History of Religion Commons Scholar Commons Citation Cox, Maureen Elizabeth, "The hoC ir Books of Santa Maria in Aracoeli and Patronage Strategies of Pope Alexander VI" (2013). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/4657 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. The Choir Books of Santa Maria in Aracoeli and Patronage Strategies of Pope Alexander VI by Maureen Cox-Brown A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts School of Art and Art History College of The Arts University of South Florida Major Professor: Helena K. Szépe Ph.D. Elisabeth Fraser Ph.D. Mary Fournier Ph.D. Date of Approval: June 28, 2013 Keywords: Humanism, Antonio da Monza, illuminated manuscripts, numismatics, Aesculapius, Pinturicchio, Borgia Copyright © 2013, Maureen Cox-Brown DEDICATION This is lovingly dedicated to the memory of my mother and her parents. Et benedictio Dei omnipotentis, Patris et Filii et Spiritus Sancti descendat super vos et maneat semper ACKNOWLEDGMENTS I would like to thank Dr. -
A Baroque Denouement: the Direct Influence of Theatre on Bernini's Artistic Work
A Baroque Denouement: The Direct Influence of Theatre on Bernini's Artistic Work Item Type text; Electronic Thesis Authors Francesco, Amelia Rose Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 09/10/2021 06:08:30 Link to Item http://hdl.handle.net/10150/627776 A BAROQUE DENOUEMENT: THE DIRECT INFLUENCE OF THEATRE ON BERNINI’S ARTISTIC WORK By Amelia Francesco ____________________________________________________ Copyright © Amelia Francesco 2017 A Thesis Submitted to the Faculty of the SCHOOL OF ART In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS WITH A MAJOR IN ART HISTORY In the Graduate College UNIVERSITY OF ARIZONA 2017 Francesco 2 STATEMENT BY AUTHOR This thesis titled A Baroque Denouement: The Direct Influence of Theatre on : Bernini’s Artistic Work prepared by Amelia Francesco has been submitted in partial fulfillment of requirements for a master’s degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his or her judgment the proposed use of the material is in the interests of scholarship. -
An Exclusive Concert Series for Orchestras
American Celebration of Music in Italy presents the An exclusive concert series for orchestras Crescendo to Cremona Series Music Celebrations International is pleased to present the Crescendo to Cremona Series as part of the American Celebration of Music in Italy! Melded from Greek, Etruscan and Roman civilizations, Italian culture has influenced Western thought, art, music, literature and civilization more than any other. As you travel from Rome to the finale in Cremona, the senses will almost reel from exposure to history, architecture, art, and beauty unequaled anywhere else in Europe. Known around the world for its tradition of stringed instrument produc- tion, Cremona has been a famous music center since the 16th-century and still prides itself for its artisan workshops producing high-quality stringed instruments. Cremona’s finest resident luthier was Antonio Stradivari. It is estimated Stradivari produced over 1,000 instruments, of which only 650 survive today and are still some of the finest in the world. A concert and experience in Italy is a return to the roots of Western Civili- zation. Regardless of one’s musical tastes - classical, church, ballad, opera, chant, symphonic, Romanesque, Gothic, Renaissance, Romantic, Baroque - these roots are all found in Italy. Our musical heritage certainly was born in Italy. Italians, with help from the French, invented the system of mu- sical notation used today. Cremona produced violins by Stradivarius and Guarneri; the piano is an Italian invention. Italian composers like Verdi, Gabrieli, Monteverdi, Paganini, Vivaldi, Puccini and Rossini are household names. Select orchestras are invited to share their talents with appreciative audiences in glorious venues and spectacular settings throughout Italy as part of this unique concert series.