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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. -
ROMAN ARCHITEXTURE: the IDEA of the MONUMENT in the ROMAN IMAGINATION of the AUGUSTAN AGE by Nicholas James Geller a Dissertatio
ROMAN ARCHITEXTURE: THE IDEA OF THE MONUMENT IN THE ROMAN IMAGINATION OF THE AUGUSTAN AGE by Nicholas James Geller A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Classical Studies) in the University of Michigan 2015 Doctoral Committee: Associate Professor Basil J. Dufallo, Chair Associate Professor Ruth Rothaus Caston Professor Bruce W. Frier Associate Professor Achim Timmermann ACKNOWLEDGEMENTS This dissertation would not have been possible without the support and encouragement of many people both within and outside of academia. I would first of all like to thank all those on my committee for reading drafts of my work and providing constructive feedback, especially Basil Dufallo and Ruth R. Caston, both of who read my chapters at early stages and pushed me to find what I wanted to say – and say it well. I also cannot thank enough all the graduate students in the Department of Classical Studies at the University of Michigan for their support and friendship over the years, without either of which I would have never made it this far. Marin Turk in Slavic Languages and Literature deserves my gratitude, as well, for reading over drafts of my chapters and providing insightful commentary from a non-classicist perspective. And I of course must thank the Department of Classical Studies and Rackham Graduate School for all the financial support that I have received over the years which gave me time and the peace of mind to develop my ideas and write the dissertation that follows. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS………………………………………………………………………ii LIST OF ABBREVIATIONS……………………………………………………………………iv ABSTRACT……………………………………………………………………………………....v CHAPTER I. -
Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G
Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G Latin text, study aids with vocabulary, and commentary ILDENHARD INGO GILDENHARD AND JOHN HENDERSON A dead boy (Pallas) and the death of a girl (Camilla) loom over the opening and the closing part of the eleventh book of the Aeneid. Following the savage slaughter in Aeneid 10, the AND book opens in a mournful mood as the warring parti es revisit yesterday’s killing fi elds to att end to their dead. One casualty in parti cular commands att enti on: Aeneas’ protégé H Pallas, killed and despoiled by Turnus in the previous book. His death plunges his father ENDERSON Evander and his surrogate father Aeneas into heart-rending despair – and helps set up the foundati onal act of sacrifi cial brutality that caps the poem, when Aeneas seeks to avenge Pallas by slaying Turnus in wrathful fury. Turnus’ departure from the living is prefi gured by that of his ally Camilla, a maiden schooled in the marti al arts, who sets the mold for warrior princesses such as Xena and Wonder Woman. In the fi nal third of Aeneid 11, she wreaks havoc not just on the batt lefi eld but on gender stereotypes and the conventi ons of the epic genre, before she too succumbs to a premature death. In the porti ons of the book selected for discussion here, Virgil off ers some of his most emoti ve (and disturbing) meditati ons on the tragic nature of human existence – but also knows how to lighten the mood with a bit of drag. -
Stra D E V Ic Oli Piazze Chie Se O Ra Torj Pub B Lici 1 Sant'andrea E
Type/element Original name English translation Number Rione Strade Vicoli Piazze Chiese Oratorj Pubblici 1 Sant'Andrea e Bernardino dei Rigattieri Junk dealers 70 1 Monti 1 S. Lorenzo in Miranda degli Speziali Pharmacist 81 1 Monti 1 Piazza delle Carrette Carts (produce market) 87 1 Monti 1 Sant'Agata dei Tessitori Fabric weavers 92 1 Monti 1 S. M. del Riscatto degli Acquavitari e Tabaccari Spirit- and Tobacco-sellers 95 1 Monti 1 SS. Martina e Luca de’ Pittori Painters 97 1 Monti 1 Vicolo de’ Carbonari Charcoal-sellers 104 1 Monti 1 Piazza di Macel di Corvi Slaughter house (Butcher) 112 1 Monti 1 Strada delle Carrette Carts (produce market) 142 1 Monti 1 S. M. di Loreto de’ Fornari Italiani Bakers 274 2 Trevi 1 Piazza de' due Macelli Two slaughter houses 369 3 Colonna 1 Strada de’ Sediari Chair makers 414 4 Campomarzo 1 Strada delle Carrozze Coach renters 417 4 Campomarzo 1 SS. Biagio e Cecilia de' Materassari Mattress-makers 450 4 Campomarzo 1 Strada del Macello Slaughter house (Butcher) 458 4 Campomarzo 1 Piazza delle Carrette Carts (produce market) 464 4 Campomarzo 1 S. Gregorio de’ Muratori Masons 495 4 Campomarzo 1 S. Gregorio de’ Muratori Masons 496 4 Campomarzo 1 Vicolo de’ Cimatori Fabric-croppers 554 5 Ponte 1 Strada de’ Coronari Crown/rosary-makers 585 5 Ponte 1 S. Biagio degli Osti Hosts 592 5 Ponte 1 Santa Elisabetta Un. Garzoni Ted. Fornari Baker’s boys 631 6 Parione 1 Strada de’ Chiavari Key-makers 632 6 Parione 1 Santa Barbara de’ Librari Booksellers 634 6 Parione 1 Piazza Pollaroli Poultry-sellers 639 6 Parione 1 Strada de’ Baullari Trunk -makers 640 6 Parione 1 Vicolo de’ Leutari Lute-makers 644 6 Parione 1 Piazza de' Cimatori Fabric croppers 648 6 Parione 1 Vicolo de’ Cartari Paper-makers 658 6 Parione 1 Vicolo de’ Cappellari Hat-makers 685 7 Regola 1 Sant’Eligio degli Orefici Goldsmiths 690 7 Regola 1 S. -
Unfolding Rome: Giovanni Battista Piranesi╎s Le Antichit〠Romane
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 Unfolding Rome: Giovanni Battista Piranesi's Le Antichità Romane, Volume I (1756) Sarah E. Buck Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF VISUAL ARTS, THEATRE, AND DANCE UNFOLDING ROME: GIOVANNI BATTISTA PIRANESI’S LE ANTICHITÀ ROMANE, VOLUME I (1756) By Sarah E. Buck A Thesis submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Master of Arts Degree Awarded: Summer Semester, 2008 The members of the Committee approve the thesis of Sarah Elizabeth Buck defended on April 30th, 2008. ____________________________________ Robert Neuman Professor Directing Thesis ____________________________________ Lauren Weingarden Committee Member ____________________________________ Stephanie Leitch Committee Member Approved: ____________________________________________ Richard Emmerson, Chair, Department of Art History ____________________________________________ Sally E. McRorie, Dean, College of Visual Arts, Theatre and Dance The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS This thesis grew out of a semester paper from Robert Neuman’s Eighteenth-Century Art class, one of my first classes in the FSU Department of Art History. Developing the paper into a larger project has been an extremely rewarding experience, and I wish to thank Dr. Neuman for his continual guidance, advice, and encouragement from the very beginning. I am additionally deeply grateful for and appreciative of the valuable input and patience of my thesis committee members, Lauren Weingarden and Stephanie Leitch. Thanks also go to the staff of the University of Florida-Gainesville’s Rare Book Collection, to Jack Freiberg, Rick Emmerson, Jean Hudson, Kathy Braun, and everyone else who has been part of my graduate school community in the Department of Art History. -
A Hundred Churches in Rome. an Archival Photogrammetric Project
The International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences, Volume XLII-2/W15, 2019 27th CIPA International Symposium “Documenting the past for a better future”, 1–5 September 2019, Ávila, Spain “CENTOCHIESE”: A HUNDRED CHURCHES IN ROME. AN ARCHIVAL PHOTOGRAMMETRIC PROJECT G. Fangi *1, C.Nardinocchi 2, G.Rubeca 2 1Ancona, Italia - [email protected] 2 DICEA, Sapienza University of Rome, 00184 Roma, [email protected], [email protected] Commission II, WG II/8 KEY WORDS: Documentation, Churches, Data Base, Panorama, Spherical Photogrammetry ABSTRACT: Rome is the city where two different cultures have found their greatest architectural achievement, the Latin civilization and the Christian civilization. It is for this reason that in Rome there is the greatest concentration in the world of Roman buildings, monuments and Christian buildings and churches. Rome is the seat of the papacy; say the head of the Christian Church. Every religious order, every Christian nation has created its own headquarters in Rome, the most representative possible, as beautiful, magnificent as possible. The best artists, painters, sculptors, architects, have been called to Rome to create their masterpieces.This study describes the photogrammetric documentation of selected noteworthy churches in Rome. Spherical Photogrammetry is the technique used. The survey is limited to the facades only, being a very significant part of the monument and since no permission is necessary. In certain cases, also the church interior was documented. A total of 170 Churches were surveyed. The statistics that one can derive from such a large number is particularly meaningful. Rome is the ideal place to collect the largest possible number of such cases. -
The Original Documents Are Located in Box 16, Folder “6/3/75 - Rome” of the Sheila Weidenfeld Files at the Gerald R
The original documents are located in Box 16, folder “6/3/75 - Rome” of the Sheila Weidenfeld Files at the Gerald R. Ford Presidential Library. Copyright Notice The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Gerald R. Ford donated to the United States of America his copyrights in all of his unpublished writings in National Archives collections. Works prepared by U.S. Government employees as part of their official duties are in the public domain. The copyrights to materials written by other individuals or organizations are presumed to remain with them. If you think any of the information displayed in the PDF is subject to a valid copyright claim, please contact the Gerald R. Ford Presidential Library. Digitized from Box 16 of the Sheila Weidenfeld Files at the Gerald R. Ford Presidential Library 792 F TO C TATE WA HOC 1233 1 °"'I:::: N ,, I 0 II N ' I . ... ROME 7 480 PA S Ml TE HOUSE l'O, MS • · !? ENFELD E. • lt6~2: AO • E ~4SSIFY 11111~ TA, : ~ IP CFO D, GERALD R~) SJ 1 C I P E 10 NTIA~ VISIT REF& BRU SE 4532 UI INAl.E PAL.ACE U I A PA' ACE, TME FFtCIA~ RESIDENCE OF THE PR!S%D~NT !TA y, T ND 0 1 TH HIGHEST OF THE SEVEN HtL.~S OF ~OME, A CTENT OMA TtM , TH TEMPLES OF QUIRl US AND TME s E E ~oc T 0 ON THIS SITE. I THE CE TER OF THE PR!SENT QU?RINA~ IAZZA OR QUARE A~E ROMAN STATUES OF C~STOR .... -
Handout Directions ≥ 30 Sales Meeting
SALES MEETING 2021 DIRECTIONS ≥ 30 ROME, ITALY, 07-10 September ume Tevere FL3 ROMA Viterbo Viterbo FL1 Orte Viterbo Sacrofano Montebello Fara Sabina - Montelibretti La Giustiniana Piana Bella di Montelibretti Bracciano Prima Porta La Celsa Monterotondo - Mentana Vigna di Valle Labaro Settebagni Anguillara Centro Rai ARE Fidene NUL O A Cesano RD CO Saxa Rubra AC E R G ND Nuovo RA Olgiata RA ND G Grottarossa E Salario RA CC La Storta - Formello OR Due Ponti DO Due Ponti A N METRO ROME U La Giustiniana LA ume Tevere R Tor di Quinto E Ipogeo degli Ottavi Monte Antenne Mancini 2 Ottavia Jonio 2 Campi Sportivi Conca San Filippo Neri Conca d’Oro Acqua Acetosa d’Oro Monte Mario Libia 2 Gemelli Euclide Nomentana Balduina S.Agnese Rebibbia Appiano 19 3 Annibaliano Proba Petronia Ottaviano Valle Giulia 3.19 Ponte Mammolo VALLE TIBURTINA Monti S.Pietro 19 Tiburtini Battistini Cornelia AURELIA Musei Vaticani FLAMINIO Santa Maria del Soccorso Piazza del Popolo BOLOGNA Quintiliani Pietralata Baldo Cipro Lepanto 2 degli 19 Spagna Castro Policlinico Ubaldi Risorgimento Pretorio 3.19 RepubblicaRepubblica Palmiro La Rustica Teatrro OperaOpera Prenestina Togliatti Città Salone Lunghezza Aurelia Barberini Fontana Trevi TERMINI ume Tevere Tor Sapienza La Rustica Ponte FL5 SAN PIETRO 3.19 Serenissima FL2 5 14 UIR di Nona Civitavecchia Laziali Tivoli Grosseto Cavour Avezzano 8 S.Bibiana Vittorio Venezia 8 Emanuele Porta Maggiore Due Leoni/Fontana Candida Monte Compatri/Pantano Colosseo 3 5.14 Ponte Casilino 5.14.19 14 Manzoni 14 Vle P.Togliatti Museo della Liberazione3 -
Sant'egidio in Trastevere
(102/19) Sant'Egidio in Trastevere Sant'Egidio in Trastevere is a 17th century convent church at Piazza di Sant'Egidio 3/A in Trastevere. Pictures of the church at Wikimedia Commons are here. There is an English Wikipedia page here. Saint The dedication is to St Giles, who was very popular in the Middle Ages but who is obscure historically. He was from Greece, and migrated to what is now Languedoc in France at the end of the 7th century. There, he founded a monastery (now the town of Saint-Gilles-du-Gard) near Nîmes, and died there in c. 710. The legends written about him helped to make him one of the Fourteen Holy Helpers in the Middle Ages, and many churches were dedicated to him. His cultus was probably introduced to Rome in the 9th century. That the English say "Giles" (pronounced "Dzhailz") for the Latin Aegidius is the fault of the French. (102/19) History San Lorenzo de Curtibus The present church is the descendant of two old ones, and the name has been transferred between them. This causes confusion. The church that was originally dedicated to St Giles was called San Lorenzo in Ianicolo or de Curtibus, which also appears in the mediaeval catalogues as San Lorenzuolo (variously spelt). This indicates that the church was a small one, and so was probably part of the major building programme of the 11th century which provided the surviving built-up area with diminutive parish churches. The first probable record dates from 1123, when Santa Maria in Trastevere had a church dependent on it called San Lorenzo (no other name given). -
Architectural Temperance: Spain and Rome, 1700-1759
Architectural Temperance Spain and Rome, 1700–1759 Architectural Temperance examines relations between Bourbon Spain and papal Rome (1700–1759) through the lens of cultural politics. With a focus on key Spanish architects sent to study in Rome by the Bourbon Kings, the book also discusses the establishment of a program of architectural educa- tion at the newly-founded Real Academia de Bellas Artes de San Fernando in Madrid. Victor Deupi explores why a powerful nation like Spain would temper its own building traditions with the more cosmopolitan trends associated with Rome; often at the expense of its own national and regional traditions. Through the inclusion of previously unpublished documents and images that shed light on the theoretical debates which shaped eighteenth-century architecture in Rome and Madrid, Architectural Temperance provides an insight into readers with new insights into the cultural history of early modern Spain. Victor Deupi teaches the history of art and architecture at the School of Architecture and Design at the New York Institute of Technology and in the Department of Visual and Performing Arts at Fairfield University. His research focuses on cultural politics in the early modern Ibero-American world. Routledge Research in Architecture The Routledge Research in Architecture series provides the reader with the latest scholarship in the field of architecture. The series publishes research from across the globe and covers areas as diverse as architectural history and theory, technology, digital architecture, structures, materials, details, design, monographs of architects, interior design and much more. By mak- ing these studies available to the worldwide academic community, the series aims to promote quality architectural research. -
Analysing Spatial Relationships Through the Urban Cadastre of Nineteenth-Century Rome
Urban History (2020), 47, 467–487 doi:10.1017/S0963926820000188 RESEARCH ARTICLE Analysing spatial relationships through the urban cadastre of nineteenth-century Rome Keti Lelo* Department of Business Studies, Roma Tre University, Rome, Italy *Corresponding author. Email: [email protected] Abstract Urban history and urban cartography are closely linked. The analysis of spatial relation- ships through cartography enables a deeper and more sophisticated understanding of stud- ied phenomena, and thus can be a valuable support to urban historians. In this context, the eighteenth- and nineteenth-century cadastres represent a fertile ground for experimenta- tion in the quantitative analysis of urban space. The explicit relationships between the descriptive data of the cadastral registers and cadastral maps facilitate the computerization of this historical source and the construction of the spatial database. This article illustrates the use of Geographical Information Systems (GIS) and geostatistical methods applied to urban historical studies, focusing on the analysis of socio-economic information retrieved from the Pio-Gregorian cadastre of Rome, from 1818 to 1824. Context of the research The so-called ‘spatial turn’ in historical studies has stimulated new research para- digms during the last few decades.1 The spatial element has gained importance along with the development of computerized mapping that has prompted the use of historical maps as digital cartographic supports in complex GIS-based envir- onments.2 The integration of historical sources of a different nature and origin into digital platforms, as well as the management, comparison and sharing of large Higher resolution, colour versions of the figures in this article can be viewed online as supplementary material. -
160506 Rome.Pdf
ROME THE WORLD’S CHANGED. Technology now enables us to do so much more, but we can’t forget what it is that inspires us to explore. Whilst celebrating how wonderful technology is, it’s also good to lift your eyes away from the screen and truly get under the skin of a place, seeing it through the eyes of a local. ENCOURAGING CONVERSATIONS, AND DISCOVERING WHERE THEY WILL TAKE YOU. ROME Our fifth installment takes you to the beautiful streets of Rome. Experience our own recommendations, whilst starting the conversation and discovering your own favourite hot spots. Italy FCO Italian EUR +39 Where’s the best place to see the whole city? 1 West of the Tiber, rising above the Trastavere district south of Vatican City, the best panoramic views of the city can be found on Gianicolo (Janiculum) Hill, sweeping across the Roman rooftops from the beautiful Borghese complex to the curving Colosseum. Ask a passing couple where their favourite bar in Trastavere is, and make your way down. Passeggiata del Gianicolo Trastavere Ottoviano Where’s the best place to drink in the views? 2 The luxurious Grand Hotel de la Minerve is home to the Minerva Roof Garden, an exclusive restaurant that also serves up incredible views. Ask your waiter what that beautiful domed building in the distance is (take your pick; there are several) and plan to make your way there tomorrow. Piazza della Minerva 69 Pigna Colosseo Where’s the best place to take a stroll? 3 The Centro Storico can be surprisingly steep, so take this downhill route: start at Piazza del Popolo, checking out the Villa Borghese before making your way down towards the Spanish Steps.