DOCSLIB.ORG

MARIO ASPRUCCI Neoclassical Architecture in Villa Borghese 1786-1796

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Susanna Pasquali MARIO ASPRUCCI Neoclassical Architecture in Villa Borghese 1786-1796 Edition curated by Stefano Grandesso in collaboration with Eugenio Costantini Acknowledgements Elisa Camboni, Accademia Nazionale di San Luca, Roma Francesco Ceccarelli, Università di Bologna Jean-Philippe Garric, Université Sorbonne, Paris Alessandra Mercantini, Archivio Doria Pamphilj, Roma Carlo Mambriani, Università di Parma Simona Morretta, Soprintendenza, Roma Marco Pupillo, Museo Napoleonico, Roma Photo Credits Arte Fotografica, Rome, plates Giulio Archinà per StudioPrimoPiano, Siderno, p. 6, fig. 24, 31, 35, 37, 38, 40, 43, 47 Photo Archive Galleria Carlo Virgilio & Co., Roma, fig. 16, 19, 25, 26, 51, 53, 54, 66, 70, 72 Archivi Alinari, Firenze, fig. 41 Araldo De Luca, fig. 49 The editor will be pleased to honor any outstanding royalties concerning the use of photographic images that it has so far not been possible to ascertain. Layout Stefania Paradiso ALESSANDRA DI CASTRO GALLERIA CARLO VIRGILIO & Co. ARTE ANTICA MODERNA E CONTEMPORANEA Piazza di Spagna, 4 - 00187 Roma Via della Lupa, 10 - 00186 Roma Tel. +39 06 69923127 59 Jermyn Street, Flat 5, London SW1Y 6LX [email protected] Tel. +39 06 6871093 www.alessandradicastro.com [email protected] - www.carlovirgilio.it © Edizioni del Borghetto Tel. + 39ISBN 06 6871093 978-88-942099-3-8 - Fax +39 06 68130028 e-mail: [email protected] http//www.carlovirgilio.it Susanna Pasquali MARIO ASPRUCCI Neoclassical Architecture in Villa Borghese 1786-1796 Presentation Francesco Leone English translation Michael Sullivan PRESENTATION CATALOGUE OF DRAWINGS p. 29 Francesco Leone INTRODUCTORY NOTE Mario Asprucci and the making of the park of Villa Borghese: new light on the Roman PART 1 - THE VILLA PINCIANA, 1784-1793 neoclassical avant-garde p. 7 From the purchase of a statue to the erection of a temple, IN SEARCH OF MARIO ASPRUCCI p. 11 1784-1786. pl. 1 Life Planting a lake on top of a hill, 1787 Early death The one hundred added rods that made the difference, An appraisal January - July 1788 The fate of his papers The round temple: from Settimius Severus to Diana, Drawings from the antique 1787-89. pl. 2 The visionary paper architecture Variations on the Acqua Felice perspective showpiece. In the service of the Borghese pl.s no.s 3, 4, 5 The shifting location of Septimius Severus. pl. 6 THE PRINCE AND THE VILLA: OPEN QUESTIONS p. 23 Proposals for the renovation of the Casino dei giochi d’acqua, or Aranciera. pl.s 7, 8, 9, 10 Suggestions from the Triopeion of Herodes Atticus: Cristoforo Unterperger and Ennio Quirino Visconti in competition. pl.s 11, 12, 13 Statues in fountains. pl.s 14, 15, 16 The outcome of competition: the Museo Gabino. pl. 17 From the Gallinaro to the Fortezzuola. pl. 18 Epilogue: the Roman Propylaea. pl. 19 PART 2 - OTHER DRAWINGS BY MARIO OR LINKED TO HIM Variations on Mario Asprucci’s designs for Propylaea. pl.s 20 and 21 Polledrara and vaccheria: a new image for farm buildings. pl.s 22 and 23 Variations on the archaic Doric: ideas for jeux-d’eau on a slope. pl.s 24 and 25 A rotonda all’antica. pl. 26 A pavilion suggestive of a Roman ancient house. pl. 27 PART 3 - DRAWINGS RELATING TO BORGHESE PATRONAGE, BEFORE AND AFTER THE WORK OF MARIO ASPRUCCI The use of columns and pillars. pl.s 28 and 29 Two mantelpieces. pl. 30 and 31 Three gateways. pl. 32, 33, 34 The survey of a granary. pl. 35 A fountain in the city. pl. 36 Four executive drawings. pl.s 37, 38, 39, 40 PART 4 - OTHER DRAWINGS SEQUENCE OF THE DRAWINGS IN CATALOGUE p. 101 Notes p. 106 Design for the choir-stalls of a church. pl. 41 List of abbreviations p. 111 A large U-shaped building. pl. 42 Bibliography p. 112 A cemetery chapel. pl. 43 5 6 Francesco Leone the antique and focused by Francesco Milizia – of simplicity, rationality and functionalism that the great Mario Asprucci and the making of the park architects of neoclassical and Napoleonic Europe have in common. Like Antolini in Milan, Asprucci in Rome of Villa Borghese: new light on the Roman would have been the architect of modernity and of neoclassical avant-garde social shift. That is what his Jacobin convictions, shared with his friend Ennio Quirino Visconti, make clear and above all his participation as architect in the free and “Poor Mario Asprucci died around the age of about revolutionary association of artists set up by Felice 40. A great loss for his family and for art, having Giani in Rome in the late 1780s and early 1790s that all the good qualities, and full of merit; I am very first went under the name of Accademia de’ Pensieri disheartened by such a loss”. and then that of Accademia della Pace. It was a melting pot of artistic experimentation, of thematic research, Sadly the sculptor Vincenzo Pacetti, one of the best- of ethical reflection, ofbohémien spirit around which, connected and most influential figures in the Roman scornful of the slavishness and the prescriptions of th th artistic milieu between the late 18 and early 19 official academic institutions, the young recruits from centuries, recorded the premature death of this great every nationality present in Rome challenged each talent in his diary on May 7, 1804. The words used – a other in heated evening meetings. In the nineties that sort of epitaph made even more moving by the intimate workshop shaped the future leaders of Italian art and aspect a private diary can have – effectively portrays the many of the European ones. And, who can say, that it esteem and high hopes that his father Antonio Asprucci would not perhaps have been to Asprucci instead of (1723-1808), architect of the house of Borghese, Pacetti to Giuseppe Valadier that the new face of Rome was himself, to whom Mario was very close, and the Roman entrusted during the period of the Restoration. artistic world must have placed in the young architect Whereas – or so it was believed until the discovery of struck down in the prime of life. these drawings – Mario’s premature death left those Nothing earlier presaged such a tragic end. Mario potentialities substantially unexpressed or otherwise was born under a lucky star, a true child of fortune, confined to the planning stage. And here lies the first destined for a career of great renown. His story began crucial aspect of the finding of the sheets sets before us. in the 1770s in the shadow of his father, when the The collection, relating chiefly to Villa Borghese, finally latter was in charge of the striking renovation of the restores a real artistic countenance to a character whose Casino Nobile of Villa Borghese at the behest of Prince creativity was until now known almost exclusively from Marcantonio IV: a true crucible, arena of strenuous the sources, from a few other drawings and a scattering competition between artists of different nationalities. of literary reports. We knew of Mario’s great talent – as He was shaped in a cosmopolitan and avant-garde city, we have seen underlined by Pacetti, and by Guattani in in a period, that of the long papacy of Pius VI Braschi the elegy he dedicated to him in 1809 in the columns of (1775-1799), which is now considered one of the peaks the “Memorie Enciclopediche Romane” – but we could in the artistic and cultural history of papal Rome. not attribute to him, except by hypothesis or indirect Starting from what Susanna Pasquali tells us, one may report, the concrete execution of any project. The conjecture on what Mario Asprucci might have left to many designs in this large group attributed to him with the history of art and architecture had he completed certainty in this catalogue, however, definitely clarify his trajectory: it can be said with some certainty that the leading role, among many other influential co-stars, with the Jacobin upheaval, the Napoleonic domination played by Mario in the design and execution of many and the rebirth that ensued, Rome, the city of popes of the buildings in the park of Villa Borghese between and tradition, would have found its “revolutionary” 1786 and 1796: the artificial lake with the temple of architect in him, as Paris did in Boullée and Ledoux Aesculapius, the temple of Diana, the piazza di Siena or Milan in Antolini with the utopian design of the and more. The recovery of these drawings has finally Foro Bonaparte. The more mature and conceptual clarified how Mario’s work fits – and then imposes itself projects for civil society architecture among those through its innovative and European stature – within published here document, in addition to his talent, the conjoint work of a team that, when combined with the international range of the young Asprucci and the radical modernization to which the Casino Nobile profound reflection on the themes – inspired by had already been subject for a decade, gave rise to the 7 most impressive and vital Roman art workshop of the in Rome from 1786 to 1788), a decisive part was played 18th century along with the contemporary Museo Pio- by the intellectual nonchalance of the Anglo-Saxon Clementino in the Vatican. Within this large and highly world, less burdened by the overwhelming legacy of reputed team, Mario could vie at the highest level with the ancients. In the last century it was Hugh Honour, some of the greatest exponents of that unrepeatable not by chance, who first grasped the importance of this international milieu anchored in classical antiquity grafting of the Anglo-Saxon culture onto the Roman that made Rome in the last quarter of the 18th century temper of that time, in 1959 coining the still effective the pulsating capital of the artistic avant-gardes of the term “Anglo-Romans” to define an artistic milieu, that whole of Europe.
Recommended publications
  • Canova's George Washington

    Canova's George Washington

    CANOVA’S GEORGE WASHINGTON EXHIBITION ADDRESSES CANOVA’S ONLY WORK FOR UNITED STATES May 23 through September 23, 2018 In 1816, the General Assembly of North Carolina commissioned a full-length statue of George Washington to stand in the rotunda of the State Capitol, in Raleigh. Thomas Jefferson, believing that no American sculptor was up to the task, recommended Antonio Canova (1757– 1822), then one of Europe’s most celebrated artists. The first and only work Canova created for the United States, the statue depicted the nation’s first president in ancient Roman garb—all’antica armor—per Jefferson’s urging, drafting his farewell address to the states. It was unveiled to great acclaim in 1821. Tragically, a decade later, a fire swept through the State Capitol, reducing the statue to a few charred fragments. On May 23, The Frick Collection presents Canova’s George Washington, an exhibition that examines the history of the artist’s lost masterpiece. The show brings together for the first time all of the objects connected to the creation of the sculpture— including a remarkable life-sized Antonio Canova, Modello for George Washington (detail), 1818, modello that has never before left Italy—and tells the extraordinary plaster, Gypsotheca e Museo Antonio Canova, Possagno, Italy; photo Fabio Zonta, Fondazione Canova onlus, Possagno transatlantic story of this monumental work. The life-size modello, above, provides the closest idea of what the destroyed marble would have looked like. It is shown in the Frick’s Oval Room—alone—to replicate the effect it would have had in the rotunda of North Carolina’s State Capitol.
  • The Furnishing of the Neues Schlob Pappenheim

    The Furnishing of the Neues Schlob Pappenheim

    The Furnishing of the Neues SchloB Pappenheim By Julie Grafin von und zu Egloffstein [Master of Philosophy Faculty of Arts University of Glasgow] Christie’s Education London Master’s Programme October 2001 © Julie Grafin v. u. zu Egloffstein ProQuest Number: 13818852 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818852 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 l a s g o w \ £5 OG Abstract The Neues SchloB in Pappenheim commissioned by Carl Theodor Pappenheim is probably one of the finest examples of neo-classical interior design in Germany retaining a large amount of original furniture. Through his commissions he did not only build a house and furnish it, but also erected a monument of the history of his family. By comparing parts of the furnishing of the Neues SchloB with contemporary objects which are partly in the house it is evident that the majority of these are influenced by the Empire style. Although this era is known under the name Biedermeier, its source of style and decoration is clearly Empire.
  • Dep MUSEO Di ROMA Dic19

    Dep MUSEO Di ROMA Dic19

    Questo palazzo rappresenta uno degli esempi più belli di architettura civile Palazzo Braschi represents one of the finest examples of civil architecture in a Roma tra Sette e Ottocento. Rome between the 18th and 19th centuries. Fu costruito per il nipote di papa Pio VI, Luigi Braschi Onesti che vi abitò con It was built for the nephew of Pope Pius VI, Luigi Braschi Onesti, who lived here sua moglie Costanza Falconieri fino al 1816, esercitando qui anche le sue with his wife Costanza Falconieri until 1816, exercising also his functions as funzioni di Sindaco di Roma durante il breve governo napoleonico. L’edificio Mayor of Rome during the short-lived Napoleonic government. The building chiude simbolicamente la lunga stagione del nepotismo papale a Roma, di symbolically concludes the long season of papal nepotism in Rome, of which is MUSEO cui è espressione piena nello sfarzo e nell’eleganza dei dettagli e delle a full expression for the splendour and elegance of the details and formal soluzioni formali. Lo scalone monumentale che conduce ai piani nobili è solutions. The monumental staircase that leads to the piano nobile is finely finemente decorato di stucchi con i simboli araldici dei proprietari e decorated with DI ROMA riquadri con storie dell’epica omerica, secondo il gusto antiquariale e la cifra stuccoes, bearing the stilistica del Neoclassicismo. Ciò che l’occhio non può vedere, invece, è coat of arms of the l’ottima acustica di questo invaso, progettato come l’intero edificio da owners and square Cosimo Morelli (1732-1812), ma con la supervisione di Giuseppe Valadier, frames with stories of principe degli architetti del the Homeric epics in the ultimo aggiornamento ottobre 2018 ottobre ultimo aggiornamento 30.000 - 09/10/2018 Srl stampa: Gemmagraf - copie tempo, che molto probabilmente antiquarian taste and ispirò anche la realizzazione Neoclassical style.
  • Revised Final MASTERS THESIS

    Revised Final MASTERS THESIS

    UNIVERSITY OF CALIFORNIA RIVERSIDE Carlo Fontana and the Origins of the Architectural Monograph A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art History by Juliann Rose Walker June 2016 Thesis Committee: Dr. Kristoffer Neville, Chairperson Dr. Jeanette Kohl Dr. Conrad Rudolph Copyright by Juliann Walker 2016 The Thesis of Juliann Rose Walker is approved: Committee Chairperson University of California, Riverside Acknowledgements I would first like to start by thanking my committee members. Thank you to my advisor, Kristoffer Neville, who has worked with me for almost four years now as both an undergrad and graduate student; this project was possible because of you. To Jeanette Kohl, who was integral in helping me to outline and finish my first chapter, which made the rest of my thesis writing much easier in comparison. Your constructive comments were instrumental to the clarity and depth of my research, so thank you. And thank you to Conrad Rudolph, for your stern, yet fair, critiques of my writing, which were an invaluable reminder that you can never proofread enough. A special thank you to Malcolm Baker, who offered so much of his time and energy to me in my undergraduate career, and for being a valuable and vast resource of knowledge on early modern European artwork as I researched possible thesis topics. And the warmest of thanks to Alesha Jeanette, who has always left her door open for me to come and talk about anything that was on my mind. I would also like to thank Leigh Gleason at the California Museum of Photography, for giving me the opportunity to intern in collections.
  • Market Values in Eighteenth-Century Rome

    Market Values in Eighteenth-Century Rome

    Market values in eighteenth-century Rome Review of: The Art Market in Rome in the Eighteenth Century: A Study in the Social History of Art, edited by Paolo Coen, Leiden and Boston: Brill, 2018 [Studies in the History of Collecting and Art Markets, vol. 5], xii + 234 pp., 80 colour illus., €116/$134 hdbk, ISBN 978-90-04-33699-5. Jeffrey Collins Anyone who doubts that a society’s art market reveals its underlying values need only consider the case of Inigo Philbrick, the high-flying young dealer who sold investors overlapping shares of the same blue-chip contemporary works and who was recently apprehended in Vanuatu. The present volume boasts no one quite so colourful, though it too concerns a moment in which the business side of art acquired new prominence. Based on an international congress held at Rome’s Palazzo Barberini, the anthology’s ten chapters consider diverse facets of art’s production, circulation, and recirculation in early modern Rome, unfortunately not all centred on the time and place announced in the title. This is a limitation in a study of art markets, which are typically localized and responsive to shifting conditions. While less focused than one would wish, the collection nonetheless illuminates a key phase in the market’s development while contextualizing our own age of glossy magazines, glamorous fairs, ‘specullectors’, and illicit trafficking of cultural property. Both symposium and anthology reflect the efforts of Paolo Coen, professor of the history of art at the Università degli Studi di Teramo, to bring to Rome something of the economic perspective long established in studies of the seventeenth-century Netherlands.
  • Villa Borghese

    Villa Borghese

    Piazza del Campidoglio 5 Centro Storico 6 Gianicolo - Trastevere - Villa Pamphili 19 Villa Borghese - Flaminio Nomentana - San Basilio 21 Polo museale “Sapienza” 26 Testaccio - Ostiense - Garbatella 28 Eur - Ostia - Fiumicino 30 Appia - Casilina 31 Cassia - Flaminia 32 Prenestina - Pigneto 32 Ingresso libero fino Ingresso contingentato ad esaurimento posti Prenotazione consigliata Ingresso a pagamento Dove non espressamente o obbligatoria indicato l’iniziativa è gratuita. Il programma può subire variazioni. Programma aggiornato all’11 maggio 2012 Info 060608 www.museiincomuneroma.it Piazza del Campidoglio sulla piazza Ore 21.00-22.30 “Meno male che c’è Radio 2” Il programma di Radio 2 in diretta, presentato da Simone Cristicchi e Nino Frassica, con vari ospiti e musicisti. Musei Capitolini Orario 20.00-02.00 (ultimo ingresso ore 01.00) Il Museo pubblico più antico del mondo, fondato nel 1471 da Sisto IV con la donazione al popolo romano dei grandi bronzi lateranensi, si articola nei due edifici che insieme al Palazzo Senatorio delimitano la piazza del Campidoglio. Il Gioco del Lotto offrirà mediatori storici dell’arte a disposizione del pubblico per rispondere alle domande sulle opere esposte. MOSTRA Lux in Arcana - L’Archivio Segreto Vaticano si rivela Ore 20.30 Premio Strega. Incontro con l’autore Gianrico Carofiglio Il silenzio dell'onda (Rizzoli) Presenta Franco Scaglia, Presidente del Teatro di Roma. Ore 21.30, 22.45 e 24.15 Le Romane La canzone romana è il luogo d’incontro di questa formazione acustica tutta al femminile, dove la serenata ed il canto della popolana si mescolano ai versi di grandi autori come Pasolini e Strehler e alle musiche di Rota, Umiliani, Carpi, Rustichelli, Trovajoli, Balzani; dal linguaggio prezioso delle parole di Gadda, Giuliani, Fabrizi, Belli, Trilussa, tornano alla mente immagini forti piene di ironia e passione.
  • To Hugh Honour, Who Invented All This L'inevitabile Pacetti

    To Hugh Honour, Who Invented All This L'inevitabile Pacetti

    SOUVENIRS DE ROME To Hugh Honour, who invented all this I Temo che i due maggiori esegeti dell’arte nell’epoca che qui ci riguarda, il tardo Settecento, non condividerebbero se non saltuariamente l’argomento di questo mio scritto. Statuine, marmetti, porcellane, biscuit, bronzetti e piccoli mosaici che incantano il lato infantile di ogni uomo civile e destano la nostalgia per un passato da molti indovinato e a pochissimi noto, non sono cose per persone serie∗. Per il fondatore della storia dell’arte la bella materia della porcellana non è stata mai nobilitata da alcun lavoro che rechi l’impronta del genio: non ha altro merito che quello di espandere il gusto per il futile. Saremmo dunque frivoli e superficiali per Winckelmann? Che ne pensava l’altro dioscuro teutonico che ha in gran parte formato, almeno così mi auguro, la nostra sensibilità? “L’arte del mosaico, che agli antichi offriva i pavimenti, ai cristiani inarcava il cielo delle loro chiese, ora si è avvilita fino alle tabacchiere e ai braccialetti”. E poi, con la forza con cui Ciclope scagliava un macigno sui mortali, il grande uomo dettava un epitaffio per tutti: “i nostri tempi sono peggiori di quel che non si pensi”. Inutile contraddire chi ha più dottrina di noi. Potrei, è vero, citare molte altre frasi in difesa degli objets d’art (non esiste un termine italiano che abbia la stessa appropriatezza) ma temo che esse siano dettate da spiriti, paradossalmente, o più pedanti o più banali. Dirò una cosa sola: quel che si cerca negli oggetti a cui accenniamo non è tanto la loro realtà fisica quanto l’evocazione di un ideale poetico che è in noi senza che, mi ripeto, ne siamo del tutto coscienti.
  • Images Re-Vues, 13 | 2016 the Deceptive Surface: Perception and Sculpture’S “Skin” 2

    Images Re-Vues, 13 | 2016 the Deceptive Surface: Perception and Sculpture’S “Skin” 2

    Images Re-vues Histoire, anthropologie et théorie de l'art 13 | 2016 Supports The Deceptive Surface: Perception and Sculpture’s “Skin” Illusion de surface : percevoir la « peau » d’une sculpture Christina Ferando Electronic version URL: http://journals.openedition.org/imagesrevues/3931 DOI: 10.4000/imagesrevues.3931 ISSN: 1778-3801 Publisher: Centre d’Histoire et Théorie des Arts, Groupe d’Anthropologie Historique de l’Occident Médiéval, Laboratoire d’Anthropologie Sociale, UMR 8210 Anthropologie et Histoire des Mondes Antiques Electronic reference Christina Ferando, “The Deceptive Surface: Perception and Sculpture’s “Skin””, Images Re-vues [Online], 13 | 2016, Online since 15 January 2017, connection on 30 January 2021. URL: http:// journals.openedition.org/imagesrevues/3931 ; DOI: https://doi.org/10.4000/imagesrevues.3931 This text was automatically generated on 30 January 2021. Images Re-vues est mise à disposition selon les termes de la Licence Creative Commons Attribution - Pas d’Utilisation Commerciale 4.0 International. The Deceptive Surface: Perception and Sculpture’s “Skin” 1 The Deceptive Surface: Perception and Sculpture’s “Skin” Illusion de surface : percevoir la « peau » d’une sculpture Christina Ferando This paper was presented at the Institute of Fine Arts, New York University, as part of the symposium “Surfaces: Fifteenth – Nineteenth Centuries” on March 27, 2015. Many thanks to Noémie Étienne, organizer of the symposium, for inviting me to participate and reflect on the sculptural surface and to Laurent Vannini for the translation of this article into French. Images Re-vues, 13 | 2016 The Deceptive Surface: Perception and Sculpture’s “Skin” 2 1 Sculpture—an art of mass, volume, weight, and density.
  • Epigraphic Bulletin for Greek Religion 1998

    Epigraphic Bulletin for Greek Religion 1998

    Kernos Revue internationale et pluridisciplinaire de religion grecque antique 14 | 2001 Varia Epigraphic Bulletin for Greek Religion 1998 Angelos Chaniotis and Joannis Mylonopoulos Electronic version URL: http://journals.openedition.org/kernos/779 DOI: 10.4000/kernos.779 ISSN: 2034-7871 Publisher Centre international d'étude de la religion grecque antique Printed version Date of publication: 1 January 2001 Number of pages: 147-231 ISSN: 0776-3824 Electronic reference Angelos Chaniotis and Joannis Mylonopoulos, « Epigraphic Bulletin for Greek Religion 1998 », Kernos [Online], 14 | 2001, Online since 14 April 2011, connection on 16 September 2020. URL : http:// journals.openedition.org/kernos/779 Kernos Kernos, 14 (2001), p. 147-231. Epigraphie Bulletin for Greek Religion 1998 (EBGR 1998) In this issue we have covered a large part of the publications of 1998, making several additions to previous issues; we still have a long list of articles we should like to present (e.g., from the journal Horos), but this would have delayed the journal's publication substantially. A generous grant from the GISELA UND REINHOLD HXCKER STIFTUNG for our editorial work in 2001 will enable us in EBGR 1999 to close most of the gaps left in this and in earlier issues. In EBGR 1998 we have focused on new epigraphic finds, new interpretations of inscriptions, and epigraphic corpora, but we have also summarized a few archaeological studies which make extensive use of the epigraphic material; for the significant contribu­ tion of archaeology to the study of Greek religion the reader should consuIt the Chronique archéologique in Kernos. As in earlier issues we have not limited ourselves to epigraphy but have included a few references to important papyro­ logical sources (nOS 29, 134, 168, 181, 280, 300) and to the evidence provided by the documents in Linear B (nO 50).
  • BM Tour to View

    BM Tour to View

    08/06/2020 Gods and Heroes The influence of the Classical World on Art in the C17th and C18th The Tour of the British Museum Room 2a the Waddesdon Bequest from Baron Ferdinand Rothschild 1898 Hercules and Achelous c 1650-1675 Austrian 1 2 Limoges enamel tazza with Judith and Holofernes in the bowl, Joseph and Potiphar’s wife on the foot and the Triumph of Neptune and Amphitrite/Venus on the stem (see next slide) attributed to Joseph Limousin c 1600-1630 Omphale by Artus Quellinus the Elder 1640-1668 Flanders 3 4 see previous slide Limoges enamel salt-cellar of piédouche type with Diana in the bowl and a Muse (with triangle), Mercury, Diana (with moon), Mars, Juno (with peacock) and Venus (with flaming heart) attributed to Joseph Limousin c 1600- 1630 (also see next slide) 5 6 1 08/06/2020 Nautilus shell cup mounted with silver with Neptune on horseback on top 1600-1650 probably made in the Netherlands 7 8 Neptune supporting a Nautilus cup dated 1741 Dresden Opal glass beaker representing the Triumph of Neptune c 1680 Bohemia 9 10 Room 2 Marble figure of a girl possibly a nymph of Artemis restored by Angellini as knucklebone player from the Garden of Sallust Rome C1st-2nd AD discovered 1764 and acquired by Charles Townley on his first Grand Tour in 1768. Townley’s collection came to the museum on his death in 1805 11 12 2 08/06/2020 Charles Townley with his collection which he opened to discerning friends and the public, in a painting by Johann Zoffany of 1782.
  • Winckelmann, Greek Masterpieces, and Architectural Sculpture

    Winckelmann, Greek Masterpieces, and Architectural Sculpture

    Winckelmann, Greek masterpieces, and architectural sculpture. Prolegomena to a history of classical archaeology in museums Book or Report Section Accepted Version Smith, A. C. (2017) Winckelmann, Greek masterpieces, and architectural sculpture. Prolegomena to a history of classical archaeology in museums. In: Lichtenberger, A. and Raja, R. (eds.) The Diversity of Classical Archaeology. Studies in Classical Archaeology, 1. Brepols. ISBN 9782503574936 Available at http://centaur.reading.ac.uk/70169/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . Published version at: http://www.brepols.net/Pages/ShowProduct.aspx?prod_id=IS-9782503574936-1 Publisher: Brepols All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Winckelmann, Greek Masterpieces, and Architectural Sculpture Prolegomena to a History of Classical Archaeology in Museums∗ Amy C. Smith ‘Much that we might imagine as ideal was natural for them [the ancient Greeks].’1 ♣ Just as Johann Joachim Winckelmann mourned the loss of antiquity, so have subsequent generations mourned his passing at the age of fifty, in 1768, as he was planning his first journey to Greece. His deification through — not least — the placement of his profile head, as if carved out of a gemstone, on the title page of the first volume of his Geschichte der Kunst des Alterthums (‘History of Ancient Art’) in 1776 (the second edition, published posthumously) made him the poster boy for the study of classical art history and its related branches, Altertumswissenschaft or classical studies, history of art, and classical 2 archaeology.
  • 1858 Central Park Architect Report

    1858 Central Park Architect Report

    To the Board of Commissioners of the Central Park, &w Yorh. GEXTLEMEN:-In commencing to make a plan for the Central Park, in New York, I had before me the ' circular," issued by the Board ; the first " detail " of .which is, the " expenditure" allowed by the State. I 1. I assume, that at least one-third of the said appropriation, that is, five hundred thousancl dollars I I ($500,000), ought to be devoted to the principal object of that expenditure ; the formation of a I i Public Park, that shall be the ornament of the me- 1 tropolis of the couiitry, the pride of the State; a I i trophy of the present to future generations, of the , patriotism and liberality of the people, and the cm- , bodiincrit of the refined taste and natural science of \ ' the age. I Kith these subjects in view, I submit the an- nexed plan, for the carryiilg of those objects into ! execution. In this outlay would be included,-making I 2 .? avenues, drives, walks, terraces, flower-gardens, play, parade, and skating-grounds, trees, and shrubbery, and planting the same. Leaving two-thirds, or one million of dollars, for buildings, fencing, arches, . fountains, and grading the lawns. 2. I have inade the four crossings, as per cir- cular," and to make another crossing between 59th street and the Reservoir, ~vou'ld mar the effect of the landscape ; its beauty consists, in mug~zitzde,and the crossings, as designated, ase sufficient for the purposes intended. 3. The principal and most zrublinie object of the Park, would be the parade-groand, surronnded near- ly on three of its sides, by natural terraces for the spectators.