The Role of the Sun in the Pantheon's Design and Meaning
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Negotiating Julio-Claudian Memory: the Vespasianic Building Program and the Representation of Imperial Power in Ancient Rome Joseph V
Macalester College DigitalCommons@Macalester College Classics Honors Projects Classics Department Spring 5-2-2014 Negotiating Julio-Claudian Memory: The Vespasianic Building Program and the Representation of Imperial Power in Ancient Rome Joseph V. Frankl Macalester College, [email protected] Follow this and additional works at: http://digitalcommons.macalester.edu/classics_honors Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, and the Classics Commons Recommended Citation Frankl, Joseph V., "Negotiating Julio-Claudian Memory: The eV spasianic Building Program and the Representation of Imperial Power in Ancient Rome" (2014). Classics Honors Projects. Paper 19. http://digitalcommons.macalester.edu/classics_honors/19 This Honors Project is brought to you for free and open access by the Classics Department at DigitalCommons@Macalester College. It has been accepted for inclusion in Classics Honors Projects by an authorized administrator of DigitalCommons@Macalester College. For more information, please contact [email protected]. Negotiating Julio-Claudian Memory: The Vespasianic Building Program and the Representation of Imperial Power in Ancient Rome By Joseph Frankl Advised by Professor Beth Severy-Hoven Macalester College Classics Department Submitted May 2, 2014 INTRODUCTION In 68 C.E., the Roman Emperor Nero died, marking the end of the Julio-Claudian imperial dynasty established by Augustus in 27 B.C.E (Suetonius, Nero 57.1). A year-long civil war ensued, concluding with the general Titus Flavius Vespasianus seizing power. Upon his succession, Vespasian faced several challenges to his legitimacy as emperor. Most importantly, Vespasian was not a member of the Julio-Claudian family, nor any noble Roman gens (Suetonius, Vespasian 1.1). -
The Quietest Painting in the Room
The Quietest Painting in the Room cardus.ca/comment/article/the-quietest-painting-in-the-room/ I hate that line in Good Will Hunting when the counselor (Robin Williams) says to the genius janitor (Matt Damon): So if I asked you about art, you'd probably give me the skinny on every art book ever written. Michelangelo, you know a lot about him. Life's work, political aspirations, him and the pope, sexual orientations, the whole works, right? But I'll bet you can't tell me what it smells like in the Sistine Chapel. I hate it not because it seems to me a kind of bullying, like age condescending to youth and inexperience (though that's true), but because the Sistine Chapel doesn't have any particular smell. The Domus Aurea, sure: a bit mossy and dank, but cool, and with imaginary lavender. The Palatine smells vaguely of cats and burning wheat. Even Saint Peter's, just a stone's throw from Capella Sistina, has a scent: clay, and neoprene rope, and tourists. But the Sistine Chapel hasn't even an olfactory trace of incense, or oil paints, or sweating sixteenth century architects lying on their backs. It may have had all those things when, in 1598, another painter named Michelangelo (Merisi da Caravaggio), from a town by whose name he was eventually known, made the first of his many visits there to see the great painting that his namesake had called forth from the abyss. We think of the Sistine ceiling as heavenly and eternal, but it helps to remember it was new once, shocking, and influential in a different sense than we mean it now. -
The Conservation Works the Hall of Masks in the Domus Aurea Conservation Studies Held in the 80'S Conservation Works of the H
The conservation works the Hall of Masks in the Domus Aurea Donatella Cavezzali1, Annamaria Giovagnoli, Elisabetta Giani, Bruno Mazzone, Carlo Cacace, Fabio Aramini 1 Istituto Superiore per la Conservazione ed il Restauro (ISCR), Rome, Italy Since 2004 the Istituto Superiore per la Conservazione ed il Restauro (ISCR) of Rome has begun to study the conservation conditions of the Hall of Masks in the Domus Aurea (64-68 AD), the palace of Emperor Nero whose decorations have inspired artist such as Rafael, Giovanni da Udine and Vasari becoming reference model for all the Renaissance. Conservation studies and restoration works have been focused in particular on two rooms of the great hypogeal palace, the Hall of Masks (room n. 114) and the nearby Corridor (room n. 131), whose frescoes are among the most famous and better preserved of all the site. In the last twenty years the rooms have been experimentally confined with airtight doors (1986) to test the microclimatic conditions in absence of light and thermo-hygrometric exchanges. After this long period of experimentation ISCR has lead a pilot conservation project to deal with the conservation and musealization of the Hall of Masks and Corridor n. 131. Conservation studies held in the 80’s Since 1969 the Central Institute of Restoration (now ISCR) began to study the preservation of the Domus Aurea, in particular focusing on the frescoes of the Golden Vault. Later (1986) began the studies in The Hall of Masks and the Corridor n. 131, focused on the stabilization of the microclimate as preventive conservation of the paintings. The two connected rooms were confined with airtight doors and restoration tests of frescoes were held to experiment maintenance in time. -
The Theatricality of the Baroque City: M
THE THEATRICALITY OF THE BAROQUE CITY: M. D. PÖPPELMANN’S ZWINGER AT DRESDEN FOR AUGUSTUS THE STRONG OF SAXONNY PATRICK LYNCH TRINITY HALL CAMBRIDGE UNIVERSITY 1996 MASTER OF PHILOSOPHY DISSERTATION THE HISTORY AND PHILSOPHY OF ARCHITECTURE 1 CONTENTS: Acknowledgements. Preface. 1 Introduction to the topic of theatricality as an aspect of the baroque. i.i The problem of the term baroque. i.ii The problem of theatricality in the histories of baroque architecture: i.ii.a The theatricality of the Frame. i.ii.b The theatricality of Festival. ii The hermeneutics of theatricality: ii.i Hans-Georg Gadamer's formulation of play, symbol and festival as an interpretation of baroque theatricality. 2 The historical situation of the development of the Zwinger. i The European context. ii The local context. 3 The urban situation of the Zwinger. i Barockstadt Dresden. ii Barockstaat Sachsen. 4 A description of the development of the Zwinger. Conclusion: i Festival and the baroque city. A description of the Zwinger in use as it was inaugurated during the wedding celebrations of Augustus III and Marie Josepha von Habsburg, September 1719. ii Theatricality and the city. Bibliography. Illustrations: Volume 2 2 ACKNOWLEDGEMENTS: I would like to thank D.V. for supervising me in his inimitable way, and Dr. Christopher Padfield (and Trinity Hall) for generous financial support. This dissertation is dedicated to my family and friends, absent or otherwise and to C.M. in particular for first showing me the Zwinger and without whose care this document would not exist. PATRICK LYNCH 09/96 3 'Als ich nach der Augustusbrücke kam, die ich schon so gut aus Kupferstichen und Gemälden kannte, kam es mir vor, als ob ich schon früher einmal in Traum hier gewesen wäre.' (As I came upon the Augustusbrücke, which I knew so well from engravings and paintings, it seemed to me as if I had been here once before, in a dream.) Hans Christian Andersen 'This luscious and impeccable fruit of life Falls, it appears, of its own weight to earth. -
Domitian's Arae Incendii Neroniani in New Flavian Rome
Rising from the Ashes: Domitian’s Arae Incendii Neroniani in New Flavian Rome Lea K. Cline In the August 1888 edition of the Notizie degli Scavi, profes- on a base of two steps; it is a long, solid rectangle, 6.25 m sors Guliermo Gatti and Rodolfo Lanciani announced the deep, 3.25 m wide, and 1.26 m high (lacking its crown). rediscovery of a Domitianic altar on the Quirinal hill during These dimensions make it the second largest public altar to the construction of the Casa Reale (Figures 1 and 2).1 This survive in the ancient capital. Built of travertine and revet- altar, found in situ on the southeast side of the Alta Semita ted in marble, this altar lacks sculptural decoration. Only its (an important northern thoroughfare) adjacent to the church inscription identifies it as an Ara Incendii Neroniani, an altar of San Andrea al Quirinale, was not unknown to scholars.2 erected in fulfillment of a vow made after the great fire of The site was discovered, but not excavated, in 1644 when Nero (A.D. 64).7 Pope Urban VIII (Maffeo Barberini) and Gianlorenzo Bernini Archaeological evidence attests to two other altars, laid the foundations of San Andrea al Quirinale; at that time, bearing identical inscriptions, excavated in the sixteenth the inscription was removed to the Vatican, and then the and seventeenth centuries; the Ara Incendii Neroniani found altar was essentially forgotten.3 Lanciani’s notes from May on the Quirinal was the last of the three to be discovered.8 22, 1889, describe a fairly intact structure—a travertine block Little is known of the two other altars; one, presumably altar with remnants of a marble base molding on two sides.4 found on the Vatican plain, was reportedly used as building Although the altar’s inscription was not in situ, Lanciani refers material for the basilica of St. -
Rodolfo Lanciani, the Ruins and Excavations of Ancient Rome, 1897, P
10/29/2010 1 Primus Adventus ad Romam Urbem Aeternam Your First Visit to Rome The Eternal City 2 Accessimus in Urbe AeternA! • Welcome, traveler! Avoiding the travails of the road, you arrived by ship at the port of Ostia; from there, you’ve had a short journey up the Via Ostiensis into Roma herself. What do you see there? 3 Quam pulchra est urbs aeterna! • What is there to see in Rome? • What are some monuments you have heard of? • How old are the buildings in Rome? • How long would it take you to see everything important? 4 Map of Roma 5 The Roman Forum • “According to the Roman legend, Romulus and Tatius, after the mediation of the Sabine women, met on the very spot where the battle had been fought, and made peace and an alliance. The spot, a low, damp, grassy field, exposed to the floods of the river Spinon, took the name of “Comitium” from the verb coire, to assemble. It is possible that, in consequence of the alliance, a road connecting the Sabine and the Roman settlements was made across these swamps; it became afterwards the Sacra Via…. 6 The Roman Forum • “…Tullus Hostilius, the third king, built a stone inclosure on the Comitium, for the meeting of the Senators, named from him Curia Hostilia; then came the state prison built by Ancus Marcius in one of the quarries (the Tullianum). The Tarquin [kings] drained the land, gave the Forum a regular (trapezoidal) shape, divided the space around its borders into building- lots, and sold them to private speculators for shops and houses, the fronts of which were to be lined with porticoes.” --Rodolfo Lanciani, The Ruins and Excavations of Ancient Rome, 1897, p. -
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. -
The Mythology of the Ara Pacis Augustae: Iconography and Symbolism of the Western Side
Acta Ant. Hung. 55, 2015, 17–43 DOI: 10.1556/068.2015.55.1–4.2 DAN-TUDOR IONESCU THE MYTHOLOGY OF THE ARA PACIS AUGUSTAE: ICONOGRAPHY AND SYMBOLISM OF THE WESTERN SIDE Summary: The guiding idea of my article is to see the mythical and political ideology conveyed by the western side of the Ara Pacis Augustae in a (hopefully) new light. The Augustan ideology of power is in the modest opinion of the author intimately intertwined with the myths and legends concerning the Pri- mordia Romae. Augustus strove very hard to be seen by his contemporaries as the Novus Romulus and as the providential leader (fatalis dux, an expression loved by Augustan poetry) under the protection of the traditional Roman gods and especially of Apollo, the Greek god who has been early on adopted (and adapted) by Roman mythology and religion. Key words: Apollo, Ara, Augustus, Pax Augusta, Roma Aeterna, Saeculum Augustum, Victoria The aim of my communication is to describe and interpret the human figures that ap- pear on the external western upper frieze (e.g., on the two sides of the staircase) of the Ara Pacis Augustae, especially from a mythological and ideological (i.e., defined in the terms of Augustan political ideology) point of view. I have deliberately chosen to omit from my presentation the procession or gathering of human figures on both the Northern and on the Southern upper frieze of the outer wall of the Ara Pacis, since their relationship with the iconography of the Western and of the Eastern outer-upper friezes of this famous monument is indirect, although essential, at least in my humble opinion. -
The Baroque Transformation of the Salus Populi Romani Amber Mcalister Blazer
From Icon to Relic: The Baroque Transformation of the Salus Populi Romani Amber McAlister Blazer In partial response 10 the Pro1esian1 denunciation of sa of another revered icon al the Chiesa Nuova.' This con1empo cred images, the Counter-Reformation Church in Rome initi• rary project anticipates lhe formal solution employed at 1he atcd a widespread progmm 10 resanctify holy icons.' The re Pauline altar. In 1606, the Orntorian fathers of S. Mruia in newed importance or such images for the renovmio of the Vallicella commissioned a paiming from Pe1cr Paul Rubens for Church was stated emphatically by the elaborate Baroque vo tbe high altar of 1heir new church. the Chiesa Nuova.' One of cabulary employed in their re-installation. An important ex their requirements was 1ha1 it should incorporate the mirncu ample of this process is seen in the tomb chapel erected by lous image of the Madonna and Child which the fathers had Paul Vat S. Maria Maggiore and its allar that houses the icon. preserved from their old church. Rubens finished the canvas of today known as the Salus Pop11li Rom1111i (Figure I).' Because Sts. Grego,}' and Domiti/111, S11rro1111ded by Fo11r Saims !Sts. of1he long and revered his1ory of 1he icon. the papal patronage Maurus and Papianus. Nereus and Achilleus] in 1607.' Be of the si1e. and the nascent Baroque style used for 1he altar cause of the poor light in the church the painting was unread itself. the Pauline installation serves as a paradigm for the able, and 1he Church fathers asked Rubens 10 redo the work on Counter-Reformation display of icons. -
Looking at the Pazzi Chapel's Umbrella Vault from Its Oculus
Looking at the Pazzi Chapel’s umbrella vault from its oculus Nevena RADOJEVIC DiDA: Dipartimento di Architettura – Università degli Studi di Firenze, Italy Abstract: The subject of the research is the umbrella vault in the Pazzi Chapel in Santa Croce church in Florence. In some previous researches done by the author, attempts were made to formulate new hypotheses on the form-finding processes that could have determined the shape of umbrella’s vault sail. The analyses were done by correlating detailed surveys and geometric analyses of the vault, comprising the curves, surfaces and the possible masonry texture with the hypothesized form. The hypothesized form of the inner sail is obtained by a three-dimensional transformation of a toric surface, with respect to the fixed point (dome’s oculus) and constant length (torus radius), like the conchoid of Nicomedes in 2d. The vault is made by the inner sail (the conchoid surface) and the outer sail that is not visible in this moment (the hypothesized toric surface). The results were verified by overlapping the hypothesized inner sail’s form with the laser scanner data, and only 4% of points were out of the 3 cm range. This very particular form, even though it explains the building process in a very satisfactory manner, is not actually something that the visitors can see (with the naked eye). Actually, the conchoid surface (that is a solid central projection of torus), could be perceived like a transformation of torus only under certain conditions. First condition: the inner conchoidal sail’s surface should be mapped by the elements that represent the projection of the torus’s peculiar elements (circumferences for example) onto the conchoid surface from the fixed point (oculus). -
ROME : ART and HISTORY OPENAIR 2020-2021, 2Nd Semester Meeting 1 – 13.03.2021 the Eternal City
University of Rome Tor Vergata School of Global Governance Prof. Anna Vyazemtseva ROME : ART AND HISTORY OPENAIR 2020-2021, 2nd semester Meeting 1 – 13.03.2021 The Eternal City 10 am – 5 pm :, The Palatine (Domus Augustana, Horti Farnesiani), Roman and Imperial Forums, The Colosseum, Vittoriano Complex, Musei Capitolini. 1 - 2pm:Lunch Meeting 2 – 20.03.2021 Introduction to the Renaissance 10 am – 5 pm: St. Peter’s Basilica, Vatican Museums (Sistine Chapel by Michelangelo, Stanze by Raphael). 1 - 2pm: Lunch Meeting 3 – 27.03.2021 Architecture and Power: Palaces of Rome 10 am – 5 pm: Villa Farnesina, Via Giulia, Palazzo Farnese, Palazzo Spada-Capodiferro, Palazzo della Cancelleria, Palazzo Mattei, Palazzo Venezia 1 - 2pm: Lunch Meeting 4 – 10.04.2021 Society, Politics and Art in Rome in XV-XVIII cc. 10 am – 5 pm: Santa Maria del Popolo, Piazza di Spagna, Barberini Palace and Gallery, Fon tana di Trevi, San Carlino alle Quattro Fontane, Sant’Andrea al Quirinale, Palazzo del Quirinale 1 - 2pm:Lunch Meeting 5 – 14.04.2021 The Re-use of the Past 10 am – 5 pm: Pantheon, Piazza di Pietra, Piazza Navona, Baths of Diocletian, National Archeological Museum Palazzo Massimo alle Terme. 1 - 2pm: Lunch Meeting 6 – 08.03.2021 Contemporary Architecture in Rome 10 am – 5pm: EUR district, MAXXI – Museum of Arts of XXI c. (Zaha Hadid Architects), Ara Pacis Museum. 1 – 2 pm: Lunch Proposals and Requirements The course consists of 6 open air lectures on artistic heritage of Rome. The direct contact with sites, buildings and works of art provides not only a better comprehension of their historical and artistic importance but also helps to understand the role of heritage in contemporary society. -
The Impact of the Roman Army (200 BC – AD 476)
Impact of Empire 6 IMEM-6-deBlois_CS2.indd i 5-4-2007 8:35:52 Impact of Empire Editorial Board of the series Impact of Empire (= Management Team of the Network Impact of Empire) Lukas de Blois, Angelos Chaniotis Ségolène Demougin, Olivier Hekster, Gerda de Kleijn Luuk de Ligt, Elio Lo Cascio, Michael Peachin John Rich, and Christian Witschel Executive Secretariat of the Series and the Network Lukas de Blois, Olivier Hekster Gerda de Kleijn and John Rich Radboud University of Nijmegen, Erasmusplein 1, P.O. Box 9103, 6500 HD Nijmegen, The Netherlands E-mail addresses: [email protected] and [email protected] Academic Board of the International Network Impact of Empire geza alföldy – stéphane benoist – anthony birley christer bruun – john drinkwater – werner eck – peter funke andrea giardina – johannes hahn – fik meijer – onno van nijf marie-thérèse raepsaet-charlier – john richardson bert van der spek – richard talbert – willem zwalve VOLUME 6 IMEM-6-deBlois_CS2.indd ii 5-4-2007 8:35:52 The Impact of the Roman Army (200 BC – AD 476) Economic, Social, Political, Religious and Cultural Aspects Proceedings of the Sixth Workshop of the International Network Impact of Empire (Roman Empire, 200 B.C. – A.D. 476) Capri, March 29 – April 2, 2005 Edited by Lukas de Blois & Elio Lo Cascio With the Aid of Olivier Hekster & Gerda de Kleijn LEIDEN • BOSTON 2007 This is an open access title distributed under the terms of the CC-BY-NC 4.0 License, which permits any non-commercial use, distribution, and reproduction in any medium, provided the original author(s) and source are credited.