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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. -
VISTA ROMA ROMA La Cupola Di San Pietro, in Lontananza, Troneggia Sul Tevere Illuminato
VISTA ROMA ROMA La cupola di San Pietro, in lontananza, troneggia sul Tevere illuminato. Sulle sponde fermento e bancarelle: da giugno ad agosto la manifestazione “Lungo il Tevere...Roma” anima l’estate capitolina. Fascino immortale Cambiamenti e trasformazioni hanno accompagnato alcuni quartieri di Roma. Monti, Trastevere, Pigneto e Centocelle, in tempi e modi diversi, portano avanti la loro rinascita: sociale, gastronomica e culturale DI VIOLA PARENTELLI 40 _ LUGLIO 2019 ITALOTRENO.IT ITALOTRENO.IT LUGLIO 2019 _ 41 VISTA ROMA A destra, un pittoresco scorcio di Monti e sullo sfondo la Basilica di Santa Maria Maggiore. Fafiuché, vineria nascosta tra i vicoli del rione, è una tappa obbligata per sorseggiare un calice di vino. isomogenea, caotica, imperfetta. Impo- “zona abitata sotto la città” ne richiama nente nella sua maestosità storica, fami- la struttura: che si scenda dalla Salita liare nei dettagli visibili solo agli sguardi dei Borgia o da Via dei Serpenti, tutte le più attenti. Con Roma ci vuole pazienza, scale portano qui. Tolti gli abiti di luogo e ci vuole empatia. Roma accoglie, ma malfamato che era in origine, da qualche solo chi sa leggerne le infinite anime po- decennio è una delle mete più apprezzate trà sentirsi davvero a casa. Per ammirar- per il suo fascino un po’ rétro. Dopo una ne la bellezza, le terrazze sono luoghi pri- visita al mercatino vintage a pochi passi vilegiati. Il Roof 7 Terrace di Le Méridien dall’uscita della metro B, camminare su Visconti, a Prati, gode di questa fortuna. quegli infiniti sanpietrini diventa quasi D Un salotto con vista dove appagare il pa- piacevole. -
A Literary Journey to Rome
A Literary Journey to Rome A Literary Journey to Rome: From the Sweet Life to the Great Beauty By Christina Höfferer A Literary Journey to Rome: From the Sweet Life to the Great Beauty By Christina Höfferer This book first published 2017 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2017 by Christina Höfferer All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-7328-4 ISBN (13): 978-1-4438-7328-4 CONTENTS When the Signora Bachmann Came: A Roman Reportage ......................... 1 Street Art Feminism: Alice Pasquini Spray Paints the Walls of Rome ....... 7 Eataly: The Temple of Slow-food Close to the Pyramide ......................... 11 24 Hours at Ponte Milvio: The Lovers’ Bridge ......................................... 15 The English in Rome: The Keats-Shelley House at the Spanish Steps ...... 21 An Espresso with the Senator: High-level Politics at Caffè Sant'Eustachio ........................................................................................... 25 Ferragosto: When the Romans Leave Rome ............................................. 29 Myths and Legends, Truth and Fiction: How Secret is the Vatican Archive? ................................................................................................... -
Renaissance Gardens of Italy
Renaissance Gardens of Italy By Daniel Rosenberg Trip undertaken 01-14 August 2018 1 Contents: Page: Introduction and overview 3 Itinerary 4-5 Villa Adriana 6-8 Villa D’Este 9-19 Vatican 20-24 Villa Aldobrindini 25-31 Palazzo Farnese 32-36 Villa Lante 37-42 Villa Medici 43-45 Villa della Petraia 46-48 Boboli Gardens 49-51 Botanical Gardens Florence 52 Isola Bella 53-57 Isola Madre 58-60 Botanic Alpine Garden Schynige Platte (Switz.) 61-62 Botanic Gardens Villa Taranto 63-65 Future Plans 66 Final Budget Breakdown 66 Acknowledgments 66 Bibliography 66 2 Introduction and Overview of project I am currently employed as a Botanical Horticulturalist at the Royal Botanic Gardens Kew. I started my horticultural career later in life and following some volunteer work in historic gardens and completing my RHS level 2 Diploma, I was fortunate enough to secure a place on the Historic and Botanic Garden training scheme. I spent a year at Kensington Palace Gardens as part of the scheme. Following this I attended the Kew Specialist Certificate in Ornamental Horticulture which gave me the opportunity to deepen my plant knowledge and develop my interest in working in historic gardens. While on the course I was able to attend a series of lectures in garden history. My interest was drawn to the renaissance gardens of Italy, which have had a significant influence on European garden design and in particular on English Gardens. It seems significant that in order to understand many of the most important historic gardens in the UK one must understand the design principles and forms, and the classical references and structures of the Italian renaissance. -
Visiones E Impresiones De La Villa Belvedere De Los Aldobrandini En Frascati
Ana/ese/e Historia del Arte 155N: 0214-6452 2001,11: 149-126 Visiones e impresiones de la Villa Belvedere de los Aldobrandini en Frascati Luís J. GORDO PELÁEZ «The/lrst place we went to see here, was the Villa Aldobrandani. Tisis Villa is also called tise Belvedere ofFrescati because it stands sopleasantly, having Use Campania of Rome, and Rome it self ja sight on one side; and on the cúter, titeHill side cdl cave red with Laurel Trees, curicus Fountains, Cascaseis, and otiser deliglstsome Waíer-works, which afford here a cool season, even in tise Months ofiuly andAugust>t R. LAsseLs, 7/se Voyage ofita/y, 1686 LOS ALDOBRANDINI Y FRASCATI Ippolito Aldobrandini, más conocido como Clemente VIII, Papa entre 1592 y 1605, ocupó la Cátedra de San Pedro en un momento clave para el catolicismo, y gracias a sus buenas aptitudes supo gobernar sabiamente la Corte Papal y sus Esta- dos. De familia florentina, enemiga de los Médicis, lppolito buscó desde el princi- pio mantener unas relaciones cordiales con las potencias europeas, a la vez que extender los dominios de los Estados Pontificios y de la Iglesia Católica. Así, res- pecto a Inglaterra siempre esperó su posible vuelta al catolicismo con la llegada de un rey católico al trono inglés. Espera, por otro lado, infructuosa. Dos hechos trá- gicos tuvieron lugar bajo el pontificado de Clemente VIII, y ambos tuvieron gran repercusión en su época: uno, fue el proceso y ejecución de los Cenci (Beatrice, Lucrezia, Giacomo y Bernardo), acusados de matar al padre de la familia, Francesco Cenci; y otro, el proceso y condena por la Inquisición de Giordano Bruno. -
9781107013995 Index.Pdf
Cambridge University Press 978-1-107-01399-5 — Rome Rabun Taylor , Katherine Rinne , Spiro Kostof Index More Information INDEX abitato , 209 , 253 , 255 , 264 , 273 , 281 , 286 , 288 , cura(tor) aquarum (et Miniciae) , water 290 , 319 commission later merged with administration, ancient. See also Agrippa ; grain distribution authority, 40 , archives ; banishment and 47 , 97 , 113 , 115 , 116 – 17 , 124 . sequestration ; libraries ; maps ; See also Frontinus, Sextus Julius ; regions ( regiones ) ; taxes, tarif s, water supply ; aqueducts; etc. customs, and fees ; warehouses ; cura(tor) operum maximorum (commission of wharves monumental works), 162 Augustan reorganization of, 40 – 41 , cura(tor) riparum et alvei Tiberis (commission 47 – 48 of the Tiber), 51 censuses and public surveys, 19 , 24 , 82 , cura(tor) viarum (roads commission), 48 114 – 17 , 122 , 125 magistrates of the vici ( vicomagistri ), 48 , 91 codes, laws, and restrictions, 27 , 29 , 47 , Praetorian Prefect and Guard, 60 , 96 , 99 , 63 – 65 , 114 , 162 101 , 115 , 116 , 135 , 139 , 154 . See also against permanent theaters, 57 – 58 Castra Praetoria of burial, 37 , 117 – 20 , 128 , 154 , 187 urban prefect and prefecture, 76 , 116 , 124 , districts and boundaries, 41 , 45 , 49 , 135 , 139 , 163 , 166 , 171 67 – 69 , 116 , 128 . See also vigiles (i re brigade), 66 , 85 , 96 , 116 , pomerium ; regions ( regiones ) ; vici ; 122 , 124 Aurelian Wall ; Leonine Wall ; police and policing, 5 , 100 , 114 – 16 , 122 , wharves 144 , 171 grain, l our, or bread procurement and Severan reorganization of, 96 – 98 distribution, 27 , 89 , 96 – 100 , staf and minor oi cials, 48 , 91 , 116 , 126 , 175 , 215 102 , 115 , 117 , 124 , 166 , 171 , 177 , zones and zoning, 6 , 38 , 84 , 85 , 126 , 127 182 , 184 – 85 administration, medieval frumentationes , 46 , 97 charitable institutions, 158 , 169 , 179 – 87 , 191 , headquarters of administrative oi ces, 81 , 85 , 201 , 299 114 – 17 , 214 Church. -
OUT of the BOX a Boutique Hotel, Intimately Connected to Its Roots in the Heart of Rome
136 VOYAGE From Rome, Italy 137 OUT OF THE BOX A Boutique Hotel, Intimately Connected to its Roots in the Heart of Rome In Rome, a few steps from the Colosseum and the Roman Forum, the new Condominio Monti is a new boutique hotel that preserves the convivial atmosphere of its historic neighborhood, famous for its picturesque alleys and which oozes life during the day through its tiny craft shops and galleries, and by night through its trendy wineries and bars. The brainchild of entrepreneurs Kaja Osinski and Filippo Ribacchi, who helm Living Roma, Condominio Monti occupies an area of 900 square meters and has been developed within two neighboring buildings: hence the name, highlighting the intimate collective project, where attention is paid to shared spaces. Far from the aseptic standards of many major hotel chains, the new structure rewrites the concept of hospitality through 33 rooms, designed for selective travelers and design lovers, and a reception with a tailored edge. A concierge service based on the guests’ needs, offers suggestions for experiencing the Eternal City in contemporary and unconventional ways, with ad hoc illustrated itineraries at guests’ disposal in every room. The architectural and interior design, which preserves the structure of a traditional Roman house, with its bijou, but functional rooms distributed along a corridor, bears the signature of designers STUDIOTAMAT and the shades, finishes, fabrics, patterns and objects have been selected by Sabina Guidotti, founder of Bludiprussia. Photos © Condominio Monti 138 VOYAGE 139 Balanced lighting and custom-designed furnishings – from bedside tables to headboards – blend with a palette of bold colors, sophisticated wallpapers and decorative patterns that allude to the concept of "exotic", and are intended as a journey to discover “otherness”. -
UNIVERSITY of CALIFORNIA Los Angeles the Orphan-Hero in Italian Renaissance Epic a Dissertation Submitted in Partial Satisfactio
UNIVERSITY OF CALIFORNIA Los Angeles The Orphan-Hero in Italian Renaissance Epic A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Italian by Sarah Sixmith Vogdes Cantor 2020 © Copyright by Sarah Sixmith Vogdes Cantor 2020 ABSTRACT OF THE DISSERTATION The Orphan-Hero in Italian Renaissance Epic by Sarah Sixmith Vogdes Cantor Doctor of Philosophy in Italian University of California, Los Angeles, 2020 Professor Andrea Moudarres, Chair “The Orphan-Hero in Italian Renaissance Epic” investigates a commonplace present in epic poetry from antiquity to the Renaissance: the orphan-hero, a protagonist who grows up without the guidance of biological parents. The study traces this figure from its origins to the early modern period, beginning with classical epic in the introduction and focusing on 16th- and early 17th- century Italian poems in the body of the dissertation, namely Ludovico Ariosto’s Orlando furioso (1532), Torquato Tasso’s Gerusalemme liberata (1581), Tullia d’Aragona’s Il Meschino (1560), Moderata Fonte’s Floridoro (1581), Margherita Sarrocchi’s Scanderbeide (1623), and LucreZia Marinella’s L’Enrico (1635). Through analysis of these works, I address the following critical questions: 1) What links orphanhood and heroism? 2) Why might poets deem this tradition worthy of continuation? 3) Do modifications to the orphan-hero by different Renaissance authors reveal or emphasiZe shifts in thinking during the period? In particular, to what extent do the female authors fashion their orphan-heroes to fit an early modern feminist purpose? ii I propose that the vulnerability inherent in the parentless state is significant to the subsequent development of heroic qualities in Renaissance epic heroes. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Writing in the Street: The Development of Urban Poetics in Roman Satire Permalink https://escholarship.org/uc/item/7x66m4vs Author Gillies, Grace Publication Date 2018 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Writing in the Street: The Development of Urban Poetics in Roman Satire A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Classics by Grace Gillies 2018 © Copyright by Grace Gillies 2018 ABSTRACT OF THE DISSERTATION Writing in the Street: The Development of Urban Poetics in Roman Satire by Grace Gillies Doctor of Philosophy in Classics University of California, Los Angeles, 2018 Professor Amy Ellen Richlin, Chair My dissertation examines Roman imperial satire for its relationship with non-elite street culture in the Roman city. I begin with a lexicon of sites and terms related to Roman concepts of disgust in the city, as they appear in the satiric sources I am working with. Then, in my next four chapters, I work chronologically through the extant satires to show how each author reflects or even appropriates practices from Roman street culture. Satirists both condemn parts of the city as disgusting—the parts and people in them who ignore social and cultural boundaries—and appropriate those practices as emblematic of what satire does. The theoretical framework for this project concerns concepts of disgust in the Roman world, and draws primarily on Mary Douglas (1966) and Julia Kristeva (1982). The significance of this work is twofold: (1) it argues that satire is, far from a self-contained elite practice, a genre that drew heavily on non-elite urban ii culture; (2) that it adds to a fragmentary history of Roman street culture. -
Mok Restaurants ULTIMO MARCO
Rome Suite Home restaurants Dear Guests, The following is a list of suggested restaurants that we have selected throughout the years (when we were slimmer… but we had to do big sacrifices and efforts to give you the best tips!). Because of the area in which they are located (downtown but authentic and not “tourist oriented”), the quality of the food (we have always had great meals there) and the reasonable price (15 to 30Euro each – depending on the wine you choose and how hungry you are), we feel like suggesting these places: these are not tourist traps but REAL ROMAN RESTAURANTS and PIZZERIAS where WE also go with our family and friends. S Vecchia Roma – Via Ferruccio, 12 (Esquilino, 3mins walking) The best AMATRICIANA ever! This is a typical restaurant where the house special is the Amatriciana (typical Roman pasta with tomato sauce, pork cheeks and pecorino cheese). Once ready, they throw the Amatriciana in the Pecorino cheese case where they add some pure alcohol and then they flame it up so that the cheese in the case melts in it making it soooo tasty! The pizza is very good as well and all the dishes from the Roman tradition (trippa, antipasti fritti, coda alla vaccinara, etc.) are made in the real traditional way. It is close to Santa Maria Maggiore, not far from Termini Station. Ph. +39 06 44 67 143 – www.trattoriavecchiaroma.it – Closed on Sundays and August S La Carbonara – Via Panisperna, 214 (Rione Monti, 5mins walking) There is one more famous in Campo de’ Fiori, but according to us that one is overpriced due to its “name”. -
Rome Travel Rome
TRAVEL ROME With a couple of days in hand, where better to round off a Mediterranean cruise vacation than in the Eternal City? VERNE MAREE fuelled up on espresso and this capital’s signature pasta carbonara before tackling some of the world’s most awesome sites. 216 January13 January13 217 TRAVEL Getting Around Vaguely heading for the River Tiber, We were delighted with the location of we passed the residence of the Italian our hotel, Leon’s Place, a convenient five head of state on Quirinal Hill, one of the minutes’ walk from two Metropolitana Seven Hills of Rome, where we admired (metro) stations: Repubblica on the The Horse Tamers, a very large heroic red line and Castro Pretorio on the fourth-century sculpture featuring an blue line; they’re the only two lines, so unheroically small fig leaf. you’ve got the city pretty much covered. After we’d hurled our one-euro coins At the first kiosk we saw, we invested in over the heads of the crowds into the the €30 RomaPass that gives tourists Trevi Fountain, someone told us we unlimited transport on all buses, metros should have thrown them over our and trams, entry to the first two sights shoulders to get the desired outcome: and more. our return to Rome someday. Too late. But here I must be candid. In life, you Next up was the spectacularly showy reach a point where you have more Victor Emmanuel Monument in money than energy. When that happens, Piazza Venezia: weirdly, it seems you you take a cab (€7 to €20) instead of can’t go anywhere in Rome without braving the crowded metro or wasting passing this monstrosity. -
Chapter 3 Who Built the Pantheon? Agrippa, Apollodorus, Hadrian And
Despite so much that is known about Roman buildings, Chapter 3 there is relatively little to say about the individuals involved in the ferment of their creation. We can reconstruct Who Built the Pantheon? confidently the original appearance of many a monument, but not much about their designers. This is not for want of Agrippa, Apollodorus, information; it is just not quite of the right kind. All around the Mediterranean survive ample ruins, including some Hadrian and Trajan strikingly well-preserved buildings, of which the Pantheon is the prime example. This physical evidence is illuminated by literary sources, inscriptions and brickstamps, and on Mark Wilson Jones occasion by maps and drawings inscribed in stone. Notwithstanding some long-running disputes, we can often be sure of the identity and date of individual monuments in major cities. We also possess quite a populous roster of architects’ names, thanks to numbers of their tombstones, along with the occasional textual mention of a few of the men at the top of their profession. Some buildings bear discreet architects’ inscriptions, yet these are nothing like as numerous and prominent as those of their patrons; it is they who take the credit. In short, it is normally impossible to join up specific surviving buildings with specific architects about whom we know any more than the name. In this the Roman period fares worse than the Greek, when architects were frequently tied to particular projects by specifications, contracts and accounts recorded on stone, while the names of famous protagonists can be found in the treatises of Roman writers, most notably Vitruvius and Pliny.1 By such means we know of no fewer than three individuals who had responsibility for the design of the Parthenon in one role or other, Ictinus, Kallikrates and Karpion, while a fourth, Phidias, the creator of Athena Parthenos, may also have had some architectural input.