GUIDED CITY TOUR Enjoy Rome
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Chapter 5 Art Offers a Glimpse at a Different World Than That Which The
chapter 5 Art Art offers a glimpse at a different world than that which the written narratives of early Rome provide. Although the producers (or rather, the patrons) of both types of work may fall into the same class, the educated elite, the audience of the two is not the same. Written histories and antiquarian works were pro- duced for the consumption of the educated; monuments, provided that they were public, were to be viewed by all. The narrative changes required by dyadic rivalry are rarely depicted through visual language.1 This absence suggests that the visual narratives had a different purpose than written accounts. To avoid confusion between dyadic rivals and other types of doubles, I con- fine myself to depictions of known stories, which in practice limits my inves- tigation to Romulus and Remus.2 Most artistic material depicting the twins comes from the Augustan era, and is more complimentary than the literary narratives. In this chapter, I examine mainly public imagery, commissioned by the same elite who read the histories of the city. As a result, there can be no question of ignorance of this narrative trope; however, Roman monuments are aimed at a different and wider audience. They stress the miraculous salvation of the twins, rather than their later adventures. The pictorial language of the Republic was more interested in the promo- tion of the city and its elite members than problematizing their competition. The differentiation between artistic versions produced for an external audi- ence and the written narratives for an internal audience is similar to the dis- tinction made in Propertius between the inhabitants’ knowledge of the Parilia and the archaizing gloss shown to visitors. -
January 2015Watercolor Newsletter
January 2015 Watercolor Newsletter Exhibitions of Note Masters of Watercolour Exhibition Grand Hall St. Petersburg, Russia January 20-31, 2015 40 Russian and 40 International artists will be represented. Kansas Watercolor Society National Exhibition Wichita Center for the Arts Wichita, KS November 21, 2014 – January 4, 2015 NWS Annual International Exhibition NWS Gallery San Pedro, CA November 12, 2014 - January 11, 2015 Florida Focus Gold Coast Watercolor Society City Furniture Fort Lauderdale, Florida December 13, 2014- January 30, 2015 Pennsylvania Watercolor Society's 35th International Juried Exhibition State Museum Harrisburg PA November 8, 2014 – February 8, 2015 Fourth upon a time... Harriët, Eva, Kitty, Nadja Nordiska Akvarellmuseet Museum Sweden February 8 – May 3, 2015 Along with traditional and contemporary watercolour art The Nordic Watercolour Museum (Nordiska Akvarellmuseet) has a special focus on picture storytelling for children and young people. Fourth Upon a Time... Harriët, Eva, Kitty, Nadja is the fifth exhibition with this theme in focus. Here we encounter four artists and picture book creators from four European countries. They all have a deeply personal visual language and create narratives that challenge and cause one to marvel. In the exhibition, the artists will present their books, but also completely different sides of their work. They have chosen to work together and let their different worlds collide and meet in new art, new pictures and new stories. Traces: From the collection Nordiska Akvarellmuseet Museum Sweden February 8 – May 3, 2015 The Nordic Watercolour Museum´s art collection is an ongoing and vital part of the museum´s activities. For this spring´s selection works have been chosen that associate in different ways with the theme traces. -
Reviews Summer 2020
$UFKLWHFWXUDO Marinazzo, A, et al. 2020. Reviews Summer 2020. Architectural Histories, 8(1): 11, pp. 1–13. DOI: +LVWRULHV https://doi.org/10.5334/ah.525 REVIEW Reviews Summer 2020 Adriano Marinazzo, Stefaan Vervoort, Matthew Allen, Gregorio Astengo and Julia Smyth-Pinney Marinazzo, A. A Review of William E. Wallace, Michelangelo, God’s Architect: The Story of His Final Years and Greatest Masterpiece. Princeton and Oxford: Princeton University Press, 2019. Vervoort, S. A Review of Matthew Mindrup, The Architectural Model: Histories of the Miniature and the Prototype, the Exemplar and the Muse. Cambridge, MA, and London: The MIT Press, 2019. Allen, M. A Review of Joseph Bedford, ed., Is There an Object-Oriented Architecture? Engaging Graham Harman. London and New York: Bloomsbury Academic, 2020. Astengo, G. A Review of Vaughan Hart, Christopher Wren: In Search of Eastern Antiquity. London: Yale University Press, 2020. Smyth-Pinney, J. A Review of Maria Beltramini and Cristina Conti, eds., Antonio da Sangallo il Giovane: Architettura e decorazione da Leone X a Paolo III. Milan: Officina libraria, 2018. Becoming the Architect of St. Peter’s: production of painting, sculpture and architecture and Michelangelo as a Designer, Builder and his ‘genius as entrepreneur’ (Wallace 1994). With this new Entrepreneur research, in his eighth book on the artist, Wallace mas- terfully synthesizes what aging meant for a genius like Adriano Marinazzo Michelangelo, shedding light on his incredible ability, Muscarelle Museum of Art at William and Mary, US despite (or thanks to) his old age, to deal with an intri- [email protected] cate web of relationships, intrigues, power struggles and monumental egos. -
The Sack of Rome and the Theme of Cultural Discontinuity
CHAPTER ONE THE SACK OF ROME AND THE THEME OF CULTURAL DISCONTINUITY i. Introduction The Sack of Rome had unmatched significance for contemporaries, and it triggered momentous cultural and intellectual transformations. It stands apart from the many other brutal conquests of the time, such as the sack of Prato fifteen years earlier, because Rome held a place of special prominence in the Renaissance imagination.1 This prominence was owed in part to the city's geographical position on the ruins of the ancient city of Rome, which provided an ever-pres ent visual reminder of its classical role sis caput mundi.2 Just as impor tant for contemporary observers, it stood at the center of Western Christendom: a position to which it had been restored in 1443, when Pope Eugenius IV returned the papacy to the Eternal City.3 In the ensuing decades, the Renaissance popes strove to rebuild the physical city and to enhance both the theoretical claim of the papacy to uni versal impenum and its actual political and ecclesiastical sway, which the recent schism had eroded. Modern historians, who have tended to confirm contemporaries' assessment of Rome's centrality in Renaissance European culture, have similarly viewed the events of 1527 as marking a critical turning point. The nineteenth-century German scholar Ferdinand Gregoro- vius chose the Imperial conquest of 1527 as the terminus ad quern for his monumental eight-volume history of Rome in the Middle Ages, 1 Eric Cochrane, Italy, 1530-1630 (London and New York, 1988), 9-10, also draws attention to this contrast. 2 On Renaissance Roman antiquarianism and archaeology, see the sources cited in Philip Jacks, The Antiquarian and the Myth of Antiquity: The Origins of Rome in Renaissance Thought (Cambridge, 1993); and idem, "The Simulachrum of Fabio Calvo: A View of Roman Architecture aWantka in 1527," Art Bulletin 72 (1990): 453-81. -
Robert Venturi & Denise Scott Brown. Architecture As Signs and Systems
Architecture as Signs and Systems For a Mannerist TIme Robert Venturi & Denise Scott Brown THE BELKNAP PRESS OF HARVARD UNIVERSITY PRESS· CAMBRIDGE, MASSACHUSETTS· LONDON, ENGLAND· 2004 Art & Arch e'J' ,) re Library RV: Washington u:'li \/(H'si ty Campus Box 1·,):51 One Brookin18 Dr. st. Lg\li,s, !.:0 &:n:W-4S99 DSB: RV, DSB: Copyright e 2004 by Robert Venturi and Denise Scott Brown All rights reserved Printed in Italy Book Design by Peter Holm, Sterling Hill Productions Library of Congress Cataloging-in-Publication Data Venturi, Robert. Architecture as and systems: for a mannerist time I Robert Venturi and Denise Scott Brown. p. em. - (The William E. Massey, Sr. lectures in the history of American civilization) Includes bibliographical references and index. ISBN 0-674-01571-1 (alk. paper) 1. Symbolism in architecture. 2. Communication in architectural design. I. Scott Brown, Denise, 1931- II. Title. ill. Series. NA2500.V45 2004 nO'.I-dc22 200404{)313 ttext," for show his l them in lied "that le most of 'espitemy to be an me of our 19 studies, mth these Architecture as Sign rather than Space ecause if I New Mannerism rather than Old Expressionism 1geswon't ROBERT VENTURI ,the com :tronger ::ople who . work and lity to the _~.'n.•. ~~~,'~'"'.".'."_~ ____'_''''"'«'''.'''''',_",_.""",~",-,-" ".,-=--_""~ __ , ..... """'_.~~"',.._'''''_..._,,__ *' ...,',.,..,..... __ ,u~.,_~ ... mghai, China. 2003 -4 -and for Shanghai, the mul A New Mannerism, for Architecture as Sign . today, and tomorrow! This of LED media, juxtaposing nbolic, and graphic images at So here is complexity and contradiction as mannerism, or mannerism as ing. -
Renaissance Art in Rome Giorgio Vasari: Rinascita
Niccolo’ Machiavelli (1469‐1527) • Political career (1498‐1512) • Official in Florentine Republic – Diplomat: observes Cesare Borgia – Organizes Florentine militia and military campaign against Pisa – Deposed when Medici return in 1512 – Suspected of treason he is tortured; retired to his estate Major Works: The Prince (1513): advice to Prince, how to obtain and maintain power Discourses on Livy (1517): Admiration of Roman republic and comparisons with his own time – Ability to channel civil strife into effective government – Admiration of religion of the Romans and its political consequences – Criticism of Papacy in Italy – Revisionism of Augustinian Christian paradigm Renaissance Art in Rome Giorgio Vasari: rinascita • Early Renaissance: 1420‐1500c • ‐‐1420: return of papacy (Martin V) to Rome from Avignon • High Renaissance: 1500‐1520/1527 • ‐‐ 1503: Ascension of Julius II as Pope; arrival of Bramante, Raphael and Michelangelo; 1513: Leo X • ‐‐1520: Death of Raphael; 1527 Sack of Rome • Late Renaissance (Mannerism): 1520/27‐1600 • ‐‐1563: Last session of Council of Trent on sacred images Artistic Renaissance in Rome • Patronage of popes and cardinals of humanists and artists from Florence and central/northern Italy • Focus in painting shifts from a theocentric symbolism to a humanistic realism • The recuperation of classical forms (going “ad fontes”) ‐‐Study of classical architecture and statuary; recovery of texts Vitruvius’ De architectura (1414—Poggio Bracciolini) • The application of mathematics to art/architecture and the elaboration of single point perspective –Filippo Brunellschi 1414 (develops rules of mathematical perspective) –L. B. Alberti‐‐ Della pittura (1432); De re aedificatoria (1452) • Changing status of the artist from an artisan (mechanical arts) to intellectual (liberal arts; math and theory); sense of individual genius –Paragon of the arts: painting vs. -
An Analysis of the Temple of Jupiter Optimus Maximus As a Case of Etruscan Influence on Roman Religious Architec
HPS: The Journal of History & Political Science 5 Caput Mundi: An Analysis of the HPS: The Journal of History & Political Temple of Jupiter Optimus Maximus Science 2017, Vol. 5 1-12 as a Case of Etruscan Influence on © The Author(s) 2017 Roman Religious Architecture Mario Concordia York University, Canada While Roman architecture is often generalized as being primarily of Greek influence, there are important periods where other influences can be clearly identified. This paper considers the Etruscan, Greek, and Villanovan influence on Roman religious architecture through an examination of the Temple of Jupiter Optimus Maxmius, also known as the Capitolium, and argues that the temple is ultimately of primarily Etruscan influence. Introduction Religious temple architecture was a dynamic, evolving tradition throughout the entire span of Roman history. From its founding, customarily dated at 753 BCE with the mythical tale of Romulus and Remus, until the eventual fall of the Western Empire in the 5th century CE, temples were a central piece of the majesty of Roman architecture. But, like all construction fashion, what was dominant and popular in one period would inevitably change over time. As Becker indicates in his work, “Italic Architecture of the Earlier First Millennium BCE,” many scholars believe that Roman temple architecture is completely indebted to Greek advancements and influence, and that historians should be looking at Classic Greek models when considering Roman architecture,1 but this is hardly a complete answer. While it is true that Rome began to steer toward a more Hellenistic aesthetic some time around the Late Republic to Early Empire Period, there is an entire period before that which cannot be understood in this simple way. -
Constantine Triumphal Arch 313 AD Basilica of St. Peter Ca. 324
Constantine Triumphal Arch 313 AD Basilica of St. Peter ca. 324 ff. Old St. Peter’s: reconstruction of nave, plus shrine, transept and apse. Tetrarchs from Constantinople, now in Venice Constantine defeated the rival Augustus, Maxentius, at the Pons Mulvius or Milvian Bridge north of Rome, at a place called Saxa Rubra (“Red rocks”), after seeing a vision (“In hoc signo vinces”) before the battle that he eventually associated with the protection of the Christian God. Maxentius’s Special Forces (Equites Singulares) were defeated, many drowned; the corps was abolished and their barracks given to the Bishop of Rome for the Lateran basilica. To the Emperor Flavius Constantinus Maximus Father of the Fatherland the Senate and the Roman People Because with inspiration from the divine and the might of his intelligence Together with his army he took revenge by just arms on the tyrant And his following at one and the same time, Have dedicated this arch made proud by triumphs INSTINCTV DIVINITATIS TYRANNO Reconstruction of view of colossal Sol statue (Nero, Hadrian) seen through the Arch of Constantine (from E. Marlow in Art Bulletin) Lorsch, Germany: abbey gatehouse in the form of a triumphal arch, 9th c. St. Peter’s Basilicas: vaulted vs. columns with wooden roofs Central Hall of the Markets of Trajan Basilica of Maxentius, 3018-312, completed by Constantine after 313 Basilica of Maxentius: Vaulting in concrete Basilica of Maxentius, 3018-312, completed by Constantine after 313 Monolithic Corinthian column from the Basilica of Maxentius, removed in early 1600s by Pope Paul V and brought to the piazza in front of Santa Maria Maggiore Monolithic Corinthian column from the Basilica of Maxentius, removed in early 1600s by Pope Paul V and brought to the piazza in front of Santa Maria Maggiore BATHS OF DIOCLETIAN 298-306 AD Penn Station NY (McKim, Mead, and White) St. -
Counter-Reformation Rome As Caput Mundi
chapter 7 Romanus and Catholicus: Counter-Reformation Rome as Caput Mundi Simon Ditchfield Rome is not just a place to visit but an idea to “think with.” When Rome became headquarters of the first world religion with followers on all four continents then known to Europeans—Europe, Asia, Africa, and America—the Eternal City had been Christian for more than a millennium. In his famous sermon delivered on the feast of Sts. Peter and Paul (29 June), Pope Leo I (r.440–61) un- equivocally promoted the connection between Christian Rome and the “heav- enly Kingdom” of a celestial Jerusalem: For these are the men, through whom the light of Christ’s gospel shone on you, O Rome, and through whom you, who was the teacher of error, were made the disciple of Truth. These are your holy Fathers and true shepherds, who gave you claims to be numbered among the heavenly kingdoms, and built you under much better and happier auspices than they, by whose zeal the first foundations of your walls were laid: and of whom the one that gave you your name [Romulus] defiled you with his brother’s blood. These are they who promoted you to such glory, that being made a holy nation, a chosen people, a priestly and royal state [1 Peter 2:9], and the head of the world [caput mundi] through blessed Peter’s Holy See you attained a wider sway by the worship of God than by earthly government.1 In the early modern era, this very claim that Rome be considered caput mundi through the authority of St. -
Rome - Location Guide
ROME - LOCATION GUIDE Exceptional Tours Expertly Delivered Our location guide offers you information on the range of visits available in Rome. All visits are selected with your subject and the curriculum in mind, along with the most popular choices for sightseeing, culture and leisure in the area. The information in your location guide has been provided by our partners in Rome who have expert on the ground knowledge of the area, combined with advice from education professionals so that the visits and information recommended are the most relevant to meet your learning objectives. Making Life Easier for You This location guide is not a catalogue of opening times. Our Tour Experts will design your itinerary with opening times and location in mind so that you can really maximise your time on tour. Our location guides are designed to give you the information that you really need, including what are the highlights of the visit, location, suitability and educational resources. We’ll give you top tips like when is the best time to go, dress code and extra local knowledge. Peace of Mind So that you don’t need to carry additional money around with you we will state in your initial quote letter, which visits are included within your inclusive tour price and if there is anything that can’t be pre-paid we will advise you of the entrance fees so that you know how much money to take along. You also have the added reassurance that, WST is a member of the STF and our featured visits are all covered as part of our externally verified Safety Management System. -
Rome in a Pocket
FEBA ANNUAL CONVENTION 2019 TOWARDS THE NEXT DECADE. TOGHETHER ROME IN A POCKET 15-18 MAY 2019 1 When in Rome, do as Romans do The best way to visit, understand and admire the eternal city is certainly with…a pair of good shoes. Whoever crosses the old consular road of the ancient Appia, known as “Queen Viarum” notices immediately tourists in single file, walking the edge of the street on the little sidewalk. Along the way we reach the Catacombs of San Callisto and San Sebastiano, where, still today, the stones and the intricate underground tunnels, (explored for only 20 km), retain a charm of mystery and spirituality. We are in the heart of Rome, yet we find ourselves immersed in a vast archaeological park hidden by cultivated fields while, in the distance, we can see long lines of buildings. A few meters from the entrance of the Catacombs of S. Sebastiano, an almost anonymous iron gate leads to the Via Ardeatina where, a few minutes away, we find the mausoleum of the “Fosse Ardeatine”. It is the place dedicated to the 335 victims killed by the Nazi-fascist regime in March 1944, as an act of retaliation for the attack on Via Rasella by partisan groups that caused the death of German soldiers. 2 COLOSSEUM Tourists know the most symbolic In 523 A.D., the Colosseum ends place to visit and cannot fail to its active existence and begins see the Flavian amphitheater, a long period of decadence known as Colosseum due to the and abandonment to become a giant statue of Nero that stood quarry of building materials. -
BIBLE LANDS JORDAN • ISRAEL • TURKEY • GREECE • ITALY Follow the Steps of the Apostles! the Bible Comes Alive at This Spiritual Journey! ISRAEL TURKEY
28 Days BIBLE LANDS JORDAN • ISRAEL • TURKEY • GREECE • ITALY Follow the steps of the Apostles! The Bible Comes Alive at this Spiritual Journey! ISRAEL TURKEY GREECE ITALY Organized by Jerash, Jordan 28 Days BIBLE LANDS JORDAN • ISRAEL • TURKEY • GREECE • ITALY Follow the steps of the Apostles! The Bible Comes Alive at this Spiritual Journey! Day 05 Petra – Masada - Jerusalem Drive to the World Heritage Site of Wadi Rum with its sheer walled mountains and huge sand dunes. This is the area where Laurence of Arabia was active during WW1 and where he built his Bedouin army. Petra, Jordan Drive to the border crossing and enter Israel. Ride to the top of Masada. Masada was the final holdout for Jewish rebels at the end of the Roman war in the first century. Later, head to En Gedi where David hid in a cave from King Saul. Continue on with a visit to Qumran, the place where the “Dead Sea Scrolls” were unearthed in 1947 by two Bedouin shepherds. Proceed to Jerusalem passing by Jericho and the Good Samaritan Inn. Stop at the Mount of Olives for a breathtaking view of the Holy City of Jerusalem. Dinner and overnight in Jerusalem. (B, D) Tour Itinerary: Day 01 Depart New York, JFK Day 02 Arrive Amman Airport (Jordan) Arrive Amman Airport. Our representative will meet you after the Wadi Rum, Jordan customs and baggage claim. Meet and drive to Amman. Overnight Amman. (D) Day 03 Amman – Jerash – Madaba – Petra Day 06 Jerusalem Visit some of the ancient ruins of Amman (ancient Philadelphia – yet another Full day Jerusalem View Old City from Mt.