Vatican Notes
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Pagan-City-And-Christian-Capital-Rome-In-The-Fourth-Century-2000.Pdf
OXFORDCLASSICALMONOGRAPHS Published under the supervision of a Committee of the Faculty of Literae Humaniores in the University of Oxford The aim of the Oxford Classical Monographs series (which replaces the Oxford Classical and Philosophical Monographs) is to publish books based on the best theses on Greek and Latin literature, ancient history, and ancient philosophy examined by the Faculty Board of Literae Humaniores. Pagan City and Christian Capital Rome in the Fourth Century JOHNR.CURRAN CLARENDON PRESS ´ OXFORD 2000 3 Great Clarendon Street, Oxford ox2 6dp Oxford University Press is a department of the University of Oxford. It furthers the University's aim of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Athens Auckland Bangkok Bogota Bombay Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris SaÄo Paulo Singapore Taipei Tokyo Toronto Warsaw with associated companies in Berlin Ibadan Oxford is a registered trade mark of Oxford University Press in the UK and certain other countries Published in the United States by Oxford University Press Inc., New York # John Curran 2000 The moral rights of the author have been asserted Database right Oxford University Press (maker) First published 2000 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organizations. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose the same conditions on any acquirer British Library Cataloguing in Publication Data Data applied for Library of Congress Cataloging in Publication Data Curran, John R. -
Holy Ghost College Bulletin
Pittsburg College Bulletin Vol. XII. Pittsburg, Pa., June, 1906. No. 9. Wouldst thou measure the depths of the boundless Deep, And count each sparkling drop ? Wouldst thou number the leaves on the waving trees, From the plains to the mountain top ? If thou canst do this, then tell to me The farthest years of eternity. Couldst thou take each sand, from the shining strand, Which keepeth the Ocean bound, And with labor lay a continuous way To the farthest star around ; And couldst thou live each weary day, Till a snail had crawled the long, long way : Eternity to thy years would stand, As the world, compared to a grain of sand. Chas. F. Swain, '06. — — 262 PITTSBUEG COLLEGE BULLETIN Christian Inscriptions. Before taking up the subject of dogmatic inscriptions, one important feature should be noticed, namely, the method of determining their age, or of assigning them to a particular epoch in history. It is needless to state that a dogmatic inscription of the fourth century is of far less apologetic value than one of the same nature of the first century. Hence, with a very large number of them, to settle their precise or even approximate date is frequently a perplexing problem, to the solution of which archaeolo- gists have directed all their energies. As is well known, the inventor of the modern system of computing the years of the Christian era was a monk named Dionysius Exiguus, (a) abbot of a monastery in Rome, who died in 556. Prior to the sixth century, the Christians used the pagan method of indicating the date, when they put any date at all. -
Lateran Obelisk, Rome
LATERAN OBELISK, http://prev.enea.it ROME In collaboration with: Archaeological Superintendence of Rome, Superintendence of Monuments of Rome, SEA (Società Europont Appalti), ENEA MAT, coord. Prof. M. Diana Years: 2007 - 2008 The Obelisk was built in 15th centu- ry B.C. and brought by Constantius II to Rome in 357 A.D. It was lost and found again in 1587 and on August 3rd, 1588, according to the project of the architect Domenico Fontana, the Obelisk was raised in San Giovanni in Laterano, strategi- cally one of the most important ar- eas in Rome. Measurements of ambient and traf- fic-induced vibrations on the Obe- lisk were carried out, as part of a general study for preservation ef- forts. The recordings were obtained by the installation of velocimetric sensors on the structure, in differ- ent configurations. Data obtained were analyzed in time and frequency do- main, providing the first structural resonances and the corresponding mode shapes of the Obelisk. The experimental results were also compared with those obtained numerically by means of a finite element model. Mode 2 WE Mode 3 NS Mode 4 WE f = 1.27 Hz f = 6.73 Hz f = 6.15 Hz Noise measurements were also carried References out by arranging the sensors to the Buffarini G., Clemente P., Paciello ground at various hours of the day. No A., Rinaldis D. (2008). “Vibra- amplification of motion due to site ef- tion Analysis of the Lateran Obelisk”. Proc., 14th WCEE, Pa- fects was detected but the dynamic re- per S11-055, IAEE & CAEE, Mira sponse at the site was influenced by the Digital Publ., Saint Louis. -
WISHBOOK-2019.Pdf
FRONT COVER Crivelli Madonna with Child - Carlo Crivelli XV - XVI Century Art Department pages 136 - 139 Contents 3 4 Letter from the President of the Vatican City State 94 Coronation of the Virgin with Angels and Saints 6 Letter from the Director of the Vatican Museums 98 Enthroned Madonna and Child Letter from the International Director of the 102 Saints Paola and Eustochium 8 Patrons of the Arts 106 Stories of the Passion of Christ 110 Icons from the Tower of Pope John XXIII 10 BRAMANTE COURTYARD Long-term Project Report 126 XV – XVI CENTURY ART 16 CHRISTIAN ANTIQUITIES 128 Tryptich of the Madonna and Child with Saints 18 Drawn Replicas of Christian Catacombs Paintings 132 Apse of the Church of San Pellegrino 22 GREEK AND ROMAN ANTIQUITIES 136 Crivelli Madonna with Child 24 Chiaramonti Gallery Wall XlV 140 Madonna and Child with Annunciation and Saints 30 Ostia Collection: Eleven Figurative Artifacts 144 XVII – XVIII CENTURY ART AND TAPESTRIES Ostia Collection: Two Hundred and Eighty-three 34 Household Artifacts 146 Noli Me Tangere Tapestry 38 Statue of an Old Fisherman 150 Plaster Cast of the Bust of Pope Pius VII 42 Polychrome Mosaic with Geometric Pattern 154 Two Works from the Workshop of Canova 162 Portrait of Pope Clement IX 46 GREGORIAN ETRUSCAN ANTIQUITIES 166 Embroidery Drawings for Papal Vestments 48 Krater, Kylixes and Perfume Jars 52 Gold Necklaces from the Regolini-Galassi Tomb 170 XIX CENTURY AND CONTEMPORARY ART 56 Astarita Collection: Thirty-three Figurative Vases 172 Clair de Lune 60 Ceremonial Clasp from the Regolini-Galassi Tomb 176 Model of Piazza Pius XII 64 Amphora and a Hundred Fragments of Bucchero 180 HISTORICAL COLLECTIONS 68 DECORATIVE ARTS 182 Two Jousting Shields 70 Rare Liturgical Objects 186 Drawing of the Pontifical Army Tabella 76 Tunic of “St. -
Rome Architecture Guide 2020
WHAT Architect WHERE Notes Zone 1: Ancient Rome The Flavium Amphitheatre was built in 80 AD of concrete and stone as the largest amphitheatre in the world. The Colosseum could hold, it is estimated, between 50,000 and 80,000 spectators, and was used The Colosseum or for gladiatorial contests and public spectacles such as mock sea Amphitheatrum ***** Unknown Piazza del Colosseo battles, animal hunts, executions, re-enactments of famous battles, Flavium and dramas based on Classical mythology. General Admission €14, Students €7,5 (includes Colosseum, Foro Romano + Palatino). Hypogeum can be visited with previous reservation (+8€). Mon-Sun (8.30am-1h before sunset) On the western side of the Colosseum, this monumental triple arch was built in AD 315 to celebrate the emperor Constantine's victory over his rival Maxentius at the Battle of the Milvian Bridge (AD 312). Rising to a height of 25m, it's the largest of Rome's surviving ***** Arch of Constantine Unknown Piazza del Colosseo triumphal arches. Above the archways is placed the attic, composed of brickwork revetted (faced) with marble. A staircase within the arch is entered from a door at some height from the ground, on the west side, facing the Palatine Hill. The arch served as the finish line for the marathon athletic event for the 1960 Summer Olympics. The Domus Aurea was a vast landscaped palace built by the Emperor Nero in the heart of ancient Rome after the great fire in 64 AD had destroyed a large part of the city and the aristocratic villas on the Palatine Hill. -
Re-Erection of the Vatican Obelisk, Record of All Egyptian
CHAPTER V. RE-ERECTION OF THE VATICAN OBELISK. BY LIEUTENANT SEATON SCHROEDER, UNITED STATES NAVY. N the Piazza di San Pietro stands the largest entire obelisk out of Egypt, and the second in s1ze 1n I the world. The one that surpasses it in height is that of Queen Hatasou at Karnak. The tallest ever quarried, that of St. John Lateran, is now in three pieces, having shared the general destruction that befell those monuments in Rome. Brought from Heliopolis by the Emperor Caligula early in the first century of the Christian era, the Vatican obelisk was originally set up in the Circus of Caligula, afterward named the Circus of Nero, the scene of the Christians' martyrdom. There it remained undisturbed for fifteen centuries, the only one of all those now to be seen in the papal city that escaped being ovet;thrown. It is probable that but for its timely transplantation it would soon have shared the fate of its companions in exile, for when examined by Fontana in I 585, it was found to be leaning toward the nejghboring Basilica of St. Peter's, the summit being seventeen inches from the perpendicular. Standing on a pedestal hidden in rubbish, in a muddy, unfrequented quarter of the city rarely visited by the travellers that flocked annually to Rome, it contributed little to the decoration of the modern capital, and several of the popes entertained the idea of setting it up in some more conspicuous place. Prominent among them was Nicholas V, who also first undertook to replace the Basilica of Constantine the Great by a new and more extensive building, which, in the course of three centuries and a half, became the present magnificent pile designated by Gibbon as " the most glorious structure that ever has been applied to the use of religion." The project was revived at various times, but the obstacles appeared so enormous, that it was as often abandoned. -
The Monteverde Jewish Catacombs on the Via Portuense
The Monteverde Jewish Catacombs on the via Portuense Jessica Dello Russo The author wishes to remember Gaetano Migliore (1740–1789), Nicolas Mueller (1857–1912), and Estelle Shohet Brettman (1925–1991) for many years of work on the Jewish catacombs, but only partial publication. “Non tocca a te portare termine al lavoro, ma neppure sei libero al punto di ritenertene dispensato.” A. Berliner, Storia degli Ebrei a Roma, Introduction, p. 6 !" FOUR CENTURIES OF STUDY OF THE into centuries of scholarship on the Christian catacombs of JEWISH CATACOMBS OF ROME" Rome.4 So vulnerable to the political and theological issues that permeated the pages of scholarship, this Jewish cata- Early-twentieth-century plans of Rome detail an intense comb—by virtue of its early discovery, extent, and, above all, period of construction on the southernmost slope of the destruction—should be seen, in a manner of speaking, as the Monteverde above the Circonvallazione Gianicolense.1 A “barometer” to measure the highs and lows of catacomb small cluster of paths next to deep, concave openings near research, and any one generation’s focus on issues that are in the bottom of the hillside, however, marked where the last many cases still unresolved today.5 Even in our own time, the excavated areas of an ancient Jewish cemetery had been seen Jewish catacombs risk “isolation” once again from our con- before its demolition.2 Leading up to that moment—a dev- tinued preoccupation with their “Jewishness”—on the astating landslide on October 14, 1928—were over three administrative as well as scholarly level—and need to be hundred years of exploration and spoliation of the site by examined in a more critical light for their structure, contents Rome’s elite. -
The Piazza Navona Obelisk
04 Parker.QXD 27/1/04 12:01 PM Page 193 Journal of Mediterranean Archaeology 16.2 (2003) 193-215 ISSN 0952-7648 Narrating Monumentality: The Piazza Navona Obelisk Grant Parker Department of Classical Studies, Duke University, 236 Allen Building, PO Box 90103, Durham, NC 27708-0103, USA. E-mail: [email protected] Abstract The Egyptian obelisks at Rome are monuments par excellence: as sites of memory they have been dis- tinctive, but over time also prone to appropriation and recontextualization. Owing to their bulk, ancient (and modern) attempts to transport them have attracted much attention. This paper begins with a biog- raphy of the obelisk now at Piazza Navona and proceeds to a broader consideration of the qualities that constitute a monument. In particular, its physical transportation is examined in relation to transmuta- tions of context and audience in time and space. The social processes within which they have been impli- cated suggest reconsideration of the nature, and indeed direction, of biographic narrative. To what extent can narrative, in this biographic form, adequately represent monumentality? in such a life-story by critically examining its Introduction workings and assumptions. One issue that the The obelisk now standing at the center of obelisk brings to the forefront is that of mon- Piazza Navona in Rome (Figure 1) has had an umentality: If we make the working assump- eventful life: quarried in Egypt, inscribed and tion that this is a monument, what are the shipped to the heart of Rome in the first cen- distinctive features -
Gaia Bencini Mphil Thesis Copia
University of Oxford Master of Philosophy in Egyptology Thesis The fascination for ancient Egypt and the interpretation of hieroglyphs in 18th century Rome: Pietro Bracci’s unpublished manuscript ‘I Geroglifici ed Obelischi Eggizzi’ Trinity Term 2018 Gaia Bencini Bencini Gaia © Preface This is a Master thesis completed on the 18th May 2018 for the degree of Master of Philosophy in Egyptology at the University of Oxford. Bencini Gaia © © Gaia Bencini 1 Acknowledgements My deepest gratitude goes to all the Griffith Institute’s staff and especially to Dr. Francisco Bosch-Puche for allowing me to work on the Bracci manuscript and for always supporting and helping me with infinite kindness and invaluable research advice. I would like to express my sincere gratitude to Prof. Elizabeth Frood and Prof. Richard B. Parkinson, who through their teachings and support have been an example of academic and human integrity and virtue. I thank them and Dr. Andreas Winkler for patiently correcting my work and allowing me to constantly improve through their feedback and motivation. I would also like to thank the Academy of San Luca, the Archivio Storico Diocesano of Civita Castellana, and the Archivio Capitolino di Roma for allowing me to consult the documents concerning Bracci and the members of his family. Last but not least, I am forever thankful to my family Roberto Bencini, Marina Carcea and Gemma Bencini, and to my friends Hwei Ru BenciniOng and Arianna Manzini for their continuous encouragement and unconditional support in all aspects of life. This research would not have been possible without them. Gaia Thank you. -
Exegesis and Dissimulation in Visual Treatises
Political Art of the Papacy: Visual Representations of the Donation of Constantine in the Early Modern Period by Silvia Tita A dissertation submitted in partial fulfillment on the requirements for the degree of Doctor of Philosophy (History of Art) in the University of Michigan 2013 Doctoral Committee: Professor Megan L. Holmes, Co-Chair Lecturer Thomas C. Willette, Co-Chair Professor Celeste A. Brusati Professor Louise K. Stein Associate Professor Achim Timmermann © Silvia Tita 2013 Acknowledgments The research period of this project brought me great intellectual joy. This would not have happened without the assistance of many professionals to whom I am much indebted. My deep gratitude to the staffs of the Biblioteca Apostolica Vaticana (with special thanks to Dott. Paolo Vian), the Archivio Segreto Vaticano, the Archivio di Stato Roma, the Biblioteca Angelica, the Biblioteca Casanatense, the Biblioteca Centrale di Roma, the Bibliotheca Hertziana, the Biblioteca di Storia dell'Arte et Archeologia, the Istituto Nazionale per la Grafica in Rome, the Biblioteca Marucelliana in Florence, Bibliothèque Nationale de France in Paris, the Departement des Arts Graphique and the Departement des Objets d'Art of the Louvre. I would also like to thank to the curators of the Kunstkammer Department of the Kunsthistorisches Museum in Vienna, especially to Dr. Konrad Schlegel who generously informed me on the file of the Constantine Cabinet. The project was born and completed as it is in Michigan. I would like to thank all members of my committee. Tom Willette deeply believed in the project and my ideas from the very beginning and offered great advice during our long conversations. -
Downloaded from ORCA, Cardiff University's Institutional Repository
This is an Open Access document downloaded from ORCA, Cardiff University's institutional repository: http://orca.cf.ac.uk/100547/ This is the author’s version of a work that was submitted to / accepted for publication. Citation for final published version: Pearson, Paul Nicholas 2017. Provenance and identity of a large bronze statue currently in the Metropolitan Museum of Art, New York. Journal of the History of Collections 30 (1) , pp. 35-48. 10.1093/jhc/fhx016 file Publishers page: http://dx.doi.org/10.1093/jhc/fhx016 <http://dx.doi.org/10.1093/jhc/fhx016> Please note: Changes made as a result of publishing processes such as copy-editing, formatting and page numbers may not be reflected in this version. For the definitive version of this publication, please refer to the published source. You are advised to consult the publisher’s version if you wish to cite this paper. This version is being made available in accordance with publisher policies. See http://orca.cf.ac.uk/policies.html for usage policies. Copyright and moral rights for publications made available in ORCA are retained by the copyright holders. Manuscripts submitted to Journal of the History of Collections Provenance and identity of a large bronze statue currently in the Metropolitan Museum of Art, New York Journal:For Journal Peer of the History Reviewof Collections Manuscript ID JHC-2016-031.R2 Manuscript Type: Article Date ubmitted by the Author: 07-May-2017 Complete List of Authors: Pearson, Paul* chool of Earth and ,cean ciences Ma/iminus Thra/, Trebonianus 0allus, Metropolitan Museum, Demidoff, -ey.ords: Lateran http://mc.manuscriptcentral.com/oup/jhc Page 1 of 37 Manuscripts submitted to Journal of the History of Collections 1 2 3 Provenance and identity of a large bronze statue currently in the Metropolitan 4 5 Museum of Art, New York 6 7 8 Paul N. -
Rome, the Eternal City
Chapter 9 – Rome, the Eternal City Flying into Rome, Italy aboard Alitalia. We were greeted at the airport by our tour director, Georgio: http://wigowsky.com/travels/GreeceRome/audios/rome1.wma (audio file) “Bongiorno (good morning), I’m Georgio (rolling his r’s). I’m going to be with you all the way to Venice, for those going that far. Some of you, two or three of you, are leaving early (after Rome). I’m not a tour guide, just a tour director, the kind that takes care of your itinerary. Anyway, welcome to Rome, Italy. Tomorrow, we’ll be visiting Ostia Antigua, the ancient Roman city. It used to be the ancient port and harbor. We’ll be driving for about 28 kilometers (17.8 miles) to the city. It will take us about 45 minutes, traffic permitting. Our driver’s name is Mauro. The agenda for today is easy. We are first going to the catacombs – Santa Domitilla. Once there we’ll be meeting four more fellows of our group. We’ll have a guided tour there. Afterwards, we’ll drive to the hotel Universo and check in. Tomorrow we’ll be very busy, and we’ll be leaving the hotel by 8:15am. We’ll be meeting our local guide, and then we’ll go to the Mamertine prison, and the Colosseum. That will be in the morning. In the afternoon, we’ll make our way to Ostia Antigua with the same guide. Any questions? Question: “What will the weather be like tomorrow?” Answer: “What is it you’re worrying about tomorrow? Think about today.