Through the Legacy of the Saints
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21 CHAPTER I the Formation of the Missionary Gaspar's Youth The
!21 CHAPTER I The Formation of the Missionary Gaspar’s Youth The Servant of God was born on January 6, 1786 and was baptized in the parochial church of San Martino ai Monti on the following day. On that occasion, he was given the names of the Holy Magi since the solemnity of the Epiphany was being celebrated. I received this information from the Servant of God himself during our familiar conversations. The Servant of God’s parents were Antonio Del Bufalo and Annunziata Quartieroni. I likewise learned from conversation with the father of the Servant of God as well as from him that at first Antonio was engaged in work in the fields but later, when his income was running short, he applied as a cook in service to the most excellent Altieri house. The Del Bufalos were upright people and were endowed sufficiently for their own maintenance as well as that of the family. They had two sons: one was named Luigi who married the upright young lady Paolina Castellini and were the parents of a daughter whose name was Luigia. The other son, our Servant of God. Luigi and Gaspar’s sister-in-law, as well as his father and mother, are now deceased. As far as I know, the aforementioned parents were full of faith, piety and other virtues made know to me not only by the Servant of God, honoring his father and mother, but also by Monsignor [Antonio] Santelli who was the confessor of his mother and a close friend of the Del Bufalo family. -
Byzantine Art
Byzantine Art 1 Chapter 3.2 Art of the Middle Ages PART 3 HISTORY AND CONTEXT Byzantine Art . Emperor Justinian great patron of the arts Funded Hagia Sophia, Constantinople . Mosaic made from glass tesserae In Byzantine churches to reflect light . Icons-venerated, believed to possess powers of healing https://www.youtube.com/watch?v=B6c9adXfvSM Intro to Medieval Art Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields Byzantine Terms Art and Architecture • Good Shepherd imagery: blended depictions of a Christ- like figure that merged pagan figural styles with Early Christian meaning. • Iconoclasm: literally translates as “image breaking”; a period of the destruction of religious imagery for fear of idolatry. • Mandorla: an almond-shaped enclosure encircling depictions of Christ. • Mosaic: patterns or pictures made by embedding small pieces (tesserae) of stone or glass in cement on surfaces such as walls and floors. • Orants: figural depictions of worshippers, denoted by their raised, outstretched arms. 3 Samuel anoints David, detail of the mural paintings in the syna-gogue, Syria, ca. 245–256. Tempera on plaster, 47 high. Early Jewish murals often told a narrative 4 Catacomb of Commodilla, Via Ostiense, Rome, Italy, ca. 370–385 http://www.youtube.com/watch?v=zXRAU23X9Zs Catacomb tour 5 Christ seated, from, Italy, ca. 350–375. Marble, 2’ 41/2” high. Museo Nazionale Romano–Palazzo Massimo alle Terme, Rome. A blending of Greco-Roman style and what will be Early Christian style artwork. The result is a strange amalgam: realistic and ideal, but somehow “wrong”. The legs seem too short and the fabric looks less skillfully handled. -
716A774f4a2b6625fc8ec763e06
The International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences, Volume XLII-5/W1, 2017 GEOMATICS & RESTORATION – Conservation of Cultural Heritage in the Digital Era, 22–24 May 2017, Florence, Italy USE OF 3D TECHNOLOGIES WITHIN THE CONSERVATION OF THE ANCIENT WINDOWS OF THE BASILICA OF S. SABINA IN ROME. CONSTRUCTION OF EXHIBITION STANDS IN CARBON COMPOSITE ON A MILLED STRUCTURE. A. Iaccarino Idelsona,*, S. Pannuzib, A. Brunettoc, G. Galantid, C. Giovannoneb, V. Massab, C. Serinoa, F. Vischettib a Equilibrarte srl, 00179 Rome, Via Centuripe 34, Italy - [email protected] b Istituto Superiore per la Conservazione e il Restauro, 00153 Rome, via di San Michele 25, Italy – (simona.pannuzi, carla.giovannone, valeria.massa, flavia.vischetti)@beniculturali.it c Restauri Brunetto, 36100 Vicenza, Italy - [email protected] d Fabrica Conservazione e Restauro scpl, 00138 Roma, Via Ludovico da Casoria 11, Italy - [email protected] KEY WORDS: 3-D milling, 3-D modeling, exhibition stands, carbon fiber composite, laser cleaning, fragmented artifact, counterforms, restoration. Abstract Rare and precious window elements from the Paleochristian Basilica of Saint Sabina in Rome, made of plaster gypsum with translucent selenite used as glass for light transmission, were discovered by Antonio Muñoz during the restoration of the building at the beginning of the 20th c. Originally standing within the stone window frame, were then mounted on wood planks with screws for holding together the scattered fragments. The surfaces were covered with grime and the selenite elements were blinded by the wooden supports. During the recent conservation treatment at ISCR, traces of Egyptian blue on the internal surfaces were detected. -
Index of Manuscripts
Cambridge University Press 978-1-108-83682-1 — Rome and the Invention of the Papacy Rosamond McKitterick Index More Information INDEX OF MANUSCRIPTS Albi, Médiathèque Pierre-Amalric (olim VLQ 60 40, 70, 102, 181 n. 34, Bibliothèque municipale) 184 n. 42, 190, 207 n. 106, MS 2 155 n. 90 219–20 Arras, Bibliothèque municipale London, British Library MS 672 (641) 155 n. 89 Cotton Titus C.XV 175, 177 Cotton Nero D.IV 142 n. 44 Berlin, Deutsche Staatsbibliothek Royal I.B.VII 142 n. 44 Phillipps 1743 156 n. 91 Lucca, Biblioteca Capitolare Feliniana Bern, Burgerbibliothek Cod. 490 178–9, 182, 184 n. 42, 188, Cod. 225 199 190–2, 195, 207 n. 106 Cod. 233 199 Cod. 408 182–3 Milan, Biblioteca Ambrosiana Brussels, Bibliothèque royale C.105inf. 188 n. 54 MS 8380-9012 184 n. 42, 217 n. 145 E.147sup. 188 n. 54 MS 14814 68 M.77sup. 182 n. 39, 184 n. 42 Modena, Biblioteca Capitolare Cambrai, Bibliothèque municipale O.I.12 186–7, 188, 189 MS 164 215 n. 140 Monte Cassino, Archivio dell’Abbazia Cambridge, Corpus Christi College MS 269 194 n. 67 MS 286 176 Monza, Cattedrale S. Giovanni Battista Cologne, Dombibliothek Sacrista Tesoro Cod. 164 184 n. 42, 217 n. 145 s.n. 177 Cod. 212 153, 155 Munich, Bayerische Staatsbibliothek Clm 6243 (Collectio Frisingensis) 156 Einsiedeln, Stiftsbibliothek Clm 6385 203 Cod. 326 60 Clm 14387 202–3 Florence, Biblioteca Medicea Laurenziana Naples, Biblioteca Nazionale San Marco 604 193–4, 195 IV.A.8 9 n. 32, 185–6 Fulda, Hessische Landesbibliothek Lat. -
Ah Timeline Images ARCHITECTURE
8. STONEHENGE 12. WHITE TEMPLE & ZIGGURAT, URUK c. 2,500 - c. 3,500 - 1,600 BCE 3,000 BCE monolithic Sumerian sandstone Temple henge present day present day Wiltshire, UK Warka, Iraq SET 1: GLOBAL PREHISTORY 30,000 - 500 BCE SET 2: ANCIENT MEDITERRANEAN 3,500 - 300 BCE 17. GREAT PYRAMIDS OF GIZA 20. TEMPLE OF AMUN-RE & HYPOSTYLE HALL c. 2,550 - c. 1,250 BCE 2,490 BCE cut sandstone cut limestone / and brick Khufu Egyptian Khafre / Sphinx Menkaure temple present day Karnak, near Cairo, Egypt Luxor, Egypt SET 2: ANCIENT MEDITERRANEAN 3,500 - 300 BCE SET 2: ANCIENT MEDITERRANEAN 3,500 - 300 BCE 21. MORTUARY TEMPLE OF HATSHEPSUT 26. ATHENIAN AGORA c. 1,490 - 600 BCE - 1,460 BCE 150 CE slate eye civic center, makeup ancient Athens palette present day Egyptian Athens, Museum, Cairo Greece SET 2: ANCIENT MEDITERRANEAN 3,500 - 300 BCE SET 2: ANCIENT MEDITERRANEAN 3,500 - 300 BCE 30. AUDIENCE HALL OF DARIUS & XERXES 31. TEMPLE OF MINERVA / SCULPTURE OF APOLLO c. 520 - 465 c. 510 - 500 BCE BCE Limestone Wood, mud Persian brick, tufa Apadana temple / terra SET 2: ANCIENT MEDITERRANEAN 3,500 - 300 BCE cotta sculpture Persepolis, Iran Veii, near Rome SET 2: ANCIENT MEDITERRANEAN 3,500 - 300 BCE 35. ACROPOLIS ATHENS, GREECE 38. GREAT ALTAR OF ZEUS & ATHENA AT PERGAMON c. 447 - 424 c. 175 BCE BCE Hellenistic Iktinos & Greek Kallikrates, marble altar & Marble temple complex sculpture Present day Antiquities Athens, Greece Museum , Berlin SET 2: ANCIENT MEDITERRANEAN 3,500 - 300 BCE SET 2: ANCIENT MEDITERRANEAN 3,500 - 300 BCE 39. -
Giovanni Battista Contini
Giovanni Battista Contini Italian architect of the Late Baroque period (1641-1723) Son of Francesco and Agata Baronio was born in Rome on May 7, 1642. He had the first training of an architect by his father who "nobility educated him and sent to all the schools to which the nobles were subjected", but he also perfected under Gian Lorenzo Bernini. He was so attached to the great master that he would assist him to death and to have a portrait of him "printed on canvas with black frame". The first important commission of CONTINI to be known seems to be the erection of the catafalco for Alexander VII (1667). arrived through Bernini. In Rome, in addition to carrying out practical duties such as those of measuring and architect of the Apostolic Chamber and Architect of the Virgin Water, in which he succeeded Bernini (1681-1723), he dedicated himself particularly to the erection of family chapels and altars; but his main activity soon moved to different places and often far from Rome, and yet in the papal state. Three years after the death of Bemini, in 1683, CONTINI became principal of the Accademia di S. Luca, succeeding Luigi Garzi in a prestigious duty function as indicative of the professional stature he had reached at that time. In the Academy, however, he was disappointed, demonstrating in a way too obvious that his interest focused on practicing the profession. In 1696 he was judged in the banned competition on the occasion of the first centenary of the Academy, but no other activities for this institution were known until 1702, when he worked as an instructor Along with Francesco Fontana, Sebastiano Cipriani, Carlo Buratti and Carlo Francesco Bizzaccheri. -
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. -
Mok Tips Compass2016 Marco
Hospitality Aroma compass Dear Guest, The following is not only a list of useful info, but a real personal guide we made for you which contains all the info we think you may need to know before traveling and suggestions to plan your stay. Some of them will be extremely useful during your stay, in terms of how to move around and where to find this or that. In one word, this will be you compass (or compass ). These suggestions are the result of our experience, answering thousands of questions, and our 30+ years of Roman life. We hope you will enjoy reading through it cause our main goal is that you take the most out of your time in Rome. We want your stay in Rome to be as perfect as you dreamt it when you were thinking “let’s go to Rome this year!”. Please count on us for any question you might have, before and during your stay. We look forward to welcome you in Roma, staff How to get to Private Shuttle Service As Rome’s taxi drivers are not the best tourist welcomers , we prefer to offer you our help to book a secure and punctual private shuttle service from the airport or from Civitavecchia Port. Our rates: From/to the airport From/to Civitavecchia Port 1/3 people € 55,00 € 150,00 4 people € 65,00 € 165,00 5 people € 70,00 € 165,00 6 people € 80,00 € 180,00 7 people € 90,00 € 210,00 Please let us know (up to 24hrs. in advance) in case you would like to have a car/van to pick you up. -
Monti, Esquilino and San Lorenzo
PDF Rome Monti, Esquilino & San Lorenzo (PDF Chapter) COVERAGE INCLUDES: Edition 9th Edition, Jan 2016 Pages 27 • Neighbourhood Top • Sleeping Page Range 140–157, 214–222 Five • Local Life Useful Links • Getting There & Want more guides? Away Head to our shop • Sights Trouble with your PDF? • Eating Trouble shoot here • Drinking & Nightlife Need more help? • Entertainment Head to our FAQs • Shopping Stay in touch Contact us here © Lonely Planet Publications Pty Ltd. To make it easier for you to use, access to this PDF chapter is not digitally restricted. In return, we think it’s fair to ask you to use it for personal, non-commercial purposes only. In other words, please don’t upload this chapter to a peer-to-peer site, mass email it to everyone you know, or resell it. See the terms and conditions on our site for a longer way of saying the above – ‘Do the right thing with our content’. ©Lonely Planet Publications Pty Ltd 140 Monti, Esquilino & San Lorenzo MONTI | ESQUILINO | PIAZZA DELLA REPUBBLICA & AROUND | SAN LORENZO & BEYOND | SAN LORENZO Neighbourhood Top Five 1 Visiting the Palazzo 3 Hobnobbing with the 5 Exploring the under- Massimo alle Terme (p142), bohos in Pigneto (p151), the ground wonders of Domus with its incredible frescoes iconic working-class district Aurea (p144), Nero’s great, from imperial Rome. immortalised by Pasolini. golden palace that now lies 2 Lingering at wine bars 4 Taking in the splendours beneath Oppian Hill. and pottering around the of Basilica di Santa Maria bohemian-chic neighbour- Maggiore (p143). hood of Monti (p145). -
Jakob Philipp HACKERT Prenzlau 1737 - San Pietro Di Careggi 1807
LANDSCAPES OF THE GRAND TOUR From the late 18th to the 19th Century I feel myself hurried irresistibly forward; it is only with an effort than I can collect myself sufficiently to attend to what is before me. J. W. Goethe Travels in Italy, 1786 LANDSCAPES OF THE GRAND TOUR From the late 18th to the 19th Century JUNE 2011 Catalogue by: PAOLO ANTONACCI ALVARO MARIGLIANI PAOLO ANTONACCI ROMA PAOLO ANTONACCI ANTICHITÀ S.R.L. Via del Babuino 141/A 00187 Roma Tel. + 39 06 32651679 [email protected] www.paoloantonacci.com Acknowledgements We would like to thank the following people for their help and advice in the preparation of this catalogue: Emanuela Belli, Ursula Bongaerts, Christine Borruso, Anna Cori, Pier Andrea De Rosa, Luigi Devoti, Giulia Gorgone, Dorothee Hock, Eugenio La Rocca, Mario Lolli Ghetti, Massimiliano Quagliarella, Maria Maddalena Spinola, Filippo Tuena, Nico Zachmann. © 2011, Paolo Antonacci Catalogue n. 13 Translation from Italian by Margaret Dunning Photographic references Arte Fotografica, Roma Front Cover J. J. FREY, A caravan caught in the Simum wind near Giza detail, cat. 17 Back cover N. COSTA, Lake Albano with Monte Cavo cat. n. 23 On occasion of the forthcoming prestigious international exhibitions in which the gallery will participate: London Masterpiece, Florence Biennale dell’Antiquariato and Munich Highlights, we are proud to present a catalogue of our most recent acquisitions. It is a selection of watercolours and oils of excellent quality, coming for the most part from two distinguished Roman private collections that were formed in the 1970’s and 1980’s, works that have not been exhibited to the public for over thirty years. -
Gaspard Dughet: Some Problems in the Connoisseurship of Chalk Drawings
ABSTRACT Title of thesis: GASPARD DUGHET: SOME PROBLEMS IN THE CONNOISSEURSHIP OF CHALK DRAWINGS Sarah Beth Cantor, Master of Arts, 2005 Thesis directed by: Professor Anthony Colantuono Department of Art History and Archaeology Little scholarship has been devoted to the graphic oeuvre of Gaspard Dughet (1615-1675), a prominent landscape painter of the seventeenth century. A number of drawings in red and black chalk have been attributed to Dughet based on their connection to documented paintings. Stylistic comparisons with other examples of Dughet’s work as a draughtsman and technical evidence including medium and watermarks, however, reveal that a group of drawings given to the artist are, in fact, copies done in the late seventeenth or early eighteenth century. Although Dughet’s contributions are under appreciated today, his work influenced the next generation of landscape artists in Italy and abroad, including the British and many Dutch and Flemish artists who traveled to Italy. This thesis examines not only Dughet’s chalk drawings, but the graphic work of his most well-known Northern followers to determine which artist may have executed these copies. GASPARD DUGHET: SOME PROBLEMS IN THE CONNOISSEURSHIP OF CHALK DRAWINGS by Sarah Beth Cantor Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Master of Arts 2005 Advisory Committee: Professor Anthony Colantuono, Chair Professor Joanne Pillsbury Professor William Pressly Professor Ann Sutherland Harris ©Copyright by Sarah Beth Cantor 2005 DISCLAIMER The thesis document that follows has had referenced material removed in respect for the owner’s copyright. -
J a N -T E R M 2 0 2 1
HISTORY & CULTURE OF ROME J A N -T E R M 2 0 2 1 Jan Term in Rome, Italy! Course Specifics: Course Title: “History & Culture of Rome,” 3 credits (no prerequisites—all majors welcome!) Professors: Dr. Anthony E. Clark, Department of History (Professor of History) [email protected], 777-4368 Course Description: World-class museums, historic buildings, & ancient Roman monuments will be your classroom! HISTORY! Learn the historical foundations of ancient Rome, early Christianity, and the trends that brought Rome into the modern era. MATERIAL CULTURE! Learn about Italian painting, sculpture, and operatic performance. ARCHITECTURE! Explore the history of ancient Roman architecture to the early modern era; learn about the meaning and symbolism of Christian and secular buildings, with a special focus on Renaissance Christian monuments such as St. Peter’s Basilica. 1 Dates: Full Course: Month of January 2021 (Application deadline: March 1, 2020) Highlights: Students shall live in rooms near to the Vatican Museums, St. Peters Square, the Sistine Chapel, and Rome’s most famous sites. An additional overnight trip to Assisi, the home of St. Francis, is also planned. Other plans include: Capitoline hill and the Capitoline museum, Forum, Coliseum, and the Pantheon, Massimo Museum, Baths of Diocletian, Santa Maria degli Angeli St. John Lateran and its baptistery, San Clemente, Church of Santa Prassede and the Chapel of St. Zenone Church of St. Mary Majors, Santa Sabina, Santa Maria in Cosmedine, St. Giorgio in Velabro and St. Paul’s Outside the Walls, Farnese Palace (exterior), Cancelleria, Santo Spirito Church and the hospital courtyard, Via Giula, the Rooms Private of St.