DOCSLIB.ORG

Titnr. Reihe Reihennr. S-Nr. Dia-Nr. Titel Dia 1 Roma Aeterna III 3 4

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Titnr. Reihe Reihennr. S-Nr. Dia-Nr. Titel Dia 1 Roma Aeterna III 3 4 TitNr. Reihe ReihenNr. S-Nr. Dia-Nr. Titel dia 1 Roma aeterna III 3 4 Mauertor der Befestigungsmauer dia 2 Roma aeterna III 3 5 Obelisk dia 3 Roma aeterna III 3 7 Vierströme-Brunnen dia 4 Roma aeterna III 3 8 Fontana di Trevi (Brunnen) dia 5 Roma aeterna III 3 9 Fontana del Tritone (Brunnen) dia 6 Roma aeterna III 3 10 Spanische Treppen dia 7 Roma aeterna III 3 12 Nationaldenkmal dia 8 Roma aeterna III 3 16 Forum Romanum dia 9 Roma aeterna III 3 21 Forum Romanum (Tempel) dia 10 Roma aeterna III 3 23 Forum Romanum (Triumphbogen) dia 11 Roma aeterna III 3 25 Forum (Caesar) dia 12 Roma aeterna III 3 26 Forum (Augustus) dia 13 Roma aeterna III 3 27 Forum (Trajan) dia 14 Roma aeterna III 3 28 Antike Markthallen dia 15 Roma aeterna III 3 29 Colosseum dia 16 Roma aeterna III 3 31 Triumphbogen des Konstantin dia 17 Roma aeterna III 3 32 Circus Maximus dia 18 Roma aeterna III 3 33 Theater des Marcellus dia 19 Roma aeterna III 3 34 Pantheon dia 20 Roma aeterna III 3 35 Grabmal des Augustus dia 21 Roma aeterna III 3 35 Grabmal des Hadrian (Engelsb.) TitNr. Reihe ReihenNr. S-Nr. Dia-Nr. Titel dia 22 Roma aeterna III 3 39 Via Appia dia 23 Roma aeterna III 3 42 Via Appia dia 24 Roma aeterna III 3 43 Katakomben dia 25 Roma aeterna III 3 44 Katakomben dia 26 Römische Antike IV a (pr) 4a 1 Kapitolinische Wölfin aus Rum. dia 27 Römische Antike IV a 4a 2 Kapitolinische Wölfin dia 28 Römische Antike IV a 4a 3 Palatin mit Garten des Domitia dia 29 Römische Antike IV a 4a 6 Porta Appia dia 30 Römische Antike IV a 4a 9 Hera-Tempel dia 31 Römische Antike IV a 4a 10 Via Appia antica dia 32 Römische Antike IV a 4a 13 Wasserleitung bei Minturno dia 33 Römische Antike IV a 4a 14 Pons Fabricius in Rom dia 34 Römische Antike IV a 4a 15 Forum Romanum mit Tabularium dia 35 Römische Antike IV a 4a 17 Fortunaheiligtum v.Praeneste- dia 36 Römische Antike IV a 4a 18 Terrassen des Fortunahltums dia 37 Römische Antike IV a 4a 19 Rampenstraße des Fortunahltums dia 38 Römische Antike IV a 4a 20 Jupiterhltum v.Anxur-Terracin dia 39 Römische Antike IV a 4a 22 Forum von Pompeji dia 40 Römische Antike IV a 4a 23 Amphitheater von Pompeji dia 41 Römische Antike IV a 4a 24 Amphith. + Umfassungsmauer v.P dia 42 Römische Antike IV b 4b 7 Marcellus Theater+Apollontemp. TitNr. Reihe ReihenNr. S-Nr. Dia-Nr. Titel dia 43 Römische Antike IV b 4b 14 Ruinen d. Brücke von Narni dia 44 Römische Antike IV b 4b 19 Wandbild,Mysterienvilla, Pompej dia 45 Römische Antike IV b 4b 20 Amorettenfresken,Vettierh aus dia 46 Römische Antike IV b 4b 21 Peristylium,Säulengang,Ex edra dia 47 Römische Antike IV b 4b 23 Haus des D. Octav. in Pompeji dia 48 Römische Antike IV b 4b 24 Thermopolium (Gasthaus) dia 49 Römische Antike IV b 4b 25 Grabmal des Augustus, Marsfeld dia 50 Römische Antike IV b 4b 26 Porta Maggiore in Rom dia 51 Römische Antike IV b 4b 28 Colosseum in Rom dia 52 Römische Antike IV b 4b 30 Titusbogen in Rom dia 53 Römische Antike IV c 4c 5 Trajansäule in Rom (Sockel) dia 54 Römische Antike IV c 4c 6 Trajansäule (Reliefdarstellung dia 55 Römische Antike IV c 4c 7 Hadriansvilla bei Tivoli dia 56 Römische Antike IV c 4c 9 Hadrianvilla/Tivoli (Aquarium) dia 57 Römische Antike IV c 4c 10 Hadrianvilla/Tivoli(Tempe l Ser dia 58 Römische Antike IV c 4c 12 Engelsburg in Rom (Hadrian) dia 59 Römische Antike IV c 4c 13 Schola des Trajan (Ostia) dia 60 Römische Antike IV c 4c 14 Verkaufsläden / Via di Diana dia 61 Römische Antike IV c 4c 15 Thermopolium Via di Diana dia 62 Römische Antike IV c 4c 21 Triumphbogen Septimus Severus dia 63 Römische Antike IV c 4c 25 Palast des Diokletian in Split TitNr. Reihe ReihenNr. S-Nr. Dia-Nr. Titel dia 64 Römische Antike IV c 4c 28 Triumphbogen des Konstantin dia 65 Römische Münzen VI 6 1 Tierdarstellungen dia 66 Römische Münzen VI 6 2 Tierdarstellung - Kaiserkopf dia 67 Römische Münzen VI 6 8 Kaiserkopf - Pferdegespann dia 68 Römische Münzen VI 6 25 Verschiedene Münzen -Überblick dia 69 Carnuntum IX 9 3 Plan von Carnuntum dia 70 Carnuntum IX 9 4 Wegweiser zum Amphitheater dia 71 Carnuntum IX 9 5 Amphitheater I (heute) *1888 dia 72 Carnuntum IX 9 6 Grabstein/ Canturio Calidius dia 73 Carnuntum IX 9 7 Tropäum (Siegesmal), Soldat dia 74 Carnuntum IX 9 9 Zmaragdus-Stein dia 75 Carnuntum IX 9 12 Hypokaustum (wiederhergest.) dia 76 Carnuntum IX 9 13 Grabungen 1950/51 dia 77 Carnuntum IX 9 14 Römischer Gutshof/Katsch Reko. dia 78 Das römische Haus X 10 1 Hausmodel/Korinth dia 79 Das römische Haus X 10 2 Palasthaus von Priene dia 80 Das römische Haus X 10 3 Atriumhaus u. Peristylhaus dia 81 Das römische Haus X 10 7 Atrium - Mosaik dia 82 Das römische Haus X 10 8 Mosaik der Alexanderschlacht dia 83 Das römische Haus X 10 11 Peristyl im Haus der Vettier dia 84 Das römische Haus X 10 12 Nymphäum - Mosaik (Nymphen) TitNr. Reihe ReihenNr. S-Nr. Dia-Nr. Titel dia 85 Das römische Haus X 10 13 Nymphäum - Bad dia 86 Das römische Haus X 10 14 Fischmosaik dia 87 Das römische Haus X 10 15 Altar des Augustus dia 88 Das römische Haus X 10 16 Palästra dia 89 Röm. Wohnen I: im Mietshaus LXXXIV 84 2 Modell des antiken Rom dia 90 Röm. Wohnen I: im Mietshaus LXXXIV 84 3 Ostia dia 91 Röm. Wohnen I: im Mietshaus LXXXIV 84 4 Modell eines Mietshauses dia 92 Röm. Wohnen I: im Mietshaus LXXXIV 84 5 Casa di Diana dia 93 Röm. Wohnen I: im Mietshaus LXXXIV 84 6 Casa di Diana dia 94 Röm. Wohnen I: im Mietshaus LXXXIV 84 7 Casa di Diana dia 95 Röm. Wohnen I: im Mietshaus LXXXIV 84 8 Casa di Diana dia 96 Röm. Wohnen I: im Mietshaus LXXXIV 84 10 Insula delle Trifore dia 97 Röm. Wohnen II: in der Villa LXXXVIII 88 1 Haus des L.Ceius Sec. dia 98 Röm. Wohnen II: in der Villa LXXXVIII 88 3 Haus des L. Ceius Sec. dia 99 Röm. Wohnen II: in der Villa LXXXVIII 88 4 Abendgesellschaft im Haus Reko dia 100 Röm. Wohnen II: in der Villa LXXXVIII 88 5 Haus der Vettier dia 101 Röm. Wohnen II: in der Villa LXXXVIII 88 7 Haus der silb. Hochzeit Atrium dia 102 Röm. Wohnen II: in der Villa LXXXVIII 88 8 Haus vergold. Putten,Peristyl dia 103 Röm. Wohnen II: in der Villa LXXXVIII 88 10 Villa Boscoreale, Cubiculum dia 104 Röm. Wohnen II: in der Villa LXXXVIII 88 12 Villa rustica bei Boscoreale dia 105 Das italisch-römische Haus XII 12 4 Atrium u. Tablinum - Haus Faun TitNr. Reihe ReihenNr. S-Nr. Dia-Nr. Titel dia 106 Das italisch-römische Haus XII 12 5 Mosaik d. Alexanderschlacht dia 107 Das italisch-römische Haus XII 12 6 Atrium vom Haus des Sallust dia 108 Das italisch-römische Haus XII 12 7 Fries der Mysterienvilla dia 109 Das italisch-römische Haus XII 12 8 Atrium vom Haus des Menander dia 110 Das italisch-römische Haus XII 12 11 Atrium, Tablinum dia 111 Das italisch-römische Haus XII 12 12 Wand des Tablinum dia 112 Das italisch-römische Haus XII 12 14 Peristyl d. Hauses d. Venus dia 113 Das italisch-römische Haus XII 12 15 Ixionzimmer im Haus d. Vettier dia 114 Das italisch-römische Haus XII 12 16 Bild im Tablinum dia 115 Vesuv: Vulkanische Erscheinung CX 110 1 Karte des Vesuv - der Umgebung dia 116 Vesuv: Vulkanische Erscheinung CX 110 4 Heutiger Vesuvkrater: Pompeji dia 117 Vesuv: Vulkanische Erscheinung CX 110 7 Gipsabgüsse von Toten dia 118 Vesuv: Vulkanische Erscheinung CX 110 8 Plinianische Wolke dia 119 Vesuv: Vulkanische Erscheinung CX 110 9 Geschichtete Tephra (Erdschich dia 120 Vesuv: Vulkanische Erscheinung CX 110 11 Phlegräische Felder (Neapel) dia 121 Vesuvausbruch des Jahres 79 XI 11 1 Atrium: Casa del bicentenario dia 122 Vesuvausbruch des Jahres 79 XI 11 2 Plan des Atriumhauses des Faun dia 123 Vesuvausbruch des Jahres 79 XI 11 3 Atrium im Haus des Menander dia 124 Vesuvausbruch des Jahres 79 XI 11 4 Plan des Hauses des Faun dia 125 Vesuvausbruch des Jahres 79 XI 11 5 Haus des Faun: Peristyl dia 126 Vesuvausbruch des Jahres 79 XI 11 6 Mysterienvilla: Gartenterrasse TitNr. Reihe ReihenNr. S-Nr. Dia-Nr. Titel dia 127 Vesuvausbruch des Jahres 79 XI 11 7 Casa de Cervi in Herkulaneum dia 128 Vesuvausbruch des Jahres 79 XI 11 9 Gartenperistyl in Stabiae dia 129 Vesuvausbruch des Jahres 79 XI 11 11 Seevilla auf pomp. Wandgemälde dia 130 Vesuvausbruch des Jahres 79 XI 11 12 Plan: Villa Iovis d. Tiberius dia 131 Vesuvausbruch des Jahres 79 XI 11 13 Privatbad: Casa del Criptport. dia 132 Vesuvausbruch des Jahres 79 XI 11 14 Wandgemälde mit 2 Biremen dia 133 Vesuvausbruch des Jahres 79 XI 11 15 Quadrireme: Relief/Palestrina dia 134 Vesuvausbruch des Jahres 79 XI 11 16 Karte Kampaniens dia 135 Vesuvausbruch des Jahres 79 XI 11 17 Karte: Vulkanismus Kampaniens dia 136 Vesuvausbruch des Jahres 79 XI 11 18 Vesuv von Südwesten dia 137 Römische Plastik XIII 13 4 Augustus als Priester dia 138 Römische Plastik XIII 13 5 Kopf einer jungen Römerin dia 139 Römische Plastik XIII 13 9 Trajanische Friesplatte dia 140 Römische Plastik XIII 13 13 Sarkophag des Julius Achilleus dia 141 Römische Architektur: I XIV a 14a 1 Basilika in Pompeji dia 142 Römische Architektur: I XIV a 14a 2 Forum in Pompeji dia 143 Römische Architektur: I XIV a 14a 3 Säulenhalle: gr.
Load more

Recommended publications
  • The Rough Guide to Naples & the Amalfi Coast
    HEK=> =K?:;I J>;HEK=>=K?:;je CVeaZh i]Z6bVaÒ8dVhi D7FB;IJ>;7C7B<?9E7IJ 7ZcZkZcid BdcYgV\dcZ 8{ejV HVc<^dg\^d 8VhZgiV HVciÉ6\ViV YZaHVcc^d YZ^<di^ HVciVBVg^V 8{ejVKiZgZ 8VhiZaKdaijgcd 8VhVaY^ Eg^cX^eZ 6g^Zcod / AV\dY^EVig^V BVg^\a^Vcd 6kZaa^cd 9WfeZ_Y^_de CdaV 8jbV CVeaZh AV\dY^;jhVgd Edoojda^ BiKZhjk^jh BZgXVidHVcHZkZg^cd EgX^YV :gXdaVcd Fecf[__ >hX]^V EdbeZ^ >hX]^V IdggZ6ccjco^ViV 8VhiZaaVbbVgZY^HiVW^V 7Vnd[CVeaZh GVkZaad HdggZcid Edh^iVcd HVaZgcd 6bVa[^ 8{eg^ <ja[d[HVaZgcd 6cVX{eg^ 8{eg^ CVeaZh I]Z8Vbe^;aZ\gZ^ Hdji]d[CVeaZh I]Z6bVa[^8dVhi I]Z^haVcYh LN Cdgi]d[CVeaZh FW[ijkc About this book Rough Guides are designed to be good to read and easy to use. The book is divided into the following sections, and you should be able to find whatever you need in one of them. The introductory colour section is designed to give you a feel for Naples and the Amalfi Coast, suggesting when to go and what not to miss, and includes a full list of contents. Then comes basics, for pre-departure information and other practicalities. The guide chapters cover the region in depth, each starting with a highlights panel, introduction and a map to help you plan your route. Contexts fills you in on history, books and film while individual colour sections introduce Neapolitan cuisine and performance. Language gives you an extensive menu reader and enough Italian to get by. 9 781843 537144 ISBN 978-1-84353-714-4 The book concludes with all the small print, including details of how to send in updates and corrections, and a comprehensive index.
    [Show full text]
  • Map 44 Latium-Campania Compiled by N
    Map 44 Latium-Campania Compiled by N. Purcell, 1997 Introduction The landscape of central Italy has not been intrinsically stable. The steep slopes of the mountains have been deforested–several times in many cases–with consequent erosion; frane or avalanches remove large tracts of regolith, and doubly obliterate the archaeological record. In the valley-bottoms active streams have deposited and eroded successive layers of fill, sealing and destroying the evidence of settlement in many relatively favored niches. The more extensive lowlands have also seen substantial depositions of alluvial and colluvial material; the coasts have been exposed to erosion, aggradation and occasional tectonic deformation, or–spectacularly in the Bay of Naples– alternating collapse and re-elevation (“bradyseism”) at a staggeringly rapid pace. Earthquakes everywhere have accelerated the rate of change; vulcanicity in Campania has several times transformed substantial tracts of landscape beyond recognition–and reconstruction (thus no attempt is made here to re-create the contours of any of the sometimes very different forerunners of today’s Mt. Vesuvius). To this instability must be added the effect of intensive and continuous intervention by humanity. Episodes of depopulation in the Italian peninsula have arguably been neither prolonged nor pronounced within the timespan of the map and beyond. Even so, over the centuries the settlement pattern has been more than usually mutable, which has tended to obscure or damage the archaeological record. More archaeological evidence has emerged as modern urbanization spreads; but even more has been destroyed. What is available to the historical cartographer varies in quality from area to area in surprising ways.
    [Show full text]
  • Kron Food Production Docx
    Supplementary Material 8 FOOD PRODUCTION (Expanded Version) Geoffrey Kron INTRODUCTION Although it would be attractive to offer a survey of agriculture throughout the ancient Mediterranean, the Near East, and those regions of temperate Europe, which were eventually incorporated into the Roman empire, I intend to concentrate primarily upon the best attested and most productive farming regime, that of Augustan Italy, 1 which was broadly comparable in its high level of intensification and agronomic sophistication with that of Greece, Western Asia Minor, North Africa, Baetica and Eastern Tarraconensis. Within the highly urbanized and affluent heartland of the Roman empire, our sources and archaeological evidence present a coherent picture of market-oriented intensive mixed farming, viticulture, arboriculture and market gardening, comparable, and often superior, in its productivity and agronomic expertise to the best agricultural practice of England, the Low Countries, France (wine), and Northern Italy in the mid 19th century. Greco- Roman farmers supplied a large urban population equal to, if not significantly greater than, that of early 19th century Italy and Greece, with a diet rich, not just in cereals, but in meat, wine, olive oil, fish, condiments, fresh fruit and vegetables. Anthropometric evidence of mean heights, derived from skeletal remains, reveal that protein and calorie malnutrition, caused by an insufficient diet based overwhelmingly on cereals, was very acute throughout 18th and 19th century Western Europe, and drove the mean
    [Show full text]
  • „Babeş-Bolyai” University, Cluj-Napoca Faculty of History and Philosophy
    „Babeş-Bolyai” University, Cluj-Napoca Faculty of History and Philosophy ALIMENTATION IN ROMAN DACIA -ABSTRACT OF THE PHD THESIS- Scientific leader, Phd. Student, Prof. Univ. dr. Mihai Bărbulescu Molnár Melinda-Leila Table of contents Introduction 1.State of research 2.Methodology 3.Sources I. Alimentation of the Romans 1.Literary and Archaeological sources 2.General aspects of alimentation a. Historical background b. The origins of food c. Cooking d. Savours e. Herbs and spices f. Other ingredients g. Tavernae and inns h. Triclinia and ancient dining rooms i. Table settings j. Customs and traditions k. Tableware l. Main dishes m. Peculiarities of the Roman kitchen 3. Recipes II. Food production 1. Cereals a. General aspects of Roman agriculture b. Agriculture in Dacia c. Types of ownership, cultivated fields d. The cultivation of cereals e. The Roman villa rustica f. Villa rustica in Roman Dacia g. Agricultural implements g.1. Agricultural implements in Dacia g.2. Milling h. Storage 2 i. Bread making j. Carpological studies 2. Vegetables and fruits a. Gardens b. Vegetables c. Fruits 3. Viticulture a. Ancient sources b. General aspects of viticulture b.1. Wine in mithology b.2. The philosophy of wine b.3. The origins and expansion of wine b.4. Grapes b.5. Viticulture b.6. Wine production b.7. Types of wine b.8. The use of wine b.9. Viticulture from the economical point of view b.10. Other drinks b.11. Vine and wine in Gaule b.12. Wine in Britain b.13. Wine and viticulture in Pompeii c. Viticulture in Dacia c.1.
    [Show full text]
  • Greek Color Theory and the Four Elements [Full Text, Not Including Figures] J.L
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Greek Color Theory and the Four Elements Art July 2000 Greek Color Theory and the Four Elements [full text, not including figures] J.L. Benson University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/art_jbgc Benson, J.L., "Greek Color Theory and the Four Elements [full text, not including figures]" (2000). Greek Color Theory and the Four Elements. 1. Retrieved from https://scholarworks.umass.edu/art_jbgc/1 This Article is brought to you for free and open access by the Art at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Greek Color Theory and the Four Elements by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Cover design by Jeff Belizaire ABOUT THIS BOOK Why does earlier Greek painting (Archaic/Classical) seem so clear and—deceptively— simple while the latest painting (Hellenistic/Graeco-Roman) is so much more complex but also familiar to us? Is there a single, coherent explanation that will cover this remarkable range? What can we recover from ancient documents and practices that can objectively be called “Greek color theory”? Present day historians of ancient art consistently conceive of color in terms of triads: red, yellow, blue or, less often, red, green, blue. This habitude derives ultimately from the color wheel invented by J.W. Goethe some two centuries ago. So familiar and useful is his system that it is only natural to judge the color orientation of the Greeks on its basis. To do so, however, assumes, consciously or not, that the color understanding of our age is the definitive paradigm for that subject.
    [Show full text]
  • D(Atus) D(Ecreto) D(Ecurionum)
    Alma Mater Studiorum – Università di Bologna DOTTORATO DI RICERCA IN STORIA (INDIRIZZO STORIA ANTICA) Ciclo XXV L(OCUS) D(ATUS) D(ECRETO) D(ECURIONUM): LA CONCESSIONE DI SPAZI PUBBLICI NELLE COMUNITÀ CITTADINE DELL’ITALIA ROMANA Coordinatore Dottorato: Ch.mo Prof. MASSIMO MONTANARI Relatore: Ch.ma Prof. FRANCESCA CENERINI Settore Concorsuale di afferenza: 10/D1 (STORIA ANTICA) Settore Scientifico disciplinare: L-ANT/03 (STORIA ROMANA) Presentata da: VALENTINA EMANUELA PISTARINO Esame finale anno 2014 INDICE INTRODUZIONE p. 4 I. METODOLOGIA DELLA RACCOLTA p. 8 I.1. La selezione della documentazione p. 8 I.1.1. Le formule p. 9 I.1.2. Altri elementi contenutistici e formali p. 14 I.2. Tabelle p. 16 II. LE ISCRIZIONI DI AMBITO SACRO p. 19 I.1. La documentazione p. 19 II.2. Gli spazi p. 27 II.2.1. Pompei p. 29 II.2.2. Ostia p. 38 II.2.3. Praeneste p. 46 II.2.4. Tibur p. 50 II.3. Considerazioni generali p. 56 III. LE ISCRIZIONI DI AMBITO FUNERARIO p. 60 III.1. La documentazione p. 60 III.2. Gli spazi p. 73 III.2.1. Pompei p. 74 III.2.2. Ostia p. 88 III.3. Considerazioni generali p. 92 Tabelle p. 103 1. Senatori p. 103 2. Cavalieri p. 104 3. Magistrati cittadini e decurioni p. 108 4. Seviri Augustali e Augustali p. 111 5. Donne p. 112 2 IV. LE ISCRIZIONI DI AMBITO ONORARIO E COSTRUTTIVO p. 115 IV.1. Le iscrizioni di ambito onorario p. 115 IV.2. Gli spazi p. 132 IV.3 Considerazioni generali p.
    [Show full text]
  • Greek Artists and Their Colors (Apart from Ceramics) J.L
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Greek Color Theory and the Four Elements Art July 2000 Chapter 4: Greek artists and their colors (apart from ceramics) J.L. Benson University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/art_jbgc Benson, J.L., "Chapter 4: Greek artists and their colors (apart from ceramics)" (2000). Greek Color Theory and the Four Elements. 8. Retrieved from https://scholarworks.umass.edu/art_jbgc/8 This Article is brought to you for free and open access by the Art at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Greek Color Theory and the Four Elements by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. IV. GREEK ARTISTS AND THEIR COLORS (APART FROM CERAMICS) GENERAL CONSIDERATIONS The larger history of concepts embedded in the Four Elements/Four Colors theory, as worked out in this study, seems capable of illuminating a kind of inner driving force throughout the drama of Greek spirituality. To be sure, the well-preserved ceramic tradition alone provided the visual framework for this (at a level not concerned with the great variations in artistic quality characteristic of the category—in modern terms we might say at the existential level of the artisan process). But ceramics, of course, is not the whole story of color. Textiles, statues, paintings, architecture all exhibited color and we must try to take this into account, even though in many cases the color is largely gone. Obviously it is not easy to make judgments about faded bits of color.
    [Show full text]
  • Elenco Delle Manifestazioni in Campania
    CAMPANIA BISACCIA apertura straordinaria Il Museo Civico a Settimana della Cultura di Archeologico di Bisaccia quest’anno, come in passato, 16 - 24 aprile ore 9.00-13.00/16.00-20.00 Lanima con i suoi eventi i luoghi più 1,00 € ; gratuito ragazzi sotto i 14 anni - noti del patrimonio regionale, dai adulti sopra i 65 anni grandi musei napoletani alle aree proiezione della Conferenza del Prof. Gianni archeologiche, alle residenze Bailo Modesti “Donne irpine sulla via della reali. È tuttavia consuetudine lana" (Sala Conferenze) 19 -24 aprile ore 10.00-13.00 che essa sia anche una Info: 347 1025802 - 339 8481213 grande vetrina dell’intensa Tel. 0827 89202 - Fax 0827 81036 attività culturale che Archivi e Castello Ducale Biblioteche prodigano ai frui - Corso Romuleo - Tel. 0827 89169 tori, così come un’occasione per www.museobisaccia.it scoprire luoghi meno noti, ma non per questo meno affascinanti, in cui CARIFE le civiltà del passato hanno lasciato visite guidate Carife: sulle tracce dei sanniti segni sorprendenti. 16 - 25 aprile ore 10.00-12.00 visita guidata Quest’anno, per la prima volta, partecipa alla Settimana della Cultura ore 17.00-18.30 proiezione Campania Artecard, strumento di promozione del patrimonio culturale Info: 346 8620340 –338 3525510 0827 95021 int. 21 realizzato dalla Regione Campania e dalla Direzione Regionale, che uni - Municipio di Carife sce in un’unica Card titoli di viaggio e biglietti d’ingresso. Campania Largo Mons. V. Salvatore Artecard ha organizzato nei siti museali dello Stato visite e spettacoli Tel. 0827 95021 - Fax 0827 95476 che offrono del patrimonio una godibile visione teatralizzata.
    [Show full text]
  • Cahier De Voyage En Campanie
    Collège Jean Giono Le Beausset Rome Pompéi Herculanum Paestum Elisabeth Le Coq CAHIER DE VOYAGE EN CAMPANIE 2 au 7 avril 2017 NOMEN : ………………………….. Praenomen : ……………………….. (Cognomen) : ……………………… 1 Programme du voyage Jour Date Repas Nuit Excursions et visites prévues au programme matin midi soir 1 02/04/17 - - - Car Départ de l’établissement vers 18h – trajet vers ROME 2 03/04/17 L R H H Immobilisation de 9h00 de l’autocar sur Rome – journée accompagnée d’un guide francophone (équipé d’écouteurs) – visite de la Rome Antique (Colisée, Forum Romain, Palatin…) – départ de Rome vers 16h00 pour la Campanie – Installation le soir à l’hôtel région CAMPANIE 3 04/04/17 H R H H Journée accompagnée d’un guide francophone – visite du musée archéologique de NAPLES – visite de la SOLFATARE 4 05/04/17 H PR H H Journée accompagnée d’un guide francophone – visite d’HERCULANUM – visite de PAESTUM (fouilles et musée) 5 06/04/17 H R R Car Journée accompagnée d’un guide francophone – visite de la villa Boscoreale - Immobilisation de 9h00 de l’autocar sur POMPEI – visite du site archéologique – départ le soir après l’immobilisation pour LE BEAUSSET 6 08/04/17 L - - - Trajet retour à votre établissement PR : panier-repas L : libre H : hôtel R : restaurant 2 FORUM Centre économique, politique, judiciaire, financier et religieux, le Forum Romain, appelé sous l'Empire Forum Romanum ou Forum Magnum, a été, pendant plus de douze siècles, le cœur même de l'antique cité. A l'origine, le Forum, s'étendant entre le ………….., le …………….. et ………………., était un vallon marécageux.
    [Show full text]
  • 1 Thursday, October 16, 2014 11:46 AM from Clay to Silver During The
    1 From Clay to Silver During the 5th Century The art of homoerotic Ancient Greek sympotic ware William A. Percy III Thursday, October 16, 2014 11:46 AM 2 Table of Contents Preface 3 Chapter 1: Introduction 5 Chapter 2: Modern interest in Greek vases: an overview 13 Chapter 3: The petulant squabbles of Oxford dons 23 Chapter 4: Gold and silver in myth and legend 27 Chapter 5: Gold and silver: the Persians and the Greek tyrants 36 Chapter 6: From Miltiades to Alcibiades to the Roman Conquest 45 Chapter 7: Lost Greek treasures, recovered Roman ones 57 Chapter 8: Boardman vs. Vickers 66 Chapter 9: The Warren Cup: authenticity 87 Chapter 10: The Warren Cup: significance 101 Ancient Authors Cited 124 Thursday, October 16, 2014 11:46 AM 3 Secondary Sources Cited 126 Preface The prevailing opinion has been that the Greeks shifted from pottery to silver only after Alexander conquered the Persian Empire and brought its massive treasures into Europe. Herein I prove that the shift occurred in fact early on during the Classic Age (484-338 BC) rather than towards the beginning of the Hellenistic (period) (323-31 BC). Because so few examples survive, I do so by deduction and by citing written evidence. More sources for the classical age cite silver vases than (word?) statues of which none survive, though scholars have accepted their existence. Conquered by the Romans, the Greeks continued their own language and culture but inspired the Romans to become more refined- to imitate many Greek styles including elegant tableware. The Warren Cup is the most spectacular find for the Roman Imperial age, although it may have been made for Greek or Hellenized Jews in Palestine.
    [Show full text]
  • Roman Wall Paintings in the Pafos Theatre
    University of Wollongong Research Online Faculty of Creative Arts - Papers (Archive) Faculty of Arts, Social Sciences & Humanities 2004 Roman wall paintings in the Pafos theatre Diana Wood Conroy University of Wollongong, [email protected] Follow this and additional works at: https://ro.uow.edu.au/creartspapers Part of the Arts and Humanities Commons, and the Social and Behavioral Sciences Commons Recommended Citation Wood Conroy, Diana: Roman wall paintings in the Pafos theatre 2004. https://ro.uow.edu.au/creartspapers/86 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Roman wall paintingsin the Pafos theatre Diana Wood Conroy (University ofWollongong, Australia) Archaeological and architectural context simulate paving, with a marble threshold leading to the orchestra. The fragments of painted plaster were first found in the 1996 and 1997 Pafos Theatre In 2004 the eastern analemma wall had been seasons in trenches lR and 1J on the south side partially uncovered for a length of 9 metres, of Wall 108 (the analemma), where the parodos with plaster attached to the topmost layer of provides an entrance to the orchestra on the blocks. Traces ofyellow colour appear. Because western side of the theatre. Encrusted plaster of the lack of stratigraphy in the deposits with faint indications of colour and pattern still excavated from this area, there is no certain adhered to Wall 108. Other coarser fragments date that can be associated with the plaster of red on cream were found in 1999 in the IR-IJ decoration.
    [Show full text]
  • Ancient History
    ANCIENT HISTORY Paintings, mosaics and beyond The diverse range of Pompeian art offers historians a glimpse into an artistic style that was thought to have been lost, along with Pompeii as a result of the eruption in 79AD. Graffiti, pottery, mosaic and wall paintings were all part of the vast artistic culture that engulfed Pompeii. Although graffiti and pottery were present, they are not the two most significant artistic styles in Pompeii. They give valuable insight into the every day lives of Pompeian’s, and express the cultural values of the time. They are not however, what the Pompeian’s wanted to surround themselves with. Large scale mosaics and wall paintings are found in almost every private and public home or building in Pompeii. It is estimated that there is 3200 in total (according to Mau). This reveals that the subject matter of each painting and mosaic is culturally and aesthetically significant. Pottery and Graffiti was produced on a smaller scale, where as the evolution of artistic style found in paintings and mosaic show a region developing its artistic skill and expressive form. While both pottery and graffiti are important aspects of Pompeii, they do not showcase the perpetual movement of this ancient culture as painting and mosaic capture unarguably. Framed canvases hung on empty walls is an artistic feature seldom found in Pompeii. Instead artwork was painted directly onto the “moist stucco1” (source 1.1) using watercolour in a fresco2 stylistic practice. To prepare a wall, one (sometimes multiple) layer of sand mortar was used which was followed by “one or more coats of marble stucco” (source 1.2).
    [Show full text]