DOCSLIB.ORG

Roman Art Pdf, Epub, Ebook

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Roman Art Pdf, Epub, Ebook ROMAN ART PDF, EPUB, EBOOK Paul Zanker | 216 pages | 10 Jan 2012 | Getty Trust Publications | 9781606061015 | English | Santa Monica CA, United States Roman Art PDF Book Important figures are often slightly larger or are placed above the rest of the crowd to denote importance. No artworks found. Of the vast body of Roman painting we now have only a very few pockets of survivals, with many documented types not surviving at all, or doing so only from the very end of the period. We now call this portrait style veristic, referring to the hyper-naturalistic features that emphasize every flaw, creating portraits of individuals with personality and essence. In the late empire, after AD, early Christian themes mixed with pagan imagery survive on catacomb walls. To find out more about painting and sculpture from Classical Antiquity, see the following resources:. Baths of Trajan CE A huge bathing and leisure complex on the south side of the Oppian Hill, designed by Apollodorus of Damascus, it continued to be used up until the early fifth century, or possibly later, until the destruction of the Roman aqueducts compelled its abandonment. See also: Top 10 Roman Inventions 7. Roman art also encompasses a broad spectrum of media including marble, painting, mosaic, gems, silver and bronze work, and terracottas, just to name a few. To put it another way, despite their spectacular military triumphs, the Romans had an inferiority complex in the face of Greek artistic achievement. Murals Roman murals - executed either "al fresco" with paint being applied to wet plaster, or "al secco" using paint on dry walls - are usually classified into four periods, as set out by the German archaeologist August Mau following his excavations at Pompeii. But on the whole, we can say that Roman art was predominantly derivative and, above all, utilitarian. The major periods in Imperial Roman art are named after individual rulers or major dynasties, they are:. In North Africa for example we find many realistic representations of the Roman arena, while in Greece and Britain such scenes are largely eschewed in favour of mythology. Column of Marcus Aurelius Modeled on its far more popular predecessor, the Column of Trajan, the Column of Marcus Aurelius was built in honor of the successful military campaigns that Emperor Aurelius undertook against the German and Sarmatian tribes. The Classical Review. Roman funerary art spans several media and all periods and regions. Josephus describes the painting executed on the occasion of Vespasian and Titus 's sack of Jerusalem :. Tetrarchic C. When Rome achieved victory in the Punic wars they were finally confident enough to feel pride in their culture and began to create rather trade or buy. Roman mosaic was a minor art, though often on a very large scale, until the very end of the period, when late-4th-century Christians began to use it for large religious images on walls in their new large churches; in earlier Roman art mosaic was mainly used for floors, curved ceilings, and inside and outside walls that were going to get wet. When Romans died, they left behind imagery that identified them as individuals. Roman Art Writer Nor was there any particular genius in the skill of its carvers and stone masons: both the reliefs of the Parthenon BCE and the frieze of the Pergamon Altar of Zeus c. The arch was also an essential component in the building of bridges, exemplified by the Pont du Gard and the bridge at Merida, and aqueducts, exemplified by the one at Segovia, and also the Aqua Claudia and Anio Novus in Rome itself. These are larger than the other figures Roman art encompasses private art made for Roman homes as well as art in the public sphere. Even the most important imperial monuments now showed stumpy, large-eyed figures in a harsh frontal style, in simple compositions emphasizing power at the expense of grace. Further information: Roman portraiture. Plate The reason for Rome's cultural inferiority complex remains unclear. Roman coins were an important means of propaganda, and have survived in enormous numbers. New York: Cambridge University Press, There was also wrought gold and ivory fastened about them all; and many resemblances of the war, and those in several ways, and variety of contrivances, affording a most lively portraiture of itself. However rich Christians continued to commission reliefs for sarcophagi, as in the Sarcophagus of Junius Bassus , and very small sculpture, especially in ivory, was continued by Christians, building on the style of the consular diptych. Important figures are often slightly larger or are placed above the rest of the crowd to denote importance. This seemingly straight Doric column is covered in relief sculptures carved in 21 spirals, each spiral outlining the individual campaigns of Marcus Aurelius against the Germanic and Sarmatian forces between and BC. Roman Mosaics The ancient Romans had a knack for integrating wonderful pieces of art with the practicalities of daily life. What made this villa stand out was a room within it which was decorated with mesmerizing scenes. Scenes painted in the zones were typically either exotic representations of real or imaginery animals, or merely monochromatic linear drawings. As Rome became Christianized and the seat of the empire moved to Byzantium, Roman art was absorbed by other more fashionable trends of the day including Byzantine art and LaTene Celtic art. Not surprisingly, therefore, while numerous Greek sculptors like Phidias, Kresilas, Myron, Polykleitos, Callimachus, Skopas, Lysippos, Praxiteles, and Leochares, Phyromachos and painters like Apollodorus, Zeuxis of Heraclea, Agatharchos, Parrhasius, Apelles of Kos, Antiphilus, Euphranor of Corinth were accorded great respect throughout the Hellenistic world, most Roman artists were regarded as no more than skilled tradesmen and have remained anonymous. In a article devoted to the brushed technique gold glass known as the Brescia medallion Pl. These individually painted stones were then put together in a unique pattern to depict scenes from everyday life. Roman Art Reviews Executed using the encaustic or tempera methods, panel paintings were mass-produced in their thousands for display in offices and public buildings throughout the empire. The entire structure was built on a foot high base containing storage areas and furnaces. Standing at almost 21 meters tall and with a width in excess of 23 meters, this monumental arch was made of Proconessian white marble from the Sea of Marmara. Sculpted in the cool, balanced style of the 2nd century, its composition and extraordinarily meticulous detail makes it one of the finest reliefs in the history of sculpture. Portrait Busts and Statues. The Romans were far more down to earth: they sculpted their history as it happened, warts and all. The art of Ancient Rome and its Empire includes architecture , painting , sculpture and mosaic work. They are remarkably realistic, though variable in artistic quality, and may indicate that similar art which was widespread elsewhere but did not survive. Wall paintings, mosaics, and sculptural displays were all incorporated seamlessly with small luxury items such as bronze figurines and silver bowls. Oxford Art Online. See: Greek Sculpture Made Simple. Triumphal Paintings Roman artists were also frequently commissioned to produce pictures highlighting military successes - a form known as Triumphal Painting. But the Roman artist was not simply copying. Roman Art: Romulus to Constantine. By the age of Constantine AD , the last great building programs in Rome took place, including the erection of the Arch of Constantine built near the Colosseum , which recycled some stone work from the forum nearby, to produce an eclectic mix of styles. Lamb Hephaestus can be seen turning the wheel while Hera sits by on the throne listening to a woman pleading for Ixion. Initially, it was ruled by Etruscan kings who commissioned a variety of Etruscan art murals, sculptures and metalwork for their tombs as well as their palaces, and to celebrate their military victories. A huge bathing and leisure complex on the south side of the Oppian Hill, designed by Apollodorus of Damascus, it continued to be used up until the early fifth century, or possibly later, until the destruction of the Roman aqueducts compelled its abandonment. The so-called minor arts were of great importance in the highly acquisitive Roman society. The earliest recognizable pieces of ancient Roman art date back to before BC. A further architectural development was the dome vaulted ceiling , which made possible the construction and roofing of large open areas inside buildings, like Hadrian's Pantheon , the Basilica of Constantine , as well as numerous other temples and basilicas, since far fewer columns were needed to support the weight of the domed roof. The Church of Hagia Sophia in Constantinople, for instance, one of the most famous examples of Roman dome architecture, provided employment for some 10, of these specialists and other workmen. Department of the Classics, Harvard University. The early 4th century mosaic of the Great Hunt at Piazza Armerina in Sicily is a technically superb mosaic depicting violent conflict between beast and beast and man and man, while the contemporary and equally imposing mosaic at Woodchester , Gloucestershire, England is far more vibrant in terms of design and in the imaginative stylisation of animals which circle peacefully around Orpheus but perhaps lacks the technical finesse of the Sicilian mosaic. Cite this page as: Dr. The nation and the empire created works that contributed a great deal to the advancement of man in politics and knowledge, and also in architecture, design, and the visual and performing arts. As the expanding Roman Republic began to conquer Greek territory, at first in Southern Italy and then the entire Hellenistic world except for the Parthian far east, official and patrician sculpture became largely an extension of the Hellenistic style, from which specifically Roman elements are hard to disentangle, especially as so much Greek sculpture survives only in copies of the Roman period.
Load more

Recommended publications
  • Understanding Art in Antwerp Classicising the Popular
    94924_Ranmakers GSCC vwk 12-12-2011 09:04 Page iii Understanding Art in Antwerp Classicising the Popular, Popularising the Classic (1540 – 1580) EDITED BY Bart Ramakers PEETERS LEUVEN - PARIS - WALPOLE, MA 2011 CONTENTS Preface and Acknowledgements ix Understanding Art in Antwerp. An Introduction Bart Ramakers xi Contributors xxiii Session I Lost in Translation? Thinking about Classical and Vernacular Art in Antwerp, 1540-1580 Joanna Woodall 1 After the Flood. Luxurious Antwerp and Antiquity David Rijser 25 Session II Reformulating St Luke. Frans Floris on Art and Diligence Annette de Vries 37 The Annexation of the Antique. The Topic of the Living Picture in Sixteenth-Century Antwerp Caecilie Weissert 53 St Luke’s Diligence Elizabeth Honig 69 Session III Classical Architecture and the Communion Debate. The Iconography of Suggestion Koenraad Jonckheere 75 Prints as Perfect Means of Communication. Allegorical Prints with Moral and Religious Messages Invented by Willem van Haecht Yvonne Bleyerveld 93 vi CONTENTS Visual Pamphleteering and the Invention of its Idiom in Rebellious Antwerp Catrien Santing 109 Session IV Pieter Bruegel and the Art of Vernacular Cultivation Todd M. Richardson 115 For the Illustration of Rhetoric. Cornelis van Ghistele, Virgil and the Ideology of Learned Rhetorijcke Femke Hemelaar 131 Learned Humanist Drama Classicising the Popular Jan Bloemendal 151 Session V Lady Pictura and Lady Rhetorica in Mid-Sixteenth-Century Antwerp. Upgrading Painting and Rhetorijcke by Linking Them to the Liberal Arts Stijn Bussels 157 Mirroring God, Reflecting Man. Shaping Identity Through Knowledge in the Antwerp Plays of 1561 Jeroen Vandommele 173 Rhetoricians as a Bridge Between Learned and Vernacular Culture Hilde de Ridder-Symoens 197 Session VI A Pure Marriage Bed.
    [Show full text]
  • The Macella of Rome Introduction After All These Things Which Pertain
    Author Susan Walker Author Status Full time PhD, University of Newcastle upon Tyne Nature of Paper Journal Article Journal Edition The School of Historical Studies Postgraduate Forum e-Journal , Edition Three , 2004 The Macella of Rome Introduction After all these things which pertain to human sustenance had been brought into one place, and the place had been built upon, it was called a Macellum. 1 So wrote Varro. It seems that almost every city and town with any pretensions to importance within the Roman Empire had, as part of its suite of civic amenities, a macellum. This building normally sat alongside the forum and basilica, providing a place in which a market could be held. Why then did Rome, the foremost and most populous city of the Empire, have only one, or very possibly two, at any one time? Why did it not form one of the sides to the Forum in Rome as it did in other cities? Was the macellum intended to provide the only market place for the entire population of Rome? These questions highlight the problems about the role of the macellum within the market and retail structure of the City of Rome. Macella Before discussing the problems raised by the macella in Rome it may be beneficial to give an overview of their development and to describe the buildings themselves. In her book, called Macellum, Claire De Ruyt 2outlines the problems and arguments related to the origins of the word and the form the buildings took. One part of the debate is to the origin of the word macellum itself, Greek, Latin or even Semitic beginnings have been advanced.
    [Show full text]
  • Waters of Rome Journal
    TIBER RIVER BRIDGES AND THE DEVELOPMENT OF THE ANCIENT CITY OF ROME Rabun Taylor [email protected] Introduction arly Rome is usually interpreted as a little ring of hilltop urban area, but also the everyday and long-term movements of E strongholds surrounding the valley that is today the Forum. populations. Much of the subsequent commentary is founded But Rome has also been, from the very beginnings, a riverside upon published research, both by myself and by others.2 community. No one doubts that the Tiber River introduced a Functionally, the bridges in Rome over the Tiber were commercial and strategic dimension to life in Rome: towns on of four types. A very few — perhaps only one permanent bridge navigable rivers, especially if they are near the river’s mouth, — were private or quasi-private, and served the purposes of enjoy obvious advantages. But access to and control of river their owners as well as the public. ThePons Agrippae, discussed traffic is only one aspect of riparian power and responsibility. below, may fall into this category; we are even told of a case in This was not just a river town; it presided over the junction of the late Republic in which a special bridge was built across the a river and a highway. Adding to its importance is the fact that Tiber in order to provide access to the Transtiberine tomb of the river was a political and military boundary between Etruria the deceased during the funeral.3 The second type (Pons Fabri- and Latium, two cultural domains, which in early times were cius, Pons Cestius, Pons Neronianus, Pons Aelius, Pons Aure- often at war.
    [Show full text]
  • 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.
    [Show full text]
  • The Aqua Traiana / Aqua Paola and Their Effects on The
    THE AQUA TRAIANA / AQUA PAOLA AND THEIR EFFECTS ON THE URBAN FABRIC OF ROME Carolyn A. Mess A Thesis Presented to the Faculty of the Department of Architectural History In Partial Fulfillment of the Requirements for the Degree Master of Architectural History May 2014 Cammy Brothers __________________ Sheila Crane __________________ John Dobbins __________________ ii ABSTRACT Infrastructure has always played an important role in urban planning, though the focus of urban form is often the road system and the water system is only secondary. This is a misconception as often times the hydraulic infrastructure determined where roads were placed. Architectural structures were built where easily accessible potable water was found. People established towns and cities around water, like coasts, riverbanks, and natural springs. This study isolates two aqueducts, the Aqua Traiana and its Renaissance counterpart, the Aqua Paola. Both of these aqueducts were exceptional feats of engineering in their planning, building techniques, and functionality; however, by the end of their construction, they symbolized more than their outward utilitarian architecture. Within their given time periods, these aqueducts impacted an entire region of Rome that had twice been cut off from the rest of the city because of its lack of a water supply and its remote location across the Tiber. The Aqua Traiana and Aqua Paola completely transformed this area by improving residents’ hygiene, building up an industrial district, and beautifying the area of Trastevere. This study
    [Show full text]
  • Athenian Democracy and Popular Tyranny
    UC Berkeley UC Berkeley Previously Published Works Title Athenian democracy and popular tyranny Permalink https://escholarship.org/uc/item/4dj5x065 ISBN 9781107130401 Author Hoekstra, K Publication Date 2016-03-24 DOI 10.1017/CBO9781316418024.002 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Athenian Democracy and Popular Tyranny Kinch Hoekstra I An account of popular sovereignty that begins with the fifth century BCE may seem to be off to a false start.1 Foundational works in the history of political thought have taught us that the very notion of sovereignty, and thus of popular sovereignty, emerged from the particular historical circumstances of the early modern era. One might thus believe that fifth-century Greeks could not be discussing popular sovereignty some two thousand years before this concept’s emergence.2 Leading ancient historians and classicists have adopted this view, deeming ‘sovereignty’ a misleadingly anachronistic way of thinking about Athenian democracy in the classical period.3 For the concept of sovereignty seems 1 By agreement, my primary focus is on the fifth century BCE (esp. its second half) and Melissa Lane’s in her contribution is on the fourth. Earlier versions of this chapter were presented at Queen Mary, University of London (Popular Sovereignty Project); Stanford University (Workshop on Ethics and Politics, Ancient and Modern); and UCLA (a combined meeting of the Legal Theory Workshop and the Political Theory Workshop). I am grateful to the audiences on each of these occasions, and for comments from Mark Greenberg, Amanda Greene, Tim Hoekstra, Seth Jaffe, Kathryn Morgan, Seana Shiffrin, and Quentin Skinner.
    [Show full text]
  • The Attitude of Marcus Tullius Cicero to Greek Art*
    Elżbieta Woźniak Uniwersytet Marii Curie-Skłodowskiej, Lublin THE ATTITUDE OF MARCUS TULLIUS CICERO TO GREEK ART* This great orator, philosopher, scholar and at the same time a statesman, is one of the best-known figures in the period of the Late Republic owing to the fortunate preservation of his rich and diverse works until the present time. That is why ancient historians refer to his testimony in many of their studies. When investigating the problems connected with the Late Republican art, it is essential that we focus attention on the views and attitude of this eminent representative of nobilitas towards Greek art. In his speeches, and oratorical and philosophical works Cicero reveals two somewhat different attitudes towards art. When he tries to be more of an advocate and moralist in the spirit of Roman traditionalism and practicalism, he shows detachment from the matters of art. For example, he finds it right to worship the statues built in memory of the citizens who served the Republic well1 but he adds that the works of painters and sculptors are not essential for the fame of eminent people2. In another work he says that equally unreasonable are those who delight too much in statutes, paintings, decorative silver articles, Corinthian vases, and sumptuous houses3, even if they wish to emphasize their dignity and position in the State in this way. At this point he points to L. Mummius, who scorned all of Corinth4. This statement requires an extensive comment: Mum- mius spurned the magnificent works of art from Corinth, having kept nothing for himself but bringing these spoils to Rome to adorn the temples and squares in the capital.
    [Show full text]
  • Aetion, Artist of the Age of Alexander
    Искусство и художественная культура Древнего мира 103 УДК: 7.032 ББК: 85.103(0)32 А43 DOI: 10.18688/aa177-1-11 Antonio Corso Aetion, Artist of the Age of Alexander Aetion was a renowned painter of pictures who is known thanks to several passages of an- cient writers, especially of Cicero, Pliny and Lucian: these three authorities were quite learned in the realm of visual arts [7, pp. 257–263]. The chronologically first surviving testimony about this artist is Cicero,Paradoxa Stoicorum 33–38. In this passage the writer from Arpinum is criticizing the Romans who madly loved works of art by the greatest Greek masters, because they were not free but slaves of their pas- sions: “You stand gaping spell-bound before a picture of Aetion or a statue of Polyclitus. I pass over the question where you got it from and how you come to have it, but when I see you gazing and marveling and uttering cries of admiration, I judge you to be the slave of any foolishness. ‘Then are not those kinds of things delightful?’ Granted that they are, for we also have trained eyes; but I beg of you, do let the charm that those things are deemed to possess make them serve not as fetters for men but as amusements for children” (transl. Loeb with amendments). We argue from this passage that in late republican Rome pictures of Aetion were objects of deeply felt admiration. They were collected by private owners but were also disliked by the most traditionalist quarter of the Roman society.
    [Show full text]
  • Visualizing Poetry in Practice in Early Modern Italian Art
    Athens Journal of Humanities & Arts - Volume 8, Issue 3, July 2021 – Pages 189-208 Li Pittori Parlano con l’Opere: Visualizing Poetry in Practice in Early Modern Italian Art By James Hutson* The relative sophistication of artists in the early modern era is contested, especially with regards to their educational backgrounds. On one hand, Dempsey-esque intellectual history is vested in touting the structured, literary curricula in art-educational institutions; while on the other, a complete rejection of the ‚artist-philosopher‛ as historical fiction seeks to undermine this hegemonic construct. This study argues that the lack of early formal education in the cases of artist like Annibale Carracci and Nicolas Poussin, who, unlike Peter Paul Rubens, did not have a firm foundation in the classics and languages that would allow them to engage directly with source material, would later be supplemented through their relationships with literary figures in the circles of Torquato Tasso, Giambattista Marino, and the Accademia dei Gelati. In addition to such relationships, informal exchanges, gatherings, and supplemental materials like Giovanni Paolo Gallucci’s Della Simmetria could be called upon when treating poetic subjects. With intimate knowledge of vernacular poetry, literati themselves participating in lectures and studio visits, and, finally, quick reference guides for subject matter, these artists were able to produce works that spoke to both poetic and artistic theory of the day, as one naturally informed the other. Introduction ‚Poets paint with words, painters speak with their works.‛1 This aphorism of Annibale Carracci (1560-1609) followed a superb rendering of the Laocoön in charcoal, expertly rendered from memory.
    [Show full text]
  • The Education of Artists in Ancient Greece
    Hyperboreus 18:1 (2012) Antonio Corso THE EDUCATION OF ARTISTS IN ANCIENT GREECE Introductory Remarks The aim of this article is to collect the written evidence which may help us to understand what type of education and training ancient Greek artists enjoyed throughout the different ages and in the most important artistic centres. As I shall point out several documents may be also enlightening about the relations between masters and pupils and may indicate the infl uence of philosophical ideas on this phenomenon. I believe that this topic has been little studied and that several relevant sources have not yet been fully used in order to enhance our knowledge of this issue.1 These considerations hopefully justify the present study of this topic. Masters and pupils in the workshops of artists of archaic Greece In archaic Greece the rivalry among craftsmen who work with the same materials and the same techniques was very harsh. 1 I delivered lectures on the education of ancient Greek artists in the University of Pavia in March, 2007 as well as at Saint-Petersburg, in the Bibliotheca Classica, in September, 2007. I thank Prof. Harari, who invited me to deliver my lecture in Pavia, as well as Profs. Kazansky, Gavrilov, Verlinsky, who encouraged me to talk about the results of my research in Saint-Petersburg. About workshops in ancient Greece, see S. Nolte, Steinbruch – Werkstatt – Skulptur (Göttingen 2006) 9–303 who cites the most important previous bibliography. About workshops of painters see A. Anguissola, “La bottega dell’artista”, in: C. Gallazzi and S. Settis (eds.), Le tre vite del Papiro di Artemidoro (Milan 2006) 124–131 with relevant previous bibliography.
    [Show full text]
  • The Timanthes-Effect. Another Note on the Historical Explanation of Pictures1
    The Timanthes-effect. Another note on the historical explanation of pictures1 Koenraad Jonckheere THIS IS A DRAFT OF AN UNPUBLISHED PAPER – PLEASE DO NOT QUOTE In his Historia Naturalis, Pliny the Elder described a contest between Zeuxis and Parrhasius. Zeuxis was a painter working in Athens in the fifth century BC. Parrhasius of Ephesus was his main artistic rival. The two painters were believed to be the best living artists and in order to settle the discussion a contest was organized. Both were to make a painting and it was to be decided which one was the most lifelike. Zeuxis revealed his panel first. He had painted grapes, which looked so convincing and inviting that birds immediately fell from the sky to peck them. Proudly Zeuxis now asked Parrhasius to slip the curtain of his painting, only to find out that it was a trompe-l'oeil instead of an actual drape. Zeuxis immediately admitted he had lost the contest and great- heartedly congratulated Parrhasius on his triumph.2 Pliny’s story is a wonderful metaphor on human visual cognition. While Zeuxis had indeed deceived the birds, Parrhasius deceived Zeuxis, the most famous artist, by tricking him into trusting his patterns of expectation only to 1 I would like to thank XXX 2 Pliny, Naturalis Historia, 35.145; On this story see recently: Sarah Blake McHam, Pliny and the Artistic Culture of the Italian Renaissance: The Legacy of the Natural History (London - New Haven: Yale University Press, 2013), p. 47. Stijn Bussels, The Animated Image. Roman Theory on Naturalism, Vividness and Divine Power (Leiden - Berlin: Leiden University Press - Akademie Verlag, 2012), passim.
    [Show full text]
  • Hospitals and Urbanism in Rome, 1200–1500 Brill’S Studies in Intellectual History
    Hospitals and Urbanism in Rome, 1200–1500 Brill’s Studies in Intellectual History Series Editor Han van Ruler (Erasmus University Rotterdam) Editorial Board C.S. Celenza ( Johns Hopkins University, Baltimore) – M.L. Colish (Yale University) J.I. Israel (Institute for Advanced Study, Princeton) – A. Koba (University of Tokyo) M. Mugnai (Scuola Normale Superiore, Pisa) – W. Otten (University of Chicago) VOLUME 251 Brill’s Studies on Art, Art History, and Intellectual History General Editor Walter S. Melion (Emory University) VOLUME 12 The titles published in this series are listed at brill.com/bsai Hospitals and Urbanism in Rome, 1200–1500 By Carla Keyvanian LEIDEN | BOSTON Cover illustration: Remains of S. Urbano ai Pantani, the hospital of the Knights Hospitallers in Trajan’s Forum, Rome, early thirteenth century (photo © author). Library of Congress Cataloging-in-Publication Data Names: Keyvanian, Carla. Title: Hospitals and urbanism in Rome, 1200–1500 / by Carla Keyvanian. Description: Leiden : Brill, 2015. | Series: Brill’s studies in intellectual history, ISSN 0920-8607 ; volume 252 | Series: Brill’s studies on art, art history, and intellectual history ; volume 12 | Includes bibliographical references and index. Identifiers: LCCN 2015031751 | ISBN 9789004307544 (hardback : acid-free paper) | ISBN 9789004307551 (e-book) Subjects: LCSH: Hospital buildings—Italy—Rome—Design and construction—History—To 1500. | Public hospitals—Italy—Rome—History—To 1500. | Architecture and state—Italy—Rome—History—To 1500. | Urban development—Italy—Rome—History—To 1500. | City and town life—Italy—Rome—History— To 1500. | Rome (Italy)—Buildings, structures, etc. | Rome (Italy)—Social conditions. | Social control— Italy—Rome—History—To 1500. | Politics and culture—Italy—Rome—History—To 1500.
    [Show full text]