Rome and Assisi November 3-13, 2014
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Rome: a Pilgrim’S Guide to the Eternal City James L
Rome: A Pilgrim’s Guide to the Eternal City James L. Papandrea, Ph.D. Checklist of Things to See at the Sites Capitoline Museums Building 1 Pieces of the Colossal Statue of Constantine Statue of Mars Bronze She-wolf with Twins Romulus and Remus Bernini’s Head of Medusa Statue of the Emperor Commodus dressed as Hercules Marcus Aurelius Equestrian Statue Statue of Hercules Foundation of the Temple of Jupiter Optimus Maximus In the Tunnel Grave Markers, Some with Christian Symbols Tabularium Balconies with View of the Forum Building 2 Hall of the Philosophers Hall of the Emperors National Museum @ Baths of Diocletian (Therme) Early Roman Empire Wall Paintings Roman Mosaic Floors Statue of Augustus as Pontifex Maximus (main floor atrium) Ancient Coins and Jewelry (in the basement) Vatican Museums Christian Sarcophagi (Early Christian Room) Painting of the Battle at the Milvian Bridge (Constantine Room) Painting of Pope Leo meeting Attila the Hun (Raphael Rooms) Raphael’s School of Athens (Raphael Rooms) The painting Fire in the Borgo, showing old St. Peter’s (Fire Room) Sistine Chapel San Clemente In the Current Church Seams in the schola cantorum Where it was Cut to Fit the Smaller Basilica The Bishop’s Chair is Made from the Tomb Marker of a Martyr Apse Mosaic with “Tree of Life” Cross In the Scavi Fourth Century Basilica with Ninth/Tenth Century Frescos Mithraeum Alleyway between Warehouse and Public Building/Roman House Santa Croce in Gerusalemme Find the Original Fourth Century Columns (look for the seams in the bases) Altar Tomb: St. Caesarius of Arles, Presider at the Council of Orange, 529 Titulus Crucis Brick, Found in 1492 In the St. -
Falda's Map As a Work Of
The Art Bulletin ISSN: 0004-3079 (Print) 1559-6478 (Online) Journal homepage: https://www.tandfonline.com/loi/rcab20 Falda’s Map as a Work of Art Sarah McPhee To cite this article: Sarah McPhee (2019) Falda’s Map as a Work of Art, The Art Bulletin, 101:2, 7-28, DOI: 10.1080/00043079.2019.1527632 To link to this article: https://doi.org/10.1080/00043079.2019.1527632 Published online: 20 May 2019. Submit your article to this journal Article views: 79 View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rcab20 Falda’s Map as a Work of Art sarah mcphee In The Anatomy of Melancholy, first published in the 1620s, the Oxford don Robert Burton remarks on the pleasure of maps: Methinks it would please any man to look upon a geographical map, . to behold, as it were, all the remote provinces, towns, cities of the world, and never to go forth of the limits of his study, to measure by the scale and compass their extent, distance, examine their site. .1 In the seventeenth century large and elaborate ornamental maps adorned the walls of country houses, princely galleries, and scholars’ studies. Burton’s words invoke the gallery of maps Pope Alexander VII assembled in Castel Gandolfo outside Rome in 1665 and animate Sutton Nicholls’s ink-and-wash drawing of Samuel Pepys’s library in London in 1693 (Fig. 1).2 There, in a room lined with bookcases and portraits, a map stands out, mounted on canvas and sus- pended from two cords; it is Giovanni Battista Falda’s view of Rome, published in 1676. -
California State University, Northridge
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE The Palazzo del Te: Art, Power, and Giulio Romano’s Gigantic, yet Subtle, Game in the Age of Charles V and Federico Gonzaga A thesis submitted in partial fulfillment of the requirements For the degree of Master of Arts in Interdisciplinary Studies with emphases in Art History and Political Science By Diana L. Michiulis December 2016 The thesis of Diana L. Michiulis is approved: ___________________________________ _____________________ Dr. Jean-Luc Bordeaux Date ___________________________________ _____________________ Dr. David Leitch Date ___________________________________ _____________________ Dr. Margaret Shiffrar, Chair Date California State University, Northridge ii ACKNOWLEDGEMENTS I would like to convey my deepest, sincere gratitude to my Thesis Committee Chair, Dr. Margaret Shiffrar, for all of her guidance, insights, patience, and encourage- ments. A massive "merci beaucoup" to Dr. Jean-Luc Bordeaux, without whom completion of my Master’s degree thesis would never have been fulfilled. It was through Dr. Bordeaux’s leadership, patience, as well as his tremendous knowledge of Renaissance art, Mannerist art, and museum art collections that I was able to achieve this ultimate goal in spite of numerous obstacles. My most heart-felt, gigantic appreciation to Dr. David Leitch, for his leadership, patience, innovative ideas, vast knowledge of political-theory, as well as political science at the intersection of aesthetic theory. Thank you also to Dr. Owen Doonan, for his amazing assistance with aesthetic theory and classical mythology. I am very grateful as well to Dr. Mario Ontiveros, for his advice, passion, and incredible knowledge of political art and art theory. And many thanks to Dr. Peri Klemm, for her counsel and spectacular help with the role of "spectacle" in art history. -
Santamariaprrojadobe.Pdf
From: Virtual Reality in Archaeology, British Archaeological Reports International Series S 843, ed. J. A. Barcelo, M. Forte, and D. H. Sanders (ArcheoPress, Oxford 2000) 155-162. Virtual Reality and Ancient Rome: The UCLA Cultural VR Lab's Santa Maria Maggiore Project Prof. Bernard Frischer (UCLA Department of Classics; Director, UCLA Cultural VR Lab) Prof. Diane Favro (UCLA Department of Architecture and Urban Design) Dr. Paolo Liverani (Vatican Museums, Department of Classical Antiquities) Prof. Sible De Blaauw (Istituto Olandese di Roma) Dean Abernathy, Architect and Doctoral Student (UCLA Department of Architecture and Urban Design) (1) Introduction Since the fall of 1995, professors of Classics, Architecture, Education, and Information Science at UCLA, in conjunction with colleagues in the United States, Britain, and Italy, have been developing virtual reality (VR) models of buildings and monuments in ancient Rome (cf. fig. 1). This collaborative research effort is called the Rome Reborn Project in honor of the first systematic study of Roman topography, Flavio Biondo's mid-fifteenth century Roma Instaurata (de Grummond 1996: 160-61). Since January, 1998 the project has been housed in the UCLA Cultural VR Lab, which was created with support from Intel, the Creative Kids Education Foundation, Mr. Kirk Mathews, the UCLA Division of Humanities, the UCLA Humanities Computing Facility, the UCLA Center for Digital Innovation, the UCLA Graduate Division, the UCLA Office of the Vice Chancellor for Research, and the UCLA College of Letters and Science. The Lab's mission is to provide technology support for projects like Rome Reborn that strive to recreate authenticated three-dimensional computer models of sites of great historic and cultural interest around the world. -
St. Peter's Basilica
UF “ROME PROJECT” LESSON 1 Reading and comprehension COLOSSEUM The Colosseum, or the Coliseum, originally the Flavian Amphitheatre (Anfiteatro Flavio or Colosseo), is an amphitheatre in the centre of the city of Rome. It’s the largest amphitheatre ever built in the Roman Empire. It is elliptical in plan and it’s 188 metres long. Inside the Colosseum there were about 50,000 seats for the spectators. The height of the outer wall is 48 meters. The Colosseum was used for gladiatorial contests and public spectacles such as mock sea battles, animal hunts, executions and dramas based on Classical mythology. The Colosseum is one of the symbols of Imperial Rome. ST. PETER’S BASILICA The Papal Basilica of Saint Peter is commonly known as Saint Peter's Basilica and it is a Late Renaissance church located within the Vatican City. In Roman Catholic tradition, the basilica is the burial site of its namesake Saint Peter, who was one of the twelve apostles of Jesus. The basilica is within a forecourt in two sections, both surrounded by tall colonnades. The basilica is cruciform in shape, with an elongated nave in the Latin cross form. The basilica contains a large number of tombs of popes considered outstanding artworks. There are also a number of sculptures in niches and chapels, including Michelangelo’s “Pieta”. The central feature is a baldachin over the Papal Altar designed by Lorenzo Bernini. The Basilica of St. Peter is one of four papal basilicas (Major Basilicas) of Rome: the other basilicas are The Basilica of St. John Lateran, Santa Maria Maggiore and St. -
The Baroque Transformation of the Salus Populi Romani Amber Mcalister Blazer
From Icon to Relic: The Baroque Transformation of the Salus Populi Romani Amber McAlister Blazer In partial response 10 the Pro1esian1 denunciation of sa of another revered icon al the Chiesa Nuova.' This con1empo cred images, the Counter-Reformation Church in Rome initi• rary project anticipates lhe formal solution employed at 1he atcd a widespread progmm 10 resanctify holy icons.' The re Pauline altar. In 1606, the Orntorian fathers of S. Mruia in newed importance or such images for the renovmio of the Vallicella commissioned a paiming from Pe1cr Paul Rubens for Church was stated emphatically by the elaborate Baroque vo tbe high altar of 1heir new church. the Chiesa Nuova.' One of cabulary employed in their re-installation. An important ex their requirements was 1ha1 it should incorporate the mirncu ample of this process is seen in the tomb chapel erected by lous image of the Madonna and Child which the fathers had Paul Vat S. Maria Maggiore and its allar that houses the icon. preserved from their old church. Rubens finished the canvas of today known as the Salus Pop11li Rom1111i (Figure I).' Because Sts. Grego,}' and Domiti/111, S11rro1111ded by Fo11r Saims !Sts. of1he long and revered his1ory of 1he icon. the papal patronage Maurus and Papianus. Nereus and Achilleus] in 1607.' Be of the si1e. and the nascent Baroque style used for 1he altar cause of the poor light in the church the painting was unread itself. the Pauline installation serves as a paradigm for the able, and 1he Church fathers asked Rubens 10 redo the work on Counter-Reformation display of icons. -
The Renaissance- Common Part B and C Questions- Sometimes Worth 5/10/15 Marks
Caroline Mc Corriston The Renaissance- Common Part b and c questions- sometimes worth 5/10/15 marks 1. Discuss the High Renaissance period – *see first notes received on renaissance* 2. How did the work of Leonardo/ Michelangelo/ Raphael contribute to the High Renaissance? One of the greatest of Old Masters in the history of art, Leonardo da Vinci excelled as a painter, sculptor, engineer, architect and scientist. Along with Michelangelo (1475-1564) and Raphael (Raffaello Santi) (1483-1520), he is considered to be one of the three great creators of High Renaissance art in Italy (1490-1530). Renowned as a master of oil painting, including the painterly techniques of chiaroscuro (use of shadow to create a 3-D effect) and sfumato both techniques are visible in his masterpiece, Mona Lisa. Unfortunately, Leonardo's creative gifts were so diverse that he completed only a handful of artistic projects. Even so, he was responsible for several masterpieces of Renaissance art, including the Mona Lisa (1503-6, oil on panel, Louvre), one of the greatest portrait paintings; Vitruvian Man (1492), arguably the world's best known drawing; and The Last Supper (1495-8, oil and tempera fresco, Santa Maria delle Grazie, Milan), one of the best known Biblical paintings of all time. Sadly only a fraction of his art survives (about 15 pictures in all), not least because of his thirst for (often disastrous) experimentation with new paint techniques. Even so, these few paintings, together with a number of sketchbooks crammed with examples of figure drawing (including some of the best drawings of the Renaissance), plus anatomical studies, scientific diagrams, and his views on the techniques and aesthetics of painting, comprise a legacy rivalled only by Michelangelo. -
Download The
FREE MAP 7 9 8 VISITOR CENTER 7 1 6 ARTE RELIGIOSA CAPRIOTTI SIGHTSEEING CENTER VIA G. AMENDOLA 32 2 5 PanamicOPEN TOUR Hop-on Hop-off TERMINI SANTA MARIA MAGGIORE COLOSSEO 3 BOCCA DELLA VERITÀ/CIRCO MASSIMO PIAZZA VENEZIA/CAMPIDOGLIO VATICANO/MUSEI VATICANI PIAZZA NAVONA/PANTHEON/CASTEL SANT'ANGELO FONTANA DI TREVI/PIAZZA DI SPAGNA VILLA BORGHESE/VIA VENETO PIAZZA BARBERINI 4 bus evy 10 minutes Since 1978 more than 28.000.000 satisfied customers Bk yr tr he! TOUR 9 TOUR 6 Ancient Castelli Ostia Romani AFTERNOON r FRASCATI, CASTELGANDOLFO, GROTTAFERRATA AND t BEAUTY MEDIEVAL VILLAGES OUTSIDE ROME THE PORT OF ANCIENT ROME. PORTA ROMANA, TERME DI NETTUNO, THERMOPOLIUM. ded € 52,00 p.p. Gui € 60,00 p.p. TOUR 1 Excsis Classical Excsis TOUR 7 TOUR 13 TOUR 17 Rome Tivoli Assisi Florence Orvieto MORNING TREVI FOUNTAIN, PANTHEON, PIAZZA NAVONA, CASTEL SANT'ANGELO (no visit), ST. PETER’S BASILICA (WITH PAPAL BLESSING ON SUNDAYS) ST FRANCIS’ BASILICA, SANTA MARIA DEGLI ANGELI, THE CRADLE OF THE RENAISSANCE PERIOD. DAVID BY MICHELANGELO, VILLA ADRIANA, VILLA D’ESTE AND ITS FOUNTAINS € 41,00 p.p. CHAPEL OF PORZIUNCOLA CATHEDRAL OF SANTA MARIA DEL FIORE, GIOTTO’S BELL TOWER AND € 106,00 p.p. PIAZZA DELLA SIGNORIA € 66,00 p.p. CityCity TrTr € 156,00 p.p. TOUR 3 TOUR 10 TOUR 2 Vatican TOUR 15 Illuminated TOUR 12 TOUR 14 Imperial Museums Naples Rome Rome Rome by Capri Pompeii SKIP THE LINE night Blue Grotto* SKIP THE LINE MORNING/ with dinner AFTERNOON AFTERNOON VATICAN MUSEUMS, SISTINE CHAPEL, ST. PETER’S BASILICA COLOSSEUM, ST. -
Canonization of Pope John Paul II & Pope John XXIII
Package Includes: ♦ Roundtrip direct flight Montreal - Rome with Air Transat; Canonization of ♦ 7 nights’ accommodation in a 3* hotel ; ♦ Roundtrip transfers in Rome from/ to airport; ♦ 7 breakfasts & 1 welcome dinner; Pope John Paul II ♦ 1/2 day bilingual tour of the three Basilicas; ♦ 1/2 day bilingual tour of the Vatican Museum; ♦ 1/2 day bilingual guided tour of Rome; & Pope John XXIII ♦ Transportation in deluxe motor coach with air conditioning; ♦ Roundtrip transportation to St Peter’s Square and attendance of the Can- April 24, 2014 to May 2, 2014 onization; ♦ 1 full day excursion to Assisi & Narnia; ♦ Entrance fee and headset for the Vatican Museum; ♦ Airport taxes and service fees of $550 Package does not include: ♦ Travel insurance & Personal expenses; ♦ Meals not mentioned; ♦ Tips and gratuities; ♦ Hotel city tax (approximately 4 Euros per person per day); ♦ What is not specifically mentioned in the section “PACKAGE 9 Day Pilgrimage Tour of Rome and The Vatican INCLUDES”. Tour of Assisi Canonization of Pope John Paul II & Pricing* Pope John XXIII San Paolo Fuori le Mura San $2599 per person double occupancy Giovanni in Laterano Basilica di Santa Maria Maggiore St Peter’s Basilica Vatican Museums Basilica of Saint $2999 per person single occupancy Francis Basilica Saint Clare Fountain of Trevi 8 *Certain conditions apply. The prices advertised in this brochure include all taxes and service charges. The prices shown include HST and the contribution to FICAV of $2.00 per $1,000 of meals Tours specific to the Catholic Faith tourist products or services purchased. In the event of an increase in taxes, duties or other charges authorized by a recognized public authority, the prices shown could increase accordingly. -
Front Matter
Cambridge University Press 978-0-521-83672-2 - Ravenna in Late Antiquity Deborah Mauskopf Deliyannis Frontmatter More information Ravenna in Late Antiquity Ravenna was one of the most important cities of late antique Europe. Between AD 400 and 751, it was the residence of western Roman emperors, Ostrogothic kings, and Byzantine governors of Italy, while its bishops and archbishops ranked second only to the popes. During this 350-year period, the city was progressively enlarged and enriched by remarkable works of art and architecture, many of which still survive today. Thus, Ravenna and its monuments are of critical importance to historians and art historians of the late ancient world. This book provides a com- prehensive survey of Ravenna’s history and monuments in late antiquity, including discussions of scholarly controversies, archaeological discoveries, and new interpre- tations of art works. As a synthesis of the voluminous literature on this topic, this volume provides an English-language entry point for the study of this fascinating city. Deborah Mauskopf Deliyannis is assistant professor of history at Indiana Uni- versity. She is the editor and translator of Agnellus of Ravenna’s Liber pontificalis ecclesiae Ravennatis, and she is the executive editor of The Medieval Review. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-83672-2 - Ravenna in Late Antiquity Deborah Mauskopf Deliyannis Frontmatter More information Ravenna in Late Antiquity Deborah Mauskopf Deliyannis Indiana -
Two Raphael Paintings Unearthed at the Vatican After 500 Years Published 14Th December 2017
AiA Art News-service Two Raphael paintings unearthed at the Vatican after 500 years Published 14th December 2017 Two Raphael paintings unearthed at the Vatican after 500 years Written byDelia Gallagher, CNN A 500-year-old mystery at the Vatican has just been solved. Two paintings by Renaissance master Raphael were discovered during the cleaning and restoration of a room inside the Vatican Museums. Experts believe they are his last works before an early death, around the age of 37, in 1520: "It's an amazing feeling," said the Vatican's chief restorer for the project, Fabio Piacentini. What makes Wallonia unique? "Knowing these were probably the last things he painted, you almost feel the real presence of the maestro." The two female figures, one depicting Justice and the other Friendship, were painted by Raphael around the year 1519, but he died before he could finish the rest of the room. After his death, other artists finished the wall and Raphael's two paintings were forgotten. The clues In 1508, Raphael was commissioned by Pope Julius II to paint the his private apartments. The artist completed three rooms, known today as the "Raphael rooms," with famous frescoes like the School of Athens. He then began plans for the fourth room, the largest in the apartment, a banquet hall called the Hall of Constantine. His plan was to paint the room using oil, rather than the traditional fresco technique. An ancient book from 1550 by Giorgio Vasari, "Lives of the most excellent painters, sculptors and architects," attests that Raphael began work on two figures in a new experiment with oil. -
Tour Highlights.ICAA Secret Rome.6.9
Secret Rome & the Countryside: Exemplary Private Palaces, Villas & Gardens and Archeological Sites Sponsored by The Institute of Classical Architecture & Art Organized by Pamela Huntington Darling Saturday, October 3rd to Sunday, October 11th, 2015 – 8 days/8 nights Called the Eternal City, Rome is a treasure of architecture and art, history and culture, and has been an essential destination for sophisticated travelers for centuries. Yet behind the city's great monuments and museums lies a Rome unknown to even the most seasoned visitors. Our exceptional program offers an intimate group of discerning travelers unprecedented access to Rome's most exclusive and evocative treasures—a secret Rome of exquisite palazzi, villas and gardens, world-class art collections and momentous and behind-the-scenes sites accessible only to the privileged few. By exclusive personal invitation of Italian nobility, ambassadors, curators and eminent members of the Roman elite, for eight unprecedented days we will discover, with their owners, exemplary private palazzi, castles and villas—rarely, if ever, opened to the public—in the city and surrounding countryside, as well as legendary archeological sites open only by special request. During our privileged, exclusive discovery, we will observe the development of Roman architecture, décor, art and landscape design with expert lecturers, architect Thomas Rankin, historian Anthony Majanlahti and art historians Sara Magister and Frank Dabell. Program Day 1: Saturday, October 3rd Afternoon welcome and visit to the Capitoline Museums, with Professor Thomas Greene Rankin. Professor Rankin and Pamela Hunting Darling will welcome you with a brief introduction to our exceptional program, followed by a walk with Professor Rankin to the Capitoline, the most important of the Seven Hills of Rome, where we will visit the Capitoline Museums to view masterpieces of classical sculpture to set the context of the “Grand Tour.” Late afternoon private reception at the Cavalieri di Rodi, headquarters of the Knights of Malta.