DOCSLIB.ORG

Renovatio Urbis

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Renovatio Urbis CORE Metadata, citation and similar papers at core.ac.uk Provided by University of Lincoln Institutional Repository renovatio urbis Architecture, Urbanism and Ceremony in the Rome of Julius II Nicholas Temple 1 Agli amici di Antognano, Roma (Accademia Britannica) e Lincoln 2 Contents Illustration Credits Acknowledgements Introduction Chapter 1 - SIGN-POSTING PETER AND PAUL The Tiber’s Sacred Banks Peripheral Centres “inter duas metas” Papal Rivalries Chigi Chapel Chapter 2 - VIA GIULIA & PAPAL CORPORATISM The Politics of Order The Julian ‘Lapide’ Via Giulia The Legacy of Sixtus IV Quartière dei Banchi Via del Pellegrino, via Papale and via Recta Solenne Possesso and via Triumphalis Papal Corporatism Pons Neronianus and Porta Triumphalis Early Christian Precedents 3 Meta-Romuli and Serlio’s Scena Tragica Crossing Thresholds: Peter and Caesar The Papal ‘Hieroglyph’ and the Festa di Agone Chapter 3 - PALAZZO DEI TRIBUNALI and the Meaning of Justice sedes Iustitiae The Four Tribunals The Capitol and Communal/Cardinal’s Palace St Blaise and Justice Iustitia Cosmica Caesar and Iustitia pax Romana Chapter 4 – CORTILE DEL BELVEDERE, VIA DELLA LUNGARA and vita contemplativa “The Beautiful View” via suburbana/via sanctus Passage and Salvation Chapter 5 - ST. PETER’S BASILICA Orientation and Succession Transformations from Old to New Territorium Triumphale Sixtus IV and the Cappella del Coro Julius II and Caesar’s Ashes Janus and Peter 4 Janus Quadrifrons The Tegurium Chapter 6 - THE STANZA DELLA SEGNATURA A Testimony to a Golden Age Topographical and Geographical Connections in facultatibus Triune Symbolism Conversio St Bonaventure and the Itinerarium Mentis in Deum Justice and Poetry Mapping the Golden Age Conclusion - pons/facio: POPES AND BRIDGES The Julian ‘Project’ Pontifex Maximus Corpus Mysticum Raphael’s Portrait Notes Bibliography Index 5 Illustration Credits The author and publishers gratefully acknowledge the following for permission to reproduce images in the book. Every effort has been made to trace copyright holders. The publishers would be grateful to hear from any copyright holder who is not acknowledged here and will undertake to rectify any errors or omissions in future editions of the book. © 1990. Photo Scala, Florence, 4, 6, 84, 109, 110, 112, 114, 125, 126, 127, 128, 129 © 2010. Photo Scala, Florence, 71, 83, 94, 107 © 2009. Copyright The National Gallery, London/Scala, Florence, 135 Milan, Civica Raccolta Stampe Achille Bertarelli, 12, 59 Courtesy of the Anne and Jerome Fisher Fine Arts Library, University of Pennsylvania, 44, 88 Courtesy of the Anne and Jerome Fisher Fine Arts Library, University of Pennsylvania Libraries. Adam H. Fetterolf Fund, 64, 78, 82 The Royal Collection © 2010 Her Majesty Queen Elizabeth II, 19 Florence, Galleria Uffizi, Gabinetto Disegni e Stampe, 50, 66, 96, 98 Md.Pont.IuliusII.15, by permission of Biblioteca Apostolica Vaticana, with all rights reserved, 53 Md.Pont.IuliusII.14, by permission of Biblioteca Apostolica Vaticana, with all rights reserved, 56 Ms.Barb.Lat.2733.f.131v, by permission of Biblioteca Apostolica Vaticana, with all rights reserved, 85 Ms. Barb. Lat. 4424, fol.36v, by permission of Biblioteca Apostolica Vaticana, with all rights reserved, 123 Conway Library, The Courtauld Institute of Art, London, 38, 39, 134 @ The Trustees of the British Museum, 65, 102 Berlin, Staatliche Museen Preussischer Kulturbesitz, Kupferstichkabinett, Berliner Skizzenbuch, 69, 95 Civiche Raccolte d’Arte Applicata ed Incisioni, Castello Sforzesco – sezione numismatica, 101 © Nationmuseum Stockholm, 103 6 University of Chicago Library, Special Collections Research Center, 99 7 Acknowledgements The content of this book first emerged as a doctoral thesis in 2001, and subsequently reformulated as a series of research papers written at various times in Leeds, Rome, Philadelphia and Liverpool. These were written with the aim of testing my ideas and gauging response from other academics in the fields of architectural/urban history and Renaissance studies. To attempt an ambitious topic such as this, over a relatively long period of time, inevitably requires the critical and sympathetic support of colleagues, students, friends and family. To begin with, I would like to thank my original PhD supervisors; Professor Peter Carl, who was a fountain of knowledge during the early phases of the research and who continued to provide inspiration in shaping this book, and Professor Derek Linstrum, whose erudition and scholarly patience gave direction to the research over a number of years. It is with great sadness that Professor Linstrum died in July 2009 before he had a chance to see the manuscript go to print. In addition my external examiners, Professor Dalibor Vesely and Dr Hugh Cullum, were supportive from the start that the thesis deserved to be published in some form. At the beginning of the research, I recognised the potential usefulness of the study on readings and interpretations of the contemporary city. I would like to thank some of my ex-students for allowing me to ‘test’ these ideas in studio, in particular Jaskran Kalirai, Chris Smith and Mark Cannata. In my initial attempts to submit the thesis for publication I received enthusiastic support from Professor George Hersey, Professor David Leatherbarrow and Peter Potter, Editor-in-Chief of Cornell University Press. I am very grateful to Professor John Barrie Hall, Annabel Ritchie and Simone Medio for their translations; to Peter Baldwin for his patient work in drawing illustrations and cataloguing images, and to Karine Hebel-Deane for formatting the text. The librarians at the British School at Rome (Valerie Scott) and the Anne and Jerome Fisher Fine Arts Library at the University of Pennsylvania (Dr William Keller) gave invaluable support in directing me to sources. I also wish to thank my university at Lincoln for providing financial support to purchase images for the text. For advice on issues of etymology and classical sources I wish to express my deepest gratitude to Professor John Barrie Hall, Professor John North, Professor Robert Maltby and Chris Siwicki. On editorial issues, relating to earlier published versions, I appreciate the advice and guidance of Professor Christopher Pelling and Professor Stephen Parcell. I must also thank Blackwells Publishing and McGill-Queen’s University Press for permission to republish parts of earlier chapters. For patience and commitment to the project I must extend my warmest thanks to Georgina Johnson and Francesca Ford at Routledge and Professor Caroline van Eck, editor of the Classical Tradition series. Finally, I wish to thank my wife and family for their support and patience over the long periods when I was otherwise immersed in researching and writing this book, at the same time as juggling my other duties as an academic and head of school. 8 Introduction _____________________________________________________________________ This book examines the inter-relationships between architecture, urban design and ceremony in Rome during the pontificate of Julius II (1503-13). It considers how these initiatives, which included proposals for new ceremonial streets, bridges, public squares and buildings, were motivated by a desire to remap – and at the same time transform - the topography of the ancient and medieval city. I argue that these ambitious initiatives formed part of a more general vision, promulgated by humanists and artists in the papal court, that promoted the idea of early 16th century Rome as both the altera Ierusalem and the renewed imperial city. Drawing upon the history of the physical terrain of ancient Rome and the biblical narratives of the Holy Land, this collective vision was underpinned by a shared belief in the imminence of a Golden Age under Julius II, when the iniquities and sins of past ages would be swept aside by the creation of a new papal empire of faith. Communicated through papal sermons and eulogies, this essentially humanist ‘project’ enabled Rome to be re-conceptualized as the redeemed city, whose physical transformations were visibly and spatially juxtaposed against the older and moribund counterparts of the medieval city. The implied moral distinction, underlying the contrast between old and new, culminated in the ambitious redesign of the sacred enclave of the Vatican, to which all ceremonial routes ultimately converged. The book identifies three principal streets in this earlier ancient/Medieval network, each of which variously played a role in shaping the symbolism of Julius II’s pontificate; 1) the route of the papal coronation (via Papale), 2) the principal pilgrimage route (via Peregrinorum), and 3) the legacy of the ancient via triumphalis and its various re-tracings and re-interpretations in Julius II’s own role as warrior pope and ‘2nd Caesar’. The streets are explored in the context of the political and administrative objectives of the Julian papacy and their supporting symbolic itineraries. Allied to these were other civic and religious ceremonies to be examined, such as the Festa di Agone of 1513, which drew upon in more explicit ways the dual status of Julius II as military figure and key-bearer of St. Peter’s Basilica. 9 The principal author of these urban and architectural projects, Donato Bramante, was not only architect to the pope but also papal hagiographer and keen promoter of Julius II as 2nd Caesar. My investigations examine the political, religious and artistic motives behind Bramante’s ambition to create a unified urban/architectural scheme,
Load more

Recommended publications
  • 251 NERVA. September 18, A.D. 96 Saw Domitian Fall Victim to a Palace
    r ) 251 NERVA. September 18, A.D. 96 saw Domitian fall victim to a palace plot, Imperial Rome's second dynasty ending in a frantic struggle on the floor of the Imperial cubiculum(Suet. Dam. 17). The resulting situation bore little resemblance to the state of affairs after the death of Nero. Now there were no generals on the march, no legions in revolt. Moreover, a dynasty had ended before and Rome had gone on, there was a precedent. A replacement was found in the seemingly neutral figure of M. Cocceius Nerva and the fraught phase of transition effected with a minimum of public distress. Domitian's had been a well managed murder. Time was not to be on Nerva's side. Aged sixty at his accession, he would not survive his climacteric year. But who at this stage was to know that? Why not build towards a future; had Augustus not died in his 76th year, Tiberius at 77, Vespasian at the end of his sixties? Work on Domitian's numerous building projects could be continued under the new princeps the honour from which would now accrue to Nerva. The Temple of Minerva and possibly also the encompassing Forum Transitorium needed completion. This they got (Martail, 10, 28; Suet., ! i 252 Dom.,5; Statius, Silv., 4,3,9-10; Eutropius7, 23, 5; Auy. Viet., Caes, 12.2; ClL 6. 953, 31213). Nerva thereby gained the honour of overseeing the dedicatory celebrations at the beginning of A.D. 97. Gained also was : J the opportunity to have his name inscribed on the entablature of the temple.
    [Show full text]
  • Barry Lawrence Ruderman Antique Maps Inc
    Barry Lawrence Ruderman Antique Maps Inc. 7407 La Jolla Boulevard www.raremaps.com (858) 551-8500 La Jolla, CA 92037 [email protected] Recentis Romae Ichnographia et Hypsographia Sive Planta et Faies Ad Magnificentiam Qua Prioribus Annis Urbs Ipsa Directa Exculta et Decorata Est. Stock#: 46642 Map Maker: Sandrart / Falda Date: 1679 Place: Nuremberg Color: Hand Colored Condition: VG+ Size: 26.5 x 34.5 inches Price: SOLD Description: Jacob von Sandrart's rare and exquisitely engraved view of Rome, one of the finest impressions of the 'Eternal City' made during the great Baroque Era of Art and Architecture. This finely engraved and lavishly decorative view of Rome takes in all of the 'Eternal City', as it was encompassed by its ancient Aurelian Walls, built during the 2nd Century A.D., on the banks of the River Tiber. Numerous monuments and sites, all of which are still present today, can be seem on the view, including the Coliseum, the Pantheon, the Piazza del Popolo, the Church of San Giovanni Laterno, the Baths of Diocletian, and the Vatican, which is dominated by the Dome of St. Peter's Basilica and the Castel Sant'Angelo. Most notable is the great oval Colonnade that lines the square in front of St. Peter's, which had only been completed in 1666 by the Gianlorenzo Bernini, one of the towering figures of the Baroque Era. The quality of the engraving is exceptionally high, as is the composition of the view, which grants the observer a panoptic view over Rome, while the specific details of the cityscape remain sharply distinguishable.
    [Show full text]
  • IMPERIAL EXEMPLA Military Prowess, Or Virtus, Is but One Quality That
    CHAPTER FOUR IMPERIAL EXEMPLA Military prowess, or virtus, is but one quality that characterized an efffec- tive emperor. Ideally, a ‘good’ emperor was not just a competent general but also displayed other virtues. These imperial virtutes were propagated throughout the Roman Empire by means of imperial panegyric, decrees, inscriptions, biographies, and coins.1 On coinage in particular, juxtaposi- tions of AVG or AVGG with the virtue and/or the imperial portrait on the obverse would connect the virtues mentioned on the reverses directly with the emperor(s). Not all emperors emphasized the same virtues on their coinage. For example, Elagabalus seems not to have felt the need to stress virtus, whereas his successor Severus Alexander did try to convince the Roman people of his military prowess by propagating it on his coins. The presence or absence of particular virtues on coins issued by diffferent emperors brings us to the question as to whether an imperial canon of virtues existed. But before elaborating on this, the concept ‘virtue’ must be clarifijied.2 Modern scholars investigating imperial virtues on coinage consider vir- tues to be personifijications with divine power – in other words, deifijied abstractions or, as Fears puts it, ‘specifijic impersonal numina’.3 For many, the terms ‘personifijication’ and ‘virtue’ are interchangeable.4 Indeed, vir- tues can be considered personifijications. Yet, not all personifijications are 1 Noreña, “The communication of the emperor’s virtues”, p. 153. 2 ‘But if one is to compare coins with other sources, particularly philosopically inspired ones (i.e. in talking of the virtues of the ideal statesman) it is vital to distinguish what is a virtue and what is not’, A.
    [Show full text]
  • An Annotated List of Italian Renaissance Humanists, Their Writings About Jews, and Involvement in Hebrew Studies, Ca
    An annotated list of Italian Renaissance humanists, their writings about Jews, and involvement in Hebrew studies, ca. 1440-ca.1540 This list, arranged in chronological order by author’s date of birth, where known, is a preliminary guide to Italian humanists’ Latin and vernacular prose and poetic accounts of Jews and Judaic culture and history from about 1440 to 1540. In each case, I have sought to provide the author’s name and birth and death dates, a brief biography highlighting details which especially pertain to his interest in Jews, a summary of discussions about Jews, a list of relevant works and dates of composition, locations of manuscripts, and a list of secondary sources or studies of the author and his context arranged alphabetically by author’s name. Manuscripts are listed in alphabetical order by city of current location; imprints, as far as possible, by ascending date. Abbreviations: DBI Dizionario biografico degli Italiani (Rome: Istituto della enciclopedia italiana, 1960-present) Kristeller, Iter Paul Oskar Kristeller, Iter Italicum: A Finding List of Uncatalogued or Incompletely Catalogued Humanistic Manuscripts of the Renaissance in Italian and Other Libraries; Accedunt alia itinera, 6 vols (London: Warburg Institute; Leiden: E. J. Brill, 1963-1991) Simon Atumano (d. c. 1380) Born in Constantinople and became a Basilian monk in St John of Studion there. Bishop of Gerace in Calabria from 1348 until 1366, and Latin archbishop of Thebes until 1380. During his time in Thebes, which was the capital of the Catalan duchy of Athens, he studied Hebrew and in the mid- to late-1370s he began work on a polyglot Latin-Greek-Hebrew Bible dedicated to Pope Urban VI.
    [Show full text]
  • Heads Or Tails
    Heads or Tails Representation and Acceptance in Hadrian’s Imperial Coinage Name: Thomas van Erp Student number: S4501268 Course: Master’s Thesis Course code: (LET-GESM4300-2018-SCRSEM2-V) Supervisor: Mw. dr. E.E.J. Manders (Erika) 2 Table of Contents List of Figures ............................................................................................................................ 5 Figure 1: Proportions of Coin Types Hadrian ........................................................................ 5 Figure 2: Dynastic Representation in Comparison ................................................................ 5 Figure 3: Euergesia in Comparison ....................................................................................... 5 Figure 4: Virtues ..................................................................................................................... 5 Figure 5: Liberalitas in Comparison ...................................................................................... 5 Figure 6: Iustitias in Comparison ........................................................................................... 5 Figure 7: Military Representation in Comparison .................................................................. 5 Figure 8: Divine Association in Comparison ......................................................................... 5 Figure 9: Proportions of Coin Types Domitian ...................................................................... 5 Figure 10: Proportions of Coin Types Trajan .......................................................................
    [Show full text]
  • July 2018 New Arrivals
    1 New Arrivals July 2018 Windows Booksellers 199 West 8th Ave., Suite 1 Eugene, OR 97401 USA Phone: (800) 779-1701 or (541) 485-0014 * Fax: (541) 465-9694 [email protected] * http://www.windowsbooks.com Monday - Friday: 10:00 AM to 5:00 PM, Pacific time (phone & in-store) Saturday: By Appointment Only, Pacific time (in-store only- phone not answered). Catalog listings are formatted as follows: Item No. Author Title Publisher No. of Pages Condition Binding Year Cost ABBREVIATIONS FOR BINDING: dj= hardcover w/dustjacket hc= hardcover w/out dustjacket L= full or half leather pb = paperback Re-= re-bound, usually in buckram V=vinyl or leatherette ABBREVIATIONS FOR CONDITION: If no condition is noted, you may assume the book is in very good to fine condition. Our abbreviations used to describe defects are as follows: As is= condition is poor; details available upon request br= broken binding ch= chipped or torn (usually refers to dust jacket condition) Fx= foxing highlt= highlighting m= musty mks or ul= underlining, highlighting, or marginalia pncl= pencil marks S or st = stained or grubby sh= shaken or weak hinges sl= slight v= very wr or wrn= worn (usually in reference to exterior) wrp= warped X or XL= ex-library Y or yellow = yellowed pages OUR TERMS: We accept Visa, MasterCard, American Express, Discover, and PayPal. Available books that you have requested will be reserved for 1 business day after our order confirmation, to allow time for payment arrangements. Shipping charge is based on estimated final weight of package, and calculated at the shipper's actual cost, plus $1.00 handling per package.
    [Show full text]
  • Borgo Pignano - Italy, Tuscany, Siena Area
    BORGO PIGNANO - ITALY, TUSCANY, SIENA AREA 100 GUESTS, 40 BEDROOMS BORGO PIGNANO SUMMARY Italy, Tuscany, Siena Area Countryside views Eco-friendly property 100 Guests Swimming pool 40 Bedrooms Landscaped gardens Spa facilities Outdoor living & dining Music & games rooms Wine cellar Events & weddings Wi-Fi LOCATION A magnificent 750 acres estate boasting lush gardens and incredible views of the countryside Italy, Tuscany, Siena Area Borgo Pignano is an 18th century property perched on a GUESTS hilltop, 500 metres above sea level. Located near Volterra and San Gimignano in Tuscany, the “borgo” (hamlet) is up to 100 comprised of an 18th century villa, a 13th century consecrated church, and multiple restored farmhouses and cottages, sleeping just under 100 guests in total. BEDROOMS The 300 hectares of land surrounding the hamlet are divided 40 into woods, fields, ponds, vegetable gardens and pastures for horses, making it an idyllic countryside escape. RENTAL PERIOD The main villa is stunning and immaculate, with a style that Nightly crosses effortlessly from historical to contemporary. It is composed of two wings; the western wing looks out towards the Mediterranean Sea and the eastern wing faces the fields PRICE and hills that lead to San Gimignano. From 20,000 EUR On the western side, the lawn leads on to the countryside with hills rolling away towards the far horizon. There is a MORE stunning pool carved from an ancient limestone quarry and its infinity edge overlooks the woods and hills below. Price per night. Minimum stay 3 nights in peak season, The eastern wing opens on to a luscious Mediterranean 2 nights in high and mid- garden with purple, mauve and lavender hues whilst the seasons, 1 night in shoulder northern garden of the property leads into the surrounding seasons.
    [Show full text]
  • Borgo Pignano Press Pack 2021.Pdf
    PRESS PACK 2021 ABOUT BORGO PIGNANO Borgo Pignano is set in the heart of a picturesque 750-acre organic estate in Tuscany, where Etruscans were the first settlers. The estate is a short drive from the medieval hilltop towns of Volterra and San Gimignano and is only 1 hour’s drive from Florence. Today, this sensitively restored and privately-owned Borgo offers warm hospitality in a tranquil setting at 500 metres above sea level, with some of the most commanding views in all of Tuscany. ACCOMMODATION Accommodation is spread over the estate and includes: • The 18th century Villa • The Hamlet • La Canonica (The Priest’s House) • Individual luxury villas NEW for 2021: Refurbished Villa La Fonte New Villa La Lavandaia THE VILLA Borgo Pignano’s main building is an 18th century noble house, surrounded by traditionally planted English gardens overlooking pristine landscapes of Tuscany that have changed little since Renaissance times. The Villa offers 14 elegant rooms and suites, some with original frescoes and all with en- suite white marble and travertine bathrooms. A grand stone staircase leads to the upper floors also accessible by an elevator. Rooms are furnished with exquisite antiques, original artworks, Italian linens and chandeliers. The main villa also features spacious common rooms that complete the country house atmosphere: the library, billiard room, ballroom and lounge offer a variety of environments where guests can relax. LA CANONICA Dating back to the 13th century, La Canonica can be used as one large three-bedroomed house or, independently, divided as two separate suites. La Canonica, the Priest’s house, is located next to the ancient church of San Bartolomeo and contains original features such as medieval stonework, archways, columns, vaulted ceilings, terracotta floors and restored medieval frescoes.
    [Show full text]
  • Trivium, 16 | 2014, « La Représentation Politique » [En Ligne], Mis En Ligne Le 05 Février 2014, Consulté Le 10 Décembre 2020
    Trivium Revue franco-allemande de sciences humaines et sociales - Deutsch-französische Zeitschrift für Geistes- und Sozialwissenschaften 16 | 2014 La représentation politique Die politische Repräsentation Édition électronique URL : http://journals.openedition.org/trivium/4771 DOI : 10.4000/trivium.4771 ISSN : 1963-1820 Éditeur Les éditions de la Maison des sciences de l’Homme Référence électronique Trivium, 16 | 2014, « La représentation politique » [En ligne], mis en ligne le 05 février 2014, consulté le 10 décembre 2020. URL : http://journals.openedition.org/trivium/4771 ; DOI : https://doi.org/10.4000/ trivium.4771 Ce document a été généré automatiquement le 10 décembre 2020. Les contenus des la revue Trivium sont mis à disposition selon les termes de la Licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. 1 Un diagnostic du temps présent met en évidence un paradoxe : le mot de démocratie est devenu internationalement un synonyme de « bon régime », et le modèle du gouvernement représentatif fondé sur l’élection libre et la compétition des partis n’a jamais été aussi répandu dans la planète. Cependant, la légitimité des représentants élus tend à décroître dans les « vieilles » démocraties tandis que dans les pays qui instaurent une démocratie libérale après la chute d’un régime autoritaire ou d’une dictature, le désenchantement s’installe le plus souvent très rapidement. Pour être pleinement comprise, une telle situation appelle des enquêtes sur un élément central de la démocratie moderne : la représentation politique. Ce numéro a été réalisé avec le soutien de l'Agence Nationale de la Recherche (ANR), de la Deutsche Forschungsgemeinschaft (DFG) ainsi que de la DGLFLF.
    [Show full text]
  • Quaderni D'italianistica : Revue Officielle De La Société Canadienne
    272 Piccola biblioteca maso keeps the English version "straight." In other instances he is able to bring to the English version qualities which mirror the source text, such as "freely-given" to render and to echo the dieresis of "grîizïoso" (Sonnet 31) or "bound from bough to bough" to reproduce the alliterative effect of "de fronda in fronda" (Sonnet 6), with the felicitous addition of the verb "bound" to give greater relief to the line's rhythmic quality. In working at the macro-level. Di Tommaso himself discusses the type of strategies necessary in order to render the sense and the aesthetic essence of the source text, in short, in order to convey the text's ideolect in another language: "At times the translation achieves an effect which was not intended in the original, but which seems appropriate and worth retaining. The last stanza of the fourth sonnet, for example, begins and ends 'with her,' thus embodying in its form the inherent Petrarchan platonism of the poem and the idea of the cyclical return of the Golden Age which the poet identifies with the Lady's appearance on Earth" (ix). Although, as he says, the original does not intend the effect which the translation gives, the translation successfully signals to the reader the- matic dimensions and poetic structures which are fundamental to the collection in gen- eral. And Di Tommaso concludes: "In the course of juggling such elements, I have in- voked Accuracy . and Readability as my muses" (ix-x). In this regard, his accomplish- ments have been considerable. The translation is prefaced by a very useful introduction to Boiardo's canzoniere, both in the context of the literary tradition which came to the fifteenth-century poet from the late Middle Ages and the early Renaissance and in the socio-cultural context of the courtly environment of Quattrocento Ferrara.
    [Show full text]
  • Spoliation in Medieval Rome Dale Kinney Bryn Mawr College, [email protected]
    Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College History of Art Faculty Research and Scholarship History of Art 2013 Spoliation in Medieval Rome Dale Kinney Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/hart_pubs Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons Custom Citation Kinney, Dale. "Spoliation in Medieval Rome." In Perspektiven der Spolienforschung: Spoliierung und Transposition. Ed. Stefan Altekamp, Carmen Marcks-Jacobs, and Peter Seiler. Boston: De Gruyter, 2013. 261-286. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/hart_pubs/70 For more information, please contact [email protected]. Topoi Perspektiven der Spolienforschung 1 Berlin Studies of the Ancient World Spoliierung und Transposition Edited by Excellence Cluster Topoi Volume 15 Herausgegeben von Stefan Altekamp Carmen Marcks-Jacobs Peter Seiler De Gruyter De Gruyter Dale Kinney Spoliation in Medieval Rome i% The study of spoliation, as opposed to spolia, is quite recent. Spoliation marks an endpoint, the termination of a buildlng's original form and purpose, whÿe archaeologists tradition- ally have been concerned with origins and with the reconstruction of ancient buildings in their pristine state. Afterlife was not of interest. Richard Krautheimer's pioneering chapters L.,,,, on the "inheritance" of ancient Rome in the middle ages are illustrated by nineteenth-cen- tury photographs, modem maps, and drawings from the late fifteenth through seventeenth centuries, all of which show spoliation as afalt accomplU Had he written the same work just a generation later, he might have included the brilliant graphics of Studio Inklink, which visualize spoliation not as a past event of indeterminate duration, but as a process with its own history and clearly delineated stages (Fig.
    [Show full text]
  • Molto Più Di Una Vacanza
    Molto più di una vacanza Gentile Ospite, a nome nostro e di tutto lo staff siamo lieti di porgerLe il più caloroso benvenuto e La ringraziamo di aver scelto il Giardinetto per soggiornare sul Lago d’Orta. La nostra casa è affacciata sulle acque del romantico lago d’Orta in un’oasi di tranquillità e relax. Siamo a pochi minuti dal centro di Orta San Giulio, dove scoprirà testimonianze storiche, artistiche e culturali. La invitiamo ad assaggiare la cucina mediterranea creativa e le specialità del nostro Ristorante, la nostra carta vini conta più di 300 etichette, italiane e non, per ogni piacevole occasione! Ci auguriamo che Lei possa trovare in questo luogo l’atmosfera di casa, la Sua tranquillità ed il Suo calore, con quel pizzico di charme in più che ci contraddistingue. Le ricordiamo inoltre che troverà a Sua disposizione piscina con acqua vitalizzata del circuito “Grander”, sdraio e ombrelloni per il Suo relax sul lago nonché la possibilità di praticare diversi sport acquatici. Dear Guest, on behalf of the staff and ourselves we have the pleasure of wishing you our warmest welcome and thank you for having chosen Hotel Giardinetto for your stay on Lake Orta. Our hotel is beautifully located in a romantic and quiet relaxing oasis. We are a few minutes away from Orta San Giulio where you can discover some of its history, art and culture. We invite you to taste the Mediterranean and creative local cuisine of our Restaurant, our great wine list has more than 300 labels for every special occasion! We hope that you can find here the same comfort you have at home, with the peaceful charm and warmth that sets us apart.
    [Show full text]