DOCSLIB.ORG

Catalogue Corporate

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Catalogue Corporate C A T A L O G U E G U I D E D T O U R S The Vatican Museums Duration: 3 hours You will be met by our guide at the main entrance of the Vatican Museums and then once inside you will begin your tour of the spectacular and rich papal collections. First you will visit the splendid Cortile della Pigna and you will go on to the Cortile Ottagono where in 1503 Pope Julius II displayed the Vatican's first collection of Greek and Roman statues: the Apollo del Belvedere and the Laocoön. Here you will also admire Canova's marvelous sculptures of Perseo and Creugas and Damoxène and in the Sala delle Muse the famous Belvedere Torso. Then you will be taken to the rich Pinacoteca Vaticana where you can admire masteprices such as Trittico Stefaneschi by Giotto, the frescoes by Melozzo da Forlì, the Trasfigurazione by Raphael, the San Girolamo by Leonardo, the Madonna col Bambino e santi by Titian, the Deposizione by Caravaggio. Next you will visit the Galleria dei Candelabri, the Galleria degli Arazzi and the Galleria delle Carte Geografiche and finally you will see Raphael's Rooms, the Sistine Chapel and the Borgia Apartment. Ancient Rome: Colosseum, Forum and Palatine Duration: 3 hours You will be met by our guide in front of the Colosseum, the biggest and most famous Amphitheatre in the world. Here, during the time of the Roman Empire, more than 50.000 spectators watched the famous battles of the Gladiators. After that you will be taken down to the Roman Forum and while you are walking you can admire the most important monuments of Ancient Rome such as the Arch of Septimius Severus, the Arch of Titus, the Trajan’s Market, the Curia, Temples and Basilicas. Then our guide will tell you about the Arch of Constantine and you will take a walk up to Rome’s most famous hill, the Palatine. It is said that here Romulus, the legendary first king of Rome, founded the Eternal City. Castel Sant'Angelo Duration: 2 hours You will be met by our guide outside the main door of the Castle and then you will be taken through one of most famous monuments in the ancient Rome. It was built by Emperor Hadrian in 130 A.D. as his and the Antonini’s mausoleum. It was then transformed by Emperor Aurelian made it into a fortress. During the Renaissance, the castle became the Pope’s residence and it was transformed into luxurious apartments and then much later on it was used as barracks and a military prison. Within the Castle you can visit the Chamber of the Urns which houses the ashes of Hadrian’s family. You can also visit the ancient prison cells, the weapons collection, various paintings and sculptures. On the 4th floor you can visit the papal apartments with frescoes by Giulio Romano, Perin del Vaga and the other artists from Raphael’s school. On the 5th floor you can see the Bronze Angel Statue and enjoy a wonderful view of Rome from the terrace. The Appian way Duration: 3 hours Our guide will introduce you to the fascinating Appian Way which is the most beautiful of all the roads leading to Rome. It was built in 312 B.C. by the Consul Appius Claudius, who opened the first part from Porta San Sebastiano to Capua: then in 190 B.C. this road was constructed to the seaport of Brindisi, where two marbles columns mark the end of the road. First you will visit the little Church of Domine Quo Vadis built in the 9th century where, it is said that, Christ appeared before St. Peter while was escaping from persecution by Nero. Your next stop will be the famous catacombs which there were a place of refuge of the early Christians: catacombs of St. Callixtus, the first cemetery of Rome’s Christian community and burial place of 16 Popes in the 3rd century or catacombs of St. Sebastian. Then you will continue your walk along the Appian Way and you will see monumental tombs like that of Cecilia Metella and Romolo Mausoleum. The Appian Way can be explored on foot or by bike. For the bikers, possibility to extend the visit until the Parks of the Acqueducts. Borghese Gallery Duration: 2 hours The Borghese Gallery houses one of the most beautiful classic art collections in the world and it is located in the famous Villa Borghese, the most beautiful park in Rome. It was built for Cardinal Scipione Borghese who was Pope Paul V’s favourite nephew. In 1608 the Cardinal employed the famous architect Flaminio Ponzio to build the Villa for his rich art collection. Other architects like Giovanni Vasanzio and Girolamo Rainaldi were involved in the creation of the park and its buildings. The Cardinal made it a cultural center as well as a beautiful natural environment including a zoological garden and many exotic plants. On the ground floor of the Gallery you can see masterpieces such as Bernini and Canova’s famous sculptures and on the first floor you can admire works of art by Antonello da Messina, Giovanni Bellini, Raffaello, Tiziano, Correggio, Caravaggio. Palazzo Barberini National Gallery of Ancient Art Duration: 2 hours Our guide will take you through one of the most important and beautiful buildings of Roman nobility. Palazzo Barberini was built in 1625 for Pope Urbano VIII by Carlo Maderno and was completed by Bernini in 1633. Borromini, as a young man, designed the spiral staircase. Once inside you can admire frescoes on the ceiling of the grand salon. The Triumph of Divine Providence was painted by Pietro da Cortona between 1633 and 1639 in honour of the papal family. Then you will visit the Gallery of Ancient Art where there are more than 1500 important artworks from the 12th and 17th centuries. They belonged to Roman noble families such as Chigi and Barberini. Here you will see La Fornarina by Raphael, the Judith Beheading Holofernes by Caravaggio and many other paintings by Andrea del Sarto, Beccafumi, Sodoma, Bronzino, Lorenzo Lotto, Tintoretto, Tiziano, El Greco, Guido Reni, Domenichino, Guercino, Lanfranco, Poussin, Pietro da Cortona. Colonna Gallery Duration: 2 hours A true jewel of the Roman Baroque, the Galleria Colonna was commissioned in the mid 1600s by Cardinal Girolamo I Colonna and his nephew Lorenzo Onofrio Colonna. It was inaugurated by Lorenzo Onofrio’s son, Philip II, in 1700. The original project is by the architect Antonio del Grande; it was then integrated by Gian Lorenzo Bernini, Paolo Schor and Carlo Fontana in the last decade of the 1600s. From the very beginning, the Gallery was conceived as a large boardroom, which was to celebrate the victory of the Christian fleet over the Turks the Battle of Lepanto in 1571. The commander of the Papal fleet, Marcantonio II Colonna, is depicted numerous times throughout the vault of the Great Hall of the Gallery and in the Room of the Battle Column. The fresco on the vault above the Room of the Battle Column is by Giuseppe Chiari and depicts the presentation of Marcantonio to the Virgin Mary in heaven. The room takes its name from the column of red marble on a pedestal in the center of the room, which recalls the family coat of arms. The carvings represent ancient roman military scenes. Among the many works of art in the Room of the Battle Column, we’d like to point out the beautiful painting by Bronzino depicting Venus,Cupid and a Satyr. Of particular interest are the three large paintings by Michele di Ridolfo del Ghirlandaio representing Night, above the Bronzino, and, on the opposite wall, Aurora, whit Venus and Cupid. On the short flight of stairs, going down to the Great Hall, you will find a cannon ball, which arrived in 1849, during the period of the Roman Republic. It was shot by the French army from the Janiculum Hill, under the orders of General Oudinot, who arrived at Porta San Pancrazio to help Pope Pius IX from the Republican insurgents, including Mazzini, Armellini and Saffi, who occupied the center of Rome for a few months. Going on to visit the Great Hall, we’d like to point out the four large mirrors painted by Mario dei Fiori, Giovanni Stanchi and Carlo Maratta, along with the impressive series of masterpiece paintings by Guercino, Salvator Rosa, Jacopo Tintoretto, Francesco Salviati, Guido Reni, Giovanni Lanfranco and many others. After passing the two majestic columns coated with yellow Siena marble, you are now in the Room of the Landscapes, which takes its name from the numerous paintings of rural subjects by Gaspard Dughet. The vault, depicting an allegory of the Battle of Lepanto, was painted in the late 1600s by Sebastiano Ricci. Villa Farnesina Duration: 2 hours The Villa Farnesina is situated on Via della Lungara, opposite the Corsini Palace. The Sienese banker, Agostino Chigi, named "Magnificent" by his contemporaries, acquired the villa, which had been completed in 1509 by Baldassarre Peruzzi, a Sienese architect of great renown. The villa, a wonderful example of Renaissance art, was decorated by such famous painters as Raffaello, Sebastiano del Piombo, Giovanni Antonio Bazzi (called Sodoma), Giulio Romano and Peruzzi himself, and it was furnished with such magnificence that it aroused general admiration. In the rooms of the Villa high prelates, noblemen, poets, men of letters and artists used to meet; comedies were performed there and sumptuous banquets were held. After Agostino Chigi's death, the villa was bought by Cardinal Alessandro Farnese (from whom the Villa takes its name).
Load more

Recommended publications
  • Iudaea Capta Vs. Mother Zion: the Flavian Discourse on Judaeans and Its Delegitimation in 4 Ezra
    Journal for the Study of Judaism 49 (2018) 498-550 Journal for the Study of Judaism brill.com/jsj Iudaea Capta vs. Mother Zion: The Flavian Discourse on Judaeans and Its Delegitimation in 4 Ezra G. Anthony Keddie1 Assistant Professor, University of British Columbia, Vancouver, BC, Canada [email protected] Abstract This study proposes that the empire-wide Iudaea capta discourse should be viewed as a motivating pressure on the author of 4 Ezra. The discourse focused on Iudaea capta, Judaea captured, was pervasive across the Roman empire following the First Revolt. Though initiated by the Flavians, it became misrecognized across the Mediterranean and was expressed in a range of media. In this article, I examine the diverse evidence for this discourse and demonstrate that it not only cast Judaeans as barbaric enemies of Rome using a common set of symbols, but also attributed responsibility for a minor provincial revolt to a transregional ethnos/gens. One of the most distinctive symbols of this discourse was a personification of Judaea as a mourning woman. I argue that 4 Ezra delegitimates this Iudaea capta discourse, with its mourning woman, through the counter-image of a Mother Zion figure who transforms into the eschatological city. Keywords Iudaea capta/Judaea capta − Flavian dynasty − 4 Ezra − Roman iconography − Jewish-Roman relations − Mother Zion − apocalyptic discourse − First Jewish Revolt 1 I would like to thank Steven Friesen and L. Michael White for their helpful feedback and insightful suggestions on earlier versions of this study. © koninklijke brill nv, leiden, 2018 | doi:10.1163/15700631-12494235Downloaded from Brill.com10/06/2021 11:31:49PM via free access Iudaea Capta vs.
    [Show full text]
  • The Italian High Renaissance (Florence and Rome, 1495-1520)
    The Italian High Renaissance (Florence and Rome, 1495-1520) The Artist as Universal Man and Individual Genius By Susan Behrends Frank, Ph.D. Associate Curator for Research The Phillips Collection What are the new ideas behind the Italian High Renaissance? • Commitment to monumental interpretation of form with the human figure at center stage • Integration of form and space; figures actually occupy space • New medium of oil allows for new concept of luminosity as light and shadow (chiaroscuro) in a manner that allows form to be constructed in space in a new way • Physiological aspect of man developed • Psychological aspect of man explored • Forms in action • Dynamic interrelationship of the parts to the whole • New conception of the artist as the universal man and individual genius who is creative in multiple disciplines Michelangelo The Artists of the Italian High Renaissance Considered Universal Men and Individual Geniuses Raphael- Self-Portrait Leonardo da Vinci- Self-Portrait Michelangelo- Pietà- 1498-1500 St. Peter’s, Rome Leonardo da Vinci- Mona Lisa (Lisa Gherardinidi Franceso del Giacondo) Raphael- Sistine Madonna- 1513 begun c. 1503 Gemäldegalerie, Dresden Louvre, Paris Leonardo’s Notebooks Sketches of Plants Sketches of Cats Leonardo’s Notebooks Bird’s Eye View of Chiana Valley, showing Arezzo, Cortona, Perugia, and Siena- c. 1502-1503 Storm Breaking Over a Valley- c. 1500 Sketch over the Arno Valley (Landscape with River/Paesaggio con fiume)- 1473 Leonardo’s Notebooks Studies of Water Drawing of a Man’s Head Deluge- c. 1511-12 Leonardo’s Notebooks Detail of Tank Sketches of Tanks and Chariots Leonardo’s Notebooks Flying Machine/Helicopter Miscellaneous studies of different gears and mechanisms Bat wing with proportions Leonardo’s Notebooks Vitruvian Man- c.
    [Show full text]
  • Michelangelo's Locations
    1 3 4 He also adds the central balcony and the pope’s Michelangelo modifies the facades of Palazzo dei The project was completed by Tiberio Calcagni Cupola and Basilica di San Pietro Cappella Sistina Cappella Paolina crest, surmounted by the keys and tiara, on the Conservatori by adding a portico, and Palazzo and Giacomo Della Porta. The brothers Piazza San Pietro Musei Vaticani, Città del Vaticano Musei Vaticani, Città del Vaticano facade. Michelangelo also plans a bridge across Senatorio with a staircase leading straight to the Guido Ascanio and Alessandro Sforza, who the Tiber that connects the Palace with villa Chigi first floor. He then builds Palazzo Nuovo giving commissioned the work, are buried in the two The long lasting works to build Saint Peter’s Basilica The chapel, dedicated to the Assumption, was Few steps from the Sistine Chapel, in the heart of (Farnesina). The work was never completed due a slightly trapezoidal shape to the square and big side niches of the chapel. Its elliptical-shaped as we know it today, started at the beginning of built on the upper floor of a fortified area of the Apostolic Palaces, is the Chapel of Saints Peter to the high costs, only a first part remains, known plans the marble basement in the middle of it, space with its sail vaults and its domes supported the XVI century, at the behest of Julius II, whose Vatican Apostolic Palace, under pope Sixtus and Paul also known as Pauline Chapel, which is as Arco dei Farnesi, along the beautiful Via Giulia.
    [Show full text]
  • On the Spiritual Matter of Art Curated by Bartolomeo Pietromarchi 17 October 2019 – 8 March 2020
    on the spiritual matter of art curated by Bartolomeo Pietromarchi 17 October 2019 – 8 March 2020 JOHN ARMLEDER | MATILDE CASSANI | FRANCESCO CLEMENTE | ENZO CUCCHI | ELISABETTA DI MAGGIO | JIMMIE DURHAM | HARIS EPAMINONDA | HASSAN KHAN | KIMSOOJA | ABDOULAYE KONATÉ | VICTOR MAN | SHIRIN NESHAT | YOKO ONO | MICHAL ROVNER | REMO SALVADORI | TOMÁS SARACENO | SEAN SCULLY | JEREMY SHAW | NAMSAL SIEDLECKI with loans from: Vatican Museums | National Roman Museum | National Etruscan Museum - Villa Giulia | Capitoline Museums dedicated to Lea Mattarella www.maxxi.art #spiritualealMAXXI Rome, 16 October 2019. What does it mean today to talk about spirituality? Where does spirituality fit into a world dominated by a digital and technological culture and an ultra-deterministic mentality? Is there still a spiritual dimension underpinning the demands of art? In order to reflect on these and other questions MAXXI, the National Museum of XXI Century Arts, is bringing together a number of leading figures from the contemporary art scene in the major group show on the spiritual matter of art, strongly supported by the President of the Fondazione MAXXI Giovanna Melandri and curated by Bartolomeo Pietromarchi (from 17 October 2019 to 8 March 2020). Main partner Enel, which for the period of the exhibition is supporting the initiative Enel Tuesdays with a special ticket price reduction every Tuesday. Sponsor Inwit. on the spiritual matter of art is a project that investigates the issue of the spiritual through the lens of contemporary art and, at the same time, that of the ancient history of Rome. In a layout offering diverse possible paths, the exhibition features the works of 19 artists, leading names on the international scene from very different backgrounds and cultures.
    [Show full text]
  • The Restoration of the Arch of Titus in The
    日本建築学会計画系論文集 第82巻 第734号，1109-1114， 2017年4月 【カテゴリーⅠ】 J. Archit. Plann., AIJ, Vol. 82 No. 734, 1109-1114, Apr., 2017 DOI http://doi.org/10.3130/aija.82.1109 THE RESTORATION OF THE ARCH OF TITUS THE RESTORATIONIN THE OF THE NINETEENTH ARCH OF TITUS CENTURY: IN THE NINETEENTH The intention of Giuseppe Valadier regardingCENTURY: distinctions between old and new architectural materials The intervention of Giuseppe Valadier19 世紀のティトゥスの凱旋門の修復 regarding distinctions between old and new architectural materials 工法「新旧の建材の識別」に関するジュゼッペ・ヴァラディエの意図19 ୡ⣖ࡢࢸ࢕ࢺࢗࢫࡢถ᪕㛛ࡢಟ᚟ ᕤἲࠕ᪂ᪧࡢᘓᮦࡢ㆑ูࠖ࡟㛵ࡍࡿࢪࣗࢮࢵ࣭ࣦ࣌࢓ࣛࢹ࢕࢚ࡢពᅗ Go OHBA ＊ 大場 豪 ኱ሙ ㇦* Go OHBA The Arch of Titus, restored in the first half of nineteenth century, is a restoration model in terms of certain distinctions between old and new architectural materials. To comprehend the intervention method, this study examined sources on the restoration and compared with a case study, the restoration of the eastern outer wall of the Colosseum. As a result, this study pointed that the Roman architect Giuseppe Valadier sought architectural unity that denoted for the harmony of the two different types of materials. Keywords: The Arch of Titus, restoration, Giuseppe Valadier, The Colosseum ࢸ࢕ࢺࢗࢫࡢถ᪕㛛㸪ಟ᚟㸪ࢪࣗࢮࢵ࣭ࣦ࣌࢓ࣛࢹ࢕࢚, ࢥࣟࢵࢭ࢜ Recognize Introduction proposal was based on the restoration of the Arch of Titus, as he himself This study discusses the restoration of the Arch of Titus from 1818 to mentioned in Mouseion, the journal of conference’s host organization the 1823 in Rome. The intervention made the ancient monument valuable for International Museum Office4). This episode proved that people still the interplay between old and new architectural materials, a concept that is exemplified the intervention one hundred years after its implementation in taken in restoration projects abroad.
    [Show full text]
  • The Virtuoso of Compassion Ingrid D
    The Virtuoso of Compassion Ingrid D. Rowland MAY 11, 2017 ISSUE The Guardian of Mercy: How an Extraordinary Painting by Caravaggio Changed an Ordinary Life Today by Terence Ward Arcade, 183 pp., $24.99 Valentin de Boulogne: Beyond Caravaggio an exhibition at the Metropolitan Museum of Art, New York City, October 7, 2016–January 22, 2017; and the Musée du Louvre, Paris, February 20–May 22, 2017 Catalog of the exhibition by Annick Lemoine and Keith Christiansen Metropolitan Museum of Art, 276 pp., $65.00 (distributed by Yale University Press) Beyond Caravaggio an exhibition at the National Gallery, London, October 12, 2016–January 15, 2017; the National Gallery of Ireland, Dublin, February 11–May 14, 2017 Catalog of the exhibition by Letizia Treves and others London: National Gallery, 208 pp., $40.00 (distributed by Yale University Press) The Seven Acts of Mercy a play by Anders Lustgarten, produced by the Royal Shakespeare Company, Stratford-upon- Avon, November 24, 2016–February 10, 2017 Caravaggio: The Seven Acts of Mercy, 1607 Pio Monte della Misericordia, Naples Two museums, London’s National Gallery and New York’s Metropolitan Museum of Art, mounted exhibitions in the fall of 2016 with the title “Beyond Caravaggio,” proof that the foul-tempered, short-lived Milanese painter (1571–1610) still has us in his thrall. The New York show, “Valentin de Boulogne: Beyond Caravaggio,” concentrated its attention on the French immigrant to Rome who became one of Caravaggio’s most important artistic successors. The National Gallery, for its part, ventured “beyond Caravaggio” with a choice display of Baroque paintings from the National Galleries of London, Dublin, and Edinburgh as well as other collections, many of them taken to be works by Caravaggio when they were first imported from Italy.
    [Show full text]
  • Revised Final MASTERS THESIS
    UNIVERSITY OF CALIFORNIA RIVERSIDE Carlo Fontana and the Origins of the Architectural Monograph A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art History by Juliann Rose Walker June 2016 Thesis Committee: Dr. Kristoffer Neville, Chairperson Dr. Jeanette Kohl Dr. Conrad Rudolph Copyright by Juliann Walker 2016 The Thesis of Juliann Rose Walker is approved: Committee Chairperson University of California, Riverside Acknowledgements I would first like to start by thanking my committee members. Thank you to my advisor, Kristoffer Neville, who has worked with me for almost four years now as both an undergrad and graduate student; this project was possible because of you. To Jeanette Kohl, who was integral in helping me to outline and finish my first chapter, which made the rest of my thesis writing much easier in comparison. Your constructive comments were instrumental to the clarity and depth of my research, so thank you. And thank you to Conrad Rudolph, for your stern, yet fair, critiques of my writing, which were an invaluable reminder that you can never proofread enough. A special thank you to Malcolm Baker, who offered so much of his time and energy to me in my undergraduate career, and for being a valuable and vast resource of knowledge on early modern European artwork as I researched possible thesis topics. And the warmest of thanks to Alesha Jeanette, who has always left her door open for me to come and talk about anything that was on my mind. I would also like to thank Leigh Gleason at the California Museum of Photography, for giving me the opportunity to intern in collections.
    [Show full text]
  • Rodolfo Lanciani, the Ruins and Excavations of Ancient Rome, 1897, P
    10/29/2010 1 Primus Adventus ad Romam Urbem Aeternam Your First Visit to Rome The Eternal City 2 Accessimus in Urbe AeternA! • Welcome, traveler! Avoiding the travails of the road, you arrived by ship at the port of Ostia; from there, you’ve had a short journey up the Via Ostiensis into Roma herself. What do you see there? 3 Quam pulchra est urbs aeterna! • What is there to see in Rome? • What are some monuments you have heard of? • How old are the buildings in Rome? • How long would it take you to see everything important? 4 Map of Roma 5 The Roman Forum • “According to the Roman legend, Romulus and Tatius, after the mediation of the Sabine women, met on the very spot where the battle had been fought, and made peace and an alliance. The spot, a low, damp, grassy field, exposed to the floods of the river Spinon, took the name of “Comitium” from the verb coire, to assemble. It is possible that, in consequence of the alliance, a road connecting the Sabine and the Roman settlements was made across these swamps; it became afterwards the Sacra Via…. 6 The Roman Forum • “…Tullus Hostilius, the third king, built a stone inclosure on the Comitium, for the meeting of the Senators, named from him Curia Hostilia; then came the state prison built by Ancus Marcius in one of the quarries (the Tullianum). The Tarquin [kings] drained the land, gave the Forum a regular (trapezoidal) shape, divided the space around its borders into building- lots, and sold them to private speculators for shops and houses, the fronts of which were to be lined with porticoes.” --Rodolfo Lanciani, The Ruins and Excavations of Ancient Rome, 1897, p.
    [Show full text]
  • A Study of the Pantheon Through Time Caitlin Williams
    Union College Union | Digital Works Honors Theses Student Work 6-2018 A Study of the Pantheon Through Time Caitlin Williams Follow this and additional works at: https://digitalworks.union.edu/theses Part of the Ancient History, Greek and Roman through Late Antiquity Commons, and the Classical Archaeology and Art History Commons Recommended Citation Williams, Caitlin, "A Study of the Pantheon Through Time" (2018). Honors Theses. 1689. https://digitalworks.union.edu/theses/1689 This Open Access is brought to you for free and open access by the Student Work at Union | Digital Works. It has been accepted for inclusion in Honors Theses by an authorized administrator of Union | Digital Works. For more information, please contact [email protected]. A Study of the Pantheon Through Time By Caitlin Williams * * * * * * * Submitted in partial fulfillment of the requirements for Honors in the Department of Classics UNION COLLEGE June, 2018 ABSTRACT WILLIAMS, CAITLIN A Study of the Pantheon Through Time. Department of Classics, June, 2018. ADVISOR: Hans-Friedrich Mueller. I analyze the Pantheon, one of the most well-preserVed buildings from antiquity, through time. I start with Agrippa's Pantheon, the original Pantheon that is no longer standing, which was built in 27 or 25 BC. What did it look like originally under Augustus? Why was it built? We then shift to the Pantheon that stands today, Hadrian-Trajan's Pantheon, which was completed around AD 125-128, and represents an example of an architectural reVolution. Was it eVen a temple? We also look at the Pantheon's conversion to a church, which helps explain why it is so well preserVed.
    [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]
  • Renaissance Art in Rome Giorgio Vasari: Rinascita
    Niccolo’ Machiavelli (1469‐1527) • Political career (1498‐1512) • Official in Florentine Republic – Diplomat: observes Cesare Borgia – Organizes Florentine militia and military campaign against Pisa – Deposed when Medici return in 1512 – Suspected of treason he is tortured; retired to his estate Major Works: The Prince (1513): advice to Prince, how to obtain and maintain power Discourses on Livy (1517): Admiration of Roman republic and comparisons with his own time – Ability to channel civil strife into effective government – Admiration of religion of the Romans and its political consequences – Criticism of Papacy in Italy – Revisionism of Augustinian Christian paradigm Renaissance Art in Rome Giorgio Vasari: rinascita • Early Renaissance: 1420‐1500c • ‐‐1420: return of papacy (Martin V) to Rome from Avignon • High Renaissance: 1500‐1520/1527 • ‐‐ 1503: Ascension of Julius II as Pope; arrival of Bramante, Raphael and Michelangelo; 1513: Leo X • ‐‐1520: Death of Raphael; 1527 Sack of Rome • Late Renaissance (Mannerism): 1520/27‐1600 • ‐‐1563: Last session of Council of Trent on sacred images Artistic Renaissance in Rome • Patronage of popes and cardinals of humanists and artists from Florence and central/northern Italy • Focus in painting shifts from a theocentric symbolism to a humanistic realism • The recuperation of classical forms (going “ad fontes”) ‐‐Study of classical architecture and statuary; recovery of texts Vitruvius’ De architectura (1414—Poggio Bracciolini) • The application of mathematics to art/architecture and the elaboration of single point perspective –Filippo Brunellschi 1414 (develops rules of mathematical perspective) –L. B. Alberti‐‐ Della pittura (1432); De re aedificatoria (1452) • Changing status of the artist from an artisan (mechanical arts) to intellectual (liberal arts; math and theory); sense of individual genius –Paragon of the arts: painting vs.
    [Show full text]
  • Socio-Spatial Inequalities and Urban Transformation. the Case of Rome
    Socio-Economic Planning Sciences xxx (xxxx) xxx–xxx Contents lists available at ScienceDirect Socio-Economic Planning Sciences journal homepage: www.elsevier.com/locate/seps Socio-spatial inequalities and urban transformation. The case of Rome districts ∗ Keti Leloa, Salvatore Monnib, , Federico Tomassic a Department of Business Studies, Roma Tre University, Via Silvio D'amico 77, Rome, 00145, Italy b Department of Economics, Roma Tre University; Via Silvio D'amico 77, Rome, 00145, Italy c Italian Agency for Territorial Cohesion, Rome, Via Sicilia 162, Rome, 00187, Italy ARTICLE INFO ABSTRACT Keywords: Over the past thirty years, public policy in Rome has failed to effectively address a rising level of socio-economic Socio-spatial inequalities inequality. Indicators such as level of education or number of household members appear to be geographically Mapping concentrated and sensitive to the distance from the city centre. The hypothesis that socio-spatial inequalities Periphery strongly influence economic performance and foster political instability has been subject to numerous empirical Rome investigations. Nevertheless, studies of specific urban contexts are not common. The absence of empirical ap- plications at this scale is probably due to the fact that variables used for analysing the economic and social performance of regions are difficult to quantify or inapplicable at the micro level. The purpose of this paperisto examine the spatial distribution of socioeconomic inequalities in the municipal territory of Rome and to explore the conditions that account for them. We will analyse the spatial distribution of urban quality indicators and socio-economic profiles with data from different sources, aggregated at the neighbourhood level. 1.
    [Show full text]