Thle Image of Rome Has Had a Hold on People's Imagina
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Menomonee Falls High School Symphonic Orchestra
Your itinerary Starring Menomonee Falls High School Symphonic Orchestra romeparade.com Menomonee Falls High School Symphonic Orchestra Your hotel: BARCELO ARAN MANTEGNA Via Andrea Mantegna, 130 00147 Roma 0039 06 989521 www.barcelo.com 2 Your Rome NEW Year Itinerary Rome Useful Information charge) are already included. However, rounding up on a cheque Time zone: GMT+1. From America or a taxi fare is always appreciated. EST +6, West Coast +9, CST +7 Useful words & phrases: Language: Italian Hello Ciao/ Salve Temperature: Throughout Goodbye Ciao December and January, the Arrivederci average temperature remains Please Per Favore constant at 46°F (8°C). Thank you Grazie Currency: the Euro (€). There are You’re welcome Prego 100 cents in a Euro. Yes Si Euro coins: 1€, 2€ No No Good morning Buongiorno Cent coins: 1, 2, 5, 10, 20, 50 Good evening Buonasera Euro notes: 5€, 10€, 20€, 50€, Good night Buonanotte 100€, 200€, 500€ Pleased to meet you Piacere Credit cards: Visa, MasterCard How are you? Come va? and Maestro are all widely Excuse me Scusi accepted. Sorry Mi Dispiace Money: The easiest way of getting Do you speak money is from ATM machines. English? Parla Inglese? You’ll find ATMs at banks and I don’t understand Non Ho post offices all over Italy and Capito most of them have step-by-step How much is this? Quanto instructions in your choice of Costa? languages. ATMs nearly always Where is the toilet? Dov´ É Il have better rates than currency- Bagno? exchange offices and hotel reception desks. Where can I find...? Dove Posso Trovare...? Tipping: Tips are not expected Happy New Year Buon Anno in restaurants as servizio (service charge) and/or coperto (cover 3 Your Rome NEW Year Itinerary New Year’s Eve Capodanno/ with multiple voltages, then an Feste di San adapter is needed. -
Place Saint-Michel the Place Saint-Michel Is
Place Saint-Michel The Place Saint-Michel is simple – a triangle between two streets, uniform buildings along both, designed by the same architect, a walk of smooth cobblestone. The centerpiece is St. Michael defeating a devil; far above them are four statues symbolizing the four cardinal virtues of prudence, fortitude, temperance, and justice. This monument came to be because of the 1848 Revolution and a cholera epidemic in Paris that followed it which killed thousands. This idea of abstract concepts given human form had been popular during the Revolution, the big one, representing the kind of big virtues – like the Four Cardinal Virtues – that everyone could strive for, instead of a single human being whose actions and legacy would turn people against each other. Simultaneous with the creation of Place Saint-Michel, Napoleon III’s renovation brought the Boulevard Saint-Michel into being, and that is the next part of our walk. Facing the fountain with the river at your back, walk on Boulevard Saint-Michel, it’s the street to your left. Walk away from the river along that street. Ultimately, you’ll be turning left on Rue des Écoles, but it’ll be about five minutes to get there, and you can listen to the next track on the way. Boulevard Saint-Michel The character of the street you’re on – wide-open space lined with trees and long, harmonious buildings, plus, often, a view of some landmark in the distance – was a central part of the renovation plan, or the Haussmann plan, as it’s also known. -
A Historical Aspect of the Restoration Measure, Distinctions of Original and New Architectural Materials : a Case Study and Spreads in Italy and in the World
View metadata, citation and similar papers at core.ac.uk brought to you by CORE A Historical Aspect of the Restoration Measure, Distinctions of Original and New Architectural Materials : A Case Study and Spreads in Italy and in the World 著者 大場 豪 号 59 学位授与機関 Tohoku University 学位授与番号 工博第5122号 URL http://hdl.handle.net/10097/62696 おお ば ごう 氏名 EA 大 場 豪 授与学位 A EA 博士(工学) 学位授与年月日 A EA 平成27年3月25日 学位授与の根拠法規 学位規則第 4 条第 1 項 研究科,専攻の名称 東北大学大学院工学研究科(博士課程)都市・建築学専攻 学位論文題目 A EA A Historical Aspect of the Restoration Measure, Distinctions of Original and New Architectural Materials: A Case Study and Spreads in Italy and in the World 指導教員 東北大学准教授 飛ヶ谷潤一郎 論文審査委員 A EA 主査 東北大学教授 飛ヶ谷潤一郎 東北大学教授 石田壽一 東北大学教授 五十嵐太郎 論文内容要旨 A E The distinction of original and new architectural materials is the restoration method especially applied for reassembling archaeological monuments. These members are distinguishable, for examples, by means of using different types of architectural members or of sculpturing the newly inserted parts plane unlike the original ones with detailed ornaments. According to the Venice Charter―the international guidelines on the restorations of monuments and sites―, it regards the former material as a respectable 1 element to achieve the intervention goalP0F .P The genuine also has an important role; it is one of information sources to evaluate the authenticity of UNESCO World Cultural Heritage sites. These roles testify values of original materials in Europe where many historical buildings contain durable materials such as stone and bricks. In order to comprehend their importance historically, this dissertation deals with following steps until the restoration measure became the global method. -
Life in the Roman Empire a Roman City Typically Had a Forum
CK_3_TH_HG_P091_145.QXD 4/11/05 10:56 AM Page 133 himself. Commodus spent much of his time not governing but racing chariots and fighting as a gladiator in the amphitheater. He fought hundreds of times and Teaching Idea killed lions, panthers, and elephants—and men—by the scores. In his famous his- Roman homes were lit with terra- tory, Decline and Fall of the Roman Empire, the historian Edward Gibbon memo- cotta or bronze lamps. Have students rably described the character of Commodus as a man more intent on pursuing his make their own lamps using the own pleasure than leading his people. directions on Instructional Master 22, Commodus was strangled to death in his bath in 192 CE. After his death, the Making a Terra-Cotta Lamp. After Senate ordered that all mention of him and his reign be expunged from the doing this activity, have students records. write a description of why it would be important to have these lamps in a Another famously wicked emperor was Nero, who ruled Rome well before Roman house. Compare and contrast Commodus, from 54–68 CE. Nero was given a good education—his tutor was the the use of these lamps to the lights philosopher Seneca—but he used his powers as emperor to suit his own purposes. that students use in their own homes. In the second year of his reign, he grew resentful of his mother’s attempts to con- What are the similarities and differ- trol him and began scheming to get rid of her. After having his mother murdered, ences? What are the advantages and he later murdered his wife and then married his mistress. -
THE FOUNTAINS Roma Ti Aspetta PIEGHEVOLI Definitiviinglese6antmodif Layout126/11/1008.49Pagina2 Their Namesandmemory
PIEGHEVOLI DEFINITIVI INGLESE 6 ant MODIF_Layout 1 26/11/10 08.49 Pagina 1 Call number We have reached the road along by the we can make our way up to the Tiber. So now we resume our itinerary, Fontanone del Gianicolo, or, to give it its 060608 heading for Piazza Navona. It is in this real name, the Fontana dell’Acqua or visit marvellous Baroque piazza that you can Paola, which was built for Paul V (bet- www.turismoroma.it admire Bernini’s Fontana dei Fiumi ween 1608 and 1612) by Flaminio For tourist information, (Fountain of the Four Rivers). Ponzio, while the semicircular basin was cultural events and entertainment offered in Rome Surmounting the rocks are four figures, added by Carlo Fontana in 1690. Its [Roma tiaspetta personifying rivers symbolizing the con- structure is simple, inspired by Roman tinents known in past ages: the triumphal arches. At the top, the inscrip- LIST OF T.I.P. (Tourism Information Points) Danube, the Ganges, the Rio de la Plata tion celebrates the merits of Paul V, who • G.B. Pastine Ciampino and the Nile. According to tradition, the brought the Trajan aqueduct back into International Arrivals – Baggage Collection Area (9.00 - 18.30) Fontana dei Tritoni dei Fontana poses of the statues of the Nile and of operation. The semicircle of the fountain • Fiumicino International Airport "Leonardo Da Vinci"- Arrivals the Rio de la Plata, as also that of the looks onto a panoramic terrace from International - Terminal T - 3 (9.00 - 18.30) statue of S. Agnese in the church of which the whole of Rome can be seen: • Ostia Lido [Having come to Piazza Mattei, cho- that name (Sant'Agnese in Agone) truly a sight not to be missed. -
The Roman Baths Complex Is a Site of Historical Interest in the English City of Bath, Somerset
Aquae Sulis The Roman Baths complex is a site of historical interest in the English city of Bath, Somerset. It is a well-preserved Roman site once used for public bathing. Caerwent Caerwent is a village founded by the Romans as the market town of Venta Silurum. The modern village is built around the Roman ruins, which are some of the best-preserved in Europe. Londinium Londinium was a settlement established on the current site of the City of London around 43 AD. Its bridge over the River Thames turned the city into a road nexus and major port, serving as a major commercial centre in Roman Britain until its abandonment during the 5th century. Dere Street Dere Street or Deere Street is what is left of a Roman road which ran north from Eboracum (York), and continued beyond into what is now Scotland. Parts of its route are still followed by modern roads that we can drive today. St. Albans St. Albans was the first major town on the old Roman road of Watling Street. It is a historic market town and became the Roman city of Verulamium. St. Albans takes its name from the first British saint, Albanus, who died standing up for his beliefs. Jupiter Romans believed Jupiter was the god of the sky and thunder. He was king of the gods in Ancient Roman religion and mythology. Jupiter was the most important god in Roman religion throughout the Empire until Christianity became the main religion. Juno Romans believed Juno was the protector of the Empire. She was an ancient Roman goddess who was queen of all the gods. -
The Business Organisation of the Bourbon Factories
The Business Organization of the Bourbon Factories: Mastercraftsmen, Crafts, and Families in the Capodimonte Porcelain Works and the Royal Factory at San Leucio Silvana Musella Guida Without exaggerating what was known as the “heroic age” of the reign of Charles of Bourbon of which José Joaquim de Montealegre was the undisputed doyen, and without considering the controversial developments of manufacturing in Campania, I should like to look again at manufacturing under the Bourbons and to offer a new point of view. Not only evaluating its development in terms of the products themselves, I will consider the company's organization and production strategies, points that are often overlooked, but which alone can account for any innovative capacity and the willingness of the new government to produce broader-ranging results.1 The two case studies presented here—the porcelain factory at Capodimonte (1740-1759) and the textile factory in San Leucio (1789-1860)—though from different time periods and promoted by different governments, should be considered sequentially precisely because of their ability to impose systemic innovations.2 The arrival of the new sovereign in the company of José Joaquin de Montealegre, led to an activism which would have a lasting effect.3 The former was au fait with economic policy strategy and the driving force of a great period of economic modernization, and his repercussions on the political, diplomatic and commercial levels provide 1 For Montealegre, cf. Raffaele Ajello, “La Parabola settecentesca,” in Il Settecento, edited by Giovanni Pugliese Carratelli (Naples, 1994), 7-79. For a synthesis on Bourbon factories, cf. Angela Carola Perrotti, “Le reali manifatture borboniche,” in Storia del Mezzogiorno (Naples, 1991), 649- 695. -
Pursuing the Perspective. Conflicts and Accidents in the Gran Palazzo Degli Eccellentissimi Borghesi a Ripetta
Publisher: FeDOA Press - Centro di Ateneo per le Biblioteche dell’Università di Napoli Federico II Registered in Italy Publication details, including instructions for authors and subscription information: http://www.serena.unina.it/index.php/eikonocity/index Pursuing the Perspective. Conflicts and Accidents in the Gran Palazzo degli Eccellentissimi Borghesi a Ripetta Fabio Colonnese Sapienza Università di Roma - Dipartimento di Storia, Disegno e Restauro dell’Architettura To cite this article: Colonnese, F. (2021).Pursuing the Perspective. Conflicts and Accidents in theGran Palazzo degli Eccellentissimi Borghesi a Ripetta: Eikonocity, 2021, anno VI, n. 1, 9-25, DOI: 110.6092/2499-1422/6156 To link to this article:http://dx.doi.org/10.6092/2499-1422/6156 FeDOA Press makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. FeDOA Press, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Versions of published FeDOA Press and Routledge Open articles and FeDOA Press and Routledge Open Select articles posted to institutional or subject repositories or any other third-party website are without warranty from FeDOA Press of any kind, either expressed or im- plied, including, but not limited to, warranties of merchantability, fitness for a particular purpose, or non-infringement. Any opinions and views expressed in this article are the opinions and views of the authors, and are not the views of or endorsed by FeDOA Press. The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. -
The Janus Arch
Proceedings of the 38th Annual Conference on Computer Applications and Quantitative Methods in Archaeology, CAA2010 F. Contreras, M. Farjas and F.J. Melero (eds.) Digital Mediation from Discrete Model to Archaeological Model: the Janus Arch Ippolito, A.1, Borgogni, F.1, Pizzo, A.2 1 Dpto. RADAAr Università di Roma “Sapienza”, Italy 2 Instituto de Arqueologia (CSIC, Junta de Extremadura, Consorcio de Mérida), Spain [email protected]; [email protected] ; [email protected] Survey operations and the representation of acquired data should today be considered as consolidated. New acquisition methods such as point clouds obtained using 3D laser scanners are also part of today’s scenario. The scope of this paper is to propose a protocol of operations based on extensive previous experience and work to acquire and elaborate data obtained using complex 3D survey. This protocol focuses on illustrating the methods used to turn a numerical model into a system of two-dimensional and three-dimensional models that can help to understand the object in question. The study method is based on joint practical work by architects and archaeologists. The final objective is to create a layout that can satisfy the needs of scholars and researchers working in different disciplinary fields. The case study in this paper is the Arch of Janus in Rome near the Forum Boarium. The paper will illustrate the entire acquisition process and method used to transform the acquired data after the creation of a model. The entire operation was developed in close collaboration between the RADAAr Dept., University of Rome “Sapienza,” Italy and the Istituto de Arqueologia (CSIC, Junta de Extremadura, Consorcio de Mérida), Spain. -
C HAPTER THREE Dissertation I on the Waters and Aqueducts Of
Aqueduct Hunting in the Seventeenth Century: Raffaele Fabretti's De aquis et aquaeductibus veteris Romae Harry B. Evans http://www.press.umich.edu/titleDetailDesc.do?id=17141, The University of Michigan Press C HAPTER THREE Dissertation I on the Waters and Aqueducts of Ancient Rome o the distinguished Giovanni Lucio of Trau, Raffaello Fabretti, son of T Gaspare, of Urbino, sends greetings. 1. introduction Thanks to your interest in my behalf, the things I wrote to you earlier about the aqueducts I observed around the Anio River do not at all dis- please me. You have in›uenced my diligence by your expressions of praise, both in your own name and in the names of your most learned friends (whom you also have in very large number). As a result, I feel that I am much more eager to pursue the investigation set forth on this subject; I would already have completed it had the abundance of waters from heaven not shown itself opposed to my own watery task. But you should not think that I have been completely idle: indeed, although I was not able to approach for a second time the sources of the Marcia and Claudia, at some distance from me, and not able therefore to follow up my ideas by surer rea- soning, not uselessly, perhaps, will I show you that I have been engaged in the more immediate neighborhood of that aqueduct introduced by Pope Sixtus and called the Acqua Felice from his own name before his ponti‹- 19 Aqueduct Hunting in the Seventeenth Century: Raffaele Fabretti's De aquis et aquaeductibus veteris Romae Harry B. -
Extraordinary Jubilee of Mercy 2015-2016
EEXXTTRRAAOORRDDIINNAARRYY JJUUBBIILLEEEE ooff MMEERRCCYY The Extraordinary Jubilee of Mercy 2015-2016 Pope Francis, who is moved by the human, social and cultural issues of our times, wished to give the City of Rome and the Universal Church a special and extraordinary Holy Year of Grace, Mercy and Peace. The “Misericordiae VulTus” Bull of indicTion The Apostolic Exhortation Evangelii Gaudium, which continues to be the programmatic outline for the pontificate of Pope Francis, offers a meaningful expression of the very essence of the Extraordinary Jubilee which was announced on 11 April 2015: “The Church has an endless desire to show mercy, the fruit of its own experience of the power of the Father’s infinite mercy” (EG 24). It is with this desire in mind that we should re-read the Bull of Indiction of the Jubilee, Misericordiae Vultus, in which Pope Fran- cis details the aims of the Holy Year. As we know, the two dates already marked out are 8 December 2015, the Solemnity of the Immaculate Conception, the day of the opening of the Holy Door of St. Peter’s Basilica, and 20 November 2016, the Solemnity of Our Lord Jesus Christ, King of the Universe, which will conclude the Holy Year. Between these two dates a calendar of celebrations will see many different events take place. The Pope wants this Jubilee to be experienced in Rome as well as in local Churches; this brings partic- ular attention to the life of the individual Churches and their needs, so that initiatives are not just additions to the calendar but rather complementary. -
3 Architects, Antiquarians, and the Rise of the Image in Renaissance Guidebooks to Ancient Rome
Anna Bortolozzi 3 Architects, Antiquarians, and the Rise of the Image in Renaissance Guidebooks to Ancient Rome Rome fut tout le monde, & tout le monde est Rome1 Drawing in the past, drawing in the present: Two attitudes towards the study of Roman antiquity In the early 1530s, the Sienese architect Baldassare Peruzzi drew a section along the principal axis of the Pantheon on a sheet now preserved in the municipal library in Ferrara (Fig. 3.1).2 In the sixteenth century, the Pantheon was generally considered the most notable example of ancient architecture in Rome, and the drawing is among the finest of Peruzzi’s surviving architectural drawings after the antique. The section is shown in orthogonal projection, complemented by detailed mea- surements in Florentine braccia, subdivided into minuti, and by a number of expla- natory notes on the construction elements and building materials. By choosing this particular drawing convention, Peruzzi avoided the use of foreshortening and per- spective, allowing measurements to be taken from the drawing. Though no scale is indicated, the representation of the building and its main elements are perfectly to scale. Peruzzi’s analytical representation of the Pantheon served as the model for several later authors – Serlio’s illustrations of the section of the portico (Fig. 3.2)3 and the roof girders (Fig. 3.3) in his Il Terzo Libro (1540) were very probably derived from the Ferrara drawing.4 In an article from 1966, Howard Burns analysed Peruzzi’s drawing in detail, and suggested that the architect and antiquarian Pirro Ligorio took the sheet to Ferrara in 1569.