Architectural Encounters Between Idea and Material the 1547 Frontispiece of Walther Hermann Ryff
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ILLUSTRATED from the in the NEWBERRY LIBRARY By
4° S 5999)-Zz YZANflNE ELEHEffS IN HUMANISTIC SC1W1 ILLUSTRATED FROM THE AYLVS GELL}vS OF.1445' IN THE NEWBERRY LIBRARY By STANLEY MORI SON Fellow of the Newberry Library CHICAGO, I LLI NOI S Written, Composed and Printed at THE NEWBERRY LIBRARY 1952 S, F trncnl. t , /'t".t pMit., e554' c emn,., fänl- ýr rt, i,! ra, e, 'r'u ret, r lnbl. trl: t , ielirrt , N on tluer cýj"qni uänerro inc. týn, »int' lembnm Ä ý i! em, li, b, g, r. li brich-L4 ti+rre' rrmif, C. trcý:, llarrn in pr. ccef+l'prm, o r:, rr luea, l : ., tsm . AVLýGELý. If NocrvM ATTICARVM CiBL-R,. ". r" ... EýtµIVSc: }CPtýC. trceP. Xf. FELFc-t1%"Rý., ýo ortýert[ uoutbuli" rrr7. c"' iatLt:c: des: e; t mttlr, cluF' %up, wrpdLtntr, dcý; etitf nomtiulr, dc' rta trionc ,u lege 4's: 'ucrf+: C p:tcrrm. t, stý+c:! .mtccinsm! mn1rA .r ansnmt. t citcs (ýolir.t ('rnr. cArttttlttrn ý, - , in IAfVS hyraniil'qnAs orsnonc gr-,ec. t drrrbK! compoille: r. 4ý. rn: i :, rrr 'ppr.:: l7crrn. tiý . "nquininb: rcrirrri t»arirm trr {tali: ran, tsri cicýýco noc. ibnlo .+ý, pc1L 1 tan, ! 'crip! 'cýYrnr, clm boiic(gr. cc.t ucceri' lrý1Zu. t lr. tlot'itocýcýnýfunr; clclorci171 i11 [r+ncai: {zifi. i rr, agsli copi. i Fucýeir; ýýt 1i2 ca tm: t o, pi p1tctg: foltrA liT1t cotrlpLitrsttt. t. Goief t: ttY st-trim; ob ctndcln c.irn ro[Tstmuf jP tr.ylt. t tttnc ter. ttittettro/i(r&'tn. t. mnlr. lntci: tppol. tr (üpretttA "`1. litliiittLlt1, rs1 ltitQti[oýdtcs ditArnirt otttitm trtgsit t. -
Gian Cristoforo Romano in Rome: with Some Thoughts on the Mausoleum of Halicarnassus and the Tomb of Julius II
Gian Cristoforo Romano in Rome: With some thoughts on the Mausoleum of Halicarnassus and the Tomb of Julius II Sally Hickson University of Guelph En 1505, Michel-Ange est appelé à Rome pour travailler sur le tombeau monumental du pape Jules II. Six mois plus tard, alors que Michel-Ange se trouvait à Carrare, le sculpteur et antiquaire Gian Cristoforo Romano était également appelé à Rome par Jules II. En juin 1506, un agent de la cour de Mantoue rapportait que les « premiers sculpteurs de Rome », Michel-Ange et Gian Cristoforo Romano, avaient été appelés ensemble à Rome afin d’inspecter et d’authentifier le Laocoön, récemment découvert. Que faisait Gian Cristoforo à Rome, et que faisait-il avec Michel-Ange? Pourquoi a-t-il été appelé spécifi- quement pour authentifier une statue de Rhodes. Cet essai propose l’hypothèse que Gian Cristoforo a été appelé à Rome par le pape probablement pour contribuer aux plans de son tombeau, étant donné qu’il avait travaillé sur des tombeaux monumentaux à Pavie et Crémone, avait voyagé dans le Levant et vu les ruines du Mausolée d’Halicarnasse, et qu’il était un sculpteur et un expert en antiquités reconnu. De plus, cette hypothèse renforce l’appartenance du développement du tombeau de Jules II dans le contexte anti- quaire de la Rome papale de ce temps, et montre, comme Cammy Brothers l’a avancé dans son étude des dessins architecturaux de Michel-Ange (2008), que les idées de ce dernier étaient influencées par la tradition et par ses contacts avec ses collègues artistes. -
Ancient Authors 297
T Ancient authors 297 is unknown. His Attic Nights is a speeches for the law courts, collection of essays on a variety political speeches, philosophical ANCIENT AUTHORS of topics, based on his reading of essays, and personal letters to Apicius: (fourth century AD) is the Greek and Roman writers and the friends and family. name traditionally given to the lectures and conversations he had Columella: Lucius Iunius author of a collection of recipes, heard. The title Attic Nights refers Moderatus Columella (wrote c.AD de Re Coquinaria (On the Art of to Attica, the district in Greece 60–65) was born at Gades (modern Cooking). Marcus Gavius Apicius around Athens, where Gellius was Cadiz) in Spain and served in the was a gourmet who lived in the living when he wrote the book. Roman army in Syria. He wrote a early first centuryAD and wrote Cassius Dio (also Dio Cassius): treatise on farming, de Re Rustica about sauces. Seneca says that he Cassius Dio Cocceianus (c.AD (On Farming). claimed to have created a scientia 150–235) was born in Bithynia. He popīnae (snack bar cuisine). Diodorus Siculus: Diodorus had a political career as a consul (wrote c.60–30 BC) was a Greek Appian: Appianos (late first in Rome and governor of the from Sicily who wrote a history of century AD–AD 160s) was born in provinces of Africa and Dalmatia. the world centered on Rome, from Alexandria, in Egypt, and practiced His history of Rome, written in legendary beginnings to 54 BC. as a lawyer in Rome. -
Herodian History of the Roman Empire Source 2: Aulus Gellius Attic
insulae: how the masses lived Fires Romans Romans in f cus One of the greatest risks of living in the densely populated city of Rome, and particularly in insulae was that of fires. Fires broke out easily (due to people cooking on open flames), spread easily (due to buildings being constructed out of wood, and buildings being built so closely together) and were hard to control. Several times large parts of the city went up in flames. It was not unusual for imperial funds to make good losses of impoverished wealthy citizens in the wake of a fire. Source 1: Herodian History of the Roman Empire In this passage from Herodian riots have broken out in the city of Rome, and soldiers combatting civilians started setting fire to houses. The soldiers did, however, set fire to houses that had wooden balconies (and there were many of this type in the city). Because a great number of houses were made chiefly of wood, the fire spread very rapidly and without a break throughout most of the city. Many men who lost their vast and magnificent properties, valuable for the large incomes they produced and for their expensive decorations, were reduced from wealth to poverty. A great many people died in the fire, unable to escape because the exits had been blocked by the flames. All the property of the wealthy was looted when the criminal and worthless elements in the city joined with the soldiers in plundering. And the part of Rome destroyed by fire was greater in extent than the largest intact city in the empire. -
De Ornanda Instruendaque Urbe Anne Truetzel
Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) 1-1-2011 De Ornanda Instruendaque Urbe Anne Truetzel Follow this and additional works at: https://openscholarship.wustl.edu/etd Recommended Citation Truetzel, Anne, "De Ornanda Instruendaque Urbe" (2011). All Theses and Dissertations (ETDs). 527. https://openscholarship.wustl.edu/etd/527 This Thesis is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY Department of Classics De Ornanda Instruendaque Urbe: Julius Caesar’s Influence on the Topography of the Comitium-Rostra-Curia Complex by Anne E. Truetzel A thesis presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Master of Arts August 2011 Saint Louis, Missouri ~ Acknowledgments~ I would like to take this opportunity to thank the Classics department at Washington University in St. Louis. The two years that I have spent in this program have been both challenging and rewarding. I thank both the faculty and my fellow graduate students for allowing me to be a part of this community. I now graduate feeling well- prepared for the further graduate study ahead of me. There are many people without whom this project in particular could not have been completed. First and foremost, I thank Professor Susan Rotroff for her guidance and support throughout this process; her insightful comments and suggestions, brilliant ideas and unfailing patience have been invaluable. -
The Attic Nights of Aulus Gellius
,.J: - f^^^- \ ^ xxV^Jr^^ EEx Libris K. OGDEN Digitized by tine Internet Arciiive in 2007 with funding from IVIicrosoft Corporation http://www.archive.org/details/atticniglitsofaul02gelliala THE ATTIC NIGHTS O P AULUS GELLIUS TRANSLATED INTO ENGLISH, By THE Rev. W. B E L O E, f. s. a. XRANSLAro R OF HERODOTUS, &C. IN THREE VOLUMES. V O L. U. LONDON: I'RINTKn FO. ;. ;0HN50N. ST. p.ul's CHU^CH-VA.o. M Dec XCV. Annex PR £5-. THE ATTIC NIGHTS O F AULUS GELLIUS. BOOK VL Chap, I. The reply of Chryjippus to thoje who denied a Pro* vidence. ' ^r'HE Y who think that the world was not pro- duced on account of the Deity and of man, and deny that human affairs are governed by Providence, think * The beginning of this chapter was wanting in all the editions with which I am acquainted ; but I have reftored it from Laftantius's Epitome of his Divine Inftitutions, Chap. 29. It is a whimfical circumftance enough, that the greater part of this very Epitome ftiould have lain hid till the pre- fent century. St. Jerome, in his Catalogue of Ecclefiailical Writers, fpeaking of Laflaatius, fays, " Habemus ejus In- ftitiitionum Divinarum adverfus gentes libros feptem eitEpi- VOL. II, B tome ; « THE ATTIC NIGHTS think that they urge a 'powerful argument when they offerti that if there were a Providence there would he no evils. For nothings they affirm., can be lefs conftfi^ ent with a Providence, than that in that world, oH account of which the Deity is /aid to have created man, there fhould exijl fo great a number of cala- mities and evils. -
The Limits of Philology: Aulus Gellius, NA 2.9 Ágora
Ágora. Estudos Clássicos em debate ISSN: 0874-5498 [email protected] Universidade de Aveiro Portugal QUIROGA PUERTAS, ALBERTO J. The Limits of Philology: Aulus Gellius, NA 2.9 Ágora. Estudos Clássicos em debate, núm. 15, 2013, pp. 95-112 Universidade de Aveiro Aveiro, Portugal Available in: http://www.redalyc.org/articulo.oa?id=321027647004 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative The Limits of Philology: Aulus Gellius, NA 2.91 Os limites da Filologia: Aulo Gélio, NA 2.9 ALBERTO J. QUIROGA PUERTAS (University of Granada, Spain)2 Abstract: This paper aims to study the use of the Greek verb λεξιθηρέω in Aulus Gellius' Noctes Atticae. Its coinage in the work of the Roman author is indicative of a cultural programme, and reflects contemporary concerns on the appropriate use of language. Keywords: λεξιθηρέω; Aulus Gellius; otium; literary cultura. The second century AD was a period that witnessed the efflorescence of polymaths and works of miscellaneous content. Gelliusʼ Attic Nights is a fine example of this genre that offers, among many anecdotes and accounts of all kinds, a detailed evaluation of the social and cultural milieu of the period. Charlatans, belletrists and grammarians competed in order to im- pose their cultural agendas. In this context, Gelliusʼ criticism of the ex- cessive philological zeal (as exemplified by the use of the verb λεξιθηρέω NA 2.9), of grammarians’ pedantic debates, and the presence of opsimaths in the cultural milieu, shed light on issues concerning culture and education in the second century AD. -
Variety, Archeology and Ornament
Variety, Archeology, & Ornament Renaissance Architectural Prints from Column to Cornice UVa M Variety, Archeology, & Ornament Renaissance Architectural Prints from Column to Cornice Curated by Michael J. Waters Cammy Brothers UVa M University of Virginia Art Museum Contents 4 Acknowledgements 5 Foreword Bruce Boucher Director, University of Virginia Art Museum 6 Introduction Cammy Brothers Guest Curator, University of Virginia Art Museum Valmarana Associate Professor of Architectural History School of Architecture, University of Virginia This catalogue accompanies the exhibition 18 Looking Beyond the Treatise Variety, Archeology, and Ornament Single-leaf prints and sixteenth-century architectural culture Renaissance Architectural Prints Michael J. Waters from Column to Cornice Guest Curator, University of Virginia Art Museum August 26 – December 18, 2011 PhD candidate and Erwin Panofsky Fellow, Institute of Fine Arts, New York University University of Virginia Art Museum 49 Catalogue The exhibition was made possible through the 49 Origins generous support of Albemarle Magazine, Arts$, B. Herbert Lee '48 Endowed Fund, The Hook, Ivy 59 Antiquity Publications LLC's Charlottesville Welcome Book, 85 Variety the Page-Barbour and Richards Lectures Committee, the Veneto Society of the School of Architecture, 107 Order and the U.Va. Art Museum Volunteer Board. 123 Afterlife Publication © 2011 Cover detail University of Virginia Art Museum 136 Bibliography Master G.A. University of Virginia Art Museum with the Caltrop 155 Rugby Road Italian, Charlottesville -
Reading and Writing Gellius: the Act of Composition in the Attic Nights by Austin Chapman M.A
Reading and Writing Gellius: The Act of Composition in the Attic Nights by Austin Chapman M.A. (Classics, University of Cincinnati) B.A. (History, Furman University) A Dissertation Presented to the FACULTY OF THE GRADUATE SCHOOL UNIVERSITY OF CINCINNATI In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY (CLASSICS) Committee Chair: Holt Parker, Ph.D. September 2015 Abstract Here I argue that Gellius uses the loose design of his Attic Nights to interact both playfully and instructively with his reader, and that he does so in such a way that the purpose of the Nights is found to be reproductive, replicating the activities of its author (Gellius) in the minds and, ideally, the activities of its readers. To demonstrate how Gellius creates this unique author-reader relationship as the ordo of the text unfolds, I read the Nights sequentially. In close readings of three books of the Attic Nights (Books 1, 2, and 14), I explore how Gellius develops themes over the course of each book and uses those themes to articulate his relationship with the reader. In order to pick out sequences that supply meaning to a sequential reading of such an apparently disordered text, I take advantage, at least initially, of the approach of Gibson and Morello (2012) to the Letters of Pliny the Younger, where a multitude of units (epistles, in Pliny’s case) are placed so as to appear well-mixed but also create sequences in which certain patterns emerge, suggesting a loose design. Following Gibson and Morello’s model, I begin by noticing a more-or-less obvious pattern in Book 2 and “re-read” the book with that pattern in mind; through that re-reading, I discover that Gellius highlights a father-son relationship as an analogue for the relationship between himself and his reader. -
Ancient Authors 297
T Ancient authors 297 is unknown. His Attic Nights is a speeches for the law courts, collection of essays on a variety political speeches, philosophical ANCIENT AUTHORS of topics, based on his reading of essays, and personal letters to Greek and Roman writers and the friends and family. : (fourth century AD) is the lectures and conversations he had Apicius Columella: Lucius Iunius name traditionally given to the heard. The title Attic Nights refers Moderatus Columella (wrote c.AD to Attica, the district in Greece author of a collection of recipes, 60–65) was born at Gades (modern de Re Coquinaria On the Art of around Athens, where Gellius was ( Cadiz) in Spain and served in the Cooking living when he wrote the book. ). Marcus Gavius Apicius Roman army in Syria. He wrote a was a gourmet who lived in the Cassius Dio (also Dio Cassius): treatise on farming, de Re Rustica early first centuryAD and wrote Cassius Dio Cocceianus (c.AD (On Farming). about sauces. Seneca says that he 150–235) was born in Bithynia. He Diodorus Siculus: Diodorus claimed to have created a scientia had a political career as a consul (wrote c.60–30 BC) was a Greek popīnae (snack bar cuisine). in Rome and governor of the from Sicily who wrote a history of provinces of Africa and Dalmatia. Appian: Appianos (late first the world centred on Rome, from century AD–AD 160s) was born in His history of Rome, written in legendary beginnings to 54 BC. Greek, covers the period from Alexandria, in Egypt, and practised Much of the original forty books Aeneas’ arrival in Italy to AD 229. -
Design and Reconstruction of an Ancient Roman Crane
Advances in Historical Studies, 2020, 9, 261-283 https://www.scirp.org/journal/ahs ISSN Online: 2327-0446 ISSN Print: 2327-0438 Design and Reconstruction of an Ancient Roman Crane Marco Ceccarelli Department of Industrial Engineering, University of Rome Tor Vergata, Rome, Italy How to cite this paper: Ceccarelli, M. Abstract (2020). Design and Reconstruction of an Ancient Roman Crane. Advances in His- Archeological remains and literature sources are used to work out design torical Studies, 9, 261-283. considerations and reconstruction activities on an ancient Roman crane. De- https://doi.org/10.4236/ahs.2020.95021 sign requirements have been elaborated by looking at the Vitruvius work as Received: October 30, 2020 republished during Renaissance and considering practical aspects of material Accepted: December 5, 2020 and manufacturing both in ancient time and today possibilities. Results are Published: December 8, 2020 reported in terms of design developments and experiences for prototype re- constructions that have been exhibited in a museum. Copyright © 2020 by author(s) and Scientific Research Publishing Inc. This work is licensed under the Creative Keywords Commons Attribution International License (CC BY 4.0). History of Machines, Ancient Roman Cranes, Historical Analysis, http://creativecommons.org/licenses/by/4.0/ Reconstruction Design Open Access 1. Introduction Ancient Roman machines attract great attention not only for their specific de- signs of relevant interest for the History of Engineering and Technology, but also for the surprising levels of technology that can be identified in those solutions. Historical literature has been elaborated to track machinery evolution with analysis of designs and products as part of the mankind history in which Roman machine engineering and technology are recognized of relevant importance and impact even as a basis for modern western world, in encyclopedic works like for example in (Capocaccia 1973), (Singer et al. -
Palladio and Vitruvius: Composition, Style, and Vocabulary of the Quattro Libri
LOUIS CELLAURO Palladio and Vitruvius: composition, style, and vocabulary of the Quattro Libri Abstract After a short preamble on the history of the text of Vitruvius during the Renaissance and Palladio’s encounter with it, this paper assesses the Vitruvian legacy in Palladio’s treatise, in focusing more particularly on its composition, style, and vocabulary and leaving other aspects of his Vitruvianism, such as his architectural theory and the five canonical orders, for consideration in subsequent publications. The discussion on composition concerns Palladio’s probable plans to complete ten books, as an explicit reference to Vitruvius’ treatise. As regards style, the article highlights Palladio’s intention to produce an illustrated treatise like those of Francesco di Giorgio Martini, Sebastiano Serlio, and Giacomo Barozzi da Vignola (whereas the treatise of Vitruvius was probably almost unillustrated), and Palladio’s Vitruvian stress on brevity. Palladio is shown to have preferred vernacular technical terminology to the Vitruvian Greco-Latin vocabulary, except in Book IV of the Quattro Libri in connection with ancient Roman temples. The composition, style, and vocabulary of the Quattro Libri are important issues which contribute to an assessment of the extent of Palladio’s adherence to the Vitruvian prototype in an age of imitation of classical literary models. Introduction The De architectura libri X (Ten Books on Architecture) of the 1st-Century BCE Roman architect and military engineer Marcus Vitruvius Pollio was a text used by Andrea Palladio (1508-1580) and many other Renaissance architects both as a guide to ancient architecture and as a source of modern design. Vitruvius is indeed of great significance for Renaissance architecture, as his treatise can be considered as a founding document establishing the ground rules of the discipline for generations after its first reception in the Trecento and early Quattrocento.1 His text offers a comprehensive overview of architectural practice and the education required to pursue it successfully.