The Old Cemetery for Foreigners in Rome with a New Inventory of Its Burials
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
LINK to Newsletter 21
Winter 2012 FRIENDS No. 21 of the Non-Catholic Cemetery in Rome N E W S L E T T E R th Special issue on the 18 century. Plus, index to Newsletter issues 1-21 THE FIRST BURIAL WAS IN 1716! Editor’s note: How and when did the Cemetery start? We now have some answers to these questions. It has long been suspected that the first burials were made in the 1720s but Professor Corp (below) provides both a firm date (1716) and a historical context: from the start, it was the Pope who conceded to Protestants the right to burial next to the Pyramid. This is an important breakthrough in our understanding of this his- toric site and its role in Rome’s history. In this special 8-page issue devoted mainly to the 18th century, we announce some new discoveries (such as graffiti dated 1774) and re-assess some earlier ones. Our regular columns of ‘Who they were’ and ‘How others see the Cemetery’ also focus on the 18th century, before we come up to date again with news of current events. J.A.Merigot. The pyramid of Caius Cestius, 1796. Aquatint with handcolouring THE ORIGINS OF THE PROTESTANT For many years the exiled Stuart king and his Jacobite supporters CEMETERY IN ROME lived in France, where Louis XIV opposed toleration, but in 1716 King James III and his court took refuge within the Papal States – Edward Corp first at Avignon, then at Urbino, and finally in Rome itself. As a result, many English and Scottish Jacobite Protestants (Anglicans The Glorious Revolution in England and Scotland in the winter of and Episcopalians) began to arrive in Italy. -
The Historical Journal VIA RASELLA, 1944
The Historical Journal http://journals.cambridge.org/HIS Additional services for The Historical Journal: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here VIA RASELLA, 1944: MEMORY, TRUTH, AND HISTORY JOHN FOOT The Historical Journal / Volume 43 / Issue 04 / December 2000, pp 1173 1181 DOI: null, Published online: 06 March 2001 Link to this article: http://journals.cambridge.org/abstract_S0018246X00001400 How to cite this article: JOHN FOOT (2000). VIA RASELLA, 1944: MEMORY, TRUTH, AND HISTORY. The Historical Journal, 43, pp 11731181 Request Permissions : Click here Downloaded from http://journals.cambridge.org/HIS, IP address: 144.82.107.39 on 26 Sep 2012 The Historical Journal, , (), pp. – Printed in the United Kingdom # Cambridge University Press REVIEW ARTICLE VIA RASELLA, 1944: MEMORY, TRUTH, AND HISTORY L’ordine eZ giaZ stato eseguito: Roma, le Fosse Ardeatine, la memoria. By Alessandro Portelli. Rome: Donzelli, . Pp. viij. ISBN ---.L... The battle of Valle Giulia: oral history and the art of dialogue. By A. Portelli. Wisconsin: Wisconsin: University Press, . Pp. xxj. ISBN ---.$.. [Inc.‘The massacre at Civitella Val di Chiana (Tuscany, June , ): Myth and politics, mourning and common sense’, in The Battle of Valle Giulia, by A. Portelli, pp. –.] Operazione Via Rasella: veritaZ e menzogna: i protagonisti raccontano. By Rosario Bentivegna (in collaboration with Cesare De Simone). Rome: Riuniti, . Pp. ISBN -- -.L... La memoria divisa. By Giovanni Contini. Milan: Rizzoli, . Pp. ISBN -- -.L... Anatomia di un massacro: controversia sopra una strage tedesca. By Paolo Pezzino. Bologna: Il Mulino, . Pp. ISBN ---.L... Processo Priebke: Le testimonianze, il memoriale. Edited by Cinzia Dal Maso. -
Philipp Von Stosch (1691–1757) and the Study of Engraved Gems Paweł Gołyzniaḱ *
Antiquity 2021 page 1 of 9 https://doi.org/10.15184/aqy.2021.112 Project Gallery From antiquarianism to proto-archaeology: Philipp von Stosch (1691–1757) and the study of engraved gems Paweł Gołyzniaḱ * * Institute of Archaeology, Jagiellonian University, Poland (✉ [email protected]) Examination of Philipp von Stosch’s documentation of engraved gems, discovered in previously unknown archival sources in the Princes Czartoryski Museum in Krakow and other public and private collections, considerably advances our understanding of the move from antiquarianism to proto-archaeology in the eighteenth century. Keywords: antiquarianism, proto-archaeology, archiving, engraved gems, history of archaeology, Philipp von Stosch Introduction Philipp von Stosch (1691–1757) (Figure 1) is regarded as one of the most instrumental figures in eighteenth-century antiquarianism (Hansson 2014). While previous research has focused on his life and role as a collector (Lewis 1967; Zazoff & Zazoff 1983:3–67), the production of his outstanding book on gems (signed by ancient masters and published in 1724 (Heringa 1976; Zazoff & Zazoff 1983:24–50; Whiteley 1999)) and his collection of engraved gems published by Winckelmann in 1760 (Borbein et al. 2019), his other con- tributions to academia have been overlooked. This article considers his skill in building and managing collections and, perhaps most importantly, his collaboration with numerous artists who produced drawings apparently intended as illustrations for his virtually unrecognised scholarly projects. The Stosch Project An extensive collection of unpublished drawings of engraved gems discovered in the Princes Czartoryski Museum in Krakow provided an opportunity to explore Stosch’s scholarly activ- ities. The drawings record small objects made of precious stones used in antiquity as seals, amulets or as personal adornments. -
Market Values in Eighteenth-Century Rome
Market values in eighteenth-century Rome Review of: The Art Market in Rome in the Eighteenth Century: A Study in the Social History of Art, edited by Paolo Coen, Leiden and Boston: Brill, 2018 [Studies in the History of Collecting and Art Markets, vol. 5], xii + 234 pp., 80 colour illus., €116/$134 hdbk, ISBN 978-90-04-33699-5. Jeffrey Collins Anyone who doubts that a society’s art market reveals its underlying values need only consider the case of Inigo Philbrick, the high-flying young dealer who sold investors overlapping shares of the same blue-chip contemporary works and who was recently apprehended in Vanuatu. The present volume boasts no one quite so colourful, though it too concerns a moment in which the business side of art acquired new prominence. Based on an international congress held at Rome’s Palazzo Barberini, the anthology’s ten chapters consider diverse facets of art’s production, circulation, and recirculation in early modern Rome, unfortunately not all centred on the time and place announced in the title. This is a limitation in a study of art markets, which are typically localized and responsive to shifting conditions. While less focused than one would wish, the collection nonetheless illuminates a key phase in the market’s development while contextualizing our own age of glossy magazines, glamorous fairs, ‘specullectors’, and illicit trafficking of cultural property. Both symposium and anthology reflect the efforts of Paolo Coen, professor of the history of art at the Università degli Studi di Teramo, to bring to Rome something of the economic perspective long established in studies of the seventeenth-century Netherlands. -
Fish Terminologies
FISH TERMINOLOGIES Monument Type Thesaurus Report Format: Hierarchical listing - class Notes: Classification of monument type records by function. -
Burial Crypts and Vaults in Britain and Ireland: a Biographical Approach
19—43 Acta Universitatis Lodziensis. Folia Archaeologica 35(2020) https://doi.org/10.18778/0208-6034.35.02 Harold Mytum https://orcid.org/0000-0002-0577-2064 Burial Crypts and Vaults in Britain and Ireland: a Biographical Approach Various types of burial chamber in Britain belonging to the period from the Ref- ormation until the 19th century have long been investigated archaeologically, but their frequency was only appreciated with the extensive investigation of St. Au- gustine the Less, Bristol, for which unfortunately there is still only an interim report (Boore 1986). The initial classification of both coffins and burial spaces was produced by Julian Litten (1985), and the variability in coffin design was greatly expanded by the investigation of the communal crypt at Christ Church Spital- fields, London (hereafter Spitalfields) during 1984–1986 (Reeve, Adams 1993). The original classification and dating sequence for burial structures proposed by Litten (1985: 10) is still valid, and it is set out in Table 1. Mainly concentrating on elite burial spaces, Litten defined four categories of burial space in 1999: large dynastic vault, family vault, brick grave and extensive private and public vaults (Litten 1999: 115). This study defines the range of types that are most frequently encountered and the form of the evidence normally surviving in these burial spaces, building on these pioneering studies. This study considers for the first time the biography of the coffin, and of the various types of burial spaces, both in terms of successive interment and some of the subsequent taphonomic processes that subsequently affect the location of the coffins within these burial spaces. -
BM Tour to View
08/06/2020 Gods and Heroes The influence of the Classical World on Art in the C17th and C18th The Tour of the British Museum Room 2a the Waddesdon Bequest from Baron Ferdinand Rothschild 1898 Hercules and Achelous c 1650-1675 Austrian 1 2 Limoges enamel tazza with Judith and Holofernes in the bowl, Joseph and Potiphar’s wife on the foot and the Triumph of Neptune and Amphitrite/Venus on the stem (see next slide) attributed to Joseph Limousin c 1600-1630 Omphale by Artus Quellinus the Elder 1640-1668 Flanders 3 4 see previous slide Limoges enamel salt-cellar of piédouche type with Diana in the bowl and a Muse (with triangle), Mercury, Diana (with moon), Mars, Juno (with peacock) and Venus (with flaming heart) attributed to Joseph Limousin c 1600- 1630 (also see next slide) 5 6 1 08/06/2020 Nautilus shell cup mounted with silver with Neptune on horseback on top 1600-1650 probably made in the Netherlands 7 8 Neptune supporting a Nautilus cup dated 1741 Dresden Opal glass beaker representing the Triumph of Neptune c 1680 Bohemia 9 10 Room 2 Marble figure of a girl possibly a nymph of Artemis restored by Angellini as knucklebone player from the Garden of Sallust Rome C1st-2nd AD discovered 1764 and acquired by Charles Townley on his first Grand Tour in 1768. Townley’s collection came to the museum on his death in 1805 11 12 2 08/06/2020 Charles Townley with his collection which he opened to discerning friends and the public, in a painting by Johann Zoffany of 1782. -
The Croatian Ustasha Regime and Its Policies Towards
THE IDEOLOGY OF NATION AND RACE: THE CROATIAN USTASHA REGIME AND ITS POLICIES TOWARD MINORITIES IN THE INDEPENDENT STATE OF CROATIA, 1941-1945. NEVENKO BARTULIN A thesis submitted in fulfilment Of the requirements for the degree of Doctor of Philosophy University of New South Wales November 2006 1 2 3 Acknowledgements I would like to thank my supervisor Dr. Nicholas Doumanis, lecturer in the School of History at the University of New South Wales (UNSW), Sydney, Australia, for the valuable guidance, advice and suggestions that he has provided me in the course of the writing of this thesis. Thanks also go to his colleague, and my co-supervisor, Günther Minnerup, as well as to Dr. Milan Vojkovi, who also read this thesis. I further owe a great deal of gratitude to the rest of the academic and administrative staff of the School of History at UNSW, and especially to my fellow research students, in particular, Matthew Fitzpatrick, Susie Protschky and Sally Cove, for all their help, support and companionship. Thanks are also due to the staff of the Department of History at the University of Zagreb (Sveuilište u Zagrebu), particularly prof. dr. sc. Ivo Goldstein, and to the staff of the Croatian State Archive (Hrvatski državni arhiv) and the National and University Library (Nacionalna i sveuilišna knjižnica) in Zagreb, for the assistance they provided me during my research trip to Croatia in 2004. I must also thank the University of Zagreb’s Office for International Relations (Ured za meunarodnu suradnju) for the accommodation made available to me during my research trip. -
From Batoni's Brush to Canova's Chisel: Painted and Sculpted Portraiture at Rome, 1740-1830 Volume One of Two: Text Maeve O'dwy
From Batoni's Brush to Canova's Chisel: Painted and sculpted portraiture at Rome, 1740-1830 Volume One of Two: Text Maeve O'Dwyer PhD Thesis University of Edinburgh 2016 I, Maeve O'Dwyer, ________________________________, hereby declare that the work contained within has been composed by me and is entirely my own work. No part of this thesis has been submitted for any other degree or professional qualification. 2 Abstract This thesis examines the city of Rome as a primary context of British sociability and portrait identity during the period from 1740 to 1830. Part I considers the work of the portrait painter Pompeo Batoni. It examines the pictorial record of grand tourist sociability at Rome in the 1750s, questioning the complex articulation of nationality among British visitors, and the introduction of overt references to antiquity in the portraiture of Pompeo Batoni. It subsequently interrogates Batoni's use of the partially nude Vatican Ariadne sculpture in five portraits of male grand tourists, dating from Charles John Crowle in 1762, to Thomas William Coke in 1774. Part II of this thesis considers the realities of viewing the sculpted body at Rome, recreating the studios of sculptors Christopher Hewetson and Antonio Canova. It posits the studio space as a locus of sociability for British visitors to Rome, drawing on the feminine gaze in the form of the early nineteenth-century writings of Charlotte Eaton and Lady Murray. The final chapter moves from the focus on British sitters to examine sculpture by Antonio Canova, framing it within a wider discourse of masculinity and propriety. -
Così Jacob Philipp Hackert Scriveva Al Barone Offemberg Von Mitau Il 16 Novembre Del 1790. Gli Raccontava Del Suo Soggiorno
LE VEDUTE DEI PORTI DEL REGNO : J ACOB PHILIPP HACKERT , IL VEDUTISTA AL SERVIZIO DEL RE anna grIMaLdI «La scorsa primavera ho visitato le coste della calabria e una parte della Sicilia, per disegnare su commissione del re la suite dei porti marini. in Sicilia sono stato a Siracusa, augusta, Li ciclope, a taci tauraminia, messina e palermo » ( LoHSE , 1936, p. 29; WEIdnEr , 1997, p. 4). Così Jacob Philipp Hackert scriveva al barone offemberg von Mitau il 16 novembre del 1790. gli raccontava del suo soggiorno nelle province del regno di napoli nel periodo in cui Ferdinando IV di Borbone, tra il 1787 e il 1794, com - missionò all’artista prussiano la serie delle vedute dei porti del regno . In un’altra lettera dalla Sicilia così scriveva al conte dönhoff: «Carissimo conte, ho ricevuto la vostra piacevole lettera in Sicilia dove mi sono fermato per ben tre mesi, compresa la costa della Calabria fino a reggio. Il re mi ha mandato qui con una piccola felouque ben armata, con 12 uomini, per realizzare la suite dei porti del regno. In Calabria ho trovato ben poco di valore per un pittore, escluse l’isola di Cerella e diamante. reggio è molto pittoresca ma totalmente distrutta dal terremoto. In compenso mi sono rifatto in Sicilia. anche se Messina era stata quasi del tutto rovinata dal terremoto, si è già di nuovo ripresa e quasi del tutto ricostruita, in parte per gli aiuti del governo, in parte perché è un porto libero […] i prospetti di qui sono certamente tra i più belli che si possono vedere in Eu - ropa» ( CIoFFI , 2004, scheda a cura I. -
DP Louvre Edme Bouchardon.Pub
Dossier de presse Exposition Du 14 septembre au 5 décembre 2016 Hall Napoléon Bouchardon (1698-1762) Une idée du beau Contact presse Coralie James [email protected] Tél. 01 40 20 54 44 1 Sommaire Communiqué de presse page 3 Préface page 5 par Jean–Luc Martinez, président-directeur du musée du Louvre et Timothy Potts, directeur du J. Paul Getty Museum Parcours de l’exposition page 7 Regards sur quelques œuvres page 12 Autour de l’exposition page 16 Publications, manifestations à l’auditorium du Louvre, visites-conférences, atelier, guide multimédia... Visuels disponibles pour la presse page 19 Lettres du mécène page 24 La liste complète des œuvres exposées est disponible sur demande : [email protected] 2 Bouchardon (1698-1762) Une idée du beau Communiqué de presse Le musée du Louvre et le J. Paul Getty Museum de Los Angeles Exposition rendent hommage à Edme Bouchardon, sculpteur et dessinateur 14 septembre - 5 décembre de renom, qui fut considéré dès son époque comme « le plus 2016 grand sculpteur et le meilleur dessinateur de son siècle » (Cochin). Cité dans l’Encyclopédie comme le continuateur de Puget et de Girardon, Bouchardon fut perçu par ses contemporains comme le promoteur du renouveau dans les arts. Alors que de nombreuses études ont favorisé une nouvelle approche du néo-classicisme, cette première exposition monographique d’envergure permet d’appréhender l’esthétique du sculpteur, parfait équilibre entre la référence antique et la fidélité à la nature. Fils d’architecte sculpteur, Edme Bouchardon se forma à l’Académie royale de peinture et de sculpture à Paris avant de faire un fécond séjour à l’Académie de France à Rome (1723-1732), couronné par des projets soumis au pape et par son élection à l’Académie de Saint-Luc. -
Etruscan News 19
Volume 19 Winter 2017 Vulci - A year of excavation New treasures from the Necropolis of Poggio Mengarelli by Carlo Casi InnovativeInnovative TechnologiesTechnologies The inheritance of power: reveal the inscription King’s sceptres and the on the Stele di Vicchio infant princes of Spoleto, by P. Gregory Warden by P. Gregory Warden Umbria The Stele di Vicchio is beginning to by Joachim Weidig and Nicola Bruni reveal its secrets. Now securely identi- fied as a sacred text, it is the third 700 BC: Spoleto was the center of longest after the Liber Linteus and the Top, the “Tomba della Truccatrice,” her cosmetics still in jars at left. an Umbrian kingdom, as suggested by Capua Tile, and the earliest of the three, Bottom, a warrior’s iron and bronze short spear with a coiled handle. the new finds from the Orientalizing securely dated to the end of the 6th cen- necropolis of Piazza d’Armi that was tury BCE. It is also the only one of the It all started in January 2016 when even the heavy stone cap of the chamber partially excavated between 2008 and three with a precise archaeological con- the guards of the park, during the usual cover. The robbers were probably dis- 2011 by the Soprintendenza text, since it was placed in the founda- inspections, noticed a new hole made by turbed during their work by the frequent Archeologia dell’Umbria. The finds tions of the late Archaic temple at the grave robbers the night before. nightly rounds of the armed park guards, were processed and analysed by a team sanctuary of Poggio Colla (Vicchio di Strangely the clandestine excavation but they did have time to violate two of German and Italian researchers that Mugello, Firenze).