Sottocommissione Rione Trastevere (1871–1872)
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Liturgy, Space, and Community in the Basilica Julii (Santa Maria in Trastevere)
DALE KINNEY Liturgy, Space, and Community in the Basilica Julii (Santa Maria in Trastevere) Abstract The Basilica Julii (also known as titulus Callisti and later as Santa Maria in Trastevere) provides a case study of the physical and social conditions in which early Christian liturgies ‘rewired’ their participants. This paper demon- strates that liturgical transformation was a two-way process, in which liturgy was the object as well as the agent of change. Three essential factors – the liturgy of the Eucharist, the space of the early Christian basilica, and the local Christian community – are described as they existed in Rome from the fourth through the ninth centuries. The essay then takes up the specific case of the Basilica Julii, showing how these three factors interacted in the con- crete conditions of a particular titular church. The basilica’s early Christian liturgical layout endured until the ninth century, when it was reconfigured by Pope Gregory IV (827-844) to bring the liturgical sub-spaces up-to- date. In Pope Gregory’s remodeling the original non-hierarchical layout was replaced by one in which celebrants were elevated above the congregation, women were segregated from men, and higher-ranking lay people were accorded places of honor distinct from those of lesser stature. These alterations brought the Basilica Julii in line with the requirements of the ninth-century papal stational liturgy. The stational liturgy was hierarchically orga- nized from the beginning, but distinctions became sharper in the course of the early Middle Ages in accordance with the expansion of papal authority and changes in lay society. -
Falda's Map As a Work Of
The Art Bulletin ISSN: 0004-3079 (Print) 1559-6478 (Online) Journal homepage: https://www.tandfonline.com/loi/rcab20 Falda’s Map as a Work of Art Sarah McPhee To cite this article: Sarah McPhee (2019) Falda’s Map as a Work of Art, The Art Bulletin, 101:2, 7-28, DOI: 10.1080/00043079.2019.1527632 To link to this article: https://doi.org/10.1080/00043079.2019.1527632 Published online: 20 May 2019. Submit your article to this journal Article views: 79 View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rcab20 Falda’s Map as a Work of Art sarah mcphee In The Anatomy of Melancholy, first published in the 1620s, the Oxford don Robert Burton remarks on the pleasure of maps: Methinks it would please any man to look upon a geographical map, . to behold, as it were, all the remote provinces, towns, cities of the world, and never to go forth of the limits of his study, to measure by the scale and compass their extent, distance, examine their site. .1 In the seventeenth century large and elaborate ornamental maps adorned the walls of country houses, princely galleries, and scholars’ studies. Burton’s words invoke the gallery of maps Pope Alexander VII assembled in Castel Gandolfo outside Rome in 1665 and animate Sutton Nicholls’s ink-and-wash drawing of Samuel Pepys’s library in London in 1693 (Fig. 1).2 There, in a room lined with bookcases and portraits, a map stands out, mounted on canvas and sus- pended from two cords; it is Giovanni Battista Falda’s view of Rome, published in 1676. -
Spolia from the Baths of Caracalla in Sta. Maria in Trastevere 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 1986 Spolia from the Baths of Caracalla in Sta. Maria in Trastevere Dale Kinney Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: https://repository.brynmawr.edu/hart_pubs Part of the History of Art, Architecture, and Archaeology Commons Custom Citation Kinney, Dale. 1986. " Spolia from the Baths of Caracalla in Sta. Maria in Trastevere." The Art Bulletin 68.3: 379-397. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. https://repository.brynmawr.edu/hart_pubs/90 For more information, please contact [email protected]. Spolia from the Baths of Caracallain Sta. Maria in Trastevere Dale Kinney Eight third-century Ionic capitals with images of Isis, Serapis, and Harpocrates, now in the nave colonnades of Sta. Maria in Trastevere, were taken from one or both of the rooms currently identified as libraries in the Baths of Caracalla. The capitals were transferred around 1140, when the church was rebuilt by Pope In- nocent II. The capitals would have been acquired by confiscation, juridically the pope's prerogative as head of the papal state; the lavish display of all kinds of spolia in Sta. Maria in Trastevere is here interpreted as a self-conscious demon- stration of that prerogative. The identity of the capitals' pagan images would have been unknown to most twelfth-century observers, because the only accessible keys to the correct identifications were one sentence in Varro's De lingua latina and another in Saint Augustine's De civitate Dei. -
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. -
Trastevere Guide
e-mail [email protected] web www.rome-accommodation.net Via Uffici del Vicario 33 – 00186 Roma – Italy - Tel (+39) 06 87450447 opening hours: 09.00 – 13.00 / 15.00- 18.00 TRASTEVERE AREA GUIDE Things to do in Rome | Visit our blog : blog.rome-accommodation.net/it/ Trastevere è il quartiere storico di Roma, dove è possibile ancora trovare l’autentico spirito romano. Di mattina fate una passeggiata nelle vecchie botteghe e nei suoi stretti e tortuosi vicoletti, potrete davvero vivere come un romano. Di sera il quartiere cambia completamente aspetto. E’ qui che si trovano le migliori trattorie di cucina romana, dove poter assaggiare i nostri piatti tipici come la pasta alla Carbonara o all’Amatriciana. Dopo cena potete continuare la serata in uno dei numerosi bar che affollano il quartiere. E’ la zona ideale per chi vuole vivere la città di giorno e di notte! Ecco i nostri appartamenti situati nel quartiere di Trastevere: GIANICOLO – Grande casa vacanze con 3 camere su viale Trastevere. TRASTEVERE – Appartamento per 4 persone, per famiglie o gruppi di amici. Practical information ADDRESS TEL COMMENTS Bus station Viale Trastevere: Line 3-8-H-780 Taxi station Piazza Mastai Piazza Belli 06 5815667 Taxi by phone Samarcanda 06 5551 Autoradiotaxi Roma 06 3570 Radiotaxi La Capitale 06 4994 MyTaxy www.mytaxy.com App to download Taxi to the airports Driver4You 06 87450447 Open Mon-Fri 9-13/15-18 Post Office Via Giacomo Venezian, 18G 06 589 7964 Open Mon-Fri 8.20-13.25 Sat 8.20-12-35 Largo San Giovanni de Matha 4 06 5899079 Open Mon-Fri -
Architectural Spolia and Urban Transformation in Rome from the Fourth to the Thirteenth Century
Patrizio Pensabene Architectural Spolia and Urban Transformation in Rome from the Fourth to the Thirteenth Century Summary This paper is a historical outline of the practice of reuse in Rome between the th and th century AD. It comments on the relevance of the Arch of Constantine and the Basil- ica Lateranensis in creating a tradition of meanings and ways of the reuse. Moreover, the paper focuses on the government’s attitude towards the preservation of ancient edifices in the monumental center of Rome in the first half of the th century AD, although it has been established that the reuse of public edifices only became a normal practice starting in th century Rome. Between the th and th century the city was transformed into set- tlements connected to the principal groups of ruins. Then, with the Carolingian Age, the city achieved a new unity and several new, large-scale churches were created. These con- struction projects required systematic spoliation of existing marble. The city enlarged even more rapidly in the Romanesque period with the construction of a large basilica for which marble had to be sought in the periphery of the ancient city. At that time there existed a highly developed organization for spoliating and reworking ancient marble: the Cos- matesque Workshop. Keywords: Re-use; Rome; Arch of Constantine; Basilica Lateranensis; urban transforma- tion. Dieser Artikel bietet eine Übersicht über den Einsatz von Spolien in Rom zwischen dem . und dem . Jahrhundert n. Chr. Er zeigt auf, wie mit dem Konstantinsbogen und der Ba- silica Lateranensis eine Tradition von Bedeutungsbezügen und Strategien der Spolienver- wendung begründet wurde. -
Sacred Image, Civic Spectacle, and Ritual Space: Tivoli’S Inchinata Procession and Icons in Urban Liturgical Theater in Late Medieval Italy
SACRED IMAGE, CIVIC SPECTACLE, AND RITUAL SPACE: TIVOLI’S INCHINATA PROCESSION AND ICONS IN URBAN LITURGICAL THEATER IN LATE MEDIEVAL ITALY by Rebekah Perry BA, Brigham Young University, 1996 MA, University of Massachusetts Amherst, 2006 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts & Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2011 UNIVERSITY OF PITTSBURGH Kenneth P. Dietrich School of Arts & Sciences This dissertation was presented by Rebekah Perry It was defended on October 28, 2011 and approved by Franklin Toker, Professor, History of Art and Architecture Anne Weis, Professor, History of Art and Architecture Bruce Venarde, Professor, History Alison Stones, Professor, History of Art and Architecture ii Copyright © by Rebekah Perry 2011 iii SACRED IMAGE, CIVIC SPECTACLE, AND RITUAL SPACE: TIVOLI’S INCHINATA PROCESSION AND ICONS IN URBAN LITURGICAL THEATER IN LATE MEDIEVAL ITALY Rebekah Perry, PhD University of Pittsburgh, 2011 This dissertation examines the socio-politics of urban performance and ceremonial imagery in the nascent independent communes of late medieval Lazio. It explores the complex manner in which these central Italian cities both emulated and rejected the political and cultural hegemony of Rome through the ideological and performative reinvention of its cult icons. In the twelfth century the powerful urban center of Tivoli adopted Rome’s grandest annual public event, the nocturnal Assumption procession of August 14-15, and transformed it into a potent civic expression that incorporated all sectors of the social fabric. Tivoli’s cult of the Trittico del Salvatore and the Inchinata procession in which the icon of the enthroned Christ was carried at the feast of the Assumption and made to perform in symbolic liturgical ceremonies were both modeled on Roman, papal exemplars. -
Stra D E V Ic Oli Piazze Chie Se O Ra Torj Pub B Lici 1 Sant'andrea E
Type/element Original name English translation Number Rione Strade Vicoli Piazze Chiese Oratorj Pubblici 1 Sant'Andrea e Bernardino dei Rigattieri Junk dealers 70 1 Monti 1 S. Lorenzo in Miranda degli Speziali Pharmacist 81 1 Monti 1 Piazza delle Carrette Carts (produce market) 87 1 Monti 1 Sant'Agata dei Tessitori Fabric weavers 92 1 Monti 1 S. M. del Riscatto degli Acquavitari e Tabaccari Spirit- and Tobacco-sellers 95 1 Monti 1 SS. Martina e Luca de’ Pittori Painters 97 1 Monti 1 Vicolo de’ Carbonari Charcoal-sellers 104 1 Monti 1 Piazza di Macel di Corvi Slaughter house (Butcher) 112 1 Monti 1 Strada delle Carrette Carts (produce market) 142 1 Monti 1 S. M. di Loreto de’ Fornari Italiani Bakers 274 2 Trevi 1 Piazza de' due Macelli Two slaughter houses 369 3 Colonna 1 Strada de’ Sediari Chair makers 414 4 Campomarzo 1 Strada delle Carrozze Coach renters 417 4 Campomarzo 1 SS. Biagio e Cecilia de' Materassari Mattress-makers 450 4 Campomarzo 1 Strada del Macello Slaughter house (Butcher) 458 4 Campomarzo 1 Piazza delle Carrette Carts (produce market) 464 4 Campomarzo 1 S. Gregorio de’ Muratori Masons 495 4 Campomarzo 1 S. Gregorio de’ Muratori Masons 496 4 Campomarzo 1 Vicolo de’ Cimatori Fabric-croppers 554 5 Ponte 1 Strada de’ Coronari Crown/rosary-makers 585 5 Ponte 1 S. Biagio degli Osti Hosts 592 5 Ponte 1 Santa Elisabetta Un. Garzoni Ted. Fornari Baker’s boys 631 6 Parione 1 Strada de’ Chiavari Key-makers 632 6 Parione 1 Santa Barbara de’ Librari Booksellers 634 6 Parione 1 Piazza Pollaroli Poultry-sellers 639 6 Parione 1 Strada de’ Baullari Trunk -makers 640 6 Parione 1 Vicolo de’ Leutari Lute-makers 644 6 Parione 1 Piazza de' Cimatori Fabric croppers 648 6 Parione 1 Vicolo de’ Cartari Paper-makers 658 6 Parione 1 Vicolo de’ Cappellari Hat-makers 685 7 Regola 1 Sant’Eligio degli Orefici Goldsmiths 690 7 Regola 1 S. -
Itinerari Giubilari Cammino Della Via
ITINERARI GIUBILARI CAMMINO DELLA CAMMINO DELLA VIA CAMMINO DEL CAMMINO MARIANO VIA PAPALE PAPALE PELLEGRINO Basilica di S.Giovanni in Basilica di S.Giovanni in Basilica di S.Giovanni in Basilica di Santa Maria Laterano Laterano Laterano Maggiore Via dei Santi Quattro Via dei Santi Quattro Via dei Santi Quattro Via Liberiana Coronati Coronati Coronati Via S. Maria Maggiore Colosseo Colosseo Colosseo Via Urbana Via dei Fori Imperiali Via dei Fori Imperiali Via dei Fori Imperiali Via Leonina Carcere Mamertino Carcere Mamertino Carcere Mamertino Via della Madonna dei Campidoglio Campidoglio Campidoglio Monti Via del Teatro Marcello Via del Teatro Marcello Via del Teatro Marcello Via Tor dei Conti Via Montanara Via Montanara Via Montanara Via dei Fori Imperiali Piazza Campitelli Piazza Campitelli Piazza Campitelli Carcere Mamertino Via dei Funari Via dei Funari Via dei Funari Campidoglio Via Paganica Via Paganica Via dei Falegnami Via del Teatro Marcello Largo di Torre Argentina Largo di Torre Argentina San Carlo ai Catinari Via Montanara Via dei Cestari Via dei Cestari Via di Santa Maria in Piazza Campitelli Monicelli Piazza della Minerva Piazza della Minerva Via dei Funari Piazza di San Paolo alla Via della Palombella Via della Palombella Regola Via Paganica Piazza Sant’Eustachio Piazza Sant’Eustachio Piazza e Chiesa della Largo di Torre Argentina SS. Trinità dei Pellegrini Via dei Sediari Via dei Sediari Via dei Cestari Via Capodiferro Piazza Navona Piazza Navona Piazza della Minerva Piazza Farnese Via di Pasquino Via dell’Anima Via della Palombella Via Mascherone Santa Maria in Vallicella Vicolo della Pace Piazza Sant’Eustachio Via Giulia Via dei Banchi Nuovi Via dei Coronari Via dei Sediari San Giovanni Via del Banco di San Salvatore in Lauro Piazza Navona (da qui S.Spirito dei Fiorentini continua con l’itinerario 1 Ponte Sant’Angelo o 2) Ponte Sant’Angelo Via Paola Castel Sant’Angelo Castel Sant’Angelo Ponte Sant’Angelo Castel Sant’Angelo. -
Tra Testaccio E L'ostiense I Segni Di Roma Produttiva Un Paesaggio
«Roma moderna e contemporanea», XIV, 2006, 1-3, pp. 343-380 ©2007 Università Roma Tre-CROMA TRA TESTACCIO E L’OSTIENSE I SEGNI DI ROMA PRODUTTIVA UN PAESAGGIO URBANO E UN PATRIMONIO CULTURALE PER LA CITTÀ 1. Da oltre un decennio l’area del Testaccio-Ostiense è uno straordinario labora- torio di trasformazioni urbane, un’area strategica per lo sviluppo e la modernizzazio- ne di Roma nel XXI secolo ed anche un terreno di riflessione culturale e progettuale particolarmente impegnativo. Si tratta, infatti, di un’area di grande pregio per la sua posizione strategica (fig. 1) – collocata a cavallo delle Mura Aureliane, a ridosso del centro storico (distante dal Campidoglio tra 1,5 e 4,5 Km), e lungo un asse dire- zionale verso l’EUR e verso il mare che è ancora oggi cruciale per lo sviluppo della città contemporanea –, per le peculiarità ambientali – accarezzata in tutta la sua proiezione dal Tevere e lambita dal Parco dell’Appia –, per uno straordinario pae- saggio urbano che vede accanto a grandi topos della città antica (il Monte Testaccio, la Piramide), di quella paleocristiana (la Basilica di San Paolo fuori le mura), di quella contemporanea (il Cimitero acattolico e Porta San Paolo) i segni di una Roma produttiva che è stata protagonista nel processo di modernizzazione della città nel primo cinquantennio post-unitario. Siamo cioè di fronte a un territorio che contiene profili storici e paesaggistici di rilevante interesse1, tali da creare nell’insieme – oltre che in numerose singole emergenze, peraltro censite, descritte e cartografate dalla Sovraintendenza ai beni culturali del Comune di Roma2 – un importante patrimo- nio culturale per la città. -
10 La Città E Il Suo Ritratto Il Disegno Nuovo Di Roma Moderna Nella Biblioteca Nazionale Centrale Di Roma La Roma Di Greuter
LA CITTÀ E IL SUO RITRATTO 10 Augusto Roca De Amicis La Roma di Matthdus Greuter: crescita e forma di una città moderna 34 Maria Barbara Guerrieri Borsoi Nel segno del cambiamento: la vita e le opere di Matthdus Greuter 50 Mario Bevilacqua Il Disegno Nuovo di Roma Moderna di Matthdus Greuter. Un modello cartografico nell’Europa delle capitali 78 Aloisio Antinori “Roma moderna”: gli apparati della veduta di Greuter 98 Tommaso Manfredi Lelio Biscia, Curator aquarum ac viarum nella Roma di Paolo V 106 IL DISEGNO NUOVO DI ROMA MODERNA NELLA BIBLIOTECA NAZIONALE CENTRALE DI ROMA 124 Legenda LA ROMA DI GREUTER 131 Marisa Tabarrini Salendo al Pindo: dal Collis Hortulorum alla nuova villa suburbana dei Borghese 143 Marisa Tabarrini Il settore settentrionale di Campo Marzio e l’insediamento della famiglia Borghese presso Ripetta 155 Marisa Tabarrini La Platea Sancti Petti e i borghi vaticani 167 Marisa Tabarrini La nuova immagine dei Sacri Palazzi e della basilica di San Pietro negli anni di Paolo V 177 Isabella Salvagni Il recupero dell’antico tra sacralizzazione e pubblica utilità. Le Terme di Diocleziano e la via Pia: il nuovo accesso nord-orientale alla città 187 Isabella Salvagni Termini, piazza Grimana e il nuovo Quirinale: la saldatura tra il tessuto urbano e il disabitato dopo Sisto V 205 Isabella Salvagni Tra fontana di Trevi, Trinità dei Monti e Campo Marzio: il collegamento delle residenze Borghese nella nuova Roma di Paolo V 227 Tommaso Manfredi Il nuovo Campo Marzio: poli e aree di influenza 239 Tommaso Manfredi Le vie del Tevere. Completamenti e nuovi insediamenti urbani tra via Giulia e via della Lungara 247 Augusto Roca De Amicis Il suburbio tra Santa Maria Maggiore e le mura 253 Augusto Roca De Amicis La Suburra e la connessione tra l’abitato e Santa Maria Maggiore negli anni della grande crescita 263 Augusto Roca De Amicis Campo Vaccino e il Campidoglio: i nuovi margini della città 275 Marisa Tabarrini Da ponte Sisto a ponte Rotto. -
Santa Cecilia in Trastevere
(030/21) Santa Cecilia in Trastevere Santa Cecilia in Trastevere is a 9th century monastic and titular church and minor basilica dedicated to St Cecilia, 2nd or 3rd century Roman martyr and patron of musicians. 1 h History: The church is located in what was the most densely inhabited part of Trastevere in early Roman times; its large population mainly due to its proximity to the river Tiber. Where there are now convent buildings there were once four Roman streets surrounding a domus, above which the church was built. It is in the domus that the titulus of a Christian woman named Cecilia was housed. The river would have provided the domus with water for its bathhouse and tannery. j The account of Cecilia stated that she had persuaded her husband Valerian to be baptized. He was subsequently put to death, along with his brother, Tiburtius, and a man named Maximus. Cecilia was then taken before the prefect and sentenced to death by way of suffocation in the caldorinm of her own bathhouse. When this treatment failed to kill her, a soldier was sent to behead her but he struck three blows without succeeding, and she died of the wounds three days later. The remains of the executed men are known to have been buried in the Catacomb of St Praetextatus but the truth of the account and their connection with it is uncertain. 6 h j A sanctuary was built on the house of her husband, Valerianus. This became the ancient Titulus Ceciliae, one of the original twenty-five parishes of Rome.