N.5 TOUR 4 Days * Naples Between Mystic and Secular:Courtyards and Cloisters
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The Rough Guide to Naples & the Amalfi Coast
HEK=> =K?:;I J>;HEK=>=K?:;je CVeaZh i]Z6bVaÒ8dVhi D7FB;IJ>;7C7B<?9E7IJ 7ZcZkZcid BdcYgV\dcZ 8{ejV HVc<^dg\^d 8VhZgiV HVciÉ6\ViV YZaHVcc^d YZ^<di^ HVciVBVg^V 8{ejVKiZgZ 8VhiZaKdaijgcd 8VhVaY^ Eg^cX^eZ 6g^Zcod / AV\dY^EVig^V BVg^\a^Vcd 6kZaa^cd 9WfeZ_Y^_de CdaV 8jbV CVeaZh AV\dY^;jhVgd Edoojda^ BiKZhjk^jh BZgXVidHVcHZkZg^cd EgX^YV :gXdaVcd Fecf[__ >hX]^V EdbeZ^ >hX]^V IdggZ6ccjco^ViV 8VhiZaaVbbVgZY^HiVW^V 7Vnd[CVeaZh GVkZaad HdggZcid Edh^iVcd HVaZgcd 6bVa[^ 8{eg^ <ja[d[HVaZgcd 6cVX{eg^ 8{eg^ CVeaZh I]Z8Vbe^;aZ\gZ^ Hdji]d[CVeaZh I]Z6bVa[^8dVhi I]Z^haVcYh LN Cdgi]d[CVeaZh FW[ijkc About this book Rough Guides are designed to be good to read and easy to use. The book is divided into the following sections, and you should be able to find whatever you need in one of them. The introductory colour section is designed to give you a feel for Naples and the Amalfi Coast, suggesting when to go and what not to miss, and includes a full list of contents. Then comes basics, for pre-departure information and other practicalities. The guide chapters cover the region in depth, each starting with a highlights panel, introduction and a map to help you plan your route. Contexts fills you in on history, books and film while individual colour sections introduce Neapolitan cuisine and performance. Language gives you an extensive menu reader and enough Italian to get by. 9 781843 537144 ISBN 978-1-84353-714-4 The book concludes with all the small print, including details of how to send in updates and corrections, and a comprehensive index. -
Costa Deliziosa Italy, Greece, Croatia 10 July, Venice
Costa Deliziosa Italy, Greece, Croatia 10 July, Venice ITINERARY DATE PORT ARRIVAL DEPARTURE 07/10 Venice - 1700 07/11 Bari 1400 2000 07/12 Corfu 0900 1400 07/13 Mykonos 1500 2300 07/14 Santorini 0730 1430 07/15 ...CRUISING... - - 07/16 Dubrovnik 0800 1300 07/17 Venice 0900 - AVAILABLE EXCURSIONS Bari - 7/11/2016 00HZ A RELAXING DAY AT THE COCO BEACH CLUB IN POLIGNANO A MARE 0116 THE *SASSI DI MATERA* 0121 OLD BARI AND THE NEW CITY: TWO FACES OF THE SAME CITY 0122 THE *TRULLI* OF ALBEROBELLO 0125 BARI BY BIKE 0126 *CASTEL DEL MONTE* AND THE BASILICA OF ST. NICHOLAS 016I ALBEROBELLO - TAPSY TOUR FOR FAMILIES Corfu - 7/12/2016 0801 VISIT TO SISSI'S PALACE AND THE CITY OF CORFU 0802 DISCOVERING PALEOKASTRITSA AND THE CITY OF CORFU 0805 JEEP ADVENTURE: INLAND CORFU AND RELAXING ON THE BEACH 0816 DISCOVER THE CITY OF CORFU AND THE MAGNIFICENT CAVES OF PALEOKASTRITSA 0817 RELAXING ON BARBATI BEACH 0834 THE WONDERS OF THE CITY OF CORFU AND THE NATURAL BEAUTY OF PALEOKASTRITSA Mykonos - 7/13/2016 0865 SIGHTS AND FLAVOURS OF MYKONOS 0866 THE ENCHANTING ISLAND OF DELO 0868 EXPLORING MYKONOS BY JEEP 015W KALAFATI BEACH 00FM RELAXATION ON PLATYS GIALOS BEACH AND THE ENCHANTING TOWN OF MYKONOS 00VD EXPERIENCE - A WALK IN THE HEART OF MYKONOS 1926 EXPLORING MYKONOS BY JEEP AND RELAXING ON THE BEACH 1927 SUNBATHING ON PARADISE BEACH (afternoon) Santorini - 7/14/2016 1914 THE BEST OF SANTORINI 1958 AKROTIRI AND SANTORINI'S PANORAMA 00TK EXPERIENCE: THE WONDERS, FLAVOURS AND TRADITIONS OF SANTORINI 0922 A POSTCARD FROM OIA Costa Deliziosa - Italy, Greece, -
I Palazzi Di Napoli E Dintorni – Parte Seconda
MARIO COLANGELO-Delegazione RAM di Benevento RICOSTRUZIONE DI UN PALAZZO NOBILIARE NAPOLETANO – II PARTE LE SCULTURE Per quanto riguarda l’apparato scultoreo dei singoli palazzi, le sculture dal XV al XVIII secolo non occupano in genere un ruolo preponderante all’interno delle varie dimore: l’esposizione delle stesse all’interno delle sale e delle gallerie non è diffusa o frequente, mentre sicuramente sono utilizzate in grande abbondanza come ornamento esterno, quale arricchimento di portali, terrazzi, nicchie aperte lungo i prospetti, balconi, cortili, giardini pensili, fontane, scale, ambulacri, corridoi, vestiboli e grotte manieristiche. Per quanto riguarda le sale vengono preferiti i bronzetti (sono giunti fino a noi, all’interno della Collezione Farnese e della Collezione De Ciccio, splendidi esemplari realizzati da Guglielmo Della Porta, Giambologna, Alessandro Vittoria e vari artisti del Cinquecento), mentre numerosi sono i marmi antichi. Questi ultimi vengono utilizzati come ornamenti dei giardini e dei cortili, ma talvolta sono inseriti anche nelle gallerie, quale simbolo del prestigio di chi li possiede. Maggiore attenzione è affidata all’apparato scultoreo delle cappelle private, provviste di sculture lignee e marmoree. Nelle dimore sono in attività i più grandi scultori operanti nel periodo di esecuzione dei vari palazzi: in epoca aragonese operano in città Francesco Laurana, Domenico Gagini, Antonio di Chellino, Paolo Romano, Andrea dell’Aquila, Isaia da Pisa, Paolo Taccone, Pietro da Milano, Pere Joan, Jacopo della Pila, Guido Mazzoni, Antonio e Bernardo Rossellino, Benedetto e Giuliano da Maiano, Tommaso e Giovan Tommaso Malvito, Pietro e Giovanni Alemanno e numerosi artisti della cerchia dei Della Robbia (di cui ci sono giunti alcuni esemplari in terracotta invetriata ospitati all’interno del Museo Gaetano Filangieri, della Collezione De Ciccio e del Museo Nazionale di San Martino, dove è esposto il tondo con il Busto virile laureato, proveniente dalla Villa di Poggioreale). -
Ceremonial Demarcations. the Viceregal Court As Space of Political Communication in the Spanish Monarchy (Valencia, Naples, and Mexico 1621–1635)
Ceremonial Demarcations. The Viceregal Court as Space of Political Communication in the Spanish Monarchy (Valencia, Naples, and Mexico 1621–1635) Christian Büschges In political and political-historical pamphlets of the Enlightenment and the nineteenth century as well as in traditional political history, ceremony has been seen as an embellishing, vain, and superfluous accessory of the ‘real’, rational, political acts that were regulated by legal norms and institutions. Modern historiography, on the other hand, taking into account sociological and ethnological approaches, emphasises the specific rationality and political nature of ceremony, which is, in turn, only a form of expressing the symbolic dimension inherent in every political communication and interaction.1 At the early-modern court the function of ceremony, which stood out from the spontaneous, individual, everyday acts, lay in making visible the system of monarchical rule and the social and political ranks inherent in it. Ceremony granted the courtiers a visible position in the oft-disputed curial ranking and at the same time fitted external visitors into this symbolic representation of hierarchy.2 Using the example of the court of Louis XIV of France, Norbert Elias, in his study on the ‘court society’ (Die höfische Gesellschaft), which sparked the revival of modern court research, considered ceremony as an exclusive instru- ment of power of monarchical absolutism.3 While Elias coined the image of the court as a ‘golden cage’ used by the absolutist ruler to domesticate the nobility, he also pointed out the ‘very specific network of interdependencies’ that connected the king as primus inter pares to the noble court society and 1 Barbara Stollberg-Rilinger, ‘Zeremoniell als politisches Verfahren. -
LOST and BEAUTIFUL (Bella E Perduta) a Film by Pietro Marcello
LOST AND BEAUTIFUL (Bella e Perduta) A film by Pietro Marcello 87 minutes/ DCP/ 1.85:1/ 5.1/ Italy/In Italian with English Subtitles/16 mm Release 9th July 2021 – in conjunction with Martin Eden FOR ALL PRESS ENQUIRIES PLEASE CONTACT: Sue Porter/Lizzie Frith – Porter Frith Ltd Tel. 07940 584066/07825 603705 [email protected] FOR ALL OTHER ENQUIRIES PLEASE CONTACT Robert Beeson – [email protected] Dena Blakeman – [email protected] Unit 9, Bickels Yard 151 – 153 Bermondsey St London SE1 3HA [email protected] SYNOPSIS Despite death threats from the Mafia and his country’s general apathy, a humble shepherd, Tommaso, takes it upon himself to look after the abandoned Bourbon palace of Carditello, north of Naples, deep in the heart of the ‘Land of Fires.’ One day, Tommaso suffers a heart attack and dies: but not before making a final wish. He summons a masked character named Pulcinella to rescue a buffalo calf called Sarchiopone from the forsaken palace. Together, man and beast, embark on a long journey through a lost and beautiful Italy, searching for something which may no longer exist. Shot on expired 16mm stock, Lost and Beautiful is a ravishing work that (after The Mouth of the Wolf) presaged the arrival of an extraordinary new filmmaker. Further information and downloads here Photo sets for download – here CAST Tomasso Tomasso Cestrone Pulcinella Sergio Vitolo Gisuino Gisuino Pittalis Sarchiapone (voice) Elio Germano Teresa Teresa Montesarchio Raffaele Raffaele Montesarchio CREW Director Pietro Marcello Script -
Vincenzo Gemito (1852-1929) October 2019 Sculptor of the Neapolitan Soul from 15 October 2019 to 26 January 2020
PRESS KIT Vincenzo Gemito (1852-1929) October 2019 Sculptor of the Neapolitan soul from 15 October 2019 to 26 January 2020 Tuesday to Sunday 10am to 6pm INFORMATIONS Late opening Friday until 9pm www.petitpalais.paris.fr . Museo e Certosa di San Martino, Photo STUDIO SPERANZA STUDIO Photo Head of a young boy Naples. Fototeca del polo museale della campaniaNaples. Fototeca Vincenzo Gemito, PRESS OFFICER : Mathilde Beaujard [email protected] / + 33 1 53 43 40 14 Exposition organised in With the support of : collaboration with : Vincenzo Gemito (1852-1929), Sculptor of the Neapolitan soul- from 15 October 2019 to 26 January 2020 SOMMAIRE Press release p. 3 Guide to the exhibition p. 5 The Exhibition catalogue p. 11 The Museum and Royal Park of Capodimonte p. 12 Paris Musées, a network of Paris museums p. 19 About the Petit Palais p. 20 Practical information p. 21 2 Vincenzo Gemito (1852-1929), Sculptor of the Neapolitan soul- from 15 October 2019 to 26 January 2020 PRESS RELEASE At the opening of our Neapolitan season, the Petit Pa- lais is pleased to present work by sculptor Vincenzo Gemito (1852-1929) that has never been seen in France. Gemito started life abandoned on the steps of an or- phanage in Naples. He grew up to become one of the greatest sculptors of his era, celebrated in his home- town and later in the rest of Italy and Europe. At the age of twenty-five, he was a sensation at the Salon in Paris and, the following year, at the 1878 Universal Ex- position. -
Art and Politics at the Neapolitan Court of Ferrante I, 1458-1494
ABSTRACT Title of Dissertation: KING OF THE RENAISSANCE: ART AND POLITICS AT THE NEAPOLITAN COURT OF FERRANTE I, 1458-1494 Nicole Riesenberger, Doctor of Philosophy, 2016 Dissertation directed by: Professor Meredith J. Gill, Department of Art History and Archaeology In the second half of the fifteenth century, King Ferrante I of Naples (r. 1458-1494) dominated the political and cultural life of the Mediterranean world. His court was home to artists, writers, musicians, and ambassadors from England to Egypt and everywhere in between. Yet, despite its historical importance, Ferrante’s court has been neglected in the scholarship. This dissertation provides a long-overdue analysis of Ferrante’s artistic patronage and attempts to explicate the king’s specific role in the process of art production at the Neapolitan court, as well as the experiences of artists employed therein. By situating Ferrante and the material culture of his court within the broader discourse of Early Modern art history for the first time, my project broadens our understanding of the function of art in Early Modern Europe. I demonstrate that, contrary to traditional assumptions, King Ferrante was a sophisticated patron of the visual arts whose political circumstances and shifting alliances were the most influential factors contributing to his artistic patronage. Unlike his father, Alfonso the Magnanimous, whose court was dominated by artists and courtiers from Spain, France, and elsewhere, Ferrante differentiated himself as a truly Neapolitan king. Yet Ferrante’s court was by no means provincial. His residence, the Castel Nuovo in Naples, became the physical embodiment of his commercial and political network, revealing the accretion of local and foreign visual vocabularies that characterizes Neapolitan visual culture. -
Returns to Pompeii Eddy.Indb 3 2016-11-07 16:11 !"#$#%&"'('$)!$!%*%"#$')'%+'$)!,#$'
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Selected Works from 18Th to 20Th Century
SELECTED WORKS From 18th to 20th CENTURY GALLERIA CARLO VIRGILIO & C0. GALLERIA CARLO VIRGILIO & Co. ARTE ANTICA MODERNA E CONTEMPORANEA Edition curated by Stefano Grandesso in collaboration with Eugenio Maria Costantini Aknowledgements Franco Barbieri, Bernardo Falconi, Massimo Negri English Translations Daniel Godfrey, Michael Sullivan Photo Credits Photographs were provided by the owners of the works, both institutions and individuals. Additional information on photograph sources follows. Arte Fotografica, Rome, pp. 4, 7, 9, 13-19, 25, 27, 29, 31, 33, 43, 45, 47, 57, 61-63, 67, 69, 71, 73, 75, 77-79, 81, 83, 85, 88 Foto Claudio Falcucci, p. 25 Foto Giusti Claudio, Lastra a Signa, p. 35 Giulio Archinà per StudioPrimoPiano, p. 23 Paolo e Federico Manusardi, Milano, pp. 39, 41 The editor will be pleased to honor any outstanding royalties concerning the use of photographic images that it has so far not been possible to ascertain. ISBN 978-88-942099-4-5 © Edizioni del Borghetto Tel. + 39 06 6871093 - Fax +39 06 68130028 e-mail: [email protected] http//www.carlovirgilio.it SELECTED WORKS From 18th to 20th CENTURY Catalogue entries Adriano Amendola, Manuel Carrera, Eugenio Maria Costantini, Federica Giacomini, Cristiano Giometti, Stefano Grandesso, Silvia Massari, Fernando Mazzocca, Hermann Mildenberger, Giuseppe Porzio, Serenella Rolfi Ožvald, Valeria Rotili, Annalisa Scarpa, Ilaria Sgarbozza, Ettore Spalletti, Nicola Spinosa TEFAF Maastricht March 16–24, 2019 e GALLERIA CARLO VIRGILIO & Co. ARTE ANTICA MODERNA E CONTEMPORANEA ISBN 978-88-942099-4-5 Via della Lupa, 10 - 00186 Roma 59 Jermyn Street, Flat 5 - London SW1Y 6LX Tel. +39 06 6871093 [email protected] - [email protected] www.carlovirgilio.it Detail of cat. -
A Scenographic Solution for a Neapolitan Bridge in the Beginning of Nineteenth Century
A scenographic solution for a Neapolitan bridge in the beginning of nineteenth century C. Ceraldi, V. Mormone and E.R. Ermolli University of Naples, Department of Construction and Mathematical Methods in Architecture, Naples, Italy M. Lippiello Second University of Naples, Department of Civil Engineering, Aversa, Italy V. Tempone Second University of Naples, Department of History of Architecture and Anthropic Environment, Aversa Italy ABSTRACT: Object of the present study is the masonry bridge, still standing, built for King Ferdinand I of Bourbon, in 1818, by the court scenographer and architect Antonio Niccolini, in the Villa Floridiana Park in Naples. The original drawing, plan and front view, of Niccolini’s design is kept in the Archive of the Saint Martin Museum in Naples. The bridge, made of Nea- politan tuff and bricks, with a single polycentric arch, spanning thirty metres, can be ascribed to the typology of lightened tympanum bridges, in which continuum masonry in the backfills is substituted by a system of vaults leaning upon the extrados of the underlying arch. The static behaviour of the bridge will be studied, basing upon a detailed survey and an accurate examina- tion of the historical sources, also employing the graphical methods known at the age of its re- alization. 1 INTRODUCTION 1.1 Antonio Niccolini, scenographer and architect Notices about the life and first education of the scenographer and architect Antonio Niccolini, born in Tuscany (at San Miniato in the district of Pisa), the 21 April 1772, can be deduced by his autobiography, “Memories of my life”, written in 1847, now kept in the Neapolitan National Library, Mancini (1964). -
Comunicato Stampa Maggio Dei Monumenti
Comunicato stampa Maggio dei Monumenti 2019 - XXV edizione Il diritto alla felicità. Filangieri e il '700 dei Lumi dal 25 aprile al 2 giugno In occasione del 220esimo anniversario dei moti rivoluzionari del 1799 di cui Gaetano Filangieri, il suo pensiero e la sua opera furono ispirazione e premessa fondamentale, l’Assessorato alla Cultura e al e al Turismo del Comune di Napoli dedica la 25esima edizione del Maggio dei Monumenti al tema “Il diritto alla felicità. Filangieri e il '700 dei Lumi”. Gaetano Filangieri (1753 – 1788) fu uno dei massimi giuristi e pensatori dell’Illuminismo. Con la sua opera principale, La Scienza della Legislazione, auspicò, attraverso una riforma generale della legislazione, la realizzazione dello sviluppo socio-economico degli Stati, della pace e della ''pubblica felicità'', innnovando in senso moderno la filosofia del diritto. Il programma del Maggio è frutto di un lavoro interistituzionale con i più importanti enti culturali della città: l’Università degli studi di Napoli Federico II, l'Università degli Studi di Napoli “L'Orientale”, l'Università degli Studi “Suor Orsola Benincasa” di Napoli, l’Università degli Studi della Campania “Luigi Vanvitelli”, l'Accademia di Belle Arti di Napoli, l’Institut Français di Napoli, la Biblioteca Nazionale di Napoli, il Teatro di San Carlo, l'Istituto Italiano per gli Studi Storici “Benedetto Croce”, la Società Napoletana di Storia Patria, l'Istituto Italiano per gli Studi Filosofici, il Museo Nazionale di Capodimonte di Napoli, il Museo Civico Filangieri di Napoli, Palazzo Zevallos di Stigliano, il Certame Vichiano tra gli altri. Il programma si articolerà in una serie di iniziative: reading, concerti, spettacoli teatrali e di guarattelle, conferenze, mostre, convegni e visite guidate. -
'The System of This Court': Elizabeth Farnese, the Count of Santiesteban
The Court Historian ISSN: 1462-9712 (Print) 2056-3450 (Online) Journal homepage: https://www.tandfonline.com/loi/ycou20 ‘The System of This Court’: Elizabeth Farnese, the Count of Santiesteban and the Monarchy of the Two Sicilies, 1734–1738 PABLO VÁZQUEZ-GESTAL To cite this article: PABLO VÁZQUEZ-GESTAL (2009) ‘The System of This Court’: Elizabeth Farnese, the Count of Santiesteban and the Monarchy of the Two Sicilies, 1734–1738, The Court Historian, 14:1, 23-47, DOI: 10.1179/cou.2009.14.1.002 To link to this article: https://doi.org/10.1179/cou.2009.14.1.002 Published online: 03 Nov 2014. Submit your article to this journal Article views: 20 View related articles Citing articles: 1 View citing articles Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=ycou20 (The SysteITlof This Court': Elizabeth Farnese, the Count of Santiesteban and the Monarchy of the Two Sicilies, 1734-1738 BY PABLO VAZQUEZ-GESTALl The new kingdom of the Two Sicilies was set up in 1734 under the direct supervision of the Spanish crown, since the young Don Carlos, first-born son of Philip V and l Elizabeth Farnese, was thought to be too young to· rule it by himself. Before its conquest and subsequent independence in that year, the kingdom of Naples had belonged to the Spanish king for more than two centuries until. 1707, when the viceroyalty was conquered and ruled by the Emperor. However, the city of Naples was still one of the most significant capitals of eighteenth-century Europe and the new kingdom wasa distinct political territory that was strategically important to both the Italian peninsula and the wider Mediterranean.