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Catalogue-Guided-Tours-Kids.Pdf
C A T A L O G U E G U I D E D T O U R S K I D S E D I T I O N The Colosseum, the largest amphitheater in the world Duration: 2 hours Our guide will be waiting for you in front of the Colosseum, the largest and most famous amphitheater in the world. You will discover together what happened inside this "colossal" building where about 50,000 spectators could enter to watch the gladiator shows offered by the Roman emperors until the fifth century. Place of incredible fun for the ancient Romans. Exotic animals, gladiators acclaimed and loved as heroes, spectacular death sentences and grandiose naumachiae. We will unveil many curiosities and false legends about the largest amphitheater in the world. The Palatine, from the Hut of Romulus to the Imperial Palace Duration: 2 hours A long time ago, between history and legend, Rome was born ... but where exactly?! On the Palatine Hill! We will start from the mythical origin of the Eternal City, when the two brothers Romulus and Remus fought for its dominion, discovering that everything started from small wooden huts, to arrive in an incredible journey through time and archaeology to the marbles and riches of the imperial palaces, admired throughout the ancient world. You will meet kings and emperors, but also shepherds and farmers! Castel Sant'Angelo, the Mausoleum of Hadrian Duration: 2 hours Our guide will be waiting for you in front of the Castle's main door to let you discover the secrets of one of the most famous monuments of ancient Rome. -
Arch 242: Building History Ii
ARCH 242: BUILDING HISTORY II Renaissance & Baroque: Rise & Evolution of the Architect 01 AGENDA FOR TODAY . GIULIANO DA SANGALLO - The Renaissance Architect - The spread of the Renaissance - The centralized church plan - Santa Maria delle Carceri - Villa Medici at Poggio a Caiano - Plan for Saint Peter’s - Discussion 02 GIULIANO DA SANGALLO Giuliano Da Sangallo, 1443-1516 - Born in Florence, Italy - Projects near Florence, Prato, and Rome, Italy 03 LOCATIONS IN ITALY Prato Florence Rome Map of Italy 04 GIULIANO DA SANGALLO Giuliano Da Sangallo, 1443-1516 - Born in Florence, Italy - Projects near Florence, Prato, and Rome, Italy - Worked as a sculptor, architect, and military engineer 05 RENAISSANCE STUDENT Filippo Brunelleschi Leon Battista Alberti 06 GIULIANO DA SANGALLO Giuliano Da Sangallo, 1443-1516 - Born in Florence, Italy - Projects near Florence, Prato, and Rome, Italy - Worked as a sculptor, architect, and military engineer - The Renaissance Architect 07 SANGALLO IN ROME Ancient Roman Theater of Marcellus Ruins Crypta Balbi engraving - Sangallo’s drawing 08 THE CENTRALLY PLANNED CHURCH Appeared during the High Renaissance - Many centrally planned churches sprung up between 1480 & 1510 - Symbolized the perfection of god as well as nature; particularly those in the shape of a perfect circle - Satisfied the Humanist mission to find links between nature and art San Sebastiano, Alberti, 1460 09 RENAISSANCE HUMANISM The humanist movement spread throughout Italy - Upheld empirical observation and experience - Humanist ideas stemmed -
Domitian's Arae Incendii Neroniani in New Flavian Rome
Rising from the Ashes: Domitian’s Arae Incendii Neroniani in New Flavian Rome Lea K. Cline In the August 1888 edition of the Notizie degli Scavi, profes- on a base of two steps; it is a long, solid rectangle, 6.25 m sors Guliermo Gatti and Rodolfo Lanciani announced the deep, 3.25 m wide, and 1.26 m high (lacking its crown). rediscovery of a Domitianic altar on the Quirinal hill during These dimensions make it the second largest public altar to the construction of the Casa Reale (Figures 1 and 2).1 This survive in the ancient capital. Built of travertine and revet- altar, found in situ on the southeast side of the Alta Semita ted in marble, this altar lacks sculptural decoration. Only its (an important northern thoroughfare) adjacent to the church inscription identifies it as an Ara Incendii Neroniani, an altar of San Andrea al Quirinale, was not unknown to scholars.2 erected in fulfillment of a vow made after the great fire of The site was discovered, but not excavated, in 1644 when Nero (A.D. 64).7 Pope Urban VIII (Maffeo Barberini) and Gianlorenzo Bernini Archaeological evidence attests to two other altars, laid the foundations of San Andrea al Quirinale; at that time, bearing identical inscriptions, excavated in the sixteenth the inscription was removed to the Vatican, and then the and seventeenth centuries; the Ara Incendii Neroniani found altar was essentially forgotten.3 Lanciani’s notes from May on the Quirinal was the last of the three to be discovered.8 22, 1889, describe a fairly intact structure—a travertine block Little is known of the two other altars; one, presumably altar with remnants of a marble base molding on two sides.4 found on the Vatican plain, was reportedly used as building Although the altar’s inscription was not in situ, Lanciani refers material for the basilica of St. -
Ancient Cities: the Archaeology of Urban Life in the Ancient Near East, Egypt, Greece and Rome, Second Edition
ART 2311: Art and Architecture in Rome Fall 2016 A Days (Mondays and Wednesdays), 11:30am-1:00pm Aula Magna (plus site visits on some Wednesday afternoons) COURSE DESCRIPTION: This course gives students the unique opportunity to immerse themselves in the development of the city of Rome through a study of its art, architecture and urban transformation. It focuses on the major artistic and architectural movements occurring primarily in Italy (as well as their Greek antecedents) from roughly the 8th century BCE to the 20th century CE. In the study of each period we will strive to understand Rome’s artistic and architectural works within the contexts in which they were created. Our study of art, architecture and urban planning will therefore take into account the historical, political, social, religious and cultural contexts of the patrons, artists and viewers. Particular emphasis will be placed on ancient Greece and Rome, early Christianity, the Renaissance and the Baroque periods. We will also explore the reuse, borrowing and revival of ancient artistic and architectural themes in later periods. Instructor: Office Hours: Dr. Elizabeth Robinson Monday 4:00-6:00pm, or by appointment. [email protected] If you cannot make it to these office hours, Office: 560 please let me know and we can work out Office Phone: extension 560 another time to meet. REQUIRED TEXTS: (G) Gates, C.F. Ancient Cities: The archaeology of Urban Life in the Ancient Near East, Egypt, Greece and Rome, second edition. (Routledge, 2011). (C) Claridge, A. Rome. An Oxford Archaeological Guide. (Oxford 1998). (CP) Coursepack (consisting of several different readings assembled specifically for this course) ADDITIONAL READINGS: Occasionally texts, articles and handouts that will supplement the texts listed above may be assigned. -
Evaluating the Effects of the Geography of Italy Geography Of
Name: Date: Evaluating the Effects of the Geography of Italy Warm up writing space: Review: What are some geographical features that made settlement in ancient Greece difficult? Write as many as you can. Be able to explain why you picked them. _____________________________________________________________________________________________ _____________________________________________________________________________________________ _____________________________________________________________________________________________ _____________________________________________________________________________________________ _____________________________________________________________________________________________ Give One / Get One Directions: • You will get 1 card with important information about Rome’s or Italy’s geography. Read and understand your card. • Record what you learned as a pro or a con on your T chart. • With your card and your T chart, stand up and move around to other students. • Trade information with other students. Explain your card to them (“Give One”), and then hear what they have to say (“Get One.”) Record their new information to your T chart. • Repeat! Geography of Italy Pros J Cons L Give one / Get one cards (Teachers, preprint and cut a set of these cards for each class. If there are more than 15 students in a class, print out a few doubles. It’s okay for some children to get the same card.) The hills of Rome Fertile volcanic soil 40% Mountainous The city-state of Rome was originally Active volcanoes in Italy (ex: Mt. About 40% of the Italian peninsula is built on seven hills. Fortifications and Etna, Mt. Vesuvius) that create lava covered by mountains. important buildings were placed at and ash help to make some of the the tops of the hills. Eventually, a land on the peninsula more fertile. city-wall was built around the hills. Peninsula Mediterranean climate Tiber River Italy is a narrow peninsula—land Italy, especially the southern part of The Tiber River links Rome, which is surrounded by water on 3 sides. -
My Roman Days] Tom Tucker [P 1963]
I Miei Giorni Romani [My Roman Days] Tom Tucker [P 1963] Preface: I am writing this at the age of 73. It’s been fifty years since I returned from my studies in Rome. They were marvelous years of growth and maturity. At the same time, I often thought of some more whimsical and touching experiences that happened to me during those years. These are some of those experiences that I want to share with you. I. “I don’t even like Wine! (April 1965) It was a lovely spring day at the end of April, 1965 in Honesdale, Pennsylvania at Kilroe Seminary. We were at lunch. The provincial council was visiting and they had finished up their meetings that morning. After lunch ended, Fr. Peter Miller, scj, the Provincial Superior got up to make some announcements about some decisions the Council had made. As he finished up, he paused and almost as an afterthought he said, “oh yes, Frater Tom Tucker will begin his studies in Philosophy in Rome this coming September”...and sat down. My life had suddenly changed…and for the better as it worked out. I was in shock and all I remember saying was, “I don’t even like wine.” Never in my wildest dreams did I ever think I would be going to Rome. Other scholastics had been sent to Rome for studies over the years. But, me? I tried without success to find out how this happened and what it meant. I had not even been asked if I would like to study there. -
Renaissance Gardens of Italy
Renaissance Gardens of Italy By Daniel Rosenberg Trip undertaken 01-14 August 2018 1 Contents: Page: Introduction and overview 3 Itinerary 4-5 Villa Adriana 6-8 Villa D’Este 9-19 Vatican 20-24 Villa Aldobrindini 25-31 Palazzo Farnese 32-36 Villa Lante 37-42 Villa Medici 43-45 Villa della Petraia 46-48 Boboli Gardens 49-51 Botanical Gardens Florence 52 Isola Bella 53-57 Isola Madre 58-60 Botanic Alpine Garden Schynige Platte (Switz.) 61-62 Botanic Gardens Villa Taranto 63-65 Future Plans 66 Final Budget Breakdown 66 Acknowledgments 66 Bibliography 66 2 Introduction and Overview of project I am currently employed as a Botanical Horticulturalist at the Royal Botanic Gardens Kew. I started my horticultural career later in life and following some volunteer work in historic gardens and completing my RHS level 2 Diploma, I was fortunate enough to secure a place on the Historic and Botanic Garden training scheme. I spent a year at Kensington Palace Gardens as part of the scheme. Following this I attended the Kew Specialist Certificate in Ornamental Horticulture which gave me the opportunity to deepen my plant knowledge and develop my interest in working in historic gardens. While on the course I was able to attend a series of lectures in garden history. My interest was drawn to the renaissance gardens of Italy, which have had a significant influence on European garden design and in particular on English Gardens. It seems significant that in order to understand many of the most important historic gardens in the UK one must understand the design principles and forms, and the classical references and structures of the Italian renaissance. -
Rome Informational Booklet UCLA
WHAT STUDENTS EXPERIENTIAL ARE SAYING LEARNING ROME TRAVEL STUDY: ROMAN HISTORY ZEHRA ABBAS History and Gender Studies & CLASSICS “As a history major, it was essential to do this study abroad trip, because it contextualized the things I had learned in my classes. It's di$erent to read about the Colosseum, but it's even better to actualy visualize the Colosseum.” GARRETT KAHRE Mechanical Engineering “My favorite part of this program is how the history seems to jump out at you. I remember one day towards the beginning of the program where! we literaly ran into the Pantheon. I mean how do you accidentaly run into one of the most famous Explore the city of Rome and History can quiet the polarizing subject. architectural buildings in the world!” learn about its ancient history and It’s one thing to read of centuries past in a monuments this summer.! textbook, an another to live among the ! city where it all took place.! FRANKLIN Study the politics and culture of SPENCER Rome from its earliest foundations African American on the Palatine hill to the triumph Studies INTERESTED IN LEARNING MORE of the new religion of Christianity, “I joined the Rome Study program because I plan on being FROM A STUDENT’S and the subsequent collapse of an PERSPECTIVE? a professor, and what a better way to get experience than empire almost 1200 years later.! Visit RomeTravelStudy.blogspot.com seeing the ancient ruins for yourself! This way I could explain a history lecture fom my own perspective.” for more information and tips! COURSE CREDITS PROGRAM FEATURES In this program, Rome is your actual classroom. -
The Baroque Underworld Vice and Destitution in Rome
press release The Baroque Underworld Vice and Destitution in Rome Bartolomeo Manfredi, Tavern Scene with a Lute Player, 1610-1620, private collection The French Academy in Rome – Villa Medici Grandes Galeries, 7 October 2014 – 18 January 2015 6 October 2014 11:30 a.m. press premiere 6:30 p.m. – 8:30 p.m. inauguration Curators : Annick Lemoine and Francesca Cappelletti The French Academy in Rome - Villa Medici will present the exhibition The Baroque Underworld. Vice and Destitution in Rome, in the Grandes Galeries from 7 October 2014 to 18 January 2015 . Curators are Francesca Cappelletti, professor of history of modern art at the University of Ferrara and Annick Lemoine, officer in charge of the Art history Department at the French Academy in Rome, lecturer at the University of Rennes 2. The exhibition has been conceived and organized within the framework of a collaboration between the French Academy in Rome – Villa Medici and the Petit Palais, Musée des Beaux-Arts de la Ville de Paris, where it will be shown from 24 February to 24 May 2015. The Baroque Underworld reveals the insolent dark side of Baroque Rome, its slums, taverns, places of perdition. An "upside down Rome", tormented by vice, destitution, all sorts of excesses that underlie an amazing artistic production, all of which left their mark of paradoxes and inventions destined to subvert the established order. This is the first exhibition to present this neglected aspect of artistic creation at the time of Caravaggio and Claude Lorrain’s Roman period, unveiling the clandestine face of the Papacy’s capital, which was both sumptuous and virtuosic, as well as the dark side of the artists who lived there. -
Late Renaissance 1520S
ARCG221- HISTORY OF ARCHITECTURE II Late Renaissance and Mannerism 1520s - 1580s Dr. Abdurrahman Mohamed Saint Peters cathedral in the late renaissance Giuliano de Sangallo, Giocondo and Raphael were followed by Baldasari Belotti then by de Sangallo the younger and both died by 1546. All of these architects inserted changes on the original design of Bramante. Michael Angelo was commissioned in 1546 and most of the existing design of the cathedral belongs to him. Da Snagalo the younger design for Saint Peter’s church Michelangelo plan for Saint Peter’s church Ricci, Corrado.High and late Renaissance Architecture in Italy. pXII Michelangelo dome of St Peter’s Cathedral Roof of St. Peter's Basilica with a coffee bar and a gift shop. http://www.saintpetersbasilica.org/Exterior/SP-Square-Area.htm The grand east facade of St Peter's Basilica, 116 m wide and 53 m high. Built from 1608 to 1614, it was designed by Carlo Maderna. The central balcony is called the Loggia of the Blessings and is used for the announcement of the new pope with his blessing. St. Peter’s Cathedral View from St. Peter’s square designed by Bernini http://en.wikipedia.org/wiki/File:Vatican_StPeter_Square.jpg Palazzo Farnese, De Sangallo the Younger, 1534, upper floor by Michelangelo Ground floor plan 1- Courtyard 2- Entrance hall 3- Entrance fro the square Palazzo Farnese, De Sangallo the Younger, 1534, upper floor by Michelangelo Main façade Villa Giulia Palazzo Villa Giulia http://www.flickr.com/photos/dealvariis/4155570306/in/set-72157622925876488 Quoins Mannerism 1550-1600 The architecture of late renaissance which started at the end of 3rd decade of the 16th century followed the classical origins of the early and high renaissance. -
The Ballatoio of S. Maria Del Fiore in Florence Alessandro Nova
Originalveröffentlichung in: Millon, Henry A. (Hrsg.): The Renaissance from Brunelleschi to Michelangelo : the representation of architecture, London 1994, S. 591-597 The Ballatoio of S. Maria del Fiore in Florence Alessandro Nova The ballatoio is the only part of Florence Cathedral that 1.17 meters high and proportional to the existing one at was never completed, and the complex developments sur the base of the tribunes. This proposal is far removed rounding its fate are matter of debate. As far as the models from Brunelleschi ’s architectural language and, in fact, is in the Museo dell’Opera are concerned, there is a telling no more than a description of what we see in Andrea di report prepared in 1601 by Alessandro Allori, architect in Bonaiuto ’s fresco, in other words, a description of the charge of the building ’s maintenance, suggesting that model of 1367. The second solution, which proposed a they be inventoried to ascertain their original purpose double passage, covered below and open above, is the one (Guasti 1857:157), and hence by the time Florence was Brunelleschi most likely aimed to realize. under the rule of the grand dukes, the real purpose of The building records reveal that the brick model that the these models had already been forgotten. Such problems architect had built in 1418 was embellished by a wooden are compounded by the occasionally generic information ballatoio and lantern, whose construction had involved provided by the sources, the not always reliable attribu the contribution of Nanni di Banco and Donatello tions of modern critics, and the appalling damage caused (Saalman 1980: 62). -
Simonetta Cattaneo Vespucci: Beauty. Politics, Literature and Art in Early Renaissance Florence
! ! ! ! ! ! ! SIMONETTA CATTANEO VESPUCCI: BEAUTY, POLITICS, LITERATURE AND ART IN EARLY RENAISSANCE FLORENCE ! by ! JUDITH RACHEL ALLAN ! ! ! ! ! ! ! A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! Department of Modern Languages School of Languages, Cultures, Art History and Music College of Arts and Law University of Birmingham September 2014 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT ! My thesis offers the first full exploration of the literature and art associated with the Genoese noblewoman Simonetta Cattaneo Vespucci (1453-1476). Simonetta has gone down in legend as a model of Sandro Botticelli, and most scholarly discussions of her significance are principally concerned with either proving or disproving this theory. My point of departure, rather, is the series of vernacular poems that were written about Simonetta just before and shortly after her early death. I use them to tell a new story, that of the transformation of the historical monna Simonetta into a cultural icon, a literary and visual construct who served the political, aesthetic and pecuniary agendas of her poets and artists.