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Rome: Portrait of a City 2019
Rome: Portrait of a City 2019 28 OCT – 9 NOV 2019 Code: 21941 Tour Leaders Em. Prof. Bernard Hoffert Physical Ratings Explore the treasures of the Eternal City, from the Etruscans through to the 21st century, with art history expert Emeritus Professor Bernard Hoffert. Overview Join Emeritus Professor Bernard Hoffert in Rome on a program that explores the enduring yet ever- changing nature of this extraordinary city. In Tarquinia, north of Rome, discover the exquisite beauty of Etruscan wall painting at the UNESCO site of the Necropoli dei Monterozzi and view fine Etruscan sculpture at the Villa Giulia. Marvel at the extraordinary ancient Roman architectural and engineering feats like the Pantheon and the revolutionary Roman documentary realism in the sculpture of Augustus’ Ara Pacis Augustae. Admire the glistening Early Christian and medieval mosaics that convey a sense of a transcendent world in churches such as Santa Prassede, Santa Maria Maggiore, San Clemente and Santa Maria in Trastevere. View Michelangelo’s awesome God of Creation on the Sistine Ceiling and his terrifying Just Christ of the Last Judgement, as well as Raphael’s superb frescoes in the Vatican Stanze and the Villa Farnesina. Outside Rome, wander through the exquisite pentagonal Villa Farnese at Caprarola with its extensive park adorned with fountains, walled gardens and a casino; and explore the garden masterpiece of the Renaissance, Vignola’s Villa Lante at Bagnaia. Contemplate Caravaggio’s portrayal of deep spiritual awakening in his St Matthew cycle in the church of San Luigi dei Francesi, and his Crucifixion of Saint Peter and Conversion of St Paul at Santa Maria del Popolo, and witness the revolutionary illusionism and high drama of Gian Lorenzo Bernini’s sculptures at the Villa Borghese. -
Rome and Beyond for the Cognoscenti May 6 – 16, 2019
ROMTravel – World Cultures Tour Let our experts be your guides Rome and Beyond for the Cognoscenti May 6 – 16, 2019 Whether you have been to Rome before or Quartiere Coppedè. Afternoon visit to the Hotels this will be your first visit, our trip to the ancient churches of Santa Costanza and Rome Fortyseven Hotel 7 nights Eternal City contains sights specially chosen Sant’Agnese and its catacombs. Orvieto Hotel La Badia 3 nights to delight you by our Resource Person Ken Day 6 Rome Bartlett. By the end of this tour, you will Visit the Palazzo Doria Pamphilj (optional). Resource Person indeed be one of the “cognoscenti”, those “in Tour of the Palazzo Colonna. Included lunch. Dr. Kenneth Bartlett is Professor of History & the know” about Rome! Walking tour of the Qurinale, including the Renaissance Studies at Victoria College, U of Our journey will take us through time churches of Sant’Andrea, San Carlino, Santa T. He is author of A Short History of the from the Etruscans, through the ancient Maria Vittoria and Santa Maria degli Angeli. Italian Renaissance, The English in Italy: A Romans, the artists and architects of the Day 7 Rome Study in Culture and Politics and The th Morning walking tour of the Roman Forum. Renaissance, the 20 century and up to today, Civilization of the Italian Renaissance as well Afternoon visit to the Capitoline Museum. and will feature sumptuous palaces, idyllic as five video series, including the most Day 8 Rome – Tivoli – Orvieto gardens, magnificent paintings and sculpture, recent, The Guide to Essential Italy, with the Depart Rome and drive to Tivoli. -
The Virtuoso of Compassion Ingrid D
The Virtuoso of Compassion Ingrid D. Rowland MAY 11, 2017 ISSUE The Guardian of Mercy: How an Extraordinary Painting by Caravaggio Changed an Ordinary Life Today by Terence Ward Arcade, 183 pp., $24.99 Valentin de Boulogne: Beyond Caravaggio an exhibition at the Metropolitan Museum of Art, New York City, October 7, 2016–January 22, 2017; and the Musée du Louvre, Paris, February 20–May 22, 2017 Catalog of the exhibition by Annick Lemoine and Keith Christiansen Metropolitan Museum of Art, 276 pp., $65.00 (distributed by Yale University Press) Beyond Caravaggio an exhibition at the National Gallery, London, October 12, 2016–January 15, 2017; the National Gallery of Ireland, Dublin, February 11–May 14, 2017 Catalog of the exhibition by Letizia Treves and others London: National Gallery, 208 pp., $40.00 (distributed by Yale University Press) The Seven Acts of Mercy a play by Anders Lustgarten, produced by the Royal Shakespeare Company, Stratford-upon- Avon, November 24, 2016–February 10, 2017 Caravaggio: The Seven Acts of Mercy, 1607 Pio Monte della Misericordia, Naples Two museums, London’s National Gallery and New York’s Metropolitan Museum of Art, mounted exhibitions in the fall of 2016 with the title “Beyond Caravaggio,” proof that the foul-tempered, short-lived Milanese painter (1571–1610) still has us in his thrall. The New York show, “Valentin de Boulogne: Beyond Caravaggio,” concentrated its attention on the French immigrant to Rome who became one of Caravaggio’s most important artistic successors. The National Gallery, for its part, ventured “beyond Caravaggio” with a choice display of Baroque paintings from the National Galleries of London, Dublin, and Edinburgh as well as other collections, many of them taken to be works by Caravaggio when they were first imported from Italy. -
The Building of Palazzo Pamphilj
The building of Palazzo Pamphilj Author: Stephanie Leone Persistent link: http://hdl.handle.net/2345/bc-ir:107932 This work is posted on eScholarship@BC, Boston College University Libraries. Published in Palazzo Pamphilj: Embassy of Brazil in Rome, pp. 15-67, 2016 These materials are made available for use in research, teaching and private study, pursuant to U.S. Copyright Law. The user must assume full responsibility for any use of the materials, including but not limited to, infringement of copyright and publicat PALAZZO PAMPHILJ Embassy of Brazil in Rome UMBERTO ALLEMANDI The Building of Palazzo Pamphiij STEPHANIE LEONE he Palazzo Pamphilj overlooks the Piazza Navona, one of the largest and most celebrated public spaces in T Rome that is situated at the heart of the historical centre (fig. I). The monumental palace stretches for eighty ,five metres along the Western flank of the piazza from the Southern corner coward the Northern end. The exceptionally long fapde is organised into a symmetrical sequence of bays with a projecting central section and is buttressed, at the North end, by a distinct fapde with a large serliana win, dow (an arch with crabeaced sides). The exterior boasts a profusion of ornament that enlivens the surface and punctuates the horizontality of the building. Through sheer scale and abundance of form, the Palazzo Pamphilj bespeaks grandeur and authority. Architecture serves the rhetorical functions of communication and persuasion. In the early modem period (ca. 1500-1800), palaces in particular became synonymous with the statm of their owners. Today, the Palazzo Pamphilj houses the Embassy of Brazil in Rome, but until the government ofBrazil purchased the palace in 1960, it had belonged to the Pamphilj family. -
Credits Chart with No Captions 7-22-2021
Note: This chart has revised figure numbers for most of the figures, starting after Figure 12. The revised numbers are indicated in red. Figure 1: Nolli Plan of Rome, 1748, Giambattista Nolli, 1748, architect and engraver, engraving on copper; 12 plates or sectors, original copper plates (12 in number) stored in the Palazzo della Calcografia, National Institute for Graphic Design, Rome, reproduction, MAXXI, Public domain Figure 2: Roma Interrotta, 1978, Sponsor: Incontri Internazionali d'Arte; invited participants: Sartogo, Dardi, Grumbach, Stirling, Portoghesi, Giurgola, Venturi, Rowe (w/ DiMaio, Littenberg, Peterson, Carl), Graves, L. Krier, Rossi, R. Krier, MAXXI, Rome, Museo Nazionale delle Arti del XXI Secolo, exhibited, Trajan's Market, Rome, 1978 Figure 3: Nolli Plan of Rome, 1748, Giambattista Nolli, 1748 Figure 4: Roma Interrotta, 1978, based on Colin Rowe's History for Sector 8, ROME: The Lost and Unknown City (Roma Ignota e Perduta), Colin Rowe, Judith DiMaio, Barbara Littenberg, Steven Peterson, Peter Carl, 1978-1978, ink on mylar, sector 8, MAXXI, Rome, Museo Nazionale delle Arti del XXI Secolo, exhibited, Trajan's Market, Rome, 1978 Figure 5: Villa Madama, Rome, Robert Hubert, ca.1760, wash drawing, State Hermitage Museum, Saint Petersburg, Russia, Public domain Figure 6: The Emperor Napoleon in His Study at the Tuileries, Jacques-Louis David, oil on canvas, 1812, National Gallery of Art, Washington DC, Public domain Figure 7: Portrait du Pape Pie VII, Jacques-Louis David, oil on panel, 1805, Musée du Louvre, Paris, Public domain Figure 8: La Girandola di Castel Sant'Angelo, Franz Theodor Aerni, painting, ca. 1874, Museo di Roma, Trastevere, Rome, Public domain Figure 9: The Grand Carousel in Honor of Christina of Sweden, Filippo Gagliardi and Filippo Lauri, oil on canvas, Museo di Roma, Palazzo Braschi, Rome, Public domain Figure 10: Grand Cascade, Peterhof Palace and Gardens, Detail of the Samson and the Lion Fountain, B. -
Tour Highlights.ICAA Secret Rome.6.9
Secret Rome & the Countryside: Exemplary Private Palaces, Villas & Gardens and Archeological Sites Sponsored by The Institute of Classical Architecture & Art Organized by Pamela Huntington Darling Saturday, October 3rd to Sunday, October 11th, 2015 – 8 days/8 nights Called the Eternal City, Rome is a treasure of architecture and art, history and culture, and has been an essential destination for sophisticated travelers for centuries. Yet behind the city's great monuments and museums lies a Rome unknown to even the most seasoned visitors. Our exceptional program offers an intimate group of discerning travelers unprecedented access to Rome's most exclusive and evocative treasures—a secret Rome of exquisite palazzi, villas and gardens, world-class art collections and momentous and behind-the-scenes sites accessible only to the privileged few. By exclusive personal invitation of Italian nobility, ambassadors, curators and eminent members of the Roman elite, for eight unprecedented days we will discover, with their owners, exemplary private palazzi, castles and villas—rarely, if ever, opened to the public—in the city and surrounding countryside, as well as legendary archeological sites open only by special request. During our privileged, exclusive discovery, we will observe the development of Roman architecture, décor, art and landscape design with expert lecturers, architect Thomas Rankin, historian Anthony Majanlahti and art historians Sara Magister and Frank Dabell. Program Day 1: Saturday, October 3rd Afternoon welcome and visit to the Capitoline Museums, with Professor Thomas Greene Rankin. Professor Rankin and Pamela Hunting Darling will welcome you with a brief introduction to our exceptional program, followed by a walk with Professor Rankin to the Capitoline, the most important of the Seven Hills of Rome, where we will visit the Capitoline Museums to view masterpieces of classical sculpture to set the context of the “Grand Tour.” Late afternoon private reception at the Cavalieri di Rodi, headquarters of the Knights of Malta. -
“Caravaggio's Roman Madonnas,” Presented in a Symposium Held In
“Caravaggio’s Roman Madonnas,” presented in a symposium held in conjunction with The Age of Caravaggio exhibition, The Metropolitan Museum of Art, April 1, 1985 (click here for first page) 1 CARAVAGGIO’S ROMAN MADONNAS The Age of Caravaggio, Symposium, The Metropolitan Museum of Art April 1, 1985 I originally intended my talk this afternoon to serve two incidental purposes, in both of which I fear it is more or less a failure. By focusing on some of the major Roman altarpieces I thought I might compensate a little for their absence from the otherwise splendid exhibition we are celebrating; you will see that the result is rather badly out of focus. Secondly, I had planned to give a thumbnail sketch of a longer study I have been plotting for years on Caravaggio’s Mariolatry; but I was carried away just you might imagine, at the beginning; so you will hear perhaps too much about the first in the series, the Rest on the Flight to Egypt, and nothing at all about the last, the Madonna of the Rosary. The essence of what I have to say is very simple. We are abundantly familiar with the phenomenon of the artist coming to Rome from elsewhere and being overwhelmed by the grandeur of the city’s ancient monuments and the monumental achievements of the great masters of the High Renaissance. The same may certainly be said of Caravaggio, but I believe that he discovered something else in Rome, as well—the Church. That is what I really hope, or rather hoped before I failed, to convey this afternoon. -
Rome Architecture Guide 2020
WHAT Architect WHERE Notes Zone 1: Ancient Rome The Flavium Amphitheatre was built in 80 AD of concrete and stone as the largest amphitheatre in the world. The Colosseum could hold, it is estimated, between 50,000 and 80,000 spectators, and was used The Colosseum or for gladiatorial contests and public spectacles such as mock sea Amphitheatrum ***** Unknown Piazza del Colosseo battles, animal hunts, executions, re-enactments of famous battles, Flavium and dramas based on Classical mythology. General Admission €14, Students €7,5 (includes Colosseum, Foro Romano + Palatino). Hypogeum can be visited with previous reservation (+8€). Mon-Sun (8.30am-1h before sunset) On the western side of the Colosseum, this monumental triple arch was built in AD 315 to celebrate the emperor Constantine's victory over his rival Maxentius at the Battle of the Milvian Bridge (AD 312). Rising to a height of 25m, it's the largest of Rome's surviving ***** Arch of Constantine Unknown Piazza del Colosseo triumphal arches. Above the archways is placed the attic, composed of brickwork revetted (faced) with marble. A staircase within the arch is entered from a door at some height from the ground, on the west side, facing the Palatine Hill. The arch served as the finish line for the marathon athletic event for the 1960 Summer Olympics. The Domus Aurea was a vast landscaped palace built by the Emperor Nero in the heart of ancient Rome after the great fire in 64 AD had destroyed a large part of the city and the aristocratic villas on the Palatine Hill. -
The Original Documents Are Located in Box 16, Folder “6/3/75 - Rome” of the Sheila Weidenfeld Files at the Gerald R
The original documents are located in Box 16, folder “6/3/75 - Rome” of the Sheila Weidenfeld Files at the Gerald R. Ford Presidential Library. Copyright Notice The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Gerald R. Ford donated to the United States of America his copyrights in all of his unpublished writings in National Archives collections. Works prepared by U.S. Government employees as part of their official duties are in the public domain. The copyrights to materials written by other individuals or organizations are presumed to remain with them. If you think any of the information displayed in the PDF is subject to a valid copyright claim, please contact the Gerald R. Ford Presidential Library. Digitized from Box 16 of the Sheila Weidenfeld Files at the Gerald R. Ford Presidential Library 792 F TO C TATE WA HOC 1233 1 °"'I:::: N ,, I 0 II N ' I . ... ROME 7 480 PA S Ml TE HOUSE l'O, MS • · !? ENFELD E. • lt6~2: AO • E ~4SSIFY 11111~ TA, : ~ IP CFO D, GERALD R~) SJ 1 C I P E 10 NTIA~ VISIT REF& BRU SE 4532 UI INAl.E PAL.ACE U I A PA' ACE, TME FFtCIA~ RESIDENCE OF THE PR!S%D~NT !TA y, T ND 0 1 TH HIGHEST OF THE SEVEN HtL.~S OF ~OME, A CTENT OMA TtM , TH TEMPLES OF QUIRl US AND TME s E E ~oc T 0 ON THIS SITE. I THE CE TER OF THE PR!SENT QU?RINA~ IAZZA OR QUARE A~E ROMAN STATUES OF C~STOR .... -
Tour Highlights.ICAA Private Rome.3.13.FINAL
Private Rome & the Countryside: Exemplary Private Palaces, Villas & Gardens and Archeological Sites Sponsored by The Institute of Classical Architecture & Art Organized by Pamela Huntington Darling Saturday, October 3rd to Sunday, October 11th, 2015 – 8 days/8 nights Known as the Eternal City, Rome has captured the imagination of artists, writers and sophisticated travelers through the ages. With a spectacular cultural heritage, unique in the world, this ancient city was home to Italy's most powerful and influential figures, who left an indelible mark on western history and culture. A must for all who appreciate classical architecture and its origins, our exclusive program will take an intimate group of discerning individuals to experience Rome's most significant and evocative sites, along with the secret Rome known only to Roman nobility and the privileged few. For eight luxurious days we will view exemplary private palazzi, castles and villas in the city and surrounding countryside, as well as and legendary archeological sites rarely open to the public. We will observe the development of Roman architecture, art and interior design guided by expert our lecturers, architect Thomas Rankin, historian Anthony Majanlahti and art historians Sara Magister and Frank Dabell. We will enjoy private visits, lunches and dinners in stunning private residences—many rarely, if ever, opened to the public—owned by Roman nobility and esteemed members of the Roman cultural and social elite. Program Day 1: Saturday, October 3rd Afternoon welcome and visit to the Capitoline Museums, with Professor Thomas Greene Rankin. Professor Rankin and Pamela Hunting Darling will welcome you with a brief introduction to our exceptional program, followed by a walk with Professor Rankin to the Capitoline, the most important of the Seven Hills of Rome, where we will visit the Capitoline Museums to view masterpieces of classical sculpture to set the context of the “Grand Tour.” Late afternoon private reception at the Cavalieri di Rodi, headquarters of the Knights of Malta. -
Tommaso Salini Revisited: Two New Attributions Aaron Thom
Aaron Thom Tommaso Salini Revisited: Two New Attributions Aaron Thom otentially one of the most infamous and idiosyncratic figures from the Caravaggesque coterie, Tommaso Salini (c.1575–1625), also known as ‘Mao,’ is foremost remembered Pfor his bond with his biographer Baglione (1566–1643). It is paradoxical, therefore, that scholars have been far from certain about most of the canvases Salini painted, despite the personal anecdotes peppering his long career. In Baglione’s Lives of 1642, the author waxes lyrical about Salini composing works “with good taste and diligence,” and he credits Salini with being “the first person to place flowers and leaves in vases, with various whimsical and strange inventions.”1 Baglione was possibly biased considering the pair’s close friendship, for Caravaggio (1571–1610) described Salini as Baglione’s “guardian angel.”2 Numerous works have ambiguously carried Salini’s name over the years, and although he had a long career, only a few autograph paintings definitively attributed to him have been discovered. Recent scholarship has refocused connoisseurship on the artist and these contemporary endeavours are an excellent foundation upon which to build a corpus of well-founded attributions. However, the majority of pictures that have been attributed to Salini seem to contradict each other, as they are so dissimilar that they could not have been executed by one hand. Many of them have a contrived aesthetic and picturesque ambience that should not be dated to the first quarter of the seicento in Rome, as they are more sublime and indicative of artists working later in the century. Studies pertaining to Caravaggio and his followers are intrinsically linked to complex problems of attribution. -
Caravaggio, Second Revised Edition
CARAVAGGIO second revised edition John T. Spike with the assistance of Michèle K. Spike cd-rom catalogue Note to the Reader 2 Abbreviations 3 How to Use this CD-ROM 3 Autograph Works 6 Other Works Attributed 412 Lost Works 452 Bibliography 510 Exhibition Catalogues 607 Copyright Notice 624 abbeville press publishers new york london Note to the Reader This CD-ROM contains searchable catalogues of all of the known paintings of Caravaggio, including attributed and lost works. In the autograph works are included all paintings which on documentary or stylistic evidence appear to be by, or partly by, the hand of Caravaggio. The attributed works include all paintings that have been associated with Caravaggio’s name in critical writings but which, in the opinion of the present writer, cannot be fully accepted as his, and those of uncertain attribution which he has not been able to examine personally. Some works listed here as copies are regarded as autograph by other authorities. Lost works, whose catalogue numbers are preceded by “L,” are paintings whose current whereabouts are unknown which are ascribed to Caravaggio in seventeenth-century documents, inventories, and in other sources. The catalogue of lost works describes a wide variety of material, including paintings considered copies of lost originals. Entries for untraced paintings include the city where they were identified in either a seventeenth-century source or inventory (“Inv.”). Most of the inventories have been published in the Getty Provenance Index, Los Angeles. Provenance, documents and sources, inventories and selective bibliographies are provided for the paintings by, after, and attributed to Caravaggio.