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Catilina Legatus. Considerazioni Su Un Discusso Frammento Sallustiano Gianpaolo Urso
Catilina legatus. Considerazioni su un discusso frammento sallustiano Gianpaolo Urso To cite this version: Gianpaolo Urso. Catilina legatus. Considerazioni su un discusso frammento sallustiano. KTÈMA Civilisations de l’Orient, de la Grèce et de Rome antiques, Université de Strasbourg, 2019, La rhé- torique de la diplomatie en Grèce ancienne, 44, pp.197-207. halshs-02444372 HAL Id: halshs-02444372 https://halshs.archives-ouvertes.fr/halshs-02444372 Submitted on 17 Jan 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. KTÈMA KTÈMA KTÈMA CIVILISATIONS DE L’ORIENT, DE LA GRÈCE ET DE ROME ANTIQUES CIVILISATIONS DE L’ORIENT, DE LA GRÈCE ET DE ROME ANTIQUES KTÈMA est une revue annuelle de recherche consacrée à l’histoire, l’archéologie et la littérature de la Grèce, de Rome, de l’Égypte et du La rhétorique de la diplomatie en Grèce ancienne Proche-Orient antiques. Fondée en 1976 par Edmond Frézouls et Cinzia Bearzot, Laura Loddo Introduction ........................................................................................................................... 5 Edmond Lévy, KTÈMA jouit d’une solide réputation internationale Laura Loddo Political Exiles and Their Use of Diplomacy in Classical Greece .................................... 7 et ses articles sont abondamment cités. Elle accueille des dossiers Cinzia Bearzot À propos du parallélisme entre deux discours d’ambassade à Sparte (Xén. -
1-Day Rome City Guide a Preplanned Step-By-Step Time Line and City Guide for Rome
1 day 1-day Rome City Guide A preplanned step-by-step time line and city guide for Rome. Follow it and get the best of the city. 1-day Rome City Guide 2 © PromptGuides.com 1-day Rome City Guide Overview of Day 1 LEAVE HOTEL Tested and recommended hotels in Rome > Take Metro Line A to Ottaviano San Pietro station 09:00-10:10 St. Peter's Basilica Largest Christian Page 5 church in the world 10:10-10:40 Piazza di San Pietro One of the best known Page 5 squares in the world Take Metro Line A from Ottaviano San Pietro station to Termini station (Direction: Anagnina) Change to Metro Line B from Termini station to Colosseo station (Direction: Laurentina) - 30’ in all 11:10-12:40 Colosseum Iconic symbol of Page 6 Imperial Rome Take a walk to Arch of Constantine - 5’ 12:45-12:55 Arch of Constantine Majestic monument Page 6 Lunch time Take a walk to Piazza Venezia 14:30-14:50 Piazza Venezia Focal point of modern Page 7 Rome Take a walk to the Pantheon - 15’ 15:05-15:35 Pantheon The world's largest Page 7 unreinforced concrete Take a walk to Piazza Navona - 10’ dome 15:45-16:15 Piazza Navona One of the most Page 7 beautiful squares in Take a walk to Trevi Fountain - 25’ Rome 16:40-17:10 Trevi Fountain One of the most familiar Page 8 sights of Rome Take a walk to Spanish Steps - 20’ 17:30-18:00 Spanish Steps Rome's most beloved Page 8 Rococo monument END OF DAY 1 © PromptGuides.com 3 1-day Rome City Guide Overview of Day 1 4 © PromptGuides.com 1-day Rome City Guide Attraction Details 09:00-10:10 St. -
Planning Versus Fortification: Sangallo's Project for the Defence of Rome Simon Pepper
Fort Vol. 2 1976 Planning versus fortification: Sangallo's project for the defence of Rome Simon Pepper Since 1527, when Rome had been captured and sacked by the mutinous soldiers of Charles V, it had been clear that the defences of the Papal capital were hopelessly outdated. The walls of the Borgo (the Vatican precinct) were constructed during the pontificate of Leo IV (847-855): those of Trastevere and the left bank, enclosing by far the largest part of the city, dated from the reign of the Emperor Aurelian (AD270-75) [1]. Impressive both for their length and antiquity, these walls were poorly maintained and fundamentally unsuitable for defence against gunpowder artillery. In 1534 the Romans were once again forcefully reminded of their vulnerability when a large Turkish fleet moored off the Tiber estuary. Fortunately the hostile intentions of the Turks were directed elsewhere: after taking on fresh water they sailed north to raid the Tuscan coastline. But in the immediate aftermath of the Turkish scare the newly elected Paul III committed himself to an ambitious scheme of re-fortification. Antonio da Sangallo the Younger, advised by many of the leading architects and soldiers employed by the Pope, was commissioned to submit design proposals [2]. Father Alberto Guglielmotti, the nineteenth-century historian of the Papal armed forces, tells us that Sangallo and his consultants decided to replace the Aurelian wall with a new line of works defending the developed areas on both banks of the river. The 18000 metre Aurelian circumfer- ence was to be reduced by half, a decision which is not difficult to understand when one glances at a contemporary map of the city. -
Palazzo Barberini: Galleria Nazionale D’Arte Antica
Palazzo Barberini: Galleria Nazionale d’Arte Antica El Palazzo Barberini, situado en la confluencia de una de las vías más importantes de la ciudad de Roma, la Via del Tritone, es uno de los lugares de Roma que merece la pena visitar. Antigua residencia de la familia Barberini, depositaria de uno de los linejes papales más afamados, el Palazzo Barberini, una vez musealizado, se ha convertido en Galleria Nazionale d’Arte Antica, uno de los museos más prestigiosos y con mayor número de obras de arte de la Ciudad Eterna. El palacio, obra del arquitecto barroco Carlo Maderno y con intervención de Gian Lorenzo Bernini y Francesco Borromini, se convirtió en un referente a la hora de la construcción de palacios urbanos, ya que unía entre sus características las propias del palacio urbano y la villa campestre adornada con grandes jardines. Así pues, la propiedad de la familia Barberini y los bienes que poseía, fueron comprados por el recién creado estado italiano y, gracias al incremento de la colección Corsini, la Galleria Nazionale d’Arte Antica se trasladó desde su antigua ubicación hasta el presente palacio. Paseando por sus dos niveles repletos de obras maravillosas, recreándote en cada una de ellas, porque cada una de ellas es especial, admirando los Tiziano, los Greco, los Bernini, los Caravaggio, los Guido Reni, acostarte para dejarte deslumbrar por el gigantesco techo con el “Triunfo de la Divina Providencia” de Pietro da Cortona... Un sinfín de objetos para alimentar el disfrute tanto del alma como del espíritu. O simplemente pasear por los jardines de la villa, un oasis de tranquilidad en medio de una ciudad populosa. -
The Porta Del Popolo, Rome Pen and Brown Ink on Buff Paper
Muirhead BONE (Glasgow 1876 - Oxford 1953) The Porta del Popolo, Rome Pen and brown ink on buff paper. Signed Muirhead Bone at the lower right. 222 x 170 mm. (8 3/4 x 6 5/8 in.) One of the first trips that Muirhead Bone made outside Britain was a long stay of two years - from October 1910 to October 1912 – in central and northern Italy, accompanied by his wife Gertrude and their children. After spending several weeks in Florence, the Bone family settled in Rome in the early months of 1911, and from October 1911 lived in a flat overlooking the Piazza del Popolo. During his time in Italy Bone produced thirty-two copper plates and numerous fine drawings, several of which were sent from Italy to London and Glasgow to be sold by his dealers. A number of Bone’s drawings of Italy were exhibited at the Colnaghi and Obach gallery in London in 1914, to very positive reviews. The present sheet depicts part of the outer façade of the city gate known as the Porta del Popolo, a section part of the Aurelian Walls encircling the city of Rome. The gate was the main entrance to Rome from the Via Flaminia and the north, and was used by most travellers arriving into the city for the first time. Built by Pope Sixtus IV for the Jubilee year of 1475, the Porta del Popolo was remodelled in the 16th century under Pope Pius IV. The Pope had asked Michelangelo to design the new outer façade of the Porta, but the elderly artist passed the commission on to the architect Nanni di Baccio Bigio, who completed the work between 1562 and 1565. -
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. -
HCS — History of Classical Scholarship
ISSN: 2632-4091 History of Classical Scholarship www.hcsjournal.org ISSUE 1 (2019) Dedication page for the Historiae by Herodotus, printed at Venice, 1494 The publication of this journal has been co-funded by the Department of Humanities of Ca’ Foscari University of Venice and the School of History, Classics and Archaeology of Newcastle University Editors Lorenzo CALVELLI Federico SANTANGELO (Venezia) (Newcastle) Editorial Board Luciano CANFORA Marc MAYER (Bari) (Barcelona) Jo-Marie CLAASSEN Laura MECELLA (Stellenbosch) (Milano) Massimiliano DI FAZIO Leandro POLVERINI (Pavia) (Roma) Patricia FORTINI BROWN Stefan REBENICH (Princeton) (Bern) Helena GIMENO PASCUAL Ronald RIDLEY (Alcalá de Henares) (Melbourne) Anthony GRAFTON Michael SQUIRE (Princeton) (London) Judith P. HALLETT William STENHOUSE (College Park, Maryland) (New York) Katherine HARLOE Christopher STRAY (Reading) (Swansea) Jill KRAYE Daniela SUMMA (London) (Berlin) Arnaldo MARCONE Ginette VAGENHEIM (Roma) (Rouen) Copy-editing & Design Thilo RISING (Newcastle) History of Classical Scholarship Issue () TABLE OF CONTENTS LORENZO CALVELLI, FEDERICO SANTANGELO A New Journal: Contents, Methods, Perspectives i–iv GERARD GONZÁLEZ GERMAIN Conrad Peutinger, Reader of Inscriptions: A Note on the Rediscovery of His Copy of the Epigrammata Antiquae Urbis (Rome, ) – GINETTE VAGENHEIM L’épitaphe comme exemplum virtutis dans les macrobies des Antichi eroi et huomini illustri de Pirro Ligorio ( c.–) – MASSIMILIANO DI FAZIO Gli Etruschi nella cultura popolare italiana del XIX secolo. Le indagini di Charles G. Leland – JUDITH P. HALLETT The Legacy of the Drunken Duchess: Grace Harriet Macurdy, Barbara McManus and Classics at Vassar College, – – LUCIANO CANFORA La lettera di Catilina: Norden, Marchesi, Syme – CHRISTOPHER STRAY The Glory and the Grandeur: John Clarke Stobart and the Defence of High Culture in a Democratic Age – ILSE HILBOLD Jules Marouzeau and L’Année philologique: The Genesis of a Reform in Classical Bibliography – BEN CARTLIDGE E.R. -
Borromini and the Cultural Context of Kepler's Harmonices Mundi
Borromini and the Dr Valerie Shrimplin cultural context of [email protected] Kepler’sHarmonices om Mundi • • • • Francesco Borromini, S Carlo alle Quattro Fontane Rome (dome) Harmonices Mundi, Bk II, p. 64 Facsimile, Carnegie-Mellon University Francesco Borromini, S Ivo alla Sapienza Rome (dome) Harmonices Mundi, Bk IV, p. 137 • Vitruvius • Scriptures – cosmology and The Genesis, Isaiah, Psalms) cosmological • Early Christian - dome of heaven view of the • Byzantine - domed architecture universe and • Renaissance revival – religious art/architecture symbolism of centrally planned churches • Baroque (17th century) non-circular domes as related to Kepler’s views* *INSAP II, Malta 1999 Cosmas Indicopleustes, Universe 6th cent Last Judgment 6th century (VatGr699) Celestial domes Monastery at Daphne (Δάφνη) 11th century S Sophia, Constantinople (built 532-37) ‘hanging architecture’ Galla Placidia, 425 St Mark’s Venice, late 11th century Evidence of Michelangelo interests in Art and Cosmology (Last Judgment); Music/proportion and Mathematics Giacomo Vignola (1507-73) St Andrea in Via Flaminia 1550-1553 Church of San Giacomo in Augusta, in Rome, Italy, completed by Carlo Maderno 1600 [painting is 19th century] Sant'Anna dei Palafrenieri, 1620’s (Borromini with Maderno) Leonardo da Vinci, Notebooks (318r Codex Atlanticus c 1510) Amboise Bachot, 1598 Following p. 52 Astronomia Nova Link between architecture and cosmology (as above) Ovals used as standard ellipse approximation Significant change/increase Revival of neoplatonic terms, geometrical bases in early 17th (ellipse, oval, equilateral triangle) century Fundamental in Harmonices Mundi where orbit of every planet is ellipse with sun at one of foci Borromini combined practical skills with scientific learning and culture • Formative years in Milan (stonemason) • ‘Artistic anarchist’ – innovation and disorder. -
AIS Latin Immersion February - March 2020 ROME | VATICAN CITY | POMPEII | PAESTUM
AIS Latin Immersion February - March 2020 ROME | VATICAN CITY | POMPEII | PAESTUM v. February 2, 2020 EdOdyssey creates one-of-a-kind, fully customized immersion trips for schools. This program has been designed for Atlanta International School students studying Latin in grades 6-8 to complement their study of Latin, Roman history, mythology, art, and culture. During the trip, students will gain valuable insight into the history and rich cultural heritage of the amazing city of Rome, Vatican City, and Pompeii. This trip, open to all 6th-8th graders, will expose students to many aspects of Rome’s including history, cuisine, art, and culture. Upon return, students will have a rich understanding of life in Rome, as it was in ancient times to present day. All visits are tailored to be fun and education for middle school students! Program webpage: www.edodyssey.com/aisitaly DAY 1 - TRAVEL DAY (ATLANTA TO ROME) - FEBRUARY 26, 2020 (WEDNESDAY) 1:50pm Meet at Lufthansa Airlines Counter, Atlanta’s Hartsfield Jackson Airport Please be prompt to allow enough time for check-in, goodbyes, and security. Don’t forget your passport! 4:50pm Fly from Boston (BOS) to Rome (FCO) ATL-FRA // 4:50pm EST - 7:40am (+1 day, local time, 27-Feb 2020) - Flight LH445 FRA-FCO // 10:55am (local time) - 12:45pm (local time, 27-Feb 2020) - Flight LH232 DAY 2 - ARRIVE IN ROME! - FEBRUARY 27, 2020 (THURSDAY) Afternoon: Welcome to Rome! Your plane lands at 12:45pm local time. The group will be welcomed by EdOdyssey’s local educator at Leonardo Da Vinci (Fiumicino) airport and a bus will bring the group to the convent where we will be staying. -
Front Matter
Cambridge University Press 978-1-107-02320-8 - Campus Martius: The Field of Mars in the Life of Ancient Rome Paul W. Jacobs II and Diane Atnally Conlin Frontmatter More information CAMPUS MARTIUS A mosquito-infested and swampy plain lying north of the city walls, Rome’s Campus Martius, or Field of Mars, was used for much of the Roman Republic as a military training ground and as a site for celebratory rituals and the occasional political assembly. Initially punctuated with temples vowed by victorious generals, during the imperial era it became filled with extraordinary baths, theaters, porticoes, aqueducts, and other structures – many of which were architectural firsts for the capital. This book explores the myriad factors that contributed to the transformation of the Campus Martius from an occasionally visited space to a crowded center of daily activity. It presents a case study of the repurposing of urban landscape in the Roman world and explores how existing topographical features that fit well with the republic’s needs ultimately attracted architecture that forever transformed those features but still resonated with the area’s original military and ceremonial traditions. Paul W. Jacobs II is an independent scholar who focuses on ancient Rome and its topographical development. A graduate of Harvard College and the University of Virginia Law School, and a litigator by training, Jacobs has practiced and published in the area of voting rights, where knowledge of demographics, mapmaking, and geography is essential. He has spent extensive time in Rome and has studied the ancient city and its development for decades. Diane Atnally Conlin is Associate Professor of Classics at the University of Colorado, Boulder. -
Rome in Bernini's Footsteps
Rome in Bernini’s Footsteps – La Voce di New York 11/25/17, 10:19 AM Roma bike tours - Choose the best guided tour Enjoy with us the squares, the monuments, and the streets of the genuine Rome. leadingroma.com Sections Close DONATE VNY PROUD Arts Commenta per primoShared: 6!"#$%& Rome in Bernini’s Footsteps Afer seeing ”Bernini” at the Villa Borghese, follow this itinerary to visit this exceptional artist's other masterpieces around Rome by Lucy Gordan Elephant and Obelisk by Bernini Nov 20 2017 At the Villa Borghese in Rome several of Bernini's sculptures are on permanent exhibit, but his heritage is to be found in more sites in Rome. An easier but not chronological route, which takes about 2 hours on foot (or by hopping on and off the no. 62 bus) not including visiting time, starts at the church of Santa Maria della Vittoria with his Ecstasy of St. Teresa and ends in St. Peter’s Square. Utilizziamo i cookie per offrirti servizi e informazioni in linea con le tue preferenze. Continuando a scorrere e a navigare ne consenti l'uso. OK Maggiori informazioni http://www.lavocedinewyork.com/en/arts/2017/11/20/rome-in-the-berninis-footsteps/ Page 1 of 10 Rome in Bernini’s Footsteps – La Voce di New York 11/25/17, 10:19 AM Gianlorenzo Bernini Gian Lorenzo Bernini, the most famous and important sculptor in 17th century Europe, but also a recognized architect, painter, events organizer, poet and playwright, was born in Naples on December 7, 1598 to a Mannerist sculptor, Pietro Bernini, originally from near Florence, and Angelica Galante, a Neapolitan, the sixth of their thirteen children. -
Tridente, Trevi & Quirinale
©Lonely Planet Publications Pty Ltd 103 Tridente, Trevi & the Quirinale PIAZZA DI SPAGNA & THE SPANISH STEPS | PIAZZA DEL POPOLO & AROUND | TREVI TO THE QUIRINALE | WEST OF VIA DEL CORSO | PIAZZA BARBERINI & VIA VENETO Neighbourhood Top Five 1 People watching, chat- 2 Gazing in wonder at the 4 Hearing a concert tering, photo-snapping and Caravaggio masterpieces in in the Cortona-designed dreaming on the Chiesa di Santa Maria del chapel after a Sunday visit Spanish Steps (p 105 ), with Popolo (p 106 ). to the Palazzo del a view down the glittering (p 110 ). 3 Visiting the Trevi Quirinale backbone of the Tridente Fountain (p 108 ) late in the 5 Seeing Palazzo district, designer-store-lined evening, when the crowds Barberini’s (p110) architec- Via Condotti. have ebbed away. tural treasures, and feasting your eyes on the gallery’s Italian masters. Lgt 00 00 M FLAMINO 00 0500m ich 00 e# isa 00 00.25miles el Lu Viale del Muro Torto ia a VILLA angel V oi Sav000002# di 00000 0 BORGHESE 00000Piazza del 0 na d'Italia P o o 00000 0 ia ors Vi a c 00000Popolo Galoppatoio n C Vi Piazza s i a P s ia a Luc della V d Sa Libertà i Vi L R TRIDENTE la r g adelB e ip t SALLUSTIANO ria z et i d o e T t a Car i i a M CAMPO b buino Via Boncompagni e e o r MARZIO l l R BORGO i n i 00000 v e i 00000 r e ipetta 00000 Via Ludovisi b r Vi 00000# m 000Piazza 000001 e 000 ad 00000 tt 000Cavour 00000 Via e 000 el C 00000 S ia di R 00000 X i V 00000 Si X t 00000 sti ia a o orso 00000 na ini V r o in er P i nt 000 b t z e 000 ar Lg r m 000 a B a Cle 000Vi M el COLONNA