Medieval Rome and Its Monuments
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Best Tours in Rome"
"Best Tours in Rome" Created by: Cityseeker 9 Locations Bookmarked Colosseum "Symbol of Rome" The magnanimous proportions of the Colosseum have long been a source of wonder. Originally envisioned in 70 CE, the construction of this grand structure was completed in 80 CE. At that time, it is believed that this vast amphitheater could seat upwards of 50,000 spectators at once. The Colosseum also features on the Italian version of the five-cent Euro. by TreptowerAlex Deemed as one of the Seven Wonders of the World, the Colosseum was designed to be a horse racing circuit and arena for animal fighting and gladiatorial battles, although it has also hosted significant religious ceremonies in its early days. It is a symmetrical wonder set in the historic landscape of Rome's heart. The enormous ruin is a UNESCO World Heritage Site and is considered by many to be an iconic symbol of Italy. +39 06 699841 parcocolosseo.it/area/colosseo/ Piazza del Colosseo 1, Rome Basilica di San Clemente al Laterano "Basilica on Three Levels" A visit to Basilica di San Clemente al Laterano is a fascinating journey through time. From the upper basilica, which dates from the beginning of the 12th Century and whose apse boasts the mosaic The Triumph of the Cross, one passes into the 4th-century lower basilica, and, via a stairway, by Nicholas Hartmann down to the Roman constructions and the mitreo, a 3rd-century temple dedicated to the God Mithra. Of particular interest are the frescoes in the chapel of St Catherine, painted between 1428 and 1431 by Masolino da Panicale, possibly with the collaboration of Masaccio. -
Denominazione Codice Discrizione Scopo Sedeente OPERA
Denominazione Codice DIscrizione Scopo SedeEnte OPERA NAZIONALE PER I FIGLI DEGLI AVIATORI 1 15/01/1940 EDUCAZIONE FIGLI DEGLI AVIATORI (ORFANI) ROMA - VIALE DELL'UNIVERSITA' N°4 FONDAZIONE DI ASSISTENZA E SOLIDARIETA' - ONLUS 1 21/01/1995 ASSISTENZA SOCIALE ROMA - VIA NAZIONALE N°91 FONDAZIONE TERZO PILASTRO - ITALIA E MEDITERRANEO (scissa in: Fondazione terzo pilastro Internazionale iscritta CULTURALE PER PROMUOVERE SOSTENERE E 1 04/01/1996 ROMA - VIA MARCO MINGHETTI N°17 al n.1275/2018 e nella Fondazione Cultura ed Arte iscritta DIFFONDERE L'IDEA DI IMPRESA SOCIALE ECC. al n.1276/2018) CASSA UFFICIALI 1 07/01/1998 SOVVENZIONE PENSIONI INTEGRATIVE ROMA - VIA MARSALA N°104 PARROCCHIA S. ENRICO 1 13/01/1999 RELIGIONE E CULTO ROMA - VIALE RATTO DELLE SABINE N°7 CONGREGAZIONE DELLE PIE DISCEPOLE DEL DIVIN 1 10/01/2000 RELIGIONE E CULTO ROMA - VIA GABRIELE ROSSETTI N°17 MAESTRO FINALITA' EDUCAZIONE ISTRUZIONE FORMAZIONE ROMA - CIRCONVALLAZIONE CLODIA MISSIONE EDUCATIVA CONDIVISA (M.E.C.) 1 19/04/2001 BAMBINI RAGAZZI ADULTI SENZA N°163/171 INT.2 DISCRIMINAZIONI FONDAZIONE EDOARDO AGNELLI 2 15/01/1940 BORSE DI STUDIO A FIGLI DI AVIATORI ROMA - VIALE UNIVERSITA' N. 4 FONDAZIONE "ISTITUTO GUGLIELMO TAGLIACARNE" PER LA PROMOZIONE DELLA CULTURA ECONOMICA PROMUOVERE E DIFFONDERE LA CULTURA 2 23/01/1995 ROMA - VIA NERVA N.1 (trasformata in S.r.l.) (CANCELLATA IN DATA 4 GIUGNO ECONOMICA 2019) FONDO NAZIONALE DI GARANZIA 2 05/01/1996 TUTELA AGENTI DI CAMBIO ROMA - VIA GIACOMO PUCCINI, N°9 PROMUOVERE E FAVORIRE LA RICERCA TECNICO- SCIENTIFICA NEL CAMPO DELL'UROLOGIA LO SOCIETA' ITALIANA DI UROLOGIA 2 16/01/1998 ROMA - VIA GIOVANNI AMENDOLA N°46 SVILUPPO ED IL CORRETTO ESERCIZIO DELLA PROFESSIONE UROLOGICA FONDAZIONE LEONE CAETANI 2 15/01/1999 CONOSCENZA DEL MONDO MUSULMANO ROMA - VIA DELLA LUNGARA N.10 LOGOS INC. -
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University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/77733 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. Guido da Siena’s Narrative Panels and the Madonna del Voto: The Formation of the Marian Civic Identity in Sienese Art c.1260 Volume One of two volumes (Text) by Kayoko Ichikawa A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in the History of Art at the University of Warwick. This dissertation may not be photocopied. University of Warwick, Department of the History of Art September 2015 Table of Contents Volume 1: Acknowledgements iv Declaration vi Abstract vii List of Abbreviations viii List of Illustrations ix Introduction 1 1. Sienese Art in the Thirteenth and Fourteenth Centuries 3 Historical Background Sienese School: Artists from Siena Sienese Art: Geographical Expansion 2. Altarpiece Studies: From Reconstruction to Recontextualisation 7 Decontextualisation of Religious Art Reconstruction: Rediscovery of the Most Complex Altarpiece Recontextualisation: Further Development of Altarpiece Studies 3. Studies of the Pictorial Narrative 13 Gospel Narrative Cycles Setting and Audience: Comprehensive Church Decoration Form and Function: Places of Narrative The Role of Pictorial Narrative Iconography and Programme: Thematical Development 4. The History of Guido da Siena’s Narrative Panels 20 i Chapter 1 The Reconstruction 28 1. -
Catechesi Con Arte Nelle Chiese Di Roma, Roma, Di Chiese Nelle Arte Con Catechesi Di Itinerari Nostri Nei
Programma Divina Rivelazione Divina Missionarie della della Missionarie 2018-2019 a cura delle cura a CATECHESI CON ARTE CON CATECHESI Imparare Roma: la Bellezza tra Cielo e terra. terra. e Cielo tra Bellezza la Roma: Imparare Carissimi amici, MISSIONARIE DELLA DIVINA RIVELAZIONE nei nostri itinerari di Catechesi con Arte nelle chiese di Roma, Via delle Vigne Nuove, 459 - 00139 Roma vogliamo sentirci pellegrini nella vita di ogni giorno; il pellegrino ha la certezza che la morte non è un muro da abbattere, ma la porta che Tel/Fax 06 87130963 si apre sull’Eternità. I luoghi sacri ci ricordano che in Cristo cielo e terra non sono separati, ma che tutti i credenti in Lui formano un solo Per sostenere la nostra missione: corpo e il bene degli uni è comunicato agli altri. “Noi crediamo alla Banca Prossima comunione di tutti i fedeli di Cristo, di coloro che sono pellegrini su IT59K0335901600100000103420 questa terra, dei defunti che compiono la loro purificazione e dei beati del cielo; tutti insieme formano una sola Chiesa; noi crediamo che in questa comunione l’amore misericordioso di Dio e dei suoi santi [email protected] ascolta costantemente le nostre preghiere” [Beato Paolo VI, Credo del www.divinarivelazione.org popolo di Dio, 30]. Dio ci benedica E la Vergine ci protegga Guide ufficiali della Basilica di San Pietro e dei Musei Vaticani per Le Missionarie della Divina Rivelazione itinerari di Arte e Fede IT59K0335901600100000103420 missione: Banca Prossima Prossima Banca missione: Per sostenere la nostra nostra la sostenere -
Medieval Rome and Its Monuments
Dr. Max Grossman Art History 3399/4383 UTEP/John Cabot University Summer II, 2019 Tiber Campus, room ???? CRN# 36302/36303 [email protected] MW 9:00am-1:00pm Cell: (39) 340-4586937 Medieval Rome and its Monuments Art History 3399 is a specialized upper-division course on the urbanism, architecture, sculpture and painting of the city of Rome from the reign of Emperor Constantine to the end of the duecento. Through its artistic treasures, we will trace the transformation of the city from the largest and most populous metropolis on earth to a modest community of less than thirty thousand inhabitants, from the political and administrative capital of the Roman Empire to the spiritual epicenter of medieval Europe. We will focus in particular on the development of the Catholic Church and the papacy; the artistic patronage of popes, cardinals, monasteries, and seignorial families; the cult of relics and the institution of pilgrimage; and the careers of various masters, both local and foreign, who were active in the city. As we examine the style, iconography and symbolic meaning of medieval Roman artworks and place them within their historical, socio-political and theological contexts, we will consider the medieval reception of antiquity, the systematic recycling of Rome’s ancient fabric, and the renovatio urbis that began in Carolingian times and accelerated in the twelfth and thirteenth centuries. INSTRUCTOR BIOGRAPHY Dr. Grossman earned his B.A. in Art History and English at the University of California- Berkeley, and his M.A., M.Phil. and Ph.D. in Art History at Columbia University. After seven years of residence in Tuscany, he completed his dissertation on the civic architecture, urbanism and iconography of the Sienese Republic in the Middle Ages and Early Renaissance. -
Through the Eye of the Dragon: an Examination of the Artistic Patronage of Pope Gregory XIII (1572-1585)
Through the eye of the Dragon: An Examination of the Artistic Patronage of Pope Gregory XIII (1572-1585). Vol.1 Title of Degree: PhD Date of Submission: August 2019 Name: Jacqueline Christine Carey I declare that this thesis has not been submitted as an exercise for a degree at this or any other University and it is entirely my own work. I agree to deposit this thesis in the University’s open access institutional repository or allow the library to do so on my behalf, subject to Irish Copyright Legislation and Trinity College Library conditions of use and acknowledgement. For Sadie and Lilly Summary This subject of this thesis is the artistic patronage of Pope Gregory XIII (1572-1585). It examines the contribution of the individual patron to his patronage with a view to providing a more intense reading of his artistic programmes. This approach is derived from the individual interests, influences, and ambitions of Gregory XIII. It contrasts with periodization approaches that employ ‘Counter Reformation’ ideas to interpret his patronage. This thesis uses archival materials, contemporaneous primary sources, modern specialist literature, and multi-disciplinary sources in combination with a visual and iconographic analysis of Gregory XIII’s artistic programmes to develop and understanding of its subject. Chapter one examines the efficacy and impact of employing a ‘Counter-Reformation’ approach to interpret Gregory XIII’s artistic patronage. It finds this approach to be too general, ill defined, and reductionist to provide an intense reading of his artistic programmes. Chapter two explores the antecedent influences that determined Gregory XIII’s approach to his papal patronage and an overview of this patronage. -
A Wider Trecento Visualising the Middle Ages
A Wider Trecento Visualising the Middle Ages Edited by Eva Frojmovic, University of Leeds (UK) Editorial Board Madeline H. Caviness, Tufts University (USA) Catherine Harding, University of Victoria (Canada) Diane Wolfthal, Rice University (USA) VOLUME 5 The titles published in this series are listed at brill.nl/vma A Wider Trecento Studies in 13th- and 14th-Century European Art Presented to Julian Gardner Edited by Louise Bourdua Robert Gibbs LEIDEN • BOSTON 2012 Cover illustration: Simone dei Crocefissi,Urban V, tempera on panel (1.97 × 0.625 m), Bologna. With kind permission of the Pinacoteca Nazionale di Bologna. Frontispiece: Julian Gardner. Photograph © Richard Morris. This book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data A wider Trecento : studies in 13th- and 14th-century European art presented to Julian Gardner / edited by Louise Bourdua, Robert Gibbs. p. cm. — (Visualising the Middle Ages ; v. 5) Includes bibliographical references and index. ISBN 978-90-04-21076-9 (hardback : alk. paper) 1. Art, European—14th century. 2. Gardner, Julian. I. Gardner, Julian. II. Bourdua, Louise, 1962- III. Gibbs, Robert. IV. Title: Studies in 13th- and 14th-century European art presented to Julian Gardner. N6310.W53 2012 709.02’3—dc23 2011037007 ISSN 1874-0448 ISBN 978 90 04 21076 9 Copyright 2012 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Global Oriental, Hotei Publishing, IDC Publishers, Martinus Nijhoff Publishers and VSP. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. -
Favorite Places in Rome Provided by Marie Lorenz, December 2017
Favorite Places in Rome provided by Marie Lorenz, December 2017 Marie lived in Rome during her third year at the Rhode Island School of Design. She returned for a second year as a Fellow at the American Academy in Rome. http://www.aarome.org/ She mapped out each of the spots listed below here. 1) THE TRASTEVERE CHURCHES These churches are only a 15 minute walk from Campo de Fiori and a bit off the tourist path, so they present a rare opportunity to sit quietly with some of the most beautiful artwork in Rome, for free! San Francesco a Ripa Piazza di S. Francesco d'Assisi, 88, 00153 Roma This early Franciscan convent holds Bernini’s masterpiece, Beata Ludovica Albertoni. "The sculpture and surrounding chapel honors a Roman noble woman who entered the Order of St. Francis following the death of her husband. The day before her own death from fever, Ludovica received the eucharist and then ordered everyone out of her room. When her servants were finally recalled, “they found her face aflame, but so cheerful that she seemed to have returned from Paradise.” (paraphrased from wikipedia) By representing this decisive moment, and like many of his other sculptures, Bernini seems to mingle the idea of physical ecstasy and religious martyrdom. In its day, this sculpture would have scandalized the recently reformed protestant church which considered any representation of a divine figure blasphemous. Bernini finished the sculpture in 1674 when he was seventy one years old. Santa Cecilia in Trastevere Piazza di Santa Cecilia, 22, 00153 Roma 5th-century church devoted to the Roman martyr Saint Cecilia. -
Santa Maria in Cosmedin
La basilica di Santa Maria in Cosmedin è un luogo di culto cattolico di Roma, situato in piazza della Bocca della Verità, nel rione Ripa; officiata dalla Chiesa cattolica greco-melchita, ha la dignità di basilica minore e su di essa insiste l'omonima diaconia. La basilica, frutto dell'ampliamento sotto papa Adriano I (772-790) di un precedente luogo di culto cristiano attestato fin dal VI secolo, fu oggetto di un importante rifacimento nel 1123 ed è attualmente uno dei rari esempi di architet- tura sacra del XII secolo a Roma; è nota per la presenza nel nartece della Bocca della Verità. Un po’di storia Il sito su cui sorge la basilica di Santa Maria in Cosmedin, in epoca romana si trovava al margine sud-orientale del Foro Boario, prossimo al fium Tevere e a Circo Massimo. In quest'area trovava luogo l'Ara massima di Ercole invitto, edificata secondo la tradizione da Evandro dopo che Ercole ebbe ucciso il gigante Caco, e che assunse la sua conformazione definitiva con una ricostruzione nel II secolo a.C. Alla metà del IV secolo d.C. venne edificata immediatamente ad ovest dell'Ara massima e ad essa adiacente un'aula porticata, posta su un podio e delimitata da arcate poggianti su colonne; essa era molto probabilmente priva di copertura in quanto sarebbe risultata molto costosa a causa della notevole altezza delle pareti (18 metri), nonché soggetta agli incendi che avrebbe potuto appiccare il fuoco dei sacrifici del santuario attiguo; secondo altri studi, invece, la presenza di stucchi al suo interno avrebbe necessariamente richiesto la presenza di un tetto. -
Arte a Servizio Dell'incontro Con Gesù Cristo
PRESENTAZIONE Lo scopo della presente pubblicazione, non riguarda principalmente la conoscenza del mosaico, della sua tecnica e dei capolavori a cui essa ha dato vita, ma è quello di guidare il lettore a confrontarsi con alcune opere per ascoltarne la voce, apprezzarne la bellezza e accogliere il messaggio di cui esse sono tramite. Non si riflette mai abbastanza sul fatto che, a fondamento di ciò che noi siamo – personalità, formazione, sensibilità, cultura – si trova l’esperienza, vale a dire l’incontro con qualcuno o con qualcosa che investe la sfera del nostro essere e la modifica profondamente. L’arte entra decisamente nell’esperienza personale di ciascuno e contribuisce a darle forma e ad orientarla. Pur senza fare riferimenti all’indagine filosofica, non si può non essere d’accordo con l’affermazione secondo cui l’arte è «una forma di arricchimento, intensificazione e ampliamento dell'esperienza comune»1. Essa crea un’esperienza di senso che restituisce significati, orienta alla verità, induce al pensiero del buono. Tutto ciò è ancora più vero in relazione alla cosiddetta arte cristiana, ma sarebbe meglio dire dell’arte a servizio dell’incontro con Gesù Cristo. Alla base dell’esperienza cristiana, infatti, si trova la dinamica del vedere. Bastino due citazioni, entrambe tratte dagli scritti dell’apostolo Giovanni. Nel Prologo del suo Vangelo, Giovanni afferma: «Il Verbo si fece carne e venne ad abitare in mezzo a noi; e noi vedemmo la sua gloria» (Gv 1,14); parimenti nella sua Prima Lettera, proclama che «la vita si è fatta visibile, noi l’abbiamo veduta e di ciò rendiamo testimonianza» (1 Gv 1,1-2). -
Medieval Rome and Its Monuments
Dr. Max Grossman Art History 5390 UTEP/John Cabot University Summer II, 2014 Tiber Campus, room 1.3 CRN# 34255 [email protected] MW 9:00am-1:00pm Medieval Rome and its Monuments Dr. Grossman earned his B.A. in Art History and English at the University of California- Berkeley, and his M.A., M.Phil. and Ph.D. in Art History at Columbia University. After seven years of residence in Tuscany, he completed his dissertation on the civic architecture, urbanism and iconography of the Sienese Republic in the Middle Ages and Early Renaissance. He served on the faculty of the School of Art and Design at San Jose State University in 2006-2009, taught art history for Stanford University in 2007-2009, and joined the Department of Art at the University of Texas at El Paso as Assistant Professor of Art History in 2009. During summers he is Coordinator of the UTEP Department of Art in Rome program and Adjunct Assistant Professor of Art History at John Cabot University. He has presented papers and chaired sessions at conferences throughout the United States, including at the annual meeting of the Renaissance Society of America, and in Europe, at the annual meetings of the European Architectural History Network. In April 2012 in Detroit he chaired a session at the 65th Annual Meeting of the Society of Architectural Historians: “Medieval Structures in Early Modern Palaces;” and in the following June he chaired a session at the 2nd International Meeting of the European Architectural History Network in Brussels: “Architecture and Territoriality in Medieval Europe,” which was published in the conference proceedings. -
The Main Chapel of the Durres Amphitheater: Decoration and Chronology
University of Pennsylvania ScholarlyCommons Departmental Papers (Classical Studies) Classical Studies at Penn 2009 The Main Chapel of the Durres Amphitheater: Decoration and Chronology Kimberly Bowes University of Pennsylvania, [email protected] John Mitchell University of East Anglia Follow this and additional works at: https://repository.upenn.edu/classics_papers Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, and the Classical Archaeology and Art History Commons Recommended Citation Bowes, K., & Mitchell, J. (2009). The Main Chapel of the Durres Amphitheater: Decoration and Chronology. Mélanges de l’École Française de Rome: Antique, 569-595. Retrieved from https://repository.upenn.edu/ classics_papers/162 At the time of publication, author Kimberly Bowes was affiliated with Cornell University. Currently, she is a faculty member at the Classical Studies Department at the University of Pennsylvania. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/classics_papers/162 For more information, please contact [email protected]. The Main Chapel of the Durres Amphitheater: Decoration and Chronology Abstract The amphitheater at Durres in central Albania is one of the larger and better preserved amphitheaters of the Roman world, as well as one of the eastern-most examples of the amphitheater form. Nonetheless, it is not for its Roman architecture that the building is best known, but its later Christian decoration, specifically, a series of mosaics which adorn the walls of a small chapel inserted into the amphitheater's Roman fabric. First published by Vangel Toçi in 1971, these mosaics were introduced to a wider scholarly audience through their inclusion in Robin Cormack's groundbreaking 1985 volume Writing in Gold.