DOCSLIB.ORG

Carta Intestata

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Carta Intestata Cultural Association Grvppo storico romano Presents the XIX Edition of “NATALE DI ROMA 2019” (a.u.c. MMDCCLXXII ineunte) CELEBRATION OF LONGVS ET VNVS ANNVS FROM NERONE TO VESPASIANO From GIULIO-CLAVDII To the FLAVI “NATALE DI ROMA 2019” 1. GOALS AND FINALITIES The Gruppo Storico Romano is a no profit cultural association born in 1994 from the passion for ancient Rome.The goals to which the association is aiming are to promote, organize amd sustain the spreading of artistic, cultural and recreational displays reguarding the world of ancient Rome, for keeping alive the memory of the ancient splendor of its civiliazation, and to be a point of aggregation for all the passionate that, by becoming members, would want to become the beating heart of it. The association has claimed numerous recognitions, from which is reported the golden medals recieved by the president of the Republic, awarded in occasion of the celebration of the Natale di Roma between 2009 and 2018, and the pretigious and the prestigious patronages, from which the one from the presidence of the council of the Ministers of the Lazio region, from the Province of Rome, and of Roma Capitale. And this year we have also submitted the request for the patronage to the Order of Engineers, to the University "Tor Vergata" to the university "La Sapienza" to the amministrations of the I City Hall, the commune of Frascati, the commune of Tarquinia, the commune of Rieti. 2. THE CULTURAL AND REENACTING ACTIVITY The association’s activity mainly takes places at the social headquarter, in Via Appia Antica 18, where is present a suggestive structure inside of which there is built a small castrum, an arena and an anphiteater in which take place events, displays of particular cultural and didactic interest; there are also present an interactive free entry museum, awarded with the silver medal from the president of the Republic, in which are exposed both military and civilian objects about ancient Rome, about 15,000 people visit it every yar, italians and foreigners, and also didactic and ludic areas, and then areas reserved for the members of the association. Many different branches live together inside of the association, from legionaries to gladiators, from the estals to the pretorians, from the senators to the plebes, and at last the dancers, each one of these study deeply and shares the aspects and themes of their interest beyond the general one of ancient Rome. 3. EVENTS, PROTOCOLS, CONVENTIONS AND PATRONAGES The most important display, organized by the association, is without any doubt the NATALE DI ROMA, this year’s edition will be the XIX, and on the date Sunday 21 April 2019 there will be a amarch of about 2,000 reenactors coming from all over Italy and Europe. During its activity the Gruppo Storico Romano has collaborated and still collaborates with the General direction for the Antiques of the MIIBACT for the realization of events and reenactments of cultural and didactic character, with the university of Rome "Tor Vergata", which’s professors assemble the Scientific Commitee of the Group, and with Roma Capitale, for the realization of the celebration of the Natale di Roma, for having undersigned an agreement protocol with the Department of Cultural Politics and Historic Center and the Department of Educational Politics, School related,amily and youth 3.1 REQUISITI di SERIETÀ SCIENTIFICA The historical reenactments planned for the Natale di Roma qualify themselves as attractions for cultural tourism: the Natale di Roma 2019 (arrived at its XIX edition) is going to underline this very aspect through reenacting programs and cultural organizations: transmitting to the younger generations the values of the cultures of the past, through sometimes spectacular or didactic events prepared with scientific seriousness, with the goal to spread the interest for experimental archeology and to amlify the knowledge of the customs and habits of ancient romans using methods of fine divulgation and above all contents submitted to a scientific committee of university professors. The customs, the weapons, the rites and the celebrations arecritically reproduced with fidelity to the historical sources, thanks to an agreement protocol, signed September 4th 2012 between the Gruppo Storico Romano and the Department of historical sciences, filosofical-social, the cultural goods and the territory of the University of Rome "Tor Vergata". By the way, the signature of the protocol has only officialized the concrete commitment offered by the professors of the Department, which have been already part of the scientific committee in charge of supervisioning the magazine "Acta bimestra", published by the GSR, and have also beencontributions speakers during the Natale di Roma between 2011 and 2017. Scientific Commitee: Prof. Anna Pasqualini, ordinary professor of Roman Antiquity in “Facoltà di Lettere e Filosofia dell’Università di Roma “Tor Vergata” Prof. Mariano Malavolta, associated professor of Roman History in “Facoltà di Lettere e Filosofia dell’Università di Roma “Tor Vergata” Prof. Maria Bonamente, researcher of Roman History in “Facoltà di Lettere e Filosofia dell’Università degli Studi di Roma Tre”. 3.2 IL NATALE DI ROMA We have already arrived at the XIX edition of the celebrations of the Natale di ROma organized by the Gruppo storico Romano. The event will be dedicated to the longus et unnus annus. After the death of Nero, three more emperors (Galb, Otone and Vitelio) died of violent death in the whirl of a bllody civil conflict, until Vespasiano managed to found a new dynasty that opened the doors to a new fase inthe history of princedom. As in the past editions our goal is to remember, through a series of didactic-cultural activities, the anniversary of the foundation of the city: an event that has had a major role in the development of modern civilization and for this shouold be reason of pride for the citizens of Rome. Starting as a small settlement on one of the seven hills it began growing into what would have one day become the greatest city of the ancient world, which extended his domain through Europe, Africa and middle East. In ancient times Rome has been a crossroads of people and different cultures and we intend to exalt this characteristic still current in our times and in our city through the partecipation of groups of reenactors from all over the world and most of all from those nations in which the bond with the roman past is still alive. Even today the name of Rome inspires an ncomparable charm and admiration in the whole world, and one of our goas is keeping unaltered and always more alive this interest, both to the tourists, italians and foreigners, and also towards the roman citizens, so we may impassion and make them fond of the origin’s history of our city.Our initiative assumes a particular value, due to the protocol of agreement undersigned with Roma capitale for the valorization and the divulgation of the customs and habts of ancient Rome, which poses a "brand of guarantee" on our actions from the side of the capitolina administration. The involvment in our displays of first choice in cultural characters on national scope, as well as the one of Tor Vergata university professors, and of archeologists, the Archeological Roman group, may only confirm the character and the high scientific value, cultural and didactic of our proposal. All of this makes this event the biggest and the most important in the scope of reenactment about ancient Rome. The numbers of the past editions speak clear and show the success of this initiative: 2000 reenactors belonging to 42 cultural associations coming from 10 different countries, and so the greatest historical procession of ancient Rome in the world. A long walkthrough that passed through, on each side two long wings of the crowd (about 350.000 people) the Via dei Fori Imperiali, passing side to the Colosseum and Teatro Marcello, in the beating heart of ancient Rome. And as many were the people that filled Circus Maximus, both in the morning at the start of the procession and in the evening, for watching the displays and the various associations that took part. The patronages of Lazio region and Roma Capitale and the various medals recieved by the president of the Republic this event has gained a particular importance in its institutional aspect, the presence of the Capitoline institutions and foreign delegations, from Bulgaria and Romania, that have wanted to accompany, with their mayors and Assessors, the groups coming from vaious regions. 3.3 MEETING WITH THE ORDER OF ENGINEERS AND THE UNIVERSITY OF ROME "LA SAPIENZA: “THE CONSTRUCITION OF THE COLOSSEUM” THURSDAY 18TH APRIL 2019 at …… The construction of the Colosseum, Flavian dynasty’s most important urbanistic intervention, funded with the loot from the victory in the jewish war, was an initiative of Vespasiano, but the anphiteater was inaugurated by Titus in the 80 a.d. and was then completed by Domiziano, which realized the undergrounds and dislocated in the sorroundings of the anphiteater the ludi (like the ludus magnus), or rather the stations in which the gladiators were held and trained for the fights. Domiziano himself took care of the structures of service, such as the sailor’s station of Miseno’s fleet employed for the manouver of the velarium (the great covering of the Colosseum, which protected the spectators from the beams of the sun). The anphiteater was built where once there was an artificial lake wanted by Nero for his domus aurea, his palace, and so the imposing structure was deliberated as restitution to the people of Rome of an area that was usurped by a tyrant, transformed in the biggest building for public shows ever known in the empire.
Load more

Recommended publications
  • The Use of Mortar Dating in Archaeological Studies of Classical and Medieval Structures
    The Use of Mortar Dating in Archaeological Studies of Classical and Medieval Structures Åsa Ringbom, John Hale, Jan Heinemeier, Alf Lindroos and Fiona Brock There are many anonymous buildings dating from the Classical and Medieval periods where their date of construction cannot be confirmed by written sources or artefacts such as coins. Mortar is different from other dateable materials in that it is abundant during the construction process. Mortar dating - if successful - could provide an important chronological key in archaeology. Since 1994 the interdisciplinary International Mortar Dating Project has been devoted to developing a method of dating lime mortar and concrete-like materials. 14C has been analyzed in mortars from Medieval churches in the Åland Islands in the archipelago between Finland and Sweden and also from Classical Archaeology (i.e. ancient buildings in Italy, Spain and Portugal from the time of the Roman Empire and from Medieval structures in Rome itself). The methodological development of this technique has been both complicated and time consuming, and is therefore best illustrated by a chronological account of our work. The methodological principles have been known since the 1960s (Labeyrie and Delibrias 1964), but many factors have stopped its use in practice including carbon forms influencing the results. However, testing mortar during the 1980s in the ruins of the Franciscan convent of Kökar (in the outer Åland archipelago) was sufficiently encouraging for us to continue refining the method within the Project of the Åland Churches that started in 1990. In the beginning the 14C dating was done with a conventional radiocarbon counting technique that involved using large one kilogram samples; but in 1994 this was replaced by analysis performed by the AMS (Accelerator Mass Spectrometer) (Heinemeier et al.
    [Show full text]
  • From Rome to New York Background to the Urban Proposals of Le Corbusier
    JOURNAL OF ARCHITECTURE AND URBANISM ISSN 2029-7955 / eISSN 2029-7947 2016 Volume 40(3): 240–249 doi: 10.3846/20297955.2016.1210052 To this day I am accused of being a revolutionary, however, I must confess that I’ve only had one teacher, the past, and one discipline, the study of the past Le Corbusier FROM ROME TO NEW YORK BACKGROUND TO THE URBAN PROPOSALS OF LE CORBUSIER Ricardo DAZA National University, Arts, Carrera 30 № 45, Bogotá, 11001000 Colombia; Andes University, Architecture, Carrera 1 № 18A-12, Bogotá, 11001000 Colombia E-mail: [email protected] Received 17 December 2015; accepted 01 June 2016 Abstract. The paper argues that urban proposals of Le Corbusier arise from the study of the history of architecture. Through a com- parison of his journey impressions with his urban projects, this paper demonstrates that the ideas and perceptions that determined Le Corbusier proposals were extracted and interpreted from the study that the young architect carried out of the settlements and cities of Eastern Europe and the Mediterranean in his well-known Voyage d’Orient. Keywords: Le Corbusier, Jeanneret, Voyage, Orient, Pompeii, Buenos Aires, Domino, Rome, New York, Chandigarh. Introduction city is determined by two intersecting axes that give If you study some of the urban proposals of Le rise to a monumental centre.1 The entrances to the Corbusier, such as La Ville Contemporaine (1922), city are highlighted by enormous arches on the ends the Buenos Aires Business City (1929), the studies of the north-south axis. It is possible that the idea to urbanize Rio de Janeiro (1929) and New York of marking the entrances out with arches could have (1935), or the city of Chandigarh (1950), it could be come from Le Corbusier’s review of the city of Pompeii.
    [Show full text]
  • Roma, Torre Dei Conti. Ricerca, Formazione, Progetto, a Cura Di Elisabetta Pallottino Rivista Quadrimestrale Edita Da Carocci Editore S.P.A., Roma
    Ricerche di Storia dell’arte n. 108/2012 Serie “Conservazione e restauro” Roma, Torre dei Conti. Ricerca, formazione, progetto, a cura di Elisabetta Pallottino Rivista quadrimestrale edita da Carocci editore S.p.A., Roma I fascicoli dedicati alla storia dell’arte (Serie: Arti visive) si alternano ad un fascicolo dedicato ai temi della conservazione e del restauro (Serie: Conservazione e Restauro) Direttore responsabile: Antonio Pinelli Comitato direttivo: Paolo Marconi, Antonio Pinelli Progetto grafico: Paolo Lecci Serie Arti visive Direttore: Antonio Pinelli Comitato di redazione: Silvia Bordini, Silvia Carandini, Luciana Cassanelli, Michela di Macco, Maria Letizia Gualandi, Maria Grazia Messina, Jolanda Nigro Covre, Orietta Rossi Serie Conservazione e Restauro Direttore: Paolo Marconi Comitato di redazione: Francesco Paolo Fiore, Elisabetta Pallottino, Alberto Maria Racheli Abbonamento annuale 2013: Italia + 65,00; Europa + 83,00; Paesi extra-europei + 94,50. Prezzo di un fascicolo: Italia n. singolo + 29,00; n. doppio + 56,50; Europa n. singolo + 36,50; n. doppio + 63,00; Paesi extra-europei n. singolo + 40,00; n. doppio + 69,50. Fascicoli arretrati: Italia n. singolo + 38,50; n. doppio + 63,50; Europa n. singolo + 45,50; n. doppio + 66,00; Paesi extra-europei n. singolo + 46,50; n. doppio + 76,50. Gli abbonamenti si possono sottoscrivere mediante versamento sul ccp 77228005 intestato a Carocci editore S.p.A., corso Vittorio Emanuele II, 229, 00186 Roma, o inviando un assegno bancario non trasferibile intestato a Carocci editore S.p.A., o tramite bonifico bancario sul c/c 000001409096 del Monte dei Paschi di Siena, filiale di Roma cod. 8710, Via Sicilia 203/A, 00187 Roma, IBAN IT92C0103003301000001409096 - SWIFT BIC: PASCITM1Z70.
    [Show full text]
  • Mercati De Traianoi Trajan's Market Museo Dei Fori Imperiali
    Mercati de Traianoi Trajan’s Market Museo dei Fori Imperiali Via Quattro (4) Novembre 94, 00187 (Across from Hotel) 9:30 AM – 7:30 PM 13 € Trajan's Market was probably built in 100-110 AD by Apollodorus of Damascus, an architect who always followed Trajan in his adventures and to whom Trajan entrusted the planning of his Forum, and inaugurated in 113 AD. During the Middle Ages the complex was transformed by adding floor levels, still visible today, and defensive elements such as the Torre delle Milizie, the "militia tower" built in 1200. A convent, which was later built in this area, was demolished at the beginning of the twentieth century to restore Trajan's Markets to the city of Rome. Trajan's Market (Latin: Mercatus Traiani, Italian: Mercati di Traiano) is a large complex of ruins in the city of Rome, Italy, located on the Via dei Fori Imperiali, at the opposite end to the Colosseum. The surviving buildings and structures, built as an integral part of Trajan's Forum and nestled against the excavated flank of the Quirinal Hill, present a living model of life in the Roman capital and a glimpse at the restoration in the city, which reveals new treasures and insights about Ancient Roman architecture. Thought to be the world's oldest shopping mall, the arcades in Trajan's Market are now believed by many to be administrative offices for Emperor Trajan. The shops and apartments were built in a multi-level structure and it is still possible to visit several of the levels.
    [Show full text]
  • Le Strade Di Roma Nel Medioevo
    Roberto Meneghini Le Strade di Roma nel Medioevo Riassunto All’inizio del medioevo a Roma (V–VI sec.) si assiste a un forte spopolamento che riduce almeno del % il numero degli abitanti ma anche, a partire dalla metà dell’VIII sec., alla presa di possesso della città da parte del papato che eredita, assieme al patrimonio monu- mentale, anche il capillare sistema stradale dell’età imperiale. Questo era ancora largamente in buono stato e i suoi tratti principali vengono descritti nei dieci percorsi dell’Itinerario di Einsiedeln. Nel basso medioevo il sistema viario romano si riorganizza in funzione delle processioni papali e delle grandi cerimonie pubbliche e viene integrato con nuovi tratti o con rialzamenti di livello realizzati secondo tecniche differenziate che vanno dai semplici battuti di terra agli acciottolati, sino ai più impegnativi selciati in pietra lavica recuperati dagli antichi basolati. Keywords: Roma; sistema stradale; Itinerario di Einsiedeln; medioevo; papato. Der Beginn des Mittelalters (.–. Jahrhundert) ging in Rom mit einer starken Entvölke- rung einher, in deren Zuge die Einwohnerzahl um mindestens neunzig Prozent zurück- ging. Darüber hinaus übernahm ab Mitte des . Jahrhunderts das Papsttum die Stadt und das zusammen mit den Baudenkmälern der Kaiserzeit geerbte, flächendeckende Straßen- system. Letzteres war noch lange Zeit in einem guten Zustand und Schilderungen seiner wichtigsten Straßenverläufe finden sich in zehn Routenbeschreibungen des Itinerarium Ein- sidlense. Im Spätmittelalter wurde das römische Straßensystem entsprechend den Bedürf- nissen päpstlicher Prozessionen und großer öffentlicher Zeremonien reorganisiert und mit neuen Verläufen sowie durch Anhebung des Straßenniveaus in das neue Straßensystem in- tegriert. Die dabei verwendeten Techniken reichten von einfachen Erdaufschüttungen über Kopfsteinbelag bis hin zu aufwendigeren Pflasterungen aus Lavastein, das man aus antiken Straßenpflasterungen zurückgewonnen hatte.
    [Show full text]
  • On the Left of the Loggia of Psyche Is the Room of the Frieze, Round Which Is a Fresco of Mythological Scenes Painted by Baldassarre Peruzzi
    On the left of the Loggia of Psyche is the Room of the Frieze, round which is a fresco of mythological scenes painted by Baldassarre Peruzzi. The labours of Hercules, the myth of Orpheus, Mercury with the heifers of Apollo, and the Rape of Europa are particularly remarkable for their wealth of detail. On the right is the Hall of Galathea, which contains Raffaello's famous fresco representing the triumph of the nymph Galathea, on a shell pulled by dolphins. All around there are delicate and idealized landscapes painted by Gaspare Dughet. A light and elegant staircase leads from the entrance hall to the first floor and into the wonderful Salone delle Prospettive designed by Peruzzi. Here the walls seem to open on to shining landscapes, framed by columns, and an amazing sense of reality is achieved. From the windows on the first floor there is a beautiful view of the gardens. A pleasant stroll under the laurel bower leads to a marble plaque which bears the inscription: Quisquis huc accedis: quod tibi horridum videtur mihi amoenum est; si placet, maneas, si taedet abeas, utrumque gratum. [Trad.: Whoever enters here: what seems horrid to you is pleasant to me. If you like it, stay, if it bores you, go away; both are equally pleasing to me. ] Villa Farnesina Via Carlo Poma, 2 www.thekeytorome.it The key to Rome S.r.l. 00195 - Roma info @thekeytorome.it P.Iva e C.F.: 10184631009 phone + 39.334.3202344 Fax + 39.06.36008995 Raffaello, Trionfo di Galatea Via Carlo Poma, 2 www.thekeytorome.it The key to Rome S.r.l.
    [Show full text]
  • Storia Degli Scavi Di Roma E Notizie Intorno Le Collezioni Romane Di Antichit
    RODOLFO LANCIA NI STORIA DEGLI SCAVI DI ROMA E NOTIZIE INTORNO LE COLLEZIONI ROMANE DI ANTICHITÀ Volume Primo (a. 1000-15 30) ROMA ERMANNO LOESCHER & C.» (bretschneider e regenberg) Librai-Editori di S. M. la Regina d'Italia 1902 ROMA TIPOGRAFIA DELLA R. ACCADEMIA DEI LINCEI PROPRIETÀ DEL CAV. V. SALVIUCCI 1902 RODOLFO LANgiANI ' STORIA ^ DEGLI SCAVI DI ROMA E NOTIZIE INTORNO LE COLLEZIONI ROMANE DI ANTICHITÀ Volume Primo (a. 1000-15 50) ROMA ERMANNO LOESCHER & C.o (breischneider e regenberg) l.ibrai-Hditori di S. M. la Regina d'Italia 1902 • AUTORE SI RISERVA IL DIRITTO DI PROPRIETÀ LETTERARIA A TENORE DI LEGGE Edizione di 500 esemplari. ROMA TIPOGRAFIA DELLA R. ACCADEMIA DEI LINCEI PROPRIETÀ DEL CAV. V. SALVIUCCI 1902 PREFAZIONE Il primo volume della Storia degli scavi e de' musei di Roma che presento agli studiosi di queste materie, comprende il periodo decorso dagli inizii del secolo XI al pontificato di Clemente VII (1530). Gli altri quattro volumi, coi quali spero condurre detta storia sino al 1870, usciranno a intervalli di un anno. Scopo di questo lavoro, pel quale ho impiegato venticinque anni di pre- parazione bibliografica e archivistica, è quello di presentare un quadro possi- bilmente completo delle ricerche e delle scoperte di antichità fatte in Roma e sue vicinanze dal mille in poi : come pure di dare notizie inedite o pocn conosciute suUa formazione e dispersione delle raccolte romane d'arte e di antichità. Con l'aiuto di queste notizie, che sono accompagnate dalle licenze d'esportazione rilasciate dalla Camera Apostolica sin dalla seconda metà del secolo XVI, si potrà forse ritrovare l' origine e riconoscere le vicende di mol- tissime opere d' arte, provenienti da Roma, che oggi adornano i musei del resto dell'Italia e dell'Europa.
    [Show full text]
  • Polychronia-Negotiating the Popular Representation of a Commonpast in Assassin'screed
    JGVW 8 (1) pp. 3- 20 Intellect Limited 2016 Journal of Gam ing & Virtual Worl ds Volume 8 Number 1 © 2016 Intelle ct Ltd Art icle. English language. doi: 10.1386/jgvw.8.1.3_1 JONATHANWESTIN Univ ersity of Goth en bur g RAGNARHEDLUND Uppsala University Polychronia-negotiating the popular representation of a commonpast in Assassin'sCreed ABSTRACT KEYWORDS Severalof the most successful large-scale digital simulations in recentyears aref ound representation in the immensely popular gamese ries Assassin's Creed, developedby Ubisoft.A vari­ Assassin's Creed eh; of monuments and placesfigure prominently throughout th e series, but at different archaeology levels of detail and accuracy.Whil e not presenting a thoroughlyimagined re presenta­ Rome tion of any time period or place, theserecreations empha size the epistemological impact cultural hetitage of particularvisua l modeswhen communicatingth e past, representingthe collective digital media idea of a placeor time, rather than archaeological or historicalfacts. The time and spaces presented in the game series give us an opporhmih;to study how represen­ :t tations of the past can be assembled to be recognizable to a wide audience. This, in hm1, gives us insight into the mechanics of cultural memory.In orderto analyse these .' mechanics, we analyse the representation of the city of Rome created for Assassin's Creed 2: Brother hood, the third rnain instalmentof the series.Not only has Rome been the subject of several cenhtriesof archaeologicalr econstructions,b ut becauseof .r the countless popular representations available, the city holds a strong position in the public consciousness. In Ubisoft's versiono f Rome, the archaeologicalrecor d and ..' I • Jonathan Westin I Ragnar Hedlund Polychronia - negotiating the popular .
    [Show full text]
  • The Papacy and the Art of Reform in Sixteenth-Century Rome
    THE PAPACY AND THE ART OF REFORM IN SIXTEENTH-CENTURY ROME From his election in 1572 to his death in 1585, Pope Gregory XIII, schooled in the upheavals in the Catholic Church that marked the preceding violent decades, undertook to mend and reform the institution he headed by building and restoring Rome’s streets, churches, and public monuments. One major monument, unstudied heretofore, is the three-story apart- ment called the Tower of the Winds rising up from the Vatican Palace. It was built and painted to celebrate the most famous achievement of Gregory’s papacy, the calendar reform. The program of the entire tower proclaimed with assurance not only Gregory’s political and religious authority over the capital, but also Gregory’s domination of nature, time, and past and present cultures. Its innovations in architecture and decoration – efflorescent Flemish landscapes in all of its seven rooms – and its wider religious and political purpose in the cul- ture of Gregorian Rome and the Counter Reformation, are the subject of this book. Nicola Courtright is associate professor of fine arts at Amherst College. A scholar of Baroque art, she is a Fulbright and American Academy in Rome Fellow. THE PAPACY AND THE ART OF REFORM IN SIXTEENTH-CENTURY i ROME j GREGORY XIII’S TOWER OF THE WINDS IN THE VATICAN nicola courtright Amherst College published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge cb2 2ru, uk 40 West 20th Street, New York, NY 10011-4211, usa 477 Williamstown Road, Port Melbourne, vic 3207, Australia Ruiz de Alarcón 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org © Nicola Courtright 2003 This book is in copyright.
    [Show full text]
  • Deattributions
    Deattributions Deattributions from Maarten Van Heemskerck In the interim between Hülsen and Egger’s publication and the pres- ent volume, scholars have brought to light drawings away from Berlin that they have published as Van Heemskerck’s. In some examples, such as two of the three drawings in Paris that Arnold Nesselrath pub- lished [cat. nos. 48, and 67] and the sheets now in Amsterdam (cat. nos. 10 and 11), the technique on display matches that on the sheets given unquestionably to Van Heemskerck. Other examples such as the Colosseum Interior in Darmstadt [cat. no. 78] are less convinc- ing. In this section I remove Van Heemskerck’s authorship from some of these drawings and cast doubt on his authorship of others due to their departures from his technique and overall pictorial approach. Cat. No. 78 Circle of Maarten van Heemskerck North and West Quadrants of the Forum Romanum from Atop the Palatine Fritz Lugt Collection, Paris Nederlands Tekeningen, Album I, f. 6111 r © koninklijke brill nv, leiden, 2019 | doi:10.1163/9789004380820_023 Deattributions 421 Pen and brown ink (with some black ink) Water Mark: Six pointed star above fragment of hunting horn (?) in a circle, only half of which appears on the sheet. Bottom of recto. Notes: Oval Monogram in lower right corner, “JD”; the figure of Homerus on the verso has been cut, but this is not of consequence because this would be at the top of the Forum drawing, not the left, right, or bottom. Literature: Hasselt and Blankert, 48; Garms, cat. no. C30; Boon, 119–50.
    [Show full text]
  • He Abse E of a Great Encyclopedic Megamuseum Makes Rome An
    Testata: Travel and Leisure Editore: American Express October 1995 Roman Art Holiday 12 museums reveal the city’s eternal charm By Milton Gendel The absence of a great encyclopedic megamuseum makes Rome an oddity among the metropolises of the world. Italy has no equivalent of the Louvre, the British Museum, or the Metropolitan Museum of Art. But then, it hasn’t been out looting the rest of the world since the fall of the Roman Empire (except for the obelisk of Axum - stalled near the Circus Maximus as a trophy of Mussolini’s conquest of Ethiopia). Italy’s great collections are regional, reflecting the country’s political divisions before its unification in the 19th century. Venetian art is concentrated in the Academia of Venice; `Florentine, in the Uffizi. Other important local collections have been transmigratory like the galleries and furnishings of the old Duchy of Parma, which wound up at the Capodimonte Palace in Naples before settling at the Quirinal in Rome. Originally the summer palace of the popes, the Quirinal was taken over by the king of Italy as his royal residence when Rome became the capital of a united Italy in 1870. The papacy, shorn of its temporal power, shrank to the present mini-state of Vatican City, whose museums, galleries and decorations (including the Sistine Chapel and the rooms frescoed by Raphael) make up Rome’s major museological concentration. When the pope retreated from Rome proper, he left behind not only the Quirinal and its contents (now open to the public), but also the Capitoline Museums of sculpture, painting and objects.
    [Show full text]
  • Archaeoseismic Evidence in Roma (Pre-Congress Field Trip)
    Archaeoseismic evidence in Roma, Italy Vittori Archaeoseismic evidence in Roma (pre-congress field trip) 6th INQUA International Workshop on Active Tectonics Paleoseismology and Archaeoseismology 19-24 April 2015, Pescina, Fucino Basin, Italy 1 Archaeoseismic evidence in Roma, Italy Vittori GFT – Geological Field Trips Periodico semestrale del Servizio Geologico d'Italia - ISPRA e della Società Geologica Italiana Archaeoseismic evidence in Roma, Italy 6th INQUA International Workshop on Active Tectonics Paleoseismology and Archaeoseismology 19-24 April 2015, Pescina, Fucino Basin, Italy Eutizio Vittori (1) (1) ISPRA, Istituto Superiore per la Protezione e la Ricerca Ambientale, Rome, Italy Editorial Board Responsible Director Claudio Campobasso (ISPRA-Roma) M. Balini, G. Barrocu, C. Bartolini, Editor in Chief D. Bernoulli, F. Calamita, B. Capaccioni, Gloria Ciarapica (SGI-Perugia) W. Cavazza, F.L. Chiocci, R. Compagnoni, Editorial Responsible D. Cosentino, S. Critelli, G.V. Dal Piaz, Maria Letizia Pampaloni (ISPRA-Roma) Editorial Manager C. D'Ambrogi, P. Di Stefano, C. Doglioni, Mauro Roma (ISPRA-Roma) E. Erba, R. Fantoni, P. Gianolla, L. Guerrieri, M. Mellini, S. Milli, Convention Responsible M. Pantaloni, V. Pascucci, L. Passeri, A. Peccerillo, L. Pomar, P. Anna Rosa Scalise (ISPRA-Roma) Ronchi (Eni), B.C. Schreiber, L. Simone, I. Spalla, L.H. Tan- Alessandro Zuccari (SGI-Roma) ner,C. Venturini, G. Zuffa. The Geological Survey http://www.isprambiente.it/site/itof Italy, the Società Geologica Italiana and the Editorial-IT/Pubblicazioni/Periodici_tecnici/Geological_Field_Trips
    [Show full text]