Bartolomeo Cavaceppi and the Major Restorations of Myron's Discobolus
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Villa Albani Torlonia , Roma (RM) - Lazio
Villa Albani Torlonia , Roma (RM) - Lazio Indirizzo Via Salaria, 92 Roma (RM) - Lazio Telefono 06 683 3703 Sito Web //www.fondazionetorlonia.org/it/villa-albani-torlonia Accessibilità sì - aperto al pubblico Orari Apertura Solo su prenotazione Costo ingresso A pagamento Descrizione Villa Albani Torlonia e la sua celebre collezione, circondate da un paesaggio al contempo libero e formale, è una sublime testimonianza di unità di ragione e natura. L’iscrizione a lettere in bronzo sulla facciata ne racconta la storia: «Alexander Albani vir eminentissimus instruxit et ornavit / Alexander Torlonia vir princeps in melius restituit» (L'eminentissimo Alessandro Albani costruì e adornò / il principe Alessandro Torlonia restaurò ed abbellì). Otto ettari di parco disegnati da “percorsi emozionali”: tra il Casino Nobile e, dalla parte opposta del giardino all’Italiana, l’emiciclo della Kaffeehaus, statue, bassorilievi e fontane incastonate tra i vari edifici della villa che si sviluppa come un vasto complesso architettonico, in una comprensione corale di per la sistemazione del giardino, Giovanni Battista Piranesi (1720-1778) ed ‘il padre’ della storia dell’arte moderna, Johann Joachim Winckelmann (1717-1768), bibliotecario e ambienti, paesaggi e opere d’arte che qui ‘vivono’ come se possano essere eternamente riscoperte. Attento mecenate e abile diplomatico, il cardinale Alessandro Albani (1692-1779) fu tra i maggiori collezionisti di antichità, protagonista di campagne di scavo e promotore, con il “Cenacolo di Villa Albani” il circolo di intellettuali di cui amava circondarsi, del nascente movimento neoclassico. La Villa, tra le più alte espressioni del gusto antiquario, nella Roma meta privilegiata del Grand Tour, fu realizzata tra il 1747 e il 1763, su disegno dell’architetto Carlo Marchionni (1702-1786) un progetto nato dal dialogo con il grande incisore e cartografo Giovanni Battista Nolli (1701-1756) consigliere del cardinale per la collezione. -
The Satrap of Western Anatolia and the Greeks
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2017 The aS trap Of Western Anatolia And The Greeks Eyal Meyer University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Ancient History, Greek and Roman through Late Antiquity Commons Recommended Citation Meyer, Eyal, "The aS trap Of Western Anatolia And The Greeks" (2017). Publicly Accessible Penn Dissertations. 2473. https://repository.upenn.edu/edissertations/2473 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2473 For more information, please contact [email protected]. The aS trap Of Western Anatolia And The Greeks Abstract This dissertation explores the extent to which Persian policies in the western satrapies originated from the provincial capitals in the Anatolian periphery rather than from the royal centers in the Persian heartland in the fifth ec ntury BC. I begin by establishing that the Persian administrative apparatus was a product of a grand reform initiated by Darius I, which was aimed at producing a more uniform and centralized administrative infrastructure. In the following chapter I show that the provincial administration was embedded with chancellors, scribes, secretaries and military personnel of royal status and that the satrapies were periodically inspected by the Persian King or his loyal agents, which allowed to central authorities to monitory the provinces. In chapter three I delineate the extent of satrapal authority, responsibility and resources, and conclude that the satraps were supplied with considerable resources which enabled to fulfill the duties of their office. After the power dynamic between the Great Persian King and his provincial governors and the nature of the office of satrap has been analyzed, I begin a diachronic scrutiny of Greco-Persian interactions in the fifth century BC. -
Theatre Tips Sion of the Men in Her Life, Unfolded on Stage
Issue 152 September 2018 A NEWSLETTER OF THE ROCKEFELLER UNIVERSITY COMMUNITY GETTY IMAGES Theatre Tips sion of the men in her life, unfolded on stage. Broadway show inexpensively, but of course, Not every theatre experience is as emotion- you shouldn’t rely on winning to have plans M ELISSA JAR M EL ally charged as that one, but they all offer a to see theatre that night. Some shows like One of the best ways that I know how chance to see life from a different perspective Mean Girls, Book of Mormon, and Once On to take myself out of lab life is to see live the- and with a unique group of people. In future This Island offer in person lotteries every atre, and I’m lucky that New York City offers posts, I hope to highlight shows I’ve watched day that are usually drawn two hours before an overwhelming number of options to do on and off Broadway, but this time I want to the performance. In the last couple of years, this affordably (though Hamilton ticket pric- give you tips for seeing theatre on a budget. many shows have begun to offer digital lot- es may have you fooled about this). If you are a full time student, teacher, tery options. Broadway Direct (https://lot- One of the aspects I love most about or faculty member (or other qualifying cat- tery.broadwaydirect.com/) offers digital lot- going to the theatre is the acute feeling that egory), the Theatre Development Fund is teries for Lion King, Aladdin, Spongebob, and I am part of a connected community. -
A Collection of Curricula for the STARLAB Greek Mythology Cylinder
A Collection of Curricula for the STARLAB Greek Mythology Cylinder Including: A Look at the Greek Mythology Cylinder Three Activities: Constellation Creations, Create a Myth, I'm Getting Dizzy by Gary D. Kratzer ©2008 by Science First/STARLAB, 95 Botsford Place, Buffalo, NY 14216. www.starlab.com. All rights reserved. Curriculum Guide Contents A Look at the Greek Mythology Cylinder ...................3 Leo, the Lion .....................................................9 Introduction ......................................................3 Lepus, the Hare .................................................9 Andromeda ......................................................3 Libra, the Scales ................................................9 Aquarius ..........................................................3 Lyra, the Lyre ...................................................10 Aquila, the Eagle ..............................................3 Ophuichus, Serpent Holder ..............................10 Aries, the Ram ..................................................3 Orion, the Hunter ............................................10 Auriga .............................................................4 Pegasus, the Winged Horse..............................11 Bootes ..............................................................4 Perseus, the Champion .....................................11 Cancer, the Crab ..............................................4 Phoenix ..........................................................11 Canis Major, the Big Dog -
HAMLET's MILL.Pdf
Hamlet's Mill An essay on myth and the frame of time GIORGIO de SANTILLANA Professor of the History and Philosophy of Science M.l.T. and HERTHA von DECHEND apl. Professor fur Geschichte der Naturivissenschaften ]. W. Goethe-Universitat Frankfurt Preface ASthe senior, if least deserving, of the authors, I shall open the narrative. Over many years I have searched for the point where myth and science join. It was clear to me for a long time that the origins of science had their deep roots in a particular myth, that of invariance. The Greeks, as early as the 7th century B.C., spoke of the quest of their first sages as the Problem of the One and the Many, sometimes describing the wild fecundity of nature as the way in which the Many could be deduced from the One, sometimes seeing the Many as unsubstantial variations being played on the One. The oracular sayings of Heraclitus the Obscure do nothing but illustrate with shimmering paradoxes the illusory quality of "things" in flux as they were wrung from the central intuition of unity. Before him Anaximander had announced, also oracularly, that the cause of things being born and perishing is their mutual injustice to each other in the order of time, "as is meet," he said, for they are bound to atone forever for their mutual injustice. This was enough to make of Anaximander the acknowledged father of physical science, for the accent is on the real "Many." But it was true science after a fashion. Soon after, Pythagoras taught, no less oracularly, that "things are numbers." Thus mathematics was born. -
BM Tour to View
08/06/2020 Gods and Heroes The influence of the Classical World on Art in the C17th and C18th The Tour of the British Museum Room 2a the Waddesdon Bequest from Baron Ferdinand Rothschild 1898 Hercules and Achelous c 1650-1675 Austrian 1 2 Limoges enamel tazza with Judith and Holofernes in the bowl, Joseph and Potiphar’s wife on the foot and the Triumph of Neptune and Amphitrite/Venus on the stem (see next slide) attributed to Joseph Limousin c 1600-1630 Omphale by Artus Quellinus the Elder 1640-1668 Flanders 3 4 see previous slide Limoges enamel salt-cellar of piédouche type with Diana in the bowl and a Muse (with triangle), Mercury, Diana (with moon), Mars, Juno (with peacock) and Venus (with flaming heart) attributed to Joseph Limousin c 1600- 1630 (also see next slide) 5 6 1 08/06/2020 Nautilus shell cup mounted with silver with Neptune on horseback on top 1600-1650 probably made in the Netherlands 7 8 Neptune supporting a Nautilus cup dated 1741 Dresden Opal glass beaker representing the Triumph of Neptune c 1680 Bohemia 9 10 Room 2 Marble figure of a girl possibly a nymph of Artemis restored by Angellini as knucklebone player from the Garden of Sallust Rome C1st-2nd AD discovered 1764 and acquired by Charles Townley on his first Grand Tour in 1768. Townley’s collection came to the museum on his death in 1805 11 12 2 08/06/2020 Charles Townley with his collection which he opened to discerning friends and the public, in a painting by Johann Zoffany of 1782. -
The Life of Michelangelo Buonarroti by John Addington Symonds</H1>
The Life of Michelangelo Buonarroti by John Addington Symonds The Life of Michelangelo Buonarroti by John Addington Symonds Produced by Ted Garvin, Keith M. Eckrich and PG Distributed Proofreaders THE LIFE OF MICHELANGELO BUONARROTI By JOHN ADDINGTON SYMONDS TO THE CAVALIERE GUIDO BIAGI, DOCTOR IN LETTERS, PREFECT OF THE MEDICEO-LAURENTIAN LIBRARY, ETC., ETC. I DEDICATE THIS WORK ON MICHELANGELO IN RESPECT FOR HIS SCHOLARSHIP AND LEARNING ADMIRATION OF HIS TUSCAN STYLE AND GRATEFUL ACKNOWLEDGMENT OF HIS GENEROUS ASSISTANCE CONTENTS CHAPTER page 1 / 658 I. BIRTH, BOYHOOD, YOUTH AT FLORENCE, DOWN TO LORENZO DE' MEDICI'S DEATH. 1475-1492. II. FIRST VISITS TO BOLOGNA AND ROME--THE MADONNA DELLA FEBBRE AND OTHER WORKS IN MARBLE. 1492-1501. III. RESIDENCE IN FLORENCE--THE DAVID. 1501-1505. IV. JULIUS II. CALLS MICHELANGELO TO ROME--PROJECT FOR THE POPE'S TOMB--THE REBUILDING OF S. PETER'S--FLIGHT FROM ROME--CARTOON FOR THE BATTLE OF PISA. 1505, 1506. V. SECOND VISIT TO BOLOGNA--THE BRONZE STATUE OF JULIUS II--PAINTING OF THE SISTINE VAULT. 1506-1512. VI. ON MICHELANGELO AS DRAUGHTSMAN, PAINTER, SCULPTOR. VII. LEO X. PLANS FOR THE CHURCH OF S. LORENZO AT FLORENCE--MICHELANGELO'S LIFE AT CARRARA. 1513-1521. VIII. ADRIAN VI AND CLEMENT VII--THE SACRISTY AND LIBRARY OF S. LORENZO. 1521-1526. page 2 / 658 IX. SACK OF ROME AND SIEGE OF FLORENCE--MICHELANGELO'S FLIGHT TO VENICE--HIS RELATIONS TO THE MEDICI. 1527-1534. X. ON MICHELANGELO AS ARCHITECT. XI. FINAL SETTLEMENT IN ROME--PAUL III.--THE LAST JUDGMENT AND THE PAOLINE CHAPEL--THE TOMB OF JULIUS. -
Central Balkans Cradle of Aegean Culture
ANTONIJE SHKOKLJEV SLAVE NIKOLOVSKI - KATIN PREHISTORY CENTRAL BALKANS CRADLE OF AEGEAN CULTURE Prehistory - Central Balkans Cradle of Aegean culture By Antonije Shkokljev Slave Nikolovski – Katin Translated from Macedonian to English and edited By Risto Stefov Prehistory - Central Balkans Cradle of Aegean culture Published by: Risto Stefov Publications [email protected] Toronto, Canada All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system without written consent from the author, except for the inclusion of brief and documented quotations in a review. Copyright 2013 by Antonije Shkokljev, Slave Nikolovski – Katin & Risto Stefov e-book edition 2 Index Index........................................................................................................3 COMMON HISTORY AND FUTURE ..................................................5 I - GEOGRAPHICAL CONFIGURATION OF THE BALKANS.........8 II - ARCHAEOLOGICAL DISCOVERIES .........................................10 III - EPISTEMOLOGY OF THE PANNONIAN ONOMASTICS.......11 IV - DEVELOPMENT OF PALEOGRAPHY IN THE BALKANS....33 V – THRACE ........................................................................................37 VI – PREHISTORIC MACEDONIA....................................................41 VII - THESSALY - PREHISTORIC AEOLIA.....................................62 VIII – EPIRUS – PELASGIAN TESPROTIA......................................69 -
Bodies of Knowledge: the Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2015 Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600 Geoffrey Shamos University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Shamos, Geoffrey, "Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600" (2015). Publicly Accessible Penn Dissertations. 1128. https://repository.upenn.edu/edissertations/1128 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/1128 For more information, please contact [email protected]. Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600 Abstract During the second half of the sixteenth century, engraved series of allegorical subjects featuring personified figures flourished for several decades in the Low Countries before falling into disfavor. Designed by the Netherlandsâ?? leading artists and cut by professional engravers, such series were collected primarily by the urban intelligentsia, who appreciated the use of personification for the representation of immaterial concepts and for the transmission of knowledge, both in prints and in public spectacles. The pairing of embodied forms and serial format was particularly well suited to the portrayal of abstract themes with multiple components, such as the Four Elements, Four Seasons, Seven Planets, Five Senses, or Seven Virtues and Seven Vices. While many of the themes had existed prior to their adoption in Netherlandish graphics, their pictorial rendering had rarely been so pervasive or systematic. -
The Court of Cyrus the Younger in Anatolia: Some Remarks
STUDIES IN ANCIENT ART AND CIVILIZATION, VOL. 23 (2019) pp. 95-111, https://doi.org/10.12797/SAAC.23.2019.23.05 Michał Podrazik University of Rzeszów THE COURT OF CYRUS THE YOUNGER IN ANATOLIA: SOME REMARKS Abstract: Cyrus the Younger (born in 424/423 BC, died in 401 BC), son of the Great King Darius II (424/423-404 BC) and Queen Parysatis, is well known from his activity in Anatolia. In 408 BC he took power there as a karanos (Old Persian *kārana-, Greek κάρανος), a governor of high rank with extensive military and political competence reporting directly to the Great King. Holding his power in Anatolia, Cyrus had his own court there, in many respects modeled after the Great King’s court. The aim of this article is to show some aspects of functioning and organization of Cyrus the Younger’s court in Anatolia. Keywords: Cyrus the Younger; court; court’s staff and protocol In 4081, Cyrus, commonly known as the Younger (424/423-401), son of the Great King Darius II (424/423-404), was appointed by his father to rule over an important part of the Achaemenid Empire, Anatolia. Cyrus wielded his power there as karanos (Old Persian *kārana-, Greek κάρανος), a high- ranking governor with extensive military and political competence, reporting directly to the Great King (see Podrazik 2018, 69-83; cf. Barkworth 1993, 150-151; Debord 1999, 122-123; Briant 2002, 19, 321, 340, 600, 625-626, 878, 1002; Hyland 2013, 2-5). Cyrus held his own court while in Anatolia. The court was organized along the lines of the King’s court, but was certainly no match for it 1 All dates in the article pertain to the events before the birth of Christ except where otherwise stated. -
PROOF Contents
PROOF Contents List of Illustrations vii Acknowledgments viii Notes on Contributors ix List of Abbreviations xii Introduction The Aesthetic Life: Thinking Across the Arts and the Senses 1 Elicia Clements and Lesley J. Higgins Part I Pater and Contemporary Visualities 1 Art and the Museum 13 Jonah Siegel 2 Pater and Contemporary Visual Art 33 J. B. Bullen 3 The ‘Necessity’ of Corot and Whistler in Pater’s ‘Network’ of Painters 47 Lesley J. Higgins 4 Critical Connections and Quotational Strategies: Allegory and Aestheticism in Pater and Simeon Solomon 68 Colin Cruise Part II Pater and the Dynamic Arts 5 Pater’s Auxerre Tapestry 85 Kenneth Daley 6 Sculpture, Style and Pater’s Imaginative Sense of Touch 102 Lene Østermark-Johansen 7 The Painting as Physical Object in a Verbal Portrait: Pater’s ‘A Prince of Court Painters’ and Wilde’s ‘The Portrait of Mr W. H.’ 117 Norman Kelvin 8 Walter Pater, Film Theorist 135 Carolyn Williams v PROOF vi Contents 9 Pater’s Musical Imagination: The Aural Architecture of ‘The School of Giorgione’ and Marius the Epicurean 152 Elicia Clements 10 Haunted Stages: Walter Pater and the ‘Theatrical Mode of Life’ 167 Andrew Eastham Part III Pater and the Practice of Writing 11 Literary Communism: Pater and the Politics of Community 185 Matthew Potolsky 12 The Limitations of Schilleresque Self-Culture in Pater’s Individualist Aesthetics 205 Kate Hext 13 The Art of the Novel: Pater and Fiction 220 Laurel Brake Bibliography 232 Index 249 PROOF 1 Art and the Museum Jonah Siegel The nineteenth-century museum (Parnassus or the Disputation of the Sacrament) Between approximately 1509 and 1511, as Michelangelo completed the Sistine ceiling nearby, Raphael set to work on his first major commission in Rome, a set of frescoes for the Stanza della Segnatura at the Vatican. -
The Forum Romanum: a Kaleidoscopic Analysis
Discentes Volume 4 Issue 1 Volume 4, Issue 1 Article 8 2016 The Forum Romanum: A Kaleidoscopic Analysis Follow this and additional works at: https://repository.upenn.edu/discentesjournal Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, Classics Commons, and the History Commons Recommended Citation . 2016. "The Forum Romanum: A Kaleidoscopic Analysis." Discentes 4, (1):34-47. https://repository.upenn.edu/discentesjournal/vol4/iss1/8 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/discentesjournal/vol4/iss1/8 For more information, please contact [email protected]. The Forum Romanum: A Kaleidoscopic Analysis This article is available in Discentes: https://repository.upenn.edu/discentesjournal/vol4/iss1/8 The Forum Romanum: A Kaleidoscopic Analysis By Allyson Zucker The Roman Forum is a place full of contradictions and unity. On a comprehensive time scale, the forum grows from a semi-random connection of buildings to the monumental center of the most powerful nation in the Mediterranean. On the other hand, from day to day, the Roman forum changed according to the Roman calendar, transforming from the holy grounds of a religious festival to bustling markets, and from a political battleground to a judicial arena. Ancient Romans experienced the forum through a kaleidoscopic lens, cheering on gladiators in front of the very rostra where Cicero delivered epic political speeches, purchasing a goat at the market before sacrificing at the Temple of Jupiter, and visiting the brothel beside the Temple of the Vestal Virgins. Martial aurally narrates a scene of the noises that resounded through the forum and compellingly portrays its chaos with 1.