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The Rough Guide to Naples & the Amalfi Coast
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A Literary Journey to Rome
A Literary Journey to Rome A Literary Journey to Rome: From the Sweet Life to the Great Beauty By Christina Höfferer A Literary Journey to Rome: From the Sweet Life to the Great Beauty By Christina Höfferer This book first published 2017 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2017 by Christina Höfferer All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-7328-4 ISBN (13): 978-1-4438-7328-4 CONTENTS When the Signora Bachmann Came: A Roman Reportage ......................... 1 Street Art Feminism: Alice Pasquini Spray Paints the Walls of Rome ....... 7 Eataly: The Temple of Slow-food Close to the Pyramide ......................... 11 24 Hours at Ponte Milvio: The Lovers’ Bridge ......................................... 15 The English in Rome: The Keats-Shelley House at the Spanish Steps ...... 21 An Espresso with the Senator: High-level Politics at Caffè Sant'Eustachio ........................................................................................... 25 Ferragosto: When the Romans Leave Rome ............................................. 29 Myths and Legends, Truth and Fiction: How Secret is the Vatican Archive? ................................................................................................... -
The Architecture of Roman Temples
P1: JzL 052181068XAgg.xml CB751B/Stamper 0 521 81068 X August 28, 2004 17:30 The Architecture of Roman Temples - The Republic to the Middle Empire John W. Stamper University of Notre Dame iii P1: JzL 052181068XAgg.xml CB751B/Stamper 0 521 81068 X August 28, 2004 17:30 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 Alarcon´ 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org C John W. Stamper 2005 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2005 Printed in the United Kingdom at the University Press, Cambridge Typefaces Bembo 11/14 pt., Weiss, Trajan, and Janson System LATEX 2ε [tb] A catalog record for this book is available from the British Library. Library of Congress Cataloging in Publication Data Stamper, John W. The architecture of Roman temples : the republic to the middle empire / John W. Stamper. p. cm. Includes bibliographical references and index. isbn 0-521-81068-x 1. Temples, Roman – Italy – Rome. 2. Temple of Jupiter Capitolinus (Rome, Italy) 3. Architecture, Roman – Italy – Rome – Influence. 4. Rome (Italy) -
The Soundscape of the Trevi Fountain in Covid-19 Silence Received Jul 15, 2020; Accepted Sep 28, 2020 1 Introduction
Noise Mapp. 2020; 7:212–222 Research Article Enza De Lauro*, Mariarosaria Falanga, and Laura Tedeschini Lalli The soundscape of the Trevi fountain in Covid-19 silence https://doi.org/10.1515/noise-2020-0018 Received Jul 15, 2020; accepted Sep 28, 2020 1 Introduction Abstract: This paper is devoted to the analyses of sound- This paper is about the soundscape of the famous Piazza scape at fontana di Trevi in Rome (Italy) with the aim to Fontana di Trevi in Rome. The piazza itself is a culturally compare its characteristics during the Italian lockdown important place, so that a study of the "sound signature" due to the (Sars-COV2) Covid-19 sanitary emergency and its of the fountain is important for heritage studies. In this pa- characteristics before and after such time. The lockdown per we address the differences that can be objectively mea- has represented an exceptional environment due to the sured in very different situations regarding background silence everywhere, never occurred in centuries, offering noise. the opportunity to recognize the "signature" of the sound At the end of December 2019, in a market of Wuhan in the emitted by the famous Fontana di Trevi and recognize Hubei Province (China), there was a first documented case how it interacts with other features. The signature is im- of anomalous pneumonia, thereafter denominated Covid- portant for preservation issues and cultural heritage. The 19 disease. On January 9, 2020, the Chinese CDC reported soundscape was documented in a field survey by means of that this anomalous pneumonia was due to a new coro- hand held microphones, which acquired simultaneously navirus that was responsible of a Severe Acute Respira- the acoustic wavefield all around the fountain. -
9781107013995 Index.Pdf
Cambridge University Press 978-1-107-01399-5 — Rome Rabun Taylor , Katherine Rinne , Spiro Kostof Index More Information INDEX abitato , 209 , 253 , 255 , 264 , 273 , 281 , 286 , 288 , cura(tor) aquarum (et Miniciae) , water 290 , 319 commission later merged with administration, ancient. See also Agrippa ; grain distribution authority, 40 , archives ; banishment and 47 , 97 , 113 , 115 , 116 – 17 , 124 . sequestration ; libraries ; maps ; See also Frontinus, Sextus Julius ; regions ( regiones ) ; taxes, tarif s, water supply ; aqueducts; etc. customs, and fees ; warehouses ; cura(tor) operum maximorum (commission of wharves monumental works), 162 Augustan reorganization of, 40 – 41 , cura(tor) riparum et alvei Tiberis (commission 47 – 48 of the Tiber), 51 censuses and public surveys, 19 , 24 , 82 , cura(tor) viarum (roads commission), 48 114 – 17 , 122 , 125 magistrates of the vici ( vicomagistri ), 48 , 91 codes, laws, and restrictions, 27 , 29 , 47 , Praetorian Prefect and Guard, 60 , 96 , 99 , 63 – 65 , 114 , 162 101 , 115 , 116 , 135 , 139 , 154 . See also against permanent theaters, 57 – 58 Castra Praetoria of burial, 37 , 117 – 20 , 128 , 154 , 187 urban prefect and prefecture, 76 , 116 , 124 , districts and boundaries, 41 , 45 , 49 , 135 , 139 , 163 , 166 , 171 67 – 69 , 116 , 128 . See also vigiles (i re brigade), 66 , 85 , 96 , 116 , pomerium ; regions ( regiones ) ; vici ; 122 , 124 Aurelian Wall ; Leonine Wall ; police and policing, 5 , 100 , 114 – 16 , 122 , wharves 144 , 171 grain, l our, or bread procurement and Severan reorganization of, 96 – 98 distribution, 27 , 89 , 96 – 100 , staf and minor oi cials, 48 , 91 , 116 , 126 , 175 , 215 102 , 115 , 117 , 124 , 166 , 171 , 177 , zones and zoning, 6 , 38 , 84 , 85 , 126 , 127 182 , 184 – 85 administration, medieval frumentationes , 46 , 97 charitable institutions, 158 , 169 , 179 – 87 , 191 , headquarters of administrative oi ces, 81 , 85 , 201 , 299 114 – 17 , 214 Church. -
The Motivation for the Patronage of Pope Julius Ii
THE MOTIVATION FOR THE PATRONAGE OF POPE JULIUS II Christine Shaw As the head of the Western Church, Giuliano della Rovere, Pope Julius II (1503-13), has had his critics, from his own day to ours, above all for his role as ‘the warrior pope’. The aspect of his rule that has won most general approval has been his patronage of the arts. The complex iconography of some of the works Julius commissioned, particularly Raphael’s frescoes in the Vatican Stanze, and the scale of some of the projects he initiated – the rebuilding of St Peter’s, the development of the via Giulia, the massive and elaborate tomb Michelangelo planned to create for him – have provided fertile soil for interpretation of these works as expressions of Julius’s own ideals, aspirations, motives and self-image. Too fertile, perhaps – some interpretations have arguably become over-elaborate and recherchés. The temptation to link the larger than life character of Julius II with the claims for the transcendent power and majesty of the papacy embodied in the ico- nography and ideology of the works of art and writings produced in Rome during his pontificate, whether or not they were commissioned by the pope, has often proved irresistible to scholars. Some of the works associated with Julius can be read as expressions of certain conceptions of papal authority, and of the Rome of the Renaissance popes as the culmination of classical and Jewish, as well as early Christian history. But should they be read as Julius’s conception of his role as pope, his programme for his own papacy? Just because others identified him with Julius Caesar, or with Moses, does that mean that he saw himself as Moses, as a second Julius Caesar? There were plenty of learned men in Rome, ready to elabore theories of papal power which drew on different traditions and to fit Julius into them, just as they had fitted earlier popes and would fit later popes into them. -
Welcome to the World of Visions Educational Travel. Outstanding
Tour: Roman Pilgrimage: A Culture & Faith Tour Destination: Rome & Pompeii, Italy Availability: Year-round Roman Pilgrimage - Sample Itinerary A Culture & Faith Tour Day Morning Afternoon Evening Time Elevator: 1 Travel to Rome by flight, transfer to Hotel; check-in and relax Dinner at Hotel History of Rome 2 Breakfast Ancient Rome Guided Tour: Coliseum, Roman Forum & Palatine Hill Gladiator School* Dinner at Hotel 3 Breakfast Guided Tour: Vatican Museums, Sistine Chapel, St. Peter's Basilica & Castel Sant'Angelo Pizza Cooking Class* 4 Breakfast Guided Walking Tour of Naples & Naples Underground Guided Tour of Pompeii Dinner at Hotel Attend Mass at Local Saint John Lateran Basilica & The The Roman Ghost & Mystery 5 Breakfast Dinner at Hotel Roman Chapel Basilica of Saint Mary Major Catacombs Tour* 6 Breakfast Guided Tour: Ostia Antica Guided Walking Tour: Baroque Rome Dinner at Hotel 7 Breakfast Transfer to airport; fly home * Indicates activities that may be added on at extra cost, per your request Welcome to the world of Visions Educational Travel. Outstanding destinations filled with history, humanities, and a world outside of the classroom brought to you as only Visions can! As with all sample itineraries, please be aware that this is an “example” of a schedule and that the activities included may be variable dependent upon dates, weather, special requests and other factors. Itineraries will be confirmed prior to travel. Rome…. Modern and old, past and present go side by side; all the time. You can decide to follow the typical paths or you can be lucky enough to go off the usual tracks. -
Trevi Fountain Rome, Italy Trevi Fountain: Rome, Italy the Architects
Trevi Fountain Rome, Italy Trevi Fountain: Rome, Italy The Architects The Trevi Fountain (Fontana di Trevi) is the most famous and arguably Little of Nicola Salvi’s (1697–1751) work beyond the Trevi Fountain remains the most beautiful fountain in Rome. This impressive Baroque-styled today and relatively little is known of the architect himself. He was monument was completed in 1762 and still dominates the small Trevi admitted to the Roman Academy of Arcadia in 1717 and only became square located in the city’s Quirinale district. an architect after studying mathematics and philosophy. His friend and colleague, the sculptor Pietro Bracci (1700–1773), would eventually go on to complete the fountain. Bracci’s most famous piece of work, the statue of Oceanus, forms the centerpiece of the fountain. 2 History The imposing fountain sits at the junction of three roads, or tre vie, which many believe gave the fountain its name, and marks the terminal point of one of the original aqueducts that supplied water to ancient Rome. Built by Marcu Vipsanius Agrippa in 19 BC, the Aqua Virgo aqueduct was over 13 miles (21 km) long and even then had a fountain at its terminus. The aqueduct and fountain served Rome for over 400 years, but after the invasion of the Goths in AD 537, the aqueduct was cut off and the final portion abandoned, forcing the medieval Romans to draw water from wells and the River Tiber. It would be over 1,000 years, and the advent of the Early Renaissance period, before a fountain would again stand in the location we know today. -
3 Architects, Antiquarians, and the Rise of the Image in Renaissance Guidebooks to Ancient Rome
Anna Bortolozzi 3 Architects, Antiquarians, and the Rise of the Image in Renaissance Guidebooks to Ancient Rome Rome fut tout le monde, & tout le monde est Rome1 Drawing in the past, drawing in the present: Two attitudes towards the study of Roman antiquity In the early 1530s, the Sienese architect Baldassare Peruzzi drew a section along the principal axis of the Pantheon on a sheet now preserved in the municipal library in Ferrara (Fig. 3.1).2 In the sixteenth century, the Pantheon was generally considered the most notable example of ancient architecture in Rome, and the drawing is among the finest of Peruzzi’s surviving architectural drawings after the antique. The section is shown in orthogonal projection, complemented by detailed mea- surements in Florentine braccia, subdivided into minuti, and by a number of expla- natory notes on the construction elements and building materials. By choosing this particular drawing convention, Peruzzi avoided the use of foreshortening and per- spective, allowing measurements to be taken from the drawing. Though no scale is indicated, the representation of the building and its main elements are perfectly to scale. Peruzzi’s analytical representation of the Pantheon served as the model for several later authors – Serlio’s illustrations of the section of the portico (Fig. 3.2)3 and the roof girders (Fig. 3.3) in his Il Terzo Libro (1540) were very probably derived from the Ferrara drawing.4 In an article from 1966, Howard Burns analysed Peruzzi’s drawing in detail, and suggested that the architect and antiquarian Pirro Ligorio took the sheet to Ferrara in 1569. -
Patronage and Dynasty
PATRONAGE AND DYNASTY Habent sua fata libelli SIXTEENTH CENTURY ESSAYS & STUDIES SERIES General Editor MICHAEL WOLFE Pennsylvania State University–Altoona EDITORIAL BOARD OF SIXTEENTH CENTURY ESSAYS & STUDIES ELAINE BEILIN HELEN NADER Framingham State College University of Arizona MIRIAM U. CHRISMAN CHARLES G. NAUERT University of Massachusetts, Emerita University of Missouri, Emeritus BARBARA B. DIEFENDORF MAX REINHART Boston University University of Georgia PAULA FINDLEN SHERYL E. REISS Stanford University Cornell University SCOTT H. HENDRIX ROBERT V. SCHNUCKER Princeton Theological Seminary Truman State University, Emeritus JANE CAMPBELL HUTCHISON NICHOLAS TERPSTRA University of Wisconsin–Madison University of Toronto ROBERT M. KINGDON MARGO TODD University of Wisconsin, Emeritus University of Pennsylvania MARY B. MCKINLEY MERRY WIESNER-HANKS University of Virginia University of Wisconsin–Milwaukee Copyright 2007 by Truman State University Press, Kirksville, Missouri All rights reserved. Published 2007. Sixteenth Century Essays & Studies Series, volume 77 tsup.truman.edu Cover illustration: Melozzo da Forlì, The Founding of the Vatican Library: Sixtus IV and Members of His Family with Bartolomeo Platina, 1477–78. Formerly in the Vatican Library, now Vatican City, Pinacoteca Vaticana. Photo courtesy of the Pinacoteca Vaticana. Cover and title page design: Shaun Hoffeditz Type: Perpetua, Adobe Systems Inc, The Monotype Corp. Printed by Thomson-Shore, Dexter, Michigan USA Library of Congress Cataloging-in-Publication Data Patronage and dynasty : the rise of the della Rovere in Renaissance Italy / edited by Ian F. Verstegen. p. cm. — (Sixteenth century essays & studies ; v. 77) Includes bibliographical references and index. ISBN-13: 978-1-931112-60-4 (alk. paper) ISBN-10: 1-931112-60-6 (alk. paper) 1. -
Architectural Spolia and Urban Transformation in Rome from the Fourth to the Thirteenth Century
Patrizio Pensabene Architectural Spolia and Urban Transformation in Rome from the Fourth to the Thirteenth Century Summary This paper is a historical outline of the practice of reuse in Rome between the th and th century AD. It comments on the relevance of the Arch of Constantine and the Basil- ica Lateranensis in creating a tradition of meanings and ways of the reuse. Moreover, the paper focuses on the government’s attitude towards the preservation of ancient edifices in the monumental center of Rome in the first half of the th century AD, although it has been established that the reuse of public edifices only became a normal practice starting in th century Rome. Between the th and th century the city was transformed into set- tlements connected to the principal groups of ruins. Then, with the Carolingian Age, the city achieved a new unity and several new, large-scale churches were created. These con- struction projects required systematic spoliation of existing marble. The city enlarged even more rapidly in the Romanesque period with the construction of a large basilica for which marble had to be sought in the periphery of the ancient city. At that time there existed a highly developed organization for spoliating and reworking ancient marble: the Cos- matesque Workshop. Keywords: Re-use; Rome; Arch of Constantine; Basilica Lateranensis; urban transforma- tion. Dieser Artikel bietet eine Übersicht über den Einsatz von Spolien in Rom zwischen dem . und dem . Jahrhundert n. Chr. Er zeigt auf, wie mit dem Konstantinsbogen und der Ba- silica Lateranensis eine Tradition von Bedeutungsbezügen und Strategien der Spolienver- wendung begründet wurde. -
Art and Religion
ART AND RELIGION: • Works of art inspired by beliefs shape sacred space. (Places that have sacred character) • Works of art inspired by beliefs express things that cannot be seen (Representation of specific gods or deities) • Works of art inspired by beliefs explain and teach (Objects used to Facilitate Worship) • Works of art, inspired by beliefs facilitate communication with the spiritual realm. (Communication with the spiritual, natural or ancestral world) Sacred Places • Sacred places restore a person’s soul • Can be individual or communal • Allow us to feel connected and at peace • Some artists and architects mark sacred places • Places of personal retreat • Communal worship • Connected to nature, religion, or community WORSHIP SPACES • What affects the nature of the space? • Why would a space change over the years? • What elements might be consistent through different faiths? • What elements would be different? • Who determines the shape? PROTOTYPE EXAMPLES Ancient Near East: Ziggurat • ZIGGURAT=Sacred Mountain • 2100 BCE • Mountains were seen as the place where bridge heaven and earth. • Rulers oen received requests and instrucons from gods on where and how to construct ziggurats. • Was a place for the union between mortals and gods. • This was the center of the religious, polical and social in the city • Corners of temple oriented on cardinal compass points (ORIENTATION OFTEN IMPORTANT) 2.9 Plan of the White Temple Nanna ziggurat, Ur –Nammu (southeast Iraq) 2100-2050 BCE ANCIENT GREECE • MAN IS THE MEASURE OF ALL THINGS: Gods had human foibles • GODS (Pantheon) • nature worship evolved into personificaon • Gods assumed human forms • had same aspects as humans • Temples: shrines to protect the statue of the god • Ceremonies outside • Sculpture as defining the funcon • Building conceived as a sculpture., ‘possessing power of sculpture to evoke human response’ • Note placement.