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2003 Social Report
SANPAOLO IMI SOCIAL REPORT 2003 Social Report REGISTERED OFFICE: PIAZZA SAN CARLO 156, TURIN, ITALY SECONDARY OFFICES: - VIALE DELL’ARTE 25, ROME, ITALY - VIA FARINI 22, BOLOGNA, ITALY COMPANY REGISTER OF TURIN N. 06210280019 SHARE CAPITAL 5,144,064,800 EURO FULLY PAID PARENT BANK OF THE SANPAOLO IMI BANKING GROUP MEMBER OF THE INTERBANK DEPOSIT GUARANTEE FUND Luigi Arcuti Honorary Chairman Board of Directors Rainer Stefano Masera (*) Chairman Pio Bussolotto (*) Managing Director Alberto Carmi Director Giuseppe Fontana Director Richard Gardner Director Alfonso Iozzo (*) Managing Director Mario Manuli Director Luigi Maranzana (*) Managing Director Antonio Maria Marocco Director Virgilio Marrone (*) Director Abel Matutes Juan Director Iti Mihalich (*) Director Anthony Orsatelli Director Emilio Ottolenghi Director Orazio Rossi (*) Deputy Chairman Gian Guido Sacchi Morsiani Director Enrico Salza (*) Deputy Chairman Remi François Vermeiren Director (*) Members of the Executive Committee Board of Statutory Auditors Mario Paolillo Chairman Aureliano Benedetti Auditor Maurizio Dallocchio Auditor Paolo Mazzi Auditor Enrico Vitali Auditor Stefania Bortoletti Auditor Antonio Ottavi (**) Auditor (**) Prof. Ottavi has resigned on January 19, 2004 Ethical Commitee Abel Matutes Juan Chairman Alberto Carmi Member Richard Gardner Member Mario Manuli Member Antonio Maria Marocco Member Rainer Stefano Masera Member Remi François Vermeiren Member Independent Auditors PricewaterhouseCoopers S.p.A. Contents 9 Letter to Stakeholders 12 Introduction and preparation -
Church Building Terms What Do Narthex and Nave Mean? Our Church Building Terms Explained a Virtual Class Prepared by Charles E.DICKSON,Ph.D
Welcome to OUR 4th VIRTUAL GSP class. Church Building Terms What Do Narthex and Nave Mean? Our Church Building Terms Explained A Virtual Class Prepared by Charles E.DICKSON,Ph.D. Lord Jesus Christ, may our church be a temple of your presence and a house of prayer. Be always near us when we seek you in this place. Draw us to you, when we come alone and when we come with others, to find comfort and wisdom, to be supported and strengthened, to rejoice and give thanks. May it be here, Lord Christ, that we are made one with you and with one another, so that our lives are sustained and sanctified for your service. Amen. HISTORY OF CHURCH BUILDINGS The Bible's authors never thought of the church as a building. To early Christians the word “church” referred to the act of assembling together rather than to the building itself. As long as the Roman government did not did not recognize and protect Christian places of worship, Christians of the first centuries met in Jewish places of worship, in privately owned houses, at grave sites of saints and loved ones, and even outdoors. In Rome, there are indications that early Christians met in other public spaces such as warehouses or apartment buildings. The domus ecclesiae or house church was a large private house--not just the home of an extended family, its slaves, and employees--but also the household’s place of business. Such a house could accommodate congregations of about 100-150 people. 3rd-century house church in Dura-Europos, in what is now Syria CHURCH BUILDINGS In the second half of the 3rd century, Christians began to construct their first halls for worship (aula ecclesiae). -
The Capital Sculpture of Wells Cathedral: Masons, Patrons and The
The Capital Sculpture of Wells Cathedral: Masons, Patrons and the Margins of English Gothic Architecture MATTHEW M. REEVE For Eric Fernie This paper considers the sculpted capitals in Wells cathedral. Although integral to the early Gothic fabric, they have hitherto eluded close examination as either a component of the building or as an important cycle of ecclesiastical imagery in their own right. Consideration of the archaeological evidence suggests that the capitals were introduced mid-way through the building campaigns and were likely the products of the cathedral’s masons rather than part of an original scheme for the cathedral as a whole. Possible sources for the images are considered. The distribution of the capitals in lay and clerical spaces of the cathedral leads to discussion of how the imagery might have been meaningful to diCerent audiences on either side of the choir screen. introduction THE capital sculpture of Wells Cathedral has the dubious honour of being one of the most frequently published but least studied image cycles in English medieval art. The capitals of the nave, transepts, and north porch of the early Gothic church are ornamented with a rich array of figural sculptures ranging from hybrid human-animals, dragons, and Old Testament prophets, to representations of the trades that inhabit stiC-leaf foliage, which were originally highlighted with paint (Figs 1, 2).1 The capitals sit upon a highly sophisticated pier design formed by a central cruciform support with triple shafts at each termination and in the angles, which oCered the possibility for a range of continuous and individual sculpted designs in the capitals above (Fig. -
Review Essay: Grappling with “Big Painting”: Akela Reason‟S Thomas Eakins and the Uses of History
Review Essay: Grappling with “Big Painting”: Akela Reason‟s Thomas Eakins and the Uses of History Adrienne Baxter Bell Marymount Manhattan College Thomas Eakins made news in the summer of 2010 when The New York Times ran an article on the restoration of his most famous painting, The Gross Clinic (1875), a work that formed the centerpiece of an exhibition aptly named “An Eakins Masterpiece Restored: Seeing „The Gross Clinic‟ Anew,” at the Philadelphia Museum of Art.1 The exhibition reminded viewers of the complexity and sheer gutsiness of Eakins‟s vision. On an oversized canvas, Eakins constructed a complex scene in an operating theater—the dramatic implications of that location fully intact—at Jefferson Medical College in Philadelphia. We witness the demanding work of the five-member surgical team of Dr. Samuel Gross, all of whom are deeply engaged in the process of removing dead tissue from the thigh bone of an etherized young man on an operating table. Rising above the hunched figures of his assistants, Dr. Gross pauses momentarily to describe an aspect of his work while his students dutifully observe him from their seats in the surrounding bleachers. Spotlights on Gross‟s bloodied, scalpel-wielding right hand and his unnaturally large head, crowned by a halo of wiry grey hair, clarify his mastery of both the vita activa and vita contemplativa. Gross‟s foil is the woman in black at the left, probably the patient‟s sclerotic mother, who recoils in horror from the operation and flings her left arm, with its talon-like fingers, over her violated gaze. -
Liturgical Architecture: the Layout of a Byzantine Church Building
Liturgical Architecture: The Layout of a Byzantine Church Building Each liturgical tradition has its own requirements and expectations for the liturgical space; here, we will look at the St. Nicholas Church building and its symbolism in the Byzantine tradition. The nave The most ancient plan of Christian architecture is probably the basilica, the large rectangular room used for public meetings, and many Byzantine churches today are organized around a large liturgical space, called the nave (from the Greek word for a ship, referring to the ark of Noah in which human beings were saved from the flood). The nave is the place where the community assembles for prayer, and symbolically represents the Church "in pilgrimage" - the Church in the world. It is normally adorned with icons of the Lord, the angels and the saints, allowing us to see and remember the "cloud of witnesses" who are present with us at the liturgy. At St. Nicholas, the nave opens upward to a dome with stained glass of the Eucharist chalice and the Holy Spirit above the congregation. The nave is also provided with lights that at specific times the church interior can be brightly lit, especially at moments of great joy in the services, or dimly lit, like during parts of the Liturgy of Presanctified Gifts. The nave, where the congregation resides during the Divine Liturgy, at St. Nicholas is round, representing the endlessness of eternity. The principal church building of the Byzantine Rite, the Church of Holy Wisdom (Hagia Sophia) in Constantinople, employed a round plan for the nave, and this has been imitated in many Byzantine church buildings. -
The Gross Clinic, the Agnew Clinic, and the Listerian Revolution
Thomas Jefferson University Jefferson Digital Commons Department of Surgery Gibbon Society Historical Profiles Department of Surgery 11-1-2011 The Gross clinic, the Agnew clinic, and the Listerian revolution. Caitlyn M. Johnson, B.S. Thomas Jefferson University Charles J. Yeo, MD Thomas Jefferson University Pinckney J. Maxwell, IV, MD Thomas Jefferson University Follow this and additional works at: https://jdc.jefferson.edu/gibbonsocietyprofiles Part of the History of Science, Technology, and Medicine Commons, and the Surgery Commons Let us know how access to this document benefits ouy Recommended Citation Johnson, B.S., Caitlyn M.; Yeo, MD, Charles J.; and Maxwell, IV, MD, Pinckney J., "The Gross clinic, the Agnew clinic, and the Listerian revolution." (2011). Department of Surgery Gibbon Society Historical Profiles. Paper 33. https://jdc.jefferson.edu/gibbonsocietyprofiles/33 This Article is brought to you for free and open access by the Jefferson Digital Commons. The Jefferson Digital Commons is a service of Thomas Jefferson University's Center for Teaching and Learning (CTL). The Commons is a showcase for Jefferson books and journals, peer-reviewed scholarly publications, unique historical collections from the University archives, and teaching tools. The Jefferson Digital Commons allows researchers and interested readers anywhere in the world to learn about and keep up to date with Jefferson scholarship. This article has been accepted for inclusion in Department of Surgery Gibbon Society Historical Profiles yb an authorized administrator of the Jefferson Digital Commons. For more information, please contact: [email protected]. Brief Reports Brief Reports should be submitted online to www.editorialmanager.com/ amsurg.(Seedetailsonlineunder‘‘Instructions for Authors’’.) They should be no more than 4 double-spaced pages with no Abstract or sub-headings, with a maximum of four (4) references. -
Interiors and Interiority in Vermeer: Empiricism, Subjectivity, Modernism
ARTICLE Received 20 Feb 2017 | Accepted 11 May 2017 | Published 12 Jul 2017 DOI: 10.1057/palcomms.2017.68 OPEN Interiors and interiority in Vermeer: empiricism, subjectivity, modernism Benjamin Binstock1 ABSTRACT Johannes Vermeer may well be the foremost painter of interiors and interiority in the history of art, yet we have not necessarily understood his achievement in either domain, or their relation within his complex development. This essay explains how Vermeer based his interiors on rooms in his house and used his family members as models, combining empiricism and subjectivity. Vermeer was exceptionally self-conscious and sophisticated about his artistic task, which we are still laboring to understand and articulate. He eschewed anecdotal narratives and presented his models as models in “studio” settings, in paintings about paintings, or art about art, a form of modernism. In contrast to the prevailing con- ception in scholarship of Dutch Golden Age paintings as providing didactic or moralizing messages for their pre-modern audiences, we glimpse in Vermeer’s paintings an anticipation of our own modern understanding of art. This article is published as part of a collection on interiorities. 1 School of History and Social Sciences, Cooper Union, New York, NY, USA Correspondence: (e-mail: [email protected]) PALGRAVE COMMUNICATIONS | 3:17068 | DOI: 10.1057/palcomms.2017.68 | www.palgrave-journals.com/palcomms 1 ARTICLE PALGRAVE COMMUNICATIONS | DOI: 10.1057/palcomms.2017.68 ‘All the beautifully furnished rooms, carefully designed within his complex development. This essay explains how interiors, everything so controlled; There wasn’t any room Vermeer based his interiors on rooms in his house and his for any real feelings between any of us’. -
Full Program & Logistics Hna 2018
Thank you for wearing your badge at all locations. You will need to be able to identify at any moment during the conference. WIFI at Het Pand (GHENT) Network: UGentGuest Login: guestHna1 Password: 57deRGj4 3 WELCOME Welcome to Ghent and Bruges for the 2018 Historians of Netherlandish Art Conference! This is the ninth international quadrennial conference of HNA and the first on the campus of Ghent University. HNA will move to a triennial format with our next conference in 2021. HNA is extremely grateful to Ghent University, Groeningemuseum Bruges, St. John’s Hospital Bruges, and Het Grootseminarie Bruges for placing lecture halls at our disposal and for hosting workshops. HNA would like to express its gratitude in particular to Prof. dr. Maximiliaan Martens and Prof. dr. Koenraad Jonckheere for the initiative and the negotiation of these arrangements. HNA and Ghent University are thankful to the many sponsors who have contributed so generously to this event. A generous grant from the Samuel H. Kress Foundation provided travel assistance for some of our North American speakers and chairs. The opening reception is offered by the city of Ghent, for which we thank Annelies Storms, City Councillor of Culture, in particular. We are grateful to our colleagues of the Museum of Fine Arts Ghent for the reception on Thursday and for offering free admission to conference participants. Also the Museum Het Zotte Kunstkabinet in Mechelen offers free entrance during the conference, for which we are grateful. In addition we also like to thank the sponsoring publishers, who will exhibit books on Thursday. This conference would not have been possible without the efforts of numerous individuals. -
Inca Civilization 1425 A.D - 1532 A.D
Inca Civilization 1425 A.D - 1532 A.D The Inca first appeared in the Andes region during the 12th century A.D. and gradually built a massive kingdom through the military strength of their emperors. Known as Tawantinsuyu, the Incan empire spanned the distance of northern Ecuador to central Chile and consisted of 12 million inhabitants from more than 100 different ethnic (cultural) groups at its peak. Well-devised agricultural and roadway systems, along with a centralized religion and language, helped maintain a cohesive (solid) state. Despite their power, the Inca were quickly overwhelmed by the diseases and superior weaponry of Spanish invaders, the last bastion of their immense empire overtaken in 1572. The Inca first appeared in what is today southeastern Peru during the 12th century A.D (1100’s). According to some versions of their origin myths, they were created by the sun god, Inti, who sent his son Manco Capac to Earth through the middle of three caves in the village of Paccari Tampu. After killing his brothers, Manco Capac led his sisters and their followers through the wilderness before settling in the fertile valley near Cusco circa 1200. The expanding reach of the Inca state, lead to the need for information and people to travel quickly throughout the empire. Pachacuti Inca Yupanqui is believed to have been the first Inca emperor to order forced resettlement to squash the possibility of an uprising from one ethnic (cultural) group. In addition, he established the practice in which rulers were prevented from inheriting the possessions of their fathers, thereby making sure that new leaders would conquer new lands and accumulate new wealth of their own. -
Comparison of Spanish Colonization—Latin America and the Philippines
Title: Comparison of Spanish Colonization—Latin America and the Philippines Teacher: Anne Sharkey, Huntley High School Summary: This lesson took part as a comparison of the different aspects of the Spanish maritime empires with a comparison of Spanish colonization of Mexico & Cuba to that of the Philippines. The lessons in this unit begin with a basic understanding of each land based empire of the time period 1450-1750 (Russia, Ottomans, China) and then with a movement to the maritime transoceanic empires (Spain, Portugal, France, Britain). This lesson will come after the students already have been introduced to the Spanish colonial empire and the Spanish trade systems through the Atlantic and Pacific. Through this lesson the students will gain an understanding of Spanish systems of colonial rule and control of the peoples and the territories. The evaluation of causes of actions of the Spanish, reactions to native populations, and consequences of Spanish involvement will be discussed with the direct correlation between the social systems and structures created, the influence of the Christian missionaries, the rebellions and conflicts with native populations between the two locations in the Latin American Spanish colonies and the Philippines. Level: High School Content Area: AP World History, World History, Global Studies Duration: Lesson Objectives: Students will be able to: Compare the economic, political, social, and cultural structures of the Spanish involvement in Latin America with the Spanish involvement with the Philippines Compare the effects of mercantilism on Latin America and the Philippines Evaluate the role of the encomienda and hacienda system on both regions Evaluate the influence of the silver trade on the economies of both regions Analyze the creation of a colonial society through the development of social classes—Peninsulares, creoles, mestizos, mulattos, etc. -
Annual Report 1995
19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p. -
Curriculum Vitae of Maryan Wynn Ainsworth
Curriculum Vitae of Maryan Wynn Ainsworth Department of European Paintings The Metropolitan Museum of Art 1000 Fifth Avenue New York, New York 10028 Phone: (212) 396-5172 Fax: (212) 396-5052 e-mail: [email protected] EDUCATION Yale University, New Haven, Conn., Department of History of Art Ph.D., May 1982 M. Phil., May 1976 Doctoral dissertation, “Bernart van Orley as a Designer of Tapestry” Oberlin College, Oberlin, Ohio, Department of Art History M.A., May 1973 B.A., January 1972 Master’s thesis, “The Master of St. Gudule” Independent art-history studies in Vienna (1969), Mainz (1973–74), and Brussels (1976–77) PROFESSIONAL EXPERIENCE The Metropolitan Museum of Art, New York Department of European Paintings Curator of European Paintings, 2002–present Research on Northern Renaissance paintings at The Metropolitan Museum of Art, with emphasis on the integration of technical examination of paintings with art-historical information; curating exhibitions; cataloguing the fifteenth- and sixteenth-century Netherlandish and German paintings in the collection; teaching courses on connoisseurship and Northern Renaissance paintings topics for Barnard College and Columbia University; directing the Slifka Fellowship program for art historians at the graduate level; departmental liaison and coordinator, European Paintings volunteers (2008–16) Paintings Conservation, Conservation Department Senior Research Fellow, 1992–2001 Research Fellow, 1987–92 Senior Research Associate, 1982–87 Research Investigator, 1981–82 Interdisciplinary research