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ROME : ART and HISTORY OPENAIR 2020-2021, 2Nd Semester Meeting 1 – 13.03.2021 the Eternal City
University of Rome Tor Vergata School of Global Governance Prof. Anna Vyazemtseva ROME : ART AND HISTORY OPENAIR 2020-2021, 2nd semester Meeting 1 – 13.03.2021 The Eternal City 10 am – 5 pm :, The Palatine (Domus Augustana, Horti Farnesiani), Roman and Imperial Forums, The Colosseum, Vittoriano Complex, Musei Capitolini. 1 - 2pm:Lunch Meeting 2 – 20.03.2021 Introduction to the Renaissance 10 am – 5 pm: St. Peter’s Basilica, Vatican Museums (Sistine Chapel by Michelangelo, Stanze by Raphael). 1 - 2pm: Lunch Meeting 3 – 27.03.2021 Architecture and Power: Palaces of Rome 10 am – 5 pm: Villa Farnesina, Via Giulia, Palazzo Farnese, Palazzo Spada-Capodiferro, Palazzo della Cancelleria, Palazzo Mattei, Palazzo Venezia 1 - 2pm: Lunch Meeting 4 – 10.04.2021 Society, Politics and Art in Rome in XV-XVIII cc. 10 am – 5 pm: Santa Maria del Popolo, Piazza di Spagna, Barberini Palace and Gallery, Fon tana di Trevi, San Carlino alle Quattro Fontane, Sant’Andrea al Quirinale, Palazzo del Quirinale 1 - 2pm:Lunch Meeting 5 – 14.04.2021 The Re-use of the Past 10 am – 5 pm: Pantheon, Piazza di Pietra, Piazza Navona, Baths of Diocletian, National Archeological Museum Palazzo Massimo alle Terme. 1 - 2pm: Lunch Meeting 6 – 08.03.2021 Contemporary Architecture in Rome 10 am – 5pm: EUR district, MAXXI – Museum of Arts of XXI c. (Zaha Hadid Architects), Ara Pacis Museum. 1 – 2 pm: Lunch Proposals and Requirements The course consists of 6 open air lectures on artistic heritage of Rome. The direct contact with sites, buildings and works of art provides not only a better comprehension of their historical and artistic importance but also helps to understand the role of heritage in contemporary society. -
Borromini and the Cultural Context of Kepler's Harmonices Mundi
Borromini and the Dr Valerie Shrimplin cultural context of [email protected] Kepler’sHarmonices om Mundi • • • • Francesco Borromini, S Carlo alle Quattro Fontane Rome (dome) Harmonices Mundi, Bk II, p. 64 Facsimile, Carnegie-Mellon University Francesco Borromini, S Ivo alla Sapienza Rome (dome) Harmonices Mundi, Bk IV, p. 137 • Vitruvius • Scriptures – cosmology and The Genesis, Isaiah, Psalms) cosmological • Early Christian - dome of heaven view of the • Byzantine - domed architecture universe and • Renaissance revival – religious art/architecture symbolism of centrally planned churches • Baroque (17th century) non-circular domes as related to Kepler’s views* *INSAP II, Malta 1999 Cosmas Indicopleustes, Universe 6th cent Last Judgment 6th century (VatGr699) Celestial domes Monastery at Daphne (Δάφνη) 11th century S Sophia, Constantinople (built 532-37) ‘hanging architecture’ Galla Placidia, 425 St Mark’s Venice, late 11th century Evidence of Michelangelo interests in Art and Cosmology (Last Judgment); Music/proportion and Mathematics Giacomo Vignola (1507-73) St Andrea in Via Flaminia 1550-1553 Church of San Giacomo in Augusta, in Rome, Italy, completed by Carlo Maderno 1600 [painting is 19th century] Sant'Anna dei Palafrenieri, 1620’s (Borromini with Maderno) Leonardo da Vinci, Notebooks (318r Codex Atlanticus c 1510) Amboise Bachot, 1598 Following p. 52 Astronomia Nova Link between architecture and cosmology (as above) Ovals used as standard ellipse approximation Significant change/increase Revival of neoplatonic terms, geometrical bases in early 17th (ellipse, oval, equilateral triangle) century Fundamental in Harmonices Mundi where orbit of every planet is ellipse with sun at one of foci Borromini combined practical skills with scientific learning and culture • Formative years in Milan (stonemason) • ‘Artistic anarchist’ – innovation and disorder. -
Best Sculpture in Rome"
"Best Sculpture in Rome" Créé par: Cityseeker 11 Emplacements marqués Wax Museum "History in Wax" Linked to the famed Madame Tussaud's in London, the Museo delle Cere recreates historical scenes such as Leonardo da Vinci painting the Mona Lisa surrounded by the Medici family and Machiavelli. Another scene shows Mussolini's last Cabinet meeting. There is of course a chamber of horrors with a garrotte, a gas chamber and an electric chair. The museum by _Pek_ was built to replicate similar buildings in London and Paris. It is a must visit if one is ever in the city in order to take home some unforgettable memories. +39 06 679 6482 Piazza dei Santi Apostoli 68/A, Rome Capitoline Museums "Le premier musée du monde" Les musées Capitoline sont dans deux palais qui se font face. Celui sur la gauche des marches de Michelange est le Nouveau Palais, qui abrite l'une des plus importantes collections de sculptures d'Europe. Il fut dessiné par Michelange et devint le premier musée public en 1734 sur l'ordre du pape Clément XII. L'autre palais, le Conservatori, abrite d'importantes peintures by Anthony Majanlahti comme St Jean Baptiste de Caravaggio et des oeuvres de titian, veronese, Rubens et Tintoretto. Une sculpture d'un énorme pied se trouve dans la cours, et faisait autrefois partie d'une statue de l'empereur Constantin. Une des ouvres fameuses est sans aucun doute la louve, une sculpture étrusque du 5ème siècle avant J-C à laquelle Romulus et Rémus furent ajoutés à la Renaissance. +39 06 0608 www.museicapitolini.org/s info.museicapitolini@comu Piazza Campidoglio, Rome ede/piazza_e_palazzi/pala ne.roma.it zzo_dei_conservatori#c Museo Barracco di Scultura Antica "Sculpturally Speaking" The Palazzo della Piccola Farnesina, built in 1523, houses the Museo Barracco di Scultura Antica, formed from a collection of pre-Roman art sculptures, Assyrian bas-reliefs, Attic vases, Egyptian hieroglyphics and exceptional Etruscan and Roman pieces. -
Roman Baroque COMMONWEALTH of AUSTRALIA Copyright Regulations 1969
702132/702835 European Architecture B Roman Baroque COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 Warning This material has been reproduced and communicated to you by or on behalf of the University of Melbourne pursuant to Part VB of the Copyright Act 1968 (the Act). The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. do not remove this notice some factors in the Baroque the cycle of taste: freedom from classical rigidity, and the enlarged vocabulary of Mannerism a return of public confidence and a boost in church activity and patronage the Counter-Reformation and the improvement of Rome The Ecstasy of St Teresa, by Gianlorenzo Bernini, 1645-52 William Fleming, Arts & Ideas (Fort Worth [Texas] 1991), p 353 He held a long javelin of gold, with an iron tip which had a flame coming out of it. Suddenly, he pierced me to the inmost fibre of my being with it and it seemed to me that, as he drew it out, he dragged me with it; but I felt entirely consumed by the love of God. The pain was so great that it drew moans from me, even though the ecstasy that went with it was so great that I would not have had the pain withdrawn ... THETHE TRANSITION:TRANSITION: 15701570--16301630 Il Gesú, Rome, begun by G B da Vignola, c 1568, and completed to cornice level by the time of his death in 1573 Scala 9122 Il Gesú, plan Nikolaus Pevsner, An Outline of European Architecture (Harmondsworth [Middlesex] 1968 [1943]), p 233 Il Gesú: Vignola's façade design, c 1573; Giacomo della Porta's façade, completed 1584 engraving by Mario Cartaro, in Giacomo de Rossi, Insignium Romae Templorum, 1684; Scala 9111 Il Gesú: Giacomo della Porta's façade, completed 1584 Rolf Toman [ed], Baroque Architecture Sculpture Painting (Cologne 2007 [2004]), p 14 some Baroque characteristics 1. -
Querelle Di Paternità La Galleria Spada Tra Il Borromini E Il Bitonti
Giuseppe FALLACARA Nicola PARISI Querelle di paternità La Galleria Spada tra il Borromini e il Bitonti Pare, secondo la testimonianza di Manetti (entusiasta discepolo di Brunelleschi) che la prospettiva sia nata da una burla…Pare che Brunelleschi avesse costruito e dipinto due tavolette che rappresentavano in perfetta prospettiva la Piazza della signoria col palazzo Ducale ma che andavano viste ponendo l’occhio dietro la tavoletta in un piccolo foro, in modo che l’immagine dipinta fosse vista riflessa da uno specchio tenuto difronte col braccio teso.1 Nella rinascita del fecondo rapporto tra arte e scienza per la prima volta dopo l’età ellenistica ad opera del Rinascimento Italiano un preminente valore è da affidare alla prospettiva, strumento grafico, atto a rappresentare lo spazio fisico tridimensionale su un foglio a due dimensioni, nato nelle mani di un architetto. Concepito come mezzo per ordinare in modo univoco e certo una porzione dello spazio infinito, uniformemente misurabile e traducibile in termini matematici e geometrici assoluti, la vera scientia di Piero della Francesca viaggia per tutta l’avventura della Rinascenza vivendo il transito all’epoca Barocca attraverso una sovversione dei suoi fini. L’artista dopo aver conseguito la capacità di racchiudere lo spazio infinito in uno spazio finito al fine di poterlo organicamente possedere e quindi misurare, comincia a voler conquistare lo spazio infinito in uno spazio finito. Così lo strumento da misuratore diviene ingannatore. Le trompe l’oeil, le quadrature, le prospettive solide, le accelerazioni prospettiche sono strumenti che annebbiano la percezione della realtà a favore di una rappresentazione dell’irreale. Nata come burla diviene una burla con le vesti d’inganno. -
Information Sheet
Prof. Mirka Beneš UTexas School of Architecture LAR388/ARC 388/368R Fall 2013 p. 1 LAR 388 / ARC 368 R / ARC 388 R Prof. Mirka Beneš Thursday, 2pm-5pm Office hours: TBA. Room: Sutton 3.112 Office: TBA. School of Architecture Office: TBA. University of Texas at Austin email: TBA. LAR 388: Seminar Professional Design Practice in Baroque Rome: Landscape, Urbanism, Architecture Francesco Borromini. Fall Semester 2013 * Course Unique Numbers LAR 388 [01805], ARC 388 R [01245], ARC 368 R [00960]. Course Description Design is a synthetic act, and studying or rehearsing how a design comes together in a specific historical setting gives the student deeper insight into how synthesis is achieved. This inter- disciplinary seminar on the City of Rome during the Baroque period (c. 1600-1700) focuses this year on the life and works of one architect as a means to explore the act of design synthesis, in the context of the urban, landscape, and architectural dimensions of a great city. The seminar takes Francesco Borromini, one of seventeenth-century Papal Rome's greatest architects and draughtsmen, as the departure point for exploring professional practices and disciplines at a paradigmatic moment in the history of design, when landscape architecture, urbanism, and architecture were the practices of a single designer, but the turn to specializations was already appearing. Set against the scenery of Rome, one of Europe's monumental Baroque cities, epitomized by the seventeenth-century Piazza Navona with its fountains and sculptures, the "spine" of the seminar follows the chronological study of Borromini's major works (1630s to 1660s)--among them, San Carlino alle Quattro Fontane and the Oratory of San Filippo Neri for religious communities, and Sant'Ivo alla Sapienza for the Roman University; chapels such as the Cappella dei Re' Magi; designs for the Barberini, Carpegna, and Pamphilj palaces. -
Rome Tor Vergata
University of Rome Tor Vergata School of Global Governance Anna Vyazemtseva, Ph. D. ROME : ART AND HISTORY OPENAIR Meeting 1 – 09.03.2019 The Eternal City 10 am – 5 pm :, The Palatine (Domus Augustana, Horti Farnesiani), Roman and Imperial Forums, The Colosseum, Vittoriano Complex, Musei Capitolini. 1- 2pm:Lunch Meeting 2 – 16.03.2019 Introduction to the Renaissance 10 am – 5 pm: St. Peter’s Basilica, Vatican Museums (Sistine Chapel by Michelangelo, Stanze by Raphael). 1 - 2pm: Lunch Meeting 3 – 23.03.2019 Architecture and Power: Palaces of Rome 10 am – 5 pm: Villa Farnesina, Via Giulia, Palazzo Farnese, Palazzo Spada-Capodiferro, Palazzo della Cancelleria, Palazzo Mattei, Palazzo Venezia 1 - 2pm: Lunch Meeting 4 – 06.04.2019 Society, Politics and Art in Rome in XV-XVIII cc. 10 am – 5 pm: Santa Maria del Popolo, Piazza di Spagna, Barberini Palace and Gallery, Fon tana di Trevi, San Carlino alle Quattro Fontane, Sant’Andrea al Quirinale, Palazzo del Quirinale 1- 2pm:Lunch Meeting 5 – 13.04.2019 The Re-use of the Past 10 am – 5 pm: Pantheon, Piazza di Pietra, Piazza Navona, Baths of Diocletian, National Archeological Museum Palazzo Massimo alle Terme. 1 - 2pm: Lunch Meeting 6 – 04.05.2019 Contemporary Architecture in Rome 10 am – 5pm: EUR district, MAXXI – Museum of Arts of XXI c. (Zaha Hadid Architects), Ara Pacis Museum. 1–2pm: Lunch Proposals and Requirements The course consists of 6 open air lectures on artistic heritage of Rome. The direct contact with sites, buildings and works of art provides not only a better comprehension of their historical and artistic importance but also helps to understand the role of heritage in contemporary society. -
Best Sculpture in Rome"
"Best Sculpture in Rome" Created by: Cityseeker 11 Locations Bookmarked Wax Museum "History in Wax" Linked to the famed Madame Tussaud's in London, the Museo delle Cere recreates historical scenes such as Leonardo da Vinci painting the Mona Lisa surrounded by the Medici family and Machiavelli. Another scene shows Mussolini's last Cabinet meeting. There is of course a chamber of horrors with a garrotte, a gas chamber and an electric chair. The museum by _Pek_ was built to replicate similar buildings in London and Paris. It is a must visit if one is ever in the city in order to take home some unforgettable memories. +39 06 679 6482 Piazza dei Santi Apostoli 68/A, Rome Capitoline Museums "Fantastic Sculptures" The Capitoline Museums (Musei Capitolini) are archeological and art museums located in Piazza Campidoglio at the top of Capitoline Hill. Michelangelo redesigned the buildings making generous use of giant order columns, a novelty at the time. The museums are made up of the Palazzo Senatorio, Palazzo dei Conservatori, Palazzo Caffarelli- by Anthony Majanlahti Clementino, and the Palazzo Nuovo, all linked by an underground gallery beneath the piazza. A massive collection of ancient Greek, Roman, and Egyptian sculptures and artifacts are housed at the museums, in addition to more modern pieces. The 1st Century BCE Greco-Roman sculpture Lo Spinario, in the Palazzo dei Conservatori, is one of the collection's most impressive works. +39 06 0608 www.museicapitolini.org/s info.museicapitolini@comu Piazza Campidoglio, Rome ede/piazza_e_palazzi/pala ne.roma.it zzo_dei_conservatori#c Museo Barracco di Scultura Antica "Sculpturally Speaking" The Palazzo della Piccola Farnesina, built in 1523, houses the Museo Barracco di Scultura Antica, formed from a collection of pre-Roman art sculptures, Assyrian bas-reliefs, Attic vases, Egyptian hieroglyphics and exceptional Etruscan and Roman pieces. -
Caravaggio's Capitoline Saint John
Caravaggio’s Capitoline Saint John: An Emblematic Image of Divine Love Shannon Pritchard With an oeuvre filled with striking, even shocking works, mid-1601 on the invitation of the Roman Marchese Ciriaco Michelangelo Merisi da Caravaggio’s Saint John the Baptist Mattei and his two brothers, Cardinal Girolamo Mattei and in the Wilderness, still remains one of his most visually com- Asdrubale Mattei, and remained there for approximately two pelling works (Figure 1).1 The painting, now in the Capitoline years.4 Thirteen years later, his painting was recorded in the Museum in Rome, was completed around 1601-02 during the 1616 inventory of Ciriaco’s only son and heir, Giovanni Battista height of the artist’s Roman career.2 At first glance, the nude Mattei, at which time it was listed as “Saint John the Baptist figure, splayed from corner to corner across the entire canvas, with his lamb by the hand of Caravaggio.”5 From this point produces an uneasy response in the viewer. The boy’s soft, forward, the painting is documented in numerous invento- curly hair, prepubescent body and coquettish turn of the head ries, and these records reveal that uncertainty over the subject endow the image with an unexpected sensuality. It is precisely matter was present virtually from the beginning. In 1623, this quality that has spawned nearly four hundred years of Giovanni Battista Mattei bequeathed the painting to Cardinal debate about the identity of Caravaggio’s nude youth, the sup- Francesco Maria del Monte, in whose 1627 inventory it was posed John the Baptist. -
The Original Documents Are Located in Box 16, Folder “6/3/75 - Rome” of the Sheila Weidenfeld Files at the Gerald R
The original documents are located in Box 16, folder “6/3/75 - Rome” of the Sheila Weidenfeld Files at the Gerald R. Ford Presidential Library. Copyright Notice The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Gerald R. Ford donated to the United States of America his copyrights in all of his unpublished writings in National Archives collections. Works prepared by U.S. Government employees as part of their official duties are in the public domain. The copyrights to materials written by other individuals or organizations are presumed to remain with them. If you think any of the information displayed in the PDF is subject to a valid copyright claim, please contact the Gerald R. Ford Presidential Library. Digitized from Box 16 of the Sheila Weidenfeld Files at the Gerald R. Ford Presidential Library 792 F TO C TATE WA HOC 1233 1 °"'I:::: N ,, I 0 II N ' I . ... ROME 7 480 PA S Ml TE HOUSE l'O, MS • · !? ENFELD E. • lt6~2: AO • E ~4SSIFY 11111~ TA, : ~ IP CFO D, GERALD R~) SJ 1 C I P E 10 NTIA~ VISIT REF& BRU SE 4532 UI INAl.E PAL.ACE U I A PA' ACE, TME FFtCIA~ RESIDENCE OF THE PR!S%D~NT !TA y, T ND 0 1 TH HIGHEST OF THE SEVEN HtL.~S OF ~OME, A CTENT OMA TtM , TH TEMPLES OF QUIRl US AND TME s E E ~oc T 0 ON THIS SITE. I THE CE TER OF THE PR!SENT QU?RINA~ IAZZA OR QUARE A~E ROMAN STATUES OF C~STOR .... -
Architettura Scultura E Arti Minori Nel Barocco Italiano. Ricerche Nell'archivio Spada Minna Heimbürger Ravalli Palazzo Spada Lionello Neppi
Architettura scultura e arti minori nel barocco italiano. Ricerche nell'Archivio Spada Minna Heimbürger Ravalli Palazzo Spada Lionello Neppi The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Connors, Joseph. 1979. “Architettura Scultura e Arti Minori Nel Barocco Italiano. Ricerche nell’Archivio Spada Minna Heimbürger Ravalli Palazzo Spada Lionello Neppi.” Journal of the Society of Architectural Historians 38 (2) (May): 193–196. doi:10.2307/989441. Published Version 10.2307/989441 Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:32947660 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA 193 Ligorio's visual translations of ideas he later (his word) tries to argue for some interdepen- lished an important dialogue by Virgilio on put into a manuscript. dence of the pagan world in the exterior por- the construction of the Oratory. But the situ- Not surprising either are those five themes, tions of the casino and the ecclesiastical and ation could not really change until 1971, when for they are topoi in Renaissance garden papal imagery inside: "The gifts of the first of the private archives of the Spada family passed design. Smith barely considers this aspect of the gods are therefore transformedinto the gift into the public domain. Suddenly an immense the casino. Its architectural sources, briefly of the true God." I imagine that more sub- quarry was opened, a kind of archival Pompeii canvassed as a prelude to the iconographical stantiation of this fascinatinghypothesis would which began to yield informationon everything chapters, are far less satisfactory. -
Table of Contents
Table of Contents Must Do Specials St. Peter's Church Vatican Museums Colonna Palace and Doria Pamphilj 14- 24 | | 42 - 49 | Ancient Rome Tour | City Tour | Rome by Villa Medici | Cornelia Costanza's Secret Night Tour | Catacombs Tour | Apartments | The Catacombs of San Angels and Demons | Underground Rome | Pancrazio | Boat Sightseeing to Ancient The Borghese Gallery | Heart of Rome Ostia | Secret Rome | Oratorio del Gonfalone and Villa Farnesina Special Vatican Tours Experiences Vatican Under the Stars Vatican Relax Art Evening Food and Wine Tasting | 25 - 35 | | 50 - 58 and Breakfast | Vatican Gardens | Morning Food Tour | Pizza Baking and Early Morning Vatican Tour | Vatican Secret Pasta Cooking | Jogging Tour | Cooking Experience with an Italian Family | Rooms | The Niccolina Chapel | Vatican Cooking Experience with an Italian Museums + Necropolis of the Via Triumphalis Family, plus your Tour Guide | Pizza and | Exclusive Vatican | Semi Exclusive Vatican Gelato Class | Veggie Food Tour in Rione Monti Outside Rome Rome on Wheels 36 - 41 Castelli Romani | Ancient Ostia | Tivoli | 59 - 64 Vintage Vespa Tour | Rome Golf Cart Tour Etruscan Highlights of Cerveteri | Etruscan | Rome By Vintage Fiat 500 | Rome Bike Highlights of Tarquinia Tour | Rome Segway Tour Thematic Tours Group Activities In the Footsteps of Michelangelo Rome in 65 - 83 | 94 - 98 Aperitif at Villa Farnesina | Group The Movies | In the Footsteps of Caravaggio | Scavenger Hunt | Ancient Aperitif at the In theFootsteps of Bernini | In the Footsteps Houses on the Celio Hill | Aperitif at Villa of St. Paul | In the Footsteps of J. Caesar | Medici Roman Christian Mosaics | Jubilee Basilica | Industrial innovation and archeology | XX Century Rome | Contemporary Art in Rome | Palazzo Spada and Villa Farnesina | The EUR Quarter | The Art of Local Craftmanship | A Semi-Private Tours Progressive Dining Experience | dive into Roman History | The Great Beauty 99 - 103 | Jewish Rome | Romance in Rome Colosseum and Ancient Rome | Vatican Museums and St.