DOCSLIB.ORG

Monti, Esquilino and San Lorenzo

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

PDF Rome Monti, Esquilino & San Lorenzo (PDF Chapter) COVERAGE INCLUDES: Edition 9th Edition, Jan 2016 Pages 27 • Neighbourhood Top • Sleeping Page Range 140–157, 214–222 Five • Local Life Useful Links • Getting There & Want more guides? Away Head to our shop • Sights Trouble with your PDF? • Eating Trouble shoot here • Drinking & Nightlife Need more help? • Entertainment Head to our FAQs • Shopping Stay in touch Contact us here © Lonely Planet Publications Pty Ltd. To make it easier for you to use, access to this PDF chapter is not digitally restricted. In return, we think it’s fair to ask you to use it for personal, non-commercial purposes only. In other words, please don’t upload this chapter to a peer-to-peer site, mass email it to everyone you know, or resell it. See the terms and conditions on our site for a longer way of saying the above – ‘Do the right thing with our content’. ©Lonely Planet Publications Pty Ltd 140 Monti, Esquilino & San Lorenzo MONTI | ESQUILINO | PIAZZA DELLA REPUBBLICA & AROUND | SAN LORENZO & BEYOND | SAN LORENZO Neighbourhood Top Five 1 Visiting the Palazzo 3 Hobnobbing with the 5 Exploring the under- Massimo alle Terme (p142), bohos in Pigneto (p151), the ground wonders of Domus with its incredible frescoes iconic working-class district Aurea (p144), Nero’s great, from imperial Rome. immortalised by Pasolini. golden palace that now lies 2 Lingering at wine bars 4 Taking in the splendours beneath Oppian Hill. and pottering around the of Basilica di Santa Maria bohemian-chic neighbour- Maggiore (p143). hood of Monti (p145). 111111 e 1 1111 br Vi V Vi ia 111111 a l a a P ale de e 1 111n 1 ai alestr R ti Settem 1111r 11 eg TIBURTINO u rini XX à in 1 111ib 1 be 00a0 a Cern CASTRO o it 000 ar 000 l rs a 1111 T 11 B Vi Vi e 000ia 000 PRETORIO C niv E ia 000V 000 U l 1 1111 000 000 a ll' e V st de n TREVI 000000 ale a 111111 Pi00azza0 della r Vi 000 o 1 1111 Re00pubb0lica 00 Cimitero Giardino 000 Pr 000011110 11 Vi Stazione Pi00azzale000 del Quirinale e 000001 111di Campo1 e a Termini t 00Sa00n0 l or 000011110 Verano11 a To 000 £# i Lorenz1o 1111 ri 1# Vi an no a amni 111111 o R 00 V a Nazion Ma 1 1111 00 ia Vi a 00 000 rs a del in 111111 00 M 000 al Vi rt i 0000000 0 a u 1 1111 la 0000000 ES0QUILINO V ib n 0000000a Cavour 0 ia T 111111 o 000000Vi0 0 G ia SAN LORENZO 00000 i V i 1 1111 ta00004# 0 V ov sc ina MONTI San 00000 ia a ol 111111rt Via di A C n V ibu iore00000 a n i 1 111e T 1 Magg00000 lb r i de nvallazion Maria e lo G a o 2# rt io Vi rc o lit i ti C n iovan i Lanza Pi00azza0 Via G 000 00 Vi00ttorio0 V 00 00 000 ia P 00 00 Emanuele II E rin V u ci 00 V g pe 00V i en i a i i a a o Via d M d 00000 ei Parco del E M i Por00000 F e m a 0000Pi0azza o r gg ta 000000r 0 Colle Oppio u 00000 i Im 5# a ior 000000pe 0 l n e0000di0 Porta 000000ri 0 a 00000 Piazza a u Via 0000000li n 0000Magg0 iore a Prene a e stina 0000000 00000 n del l la 0000000V e ia 0000o 0 i i ia til m t qu 0000000 d ta 0000a 0 r 'A Co000000losseo 0 i S Via F S ni L a L i ia o u ia 0000000 n a l V G b i r b V 0000000 icana b e i io N T # Vi 3 0000000 v e an to e 0000000 n r ot a i in t d n o e o PIGNETO C La u i Parco San te 0000000000q z V a r c i 0000000000an A la a Sebastiano p 0000000000o al C o 00000000000000 onv a 00000000000000V Circ s d' ia ezia il LATERAN00000000000000 La Sp in Af 0000000000a 0000A ia a 0000000000Piazza0000 di p V TUSCOLANO 0000000000mb p ri ia CAMPITELLI 0000000000A Porta San c ll'0000000000m N a u 0000000000Giovanni o 01km 0000000000da v e# a de a0000000000 a 00.5 miles Vi Ar0000000000 For more detail of this area see Map p320 and p319 A 141 Lonely Planet’s Explore: Monti, Esquilino Top Tip & San Lorenzo Don’t neglect to visit the Esquilino is one of Rome’s seven hills, and the area en- oft-overlooked patriarchal compasses the sometimes scruffy area around Stazione Basilica di San Lorenzo Termini and Piazza Vittorio Emanuele II. It is also home Fuori le Mura (p147) – it’s to some fantastic sights, including some of Rome’s finest starkly beautiful. medieval churches, and the Museo Nazionale Romano: Palazzo Massimo alle Terme, which displays stunning classical art. 5 Best Places Heading downhill, Monti was the ancient city’s noto- to Eat rious Suburra slum – a red-light district and the child- hood home of Julius Caesar – but is now a charming ¨ L’Asino d’Oro (p148) neighbourhood of inviting eateries, shops and enoteche ¨ Trattoria Monti (p150) (wine bars) that’s ever more popular with tourists and ¨ Open Colonna (p150) hip locals. ¨ Panella l’Arte del Pane San Lorenzo is a lively student quarter east of Termi- (p149) ni, home to the beautiful but little-visited Basilica di San Lorenzo Fuori le Mura. It was the area most damaged by For reviews, see p148.A Allied bombing during WWII, which is ironic given the area’s vehemently anti-Fascist politics. By day the area Best Places feels hungover, a grid of graffitied streets that nonethe- 6 less harbour some gemlike boutiques, but after dark it to Drink shows its true colours as a student nightlife haunt; it’s ¨ Ai Tre Scalini (p152) also home to some excellent restaurants. ¨ La Bottega del Caffè A quick tram ride (and on Metro line C when it’s (p152) finished) southeast, Pigneto also has edge, the Roman ¨ Il Tiaso (p151) equivalent of London’s Dalston. Its ever-burgeoning bars MONTI, ESQUILINO & and restaurants attract a regular crowd of artists and ¨ Co.So (p151) boho urbanites. For reviews, see p152.A Local Life 1 Best Works ¨Hang-outs While away an hour or so at Monti’s La of Art Bottega del Caffè (p152), watching the world go by. ¨ Frescoes at Palazzo ¨ Shopping Potter around the vintage and fashion Massimo alle Terme (p142) boutiques of Via Serpenti and Via Boschetto in Monti. ¨ S Michelangelo’s colossal AN ¨Drinking Have a drink amid artists, bohos, hipsters, Moses (p144) and wannabes in buzzing Pigneto. L ¨ Fuga’s 13th-century OR facade mosaics (p143) E ¨ Richard Meier’s NZO Getting There & Away modernist Chiesa Dio Padre ¨Metro The Cavour metro stop (line B) is most Misericordioso (p145) convenient for Monti, while the Termini (lines A and B), For reviews, see p144.A Castro Pretorio (line B) and Vittorio Emanuele (line A) stations are useful for Esquilino. The section of line C that will serve Pigneto won’t be completed until 2020. ¨Bus Termini is the city’s main bus hub, connected to places all over the city. Access Monti from buses stopping on Via Nazionale or Via Cavour. San Lorenzo is served by buses 71 and 492; Pigneto is served by buses 81, 810 and 105, and night bus n12. ¨Tram This is an easy way to access San Lorenzo (tram 3) or Pigneto and Centocelle (trams 5, 14 or 19). MUSEO NAZIONALE ROMANO: PALAZZO MASSIMO ALLE TERME DEA / ARCHIVIO J. LANGE / GETTY IMAGES © IMAGES GETTY / LANGE J. ARCHIVIO / DEA One of Rome’s finest museums, this light-filled DON’T MISS… treasure trove is packed with spectacular classical art yet remains off the beaten track. It’s not to be missed. ¨ The Boxer We recommend you start your visit on the 2nd floor, so ¨ Sleeping you see its wonders when you’re fresh. The sensational fres- Hermaphrodite coes give a more complete picture of the inside of grand an- ¨ Frescoes from cient Roman villas than you’ll see anywhere else in the world. Villa Livia They include scenes from nature, mythology, and domestic and sensual life, using rich, vivid (and expensive) colours. The showstopper is the decoration covering an entire PRACTICALITIES room from Villa Livia, one of the homes of Augustus’ wife ¨ Map p320 Livia Drusilla. The frescoes depict a paradisiacal garden ¨ %06 3996 7700 full of a wild tangle of roses, violets, pomegranates, irises ¨ and camomile under a deep-blue sky. These decorated a www.coopculture.it summer triclinium, a large living and dining area built ¨ Largo di Villa Peretti 1 half underground to provide protection from the heat. The ¨ adult/reduced lighting mimics the modulation of daylight and highlights €7/3.50 the richness of the millennia-old colours. ¨ h9am-7.45pm The ground and 1st floors are devoted to sculpture, Tue-Sun examining imperial portraiture as propaganda and in- ¨ mTermini cluding some breathtaking works of art, including the 2nd-century-BC Greek bronzes, the Boxer and the Prince, a crouching Aphrodite from Villa Adriana, the 2nd-centu- ry-BC Sleeping Hermaphrodite (pictured above), and the idealised vision of the Discus Thrower. Also fascinating are the elaborate bronze fittings that belonged to Caligula’s ceremonial ships. In the basement, the coin collection is far more absorbing than you might expect, trac- ing the Roman Empire’s propaganda offensive via coinage.
Recommended publications
  • 21 CHAPTER I the Formation of the Missionary Gaspar's Youth The

    21 CHAPTER I the Formation of the Missionary Gaspar's Youth The

    !21 CHAPTER I The Formation of the Missionary Gaspar’s Youth The Servant of God was born on January 6, 1786 and was baptized in the parochial church of San Martino ai Monti on the following day. On that occasion, he was given the names of the Holy Magi since the solemnity of the Epiphany was being celebrated. I received this information from the Servant of God himself during our familiar conversations. The Servant of God’s parents were Antonio Del Bufalo and Annunziata Quartieroni. I likewise learned from conversation with the father of the Servant of God as well as from him that at first Antonio was engaged in work in the fields but later, when his income was running short, he applied as a cook in service to the most excellent Altieri house. The Del Bufalos were upright people and were endowed sufficiently for their own maintenance as well as that of the family. They had two sons: one was named Luigi who married the upright young lady Paolina Castellini and were the parents of a daughter whose name was Luigia. The other son, our Servant of God. Luigi and Gaspar’s sister-in-law, as well as his father and mother, are now deceased. As far as I know, the aforementioned parents were full of faith, piety and other virtues made know to me not only by the Servant of God, honoring his father and mother, but also by Monsignor [Antonio] Santelli who was the confessor of his mother and a close friend of the Del Bufalo family.
  • Falda's Map As a Work Of

    Falda's Map As a Work Of

    The Art Bulletin ISSN: 0004-3079 (Print) 1559-6478 (Online) Journal homepage: https://www.tandfonline.com/loi/rcab20 Falda’s Map as a Work of Art Sarah McPhee To cite this article: Sarah McPhee (2019) Falda’s Map as a Work of Art, The Art Bulletin, 101:2, 7-28, DOI: 10.1080/00043079.2019.1527632 To link to this article: https://doi.org/10.1080/00043079.2019.1527632 Published online: 20 May 2019. Submit your article to this journal Article views: 79 View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rcab20 Falda’s Map as a Work of Art sarah mcphee In The Anatomy of Melancholy, first published in the 1620s, the Oxford don Robert Burton remarks on the pleasure of maps: Methinks it would please any man to look upon a geographical map, . to behold, as it were, all the remote provinces, towns, cities of the world, and never to go forth of the limits of his study, to measure by the scale and compass their extent, distance, examine their site. .1 In the seventeenth century large and elaborate ornamental maps adorned the walls of country houses, princely galleries, and scholars’ studies. Burton’s words invoke the gallery of maps Pope Alexander VII assembled in Castel Gandolfo outside Rome in 1665 and animate Sutton Nicholls’s ink-and-wash drawing of Samuel Pepys’s library in London in 1693 (Fig. 1).2 There, in a room lined with bookcases and portraits, a map stands out, mounted on canvas and sus- pended from two cords; it is Giovanni Battista Falda’s view of Rome, published in 1676.
  • VISTA ROMA ROMA La Cupola Di San Pietro, in Lontananza, Troneggia Sul Tevere Illuminato

    VISTA ROMA ROMA La Cupola Di San Pietro, in Lontananza, Troneggia Sul Tevere Illuminato

    VISTA ROMA ROMA La cupola di San Pietro, in lontananza, troneggia sul Tevere illuminato. Sulle sponde fermento e bancarelle: da giugno ad agosto la manifestazione “Lungo il Tevere...Roma” anima l’estate capitolina. Fascino immortale Cambiamenti e trasformazioni hanno accompagnato alcuni quartieri di Roma. Monti, Trastevere, Pigneto e Centocelle, in tempi e modi diversi, portano avanti la loro rinascita: sociale, gastronomica e culturale DI VIOLA PARENTELLI 40 _ LUGLIO 2019 ITALOTRENO.IT ITALOTRENO.IT LUGLIO 2019 _ 41 VISTA ROMA A destra, un pittoresco scorcio di Monti e sullo sfondo la Basilica di Santa Maria Maggiore. Fafiuché, vineria nascosta tra i vicoli del rione, è una tappa obbligata per sorseggiare un calice di vino. isomogenea, caotica, imperfetta. Impo- “zona abitata sotto la città” ne richiama nente nella sua maestosità storica, fami- la struttura: che si scenda dalla Salita liare nei dettagli visibili solo agli sguardi dei Borgia o da Via dei Serpenti, tutte le più attenti. Con Roma ci vuole pazienza, scale portano qui. Tolti gli abiti di luogo e ci vuole empatia. Roma accoglie, ma malfamato che era in origine, da qualche solo chi sa leggerne le infinite anime po- decennio è una delle mete più apprezzate trà sentirsi davvero a casa. Per ammirar- per il suo fascino un po’ rétro. Dopo una ne la bellezza, le terrazze sono luoghi pri- visita al mercatino vintage a pochi passi vilegiati. Il Roof 7 Terrace di Le Méridien dall’uscita della metro B, camminare su Visconti, a Prati, gode di questa fortuna. quegli infiniti sanpietrini diventa quasi D Un salotto con vista dove appagare il pa- piacevole.

  • Index of Manuscripts

    Cambridge University Press 978-1-108-83682-1 — Rome and the Invention of the Papacy Rosamond McKitterick Index More Information INDEX OF MANUSCRIPTS Albi, Médiathèque Pierre-Amalric (olim VLQ 60 40, 70, 102, 181 n. 34, Bibliothèque municipale) 184 n. 42, 190, 207 n. 106, MS 2 155 n. 90 219–20 Arras, Bibliothèque municipale London, British Library MS 672 (641) 155 n. 89 Cotton Titus C.XV 175, 177 Cotton Nero D.IV 142 n. 44 Berlin, Deutsche Staatsbibliothek Royal I.B.VII 142 n. 44 Phillipps 1743 156 n. 91 Lucca, Biblioteca Capitolare Feliniana Bern, Burgerbibliothek Cod. 490 178–9, 182, 184 n. 42, 188, Cod. 225 199 190–2, 195, 207 n. 106 Cod. 233 199 Cod. 408 182–3 Milan, Biblioteca Ambrosiana Brussels, Bibliothèque royale C.105inf. 188 n. 54 MS 8380-9012 184 n. 42, 217 n. 145 E.147sup. 188 n. 54 MS 14814 68 M.77sup. 182 n. 39, 184 n. 42 Modena, Biblioteca Capitolare Cambrai, Bibliothèque municipale O.I.12 186–7, 188, 189 MS 164 215 n. 140 Monte Cassino, Archivio dell’Abbazia Cambridge, Corpus Christi College MS 269 194 n. 67 MS 286 176 Monza, Cattedrale S. Giovanni Battista Cologne, Dombibliothek Sacrista Tesoro Cod. 164 184 n. 42, 217 n. 145 s.n. 177 Cod. 212 153, 155 Munich, Bayerische Staatsbibliothek Clm 6243 (Collectio Frisingensis) 156 Einsiedeln, Stiftsbibliothek Clm 6385 203 Cod. 326 60 Clm 14387 202–3 Florence, Biblioteca Medicea Laurenziana Naples, Biblioteca Nazionale San Marco 604 193–4, 195 IV.A.8 9 n. 32, 185–6 Fulda, Hessische Landesbibliothek Lat.
  • OUT of the BOX a Boutique Hotel, Intimately Connected to Its Roots in the Heart of Rome

    OUT of the BOX a Boutique Hotel, Intimately Connected to Its Roots in the Heart of Rome

    136 VOYAGE From Rome, Italy 137 OUT OF THE BOX A Boutique Hotel, Intimately Connected to its Roots in the Heart of Rome In Rome, a few steps from the Colosseum and the Roman Forum, the new Condominio Monti is a new boutique hotel that preserves the convivial atmosphere of its historic neighborhood, famous for its picturesque alleys and which oozes life during the day through its tiny craft shops and galleries, and by night through its trendy wineries and bars. The brainchild of entrepreneurs Kaja Osinski and Filippo Ribacchi, who helm Living Roma, Condominio Monti occupies an area of 900 square meters and has been developed within two neighboring buildings: hence the name, highlighting the intimate collective project, where attention is paid to shared spaces. Far from the aseptic standards of many major hotel chains, the new structure rewrites the concept of hospitality through 33 rooms, designed for selective travelers and design lovers, and a reception with a tailored edge. A concierge service based on the guests’ needs, offers suggestions for experiencing the Eternal City in contemporary and unconventional ways, with ad hoc illustrated itineraries at guests’ disposal in every room. The architectural and interior design, which preserves the structure of a traditional Roman house, with its bijou, but functional rooms distributed along a corridor, bears the signature of designers STUDIOTAMAT and the shades, finishes, fabrics, patterns and objects have been selected by Sabina Guidotti, founder of Bludiprussia. Photos © Condominio Monti 138 VOYAGE 139 Balanced lighting and custom-designed furnishings – from bedside tables to headboards – blend with a palette of bold colors, sophisticated wallpapers and decorative patterns that allude to the concept of "exotic", and are intended as a journey to discover “otherness”.
  • Rome: a New Planning Strategy

    Rome: a New Planning Strategy

    a selected chapter from Rome: A New Planning Strategy by Franco Archibugi draft of a forthcoming book to be published by Gordon and Breach, New York an overview of this book CHAPTER 5: THE NEW STRATEGY FOR ROME 1. The "Catchment Areas" of the New "Urban Centres" 2. The Spatial Distribution of the Catchment Areas Table 2 - Catchment Areas of the Roman Metropolitan System (by thousands of inhabitants) 3. What decentralization of services for the new "urban centres"? 4. What "City Architecture"? 5. What Strategy for "Urban Greenery"? 6. Programmed Mobility 7. A "Metropolitan" Residentiality Notes References Further Reading THE NEW STRATEGY FOR ROME Authentic "polycentrism", therefore, is founded first of all on an evaluation of the "catchment areas" of the services that define it. The location of the centers and infrastructures of such services is a subsequent question (we would say "secondary" if with this adjective is meant not inferiority in importance, but rather a temporal and conceptual subordination). The polycentrism supported here in Rome means, first of all, a theoretical assignation of the potentiality of the catchment area of the Roman system to respective "units" of service that locationally assume the 1 role of realizing the objectives, reasserted by everybody numerous times of: integrating functions, improving accessibility, distances, traveling times, not exceeding the thresholds that have been indicated as "overloading". The locational problem of the new strategy therefore, is posed as a problem of not letting all the users participate in any function in any part of the system (the 2,8 million Roman citizens plus the by now recognized other 700 thousand citizens of the Roman "system"); but to functionally distribute the services in such a way as to not render "indifferent" (but on the contrary very..
  • Mok Tips Compass2016 Marco

    Mok Tips Compass2016 Marco

    Hospitality Aroma compass Dear Guest, The following is not only a list of useful info, but a real personal guide we made for you which contains all the info we think you may need to know before traveling and suggestions to plan your stay. Some of them will be extremely useful during your stay, in terms of how to move around and where to find this or that. In one word, this will be you compass (or compass ). These suggestions are the result of our experience, answering thousands of questions, and our 30+ years of Roman life. We hope you will enjoy reading through it cause our main goal is that you take the most out of your time in Rome. We want your stay in Rome to be as perfect as you dreamt it when you were thinking “let’s go to Rome this year!”. Please count on us for any question you might have, before and during your stay. We look forward to welcome you in Roma, staff How to get to Private Shuttle Service As Rome’s taxi drivers are not the best tourist welcomers , we prefer to offer you our help to book a secure and punctual private shuttle service from the airport or from Civitavecchia Port. Our rates: From/to the airport From/to Civitavecchia Port 1/3 people € 55,00 € 150,00 4 people € 65,00 € 165,00 5 people € 70,00 € 165,00 6 people € 80,00 € 180,00 7 people € 90,00 € 210,00 Please let us know (up to 24hrs. in advance) in case you would like to have a car/van to pick you up.
  • Mok Restaurants ULTIMO MARCO

    Mok Restaurants ULTIMO MARCO

    Rome Suite Home restaurants Dear Guests, The following is a list of suggested restaurants that we have selected throughout the years (when we were slimmer… but we had to do big sacrifices and efforts to give you the best tips!). Because of the area in which they are located (downtown but authentic and not “tourist oriented”), the quality of the food (we have always had great meals there) and the reasonable price (15 to 30Euro each – depending on the wine you choose and how hungry you are), we feel like suggesting these places: these are not tourist traps but REAL ROMAN RESTAURANTS and PIZZERIAS where WE also go with our family and friends. S Vecchia Roma – Via Ferruccio, 12 (Esquilino, 3mins walking) The best AMATRICIANA ever! This is a typical restaurant where the house special is the Amatriciana (typical Roman pasta with tomato sauce, pork cheeks and pecorino cheese). Once ready, they throw the Amatriciana in the Pecorino cheese case where they add some pure alcohol and then they flame it up so that the cheese in the case melts in it making it soooo tasty! The pizza is very good as well and all the dishes from the Roman tradition (trippa, antipasti fritti, coda alla vaccinara, etc.) are made in the real traditional way. It is close to Santa Maria Maggiore, not far from Termini Station. Ph. +39 06 44 67 143 – www.trattoriavecchiaroma.it – Closed on Sundays and August S La Carbonara – Via Panisperna, 214 (Rione Monti, 5mins walking) There is one more famous in Campo de’ Fiori, but according to us that one is overpriced due to its “name”.
  • Jakob Philipp HACKERT Prenzlau 1737 - San Pietro Di Careggi 1807

    Jakob Philipp HACKERT Prenzlau 1737 - San Pietro Di Careggi 1807

    LANDSCAPES OF THE GRAND TOUR From the late 18th to the 19th Century I feel myself hurried irresistibly forward; it is only with an effort than I can collect myself sufficiently to attend to what is before me. J. W. Goethe Travels in Italy, 1786 LANDSCAPES OF THE GRAND TOUR From the late 18th to the 19th Century JUNE 2011 Catalogue by: PAOLO ANTONACCI ALVARO MARIGLIANI PAOLO ANTONACCI ROMA PAOLO ANTONACCI ANTICHITÀ S.R.L. Via del Babuino 141/A 00187 Roma Tel. + 39 06 32651679 [email protected] www.paoloantonacci.com Acknowledgements We would like to thank the following people for their help and advice in the preparation of this catalogue: Emanuela Belli, Ursula Bongaerts, Christine Borruso, Anna Cori, Pier Andrea De Rosa, Luigi Devoti, Giulia Gorgone, Dorothee Hock, Eugenio La Rocca, Mario Lolli Ghetti, Massimiliano Quagliarella, Maria Maddalena Spinola, Filippo Tuena, Nico Zachmann. © 2011, Paolo Antonacci Catalogue n. 13 Translation from Italian by Margaret Dunning Photographic references Arte Fotografica, Roma Front Cover J. J. FREY, A caravan caught in the Simum wind near Giza detail, cat. 17 Back cover N. COSTA, Lake Albano with Monte Cavo cat. n. 23 On occasion of the forthcoming prestigious international exhibitions in which the gallery will participate: London Masterpiece, Florence Biennale dell’Antiquariato and Munich Highlights, we are proud to present a catalogue of our most recent acquisitions. It is a selection of watercolours and oils of excellent quality, coming for the most part from two distinguished Roman private collections that were formed in the 1970’s and 1980’s, works that have not been exhibited to the public for over thirty years.
  • Gaspard Dughet: Some Problems in the Connoisseurship of Chalk Drawings

    Gaspard Dughet: Some Problems in the Connoisseurship of Chalk Drawings

    ABSTRACT Title of thesis: GASPARD DUGHET: SOME PROBLEMS IN THE CONNOISSEURSHIP OF CHALK DRAWINGS Sarah Beth Cantor, Master of Arts, 2005 Thesis directed by: Professor Anthony Colantuono Department of Art History and Archaeology Little scholarship has been devoted to the graphic oeuvre of Gaspard Dughet (1615-1675), a prominent landscape painter of the seventeenth century. A number of drawings in red and black chalk have been attributed to Dughet based on their connection to documented paintings. Stylistic comparisons with other examples of Dughet’s work as a draughtsman and technical evidence including medium and watermarks, however, reveal that a group of drawings given to the artist are, in fact, copies done in the late seventeenth or early eighteenth century. Although Dughet’s contributions are under appreciated today, his work influenced the next generation of landscape artists in Italy and abroad, including the British and many Dutch and Flemish artists who traveled to Italy. This thesis examines not only Dughet’s chalk drawings, but the graphic work of his most well-known Northern followers to determine which artist may have executed these copies. GASPARD DUGHET: SOME PROBLEMS IN THE CONNOISSEURSHIP OF CHALK DRAWINGS by Sarah Beth Cantor Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Master of Arts 2005 Advisory Committee: Professor Anthony Colantuono, Chair Professor Joanne Pillsbury Professor William Pressly Professor Ann Sutherland Harris ©Copyright by Sarah Beth Cantor 2005 DISCLAIMER The thesis document that follows has had referenced material removed in respect for the owner’s copyright.
  • The Power of Images in the Age of Mussolini

    The Power of Images in the Age of Mussolini

    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2013 The Power of Images in the Age of Mussolini Valentina Follo University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the History Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation Follo, Valentina, "The Power of Images in the Age of Mussolini" (2013). Publicly Accessible Penn Dissertations. 858. https://repository.upenn.edu/edissertations/858 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/858 For more information, please contact [email protected]. The Power of Images in the Age of Mussolini Abstract The year 1937 marked the bimillenary of the birth of Augustus. With characteristic pomp and vigor, Benito Mussolini undertook numerous initiatives keyed to the occasion, including the opening of the Mostra Augustea della Romanità , the restoration of the Ara Pacis , and the reconstruction of Piazza Augusto Imperatore. New excavation campaigns were inaugurated at Augustan sites throughout the peninsula, while the state issued a series of commemorative stamps and medallions focused on ancient Rome. In the same year, Mussolini inaugurated an impressive square named Forum Imperii, situated within the Foro Mussolini - known today as the Foro Italico, in celebration of the first anniversary of his Ethiopian conquest. The Forum Imperii's decorative program included large-scale black and white figural mosaics flanked by rows of marble blocks; each of these featured inscriptions boasting about key events in the regime's history. This work examines the iconography of the Forum Imperii's mosaic decorative program and situates these visual statements into a broader discourse that encompasses the panorama of images that circulated in abundance throughout Italy and its colonies.
  • Third Rome’ Circus Maximus As a Space of Fascist Simulation

    Third Rome’ Circus Maximus As a Space of Fascist Simulation

    fascism 3 (2014) 20-45 brill.com/fasc The Factory of Illusions in the ‘Third Rome’ Circus Maximus as a Space of Fascist Simulation Aristotle Kallis Department of History, Lancaster University, Lancaster, United Kingdom [email protected] Abstract Although the site of the ancient Circus Maximus was one of the most loaded spaces of the Fascist ‘Third Rome’, it has received limited attention as a privileged site where a dizzying array of myths and illusions were entertained, simulated, and deposited as new Fascist layers on Rome’s urban and mnemonic palimpsest. Previously a decayed, ‘unsightly’, and overcrowded hodgepodge of layers of life, his- tory, and memory, it was substantially restored, ruthlessly emptied of its previous life, and then used for a multitude of Fascist rituals and projections (parades, cele- brations, exhibitions, mass spectacles). In this article, I explore the diverse facets of the circus’s transformation in the 1930s and argue that the site was used as a prime space of enacting and simulating the full thrust of the Fascist regime’s regenerative repertoire, involving erasure and disruption of layers of the past, new additive ele- ments and spatial practices, as well as a multitude of projections of a decidedly modern Fascist new order and temporality. Keywords Fascism – Third Rome – Circus Maximus – space – modernism – romanità – exhibi- tions – architecture The site of the Circus Maximus, the most impressive in scale ancient circus in Rome, has hosted a kaleidoscope of discordant memories across the two mil- lennia of its history. Religion and entertainment, grandiose construction and decay, spectacle and utility, grandeur and poverty – all have inscribed their traces on layers upon layers of soil and memory deposited on the site.