1.
Mogliano Veneto
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Mogliano Veneto is a town and comune in the province of Treviso, Veneto, northern Italy, located halfway between Mestre and Treviso. Mogliano is cut in two by a highway, known as Terraglio, a historical road linking Treviso and Mestre/Venice. Mogliano Veneto railway station is on the busy Venice–Udine railway and, like Mestre, train services operate to Venice, Treviso, Udine and Trieste. Ricadi, Italy Mogliano, Italy Mostar, Bosnia-Herzegovina F. C, Union Pro Mogliano-Preganziol A. S. D. is the Italian football team of the city and of Preganziol and was founded in 2012 after the merge of A. S. D. Pro Mogliano Calcio and ASD Union Preganziol, currently it plays in Italys Serie D after the promotion from Eccellenza Veneto Girone B in the 2013-14 season. Its home ground is Stadio Comunale with 2,300 seats of the city, the teams colors are white and blue. The presidents are Maurizio Michielan and Marco Gaiba
2.
Venice
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Venice is a city in northeastern Italy and the capital of the Veneto region. It is situated across a group of 118 small islands that are separated by canals and these are located in the shallow Venetian Lagoon, an enclosed bay that lies between the mouths of the Po and the Piave Rivers. Parts of Venice are renowned for the beauty of their settings, their architecture, the lagoon and a part of the city are listed as a World Heritage Site. In 2014,264,579 people resided in Comune di Venezia, together with Padua and Treviso, the city is included in the Padua-Treviso-Venice Metropolitan Area, with a total population of 2.6 million. PATREVE is a metropolitan area without any degree of autonomy. The name is derived from the ancient Veneti people who inhabited the region by the 10th century BC, the city was historically the capital of the Republic of Venice. Venice has been known as the La Dominante, Serenissima, Queen of the Adriatic, City of Water, City of Masks, City of Bridges, The Floating City, and City of Canals. The City State of Venice is considered to have been the first real international financial center which gradually emerged from the 9th century to its peak in the 14th century and this made Venice a wealthy city throughout most of its history. It is also known for its several important artistic movements, especially the Renaissance period, Venice has played an important role in the history of symphonic and operatic music, and it is the birthplace of Antonio Vivaldi. Venice has been ranked the most beautiful city in the world as of 2016, the name Venetia, however, derives from the Roman name for the people known as the Veneti, and called by the Greeks Eneti. The meaning of the word is uncertain, although there are other Indo-European tribes with similar-sounding names, such as the Celtic Veneti, Baltic Veneti, and the Slavic Wends. Linguists suggest that the name is based on an Indo-European root *wen, so that *wenetoi would mean beloved, lovable, a connection with the Latin word venetus, meaning the color sea-blue, is also possible. The alternative obsolete form is Vinegia, some late Roman sources reveal the existence of fishermen on the islands in the original marshy lagoons. They were referred to as incolae lacunae, the traditional founding is identified with the dedication of the first church, that of San Giacomo on the islet of Rialto — said to have taken place at the stroke of noon on 25 March 421. Beginning as early as AD166 to 168, the Quadi and Marcomanni destroyed the center in the area. The Roman defences were again overthrown in the early 5th century by the Visigoths and, some 50 years later, New ports were built, including those at Malamocco and Torcello in the Venetian lagoon. The tribuni maiores, the earliest central standing governing committee of the islands in the Lagoon, the traditional first doge of Venice, Paolo Lucio Anafesto, was actually Exarch Paul, and his successor, Marcello Tegalliano, was Pauls magister militum. In 726 the soldiers and citizens of the Exarchate rose in a rebellion over the controversy at the urging of Pope Gregory II
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Etching
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Etching is traditionally the process of using strong acid or mordant to cut into the unprotected parts of a metal surface to create a design in intaglio in the metal. In modern manufacturing, other chemicals may be used on other types of material, as a method of printmaking, it is, along with engraving, the most important technique for old master prints, and remains in wide use today. In a number of variants such as microfabrication etching and photochemical milling it is a crucial technique in much modern technology. In traditional pure etching, a plate is covered with a waxy ground which is resistant to acid. The artist then scratches off the ground with an etching needle where he or she wants a line to appear in the finished piece. The échoppe, a tool with an oval section, is also used for swelling lines. The plate is dipped in a bath of acid, technically called the mordant or etchant. The acid bites into the metal where it is exposed, leaving behind lines sunk into the plate, the remaining ground is then cleaned off the plate. The plate is inked all over, and then the ink wiped off the surface, the plate is then put through a high-pressure printing press together with a sheet of paper. The paper picks up the ink from the lines, making a print. The process can be repeated many times, typically several hundred impressions could be printed before the shows much sign of wear. The work on the plate can also be added to by repeating the whole process, Etching has often been combined with other intaglio techniques such as engraving or aquatint. The process as applied to printmaking is believed to have been invented by Daniel Hopfer of Augsburg, Hopfer was a craftsman who decorated armour in this way, and applied the method to printmaking, using iron plates. Apart from his prints, there are two examples of his work on armour, a shield from 1536 now in the Real Armeria of Madrid. The switch to copper plates was made in Italy. On the other hand, the handling of the ground and acid need skill and experience, prior to 1100 AD, the New World Hohokam independently utilized the technique of acid etching in marine shell designs. Jacques Callot from Nancy in Lorraine made important technical advances in etching technique and he developed the échoppe, a type of etching-needle with a slanting oval section at the end, which enabled etchers to create a swelling line, as engravers were able to do. Callot also appears to have responsible for an improved, harder, recipe for the etching ground
4.
Rome
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Rome is a special comune and the capital of Italy. Rome also serves as the capital of the Lazio region, with 2,873,598 residents in 1,285 km2, it is also the countrys largest and most populated comune and fourth-most populous city in the European Union by population within city limits. It is the center of the Metropolitan City of Rome, which has a population of 4.3 million residents, the city is located in the central-western portion of the Italian Peninsula, within Lazio, along the shores of the Tiber. Romes history spans more than 2,500 years, while Roman mythology dates the founding of Rome at only around 753 BC, the site has been inhabited for much longer, making it one of the oldest continuously occupied sites in Europe. The citys early population originated from a mix of Latins, Etruscans and it was first called The Eternal City by the Roman poet Tibullus in the 1st century BC, and the expression was also taken up by Ovid, Virgil, and Livy. Rome is also called the Caput Mundi, due to that, Rome became first one of the major centres of the Italian Renaissance, and then the birthplace of both the Baroque style and Neoclassicism. Famous artists, painters, sculptors and architects made Rome the centre of their activity, in 1871 Rome became the capital of the Kingdom of Italy, and in 1946 that of the Italian Republic. Rome has the status of a global city, Rome ranked in 2014 as the 14th-most-visited city in the world, 3rd most visited in the European Union, and the most popular tourist attraction in Italy. Its historic centre is listed by UNESCO as a World Heritage Site, monuments and museums such as the Vatican Museums and the Colosseum are among the worlds most visited tourist destinations with both locations receiving millions of tourists a year. Rome hosted the 1960 Summer Olympics and is the seat of United Nations Food, however, it is a possibility that the name Romulus was actually derived from Rome itself. As early as the 4th century, there have been alternate theories proposed on the origin of the name Roma. There is archaeological evidence of occupation of the Rome area from approximately 14,000 years ago. Evidence of stone tools, pottery and stone weapons attest to about 10,000 years of human presence, several excavations support the view that Rome grew from pastoral settlements on the Palatine Hill built above the area of the future Roman Forum. Between the end of the age and the beginning of the Iron age. However, none of them had yet an urban quality, nowadays, there is a wide consensus that the city was gradually born through the aggregation of several villages around the largest one, placed above the Palatine. All these happenings, which according to the excavations took place more or less around the mid of the 8th century BC. Despite recent excavations at the Palatine hill, the view that Rome has been indeed founded with an act of will as the legend suggests in the middle of the 8th century BC remains a fringe hypothesis. Traditional stories handed down by the ancient Romans themselves explain the earliest history of their city in terms of legend and myth
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Neoclassicism
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The main Neoclassical movement coincided with the 18th-century Age of Enlightenment, and continued into the early 19th century, laterally competing with Romanticism. In architecture, the style continued throughout the 19th, 20th, European Neoclassicism in the visual arts began c.1760 in opposition to the then-dominant Baroque and Rococo styles. Each neo-classicism selects some models among the range of classics that are available to it. They ignored both Archaic Greek art and the works of Late Antiquity, the Rococo art of ancient Palmyra came as a revelation, through engravings in Woods The Ruins of Palmyra. While the movement is described as the opposed counterpart of Romanticism. The case of the main champion of late Neoclassicism, Ingres, demonstrates this especially well. The revival can be traced to the establishment of formal archaeology, the writings of Johann Joachim Winckelmann were important in shaping this movement in both architecture and the visual arts. With the advent of the Grand Tour, a fad of collecting antiquities began that laid the foundations of many great collections spreading a Neoclassical revival throughout Europe, Neoclassicism in each art implies a particular canon of a classical model. In English, the term Neoclassicism is used primarily of the arts, the similar movement in English literature. This, which had been dominant for decades, was beginning to decline by the time Neoclassicism in the visual arts became fashionable. Though terms differ, the situation in French literature was similar, in music, the period saw the rise of classical music, and Neoclassicism is used of 20th-century developments. Ingress coronation portrait of Napoleon even borrowed from Late Antique consular diptychs and their Carolingian revival, much Neoclassical painting is more classicizing in subject matter than in anything else. A fierce, but often very badly informed, dispute raged for decades over the merits of Greek and Roman art, with Winckelmann. The work of artists, who could not easily be described as insipid, combined aspects of Romanticism with a generally Neoclassical style. Unlike Carstens unrealized schemes, the etchings of Giovanni Battista Piranesi were numerous and profitable and his main subject matter was the buildings and ruins of Rome, and he was more stimulated by the ancient than the modern. Neoclassicism in painting gained a new sense of direction with the success of Jacques-Louis Davids Oath of the Horatii at the Paris Salon of 1785. Despite its evocation of republican virtues, this was a commission by the royal government, David managed to combine an idealist style with drama and forcefulness. David rapidly became the leader of French art, and after the French Revolution became a politician with control of government patronage in art
6.
Treviso
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Treviso is a city and comune in Veneto, northern Italy. The city is home to the headquarters of clothing retailer Benetton, Sisley, Stefanel, Geox, Diadora and Lotto Sport Italia, appliance maker DeLonghi, and bicycle maker Pinarello. Treviso is also known for being the production area of Prosecco wine. For some scholars, the ancient city of Tarvisium derived its name from a settlement of the Celtic tribe of the Taurusci, others have attributed the name instead to the Greek root tarvos, meaning bull. Tarvisium, then a city of the Veneti, became a municipium in 89 BCE after the Romans added Cisalpine Gaul to their dominions, citizens were ascribed to the Roman tribe of Claudia. The city lay in proximity of the Via Postumia, which connected Opitergium to Aquileia, Treviso is rarely mentioned by ancient writers, although Pliny writes of the Silis, that is the Sile River, as flowing ex montibus Tarvisanis. During the Roman Period, Christianity spread to Treviso, tradition records that St. Prosdocimus, a Greek who had been ordained bishop by St. Peter, brought the Catholic faith to Treviso and surrounding areas. By the 4th century, the Christian population grew sufficient to merit a resident bishop, the first documented bishop was John the Pius who began his epsicopacy in 396 AD. According to tradition, Treviso was the birthplace of Totila, the leader of Ostrogoths during the Gothic Wars, the latter was especially important during the reign of the last Lombard king, Desiderius, and continued to churn out coins when northern Italy was annexed to the Frankish Empire. People from the city played a role in the founding of Venice. Charlemagne made it the capital of a march, i. e. the Marca Trevigiana. Treviso joined the Lombard League, and gained independence after the Peace of Constance and this lasted until the rise of seignories in northern Italy. Among the various families who ruled over Treviso, the Da Romano reigned from 1237 to 1260, Treviso and its satellite cities, including Castelfranco Veneto, had become attractive to neighbouring powers, including the da Carrara and Scaligeri. After the fall of the last Caminesi lord, Rizzardo IV, Treviso notary and physician, Oliviero Forzetta, was an avid collector of antiquities and drawings, the collection was published in a catalog in 1369, the earliest such catalog to exist to this day. After a Scaliger domination in 1329–1339, the city itself to the Republic of Venice. From 1318 it was also, for a time, the seat of a university. Venetian rule brought innumerable benefits, however, Treviso necessarily became involved in the wars of Venice, from 1381–1384, the city was captured and ruled by the duke of Austria, and then by the Carraresi until 1388. The many waterways were exploited with several waterwheels which powered mills for milling grain produced locally
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Republic of Venice
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It was based in the lagoon communities of the historically prosperous city of Venice. It was a leading European economic and trading power during the Middle Ages, the Venetian city state was founded as a safe haven for people escaping persecution in mainland Europe after the fall of the Roman Empire. In its early years, it prospered on the salt trade, in subsequent centuries, the city state established a thalassocracy. It dominated trade on the Mediterranean Sea, including commerce between Asia, Europe and North Africa, the Venetian navy was used in the Crusades. Venice achieved territorial conquests along the Adriatic Sea, the city became home to an extremely wealthy merchant class, who patronized renowned art and architecture along the citys lagoons. Venetian merchants were influential financiers in Europe, the city was also the birthplace of great European explorers, including Marco Polo, as well as the classical music composer Vivaldi. The republic was ruled by the Doge, who was elected by members of the Great Council of Venice, the ruling class was an oligarchy of merchants and aristocrats. Venice and other Italian maritime republics played a key role in fostering capitalism, Venetian citizens generally supported the system of governance. The city-state enforced strict laws and employed ruthless tactics in its prisons, the opening of new trade routes to the Americas and the East Indies via the Atlantic Ocean marked the beginning of Venices decline as a maritime republic. The city state suffered defeats from the navy of the Ottoman Empire, in 1797, the country was colonized by Austria and France, following an invasion by Napoleon Bonaparte. Venice became a part of a unified Italy in the 19th century and it was formally known as the Most Serene Republic of Venice and is often referred to as La Serenissima, in reference to its title as one of the Most Serene Republics. He was the first historical Doge of Venice, whichever the case, the first doges had their power base in Heraclea. Ursuss successor, Deusdedit, moved his seat from Heraclea to Malamocco in the 740s and he was the son of Ursus and represented the attempt of his father to establish a dynasty. Such attempts were more commonplace among the doges of the first few centuries of Venetian history. They desired to remain well-connected to the Empire, another faction, republican in nature, believed in continuing along a course towards practical independence. The other main faction was pro-Frankish, supported mostly by clergy, they looked towards the new Carolingian king of the Franks, Pepin the Short, as the best provider of defence against the Lombards. A minor, pro-Lombard faction was opposed to close ties with any of these further-off powers, the successors of Obelerio inherited a united Venice. By the Pax Nicephori, the two emperors had recognised that Venice belonged to the Byzantine sphere of influence, many centuries later, the Venetians claimed that the treaty had recognised Venetian de facto independence, but the truth of this claim is doubted by modern scholars
8.
Matteo Lucchesi
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Matteo Lucchesi was an Italian architect and Engineer, active mainly in his native Venice. He learned mathematics and architecture from Tommaso Temanza and he was named by the Ducal Republic to be Magistrato delle Acque, an important post in the state. He designed the reconstruction of the church of San Giovanni Nuovo and he boasted that this church was the Redentore redento because it corrected the errors Lucchesi found in Palladios church of Il Redentore. San Zaninovos facade was never completed, Lucchesi also helped in reconstruction at the Ospedaletto. He also published works about artistic methods and he also was an early mentor to his nephew, the famous engraver Giovanni Battista Piranesi. Venice, Googlebooks, Presso Andrea Santini e Figlio
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Palazzo Venezia
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The Palazzo Venezia is a palazzo in central Rome, Italy, just north of the Capitoline Hill. The original structure of great architectural complex consisted of a modest medieval house intended as the residence of the cardinals appointed to the church of San Marco. The palace faces Piazza Venezia and Via del Plebiscito and it currently houses the National Museum of the Palazzo Venezia. It took on a new layout in 1451, when owned by Cardinal Pietro Barbo, nephew of Pope Eugenius IV and the future Pope Paul II. In 1455, the building manifested some of the first Renaissance architectural features in Rome, although the overall aspect is of a massive, much of the stone to build the palazzo was quarried from the nearby Colosseum, a common practice in Rome until the 18th century. The design is attributed to Leone Battista Alberti, the Venetian cardinal, Pietro Barbo. The project was continued after his death by his nephew Marco Barbo, from the Treaty of Campoformio throughout the nineteenth century, as Austria succeeded the defunct Republic, the building was the seat for the Austrian ambassador to the Vatican. In 1916, Italy, at war with Austria-Hungary, seized the building, the Museo di Palazzo Venezia, housed in the building, contains galleries of art, predominantly pottery, tapestry, statuary from the early Christian era up to early Renaissance. This building hosts now the offices of the Assiscurazioni Generali di Venezia, also because of that the Palazzetto di Venezia, which closed the south side of the Piazza, was dismantled and rebuilt southwest of the Palazzo. In late 2010 Mussolinis unfinished most secret bunker was discovered beneath the building, carlo, Cresti, Claudio Rendina, Massimo Listri. Satellite photo The Palazzo Venezia is to the left of the Piazza Venezias boat-shaped central lawns, the Palazzos tower is exactly to the left of the split in the boat. At the bottom is the marble monument to Vittorio Emanuele. Report of a Mussolini bunker discovered under Palazzo Venezia
10.
Giuseppe Vasi
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Giuseppe Vasi was an Italian engraver and architect, best known for his vedute. He was born in Corleone, Sicily and later, around 1736 and his views for the Calcografia include panoramas of the Trevi Fountain and of the Spanish Steps. Later on Vasi started to work on his own, producing and selling series of his views to a public made principally of grand tourists. The first series of akin consists in the Vedute di Roma sul Tevere, i. e. Views of the Tiber, circa 1743 and later adapted to become part of the Magnificenze di Roma antica e moderna. In these years Vasi also hosted in his workshop for a period of time the young Giovanni Battista Piranesi, his major pupil. From 1747 to 1761 Vasi published a series of ten volumes including circa 240 engravings of vedute of Rome and he also created 15 tablet engravings of opera scenes designed by Vincenzo Re, some of which are part of the collection at the Victoria and Albert Museum in London. Vasi played a role as a cartographer and as writer as well. Vasi was a man and artist up to the 1760s. For over 200 years Vasi was artistically forgotten and his views taken into account only for their topographical and documentary qualities. Things changed in 1981, thanks to the monograph by Luisa Scalabroni and even more in the nineties, mainly thanks to the contributions by Paolo Coen on his catalogue, today Giuseppe Vasi is no longer considered Piranesis defeated rival, but an artist with his own personality and technique. Though far from being a revolutionary, he gave a significant contribution to the Roman school of engraving applied to the veduta, with a role quite similar to Giovanni Paninis in painting. 115,2001 Imago Urbis, Giuseppe Vasis Grand Tour of Rome, University of Oregon,2008 James G. Harper & James T. Tice, Giuseppe Vasis Rome, Lasting Impressions from the Age of the Grand Tour, exh. cat
11.
Engraving
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Engraving is the practice of incising a design onto a hard, usually flat surface by cutting grooves into it. Wood engraving is a form of printing and is not covered in this article. Engraving was an important method of producing images on paper in artistic printmaking, in mapmaking. Other terms often used for printed engravings are copper engraving, copper-plate engraving or line engraving, hand engraving is a term sometimes used for engraving objects other than printing plates, to inscribe or decorate jewellery, firearms, trophies, knives and other fine metal goods. Traditional engravings in printmaking are also engraved, using just the same techniques to make the lines in the plate. Each graver is different and has its own use, engravers use a hardened steel tool called a burin, or graver, to cut the design into the surface, most traditionally a copper plate. Modern professional engravers can engrave with a resolution of up to 40 lines per mm in high grade work creating game scenes, dies used in mass production of molded parts are sometimes hand engraved to add special touches or certain information such as part numbers. In addition to engraving, there are engraving machines that require less human finesse and are not directly controlled by hand. They are usually used for lettering, using a pantographic system, there are versions for the insides of rings and also the outsides of larger pieces. Such machines are used for inscriptions on rings, lockets. Gravers come in a variety of shapes and sizes that yield different line types, the burin produces a unique and recognizable quality of line that is characterized by its steady, deliberate appearance and clean edges. The angle tint tool has a curved tip that is commonly used in printmaking. Florentine liners are flat-bottomed tools with multiple lines incised into them, ring gravers are made with particular shapes that are used by jewelry engravers in order to cut inscriptions inside rings. Flat gravers are used for work on letters, as well as wriggle cuts on most musical instrument engraving work, remove background. Knife gravers are for line engraving and very deep cuts, round gravers, and flat gravers with a radius, are commonly used on silver to create bright cuts, as well as other hard-to-cut metals such as nickel and steel. Square or V-point gravers are typically square or elongated diamond-shaped and used for cutting straight lines, V-point can be anywhere from 60 to 130 degrees, depending on purpose and effect. These gravers have very small cutting points, other tools such as mezzotint rockers, roulets and burnishers are used for texturing effects. Burnishing tools can also be used for stone setting techniques
12.
French Academy in Rome
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The French Academy in Rome is an Academy located in the Villa Medici, within the Villa Borghese, on the Pincio in Rome, Italy. The Academy was founded at the Palazzo Capranica in 1666 by Louis XIV under the direction of Jean-Baptiste Colbert, Charles Le Brun, such scholars were and are known as pensionnaires de lAcadémie. One recipient of the scholarship in the 17th century was Pierre Le Gros the Younger, the Academy was housed in the Palazzo Capranica until 1737, and then in the Palazzo Mancini from 1737 to 1793. These envois were annual works, sent to Paris to be judged, at first, the villa and its gardens were in a sad state and had to be renovated to house the winners of the Prix de Rome. The competition was interrupted during the first World War, and Mussolini confiscated the villa in 1941, the competition and Prix de Rome were eliminated in 1968 by André Malraux. The Académie des Beaux-Arts in Paris and the Institut de France then lost their guardianship of the Villa Medici to the Ministry of the Culture, from that time on, the boarders no longer belonged solely to the traditional disciplines but also to new or previously neglected artistic fields. These artists-in-residence are known as pensionnaires, the French word ‘pension’ refers to the room & board these, generally young and promising, artists receive. The artists are no longer recruited by a competition but by application, between 1961 and 1967, the artist Balthus, then at the head of the Academy, carried out a vast restoration campaign of the palace and its gardens, providing them with modern equipment. Balthus participated “hands on” in all the phases of the construction, where the historic décor had disappeared, Balthus proposed personal alternatives. Work continued under the direction of director, Richard Peduzzi, under director Frédéric Mitterrand the Academy opened up its guest rooms to the general public at times when they are not used by pensionnaires or other official guests. k. a. Carolus-Duran 1913-1921, Albert Besnard 1921-1933, Denys Puech 1933-1937, Paul-Maximilien Landowski 1937-1960, Jacques Ibert 1961-1977, Comte Balthazar Klossowski de Rola, a. k. a. Balthus 1979-1985, Jean Leymarie 1985-1994, Jean-Marie Drot 1994-1997, Pierre-Jean Angremy, a. k. a. villamedici. it/ Official site Google Map
13.
Pyramid of Cestius
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The Pyramid of Cestius is an ancient pyramid in Rome, Italy, near the Porta San Paolo and the Protestant Cemetery. It stands at a fork between two ancient roads, the Via Ostiensis and another road ran west to the Tiber along the approximate line of the modern Via della Marmorata. Due to its incorporation into the fortifications, it is today one of the best-preserved ancient buildings in Rome. The pyramid was built about 18–12 BC as a tomb for Gaius Cestius, a magistrate and member of one of the four great religious corporations in Rome and it is of brick-faced concrete covered with slabs of white marble standing on a travertine foundation. The pyramid measures 100 Roman feet square at the base and stands 125 Roman feet high, in the interior is the burial chamber, a simple barrel-vaulted rectangular cavity measuring 5.95 metres long,4.10 m wide and 4.80 m high. When opened in 1660, the chamber was found to be decorated with frescoes, only scant traces of these frescoes survive, and no trace of any other contents. The tomb had been sealed when it was built, with no exterior entrance, until the end of restoration works in 2015, it was not possible for visitors to access the interior, except by special permission typically only granted to scholars. Since the beginning of May 2015, the pyramid is open to the every second. Visitors must arrange their visit in advance, a dedicatory inscription is carved into the east and west flanks of the pyramid, so as to be visible from both sides. Reading INSTAVRATVM · AN · DOMINI · MDCLXIII, it commemorates excavation and restoration carried out in. At the time of its construction, the Pyramid of Cestius would have stood in open countryside, Rome grew enormously during the imperial period, and, by the 3rd century AD, the pyramid would have been surrounded by buildings. It originally stood in an enclosure, flanked by statues, columns. Two marble bases were found next to the pyramid during excavations in the 1660s, the heirs had set up the statues and bases using money raised from the sale of valuable cloths. Cestius had stated in his will that the cloths were to be deposited in the tomb, the sharply pointed shape of the pyramid is strongly reminiscent of the pyramids of Nubia, in particular of the kingdom of Meroë, which had been attacked by Rome in 23 BC. The similarity suggests that Cestius had possibly served in that campaign, some writers have questioned whether the Roman pyramids were modelled on the much less steeply pointed Egyptian pyramids exemplified by the famous pyramids of Giza. The pyramid was, in any case, built during a period when Rome was going through a fad for all things Egyptian, during the construction of the Aurelian Walls between 271 and 275, the pyramid was incorporated into the walls to form a triangular bastion. It was one of many structures in the city to be reused to form part of the new walls, probably to reduce the cost and it still forms part of a well-preserved stretch of the walls, a short distance from the Porta San Paolo. The origins of the pyramid were forgotten during the Middle Ages, the inhabitants of Rome came to believe that it was the tomb of Remus and that its counterpart near the Vatican was the tomb of Romulus, a belief recorded by Petrarch
14.
Giovanni Battista Tiepolo
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Giovanni Battista Tiepolo, also known as Gianbattista or Giambattista Tiepolo, was an Italian painter and printmaker from the Republic of Venice. He was prolific, and worked not only in Italy, but also in Germany, Giovan Battista Tiepolo, together with Giambattista Pittoni, Canaletto, Giovan Battista Piazzetta, Giuseppe Maria Crespi and Francesco Guardi forms the traditional great Old Masters of that period. Successful from the beginning of his career, he has described by Michael Levey as the greatest decorative painter of eighteenth-century Europe. Born in Venice, he was the youngest of six children of Domenico and his father was a small shipping merchant who belonged to a family that bore the prestigious patrician name of Tiepolo without claiming any noble descent. Some of the children acquired noble godparents, and Giambattista was originally named after his godfather and he was baptised on 16 April 1696 in the local church, San Pietro di Castello. His father died about a later, leaving his mother to bring up a family of young children. In 1710 he became a pupil of Gregorio Lazzarini, a painter with an eclectic style. A biography of his teacher, published in 1732, says that Tiepolo departed from studied manner of painting and his earliest known works are depictions of the apostles, painted in spandrels as part of the decoration of the church of the Ospedoletto in Venice in 1715–6. He painted his first fresco in 1716, on the ceiling of a church at Biadene and he probably left Lazzarinis studio in 1717, the year he was received into the Fraglia or guild of painters. In around 1719–20 he painted a scheme of frescoes for the wealthy, Tiepolo depicted the Triumph of Aurora on the ceiling, and the Myth of Phaethon on the walls, creating the kind of fluid spatial illusion which was to become a recurring theme in his work. In 1722 he was one of twelve artists commissioned to contribute a painting on canvas of one of the apostles as part of a scheme for the nave of San Stae in Venice. The other artists involved included Ricci, Piazetta, and Pellegrini, in 1719, Tiepolo married noblewoman Maria Cecilia Guardi, sister of two contemporary Venetian painters Francesco and Giovanni Antonio Guardi. Together, Tiepolo and his wife had nine children, four daughters and three sons survived childhood. Two of his sons, Domenico and Lorenzo, painted with him as his assistants and his children painted figures with a design similar to that of their father, but with distinctive, including genre, styles. His third son became a priest, fabio Canal, Francesco Lorenzi, Domenico Pasquini were among his pupils. Some major commissions came from the patrician Dolfin family, Tiepolo used a much cooler palette than previous Venetian painters, in order to create a convincing effect of daylight. These early masterpieces, innovative amongst Venetian frescoes for their luminosity, dominic Instituting the Rosary, Palazzo Clerici, Milan, decorations for Villa Cordellini at Montecchio Maggiore and for the ballroom of the Palazzo Labia in Venice, showing the Story of Cleopatra. Tiepolo produced two sets of etchings, the Capricci and the Scherzi di fantasia, the ten capricci were first published by Anton Maria Zanetti, incorporated into the third edition of a compilation of woodcuts after Parmigiano
15.
Via del Corso
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The Via del Corso, is a main street in the historical centre of Rome. It is remarkable for being absolutely straight in an area characterized by narrow meandering alleys, considered a wide street in ancient times, today the Corso is approximately 10 metres wide, and it only has room for two lanes of traffic and two narrow sidewalks. The northern portion of the street is a pedestrian area, the length of the street is roughly 1.5 kilometres. The Corso runs in a generally north-south direction, today, the Corso is a popular place for the passeggiata, the evening stroll for the populace to be seen and to see others. It is also an important shopping street for tourists and locals alike, the history of Via del Corso began in 220 BC when Gaius Flaminius censor built a new road to link Rome with the Adriatic Sea in the north. The starting point of the road was Porta Fontinalis, a gate in the Servian city walls near present-day Piazza Venezia, in its first miles Via Flaminia cut through the plain between the Tiber and the eastern hills in a straight line. The Field of Mars, as it was called, was at the used as a training ground. Numerous tombs must have lined the road similarly to the Appian Way, the open area outside the city walls went through a process of urbanization during the late Republican and early imperial age. The city gradually spread north and monumental public buildings were built along the road. A set of dynastic monuments around the Mausoleum of Augustus was the most important development in the unpopulated northern section of the district. The first was the Arcus Novus erected by Diocletian in 303-304, then the Arch of Claudius stood further ahead and the third was later known as the Arco di Portogallo. The most important ancient monuments along Via Lata were Aurelians Temple of the Sun, the Ara Pacis, the Ustrinum Domus Augustae, the Ara Providentiae and the Column of Marcus Aurelius. A densely populated residential quarter from the Hadrianic era was discovered on the side of the road between Via delle Muratte and Via delle Convertite. From around the year 600 AD, the Corso accommodated a welfare centre linked to feeding the populace at Santa Maria in Via Lata and granaries at its southern end. During the Middle Ages the Via Lata, the present day Corso, effectively denoted a boundary, to the city mainly developed to the south. From the fifteenth century, the Via del Corso became a street for new or renovated churches. The lack of regularity and decorum of this street of the city meant that it became a main urban priority of Pope Alexander VII. Where he met with success was over imposing order on the street by empowering the maestri di strade
16.
Veduta
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A veduta is a highly detailed, usually large-scale painting or, more often print, of a cityscape or some other vista. The painters of vedute are referred to as vedutisti and this genre of landscape originated in Flanders, where artists such as Paul Bril painted vedute as early as the 16th century. In the 17th century Dutch painters made a specialty of detailed and accurate recognizable city, an archetypal example is Johannes Vermeers View of Delft. The Ghent architect, draughtsman and engraver Lieven Cruyl contributed to the development of the vedute during his residence in Rome in the late 17th century, cruyl’s drawings reproduce the topographical aspects of the urban landscape. By the mid-18th century, Venice became renowned as the centre of the vedutisti, the genres greatest practitioners belonged to the Canal and Guardi families of Venice. Some of them went to work as painters in major capitals of Europe, e. g. Canaletto in London and his nephew Bernardo Bellotto in Dresden, in other parts of 18th-century Italy, idiosyncratic varieties of the genre evolved. Giovanni Paolo Pannini was the first veduta artist to concentrate on painting ruins and his collaborators included Hendrik Frans van Lint, who would become one of the leading vedute painters in the first half of the 18th century. In later developments of the vedute, Panninis veduta morphed into the scenes partly or completely imaginary elements, known as capricci, giambattista Piranesi was the foremost master of vedute ideate etchings. His topographical series, Vedute di Roma, went through many printings, in the later 19th century, more personal impressions of cityscapes replaced the desire for topographical accuracy, which was satisfied instead by painted, and later photographed, panoramas. These artists responded to the international market for their city views of Venice and they made such big names for themselves through this genre that they painted nothing. Demand for Federico del Campos views, particularly from English tourists, was so strong, I pittori di vedute in Italia, 1580-1830. Canaletto, a full text exhibition catalog from The Metropolitan Museum of Art, which has material on Canalettos contributions to the genre
17.
Accademia di San Luca
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Other founders included Girolamo Muziano and Pietro Olivieri. The Academy was named after Saint Luke the evangelist who, legend has it, made a portrait of the Virgin Mary, designed by the Baroque architect, Pietro da Cortona, its main facade overlooks the Forum. Included among its members, was the famous painter Melozzo da Forlì. In 1605, Pope Paul V granted the Academy the right to pardon a condemned man on the feast of St. Luke. In the 1620s, Urban VIII extended its rights to decide who was considered an artist in Rome and it came under the patronage of his nephew, in 1633, Urban VIII gave it the right to tax all artists as well as art-dealers, and monopolize all public commissions. These latter measures raised strong opposition and apparently were poorly enforced, over the early years, the papal authorities exerted a large degree of control over the leadership of the institution. Some modern critics have stated with the purpose of giving artists a higher education. The prìncipi of the institution have included some of the pre-eminent painters of the 17th century, including Domenichino, Bernini, Cortona, however, many prominent artists never joined or were admitted to the academy. Artistic issues debated within the Academy included the Cortona-Sacchi controversy about the number of figures in a painting, disdain was espressed by many academicians for the Bamboccianti. Giovanni Bellori gave famous lectures on painting in the Academy, in the early 18th century, the painter Marco Benefial was inducted, and then expelled for criticizing the academy as an insider. The Academy is still active, the Accademia Nazionale di San Luca is its modern descendant, from the very beginning, the statutes of the Academy directed that each candidate-academician was to donate a work of his art in perpetual memory and, later, a portrait. Prominent artists to become Principi of the academy over the first 200 years include, Claude Lorrain was a member, the Academy can also boast modern members, including sculptors Ernesto Biondi and Piccirilli Brothers. Accademia Nazionale di San Luca Official site Galleria Nazionale di San Luca Accademia San Luca The History of the Accademia di San Luca, 1590–1635, Documents from the Archivio di Stato di Roma
18.
Pope Clement XIII
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Pope Clement XIII, born Carlo della Torre di Rezzonico, was Pope from 6 July 1758 to his death in 1769. He was consecrated on 16 July 1758 and his pontificate was overshadowed by the constant pressure to suppress the Society of Jesus but despite this, he championed their order and also proved to be their greatest defender at that time. These efforts ultimately bore little fruition, born to Giovanni Battista Rezzonico and Vittoria Barbarigo, his brother was Aurelio. He received a Jesuit education in Bologna and later studied at the University of Padua where he obtained his doctorate in canon law, from there, he travelled to Rome where he attended the Pontifical Academy of Ecclesiastical Nobles. Rezzonico became the Referendary of the Apostolic Signatura and remained in position from 1716 to 1718 when he was appointed as the Governor of Fano. He was then ordained to the priesthood on 23 December 1731 in Rome, Pope Clement XII appointed him to the cardinalate in 1737 as the Cardinal-Deacon of San Nicola in Carcere and also filled various important posts in the Roman Curia. Rezzonico was chosen as Bishop of Padua in 1743 and he received consecration in Rome by Pope Benedict XIV himself. Rezzonico visited his diocese on frequent occasions and reformed the way that the diocese ran and he was the first to do this in five decades. He later opted to become the Cardinal-Priest of Santa Maria in Aracoeli in 1747, Pope Benedict XIV died of gout in 1758 and the College of Cardinals gathered at the papal conclave in order to elect a successor. Direct negotiations between the factions resulted in the proposal for the election of Rezzonico. On the evening of 6 July 1758, Rezzonico received 31 votes out of a possible 44 and he selected the pontifical name of Clement XIII in honor of Pope Clement XII, who elevated him to the cardinalate. Rezzonico was crowned as pontiff on 16 July 1758 by the protodeacon, in the same year, the Rezzonico family celebrated Ludovico Rezzonicos marriage into the powerful Savorgnan family. Rezzonico was notorious for his rampant nepotism throughout his pontificate, notwithstanding the meekness and affability of his upright and moderate character, he was modest to a fault and generous with his extensive private fortune. Clement XIIIs pontificate was repeatedly disturbed by disputes respecting the pressures to suppress the Jesuits coming from the progressive Enlightenment circles of the philosophes in France. Clement XIII placed the Encyclopédie of DAlembert and Diderot on the Index, more unexpected resistance came from the less progressive courts of Spain, the Two Sicilies, and Portugal. In 1758 the reforming minister of Joseph I of Portugal, the Marquis of Pombal, expelled the Jesuits from Portugal, in 1760, Pombal sent the papal nuncio home and recalled the Portuguese ambassador from the Vatican. Louis XVs ministers could not permit such an abrogation of French law, in Spain, they appeared to be safe, but Charles III of Spain, aware of the drawn-out contentions in Bourbon France, decided on a more peremptory efficiency. Much the same fate awaited them in the territories of the Bourbon Duke of Parma and Piacenza, in 1768, Clement XIII issued a strong protest against the policy of the Parmese government
19.
Archbasilica of St. John Lateran
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It is the oldest of and has precedence among the four papal major basilicas, all of which are in Rome, because it is the oldest church in the West and houses the cathedra of the Roman Pontiff. It has the title of ecumenical mother church of the Roman Catholic faithful, the current archpriest is Agostino Vallini, Cardinal Vicar General for the Diocese of Rome. The archbasilica stands over the remains of the Castra Nova equitum singularium, the fort was established by Septimius Severus in AD193. Following the victory of Emperor Constantine I over Maxentius at the Battle of the Milvian Bridge, the guard was abolished, substantial remains of the fort lie directly beneath the nave. The remainder of the site was occupied during the early Roman Empire by the palace of the gens Laterani, sextius Lateranus was the first plebeian to attain the rank of consul, and the Laterani served as administrators for several emperors. One of the Laterani, Consul-designate Plautius Lateranus, became famous for being accused by Nero of conspiracy against the Emperor, the accusation resulted in the confiscation and redistribution of his properties. The Lateran Palace fell into the hands of the Emperor when Constantine I married his second wife Fausta, known by that time as the Domus Faustae or House of Fausta, the Lateran Palace was eventually given to the Bishop of Rome by Constantine I. The palace basilica was converted and extended, becoming the residence of Pope St. Silvester I, eventually becoming the Cathedral of Rome, Pope Sylvester I presided over the official dedication of the archbasilica and the adjacent Lateran Palace in 324, declaring both to be a Domus Dei. The papal cathedra was placed in its interior, rendering it the cathedral of the Pope qua Bishop of Rome, the archbasilica and Lateran Palace were re-dedicated twice. Pope Sergius III dedicated them to St. John the Baptist in the 10th century in honor of the newly consecrated baptistry of the archbasilica, Pope Lucius II dedicated them to St. John the Evangelist in the 12th century. Consequently, the archbasilica remains dedicated to the Savior, and its titular feast is the Feast of the Transfiguration, the archbasilica became the most important shrine of the two St. Johns, albeit infrequently jointly venerated. In later years, a Benedictine monastery was established in the Lateran Palace, and was devoted to serving the archbasilica, the Lateran Palace has also been the site of five ecumenical councils. During the time the papacy was seated in Avignon, France, the Lateran Palace, two fires ravaged them in 1307 and 1361. After both fires the pope sent money from Avignon to pay for their reconstruction and maintenance, nonetheless, the archbasilica and Lateran Palace lost their former splendor. When the papacy returned from Avignon and the pope again resided in Rome, the archbasilica, the popes resided at the Basilica di Santa Maria in Trastevere and later at the Basilica di Santa Maria Maggiore. Eventually, the Palace of the Vatican was built adjacent to the Basilica of St. Peter, which existed since the time of Emperor Constantine I, and it has remained the official residence of the pope. The original Lateran Palace was demolished and replaced with a new edifice, on the square in front of the Lateran Palace is the largest standing obelisk in the world, known as the Lateran Obelisk. It weighs an estimated 455 tons and it was commissioned by the Egyptian Pharaoh Thutmose III and erected by Thutmose IV before the great Karnak temple of Thebes, Egypt
20.
Santa Maria del Priorato Church
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The Church of St. Mary of the Priory, can also be known by its previous name of St. Mary on the Aventine. It is the church of the Priory of the Knights of Malta on the Aventine Hill in Rome. The original church was built in 939, when Odo of Cluny was given the Roman palace of Alberic II of Spoleto, which was then converted into a Cluniac Benedictine monastery. When the monastery was dissolved in the 14th-century, the site was acquired by the Knights of Malta, and, under them, in 1760, the papal nephew and Grand Prior of the Knights, Cardinal Giambattista Rezzonico, sought to improve the appearance of the buildings. The fairly low wall around the piazza is articulated by panels with paired obelisks with stelae positioned in between them, the church facade has paired fluted pilasters towards its edges to infer a temple front. The vertical linearity of the fluted pilasters act as a foil to enhance the more decorative reliefs of the facade, the way in which they are represented indicates Piranesis fascination with Romes ancient past as they allude to motifs from Ancient Rome and Etruria. Piranesis decoration of the church interior culminates in the very sculptural main altar, piranesi is buried in the church. Other tombs there include that of Bartolomeo Carafa, designed by Paolo Romano
21.
Knights Hospitaller
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It was headquartered variously in the Kingdom of Jerusalem, Rhodes and Malta, until it became known by its current name. Some scholars, however, consider that the Amalfitan order and hospital were different from Gerard Thoms order and it regained strength during the early 19th century as it redirected itself toward religious and humanitarian causes. In 1834, the order, by this time known as the Sovereign Military Order of Malta, acquired new headquarters in Rome, in 800, Emperor Charlemagne enlarged Probus hospital and added a library to it. About 200 years later, in 1005, Caliph Al-Hakim bi-Amr Allah destroyed the hospital, in 1023, merchants from Amalfi and Salerno in Italy were given permission by the Caliph Ali az-Zahir of Egypt to rebuild the hospital in Jerusalem. The hospital, which was built on the site of the monastery of Saint John the Baptist and it was served by the Order of Saint Benedict. Gerard acquired territory and revenues for his order throughout the Kingdom of Jerusalem, under his successor, Raymond du Puy de Provence, the original hospice was expanded to an infirmary near the Church of the Holy Sepulchre in Jerusalem. Initially the group cared for pilgrims in Jerusalem, but the order extended to providing pilgrims with an armed escort. Thus the Order of St. John imperceptibly became military without losing its charitable character. Raymond du Puy, who succeeded Gerard as Master of the Hospital in 1118, organised a militia from the orders members, in 1130, Pope Innocent II gave the order its coat of arms, a silver cross in a field of red. The Hospitallers and the Knights Templar became the most formidable military orders in the Holy Land, frederick Barbarossa, the Holy Roman Emperor, pledged his protection to the Knights of St. John in a charter of privileges granted in 1185. The statutes of Roger de Moulins deal only with the service of the sick, the order numbered three distinct classes of membership, the military brothers, the brothers infirmarians, and the brothers chaplains, to whom was entrusted the divine service. In 1248 Pope Innocent IV approved a military dress for the Hospitallers to be worn during battle. Instead of a closed cape over their armour, they wore a red surcoat with a cross emblazoned on it. Many of the more substantial Christian fortifications in the Holy Land were built by the Templars, at the height of the Kingdom of Jerusalem, the Hospitallers held seven great forts and 140 other estates in the area. The two largest of these, their bases of power in the Kingdom and in the Principality of Antioch, were the Krak des Chevaliers, the property of the Order was divided into priories, subdivided into bailiwicks, which in turn were divided into commanderies. As early as the late 12th century the order had begun to achieve recognition in the Kingdom of England, as a result, buildings such as St Johns Jerusalem and the Knights Gate, Quenington in England were built on land donated to the order by local nobility. An Irish house was established at Kilmainham, near Dublin, after the fall of the Kingdom of Jerusalem in 1291, the Knights were confined to the County of Tripoli and, when Acre was captured in 1291, the order sought refuge in the Kingdom of Cyprus. His successor, Foulques de Villaret, executed the plan, and on 15 August 1310, after four years of campaigning
22.
Aventine Hill
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The Aventine Hill is one of the Seven Hills on which ancient Rome was built. It belongs to Ripa, the rione, or ward. The Aventine Hill is the southernmost of Romes seven hills and it has two distinct heights, one greater to the northwest and one lesser to the southeast, divided by a steep cleft that provides the base for an ancient roadway between the heights. During the Republican era, the two hills may have recognized as a single entity. Most Roman sources trace the name of the hill to a legendary king Aventinus, Servius identifies two kings of that name, one ancient Italic, and one Alban, both said to have been buried on the hill in remote antiquity. Servius believes that the hill was named after the ancient Italic king Aventinus, the Aventine was a significant site in Roman mythology. In Virgils Aeneid, a cave on the Aventines rocky slope next the river is home to the monstrous Cacus, killed by Hercules for stealing Geryons cattle. In Romes founding myth, the divinely fathered twins Romulus and Remus hold a contest of augury, whose outcome determines the right to found, name and lead a new city, and to determine its site. In most versions of the story, Remus sets up his tent on the Aventine. Each sees a number of birds that signify divine approval. Romulus goes on to found the city of Rome at the site of his successful augury, an earlier variant, found in Ennius and some later sources, has Romulus perform his augury on one of the Aventine Hills. Remus performs his elsewhere, perhaps on the height, the lesser of the Aventines two hills, which has been tentatively identified with Ennius Mons Murcus. The less fortunate Remus, who lost not only the contest but later, his life, remained on the Aventine, according to Roman tradition, the Aventine was not included within Romes original foundation, and lay outside the citys ancient sacred boundary. The Roman historian Livy reports that Ancus Marcius, Romes fourth king, defeated the Latins of Politorium, the Roman geographer Strabo credits Ancus with the building of a city wall to incorporate the Aventine. Others credit the same wall to Romes sixth king, Servius Tullius, the remains known as the Servian Wall used stone quarried at Veii, which was not conquered by Rome until c.393 BC, so the Aventine might have been part-walled, or an extramural suburb. The Aventine appears to have functioned as some kind of staging post for the legitimate ingress of foreign peoples, during the late regal era, Servius Tullius built a temple to Diana on the Aventine, as a Roman focus for the new-founded Latin League. The Aventines outlying position, its association with Latins and plebeians. The temple overlooked the Circus Maximus and the Temple of Vesta and it became an important repository for plebeian and senatorial records
23.
Order of the Golden Spur
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It is accounted the earliest papal chivalric institution. Bartolini also received the Knighthood of the Golden Spur, a title that sometimes accompanied the office of count palatinate in the Renaissance, among the recipients was Titian, who had painted an equestrian portrait of Charles. Close on the heels of the Emperors death in 1558, its refounding in Papal hands is attributed to Pope Pius IV in 1559, the Order was granted to those in the pontifical government, artists, and others, whom the pope should think deserving of reward. It is likewise given to strangers, no other condition being required, in the 19th century, members of the Curia, prelates and papal nuncios had the privilege of nominating recipients. The badge, as described by Robson in 1830, was a gold cross with a ray point between each arm and the legend BENE MER•ENTI. On the reverse was Ex dono with the name and date when presented, on top of the cross, an imperial crown, and at the base a small spur. In 1841, Pope Gregory XVI, in the Papal Brief Quod Hominum Mentes, reformed and renamed the order as the Order of Saint Sylvester and the Golden Militia. He withdrew all faculties to whom and by whomsoever given, Sylvester and the other taking the older name of the Order of the Golden Spur, and placed it under the patronage of the Blessed Virgin Mary. In modern times the order has one class, Knight. The honour is bestowed by a Motu Proprio of the Pope and it is awarded solely for merit, without any consideration of noble birth, and no longer confers nobility, as it did before 1841. It is the second highest of the papal orders, pendant from the bottom of the cross is a small golden spur. The decoration is suspended from a red ribbon with white borders, the star, which is worn on the left breast, is the same cross centered upon the rays of a silver star. In the early days of the order its members were entitled to wear a gold livery collar, in ecclesiastical heraldry, individuals awarded this Order may depict the gold livery collar completely encircling the shield on their coat of arms. HRH Jean, Grand Duke of Luxembourg, is at this moment the only living knight, palla Strozzi Florentine noble who was a banker, politician, literate, philosopher and philologist Heinrich von Olnhausen Conferred in 1388 at Jerusalem as knight of the holy crusade
24.
Piranesi Vase
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The Piranesi Vase or Boyd Vase is a reconstructed colossal ancient Roman marble calyx krater on three legs and a triangular base, with a relief around the sides of the vase. It is 107 inches tall and 28 inches in diameter and it was produced by the artist Giovanni Battista Piranesi, from a large number of Roman fragments from Hadrians Villa at Tivoli, where Gavin Hamilton was excavating in the 1770s. The vase was sold as a genuine ancient Roman artefact and it is now in the Enlightenment Gallery of the British Museum. The diary of a Dutch tourist mentions the vase in the Piranesi workshop in 1776, sometime that year it was acquired by Sir John Boyd during his Grand Tour. It was purchased from Boyds eventual heirs and Hugh Johnston by the British Museum in 1868 and it was exhibited in the Orangery of Kensington Palace from 1955 to 1976. T. Opper, Glory of Rome restored, British Museum Magazine 51, E. Miller, The Piranesi Vase, in, A. Oddy The Art of the Conservator, 122-136. J. Scott, Some sculpture from Hadrians Villa, Tivoli, in, Piranesi e la cultura antiquaria, gli antecedenti e il contesto, 339-355
25.
Paestum
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Paestum was a major ancient Greek city on the coast of the Tyrrhenian Sea in Magna Graecia. The ruins of Paestum are famous for their three ancient Greek temples in the Doric order, dating from about 600 to 450 BC, the city walls and amphitheatre are largely intact, and the bottom of the walls of many other structures remain, as well as paved roads. The site is open to the public, and there is a national museum within it. After its foundation by Greek colonists under the name of Poseidonia it was conquered by the local Lucanians. The Lucanians renamed it to Paistos and the Romans gave the city its current name, as Pesto or Paestum, the town became a bishopric, but it was abandoned in the Early Middle Ages, and left undisturbed and largely forgotten until the eighteenth century. Today the remains of the city are found in the frazione of Paestum. The modern settlement, directly to the south of the site, is a popular seaside resort. Much the most celebrated features of the site today are the three temples in the Archaic version of the Greek Doric order, dating from about 550 to 450 BC. All are typical of the period, with massive colonnades having a pronounced entasis. Above the columns, only the second Temple of Hera retains most of its entablature, the two temples of Hera are right next to each other, while the Temple of Athena is on the other side of the town center. There were other temples, both Greek and Roman, which are far less well-preserved, Paestum is far from any sources of good marble. The three main temples had few stone reliefs, perhaps using painting instead, painted terracotta was for some detailed parts of the structure. The large pieces of terracotta that have survived are in the museum, the whole ancient city of Paestum covers an area of approximately 120 hectares. It is only the 25 hectares that contain the three temples and the other main buildings that have been excavated. The other 95 hectares remain on land and have not been excavated. The city is surrounded by walls that still stand. The walls are approximately 4750 m long,5 –7 m thick and 15 m high, positioned along the wall are 24 square and round towers. There may have been as many as 28, but some of them were destroyed during the construction of a highway during the century that effectively cut the site in two
26.
Arch of Trajan (Benevento)
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For other similar structures, see Arch of Trajan The Arch of Trajan is an ancient Roman triumphal arch in Benevento, southern Italy. It was erected in honour of the Emperor Trajan across the Via Appia, the arch was built between 114 and 117. In Lombard times, it was incorporated into the sector of the city walls. The church of SantIlario, now housing the Videomuseum of the Arch, was built nearby, the arch was studied by Gianmarco Serlio in Renaissance times and drawn by Giovanni Battista Piranesi in the 18th century. It was restored several times due to aging and earthquakes, under Pope Urban VIII, in 1850, on the occasion of Pope Pius IXs visit to Benevento, it was isolated through demolition of the adjoining buildings. The arch has a single, barrel-vaulted archway, and is 15.60 m high and 8.60 m wide, each façade has four pilasters at the corners of the two side pillars, supporting an entablature. Above the architraves is an attic which, like them, juts out in its central section above the archway, the arch is built in limestone covered by opus quadratum of Parian marble slabs. It has richly sculpted decorations on the two main façades, on the inner side, on the left, was a depiction of Trajan welcomed by the Capitoline Triad and, on the right, Trajan in the Forum Boarium. The frieze on the entablature portrays Trajans triumphal procession after his victory over Dacia, on each of the pylons, between the corner pilasters, are two panels, one above the other, with scenes and allegories of imperial activities. They are separated by decorative panels depicting Victories offering sacrifices of bulls in the center. On the archs keystones are further personifications, Fortune on the outer, the vault has a coffered ceiling, in the center of which is a personification of the Emperor crowned by Victory. Turin, Utet. p. Arte romana 118
27.
Benevento
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Benevento listen is a city and comune of Campania, Italy, capital of the province of Benevento,50 kilometres northeast of Naples. It is situated on a hill 130 metres above sea level at the confluence of the Calore Irpino and it is also the seat of a Roman Catholic archbishop. Benevento occupies the site of the ancient Beneventum, originally Maleventum or still earlier Maloenton, the -vent portion of the name probably refers to a market-place and is a common element in ancient place names. The Romans theorized that it meant the site of bad events, in the imperial period it was supposed to have been founded by Diomedes after the Trojan War. A patron saint of Benevento is Saint Bartholomew, the Apostle, Benevento, as Maleventum, was one of the chief cities of Samnium, situated on the Via Appia at a distance of 51 kilometres east from Capua on the banks of the river Calor. Festus, on the contrary, related that it was founded by Auson, a son of Ulysses and Circe, a tradition which indicates that it was an ancient Ausonian city, previous to its conquest by the Samnites. But it first appears in history as a Samnite city, and must have already been a place of strength and it appears, however, to have fallen into their hands during the Third Samnite War, though the exact occasion is unknown. Benevento was certainly in the power of the Romans in 274 BC, six years later they further sought to secure its possession by establishing there a Roman colony with Latin rights. It is probable that the Oscan or Samnite name was Maloeis, or Malieis, whence the form Maleventum would derive, like Agrigentum from Acragas, Selinuntium from Selinus and its wealth is also evidenced by the quantity of coins minted by Beneventum. Horace famously notes Beneventum on his journey from Rome to Brundusium and it was indebted to the same circumstance for the honor of repeated visits from the emperors of Rome, among which those of Nero, Trajan, and Septimus Severus, are particularly recorded. It was probably for the reason that the triumphal arch. The Arch of Trajan is one of the best-preserved Roman structures in the Campania and it repeats the formula of the Arch of Titus in the Roman Forum, with reliefs of Trajans life and exploits of his reign. Some of the sculptures are in the British Museum, successive emperors seem to have bestowed on the city accessions of territory, and erected, or at least given name to, various public buildings. Its inhabitants were included in the Stellatine tribe, diaconus speaks of it as a very wealthy city, and the capital of all the surrounding provinces. The territory of Beneventum under the Roman Empire was of considerable extent. An inscription has preserved to us the names of several of the pagi or villages dependent upon Beneventum, the citys most ancient coins bear the legend Malies or Maliesa, which have been supposed to belong to the Samnite, or pre-Samnite, Maleventum. Coins with the legend BENVENTOD, must have struck after it became a Latin colony. Not long after it had been sacked by Totila and its walls razed, the circumstances of the creation of duchy of Benevento are disputed
28.
Colosseum
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The Colosseum or Coliseum, also known as the Flavian Amphitheatre, is an oval amphitheatre in the centre of the city of Rome, Italy. Built of concrete and sand, it is the largest amphitheatre ever built, the Colosseum is situated just east of the Roman Forum. Construction began under the emperor Vespasian in AD72, and was completed in AD80 under his successor, further modifications were made during the reign of Domitian. These three emperors are known as the Flavian dynasty, and the amphitheatre was named in Latin for its association with their family name, the building ceased to be used for entertainment in the early medieval era. It was later reused for purposes as housing, workshops, quarters for a religious order, a fortress, a quarry. Although partially ruined because of damage caused by earthquakes and stone-robbers, the Colosseum is also depicted on the Italian version of the five-cent euro coin. The Colosseums original Latin name was Amphitheatrum Flavium, often anglicized as Flavian Amphitheatre, the building was constructed by emperors of the Flavian dynasty, following the reign of Nero. This name is used in modern English, but generally the structure is better known as the Colosseum. The name Colosseum has long believed to be derived from a colossal statue of Nero nearby. This statue was later remodeled by Neros successors into the likeness of Helios or Apollo, Neros head was also replaced several times with the heads of succeeding emperors. Despite its pagan links, the statue remained standing well into the era and was credited with magical powers. It came to be seen as an symbol of the permanence of Rome. This is often mistranslated to refer to the Colosseum rather than the Colossus, however, at the time that the Pseudo-Bede wrote, the masculine noun coliseus was applied to the statue rather than to what was still known as the Flavian amphitheatre. The Colossus did eventually fall, possibly being pulled down to reuse its bronze, by the year 1000 the name Colosseum had been coined to refer to the amphitheatre. The statue itself was forgotten and only its base survives. The name further evolved to Coliseum during the Middle Ages, in Italy, the amphitheatre is still known as il Colosseo, and other Romance languages have come to use similar forms such as Coloseumul, le Colisée, el Coliseo and o Coliseu. The site chosen was an area on the floor of a low valley between the Caelian, Esquiline and Palatine Hills, through which a canalised stream ran. By the 2nd century BC the area was densely inhabited and it was devastated by the Great Fire of Rome in AD64, following which Nero seized much of the area to add to his personal domain
29.
Ancient Roman architecture
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Ancient Roman architecture adopted the external language of classical Greek architecture for the purposes of the ancient Romans, but differed from Greek buildings, becoming a new architectural style. The two styles are considered one body of classical architecture. Roman architecture flourished in the Roman Republic and even more so under the Empire and it used new materials, particularly concrete, and newer technologies such as the arch and the dome to make buildings that were typically strong and well-engineered. Large numbers remain in some form across the empire, sometimes complete, Roman Architecture covers the period from the establishment of the Roman Republic in 509 BC to about the 4th century AD, after which it becomes reclassified as Late Antique or Byzantine architecture. Almost no substantial examples survive from before about 100 BC, and most of the major survivals are from the later empire, after about 100 AD. They moved from trabeated construction mostly based on columns and lintels to one based on walls, punctuated by arches. The classical orders now became largely decorative rather than structural, except in colonnades, however, they did not feel entirely restricted by Greek aesthetic concerns, and treated the orders with considerable freedom. Innovation started in the 3rd or 2nd century BC with the development of Roman concrete as a readily available adjunct to, or substitute for, stone, more daring buildings soon followed, with great pillars supporting broad arches and domes. The freedom of concrete also inspired the colonnade screen, a row of decorative columns in front of a load-bearing wall. In smaller-scale architecture, concretes strength freed the floor plan from rectangular cells to a more free-flowing environment, factors such as wealth and high population densities in cities forced the ancient Romans to discover new architectural solutions of their own. The use of vaults and arches, together with a knowledge of building materials. Examples include the aqueducts of Rome, the Baths of Diocletian and the Baths of Caracalla and these were reproduced at a smaller scale in most important towns and cities in the Empire. Some surviving structures are almost complete, such as the walls of Lugo in Hispania Tarraconensis. The administrative structure and wealth of the empire made possible very large even in locations remote from the main centres, as did the use of slave labour. Especially under the empire, architecture often served a function, demonstrating the power of the Roman state in general. The influence is evident in many ways, for example, in the introduction and use of the Triclinium in Roman villas as a place, Roman builders employed Greeks in many capacities, especially in the great boom in construction in the early Empire. The Roman Architectural Revolution, also known as the Concrete Revolution, was the use in Roman architecture of the previously little-used architectural forms of the arch, vault. For the first time in history, their potential was fully exploited in the construction of a range of civil engineering structures, public buildings
30.
Francesco Piranesi
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Francesco Piranesi was an Italian engraver, etcher and architect. He was the son of the more famous Giovanni Battista Piranesi and continued his series of engravings representing monuments and he worked for a long period in France, where he lived during the French Revolution. Francesco Piranesi was born in Rome, the eldest son of Giovanni Battista Piranesi and his wife and he was instructed in engraving by his father, together with his older sister Laura, also a noted engraver by the time of her early death. He was both engraving his own works of art and assisting his fathers work by 1775, Giovanni Battista created a series of preparatory drawings about Paestum, which were completed by Francesco. Upon his fathers death, shortly after the trip, Francesco acquired his fathers publishing house and was responsible for printing most of the later editions of his prints. Although the 1783 advertisement promised 48 views, the series was not completed before Desprez left Rome to enter the employ of King Gustav III of Sweden, in the following years, Piranesi built his reputation primarily upon his engravings of antique statuary. After the assassination of Gustav III in 1792 Piranesi was employed by Baron Gustaf Adolf Reuterholm, Piranesi managed to steal Armfelts letters which he had stored in the British embassy in Florence before beginning his work as foreign ambassador to the Kingdom of the Two Sicilies. These letters were the evidence used against Armfelt when he was tried in absentia for treason and sentenced to death. The occupation of the Italian peninsula in 1798 by the French Revolutionary Army led to the establishment of the short-lived Roman Republic, Piranesi soon won the admiration of the French officials directing the republic, becoming a government official. When the republic fell the following year, together with his brother, Pietro. In 1807 Pietro Piranesi sold his share of the firm and returned to Rome, Francesco fell upon hard times after this. He died unexpectedly in Paris, however, before he could fulfill his contract, rumor has held that he died from syphilis. This disease caused him to become crazy and he did a series of fantasy paintings and this information came from an art appraiser at Michaans Auction in Alameda, California. In 1839, the collection of his engravings was purchased by the Calcografia Camerale, founded by Pope Gregory XVI. That institution is now the Istituto Nazionale per la Grafica. A. R, sofia Albertina Principessa di Svezia Antiquités de la Grande-Grèce, three volumes
31.
Baroque
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The style began around 1600 in Rome and Italy, and spread to most of Europe. The aristocracy viewed the dramatic style of Baroque art and architecture as a means of impressing visitors by projecting triumph, power, Baroque palaces are built around an entrance of courts, grand staircases, and reception rooms of sequentially increasing opulence. However, baroque has a resonance and application that extend beyond a reduction to either a style or period. It is also yields the Italian barocco and modern Spanish barroco, German Barock, Dutch Barok, others derive it from the mnemonic term Baroco, a supposedly laboured form of syllogism in logical Scholastica. The Latin root can be found in bis-roca, in informal usage, the word baroque can simply mean that something is elaborate, with many details, without reference to the Baroque styles of the 17th and 18th centuries. The word Baroque, like most periodic or stylistic designations, was invented by later critics rather than practitioners of the arts in the 17th, the term Baroque was initially used in a derogatory sense, to underline the excesses of its emphasis. In particular, the term was used to describe its eccentric redundancy and noisy abundance of details, although it was long thought that the word as a critical term was first applied to architecture, in fact it appears earlier in reference to music. Another hypothesis says that the word comes from precursors of the style, Giacomo Barozzi da Vignola and he did not make the distinctions between Mannerism and Baroque that modern writers do, and he ignored the later phase, the academic Baroque that lasted into the 18th century. Long despised, Baroque art and architecture became fashionable between the two World Wars, and has remained in critical favour. In painting the gradual rise in popular esteem of Caravaggio has been the best barometer of modern taste, William Watson describes a late phase of Shang-dynasty Chinese ritual bronzes of the 11th century BC as baroque. The term Baroque may still be used, usually pejoratively, describing works of art, craft, the appeal of Baroque style turned consciously from the witty, intellectual qualities of 16th-century Mannerist art to a visceral appeal aimed at the senses. It employed an iconography that was direct, simple, obvious, germinal ideas of the Baroque can also be found in the work of Michelangelo. Even more generalised parallels perceived by some experts in philosophy, prose style, see the Neapolitan palace of Caserta, a Baroque palace whose construction began in 1752. In paintings Baroque gestures are broader than Mannerist gestures, less ambiguous, less arcane and mysterious, more like the stage gestures of opera, Baroque poses depend on contrapposto, the tension within the figures that move the planes of shoulders and hips in counterdirections. Baroque is a style of unity imposed upon rich, heavy detail, Baroque style featured exaggerated lighting, intense emotions, release from restraint, and even a kind of artistic sensationalism. There were highly diverse strands of Italian baroque painting, from Caravaggio to Cortona, the most prominent Spanish painter of the Baroque was Diego Velázquez. The later Baroque style gradually gave way to a more decorative Rococo, while the Baroque nature of Rembrandts art is clear, the label is less often used for Vermeer and many other Dutch artists. Flemish Baroque painting shared a part in this trend, while continuing to produce the traditional categories
32.
Claude Lorrain
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Claude Lorrain was a French painter, draughtsman and engraver of the Baroque era. He spent most of his life in Italy, and is one of the earliest important artists, apart from his contemporaries in Dutch Golden Age painting, to concentrate on landscape painting. His landscapes are usually turned into the more prestigious genre of paintings by the addition of a few small figures. By the end of the 1630s he was established as the leading landscapist in Italy and these gradually became larger, but with fewer figures, more carefully painted, and produced at a lower rate. He was not generally an innovator in painting, except in introducing the sun into many paintings. His patrons were also mostly Italian, but after his death he became popular with English collectors. He was a creator of drawings in pen and very often monochrome watercolour wash, usually brown. Chalk is sometimes used for under-drawing, and white highlighting in various media may be employed and these fall into three fairly distinct groups. Firstly there are numbers of sketches, mostly of landscapes, and apparently very often done at the scene, these have been greatly admired. Then there are studies for paintings, of various degrees of finish, many clearly done before or during the process of painting and this was certainly the case for the last group, the 195 drawings recording finished paintings collected in his Liber Veritatis. He produced over 40 etchings, often simplified versions of paintings and these served various purposes for him, but are now regarded as much less important than his drawings. He painted frescoes in his career, which played an important part in making his reputation. The earliest biographies of Claude are in Joachim von Sandrarts Teutsche Academie, both Sandrart and Baldinucci knew the painter personally, but at periods some 50 years apart, respectively at the start of his career and shortly before his death. Sandrart knew him well and lived with him for a while, while Baldinucci was probably not intimate with him, and derived much of his information from Claudes nephew, who lived with the artist. Claudes tombstone gives 1600 as his year of birth, but contemporary sources indicate a later date and he was born in the small village of Chamagne, Vosges, then part of the Duchy of Lorraine. He was the third of five sons of Jean Gellée and Anne Padose, according to Baldinucci, Claudes parents both died when he was twelve years old, and he then lived at Freiburg with an elder brother. Jean was an artist in inlay and taught Claude the rudiments of drawing, Claude then travelled to Italy, first working for Goffredo Wals in Naples, then joining the workshop of Agostino Tassi in Rome. Sandrarts account of Claudes early years, however, is quite different, according to Sandrart, Claude did not do well at the village school and was apprenticed to a pastry baker
33.
Salvator Rosa
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Salvator Rosa was an Italian Baroque painter, poet, and printmaker, who was active in Naples, Rome, and Florence. As a painter, he is best known as unorthodox and extravagant as well as being a perpetual rebel, Rosa was born in Arenella, at that time in the outskirts of Naples, on either June 20 or July 21,1615. His mother was Giulia Greca Rosa, a member of one of the Greek families of Sicily and his father, Vito Antonio de Rosa, a land surveyor, urged his son to become a lawyer or a priest, and entered him into the convent of the Somaschi Fathers. Yet Salvator showed a preference for the arts and secretly worked with his maternal uncle Paolo Greco to learn about painting. He soon transferred himself to the tutelage of his brother-in-law Francesco Fracanzano, a pupil of Ribera, and afterward to either Aniello Falcone, some sources claim he spent time living with roving bandits. He continued apprenticeship with Falcone, helping him complete his battlepiece canvases, in that studio, it is said that Lanfranco took notice of his work, and advised him to relocate to Rome, where he stayed from 1634–36. Returning to Naples, he began painting haunting landscapes, overgrown vegetation, or jagged beaches, mountains. Rosa was among the first to paint romantic landscapes, with a turn for scenes of picturesque, often turbulent and rugged scenes peopled with shepherds, brigands, seamen. These early landscapes were sold cheaply through private dealers and he returned to Rome in 1638–39, where he was housed by Cardinal Francesco Maria Brancaccio, bishop of Viterbo. For the Chiesa Santa Maria della Morte in Viterbo, Rosa painted his first and one of his few altarpieces, while Rosa had a facile genius at painting, he pursued a wide variety of arts, music, poetry, writing, etching, and acting. In Rome, he befriended Pietro Testa and Claude Lorrain, in costume, he inveighed against the farcical comedies acted in the Trastevere under the direction of Bernini. While his plays were successful, this activity also gained him enemies among patrons and artists, including Bernini himself. By late 1639, he had to relocate to Florence, where he stayed for eight years, in part, he had been invited by a Cardinal Gian Carlo de Medici. Once there, Rosa sponsored a combination of studio and salon of poets, playwrights, to the rigid art milieu of Florence, he introduced his canvases of wild landscapes, while influential, he gathered few true pupils. Another painter poet, Lorenzo Lippi, shared with Rosa the hospitality of the cardinal, Lippi encouraged him to proceed with the poem Il Malmantile Racquistato. He was well acquainted also with Ugo and Giulio Maffei, and was housed with them in Volterra, where he wrote four satires Music, Poetry, Painting, about the same time he painted his own portrait, now in the National Gallery, London. In 1646 he returned to Naples, and appears to have sympathized with the 1648 insurrection of Masaniello, whether he participated in the insurrection is unknown. He painted a portrait of Masaniello—probably from reminiscence rather than life, on the approach of Don Juan de Austria, the blood-stained Compagnia dispersed
34.
Memento mori
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It is related to the ars moriendi and related literature. In art, memento mori are artistic or symbolic reminders of mortality, in the European Christian art context, the expression developed with the growth of Christianity, which emphasized Heaven, Hell, and salvation of the soul in the afterlife. In English, the phrase is pronounced /məˈmɛnˌtoʊ ˈmɔːriː/, mə-MEN-toh MOR-ee, memento is the 2nd person singular future active imperative of meminī to remember, to bear in mind, usually serving as a warning, remember. Mori is the present active infinitive of morior, literally to die, in other words, ‘remember death’ or ‘remember that you will die’. Platos Phaedo, where the death of Socrates is recounted, introduces the idea that the practice of philosophy is about nothing else. The Stoics were particularly prominent in their use of this discipline, though in modern times this has become a standard trope, in fact, no ancient authors attest to this, and it seems to be tendentious Christian moralizing rather than an accurate historical report. The thought was then utilized in Christianity, whose emphasis on divine judgment, Heaven, Hell. Many memento mori works are products of Christian art, although there are equivalents in Buddhist art, in the Christian context, the memento mori acquires a moralizing purpose quite opposed to the Nunc est bibendum theme of Classical antiquity. The most obvious places to look for memento mori meditations are in funeral art, perhaps the most striking to contemporary minds is the transi, or cadaver tomb, a tomb that depicts the decayed corpse of the deceased. This became a fashion in the tombs of the wealthy in the fifteenth century, later, Puritan tomb stones in the colonial United States frequently depicted winged skulls, skeletons, or angels snuffing out candles. These are among the themes associated with skull imagery. Another example of memento mori is provided by the chapels of bones and these are chapels where the walls are totally or partially covered by human remains, mostly bones. The entrance to the Capela dos Ossos has the sentence, We bones, lying here bare. The famous danse macabre is another example of the memento mori theme, with its dancing depiction of the Grim Reaper carrying off rich. This and similar depictions of Death decorated many European churches, danse Macabre, Op.40, is a tone poem for orchestra written in 1874 by French composer Camille Saint-Saëns. Timepieces were formerly an apt reminder that time on Earth grows shorter with each passing minute. Public clocks would be decorated with such as ultima forsan or vulnerant omnes. Even today, clocks often carry the motto tempus fugit, time flees, old striking clocks often sported automata who would appear and strike the hour, some of the celebrated automaton clocks from Augsburg, Germany had Death striking the hour
35.
Grand Tour
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The custom flourished from about 1660, until the advent of large-scale rail transport in the 1840s, and was associated with a standard itinerary. It served as a rite of passage. With nearly unlimited funds, aristocratic connections and months to roam, they commissioned paintings, perfected their language skills, in addition, it provided the only opportunity to view specific works of art, and possibly the only chance to hear certain music. A Grand Tour could last from months to several years. It was commonly undertaken in the company of a Cicerone, a guide or tutor. The legacy of the Grand Tour lives on to the day and is still evident in works of travel. In essence, the Grand Tour was neither a scholars pilgrimage nor a one, though a pleasurable stay in Venice. Catholic Grand Tourists followed the routes as Protestant Whigs. Pompeo Batoni made a career of painting English milordi posed with graceful ease among Roman antiquities, many continued on to Naples, where they viewed Herculaneum and Pompeii, but few ventured far into southern Italy or Malta, and fewer still to Greece, still under Turkish rule. Rome for many centuries had been the goal of pilgrims, especially during Jubilee when they visited the Seven Pilgrim Churches of Rome. This is partly because he asked Inigo Jones, not yet established as an architect but already known as a traveller and masque designer. Larger numbers of tourists began their tours after the Peace of Münster in 1648, lasselss introduction listed four areas in which travel furnished an accomplished, consummate Traveller, the intellectual, the social, the ethical, and the political. The idea of travelling for the sake of curiosity and learning was an idea in the 17th century. Thus, one could use up the environment, taking from it all it offers, travel, therefore, was necessary for one to develop the mind and expand knowledge of the world. Consciously adapted for intellectual self-improvement, Gibbon was revisiting the Continent on a larger and more liberal plan, the typical 18th-century sentiment was that of the studious observer travelling through foreign lands reporting his findings on human nature for those unfortunate enough to have stayed home. Recounting ones observations to society at large to increase its welfare was considered an obligation, the Grand Tour offered a liberal education, and the opportunity to acquire things otherwise unavailable at home, lending an air of accomplishment and prestige to the traveller. The trappings of the Grand Tour, especially portraits of the traveller painted in iconic continental settings, became the obligatory emblems of worldliness, gravitas, the less well-off could return with an album of Piranesi etchings. The perhaps in Gibbons opening remark cast a shadow over his resounding statement
36.
Lobkowicz Palace
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The Lobkowicz Palace is a part of the Prague Castle complex in Prague, Czech Republic. It is the privately owned building in the Prague Castle complex and houses the Lobkowicz Collections. The palace was built in the half of the 16th century by the Czech nobleman Jaroslav of Pernštejn and completed by his brother, Vratislav of Pernštejn. It was opened to the public for the first time on 2 April 2007 as the Lobkowicz Palace Museum. Vratislavs wife, Maria Maximiliana Manrique de Lara y Mendoza, brought the Infant Jesus of Prague statue, thought to have healing powers, from her homeland of Spain to the Palace. The statue was given by Vratislav and Maria Maximilianas daughter, Polyxena, to the Church of Our Lady Victorious in Prague. A replica of the Infant Jesus of Prague is on permanent display in the Lobkowicz Palace Museum, the Palace came into the Lobkowicz family through the marriage of Polyxena to Zdeněk Vojtěch, 1st Prince Lobkowicz. In 1618, Protestant rebels threw the Catholic Imperial Ministers from the windows of the Royal Palace at Prague Castle, surviving the fall, the ministers took refuge in Lobkowicz Palace, where they were protected from further assault by Polyxena. Following the defeat of the Protestant faction at the Battle of White Mountain in 1620, Lobkowicz Palace took on a more formal, imperial role and functioned as the Prague residence when the family needed to be present at the seat of Bohemian power for political and ceremonial purposes. With the exception of the 63 years during which the property was confiscated and held by Nazi and then Communist authorities, in 1939, the occupying Nazi forces confiscated the Palace, along with all other Lobkowicz family properties. The Palace was returned in 1945, only to be seized again after the Communist takeover in 1948, for the next forty years, the Palace was used for a variety of purposes, including State offices and as a museum of Czech history. After the Velvet Revolution of 1989 and the fall of the Communist government, President Václav Havel enacted a series of laws that allowed for the restitution of confiscated properties, following a twelve-year restitution process, the palace returned to the ownership of the Lobkowicz family in 2002. The 17th century baroque Concert Hall of the Lobkowicz Palace hosts regular concerts of music. After the Thirty Years War, the Palace underwent a number of significant changes, particularly under Václav Eusebius and he was responsible for the palace’s significant baroque alterations and some of its more lavishly decorated salons. Václav Eusebius redesigned the palace in the Italianate style, additional examples of the Italianate style are the Concert Hall and the Balcony Room, whose ceilings are adorned with elaborate painted stuccowork and frescoes by F. V. The alterations included the addition of the palaces panoramic balconies, despite the various alterations made through the years, remnants of original 16th-century murals and graffito work can still be seen in both of the interior courtyards. In 1907, Max Dvořák, a prominent member of the Vienna School of Art History, after the restitution laws in the early 1990s, the Lobkowicz family was able to reassemble most of the collection, subsequently making it available to the public for the first time. The three most prestigious artworks in the collection are Haymaking by Pieter Brueghel the Elder, and two views of London by Canaletto
37.
Romanticism
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Romanticism was characterized by its emphasis on emotion and individualism as well as glorification of all the past and nature, preferring the medieval rather than the classical. It was embodied most strongly in the arts, music, and literature, but had a major impact on historiography, education. It elevated folk art and ancient custom to something noble, Romanticism assigned a high value to the achievements of heroic individualists and artists, whose examples, it maintained, would raise the quality of society. It also promoted the individual imagination as a critical authority allowed of freedom from classical notions of form in art, there was a strong recourse to historical and natural inevitability, a Zeitgeist, in the representation of its ideas. In the second half of the 19th century, Realism was offered as a polar opposite to Romanticism, the decline of Romanticism during this time was associated with multiple processes, including social and political changes and the spread of nationalism. Defining the nature of Romanticism may be approached from the point of the primary importance of the free expression of the feelings of the artist. The importance the Romantics placed on emotion is summed up in the remark of the German painter Caspar David Friedrich that the feeling is his law. Samuel Taylor Coleridge and others believed there were laws that the imagination—at least of a good creative artist—would unconsciously follow through artistic inspiration if left alone. As well as rules, the influence of models from other works was considered to impede the creators own imagination, so that originality was essential. The concept of the genius, or artist who was able to produce his own work through this process of creation from nothingness, is key to Romanticism. This idea is called romantic originality. Not essential to Romanticism, but so widespread as to be normative, was a strong belief, however, this is particularly in the effect of nature upon the artist when he is surrounded by it, preferably alone. Romantic art addressed its audiences with what was intended to be felt as the voice of the artist. So, in literature, much of romantic poetry invited the reader to identify the protagonists with the poets themselves. In both French and German the closeness of the adjective to roman, meaning the new literary form of the novel, had some effect on the sense of the word in those languages. It is only from the 1820s that Romanticism certainly knew itself by its name, the period typically called Romantic varies greatly between different countries and different artistic media or areas of thought. Margaret Drabble described it in literature as taking place roughly between 1770 and 1848, and few dates much earlier than 1770 will be found. In English literature, M. H. Abrams placed it between 1789, or 1798, this latter a very typical view, and about 1830, however, in most fields the Romantic Period is said to be over by about 1850, or earlier
38.
Surrealism
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Surrealism is a cultural movement that began in the early 1920s, and is best known for its visual artworks and writings. The aim was to resolve the previously contradictory conditions of dream, leader André Breton was explicit in his assertion that Surrealism was, above all, a revolutionary movement. Surrealism developed out of the Dada activities during World War I, the word surrealist was coined by Guillaume Apollinaire and first appeared in the preface to his play Les Mamelles de Tirésias, which was written in 1903 and first performed in 1917. The Dadaists protested with anti-art gatherings, performances, writings and art works, after the war, when they returned to Paris, the Dada activities continued. Meeting the young writer Jacques Vaché, Breton felt that Vaché was the son of writer. He admired the young writers anti-social attitude and disdain for established artistic tradition, later Breton wrote, In literature, I was successively taken with Rimbaud, with Jarry, with Apollinaire, with Nouveau, with Lautréamont, but it is Jacques Vaché to whom I owe the most. Back in Paris, Breton joined in Dada activities and started the literary journal Littérature along with Louis Aragon and they began experimenting with automatic writing—spontaneously writing without censoring their thoughts—and published the writings, as well as accounts of dreams, in the magazine. Breton and Soupault delved deeper into automatism and wrote The Magnetic Fields, continuing to write, they came to believe that automatism was a better tactic for societal change than the Dada form of attack on prevailing values. They also looked to the Marxist dialectic and the work of such theorists as Walter Benjamin, freuds work with free association, dream analysis, and the unconscious was of utmost importance to the Surrealists in developing methods to liberate imagination. They embraced idiosyncrasy, while rejecting the idea of an underlying madness, as Salvador Dalí later proclaimed, There is only one difference between a madman and me. Beside the use of analysis, they emphasized that one could combine inside the same frame, elements not normally found together to produce illogical. The more the relationship between the two juxtaposed realities is distant and true, the stronger the image will be−the greater its emotional power, the group aimed to revolutionize human experience, in its personal, cultural, social, and political aspects. They wanted to people from false rationality, and restrictive customs. Breton proclaimed that the aim of Surrealism was long live the social revolution. To this goal, at various times Surrealists aligned with communism and anarchism, in 1924 two Surrealist factions declared their philosophy in two separate Surrealist Manifestos. That same year the Bureau of Surrealist Research was established, leading up to 1924, two rival surrealist groups had formed. Each group claimed to be successors of a revolution launched by Guillaume Apollinaire, the other group, led by Breton, included Louis Aragon, Robert Desnos, Paul Éluard, Jacques Baron, Jacques-André Boiffard, Jean Carrive, René Crevel and Georges Malkine, among others. Goll and Breton clashed openly, at one point literally fighting, at the Comédie des Champs-Élysées, in the end, Breton won the battle through tactical and numerical superiority
39.
Canaletto
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Giovanni Antonio Canal, better known as Canaletto, was an Italian painter of city views or vedute, of Venice. He also painted views, although the demarcation in his works between the real and the imaginary is never quite clearcut. He was further an important printmaker using the etching technique, in the period from 1746 to 1756 he worked in England where he created many sights of London. He was highly successful in England, thanks to the British merchant and connoisseur Joseph Smith and he was born in Venice as the son of the painter Bernardo Canal, hence his mononym Canaletto, and Artemisia Barbieri. Canaletto served his apprenticeship with his father and his brother and he began in his fathers occupation, that of a theatrical scene painter. Canaletto was inspired by the Roman vedutista Giovanni Paolo Pannini, and started painting the life of the city. After returning from Rome in 1719, he began painting in his topographical style and his first known signed and dated work is Architectural Capriccio. Studying with the older Luca Carlevarijs, a painter of urban cityscapes. It is like Carlevaris, but you can see the sun shining in it, much of Canalettos early artwork was painted from nature, differing from the then customary practice of completing paintings in the studio. However, his paintings are notable for their accuracy, he recorded the seasonal submerging of Venice in water. Canalettos early works remain his most coveted and, according to many authorities, one of his early pieces is The Stonemasons Yard which depicts a humble working area of the city. It is regarded one of his finest works and was presented by Sir George Beaumont in 1823/8, later Canaletto painted grand scenes of the canals of Venice and the Doges Palace. His large-scale landscapes portrayed the citys pageantry and waning traditions, making use of atmospheric effects. For these qualities, his works may be said to have anticipated Impressionism and his graphic print S. A Giustina in Prà della Vale was found in the 2012 Nazi loot discovery. Many of his pictures were sold to Englishmen on their Grand Tour and it was Smith who acted as an agent for Canaletto, first in requesting paintings of Venice from the painter in the early 1720s and helping him to sell his paintings to other Englishmen. In the 1740s Canalettos market was disrupted when the War of the Austrian Succession led to a reduction in the number of British visitors to Venice and he remained in England until 1755, producing views of London and of his patrons castles and houses. His 1754 painting of Old Walton Bridge includes an image of Canaletto himself and he was often expected to paint England in the fashion with which he had painted his native city. Historian Michael Levey described his work from this period as inhibited, the artist was compelled to give public painting demonstrations in order to refute this claim, however, his reputation never fully recovered in his lifetime
40.
Bernardo Bellotto
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Bernardo Bellotto, also called Canaletto, was an Italian urban landscape painter or vedutista, and printmaker in etching famous for his vedute of European cities. He was the pupil and nephew of Canaletto and sometimes used the latters illustrious name, in Germany and Poland, Bellotto called himself by his uncles name, Canaletto. Bellottos style was characterized by elaborate representation of architectural and natural vistas and it is plausible that Bellotto, and other Venetian masters of vedute, may have used the camera obscura in order to achieve superior precision of urban views. Bellotto was born in Venice, the son of Lorenzo Antonio Bellotto and Fiorenza Canal, sister of the famous Canaletto, in 1742 he moved to Rome, where he produced vedute of that city. In 1744 and 1745 he traveled northern Italy, again depicting vedute of each city, among others, he worked for Charles Emmanuel III of Savoy. From 1747 to 1758 he moved to Dresden, following an invitation from King August III of Poland and he created paintings of the cities Dresden and Pirna and their surroundings. Today these paintings preserve a memory of Dresdens former beauty, which was destroyed by bombing during World War II and his international reputation grew, and in 1758 he accepted an invitation from Empress Maria Theresa to come to Vienna, where he painted views of the citys monuments. In 1761 Bellotto left Vienna for Munich, where he spent almost a year, in a letter to her cousin Maria Antonia of Bavaria, Empress Maria Theresia had praised Bellottos artistic achievements at the Viennese court. Logically, he was commissioned works by the family of Bavaria. He painted a view of Munich and two vedute of Nymphenburg Palace for the elector of Bavaria. At the end of 1761, Bellotto returned to Dresden, when King August III of Poland, also an Elector of Saxony, who usually lived in Dresden, died in 1763, Bellottos work became less important in Dresden. As a consequence, he left Dresden to seek employment in Saint Petersburg at the court of Catherine II of Russia. On his way to Saint Petersburg, however, Bellotto accepted an invitation in 1764 from Polands newly elected King Stanislaus Augustus Poniatowski to become his court painter in Warsaw from 1768, Maria Maggiore and in private collections. His colouring is colder and characterized by a steely grey, Bellotto created a school of painting which was later continued and developed by Zygmunt Vogel and Marcin Zaleski. Bernardo Bellotto died in Warsaw in 1780 and was buried in Capuchin Church at Miodowa Street and his younger brother was named Pietro Bellotto and after collaborating with Canaletto and his brother, moved to France, where he was known as le Sieur Canalety and Pietro Bellotti di Caneletty. The brother was also referred to as Belloti, Belloty, Beloty, Bernardo Bellotto and His Circle in Italy. Part I, Not Canaletto but Bellotto, belotto Bernardo, zwany Canaletto, Encyklopedia Polski, p.42. STEPHANE LOIRE, HANNA MALACHOWICZ, KRZYSTOF POMIAN, ANDRZEJ ROTTERMUND, Bernardo Bellotto, Un pittore veneziano a Varsavia
41.
Franz Kafka
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Franz Kafka was a Prague German-language novelist and short story writer, widely regarded as one of the major figures of 20th-century literature. His best known works include Die Verwandlung, Der Process, the term Kafkaesque has entered the English language to describe situations like those in his writing. Kafka was born into a middle-class, German-speaking Jewish family in Prague and he trained as a lawyer, and after completing his legal education he was employed with an insurance company, forcing him to relegate writing to his spare time. Over the course of his life, Kafka wrote hundreds of letters to family and close friends, including his father, with whom he had a strained and he became engaged to several women but never married. He died in 1924 at the age of 40 from tuberculosis and his work went on to influence a vast range of writers, critics, artists, and philosophers during the 20th century. Kafka was born near the Old Town Square in Prague, then part of the Austro-Hungarian Empire and his family were middle-class Ashkenazi Jews. His father, Hermann Kafka, was the child of Jakob Kafka, a shochet or ritual slaughterer in Osek. Hermann brought the Kafka family to Prague, after working as a travelling sales representative, he eventually became a fancy goods and clothing retailer who employed up to 15 people and used the image of a jackdaw as his business logo. Kafkas mother, Julie, was the daughter of Jakob Löwy, a retail merchant in Poděbrady. Hermann and Julie had six children, of whom Franz was the eldest, franzs two brothers, Georg and Heinrich, died in infancy before Franz was seven, his three sisters were Gabriele, Valerie and Ottilie. They all died during the Holocaust of World War II, Valli was deported to the Łódź Ghetto in Poland in 1942, but that is the last documentation of her. On business days, both parents were absent from the home, with Julie Kafka working as many as 12 hours each day helping to manage the family business, consequently, Kafkas childhood was somewhat lonely, and the children were reared largely by a series of governesses and servants. The dominating figure of Kafkas father had a significant influence on Kafkas writing, the Kafka family had a servant girl living with them in a cramped apartment. In November 1913 the family moved into an apartment, although Ellie. In early August 1914, just after World War I began, both Ellie and Valli also had children. Franz at age 31 moved into Vallis former apartment, quiet by contrast, from 1889 to 1893, Kafka attended the Deutsche Knabenschule German boys elementary school at the Masný trh/Fleischmarkt, now known as Masná Street. His Jewish education ended with his Bar Mitzvah celebration at the age of 13, Kafka never enjoyed attending the synagogue and went with his father only on four high holidays a year. German was the language of instruction, but Kafka also spoke and he studied the latter at the gymnasium for eight years, achieving good grades
42.
Capriccio (art)
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It falls under the more general term of landscape painting. The term is used for other artworks with an element of fantasy. These architectural elements gained prominence in 17th century painting to become subjects of easel paintings. Early practitioners of the genre who made the popular in mid-17th century Rome included Alessandro Salucci. The quadratture frescoes of Agostino Tassi and the views of Claude Lorrain and Herman van Swanevelt. This genre was perfected by Marco Ricci but its best-known proponent was the artist Giovanni Paolo Pannini and this style was extended in the 1740s by Canaletto in his etched vedute ideali, and works by Piranesi and his imitators. Later examples include Charles Robert Cockerells A Tribute to Sir Christopher Wren and A Professors Dream, the artist Carl Laubin has painted a number of modern capriccios in homage to these works. The term can be used broadly for other works with a strong element of fantasy. No individual titles help to explain these works, mood and style are everything, a later series was called Scherzi di fantasia – Fantastic Sketches. His son Domenico Tiepolo was among those who imitated these prints and they take Tiepolos format of a group of figures, now drawn from contemporary Spanish life, and are a series of savage satires and comments on its absurdity, only partly explicated by short titles. Media related to Capriccios at Wikimedia Commons
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Portrait format
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A portrait is a painting, photograph, sculpture, or other artistic representation of a person, in which the face and its expression is predominant. The intent is to display the likeness, personality, and even the mood of the person, for this reason, in photography a portrait is generally not a snapshot, but a composed image of a person in a still position. A portrait often shows a person looking directly at the painter or photographer, nonetheless, many subjects, such as Akhenaten and some other Egyptian pharaohs, can be recognised by their distinctive features. The 28 surviving rather small statues of Gudea, ruler of Lagash in Sumeria between c.2144 -2124 BC, show a consistent appearance with some individuality. Some of the earliest surviving painted portraits of people who were not rulers are the Greco-Roman funeral portraits that survived in the dry climate of Egypts Fayum district. These are almost the only paintings from the world that have survived, apart from frescos, though many sculptures. Although the appearance of the figures differs considerably, they are considerably idealized, the art of the portrait flourished in Ancient Greek and especially Roman sculpture, where sitters demanded individualized and realistic portraits, even unflattering ones. During the 4th century, the portrait began to retreat in favor of a symbol of what that person looked like. In the Europe of the Early Middle Ages representations of individuals are mostly generalized, true portraits of the outward appearance of individuals re-emerged in the late Middle Ages, in tomb monuments, donor portraits, miniatures in illuminated manuscripts and then panel paintings. Moche culture of Peru was one of the few ancient civilizations which produced portraits and these works accurately represent anatomical features in great detail. The individuals portrayed would have been recognizable without the need for other symbols or a reference to their names. The individuals portrayed were members of the elite, priests, warriors. They were represented during several stages of their lives, the faces of gods were also depicted. To date, no portraits of women have been found, there is particular emphasis on the representation of the details of headdresses, hairstyles, body adornment and face painting. One of the portraits in the Western world is Leonardo da Vincis painting titled Mona Lisa. What has been claimed as the worlds oldest known portrait was found in 2006 in the Vilhonneur grotto near Angoulême and is thought to be 27,000 years old. Profile view, full view, and three-quarter view, are three common designations for portraits, each referring to a particular orientation of the head of the individual depicted. Such terms would tend to have greater applicability to two-dimensional artwork such as photography, in the case of three-dimensional artwork, the viewer can usually alter their orientation to the artwork by moving around it
44.
Thomas De Quincey
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Thomas Penson De Quincey was an English essayist, best known for his Confessions of an English Opium-Eater. Many scholars suggest that in publishing this work De Quincey inaugurated the tradition of literature in the West. De Quincey was born at 86 Cross Street, Manchester, Lancashire and his father was a successful merchant with an interest in literature who died when he was quite young. Soon after his birth the family went to The Farm and then later to Greenheys, in 1796, three years after the death of his father, Thomas Quincey, his mother – the erstwhile Elizabeth Penson – took the name De Quincey. In the same year, De Quinceys mother moved to Bath, Somerset, De Quincey was a weak and sickly child. His youth was spent in solitude, and when his brother, William, came home. De Quinceys mother was a woman of character and intelligence. It is purported that at time, in 1799, De Quincey first read Lyrical Ballads by Wordsworth. In 1800, De Quincey, aged fifteen, was ready for the University of Oxford and that boy, his master at Bath had said, could harangue an Athenian mob better than you or I could address an English one. He was sent to Manchester Grammar School, in order that after three years stay he might obtain a scholarship to Brasenose College, Oxford, but he took flight after nineteen months. His first plan had been to reach William Wordsworth, whose Lyrical Ballads had consoled him in fits of depression and had awakened in him a reverence for the poet. From July to November 1802, De Quincey lived as a wayfarer and he soon lost his guinea by ceasing to keep his family informed of his whereabouts, and had difficulty making ends meet. Still, apparently fearing pursuit, he borrowed money and travelled to London. Having failed, he lived close to starvation rather than return to his family, discovered by chance by his friends, De Quincey was brought home and finally allowed to go to Worcester College, Oxford, on a reduced income. Here, we are told, he came to be looked upon as a strange being who associated with no one, in 1804, while at Oxford, he began the occasional use of opium. He completed his studies, but failed to take the oral examination leading to a degree and he became an acquaintance of Coleridge and Wordsworth, having already sought out Charles Lamb in London. His acquaintance with Wordsworth led to his settling in 1809 at Grasmere and he lived for ten years in Dove Cottage, which Wordsworth had occupied and which is now a popular tourist attraction, and for another five years at Fox Ghyll near Rydal. De Quincey was married in 1816, and soon after, having no money left and his wife Margaret bore him eight children before her death in 1837
45.
Confessions of an English Opium-Eater
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Confessions of an English Opium-Eater is an autobiographical account written by Thomas De Quincey, about his laudanum addiction and its effect on his life. The Confessions was the first major work De Quincey published and the one which won him fame almost overnight. First published anonymously in September and October 1821 in the London Magazine, the Confessions was released in form in 1822. Another Notice to the Reader attempts to clarify the chronology of the whole, buildings, landscapes, &c. were exhibited in proportions so vast as the bodily eye is not fitted to conceive. Space swelled, and was amplified to an extent of unutterable infinity, from its first appearance, the literary style of the Confessions attracted attention and comment. De Quincey was well-read in the English literature of the sixteenth and seventeenth centuries, arguably the most famous and often-quoted passage in the Confessions is the apostrophe to opium in the final paragraph of The Pleasures, Oh. De Quincey modelled this passage on the apostrophe O eloquent, just, the Confessions represents De Quinceys initial effort to write what he called impassioned prose, an effort that he would later resume in Suspiria de Profundis and The English Mail-Coach. In the early 1850s, De Quincey prepared the first collected edition of his works for publisher James Hogg, for that edition, he undertook a large-scale revision of the Confessions, more than doubling the works length. Most notably, he expanded the section on his personal background. De Quincey undoubtedly spoiled his masterpiece by revising it, anyone who compares the two will prefer the unflagging vigour and tension of the original version to the tired prosiness of much of the revised one. Yet from the time of its publication, De Quinceys Confessions was criticized for presenting a picture of the experience that was too positive. As early as 1823, a response, Advice to Opium Eaters, was published to warn others from copying De Quincey. Charles Baudelaires 1860 translation and adaptation, Les paradis artificiels, spread the works influence further, one of the characters of the Sherlock Holmes story, The Man with the Twisted Lip, is an opium addict who began experimenting with the drug as a student after reading the Confessions. De Quincey attempted to address this type of criticism, more generally, De Quinceys Confessions influenced psychology and abnormal psychology, and attitudes towards dreams and imaginative literature. Confessions of an English Opium-Eater also served as inspiration to one of Hector Berliozs most famous pieces, the play The Opium Eater by Andrew Dallmeyer was also based on Confessions of an English Opium-Eater, and has been published by Capercaillie Books. In 1962, Vincent Price starred in the full-length film Confessions of an Opium Eater which was a reimagining of De Quinceys Confessions by Hollywood producer Albert Zugsmith. Confessions of an English Opium-Eater at Project Gutenberg Confessions of an English Opium-Eater, London Magazine, Vol. IV, No. xxi, pp. 293-312, Confessions of an English Opium-Eater at Internet Archive Confessions of an English Opium-Eater public domain audiobook at LibriVox
46.
Samuel Taylor Coleridge
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Samuel Taylor Coleridge was an English poet, literary critic and philosopher who, with his friend William Wordsworth, was a founder of the Romantic Movement in England and a member of the Lake Poets. He wrote the poems The Rime of the Ancient Mariner and Kubla Khan and his critical work, especially on William Shakespeare, was highly influential, and he helped introduce German idealist philosophy to English-speaking culture. Coleridge coined many words and phrases, including suspension of disbelief. He was an influence on Ralph Waldo Emerson and American transcendentalism. Throughout his adult life Coleridge had crippling bouts of anxiety and depression, it has been speculated that he had bipolar disorder and he was physically unhealthy, which may have stemmed from a bout of rheumatic fever and other childhood illnesses. He was treated for these conditions with laudanum, which fostered a lifelong opium addiction, Coleridge was born on 21 October 1772 in the town of Ottery St Mary in Devon, England. He had previously been Master of Hugh Squiers School in South Molton, Devon, John Coleridge had three children by his first wife. Samuel was the youngest of ten by the Reverend Mr. Coleridges second wife, Anne Bowden, probably the daughter of John Bowden, Mayor of South Molton, Devon, Coleridge suggests that he took no pleasure in boyish sports but instead read incessantly and played by himself. At that school Coleridge became friends with Charles Lamb, a schoolmate, in fancy I can almost hear him now, exclaiming Harp. Pen and ink, boy, you mean, oh aye. the cloister-pump, I suppose. Be this as it may, there was one custom of our masters and he would often permit our theme exercises. To accumulate, till each lad had four or five to be looked over, throughout his life, Coleridge idealised his father as pious and innocent, while his relationship with his mother was more problematic. His childhood was characterised by attention seeking, which has linked to his dependent personality as an adult. He was rarely allowed to return home during the term. He later wrote of his loneliness at school in the poem Frost at Midnight, With unclosed lids, from 1791 until 1794, Coleridge attended Jesus College, Cambridge. In 1792, he won the Browne Gold Medal for an ode that he wrote on the slave trade, afterwards, he was rumoured to have had a bout of severe depression. His brothers arranged for his discharge a few months later under the reason of insanity and he was readmitted to Jesus College, at Jesus College, Coleridge was introduced to political and theological ideas then considered radical, including those of the poet Robert Southey. Coleridge joined Southey in a plan, soon abandoned, to found a utopian society, called Pantisocracy
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Piranesi, Giovanni Battista". Encyclopædia Britannica. 21 (11th ed.). Cambridge University Press.
This article incorporates text from a publication now in the 