1.
Piacenza
–
Piacenza listen is a city and comune in the Emilia-Romagna region of northern Italy. It is the capital of the province of Piacenza, modern forms of the name descend from Latin Placentia. The etymology is long-standing, tracing an origin from the Latin verb placēre, in French, and occasionally in English, it is called Plaisance. The name means a pleasant abode, or as James Boswell reported some of the etymologists of his time to have translated it and this was a name of good omen. Piacenza is located at a crossroads at the intersection of Route E35/A1 between Bologna and Milan, and Route E70/A21 between Brescia and Tortona. Piacenza is also at the confluence of the Trebbia, draining the northern Apennine Mountains, Piacenza also hosts two universities, Università Cattolica del Sacro Cuore and Polytechnic University of Milan. Before then, says Polybius, These plains were anciently inhabited by Etruscans before the Gauls took the entire Po Valley from them, Piacenza and Cremona were founded as Roman military colonies in May 218 BC. The Romans had planned to them after the successful conclusion of the latest war with the Gauls ending in 219 BC. In the spring of 218 BC, after declaring war on Carthage, the reaction of the regions Gauls was swift, they drove the colonists off the lands. Taking refuge in Mutina, the latter sent for military assistance, a small force under Lucius Manlius was prevented from reaching the area. The Senate then sent two legions under Gaius Atelius, collecting Manlius and the colonists, they descended on Piacenza and Cremona and successfully placed castra there of 480 square metres to support the building of the city. Piacenza must have been walled immediately, as the walls were in place when the Battle of the Trebia was fought around the city in December. There is no evidence either textual or archaeological of a settlement at that exact location, however. Piacenza was the 53rd colony to be placed by Rome since its foundation and it was the first among the Gauls of the Po valley. It had to be supplied by boat after the Battle of Trebbia, in 209 BC, Hasdrubal Barca crossed the Alps and laid siege to the city, but he was unable to take it and withdrew. In 200 BC, the Gauls sacked and burned it, selling the population into slavery, subsequently, the victorious Romans restored the city and managed to recover 2000 citizens. In 198 BC, a force of Gauls and Ligurians plundered the whole region. As the people had never recovered from being sold into slavery, in 190 BC they complained to Senate of underpopulation, the construction of the Via Aemilia in the 180s made the city easily accessible from the Adriatic ports, which improved trade and the prospects for timely defense
Piacenza
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Francesco Mochi 's 1615 equestrian statue of
Ranuccio II Farnese in the city’s main square, Piazza dei cavalli.
Piacenza
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Two gold Doppie (1626) depicting
Odoardo Farnese (obv) and Placentia floret ("Piacenza flourishes")(rev).
Piacenza
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The French Pass the River Po at Piacenza, by Giuseppe Pietro Bagetti, 1803.
Piacenza
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Piacenza railway bridge over Po river in a 19th-century image.
2.
Duchy of Parma
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The Duchy of Parma was created in 1545 from that part of the Duchy of Milan south of the Po River, which was conquered by the Papal States in 1512. These territories, centered on the city of Parma, were given as a fief for Pope Paul IIIs illegitimate son, Pier Luigi Farnese. In 1556, the second Duke, Ottavio Farnese, was given the city of Piacenza, becoming thus also Duke of Piacenza and he ruled until 1735 during the War of the Polish Succession, when Parma was ceded to Emperor Charles VI in exchange for the Two Sicilies. As Duke Philip, he became the founder of the House of Bourbon-Parma reigning over the Duchy of Parma, Piacenza, in 1796, the duchy was occupied by French troops under Napoleon Bonaparte, and the political situation of the State became extremely confused. Napoleon was undecided about the future of the duchy, aspiring to an engagement of the Bourbons in the European wars as his allies. Even as French laws and administration were introduced, the formal annexation to the French Empire was declared only in 1808 after the outbreak of the conflict against Bourbonic Spain. The duchy was reformed as the département of Taro, in 1814, the duchies were restored under Napoleons Habsburg wife, Marie Louise, who ruled them for the rest of her life. After Marie Louises death in 1847, the Duchy was restored to the Bourbon-Parma line, in this context, Guastalla was ceded to Modena. The Bourbons ruled until 1859, when they were out by a revolution following the French. The House of Bourbon continues to claim the title of duke of Parma to this day, prince Carlos of Bourbon-Parma has held the title since 2010. Charles Gravier, Comte de Vergennes, French diplomacy in the age of revolution, alessandro Cont, Il potere della tradizione. Guillaume Du Tillot e la questione della nobiltà, Nuova Rivista Storica,100,1, pp. 73-106
Duchy of Parma
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Duchy of Parma, 8 Doppie (1791) depicting
Ferdinando di Borbone
Duchy of Parma
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Flag
3.
Holy Roman Empire
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The Holy Roman Empire was a multi-ethnic complex of territories in central Europe that developed during the Early Middle Ages and continued until its dissolution in 1806. On 25 December 800, Pope Leo III crowned the Frankish king Charlemagne as Emperor, reviving the title in Western Europe, more than three centuries after the fall of the Western Roman Empire. The title was revived in 962 when Otto I was crowned emperor, fashioning himself as the successor of Charlemagne, some historians refer to the coronation of Charlemagne as the origin of the empire, while others prefer the coronation of Otto I as its beginning. Scholars generally concur, however, in relating an evolution of the institutions and principles constituting the empire, the office of Holy Roman Emperor was traditionally elective, although frequently controlled by dynasties. Emperor Francis II dissolved the empire on 6 August 1806, after the creation of the Confederation of the Rhine by Napoleon, before 1157, the realm was merely referred to as the Roman Empire. In a decree following the 1512 Diet of Cologne, the name was changed to Holy Roman Empire of the German Nation, by the end of the 18th century, the term Holy Roman Empire of the German Nation had fallen out of official use. As Roman power in Gaul declined during the 5th century, local Germanic tribes assumed control, by the middle of the 8th century, however, the Merovingians had been reduced to figureheads, and the Carolingians, led by Charles Martel, had become the de facto rulers. In 751, Martel’s son Pepin became King of the Franks, the Carolingians would maintain a close alliance with the Papacy. In 768 Pepin’s son Charlemagne became King of the Franks and began an expansion of the realm. He eventually incorporated the territories of present-day France, Germany, northern Italy, on Christmas Day of 800, Pope Leo III crowned Charlemagne emperor, restoring the title in the west for the first time in over three centuries. After the death of Charles the Fat in 888, however, the Carolingian Empire broke apart, according to Regino of Prüm, the parts of the realm spewed forth kinglets, and each part elected a kinglet from its own bowels. After the death of Charles the Fat, those crowned emperor by the pope controlled only territories in Italy, the last such emperor was Berengar I of Italy, who died in 924. Around 900, autonomous stem duchies reemerged in East Francia, on his deathbed, Conrad yielded the crown to his main rival, Henry the Fowler of Saxony, who was elected king at the Diet of Fritzlar in 919. Henry reached a truce with the raiding Magyars, and in 933 he won a first victory against them in the Battle of Riade, Henry died in 936, but his descendants, the Liudolfing dynasty, would continue to rule the Eastern kingdom for roughly a century. Upon Henry the Fowlers death, Otto, his son and designated successor, was elected King in Aachen in 936 and he overcame a series of revolts from an elder brother and from several dukes. After that, the managed to control the appointment of dukes. In 951, Otto came to the aid of Adelaide, the queen of Italy, defeating her enemies, marrying her. In 955, Otto won a victory over the Magyars in the Battle of Lechfeld
Holy Roman Empire
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The Holy Roman Empire at its maximal extent, in the 13th century
Holy Roman Empire
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Imperial Banner
Holy Roman Empire
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An illustration from
Schedelsche Weltchronik depicting the structure of the Reich: The Holy Roman Emperor is sitting; on his left are three ecclesiastics; on his right are four secular electors.
Holy Roman Empire
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Double-headed eagle with coats of arms of individual states, symbol of the Holy Roman Empire (painting from 1510)
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
Rome
Rome
Rome
Rome
5.
Papal States
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The Papal States, officially the State of the Church, were territories in the Italian Peninsula under the sovereign direct rule of the pope, from the 8th century until 1870. They were among the states of Italy from roughly the 8th century until the Italian Peninsula was unified in 1861 by the Kingdom of Piedmont-Sardinia. At their zenith, they covered most of the modern Italian regions of Lazio, Marche, Umbria and Romagna and these holdings were considered to be a manifestation of the temporal power of the pope, as opposed to his ecclesiastical primacy. By 1861, much of the Papal States territory had been conquered by the Kingdom of Italy, only Lazio, including Rome, remained under the Popes temporal control. In 1870, the pope lost Lazio and Rome and had no physical territory at all, Italian Fascist leader Benito Mussolini ended the crisis between unified Italy and the Vatican by signing the Lateran Treaty, granting the Vatican City State sovereignty. The Papal States were also known as the Papal State, the territories were also referred to variously as the State of the Church, the Pontifical States, the Ecclesiastical States, or the Roman States. For its first 300 years the Catholic Church was persecuted and unrecognized and this system began to change during the reign of the emperor Constantine I, who made Christianity legal within the Roman Empire, and restoring to it any properties that had been confiscated. The Lateran Palace was the first significant new donation to the Church, other donations followed, primarily in mainland Italy but also in the provinces of the Roman Empire. But the Church held all of these lands as a private landowner, the seeds of the Papal States as a sovereign political entity were planted in the 6th century. Beginning In 535, the Byzantine Empire, under emperor Justinian I, launched a reconquest of Italy that took decades and devastated Italys political, just as these wars wound down, the Lombards entered the peninsula from the north and conquered much of the countryside. While the popes remained Byzantine subjects, in practice the Duchy of Rome, nevertheless, the pope and the exarch still worked together to control the rising power of the Lombards in Italy. As Byzantine power weakened, though, the took a ever larger role in defending Rome from the Lombards. In practice, the papal efforts served to focus Lombard aggrandizement on the exarch, a climactic moment in the founding of the Papal States was the agreement over boundaries embodied in the Lombard king Liutprands Donation of Sutri to Pope Gregory II. When the Exarchate of Ravenna finally fell to the Lombards in 751, the popes renewed earlier attempts to secure the support of the Franks. In 751, Pope Zachary had Pepin the Younger crowned king in place of the powerless Merovingian figurehead king Childeric III, zacharys successor, Pope Stephen II, later granted Pepin the title Patrician of the Romans. Pepin led a Frankish army into Italy in 754 and 756, Pepin defeated the Lombards – taking control of northern Italy – and made a gift of the properties formerly constituting the Exarchate of Ravenna to the pope. The cooperation between the papacy and the Carolingian dynasty climaxed in 800, when Pope Leo III crowned Charlemagne Emperor, the precise nature of the relationship between the popes and emperors – and between the Papal States and the Empire – is disputed. Events in the 9th century postponed the conflict, the Holy Roman Empire in its Frankish form collapsed as it was subdivided among Charlemagnes grandchildren
Papal States
–
The
Quirinal Palace, papal residence and home to the civil offices of the Papal States from the
Renaissance until their annexation
Papal States
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Flag in 1870
Papal States
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Antichristus (1521) by
Lucas Cranach the Elder is a woodcut of the Papal States at war during the Renaissance.
Papal States
–
The Breach of Porta Pia, on the right, in 1870.
6.
Italy
–
Italy, officially the Italian Republic, is a unitary parliamentary republic in Europe. Located in the heart of the Mediterranean Sea, Italy shares open land borders with France, Switzerland, Austria, Slovenia, San Marino, Italy covers an area of 301,338 km2 and has a largely temperate seasonal and Mediterranean climate. Due to its shape, it is referred to in Italy as lo Stivale. With 61 million inhabitants, it is the fourth most populous EU member state, the Italic tribe known as the Latins formed the Roman Kingdom, which eventually became a republic that conquered and assimilated other nearby civilisations. The legacy of the Roman Empire is widespread and can be observed in the distribution of civilian law, republican governments, Christianity. The Renaissance began in Italy and spread to the rest of Europe, bringing a renewed interest in humanism, science, exploration, Italian culture flourished at this time, producing famous scholars, artists and polymaths such as Leonardo da Vinci, Galileo, Michelangelo and Machiavelli. The weakened sovereigns soon fell victim to conquest by European powers such as France, Spain and Austria. Despite being one of the victors in World War I, Italy entered a period of economic crisis and social turmoil. The subsequent participation in World War II on the Axis side ended in defeat, economic destruction. Today, Italy has the third largest economy in the Eurozone and it has a very high level of human development and is ranked sixth in the world for life expectancy. The country plays a prominent role in regional and global economic, military, cultural and diplomatic affairs, as a reflection of its cultural wealth, Italy is home to 51 World Heritage Sites, the most in the world, and is the fifth most visited country. The assumptions on the etymology of the name Italia are very numerous, according to one of the more common explanations, the term Italia, from Latin, Italia, was borrowed through Greek from the Oscan Víteliú, meaning land of young cattle. The bull was a symbol of the southern Italic tribes and was often depicted goring the Roman wolf as a defiant symbol of free Italy during the Social War. Greek historian Dionysius of Halicarnassus states this account together with the legend that Italy was named after Italus, mentioned also by Aristotle and Thucydides. The name Italia originally applied only to a part of what is now Southern Italy – according to Antiochus of Syracuse, but by his time Oenotria and Italy had become synonymous, and the name also applied to most of Lucania as well. The Greeks gradually came to apply the name Italia to a larger region, excavations throughout Italy revealed a Neanderthal presence dating back to the Palaeolithic period, some 200,000 years ago, modern Humans arrived about 40,000 years ago. Other ancient Italian peoples of undetermined language families but of possible origins include the Rhaetian people and Cammuni. Also the Phoenicians established colonies on the coasts of Sardinia and Sicily, the Roman legacy has deeply influenced the Western civilisation, shaping most of the modern world
Italy
–
The
Colosseum in Rome, built c. 70 – 80 AD, is considered one of the greatest works of
architecture and
engineering of ancient history.
Italy
–
Flag
Italy
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The
Iron Crown of Lombardy, for centuries symbol of the
Kings of Italy.
Italy
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Castel del Monte, built by German Emperor
Frederick II,
UNESCO World Heritage site
7.
Painting
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Painting is the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, Painting is a mode of creative expression, and the forms are numerous. Drawing, gesture, composition, narration, or abstraction, among other aesthetic modes, may serve to manifest the expressive, Paintings can be naturalistic and representational, photographic, abstract, narrative, symbolistic, emotive, or political in nature. A portion of the history of painting in both Eastern and Western art is dominated by motifs and ideas. In art, the term painting describes both the act and the result of the action, the term painting is also used outside of art as a common trade among craftsmen and builders. What enables painting is the perception and representation of intensity, every point in space has different intensity, which can be represented in painting by black and white and all the gray shades between. In practice, painters can articulate shapes by juxtaposing surfaces of different intensity, thus, the basic means of painting are distinct from ideological means, such as geometrical figures, various points of view and organization, and symbols. In technical drawing, thickness of line is ideal, demarcating ideal outlines of an object within a perceptual frame different from the one used by painters. Color and tone are the essence of painting as pitch and rhythm are the essence of music, color is highly subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West, but in the East, some painters, theoreticians, writers and scientists, including Goethe, Kandinsky, and Newton, have written their own color theory. Moreover, the use of language is only an abstraction for a color equivalent, the word red, for example, can cover a wide range of variations from the pure red of the visible spectrum of light. There is not a register of different colors in the way that there is agreement on different notes in music. For a painter, color is not simply divided into basic, painters deal practically with pigments, so blue for a painter can be any of the blues, phthalocyanine blue, Prussian blue, indigo, cobalt, ultramarine, and so on. Psychological and symbolical meanings of color are not, strictly speaking, colors only add to the potential, derived context of meanings, and because of this, the perception of a painting is highly subjective. The analogy with music is quite clear—sound in music is analogous to light in painting, shades to dynamics and these elements do not necessarily form a melody of themselves, rather, they can add different contexts to it. Modern artists have extended the practice of painting considerably to include, as one example, collage, some modern painters incorporate different materials such as sand, cement, straw or wood for their texture. Examples of this are the works of Jean Dubuffet and Anselm Kiefer, there is a growing community of artists who use computers to paint color onto a digital canvas using programs such as Adobe Photoshop, Corel Painter, and many others. These images can be printed onto traditional canvas if required, rhythm is important in painting as it is in music
Painting
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The
Mona Lisa, by
Leonardo da Vinci, is one of the most recognizable paintings in the world.
Painting
–
Chen Hongshou (1598–1652), Leaf album painting (
Ming Dynasty)
Painting
–
Circus Sideshow (
French: Parade de cirque),
Georges Seurat, 1887–88
Painting
–
Cave painting of aurochs, (
French: Bos primigenius primigenius),
Lascaux,
France,
prehistoric art
8.
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
Veduta
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A View of the Tiber by
Hendrik Frans van Lint, first half of 18th century
Veduta
–
The River Thames from Richmond House: a classic veduta by
Canaletto, 1747.
9.
Architect
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An architect is someone who plans, designs, and reviews the construction of buildings. Etymologically, architect derives from the Latin architectus, which derives from the Greek, practical, technical, and academic requirements for becoming an architect vary by jurisdiction. The terms architect and architecture are used in the disciplines of landscape architecture, naval architecture. In most jurisdictions, the professional and commercial uses of the terms architect, throughout ancient and medieval history, most architectural design and construction was carried out by artisans—such as stone masons and carpenters, rising to the role of master builder. Until modern times, there was no distinction between architect and engineer. In Europe, the architect and engineer were primarily geographical variations that referred to the same person. It is suggested that various developments in technology and mathematics allowed the development of the gentleman architect. Paper was not used in Europe for drawing until the 15th century, pencils were used more often for drawing by 1600. The availability of both allowed pre-construction drawings to be made by professionals, until the 18th-century, buildings continued to be designed and set out by craftsmen with the exception of high-status projects. In most developed countries, only qualified people with appropriate license, certification, or registration with a relevant body, such licensure usually requires an accredited university degree, successful completion of exams, and a training period. To practice architecture implies the ability to independently of supervision. In many places, independent, non-licensed individuals may perform design services outside the professional restrictions, such design houses, in the architectural profession, technical and environmental knowledge, design and construction management, and an understanding of business are as important as design. However, design is the force throughout the project and beyond. An architect accepts a commission from a client, the commission might involve preparing feasibility reports, building audits, the design of a building or of several buildings, structures, and the spaces among them. The architect participates in developing the requirements the client wants in the building, throughout the project, the architect co-ordinates a design team. Structural, mechanical, and electrical engineers and other specialists, are hired by the client or the architect, the architect hired by a client is responsible for creating a design concept that meets the requirements of that client and provides a facility suitable to the required use. In that, the architect must meet with and question the client to ascertain all the requirements, often the full brief is not entirely clear at the beginning, entailing a degree of risk in the design undertaking. The architect may make proposals to the client which may rework the terms of the brief
Architect
–
Filippo Brunelleschi is revered to be one of the most inventive and gifted architects in history.
Architect
–
An architect at work, 1893.
Architect
–
Architect
Rem Koolhaas inspecting a model of the
Seattle Central Library
10.
Pantheon, Rome
–
The Pantheon is a former Roman temple, now a church, in Rome, Italy, on the site of an earlier temple commissioned by Marcus Agrippa during the reign of Augustus. The present building was completed by the emperor Hadrian and probably dedicated about 126 AD and he retained Agrippas original inscription, which has confused its date of construction as the original Pantheon burnt down so it is not certain when the present one was built. The building is circular with a portico of large granite Corinthian columns under a pediment, a rectangular vestibule links the porch to the rotunda, which is under a coffered concrete dome, with a central opening to the sky. Almost two thousand years after it was built, the Pantheons dome is still the worlds largest unreinforced concrete dome, the height to the oculus and the diameter of the interior circle are the same,43.3 metres. Mary and the Martyrs but informally known as Santa Maria Rotonda, the square in front of the Pantheon is called Piazza della Rotonda. The Pantheon is a property, ruled by Italys Ministry of Cultural Heritage and Activities and Tourism through the Polo Museale del Lazio. The Pantheons large circular domed cella, with a temple portico front, is unique in Roman architecture. Nevertheless, it became a standard exemplar when classical styles were revived, Pantheon is derived from the Ancient Greek Pantheion meaning of, relating to, or common to all the gods. His uncertainty strongly suggests that Pantheon was merely a nickname, not the name of the building. In fact, the concept of a dedicated to all the gods is questionable. The only definite pantheon recorded earlier than Agrippas was at Antioch in Syria and it seems highly significant that Dio does not quote the simplest explanation for the name—that the Pantheon was dedicated to all the gods. Godfrey and Hemsoll maintain that the word Pantheon need not denote a group of gods, or, indeed, even all the gods. Certainly the word pantheus or pantheos, could be applicable to individual deities…, bearing in mind also that the Greek word θεῖος need not mean of a god but could mean superhuman, or even excellent. It seems likely that the Pantheon and the Basilica of Neptune were Agrippas sacra privata and this less solemn designation would help explain how the building could have so easily lost its original name and purpose in such a relatively short period of time. However, archaeological excavations have shown that the Pantheon of Agrippa had been destroyed except for the façade. Lise Hetland argues that the present construction began in 114, under Trajan and her argument is particularly interesting in light of Heilmeyers argument that, based on stylistic evidence, Apollodorus of Damascus, Trajans architect, was the obvious architect. The form of Agrippas Pantheon is debated and this description was widely accepted until the late 20th century. The only passages referring to the decoration of the Agrippan Pantheon written by an eyewitness are in Plinys Natural History, from him we know that the capitals, too, of the pillars, which were placed by M
Pantheon, Rome
–
Pantheon
Pantheon, Rome
Pantheon, Rome
–
The Pantheon and the Fontana del Pantheon.
Pantheon, Rome
–
The Pantheon dome. The concrete for the
coffered dome was poured in moulds, probably mounted on temporary scaffolding. The oculus is the main source of natural light.
11.
Francesco Algarotti
–
Count Francesco Algarotti was an Venetian polymath, philosopher, poet, essayist, anglophile, art critic and art collector. His father and uncle were art collectors, unlike his older brother Bonomo he did not step into the company, but decided to become an author. Francesco studied natural sciences and mathematics in Bologna under Francesco Maria Zanotti, first he travelled in the North of Italy, but moved to Florence, and Rome. At the age of twenty, he went to Cirey and Paris, two years later he was in London, where he was made a fellow of the Royal Society. He became embroiled in a lively bisexual love-triangle with the politician John Hervey, Algarotti left for Italy and finished his Neutonianismo per le dame, a work on optics, dedicated to Bernard le Bovier de Fontenelle. In the meantime Algarotti had made acquaintance with Antiochus Kantemir, a Moldavian diplomat, poet and he was invited to visit Russia for the wedding of Duke Anthony Ulrich of Brunswick. In 1739 he left with Lord Baltimore from Sheerness to Newcastle upon Tyne, because of a heavy storm the ship sheltered in Harlingen. Algarotti was discovering this new city, returning from Saint Petersburg, they visited Frederick the Great in Rheinsberg. Algarotti had obligations in England and came back the year after, then Algarotti went together with Frederick to Königsberg where he was crowned. Frederick, who was impressed with this walking encyclopedia, made him, Algarotti accompanied Frederick to Bayreuth, Kehl, Strasbourg and Moyland Castle where they met with Voltaire, who was taking baths in Kleve for his health. In 1741 Algarotti went to Turin as his diplomat, Frederick had offered him a salary, but Algarotti refused. First he went to Dresden and Venice, where he bought 21 paintings, Algarotti did not succeed to have the Kingdom of Sardinia attack Austria in the back. He wantedsuggetti graziosi e leggeri from Balestra, Boucher, and Donato Creti, other artist he protected were Giuseppe Nogari, Bernardo Bellotto, and Francesco Pavona. In 1747 Algarotti went back to Potsdam and became court chamberlain, in 1749 he moved to Berlin. Algarotti was involved in finishing the architectural designs of Georg Wenzeslaus von Knobelsdorff who had fallen ill, in February 1753, after several years residing in Prussia he returned to Italy, living most of the time in Bologna. In 1759 Algarotti was involved in a new opera-style in the city of Parma and he influencing Guillaume du Tillot and the Duke of Parma. Algarottis Essay on the Opera was an influence on the librettist Carlo Innocenzo Frugoni and the composer Tommaso Traetta. Algarotti proposed a simplified model of opera seria, with the drama pre-eminent, instead of the music
Francesco Algarotti
–
Francesco Algarotti
Francesco Algarotti
–
Nandl Baldauf, la belle chocolatière (1743/44). The
pastel by Liotard was sold in 1745 by Algarotti to Dresden.
Francesco Algarotti
–
The interior of the
Pantheon (Rome) by
Giovanni Paolo Pannini, ordered by and belonging to the art collection of Algarotti.
Francesco Algarotti
–
Gathering on
Sanssouci in the Marble Hall, with Fredrik II. (the Great) of Prussia,
Voltaire,
d'Argens,
La Mettrie,
James Keith,
George Keith, Friedrich Rudolf von Rothenburg, Christoph Ludwig von Stille, and Algarotti. The painting was lost in 1945
12.
Capriccio (painting)
–
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
Capriccio (painting)
–
A capriccio of classical ruins with
Diogenes throwing away his cup, circa 1730, by
Giovanni Paolo Panini (1692–1765)
Capriccio (painting)
–
Architectural Capriccio, circa 1725, by
Marco Ricci (1676–1730)
Capriccio (painting)
–
The ruined
Forum of Rome, a popular inspiration for the
capriccio
13.
Marco Ricci
–
Marco Ricci was an Italian painter of the Baroque period. He was born at Belluno and received his first instruction in art from his uncle, Sebastiano Ricci and he left for Venice with his uncle in 1696, but had to flee the city after killing a gondolier. He visited Rome, where he was for some time occupied in painting perspective views, in 1706–7, he worked with his uncle on the decoration of the Sala dErcole in the Palazzo Fenzi, located in Florence. In England, he collaborated with the artist Pellegrini in the staging of Italian works at the Queens Theatre in Haymarket. With Pellegrini, he executed six large canvases for Burlington House. Ricci returned to Venice in 1711, but came back to England with his uncle Sebastiano the following year, during his time in England, Marco Ricci also painted several landscapes, capriccios, and the wry painting Opera Rehearsal for Charles Howard, 3rd Earl of Carlisle. His production as a landscapist can be divided into four categories, alpine views or pastorals, violent country storms, ruins, while the medium of many of his works was oil on canvas, about half of his output, smaller in dimension, was tempera applied to goatskin. Marco Ricci returned to Venice in 1716, living with his uncle there until his death, riccis output in the 1720s was prodigious, and his production encompassed landscapes, capriccios, gouaches on vellum, drawings of stage designs and caricatures. He collaborated with Sebastiano on monumental figurative paintings, important patrons of Ricci in Venice were Consul Smith and Zanetti the Elder. Marco Ricci can be regarded as the initiator of a new Venetian landscape style and he died in Venice in 1730. Among his pupils were Domenico and Giuseppe Valeriani, in, The glory of Venice, Art in the Eighteenth Century. Martineau, Jane, and Andrew Robinson, eds, yale University Press, New Haven and London. A biographical and critical dictionary of painters and engravers, with a list of ciphers, monograms, in, The glory of Venice, Art in the Eighteenth Century. Martineau, Jane, and Andrew Robinson, eds, yale University Press, New Haven and London. An Introduction to 18th-Century Venetian Art, in, The glory of Venice, Art in the Eighteenth Century. Martineau, Jane, and Andrew Robinson, eds, yale University Press, New Haven and London. Visions of Venice, Paintings of the 18th Century, tauris Parke Books, London and New York. Art and Architecture in Italy, 1600–1750, The Late Baroque, a biographical and critical dictionary of painters and engravers, with a list of ciphers, monograms, and marks
Marco Ricci
–
Landscape with River and Figures. c. 1720. Galleria dell'Accademia, Venice.
14.
Pope Benedict XIV
–
Pope Benedict XIV, born Prospero Lorenzo Lambertini, served as the Pope of the Catholic Church from 17 August 1740 to his death in 1758. Perhaps one of the greatest scholars in Christendom, yet overlooked, he promoted scientific learning, the baroque arts, reinvigoration of Thomism. In terms of the governance of the Papal States, he reduced taxation, a scholar, he laid the groundwork for the present Vatican Museum. Horace Walpole described him as a priest without insolence or interest, a prince without favorites, Lambertini was born into a noble family of Bologna to Marcello Lambertini and Lucrezia Bulgarini, the third of five children. At the time of his birth, Bologna was the second largest city in the Papal States, at the age of thirteen, he began attending the Collegium Clementianum in Rome, where he studied rhetoric, Latin, philosophy, and theology. During his studies as a man, he often studied the works of St. Thomas Aquinas. While he enjoyed studying at Collegium Clementianum, the bent of his mind was well towards ecclesiastical and civil law, soon after, in 1694 at the age of nineteen, he received the degree of Doctor of Sacred Theology and Doctor Utriusque Juris. On the death of Innocent XII, he was made an advocate by Clement XI. Lambertini was consecrated a bishop in Rome, in the Pauline Chapel of the Vatican Palace, on 16 July 1724, the co-consecrators were Giovanni Francesco Nicolai, titular Archbishop of Myra, and Nicola Maria Lercari, titular Archbishop of Nazianzus. He was made Bishop of Ancona in 1727 and he was created a cardinal in pectore, his name being published on 30 April 1728, and was subsequently made the Cardinal-Priest of Santa Croce in Gerusalemme on 10 May 1728. He also served as the Archbishop of Bologna, after the death of Pope Clement XII, Lambertini attended the papal conclave to choose a successor. It would last for six months, at first Cardinal Ottoboni, dean of the Sacred College, was favored to be elected, but a number of cardinals were opposed to this on account of the cardinal being protector of France. This appears to have assisted his cause for winning the election, which benefited from his reputation for deep learning, gentleness, wisdom. On 17 August 1740 he was elected in the evening and took his new name of Benedict XIV in honour of Pope Benedict XIII. He managed to overcome most of these problems — the Holy Sees disputes with the Kingdom of Naples, Sardinia, Spain, Venice and he had a very active papacy, reforming the education of priests, the calendar of feasts of the Church, and many papal institutions. Perhaps the most important act of Benedict XIVs pontificate was the promulgation of his famous laws about missions in the two bulls, Ex quo singulari and Omnium solicitudinum and this question was especially pressing in the case of an ancestor known not to have been a Christian. The choice of a Chinese translation for the name of God had also been debated since the early 17th century, Benedict XIV denounced these practices in these two bulls. The consequence of this was many of these converts left the Church
Pope Benedict XIV
–
Oil painting by
Pierre Subleyras
Pope Benedict XIV
–
Cardinal Lambertini c. 1740
Pope Benedict XIV
–
Bust of Benedict XIV by
Pietro Bracci,
Museum of Grenoble
Pope Benedict XIV
–
Tomb of Benedict XIV,
St. Peter's Basilica.
15.
Francesco Galli-Bibiena
–
Francesco Galli, called Francesco da Bibiena, a member of the theatrical Galli de Bibiena family and younger brother of Ferdinando Galli, was born at Bologna in 1659. He first studied under Lorenzo Pasinelli, but he was instructed in the school of Carlo Cignani. His knowledge of architecture and perspective was considerable, but he excelled in figures, Francesco worked at Piacenza, Parma, and Rome, and then became ducal architect at Mantua. After a stay in Genoa and Naples he was called to Vienna and he worked successively for the Emperors Leopold I and Joseph I, and was invited to Madrid by Philip V, who appointed him his principal architect. Francesco was known for his achievements in scenic design. He was the first member of the Bibiena family to build theatres as well as to design sets, in 1700 he completely renovated the theatre in Hofburg, Vienna, for Emperor Leopold I. The large theatre was known as the Große Komödiensaal, which became the Court Theater. The opera house, however, burned down in 1747, the Hoftheaters architecture greatly influenced theatre design in Germany and Austria throughout the first half of the eighteenth century. After a short stay in Italy and in Lorraine, he was invited by Emperor Joseph I, back to the Hofburg, to work as the First Theatrical Engineer and as a scene-painter/decorator from 1709-1712. He was also the architect of the theatre at Nancy, France, of the Teatro Filarmonico at Verona, which some called the finest theatre in Italy. In 1726, Francesco returned to Bologna, where he directed the Clementine Academy, although his father, Giovanni Galli da Bibiena, had a distinguished career, it was Francesco and his older brother Ferdinando that established the familys artistic reputation and its fortune
Francesco Galli-Bibiena
–
Self portrait, now in the
Uffizi in Florence
Francesco Galli-Bibiena
–
Section and ceiling of the original
Teatro Filarmonico in
Verona, ca. 1715-1720; drawing now in the
Cooper–Hewitt, National Design Museum
16.
Benedetto Luti
–
Benedetto Luti was an Italian painter. Luti was born in Florence on 17 November 1666, in 1691, he moved to Rome, where he was patronized by Cosimo III de Medici, Grand Duke of Tuscany, an enthusiast of Lutis pastel portraiture. Luti was one of the first artists to work in pastels as the composition as opposed to initial studies for paintings or frescoes. He also worked in oils and painted frescoes, including for the Basilica di San Giovanni in Laterano, in 1720, he was knighted in the Academy of St Luke of Rome and elected Principe. The appointment was not without controversy, since some, could not find anything worthy of memory for the benefit of the arts, pascolis of account Luti, found him a deep intellect, and even more knowledgeable of the works that he draws, although. The next year he dedicated himself to painting frescoes the cupola of the Church of Santi Luca e Martina in Rome, art in Rome in the Eighteenth Century
Benedetto Luti
–
Self-Portrait
Benedetto Luti
–
Young Girl (1717), pastel on paper
Benedetto Luti
–
Young Boy (1717), pastel on paper
Benedetto Luti
–
Boy with the flute (c. 1720), oil on canvas
17.
Villa
–
A villa was originally an ancient Roman upper-class country house. Since its origins in the Roman villa, the idea and function of a villa have evolved considerably, after the fall of the Roman Republic, villas became small farming compounds, which were increasingly fortified in Late Antiquity, sometimes transferred to the Church for reuse as a monastery. Then they gradually re-evolved through the Middle Ages into elegant upper-class country homes, in modern parlance, villa can refer to various types and sizes of residences, ranging from the suburban semi-detached double villa to residences in the wildland–urban interface. In ancient Roman architecture a villa was originally a house built for the élite. The Roman villae rusticae at the heart of latifundia were the earliest versions of what later, not included as villae were the domus, a city house for the élite and privileged classes, and insulae, blocks of apartment buildings for the rest of the population. In Satyricon, Petronius described the range of Roman dwellings. Another type of villae is the villa marittima, a seaside villa, a concentration of Imperial villas existed on the Gulf of Naples, on the Isle of Capri, at Monte Circeo and at Antium. Examples include the Villa of the Papyri in Herculaneum, and the Villa of the Mysteries, wealthy Romans also escaped the summer heat in the hills round Rome, especially around Tibur (Tivoand Frascati, such as at Hadrians Villa. Cicero allegedly possessed no fewer than seven villas, the oldest of which was near Arpinum, pliny the Younger had three or four, of which the example near Laurentium is the best known from his descriptions. Roman writers refer with satisfaction to the self-sufficiency of their latifundium villas, archeologists have meticulously examined numerous Roman villas in England. The grand villa at Woodchester preserved its mosaic floors when the Anglo-Saxon parish church was built upon its site, grave-diggers preparing for burials in the churchyard as late as the 18th century had to punch through the intact mosaic floors. The even more palatial villa rustica at Fishbourne near Winchester was built as an open rectangle. Villae rusticae are essential in the Empires economy, two kinds of villa-plan in Roman Britain may be characteristic of Roman villas in general. The more usual plan extended wings of all opening onto a linking portico. The other kind featured a central hall like a basilica. The villa buildings were often independent structures linked by their enclosed courtyards, timber-framed construction, carefully fitted with mortises and tenons and dowelled together, set on stone footings, were the rule, replaced by stone buildings for the important ceremonial rooms. Traces of window glass have been found, as well as ironwork window grilles, with the decline and collapse of the Western Roman Empire in the fourth and fifth centuries, the villas were more and more isolated and came to be protected by walls. In England the villas were abandoned, looted, and burned by Anglo-Saxon invaders in the fifth century, in regions on the Continent, aristocrats and territorial magnates donated large working villas and overgrown abandoned ones to individual monks, these might become the nuclei of monasteries
Villa
–
The
Villa Medici in Fiesole with early terraced hillside
landscape: by
Leon Battista Alberti
Villa
–
The
Getty Villa, an adaptation of the
Villa of the Papyri, in
Pacific Palisades, Los Angeles
Villa
–
Model of
Fishbourne Roman Palace, a governor's villa on the grandest scale
Villa
–
The Villa di Medici by
Giuliano da Sangallo -1470:
Poggio a Caiano,
Tuscany
18.
Seminario Romano
–
Note, This article is based on the Catholic Encyclopedia 1913 and contains a large amount of out-dated information throughout, including the numbers of students. Specifically, many of the practices and forms of dress described changed dramatically during the 1960s, the Roman Colleges, also referred to as the Pontifical Colleges in Rome, are institutions established and maintained in Rome for the education of future ecclesiastics of the Roman Catholic Church. Traditionally many were for students of a particular nationality, the colleges are halls of residence in which the students follow the usual seminary exercises of piety, study in private, and review the subjects treated in class. The rector of the Kraków seminary, in bidding Karol Wojtyla farewell, said that theology can be learned elsewhere, each national college has as its head a rector designated by the episcopate of the country to which the college belongs and appointed by the pope. He is assisted by a vice-rector and a spiritual director, the scholastic year begins in the first week of November and ends in June. In most of the courses the lecture system is followed and at stated times formal disputations are held in accordance with scholastic methods. The course of studies, whether leading to a degree or not, is prescribed and it extends, generally speaking, through six years, to philosophy in the stricter sense are added courses in mathematics, languages, and natural sciences. Theology includes, besides dogmatic and moral theology, courses in liturgy, archaeology, Church history, canon law, an oral examination is held in the middle of the year and a written examination at the close. The usual degrees are conferred in philosophy, theology, and canon law, Capranica himself drew up their rules and presented the college with his own library, the more valuable portion of which was later transferred to the Vatican. Students living at the Capranica pursued theological studies at the nearby Sapienza, as of 2016, the college had about fifty students, primarily from dioceses in Italy. The Pontificio Collegio Urbano De Propaganda Fide was established in Rome in 1622 in order to train missionaries to be sent around the world, all students of the Urban College have a full scholarship, lodging, accommodation and academic fees. After completion of studies the newly ordained priests would return to their homeland, as of 2016 the Urban College had about 165 students, most from Asia and Africa. Besides students from the dioceses of different continents, there are also seminarians of various Churches sui iuris such as the Syro Malabar, Syro Malankara, Coptic, originally, the College occupied a premises adjacent to the Spanish Steps. If there were not enough pupils from a country to constitute a national college. The Pontifical Ecclesiastical Academy is one of the Roman Colleges of the Roman Catholic Church, the academy is dedicated to training priests to serve in the diplomatic corps and the Secretariat of State of the Holy See. The Lay Centre at Foyer Unitas is a college and house of formation for the lay vocation and laity pursuing a vocation through study. The Centre is dedicated to ecumenical and interreligious hospitality as part of its mission in forming Catholic laity, traditionally, most of the colleges were divided among the regions from which the seminarians came. Nowadays, most colleges have opened up to seminarians from other regions of the world with cultural or linguistic ties to their own, the Roman Seminary is the major seminary of the diocese of Rome
Seminario Romano
–
St. Peter's Basilica,
Vatican City
Seminario Romano
–
The original
Roman College, now
Ennio Quirino Visconti Liceo Ginnasio.
Seminario Romano
–
The entrance of the Pontificia Accademia Ecclesiastica
Seminario Romano
–
The Pontifical Croatian College of St. Jerome
19.
Accademia di San Luca
–
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
Accademia di San Luca
–
St. Luke Displaying a Painting of the Virgin by
Guercino
20.
Hubert Robert
–
Hubert Robert was a French painter, noted for his landscape paintings and capriccio, or semi-fictitious picturesque depictions of ruins in Italy and of France. Hubert Robert was born in Paris in 1733 and his father, Nicolas Robert, was in the service of François-Joseph de Choiseul, marquis de Stainville a leading diplomat from Lorraine. The contrast between the ruins of ancient Rome and the life of his time excited his keenest interest and he worked for a time in the studio of Pannini, whose influence can be seen in the Vue imaginaire de la galerie du Louvre en ruine. The albums of sketches and drawings he assembled in Rome supplied him with motifs that he worked into paintings throughout his career. Roberts first exhibition at the Salon of 1767, consisting of thirteen paintings, Robert subsequently showed work at every Salon until 1802. He was successively appointed Designer of the Kings Gardens, Keeper of the Kings Pictures and Keeper of the Museum, Robert was arrested in October 1793, during the French Revolution. During the ten months of his detention at Sainte-Pélagie and Saint-Lazare he made drawings, painted at least 53 canvases. He was freed one week after the fall of Robespierre, Robert narrowly escaped the guillotine when through error another prisoner died in his place. Subsequently he was placed on the committee of five in charge of the new museum at the Palais du Louvre. The Revolution also resulted in the destruction of some of Roberts work, Robert had designed the decorations for a little theatre in the new wing at the location of the current staircase Gabriel in the Palace of Versailles. Designed to seat about 500, this theatre was built from the summer of 1785 and it was intended to serve as an ordinary court theatre, replacing the Theatre of the Princes Court which was too old and too small, but was destroyed during the time of Louis Philippe. A watercolour of Roberts design is in the National Archives in Paris, Robert died of a stroke on 15 April 1808. The quantity of his work is immense, comprising one thousand paintings. The Louvre alone contains nine paintings by his hand and specimens are frequently to be met with in provincial museums, Roberts work has more or less of that scenic character which justified his selection by Voltaire to paint the decorations of his theatre at Ferney. He is noted for the liveliness and point with which he treated the subjects he painted, along with this incessant activity as an artist, his daring character and many adventures attracted general admiration and sympathy. In the fourth canto of his LImagination Jacques Delille celebrated Roberts miraculous escape when lost in the catacombs, Roberts contribution to garden design was not in making practical ground plans for improvements but in providing atmospheric inspiration for the proposed effect. Huberts paintings of the Moulin Joly of his friend Claude-Henri Watelet render the fully-grown atmosphere of a garden that had been under way since 1754, references and notes Sources Adams, William Howard, The French Garden 1500–18001979. Huisman, Philippe, French Watercolours of the 18th Century London, Thames and Hudson ISBN 978-0-500-23105-0 Wiebenson and this article incorporates text from a publication now in the public domain, Chisholm, Hugh, ed. article name needed
Hubert Robert
–
Hubert Robert by
Élisabeth Vigée-Lebrun (
Louvre)
Hubert Robert
–
The Artist's Studio, 1760,
Städelsches Kunstinstitut
Hubert Robert
–
The ca. 1766 painting View of the Port of Rippeta in Rome, which locates the Ancient Roman Pantheon next to an imaginary port
Hubert Robert
–
1796 painting by Robert showing a design for the Grand Gallery of the Louvre Museum in Paris
21.
Antonio Joli
–
Antonio Joli or Ioli was an Italian painter of vedute and capricci. Born in Modena, he first was apprenticed to Rafaello Rinaldi and he then studied in Rome under Giovanni Paolo Panini, and in the studios of the Galli da Bibbiena family of scene-painters. He became a painter of stage sets in Modena and Perugia, in 1732 he moved to Venice, where he worked as stage-painter for opera productions at the Teatro di San Giovanni Grisostomo and the Teatro San Samuele of the Grimani family. In 1742 he went to Dresden, and then to London, in London, he decorated the Richmond mansion of John James Heidegger, then the director of the Kings Theatre in the Haymarket. Joli returned to Venice in 1754, where he became one of the 36 founding members of the Accademia di Belle Arti di Venezia and he moved to the Bourbon court of Naples in 1761, and died there on 29 April 1777. Links, J. G. Canaletto and his Patrons, grove encyclopedia biography on Artnet Antonio Joli at Wikigallery. org Italian Paintings, Venetian School, a collection catalog containing information about Joli and his works
Antonio Joli
–
Antonio Joli, Departure of Charles III from Naples,
Museo del Prado, 1759
Antonio Joli
Antonio Joli
Antonio Joli
22.
Canaletto
–
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
Canaletto
–
Canaletto
Canaletto
–
Canaletto's birthplace
Canaletto
–
The Grand Canal and the Church of the Salute, painted 1730.
Canaletto
–
Return of the
Bucintoro to the
Molo on
Ascension Day, painted 1729–32.
23.
Bernardo Bellotto
–
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
Bernardo Bellotto
–
Detail of Self-portrait as Venetian ambassador (c. 1765) in the
National Museum in
Warsaw
Bernardo Bellotto
–
Capricho arquitectónico,
Museo de Bellas Artes de Bilbao
Bernardo Bellotto
–
"Bellotto's urban scenes have the same carefully drawn realism as his uncle's Venetian views but are marked by heavy shadows and are darker and colder in tone and colour."
Bernardo Bellotto
–
Detail of Election of Stanislaus Augustus with a study of figures.
24.
Roman Capriccio: The Pantheon and Other Monuments
–
Roman Capriccio, The Pantheon and Other Monuments is a 1735 oil painting by Italian artist Giovanni Paolo Panini, located in the Indianapolis Museum of Art, which is in Indianapolis, Indiana. It depicts an array of famous Roman monuments in a rural setting, Panini was a famed painter of capriccios, architectural fantasies. In this case, he combined a staggering array of monuments by Romans without regard to topography. From left to right, he included the Temple of Hadrian, the Pantheon, the Temple of Vesta, the Maison Carrée, in front of this overabundance of history, he placed the equestrian statue of Marcus Aurelius, around which contemporary Roman peasants carry out their business. While quite cavalier with regards to geography, Panini was remarkably faithful in his architectural reconstructions and he carefully edited out later additions to the original buildings, such as the walled-in sections in the arches of the Theater of Marcellus and Berninis bell towers on the Pantheons pediment. Paninis earliest training was with a painter of theatrical scenery, the arrangement of monuments is very similar to the way architectural perspective was achieved in the Italian theater. At the front of the stage are the peasant-actors in quaint costumes, fashionable European youths undertook the Grand Tour throughout the eighteenth century, and for half a century to either side, and liked to bring back souvenirs of their travels. Thus, sketches and paintings of such as those in the Capriccio were very lucrative for Panini. Escapism and contemplation were more important than accuracy, so Panini was free to rearrange scenery in paintings like this. This creative reorganization led to a better comprehension of the ideal, rather than current, conditions of the monuments, both are currently on view in the Jane H. Fortune Gallery. It has the accession number 50.5
Roman Capriccio: The Pantheon and Other Monuments
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Roman Capriccio: The Pantheon and Other Monuments
25.
Indianapolis Museum of Art
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The Indianapolis Museum of Art is an encyclopedic art museum located in Indianapolis, Indiana, United States. The museum, which underwent a $74 million expansion in 2005, is located on a 152-acre campus on the near northwest area outside downtown Indianapolis, the Indianapolis Museum of Art is the ninth oldest and eighth largest encyclopedic art museum in the United States. The permanent collection comprises over 54,000 works, including African, American, Asian, M. W. Turner, and a growing contemporary art collection. Other areas of emphasis include textiles and fashion arts as well as a recent focus on modern design, in addition to its collections, the museum consists of 100 Acres, The Virginia B. The IMA also owns the Miller House, a Mid-Century modern home designed by Eero Saarinen and located in Columbus, the museums holdings demonstrate the institutions emphasis on the connections among art, design, and the natural environment. Founded in 1883 by the Art Association of Indianapolis, the first permanent museum was opened in 1906 as part of the John Herron Art Institute, among the Art Associations founders was May Wright Sewall, known for her work in the womens suffrage movement. Other supporters have included Booth Tarkington, Eli Lilly, Herman C, the associated John Herron Art Institute was established with the help of notable Hoosier Group artists T. C. Dr. Charles L. Venable is the current Melvin and Bren Simon Director, the museum is widely recognized as innovative in its development of open source technologies, institutional transparency, and collaboration between museums. In 2008, the IMA became the first fine art museum to be named an Energy Star partner due to its greening initiative and efforts to reduce energy consumption. In 2009, the IMA was awarded the National Medal for Museum and Library Service for public service, specifically the museums free admission policy, the Indianapolis Museum of Art was founded as the Art Association of Indianapolis, an open-membership group led by the suffragist May Wright Sewall. Formed in 1883, the organization aimed to inform the public about visual art, the Art Associations first exhibition, which opened November 7,1883, contained 453 artworks from 137 artists. The death of wealthy Indianapolis resident John Herron in 1895 left a substantial bequest with the stipulation that the money be used for a gallery, the John Herron Art Institute opened in 1902 at the corner of 16th and Pennsylvania street. Emphasis on the Arts and Crafts movement grew throughout the years of the school. William Henry Fox was hired in 1905 as the Art Institutes first director, from 1905 to 1910, Fox managed both the museum and the school while constructing two new buildings on the 16th street site. From the 1930s until the 1950s, the John Herron Art Institute placed an emphasis on professionalism, wilbur Peat, director of the museum from 1929 until 1965, acquired significant portions of the collection. Peat also made connections with such as Dr. George H. A. Clowes, Booth Tarkington. After years of debate surrounding expansion and relocation of the museum and school, Lilly III and Ruth Lilly, donated the family estate, Oldfields, to the Art Association of Indianapolis in 1966. One year later it was decided that the school would become a part of Indiana Universitys Indianapolis campus in an effort to assist with accreditation
Indianapolis Museum of Art
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Indianapolis Museum of Art
Indianapolis Museum of Art
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Interior view of the Clowes Pavilion
Indianapolis Museum of Art
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View of Oldfields from the allée.
Indianapolis Museum of Art
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Aristotle (1637), by
Jusepe de Ribera, is within the IMA's permanent collection.
26.
Ancient Rome (painting)
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Ancient Rome is an oil on canvas painting by Giovanni Paolo Panini. It is owned by and on display at the Metropolitan Museum of Art in New York City, Panini painted the piece as a pendant painting to Modern Rome for the Count de Stainville in 1757. The painting depicts many of the most significant architectural sites and sculptures from Ancient Rome, such as the Colosseum, the Pantheon, Laocoön and His Sons, both Panini and Paninis patron the Count de Stainville make an appearance in the work. Panini sits in the armchair and the Count de Stainville stands holding a guidebook, media related to Ancient Rome at Wikimedia Commons
Ancient Rome (painting)
–
Ancient Rome
27.
Modern Rome
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Picture Gallery with Views of Modern Rome or simply Modern Rome is a 1757 painting by Italian artist Giovanni Paolo Panini. The original painting shows the arrangement of paintings commissioned by Count de Stainville. He was the ambassador to Rome from between 1753 and 1757, the Duke is seated on an armchair, in the painting. Among some of the works depicted in this work are, Michelangelos Moses, Berninis statute of Constantine, David, Apollo, the fountains Bernini designed are also featured in the painting. The painting is the pendant to Ancient Rome
Modern Rome
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Modern Rome
28.
National Gallery, London
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The National Gallery is an art museum in Trafalgar Square in the City of Westminster, in Central London. Founded in 1824, it houses a collection of over 2,300 paintings dating from the century to 1900. The Gallery is a charity, and a non-departmental public body of the Department for Culture, Media. Its collection belongs to the public of the United Kingdom and entry to the collection is free of charge. It is among the most visited art museums in the world, after the Musée du Louvre, the British Museum, unlike comparable museums in continental Europe, the National Gallery was not formed by nationalising an existing royal or princely art collection. It came into being when the British government bought 38 paintings from the heirs of John Julius Angerstein, after that initial purchase the Gallery was shaped mainly by its early directors, notably Sir Charles Lock Eastlake, and by private donations, which comprise two-thirds of the collection. It used to be claimed that this was one of the few national galleries that had all its works on permanent exhibition, the present building, the third to house the National Gallery, was designed by William Wilkins from 1832 to 1838. Only the façade onto Trafalgar Square remains essentially unchanged from this time, wilkinss building was often criticised for the perceived weaknesses of its design and for its lack of space, the latter problem led to the establishment of the Tate Gallery for British art in 1897. The Sainsbury Wing, an extension to the west by Robert Venturi, the current Director of the National Gallery is Gabriele Finaldi. The late 18th century saw the nationalisation of royal or princely art collections across mainland Europe, great Britain, however, did not emulate the continental model, and the British Royal Collection remains in the sovereigns possession today. In 1777 the British government had the opportunity to buy an art collection of international stature, the MP John Wilkes argued for the government to buy this invaluable treasure and suggested that it be housed in a noble gallery. The twenty-five paintings from that now in the Gallery, including NG1, have arrived by a variety of routes. This offer was declined and Bourgeois bequeathed the collection to his old school, Dulwich College, the collection opened in Britains first purpose-built public gallery, the Dulwich Picture Gallery, in 1814. The British Institution, founded in 1805 by a group of aristocratic connoisseurs, the members lent works to exhibitions that changed annually, while an art school was held in the summer months. However, as the paintings that were lent were often mediocre, some resented the Institution. One of the Institutions founding members, Sir George Beaumont, Bt, in 1823 another major art collection came on the market, which had been assembled by the recently deceased John Julius Angerstein. Angerstein was a Russian-born émigré banker based in London, his collection numbered 38 paintings, including works by Raphael, on 1 July 1823 George Agar Ellis, a Whig politician, proposed to the House of Commons that it purchase the collection. The appeal was given added impetus by Beaumonts offer, which came with two conditions, that the government buy Angersteins collection, and that a building was to be found
National Gallery, London
National Gallery, London
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Location within Central London
National Gallery, London
–
The Raising of Lazarus by
Sebastiano del Piombo, from the collection of
John Julius Angerstein. This became the founding collection of the National Gallery in 1824. The painting has the
accession number NG1, making it officially the first painting to enter the Gallery.
National Gallery, London
–
100
Pall Mall, the home of the National Gallery from 1824 to 1834.
29.
Brooklyn Museum
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The Brooklyn Museum is an art museum located in the New York City borough of Brooklyn. At 560,000 square feet, the museum is New York Citys third largest in physical size, the museum initially struggled to maintain its building and collection, only to be revitalized in the late 20th century, thanks to major renovations. Significant areas of the collection include antiquities, specifically their collection of Egyptian antiquities spanning over 3,000 years, African, Oceanic, and Japanese art make for notable antiquities collections as well. American art is represented, starting at the Colonial period. Artists represented in the collection include Mark Rothko, Edward Hopper, Norman Rockwell, Winslow Homer, Edgar Degas, Georgia OKeeffe, the museum also has a Memorial Sculpture Garden which features salvaged architectural elements from throughout New York City. The roots of the Brooklyn Museum extend back to the 1823 founding by Augustus Graham of the Brooklyn Apprentices’ Library in Brooklyn Heights, in 1890, under its director Franklin Hooper, Institute leaders reorganized as the Brooklyn Institute of Arts and Sciences and began planning the Brooklyn Museum. The initial design for the Brooklyn Museum was four times as large as the actualized version, Daniel Chester French, the noted sculptor of the Lincoln Memorial, was the principal designer of the pediment sculptures and the monolithic 12. 5-foot figures along the cornice. The figures were created by 11 sculptors and carved by the Piccirilli Brothers, by 1920, the New York City Subway reached the museum with a subway station, this greatly improved access to the once-isolated museum from Manhattan and other outer boroughs. The Brooklyn Institutes director Franklin Hooper was the museums first director and he was followed by Philip Newell Youtz, Laurance Page Roberts, Isabel Spaulding Roberts, Charles Nagel, Jr. and Edgar Craig Schenck. Thomas S. Buechner became the director in 1960, making him one of the youngest directors in the country. Buechner oversaw a major transformation in the way the museum displayed art and brought some one thousand works that had languished in the museums archives and put them on display. Buechner played a role in rescuing the Daniel Chester French sculptures from destruction due to an expansion project at the Manhattan Bridge in the 1960s. The Brooklyn Museum changed its name to Brooklyn Museum of Art in 1997, on March 12,2004, the museum announced that it would revert to its previous name. In April 2004, the museum opened the James Polshek-designed entrance pavilion on the Eastern Parkway façade, in September 2014, Lehman announced that he was planning to retire around June 2015. In May 2015, Creative Time president and artistic director Anne Pasternak was named the Museums next director, member institutions occupy land or buildings owned by the City of New York and derive part of their yearly funding from the City. The Brooklyn Museum also supplements its earned income with funding from Federal and State governments, as well as donations by individuals. Major benefactors include Frank Lusk Babbott, the museum is the site of the annual Brooklyn Artists Ball which has included celebrity hosts such as Sarah Jessica Parker and Liv Tyler. The Brooklyn Museum exhibits collections that seek to embody the rich heritage of world cultures
Brooklyn Museum
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Brooklyn Museum
Brooklyn Museum
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Replica of the
Statue of Liberty in back lot.
Brooklyn Museum
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Book of the Dead of the Goldworker of Amun, Sobekmose, 31.1777e
Brooklyn Museum
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Brooklyn Papyrus 664-332 BCE
30.
New York City
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The City of New York, often called New York City or simply New York, is the most populous city in the United States. With an estimated 2015 population of 8,550,405 distributed over an area of about 302.6 square miles. Located at the tip of the state of New York. Home to the headquarters of the United Nations, New York is an important center for international diplomacy and has described as the cultural and financial capital of the world. Situated on one of the worlds largest natural harbors, New York City consists of five boroughs, the five boroughs – Brooklyn, Queens, Manhattan, The Bronx, and Staten Island – were consolidated into a single city in 1898. In 2013, the MSA produced a gross metropolitan product of nearly US$1.39 trillion, in 2012, the CSA generated a GMP of over US$1.55 trillion. NYCs MSA and CSA GDP are higher than all but 11 and 12 countries, New York City traces its origin to its 1624 founding in Lower Manhattan as a trading post by colonists of the Dutch Republic and was named New Amsterdam in 1626. The city and its surroundings came under English control in 1664 and were renamed New York after King Charles II of England granted the lands to his brother, New York served as the capital of the United States from 1785 until 1790. It has been the countrys largest city since 1790, the Statue of Liberty greeted millions of immigrants as they came to the Americas by ship in the late 19th and early 20th centuries and is a symbol of the United States and its democracy. In the 21st century, New York has emerged as a node of creativity and entrepreneurship, social tolerance. Several sources have ranked New York the most photographed city in the world, the names of many of the citys bridges, tapered skyscrapers, and parks are known around the world. Manhattans real estate market is among the most expensive in the world, Manhattans Chinatown incorporates the highest concentration of Chinese people in the Western Hemisphere, with multiple signature Chinatowns developing across the city. Providing continuous 24/7 service, the New York City Subway is one of the most extensive metro systems worldwide, with 472 stations in operation. Over 120 colleges and universities are located in New York City, including Columbia University, New York University, and Rockefeller University, during the Wisconsinan glaciation, the New York City region was situated at the edge of a large ice sheet over 1,000 feet in depth. The ice sheet scraped away large amounts of soil, leaving the bedrock that serves as the foundation for much of New York City today. Later on, movement of the ice sheet would contribute to the separation of what are now Long Island and Staten Island. The first documented visit by a European was in 1524 by Giovanni da Verrazzano, a Florentine explorer in the service of the French crown and he claimed the area for France and named it Nouvelle Angoulême. Heavy ice kept him from further exploration, and he returned to Spain in August and he proceeded to sail up what the Dutch would name the North River, named first by Hudson as the Mauritius after Maurice, Prince of Orange
New York City
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Clockwise, from top:
Midtown Manhattan,
Times Square, the
Unisphere in
Queens, the
Brooklyn Bridge,
Lower Manhattan with
One World Trade Center,
Central Park, the
headquarters of the United Nations, and the
Statue of Liberty
New York City
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New Amsterdam, centered in the eventual
Lower Manhattan, in 1664, the year
England took control and renamed it "New York".
New York City
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The
Battle of Long Island, the largest battle of the
American Revolution, took place in
Brooklyn in 1776.
New York City
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Broadway follows the Native American Wickquasgeck Trail through Manhattan.
31.
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
Colosseum
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Colosseum
Colosseum
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The Colosseum
Colosseum
Colosseum
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Sestertius of Titus celebrating the inauguration of the Colosseum (minted 80 AD).
32.
The Walters Art Museum
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The Walters Art Museum, located in Mount Vernon-Belvedere, Baltimore, Maryland, is a public art museum founded and opened in 1934. It holds collections established during the mid-19th Century, located across the back alley, a block south of the Walters mansion on West Monument Street/Mount Vernon Place, on the northwest corner of North Charles Street at West Centre Street. The following year, The Walters reopened its original building after a dramatic three-year physical renovation and replacement of internal utilities. The Archimedes Palimpsest was on loan to the Walters Art Museum from a collector for conservation. This was one of the largest and most comprehensive such releases made by any museum, the Walters collection of ancient art includes examples from Egypt, Nubia, Greece, Rome, Etruria and the Near East. In 1911, Henry Walters purchased almost 100 gold artifacts from the Chiriqui region of western Panama in Central America, the museum owns the oldest surviving Chinese wood-and-lacquer image of the Buddha. It is exhibited in a gallery dedicated solely to this work, the Museum holds one of the largest and finest collections of Thai bronze, scrolls, and banner paintings in the world. Islamic art in all media is represented at the Walters, the Walters Museum owns an array of Islamic manuscripts. Walters Art Museum, MS W.613 contains five Mughal miniatures from a very important Khamsa of Nizami made for the Emperor Akbar, Henry Walters assembled a collection of art produced during the Middle Ages in all the major artistic media of the period. This forms the basis of the Walters medieval collection, for which the Museum is best known internationally. Considered one of the best collections of art in the United States, the Museums holdings include examples of metalwork, sculpture, stained glass, textiles, icons. Sculpted heads from the royal Abbey of St. Denis are rare surviving examples of sculptures that are directly connected with the origins of Gothic art in 12th Century France. An ivory casket covered with scenes of jousting knights is one of about a dozen such objects to survive in the world, many of these works are on display in the Museums galleries. Works in the collection are the subject of active research by the curatorial and conservation departments of the museum. The collection of European Renaissance and Baroque art features holdings of paintings, sculpture, furniture, ceramics, metal work, arms, the museum has one of ten surviving examples of the Sèvres pot-pourri vase in the shape of a ship from the 1750s and 1760s. William and Henry Walters collected works by late 19th Century French academic masters, Henry Walters was particularly interested in the courtly arts of 18th Century France. The museum’s collection of Sèvres porcelain includes a number of pieces that were made for members of the Royal Bourbon Court at Versailles Palace outside of Paris. Portrait miniatures and the examples of works, especially snuffboxes and watches, are displayed in the Treasury, along with some exceptional 19th-
The Walters Art Museum
–
North Charles Street original main entrance to the Walters Art Museum
The Walters Art Museum
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Sculpture Garden (central "Great Hall") of the Walters Art Gallery (now Walters Art Museum) in the original Main Building of 1905-1909
The Walters Art Museum
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Sumerian male worshiper, c.2300 BC
The Walters Art Museum
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"
Padiiset's Statue ", illustrates
Canaan -
Ancient Egypt trade, c.1700 B.C. (inscription c.900 B.C.)
33.
Waddesdon Manor
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Waddesdon Manor is a country house in the village of Waddesdon, in Buckinghamshire, England. It is located in the Aylesbury Vale,6.6 miles west of Aylesbury, the house was built in the Neo-Renaissance style of a French château between 1874 and 1889 for Baron Ferdinand de Rothschild as a weekend residence for grand entertaining. The last member of the Rothschild family to own Waddesdon was James de Rothschild and he bequeathed the house and its contents to the National Trust. It is now administered by a Rothschild charitable trust that is overseen by Jacob Rothschild and it is one of the National Trusts most visited properties, with around 335,000 visitors annually. Prior to the construction of Waddesdon Manor, no house existed on the site, Ferdinand de Rothschild wanted a house in the style of the great Renaissance châteaux of the Loire Valley. The Baron, a member of the Viennese branch of the Rothschild banking dynasty, Destailleur was already experienced in working in this style, having overseen the restoration of many châteaux in that region, in particular that of the Château de Mouchy. Through Destailleurs vision, Waddesdon embodied an eclectic style based on the châteaux so admired by his patron, Baron Ferdinand. The towers at Waddesdon were based on those of the Château de Maintenon, however, following the theme of unparalleled luxury at Waddesdon, the windows of the towers at Waddesdon were glazed, unlike those of the staircase at Chambord. They are also far more ornate, the structural design of Waddesdon, however, was not all retrospective. The house also had hot and cold running water in its bathrooms, central heating, the building contractor was Edward Conder & Son. Works were acquired for their quality and fine provenance. One of the highlights of the collection is the extraordinary musical automaton elephant, dating from 1774, in the 1890s, Baron Ferdinand focused on the Renaissance collection for his small museum in the New Smoking Room. This collection was bequeathed to the British Museum and is now known as the Waddesdon Bequest, the interior of Waddesdon Manor was photographed in 1897 for Baron Ferdinands privately published The Red Book. Subsequent owners added noted collections of Limoges enamel, arms and armour, maiolica, medieval manuscripts, prints, extensive landscaping of the hill was carried out, including leveling the top. The gardens and landscape park were laid out by the French landscape architect Elie Lainé, an attempt was made to transplant full-grown trees by chloroforming their roots, to limit the shock. While this novel idea was unsuccessful, many large trees were successfully transplanted. The gardens were enhanced with statuary, pavilions and an aviary that is still in use, the Proserpina fountain was brought to the Manor at the end of the 19th century from the Palace of the Dukes of Parma in northern Italy, the Ducal Palace of Colorno. The gardens are listed Grade I on the Register of Historic Parks, Baron Ferdinand played host to many important guests including the future Edward VII
Waddesdon Manor
–
Waddesdon Manor. The north entrance
facade.
Waddesdon Manor
–
The towers were modelled on the towers of
Château de Maintenon.
Waddesdon Manor
–
One of the twin staircase-towers inspired by those at the Château de Chambord.
Waddesdon Manor
–
Plan of Waddesdon's ground floor. 1:Vestibule; 2:Entrance Hall, 3 Red Drawing room; 4:Grey Drawing Room; 5:Library; 6:Baron's Sitting room; 7:Morning Room; 8:West Hall; 9:West Gallery; 10:East Gallery; 11:Dining Room; 12:Conservatory; 13:Breakfast Room; 14:Kitchen; 15:Servant's Hall; 16:Housekeeper's Rooms; 17:Site of further servants quarters (not illustrated); 18:Terrace and parterre; 19 North Drive; St:staircases.
34.
International Standard Book Number
–
The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
International Standard Book Number
–
A 13-digit ISBN, 978-3-16-148410-0, as represented by an
EAN-13 bar code
35.
Virtual International Authority File
–
The Virtual International Authority File is an international authority file. It is a joint project of national libraries and operated by the Online Computer Library Center. The project was initiated by the US Library of Congress, the German National Library, the National Library of France joined the project on October 5,2007. The project transitions to a service of the OCLC on April 4,2012, the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together, a VIAF record receives a standard data number, contains the primary see and see also records from the original records, and refers to the original authority records. The data are available online and are available for research and data exchange. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol, the file numbers are also being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAFs clustering algorithm is run every month, as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records
Virtual International Authority File
–
Screenshot 2012
36.
Integrated Authority File
–
The Integrated Authority File or GND is an international authority file for the organisation of personal names, subject headings and corporate bodies from catalogues. It is used mainly for documentation in libraries and increasingly also by archives, the GND is managed by the German National Library in cooperation with various regional library networks in German-speaking Europe and other partners. The GND falls under the Creative Commons Zero license, the GND specification provides a hierarchy of high-level entities and sub-classes, useful in library classification, and an approach to unambiguous identification of single elements. It also comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format
Integrated Authority File
–
GND screenshot
37.
Union List of Artist Names
–
The Union List of Artist Names is an online database using a controlled vocabulary currently containing around 293,000 names and other information about artists. Names in ULAN may include names, pseudonyms, variant spellings, names in multiple languages. Among these names, one is flagged as the preferred name, the focus of each ULAN record is an artist. Currently there are around 120,000 artists in the ULAN, in the database, each artist record is identified by a unique numeric ID. Linked to each artist record are names, related artists, sources for the data, the temporal coverage of the ULAN ranges from Antiquity to the present and the scope is global. The ULAN includes proper names and associated information about artists, artists may be either individuals or groups of individuals working together. Artists in the ULAN generally represent creators involved in the conception or production of visual arts, repositories and some donors are included as well. Work on the ULAN began in 1984, when the Getty decided to merge, in 1987 the Getty created a department dedicated to compiling and distributing terminology. The ULAN grows and changes via contributions from the user community, although originally intended only for use by Getty projects, the broader art information community outside the Getty expressed a need to use ULAN for cataloging and retrieval. Its scope was broadened to include corporate bodies such as firms and repositories of art. The ULAN was founded under the management of Eleanor Fink, the ULAN has been constructed over the years by numerous members of the user community and an army of dedicated editors, under the supervision of several managers. The ULAN was published in 1994 in hardcopy and machine-readable files, given the growing size and frequency of changes and additions to the ULAN, by 1997 it had become evident that hard-copy publication was impractical. It is now published in automated formats only, in both a searchable online Web interface and in data files available for licensing, final editorial control of the ULAN is maintained by the Getty Vocabulary Program, using well-established editorial rules. The current managers of the ULAN are Patricia Harpring, Managing Editor, entities in the Person facet typically have no children. Entities in the Corporate Body facet may branch into trees, there may be multiple broader contexts, making the ULAN structure polyhierarchical. In addition to the relationships, the ULAN also has equivalent. Contributors to the Getty Vocabularies and implementers of the licensed vocabulary data may consult these guidelines as well
Union List of Artist Names
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Contents
38.
National Library of Australia
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In 2012–2013, the National Library collection comprised 6,496,772 items, and an additional 15,506 metres of manuscript material. In 1901, a Commonwealth Parliamentary Library was established to serve the newly formed Federal Parliament of Australia, from its inception the Commonwealth Parliamentary Library was driven to development of a truly national collection. The present library building was opened in 1968, the building was designed by the architectural firm of Bunning and Madden. The foyer is decorated in marble, with windows by Leonard French. In 2012–2013 the Library collection comprised 6,496,772 items, the Librarys collections of Australiana have developed into the nations single most important resource of materials recording the Australian cultural heritage. Australian writers, editors and illustrators are actively sought and well represented—whether published in Australia or overseas, approximately 92. 1% of the Librarys collection has been catalogued and is discoverable through the online catalogue. The Library has digitized over 174,000 items from its collection and, the Library is a world leader in digital preservation techniques, and maintains an Internet-accessible archive of selected Australian websites called the Pandora Archive. A core Australiana collection is that of John A. Ferguson, the Library has particular collection strengths in the performing arts, including dance. The Librarys considerable collections of general overseas and rare materials, as well as world-class Asian. The print collections are further supported by extensive microform holdings, the Library also maintains the National Reserve Braille Collection. The Library has acquired a number of important Western and Asian language scholarly collections from researchers, williams Collection The Asian Collections are searchable via the National Librarys catalogue. The National Library holds a collection of pictures and manuscripts. The manuscript collection contains about 26 million separate items, covering in excess of 10,492 meters of shelf space, the collection relates predominantly to Australia, but there are also important holdings relating to Papua New Guinea, New Zealand and the Pacific. The collection also holds a number of European and Asian manuscript collections or single items have received as part of formed book collections. Examples are the papers of Alfred Deakin, Sir John Latham, Sir Keith Murdoch, Sir Hans Heysen, Sir John Monash, Vance Palmer and Nettie Palmer, A. D. Hope, Manning Clark, David Williamson, W. M. The Library has also acquired the records of many national non-governmental organisations and they include the records of the Federal Secretariats of the Liberal party, the A. L. P, the Democrats, the R. S. L. Finally, the Library holds about 37,000 reels of microfilm of manuscripts and archival records, mostly acquired overseas and predominantly of Australian, the National Librarys Pictures collection focuses on Australian people, places and events, from European exploration of the South Pacific to contemporary events. Art works and photographs are acquired primarily for their informational value, media represented in the collection include photographs, drawings, watercolours, oils, lithographs, engravings, etchings and sculpture/busts
National Library of Australia
National Library of Australia
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National Library of Australia as viewed from
Lake Burley Griffin,
Canberra
National Library of Australia
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The original National Library building on Kings Avenue, Canberra, was designed by Edward Henderson. Originally intended to be several wings, only one wing was completed and was demolished in 1968. Now the site of the Edmund Barton Building.
National Library of Australia
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The library seen from Lake Burley Griffin in autumn.
39.
Netherlands Institute for Art History
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The Netherlands Institute for Art History or RKD is located in The Hague and is home to the largest art history center in the world. The center specializes in documentation, archives, and books on Western art from the late Middle Ages until modern times, all of this is open to the public, and much of it has been digitized and is available on their website. The main goal of the bureau is to collect, categorize, via the available databases, the visitor can gain insight into archival evidence on the lives of many artists of past centuries. The library owns approximately 450,000 titles, of which ca.150,000 are auction catalogs, there are ca.3,000 magazines, of which 600 are currently running subscriptions. Though most of the text is in Dutch, the record format includes a link to library entries and images of known works. The RKD also manages the Dutch version of the Art and Architecture Thesaurus, the original version is an initiative of the Getty Research Institute in Los Angeles, California. Their bequest formed the basis for both the art collection and the library, which is now housed in the Koninklijke Bibliotheek. Though not all of the holdings have been digitised, much of its metadata is accessible online. The website itself is available in both a Dutch and an English user interface, in the artist database RKDartists, each artist is assigned a record number. To reference an artist page directly, use the code listed at the bottom of the record, usually of the form, https, for example, the artist record number for Salvador Dalí is 19752, so his RKD artist page can be referenced. In the images database RKDimages, each artwork is assigned a record number, to reference an artwork page directly, use the code listed at the bottom of the record, usually of the form, https, //rkd. nl/en/explore/images/ followed by the artworks record number. For example, the record number for The Night Watch is 3063. The Art and Architecture Thesaurus also assigns a record for each term, rather, they are used in the databases and the databases can be searched for terms. For example, the painting called The Night Watch is a militia painting, the thesaurus is a set of general terms, but the RKD also contains a database for an alternate form of describing artworks, that today is mostly filled with biblical references. To see all images that depict Miriams dance, the associated iconclass code 71E1232 can be used as a search term. Official website Direct link to the databases The Dutch version of the Art and Architecture Thesaurus
Netherlands Institute for Art History
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As the logos on the window show, the RKD shares the same building located at
Den Haag Centraal with the National Archives, the Nederlands Letterkundig Museum (nl) (LM), the
Huygens ING, the
Netherlands Music Institute (NMI) and the
Koninklijke Bibliotheek.
Media related to Giovanni Paolo Pannini at Wikimedia Commons
