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The famous Nile Mosaic of Palestrina, ancient Praeneste in central Italy, dating to c. 100 B.C., is one of the earliest large mosaics which have been preserved from the classical world. It presents a unique, comprehensive picture of Egypt and Nubia. The interpretation of the mosaic is disputed, suggestions ranging from an exotic decoration to a topographical picture or a religious allegory. The present study demonstrates that the mosaic depicts rituals connected with Isis and Osiris and the yearly Nile flood. The presence of these Egyptian religious scenes at Praeneste can be explained by the assimilation of isis and Fortuna, the tutelary goddess of Praeneste, and by the interpretation of the mosaic as a symbol of divine providence.
This book is the first study of the portico and its decorative program as a cultural phenomenon in Renaissance Italy. Focusing on a largely neglected group of porticoes decorated with painted pergolas that appeared in Rome and environs in the sixteenth and early seventeenth centuries, it tells the story of how an element of the garden—the pergola—became a pictorial topos in portico decoration, and evolved, hand in hand with its real cousin in the garden, into an object for cultural emulation among the educated patrons of early modern Rome. The liminality of both the portico and the pergola at the interface of architecture and garden is key to the interpretation of these architectural and painted forms, which rests on the intersecting frameworks of the classical tradition, natural history, and the cultural identity of the aristocracy. In the mediating space of the Renaissance portico, the illusionism pergola created an art gallery, a natural history museum, and a virtual garden where one could engage in leisurely strolls, learned conversations, appreciation of art, and scientific investigation, as well as extensive travel across time and space. The book proposes the interpretation that the illusionistic pergola was an artistic formula for the early modern perception of nature.
Going beyond strictly legal and property-oriented aspects of the restitution debate, restitution is considered as part of a larger set of processes of return that affect museums and collections, as well as notions of heritage and object status. Covering a range of case studies and a global geography, the authors aim to historicize and bring depth to contemporary debates in relation to both the return of material culture and human remains. Defined as contested holdings, differing museum collections ranging from fine arts to physical anthropology provide connections between the treatment and conceptualization of collections that generally occupy separate realms in the museum world.
This book examines the appetite for Egyptian and Egyptian-looking artwork in Italy during the century following Rome's annexation of Aegyptus as a province. In the early imperial period, Roman interest in Egyptian culture was widespread, as evidenced by works ranging from the monumental obelisks, brought to the capital over the Mediterranean Sea by the emperors, to locally made emulations of Egyptian artifacts found in private homes and in temples to Egyptian gods. Although the foreign appearance of these artworks was central to their appeal, this book situates them within their social, political, and artistic contexts in Roman Italy. Swetnam-Burland focuses on what these works meant to their owners and their viewers in their new settings, by exploring evidence for the artists who produced them and by examining their relationship to the contemporary literature that informed Roman perceptions of Egyptian history, customs, and myths.
A sophisticated portrait of a formidable, yet relatively unknown, queen in the 200-year power struggle that followed the death of Alexander the Great.
This archaeological study investigates the meaning of the Egyptian and egyptianising artefacts that have been preserved from the Roman world in different ways. Its point of departure is a detailed study on the so-called Nilotic scenes or Nilotic landscapes. The book presents a comprehensive and illustrated catalogue of the genre that was popular all around the Mediterranean from the Hellenistic period to the Christian era as well as a contextualisation and interpretation. Drawing on the conclusions thus reached the whole group of Aegyptiaca Romana is subsequently studied. Based on a general overview of this material in the Roman world and, moreover, a case-study of the Aegyptiaca from the city of Rome the different meanings of this cultural phenomenon are mapped. Together with other Egyptian deities popular in the Roman world, the goddess Isis plays an important role in this discussion. Aegyptiaca Romana, among them the Nilotic scenes, are part of the reflection of the Roman attitude towards and thoughts on Egypt, Egyptian culture and the East. The concluding part of the book illustrates and tries to explain this Roman discourse on Egypt.
The River Nile fascinated the Romans and appeared in maps, written descriptions, texts, poems and paintings of the developing empire. Tantalised by the unique status of the river, explorers were sent to find the sources of the Nile, while natural philosophers meditated on its deeper metaphysical significance. Andy Merrills' book, Roman Geographies of the Nile, examines the very different images of the river that emerged from these descriptions - from anthropomorphic figures, brought repeatedly into Rome in military triumphs, through the frequently whimsical landscape vignettes from the houses of Pompeii, to the limitless river that spilled through the pages of Lucan's Civil War, and symbolised a conflict - and an empire - without end. Considering cultural and political contexts alongside the other Niles that flowed through the Roman world in this period, this book provides a wholly original interpretation of the deeper significance of geographical knowledge during the later Roman Republic and early Principate.
This important new study looks at the intersection of Greek and Egyptian art forms in the funerary sphere of Roman Egypt. A discussion of artistic change, cultural identity, and religious belief foregrounds the detailed analysis of more than 150 objects and tombs, many of which are presented here for the first time. In addition to the information it provides about individual works of art, supported by catalogue entries, the study explores fundamental questions such as how artists combine the iconographies and representational forms of different visual traditions, and why two distinct visual traditions were employed in Roman Egypt.
In Truly Beyond Wonders Alexia Petsalis-Diomidis investigates texts and material evidence associated with healing pilgrimage in the Roman empire during the second century AD. Her focus is upon one particular pilgrim, the famous orator Aelius Aristides, whose Sacred Tales, his fascinating account of dream visions, gruelling physical treatments, and sacred journeys, has been largely misunderstood and marginalized. Petsalis-Diomidis rehabilitates this text by placing it within the material context of the sanctuary of Asklepios at Pergamon, where the author spent two years in search of healing. The architecture, votive offerings, and ritual rules which governed the behaviour of pilgrims are used to build a picture of the experience of pilgrimage to this sanctuary. Truly Beyond Wonders ranges broadly over discourses of the body and travel and in so doing explores the place of healing pilgrimage and religion in Graeco-Roman society and culture. It is generously illustrated with more than 80 drawinsg and photographs, and four colour plates.