Gotowa bibliografia na temat „Museo antiquario”

IL CASINO DI PIO IV AL VATICANOIl Casino di Pio IV nei Giardini Vaticani fu progettata dall'antiquario Pirro Ligorio (c. 1531–83), uno degli archeologici classici più competenti del sedicesimo secolo. In considerazione dell'attività di Ligorio sia come antiquario che come archeologo, sono spesso stati sottolineati paralleli tra il Casino di Pio IV e l'architettura classica, fin dal diciottesimo secolo. Comunque, tentativi di associare il Casino con antiche architetture si sono basati sul presupposto che il Casino (che è poi il nome più recente) fosse stato progettato da Ligorio come una villa. Ciò, ad ogni modo, non è supportato da alcuna evidenza documentaria, e sia l'architettura che il carattere del Casino sembrano escluderlo. Il Casino è infatti menzionato nei documenti dell'epoca come sede di una fonte, e le iscrizioni commemorative contengono le parole FONTIBUS e LYMPHAEUM. Allo stesso modo, l'intero edificio è chiamato da Ligorio un Lymphaeo. Si discute in questo articolo che il ‘Casino’ possa essere meglio compreso come una ricostruzione antiquaria di un musaeum classico. Non è inoltre da escludere che Ligorio, nel progettare il Casino, avesse in mente il Museo dell'Accademia di Atene come modello per un'accademia moderna. Questa è una nuova interpretazione del complesso, e nuovo materiale documentario legato alla sua cronologia ed ai cambiamenti che ebbero luogo durante il pontificato di Clemente XI, vengono inoltre presentati.

The proposal introduces the theme of the communicative resilience of exhibitions during the Pandemic Era. On March 7, 2020, Italy and its museums, as well as the countless exhibitions housed in their rooms, were closed leaving hundreds, perhaps thousands, of works without the public: from the paintings of Raphael (Rome, Scuderie del Quirinale), to the tables of the Griffoni Polyptych assembled after three hundred years (Bologna, Palazzo Fava), to the statues of Canova (Rome, Palazzo Braschi), to the Sant'Antonio by Antonio Vivarini and to the San Felice in the chair by Lorenzo Lotto chased by Bernard Berenson in his Apulian 'pilgrimages' (Bari, Palazzo Ateneo). Indeed, the latter is the exhibition to which particular attention is paid here. The spaces of the ancient Museum have come back to life with the exhibition “Il Museo che non c’è. Arte, collezionismo, gusto antiquario nel Palazzo degli Studi di Bari 1875-1928”. The exhibition involved lenders institutions such as Villa I Tatti - The Harvard University Center for Italian Renaissance Studies, the Central State Archive in Rome, the Pinacoteca of Bari 'Corrado Giaquinto' and several others. The exhibition in Bari was inaugurated on February 28th. After the first five days only the exhibition was closed for the advance of COVID 19 virus. In the 'great hall' - as the main space of the ancient Provincial Museum was called - everything remained suspended and perfectly finished: showcases, exhibitors, paintings, statues, clay and stone art objects. However, there was no longer the possibility of letting people, visitors enter. We said that it would have been wonderful to be said that it would have been wonderful to be able to reopen it at least 'virtually'. And so we did, with an immersive and advanced teaching perspective.

After over a century of relative neglect, the activities of David Steuart Erskine, the eleventh Earl of Buchan, on his Dryburgh estate between 1785 and 1829 have come under increasing academic scrutiny. The Earl’s retirement to Dryburgh has been seen less as a retreat from his high public profile as the founder of the Society of Antiquaries and more as a continuation both of his antiquarian and political interests. Indeed, landscape features such as the Temple of the Muses to the poet James Thomson and especially the giant statue to William Wallace have been viewed recently as part of a highly political nationalist-historic romantic landscape. While confirming the essentially political nature of these monuments, this article will explore an alternative whig and unionist reading of them. At the same time, although highlighting the continuity of Buchan’s antiquarian agenda, it will attempt to show how this gradually merged with a wide range of the Earl’s more personal enthusiasms such as Horace Walpole’s Strawberry Hill, classical antiquity and the beaux arts of London’s Royal Academy to form a distinctive second summer to his career.

This article identifies for the first time the ‘lone antiquary’, which Charlotte Smith refers to in her poem Beachy Head, as Rev. James Douglas, one of the most significant and interesting early archaeological writers. My contention is that not only do Douglas’s specific findings and theories about stratigraphy, fossilisation and the culture of Britain’s earliest inhabitants contribute to the historical, antiquarian background to Smith’s poem but also that the transformative nature of his poetics informs her work. In particular, both Douglas and Smith are concerned with the relationships between facts and fancy, rubble and aura, scepticism and belief. I argue that the barrows, which Douglas excavated and upon which Smith mused, were an important site for the development of the Romantic archaeological imagination and, as such, represent a suggestive contribution to the new Material Romanticism critical turn.

The research focuses on the generation of 3D models aimed at creating interactive virtual environments as the outcomes of scalar representations of existing realities. The purpose is to increase the narration, fruition, and dissemination of the findings that emerged from the archaeological investigations carried out in a large sector of the south-eastern suburbs of Rome. In this context, the research proposes a process oriented toward designing a virtual museum of the first group of works from the Appia Antica Archaeological Park and now exhibited at the Museo Nazionale Romano, the Antiquarium di Lucrezia Romana, and the Antiquarium di Villa Dei Quintili. Managing high historical and cultural findings through geometrical surveys, high-resolution data from 3D survey analysis, archival research, and interactive digital representation is the aim of the study. The digitisation of artefacts has made it possible to build new forms of communication that enrich virtual and on-site visits with content, both of the park and of the Museums that host the collections. In particular, it has gradually allowed a ‘virtual’ relocation of works from the Appia Park, favouring the definition of a method capable of communicating new content and laying the basis for the development of a virtual museum, a temporary exhibition, and a web platform for one of the most important historical sites of ancient Rome.

Künstler und Antiquare in Rom am Ende des 19. und zu Beginn des 20. Jahrhunderts : Attilio Simonettis Atelier und Kunstgalerie. Im Jahr 1883 wurde aufgrund eines großen Verkaufs antiker Kunstwerke der Maler Attilio Simonetti (Rom, 1843-1925), berühmter Nachfolger von Mariano Fortuny, ein Sammler und connoisseur von Weltrang. Seine Sammlung, die das Interesse für die europäische Kunst und, der Anregung von Fortuny folgend, für die spanisch-arabischen Manufakturen verband, hatte zu einer neuen Tendenz sowohl bei den Sammlern als auch auf dem römischen Kunstmarkt geführt ; darüber hinaus diente sein als Museum umgestaltetes Atelier vielen Künstlern als Vorbild. Im Jahr 1890 gab Simonetti die Malerei auf, um sich ausschließlich dem Handel zu widmen : seine Galerie im Palast Odescalchi wurde einer der angesehensten Orte der Stadt, der die prominentesten Käufer anzuziehen vermochte. Simonettis Tätigkeit beruht auf dem Willen, Kenntnisse zu gewinnen, die auf die Geschichte der angewandten Künste ein neues Licht werfen könnten : daher seine Stellung in der Geschichte des Museo Artistico Industriale.

In the second half of the eighteenth century, archaeological activities in Rome intensified considerably under the pontificate of Pius VI (1775–99), and new excavations in the Roman Campagna and the Latium, together with the erection of the Museo Pio Clementino (1776–84), excited considerable interest in Roman learned and literary circles. A young poet who had moved to Rome from Romagna, Vincenzo Monti (1754–1828), obtained his first great success by celebrating the new discoveries in a memorable poem, La prosopopea di Pericle. In it, a newly found herm of Pericles sings of Pius's pontificate as a new golden age for the arts. Monti, who was to become Italy's most authoritative man of letters in the following decades, befriended in those years, and received considerable assistance from, the leading antiquarian of that age, Ennio Quirino Visconti (1751–1818). Their relationship and its legacy provide the subject of this paper, with emphasis on Monti's early poetry, its significance for the literary history of the neoclassical age, and its role in shaping a novel poetic style intended for the praise of ancient art.

The article aims at reviewing the rich and ambivalent Western folk ballad research tradition in terms of confluence of the oral and written traditions. Although being well-reflected in the West, this approach is hardly at all present in Lithuania. The article starts with discussing such cultural phenomenon as broadside ballads. In surveying them, the author maintains that popular publications of the 16th–19th century Europe (bibliothèque bleue, skyllingtricker, Volksbuch, pliegos de cordel, лубочная литература, etc.) were an inherent part of the folk culture. Printed sheets of folksongs and ballads used to be popular in Great Britain, the Netherlands, France, Italy, Spain, Germany, and subsequently in America. However, although spread and promoted by the press, the ballads hardly ascended the field of interest of the educated elite, remaining instead in the “lower” spheres of the popular culture.The first collectors of ballads from the 18th century (the “antiquarian period”) paid little attention to the sources of their material, being instead very keen on improving and elaborating of the ballad texts, and presenting them as creative manifestations of the “original bard” or the “national muse”. After the collections by Thomas Percy and Walter Scott appeared, William Motherwell turned back to the still thriving ballad tradition. This Scottish scholar, followed by his Danish colleague Svend Grundtvig and the American Francis James Child founded the modern ballad folklore research, since their collections represented the oral folk tradition rather than engaging in search for the “original” folk ballads. The subsequent researchers, influenced by the Child’s ballad scholarship (Phillips Barry, Cecil J. Sharp, Olive D. Campbell, Louise Pound, Henry M. Belden, etc.), continued investigating the American ballad legacy. However, while collecting and encouraging to further collect the surviving ballads they increasingly realized the huge distance between their endeavors and the Child’s collection. The heterogeneous and fragmented nature of the ballads from the oral tradition was increasingly recognized and acknowledged, along with unavoidable impact of the written and printed sources.Barre J. Toelkien, the scholar belonging to even later generation, attempted methodical indexing of the oral ballads belonging to the Child’s collection. Dianne M. Dugaw in turn suggested that assuming the non-written songs, those from the oral tradition, being inherently different from the printed ones had largely affected the way in which folklore researchers perceived and interpreted folksongs. She concluded that differences devised between the written and non-written, between commercial and non-commercial forms were frequently just illusive, since commercial dissemination constituted an integral part of the folksongs development.In view of the confluence of the oral and written traditions surveyed in this article, it is reasonable to conclude that written culture, or rather the popular press, constituted a significant factor affecting the existence of folk ballads in the West; because of obvious reasons, such culture was absent in old-time Lithuania. Contrary to Lithuania, the ballad tradition of the West was nurtured by the written and printed sources. Therefore, the Lithuanian case could present a kind of thought experiment to the folklore researcher, vividly illustrating the plausible ballad tradition development in the West, if it could be unaffected by such phenomena as printed texts in native languages, readily available to the common people.

La recherche a analysé la figure éclectique de Raffaele Gargiulo, marchand d'antiquités célèbre en Europe, collectionneur, personnage complexe et controversé de l'histoire du Musée de Naples, dans le monde des Antiquités napolitaines de la première moitié du XIXème siècle. À partir de sa collection d’objets provenant de la Grande-Grèce; l'une des plus riches du Musée de Naples, et en examinant en particulier les vases peints, nous avons analysé ses méthodes de travail ainsi que ses techniques de restauration, les matériaux qu’il a utilisés et les choix qu’il a faits pour reconstruire et comprendre les critères qui ont guidé la pratique de la restauration des vases du musée Royal Bourbon dans la première moitié du XIXème siècle. La recherche a analysé les événements historiques qui ont conduit le Musée Royal à acheter l’intégralité de la collection de Raffaele Gargiulo et, en particulier, sa collection de vases. Le travail effectué est accompagné de documents d'archives qui illustrent les longues négociations concernant l'achat des matériaux, commencé en 1852 et achevé en 1855 et renseignent sur les tendances et les choix effectués par le Musée Royal de Naples en étroite collaboration avec la Commission des Antiquités et des Beaux-Arts. L’enquête a permis d’en savoir plus sur le restaurateur-marchand qu’était R. Gargiulo et sur les relations qu’il entretenait avec les personnes impliquées dans ces affaires. En partant des sources bibliographiques, des anciens inventaires et des documents d’archives, nous avons identifié les vases de la collection Gargiulo (environ 481 vases) et tous les “vases Gargiulo" achetés par le Musée de Naples. Nous avons compilé le catalogue des vases, en les classant par type de céramique et en rédigeant une fiche pour chacun d’eux. À travers le catalogage des vases, qui a permis la reconstruction de la collection, nous avons cherché à identifier et à mettre en évidence les goûts du collectionneur R. Gargiulo mais aussi des personnes impliquées dans les choix (ministre, directeur du Musée, experts), qui ont déterminé un certain style pour les collections du Musée de Naples
The research focuses on the eclectic figure of Raffaele Gargiulo, who was a dealer, an expert, a restorer, a collector, a controversial figure in the history of the Naples Museum and Neapolitan antiques market in the first half of the nineteenth century. Starting from his collection of antiquites, one of the richest coming from Magna Graecia and which arrived in the Naples Museum, we have primarily examined the vases and have tried to analyze the restoration methods, the materials used and the choices made to reconstruct the criteria that guided the practice of the vases restoration in the Royal Bourbon Museum in the first half of the nineteenth century. The research analyzes the historical events that led to the purchase, by the Museum, of Raffaele Gargiulo’s collection, focusing mainly on the study of the vases collection. The research, enriched by archival documentation aimed at illustrating the long negotiation in the acquisition of the objects, which began in 1852 and ended in 1855, has shown the judgements and the choices made by the Neapolitan Museum in cooperation with the Commissione di Antichità e Belle Arti. Furthermore, it has contributed to define the figure of the restorer-dealer Gargiulo and his relationship with the people interested in the deal. A combination of archival documentation, old inventories and surveys in the Museum’s stores has allowed us to identify the Gargiulo’s vases collection (about 481 vases) and all the "Gargiulo’s vases" in the Museum. The vases catalogue has been created, in order to classify them according to type of ceramic, with an individual file for each vase. Thanks to the catalogue, which has aimed to the reconstruction of the collection, we have been able to highlight the aspects related to the criteria and to the taste of the collector Gargiulo and of the figures involved (Minister, Director of the Museum, experts, etc.). They have all contributed to the enrichment of the collections of the Naples Museum through the variety of artifacts and provenance from different locations in the Naples Kingdom.The research has also investigated the figure of the restorer Gargiulo, his "career" and his activities at the «Officina dei Vasi Italo-greci» of the Naples Museum. The restoration methods have been analyzed on some vases that still preserve the ancient interventions, focusing on a comparative study between old photos and archival documentation
La ricerca ha analizzato l'eclettica figura di Raffaele Gargiulo, commerciante, abile restauratore, collezionista, figura controversa nella storia del Museo di Napoli e dell’antiquaria napoletana nella prima metà del XIX secolo. Partendo dalla sua collezione, una delle raccolte più ricche di materiali di provenienza magnogreca mai giunte nel Museo di Napoli, esaminando in particolare i vasi, si è cercato poi di analizzare i metodi di restauro, i materiali adoperati e le scelte attuate per ricostruire e comprendere i criteri che guidarono la pratica del restauro dei vasi del Museo Borbonico nella prima metà dell'Ottocento. La ricerca ha analizzato le vicende che hanno portato all’acquisizione da parte del Museo Borbonico della collezione di Gargiulo nella sua totalità e, in particolare, della collezione vascolare. Il lavoro, corredato da documenti archivistici volti ad illustrare la lunga trattativa nell'acquisizione dei materiali, iniziata nel 1852 e conclusa nel 1855, ha messo in evidenza le valutazioni, le tendenze e le scelte operate a Napoli presso il Museo in stretto rapporto con la Commissione di Antichità e Belle Arti e ha contribuito a delineare la figura del restauratore-commerciante Gargiulo e il suo rapporto con le figure che, più o meno appassionatamente, si interessarono alla vicenda.Sono stati individuati, sulla base delle fonti, degli antichi inventari e dei documenti archivistici, i vasi della collezione Gargiulo (481 vasi ca.) e tutti i “vasi Gargiulo” immessi nel Museo. Si è redatto il catalogo dei vasi, diviso per classi ceramiche e con la redazione di singole schede per ogni vaso. Attraverso il catalogo e quindi la ricostituzione della collezione, si sono potute individuare, nella sua varietà di classi ceramiche e di provenienze, gli aspetti relativi ai criteri e al gusto di Gargiulo e delle figure coinvolte (Ministro, Direttore del Museo, esperti, etc.) che hanno determinato anche una scelta di gusto e di rappresentatività per le collezioni del Museo di Napoli. La ricerca ha anche preso in esame la figura del restauratore Gargiulo, la sua “carriera” e la sua attività presso «l’Officina dei Vasi Italo-greci» del Museo di Napoli. Si sono esaminati i metodi di restauro su alcuni vasi che ancora conservano gli interventi antichi, anche attraverso uno studio comparativo tra le foto antiche e i documenti di archivio

La tesi delinea le vicende biografiche e artistiche del lucchese Giovanni Domenico Campiglia, artista noto per aver preso parte alle maggiori imprese editoriali del Settecento a Firenze e Roma. Il lavoro è articolato in otto capitoli, corredati da appendice documentaria e immagini, che partono con la ricostruzione della biografia. Grazie a nuove ricerche sono emersi particolari inediti della vita dell’artista che hanno permesso di correggere innanzitutto la data di nascita, anticipandola di un anno rispetto a quella tradizionalmente ritenuta corretta. Inoltre il rinvenimento di alcune lettere ignote alla bibliografia su Campiglia e lo studio dei registri parrocchiali, con particolare riferimento agli Stati delle Anime, hanno consentito di precisare altre date del nebuloso periodo giovanile del disegnatore. Il capitolo dedicato alla pittura fa il punto sullo stato delle conoscenze sull’attività di Campiglia in questo campo, che probabilmente non fu al centro dei suoi interessi molto a lungo, ma su cui si aspettano ancora rinvenimenti che possano gettare una luce anche in questa direzione. In tal senso di un certo interesse risulta un quadro a lui attribuito passato pochi anni fa sul mercato antiquario di cui si dà conto, pur con le dovute cautele. Ardua da dipanare è la questione degli allievi dell’artista, su cui le fonti quasi tacciono; se è vero che sappiamo chi furono i suoi collaboratori occasionali nel corso delle imprese editoriali da lui dirette, poco o niente conosciamo invece degli artisti che dovettero transitare dalla sua bottega come allievi. L’incrocio delle informazioni desunte da varie fonti consente adesso di aprire uno squarcio sulla bottega dell’artista e al tempo stesso di confutare alcuni nomi riportati dalla critica moderna come allievi di Campiglia. Il capitolo relativo ai granturisti con cui l’artista fu in contatto nel corso della sua lunga carriera ci mostra un Campiglia perfettamente inserito nell’ambiente internazionale che caratterizzava la città papale nel crescendo continuo di viaggiatori provenienti dal resto d’Europa. La ricerca si è poi indirizzata sullo studio dell’attività grafica di Campiglia, attività in cui riusciva ad esprimersi al meglio, come riconosciuto anche dai contemporanei. I nuclei più consistenti di disegni, a ciascuno dei quali è dedicato un capitolo, sono adesso alla Eton College Library, al Gabinetto Disegni e Stampe degli Uffizi ed un terzo all’Istituto Centrale per la Grafica. I primi ad essere realizzati furono i disegni per il facoltoso committente inglese Richard Topham che alla sua morte lasciò in eredità alla biblioteca del College di Eton i volumi con i disegni da lui commissionati a vari artisti, tra cui, con oltre seicento fogli, Campiglia. I disegni degli Uffizi servivano da modello agli incisori incaricati delle tavole del Museum Florentinum (1731-1762), impresa editoriale promossa da Anton Francesco Gori e volta a mostrare i pezzi di maggior pregio della collezione medicea, e non solo, di scultura, numismatica e glittica degli Uffizi. Si tratta di più di mille fogli, quasi tutti attribuiti a Campiglia, sebbene in alcuni casi sia lecito dubitare dell’autografia. Stesso scopo avevano i disegni adesso conservati all’Istituto Centrale per la Grafica, erano cioè i disegni di riferimento per gli incisori che lavorarono alla pubblicazione del Museo Capitolino (1741-1782), impresa editoriale che si pone come un vero e proprio catalogo del neonato Museo sul Campidoglio e il cui fautore fu monsignor Bottari. I disegni sono stilisticamente diversi tra loro e ciò è dovuto in primis all’evoluzione e alla maturazione artistica dell’artista, ma anche alla diversa destinazione di tali fogli. Se i nuclei romano e fiorentino possono essere accostati in virtù del comune utilizzo dei disegni per l’edizione a stampa, quello di Eton aveva tutt’altro scopo ed era per un committente, Richard Topham, che voleva farne un uso “privato”. C’è infine un ultimo capitolo che prende in esame altri piccoli nuclei di fogli attribuiti a Campiglia, confermandone e confutandone l’attribuzione. Il criterio selettivo è stato l’originalità dei disegni rispetto alle numerose riproduzioni delle tavole delle imprese editoriali che si trovano sparse in diverse collezioni, pubbliche e private. In questo capitolo si è scelto in parte di privilegiare fogli che mostrassero un Campiglia inedito e diverso dal solito (per esempio con un piccolo gruppo di caricature), sebbene nella maggior parte dei casi la produzione riguardi sempre l’antico. Nell’Appendice documentaria sono raccolti gran parte dei documenti citati nel testo e utili alla comprensione dello stesso, in parte trascritti in questa sede per la prima volta.

Famed for his ground-breaking philological, philosophical, and antiquarian writings, the Brabant humanist Justus Lipsius (1547-1606) was one of the most renowned classical scholars of the sixteenth century. In this volume, Marijke Crab and Ide François bring together the seminal contributions to Lipsius’s life and scholarship by Jeanine De Landtsheer (1954-2021), who came to be known as one of the greatest Lipsius specialists of her generation. In Pursuit of the Muses considers Lipsius from two complementary angles. The first half presents De Landtsheer’s evocative life of the famous humanist, based on her unrivalled knowledge of his correspondence. Originally published in Dutch, it appears here in English translation for the first time. The second half presents a selection of eight articles by De Landtsheer that together chart a way through Lipsius’s scholarship. This twofold approach offers the reader a valuable insight into Lipsius’s life and work, creating an indispensable reference guide not only to Lipsius himself, but also to the wider humanist world of letters.

Famed for his ground-breaking philological, philosophical, and antiquarian writings, the Brabant humanist Justus Lipsius (1547-1606) was one of the most renowned classical scholars of the sixteenth century. In this volume, Marijke Crab and Ide François bring together the seminal contributions to Lipsius’s life and scholarship by Jeanine De Landtsheer (1954-2021), who came to be known as one of the greatest Lipsius specialists of her generation. In Pursuit of the Muses considers Lipsius from two complementary angles. The first half presents De Landtsheer’s evocative life of the famous humanist, based on her unrivalled knowledge of his correspondence. Originally published in Dutch, it appears here in English translation for the first time. The second half presents a selection of eight articles by De Landtsheer that together chart a way through Lipsius’s scholarship. This twofold approach offers the reader a valuable insight into Lipsius’s life and work, creating an indispensable reference guide not only to Lipsius himself, but also to the wider humanist world of letters.