Добірка наукової літератури з теми "Villa Della Torre"

Las excavaciones arqueológicas realizadas en Monte Molião permitieron la recogida de un importante conjunto de artefactos de hueso pulido, de la Edad del Hierro y de época Romana, que supone un total de 80 piezas. Están distribuidas por distintas categorías funcionales, relacionadas con el adorno personal, con la actividad textil, con el juego y con la escritura. Otros integran la categoría de complementos de muebles. El conjunto es revelador de la presencia, en el sur de Portugal, de individuos con costumbres y usanzas que siguen patrones estéticos y sociales del Mediterráneo romanizado.Palabras clave: Algarve romano, mundus muliebris, textiles, ludi, stiliTopónimo: PortugalPeriodo: Edad del Hierro, época romana ABSTRACTThe archaeological digs undertaken in in Monte Molião led to the discovery of 80 bone artefacts, dating from Iron Age and Roman times. They are divided into several functional categories, connected with personal adornment, textile activity, games, and writing. 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Le ricerche effettuate in Istria, nel sito di Torre di Parenzo, hanno permesso -attraverso le operazioni di rilievo e le analisi stratigrafiche delle murature, unitamente alle ricognizioni nel territorio dipendente- di proporre un localizzato modello di sviluppo insediativo strutturato attorno al passaggio dalla villa al castrum, con l’evoluzione -nel corso del V-VI secolo- di una fabbrica rustica romana connessa al sistema curtense, in un nucleo fortificato altomedievale, probabilmente legato alla sintesi di nuove morfologie dell’abitato rurale.

Founding member of a banking network related to the actual BNP Paribas Group, Meyer Joseph Cahen (1804-1881), adopted the “d’Anvers” when he settled in Paris in 1849. Born in Bonn, of an Ashkenazi family, he made his fortune in the Belgian city to which he associated his name, and he continued his career in France. Owner of Nainville’s castle (Essonne) and of the Petit Hôtel de Villars (Paris), he became a naturalized French citizen in 1865. The next year, he obtained the title of Count, bestowed upon him by the King of Italy Victor-Emmanuel II, thanks to the economic support he offered to the Italian Unification. Nineteen years later, King Humbert I surpassed his predecessor and raised Meyer Joseph’s eldest son, Édouard (1832-1894), to the status of Marquis of Torre Alfina. If his siblings – Emma (1833-1901), Louis (1837-1922), Raphaël (1841-1900) and Albert (1846-1903) – enrooted their pathways in the French capital, the eldest lived between Florence, Naples and Rome: he was one of the great investors involved in the urban renovation of the Italian capital, after the fall of the papacy. In France, as well as in Italy, art, and especially architecture, served to legitimize the recent nobility of a family that wished to express the fullness of its civil rights. As targets of the anti-Semitic press, the Cahen d’Anvers family experienced the consequences of the Dreyfus Affair and the horrors of the racial laws. Before the latter, they adopted what could be defined as a “top-down model of integration”. This thesis focuses on its mechanisms and development. After tracing the patriarch’s origins, it analyses the family’s matrimonial policies and it continues with an exploration of Cahen d’Anvers’ “choices” in the vast field of culture. In their salons, the readers will meet Guy de Maupassant, Paul Bourget, Marcel Proust and Gabriele D’Annunzio, as well as Auguste Renoir and Léon Bonnat. Twelve mansions offered a perfect stage for these intellectual gatherings. As a public manifestation of the family’s economic and social power, the historicist eclecticism of these properties aimed to represent the owners as a new phalanx of the old nobility. While Forge-Philippe’s manor (Wallonia), Gérardmer’s chalet (Vosges) and Villa della Selva (Umbria) expressed a certain openness to the twentieth century novelties, the three residences rented by the family (Hôtel du Plessis-Bellière, Paris; Palazzo Núñez-Torlonia, Rome; Château de la Jonchère, Yvelines) and the two properties of Meyer Joseph, as well as Rue de Bassano’s mansion (Paris) or the castles of Champs (Seine-et-Marne), Bergeries (Essonne) and Torre Alfina (Latium) dressed up their nineteenth century spaces with Ancien Régime motifs. Thanks to their historical knowledge and taste, the architects Destailleur, Giuseppe Partini and Eugène Ricard, as well as the landscapers Henri and Achille Duchêne, were able to bend the Middle Age, the Renaissance and the 18th century’s “grammars” to their patrons’ taste and ambitions.

La tesi si propone di indagare sui rapporti e sulle relazioni tra arte e vita religiosa nella Verona negli anni del vescovo Gian Matteo Giberti ( 1524-1543). In quest’epoca la città scaligera era divenuta uno dei più rilevanti centri del riformismo cattolico. L’ ambito temporale dello studio coincide con un’epoca di profonda e drammatica crisi della Chiesa di fronte alla sfida della Riforma protestante. L’attività pastorale del vescovo veronese aveva alimentato un fervido impegno nella cura delle anime, nella predicazione, nell’educazione dei giovani, nell’assistenza ai bisognosi. La ricerca si è posta l’obiettivo di verificare quanto questa spinta riformistica si sia riflessa sulla promozione artistica e sulle committenze del vescovo Giberti e dei suoi più stretti collaboratori. Attraverso indagini archivistiche, l’utilizzazione di fonti scritte e visive lo studio si è sviluppata in quattro sezioni. La prima è stata dedicata alla storia della Chiesa e della vita religiosa a Verona nel Cinquecento. La seconda prende in esame le committenze vescovili concentrandosi sul riassetto della cappella grande della chiesa cattedrale, con gli affreschi di Francesco Torbido, su ispirazione di Giulio Romano, il ‘tornacoro’, attribuito a Michele Sanmicheli ed infine l’altare eucaristico. Un’altra sezione ha preso in esame le committenze relative alle residenze vescovili, soffermandosi in modo particolare su alcuni episodi rilevanti, come l’affresco con la Crocifissione per la chiesa della villa di Santa Maria di Nazareth, attribuito a Battista Del Moro, o ancora il Crocefisso in rilievo che, secondo la testimonianza di Vasari, lo scultore Giovan Battista aveva realizzato per la cappella privata di Gian Matteo Giberti in vescovado. L’ultima sezione è stata dedicata proprio a ricostruire la vicenda artistica di questo celebrato maestro, scultore, stuccatore, incisore, orafo, disegnatore e stretto collaboratore di Giulio Romano.
The thesis deals with the relationships between art and faith in Verona during the time of Bishop Gian Matteo Giberti ( 1524-1542). In that period the city became one of the most relevant centres of the Catholic Reformation. The chronology of the following survey covers the period of the deep and dramatic crisis of the Roman Catholic Church in its challenge to the Protestant Reformation. The Bishop's pastoral work encouraged the commitment in the care of souls, the preaching, the education of the young, the assistance to the needy. The research aimed to verify how much the reformist thrust is reflected in the Bishop's and in his closest associates' artistic promotion and commissions. The essay, thanks to written and visual sources, and to archive surveys, is divided into four sections. The first part is devoted to the history of Church and religious life in Verona in the 16th century. The second section focuses on the episcopal commissions and looks at the main chapel rearrangement in the cathedral, its frescoes by Francesco Torbido, inspired by Giulio Romano, the “tornacoro”, attributed to Michele Sanmicheli, and the Eucharistic altar. The next section regards the commissions related to the episcopal residences, especially the most relevant ones, like the fresco Crucifixion for the church in the villa “Santa Maria di Nazareth”, attributed to Battista del Moro, or like the Crucifixion in bas-relief that was made - according to Vasari – by the sculptor Giovanni Battista for Gian Matteo Giberti's private chapel during his bishopric. The last section aims to reconstruct del Moro's artistic life as celebrated master, sculptor, master of stucco, engraver, goldsmith, painter and Giulio Romano's close associate.

Girolamo marries off all five daughters to Friulian nobles—three to feudal lords, two to wealthy city dwellers—thus strengthening the family network of alliances. Alvise and Giovanni become priests, the latter destined to follow his uncle Michele into high church office. Girolamo’s oldest son, Sigismondo, seeks his fortune in service of the Hapsburgs. His first marriage brings him the feud of Spessa, complete with castle, in Gorizia, and a son and heir, Carlo, named after the archduke. A second marriage into a collateral Della Torre line based in imperial territory ties him ever more firmly to the Hapsburgs. Girolamo expands the castle at Villalta, grafting a seigneurial Renaissance country villa onto the medieval fortress, the complex becoming a metaphor for a feudal family that now embraces Venetian republican values. Michele is featured in Paolo Paruta’s Della perfezione della vita politica (1579), a treatise celebrating politics as civil discipline.

The Tower of San Francesco in Palmi in the views of Edward Cheney of 1823: images of a disappeared bulwark of the viceregal defensive system of Calabria UltraTo oppose the phenomenon of waves of Turks threatening the most exposed areas of the Kingdom of Naples, the viceregal government ordered from 1535 the construction of a continuous and articulated chain of defensive coastal towers. In Calabria, on behalf of the Viceroy Pedro di Toledo, the Marquis Francesco Pignatelli developed a project to identify the most suitable and strategic sites where to build the towers along the Tyrrhenian and Ionian coasts. This network included 69 towers in Calabria Ultra and 33 in Calabria Citra, clearly visible from each other at a maximum distance of six thousand steps. Most of these towers have lost their original function over time, and after the taking of Algiers in 1830, some were used as customs posts or torri semaforiche, and then be permanently abandoned. Today almost all of them are ruins. The cartographic sources and above all the iconographic ones, testify the importance of this defensive system of towers suspended between the land and the sea and arranged one after the other, real sentinels of the Mediterranean. On this occasion, the focus is on the Tower of San Francesco, was probably built in 1565, in Capo Barbi in Palmi, along the Tyrrhenian side between Reggio Calabria and Capo Vaticano. The bulwark was destroyed in 1956. The Tower of San Francesco, as evidenced by historical cartography and the views of Antonio Minasi in 1779 and Richard Keppel Craven in 1821, was portrayed in three drawings made by Edward Cheney during his travel to Calabria in May 1823. These views identify the characteristics of the architectural typology of the tower and the relationships with the town of Palmi; to relate it to the coastal towers of Pietre Nere (Taureana) and Capo Rocchi (Bagnara); and finally to the landscape of the Costa Viola up to the Strait of Messina.