Antiquarianism in the seventeenth century

Giambattista Vico dall'età delle riforme alla Restaurazione Il volume ricostruisce quasi un secolo di dibattiti relativi alla Scienza nuova di Vico. Accanto a una linea interpretativa laico-illuminista, orientata a valorizzare la riflessione di Vico sui rapporti tra storia e politica, emergono le diversificate reazioni del mondo cattolico, il più delle volte impegnate a sanzionare il presunto materialismo del filosofo napoletano. Emerge, in particolare, la "politicità" dell'eredità vichiana, il cui lascito coinvolge però uno spettro molto ampio di discipline: dalla storia delle istituzioni latine alla filosofia del linguaggio, dalla pedagogia civile all'antiquaria. Nel bene e nel male il ritratto di Vico non era quello di un filosofo isolato, bensì posto in relazione costante con il pensiero filosofico europeo del Settecento.

Depicting divine grace through the allegory of a stranger's quest for hospitality, Bunyan's The Pilgrim's Progress comes up against the paradoxes of hospitality, revealing tensions both in early modern models of hospitality and in Calvinist doctrines of grace. Presenting an order of sovereign grace and favour in which the host has the right to exclude the stranger, Part I of The Pilgrim's Progress remains haunted by the ideal of unconditional hospitality. In the ostensibly more welcoming order of Part II, the guest begins to be emphasised above the host, yet the narrative ultimately demonstrates that free acceptance fails to amount to meaningful acceptance at all.

Nell'ambito degli studi antiquari sul convito nel mondo greco-romano, e in particolare sul costume antico di cenare sdraiati, al quale gli eruditi del Cinquecento dedicarono una speciale attenzione 1 , la discussione del tema all'interno del trattato De arte gymnastica del medico forlivese Girolamo Mercuriale riveste un ruolo centrale 2 .

La présente contribution s’intéresse à un aspect mineur du Montfaucon antiquaire : Montfaucon numismate. Pour Nous disposons pour ce faire de trois ensembles documentaires, d’ampleur et d’intérêt variés. Il y a d’abord les observations publiées dans le Diarium italicum. Somme toute peu nombreuses, celles-ci jettent un éclairage souvent précis sur les intérêts numismatiques du jeune Montfaucon. Il y a ensuite bien sûr tout ce que l’on trouve dans L’antiquité expliquée elle-même. Enfin – et c’est sans doute le plus intéressant – il y a tout ce qui figure dans ses correspondances, par exemple celle entretenue avec le Liégeois Guillaume-Paschal de Crassier (1661-1751).
La diffusion sans pareille de L’Antiquité expliquée a profondément formaté les esprits des collectionneurs dans un sens alternatif aux médailles. Et cela d’autant plus que, comme l’a bien montré Krzysztof Pomian, c’est toute la sociologie des collectionneurs qui évolue au même moment. Pour le dire selon son heureuse formule : « L’Antiquité érudite est remplacée par l’Antiquité artistique » .
En réalité, l’action de Montfaucon aura été doublement préjudiciable au succès des monnaies antiques, car – avec ses Monuments de la monarchie française – il se fait le relais puissant d’un mouvement en marche : la fin du discrédit d’abord, l’engouement ensuite pour les antiquités nationales. Avec Montfaucon et à son exemple, on va se passionner pour les séries médiévales, reléguant à l’état de vieilleries les conjectures sur les monnaies grecques et romaines.
Le bon et doux Bernard de Montfaucon aura de la sorte – sans saillie ou querelle – profondément altéré le regard porté sur la médaille antique qui cesse de captiver l’esprit des grands. L’image de Louis XIV ne manquant pas de se faire expliquer tous les jours les médailles qu’il conservait auprès de sa chambre à coucher a vécu.

Il palazzo delle Sagrestie di San Pietro in Vaticano, eretto da Carlo Marchionni tra il 1776 e il 1784, custodisce sin dal tempo della sua edificazione, all'interno della cappella dei Beneficiati, un'immagine mariana di antica tradizione taumaturgica, la Madonna della Febbre. Si tratta di un frammento di affresco trecentesco, molto ridipinto, celebre ai nostri giorni per essere incorniciato dal marmoreo Tabernacolo del Santissimo Sacramento, realizzato da Donatello e aiuti tra il 1432 e il 1433 1 ( ).

UPDATED 2020. This unfinished paper brings together material published previously as 'Jack Cade at London Stone' (Clark 2007) and 'London Stone: Stone of Brutus or fetish stone – making the myth' (Clark 2010), expanded and updated, together with much unpublished text, particularly in the 'Brief history' and 'Documentary evidence' sections. The section ‘Pasquill’s Protestation upon London Stone’ has also appeared in print (Clark 2015), as well as ‘“Brut sett Londen Ston”: London and London Stone in a 14th-century English Metrical Chronicle’ (Clark 2018). It is hoped that the final section 'The incredible shrinking monolith', yet to be written, will reassess the archaeological evidence, particularly in the light of the 'new' information described in 'London Stone and the Great Fire' and the results of examination of the Stone at the Museum of London before it went on display there in 2016.

The belief that Roman London was graced by a temple dedicated to Diana, standing on the site now occupied by the cathedral church of St Paul, is a persistent one. This paper traces the origins of the belief in antiquarian writings of the 16th to 18th centuries.

Atti delle quinte giornate internazionali di studi sull'area elima e la Sicilia occidentale nel contesto mediterraneo Erice, 12-15 ottobre 2003 Workshop «G. Nenci» diretto da Carmine Ampolo EDIZIONI DELLA NORMALE Redazione a cura di Chiara Michelini © 2006 Scuola Normale Superiore Pisa isbn 88-7642-210-2 Abbreviazioni Autori antichi Sono state adottate, di norma, le abbreviazioni dell'Oxford Classical Dictionary, Oxford-New York 1996 3 o del dizionario di H.G. Liddell, R. Scott, Oxford 1968 9 , ad eccezione dei seguenti casi: Aristoph., Demosth., Diod., Hesych., Moschion, Plato, Ps. Hipp., Strabo, Tim. Opere generali AE = L'Annèe épigraphique, Paris 1888-BMC = Catalogue of the Greek Coins in the British Museum. BTCGI = Bibliografia Topografica della Colonizzazione Greca in Italia e nelle Isole Tirreniche (fondata da G. Nenci e G. Vallet, diretta da C.

Unpublished 1990 lecture, updated 10/2018, discussing the collection(s) of sculpture, antique and modern, brought together by members of the Barberini family in Rome, 1608 through ca. 1640.  Information drawn from my published Barberini Inventories.

This chapter was published as a contribution to a handbook about vernacular bibles in the Low Countries in the past eleven centuries (Heerenveen, 2015), edited by a team of Dutch and Flemish scholars headed by Paul Gillaerts. The States' Translation is the best known Dutch bible translation of all times and arguably  the most influential one. The chapter analyses the long gestation period of the States' Translation. Based on an important unstudied source, it reconstructs what went on behind closed doors during the discussions of the teams of translators and revisers with regard to problems in vocabulary, grammar, textual transmission and historical contextualisation. Special attention is given to the laborious process of compiling the marginal annotations. It appears that behind the monumental façade of the States' Translation, in the inner circles of the Orthodox Reformed Church, long negotations had taken place to get all the translators and revisers on the same page. Biblical philology could yield unwelcome results, but at the same time it offered a powerful instrument to bend those results into the service of a confessional agenda.

""Nel XVIII secolo la città di Siracusa divenne una delle mete principali del Grand Tour, il viaggio di istruzione e formazione che ogni giovane aristocratico europeo del tempo doveva compiere, per via dell’enorme patrimonio storico-artistico ivi custodito e delle bellezze naturali del territorio circostante. Decine di artisti, antiquari, diplomatici e scienziati invasero l’antico centro siciliano alla ricerca delle sopravvivenze di luoghi e monumenti del suo straordinario passato greco, alimentando allo stesso tempo il traffico internazionale di antichità verso musei e collezioni private di tutto il mondo e il fenomeno degli scavi abusivi.
E’ significativo che l’operato del conte Cesare Gaetani della Torre, uno dei protagonisti nel campo della gestione dei beni culturali nella Sicilia della seconda metà del Settecento e autore di importanti opere sulle testimonianze archeologiche ed epigrafiche aretusee, mostri una totale indifferenza nei confronti della politica protezionistica anti-borbonica che aveva cementato le amicizie degli altri antiquari siciliani: l’epistolario del Gaetani risulta, infatti, dominato dai continui richiami degli illustri corrispondenti (Domenico Schiavo, Gabriele Torremuzza, Ignazio Biscari) affinché il destinatario delle lettere, noto per essere disinteressato al possesso degli oggetti recuperati durante le proprie esplorazioni archeologiche, non si privasse di monete, iscrizioni, vasi e altri manufatti rinvenuti nel sottosuolo siracusano per regalarli a viaggiatori e collezionisti stranieri, primo fra tutti sir William Hamilton ambasciatore britannico alla corte di Napoli.
L’idea della creazione di un museo cittadino, gestito da eruditi locali e finalizzato alla tutela e valorizzazione delle ricchezze archeologiche siracusane, cominciò ad essere oggetto di concrete discussioni solo dopo l’eccezionale scoperta negli orti Bonavìa delle statue dell’Esculapio (7 dicembre 1803) e della Venere Anadiomene (7 gennaio 1804) per opera di Saverio Landolina Nava, Regio Custode delle Antichità della Val di Noto e della Val Demone. Il Landolina riteneva che soltanto con una istituzione museale civica sarebbe stato possibile salvaguardare i reperti e le opere d’arte provenienti dalle esplorazioni archeologiche e dalle raccolte private, impedendone l’esportazione illegale a Palermo o, addirittura, al di fuori dei confini del regno borbonico.
Soltanto nel 1809 Saverio Landolina fu in grado di tradurre nella pratica il suo ambizioso progetto culturale poiché mons. Filippo Maria Trigona, vescovo di Siracusa e grande appassionato di antiquaria, si dimostrò favorevole nel mettere a disposizione alcuni ambienti del Seminario ubicato nella zona centrale della città. I lavori di allestimento furono portati a termine nell’arco di quasi due anni e l’inaugurazione ufficiale del museo ebbe luogo il 20 aprile 1811.""

General Introduction by Francis Haskell and Henrietta McBurney to the multi-volume series, 'The Paper Museum of Cassiano dal Pozzo. A Catalogue Raisonne. Drawings and Prints in the Royal Library at Windsor Castle, the British Library, the British Museum, and the Institut de France and other Collections', Arthur MacGregor and Jennifer Montagu, gen. eds (Royal Collection in association with Harvey Miller Publishers), first published in 1986 and reprinted in each part of the series.

Rubens had a profound impact on the visual culture of his age. He was admired not only as a painter but also for his learning, for the knowledge of classical literature and imagery which he exploited so brilliantly in arresting and powerful pictures. Rubens was particularly drawn to allegory, to the use of personified figures, sometimes in combination with the gods of the ancient pantheon and certain humans (historical individuals), to express concepts, ideals and even political messages. A contemporary praised him for using in his allegorical compositions 'only symbols of Antiquity, thus popularising the coins and other monuments of the ancient world', but Rubens adapted ancient symbolism to new effect, with the aim of creating pictures whose essential meaning would be the more accessible for it. This volume presents works that Ludwig Burchard (1886-1960) planned to include in his catalogue raisonne under the heading 'Allegories and Subjects from Literature'. It features some of the artist's most celebrated paintings, as well as some lesser-known or recently discovered items. The themes range from nature's abundance to the dangers of excess, from human love to political expediency, triumph and 3the celebration of religion. It includes masterpieces as diverse in tone as the Shivering Venus (Antwerp, Koninklijk Museum voor Schone Kunsten) and the Horrors of War (Florence, Palazzo Pitti), memorably described by a great historian as 'the immortal and unforgettable frontispiece to the Thirty Years' War'. As well as an introduction to the subject, the catalogue provides extensive analyses of each work, revealing Rubens' literary and visual references. The circumstances surrounding the making and display of every item are investigated and considered alongside the artist's own creative process, since knowledge of the intended context and the early viewing conditions of Rubens' works is so important to the understanding of their significance. Thus particular attention is paid to provenance, not only for the works themselves, but for the copies made after them.

Fin dall’inizio del Seicento il rapporto tra le collezioni di antichità romane e artisti, pittori e disegnatori di professione, testimonia la diffusione di nuovi metodi e di istanze innovative rispetto alla consolidata tradizione cinquecentesca, più aderenti sia ad una diversa percezione dell’antico sia al clima culturale improntato da un accostamento all’antico di tipo scientifico. Gli album con i ricordi grafici del viaggio a Roma di molti artisti stranieri o i disegni eseguiti come modelli da rielaborare e proporre secondo i precetti di un classicismo largamente dominante, tendono a lasciare il campo ad un nuova forma di disegno dall’antico con carattere « monografico ». Una selezionata schiera di artisti, italiani e stranieri, grazie alla disamina di fonti archivistiche di eccezionale importanza, come l’« Agenda » del Museum Chartaceum di Cassiano dal Pozzo e i pagamenti relativi alle prestazioni d’opera per la realizzazione della Galleria Giustiniana, risulta così arruolata per la realizzazione di imprese grafiche che segnarono, per l’ambizione dei rispettivi scopi, la cultura antiquaria dei primi tre decenni del XVII secolo. Ad esse, secondo modalità simili e, probabilmente anticipatorie, la realizzazione di imprese grafiche che segnarono, per l’ambizione dei rispettivi scopi, la cultura antiquaria dei primi tre decenni del XVII secolo. Ad esse, secondo modalità simili e, probabilmente anticipatorie, ma ancora da chiarire sul piano storico e artistico, si aggiunge ora come un nuovo capitolo di una più aggiornata consapevolezza dell’antico, la raccolta grafica delle sculture della collezione Peretti-Montalto.

This paper examines the relationship between the aesthetic thought of Joseph Addison and Richard Steele and early modern virtuoso culture. It argues that both Addison and Steele did not reject virtuoso culture so much as to attempt to reform and redefine it. It is observed that Addison in particular wrote a virtuoso travel narrative in his Remarks on Italy as well as contributing to the discourse on antiquarian medal-collecting. In their writings on art and connoisseurship in the Tatler and Spectator essays, both Addison and Steele can be understood as defenders of a neoclassical aesthetic that rejected and ridiculed a supposedly indiscriminate virtuoso aesthetic of curiosity. But the essays are best understood as part of an important moment of transition in which an early enlightenment notion of taste emerged from a template established by baroque virtuosity rather than as a complete rejection of virtuoso culture.

KEYWORDS Addison, Joseph; Steele, Richard; virtuoso; antiquarianism; connoisseur; aesthetics

Severi uomini d' arme, instancabili viaggiatori, accorti diplomatici, mecenati alla ricerca di visibilità, appassionati collezionisti in instabile equilibrio tra matura consapevolezza intellettuale, antica protervia e progressivo indebolimento politico e finanziario: nel passaggio di alcune generazioni gli Orsini e i Savelli, due delle famiglie baronali romane tra le più antiche, si trovano a dover mutare da feudatari a uomini di corte, da signori arbitri del destino delle proprie terre ad attori, a tratti protagonisti, nel gioco delle corti sul più vasto scacchiere europeo. Il volume raccoglie i frutti di un progetto triennale di ricerca ad ampio raggio sulle due famiglie, in dialogo con studi limitrofi sull' argomento e a confronto con altre realtà italiane. Committenze laiche ed ecclesiastiche, collezioni d' arte, pubblicistica e storiografia trovano spiegazione nella ricostruzione del contesto storico e familiare in un lungo arco cronologico, grazie ai risultati di un' accurata indagine sulle fonti d' archivio e sulle opere. Nel volume si tratta di architettura, di dipinti ed affreschi, di arazzi e argenterie, di libri, stampe, reliquie e curiosità, secondo una lettura che tiene saldo il filo delle vicende familiari nello specchio del tempo come chiave per comprenderne le ragioni e le dinamiche, procedendo per cerchi concentrici, da Roma ai feudi, dall'Italia alle grandi corti europee.

La personalità del vicentino Pietro Stefanoni (1557ca.-1642 ca.), noto per essere stato il più grande editore delle incisioni dei Carracci, è qui ricostruita per la prima volta partendo dalle sue due uniche lettere note, indirizzate a Ulisse Aldrovandi e conservate presso la Biblioteca Universitaria di Bologna. Queste, insieme ad altre notizie contenute negli appunti del naturalista bolognese, consentono di definire con maggiore esattezza l’attività di questo singolare commerciante e grande appassionato di antichità, amico di ‘virtuosi’, artisti ed eruditi, possessore di un famoso ‘museo’ disperso dai figli dopo la morte. Lo spoglio delle fonti, l’analisi delle dediche presenti in calce alle incisioni da lui edite, la scoperta di documenti conservati presso l’Archivio di Stato e l’Archivio del Vicariato di Roma, hanno permesso inoltre di poter tracciare una prima parziale biografia di Stefanoni, cui contribuiscono, in maniera determinante, le informazioni contenute nei carteggi di alcuni dei più importanti esponenti della République des Lettres, come Nicolas-Claude Fabri de Peiresc. Tutto ciò permette di collocarlo, a buon diritto, in quel differenziato mondo di antiquari e savants su cui negli ultimi anni si sono intensificati gli studi.

The paper sketches out for the first time the work of Pietro Stefanoni (1557ca.-1642 ca.) from Vicenza, who is known as the foremost publisher of prints by the Carracci. It starts from the tworemaining letters by Stefanoni to Ulisse Aldrovandi, now kept in the BibliotecaUniversitaria ofBologna. Jointly with other information in thepapersof the Bolognese naturalist, these letters allow to describe more precisely the activities of Stefanoni, a peculiar merchant who was also a great lover of antiquities as well as friend of‘virtuosi’,artistsand scholars; he also owned a famous‘museum’,dispersed by his heirs after death. The paper presents a first partial biography of Stefanoni based on these sources, on the correspondence of some of the most important exponents of the République des Lettres, such as Nicolas-Claude Fabri de Peiresc, on new archival materials from the Archivio di Stato and the Archivio del Vicariato of Rome and on the analysis of the dedications of the engravings he published. All this evidence allow us to place Stefanoni, in its right full place, in that lively world of antiquarians and savants which as of late has been widely researched.

In virtù dell'importanza rivestita nel mondo greco-romano dal banchetto, quale momento di socialità e di scambio intellettuale, e delle profonde differenze che distinguevano l'antico triclinium dai conviti moderni -prima fra tutte il bizzarro costume di stare sdraiati a mensa -, eruditi ed antiquari furono costantemente incuriositi dal tema delle coenae veterum. Fu soprattutto fra la seconda metà del Cinquecento e i primi decenni del secolo successivo che le indagini su questo argomento si moltiplicarono, nel tentativo, da un lato, di spiegare caratteristiche e motivazioni del mos accumbendi, e con il sorprendente intento, dall'altro, di dimostrare che anche nella Palestina occupata dai Romani vigeva l'usanza di cenare sdraiati, e che dunque era doverosa una riforma 'all'antica' dell'iconografia delle coenae Domini, il convito in casa del fariseo Simone e l'Ultima Cena. La produzione figurativa che si sviluppò in stretto legame con tali ricerche assicurò alla rappresentazione di queste scene sacre sub specie tricliniorum una certa diffusione, sebbene il primato dell'iconografia tradizionale, con i convitati seduti intorno alla tavola, non fosse mai messo in discussione.

Ce travail se fonde sur une partie de ma thèse de doctorat (2010), dédiée à Claude Le Maire et aux activités archéologique françaises en Afrique du nord et remploi des monuments en France, entre XVIIe et XVIIIe (dir. A. Schnapp).
On examine ici certaines données relatives à l’activité de recherche, de fouilles, d’acquisition, de transport et de réemploi de marbres datant de l’époque romaine, de l’Afrique du Nord (de Leptis Magna surtout) en France, entre XVIIe siècle et XVIIIe siècle (activités qui tournent en grande partie autour de la personne de Claude Le Maire, consul français dans diverses villes du Levant et de la Barbarie entre 1683 et 172), la réception esthétique de ces marbres et leur influence sur le goût du temps.
Parmi les résultats on peut compter :
première recueil des donnés relatives à la vie et aux activités de Claude Le Maire et leur narration historique effectuée même par des documents d’archives, en partie inédits ;
approfondissement et premier éclaircissement général sur les monuments arrivés en France, sur les modalités d’envoi et de transport, et sur leur destin ;
découverte des monuments in situ (ex. Saint-Sulpice) ou diversement (et successivement) réemploies (Rouen, Toulon et surtout Louvre, où on relève l’usage massif des « marbres Le Maire » pour les plaquages) ;
découverte du manuscrit relatif à la Succession des héritiers Seignelay, dont l’objet principal est constitué justement par les « marbres Le Maire ».

About 50 years ago, I decided to make slides of the most beautiful works of art in the churches of Bruges. However, photographing the grave plates in brass proved difficult, as the shining copper plates showed reflections, and the engravings of the corroded ones could not be rendered properly. Professor E. Strubbe told me that in England, copies were made by covering the brasses or slabs with a large piece of paper, and by rubbing the surface with a black wax stick. This way, you could reproduce the engravings just like you can reproduce a coin with a pencil.

The Janiculum Hill in antiquity was a place of noble villas, military triumphs,, ancient burials and Christian martyrdoms, all of which were recorded ad interpreted in various ways in antiquarian maps and literature of the sixteenth and seventeenth centuries. Many of its associations had significance to the Pamphilj family, who bought a modest vigna there in 1630 not long after Giovan Battista Pamphilj (1574-1655) became cardinal. In the fourteen years that separated the purchase of the vigna and the elevation of Cardinal Pamphilj to the papal throne as Innocent X in 1644 more land was acquired in the area and the Casino del Bel Respiro, Pamphilj's palazzo di rappresentanza was built o far from the original farmhouse, its entrance directly facing the dome of St Peter's. The villa played an essential role in constructing a public image for the Pamphilj that was inseparable from their claims to descend from the very founders of Rome, claims that were delineated in a genealogy of the Pamphilj written by Niccolo Angelo Cafferri. This paper discusses how Cafferri's genealogy and antiquarian scholarship in Rome contributed to the selection of the Casino's site, design, decoration and iconology.

Noto nella letteratura storico-artistica soprattutto come autore delle Vite, Giovan Pietro Bellori (1613-1696) è ricordato anche come uno dei più importanti e prolifici antiquari della Roma barocca. Nel venticinquennio compreso tra il 1666 e il 1691 Bellori, in stretta collaborazione con il copista perugino Pietro Santi Bartoli (1635-1700), darà infatti vita a un poderoso complesso progetto editoriale destinato a studiare e a diffondere, sfruttando a pieno le potenzialità dell’incisione, le historie scolpite nei bassorilievi narrativi delle colonne coclidi e degli archi trionfali romani fino alle raffigurazioni impresse su lucerne fittili e monete e dipinte sulle pareti antiche. Gli atlanti belloriani saranno destinati non solo alla cerchia ristretta del pubblico erudito, ma si imporranno da subito come veri e propri repertori grafici a uso degli artisti e, in quanto tali, come strumento per realizzare un vero e proprio rinnovamento dell’arte riaffermando la centralità culturale di Roma, già propugnata dalle Vite belloriane.

Tenendo sempre presenti i caratteri particolarissimi di tali prodotti editoriali, lo studio analizza i tratti salienti della ricerca iconografica di Bellori, anche in rapporto alla produzione antiquaria contemporanea. In tale prospettiva un terreno di confronto privilegiato, se non addirittura unico, è rappresentato dai rilievi della Colonna Traiana e dai medaglioni della collezione del cardinale Gaspare Carpegna: le due opere belloriane che li descrivono, la Colonna Traiana (1672) e la Scelta de’ medaglioni più rari nella biblioteca dell’eminentissimo Gasparo Carpegna (1679) sono state messe a confronto in questo volume con il Syntagma (1683) dell’antiquario urbinate Raffaele Fabretti e le Osservazioni Istoriche sopra alcuni medaglioni antichi (1698) del fiorentino Filippo Buonarroti che trattano rispettivamente il medesimo oggetto, ma secondo approcci antiquari completamente differenti, che segnano in nuce la fondamentale distinzione tra gli studi di cultura materiale e la storia dell’arte antica che innerverà la storia della disciplina archeologica.

Al di là di tali criteri selezione, si è potuto appurare che si tratta di opere strettamente legate tra loro anche dal punto di vista della loro genesi editoriale, attentamente studiata a partire dai disegni della Colonna Traiana conservati nel cod. A39 della Windsor Royal Library, finalmente attribuiti con certezza alla mano di Bartoli, e attraverso la lettura e la trascrizione integrale della seconda edizione – destinata a rimanere inedita – della Scelta de’ medaglioni, le cui bozze manoscritte si conservano in parte nell’Ott. Lat. 2972 della Biblioteca Apostolica Vaticana e in parte nel cod. CXCVIII della Biblioteca Marucelliana di Firenze.

Most Experts usually agree that all history has its beginnings in fables and that they enjoy a close relationship. Fables, however, as everybody knows, received their name from beans, or fabae. ni This is why it seems fitting to begin a discussion about history with beans and, more pre cisely, with the very sage who had advised against their consumption:

Attraverso la lettura di passi ligoriani relativi al cd. Tempio di Minerva Medica, è possibile ricostruire i termini di una querelle cinquecentesca circa la corretta identificazione dell'edificio. Tra gli avversari di Pirro Ligorio, i principali esponenti di una diversa tradizione esegetica che nel XV secolo annoverava anche Pomponio Leto.

In the almost 150-year reign of the Bourbons in Naples, Nola became one of the most famous places in Europe thanks to the archaeological excavation of its necropolis, which gave a lot of “so-called Etruscan vases”, that means figured ceramics, especially with red-figured. In Nola important collections of greek pottery were formed by Felice Maria Mastrilli, by the bishop Troiano Caracciolo del Sole and Gianstefano Remondini inside the library of the episcopal seminary and by Pietro Vivenzio. Recentely, however, the hypothesis has been put forward that most of the red-figured vases that circulated on the antiquarian market between the 18th and 19th centuries have been passed off as “from Nola” only to increase their monetary value, because of the spread idea those from Nola are of excellent quality. Really, numerous archival and literary sources show that a large quantity of Attic figured ceramics comes from Nola and that is because of the close and profound political and cultural exchanges existing between Nola and Athens in the Vth and IVth centuries B.C. Although the cities of Pompeii, Herculaneum, Stabia, Pozzuoli and Paestum were excavated not far away, the excavation of Roman buildings in Nola, such as the amphitheater, the theater and some funerary mausoleums was not undertaken due to economic success. of the market of figured vases.

Member This paper examines three aspects of Lhuyd's work on Irish megalithic tombs: (i) the context of his famous account of Newgrange is assessed and is shown to have a more complex background than hitherto assumed; (ii) using several complementary pieces of evidence, Lhuyd's classification of British megalithic tombs is outlined and discussed, and it is shown to have been used by him to describe megaliths encountered on his Irish tour; (Hi) an examination of Lhuyd's Additions to Gibson's edition of Camden's Britannia of 1695 is used to illustrate his ideas on the function, origin and chronology of megalithic tombs. Antiquarian studies of Irish megalithic tombs after Lhuyd are discussed in the context of his contribution. It is well-known that the Welshman Edward Lhuyd (1660-1709), polymath and second Keeper of the Ashmolean Museum in Oxford, toured Ireland in the years 1699 and 1700 as part of a grand scheme to study the natural history, language and antiquities of the Celtic lands of the west (Gunther 1945, 329-445; Campbell 1960; Emery 1971, 65-9). The idea of carrying out this great project in western and northern Britain, Ireland and Brittany had come to Lhuyd some six years previously while working on the Welsh section of Dr Edmund Gibson's revised edition of Camden's Britannia. In gathering materials for his Additions to Camden's descriptions of the Welsh counties he had visited and sketched monuments in the field, and had found out about those areas he could not visit through questionnaires and correspondence. It was the success of this work on the Britannia that enabled him to get subscriptions from a number of interested gentlemen for his larger project. Lhuyd arrived in Dublin in August of 1699 and, aside from a three-month visit to Scotland, was in Ireland until probably late July of 1700 (Campbell 1960, 219). Although a large portion of his notes describing the progress of his tour in Ireland and Scotland and observations he made were subsequently destroyed by fire, Lhuyd was a prolific correspondent and the letters he wrote while on his travels provide a valuable alternative source. In addition to the these letters, there are copies of several sketches of antiquities seen on the tour which were made soon after Lhuyd's death in 1709 (MSS Stowe 1023-1024; Herity and Eogan 1977, 5). The Context of Lhuyd's Account of Newgrange Early on in his tour, Lhuyd gained the distinction of being the first scholar to visit and enter the great Passage Tomb of Newgrange in county Meath and he wrote letters to several colleagues describing it, at least three of which have survived. , 40-41). It describes in detail Lhuyd's visit to the tomb and his speculations concerning its function, and is worth quoting from at length: ... The most remarkable curiousity we saw by the way, was a stately Mount at a place called New Grange near Drogheda; having a number of huge stones pitch'd on end round about it, and a single one on the top. The gentleman of the village (one Mr Charles

I would like to express my gratitude to the organisers for their kind invitation. Furthermore, I would like to thank the Stiftung Alfried Krupp Kolleg, Greifswald, which generously funded the underlying research on migration narratives in early modern thought, and the Österreichische Forschungsgemeinschaft (project MOEL-415), whose support enabled me to explore the life and writings of Friedrich Menius.

This paper explores seventeenth-century antiquarianism through the writings of Richard Rowlands Verstegan, an English Catholic who lived in Antwerp for most of his long life for fear of religious persecution in his home country. The eclectic Verstegan, known primarily for his role in the Catholic Reformation, was a writer, publisher, and antiquary. While much has been written about his contributions to religion and poetry, few scholars have commented upon the significance of Richard Verstegan to the history of science. This study examines his 1605 book, A Restitution of Decayed Intelligence in Antiquities: Concerning the Most Noble and Renowned English Nation, in which he attacked the mythical origins of the British people—which had been linked to Brutus of Troy—and hypothesized instead about their Germanic origin. Verstegan did more than disassociate mythology from human history: he also delved into geology and paleontology with an investigative spirit, challenging some Biblical narratives about Creation and the Flood. He included his own postulations about why marine fossils are found inland in England and the Netherlands and why the Cliffs of Dover resemble the northern coast of France. This paper offers insight into the remarkable Verstegan, and more broadly, how antiquarians approached prehistory in the seventeenth century.

"In 'A Roman Road in the Dutch Republic', Jaap Evert Abrahamse investigates the origins, design, and realization of a long forgotten 'grand projet', which was undertaken in the Dutch Republic during its Golden Age. Amersfoortseweg (“Amersfoort Road”) was a large-scale road project, which, on the one hand, aimed to improve infrastructure in the province of Utrecht and, on the other, to transform a large wasteland area into an elegant estate landscape with one gracious gesture. The main element in this new landscape consisted of a lavishly planted, spacious roadway over 60 meters wide, with mansions on both sides. In this article, it is pointed out that the project’s designer was Jacob van Campen, the most distinguished architect of the Dutch Republic, and the designer of Amsterdam’s City Hall.
In the project, that was realized from 1652 onward, Van Campen and his clients combined the common practice of large-scale interventions in the Dutch landscape, such as the land reclamation projects, with contemporary architectural theory, which embodied knowledge of Roman roads. Thus, Amersfoortsweg is presumably the first public roadway in Northern Europe that was designed according to the principles described in Renaissance architectural theory.
"

secrétariat scientifique du colloque Nicola Iodice La loi du 11 mars 1957 n'autorisant aux termes des alinéas 2 et 3 de l'article 41, d'une part, que les « copies ou reproductions strictement réservées à l'usage privé du copiste et non destinées à une utilisation collective » et, d'autre part, que les analyses et les courtes citations dans un but d'exemple et d'illustration, « toute représentation ou reproduction intégrale, ou partielle, faite sans le consentement de l'auteur ou des ayants droit ou ayants cause, est illicite » (alinéa 1 er de l'article 40). Cette représentation ou reproduction, par quelque procédé que ce soit, constituerait donc une contrefaçon sanctionnée par les articles 425 et suivants du Code Pénal.

This chapter explores Sir James Ware’s interest in the ecclesiastical, political, administrative and cultural aspects of Dublin’s past. It examines how he compiled such an impressive collection of manuscripts. As a consequence, it exposes the existence of a wide scholarly network, demonstrating the extent of social and cultural interaction between ethnic and religious communities

In 2022, Egyptology celebrates important historical events that number among
the highlights in the exploration of the culture and civilization of the country by the Nile. In 1822, Jean-François Champollion succeeded in deciphering the hieroglyphics, the hieratic and the demotic scripts, by working primarily with the Rosetta Stone. In 1922, the British archaeologist Howard Carter discovered the tomb of the Pharaoh Tutankhamun in the Valley of the Kings.
The academy research project “Antiquitatum Thesaurus” would like to contribute to the international discourse and, in three half-day digital workshops in the sum- mer semester of 2022 (5 May / 2 June / 7 July), draw attention to some central questions of the early-modern reception of Egypt, which preceded the events mentioned above.
The subject areas of the three workshops include:
- The protagonists: A consideration of the circulation of artefacts through interme- diaries, antiquarians and collectors as well as their reception and representation in drawings and printed works. Particular attention will be paid to how these figures were interconnected between c. 1600 and 1750.
- Multifaceted Egypt: How was the imagery or the idea of Pharaonic Egypt chan- ged or complemented by small-scale artefacts such as amulets, jewellery and funerary objects alongside the familiar monumental evidence such as obelisks or sphinxes?
- The history of reception: What was the basis for the depictions of the many aegyptiaca in the graphic volumes of the time: direct observation or copies based on earlier publications? How exactly did the exchange of drawings and prints, descriptions etc. take place among the members of the European république des lettres?
We plan 20-minute talks in German or English. We kindly ask you to send an abstract relating to the aforementioned topics – alternative proposals are also welcome – of maximum 500 words in German, English, Italian or French including a short CV to: thesaurus@bbaw.de by 11 March 2022. Please indicate the langua- ge in which you would like to speak. An answer will be given by 18 March 2022.

Communication : colloque “Le Panorama, un art trompeur”, MuCEM, 12-13 février 2016 /

Explorer les fondements du panorama : la “Vue d’Athènes en 1674”, at
conference “Le Panorama, un art trompeur”, MuCEM, 12-13 February 2016

L’archéologie du panorama et de la culture optique
Modérateur : Jan Blanc (Université de Genève)

Explorer les fondements du panorama : la « Vue d’Athènes en 1674 »
Raphaëlle Merle (Paris Ouest, HAR)

Probablement exécuté en 1676 par Jacques Carrey, le tableau
représentant une Vue d’Athènes en 1674, aujourd’hui conservé au
Musée de la ville d’Athènes, fut commandité par Charles Olier de Nointel,
ambassadeur de France à Constantinople, au retour d’un voyage de
plusieurs mois à travers les Echelles du Levant. Si la notion de panorama
semble ici anachronique pour qualifier cette oeuvre, le projet artistique
associé à sa réalisation présente néanmoins, semble-t-il, un caractère
intrinsèquement panoramique. Mesurant 5, 20 mètres sur 2, 60 mètres,
ce tableau est ainsi destiné à commémorer le passage de l’ambassadeur
et de sa suite à Athènes, point d’orgue du voyage entrepris, tout en
mettant en scène les investigations à caractère archéologique des
voyageurs sur le sol de la cité antique. Dans un article paru en 1674,
Théophile Homolle notait ainsi l’extrême précision topographique qui
s’attache à cette représentation de la ville et de ses antiquités. En nous
livrant à une analyse détaillée de cette "Vue d’Athènes en 1674", nous
tenterons de mettre à jour en quelle mesure elle répond aux enjeux
aujourd’hui associés à la notion de panorama, en nous intéressant de
façon privilégiée aux notions de récit, de substitut, de point de vue et
de relevé.