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Journal articles on the topic 'Arches, Triumphai'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Tyukhmeneva, Ekaterina Alexandrovna. "Moscow triumphal arches for the coronation of Catherine II in the sources of the 1760s. New materials." Человек и культура, no. 6 (June 2024): 149–61. https://doi.org/10.25136/2409-8744.2024.6.69717.

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The triumphal arches “for the occasion” as part of the ceremonial culture of Russia of the 18th century have not survived to the present day. Only graphic and written sources allow us to recreate their appearance. This article presents and analyzes new, as well as little-researched archival materials on the construction and existence of the Moscow triumphal arches in 1762, dedicated to the coronation of Catherine II. The work with such materials is based on the methods of source studies, art criticism, historical, cultural and iconographic analysis. The main object of this study were two group

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Bogdan, Corneliu, and Nicolae Beldianu. "Triumphal arches from Lower Moesia." CaieteARA. Arhitectură. Restaurare. Arheologie, no. 12 (2021): 107–14. http://dx.doi.org/10.47950/caieteara.2021.12.06.

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The triumphal arches, a product of imperial propaganda, are the most famous and widespread Roman triumphal monuments. The official Roman coins illustrated on their reverse the triumphal arches located in the capital of the empire, Rome. Many of these monuments are still preserved, but some have disappeared in the tumult of history. Therefore, coins become “evidence” of the existence of these buildings when thy have not survived over centuries or allow the reconstruction of parts that have disappeared from them. The provincial coins of Lower Moesia also speak of the presence of such triumphal m

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Knighton, Tess, and Carmen Morte García. "Ferdinand of Aragon's entry into Valladolid in 1513: The triumph of a Christian king." Early Music History 18 (October 1999): 119–63. http://dx.doi.org/10.1017/s0261127900001856.

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These lines adorned one of the triumphal arches built in honour of Ferdinand of Aragon's ceremonial entry into Valladolid on 5 January 1513. This event, like so many other such entries throughout Europe during the sixteenth century, was intended to recall the Triumphs of the Roman emperors, though it was also embedded in a long-established entry ritual. The ephemeral buildings all'antica, the apparati, street decorations, pageants with allegorical, mythological and historical figures, as well as music and dancing of various kinds all formed part of a royal spectacle devised according to the po

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Lange, Henrike Christiane. "Giotto’s Triumph: The Arena Chapel and the Metaphysics of Ancient Roman Triumphal Arches." I Tatti Studies in the Italian Renaissance 25, no. 1 (2022): 5–38. http://dx.doi.org/10.1086/718972.

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Power, Jacqueline, and Helen Norrie. "Australian Triumphal Arches and Settler Colonial Cultural Narratives." Fabrications 27, no. 1 (2017): 71–99. http://dx.doi.org/10.1080/10331867.2016.1262716.

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McKay, Judith. "Celebrating in the Streets: A Century of Triumphal Arches." Queensland Review 16, no. 2 (2009): 1–14. http://dx.doi.org/10.1017/s1321816600005079.

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The arrival of Queensland's first Governor on 10 December 1859 was an occasion for celebration; in the words of Brisbane's newspaper, ‘never was welcome given with heartier zest’. As Sir George Bowen stepped ashore at a temporary landing stage in the Botanic Gardens, he was greeted with an ornamental arch, a semicircular frame covered in flowers and greenery, bearing words of welcome. This ‘triumphal arch’, as it was called, was the creation of Andrew Petrie, a pioneer settler and building contractor, and Walter Hill, the Curator of the Gardens. It was to be the first of hundreds of similar ar

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Knyazev, Pavel. "The Images of Power in the Public Space of Early Restoration England." ISTORIYA 13, no. 1 (111) (2022): 0. http://dx.doi.org/10.18254/s207987840019015-5.

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The article deals with the main features of the public representation of the power images during the early Stuart Restoration. The problem is studied on the material of the solemn entry of the English King Charles II into London on the eve of his coronation, April 22, 1661. Prior to this event, four triumphal arches were built in the city center, using the main symbols and allegories associated with the restoration of the monarchy. Based on a wide range of sources (official descriptions of celebrations, engravings, poetic works and diaries), the authors study the characteristic features of the

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Reyman-Lock, Daryn. "The Triumphal Arches of Gallia Narbonensis: Iconography, Boundary and Identity." Environment, Space, Place 6, no. 2 (2014): 31–68. http://dx.doi.org/10.5840/esplace20146211.

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Zinni, Mariana C. "Poder y representación en las fiestas efímeras: la entrada triunfal en potosí del virrey-arzobispo morcillo." Razón Crítica, no. 10 (January 2020): 33–59. http://dx.doi.org/10.21789/25007807.1701.

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This work studies certain iconographic artifacts erected to celebrate the triumphal entry of the recently appointed interim Viceroy, Archbishop Diego de Morcillo y Auñón, to Villa Rica del Cerro de Potosí, on his way to Lima. Such artifacts, the magnificent triumphal arches, masquerades, a play (loa), and even an oil painting, commissioned to Melchor Pérez de Holguín, were designed in advance. Their purpose was to exalt the figure of the Viceroy by embodying emblematic artistic figures. This research proposes the reading of certain aspects of the iconographic program produced around the figure

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Harrison, James R. "‘More than conquerors’ (Rom 8:37): Paul’s Gospel and the Augustan Triumphal Arches of the Greek East and Latin West." Buried History: The Journal of the Australian Institute of Archaeology 47 (January 1, 2012): 3–20. http://dx.doi.org/10.62614/rdvp0424.

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This paper investigates the social and theological import of Romans against the iconography of the Augustan arches, focusing on Paul’s indebtedness to Greeks and barbarians, the reconciliation of enemies, the victory of Christ on behalf of believers, and his rule over the nations. D.C. Lopez and B. Kahl investigated the iconographic evidence of Aphrodisias and Pergamon when discussing the political implications of Paul’s gospel in the Roman province of Asia. Paul visited neither city, so arguments about the apostle’s interaction with the imperial ideology of ‘victory’ depends more on the ubiqu

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Fee, Nancy H. "La Entrada Angelopolitana: Ritual and Myth in the Viceregal Entry in Puebla de Los Angeles." Americas 52, no. 3 (1996): 283–320. http://dx.doi.org/10.2307/1008003.

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The celebration of the entry of the viceroy was the most lavish, costly civic ritual in seventeenth-century Puebla de los Angeles. Staged by Puebla elites to honor the viceroy, this ritual event was orchestrated to assert and display the religiosity and superiority of Angelópolis (the literary title for Puebla). Invoking the journey of Hernán Cortés, the routing of the viceregal entry through Puebla prior to Mexico City heightened the competitive spirit of the Puebla Cabildo. The Puebla Cathedral, erected on the main plaza largely under the influence of Bishop Juan de Palafox y Mendoza from 16

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Naomi Meiri-Dann. "Triumphal Arches in the Public Sphere in Israel—Between Temporary Reality and Fantasy." Israel Studies 24, no. 1 (2019): 76. http://dx.doi.org/10.2979/israelstudies.24.1.04.

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13

Wallace-Hadrill, Andrew. "Roman arches and Greek honours: the language of power at Rome." Proceedings of the Cambridge Philological Society 36 (1990): 143–81. http://dx.doi.org/10.1017/s0068673500005265.

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It was decided that a marble arch (Ianus) should be erected in the Circus Flaminius at public expense, positioned by the spot where statues have already been dedicated to Divus Augustus and the Augustan household by G. Norbanus Flaccus, together with gilded images of peoples conquered, and an inscription on the face of that arch stating that the Senate and People of Rome have dedicated this marble monument to the memory of Germanicus Caesar, since he … (account of achievements follows) … unsparing of his labours, until an ovation should be granted to him by decree of the senate, had died in th

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Pasto, David J. "The Origin of Public Attendance at the Spanish Court Theatre in the Seventeenth Century." Theatre Survey 28, no. 2 (1987): 41–49. http://dx.doi.org/10.1017/s004055740000048x.

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During the Siglo de Oro, the Golden Age of Spanish drama (1580–1680), the Spanish court sponsored many types of theatrical entertainments. The kings and queens of Spain enjoyed re-enactments of battles, processions using triumphal arches and cars, invenciones (scenic charades), ballets, and máscaras (masques). In addition to these theatrical forms, two major types of drama developed at court towards the end of the sixteenth century. N.D. Shergold refers to these forms as particulares, or command performances of plays from the public repertory, and festival plays: elaborate productions involvin

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Severina, Yelena. "Crimean Tableaux of Catherine II’s Court as the Visual Record of the Russian Empire’s Southern Expansion." ВИВЛIОθИКА: E-Journal of Eighteenth-Century Russian Studies 10 (December 15, 2022): 113–40. http://dx.doi.org/10.21900/j.vivliofika.v10.1148.

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This article analyzes celebrations of Russian military victories over the Ottoman Turks during Catherine II’s reign on the examples of pictures (tableaux) featured in fireworks, illuminations, triumphal arches, processions, and instances of live theater. Performing the Crimean conquest via these artistic displays, from the early 1770s—the time when Crimea first begins to appear in them—and until Catherine’s final years, served as a way of incorporating the peninsula as a part of the imperial design and of announcing the Crimean Tatar as the latest member of the Russian Empire’s supporting cast

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Bondareva, Nadezhda Ivanovna. "The Triumph Arch of Astrakhan and its representative potential in preserving historical memory." Культура и искусство, no. 6 (June 2025): 143–62. https://doi.org/10.7256/2454-0625.2025.6.74882.

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The subject of the research is the examination of the artistic and expressive qualities of the Triumphal Arch of Astrakhan and the identification of the features of its sculptural reliefs. The object of the study is the exploration of issues related to the preservation of historical memory through monumental art. The aim of the research is to analyze the Triumphal Arch of Astrakhan from the perspective of its artistic features and representative possibilities in the context of preserving historical memory. The theoretical foundation of the study is based on the works of L. P. Repina, L. N. Maz

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Tembo, Alfred. "The Second World War Memorial in Zambia." Journal of African Military History 7, no. 1-2 (2023): 19–40. http://dx.doi.org/10.1163/24680966-bja10019.

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Abstract Following the cessation of hostilities in Europe in 1945, a debate ensued in colonial Zambia on what was the best tribute to dedicate to its servicemen who had lost their lives in the Second World War. On the one hand, the colonial government advocated for conventional forms of a war memorial such as statues, obelisks, and triumphal arches. On the other side, African servicemen supported the idea of ‘living memorials’ in form of useful projects such as educational institutions, clinics or community centres. In the end, proponents of traditional memorials won this contest—eventually le

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Stevenson, Christine. "Occasional Architecture in Seventeenth-Century London." Architectural History 49 (2006): 35–74. http://dx.doi.org/10.1017/s0066622x00002707.

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The present essay is mainly concerned with the coronation entries staged for James I and Charles II by the City of London in 1604 and 1661, and especially with the temporary arches made out of wood and canvas and erected to mark nodal points along the routes. These events have been the subjects of scholarship keenly attuned to their place in accessions more than usually demanding upon representations of the king’s majesty, in as much as James was the first Stuart king of England and, by the terms of hereditary monarchy, his grandson’s reign began twelve years before his coronation, at the mome

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Zima, Andrey G. "The Artistic Heritage of Architect Vasily Stasov as a Reflection of the Main Trends in the Development of Russian Architecture from the Late 18th to the Mid-19th Century." IKONI / ICONI, no. 4 (2021): 97–118. http://dx.doi.org/10.33779/2658-4824.2021.4.097-118.

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The article presents carried-out research work on the artistic heritage of Vasily Stasov (the buildings that identify to the greatest degree the architect’s stylistic techniques) as determining the main trends in the development of Russian architecture from the end of the 18th to the mid-19th century, namely, the “High Classicist” style, which was predominant during this period, and the sources of historicism. In order to minimize subjectivity when analyzing the evolution of Russian architecture following the main buildings designed by Vasily Stasov, the principle of this assessment was formed

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Ko, Han-Seok. "The Political Meaning of the Construction of Roman Monuments in the Northern Provinces: focused on 16-7 BCE." Korea Association of World History and Culture 74 (March 31, 2025): 85–116. https://doi.org/10.32961/jwhc.2025.03.74.85.

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This article discusses the political significance of Roman monuments built in Gaul and the Alpine region, focusing on the middle of the reign of Augustus, c. 16-7 BCE. With the outbreak of war in Germania and the Alpine region, Gaul was important as bases for war. However, the Gallic people rebelled against Roman policies, especially taxation. Nero Drusus, stepson of Augustus, suppressed the Gallic resistance and started to build monument. Around 12 BCE, he built the sanctuaries of the Three Gauls on a hill overlooking Lugdunum. Although it served as a meeting place for Gallic tribes, the Roma

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Matute, Víctor Sierra. "Material Methodologies in Early Modern Iberian Treatises." Romanic Review 114, no. 2 (2023): 237–58. http://dx.doi.org/10.1215/00358118-10604186.

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Abstract Early modern culture was most fully expressed in events where materiality and textuality are inextricably intertwined: theatrical spectacles, royal parades, triumphal arches, processions, poetic tournaments, and jousts. At the other end of the spectrum, mainstream trends of nineteenth- and twentieth-century Hispanic philology—a prism through which early modern texts have been used and read for years—are part of a genealogy of thought that privileges form over matter. As a result, the radical importance of materials is frequently overlooked in the study of early modern culture. However

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Maxwell, Anne. "OCEANA REVISITED: J. A. FROUDE'S 1884 JOURNEY TO NEW ZEALAND AND THE PINK AND WHITE TERRACES." Victorian Literature and Culture 37, no. 2 (2009): 377–90. http://dx.doi.org/10.1017/s106015030909024x.

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In his popular Romance of London (1867), John Timbs refers to Thomas Babington Macaulay's oft-repeated metaphor of a “New Zealander sitting, like a hundredth-century Marius, on the mouldering arches of London Bridge, contemplating the colossal ruins of St Paul's” (290). Originally intended as an illustration of the vigor and durability of the Roman Catholic Church despite the triumph of the Reformation, Macaulay's most famous evocation of this idea dates from 1840, the year of New Zealand's annexation; hence it is reasonable to suppose that this figure is a Maori (Bellich 297–98). For Timbs an

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Hřebíková, Veronika. "Aliance mezi rodem Valois a Habsburky. Analýza slavobran při vjezdech Karla IX. a Alžběty Habsburské do Paříže v roce 1571." Folia historica Bohemica 39, no. 1 (2024): 5–26. https://doi.org/10.56514/fhb.39.01.01.

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In March 1571, Paris welcomed the French King Charles I X upon his ceremonial arrival, and roughly three weeks later, also his new wife and the recently crowned Queen Elisabeth of Austria. Both ceremonies were accompanied by several panegyrical texts informing the broad public about these events. As regards the allegorical decoration of the city, it bore a rather similar message on the two arrivals. An interpretation of the used symbols and artistic renditions at the individual ceremonial stops reveals how was the Habsburg family perceived by the French society twelve years after the Peace of

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Saluja, Aehren. "Romans through the lens of their architecture." International Journal of Social Science & Economic Research 10, no. 03 (2025): 1141–47. https://doi.org/10.46609/ijsser.2025.v10i03.022.

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The Roman Empire is one of history’s most prominent, wealthiest, and influential civilisations. Spreading over much of Europe, Western Asia and North Africa, the Romans ruled the Mediterranean. Lasting many years, the empire went through social, political and economic external and internal developments, with each emperor and later senators that replaced their predecessors implementing different policies, campaigns and actions. This left the empire in a constant revolutionary state until its eventual downfall due to civil unrest and barbarian invasion. However, its architecture and monuments sy

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Kočevar, Vanja. "Ljubljana as a site of paying Hereditary Homage to Emperor Charles VI in 1728." Kronika 70, no. 2 (2022): 285–306. http://dx.doi.org/10.56420/kronika.70.2.03.

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The article discusses the staging of sovereign power of Emperor Charles VI in Ljubljana’s public spaces during the act of Hereditary Homage (Erbhuldigung) by the Estates of Carniola. To honour the arrival of the distinguished guest, who stayed in the Carniolan capital between 26 and 30 August, and again between 20 and 22 September 1728, the city authorities erected several (ephemeral) architectural artworks, such as two arches of triumph, one in front of the Vidame Gate and the other on the façade of the Town Hall. Whereas the former arch, for which Francesco Robba contributed a marble bust of

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Stobiecka, Monika. "Archaeological heritage in the age of digital colonialism." Archaeological Dialogues 27, no. 2 (2020): 113–25. http://dx.doi.org/10.1017/s1380203820000239.

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AbstractDigital archaeologists claim that their practices have proven to be an important tool for mediating conflict, ensuring that the digital turn in archaeology entails engaging in current political issues. This can be questioned by analysing a copy of the Syrian Arch of Triumph. The original was destroyed in 2015. A year later, a copy was carved out of Egyptian marble; the replica was constructed thanks to digital documentation, which allowed archaeologists to create a 3D model. The arch was placed in various Western locations; however, it never reached Syria. Hybridity, the cultural and p

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EFFROS, BONNIE. "Berber genealogy and the politics of prehistoric archaeology and craniology in French Algeria (1860s–1880s)." British Journal for the History of Science 50, no. 1 (2017): 61–81. http://dx.doi.org/10.1017/s0007087417000024.

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AbstractFollowing the conquest of Algiers and its surrounding territory by the French army in 1830, officers noted an abundance of standing stones in this region of North Africa. Although they attracted considerably less attention among their cohort than more familiar Roman monuments such as triumphal arches and bridges, these prehistoric remains were similar to formations found in Brittany and other parts of France. The first effort to document these remains occurred in 1863, when Laurent-Charles Féraud, a French army interpreter, recorded thousands of dolmens and stone formations south-west

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Polskoy, Sergey. "A Reader and Reading in ‘Long’ Eighteenth-Century Russia." Slovene 12, no. 1 (2023): 344–62. http://dx.doi.org/10.31168/2305-6754.2023.1.11.

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[Rev. of: Reading Russia. A History of Reading in Modern Russia. Volume 1. Edited by Damiano Rebecchini and Raffaella Vassena. Milano: Università degli Studi di Milano, 2020] The first volume of the collective monograph “Reading Russia. The History of Reading in Modern Russia”, is focused on the ‘long’ eighteenth century. It includes a preface by D. Rebecchini and R. Wassena to the entire three-volume edition and eight chapters written by famous researchers of Russian culture, literature and history. In the first chapters, D. Waugh considers the history of reading in the pre-Petrine period, G.

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Pancani, G., S. Galassi, L. Rovero, L. Dipasquale, E. Fazzi, and G. Tempesta. "SEISMIC VULNERABILITY ASSESSMENT OF THE TRIUMPHAL ARCH OF CARACALLA IN VOLUBILIS (MOROCCO): PAST EVENTS AND PROVISIONS FOR THE FUTURE." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLIV-M-1-2020 (July 24, 2020): 435–42. http://dx.doi.org/10.5194/isprs-archives-xliv-m-1-2020-435-2020.

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Abstract. The triumphal arch of Caracalla in the Roman archaeological site of Volubilis dates back to 216 AD. It was built in a strategic position at the intersection of the main roads leading to the Forum, the decumanus maximus to the east and the roads from Porte à trios baies to the west, that almost certainly was the main gate to the city. The current arrangement of the monument is the result of a restoration intervention carried out in the 1930s by French restorers. Some ancient photos witness that the monument was just a ruin in 1915, when Chatelain carried out the former archaeological

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Brandt, J. Rasmus. "SEMPER TRIUMPHANS OM BUEN OG SØYLEN – TRIUMFENS EVIGE SYMBOLER FRA FORUM ROMANUM TIL EIDSVOLDS PLASS OG LA GRANDE ARCHE." Kunst og Kultur 88, no. 03 (2005): 153–70. http://dx.doi.org/10.18261/issn1504-3029-2005-03-04.

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Mayer, Alicia. "[ES] LA RECONFIGURACIÓN DE LA MONARQUÍA CATÓLICA EN INDIAS: TRATADOS DE PRÍNCIPES EN CARLOS DE SIGÜENZA Y GÓNGORA Y SOR JUANA INÉS DE LA CRUZ // RECONFIGURATION OF CATHOLIC MONARCHY IN INDIAS: TREATIES OF PRINCES IN CARLOS DE SIGÜENZA Y GÓNGORA AND SOR JUANA INÉS DE LA CRUZ." Librosdelacorte.es, no. 4 (November 15, 2016): 9–27. http://dx.doi.org/10.15366/ldc2016.8.m4.001.

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Este ensayo analiza cómo dos de los intelectuales criollos más destacados de Nueva España, Carlos de Sigüenza y Góngora y sor Juana Inés de la Cruz, propusieron una fórmula de gobierno para la colonia a través de un elaborado programa iconográfico, cuyo contenido se transmitió al nuevo virrey durante su entrada triunfal en la ciudad de México en 1680. Por medio de las empresas sugeridas de manera didáctica en dos arcos triunfales confeccionados respectivamente por ambos escritores, además de a través de dos relevantes obras que explicaban los símbolos y alegorías contenidos en esas edificacion

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Gervers, Michael. "Churches Built in the Caves of Lasta (Wällo Province, Ethiopia): A Chronology." Aethiopica 17 (December 19, 2014): 25–64. http://dx.doi.org/10.15460/aethiopica.17.1.857.

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The five churches of Yǝmrǝḥannä Krǝstos, Ǝmäkina Mädḫane ʿAläm, Ǝmäkina Lǝdätä Maryam, Walye Iyäsus and Žämmädu Maryam are all built in caves in the massif of Abunä Yosef, situated in the Lasta region of Wollo. Changes in their architectural forms suggest that they were constructed over a period of several hundred years in the order listed and as such represent a significant chronological model against which many of Ethiopia’s rock-hewn churches may be compared. Until the publication of this paper, it has been universally accepted that the church of Yǝmrǝḥannä Krǝstos was built in the second h

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Van Den Boogert, C. "Habsburgs imperialisme en de verspreiding van renaissancevormen in de Nederlanden: de vensters van Michiel Coxcie in de Sint-Goedele te Brussel." Oud Holland - Quarterly for Dutch Art History 106, no. 2 (1992): 57–80. http://dx.doi.org/10.1163/187501792x00082.

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AbstractThe introduction and diffusion of Italian Renaissance forms in sixteenth-century Netherlandish art has usually been described as a process initiated by artists who travelled south, adopted the new style and reaped success after their return to the Netherlands. In giving full credit to the artists and considering this phcnomenon to be a process of artistic exchange in the modern sense, art historians have wrongly disregarded the historical circumstances that caused patrons' preference for the new style. The earliest use of Renaissance forms in the Low Countries on a large scale may be o

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Desta, Dagnachew. "Genealogy of Ancient Philosophy in View of the “Great Quarrel”: Towards an Expository Essay." Athens Journal of Philosophy 2, no. 2 (2023): 83–100. http://dx.doi.org/10.30958/ajphil.2-2-2.

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This article attempts to offer a critical account of the genealogy of ancient Greek philosophy in its bid to transcend the old ruling mythopoeic culture. With this in mind, emphasis is given more to the speculative character of Greek thought rather than its technical and detailed aspects. In my account of the origin of Greek philosophy, I use Plato’s famous pronouncement (Plato, The Republic, Tenth Book) about the great quarrel between philosophy and poetry as a context to provide my analysis. In dealing with the question at hand, I develop the following interrelated claims. First, Greek philo

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Guarneri, M., S. Ceccarelli, M. Ferri De Collibus, M. Francucci, and M. Ciaffi. "MULTI-WAVELENGTHS 3D LASER SCANNING FOR PIGMENT AND STRUCTURAL STUDIES ON THE FRESCOED CEILING <q>THE TRIUMPH OF DIVINE PROVIDENCE</q>." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W15 (August 22, 2019): 549–54. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w15-549-2019.

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<p><strong>Abstract.</strong> The modern 3D digitalization techniques open new scenarios on how to transmit to the next generations the state of health of Cultural Heritage (CH) buildings, paintings, frescos or statues. The final goal of the 3D digitalization is an exact replica of the acquired target, but a standard and unique technique able to digitalize artworks of different size and in different ambient light conditions is still far from being successfully ready for the CH field. Even if both laser scanning and photogrammetry can be considered mature techniques, applied w

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Arkawi, A. "TITLE: VISION OF THE RECONSTRUCTION OF DESTRUCTED MONUMENTS OF PALMYRA (3D) AS A STEP TO REHABILIATE AND PRESERVE THE WHOLESITE." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W5 (August 18, 2017): 41–48. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w5-41-2017.

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Syria is one of the world’s most impressive Cultural Heritages in terms of the number and historical significance of its monuments. Palmyra lies in the heart of Syria, an oasis in the midst of the arid desert.it could be considered as a part of this human heritage. In1980 was registered on the world and national heritage list for its huge historical importance. In addition, it was the focus of many studies and researches in the fields of restoration. Then the disaster happened, many monuments were demolished, temple of Ba’al, temple of Bael-shameen, Arch of triumph and the Castle. Lately the T

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Ilkjær, Jørgen. "Illerup – mellem Nordkap og Nilen." Kuml 50, no. 50 (2001): 187–204. http://dx.doi.org/10.7146/kuml.v50i50.103161.

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Illerup – between the North Cape and the NileFor fifty years, Forhistorisk Museum in Århus and later Moesgård Museum has provided the base for the work with the finds from the river valley of Illerup, which were first published in Kuml 1951. The excavations are long since finished and in a few years the whole find will be published and accessible to the public in an exhibition.In the search for explanations and parallels to the army equipment we have covered much ground, and what might have become a catalogue of finds with selected illustrations has developed into a study of the ancient world

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Fangi, G. "ALEPPO BEFORE AND AFTER THE WAR 2010–2018." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W15 (August 22, 2019): 449–56. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w15-449-2019.

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<p><strong>Abstract.</strong> What remains of Cultural Heritage in Syria? And in particular in Aleppo? Aleppo, according to UNESCO, is the oldest city in the world. The first settlements date back to 12,000 years ago, the first evidence of the city to 8,000. The A. visited the city in October 2018 at the invitation of the Syrian Trust for Development. He previously went to Syria for a photographic tour in 2010. It was a unique opportunity to document some noticeable buildings and monuments, later on affected by the war. When the war began in 2012, the A. retrieved the photogr

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Árpád, Mikó. "A bazini plébániatemplom reneszánsz szószéke (1523)." Művészettörténeti Értesítő 69, no. 1 (2020): 103–8. http://dx.doi.org/10.1556/080.2020.00006.

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The stone pupil in the parish church of Bazin (Pezinok, Slovakia) is one of the finest specimens of its kind in the territory of mediaeval Hungary. The pulpit is on the left of the triumphal arch of the church. Held by a stocky column, its parapet panels trace the sides of an octagon. The date of origin features on one of the panels as 1523 and the coat of arms at the same place indicates the client who ordered it.Despite the usable data and the high quality of the pulpit, it could hardly make its way into the canon of Hungarian art historiography evolving from the late 19th century. Drawings

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Árpád, Mikó. "A bazini plébániatemplom reneszánsz szószéke (1523)." Művészettörténeti Értesítő 69, no. 1 (2020): 103–8. http://dx.doi.org/10.1556/080.2020.00006.

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The stone pupil in the parish church of Bazin (Pezinok, Slovakia) is one of the finest specimens of its kind in the territory of mediaeval Hungary. The pulpit is on the left of the triumphal arch of the church. Held by a stocky column, its parapet panels trace the sides of an octagon. The date of origin features on one of the panels as 1523 and the coat of arms at the same place indicates the client who ordered it.Despite the usable data and the high quality of the pulpit, it could hardly make its way into the canon of Hungarian art historiography evolving from the late 19th century. Drawings

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Srhoj, Vinko. "Kuzma Kovačić - priroda, kultura i vjera kao korektivi modernističke skulpture." Ars Adriatica, no. 1 (January 1, 2011): 169. http://dx.doi.org/10.15291/ars.436.

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Affirming himself during the postmodern period, it is as if sculptor Kuzma Kovačić never cared about the appearance of the new artistic trend. His oeuvre does not display any inclination, not even a rudimentary interest in postmodern compiling and referencing of historical sources. The age of fragmentary visual models creaed by the idea about the loss of cultural unity which attempted to construct itself on the shards of the broken ‘art-historical vase’ did not seem to touch him at all. On the other hand, Kovačić is not a follower of the preceding modernist period which emphasized the experime

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Demori Staničić, Zoraida. "Ikona Bogorodice s Djetetom iz crkve Sv. Nikole na Prijekom u Dubrovniku." Ars Adriatica, no. 3 (January 1, 2013): 67. http://dx.doi.org/10.15291/ars.461.

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Recent conservation and restoration work on the icon of the Virgin and Child which stood on the altar in the Church of St. Nicholas at Prijeko in Dubrovnik has enabled a new interpretation of this paining. The icon, painted on a panel made of poplar wood, features a centrally-placed Virgin holding the Child in her arms painted on a gold background between the two smaller figures of St. Peter and St. John the Baptist. The figures are painted in the manner of the fifteenth- and sixteenth-century Dubrovnik style, and represent a later intervention which significantly changed the original appearan

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Hanovs, Deniss. "THE ARISTOCRAT BECOMES A COURTIER… FEATURES OF EUROPEAN ARISTOCRATIC CULTURE IN THE 17th CENTURY." Via Latgalica, no. 1 (December 31, 2008): 62. http://dx.doi.org/10.17770/latg2008.1.1590.

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As John Adamson outlined in his voluminous comparative analysis of European court culture, „in the period between 1500 and 1750 a „Versailles model” of a court as a self-sufficient, situated in a free space, architectonically harmonious city-residency remote from the capital city, where the king’s household and administration was located, was an exception.” The Versailles conception and „model” both architectonically and in terms of practical functioning of the court was spread and secured in the 18th century, developing into a model of absolutism which was imitated to different extents. The s

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Kleiner, Fred S. "The study of Roman triumphal and honorary arches 50 years after Kähler - SANDRO DE MARIA , GLI ARCHI ONORARI DI ROMA E DELL'ITALIA ROMANA (Bibliotheca Archaeologica 7, L'ERMA di Bretschneider, Roma 1988). Pp. 374, 80 figs., 113 plates. Lit.650.000. ISBN 88-7062-642-3. - ERNST KÜNZL , DER RÖMISCHE TRIUMPH. SIEGESFEIERN IM ANTIKEN ROM (Verlag C. H. Beck, München 1988). Pp. 171,100 figs. DM 38,-. ISBN 3-406-32899-7. - FILIPPO COARELLI , IL FORO ROMANO 2. PERIODO REPUBBLICANO E AUGUSTEO (Quasar, Roma 1985) (The discussion here is restricted to pp. 258–308). - ELISABETH NEDERGAARD , “ZUR PROBLEMATIK DER AUGUSTUSBÖGEN AUF DEM FORUM ROMANUM,” in KAISER AUGUSTUS UND DIE VERLORENE REPUBLIK (von Zabern, Mainz 1988) 224–39. - FILIPPO COARELLI , IL FORO BOARIO DALLE ORIGINI ALLA FINE DELLA REPUBBLICA (Quasar, Roma 1988) (The discussion here is restricted to pp. 363–437 with appendix by G. Ioppolo pp. 443-50). - JAMES C. ANDERSON , JR., “THE DATE OF THE ARCH AT ORANGE,” in BONNJBB 187 (1987) 159–92. - XAVIER DUPRÉ I RAVENTOS , “EL CAPITELLS CORINTIS DE L'ARC DE BERÀ” in EMPURIES 45-46 (1984) 308–15." Journal of Roman Archaeology 2 (1989): 195–206. http://dx.doi.org/10.1017/s1047759400010485.

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Tyukhmeneva, Ekaterina. "Images of animals in festive decorations of the 18th century in Russia." Academia 2 (2023). http://dx.doi.org/10.37953/2079-0341-2023-2-1-115-125.

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The article reveals for the first time what animals were represented in festive decorations of the 18th century in Russia. The author analyzes picturesque and sculptural elements of triumphal arches and obelisks, and paintings usually inserted into the city windows, as well as the compositions of fireworks and illuminations tracing the evolution of animalistic plots and images throughout the century; peculiarities of their interpretation by celebrations’ contemporaries are in focus.

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Easterling, Heather C. "Reading the Royal Entry (1604) In/As Print." Early Theatre 20, no. 1 (2017). http://dx.doi.org/10.12745/et.20.1.2830.

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King James I’s March 1604 entry into London, many recognize, departs from previous royal entry pageants through its use of triumphal arches, employment of professional dramatists, and emphasis on dialogue. But the 1604 entry also was notable for its essential print identity. Print records of royal entries were common by the time of Elizabeth’s accession, and the 1559 text commemorated the event mainly for the queen and court, listing no author. By contrast, James’s entry, staged and performed over one day, generated four different printed texts, each with a declared author or authors. This art

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McDonald, Denise, Cheryl Craig, Carrie Markello, and Michele Kahn. "Our Academic Sandbox: Scholarly Identities Shaped through Play, Tantrums, Building Castles, and Rebuffing Backyard Bullies." Qualitative Report, June 27, 2016. http://dx.doi.org/10.46743/2160-3715/2016.2443.

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This paper presents four teacher educators’ stories that explore their scholarly identity development through an Academic Sandbox metaphor where Play, Tantrums, Building Castles, and Rebuffing Backyard Bullies, serve as creative constructs for describing their experiences of triumphs and challenges in academia. The authors share how a professional learning community (Faculty Academy) functioned as the safe space for “participatory sense-making” (See De Jaegher & Di Paolo, 2007) where situated agency emerged and became strengthened through the telling of the teachers’ stories (Archer, 2003;

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Gómez de Caso Zuriaga, J. "The medieval Muslim interpretation of a Roman municipium: The vision of Mārida (Mérida) in the work of al-Idrīsī and al-Ḥimyarī". Shagi / Steps 9, № 2 (2023). http://dx.doi.org/10.22394/2412-9410-2023-9-2-25-32.

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The article analyzes the image of the Roman past of Hispanic cities, as reflected in works created after the Moslem conquest of the 8th century. Writers who wrote in Arabic had no reliable information about Roman architectural inheritance and tried to compensate for this fact by using other sources, such as prejudices, myths, legends and fantasies. Works of the descriptive genre (al-masãlik wa-l-mamãlik) demonstrate this tendency most clearly. The books written by the Arab Hispanic author al-Idrīsī (12th century) and the Persian writer al-Ḥimyarī (15th century) belong to this genre. Al-Ḥimyarī

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Sala, Emilio. "IL “CAVALIERE DELL’OCA” CACCIATO DALLA SCALA. IL FIASCO MILANESE DEL LOHENGRIN (1873) E IL SUO CONTESTO." Istituto Lombardo - Accademia di Scienze e Lettere - Incontri di Studio, January 25, 2013, 9–32. http://dx.doi.org/10.4081/incontri.2013.118.

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In Milan the opposition Verdi vs Wagner became a well-defined cultural construction in the period starting with the triumph of Lohengrin Italian première (Bologna, 1871) up to the clamorous fiasco the opera received in Milan (1873). Through an analysis of new sources (also iconographical), mostly taken from the contemporary humor periodicals, this article aims to reconstruct the discursive context that shaped Milan rejection of Lohengrin. The premise for this archeo-genealogical investigation is that musical events cannot be separated from the discourses (in a Foucault-like sense) that frame a

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Skowron, Ryszard. "[es] ENTRADAS, BODAS Y CORONACIONES DE LAS PRINCESAS DE LA CASA DE AUSTRIA EN CRACOVIA (1592-1605)." Librosdelacorte.es, no. 6 (January 15, 2015). http://dx.doi.org/10.15366/ldc2013.5.6.004.

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Las ceremonias nupciales reales en Polonia, al igual que en otras cortes europeas, tenían su propio ceremonial y rito. Su esencia ideológica se hallaba en los gestos, en los epigramas, en los emblemas, en los arcos triunfales, en toda la decoración, en las mascaradas y danzas, en la música y en los torneos. Tenían carácter universal, eran entendidas tanto por los habitantes de Polonia como por los que acudían a verlas y por los participantes de toda Europa. En este trabajo se analizan las relaciones entre las dos casas que dominaron el escenario septentrional europeo moderno, Wasa y Habsburgo,

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