Relevant bibliographies by topics / Domus Aurea – Rome, Italie

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Domus Aurea – Rome, Italie'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 January 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Domus Aurea – Rome, Italie.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Domus Aurea – Rome, Italie"

1

Hannah, Robert, Giulio Magli, and Antonella Palmieri. "Nero’s “Solar” Kingship and the Architecture of the Domus Aurea." Numen 63, no. 5-6 (October 14, 2016): 511–24. http://dx.doi.org/10.1163/15685276-12341436.

Full text
Abstract:
The Domus Aurea, Nero’s last “palace” constructed in the very heart of ancient Rome, is a true masterpiece of Roman architecture. We explore here symbolic aspects of the emperor’s project, analyzing the archaeoastronomy of the best preserved part of the Domus, the Esquiline Wing. In particular, we study the so-called Octagonal Room, the huge vaulted room which is in many respects a predecessor of the Pantheon. The project of the room turns out to be connected with astronomy, as is Hadrian’s Pantheon sixty years later. Indeed, the divinization and “solarization” of the emperor — placed at the equinoxes as a point of balance in the heavens — are shown to be explicitly referred to in the rigorous orientation of the plan and in the peculiar geometry of the design of the dome.
APA, Harvard, Vancouver, ISO, and other styles
2

Coccato, Alessia, Maria Cristina Caggiani, Roberta Occhipinti, Paolo Mazzoleni, Alessandro D’Alessio, Alfonsina Russo, and Germana Barone. "The Irreplaceable Contribution of Cross Sections Investigation: Painted Plasters from the Sphinx Room (Domus Aurea, Rome)." Minerals 11, no. 1 (December 22, 2020): 4. http://dx.doi.org/10.3390/min11010004.

Full text
Abstract:
Fragments and micro-fragments of painted plasters from the Sphinx Room, recently discovered in the Domus Aurea Esquiline wing (Rome, Italy), were studied. They were respectively taken from the debris in the vicinity of the walls and from already damaged edges of the decorated walls. A previous study, mainly based on non-destructive and non-invasive investigations, proved effective in giving a general overview of the employed palette, allowing the comparison with paintings from the same palace and other coeval contexts, and also providing some preliminary hints concerning the pictorial technique. Nevertheless, some issues remained unsolved, concerning the pigment mixtures (e.g., lead-/iron-based yellow to red colors; copper-/iron-based green/greyish areas), and the a fresco/a secco painting technique debate. Therefore, cross sections of the above-mentioned fragments were observed by means of Optical (OM) and Scanning Electron (SEM) Microscopy and analyzed with micro-Raman spectroscopy and Energy Dispersive X-Ray Spectroscopy (EDS), with the aims of: studying the paint layer composition through point analysis and mapping of the elemental distribution; comparing these in relation to what was observed with previously reported non-destructive analyses; studying the stratigraphy of the painted plaster, focusing on the contact between the plaster and the paint.
APA, Harvard, Vancouver, ISO, and other styles
3

Magli, Giulio, and Robert Hannah. "The Role of the Sun in the Pantheon’s Design and Meaning." Numen 58, no. 4 (2011): 486–513. http://dx.doi.org/10.1163/156852711x577050.

Full text
Abstract:
AbstractDespite being one of the most recognizable buildings from ancient Rome, the Pantheon is poorly understood. While its architecture has been well studied, its function remains uncertain. This paper argues that both the design and the meaning of the Pantheon are in fact dependent upon an understanding of the role of the sun in the building, and of the apotheosized emperor in Roman thought. Supporting evidence is drawn not only from the instruments of time in the form of the roofed spherical sundial, but also from other Imperial monuments, notably Nero’s Domus Aurea and Augustus’s complex of structures on the Campus Martius — his Ara Pacis, the ‘Horologium Augusti,’ and his Mausoleum. Hadrian’s Mausoleum and potentially part of his Villa at Tivoli are drawn into this argument as correlatives. Ultimately, it is proposed that sun and time were linked architecturally into cosmological signposts for those Romans who could read such things.
APA, Harvard, Vancouver, ISO, and other styles
4

Rugnini, Lorenza, Giada Migliore, Flavia Tasso, Neil Thomas William Ellwood, Anna Rosa Sprocati, and Laura Bruno. "Biocidal Activity of Phyto-Derivative Products Used on Phototrophic Biofilms Growing on Stone Surfaces of the Domus Aurea in Rome (Italy)." Applied Sciences 10, no. 18 (September 21, 2020): 6584. http://dx.doi.org/10.3390/app10186584.

Full text
Abstract:
Hypogean or enclosed monuments are important cultural heritage sites that can suffer biodegradation. Many of the stone walls of the prestigious Domus Aurea are overwhelmed by dense biofilms and so need intervention. Room 93 was chosen as a study site with the aim to test the efficacy of phyto-derivatives as new biocides. Laboratory studies were performed comparing the effects of liquorice leaf extract (Glycyrrhiza glabra L.), lavender essential oil (Lavandula angustifolia Mill.) and a combination of both. In situ studies were also performed to test the effect of liquorice. The results were compared with those of the commonly used synthetic biocide benzalkonium chloride. The effects on the biofilms were assessed by microscopy along with chlorophyll fluorescence analysis. The phototrophs in the biofilms were identified morphologically, while the heterotrophs were identified with culture analysis and 16S gene sequencing. Results showed that the mixed solution liquorice/lavender was the most effective in inhibiting the photosynthetic activities of biofilms in the laboratory tests; while, in situ, the effect of liquorice was particularly encouraging as an efficient and low-invasive biocide. The results demonstrate a high potential biocidal efficacy of the phyto-derivatives, but also highlight the need to develop an efficient application regime.
APA, Harvard, Vancouver, ISO, and other styles
5

Malfa, Claudia La. "The Chapel of San Girolamo in Santa Maria del Popolo in Rome. New Evidence for the Discovery of the Domus Aurea." Journal of the Warburg and Courtauld Institutes 63 (2000): 259. http://dx.doi.org/10.2307/751528.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Caneva, Giulia, Simona Ceschin, and Giovanni De Marco. "Mapping the risk of damage from tree roots for the conservation of archaeological sites: the case of the Domus Aurea, Rome." Conservation and Management of Archaeological Sites 7, no. 3 (January 2006): 163–70. http://dx.doi.org/10.1179/135050306793137403.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Giovampaola, Irma Della. "SyPEAH: The WebAPP System for Protection and Education to Archaeological Heritage in the Parco Archeologico del Colosseo." Geosciences 11, no. 6 (June 5, 2021): 246. http://dx.doi.org/10.3390/geosciences11060246.

Full text
Abstract:
Archaeological sites are affected by changes due to a natural deterioration process over time. If not prevented, this may compromise the functionality of the cultural property, and in turn become pathological and result in degradation. Monitoring through innovative technologies paves the way towards an effective planned maintenance activity and therefore preventive conservation. The monitoring project of the Parco Archeologico del Colosseo was inspired by the desire to build a system of protection and conservation at the service of sustainable exploitation. Established by Ministerial Decree 12 January 2017 in art. 3, the park is an independent cultural site of the Ministry of Culture. It includes the central area of Rome—the Roman Forum, the Palatine, the Colosseum and the Domus Aurea—and has an extension of about 77 hectares, of which about 32 are buildings. With these objectives, the Parco Archeologico del Colosseo has launched a static and dynamic monitoring project consisting of six fundamental levels of activities. The project involves the creation of a multi-parameter system of permanent control of the entire archaeological area, with the associated indicators of the level of risk, for which it is necessary the combined use of innovative technologies.
APA, Harvard, Vancouver, ISO, and other styles
8

Ciccone, S., A. Di Leo, and M. Tallini. "Groundwater exploitation for public and private uses in the towns of the Roman province: the emblematic example of Formia (Latium adiectum: central Italy)." Water Supply 10, no. 3 (July 1, 2010): 394–402. http://dx.doi.org/10.2166/ws.2010.108.

Full text
Abstract:
Formia was a Roman municipality (central Italy) and one of the Roman notables' favourite holiday destinations from the 2nd century B.C. to the 1st century A.C. The town was also a strategic hub for sea and land trade and drew its strength from its geographic position, climate and abundance of spring waters near the sea. This wealth of freshwater, managed by special magistrates (curator aquarum), had multiple public and private uses: (i) intake structures (draining tunnels, cistern and an octagonal hall/musaeum/nymphaeum which may have been used as a model for the most famous octagonal hall of Nero's Domus Aurea in Rome); (ii) supply structures (above all aqueducts); (iii) storage structures (above all cisterns); and, finally, (iv) utilisation structures for public use (thermal baths, probably a pond/piscina dulcis and at least two fountains located along the Appian Way, the regina viarum of the Roman period) and private use (balnea and nymphaea/oeci described by the famous architect Vitruvius who was born in Formia). Hence, as a municipality located in the hinterland of the caput mundi, Formia may be regarded as a typical example of management and public and private use of water resources in the Roman period.
APA, Harvard, Vancouver, ISO, and other styles
9

Moormann, Eric M. "A ruin for Nero on the Oppian hill? - L. F. BALL, “A reappraisal of Nero's Domus Aurea” in ROME PAPERS (JRA Supplement 11, Ann Arbor1994) pages 182–254." Journal of Roman Archaeology 8 (1995): 403–5. http://dx.doi.org/10.1017/s1047759400016251.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Caggiani, Maria Cristina, Alessia Coccato, Paolo Mazzoleni, Alessandro D’Alessio, Alfonsina Russo, and Germana Barone. "Integrated analytical approach to unveil the secrets of the recently discovered “Sphinx Room”: a new piece of Domus Aurea puzzle." Heritage Science 8, no. 1 (November 28, 2020). http://dx.doi.org/10.1186/s40494-020-00465-1.

Full text
Abstract:
AbstractThe recent discovery of the Sphinx Room, belonging to the Domus Aurea Esquiline wing, thanks to the framework given by the project “Non-destructive analytical studies at Parco Archeologico del Colosseo (Rome, Italy)”, allowed to perform an analytical campaign, both in situ and on micro-fragments. The first aim was to contribute to the overall comprehension of the Domus Aurea complex and to contextualize the newly-discovered room inside this extraordinary imperial architecture by means of an archaeometrical characterisation of the painting materials. The palette, composed of Egyptian blue, green earths, iron- and lead-based red, orange and yellow, calcite, carbon-based black, allowed to compare the Sphinx Room to Corridor 92 and Room 114 of Domus Aurea and to other sites in Rome. Furthermore, the employ of an organic binder in some spots can be put forward based on spectroscopic results, which does not exclude a wider use of the a fresco. Furthermore, a complementary methodological strategy was designed, in order to achieve a complete characterization of the materials. In addition to the well-known combination of portable X-ray fluorescence and portable/laboratory Raman analyses, Infrared Fourier Transform Spectroscopy was used, both in situ (Diffuse Reflectance) and in the lab (Attenuated Total Reflectance). The results confirm the suitability of this approach for the characterization of Roman wall paintings, where both inorganic and organic materials are simultaneously present.
APA, Harvard, Vancouver, ISO, and other styles

Dissertations / Theses on the topic "Domus Aurea – Rome, Italie"

1

Maget, Jean-Pierre. "Autour de trois nymphées de la Domus Aurea de Néron." Université Marc Bloch (Strasbourg) (1971-2008), 2004. http://www.theses.fr/2004STR20037.

Full text
Abstract:
Á la suite de l'incendie de Rome en 64, Néron édifia la Domus Aurea que l'on confond, aujourd'hui, avec le palais sur l'Oppius construit strictement selon les points cardinaux. Il n'a été fouillé que sur environ 3/5èmes de sa superficie mais les sondages ont montré qu'il était parfaitement symétrique, de sorte qu'au péristyle Ouest correspond un péristyle Est. Deux nymphées ont été retrouvés : dans l'aile Ouest celui d'Ulysse et Polyphème qui s'ouvre sur le vaste péristyle intérieur et, au centre, un escalier d'eau jaillissant au Nord de l'octogone central. La domus étant symétrique, il faut admettre que dans l'aile Est un nymphée s'ouvrait en face du péristyle Est non encore dégagé. Un plan récent montre qu'au Nord-Est du nymphée d'Ulysse, un ancien mur d'horrea se dirige, en oblique, vers le haut de l'Oppius. Si ce mur n'a pas été démoli, c'est sans doute parce qu'il couvrait une canalisation alimentant le nymphée en eau. Or la même verrue formée par l'amorce d'un mur oblique apparaît en face du péristyle Est, sans qu'il s'agisse, dans ce cas, d'un ancien mur d'horrea. Ce mur a donc été construit en oblique, à dessein, pour alimenter en eau un nymphée : il s'interrompt au centre de la pièce ouvrant sur le péristyle et prouve ainsi qu'un nymphée s'ouvrait à cet endroit. Quant à l'identification de ce troisième nymphée, elle peut se déterminer par complémentarité de celui au Polyphème [la crainte qu'Ulysse, rusé comme Néron, ne puisse s'échapper] et de celui de l'octogone [symbole de puissance, celle de l'eau et celle de Néron]. Le troisième nymphée devait avoir aussi un rapport avec Néron qui se considérait comme un artiste complet. Le héros de référence est Orphée qui, grâce à son art, est descendu aux Enfers et a obtenu d'en ramener Eurydice. Son échec inspire la pitié puisqu'en se retournant, il renvoie Eurydice à la mort. Or selon Aristote la puissance est faite de crainte et de pitié. La crainte et la pitié sont le ressort de la tragédie : ils créent la puissance. Á l'actuel emplacement du Colisée, existait un lac alimenté par le Temple du Divin Claude transformé en nymphée. Ce lac représentait la mare nostrum sur laquelle régnait Néron et, en reflétant le ciel, il prouvait que les dieux cautionnaient l'empereur
Following the fire of Rome 64 AD, Nero built the Domus Aurea which is still confused with the Palace on the Oppius, built exactly in alignment with the points of the compass. Only approximately 3/5 of the area has been excavated, but the initial findings show a perfect symmetry, in that the western peristyle corresponds exactly with the eastern peristyle. Two nymphea have been found - one in the west wing, that of Ulysses and Polyphemus (which opens onto the vast interior peristyle) and one in the centre where water forming a cascade gusches forth to the North of the central octagon. As the Domus is symmetrical, one must assume that there will be a nympheum in the Eastern wing, opposite the (yet to be excavated) eastern peristyle. A recent plan shows that, in the north east of the nympheum of Ulysses, an old wall of Horrea is angled towards the top of the Oppius. If this wall wasn't demolished it is without a doubt because it covered a channel supplying the nympheum with water. The same eyesore formed by the initial section of a slanting wall appeare opposite the eastern peristyle, but, in this case, it was not an old wall of horrea. Hense it was built at a slant, to supply a nympheum with water : it is interrupted in the centre of the room opening onto the peristyle and thus shows that a nympheum is present in this place. The identity of this third nympheum can be ascertained by complementary to the nympheum of Polyphemus [the fear that Ulysses, cunning like Nero, could manage to escape] and that of the octogon [symbol of power, of water and of Nero]. The third nympheum must also have a link with Nero, who considered himself to be a true artist. The hero of reference is Orpheus who, thanks to his cunning, went down into the Underworld to try to bring back Eurydice. His failure inspires pity as by returning he condemned Eurydice to death. According to Aristotle power is made from fear and pity, the spirit of tragedy : they create power. As the current site of the Coliseum, there is a lake fed by the Temple of the Divine Claudius transformed into a nympheum. This lake represented the mare nostrum on which Nero reigned and, in reflecting heaven from its surface, showed that the gods gave their support to the Emperor
APA, Harvard, Vancouver, ISO, and other styles
2

Meylan, Krause Marie-France. "Domus Tiberiana : analyses stratigraphiques et céramologiques : [fouilles 1984-1987] /." Oxford : Archaeopress, 2002. http://catalogue.bnf.fr/ark:/12148/cb400638370.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Dubouloz, Julien. "Appellatio Domus : recherches sur l'oganisation économique, la structure matérielle et les pratiques de transmission des domaines urbains en Italie, à l'époque impériale (IIe-Ve, ap. J.-C.) d'après les sources juridiques, épigraphiques et archéologiques." Aix-Marseille 1, 2003. http://www.theses.fr/2003AIX10002.

Full text
Abstract:
La présente thèse de doctorat porte sur la propriété immobilière urbaine en Italie à l'époque impériale, entre le IIe et le Ve s. Ap. J. -C. Plus encore qu'une étude sur l'organisation architecturale des domaines, il s'agit d'une réflexion sur les structures de la propriété urbaine et les facteurs de leur évolution dans la diachronie. De ce fait, le corpus documentaire dépouillée et, pour les passages esentiels, traduit et commenté , est constitué avant tout par les compilations de droit romain d'époque impériale, réunes à Constantinople aux Ve et VIe s. Ap. J. -C. (Digeste, Code Théodosien, Code Justinien). Toutefois, les sources littéraires et épigraphiques, ainsi qu'un certain nombre de documents archéologiques provenant de Rome et d'Ostie ont aussi été exploités. Une étude de l'organisation comptable et économique des propriétés urbaines a permis de montrer que, dans chaque domaine, loin de s'opposer en deux typologies architecturales et fonctinnelles distinctes, les insulae et les domus, les fonctions de rapport et de représentation sont associées. D'autre part, a été envisagée l'existance de formes d'indivision et de copropriétés dans les domaines urbains, susceptibles d'une interprétation économique et sociale, mais qui posent un problème quant à la possibilité de reconstituer, à travers les seuls documents archéologiques, un cadastre urbain et son dynamisme. Enfin, l'analyse des pratiques et des stratégies de la transmission a permis de montrer que, si certains éléments du patrimoine immobilier peuvent jouer un r^ole dans l'ancrage d'une famille dans une cité, les testateurs semblent envisager une telle fonction seulement d'une génération à l'autre, non pas sur la longue durée et esentiellement pour des raisons économiques.
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Domus Aurea – Rome, Italie"

1

Segala, Elisabetta. Domus aurea. Milano: Electa, 1999.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Segala, Elisabetta. Domus Aurea. Milano: Electa, 1999.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Italy. Soprintendenza archeologica di Roma., ed. Domus Aurea. Milano: Electa, 1999.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Luciani, Roberto. Domus Aurea Neronis, Roma. Roma: Istituto poligrafico e Zecca dello Stato, 1993.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Guide to the Fora and the Coliseum: With a section about the Domus Aurea. Roma: ATS Italia, 2000.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

The Domus Aurea and the Roman architectural revolution. New York: Cambridge University Press, 2003.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Bergmann, Marianne. Der Koloss Neros, die Domus Aurea und der Mentalitätswandel im Rom der frühen Kaiserzeit. Mainz: Verlag P. von Zabern, 1994.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Gianni, Guadalupi, ed. Domus aurea: La decorazione pittorica del palazzo neroniano nell'album "Terme di Tito" conservato al Louvre. Milano: Franco Maria Ricci, 1998.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Dacos, Nicole. Roma quanta fuit: Tre pittori fiamminghi nella Domus Aurea. Roma: Donzelli, 1995.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Pavia, Carlo. Guide to underground Rome: From Cloaca Massima to Domus Aurea : the most fascinating underground sites of the capital = Guida di Roma sotterranea. Roma: Gangemi, 2000.

Find full text
APA, Harvard, Vancouver, ISO, and other styles

Book chapters on the topic "Domus Aurea – Rome, Italie"

1

Wulf-Rheidt, Ulrike. "Creating “Hanging Gardens”." In Building the Classical World, 218–35. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780190690526.003.0013.

Full text
Abstract:
Though famous as one of the Seven Wonders of the Ancient World, the Hanging Gardens have yet to be securely located. Undaunted, many artists, architects, and scholars have suggested reconstructions with the help of descriptions in Greco-Roman literature, such as the illustration by the Dutch artist Maerten van Heemskerck. In his depiction, the gardens are very similar in appearance to the so-called Domus Severiana, one part of the imperial palace in Rome along the Circus Maximus, which clearly inspired van Heemskerck’s reconstruction. The idea of a flourishing artificial garden, rich with water, situated within a metropolis simmering in the desert heat has proven fascinating, not only in recent times but already in antiquity, when it had an enduring influence on both landscape architecture and on Roman palace architecture. The main floor of the Domus Aurea, and subsequently also of the palaces on the Palatine, stood atop high substructures and thus dominated the surrounding city while offering those within a privileged view. Integrating a variety of water installations into these large platforms increased the sense of an artificial landscape in the form of a “hanging garden.” Thus, vague and often fantastic ideas like those about the design of the Hanging Garden of Babylon inspired Roman builders and their architects and led the art of building Roman villas and imperial palaces to new heights.
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Domus Aurea – Rome, Italie"

1

Barone, P. M., E. Mattei, S. E. Lauro, and E. Pettinelli. "Non-destructive technique to investigate an archaeological structure: A GPR survey in the Domus Aurea (Rome, Italy)." In 2010 13th International Conference on Ground Penetrating Radar (GPR 2010). IEEE, 2010. http://dx.doi.org/10.1109/icgpr.2010.5550087.

Full text
APA, Harvard, Vancouver, ISO, and other styles
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography