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Journal articles on the topic 'Museo antiquario'

Author: Grafiati

Published: 29 July 2024

Last updated: 31 July 2025

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1

Cellauro, Louis. "The Casino of Pius IV in the Vatican." Papers of the British School at Rome 63 (November 1995): 183–214. http://dx.doi.org/10.1017/s0068246200010230.

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IL CASINO DI PIO IV AL VATICANOIl Casino di Pio IV nei Giardini Vaticani fu progettata dall'antiquario Pirro Ligorio (c. 1531–83), uno degli archeologici classici più competenti del sedicesimo secolo. In considerazione dell'attività di Ligorio sia come antiquario che come archeologo, sono spesso stati sottolineati paralleli tra il Casino di Pio IV e l'architettura classica, fin dal diciottesimo secolo. Comunque, tentativi di associare il Casino con antiche architetture si sono basati sul presupposto che il Casino (che è poi il nome più recente) fosse stato progettato da Ligorio come una villa.

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2

Leonardi, Andrea, Giuseppe De Sandi, and Claudia Colella. "Ephemeral Museums in Pandemic Era: Bari and the Museo Provinciale that Was There, that Has Been and Has Never Been." European Journal of Interdisciplinary Studies 7, no. 1 (2021): 124. http://dx.doi.org/10.26417/241tmv41h.

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The proposal introduces the theme of the communicative resilience of exhibitions during the Pandemic Era. On March 7, 2020, Italy and its museums, as well as the countless exhibitions housed in their rooms, were closed leaving hundreds, perhaps thousands, of works without the public: from the paintings of Raphael (Rome, Scuderie del Quirinale), to the tables of the Griffoni Polyptych assembled after three hundred years (Bologna, Palazzo Fava), to the statues of Canova (Rome, Palazzo Braschi), to the Sant'Antonio by Antonio Vivarini and to the San Felice in the chair by Lorenzo Lotto chased by

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3

Wood, John D. "The Earl of Buchan's Second Summer: Dryburgh (1785–1829)." Journal of Scottish Historical Studies 42, no. 1 (2022): 55–91. http://dx.doi.org/10.3366/jshs.2022.0346.

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After over a century of relative neglect, the activities of David Steuart Erskine, the eleventh Earl of Buchan, on his Dryburgh estate between 1785 and 1829 have come under increasing academic scrutiny. The Earl’s retirement to Dryburgh has been seen less as a retreat from his high public profile as the founder of the Society of Antiquaries and more as a continuation both of his antiquarian and political interests. Indeed, landscape features such as the Temple of the Muses to the poet James Thomson and especially the giant statue to William Wallace have been viewed recently as part of a highly

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4

Wallace, Jennifer. "Beachy Head, Ancient Barrows and the ‘Alembic’ of Romantic Archaeological Poetics." Romanticism 29, no. 1 (2023): 28–41. http://dx.doi.org/10.3366/rom.2023.0578.

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This article identifies for the first time the ‘lone antiquary’, which Charlotte Smith refers to in her poem Beachy Head, as Rev. James Douglas, one of the most significant and interesting early archaeological writers. My contention is that not only do Douglas’s specific findings and theories about stratigraphy, fossilisation and the culture of Britain’s earliest inhabitants contribute to the historical, antiquarian background to Smith’s poem but also that the transformative nature of his poetics informs her work. In particular, both Douglas and Smith are concerned with the relationships betwe

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5

Banfi, Fabrizio, Mara Pontisso, Francesca Romana Paolillo, Stefano Roascio, Clara Spallino, and Chiara Stanga. "Interactive and Immersive Digital Representation for Virtual Museum: VR and AR for Semantic Enrichment of Museo Nazionale Romano, Antiquarium di Lucrezia Romana and Antiquarium di Villa Dei Quintili." ISPRS International Journal of Geo-Information 12, no. 2 (2023): 28. http://dx.doi.org/10.3390/ijgi12020028.

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The research focuses on the generation of 3D models aimed at creating interactive virtual environments as the outcomes of scalar representations of existing realities. The purpose is to increase the narration, fruition, and dissemination of the findings that emerged from the archaeological investigations carried out in a large sector of the south-eastern suburbs of Rome. In this context, the research proposes a process oriented toward designing a virtual museum of the first group of works from the Appia Antica Archaeological Park and now exhibited at the Museo Nazionale Romano, the Antiquarium

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6

Spinazzè, Sabrina. "Artisti-antiquari a Roma tra la fine dell'Ottocento e l'inizio del Novecento : lo studio e la galleria di Attilio Simonetti." Studiolo 8, no. 1 (2010): 103–22. http://dx.doi.org/10.3406/studi.2010.1293.

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Künstler und Antiquare in Rom am Ende des 19. und zu Beginn des 20. Jahrhunderts : Attilio Simonettis Atelier und Kunstgalerie. Im Jahr 1883 wurde aufgrund eines großen Verkaufs antiker Kunstwerke der Maler Attilio Simonetti (Rom, 1843-1925), berühmter Nachfolger von Mariano Fortuny, ein Sammler und connoisseur von Weltrang. Seine Sammlung, die das Interesse für die europäische Kunst und, der Anregung von Fortuny folgend, für die spanisch-arabischen Manufakturen verband, hatte zu einer neuen Tendenz sowohl bei den Sammlern als auch auf dem römischen Kunstmarkt geführt ; darüber hinaus diente s

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Batino, Sabrina. "Dalla Collezione Gaddi al Museum Oddianum." Mélanges de l'École française de Rome. Antiquité 136-2 (2024): 453–77. https://doi.org/10.4000/13ry7.

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Questo contributo richiama l’attenzione su un frammento marmoreo di rilievo con soggetto riconducibile ad un choros di Muse, appartenuto alla Collezione Oddi Baglioni di Perugia. L’originaria provenienza antiquaria del manufatto dalla celebre silloge toscana dei Gaddi, fino ad oggi ignota ma ora deducibile con certezza grazie ad un disegno di Giovanni Domenico Campiglia nella raccolta Topham a Eton, offre l’occasione per inquadrare il pezzo in rapporto all’ambiente romano in cui prese le mosse, nella prima metà del XVI secolo, l’attività collezionistica del chierico Giovanni Gaddi, proseguita

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8

Caruso, Carlo. "ARCHAEOLOGICAL FINDINGS AND CELEBRATORY POETRY IN THE ROME OF PIUS VI." Papers of the British School at Rome 85 (July 24, 2017): 241–68. http://dx.doi.org/10.1017/s0068246217000071.

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In the second half of the eighteenth century, archaeological activities in Rome intensified considerably under the pontificate of Pius VI (1775–99), and new excavations in the Roman Campagna and the Latium, together with the erection of the Museo Pio Clementino (1776–84), excited considerable interest in Roman learned and literary circles. A young poet who had moved to Rome from Romagna, Vincenzo Monti (1754–1828), obtained his first great success by celebrating the new discoveries in a memorable poem, La prosopopea di Pericle. In it, a newly found herm of Pericles sings of Pius's pontificate

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9

Bosch Ballbona, Joan, and Rafael Cornudella. "Joan Gentilhom de Borgonya i el seu Pseudo (Joan Bigorra?)." Locus Amoenus 22 (December 24, 2024): 87–122. https://doi.org/10.5565/rev/locus.529.

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L’aparició en el comerç antiquari de tres taules d’època renaixentista, un Sant Hipòlit, una Anunciació i una Nativitat, que s’han vinculat al pintor Joan de Borgonya, i la seva adquisició per part de col·leccions públiques, ens ha incitat a revisar, actualitzant-la amb alguna nova atribució, la intensa trajectòria i l’atractiva personalitat pictòrica d’aquest sempre intrigant «Johannes de Burgunya pictor civis barchinone». Sobretot perquè els dos autors d’aquest estudi coincidim a considerar que les esmentades Anunciació del MNAC i Nativitat valenciana no sembla que hagin sortit de la seva mà

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10

Sparkes, Brian A. "(A.M.) Esposito and (G.) De Tommaso Museo Archeologico Nazionale di Firenze. Antiquarium. Vasi attici. Florence: Edizioni II Ponte, 1993. Pp. 102, ill. L18,000." Journal of Hellenic Studies 117 (November 1997): 263. http://dx.doi.org/10.2307/632615.

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11

Bailey, Donald M. "M. T. Paleani: Le Lucerne Paleocristiane. (Monumenti, Musei e Gallerie Pontificie, Antiquarium Romanum, 1.) Pp. x+124; 163 figs. Rome: ‘L'Erma’ di Bretschneider, 1993. Paper L. 150,000." Classical Review 45, no. 1 (1995): 202–3. http://dx.doi.org/10.1017/s0009840x0029330x.

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12

Liugaitė-Černiauskienė, Modesta. "Ballads in Oral and Written Tradition: Retrospective Research Survey." Tautosakos darbai 55 (June 25, 2018): 13–35. http://dx.doi.org/10.51554/td.2018.28497.

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The article aims at reviewing the rich and ambivalent Western folk ballad research tradition in terms of confluence of the oral and written traditions. Although being well-reflected in the West, this approach is hardly at all present in Lithuania. The article starts with discussing such cultural phenomenon as broadside ballads. In surveying them, the author maintains that popular publications of the 16th–19th century Europe (bibliothèque bleue, skyllingtricker, Volksbuch, pliegos de cordel, лубочная литература, etc.) were an inherent part of the folk culture. Printed sheets of folksongs and ba

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13

Gros, Pierre. "Découvertes anciennes et recherches récentes: la renaissance d'une cité romaine de Bétique à partir des archives et des fouilles - JOSÉ BELTRÁN FORTES, JORGE MAIER ALLENDE, JAVIER MIRANDA VALDÉS, JOSÉ ANTONIO MORENA LÓPEZ, PEDRO RODRÍGUEZ OLIVA, EL MAUSOLEO DE LOS POMPEYOS DE TORREPAREDONES (BAENA, CORDÓBA). ANÁLISIS HISTORIOGRÁFICO Y ARQUEOLÓGICO (= SALSVM 1, Monografías del Museo Histórico Municipal de Baena = Antiquaria Hispanica 17; Diputación de Córdoba 2010). Pp. 354, figs. ISBN 978-84-606-5140-6." Journal of Roman Archaeology 25 (2012): 809–10. http://dx.doi.org/10.1017/s1047759400001823.

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14

Jessica, Piccinini. "Frustula Baranellensia. 1. Iscrizioni su supporto ceramico dal Museo Civico "Giuseppe Barone", in "Considerazioni di Storia ed Archeologia" XII, 2020, pp. 47-56." April 6, 2023. https://doi.org/10.5281/zenodo.7806780.

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15

Perani, Germana. "Il museo archeologico di uno scrittore: Carlo Dossi a Corbetta." MDCCC 1800, no. 1 (December 4, 2023). http://dx.doi.org/10.30687/mdccc/2280-8841/2023/01/014.

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In 1895, the writer and diplomat Carlo Dossi (1849‑1910) retired to Corbetta, near Milan, and devoted himself to archaeological field research, leading excavations in the area and designing his own museum. If we look at the Antiquarium forense set up by Giacomo Boni in Rome, we can see that the innovative and up-to-date aspects are the hallmark of this museum. In addition, the museum’s specialised library is reviewed, pointing out the complex nature of this place, which is now assessed as a tool for narrating the story of this territory in a captivating and multimedial way.

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16

Raffiotta, Serena. "Antiquaria e collezionismo a Serra Orlando-Morgantina (Aidone) ai tempi di Paolo Orsi. Nuovi dati per la conoscenza della coroplastica siceliota." Otium. Archeologia e Cultura del Mondo Antico 17, no. 4 (2025). https://doi.org/10.5281/zenodo.14942957.

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The paper aims to present a rich series of mostly unpublished coroplastic finds from Contrada Serra Orlando of Aidone (EN), inland Sicily, now known as the site of the ancient city of Morgantina. The finds, currently in the collection of the Museo Archeologico Regionale Paolo Orsi in Siracusa, were partly donated to Paolo Orsi himself by the family Montemagno, owners of lands in the archaeological area, and in part were acquired by the archaeologist at the time of his frequentation of the area and the Montemagno family, around 1911- 1912. It is an interesting complex of clay artifacts that pro

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