Relevant bibliographies by topics / Palazzo Falconieri (Rome, Italy)

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  1. Journal articles
  2. Dissertations / Theses
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  4. Book chapters

Academic literature on the topic 'Palazzo Falconieri (Rome, Italy)'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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Journal articles on the topic "Palazzo Falconieri (Rome, Italy)"

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Trombetti, Tomaso, Claudio Ceccoli, Giada Gasparini, and Stefano Silvestri. "Seismic Analysis for the Structural Retrofit of “Palazzo della Civiltà Italiana” in Rome EUR, Italy." Advanced Materials Research 133-134 (October 2010): 753–58. http://dx.doi.org/10.4028/www.scientific.net/amr.133-134.753.

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The “Palazzo della Civiltà Italiana” is a monumental building characterized by a reinforced concrete structure composed of parallel (cast in situ) portal frames and composite (reinforced concrete + hollow bricks floors which spans between adjacent portals: a common construction technique in Italy. The floors being characterised by a large span of about 10.0 meters. The construction took place between 1939 and 1943, most likely according to the Italian building code published in 1939. The authors have coordinated a comprehensive experimental campaign aimed at (a) the identification of the chara
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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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He, Y., Y. H. Ma, and X. R. Zhang. "“DIGITAL HERITAGE” THEORY AND INNOVATIVE PRACTICE." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W5 (August 18, 2017): 335–42. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w5-335-2017.

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“Digital heritage”, as defined in this paper, is the integration of cultural heritage with digitization technology (“cultural heritage + digitization”), and of digital knowledge with research. It includes not only the three conventional aspects of cultural heritage digitization—digital collection and documentation, digital research and information management, digital presentation and interpretation—but also the creation and innovative use/application of the digital content (cultural heritage intellectual property/IP, experiential education, cultural tourism, film and media). Through analysis o
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Bender, Agnieszka. "Zofia Katarzyna Branicka Odescalchi zwana pierwszym „polskim papieżem”." Roczniki Humanistyczne 68, no. 4 Zeszyt specjalny (2020): 213–43. http://dx.doi.org/10.18290/rh20684-12s.

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Zofia Branicka (1821-1886) was a Polish wealthy noblewoman who married Italian Prince Livio III Erba Odescalchi (1805-1885) in 1841. From then on until her death she lived in Rome. Thanks to her opulent dowry, Odescalchi family could buy back among others, the Bracciano castle (near Rome) from the Torlonia family. Zofia was very well educated and a polyglot. From the very first years of her stay in Rome, she started to organise famous soirees at her salon in Palazzo Odescalchi. In this way Princess Zofi gathered the elite of aristocracy, diplomacy and the clergy, from diff European countries.
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Bonaldo, Gianmarco, Amedeo Caprino, Filippo Lorenzoni, and Francesca da Porto. "Monitoring Displacements and Damage Detection through Satellite MT-InSAR Techniques: A New Methodology and Application to a Case Study in Rome (Italy)." Remote Sensing 15, no. 5 (2023): 1177. http://dx.doi.org/10.3390/rs15051177.

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Satellite interferometry has recently developed as a powerful tool for monitoring displacements on structures for structural health monitoring (SHM), as it allows obtaining information on past deformation and performing back analysis on structural behavior. Despite the increasing literature on this subject, the lack of protocols for applying and interpreting interferometric data for structural assessment prevents these techniques from being employed alongside conventional SHM. This paper proposes a methodology for exploiting satellite interferometric data aiming at remotely detecting displacem
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Fattinnanzi, Enrico, Giovanna Acampa, Fabrizio Battisti, Orazio Campo, and Fabiana Forte. "Applying the Depreciated Replacement Cost Method When Assessing the Market Value of Public Property Lacking Comparables and Income Data." Sustainability 12, no. 21 (2020): 8993. http://dx.doi.org/10.3390/su12218993.

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The growing interest in the enhancement, management, and sale of public building stock has increased the importance of their valuation and, as a result, the need to identify suitable methods for estimating value that take into account their peculiarities. They often boast architectural features (interfloor distance, layout, finishings, types of wiring/heating systems, etc.) that make them ‘extraordinary’ assets; in some cases, these features also endow them with monumental and/or historical importance. Thus, when valuating, it is necessary to adopt suitable methods. Where comparable examples o
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Cornaro, Cristina, Gianluigi Bovesecchi, Filippo Calcerano, Letizia Martinelli, and Elena Gigliarelli. "An HBIM Integrated Approach Using Non-Destructive Techniques (NDT) to Support Energy and Environmental Improvement of Built Heritage: The Case Study of Palazzo Maffei Borghese in Rome." Sustainability 15, no. 14 (2023): 11389. http://dx.doi.org/10.3390/su151411389.

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Built heritage energy and environmental improvement is increasingly being recognised as a key driver in the fight against climate change. This effort necessitates a thorough understanding of the building to guide the selection of technologies and design solutions. To have a picture of the buildings’ characteristics and behaviour that is as complete as possible, in situ studies are essential, although the complexities and heterogeneities of historical buildings make these analyses still challenging, especially in professional practice. To address these issues, the paper describes an integrated
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Haxen, Ulf G. "Rom – den hebraiske bogs vugge." Fund og Forskning i Det Kongelige Biblioteks Samlinger 56 (March 3, 2017): 79. http://dx.doi.org/10.7146/fof.v56i0.118929.

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Ulf G. Haxen: Rome – Cradle of the Hebrew Book
 The Royal Library in Copenhagen has, throughout the twentieth century, received two substantial collections of Hebraica and Judaica. In 1933 the library acquired the private library of chief rabbi and professor David Simonsen, which amounted to an impressive 40,000 manuscripts, books and correspondence of scholarly importance. Dr. Lazarus Goldschmidt escaped Nazi Germany in 1938 and managed to bring his 2,500 volumes of Hebraica and Judaica, including 43 immaculate and well preserved incunables, safely to London. His entire collection of rar
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Kaleciński, Marcin. "Italian Inspirations in Speymann’s House and Its Alleged Role as a Museum." Porta Aurea, no. 22 (December 29, 2023): 101–14. http://dx.doi.org/10.26881/porta.2023.22.05.

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While choosing the theme of reliefs which were to decorate his house, Johann Speymann, the mayor of Gdańsk, educated in Italy, drew inspiration from such works as De veri precetti della pittura by Giovanni Battista Armenini (1587) and Trattato dell’arte della pittura by Gian Paolo Lomazzo (1584). Speymannhaus, also known as Steffenshaus, was built in the years 1609–1618 and designed by Abraham van den Blocke and Hans Voigt. In the façade Speymann presented a gallery of Roman consuls and other viri illustres whose lives abounded in Republican exempla virtutis. As the first patron in the history
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Macchione, Vincenzo Elio Junior, and Davide Mastroianni. "La proibizione dei bacchanalia tra la Magna Grecia e l'Etruria." Acta Antiqua Academiae Scientiarum Hungaricae 58, no. 1-4 (2018): 641–56. http://dx.doi.org/10.1556/068.2018.58.1-4.36.

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Summary In the Greek world, the celebrations of Dionysus were different: the Rural Dionysia and the City Dionysia, the Lenee, the Antestèrie, the Oscofòrie, the Ascalia and the Bacchanalia. During the Bacchanalia, women ran, danced and screamed in the woods, and fell prey to Dionysian inebriation. In 186 BC, the Roman Senate issued a decree that limited the cult of Bacchus Dionysus in Rome and in Italy, because of sexual abuses (see Livy, Ab Urbe condita 39. 8 – 39. 18). The diffusion of Bacchanalia was a risk for people and for the dignitas of Rome. In 1640 in Tiriolo, Calabria, during the ex
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Dissertations / Theses on the topic "Palazzo Falconieri (Rome, Italy)"

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Cavazzini, Patrizia. "Palazzo Lancellotti ai Coronari /." Roma : Istituto poligrafico e Zecca dello stato, 1998. http://catalogue.bnf.fr/ark:/12148/cb388096867.

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Garfinkle, Elisa Shari. "The Barberini and the new Christian Empire : a study of the history of Constantine tapestries by Pietro Da Cortona." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30168.

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This study traces the genesis and development of the History of Constantine tapestries designed by Pietro da Cortona and woven on the looms established by Francesco Barberini shortly after his return from France in December 1625. The circumstances surrounding the creation of the series provide a foundation and a framework for exploring its meaning and purpose. Though inspired by an earlier Constantine suite of tapestries designed by Rubens, the "Cortona" panels should be read as an independent entity, the significance of which can only be fully appreciated within the context of the gran salone
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Sjovoll, Therese. "Queen Christina of Sweden´s Musaeum: Collecting and Display in the Palazzo Riario." Thesis, 2015. https://doi.org/10.7916/D8NG4PFC.

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Queen Christina of Sweden (1626-1689)--one of the most celebrated, if controversial, converts of all times--settled in the papal city after her abdication in 1654. Her palace--the Palazzo Riario (today Corsini)--became one of Rome's leading cultural institutions: a site where learned, artistic, and elite culture converged. This study examines Christina's practice of collecting, and argues that her ambition was to create a center for learning and the arts in the Palazzo Riario modeled on the ancient Musaeum of Alexandria. While Christina's importance as a patron of art and learning has long bee
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Books on the topic "Palazzo Falconieri (Rome, Italy)"

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Hajnóczi, Gábor. Il Palazzo Falconieri e il palazzo barocco a Roma: Atti del convegno indetto all'Accademia d'Ungheria in Roma : Roma, 24-26 maggio 1995. Rubbettino, 2009.

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Teresa, Sacchi Lodispoto, ed. Palazzo Primoli, Roma. Istituto poligrafico e Zecca dello Stato, Libreria dello Stato, 2005.

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Lefevre, Renato. Palazzo Chigi. 2nd ed. Editalia, 1987.

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Uccella, Maria Letizia Casanova. Palazzo Venezia. Editalia, 1992.

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Borsellino, Enzo. Palazzo Corsini: Roma. Istituto poligrafico e Zecca dello Stato, Libreria dello Stato, 1995.

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Nilde, Iotti, Borsi Franco, Briganti Giuliano, and Venturoli Marcello, eds. Il Palazzo di Montecitorio. 2nd ed. Editalia, 1985.

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Bresolin, Pier Luigi. Palazzo Giustiniani. Senato della Repubblica, 2009.

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Gennaro, Farina, ed. Palazzo Valentini. Editalia, 1985.

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Gennaro, Farina, and Guidoni Enrico 1939-, eds. Palazzo Valentini. 3rd ed. Editalia, 1996.

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Salvagni, Isabella. Palazzo Carpegna: 1577-1934. De Luca, 2000.

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Book chapters on the topic "Palazzo Falconieri (Rome, Italy)"

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MURDOCH, TESSA. "Queen Christina of Sweden as a Patron of Music in Rome in the Mid-Seventeenth Century." In The Music Room in Early Modern France and Italy. British Academy, 2012. http://dx.doi.org/10.5871/bacad/9780197265055.003.0016.

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Following her abdication, Queen Christina of Sweden took up residence in the Palazzo Farnese, Rome from 1655. She had already developed a keen interest in music, gained from tuition from a French dancing master, and playing the star role in the ballet The Captured Cupid in honour of her mother's birthday in 1649. Christina's arrival in Rome was marked by performances in her honour in the Palazzo Barberini and Palazzo Pamphili of specially commissioned works by contemporary composers Marco Marazzoli and A.F. Tenaglia, and by her favourite Giacomo Carissimi. Inspired by the chamber music proport
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Guerci, Manolo. "‘Un’architettura di diversi’: Carlo Rainaldi and the controversial attribution of the Palazzo Mancini in Rome." In Artistic Practices and Cultural Transfer in Early Modern Italy. Routledge, 2017. http://dx.doi.org/10.4324/9781315096827-5.

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