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Journal articles on the topic 'Palazzo Ruspoli (Rome, Italy)'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Giulia Aurigemma, Maria. "Un corpus perduto ? Sui disegni di Jacopo Zucchi." Studiolo 5, no. 1 (2007): 115–47. http://dx.doi.org/10.3406/studi.2007.1193.

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Alla riscoperta di Jacopo Zucchi, grazie alle pubblicazioni dei volumi su La Villa Médicis (1991), alla mostra su Villa Medici, Il sogno di un cardinale (1999) promossi dall' Académie de France à Rome, ed il volume su Palazzo Ruspoli (1992), è possibile aggiungere una lettura del pittore fiorentino (morto nel 1592) attraverso l'elenco postumo dei suoi disegni e delle stampe di sua proprietà. Molti dei disegni coincidono con l'identificazione data da Pillsbury e da altri studiosi, molti altri rendono chiari debiti zuccheschi verso Michelangelo e Andrea del Sarto, contatti con Cambiaso e le oper

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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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Madersbacher, Lukas. "Armorial Lockplates: A Story of Success in Renaissance Rome." Rijksmuseum Bulletin 69, no. 4 (2021): 302–21. http://dx.doi.org/10.52476/trb.11390.

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This article was prompted by a gilt bronze lockplate in the Rijksmuseum, originally the decorative fastening of a chest and one of a large group of similar objects. Hardly any other metalwork design was more extensively reproduced in Italian Mannerism. Its success was based on the appealing design and the fact this type of lockplate offered the possibility of integrating coats of arms and thus personalizing a chest. The paper presents new examples not yet listed in Charles Avery’s comprehensive overview (2001), identifies a whole series of clients for these lockplates on the basis of heraldic

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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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13

Marcello, Flavia. "Mussolini and the idealisation of Empire: the Augustan Exhibition of Romanità." Modern Italy 16, no. 3 (2011): 223–47. http://dx.doi.org/10.1080/13532944.2011.586497.

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The Augustan Exhibition ofRomanità, held in Rome's Palazzo delle Esposizioni between 1937 and 1938, exemplifies the aestheticisation, ritualisation and sacralisation of politics during the Fascist era in Italy. This article conducts a multi-layered spatial analysis of the exhibition that considers space as passively experienced, as an agent to re-map memory, as a mediator between intention and reception and as having both physical and mental characteristics. The relative sizes of the spaces, their sequence and their axial placement within the Palazzo's plan were the most powerful forces that c

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Mazurczak, Urszula. "Panorama Konstantynopola w Liber chronicarum Hartmanna Schedla (1493). Miasto idealne – memoria chrześcijaństwa." Vox Patrum 70 (December 12, 2018): 499–525. http://dx.doi.org/10.31743/vp.3219.

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The historical research of the illustrated Nuremberg Chronicle [Schedelsche Weltchronik (English: Schedel’s World Chronicle)] of Hartmann Schedel comprises the complex historical knowledge about numerous woodcuts which present views of various cities important in the world’s history, e.g. Jerusalem, Constantinople, or the European ones such as: Rome, some Italian, German or Polish cities e.g. Wrocław and Cracow; some Hungarian and some Czech Republic cities. Researchers have made a serious study to recognize certain constructions in the woodcuts; they indicated the conservative and contractu

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15

Mádl, Martin. "The Patterns of the Transformation in Central European Ceiling Painting around 1700 and Franz Carl Remp in Brežice Castle." Acta historiae artis Slovenica 26, no. 2 (2021). http://dx.doi.org/10.3986/ahas.26.2.08.

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   The ceiling decoration of the Great Hall of Brežice Castle was executed for the Attems family by the painter Franz Carl Remp in 1702–1703. Its form had most probably been inspired by an engraving, reproducing the fresco by Pietro da Cortona in the hall of the Palazzo Barberini in Rome. During the 17th century, many engravings of various motifs and types were used as models for monumental paintings in Central Europe. However, it was above all graphic reproductions of famous ceiling paintings in different artistic centres in Italy which inspired the qualitative turn of Cent

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16

Sun, Wei, and Claudia Zancan. "Showcasing Japan A Journey of Japanese Identity through Archaeology and Ancient Art Exhibitions in Italy." 60 | 2024, no. 1 (July 25, 2024). http://dx.doi.org/10.30687/annor/2385-3042/2024/01/014.

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To what extent does the narrative of Japan’s prehistorical origins matter to Italy? In the second half of the twentieth century, Palazzo delle Esposizioni in Rome hosted two significant exhibitions dedicated to Japanese archaeology and ancient art: Tesori dell’Arte Giapponese in 1958 and Il Giappone prima dell’Occidente in 1995. Both displays provided Italian visitors with an unparalleled framework to engage with early artistic manifestations of the archipelago known today as Japan. Built on a critical analysis of the prehistoric and protohistoric artefacts from the Jōmon to Kofun periods sele

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17

Martinelli, Salvatore. "Fascist Italy as the Heir of the Imperium Romanum Celebration of Romanism as an ideological instrument of legitimation." July 24, 2022. https://doi.org/10.5281/zenodo.6889418.

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On May 9, 1936, at 9:45 p.m., on the balcony of Palazzo Venezia, Benito Mussolini proclaimed: “Italy, at last, has an empire of its own“ For Mussolini, revealing Italy as an “empire” was not just the simple use of a term. Still, it was to be the cornerstone of the large-scale adaptation of the Imperium Romanum that Fascism had made its primary goal. With this proclamation, a new era dawned for Italy, which is why the year in question was also meaningfully touted by Mussolini at the time as “anno zero”. However, Italy's basic idea of using the Roman Empir

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Alicandri, Enrica, Anna Maria Vettraino, Mariagrazia Agrimi, Mario Ciaffi, and Elena Kuzminsky. "Molecular markers dataset to assess the genetic diversity of oriental plane trees from historical sites in Lazio (central Italy)." March 3, 2022. https://doi.org/10.5281/zenodo.6325140.

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The dataset presented in this article is related to the research paper titled “Dimensional and genetic characterization of the last oriental plane trees (Platanus orientalis L.) of historical sites in Lazio (central Italy)”. Indeed, the molecular analyses reported in that article consisted in a comparison of Italian veteran plane trees with 12 certified accessions of P. orientalis , P. occidentalis and their hybrids P. acerifolia (4 individuals per species). First, LEAFY gene analyses allowed identifying 32 P. orientalis and two P. acerifolia in four sites of the province of Rome,

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"The Imprint Of Civil Law On International Commercial Relations / L'Empreinte Du Droit Continental Dans Les Relations Commerciales Internationales - International Meeting organised by the Ministry of Foreign Affairs (Italy) / Rencontre internationale organisee par le Ministere des Affaires etrangeres (Italie); sponsored by / sous les auspices d'Unidroit (International Institute for the Unification of Private Law / Institut international pour l'unification du droit prive), Palazzo Aldobrandini, Rome (Italy / Italie), 29-30 November / novembre 2001." Uniform Law Review - Revue de droit uniforme 6, no. 1 (2001): 111. http://dx.doi.org/10.1093/ulr/6.1.111-a.

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"The Imprint Of Civil Law On International Commercial Relations / L'Empreinte Du Droit Continental Dans Les Relations Commerciales Internationales - International Meeting organised by the Ministry of Foreign Affairs (Italy) / Rencontre internationale organisee par le Ministere des Affaires etrangeres (Italie); sponsored by / sous les auspices d'Unidroit (International Institute for the Unification of Private Law / Institut international pour l'unification du droit prive), Palazzo Aldobrandini, Rome (Italy / Italie), 29-30 November / novembre 2001." Uniform Law Review - Revue de droit uniforme 6, no. 1 (2001): 111–13. http://dx.doi.org/10.1093/ulr/6.1.111-b.

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