Journal articles: 'Pittura a Roma'

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Walker, Susan. "Cleopatra in Pompeii?" Papers of the British School at Rome 76 (November 2008): 35–46. http://dx.doi.org/10.1017/s0068246200000404.

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All'inizio del 2007 mentre stavo rivedendo il contesto di rinvenimento di due placche di vetro cammeo trovate nell'ampio oecus (stanza 62) della Casa di Marcus Fabius Rufus dell'Insula Occidentalis di Pompeii, ho avuto l'opportunità di esaminare una pittura parietale di notevole interesse. In questo contributo la pittura viene descritta e inserita nel contesto dello sviluppo della casa. Per quanto riguarda il soggetto rappresentato, suggerisco che la figura principale non rappresenti la dea Venere in persona, quanto Cleopatra VII d'Egitto nelle vesti di Venus Genetrix. La pittura fu quasi eertamente ispirata dalla dedica che Cesare effettuò nel settembre del 46 a.C. del tempio a Venus Genetrix nel suo foro a Roma, dove secondo Appiano e (più problematico) Dione Cassio, Cesare dedicó una statua dorata alla regina egiziana.

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Pierguidi, Stefano. "La ‘terza stanza de quadri’ in Palazzo Farnese nel 1644." Journal of the History of Collections 32, no. 2 (April 9, 2019): 265–73. http://dx.doi.org/10.1093/jhc/fhz016.

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Abstract L’articolo punta a stabilire il criterio museografico nell’allestimento della ‘terza stanza de quadri’ in Palazzo Farnese nel 1644, a partire dalla sorprendente presenza in quell’ambiente di molti disegni incorniciati accanto a dipinti su tavola a fondo oro di primo Quattrocento e a poche, importanti tele. Nella stanza era sinteticamente narrata la storia della pittura a Roma dal Quattro al Cinquecento, attraverso soli capolavori, di maestri quasi unicamente appartenenti alla scuola romana. This article aims to establish the museographic criteria involved in the display of pictures in the ‘third room of paintings’ in the Palazzo Farnese in 1644, beginning with the surprising presence there of many framed drawings next to paintings on panel with gold background of the early fifteenth century and with few modern paintings of great importance. Here the story of painting in Rome in the Quattrocento and Cinquecento was synthetically narrated through masterpieces belonging almost exclusively to the Roman School.

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Merz, Jorg Martin, Filippo Titi, and Giulia De Marchi. "Studio di pittura, scoltura, et architettura nelle chiese di Roma (1674-1763)." Zeitschrift für Kunstgeschichte 53, no. 2 (1990): 243. http://dx.doi.org/10.2307/1482536.

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Melro Salzedas, Nelyse A., and Rivaldo Alfredo Paccola. "Hibridização de imagens: cinema/pintura / Hybridization of Images: Film/Painting." Revista Internacional de Cultura Visual 3, no. 1 (April 4, 2016): 1–7. http://dx.doi.org/10.37467/gka-revvisual.v3.488.

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ABSTRACTThis paper discusses the hybridization of images of paintings and film particles in Italian and American films, including establishing a metaphorical field whose interstitium a common field to both arises. The Italian critic De Santi (Cinema and pittura, 2008) brings up this process of hybridization: Pasolini, the film "Rage" (1963), uses the backdrop of the screen Rosso Fiorentino, "The Descent from the Cross" (1521); in another, "Mamma Roma" (1962) and Fellini, "Satyricon" (1969), inspired by the Mantegna screen "Dead Christ" (1485). Also, Newel (Mona Lisa smile, 2003) uses Picasso screen (Demoiselles D'Avignon, 1907) as a pedagogical discourse of the protagonist.RESUMOObjetivamos discutir a hibridização de imagens de pinturas e partículas cinematográficas em filmes italianos e norte-americano, estabelecendo entre elas um campo metafórico em cujo interstício surge um campo comum a ambas. O crítico italiano De Santi (Cinema e pittura, 2008) traz à tona esse processo de hibridização: Pasolini, no filme “Raiva” (1963), usa como cenário a tela de Rosso Fiorentino, “A descida da cruz” (1521); em outro, “Mamma Roma” (1962), e Fellini, “Satyricon” (1969), inspiram-se na tela de Mantegna “Cristo morto” (1485). Igualmente, Newel (Mona Lisa smile, 2003) utiliza tela de Picasso (Demoiselles D’Avignon, 1907) como discurso pedagógico da protagonista.

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Bordi, Giulia. "Corpus e Atlante della pittura medievale a Roma (312-1431). Un modello possibile." Hortus Artium Medievalium 24 (May 2018): 60–70. http://dx.doi.org/10.1484/j.ham.5.115936.

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Frangenberg, Thomas, and Ludovico David. "The Geometry of a Dome: Ludovico David's Dichiarazione della pittura della capella del Collegio Clementino di Roma." Journal of the Warburg and Courtauld Institutes 57 (1994): 191. http://dx.doi.org/10.2307/751469.

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Gambino, Giuseppe. "Antonio De Bellis." Revista Eviterna, no. 8 (September 22, 2020): 51–70. http://dx.doi.org/10.24310/eviternare.vi8.9781.

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Il Seicento napoletano fu caratterizzato da un così grande fermento culturale e artistico da meritarsi l’appellativo di Secolo d’Oro. Una miriade di architetti, scultori, pittori e artigiani diedero vita a opere di grande pregio che cambiarono per sempre il volto della capitale del Viceregno. Tra i pittori ai tempi più apprezzati, come dimostrano le tante opere che oramai fanno parte del suo catalogo, ma per tanto tempo caduti nell’oblio, anche per la quasi totale assenza di dati documentari, c’è sicuramente Antonio De Bellis: un artista che dagli anni ’70 del Novecento ha stuzzicato l’interesse degli studiosi entrando anche a far parte della rosa di pittori coinvolti nella vexata quaestio sull’identità del Maestro degli Annunci ai pastori. Spesso confuso con il Cavallino, a riprova della qualità di molte sue opere, dal quale si discosta per un certo arcaismo persistente in tutta la sua opera, il suo percorso artistico affonda le radici nel Naturalismo di matrice caravaggesca, ‘napoletanizzato’ da Battistello, Filippo Vitale e dal deus ex machina della pittura di quel periodo nella città partenopea, Jusepe de Ribera. E seguendo le orme di quest’ultimo, come tanti altri partecipa a quella rivoluzione coloristica che arriva da un lato da Roma, tramite la riscoperta dei Maestri veneti del ‘500 da parte di un gruppo di pittori francesi, primo fra tutti Poussin, e dall’altro dalle tele piene di luce ‘mediterranea’ del Van Dyck. Il tentativo di Antonio di mantenere il legame con i modi della sua formazione, pur aderendo a queste nuove istanze, non regge però a lungo e quelle che al momento sono ritenute le sue ultime due tele, non hanno quel mordente che aveva caratterizzato invece la sua produzione precedente.

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Themelly, Alessandra. "Immagini di Maria nella pittura e nei mosaici romani dalla crisi monotelita agli inizi della seconda iconoclastia (640-819)." Acta ad archaeologiam et artium historiam pertinentia 21 (September 21, 2017): 107–38. http://dx.doi.org/10.5617/acta.5533.

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L’articolo analizza le immagini della Vergine, pittoriche e musive, presenti a Roma dalla metà del VII secolo ai primi decenni del IX. Il taglio prescelto cerca di usare in parallelo le diverse chiavi interpretative proposte dalla storiografia: l’analisi storica, le ricerche iconografico-iconologiche, le letture stilistico-formali. Nelle rappresentazioni di Maria si riflettono le dinamiche religiose dello sviluppo dottrinale e della pratica devozionale, legate prima alla eresia monotelita poi alla crisi iconoclasta; in seguito in esse convergono nuovi significati politici connessi alla nascente ideologia dello Stato della Chiesa. Lo sviluppo delle immagini mariane mostra nel corso dei quasi duecento anni esaminati il progressivo distacco dalla cultura bizantina ed il profilarsi di una nuova identità culturale.

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Lamberti, Maria Mimita. "Appunti sulle sezioni straniere alle prime Biennali. I pittori francesi e l'impressionismo." L'uomo nero. Materiali per una storia delle arti della modernità 19, no. 19-20 (December 13, 2022): 55–61. http://dx.doi.org/10.54103/2974-6620/uon.n19-20_2022_pp55-61.

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La questione della partecipazione francese alle Biennali non può non partire dalla lunga polemica sull'assenza degli impressionisti: una polemica iniziata da Soffici sulla "Voce", appoggiata da Barbantini e dagli artisti di Ca' Pesaro, che verrà a distanza di quattro decenni risarcita nell'edizione postbellica del 1948, quasi a pagare un debito verso la cultura figurativa d'oltralpe. Sarebbe tuttavia rischioso uniformarsi passivamente a questa giusta rivendicazione che sottolineava con quanto ritardo la critica italiana accettasse di misurarsi con il rinnovamento linguistico francese: i conti in prima istanza erano quelli con la pittura ufficiale dei Salons e con l'autorità dell'Accademia di Francia a Roma, garante nella persona di Albert Besnard di una selezione attenta a equilibri tra personalità e istituzioni, spesso legate a un'immagine di grandeur. Nelle maglie della selezione e dei giurati preposti agli inviti, però, un margine sia pur minimo di presenza veniva assicurato, se dal 1897 e poi nel 1903 e nel 1905 alcune opere degli impressionisti storici arrivavano in Biennale.

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Richardson, Carol M. "Durante Alberti, the Martyrs' Picture and the Venerable English College, Rome." Papers of the British School at Rome 73 (November 2005): 223–63. http://dx.doi.org/10.1017/s0068246200003032.

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DURANTE ALBERTI, IL QUADRO DEI MARTIRI E IL VENERABILE COLLEGIO INGLESE, ROMAIl Quadro dei Martiri nel Venerabile Collegio Inglese di Roma fu dipinto nel 1581 da Durante Alberti in occasione di una congiuntura seminale nella storia dell'istituzione. Nel 1579 ciò che era stato l'ospizio medievale per i pellegrini inglesi e gallesi divenne il Collegio Inglese, condotto dai Gesuiti, per preparare gli uomini al sacerdozio e mandarli all'Inghilterra di Elisabetta I nel memento del culmine della repressione cattolica. Come importante parte di uno dei numerosi programmi decorativi associati ai Gesuiti nel 1580 sotto Gregorio XIII (1572–85), la pittura è stata oscurata dall'esplicito affresco dei martiri di Niccolo Circignani (‘Il Pomarancio’) aggiunto alia chiesa poco dopo e dalle stampe di Giovanni Battista de' Cavalieri che li riporta. Questo articolo cerca di riposizionare la pala d'altare al centro sia del ciclo decorativo originale che degli eventi rimarchevoli accorsi durante la traumatica transizione dell'istituzione da casa per clerici esiliati a luogo di addestramento per preti militanti disposti a tornare in Inghilterra e affrontare il martirio.

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Tassinari, Magda. "«Et essendo la nostra arte sorella della pittura»: il ricamo a Roma tra Sei e Settecento e i corredi liturgici della Cappella di San Giovanni Battista nella chiesa di San Rocco a Lisbona." Römische Historische Mitteilungen 1 (2014): 193–246. http://dx.doi.org/10.1553/rhm54s193.

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van Gastel, Joris. "Pittura di marmo: Storia e fortuna delle pale d’altare a rilievo nella Roma di Bernini. Stefano Pierguidi. Biblioteca dell’“Archivum Romanicum” I: Storia, Letteratura, Paleografia 470. Florence: Olschki, 2017. xx + 292 pp. €29." Renaissance Quarterly 71, no. 3 (2018): 1067–68. http://dx.doi.org/10.1086/700450.

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Bacchielli, di Lidiano. "Pittura Funeraria Antica in Cirenaica." Libyan Studies 24 (1993): 77–116. http://dx.doi.org/10.1017/s0263718900001989.

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AbstractWith the exception of two epigraphic references and a surviving example at Ptolemais, paintings have vanished from the ancient buildings of Cyrenaica along with the walls that supported them. Only the rock-cut tombs offer a rich conspectus of funerary paintings from Hellenistic to early Christian times. These attracted the attention of several early travellers and archaeologists, but they have never been the object of detailed interpretative study.Here an account is given of ten painted tombs, beginning with the Hellenistic ‘Tomb of the Swing’ at Cyrene, the painted metopes of which are now in the Musée du Louvre. Roman imperial occupation of Hellenistic tombs at Cyrene is represented by the Tomb of the veteran Gaius Ammonius. Several tombs at Cyrene were decorated in late antiquity; here the tomb of the Good Shepherd and the Tomb of Demetria are discussed. Of particular interest are the late Roman tombs in rural sites such as Beit Ammer and Zawiet Asgafa, in which classical myth and Homeric epic are treated, the products of a culture still nourished by the remote past.

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AQUILECCHIA, GIOVANNI. "CHRYSA DAMIANAKI, Galileo e le arti figurative. I ritratti e i busti di Galileo. Scoperte astronomiche e pittura barocca. La concezione estetica di Galileo. Presentazione di Bruno Basile, Manziana, Roma, Vecchiarelli Editore, 2000, 103 pp.+46 (51) tavv." Nuncius 16, no. 1 (January 1, 2001): 431–32. http://dx.doi.org/10.1163/221058701x00202.

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Marchiori, Laura. "Medieval wall painting in the church of Santa Maria in Pallara, Rome: the use of objective dating criteria." Papers of the British School at Rome 77 (November 2009): 225–55. http://dx.doi.org/10.1017/s0068246200000088.

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Le pitture medievali nella chiesa di Santa Maria in Pallara hanno ricevuto poca attenzione da parte degli studiosi, forse per via dell'incertezza della loro datazione; infatti non si possiede nessuna indipendente documentazione letteraria per la loro realizzazione. Tradizionalmente datati al X secolo, le pitture mostrano un'iconografia più comune nei contesti del XII e XIII secolo, una rappresentazione di Apostoli seduti sulle spalle dei Profeti, che senza dubbio contribuiscono alla loro dimenticanza, visto che i monumenti più tardi sono ben documentati. Comunque, l'iconografia deriva dalle tradizioni romane della decorazione ecclesiastica, tradizioni che possono essere utilizzate in un'analisi delle pitture al fine di arrivare ad una datazione indipendente basata solo sulla loro forma e contenuto. Seguendo una metodologia sviluppata da John Osbornc per la datazione di pitture medievali prive di documentazione a Roma, questo articolo analizza i criteri obicttivi di datazione delle pitture di Santa Maria in Pallara; tali criteri sono la messa in opera, la funzione, il soggetto, le iscrizioni e la tecnica pittorica. Simili analisi suggeriscono che per le pitture è possibile una data al X secolo, che sono ben classificate nella storia della tecnica pittorica di Roma tra monumenti sicuramente datati al IX secolo e quelli datati all'XI e XII secolo.

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Chinthala, Rajkumar, and Bhagavathi NNL. "Influence of Deha-Prakriti (Body Constitution) in the manifestation of disease in context to Amavata (Rheumatoid Arthritis) - An appraisal." International Journal of Ayurvedic Medicine 13, no. 2 (July 8, 2022): 258–67. http://dx.doi.org/10.47552/ijam.v13i2.2633.

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Deha-Prakriti (DP) is Ayurveda’s one-of-a-kind contribution, established at conception and cannot be changed throughout one’s life. There are seven varieties of DP. Vataja, Pittaja, Kaphaja (Shleshmala), Samsargaja [combination of two Dosha] i.e. Vata-Pittaja, Pitta-Kaphaja, Kapha-Vataja, Sannipataja [combination of three Dosha] i.e. Vata-Pitta-Kapha. The first and most important aspect of Dashavidha-parikshyabhavas (ten important examination factors to be known by the physician) is the DP assessment since it plays a crucial part in Rogi-Pariksha (evaluation of the patient) and Roga-Pariksha (assessment of the disease). DP allows a physician to assess the condition of Koshtha (digestion system), Agni (digestive capacity), Bala (strength), and Ayu (life-span) in both healthy and diseased people. It may also help a physician forecast illness susceptibility, severity of signs and symptoms, disease activity scores, and bio-markers such as hematological, pathological, and biochemical indicators. Based on the severity, a physician may prepare the appropriate diet-chart, medication, dose, Anupana (co-drink to the primary medicine), and treatment technique (either Shodhana karma- purificatory measure or Shamana karma- Palliative measure). In light of the above facts, the current study aims to explore the DP-based susceptibility to Amavata, its severity, and the research strategy for future studies. An overview of evidence-based study on developing Deha-Prakriti with diverse illness conditions may be provided in this work, allowing for the revalidation of ayurvedic literature-based assertions.

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Jessop, Lesley. "Pictorial cycles of non-biblical saints: the seventh- and eighth-century mural cycles in Rome and contexts for their use." Papers of the British School at Rome 67 (November 1999): 233–79. http://dx.doi.org/10.1017/s0068246200004578.

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CICLI PITTORICI DEI SANTI NON BIBLICI: I CICLI MURALI A ROMA NEL SETTIMO E NELL'OTTAVO SECOLO E IL CONTESTO DEL LORO USOUn gruppo di dipinti del settimo e dell'ottavo secolo, raffiguranti storie di santi non biblici, sopravvive a Roma. Sebbene relativamente pochi, questi dipinti rappresentano un distinto gruppo di narrative agiografiche, caratterizzati dal fatto che tutti i cicli sono costituiti da dipinti murali, che essi raffigurano per lo più santi orientali e che appaiono per la maggior parte in cappelle laterali o in spazi simili a cappelle delle diaconiae. Questo articolo analizza tali pitture nel contesto delle loro chiese di appartenenza ed intende dimostrare che i cicli sono fortemente influenzati da immigranti di lingua greca a Roma, dal culto dei santi e delle reliquie da essi promulgate) e dall'interesse per i santi non biblici tipico dei membri del ceto laico.

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Noehles-Doerk, Gisela, and Anna Cavallari. "Antoniazzo Romano e gli Antoniazzeschi: Una generazione di pittori nella Roma del Quattrocento." Zeitschrift für Kunstgeschichte 57, no. 2 (1994): 283. http://dx.doi.org/10.2307/1482739.

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Ling, Roger. "Hellenistic paintings in Italy and Sicily - G. F. LA TORRE e M. TORELLI (a cura di), PITTURA ELLENISTICA IN ITALIA E IN SICILIA. LINGUAGGI E TRADIZIONI. Atti del Convegno di Studi (Messina, 24-25 settembre 2009) (Archaeologica 163; Giorgio Bretschneider Editore, Roma 2011). Pp. xiii + 603, figg. 185, tav. a colore 42. ISSN 0391-9293; ISBN 978 88 7689 254 7. EUR. 189." Journal of Roman Archaeology 26 (2013): 500–503. http://dx.doi.org/10.1017/s1047759413000330.

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Puma, Richard Daniel De. "L’Etruria di Alessandro Morani: riproduzioni di pitture etrusche dalle collezioni dell’Istituto Svedese di Studi Classici a Roma." Etruscan Studies 23, no. 1-2 (November 4, 2020): 161–64. http://dx.doi.org/10.1515/etst-2020-0005.

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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 (December 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 excavation for the foundations of the so-called Palazzo Cicala, a bronze inscription and fragments of columns were found; the inscription had the original text of Senatus Consultum de Bacchanalibus with which, in 186 BC, the Roman Senate forbade the Bacchanalia. In Latium, during the excavation of the so-called Domus delle Pitture in Bolsena, directed by the École Française de Rome, between 1964 and 1982, a fragment of a throne's base and a cherub's leg were found in a layer of ashes in an underground room. Another 150 pieces of the throne, including ribbons and fragments of a panther head, were recovered in a specific spot of the room. Fragments, carefully restored and reassembled, compose an object called Trono delle Pantere of Bolsena, datable between the end of the 3rd century BC and the early years of the 2nd century BC. The left and rear sides are better preserved. The first represents a panther sitting on a throne with a cherub on his knees while it grabs at the ears of beast; the rear side represents a pattern with wings blocked by ribbons. The front side is completely destroyed. The throne has different sets of problems on its religious meaning and its decoration, where the Dionysiac theme is clear. The panther, the cherubs and the ribbons recall the Dionysus sphere, during which he was hidden inside a cave. Indeed, the underground room of Bolsena was appropriated to Bacchanalia. This paper intends to link Tiriolo and Bolsena, through the specific cases of two cities; in the first we have a proof of the enforcement of the law in 186 BC, and in the second we have an evidence of its application, with the destruction of a throne and of a Bacchic shrine.

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Russell, Susan. "Pirro Ligorio, Cassiano Dal Pozzo and the Republic of Letters." Papers of the British School at Rome 75 (November 2007): 239–74. http://dx.doi.org/10.1017/s006824620000355x.

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PIRRO LIGORIO, CASSIANO DAL POZZO E LA REPUBBLICA DELLE LETTEREPirro Ligorio (ca. 1512/13–83), pittore, architetto e antiquario, ha lasciato un enorme corpus di disegni, commentari e ricostruzioni dell'antica Roma, che sono stati in seguito saccheggiati indiscriminatamente o accantonati come fantasiosio falsi. L'articolo considera la reputazione di Ligorio nella Roma di diciassettesimo secolo, quando materiale dai suoi manoscritti era cercato avidamente dagli accademici della cosiddetta Repubblica delle Lettere, che includeva Lorenzo Pignoria (1571–1631), Girolamo Aleandro (1574–1629), Nicolas-Claude Fabri de Peiresc (1580–1637), Giovanni Battista Doni (1594–1647), Jose Maria Suarès (1599–1677), Lucas Holste (1596–1661) e Claude Menestrier (Ménétrier, ob. 1639). L'antiquario collezionista, Cassiano dal Pozzo (1588–1657), un membro della famiglia del cardinale Francesco Barberini, emerge come figura centrale tra questa rete di studiosi, e si arguisce che il suo ruolo nella raccolta di informazioni ottenuta dai manoscritti di Ligorio furono determinanti, specialmente per l'ottenimento di copie di parte dei manoscritti di Ligorio che erano nella collezione farnese a Roma. Come questo materiale è stato usato e disseminato viene anche considerato attraverso le attività e le pubblicazioni del circolo erudito connesso a Dal Pozzo.

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Mishra, Rakesh, Ankita Mishra, and I. B. Kotturshetti. "Impact of Psychological Factor in Grahani Roga." International Research Journal of Ayurveda & Yoga 05, no. 02 (2022): 149–54. http://dx.doi.org/10.47223/irjay.2022.5227.

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Grahani roga is the most common infection of gastro-digestive system and seen regularly in everyday practice. In our works of art Grahani is depicted as an Agni adhishthana. Any unsettling influence in the situation with agni prompts Grahani roga. Grahani roga is one among the Ashtamahagadas. Ayurveda depicted the distinction of Mana and Shareera and their indistinguishable and associated connection in the body. In Ayurveda separate Nidana panchakas are not clarified for Grahani roga, as Samanyanidana is material and mental variable of Grahani roga in general. Grahani roga is a prevalent Pitta Vatadosha and the mental element can be effectively be upset by Vata and Pitta Dosha. Both Ayurveda and contemporary science acknowledge the way that for better administration and avoidance of Grahani roga (IBS,) mental variables are playing a huge part. So to eliminate an infection from its root, the causative elements ought to likewise be perceived and precluded totally. With the thought of expanding rate gastro-digestive illness across the globe and world is looking forward towards Ayurveda for safe treatment modalities, it is fundamental for discover the viable helpful strategies from our science. In this article a work is made to comprehend the job of mental component in Grahani roga.

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Huskinson, Janet. "‘Unfinished portrait heads’ on later Roman sarcophagi: some new perspectives." Papers of the British School at Rome 66 (November 1998): 129–58. http://dx.doi.org/10.1017/s0068246200004256.

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‘TESTE INCOMPLETE DI RITRATTI’ SU SARCOFAGI TARDO ROMANI: NUOVE PROSPETTIVEQuesto articolo prende in considerazione teste ‘incomplete’ di ritratti su sarcofagi romani dal secondo al quarto secolo d.C: esse rappresentano un fenomeno diffuso (apparentemente sempre più diffuso verso la fine del periodo considerate) ed includono materiale sia cristiano che non. Quasi tutte le precedenti discussioni su questo fenomeno hanno preso in considerazione quando e perchè esso si sia verificato, proponendo varie spiegazione pratiche per il mancato completamento del lavoro – quali l'indifferenza del cliente, possibili aggiunte più tarde di pittura o stucco ecc. Lo scopo di questo articolo è di esplorare quale fosse il valore collettivo di questi ritratti incompleti in relazione a vari aspetti della società contemporanea. Dopo un resoconto del ruolo avuto dai ritratti nella cultura funeraria romana l'articolo descrive i materiali e discute precedenti lavori sul-l'argomento. La possibilità che questi ritratti incompleti possano aver rappresentato una variante (estrema) di uno stile astratto nell'arte tardo antica viene considerata, nonchè il significato che essi possono aver assunto dal punto di vista dell'osservatore in termini di identità sociale e attitudine verso la morte. La conclusione è che tali significati positivi possano essere stati forti abbastanza da spiegare la generale accettazione dei volti incompleti su questi sarcofagi.

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Kharat, Jayvant Vasant, Suresh Shrimant Wagh, and Shamali Vishwas Kamble. "A Review Article on Role of Jaloukavacharan (Blood Letting) in Oshtha Roga (Diseases of Lip)." International Journal of Research and Review 8, no. 12 (December 9, 2021): 63–69. http://dx.doi.org/10.52403/ijrr.20211209.

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Raktmokshana is one of the parasurgical, detoxification strategies for Panchakarma. It is the course of disposal of vitiated Dosha that collect in the body. Jaloukavacharan is sort of Raktmokshana which is drilled internationally in India since antiquated occasions to treat Oshthrogas, in which vitiated Kapha, Pitta and Rakta Doshas get let from the body. Jaloukavacharan is a powerful blood filtration treatment which has property to die down the aggravation, enlarging, redness and consuming sensation promptly and in which little amount of blood eliminated to kill collected vitiated Pitta,Kapha and Rakta dosha of many blood borne sicknesses. Accordingly sicknesses brought about by Pitta, Kapha and Rakta Dosha are remembered. Likewise it is a lot more secure and less confounded Normal interaction. Jalaukavcharana is exceptionally powerful old strategy for Panchakarma ignored by Physicians. There are many results of present day medication. So it is the need to spread mindfulness about Jalaukavcharana and its adequacy. In this manner Jalaukavcharana is the elective treatment promising more powerful and more secure results for the general public. Keywords: Raktamokshana, Jaloukavacharan, Pitta-Kapha Dosha, Rakta Dosha, Hirudin, Oshtha Roga .

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Kudarimath A, Handur S, and Madiwalar M. "AYURVEDIC MANAGEMENT OF APATHYA NIMITTAJA PITTAJA PRAMEHA – A CASE STUDY." International Journal of Indian Medicine 03, no. 07 (2022): 07–13. http://dx.doi.org/10.55552/ijim.2022.3702.

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A 30 years old, married female patient of Vata Pittaja Prakruti having normal obstetrical history of G3P3L3A0 with normal menstrual history approached OPD with chief complaints of burning micturition, yellowish urine, turbid urine, increased frequency of urination at night. After detailed history taking, Rogi Pareeksha & Roga Pareeksha it is diagnosed clinically as "Apathya Nimittaja Pittaja Prameha" and treated with classical Ayurvedic Pramehagna drugs told by Acharyas along with strict diet & good life style. Medicines used were Chandraprabha vati, Nishamalaki churna, Haritaki churna, Bibhitaki churna, Avipattikar churna. Every month laboratory investigations like FBS, PPBS were done and at every three months HbA1c was done to find the changes in objective criterias and examination was done to know the changes in subjective criterias. After 6 months of treatment the disease was cured completely and the patient was advised to continue with the same healthy life style and pathya apathya throughout life to prevent the reoccurance of the disease.

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Kudarimath A, Handur S, and Madiwalar M. "AYURVEDIC MANAGEMENT OF APATHYA NIMITTAJA PITTAJA PRAMEHA – A CASE STUDY." International Journal of Indian Medicine 03, no. 07 (2022): 07–13. http://dx.doi.org/10.55552/ijim.2022.370.

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A 30 years old, married female patient of Vata Pittaja Prakruti having normal obstetrical history of G3P3L3A0 with normal menstrual history approached OPD with chief complaints of burning micturition, yellowish urine, turbid urine, increased frequency of urination at night. After detailed history taking, Rogi Pareeksha & Roga Pareeksha it is diagnosed clinically as "Apathya Nimittaja Pittaja Prameha" and treated with classical Ayurvedic Pramehagna drugs told by Acharyas along with strict diet & good life style. Medicines used were Chandraprabha vati, Nishamalaki churna, Haritaki churna, Bibhitaki churna, Avipattikar churna. Every month laboratory investigations like FBS, PPBS were done and at every three months HbA1c was done to find the changes in objective criterias and examination was done to know the changes in subjective criterias. After 6 months of treatment the disease was cured completely and the patient was advised to continue with the same healthy life style and pathya apathya throughout life to prevent the reoccurance of the disease.

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de Blaauw, Sible. "A mediaeval portico at San Giovanni in Laterano: the Basilica and its ancient conventual building." Papers of the British School at Rome 58 (November 1990): 299–316. http://dx.doi.org/10.1017/s0068246200011685.

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UN PORTICO MEDIOEVALE A SAN GIOVANNI IN LATERANO: LA BASILICA E L'EDIFICIO CONVENTUALE ADIACENTENella campata dell'angolo nord-ovest del chiostro di S. Giovanni in Laterano in Roma, ed in un ambiente adiacente, appaiono delle vestigia di una struttura di epoca precedente a quella dell'attuale chiostro, costruito nel secondo quarto del XIII secolo. Tali resti vengono interpretati in questo articolo come appartenenti ad un portico risalente ai primi decenni del XII secolo. Esso comprendeva un colonnato di almeno cinque colonne ed era sormontato da un piano superiore dove si trovava una stanza decorata con pitture murali. Sembra che la struttura si appoggiasse sull'angolo sud-ovest della basilica, ma la sua estensione esatta resta incerta. Dal punto di vista tipologico, l'edificio appare in stretta relazione con le sale d'ingresso a colonne in case private della Roma medioevale. Una sezione specifica dell'articolo è dedicata all'esame delle fonti scritte relative a questa parte del complesso lateranense. Esse confermano una tradizionale collocazione in quest'area degli edifici adibiti a residenza per il clero della basilica. I testi liturgici testimoniano l'esistenza di un chiostro in quest'area già nel XII secolo. Le testimonianze archeologiche indicano che l'ubicazionc di questo chiostro più antico, non può avere coinciso esattamente con quella del chiostro del XIII secolo che lo sostituì. L'ipotesi che si propone qui è che il portico descritto formasse parte di un cortile a colonne che doveva servire nel XII secolo come chiostro dei canonici lateranensi.

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Whitehouse, Helen. "PIETRO SANTI BARTOLI'S ‘PITTURE ANTICHE MINIATE’: DRAWINGS OF ROMAN PAINTINGS AND MOSAICS IN PARIS, LONDON AND WINDSOR." Papers of the British School at Rome 82 (October 2014): 265–313. http://dx.doi.org/10.1017/s0068246214000117.

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Bignamini, Ilaria, and Amanda Claridge. "The tomb of Claudia Semne and excavations in eighteenth-century Rome." Papers of the British School at Rome 66 (November 1998): 215–44. http://dx.doi.org/10.1017/s0068246200004293.

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LA TOMBA DI CLAUDIA SEMNE E GLI SCAVI A ROMA NEL SETTECENTOQuesto articolo offre la ricostruzione dettagliata di uno scavo settecentesco sulla Via Appia e restituisce dati fin'ora ignoti relativi alla tomba di Claudia Semne (età traianea) che è stata finalmente localizzata in una proprietà privata all'angolo tra la Via Appia Antica e l'Appia Pignatelli. Scoperta nel 1792–3 da pittore, mercante d'arte e scavatore Robert Fagan, la tomba viene qui ‘riscoperta’ grazie al rinvenimento di nuovi documenti scritti e visivi del tempo. Si propone anche un'ipotesi restituitiva del monumento che si awale, tra l'altro della seguenza in cui i rinvenimenti vennero in luce. Storia degli scavi, della cultura antiquaria e del collezionismo nell'epoca del Grand Tour si congiungono qui con la moderna analise archeologica e ci restituiscono un importante monumento funerario che era stato dato per perso.

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Angelucci, Davide. "Nuove indagini sulle pitture rupestri dell’eremo di Selvascura presso il Santuario del Crocifisso a Bassiano." Fenestella. Dentro l'arte medievale / Inside Medieval Art 3 (December 30, 2022): 45–87. http://dx.doi.org/10.54103/fenestella/18645.

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This article aims to re-examine the frescoes in the Selvascura hermitage in Bassiano, one of the medieval pictorial contexts created in caves in Lower Lazio, both from an iconographic and stylistic point of view. In the past, the paintings aroused some attention from local connoisseurs, but they collected a barely timid interest in critical publications. The carried out research revealed the existence of a link between the iconographic choices made in the cave paintings and the Greek theological literature, especially the Heavenly Ladder of St. John Climacus, known by the Franciscan Spirituals thanks to the translations by Angelo Clareno. Therefore, it is possible to suggest a new iconological interpretation of the frescoes on the right side of the cave and to overcome the traditional approach that considered the decoration of this hermitage as a mere juxtaposition of votive panels. Furthermore, an unpublished painting inspired by one of the apologues told by Barlaam to the Indian prince Josaphat has been identified and it can be added to the small list of monumental works with this theme related to the Italian Middle Age. This paper explains also all the documents from the current archives of the Soprintendenza concerning these frescoes and their preservative history from the 70s to the 90s of the XX century. Finally, an accurate analysis of the stylistic features and the comparison with other pictorial and mosaic works from Rome and the rest of Lazio allow to date back the paintings to the period between the end of the 13th and the beginning of the 14th century and to recognize the style of unknown artists trained in the school of Cavallini, very close to the Magister Conxolus’s lesson.

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Cinelli, Noemi. "A.R. MENGS TRA ROMA E MADRID: LE INQUIETUDINI DEL PITTORE FILOSOFO SULL’ISTITUZIONE ACCADEMICA NELLA SECONDA METÀ DEL XVIII SECOLO." Revista Europeia de Estudos Artisticos 4, no. 3 (September 30, 2013): 42–61. http://dx.doi.org/10.37334/eras.v4i3.149.

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It is difficult to frame Anton Raphael Mengs in a specific stylistic movement nowadays that the chronological divisions and the consequent definitions of the art of the Enlightenment are going to be more and more controversial. Because of his eclectic and cosmopolitan activity, his ideas about Ideal Beauty spread across the countries affected by the apprehensions and hopes related to the 18th century. The bohemian painter dedicated his entire life to the study of ancient art; his marble collection of the statues from the great Italian collections interested the artists coming to the Eternal City, and he consecrates esthetic models of different epochs. Mengs never get away from these models – Ancient Greece, Raffaello Sanzio, Tiziano Vecellio, Antonio Correggio. His presence in Spain was favored by propitious circumstances: the coronation of an erudite, educate king, lover of Fine Arts, Charles III of Spain, a king so intimately close to the painter to guarantee him his protection in the difficult relation between Mengs and the San Fernando Academy of Fine Arts in Madrid. The relation between the Institution and the Bohemian get complicated because of the different ideas about the organization of the academy and the education of the students. Because of the little original sources, several matters have not been resolved, for example the issue about the false ancient fresco of Jupiter and Ganymede, or the controversy about the Peñacase, that brought to the final breakup between the artist and the consiliarios in San Fernando Institution. Mengs focused his attention in an even worse matter about the direction of the academy: concretely, which competences had to have the consiliarios and which the teachers. When Mengs asked to be accepted in the academy, he undoubtedly thought that the Institution was structured as the other great one in which he took part in Italy, San Luca National Academy in Rome. Within Mengs’ proposals to raise the level of the Academy in Madrid there was the institution of anatomy and surgery teachings, which intent was to revolutionize the concept of painters and sculptors. In spite of the difficulties that the first painter of Charles III had during his stay in San Fernando, his acting had a fundamental role in developing the Art Theory and particularly in the European artists’ training.

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Cinelli, Noemi. "A.R. MENGS TRA ROMA E MADRID: LE INQUIETUDINI DEL PITTORE FILOSOFO SULL’ISTITUZIONE ACCADEMICA NELLA SECONDA METÀ DEL XVIII SECOLO." Revista Europeia de Estudos Artisticos 9, no. 1 (March 30, 2018): 29–50. http://dx.doi.org/10.37334/eras.v9i1.166.

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It is difficult to frame Anton Raphael Mengs in a specific stylistic movement nowadays that the chronological divisions and the consequent definitions of the art of the Enlightenment are going to be more and more controversial. Because of his eclectic and cosmopolitan activity, his ideas about Ideal Beauty spread across the countries affected by the apprehensions and hopes related to the 18th century. The bohemian painter dedicated his entire life to the study of ancient art; his marble collection of the statues from the great Italian collections interested the artists coming to the Eternal City, and he consecrates esthetic models of different epochs. Mengs never get away from these models – Ancient Greece, Raffaello Sanzio, Tiziano Vecellio, Antonio Correggio. His presence in Spain was favored by propitious circumstances: the coronation of an erudite, educate king, lover of Fine Arts, Charles III of Spain, a king so intimately close to the painter to guarantee him his protection in the difficult relation between Mengs and the San Fernando Academy of Fine Arts in Madrid. The relation between the Institution and the Bohemian get complicated because of the different ideas about the organization of the academy and the education of the students. Because of the little original sources, several matters have not been resolved, for example the issue about the false ancient fresco of Jupiter and Ganymede, or the controversy about the Peña case, that brought to the final breakup between the artist and the consiliarios in San Fernando Institution. Mengs focused his attention in an even worse matter about the direction of the academy: concretely, which competences had to have the consiliarios and which the teachers. When Mengs asked to be accepted in the academy, he undoubtedly thought that the Institution was structured as the other great one in which he took part in Italy, San Luca National Academy in Rome. Within Mengs’ proposals to raise the level of the Academy in Madrid there was the institution of anatomy and surgery teachings, which intent was to revolutionize the concept of painters and sculptors. In spite of the difficulties that the first painter of Charles III had during his stay in San Fernando, his acting had a fundamental role in developing the Art Theory and particularly in the European artists’ training.

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Cinelli, Noemi. "A.R. MENGS TRA ROMA E MADRID: LE INQUIETUDINI DEL PITTORE FILOSOFO SULL’ISTITUZIONE ACCADEMICA NELLA SECONDA METÀ DEL XVIII SECOLO." ERAS | European Review of Artistic Studies 9, no. 1 (March 30, 2018): 29–50. http://dx.doi.org/10.37334/eras.v9i1.45.

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It is difficult to frame Anton Raphael Mengs in a specific stylistic movement nowadays that the chronological divisions and the consequent definitions of the art of the Enlightenment are going to be more and more controversial. Because of his eclectic and cosmopolitan activity, his ideas about Ideal Beauty spread across the countries affected by the apprehensions and hopes related to the 18th century. The bohemian painter dedicated his entire life to the study of ancient art; his marble collection of the statues from the great Italian collections interested the artists coming to the Eternal City, and he consecrates esthetic models of different epochs. Mengs never get away from these models – Ancient Greece, Raffaello Sanzio, Tiziano Vecellio, Antonio Correggio. His presence in Spain was favored by propitious circumstances: the coronation of an erudite, educate king, lover of Fine Arts, Charles III of Spain, a king so intimately close to the painter to guarantee him his protection in the difficult relation between Mengs and the San Fernando Academy of Fine Arts in Madrid. The relation between the Institution and the Bohemian get complicated because of the different ideas about the organization of the academy and the education of the students. Because of the little original sources, several matters have not been resolved, for example the issue about the false ancient fresco of Jupiter and Ganymede, or the controversy about the Peña case, that brought to the final breakup between the artist and the consiliarios in San Fernando Institution. Mengs focused his attention in an even worse matter about the direction of the academy: concretely, which competences had to have the consiliarios and which the teachers. When Mengs asked to be accepted in the academy, he undoubtedly thought that the Institution was structured as the other great one in which he took part in Italy, San Luca National Academy in Rome. Within Mengs’ proposals to raise the level of the Academy in Madrid there was the institution of anatomy and surgery teachings, which intent was to revolutionize the concept of painters and sculptors. In spite of the difficulties that the first painter of Charles III had during his stay in San Fernando, his acting had a fundamental role in developing the Art Theory and particularly in the European artists’ training.

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König-Pralong, Catherine. "Philosophiefeindlichkeit und konservatives Denken: Karl Wittes Dante." Deutsches Dante-Jahrbuch 95, no. 1 (September 23, 2020): 117–30. http://dx.doi.org/10.1515/dante-2020-0010.

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Riassunto Agli antipodi della rappresentazione di Dante come precursore dell’unità nazionale, elaborata dalla filologia erudita italiana, Karl Witte, il più importante dantista di lingua tedesca del XIX secolo, costruì l’immagine di un Dante mistico e antirazionalista, cattolico e conservatore. Il presente articolo analizza, in primo luogo, il progetto intellettuale di Witte a partire dalle reti di relazioni sociali da lui intrattenute, dalle università prussiane sino alla Roma dei pittori ›nazareni‹, per giungere all’università di Halle, dove Witte occupò la cattedra di diritto romano per un periodo di quasi cinquant’anni. In un secondo momento, il contributo si sofferma sulla ricezione delle interpretazioni di Witte, e in particolare della sua lettura riduttiva del Convivio e della filosofia che in esso si esprime. L’articolo mostra come i dibattiti suscitati dai lavori di Witte abbiano infine ecceduto le aspettative del suo stesso autore per dar luogo a una vasta discussione sulla natura e sul valore della scolastica.

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Cerone, Roberta. "Un committente catalano nel monastero di Santa Scolastica a Subiaco: Lluís de Prades e la cappella degli Angeli." Locus Amoenus 19 (March 11, 2022): 23–38. http://dx.doi.org/10.5565/rev/locus.442.

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La cappella degli Angeli in Santa Scolastica a Subiaco costituisce una testimonianza artistica assai significativa, sia per la presenza del ciclo dipinto a tema angelico, un tema iconografico raro nel contesto peninsulare di quegli anni, sia per il carattere del luogo, che ingloba una grotta alla base della fabbrica abbaziale. L’importanza dell’oratorio è legata però soprattutto alla figura del committente, il vescovo di Mallorca Lluís de Prades, che si rifugiò a Subiaco nel terzo decennio del Quattrocento, dopo aver abbandonato la fazione avignonese dello scisma, e che qui fu sepolto dopo la morte a Roma nel 1429. Studi recenti hanno già proposto significativi collegamenti tra la cappella sublacense e il mondo aragonese, ma in questa sede un rinnovato sguardo alla figura del prelato e al suo retaggio culturale rende possibile comprendere la natura di questo luogo e il significato delle pitture. Il presente studio, dunque, si concentrerà dapprima sulla vicenda biografica del vescovo tra Spagna e Italia, quindi sulla ricostruzione del tessuto delle sue relazioni politiche e culturali. Si passerà quindi ad analizzare la peculiare architettura della cappella e il ciclo dipinto dal punto di vista formale e soprattutto iconografico, e si presenteranno alcune ipotesi di lettura dei dipinti, e del luogo che li accoglie, in relazione alla figura del loro committente.

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Mohanty, Bishnupriya, and Sangram Keshari Das. "Case Study on Eka Kustha- Principle to Practice." Journal of Ayurvedic and Herbal Medicine 8, no. 2 (June 30, 2022): 64–67. http://dx.doi.org/10.31254/jahm.2022.8202.

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The disease Kustha Roga occurs due to the vitiation of Vata, Pitta and Kapha Doshas. It shows symptoms like Ugrakandu (Severe itching either generalised or localised), Twaksphutana (breaking or cracking of skin), Kharasparsha and lesions are Vritta (round), Snigdha and Ghana (thick). The colour is Krishna or Shyama Varna (brownish black). EkaKustha(Psoriasis) is one among the wide numbers of Kustha Roga. It is a chronic inflammatory skin disease which usually localised in the extremities, trunk, scalp, hairs, etc. This case study deals with a sixty-five years old male patient suffering from Sarwanga Kandu (itching all over the body), Shyava Aruna Vaivarnyata, patches in Sarwanga, Keshachyuti (hair fall). In this case Ayurvedic formulations of Arogyavardhini Vati (orally), Yashtimandhu Churna, Chandan churna and Yashadapuspha mixed with Shatadhauta Ghrita is given for external application.

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Davis, Lucy. "Rome Fellowships: Global miniatures and panoramic landscapes: ‘pittori fiamminghi’ at the Accademia di San Luca, c. 1590-1630." Papers of the British School at Rome 77 (November 2009): 303–4. http://dx.doi.org/10.1017/s0068246200000167.

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39

Connors, Joseph. "Review: Le vite de' pittori, scultori, ed architetti..., Rome, 1642 by Giovanni Baglione, Jacob Hess, Herwarth Röttgen; Die Künstlerbiographien von Giovanni Battista Passeri by Jacob Hess; Vite de' pittore, scultori ed architetti moderni by Lione Pascoli, Valentino Martinelli, Alessandro Marabottini." Journal of the Society of Architectural Historians 57, no. 4 (December 1, 1998): 469–71. http://dx.doi.org/10.2307/991466.

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., Darshana, and Amitabh Singh. "Comparative clinical study of Nagradya Churna and Bhunimbadya Churna in management of Grahani w.s.r. to Irritable bowel syndrome." Journal of Ayurveda and Integrated Medical Sciences (JAIMS) 5, no. 01 (February 25, 2020): 87–97. http://dx.doi.org/10.21760/jaims.5.1.15.

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Grahani Dosha is vitiation of Agni i.e. functional derangement of Grahani regarding production of Pachaka Pitta (enzymes responsible for digestion) and also holding (Grahana) of Ama (food) for digestion. Grahani in Ayurveda is called as Pittadhara kala which is the seat of Agni responsible for digestion of food and situated above Nabhi. The part of small intestine and large intestine lying between Amashaya and Pakwashaya should be considered as Grahani. This part is also described as the sole site of Pitta. Various disorders of GI tract like irritable bowel syndrome (IBS) can be considered under heading of Grahani Roga. Both the formulations Nagradya Churna and Bhunimbadya churna are highly effective, promote appetite, digestion and remove Ama Dosha from the system by increasing the power of Agni. Madhu is Yogabahi and it helps to initiate the absorption through intestine properly. Total 40 patients of Grahani were registered and randomly divided into 2 groups for clinical trial of 45days. Result of the study revealed that both the formulations produced significant results in almost all cases barring a few patients who were suffering from longer period.

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Spaccini, Jacqueline. "1861 : I pittori del Risorgimento. Catalogo ragionato della Mostra tenutasi a Roma nelle Scuderie del Quirinale, Fernando Mazzocca e Carlo Sisi (a cura di)." Transalpina, no. 16 (March 14, 2013): 256–58. http://dx.doi.org/10.4000/transalpina.1933.

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Dhakare, Nikhil, and Anjali Deshpande. "A Clinical Evaluation of Ayurvedic Treatment on Vyanga w.s.r. Melasma." Healer 2, no. 1 (February 3, 2021): 132–35. http://dx.doi.org/10.51649/healer.39.

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Vyanga is one of the kshudra roga characterized by the presence of niruj (painless) and shyavavarna mandalas (Bluish – Black Patches) on the face specially forehead, nose and cheek, pathogenesis of vyanga, involvement of pitta , vata and rakta dushti. clinical feature is correlated with melasma, or facial melanosis, means one of the hyperpigmented disorders. Melasma is harmless condition but for cosmetic reasons, it is an asymptomatic, Acquired and chronic condition hyperpigmented lesion, which develops slowly and asymmetrically. According to Ayurveda the condition can be treated as vyanga which gives effective results, a patient of facial melanosis treated with ayurvedic treatment is present in this study.

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Karale, Bhagwan B., and Aartiben Rajput. "Evaluation of the efficacy of Dhathakyadi Kwatha in Asrigdara w. s. r. to Menorrhagia." International journal of Indian medicine 03, no. 05 (2022): 26–31. http://dx.doi.org/10.55552/ijim.2022.3504.

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Menorrhagia is a most common gynecological problem found in Prasuti tantra department. It is not a disease but it is symptom found in many gynecological disorders. Menorrhagia is characterized by the excessive bleeding per vaginum in amount and duration both. In Ayurvedic classics, Menorrhagia is termed as Asrigdara, means excessive discharge of blood per vaginum. Backache, pain in lower abdomen and weakness are also present in this disease. All the gynecological disorders come under the heading of Yonivyapad in Ayurvedic classics. Most of the Yonivyapad have characteristic features of menorrhagia such as Raktayoni, Rudhirkashara, Putraghni, Apraja etc. Among Ashta-artavadushti, Raktaja artava-dushti menorrhagia is also found as prominent symptom. Since, Asrigdar is mainly due to vitiation of Vata and Pitta dosha hence, the treatment should be based on the use of drugs which are having predominance of Kashaya rasa and Pitta –shamak properties. Therefore, treatment mainly based on concept of Raktastambhaka as well as Raktavardhaka. Dhathakyadi Kwatha” is mentioned in Pradara Roga Chikitsa Adhyaya by Aacharya Yogratnakara. Hence, for present study “Dhathakyadi Kwatha” is selected for evaluation of efficacy in the context of time bonding curative treatment for Asrigdara.

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Caballero, Juan Luis. "Antonio PITTA, La seconda Lettera ai Corinzi, Borla, Roma 2006, 629 pp., 18 x 24,5, ISBN 978-88-263-1610-4." Scripta Theologica 41, no. 1 (November 20, 2017): 299. http://dx.doi.org/10.15581/006.41.13296.

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Patil, Vinayak Balu, and P. K. DASH. "THE EFFICACY OF DHATRILOHAM IN PANDU W.S.R TO IRON DEFICIENCY ANAEMIA IN SCHOOL GOING CHILDREN." International Journal of Research -GRANTHAALAYAH 8, no. 7 (August 7, 2020): 354–57. http://dx.doi.org/10.29121/granthaalayah.v8.i7.2020.813.

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Ayurveda is one of the most ancient systems of life, health and cure. This system of knowledge flourished thoroughly over 3000 years. The frame of Ayurveda is that its treatment still holds the field in spite of so many advances in modern science. Pandu roga is pitta-pradhan vhyadhi. In Pandu roga tissue metabolism get affected due to Vitiated doshas which turn into dhatu-shyathilya in all dhatu. Iron deficiency anaemia is frequently founded under nutritional anaemia. Iron deficiency anaemia is not limited upto haematological condition but involves in multiple system. Its show similarity of pandu vhyadhi with Iron deficiency anaemia. It’s mostly seen in school going children. Stressful lifestyle and defective and un-nutritional diet lead to Iron deficiency anaemia. Dhatriloham is medicine described in Ayurvedic literature. It is Krimighna, Balya and Raktavardhaka in Pandu vhyadhi. This description comes in Bhaishajyaratnavali. Therefore, the in present paper trying to focus on relationship of Dhatriloham on pandu vhyadhi W.S.R. to iron deficiency anaemia in school going children.

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46

Brigstocke, Hugh. "The 5th Earl of Exeter as Grand Tourist and Collector." Papers of the British School at Rome 72 (November 2004): 331–56. http://dx.doi.org/10.1017/s0068246200002750.

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IL V EARL DI EXETER COME GRAN TURISTA E COLLEZIONISTACon questo articolo si analizzano e documentano i viaggi italiani e la collezione di quadri di John Cecil di Burghley House (1648–1700), che, dopo aver ottenuto il titolo di V Earl di Exeter nel 1678, fece una serie di grandi viaggi in Italia nel 1679–81, 1683–4 e 1699–1700, prima di morire vicino Parigi nel 1700 sulla via del ritorno a casa. Durante questi viaggi, che si estesero lungo l'intera penisola italiana, da Torino a Napoli, egli sviluppò un notevole desiderio, senza paragoni per i suoi tempi, di acquisire pitture contemporanee barocche, come estensione del suo progetto di rinnovare Burghley House, originariamente costruita tra il 1555 e il 1587. Il gusto artistico di Exeter, che abbracciò artisti come Carlo Dolci e Benedetto Gennari, così pure Calandrucci, Chiari, Gaulli, Giordano, Maratti, Preti, Recco, Ruoppolo e Trevisani, riflette per molti versi quello della corte di re Carlo II. Per la decorazione delle stanze reali a Burghley, compresa la Heaven Room e la Hell Staircase egli impiegò anche Antonio Verrio, che aveva lavorato per re Carlo a Windsor. Rimase leale alla causa Stuart per tutta la sua vita, votò contro il trasferimento del potere a William e Mary in tutte le divisioni parlamentari, e si rifiutò di presenziare come Hereditary Grand Almoner alla loro incoronazione; e avendo anche rifiutato di fare il Giuramento di Fedeltà non mise più piede nella House of Lords dopo il 13 febbraio del 1689. La disaffezione nei confronti del regime protestante ha avuto certamente un ruolo nell'ultima visita degli Exeter a Roma con i loro due figli più giovani, in occasione del Giubileo del Papa del 1699–1700.

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Jondhale, Gangadhar S., and P. D. Londhe. "Clinical Study of Chakramardadi Pralepa in the management of Dadru Kushta." Journal of Ayurveda and Integrated Medical Sciences (JAIMS) 5, no. 01 (February 25, 2020): 63–67. http://dx.doi.org/10.21760/jaims.5.1.11.

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Background: Skin is the largest organ of human body. Its size and external location makes it susceptible to a wide variety of disorders. In recent years there has been increase in incidence of skin problem due to various reasons like Poverty, Poor sanitation, Unhygienic condition, Pollution etc. Dadru is one among Kushta Roga affecting all the age of population. It is Kapha-Pitta Pradhan Vyadhi and presents clinically with the features of Kandu, Raga, Pidika, Daha, Rookshata, Udgata Mandala etc. and can be correlated with Tinea infection. Management of Dadru includes Shodhana, Shaman and Bahiparimarjan Chikitsa. Chakramarda is a wild crop grows in most part of India and it is known as Ringworm plant. So here in this study Chakramadadi Pralepa was used to evaluate the efficacy in Dadru.

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Sharma, Aabha. "RAKTAPITTA - A CASE STUDY." International Ayurvedic Medical Journal 9, no. 10 (October 15, 2021): 2629–32. http://dx.doi.org/10.46607/iamj5509102021.

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Background: Raktapitta a disease mentioned in Charaka Samhita, in both Nidana and Chikitsa Sthana immedi- ately after describing a very important disease Jwara. This clearly indicates the seriousness of the disease same as that of Jwara. When Jwara is not treated well, the Agni gets vitiated (Teja Mahabhoota), “Jwara Santapat Rak- tapitta Mudiryate" is responsible for this disease. As its nomenclature states, a disease caused by the vitiation of Rakta and Pitta (Ashray – Ashraye Bhava)1. The disease shows its features via two pathways mainly, Urdhva Evam Adhoga Marga, Ubhaya (both ways) can also be seen2. As per Sushruta Samhita, this Roga is described after discussing Pandu roga (having common Nidana)3. Aim: The aim of the present study was to evaluate the efficacy of Ayurvedic management in the acute Raktapitta. Materials and Methods: Here, Shaman Aushadha is selected for the management of Raktapitta, in 33 years old married female patient for 3 1⁄2 months. Results: The patient started feeling improvement in the symptoms from the 18th day and by the end of 45 days she reported a marked reduction in her symptoms. She recovered completely after 3 months of continuous intervention. Conclusion: Shamana Aushsdha showed good results in managing the Raktapitta. Keywords: Raktapitta, Jwara, Ashray-Ashraye bhava,

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Yadav, Rachana, and Laxmipriya Dei. "Review of clinical studies on rajonivrutti avastha with special reference to menopausal syndrome." International Journal of Advances in Medicine 8, no. 1 (December 22, 2020): 137. http://dx.doi.org/10.18203/2349-3933.ijam20205487.

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Menopausal symptoms are alarming call to more sincere attention to elderly women’s health. As lifespan is increased with developed medical facilities, women are living around 30 years in postmenopausal state with all the complaints of menopause and geriasis. In Ayurveda, menopause is depicted as “jarapakwa avastha” and rajonivrutti. Rajonivrutti janya laksana is a group of symptoms produced by degenerative changes in the body. Degenerative changes are dhatukshaya lakshana in Ayurveda. Vata dosha is dominant in the vridhha stage of life. Symptoms in menopausal phase like insomnia, anxiety, urinary symptoms, and osteoporotic changes are due to dominance of vata dosha. Along with that pitta dosha symptoms like hot flushes, irritability, etc are seen, during this phase. Thus, review and compilation of the work done at institute for post graduate teaching and research in ayurveda, Jamnagar on the topic was done to help future researchers to fulfil the lacunae and develop standard ayurvedic treatment protocol. The research work conducted on rajonivrutti avastha and its vyapada were collected and reviewed from Ayurvedic research data base, Jamnagar, Jamnagar Central Library and Department of Prasuti tantra and Stree roga, Jamnagar. Total 15 research works were conducted. Drugs having rasayana, deepana, pachana, medhya, balya, vayasthapana properties help in dhatukshaya janya lakshana pacification, vata- pitta doshhar, shrotoshodhana, and the process of formation of dhatu is benefited and ultimately resulting into delay aging process and related compilations. Menopausal syndrome can be well managed by ayurvedic treatment.

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Berry, Joanne. "I. Bassaldare (ed.), Pompei: Pitture e mosaici, I–II, Regio I; III, Regiones II–III–V. Rome: Istituto della Enciclopedia Italiana, 1990 (vols I–II; 1991 (vol. III)." Journal of Roman Studies 84 (November 1994): 253–54. http://dx.doi.org/10.2307/300927.

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Journal articles on the topic 'Pittura a Roma'

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