Category Archives: giacobbe giusti

Giacobbe Giusti, National Gallery of Art, Washington, D.C.

by in Albrecht Dürer, Rembrandt, Giovanni Battista Piranesi, William Blake, Mary Cassatt, Edvard Munch, Jasper Johns, and Robert Rauschenberg, Art, Édouard Manet, The Plum, 1878, Édouard Manet, The Railway, 1872, Claude Monet, Rouen Cathedral, West Facade, Sunlight, 1894, Claude Monet, The Artist's Garden at Vétheuil, 188, David Smith, Mark Di Suvero, Roy Lichtenstein, Sol LeWitt, Tony Smith, Roxy Paine, Joan Miró, Louise Bourgeois, and Hector Guimard.[13], El Greco, Saint Martin and the Beggar, c. 1597-1599[22], Eugène Delacroix, Columbus and His Son at La Rábida, 1838, giacobbe giusti, Giacobbe Giusti, National Gallery of Art, Washington, D.C., Giorgione and Titian, Portrait of a Venetian Nobleman, c. 1507, Giorgione, Adoration of the Shepherds, c. 1500, Henri Matisse, Open Window, Collioure, 1905, Henri Rousseau, The Equatorial Jungle, 1909, Leonardo da Vinci, Ginevra de' Benci, c. 1474, National Gallery of Art, Washington, D.C., Pablo Picasso, Family of Saltimbanques, 1905, Paul Cézanne, Boy in a Red Waistcoat, 1888–1890, Paul Gauguin, Self-portrait, 1889, Peter Paul Rubens, Germanicus and Agrippina, 1614, Rembrandt van Rijn, The Mill, 1648, Vincent van Gogh, Self-portrait, August 1889, Vincent van Gogh, Woman in White, 1890 and tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Giacobbe Giusti, National Gallery of Art, Washington, D.C.

Leonardo da Vinci, Ginevra de’ Benci, c. 1474

 

Giacobbe Giusti, National Gallery of Art, Washington, D.C.

Giorgione, Adoration of the Shepherds, c. 1500

 

Giacobbe Giusti, National Gallery of Art, Washington, D.C.

El Greco, Saint Martin and the Beggar, c. 1597-1599[22]

Giacobbe Giusti, National Gallery of Art, Washington, D.C.

Giorgione and Titian, Portrait of a Venetian Nobleman, c. 1507

Giacobbe Giusti, National Gallery of Art, Washington, D.C.

Rembrandt van Rijn, The Mill, 1648

Giacobbe Giusti, National Gallery of Art, Washington, D.C.

Peter Paul Rubens, Germanicus and Agrippina, 1614

Giacobbe Giusti, National Gallery of Art, Washington, D.C.

Édouard Manet, The Railway, 1872

Giacobbe Giusti, National Gallery of Art, Washington, D.C.

Édouard Manet, The Plum,1878

Giacobbe Giusti, National Gallery of Art, Washington, D.C.

Claude Monet, The Artist’s Garden at Vétheuil, 188

 

Giacobbe Giusti, National Gallery of Art, Washington, D.C.

Vincent van Gogh, Self-portrait, August 1889

 

Giacobbe Giusti, National Gallery of Art, Washington, D.C.

Paul Gauguin, Self-portrait, 1889

Giacobbe Giusti, National Gallery of Art, Washington, D.C.

Vincent van Gogh, Woman in White, 1890

Giacobbe Giusti, National Gallery of Art, Washington, D.C.

Claude Monet, Rouen Cathedral, West Facade, Sunlight, 1894

Giacobbe Giusti, National Gallery of Art, Washington, D.C.

Édouard Manet, The Old Musician, 1862

Giacobbe Giusti, National Gallery of Art, Washington, D.C.

Henri Matisse, Open Window, Collioure, 1905

 

Giacobbe Giusti, National Gallery of Art, Washington, D.C.

Eugène Delacroix, Columbus and His Son at La Rábida, 1838

Giacobbe Giusti, National Gallery of Art, Washington, D.C.

Paul Cézanne, Boy in a Red Waistcoat, 1888–1890

 

Giacobbe Giusti, National Gallery of Art, Washington, D.C.

Pablo Picasso, Family of Saltimbanques, 1905

 

Giacobbe Giusti, National Gallery of Art, Washington, D.C.

Pablo Picasso, Still Life, 1918

Giacobbe Giusti, National Gallery of Art, Washington, D.C.

Henri Rousseau, The Equatorial Jungle, 1909

Giacobbe Giusti, National Gallery of Art, Washington, D.C.

 

Giacobbe Giusti, National Gallery of Art, Washington, D.C.

 

Giacobbe Giusti, National Gallery of Art, Washington, D.C.

 

Giacobbe Giusti, National Gallery of Art, Washington, D.C.

 

Giacobbe Giusti, National Gallery of Art, Washington, D.C.

 

Giacobbe Giusti, National Gallery of Art, Washington, D.C.

 

Giacobbe Giusti, National Gallery of Art, Washington, D.C.

Washington October 2016-12.jpg

 

Giacobbe Giusti, National Gallery of Art, Washington, D.C.
Washington October 2016-12.jpg
National Gallery of Art is located in Washington, D.C.

National Gallery of Art
Location in Washington, D.C.

Show map of Washington, D.C.Show map of the USShow all
Wikimedia | © OpenStreetMap
Established 1937
Location National Mall between 3rd and 9th Streets at Constitution Avenue NW, Washington, DC, 20565, National Mall, Washington, D.C.
Coordinates 38.89147°N 77.02001°W
Visitors 5,232,277 (2017) – Ranked seventh globally [1]
Director Earl A. Powell III
Public transit access
Website www.nga.gov

The National Gallery of Art, and its attached Sculpture Garden, is a national art museum in Washington, D.C., located on the National Mall, between 3rd and 9th Streets, at Constitution AvenueNW. Open to the public and free of charge, the museum was privately established in 1937 for the American people by a joint resolution of the United States Congress. Andrew W. Mellon donated a substantial art collection and funds for construction. The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery’s collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western Art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.

The Gallery’s campus includes the original neoclassical West Building designed by John Russell Pope, which is linked underground to the modern East Building, designed by I. M. Pei, and the 6.1-acre (25,000 m2) Sculpture Garden. The Gallery often presents temporary special exhibitions spanning the world and the history of art. It is one of the largest museums in North America.

History

File:Gallery15Urlan.ogv

National Gallery of Art

Pittsburgh banker (and Treasury Secretary from 1921 until 1932) Andrew W. Mellonbegan gathering a private collection of old masterpaintings and sculptures during World War I. During the late 1920s, Mellon decided to direct his collecting efforts towards the establishment of a new national gallery for the United States.

In 1930, partly for tax reasons, Mellon formed the A. W. Mellon Educational and Charitable Trust, which was to be the legal owner of works intended for the gallery. In 1930–1931, the Trust made its first major acquisition, 21 paintings from the Hermitage Museum in St. Petersburg as part of the Soviet sale of Hermitage paintings, including such masterpieces as Raphael‘s Alba Madonna, Titian‘s Venus with a Mirror, and Jan van Eyck‘s Annunciation.

In 1929 Mellon had initiated contact with the recently appointed Secretary of the Smithsonian Institution, Charles Greeley Abbot. Mellon was appointed in 1931 as a Commissioner of the Institution’s National Gallery of Art. When the director of the Gallery retired, Mellon asked Abbot not to appoint a successor, as he proposed to endow a new building with funds for expansion of the collections.

However, Mellon’s trial for tax evasion, centering on the Trust and the Hermitage paintings, caused the plan to be modified. In 1935, Mellon announced in The Washington Star, his intention to establish a new gallery for old masters, separate from the Smithsonian. When asked by Abbot, he explained that the project was in the hands of the Trust and that its decisions were partly dependent on “the attitude of the Government towards the gift”.

In January 1937, Mellon formally offered to create the new Gallery. On his birthday, 24 March 1937, an Act of Congress accepted the collection and building funds (provided through the Trust), and approved the construction of a museum on the National Mall.

The new gallery was to be effectively self-governing, not controlled by the Smithsonian, but took the old name “National Gallery of Art” while the Smithsonian’s gallery would be renamed the “National Collection of Fine Arts” (now the Smithsonian American Art Museum).[2][3][4]

Designed by architect John Russell Pope, the new structure was completed and accepted by President Franklin D. Roosevelt on behalf of the American people on March 17, 1941. Neither Mellon nor Pope lived to see the museum completed; both died in late August 1937, only two months after excavation had begun. At the time of its inception it was the largest marble structure in the world. The museum stands on the former site of the Baltimore and Potomac Railroadstation, where in 1881 a disgruntled office seeker, Charles Guiteau, shot President James Garfield (see James A. Garfield assassination).[5]

As anticipated by Mellon, the creation of the National Gallery encouraged the donation of other substantial art collections by a number of private donors. Founding benefactors included such individuals as Paul Mellon, Samuel H. Kress, Rush H. Kress, Ailsa Mellon Bruce, Chester Dale, Joseph Widener, Lessing J. Rosenwaldand Edgar William and Bernice Chrysler Garbisch.

The Gallery’s East Building was constructed in the 1970s on much of the remaining land left over from the original congressional action. Andrew Mellon’s children, Paul Mellon and Ailsa Mellon Bruce, funded the building. Designed by architect I. M. Pei, the contemporary structure was completed in 1978 and was opened on June 1 of that year by President Jimmy Carter. The new building was built to house the Museum’s collection of modern paintings, drawings, sculptures, and prints, as well as study and research centers and offices. The design received a National Honor Award from the American Institute of Architects in 1981.

The final addition to the complex is the National Gallery of Art Sculpture Garden. Completed and opened to the public on May 23, 1999, the location provides an outdoor setting for exhibiting a number of pieces from the Museum’s contemporary sculpture collection.

Operations

National Gallery of Art logo.

The National Gallery of Art is supported through a private-public partnership. The United States federal government provides funds, through annual appropriations, to support the museum’s operations and maintenance. All artwork, as well as special programs, are provided through private donations and funds. The museum is not part of the Smithsonian Institution.

Noted directors of the National Gallery have included David E. Finley, Jr. (1938-1956), John Walker (1956–1968), and J. Carter Brown(1968–1993). Earl A. “Rusty” Powell III (since 1993) is the current director.

Entry to both buildings of the National Gallery of Art is free of charge. From Monday through Saturday, the museum is open from 10 a.m. – 5 p.m.; it is open from 11 – 6 p.m. on Sundays. It is closed on December 25 and January 1.[6]

Architecture

“East Building” redirects here. It is not to be confused with Eastern Building.

The East Building

Exhibitions in the West Building

Exhibitions in the East Building

Walkway to West Building and Cascade Cafe in National Gallery of Art, Washington.D.C.

The museum comprises two buildings: the West Building (1941) and the East Building (1978) linked by an underground passage. The West Building, composed of pink Tennessee marble, was designed in 1937 by architect John Russell Pope in a neoclassical style (as is Pope’s other notable Washington, D.C. building, the Jefferson Memorial). Designed in the form of an elongated H, the building is centered on a domed rotunda modeled on the interior of the Pantheon in Rome. Extending east and west from the rotunda, a pair of skylit sculpture halls provide its main circulation spine. Bright garden courts provide a counterpoint to the long main axis of the building.

Dome of West Building, an entrance to permanent Renaissance Art collections

The West Building has an extensive collection of paintings and sculptures by European masters from the medieval period through the late 19th century, as well as pre-20th century works by American artists. Highlights of the collection include many paintings by Jan Vermeer, Rembrandt van Rijn, Claude Monet, Vincent van Gogh, and Leonardo da Vinci.

In contrast, the design of the East Building by architect I. M. Pei is geometrical, dividing the trapezoidal shape of the site into two triangles: one isosceles and the other a smaller right triangle. The space defined by the isosceles triangle came to house the museum’s public functions. The portion outlined by the right triangle became the study center. The triangles in turn became the building’s organized motif, echoed and repeated in every dimension.

The building’s central feature is a high atrium designed as an open interior court that is enclosed by a sculptural space spanning 16,000 square feet (1,500 m2). The atrium is centered on the same axis that forms the circulation spine for the West Building and is constructed in the same Tennessee marble.[7]

However, in 2005 the joints attaching the marble panels to the walls began to show signs of strain, creating a risk that panels might fall onto visitors below. In 2008, NGA officials decided that it had become necessary to remove and reinstall all of the panels. The renovation was completed in 2016.[8]

The East Building focuses on modern and contemporary art, with a collection including works by Pablo Picasso, Henri Matisse, Jackson Pollock, Andy Warhol, Roy Lichtenstein, Alexander Calder, a 1977 mural by Robert Motherwell and works by many other artists. The East Building also contains the main offices of the NGA and a large research facility, Center for Advanced Study in the Visual Arts (CASVA). Among the highlights of the East Building in 2012 was an exhibition of Barnett Newman‘s The Stations of the Cross series of 14 black and white paintings (1958–66).[9] Newman painted them after he had recovered from a heart attack; they are usually regarded as the peak of his achievement.[citation needed] The series has also been seen as a memorial to the victims of the Holocaust.[10]

The two buildings are connected by a walkway beneath 4th street, called “the Concourse” on the museum’s map. In 2008, the National Gallery of Art commissioned American artist Leo Villareal to transform the Concourse into an artistic installation. Today, Multiverse is the largest and most complex light sculpture by Villareal featuring approximately 41,000 computer-programmed LED nodes that run through channels along the entire 200-foot (61 m)-long space.[11] The concourse also includes the food court and a gift shop.

The final element of the National Gallery of Art complex, the Sculpture Garden was completed in 1999 after more than 30 years of planning. To the west of the West Building, on the opposite side of Seventh Street, the 6.1 acres (2.5 ha) Sculpture Garden was designed by landscape architect Laurie Olin[12] as an outdoor gallery for monumental modern sculpture.

The Sculpture Garden contains plantings of Native American species of canopy and flowering trees, shrubs, ground covers, and perennials. A circular reflecting pool and fountain form the center of its design, which arching pathways of granite and crushed stone complement. (The pool becomes an ice-skating rink during the winter.) The sculptures exhibited in the surrounding landscaped area include pieces by David Smith, Mark Di Suvero, Roy Lichtenstein, Sol LeWitt, Tony Smith, Roxy Paine, Joan Miró, Louise Bourgeois, and Hector Guimard.[13]

The lobby of National gallery of Art East Building

Taken at the exterior wall of National gallery of Art East Building

Renovations

The NGA’s West Building was renovated from 2007 to 2009. Although some galleries closed for periods of time, others remained open.[14]

After congressional testimony that the East Building suffered from “systematic structural failures”, NGA adopted a Master Renovations Plan in 1999. This plan established the timeline for closing the building, and planned for the renovation of the electronic security systems, elevators, and HVAC.[15] Space between the ceilings of existing galleries and the building’s skylights (which was never completed when the building was constructed in 1978)[15] would be renovated into two, 23-foot (7.0 m) high, hexagonal Tower Galleries. The galleries would have a combined 12,260 square feet (1,139 m2) of space and will be lit by skylights. A rooftop sculpture garden would also be added. NGA officials said that the Tower Galleries would probably house modern art, and the creation of a distinct “Rothko Room” was possible.

Beginning in 2011, NGA undertook an $85 million restoration of the East Building’s façade.[16] The East Building is clad in 3-inch (7.6 cm) thick pink marble panels. The panels are held about 2 inches (5.1 cm) away from the wall by stainless steel anchors. Gravity holds the panel in the bottom anchors (which are placed at each corner), while “button head” anchors (stainless steel posts with large, flat heads) at the top corners keep the panel upright. Mortar was used on the gravity anchors to level the stones. Joints of flexible colored neoprene were placed between the panels. This system was designed to allow each panel to hang independent of its neighbors, and NGA officials say they are not aware of any other panel system like it.

However, many panels were accidentally mortared together. Seasonal heating and cooling of the façade, infiltration of moisture, and shrinkage of the building’s structural concrete by 2 inches (5.1 cm) over time caused extensive damage to the façade. In 2005, regular maintenance showed that some panels were cracked or significantly damaged, while others leaned by more than 1 inch (2.5 cm) out from the building (threatening to fall).

The NGA hired the structural engineering firm Robert Silman Associates to determine the cause of the problem.[17] Although the Gallery began raising private funds to fix the issue,[17] eventually federal funding was used to repair the building.[16] In 2012, the NGA chose a joint venture, Balfour Beatty/Smoot, to complete the repairs. Anodized aluminum anchors replaced the stainless steel ones, and the top corner anchors were moved to the center of the top edge of each stone. The neoprene joints were removed and new colored siliconegaskets installed, and leveling screws rather than mortar used to keep the panels square. Work began in November 2011,[17] and originally was scheduled to end in 2014.[16] By February 2012, however, the contractor said work on the façade would end in late 2013, and site restoration would take place in 2014.[17] The East Building remained open throughout the project.[14]

In March 2013, the National Gallery of Art announced a $68.4 million renovation to the East Building. This included $38.4 million to refurbish the interior mechanical plant of the structure,[15] and $30 million to create new exhibition space.[14] Because the angular interior space of the East Building made it impossible to close off galleries,[15] the renovation required all but the atrium and offices to close by December 2013. The structure remained closed for three years. The architectural firm of Hartman-Cox oversaw both aspects of the renovation.[15]

A group of benefactors — which included Victoria and Roger Sant, Mitchell and Emily Rales, and David Rubenstein — privately financed the renovation. The Washington Post reported that the donation was one of the largest the NGA had received in a decade.[14] NGA staff said that they would use the closure to conserve artwork, plan purchases, and develop exhibitions. Plans for renovating conservation, construction, exhibition prep, groundskeeping, office, storage, and other internal facilities were also ready, but would not be implemented for many years.[15][18]

Buildings

Giacobbe Giusti, National Gallery of Art, Washington, D.C.

  • The West Building soon after construction, looking northwest from the National Mall

  • North face of the West Building, with the west side of the East Building and the United States Capitol in background

  • South face of the West Building (2014)

  • Rotunda of the West Building beneath dome (2004)

  • Oculus of the West Building dome (2008)

  • West Building sculpture gallery (2007)

     

Giacobbe Giusti, National Gallery of Art, Washington, D.C.

  • West Building garden court (2010)

  • Satellite image of National Gallery of Art grounds and surrounding streets (2002)

  • Moving walkway and light sculpture in concourse beneath 4th Street connecting East and West Buildings (2016)

  • Center of West Building plaza, looking west towards West Building (2010)

  • Fountain in West Building plaza (2010)

  • View of fountain from concourse beneath West Building plaza (2013)

  • Center of West Building plaza, looking east towards entrance of East Building (2000)

  • South face of East Building, looking northwest from southeast corner (2010)

  • Southwest corner of East Building, looking east (2007)

  • Southwest corner of East Building during renovation, looking northeast (2014)

  • East Building atrium (2007)

  • East Building atrium (2007)

Collection

 List of painters in the National Gallery of Art and National Gallery of Art Sculpture Garden

Gerard van Honthorst‘s monumental masterwork, The Concert, was acquired by the NGA in 2013 and went on display for the first time in 218 years.

The NGA’s collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. The permanent collection of paintings extends from the Middle Ages to the present day. The Italian Renaissance collection includes two panels from Duccio‘s Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione‘s Allendale Nativity, Giovanni Bellini‘s The Feast of the Gods, Ginevra de’ Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.

Other European collections include examples of the work of many of the masters of western painting, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole‘s series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley(two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).

The National Gallery’s print collection comprises 75,000 prints, in addition to rare illustrated books. It includes collections of works by Albrecht Dürer, Rembrandt, Giovanni Battista Piranesi, William Blake, Mary Cassatt, Edvard Munch, Jasper Johns, and Robert Rauschenberg. The collection began with 400 prints donated by five collectors in 1941. In 1942, Joseph E. Widener donated his entire collection of nearly 2,000 works. In 1943, Lessing Rosenwald donated his collection of 8,000 old master and modern prints; between 1943 and 1979, he donated almost 14,000 more works. In 2008, Dave and Reba White Williams donated their collection of more than 5,200 American prints.[19]

In 2013, the NGA purchased from a private French collection Gerard van Honthorst‘s 1623 painting, The Concert, which had not been publicly viewed since 1795. After initially displaying the 1.23-by-2.06-metre (4.0 by 6.8 ft) The Concert in a special installation in the West Building, the NGA moved the painting to a permanent display in the museum’s Dutch and Flemish galleries.[20] Although the NGA did not reveal the amount that it had paid for The Concert, art experts estimated the sale price at $20 million.[21]

Highlights of the collection

Leonardo da Vinci, Ginevra de’ Benci, c. 1474

El Greco, Saint Martin and the Beggar, c. 1597-1599[22]

Peter Paul Rubens, Germanicus and Agrippina, 1614

Jacques-Louis David, Napoleon in His Study, 1812

Édouard Manet, The Railway, 1872

Selected highlights from the American collection

Benjamin West, Portrait of Colonel Guy Johnson, 1775

James Abbott McNeill Whistler, Symphony in White, No. 1: The White Girl, 1862

George Bellows, New York, 1911

Notes

  1. Jump up^ The Art Newspaper Review, April 2018
  2. Jump up^ Fink, Lois Marie “A History of the Smithsonian American Art Museum”, University of Massachusetts Press (2007) ISBN 978-1-55849-616-3, chapter 3
  3. Jump up^ National Gallery of Art website: general introduction ArchivedDecember 8, 2006, at the Wayback Machine.
  4. Jump up^ National Gallery of Art website: chronology Archived April 7, 2010, at the Wayback Machine.
  5. Jump up^ “National Gallery of Art, West Building”. American Architecture. Archived from the original on 6 October 2011. Retrieved 2 October2011.
  6. Jump up^ “National Gallery of Art”. Maps and Hours. 2016-01-12. Archivedfrom the original on 2016-01-03.
  7. Jump up^ NGA.gov Archived October 3, 2009, at the Wayback Machine.
  8. Jump up^ Leigh, Catesby (December 8, 2009). “An Ultramodern Building Shows Signs of Age”. The Wall Street Journal. Archived from the original on March 11, 2016.
  9. Jump up^ “In The Tower: Barnett Newman”. http://www.nga.gov. Archived from the original on 1 February 2015. Retrieved 22 September 2014.
  10. Jump up^ Menachem Wecker (August 1, 2012). “His Cross To Bear. Barnett Newman Dealt With Suffering in ‘Zips‘“. The Jewish Daily Forward. Archived from the original on February 4, 2013. Retrieved August 8,2012.
  11. Jump up^ “Leo Villareal: Multiverse”. http://www.nga.gov. Archived from the original on 7 October 2014. Retrieved 22 September 2014.
  12. Jump up^ “About the Gallery”. http://www.nga.gov. Archived from the original on 22 September 2014. Retrieved 22 September 2014.
  13. Jump up^ “Visit: Sculpture Garden”. http://www.nga.gov. Archived from the original on 26 September 2014. Retrieved 22 September 2014.
  14. ^ Jump up to:a b c d Boyle, Katherine and Parker, Lonnae O’Neal. “National Gallery of Art Announces $30 Million Renovation to East Building.” Washington Post. March 12, 2013. Archived April 21, 2016, at the Wayback Machine. Accessed 2013-03-13.
  15. ^ Jump up to:a b c d e f Boyle, Katherine. “National Gallery Sees Long-Term Benefit in Long Closing of East Building.” Washington Post. March 13, 2013.Archived January 6, 2018, at the Wayback Machine. Accessed 2013-03-22.
  16. ^ Jump up to:a b c Kelly, John. “Why National Gallery’s East Building Shed Its Pink Marble Skin.” Washington Post. February 21, 2012. ArchivedJanuary 6, 2018, at the Wayback Machine. Accessed 2013-03-13.
  17. ^ Jump up to:a b c d Dietsch, Deborah K. “National Gallery of Art’s Famed East Building Gets a Facelift.” Washington Business Journal. February 3, 2012. Archived October 18, 2015, at the Wayback Machine. Accessed 2013-03-13.
  18. Jump up^ “The CIVITAS Chronicles”. traditional-building.com. Archivedfrom the original on 2015-03-23.
  19. Jump up^ “Prints”. Nga.gov. 2013-06-19. Archived from the original on 2013-12-21. Retrieved 2013-12-22.
  20. Jump up^ Boyle, Katherine. “National Gallery Acquires ‘The Concert’ by Dutch Golden Age Painter Honthorst.” Washington Post. November 22, 2013. Archived August 29, 2017, at the Wayback Machine. Accessed 2013-11-22.
  21. Jump up^ Vogel, Carol. “National Gallery Acquires a van Honthorst Masterwork.” New York Times. November 21, 2013. ArchivedFebruary 24, 2017, at the Wayback Machine. Accessed 2013-11-22.
  22. Jump up^ “Provenance”. Nga.gov. Archived from the original on 2009-05-07. Retrieved 2013-12-22.

Further reading

 

https://en.wikipedia.org/wiki/National_Gallery_of_Art

http://www.giacobbegiusti.com

Giacobbe Giusti, Pyrgi Tablets

by in Art, best of art, Etruscan, Etruscan vocabulary, Etruscan, and evidence of Phoenician or Punic influence in the Western Mediterranean. They may relate to Polybius's report (Hist. 3,22) of an ancient a, giacobbe giusti, National Etruscan Museum, Villa Giulia, Rome., Phoenician vocabulary, Phoenician goddess ʻAshtaret. Pyrgi was the port of the southern Etruscantown of Caere. Two of the tablets are inscribed in the Etruscan language, the third in Phoenician, Pyrgi Tablets,, Pyrgi Tablets, found in a 1964 excavation of a sanctuary of ancient Pyrgi on the Tyrrhenian coast of Italy(today the town of Santa Severa), Romans and the Carthaginians, which he dated to the consulships of L. Iunius Brutus and L. Tarquinius Collatinus, The specific dialect has been called "Mediterranean Phoenician" by Philip C. Schmitz, "The Phoenician Text from the Etruscan Sanctuary at Pyrgi" Journal of the American Oriental Society and tagged , , , , , , , , , , , , , , , , , | Leave a comment

Giacobbe Giusti, Pyrgi Tablets

Le tre lamine d’oro del VI secolo a.C., con la stessa iscrizione riportata in etrusco. in fenicio e in punico(Roma, Museo di Villa Giulia). Queste lamine sono state rinvenute a Pyrgi (oggi Santa Severa, in provincia di Roma), porto antico di Cere.

 Giacobbe Giusti, Pyrgi Tablets

The tablets

The Pyrgi Tablets, found in a 1964 excavation of a sanctuary of ancient Pyrgi on the Tyrrhenian coast of Italy(today the town of Santa Severa), are three golden leaves that record a dedication made around 500 BC by Thefarie Velianas, king of Caere, to the Phoenician goddess ʻAshtaret. Pyrgi was the port of the southern Etruscantown of Caere. Two of the tablets are inscribed in the Etruscan language, the third in Phoenician.[1]

These writings are important in providing both a bilingual text that allows researchers to use knowledge of Phoenician to interpret Etruscan, and evidence of Phoenician or Punic influence in the Western Mediterranean. They may relate to Polybius‘s report (Hist. 3,22) of an ancient and almost unintelligible treaty between the Romans and the Carthaginians, which he dated to the consulships of L. Iunius Brutus and L. Tarquinius Collatinus (509 BC).

The tablets are now held at the National Etruscan Museum, Villa Giulia, Rome.

Phoenician text

l-rbt l-ʻštrt,
To lady Ashtarot,
ʼšr qdš ʼz, ʼš pʻl, w-ʼš ytn tbryʼ wlnš mlk ʻl kyšryʼ. ( kyšry= KAYSERI)
This is the holy place, which was made, and which was given by Tiberius Velianas who reigns over the Caerites.
b-yrḥ zbḥ šmš, b-mtnʼ b-bt, wbn tw.
During the month of the sacrifice to the Sun, as a gift in the temple, he built an aedicula.
k-ʻštrt ʼrš b-dy l-mlky šnt šlš, b-yrḥ krr, b-ym qbr ʼlm
For Ashtarot raised him with Her hand to reign for three years from the month of Churvar, from the day of the burial of the divinity [onward].
w-šnt lmʼš ʼlm b-bty šnt km h kkb m ʼl.
And the years of the statue of the divinity in the temple [shall be] as many years as the stars above.[2]

The Phoenician text has long been known to be in a Semitic, more specifically Canaanite language (very closely related to Hebrew, and also relatively close to Aramaic and Ugaritic); hence there was no need for it to be “deciphered.” And while the inscription can certainly be read, certain passages are philologically uncertain on account of perceived complications of syntax and the vocabulary employed in the inscription, and as such they have become the source of debate among both Semiticists and Classicists.[3]

Supplementary to the Pyrgi Tablets are inscriptions on vessels found in the sanctuary at Pyrgi:

unial: div) patera, or plate V TLE 877
unial:(div) patera, or plate V REE 40 n54

  • ]starte/s/  ?] cve[r (]starte/ / in REE) (div?)
fragment vasis, or vessel IV REE 56 n31
mi :”s’uris : cava’th’as,(div)patera, or plate V REE 64 n36.
]xcava’th’as 2]a emini[(div) Greek kylix, V REE 56 n24[4]

Phoenician vocabulary

ʼlm, divinity [Semitic *ʼil- “god”]
ʼrš, to raise
ʼš, which, who, that [rel.pron]
ʼšr, place
ʼz, this [ ha-dha? ]
ʻl, over, above [Semitic *ʻal-]
ʻštrt, Astarte [Semitic *ʻaṯtar-]
b-, in, at, with, on [Semitic *bi-]
bt, house, temple [Semitic *bayt-]
kkb, star [Semitic *kabkab-] [hakkawkabīm/hakkawkabūm = the-stars]
k-, for, since [Semitic *ki-]
km, like, as [ka-ma]
krr, Churvar [calendar month] [cf. Etruscan Χurvar]
kyšryʼ, Caerites [a people]
l-, to, for [Semitic *la-]
lmʼš, statue
mlk, to rule, to reign [Semitic *mlk]
mtnʼ, gift [Semitic *ntn ‘to give’]
pʻl, to make, to do [Semitic *pʻl]
qbr, burial
qdš, holy
rbt, lady [cf. Akkadian rābu “grand, large”] [rabbu, female: rabbatu ]
šlš, three [Semitic *ṯalāṯ-]
šmš, sun [Semitic *šamš-[5]]
šnt, year [šanot “years” – from: šanāt]
tw, aedicula [taw]
w-, and [Semitic *wa-]
bn, to build [ bny ] [wayyiben = [and] he built]
yd, hand
ym, day [Semitic *yawm-]
yrḥ, month [Semitic *warḥu-] [Canaanite: yarhu]
ytn, to give [Semitic *[y]-ntn] [ya-ntin[u]] he-gives / hebrew: yittēn
zbḥ, sacrifice

Etruscan text

First plate:

ita tmia icac he
ramašva vatieχe
unial astres θemia
sa meχ θuta Θefa
riei velianas sal
cluvenias turu
ce munis tas θuvas
tameresca ilacve
tul erase nac ci avi
l χurvar, tešiameit
ale ilacve alšase
nac atranes zilac
al, sel eita la acnašv
ers itanim heram
ve avil eniaca pulum χva.
This temple and these statues are dedicated to Uni-Astre, built by the clanspeople.
Tiberius Velianas the pleasing aedicula has given.
munistas θuvas tameresca ilacve tulerase.
That burial of his own by these priests with idols was encircled.
nac ci avil χurvar, tešiameitale, ilacve alšase.
For three years [in the month of] Churvar, with Her burnt offerings, with idols [it was] buried.
nac atranes zilacal, seleitala acnašvers.
During the reign of the chief, in Her hand [he] would be brought forth (ie: Uni-Astre gave him authority to rule).
itanim heram ve, avile niaca pulum χva.
And with these Hermes idols, the year(s) shall endure as the stars.
Second plate:

nac θe farie vel
iiunas θ amuce
cleva etu nal masan tiur, unias
šelace v
acal tmial a
vil χ val amuce pulum χva snuiaφ.

.

When Tiberius Velianas had built the statue of the sanctuary [in] the month of Masan, Uni was pleased.
vacal tmial avilχval amuce pulumχva snuiaφ.
The votives of the temple yearly have been as numerous as the stars.

Etruscan vocabulary

*acna(s), to bring forth (⟨acnaš-ver-s⟩ ‘[he] would be brought forth’)

[perhaps -⟨u⟩, passive + -⟨er⟩-, purposive, common in the LLZ, had combined to form a passive optative in -⟨ver⟩- ‘would be’]
Note ⟨huśur maχ acnanas, arce.⟩ “Having brought forth (ie: given birth to) five children, [she] raised [them]” (TLE 887)
*alš, to bury (⟨alš-as-e⟩ ‘buried’)
*am, to be (⟨am-uc-e⟩ ‘has been, had been’)

⟨an zilaθ amce mecl Rasnal.⟩ “He had been a chief of the Etruscan people.” (ET Ta 7.59)
astre, Phoenician goddess of fertility, associated with Uni (⟨astre-s⟩ ‘of Astre’) [Phoenician ⟨’štrt⟩ ← *’aṯtarṯ]
*atran, reign, rulership
avil, year (⟨avilχva-l⟩ ‘of the years, yearly’)
ca, this (⟨ca⟩ ‘this’, ⟨ica-c⟩ ‘and this’)
ci, three
*cluvenia, aedicula (⟨cluvenia-s⟩ ‘of the aedicula’)
xurvar, month [Phoenician ⟨krr⟩ *kurar]
*en, to last, endure (⟨en-iac-a⟩ ‘shall endure’)

⟨śacnicleri cilθl, śpureri, meθlumeric, enaś.⟩ “By way of these sacred objects of the sanctuary, by the city and by the people, [it] endures” (LLZ, col 9, lines 12-13)
*etan, sanctuary (⟨etan-al⟩ ‘of the sanctuary’)
*heram(aš), Hermes idol (⟨heramv-e⟩ ‘with the Hermes idols’, ⟨heramašva⟩ ‘Hermes idols’)
*ila, idol (*ilacva ‘idols’, ⟨ilacv-e⟩ ‘with idols’)
meχ, people
muni, burial, plot of land (⟨muni-s⟩ ‘of the burial’)
nac, when, during, while
*pulum, star (⟨pulum-χva⟩ ‘stars’, ⟨pulun-za⟩ ‘little star’)

⟨fulumχva⟩ (Cippus perusinus, lateral, lines 29-30)
⟨…pulunza ipal sacnina tinia tei aθemeiś caś…⟩ “…the little star for which the sacred Tinia of the sky…” (CIE 6310)
sal, pleasing
*sel, hand (⟨sel-ei⟩ ‘with the hand’)
*snuia, many (⟨snuia-φ⟩ “as many”)

⟨śnuiu-φ⟩ “as many” (LLZ, col 6, lines 1,2,4)
*šel, to please (⟨šel-ac-e⟩ ‘has pleased’) [cf. ⟨sal⟩]
ta, that (⟨ita⟩ ‘that’, ⟨⟩ ‘and with that’, ⟨ta-s⟩ ‘of that’, ⟨tala⟩ ‘her’, ⟨tal-e⟩ ‘with her’)
tešiam, burnt offerings (⟨tešiam-ei⟩ ‘with burnt offerings’)

⟨Śucic firin tesim.⟩ “And incense was burned as a burnt offering” (LLZ, col 7, lines 9-10)
tmia, temple (⟨tmia-l⟩ ‘of the temple’)
*tuler, to encircle (⟨tuler-as-e⟩ ‘encircled’) [cf. ⟨tul⟩ ‘border, boundary’]
tur, to give (⟨tur-uc-e⟩ ‘has given’)
*θem, to build (⟨θem-iasa⟩ ‘built’, ⟨θam-uc-e⟩ ‘has built’)
θefariei, Tiberius [Roman male name]
θuta, clan, nation (compare Celto-Germanic cognates *Tuatha, *Theod, *Diot). Compare Icelandic: þjóð (nom), þjóð (acc), þjóðu (dat), þjóðar (gen).
θuva, oneself, (⟨θuva-s⟩ ‘one’s own’) [cf. ⟨θu⟩ ‘one, single’]

⟨θuker akil tuś thuveś.⟩ “Thuker completed his own tomb.” (TLE 672)
uni, Etruscan mother goddess of fertility (⟨uni-al⟩ ‘of Uni’) [cf. Latin Iūno]
vacal, votive offering

⟨celi suθ vacl θesnin⟩ “Upon the earth of the tomb a votive offering was dedicated.” (LLZ, col 5, lines 15-16)
*vat, to dedicate (⟨vat-ieχ-e⟩ ‘to be dedicated’)
velianas, Velianas [family name].
zilaχ, chief (⟨zilac-al⟩ ‘of the chief’)

⟨svalasi, zilaχnuce.⟩ “[While] living, [he] had been chief.” (TLE 173)
⟨zilaχnce avil xi.⟩ “[He] had been chief eleven years.” (REE 40, n75)

Notes

  1. Jump up^ The specific dialect has been called “Mediterranean Phoenician” by Philip C. Schmitz, “The Phoenician Text from the Etruscan Sanctuary at Pyrgi” Journal of the American Oriental Society 115.4 (October – December 1995), pp. 559-575. Full bibliography of Pyrgi and the tablets
  2. Jump up^ Transcription from Hildegard Temporini, Joseph Vogt, Wolfgang Haase. 1972. Aufsteig und Niedergang der Römischen Welt, vol. 2, part 25. P.201. Also, along with the original Phoenician letters, in Haarmann, Harald. 1996. Early Civilization and Literacy in Europe: An Inquiry into Cultural Continuity in the Mediterranean World. P.355
  3. Jump up^ For the most recent analysis of the inscription and summary of the various scholarly interpretations, see Schmitz, P. 1995 “The Phoenician Text from the Etruscan Sanctuary at Pyrgi.” Journal of the American Oriental Society 15:559-575.
  4. Jump up^ Source for the Pyrgi inscriptions :“Archived copy”. Archived from the original on 2010-09-23. Retrieved 2012-02-26.
  5. Jump up^ The Patterning of Root Morphemes in Semitic. 1990. In: On language: selected writings of Joseph H. Greenberg. Ed. Keith M. Denning and Suzanne Kemmer. P.379

References

https://en.wikipedia.org/wiki/Pyrgi_Tablets

http://www.giacobbegiusti.com

Giacobbe Giusti, Römische Villa bei Lullingstone

by in Art, Bei Lullingstone(östlich von London in Kent), best of art, giacobbe giusti, giacobbe giusti roman art, Lullingstone (östlich von London in Kent, Lullingstone Roman Villa is a villa built during the Roman occupation of Britain, situated near the village of Eynsford in Kent, south eastern England., Römische Villa bei Lullingstone, Wandmalerei auf der Westwand mit christlichen Adoranten and tagged , , , , , , , , , , , , , , , , , | Leave a comment

Giacobbe Giusti, Römische Villa bei Lullingstone

Giacobbe Giusti, Römische Villa bei Lullingstone

 

Giacobbe Giusti, Römische Villa bei Lullingstone

 Giacobbe Giusti, Römische Villa bei Lullingstone

Die heutigen Reste der Villa

Bei Lullingstone(östlich von London in Kent) konnten die Reste einer reich ausgestatteten römischen Villaausgegraben werden. Vor allem die Fragmente von Wandmalereienmit christlichen Motiven erregten überregionales Interesse.

Lage

Die Villa von Lullingstone liegt in einem kleinen Tal, nahe bei dem Fluss Darent. Sie liegt an einem Abhang und ist besonders gut erhalten, da im Laufe der Jahrhunderte Erde vom oberen Teil des Abhanges nach unten rutschte und dabei auch die Ruinen der Villa bedeckte und damit auch schützte.

Geschichte des Baues

Plan der Villa um 125 n. Chr.

Reste einer Wandmalerei: Nymphen

Modell der Villa

Plan der Villa um 400 n. Chr.

Erste Siedlungsreste stammen aus der Zeit vor der römischen Eroberung Britanniens. Es fanden sich Scherben und Münzen, die um 1 bis 43 n. Chr. datieren. Gebäudereste sind aus dieser Zeit bisher nicht festgestellt worden.

Ein erster Bau aus Stein wurde hier um 100 n. Chr. errichtet. Dieser Bau ist architektonisch nur schwer zu fassen, da er durch spätere Umbauten verunklärt ist. Es war aber sicherlich eine einfache Portikusvilla mit Eckrisaliten. Das Gebäude bestand im unteren Teil aus vermauerten Feuersteinen. Der Aufbau war vielleicht ein Fachwerkbau. Zu diesem Bau gehörte auch ein Keller, der aus zwei Räumen bestand, der bis zum Ende der Villa in Betrieb blieb. Hinter der Villa (im Westen) wurde ein Küchengebäude errichtet.

Das Gebäude wurde zwischen 150 und 180 erweitert. Es wurden auf der Südseite ein Bad hinzugefügt. Der Keller hatte in der ersten Bauphase zwei Zugänge, wobei in der zweiten Bauphase eine dieser Türen zugemauert wurde. Die nun entstandene Nische erhielt eine Bemalung mit der Darstellung von drei Nymphen. Auch die restlichen Wände wurden bemalt, doch ist davon nur wenig erhalten. Die Umgestaltung deutet an, dass der Keller in einen Kultraum umgestaltet wurde. Der damalige Besitzer scheint recht wohlhabend gewesen zu sein, jedenfalls war er Eigentümer von zwei marmornen Büsten, eine Seltenheit in der britannischen Provinz. Sie fanden sich bei den Ausgrabungen im Keller. Im zweiten Jahrhundert wurde auch ein runder Bau etwas nördlich der Villa errichtet. Die Funktion ist unbekannt, doch wird vermutet, dass es sich um eine kleine Kapelle handelte.

Im Dritten Jahrhundert erlebte das ganze römische Reich eine Zeit wirtschaftlichen Niederganges. Die Villa scheint vernachlässigt worden zu sein, doch wurde sie nicht aufgegeben, wie noch die Ausgräber vermuteten. Münzen und Scherben deuten eine Siedlungskontinuität an. Am Beginn des vierten Jahrhunderts wurde ein Mausoleumwestlich der Villa erbaut. Es bestand aus einem zentralen Raum, um den sich ein Umgang befand. Der Bau ähnelt somit einem römischen-gallischen Umgangstempel. In einer Grube im zentralen Raum lagen zwei Bleisärge, in denen sich die Skelette von einem Mann und einer Frau befanden. Es fanden sich zahlreiche Beigaben, darunter ein Bronzegefäß, vier Glasflaschen, zwei Messer und zwei Löffel. Bemerkenswert ist ein Spielbrett mit 30 Spielsteinen aus Glas, die auf einem der Särge lagen.

Neben der Villa wurde in etwa zur gleichen Zeit ein Getreidespeicher errichtet. Er war 24,4 × 10,7 m groß und gehört damit zu den größten in Britannien. Der Bau hatte einen erhöhten Fußboden, damit Luft darunter zirkulieren konnte.

Um 350 erhielt das Speisezimmer der Villa eine Apsis und wurde mit einem Mosaik ausgestattet. Um 360/370 scheinen die Besitzer zum Christentum konvertiert zu sein. Ein Raum wurde zu einer christlichen Kapelle umgestaltet und erhielt Wandmalereien mit christlichen Motiven. Diese zeigen den Villenbesitzer und seine Familie in Bethaltung, sowie das christliche Chi-Rho. Kurz nach 400 brannte die Villa nieder und wurde nie wieder aufgebaut.

Die Wandmalereien

Giacobbe Giusti, Römische Villa bei Lullingstone

Wandmalerei auf der Westwand mit christlichen Adoranten

Die Villa hat ihre herausragende Bedeutung vor allem durch den Fund der Wandmalereien des vierten Jahrhunderts. Vereinzelte Malereifragmente stammen schon aus dem zweiten Jahrhundert. Im Bad fand sich ein Fragment, dass einen Fisch zeigt. Das Fragment fand sich im Frigidarium, das demnach vielleicht mit einer Seelandschaft, wie sie in Bädern beliebt waren, dekoriert gewesen. Andere noch an der Wand haftende Fragmente zeigen eine einfache Felderdekoration.[1] Aus dem zweiten Jahrhundert stammt auch die Nische im Keller mit der Darstellung von drei Wassernymphen.[2]

Die Malereien des vierten Jahrhunderts fanden sich im Keller verstürzt und schmückten einst zwei Räume einer Hauskapelle, deren Dekoration in groben Zügen rekonstruiert werden kann. Die best erhaltene Wand ist die Westwand. Der Sockel stellt wohl eine Marmorimitation dar. Darüber finden sich sechs Säulen zwischen denen wiederum einzelne Figuren auf weißen Grund stehen. Die Säulen sind von Farbbändern gerahmt. Die Figuren scheinen zu schweben und haben ihre Arme ausgebreitet. Nur eine Figur hebt ihre rechte Hand zum Gruß. Die zweite Figur von links ist die best erhaltene und ist darüber hinaus durch einen Vorhang, der hinter ihr erhalten ist, hervorgehoben. Bis auf die vorletzte Figur scheinen alle Männer darzustellen.

Die Ostwand ist schlechter erhalten und deren Rekonstruktion bereitet Schwierigkeiten. Die Sockelzone wird wiederum von Marmorimitationen eingenommen. Darüber befindet sich ein Feld mit sechs Säulen. In der Mitte befindet sich ein Kreis mit dem christlichen Chi-Rho. Zwischen den Säulen scheinen Personen dargestellt zu sein, die auf das Zentralfeld zugehen. Die Rekonstruktion der dritten Zone bleibt schließlich reine Spekulation, hier könnten sich eventuell Säulen aber auch Ornamentbänder befunden haben. Beide Dekorationselemente fanden sich, doch können keiner Wand mit Sicherheit zugeordnet werden.

Die Nordwand zeigt die Sockelzone mit Marmorimitationen und darüber zahlreiche Säulen, in deren Mitte sich offensichtlich eine figürliche Szene befand. Im Oberfeld gab es die Darstellung einer Landschaft mit Gebäuden.

In der Südwand befand sich die Tür des Raumes. Rechts von ihr befand sich über der Sockelzone wiederum ein Feld mit einer von Säulen gerahmten Mittelszene. Im Oberfeld befand sich ein Chi-Rho.

Der Vorraum war einfacher gestaltet, nur an einer Wand befand sich ein Chi-Ro, in einem Kreis und von einem geometrischen Muster gerahmt.

Die Malereien sind von besonderer Bedeutung, da es nur wenige Zeugnisse christlicher Wandmalerei aus dem vierten Jahrhundert gibt. In Britannien sind sie bisher einmalig. Der Stil ist einfach bis unbeholfen. Es gibt kaum Andeutungen von Licht und Schatten oder Perspektive.

  • Reste einer Wandmalerei: Fisch aus dem Bad

  • Wandmalerei mit dem christlichen Chi-Rho, Südwand

Das Mosaik

Giacobbe Giusti, Römische Villa bei Lullingstone

Speiseraum mit Mosaik

Das Mosaik im Speisesaal der Villa zeigt zwei Szenen. In der eigentlichen Apsis ist die Entführung der Europa durch Jupiter als Stier dargestellt. Europa, halbnackt, sitzt auf dem Stier. Die Szene wird von zwei Eroten flankiert. Der hintere zieht am Schwanz des Stieres und versucht offensichtlich die Entführung zu verhindern. Über der Szene befindet sich eine lateinische Inschrift, die übersetzt lautet:

Wenn die eifersüchtige Juno den schwimmenden Stier gesehen hätte, dann wäre sie mit größerer Gerechtigkeit auf ihrer Seite wiederhergestellt in den Häusern des Aeolus

Dieser Spruch ist eine Anspielung aus das erste Buch der Aeneis, in dem Juno, die Gattin des Jupiter, den Windgott Aeolus überredet, einen Sturm zu entfachen, um Aenas auf seiner Reise nach Italien zu besiegen. Diese Szene belegt deutlich das hohe Bildungsniveau des Villeninhabers.

Die zweite Szene des Mosaik zeigt Bellerophon wie er auf Pegasusreitet und die Chimära mit einem Speer tötet. Dieses Bild wird von vier runden Medaillons gerahmt in denen sich wiederum Darstellungen in Büstenform der vier Jahreszeiten befinden.

Funde

Giacobbe Giusti, Römische Villa bei Lullingstone

Marmorbüste

Marmorbüste

In der Villa fand sich eine Reihe bemerkenswerter Objekte. An erster Stelle sind zwei Marmorbüsten zu nennen, die sich im Keller fanden. Sie können stilistisch in das zweite Jahrhundert datiert werden und sind Arbeiten aus dem östlichen Mittelmeerraum. In der früheren Forschung wurde oftmals angenommen, dass es sich hier um Vater und Sohn handelt, die nacheinander Besitzer der Villa waren. Die besser erhaltene zeigt einen bärtigen Mann, in einem militärischen Gewand mit einer runden Fiebel.[3] Eine neuere Theorie besagt jedoch, dass hier der spätere Kaiser Pertinax und dessen Vater Publius Helvius Successusdargestellt sind.[4] Pertinax war Statthalter von Britannien, bevor er zum Kaiser erhoben wurde. Demnach ist die Lullingstonevilla der Landsitz des Statthalters gewesen.

Ein weiterer Fund ist eine Gemme, die geflügelte Victoria mit einem Schild und vor einem Brustpanzer, der Teil einer Trophäe ist, zeigt. Die Gemme gehört zu den besten, die jemals in Britannien gefunden wurden. Sie besteht aus Karneol. Es wurde argumentiert, dass es sich um das Amstsiegel von Pertinax handelte als er als Statthalter in Britannien amtierte. [5]

Ausgrabungen

Die Villa wurde 1939 entdeckt, obwohl es schon seit dem späten achtzehnten Jahrhundert Vermutungen gab, dass es hier Reste eines römischen Gebäudes gibt. Ausgrabungen fanden seit 1949 statt und dauerten 12 Jahre. Die Villa ist heute für Besucher hergerichtet.

Anmerkungen

  1. Hochspringen↑ Liversidge, in: Meates: The Roman villa at Lullingstone, S. 5, Tafel 1, fig. 1 auf S. 6
  2. Hochspringen↑ Liversidge, in: Meates: The Roman villa at Lullingstone, Tafeln IV–V
  3. Hochspringen↑ Neal: Lullingstone, Roman Villa., 22
  4. Hochspringen↑ T. Ganschow/M. Steinhart: The Roman portraits from the villa of Lullingstone: Pertinax and his father, P Helvius Successus.In: Otium: Festschrift für Volker Michael Strocka. Remshalden 2005, S. 47–53.
  5. Hochspringen↑ Martin Henig: The Victory-Gem from Lullingstone Roman Villa, in: Journal of the British Archaeological Association, 160 (2007), 1-7

Literatur

  • Geoffrey Wells Meates: The Roman villa at Lullingstone, Kent. Vol. 1, The site. Kent Archaeological Society, London 1979, ISBN 0-85033-341-5.
  • Geoffrey Wells Meates: The Roman villa at Lullingstone, Kent. Vol. 2, The wall paintings and finds. Kent Archaeological Society, London 1987, ISBN 0-906746-09-4.
  • David S. Neal: Lullingstone, Roman Villa. London 1998, ISBN 1-85074-356-8.

Weblinks

 Römische Villa bei Lullingstone – Sammlung von Bildern, Videos und Audiodateien

https://de.wikipedia.org/wiki/R%C3%B6mische_Villa_bei_Lullingstone

http://www.giacobbegiusti.com

Giacobbe Giusti, LEONARDO da VINCI: Lady with an Ermine

by in Art, Cecilia Gallerani,, Czartoryski Foundation by the Polish Ministry of Culture and National Heritage for the National Museum in Kraków, 白貂を抱く貴婦人 『白貂を抱く貴婦人』 イタリア語: Dama con l'ermellino The Lady with an Ermine.jpg 作者 レオナルド・ダ・ヴィンチ 製作年 1490年頃 種類 油彩, Dama con l'ermellino, Polish: Dama z gronostajem, giacobbe giusti, Italian Renaissance Art, Lady with an Ermine (Italian: Dama con l'ermellino [ˈdaːma kon lermelˈliːno]; Polish: Dama z gronostajem) is a painting by Leonardo da Vinci, LEONARDO da VINCI: Lady with an Ermine, National Museum, Kraków, Poland, Prince Adam Jerzy Czartoryski, the son of Princess Izabela Czartoryska and Prince Adam Kazimierz Czartoryski and tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

 

Giacobbe Giusti, LEONARDO da VINCI: Lady with an Ermine

Giacobbe Giusti, LEONARDO da VINCI: Lady with an Ermine

 Giacobbe Giusti, LEONARDO da VINCI: Lady with an Ermine
Italian: Dama con l’ermellino, Polish: Dama z gronostajem

Giacobbe Giusti, LEONARDO da VINCI: Lady with an Ermine
The Lady with an Ermine.jpg
Artist Leonardo da Vinci
Year 1489–90
Type Oil on wood panel
Subject Cecilia Gallerani
Dimensions 54 cm × 39 cm (21 in × 15 in)[1]
Location National Museum, Kraków, Poland

Lady with an Ermine(Italian: Dama con l’ermellino [ˈdaːma kon lermelˈliːno]; Polish: Dama z gronostajem) is a painting by Leonardo da Vinci from around 1489–1490 and one of Poland‘s national treasures.[2] The subject of the portrait is Cecilia Gallerani, painted at a time when she was the mistress of Ludovico Sforza, Duke of Milan, and Leonardo was in the service of the duke. The painting is one of only four portraits of women painted by Leonardo, the others being the Mona Lisa, the portrait of Ginevra de’ Benci, and La belle ferronnière. The painting was purchased in 2016 from the Czartoryski Foundation by the Polish Ministry of Culture and National Heritage for the National Museum in Kraków and has been on display in the museum’s main building since 2017.[3]

 

Subject and symbolism

The small portrait generally called The Lady with the Ermine was painted in oils on wooden panel. At the time of its painting, the medium of oil paint was relatively new to Italy, having been introduced in the 1470s.

The subject has been identified with reasonable certainty as Cecilia Gallerani, who was the mistress of Leonardo’s employer, Ludovico Sforza.[4]

Cecilia Gallerani was a member of a large family that was neither wealthy nor noble. Her father served for a time at the Duke’s court. At the time her portrait was painted, she was about 16 years old and was renowned for her beauty, her scholarship, and her poetry. She was married at approximately age six to a young nobleman of the house of Visconti, but she sued to annul the marriage in 1487 for undisclosed reasons and the request was granted. Cecilia became the mistress of the Duke and bore him a son, even after his marriage to another woman 11 years previously, Beatrice d’Este.[5] Beatrice was promised to the Duke when she was only 5, and married him when she was 16 in 1491. After a few months, she discovered the Duke was still seeing Cecilla, and forced the Duke to break off their relationship by marrying her off to a local count named Bergamino.

The painting shows a half-length figure, the body of a woman turned at a three-quarter angle toward her right, but her face turned toward her left. Her gaze is directed neither straight ahead, nor toward the viewer, but toward a “third party” beyond the picture’s frame. In her arms, Gallerani holds a small white-coated stoat, known as an ermine. Gallerani’s dress is comparatively simple, revealing that she is not a noblewoman. Her coiffure, known as a coazone, confines her hair smoothly to her head with two bands of hair bound on either side of her face and a long plait at the back. Her hair is held in place by a fine gauze veil with a woven border of gold-wound threads, a black band, and a sheath over the plait.[6]

There are several interpretations of the significance of the ermine in her portrait. The ermine, a stoat in its winter coat, was a traditional symbol of purity because it was believed an ermine would face death rather than soil its white coat.[7] In his old age, Leonardo compiled a bestiary in which he recorded:

MODERATION The ermine out of moderation never eats but once a day, and it would rather let itself be captured by hunters than take refuge in a dirty lair, in order not to stain its purity.[8]

He repeats this idea in another note, “Moderation curbs all the vices. The ermine prefers to die rather than soil itself.”[9] Ermines were kept as pets by the aristocracy and their white pelts were used to line or trim aristocratic garments. For Ludovico il Moro, the ermine had a further personal significance in that he had been in the Order of the Ermine (Naples) in 1488 and used it as a personal emblem.[10] The association of the ermine with Cecilia Gallerani could have been intended to refer both to her purity and to make an association with her lover. Alternatively, the ermine could be a pun on her name because the Ancient Greek term for ermine, or other weasel-like species of animals, is galê (γαλῆ) or galéē (γαλέη).[11] This would be in keeping with Leonardo’s placement of a juniper bush behind the figure in his portrait of Ginevra de Benci in reference to her name. Given that Gallerani gave birth to a son acknowledged by Lodovico in May 1491, and the association of weasels and pregnancy in Italian Renaissance culture, it also is possible the animal was a symbol of Cecilia’s pregnancy.[12] In addition, it has been speculated that the animal in the painting appears not to be an ermine,[13] but a white ferret, a colour favoured in the Middle Ages because of the ease of seeing the white animal in thick undergrowth.

As in many of Leonardo’s paintings, the composition comprises a pyramidic spiral and the sitter is caught in the motion of turning to her left, reflecting Leonardo’s lifelong preoccupation with the dynamics of movement. The three-quarter profile portrait was one of his many innovations. Il Moro’s court poet, Bernardo Bellincioni, was the first to propose that Cecilia is poised as if listening to an unseen speaker.

This work in particular shows Leonardo’s expertise in painting the human form. The outstretched hand of Cecilia was painted with great detail. Leonardo paints every contour of each fingernail, each wrinkle around her knuckles, and even the flexing of the tendon in her bent finger.

According to the art-critic Maike Vogt-Luerssen the depicted lady clearly identifies herself as a member of the Royal Neapolitan House of Aragon by wearing a Catalan costume and holding the most important symbol of her dynasty, the ermine in its winter fur. Her name is Giovanna of Aragon (1478–1518), Queen of Naples, and she was married to Ferrandino (or Ferdinand II) of Naples.

Conservation

The Lady with an Ermine has been subjected to two detailed laboratory examinations. The first was in the Warsaw Laboratories, the findings being published by K. Kwiatkowski in 1955. The painting underwent examination and restoration again in 1992, at the Washington National Gallery Laboratories under the supervision of David Bull.[1]

The painting is in oil on a thin walnut wood panel, about 4–5 millimetres (0.16–0.20 in) thick, prepared with a layer of white gessoand a layer of brownish underpaint.[1] The panel is in good condition apart from a break to the upper left side of the painting. Its size has never been altered, as indicated by a narrow unpainted strip on all four sides of the painting.

The background was thinly overpainted with unmodulated black, probably between 1830 and 1870, when the damaged corner was restored. Eugène Delacroix was suggested to have painted the background. Its previous colour was a bluish grey.[1] The signature “LEONARD D’AWINCI” (which is Polish phonetical transcription of the name “da Vinci”) in the upper left corner is not original.[14]

X-ray and microscopic analysis have revealed the charcoal-pounced outline of the pricked preparatory drawing on the prepared undersurface, a technique Leonardo learned in the studio of Verrocchio.[15]

Apart from the black of the background and some abrasion caused by cleaning, the painted surface reveals the painting is almost entirely by the artist’s hand. There has been some slight retouching of her features in red, and the edge of the veil in ochre. Some scholars believe there also was some later retouching of the hands.[1]

Leonardo’s fingerprints have been found in the surface of the paint, indicating he used his fingers to blend his delicate brushstrokes.[16]

Provenance

The painting was acquired in Italy by Prince Adam Jerzy Czartoryski, the son of Princess Izabela Czartoryska and Prince Adam Kazimierz Czartoryski in 1798, and incorporated it into the Czartoryskis’ family collections at Puławy in 1800. The inscription on the top-left corner of the painting, LA BELE FERONIERE. LEONARD DAWINCI., probably was added by a restorer shortly after its arrival in Poland,[17] and before the background was overpainted.[18] Czartoryski was clearly aware it was a Leonardo, although the painting had never been discussed in print; no record exists of any previous owner. The Belle Ferronière is the Leonardo portrait in the Louvre, whose sitter bears such a close resemblance, the Czartoryskis considered this sitter to be the same. The painting travelled extensively during the 19th century; Princess Czartoryska rescued it in advance of the invading Russian army in 1830, hid it, then sent it to Dresden and on to the Czartoryski place of exile in Paris, the Hôtel Lambert, returning it to Kraków in 1882. In 1939, almost immediately after the German occupation of Poland, it was seized by the Nazis and sent to the Kaiser Friedrich Museum in Berlin. In 1940, Hans Frank, the Governor General of Poland, requested it be returned to Kraków, where it hung in his suite of offices. At the end of the Second World War it was discovered by Allied troops in Frank’s country home in Bavaria. It has since been returned to Poland at the Czartoryski Museum in Kraków. Since May 2017, the painting may be found in a branch of the National Museum in Kraków, just outside the Old Town.

Reception

When exhibited in The Museum of Fine Arts, Houston in 2003, the painting was described as “signal[ling] a breakthrough in the art of psychological portraiture”.[19]

Popular culture

Lady with an Ermine was one of the visual inspirations for Philip Pullman‘s concept of dæmons, appearing in the His Dark Materialsseries of novels.[20]

Mike Resnick‘s science fiction novel Lady with an Alien (2005) was inspired by Resnick’s opinion that the animal in Gallerani’s arms “simply doesn’t look like an ermine”.[21]

Lady with an Ermine has inspired Vinci (2004), a Polish heist comedy film directed by Juliusz Machulski.

The 2016 psychological horror video game Layers of Fear features a perversion of Lady with an Ermine as an example of the protagonist’s insanity and musophobia. Lady with an Ermine is also an attainable Steam badge in the game.

Lady with an Ermine appears in the novel Fatherland (1992) by Robert Harris.

Notes

  1. ^ Jump up to:a b c d e Preservation and Scientific examinations, David Bull
  2. Jump up^ “Da Vinci’s Lady with an Ermine among Poland’s “Treasures” – Event – Culture.pl”. Retrieved 18 November 2017.
  3. Jump up^ “Leonarda da Vinci, “Dama z gronostajem””. Muzeum Narodowe w Krakowie (in Polish). 2017. Retrieved 2017-05-26.
  4. Jump up^ M. Kemp, entry for The Lady with an Ermine in the exhibition Circa 1492: Art in the Age of Exploration (Washington-New Haven-London) pp 271f, states “the identification of the sitter in this painting as Cecilia Gallerani is reasonably secure;” Janice Shell and Grazioso Sironi, “Cecilia Gallerani: Leonardo’s Lady with an Ermine” Artibus et Historiae13 No. 25 (1992:47–66) discuss the career of this identification since it was first suggested in 1900.
  5. Jump up^ Who was Cecilia Gallerani?, Barbara Fabjan and Pietro C. Marani, Exhibition notes, October 15, 1998
  6. Jump up^ Notes for a portrait: the Lady’s dress and hairstyle, Grazietta Butazzi, Exhibition notes, 1998
  7. Jump up^ Boria Sax, The Mythical Zoo: an encyclopedia of animals in world myth, legend, and literature, 2001, s.v. “Beaver, porcupine, badger and miscellaneous rodents”.
  8. Jump up^ James Beck, “The Dream of Leonardo da Vinci”, Artibus et Historiae14 No. 27 (1993:185–198) p. 188; Beck adds, “the artist left a pictorial record to accompany his written testimony—the famous Portrait of a Lady with an ermine (Czartoryski Collection, Cracow)
  9. Jump up^ Beck 1009:191.
  10. Jump up^ A. Rona, “l’investitura di Lodovico il Moro dell’Ordine dell’Armellino” Archivio Storico Lombardo 103 (1979:346-58); as political allegory, see C. Pedretti, “La Dama dell’Ermellino come allegoria politica”, Studi politici in onore di Luigi Firpo I, Milan 1990:161-81, both noted by Ruth Wilkins Sullivan, in “Three Ferrarese Panels on the Theme of ‘Death Rather than Dishonour’ and the Neapolitan Connection” Zeitschrift für Kunstgeschichte 57.4 (1994:610–625) p. 620 and note 68.
  11. Jump up^ http://www.perseus.tufts.edu/hopper/morph?l=galh&la=greek#lexicon Liddell, Scott and Jones Ancient Greek dictionary
  12. Jump up^ Jacqueline Musacchio, “Weasels and Pregnancy in Renaissance Italy”, Renaissance Studies 15 (2001): 172–187.
  13. Jump up^ Tracy Godse. “Ermine or Ferret?” FerretsMagazine.com
  14. Jump up^ “The first lady of the Renaissance visits Spain”. El País. Retrieved 11 Feb 2012.
  15. Jump up^ David Bull, Two Portraits by Leonardo: “Ginevra de’ Benci” and the “Lady with an Ermine” Artibus et Historiae 13 No. 25 (1992:67–83), pp 76ff.
  16. Jump up^ Bull 1993:81.
  17. Jump up^ Shell and Sironi 1992.
  18. Jump up^ Bull 1992:78.
  19. Jump up^ Leonardo da Vinci and the Splendour of Poland Archived 2009-02-15 at the Wayback Machine., exhibition February 17, 2003
  20. Jump up^ Robert Butler (2007-12-03). “An Interview with Philip Pullman”. Intelligent Life. Archived from the original on 2008-03-05. Retrieved 2012-07-01.
  21. Jump up^ Lady with an Alien, by Mike Resnick, published 2005 by Watson-Guptill

References

  • Laurie Schneier Adams, Italian Renaissance Art, (Boulder: Westview Press) 2001.

https://en.wikipedia.org/wiki/Lady_with_an_Ermine

http://www.giacobbegiusti.com

Giacobbe Giusti, Legio VII Gemina

by in Art, giacobbe giusti, Legio VII Gemina, Votivaltar für den Genius der Legio VII Gemina (Museo de León and tagged , , , , , , , , , , | Leave a comment

Giacobbe Giusti, Legio VII Gemina

 

Giacobbe Giusti, Legio VII Gemina

Giacobbe Giusti, Legio VII Gemina

 

 

Legio VII Gemina

 Giacobbe Giusti, Legio VII Gemina

Votivaltar für den Geniusder Legio VII Gemina (Museo de León).[1]

Die Legio VII Gemina war eine Legion der römischen Armee, die im Jahr 68 von Kaiser Galba aufgestellt wurde. Ihre Geschichte ist bis in die Spätantike nachweisbar, vor allem durch inschriftliche Zeugnisse von der iberischen Halbinsel. Ihr Name existiert noch heute im Namen der Stadt León in der Autonomen Gemeinschaft Kastilien-León in Spanien, wo die Legio VII Gemina jahrhundertelang ihr wichtigstes Standlager besaß.

Geschichte der Legion

Weihestein zum „Geburtstag des Adlers“[2]

Aufstellung, Vierkaiserjahr und flavische Zeit

Anlass zur Schaffung einer neuen Legion war die Ausrufung Galbas, zum damaligen Zeitpunkt Statthalter der Provinz Hispania citerior, am 3. April 68 in Carthago Nova zum Kaiser. Schon am 10. Juni des Jahres 68 erhielt sie ihre Feldzeichen (signa) und den Legionsadler (aquila). Das Datum als natalis aquilae (Geburt des Adlers) ist belegt in einer Serie von Inschriften aus Villalís in der Nähe von Astorga. Es handelt sich um Weihinschriften, die anlässlich des Jahrestages gesetzt wurden.[3]Einen Beinamen trug sie zunächst nicht. Tacitus nennt sie wohl aus Unterscheidungsgründen Galbiana[4] oder Hispana,[5] schließlich „erst neulich von Galba ausgehobene 7. Legion“.[6] Möglicherweise erhielt sie von Galba die Nummer VII im Anschluss an die Legio VI Victrix, welche zum Zeitpunkt der Aushebung in der Provinz stand.

Die Legion unterstützte Galba im Bürgerkrieg des Vierkaiserjahres und wurde zu diesem Zweck von Spanien nach Rom entsandt, um später in der pannonischen Stadt Carnuntum die Legio X Gemina abzulösen. Nach Galbas Tod schloss sich die Legion zusammen mit den illyrischen Heeren seinem Nachfolger Otho an, kam jedoch in der entscheidenden Schlacht von Bedriacum nicht mehr zum Einsatz. Vitellius sandte sie nach Pannonien zurück. Unter ihrem LegatusMarcus Antonius Primus schlug sich die Legion auf die Seite Vespasians und marschierte bald wieder nach Italien. Tacitus erwähnt, dass sie in der Schlacht von Cremona sechs Centurionen der ersten Rangklasse verlor.[7] Unklar ist, ob die Legion daraufhin sofort nach Germanien versetzt wurde, oder ob sie nochmals für kurze Zeit nach Carnuntum oder gar nach Spanien zurückkehrte. Hinweise auf die Legion stammen aus der frühen Regierungszeit des Vespasian vordringlich vom Oberrhein, wo beispielsweise die Aktionen des Pinarius Clemens zu dieser Zeit durchgeführt wurden.[8] Einige Ziegelstempel weisen die Legion in der Gegend um Mainz nach.[9]

Im Jahr 70 wurde die Legio VII von Vespasian unter Einziehung von Soldaten der Legio I Germanica neu formiert und erhielt dadurch den Beinamen Legio VII Gemina (lat. gemina „Zwilling“). Um das Jahr 74 war die Einheit mit dem zusätzlichen Beinamen Felix (die „Glückliche“) wieder in Spanien,[10] wo sie bis zum 3. Jahrhundert im Legionslager Legio (León) bezeugt ist. Die anderen „spanischen“ Legionen (I Adiutrix, VI Victrix und X Gemina) waren zu Beginn des Jahrzehnts nach Germanien verlegt worden um den Bataveraufstand zu beenden, so dass die VII Gemina neben wenigen Auxiliartruppen die Garnison der iberischen Halbinsel darstellte. Teile der Legion wurden an den Pässen nach Asturia Transmontana und in Asturica Augusta (Astorga) stationiert. Im Jahr 79 n. Chr. ist die Legio erstmals auf einer sicher datierbaren Inschrift belegt, die als Weihinschrift von 10 callaecischen Gemeinden dem Kaiser und seinen Söhnen gewidmet wurde.[11]

Hohe Kaiserzeit

Der spätere Kaiser Trajan war in den späten 80er Jahren des 1. Jahrhunderts Kommandant der Legio VII. Während des Aufstandes des Lucius Antonius Saturninus marschierte sie zum Schutze Italiens zunächst nach Aquileia, kam aber nicht mehr zum Einsatz.[12] Unter Hadrian (117-138) wurde eine je 1.000 Mann starke Vexillation der Legio VII Gemina, Legio VIII Augusta und der Legio XXII Primigeniazum Bau des Hadrianswalls nach Britannien verlegt.[13]

Die Legion blieb während der mittleren Kaiserzeit fest in León stationiert, doch waren Detachements auch an zahlreichen anderen Orten, wie z. B. Empúries, Trêsminas und Asturica Augusta (Astorga) in der Hispania citerior und Lago das Covas in Lusitania belegt. Vereinzelte Inschriften- oder Ziegelstempelfunde aus Nordafrika und Dakien könnten eine Abordnung von Vexillationen zu auswärtigen Kriegen belegen.[14] Im sonst ruhigen Hispania wurde die Legion in den Jahren 171–172/173 unter ihrem Legaten Publius Cornelius Anullinus eingesetzt um einen Maureneinfall an der Südküste zu bekämpfen.

Ziegelstempel der L(egio) VII G(emina) GORD(iana) P(ia) F(elix)[15]

Clodius Albinus wurde 195/196 zum Gegenkaiser im Westen ausgerufen. Unterstützung fand er bei den britannischen Legionen und zunächst auch bei der Legio VII Gemina. Die VII Gemina wechselte dann auf die Seite von Septimius Severus oder verhielt sich zumindest passiv.[16] Der Bürgerkrieg endete im Februar 197 mit dem Sieg des Septimius Severus bei Lugdunum (Lyon). Von 197 bis 199 war Tiberius Claudius Candiduslegatus Augustorum pro praetore provinciae Hispaniae citerioris(Statthalter der Provinz Hispania Citerior) und ging mit der Legio VII Gemina „zu Lande und zu Wasser“ (terra marique)[17] gegen den zum öffentlichen Feind erklärten Lucius Novius Rufus, Statthalter der Tarraconensis, vor, der ein Anhänger des Clodius Albinus war. Dafür erhielt die Legio VII Gemina erhielt den Beinamen pia bzw.pia felix. Von 202 bis wohl 205 war Quintus Hedius Lollianus Plautius Avitus Legat der Legion. Eine Inschrift[18] des zum Statthalter beförderten Quintus Hedius Lollianus Plautius Avitus aus den Jahren 208–211, nennt die Legion erstmals P(ia) F(elix).[19] Die Beinamen sind auch durch Ziegelstempel belegt.

Nochmals unter einem Kaiser des severischen Kaiserhauses, Severus Alexander (222–235), könnte die Legion zu einem auswärtigen Krieg zumindest teilweise abkommandiert worden sein. Ein in Aquae Mattiacorum (Wiesbaden) gefundener Altar eines Centurio der Legio VII Gemina Alexandriana kann in Verbindung mit dem geplanten Germanenkrieg des Severus Alexander gesehen werden, zu dem Einheiten und Vexillationen aus dem gesamten Reich zusammengezogen wurden.[20] Von Kaiser Gordian III. (238–244) erhielt die Legion den Beinamen Gordiana.[15] Kriegerische Aktivitäten des 3. Jahrhunderts n. Chr. liegen von der iberischen Halbinsel nur im Frankeneinfall von 260 n. Chr. vor. Die Legion spielte politisch nur noch eine untergeordnete Rolle, da die sogenannten Soldatenkaiservon den großen zusammenhängenden Verbänden des Rheins, der Donau und des Orients ausgerufen wurden.

Spätantike

Die Reformen Diokletians (284–305) und Konstantin des Großen(306–337) führten zur Ausgliederung und Verselbständigung mehrerer Vexillation. Im Laufe des 4. Jahrhunderts verminderte sich die Truppenstärke auf der iberischen Halbinsel auf etwa 2.000 bis 3.000 Legionäre.[21]

Ein Teil der Legion wurde als Septimani Gemina im Laufe des 4. Jahrhunderts in den Osten des Reiches verlegt und dienten als Comitatenses unter dem Magister Militum per Orientem.[22] Im frühen 5. Jahrhundert war die Legio septima gemina noch immer in Legio(León) stationiert.[23] Die verkleinerte Legion gehörte zur niedrigsten Heeresgattung des spätrömischen Heeres, den sogenannten Limitanei(Grenzheer) und unterstand dem magister peditum des Westreiches. Die Septimani dienten als Pseudocomitatenses unter dem Magister Peditum Praesentalis,[24] der auch den Oberbefehl über die zu Comitatenses (Feldheer) aufgestiegenen Septimani seniores und Septimani iuniores[24] hatte. Die Septimani seniores waren in Hispaniastationiert, wohingegen die Septimani iuniores auf Standorte in Italien, Gallien[25] und Mauretania Tingitana aufgeteilt waren. Die Septimani seniores und Septimani iuniores unterstanden dem Magister Equitum Galliarum.[26]

Giacobbe Giusti, Legio VII Gemina

  • Schildbemalung der Septimani Gemina im frühen 5. Jahrhundert.[22]

  • Schildbemalung der Septimani im frühen 5. Jahrhundert.[24]

  • Freigelegte porta principalis sinistra des Legionslagers, konserviert in der „Cripta arqueológica de Puerta Obispo“.

  • Der Turm von San Isidoro enthält Mauerwerk eines Turms des spätantiken Legionslagers.

Legionslager

Spätantike Stadtbefestigung von León

Das Lager, welches sich in der heutigen Altstadt von León befand, maß 570 × 350 m und besaß damit eine Innenfläche von etwas weniger als 20 ha. Damit befindet es sich von der Größe her in Gesellschaft mit dem großen Lager von Haltern (augusteisch, 20 ha) oder dem Legionslager von Straßburg. Es nimmt eine leichte Anhöhe über dem Zusammenfluss des Río Torío und des Río Bernesga ein. Das Lager selbst bildet mit Ausnahme der Südostecke ein gleichmäßiges, fast nach Norden ausgerichtetes Rechteck.

Das Lager war während der frühen Kaiserzeit von einer 1,80 m starken Mauer umgeben. In spätantiker Zeit, als viele Städte ihre Stadtmauern erneuerten oder neu bauten, erhielt auch León eine der mächtigsten Festungsanlagen der iberischen Halbinsel. Vor die alte Mauer, die an vielen Stellen noch nachzuweisen ist, wurde eine neue, 7 m breite Mauer gesetzt. Deren Türme, von denen noch 48 nachweisbar sind, springen ca. 5,80 m aus der Mauer hervor. Die Mauer selbst besteht im unteren Teil und an den Türmen aus wiederverwendeten Quadern, sonst aus Bruchsteinen und opus caementitium. Ihre antike Höhe ist schwer zu ergänzen, da die Mauer im Mittelalter mehrmals umgebaut wurde und der antike Mauerabschluss heute nicht mehr zu ermitteln ist. Es handelt sich um einen der größten Festungsbauten dieser Zeit auf der Halbinsel.

Von der Innenbebauung ist durch die durchgängige Besiedlung des Areals wenig bekannt. Unter der Kathedrale von León wurden 1884 Mauerreste und ein Mosaik mit Fisch- und Algendarstellungen entdeckt. 1888 fand man unter den Treppen am Hauptportal der Kathedrale die Reste dreier Hypokaustanlagen, die durch 1,20 m breite Mauern voneinander getrennt waren. Der Befund könnte für eine Thermenanlage sprechen, was aber innerhalb des Lagerareals eher ungewöhnlich erscheint.[27]

Epigraphische Quellen

Inschrift bei der Höhle Cova de l’Aigua bei Denia[28]

153 Inschriften einfacher Soldaten einschließlich von Fundorten außerhalb der iberischen Halbinsel, sind bekannt, die sich meist durch die ausdrückliche Erwähnung der VII. Legion identifizieren lassen.[29] Hinzu kommen 43 Centurionen, 22 Tribunen des ritterlichen Standes, 8 tribuni laticlavii, sowie 15 Legionslegaten. Hinzu gerechnet werden muss wohl weiterhin die große Zahl der Inschriften, welche Soldaten nennt, die zum Stab des Statthalters abkommandiert wurden, sogenannte principales, sowohl in Tarraco, als auch in Emerita Augusta.

In Tarraco sind die Militärinschriften am häufigsten, weitere wichtige Fundorte sind neben Mérida und León besonders Asturica, Villalís, Rosinos de Vidriales und Trêsminas. Die letztgenannten Orte dürften in Verbindung mit dem Erzabbau im Nordwesten Spaniens und Nordportugals stehen, dessen Organisation eine wesentliche Aufgabe der Legion in Friedenszeiten war.[30] Ein weiteres Beispiel für die weiträumige Stationierung stammt aus dem Bürgerkriegsjahr 238 als eine Vexillation der Legio VII Gemina Pia Felix Maximiniana unter dem princeps vexillationis Caius Iulius Urbanus bei Dianium (Dénia) ihr Lager hatte um diesen Abschnitt der spanischen Ostküste zu sichern.[28]

Literatur

  • Legio VII Gemina. Internationales Kolloquium 16- 21 Sept. 1968 (León 1970).
  • Yann Le Bohec: Die römische Armee. Steiner, Stuttgart 1993, ISBN 3-515-06300-5.
  • Patrick Le Roux: L‘ armee romaine et l‘ organisation des provinces iberiques d‘ Auguste a l‘ invasion de 409. De Boccard, Paris 1982 (Publications du Centre Pierre Paris 8; Collection de la Maison des Pays Ibériques 9)
  • Emil Ritterling: Legio (VII Gemina). In: Paulys Realencyclopädie der classischen Altertumswissenschaft (RE). Band XII,2, Stuttgart 1925, Sp. 1629–1642.
  • Juan José Palao Vicente: Legio VII Gemina (Pia) Felix. Estudio de una legión Romana, Universidad de Salamanca, 2006, ISBN 978-84-7800-546-8

 Legio VII Gemina – Sammlung von Bildern, Videos und Audiodateien

Einzelnachweise

  1. Hochspringen↑ CIL 02, 05083.
  2. Hochspringen↑ CIL 02, 2552.
  3. Hochspringen↑ Le Roux 1982 S. 242–244; CIL 02, 02552, CIL 02, 2553, CIL 02, 2556.
  4. Hochspringen↑ Tacitus, Historien II.86 (septima Galbiana).
  5. Hochspringen↑ Tacitus, Historien I.6 (inducta Legione Hispana).
  6. Hochspringen↑ Tacitus, Historien III, 22 (septima legio, nuper a Galba conscripta).
  7. Hochspringen↑ Tacitus, Historien III, 22.
  8. Hochspringen↑ Ritterling, RE 1632
  9. Hochspringen↑ Generaldirektion Kulturelles Erbe Rheinland-Pfalz, Direktion Landesarchäologie: Forschungsprojekt Römische Baukeramik und Ziegelstempel
  10. Hochspringen↑ Ritterling, RE 1601.
  11. Hochspringen↑ CIL 02, 02477.
  12. Hochspringen↑ Plinius, Panegyricus Plinii Secundi Traiano Augusto XIV, 2- 3.
  13. Hochspringen↑ Sheppard Sunderland Frere: Britannia: a history of Roman Britain, 3rd ed., extensively rev. Routledge & Kegan Paul, London/New York 1987, ISBN 0710212151, S. 123.
  14. Hochspringen↑ Le Roux 1982, S. 159–160.
  15. ↑ Hochspringen nach:a b CIL 2, 2667
  16. Hochspringen↑ Anthony R. Birley: Septimius Severus, the African Emperor, Routledge, 1999, ISBN 978-0-415-16591-4, S. 125.
  17. Hochspringen↑ CIL 2, 4114
  18. Hochspringen↑ CIL 02, 04121
  19. Hochspringen↑ CIL 02, 04121.
  20. Hochspringen↑ CIL 13, 07564.
  21. Hochspringen↑ Karen Eva Carr: Vandals to Visigoths: rural settlement patterns in early Medieval Spain, University of Michigan Press, 2002, ISBN 978-0-472-10891-6, S. 165.
  22. ↑ Hochspringen nach:a b ND Or. VII.
  23. Hochspringen↑ ND Occ. XLII (in provincia Callaecia praefectus legionis septimae geminae, Legione)
  24. ↑ Hochspringen nach:a b c Notitia Dignitatum Occ. V.
  25. Hochspringen↑ Die „gallischen“ Septimani iuniores könnten auch aus der Legio VII Claudia hervorgegangen sein. Luke Ueda-Sarson:Comes Hispenias
  26. Hochspringen↑ ND Occ. VII.
  27. Hochspringen↑ Zum Legionslager siehe: Walter Trillmich und Annette Nünnerich-Asmus (Hrsg.): Hispania Antiqua – Denkmäler der Römerzeit. von Zabern, Mainz 1993, ISBN 3-8053-1547-3, bes. S. 224–226 und 421; Antonio García y Bellido: Estudios sobre la legio VII Gemina y su campamento en León. In: Legio VII Gemina. Kolloquiumsband León 1970; A. Morillo Cerdán/ V. García Marcos: The Roman camps at Léon (Spain): state of the research and new approaches. In: Ángel Morillo/ Norbert Hanel/ Esperanza Martín (Hrsg.): Limes XX. XX Congresso international de estudios sobre la frontera romana. Madrid 2009, ISBN 978-84-00-08854-5, S. 389–406.
  28. ↑ Hochspringen nach:a b CIL 2, 3588, HD004805
  29. Hochspringen↑ Zahlen nach Le Roux 1982
  30. Hochspringen↑ Alfred Michael Hirt: Imperial Mines and Quarries in the Roman World: Organizational Aspects 27 BC-AD 235 (Oxford Classical Monographs), Oxford University Press, Oxford 2010, ISBN 978-019957287-8, S. 76 und 120–121.

https://de.wikipedia.org/wiki/Legio_VII_Gemina

www,giacobbegiusti,com

 

 

Giacobbe Giusti, Villa Romana del Casale (Sicilian: Villa Rumana dû Casali)

by in Ancient Rome, Art, best of art, giacobbe giusti, giacobbe giusti villa casale, roman mosaics, Roman villa or palace located about 3 km from the town of Piazza Armerina, Sicily. Excavations have revealed one of the richest, largest and varied collections of Roman mosaics, UNESCO World Heritage Site, Villa Romana del Casale (Sicilian: Villa Rumana dû Casali) and tagged , , , , , , , , , , , , , | Leave a comment

Giacobbe Giusti, Villa Romana del Casale (Sicilian: Villa Rumana dû Casali)

Giacobbe Giusti, Villa Romana del Casale (Sicilian: Villa Rumana dû Casali)

Giacobbe Giusti, Villa Romana del Casale (Sicilian: Villa Rumana dû Casali)

Vestibolo Di Polifemo room

 

Giacobbe Giusti, Villa Romana del Casale (Sicilian: Villa Rumana dû Casali)

 

Giacobbe Giusti, Villa Romana del Casale (Sicilian: Villa Rumana dû Casali)

Giacobbe Giusti, Villa Romana del Casale (Sicilian: Villa Rumana dû Casali)

 

Giacobbe Giusti, Villa Romana del Casale (Sicilian: Villa Rumana dû Casali)

Giacobbe Giusti, Villa Romana del Casale (Sicilian: Villa Rumana dû Casali)

Giacobbe Giusti, Villa Romana del Casale (Sicilian: Villa Rumana dû Casali)

 

Giacobbe Giusti, Villa Romana del Casale (Sicilian: Villa Rumana dû Casali)

Giacobbe Giusti, Villa Romana del Casale (Sicilian: Villa Rumana dû Casali)

Giacobbe Giusti, Villa Romana del Casale (Sicilian: Villa Rumana dû Casali)

Giacobbe Giusti, Villa Romana del Casale (Sicilian: Villa Rumana dû Casali)

Giacobbe Giusti, Villa Romana del Casale (Sicilian: Villa Rumana dû Casali)

Giacobbe Giusti, Villa Romana del Casale (Sicilian: Villa Rumana dû Casali)

Giacobbe Giusti, Villa Romana del Casale (Sicilian: Villa Rumana dû Casali)

Giacobbe Giusti, Villa Romana del Casale (Sicilian: Villa Rumana dû Casali)

 

Giacobbe Giusti, Villa Romana del Casale (Sicilian: Villa Rumana dû Casali)

Giacobbe Giusti, Villa Romana del Casale (Sicilian: Villa Rumana dû Casali)

Giacobbe Giusti, Villa Romana del Casale (Sicilian: Villa Rumana dû Casali)

Giacobbe Giusti, Villa Romana del Casale (Sicilian: Villa Rumana dû Casali)

 

Giacobbe Giusti, Villa Romana del Casale (Sicilian: Villa Rumana dû Casali)

 

Giacobbe Giusti, Villa Romana del Casale (Sicilian: Villa Rumana dû Casali)

Giacobbe Giusti, Villa Romana del Casale (Sicilian: Villa Rumana dû Casali)
Villa romana di Piazza Armerina - Sicilia - tigre.JPG

A mosaic from the Big Game Hunt
Villa Romana del Casale is located in Italy

Villa Romana del Casale
Shown within Italy
Location Piazza Armerina, Province of Enna, Sicily, Italy
Type Roman villa
Area 8.92 ha (22.0 acres)
History
Founded First quarter of the 4th century AD
Abandoned 12th century AD
Periods Late Antiquity to High Middle Ages
Cultures Roman
Site notes
Archaeologists Paolo Orsi, Giuseppe Cultrera, Gino Vinicio Gentili, Andrea Carandini
Ownership Public
Website www.villaromanadelcasale.it
Official name Villa Romana del Casale
Type Cultural
Criteria i, ii, iii
Designated 1997 (21st session)
Reference no. 832
Region Europe and North America

The Villa Romana del Casale (Sicilian: Villa Rumana dû Casali) is a large and elaborate Roman villa or palace located about 3 km from the town of Piazza Armerina, Sicily. Excavations have revealed one of the richest, largest and varied collections of Roman mosaics in the world,[1] for which the site has been designated as a UNESCO World Heritage Site.[2] The villa and artwork contained within date to the early 4th century AD.

The over 3000 sq. metres of mosaic and opus sectilepavement are also almost unique in their excellent state of preservation due to the landslide and floods which covered the remains.

Although less well-known, an extraordinary collection of frescoes covered not only the interior rooms but also the exterior walls.

History

Plan of the villa

The visible remains of the villa were constructed in the first quarter of the 4th century AD on the remains of an older villa rustica, which are the pars dominica, or master’s residence, of a large latifundium or agricultural estate.[3]

Three successive construction phases have been identified; the first phase involved the quadrangular peristyle and the facing rooms. The private bath complex was then added on a north-west axis. In a third phase the villa took on a public character: the baths were given a new entrance and a large latrine, and a grand monumental entrance was built, off-axis to the peristyle but aligned with the new baths entrance and in a formal arrangement with the elliptical (or ovoid) arcade and the grand tri-apsidal hall. This hall was used for entertainment and relaxation for special guests and replaced the two state halls of the peristyle (the “hall of the small hunt” and the “diaeta of Orpheus”). The basilica was expanded and decorated with beautiful and exotic marbles.

The complex remained inhabited for at least 150 years and a village grew around it, named Platia(derived from the word palatium (palace).

Peristyle

In the 5th and 6th centuries, the villa was fortified for defensive purposes by thickening the perimeter walls and by closing of the arcades of the aqueduct to the baths. The villa was damaged and perhaps destroyed during the domination of the Vandalsand the Visigoths. The outbuildings remained in use, at least in part, during the Byzantine and Arab periods. The settlement was destroyed in 1160-1 during the reign of William I. The site was abandoned in the 12th century AD after a landslide covered the villa. Survivors moved to the current location of Piazza Armerina.

The villa was almost entirely forgotten, although some of the tallest parts of the remains were always above ground. The area was cultivated for crops. Early in the 19th century, pieces of mosaics and some columns were found. The first official archaeological excavations were carried out later in that century.[4]

The first professional excavations were made by Paolo Orsi in 1929, followed by the work of Giuseppe Cultrera in 1935-39. Major excavations took place in the period 1950-60 led by Gino Vinicio Gentili, after which a cover was built over the mosaics. In the 1970s Andrea Carandini carried out excavations at the site and work has continued to the present day by the University of Rome, La Sapienza. In 2004 the large mediaeval settlement of the 10-12th centuries was found. Since then further sumptuous rooms of the villa have also been revealed.

The latifundium and the villa

Ambulatory of the Big Game Hunt

See also: Sicilia (Roman province)

In late antiquity the Romans partitioned most of the Sicilian hinterland into huge agricultural estates called “latifundia”. The villa’s latifundium is cited in the Itinerarium Antonini and is known as the Filosofiana. The villa’s pars rustica, or agricultural section, has been discovered to the west of the entrance area, as shown by a room divided in three parts by pillars for storage of agricultural products. The size of the villa and the amount and quality of its artwork indicate that it was the pars dominica of such a latifundium.

The owner’s identity has long been discussed and many different hypotheses have been formulated. The owner was probably a member of senatorial class if not of the imperial family itself, i.e. the absolute upper class of the Roman Empire. The most probable owner is of the Constantinian period, Lucius Aradius Valerius Proculus, governor of Sicily between 327 and 331 and consul in 340. The games he organised in Rome in 320 as praetor were so glorious that their fame lasted for a long time, and perhaps the depictions on some mosaics (the “Great Hunt” in corridor 25 and the “Games of the circus” in the baths) recall this event.

The villa was so large as to include multiple reception and state rooms which reflects the need to satisfy a number of different functions and to include spaces for the management of the estate as well as of the villa. This transformed the villa into a city in miniature. The villa would likely have been the permanent or semi-permanent residence of the owner; it would have been where the owner, in his role as patron, received his local clients.

The villa was a single-story building, centred on the peristyle, around which almost all the main public and private rooms were organised. The monumental entrance is via the atrium from the west. Thermal baths are located to the northwest; service rooms and probably guest rooms to the north; private apartments and a huge basilica to the east; and rooms of unknown purpose to the south. Somewhat detached, and appearing almost as an afterthought, is the separate area to the south containing the elliptical peristyle, service rooms, and a huge triclinium (formal dining room).

Palaestra – Two apses room

The overall plan of the villa was dictated by several factors: older constructions on the site, the slight slope on which it was built, and the path of the sun and prevailing winds. The higher ground to the east is occupied by the Great Basilica, the private apartments, and the Corridor of the Great Hunt; the middle ground by the Peristyle, guest rooms, the entrance area, the Elliptical Peristyle, and the triclinium; while the lower ground to the west is dedicated to the thermal baths.

The whole complex is somewhat unusual, as it is organised along three major axes; the primary axis is the (slightly bent) line that passes from the atrium, tablinum, peristyle and the great basilica (coinciding with the path visitors would follow). The thermal baths and the elliptical peristyle with the triclinium are centred on separate axes.

Little is known about the earlier villa, but it appears to have been a large country residence probably built around the beginning of the second century.

Recent excavations have found a second bath complex close to the storerooms at the entrance dating to the late antique phase and showing rare wall mosaics belonging to a basin or a fountain.

Monumental Entrance

Polygonal court mosaic

Access to the villa was through a three-arched gateway, decorated with fountains and military paintings, and closely resembling a triumphal arch. This gave onto the horseshoe courtyard surrounded by marble columns with Ionic capitals with a square fountain at the centre. On the west side of the courtyard was a latrine, and also separate access was given to the baths and to the rest of the villa.

The peristyle garden and the southern rooms

Diaeta of Orpheus

The elegant peristyle garden is decorated with a three-basin fountain, in the centre of which decoration featuring fish swimming among the waves can be seen. Rooms 33 and 34 were dedicated to service functions and have mosaics with geometric motifs while room 34 also features a mosaic installed above the original floor showing female athletic competitions giving it the name “the room of the palestriti”.

Also on the south side is the so-called diaeta of Orpheus, an apsidal room adorned with a remarkable mosaic featuring Orpheus playing the lyre beneath a tree and taming every kind of animal with his music. This room was probably used as a summer dining room or, considering its floor subject, for the enjoyment of music.

Basilica with marble panels

The Basilica

This grand apsidal hall was an audience hall and the most formal room in the villa, accessed through a grand monumental entrance divided by two columns of pink Egyptian granite. An exceptionally elaborate polychrome opus sectile floor consisting of marbles coming from all over the Mediterranean lies at the entrance and is the richest decoration in the villa; it also covered the walls. This type of marble, rather than mosaic, constituted the material of greatest prestige in the Roman world.

The excavations showed that the apse vault was decorated with glass mosaics.

Opus sectile floor – Basilica

Triclinium and elliptical peristyle

On the south side of the villa is an elliptical peristyle, the Xystus, with a semi-circular nymphaeum on the west side. In the open courtyard were fountains spurting from the mosaic pavement.

The Xystus forms a spectacular introduction to the luxurious tri-apsidal triclinium, the great hall that opens to the east. This contains a magnificent set of mosaics dominated in the centre by the enemies encountered by Hercules during his twelve labours. In the north apse is his apotheosis crowned by Jupiter, while to the east are the Giants with serpentine limbs and in their death throes, having been struck by Hercules’ arrows. In the south apse is the myth of Lycurgus who tried to kill the nymph Ambrosia, but was encircled by grapevines and attacked by a crowd of Maenads.

Mosaics

Bikini girls

The “bikini girls” mosaic, showing girls playing sports. To the left, a girl in a toga offers a crown and victor’s palmfrond to “the winner”

In 1959-60, Gentili excavated a mosaic on the floor of the room dubbed the “Chamber of the Ten Maidens” (Sala delle Dieci Ragazze in Italian). Informally called “the bikini girls”, the maidens appear in a mosaic artwork which scholars named Coronation of the Winner. The young women perform sports including weight-lifting, discus throwing, running and ball-games. A girl in a toga offers a crown and victor’s palm frond to “the winner”.[5]

The Little Hunt

Another well-preserved mosaic shows a hunt, with hunters using dogs and capturing a variety of game.

The Little Hunt mosaic

Gallery

  • Great Hunt mosaic

  • The “skier”, a youth in motion (not skiing)

  • A big cat attacks a hunter on the Great Hunt mosaic

  • A ship on the Great Hunt mosaic

  • A hunter on the Great Hunt mosaic

  • Hunters on the Great Hunt mosaic

  • The Giants mosaic

  • Young boys hunting a rabbit, Child Hunters Mosaic

  • Polyphemus receiving a cup of wine from Ulysses. Anteroom (37) of the north apartment.

  • Bikini girls mosaic

  • Fresco – Semicircular atrium

References

  1. Jump up^ R. J. A. Wilson: Piazza Armerina. In: Akiyama, Terakazu (Ed.): The Dictionary of Art. Vol. 24: Pandolfini to Pitti. Oxford 1998, ISBN 0-19-517068-7.
  2. Jump up^ “World heritage site”. Retrieved 2008-12-15.
  3. Jump up^ http://www.villaromanadelcasale.it/en/la-villa-romana-del-casale2/la-villa/la-villa-tardoantica/
  4. Jump up^ http://www.villaromanadelcasale.it/en/la-villa-romana-del-casale2/la-villa/la-storia-degli-scavi-della-villa-tardoantica/
  5. Jump up^ Villa Romana del Casale, Val di Noto

Sources

  • Petra C. Baum-vom Felde, Die geometrischen Mosaiken der Villa bei Piazza Armerina, Hamburg 2003, ISBN 3-8300-0940-2
  • Brigit Carnabuci: Sizilien – Kunstreiseführer, DuMont Buchverlag, Köln 1998, ISBN 3-7701-4385-X
  • Luciano Catullo and Gail Mitchell, 2000. The Ancient Roman Villa of Casale at Piazza Armerina: Past and Present
  • R. J. A. Wilson: Piazza Armerina, Granada Verlag: London 1983, ISBN 0-246-11396-0.
  • A. Carandini – A. Ricci – M. de Vos, Filosofiana, The villa of Piazza Armerina. The image of a Roman aristocrat at the time of Constantine, Palermo: 1982.
  • S. Settis, “Per l’interpretazione di Piazza Armerina”, in Mélanges de l’École française de Rome, Antiquité 87, 1975, 2, pp. 873–994.

Further reading

https://en.wikipedia.org/wiki/Villa_Romana_del_Casale

https://giacobbegiusti9.wordpress.com/category/villa-romaine-du-casale/

http://www.giacobbegiusti.com

Giacobbe Giusti, Sant’Angelo in Formis, abbey

by in Art, best of art, Byzantine (Eastern) and Latin (Western), byzantine art, giacobbe giusti, Old Testament and New Testament, Sant'Angelo in Formis, abbey, Sant'Angelo in Formis is an abbey in the municipality of Capua and tagged , , , , , , , , | Leave a comment

Giacobbe Giusti, Sant’Angelo in Formis, abbey

Giacobbe Giusti, Sant’Angelo in Formis, abbey

Giacobbe Giusti, Sant’Angelo in Formis, abbey

Giacobbe Giusti, Sant’Angelo in Formis, abbey

Giacobbe Giusti, Sant’Angelo in Formis, abbey

Giacobbe Giusti, Sant’Angelo in Formis, abbey

Giacobbe Giusti, Sant’Angelo in Formis, abbey

Gesù risorto e gli apostoli sul lago di Tiberiade, affresco della Basilica di Sant’Angelo in Formis, Capua (Caserta)

Giacobbe Giusti, Sant’Angelo in Formis, abbey

Giacobbe Giusti, Sant’Angelo in Formis, abbey

Sant'Angelo in Formis -Il drammatico bacio di Giuda

Giacobbe Giusti, Sant’Angelo in Formis, abbey

Risultati immagini per sant angelo in formis affreschi

Giacobbe Giusti, Sant’Angelo in Formis, abbey

Giacobbe Giusti, Sant’Angelo in Formis, abbey

Giacobbe Giusti, Sant’Angelo in Formis, abbey

Giacobbe Giusti, Sant’Angelo in Formis, abbey

Risultati immagini per sant angelo in formis affreschi

Giacobbe Giusti, Sant’Angelo in Formis, abbey

Façade of the abbey.

Sant’Angelo in Formis is an abbey in the municipality of Capua, southern Italy. The church, dedicated to St Michael Archangel, lies on the western slopes of Monte Tifata.

It was once referred to as ad arcum Dianae (“near the Arch of Diana“), as it lies on the remains of a Roman temple to that goddess.

The church was built in the eleventh century by Desiderius, the abbot of Monte Cassino, who also rebuilt that abbey. At Monte Cassino the decoration was carried out by Byzantine (Greek) artists hired from Constantinople and the decoration of Sant’Angelo displays a mingling of the Byzantine (Eastern) and Latin (Western) traditions.[1] The frescos were painted by Greek artists and by Italian pupils trained in their methods. Examples of the mingling of styles cited in Hall include:

1. The “lunette over the entrance with a half-length figure of St. Michael and above him an orant Virgin in a medallion supported by flying angels, with an inscription in Greek on the lintel at the foot. The treatment is wholly Byzantine except for the Latin motif of a crown on the Virgin’s head”.[2]

2. The evangelists around the enthroned Christ in the Apse are in the form of the four symbolic creatures of the Latin tradition, rather than being shown as figures (often seating at writing desks) in the Greek manner.[2]

3. Subjects from the Old Testament and New Testament line the walls of the nave. The content of individual scenes and the grouping of figures is described by Hall as being “typically Byzantine”, but the whole forms an historical narrative series on the Western model, evidently just as in the basilicas of early Christian Rome.[2]

References

  1. Jump up^ Hall, James. A History of Ideas and Images in Italian Art. London, 1983. pp107 & 134
  2. ^ Jump up to:a b c Hall, James (1983). A History of Ideas and Images in Italian Art. London: John Murray. p. 134. ISBN 0-7195-3971-4.

External links

 

Giacobbe Giusti, Legio X Gemina

by in Domitiana, Antoniniana, Gordiana, Deciana, Floriana, Cariniana, Gallic Wars, giacobbe giusti, Imperial Roman army., Legio decima Gemina, Legio decima Gemina ("The Twins' Tenth Legion" legion of the Imperial Roman army., Legio_X_Gemina, roman empire, roman empire legion x, The Twins' Tenth Legion and tagged , , , , , , , , , , , , , | Leave a comment

Giacobbe Giusti, Legio X Gemina

 

Giacobbe Giusti, Legio X Gemina

Marque en forme de sandale de la LEG(io) X G(emina) P(ia) F(idelis) trouvée à la fortification d’Ala Nova.

Giacobbe Giusti, Legio X Gemina

Schildbemalung der comitatensischen Legio Decima Gemina im frühen 5. Jahrhundert.

Giacobbe Giusti, Legio X Gemina
Roman Empire 125.png

Map of the Roman empire in AD 125, under emperor Hadrian, showing the LEGIO X GEMINA, stationed on the river Danube at Vindobona (Vienna, Austria), in Pannonia Superior province, from AD 103 until the 5th century
Active Before 58 BC to sometime in the 5th century
Country Roman Republic and Roman Empire
Type Roman legion (Marian)
Role Infantry assault (some cavalry support)
Size Varied over unit lifetime. Approx. 3,500 fighting men + support at the time of creation. Expanded and given the cognomen Gemina in 31 BC.
Garrison/HQ Hispania Tarraconensis (31 BC – c. 71)
Nijmegen (71 – 103)
Vienna (103-5th century)
Nickname(s) Equestris, “Of the knights” under Caesar
Gemina, “The twin” (since 31 BC)
Pia Fidelis, “faithful and loyal” (since 89)
Domitiana, Antoniniana, Gordiana, Deciana, Floriana, Cariniana (short-lived)
Pia VI Fidelis VI (after 260)
Mascot(s) Bull
Engagements Gallic Wars (58-51 BC)
Battle against the Nervians (57 BC)
Battle of Gergovia (52 BC)
Battle of Ilerda (49 BC)
Battle of Dyrrhachium (48 BC)
Battle of Pharsalus (48 BC)
Battle of Munda (45 BC)
Battle of Philippi (42 BC)
Battle of Actium (31 BC)
Batavian rebellion (70)
Second Battle of Tapae (101)
Bar Kokhba’s revolt (132-135)
Marcomannic Wars in Moravia(168-180)
Naissus (268)
Vexillationes of the 10th participated in many other campaigns.
Commanders
Notable
commanders		 Julius Caesar,
Mark Antony
Giacobbe Giusti, Legio X Gemina

Nero, Sestertius with countermark “X” of Legio X Gemina.
Obv: Laureate bust right.
Rev: Nero riding horse right, holding spear, DECVRSIO in exergue; S C across fields.

Part of a series on the
Military of ancient Rome
Structural history
Army
Navy
Campaign history
Technological history
Military engineering
Political history
Strategy and tactics
Frontiers and fortifications
Scutum 1.jpg Military of ancient Rome portal

Legio decima Gemina (“The Twins’ Tenth Legion”), was a legion of the Imperial Roman army. It was one of the four legions used by Julius Caesar in 58 BC, for his invasion of Gaul. There are still records of the X Gemina in Vienna in the beginning of the 5th century. The legion symbol was a bull. Early on in its history, the legion was called X Equestris(mounted), because Caesar once used the legionaries as cavalry.

In Republican Service

Gallic Wars

In the Gallic Wars, X Equestrisplayed an important role on Caesar’s military success and for this reason is sometimes said to be his favorite. In Caesar’s campaigns they were present in the battle of the Sabis, the invasions of Britain, and the battle of Gergovia. They remained faithful to Caesar in the civil war against Pompey, being present in the battles of Pharsalus (49 BC) and Munda (45 BC). In 45 BC Caesar disbanded the legion, giving the veterans farmlands near Narbonne in Gaul and in Hispania.

Augustus

The legion was reconstituted in 42 BC and fought for Augustus (then Octavian), Lepidus and Mark Antonyin the Battle of Philippi against the murderers of Caesar. After this, they followed Mark Antony in his campaign against Parthia and were defeated with him at Actium. Augustus then took control of the legion and settled the veterans in Patras. The legion rebelled and lost its cognomen Equestris as punishment. Replacements were added from other legions, and the Tenth was rebaptized Gemina.

In Imperial Service

From about 30 BC the newly formed X Gemina was relocated to Petavonium in Hispania Tarraconensis, where Augustus was preparing a campaign against the Cantabrians. Their veterans were among the first inhabitants of modern Zaragoza and Emerita Augusta, modern Mérida.

The legion was sent to Carnuntum in Pannonia in about 63 AD (or a bit earlier) after legio XV Apollinaris left and went to the east.[1] During the brief reign of Galba (68-69), it was transferred back to Hispania.

Under the Flavian dynasty

Position of Roman legions in 80. X Gemina was in Nijmegen (mark 4), with XXII Primigenia.

However, its stay in Hispania was to be very brief. In 70, after the Batavian rebellion was suppressed by the new emperor Vespasian, X Gemina was sent to Batavia in Germania Inferior to police the lands and prevent new revolts. From 71 to 103, the legion was stationed at the base built by II Adiutrix at Oppidum Batavorum, the present day Dutch city of Nijmegen.

As part of the army of Germania Inferior, X Gemina fought against the rebellion of the governor of Germania Superior, L. Antonius Saturninus, against Emperor Domitian. For this reason, the Tenth — as well as the other legions of the army, I Minervia, VI Victrix, and XXII Primigenia — received the title Pia Fidelis Domitiana, “faithful and loyal to Domitian”, with the reference to the Emperor dropped at his death and subsequent damnatio memoriae.

2nd century

During the Trajan’s first campaign in Dacia, (101-102) the legion participated at the Second Battle of Tapae, fighting against the army of the Dacians led by King Decebalus.

In 103, it was moved to Aquincumand later to Vindobona (modern Vienna), in Pannonia Superior, which would be the legion’s camp until the 5th century.

Vexillationes of the X Gemina fought against the rebellion of Simon bar Kokhba in 132-135, in Iudaea, others participated in the Parthian campaign of Lucius Verus in 162. Another major campaign was the one fought against the Quadi, Marcomanni and the Lombards, in Moravia, (Dyje-Svratka Vale) under the command of Emperor Marcus Aurelius (168-180). A garrison of Legio X GPF was found in the Czech Republic in Roman fortress in Moravia (Mušov)

X Gemina supported its governor, Septimius Severus, in his bid for purple, and many men of the legion went to Rome to become part of the Praetorian Guard of the new Emperor.

3rd century

During the 3rd century, the legion fought for several emperors, who awarded the legion with titles showing the fidelity of the legion and the favour gained by the Emperor himself. The titles Antoniniana(awarded by Caracalla or Elagabalus), Gordiana (by Gordian III), Deciana (by Decius), Floriana(by Florianus), and Cariniana (by Carinus) were short-lived, however, and dropped after the death of the Emperor. For its support of Emperor Gallienus against Postumus, the Gemina was awarded the title Pia VI Fidelis VI, “six times faithful, six times loyal”.

4th century

At the time in which Notitia Dignitatum was written (late 4th century), the first detachment of Decima Gemina was under the command of the Magister Militumper Orientem, and was a comitatensis unit.[2] The other detachment was still in Vindobona, under the command of the DuxPannoniae primae et Norici ripensis.

Epigraphic evidence

  • – Lucius Lavius Luci filius Aemilia tri(bu) Tuscus Felicitis Iulia miles legionis X GeminaeVictricis- Porto (Portus), Portugal. AE 1953, 268.
  • – sacrum Caius Valerius Carusmiles legionis X Geminaevotum solvit libens merito. Lugo(Lucus Augusti), Spain. Hisp. Epi. 19118.
  • – Caius Iulius Sergia Hispali (f) Victor miles legionis X Gemina(centuria Fabi Celtiberi annorum XLII aerum / XVIII hic (…). Pontevedra, Spain. CIL II 2545.
  • – Iovi Augusto Ultori sacrum Lucius Valerius Paternus miles legionis X Geminae optio centuria Censoris exs (…). Pontevedra, Spain. AE 1908, 147.
  • – Gaius Iulius Primus miles veteranus legionis X Geminae / hic situs estsit tibi terra levis. Jaen, Andalucía, Spain. CIL II2/5, 5.
  • – Dis Manibus Gaio Urbanio Firmino militi legionis X / Iulius Ingenuus miles legionis. Jaen, Andalucía, Spain. CIL II 1691
  • – Capito Sunnae filius decurio equitum alae geminae legionis X Rustica Galli filia. Sevilla(Hispalis), Spain.CIL II2/5, 1136.
  • – Publius Talius Quinti filius Papiria (tribu) legionis X hic situs est sit tibi terra (…). Badajoz (Pax Iulia), Spain. Hisp. Epi. 23031.
  • – Marcus Aurelius Marci filius Galeria (tribu) Abbicus miles legionis X decimae. Badajoz(Pax Iulia), Spain. AE 1980, 562.
  • – Lucius Octavius Luci fillius Pupinia (tribu) Baeterensis Magius annorum XXXVII / aerorum XIX tubicen / miles legionis X Geminae(…). Astorga(Asturica), Spain. AE 1928, 163.
  • – Caius Pelgus Luci filius Scaptia (tribu) Clemensveteranus legionis) X Geminaevixit annos LVI hic situs est/ Caius Pelgus (…). Astorga(Asturica), Spain. CIL II 5076 = CIL II 5662 = AE 1904, 160.
  • – Caius Coelius Cai filius Papiria (tribu) Valens Narniense miles legionis X Geminae centuria Castellani annorum XXXV aerorum XIII (…). Astorga(Asturica), Spain. IRPLe 79.
  • – Marcus Persius Marci filius Pollia (tribu) Blaesus domo Hasta miles legionis X Geminaecenturia (…). Astorga (Asturica), Spain. AE 1904, 160.
  • – Lucius Herennius Luci filius) Galeria (tribu) Callicus domo Ugia miles legionis X Geminae / centuria Licini Clementis annorum / (…). Zamora, Spain. CIL II 5076 = CIL II 5662 = AE 1904, 180.
  • – Publius Cosconius Publi fillius / Galeria Arsensis / miles legionis X Geminae centuria Etrili annorum XXXI aerorum XI / hic situs (…). Zamora, Spain. AE 1928, 179.
  • – Marcus Cornelius Marci filius Aniensi Foro Iulii miles legionis X Geminae centuriae Terebrae annorum XXII aerorum (…). Zamora, Spain. Hisp. Epi. 15846.
  • – Rufus miles legionis X Geminae fecit. Zamora, Spain. AE 1997, 867.
  • – Marcus Volumnius Cai filius Aniensi / Cremona miles legionis X hic situs est. Zamora, Spain. CIL II 2631.
  • – Dis Manibus Tito Cassio Flavino centurioni legionis X Geminae Chrysampelus patrono optimo pecunia sua fecit. Tarragona (Tarraco), Spain. CIL II 4152.
  • – Severus Marci filius (…) miles legionis X Geminae centuriae (…). Burgos, Spain. Hisp. epi. 16472.

https://en.wikipedia.org/wiki/Legio_X_Gemina

http://www.giacobbegiusti.com

Giacobbe Giusti, Column of Marcus Aurelius

by in Ancient Rome, Art, Column of Marcus Aurelius, giacobbe giusti, italian art and tagged , , , , , , , | Leave a comment

Giacobbe Giusti, Column of Marcus Aurelius

 

Giacobbe Giusti, Column of Marcus Aurelius

 

Giacobbe Giusti, Column of Marcus Aurelius

 

Giacobbe Giusti, Column of Marcus Aurelius

Eretta nel 180 d.C. dall’imperatore Commodo (161-192) in onore del padre, l’imperatore Marco Aurelio, la Colonna Antonina presenta numerosi rilievi di cui alcuni dettagli sono stati fotografati in questa immagine: i soldati romani sono qui raffigurati nell’atto di un rituale per la pira funeraria. Marco Aurelio (121-180), noto per aver combattuto i parti, i quadi e i marcomanni (166-180), fu anche un filosofo stoico, difatti ci ha lasciato i Ricordi (o Colloqui con se stesso ). Sulla Colonna Antonina ci sono scolpiti gli episodi delle sue imprese.

The Column of Marcus Aurelius (Latin: Columna Centenaria Divorum Marci et Faustinae, Italian: Colonna di Marco Aurelio) is a Roman victory column in Piazza Colonna, Rome, Italy. It is a Doric column featuring a spiral relief: it was built in honour of Roman emperor Marcus Aurelius and modeled on Trajan’s Column.

Construction

Because the original dedicatory inscription has been destroyed, it is not known whether it was built during the emperor’s reign (on the occasion of the triumph over the Marcomanni, Quadi and Sarmatians in the year 176) or after his death in 180; however, an inscription found in the vicinity attests that the column was completed by 193.

In terms of the topography of ancient Rome, the column stood on the north part of the Campus Martius, in the centre of a square. This square was either between the temple of Hadrian (probably the Hadrianeum) and the temple of Marcus Aurelius (dedicated by his son Commodus, of which nothing now remains – it was probably on the site of Palazzo Wedekind), or within the latter’s sacred precinct, of which nothing remains. Nearby is the site where the emperor’s cremation occurred.

The column’s shaft is 29.62 metres (97.2 ft) high, on a ca. 10.1-metre (33 ft) high base, which in turn originally stood on a 3 metres (9.8 ft) high platform – the column in total is 39.72 metres (130.3 ft)[1] About 3 metres of the base have been below ground level since the 1589 restoration.

The column consists of 27 or 28 blocks of Carrara marble, each of 3.7 metres (12 ft) diameter, hollowed out whilst still at the quarry for a stairway of 190-200 steps within the column up to a platform at the top. Just as with Trajan’s Column, this stairway is illuminated through narrow slits into the relief.

Relief

German council of war – considered an early evidence to what would become known as the Thing (assembly).

The spiral picture relief tells the story of Marcus Aurelius’ Danubian or Marcomannic wars, waged by him from 166 to his death. The story begins with the army crossing the river Danube, probably at Carnuntum. A Victory separates the accounts of two expeditions. The exact chronology of the events is disputed; however, the latest theory states that the expeditions against the Marcomanni and Quadi in the years 172 and 173 are in the lower half and the successes of the emperor over the Sarmatians in the years 174 and 175 in the upper half.

One particular episode portrayed is historically attested in Roman propaganda – the so-called “rain miracle in the territory of the Quadi”, in which a god, answering a prayer from the emperor, rescues Roman troops by a terrible storm, a miracle later claimed by the Christians for the Christian God.[2]

In spite of many similarities to Trajan’s column, the style is entirely different, a forerunner of the dramatic style of the 3rd century and closely related to the triumphal arch of Septimius Severus, erected soon after. The figures’ heads are disproportionately large so that the viewer can better interpret their facial expressions. The images are carved less finely than at Trajan’s Column, through drilling holes more deeply into the stone, so that they stand out better in a contrast of light and dark. As villages are burned down, women and children are captured and displaced, men are killed, the emotion, despair, and suffering of the “barbarians” in the war, are represented acutely in single scenes and in the figures’ facial expressions and gestures, whilst the emperor is represented as protagonist, in control of his environment.

The symbolic language is altogether clearer and more expressive, if clumsier at first sight, and leaves a wholly different impression on the viewer to the whole artistic style of 100 to 150 as on Trajan’s column. There, cool and sober balance – here, drama and empathy. The pictorial language is unambiguous – imperial dominance and authority is emphasized, and its leadership is justified. Overall, it is an anticipation of the development of artistic style into late antiquity, and a first artistic expression of the crisis of the Roman empire that would worsen in the 3rd century.

https://en.wikipedia.org/wiki/Column_of_Marcus_Aurelius

http://www.bdp.it/cgi-bin/diapftcgi3?dbnpath=/isis3/dati/dia/immag&mfn=14096&formato=Completo&unico=1&file_header=/archivi/dia/header.php

http://www.giacobbegiusti.com

 

 

Giacobbe Giusti, Oxus Treasure

by in 200 bc, Art, art museum, best of art, giacobbe giusti, Giacobbe Giusti, Oxus chariot model, from the region of Takht-i Kuwad, Tadjikistan, Achaemenid Persian, 5th-4th century BC. British Museum, oxus treasure, oxus treasure british, persian art, persian art oxus treasure and tagged , , , , , , , , | Leave a comment

Giacobbe Giusti, Oxus Treasure

One of a pair of armlets from the Oxus Treasure, which has lost its inlays of precious stones or enamel

Giacobbe Giusti, Oxus Treasure

Oxus chariot model, from the region of Takht-i Kuwad, Tadjikistan, Achaemenid Persian, 5th-4th century BC. British Museum

 

Giacobbe Giusti, Oxus Treasure

Gold statuettes carrying barsoms, with a rider behind

Giacobbe Giusti, Oxus Treasure

The statuette of the naked Youth

https://en.wikipedia.org/wiki/Oxus_Treasure

http://www.giacobbegiusti.com