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Marble is one of the great veins through the architectural
tradition and fundamental building block of the Mediterranean
world, from the Parthenon of mid-fifth century Athens, which was
constructed of pentelic marble, to Justinian's Hagia Sophia in
Constantinople and the Renaissance and Baroque basilica of St.
Peter's in the Vatican. Scholarship has done much in recent years
to reveal the ways and means of marble. The use of colored marbles
in Roman imperial architecture has recently been the subject of a
major exhibition and the medieval traditions of marble working have
been studied in the context of family genealogies and social
networks. In addition, architectural historians have revealed the
meanings evoked by marble revetted and paved surfaces, from
Heavenly Jerusalem to frozen water. The present volume builds upon
the body of recent and emerging research - from antiquity to the
present day - to embrace a global focus and address the more
unusual (or at least unexpected) uses, meanings, and aesthetic
appeal of marble. It presents instances where the use of marble has
revolutionized architectural practice, suggested new meaning for
the built environment, or defined a new aesthetic - moments where
this well-known material has been put to radical use.
Marble is one of the great veins through the architectural
tradition and fundamental building block of the Mediterranean
world, from the Parthenon of mid-fifth century Athens, which was
constructed of pentelic marble, to Justinian's Hagia Sophia in
Constantinople and the Renaissance and Baroque basilica of St.
Peter's in the Vatican. Scholarship has done much in recent years
to reveal the ways and means of marble. The use of colored marbles
in Roman imperial architecture has recently been the subject of a
major exhibition and the medieval traditions of marble working have
been studied in the context of family genealogies and social
networks. In addition, architectural historians have revealed the
meanings evoked by marble revetted and paved surfaces, from
Heavenly Jerusalem to frozen water. The present volume builds upon
the body of recent and emerging research - from antiquity to the
present day - to embrace a global focus and address the more
unusual (or at least unexpected) uses, meanings, and aesthetic
appeal of marble. It presents instances where the use of marble has
revolutionized architectural practice, suggested new meaning for
the built environment, or defined a new aesthetic - moments where
this well-known material has been put to radical use.
The Memoirs of the American Academy in Rome, an annual publication
of the American Academy in Rome, gathers articles on topics
including Roman archaeology and topography, ancient and modern
Italian history, Latin literature, and Italian art and
architectural history. Volume 62-a special issue, "National
Narratives and the Medieval Mediterranean"-opens with an
introduction to the volume, its theme, and its participants by
volume editors Kimberly Bowes and William Tronzo. The first
section, "Basic Building Blocks-Names and Objects," includes the
following essays: "The Role and Perception of Islamic Art and
History in the Construction of a Shared Identity in Sicily (ca.
1780-1900)," by Silvia Armando; "Visigoths, Crowns, Crosses, and
the Construction of Spain," by Francesco Moreno Martin; and
"Baptismal Font of the Croats: A Case Study in the Formation of a
National Symbol," by Trpimir Vedris. The second part,
"Historiography and the Monument," includes "Recreating the Facade
of a Fatimid Mosque at the Coptic Patriarchal Museum: A Step Toward
the Museum's Nationalization?" by Dina Bakhoum; "Zionism, Medieval
Culture, and National Discourse," by Judith Bronstein; and
"Idealizing Medieval Mediterranean? Creation, Recreation, and
Representation of Siculo-Norman Architecture," by Ruggero Longo.
The final section, "Sites Set to Work," features "Fortifications as
Urban Heritage: The Case of Nicosia in Cyprus and a Glance at the
City of Rhodes," by Nikolas Bakirtzis; "Pre-Islamic Archeology in
Tunisia: The Stakes of a Colonial Science," by Moheddine Chaouali;
and "Approaches and Perspectives on the Origins of Venice," by
Erica D'Amico. The volume closes with a related article by Irene
SanPietro, "The Making of a Christian Intellectual Tradition in
Jerome's De viris illustribus."
The four essays that make up this book take as their subject
gardens of the Middle Ages and Renaissance whose traces are still
visible, in varying degrees, at sites in Italy and France: Palermo
and Rome, the Vaucluse and Hesdin. Traces only, as these gardens
have long since been emptied of the life whose insistent motion
gave them shape and in the intervening years have been transformed
in such a way as to entangle and obscure significant moments of
their past. Yet these moments were also refracted in other media -
images and texts - that may be used to bring the past into focus
again in the landscape itself. The following book attempts
precisely this. Its modus operandi is an experiment, crossing the
constitutive acts of the discipline of archaeology - excavation and
reconstruction - with the protocols of the history of art, as it
will involve, in a continuous circuit, both the identification and
the interpretation of salient witnesses of the past. This
experiment may derive from archaeology and the history of art, but
its subject belongs to the field of landscape studies, which has
truly burgeoned in recent years under the auspices of a provisional
and yet ever-widening constituency of disciplines and initiatives,
including garden history, cultural geography and environmental
science, as well as anthropology and the histories of art and
architecture, literature, material culture and performance. As
landscape has become an increasingly independent field of inquiry,
however, it has tended to take on the character of an autonomous
form like that of the arts, whose methods of theory and criticism
have become ensconced in the academy. This book will take a
differnt path. The landscape it seeks to narrate, in four discrete
episodes, stands not alone, as an independent and integral
creation, but as an installation within a more enduring environment
in much the same way that temporary "ambient architecture" - the
architecture of the stage set, the showroom and the festival -
stands within the framework of building and city. - from the
Author's Prologue. 238 pages. Acknowledgments, prologue, notes,
bibliography and index. 78 color and black & white
illustrations. Art history, aesthetics, cultural studies, landscape
studies.
The four essays that make up this book take as their subject
gardens of the Middle Ages and Renaissance whose traces are still
visible, in varying degrees, at sites in Italy and France: Palermo
and Rome, the Vaucluse and Hesdin. Traces only, as these gardens
have long since been emptied of the life whose insistent motion
gave them shape and in the intervening years have been transformed
in such a way as to entangle and obscure significant moments of
their past. Yet these moments were also refracted in other media -
images and texts - that may be used to bring the past into focus
again in the landscape itself. The following book attempts
precisely this. Its modus operandi is an experiment, crossing the
constitutive acts of the discipline of archaeology - excavation and
reconstruction - with the protocols of the history of art, as it
will involve, in a continuous circuit, both the identification and
the interpretation of salient witnesses of the past. This
experiment may derive from archaeology and the history of art, but
its subject belongs to the field of landscape studies, which has
truly burgeoned in recent years under the auspices of a provisional
and yet ever-widening constituency of disciplines and initiatives,
including garden history, cultural geography and environmental
science, as well as anthropology and the histories of art and
architecture, literature, material culture and performance. As
landscape has become an increasingly independent field of inquiry,
however, it has tended to take on the character of an autonomous
form like that of the arts, whose methods of theory and criticism
have become ensconced in the academy. This book will take a
different path. The landscape it seeks to narrate, in four discrete
episodes, stands not alone, as an independent and integral
creation, but as an installation within a more enduring environment
in much the same way that temporary "ambient architecture" - the
architecture of the stage set, the showroom and the festival -
stands within the framework of building and city. - from the
Author's Prologue. 238 pages. Acknowledgments, prologue, notes,
bibliography and index. 78 color and black & white
illustrations. Art history, aesthetics, cultural studies, landscape
studies.
Two leading American experts on the subject offer the first
comprehensive English-language review of Naples' architecture and
urban development from late antiquity to the high and late Middle
Ages. William Tronzo treats the early Middle Ages, from the end of
the western Roman Empire to the end of the Duchy, or from about 400
to 1139. He covers a range of topics, including the development of
the city's urban fabric and chief monuments, including the
catacombs, Sta. Restituta, the baptistery of San Giovanni in Fonte,
the forum area including San Paolo Maggiore and the early history
of San Lorenzo Maggiore and the Pietrasanta. Caroline Bruzelius
then picks up the narrative and analysis from the twelfth century
to the end of the Angevin period. She brings up to date and nuances
many of the findings and themes of her The Stones of Naples. She
revisits some of the same material on the early medieval city from
a different perspective, that of religious foundations and urban
topography. She proceeds to patronage - religious, mercantile,
noble and royal - and then moves on to the role of Tuscan artists
in Naples, concluding with the Angevin reconfiguration of the city
in the late Middle Ages. Clearly and concisely written, this book
is an ideal introductory survey for the scholar, student and
general reader to medieval Naples, its chief monuments and to the
scholarly discussions and interpretations of the material, visual
and documentary evidence. 160 pages. Preface, select bibliography;
appendices, including the Tavola Strozzi with key, Map of Medieval
Naples with thumbnail key; index. 83 black & white figures,
plus 60 thumbnail images. List of links to online resources from A
Documentary History of Naples, including primary-source readings;
image galleries containing over 450 additional images in full
color; and links to full bibliographies with ongoing supplements.
Two leading American experts on the subject offer the first
comprehensive English-language review of Naples' architecture and
urban development from late antiquity to the high and late Middle
Ages. William Tronzo treats the early Middle Ages, from the end of
the western Roman Empire to the end of the Duchy, or from about 400
to 1139. He covers a range of topics, including the development of
the city's urban fabric and chief monuments, including the
catacombs, Sta. Restituta, the baptistery of San Giovanni in Fonte,
the forum area including San Paolo Maggiore and the early history
of San Lorenzo Maggiore and the Pietrasanta. Caroline Bruzelius
then picks up the narrative and analysis from the twelfth century
to the end of the Angevin period. She brings up to date and nuances
many of the findings and themes of her The Stones of Naples. She
revisits some of the same material on the early medieval city from
a different perspective, that of religious foundations and urban
topography. She proceeds to patronage - religious, mercantile,
noble and royal - and then moves on to the role of Tuscan artists
in Naples, concluding with the Angevin reconfiguration of the city
in the late Middle Ages. Clearly and concisely written, this book
is an ideal introductory survey for the scholar, student and
general reader to medieval Naples, its chief monuments and to the
scholarly discussions and interpretations of the material, visual
and documentary evidence. 160 pages. Preface, select bibliography;
appendices, including the Tavola Strozzi with key, Map of Medieval
Naples with thumbnail key; index. 83 black & white figures,
plus 60 thumbnail images. List of links to online resources from A
Documentary History of Naples, including primary-source readings;
image galleries containing over 450 additional images in full
color; and links to full bibliographies with ongoing supplements.
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