![]() Valadier, G.: Narrazione artistica dell’operato finora nel restauro dell’Arco di Tito, letta nell’Accademia Romana di Archeologia il 20 Dicembre 1821. Taylor and Edward Cresy, Architects and Fellows of the Society of Antiquaires (vol. ![]() Taylor, G.L., Cresy, E.: The Architectural Antiquites of Rome, Measured and Delineated by G.L. L’Architettura nella società post-industriale. La questione del restauro architettonico. Teoria e pratica in due secoli di dibattito. Marconi, P.: Il restauro e l’ architetto. Linstrum, D.: Giuseppe Valadier et l’Arc de Titus. Jokilehto, J.: A History of Architectural Conservation. Bulzoni, Rome (1970)ĭesgodetz, A.: Les édifices antiques de Rome dessinés et mesurés et desinés très exactement par Antoine Desgodetz, architecte, Paris (1682) Camera Apostolica, Rome (1843)Ĭeschi, C.: Teoria e storia del restauro. Giuseppe Valadier, compite e dichiarate dal cav. Einaudi, Turin (1963)Ĭanina, L.: Aggiunte e correzioni all’opera sugli antichi edifizi di Roma dell’architetto A. Keywordsīoito, C.: Questioni pratiche di belle arti, restauri, concorsi, legislazione, professione, insegnamento, Milan (1893)īrandi, C.: Teoria del restauro. This becomes relevant to the purpose of this book, by bringing together different uses of architectural drawing. The fact that we find corresponding references, in this series of drawings, confers a significant role to graphic argumentation in the debate on the conservation of historic monuments. The Arch of Titus’ inscription states that the arch is from the people and senate of Rome, in commemoration of Titus. He built it to commemorate his father and brother’s victory in the Jewish War, which took place in 70 CE in Judea. It covers Valadier’s original project and up to the graphic irony- reductio ad absurdum-that, in our own days, Paolo Marconi has proposed in order to question Valadier’s very intervention criterion. The Roman Emperor Domitian reigned from 81 to 96 CE, and was responsible for building this triumphal arch. This study, adding to the existing literature on that historic restoration, focuses on the analysis of some remarkable and highly indicative drawings of the Arch of Titus. ![]() However, contemporary theory and practice have not always upheld this principle. Camillo Boito and, henceforth, the international charters and recommendations that came later in the 20th century, affirmed the postulate ‘no added parts should lead to confusion vis à vis the original’. The criterion followed-a distinguishable intervention not renouncing an appropriate formal homogeneity-was a clear starting point. SchertzĢ The Arch of Titus: Triumph, Funeral, and Apotheosis in Ancient Rome Ida Östenbergģ Flavius Josephus and the Arch of Titus: Commemorating the Jewish War in Word and Stone Samuele RoccaĤ A Narrative Triumph: The Rabbis Write Back to the Empire Galit Hasan-Rokemĥ Pagan Rome in the Service of the Church: Christian Perceptions of the Arch of Titus in the Middle Ages Marie-Thérèse ChampagneĦ Early Modern Visitors to the Arch of Titus William Stenhouseħ Moses Mendelssohn on the Arch of Titus Menorah Steven FineĨ Valadier at the Arch of Titus: Papal Reconstruction and Archeological Restoration under Pius VII Marina Caffieroĩ “Without Leaving Home”: Artists as Real and Virtual Pilgrims to the Arch of Titus Jacob Wisseġ0 The Arch of Titus in New York: The Menorahs at the Cathedral of St.The restoration of the Arch of Titus in the Roman Forum-begun by Raffaele Stern and completed by Giuseppe Valadier, exactly two centuries ago-is a milestone in heritage preservation culture. In 1807 a traveler like Madame de Stael thus described the arch: ' At extremity of the Palatine rises a beautiful triumph arch. Tables Lenders to the Exhibition Foreword Ari Berman Preface Steven Fine and Jacob Wisse Contributors Introduction: Searching for Butterflies under the Arch of Titus Steven Fineġ The Spoils of Jerusalem in Color: The Making of a Polychrome Model Steven Fine, Donald H. The Arch of Titus is the oldest of all arcs of Rome that we can still admire and are believed that might be saved because it was incorporated into the walls of the Fortress of Frangipane family in medieval times.
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