La domus dei Valerii sul Celio alla luce delle recenti scoperte

2008 ◽  
Vol 76 ◽  
pp. 75-98
Author(s):  
Mariarosaria Barbera ◽  
Sergio Palladino ◽  
Claudia Paterna
Keyword(s):  
Twentieth Century ◽  
Sixteenth Century ◽  
Early Years ◽  
High Quality ◽  
Building Activity ◽  
Santo Stefano ◽  
Northern Side

This article describes the discovery of an area of habitation of the domus of the Valerii, a family with yen ancient origins, said to descend from the first consul, Valerius Publicola. The excavation, undertaken in 2005, investigated deposits beneath the Ospedale dell'Addolorata where, in the early years of the twentieth century, the construction of the southeast block destroyed the upper levels and a complex row of structures along the northern side, towards via Santo Stefano Rotondo. Since the middle of the sixteenth century, uncontrolled excavation and research have recovered an important inheritance of knowledge and of high-quality finds — often sold or dispersed in some way. The excavation has revealed part of a frescoed corridor, 3.8 m wide and originally c. 3 m high, with a pavement in black mosaic, with windows opening onto a garden. Of this imposing structrure, datable to the late Hadrianic period, various phases of building activity, abandonment and reuse have been identified, amongst which the construction of a hidental is of particular interest.

The Baroque as a Problem of Thought

PMLA ◽  
2009 ◽  
Vol 124 (1) ◽  
pp. 143-149 ◽  
Author(s):  
William Egginton
Keyword(s):  
Twentieth Century ◽  
Sixteenth Century ◽  
Early Years ◽  
Early Twenty ◽  
Late Twentieth ◽  
Age Of Aquarius

We're an empire now, and when we act, we create our own reality. And while you're studying that reality—judiciously, if you will—we'll act again, creating other new realities, which you can study too, and that's how things will sort out. We're history's actors… and you, all of you, will be left to just study what we do.—Aide to George W. Bush, quoted by Ronald SuskindWhy the Baroque? Why now? As many have argued, the general aesthetic trend of the late twentieth to early twenty-first centuries, often called postmodern, can perhaps more usefully be labeled neobaroque. Is the neobaroque turn of the twentieth century something akin to the neoclassicism of the sixteenth century, or the neo-Gothicism of the nineteenth? Or, on an even more condensed scale, is it similar to the rapid returns of previously dismissed fashion decades, as evidenced by the proliferation in the early years of this century of those beads and bellbottoms associated with flower children and the age of Aquarius?

scholarly journals Il Palagio di Parte Guelfa a Firenze

2007 ◽  
Author(s):  
Sara Benzi ◽  
Luca Bertuzzi
Keyword(s):  
Twentieth Century ◽  
Sixteenth Century ◽  
Fifteenth Century ◽  
Fourteenth Century ◽  
Early Years ◽  
City Centre ◽  
Early Twentieth Century ◽  
Old City ◽  
Present Aspect ◽  
Restoration Work

Dating to the early years of the fourteenth century and enlarged in two successive phases during the fifteenth century, comprising works plausibly attributed to Brunelleschi, the Palagio di Parte Guelfa emerged as the seat of one of the most important magistracies of mediaeval Florence. From the mid sixteenth century, the building underwent numerous alterations which modified its original appearance, starting with the intervention of Vasari. It was not until the early twentieth century that the palazzo, having survived the demolition work entailed in the regeneration of the old city centre, was subjected to significant restoration work, entrusted to Alfredo Lensi, which eventually gave the building its present aspect. Damaged again by German mines in August 1944 and subsequently restored, the Palagio is now one of the most emblematic buildings in the old city centre of Florence.

New insights into the controversy surrounding marine biological laboratory (Marine Station) facilities in the Firth of Clyde in the early twentieth century

2015 ◽  
Vol 42 (1) ◽  
pp. 165-170
Author(s):  
P. G. Moore
Keyword(s):  
Twentieth Century ◽  
Early Years ◽  
Marine Biological Laboratory ◽  
Biological Station ◽  
Marine Biological ◽  
Biological Laboratory ◽  
Early Twentieth Century ◽  
Marine Station ◽  
Regius Professor ◽  
Adjacent Island

Three letters from the Sheina Marshall archive at the former University Marine Biological Station Millport (UMBSM) reveal the pivotal significance of Sheina Marshall's father, Dr John Nairn Marshall, behind the scheme planned by Glasgow University's Regius Professor of Zoology, John Graham Kerr. He proposed to build an alternative marine station facility on Cumbrae's adjacent island of Bute in the Firth of Clyde in the early years of the twentieth century to cater predominantly for marine researchers.

Songs of the spirit from Dufftown

2019 ◽  
Vol 70 (1) ◽  
pp. 36-54
Author(s):  
Shelagh Noden
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Church Music ◽  
Early Years ◽  
Liturgical Music

Following the Scottish Catholic Relief Act of 1793, Scottish Catholics were at last free to break the silence imposed by the harsh penal laws, and attempt to reintroduce singing into their worship. At first opposed by Bishop George Hay, the enthusiasm for liturgical music took hold in the early years of the nineteenth century, but the fledgling choirs were hampered both by a lack of any tradition upon which to draw, and by the absence of suitable resources. To the rescue came the priest-musician, George Gordon, a graduate of the Royal Scots College in Valladolid. After his ordination and return to Scotland he worked tirelessly in forming choirs, training organists and advising on all aspects of church music. His crowning achievement was the production, at his own expense, of a two-volume collection of church music for the use of small choirs, which remained in use well into the twentieth century.

Publish the Picture at Your Peril: Visual Ideas and the Commercial Apparatus of Life Magazine

2021 ◽  
Vol 20 (2) ◽  
pp. 301-324
Author(s):  
Joshua S. Schwartz
Keyword(s):  
Twentieth Century ◽  
Intellectual Property ◽  
Consumer Goods ◽  
Social Behaviors ◽  
Early Years ◽  
Business Practices ◽  
The Novel ◽  
Life Magazine ◽  
Advertising Revenue ◽  
Manufacturing Company

AbstractIn the early years of the twentieth century, Life magazine had only approximately one hundred thousand subscribers, yet its illustrated images (like the Gibson Girl) significantly influenced fashion trends and social behaviors nationally. Its outsized influence can be explained by examining the magazine’s business practices, particularly the novel ways in which it treated and conceptualized its images as intellectual property. While other magazines relied on their circulation and advertising revenue to attain profitability, Life used its page space to sell not only ads, but also its own creative components—principally illustrations—to manufacturers of consumer goods, advertisers, and consumers themselves. In so doing, Life’s publishers relied on a developing legal conception of intellectual property and copyright, one that was not always amenable to their designs. By looking at a quasi-litigious disagreement in which a candy manufacturing company attempted to copy one of the magazine’s images, this article explores the mechanisms behind the commodification and distribution of mass-circulated images.

Erasmus the Theologian

2016 ◽  
Vol 96 (4) ◽  
pp. 498-515
Author(s):  
Greta Grace Kroeker
Keyword(s):  
Sixteenth Century ◽  
Early Years ◽  
The Reformation

Erasmus of Rotterdam developed from a classical humanist to a Christian humanist theologian in the first two decades of the sixteenth century. In the early years of the Reformation, his theological work responded to the theological debates of the age. Although many contemporaries dismissed him as a theologian, he developed a mature theology of grace before his death in 1536 that evidenced his efforts to create space for theological compromise between Protestants and Catholics and prevent the permanent fissure of western Christianity.

scholarly journals Afforestation of Former Farmland with High-value Hardwoods

1991 ◽  
Vol 67 (3) ◽  
pp. 209-212 ◽  
Author(s):  
F. W. von Althen
Keyword(s):  
Early Years ◽  
Intensive Management ◽  
High Quality ◽  
Close Spacing ◽  
Hardwood Species ◽  
Competition Control ◽  
Stem Development ◽  
Gradual Release ◽  
Poor Drainage

For satisfactory growth, most high-value hardwood species demand a deep, fertile, moist but well drained soil. Intensive competition control during the early years after planting is a necessity. Close spacing is recommended, with gradual release of crop trees to promote high-quality stem development. For good hardwood growth on soils of marginal fertility or poor drainage or on sites where intensive management cannot be guaranteed, it is recommended that a mixture of several hardwood species be planted.

Post-Byzantine Figured Silks

1951 ◽  
Vol 46 ◽  
pp. 177-181
Author(s):  
D. Talbot Rice
Keyword(s):  
Sixteenth Century ◽  
Sudden Stop ◽  
High Quality ◽  
The Balkans ◽  
Byzantine Art ◽  
Christian Art ◽  
Middle Period ◽  
Metal Work ◽  
Private Collections ◽  
Very High

At one time it was generally assumed, even by distinguished Byzantinists, that the Turkish conquest of Constantinople in 1453 put a sudden stop to the production of all objects of quality in the East Christian world, and that after that date Byzantine art at once degenerated into a peasant art throughout the whole of the area touched by the Turks. Recent research has, however, led to some modification of this view, and though work of the same superb quality as that produced in the great middle period of Byzantine art was not executed, we now know that in addition to painted icons, such things as embroideries, carved reliquaries, crosses of chased metal work or champlevé enamel and objects in bone or even ivory, were produced, which were by no means negligible from the artistic standpoint. Their production continued, moreover, through the sixteenth and earlier seventeenth centuries; only after that date did Christian art in Greece and the Balkans assume an essentially ‘peasant’ character. It is indeed to the sixteenth century that the greater number of painted icons that are now to be found in museums and private collections in Greece are to be assigned, and though there was much hack-work, paintings of very high quality were also produced amongst them.

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