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Torlonia Vase
The Torlonia Vase or Cesi-Albani-Torlonia Vase is a colossal and celebrated neo-Attic Roman white marble vase, tall, made in the 1st century BCE, which has passed through several prominent collections of antiquities before coming into the possession of the Princes Torlonia in Rome. The vase is of calyx krater shape, with a high frieze carved with a Bacchic symposium and an everted rim, standing on a gadrooned base imitative of metalwork. It has three handles, joined to the body with bearded satyrs' masks. It stands on three lion's legs, and a triangular base, all provided for it in the 16th century. For centuries, until the discovery of the Tazza Albani, it was the largest in diameter of known antique vases. The whereabouts of the vase can be traced through the interest it incited in artists, starting in the 16th century, when the vase was drilled to serve as a garden fountain. The earliest visual documentation is a drawing by Giuliano da Sangallo in the Barberini Codex, Vat ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vase Monumental De Lungotevere In Sassia - Palazzo Massimo Alle Terme
A vase ( or ) is an open container. It can be made from a number of materials, such as ceramics, glass art, glass, non-rusting metals, such as aluminium, brass, bronze, or stainless steel. Even wood has been used to make vases, either by using tree species that naturally resist dry rot, rot, such as teak, or by applying a protective coating to conventional wood or plastic. Vases are often decorative arts, decorated, and they are often used to hold cut flowers. Vases come in different sizes to support whatever flower it is holding or keeping in place. Vases generally share a similar shape. The foot or the base may be bulbous, flat, carinate, or another shape. The body forms the main portion of the piece. Some vases have a shoulder, where the body curves inward, a neck, which gives height, and a lip, where the vase flares back out at the top. Some vases are also given handles. Various styles and types of vases have been developed around the world in different time periods, such as ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Silenus
In Greek mythology, Silenus (; grc, Σειληνός, Seilēnós, ) was a companion and tutor to the wine Greek god, god Dionysus. He is typically older than the satyrs of the Dionysian retinue (''thiasos''), and sometimes considerably older, in which case he may be referred to as a Papposilenus. The plural ''sileni'' refers to the mythological figure as a type that is sometimes thought to be differentiated from a satyr by having the attributes of a horse rather than a goat, though usage of the two words is not consistent enough to permit a sharp distinction. Silenus presides over other Daimon, daemones and is related to musical creativity, prophetic ecstasy, drunken joy, drunken dances and gestures. Evolution The original Silenus resembled a folkloric man of the forest, with the ears of a horse and sometimes also the tail and legs of a horse. The later sileni were drunken followers of Dionysus, usually bald and fat with thick lips and squat noses, and having the legs of a huma ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Satyrs
In Greek mythology, a satyr ( grc-gre, σάτυρος, sátyros, ), also known as a silenus or ''silenos'' ( grc-gre, σειληνός ), is a male nature spirit with ears and a tail resembling those of a horse, as well as a permanent, exaggerated erection. Early artistic representations sometimes include horse-like legs, but, by the sixth century BC, they were more often represented with human legs. Comically hideous, they have mane-like hair, bestial faces, and snub noses and are always shown naked. Satyrs were characterized by their ribaldry and were known as lovers of wine, music, dancing, and women. They were companions of the god Dionysus and were believed to inhabit remote locales, such as woodlands, mountains, and pastures. They often attempted to seduce or rape nymphs and mortal women alike, usually with little success. They are sometimes shown masturbation, masturbating or engaging in bestiality. In classical Athens, satyrs made up the Greek chorus, chorus in a gen ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Medici Vase
The Medici Vase is a monumental marble bell-shaped krater sculpted in Athens in the second half of the 1st century AD as a garden ornament for the Roman market. It is now in the Uffizi Gallery in Florence. Description Standing 1.52 metres (approximately 5 feet) tall, with a gadrooned everted lip, it has a deep frieze carved with a mythological bas-relief that defies secure identification: a half-draped female figure Iphigenia seated below a statue of a goddess on a high plinth, restored as Diana, with heroic warriors on either side, perhaps Agamemnon and either Achilles or Odysseus standing to either side. Two fluted loop handles rise from satyrs' heads on either side of the acanthus-leaf carved base, and it stands on a spreading gadrooned base on a low square plinth. History The vase reappeared in the 1598 inventory of the Villa Medici, Rome, but its origin is unknown. Transferred from the villa in 1780, it has ever since been displayed in the Uffizi Gallery, today in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Borghese Vase
The Borghese Vase is a monumental bell-shaped krater sculpted in Athens from Pentelic marble in the second half of the 1st century BC as a garden ornament for the Roman market; it is now in the Louvre Museum. Original Iconography Standing 1.72 metres tall and with a diameter of 1.35 m., the vase has a deep frieze with bas-reliefs and an everted gadrooned lip over a gadrooned lower section, where paired satyrs' heads mark the former placement of loop handles; it stands on a spreading fluted stem with a cabled motif round its base, on a low octagonal plinth. The frieze depicts the ''thiasus'', an ecstatic Bacchanalian procession accompanying Dionysus, draped with the panther skin and playing the aulos, and Ariadne. However, the accompanying figures, often said to be satyrs, have neither the common characteristics of cloven feet nor equine tails flowing to the floor as typically shown on Greek pottery; some references identify the figures as sileni. The draped figu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Museo Nazionale Romano
The National Roman Museum (Italian: ''Museo Nazionale Romano'') is a museum, with several branches in separate buildings throughout the city of Rome, Italy. It shows exhibits from the pre- and early history of Rome, with a focus on archaeological findings from the period of Ancient Rome. History Founded in 1889 and inaugurated in 1890, the museum's first aim was to collect and exhibit archaeologic materials unearthed during the excavations after the union of Rome with the Kingdom of Italy. The initial core of its collection originated from the Kircherian Museum, archaeologic works assembled by the antiquarian and Jesuit priest, Athanasius Kircher, which previously had been housed within the Jesuit complex of Sant'Ignazio. The collection was appropriated by the state in 1874, after the suppression of the Society of Jesus. Renamed initially as the Royal Museum, the collection was intended to be moved to a ''Museo Tiberino'' (Tiberine Museum), which was never completed. In 1901 the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Alessandro Torlonia, 2nd Prince Of Civitella-Cesi
Prince ''Don'' Alessandro Raffaele Torlonia, Prince of Fucino, Prince of Civitella-Cesi, Duke of Ceri (January 1, 1800 – February 7, 1886) was an Italian nobleman of the House of Torlonia, titled Duca di Ceri, Prince di Fucino. He was the son of Giovanni Torlonia, 1st Prince di Civitella-Cesi (1754-1829). Life Born January 1, 1800, his father was Giovanni Torlonia, 1st Prince of Civitella-Cesi, and his mother Anna Maria Chiaveri née Schulteiss, a widow who came from a family of southern German merchants from the city of Donaueschingen. In 1829, Alessandro Torlonia inherited a vast fortune from his father. This came mainly from banking. In the subsequent years 1832-42, Alessandro greatly expanded Villa Torlonia which had been started by his father in 1806, and he increased on the wealth primarily from acquiring the monopoly for salt and tobacco business in the Rome and Naples areas. It was Alessandro Torlonia who financed the draining of the Fucine Lake 1862-73, thus remo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Giovanni Battista Piranesi
Giovanni Battista (or Giambattista) Piranesi (; also known as simply Piranesi; 4 October 1720 – 9 November 1778) was an Italian Classical archaeologist, architect, and artist, famous for his etchings of Rome and of fictitious and atmospheric "prisons" (''Carceri d'invenzione''). He was the father of Francesco Piranesi, Laura Piranesi and . Biography Piranesi was born in Venice, in the parish of S. Moisè where he was baptised. His father was a stonemason. His brother Andrea introduced him to Latin literature and ancient Greco-Roman civilization, and later he was apprenticed under his uncle, Matteo Lucchesi, who was a leading architect in ''Magistrato delle Acque'', the state organization responsible for engineering and restoring historical buildings. From 1740, he had an opportunity to work in Rome as a draughtsman for Marco Foscarini, the Venetian ambassador of the new Pope Benedict XIV. He resided in the Palazzo Venezia and studied under Giuseppe Vasi, who introduced hi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pastiche
A pastiche is a work of visual art, literature, theatre, music, or architecture that imitates the style or character of the work of one or more other artists. Unlike parody, pastiche pays homage to the work it imitates, rather than mocking it. The word is a French cognate of the Italian noun , which is a pâté or pie-filling mixed from diverse ingredients. Metaphorically, and describe works that are either composed by several authors, or that incorporate stylistic elements of other artists' work. Pastiche is an example of eclecticism in art. Allusion is not pastiche. A literary allusion may refer to another work, but it does not reiterate it. Moreover, allusion requires the audience to share in the author's cultural knowledge. Both allusion and pastiche are mechanisms of intertextuality. By art Literature In literary usage, the term denotes a literary technique employing a generally light-hearted tongue-in-cheek imitation of another's style; although jocular, it is ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Piranesi Vase
The Piranesi Vase or Boyd Vase is a reconstructed, colossal marble calyx krater from ancient Rome, on three legs and a triangular base, with a relief around the sides of the vase. It is 107 inches (2.71m) tall and 28 inches (0.71m) in diameter. The upper part is in the style of the Borghese Vase. The lower part, which was not original, was influenced by the Torlonia Vase, a celebrated neo-Attic Roman marble from the collection of Cardinal Albani. It similarly stands on three lions' legs – which in the case of the Torlonia Vase were 16th-century additions. The vase was restored and/or rebuilt by the artist Giovanni Battista Piranesi, from a large number of Roman fragments from Hadrian's Villa at Tivoli, where Gavin Hamilton was excavating in the 1770s. As mentioned above, parts of the Piranesi vase are a pastiche – its stem and supports are made up of a variety of unrelated ancient fragments supplemented by matching modern parts. Other parts are painstaking, skillful ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pierre-Adrien Pâris
Pierre-Adrien Pâris (1745 - 1 August 1819) was a French architect, painter and designer. Biography Pâris was born at Besançon, the son of an architect and official surveyor at the court of the Prince-Bishop of Basel. He went to Paris to study architecture in 1760; there he was particularly a student of Étienne-Louis Boullée and Louis-François Trouard at the ''École royale d'architecture''. After failing three times to win the Prix de Rome, he visited Rome in 1769 to accompany his teacher's son as his tutor, and, at the recommendation of the grand connoisseur, Louis Marie Augustin, duc d'Aumont, was permitted to follow courses at the French Academy in Rome. He traveled in Italy, including visits to the Roman ruins of Pompeii, Herculaneum and Paestum, of which he made many drawings and casts. He returned to France in 1774. In 1775, Trouard entrusted him with the interior decoration of the Hôtel d'Aumont he was building in Place de la Concorde. In 1778, at the death ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Villa Albani
The Villa Albani (later Villa Albani-Torlonia) is a villa in Rome, built on the Via Salaria for Cardinal Alessandro Albani. It was built between 1747 and 1767 by the architect Carlo Marchionni in a project heavily influenced by otherssuch as Giovanni Battista Nolli, Giovanni Battista Piranesi and Johann Joachim Winckelmannto house Albani's collection of antiquities, curated by Winckelmann. The villa has been conserved intact into the 21st century by the Torlonia Family, who bought it in 1866. In 1870, the treaty following the Capture of Rome from the Papal States was signed here. History Planned in 1743, the building of the villa began in 1747 according to Giuseppe Vasi and was celebrated as complete in 1763. Its purpose was to house Cardinal Albani's evolving and renewed collections of antiquities and ancient Roman sculpture, which soon filled the casino that faced the Villa down a series of formal parterres. The villa with its collection, fountains, statues, stairways and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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