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Mirabilia Rome.
No full text"Two distinct guidebooks for pilgrims are known under this name: 1. The Mirabilia Romae proper ...a short description of Roman antiquities [this work]. 2. A text variously designated as Indulgentiae ecclesiarum urbis Romae, Historia et descriptio urbis Romae, Memorabilia urbis Romae, containing an outline of the history of Rome ..., an account of its churches with their indulgences, relics, ... stations. These two guidebooks were sometimes published together. The Mirabilia Romae proper is entered under this name in L.C. catalogs; the other ...under: Indulgentiae ecclesiarum urbis Romae."--N.U.C., pre-56.Nagler suggests that the I.S. represents Jacob [i.e. Iacobus] of Strassburg; the H.I./I.H. remains unidentified.Illustrations: woodcut on t.p. depicting kneeling Rhea Silvia with city in background and, below, the wolf with Romulus and Remus, all within a white on black border of Roman symbols and floral ornament. For reproductions of similar cuts, cf. Sander, fig. 779-780. The initials I.H.I.S. (or possibly H. I. and I. S.) appear centered on a scroll in the lower portion of the border.Gothic type, with one initial; without catchwords, foliation or signature marks.Leaf 1(b): Mirabilia Rome vrbis. MUrus vrbis habet trecẽtas sexagin-ta et vnã turres. Propugnacula sex milia & nonaginta:&.xxii.milia porticularia. In circuitu vero sunt. & xxii exceptis transtiberim & ciuitate leonia:& porticu Sancti Petri:vbi sunt.xx.miliaria. In 7 lines. 23 line pages follow to p. [16] with 17 lines ending: Et est ecclesia fratrum minorum &c. and "Finis", 18th line.Woodcut t.p. with border containing at bottom initials H.I.I.S. (or, I.H.I.S.)Nagler, G.K. Monogrammisten,GoffBM,ReichlingSanderMode of access: Internet.Library's copy with (as issued?): Indulgentiae ecclesiarum urbis Romae, Rome : S. Planck, 1499
Vivre de la musique à Rome au XVIIIe siècle
No full textConsacré à l’étude des métiers de la musique à Rome au XVIIIe siècle, l’ouvrage s’inscrit dans une perspective d’histoire sociale. Il offre au lecteur un panorama des lieux et des institutions liés à la pratique de la musique, des chapelles aux théâtres en passant par les palais aristocratiques et les places publiques. À l’appui d’une documentation diversifiée, l’auteure met en lumière les spécificités structurelles de la vie musicale romaine et les ressorts de son attractivité. Nourrie des acquis récents de l’histoire du travail et de l’histoire des pratiques culturelles, l’approche associe des analyses quantitatives et des reconstitutions de parcours individuels afin de comprendre comment les cadres institutionnels et sociaux de la pratique musicale ont conditionné les carrières des musiciens et des musiciennes. L’étude des rivalités et des fortes disparités économiques, sociales et symboliques observées dans ce milieu professionnel apporte une contribution à la connaissance des transformations sociales et artistiques du XVIIIe siècle. En variant les échelles d’observation, les évolutions qui ont marqué cette période sont éclairées, tant du point de vue des productions culturelles et de leur consommation que des pratiques artistiques et des positionnements sociaux
Selector for the Rome Fellowship in Contemporary Art at The British School at Rome, 2018
No full textBillingham was invited to be part of the selection panel for the Rome Fellowship in Contemporary Art 2018 alongside Nicholas Berwin, Sacha Craddock, Vivien Lovell, and Karsten Schubert.
The fellowship is a valuable opportunity for an early-career artist, working in any discipline and who has a significant track record of exhibiting. It offers a grant of £1,500 per month; a grant towards a short pre-residency visit to the British School at Rome and board and accommodation in a residential studio for a duration of 3 months (October–December 2018).
The British School at Rome is a centre of interdisciplinary research excellence in the Mediterranean supporting the full range of arts, humanities and social sciences. It creates an environment for work of international standing and impact from Britain and the Commonwealth, and a bridge into the intellectual and cultural heart of Rome and Italy. All visual art residencies at the British School at Rome offer membership to the multidisciplinary research community, a varied and international events programme, accommodation in a residential studio, food and 24-hour access to its historic library collection
Les Rome nouvelles de l’époque moderne
No full text« Rome n’est plus dans Rome, elle est toute où je suis », peut-on lire dans une tragédie de Corneille. Inversant le proverbe qui dit que tous les chemins mènent à Rome, cet ouvrage va révéler combien les voies partant de Rome conduisent vers d’insoupçonnables ailleurs. Du xvie au xviiie siècle, de nombreuses villes se sont réapproprié le mythe de Rome, dépositaire d’un idéal politique impérial et républicain, et capitale d’une religion à vocation universelle. Ces réappropriations, qui ne fonctionnent jamais par simple mimétisme vis-à-vis des réalités romaines, sont un véritable objet d’histoire politique et culturelle. Du Moscou des Romanov, à la Virginie de Jefferson, en passant par le Saint-Empire, l’Espagne ou la France, ce livre est un appel au voyage conduisant de Rome au reste de l’Europe et du monde. Ouvrant la voie à une histoire mondiale de Rome, qui reste à écrire, il offre divers modèles d’interprétation des liens qui se tissent entre les villes, dans la rugosité de leurs édifices comme la plasticité de leurs imaginaires
Rome and Iberia
No full textThe monograph book Rome and Iberia. Inspirations and Connections throughout History tries to fill a gap in the market of scientific publications, showing the connections between ancient Rome and the Iberian Peninsula. These relations still interest researchers representing various scientific disciplines, both in Poland and abroad. The book opens with a part devoted to linguistic issues, focused on the heritage of Latin in Spanish. The second part deals with literature in its broadest sense, from the works of authors such as Martialis and Pliny, through the Latin love songs of Ripoll, the fifteenth-century work of John of Stobnica, to the ancient ekphrasis present in the literature of seventeenth-century Spain. Also represented is the literature of Portugal, which looked to ancient mythology for the origins of the country. Subsequent chapters of the book deal with history and archaeology, introducing - on the basis of literary texts and archaeological remains, inscriptions or coins - studies of the imperial cult in the Spanish provinces of Rome, military issues, political coalitions, Roman law, as well as contemporary evocations of ancient figures as personal models for later European leaders. The monograph also includes chapters on amphorae and temples, which are tangible traces of the relationships studied, left over from ancient cultural and commercial exchanges
Photographic Work included in two Group Shows 'Ruination: Photographs of Rome' Nottingham and 'Responding to Rome', Estoric Collection, London
Full text linkRichard Billingham was awarded a Sargant Fellowship at the British School at Rome in 2002. Amongst the work he made there were a number of black and white photographs of ancient Roman architecture that paid homage to the photographs made of ruins in the 19th century. They attempted to embody some of the authority and wonder these ancient remains still retain over modern day visitors to Rome. From these black and white images, three were selected to be in the following two group shows that focused on Rome: ‘Ruination – Rome’ Group show, Djanogly Gallery, Nottingham University, 23rd February to 6th April 2008, curated by Richard Wrigley and Neil Walker and ‘Responding to Rome, British Artists in Rome 1995 – 2005’, group show, Esoteric Collection of Italian Modern Art, London, 18 January 2006 - 26 March 2006, curated by Jacapo Benci.
Exhibition one – ‘Ruination – Rome’ Group show, Djanogly Gallery, Nottingham University. Rome has been a compelling subject for photographers since the medium's earliest days. Images of Rome originally served as forms of truthful witness to the artistic splendours of the past. Once valued as replications of antique architecture and sculpture in situ, it is now their extraordinary power as images - their technical and artistic subtlety - which allows them to transcend their function as homages to the city.
Ruination brings together a series of arresting images of Rome produced by photographers of the mid-nineteenth and late-twentieth centuries. Richard Billingham had three large framed photographic works selected, other contemporary artists included Olivio Barbieri, Fiona Crisp and John Riddy.
There was a fully illustrated catalogue of the exhibition published 2008 published by the Djanogly Gallery with an essay by Richard Wrigley.
There was an illustrated introduction to ‘Ruination’ by exhibition curator Richard Wrigley 8th March at the Djanogly Art Gallery Lecture Theatre
There were also two illustrated lectures by Fiona Crisp relating her experience during her scholarship at the British School in Rome and Katharina Lorenz from the University’s Department of Classics who spoke about representations of the classical and modern city.
Exhibition two - ‘Responding to Rome, British Artists in Rome 1995 – 2005’, group show, Esoteric Collection of Italian Modern Art, London
‘Responding to Rome’ was supported by the Henry Moore Foundation and showed the work of thirty-five selected contemporary British artists who were awarded scholarships at the British School at Rome from 1995 – 2005. All the works exhibited were either realised during the artists’ stay in Rome or as a direct consequence of it, and they have given shape to their Roman and Italian experience in a wide variety of media. In widely differing ways, all works bore witness to the unfathomable allure and wealth of Rome. The exhibition illustrated how the traditional Grand Tour evolved into a lively, contemporary experience, and how diversity in the practice of and approach to visual art is encouraged and facilitated at the British School at Rome.
Richard Billingham had three large framed photographic pieces included. Both Billingham and John Riddy explored quintessentially Roman images in their large black and white photographs Colosseum and Trajan’s Markets. Smith/Stewart created a three-minute colour film entitled Lovers, Rome, whilst Marion Coutt’s colour film followed four human bearers as they processed through the streets of Rome carrying a life-size model of a horse. Kit Wise’s Marmor (after Bernini) presented a novel reinterpretation of Bernini’s renowned Ecstasy of St Teresa, whilst Adam Chodzko’s installation recorded his attempt to reunite the actors from Salo, Pier Paolo Pasolini’s violently disturbing film about the last days of Fascism. Other artists in the exhibition included Mark Wallinger, Jaki Irvine, Sophy Rickett, John Riddy, Tim Stoner, Suzan Trangmar and Alison Turnbull.
There was a fully illustrated catalogue to the exhibition published by The British School at Rome 2006 with essays by Jacapo Benci, Jenni Lomax (director, Camden Arts Center), and Andrew Wallica Hadrill (Director British School at Rome)
3. Brain stem Meeting, Rome, Ambasciatori Palace Hotel, 11/12 June 2004. Program and abstracts
No full textConsiglio Nazionale delle Ricerche - Biblioteca Centrale - P.le Aldo Moro, 7 , Rome / CNR - Consiglio Nazionale delle RichercheSIGLEITItal
Litigation on Regulations Rome I and Rome II: Spain
No full textThis chapter evaluates the judicial practice on the Rome I and Rome II Regulations in Spain, on the law applicable to contractual and non-contractual obligations. It analyses eighty judgments delivered by national courts, which involve cases that decide international commercial disputes by reference to either Rome I or Rome II provisions. The study seeks to identify common threads in international commercial litigation in order to ascertain the extent to which the advent of Rome I and Rome II has contributed to transforming the practice in Spain. To this end, the chapter examines the following key aspects: the interplay between universal law and national law, the interaction between Rome I, Rome II and other international conventions, party autonomy and the determination of the applicable law in the absence of choice, the tension between the lex fori and the lex causae, and the practice on the scope of the lex contractus. Concluding remarks follow
Un musée pour l’École. La collection d’antiquités de l’École française de Rome. Catalogue de l’exposition
No full textCatalogue de l'exposition éponyme organisée à l'École française de Rome au printemps 2024, centrée sur la collection d'antiques de l'École française de Rome. Cette collection, voulue par le premier directeur, Auguste Geffroy, a pour ambition d'offrir un aperçu didactique des productions artisanales de l'Italie préromaine et romaine, avec une volonté presque encyclopédique de rassembler toutes les classes de mobilier archéologique (céramique, sculpture, verre, mosaïques, stucs, peintures...) de toutes les périodes antiques. La collection, enrichie au fil des ans par des dons et des acquisitions, compte actuellement plusieurs centaines de pièces, parmi lesquels des vases entiers offerts à Geffroy par le collectionneur Augusto Castellani, des sculptures achetées sur le marché romain et plusieurs lots de terres cuites votives étrusco-latiales, fruit des premières fouilles de l'EFR à Palestrina. Le catalogue constitue la première publication de cette collection et retrace également la genèse et l'histoire de sa formation, de la fin du XIXe siècle à nos jours
Rome, archéologie et histoire urbaine : trente ans après l’Urbs (1987)
No full textEn 1987, paraissaient dans la Collection de l’EFR les actes d’un colloque fondateur : L’Urbs,espace urbain et histoire. Parce qu’il mit en dialogue les potentialités offertes par les progrès de la topographie historique de la ville de Rome et l’histoire urbaine de celle-ci, ce livre bouleversa nos connaissances. L’année suivante, disparaissait un éminent représentant de la topographie historique : Ferdinando Castagnoli. S’il ne put participer au colloque de 1985, F. Castagnoli avait été l’un des acteurs majeurs des renouvellements qui avaient conduit à son organisation. À trente ans d’écart, le présent livre, lui-même le fruit d’un colloque tenu à Rome en 2018, analyse l’héritage laissé par chacun, mesure le chemin parcouru et ouvre de nouvelles voies à la recherche en archéologie et en histoire urbaine sur la ville éternelle
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