Maurizio Savini o della vanitas contemporanea

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L’ombra divina nei mosaici “riformati” di Roma

Rome re-imagined : twelfth-century Jews, Christians and Muslims encounter the eternal city

This collection examines the image of Rome through Arabic, Greek, Hebrew, Latin, and Persian descriptions of the eternal city. Placing the twelfth-century renaissance into a Mediterranean context. The city of Rome is revealed as a multi-vocal object of desire and a contested ideal.

From Shadow to Light. Inscriptions in Liminal Spaces of Roman Sacred Architecture (11th–12th Century)

Animali figurati. Teoria e rappresentazione del mondo animale dal Medioevo all’Età modern

I mosaici altomedievali di Venezia e il monastero di S. Ilario. Orditi ‘venetico-carolingi’ di una koinè alto Adriatica, in I tempi del consolidamento. Venezia, l’Adriatico e l’entroterra tra IX e X secolo

La rappresentazione della natura tra ornamento e narrazione. Il bestiario di Roma tra i secoli XI e XII

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Venezia e l’Adriatico nel Medioevo. Introduction

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Rewriting antiquity, renewing Rome. The Identity of the Eternal City through Visual Art, Monumental Inscriptions and the Mirabilia

AbstractDuring the eleventh and twelfth centuries the Church began a process of renovation (renovatio) and the city of Rome was given new meanings. Antiquity is part of the identity of the Eternal City; the reuse or reframing of aspects of antiquity inevitably transformed the image of Rome. Public spaces, architecture and objects were given new Christian readings. Inscriptions, present both in sacred and secular settings, played an important role. A similar rewriting can also be found in travel literature and descriptions of the city, such as in the Mirabilia urbis Rome, where ancient monuments were re-interpreted to demonstrate the superiority of Christianity. Inscriptions were used as sym…

Il sistema delle mostre d’arte in Italia: attori, linguaggi e processi di costruzione del valore

Opere firmate nell’arte italiana. Medioevo. Siena e artisti senesi. Maestri orafi

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Les listes dans le discours visuel du Moyen Âge italien. Le cas de Rome aux XIe et XIIe siècles

La manticora e la sfinge. echi d’oriente nei depositi della Ca’ D’Oro

Le iscrizioni del reliquiario a busto di sant’Agata

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Gli studi sull’arte armena a Venezia. Alpago Novello e le prospettive di ricerca

<div> <p>This paper aims to retrace the Armenian Studies’ tradition in Venice. This tradition moved from the firsts scientific publications edited by the Mechitarist Congregation of San Lazzaro to Ca’ Foscari University’s first chair of Armenian Studies, led by father Levon Zekyan in 1976. During that year, Adriano Alpago Novello founded the Study and Documentation Centre of Armenian Culture that in 1992 moved from Milan to Venice. The present paper focuses on the legacy of Alpago Novello through the analysis of his working methods and results in the context of the history of Armenian art and architecture. His methodology belongs to the field of the ecology of art.</p> &lt…

Lo spazio della scrittura sui prospetti delle chiese romaniche in Umbria (secoli XI e XII). Iscrizioni di committenti e artisti

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Percorrendo il Bestiario. La rappresentazione del mondo animale nei pavimenti musivi del Medioevo veneziano

The Word in the Image: an Epiconographic Analysis of Reformed Mosaics in Rome (Twelfth-century)

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Introduzione. Le discusse frontiere dell’arte armena

La croce di Rosano oltre il Lazio e la Toscana. Riflessi “europei” della “Riforma gregoriana”

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Il dialogo (im)possibile tra mostre e musei come espressione del made in italy, in Sviluppo, sostenibilità e competitività delle aziende. Il contributo degli economisti aziendali

Le iscrizioni sul calice di Guccio di Mannaia: il committente e l’artista

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The Visual Experience of Triumphant Church. The Mosaic of S. Maria in Trastevere

Sperimentare, emozionare, educare. Per una teoria dell’arte della Riforma ecclesiastica dei secoli XI e XII

Dal kētos al sēnmurv? Mutazioni iconografiche e transizioni simboliche del kētos dall’Antichità al Medioevo (secolo XIII)

Using literary and iconographic sources the paper discusses the image of kētos from Antiquity to Middle Ages. The kētos, according with Greek literature, was used in the myths of both Perseus and Andromeda and Heracles and Hesione. The archaic images of the sea-monster are identifiable on Corinthian vases, on which we have only heads of leonine form. From 5th century the classical type of kētos is distinguished from all other Greek sea-monsters by a long neck, fins (also like wings), long muzzle and corrugated upper surface (like a crocodile), and leonine forelegs. Separated from histories of Andromeda and Hesione, the kētos is represented as a mount of marine gods and, especially, Nereides…

Le Arti a Roma al tempo di Leone IX

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