#roma rotunda

[bertmango]

Built in 110AD and still the best velux you’d see this side of the Shannon. By M Agrippa builders for PE house SPQR Ltd who specialised in infrastructure and civils before an expansion. Eventually SPQR was broken up by asset stripping vulture funds and eventually became JJ Rhatigan . . #pantheon #rome #magrippalfcostertivmfecit #lookingup #lookinguparchitecture #jj_urbex #concrete #roma #italia #ilpantheon #radial #rsa_minimal #geometrica #ceilinglight #oculus #jj_architecture #agrippa #rotunda #piazzadellarotonda #romanarchitecture #discoveritaly #romearchitecture #classical #geometry #spqr #forzaitalia (at Pantheon - Basilica di Santa Maria ad Martyres - Roma) https://www.instagram.com/p/Cp7jP9Xss2P/?igshid=NGJjMDIxMWI=

[europeposts]

Castel Sant'Angelo

Mausoleum in Rome, Italy

Castel Sant'Angelo and Ponte Sant'Angelo, from across the Tiber river.

Castel Sant'Angelo from the bridge. The top statue is of Michael the Archangel, the angel from whom the building derives its name.

The Mausoleum of Hadrian, also known as Castel Sant'Angelo, is a towering rotunda in Parco Adriano, Rome, Italy. It was initially commissioned by the Roman Emperor Hadrian as a mausoleum for himself and his family. The popes later used the building as a fortress and castle, and is now a museum.

Address: Lungotevere Castello, 50, 00193 Roma RM, Italy

Hours: Closed ⋅ Opens 9 AM

Phone: +39 06 681 9111

Castel Sant'Angelo - Wikipedia

Rome, 🇮🇹 Italy

[praza-catalunya]

We are all Greeks. Cerámicas de Miquel Barceló

Seguramente resulta sorprendente o titular desta reseña sobre unha mostra de cerámicas do gran creador Miquel Barceló. Pero o propio artista denomina así a exposición:Barceló. Ceràmiques.Tots som grecs, tomando prestada esa afirmación do poeta romántico Percy Shelley. Os dous comparten a admiración polos eixos da cultura na Grecia antiga. Barceló é un pintor matérico, mesmo lle agrada procurar a terceira dimensión na pintura. Tamén o é cando traballa a arxila?

Lito Caramés

Miquel Barceló na Pedrera

Barceló. Ceràmiques.Tots som grecs. La Pedrera

O Attic shape! Fair attitude! with brede / Of marble men and maidens overwrought, / With forest branches and the trodden weed; / Thou, silent form! dost tease us out of thought / As doth eternity: Cold Pastoral! / When old age shall this generation waste, / Thou shalt remain, in midst of other woe / Than ours, a friend to man, to whom thou say’st, / “Beauty is truth, truth beauty, – that is all / Ye know on earth, and all ye need to know.” (John Keats, Ode on a Grecian Urn, 1819).

Quizais sorprenda bastante comezar os comentarios sobre unha exposición temporal de cerámica, instalada no edificio gaudiniano de La Pedrera, reproducindo a derradeira estrofa do poema do escritor romántico John Keats (1795-1822) Ode on a Grecian Urn. É certo que hai unha ligazón: o poeta mostra a súa admiración por unha urna grega. Keats foi un romántico arquetípico, xa pola súa escrita, xa pola súa biografía, morreu con 25 anos. Como outros románticos británicos, e doutras latitudes, Keats acabou sendo un gran admirador da cultura clásica, grecolatina. A súa devoción polos modelos estéticos que se presumía dirixían a vida da Grecia antiga e mais da Roma imperial provén, como non!, dos traballos e loitas dun home fundamental na historia da arte europea (aínda cando el non era artista). Johann Joachim Winckelmann (1717-1768) é o responsable principal de que en Europa xermolase un novo concepto estético no século XVIII e que se perpetuou pola seguinte centuria, e mesmo ata a actualidade. Como reacción fronte ao Rococó, Winckelmann propuxo (e mesmo inventou) volver aos harmónicos canons que trufaran la Grecia clásica, e que xa se recuperaran perante os tempos do Renacemento. Nestes tempos nos que é aconsellable ter como fundamento de análise a concepción de que os acontecementos históricos sempre son froito de accións colectivas, soa moi forte afirmar que unha soa persoa (Winckelmann) sexa a responsable de cambios tan fondos e duradeiros nas filias estéticas. Para quen queira coñecer os avatares biográficos de Johann Winckelmann (e para moitas outras cousas), recoméndase o libro Peregrinos de la Belleza Viajeros por Italia y Grecia, da entusiasta escritora María Belmonte. Calquera persoa que teña interese polas culturas mediterráneas debería coñecer e ler este magnífico libro.

Keats, romántico e namorado desas estéticas clásicas que, poucos anos antes espallara en artigos e estudos Winckelmann. E a admiración que leva ao poeta a compor estrofas cantando a aquela urna de máis de 2000 anos de antigüidade, tamén o empurra a rematar a súa oda coa rotunda afirmación (que é o compendio do clasicismo): Beauty is truth, truth beauty, – that is all / Ye know on earth, and all ye need to know. E a beleza está neses restos gregos que se poden admirar polas xeografías europeas. Percy B. Shelley, outro importante poeta romántico británico (a tríada seguramente son estes dous citados e mais Lord Byron, que tamén andaba canda eles por xeografías europeas), que tamén admiraba as serenas e cheas de naturalidade estéticas clásicas -ao ler os versos do seu amigo Keats- escribiu We are all Greeks. Our laws, our literature, our religions, our arts have their root in Greece. Unha declaración de amor a todas as creacións executadas na Grecia antiga.

Barceló. Sin título, 1998

Todos somos gregos ( We are all Greeks) a vella sentenza de Shelley é empregada agora por Miquel Barceló para dar título á exposición que nestes meses primeiros de 2024 enche o piso Principal da Casa Milà, La Pedrera. Unha mostra que xunta os traballos de Barceló perante 30 anos en cerámica, principalmente cerámica; traballos con barros e arxilas. Poida que non sexan os traballos máis coñecidos do autor da decoración da capela do Santísimo, na catedral de Palma de Mallorca, pero leva anos e anos dedicando tempo e esforzos á creatividade con eses materiais tan básicos, tan nas raizames de calquera cultura. Quizais por iso, tamén, Barceló afirma que la ceràmica és la mare de la pintura. Pintura amplificada. Se Barceló titula a súa propia antolóxica con esa declaración de Shelley é porque el comparte a reverencia polos logros estéticos e conceptuais da Grecia antiga. Como balear sempre hai -na base de todas as súas actividades- un recoñecemento mediterráneo. Poida que sinta ben identificado coa cantiga de Joan Manuel Serrat.

Xa se sabe que Miquel Barceló, un dos artistas contemporáneos máis recoñecidos a nivel mundial, ten traballado moitos eidos plásticos. É pintor e escultor, pero tamén se lle coñece e moito polos seus traballos como debuxante e ilustrador. Só para Círculo de Lectores ten ilustrado varias obras literarias das máis emblemáticas de Occidente: La Divina Comedia, de Dante, por exemplo. A mostra Barceló. Ceràmiques. Tots som grecs xunta máis de 100 obras do artista, cerámicas que están acompañadas (e completadas) con pinturas, debuxos e bastantes cadernos nos que ía tomando notas; así como dous vídeos que axudan moito a comprender os xeitos de traballar de Barceló. A visita realízase de maneira cronolóxica, comezando polas súas primeiras cerámicas, alá polo ano 1984 e chegando ata o día de hoxe.

A exposición compleméntase con moitas actividades (faladoiros, concertos de música) pola cidade de Barcelona, e algunhas outras pola cidade de Palma, como a que se presenta na Fundació Toni Catany; trátase de fotografías que o excelso fotógrafo -Toni Catany- tirou de cerámicas e obras de Barceló. E tamén coa edición dun magnífico e interesante catálogo no que se poden ler artigos de estudosos das súas creacións, así como comentarios do propio artista sobre pezas concretas. Así a carón da vasilla Vase de Pêche, 1996, Barceló comenta: Probablement ces oevres avec hameçons sont à l’origine de parois de la chapelle à Palma. Pas à cause des hameçons mais de la manière dont les poissons sortent de la boue, de l’argile. C’est à ce moment-là que j’ai eu envie d’agradir le geste. L’argile devient peinture.

Barceló. Peixos, 2003

Barceló. Ceràmiques. Tots som grecs. Harmattan. Accións físicas, creating action

A orixe das cerámicas de Barceló (...) sitúase a mediados dos anos 1990 perante unha estancia do artista en África. O propio Barceló xa contou que estando no País Dogón, unha zona remota da república de Mali, África Occidental, en 1995, e despois de días con vendavais intensos que enchían todo de po, sendo imposible debuxar ou pintar, comezou a traballar co barro.(E. Juncosa, Una història de la matèria, comisario no catálogo da exposición).

O País Dogón é unha rexión situada aproximadamente no centro de Mali, preto da fronteira con Buekina Faso. É unha zona particular, onde viven as comunidades Dogón, e instalada en pleno sahel, a ancha franxa estremeira co propio deserto do Sáhara; un clima árido, tropical semidesértico. No inverno, cando as temperaturas son máis baixas (rondando os 20º) sopra o vento harmattan, un vento alisio do nordeste que sopra en dirección ao Golfo de Guinea, moi seco e forte, e mormente entre os meses de novembro e marzo. Ese vento que chega do Sáhara levanta moito po e provoca unha atmosfera molesta e abrancazada. Nesas condicións atopouse Miquel Barceló no inverno de 1994, que estaba pasando uns meses precisamente alí. Posteriormente volveu moitas veces. Ao non poder pintar nin debuxar porque todo se inzaba de area, obrigando a ter todo pechado, Barceló, para non estar sen facer nada, comezou a mirar que facían as mulleres (as responsables de elaborar os útiles de barro para usos domésticos). E dese xeito comezou a traballar o barro para logo pasar a facer algunha pezas concretas. Dese primeiro inverno (as primeiras pezas que coceu Barceló están agora expostas na Pedrera) o que máis destacan son as cabezas; cabezas bastas, primitivas -case caveiras humanas e de outros animais- que o artista elaborou seguindo os pasos que levaban centos de anos executando as mulleres dogón.

Posteriormente, xa en Mallorca, Barceló foi afondando nos coñecementos da artesanía dos oleiros, aos comezos quixo saber iso: as técnicas artesanais. A creación artística virá despois. As cerámicas de Barceló pódense entender como unha extensión da súa pintura. Visitar na Pedrera Barceló. Ceràmiques. Tots som grecs é asistir á celebración creadora deste artista matérico. Barceló nas súas pinturas máis coñecidas e en diversas épocas sempre aposta por introducir nos lenzos, nas pinturas moita materia; tense dito, e é doado comprobalo, que moitas pinturas de Barceló teñen tres dimensións: nalgunha que se pode ver agora na Pedrera o artista meteu por riba do lenzo tramas metálicas que lle permitisen precisamente iso: a terceira dimensión.

Barceló. Cossiol amb flor vermella, 2012

A cerámica é unha forma extrema de pintura -ten declarado Miquel Barceló- a min permitiume dar un salto e pasar do Neolítico ao século XXI. As cerámicas, por tanto, son parte importante da creatividade do autor da cúpula da sala XX das Nacións Unidas, confeccionada entre 2007 e 2008. Esa cúpula en teoría está pintada, pero pintada en relevos, con estalactitas, como unha cova na que habita a humanidade.

Como se pode apreciar nas numerosas obras expostas en Barceló. Ceràmiques. Tots som grecs, Barceló é un artista que aposta polo esforzo físico. Xa o fai coas pinturas. A imaxe típica de Barceló é se presente coa roupa chea de materia, xa pictórica, escultórica ou de arxila. É artista de acción. Na presentación da exposición Barceló declarou que a relación coa cerámica é física. Trabállase co corpo. Un partidario da creating action, da acción, da actividade fronte a calquera material. Máis aínda na cerámica que xa per se esixe o amasado, a preparación, o traballo no torno (ou manual). Barceló é un creador físico. Agora na Pedrera está instalado un vídeo moi revelador do que se está a dicir: Paso doble (2006). Paso doble foi un encargo que o festival de Teatro de Avignon lle fixo a Barceló, unha performance en toda regra. No vídeo -interesatísimo- vese ao propio Barceló e ao coreógrafo Josef Nadj que actúan sobre unha base de barro xa preparado que ten dúas partes, unha horizontal, no chan, e outra vertical, como unha parede de fondo. Perante máis de 40 minutos os dous artistas van atacando o barro coas súas mans, con todo o corpo, con ferramentas agrarias e de xardinería, todo para acabar convertendo aquelas superficies lisas de barro en paisaxes, faces e todo tipo de representación que se queira aceptar. Hai moita improvisación. O resultado é un xigantesco espectáculo; espectáculo físico. Barceló ten afirmado que, cando facían Paso Doble quedaban moi cansos.

Ese cansazo ten moito que ver cos xeitos “físicos” de traballar do artista, e tamén co seu respecto por todo o que sexa traballo manual; polas artesanías. Cando traballou arreo para inzar de decoración a capela do Santísimo da catedral de Palma, el mesmo declarou que estaba a traballar e a seguir as liñas que lle marcaban Antoni Gaudí, que xa fixera unha intervención nas ábsidas desa catedral, e mais dun dos axudantes fundamentais do arquitecto: Josep María Jujol, arquitecto e gran amante da natureza. Por iso agora as cerámicas de Barceló encaixan perfectamente no Principal de La Pedrera, o edificio emblemático de Gaudí e no que tamén traballou moito Jujol. Por outra parte, e seguindo coa artesanía, Barceló ten afirmado que viaxou polas xeografías españolas seguindo un libro de Llorens Artigas, o gran ceramista da segunda metado do século XX. Llorens Artigas -que rematou por ter un taller con varios fornos en Gallifa- estudou no Xapón e foi amigo e compañeiro de Joan Miró. As numerosas e diversas cerámicas de Miró (incluíndo os paneis que fixo para moitas institucións) son impensables sen as aprendizaxes de Llorens Artigas.

Barceló. Família, 2015

Agora na Pedrera pódese apreciar como o azar xoga un papel importante na creación das pezas do artista. El mesmo comenta que comeza unha peza pero non sabe ben cal será o resultado final. No proceso creativo está parte da orixinalidade. A carón da peza que leva por título Deserto Giallo (1999), Barceló escribe: El cos de les cabres i ases està fet amb trossos de lava. Pedres de lava recollides al Vesuvi. Evidentment, la lava pot sobreviure al forn de 12.110 graus. O que fixo o creador foi elaborar a peza no torno e, mentres estaba a arxila fresca, foi tirando con forza contra a cerámica pedras negras de lava, que agora se poden ver incrustadas, e posteriormente pintou os corpos dos animais. As pedras foron impactar onde o azar determinou.

Nun intre do percorrido polas salas chégase a unhas mesas onde se atopan vasillas negras. A cerámica negra ten moitos e moitos séculos de antigüidade. O que quizais non sabe Barceló é que no concello de Sober (sur de Lugo, Ribeira Sacra) na parroquia de Gundivós elabórase cerámica negra moi estilizada e elegante desde sempre; unha cerámica de alta calidade.

Para rematar a exposición Barceló. Ceràmiques. Tots som grecs Barceló instalou nun recuncho unhas cantas pezas que el mesmo titula Tótems. Trátase de ladrillos de grande dimensións (poida que de metro por metro), amoreados uns por riba de outros, e logo intervidos. Xa se sabe como “intervén” Barceló as pezas: atacándoas con¡as mans e ferramentas. Ao ver eses tótems con pezas esaxeradamente grandes a referencia ao Pop Art vén soa. Estará a transitar esas estéticas agora o artista balear?

Lito Caramés

EXPOSICIÓN: Barceló. Ceràmiques. Tots som grecs.

Fundació Catalunya-La Pedrera

ata o 30 de xuño de 2024

Barceló. Tótems, 2018

[aykutilter]

Test 3 Yazının Altın Çağları Tipografi Aykut ilter  Tipografi I 3. YAZININ ALTIN ÇAĞLARI YazdırTüm Cevapları GizleMateryal Listesine Dön ________________________________________ Soru 1: Kitabın ilk biçimi hangisidir? (Çoktan Seçmeli) Script Papyrus ✔ Codex Scroll Vellum Cevap : Codex ________________________________________ Soru 2: Parşömen hangi krallık zamanında icat edilmiştir? (Çoktan Seçmeli) Babil Lidya Likya ✔ Pergamum Ephesus Cevap : Pergamum ________________________________________ Soru 3: Roma kapital yazının daraltılmış, hem başlık harfi hem de metin yazmak için geliştirilen ve miladi çağların başında daha yaygın olarak kullanılan yazı sürümü hangisidir? (Çoktan Seçmeli) Kare kapitaller ✔ Rustikler Anziyaller Adasal Minisküller Karolenj Küçükharfleri Cevap : Rustikler ________________________________________ Soru 4: Hangisi “ulusal yazılar”dan değildir? (Çoktan Seçmeli) Beneventan Curiale Lombardik Merovenj ✔ Roman Cevap : Roman ________________________________________ Soru 5: Bugün kullandığımız Latin abecesinin ikili dizgesinin küçükharflerine örnek teşkil eden yazı türü hangisidir? (Çoktan Seçmeli) Kare kapital Anziyal Adasal Miniskül ✔ Karolenj Gotik Cevap : Karolenj ________________________________________ Soru 6: Hangisi gotik yazı türleri arasında yer almaz? (Çoktan Seçmeli) ✔ Visigotic Textur Batarde Rotunda Fraktur Cevap : Visigotic ________________________________________ Soru 7: Hangi olay Batı kültürünün antik çağ birikimini yeniden ele geçirmesine yol açar? (Çoktan Seçmeli) İskenderiye’nin Yağmalanması Haçlı Seferleri Konstantinopol’ün yağmalanması ✔ İstanbul’un Fethi Coğrafi Keşifler Cevap : İstanbul’un Fethi ________________________________________ Soru 8: Hangi yazı türü hümanistler arasında değersiz görme ya da bir aşağılama terimi olarak kullanılmış, ‘kaba’ ve ‘barbar’ sözcükleriyle eşanlamlı tutulmuştur? (Çoktan Seçmeli) Kare kapital Anziyal Adasal Miniskül Karolenj ✔ Gotik Cevap : Gotik ________________________________________ Soru 9: Hangisi Batı kültürünün kaligrafi (yazı sanatı) ustaları arasında değildir? (Çoktan Seçmeli) ✔ Petrarca Tagliente Palatino Mercator Barbedor Cevap : Petrarca ________________________________________ Soru 10: Hangisi hümanistik italik yazının en büyük ustası olarak kabul edilir? (Çoktan Seçmeli) Avicenna Thomas von Aquin ✔ Ludovico degli Arrighi Boccacio Francesco Petrarca Cevap : Ludovico degli Arrighi

[vianngoestoeurope]

Assignment #2

Annotated Bibliography

Dewidar, Khaled M. “The Pantheon.” Research Gate, British University in Egypt, 24 June 2019, https://www.researchgate.net/profile/Khaled-Dewidar/publication/310597898_The_Pantheon/links/5832c05808ae004f74c32e49/The-Pantheon.pdf. Accessed 21 December 2023.

Khalen Dewidar, Professor at The British University of Egypt discusses the religious significance of the Roman Pantheon in correlation to its structural engineering. Khalen addresses a number of significant features that are imperative to my study. We learn about the Ancient Roman religion, architecture, religious tolerance and transition, and cultural heritage. My paper will discuss the historical significance of the monument and its functionality as a church and this resource will aid in looking at the history to tie into the present.

Hannah, Robert. “The Pantheon as a Timekeepers.” El Soliel Temps, University of Otago, December 2009, https://www.elsolieltemps.com/pdf/gnomonica/235.pdf. Accessed 21 December 2023.

Robert Hannah, Professor of Classics at the University of Otago, NZ researched artifacts from the Pantheon and analyzed their significance to both physical purpose and symbolic representation. Hannah focused on the time during the creation of the Pantheon and pre-development. He explored the timekeeping systems and how the monument plays a role in the creation of sundials and gnomonics. Hannah takes the physical evidence and ties it together with the symbolic meanings relating to Roman gods and goddesses. This will be useful in tying into my research paper as we learn about the historical significance in relation to time keeping and how this ultimately shapes the timekeeping we see today. 

MacDonald, William Lloyd. The Pantheon: Design, Meaning, and Progeny. Harvard University Press, 2002.

William MacDonald, architectural historian specializing in Roman architecture shares an analysis of the Pantheon identifying historical influences on future architectural developments based on its design and symbolic meanings. MacDonald’s research stems from extensive research and archaeological evidence. During his book he touches on deconstructing the design, breaking down the materials used, and exploring the significance of the various features such as oculus’ and rotunda’s. He later ties in the architectural design to inspiration and influence on future structures such as the St. Paul’s Cathedral in London. This book will assist in addressing the Pantheon’s significance by inspiring future structures. I intend on using the research from the architectural analysis to build the argument.

Marder, Tod A., and Mark Wilson Jones, editors. The Pantheon: From Antiquity to the Present. Cambridge University Press, 2015. Accessed 20 December 2023.

Tod Marder, art historian and Mark Jones, architectural historian present a collection of essays by various scholars researching the Pantheon’s history,

architecture, and cultural significance from different periods. The collection of essays will provide insight into the cultural significance throughout time. This will allow me to gain a better understanding of how the historical significance has evolved along with how society viewed the monument. Essays are drawn from a vast background of contributors including experts in architecture, art history, literary studies, and more. This provides more diversity in perspectives which will be insightful to my research. It is also noted that the essays do carry a general theme of innovation, symbolic interpretation, and cultural representation.

“Pantheon Rome | Basilica of Santa Maria ad Martyres.” Pantheon Roma, https://www.pantheonroma.com/home-eng/. Accessed 21 December 2023.

The “Pantheon Rome '' is a resource for visitors who are interested in visiting the monument in today’s world. While it is limited in information and does have a promotional focus on tourism, it does provide insight on practical information for visiting the site. The resource includes a brief overview of the Pantheon, describing the Pantheon’s features including the oculus, rotunda, coffered ceiling, and bronze doors. Shares information on visiting the sign and touches on a basic level of the cultural and architectural influence. This source is helpful for my research as it provides insight to the functionality of the monument today. It takes a step away from looking at the Pantheon from the lens of what it was when it was built and looks at it as how a tourist would.

Schuddeboom, Feyo L. “The Conversion of Temples in Rome.” Journal of Late Antiquity, John Hopkins University Press, 2017, https://web.archive.org/web/20190127205739id_/https://muse.jhu.edu/article/670877/pdf. Accessed 21 December 2023.

Feyo Schuddeboom, an archaeologist specializing in late Roman and early Christian archaeology challenges the traditional interpretations of the Pantheon in relation to religious conversion. Schuddenboom focuses on rejecting the symbolic emphasis, criticizing the simplistic views and arguing that the focus overlooks the complex social and economic factors during the period. It is beneficial to include this research in my article as there are differing views to take into consideration. The focus of my paper is on the historical significance of the Pantheon and it would be close-minded to assume that everyone shares the same thoughts. As such, I wanted to include a contrary research article to look at the other side of the argument. Schuddenboom does an effective job simulating debate with this article as he challenges established viewpoints and does draw on a wide array of archaeological and historical evidence to base his claims.

“The Pantheon.” University of Washington, 9 August 2004, https://depts.washington.edu/hrome/Authors/asc1/ThePantheon/pub_zbarticle_view_printable.html. Accessed 21 December 2023.

This website provides a general overview of the Pantheon addressing topics of historical background, architectural features, and cultural significance. I will primarily be using this source to get a better understanding on the historical significance of the Pantheon as a dedication to the Roman gods under Emperor Hadrian. While it is limited in depth, it does provide a brief outline of historical aspects to help start off my research. 

Thun, Erik. “The pantheon in the middle ages — Rutgers, The State University of New Jersey.” Research With Rutgers, 1 January 2015, https://www.researchwithrutgers.com/en/publications/the-pantheon-in-the-middle-ages. Accessed 21 December 2023.

Erik Thun, a historian specializing in medieval Rome and the Papacy examines the Pantheon during the Middle Ages. There are some conflicting views regarding the usage of the Pantheon during the Middle Ages, Thun argues that its usage during this period was significant and acted as a symbol of imperial continuity for the subsequent rulers. He touches on the religious significance in the evolution from a pagan temple to a Christian church. This source will be useful in looking at a period that was seemingly overlooked by a number of other historians. I intend on using this source to touch on the historical significance during a generally neglected period for this monument.

Waddell, Gene. “Creating the Pantheon.” Lerma, College of Charleston, 24 June 2019, https://en.lerma.it/erma_assets/BookStore/Preview/00012158-preview.pdf. Accessed 21 December 2023. 

Gene Waddel, an architectural historian, dives in design and construction of the Pantheon. Waddel challenges the traditional interpretations of the Pantheon’s construction with alternative interpretations based on empirical evidence. Furthermore, there is a focus on the Roman concrete which Waddel highlights as innovative and delves into its composition, casting methods, and structural capabilities. I intend on using this book to look at the historical significance and functionality. One of the challenges I may run into while using this source is the technical language pertaining to architectural concepts. 

Williams, Caitlin. “A Study of the Pantheon Through Time.” Union | Digital Works, July 2018, https://digitalworks.union.edu/cgi/viewcontent.cgi?article=1640&context=theses. Accessed 21 December 2023.

Caitlin William explores the Pantheon's cultural and artist influence across different periods. This article will aid my research in increasing my understanding of the cultural and artist impacts as a result of the creation of this monument. Williams also analyzes the transformation into a Christian church and its use throughout history. As my paper addresses the functionality of a church today, this will be assistive in supplementing the additional sources I have analyzing the Pantheon as a church throughout history.

[sharing-travel-experiences]

Roma - Panteão

O Panteão é um antigo templo romano e, desde 609 d.C., uma igreja católica. O edifício é cilíndrico com um pórtico de grandes colunas coríntias de granito sob um frontão. Um vestíbulo retangular liga o alpendre à rotunda, que está sob uma cúpula de caixotões de cimento, com uma abertura central (óculo) para o céu. Quase dois mil anos depois de sua construção, a cúpula do Pantheon ainda é a maior…

[europeposts]

Castel Sant'Angelo

Mausoleum in Rome, Italy

Castel Sant'Angelo

The Mausoleum of Hadrian, also known as Castel Sant'Angelo, is a towering rotunda in Parco Adriano, Rome, Italy. It was initially commissioned by the Roman Emperor Hadrian as a mausoleum for himself and his family. The popes later used the building as a fortress and castle, and is now a museum.

Located in: Parco della Mole Adriana

Address: Lungotevere Castello, 50, 00193 Roma RM, Italy

Construction started: 135 AD

Architect: Decriannus

Burials: Hadrian, Marcus Aurelius, Faustina the Younger, MORE

Opened: 139 AD

Phone: +39 06 681 9111

Castel Sant'Angelo - Wikipedia

Roma

[beautyandtheharpsichord]

 Roma Rotunda ~ Photos by Jakob Straub

[larabesquelalibrairie]

Roma Rotunda Jakob Straub

Text(s) by Mark Gisbourne, graphic design by Jakob Straub

Hatje Cantz Verlag , 2015, 172pages,  deutsch / english, Leporello (18 Meter)

euro 60,00

Roman dome architecture at the interface between art and design

For many years now, Jakob Straub (*1975 in Berlin) has been taking photographs of the interiors of domes in churches and profane buildings in Rome using an analog medium-format camera. In this long-term project, the graphic designer and photographer is not concerned with an exhaustive documentation of, for instance, the numerous churches in the city. Rather, what he is interested in is the original idea behind the design of the structures—and thus by means of a specially developed photographic technique he reduces the architecture to its basic form and brings it back to the drawing board, so to speak. In his selection of motifs, because he does not focus on their art-historical relevance his paths often lead him to structures off the beaten track that are not listed in any travel guide. The publication presents thirty-six sacred rotundas, symbols of perfection and impermanence, on an eighteen-meter-long accordion fold.

L’arabesque La Librairie

Largo Augusto angolo via Francesco Sforza , 20122 Milano

tel                39.02.781104

mail :           lalibrairie@larabesque.net

web:            www.larabesque.net

instagram    larabesquelalibrairie

facebook     L'arabesque Cult Store & Cafè

[rubynekklace]

Mausoleum of Maxentius (4th century). Appian Way, Roma, Italia

[my-italian-adventure]

Fountain in Rotunda Square, Roma, near Pantheon.

[toowiredtobesafe]

Morning light at the Pantheon. No lines, little crowd. #havelovewilltravel #optimisticanthro #italy #italia #rome #roma #pantheon #architecture #morninglight #rotunda #travelphotography #classicalarchitecture (at Pantheon)

[darkravenclaw]

The Pantheon in Rome. 

Built by Hadrian in 126 AD at the same site where Marcus Agrippa commissioned the original Pantheon which was destroyed in a fire in the 80 AD and Domitian rebuilt it in 110 AD, and was yet again burnt down.

Inscription:  M·AGRIPPA·L·F·COS·TERTIVM·FECIT which means Marcus Agrippa, son of Lucius, three times consul, built this.

“Pantheon” means “all the gods”. This temple, like previous Hadrian’s architecture such as the Temple of Venus and Roma, infuses Greek and Roman architecture together.

Defining visual factors includes the oculus at the top of dome that allows light to stream in, the “surprise” one would get by entering into the circular drum, the facade, portico and rotunda.

Over time, the Pantheon was used as a church and was known as Church of St. Mary’s and the Martyrs from 7th century AD.

[flaneurissimo]

oculus

after nearly two millennia,  still the world’s largest unreinforced concrete dome

source: flaneurissimo

[mantecadecacao-blog]

Magnani aperta

Iba a llamar a esta crónica ‘Dos mujeres’, en alusión a Anna Magnani y Arantxa de Juan, esa otra loba de la escena capaz de provocar en su piso de Madrid un terremoto interpretativo a la altura de la diva romana. Pero el título remite claramente al papel que una joven Sofía Loren le arrebató a la consagrada Anna, y presiento que a esta última no le hubiera hecho ninguna gracia, cuando el sarcasmo no está a la altura, mejor no hacerlo.

Magnani aperta es un monólogo de dos horas al que la actriz, y ahora también guionista y directora, Arantxa de Juan ha dedicado casi tres años de estudio y redacción y al que presta su propia casa, para mostrarnos los últimos días de la diva italiana. La acción comienza en el dormitorio de una moribunda Magnani, en su piso romano sitiado por paparazis. Tras un amargo despertar acompañamos a la protagonista de Roma, città aperta hasta el salón, y compartimos con ella el repaso a una vida de gloria y soledad, esperando a un hijo que nunca llega, y aceptando finalmente el brazo de su amigo Roberto, el mismo al que años atrás arrojó un plato de espagueti a la cabeza, que acude para dirigirla por última vez en su paseo hacia la muerte. En el ínterin la vemos cantar contra Musollini, gritar a los buitres que aguardan su final desde la calle, trepar a una mesa como una fiera en celo engañada por su amante, ser vanidosa y cercana, diosa y maternal, Magnani frente a Nannarella, con esa versatilidad de la mujer italiana para entregarse con igual talento a la pasión amorosa y a la devoción familiar. Magnani / De Juan llora su tristeza de niña abandonada, celebra su Óscar arrebatado a la mismísima Katherine Hepburn, despotrica contra el ‘iceberg sueco’ que le robó a Rossellini… y a cada uno de sus movimientos cansados nos inunda con la rotunda sensualidad de una mujer madura.

Tras la obra, la actriz y guionista nos ofrece un coloquio, y alguna anécdota que no pudo intercalar en el monólogo, como que Rossellini se negó a que un maquillador profesional arreglara el cadáver de su amiga y fue él mismo el que la pintó y cubrió sus canas con rímel negro para que, en su despedida, la romana estuviera a la altura de su leyenda. Nos hace partícipes de las dificultades de montar la pieza y de cómo su interés por la diva fue convirtiéndose en obsesión y acabó ‘imbuyéndose’ de la Magnani, guerreando, como hubiera hecho ella, para encarnarla. El espectador observa el programa de la obra, a un lado Arantxa, al otro Anna. Y ya no percibe la diferencia.

La obra volverá a representarse en Madrid, calle Desengaño, en septiembre de 2019. 

www.magnaniaperta.com

[fyjjong]

below is a list of confirmed fan planned memorials and vigils that are set to be held for jonghyun in the coming weeks. most so are based in the united states. all the times are in local time. december 22nd: lafortune park, tulsa, oklahoma, usa - 6pm december 22nd: rogers park, beaumont, texas, usa - 6:30pm december 22nd: whetstone park of roses, columbus, ohio, usa - 7pm  december 22nd: monument general martin migeul de guemes, salta, argentina - 7pm december 22nd: downtown (ferris wheel), seattle, washington, usa - 7pm december 22nd: reid rose park garden, tuscon, arizona, usa - 7pm december 22nd: graceada park, modesto, california, usa - 7pm december 22nd: vinoy park, saint petersburg, florida, usa - 7pm december 22nd: nicholas sheran park, lethbridge, alberta, canada - 7pm december 22nd: korea mart mesa, mesa, arizona, usa - 8pm  december 22nd: gm ren cen, detroit, michigan, usa - 8pm december 22nd: durham central park, durham, north carolina, usa - 8pm december 22nd: lake eola park, orlando, florida, usa - 9pm december 22nd: mont des arts, brussels, belgium - 10pm

december 23rd: thompson memorial park, miami, florida, usa - 10am (memorial) december 23rd: starbucks, wein hauptbahnof, vienna, austria - 11am december 23rd: plaza pikashop, mexico city, mexico - 11am (memorial) december 23rd: albert park, auckland, new zealand - 12pm (memorial) december 23rd: kcc wave hall, korean cultural center, taguig, phillipines - 1pm december 23rd: place de la republique, strasbourg, france - 1pm (memorial) december 23rd: parque san borja, barrio san proja, santiago, chile - 1pm (memorial) december 23rd: berczy park, toronto, ontario, canada - 1pm (memorial)   december 23rd: mise otaku, rio bravo, tamaulipas, mexico - 1pm (memorial) december 23rd: rua do porto piracicaba, piracicba, brasil - 1:30pm (memorial) december 23rd: london paddington station, paddington, london, uk - 2pm (memorial) december 23rd: parque la carolina cruz del papa, quito, ecuador - 2pm (memorial) december 23rd: tba (central station), antwerp, belgium - 3pm december 23rd: museu oscar niemeyer, curitiba, brasil - 3pm (memorial) december 23rd: korean cultural center, berlin, germany - 3pm (memorial) december 23rd: saint pio park, bucaramanga, satander, colombia - 4pm december 23rd: macroplaza, nuevo leon, mexico - 4pm (memorial) december 23rd: syntax station, athens, greece - 4pm (memorial) december 23rd: federal hill, baltimore, maryland, usa - 4:30pm december 23rd: jack read park, picayune, missouri, usa - 4:45pm december 23rd: to be announced, san francisco, california, usa - 5pm december 23rd: wilshire boulevard, los angeles, california, usa - 5pm december 23rd: huajsapata, puno, pera - 7pm (memorial) december 23rd: hunt park, riverside, california, usa - 5pm december 23rd: cobble creek drive, corona, california, usa - 5pm (memorial) december 23rd: enid a haupt garden, washington, d.c., usa - 5pm (memorial) december 23rd: gangnam k-pop cafe, santiago de queretaro, mexico - 5:30pm december 23rd: angel of independence, mexico city, mexico - 5:55pm (memorial) december 23rd: oyster creek park, sugarland, texas, usa - 6pm december 23rd: downtown norfolk, norfolk / tidewater, virginia, usa - 6pm december 23rd: jackson park, milwaukee, wisconsin, usa - 6:30pm december 23rd: orchards park and pavilion, bentonville, arkansas - 7pm december 23rd: to be announced, scaramento, california, usa - 7:30pm december 23rd: 400 block of state, madison, wisconsin, usa - 8pm december 23rd: river torrens rotunda, adelaide, australia - 10pm december 23rd: downtown, boston, massachusetts, usa - 11:30pm (memorial) december 24th: plaza pikashop, mexico city, mexico - 11am (memorial) december 24th: seaside park and beach, bridgeport, connecticut, usa - 1pm december 24th: korean cultural center, berlin, germany - 3pm (memorial) december 24th: birch bay federal building, indianapolis, indiana, usa - 6pm december 25th: korean cultural center, berlin, germany - 3pm (memorial) december 25th: jardim japones jusaku fujita, fortaleza, brasil - 4:30pm (memorial) december 26th: korean cultural center, berlin, germany - 3pm (memorial)

december 27th: giardini pubblici arsenale, verona, italy - 1pm december 27th: parco 2 guigno, bari, italy - 1pm  december 27th: parco delle cascine, firenze, verona, italy - 1pm december 27th: parco monte claro, cagliari, italy - 1pm december 27th: piazza castello, torino, italy - 1pm december 27th: piazza del popolo, roma, italy - 1pm  december 27th: piazza della concordia (28), salerno, italy - 1pm december 27th: piazza della repubblica, livorno, italy - 1pm december 27th: piazza della vittoria, genova, italy - 1pm december 27th: piazza garibaldi, sassari, italy - 1pm december 27th: piazza maggiore, bolgona, italy - 1pm december 27th: piazza mercato del pesce, trapani, italy - 1pm december 27th: piazza napoleone, lucca, italy - 1pm december 27th: piazza plebisciot, napoli, italy - 1pm december 27th: ponte del mare, pescara, italy - 1pm december 27th: to be announced, milano, italy - 1pm december 27th: villa bellini (gazebo), catania, italy - 1pm  december 27th: villa comunale, foggia, italy - 1pm  december 27th: villa fabbricotti, livorno, italy - 1pm december 27th: hing hay park, seattle, washington, usa - 2pm december 27th: korean cultural center, berlin, germany - 3pm (memorial) december 27th: gallup park, ann arbor, michigan, usa - 5pm  december 27th: gammel hellerup gymnasium, kobenhavn, denmark - 6pm (memorial) december 27th: nordpark, dusseldorf, germany - 8pm

december 28th: korean cultural center, berlin, germany - 3pm (memorial) december 28th: linn park, birmingham, alabama, usa - 4pm  december 28th: victoria park, london, ontario, canada - 6pm

december 29th: cmentarz sw. jakuba, olsztyn, poland - 1pm (memorial) december 29th: to be announced, frankfurt, germany - 1pm (memorial) december 29th: green park, westminster, london, uk - 3pm (memorial) december 29th: korean cultural center, berlin, germany - 3pm (memorial)  december 29th: to be determined, koszalin, poland - 3pm (memorial)  december 29th: to be determined, starogard gdanski, poland - 3pm (memorial) december 29th: to be determined, wroclaw, poland - 3pm (memorial) december 29th: to be determined, zielona gora, poland - 3pm (memorial) december 29th: to be announced, torun, poland - 3pm (memorial)  december 29th: to be determined, cardiff, wales, uk - 5pm (memorial)

december 30th: korean cultural center, berlin, germany - 3pm (memorial) december 30th: arts park hollywood, hollywood - miami, florida, usa - 6pm december 30th: location and city to be announced, new jersey, usa - 5pm december 30th: lake ella, tallahassee, florida, usa - 6pm december 30th: the rose garden, kansas city, missouri, usa - 8pm december 30th: fitzroy gardens, melbourne, victoria, australia - 8pm december 31st: sedgwick country park, wichita, kansas, usa - 6:45pm january 5th: mile square park, fountain valley, california - 5pm january 6th: to be announced, reno, las vegas, usa - 4pm january 6th: to be announced, dallas, texas, usa - 6:30pm january 6th: denman estate park, san antonio, texas, usa - 7:30pm january 6th: to be announced, los angeles, california, usa - time tba january 7th: parque flamboyant goiania, goiania, brazil - 2pm (memorial)