This article analyzes the types, locations, and visual characteristics of charcoal graffiti from Herculaneum. This type of ancient inscription has been largely ignored in scholarship since the ...delicate medium has left many of these charcoal graffiti with uncertain readings, and few remain extant. I show that while charcoal graffiti were produced differently than inscribed graffiti at Herculaneum, the types of messages are similar. Yet the size, paleography, and visual impact differ dramatically between the two production methods. Charcoal graffiti were typically much larger than their inscribed counterparts, which, I suggest, resulted in their being written (or being allowed to be written) in different areas of the city. Using archival research on the field notebooks of Matteo Della Corte, the epigrapher who first documented the graffiti from Herculaneum, I examine the paleography, aesthetics, and visual impact of these charcoal graffiti. His line drawings provide, in many cases, our only glimpse into the layout, handwriting, design, and visual impact of the charcoal graffiti. While few, the charcoal graffiti of Herculaneum illustrate a class of inscriptions that was likely ubiquitous in the ancient world and provide important insights into the epigraphic fabric of the city.1
Recent research focused on the regions of Malatya and the northern Levant has allowed scholars to improve our understanding of the political history of the polities of Malizi and Palastina. The ...present article examines recent archaeological evidence from Arslantepe and several northern Levantine sites alongside a corpus of textual and iconographic data from the upper Euphrates and the northern Levant in an attempt to identify Early Iron Age networks of cultural exchange that resulted in shared specialized cultic and artistic knowledge. While networks of interaction between these regions may have begun as a product of persistent sociopolitical ties following the fragmentation of the Hittite Empire, this article proposes that it is due to the resilience of major cult centers that Malizi and Palastina were able to exchange specialized cultic knowledge and artistic traditions and employ them in the definition of their new Iron Age cultic and political communities.
Resumo: Este artigo estuda a embaixada extraordinária de D. João V a Roma (1716), liderada pelo marquês de Fontes, D. Rodrigo Annes de Sá Almeida e Meneses. A partir da análise política do programa ...iconográfico de coches da comitiva, atualmente no Museu Nacional dos Coches, em Portugal, os elementos alegóricos são identificados, comparados a outras fontes visuais e relacionados a relatos coetâneos e a passagens da obra camoniana. Além da perspectiva que defende a suntuosidade do período joanino como forma de exaltação do poder da Coroa portuguesa, investiga-se quais outros significados ou mensagens alegóricas estão subjacentes ao conjunto escultórico.
Abstract: This paper studies D. João V’s extraordinary embassy to Rome (1716), led by the Marquis of Fontes, D. Rodrigo Annes de Sá Almeida e Meneses. Based on the political analysis of their iconographic program, the allegoric elements of the delegation’s coaches, currently exhibited in the National Coach Museum, in Portugal, are identified, compared with other visual sources, and connected to contemporary reports and passages of Camoes’ work. A perspective defending the sumptuousness of the Joanine period as a form of exaltation of the power of the Portuguese Crown, and the allegorical messages or meanings subjacent to the sculptural ensemble are also investigated.
It is the purpose of this thesis to reconsider the ivories of early medieval England with an in-depth analysis drawing on various disciplinary approaches. The last extensive published scholarly work ...on these ivories was that produced over forty years ago by John Beckwith (Ivory Carvings in Early Medieval England, 1972). Since then there has been little in the way of scholarly investigation of these objects beyond occasional studies of individual ivories in the form of articles or as entries in catalogues of museum collections – or even more rarely, as a passing mention within monographs on Anglo-Saxon art in general. While Beckwith’s publication was, by comparison, comprehensive in its coverage, there were, nevertheless, some ivories that were not included – in some cases because they have come to light since 1972. Generally speaking, however, the scholarly trend has been to consider the ivories of Anglo-Saxon England only in relation to continental workshops (namely, Carolingian, Merovingian or Italian centres of production), and most discussions of them has been from a formalist art historical point of view, concentrating on style rather than materiality or iconography. Such approaches fail to acknowledge the full potential of the ivories. To remedy this situation, this thesis will situate the publication and collection of Anglo-Saxon ivories between 1850-2015 as a means of explaining the nature of the scholarship as it exists today. This will be followed by chapters that first, examine the materiality, archaeology, economic footprint and social/cultural perception of ivory in early medieval England; second, re-assess the (potentially Anglo-Saxon) style of the ivory carvings; and third, that considers the iconographic significances of the carvings in order to situate them within the ecclesiastical milieux from which they emerged. In closing, these approaches will be brought together to examine the perceptions of value invested in the ivories – through their embellishments (precious metals and stones) and the iconography of the material of ivory in Anglo-Saxon England and the wider medieval world.
In Rome's Forum of Trajan fragments from architraval friezes with figurative motifs of seven different types have been discovered over the centuries: eagle-headed griffins and candelabra; ...eagle-headed griffins and tripods; eagle-headed griffins and cupids; lionheaded griffins, cupids and vases; cupids in acanthus; Victories killing bulls and dressing candelabra; sphinxes. The aim of this research is to investigate if there is a connection between these decorative motifs and the architectural structures where they were exhibited, and if their iconographic choice depends on their deeper significance in the Forum's wider context. Following an introduction to the history of the excavation of the Forum and to its different sections, for each frieze type is proposed a comprehensive analysis of all the fragments with an ascertained provenance from the Forum, which have never previously been studied together. Their location in the different buildings forming the Forum's complex, as identified through information from excavation reports, drawings and the relevant reconstruction of the architectural orders is discussed, as well as their iconography and comparison with other artworks and monuments, which attests that Trajan chose a traditional iconography already used in previous similar examples in contexts comparable to the various structures of Trajan's Forum. Against this background, we argue that the reliefs were part of a wider figurative programme, and Trajan expressed the messages he wanted to transmit through the traditional language of his predecessors. Griffins, cupids, Victories and sphinxes are polysemous mythological figures, attributes of different divinities: their symbolism related to diverse gods depending on their various aspects can be interpreted according to the function of the buildings forming the Forum when it is known, or can help to investigate the use of these structures when it is not known.
This essay investigates the origins, significance, and varied inflections of the figure of an angel in Renaissance representations of St. Roch. Although presumed to derive from the saint's ...hagiography-specifically, to depict his cure from bubonic plague by an angel-the exact relationship between text and image is more complex than one of straightforward narrative illustration. Textual priority cannot be assumed, as representations of the new saint preceded by nearly two decades the earliest extant biographies. Moreover, these early vitae make no mention of angelic involvement in Roch's healing. Rocketing to success as efficacious protector against plague in the late fifteenth century, Roch has been recently unmasked as a pious fiction. By interrogating the multiple reworkings of the angel-shown blessing, announcing, or actively airing with the tools of contemporary medicine-this essay elucidates the processes of saint formation and the key role of visual imagery in shaping worshippers' conception of the saint and the operation of his protective powers.
A pesquisa analisa o mercado iconográfico editorial, assim como as práticas pertinentes aos bibliotecários atuantes neste campo. Observa-se também a rotina laboral do nicho a fim de averiguar a ...existência de uma relação simbiótica com a Biblioteconomia. Com isso, propõe-se como objetivo principal investigar de que modo a iconografia editorial se estabelece ao perfil do bibliotecário, destacando, por sua vez, as contribuições da práxis biblioteconômica para o desenvolvimento do mercado iconográfico. O estudo tem caráter exploratório, abordagem quanti- -qualitativa e os procedimentos adotados foram a pesquisa bibliográfica e a aplicação de questionário. A pesquisa apresentou as dinâmicas próprias pertencentes à esfera da iconografia editorial e identificou congruência com as atividades equivalentes às práticas desenvolvidas pelo know-how do bibliotecário. Portanto, conclui-se haver um nicho mercadológico propenso à atuação biblioteconômica fundamentado em suas competências adquiridas pela formação como profissional da informação, o que colabora positivamente com o campo iconográfico.
The article tittled Melacak Makna Konsep Kerupaan Pada Lambang Instansi di Indonesia dengan Sumber Bentuk Matahari is intended to pursue the textual and contextual meaning of institution sign with ...basic shape of sun. With iconographic approach would be obtained deeper and broader meaning from a work of art. Through this approach, the artwork will be a major concern in reviewing the history of art, nevertheless still necessary to understand the contextual and symbolic aspects. As the results, sign with basic shape of sun is the cosmic center, cental, foundation point, origin, sangkan paran, or axis mundi. Therefore, it is as the sun that is the problem solving of many problematics in its era.
Luciano Del Castillo is a press photographer, who took a large series of pictures of the demonstrations organised on 20 and 21 July 2001 against the G8 Summit in Genoa. His image of a hooded man on ...an overturned car was published on the front page of the Corriere della Sera on 22 July. This is one of the main immediate framings of the stretched historical sequence known as “Genoa 2001”. This triple-voice panel, following on from a roundtable, held on 10 September 2021 during the “Genoa 2001-2021” conference at the ENS in Lyon, opens his personal photographic archive in several directions: the Italian history of the past half century and the visual construction of the G8 days, analysed from rare sources of the autonomous movement of the 1970s collected and commented by Jacopo Galimberti; political symbolism and its iconographic survivals in history; and, first of all, the sensitive memory of a photographer, witness and actor of the Genoa counter-summit, narrated in a passage in his book Pesto alla genovese (2021), some of whose photos are shown here for the first time.
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