copertina

1 - Marina De Franceschini, Villa Adriana. Accademia. Hadrian's Secret Garden. I. History of Excavations, Ancient Sources and Antiquarian Studies from the XVth to the XVIIth Centuries, 2016, pp. 240 integralmente stampate a cinque colori, con 261 figure n.t. e cinque piante pieghevoli di grande formato

STUDIES ON HADRIAN'S VILLA
Cm 22 x 32,2

Istituti editoriali e poligrafici internazionali, Pisa · Roma


Villa Adriana or Hadrian's Villa near Tivoli (Rome) is the largest and most famous Roman Imperial villa and needs no introduction. But the Accademia does, because is in a private property, in the southern part of the Villa, not open to visitors, and it is very little known and studied. This is why the author decided to study it, using for the first time digital technology and laser scanner to draw a new updated plan and discover its features. After the survey, the starting point was reading previous antiquarian sources and studies, collecting ancient maps and drawings, to see what had been done and studied before. It turned out to be an extraordinary journey among the greatest artists of all times, who visited and studied the Accademia and the rest of the Villa. This is how and why this book was born: to tell the story of the building and of its works of art, and to talk about the outstanding artists, antiquarians and architects who studied there and were inspired by its imposing ruins. Rediscovering this place is also important to understand the nature of the structure that some scholars believed to have been a villa within the Villa, that is to say the residence of Hadrian's wife, Vibia Sabina. There is no evidence about this, hence the importance of knowing more about a site for which it is still possible to answer questions about its real nature and connotation, although it is badly kept. The author's choice to write this work in English is a very effective action in order to expand knowledge and open to the whole world the analysis of a monument like no other, which since several decades has a place of excellence within the Unesco World Heritage Sites.

Villa Adriana vicino a Tivoli (Roma) è la più grande e famosa villa romana imperiale e non ha bisogno di alcuna presentazione. Ma il sito dell'Accademia sì, perché si trova in una proprietà privata, nella parte meridionale della Villa, non è aperto al pubblico ed è molto poco conosciuto e studiato. Questo è il motivo per cui l'autrice ha deciso di focalizzare su di esso la sua attenzione, utilizzando per la prima volta una tecnologia digitale e una tecnica a scansione laser per tracciare una nuova pianta aggiornata e scoprire la configurazione dell'area. Dopo questa indagine, il punto di partenza del lavoro è stato rappresentato dalla lettura di precedenti fonti e studi antiquari e dalla raccolta di mappe e disegni antichi, per vedere che cosa era stato fatto e analizzato in precedenza: uno straordinario viaggio tra i più grandi artisti di tutti i tempi, che hanno visitato e studiato l'Accademia e il resto della Villa. Questo è il modo e il motivo per cui il volume è nato: raccontare la storia del palazzo e delle sue opere d'arte, e parlare degli artisti eccezionali, antiquari e architetti, che vi hanno studiato e sono stati ispirati dalle sue imponenti rovine. Riscoprire questo luogo è anche importante per capire la natura di una struttura che alcuni studiosi hanno creduto essere stata una villa all'interno della Villa, e precisamente la residenza della moglie di Adriano, Vibia Sabina. Dato che di questo non ci sono prove, è ancora maggiore l'importanza di sapere di più su un sito che, benché mal conservato, può ancora rispondere a domande circa la sua vera natura e connotazione. La scelta dell'autrice di scrivere in lingua inglese si propone lo scopo di ampliare la conoscenza e aprire al mondo intero l'analisi di un monumento importante come nessun altro, che da diversi decenni ha un posto di eccellenza all'interno del patrimonio mondiale UNESCO.

Tables of Contents: Anna Maria Reggiani, Introduction. Bernard Frischer, Introduction. Urbano Barberini, Presentation. Author's Note. Acknowledgements. Chapter 1. The Renaissance and Roman antiquity: 1. Humanism, Renaissance and Hadrian's Villa. Chapter 2. Hadrian's Villa in the XVth century: rediscovery after oblivion: 1. The descriptions of the Historia Augusta and of Sextus Aurelius Victor, abandonment and the rediscovery: 1. 1. Biondo Flavio and Pope Pius II. 2. The first excavations at Hadrian's Villa: 2. 1. The excavation of the Odeon; 2. 2. The excavation of the Telamons or 'Cioci di Tivoli'. 3. The first drawings of Fra' Giocondo. 4. Conclusions. Chapter 3. Francesco di Giorgio Martini. The oldest drawings of the Accademia: 1. Biographical notes; 2. Francesco di Giorgio Martini and Hadrian's Villa; 3. The Accademia in the drawings of Francesco di Giorgio Martini: 3. 1. The plan of the Accademia; 3. 2. The elevation of the Temple of Apollo. 4. Conclusions. Chapter 4. Hadrian's Villa in the XVIth century. Large-scale excavations and early studies: 1. The first large-scale excavations: 1. 1. Excavations in the Accademia: 1. 1. 1. Excavations of Bindo Altoviti (XVIth century); 1. 2. Excavations in other parts of the Villa: 1. 2. 1. Excavations of Pirro Ligorio for Cardinal Ippolito II d'Este (1550-1568); 1. 2. 2. Excavations of Giovan Battista Cappuccini and Biscanti (mid-XVIth century); 1. 2. 3. Excavations 'of Marcantonio Palosi' (XVIth century); 1. 2. 4. Excavations 'of Cardinal Marcello Cervini' (1535?, 1550?); 1. 2. 5. Excavations 'of Cardinal Alessandro Farnese' (1535-1538?); 1. 2. 6. Excavations 'of Cardinal Carlo Carafa' (1540?). 2. Plans and drawings of the Accademia and other buildings (XVIth century): 2. 1. Andrea Palladio (1554 c.); 2. 2. Pirro Ligorio (1550 c.); 2. 3. Draftsman of the Destailleur Codex (mid-XVIth century); 2. 4. Giovannantonio Dosio (1563 c.); 2. 5. Anonymous Portuguese (or Francisco Castillo?) (1568-1580); 2. 6. Giovan Battista Cavalieri (1585); 2. 7. Drawings in the Albertina Library at Vienna (XVIth century). 3. Historical studies of the XVIth century: 3. 1. Pirro Ligorio (1550-1579); 3. 2. Giovanni Maria Zappi (1580); 3. 3. Marco Antonio Nicodemi (mid-XVIth century); 3. 4. Giovanni Maria de' Bardi, of the Counts of Vernio (end-XVIth century). 4. Other artists and Hadrian's Villa. 5. Appendix: original Italian texts. Chapter 5. Bindo Altoviti, one of the first owners of the Accademia: 1. Biographical notes; 2. The Altoviti and Hadrian's Villa; 2. 1. The Altoviti properties in Hadrian's Villa; 2. 2. The discoveries of the Altoviti in Hadrian's Villa. 3. Conclusions. Chapter 6. Andrea Palladio. Looking for perfect proportions: 1. Biographical notes; 2. Andrea Palladio and Hadrian's Villa; 3. The Accademia in the plan by Palladio; 4. Conclusions. Chapter 7. Pirro Ligorio, great antiquarian and first scholar: 1. Biographical notes; 2. Pirro Ligorio, Tivoli and the Villa d'Este; 3. Pirro Ligorio and Hadrian's Villa: 3. 1. The Codices of Ligorio; 3. 2. The descriptions of Hadrian's Villa in the Codices of Ligorio; 3. 3. The drawings for the general plan of Hadrian's Villa; 3. 4. What happened to the plans of Hadrian's Villa drawn by Ligorio? 4. The plan of the Accademia (1560); 5. The elevation of the Temple of Apollo [Ac78]; 6. The Accademia in the description of the Codice di Torino; 7. Conclusions: 7. 1. Summary on the Accademia. 8. Appendix: 1. Ligorio's original Italian text; 2. Text of Ligorio on his excavations in other buildings of Hadrian's Villa; 3. Text of Ligorio mentioning his plan of Hadrian's Villa; 4. Letters of Athanasius Kircher on Ligorio's documents in the Barberini archive; 5. Letter of Ambassador Ludovico d'Agliè to Cardinal Francesco Barberini about the drawings of Ligorio sold after his death. Chapter 8. Ippolito II d'Este, Cardinal of Ferrara. The magnificentia in Tivoli: 1. Biographical notes; 2. Ippolito II, Tivoli and Hadrian's Villa. Chapter 9. The Accademia in the XVIth-century drawings. A stucco ceiling and a mosaic: 1. Three drawings of a stucco ceiling; 2. Stucco ceiling; 2. 1. Conclusions on the ceiling, comparing the drawings. 3. Mosaic floor; 4. The Accademia stucco ceiling as model for Renaissance decoration: 4. 1. Giovanni da Udine, ceiling in Venice (before 1527); 4. 2. Luzio Romano, ceiling in Castel Sant'Angelo (before 1544-1545); 4. 3. Camillo Filippi, ceiling in Ferrara, Palazzina of Marfisa d'Este (after 1559). 5. Conclusions. Chapter 10. Hadrian's Villa in the XVIIth century. A new general plan and many small excavations: 1. The owners of Hadrian's Villa in the XVIIth century: 1. 1. North-east and central area of the Villa; 1. 2. Central area of the Villa; 1. 3. South and west area of the Villa. 2. The excavations of the XVIIth century: 2. 1. Excavations in the Accademia: 2. 1. 1. Excavations of Giovanni Giacomo and Giovan Francesco Bulgarini (1630 c.); 2. 2. Excavations in the rest of the Villa; 2. 2. 1. Excavations of Francesco Contini (after 1634); 2. 2. 2. Excavations of Camillo Arcucci for Cardinal Francesco Barberini (XVIIth century?); 2. 2. 3. Excavations of the Jesuit fathers (mid-XVIIth century); 2. 2. 4. Excavations of Giovanni Maria Baratta (XVIIth century); 2. 2. 5. Excavations in the Maritime Theatre?; 2. 2. 6. Anonymous excavation of 1655. 3. Plans and drawings of the XVIIth century: 3. 1. Contini's 'clean copy' of the plan of the Accademia by Ligorio (1634 c.); 3. 2. The general plan of Francesco Contini (1668); 3. 3. The general plan of Contini edited by Athanasius Kircher (1671); 3. 4. The general plan of Camillo Arcucci (1630 c.). 4. Historical studies of the XVIIth century: 4. 1. Antonio del Re (1611); 4. 2. Fabio Croce (1664); 4. 3. Francesco Marzi and Michele Giustiniani (1665); 4. 4. Girolamo Fabri (1672); 4. 5. Gasparo Alveri (XVIIth century); 4. 6. Pietro Sante Bartoli (mid-XVIIth century); 4. 7. Giovanni Pietro Bellori (1664). 5. Other characters of the XVIIth century in connection with the Accademia of Hadrian's Villa: 5. 1. Cassiano dal Pozzo (1588-1657); 5. 2. Alessandro Algardi (1595-1654); 5. 3. Camillo Pamphilj (1622-1686); 5. 4. Queen Christina of Sweden (1626-1689); 5. 5. Francesco Borromini (1599-1667). 6. Conclusions. 7. Appendix: 1. Contini's original text on landowners in Hadrian's Villa; 2. Original Italian text of del Re. Chapter 11. The Bulgarini in the XVIIth century. The first excavations at the Accademia: 1. Giovanni Giacomo and Giovan Francesco Bulgarini; 2. The Bulgarini properties at Hadrian's Villa; 3. Bulgarini finds in the XVIIth century. Catalogue: 3. 1. Statue of Child Dionysus, rosso antico marble; 3. 2. Seated statue from the Nymphaum of the Pratorium; 3. 3. The Barberini Candelabra. 4. Appendix. Original Italian text quoted in footnotes. Chapter 12. Francesco Barberini, Governor of Tivoli and patron of the arts: 1. Biographical notes; 2. Francesco Barberini and Hadrian's Villa. Chapter 13. Francesco Contini. The first complete plan and rational description of the Villa: 1. Biographical notes; 2. Francesco Contini and Hadrian's Villa; 3. The plan of the Accademia in the 'clean copy' of Ligorio's sketch (1634 c.): 3. 1. The details of the plan: 3. 1. 1. The Belvedere [Ac1] and surrounding rooms [Ac2-5]; 3. 1. 2. Double portico [Ac6-7] and northern rooms [Ac9-14]; 3. 1. 3. Rooms north of the Temple of Apollo [Ac18-74]; 3. 1. 4. The Temple of Apollo [Ac78] and surrounding rooms [Ac75-90]; 3. 1. 5. The Nymphaum of the Pratorium; 3. 1. 6. The esplanades of Accademia and Pratorium, and the Nymphaum above the Canopus. 4. The general plan of Hadrian's Villa (1668); 5. The Accademia esplanade in the general plan of Contini (1668); 6. The Accademia in the general plan of Contini (1668): 6. 1. The plan in detail: 6. 1. 1. Belvedere [Ac1] and surrounding rooms [Ac1-5]; 6. 1. 2. The double portico [Ac6-8] and rooms on the north side [Ac9-14]; 6. 1. 3. Rooms north of the Temple of Apollo [Ac18-69]; 6. 1. 4. The Temple of Apollo [Ac78] and surrounding rooms [Ac71-91]; 6. 1. 5. New rooms south of the portico [Ac99-106]; 6. 1. 6. The Nymphaum of the Pratorium; 6. 1. 7. Rooms towards the Fosso di Risicoli and subterranean service corridors. 7. Conclusions. 8. Appendix: Contini's original Italian text. 9. Contini's original Italian plates I-IV and VI-X. Chapter 14. Cassiano dal Pozzo. The Museo Cartaceo (Paper Museum): the first virtual museum: 1. Biographical notes; 2. Cassiano dal Pozzo and the Museo Cartaceo (Paper Museum); 3. Cassiano dal Pozzo and Hadrian's Villa. Chapter 15. Athanasius Kircher. Special effects, wisdom and wonders: 1. Biographical notes; 2. Athanasius Kircher and Hadrian's Villa: 2. 1. The new edition of the general plan of Contini; 2. 2. The description of the Accademia. 3. Appendix: Kircher's Italian text. Chapter 16. Some remarks and conclusions on the first three centuries of studies of Hadrian's Villa: 1. The XVth century; 2. The XVIth century; 3. The XVIIth century; 4. Conclusion. Bibliography. Indices: General Index; Index of names; Index of sculptures, relief and marbles. Index of folding Plans: 1. 1. General plan of Hadrian's Villa by Michael Ytterberg; 1. 2. Plan of the Accademia (De Franceschini, Pavanello, Andreatta 2010); 1. 3. General plan by Francesco Contini (1668); 1. 4. Plan of the Accademia and surrounding area (De Franceschini, Pavanello, Andreatta 2010).

Composto in carattere Serra Garamond.
Formato cm 22 x 32,2. Legatura in brossura pesante con copertina in cartone Murillo Fabriano blu Navy con impressioni in oro e sovraccoperta in cartoncino patinato opaco bianco con plastificazione lucida e con stampa a cinque colori.

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ISBN-10: 978-88-6227-827-0
ISBN:
E-ISBN: 978-88-6227-828-7
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SKU: 3130

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