An exciting new approach to understand the trade of antiquities in early modern Rome traces the journey of objects from discovery to display. Barbara Furlotti presents a dynamic interpretation of the early modern market for antiquities, relying on the innovative notion of archaeological finds as mobile items. She reconstructs the journey of ancient objects from digging sites to venues where they were sold, such as Roman marketplaces and antiquarians’ storage spaces; to sculptors’ workshops, where they were restored; and to Italian and other European collections, where they arrived after complicated and costly travel over land and sea. She shifts the attention away from collectors to peasants with shovels, dealers and middlemen, and restorers who unearthed, cleaned up, and repaired or remade objects, recuperating the role these actors played in Rome’s socioeconomic structure. Furlotti also examines the changes in economic value, meaning, and appearance that antiquities underwent as they moved trhoughout their journeys and as they reached the locations in which they were displayed. Drawing on vast unpublished archival material, she offers answers to novel questions: How were antiquities excavated? How and where were they traded? How were laws about the ownership of ancient finds made, followed, and evaded?
Although most of Mantua's artistic treasures were sold or claimed as war spoils upon the decline of the Gonzaga family, the rich cultural legacy of this fascinating city lives on in the city's many surviving frescoes and in the collections of some of the world's premier museums These priceless works of art are reunited in the pages of this beautifully illustrated volume."--BOOK JACKET.
A volume dedicated to the history of the new Vatican Picture Gallery, conceived at the behest of Pope Pius XI and inaugurated in 1932 in a structure specially built in order to definitively house the painting collection. The Picture Gallery, which is in continual expansion due to bequests and acquisitions, gathers together in eighteen chronologically arranged rooms the masterpieces of some of the greatest European painters from the Medieval period to the nineteenth century.Un volume dedie a l'histoire du nouveau Vatican Photo Gallery, concu a la demande du Pape Pie XI et inaugure en 1932 dans une structure specialement construit afin de definitivement chambre la collection de peintures.La galerie de photo, qui est en expansion constante en raison de legs et d'acquisitions, rassemble en dix-huit classement chronologique les chambres les chefs- d'oeuvre de certains des plus grands peintres europeens de la periode medievale au dix-neuvieme siecle.
A volume dedicated to the history of the new Vatican Picture Gallery, conceived at the behest of Pope Pius XI and inaugurated in 1932 in a structure specially built in order to definitively house the painting collection. The Picture Gallery, which is in continual expansion due to bequests and acquisitions, gathers together in eighteen chronologically arranged rooms the masterpieces of some of the greatest European painters from the Medieval period to the nineteenth century.Un volumen dedicado a la historia de la nueva pinacoteca vaticana, concebida por el papa Pio xi y fue inaugurado en el ano 1932, en una estructura especialmente construida para casa definitivamente la coleccion de pintura. La galeria de imagenes, que se encuentra en continua expansion debido a legados y adquisiciones, reune cronologicamente ordenados en dieciocho habitaciones las obras maestras de algunos de los mas grandes pintores europeos de la epoca medieval hasta el siglo xix.
A volume dedicated to the history of the new Vatican Picture Gallery, conceived at the behest of Pope Pius XI and inaugurated in 1932 in a structure specially built in order to definitively house the painting collection. The Picture Gallery, which is in continual expansion due to bequests and acquisitions, gathers together in eighteen chronologically arranged rooms the masterpieces of some of the greatest European painters from the Medieval period to the nineteenth century.
An exciting new approach to understand the trade of antiquities in early modern Rome traces the journey of objects from discovery to display. Barbara Furlotti presents a dynamic interpretation of the early modern market for antiquities, relying on the innovative notion of archaeological finds as mobile items. She reconstructs the journey of ancient objects from digging sites to venues where they were sold, such as Roman marketplaces and antiquarians’ storage spaces; to sculptors’ workshops, where they were restored; and to Italian and other European collections, where they arrived after complicated and costly travel over land and sea. She shifts the attention away from collectors to peasants with shovels, dealers and middlemen, and restorers who unearthed, cleaned up, and repaired or remade objects, recuperating the role these actors played in Rome’s socioeconomic structure. Furlotti also examines the changes in economic value, meaning, and appearance that antiquities underwent as they moved trhoughout their journeys and as they reached the locations in which they were displayed. Drawing on vast unpublished archival material, she offers answers to novel questions: How were antiquities excavated? How and where were they traded? How were laws about the ownership of ancient finds made, followed, and evaded?
Although most of Mantua's artistic treasures were sold or claimed as war spoils upon the decline of the Gonzaga family, the rich cultural legacy of this fascinating city lives on in the city's many surviving frescoes and in the collections of some of the world's premier museums These priceless works of art are reunited in the pages of this beautifully illustrated volume."--BOOK JACKET.
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