"Tor Vergata" University of Rome | Storia, Patrimonio Culturale, Formazione e Società

The peculiar iconography of the winged horse surmounted by several puttos, as appears in the Hypnerotomachia Poliphili sixth woodcut, turns out to be unprecedented and enigmatic at a glance and it’s the result of the depth and complexity... more

Progetto Icoxilòpoli Iconografie delle xilografie del “Polifilo” attivato presso l’Insegnamento di Museologia e critica artistica e del restauro del Prof. Stefano Colonna Dipartimento di Storia dell’Arte e Spettacolo Facoltà di... more

Young Michelangelo Buonarroti's experience was deeply marked by his cult of Antiquity, reverberated in the creation of artworks such as the Sleeping Cupid and the Bacchus and shared with Raffaele Riario and Jacopo Galli, his patrons... more

Young Michelangelo Buonarroti's experience was deeply marked by his cult of Antiquity, reverberated in the creation of artworks such as the Sleeping Cupid and the Bacchus and shared with Raffaele Riario and Jacopo Galli, his patrons during his first stay in Rome (1496-1501).
The cardinal-camerlengo Raffaele Riario was an important promoter of the cultural challenge lead by the humanist Giulio Pomponio Leto, founder of the Roman Academy, and his followers: to arouse the glory and the forms of the antique theatre in Christian Rome also through the actual staging of dramas in Latin. The Bacchus, commissioned by the cardinal as inventor and protector of dramatics, was probably meant to be part of a well-planned figurative set constituted by antique statues which alluded to performances arts, set up in the courtyard of his new palace under construction, also intended as a scenic space.
Therefore, it is still necessary to re-evaluate the genesis and the essence of Michelangelo’s artworks, which took life from the Ancient and Renaissance literary and philosophical sources cultivated by the artist as also fostered by the Pomponians. The recognition of a reference to the ancient religious ritual of the Dionysian dance in the posture of the Bacchus, for example, is supported by its possible comparison with the figure of the musician in the lost painting by Luca Signorelli, the Education or Kingdom of Pan, executed for the Medici around 1490. It could be also reconsidered, in the historical context of the conflictual condition documented between the cardinal Riario and pope Alexander VI, the so-called "refusal" of the Bacchus caused by the intention to conceal those antiquarian contents of the artwork as they belonged to a sphere which was already judged as subversive and they could then become the suitable excuse to justify the aspire of the Borgias to the cardinal’s properties.
We can then understand, this far, that Michelangelo was actively immersed in the reconstructed network of cultural sodalitas connections in the Renaissance Rome, to which he contributed not as a mere executor of admirable works of art, but rather as an all-round intellectual.

A set of about 70 fresco samples made with pigments and binders typical of the Renaissance period in Rome has been characterized by LIBS, LIF and colorimetric measurements in order to build an as much as possible complete database. Aiming... more

A complete characterization of the materials for Cultural Heritage is fundamental to improve conservation and restoration processes in the respect of artworks. The use of not or micro destructive techniques is the main objective in the... more

A complete characterization of the materials for Cultural Heritage is fundamental to improve conservation and restoration processes in the respect of artworks. The use of not or micro destructive techniques is the main objective in the diagnostic of artworks and for this reason the laser based techniques are very interesting in this field of application. In this work, Carrara marbles, both white and grey, from cave, and fresco laboratory samples have been studied by means of LIF (Laser Induced Fluorescence) and LIBS (Laser Induced Breakdown Spectroscopy). Fresco samples have been prepared in agreement with Renaissance recipes using natural pigments and original materials both for binders and plaster, with the main goal to produce samples as much as possible comparable to roman real mural paintings by Michelangelo period. LIF technique has been already applied in the cultural heritage field as a diagnostic tool because it is no-invasive and no-destructive, remote and in situ applicable, allowing to obtain information of analytical and qualitative interest on different materials by the study of the emission of fluorescence. In this case, the samples have been measured by the LIF scanning system realized at the ENEA, working at both the excitation wavelengths of 266 nm and 355 nm. LIBS has been performed in air at 1064 nm at high resolution in wide spectral ranges. The obtained results demonstrated that the use of both techniques has proved to be helpful for the complete characterization of the materials analyzed in this work. In fact, the LIBS technique was fundamental because of its peculiarity to detect trace elements, that in the Carrara marbles case, constituted of 99% calcite, are the activators of crystal LIF fluorescence indeed. In the mural painting samples the LIBS technique appears to be complementary to LIF to identify binders and discriminate different pigments. In particular, specific concentration ratios by LIBS can help to understand the processes inducing fluorescence phenomena, with attention to the emission bands in the LIF spectra from pure and mixed pigments.

A part of the catalogue of Michelangelo Buonarroti’s early artworks has not been clarified, especially in connection with the patrons’ collections as well as the impact of the artist on the cultural milieu in Rome at the end of the... more

In Venice, in 1499, Aldo Manuzio the Elder gave the most important incunabulum of the Italian Renaissance to the press: the Hypnerotomachia Poliphili, accompanied by 171 woodcuts. Over the years, many studies have followed one another to... more

Icoxilòpoli 2. Iconografia delle xilografie del Polifilo, Roma, Bulzoni Editore (Collana Biblioteca di Cultura, 755), 2020, a cura di Alessandra Bertuzzi, Elisabetta Caputo, Stefano Colonna, Flavia De Nicola, Francesco De Santis, Alessia... more

Icoxilòpoli 2. Iconografia delle xilografie del Polifilo, Roma, Bulzoni Editore (Collana Biblioteca di Cultura, 755), 2020, a cura di Alessandra Bertuzzi, Elisabetta Caputo, Stefano Colonna, Flavia De Nicola, Francesco De Santis, Alessia Dessì. ISBN 978-88-6897-181-6, pp. 808.
Icoxilopoli 2 VI Sezione Laboratorio Sperimentale Robotico Baurora

ABSTRACT it
Progetto OPEN CAROGUIMUS9.Ideazione e coordinamento Progetto di Ricerca Caroguimus9 - Cane Robotico Guida Museale per Bambini (e Adulti) non vedenti [alias Baurora]. http://www.bta.it/riv/rice/caroguimus9/index.html Gruppo di Ricerca attivato il 14 Giugno 2016 presso l'insegnamento di Museologia e Critica Artistica e del Restauro del Dr. Prof. Stefano Colonna Ph.D. Sapienza Università di Roma Facoltà di Lettere e Filosofia già Dipartimento di Storia dell'Arte e Spettacolo ora Dipartimento SARAS Storia, Antropologia, Religioni, Arte, Spettacolo CaroGuimus9 è un progetto filantropico di classe "open" dedicato alla memoria del Prof. Corrado Maltese. Progetto di ideazione e supervisione di Stefano Colonna per la creazione di Tavolette Cromatiche Pseudo-Braille RGB. La serie delle tavolette del canale Rosso è stata ideata da Stefano Colonna, con il contributo scientifico del Ricercatore Andrea Chiariello e realizzata da Gioele Chiavistelli e presentata in data 7 Marzo 2018, ore 16:00 in Aula III Carlotta Nobile di Sapienza Università di Roma alla presenza di Luca Ruzza, Emy Dell'Oro, del sottoscritto e degli studenti e studentesse del Modulo di Robotica Museale 1. Inoltre, per il medesimo progetto di ricerca Caroguimus9, due video sono stati ideati da Stefano Colonna e sulla base di un testo della Dr.ssa Alessia Ferraro sono stati realizzati dalla Dr.ssa Alessandra Bertuzzi Ph.D.a (versione italiana dell'11 Aprile 2018) e dalla Dr.ssa Donatella Valentino (versione inglese del 28 Novembre 2018 traduzione di Giulia Martina Weston). I video sono stati realizzati presso il Laboratorio Audiovisivo per lo Spettacolo del Centro Teatro Ateneo della Sapienza con la supervisione tecnica del tecnico Dr. Pietro Sidoni. Questi video fanno parte del progetto di video-interattivo Cane LibroParlato di Caroguimus9.
La documentazione dei video è reperibile a questi indirizzi internet: versione italiana
http://www.bta.it/riv/rice/caroguimus9/ricerche/Icoxilopoli/Icoxilopoli_02/xilo_004/Caroguimus9_Icoxilopoli_02_xilo_004_01_(Alessia_FERRARO,Polifilo_tra_le_rovine.Il_mito_di_Roma).html versione inglese

Icoxilopoli 2 VII - Saggi analitici 0 - Il contributo di Biondo Flavio alla identificazione di Porta Naevia in Roma di Stefano Colonna

ABSTRACT (it)
Al tema di Nevia già discusso nel 2017 viene aggiunto un nuovo elemento: l'epigrafe di NEVIA CAPITOLINA il cui "cognome-appellativo" viene qui considerato come un "cognomen ex virtute" secondo l'esempio di Manlio Capitolino che difese l'Urbe dall'assedio dei Galli. Nevia viene qui interpretata come una "Giuditta laica". Questa lettura rientra nella celebrazione di Nevia altera Polia altera Roma per la prima volta descritta nell'Hypnerotomachia Poliphili del 1499 e poi nella Nevia di Evangelista Maddaleni Capodiferro, manoscritto I.72 latino della Biblioteca Augusta di Perugia datato post 1503 che contiene il concetto di Pax Romana fondata sull'amore (idealmente connesso ai patti epitalamici di M.A. Altieri) e che si distacca in modo netto dall'interpretazione negativa di Nevia presente negli scritti degli umanisti R. Zovenzoni e G.B. Cantalicio evidentemente partigiani di Tiberio imperatore. Viene così confermato sia il motivo della identificazione di Porta Nevia con Porta Maggiore ed Esquilina da parte di Biondo Flavio in chiave della famiglia Colonna e del Polifilo, sia anche la lettura in chiave politica delle Tre Grazie di Raffaello già proposta dall'autore nel 2016.

The peculiar iconography of the winged horse surmounted by several puttos, as appears in the Hypnerotomachia Poliphili sixth woodcut, turns out to be unprecedented and enigmatic at a glance and it’s the result of the depth and complexity... more

Young Michelangelo Buonarroti’s experience was deeply marked by his cult of Antiquity, reverberated in the creation of artworks such as the Sleeping Cupid and the Bacchus and shared with Raffaele Riario and Jacopo Galli, his patrons... more

Young Michelangelo Buonarroti’s experience was deeply marked by his cult of Antiquity, reverberated in the creation of artworks such as the Sleeping Cupid and the Bacchus and shared with Raffaele Riario and Jacopo Galli, his patrons during his first stay in Rome (1496-1501).

The cardinal-camerlengo Raffaele Riario was an important promoter of the cultural challenge lead by the humanist Giulio Pomponio Leto, founder of the Roman Academy, and his followers: to arouse the glory and the forms of the antique theatre in Christian Rome also through the actual staging of dramas in Latin. The Bacchus, commissioned by the cardinal as inventor and protector of dramatics, was probably meant to be part of a well-planned figurative set constituted by antique statues which alluded to performances arts, set up in the courtyard of his new palace under construction, also intended as a scenic space.

Therefore, it is still necessary to re-evaluate the genesis and the essence of Michelangelo’s artworks, which took life from the Ancient and Renaissance literary and philosophical sources cultivated by the artist as also fostered by the Pomponians. The recognition of a reference to the ancient religious ritual of the Dionysian dance in the posture of the Bacchus, for example, is supported by its possible comparison with the figure of the musician in the lost painting by Luca Signorelli, the Education or Kingdom of Pan, executed for the Medici around 1490. It could be also reconsidered, in the historical context of the conflictual condition documented between the cardinal Riario and pope Alexander VI, the so-called “refusal” of the Bacchus caused by the intention to conceal those antiquarian contents of the artwork as they belonged to a sphere which was already judged as subversive and they could then become the suitable excuse to justify the aspire of the Borgias to the cardinal’s properties.

We can then understand, this far, that Michelangelo was actively immersed in the reconstructed network of cultural sodalitas connections in the Renaissance Rome, to which he contributed not as a mere executor of admirable works of art, but rather as an all-round intellectual.

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con la collaborazione di Laura Cattoni e Simone Frangioni

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Il Medico - accade in diversi altri ambiti lavorativi - non può esimersi dal padroneggiare alcune tecniche di comunicazione e screening di informazioni, indispensabili nella libera professione e necessari nel lavoro in ambito pubblico. A... more

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