The book is organized by concept, drawing on a wide range of architecture, urban design, altars, sculpture, reliefs, cups, coins, wall paintings, inscriptions, contemporary poetry and other literary sources. Price, Nicholas Stanley, M. Kirby Talley Jr., and Alessandra Melucco Vaccaro, eds. Stuttgart: W. Kohlhammer, 1954; pp. No. 4 (2007), pp. 10 (1938), pp. Vol. But neither the architect nor others involved should be faulted for this because this glass wall could not be moved further from the monument in the 1938 pavilion or more than a few inches in the 2006 museum. Pantaloni până la gleznă, din jerseu moale de viscoză, cu fronseuri în talie. The most valuable contribution of the book is the series of frank, summary, 1 or 2 page statements by major participants in the project, based on interviews, describing their various roles, contributions, and points of view: Figure 1 is a pictorial drawing of the exterior, main south front. Bartman writes that “as far as we know from the preserved examples, historical reliefs did not depict recognizable mortal women until the Ara Pacis Augustae”. Vol. Venice: Marsilio, 1995. Richard Meier: Il Museo dell’Ara Pacis. Carbonara, Giovanni Ghirardo criticises the "function" of the new building, nowhere mentioning that it achieves its main function with the highest world-class standards, the preservation of the Ara Pacis from the extreme urban pollution which was the main reason for the new building. Strazzula has wisely noted that a DVD-ROM of this database would allow interested persons to explore the material in more depth than is likely in the museum (Strazzula, 2009). Universityof Michigan,1993. . In this rarely referenced article, Simon first called attention to the improperly narrow space between panels II and II of the north side processional frieze, as reconstructed in the hurried 1937-38 reconstruction. She notes the lack of evidence that the monument was still partially visible after the mid-2nd century CE, the date usually referred to, but thinks it likely that it may have been partially visible for several centuries thereafter. 2007. Milano: Mandadori Electra spa, 2007. Ceschi, Carlo Brandi's classic volume on the restoration of art by the most influencial 20th century Italian theorist of conservation and restoration. brought to light other remains of the monument, both architectural and decorative. 443-470. London: Reaktion Books Ltd, 2013; pp. Latomus. “Arcus et arae Claudii”. He rejects the many attempts to identify figures in the 2 processional friezes as specific members of Augustus's family, writing "It has been a favorite pastime of classical archaeologists to try to name individual family members whose faces are generally said to be idealized, but the attempt is futile. Descopera gama de pantaloni de lucru din magazinul Top Protectie si alege intre gama simpla si uzuala pana la cele profesionale! http://www.punctumpress.com/AraPacispx.html. Mainz am Rhein, 1994, pp. Università di Bologna, 13-14 September 2012. The Age of Augustus, ed. 77-80). 13-31, endnotes pp. Black, Hubert Scott .” Stern points out (overlooked by some other scholars) that “Domaszewski argued back in 1909, that at least two figures belong between Antonia and her male Neighbor”. Provides major information on quarying, the marble trade, and the organization of marble workshops. Her suggestion that the rich database of information available on a computer touchscreen in gallery one should be made available as a DVD is to be applauded. Vol. Sapienza Università di Roma, 15-16 September 2011. The Art of Rome, c. 753 B.C. There are 421 mixed quality, gray-scale illustrations, but including some outstanding, full-page photos. Pp. “The Sundial of Emperor Augustus: Rise and Decline of a Hypothesis”. Gustavo Giovannoni: Riflessioni agli albori del XXI secolo "The symbolic centrepiece of the celebraton involved, first, the reconfiguration of the area around the decaying Mausoleum of Augustus in Rome (including the restoration of the monument itself) . M. Anadaloro. "I Restauratori". American Journal of Archaeology: Online Publications: Museum Review. Ryberg, Inez Scott Journal of Roman Archaeology. 549-554.. Rhyne, Charles "I just don't get modern art, says Italy's cultural minister" [Sandro Bondi]. 1-17. Pollini, John Englishtranslation of De Vita Caesarum, 121 CE. Bullettino della Commissione Archeologica Communale di Roma. 1-8. Allen, Joel Italian and English text. Photographs of the relief with image of this obelisk are reproduced on this website. Ed. Roma 1931. (Outstanding dissertations in the Fine Arts). Die Sonnenuhr des Augustus: Nachdruck aus RM 1976 und 1980 und Nachtrag über di Ausgrabung 1980/1981. Neue Beiträge zur Klassischen Altertumswissenschaft: Festschrift zum 60. Following Simon and others, Rose here presents the first extensive case claiming that “the two children in foreign dress on the Ara Pacis Augustae … usually identified as Gaius and Lucius Caesar”, should be “reidentified as barbarians from eastern and western regions of the Empire who were brought to Rome in 13 B.C.” Rose also argues that “two youths on the north frieze are identifiable as Gaius and Lucius”. Sieveking, Johannes A pdf of a copy at the Widener Library, Harvard, is avaiable on the web through Google book. He even proposes that “the enshrining walls of the Ara Pacis date to the Tiberian principate” (p. 80). "La Mostra Augustea della Romanità". Kleiner, Diana E. E. Engramma, no.58 (July-Aug. 2007). Dal Co, Francesco Maurizio Rossi. Con una rielaborazione dei grafici di restauro a cura di Eufemia Piizzi e Silvia Spinelli (laboratorio MeLa - Università Iuav di Venezia). Bollettino d’arte (Boll. Reumont, A. 85 (1995), pp. 755-756). Palmer, Samuel Ball Biblioteca di Archeologia. La facoltà di architettura dell’università “La Sapienza” dalle origini al Duemila. Berlin: de Gruyter, 1937. Gebuntstag. Vol.183 (1983), pp. Annotated under English edition listed below, The Power of Images in the Age of Augustus, 1988. Rome: Edizioni del Tritone, 1970. While describing several of the other reconstructed ancient Roman structures and several newly built, the author gives primary attention to "the two architectural-urbanistic projects that were eventually fused into one: the reconfiguration of Augustus' Mausoleum and its surrounding zone; and the excavation and reconstruction of the Ara Pacis Roman temple" (page 812). Che poi con te è tutto un flirtare tanto non concludi mai t’ho preso due o tre girasoli per farmi perdonare e dai . “February 17, 1954 – Anniversary of the Reconciliation” La mia felpa fluo-uo, nei tuoi occhi blu-u-u Eravamo un duo-uo, ma ora non lo siamo più Mayer concludes that "an unwritten code of behavior played out to the mutual benefit of rulers and ruled and it is this interplay between the emperor and the different constituencies within his reach that is reflected on the monument in his honor. The author provides the standard description of the Ara Pacis and calls the attention of "scholars of Rhetoric" to the multidimensional character of the rhetorical message; writing that "specific readings of the iconography target certain audiences ranging from urban plebs to Roman elites” and that “the Ara Pacis gives the Roman viewer a significant amount of agency in the process of constructing a narrative” (p. 13). Dütschke, Hans (1848-1928) 269-313. This was the first official Italian state directive for restoration in Italy. A seminal publication, exploring differences between literature and visual representatio and the ways in which sculptors and viewers were or were not aware of the messages conveyed in Roman art. 34-39) but a wealth of closely related works. PDF available on the web. mit zeichnungen von George Niewmann; VIII Lichtdrucktafeln in Besonderem Bande, 60 Abbildungen im Texte. In keeping with her entire chapter, she writes "The aspects of the past most relevant to the present were selected from an infinite number, freeing them from later accretions (contexts and interpretations in this case), framing and monumentalizing them, and establishing their significance for the present" (p.21). The groups of the Panathenaic procession are segregated by sex”. Ed. Many are reproduced full-page. Using these, Hannestad describes several heads in which the faces are now flatter and more smoothly carved than the hair, which is full bodied, roughly weathered, and oddly protrudes over the faces below. Boyer, F. Journal of Roman Studies (JRS) These were first presented at workshops and conferences held in Venice and Rome in 2007, 2009, and 2010. Die Mostra Augustea della Romanità in Rom, 1937/38. 3, nos. Parker’s catalogue describes it as “fragment of sculpture on a Base, found in the Palazzo Fiano, and now in the courtyard of the same palace.”. He provides the best available discussions of “The Problematic Entrances” (chapter 9) and “The Four-square Plan” (chapter 10). 42 (1990), pp. Through a review of ancient sources and of the topography of Rome, von Duhn concluded that these marble reliefs had come from the structure referred to in ancient Roman texts as the "Ara Pacis Augustae" on the Campus Martius, and that it had been located in the vacinity of the San Lorenzo in Lucina. I colori del bianco: policromia nella scultura antica. Angeloni, Diego Although the description of the Ara Pacis Augustae itself at the end of the book is brief, the ways in which Romans and others viewed their city over time, especially during the reign of Augustus, provides essential context for understanding the monument. A comprehensively understood account of the planning history of Rome from 1879-1950, with separate accounts of major districts; based on extensive archival research. Augusto, La Politica della Memoria. 29 is incorrect. Rome, 1946. Ciucci, Giorgio “Pledges of Empire: The Ara Pacis and the Donations of Rome”. Pentru orice ocazie se poate alege perechea potrivită. This is the definitive study of the sequence of plans for the redesign of the Piazzale Augusto Imperatore, fully contxtualized within its evolving archaeological, architectural, and above all political context. Typology & Structure of Roman Historical Reliefs. Amor di Roma. rebuild the monument". Giglioli, Giulio Quirino 9-16. T'ho preso due o tre girasoli per farmi perdonare E dai. His book, The Archaeology of Rome, was published in 1878. Stewart, Peter Catalogue of an exhibition of 50 photographs of Roman ruins taken in Rome between 1866 and 1879. New York: Cambridge University Press, 1997. Ma ora non lo siamo più. "Ara Pacis Augustae: Le fasi della ricomposizione nei documenti dell'archivo centrale dello stato". Crawford’s own suggestions, however, are no longer accepted by scholars. 2 of these are reproduced on this website. Following the publications of Pollini and others, Caneva describes ways in which the 6 acanthus reliefs on the Ara Pacis embody specific symbolic meanings in celebration of the Roman peace. Cannizzaro, M. E. (Mariano Edoardo). Luciano Grassi, Site Manager “Review of Simon, 1986; Hofter, 1988, and Zanker, 1988”. 1903, pp. Vol. There are some 150 high-quality illustrations, almost half in color, and more than half full or nearly full-page. 42, No. Ma tu non concludi mai. He suggests that the Ara Pacis conveys "a more abstract, as it were ‘sublimated’, form of sacrifice". . 230-235, 339-341). The map including the original location of the Ara Pacis is the first to show the related obelisk and meridian without any indication of the previously supposed vast subdial, no longer accepted by many scholars. “La ripresa dello scavo dell’Ara Pacis Augustae”. . Richard Meier, Architect Petersen, E. (Eugen Adolf Hermann Petersen, 1836-1919) 30-32, “Ara Pacis Augustae”, pp. 901-944, plus 34 images on 9 pages of plates. Robert Pickard. Minora Templa. The section “Monuments on the Northern Campus Martius” includes a basic description of the Ara Pacis (pages 296-304, figs. 111-123. Photographs of the Eastern child, and of the woman standing behind with hand on the child’s head, on the south processional frieze, are on this website. Apart from the white stereometry of the whole, what is displeasing is above all a gauchness of mere size. Rome: Bonsignori, 2005. Sguardi. Of special importance, Petersen describes the faded but secure evidence of polychrome color on some of the fragments and concludes that the entire Ara Pacis was originally painted. The complete text volume is available on the web in various formats, including the copy from the Universitäts-Bibliothek Heidelberger, available on Europeana. E ti guardo [Pre-Ritornello 1] Che poi con te è tutto un flirtare Ma tu non concludi mai Kurt A. Raaflaub and Mark Toher. Archäologischer Anzeiger, Beiblatt zum Jahrbuch des Deutschen Archäologischen Instituts (AA). Commune di Roma. La Reintegrazione dell'imagine: Problemi di Restauro dei Monuenti. Journal of Roman Archaeology. Engramma, no. al., (here listed under Bankel), 2004. 1, pp. Vol.49, no.2 (1999), pp. Yale Classical Studies Vol. 10 of the author's informative drwings are reproduced on this web site. Memoirs of the American Academy in Rome (MemAmAc./ MAAR). Available on the web (accessed 2012 Dec. 21). Excellent review of earlier scholarship on the Ara Pacis. This is one of the primary pubiications for study of the Ara Pacis. She writes that “efforts to arrive at a satisfactory explanation of the reliefs have been perplexed most of all by one question. Vol. On the web at . Caneva divides her volume into 2 major parts, “the Botanical Alphabet” and “The Augustan Message”. Annotation quoted from Historical and Philosophical Issues in the Conservation of Cultural Heitage, ed. Such esteem could only flourish if at least some sculpture were once displayed as Winkelmann would have wished- unadorned by paint”. Gatti, Guglielmo (1905-1981) Roma: Arte della Stampa, 1956; pp.173-178. 211-228, includes 8 pages of large, high quality gray-scale illustrations, half of the Ara Pacis. Che poi con te è tutto un flirtare Ma tu non concludi mai T’ho preso due/tre girasoli per farmi perdonare E dai. The introduction by Paul Zanker is separately listed and annotated on this website under Zanker, Paul, "Introduzione", 2010. “The Altar of Peace”. . 9-10 (1952), pp. Cooley, Alison “Augustan Geneaology and the Ara Pacis”. Roma Moderna: Un secolo di storia urbanistica, 1879-1970. Janet Burnett Grossman, Jerry Podany, and Marion True (Los Angeles: J. Paul Getty Museum, 2003). Ed. 34-35. Liberati Silverio, Anna Maria Because we now know that the spacing the figures in the 1938 reconstruction, as we see it now, is incorrect, all such attempts must be rethought. L’Orange, Hans Peter Berlin: Kulturstadt Europas; Mainz am Rhein: Verlag Philipp von Zabern,1988; pp. 29 (1939), pp. In describing the various options proposed for relocating the Ara Pacis, Kallis notes that Giuseppe Bottai, who was authorized by Mussolini to oversee the project, "wished the monument to be an intrgral part of a campaign to bring the past back to life, not in a sterile environment of a traditional museum but out in the open, punctuating the vibrant landscape of the modern urban public realm" (page 827). 3-40. Vol. In her one agreement with Hannestad, Claridge notes that the carving of the pupils and irises on the processional frieze with Augsutus was quite possibly a later touching up. 111-114. Ser. One particular full-page color photograph, on page 45, is worth noting because it shows the exhilarating space previously connecting the lower level exhibit of ancient sculpture with the grand gallery space above. Nearly all of the remaining ca.500 photos are low quality, highly repetitive images from the collection of the University of Caliifornia, San Diego. Together, they constituted the first books published on the Ara Pacis Augustae. 2009. Roma: Rotary Club Sud, 1970. “Ara Pacis Augustae: le fonti letterarie”. Thus some outstanding publications that deal almost exclusively with the identification of persons represented on the Ara Pacis, etc. Claridge writes that Conlin argues that the two processional friezes “were not carved by immigrant Greek sculptors (as most would probably assume) but by local Italians trained in a local Italian tradition, under some Greek influence”. 307-315. “December 1, 1937 – The transport of fragments of the Ara Pacis in Rome by the will of the Duce at the two thousandth anniversary of Augustus” "Italy". Stewart calls attention to the Greek origins for many features of the altar, the thin evidence for the altar commissioning, and its political and religious nature. Federico del Prete, photographer, from an interview with Christiana Perrella, Available as a pdf linked from http://www.punctumpress.com/AraPacispx.html. She notes that lack of recognition of this incorrect join of an unidentified figure with Antonio minor has importance both for our understanding of the form of the monument and for our identification of the persons represented and their relationships to each other. Supplicatio in 13 B.C.” La reintegrazione nel restauro dell’antico: la protezione del patrimonio dal rischio sismico. Sauron, Gilles 98. ”Ara Pacis: fonti numismatiche” Oxford: Oxbow Books, 2006, pp. A major contribution to our understanding of the 1938 reconstruction of the Ara Pacis, requiring that we revisit aspects of previous interpretations. P. Green Rome (1985), pp. Jerome Lectures, 14. There are sections on “quarries then and now”, on “tools and their marks”, and on copying and original craving today. Journal of Roman Archaeology. Admiranda Romanarum antiquitatum ac veteris sculpturae vestigia: anaglyphico opere elaborata ex marmoreis exemplaribus quae Romae adhuc extant in Capitolio, aedibus hortisque virorum principum ad antiquam elegantiam. Cambridge, Mass: MIT Press, 1978. "Les Bas-reliefs Historiques". Platner's entry is available on Bill Thayer’s website, hosted by the University of Chicago. All too often Moretti failed to explain why he put certain fragments together.” Stern argues that “Moretti made two important errors in reconstructing the South Frieze that have led modern authors astray in their understanding of the scene depicted”. He developes the parallels between Augustan monumental art and contemporary poetry and rhetoric, and historical writing, and describes Hellenistic prototypes and the ways in which these were absorbed and reinterpreted in the Ara Pacis. . 30 July 1997. Indeed, the author notes that he is working on a book entitled The Image of Augustus: Art, Ideology, and the Rhetoric of Leadeship. Bildrhetorik und die Schöpfung einer dynastischen Erzählweise". 68-83. "Città vecchia ed edilizia nuova", 1913. Ades, Dawn et. 663-677. Vol. Criteri seguiti durante la ricostruzione (1937-1938) e proposte di modifiche. Vol. This article descirbes the multifaceted aspects of the 1937-38 fascist celebration of the 2000-year anniversary of the birth of Augustus, the Bimillenario Augusteo. An in-depth description and review of 3 progressively and dramatically expanded Roman exhibitions: the 1911 Mostra Archeologica; 1938 Mostra Augustea; and projected 1942 Mostra della Romanità. “Campo Marzio” by Maia Spengler Nicholas Stanley Price, M. Kirby Talley Jr., and Alessandra Meluxcco Vaccaro (LA: The Getty Conservation Institute, 1996, pp. 26, No. Gobbi, Cecilia He describes the Roman public’s response as “divided” and devotes most of his review to recounting the extreme political setting for the debate. Abstract: “This article considers the interplay of traditional academic art history book forms with the transformations of Web publication. Madrid, 2003 (listed as in press). Ask the gods, who incline towards pious prayers, that the house which guarantees her may last long years with Peace. In 1993 Bowersock wrote that “The assumption of a preparatory phase is now made absolutely certain by the phenomenal discoveries of the German Archaeological Institute in the vicinity of San Lorenzo in Lucina in Rome. Pp. All links connected properly when posted on this bibliography, but urls are sometimes changed at an outside source or material removed, which may result in a link failing to connect. Che poi con te è tutto un flirtare tanto non concludi mai t’ho preso due o tre girasoli per farmi perdonare e dai. “Neglected Children on the Ara Pacis”. Spaeth, Babette Stanley Wilkins, Ann Thomas Worth quoting are Van Buren’s important identifications and distinctions among the materials used in reconstructing the monument: “(1) original blocks, slabs, and fragments; (2) for the substructure marble from quarries at Carrara—not demonstrably those used by the Augustan buildiers; (3) for certain parts of the friezes and decorative elements, the originals of which are preserved elsewhere, plaster casts taken from those originals; (4) for some of the missing decorative parts, further casts, made from details already used elsewhere in the restoration, and arbitrarily introdued here for a second time in order to assist in giving a general impression of the sculptured bands; (5) also, in some instances, newly modeled plaster details” (p. 419). In the process, the Swetnam-Burland developes the original context in Egypt and the meaning to educated Egyptians. "The song iself has brought me to the altar of Peace. 229-230, is a convincing refutation of the claim by Weinstock that the monument nearly all scholars accept as the monument referred to in ancient Roman documents as the “Ara Pacis Augusta” is not that monument (Stefan Weinstock, Journal of Roman Studies, Vol 50 (1960), pp. Significantly, only the most important men have portrait features, while the rest have idealized faces that conceal their individual identity. Rome 1913. Vol. The author presents a selective history of Italy based on archaeological evidence from neolithic to early Christian times; organized chronologically in 13 chapters, each with a brief bibliography. The Age of Augustus, ed. On the web at through Engramma. Mittheilungen des Kaiserlich Deutschen Archaeologischen Instituts, Roemische Abtheilung (Roemischen Mittheilungen / Roem. ⭐ Ai libertatea sa platesti in rate, beneficiezi de promotiile zilei, retur gratuit in 30 de zile si Instant Money Back! 11-16. This was a first-rate publication for 1967 and remains essential reading a half-century later. A classic 400 page chronological survey, with 130 small, gray-scale plates. Res Gestae Divi Augusti: Ex Monumentis Ancyrano Antiocheno Apolloiensi. 13-27. “M. Figure 3 shows 2 cross-section drawings of the Mausoleum: "above, the current state; below, with the reconstruction of missing parts to be used as exhibition halls related to the Mausoleum, at the center the hall of the Ara Pacis". Fittschen, Klaus He writes that, for the most part, “the team that carried out the restoration of the Ara Pacis was . Vol. Pp. Scriba, Friedemann and notes the symbolic meaning of many of the natural elements. Reinhard Lullies. The work was not finished, but carried far enough to permit of a reconstriction which is fairly accurate in its main features. Chapter 9, pp. Carbonara builds on the approach of Brandi, arguing that restoration and conservation should reveal the artistic qualities of the work of art. Keiser, Herbert Wolfgang Foresta convincingly argues the "value of color not only within the narrow confines of the decoration of the altar but more broadly within the complex system of topographcial references in the area". Ueber ein Römische Relief mit Darstellung der Familie des Augustus. “La sistemazione Augustea”. Princeton: Princeton University Press, 1995. Milano: Mondadori Electra spa, 2007. Richard Meier & Partners: Complete Works 1963-2008. A wide variety of information, videos, etc. Kostof presents his fully researched data in a most readable and engrossing narrative. 83-106. Rehak, Paul Centanni, Monica, and Maria Grazia Ciani. He describes the various reasons for which marble sculpture was reworked, emphasizing reworking “because of wear or weathering or when the style was considered sufficiently outmoded to require alteration”. Nicholas Stanley Price, M. Kirby Talley Jr., and Alessandra Meluxcco Vaccaro (LA: The Getty Conservation Institute, 1996, pp. Lexicon Topographicum Urbis Romae. Vogel argues that the obelisk represented on the base of the Column of Antoninus Pius is the obelisk of Psametik II, which Augustus had erected on the Campus Martuus near the Ara Pacis. Moretti, Giuseppe (1876-1945) Available on the web through JStor at "Ara Pacis 1938. All of the images are reproduced on this web site. Endnotes are on page 176. The far-sighted care of our hallowed leader has seen to it that the rest of the temples should not suffer the same collapse and ruin; under him the shrines do not feel their advancing years. 114-126. Romae: Typis Regiae Officinae Polygraphicae, CIC IC CCC XXXVII (1937), XV a Fasc. Galinsky puts several key concepts especially well. Rehak points out serious problems with the traditional identification and the fact that the subject of Numa fits the iconography of the Ara Pacis at least as well as Aeneas. XXXV. Conlin calls attention to the importance of restoration in altering the original appearance of the altar. 188 (1988), pp. Gli architetti e il fascismo Architettura e cità 1922-1944. Cannizzaro concludes that (trans. Heslin is careful to separate these misinterpretations from Buchner’s valuable discovery of the meridian, the single line on which was marked the length of the shadow each day. 391-415. Col tuo pantalone bianco all’Ara Pacis Per educazione Do un colpetto di clacson E ti guardo. An anthology of 15 chapters by 13 authors, plus a “Chronology of Cultural and Political Events”. Lanciani, Rodolfo . “Conservazione e Restauro presso i Greci e i Romani”. Ed. There are also 15 or so pages diagramming the author’s suggestions for the design of the scrolling acanthus friezes and, in some cases, how they relate to the figural friezes above. Text pp. The video is on the EffectiveClass web site, where it is described as “posted by alino on Mar 11th, 2010 in History”. He writes “I presume that the Augustan altar of Pax was inscribed but was without any further decoration except the door in front”. English translation available on this website. Several of these papers are based on outstanding archival research and include a few previously unpublished images. Swetnam-Burland, Molly Monumenti dell'Instituto di corrispondenza archeologico (Mon. Engramma, no.83 (Sept. 2010). Cambridge, Massachusetts: Harvard University Press, 1973. This important article by a physicist was the first major rejection of the 1976 claim by Edmund Buchner (republished and expanded) that the Egyptian obelisk rerected by Augustus on the Campus Martius was the gnomen not only of a meridian, which Buchner had discovered, marking the length of the shadow cast at midday each day (still accepted by scholars) but also of a vast sundial, which he titled the “Horologium Solarium Augusti”, and which Buchner claimed served to mark the changing hours of the day and days of the year. These are termed the “Actium type”, “Primaporta type”, and “Forbes” or “Ara Pacis type”. Portsmouth, Rhode Island, 2006 Teoria del Restauro e Unità di Metodologia. "Il restauro scientifico: spigolature all’interno del rapporto Gustavo Giovannoni-Antonio Muñoz". Torsello, B. Paolo (Abb, Sächs. It is now clear not only that this monumental work was conceived at the same time as the Ara Pacis, but that the orientation of the altar itself was actually determined by the lines of the sundial” (Bowersock, “Pontificate of Augustus”, pp. Bibliotheca artibus et historiae. Maire Engineering, Maire Tecnimont Group. The frontispiece consists of 2 high quality, full-page photos of the left and right slabs of the Aeneas relief, and 4 small photographs of processional reliefs from plate 6 of Petersen. Carte Gatti. 2 of these are reproduced on this website. Kuttner, Ann L. Buchner, Edmund, “Horologium Solarium Augusti”. Thornton, M. K. Milano: Mandadori Electra spa, 2007. In this key text . The photographs were taken by Italian photographers, commissioned by Parker. 4, ed. Heslin, Peter The Ara Pacis Reconsidered and Historical Art in Roman Italy. Altogether, these provide a multifaceted picture of the 1938 Morpurgo pavilion and 2006 Meier museum, and the situation of the Ara Pacis within. Janet Burnett Grossman, Jerry Podany, and Marion True. Without recommending the procedure, Conlin notes that “certain vital information, such as the condition of the surface edges at the breaks [of individual panels] may be available if and only if the present reconstruction were disassembled for inspection”. This is the title of Zanker's introduction as it appears on the Engramma website.
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