SACRED SPACES IN ROME IN THE COUNTER-REFORMATION AGE (1534-1615)

The course will consider main pictorial sacred decorations in Rome in the Cinquecento (starting from Paul III's to Paul V's pontificate), particularly in oratories, churches and chapels. These spaces will be investigated under the aspect of the painters, the patronage and the artistic conception, with a special focus on the cultural, political and religious propaganda. Visits to Roman monuments will be part of the course.

BIBLIOGRAPHY


Sacred Patronage:

Federico Zeri, Pittura e controriforma. L’arte senza tempo di Scipione Pulzone da Gaeta, Torino 1957 (o successive edizioni).

C. Robertson, Il Gran Cardinale. Alessandro Farnese Patron of the Arts, New Haven – Yale 1992, pp. 149-206.

C. Robertson, Rome 1600. The city and the visual arts under Clement VIII, New Haven – Yale 2015, pp. 19-56; 183-280.

P. Prodi, Introduzione, in Arte e Pietà nella Chiesa Tridentina, Bologna 2014.

Oratories:

E. D. Valente, Nuovi documenti per l’Oratorio di San Giovanni Decollato a Roma, in “Bollettino d’arte”, 2014, pp. 51-72.

M. G. Bernardini, L’oratorio del Gonfalone. Il ciclo cinquecentesco della Passione di Cristo, Cinisello Balsamo 2002, pp. 19-44; 51-115.

J. von Henneberg, L’oratorio dell’Arciconfraternita del Santissimo Crocifisso di San Marcello, Roma 1974, pp. 11-83.

R. Eitel-Porter, The Oratorio del SS. Crocifisso in Rome revisited, in “The Burlington Magazine”, Oct. 2000, pp. 613-623.


Chapels:

S. F. Ostrow, L’arte dei papi. La politica delle immagini nella Roma della Controriforma, Roma 2002, pp. 19-228.

C. Franceschini, Ricerche sulle cappelle di famiglia a Roma in età moderna, in “Archivio Italiano per la storia della pietà”, 2002, pp. 345-513.

P. Tosini, New Documents for the Chronology and Patronage of the Cappella del Rosario in Santa Maria sopra Minerva, in “The Burlington Magazine”, 2010, pp. 517-522.


Churches:

D. Ferrara, Artisti e committenze alla Chiesa Nuova in La Regola e la Fama, catalogo della mostra Roma, pp. 108-129.

S. Barchiesi, San Filippo Neri e l’iconografia mariana della Chiesa Nuova, in La Regola e la Fama, catalogo della mostra Roma, pp. 130-149.

H. Hibbard, Ut pictura sermones: le prime decorazioni dipinte al Gesù, in R. Wittkower e I. Jaffe, Architettura e arte dei Gesuiti, Milano 1972, pp. 30-43.

G. A. Bailey, Between Renaisance and Baroque: Jesuit Art in Rome. 1565-1610, Toronto 2009, pp. 187-260.


For downloading the bibliography in pdf and the slides of the course, please refer to this web page:

http://studiumanistici.uniroma3.it/ptosini/

The course (first semester) is a reading, discussion and research seminar. The topic will be announced in class at the beginning of the course.

Gillian Rose, Visual Culture, Photography and the Urban: An Interpretive Framework, in «Space and Culture, India», vol. 2, n. 3, December 2014, pp. 5-13.
Giovanni Fanelli, Della composizione in fotografia, in «Critica d’Arte», 
a. LXX, n. 37-38, gennaio-giugno 2009, pp. 35-60.
Peter Hamilton, The Street and Everyday Life, in T. Bennett / D. Watson (a cura di), Understanding Everyday Life, Open University and Blackwell, Oxford 2002, pp. 91-138.
Antonello Frongia, Il luogo e la scena: la città come testo fotografico, in R. Valtorta (a cura di), Luogo e identità nella fotografia italiana contemporanea, Einaudi, Torino 2013, pp. 109-192.
Lewis Baltz, Limiti della città (ma è già stata usata questa definizione?) [1992], in Id., Scritti, Johan & Levi, Milano 2014, pp. 70-73.

The other half of the Avant-Garde
The course will focus on the exhibitions dedicated to women artists in the 1970s in Italy, with particular attention to the first historiographic surveys on 20th century women artists.

selected readings:
Laura Iamurri, Questions de genre et histoire de l’art en Italie, “Perspective”, 4/2007, pp. 716-721.
Laura Iamurri, Un libro e una mostra per la storia delle artiste italiane del XX secolo: Il complesso di Michelangelo di Simona Weller, 1976, “Studiolo”, 15, pp. 102-117.
Raffaella Perna, Mostre al femminile: Romana Loda e l’arte delle donne nell’Italia degli anni Settanta, “Ricerche di S/Confine”, VI, 1 (2015), p. 143-153.
Lea Vergine, L’altra metà dell’avanguardia, Mazzotta, Milano 1980.
Lea Vergine, L’arte ritrovata alla ricerca dell'altra metà dell’avanguardia, Rizzoli, Milano 1982.

Further readings will be provided at the beginning of the course.

Militant criticism in the Age of Enlightenment. Sources around the debate on styles.

The course aims to provide students with tools that allow them to acquire knowledge and critically analyze the sources related to the debate on styles, the system of the arts and the problems connected to the artistic production of the European and Italian eighteenth and nineteenth centuries.
Particular attention will be devoted to a specific source: the journalism. During the course particular attention will be paid to the birth of art criticism and specialized artistic journalism; to the types and genres of public discourse on art by analyzing and comparing different critical experiments: the Parisian Salons and the criticism of Diderot; artistic journalism dedicated to contemporary artistic production.

L. Barroero, Le Arti e i Lumi. Pittura e scultura da Piranesi a Canova, Torino, Einaudi, 2011
S. Rolfi, "Agli Amatori delle Belle Arti. Gli Autori". Il laboratorio dei periodici a Roma tra Settecento e Ottocento, Roma, Campisano, 2012
O. Rossi Pinelli, Le arti nel Settecento europeo, Torino, Einaudi, 2009, chapter II, VII and VIII


Non-attending students
Mandatory reading for the exam

S. Rolfi, Note sulle fonti ufficiose e ufficiali per la storia della circolazione delle opere e degli artisti (1787-1844), in Roma fuori di Roma. L'esportazione delle opere d'arte moderna da Pio Vi all'Unità (1775-1870), a cura di G. Capitelli, C. Mazzarelli, Roma, Campisano, 2012, pp. 1-19
I. Miarelli Mariani, Le illustrazioni dell'Ape italiana delle belle arti, in "Annali di Critica d'arte" ns., I, 2017, pp. 279-305

Artistic epistolography: the artist's correspondence and its historiographical tradition

The theme of the course is the analysis of a specific genre of literary source: the artistic epistolography, whose typology was codified in 1754 by Giovanni Gaetano Bottari emphasizing the potentiality of a useful tool to reconstruct the links between the works, the authors, the patrons and functional to the study of the circulation of the works and of the practice of connoisseurship.
During the course the use of artist's letters by the historiography of art, between the nineteenth and twentieth centuries, will be discussed, also in a seminar format, as a tool for constructing the artist's biography, but also as a source of the words of the practice. The letters allow to establish a stingent analysis on current artistic practices: a potential tool for the study and analysis of the circulation and translation of technical vocabulary and art practice in an international context such as that of the second half of the eighteenth century and the first three decades of the nineteenth century.

P. Barocchi, Fortuna dell'epistolografia artistica, in Studi vasariani, Torino, Einaudi, 1987, pp. 83-111

G. Perini, Le lettere degli artisti da strumento di comunicazione, a documento, a cimelio, in Documentary culture. Florence and Rome from Grand-Duke Ferdinando I to Pope Alexander VII, papera from a colloquium held at the Villa Spelman, Florence. 1990, a cura di E. Cropper, G. Perini, F. Solinas, Bologna 1992, pp. 165-184

S. Rolfi Ozvald, Sul carteggio d'artista, in Il carteggio d'artista. Fonti, questioni, ricerche tra XVII e XIX secolo, a cura di C. Mazzarelli e S. Rolfi Ozvald, Cinisello Balsamo, Silvana editoriale, 2019, pp. 10-25

C. Mazzarelli, Dalla lettere all'autobiografia d'artista: raccontarsi a Roma tra idea e realtà dell'esperire, in Il carteggio d'artista. Fonti, questioni, ricerche tra XVII e XIX secolo, a cura di C. Mazzarelli e S. Rolfi Ozvald, Cinisello Balsamo, Silvana editoriale, 2019, pp. 52-69

NON-ATTENDING STUDENTS EXAM PROGRAM
MANDATORY readings in addition:

Rolfi Ožvald, Oy-Marra, Susanna Pasquali, Carla Mazzarelli, in “Il carteggio d'artista. Fonti, questioni, ricerche tra XVII e XIX secolo”, a cura di C. Mazzarelli e S. Rolfi Ožvald, Cinisello Balsamo, Silvana editoriale, 2019, pp. 6-69

Lettere d’artista. Corrispondenze tra Roma e l’Europa dall’età dei Lumi alla Restaurazione, a cura di Giovanna Capitelli e Serenella Rolfi Ožvald, «Ricerche di storia dell’arte» 125, 2018

Dutch Painting of the Seventeenth Century. An Introduction
Through the analysis of the evolution of the genres of painting (portrait, genre painting, history painting, landscape, marine, still life), of the main centers of artistic production (Haarlem, Amsterdam, Leiden, Delft, etc.), of the oeuvres of the major protagonists (Frans Hals, Rembrandt, Vermeer, Jan Steen, Peter de Hooch, etc.), and literary sources (from Karel van Mander to Hoogstraten) and in light of the historiographical debate (De Joongh, Alpers, Sluijter, etc.) this course intends to offer an overview of the artistic culture of the Northern Netherlands and his specificities.

For the preparation for the exam it is necessary the critical study of

a) at least one of the two texts chosen:
- Ghislain Kieft, The northern Netherlands: art, craft and commissioning in the golden age, in Painting in the Netherlands, edited by B.W.Meijer, Milan, Electa, 1997, tome II, pp. 409-522 or
- Mariette Westermann, The Art of the Dutch Republic. 1585-1718, New York, Harry Abrams, 1996 (available for online for a very modest sum).

b) at least one of the following texts of your choice (or of all, of course): Svetlana Alpers, Art of describing. Science and painting in the Dutch seventeenth century, Turin, Bollati Boringhieri, ed. 1999 or later; Simon Shama, The Discomfort of Abundance. The Dutch culture of the golden age, Milan, Mondadori, ed.1993 or later; Svetlana Alpers, Rembrandt's workshop. The atelier and the market, Turin, Einaudi, ed.2006; Daniel Arasse, The ambition of Vermeer, Turin, Einaudi, ed. 2006.

c) at least one of the following texts of your choice (the advice of course is always to read them all):
- Eric Jan Sluijter, How Rembrandt surpassed the Ancients, Italians and Rubens as Master of "The Passions of the Soul" ’, in, Batavian Phlegm? The Dutch and their Emotions in Pre-Modern Times, edited by H. Roodenburg and C. Santing, "BMGN-Low Countries Historical Review", 129, no. 2, 2014, pp. 63-89. (downloadable from http://www.ericjansluijter.nl/publications/)
- Eric Jan Sluijter, On Brabant Rubbish, Economic Competition, Artistic Rivalry and the Growth of the Market for Paintings in the First Decades of the Seventeenth Century, in "Journal of the Historians of Netherlandish Art", 1, 2009, n. 2 (http://jhna.org/index.php/)
- A.McNeil Kettering, Ter Borch's ladies in satin, in Looking at seventeenth-century Dutch art, edited by W.Franits, 1997, pp. 98-115. https://docs.google.com/file/d/0B_hnr9sLU5-Bel96R2pOQ3Z3YTQ/edit?usp=sharing

d) educational material, consisting of the ppt of the slides projected in class and available at http://studiumanistici.uniroma3.it/gcapitelli/, following the research indications contained therein (for example: the lesson on Rembrandt should be studied by checking the site rembrandtdatabase.org, the one on Vermeer exploring, and the site http://www.essentialvermeer.com/).

Non-attending students must add to this program (with the exceptions of the point d that is not for them) the in-depth study of a second text among those listed in point b) and must read all the essays listed in point c).

Priest and king: priestly models from the origins of the movement of Jesus up to the time of Constantine

The hinge between the second and third centuries represents a crucial moment in which the figure of the single bishop at the head of a community (Mono-Episcopate) is affirmed everywhere in Christian ecumenism. To the bishop has been attributed, at the level of symbolic construction, prerogatives proper to the divine world or royalty (monarchical Episcopate): he is the absolute head, clearly superior to the rest of the clergy. At that time, on the other hand, there is a general adoption of priestly terminology to indicate the ministers of Christian worship, a phenomenon which criticism has attempted to explain, proposing different types of response but agreeing in pointing out how such a figure should be understood in the light of the categories of power and divine authority of the Roman political world . The course aims to investigate, analyzing sources of various nature- with ample space to iconographic ones- the possible cultural matrix from which Christian authors of the first centuries draw sap to create their priestly model; it also aims to follow its main developments up to the Constantine turning point, tracing continuity lines up to medieval times.

For students who attend lessons :

E.Cattaneo (ed.), I ministeri nella Chiesa antica. Testi patristici dei primi tre secoli, Milano, Paoline Editoriale Libri, 1997: historical Introduction
Sources provided during the course
They are expected to write a short paper on a chosen topic

For students who are not able to attend lessons:
E.Cattaneo (ed.), I ministeri nella Chiesa antica. Testi patristici dei primi tre secoli, Milano, Paoline Editoriale Libri, 1997: historical Introduction

They are expected to read one of the following books:
Un libro a scelta tra i seguenti:

G.Filoramo, (ed.), Teologie politiche. Modelli a confronto, Brescia, Morcelliana, 2005.
M. Maritano-M. Sajovic (edd.), Sacerdozio pagano e sacerdozio cristiano : atti del Convegno della Facoltà di Lettere cristiane e classiche della Pontificia Università Salesiana, Roma, 19-20 marzo 2010, Roma, Las, 2011.
Sabine G. MacCormack , Arte e cerimoniale nell'antichità Torino, Einaudi, 1995
Paul Zanker, La maschera di Socrate. La rappresentazione dell'intellettuale nell'arte antica, Torino, Einaudi, 1997.
A.Brent, The Imperial Cult and the Development of Church Order. Concepts and Images of Authority in Paganism and Early Christianity before the Age of Cyprian, Leiden, Brill, 1999.
A.Faivre, Ordonner la fraternité: pouvoir de innover et retour à l’ordre dans l’église ancienne, Paris, Éditions du Cerf, 1992.
G.Schöllgen, Die Anfänge der Professionalisierung des Klerus und das Kirchliche Amt in der syrischen Didaskalie, Jahrbuch für Antike und Christentum 26, Münster, Aschendorff 1998.
A.Vilela, La condition collegiale des prêtres au IIIe siècle, Paris, Beauchesne, 1971.

Course title 2019-2020: The apocryphal infancy gospels (1st-3rd century).

Traditions on the birth and childhood of Jesus are not only contained in works that have become canonical (the Gospel of Matthew, the Gospel of Luke), but also, and to a much greater extent, in an apocryphal literary production, interesting both from the point of view of content, as from that of phenomena of transmission that characterize it, paradigmatic of the fate of texts without a status of authority. The module aims to deepen, from various perspectives of investigation (philological-critical, linguistic-literary, historical-doctrinal) some of the oldest works, such as the Nativity of Mary (Protoevangelium of James), Liber requiei, Stories of Childhood [paidiká] of the Lord Jesus.

Lesson materials (critical editions, translations, scientific bibliography) will be provided by the teacher.

Course title 2019-2020: The apocryphal infancy gospels (from the 4th century).

The traditions on the birth and childhood of Jesus are not only contained in works that have become canonical (the Gospel of Matthew, the Gospel of Luke), but also, and to a much greater extent, in an apocryphal literary production, interesting both from the point of view of content, as from that of phenomena of transmission that characterize it, paradigmatic of the fate of texts without a status of authority. The module aims to deepen, from various perspectives of investigation (philological-critical, linguistic-literary, historical-doctrinal) the evolution of those traditions in works that followed the Constantinian age, such as, for example, the Infancy Gospel “of the Pseudo-Matthew”.

Materials for the seminars (critical editions, translations, scientific bibliography) will be provided by the teacher.

Literature and politics in the twentieth century

The course aims to stimulate students to think about the relationship between politics and literature (mainly narrative) from the Italian Unitification to the 1980s.

TEXTS:
--AA.VV., Parole al potere, ed. Gabriele Pedullà, BUR 2019 (the introduction and the discourses by Cavour, Garibaldi, De Sanctis, Carducci, Labriola, Depretis, Giovanni Giolitti, D’Annunzio, Pascoli, Mussolini, Gramsci, Gentile, Bontempelli, Croce, Giannini, De Gasperi, Togliatti, Nenni, Levi, Moro, Berlinguer, Pasolini, Sciascia, Craxi, Pannella, Berlusconi)
--Federico De Roberto, L’imperio, ed.Gabriele Pedullà, Garzanti, 2019
--Luigi Pirandello, I vecchi e i giovani, ed. Massimo Onofri, Garzanti, 2008
--Vitaliano Brancati, “Il vecchio con gli stivali”, in Vitaliano Brancati, Il vecchio con gli stivali, Mondadori
--Italo Calvino, La giornata di uno scrutatore, Mondadori
--Nanni Balestrini, Gli invisibili, DeriveApprodi

SECONDARY BIBLIOGRAPHY:
--Sergio Luzzatto e Gabriele Pedullà (a cura di), Atlante della letteratura italiana, Einaudi 2012, vol. 3. (Dall’Unità d’Italia alla fine del Novecento)
--Marco Belpoliti, Settanta, Einaudi, 2010

SUPPLEMENTARY READINGS FOR THE STUDENTS WHO CANNOT ATTEND TO THE LESSONS:
--Sergio Luzzatto e Gabriele Pedullà (a cura di), Atlante della letteratura italiana, Einaudi 2012, vol. 3. (L’età di Milano e L’età di Torino)
--I discorsi di Parole al potere non inclusi nella selezione indicata sopra

The organization and workings of Imperial Rome. The central administration and those of the Provinces. The army’s role.

• P. ROMANELLI, Le Province e la loro amministrazione, in Guida allostudio della civiltà romana antica, edd. V. Ussani, F. Arnaldi, I, 1964, pp. 331-377.
• F. JACQUES, J. SCHEID, Roma e il suo impero. Istituzioni, economia, religione, Roma-Bari, Laterza, 1992.
• E. LO CASCIO, Le tecniche dell'amministrazione, in Storia di Roma, II. L'impero mediterraneo, 2. I principi e il mondo, Torino, Einaudi, 1991, pp. 119-191.
• L. CRACCO RUGGINI, La città imperiale, in Storia di Roma, IV. Caratteri e morfologie, Torino, Einaudi, 1989, pp. 201-266.
• MEYER-ZWIFFELHOFFER, Storia delle Province romane, Universale Paperbacks il Mulino, Bologna, 2011.
• P. GROS, M. TORELLI, Storia dell’urbanistica. Il mondo romano, Roma-Bari, Laterza, 1988, pp. 237-426. (reprint 2010).
• G. BEJOR, M.T. GRASSI, S. MAGGI, F. SLAVAZZI, Arte e Archeologia delle Province romane, Mondadori Università, Milano, 2011.

The course aims to reconstruct the diffusion and characteristics of early Christian mosaic production in Rome and Southern Italy, with particular regard to the basilica of Santa Maria Maggiore in Rome and the baptistery of S. Giovanni in Fonte in Naples. The study will focus on archaeological, iconographic, stylistic and historical-artistic issues. Restoration techniques and systems will be considered.
The course includes site inspections

F. Bisconti, A. Nestori, I mosaici paleocristiani di Santa Maria Maggiore negli acquarelli della collezione Wilpert, Città del Vaticano 2000.
G. Ferri, I mosaici del battistero di San Giovanni in Fonte a Napoli, Todi 2003.
Per i non frequentanti: F. Bisconti, M. Braconi, M. Sgarlata (edd.), Arti minori e arti maggiori. Relazioni e interazioni tra Tarda Antichità e Alto Medioevo, Todi 2019: 10 articoli a scelta.

THE YOUNG CARAVAGGIO (1571-1603)
The course focuses on Carvaggio's early career. It will start from Cravaggio's lombard years spent in Peterzano's workshop in Milano, considering the painter's hard beginnings in Rome, ending with the 1603 trial in which suddendly became clear the success of Caravaggio's naturalism. To understand this part of the painter's life we will focus on the works realized during these years, together with the archival documents and the critic debate including the most recent publications and particularly the exhibition Peterzano allievo di Tiziano maestro di Caravaggio, held in Bergamo Accademia Carrarra in 2020.

More bibliography will be suggested during the course. You can find the slides of the lessons on the website indicated during the course.
Selected bibliography:

M. Cinotti, Michelangelo Merisi da Caravaggio, Bergamo 1983, this text is still the most important monograph about the artist, of course it has to be supplemented by the recent bibliography.

Peterzano, allievo di Tiziano, maestro di Caravaggio, catalogo della mostra (Bergamo, Accademia Carrara 2020), a cura di S. Facchinetti, F. Frangi, P. Plebani, M.C. Rodeschini, Milano 2020, in particolare il saggio M.C. Terzaghi, Caravaggio 1584-1588: la bottega di Simone Peterzano, pp. 53-65, e le schede delle opere Bacchino malato; I Musici.

Il giovane Caravaggio Sine ira et studio, atti del convegno di studi, a cura di Alessandro Zuccari, Roma (De Luca Editore), 2018, in particolare i saggi di M. Di Sivo; R. Gandolfi; O. Verdi; G. Berra; F. Curti; M.C. Terzaghi.

Caravaggio a Roma, una vita dal vero, catalogo della mostra (Roma, Archivio di Stato), a cura di M. Di Sivo e O. Verdi, Roma 2011, in particolare i saggi di Francesca Curti, Orietta Baroncelli, Antonella Pampalone, M. Di Sivo.

The course will discuss, through reflection on specific avant-gardes of the early twentieth century, the relationship possibilities between artists from different European regions, especially Italy and the Balkans. We will proceed from Futurism to New Plastic, as germinal moments of a network whose joints go from West to East, then move on to the Constructivism that from East has gone to West. Furthermore, a central hub will be the reflection on the role of the Bauhaus, as an intersection point between the two geographical areas. The aim is to highlight some of the features of continuity that emerged in the avant-gardes of the first half of the Twentieth century.

Van Doesburg & The International Avant-garde. Constructing a New World, edited by Gladys Fabre, Doris Wintgens Hötte, exhib. catalogue, Leiden: Stedelijk Museum De Lakenhal, 20 October 2009 – 3 January 2010/London: Tate Modern, 4 February – 16 May 2010, Tate Publishing, London, 2009.

Between worlds: a sourcebook of central european avant-gardes, 1910-1930, edited by Timothy O. Benson, Éva Forgàcs, The MIT Press, Cambridge, Massachussets and London, 2002.

During the lessons, further bibliographical indications will be provided.
For non-attending students, an individual program will be evaluated.

The didactic program, in the first part of the course, provides a deepening of the links between the aspects of the history of artistic techniques and those of the history of restoration, and a deepening of the literature of the restoration, produced in Italy and in the different european countries, since the beginning of the eighteenth century until the thirties of the twentieth century.

G. C, Argan, Introduzione, voce Tecnica in Enciclopedia Universale dell’Arte, Novara, Istituto Geografico De Agostini, 1983, vol.XIII, pp. 686-692.

P. Mora, L. Mora, P. Philippot, La conservazione delle pitture murali, Bologna, 1999, pp. 69-172.

B. Tosatti, Trattati tecnico-artistici, in "Enciclopedia dell'arte medievale", XI, Roma, Istituto dell'Enciclopedia Italiana, 2000, pp. 316-319.

M. Ciatti, Appunti per un manuale di storia e di teoria del restauro. Dispense per gli studenti, Firenze, 2008, pp. 208-275.

A. Conti, Storia del restauro e della conservazione delle opere d'arte, Milano, 2002, pp. 154-328.

P. Bensi, Scienziati e restauratori nell'Italia dell'Ottocento. una difficile convivenza, in Giovanni Secco Suardo La cultura del restauro tra tutela e conservazione dell'opera d'arte, Atti del convegno internazionale di studi, Bergamo 9-11 marzo 1995, Bollettino d’Arte, Supplemento al nr. 98, 1998, pp. 25-32.
J. Anderson, Sir Charles Eastlake e i suoi restauratori italiani: Giuseppe Molteni e Raffaele Pinti, in Giovanni Secco Suardo La cultura del restauro tra tutela e conservazione dell'opera d'arte, Atti del convegno internazionale di studi, Bergamo 9-11 marzo 1995, Bollettino d’Arte, Supplemento al nr. 98, 1998, pp. 57-62.
C. Giannini, Giovanni Secco Suardo: gli anni del collezionismo, in Giovanni Secco Suardo La cultura del restauro tra tutela e conservazione dell'opera d'arte, Atti del convegno internazionale di studi, Bergamo 9-11 marzo 1995, Bollettino d’Arte, Supplemento al nr. 98, 1998, pp. 63-72.

M. Cordaro, Metodologie e tecniche del restauro nell’opera e negli scritti di Giovanni Secco Suardo: eredità, fortuna critica, innovazioni, in Giovanni Secco Suardo La cultura del restauro tra tutela e conservazione dell'opera d'arte, Atti del convegno internazionale di studi, Bergamo 9-11 marzo 1995, Bollettino d’Arte, Supplemento al nr. 98, 1998, pp. 73-77.

G. Bonsanti, Giovanni Secco Suardo e Ulisse Forni: tecniche e tradizioni a confronto, in Giovanni Secco Suardo La cultura del restauro tra tutela e conservazione dell'opera d'arte, Atti del convegno internazionale di studi, Bergamo 9-11 marzo 1995, Bollettino d’Arte, Supplemento al nr. 98, 1998, pp. 79-82.

M. Marabelli, Le scienze chimiche per la conservazione dei dipinti nell'Italia dell'Ottocento Il trattato del conte Secco Suardo "Il Restauratore dei Dipinti", in Kermes, 2011, nr. 81, pp. 33-49.

M. Cardinali, M. B. De Ruggieri, C. Falcucci, Diagnostica artistica. Tracce materiali per la storia dell'arte e per la conservazione, Roma, 2007, pp. 13-57.

G. Perusini, Il dibattito sulla pulitura dei dipinti della National Gallery e del Louvre alla metà dell'Ottocento: alcune considerazioni generali, in La cultura del restauro. Modelli di ricezione
per la museologia e la storia dell’arte, M.B. Failla, S. A. Meyer, C. Piva, S. Ventra (a cura di), Roma, 2013, pp. 335-349.

History of collections and the museum in Rome from the eighteenth century to the present. Study cases

The process of transforming private collections into museum institutions from the papacy of Clement XI to the Napoleonic period will be retraced, focusing in particular on the events of key museum institutions: the Vatican Museums and the Capitoline Museums.
Through focused conferences and visits will be analyzed the conservative politics, the birth and identity of public collections such as the National Galleries Barberini and Corsini or the Galleria Spada.
the key problems will be:
a) the birth of museums between the 18th and 19th century
b) the history and main features of the major museums of old masters and contemporary art
c) the current debate on museums: forms of display, new publics, forms of narrative and dissemination of knowledge

Exam program

To pass the exam, the student must demonstrate that he has studied extensively:

1) at least one of the following texts:

M.T. Fiorio, Il museo nella storia. Dallo “studiolo” alla raccolta pubblica, Milano, Mondadori, 2011

S. Costa, D. Poulot, M. Volait ( a cura di), The period rooms : allestimenti storici tra arte, collezionismo e museologia, Bologna, Bononia University Press, 2016

P. Bourdieu-A. Darbel, L’amour de l’art. Le musées d’art européens et leur public, Paris, Édition de Minuit, 1969 (trad. it. L' amore dell'arte : le leggi della diffusione culturale : i musei d'arte europei e il loro pubblico, Rimini, Guaraldi, 1972)

2) at least 2 of the following texts:

I. Sgarbozza, Le spalle al Settecento. Forma, modelli e organizzazione dei musei nella Roma napoleonica (1809-1814), Città del Vaticano, Edizioni Musei Vaticani, 2013

P. Nicita, Musei e storia dell'arte a Roma. Palazzo Corsini, Palazzo Venezia, Castel Sant'Angelo e Palazzo Barberini tra XIX e XX secolo, Roma, Campisano 2010

Ritratto di una collezione. Pannini e la galleria del cardinal Silvio Valenti Gonzaga, catalogo della mostra, Mantova, Palazzo Te, 6 marzo - 15 maggio 2005, a cura di R. Morselli, R. Vodret, Milano, Skira, 2005

In addition to what is indicated here, the non-attending student will have to choose two other texts:

M. Ferretti e A.Buzzoni, Musei, in Capire l'Italia. Il Patrimonio storico-artistico, TCI, Milano 1979, pp. 112-131

F. Haskell, The ephemeral museum. Old master painting and the rise of the art exhibition, New Haven, Yale University Press, 2000 (trad. it. La nascita delle mostre. I dipinti degli antichi maestri e l’origine delle esposizioni d’arte, Milano-Ginevra, Skira, 2008

Each student will deepen a historical text and will be guided in writing of a final paper. All the student's contributions will be presented and discussed at the end of the course.

Each student will receive a historic bibliographic source and a selected bibliography useful for the start of the individual research.

The nation's museum.
Museum experiences and nation-building processes in Europe, the Americas, Asia and Australia in the long nineteenth century.

From the Musée Napoleon in Paris to the National Gallery di Washington, from the Estense Gallery of Adolfo Venturi to the Berlin museums of Wilhelm von Bode, from the Rijksmuseum in Amsterdam to the Munal in Mexico City, the course will examine the ways in which different nations capitalize their cultural assets and make them protagonists of a narrative.

Exam program

To pass the exam, the student must demonstrate that he has studied extensively:

a) at least one of the following texts:
M.V. Marini Clarelli, Che cos’è un Museo, Carocci, Roma 2005
D. Poulot, Musei e museologia, Jaka book, 2008.
L. Cataldo, M. Paraventi, Il Museo oggi, linee guida per una museologia contemporanea, Milano Hoepli 2007.
D. Jallà, Il museo contemporaneo, nuova edizione aggiornata, Torino Utet 2004.
A. Mottola Molfino, Il libro dei musei, Torino, Allemandi, 1998.

b) at least one of the following texts:
M.T. Fiorio, Il museo nella storia. Dallo “studiolo” alla raccolta pubblica, Milano, Mondadori, 2011
F. Haskell, The ephemeral museum. Old master painting and the rise of the art exhibition, New Haven, Yale University Press, 2000 (trad. it. La nascita delle mostre. I dipinti degli antichi maestri e l’origine delle esposizioni d’arte, Milano-Ginevra, Skira, 2008
S. Costa, D. Poulot, M. Volait ( a cura di), The period rooms : allestimenti storici tra arte, collezionismo e museologia, Bologna, Bononia University Press, 2016

c) the dossier of articles that will be made available during the course at http://studiumanistici.uniroma3.it/gcapitelli/museologia/

d) he/she must also have visited and analyzed spaces and services of a group of Roman museums whose list will be made known in class and will be published here at the end of the course (June 2020).

In addition to what is indicated here, the non-attending student will have to choose two other texts from point a) or b).

We will read the first part of Hegel's Aesthetics Lessons.

G.W.F. Hegel, Lezioni di Estetica, Roma-Bari, Laterza: Parte generale: le forme universali dell’arte. Parte speciale (tutta).
A. Siani, M. Farina (a cura di), L’estetica di Hegel , Bologna, Il Mulino: Introduzione e capp. VII-XIV.

The first part of the course is devoted to the changes taking place within the public and political scene and the most important theoretical contributions. In the second part will be considered the main areas of transformation of political communication in relation to the recent history of Italy. In the third part will analyze the role played by television and social media in the popularization of politics. The recent election campaign of the US Presidential Elections will be analyzed and studied.
The course includes the viewing and analysis of audiovisual materials propaganda such television programs, documentaries, commercials, posters. A good knowledge of the Italian contemporary history is preparatory to the course content.

Examination program
- E. Novelli, Le campagne elettorali in Italia, Laterza, Roma 2018.
- G. Mazzoleni, R. Bracciale, La politica pop online, Il Mulino, Bologna 2019.
- C. Lombardo, E. Novelli, C. Ruggiero, (a cura di), La società nelle urne, Franco Angeli, Milano 2019, solo parte seconda pag. 115-285.

For students of the Master's Degree in International Relations of Political Science, for which the examination is worth eight credits, the program also includes one of the following texts:
- C. Lombardo, E. Novelli, C. Ruggiero, (a cura di), La società nelle urne, Franco Angeli, Milano 2019, pag. 11-112.
- Paolo Mancini, Il PostPartito, Il Mulino, Bologna, 2015.
- Ilvo Diamanti, Marc Lazar, Popolocrazia, Laterza, Roma 2018.

The following audiovisual materials supplement the course and their vision is suggested to the students.
– “Mi consenta” La Grande Storia, Rai Tre: http://www.lagrandestoria.rai.it/dl/portali/site/puntata/ContentItem-39b8c91a-4ca4-4ad1-8429-00e11b21b042.html
– “I politici e la tv”, Correva l’anno, Rai Tre, http://www.raiplay.it/video/2016/09/Correva-lanno—I-politici-e-la-tv-del-19092016-bae0add3-4fb2-4730-ad11-fffea112e7de.html
- "70 years of Italian electoral campaigns". 1 part: https://www.youtube.com/watch?v=BMYA6nWs594
- "70 years of Italian electoral campaigns". 2 part: https://www.youtube.com/watch?v=__F8kF9ObFA

TITLE OF THE COURSE: The Bible in the culture of the Middle Ages: the De scripturis et scriptoribus sacris by Ugo di san Vittore.

DESCRIPTION: Although having as its object the reading and analysis of the De scripturis et scriptoribus sacris by Hugh of St. Victor (1096 ca.-1141), the course intends to widen the view on the multiple and complex problems - of a historical, philological, literary and doctrinal nature - concerning the use and interpretation of biblical texts in the development of culture, and in a certain way also of the mentality of the medieval West. – The course involves practical exercises meant to introduce the knowledge and the usage of the main bibliographical and informatic tools for the study and research on Medieval Latin authors.

BIBLIOGRAPHY

1. Hugo de S. Victore, De scripturis et sciptoribus sacris, PL CLXXV, coll. 9-28.
2. One of the following books:
- D. Poirel, Ugo di San Vittore. Storia, scienza, contemplazione, trad. it., Ed. Jaca Book, Milano 1997.
- P. Rorem, Hugh of Saint Victor, Oxford University Press, New York 2009.
3. One of the following books:
- La Bibbia nel Medioevo, a cura di G. Cremascoli e C. Leonardi, Ed. Dehoniane, Bologna 1996.
- B. Smalley, Lo studio della Bibbia nel Medioevo, trad. it., Ed. Il Mulino, Bologna 1972.
4. (optional) R. M. W. Stammberger, “Diligens scrutator sacri eloquii”: an introduction to scriptural exegesis by Hugh of St Victor preserved at Admont library (ms 672), in Manuscripts and monastic culture. Reform and Renewal in Twelfth-Century Germany, ed. by A. I. Beach, Brepols, Turnhout 2007, pp. 241-283.

29th MAY 1453. CONSTANTINOPLE AND ITS FALL

This section of the Byzantine civilization teaching, addressed to graduate students of Sciences of religions, History and Art, aims to investigate the reasons behind the fall of Constantinople and the way in which it fell in the hands of the Osman Turks, along with the direct and indirect consequences brought by this fall to the history of the Mediterranean civilization.

A) Mandatory texts:

S. Ronchey, Lo Stato bizantino, Torino, Einaudi, 2002
A. Pertusi (a c. di), La caduta di Costantinopoli, 2 voll., Fondazione Lorenzo Valla / Mondadori, Milano 1976

The course aims to pay attention to the strategies of cinematographic staging, favoring the context of contemporary cinema without renouncing - however - to a close confrontation with the filmic practices that have marked the period of classical cinema and, above all, of modern cinema. The question of direction will be analyzed as an eminently "theoretical" issue, developing a reflection that intends to go beyond the question of filmic grammar.
Starting from the idea of ​​the cinematographic staging as a strategy for organizing the filmic space, the course will also focus on the contemporary practices that release the film from the movie theater by proposing forms of "relocation" that require a rethinking of the idea of ​​direction itself (in particular focusing attention on the relation movie theater-museum and on the work of the so-called "cinematographers-artists"). In this framework, the work of Abbas Kiarostami will provide relevant case studies that will allow a constant sliding of the theoretical questions raised in the practice of analyzing the films and installations by the Iranian filmmaker.

BIBLIOGRAPHY
- Elio Ugenti, "Abbas Kiarostami. Le forme dell'immagine", Bulzoni, Roma 2018
- Francesco Federici, "Cinema esposto. Arte contemporanea, museo, immagini in movimento", Forum, Udine 2017
- Lecture notes edited by the teacher

FILMOGRAPHY:
- Where is the Friend's Home? [Khane-ye dust kojast], 1987
- Homework [Mashq-e shab], 1989
- And Life Goes on [Va zendegi edame darad], 1992
- Taste of Cherry [Tam'e ghilas], 1997
- The Wind Will Carry Us [Bad ma-ra khahad bord], 1999
- ABC Africa, 2001
- Five, 2004
- Roads of Kiarostami, 2005
- Shirin, 2008
- Certified Copy [Copie conforme], 2010
- Like Someone in Love, 2012
- 24 Frames, 2016

The course will introduce to the emerging, in the latin Middle Ages, of the ethical and aesthetic values of courtesy. Therefore it will offer a detailed analysis of some representative novels and epical and lyrical romance texts, also considering their fortune in Italian medieval poetry and in the works of Dante and Petrarch.

Texts:
- M. De Riquer, Leggere i trovatori, a cura di M. Bonafin, Macerata, EUM, 2010;
- Jaufre Rudel, L’amore di lontano, a cura di G. Chiarini, Roma, Carocci, 2013;
- Bernart de Ventadorn, Canzoni, a cura di M. Mancini, Roma, Carocci, 2003;
- - Dante Alighieri, Vita nuova, a cura di S. Carrai, BUR, 2009.
Ulteriori brani dalla lirica provenzale saranno messi a disposizione durante le lezioni.

Studies:
- A. Roncaglia, La lingua dei trovatori. Profilo di grammatica storica del provenzale antico, Pisa, Fabrizio Serra, 1999 (ristampa);
– M. Picone, «Vita Nuova» e tradizione romanza, Padova, Liviana, 1973;
- A. Varvaro, Letterature romanze del medioevo, Bologna, il Mulino, 1985;
- C. Di Girolamo, I trovatori, Torino, Bollati Boringhieri, 1989:
– T. Barolini, Il miglior fabbro. Dante e i poeti della «Commedia», Torino, Bollati Boringhieri, 1993;
– M. Mancini, La gaia scienza dei trovatori, Trento, Luni editrice, 2000 (o ristampe successive), capp. 2 e 4;
– S. Asperti, Dante, i trovatori, la poesia, in Le culture di Dante, a c. di M. Picone et al., Firenze, Franco Cesati, 2004, pp. 61-92;
- A. Fassò, Gioie cavalleresche. Barbarie e civiltà fra epica e lirica medievale, Roma, Carocci, 2005.

Dante in the culture and poetry of the Renaissance. This specialistic course for graduate students aims to investigate the legacy of Dante's Divine Comedy between Humanism and the Renaissance, analyzing editions, studies, commentaries and figurative exegesis of the poem and dwelling on its presence in poems by some of the most illustrious poets of the sixteenth century.

Notes from the lectures (they are an integral part of the bibliography)
Simon Gilson, Leggere Dante a Firenze. Da Boccaccio a Cristoforo Landino, Roma, Carocci, 2019.
Elisabetta Tonello, L'edizione bembina della "Commedia", in «L'Alighieri. Rassegna dantesca», LVII, n.s., 47 (2016), pp. 113-135.
Luigi Scorrano, "Se quel soave stil...". Sannazaro in traccia di Dante, in Iacopo Sannazaro. La cultura napoletana nell'Europa del Rinascimento, a cura di Pasquale Sabbatino, Firenze, Olschki, 2009, pp. 119-147.
Laurent Vallance, Dante nella polemica linguistica cinquecentesca, in «Letture classensi». 43. Letture e lettori di Dante. Umanesimo e Rinascimento, a cura di Francesco Furlan, Ravenna, Longo, 2015, pp. 93-155.
Luca Marcozzi, "Comedia" di Dante con figure dipinte. L'incunabolo veneziano del 1491 della casa di Dante in Roma con postille manoscritte e figure dipinte. Commentario all'edizione in fac-simile, Roma, Salerno, 2015, pp. 131 (Edizione Nazionale dei Commenti Danteschi. I commenti figurati, 4)

An introduction to Data Mining and Data Journalism by means of the Python programming language.

course notes and slides

The course is intended to provide the knowledge about the Hellenistic painting in the Mediterranean through the acquisition of methodological instruments useful to understanding the pictorial experience in all its aspects (formal and stylistic, iconographic and technical). Within the course, the forms and contents of painting will be analyzed in their social and political use (painting, theatrical painting, funerary painting, etc.), embedded in the historical and cultural context. Very closely related artistic genres will also be explored, such as the figured floor mosaic and the painted stucco wall systems that developed in this period.

Main reference texts:
S. Miller Grobel, Hellenistic Painting in the Eastern Mediterranean, Mid-Fourth to Mid-First Century B.C.in The Cambridge History of Painting in the Classical World, edited by J.J. Pollitt, New York, NY : Cambridge University Press, 2014, 170-237.
Pittura ellenistica in Italia e in Sicilia. Linguaggi e tradizioni, a cura di G.F. la Torre, M. Torelli, Roma 2012.
Segni e colore. Dialoghi sulla pittura tardoclassica ed ellenistica, a cura di M. Harari, S. Paltineri, Roma 2012.
Ricerche di pittura ellenistica : lettura e interpretazione della produzione pittorica dal IV secolo A.C. all’ellenismo, Roma 1985.
H. Brecoulaki, La peinture funéraire de Macédoine. Emplois et fonctions de la couleur IVe-IIe s. av. J.-C. – Research Centre for Greek and Roman Antiquity National Hellenic Research Foundation, Paris : De Boccard, 2006.
Additional material will be available during the course.
Students not attending should contact the lecturer during the consultation times or by e-mail.

General presentation of the characteristics, techniques and production contexts of artistic glass in Roman times. The evolution of this particular art form will be followed, from the late republican age to the late imperial age, through the illustration of works of art, both with power point presentations in the classroom, and with a visit to museums.

Lucia Saguì, Il vetro antico, Roma 2010

Donald B. Harden, Glass of the Caesars, London - New York 1990