Author(s):  
GUIDO BELTRAMINI

This chapter is dedicated to a particular culture relating to the way one might ideally lead one's life in line with ancient practices and views. The trend in question, which developed in Padua in the first half of the Cinquecento, was promoted by such humanists as Pietro Bembo, Alvise Cornaro and Marco Mantova Benavides. Exceptional connoisseurs of the mores and values of antiquity, these intellectuals personally supervised and directed the building of their homes. Following the model of Hadrian's villa at Tivoli, the complexes of these Paduan residences comprised dwelling areas, pavilions, large gardens and the installation of fountains, statues and rare plants. Inspired by literary sources, the ideal of recreating the ‘ancient’ way of life, in which music played a crucial role, was revived.


1992 ◽  
Vol 96 (4) ◽  
pp. 579 ◽  
Author(s):  
Wilhelmina F. Jashemski ◽  
Eugenia Salza Prina Ricotti ◽  
John Foss

2017 ◽  
Vol 19 (2) ◽  
pp. 427-453 ◽  
Author(s):  
Luca Cipriani ◽  
Filippo Fantini ◽  
Silvia Bertacchi

2010 ◽  
Vol 24 ◽  
pp. 3-13 ◽  
Author(s):  
M. De Franceschini ◽  
A. M. Marras

Abstract. The Accademia Pilot Project concerns one of the lesser known buildings of Hadrian's Villa, the Accademia, which is still in private property and is not open to the public. One of the most significant and unique features of this building – and of the whole Villa – is a network of subterranean service corridors, which was seldom studied. For the first time we used Geophysics at Hadrian's Villa, to explore the subterranean tunnels of the Accademia and reconstruct their layout. The survey was done by archaeologist Anna Maria Marras for her Master thesis in Geo-technology (Marras, 2008) and gave very interesting results.


2020 ◽  
Vol 88 ◽  
pp. 362-364
Author(s):  
Maria Elena Gorrini ◽  
Milena Melfi ◽  
Gilberto Montali

2019 ◽  
pp. 331-352
Author(s):  
Caitlín Eilís Barrett

Chapter 7 synthesizes the major conclusions of the book. As an examination of the Egyptian themes at Hadrian’s villa in Tivoli demonstrates, these conclusions are significant not only for Pompeii in 79 CE but also for Roman visual culture more broadly. Issues considered include the use of household material culture to literally “domesticate” ideologies of empire; the relationship between “Egyptianizing” and “Classicizing” forms of Roman art; a comparison of display strategies in “elite” and “non-elite” houses; the relationship between religious identity and material culture; conceptions of order versus chaos in Roman gardens; and the agency of domestic material culture in shaping everyday practices and experiences. The garden assemblages in this book present the Pompeian house not only as a microcosm of empire but also as a workshop where individuals could work out through practice what it actually meant to live in a changing, profoundly interconnected, and increasingly interdependent world.


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