Podcasts about roman antiquities

People have kept diaries and recorded notes since writing was invented. But planners as we think of them today have their roots in almanacs.  Research: Atkins, Samuel. “Kalendarium Pennsilvaniense.” W. Bradford. 1685. https://books.google.com/books/about/Kalendarium_Pennsilvaniense_Or_America_s.html?id=wT0wAAAAYAAJ Nichols, Charles L. “Notes on the Almanacs of Massachusetts.” American Antiquarian Society. 1912. https://www.americanantiquarian.org/proceedings/45647891.pdf Railton, Stephen. “Anti-Slavery Almanacs.” University of Virginia. https://utc.iath.virginia.edu/abolitn/gallaaaf.html Britannica, The Editors of Encyclopaedia. "almanac". Encyclopedia Britannica, 9 Oct. 2023, https://www.britannica.com/topic/almanac Badian, E.. "fasti". Encyclopedia Britannica, 22 Dec. 2021, https://www.britannica.com/topic/fasti-Roman-calendar Winlock, H. E. “The Origin of the Ancient Egyptian Calendar.” Proceedings of the American Philosophical Society, vol. 83, no. 3, 1940, pp. 447–64. JSTOR, http://www.jstor.org/stable/985113 Smith, William, et a. “A Dictionary of Greek and Roman Antiquities.” Albemarle Street, London. John Murray. 1890. Accessed online: https://www.perseus.tufts.edu/hopper/text?doc=Perseus:text:1999.04.0063:entry=fasti-cn Britannica, The Editors of Encyclopaedia. "Richard Pynson". Encyclopedia Britannica, 1 Jan. 2023, https://www.britannica.com/biography/Richard-Pynson Driver, Martha W. “When Is a Miscellany Not Miscellaneous? Making Sense of the ‘Kalender of Shepherds.'” The Yearbook of English Studies, vol. 33, 2003, pp. 199–214. JSTOR, https://doi.org/10.2307/3509026 Hockey, Thomas et al. (eds.). “The Biographical Encyclopedia of Astronomers.” Springer Reference. New York: Springer, 2007, pp. 1258-1260 https://islamsci.mcgill.ca/RASI/BEA/Zarqali_BEA.htm “Diaries and Planners Market Size, Share, Growth, and Industry Analysis by Type (Diaries and Planners) By Application (Premium, and Mass), Latest Trends, Regional Insights, and Forecast From 2024 to 2031.” Business Research Insights. April 2023. https://www.businessresearchinsights.com/market-reports/diaries-and-planners-market-102040 Hubrigh, Joachim. “An almanacke, and prognostication, for the yeare of our Lorde God. 1565. : seruing for all Europia, and also most necessary for all students, marchantes, mariners and trauellers, both by sea and lande, composed and gathered by Ioakim Hubrigh, Doctor in Phisick. Also the most principall fayres in Englande, very necessary for people that doe resorte to the same.” Imprinted by Henry Denham for William Pickring. 1565. Accessed online: https://catalog.folger.edu/record/170062?ln=en Shank, Michael. "Regiomontanus". Encyclopedia Britannica, 2 Jul. 2023, https://www.britannica.com/biography/Regiomontanus Danforth, Samuel and Royster, Paul (transcriber & editor), "Samuel Danforth's Almanack Poems and Chronological Tables 1647-1649" (1649). Faculty Publications, UNL Libraries. 36. https://digitalcommons.unl.edu/libraryscience/36 “History of The Nautical Almanac.” Astronomical Applications Department, U.S. Government. https://aa.usno.navy.mil/publications/na_history “William Pierce.” Town Memorials, Winthrop, Massachusetts.” https://winthropmemorials.org/great-allotment/pages/william-pierce.html See omnystudio.com/listener for privacy information.

Rome seems to be an impasse. Facing war on all fronts and with escalating crisis between the patricians and the plebeians the place of Rome in the Italian world is at the brink. It's 445 BCE and the republic is still young enough to fail. How will Rome face the chaos coming at them from outside while weakened from their own internal conflict? Tune in to find out!Secret MeetingsIn order to get Rome motivated for war, the internal problems need to be resolved first. What better time then for some of the more senior Romans (who also just happen to be patrician) to get together for a clandestine meeting… Some important decisions are reached but despite the secrecy of the meeting, it does not go unnoticed. Is Rome really more of an oligarchy than it likes to think it is?Canuleius' SpeechOn the other side of town, the tribune of the plebs, Gaius Canuelius, is getting fired up about the restrictive marriage laws that are part of the Twelve Tables. And boy does he have a speech to make about it! He digs deep into Rome's history right back to the kings to explain to the plebeians how their exclusion from marriage to patricians is offensive. He explores the way Rome is in a process of constant adaption and change with examples to support his case that excluding plebeians is insupportable.Military Tribunes with Consular PowerIn a time of great struggle innovation becomes a necessity. With Rome facing threats from just about every direction, the consuls won't be able to be everywhere they are needed commanding armies. Livy and Dionysius of Halicarnassus view the development of military tribunes with consular power as part of the patricians trying to placate the plebeians. But is there more to it than that? We delve into the background of the role, what it means for the structure of Roman governance, and compare the sources on the subject.Tune in forThe suggestion that the plebeians have the right to introduce lawsDastardly plans from the the patriciansSome weighty demands for the repel of the marriage ban and access to governing power for the plebeiansA shocking moment of patricians conceding to the plebeians!Our PlayersConsuls 445 BCEM. Genucius – f. – n. Augurinus – Pat.C. (or Agripp.) Curtius – f. – n. Philo (or Chilo) Pat.Notable PatriciansGaius Claudius, uncle of the infamous Appius ClaudiusTitus Quinctius L. f. L. n. Capitolinus BarbatusL. Valerius P. f. P. n. Potitus (Poplicola?) – Pat.M. Horatius M. f. L. (or P.) n. BarbatusTitus Genucius, the brother of the consul!Tribune of the PlebsC. CanuleiusC. Furnius SourcesDr G reads Dionysius of Halicarnassus, Roman Antiquities, 11.55-60.Dr Rad reads Livy ab Urbe Condita 4.2-6.Broughton, T. R. S., Patterson, M. L. 1951. The Magistrates of the Roman Republic Volume 1: 509 B.C. – 100 B.C. (The American Philological Association)Cornell, T. J. 1995. The Beginnings of Rome: Italy and Rome from the Bronze Age to the Punic Wars (c. 1000-264 BC) (Taylor & Francis)Forsythe, G. 2006. A Critical History of Early Rome: From Prehistory to the First Punic War(University of California Press) For our full show notes and edited transcripts, head on over to https://partialhistorians.com/Support the showPatreonKo-FiRead our booksRex: The Seven Kings of RomeYour Cheeky Guide to the Roman Empire Hosted on Acast. See acast.com/privacy for more information.

In 2019 the Louvre Pyramid by Chinese-American architect I.M Pei turned thirty. Designed as a contemporary art installation, the pyramid is nowadays a landmark of the Parisian museum—but it was also one of the most controversial cultural projects of François Mitterrand’s presidency. Since, the Louvre Pyramid has been accepted and embraced, and now houses art installations that look back on this controversial birth and refresh its myth. This talk welcomed Ludovic Laugier — curator in the Department of Greek, Etruscan and Roman Antiquities at the Louvre Museum — to speak about the pyramid and Pei’s work.

In the 1860s, San Francisco's most popular tourist attraction was not a place but a person: Joshua Norton, an eccentric resident who had declared himself emperor of the United States. Rather than shun him, the city took him to its heart, affectionately indulging his foibles for 21 years. In this week's episode of the Futility Closet podcast we'll consider the reign of Norton I and the meaning of madness. We'll also keep time with the Romans and puzzle over some rising temperatures. Intro: Amazon customers have been reviewing a gallon of milk since 2005. G.W. Blake patented a flyswatter pistol in 1919. Sources for our feature on Joshua Norton: William Drury, Norton I: Emperor of the United States, 1986. William M. Kramer, Emperor Norton of San Francisco, 1974. Catherine Caufield, The Emperor of the United States of America and Other Magnificent British Eccentrics, 1981. Benjamin E. Lloyd, Lights and Shades in San Francisco, 1876. Fred Dickey, "Norton I: Ruler of All He Imagined," American History 41:4 (October 2006), 65-66,68,70,6. Robert Ernest Cowan, "Norton I: Emperor of the United States and Protector of Mexico (Joshua A. Norton, 1819-1880)," California Historical Society Quarterly 2:3 (October 1923), 237-245. Eric Lis, "His Majesty's Psychosis: The Case of Emperor Joshua Norton," Academic Psychiatry 39:2 (April 2015), 181–185. Gary Kamiya, "How Emperor Norton Rose to Power," San Francisco Chronicle, April 1, 2017. "Street Characters of San Francisco," Overland Monthly 19:113 (May 1892), 449-459. "Death of an American Emperor," Frank Leslie's Illustrated Newspaper 49:1271 (Feb. 7, 1880), 428-429. "Emperor Norton," Sacramento Daily Record-Union, Jan. 26, 1880, 1. "Collections: The Emperor's Cane," California History 82:2 (2004), 3, 59. Alejandro Lazo and Daniel Huang, "Who Is Emperor Norton? Fans in San Francisco Want to Remember," Wall Street Journal, Aug. 13, 2015. David Warren Ryder, "The Strange Story of Emperor Norton," Saturday Evening Post 218:6 (Aug. 11, 1945), 35-41. Julian Dana, "San Francisco's Fabulous Fools," Prairie Schooner 27:1 (Spring 1953), 45-49. Jed Stevenson, "Notes Issued by the Self-Crowned Emperor of the United States Have Become Collector's Items," New York Times, Dec. 9, 1990, 84. "Death of an Eccentric Californian," New York Times, Jan. 10, 1880, 5. Listener mail: Leonhard Schmitz, "Hora," in William Smith, A Dictionary of Greek and Roman Antiquities, 1875. Wikipedia, "Roman Timekeeping" (accessed Sept. 23, 2017). "A Brief Guide to Roman Timekeeping and the Calendar," World History (accessed Sept. 23, 2017). Wikipedia, "Finger-Counting" (accessed Sept. 23, 2017). Aditya Singhal, "Math Teachers Should Encourage Their Students to Count Using Fingers," Math Blog, July 20, 2016. Nancy Szokan, "Think Counting on Your Fingers Is Dumb? Think Again," Washington Post, July 30, 2016. An Indian 5-year-old doing mental sums. This week's lateral thinking puzzle was contributed by listener Sofia Hauck de Oliveira, who sent this corroborating link (warning -- this spoils the puzzle). You can listen using the player above, download this episode directly, or subscribe on iTunes or Google Play Music or via the RSS feed at http://feedpress.me/futilitycloset. Please consider becoming a patron of Futility Closet -- on our Patreon page you can pledge any amount per episode, and we've set up some rewards to help thank you for your support. You can also make a one-time donation on the Support Us page of the Futility Closet website. Get a free audiobook with a 30-day trial at Audible. Many thanks to Doug Ross for the music in this episode. If you have any questions or comments you can reach us at podcast@futilitycloset.com. Thanks for listening!

Jeffrey L. Collins, Ph.D., Professor and Chair of Academic Programs, Bard Graduate Center More is More: Piranesi and Design Giambattista Piranesi is best known today as a printmaker. Yet in his lifetime, he routinely signed his plates—and clearly wished to be known—as an architect, a profession that in the eighteenth-century often embraced interior decoration and furnishing. As an architect-designer, Piranesi "invented" not just buildings but chairs, tables, clocks, coaches, vases, candelabra, tablewares, chimneypieces, wall ornaments, and even complete rooms. Many feature in this exhibition, some on paper (where they largely remained) and some brought to life for the first time in three dimensions. In their eclecticism, visual density, and even whimsy, these exuberant modern designs may challenge our idea of Piranesi as a neoclassicist devoted solely to an image of ancient grandeur. But what were the sources and inspirations for Piranesi's ideas, and how do they relate to prevailing eighteenth-century tastes? This lecture places Piranesi's design work in its cultural and conceptual context, asking how this seemingly marginal activity exemplified the artist's broader concerns and constituted, albeit secondhand, a central part of his legacy. John Pinto, Ph.D., Howard Crosby Butler Memorial Professor of Art and Archeology, Princeton University Piranesi's "Speaking Ruins:" Fragment and Fantasy Shortly after his first visit to Rome, Giovanni Battista Piranesi memorably wrote, "Speaking ruins have filled my spirit with images that accurate drawings could never have succeeded in conveying." Piranesi's appreciation of the expressive nature of ruins is telling. So, too, is the distinction he makes between experiencing ancient architecture directly, through on-site examination, on the one hand, and studying it at several removes by means of measured drawings, on the other. Piranesi provides a poetic distillation of over three centuries of reappraisals of the value and meaning of ruins for humanists, antiquarians, and architects. Professor Pinto's lecture will use Piranesi's graphic work to explore his virtuoso variations on the theme of the fragment, his analytic strategies, and his visionary engagement with the past. It was Piranesi's genius to bridge the gap between past and present, between source and invention, thereby breathing new life into the classical legacy. Christopher M.S. Johns, Ph.D., Norman L. and Roselea J. Golberg, Professor and Chair of the Department of History of Art, Vanderbilt University Piranesi and the Fabrication of Rome in the European Imagination: Le Vedute di Roma and Antichità Romane The vast majority of Europeans who studied, collected and admired the graphic works of Giambattista Piranesi never saw Rome. This fabricated Rome inspired the European imaginary in a way that is difficult to understand in the modern age of imagery overload and instantaneous access to almost everything. But Piranesi's Rome was a reality in it own right, and only those relative few who actually visited the Eternal City during their Grand Tours could compare the artist's vision with diurnal reality. Indeed, not a few Roman visitors, conditioned by their study of Piranesi's imagery, were disappointed in the modest scale and shabby surroundings of some of the greatest monuments to survive from an admired antiquity. The Views of Rome and Roman Antiquities, two of the artist's most influential series of etchings, had an exceptionally high profile in Enlightenment Europe and form the basis for his vision of Roman magnificence. This lecture will explore the connection between word and image and between image in reality in Piranesi's influential series with the intention of shedding some light on the disconnection between the scholar's and the tourist's Rome in the middle decades of the eighteenth-century. www.TheSanDiegoMuseumofAr

Jeffrey L. Collins, Ph.D., Professor and Chair of Academic Programs, Bard Graduate Center More is More: Piranesi and Design Giambattista Piranesi is best known today as a printmaker. Yet in his lifetime, he routinely signed his plates—and clearly wished to be known—as an architect, a profession that in the eighteenth-century often embraced interior decoration and furnishing. As an architect-designer, Piranesi "invented" not just buildings but chairs, tables, clocks, coaches, vases, candelabra, tablewares, chimneypieces, wall ornaments, and even complete rooms. Many feature in this exhibition, some on paper (where they largely remained) and some brought to life for the first time in three dimensions. In their eclecticism, visual density, and even whimsy, these exuberant modern designs may challenge our idea of Piranesi as a neoclassicist devoted solely to an image of ancient grandeur. But what were the sources and inspirations for Piranesi's ideas, and how do they relate to prevailing eighteenth-century tastes? This lecture places Piranesi's design work in its cultural and conceptual context, asking how this seemingly marginal activity exemplified the artist's broader concerns and constituted, albeit secondhand, a central part of his legacy. John Pinto, Ph.D., Howard Crosby Butler Memorial Professor of Art and Archeology, Princeton University Piranesi's "Speaking Ruins:" Fragment and Fantasy Shortly after his first visit to Rome, Giovanni Battista Piranesi memorably wrote, "Speaking ruins have filled my spirit with images that accurate drawings could never have succeeded in conveying." Piranesi's appreciation of the expressive nature of ruins is telling. So, too, is the distinction he makes between experiencing ancient architecture directly, through on-site examination, on the one hand, and studying it at several removes by means of measured drawings, on the other. Piranesi provides a poetic distillation of over three centuries of reappraisals of the value and meaning of ruins for humanists, antiquarians, and architects. Professor Pinto's lecture will use Piranesi's graphic work to explore his virtuoso variations on the theme of the fragment, his analytic strategies, and his visionary engagement with the past. It was Piranesi's genius to bridge the gap between past and present, between source and invention, thereby breathing new life into the classical legacy. Christopher M.S. Johns, Ph.D., Norman L. and Roselea J. Golberg, Professor and Chair of the Department of History of Art, Vanderbilt University Piranesi and the Fabrication of Rome in the European Imagination: Le Vedute di Roma and Antichità Romane The vast majority of Europeans who studied, collected and admired the graphic works of Giambattista Piranesi never saw Rome. This fabricated Rome inspired the European imaginary in a way that is difficult to understand in the modern age of imagery overload and instantaneous access to almost everything. But Piranesi's Rome was a reality in it own right, and only those relative few who actually visited the Eternal City during their Grand Tours could compare the artist's vision with diurnal reality. Indeed, not a few Roman visitors, conditioned by their study of Piranesi's imagery, were disappointed in the modest scale and shabby surroundings of some of the greatest monuments to survive from an admired antiquity. The Views of Rome and Roman Antiquities, two of the artist's most influential series of etchings, had an exceptionally high profile in Enlightenment Europe and form the basis for his vision of Roman magnificence. This lecture will explore the connection between word and image and between image in reality in Piranesi's influential series with the intention of shedding some light on the disconnection between the scholar's and the tourist's Rome in the middle decades of the eighteenth-century. www.TheSanDiegoMuseumofAr

Jeffrey L. Collins, Ph.D., Professor and Chair of Academic Programs, Bard Graduate Center More is More: Piranesi and Design Giambattista Piranesi is best known today as a printmaker. Yet in his lifetime, he routinely signed his plates—and clearly wished to be known—as an architect, a profession that in the eighteenth-century often embraced interior decoration and furnishing. As an architect-designer, Piranesi "invented" not just buildings but chairs, tables, clocks, coaches, vases, candelabra, tablewares, chimneypieces, wall ornaments, and even complete rooms. Many feature in this exhibition, some on paper (where they largely remained) and some brought to life for the first time in three dimensions. In their eclecticism, visual density, and even whimsy, these exuberant modern designs may challenge our idea of Piranesi as a neoclassicist devoted solely to an image of ancient grandeur. But what were the sources and inspirations for Piranesi's ideas, and how do they relate to prevailing eighteenth-century tastes? This lecture places Piranesi's design work in its cultural and conceptual context, asking how this seemingly marginal activity exemplified the artist's broader concerns and constituted, albeit secondhand, a central part of his legacy. John Pinto, Ph.D., Howard Crosby Butler Memorial Professor of Art and Archeology, Princeton University Piranesi's "Speaking Ruins:" Fragment and Fantasy Shortly after his first visit to Rome, Giovanni Battista Piranesi memorably wrote, "Speaking ruins have filled my spirit with images that accurate drawings could never have succeeded in conveying." Piranesi's appreciation of the expressive nature of ruins is telling. So, too, is the distinction he makes between experiencing ancient architecture directly, through on-site examination, on the one hand, and studying it at several removes by means of measured drawings, on the other. Piranesi provides a poetic distillation of over three centuries of reappraisals of the value and meaning of ruins for humanists, antiquarians, and architects. Professor Pinto's lecture will use Piranesi's graphic work to explore his virtuoso variations on the theme of the fragment, his analytic strategies, and his visionary engagement with the past. It was Piranesi's genius to bridge the gap between past and present, between source and invention, thereby breathing new life into the classical legacy. Christopher M.S. Johns, Ph.D., Norman L. and Roselea J. Golberg, Professor and Chair of the Department of History of Art, Vanderbilt University Piranesi and the Fabrication of Rome in the European Imagination: Le Vedute di Roma and Antichità Romane The vast majority of Europeans who studied, collected and admired the graphic works of Giambattista Piranesi never saw Rome. This fabricated Rome inspired the European imaginary in a way that is difficult to understand in the modern age of imagery overload and instantaneous access to almost everything. But Piranesi's Rome was a reality in it own right, and only those relative few who actually visited the Eternal City during their Grand Tours could compare the artist's vision with diurnal reality. Indeed, not a few Roman visitors, conditioned by their study of Piranesi's imagery, were disappointed in the modest scale and shabby surroundings of some of the greatest monuments to survive from an admired antiquity. The Views of Rome and Roman Antiquities, two of the artist's most influential series of etchings, had an exceptionally high profile in Enlightenment Europe and form the basis for his vision of Roman magnificence. This lecture will explore the connection between word and image and between image in reality in Piranesi's influential series with the intention of shedding some light on the disconnection between the scholar's and the tourist's Rome in the middle decades of the eighteenth-century. www.TheSanDiegoMuseumofAr

Jeffrey L. Collins, Ph.D., Professor and Chair of Academic Programs, Bard Graduate Center More is More: Piranesi and Design Giambattista Piranesi is best known today as a printmaker. Yet in his lifetime, he routinely signed his plates—and clearly wished to be known—as an architect, a profession that in the eighteenth-century often embraced interior decoration and furnishing. As an architect-designer, Piranesi "invented" not just buildings but chairs, tables, clocks, coaches, vases, candelabra, tablewares, chimneypieces, wall ornaments, and even complete rooms. Many feature in this exhibition, some on paper (where they largely remained) and some brought to life for the first time in three dimensions. In their eclecticism, visual density, and even whimsy, these exuberant modern designs may challenge our idea of Piranesi as a neoclassicist devoted solely to an image of ancient grandeur. But what were the sources and inspirations for Piranesi's ideas, and how do they relate to prevailing eighteenth-century tastes? This lecture places Piranesi's design work in its cultural and conceptual context, asking how this seemingly marginal activity exemplified the artist's broader concerns and constituted, albeit secondhand, a central part of his legacy. John Pinto, Ph.D., Howard Crosby Butler Memorial Professor of Art and Archeology, Princeton University Piranesi's "Speaking Ruins:" Fragment and Fantasy Shortly after his first visit to Rome, Giovanni Battista Piranesi memorably wrote, "Speaking ruins have filled my spirit with images that accurate drawings could never have succeeded in conveying." Piranesi's appreciation of the expressive nature of ruins is telling. So, too, is the distinction he makes between experiencing ancient architecture directly, through on-site examination, on the one hand, and studying it at several removes by means of measured drawings, on the other. Piranesi provides a poetic distillation of over three centuries of reappraisals of the value and meaning of ruins for humanists, antiquarians, and architects. Professor Pinto's lecture will use Piranesi's graphic work to explore his virtuoso variations on the theme of the fragment, his analytic strategies, and his visionary engagement with the past. It was Piranesi's genius to bridge the gap between past and present, between source and invention, thereby breathing new life into the classical legacy. Christopher M.S. Johns, Ph.D., Norman L. and Roselea J. Golberg, Professor and Chair of the Department of History of Art, Vanderbilt University Piranesi and the Fabrication of Rome in the European Imagination: Le Vedute di Roma and Antichità Romane The vast majority of Europeans who studied, collected and admired the graphic works of Giambattista Piranesi never saw Rome. This fabricated Rome inspired the European imaginary in a way that is difficult to understand in the modern age of imagery overload and instantaneous access to almost everything. But Piranesi's Rome was a reality in it own right, and only those relative few who actually visited the Eternal City during their Grand Tours could compare the artist's vision with diurnal reality. Indeed, not a few Roman visitors, conditioned by their study of Piranesi's imagery, were disappointed in the modest scale and shabby surroundings of some of the greatest monuments to survive from an admired antiquity. The Views of Rome and Roman Antiquities, two of the artist's most influential series of etchings, had an exceptionally high profile in Enlightenment Europe and form the basis for his vision of Roman magnificence. This lecture will explore the connection between word and image and between image in reality in Piranesi's influential series with the intention of shedding some light on the disconnection between the scholar's and the tourist's Rome in the middle decades of the eighteenth-century. www.TheSanDiegoMuseumofAr