Aldobrandini Wedding: Difference between revisions
replaced: 1635-1700 → 1635–1700, removed: using AWB |
==Description, interpretation and style== Translated from https://it.wikipedia.org/wiki/Nozze_Aldobrandini |
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The fresco was discovered about the year 1600 from the masonry of a house near the [[Arch of Gallienus]] on the [[Esquiline Hill]]. It was in possession of the [[Aldobrandini]] family until 1818, when it was purchased by the Vatican authorities. Until the 19th century, this was one of the few and most influential paintings from the early Roman empire, and generated much interest and scholarship including engravings by [[Pietro Santi Bartoli]] (1635–1700), and attention by [[Johann Joachim Winckelmann|Winckelmann]], [[Karl Böttiger]], and others. There are many elaborate competing interpretations of the scene.<ref>[http://apaclassics.org/sites/default/files/documents/abstracts/KILPATRICK.pdf Abstract from ''Euripides' Alcestis and the "Aldobrandini Wedding" ''], by Ross Kilpatrick.</ref><ref>see [https://digitool.fcla.edu/pds?func=sso&calling_system=digitool&pds_con_lng=&con_lng&url=http://digitool.fcla.edu:80/R/M4E4NH6E57BHIDBTBYBQCRDKL7GY1NQ7J5ETJYKIS3UIA1U7A4-00337?func=dbin-jump-full&object_id=3087773&local_base=GEN01 The Early Augustan "Aldobrandini Wedding" Fresco: A Quartercentury Reinterpretation], article Memoirs of American Academy in Rome, 2002, Ross Kilpatrick, Queens University.</ref><ref>[https://digitool.fcla.edu/pds?func=sso&calling_system=digitool&pds_con_lng=&con_lng&url=http://digitool.fcla.edu:80/R/M4E4NH6E57BHIDBTBYBQCRDKL7GY1NQ7J5ETJYKIS3UIA1U7A4-00337?func=dbin-jump-full&object_id=3087773&local_base=GEN01 Abstract from thesis: ''The history and interpretation of the "Aldobrandini Wedding": Bacchus, fertility and marriage in the time of Augustus.'' ] by DuRette, B. Underwood, Florida State University.</ref> |
The fresco was discovered about the year 1600 from the masonry of a house near the [[Arch of Gallienus]] on the [[Esquiline Hill]]. It was in possession of the [[Aldobrandini]] family until 1818, when it was purchased by the Vatican authorities. Until the 19th century, this was one of the few and most influential paintings from the early Roman empire, and generated much interest and scholarship including engravings by [[Pietro Santi Bartoli]] (1635–1700), and attention by [[Johann Joachim Winckelmann|Winckelmann]], [[Karl Böttiger]], and others. There are many elaborate competing interpretations of the scene.<ref>[http://apaclassics.org/sites/default/files/documents/abstracts/KILPATRICK.pdf Abstract from ''Euripides' Alcestis and the "Aldobrandini Wedding" ''], by Ross Kilpatrick.</ref><ref>see [https://digitool.fcla.edu/pds?func=sso&calling_system=digitool&pds_con_lng=&con_lng&url=http://digitool.fcla.edu:80/R/M4E4NH6E57BHIDBTBYBQCRDKL7GY1NQ7J5ETJYKIS3UIA1U7A4-00337?func=dbin-jump-full&object_id=3087773&local_base=GEN01 The Early Augustan "Aldobrandini Wedding" Fresco: A Quartercentury Reinterpretation], article Memoirs of American Academy in Rome, 2002, Ross Kilpatrick, Queens University.</ref><ref>[https://digitool.fcla.edu/pds?func=sso&calling_system=digitool&pds_con_lng=&con_lng&url=http://digitool.fcla.edu:80/R/M4E4NH6E57BHIDBTBYBQCRDKL7GY1NQ7J5ETJYKIS3UIA1U7A4-00337?func=dbin-jump-full&object_id=3087773&local_base=GEN01 Abstract from thesis: ''The history and interpretation of the "Aldobrandini Wedding": Bacchus, fertility and marriage in the time of Augustus.'' ] by DuRette, B. Underwood, Florida State University.</ref> |
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== Description, interpretation and style == |
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The painting, broken at the ends, is part of the frieze of the wall decoration in the third style of a domus of the [[Esquiline Hill]]. It did not occupy the central position of the decoration, but it had to be at the top of the wall on which it was painted. |
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There appear ten people, willing practically in three areas on the same line, whose action takes place both in the internal and exterior. In the area of the left and in the middle of two walls contiguous united by an offset to the far left indicate clearly that the characters represented are located in two distinct environments; differently in the presence of the right of the sky as a background to the ground qualification a scene that takes place outside the same household, the threshold of which is outlined in the lower center, in perspective, the top of the wall that is the backdrop to the central area. |
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In the scene left a ''Roman matron'' cloak with white, veiled head and [[flabellum]], perhaps intent is to test the temperature of the water poured into a small washing lustral supported by a pedestal, from which hangs a towel and in which a maid seems to pour other water; in the background a guy says an elongated object is not well defined, perhaps a stool. At the foot of the column is an object made of overlapping tablets, probably a cassette. |
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In the central scene, bordered by the pillar angle between the two walls and the threshold of the house, a woman with legs crossed ([[Charis]], or, more likely, [[Peitho]], goddess of persuasion), with sandals, leans against a pillar, and is intent on pour essences from an [[Alabastron]] over a shell valve supported with the left hand; on a bed covered with a cloth sit the bride, head veiled and dressed in a white coat and yellow shoes, and another female figure ([[Venus]]), bare-chested and with sandals , affectionately embracing the first and the approaches right hand to the face gently. At the foot of the bed a young half-naked ([[Hymen_(god)|Hymen]], god of marriage), with a cloak wrapped around his waist and head wreathed with ivy , lies on the doorstep and observes the scene of loving persuasion that takes place at his right hand. |
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In the far right scene, outdoors, three young women stopping in around an incense burner supported by a tripod ; the woman turned of three quarters, with headdress, is intent on pouring the essences from a patera , while in the center, with radiated crown of leaves (of palm ?) turns towards the female musician with lyre with seven strings hanging from his neck and [[plectrum]] in his right hand. In the group are easily recognizable, even for the iconography [[Boeotian_muses|Three Muses]]. |
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The classic interpretation of the work, you see a scene of the wedding of [[Peleus]] and [[Thetis]] , the parents of the hero [[Achilles]], is due to the founder of the history of ancient [[Johann Joachim Winckelmann]]; another hypothesis, formulated in the eighteenth century by Luigi Dutens , we recognize a moment of marriage between [[Alexander the Great]] and [[Roxana]]. These interpretations were unquestioned until 1994 , when Franz Müller proposed a scene of [[[Hippolyte]] of Euripides as a guide for the correct reading of the fresco. Following have been proposed as pertaining to painting some passages of [[Alcestis]] . |
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Beyond the interpretations of mythological, historical or literary work, it is clear that the central scene he qualifies in a manner unchallengeable its relevance to the theme of the wedding, with a focus on a situation and meta-universal: the anxiety experienced by the young bride, comforted and supported by Venus , waiting to meet the bridegroom and losing virginity . The two side scenes help to integrate this interpretation more generalist work, which is of course possible only a partial reading because of the fragmentary nature with which we were received; the scene on the left, with the matron that controls the temperature of the water in the basin, probably alludes to the ceremony of accepting the bride in her husband's house ( ''aqua et igni accipi'' , acceptance of water and fire) according to the custom of the Roman deductio , while the scene to the right, well be interpreted as a general sacrifice of good luck, it is a possible reference to the presence of the god lying and the lira , the wedding song ( Hymen ) that accompanied the bride in her new home. |
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The formal language and style of the work permit to attribute the beginning of the Augustean age , by inserting it in the context of the current neo-Attic , without there necessarily being the basis of his drawing of an original Hellenistic painting of the fourth century BC , has always assumed and researched by scholars. |
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==References== |
==References== |
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{{Reflist}} |
{{Reflist}} |
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Revision as of 18:19, 21 September 2014
The Aldobrandini Wedding (Nozze Aldobrandini) fresco is an influential Ancient Roman painting on display in the Vatican Museum.
History
The fresco was discovered about the year 1600 from the masonry of a house near the Arch of Gallienus on the Esquiline Hill. It was in possession of the Aldobrandini family until 1818, when it was purchased by the Vatican authorities. Until the 19th century, this was one of the few and most influential paintings from the early Roman empire, and generated much interest and scholarship including engravings by Pietro Santi Bartoli (1635–1700), and attention by Winckelmann, Karl Böttiger, and others. There are many elaborate competing interpretations of the scene.[1][2][3]
Description, interpretation and style
The painting, broken at the ends, is part of the frieze of the wall decoration in the third style of a domus of the Esquiline Hill. It did not occupy the central position of the decoration, but it had to be at the top of the wall on which it was painted.
There appear ten people, willing practically in three areas on the same line, whose action takes place both in the internal and exterior. In the area of the left and in the middle of two walls contiguous united by an offset to the far left indicate clearly that the characters represented are located in two distinct environments; differently in the presence of the right of the sky as a background to the ground qualification a scene that takes place outside the same household, the threshold of which is outlined in the lower center, in perspective, the top of the wall that is the backdrop to the central area.
In the scene left a Roman matron cloak with white, veiled head and flabellum, perhaps intent is to test the temperature of the water poured into a small washing lustral supported by a pedestal, from which hangs a towel and in which a maid seems to pour other water; in the background a guy says an elongated object is not well defined, perhaps a stool. At the foot of the column is an object made of overlapping tablets, probably a cassette.
In the central scene, bordered by the pillar angle between the two walls and the threshold of the house, a woman with legs crossed (Charis, or, more likely, Peitho, goddess of persuasion), with sandals, leans against a pillar, and is intent on pour essences from an Alabastron over a shell valve supported with the left hand; on a bed covered with a cloth sit the bride, head veiled and dressed in a white coat and yellow shoes, and another female figure (Venus), bare-chested and with sandals , affectionately embracing the first and the approaches right hand to the face gently. At the foot of the bed a young half-naked (Hymen, god of marriage), with a cloak wrapped around his waist and head wreathed with ivy , lies on the doorstep and observes the scene of loving persuasion that takes place at his right hand.
In the far right scene, outdoors, three young women stopping in around an incense burner supported by a tripod ; the woman turned of three quarters, with headdress, is intent on pouring the essences from a patera , while in the center, with radiated crown of leaves (of palm ?) turns towards the female musician with lyre with seven strings hanging from his neck and plectrum in his right hand. In the group are easily recognizable, even for the iconography Three Muses.
The classic interpretation of the work, you see a scene of the wedding of Peleus and Thetis , the parents of the hero Achilles, is due to the founder of the history of ancient Johann Joachim Winckelmann; another hypothesis, formulated in the eighteenth century by Luigi Dutens , we recognize a moment of marriage between Alexander the Great and Roxana. These interpretations were unquestioned until 1994 , when Franz Müller proposed a scene of [[[Hippolyte]] of Euripides as a guide for the correct reading of the fresco. Following have been proposed as pertaining to painting some passages of Alcestis .
Beyond the interpretations of mythological, historical or literary work, it is clear that the central scene he qualifies in a manner unchallengeable its relevance to the theme of the wedding, with a focus on a situation and meta-universal: the anxiety experienced by the young bride, comforted and supported by Venus , waiting to meet the bridegroom and losing virginity . The two side scenes help to integrate this interpretation more generalist work, which is of course possible only a partial reading because of the fragmentary nature with which we were received; the scene on the left, with the matron that controls the temperature of the water in the basin, probably alludes to the ceremony of accepting the bride in her husband's house ( aqua et igni accipi , acceptance of water and fire) according to the custom of the Roman deductio , while the scene to the right, well be interpreted as a general sacrifice of good luck, it is a possible reference to the presence of the god lying and the lira , the wedding song ( Hymen ) that accompanied the bride in her new home.
The formal language and style of the work permit to attribute the beginning of the Augustean age , by inserting it in the context of the current neo-Attic , without there necessarily being the basis of his drawing of an original Hellenistic painting of the fourth century BC , has always assumed and researched by scholars.
References
- ^ Abstract from Euripides' Alcestis and the "Aldobrandini Wedding" , by Ross Kilpatrick.
- ^ see The Early Augustan "Aldobrandini Wedding" Fresco: A Quartercentury Reinterpretation, article Memoirs of American Academy in Rome, 2002, Ross Kilpatrick, Queens University.
- ^ Abstract from thesis: The history and interpretation of the "Aldobrandini Wedding": Bacchus, fertility and marriage in the time of Augustus. by DuRette, B. Underwood, Florida State University.