Early Medieval Art

Preface; I. Introduction: I.1 Prelude "To Imitate the Bees"; I.2 Towards an Interpretation of Spolia: Delimitations and Methods; I.3 Reuse The Development of a New Architectural Practice; II. Translatio of Materials: II.1 Fragments and Fragmentation. The Disposition of Spolia in Church Buildings; II.2 Translations and Transferences: Christian Versions of Roman Architecture; II.3 The Aesthetics of Appropriation Eclecticism, Variety, and Antithetical Harmonies; III. Translatio of Meanings: III.1 Breaking Down the Past Rejections of Rationality; III.2 "Seeing the invisible" Towards a New Metaphorical Architecture; III.3 To "Strip Error Bare" The Rhetoric of Transformation; IV. Translatio of Time: IV.1 "Novelty in the Old and Age in the New". The Rhetoric of Renovation; IV.2 Recollecting the Past Spolia and Historical Consciousness; IV.3 Inventing the Past: Spolia and the Ideology of Classicism; Bibliography; List of Illustrations; Photo Credits; Index.

This note describes a lipsanotheca (a small container of relics, placed within an altar) from the church of Santa Maria de Cap d’Aran. The container, now preserved in the Museu dera Val d’Aran, is of blown glass, and it has relief-cut ornament. The form, color, and quality of the glass indicate that it was made in the ninth or 10th century, probably in Iran. Similar objects in The Corning Museum of Glass and The Metropolitan Museum of Art are noted. It is not known how the bottle reached Spain. The authors believe that it was used as a lipsanotheca at about the time the church of Santa Maria de Cap d’Aran was consecrated, in the first half of the 11th century.

The brilliant and varied colours of the Lindisfarne Gospels are one of the manuscript’s most celebrated features, and yet the question of their meaning and role within the iconographic program has been largely neglected in existing scholarship. In part this is due to the fact that colour studies are an intensely problematic field of inquiry necessitating an interdisciplinary approach that is also inherently dependent upon scientific analysis. Advances in Raman microscopy have enabled non-invasive testing for the first time and in the past ten years, the Lindisfarne Gospels and a number of other Insular manuscripts have undergone testing at the British Library and Trinity College Dublin. This essay offers a preliminary examination of the relationship between colour, iconography and meaning within the Lindisfarne Gospels before proceeding to an in depth analysis of the portrayal of eye-colour within the manuscript. This analysis explores the connections between colour, material, early medieval epistemology, optics and exegesis.

Liber antiphonarium
Ms. 8, Archivo Capitular de León
Copistas: Totmundo y Arias.
Procedente del Monasterio de San Cipriano de las Riberas del Porma.
s. X, aunque varios folios añadidos del s. XI.
Pergamino, 306 f., 330 x 240 mm.

Realizado entre los siglos X y XII, el Antifonario de León es un libro litúrgico musical que contiene más de una centena de oficios del rito hispánico, con sus correspondientes cantos particulares variables en cada fiesta y solemnidad atendiendo tanto a las horas canónicas como a las partes cantadas de la misa. El manuscrito, conservado actualmente en el Archivo Capitular de la Catedral de León, se atribuye al copista Totmundo del Monasterio de San Cipriano de las Riberas del Porma, gracias a una dedicatoria al comienzo del libro. El calendario de las primeras páginas, así como la ordenación interna de los oficios son un rico ejemplo del santoral hispano-visigodo de la época. La notación que acompaña a los textos, llamada visigótoca, ha despertado gran interés entre los musicólogos medievalistas, aunque no puede leerse en la actualidad por la ausencia de referentes en la altura de los sonidos. El manuscrito es el mejor ejemplo conservado de los antifonarios de la liturgia hispánica y una de las fuentes que más información nos aporta en la actualidad para comprender esta forma ritual, que fue sustituida por el rito romano desde el siglo XII y que era fruto de la riqueza cultural hispana en la Antigüedad Tardía y Alta Edad Media.

Ornament as Argument  explores notions of ornamentation and materiality in 10th and 11th-century Christian manuscript illumination. In particular, the book investigates the function and metaphoric meaning of so-called textile pages—images evoking the weave patterns of Byzantine and Islamic silk. An analysis of a broad range of objects situates textile pages in the context of medieval reading practice, visual exegesis, and worship. Based on various theological arguments that bear on the images and the book as an object in itself, the illuminations emerge as powerful textile metaphors. These concern material approaches to scripture, textile readings of the incarnation, and the physical book as body. Ornament as Argument thus contributes to a new understanding of the vital role illuminated manuscripts played in medieval material culture.

At the end of the 3rd century, private portraits of the deceased were introduced into the Christian funerary art at Rome, on sarcophagi as well as in catacomb paintings. For over a century they remained the most
important, and the single most widespread motif, in the grave imagery – but then they disappear, along with their sarcophagi and catacomb burials, at the end of antiquity. The reasons for this disappearance have generally been ascribed to the cultural changes of the late Roman imperium. But, I argue, it is possible to identify a more precise motive for the interruption of this phenomenon: the portraits themselves have a highly communicative and also performative character, as they were often intended to stare at the bereaved and communicate directly with those who come and visit the tomb, often for specific cultic and ritual activities of commemoration, such as the refrigeria at the tombs of the deceased. And there seems to be a clear moment when this Roman tradition ends: following the prescription of Augustine and Ambrose, Christians abandon the meal celebrated at the tomb itself, and replace it with a Eucharistic meal celebrated at the church. This is the moment when the place of physical burial and the place of the burial cult were no longer the same – which meant that the image at the tomb, the former ‘window’ through which the deceased had been viewed and remembered, was now useless. Confirmation of this hypothesis can be seen in the return of grave portraits from the early medieval period onward, but only for exceptionally rich people. For there in the grave chapels containing both altars and portraits of the wealthy donors, the place of burial was once again united with the place of the cult – there the mass was now performed by the bereaved in both the physical
(the dead body) and artistic (the portrait) presence of the deceased.

Rispetto all’edizione del 2009, oltre al necessario aggiornamento bibliografico, ho approfondito alcune tematiche che in quel volume erano state appena sfiorate ma che oggi mi appaiono fondamentali. Ad esempio, il tema delle chiese costantinopolitane e della Terra Santa, il
cui effetto sull’architettura occidentale fu enorme per tutto il Medioevo, così come la rilevanza e l’impatto del conflitto ariano nella costruzione della topografia cristiana. Ho semplificato alcuni capitoli provando a equilibrare anche
gli esempi delle varie aree geografiche trattate (e riducendo gli esempi della Spagna che trovano oggi uno studio monografico in Chavarría Arnau, 2018: Alla sombra de un Imperio). Ho pure rivisto gli ultimi due capitoli tenendo conto dell’avanzamento delle ricerche, soprattutto per quanto riguarda i metodi di datazione delle chiese. È stato infine quasi completamente rifatto l’apparato grafico per migliorarne la qualità, riducendo inoltre il numero di immagini in favore di esempi più significativi per favorire lo studio.

The book focuses on the most important examples of eleventh-century sculpture from Dalmatia and Croatia. This study re-evaluates figural sculptures from Zadar and Biskupija in northern Dalmatia, Solin in central Dalmatia, and Koločep in southern Dalmatia by contextualising their visual presence in the churches, examining issues of patronage, and tracing intertextual relationships with visual sources and patristic texts.

More specifically, the book focuses on marble and limestone relief carvings from five sites in the present-day Croatian region of Dalmatia which are decorated with human figures. The carvings include five sets of chancel screens, a portal, a capital, a perforated panel, and a fragmentary crucifix. Each chapter discusses a specific site, and follows a consistent analytical programme, which includes contextualising the sculptures according to their immediate architectural setting, their visual and textual sources, and their likely patrons, thereby placing them both in a local historical context and in the wider spiritual and artistic contexts of their time.

Graphic Signs of Authority in Late Antiquity and the Early Middle Ages presents a cultural history of graphic signs and examines how they were employed to communicate secular and divine authority in the late antique Mediterranean and early medieval Europe. Visual materials such as the sign of the cross, christograms, monograms, and other such devices, are examined against the backdrop of the cultural, religious, and socio-political transition from the late Graeco-Roman world to that of medieval Europe.

This monograph is a synthetic study of graphic visual evidence from a wide range of material media that have rarely been studied collectively, including various mass-produced items and unique objects of art, architectural monuments and epigraphic inscriptions, as well as manuscripts and charters. This study promises to provide a timely reference tool for historians, art historians, archaeologists, epigraphists, manuscript scholars, and numismatists.

This article summarizes the main results obtained by means of the stratigraphical study of the Asturian church of San Salvador of Priesca (Villaviciosa, Asturias). After reviewing that historiography related to its study, it is clear the necessity of establishing the main features of the original Project in order to compare it with the rest of the early medieval churches of the Asturian Kingdom

Studie byla publikována roku 1935 v knize ,,Sbornik statej po archeologii i vizantinovedeniju izdavajemyj Seminarijem imeni N.P. Kondakova" (Díl 7) / The study was published in 1935 in the book ,,Sbornik statj po archeologii i vizantinovedeniju izdavajemyj Seminarijem imeni N.P. Kondakova" (Volume 7).

Тези доповідей наукового семінару присвячені актуальним питанням археології Буковини та сусідніх регіонів. Розглядається проблематика кам'яної доби, епохи палеометалу, раннього заліза, середньовіччя та раннього нового часу, а також історії вивчення, охорони та використання об'єктів археологічної спадщини, музеєфікації старожитностей краю. Результати досліджень представили науковці та краєзнавці з Чернівецької, Івано-Франківської, Львівської, Тернопільської областей, Києва, Ужгорода, Луцька, Кам'янця-Подільського (Україна), Кишинева (Молдова), Сучави (Румунія), Будапешта (Угорщина).

As of June 2020, you can preview book prelims and Chapter 1 here: https://issuu.com/casematepub/docs/foster_jones2020

The uploaded text comprises the full author accepted manuscript version of this book's Contents and introductory chapter 'The concrete and non-concrete'. Informed by this research, the concrete St John's Cross replica was listed at Category A by Historic Environment Scotland in March 2020. Keep reading for more details!

As the back cover says: 'In 1970 a concrete replica of the St John’s Cross arrived in Iona sitting incongruously on the deck of a puffer delivering the island’s annual supply of coal. What is the story behind this intriguing replica? How does it relate to the world’s first ringed ‘Celtic cross’, an artistic and technical masterpiece, which has been at the heart of the Iona experience since the eighth century? What does it tell us about the authenticity and value of replicas?

In this fascinating book, Foster and Jones draw on extensive interdisciplinary research to reveal the composite biography of the St John’s Cross, its concrete replica, and its many other scale copies.  They show that replicas can acquire rich forms of authenticity and value, informed by social relations, craft practices, creativity, place and materiality. Thus, the book challenges traditional precepts that seek authenticity in qualities intrinsic to original historic objects. Replicas are shown to be important objects in their own right, with their own creative, human histories — biographies that people can connect with.  The story of the St John’s Cross celebrates how replicas can ‘work’ for us if we let them, particularly if clues are available about their makers’ passion, creativity and craft.'

The publisher details are @ https://www.oxbowbooks.com/oxbow/my-life-as-a-replica.html

There's a related blog here: https://ionaresearchgroup.arts.gla.ac.uk/index.php/2020/01/13/letting-the-st-johns-cross-iona-speak/

Book contents:
Introduction
The concrete and non-concrete (SF)

I. Crafting lives
1. Life as a replica (SF & SJ)
Replication and authenticity
Analogue replicas still matter
The St John’s Cross and its copies matter
The lives and voices of replicas
Capturing lives - objects, texts, images and people
Piecing it all together

2. Loving Iona (SF & SJ)
Island of crosses
Multiple communities
A ‘thick’ place

3. ‘Priceless monuments’ (SF)
Early antiquarian interest
New stewards, new horizons
‘History versus Mystery; Science and Art versus Faith’
Island voices
Dead or alive?

II. Creating and cultivating the cross
4. Formation and reformation (SF)
Salvation, wounds and resurrection
Fragmentation
Antiquarian rebirth, earliest copies
Silent witness
The Fallen Cross

5. Birth of the concrete replica: ‘I can’t think of anything more worthwhile doing’ (SF)
A slow conception
Fertile possibilities
‘Miraculous success’: an ‘authentic prototype’ for an ‘authentic replica’
Erecting the replica in situ
For the love of Iona
Material matters, first impressions
Celebrating the ‘virtually impossible’
MacLeod and the St John’s Cross
New life, new values

6. From out of the shadows (SF)
Transformer
Reunited
Place in the world
The Iona brand

7. Glorious revelation: contemporary significance, values and authenticity (SF & SJ)
‘Loaded objects’: meanings and relationships
Place and space
Material evidence of ‘pastness’
‘Glorious revelation’

III. Celebration in concrete, celebration of concrete
8. New life, new thinking (SF & SJ)
Rethinking authenticity and value
Heritage implications
Creating knowledge and understanding
Understanding social value and authenticity
Securing for the future
Engaging and experiencing
New lives, new stories

The Influences of the Dominican Order in the Middle Ages
Taylor Institute, Lincoln College, and Blackfriars Hall, Oxford University

September 10-12, 2015

This interdisciplinary conference will explore the influences of the Dominican Order on all aspects of medieval life, encompassing the large-scale influences of the Order and the legacy of its prominent figures, as well as the impact that the Order had on those that came into contact with it.

The keynote paper will be delivered by Mary Rouse, on ‘The Vital Impact of the Dominicans on Books at the University of Paris, 1217-1350’.  The program will feature papers on the Dominican influence in England, Northern Europe, Italy, Eastern Europe, and the Byzantine world; the influence of Friars on other movements and communities; Dominican influence on architecture, art, books, music and liturgy; and influential Dominican philosophers and theologians.

Confirmed speakers are from the UK, the USA, Canada, Austria, Denmark, France, Germany, Israel, Italy, the Netherlands, and Switzerland.  In addition, the conference will include a walking tour of medieval Oxford, and a concert of music that can be associated with the Dominican Order. 

http://www.torch.ox.ac.uk/influences-dominican-order-middle-ages

This paper presents a recently finished project entitled 'Iconophilia' , which engaged with the echoes that the Byzantine debate on sacred images had in Rome and in central-southern Italy. This project was funded by the European Commission at the Centre for Byzantine, Ottoman, and Modern Greek Studies, and based at the University of Birmingham (2015-2017). Maintaining a firm Chalcedonian Christology, which acknowledged the perfect dual nature of Christ, the popes supported sacred images because they visualised the Incarnate God and were useful in liturgy, instruction, and private prayer. The unremitting iconophile position of the papacy defined Christian religious mentality and art for centuries. In this article, I trace the methodology followed in this project, to unveil cross-disciplinary, overlooked or unexplored aspects of the papal and monastic response to Byzantine Iconoclasm, as a contribution to a cultural history of that period.

האם תפקידה של האמנות לחקות את המציאות או להתרומם לגבהים נשגבים? סוגיה זו העסיקה רבות את הפילוסופיה המערבית, החל מאפלטון ואריסטו. שני עקרונות מנחים המהווים בסיס לדיון פילוסופי זה הם המִימֵזִיס והפַנְטַאזִיה, שנלמדו לאורך השנים כשני עקרונות אסתטיים מנוגדים. בחיבור זה אבקש להראות כיצד שתי דרכי התבוננות אלו הותכו זו בזו באמנות הנוצרית המוקדמת לידי צורת התבוננות אחת, על ידי דיון באחת הסצנות הדרמטיות ביותר באמנות הנוצרית - ההשתנות של ישו

A new edition of the site guide of San Vincenzo al Volturno, replacing that published in 2005 - Published in cooperation with Soprintendenza per i Beni Architettonici del Molise and under the patronage of the Regione Molise.
La nuova edizione della guida del sito di San Vincenzo al Volturno, che sostituisce quella edita nel 2005. Pubblicata in collaborazione con la Soprintendenza per i Beni Architettonici del Molise e con il patrocinio della Regione Molise

Migrating Art Historians brings an embodied perspective to the study of medieval pilgrimage. Embodied readings of medieval art are on the rise since the sensual turn in art history, privileging the body as the essential instrument of investigation. Pilgrimage, intensely physical yet surrounded by rich visual culture, is particularly well suited to this type of inquiry. I am not an art historian, but a leader of courses on pilgrimage, and I consider the project and accompanying documentary film. Migrating Art Historians amply demonstrates the pedagogical, as well as scholarly, potential of becoming a pilgrim with one's students. This volume resulted from a semester-long project directed by Ivan Foletti (Masaryk University) in spring 2017. Twelve professors, postdocs, and graduate and undergraduate students walked a total of over 1,500 kilometers along three major medieval French pilgrimage routes (the Lemovicensis, Turonensis, and Podiensis), spending longer rest periods at the abbeys of Conques, Saint-Benoît-sur-Loire, and Mont-Saint-Michel. Their investigations there were streamed through Masaryk University's e-learning platform.

La revuelta de Pelayo en el 722 y su posterior núcleo de resistencia surgieron de una manera espontánea dentro del histórico carácter insurreccional cantábrico respecto al poder central peninsular. Sin embargo, en esta ocasión, la influencia de una minoría goda fugitiva de Toledo hizo que el levantamiento terminara convirtiéndose en un fenómeno de restauración neogoticista que tuvo su plasmación a partir de Alfonso II (791-842), surgiendo la figura de un príncipe heredero de los derechos de la monarquía toledana, quien se sirvió de una élite clerical culta que tejió toda la teoría político-jurídica para convertir a estos jefes astures en monarcas de pleno derecho visigodo, siendo las representaciones artísticas un valioso elemento para hacerse ver como los legítimos herederos y continuadores del reino de Toledo.

Berserkism in the Merovingian Empire? For three generations of research, impressive evidence
has been available: the pressblech foils from Obrigheim and Gutenstein. ‘Wolf warriors’ thus
seem to have been proven not only in the Scandinavian and Anglo-Saxon regions, but also in
Christian south-western Germany.  The article
attempts – based on the Obrigheim find – to retrace the history of the interpretation of these
pictorial works and to offer a new approach to interpretation.

As large cities claimed apostolic founding of their churches, the Roman church declared that it was constituted on the "double apostolate" of Peter and PauL The concordia apostolontm which results from the final agreement between the "former rivals" in this city is also seen as the foundation of the Roman church. The term concordia apostolornm term has been applied to at least two image types which show the two apostles together. I propose that this name is more appropriate as a title for the well known Roman apse image of Christ flanked by the apostle princes than the traditional traditio legis, since the concordia and the double apostolate are concepts which relate the church to the city of Rome. Hence, the scheme with the two apostles which decorates so many Roman apses from Late Antiquity until the age of Paschal I can be seen as an emblem precisely of the
Roman church.

One of the great premises of medieval popular religion was the localization of the holy, the essential principle of the pilgrimage.  At the same time, there was a widespread equation between excessive art and holiness.  One result of these complementary dynamics was that many pilgrims felt that the localization of the holy was indicated by an elevated artistic environment, an attitude that was used at times by religious institutions at some holy sites to meet the expectations of some great experience on the part of the tens and even hundreds of thousands of visitors who are recorded as having annually visited these places.  At the high point of the pilgrimage (11th-12th centuries), almost all of these pilgrims had no or only very little formal education.  And so the question arises, given the important role of art in the lived experience, how was this often complex form of visual media negotiated in this unique intersection of high culture and the non-elite in actual practice?  In other words, what provided the crucial interface for a largely uneducated public and the often phenomenally expensive art programs that had been created almost entirely for their benefit, practically speaking?  Or, put another way still, was there such a thing as a "tour guide" in the Middle Ages?
This study investigates the medieval "tour guide" or, perhaps better, it investigates guide culture.  Toward this end, I ask such questions as was there a "tour guide" in the Middle Ages, that is, is there evidence for an artistic component within medieval guide culture?  If so, what was the precedent for this?  What was its relation to artistic culture in general and pilgrimage culture in particular?  Is there any evidence of guide support, such as guide training or guide aids?  What can we say about the range of artistic culture addressed by medieval guides and, in this regard, what sort of information did they convey?  Who were these guides and what social groups did they address?  Did they act to maintain--consciously or unconsciously--the traditional social distance between the spiritual elite and the non-elite?  And how does all this affect our conception of medieval artistic culture, broadly speaking?
Medieval guide culture and its mediating dynamic, ephemeral by nature, have been largely overlooked.  But at least something--even if little more than an awareness--of this culture may be recovered.  The evidence suggests that it was an active factor in the transmission of particular categories of knowledge and claims, and strongly affected both the object-viewer dynamic and the social context of medieval public art.  And in this, the guide, variously understood, was often the principal mediator between the ordinary visitor and the sometimes incredibly lavish and complex art programs--between the public and the public work of art--of the Middle Ages.

Katedraller, mimari, estetik, işlevsel ve aynı zamanda binanın yapısal tasarımı arasındaki bağlantıların en güzel örneklerinden bazılarını temsil eder. İnşaat için kuralları başlangıcından beri Tanrı'yı kutlamak, onu birbirine bağlamak ve inananların bir araya gelmesi olmuştur. Tüm binanın estetiğine yapılan vurgu çok önemli idi. Ancak mimari elemanlar her zaman binanın statiğine uygun değildi. Daha önceki Romanesk binalara dayanan Gotik mimari, yapısal elemanların gelişimine işaret eder. Özellikle bina yüksekliği ve aynı zamanda duvarın genişliği açısından daha fazla gelişmeye izin verirler. Baskın tasarım özellikleri, Gotik binaların devasa yüksekliklere ulaşmasına izin veren dış destek sistemlerinin, çapraz tonozların ve kemerlerin kullanılmasıydı. Gotik mimarinin başlangıcının Fransa ile ilişkili olması nedeniyle, çalışma Gotik katedrallerin analizini içerir.

This is a reassessment of the Ghent altarpiece in the context of the upcoming third edition of The Gospel of John Restored and Translated, to be published in seven or eight volumes by Editores Volcán Barú, as providing clues that the figures represent Jesus and the Mary called Magdalene. The analysis includes an analysis of the original version of the work, the underpainting revealed by x-radiography and other means.

Nel 1998 la Soprintendenza per i Beni Archeologici del Lazio, in collaborazione con il Comune di Scandriglia (RI) e con un'equipe di giovani archeologi, ha intrapreso un progetto di ricerca sulla villa romana dei Bruttii Praesentes, famiglia di rango consolare, imparentata con gli imperatori 1 . Il progetto, che ha come fine ultimo la tutela e la valorizzazione del sito archeologico, ha fino ad oggi fornito molteplici spunti di ricerca, sia relativi a problematiche peculiari del sito, quali sviluppo planimetrico e articolazione, sia a questioni di interesse più generale, come l'inserimento nel tessuto insediativo della zona o sul mercato locale e regionale. Uno specifico filone di ricerca mira inoltre alla verifica dei legami tra le testimonianze materiali e letterarie, collegando i reperti archeologici, in particolare quelli faunistici, ai testi degli autori antichi 2 . La villa si colloca nella IV Regio augustea, Samnium et Sabina ( ), territorio entrato nell'orbita romana sin dall'inizio del III sec. a.C. e caratterizzato da un modello insediativo di tipo sparso per un intensivo sfruttamento del suolo. Già dai primi anni a ridosso della conquista, il paesaggio sabino si va qualificando per una massiccia presenza di villae rusticae distribuite in piccoli appezzamenti di circa 50 iugeri. Tali insediamenti, che si fanno più numerosi e ricchi in piena età repubblicana e nella prima età imperiale, passano dall'economia chiusa della piccola proprietà ad una più aperta al mercato ed incentrata su colture e allevamenti speciali. La produzione di derrate alimentari era destinata sia al grande mercato, tramite il Tevere e la via Salaria, sia alle esigenze alimentari delle grandi ville di rappresentanza della zona. Per l'economia del territorio sabino nell'antichità, tra gli altri autori è il reatino Varrone a fornire la maggior quantità di dettagli che si cerca qui di analizzare e verificare con il riscontro dell'evidenza archeologica della villa dei Bruttii Praesentes ( . Lo studio dei reperti faunistici, ancora in una fase preliminare, ha finora analizzato i materiali da strati di abbandono di contesti genericamente riferibili alla fine del III sec. d.C. I campioni in esame possono considerarsi rappresentativi almeno di questa fase più tarda. Una volta completati la classificazione e l'identificazione dei reperti archeozoologici degli altri strati indagati sarà possibile effettuare analisi di tipo quantitativo, allo scopo di evidenziare anche eventuali mutamenti nella dieta dei residenti nella villa durante tutte le fasi di età romana. Le analisi effettuate mostrano come, per le abitudini alimentari, la villa dei Bruttii Praesentes si inserisca perfettamente nel panorama delle ville romane. Inoltre attestano l'elevato livello sociale dei suoi abitanti dal momento che si è riscontrato un uso frequente di cibi di particolare pregio. Per diversi alimenti, intersecando i dati di scavo e dello studio archeozoologico con le noti-* Collaboratori della Soprintendenza per i Beni Archeologici del Lazio. "La villa dei Bruttii Praesentes a Monte Calvo" Progetto di Ricerca della Soprintendenza per i Beni Archeologici del Lazio. Direttore Scientifico Dott.ssa Giovanna Alvino -06.32659646 [email protected].