I am a classical archaeologist, I published 170 research works which include 13 books. I am the holder of a fellowship of the Michael Marks Charitable Trust.
LA CERAMICA IN SICILIA dalla Preistoria all’Età Contemporanea Atti del III Convegno Internazionale, 2023
Dopo una presentazione del Satiro di Marsala e del cratere di Derveni con riassunto dei contribut... more Dopo una presentazione del Satiro di Marsala e del cratere di Derveni con riassunto dei contributi fondamentali e dello status quaestionis, sono proposte letture stilistiche analitiche dei due capolavori, dalle quali emerge la presenza in entrambe le opere di motivi firma di tipo morelliano che suggeriscono l’attribuzione di entrambe le creazioni alla stessa bottega se non allo stesso maestro. È possibile pertanto che il Satiro sia stato creato nel contesto del culto tardoclassico di Dioniso radicato in Macedonia: forse portato a Roma da Emilio Paolo, potrebbe esser stato nella nave di Genserico carica di statue rimosse da Roma che naufragò nel Canale di Sicilia.
The Birth and Development of the Idealized Concept of Arcadia in the Ancient World, 2022
In this book the creation of the myth of Arcadia is followed decade after decade, from early arch... more In this book the creation of the myth of Arcadia is followed decade after decade, from early archaic times until the early Roman imperial period.
Indo-European Linguistics and classical philology, 2024
In this article I am suggesting that the original statue of the Valentini Torso and of the Stepha... more In this article I am suggesting that the original statue of the Valentini Torso and of the Stephanos Athlete should be attributed to the same workshop of the Riace Bronzes because the anatomy is very similar. In particular the Stephanos Athlete was regarded a milestone of Argive early classical sculpture until Zanker decided that it was a classicistic work. Even if scholars - for example Paribeni - objected to that, the mainstream followed Zanker. With this article I suggest that this is a copyist tradition of an early classical Apollo, represented on Athenian coins.
A newly excavated large dining room (oecus) at Pompeii (room no. 24 in the 'insula' or block of h... more A newly excavated large dining room (oecus) at Pompeii (room no. 24 in the 'insula' or block of houses 10, in the 9th 'regio' or quarter of the city), dated in the last decade of the 1st c. BC, has internal walls endowed with paintings on a black background. Three pictures represent episodes of the Greek myth. On the north wall of the hall there is the depiction of Helen and Paris, whose identity is specified with inscriptions in Greek (ΑΛΕΞΑΝΔΡΟΣ ΕΛΕΝΗ) (fig. 1). These inscriptions clarify that the painter was Greek. In my opinion the moment represented in this picture is that of Paris who just arrived to Sparta and is introduced for the first time to Helen, the Queen, while Menelaus is abroad. Two details go to that direction: 1. the travelling boots of Paris and in general his formal attire. 2. the presence of a maid near Helen. It is well know that Helen escaped from Sparta only with Paris and nobody else. Thus the maid reveals that the represented episode is that of the first greeting between the Trojan prince and the Queen of Sparta, in the royal palace of Sparta. The large feline is symbol of the wild Asia and may have been meant as a gift of Paris to the royalty of Sparta. Helen is overdressed and keeps a distance from her guest, as befits a queen meeting a foreign man. Even these details suggest that she is not yet his lover. An important element, as I shall point out below, is the large necklace of Helen, whose pendants are duly specified. That is hardly casual and will be instrumental toward the general interpretation of the paintings. On the south wall of the hall there is a picture (fig. 2), made with the use of the same colors of the. previously illustrated one and moreover revealing the same style, thus to be attributed to the same Greek painter. It represents Apollo in front of a seating lady. In order to identify the seating lady it is necessary to understand on what she is seating. This is clearly an omphalos covered by the usual net, a feature which characterizes the Delphic omphalos (fig. 3).
I suggest that a statue from Salamis of Cyprus now at Cambridge is the only surviving true copy o... more I suggest that a statue from Salamis of Cyprus now at Cambridge is the only surviving true copy of the Eros of Parion by Praxiteles
This article focuses on an amphora by the Andokides Painter which dates in the late sixth-century... more This article focuses on an amphora by the Andokides Painter which dates in the late sixth-century BC, representing naked girls who swim in a basin of water with fish in front of a building endowed with a column and an architrave. Several considerations lead to the conclusion that these girls are young Athenian females in the sanctuary of Artemis Brauronia, in front of the temple built by Peisistratos. Thus, we may have the first representation of this sanctuary in our visual evidence.
The article suggests the identification of the oracle of the river god Strymon, which delivered p... more The article suggests the identification of the oracle of the river god Strymon, which delivered predictions through the ornithomanteia and predicted the vistories of Alexander upon the Persians, known through Posidippus 35, with tumulus Kasta near Amphipolis. This oracle would be testified also by Lucan 1. 675-679, Svetonius, Augustus 94, Macrobius, Saturnalia 1. 18. 11 and perhaps by the Derveni Papyrus V. 4-5 and IX. 2.
This is the first analytical study of the architecture of Kasta, written by the architect of the ... more This is the first analytical study of the architecture of Kasta, written by the architect of the Ministry of Culture of Greece, Dr. Michalis Lefantzis. This scholar took part in the campaigns which led to the discovery of the monument between 2012 and 2015 and conducted a systematic study of the tumulus which is still ongoing. He also supervised
in this review I list the many shortcomings and glarant mistakes which litter the catalogue of th... more in this review I list the many shortcomings and glarant mistakes which litter the catalogue of the Phidias exhibition held in Rome
Actual Problems of Theory and History of Art: Vol. 13. 2023, 2023
The Lerici-Marescotti amphora was made and decorated around 510 B.C. by the Attic Priam Painter. ... more The Lerici-Marescotti amphora was made and decorated around 510 B.C. by the Attic Priam Painter. It was ultimately found in the territory of ancient Caere. It is currently kept in
Indoevropejskoe âzykoznanie i klassičeskaâ filologiâ, 2020
The epigrammist and elegiac poet Evenus is considered in this article. This Parian intellectual l... more The epigrammist and elegiac poet Evenus is considered in this article. This Parian intellectual lived and worked for most of his life in Athens, where he entered the circle of Socrates and became a friend of Callias and Plato. He must have given a crucial contribution toward the establishment and success of the literary genre of the ekphrastic epigrams, which describe works of art, as it is argued by his epigrams on the Cow of Myron and on Praxiteles' Cnidian Aphrodite. In this very thriving intellectual environment, the unified concept of art, encompassing all visual arts, was conceptually defined.
in this paper I am trying to reconstruct the classicistic current of ancient art on Cyprus, from ... more in this paper I am trying to reconstruct the classicistic current of ancient art on Cyprus, from the 5th c. BC to AD 5th c.
Πολύτροπος Τιμητικός Τόμος για τον Καθηγητή Νικόλαο Χρ. Σταμπολίδη, 2023
In this article I forward the suggestion that the drawing of the Caryatids in Fra Giocondo's edit... more In this article I forward the suggestion that the drawing of the Caryatids in Fra Giocondo's edition of Vitruvius of 1511 derives from the lodge of Caryatids of the Erechtheion. His drawing of the tower of the winds also appears to derive from the monument itself. Probably Fra Giocondo got information on these two monuments when he resided in Nauplion or in Monemvasia in 1506
This pdf of your paper in Karia and the Dodekanese 1 belongs to the publishers Oxbow Books and it... more This pdf of your paper in Karia and the Dodekanese 1 belongs to the publishers Oxbow Books and it is their copyright. As author you are licenced to make up to 50 offprints from it, but beyond that you may not publish it on the World Wide Web until three years from publication (December, 2023), unless the site is a limited access intranet (password protected). If you have queries about this please contact the editorial department at Oxbow Books (editorial@ oxbowbooks.com).
This is my second short article on a theme of history of ideas. I have first of all to give a def... more This is my second short article on a theme of history of ideas. I have first of all to give a definition of what I mean with the word 'classicism'. In my opinion, classicism is an interpretation of the classical past as fairy tale. Components of the classicistic dream are a land inhabited by deities, populated by heroes forever young and beautiful, in gardens or meadows or groves, because the classicistic dream implies the Arkadian dream. The driving forces of this dimension are love and beauty. It is hardly casual that the most beautiful lady of the world, Helen, provokes a mythical world war. Finally another basic component of the classicism is a rarefied atmosphere, an eternal present, a suspension of the time. What happens in that dimension is outside time and space, lives in the ubique et semper.
LA CERAMICA IN SICILIA dalla Preistoria all’Età Contemporanea Atti del III Convegno Internazionale, 2023
Dopo una presentazione del Satiro di Marsala e del cratere di Derveni con riassunto dei contribut... more Dopo una presentazione del Satiro di Marsala e del cratere di Derveni con riassunto dei contributi fondamentali e dello status quaestionis, sono proposte letture stilistiche analitiche dei due capolavori, dalle quali emerge la presenza in entrambe le opere di motivi firma di tipo morelliano che suggeriscono l’attribuzione di entrambe le creazioni alla stessa bottega se non allo stesso maestro. È possibile pertanto che il Satiro sia stato creato nel contesto del culto tardoclassico di Dioniso radicato in Macedonia: forse portato a Roma da Emilio Paolo, potrebbe esser stato nella nave di Genserico carica di statue rimosse da Roma che naufragò nel Canale di Sicilia.
The Birth and Development of the Idealized Concept of Arcadia in the Ancient World, 2022
In this book the creation of the myth of Arcadia is followed decade after decade, from early arch... more In this book the creation of the myth of Arcadia is followed decade after decade, from early archaic times until the early Roman imperial period.
Indo-European Linguistics and classical philology, 2024
In this article I am suggesting that the original statue of the Valentini Torso and of the Stepha... more In this article I am suggesting that the original statue of the Valentini Torso and of the Stephanos Athlete should be attributed to the same workshop of the Riace Bronzes because the anatomy is very similar. In particular the Stephanos Athlete was regarded a milestone of Argive early classical sculpture until Zanker decided that it was a classicistic work. Even if scholars - for example Paribeni - objected to that, the mainstream followed Zanker. With this article I suggest that this is a copyist tradition of an early classical Apollo, represented on Athenian coins.
A newly excavated large dining room (oecus) at Pompeii (room no. 24 in the 'insula' or block of h... more A newly excavated large dining room (oecus) at Pompeii (room no. 24 in the 'insula' or block of houses 10, in the 9th 'regio' or quarter of the city), dated in the last decade of the 1st c. BC, has internal walls endowed with paintings on a black background. Three pictures represent episodes of the Greek myth. On the north wall of the hall there is the depiction of Helen and Paris, whose identity is specified with inscriptions in Greek (ΑΛΕΞΑΝΔΡΟΣ ΕΛΕΝΗ) (fig. 1). These inscriptions clarify that the painter was Greek. In my opinion the moment represented in this picture is that of Paris who just arrived to Sparta and is introduced for the first time to Helen, the Queen, while Menelaus is abroad. Two details go to that direction: 1. the travelling boots of Paris and in general his formal attire. 2. the presence of a maid near Helen. It is well know that Helen escaped from Sparta only with Paris and nobody else. Thus the maid reveals that the represented episode is that of the first greeting between the Trojan prince and the Queen of Sparta, in the royal palace of Sparta. The large feline is symbol of the wild Asia and may have been meant as a gift of Paris to the royalty of Sparta. Helen is overdressed and keeps a distance from her guest, as befits a queen meeting a foreign man. Even these details suggest that she is not yet his lover. An important element, as I shall point out below, is the large necklace of Helen, whose pendants are duly specified. That is hardly casual and will be instrumental toward the general interpretation of the paintings. On the south wall of the hall there is a picture (fig. 2), made with the use of the same colors of the. previously illustrated one and moreover revealing the same style, thus to be attributed to the same Greek painter. It represents Apollo in front of a seating lady. In order to identify the seating lady it is necessary to understand on what she is seating. This is clearly an omphalos covered by the usual net, a feature which characterizes the Delphic omphalos (fig. 3).
I suggest that a statue from Salamis of Cyprus now at Cambridge is the only surviving true copy o... more I suggest that a statue from Salamis of Cyprus now at Cambridge is the only surviving true copy of the Eros of Parion by Praxiteles
This article focuses on an amphora by the Andokides Painter which dates in the late sixth-century... more This article focuses on an amphora by the Andokides Painter which dates in the late sixth-century BC, representing naked girls who swim in a basin of water with fish in front of a building endowed with a column and an architrave. Several considerations lead to the conclusion that these girls are young Athenian females in the sanctuary of Artemis Brauronia, in front of the temple built by Peisistratos. Thus, we may have the first representation of this sanctuary in our visual evidence.
The article suggests the identification of the oracle of the river god Strymon, which delivered p... more The article suggests the identification of the oracle of the river god Strymon, which delivered predictions through the ornithomanteia and predicted the vistories of Alexander upon the Persians, known through Posidippus 35, with tumulus Kasta near Amphipolis. This oracle would be testified also by Lucan 1. 675-679, Svetonius, Augustus 94, Macrobius, Saturnalia 1. 18. 11 and perhaps by the Derveni Papyrus V. 4-5 and IX. 2.
This is the first analytical study of the architecture of Kasta, written by the architect of the ... more This is the first analytical study of the architecture of Kasta, written by the architect of the Ministry of Culture of Greece, Dr. Michalis Lefantzis. This scholar took part in the campaigns which led to the discovery of the monument between 2012 and 2015 and conducted a systematic study of the tumulus which is still ongoing. He also supervised
in this review I list the many shortcomings and glarant mistakes which litter the catalogue of th... more in this review I list the many shortcomings and glarant mistakes which litter the catalogue of the Phidias exhibition held in Rome
Actual Problems of Theory and History of Art: Vol. 13. 2023, 2023
The Lerici-Marescotti amphora was made and decorated around 510 B.C. by the Attic Priam Painter. ... more The Lerici-Marescotti amphora was made and decorated around 510 B.C. by the Attic Priam Painter. It was ultimately found in the territory of ancient Caere. It is currently kept in
Indoevropejskoe âzykoznanie i klassičeskaâ filologiâ, 2020
The epigrammist and elegiac poet Evenus is considered in this article. This Parian intellectual l... more The epigrammist and elegiac poet Evenus is considered in this article. This Parian intellectual lived and worked for most of his life in Athens, where he entered the circle of Socrates and became a friend of Callias and Plato. He must have given a crucial contribution toward the establishment and success of the literary genre of the ekphrastic epigrams, which describe works of art, as it is argued by his epigrams on the Cow of Myron and on Praxiteles' Cnidian Aphrodite. In this very thriving intellectual environment, the unified concept of art, encompassing all visual arts, was conceptually defined.
in this paper I am trying to reconstruct the classicistic current of ancient art on Cyprus, from ... more in this paper I am trying to reconstruct the classicistic current of ancient art on Cyprus, from the 5th c. BC to AD 5th c.
Πολύτροπος Τιμητικός Τόμος για τον Καθηγητή Νικόλαο Χρ. Σταμπολίδη, 2023
In this article I forward the suggestion that the drawing of the Caryatids in Fra Giocondo's edit... more In this article I forward the suggestion that the drawing of the Caryatids in Fra Giocondo's edition of Vitruvius of 1511 derives from the lodge of Caryatids of the Erechtheion. His drawing of the tower of the winds also appears to derive from the monument itself. Probably Fra Giocondo got information on these two monuments when he resided in Nauplion or in Monemvasia in 1506
This pdf of your paper in Karia and the Dodekanese 1 belongs to the publishers Oxbow Books and it... more This pdf of your paper in Karia and the Dodekanese 1 belongs to the publishers Oxbow Books and it is their copyright. As author you are licenced to make up to 50 offprints from it, but beyond that you may not publish it on the World Wide Web until three years from publication (December, 2023), unless the site is a limited access intranet (password protected). If you have queries about this please contact the editorial department at Oxbow Books (editorial@ oxbowbooks.com).
This is my second short article on a theme of history of ideas. I have first of all to give a def... more This is my second short article on a theme of history of ideas. I have first of all to give a definition of what I mean with the word 'classicism'. In my opinion, classicism is an interpretation of the classical past as fairy tale. Components of the classicistic dream are a land inhabited by deities, populated by heroes forever young and beautiful, in gardens or meadows or groves, because the classicistic dream implies the Arkadian dream. The driving forces of this dimension are love and beauty. It is hardly casual that the most beautiful lady of the world, Helen, provokes a mythical world war. Finally another basic component of the classicism is a rarefied atmosphere, an eternal present, a suspension of the time. What happens in that dimension is outside time and space, lives in the ubique et semper.
In this essay I investigate the most important approaches to visual arts in the Roman world. Thus... more In this essay I investigate the most important approaches to visual arts in the Roman world. Thus the theory that visual arts were dead, the opinion that 'modern' works are better than ancient ones, the importance of artists until the late Antonine period, the process which led to an anonymous art are issues which are discussed in these twelve lectures.
this is the second part of my first book devoted to the art of Praxiteles which concerns the pro... more this is the second part of my first book devoted to the art of Praxiteles which concerns the production of his youth
this book offers a series of contributions in memory of the late Professor Luigi Polacco. It incl... more this book offers a series of contributions in memory of the late Professor Luigi Polacco. It includes inter alia articles about the topography of Syracuse and an article of mine about the Paris of Euphranor
in this book, well known Praxitelean works such as the Apollo Sauroktonos, the slabs of Mantinea... more in this book, well known Praxitelean works such as the Apollo Sauroktonos, the slabs of Mantinea, the Hermes of Olympia etc. are considered and analyzed.
this book is focused on drawings in Greek and Roman architecture: catalogues of visual examples o... more this book is focused on drawings in Greek and Roman architecture: catalogues of visual examples of these drawings as well as of literary and epigraphical testimonia are provided
this book is concerned with several Praxitelean types which include the Resting Satyr, the Artemi... more this book is concerned with several Praxitelean types which include the Resting Satyr, the Artemis of Dresden, the Niobids etc.
In this review I argue that the concept that marble statues were white in classical Greece is not... more In this review I argue that the concept that marble statues were white in classical Greece is not a neoclassic dogma but harks back at least to late antiquity
'Journal of Intercultural and Interdisciplinary Archaeology' N.02/2015
Thematic issue:
Renenutet/... more 'Journal of Intercultural and Interdisciplinary Archaeology' N.02/2015 Thematic issue: Renenutet/Isis Thermouthis: diffusion of this anguiform deity from east to west. Free Section
La datazione del celebre missorium teodosiano conservato alla Real Academia de la Hi-storia, Gabi... more La datazione del celebre missorium teodosiano conservato alla Real Academia de la Hi-storia, Gabineto de Antiquidades di Madrid è ancor oggi oggetto di controversie da parte degli studiosi. L'identificazione del suo committente col primo o col secondo imperatore Teo-dosio, il cui nome è esplicitamente menzionato nell'inscrizione incisa sul vassoio, costitui-sce infatti un problema di non facile soluzione. L'autore offre una nuova analisi storico-ar-tistica della composizione ornante il missorium teodosiano che tiene conto non solo delle similitudini in essa riscontrabili con altri monumenti noti agli artisti tardo antichi o per-ché esposti in pubblico o tramite le descrizioni di autori classici (in particolare Vitruvio), ma anche dei paralleli forniti da alcuni vassoi sasanidi risalenti al V e al VI sec. d.C. le cui decorazioni furono con ogni probabilità ispirate da composizioni analoghe a quella che de-cora il missorium di Madrid. Sulla base di tale analisi l'autore propone una datazione del vassoio nell'epoca di Teodosio I inserendo la creazione della composizione che orna que-st'esempio di toreutica tardoantica nel più preciso contesto delle celebrazioni per la vittoria dell'imperatore del 386 d.C. sui Geuthungi.
Международной конференции Индоевропейское языкознание и классическая филология XXVI (чтения памят... more Международной конференции Индоевропейское языкознание и классическая филология XXVI (чтения памяти И. М. Тронского). 27-29 июня 2022 г. Санкт-Петербург, Институт лингвистических исследований РАН 27 июня (утро) ПЛЕНАРНОЕ ЗАСЕДАНИЕ (очно/дист.) 11 00-14 00 Казанский Н. Н. Открытие конференции. Luraghi Silvia. Human landmarks as landmarks of direction expressions in ancient Indo-European languages. Васильков Я. В. Индийское наследие в мифологии и фольклоре европейских рома (цыган). Сафронов А. В. Филистимляне и Кафтор: к интерпретации библейских свидетельств. 27 июня (вечер) СЕКЦИОННЫЕ ЗАСЕДАНИЯ 1. КЛАССИЧЕСКАЯ ФИЛОЛОГИЯ (дист./очно) 15 00-18 00 Ахунова О. Л. «Эгеиды, предки мои»: голос хора или голос в хоре? Зельченко В. В. Никострат и другие: Аристофан, «Осы», 81-84. Казанская М. Н., Харламова А. В. Гомеровский центон у Иренея (Adv.Haer. 1, 9, 4) Братухин А. Ю. Метаморфоза платоновской пещеры у Климента Александрийского Тахтаджян С. А. Сократ вежливый и не очень Беликов Г. С. Асклепий и Геракл в IX речи Максима Тирского (Or. IX.7) Антонец Е. В. Исоколон в речи Цицерона в защиту поэта Архия Корсо А. Siracusani ad Anfipoli. Considerazioni su un dimenticato evento storico e sul suo possibile impatto nella vita cultuale, letteraria e figurativa di Anfipoli. 2. ЭТИМОЛОГИЯ (дист.) 15 00-18 00 Николаев А. С. Лув. luhanuwa-, лик. Б luga-'сжигать' Шаршукова О. В. Iustissimatellus в «Георгиках» Вергилия (II. 460) Богданов И. В. Ладан и его мать в Текстах саркофагов (глава 1027) Пархаева М. П. Сравнения в названиях растений (на материале ботанических трактатов Феофраста) Солопов А. И. Этимология новолатинского ихтионима acerina «ёрш» Воробьев Г. М. Рыба-хвощ: к истории лат. equiselis (Arist. hist. an. 543a22-24, 599b3) Егоров И. М. 'Wörter' > 'Sachen': об одном однонаправленном семантическом переходе
Considerations concerning two recent downdatings of important ancient Greek statues. An article a... more Considerations concerning two recent downdatings of important ancient Greek statues. An article appeared in the periodical Ανθέμιον , volume 30 (2020), pages 37-45 in which the famous head of Alexander the Great in the Museum of Akropolis (fig. 1), which is usually dated in the 330s BC and attributed to Leochares, is re-dated in the advanced 2 nd c. BC. I am writing this article in order to inform both scholars and the public that this down-dating is not convincing at all.
art histotical conference, Sankt Petersburg, October 2020, 2020
this is the paper which I delivered in the art historical conference of Sankt Petersburg of Octob... more this is the paper which I delivered in the art historical conference of Sankt Petersburg of October, 2020. I try to explain why visual arts became anonymous in the period from the Severan dynasty until the Carolingian one
IX INTERNATIONAL CONFERENCE ACTUAL PROBLEMS OF THEORY AND HISTORY OF ART Saint Petersburg State University Lomonosov Moscow State University The State Hermitage Museum actual-art.spbu.ru, 2020
this is the program of the conference of this week in Sankt Peterburg about art history.
I 'll d... more this is the program of the conference of this week in Sankt Peterburg about art history.
I 'll deliver two papers: about when and why ancient art became anonymous and about sculptures from Tenea
this is the program about ancient art in the conference of St Peterburg of late October. I 'll sp... more this is the program about ancient art in the conference of St Peterburg of late October. I 'll speak about when and why ancient art became anonymous and about sculptures from Tenea.
this is the program of the ancient art section of the conference of Sankt Peterburg of late Octob... more this is the program of the ancient art section of the conference of Sankt Peterburg of late October, there are two papers of mine: on when and why ancient art became anonymous and on sculptures from Tenea
11 June, 1955: he was born at Baone, in the province of Padua, NorthEastern Italy. 1961-75: he at... more 11 June, 1955: he was born at Baone, in the province of Padua, NorthEastern Italy. 1961-75: he attended the normal curriculum of studies in Italy at the time, from primary school to high school, at Este, near Padua. He chooses the classical studies in high school and obtains the classical maturity at Este in 1975, scoring points 57, the top being 60. 1975-79: he attends the Course of Master Degree in Classics at the University of Padua. He successfully gives his 20 examinations at their due times, scoring points 30 cum laude (the top) thirteen times, 30 five times, 29 and 28 one time each. 1979: he obtains the Master Degree, scoring points 110 cum laude (the top), with a thesis on the villa urbana in the de re rustica of Varro. 1979-84: he attends his PhD course in Archaeology at the University of Padua. He successfully gives his examinations, scoring always the top points. He publishes his first articles. Then, he studies and publishes the Roman mosaics of Padua, collaborating also in their display in the local Museum, makes catalogues of monuments for the local archaeological services, and gains experience of field archaeology in Cividale del Friuli (north-eastern Italy). 1984: he obtains the PhD in Archaeology, scoring points 70 cum laude (the top). Then, he wins a fellowship of the Italian Archaeological School at Athens, moving his residence to Athens, visiting most of the archaeological sites of Greece and Asia Minor, excavating at Gortys (Crete). 1985: he enjoys a long additional period of research at Athens, sponsored by
11 June, 1955: he was born at Baone, in the province of Padua, NorthEastern Italy. 1961-75: he at... more 11 June, 1955: he was born at Baone, in the province of Padua, NorthEastern Italy. 1961-75: he attended the normal curriculum of studies in Italy at the time, from primary school to high school, at Este, near Padua. He chooses the classical studies in high school and obtains the classical maturity at Este in 1975, scoring points 57, the top being 60. 1975-79: he attends the Course of Master Degree in Classics at the University of Padua. He successfully gives his 20 examinations at their due times, scoring points 30 cum laude (the top) thirteen times, 30 five times, 29 and 28 one time each. 1979: he obtains the Master Degree, scoring points 110 cum laude (the top), with a thesis on the villa urbana in the de re rustica of Varro. 1979-84: he attends his PhD course in Archaeology at the University of Padua. He successfully gives his examinations, scoring always the top points. He publishes his first articles. Then, he studies and publishes the Roman mosaics of Padua, collaborating also in their display in the local Museum, makes catalogues of monuments for the local archaeological services, and gains experience of field archaeology in Cividale del Friuli (north-eastern Italy). 1984: he obtains the PhD in Archaeology, scoring points 70 cum laude (the top). Then, he wins a fellowship of the Italian Archaeological School at Athens, moving his residence to Athens, visiting most of the archaeological sites of Greece and Asia Minor, excavating at Gortys (Crete). 1985: he enjoys a long additional period of research at Athens, sponsored by
With these 14 lections I shall suggest a different and original notion of medieval visual arts an... more With these 14 lections I shall suggest a different and original notion of medieval visual arts and culture: classicistic and based on the ancient authority, which was argued both by literary texts and by works of art.
in this file, an anthology of literary sources concerning the Arkadian dream is collected. It is ... more in this file, an anthology of literary sources concerning the Arkadian dream is collected. It is going to become a book about this issue
S The problem of the masters of the Mausoleum of Halicarnassus Antonio Corso. Vitruvius, in the i... more S The problem of the masters of the Mausoleum of Halicarnassus Antonio Corso. Vitruvius, in the introduction to the 7th book of his De architectura, gives a list of sculptors who worked for the Mausoleum of Halicarnassus: they were Scopas, Bryaxis, Leochares and Praxiteles. He specifies that Timotheus may also have worked there. He also cites his source of information about these details: the treatise about the Mausoleum written by Satyrus and Pytheus. Pliny, in the 36th book of his Natural History, gives also a list of masters responsible for the sculptures of the Mausoleum: they were Scopas, Bryaxis, Leochares and Timotheus. The discovery of free standing statues and relief sculptures of this building led some modern scholars to the recognition of styles which were typical of the above mentioned sculptors. Other scholars pointed out that the styles of these sculptures are too homogeneous to be attributed to different personalities and concluded that the participation of these renowned masters was a legend. I wish to suggest the following: it is not possible to doubt of the testimony of Vitruvius because he had access to the treatise De Mausoleo of Satyrus and Pytheus. Thus his information is reliable, because it is hardly possible that untrue information was written in that book, written by the architects responsible for this monument. The above mentioned masters may have provided the proplasmata (small size models) which had been transformed to the real sculptures by local workshops. This suggestion would explain the circumstances that the style of these sculptures looks typically Ionian and that despite this general impression it is possible to detect schemata elaborated by these masters (see especially the Amazon looking similar to the Maenad by Skopas and the head of Apollo which is very close to the head of the Belvedere type of Apollo).
with this note I address the antimeritocratic decisions which determine the winners of several fe... more with this note I address the antimeritocratic decisions which determine the winners of several fellowships
this is my reply to the small book about Praxiteles published by Todisco. In my opinion, that pam... more this is my reply to the small book about Praxiteles published by Todisco. In my opinion, that pamphlet has not scientific dignity and just repeats the usual minimalistic dogmas, without even mentioning the objections to them moved by serious scholars
This is the summary of the acts of the international conference about Propontis in ancient times.... more This is the summary of the acts of the international conference about Propontis in ancient times. The acts include an article of mine about the statue of Apollo Sminteus by Skopas
Programma del convegno e breve rassegna stampa sul Telamone ritrovato, 2020
After the accidental discovery in 1971, only in 2011 the superintendent Mario Pagano rediscovered... more After the accidental discovery in 1971, only in 2011 the superintendent Mario Pagano rediscovered in the warehouses of the Spoleto Museum the colossal marble statue of a Faun-Telamon, attributed to the Hadrian era. After the restoration and the adequate exhibition at the National Archaeological Museum of Umbria - Perugia, the temporary transfer to the Terni Museum was an opportunity to stimulate new studies on marble sculpture and on the ancient Roman city of Interamna Nahars. From a first examination of the photos, with the advice of Antonio Corso and Andrew Stewart, the telamon would seem datable to the subsequent empire of Antonino Pio, therefore perhaps coming from a villa of Herod Atticus rather than Villa Adriana.
INTERNATIONAL CONFERENCE
ACTUAL PROBLEMS OF THEORY AND HISTORY OF ART
Saint Petersburg State Univ... more INTERNATIONAL CONFERENCE ACTUAL PROBLEMS OF THEORY AND HISTORY OF ART Saint Petersburg State University Lomonosov Moscow State University The State Hermitage Museum actual-art.spbu.ru
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Papers by Antonio Corso
dello status quaestionis, sono proposte letture stilistiche analitiche dei due capolavori, dalle quali emerge la presenza
in entrambe le opere di motivi firma di tipo morelliano che suggeriscono l’attribuzione di entrambe le creazioni
alla stessa bottega se non allo stesso maestro. È possibile pertanto che il Satiro sia stato creato nel contesto del culto
tardoclassico di Dioniso radicato in Macedonia: forse portato a Roma da Emilio Paolo, potrebbe esser stato nella
nave di Genserico carica di statue rimosse da Roma che naufragò nel Canale di Sicilia.
dello status quaestionis, sono proposte letture stilistiche analitiche dei due capolavori, dalle quali emerge la presenza
in entrambe le opere di motivi firma di tipo morelliano che suggeriscono l’attribuzione di entrambe le creazioni
alla stessa bottega se non allo stesso maestro. È possibile pertanto che il Satiro sia stato creato nel contesto del culto
tardoclassico di Dioniso radicato in Macedonia: forse portato a Roma da Emilio Paolo, potrebbe esser stato nella
nave di Genserico carica di statue rimosse da Roma che naufragò nel Canale di Sicilia.
Thematic issue:
Renenutet/Isis Thermouthis: diffusion of this anguiform deity from east to west.
Free Section
I 'll deliver two papers: about when and why ancient art became anonymous and about sculptures from Tenea
ACTUAL PROBLEMS OF THEORY AND HISTORY OF ART
Saint Petersburg State University
Lomonosov Moscow State University
The State Hermitage Museum
actual-art.spbu.ru