Elisabetta Gagetti
Independent Researcher, --, Department Member
- Ancient Textiles, Greek and Roman Archaeology, Classics and Cinema, Ancient and Post-Classical Glyptic, Luxury Arts, Glyptics, and 56 moreLate Antique and Byzantine Glyptics, Engraved gems, Antiquity in Film, Archaeology in Film, Classical Reception Studies, Amber, Roman militaria, Greek and Roman Sculpture, Glyptics In the Round, Medieval illuminated manuscripts, Ancient Seals and Sealings, Collection, Pierres Gravées, Phoenician, Punic Archaeology, Scarabs Seals, Iconography, Gems, Greek and Roman Portraiture, Aquileia, Roman Finger rings, Roman Fingerrings In Amber and Hardstones, Recarved Portraits, Costume and Identity in FIlm, Costume and Identity in Historical Films, Reception of Antiquity in Popular Culture, Cameos, Intaglios, Types of Roman Finger-Rinngs, Roman Jewellery, Silk Road-Imports to the Roman Provinces, Parthian Art, Sasanian Rock Reliefs, Golden Wreaths, Late Antiquity, Late Antique Archaeology, Amber Jewelry, Late Roman Archaeology, Types of Roman jewellery, Roman Glyptics and Jewelry, Ancient jewellery, Early Medieval Archaeology, Spolia, Riuso Dell'Antico, Reuse, the Longobards, storia dei Longobardi, Carolingian Studies, Rock Crystal, Ballets Russes, Bakst, Reception of Antiquity, Italian Silent Cinema, Ida Rubinstein, 300 Film, and Archaeologyedit
Research Interests: Hebrew Literature, Yiddish Literature, Translation Studies, Intermediality, The Historical Novel, and 19 moreOpera, Early Christianity, Silent Film, Intertextuality, Polish Literature, Polish Film, Topography of Ancient Rome (Archaeology), Postcards, Reception of Antiquity, Silent Cinema, Children's Book Illustration, Peplum Movies Cinema Antiquity, Book Illustration, Italian Silent Cinema, Film Dubbing, Film Dialogue, Henryk Sienkiewicz, Lawrence Alma Tadema, and quo vadis?
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Among the fifty-six ancient “precious sculptures” belonging to the Medici collections, a number can be traced back to one of the earliest groups: the ancient micro-sculptures in the round gathered by Grand Duke Francesco I (1541-1587),... more
Among the fifty-six ancient “precious sculptures” belonging to the Medici
collections, a number can be traced back to one of the earliest groups:
the ancient micro-sculptures in the round gathered by Grand Duke Francesco I (1541-1587), since at least 1581, and exhibited mostly on the gilded wood structures running along the walls of the Tribuna of the Uffizi. In the very centre of the octagonal room, there was an octagonal ebony
cabinet, surrounded by eight columns in Oriental alabaster, with gilded
silver bases and capitals, each topped by a small bust, with either a
bronze head (ancient or modern), or an ancient head in hard-stone in the
round. All of the latter ones are preserved and have been recognized. The
present paper focuses on one of them, described in the 1589 inventory of
the Tribuna as «in white stone». Identified over time as “Roman emperor”,
Nerva, and Augustus, the white agate small head, in a non-original state
of preservation, is here recognized to be a portrait not of Augustus, notwithstanding its hairstyle, closely resembling his Prima Porta type; but of Tiberius, in a simplified version of his Berlin-Naples-Sorrento portrait type, in accordance with the facial features, reproducing Tiberius’ face. The Civic Crown suggests a date post AD 15, when Tiberius was first awarded it.
collections, a number can be traced back to one of the earliest groups:
the ancient micro-sculptures in the round gathered by Grand Duke Francesco I (1541-1587), since at least 1581, and exhibited mostly on the gilded wood structures running along the walls of the Tribuna of the Uffizi. In the very centre of the octagonal room, there was an octagonal ebony
cabinet, surrounded by eight columns in Oriental alabaster, with gilded
silver bases and capitals, each topped by a small bust, with either a
bronze head (ancient or modern), or an ancient head in hard-stone in the
round. All of the latter ones are preserved and have been recognized. The
present paper focuses on one of them, described in the 1589 inventory of
the Tribuna as «in white stone». Identified over time as “Roman emperor”,
Nerva, and Augustus, the white agate small head, in a non-original state
of preservation, is here recognized to be a portrait not of Augustus, notwithstanding its hairstyle, closely resembling his Prima Porta type; but of Tiberius, in a simplified version of his Berlin-Naples-Sorrento portrait type, in accordance with the facial features, reproducing Tiberius’ face. The Civic Crown suggests a date post AD 15, when Tiberius was first awarded it.
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The Chiaravalle Cross, a masterpiece of Mediaeval goldsmithery, went under restoration in 2016. This was a unique opportunity to undertake an in-depth multidisciplinary study. Several issues were addressed, as for example the chronology... more
The Chiaravalle Cross, a masterpiece of Mediaeval goldsmithery, went under restoration in 2016. This was a unique opportunity to undertake an in-depth multidisciplinary study. Several issues were addressed, as for example the chronology of the Cross, lacking any official document about it. The scientific investigations included in situ and laboratory measurements, and the analyses, part of a multidisciplinary protocol, completely characterized the gemstones adorning the Cross, the cameos, the gold, silver, jasper and glass parts, to derive indications on their provenance, authenticity and dating issues. All the results were shared with the whole collaboration of experts, which included art historians, a restorer, a conservator, a scholar in ancient glyptic, gemologists, archaeometallurgists, physicists and scientists in a very fruitful exchange of knowledge. This work is an example of a real multidisciplinary research, gathering good practices in the study of a complex piece of art.
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Research Interests: Byzantine Iconography, Ancient Textiles, Glyptics, Sogdian art, Sasanian art, and 10 moreAncient Seals and Sealings, Tapestries, Brescia, Relics and Relic Veneration, Processional crosses, Ancient and Post-Classical Glyptic, Carolingian Artifacts, Glass Cameos, Croce di Desiderio, and pseudo-senmurw
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E. GAGETTI, Three Degrees of Separation. Detail Reworking, Type Updating and Identity Transformation in Roman Imperial Glyptic Portraits in the Round, in 'Gems of Heaven'. Recent Research on Engraved Gemstones in Late Antiquity, c. AD 200-600, ed. by C. Entwistle, N. Adams, London 2011, pp. 135-148.more
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This video conference took place on May 12-13, 2022 in Izmir, Turkey. All the lectures and discussions in our e-conference were in English, and were recorded for later viewing on YouTube for participants who were unable to attend the live... more
This video conference took place on May 12-13, 2022 in Izmir, Turkey. All the lectures and discussions in our e-conference were in English, and were recorded for later viewing on YouTube for participants who were unable to attend the live performance.
Thematically papers were divided into 11 sessions, dealing with different aspects of Greek, Roman and Byzantine fibulae (cf. the program in the abstract booklet). Revised papers will be published in a peer-reviewed proceedings volume.
A fibula is a brooch or pin for fastening garments, typically at the right shoulder. The fibulae developed in a variety of shapes and are usually divided into families that are based upon historical periods, geography, and/or cultures. They are also divided into classes that are based upon their general forms. Fibulae were found in relatively large quantities in the Mediterranean and Black Sea area, where they were in use and produced frequently between the Bronze Age and Medieval periods. So far the study of these multifunctional objects has been overlooked in the Mediterranean whereas there is still a huge amount of unpublished material from excavations and museums in an area from Portugal down to Egypt.
Fibulae can be categorized based on different criteria, including genres of material, production, use and distribution. The purpose of this video conference was to create an analytical framework for understanding the fibulae in their social and material contexts. This conference considered in depth the role played by fibulas – whose uses ranged from clothes pins to status symbols to military badges of rank – in ancient Greek, Roman and Byzantine societies. In recent decades, major excavation projects have produced vast quantities of material data that have reshaped our understanding of the fibulae, while also raising new questions about their use and production over the long term. We focused on a study of brooches in general and fibulas in particular. Along the way we looked at the intersection between material culture and ethnicity, dealing with the contentious issue of how much that a people’s material culture can tell us about their ethnicity – or not! In this online conference we only focused on Greek, Roman and Byzantine fibulae from the Mediterranean and Black Sea area between c. early sixth century B.C. and early seventh century A.D., and attempted to set out a comprehensive model for the study of fibulae, including their definition, typology, chronology, contexts, function, regional characteristics and distribution patterns in the whole Mediterranean and Black Sea geographies.
This conference on ancient material culture and instrumenta is dedicated to the 75th birthday of Dr Maurizio Buora, the former director of the Civici Musei Castello di Udine in Italy and an international authority on fibulae.
Such papers that engage the following themes and topics are invited:
- Fibulae from archaeological field projects (especially well-dated finds), museums and private collections,
- Identification of different kinds of fibulas,
- Ancient Greek and Latin textual sources on fibulae,
- Evolution of fibulae in the Mediterranean and Black Sea area during the Etruscan, Lydian, Archaic, Classical, Hellenistic, Roman and Byzantine periods,
- The construction of fibula taxonomies,
- Similar instrumenta in the ancient Near East and their relations to ancient Graeco-Roman fibulae, - The nature of different types of surviving material culture,
- What ancient Greeks and Romans thought about afterlife? Fibulae in funerary and votive contexts,
- Comparative studies and issues related to the adoption of Greek and/or Roman fibula models in indigenous contexts: fibulae as major indicators of the relationship between these two communities (indigenous and Greek or Roman),
- Fibula as an indicator of rank and prestige in the ancient world,
- Domestic and commercial use of fibulae,
- Early Christian fibulae,
- Byzantine fibulae,
- Post-Byzantine or modern replicas of Classical fibulae,
- Eastern fibulae in the ancient western world,
- Major production centres of fibulae in the eastern Mediterranean and Black Sea area,
- Related instrumenta to fibulae in the regards of their function,
- Documentation and analysis of fibulae,
- The creation of a fully annotated and organized corpus,
- Publication of fibulae in the Mediterranean in possible corpara,
- Miscellanea.
Thematically papers were divided into 11 sessions, dealing with different aspects of Greek, Roman and Byzantine fibulae (cf. the program in the abstract booklet). Revised papers will be published in a peer-reviewed proceedings volume.
A fibula is a brooch or pin for fastening garments, typically at the right shoulder. The fibulae developed in a variety of shapes and are usually divided into families that are based upon historical periods, geography, and/or cultures. They are also divided into classes that are based upon their general forms. Fibulae were found in relatively large quantities in the Mediterranean and Black Sea area, where they were in use and produced frequently between the Bronze Age and Medieval periods. So far the study of these multifunctional objects has been overlooked in the Mediterranean whereas there is still a huge amount of unpublished material from excavations and museums in an area from Portugal down to Egypt.
Fibulae can be categorized based on different criteria, including genres of material, production, use and distribution. The purpose of this video conference was to create an analytical framework for understanding the fibulae in their social and material contexts. This conference considered in depth the role played by fibulas – whose uses ranged from clothes pins to status symbols to military badges of rank – in ancient Greek, Roman and Byzantine societies. In recent decades, major excavation projects have produced vast quantities of material data that have reshaped our understanding of the fibulae, while also raising new questions about their use and production over the long term. We focused on a study of brooches in general and fibulas in particular. Along the way we looked at the intersection between material culture and ethnicity, dealing with the contentious issue of how much that a people’s material culture can tell us about their ethnicity – or not! In this online conference we only focused on Greek, Roman and Byzantine fibulae from the Mediterranean and Black Sea area between c. early sixth century B.C. and early seventh century A.D., and attempted to set out a comprehensive model for the study of fibulae, including their definition, typology, chronology, contexts, function, regional characteristics and distribution patterns in the whole Mediterranean and Black Sea geographies.
This conference on ancient material culture and instrumenta is dedicated to the 75th birthday of Dr Maurizio Buora, the former director of the Civici Musei Castello di Udine in Italy and an international authority on fibulae.
Such papers that engage the following themes and topics are invited:
- Fibulae from archaeological field projects (especially well-dated finds), museums and private collections,
- Identification of different kinds of fibulas,
- Ancient Greek and Latin textual sources on fibulae,
- Evolution of fibulae in the Mediterranean and Black Sea area during the Etruscan, Lydian, Archaic, Classical, Hellenistic, Roman and Byzantine periods,
- The construction of fibula taxonomies,
- Similar instrumenta in the ancient Near East and their relations to ancient Graeco-Roman fibulae, - The nature of different types of surviving material culture,
- What ancient Greeks and Romans thought about afterlife? Fibulae in funerary and votive contexts,
- Comparative studies and issues related to the adoption of Greek and/or Roman fibula models in indigenous contexts: fibulae as major indicators of the relationship between these two communities (indigenous and Greek or Roman),
- Fibula as an indicator of rank and prestige in the ancient world,
- Domestic and commercial use of fibulae,
- Early Christian fibulae,
- Byzantine fibulae,
- Post-Byzantine or modern replicas of Classical fibulae,
- Eastern fibulae in the ancient western world,
- Major production centres of fibulae in the eastern Mediterranean and Black Sea area,
- Related instrumenta to fibulae in the regards of their function,
- Documentation and analysis of fibulae,
- The creation of a fully annotated and organized corpus,
- Publication of fibulae in the Mediterranean in possible corpara,
- Miscellanea.
Research Interests: Archaeology, Classical Archaeology, Classics, Anatolian Archaeology, Late Antique Archaeology, and 15 moreMedieval Archaeology, Byzantine Archaeology, Greek Archaeology, Roman military archaeology, Late Roman Archaeology, Anatolian Archaeology (Archaeology), Roman Provincial Archaeology, Paleochristian and Late Antique Archaeology, Roman military equipment, Greek and Roman Archaeology, Archeologia Romana, Roman Bronzes, Early Byzantine Archaeology, Fibulae, and Roman Archaeology
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A series consisting of thirteen two-layer glass cameos is studied here. For eight of them, in particular, it is clear that they have been “copied” from Roman originals, even if the final results look quite different from their... more
A series consisting of thirteen two-layer glass cameos is studied here. For eight of them, in particular, it is clear that they have been “copied” from Roman originals, even if the final results look quite different from their hypothetical models, which can be identified, sometimes, by a combinatory method only. Such cameos seem to have been produced for the Langobardic élites, and then widespread, by means of gifts or exchanges, to other European aristocracies. Today, most of them are used on (often later) reliquaries or other liturgical objects, such as book bindings, but a series of indications of different nature, together with a recent and unexpected find from a stratigraphic context, allow to locate the production of at least a group of our cameos, in the east part of Northern Italy, at the end of the 7th century A.D.
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Research Interests: Glyptics and Fundgemmen
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Research Interests: Ancient Glass, Science for Conservation and Restoration of Cultural Heritage, Ancient Glass Analysis, Medieval Goldsmith`s Art, Jaspers, and 9 moreAncient Goldsmith Techniques, Processional crosses, NRCA, Gemology and the lapidary proces now and of antiquity, 13th century Italy, PIXE, Late Antique and Byzantine Glyptics, Rock Crystal and Hardstones, and PGAA
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Live webstreaming, 14.IV.2021