Books by Elisabetta Gagetti
“LANX. Rivista della Scuola di Specializzazione in Archeologia - Università degli Studi di Milano”, 7 , 2010
Papers by Elisabetta Gagetti
The Novel of Neronian Rome and its Multimedial Transformations. Sienkiewicz's 'Quo vadis', ed. by M. Woźniak, M. Wyke, Oxford, OUP ("Classical Presences"), pp. 165-191 (in part. 178-191), 2020
Στην υγειά μας Studi in omaggio a Giorgio Bejor, ed. by C. Lambrugo, Sesto F.no, All'Insegna del Giglio, pp. 302-310, 2020
Among the fifty-six ancient “precious sculptures” belonging to the Medici
collections, a number c... 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.
Arti minori e arti maggiori. Relazioni e interazioni tra Tarda Antichità e Alto Medioevo, Atti del convegno (Catania, 2016), ed. by F. Bisconti, M. Braconi, M. Sgarlata, Todi, Tau, 2019, pp. 85-118 , 2019
Heritage, 2019
The Chiaravalle Cross, a masterpiece of Mediaeval goldsmithery, went under restoration in 2016. T... 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.
Amoenissimis...aedificiis. Lo scavo di piazza Marconi a Cremona, II, I materiali, ed. by L. Arslan Pitcher et Alii, Quingentole, S.A.P. (Studi e ricerche di Archeologia, 5), 2018, pp. 397-411
Antichità altoadriatiche 87 - I sistemi di smaltimento delle acque nel mondo antico, Proceedings of the Conference (Aquileia, 2017), ed. by M. Buora and S. Magnani, Trieste, Editreg, 2018, pp. 147-151
Le camée de Nancy, de Néron à saint Nicolas, 2018
La Croce di Chiaravalle. Approfondimenti storico-scientifici in occasione del restauro, Proceedings of the Conference (Milano, 2016), ed. by G. Benati, D. Di Martino, Milano 2017, pp. 123-183
Amoenissimis...aedificiis. Gli scavi di piazza Marconi a Cremona, II, I materiali, ed. by L. Arslan Pitcher et Alii, 2018
Argenti di Marengo. Contesto e materiali, ed. by E. Micheletto and M. Venturino (Archeologia Piemonte, 6), Alessandria 2017, pp. 81-99, 2017
Quo vadis. La prima opera transmediale, Proceedings of the conference, ed. by E. Gagetti and M. Woźniak, 2017
"Quo Vadis? La prima opera transmediale. Da caso letterario a fenomeno di cultura di massa.Ispirazioni - Adattamenti - Contesti", ed. by M. Wozniak and K: Biernacka-Licznar
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Books by Elisabetta Gagetti
Papers by Elisabetta Gagetti
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.
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.