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Constantinople and Ravenna found new life in Late Antiquity through calculated decisions to transform them into capitals. For these cities to succeed, simultaneous large-scale imperial building projects had to be undertaken, such as fortifications, roads, aqueducts, palaces, and harbors. This created great competition for resources, especially considering the local lack of any established procurement and production industries of the scale required. Unfortunately, there exists no direct archaeological evidence for these industries. Though law codes provide useful insight into how the construction industry functioned, they do not mention brick, a critical building material that was used in great quantities. As such, this article addresses this gap in the evidence. It uses Actor-Network and Material Engagement Theories to investigate and reimage the complex human-object relationships involved in material sourcing and production industries in Ravenna and Constantinople in the decades following their accession as capital cities. Quantitative analysis of extant structures under the framework of backward induction—starting from an end result and reasoning backward in time to identify the most advantageous sequence(s) of events—helps us identify the comparable and contrasting nature of supplying enough building materials for these two new capitals in Late Antiquity. The qualitative and quantitative results from representative case studies show not only that new, large-scale industries focusing on the procurement of bricks were necessary to ensure the success of these new capital cities but that their successful operation was facilitated only by linking rural, peri-urban, and urban landscapes. [ABSTRACT FROM AUTHOR]

Laid bare by contemporary scanning techniques and technologies, historic buildings reveal a series of nested, diaphanous presences – the membranes of memory and fragments of history. Architectural writer Eva Menuhin investigates a recent project by the University of Greenwich's Captivate: Spatial Modelling Research Group, whose gossamer‐threaded architectural representations decode time, movements, changes, additions and destructions of a London Garrison church – a poetic, ghostly ballet between time, building and nature. [ABSTRACT FROM AUTHOR]

La nascita di Pomposa è ancora avvolta nel mistero. Si conosce la prima attestazione dalle fonti scritte, nell’anno 874, e grazie all’archeologia sono anche note le strutture di un piccolo edificio religioso, forse databile al VI secolo, coperto dalle strutture del monastero medievale. Negli anni sono state formulate diverse ipotesi per spiegare la fioritura dello straordinario complesso monastico, ma gli elementi sono ancora poco convincenti. In questo contributo cercherò di dimostrare il contesto territoriale in cui si sviluppa l’insediamento e la tessitura di proprietà rurali in cui si afferma già dall’antichità per poi crescere e diventare il potente complesso religioso, posto all’intreccio di una fitta viabilità fluviale e terrestre che poneva in collegamento i territori controllati dall’arcivescovo ravennate con le proprietà delle nascenti élites lombarde e venetiche. Proverò a dimostrare la sovrapposizione del monastero con una vasta proprietà rurale di tradizione antica e il peso dell’influenza culturale ravennate nelle scelte estetiche della costruzione del monastero, dalle forme della chiesa, alla scelta della pavimentazione musiva e della forma della sua cripta, ai modelli di riferimento dei chiostri, dello splendido campanile e del palazzo della Ragione.

Il contributo tratteggia le relazioni politiche, patrimoniali ed economiche che tra IX e X secolo connettevano Ravenna – e i poteri che in essa avevano sede – con il comprensorio di Comacchio, caratterizzato da una fisionomia ambientale peculiare e dalla presenza di specifiche risorse. Particolare attenzione sarà rivolta all’espansione dell’influenza degli arcivescovi ravennati verso il delta padano, alle origini del monastero di Santa Maria di Pomposa, e all’ampia presenza di nuclei fondiari di origine fiscale. Le numerose controversie che sorsero a partire dall’età ottoniana intorno a queste terre e risorse saranno inoltre contestualizzate nel quadro della tensione a riaffermare il controllo regio su un vasto insieme di beni che sembrano aver conservato attraverso il tempo una connotazione pubblica

This essay examines various aspects of how Moses was represented as a Christian in artistic depictions of the Transfiguration produced during Justinian's reign (527–565), particularly discussing mosaics in the apses of the Church of Sant'Apollinare and St. Catherine's Monastery. First, this essay demonstrates the existence of an earlier type of the Metamorphosis, the St. Sabina-Brescia Lipsanotheca type. Second, this essay focuses on the exegetical tradition of the Transfiguration, which, until the first half of the fourth century, was relatively mild, but was later aggravated by Christian writers during the Theodosian Dynasty. Ultimately, a new type of Transfiguration was created, of which the central theme was the creation of a Christian Moses. The motivation behind this new type was the contradiction attributable to Maximian, the archbishop of Ravenna, the contradiction between his typological iconography visualized in the sanctuary of the Church of San Vitale and Justinian's severe persecution against the Jews. This contradiction was dissolved through the creation of an image of a Christian Moses in the Transfiguration mosaics in the apses of Sant'Apollinare. [ABSTRACT FROM AUTHOR]

Visiting Italy in 1978 as part of his own Grand Tour, Lebbeus Woods was able to see some of the treasures of the Renaissance and the Baroque. The ensuing mix of reality and imagination prompted the Editors of this 2, Aleksandra Wagner and Neil Spiller, to consider the visual travelogue –Cityscapes – in a similar manner, combining speculation and truth. [ABSTRACT FROM AUTHOR]

Of the approximately 190 homilies of St. Peter Chrysologus, a group of 6 sermons [LXVII-LXXII] stands out, being dedicated to explaining the Lord's Prayer. These texts represent one of the most important collections of sermons on the Lord's Prayer, made by a Christian author of the "Golden Age" of Patristic Literature. On the other hand, the ideas expressed indicate a crystallization of the expositio orationis dominicae, as well as the existence of a pattern that was probably further developed in catechesis, a set of hermeneutical keys that the venerable bishop of Ravenna regularly handed over to Christians in his community. [ABSTRACT FROM AUTHOR]

Abstract - The frequency and intensity of the number of constitutions promulgated by Honorius varied considerably during the twenty-eight years of his reign. The aim of this contribution is to analyse the leges promulgated in the year 413, with particular regard to the summer. It may be noted, in fact, that the African diocese monopolized the legislator's attention. Honorius promulgated measures on two issues: on the one hand, he dealt with the difficult coexistence between the possessores and the militia who, more and more frequently, asked to be hosted on the estates during the discharge of their duties; on the other hand, Ravenna’s concern was to eliminate any trace that could be attributed to the consul Heraclianus, author of an incursion into Italy in the summer of 413, with the declaration of hostis publicus and the rescissio actorum.

e article focuses on the commercial mechanism in Late Antiquity with special regard paid to the Late Antique sedes imperii, Ravenna, and its maritime port of Classe from the point of view of qualitative and quantitative analyses of marble and poery importation through long-distance trade within the Mediterranean. In the 5th and 6th centuries, Ravenna represented an important political, commercial, and cultural centre, involved in interregional sea trade through its port of Classe, and represented a significant production and redistributive centre. e research is based on archaeological material evidence: the provenance and quantity of imported stone artefacts from the Late Antique complex of S. Severo in Classe, and the provenance of poery finds from the harbour area of Podere Chiavichea in Classe. e mechanism of commercial exchange of Late Antique Ravenna and Classe with various regions of the Mediterranean is based on the quantitative and qualitative comparison of imported marble and poery. e question of the statio marmorum in the port area of Classe is also discussed on the basis of both the archaeological evidence and a comparison with the stone supply from Rome.

Baptism is the sacramental celebration of Christian initiation. Paul's letter to the Romans, which is central to the understanding of baptism, characterizes this sacramental event as a dying with Christ and the beginning of a new existence. This new mode of existence gains an aesthetic-performative form in the liturgical rites. The design of the liturgical spaces can then be understood as "petrified rites". The imperial church basilicas and baptisteries of the Byzantine period in Ravenna bear particular witness to such petrified manifestations of liturgy. What took place in the liturgical rites found an aesthetic counterpart in the interior design and in the rich mosaic art of the ancient buildings. The Ravennese color-intensive wall and ceiling motifs substantiate in a sensuous way the eschatological aesthetic, which is opened to believers through baptism. Biblical texts, architecture, rite, and pictorial program thus form an aesthetic ensemble whose elements mutually illuminate each other and only gain their full depth of meaning in the context of this performative dynamic. This contribution analyzes the interplay of these different registers, based on some selected examples of Ravenna's sacred buildings, and explores how the baptismal event is conveyed in them as an aesthetic access to the world. [ABSTRACT FROM AUTHOR]

This paper examines the dramatic events which involved Ravenna and its historical pinewood from 1916, during the First World War. In that terrible year, the centre of the monumental city was for the first time targeted by Austrian bombs, which also threw civilian life into disorder. The emergency also affected Ravenna's ancient pinewood – a unique piece of natural heritage, rich with history – whose survival was threatened because of the decisions and military priorities of the Italian Supreme Command. These events must be seen in the completely new context of the operation to safeguard the Italian artistic and monumental heritage conducted by the state, with the support of the army. [ABSTRACT FROM AUTHOR]

Copyright of Thiasos is the property of Edizioni Quasar di Severino Tognon s.r.l. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The personality of Saint John the Baptist is often evoked by the bishop of Ravenna, so that of the approximately 180 homilies preserved from Saint Peter, 13 are dedicated to the Forerunner of Jesus Christ. From these 13 sermons we render in Romanian translation the 7 homilies focused on Zacharia's angelophany and the marvelous conception of Saint John (Sermones LXXXVIXCII). [ABSTRACT FROM AUTHOR]

The presence of quotations from the Laus heremiticae vitae contained in Peter Damian’s letter 28 in Paradiso XXI has led scholars to claim that Dante was familiar with the writings of the hermit and cardinal who lived in the 11th century. Instead, the author believes that Dante had only read the Laus heremiticae vitae, which circulated independently of the other works of Peter Damian, whose writings were otherwise unknown to Alighieri. This conclusion is reached on the basis of the poor quality of the information Dante offers on Peter Damian’s biography, which derives from the traditions of Ravenna and not from Fonte Avellana, where he could have found the manuscripts of the hermit and cardinal’s works.

The essay examines a copy of the Brescia edition of Dante Alighieri's Comedy of 1487, previously belonged to the Dante Center of the Conventual Friars Minor in Ravenna at the time of the direction of Father Severino Ragazzini (1920-1986). The documents kept in the Franciscan library allows the reconstruction of the phases that led to the purchase of the copy in 1967 in the Milanese antiquarian bookshop led by Carlo Alberto Chiesa (1926-1998). In the late Nineties, after a short period during which the volume was believed to have been stolen from the library's deposits, the incunabulum was found in the auction catalogue of Christie's Rome. The investigations carried out on the copy made it possible to reconstruct its past provenance and the passages at the major European auction houses, from the first, at the end of the Sixties, to the last, in November 2002.

Sulla strada del ritorno da Roma dopo l’incoronazione imperiale, Carlo Magno ordinò che la statua equestre in bronzo collocata davanti al palatium di Ravenna e raffigurante il re ariano Teoderico fosse trasferita ad Aquisgrana – una scelta che è sembrata a molti difficilmente compatibile con il ruolo di sovrano cattolico e difensore della Chiesa di Carlo, e che è stata spesso spiegata facendo riferimento quasi esclusivamente alle qualità artistiche del monumento. Tuttavia, le ragioni che spinsero il nuovo imperatore a un gesto così sorprendente furono essenzialmente politiche e riconducibili in primis ai molti significati che il monumento equestre di Teoderico permetteva di esprimere. Trasferendo ad Aquisgrana l’effigie del grande re ostrogoto, Carlo Magno volle pertanto mostrare – dentro e fuori i suoi domini – in che modo egli intendesse la sua nuova dignità imperiale.

In 2018 a reconnaissance project on the mosaic fragments preserved in the deposits of the Opificio delle Pietre Dure in Florence, led to the unexpected discovery of eight fragments; these were easily traced back to the Ravenna floors of the basilica of San Vitale and the so-called Palazzo di Teodorico, dating back to the 6th century. The initial aim of the research had been to understand the reasons for their presence in Florence, and was supported by a conspicuous archive documentation of the Opificio; to this was added later also the discovery of fragments of drawings with a similar subject. Thanks to the survey, it was possible at the same time to outline the choices of method and the preliminary phases of the restoration, in particular on the floor of San Vitale, designed in the first decades of the 20th century and extended over time. The story, little known especially for the experimental aspects of the consolidation and reconstruction technique, ex emplifies the restoration method developed by Edoardo Marchionni at the end of the 19th century, after the conversion of the Opificio delle Pietre Dure in Florence into an institute aimed at conservative restoration. The preliminary cleaning and documentation of the fragments, carried out in the workshop of the Opificio, showed in the fragments of the Palazzo di Teodorico, the original preparation to support the mosaic carpet, unlike the fragments of the basilica of San Vitale, reassembled on a concrete support, for recovery methods and conservation purposes. [ABSTRACT FROM AUTHOR]

The floor mosaics in Ravenna and in the churches in the upper Adriatic area in the 6th century are decorated with the same geometric patterns. Many of these floors remain visible for centuries and probably they were the basis of the geometric patterns of medieval floor mosaics in northern Italy. Even if the early medieval mosaics are not numerous, it is possible to see a selection of the motifs known in the 6th century and a simplification in the realization: in the 7th-10th century the derivation from late antique mosaics is evident and faithful, but the geometric layouts are approximate, like the mosaics of Sant Maria di Gazzo Veronese; in the 10th-11th century, the geometric motifs are further simplified; finally, in the 12th century we witness in Venice a recovery of the motifs most adhering to the Ravenna models and are declined both in tessellated and in opus sectile (San Marco, San Zaccaria). [ABSTRACT FROM AUTHOR]

The poetics and critical interpretation of Alexandre Dumas father and son works, as well as their respective biographies are given an original light if we consider their intimate spaces and literary production, especially between 1847 and 1852, the years during which their trajectories crossed. After being at the height of his fame, Alexandre Dumas, covered in debts, saw his "architectural folly" of Monte Cristo mortgaged in less than a year, and his Théâtre Historique closed to the public. Alexandre Dumas fils, for his part, seized the sale of his former mistress after her death to create his novel La Dame aux camélias. Based on a dismemberment, that of Marie Duplessis' interior space sold at auction and reconfigured for better dramatic effects, Alexandre Dumas fils made a name for himself among the great writers and playwrights of his time. His famous Parisian flat at 98, avenue de Villiers constitutes a genuine countermodel from his father's spaces, abandoning the model of the historicist and bohemian "artist's interior" for a bourgeois, consensual and comfortable interior design. This paper aims at understanding Alexandre Dumas fils' literary and real estate strategies to consolidate his writer position and image. [ABSTRACT FROM AUTHOR]

This essay explores the Museo Byron a Palazzo Guiccioli, for a time the dwelling of George Gordon, Lord Byron (1788-1824), the self-identified cosmopolite, citizen of the world, and transnational exile. From February 1820 until October 1821, Byron lived here in this seventeenth-century residence in the heart of Ravenna in northern Italy. In late 2011, the rundown Palazzo was taken over by the Fondazione Cassa di Risparmio di Ravenna, keen to give the building a new life as a hub of cultural tourism. At the time of writing, the transformed Palazzo Guiccioli is scheduled to open its doors in Spring 2023 as a literary house museum--the Museo Byron a Palazzo Guiccioli. Byron's time at the Palazzo marked an astonishingly productive creative period and saw his participation in the Carbonari, an informal network of secret revolutionary societies. The Museo inspires a re-evaluation of the significance of politics for Byron's poetry, I suggest, by illuminating how Byron's writing intersects with his involvement in the Carbonari campaign. Celebrating Byron's Anglo-Italian cultural identity, and highlighting the keenly transnational focus of Byron's work and life, the Museo Byron also illuminates Byron's dialectical engagement with England in the heat of his engagement with Italian politics. Finally, my essay considers how the Museo Byron embodies changing house-museum practices by connecting the Palazzo to a dynamic circuit of literary tourism--then and now. [ABSTRACT FROM AUTHOR]

The personality of Saint John the Baptist is often evoked by the bishop of Ravenna, so that of the approximately 180 homilies preserved from Saint Peter, 13 are dedicated to the Forerunner of Jesus Christ. From these 13 sermons we render in Romanian translation the homilies focused on either to his tragic end or to his preaching and activity in the Jordan desert (CXXVII, CXXXVII, CLXVII, CLXXIII, CLXXIV and CLXXIX). [ABSTRACT FROM AUTHOR]

The article focuses on the commercial mechanism in Late Antiquity with special regard paid to the Late Antique sedes imperii, Ravenna, and its maritime port of Classe from the point of view of qualitative and quantitative analyses of marble and pottery importation through long-distance trade within the Mediterranean. In the 5th and 6th centuries, Ravenna represented an important political, commercial, and cultural centre, involved in interregional sea trade through its port of Classe, and represented a significant production and redistributive centre. e research is based on archaeological material evidence: the provenance and quantity of imported stone artefacts from the Late Antique complex of S. Severo in Classe, and the provenance of pottery finds from the harbour area of Podere Chiavichetta in Classe. e mechanism of commercial exchange of Late Antique Ravenna and Classe with various regions of the Mediterranean is based on the quantitative and qualitative comparison of imported marble and pottery. e question of the statio marmorum in the port area of Classe is also discussed on the basis of both the archaeological evidence and a comparison with the stone supply from Rome. [ABSTRACT FROM AUTHOR]

Copyright of Reti Medievali is the property of Firenze University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Baptism is the sacramental celebration of Christian initiation. Paul’s letter to the Romans, which is central to the understanding of baptism, characterizes this sacramental event as a dying with Christ and the beginning of a new existence. This new mode of existence gains an aesthetic-performative form in the liturgical rites. The design of the liturgical spaces can then be understood as “petrified rites”. The imperial church basilicas and baptisteries of the Byzantine period in Ravenna bear particular witness to such petrified manifestations of liturgy. What took place in the liturgical rites found an aesthetic counterpart in the interior design and in the rich mosaic art of the ancient buildings. The Ravennese color-intensive wall and ceiling motifs substantiate in a sensuous way the eschatological aesthetic, which is opened to believers through baptism. Biblical texts, architecture, rite, and pictorial program thus form an aesthetic ensemble whose elements mutually illuminate each other and only gain their full depth of meaning in the context of this performative dynamic. This contribution analyzes the interplay of these different registers, based on some selected examples of Ravenna’s sacred buildings, and explores how the baptismal event is conveyed in them as an aesthetic access to the world.

Among the approximately 180 homilies of St. Peter Chrysologus, a group of 12 sermons [LXXIII-LXXXIV] is dedicated to the Lord's Resurrection, representing one of the most important collections on this subject of a Christian author of the "golden age" of patristic literature. From these 12 Pascal homilies we render in Romanian translation the sermons based on Luke's Gospel, chapter 24 (LXXIX and LXXXI). [ABSTRACT FROM AUTHOR]

L’articolo tratta delle strutture economiche, politiche e sociali dell’area tra Ravenna e Comacchio a partire dallo sfruttamento delle aree umide costiere, in primo luogo per la coltivazione e distribuzione del sale (non solo a livello locale ma anche verso l’area interna del regno italico). Viene ricostruito il ruolo degli arcivescovi, eredi principali, ma non esclusivi, del complesso di beni e diritti di pertinenza dell’antico Esarcato, nonché principali attori della ridistribuzione di tali risorse, affiancati dai soggetti laici ed ecclesiastici più eminenti sulla scena ravennate. Ampio spazio viene dato al peso politico ed economico dei beni fiscali, largamente presenti nell’area, che conservarono una persistente etichetta pubblica e restarono costantemente al centro della competizione politica passando frequentemente di mano.

Of the approximately 180 homilies of St. Peter Chrysologus, a group of 4 sermons [CXL, CXLII-CXLIV] stands out, being dedicated to feast of Annunciation. These texts represent one of the most important collections of sermons on the Lord's Prayer, made by a Christian author of the "Golden Age" of Patristic Literature. On the other hand, the ideas expressed indicate a crystallization of a bold mariology, with profound Christological valences that correspond to the doctrine standardized after the Third Ecumenical Council of Ephesus (431 A.D.). In addition, we can recognize a set of hermeneutical keys that the venerable bishop of Ravenna applies for the exegesis of Luke's first chapter, an interpretation meant to prepare his community before celebrating the Nativity of Christ.. [ABSTRACT FROM AUTHOR]

Copyright of Ars Adriatica is the property of Sveuciliste u Zadru (University of Zadar) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Staleta Praha is the property of Narodni Pamatkovy Ustav and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Reti Medievali is the property of Firenze University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article is devoted to some aspects of the iconographic program (the theme of the pious king, the glorification of the name of Jesus) and artistic features (plasticity of figures, spatiality, coloristic richness) of the Syrian manuscript of the Old and New Testament from the collection of the National Library of France (Paris. syr. 341). The manuscript is long and well known among the researchers because of some of its individual miniatures and iconographic types (the Virgin Nicopeia in the composition of Allegory of Wisdom), stylistic affinity with other manuscripts of Syrian origin (the Gospel of Rabbula, the later inserted miniature of 6th century in the manuscript dated 586). However, the parallels to iconography and style of the miniatures, despite the difference in technology and sizes, can be found in the mosaics of Italy of the same period, from Ravenna to Naples. This similarity allows to assume that patrons and artists of this manuscript were familiar with the capital’s culture and art of the Imperial court, and the time of creation of the manuscript to specify as the middle — the second half of the 6th century.

The Galla Placidia Chapel in Ravenna, or globally known as the "Mausoleum" of Galla Placidia, is renowned for its exceptional mosaic decorations covering the surfaces of its interior walls. The entrance of the chapel represents a dramatic transition from the humble exterior to the grandeur and majesty of the interior; the chapel has retained its entire interior decoration program, which is uncommon for buildings from late antiquity. This cross-planned chapel still raises many Issues and questions that are difficult to answer decisively as a result of the lack of any contemporary documentation, so it remains purely hypothetical. The interpretation of central vault mosaics of the chapel is one of the most important issues that have long occupied the scholars over the years due to the ambiguity and distinctiveness of its elements with regard to the iconographic traditions of the time, as it is the predecessor of a decorative subject that will continue over time in the early Christian structures. The central vault mosaic consists of 567 golden stars arranged in concentric circles against a dark blue background, all orbiting a Latin gold cross represented at the vault apex, while floating, over the heap of the clouds, in the pendentives area, winged bust-figures represent the four living creatures around the celestial throne. Although the blue dome covered with stars is a decorative element known both from Roman art and even from ancient Egyptian art before it, but its significance here with the inclusion of the golden cross in the middle of the vault was not clear, especially since the meaning of the cross itself is disputed and Its orientation to the east and non-following the axis of the chapel reflects many meanings. Therefore, this paper aims to describe and analyze the artistic composition of the central vault mosaics, try to understand the meanings of its elements, and comparing it with other similar decorative elements, whether earlier from the old Egyptian and Roman times or later from the early Byzantine era.

Micropropagation protocol of Oriental Hybrid Lilium cv. Ravenna was developed using bulb scale segments (Basal and Tip) as explants. Surface sterilization of healthy bulb scales with carbendazim 200 ppm for 30 min, then 0.1 percent mercuric chloride for 10 min, then 70% ethyl alcohol for 30 s was superior to all other treatments in recording highest culture asepsis (77.08%) and higher explant survival (86.12%). Explant survival was higher in basal segments (88.54%) compared to tip segments (85.52%). Highest culture establishment was recorded in basal scale segments (68.26%) followed by tip scale segments (55.21%). MS medium augmented with 0.50 mgl−1 Naphthalene acetic acid and 2.0 mgl−1. 6-Benzylamino Purine recorded maximum culture establishment (76.17%), highest bulblet number/explant (5.52) with maximum length of shoots (2.20 cm) and number of leaves (3.39). This treatment combination of growth regulators resulted in highest shoot proliferation (83.33%) along with maximum shoot number (2.41explant−1), shoot length (2.35 cm) and leaf number (5.44) of micro shoots during proliferation stage. Rooting of explants was superior with Indole-3-butyric acid compared to Naphthalene acetic acid. Highest rooting of 92.71% along with maximum number of primary roots shoot−1 (12.06), maximum primary root length (3.17 cm) was documented in Murashige and Skoog medium added with Indole-3-butyric acid 1.50 mgl−1 with best ex vitro survival rate (98.96%) of rooted plantlets during primary hardening in perlite + vermiculite (1:1) mixture. [ABSTRACT FROM AUTHOR]

Of the approximately 190 homilies of St. Peter Chrysologus, two sermons [CXI-CXII] stand out, being dedicated to explaining the problematic question of the original sin, as it is presented in St. Paul's Epistle to the Romans. Although they are not meant to explain in detail the problem of original sin, as Augustine does, the two homilies reveal specific aspects of the Church of Ravenna to relate to this doctrine. [ABSTRACT FROM AUTHOR]

Tra l’autunno e l’inverno del 402 la corte imperiale si trasferì da Milano a Ravenna. Com’è noto, Zosimo e Procopio hanno sottolineato la scelta strategica di Onorio per Ravenna, la cui importanza crebbe dall’età del principato, quando era la base della flotta militare dell’Adriatico. Le evidenze archeologiche, tuttavia, non confermano la continuità tra il porto militare e la regia civitas. Durante l’età di Onorio, Ravenna era molto diversa rispetto al passato, essendo rimasta gravemente colpita dallo smantellamento della flotta, che non è più attestata dalla metà del III secolo. Anche la nuova lettura del miliario di Campiano (AE 1975, 402) non permette di considerare questo documento come prova di una non documentata, invariata continuità nella vita urbana di Ravenna.

The article examines a possible interpretation of the iconography of concordia apostolorum, engraved on the left side of the late antique sarcophagus called “Pignatta”, found in the suburb of the late antique sedes imperialis Ravenna (Italy). The sarcophagus has been the subject of continuous scientific discussion related to its Eastern provenance and various iconographical interpretations. The article points an implicit interrelation between the theme of the ecclesiastical concordia of principes apostolorum and the imperial political propaganda emphasizing the unity and inseparability of the Empire and it illustrates this connection on examples and iconographical comparison with other late antique artefacts (e.g. sarcophagi, gold glasses, coinage). It demonstrates that the meaning of concordia apostolorum fits into the framework of mental and political paradigm of the turn of the 4th and 5th centuries when an effort to express the unity of the Church strongly reflected the imperial program and that a common veneration of S. Peter and Paul was broadly diffused also in the East, in Constantinople – a presumed place of origin of the sarcophagus. [ABSTRACT FROM AUTHOR]

Copyright of Archeologia Postmedievale is the property of Edizioni all'Insegna del Giglio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Ravenna boasts a high number of mosaics dating from the Late Antique period. Scholars have often considered these artworks in isolation, often within historical and topographic studies, and only from a very limited symbolic and iconographic perspective. This paper provides a new interpretation on the iconography of the Civitas Classis mosaic at SantʼApollinare Nuovo, Ravenna, from the early 6th century AD. The first section of the paper explores the iconography of the mosaic by investigating both topographic and symbolic details represented in the port scene of the Civitas Classis mosaic. The second section examines the aspects of symbolism, identity and metaphors for power expressed by the iconography of the Civitas Classis mosaic. This paper also provides an entry point, written in English, into the study of the mosaics from the Adriatic region in antiquity.

The death of Pietro Canneti, abbot of the Classense Monastery of Ravenna and General of the Camaldolese’s Order, was the cause of an unusual event. Actually, the funeral oration of Canneti was pronounced by Giovanni Bianchi, a doctor, instead of a religious dignitary as usual. The motivations behind this choice are an enigma to solve still today.