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Sulcis

The Cleveland Museum of Art (Ohio) returned 14 artifacts to Italy, stolen by grave robbers and unlawfully removed from our country, thanks to an intentional and carried out by Police, State Attorney, Ministry of Culture, Judiciary , and made possible, of course, the availability of U.S. museum. Among them stands a bronze statue of Nuraghic, dating from the IX-VIII century BC, depicting an archer with a bow on his shoulder. The finding was probably found somewhere in the tomb raiders nuragic Grutt'e of water on the island of S. Antioco, where he will soon return to be permanently exhibited in the Municipal Archaeological Museum "Ferruccio Barreca" . Now renamed "Archer Sulcis" stands out for its exceptional workmanship and for its considerable size, twenty-two inches in height against the average of ten to fifteen other bronzes. It depicts a soldier with a helmet surmounted by a large ox horn, with a bow in his left hand and right hand raised in blessing.

The so-called "bronze" nuragici were found mainly in or near the time of the ancient places of worship, especially the well-known as "Well" temples. " The bronzes, depicting gods or characters or objects associated with the bidders or prestige to daily life, were offered to the temple is likely to implore a grace or as votive offerings. The number of bronzes known not reach the 700 specimens, although the number of false ones is considerable hospitality and is also rich in prestigious European museums and private collections.

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The Archer's treasure things will shine

The greatest Roman treasure coin, found in 1981 in Misurata, Libya, can be enjoyed in all its glory thanks to the work of the Institute for Technologies Applied to Cultural Heritage (ITABC) of the National Council Research Council (CNR) , who coordinated the restoration, historical study, the compositional analysis and digitization of this heritage. The treasure, consisting of 108 000 coins, was found accidentally during execution agricultural work, in large vessels (jars, jugs, amphorae), buried near two buildings as part perhaps of a place to change horses in the cursus publicus - the service for the carriage of goods or parcels belonging to the State - and people who were traveling on behalf of the central government. Dated between 294 and 333 AD, these coins are nummi ( folles), which is produced with a copper-tin-lead containing a small amount of silver, which are characterized by a very thin surface enrichment with the same metal. Although it is not impossible that the treasure should be formed by a larger number of specimens, it is the largest discovery not only di epoca romana, ma, probabilmente, di tutto il mondo antico. Oltre che per le dimensioni il rinvenimento si distingue perchè che getta nuova luce sia sulla storia dell'economia e della circolazione monetaria in Tripolitania nella prima metà del IV secolo d.C., sia sulla metallurgia e la tecnologia della produzione monetale di quel periodo.
Ma a chi apparteneva questo patrimonio? Si possono avanzare due ipotesi: il tesoro potrebbe essere il contenuto di una cassa destinata a erogare pagamenti oppure al ritiro di monete messe "fuori corso" anche al fine di recuperarne, mediante rifusione, il contenuto in argento.

Le monete, a partire dal 2007, sono state oggetto di un'accurata serie di analisi fisiche non distruttive, volte a definire la percentuale del contenuto in argento nella lega e a precisare, in associazione con altri metodi di indagine, la tecnologia di fabbricazione, elementi che aiutano a ricostruire l'inflazione e le periodiche crisi economiche e monetarie che travagliarono in quei decenni l'impero romano. Le misure si basano sull'utilizzo di sorgenti radioattive messe a disposizione dai laboratori del Cnr e dell'Istituto nazionale di fisica nucleare.

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ancient icon of St. Paul in the catacombs of Santa Tecla in Rome

A Roma nelle catacombe di Santa Tecla, sulla via Ostiense, è stata scoperta una icona raffigurante San Paolo, risalente al IV secolo d.C. I restauratori che lavorano da oltre un anno al restauro delle catacombe, nel ripulire con il laser la patina calcarea che ricopre hypogeum time, revealed the face of St. Paul: the oval thin, big eyes and deep, the balding, broad forehead wrinkling of reflection, a bit unshaven, in other words the Apostle depicted with the typical features of the thinker and especially Plotinus, philosopher reference of late antiquity.

When it was painted at the end of the fourth century, Augustine had not yet written, Confessions, St. Paul's image of worship is reserved for the oldest known image of the apostle so far. The discovery dates back to June 19, 2009 and represents an extraordinary event that seals in an unexpected and surprising conclusion of the jubilee year dedicated to St. Paul.

Catacombs of Santa Tecla, along the Via Ostiense, not far from the Basilica of St. Paul Outside the Walls, are known from the eighteenth century. Community and the catacombs, there are the remains of hundreds of Christians who wished to be buried near Santa Tecla, a Roman martyr who should not be confused with the same saint friend of St. Paul, the protagonist of the ancient apocryphal Acta Pauli et Theclae. The time is the face of St. Paul, surrounded a circle (clypeus) yellow gold on red, and next, another portrait of St. Peter, the "rock", and then shown with the face of stronger and more rugged fisherman. A fine burial, which could be inspired by the basilica of the three emperors, dedicated to St. Paul and desired by Constantine in the fourth century was built not far away and was destroyed in the nineteenth century. In the cubicle were discovered two other apostles, perhaps John and James, and even a Daniel in the lions and the sacrifice of Isaac.

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Pietro Consagra

1947 - Rome - Group Form 1
Consagra Peter (1920), Ugo Attardi (1923) Carla Accardi (1924), Achille Perilli (1927), Antonio Sanfilippo (1923), Piero Dorazio (1927)

In 1947 he founded the group in Rome art forms whose manifesto is published by a new magazine out in the same year and with the same name: Form. Artists participating in this group who call themselves "formalists and Marxists," insisting on the non-contradictory combination of political and formal research in a context which is not exactly ideal for the abstract. The artists participating in the group are Ugo Attardi, Carla Accardi, Pietro Consagra, Piero Dorazio, Mino Guerrini, Achille Perilli, Antonio Sanfilippo and Giulio Turcato. In 1950 the group broke up.

1956

1959 - Paris

Rome 1961 with Marcel Duchamp at the Galleria La Tartaruga,

1987
Palma Bucarelli, Giulio Carlo Argan, Pietro Consagra, Filiberto Menna.

1996 - Palazzo di Brera

Consagra The thought and work of Peter, born in 1920 and died in 2005, the complexity of the issues, looking for a new relationship between man, space and sculpture, and the originality of the proposed solutions against the concept of three dimensions which he described as "monumental array of extinct language" play a very special when pondering the aesthetics of the second half of the 900. Main

He wanted to be buried nell'ingrata Mazara but not in "his" Gibellina