Ludovico Rebaudo | Università degli Studi di Udine / University of Udine (original) (raw)
Papers by Ludovico Rebaudo
Le copie dei guerrieri di Riace di Vinzenz e Ulrike Brinkmann. Una discussione, in E. Greco, A. Salzano, C.I. Tornese (a cura di), Dialoghi sull'Archeologia della Magna Grecia e del Mediterraneo, Atti del IV Convegno Internazionale di Studi (Paestum, 17-19.11.2019), 2021, pp. 797-821, 2020
Between 2014 and 2016 a highly specialized team supervised by prof. V. Brinkmann, head of the Co... more Between 2014 and 2016 a highly specialized team supervised by prof. V. Brinkmann, head of the Collections of Antiquities and Asia of the Liebieghaus in Frankfurt, produced the full size ‘copies’ of the two bronze Warriors from Riace Marina (Reggio Calabria, Museo Archeologico Nazionale, invv. 12801, 12802). Because they do not merely reproduce the Warriors in their present state but restore their alleged original appearance in the 5 th century BC, the crucial issues of the experiment, namely the archaeological sources and their use for the purpose of reconstruc-tion, are here discussed
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«Rivista di Archeologia» 44, 2020
[Please note that the uploaded pdf file requires a password. To get it, write me at: ludovico.reb... more [Please note that the uploaded pdf file requires a password. To get it, write me at: ludovico.rebaudo@uniud.it]
Starting from a skeptical point of view on classical philological approach to ancient copies and Meisterforschung, the paper
deals with copyists’ signatures in Hellenistic and Roman time. A list of about thirty signed copies proves that copyists used the standard formula ὁ δεῖνα ἐποίει/ἐποίεσε, such an one has made it , like any sculptor from Archaic to Roman Imperial time. This suggests that copies were probably perceived as standard sculptural artifacts, in which the craftsman could take pride (kleos). Some relevant cases are discussed in full: the bronze Doryphoros herm by Apoll nios of Athens from Herculaneum; the galma of Athena Kranaia by the ‘sons of Polykles’ in Elateia; the Herakles, Hermes and Teseus by Apollonios and Dem trios of Alexandria from Rooms II and III in the Gymnasion of Messene.
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I Bronzi di Raice. Archeologia e archeometria, in I Bronzi di Riace. Studi e ricerche (Atti del convegno, internazionale, Reggio Calabria, 25-26 ottobre 2018), a cura di C. G. Malacrino, D. Castrizio, Reggio Calabra, Laruffa Editore, 2020
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Antenor Quaderni 46, 2019
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Mitomania. Storie ritrovate di uomini ed eroi. Atti della giornata di studi (Taranto, 11 aprile 2019), a cura di E. Degli Innocentri e altri, Roma, Gangemi, 2019
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Dialoghi sull'Archeologia della Magna Grecia e del Mediterraneo, Atti del I Convegno Internazionale di Studi (Paestum 7-9 sett. 2016), a cura di A Pontrandolfo, M. Scafuro, Salerno, Pandemos, 2017
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«Eidola» 13, 2016
Il contributo discute lo status delle copie nel mondo ellenistico e romano, in parte contestando ... more Il contributo discute lo status delle copie nel mondo ellenistico e romano, in parte contestando la posizione ‘ortodossa’, che considera le copie esclusivamente in quanto riproduzioni consapevoli di capolavori ‘classici’. L’autore insiste sugli effetti distorsivi di tale visione modernizzante. Egli ritiene convintamente che in antico le copie fossero percepite in modo pi articolato: anche come copie in senso moderno, senza dubbio, ma prima di tutto come opere scultoree con una propria funzione, nelle quali, copiando, l’esecutore legittimamente manifestava la sua abilità e la sua techne. Del massimo interesse la descrizione di Pausania delle statue del ginnasio di Messene, dove una copia del Doriforo di Policleto (rinvenuta in sito da P. G. Themelis negli anni Settanta) viene citata come statua di Teseo di Apollonio e Demetrio di Alessandria, senza alcuna menzione di Policleto.
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I mille volti del passato. Scritti in onore di Francesca Ghedini, a cura di a cura di J. Bonetto e altri, Roma, Quasar, 2016
The paper is focused on two Carolingian texts, the anonimous Libellus of imperatoria potestate in... more The paper is focused on two Carolingian texts, the anonimous Libellus of imperatoria potestate in urbe Roma (last quarter of the 9th Century) and Benedict of Sant’Andrea’s Chronicon (end of the 10thcentury), both citing a «locus ad Lupam» near the Lateran Palace. The author’s goal is to place the sources in a chronological perspective, showing that the earliest mention occurs in connection with the attack on Leo III of 799 and not with an alle-ged stay of Louis the Pious in Italy in 828.
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The gesture code in Ancient Art is based on a hierarchical combination of different parts. In som... more The gesture code in Ancient Art is based on a hierarchical combination of different parts. In some respect it can be compared to an agglutinative language, in which words may contain different morphemes which contribute to define or change their meaning. Ancient craftsmen assembled figures from general types (e.g. the elderly woman in domestic dress) by attaching intentional and coded gestures (e.g. the hand holding up the arm of a suffering) and various unintentional patterns of behaviour (e.g. the shoulder strap falling; the head leaning back). These elements act as morphological prefixes and suffixes to define the meaning of the final figure.
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Scene dal mito. Iconologia del dramma antico, a cura di G. Bordignon, Rimini, Guaraldi, 2015
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Iconologia del dramma antico, a cura di G. Bordignon, Rimini, Guaraldi, 2015
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Eidola, 2014
The paper is focused on the impressive figure of an elderly, poorly dressed woman who stretches o... more The paper is focused on the impressive figure of an elderly, poorly dressed woman who stretches out her arms backwards as a sign of mourning in a number of Roman sarcophagi representing the Death of Meleager. This uncanonical schema is a good example of a ‘surviving’ Pathosformel, having been cited in Nicola Pisano’s Massacre of the Innocents in the pulpit of the Cathedral of Siena (ca 1265) and Giotto’s Mourning of Christ in the Scrovegni Chapel (ca 1306). According to M. L. Catoni the gesture would be derived from the so called ‘rescuer’, a woman rushing to the aid of a mother in labor, on a number of Attic grave stelai of the fourth century bc. Catoni’s assumption is that the very usual attitude of rescue – both arms forward – has been artificially reversed in sign of rejection. My interpretation is different: the gesture simply varies the Maenads’ orgiastic dance illustrating the topos of luctus demens. Pain makes people mad (just like wine and ecstasy), so despair in the face of the death can be represented through a manifestation of ecstatic madness. The dress falling from the shoulder, very common in the dancing Maenads, supports this interpretation.
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Pezzi difficili. Due sculture aquileiesi del IV secolo d.C., 2013
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Views and maps of Aquileia are known from the late Seventeenth century. These are important evid... more Views and maps of Aquileia are known from the late Seventeenth century. These are important evidences for historical topography of the town, but not a few inaccurate or wrong data, sometimes seriously mislead-ing, circulate in the scholarship, even up-to-date. This paper retraces the story of Aquileia’s oldest azimuth-al map, usually dated around 1740 and attributed to the canon and antiquarian Giandomenico Bertoli (1676-1763). Author’s analysis of the surviving copies demostrated it was actually designed before 1727 by Giovanni Antonio Gironcoli (1670-1729), an amateur mathematician and surveyor who served as mansionario (a sort of deacon) in the patriarchal church of Aquileia. Bertoli’s intervention, not later than 1746, consisted prob-ably in some topographic and toponomastic improvements and in a consistent upgrade of the archaeological records
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L’architettura privata ad Aquileia in età romana, J. Bonetto, M. Salvadori edd., 2012
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Riuso di monumenti e reimpiego di materiali antichi in età postclassica: il caso della Venetia, a cura di G. Cuscito, Trieste, Editreg («Antichità Altoadriaticche», 74), 2012
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Le copie dei guerrieri di Riace di Vinzenz e Ulrike Brinkmann. Una discussione, in E. Greco, A. Salzano, C.I. Tornese (a cura di), Dialoghi sull'Archeologia della Magna Grecia e del Mediterraneo, Atti del IV Convegno Internazionale di Studi (Paestum, 17-19.11.2019), 2021, pp. 797-821, 2020
Between 2014 and 2016 a highly specialized team supervised by prof. V. Brinkmann, head of the Co... more Between 2014 and 2016 a highly specialized team supervised by prof. V. Brinkmann, head of the Collections of Antiquities and Asia of the Liebieghaus in Frankfurt, produced the full size ‘copies’ of the two bronze Warriors from Riace Marina (Reggio Calabria, Museo Archeologico Nazionale, invv. 12801, 12802). Because they do not merely reproduce the Warriors in their present state but restore their alleged original appearance in the 5 th century BC, the crucial issues of the experiment, namely the archaeological sources and their use for the purpose of reconstruc-tion, are here discussed
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«Rivista di Archeologia» 44, 2020
[Please note that the uploaded pdf file requires a password. To get it, write me at: ludovico.reb... more [Please note that the uploaded pdf file requires a password. To get it, write me at: ludovico.rebaudo@uniud.it]
Starting from a skeptical point of view on classical philological approach to ancient copies and Meisterforschung, the paper
deals with copyists’ signatures in Hellenistic and Roman time. A list of about thirty signed copies proves that copyists used the standard formula ὁ δεῖνα ἐποίει/ἐποίεσε, such an one has made it , like any sculptor from Archaic to Roman Imperial time. This suggests that copies were probably perceived as standard sculptural artifacts, in which the craftsman could take pride (kleos). Some relevant cases are discussed in full: the bronze Doryphoros herm by Apoll nios of Athens from Herculaneum; the galma of Athena Kranaia by the ‘sons of Polykles’ in Elateia; the Herakles, Hermes and Teseus by Apollonios and Dem trios of Alexandria from Rooms II and III in the Gymnasion of Messene.
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I Bronzi di Raice. Archeologia e archeometria, in I Bronzi di Riace. Studi e ricerche (Atti del convegno, internazionale, Reggio Calabria, 25-26 ottobre 2018), a cura di C. G. Malacrino, D. Castrizio, Reggio Calabra, Laruffa Editore, 2020
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Antenor Quaderni 46, 2019
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Mitomania. Storie ritrovate di uomini ed eroi. Atti della giornata di studi (Taranto, 11 aprile 2019), a cura di E. Degli Innocentri e altri, Roma, Gangemi, 2019
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Dialoghi sull'Archeologia della Magna Grecia e del Mediterraneo, Atti del I Convegno Internazionale di Studi (Paestum 7-9 sett. 2016), a cura di A Pontrandolfo, M. Scafuro, Salerno, Pandemos, 2017
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«Eidola» 13, 2016
Il contributo discute lo status delle copie nel mondo ellenistico e romano, in parte contestando ... more Il contributo discute lo status delle copie nel mondo ellenistico e romano, in parte contestando la posizione ‘ortodossa’, che considera le copie esclusivamente in quanto riproduzioni consapevoli di capolavori ‘classici’. L’autore insiste sugli effetti distorsivi di tale visione modernizzante. Egli ritiene convintamente che in antico le copie fossero percepite in modo pi articolato: anche come copie in senso moderno, senza dubbio, ma prima di tutto come opere scultoree con una propria funzione, nelle quali, copiando, l’esecutore legittimamente manifestava la sua abilità e la sua techne. Del massimo interesse la descrizione di Pausania delle statue del ginnasio di Messene, dove una copia del Doriforo di Policleto (rinvenuta in sito da P. G. Themelis negli anni Settanta) viene citata come statua di Teseo di Apollonio e Demetrio di Alessandria, senza alcuna menzione di Policleto.
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Bookmarks Related papers MentionsView impact
I mille volti del passato. Scritti in onore di Francesca Ghedini, a cura di a cura di J. Bonetto e altri, Roma, Quasar, 2016
The paper is focused on two Carolingian texts, the anonimous Libellus of imperatoria potestate in... more The paper is focused on two Carolingian texts, the anonimous Libellus of imperatoria potestate in urbe Roma (last quarter of the 9th Century) and Benedict of Sant’Andrea’s Chronicon (end of the 10thcentury), both citing a «locus ad Lupam» near the Lateran Palace. The author’s goal is to place the sources in a chronological perspective, showing that the earliest mention occurs in connection with the attack on Leo III of 799 and not with an alle-ged stay of Louis the Pious in Italy in 828.
Bookmarks Related papers MentionsView impact
The gesture code in Ancient Art is based on a hierarchical combination of different parts. In som... more The gesture code in Ancient Art is based on a hierarchical combination of different parts. In some respect it can be compared to an agglutinative language, in which words may contain different morphemes which contribute to define or change their meaning. Ancient craftsmen assembled figures from general types (e.g. the elderly woman in domestic dress) by attaching intentional and coded gestures (e.g. the hand holding up the arm of a suffering) and various unintentional patterns of behaviour (e.g. the shoulder strap falling; the head leaning back). These elements act as morphological prefixes and suffixes to define the meaning of the final figure.
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Scene dal mito. Iconologia del dramma antico, a cura di G. Bordignon, Rimini, Guaraldi, 2015
Bookmarks Related papers MentionsView impact
Iconologia del dramma antico, a cura di G. Bordignon, Rimini, Guaraldi, 2015
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Eidola, 2014
The paper is focused on the impressive figure of an elderly, poorly dressed woman who stretches o... more The paper is focused on the impressive figure of an elderly, poorly dressed woman who stretches out her arms backwards as a sign of mourning in a number of Roman sarcophagi representing the Death of Meleager. This uncanonical schema is a good example of a ‘surviving’ Pathosformel, having been cited in Nicola Pisano’s Massacre of the Innocents in the pulpit of the Cathedral of Siena (ca 1265) and Giotto’s Mourning of Christ in the Scrovegni Chapel (ca 1306). According to M. L. Catoni the gesture would be derived from the so called ‘rescuer’, a woman rushing to the aid of a mother in labor, on a number of Attic grave stelai of the fourth century bc. Catoni’s assumption is that the very usual attitude of rescue – both arms forward – has been artificially reversed in sign of rejection. My interpretation is different: the gesture simply varies the Maenads’ orgiastic dance illustrating the topos of luctus demens. Pain makes people mad (just like wine and ecstasy), so despair in the face of the death can be represented through a manifestation of ecstatic madness. The dress falling from the shoulder, very common in the dancing Maenads, supports this interpretation.
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Pezzi difficili. Due sculture aquileiesi del IV secolo d.C., 2013
Bookmarks Related papers MentionsView impact
Views and maps of Aquileia are known from the late Seventeenth century. These are important evid... more Views and maps of Aquileia are known from the late Seventeenth century. These are important evidences for historical topography of the town, but not a few inaccurate or wrong data, sometimes seriously mislead-ing, circulate in the scholarship, even up-to-date. This paper retraces the story of Aquileia’s oldest azimuth-al map, usually dated around 1740 and attributed to the canon and antiquarian Giandomenico Bertoli (1676-1763). Author’s analysis of the surviving copies demostrated it was actually designed before 1727 by Giovanni Antonio Gironcoli (1670-1729), an amateur mathematician and surveyor who served as mansionario (a sort of deacon) in the patriarchal church of Aquileia. Bertoli’s intervention, not later than 1746, consisted prob-ably in some topographic and toponomastic improvements and in a consistent upgrade of the archaeological records
Bookmarks Related papers MentionsView impact
L’architettura privata ad Aquileia in età romana, J. Bonetto, M. Salvadori edd., 2012
Bookmarks Related papers MentionsView impact
Riuso di monumenti e reimpiego di materiali antichi in età postclassica: il caso della Venetia, a cura di G. Cuscito, Trieste, Editreg («Antichità Altoadriaticche», 74), 2012
Bookmarks Related papers MentionsView impact
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