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Title
A name given to the resource
Unpacking Ruins: architecture from antiquity. Online exhibition
Description
An account of the resource
12 September - 28 November 2002 ~ de Beer Gallery
Central Library, University of Otago
Through the last five hundred years, ancient ruins have been uncovered, rediscovered and reinterpreted. They have provoked architectural inspiration. They have been studied to develop and support theories on how to build and how to value building. They have prompted reflection upon the end of Empire and upon the demise of civilization. In turn, they have provoked thoughts of future civilizations rising.
This exhibition of books and prints of the last four centuries traces changes in the way the West has related to the architecture of antiquity. Works displayed are from the collections of the University of Otago Library. Through text and illustrations the exhibition ponders how the material of the past has variously been unpacked and repackaged.
To unpack - to undo or open, to bring something out of storage.
Ruins, the weathered fragments speak of loss. They tell of the buildings that once were, of the people who made them, and of the cultures from which they arose. They tell of destruction, abandonment and decay. When viewing the larger volumes displayed in this exhibition one cannot help but feel a profound sense of absence. One may be filled with a longing for the past, or could be drawn to reflect upon the inevitably of the future. However, absence and loss are not the intended focus of the exhibition. Rather it is to chronicle how people have attempted to make sense of the ruins, how they have represented them, and how they have used them to understand the times in which they lived.
These volumes, selected from the Special Collections at the University of Otago Library reveal how ruins and fragments of antiquity have been variously cited over the last five hundred years. The 16th century edition of Vitruvius is evidence of the Renaissance search for an authentic voice from antiquity. Works from the century following present theoretical arguments and the search for architectural perfection, with surviving buildings, ruins and texts being compared and debated. Similar analysis has continued long after these works appeared. It is also apt to compare them with the text by Le Corbusier who returned to his youthful perceptions in Greece, Turkey and Italy for inspiration, example and origin.
Travel guides reveal how existing remains became part of the visual vocabulary of the 17th and 18th centuries. Authoritative accounts by British architect-travelers of ruins in the Eastern Mediterranean and Middle East were published as large folios between 1750 and 1850. The works of Wood and Dawkins in the Levant, of Stuart and Revett in Athens, of Adam in Dalmatia and of Cameron in Italy, follow the scientific archaeological approach of the Frenchman Desgodets. However these journeys were romantic and at times, fanciful, explorations as well. In the published volumes, travelers presented the surviving fragments and reconstituted them into reinvented larger works. In doing so, they changed the Western understanding of architecture and its day-to-day practice.
In considering the fall of empires in the late 18th century, it was inevitable that the survey of ruins would prompt reflection on the future of the West. In 1774 Horace Walpole wrote to Horace Mann,
"The next Augustan age will dawn on the other side of the Atlantic. There will perhaps be a Thucylides at Boston, a Xenophon at New York, and in time a Virgil at Mexico, and a Newton at Peru. At last some curious traveller from Lima, will visit England, and give a description of the ruins of St Paul's, like editions of Baalbec and Palmyra."
It is not surprising that sixty years later, at a time when the colonisation of New Zealand was actively debated in the Houses of Parliament, Macaulay would speculate upon a future New Zealander surveying the ruins of London. Doré's romantic image of the Mäori, draped in Renaissance gown and sketching, recalls illustrations of Wood and Stuart in the East, and it confirms the city in the line of great imperial centres. However the figure seated on the ruins of London Bridge may have seemed oddly chilling to the Victorian viewers.
The cutaway view of the Bank of England drawn by Joseph Gandy (in the vitrine outside the gallery) may have prompted a similar response. It presents the completed structure opened, clean, and viewed from the eye of God. The sunlit ruin appears timeless.
As well as being an emblem of transience, ruins signal persistence over time. It is this sense of permanence, or at least of a very slow decay, that perhaps provokes a continuing fascination and a pleasure that some recent writers have found in the them.
This exhibition has been curated by Robin Skinner of the School of Architecture, Victoria University Wellington. He was assisted by Elizabeth Tinker, Catherine Robertson and Sarah Jones of the Reference Department of the University of Otago Library.
Document
A resource containing textual data. Note that facsimiles or images of texts are still of the genre text.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Roma aeterna Petri Schenkii
Alternative Title
An alternative name for the resource. The distinction between titles and alternative titles is application-specific.
Roma aeterna Petri Schenkii; sive, Ipsius aedificiorum Romanorum integrorum collapsorumque conspectus duplex
Subject
The topic of the resource
Architecture
Title pages
Illustrated books
Rome (Italy)
Description
An account of the resource
This publication by Amsterdam publisher and engraver Peter Schenk is typical of those that were appearing at the turn of the 18th century. The page shown depicts the ruins of the aqueduct the Aqua Marcia. It conveyed water to both the baths of Diocletian and to those of Caracalla.
Creator
An entity primarily responsible for making the resource
Schenk, Peter
Publisher
An entity responsible for making the resource available
s.n.: Amstelodami
Date Created
Date of creation of the resource.
1705
Contributor
An entity responsible for making contributions to the resource
Hume, Abraham
Type
The nature or genre of the resource
Engravings
Illustrations
Text
Identifier
An unambiguous reference to the resource within a given context
Lc 1705 S [de Beer Special Collections]
Antiquity
Architecture
Rome (Italy)
Special Collections
-
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The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Unpacking Ruins: architecture from antiquity. Online exhibition
Description
An account of the resource
12 September - 28 November 2002 ~ de Beer Gallery
Central Library, University of Otago
Through the last five hundred years, ancient ruins have been uncovered, rediscovered and reinterpreted. They have provoked architectural inspiration. They have been studied to develop and support theories on how to build and how to value building. They have prompted reflection upon the end of Empire and upon the demise of civilization. In turn, they have provoked thoughts of future civilizations rising.
This exhibition of books and prints of the last four centuries traces changes in the way the West has related to the architecture of antiquity. Works displayed are from the collections of the University of Otago Library. Through text and illustrations the exhibition ponders how the material of the past has variously been unpacked and repackaged.
To unpack - to undo or open, to bring something out of storage.
Ruins, the weathered fragments speak of loss. They tell of the buildings that once were, of the people who made them, and of the cultures from which they arose. They tell of destruction, abandonment and decay. When viewing the larger volumes displayed in this exhibition one cannot help but feel a profound sense of absence. One may be filled with a longing for the past, or could be drawn to reflect upon the inevitably of the future. However, absence and loss are not the intended focus of the exhibition. Rather it is to chronicle how people have attempted to make sense of the ruins, how they have represented them, and how they have used them to understand the times in which they lived.
These volumes, selected from the Special Collections at the University of Otago Library reveal how ruins and fragments of antiquity have been variously cited over the last five hundred years. The 16th century edition of Vitruvius is evidence of the Renaissance search for an authentic voice from antiquity. Works from the century following present theoretical arguments and the search for architectural perfection, with surviving buildings, ruins and texts being compared and debated. Similar analysis has continued long after these works appeared. It is also apt to compare them with the text by Le Corbusier who returned to his youthful perceptions in Greece, Turkey and Italy for inspiration, example and origin.
Travel guides reveal how existing remains became part of the visual vocabulary of the 17th and 18th centuries. Authoritative accounts by British architect-travelers of ruins in the Eastern Mediterranean and Middle East were published as large folios between 1750 and 1850. The works of Wood and Dawkins in the Levant, of Stuart and Revett in Athens, of Adam in Dalmatia and of Cameron in Italy, follow the scientific archaeological approach of the Frenchman Desgodets. However these journeys were romantic and at times, fanciful, explorations as well. In the published volumes, travelers presented the surviving fragments and reconstituted them into reinvented larger works. In doing so, they changed the Western understanding of architecture and its day-to-day practice.
In considering the fall of empires in the late 18th century, it was inevitable that the survey of ruins would prompt reflection on the future of the West. In 1774 Horace Walpole wrote to Horace Mann,
"The next Augustan age will dawn on the other side of the Atlantic. There will perhaps be a Thucylides at Boston, a Xenophon at New York, and in time a Virgil at Mexico, and a Newton at Peru. At last some curious traveller from Lima, will visit England, and give a description of the ruins of St Paul's, like editions of Baalbec and Palmyra."
It is not surprising that sixty years later, at a time when the colonisation of New Zealand was actively debated in the Houses of Parliament, Macaulay would speculate upon a future New Zealander surveying the ruins of London. Doré's romantic image of the Mäori, draped in Renaissance gown and sketching, recalls illustrations of Wood and Stuart in the East, and it confirms the city in the line of great imperial centres. However the figure seated on the ruins of London Bridge may have seemed oddly chilling to the Victorian viewers.
The cutaway view of the Bank of England drawn by Joseph Gandy (in the vitrine outside the gallery) may have prompted a similar response. It presents the completed structure opened, clean, and viewed from the eye of God. The sunlit ruin appears timeless.
As well as being an emblem of transience, ruins signal persistence over time. It is this sense of permanence, or at least of a very slow decay, that perhaps provokes a continuing fascination and a pleasure that some recent writers have found in the them.
This exhibition has been curated by Robin Skinner of the School of Architecture, Victoria University Wellington. He was assisted by Elizabeth Tinker, Catherine Robertson and Sarah Jones of the Reference Department of the University of Otago Library.
Document
A resource containing textual data. Note that facsimiles or images of texts are still of the genre text.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The ruins of Balbec
Alternative Title
An alternative name for the resource. The distinction between titles and alternative titles is application-specific.
The ruins of Balbec, otherwise Heliopolis in Coelosyria
Subject
The topic of the resource
Baʻlabakk (Lebanon)
Description
An account of the resource
This book documents the Roman monuments of Baalbek in present-day Lebanon. It was a result of Robert Wood and James Dawkins' 1750-53 trip to Asia Minor. Wood was a member of the Society of the Dilettanti These volumes exhibited mark the beginning of the rise of the British as explorers of antiquity. In his commentary Wood described the ruins in the Bekka Valley as ‘the remains of the boldest plan we ever saw attempted in architecture.' While he understood the sites to be of Roman origin, Wood acknowledged a local tradition that linked the buildings back to Solomon. The engravings were prepared by G.B. Borra in England after drawings that he made on site. The work proved to be a valuable source for the architects of the classical revival.
Creator
An entity primarily responsible for making the resource
Wood, Robert
Date Created
Date of creation of the resource.
1757
Type
The nature or genre of the resource
Illustrations
Identifier
An unambiguous reference to the resource within a given context
Ee/1757/W [de Beer Special Collections]
Antiquity
Architecture
Baalbek
Special Collections
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Unpacking Ruins: architecture from antiquity. Online exhibition
Description
An account of the resource
12 September - 28 November 2002 ~ de Beer Gallery
Central Library, University of Otago
Through the last five hundred years, ancient ruins have been uncovered, rediscovered and reinterpreted. They have provoked architectural inspiration. They have been studied to develop and support theories on how to build and how to value building. They have prompted reflection upon the end of Empire and upon the demise of civilization. In turn, they have provoked thoughts of future civilizations rising.
This exhibition of books and prints of the last four centuries traces changes in the way the West has related to the architecture of antiquity. Works displayed are from the collections of the University of Otago Library. Through text and illustrations the exhibition ponders how the material of the past has variously been unpacked and repackaged.
To unpack - to undo or open, to bring something out of storage.
Ruins, the weathered fragments speak of loss. They tell of the buildings that once were, of the people who made them, and of the cultures from which they arose. They tell of destruction, abandonment and decay. When viewing the larger volumes displayed in this exhibition one cannot help but feel a profound sense of absence. One may be filled with a longing for the past, or could be drawn to reflect upon the inevitably of the future. However, absence and loss are not the intended focus of the exhibition. Rather it is to chronicle how people have attempted to make sense of the ruins, how they have represented them, and how they have used them to understand the times in which they lived.
These volumes, selected from the Special Collections at the University of Otago Library reveal how ruins and fragments of antiquity have been variously cited over the last five hundred years. The 16th century edition of Vitruvius is evidence of the Renaissance search for an authentic voice from antiquity. Works from the century following present theoretical arguments and the search for architectural perfection, with surviving buildings, ruins and texts being compared and debated. Similar analysis has continued long after these works appeared. It is also apt to compare them with the text by Le Corbusier who returned to his youthful perceptions in Greece, Turkey and Italy for inspiration, example and origin.
Travel guides reveal how existing remains became part of the visual vocabulary of the 17th and 18th centuries. Authoritative accounts by British architect-travelers of ruins in the Eastern Mediterranean and Middle East were published as large folios between 1750 and 1850. The works of Wood and Dawkins in the Levant, of Stuart and Revett in Athens, of Adam in Dalmatia and of Cameron in Italy, follow the scientific archaeological approach of the Frenchman Desgodets. However these journeys were romantic and at times, fanciful, explorations as well. In the published volumes, travelers presented the surviving fragments and reconstituted them into reinvented larger works. In doing so, they changed the Western understanding of architecture and its day-to-day practice.
In considering the fall of empires in the late 18th century, it was inevitable that the survey of ruins would prompt reflection on the future of the West. In 1774 Horace Walpole wrote to Horace Mann,
"The next Augustan age will dawn on the other side of the Atlantic. There will perhaps be a Thucylides at Boston, a Xenophon at New York, and in time a Virgil at Mexico, and a Newton at Peru. At last some curious traveller from Lima, will visit England, and give a description of the ruins of St Paul's, like editions of Baalbec and Palmyra."
It is not surprising that sixty years later, at a time when the colonisation of New Zealand was actively debated in the Houses of Parliament, Macaulay would speculate upon a future New Zealander surveying the ruins of London. Doré's romantic image of the Mäori, draped in Renaissance gown and sketching, recalls illustrations of Wood and Stuart in the East, and it confirms the city in the line of great imperial centres. However the figure seated on the ruins of London Bridge may have seemed oddly chilling to the Victorian viewers.
The cutaway view of the Bank of England drawn by Joseph Gandy (in the vitrine outside the gallery) may have prompted a similar response. It presents the completed structure opened, clean, and viewed from the eye of God. The sunlit ruin appears timeless.
As well as being an emblem of transience, ruins signal persistence over time. It is this sense of permanence, or at least of a very slow decay, that perhaps provokes a continuing fascination and a pleasure that some recent writers have found in the them.
This exhibition has been curated by Robin Skinner of the School of Architecture, Victoria University Wellington. He was assisted by Elizabeth Tinker, Catherine Robertson and Sarah Jones of the Reference Department of the University of Otago Library.
Document
A resource containing textual data. Note that facsimiles or images of texts are still of the genre text.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The antiquities of Athens, measured and delineated
Alternative Title
An alternative name for the resource. The distinction between titles and alternative titles is application-specific.
The antiquities of Athens, measured and delineated. Volume 2
Subject
The topic of the resource
Architecture
Athens (Greece)
Antiquities
Description
An account of the resource
In 1742 James Stuart went to London where he met Nicholas Revett. With support from English travellers and residents in Rome, they raised funds and issued proposals for a ‘new and accurate description of the Antiquities &c. in the Province of Attica'. Like Fréart de Chambray, Stuart believed that Greece, not Rome, should be the paragon. Between 1751 and 1753 the two Englishmen painstakingly surveyed the buildings of Greece. This, the much awaited volume of 1762, describes minor buildings. Though it fell short of expectation it did have significant impact. Over the next fifty-four years three subsequent volumes were published fuelling the ‘gusto Greco'.
Published shortly after James Stuart's death, the acclaimed second volume of The antiquities of Athens … was devoted to the Acropolis. This is dealt with in the precise, if somewhat lifeless, neoclassical spirit. Both Stuart and Revett were members of the Society of the Dilettanti which had been formed in 1732 as a convivial meeting group for Englishmen on the Grand Tour. By the 1760s, the society sponsored archaeological expedition and publication. It produced the two volume Ionian Antiquities in 1769 and 1797.
Creator
An entity primarily responsible for making the resource
Stuart, James
Revett, Nicholas
Publisher
An entity responsible for making the resource available
Priestley and Weale: London
Date Created
Date of creation of the resource.
1825-1830
Type
The nature or genre of the resource
Illustrations
Text
Identifier
An unambiguous reference to the resource within a given context
NA280 .SX35 (Special Collections Oversized)
Antiquity
Architecture
Athens
Special Collections
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Unpacking Ruins: architecture from antiquity. Online exhibition
Description
An account of the resource
12 September - 28 November 2002 ~ de Beer Gallery
Central Library, University of Otago
Through the last five hundred years, ancient ruins have been uncovered, rediscovered and reinterpreted. They have provoked architectural inspiration. They have been studied to develop and support theories on how to build and how to value building. They have prompted reflection upon the end of Empire and upon the demise of civilization. In turn, they have provoked thoughts of future civilizations rising.
This exhibition of books and prints of the last four centuries traces changes in the way the West has related to the architecture of antiquity. Works displayed are from the collections of the University of Otago Library. Through text and illustrations the exhibition ponders how the material of the past has variously been unpacked and repackaged.
To unpack - to undo or open, to bring something out of storage.
Ruins, the weathered fragments speak of loss. They tell of the buildings that once were, of the people who made them, and of the cultures from which they arose. They tell of destruction, abandonment and decay. When viewing the larger volumes displayed in this exhibition one cannot help but feel a profound sense of absence. One may be filled with a longing for the past, or could be drawn to reflect upon the inevitably of the future. However, absence and loss are not the intended focus of the exhibition. Rather it is to chronicle how people have attempted to make sense of the ruins, how they have represented them, and how they have used them to understand the times in which they lived.
These volumes, selected from the Special Collections at the University of Otago Library reveal how ruins and fragments of antiquity have been variously cited over the last five hundred years. The 16th century edition of Vitruvius is evidence of the Renaissance search for an authentic voice from antiquity. Works from the century following present theoretical arguments and the search for architectural perfection, with surviving buildings, ruins and texts being compared and debated. Similar analysis has continued long after these works appeared. It is also apt to compare them with the text by Le Corbusier who returned to his youthful perceptions in Greece, Turkey and Italy for inspiration, example and origin.
Travel guides reveal how existing remains became part of the visual vocabulary of the 17th and 18th centuries. Authoritative accounts by British architect-travelers of ruins in the Eastern Mediterranean and Middle East were published as large folios between 1750 and 1850. The works of Wood and Dawkins in the Levant, of Stuart and Revett in Athens, of Adam in Dalmatia and of Cameron in Italy, follow the scientific archaeological approach of the Frenchman Desgodets. However these journeys were romantic and at times, fanciful, explorations as well. In the published volumes, travelers presented the surviving fragments and reconstituted them into reinvented larger works. In doing so, they changed the Western understanding of architecture and its day-to-day practice.
In considering the fall of empires in the late 18th century, it was inevitable that the survey of ruins would prompt reflection on the future of the West. In 1774 Horace Walpole wrote to Horace Mann,
"The next Augustan age will dawn on the other side of the Atlantic. There will perhaps be a Thucylides at Boston, a Xenophon at New York, and in time a Virgil at Mexico, and a Newton at Peru. At last some curious traveller from Lima, will visit England, and give a description of the ruins of St Paul's, like editions of Baalbec and Palmyra."
It is not surprising that sixty years later, at a time when the colonisation of New Zealand was actively debated in the Houses of Parliament, Macaulay would speculate upon a future New Zealander surveying the ruins of London. Doré's romantic image of the Mäori, draped in Renaissance gown and sketching, recalls illustrations of Wood and Stuart in the East, and it confirms the city in the line of great imperial centres. However the figure seated on the ruins of London Bridge may have seemed oddly chilling to the Victorian viewers.
The cutaway view of the Bank of England drawn by Joseph Gandy (in the vitrine outside the gallery) may have prompted a similar response. It presents the completed structure opened, clean, and viewed from the eye of God. The sunlit ruin appears timeless.
As well as being an emblem of transience, ruins signal persistence over time. It is this sense of permanence, or at least of a very slow decay, that perhaps provokes a continuing fascination and a pleasure that some recent writers have found in the them.
This exhibition has been curated by Robin Skinner of the School of Architecture, Victoria University Wellington. He was assisted by Elizabeth Tinker, Catherine Robertson and Sarah Jones of the Reference Department of the University of Otago Library.
Document
A resource containing textual data. Note that facsimiles or images of texts are still of the genre text.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Tvtte l'opere d'archittetvra, et prospetiva
Alternative Title
An alternative name for the resource. The distinction between titles and alternative titles is application-specific.
Tvtte l'opere d'archittetvra, et prospetiva, di Sebastiano Serlio, Bolognese, dove si mettono in disegno tvtte le maniere di edificij, e si trattano di quelle cose, che sono piu necessarie a sapere gli architetti. Con la aggivnta delle inventioni di cinqvanta porte, e gran numero di palazzi publici, e priuati nella citta, & in villa, e varij accidenti, che possono occorrere nel fabricare. Diviso in sette libri. Con vn'indice copiosissimo con molte considerationi, & vn breue discorso sopra questa materia, raccolto da M. Gio. Domenico Scamozzi Vicentino.
Subject
The topic of the resource
Architecture
Illustrated books
Description
An account of the resource
In his seven-volume Tutte l'opere d'architettura that first appeared in 1584, Serlio aimed to provide a practical manual of architecture while avoiding explicit theory. As such the work became one of the most influential of all publications on architecture. The third book which is displayed here, was first printed in 1540. In it Serlio documents and discusses Roman and Renaissance architecture. He measured and reconstructed partial ruins. Serlio did not doubt the value of the lessons from antiquity. In acknowledging that the work of the Greeks was superior to the Romans, he prepared the way for debate in subsequent centuries.
Creator
An entity primarily responsible for making the resource
Serlio, Sebastiano
Publisher
An entity responsible for making the resource available
G. de' Franceschi: [Venetia]
Date Created
Date of creation of the resource.
1619
Contributor
An entity responsible for making contributions to the resource
Scamozzi, Giovanni Domenico
Franceschi, Giacomo de'
Type
The nature or genre of the resource
Illustrations
Text
Identifier
An unambiguous reference to the resource within a given context
Itb 1619 S [de Beer Special Collections]
Antiquity
Architecture
Renaissance
Roman
Ruins
Special Collections
-
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The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Unpacking Ruins: architecture from antiquity. Online exhibition
Description
An account of the resource
12 September - 28 November 2002 ~ de Beer Gallery
Central Library, University of Otago
Through the last five hundred years, ancient ruins have been uncovered, rediscovered and reinterpreted. They have provoked architectural inspiration. They have been studied to develop and support theories on how to build and how to value building. They have prompted reflection upon the end of Empire and upon the demise of civilization. In turn, they have provoked thoughts of future civilizations rising.
This exhibition of books and prints of the last four centuries traces changes in the way the West has related to the architecture of antiquity. Works displayed are from the collections of the University of Otago Library. Through text and illustrations the exhibition ponders how the material of the past has variously been unpacked and repackaged.
To unpack - to undo or open, to bring something out of storage.
Ruins, the weathered fragments speak of loss. They tell of the buildings that once were, of the people who made them, and of the cultures from which they arose. They tell of destruction, abandonment and decay. When viewing the larger volumes displayed in this exhibition one cannot help but feel a profound sense of absence. One may be filled with a longing for the past, or could be drawn to reflect upon the inevitably of the future. However, absence and loss are not the intended focus of the exhibition. Rather it is to chronicle how people have attempted to make sense of the ruins, how they have represented them, and how they have used them to understand the times in which they lived.
These volumes, selected from the Special Collections at the University of Otago Library reveal how ruins and fragments of antiquity have been variously cited over the last five hundred years. The 16th century edition of Vitruvius is evidence of the Renaissance search for an authentic voice from antiquity. Works from the century following present theoretical arguments and the search for architectural perfection, with surviving buildings, ruins and texts being compared and debated. Similar analysis has continued long after these works appeared. It is also apt to compare them with the text by Le Corbusier who returned to his youthful perceptions in Greece, Turkey and Italy for inspiration, example and origin.
Travel guides reveal how existing remains became part of the visual vocabulary of the 17th and 18th centuries. Authoritative accounts by British architect-travelers of ruins in the Eastern Mediterranean and Middle East were published as large folios between 1750 and 1850. The works of Wood and Dawkins in the Levant, of Stuart and Revett in Athens, of Adam in Dalmatia and of Cameron in Italy, follow the scientific archaeological approach of the Frenchman Desgodets. However these journeys were romantic and at times, fanciful, explorations as well. In the published volumes, travelers presented the surviving fragments and reconstituted them into reinvented larger works. In doing so, they changed the Western understanding of architecture and its day-to-day practice.
In considering the fall of empires in the late 18th century, it was inevitable that the survey of ruins would prompt reflection on the future of the West. In 1774 Horace Walpole wrote to Horace Mann,
"The next Augustan age will dawn on the other side of the Atlantic. There will perhaps be a Thucylides at Boston, a Xenophon at New York, and in time a Virgil at Mexico, and a Newton at Peru. At last some curious traveller from Lima, will visit England, and give a description of the ruins of St Paul's, like editions of Baalbec and Palmyra."
It is not surprising that sixty years later, at a time when the colonisation of New Zealand was actively debated in the Houses of Parliament, Macaulay would speculate upon a future New Zealander surveying the ruins of London. Doré's romantic image of the Mäori, draped in Renaissance gown and sketching, recalls illustrations of Wood and Stuart in the East, and it confirms the city in the line of great imperial centres. However the figure seated on the ruins of London Bridge may have seemed oddly chilling to the Victorian viewers.
The cutaway view of the Bank of England drawn by Joseph Gandy (in the vitrine outside the gallery) may have prompted a similar response. It presents the completed structure opened, clean, and viewed from the eye of God. The sunlit ruin appears timeless.
As well as being an emblem of transience, ruins signal persistence over time. It is this sense of permanence, or at least of a very slow decay, that perhaps provokes a continuing fascination and a pleasure that some recent writers have found in the them.
This exhibition has been curated by Robin Skinner of the School of Architecture, Victoria University Wellington. He was assisted by Elizabeth Tinker, Catherine Robertson and Sarah Jones of the Reference Department of the University of Otago Library.
Document
A resource containing textual data. Note that facsimiles or images of texts are still of the genre text.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Le terme dei Romani
Alternative Title
An alternative name for the resource. The distinction between titles and alternative titles is application-specific.
Le terme dei Romani / disegnate da Andrea Palladio ; e ripubblicate con la giunta di alcune osservazioni da Ottavio Bertotti Scamozzi giusta l'esemplare del Lord Conte di Burlingthon impresso in Londra l'anno 1732
Subject
The topic of the resource
Architecture
Baths
Rome (Italy)
Description
An account of the resource
This drawing of Diocletian's Baths can be traced to Andrea Palladio. The Bertotti-Scamozzi illustrations in this volume follow those included by the English architect, Lord Burlington, in his study of the Baths of the Romans, Fabbriche Antiche (1730). These in turn were based upon drawings by Palladio that the Englishman had acquired in Italy some years earlier. Bertotti-Scamozzi had earlier published several volumes documenting Palladio's buildings.
Creator
An entity primarily responsible for making the resource
Palladio, Andrea
Publisher
An entity responsible for making the resource available
Per Giovanni Rossi: In Vicenza
Date Created
Date of creation of the resource.
1797
Contributor
An entity responsible for making contributions to the resource
Bertotti Scamozzi, Ottavio
Burlington, Richard Boyle
Gaal de Gyula, Nico
Palladio, Andrea
Rossi, Giovanni
Type
The nature or genre of the resource
Illustrations
Text
Identifier
An unambiguous reference to the resource within a given context
Itb 1797 P [de Beer Special Collections]
Architecture
Baths
Romans
Special Collections
-
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Dublin Core
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Title
A name given to the resource
Unpacking Ruins: architecture from antiquity. Online exhibition
Description
An account of the resource
12 September - 28 November 2002 ~ de Beer Gallery
Central Library, University of Otago
Through the last five hundred years, ancient ruins have been uncovered, rediscovered and reinterpreted. They have provoked architectural inspiration. They have been studied to develop and support theories on how to build and how to value building. They have prompted reflection upon the end of Empire and upon the demise of civilization. In turn, they have provoked thoughts of future civilizations rising.
This exhibition of books and prints of the last four centuries traces changes in the way the West has related to the architecture of antiquity. Works displayed are from the collections of the University of Otago Library. Through text and illustrations the exhibition ponders how the material of the past has variously been unpacked and repackaged.
To unpack - to undo or open, to bring something out of storage.
Ruins, the weathered fragments speak of loss. They tell of the buildings that once were, of the people who made them, and of the cultures from which they arose. They tell of destruction, abandonment and decay. When viewing the larger volumes displayed in this exhibition one cannot help but feel a profound sense of absence. One may be filled with a longing for the past, or could be drawn to reflect upon the inevitably of the future. However, absence and loss are not the intended focus of the exhibition. Rather it is to chronicle how people have attempted to make sense of the ruins, how they have represented them, and how they have used them to understand the times in which they lived.
These volumes, selected from the Special Collections at the University of Otago Library reveal how ruins and fragments of antiquity have been variously cited over the last five hundred years. The 16th century edition of Vitruvius is evidence of the Renaissance search for an authentic voice from antiquity. Works from the century following present theoretical arguments and the search for architectural perfection, with surviving buildings, ruins and texts being compared and debated. Similar analysis has continued long after these works appeared. It is also apt to compare them with the text by Le Corbusier who returned to his youthful perceptions in Greece, Turkey and Italy for inspiration, example and origin.
Travel guides reveal how existing remains became part of the visual vocabulary of the 17th and 18th centuries. Authoritative accounts by British architect-travelers of ruins in the Eastern Mediterranean and Middle East were published as large folios between 1750 and 1850. The works of Wood and Dawkins in the Levant, of Stuart and Revett in Athens, of Adam in Dalmatia and of Cameron in Italy, follow the scientific archaeological approach of the Frenchman Desgodets. However these journeys were romantic and at times, fanciful, explorations as well. In the published volumes, travelers presented the surviving fragments and reconstituted them into reinvented larger works. In doing so, they changed the Western understanding of architecture and its day-to-day practice.
In considering the fall of empires in the late 18th century, it was inevitable that the survey of ruins would prompt reflection on the future of the West. In 1774 Horace Walpole wrote to Horace Mann,
"The next Augustan age will dawn on the other side of the Atlantic. There will perhaps be a Thucylides at Boston, a Xenophon at New York, and in time a Virgil at Mexico, and a Newton at Peru. At last some curious traveller from Lima, will visit England, and give a description of the ruins of St Paul's, like editions of Baalbec and Palmyra."
It is not surprising that sixty years later, at a time when the colonisation of New Zealand was actively debated in the Houses of Parliament, Macaulay would speculate upon a future New Zealander surveying the ruins of London. Doré's romantic image of the Mäori, draped in Renaissance gown and sketching, recalls illustrations of Wood and Stuart in the East, and it confirms the city in the line of great imperial centres. However the figure seated on the ruins of London Bridge may have seemed oddly chilling to the Victorian viewers.
The cutaway view of the Bank of England drawn by Joseph Gandy (in the vitrine outside the gallery) may have prompted a similar response. It presents the completed structure opened, clean, and viewed from the eye of God. The sunlit ruin appears timeless.
As well as being an emblem of transience, ruins signal persistence over time. It is this sense of permanence, or at least of a very slow decay, that perhaps provokes a continuing fascination and a pleasure that some recent writers have found in the them.
This exhibition has been curated by Robin Skinner of the School of Architecture, Victoria University Wellington. He was assisted by Elizabeth Tinker, Catherine Robertson and Sarah Jones of the Reference Department of the University of Otago Library.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The ruins of Pæstum
Alternative Title
An alternative name for the resource. The distinction between titles and alternative titles is application-specific.
The ruins of Pæstum, otherwise Posidonia, in Magna Græcia
Subject
The topic of the resource
Numismatics
Architecture
Illustrated books
Description
An account of the resource
The Greek temples at Paestum in southern Italy were almost unknown until the 1750s. They became better known through publication. This book by Thomas Major was one of the first that enabled architects of Northern and Western Europe to study the three temples at this site. Along with the work of Stuart and Revett, these engravings were a valuable source for the Greek revival at the end of the 18th century. Piranesi later produced a series of twenty engravings of the ruins at Paestum in 1778.
Creator
An entity primarily responsible for making the resource
Major, Thomas
Publisher
An entity responsible for making the resource available
Published by T. Major ... printed by James Dixwell: London
Date Created
Date of creation of the resource.
1768
Contributor
An entity responsible for making contributions to the resource
Dixwell, James
Type
The nature or genre of the resource
Illustrations
Text
Identifier
An unambiguous reference to the resource within a given context
Ee 1768 M [De Beer Special Collections]
Antiquity
Architecture
Greek
Posidonia
Special Collections
Temples
-
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The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Unpacking Ruins: architecture from antiquity. Online exhibition
Description
An account of the resource
12 September - 28 November 2002 ~ de Beer Gallery
Central Library, University of Otago
Through the last five hundred years, ancient ruins have been uncovered, rediscovered and reinterpreted. They have provoked architectural inspiration. They have been studied to develop and support theories on how to build and how to value building. They have prompted reflection upon the end of Empire and upon the demise of civilization. In turn, they have provoked thoughts of future civilizations rising.
This exhibition of books and prints of the last four centuries traces changes in the way the West has related to the architecture of antiquity. Works displayed are from the collections of the University of Otago Library. Through text and illustrations the exhibition ponders how the material of the past has variously been unpacked and repackaged.
To unpack - to undo or open, to bring something out of storage.
Ruins, the weathered fragments speak of loss. They tell of the buildings that once were, of the people who made them, and of the cultures from which they arose. They tell of destruction, abandonment and decay. When viewing the larger volumes displayed in this exhibition one cannot help but feel a profound sense of absence. One may be filled with a longing for the past, or could be drawn to reflect upon the inevitably of the future. However, absence and loss are not the intended focus of the exhibition. Rather it is to chronicle how people have attempted to make sense of the ruins, how they have represented them, and how they have used them to understand the times in which they lived.
These volumes, selected from the Special Collections at the University of Otago Library reveal how ruins and fragments of antiquity have been variously cited over the last five hundred years. The 16th century edition of Vitruvius is evidence of the Renaissance search for an authentic voice from antiquity. Works from the century following present theoretical arguments and the search for architectural perfection, with surviving buildings, ruins and texts being compared and debated. Similar analysis has continued long after these works appeared. It is also apt to compare them with the text by Le Corbusier who returned to his youthful perceptions in Greece, Turkey and Italy for inspiration, example and origin.
Travel guides reveal how existing remains became part of the visual vocabulary of the 17th and 18th centuries. Authoritative accounts by British architect-travelers of ruins in the Eastern Mediterranean and Middle East were published as large folios between 1750 and 1850. The works of Wood and Dawkins in the Levant, of Stuart and Revett in Athens, of Adam in Dalmatia and of Cameron in Italy, follow the scientific archaeological approach of the Frenchman Desgodets. However these journeys were romantic and at times, fanciful, explorations as well. In the published volumes, travelers presented the surviving fragments and reconstituted them into reinvented larger works. In doing so, they changed the Western understanding of architecture and its day-to-day practice.
In considering the fall of empires in the late 18th century, it was inevitable that the survey of ruins would prompt reflection on the future of the West. In 1774 Horace Walpole wrote to Horace Mann,
"The next Augustan age will dawn on the other side of the Atlantic. There will perhaps be a Thucylides at Boston, a Xenophon at New York, and in time a Virgil at Mexico, and a Newton at Peru. At last some curious traveller from Lima, will visit England, and give a description of the ruins of St Paul's, like editions of Baalbec and Palmyra."
It is not surprising that sixty years later, at a time when the colonisation of New Zealand was actively debated in the Houses of Parliament, Macaulay would speculate upon a future New Zealander surveying the ruins of London. Doré's romantic image of the Mäori, draped in Renaissance gown and sketching, recalls illustrations of Wood and Stuart in the East, and it confirms the city in the line of great imperial centres. However the figure seated on the ruins of London Bridge may have seemed oddly chilling to the Victorian viewers.
The cutaway view of the Bank of England drawn by Joseph Gandy (in the vitrine outside the gallery) may have prompted a similar response. It presents the completed structure opened, clean, and viewed from the eye of God. The sunlit ruin appears timeless.
As well as being an emblem of transience, ruins signal persistence over time. It is this sense of permanence, or at least of a very slow decay, that perhaps provokes a continuing fascination and a pleasure that some recent writers have found in the them.
This exhibition has been curated by Robin Skinner of the School of Architecture, Victoria University Wellington. He was assisted by Elizabeth Tinker, Catherine Robertson and Sarah Jones of the Reference Department of the University of Otago Library.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Aedificiorvm et rvinarvm Romae ex antiqvis atqve hodiernis monimentis liber primus
Alternative Title
An alternative name for the resource. The distinction between titles and alternative titles is application-specific.
Aedificiorvm et rvinarvm Romae ex antiqvis atqve hodiernis monimentis liber primus [-secundus] / summo cum studio incisus, ac delineatus a Jo. Maggio Romano ; egregio viro Ioanni van Santhen Flandro ultraiectensi Smi. D. N. Pauli V. architecto ingeniosiss[i]mo ; Ioseph de Rubeis Mediolanensis ob beneuolentiam et propensi animi ergo D. D. 1618.
Subject
The topic of the resource
Title pages
Engraving, Italian
Illustrated books
Rome (Italy)
Inscriptions
Description
An account of the resource
This book on the buildings and ruins of Rome by the 17th century artist and engraver, Giovanni Maggi, is typical of the works by which the ruins of antiquity became known outside Italy through that century. The remnant of the Temple of Jupiter Stator (Castor and Pollux) in the Roman Forum, shown here with its prominent and accessible columns and entablature, was the frequent subject of measured drawings by the visiting architects of the 18th century. The amphitheatre was at the Campus Martius. Maggi is now better known for an impressive twelve sheet perspectival map of Rome that was published after his death in 1725. A copy of an early 20th century reprint of Iconographia della citta di Roma is held in the Library's Special Collections.
Creator
An entity primarily responsible for making the resource
Maggi, Giovanni
Publisher
An entity responsible for making the resource available
[s.n.]: Romae
Date Created
Date of creation of the resource.
1618
Type
The nature or genre of the resource
Illustrations
Engravings
Text
Identifier
An unambiguous reference to the resource within a given context
Itc 1618 M [De Beer Special Collections]
Antiquity
Architecture
Rome (Italy)
Ruins
Special Collections
-
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The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Unpacking Ruins: architecture from antiquity. Online exhibition
Description
An account of the resource
12 September - 28 November 2002 ~ de Beer Gallery
Central Library, University of Otago
Through the last five hundred years, ancient ruins have been uncovered, rediscovered and reinterpreted. They have provoked architectural inspiration. They have been studied to develop and support theories on how to build and how to value building. They have prompted reflection upon the end of Empire and upon the demise of civilization. In turn, they have provoked thoughts of future civilizations rising.
This exhibition of books and prints of the last four centuries traces changes in the way the West has related to the architecture of antiquity. Works displayed are from the collections of the University of Otago Library. Through text and illustrations the exhibition ponders how the material of the past has variously been unpacked and repackaged.
To unpack - to undo or open, to bring something out of storage.
Ruins, the weathered fragments speak of loss. They tell of the buildings that once were, of the people who made them, and of the cultures from which they arose. They tell of destruction, abandonment and decay. When viewing the larger volumes displayed in this exhibition one cannot help but feel a profound sense of absence. One may be filled with a longing for the past, or could be drawn to reflect upon the inevitably of the future. However, absence and loss are not the intended focus of the exhibition. Rather it is to chronicle how people have attempted to make sense of the ruins, how they have represented them, and how they have used them to understand the times in which they lived.
These volumes, selected from the Special Collections at the University of Otago Library reveal how ruins and fragments of antiquity have been variously cited over the last five hundred years. The 16th century edition of Vitruvius is evidence of the Renaissance search for an authentic voice from antiquity. Works from the century following present theoretical arguments and the search for architectural perfection, with surviving buildings, ruins and texts being compared and debated. Similar analysis has continued long after these works appeared. It is also apt to compare them with the text by Le Corbusier who returned to his youthful perceptions in Greece, Turkey and Italy for inspiration, example and origin.
Travel guides reveal how existing remains became part of the visual vocabulary of the 17th and 18th centuries. Authoritative accounts by British architect-travelers of ruins in the Eastern Mediterranean and Middle East were published as large folios between 1750 and 1850. The works of Wood and Dawkins in the Levant, of Stuart and Revett in Athens, of Adam in Dalmatia and of Cameron in Italy, follow the scientific archaeological approach of the Frenchman Desgodets. However these journeys were romantic and at times, fanciful, explorations as well. In the published volumes, travelers presented the surviving fragments and reconstituted them into reinvented larger works. In doing so, they changed the Western understanding of architecture and its day-to-day practice.
In considering the fall of empires in the late 18th century, it was inevitable that the survey of ruins would prompt reflection on the future of the West. In 1774 Horace Walpole wrote to Horace Mann,
"The next Augustan age will dawn on the other side of the Atlantic. There will perhaps be a Thucylides at Boston, a Xenophon at New York, and in time a Virgil at Mexico, and a Newton at Peru. At last some curious traveller from Lima, will visit England, and give a description of the ruins of St Paul's, like editions of Baalbec and Palmyra."
It is not surprising that sixty years later, at a time when the colonisation of New Zealand was actively debated in the Houses of Parliament, Macaulay would speculate upon a future New Zealander surveying the ruins of London. Doré's romantic image of the Mäori, draped in Renaissance gown and sketching, recalls illustrations of Wood and Stuart in the East, and it confirms the city in the line of great imperial centres. However the figure seated on the ruins of London Bridge may have seemed oddly chilling to the Victorian viewers.
The cutaway view of the Bank of England drawn by Joseph Gandy (in the vitrine outside the gallery) may have prompted a similar response. It presents the completed structure opened, clean, and viewed from the eye of God. The sunlit ruin appears timeless.
As well as being an emblem of transience, ruins signal persistence over time. It is this sense of permanence, or at least of a very slow decay, that perhaps provokes a continuing fascination and a pleasure that some recent writers have found in the them.
This exhibition has been curated by Robin Skinner of the School of Architecture, Victoria University Wellington. He was assisted by Elizabeth Tinker, Catherine Robertson and Sarah Jones of the Reference Department of the University of Otago Library.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Romae antiquae notitia: or, the antiquities of Rome
Alternative Title
An alternative name for the resource. The distinction between titles and alternative titles is application-specific.
Romæ antiquæ notitia: or, the antiquities of Rome. In two parts
A short history of the rise, progress, and decay of the commonwealth. II. A description of the city: ... To which are prefixed two essays
Subject
The topic of the resource
Rome (Italy)
Color printing
Description
An account of the resource
First published in 1696, this short history by the Anglican churchman and scholar, Basil Kennett, recounts the rise, progress, and decay of Ancient Rome eighty years before Gibbon's Decline and fall …. A popular publication, it was reprinted no fewer than seventeen times in the one hundred and twenty five years following its first appearance.
Creator
An entity primarily responsible for making the resource
Kennett, Basil
Publisher
An entity responsible for making the resource available
printed for J. and R. Tonson, J. and T. Pote, C. Bathurst, B. Dod, J. Rivington [and 10 others]: London
Date Created
Date of creation of the resource.
1763
Contributor
An entity responsible for making contributions to the resource
Pote, Joseph
Pote, Thomas
J. and R. Tonson
Type
The nature or genre of the resource
Illustrations
Text
Identifier
An unambiguous reference to the resource within a given context
Eb 1763 K [De Beer Special Collections]
Antiquity
Rome (Italy)
Special Collections
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Unpacking Ruins: architecture from antiquity. Online exhibition
Description
An account of the resource
12 September - 28 November 2002 ~ de Beer Gallery
Central Library, University of Otago
Through the last five hundred years, ancient ruins have been uncovered, rediscovered and reinterpreted. They have provoked architectural inspiration. They have been studied to develop and support theories on how to build and how to value building. They have prompted reflection upon the end of Empire and upon the demise of civilization. In turn, they have provoked thoughts of future civilizations rising.
This exhibition of books and prints of the last four centuries traces changes in the way the West has related to the architecture of antiquity. Works displayed are from the collections of the University of Otago Library. Through text and illustrations the exhibition ponders how the material of the past has variously been unpacked and repackaged.
To unpack - to undo or open, to bring something out of storage.
Ruins, the weathered fragments speak of loss. They tell of the buildings that once were, of the people who made them, and of the cultures from which they arose. They tell of destruction, abandonment and decay. When viewing the larger volumes displayed in this exhibition one cannot help but feel a profound sense of absence. One may be filled with a longing for the past, or could be drawn to reflect upon the inevitably of the future. However, absence and loss are not the intended focus of the exhibition. Rather it is to chronicle how people have attempted to make sense of the ruins, how they have represented them, and how they have used them to understand the times in which they lived.
These volumes, selected from the Special Collections at the University of Otago Library reveal how ruins and fragments of antiquity have been variously cited over the last five hundred years. The 16th century edition of Vitruvius is evidence of the Renaissance search for an authentic voice from antiquity. Works from the century following present theoretical arguments and the search for architectural perfection, with surviving buildings, ruins and texts being compared and debated. Similar analysis has continued long after these works appeared. It is also apt to compare them with the text by Le Corbusier who returned to his youthful perceptions in Greece, Turkey and Italy for inspiration, example and origin.
Travel guides reveal how existing remains became part of the visual vocabulary of the 17th and 18th centuries. Authoritative accounts by British architect-travelers of ruins in the Eastern Mediterranean and Middle East were published as large folios between 1750 and 1850. The works of Wood and Dawkins in the Levant, of Stuart and Revett in Athens, of Adam in Dalmatia and of Cameron in Italy, follow the scientific archaeological approach of the Frenchman Desgodets. However these journeys were romantic and at times, fanciful, explorations as well. In the published volumes, travelers presented the surviving fragments and reconstituted them into reinvented larger works. In doing so, they changed the Western understanding of architecture and its day-to-day practice.
In considering the fall of empires in the late 18th century, it was inevitable that the survey of ruins would prompt reflection on the future of the West. In 1774 Horace Walpole wrote to Horace Mann,
"The next Augustan age will dawn on the other side of the Atlantic. There will perhaps be a Thucylides at Boston, a Xenophon at New York, and in time a Virgil at Mexico, and a Newton at Peru. At last some curious traveller from Lima, will visit England, and give a description of the ruins of St Paul's, like editions of Baalbec and Palmyra."
It is not surprising that sixty years later, at a time when the colonisation of New Zealand was actively debated in the Houses of Parliament, Macaulay would speculate upon a future New Zealander surveying the ruins of London. Doré's romantic image of the Mäori, draped in Renaissance gown and sketching, recalls illustrations of Wood and Stuart in the East, and it confirms the city in the line of great imperial centres. However the figure seated on the ruins of London Bridge may have seemed oddly chilling to the Victorian viewers.
The cutaway view of the Bank of England drawn by Joseph Gandy (in the vitrine outside the gallery) may have prompted a similar response. It presents the completed structure opened, clean, and viewed from the eye of God. The sunlit ruin appears timeless.
As well as being an emblem of transience, ruins signal persistence over time. It is this sense of permanence, or at least of a very slow decay, that perhaps provokes a continuing fascination and a pleasure that some recent writers have found in the them.
This exhibition has been curated by Robin Skinner of the School of Architecture, Victoria University Wellington. He was assisted by Elizabeth Tinker, Catherine Robertson and Sarah Jones of the Reference Department of the University of Otago Library.
Document
A resource containing textual data. Note that facsimiles or images of texts are still of the genre text.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
A parallel of the antient architecture with the modern
Alternative Title
An alternative name for the resource. The distinction between titles and alternative titles is application-specific.
A parallel of the antient architecture with the modern: in a collection of ten principal authors who have written upon the five orders
Parallèle de l'architecture antique avec la moderne
Subject
The topic of the resource
Architecture
Illustrated books
Bookplates
Inscriptions
Description
An account of the resource
Following a stay in Rome in 1650, Fréart de Chambray published this anthology of ten ancient and modern writers on the classical orders. He argues that the Greek orders (the Doric, the Ionic, and Corinthian) are perfect models for all architecture and he condemns the Roman orders (the Tuscan and the Composite) as being corrupt. Citing its use in the Temple of Solomon, he declares the Corinthian order to be the ‘flower of Architecture and the Order of Orders'. To Fréart de Chambray, Vitruvius and his translators were beyond reproach.
Creator
An entity primarily responsible for making the resource
Fréart de Chambray, Roland
Publisher
An entity responsible for making the resource available
Printed by Tho. Roycroft for John Place: London
Date Created
Date of creation of the resource.
1664
Contributor
An entity responsible for making contributions to the resource
Evelyn, John
Alberti, Leon Battista
Roycroft, Thomas
Place, John
Cecil, Hugh
Tubbs, Percy B.
Dunn, George
Spencer, Samuel
Shoppee, William
Wheatley, Thomas
Type
The nature or genre of the resource
Illustrations
Text
Identifier
An unambiguous reference to the resource within a given context
Ec/1664/F c.1 (de Beer Special Collections)
Antiquity
Architecture
Special Collections
Vitruvius
-
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The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Unpacking Ruins: architecture from antiquity. Online exhibition
Description
An account of the resource
12 September - 28 November 2002 ~ de Beer Gallery
Central Library, University of Otago
Through the last five hundred years, ancient ruins have been uncovered, rediscovered and reinterpreted. They have provoked architectural inspiration. They have been studied to develop and support theories on how to build and how to value building. They have prompted reflection upon the end of Empire and upon the demise of civilization. In turn, they have provoked thoughts of future civilizations rising.
This exhibition of books and prints of the last four centuries traces changes in the way the West has related to the architecture of antiquity. Works displayed are from the collections of the University of Otago Library. Through text and illustrations the exhibition ponders how the material of the past has variously been unpacked and repackaged.
To unpack - to undo or open, to bring something out of storage.
Ruins, the weathered fragments speak of loss. They tell of the buildings that once were, of the people who made them, and of the cultures from which they arose. They tell of destruction, abandonment and decay. When viewing the larger volumes displayed in this exhibition one cannot help but feel a profound sense of absence. One may be filled with a longing for the past, or could be drawn to reflect upon the inevitably of the future. However, absence and loss are not the intended focus of the exhibition. Rather it is to chronicle how people have attempted to make sense of the ruins, how they have represented them, and how they have used them to understand the times in which they lived.
These volumes, selected from the Special Collections at the University of Otago Library reveal how ruins and fragments of antiquity have been variously cited over the last five hundred years. The 16th century edition of Vitruvius is evidence of the Renaissance search for an authentic voice from antiquity. Works from the century following present theoretical arguments and the search for architectural perfection, with surviving buildings, ruins and texts being compared and debated. Similar analysis has continued long after these works appeared. It is also apt to compare them with the text by Le Corbusier who returned to his youthful perceptions in Greece, Turkey and Italy for inspiration, example and origin.
Travel guides reveal how existing remains became part of the visual vocabulary of the 17th and 18th centuries. Authoritative accounts by British architect-travelers of ruins in the Eastern Mediterranean and Middle East were published as large folios between 1750 and 1850. The works of Wood and Dawkins in the Levant, of Stuart and Revett in Athens, of Adam in Dalmatia and of Cameron in Italy, follow the scientific archaeological approach of the Frenchman Desgodets. However these journeys were romantic and at times, fanciful, explorations as well. In the published volumes, travelers presented the surviving fragments and reconstituted them into reinvented larger works. In doing so, they changed the Western understanding of architecture and its day-to-day practice.
In considering the fall of empires in the late 18th century, it was inevitable that the survey of ruins would prompt reflection on the future of the West. In 1774 Horace Walpole wrote to Horace Mann,
"The next Augustan age will dawn on the other side of the Atlantic. There will perhaps be a Thucylides at Boston, a Xenophon at New York, and in time a Virgil at Mexico, and a Newton at Peru. At last some curious traveller from Lima, will visit England, and give a description of the ruins of St Paul's, like editions of Baalbec and Palmyra."
It is not surprising that sixty years later, at a time when the colonisation of New Zealand was actively debated in the Houses of Parliament, Macaulay would speculate upon a future New Zealander surveying the ruins of London. Doré's romantic image of the Mäori, draped in Renaissance gown and sketching, recalls illustrations of Wood and Stuart in the East, and it confirms the city in the line of great imperial centres. However the figure seated on the ruins of London Bridge may have seemed oddly chilling to the Victorian viewers.
The cutaway view of the Bank of England drawn by Joseph Gandy (in the vitrine outside the gallery) may have prompted a similar response. It presents the completed structure opened, clean, and viewed from the eye of God. The sunlit ruin appears timeless.
As well as being an emblem of transience, ruins signal persistence over time. It is this sense of permanence, or at least of a very slow decay, that perhaps provokes a continuing fascination and a pleasure that some recent writers have found in the them.
This exhibition has been curated by Robin Skinner of the School of Architecture, Victoria University Wellington. He was assisted by Elizabeth Tinker, Catherine Robertson and Sarah Jones of the Reference Department of the University of Otago Library.
Document
A resource containing textual data. Note that facsimiles or images of texts are still of the genre text.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The New Zealander in London
Alternative Title
An alternative name for the resource. The distinction between titles and alternative titles is application-specific.
"The New Zealander" in London : a pilgrimage
Description
An account of the resource
In the 1870s the artist Gustave Doré depicted Macaulay's New Zealander visiting future London. In the accompanying text Jerrold wrote, ‘Macaulay's dream of the far future, with the tourist New Zealander ... contemplating "The glory that was Greece - The grandeur that was Rome".' This solitary philosopher-artist appears more akin to romanticised images of young English travelers, discovering and sketching the ruins of Palmyra a century earlier, than to New Zealanders who had recently been at war with Colonial and Imperial troops.
Creator
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Doré, Gustave
Publisher
An entity responsible for making the resource available
Grant & Co.: London
Date Created
Date of creation of the resource.
1872
Type
The nature or genre of the resource
Illustrations
Text
Architecture
London
Macaulay
-
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Omeka Image File
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120
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160
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8
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Title
A name given to the resource
Unpacking Ruins: architecture from antiquity. Online exhibition
Description
An account of the resource
12 September - 28 November 2002 ~ de Beer Gallery
Central Library, University of Otago
Through the last five hundred years, ancient ruins have been uncovered, rediscovered and reinterpreted. They have provoked architectural inspiration. They have been studied to develop and support theories on how to build and how to value building. They have prompted reflection upon the end of Empire and upon the demise of civilization. In turn, they have provoked thoughts of future civilizations rising.
This exhibition of books and prints of the last four centuries traces changes in the way the West has related to the architecture of antiquity. Works displayed are from the collections of the University of Otago Library. Through text and illustrations the exhibition ponders how the material of the past has variously been unpacked and repackaged.
To unpack - to undo or open, to bring something out of storage.
Ruins, the weathered fragments speak of loss. They tell of the buildings that once were, of the people who made them, and of the cultures from which they arose. They tell of destruction, abandonment and decay. When viewing the larger volumes displayed in this exhibition one cannot help but feel a profound sense of absence. One may be filled with a longing for the past, or could be drawn to reflect upon the inevitably of the future. However, absence and loss are not the intended focus of the exhibition. Rather it is to chronicle how people have attempted to make sense of the ruins, how they have represented them, and how they have used them to understand the times in which they lived.
These volumes, selected from the Special Collections at the University of Otago Library reveal how ruins and fragments of antiquity have been variously cited over the last five hundred years. The 16th century edition of Vitruvius is evidence of the Renaissance search for an authentic voice from antiquity. Works from the century following present theoretical arguments and the search for architectural perfection, with surviving buildings, ruins and texts being compared and debated. Similar analysis has continued long after these works appeared. It is also apt to compare them with the text by Le Corbusier who returned to his youthful perceptions in Greece, Turkey and Italy for inspiration, example and origin.
Travel guides reveal how existing remains became part of the visual vocabulary of the 17th and 18th centuries. Authoritative accounts by British architect-travelers of ruins in the Eastern Mediterranean and Middle East were published as large folios between 1750 and 1850. The works of Wood and Dawkins in the Levant, of Stuart and Revett in Athens, of Adam in Dalmatia and of Cameron in Italy, follow the scientific archaeological approach of the Frenchman Desgodets. However these journeys were romantic and at times, fanciful, explorations as well. In the published volumes, travelers presented the surviving fragments and reconstituted them into reinvented larger works. In doing so, they changed the Western understanding of architecture and its day-to-day practice.
In considering the fall of empires in the late 18th century, it was inevitable that the survey of ruins would prompt reflection on the future of the West. In 1774 Horace Walpole wrote to Horace Mann,
"The next Augustan age will dawn on the other side of the Atlantic. There will perhaps be a Thucylides at Boston, a Xenophon at New York, and in time a Virgil at Mexico, and a Newton at Peru. At last some curious traveller from Lima, will visit England, and give a description of the ruins of St Paul's, like editions of Baalbec and Palmyra."
It is not surprising that sixty years later, at a time when the colonisation of New Zealand was actively debated in the Houses of Parliament, Macaulay would speculate upon a future New Zealander surveying the ruins of London. Doré's romantic image of the Mäori, draped in Renaissance gown and sketching, recalls illustrations of Wood and Stuart in the East, and it confirms the city in the line of great imperial centres. However the figure seated on the ruins of London Bridge may have seemed oddly chilling to the Victorian viewers.
The cutaway view of the Bank of England drawn by Joseph Gandy (in the vitrine outside the gallery) may have prompted a similar response. It presents the completed structure opened, clean, and viewed from the eye of God. The sunlit ruin appears timeless.
As well as being an emblem of transience, ruins signal persistence over time. It is this sense of permanence, or at least of a very slow decay, that perhaps provokes a continuing fascination and a pleasure that some recent writers have found in the them.
This exhibition has been curated by Robin Skinner of the School of Architecture, Victoria University Wellington. He was assisted by Elizabeth Tinker, Catherine Robertson and Sarah Jones of the Reference Department of the University of Otago Library.
Document
A resource containing textual data. Note that facsimiles or images of texts are still of the genre text.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Ruins of the palace of the Emperor Diocletian at Spalatro in Dalmatia
Alternative Title
An alternative name for the resource. The distinction between titles and alternative titles is application-specific.
Rvins of the palace of the Emperor Diocletian at Spalatro in Dalmatia
Subject
The topic of the resource
Palace of Diocletian (Split, Croatia)
Illustrated books
Description
An account of the resource
In 1754 Robert Adam left Scotland for France and Italy on a Grand Tour. In Italy he met the French architect, Charles Louis Clérisseau, and the Italian, Giovanni Battista Piranesi, who would both have a significant influence upon him and his later work. While abroad, Adam resolved to move to London and set about producing a volume for publication upon his return. The ruins of the palace at Spalatro (now known as Split, on the Dalmatian coast) were easily accessible from Italy but had not been satisfactorily documented. Over a period of five weeks Adam sketched and supervised the documentation of the ruins. He was accompanied by Clérisseau, who produced perspectives, and two German draftsmen who undertook the measured drawings. Most of the published drawings are believed to be the work of Clérisseau.
Creator
An entity primarily responsible for making the resource
Adam, Robert
Publisher
An entity responsible for making the resource available
Printed for the author: London
Date Created
Date of creation of the resource.
1764
Type
The nature or genre of the resource
Illustrations
Text
Identifier
An unambiguous reference to the resource within a given context
Ee 1764 A [de Beer Special Collections]
Antiquity
Architecture
Dalmatia
Emperor Diocletian
Palace
Special Collections