From conflict to peace. Photographs from the John Bryan Ward-Perkins collection

The use of photography to document conflicts and atrocities committed during wars has always been a powerful means to raise public awareness and build momentum towards collective actions, either for the protection of the civilian population or for cultural heritage.

No surprise, then, that the display of photographs from the J.B. Ward-Perkins War Damage series alongside images of contemporary conflicts at the Cultural Heritage protection event recently organised at the British Embassy, triggered a series of questions relating to the urgency and importance of collecting and archiving memories during war time to build best practices for the future and preserve social and cultural legacies.

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Firenze, Ponte S. Trinità, Autunno by G. Caccini, 1944-1946, Ward-Perkins Collection, War Damage Series.

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Itri, S. Maria, campanile, 1943-1946, Ward-Perkins Collection, War Damage Series.

This invaluable photographic collection also piqued the interest of the MuseumPasseier, which has used some of these images in the exhibition Who protects Art in War?, launched in San Leonardo in Passiria in late September.

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The photographs from the War Damage Series were taken or collected by J.B. Ward-Perkins as Deputy Director of the MFA&A (Monuments, Fine Arts and Archives) Sub-Commission for Italy. Nearly 1,100 silver gelatin prints documenting damage to Italian monuments throughout Italy during World War II, spanning the period 1943-1946, are available for consultation on our Digital Collections website.

It was Ward-Perkins’ academic training and knowledge of archaeology and topography that led him to understand the potential value of the material produced during the war for scholarly research. Not only did he secure a copy of the photographs of war damage for the BSR but also over a million air photographs taken by the Royal Air Force, now on permanent loan at the Aerofototeca (ICCD), and a set of maps of Italy produced by the British military. He also left his library, his archive and a collection of over 40,000 images to the BSR.

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John Bryan Ward-Perkins, courtesy of the Ward-Perkins family.

Among these images, it is worth mentioning those that form the South Etruria Survey (1950s-1970s) collection, one of the most important archaeological surveys conducted in Italy, pivotal for our understanding of the archaeological landscape preceding the urban expansion of Rome. These images have drawn the attention of two local communities, Calcata and Castelnuovo di Porto, and led to the installation of two exhibitions.

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Formello, district, Roman road paved with blocks of tufa, the Ponte San Silvestro road, 1954-1968, Ward-Perkins Collection, South Etruria Series.

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Near Belmonte, Castelnuovo di Porto region, 1954-1968, Ward-Perkins Collection, South Etruria Series.

The Calcata exhibition was preceded by a workshop analysing the issue of continuity-discontinuity of urban forms in ancient times with a particular focus on central pre-Roman Italy and the case of Falerii and Volsinii as a consequence of the military events of 264 and 241 BC.

The continuity-discontinuity of ancient times was used as a case study to mirror the events that occurred in the same territory many centuries later, through a royal decree issued in 1935, stating that the village of Calcata should cease to exist. To document the changes (as well as what didn’t change), nearly 50 photographs were selected by the Comune di Calcata in collaboration with other Italian institutions and shown in two exhibitions, the latter of which is still on display at the Museo Nazionale Etrusco di Villa Giulia until 3 December.

 

Calcata exhibition at Museo nazionale Etrusco Di Villa Giulia, courtesy of Museo Nazionale Etrusco

At Castelnuovo Fotografia, an initiative curated by Elisabetta Portoghese, a selection of photographs of excavations and archaeological surveys carried out in the area of Castelnuovo di Porto as part of the South Etruria Survey project were exhibited in a three-day event at the end of September alongside other contemporary photographers.

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All in all, a year of successful initiatives and dynamism around the John Bryan Ward-Perkins photographic collection, which follows the reprinting of some early photographs from the Ashby and the Parker collections on the occasion of the exhibition Appia self-portrait. Il mito dell’Appia nella fotografia d’autore launched this year at the end of June.

 

Appia Self-portrait exhibition opening in June 2018 (photos by Alessandra Giovenco)

 

Alessandra Giovenco (Archivist)

 

 

 

 

 

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BSR at the Sheffield Digital Humanities Congress

With eighteen sessions and three plenary talks, the biennial Digital Humanities Congress (Sheffield, 6-8 September 2018) presented a broad range of international projects and initiatives, highlighting technical solutions as well as considering critical theory and new perspectives and illustrating the enormous potential of digital media.

Clockwise from top left: Patrick O’Keeffe using digital eye-tracking technology in Rome’s baroque churches (photo by Michael Snelling); image from the John Marshall Archive research project website (courtesy BSR Photographic Archive); computer visualisation (courtesy Portus Project); image from the Ward-Perkins photographic archive (courtesy BSR Photographic Archive).

We showcased a selection of BSR projects representing the breadth and range of our interests: Graeme Earl (King’s College London), spoke about the linking of creative digital practices to architectural studies and augmented reality; Eleonora Gandolfi (University of Southampton) on the archaeology of Portus and the related MOOC (Massive Open Online Courses); Alessandra Giovenco (BSR Archivist) on creating a Library and Archive digital portal; and Patrick O’Keeffe (BSR Giles Worsley Rome Fellow 2017-18) on eye-tracking architecture.

The Library and Archive’s Digital Humanities Project aims to present our digital initiatives in a single portal, facilitating access, engaging with a wider public, generating interactive and collaborative research and integrating local and external resources. Many of our concerns were addressed in the presentations as seen below.

Sustainability

This has been an important issue for us since 2009 and is still today one of our priorities.

The problem of the funding and sustainability of digital projects and websites was addressed in the presentation by Jamie McLaughlin (University of Sheffield) who outlined a provocative and innovative solution suggesting that websites should be ‘retired’ when the funding has run out, stripped  down to the essential features, eliminating ‘bells and whistles’ but continuing to allow researchers access to the data.

He also suggested that websites ‘die’ if funding does not provide for long-term development, enhancement and maintenance. In our presentation we observed that projects dependent on individuals as opposed to institutions are at risk of obsolescence and neglect.

Metadata Curation

In the past, the quantity of metadata has often prevailed over quality on the assumption that the more we digitise, the better. However, here at the BSR we have maintained from the outset that high quality metadata is essential to facilitate high quality research.

Jo Pugh (The National Archives, Kew) questioned the merits of long descriptions of archival records and how they influence research.

Patrizia Rebulla (Archivio Storico Ricordi, Milan) discussed the role of the archivist and that of the researcher which, for them, should be distinct – the time (and cost) of cataloguing should be carefully assessed.

Data Model

The integration of our digital content originating from varying sources – our Information Library System (ILS) and Archival Management Software – is a challenge that we are addressing.

In describing the Casa Ricordi archive project, Patrizia Rebulla raised many issues on the importance of mapping data and ontologies as well as creating a robust and fit-for-purpose data model.

Standards

Another priority for us has always been the adoption of international standards for cataloguing and publishing digital content to ensure interoperability.

Fiona Candlin (Birkbeck College) highlighted the difficulty when national standards do not exist, and the problems their project encountered attempting to bring together information from 4,000 UK museums, the data of which was either inconsistent or incomplete or both.

Digital literacy

The use or misuse of digital data by researchers has raised the issue of digital literacy and the importance of teaching students how to critically evaluate and analyse digital content, given ‘the abundance and lack, at the same time, of meaningful quantity and meaningless repetition’, as pointed out by Elizabeth Williamson (University of Exeter) and Bob Shoemaker (University of Sheffield) who described strengths and weaknesses of the Digital Panopticon website

Crowdsourcing

Community engagement is another aspect of our Digital Humanities strategy. The attempt to create a scholarly community through the participation in a research project on our collections has already been made through the John Marshall Archive Project website which is currently accessible only to the research team. This is a perfect example of where crowdsourcing will be able to add real value to a research project.

Crowdsourcing tools were a frequent topic throughout the conference, giving us useful case studies that will inform our decision on how we might develop this practice in the future. The potential of crowdsourcing platforms in helping institutions enhance digital content and the conversations generated by the user engagement experience was addressed in Mia Ridge’s (The British Library) presentation.

Impact and engagement

The Congress ended with fireworks! Sarah Kenderdine (École Polytechnique Fédérale de Lausanne) enthralled the audience with her extraordinary exhibitions in Australia and Asia using the latest technology and augmented reality to engage museum visitors in a heightened, interactive experience, for example using motion-capture technology with Kung Fu masters  https://vimeo.com/163153865

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The conference gave us much food for thought which is helping us to understand the digital landscape and inform the positioning of the BSR in the digital world today.

 

By the Library and Archive team: Valerie Scott (Head Librarian), Beatrice Gelosia (Deputy Librarian), Alessandra Giovenco (Archivist).

Postcards & Photographs #2

I arrived at the BSR to study vedute, (highly detailed cityscapes), maps and postcards of the monuments of Rome, using Peter Greenaway’s film Belly of an Architect (1986) as a vehicle for investigation. Weaving a narrative of power and politics, Belly of an Architect is presented as a sequence of postcard images of Rome, that alternate with actual shots in the style of the postcards. Greenaway originally intended to trace a route through the city, structured almost like a Situationist dérive, by using postcards chosen for their perspective, each of which connected a monument in the foreground with another in the distance. For example, by using a postcard of the twin churches in Piazza del Popolo, in which one could find in the background a small image of a part of the Vittoriano, the next scene would be set in Piazza Venezia, and if in that postcard one could glimpse the Colosseum in the background, then the next scene would take place there, and so on. When films use postcards and texts these things are always mediated by the filmmaker’s intentions. It’s like the actors. They are both themselves acting and the part they play. Showing postcards in the film is like characters talking directly to camera or when actors play themselves on film.

How excited I was after I introduced my research at the BSR and the director told us about Eugénie Strong’s postcard collection in the BSR archives. When I originally planned this research, I intended to collect my own tourist postcards of the monuments of Rome, but I found Strong’s far more seductive and conducive to the kind of ‘postcard’ tour I was looking for, one that is entirely subjective, blurs place and personal history and, speaks to each of us in a different way, as if whispering in our ears about forgotten experiences, adventures, romances, individuals.

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 Anfiteatro Flavio, postcard (BSR Photographic Archive, Eugénie Strong Postcard Collection)

Like a postcard itself, that arrives with no return address, and only a cryptic comment, postmark and stamp to claim its origins, is the postcard collection from the 1910s and 1920s of Eugénie Strong, the first assistant director of the BSR. The postcards are filed in albums and boxes according to place, like a map that is not yet made. The Rome album begins with Giovanni Battista Piranesi’s (1720-1778) depictions of the monuments of Rome, and ends with the 1911 Ethnographic Exhibition to celebrate 50 years of Italy’s unification, that shows different pavilions from different regions of Italy for the World’s Fair that took place in the Valle Giulia. In fact the BSR building was designed by Edwin Lutyens and constructed as the British pavilion for that grand exhibition which is why it is in the English baroque style, double columns as pilasters on the walls and a neoclassical portico at the front.

Piranesi’s most famous built project is the piazza and church for the Cavalieri di Malta on the Aventine Hill. This is the famous portal with a keyhole that sights the dome of St Peter’s. Strong’s collection includes a postcard of the garden, as if we, like Alice, have entered through the keyhole.

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Cavalieri di Malta, postcard (BSR Photographic Archive, Eugénie Strong Postcard Collection) 

The album continues with a collection entitled Rome Disappeared.

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Roma Sparita, postcard album (BSR Photographic Archive, Eugénie Strong Postcard Collection)

One of my favourites is this one that shows La corsa dei Barberi, a horserace along the Corso, that took place at the time of the Carnival. It shows the Piazzo del Popolo and either very small horses, or else artistic licence in widening the street, and, since it depicts a time prior to its construction, no Vittoriano monument at the other end of the axis.

 

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Corso dei Barberi, postcard (BSR Photographic Archive, Eugénie Strong Postcard Collection)

Most of the postcards are from collections that were never sent, but collected as sets, interspersed with a very few that were sent to her by friends, colleagues or scholars with requests. For example, each year her counterpart at the American Academy would send her a Christmas postcard, in exchange for one she had sent. Another favourite (not shown here) was of a stone frieze, of a pig, a horse and a cow with the note on the back: nice to see our old friends. What was the narrative behind this? Was this a favourite place to visit? And where was it? In the Forum? Elsewhere?

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Eugénie Strong’s address, prior to assuming the Assistant Director post at the BSR (BSR Photographic Archive, Eugénie Strong Postcard Collection)

 

Renée Tobe (Paul Mellon Centre Rome Fellow 2017-18)

Postcards & Photographs #1

The early years of the BSR were dominated by two great figures. The contribution of Thomas Ashby, the BSR’s third Director, to the study of photography and topography has been well documented – see Macquarie Gale Rome Scholar Janet Wade’s post about her research following in the footsteps of Thomas Ashby on the via Flaminia, and my own recent blog on the many faces of Ashby.

However, the collections built up by his contemporaneous Assistant Director, Eugénie Strong, remain largely unexplored.

Three cupboards in the Photographic Archive hold the Eugénie Strong Collection. When you turn the key to open these cupboards you are suddenly grabbed by her personality which is reflected by the kind of material – photographs and postcards – she was to collect and assemble throughout her life.

Most of the photographs are testimony to her interest in Art History, ranging from Roman and Greek sculpture to medieval, Renaissance and Baroque painting. The photographic collection, bequeathed to the BSR after her death, includes many examples of nineteenth and early twentieth century photographs (all in perfect condition) taken by notable European photographers and needs careful examination before being re-arranged and made available for consultation and research.

The same applies to her impressive collection of European postcards, mainly relating to Italy and many with written comments on the back. Some of these are loose and arranged by country or continents (Africa, Asia), while the rest is neatly organised into nineteen albums.

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Eugénie Strong in her role as BSR Librarian in the Main Reading Room

Eugénie Strong (1860-1943, née Sellers) had long been regarded as one of the most brilliant academics in the field of Roman sculpture, even before taking on the post of BSR Assistant Director and Librarian in 1909. Former Librarian at Chatsworth and Fellow of Girton College, Cambridge, she worked closely with Thomas Ashby when he was BSR Director from 1906 to 1925.

The astonishing number of images they gathered – Ashby taking photographs himself, with Strong collecting them from various sources – shows a keen interest in the value of visual culture at the beginning of the twentieth century. Their intention was not limited to pursuing their own research, but was concerned with developing a reference collection for the benefit of current and future BSR award-holders.

In addition to her image collection, there is also correspondence with Evelyn Shaw, BSR Honorary General Secretary, and various members of the Faculty of Archaeology, History and Letters (FAHL) in the course of her administration of the institution alongside Ashby. Remarkable was her role in coordinating the move of the BSR from Palazzo Odescalchi to the new building in Valle Giulia in 1916, while Ashby was engaged on the Italian front driving the British Red Cross ambulance. Not to mention all the responsibilities involved in the running of a Library!

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The BSR façade during the building works (started in 1912 and completed in 1916)

It is no surprise therefore that she played an important role in supporting and encouraging all BSR award-holders, both in the Humanities and in the Fine Arts. The more we read about her through our past records, the more intelligible the picture of a resilient personality that made the pair with Ashby and contributed so much to raising and consolidating the BSR’s profile, until they both left in 1925.

 

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Eugénie Strong in the centre of the picture surrounded by BSR scholars
Back row: Unknown, Unknown, Unknown, Eugénie Strong, Colin Gill (Rome Scholar in Painting), Mrs Hardiman, Alfred Hardiman (Rome Scholar in Sculpture), Unknown
Middle row: Miss Jamison, Miss Makin, Winifred Knights (Rome Scholar in Painting)
Front row: F.O. Lawrence (Rome Scholar in Architecture), Job Nixon (Rome Scholar in Engraving), Unknown

 

This year’s Paul Mellon Centre Rome Fellow Renée Tobe has been delving into some of these Archive collections from the BSR’s early years, and in the next blog post she will reveal some of the treasures she has found in our collections.

 

Alessandra Giovenco (BSR Archivist)

Images courtesy of the BSR Photographic Archives

Discovering the future of the past at the Vatican Library

In the world of digital humanities, attracting ‘buy-in’ and investment for digitization projects can be a challenge of David and Goliath proportions. Small libraries and archives often struggle to find their way in building consensus and interest around their unique collections. This was one of the key themes of last week’s conference Digitization and libraries: the future of the past organised by the Bodleian Libraries (Oxford) and the Vatican Library.

With the superb chairing of Richard Ovenden (Bodley’s Librarian), some notable speakers explored various methods of scholarly apprenticeship and practice (Anthony Grafton (Princeton) and Timothy Janz (Vatican Library)), the so-called ‘archaeology of readers’, the Polonsky Foundation Digitization Project (Paola Manoni, Coordinator of IT services at the Vatican Library), and the use of IIIF protocol. 

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Emma Stanford (Bodleian Libraries Digital Curator) gave an insight into the use of social media showing how much can be done to increase access to, and engagement with, Library collections across wider audiences, unlocking the potential of so-called ‘citizen science’.

Since 2000, the BSR has been working hard to build up its own digital collections to meet the standards that are so important for Libraries and Archives and their future – the future of the pastKristian Jensen’s (BSR FAHL member, and Head of Collections and Curation at the British Library) paper on digital projects with BNCF (Paris) – funded by the Polonsky Foundation – discussed some of the conflicts threatening textual cultural heritage.

Interoperability is the term used to describe the building of metadata in such a way that they can be shared with and understood by other systems. This was the key principle on which our Digital Collections website was designed, adopting descriptive, administrative and technical metadata to bring together meaningful information both on analogue objects and their digital counterparts.

Jill Cousins (Director and CEO of the Hunt Museum, Limerick) explained the importance of metadata, with quality being preferable to quantity in terms of making content visible and accessible.jill c

Slide from Jill Cousins’ presentation

As we have built up our digital collections over the years here at the BSR, we have learned that enriching our records with appropriate metadata based on thesauri and controlled vocabularies is essential. We have not been mean in this respect!

Cousins also discussed open access and open content. The latter requires a thorough analysis of rights statements be applied to collections, which can then be labelled using the appropriate Creative Commons licence. Still, fear prevents many institutions from releasing their digital content without restrictions.

Collaborative projects based on shared metadata can also help rebuild collections of books scattered across Europe, as Cristina Dondi (Oakeshott Senior Research Fellow in the Humanities at Lincoln College, Oxford, and Secretary of the CERL) proposed in presenting her five-year ERC-funded project 15cBOOKTRADE. Collaboration is key to Digital Humanities projects and should also be promoted between researchers in both the humanities and the sciences.

It was more than encouraging to know that we have been on the right path since taking up the challenge of transforming our resources into digital assets, now a fundamental part of our day-to-day work. We may be small but we think big!

 

Alessandra Giovenco (Archivist)

Beatrice Gelosia (BSR Deputy Librarian)

BSR Library Special Collections. Gift from Mark Getty, BSR Chair of Council.

Professor David McKitterick introduces a selection of the latest addition to the BSR Library’s Special Collections.

Quite apart from its modern collections, the BSR owns a remarkable collection of early printed books, many of them from the library of Thomas Ashby, to which other benefactors have given since. But the BSR has not been able to add to these for a long time. When in February the collection of books about Rome assembled by Sergio Rossetti came onto the market in Milan, there was an unprecedented opportunity to enrich the library.

Rossetti’s four-volume bibliography of Rome was published in 2000-4, and he built up his own remarkable collection alongside. Thanks to the imagination and prompt generosity of Mark Getty, the BSR was able to acquire over a hundred volumes at the auction, dating from the early sixteenth century to the late nineteenth.

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Mark Getty with Director Stephen Milner and Librarian Valerie Scott

Some were magnificent illustrated books, such as Pietro Castelli’s volume of engravings of rare plants in the Farnese gardens (1625), or Pietro Ferrerio and Giovani Battista Falda’s engravings of palazzi (c.1660) many of which have now disappeared, while the great etchings in the folio Rovine del castello dell’Acqua Giulia (1761) show Piranesi’s interests as simultaneously antiquary, architect and hydraulic engineer.

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Engraving from Pietro Ferrerio, Palazzi di Roma di più celebri architetti, Roma [1655-70]

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Engraving from Giovanni Battista Piranesi, Le rovine del castello dell’Acqua Giulia situato in Roma presso S. Eusebio…..…, Rome 1761

The copy of Giacomo Lauro’s collection of views Antiquae urbis splendor (1637) is in an impressive gilt binding with the arms of Pope Urban VIII. A group of sixteenth-and seventeenth-century books about the Tiber focusses , not surprisingly, on the periodic floods. An illustrated volume by Nicolai Alemanni on the Lateran palace (1637) focusses on Pope Leo III’s grand new ninth-century dining room, or triclinium, decorated with mosaics and only some of which survives.

At the core of this wonderful accession is a large group of guidebooks, in Latin, Italian, French and English, to be added to the already notable collection of these already on the shelves in the BSR. While such books are obviously reflections of local identity and are invaluable for anyone trying to unravel the history of ownership of works of art, they are also some of the closest ways we can come to seeing the world through the eyes of earlier centuries.

Just to read the ever more detailed guides, meeting the needs of seventeenth-century tourists such as John Evelyn or John Milton, or a host of eighteenth-century visitors, is not only to begin to see with their eyes, but also to wonder at the energies of people who (if they followed some guidebooks’ instructions) were expected to see Rome sometimes in as little as three days: the Vatican and Trastevere could easily be dealt with in just one. But these guidebooks tell us more.

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Frontispiece from Pompilio Totti, Ritratto di Roma antica……….., Roma 1645

Pompilio Totti, the much-printed author of the best of the seventeenth-century guides, showed how Rome could be divided into antica and moderna.  By the time we come to read his even more popular successor, the archaeologist Antonio Nibby (first published shortly after the Napoleonic wars and widely available in Italian and French) there are new concerns, arising from the ever-more revealing excavations. How should ruins be preserved, and how should they be shown off? These remain no less topical questions today.

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Frontispiece from Pompilio Totti, Ritratto di Roma moderna……….., Roma 1645

Of the later books, one further might be selected among these prizes. Matthew Dubourg’s  Views of the remains of ancient buildings in Rome and its vicinity  (London, 1820) has become rare because so many copies have been broken up for the sake of the lovely hand-coloured illustrations. But the text is worth reading as well, influenced by the fashion for gothic novels and written by a person informed by the dramatic paintings of Salvator Rosa. This is the Rome of the romantics, published just a few months before Keats died. Not surprisingly, Byron is quoted on the Colosseum: ‘a noble wreck, in ruinous perfection’. All these books invite further study, and all are being added to the union catalogue URBiS (www.urbis-libnet.org).

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From Matthew Dubourg, Views of the remains of ancient buildings in Rome and its vicinity…………, London 1820

Meanwhile, a selection is currently on display at the Entrance Hall of the BSR.

Text by David McKitterick, Emeritus Honorary Professor of Historical Bibliography, Trinity College, Cambridge.

 

David visited the BSR and gave a fascinating talk to staff, residents and award-holders about the new arrivals.

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The research potential of our Special Collections has been enhanced by this remarkable gift and our aim now is to seek funding for specific BSR Library awards to generate more opportunities for research projects based on our rich collections.

Text by Valerie Scott, Librarian

Photos by Antonio Palmieri

Ashby Adventures 2018

Last week we hosted our Ashby Patrons visit to Rome. This is always a very special weekend in the BSR’s calendar when we welcome our Ashby Patrons to the BSR for an action-packed few days of adventures both inside and outside the city. This year was no exception with a full and expertly tailored programme of excursions!

Always an important part of the weekend, is the opportunity for the Patrons to speak with resident award-holders and to visit the studios of artists resident at the BSR. This year was no different. On arrival the group were treated to a visual feast (indeed, a sneak preview of what is to come in next month’s June Mostra) by three of our artists in residence – Murat Urlali (National Art School, Sydney, Resident), John Robertson (Abbey Scholar in Painting) and Oona Grimes (The Bridget Riley Fellow). After visiting the studios the group joined BSR residents and staff for dinner.

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Murat Urlali (National Art School, Sydney, Resident) in his studio

The first full day began with a visit to the Venerable English College, the Catholic seminary in Rome which trains priests from England and Wales.

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After a hearty welcome from Ryan Service, a Seminarian from the Archdiocese of Birmingham, the group had the privilege of being led around the college, current exhibition and the archives, by Archive Coordinator and BSR Research Fellow Professor Maurice Whitehead. This visit was also an opportunity to explain to the group the British School at Rome’s ambition to work in collaboration with Venerable English College to open access to their archives, facilitating the opportunity to bring UK scholars to Rome to study them.

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Sustained by a fine lunch, the group progressed to the second visit of the day, a guided tour of Palazzo Pamphilj (situated within Piazza Navona and now home to the Brazilian Embassy in Italy) led by Assistant Director Tom True.

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Within the Ashby group we were lucky to have BSR Former Chair of council Timothy Llewellyn, expert on the frescoed ceiling of Pietro da Cortona, who explained the story of Aeneas depicted on the ceiling above. We were then treated to a spectacular view from the balcony to the piazza below.

After a day of visual and gastronomic treats, those who had the strength, stomach and courage, rounded off the day with a gelato at Giolitti!

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Relaxed and refreshed, the second day saw the Ashby group venture out from Rome to Lake Bracciano, to enjoy a guided tour of Castello Odescalchi bathed in sunshine.

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After the tour the group enjoyed a delicious feast comprised of locally sourced ingredients at an agriturismo in Trevignano. Yet, this was not the end of the days programme, upon arrival back to the BSR, Marco Iuliano (member of the BSR Faculty of Archaeology, History and Letters) gave a presentation entitled ‘Notes on the Cartography of Rome’, with particular reference to special holdings from our Library, including a map by Giovani Battista Cingolani della Pergola (1704), which depicts Lake Bracciano.

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The advent of the final day revealed that some of the best treasures had been saved until last. Valerie Scott (Librarian and Deputy Director) presented the Library’s latest addition, a gift of rare books presented to the BSR earlier this year by Chair of Council Mark Getty.

To round off the trip, Director Stephen Milner brought the Ashby’s up-to-date with his vision of the future for the BSR, prompting a lively discussion. As per tradition, the weekend concluded with brunch at Caffè delle Arti with reflections on the activities and success of the weekend.

It was a delight to host the Ashby Patrons, and was a chance to say thank you for their continued support and guidance, which is wholeheartedly appreciated and valued by the whole BSR community.

Roll on next year…!

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Blog and photographs by Alice Marsh (Events and Communications Assistant)