Books by Emma Filipponi
Urban History , Aisu International, 2023
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Articles by Emma Filipponi
Città e cibo dall’antichità a oggi, a cura di Luca Mocarelli, AISU International, 2023
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Bulletin de la Société Académique d'Architecture de Lyon, 2020
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Approches Théoriques en Information-Communication (ATIC), 2021
Since 1834, learned societies have been responsible for supporting French heritage institutions i... more Since 1834, learned societies have been responsible for supporting French heritage institutions in the tasks of building and sharing knowledge. However, in recent years, these societies have experienced a deep crisis linked to the reduction in funding from the State and the aging of their members. In this context, the emergence of citizen sciences seems to be a factor of innovation that could give a new importance to the role of learned societies in the construction of knowledge. This article has a double objective, empirical and disciplinary. From an empirical point of view, it aims to deepen the relationship between learned societies and citizen sciences to understand what the innovation potential of these structures is today. To do this, it explores the role of information and communication devices, and in particular digital tools, in these organizations through an empirical survey. From a disciplinary point of view, this study aims to show the value of an information communication approach for the analysis of a socio-technical context.
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MDCCC, 2021
In 19th century Italy and Europe the phenomenon of religious buildings as State-owned properties ... more In 19th century Italy and Europe the phenomenon of religious buildings as State-owned properties and their reuse as 'public services' assumed the characteristics of a real urban and cultural revolution. In the case of Venice, this phenomenon consisted in an effective project of 'regeneration' of an historical city. Thanks to the extensive use of archival sources, this article investigates Venice as a case study of a complex urban plan that occurred massive transformations, especially considering the suppressions of religious buildings undertaken between 1805 and 1808 in the lagoon area. The papers also offer an insight on the French plan of reuse of 'emptied' buildings for allocating there new services. Keywords Ecclesiastics suppressions. State-owned properties. Public buildings. Napoleonic Kingdom of Italy. Venice. Sommario 1 Introduzione.-2 Un'evoluzione sostanziale del sistema soppressivo.-3 La demanializzazione dei beni ecclesiastici: preludio a un grande riordino urbano.-4 La pianificazione dei 'grands travaux' e il sistema di controllo urbano: la Commissione all'Ornato e il decreto del dicembre 1807.-5 Un modello d'intervento.
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Journal of Museum of Applied Art, Belgrade, 2017
In the 17th century, French art came through a campaign of renewal and emancipation from Italian ... more In the 17th century, French art came through a campaign of renewal and emancipation from Italian artistic models. The artists of this period, mainly working at the construction site of Versailles, sought to disseminate new models, already tested when furnishing aristocratic residences. These new decorative models, developed in the studios of the French capital, also affected the development of decorative arts, even beyond the borders of France.
The Suite of Ornamental Pieces (Suite de pièces ornementales), a set of twelve engraved plates, signed by François Bignon (ca. 1620 – after 1668) and Zacharie Heince (1611–1669), seems to be inspired by the decorations made in the mid-17th century in the Parisian mansion of the chancellor Pierre Seguier (1588–1672) which are now non-existent. In the following years, these patterns were adopted by craftsmen in the two most important European centres of pottery production in the 17th and 18th centuries: Nevers and Castelli.
The city of Nevers, in central France, benefited from a strategic location close to trade routes, halfway between Paris and Lyon. Moreover, recent research proves that the artisans of Nevers were active participants at the construction site of Versailles. At the same time, the Italian potters working in Castelli introduced subjects from the Suite. This study tracks the contacts and active communication between the two studios, confirmed by the fact that they shared other unexpected iconographic sources.
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La rivista di Engramma, 131, 2015, Dec 2015
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La rivista di Engramma, 111, 2013, Nov 2013
Since the mid-eighteenth century, Venice had desultorily faced the problem of the suppression of ... more Since the mid-eighteenth century, Venice had desultorily faced the problem of the suppression of ecclesiastical orders and the ensuing conversion of their properties into sites for community facilities. In 1805 Napoleon ordered the confiscation of convents, monasteries and of their property in the cities that were part of the Kingdom of Italy. French measures appeared to be more articulated in the transformation of urban structures. Hence the arrival of Bonaparte in Venice was to have a crucial role in town planning. The strategy would become more and more complex, until it assumed the contours of a proper plan for the transformation of the urban structure.
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MDCCC, 2, 2013, Jul 2013
"19th-century maps of Venice are still one of the most detailed evidence of the long process
of ... more "19th-century maps of Venice are still one of the most detailed evidence of the long process
of urban transformation that the French and Austrian governments carried out in the city since the beginning
of the century. Using new representative methods developed in the second half of the previous
century, early 19th-century maps could accurately define the process of functional conversion of Church
properties into «containers» for modern community facilities, due to the suppression of the ecclesiastical
orders. Reusing religious buildings as «public establishments» started in Venice a real urban and cultural
revolution, reaching in about fifty years one of the most complete forms of reorganization of the city. Organizing
interventions within a new urban planning process, the new governments applied a model that
tended to standardize the structure of Italian and European cities according to functional criteria, inspired
by modern ideas of «State», «city» and «public capabilities». Hence, the cartographic sources of the time
– perspective views, cadastral maps and topographic plants – may show the chronological limits of this
complex process of urban and architectural renewal."
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La rivista di Engramma, 105, 2013, Apr 2013
The exhibition, dedicated to the middle register of Schifanoia's frescoes, took place in Iuav til... more The exhibition, dedicated to the middle register of Schifanoia's frescoes, took place in Iuav till 14th march 2013. Edited by Marco Bertozzi (University of Ferrara) and Monica Centanni (University Iuav of Venice), and designed by Olivia Sara Carli and Emma Filipponi, it proposes a comprehensive vision of the astrological register of the Hall of Months of Schifanoia Palace. The show moves from an introductory section, dedicated to the historical and artistic context, throughout the seven conserved months, and ends with the pictorial reconstruction of the destroyed ones, made by Maurizio Bonora.
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La rivista di Engramma, 93, 2011, Oct 2011
Since the first edition of Le Imagini con la spositione de i dei de gli antichi (Images and descr... more Since the first edition of Le Imagini con la spositione de i dei de gli antichi (Images and descriptions of ancient gods) by Vincenzo Cartari – printed in Venice in 1556 – a large descriptive space was reserved to the figure of Fortune. Due to the multiplicity of its meanings and to its topical interest, this personification was widely used during the Renaissance age and beyond, in different areas of artistic production.
Cartari – supported by a number of sources that at different times and in various ways identified and characterized the figure of Fortuna (including Pausanias, Virgil, Horace, Aulus Gellius, Catullus, Dante and Petrarca) – draws with a decided and effective sign the multiple aspects of the goddess. Cartari compares, among others pagan deities, Fortune to Nemesis and to Nemesis-Justice, suggesting an identification between these figures.
Starting from this triple overlap of Fortune, Justice, and Nemesis, Cartari introduces a digression on the theme of just judges and false accusations, which starts from the description – mediated by the summary of an ancient ekphrasis by Lucianus of Samosata – of the celebrated painting of the 4th century BC, the Calumny of Apelles.
The first edition of Cartari’s treaty, in 1556, was not provided with illustrations. Only in 1571 the work was enriched by engravings, created by Bolognino Zaltieri, but here the picture of Calumny was non included. Only in the next edition, in 1615 – this time published in Padua by the erudite Lorenzo Pignoria, and enriched with new illustrations by Filippo Ferroverde – the image of Calumny finally appears. The new engraver greatly enriched the text, inserting the ancient subject described by Lucianus in two different representations (both present also in Cartari's following reprints): one is included within the text, in the digression on the theme of calumny; the other one is added to Pignoria's commentary to the work.
The two images, although outlined by the same artist, consist in two different interpretations of the famous theme. The first engraving, in the text, is one of the few versions of Calumny subverting the specifications given by Lucianus' ekphrasis, since it is composed as a frontal picture, built around the central figure of the judge. The second engraving, in the commentary, is a mirrored and simplified copy of an original and renowned interpretation of the subject, a work by Federico Zuccari painted around 1569.
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Editing by Emma Filipponi
La rivista di Engramma, 126, 2015, May 2015
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La rivista di Engramma, 122, 2014, Dec 2014
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La rivista di engramma, 112, 2013, Dec 2013
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Conferences by Emma Filipponi
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Books by Emma Filipponi
Articles by Emma Filipponi
The Suite of Ornamental Pieces (Suite de pièces ornementales), a set of twelve engraved plates, signed by François Bignon (ca. 1620 – after 1668) and Zacharie Heince (1611–1669), seems to be inspired by the decorations made in the mid-17th century in the Parisian mansion of the chancellor Pierre Seguier (1588–1672) which are now non-existent. In the following years, these patterns were adopted by craftsmen in the two most important European centres of pottery production in the 17th and 18th centuries: Nevers and Castelli.
The city of Nevers, in central France, benefited from a strategic location close to trade routes, halfway between Paris and Lyon. Moreover, recent research proves that the artisans of Nevers were active participants at the construction site of Versailles. At the same time, the Italian potters working in Castelli introduced subjects from the Suite. This study tracks the contacts and active communication between the two studios, confirmed by the fact that they shared other unexpected iconographic sources.
of urban transformation that the French and Austrian governments carried out in the city since the beginning
of the century. Using new representative methods developed in the second half of the previous
century, early 19th-century maps could accurately define the process of functional conversion of Church
properties into «containers» for modern community facilities, due to the suppression of the ecclesiastical
orders. Reusing religious buildings as «public establishments» started in Venice a real urban and cultural
revolution, reaching in about fifty years one of the most complete forms of reorganization of the city. Organizing
interventions within a new urban planning process, the new governments applied a model that
tended to standardize the structure of Italian and European cities according to functional criteria, inspired
by modern ideas of «State», «city» and «public capabilities». Hence, the cartographic sources of the time
– perspective views, cadastral maps and topographic plants – may show the chronological limits of this
complex process of urban and architectural renewal."
Cartari – supported by a number of sources that at different times and in various ways identified and characterized the figure of Fortuna (including Pausanias, Virgil, Horace, Aulus Gellius, Catullus, Dante and Petrarca) – draws with a decided and effective sign the multiple aspects of the goddess. Cartari compares, among others pagan deities, Fortune to Nemesis and to Nemesis-Justice, suggesting an identification between these figures.
Starting from this triple overlap of Fortune, Justice, and Nemesis, Cartari introduces a digression on the theme of just judges and false accusations, which starts from the description – mediated by the summary of an ancient ekphrasis by Lucianus of Samosata – of the celebrated painting of the 4th century BC, the Calumny of Apelles.
The first edition of Cartari’s treaty, in 1556, was not provided with illustrations. Only in 1571 the work was enriched by engravings, created by Bolognino Zaltieri, but here the picture of Calumny was non included. Only in the next edition, in 1615 – this time published in Padua by the erudite Lorenzo Pignoria, and enriched with new illustrations by Filippo Ferroverde – the image of Calumny finally appears. The new engraver greatly enriched the text, inserting the ancient subject described by Lucianus in two different representations (both present also in Cartari's following reprints): one is included within the text, in the digression on the theme of calumny; the other one is added to Pignoria's commentary to the work.
The two images, although outlined by the same artist, consist in two different interpretations of the famous theme. The first engraving, in the text, is one of the few versions of Calumny subverting the specifications given by Lucianus' ekphrasis, since it is composed as a frontal picture, built around the central figure of the judge. The second engraving, in the commentary, is a mirrored and simplified copy of an original and renowned interpretation of the subject, a work by Federico Zuccari painted around 1569.
Editing by Emma Filipponi
Conferences by Emma Filipponi
The Suite of Ornamental Pieces (Suite de pièces ornementales), a set of twelve engraved plates, signed by François Bignon (ca. 1620 – after 1668) and Zacharie Heince (1611–1669), seems to be inspired by the decorations made in the mid-17th century in the Parisian mansion of the chancellor Pierre Seguier (1588–1672) which are now non-existent. In the following years, these patterns were adopted by craftsmen in the two most important European centres of pottery production in the 17th and 18th centuries: Nevers and Castelli.
The city of Nevers, in central France, benefited from a strategic location close to trade routes, halfway between Paris and Lyon. Moreover, recent research proves that the artisans of Nevers were active participants at the construction site of Versailles. At the same time, the Italian potters working in Castelli introduced subjects from the Suite. This study tracks the contacts and active communication between the two studios, confirmed by the fact that they shared other unexpected iconographic sources.
of urban transformation that the French and Austrian governments carried out in the city since the beginning
of the century. Using new representative methods developed in the second half of the previous
century, early 19th-century maps could accurately define the process of functional conversion of Church
properties into «containers» for modern community facilities, due to the suppression of the ecclesiastical
orders. Reusing religious buildings as «public establishments» started in Venice a real urban and cultural
revolution, reaching in about fifty years one of the most complete forms of reorganization of the city. Organizing
interventions within a new urban planning process, the new governments applied a model that
tended to standardize the structure of Italian and European cities according to functional criteria, inspired
by modern ideas of «State», «city» and «public capabilities». Hence, the cartographic sources of the time
– perspective views, cadastral maps and topographic plants – may show the chronological limits of this
complex process of urban and architectural renewal."
Cartari – supported by a number of sources that at different times and in various ways identified and characterized the figure of Fortuna (including Pausanias, Virgil, Horace, Aulus Gellius, Catullus, Dante and Petrarca) – draws with a decided and effective sign the multiple aspects of the goddess. Cartari compares, among others pagan deities, Fortune to Nemesis and to Nemesis-Justice, suggesting an identification between these figures.
Starting from this triple overlap of Fortune, Justice, and Nemesis, Cartari introduces a digression on the theme of just judges and false accusations, which starts from the description – mediated by the summary of an ancient ekphrasis by Lucianus of Samosata – of the celebrated painting of the 4th century BC, the Calumny of Apelles.
The first edition of Cartari’s treaty, in 1556, was not provided with illustrations. Only in 1571 the work was enriched by engravings, created by Bolognino Zaltieri, but here the picture of Calumny was non included. Only in the next edition, in 1615 – this time published in Padua by the erudite Lorenzo Pignoria, and enriched with new illustrations by Filippo Ferroverde – the image of Calumny finally appears. The new engraver greatly enriched the text, inserting the ancient subject described by Lucianus in two different representations (both present also in Cartari's following reprints): one is included within the text, in the digression on the theme of calumny; the other one is added to Pignoria's commentary to the work.
The two images, although outlined by the same artist, consist in two different interpretations of the famous theme. The first engraving, in the text, is one of the few versions of Calumny subverting the specifications given by Lucianus' ekphrasis, since it is composed as a frontal picture, built around the central figure of the judge. The second engraving, in the commentary, is a mirrored and simplified copy of an original and renowned interpretation of the subject, a work by Federico Zuccari painted around 1569.
Cartari – supported by a number of sources that at different times and in various ways identified and characterized the figure of Fortuna (including Pausanias, Virgil, Horace, Aulus Gellius, Catullus, Dante and Petrarca) – draws with a decided and effective sign the multiple aspects of the goddess. Cartari compares, among others pagan deities, Fortune to Nemesis and to Nemesis-Justice, suggesting an identification between these figures.
Starting from this triple overlap of Fortune, Justice, and Nemesis, Cartari introduces a digression on the theme of just judges and false accusations, which starts from the description – mediated by the summary of an ancient ekphrasis by Lucianus of Samosata – of the celebrated painting of the 4th century BC, the Calumny of Apelles.
The first edition of Cartari’s treaty, in 1556, was not provided with illustrations. Only in 1571 the work was enriched by engravings, created by Bolognino Zaltieri, but here the picture of Calumny was non included. Only in the next edition, in 1615 – this time published in Padua by the erudite Lorenzo Pignoria, and enriched with new illustrations by Filippo Ferroverde – the image of Calumny finally appears. The new engraver greatly enriched the text, inserting the ancient subject described by Lucianus in two different representations (both present also in Cartari's following reprints): one is included within the text, in the digression on the theme of calumny; the other one is added to Pignoria's commentary to the work.
The two images, although outlined by the same artist, consist in two different interpretations of the famous theme. The first engraving, in the text, is one of the few versions of Calumny subverting the specifications given by Lucianus' ekphrasis, since it is composed as a frontal picture, built around the central figure of the judge. The second engraving, in the commentary, is a mirrored and simplified copy of an original and renowned interpretation of the subject, a work by Federico Zuccari painted around 1569.