![]() Room 80: The Location within the Oppian Building, Decorations, and the State of Conservationġ.1 Room 80 as Part of the Oppian Buildingġ.2 Room 80: Architecture, Marble, and Painting Decorationġ.3 Room 80 and Famulus, the Gravis and Severus PainterĢ.1 Dimensions and the Geometrical SystemĢ.2 The Decorative System of the Volta Dorata: Colours and Types of DecorationsĢ.3 The Figural Programme of the Volta Dorata: The ‘Central Medallion’Ģ.4 The Figural Programme of the Volta Dorata: The ‘Internal Area’Ģ.5 The Figural Programme of the Volta Dorata: The ‘External Frieze’Ģ.6 A New Possible Interpretation for Scene 2: An Unparalleled Iconography of the Myth of Aeneas and Dido?Ģ.7 Some Final Observations: The Figurative System and Literary Themesģ. The Paintings of the Volta Dorata through Archaeological Evidence and Graphic Documentationġ. The 20th and 21st Centuries: Recent Studies and New ExcavationsĬhapter 2. The 19th Century: From Titus’ Baths to the Domus Aureaħ. From the Rediscovery of the Domus Aurea to the End of the 16th CenturyĦ. After Nero and Before the 15th Century Rediscoveryģ. The Oppian Building: Chronological Phases and Possible FunctionĢ. The Oppian Building and its History: From Antiquity to the 21st Centuryġ. He has published articles in renowned scientific journals, such as Memoirs of the American Academy in Rome and Papers of the British School at Rome.Ĭhapter 1. He spent time training and researching at the British Museum and Gallerie degli Uffizi, and is currently collaborating with the Census Project of the Humboldt-Universität zu Berlin and the Euploos Project of the Gallerie degli Uffizi. ![]() After receiving an academic education at the University of Bologna and the IMT – School for Advanced Studies of Lucca (Italy), he was awarded fellowships by the DAAD Germanic Academic Exchange Service (2019–2020) and the Alexander von Humboldt Foundation (2022–2024). Marco Brunetti is a postdoctoral fellow at the Bibliotheca Hertziana – Max Planck Institute for Art History, working on Renaissance drawings of Roman antiquities and the Renaissance topography of Rome. The other issue regards the working methods employed across the centuries by artists copying the Neronian vault and the Volta Dorata’s influence on artists and artefacts. One issue concerns the original appearance of the vault and the relation between its decoration and the myths that literary sources indicate as Nero’s favourites and those of Neronian literature. ![]() The research mainly addresses two strictly related issues. This book provides a critical analysis and comparison of all graphic works – including drawings, watercolours, and coloured engravings – depicting the Volta Dorata since its discovery in the 1470s by early Renaissance artists and antiquarians. The function of Room 80 as a luxury triclinium, its central location, and the artistic taste of its owner all played a prominent role in the elaboration and definition of the refined decorative system of the vault. The Volta Dorata is the vault of Room 80 in Rome’s Domus Aurea, built by Emperor Nero in AD 64–68.
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