THE BRITISH SCHOOL AT ROME

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Insiders/outsiders in Rome through the Ages

Outsiders or insiders in society and the cemetery? Evidence for the burial and commemoration of newborns and infants in Rome and Roman Italy
Dr Maureen Carroll, Balsdon Fellow, 2007–8
‘These Northern artists who come and go without regulation’: Northern painters at the
Academy of St Luke, 1590–1630
Dr Lucy Davis, Rome Fellow, 2007–8
It has to be this way
 Lindsay Seers, Wingate Rome Scholar, 2007–8
Spatial translation
Prisca Thielmann, Rome Scholar in Architecture, 2007–8

on Monday 9 March 2009, at 6.00 p.m.

at the British Academy, 10 Carlton House Terrace,
London, SW1Y 5AH

RSVP in case of acceptance to:
The British School at Rome, at The British Academy, 10 Carlton House Terrace, London, SW1Y 5AH;
Tel. 020–7969 5202; E bsr@britac.ac.uk

Outsiders or insiders in society and the cemetery? Evidence for the burial and commemoration of newborns and infants in Rome and Roman Italy
Dr Maureen Carroll
The aim of this research project is to ascertain, through examination of archaeological, epigraphic, votive and pictorial evidence, whether very young children, who were only beginning their lives, were perceived as persons and therefore members of the community and whether they were included or excluded in the community of the dead — the cemetery.

‘These Northern artists who come and go without regulation’: Northern
painters at the Academy of St Luke, 1590–1630
Dr Lucy Davis
From the mid-sixteenth century onwards, artists from northern Europe left their native countries in increasing numbers to seek work in Rome. This talk explores the ways in which these Northern artists integrated into the Roman artistic milieu, focusing particularly on their important role in the foundation of the first official art academy in Rome, the Accademia di San Luca.

It has to be this way
Lindsay Seers
Lindsay will talk about her current exhibition at Matt’s Gallery, London (21 January–15 March). This installation work arose from her research in Rome, in which she proposed that she would become Queen Christina of Sweden. Through Christina, Lindsay takes on elements of Renaissance Neoplatonism and concepts of Theatrum Mundi, and maps them into her work by correlating these historic ideas with contemporary metaphysical philosophy and modern uses of encryption and signs.

Spatial translation
Prisca Thielmann
Hadrian’s Villa is a paradigm for architecture, which actively encourages new interpretations. The once ornate palace at the scale of a small city has become a vast ruin embedded in a magical pastoral landscape. Its status is the result both of its mythic beauty and its ruination. Its imperfect, fragmented nature has repeatedly fascinated architects, and has led to a multitude of readings and built translations.