Pompeii Image
A: The miraculous image of Our Lady of Pompeii is a typical rosary painting (later period of this topic). Where Our Lady with the Child on her right leg and arm gives a rosary to Saint Catherine of Siena while the Christ Child with his right hand gives a rosary to Saint Dominic standing on the left side of the painting. The original was bought by Fr. Alberto Radente, OP, for 3.40 lira in a pawnshop in Venice. He gave it to a tertiary in Naples who in turn gave it to Blessed Bartola Longo (1841-1926), a devout layman and founder of the sanctuary of Pompeii. It was in pitiful condition and needed restoration. After completion of the restoration, it was considered of "heavenly beauty." The painter is not known.
Pompeii image
There exist a broad variety of Rosary images; and since Our Lady of Pompeii is a rosary image, some artists may have taken the liberty to modify the original image; More probable is the existence of ex-votas (images in gratitude for received favors) which are notoriously personal and take great liberty with the original theme.
Application forms for use of imagesThe Archaeological Park of Pompeii has designed simplified application forms for requesting the use, for various purposes, of images of the cultural assets relevant to each case.In accordance with existing regulations, the reproduction of state-owned cultural assets requires permission from the competent Archeological Park and, except for study purposes and personal use, is subject to payment of a fee.
The experience of Pompeii and Herculaneum is, and has been from the start of excavations in the eighteenth century, essentially visual, richly and vividly so. But how can that strong visual impact be translated into reproducible images? Every new technology helps, and before the present age of digital images and 3D virtual reality reconstructions, there has been a long story of technological experiment. By the mid-nineteenth century, photography could offer a powerful new tool for accurate recording, but even before then, the urge was strong to achieve higher levels of accuracy. Sir William Gell's Pompeiana, published in 1819 with its follow-up in 1832, immediately before the arrival of photography, made use of the camera lucida, an optical device that allowed the precise tracing of contours while still requiring the artist's interpretative eye. Indeed, from then onwards, it is helpful to think of drawing and photography not as alternative technologies, but as closely related. Photography taught the artist to frame images differently, and to achieve different effects to capture the three-dimensional and the instantaneous. So while we might have expected the publications of the eighteenth century, entirely dependent on drawing skills, to give way to pure photography, Pompeii and Herculaneum always required more than photography, while benefiting from it. After all, the walls and floors of Roman buildings were all about colour, gloriously so to the point of excess, and a black-and-white photograph of a frescoed wall could never do it justice, though it might enable the artist a higher level of precision. The spectacular collection of images originally produced in the nineteenth century by Fausto and Felice Niccolini, and reproduced in this large and lavishly produced volume, confirm the importance of colour and indeed of modern printing technology that can reproduce coloured images without excessive cost. They belong to the era of photography, and often make use of it; but they also depend on the technology of drawing, and the potential of lithography to make a colour... 041b061a72