The Atestino National Museum was inaugurated on July 6, 1902 in the current location of Palazzo Mocenigo, after the Euganean Roman Museum (formerly the Civic Lapidary Museum, until 1880) became National in 1887. Over more than a century, starting with its ! rst director Alessandro Prosdocimi, the use of space and, above all, the location of archaeological ! nds has undergone many changes. With funding obtained through the project The rst cinema in history. Focusing on the Paleolithic the layout of Room I of the Atestino National Museum has been re-thought. On show in this room are local ! nds from Prehistory up to the Late Bronze Age. The collection layout has now been enriched by new data that have emerged in recent years. The authors of this contribution present the artifacts chosen for the exhibit and their contexts of origin and de! ne the choices that led to the technical design and set-up of the showcases.
Gonzato Federica, Dalla Longa Elisa, Terlato Gabriele (2019). Il nuovo allestimento per la Sala I del Museo Nazionale Atestino di Este. Venezia : Tipografia La Grafica editrice snc.
Il nuovo allestimento per la Sala I del Museo Nazionale Atestino di Este
Gonzato Federica;Terlato Gabriele
2019
Abstract
The Atestino National Museum was inaugurated on July 6, 1902 in the current location of Palazzo Mocenigo, after the Euganean Roman Museum (formerly the Civic Lapidary Museum, until 1880) became National in 1887. Over more than a century, starting with its ! rst director Alessandro Prosdocimi, the use of space and, above all, the location of archaeological ! nds has undergone many changes. With funding obtained through the project The rst cinema in history. Focusing on the Paleolithic the layout of Room I of the Atestino National Museum has been re-thought. On show in this room are local ! nds from Prehistory up to the Late Bronze Age. The collection layout has now been enriched by new data that have emerged in recent years. The authors of this contribution present the artifacts chosen for the exhibit and their contexts of origin and de! ne the choices that led to the technical design and set-up of the showcases.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.