Major Works
- Inscriptiones christianae Urbis Romae septimo saeculo antiquiores (vol. I, Rome, 1861; part I of vol. II, Rome, 1888). His original plan was for a compendium of Christian inscriptions in the city of Rome of the first seven centuries. The series was continued after his death.
- La Roma Sotterranea Cristiana (vol. I with an atlas of forty plates, Rome, 1864; vol. II with an atlas of sixty-two and A, B, C, D plates, Rome, 1867; vol. III with an atlas of fifty-two plates, Rome, 1877). The plates for the fourth volume were already at the printer when De Rossi died. A Christian counterpart to an early classic of archaeology, Antonio Bosio's La Roma Sotterranea.
- Bullettino di archeologia cristiana. Six series of monographs and communications, which appeared monthly (1863–69), then quarterly (1870–75), (1876–81), then annually (1882–89), (1889–94), each series meticulously indexed.
- Mosaici delle chiese di Roma anteriori al secolo XV (Rome, 1872), a series of coloured lithographs with text in French and Italian illustrating the Late Antique and medieval mosaics of Rome.
- Codicum latinorum bibliothecae Vaticanae Rossi's manuscript indexes of the Latin codices are used as reference books in the Vatican Library.
- Inscriptiones Urbis Romae latinae volume VI of Corpus Inscriptionum Latinarum (Berlin) of which Rossi was one of the leading editors.
- Martyrologium Hieronymianum, edited with Louis Duchesne in vol. 1, November, of the Bollandists' Acta Sanctorum. (Brussels, 1894).
Read more about this topic: Giovanni Battista De Rossi
Famous quotes containing the words major and/or works:
“Self-centeredness is a natural outgrowth of one of the toddlers major concerns: What is me and what is mine...? This is why most toddlers are incapable of sharing ... to a toddler, whats his is what he can get his hands on.... When something is taken away from him, he feels as though a piece of himan integral pieceis being torn from him.”
—Lawrence Balter (20th century)
“Was it an intellectual consequence of this rebirth, of this new dignity and rigor, that, at about the same time, his sense of beauty was observed to undergo an almost excessive resurgence, that his style took on the noble purity, simplicity and symmetry that were to set upon all his subsequent works that so evident and evidently intentional stamp of the classical master.”
—Thomas Mann (18751955)