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Mix of Meanings in the Catacombs
The Significance of the Mix of Pagan and Christian Subject Matter in the via Latina Catacombs The via Latina Catacombs in Rome contain wall paintings whose subject matter ranges widely between scriptural, non-scriptural, professional and personal portrayals and icons. As an index of cultural shift in pre-Constantinian Rome, the funerary art in the catacombs provides a way of understanding how pagan religious icons became appropriated and reloaded with Christian significations. Whereas the society above ground remained faithful to the second commandment’s injunction against the production of graven images, the artwork on the walls below show a prolific and unfettered quoting of biblical metaphors cast amidst pagan forms that help to set the stage for shaping the new paradigm of Christian art. In the arcosolium of cubiculum E birds dominate the front-facing panel. Their outlines fill out and gently taper downward, draping around the arch opening. The peacocks reveal luxuriously drawn tail feathers as they sit on either side of a large vase overflowing with flowers. For pagans, birds represented the human soul, which would rise toward the heavens at the end of its earthly tenure. Peacocks bestriding the vase would have signified comfort, sustenance and repose, which, in turn would point to how the deceased would be treated in this place going forward. Christians families burying their dead had up to that point a relatively restricted iconographic palette from which to draw their funerary art. In this new conception they would see in the peacocks a correlate to the dove of peace, the symbol of Christ. -
The Porta Del Popolo, Rome Pen and Brown Ink on Buff Paper
Muirhead BONE (Glasgow 1876 - Oxford 1953) The Porta del Popolo, Rome Pen and brown ink on buff paper. Signed Muirhead Bone at the lower right. 222 x 170 mm. (8 3/4 x 6 5/8 in.) One of the first trips that Muirhead Bone made outside Britain was a long stay of two years - from October 1910 to October 1912 – in central and northern Italy, accompanied by his wife Gertrude and their children. After spending several weeks in Florence, the Bone family settled in Rome in the early months of 1911, and from October 1911 lived in a flat overlooking the Piazza del Popolo. During his time in Italy Bone produced thirty-two copper plates and numerous fine drawings, several of which were sent from Italy to London and Glasgow to be sold by his dealers. A number of Bone’s drawings of Italy were exhibited at the Colnaghi and Obach gallery in London in 1914, to very positive reviews. The present sheet depicts part of the outer façade of the city gate known as the Porta del Popolo, a section part of the Aurelian Walls encircling the city of Rome. The gate was the main entrance to Rome from the Via Flaminia and the north, and was used by most travellers arriving into the city for the first time. Built by Pope Sixtus IV for the Jubilee year of 1475, the Porta del Popolo was remodelled in the 16th century under Pope Pius IV. The Pope had asked Michelangelo to design the new outer façade of the Porta, but the elderly artist passed the commission on to the architect Nanni di Baccio Bigio, who completed the work between 1562 and 1565. -
Falda's Map As a Work Of
The Art Bulletin ISSN: 0004-3079 (Print) 1559-6478 (Online) Journal homepage: https://www.tandfonline.com/loi/rcab20 Falda’s Map as a Work of Art Sarah McPhee To cite this article: Sarah McPhee (2019) Falda’s Map as a Work of Art, The Art Bulletin, 101:2, 7-28, DOI: 10.1080/00043079.2019.1527632 To link to this article: https://doi.org/10.1080/00043079.2019.1527632 Published online: 20 May 2019. Submit your article to this journal Article views: 79 View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rcab20 Falda’s Map as a Work of Art sarah mcphee In The Anatomy of Melancholy, first published in the 1620s, the Oxford don Robert Burton remarks on the pleasure of maps: Methinks it would please any man to look upon a geographical map, . to behold, as it were, all the remote provinces, towns, cities of the world, and never to go forth of the limits of his study, to measure by the scale and compass their extent, distance, examine their site. .1 In the seventeenth century large and elaborate ornamental maps adorned the walls of country houses, princely galleries, and scholars’ studies. Burton’s words invoke the gallery of maps Pope Alexander VII assembled in Castel Gandolfo outside Rome in 1665 and animate Sutton Nicholls’s ink-and-wash drawing of Samuel Pepys’s library in London in 1693 (Fig. 1).2 There, in a room lined with bookcases and portraits, a map stands out, mounted on canvas and sus- pended from two cords; it is Giovanni Battista Falda’s view of Rome, published in 1676. -
Three Main Groups of People Settled on Or Near the Italian Peninsula and Influenced Roman Civilization
Three main groups of people settled on or near the Italian peninsula and influenced Roman civilization. The Latins settled west of the Apennine Mountains and south of the Tiber River around 1000 B.C.E. While there were many advantages to their location near the river, frequent flooding also created problems. The Latin’s’ settlements were small villages built on the “Seven Hills of Rome”. These settlements were known as Latium. The people were farmers and raised livestock. They spoke their own language which became known as Latin. Eventually groups of these people united and formed the city of Rome. Latin became its official language. The Etruscans About 400 years later, another group of people, the Etruscans, settled west of the Apennines just north of the Tiber River. Archaeologists believe that these people came from the eastern Mediterranean region known as Asia Minor (present day Turkey). By 600 B.C.E., the Etruscans ruled much of northern and central Italy, including the town of Rome. The Etruscans were excellent builders and engineers. Two important structures the Romans adapted from the Etruscans were the arch and the cuniculus. The Etruscan arch rested on two pillars that supported a half circle of wedge-shaped stones. The keystone, or center stone, held the other stones in place. A cuniculus was a long underground trench. Vertical shafts connected it to the ground above. Etruscans used these trenches to irrigate land, drain swamps, and to carry water to their cities. The Romans adapted both of these structures and in time became better engineers than the Etruscans. -
Map 44 Latium-Campania Compiled by N
Map 44 Latium-Campania Compiled by N. Purcell, 1997 Introduction The landscape of central Italy has not been intrinsically stable. The steep slopes of the mountains have been deforested–several times in many cases–with consequent erosion; frane or avalanches remove large tracts of regolith, and doubly obliterate the archaeological record. In the valley-bottoms active streams have deposited and eroded successive layers of fill, sealing and destroying the evidence of settlement in many relatively favored niches. The more extensive lowlands have also seen substantial depositions of alluvial and colluvial material; the coasts have been exposed to erosion, aggradation and occasional tectonic deformation, or–spectacularly in the Bay of Naples– alternating collapse and re-elevation (“bradyseism”) at a staggeringly rapid pace. Earthquakes everywhere have accelerated the rate of change; vulcanicity in Campania has several times transformed substantial tracts of landscape beyond recognition–and reconstruction (thus no attempt is made here to re-create the contours of any of the sometimes very different forerunners of today’s Mt. Vesuvius). To this instability must be added the effect of intensive and continuous intervention by humanity. Episodes of depopulation in the Italian peninsula have arguably been neither prolonged nor pronounced within the timespan of the map and beyond. Even so, over the centuries the settlement pattern has been more than usually mutable, which has tended to obscure or damage the archaeological record. More archaeological evidence has emerged as modern urbanization spreads; but even more has been destroyed. What is available to the historical cartographer varies in quality from area to area in surprising ways. -
Santamariaprrojadobe.Pdf
From: Virtual Reality in Archaeology, British Archaeological Reports International Series S 843, ed. J. A. Barcelo, M. Forte, and D. H. Sanders (ArcheoPress, Oxford 2000) 155-162. Virtual Reality and Ancient Rome: The UCLA Cultural VR Lab's Santa Maria Maggiore Project Prof. Bernard Frischer (UCLA Department of Classics; Director, UCLA Cultural VR Lab) Prof. Diane Favro (UCLA Department of Architecture and Urban Design) Dr. Paolo Liverani (Vatican Museums, Department of Classical Antiquities) Prof. Sible De Blaauw (Istituto Olandese di Roma) Dean Abernathy, Architect and Doctoral Student (UCLA Department of Architecture and Urban Design) (1) Introduction Since the fall of 1995, professors of Classics, Architecture, Education, and Information Science at UCLA, in conjunction with colleagues in the United States, Britain, and Italy, have been developing virtual reality (VR) models of buildings and monuments in ancient Rome (cf. fig. 1). This collaborative research effort is called the Rome Reborn Project in honor of the first systematic study of Roman topography, Flavio Biondo's mid-fifteenth century Roma Instaurata (de Grummond 1996: 160-61). Since January, 1998 the project has been housed in the UCLA Cultural VR Lab, which was created with support from Intel, the Creative Kids Education Foundation, Mr. Kirk Mathews, the UCLA Division of Humanities, the UCLA Humanities Computing Facility, the UCLA Center for Digital Innovation, the UCLA Graduate Division, the UCLA Office of the Vice Chancellor for Research, and the UCLA College of Letters and Science. The Lab's mission is to provide technology support for projects like Rome Reborn that strive to recreate authenticated three-dimensional computer models of sites of great historic and cultural interest around the world. -
Ancient Authors 297
T Ancient authors 297 is unknown. His Attic Nights is a speeches for the law courts, collection of essays on a variety political speeches, philosophical ANCIENT AUTHORS of topics, based on his reading of essays, and personal letters to Apicius: (fourth century AD) is the Greek and Roman writers and the friends and family. name traditionally given to the lectures and conversations he had Columella: Lucius Iunius author of a collection of recipes, heard. The title Attic Nights refers Moderatus Columella (wrote c.AD de Re Coquinaria (On the Art of to Attica, the district in Greece 60–65) was born at Gades (modern Cooking). Marcus Gavius Apicius around Athens, where Gellius was Cadiz) in Spain and served in the was a gourmet who lived in the living when he wrote the book. Roman army in Syria. He wrote a early first centuryAD and wrote Cassius Dio (also Dio Cassius): treatise on farming, de Re Rustica about sauces. Seneca says that he Cassius Dio Cocceianus (c.AD (On Farming). claimed to have created a scientia 150–235) was born in Bithynia. He popīnae (snack bar cuisine). Diodorus Siculus: Diodorus had a political career as a consul (wrote c.60–30 BC) was a Greek Appian: Appianos (late first in Rome and governor of the from Sicily who wrote a history of century AD–AD 160s) was born in provinces of Africa and Dalmatia. the world centered on Rome, from Alexandria, in Egypt, and practiced His history of Rome, written in legendary beginnings to 54 BC. as a lawyer in Rome. -
The Via Appia from the Capo Di Bove to the Mausoleum of Caecilia Metella
The Via Appia from the Capo di Bove to the mausoleum of Caecilia Metella Via Appia Antica This short itinerary will guide you in the discovery of one of the most evocative stretches of the Appian Way. Beginning at the Capo di Bove Complex and proceeding north, at the junction with via di Cecilia Metella you can admire one of the best preserved sections of the ancient road and even make out the ruts carved into the ancient paving slabs by the incessant passage of carts. The itinerary ends at the Mauseoleum of Caecilia Metella, which is an excellent example of both the Roman tradition of building magnificent tombs outside their POI Distance cities, along the consular roads, and of how these buildings were reused, in the Middle Ages, 4 0.51 Km for defense or residential purposes, as in this case. Opposite the tomb is the beautiful Gothic church of San Nicola, once enclosed, like the tomb itself and other buildings, within the walls of the castrum Caetani, the stronghold built there by the noble Roman Caetani family. Poi 1 Capo di Bove Site - Cederna Archive 2 Tower Tomb 3 Church of San Nicola Scan the QrCode to access the navigable 4 Mausoleum of Cecilia mobile version of the Metella and Castrum itinerary Caetani Poi 1 Capo di Bove Site - Cederna Archive Roma / Place to visit - Archaeological areas The “Capo di Bove” site is situated at the 4th mile of the Via Appia Antica, at a distance of about 500 m from the Tomb of Caecilia Metella. It consists of a green area of approx. -
The Lives of the Saints
Itl 1 i ill 11 11 i 11 i I 'M^iii' I III! II lr|i^ P !| ilP i'l ill ,;''ljjJ!j|i|i !iF^"'""'""'!!!|| i! illlll!lii!liiy^ iiiiiiiiiiHi '^'''liiiiiiiiilii ;ili! liliiillliili ii- :^ I mmm(i. MwMwk: llliil! ""'''"'"'''^'iiiiHiiiiiliiiiiiiiiiiiii !lj!il!|iilil!i|!i!ll]!; 111 !|!|i!l';;ii! ii!iiiiiiiiiiilllj|||i|jljjjijl I ili!i||liliii!i!il;.ii: i'll III ''''''llllllllilll III "'""llllllll!!lll!lllii!i I i i ,,„, ill 111 ! !!ii! : III iiii CORNELL UNIVERSITY LIBRARY l,wj Cornell Unrversity Library BR 1710.B25 1898 V.5 Lives ot the saints. Ili'lll I 3' 1924 026 082 572 Cornell University Library The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924026082572 THE ilibes? of tlje t)atnt0 REV. S. BARING-GOULD SIXTEEN VOLUMES VOLUME THE FIFTH THE ILities of tlje g)amt6 BY THE REV. S. BARING-GOULD, M.A. New Edition in i6 Volumes Revised with Introduction and Additional Lives of English Martyrs, Cornish and Welsh Saints, and a full Index to the Entire Work ILLUSTRATED BY OVER 400 ENGRAVINGS VOLUME THE FIFTH LONDON JOHN C. NFMMO &-• NEW YORK . LONGMANS, GREEN. CO. MDCCCXCVIll / , >1< ^-Hi-^^'^ -^ / :S'^6 <d -^ ^' Printed by Ballantyne, Hanson &> CO. At the Ballantyne Press *- -»5< im CONTENTS PAGE Bernardine . 309 SS. Achilles and comp. 158 Boniface of Tarsus . 191 B. Alcuin 263 Boniface IV., Pope . 345 S. Aldhelm .... 346 Brendan of Clonfert 217 „ Alexander I., Pope . -
Vitruvius on Architecture
107390 THE LOEB CLASSICAL LIBRARY FOUNDED BY JAMES LOEB, LL.D. EDITED BY fT. E. PAGE, C.H., LITT.D. LL.D. H. D. LITT.D. j-E. CAPPS, PH.D., fW. KOUSE, L. A. POST, M.A. E. H. WARMINGTON, M.A.. F.E.HIST.SOC. VITRUVIUS ON ARCHITECTURE I uzaJt yiTKUVIUS ON ARCHITECTURE EDITED FROM THE HARLEIAN MANUSCRIPT 2767 AI TRANSLATED INTO ENGLISH BY FRANK GRANGER, D.Lrr., AJLLB.A. PROFESSOR IN UNIVERSITY COLLEGE, NOTTINGHAM IN TWO VOLUMES I CAMBRIDGE, MASSACHUSETTS HARVARD UNIVERSITY PRESS LONDON WILLIAM HEINEMANN LTD MCMLV First printed 1931 Reprinted 1944,1955 To JESSB LORD TRBXT Printed in Great Britain CONTENTS PAQK PREFACE vii INTRODUCTION : VITRUVIUS AND THE ARCHITECTURE OF THE WEST ...... ix HISTORY OF THE MSS. OF VITRUVIUS . X\'i THE EARLIEST EDITIONS OF VITRUVIUS . XXi THE SCHOLIA OF THE MSS. XXV - THE ILLUSTRATIONS OF THE MSS. XXVli THE LANGUAGE OF VITRUVIUS . XXViii BIBLIOGRAPHY: THE MSS. XXXli EDITIONS ...... xxxiii TRANSLATIONS XXXiii THE CHIEF CONTRIBUTIONS TO THE STUDY OF VITRUVIUS ..... xxxiv BOOKS OF GENERAL REFERENCE . XXXVi TEXT AND ENGLISH TRANSLATION: BOOK I. ARCHITECTURAL PRINCIPLES . 1 BOOK II. EVOLUTION OF BUILDING : USE OF MATERIALS . 71 BOOK III. IONIC TEMPLES . 151 BOOK IV. DORIC AND CORINTHIAN TEMPLES 199 BOOK V. PUBLIC BUILDINGS I THEATRES (AND MUSIC), BATHS, HARBOURS . 249 INDEX OF ARCHITECTURAL TERMS 319 CONTENTS ILLUSTRATIONS: THE CAPITOL DOUGGA . (Frontispiece) PLATE A. WINDS AND DIRECTION OF STREETS (at end) PLATE B. PLANS OF TEMPLES . PLATE C. IONIC ORDER . PLATE 0. CORINTHIAN ORDER (see Frontispiece) PLATE E. DORIC ORDER . (at end] PLATE F. MUSICAL SCALES . , . , PLATE O. THEATRE . -
The Via Appia Southwards to Via Di Tor Carbone
The Via Appia southwards to via di Tor Carbone Via Appia Antica The Appian Way up to via di Tor Carbone has a timeless feel, which still amazes visitors today as it did in the past. Southwards, after the Capo di Bove Complex, you come to one of the most evocative stretches of the ancient Roman road. The monuments lining this stretch of the road are the result of the restoration work carried out by the architect Luigi Canina, in the mid-19th century, commissioned by the papal POI Distance government, who created an “open-air museum”. Canina created walls near the ruined 21 2.23 Km monuments, incorporating fragments of sculptures, reliefs and inscriptions found littered in the countryside, forming an evocative and uninterrupted sequence of ancient remains, against the natural backdrop of centuries-old pine trees. Poi 1 The Via Appia Antica 2 Capo di Bove Site - Cederna Archive 3 Tower Tomb 4 Tomb of the Equinoxes Scan the QrCode to access the navigable 5 The "flint core" tomb mobile version of the itinerary 6 Casale Torlonia 7 The Cecchignola Water Tower 8 The Appia Fort 9 High relief with a male figure 10 Tomb of Servilius Quartus 11 Tomb of Seneca 12 The Round Tomb 13 Tomb of the children of Sextus Pompey 14 Tomb of St. Urban 15 Doric Tomb - Tomb of Hilarus Fuscus - Tomb of Gens Licinia 16 The Horseshoe Columbarium 17 Tomb of Tiberius Claudius Secundus Philippianus 18 Temple-shaped tomb 19 Tomb of Rabirii 20 Tombs of the Garlands and Tombs the Frontspiece 21 Via Appia Antica – Tor Carbone (South) Poi 1 The Via Appia Antica Roma / Place to visit - Ancient streets The long story of the Via Appia unfolds in space and time. -
Extraordinary Jubilee of Mercy 2015-2016
EEXXTTRRAAOORRDDIINNAARRYY JJUUBBIILLEEEE ooff MMEERRCCYY The Extraordinary Jubilee of Mercy 2015-2016 Pope Francis, who is moved by the human, social and cultural issues of our times, wished to give the City of Rome and the Universal Church a special and extraordinary Holy Year of Grace, Mercy and Peace. The “Misericordiae VulTus” Bull of indicTion The Apostolic Exhortation Evangelii Gaudium, which continues to be the programmatic outline for the pontificate of Pope Francis, offers a meaningful expression of the very essence of the Extraordinary Jubilee which was announced on 11 April 2015: “The Church has an endless desire to show mercy, the fruit of its own experience of the power of the Father’s infinite mercy” (EG 24). It is with this desire in mind that we should re-read the Bull of Indiction of the Jubilee, Misericordiae Vultus, in which Pope Fran- cis details the aims of the Holy Year. As we know, the two dates already marked out are 8 December 2015, the Solemnity of the Immaculate Conception, the day of the opening of the Holy Door of St. Peter’s Basilica, and 20 November 2016, the Solemnity of Our Lord Jesus Christ, King of the Universe, which will conclude the Holy Year. Between these two dates a calendar of celebrations will see many different events take place. The Pope wants this Jubilee to be experienced in Rome as well as in local Churches; this brings partic- ular attention to the life of the individual Churches and their needs, so that initiatives are not just additions to the calendar but rather complementary.