DOCSLIB.ORG

Hypogea2015-Guidebook.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Hypogea2015-Guidebook.Pdf 2 CARCER TULLIANUM 3 the ancient sources, such as Pliny [Plin, Nat. Hist .VII, 212], who de- scribe him west of the Curia and close to Temple of Concordia. What remains today of the entire complex is the smallest part, per- haps the most internal one, while the rest of the construction is no longer visible. The excavations carried out at the end of the XX century, performed by the Soprintendenza of Rome, have allowed us to investigate FIGURE 1: PART OF THE ROMAN FO- more deeply the complex and to RUM WITH THE EVIDENCE OF THE add new archaeological data. POSITION OF CARCER (COARELLI) Among the new findings, we re- port the discovery of sections of The complex is located, going walls (in square work) belonging from the Roman Forum to the left to the defensive circuit of the Ser- of the road leading to the Clivius vian Wall, that was erected during Argentarius , just after the stairs the king age and was restored that led Gemoniae all'Arx (Figure and enlarged after 390 B.C., the 1 No.4); this area was part of the year in which the Gauls sacked Comitium , a sector in which was and burned Rome. The finding on concentrated the administrative this side of the Capitoline hill, and judicial work, as also reminds which is an indication that the us Vitruvius in De Architectura acropolis was also equipped with "Aerarium, carcer, curia hole coni- own walls, identified below the ungenda sunt, sed ita uti magni- first royal walls, with remains of tude symmetriae hole responde- red tuff and Capitol tuff, dating ant eorum " [Vitr. De Arc. V-1, 2) perhaps at proto-archaic age (VIII Today the complex is visible be- -VII century B.C.). low the church of St. Joseph of The complex consists of four the Carpenters and is the only overlapping circles [Figure 2]: the building, together with the Curia, church, the chapel of the crucifix who remained of the ancient com- and the two structures under- plex political and judiciary; the ground: the carcer (No.3) and the identification is certain, thanks to Tullianum (No.4). 4 Tullianum The Tullianum is a room shaped in three-quarters of a circle, made in a square blocks of lava stone. The stairway, descending from Carcer , was opened in modern times, in part by cutting the curved wall, built in square blocks arranged in rows that shrink pro- gressively upwards; the changes, that took place, are related to the presence on the southwest side of the altar dedicated in 1842 to the Apostles Peter and Paul, while the floor, made of bricks arranged in a herringbone pattern, jut out the ring of the well that collect the water of the spring. On the other hand, the NW coverage, once a low arch is formed by irregular blocks and fragments of tuff, sticked together with iron clamps and interspersed with bricks; the FIGURE 2: SECTION OF THE COM- PLEX, 1. CHURCH OF S. JOSEPH OF circular opening constitutes the THE CARPENTERS , 2. CHAPEL OF SS. point of connection with the over- CRUCIFIED, 3. CARCER, 4. TULLIANUM lying Carcer . It is to be noted a (FROM THE SITE OF SOPRINTENDEN- layer of various materials bonded ZA OF ROME). with mortar of different thickness, that stands over the cover on the tences of prisoners; we remember curved wall, a sign that the two Erennio Siculus, friend of Gaius structures were built at different Gracchus in 123 B.C., Jugurtha, times. King of Numidia in 104 B.C., Len- The Tullianum is mentioned by tulus and Cetego , companions of many ancient authors such as Catiline in 60 B.C. and Vercinget- Livy, Sallust and Calpurnius Flac- orix, King of the Gauls in 46 B.C. cus , who pointed out not only the The building is attributed to Anco location, but also the fact that it Marcio with subsequent renova- was the place of the death sen- tions by Servius Tullius and the 5 ancient sources, that lead to con- not exist in the Roman world); or firm these hypotheses, are both in as a circular tank uncovered to Livy [ Ab Urbe Condita "I, 33" ... protect a spring (Tullus) which within a population so large, came probably came out from a fountain difficult to distinguish good from on the external side towards the evil, and as a result of the prolifer- Forum, similar to Greek o in the ation of crime in the shadows. So archaic period. to deter the increasing lawless- Confirming this archaic function ness, a prison was built in the city are primarily the permanence of center, close to the Forum. "] And spring inside the structure, even Varro [" De Latin Language ", when there was a change of use, Book V, XXXII, 11" (Then there is) which establishes a kind of sa- the Arx, which is the most defen- credness attached to it, and sec- sible place in the city and where ondly, the presence of a drainage they can be easily spotted ene- ditch that drained the water in the mies. The prison is located under- nearby Cloaca Maxima. On the ground and has a place where function of the tank had already you can not get out, the Tullia- talked Borsari at the end of the num, the most interior part, which XIX century. was added by King Servius Tul- Coarelli although emphasizes an lius. “]. immediate function of prison, The function of this room was dif- while other archaeologist, basing ferently interpreted over time, as a on the fact that they have not "jail" for the death sentences it is found significant traces of lime- spoken widely in the ancient stone on the walls of the duct, sources (you must remember that leading to suppose that instead of the imprisonment sentences did a cistern, the original use of the room was an archaic tomb dome, but this is not supported by some source history. Carcer The Carcer , at the current state of the investigation, consists of two adjacent rooms placed on two different levels: the room FIGURE 3: CHANNEL FOR DREINAGE trapezoidal (commonly identified FROM TULLIANUM as the real Carcer ) and the com- 6 The dating is not secure, accord- ing to the Coarelli, however indi- cates that as to be fixed between 39 and 42 B.C. while Hulsen de- fines it as due to the consuls that "had the power under the reign of Tiberius or Caligula (between 20 and 40 A.D.)”, leading to a period broadly consistent with the sec- FIGURE 4: SECTION OF THE CARCER IN ond quarter of the I century. A.D. NORTH-SOUTH DIRECT ION, FACING The facade looks like a massive WEST. wall of ashlar blocks of travertine, placed in front of another wall of partment adjacent to the North limestone blocks of Grotta Oscura front, a rectangular, long and nar- and visible from the inside of row room. Carcer . Outside is longer than the The trapezoidal room has at least inside and also on the right side three construction phases, two of continues up to and including the which fit into a republican age; at room adjacent to the Carcer , a first stage should be reported found in recent excavations. On the SW corner of the south wall this there was the gateway of Ro- while the west wall, together with man times while the current entry the northern one and the cover- is the modern era (it was, howev- age, can be attributed to a second er, already present in 1589 when, phase. The front in travertine to give more light inside, was de- blocks was istead built in the early cided to raise and widen the imperial age, but it remains un- door). clear if the wall where there is the On the side facing the south wall current entrance is referable to is characterized by the oblique the first or second phase. detectable, especially in the first section; on the floor, covered with The inscription over the entrance slabs of modern lava stone, is reads: visible the manhole placed in the vault of the underlying Tullianum . C. VIBIUS C. F. RUFINUS, M. In the south wall is evident the COCCEIUS M. F. NERVA COS. point where the cover leaning on EX S(ENATUS) C(ONSULTO) a wall section that was pre-exist; a staircase leads to the lower lev- el and cut the Tullianum , while in 7 FIGURE 5: PROSPECTUS OF THE SIDE WALL, EAST-WEST SIDE, AND ROOM ADJACENT TO CARCER . the past, the only opening to the is believed to be connected with room below was formed by the the Carcer and has walls in circular hole in the center of the square work of Monteverde tuff or floor; is however to be remem- dell’Aniene tuff, with blocks from bered as this is not the original, slightly dimpled surface. but that was probably built during The north wall border on a wall an ancient restoration. structure of considerable thick- Coarelli points out that along the ness, already identified during the slopes of the Capitol hill the excavations of the 40s of the XX Carcer had to be linked to other century, with the defensive circuit/ rooms, known by the name of construction of the Capitol. It has Lautumiae , because was settled emerged also that the remains of in the ancient quarries of tuff; the a furnace with the brick floor and Hulsen, at the beginning of ‘XX walls in flakes of gray tuff bound century had noted the presence of with mortar and subsequently in- “… other rooms adjoining it is cer- corporated between the structures tain the existence, but none is yet of the convent behind the struc- available." ture.
Load more

Recommended publications
  • 11Ffi ELOGIA of the AUGUSTAN FORUM
    THEELOGIA OF THE AUGUSTAN FORUM 11ffi ELOGIA OF THE AUGUSTAN FORUM By BRAD JOHNSON, BA A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of Arts McMaster University © Copyright by Brad Johnson, August 2001 MASTER OF ARTS (2001) McMaster University (Classics) Hamilton, Ontario TITLE: The Elogia of the Augustan Forum AUTHOR: Brad Johnson, B.A. (McMaster University), B.A. Honours (McMaster University) SUPERVISOR: Dr. Claude Eilers NUMBER OF PAGES: v, 122 II ABSTRACT The Augustan Forum contained the statues offamous leaders from Rome's past. Beneath each statue an inscription was appended. Many of these inscriptions, known also as elogia, have survived. They record the name, magistracies held, and a brief account of the achievements of the individual. The reasons why these inscriptions were included in the Forum is the focus of this thesis. This thesis argues, through a detailed analysis of the elogia, that Augustus employed the inscriptions to propagate an image of himself as the most distinguished, and successful, leader in the history of Rome. III ACKNOWLEDGEMENTS I would like to thank my supervisor, Dr. Claude Eilers, for not only suggesting this topic, but also for his patience, constructive criticism, sense of humour, and infinite knowledge of all things Roman. Many thanks to the members of my committee, Dr. Evan Haley and Dr. Peter Kingston, who made time in their busy schedules to be part of this process. To my parents, lowe a debt that is beyond payment. Their support, love, and encouragement throughout the years is beyond description.
    [Show full text]
  • West Asian Geopolitics and the Roman Triumph A
    UNIVERSITY OF CALIFORNIA RIVERSIDE Parading Persia: West Asian Geopolitics and the Roman Triumph A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History by Carly Maris September 2019 Dissertation Committee: Dr. Michele Salzman, Chairperson Dr. Denver Graninger Dr. Thomas Scanlon Copyright by Carly Maris 2019 The Dissertation of Carly Maris is approved: Committee Chairperson University of California, Riverside Acknowledgements Thank you so much to the following people for your continued support: Dan (my love), Mom, Dad, the Bellums, Michele, Denver, Tom, Vanessa, Elizabeth, and the rest of my friends and family. I’d also like to thank the following entities for bringing me joy during my time in grad school: The Atomic Cherry Bombs, my cats Beowulf and Oberon, all the TV shows I watched and fandoms I joined, and my Twitter community. iv ABSTRACT OF THE DISSERTATION Parading Persia: West Asian Geopolitics and The Roman Triumph by Carly Maris Doctor of Philosophy, Graduate Program in History University of California, Riverside, September 2019 Dr. Michele Salzman, Chairperson Parading Persia: West Asian Geopolitics and the Roman Triumph is an investigation into East-West tensions during the first 500 years of Roman expansion into West Asia. The dissertation is divided into three case studies that: (1) look at local inscriptions and historical accounts to explore how three individual Roman generals warring with the dominant Asian-Persian empires for control over the region negotiated
    [Show full text]
  • Copyrighted Material
    CHAPTER ONE i Archaeological Sources Maria Kneafsey Archaeology in the city of Rome, although complicated by the continuous occupation of the site, is blessed with a multiplicity of source material. Numerous buildings have remained above ground since antiquity, such as the Pantheon, Trajan’s Column, temples and honorific arches, while exten- sive remains below street level have been excavated and left on display. Nearly 13 miles (19 kilometers) of city wall dating to the third century CE, and the arcades of several aqueducts are also still standing. The city appears in ancient texts, in thousands of references to streets, alleys, squares, ­fountains, groves, temples, shrines, gates, arches, public and private ­monuments and buildings, and other toponyms. Visual records of the city and its archaeology can be found in fragmentary ancient, medieval, and early modern paintings, in the maps, plans, drawings, and sketches made by architects and artists from the fourteenth century onwards, and in images captured by the early photographers of Rome. Textual references to the city are collected together and commented upon in topographical dictionaries, from Henri Jordan’s Topographie der Stadt Rom in Alterthum (1871–1907) and Samuel Ball Platner and Thomas Ashby’s Topographical Dictionary of Ancient Rome (1929), to Roberto Valentini and Giuseppe Zucchetti’s Codice Topografico della Città di Roma (1940–53), the new topographical dictionary published in 1992 by Lawrence RichardsonCOPYRIGHTED Jnr and the larger,MATERIAL more comprehensive Lexicon Topographicum Urbis Romae (LTUR) (1993–2000), edited by Margareta Steinby (see also LTURS). Key topographical texts include the fourth‐­century CE Regionary Catalogues (the Notitia Dignitatum and A Companion to the City of Rome, First Edition.
    [Show full text]
  • 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.
    [Show full text]
  • 3 Architects, Antiquarians, and the Rise of the Image in Renaissance Guidebooks to Ancient Rome
    Anna Bortolozzi 3 Architects, Antiquarians, and the Rise of the Image in Renaissance Guidebooks to Ancient Rome Rome fut tout le monde, & tout le monde est Rome1 Drawing in the past, drawing in the present: Two attitudes towards the study of Roman antiquity In the early 1530s, the Sienese architect Baldassare Peruzzi drew a section along the principal axis of the Pantheon on a sheet now preserved in the municipal library in Ferrara (Fig. 3.1).2 In the sixteenth century, the Pantheon was generally considered the most notable example of ancient architecture in Rome, and the drawing is among the finest of Peruzzi’s surviving architectural drawings after the antique. The section is shown in orthogonal projection, complemented by detailed mea- surements in Florentine braccia, subdivided into minuti, and by a number of expla- natory notes on the construction elements and building materials. By choosing this particular drawing convention, Peruzzi avoided the use of foreshortening and per- spective, allowing measurements to be taken from the drawing. Though no scale is indicated, the representation of the building and its main elements are perfectly to scale. Peruzzi’s analytical representation of the Pantheon served as the model for several later authors – Serlio’s illustrations of the section of the portico (Fig. 3.2)3 and the roof girders (Fig. 3.3) in his Il Terzo Libro (1540) were very probably derived from the Ferrara drawing.4 In an article from 1966, Howard Burns analysed Peruzzi’s drawing in detail, and suggested that the architect and antiquarian Pirro Ligorio took the sheet to Ferrara in 1569.
    [Show full text]
  • Chapter 3 Who Built the Pantheon? Agrippa, Apollodorus, Hadrian And
    Despite so much that is known about Roman buildings, Chapter 3 there is relatively little to say about the individuals involved in the ferment of their creation. We can reconstruct Who Built the Pantheon? confidently the original appearance of many a monument, but not much about their designers. This is not for want of Agrippa, Apollodorus, information; it is just not quite of the right kind. All around the Mediterranean survive ample ruins, including some Hadrian and Trajan strikingly well-preserved buildings, of which the Pantheon is the prime example. This physical evidence is illuminated by literary sources, inscriptions and brickstamps, and on Mark Wilson Jones occasion by maps and drawings inscribed in stone. Notwithstanding some long-running disputes, we can often be sure of the identity and date of individual monuments in major cities. We also possess quite a populous roster of architects’ names, thanks to numbers of their tombstones, along with the occasional textual mention of a few of the men at the top of their profession. Some buildings bear discreet architects’ inscriptions, yet these are nothing like as numerous and prominent as those of their patrons; it is they who take the credit. In short, it is normally impossible to join up specific surviving buildings with specific architects about whom we know any more than the name. In this the Roman period fares worse than the Greek, when architects were frequently tied to particular projects by specifications, contracts and accounts recorded on stone, while the names of famous protagonists can be found in the treatises of Roman writers, most notably Vitruvius and Pliny.1 By such means we know of no fewer than three individuals who had responsibility for the design of the Parthenon in one role or other, Ictinus, Kallikrates and Karpion, while a fourth, Phidias, the creator of Athena Parthenos, may also have had some architectural input.
    [Show full text]
  • Roman Art Kindle
    ROMAN ART PDF, EPUB, EBOOK Paul Zanker | 216 pages | 10 Jan 2012 | Getty Trust Publications | 9781606061015 | English | Santa Monica CA, United States Roman Art PDF Book If you don't know about Paracas textiles Construction of the Baths of Diocletian , for instance, monopolised the entire brick industry of Rome, for several years. Roman aqueducts , also based on the arch, were commonplace in the empire and essential transporters of water to large urban areas. The Romans also made frequent use of the semicircular arch, typically without resorting to mortar: relying instead on the precision of their stonework. The heads of the Marcus Aurelius figures are larger than normal, to show off their facial expressions. However it never lost its distinctive character, especially notable in such fields as architecture, portraiture, and historical relief. This led to a popular trend among the ancient Romans of including one or more such statues in the gardens and houses of wealthier patrons. With the authenticity of the medallion more firmly established, Joseph Breck was prepared to propose a late 3rd to early 4th century date for all of the brushed technique cobalt blue-backed portrait medallions, some of which also had Greek inscriptions in the Alexandrian dialect. They also served an important unifying force. Useing vivid colours it simulates the appearance of marble. From Wikipedia, the free encyclopedia. Sculpture: Types and Characteristics. A higher relief is used, permitting greater contrast between light and shadow. Further information: Roman portraiture. As another example of the lost "Golden Age", he singled out Peiraikos , "whose artistry is surpassed by only a very few But flagship buildings with domes were far from being the only architectural masterpieces built by Ancient Rome.
    [Show full text]
  • IATL Pedagogic Intervention Grant Dr. Abigail Graham
    IATL Pedagogic Intervention Grant Dr. Abigail Graham Contextualising the Eternal City: an academic field trip to Rome for participants in the City of Rome module. March 20-24th 2014 _______________________________________________________________________________ The IATL Pedagogic Intervention Grant allowed the Classics department to offer a field trip component for 15 student participant and one graduate student as part of of the City of Rome (CX 303) module. When studying the history, archaeology and geography of the ancient city, there is simply no substitute for a “hands on” experience in the city and with its incredible collection of materials. Although not all students could participate (the course had 46 students), we used this opportunity, not only to only to visit sites, but to find ways to teach the whole class about the city, through powerpoints, photographs and video presentations which the students made on site in Rome and in Ostia. These video “case studies” ranged from famous buildings such as the Pantheon or the Colosseum in Rome, to market stall for fish sauce stall or a launderers at Ostia. This experience not only encouraged study and group dynamic, but allowed the students to consider and learn how to present this type of material through a visual medium. A sample video and accompanying powerpoint presentation have been provided. A selection of these are published on the City of Rome Module Website. These “case study” videos and power point presentations are currently being used by all the students in the course for exam revision. http://www2.warwick.ac.uk/fac/arts/classics/students/modules/rome/powerpoints By basing the trip at the British School At Rome, we also had a chance to introduce the students to a world reknown British institution and the resources it offers, as well as to meet the current researcher and scholars based there, as we dined with these individuals on two of the nights we were there, and the director Prof.
    [Show full text]
  • Reading Death in Ancient Rome
    Reading Death in Ancient Rome Reading Death in Ancient Rome Mario Erasmo The Ohio State University Press • Columbus Copyright © 2008 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Erasmo, Mario. Reading death in ancient Rome / Mario Erasmo. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8142-1092-5 (cloth : alk. paper) ISBN-10: 0-8142-1092-9 (cloth : alk. paper) 1. Death in literature. 2. Funeral rites and ceremonies—Rome. 3. Mourning cus- toms—Rome. 4. Latin literature—History and criticism. I. Title. PA6029.D43E73 2008 870.9'3548—dc22 2008002873 This book is available in the following editions: Cloth (ISBN 978-0-8142-1092-5) CD-ROM (978-0-8142-9172-6) Cover design by DesignSmith Type set in Adobe Garamond Pro by Juliet Williams Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI 39.48-1992. 9 8 7 6 5 4 3 2 1 Contents List of Figures vii Preface and Acknowledgments ix INTRODUCTION Reading Death CHAPTER 1 Playing Dead CHAPTER 2 Staging Death CHAPTER 3 Disposing the Dead 5 CHAPTER 4 Disposing the Dead? CHAPTER 5 Animating the Dead 5 CONCLUSION 205 Notes 29 Works Cited 24 Index 25 List of Figures 1. Funerary altar of Cornelia Glyce. Vatican Museums. Rome. 2. Sarcophagus of Scipio Barbatus. Vatican Museums. Rome. 7 3. Sarcophagus of Scipio Barbatus (background). Vatican Museums. Rome. 68 4. Epitaph of Rufus.
    [Show full text]
  • L'antica Porta Appia Delle Mura Costruite Nella Seconda Metà Del III
    Prima di arrivare a Porta S. Sebastiano – l’antica Porta Appia delle è ora ridotta al nucleo di calcestruzzo, sul quale è stata costruita una Cento metri oltre il bivio con la via Appia Pignatelli (sistemata alla trionfale. Sulle gradinate potevano trovare posto oltre 10.000 spet- Torlonia (n. civico 240), la via corre finalmente libera e fiancheggia- Sempre sul lato destro seguono i ruderi ben conservati nella parte mura costruite nella seconda metà del III sec. d.C. dall’imperatore casetta. Presso il bivio con la via Ardeatina è la piccola chiesa del fine del secolo XVII da Papa Innocenzo XII), al numero civico 119a, tatori. Al di là del Circo sorgeva la Villa (12), che era direttamente ta da pini e cipressi con numerosi resti di tombe ora più facilmente posteriore di un sepolcro a tempietto (31), rettangolare, con alto Aureliano – esisteva (ed esiste tuttora coi nomi di via delle Terme di Quo Vadis (5) o Santa Maria in palmis rifacimento seicentesco di una è l’ingresso delle Catacombe Ebraiche di Vigna Randanini (9). collegata al palco imperiale del Circo. Sotto di essa e da quella inglo- accessibili. Oltre il cancello dell’ex Forte Appio, si susseguono, sulla podio e scalinata; la Tomba, ricostruita, dei Rabiri (32), del I seco- Caracalla e via di Porta S. Sebastiano) il tratto iniziale della strada, cappella eretta nel IX secolo sul luogo dove, secondo la tradizione, Dopo il successivo bivio con la via delle Sette Chiese s’apre uno spiaz- bata, si trova una precedente villa del II secolo, sorta a sua volta destra, l’epigrafe di un Gneo Bebio Tampilo e l’iscrizione della fami- lo d.C., con la copia del rilievo originale raffigurante i busti con le lungo quasi un miglio, che, partendo dalla Porta Capena delle mura S.
    [Show full text]
  • Attraction List
    ATTRACTION LIST Normal Adult FREE ENTRY WITH THE OMNIA CARD Entry Fee Sistine Chapel and Vatican Museum (skip the line) € 30.00 72-hour Hop-On Hop-Off Bus Tour € 32.00 Basilica Of St.John In The Lateran and the Cloister € 5.00 Carcer Tullianum € 10.00 Cloister of St. Paul’s Outside the Walls Basilica € 4.00 Normal Adult FREE ENTRY TO THE FIRST TWO ATTRACTIONS WITH THE ROMA PASS Entry Fee Colosseum + Roman Forum + Palatine Hill € 16.00 Castel Sant’Angelo € 15.00 Capitoline Museums € 11.50 Galleria Borghese € 13.00 FURTHER MUSEUMS / ARCHEOLOGICAL SITES ON THE ROMA PASS WITH DISCOUNTED ENTRY National Academy of Saint Luke (Free) Ancient Appian Way - Mausoleum of Cecilia Metella and the Castrum Caetani Ancient Appian Way – Baths of Caracalla Ancient Appian Way - Villa of the Quintili Rome Modern Art Gallery National Gallery of Ancient Art in Palazzo Barberini and Palazzo Corsini Spada Gallery National Gallery of Modern and Contemporary Art MACRO – Rome Contemporary Art Museum MAXXI - National Museum of 21st Century Arts Trajan’s Markets - Museum of the Imperial Forums Museums of Villa Torlonia Carlo Bilotti Orangery Museum in Villa Borghese (Free) Civic Zoology Museum Ara Pacis Museum Museum of Roman Civilization Museum of the Roman Republic and of the Garibaldian Memory (Free) Museum of the City Walls (Free) Casal de’ Pazzi Museum (Free) Rome Museum Rome Trastevere Museum Museum of Ancient Sculpture Giovanni Barracco (Free) Napoleonic Museum (Free) National Museum of Musical Instruments National Museum of Palazzo Venezia National Etruscan
    [Show full text]
  • In Presentia Mei Notarii. Piante E Disegni
    FERNANDO BILANCIA Il palazzo della famiglia Aquilani di Roma a piazza di Ara Coeli Il palazzo che fu degli Aquilani, sinora mai studiato benché centralis- simo, sorge a Roma a piazza d’Ara Coeli 61. Gli Aquilani di Roma appartenevano ad una nobile famiglia pisana che ebbe fra i suoi componenti diversi cavalieri dell’ordine di S. Stefano2; alcuni suoi membri si trasferirono nella capitale dello Stato Pontificio nel secolo XVI, ove ricoprirono importanti cariche pubbliche. La testimonianza più antica della presenza a Roma di un componente della famiglia si fa risalire al 1539 ed è fornita dall’iscrizione posta su una lapide incisa nel 1736 nel pavimento della chiesa di S. Maria in Vallicella: in essa, al di sotto dello stemma di famiglia quasi completamente abraso (tav. XXVII), Ludovico Aquilani3 riferisce che nel 1539 il suo antenato Ludo- vico senior, quando era ancora in vita, eresse nella chiesa un monumento funebre a sè ed ai suoi discendenti4. Ma il confronto con tutte le altre noti- zie reperite, riguardanti la vita di Ludovico senior Aquilani (in particolare la data della sua morte avvenuta nel 1594) rende piuttosto improbabile che 1 C. PIETRANGELI (Guide rionali di Roma. Rione X–Campitelli, I, Roma, Palombi editori, 1975, p. 18) si limita a definirlo correttamente “palazzetto del ’700”. 2 Sulla famiglia Aquilani cfr.: T. AMAYDEN, La storia delle famiglie romane, con note ed aggiunte di C.A. Bertini, Roma, Collegio Araldico, s. d. (rist. anast., Roma, Edizioni Romane Colosseum, 1987), I, pp. 70-72; R. MAZZEI, Pisa medicea, Firenze, Leo Olschki editore, 1991. L’Ordine militare dei Cavalieri di S.
    [Show full text]