The Basilica of Maxentius
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Tetrarch Pdf, Epub, Ebook
TETRARCH PDF, EPUB, EBOOK Ian Irvine | 704 pages | 05 Feb 2004 | Little, Brown Book Group | 9781841491998 | English | London, United Kingdom Tetrarch PDF Book Chapter Master Aetheon of the 19th Chapter of the Ultramarines Legion was rumoured to be Guilliman's choice to take up the role of the newest Prince of Ultramar. Eleventh Captain of the Ultramarines Chapter. After linking up with the 8th Parachute Battalion in Bois de Bavent, they proceeded to assist with the British advance on Normandy, providing reconnaissance for the troops. Maxentius rival Caesar , 28 October ; Augustus , c. Year of the 6 Emperors Gordian dynasty — Illyrian emperors — Gallic emperors — Britannic emperors — Cookie Policy. Keep scrolling for more. Luke Now in the fifteenth year of the reign of Tiberius Cesar, Pontius Pilate being governor of Judea, and Herod being tetrarch of Galilee, and his brother In the summer of , Tetrarch got their first taste at extensive touring by doing a day east coast tour in support of the EP. D, Projector and Managing Editor. See idem. Galerius and Maxentius as Augusti of East and West. The four tetrarchs based themselves not at Rome but in other cities closer to the frontiers, mainly intended as headquarters for the defence of the empire against bordering rivals notably Sassanian Persia and barbarians mainly Germanic, and an unending sequence of nomadic or displaced tribes from the eastern steppes at the Rhine and Danube. This category only includes cookies that ensures basic functionalities and security features of the website. Primarch of the Ultramarines Legion. The armor thickness was increased to a maximum of 16mm using riveted plating, and the Henry Meadows Ltd. -
Ancient Rome’S Most Exclu- Fare of the Roman Forum Gladiatorial Amphitheatre Sive Neighbourhood
56 ©Lonely Planet Publications Pty Ltd A n c i e n t R o m e COLOSSEUM | FORUMS | CAMPIDOGLIO | PIAZZA VENEZIA | BOCCA DELLA VERITÀ & FORUM BOARIUM Five Top Experiences 1 Getting your first 2 Exploring the haunting 4 Walking up Via Sacra, glimpse of the Colosseum ruins of the Palatino (p 60 ), the once grand thorough- (p 58 ). Rome’s towering ancient Rome’s most exclu- fare of the Roman Forum gladiatorial amphitheatre sive neighbourhood. (p 63 ). is both an architectural 3 Coming face to face 5 Surveying the city masterpiece, the blueprint with centuries of awe- spread out beneath you for much modern stadium inspiring art at the historic from atop Il Vittoriano design, and a stark, spine- Capitoline Museums (p67 ). (p 69 ) tingling reminder of the brutality of ancient times. 000000000000000000 000000000000000000 000000000000000000o 000000000000000000Piazza Traian e 0200m 000000000000000000Venezia oro # 00.1miles 000000000000000000ia F 000000000000000000V 000000000000000000arco 000000000000000000M V ri 000000000000000000i San nga d Imperial i V Zi V000000000000000000ia #æ a egli # ia 0000000000000000005 Forums T Via d V00000000000000000000000000 V or 000000000 000000000000000000ia 00000000 ä# d 000000000000a i e n 000000000000000000d 00000000 Via a d 000000000oni 000 i e 000000000000000000'A 00000000 A e 000000Via L 000000 00000000000000000000000000 dei F ' S 000000000000 r le C ccina 000000000000000000a 00000000 a Ba e 000000000000 000000000000000000c 00000000 s o Vi i P s nt r 000000000000000000o 00000000 ori n o p e iet a e'M 00000000000000000000000000 -
Rodolfo Lanciani, the Ruins and Excavations of Ancient Rome, 1897, P
10/29/2010 1 Primus Adventus ad Romam Urbem Aeternam Your First Visit to Rome The Eternal City 2 Accessimus in Urbe AeternA! • Welcome, traveler! Avoiding the travails of the road, you arrived by ship at the port of Ostia; from there, you’ve had a short journey up the Via Ostiensis into Roma herself. What do you see there? 3 Quam pulchra est urbs aeterna! • What is there to see in Rome? • What are some monuments you have heard of? • How old are the buildings in Rome? • How long would it take you to see everything important? 4 Map of Roma 5 The Roman Forum • “According to the Roman legend, Romulus and Tatius, after the mediation of the Sabine women, met on the very spot where the battle had been fought, and made peace and an alliance. The spot, a low, damp, grassy field, exposed to the floods of the river Spinon, took the name of “Comitium” from the verb coire, to assemble. It is possible that, in consequence of the alliance, a road connecting the Sabine and the Roman settlements was made across these swamps; it became afterwards the Sacra Via…. 6 The Roman Forum • “…Tullus Hostilius, the third king, built a stone inclosure on the Comitium, for the meeting of the Senators, named from him Curia Hostilia; then came the state prison built by Ancus Marcius in one of the quarries (the Tullianum). The Tarquin [kings] drained the land, gave the Forum a regular (trapezoidal) shape, divided the space around its borders into building- lots, and sold them to private speculators for shops and houses, the fronts of which were to be lined with porticoes.” --Rodolfo Lanciani, The Ruins and Excavations of Ancient Rome, 1897, p. -
C6 – Barrel Vault Country : Tunisia
Building Techniques : C6 – Barrel vault Country : Tunisia PRÉSENTATION Geographical Influence Definition Barrel vault - Horizontal framework, semi-cylindrical shape resting on load-bearing walls - For the building, use or not of a formwork or formwork supports. - Used as passage way or as roofing (in this case, the extrados is protected by a rendering). Environment One finds the barrel vault in the majority of the Mediterranean countries studied. This structure is usually used in all types of environment: urban, rural, plain, mountain or seaside. Associated floors: Barrel vaults are used for basement, intermediary and ground floors for buildings and public structures. This technique is sometimes used for construction of different floors. In Tunisia, stone barrel vaults are only found in urban environment, they are common in plains and sea side plains, exceptional in mountain. The brick barrel vault is often a standard in mountain environment. The drop vault (rear D' Fakroun) is often a standard everywhere. Associated floors: In Tunisia, this construction technique is used to build cellars, basements, cisterns (“ fesqiya ”, ground floors and first floors (“ ghorfa ”). Drop arches and brick vaults can sometimes be found on top floors. Illustrations General views : Detail close-up : This project is financed by the MEDA programme of the European Union. The opinions expressed in the present document do not necessarily reflect the position of the European Union or of its member States 1/6 C6 Tunisia – Barrel vault CONSTRUCTION PRINCIPLE Materials Illustrations Nature and availability (shape in which it is found) For the construction of barrel vaults, the most often used materials are limestone and terracotta brick in all the studied countries. -
Spoliation in Medieval Rome Dale Kinney Bryn Mawr College, [email protected]
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College History of Art Faculty Research and Scholarship History of Art 2013 Spoliation in Medieval Rome Dale Kinney Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/hart_pubs Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons Custom Citation Kinney, Dale. "Spoliation in Medieval Rome." In Perspektiven der Spolienforschung: Spoliierung und Transposition. Ed. Stefan Altekamp, Carmen Marcks-Jacobs, and Peter Seiler. Boston: De Gruyter, 2013. 261-286. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/hart_pubs/70 For more information, please contact [email protected]. Topoi Perspektiven der Spolienforschung 1 Berlin Studies of the Ancient World Spoliierung und Transposition Edited by Excellence Cluster Topoi Volume 15 Herausgegeben von Stefan Altekamp Carmen Marcks-Jacobs Peter Seiler De Gruyter De Gruyter Dale Kinney Spoliation in Medieval Rome i% The study of spoliation, as opposed to spolia, is quite recent. Spoliation marks an endpoint, the termination of a buildlng's original form and purpose, whÿe archaeologists tradition- ally have been concerned with origins and with the reconstruction of ancient buildings in their pristine state. Afterlife was not of interest. Richard Krautheimer's pioneering chapters L.,,,, on the "inheritance" of ancient Rome in the middle ages are illustrated by nineteenth-cen- tury photographs, modem maps, and drawings from the late fifteenth through seventeenth centuries, all of which show spoliation as afalt accomplU Had he written the same work just a generation later, he might have included the brilliant graphics of Studio Inklink, which visualize spoliation not as a past event of indeterminate duration, but as a process with its own history and clearly delineated stages (Fig. -
Section of a Floor Mosaic Depicting Fall
VMFA Resources CLASSROOM ACTIVITY VIRGINIA MUSEUM OF FINE ARTS Section of a Floor Mosaic Depicting Fall Section of a Floor Mosaic Depicting Fall, 3rd–4th century AD Roman Stone and glass tesserae, 70 x 40 in. Adolph D. and Wilkins C. Williams Fund, 51.13 VMFA Resources CLASSROOM ACTIVITY VIRGINIA MUSEUM OF FINE ARTS Object Information Romans often decorated their public buildings, villas, and houses with mosaics—pictures or patterns made from small pieces of stone and glass called tesserae (tes’-er-ray). To make these mosaics, artists first created a foundation (slightly below ground level) with rocks and mortar and then poured wet cement over this mixture. Next they placed the tesserae on the cement to create a design or a picture, using different colors, materials, and sizes to achieve the effects of a painting and a more naturalistic image. Here, for instance, glass tesserae were used to add highlights and emphasize the piled-up bounty of the harvest in the basket. This mosaic panel is part of a larger continuous composition illustrating the four seasons. The seasons are personified aserotes (er-o’-tees), small boys with wings who were the mischievous companions of Eros. (Eros and his mother, Aphrodite, the Greek god and goddess of love, were known in Rome as Cupid and Venus.) Erotes were often shown in a variety of costumes; the one in this panel represents the fall season and wears a tunic with a mantle around his waist. He carries a basket of fruit on his shoulders and a pruning knife in his left hand to harvest fall fruits such as apples and grapes. -
THE PRINCIPATE – LIFEBELT, OR MILLSTONE AROUND the NECK of the EMPIRE? John Drinkwater* the Augustan Principate Was the Produc
THE PRINCIPATE – LIFEBELT, OR MILLSTONE AROUND THE NECK OF THE EMPIRE? John Drinkwater* The Augustan Principate was the product of crisis – a response to the challenges that precipitated the fall of the Republic. The Principate worked because it met the political needs of its day. There is no doubt that it saved the Roman state and the Roman Empire: it was a lifebelt. But it was not perfect. In its turn it precipitated more challenges that had to be responded to – more crises – in particular that known as the ‘third century Crisis’. In the long run it was a problem as much as a solution: a millstone as much as a lifebelt. In the end, it had to go. I will brie y deal with the Principate as a problem, and then suggest a new way of discerning the strains that brought about its demise. The Principate was created by Augustus and continued by the Julio- Claudians. However, there is a case for arguing that the Principate had still to establish itself as ‘the of\ ce of emperor’ as late as the death of Nero. The continuing challenges and responses that created and developed the Principate sometimes also broke it open to show its workings, and what contemporaries made of it. Thus Plutarch reports that in A.D. 68, Galba, on his way from Spain to take up power in Rome, entertained a group of senators in southern Gaul. Though he could have used the imperial furniture and servants sent to him by the Praetorian Prefect, Nymphidius Sabinus, initially he chose not to, which was remarked upon favourably by his guests.1 Galba’s modesty is explicable in various ways but, following Wiedemann’s appreciation of Galba’s family pride, I believe that he rejected this ‘family silver’ basically because it was the silver of an alien family.2 Galba, born in 3 B.C., had lived under all the Julio-Claudian rulers. -
Recent Discoveries in the Forum, 1898-1904
Xil^A.: ORum 1898- 1:904 I^H^^Hyj|Oj|^yL|i|t I '^>^J:r_J~ rCimiR BADDELEY '•^V^^^' ^^^ i^. J^"A % LIBRARY RECENT DISCOVERIES IN THE FORUM Digitized by the Internet Archive in 2011 with funding from University of Toronto http://www.archive.org/details/recentdiscoverieOObadd ^%p. ji^sa&i jI Demolishing the Houses Purchased by Mp. L. Piitlltps (1899) Frontispiece RECENT DISCOVERIES IN THE FORUM 1898-1904 BY AN EYE-WITNESS S:i^ CLAIR BADDELEY BEING A HANDBOOK FOR TRAVELLERS, WITH A MAP MADE FOR THIS WORK BY ORDER OF THE DIRECTOR OF THE EXCAVATIONS AND 45 ILLUSTRATIONS LONDON GEORGE ALLEN, 156, CHARING CROSS ROAD 1904 [All rights reserved] -. s* r \ i>< ^^ARY# r^ ¥ ^ y rci/O FEB 26 'X_> Printed by BALLANTYNK, HANSON <5r» Co. At the Ballantyne Press TO LIONEL PHILLIPS, Esq, IN MEMORY OF DAYS IN THE FORUM PREFATORY NOTE 1 HAVE heard life in the Forum likened unto ' La Citta Morte/ wherein the malign influences of ancient crimes rise up from the soil and evilly affect those who live upon the site. I have also heard it declared to be a place dangerous to physical health. It is with gratifi- cation, therefore, after living therein, both beneath it and above, as few can have done, for considerable portions of the last six years, that I can bring solid evidence to belie both accusations. They indeed would prove far more applicable if levelled at certain other august centres of Rome. For I find it necessary to return thanks here for valuable assistance given to me without hesitation and at all times, not only by my personal friend Comm. -
Let's Look Let's Look Again Tapestry Showing The
TAPESTRY SHOWING THE TRIUMPH OF CONSTANTINE OVER MAXENTIUS AT THE BATTLE OF THE MILVIAN BRIDGE FROM THE SERIES KNOWN AS THE “HISTORY OF CONSTANTINE THE GREAT” This tapestry shows the dramatic conclusion of the Battle of the 1623–25 Milvian Bridge fought between two leaders of ancient Rome, Wool and silk with gold and Constantine and Maxentius, in 312 CE. As part of their strategy, silver threads 15 feet, 11 inches x 24 feet, 5 inches Maxentius’s army knocked down a stone bridge and replaced it with (485.1 x 744.2 cm) a temporary wooden one, which could be pulled down easily if they FIGURAL COMPOSITION DESIGNED IN 1622 BY needed to retreat. When Maxentius and his troops were forced back PETER PAUL RUBENS Flemish (active Italy, Antwerp, and by Constantine’s army, the bridge unexpectedly collapsed beneath England), 1577–1640 Woven at the Comans–La Planche them, sending horses and soldiers tumbling into the Tiber River tapestry factory (Paris) below. After this victory, Constantine became the sole ruler of the Western Roman Empire. LET’S LOOK Describe the action in this scene. The defeated Maxentius is pictured upside down at the bottom center What is happening? of the composition. Around him, horses and men fall in a tangled Who is winning? Who is losing? mass of arms, legs, bodies, and heads. At the edge of the bridge, How can you tell? a terrified soldier desperately attempts to prevent his horse from What details tell you about the time period when this falling. Two soldiers cling to the bridge with their fingertips, anxiously event took place? trying to hang on. -
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. -
Constantine Triumphal Arch 313 AD Basilica of St. Peter Ca. 324
Constantine Triumphal Arch 313 AD Basilica of St. Peter ca. 324 ff. Old St. Peter’s: reconstruction of nave, plus shrine, transept and apse. Tetrarchs from Constantinople, now in Venice Constantine defeated the rival Augustus, Maxentius, at the Pons Mulvius or Milvian Bridge north of Rome, at a place called Saxa Rubra (“Red rocks”), after seeing a vision (“In hoc signo vinces”) before the battle that he eventually associated with the protection of the Christian God. Maxentius’s Special Forces (Equites Singulares) were defeated, many drowned; the corps was abolished and their barracks given to the Bishop of Rome for the Lateran basilica. To the Emperor Flavius Constantinus Maximus Father of the Fatherland the Senate and the Roman People Because with inspiration from the divine and the might of his intelligence Together with his army he took revenge by just arms on the tyrant And his following at one and the same time, Have dedicated this arch made proud by triumphs INSTINCTV DIVINITATIS TYRANNO Reconstruction of view of colossal Sol statue (Nero, Hadrian) seen through the Arch of Constantine (from E. Marlow in Art Bulletin) Lorsch, Germany: abbey gatehouse in the form of a triumphal arch, 9th c. St. Peter’s Basilicas: vaulted vs. columns with wooden roofs Central Hall of the Markets of Trajan Basilica of Maxentius, 3018-312, completed by Constantine after 313 Basilica of Maxentius: Vaulting in concrete Basilica of Maxentius, 3018-312, completed by Constantine after 313 Monolithic Corinthian column from the Basilica of Maxentius, removed in early 1600s by Pope Paul V and brought to the piazza in front of Santa Maria Maggiore Monolithic Corinthian column from the Basilica of Maxentius, removed in early 1600s by Pope Paul V and brought to the piazza in front of Santa Maria Maggiore BATHS OF DIOCLETIAN 298-306 AD Penn Station NY (McKim, Mead, and White) St. -
Under the Influence of Art: the Effect of the Statues of Horatius Cocles and Cloelia on Valerius
Under the Influence of Art: The Effect of the Statues of Horatius Cocles and Cloelia on Valerius Maximus’ Facta et Dicta Memorabilia In his work, Facta et Dicta Memorabilia, Valerius Maximus stated in the praefatio of his chapter “De Fortitudine” that he will discuss the great deeds of Romulus, but cannot do so without bringing up one example first; someone whose similarly great deeds helped save Rome (3.2.1-2). This great man is Horatius Cocles. Valerius Maximus noted that he must next talk about another hero, Cloelia, after Horatius Cocles because they fight the same enemy, at the same time, at the same place, and both perform facta memorabilia to save Rome (3.2.2-3). Valerius Maximus mentioned Horatius Cocles and Cloelia together, as if they are a joined pair that cannot be separated. Yet there is another legendary figure, Mucius Scaevola, who also fights the same enemy, at the same time, and also performs facta memorabilia to save Rome. It is strange both that Valerius Maximus seemed compelled to unite Cloelia with the mention of Horatius Cocles, and also that he did not include Mucius Scaevola. Instead, Scaevola’s story is at the beginning of the next chapter (3.3.1). Traditionally these three heroes, Horatius Cocles, Cloelia, and Mucius Scaevola, were mentioned together by historians such as Livy and Dionysius of Halicarnassus, whose works predate Valerius Maximus’ (Ab Urbe Condita 2.10-13, Roman Antiquities 5.23-35). Valerius Maximus was able to split up the triad, despite the tradition, without receiving flack because it had already been done by Virgil in the Aeneid, where he described the dual images of Cocles and Cloelia on Aeneas’ shield, but Scaevola is absent (8.646-651).