DOCSLIB.ORG

Ave Roma Immortalis, Vol. 1, by Francis Marion Crawford This Ebook Is for the Use of Anyone Anywhere at No Cost and with Almost No Restrictions Whatsoever

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ave Roma Immortalis, Vol. 1, by Francis Marion Crawford This Ebook Is for the Use of Anyone Anywhere at No Cost and with Almost No Restrictions Whatsoever Roma Immortalis, Vol. 1, by Francis Marion Crawford 1 Roma Immortalis, Vol. 1, by Francis Marion Crawford Project Gutenberg's Ave Roma Immortalis, Vol. 1, by Francis Marion Crawford This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: Ave Roma Immortalis, Vol. 1 Studies from the Chronicles of Rome Author: Francis Marion Crawford Release Date: April 26, 2009 [EBook #28614] Language: English Roma Immortalis, Vol. 1, by Francis Marion Crawford 2 Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK AVE ROMA IMMORTALIS, VOL. 1 *** Produced by Juliet Sutherland, Josephine Paolucci and the Online Distributed Proofreading Team at http://www.pgdp.net. AVE ROMA IMMORTALIS STUDIES FROM THE CHRONICLES OF ROME BY FRANCIS MARION CRAWFORD IN TWO VOLUMES VOL. I New York THE MACMILLAN COMPANY LONDON: MACMILLAN & CO., LTD. 1899 All rights reserved Copyright, 1898, By The Macmillan Company. Set up and electrotyped October, 1898. Reprinted November, December, 1898. Norwood Press J. S. Cushing & Co.--Berwick & Smith Norwood, Mass., U.S.A. TABLE OF CONTENTS Roma Immortalis, Vol. 1, by Francis Marion Crawford 3 VOLUME I PAGE THE MAKING OF THE CITY 1 THE EMPIRE 22 THE CITY OF AUGUSTUS 57 THE MIDDLE AGE 78 THE FOURTEEN REGIONS 100 REGION I MONTI 106 REGION II TREVI 155 REGION III COLONNA 190 REGION IV CAMPO MARZO 243 REGION V PONTE 274 REGION VI PARIONE 297 LIST OF PHOTOGRAVURE PLATES VOLUME I Map of Rome Frontispiece FACING PAGE The Wall of Romulus 4 Roma Immortalis, Vol. 1, by Francis Marion Crawford 4 Palace of the Cæsars 30 The Campagna and Ruins of the Claudian Aqueduct 50 Temple of Castor and Pollux 70 Basilica Constantine 90 Basilica of Saint John Lateran 114 Baths of Diocletian 140 Fountain of Trevi 158 Piazza Barberini 188 Porta San Lorenzo 214 Villa Borghese 230 Piazza del Popolo 256 Island in the Tiber 280 Palazzo Massimo alle Colonna 306 ILLUSTRATIONS IN THE TEXT VOLUME I PAGE Palatine Hill and Mouth of the Cloaca Maxima 1 Ruins of the Servian Wall 8 Etruscan Bridge at Veii 16 Tombs on the Appian Way 22 Roma Immortalis, Vol. 1, by Francis Marion Crawford 5 Brass of Tiberius, showing the Temple of Concord 24 The Tarpeian Rock 28 Caius Julius Cæsar 36 Octavius Augustus Cæsar 45 Brass of Trajan, showing the Circus Maximus 56 Brass of Antoninus Pius, in Honour of Faustina, with Reverse showing Vesta bearing the Palladium 57 Ponte Rotto, now destroyed 67 Atrium of Vesta 72 Brass of Gordian, showing the Colosseum 78 The Colosseum 87 Ruins of the Temple of Saturn 92 Brass of Gordian, showing Roman Games 99 Ruins of the Julian Basilica 100 Brass of Titus, showing the Colosseum 105 Region I Monti, Device of 106 Santa Francesca Romana 111 San Giovanni in Laterano 116 Piazza Colonna 119 Roma Immortalis, Vol. 1, by Francis Marion Crawford 6 Piazza di San Giovanni in Laterano 126 Santa Maria Maggiore 134 Porta Maggiore, supporting the Channels of the Aqueduct of Claudius and the Anio Novus 145 Interior of the Colosseum 152 Region II Trevi, Device of 155 Grand Hall of the Colonna Palace 162 Interior of the Mausoleum of Augustus 169 Forum of Trajan 171 Ruins of Hadrian's Villa at Tivoli 180 Palazzo del Quirinale 185 Region III Colonna, Device of 190 Arch of Titus 191 Twin Churches at the Entrance of the Corso 197 San Lorenzo in Lucina 204 Palazzo Doria-Pamfili 208 Palazzo di Monte Citorio 223 Palazzo di Venezia 234 Region IV Campo Marzo, Device of 248 Roma Immortalis, Vol. 1, by Francis Marion Crawford 7 Piazza di Spagna 251 Trinità de Monti 257 Villa Medici 265 Region V Ponte 274 Bridge of Sant' Angelo 285 Villa Negroni 292 Region VI Parione, Device of 297 Piazza Navona 303 Ponte Sisto 307 The Cancelleria 316 WORKS CONSULTED NOT INCLUDING CLASSIC WRITERS NOR ENCYCLOPÆDIAS 1. AMPÈRE--Histoire Romaine à Rome. AMPÈRE--L'Empire Remain à Rome. 2. BARACCONI--I Rioni di Roma. 3. BOISSIER--Promenades Archéologiques. 4. BRYCE--The Holy Roman Empire. 5. CELLINI--Memoirs. 6. COPPI--Memoire Colonnesi. Roma Immortalis, Vol. 1, by Francis Marion Crawford 8 7. FORTUNATO--Storia delle vite delle Imperatrici Romane. 8. GIBBON--Decline and Fall of the Roman Empire. 9. GNOLI--Vittoria Accoramboni. 10. GREGOROVIUS--Geschichte der Stadt Rom. 11. HARE--Walks in Rome. 12. JOSEPHUS--Life of. 13. LANCIANI--Ancient Rome. 14. LETI--Vita di Sisto V. 15. MURATORI--Scriptores Rerum Italicarum. MURATORI--Annali d'Italia. MURATORI--Antichità Italiane. 16. RAMSAY AND LANCIANI--A Manual of Roman Antiquities. 17. SCHNEIDER--Das Alte Rom. 18. SILVAGNI--La Corte e la Società Romana. [Illustration: PALATINE HILL AND MOUTH OF THE CLOACA MAXIMA] Ave Roma Immortalis I The story of Rome is the most splendid romance in all history. A few shepherds tend their flocks among volcanic hills, listening by day and night to the awful warnings of the subterranean voice,--born in danger, reared in peril, living their lives under perpetual menace of destruction, from Roma Immortalis, Vol. 1, by Francis Marion Crawford 9 generation to generation. Then, at last, the deep voice swells to thunder, roaring up from the earth's heart, the lightning shoots madly round the mountain top, the ground rocks, and the air is darkened with ashes. The moment has come. One man is a leader, but not all will follow him. He leads his small band swiftly down from the heights, and they drive a flock and a little herd before them, while each man carries his few belongings as best he can, and there are few women in the company. The rest would not be saved, and they perish among their huts before another day is over. Down, always downwards, march the wanderers, rough, rugged, young with the terrible youth of those days, and wise only with the wisdom of nature. Down the steep mountain they go, down over the rich, rolling land, down through the deep forests, unhewn of man, down at last to the river, where seven low hills rise out of the wide plain. One of those hills the leader chooses, rounded and grassy; there they encamp, and they dig a trench and build huts. Pales, protectress of flocks, gives her name to the Palatine Hill. Rumon, the flowing river, names the village Rome, and Rome names the leader Romulus, the Man of the River, the Man of the Village by the River; and to our own time the twenty-first of April is kept and remembered, and even now honoured, for the very day on which the shepherds began to dig their trench on the Palatine, the date of the Foundation of Rome, from which seven hundred and fifty-four years were reckoned to the birth of Christ. And the shepherds called their leader King, though his kingship was over but few men. Yet they were such men as begin history, and in the scant company there were all the seeds of empire. First the profound faith of natural mankind, unquestioning, immovable, inseparable from every daily thought and action; then fierce strength, and courage, and love of life and of possession; last, obedience to the chosen leader, in clear liberty, when one should fail, to choose another. So the Romans began to win the world, and won it in about six hundred years. By their camp-fires, by their firesides in their little huts, they told old tales of their race, and round the truth grew up romantic legend, ever dear to the fighting man and to the husbandman alike, with strange tales of their first Roma Immortalis, Vol. 1, by Francis Marion Crawford 10 leader's birth, fit for poets, and woven to stir young hearts to daring, and young hands to smiting. Truth there was under their stories, but how much of it no man can tell: how Amulius of Alba Longa slew his sons, and slew also his daughter, loved of Mars, mother of twin sons left to die in the forest, like Oedipus, father-slayers, as Oedipus was, wolf-suckled, of whom one was born to kill the other and be the first King, and be taken up to Jupiter in storm and lightning at the last. The legend of wise Numa, next, taught by Egeria; her stony image still weeps trickling tears for her royal adept, and his earthen cup, jealously guarded, was worshipped for more than a thousand years; legends of the first Arval brotherhood, dim as the story of Melchisedec, King and priest, but lasting as Rome itself. Tales of King Tullus, when the three Horatii fought for Rome against the three Curiatii, who smote for Alba and lost the day--Tullus Hostilius, grandson of that first Hostus who had fought against the Sabines; and always more legend, and more, and more, sometimes misty, sometimes clear and direct in action as a Greek tragedy. They hover upon the threshold of history, with faces of beauty or of terror, sublime, ridiculous, insignificant, some born of desperate, real deeds, many another, perhaps, first told by some black-haired shepherd mother to her wondering boys at evening, when the brazen pot simmered on the smouldering fire, and the father had not yet come home. But down beneath the legend lies the fact, in hewn stones already far in the third thousand of their years. Digging for truth, searchers have come here and there upon the first walls and gates of the Palatine village, straight, strong and deeply founded.
Load more

Recommended publications
  • Planning Versus Fortification: Sangallo's Project for the Defence of Rome Simon Pepper
    Fort Vol. 2 1976 Planning versus fortification: Sangallo's project for the defence of Rome Simon Pepper Since 1527, when Rome had been captured and sacked by the mutinous soldiers of Charles V, it had been clear that the defences of the Papal capital were hopelessly outdated. The walls of the Borgo (the Vatican precinct) were constructed during the pontificate of Leo IV (847-855): those of Trastevere and the left bank, enclosing by far the largest part of the city, dated from the reign of the Emperor Aurelian (AD270-75) [1]. Impressive both for their length and antiquity, these walls were poorly maintained and fundamentally unsuitable for defence against gunpowder artillery. In 1534 the Romans were once again forcefully reminded of their vulnerability when a large Turkish fleet moored off the Tiber estuary. Fortunately the hostile intentions of the Turks were directed elsewhere: after taking on fresh water they sailed north to raid the Tuscan coastline. But in the immediate aftermath of the Turkish scare the newly elected Paul III committed himself to an ambitious scheme of re-fortification. Antonio da Sangallo the Younger, advised by many of the leading architects and soldiers employed by the Pope, was commissioned to submit design proposals [2]. Father Alberto Guglielmotti, the nineteenth-century historian of the Papal armed forces, tells us that Sangallo and his consultants decided to replace the Aurelian wall with a new line of works defending the developed areas on both banks of the river. The 18000 metre Aurelian circumfer- ence was to be reduced by half, a decision which is not difficult to understand when one glances at a contemporary map of the city.
    [Show full text]
  • The Line of Fate in Michelangelo's Painting
    The Line of Fate in Michelangelo's Painting Leo Steinberg There are several reasons why an art historian of fastidious taste might want to look at bad art-at poor early copies, for instance, of a great painting, even when the latter survives in near perfect condition. I will need the reader's goodwill on this point since the present essay con- tinually pairs copies of little intrinsic merit with their awesome originals. That early copies may furnish evidence of damage accrued to the original, and of subsequent overpainting, is obvious and requires no argument. But copies have subtler uses. Where they depart from their models-provided these departures are patently willful and not due to incompetence-they constitute a body of criticism more telling than any- thing dreamt of in contemporaneous writing. The man who copies a painting looks harder, observes by the inch, and where he refuses to follow his model, follows an alternative, usually critical impulse. Few writers on art have the patience or the vocabulary to match the involve- ment of a recalcitrant copyist. His alterations reveal how a closely en- gaged contemporary regarded his model, what he admired or censured, or chose to omit. But while we welcome contemporary comments re- corded in writing as evidence of critical attitudes, the more pointed critiques embodied in the copyists' alterations are commonly brushed aside as inaccuracies without positive content.' One more consideration: in a strong design the detail is so inte- grated that it is hard to unthink. But a deviant rendering in the copy restores to the corresponding feature of the original the character of a decision.
    [Show full text]
  • 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.
    [Show full text]
  • Rome and Beyond for the Cognoscenti May 6 – 16, 2019
    ROMTravel – World Cultures Tour Let our experts be your guides Rome and Beyond for the Cognoscenti May 6 – 16, 2019 Whether you have been to Rome before or Quartiere Coppedè. Afternoon visit to the Hotels this will be your first visit, our trip to the ancient churches of Santa Costanza and Rome Fortyseven Hotel 7 nights Eternal City contains sights specially chosen Sant’Agnese and its catacombs. Orvieto Hotel La Badia 3 nights to delight you by our Resource Person Ken Day 6 Rome Bartlett. By the end of this tour, you will Visit the Palazzo Doria Pamphilj (optional). Resource Person indeed be one of the “cognoscenti”, those “in Tour of the Palazzo Colonna. Included lunch. Dr. Kenneth Bartlett is Professor of History & the know” about Rome! Walking tour of the Qurinale, including the Renaissance Studies at Victoria College, U of Our journey will take us through time churches of Sant’Andrea, San Carlino, Santa T. He is author of A Short History of the from the Etruscans, through the ancient Maria Vittoria and Santa Maria degli Angeli. Italian Renaissance, The English in Italy: A Romans, the artists and architects of the Day 7 Rome Study in Culture and Politics and The th Morning walking tour of the Roman Forum. Renaissance, the 20 century and up to today, Civilization of the Italian Renaissance as well Afternoon visit to the Capitoline Museum. and will feature sumptuous palaces, idyllic as five video series, including the most Day 8 Rome – Tivoli – Orvieto gardens, magnificent paintings and sculpture, recent, The Guide to Essential Italy, with the Depart Rome and drive to Tivoli.
    [Show full text]
  • A Literary Journey to Rome
    A Literary Journey to Rome A Literary Journey to Rome: From the Sweet Life to the Great Beauty By Christina Höfferer A Literary Journey to Rome: From the Sweet Life to the Great Beauty By Christina Höfferer This book first published 2017 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2017 by Christina Höfferer All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-7328-4 ISBN (13): 978-1-4438-7328-4 CONTENTS When the Signora Bachmann Came: A Roman Reportage ......................... 1 Street Art Feminism: Alice Pasquini Spray Paints the Walls of Rome ....... 7 Eataly: The Temple of Slow-food Close to the Pyramide ......................... 11 24 Hours at Ponte Milvio: The Lovers’ Bridge ......................................... 15 The English in Rome: The Keats-Shelley House at the Spanish Steps ...... 21 An Espresso with the Senator: High-level Politics at Caffè Sant'Eustachio ........................................................................................... 25 Ferragosto: When the Romans Leave Rome ............................................. 29 Myths and Legends, Truth and Fiction: How Secret is the Vatican Archive? ...................................................................................................
    [Show full text]
  • POCKET GUIDE to GENOA Quick Guide to Discover the City
    POCKET GUIDE TO GENOA quick guide to discover the city en 2-3 hours A FLEETING VISIT TO GENOA Four 100% Genoese settings, if you only have a couple of hours to spare Via Garibaldi, the power and Via del Campo, the singer- wealth of the “Siglo des los songwriters and the unique Genoveses” (the Century of the atmosphere of the alleyways Genoese) in the centro storico This is one of the finest “Via del Campo” is the title of one Renaissance streets in the of the moving ballads written and world. Its palazzi. known as the sung by Fabrizio De Andrè. “Rolli”, were splendid patrician Access to the street is from the Translation: homes which the owners were ancient Porta dei Vacca gate, then English Language Consultancy required to make available for have a look at the shop windows Justin Michael Rosenberg royalty and dignitaries visiting in Via San Luca until you reach Photographs: the Republic of Genoa. Piazza Banchi and Caricamento. Sagep Photographic Archives “Castelletto”, a window over “Passeggiata al Porto Antico”, Edited by the Municipality of Genoa, the old town waterfront promenade Tourism Development and Promotion dept. From the renowned “spianata di As you stroll along the old docks This edition was published Castelletto”, which is accessible and wharfs, the lighthouse and in December 2011 by Grafiche G7 by lift from Piazza Portello, you big cruise ships loom into view. for Sagep Editori S.r.l. - Genoa have spectacular views of the A ride on the “Bigo” panoramic centro storico extending all the lift gives you a new perspective © 2012 Sagep Editori, Genoa way to the sea.
    [Show full text]
  • Progetto Per Un Parco Integrato Delle Mura Storiche
    ROMA PARCO INTEGRATO DELLE MURA STORICHE Mura Aureliane - Mura da Paolo III a Urbano VIII Esterno delle Mura lungo viale Metronio Mura storiche di Roma 2 Pianta di Roma di Giovanni Battista Nolli - 1748 3 Mura di Roma, Grande Raccordo Anulare e anello ciclabile 4 Piano Regolatore Generale di Roma - 2003/2008 5 Ambiti di programmazione strategica: quadro di unione 1-Tevere 2-Mura 3-Anello ferroviario 1 4-Parco dell’Appia 5-Asse nord-sud 5 2 3 4 6 Pianta di Pietro Visconti (Archeologo) e Carlo Pestrini (Incisore)- 1827 7 Quadro di unione Forma Urbis Romae di Rodolfo Lanciani - 1893/1901 8 Piano Regolatore Generale di Roma - 1883 9 Piano Regolatore Generale di Roma - 1909 10 Piano Regolatore Generale di Roma - 1931 11 Piano Regolatore Generale di Roma - 1961 12 Stralcio Piano Regolatore Generale di Roma - 1961 13 Intersezioni delle Mura con gli assi viari storici e ambiti di progettazione 2 1 - Corso_Flaminia 2 - XX Settembre_Salario 3 - Laterano_Appio 4 - Caracalla_Appia Antica 1 5 - Marmorata_Ostiense 6 - Trastevere_Gianicolo Aurelia antica 6 5 3 4 14 Centralità lungo le Mura storiche 15 Parchi e ambiti di valorizzazione ambientale Villa Borghese Villa Doria Pamphili Parco dell’Appia 16 Ambito di programmazione strategica Mura - Risorse 17 Ambito di programmazione strategica Mura - Obiettivi 18 Progetto «Porte del Tempo» Museo del Sito UNESCO a Porta del Museo dei Bersaglieri Popolo di Porta Pia Museo garibaldino e repubblica Romana a Porta Portese e Porta San Pancrazio Museo delle Mura Museo della resistenza a Porta San a Porta Ostiense Sebastiano 19 Porta del Popolo (Flaminia) 20 Porta San Sebastiano (Appia Antica) 21 Porta San Paolo (Ostiense) 22 Parco lineare integrato 23 Schema direttore generale del progetto urbano delle Mura 24 Parco lineare integrato delle Mura - Progetti realizzati e approvati Responsabili del procedimento: Arch.
    [Show full text]
  • INTRODUCTION 1. in Explanation of His Point, Sperry Writes: 'It Is Not Just
    Notes INTRODUCTION 1. In explanation of his point, Sperry writes: 'It is not just that the poetry is taken up in isolation from the life of the poet, from the deeper logic of his career both in itself and in relation to the history of his times, although that fact is continuously disconcerting. It is further that in reducing the verse to a structure of ideas, criticism has gone far toward depriving it of all emotional reality'(14). 2. See, in particular, Federico Olivero's essays on Shelley and Ve­ nice (1909: 217-25), Shelley and Dante, Petrarch and the Italian countryside (1913: 123-76), Epipsychidion (1918: 379-92), Shelley and Turner (1935); Corrado Zacchetti's Shelley e Dante (1922); and Maria De Courten's Percy Bysshe Shelley e l'Italia (1923). A more recent, and important, work is Aurelio Zanco's monograph, Shelley e l'Italia (1945). Other studies of note are by Tirinelli (1893); Fontanarosa (1897); Bernheimer (1920); Bini (1927); and Viviani della Robbia (1936). 3. In researching this field of study, Italian critics have found Shelley to be their best spokesman. 4. A work such as Anna Benneson McMahan's With Shelley in Italy (1907) comes to mind. Hers is a more inclusive anthology than John Lehmann's Shelley in Italy (1947) but needs to be brought up to date. 5. There has been a growing recognition of the importance of the Italian element in Shelley's poetry. Significant studies in English since those of Scudder (1895: 96-114), Toynbee (1909: 214-30), Bradley (1914: 441-56) and Stawell (1914: 104-31) are those of P.
    [Show full text]
  • Practicing Love of God in Medieval Jerusalem, Gaul and Saxony
    he collection of essays presented in “Devotional Cross-Roads: Practicing Love of God in Medieval Gaul, Jerusalem, and Saxony” investigates test case witnesses of TChristian devotion and patronage from Late Antiquity to the Late Middle Ages, set in and between the Eastern and Western Mediterranean, as well as Gaul and the regions north of the Alps. Devotional practice and love of God refer to people – mostly from the lay and religious elite –, ideas, copies of texts, images, and material objects, such as relics and reliquaries. The wide geographic borders and time span are used here to illustrate a broad picture composed around questions of worship, identity, reli- gious affiliation and gender. Among the diversity of cases, the studies presented in this volume exemplify recurring themes, which occupied the Christian believer, such as the veneration of the Cross, translation of architecture, pilgrimage and patronage, emergence of iconography and devotional patterns. These essays are representing the research results of the project “Practicing Love of God: Comparing Women’s and Men’s Practice in Medieval Saxony” guided by the art historian Galit Noga-Banai, The Hebrew University of Jerusalem, and the histori- an Hedwig Röckelein, Georg-August-University Göttingen. This project was running from 2013 to 2018 within the Niedersachsen-Israeli Program and financed by the State of Lower Saxony. Devotional Cross-Roads Practicing Love of God in Medieval Jerusalem, Gaul and Saxony Edited by Hedwig Röckelein, Galit Noga-Banai, and Lotem Pinchover Röckelein/Noga-Banai/Pinchover Devotional Cross-Roads ISBN 978-3-86395-372-0 Universitätsverlag Göttingen Universitätsverlag Göttingen Hedwig Röckelein, Galit Noga-Banai, and Lotem Pinchover (Eds.) Devotional Cross-Roads This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
    [Show full text]
  • Tridente, Trevi & Quirinale
    ©Lonely Planet Publications Pty Ltd 103 Tridente, Trevi & the Quirinale PIAZZA DI SPAGNA & THE SPANISH STEPS | PIAZZA DEL POPOLO & AROUND | TREVI TO THE QUIRINALE | WEST OF VIA DEL CORSO | PIAZZA BARBERINI & VIA VENETO Neighbourhood Top Five 1 People watching, chat- 2 Gazing in wonder at the 4 Hearing a concert tering, photo-snapping and Caravaggio masterpieces in in the Cortona-designed dreaming on the Chiesa di Santa Maria del chapel after a Sunday visit Spanish Steps (p 105 ), with Popolo (p 106 ). to the Palazzo del a view down the glittering (p 110 ). 3 Visiting the Trevi Quirinale backbone of the Tridente Fountain (p 108 ) late in the 5 Seeing Palazzo district, designer-store-lined evening, when the crowds Barberini’s (p110) architec- Via Condotti. have ebbed away. tural treasures, and feasting your eyes on the gallery’s Italian masters. Lgt 00 00 M FLAMINO 00 0500m ich 00 e# isa 00 00.25miles el Lu Viale del Muro Torto ia a VILLA angel V oi Sav000002# di 00000 0 BORGHESE 00000Piazza del 0 na d'Italia P o o 00000 0 ia ors Vi a c 00000Popolo Galoppatoio n C Vi Piazza s i a P s ia a Luc della V d Sa Libertà i Vi L R TRIDENTE la r g adelB e ip t SALLUSTIANO ria z et i d o e T t a Car i i a M CAMPO b buino Via Boncompagni e e o r MARZIO l l R BORGO i n i 00000 v e i 00000 r e ipetta 00000 Via Ludovisi b r Vi 00000# m 000Piazza 000001 e 000 ad 00000 tt 000Cavour 00000 Via e 000 el C 00000 S ia di R 00000 X i V 00000 Si X t 00000 sti ia a o orso 00000 na ini V r o in er P i nt 000 b t z e 000 ar Lg r m 000 a B a Cle 000Vi M el COLONNA
    [Show full text]
  • Rome Tourist Information
    Rome As capital of the Roman Empire, the Papal States and Italy, Rome truly is the "Eternal City". One of the world's most elegant capitals the layers of history and the city's sheer excess of beauty can prove overwhelming to the unsuspecting visitor. This is a city best explored on foot, with every corner offering an overlooked treasure or unforgettable panorama. Roman columns soar up aimlessly next to medieval basilicas, the sound of water splashing in fountains fills the air in front of Renaissance palaces and exuberant Romans jostle through multi-coloured markets and winding cobbled streets. Breathe the air of the Caesars in the Roman forum, stroll through the menacing Colosseum, marvel at the splendours of the Vatican Palace - and you will wonder if this can be the capital of a modern industrial nation or whether you have stepped back into the pages of history. But around these relics of history Rome is still evolving. It's at the cutting edge of fashion and cuisine and is one of the most popular shopping destinations on Earth. So prepare to soak up history and modernity in equal measure in one of Europe's most fascinating cities. Sightseeing Rome is a work of art in itself and you'll never tire of wandering its streets and plazas, discovering new and ever greater architectural gems with every turn. Seeing the many treasures the city contains would take a lifetime, but there are several highlights that remain essential on a trip to the Eternal City. The Roma Archeologia Card costs EUR20 and is valid for 7-days.
    [Show full text]
  • Global Seminar Culture Wars in Rome
    Global Seminar Culture Wars in Rome NOTE: The purpose of this presentation is strictly VATICAN CITY informational; finalized plans for the program such By Blake Buchanan as dates, excursions, etc. will be confirmed with participants following admission. Highlights • Numerous excursions around Rome! • Live in Central Rome • Compare Ancient, Renaissance, Baroque, and Modern Rome • 3 credits in 2 weeks ROME by Natalie White Meet the Director Priscilla Craven, a Professor in Italian, will direct the program. She teaches various courses in Italian language, art, art history, literature, and culture. She directed the Culture Wars program from 2014-2016 and has taken students to Italy 10 times. ROME • World heritage site • Mix of ancient and • 2.6 million modern inhabitants • Multicultural and historical ROME By Blake Buchanan Academics • Investigate ancient, Renaissance, Baroque and contemporary Rome • Earn 3 upper-division credits: ENES 3700, Culture Wars in Rome • Fulfills: • Engineering H/SS • Italian Major • CMCI Historical Views & Humanities/Arts ROME by Natalie White Excursions The Roman Forum, Colosseum, St. Peter's Basilica and Castel S. Angelo, Trevi Fountain, Spanish Steps, Piazza del Popolo, the Vatican, including Sistine Chapel, Piazza Navona, Pantheon, Villa Borghese, and Maxxi museum of modern art ITALY By Blake Buchanan Housing • Double rooms in a simple hotel • Located near Piazza Navona ROME By Natalie White Class on- site and presentation Art re-enactment Meals and gelato crawl Dates and Deadline • Deadline: February 1st •
    [Show full text]