Introduction: “This Place Was Holiest of All”
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Passage—Of That Wild Sylvan Merriment, Which We Have Already Attempted to Describe
Chapter 12: A Stroll on the Pincian Hilda, after giving the last touches to the picture of Beatrice Cenci, had flown down from her dove–cote, late in the afternoon, and gone to the Pincian Hill, in the hope of hearing a strain or two of exhilarating music. There, as it happened, she met the sculptor, for, to say the truth, Kenyon had well noted the fair artist’s ordinary way of life, and was accustomed to shape his own movements so as to bring him often within her sphere. The Pincian Hill is the favorite promenade of the Roman aristocracy. At the present day, however, like most other Roman possessions, it belongs less to the native inhabitants than to the barbarians from Gaul, Great Britain, anti beyond the sea, who have established a peaceful usurpation over whatever is enjoyable or memorable in the Eternal City. These foreign guests are indeed ungrateful, if they do not breathe a prayer for Pope Clement, or whatever Holy Father it may have been, who levelled the summit of the mount so skilfully, and bounded it with the parapet of the city wall; who laid out those broad walks and drives, and overhung them with the deepening shade of many kinds of tree; who scattered the flowers, of all seasons and of every clime, abundantly over those green, central lawns; who scooped out hollows in fit places, and, setting great basins of marble in them, caused ever–gushing fountains to fill them to the brim; who reared up the immemorial obelisk out of the soil that had long hidden it; who placed pedestals along the borders of the avenues, and crowned them with busts of that multitude of worthies—statesmen, heroes, artists, men of letters and of song—whom the whole world claims as its chief ornaments, though Italy produced them all. -
Rome Garden and Villa Tours Are Led by Dr
About your guide—Diane Archibald Dates 7th-8th October 2014 Features Included: 2 Days, 1 night superior accommodation Rome Garden and 1 Breakfast 2 Lunches Villa Tour 1 Dinner Wine tasting Museum and site entry fees included Transportation by private van to sites Price €550 per person Our Rome Garden and Villa tours are led by Dr. Diane Archibald who holds a Doctorate in Interdisciplinary For full terms and conditions please see http:// Studies in Architecture from the University of British www.culturalheritagetoursitaly.org/booking-terms Columbia and is a Visiting Scholar with the Faculty of -and-conditions-for-excursions-2013-and-2014/ Architecture, Restoration and Conservation, Universi- ty of Rome, ‘Sapienza’. Dr. Archibald was a Research Fellow at the British School at Rome, and recently appointed to the ICOMOS (International Council of Monuments and Sites) Scientific Committee on Conservation and Restoration for architecture and historic urban centres. She has taught on heritage sites in Italy for 10 years and has led numerous educa- tional walking seminars in Rome, Tivoli, Tuscany, Um- bria, Venice and Veneto, and Southern Italy. About Our Walking Tours Cultural Heritage Walking Tours, Italy We specialize in an accessible, sustainable, and immer- sive one of a kind experience. Our walking tours and excursions are led by professors, scholars, architects, archaeologists, urban historians and heritage experts For more information, or to arrange your booking who are all dedicated to safeguarding our cultural herit- please contact us as shown below age. Our philosophy is based on learning about a culture and a people through witnessing, sharing, and experi- encing the rich heritage and daily life of a community, city, or region. -
Waters of Rome Journal
TIBER RIVER BRIDGES AND THE DEVELOPMENT OF THE ANCIENT CITY OF ROME Rabun Taylor [email protected] Introduction arly Rome is usually interpreted as a little ring of hilltop urban area, but also the everyday and long-term movements of E strongholds surrounding the valley that is today the Forum. populations. Much of the subsequent commentary is founded But Rome has also been, from the very beginnings, a riverside upon published research, both by myself and by others.2 community. No one doubts that the Tiber River introduced a Functionally, the bridges in Rome over the Tiber were commercial and strategic dimension to life in Rome: towns on of four types. A very few — perhaps only one permanent bridge navigable rivers, especially if they are near the river’s mouth, — were private or quasi-private, and served the purposes of enjoy obvious advantages. But access to and control of river their owners as well as the public. ThePons Agrippae, discussed traffic is only one aspect of riparian power and responsibility. below, may fall into this category; we are even told of a case in This was not just a river town; it presided over the junction of the late Republic in which a special bridge was built across the a river and a highway. Adding to its importance is the fact that Tiber in order to provide access to the Transtiberine tomb of the river was a political and military boundary between Etruria the deceased during the funeral.3 The second type (Pons Fabri- and Latium, two cultural domains, which in early times were cius, Pons Cestius, Pons Neronianus, Pons Aelius, Pons Aure- often at war. -
Ritual Cleaning-Up of the City: from the Lupercalia to the Argei*
RITUAL CLEANING-UP OF THE CITY: FROM THE LUPERCALIA TO THE ARGEI* This paper is not an analysis of the fine aspects of ritual, myth and ety- mology. I do not intend to guess the exact meaning of Luperci and Argei, or why the former sacrificed a dog and the latter were bound hand and foot. What I want to examine is the role of the festivals of the Lupercalia and the Argei in the functioning of the Roman community. The best-informed among ancient writers were convinced that these were purification cere- monies. I assume that the ancients knew what they were talking about and propose, first, to establish the nature of the ritual cleanliness of the city, and second, see by what techniques the two festivals achieved that goal. What, in the perception of the Romans themselves, normally made their city unclean? What were the ordinary, repetitive sources of pollution in pre-Imperial Rome, before the concept of the cura Urbis was refined? The answer to this is provided by taboos and restrictions on certain sub- stances, and also certain activities, in the City. First, there is a rule from the Twelve Tables with Cicero’s curiously anachronistic comment: «hominem mortuum», inquit lex in duodecim, «in urbe ne sepelito neve urito», credo vel propter ignis periculum (De leg. II 58). Secondly, we have the edict of the praetor L. Sentius C.f., known from three inscrip- tions dating from the beginning of the first century BC1: L. Sentius C. f. pr(aetor) de sen(atus) sent(entia) loca terminanda coer(avit). -
Hassler's Roma: a Publication That Descrive Tutte Le Meraviglie Intorno Al Nostro Al- Describes All the Marvels, Both Hidden and Not, Bergo, Nascoste E Non
HASSLER’S ROMA A CURA DI FILIPPO COSMELLI Prodotto in esclusiva per l’Hotel Hassler direzione creativa: Filippo Cosmelli direzione editoriale: Daniela Bianco fotografie: Alessandro Celani testi: Filippo Cosmelli & Giacomo Levi ricerche iconografiche: Pietro Aldobrandini traduzione: Logos Srls. - Creative services assistente: Carmen Mariel Di Buono mappe disegnate a mano: Mario Camerini progetto grafico: Leonardo Magrelli stampato presso: Varigrafica, Roma Tutti I Diritti Riservati Nessuna parte di questo libro può essere riprodotta in nessuna forma senza il preventivo permesso da parte dell’Hotel Hassler 2018. If/Books · Marchio di Proprietà di If S.r.l. Via di Parione 17, 00186 Roma · www.ifbooks.it Gentilissimi ospiti, cari amici, Dear guests, dear friends, Le strade, le piazze e i monumenti che circonda- The streets, squares and buildings that surround no l’Hotel Hassler sono senza dubbio parte inte- the Hassler Hotel are without a doubt an in- grante della nostra identità. Attraversando ogni tegral part of our identity. Crossing Trinità de mattina la piazza di Trinità de Monti, circonda- Monti every morning, surrounded by the stair- ta dalla scalinata, dal verde brillante del Pincio case, the brilliant greenery of the Pincio and the e dalla quiete di via Gregoriana, è inevitabile silence of Via Gregoriana, the desire to preser- che sorga il desiderio di preservare, e traman- ve and hand so much beauty down to future ge- dare tanta bellezza. È per questo che sono feli- nerations is inevitable. This is why I am pleased ce di presentarvi Hassler’s Roma: un volume che to present Hassler's Roma: a publication that descrive tutte le meraviglie intorno al nostro al- describes all the marvels, both hidden and not, bergo, nascoste e non. -
Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G
Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G Latin text, study aids with vocabulary, and commentary ILDENHARD INGO GILDENHARD AND JOHN HENDERSON A dead boy (Pallas) and the death of a girl (Camilla) loom over the opening and the closing part of the eleventh book of the Aeneid. Following the savage slaughter in Aeneid 10, the AND book opens in a mournful mood as the warring parti es revisit yesterday’s killing fi elds to att end to their dead. One casualty in parti cular commands att enti on: Aeneas’ protégé H Pallas, killed and despoiled by Turnus in the previous book. His death plunges his father ENDERSON Evander and his surrogate father Aeneas into heart-rending despair – and helps set up the foundati onal act of sacrifi cial brutality that caps the poem, when Aeneas seeks to avenge Pallas by slaying Turnus in wrathful fury. Turnus’ departure from the living is prefi gured by that of his ally Camilla, a maiden schooled in the marti al arts, who sets the mold for warrior princesses such as Xena and Wonder Woman. In the fi nal third of Aeneid 11, she wreaks havoc not just on the batt lefi eld but on gender stereotypes and the conventi ons of the epic genre, before she too succumbs to a premature death. In the porti ons of the book selected for discussion here, Virgil off ers some of his most emoti ve (and disturbing) meditati ons on the tragic nature of human existence – but also knows how to lighten the mood with a bit of drag. -
0145-HETRA Infomemo DIGITALE
UNICITÀ E PRESTIGIO NEL CUORE DI ROMA HETRA | INDEX INDICE / INDEX I TA ENG HETRA HETRA Abstract 04 Abstract 62 Il brand 06 The brand 64 Opportunità 10 Opportunity 68 IL CONTESTO THE CONTEXT Il Rione Sallustiano 16 Rione Sallustiano 74 Punti di interesse 20 Attractions 78 Accessibilità 22 Accessibility 80 I VILLINI THE RESIDENCES Il complesso 26 The complex 84 Villino Spierer 30 The Spierer 88 Villino Rattazzi 36 The Rattazzi 94 Residenza Rattazzi 42 The Rattazzi Residence 100 Villino Pignatelli 48 The Pignatelli 106 02 HETRA | ABSTRACT HETRA | ABSTRACT 03 HETRA 04 HETRA | ABSTRACT HETRA | ABSTRACT 05 Incastonate nel cuore di Roma ci sono quattro pietre preziose. Ognuna brilla di luce propria. ABSTRACT Ognuna di esse emana un’aura speciale. Insieme compongono un unico gioiello, che moltiplica il loro valore. Quattro pietre pregiate, quattro ville prestigiose che compongono un lussuoso sistema immobiliare, capace di trasmettere la sensualità di un giardino eterno e inaccessibile. Un giardino proibito a molti, ma non a tutti. 06 HETRA | IL BRAND 07 IL BRAND UN’ICONA NEL CENTRO DELLA CITTÀ ETERNA Un simbolo di prestigio, unicità e valore senza tempo. L’identità di Hetra nasce dal contesto in cui sorge, un’area che anticamente ospitava gli Horti Sallustiani, il più grande parco monumentale di Roma. Ancora oggi quello sfarzo si ritrova nei rigogliosi giardini e nelle eleganti residenze che ospitavano l’alta borghesia, con le loro facciate ingentilite da elementi decorativi. 08 HETRA | IL BRAND HETRA | IL BRAND 09 Decorazioni antropomorfe e floreali caratterizzano la sua identità. Hetra è un organismo unitario fatto di ville e spa- memorabili vie capitoline, le quattro unità Hetra zi aperti che esprimono la qualità di un ambiente presentano caratteristiche molto diverse tra loro. -
Stein Theater of Pompey.Pdf
THE THEATER OF POMPEY: AN UNPRECEDENTED MONUMENT HERALDING THE ACHIEVEMENTS OF POMPEY THE GREAT Lesley Stein ART 103, Greco-Roman Art, Fall 2011 Instructor: Professor Catherine Turrill 2 When a man’s ambition and competitiveness are combined with military prowess and political savvy, a need for constant adulation and recognition inevitably arises within. In the case of the legendary Roman general and statesman, Gnaeus Pompeius Magnus, better known as Pompey the Great, that need was fulfilled with the construction of Rome’s first free-standing permanent stone theater: the Theater of Pompey (Fig. 1), c. 55 B.C. If not for Pompey’s outsized ego, this monumental architectural structure might never have been erected. Meant to convey a message of strength, success, and wealth, the Theater of Pompey was built to glorify the achievements of its patron on the battlefield and to win the public’s and the aristocracy’s favor. In a crafty move, Pompey crowned his massive theater complex with a temple dedicated to his favorite goddess, Venus Victrix, further appeasing any critics. This grandiose monument built by Pompey during the era of the late Republic, celebrated, publicized, and heralded his considerable military victories and, consequently became one of history’s most architecturally significant structures. Fig. 1. Theater of Pompey, 3D model, “The Blazeby Reconstructions.” Image: The Pompey Project, www.pompey.cch.kcl.ac.uk/index.htm. 3 Pompey was born in Rome on September 29, 106 B.C. The son of a Roman general, Pompey followed in his father’s footsteps, rising rapidly through the military ranks. -
De Ornanda Instruendaque Urbe Anne Truetzel
Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) 1-1-2011 De Ornanda Instruendaque Urbe Anne Truetzel Follow this and additional works at: https://openscholarship.wustl.edu/etd Recommended Citation Truetzel, Anne, "De Ornanda Instruendaque Urbe" (2011). All Theses and Dissertations (ETDs). 527. https://openscholarship.wustl.edu/etd/527 This Thesis is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY Department of Classics De Ornanda Instruendaque Urbe: Julius Caesar’s Influence on the Topography of the Comitium-Rostra-Curia Complex by Anne E. Truetzel A thesis presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Master of Arts August 2011 Saint Louis, Missouri ~ Acknowledgments~ I would like to take this opportunity to thank the Classics department at Washington University in St. Louis. The two years that I have spent in this program have been both challenging and rewarding. I thank both the faculty and my fellow graduate students for allowing me to be a part of this community. I now graduate feeling well- prepared for the further graduate study ahead of me. There are many people without whom this project in particular could not have been completed. First and foremost, I thank Professor Susan Rotroff for her guidance and support throughout this process; her insightful comments and suggestions, brilliant ideas and unfailing patience have been invaluable. -
Calendar of Roman Events
Introduction Steve Worboys and I began this calendar in 1980 or 1981 when we discovered that the exact dates of many events survive from Roman antiquity, the most famous being the ides of March murder of Caesar. Flipping through a few books on Roman history revealed a handful of dates, and we believed that to fill every day of the year would certainly be impossible. From 1981 until 1989 I kept the calendar, adding dates as I ran across them. In 1989 I typed the list into the computer and we began again to plunder books and journals for dates, this time recording sources. Since then I have worked and reworked the Calendar, revising old entries and adding many, many more. The Roman Calendar The calendar was reformed twice, once by Caesar in 46 BC and later by Augustus in 8 BC. Each of these reforms is described in A. K. Michels’ book The Calendar of the Roman Republic. In an ordinary pre-Julian year, the number of days in each month was as follows: 29 January 31 May 29 September 28 February 29 June 31 October 31 March 31 Quintilis (July) 29 November 29 April 29 Sextilis (August) 29 December. The Romans did not number the days of the months consecutively. They reckoned backwards from three fixed points: The kalends, the nones, and the ides. The kalends is the first day of the month. For months with 31 days the nones fall on the 7th and the ides the 15th. For other months the nones fall on the 5th and the ides on the 13th. -
Front Matter
Cambridge University Press 978-1-107-02320-8 - Campus Martius: The Field of Mars in the Life of Ancient Rome Paul W. Jacobs II and Diane Atnally Conlin Frontmatter More information CAMPUS MARTIUS A mosquito-infested and swampy plain lying north of the city walls, Rome’s Campus Martius, or Field of Mars, was used for much of the Roman Republic as a military training ground and as a site for celebratory rituals and the occasional political assembly. Initially punctuated with temples vowed by victorious generals, during the imperial era it became filled with extraordinary baths, theaters, porticoes, aqueducts, and other structures – many of which were architectural firsts for the capital. This book explores the myriad factors that contributed to the transformation of the Campus Martius from an occasionally visited space to a crowded center of daily activity. It presents a case study of the repurposing of urban landscape in the Roman world and explores how existing topographical features that fit well with the republic’s needs ultimately attracted architecture that forever transformed those features but still resonated with the area’s original military and ceremonial traditions. Paul W. Jacobs II is an independent scholar who focuses on ancient Rome and its topographical development. A graduate of Harvard College and the University of Virginia Law School, and a litigator by training, Jacobs has practiced and published in the area of voting rights, where knowledge of demographics, mapmaking, and geography is essential. He has spent extensive time in Rome and has studied the ancient city and its development for decades. Diane Atnally Conlin is Associate Professor of Classics at the University of Colorado, Boulder. -
Abstraction of Visual Reality 76, 88–92 Aemilius Paullus, Monument
Cambridge University Press 0521662001 - The Language of Images in Roman Art Tonio Holscher Index More information Index abstraction ofvisual reality 76, 88–92 arete, aretai xxxiv, 75, 95 Aemilius Paullus, Monument of(Delphi) Arezzo, Augustan altar in (pls. 3, 32, 33) 11, (pl. 15) 29–30, 41 58 aemulatio xxxiv, 21 Aristotle 31–2 aeternitas xxxiv, 116 ‘Asianic’ rhetoric 47, 53, 121 Agrippa, portrait of(pl. 26) 48 Atarbos base (Athens) (pl. 45) 79 Alexander Mosaic (Pompeii) Athena (pls. 9–13) 23–9, 31–3, 41 bust of(Villa dei Papiri) 74 Alexander Sarcophagus (Sidon) 27 Promachos (Villa dei Papiri) 74 Alkamenes 63, 93, 120 Attalos I, Victory Monument of(Pergamon) Antinoos,¨ portraits of(pls. 40–43) 69 (pl. 14) 27–9 Antiphilos (painter) 120 Attalos II, Memorial of(Athens) 29 Antonine period 10, 63 Auctor ad Herennium 122–3 Antoninus Pius, Column ofxxi auctoritas xxxiv, 47, 52–4, 63, 93, 114, 120 Apelles 119–20 Augustus, Augustan period 10, 16, 47, 53, 63, Aphrodite 81, 111, 114–16 ofCapua, type of(pl. 34) 61, 65, 99 Prima Porta portrait of(pl. 23) 47 ofPraxiteles 94, 101 Apollo, portrayal of 69 Bacchus, portrayal of 65–9, 94, 97, 99 Lykeios, type of(pl. 38) 65–9, 94, Bacchus and Satyr group (Rome) 65 105 ‘baroque’ style xxiv, 10 Temple of, in Circo (Rome), frieze battle-scenes 15, 20, 23–34, 38–45, 114, 115 from 39, 115; statue in (pl. 49) 105, Beazley, J. D. xxiii 111 Berenson, B. xxii Tiber, type of 69, 83 Bianchi Bandinelli, R. xvii, xx, xxi, xxvi from Villa dei Papiri 74 Blanckenhagen, P.