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L. Taruashvili MONIMENTA ANTIQUAE URBIS ROMAE AD ARTES ELEGANTES PERTINENTIA: BREVIS PRAEFATIO: Roma, Urbs Antiqua Et Longaeva

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L. Taruashvili MONIMENTA ANTIQUAE URBIS ROMAE AD ARTES ELEGANTES PERTINENTIA: BREVIS PRAEFATIO: Roma, Urbs Antiqua Et Longaeva L. Taruashvili MONIMENTA ANTIQUAE URBIS ROMAE AD ARTES ELEGANTES PERTINENTIA: ITINERARIUM LATINE ADUMBRATUM BREVIS PRAEFATIO: Roma, urbs antiqua et longaeva, insuper etiam aeterna persaepe vocitata, urbs, quae erat olim capite potentis imperii functa, crescentis initio inter continua cum vicinis ac remotis populis armata certamina, deinde immodice ingentis et splendide florentis, postremo autem «mole sua» (si licet Horatii verbis uti) ruentis, qualisnam aetate huiusce imperii illa urbs inclitissima visitatotibus suis apparebat? 2 Nostris diebus Musaeum quoddam Romae visi potest in proximo saeculo conditum ad Romanas antiquitates in plasticis necnon planis imaginibus instaurandas, quod Romanae Civitatis Musaeum appellatur. In una autem eius aularum, spatiosa atque celsa, est copia venientibus data urbem Romam antiquam, etsi effictam ac valde deminutam, tamen visu claram satis et distinctam, e loco superiore contemplari. Hic Roma, quasi de volatu avium conspecta, spectatoris animo placida, omni tumultu et discordiis prorsus aliena apparet. Constat nihilominus certe vitae Urbis veram quietem, ut non dicam museale silentium, nunquam antiquitus proprium fuisse. Audiamus, exempli gratia, Iuvenalem (III, 193 – 196; 243 – 248; 268 – 277) vitam Romae cotidianam sui temporis imaginaliter describentem: Nos urbem colimus tenui tibicine fultam Magna parte sui: nam sic labentibus obstat Villicus, et veteris rimae contexit hiatum, Securos pendente iubet dormire ruina. ... ... Nobis properantibus obstat Unda prior; magno populus premit agmine lumbos Qui sequitur; ferit hic cubito, ferit assere duro Alter; at hic tignum capiti incutit, ille meretram. 3 Pinguia crura luto; planta mox undique magna Calcor, et in digito clavus mihi militis haeret. ... Respice nunc alia ac diversa pericula noctis: Quod spatium tectis sublimibus, unde cerebrum Testa ferit; quoties rimosa et curta fenestris Vasa cadant, quanto percussum pondere signent Et laedant silicem. Possis ignavus haberi, Et subiti casus improvidus, ad coenam si Intestatus eas: adeo tot fata, quot illa Nocte patent vigiles, te praetereunte, fenestrae! Ergo optes, votumque feras miserabile tecum, Ut sint contentae patulas defundere pelves. Interea Roma quamvis tumultuosa, inquieta et trepida, nobilissimis electissimisque artis operibus e diversis partibus Imperii, ex Graecia maxime, convectis redundabat. Sed ea debite mirare, in eis diu et deliberando animum pascere num Romae tunc satis commode erat? De hoc Plinius Maior (XXXVI, 27) talia refert: «Romae quidem multitudo operum et iam obliteratio ac magis officiorum negotiorumque acervi omnes a contemplatione tamen abducunt, quoniam otiosorum et in magno loci silentio talis admiratio est.» At maxima pars inquilinorum, qui Urbem Imperii temporibus inhabitabant, erat illa nonullis Romanis scriporibus significanter depicta hominum multitudo, tam inculta quam ad perpetuum tumultum assueta et eidem tumultui sicut suo domino parens. Auctoritas veteris famae operibus Graecis Romae expositis propria tunc profecto omnibus et etiam illi multitudini respectum imposuit, sed nova opera, architectonica et alia, ad publica loca decoranda praedestinata, illi vulgui grata esse debuerunt, ut impensa fabricationis excusarent. En causa cur, si litterae Romanae ad culta ingenia praecipue destinatae Graecorum exempla saepe aequabant elegantia sua (et nonnunquam etiam vincebant, ut Lucretii «De rerum natura» poemata Graeca eiusdem generis vicit), illa ars Romana, quae ad fora et vias erat faciunda, fuit arte Graeca classica, quamquam exemplari ad illam formae respectu, ferme rudior tumidiorque. Formis enim classicis Hellenicis utitur, ab Hellenico tamen sensu aequilibritatis modique servandi longe abest. Quod non est mire; nempe triumphi eam spiritus intus imperiose regit, legem illam supremam classicae formae neglegens aequitatem diversorum principiorum postulantem, ex qua neglegentia ambiguitas aestheticae expressionis necessarie paritur. 4 Agnoscere tamen oportet artem Romanam publicam in ea discrepantia inter formas classicas et spiritum triumphalem potestatis usum artis hellenisticae, ei primo contemporaneae, at post Rem publicam Liberam interitam iam antecedentis, continuavisse et expandisse. Atqui Romana ars, etsi talis, non minus saltem, ac ars hellenistica est quam studio tam exploratione doctrinali digna. Cuius rationes principales hae sunt: Primo. Quamquam artis Graecae permulta monimenta classica nostris diebus accessibilia et visibilia archeologorum opera sunt, res tamen se non semper ita habuit. Ars Graeca vera non prius ac saeculo duodevigesimo, beneficio praesertim Britannicorum exploratorum et artis fautorum, aperiri incipit. Antea vero eius formae atque regulae notae erant solum per Romana monimenta antiqua, maiore ex parte in Urbe durantia, ex quibus illae artificibus Europensibus abunde hauriebantur; nam tali modo in Italia Renascentiae ars pulchritudinem Hellenicae artis propinquam et perfectionis verticem olim attigit. Igitur Europensis ars postantiqua investigari in totum non potest sine accurata scientia Romanae artis, quae erat functa quasi conciliatrice inter illam et concinnitatem Graecam. Monimenta autem urbis Romae antiqua sunt in eam sententiam profecto maximi ponderis. Secundo. Oportet praeterea meminisse, quod Urbs ipsis Graecis operibus antiquitus redundabat, quum veris tum imitatis, quorum illa raro haec autem crebro post antiquitatem exeuntem inveniebantur, eo ipso uberrimam materiam inquisitoribus Graecae artis adhuc praebendo. Tertio. Opera eximiae artis in arte quoque Romana, ac haud raro, eveniunt; etenim non omnis Romana ars ad laudandam publice Imperii potestatem, artem ex solito enervantem, fuit intenta. Ceteroquin opera palmaria tanto hic sunt frequentiora, quanto longius harum argumenta illis potestatis laudibus distant. Quo autem ad opera huius artis laudativae, haec est etiam non omnino neque semper infecunda: magni momenti est efficiendi tempus. Nam post Augustum regnantem ars publica potestati serviens fit sumptuosior, tamen invicem inanior penitus atque insipidior. Quarto. Ars Romana antiqua ideo quoque est exploratione digna, quod est ars ipsa, quae propriam historiam habet suis legibus directam et moderatam atque simul vitam civitatis omnimodo in se refrangit. Quinto et postremo. Urbs Roma una cum monimentis suis erat antiquis temporibus area postica vel scaena principalis ad eventa magnae, omni mundo gravia et utilia documenta afferentis antiquae Romanae historiae. Tamen huius investigatio sine illius scientia maturum fructum ex se non edit. Idem dici potest etiam de litteris Romanis, quarum argumenta saepenumero ad Urbem, eius loca: fora, vias, templa etc. pertinent. Roma est urbs praestantissima, ubi sortes orbis terrarum in eius magna parte se temporibus antiquis et 5 posterioribus definiebant, quam ob rem omnia in rebus urbis Romae inclusa, in his etiam ars, magnum studium excitabat semper excitabitque. AMPHITHEATRUM FLAVIUM et eo ADIACENTIA: Amphitheatrum Flavium: collocatum in valle inter montes Palatinum, Esquilinum et Caelium iacente ac post finem antiquitatis notum sub Colossei quoque nomine, quod adeptum est Colossi (v. infra) propinquitatis causa, incipit hoc amphiteatrum aedificari anno 72 Vespasiani principis nutu , illo loco, quo ante lacus manufactus se porrigeberat ad agrum domus Neronis (v. DomusAurea) pertinens. Consecravit autem hoc amphitheatrum, orbis Romani maximum, iam Vespasiani filius et successor Titus anno 80. Idem tunc ad honorem consecrationis centum dierum ludos edidit, quibus procedentibus quinque milia bestiarum occisa fuerunt. Hoc aedificium, ingentis ellipseos, 188 metra longae et 156 transversae, formam ichnographice habens, altitudinem 48 metra attingit. Parietum eius externa corona ex lapide Tiburtino omnis facta, in quattuor tabulata dividitur, quorum inferiores tres ordinibus octogenorum arcuum olim informata erant, superius tamen pariete prope totum coopertum. Arcuum pilae semicolumnis diversorum generum ornatae sunt: generis Dorici in infimo, Ionici in secundo, Corinthii in tertio tabulato. Quartum tabulatum parastadibus generis Corinthii parum excedentibus et non ita latis divisum est. In quoque secundo inter eas intervallo singulae fenestrae videntur, forma quadratae, dimensione parvae, in intervallo autem quocumque ternae proiecturae, quae antiquitus magnas perticas consolidaverunt, velarium (id est velum super circo distentum et a sole nimium calido protegens) tenentes. 6 Amphitheatri cavea septuaginta milia spectatorum capiebat. Ad sedem suam pervenire poterat spectator per portam sub quoque arcu infimi tabulati factam. Intromittente tessera (omnibus gratuita) accepta, qua numerus portae significatus fuerat, inveniebat pefacile spectator ei requisitam portam eodem numero superne notatam et inde cito caveam per fauces atque gradus cameratos capiebat. Si tamen spectator persona multum valens erat, is per unam de quattuor portis numerum non habentibus et in extremis axibus principalibus huius aedificii collocatis intrabat. Per sedium ordines disponebantur spectatores secundum cuiusque condicionem publicam. Sedes arenae propinquissimae erant nobilibus destinatae. In eandem altitudinem elevatae, erant sitae ad extremos axes principales cubicula pro ipso principe et eius familia, pro magistratibus maioribus, vestalibus et sacerdotibus. Ordinem sedium supra positum eques occupaverunt, tertium autem et quartum alii viri equibus inferiores, denique summum ex ligno fabricatum mulieres variorum condicionum. Arena dimensionem 78×46 metra habens de tabulis erat confixa et pulvere
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