Waste and Pollution in the Ancient Roman Empire
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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). -
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. -
Architecture in the Roman Forum During the Empire: a Brief History
Cambridge University Press 978-0-521-19244-6 - The Roman Forum: A Reconstruction and Architectural Guide Gilbert J. Gorski & James E. Packer Excerpt More information PART I. ARCHITECTURE IN THE ROMAN FORUM DURING THE EMPIRE: A BRIEF HISTORY © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-19244-6 - The Roman Forum: A Reconstruction and Architectural Guide Gilbert J. Gorski & James E. Packer Excerpt More information © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-19244-6 - The Roman Forum: A Reconstruction and Architectural Guide Gilbert J. Gorski & James E. Packer Excerpt More information THE AUGUSTAN 1 RECONSTRUCTION (31 BCE–14 CE) PROLOGUE: THE late Republic. Literary tradition credited the Temple of Vesta at the southeast end of the valley to Rome’s second king, Numa REPUBLICAN FORUM Pompilius (715–673), who had erected it next to the Regia, (508–31) his own residence. At the northwest end, Pompilius’ succes- sor, Tullius Hostilius (672–641), built the Curia Hostilia, the Established as a meeting place for the inhabitants of the adja- Senate House named after him, and, in front of it, the Comitium, cent, previously independent villages, the Republican Forum the outdoor meeting place for Rome’s popular assemblies. At occupied an irregularly shaped, marshy valley below the the end of the sixth and the beginning of the fi fth centuries, the Palatine and Capitoline Hills. Reclaiming the central marsh by early republican Temples of Saturn and Castor went up to the massive earth fi lls in the late sixth century, its builders initiated south, and, by the fourth century, a line of aristocratic dwellings the continuous evolutionary changes that, in the next fi ve cen- connected these temples and defi ned the edges of the piazza turies (c. -
Stories in Stone from the Roman Forum
S R IES IN S O NE F ROMTHE TO . T ROMAN FO RUM STORIES IN STONE FROM THE ROMAN FORUM ISABEL LOVELL I LLUSTRA TED Na yak THE MACMILLA N COMPANY LOND N : MACMILLAN A D LTD O N CO. 1 904 P BY THE MACMILLAN COM ANY. 0 Set up, elecmtyped, and published Sepwmber, 190 . M h 1 atc , 904. Nath a n M - Nonwood. Nan , U. 8 .A. PREFACE TO wh sim l a ex tell y, p y and cle rly, is the ceedin l this book Not g y ambitious aim of . ” ’ which ae afiair how, is the arch ologist s , but wh Forum of th y, why the Rome became e ’ i h R a r centre of the nation s l fe, w y the om ns wo e ublic r white togas, why the p Treasu y was under ’ wh as were Saturn s charge, y the basilic built, why the donkeys were decked with cakes during ’ on h Vesta s festival, why the temples stood igh i foundat ons, why the magnificent monuments ” crumbled into ruins, and many other whys to k al that travellers wish now, that historic s readers eek, that young students enjoy. The r no sto ies are but retold, the facts restated, but n e n m legend is arrat d, no stateme t ade, that is unvouched for by a recognized authority. It may be added that the illustrations have been inserted more as aids to the imagination than l s u as materia for cientific st dy. -
The Forum Romanum: a Kaleidoscopic Analysis
Discentes Volume 4 Issue 1 Volume 4, Issue 1 Article 8 2016 The Forum Romanum: A Kaleidoscopic Analysis Follow this and additional works at: https://repository.upenn.edu/discentesjournal Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, Classics Commons, and the History Commons Recommended Citation . 2016. "The Forum Romanum: A Kaleidoscopic Analysis." Discentes 4, (1):34-47. https://repository.upenn.edu/discentesjournal/vol4/iss1/8 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/discentesjournal/vol4/iss1/8 For more information, please contact [email protected]. The Forum Romanum: A Kaleidoscopic Analysis This article is available in Discentes: https://repository.upenn.edu/discentesjournal/vol4/iss1/8 The Forum Romanum: A Kaleidoscopic Analysis By Allyson Zucker The Roman Forum is a place full of contradictions and unity. On a comprehensive time scale, the forum grows from a semi-random connection of buildings to the monumental center of the most powerful nation in the Mediterranean. On the other hand, from day to day, the Roman forum changed according to the Roman calendar, transforming from the holy grounds of a religious festival to bustling markets, and from a political battleground to a judicial arena. Ancient Romans experienced the forum through a kaleidoscopic lens, cheering on gladiators in front of the very rostra where Cicero delivered epic political speeches, purchasing a goat at the market before sacrificing at the Temple of Jupiter, and visiting the brothel beside the Temple of the Vestal Virgins. Martial aurally narrates a scene of the noises that resounded through the forum and compellingly portrays its chaos with 1. -
Where the Poor Folks Live) and 2 Crossed the Island by Two Bridges and Wound Around Through the Crooked Narrow Streets to the 3 Forum
1 so so. We now passed south on the west bank of the Tiber (where the poor folks live) and 2 crossed the island by two bridges and wound around through the crooked narrow streets to the 3 forum. Leaving our carriage, we walked down into the excavated place to take a near view of 4 the interesting ruins. A pit is formed in the floor of the Basilica Julia down to the ancient sewer 5 called the “Cloaca Maxima,” constructed several hundred years before Christ to drain the area 6 of the forum and adjacent part of the city. It is about 8 feet wide, arched with stone. A large 7 volume of water was running through it with great rapidity. Leaving this intensely interesting 8 place, we drove a short distance to the entrance leading up to the Palatine Hill and ruins of the 9 Palace of the Caesars. This hill is the site of ancient Rome. The entire hill was encircled by a 10 wall about half way up its sides and had 3 gates only. Two of these gates have been discovered 11 by recent excavations. Many ancients of celebrity resided here. The emperors took possession 12 of the entire area and erected their palaces. The ruins of the palaces of Tiberius, Calligula, the 13 Flavii, and Severus are known as the “ruins of the palaces of the caesars” and are of vast extent. 14 The marble and mosaic floors still remain in several of the halls and saloons indicating that the 15 finish of these apartments were in the same degree of costliness and extravagance. -
Waters of Rome Journal
THE CLOACA MAXIMA AND THE MONUMENTAL MANIPULATION OF WATER IN ARCHAIC ROME John N. N. Hopkins [email protected] Introduction cholars generally conceive of the Cloaca Maxima as a Smassive drain flushing away Rome’s unappealing waste. This is primarily due to the historiographic popularity of Imperial Rome, when the Cloaca was, in fact, a sewer. By the time Frontinus assumed the post of curator aquarum in 97 AD, its concrete and masonry tunnels channeled Rome’s refuse beneath the Fora and around the hills, and stood among extensive drainage networks in the valleys of the Circus Maximus, Campus Martius and Transtiberim (Figs. 1 & 2).1 Built on seven hundred years of evolving hydraulic engineering and architecture, it was acclaimed in the first century as a work “for which the new magnificence of these days has scarcely been able to produce a match.”2 The Cloaca did not, however, always serve the city in this manner. Archaeological and literary evidence suggests that in the sixth century BC, the last three kings of Rome produced a structure that was entirely different from the one historians knew under the Empire. What is more, evidence suggests these kings built it to serve entirely different purposes. The Cloaca began as a monumental, open-air, fresh-water canal (Figs. 3 & 4). This canal guided streams through the newly leveled, paved, open space that would become the Forum Romanum. In this article, I reassess this earliest phase of the Cloaca Maxima when it served a vital role in changing the physical space of central Rome and came to signify the power of the Romans who built it. -
Framing the Sun: the Arch of Constantine and the Roman Cityscape Elizabeth Marlowe
Framing the Sun: The Arch of Constantine and the Roman Cityscape Elizabeth Marlowe To illustrate sonif oi the key paradigm shifts of their disci- C^onstantine by considering the ways its topographical setting pline, art historians often point to the fluctuating fortunes of articulates a relation between the emperor's military \ictoiy ihe Arrh of Constantine. Reviled by Raphael, revered by Alois and the favor of the sun god.'' Riegl, condemned anew by the reactionary Bernard Beren- son and conscripted by the openly Marxist Ranucchio Bian- The Position of the Arch rhi Bandineili, the arch has .sened many agendas.' Despite In Rome, triumphal arches usually straddled the (relatively their widely divergent conclusions, however, these scholars all fixed) route of the triumphal procession.^ Constantine's share a focus on the internal logic of the arcb's decorative Arch, built between 312 and 315 to celebrate his victory over program. Time and again, the naturalism of the monument's the Rome-based usuiper Maxentius (r. 306-12) in a bloody spoliated, second-century reliefs is compared to the less or- civil war, occupied prime real estate, for the options along ganic, hieratic style f)f the fourth-<:entur\'canings. Out of that the "Via Triumphalis" (a modern term but a handy one) must contrast, sweeping theorie.s of regrettable, passive decline or have been rather limited by Constantine's day. The monu- meaningful, active transformation are constructed. This ment was built at the end of one of the longest, straightest methodology' has persisted at the expense of any analysis of stretches along the route, running from the southern end of the structure in its urban context. -
The Colosseum As an Enduring Icon of Rome: a Comparison of the Reception of the Colosseum and the Circus Maximus
The Colosseum as an Enduring Icon of Rome: A Comparison of the Reception of the Colosseum and the Circus Maximus. “While stands the Coliseum, Rome shall stand; When falls the Coliseum, Rome shall fall; And when Rome falls - the World.”1 The preceding quote by Lord Byron is just one example of how the Colosseum and its spectacles have captivated people for centuries. However, before the Colosseum was constructed, the Circus Maximus served as Rome’s premier entertainment venue. The Circus was home to gladiator matches, animal hunts, and more in addition to the chariot races. When the Colosseum was completed in 80 CE, it became the new center of ancient Roman amusement. In the modern day, thousands of tourists each year visit the ruins of the Colosseum, while the Circus Maximus serves as an open field for joggers, bikers, and other recreational purposes, and is not necessarily an essential stop for tourists. The ancient Circus does not draw nearly the same crowds that the Colosseum does. Through an analysis of the sources, there are several explanations as to why the Colosseum remains a popular icon of Rome while the Circus Maximus has been neglected by many people, despite it being older than and just as popular as the Colosseum in ancient times. Historiography Early scholarship on the Colosseum and other amphitheaters focused on them as sites of death and immorality. Katherine Welch sites L. Friedländer as one who adopted such a view, 1 George Gordon Byron, “Childe Harold's Pilgrimage, canto IV, st. 145,” in The Selected Poetry of Lord Byron, edited by Leslie A. -
Hendrik Verschuring
HENDRIK VERSCHURING (Gorinchem 1627 - Dordrecht 1690) A Horse Market with Arabian Merchants in the Campo Vaccino, Rome signed with a monogram in brown ink ‘HVS. f.’ (lower left) pen and brown ink and grey wash with touches of black chalk, within brown ink framing lines 31 x 41.5 cm (12¼ x 16¼ in) ENDRIK VERSCHURING MADE HIS REPUTATION with equestrian drawings, of which A Horse Market with Arabian Merchants in the Campo Vaccino, Rome is a fine example. The fair in the Campo Vaccino was a subject that the artist clearly favoured, perhaps as it provided an Hopportunity to highlight the magnificence of his horses, by portraying them surrounded by noble and timeless remnants of classical architecture. Several of his drawings show the same setting from different vantage points, one of which is in the Royal Collection at Windsor.¹ The Campo Vaccino was a name designated in the Middle Ages to an area of the Roman Forum located between the Capitoline Hill and the Colosseum that was traditionally used as a cattle market. During Verschuring’s time, some of the Forum’s most impressive ruins would have been covered with several metres of eroded soil, much of it created by the new building projects in the Baroque period, and it was not until the Napoleonic regime that excavations of the city began. Many of the Photograph of the Roman Forum with the Column of Phocas and the monuments that define the Forum today do not appear in the artist’s Temple of the Dioscuri drawings, perhaps out of artistic preference, but most likely because they were as yet undiscovered. -
Most Popular Sightseeing
ROME MOST POPULAR SIGHTSEEING Espresso & Gelato Walking Tour Your walking tour will include stops at renowned coffee shops, gelaterias, and the most famous tiramisu shop in Rome’s city center. You will be guided by a local food connoisseur throughout your espresso and gelato sampling experience. 2.5 hrs Early Entrance Vatican Museums & St. Peter’s In-Depth Experience Small Group Walking Tour with Skip-the-Line Entrances & Guide Begin your early tour at the Sistine Chapel, where you will see a masterpiece crafted by one man that was to change the course of Western art. You will then move through the Vatican to experience incredible artwork of some of the world’s most famous artists, including Michelangelo, Caravaggio, da Vinci, and Raphael while your guide explains the meaning of their art. Your tour will conclude in St. Peter’s Basilica. (Tour starts at 7:20 am; dress code: no shorts or uncovered shoulders) 5 hrs Underground Colosseum (Plus Third Tier), Roman Forum & Palatine Hill Small Group Walking Tour with Skip-the-Line Entrances & Guide Walk the Roman Forum where Julius Caesar, Cicero, and Augustus gave their famous speeches. Head to the Colos- seum and see where traditional Roman games were held. Venture beneath the Colosseum to see the tunnels and cells which housed wild beasts, gladiators, and slaves. Enter the third tier of the Colosseum to take in the views of Rome. Finish your tour at Palatine Hill, which has spectacular views of the Roman Forum, Colosseum, and all of Rome. (No admission cost on 1st Sunday of the month. -
Musei Capitolini Piazza Del Campidoglio 1 (00186) Near Pizza Venizia Metro: Colosseo 9:30 AM - 7:30 PM (Every Day)
Musei Capitolini Piazza del Campidoglio 1 (00186) Near Pizza Venizia Metro: Colosseo 9:30 AM - 7:30 PM (Every Day) The creation of the Capitoline Museums has been traced back to 1471, when Pope Sixtus IV donated a group of bronze statues of great symbolic value to the People of Rome. The collections are closely linked to the city of Rome. Piazza del Campidoglio's current appearance dates back to the middle of the XV century when it was designed by Michelangelo Buonarroti. The piazza's component parts (buildings, sculptures and decorated paving) were intended by Michelangelo to form one single organic unity, although over the centuries there have been a number of alterations & additions. The Capitoline Hill is the smallest hill in Rome and was originally made up of two parts (the Capitolium and the Arx) separated by a deep valley which corresponds to where Piazza del Campidoglio now stands about 8 metres above the original site. The sides of this hill were very steep and on account of the difficulty of reaching the top and the dominating position it enjoyed over the River Tiber, it was chosen as the city's main stronghold. The main buildings faced the Ancient Roman Forum, from which a carriageable road known as the Clivus Capitolinus led up the hill to the Temple of Jupiter Optimus Maximus, the most important and imposing temple in Rome. In addition to this temple and those dedicated to Juno Moneta, Veiovis and in the Area Capitolina, the Capitoline Hill was the headquarters of the Public Roman Archive ( Tabularium) and, in Republican Age, of the Mint.