Pompeii 1A the Physical Environment - Geographical Setting, Natural Features and Resources Text Chapter 1 "The Physical Environment of Campania" Pp.2-8
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The Rough Guide to Naples & the Amalfi Coast
HEK=> =K?:;I J>;HEK=>=K?:;je CVeaZh i]Z6bVaÒ8dVhi D7FB;IJ>;7C7B<?9E7IJ 7ZcZkZcid BdcYgV\dcZ 8{ejV HVc<^dg\^d 8VhZgiV HVciÉ6\ViV YZaHVcc^d YZ^<di^ HVciVBVg^V 8{ejVKiZgZ 8VhiZaKdaijgcd 8VhVaY^ Eg^cX^eZ 6g^Zcod / AV\dY^EVig^V BVg^\a^Vcd 6kZaa^cd 9WfeZ_Y^_de CdaV 8jbV CVeaZh AV\dY^;jhVgd Edoojda^ BiKZhjk^jh BZgXVidHVcHZkZg^cd EgX^YV :gXdaVcd Fecf[__ >hX]^V EdbeZ^ >hX]^V IdggZ6ccjco^ViV 8VhiZaaVbbVgZY^HiVW^V 7Vnd[CVeaZh GVkZaad HdggZcid Edh^iVcd HVaZgcd 6bVa[^ 8{eg^ <ja[d[HVaZgcd 6cVX{eg^ 8{eg^ CVeaZh I]Z8Vbe^;aZ\gZ^ Hdji]d[CVeaZh I]Z6bVa[^8dVhi I]Z^haVcYh LN Cdgi]d[CVeaZh FW[ijkc About this book Rough Guides are designed to be good to read and easy to use. The book is divided into the following sections, and you should be able to find whatever you need in one of them. The introductory colour section is designed to give you a feel for Naples and the Amalfi Coast, suggesting when to go and what not to miss, and includes a full list of contents. Then comes basics, for pre-departure information and other practicalities. The guide chapters cover the region in depth, each starting with a highlights panel, introduction and a map to help you plan your route. Contexts fills you in on history, books and film while individual colour sections introduce Neapolitan cuisine and performance. Language gives you an extensive menu reader and enough Italian to get by. 9 781843 537144 ISBN 978-1-84353-714-4 The book concludes with all the small print, including details of how to send in updates and corrections, and a comprehensive index. -
Journal Pre-Proof
Journal Pre-proof From Historical Seismology to seismogenic source models, 20 years on: Excerpts from the Italian experience Gianluca Valensise, Paola Vannoli, Pierfrancesco Burrato, Umberto Fracassi PII: S0040-1951(19)30296-3 DOI: https://doi.org/10.1016/j.tecto.2019.228189 Reference: TECTO 228189 To appear in: Tectonophysics Received date: 1 April 2019 Revised date: 20 July 2019 Accepted date: 5 September 2019 Please cite this article as: G. Valensise, P. Vannoli, P. Burrato, et al., From Historical Seismology to seismogenic source models, 20 years on: Excerpts from the Italian experience, Tectonophysics(2019), https://doi.org/10.1016/j.tecto.2019.228189 This is a PDF file of an article that has undergone enhancements after acceptance, such as the addition of a cover page and metadata, and formatting for readability, but it is not yet the definitive version of record. This version will undergo additional copyediting, typesetting and review before it is published in its final form, but we are providing this version to give early visibility of the article. Please note that, during the production process, errors may be discovered which could affect the content, and all legal disclaimers that apply to the journal pertain. © 2019 Published by Elsevier. Journal Pre-proof From Historical Seismology to seismogenic source models, 20 years on: excerpts from the Italian experience Gianluca Valensise, Paola Vannoli, Pierfrancesco Burrato & Umberto Fracassi Istituto Nazionale di Geofisica e Vulcanologia, Rome, Italy Contents 1. Introduction 1.1. Why Historical Seismology 1.2. A brief history of Historical Seismology 1.3. Representing and exploiting Historical Seismology data 2. -
Introduction
INTRODUCTION Background The present study concerns materials used for Pompeian wall paintings.1 In focus are plasters of the early period, related to the Samnite period and the so called First style. My earlier experiences the field of ancient materials were studies of Roman plasters at the Villa of Livia at Prima Porta and fragments of wall decorations from the demolished buildings underneath the church San Lorenzo in Lucina in Rome. These studies led to the hypothesis that technology reflects not only the natural (geographical) resources available but also the ambitions within a society, a moment in time, and the economic potential of the commissioner.2 Later, during two years within the Swedish archaeological project at Pompeii, it was my task to study the plasters used in one of the houses of insula V 1, an experience that led to the perception that specific characteristics are linked to plasters used over time. In the period 2003-2005, funding by the Swedish Research Council made possible to test the hypotheses. The present method was developed at insula I 9 and the Forum of Pompeii with the approval of the Soprintendenza archeological di Pompei and in collaboration with the directors of two international archaeological teams.3 It became evident that plaster’s composition changes over time, and eight groups of chronologically pertinent plasters were identified and defined A-H. Based on these results, I assume there is a connection between the typology and the relative chronology in which the plasters appear on the walls. I also believe these factors are related not only in single buildings or quarters but over the site and that, hypothetically, the variations observed are related to technology, craftsmanship and fashion. -
The Nature of Hellenistic Domestic Sculpture in Its Cultural and Spatial Contexts
THE NATURE OF HELLENISTIC DOMESTIC SCULPTURE IN ITS CULTURAL AND SPATIAL CONTEXTS DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Craig I. Hardiman, B.Comm., B.A., M.A. ***** The Ohio State University 2005 Dissertation Committee: Approved by Dr. Mark D. Fullerton, Advisor Dr. Timothy J. McNiven _______________________________ Advisor Dr. Stephen V. Tracy Graduate Program in the History of Art Copyright by Craig I. Hardiman 2005 ABSTRACT This dissertation marks the first synthetic and contextual analysis of domestic sculpture for the whole of the Hellenistic period (323 BCE – 31 BCE). Prior to this study, Hellenistic domestic sculpture had been examined from a broadly literary perspective or had been the focus of smaller regional or site-specific studies. Rather than taking any one approach, this dissertation examines both the literary testimonia and the material record in order to develop as full a picture as possible for the location, function and meaning(s) of these pieces. The study begins with a reconsideration of the literary evidence. The testimonia deal chiefly with the residences of the Hellenistic kings and their conspicuous displays of wealth in the most public rooms in the home, namely courtyards and dining rooms. Following this, the material evidence from the Greek mainland and Asia Minor is considered. The general evidence supports the literary testimonia’s location for these sculptures. In addition, several individual examples offer insights into the sophistication of domestic decorative programs among the Greeks, something usually associated with the Romans. -
Journal of Roman Archaeology
JOURNAL OF ROMAN ARCHAEOLOGY VOLUME 26 2013 * * REVIEW ARTICLES AND LONG REVIEWS AND BOOKS RECEIVED AN INTERNATIONAL JOURNAL Table of contents of fascicule 2 Reviews V. Kozlovskaya Pontic Studies 101 473 G. Bradley An unexpected and original approach to early Rome 478 V. Jolivet Villas? Romaines? Républicaines? 482 M. Lawall Towards a new social and economic history of the Hellenistic world 488 S. L. Dyson Questions about influence on Roman urbanism in the Middle Republic 498 R. Ling Hellenistic paintings in Italy and Sicily 500 L. A. Mazurek Reconsidering the role of Egyptianizing material culture 503 in Hellenistic and Roman Greece S. G. Bernard Politics and public construction in Republican Rome 513 D. Booms A group of villas around Tivoli, with questions about otium 519 and Republican construction techniques C. J. Smith The Latium of Athanasius Kircher 525 M. A. Tomei Note su Palatium di Filippo Coarelli 526 F. Sear A new monograph on the Theatre of Pompey 539 E. M. Steinby Necropoli vaticane — revisioni e novità 543 J. E. Packer The Atlante: Roma antica revealed 553 E. Papi Roma magna taberna: economia della produzione e distribuzione nell’Urbe 561 C. F. Noreña The socio-spatial embeddedness of Roman law 565 D. Nonnis & C. Pavolini Epigrafi in contesto: il caso di Ostia 575 C. Pavolini Porto e il suo territorio 589 S. J. R. Ellis The shops and workshops of Herculaneum 601 A. Wallace-Hadrill Trying to define and identify the Roman “middle classes” 605 T. A. J. McGinn Sorting out prostitution in Pompeii: the material remains, 610 terminology and the legal sources Y. -
T2-H-5271-Pompeii-Photo-Information-Powerpoint Ver 1.Pdf
This colonnade forms part of the forum. The forum was a public square which would have been used for meetings, criminal trials, public speeches, and markets. Colonnade Many streets remain in Pompeii. Here you can see cobbled streets with pavements on each side. In the distance is Mount Vesuvius – the volcano that destroyed Pompeii. Street In ancient Pompeii, there were many types of entertainment. One popular pastime was the theatre where people went to watch plays. This theatre had space for 1,000 spectators. Odeon – small theatre The Romans worshipped many gods. This temple is dedicated to Apollo, the god of music, and was built on a high platform to make it look more impressive. Temple of Apollo The House of the Vettii was one of the most impressive and richly decorated houses in Pompeii. It was named after the owners, Aulus Vettius Conviva and Aulus Vettius Restitutus. House of the Vettii The Romans use mosaics to decorate wealthy houses and public buildings. Each mosaic used thousands of tesserae (small pieces of tile or stone) to create a picture or pattern. Mosaic Another popular way of decorating rooms was with wall paintings (frescoes). This one, in the Casa del Menandro (House of Menander) shows a hunting party. Can you see the dogs and the man with a bow and arrow? Paintings in Casa del Menandro Myths and legends were a common source of inspiration for Roman artists. This painting depicts Narcissus who was so beautiful that he fell in love with his own reflection. Painting of Narcissus Archaeologists at Pompeii have found so many artefacts, it is not possible to have them all on display at once. -
Recent Work on the Stone at the Villa Arianna and the Villa San Marco (Castellammare Di Stabia) and Their Context Within the Vesuvian Area
Recent Work on the Stone at the Villa Arianna and the Villa San Marco (Castellammare di Stabia) and Their Context within the Vesuvian Area Barker, Simon J.; Fant, J. Clayton Source / Izvornik: ASMOSIA XI, Interdisciplinary Studies on Ancient Stone, Proceedings of the XI International Conference of ASMOSIA, 2018, 65 - 78 Conference paper / Rad u zborniku Publication status / Verzija rada: Published version / Objavljena verzija rada (izdavačev PDF) https://doi.org/10.31534/XI.asmosia.2015/01.04 Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:123:583276 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-10-05 Repository / Repozitorij: FCEAG Repository - Repository of the Faculty of Civil Engineering, Architecture and Geodesy, University of Split ASMOSIA PROCEEDINGS: ASMOSIA I, N. HERZ, M. WAELKENS (eds.): Classical Marble: Geochemistry, Technology, Trade, Dordrecht/Boston/London,1988. e n ASMOSIA II, M. WAELKENS, N. HERZ, L. MOENS (eds.): o t Ancient Stones: Quarrying, Trade and Provenance – S Interdisciplinary Studies on Stones and Stone Technology in t Europe and Near East from the Prehistoric to the Early n Christian Period, Leuven 1992. e i ASMOSIA III, Y. MANIATIS, N. HERZ, Y. BASIAKOS (eds.): c The Study of Marble and Other Stones Used in Antiquity, n London 1995. A ASMOSIA IV, M. SCHVOERER (ed.): Archéomatéiaux – n Marbres et Autres Roches. Actes de la IVème Conférence o Internationale de l’Association pour l’Étude des Marbres et s Autres Roches Utilisés dans le Passé, Bordeaux-Talence 1999. e i d ASMOSIA V, J. HERRMANN, N. HERZ, R. NEWMAN (eds.): u ASMOSIA 5, Interdisciplinary Studies on Ancient Stone – t Proceedings of the Fifth International Conference of the S Association for the Study of Marble and Other Stones in y Antiquity, Museum of Fine Arts, Boston, June 1998, London r 2002. -
Paper Information: Title: the Realm of Janus: Doorways in the Roman
Paper Information: Title: The Realm of Janus: Doorways in the Roman World Author: Ardle Mac Mahon Pages: 58–73 DOI: http://doi.org/10.16995/TRAC2002_58_73 Publication Date: 03 April 2003 Volume Information: Carr, G., Swift, E., and Weekes, J. (eds.) (2003) TRAC 2002: Proceedings of the Twelfth Annual Theoretical Roman Archaeology Conference, Canterbury 2002. Oxford: Oxbow Books. Copyright and Hardcopy Editions: The following paper was originally published in print format by Oxbow Books for TRAC. Hard copy editions of this volume may still be available, and can be purchased direct from Oxbow at http://www.oxbowbooks.com. TRAC has now made this paper available as Open Access through an agreement with the publisher. Copyright remains with TRAC and the individual author(s), and all use or quotation of this paper and/or its contents must be acknowledged. This paper was released in digital Open Access format in April 2013. The Realm of Janus: Doorways in the Roman World Ardle Mac Mahon For the Romans, the doorways into their dwellings had tremendous symbolic and spiritual significance and this aspect was enshrined around the uniquely Latin god Janus. The importance of principal entrance doorways was made obvious by the architectural embell ishments used to decorate doors and door surrounds that helped to create an atmosphere of sacred and ritual eminence. The threshold was not only an area of physical transition but also of symbolic change intimately connected to the lives of the inhabitants of the dwelling. This paper will explore the meaning of the architectural symbolism of the portal and the role of doorways in ritual within the Roman empire by an examination of the architectural remains and the literary sources. -
The Insula of the Menander at Pompeii: Interim Report
THE INSULA OF THE MENANDER AT POMPEII: INTERIM REPORT By ROGER LING, F.S.A. INTRODUCTION THE British project in the Insula of the Menander at Pompeii was instituted in 1978 by the late Dr. J. B. Ward-Perkins in consultation with the then Superintendent of Antiquities for Campania, Professor Fausto Zevi. Funding has until now been provided by a generous grant from Imperial Tobacco Ltd., a proportion of the profits of the exhibition 'Pompeii 79' held at the Royal Academy of Arts, London, in 1976-7. To these mentors and sponsors the author is deeply indebted—to Imperial Tobacco for their enlightened patronage of archaeological research, to Professor Zevi for first suggesting a programme of recording and analysis in the Insula of the Menander, and above all to Dr. Ward-Perkins for taking up the suggestion and largely shaping the present project. This project is in a very real sense his brainchild, and it is as a tribute to his memory that we intend to continue with it and bring it to completion in the manner that he would have wished. Special thanks must also be given to Dr. Stefano De Caro, the Director of the site at Pompeii, who has been unfailingly courteous and helpful over the past five years, and to his henchmen, Dr. Federico, the assistant director, Sig. Pelli, the technical director, Sig. Cirillo, his assistant, and Sig. Sicignano, the head foreman, for their invaluable practical assistance. Finally, mention must be made of the chief members of the team. After a brief exploratory season in September 1978, full programmes of work have been conducted in August-September 1979, 1980, 1981 and 1982. -
1 Reading Athenaios' Epigraphical Hymn to Apollo: Critical Edition And
Reading Athenaios’ Epigraphical Hymn to Apollo: Critical Edition and Commentaries DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Corey M. Hackworth Graduate Program in Greek and Latin The Ohio State University 2015 Dissertation Committee: Fritz Graf, Advisor Benjamin Acosta-Hughes Carolina López-Ruiz 1 Copyright by Corey M. Hackworth 2015 2 Abstract This dissertation is a study of the Epigraphical Hymn to Apollo that was found at Delphi in 1893, and since attributed to Athenaios. It is believed to have been performed as part of the Athenian Pythaïdes festival in the year 128/7 BCE. After a brief introduction to the hymn, I provide a survey and history of the most important editions of the text. I offer a new critical edition equipped with a detailed apparatus. This is followed by an extended epigraphical commentary which aims to describe the history of, and arguments for and and against, readings of the text as well as proposed supplements and restorations. The guiding principle of this edition is a conservative one—to indicate where there is uncertainty, and to avoid relying on other, similar, texts as a resource for textual restoration. A commentary follows, which traces word usage and history, in an attempt to explore how an audience might have responded to the various choices of vocabulary employed throughout the text. Emphasis is placed on Athenaios’ predilection to utilize new words, as well as words that are non-traditional for Apolline narrative. The commentary considers what role prior word usage (texts) may have played as intertexts, or sources of poetic resonance in the ears of an audience. -
The Roman House As Memory Theater: the House of the Tragic Poet in Pompeii Author(S): Bettina Bergmann Source: the Art Bulletin, Vol
The Roman House as Memory Theater: The House of the Tragic Poet in Pompeii Author(s): Bettina Bergmann Source: The Art Bulletin, Vol. 76, No. 2 (Jun., 1994), pp. 225-256 Published by: College Art Association Stable URL: http://www.jstor.org/stable/3046021 Accessed: 18-01-2018 19:09 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms College Art Association is collaborating with JSTOR to digitize, preserve and extend access to The Art Bulletin This content downloaded from 132.229.13.63 on Thu, 18 Jan 2018 19:09:34 UTC All use subject to http://about.jstor.org/terms The Roman House as Memory Theater: The House of the Tragic Poet in Pompeii Bettina Bergmann Reconstructions by Victoria I Memory is a human faculty that readily responds to training reading and writing; he stated that we use places as wax and and can be structured, expanded, and enriched. Today few, images as letters.2 Although Cicero's analogy had been a if any, of us undertake a systematic memory training. In common topos since the fourth century B.c., Romans made a many premodern societies, however, memory was a skill systematic memory training the basis of an education. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Writing in the Street: The Development of Urban Poetics in Roman Satire Permalink https://escholarship.org/uc/item/7x66m4vs Author Gillies, Grace Publication Date 2018 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Writing in the Street: The Development of Urban Poetics in Roman Satire A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Classics by Grace Gillies 2018 © Copyright by Grace Gillies 2018 ABSTRACT OF THE DISSERTATION Writing in the Street: The Development of Urban Poetics in Roman Satire by Grace Gillies Doctor of Philosophy in Classics University of California, Los Angeles, 2018 Professor Amy Ellen Richlin, Chair My dissertation examines Roman imperial satire for its relationship with non-elite street culture in the Roman city. I begin with a lexicon of sites and terms related to Roman concepts of disgust in the city, as they appear in the satiric sources I am working with. Then, in my next four chapters, I work chronologically through the extant satires to show how each author reflects or even appropriates practices from Roman street culture. Satirists both condemn parts of the city as disgusting—the parts and people in them who ignore social and cultural boundaries—and appropriate those practices as emblematic of what satire does. The theoretical framework for this project concerns concepts of disgust in the Roman world, and draws primarily on Mary Douglas (1966) and Julia Kristeva (1982). The significance of this work is twofold: (1) it argues that satire is, far from a self-contained elite practice, a genre that drew heavily on non-elite urban ii culture; (2) that it adds to a fragmentary history of Roman street culture.