BASILICA NOVA: CONNECTING ARCHITECTURE PAST and PRESENT Michele Chiuini *
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Iudaea Capta Vs. Mother Zion: the Flavian Discourse on Judaeans and Its Delegitimation in 4 Ezra
Journal for the Study of Judaism 49 (2018) 498-550 Journal for the Study of Judaism brill.com/jsj Iudaea Capta vs. Mother Zion: The Flavian Discourse on Judaeans and Its Delegitimation in 4 Ezra G. Anthony Keddie1 Assistant Professor, University of British Columbia, Vancouver, BC, Canada [email protected] Abstract This study proposes that the empire-wide Iudaea capta discourse should be viewed as a motivating pressure on the author of 4 Ezra. The discourse focused on Iudaea capta, Judaea captured, was pervasive across the Roman empire following the First Revolt. Though initiated by the Flavians, it became misrecognized across the Mediterranean and was expressed in a range of media. In this article, I examine the diverse evidence for this discourse and demonstrate that it not only cast Judaeans as barbaric enemies of Rome using a common set of symbols, but also attributed responsibility for a minor provincial revolt to a transregional ethnos/gens. One of the most distinctive symbols of this discourse was a personification of Judaea as a mourning woman. I argue that 4 Ezra delegitimates this Iudaea capta discourse, with its mourning woman, through the counter-image of a Mother Zion figure who transforms into the eschatological city. Keywords Iudaea capta/Judaea capta − Flavian dynasty − 4 Ezra − Roman iconography − Jewish-Roman relations − Mother Zion − apocalyptic discourse − First Jewish Revolt 1 I would like to thank Steven Friesen and L. Michael White for their helpful feedback and insightful suggestions on earlier versions of this study. © koninklijke brill nv, leiden, 2018 | doi:10.1163/15700631-12494235Downloaded from Brill.com10/06/2021 11:31:49PM via free access Iudaea Capta vs. -
Barry Lawrence Ruderman Antique Maps Inc
Barry Lawrence Ruderman Antique Maps Inc. 7407 La Jolla Boulevard www.raremaps.com (858) 551-8500 La Jolla, CA 92037 [email protected] Recentis Romae Ichnographia et Hypsographia Sive Planta et Faies Ad Magnificentiam Qua Prioribus Annis Urbs Ipsa Directa Exculta et Decorata Est. Stock#: 46642 Map Maker: Sandrart / Falda Date: 1679 Place: Nuremberg Color: Hand Colored Condition: VG+ Size: 26.5 x 34.5 inches Price: SOLD Description: Jacob von Sandrart's rare and exquisitely engraved view of Rome, one of the finest impressions of the 'Eternal City' made during the great Baroque Era of Art and Architecture. This finely engraved and lavishly decorative view of Rome takes in all of the 'Eternal City', as it was encompassed by its ancient Aurelian Walls, built during the 2nd Century A.D., on the banks of the River Tiber. Numerous monuments and sites, all of which are still present today, can be seem on the view, including the Coliseum, the Pantheon, the Piazza del Popolo, the Church of San Giovanni Laterno, the Baths of Diocletian, and the Vatican, which is dominated by the Dome of St. Peter's Basilica and the Castel Sant'Angelo. Most notable is the great oval Colonnade that lines the square in front of St. Peter's, which had only been completed in 1666 by the Gianlorenzo Bernini, one of the towering figures of the Baroque Era. The quality of the engraving is exceptionally high, as is the composition of the view, which grants the observer a panoptic view over Rome, while the specific details of the cityscape remain sharply distinguishable. -
Seven Churches of Revelation Turkey
TRAVEL GUIDE SEVEN CHURCHES OF REVELATION TURKEY TURKEY Pergamum Lesbos Thyatira Sardis Izmir Chios Smyrna Philadelphia Samos Ephesus Laodicea Aegean Sea Patmos ASIA Kos 1 Rhodes ARCHEOLOGICAL MAP OF WESTERN TURKEY BULGARIA Sinanköy Manya Mt. NORTH EDİRNE KIRKLARELİ Selimiye Fatih Iron Foundry Mosque UNESCO B L A C K S E A MACEDONIA Yeni Saray Kırklareli Höyük İSTANBUL Herakleia Skotoussa (Byzantium) Krenides Linos (Constantinople) Sirra Philippi Beikos Palatianon Berge Karaevlialtı Menekşe Çatağı Prusias Tauriana Filippoi THRACE Bathonea Küçükyalı Ad hypium Morylos Dikaia Heraion teikhos Achaeology Edessa Neapolis park KOCAELİ Tragilos Antisara Abdera Perinthos Basilica UNESCO Maroneia TEKİRDAĞ (İZMİT) DÜZCE Europos Kavala Doriskos Nicomedia Pella Amphipolis Stryme Işıklar Mt. ALBANIA Allante Lete Bormiskos Thessalonica Argilos THE SEA OF MARMARA SAKARYA MACEDONIANaoussa Apollonia Thassos Ainos (ADAPAZARI) UNESCO Thermes Aegae YALOVA Ceramic Furnaces Selectum Chalastra Strepsa Berea Iznik Lake Nicea Methone Cyzicus Vergina Petralona Samothrace Parion Roman theater Acanthos Zeytinli Ada Apamela Aisa Ouranopolis Hisardere Dasaki Elimia Pydna Barçın Höyük BTHYNIA Galepsos Yenibademli Höyük BURSA UNESCO Antigonia Thyssus Apollonia (Prusa) ÇANAKKALE Manyas Zeytinlik Höyük Arisbe Lake Ulubat Phylace Dion Akrothooi Lake Sane Parthenopolis GÖKCEADA Aktopraklık O.Gazi Külliyesi BİLECİK Asprokampos Kremaste Daskyleion UNESCO Höyük Pythion Neopolis Astyra Sundiken Mts. Herakleum Paşalar Sarhöyük Mount Athos Achmilleion Troy Pessinus Potamia Mt.Olympos -
Turkey: the World’S Earliest Cities & Temples September 14 - 23, 2013 Global Heritage Fund Turkey: the World’S Earliest Cities & Temples September 14 - 23, 2013
Global Heritage Fund Turkey: The World’s Earliest Cities & Temples September 14 - 23, 2013 Global Heritage Fund Turkey: The World’s Earliest Cities & Temples September 14 - 23, 2013 To overstate the depth of Turkey’s culture or the richness of its history is nearly impossible. At the crossroads of two continents, home to some of the world’s earliest and most influential cities and civilizations, Turkey contains multi- tudes. The graciousness of its people is legendary—indeed it’s often said that to call a Turk gracious is redundant—and perhaps that’s no surprise in a place where cultural exchange has been taking place for millennia. From early Neolithic ruins to vibrant Istanbul, the karsts and cave-towns of Cappadocia to metropolitan Ankara, Turkey is rich in treasure for the inquisi- tive traveler. During our explorations of these and other highlights of the coun- FEATURING: try, we will enjoy special access to architectural and archaeological sites in the Dan Thompson, Ph.D. company of Global Heritage Fund staff. Director, Global Projects and Global Heritage Network Dr. Dan Thompson joined Global Heritage Fund full time in January 2008, having previously conducted fieldwork at GHF-supported projects in the Mirador Basin, Guatemala, and at Ani and Çatalhöyük, both in Turkey. As Director of Global Projects and Global Heri- tage Network (GHN), he oversees all aspects of GHF projects at the home office, manages Global Heritage Network, acts as senior editor of print and web publica- tions, and provides support to fundraising efforts. Dan has BA degrees in Anthropology/Geography and Journalism, an MA in Near Eastern Studies from UC Berkeley, and a Ph.D. -
Liturgy, Space, and Community in the Basilica Julii (Santa Maria in Trastevere)
DALE KINNEY Liturgy, Space, and Community in the Basilica Julii (Santa Maria in Trastevere) Abstract The Basilica Julii (also known as titulus Callisti and later as Santa Maria in Trastevere) provides a case study of the physical and social conditions in which early Christian liturgies ‘rewired’ their participants. This paper demon- strates that liturgical transformation was a two-way process, in which liturgy was the object as well as the agent of change. Three essential factors – the liturgy of the Eucharist, the space of the early Christian basilica, and the local Christian community – are described as they existed in Rome from the fourth through the ninth centuries. The essay then takes up the specific case of the Basilica Julii, showing how these three factors interacted in the con- crete conditions of a particular titular church. The basilica’s early Christian liturgical layout endured until the ninth century, when it was reconfigured by Pope Gregory IV (827-844) to bring the liturgical sub-spaces up-to- date. In Pope Gregory’s remodeling the original non-hierarchical layout was replaced by one in which celebrants were elevated above the congregation, women were segregated from men, and higher-ranking lay people were accorded places of honor distinct from those of lesser stature. These alterations brought the Basilica Julii in line with the requirements of the ninth-century papal stational liturgy. The stational liturgy was hierarchically orga- nized from the beginning, but distinctions became sharper in the course of the early Middle Ages in accordance with the expansion of papal authority and changes in lay society. -
The Art & Architecture of the Basilica of Saint Lawrence
Chapel of Our Lady Exterior Rafael Guastavino The Art & Architecture of The style, chosen by the architect, is Guastavino (1842-1908) an architect and builder of To the left of the main altar is the Chapel of Our Lady. Spanish origin, emigrated to the United States from The white marble statue depicts Our Lady of the Spanish Renaissance. The central figure Barcelona in 1881. There he The Basilica of Assumption, patterned after the famous painting by on the main facade is that of our patron, had been a successful Murillo. Inserted in the upper part of the altar is a faience the 3"I century archdeacon, St. The Guastavino architect and builder, D.M. entitled The Crucifixion, which is attributed to an old Lawrence, holding in one hand a palm system represents a Saint Lawrence, renowned pottery in Capo di Monte, Italy. On either side designing large factories and unique architectural A Roman Catholic Church frond and in the other a gridiron, the homes for the industrialists of the tabernacle are niches containing statues of the treatment that has instrument of his torture. On the left of of the region of Catalan. He following: from the extreme left, Sts. Margaret, Lucia, given America some Cecilia, Catherine of Alexandria, Barbara, Agnes, Agatha, St. Lawrence is the first martyr, St. was also credited there with and Rose of Lima. Framing the base of the altar is a series Stephen, holding a stone, the method of being responsible for the of its most of tiles with some titles his martyrdom. He also holds a palm. -
The Restoration of the Arch of Titus in The
日本建築学会計画系論文集 第82巻 第734号,1109-1114, 2017年4月 【カテゴリーⅠ】 J. Archit. Plann., AIJ, Vol. 82 No. 734, 1109-1114, Apr., 2017 DOI http://doi.org/10.3130/aija.82.1109 THE RESTORATION OF THE ARCH OF TITUS THE RESTORATIONIN THE OF THE NINETEENTH ARCH OF TITUS CENTURY: IN THE NINETEENTH The intention of Giuseppe Valadier regardingCENTURY: distinctions between old and new architectural materials The intervention of Giuseppe Valadier19 世紀のティトゥスの凱旋門の修復 regarding distinctions between old and new architectural materials 工法「新旧の建材の識別」に関するジュゼッペ・ヴァラディエの意図19 ୡ⣖ࡢࢸࢺࢫࡢถ᪕㛛ࡢಟ ᕤἲࠕ᪂ᪧࡢᘓᮦࡢ㆑ูࠖ㛵ࡍࡿࢪࣗࢮࢵ࣭ࣦ࣌ࣛࢹ࢚ࡢពᅗ Go OHBA * 大場 豪 ሙ * Go OHBA The Arch of Titus, restored in the first half of nineteenth century, is a restoration model in terms of certain distinctions between old and new architectural materials. To comprehend the intervention method, this study examined sources on the restoration and compared with a case study, the restoration of the eastern outer wall of the Colosseum. As a result, this study pointed that the Roman architect Giuseppe Valadier sought architectural unity that denoted for the harmony of the two different types of materials. Keywords: The Arch of Titus, restoration, Giuseppe Valadier, The Colosseum ࢸࢺࢫࡢถ᪕㛛㸪ಟ㸪ࢪࣗࢮࢵ࣭ࣦ࣌ࣛࢹ࢚, ࢥࣟࢵࢭ࢜ Recognize Introduction proposal was based on the restoration of the Arch of Titus, as he himself This study discusses the restoration of the Arch of Titus from 1818 to mentioned in Mouseion, the journal of conference’s host organization the 1823 in Rome. The intervention made the ancient monument valuable for International Museum Office4). This episode proved that people still the interplay between old and new architectural materials, a concept that is exemplified the intervention one hundred years after its implementation in taken in restoration projects abroad. -
Constantine the Great and Christian Imperial Theocracy Charles Matson Odahl Boise State University
Boise State University ScholarWorks History Faculty Publications and Presentations Department of History 1-1-2007 Constantine the Great and Christian Imperial Theocracy Charles Matson Odahl Boise State University Publication Information Odahl, Charles Matson. (2007). "Constantine the Great and Christian Imperial Theocracy". Connections: European Studies Annual Review, 3, 89-113. This document was originally published in Connections: European Studies Annual Review by Rocky Mountain European Scholars Consortium. Copyright restrictions may apply. Coda: Recovering Constantine's European Legacy 111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111 Constantine the Great and Christian Imperial Theocracy Charles Matson Odahl, Boise State University1 rom his Christian conversion under the influence of cept of imperial theocracy was conveyed in contemporary art Frevelatory experiences outside Rome in A.D. 312 until (Illustration I). his burial as the thirteenth Apostle at Constantinople in Although Constantine had been raised as a tolerant 337, Constantine the Great, pagan polytheist and had the first Christian emperor propagated several Olympian of the Roman world, initiated divinities, particularly Jupiter, the role of and set the model Hercules, Mars, and Sol, as for Christian imperial theoc di vine patrons during the early racy. Through his relationship years of his reign as emperor -
Ancient Rome’S Most Exclu- Fare of the Roman Forum Gladiatorial Amphitheatre Sive Neighbourhood
56 ©Lonely Planet Publications Pty Ltd A n c i e n t R o m e COLOSSEUM | FORUMS | CAMPIDOGLIO | PIAZZA VENEZIA | BOCCA DELLA VERITÀ & FORUM BOARIUM Five Top Experiences 1 Getting your first 2 Exploring the haunting 4 Walking up Via Sacra, glimpse of the Colosseum ruins of the Palatino (p 60 ), the once grand thorough- (p 58 ). Rome’s towering ancient Rome’s most exclu- fare of the Roman Forum gladiatorial amphitheatre sive neighbourhood. (p 63 ). is both an architectural 3 Coming face to face 5 Surveying the city masterpiece, the blueprint with centuries of awe- spread out beneath you for much modern stadium inspiring art at the historic from atop Il Vittoriano design, and a stark, spine- Capitoline Museums (p67 ). (p 69 ) tingling reminder of the brutality of ancient times. 000000000000000000 000000000000000000 000000000000000000o 000000000000000000Piazza Traian e 0200m 000000000000000000Venezia oro # 00.1miles 000000000000000000ia F 000000000000000000V 000000000000000000arco 000000000000000000M V ri 000000000000000000i San nga d Imperial i V Zi V000000000000000000ia #æ a egli # ia 0000000000000000005 Forums T Via d V00000000000000000000000000 V or 000000000 000000000000000000ia 00000000 ä# d 000000000000a i e n 000000000000000000d 00000000 Via a d 000000000oni 000 i e 000000000000000000'A 00000000 A e 000000Via L 000000 00000000000000000000000000 dei F ' S 000000000000 r le C ccina 000000000000000000a 00000000 a Ba e 000000000000 000000000000000000c 00000000 s o Vi i P s nt r 000000000000000000o 00000000 ori n o p e iet a e'M 00000000000000000000000000 -
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. -
The Architecture of Roman Temples
P1: JzL 052181068XAgg.xml CB751B/Stamper 0 521 81068 X August 28, 2004 17:30 The Architecture of Roman Temples - The Republic to the Middle Empire John W. Stamper University of Notre Dame iii P1: JzL 052181068XAgg.xml CB751B/Stamper 0 521 81068 X August 28, 2004 17:30 published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge cb2 2ru, uk 40 West 20th Street, New York, ny 10011-4211, usa 477 Williamstown Road, Port Melbourne, vic 3207, Australia Ruiz de Alarcon´ 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org C John W. Stamper 2005 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2005 Printed in the United Kingdom at the University Press, Cambridge Typefaces Bembo 11/14 pt., Weiss, Trajan, and Janson System LATEX 2ε [tb] A catalog record for this book is available from the British Library. Library of Congress Cataloging in Publication Data Stamper, John W. The architecture of Roman temples : the republic to the middle empire / John W. Stamper. p. cm. Includes bibliographical references and index. isbn 0-521-81068-x 1. Temples, Roman – Italy – Rome. 2. Temple of Jupiter Capitolinus (Rome, Italy) 3. Architecture, Roman – Italy – Rome – Influence. 4. Rome (Italy) -
Spoliation in Medieval Rome Dale Kinney Bryn Mawr College, [email protected]
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College History of Art Faculty Research and Scholarship History of Art 2013 Spoliation in Medieval Rome Dale Kinney Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/hart_pubs Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons Custom Citation Kinney, Dale. "Spoliation in Medieval Rome." In Perspektiven der Spolienforschung: Spoliierung und Transposition. Ed. Stefan Altekamp, Carmen Marcks-Jacobs, and Peter Seiler. Boston: De Gruyter, 2013. 261-286. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/hart_pubs/70 For more information, please contact [email protected]. Topoi Perspektiven der Spolienforschung 1 Berlin Studies of the Ancient World Spoliierung und Transposition Edited by Excellence Cluster Topoi Volume 15 Herausgegeben von Stefan Altekamp Carmen Marcks-Jacobs Peter Seiler De Gruyter De Gruyter Dale Kinney Spoliation in Medieval Rome i% The study of spoliation, as opposed to spolia, is quite recent. Spoliation marks an endpoint, the termination of a buildlng's original form and purpose, whÿe archaeologists tradition- ally have been concerned with origins and with the reconstruction of ancient buildings in their pristine state. Afterlife was not of interest. Richard Krautheimer's pioneering chapters L.,,,, on the "inheritance" of ancient Rome in the middle ages are illustrated by nineteenth-cen- tury photographs, modem maps, and drawings from the late fifteenth through seventeenth centuries, all of which show spoliation as afalt accomplU Had he written the same work just a generation later, he might have included the brilliant graphics of Studio Inklink, which visualize spoliation not as a past event of indeterminate duration, but as a process with its own history and clearly delineated stages (Fig.