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The Aqua Traiana / Aqua Paola and Their Effects on The
THE AQUA TRAIANA / AQUA PAOLA AND THEIR EFFECTS ON THE URBAN FABRIC OF ROME Carolyn A. Mess A Thesis Presented to the Faculty of the Department of Architectural History In Partial Fulfillment of the Requirements for the Degree Master of Architectural History May 2014 Cammy Brothers __________________ Sheila Crane __________________ John Dobbins __________________ ii ABSTRACT Infrastructure has always played an important role in urban planning, though the focus of urban form is often the road system and the water system is only secondary. This is a misconception as often times the hydraulic infrastructure determined where roads were placed. Architectural structures were built where easily accessible potable water was found. People established towns and cities around water, like coasts, riverbanks, and natural springs. This study isolates two aqueducts, the Aqua Traiana and its Renaissance counterpart, the Aqua Paola. Both of these aqueducts were exceptional feats of engineering in their planning, building techniques, and functionality; however, by the end of their construction, they symbolized more than their outward utilitarian architecture. Within their given time periods, these aqueducts impacted an entire region of Rome that had twice been cut off from the rest of the city because of its lack of a water supply and its remote location across the Tiber. The Aqua Traiana and Aqua Paola completely transformed this area by improving residents’ hygiene, building up an industrial district, and beautifying the area of Trastevere. This study -
Visit to Rome Is an Intoxicating and Vivid Dive Into Italy's Historical Heart
Coffee is religion in Italy and there’s no prosciutto sliced off the bone, panini, shortage of choice. My first mission upon fresh cheese and plump berries for arriving in the city is to always find a good an impromptu picnic by the river. coffee close by, often asking local friends My favourite stall is number 22, Casa for recommendations or simply following Manco, for its freshly baked focaccia. my nose. To fit in with the locals, we stand Cooked in rustic slabs and sold by the at the bar to sip our espressi, and it’s slice, the fragrant bread is topped with never long before we’re engaging in mushrooms and ricotta or tomatoes, visit to Rome is conversation with one or two residents. anchovies and mozzarella, each slice an intoxicating My preferred place to stay is drizzled with a beautiful robust extra virgin and vivid dive G Rough, a small, nine-suite hotel olive oil and a sprinkling of salt. There’s into Italy’s historical heart, which connects located within walking distance of all also the wonderful Esquilino market that to the pulse of this Eternal City through its the must-visit sights. Designed by pulses with life and vitality. It’s a covered ancient charms and timeless architecture. leading architect Giorgia Cerulli, the market on Via Principe Amedeo near There’s no better way to discover the hotel features luxurious contemporary the Termini train station, and displays essence and underbelly of Roman life than design, including an understated abundant seasonal and regional fruit and by exploring its food culture. -
Rome Celebrates Raphael Superstar | Epicurean Traveler
Rome Celebrates Raphael Superstar | Epicurean Traveler https://epicurean-traveler.com/rome-celebrates-raphael-superstar/?... U a Rome Celebrates Raphael Superstar by Lucy Gordan | Travel | 0 comments Self-portrait of Raphael with an unknown friend This year the world is celebrating the 500th anniversary of Raphael’s death with exhibitions in London at both the National Gallery and the Victoria and Albert Museum, in Paris at the Louvre, and in Washington D.C. at the National Gallery. However, the mega-show, to end all shows, is “Raffaello 1520-1483” which opened on March 5th and is on until June 2 in Rome, where Raphael lived the last 12 years of his short life. Since January 7th over 70,000 advance tickets sales from all over the world have been sold and so far there have been no cancellations in spite of coronavirus. Not only is Rome an appropriate location, but so are the Quirinal’s scuderie or stables, as the Quirinal was the summer palace of the popes, then the home of Italy’s Royal family and now of its President. On display are 240 works-of-art; 120 of them (including the Tapestry of The Sacrifice of Lystra based on his cartoons and his letter to Medici-born Pope Leo X (reign 1513-21) about the importance of preserving Rome’s antiquities) are by Raphael himself. Twenty- 1 of 9 3/6/20, 3:54 PM Rome Celebrates Raphael Superstar | Epicurean Traveler https://epicurean-traveler.com/rome-celebrates-raphael-superstar/?... seven of these are paintings, the others mostly drawings. Never before have so many works by Raphael been displayed in a single exhibition. -
The Original Documents Are Located in Box 16, Folder “6/3/75 - Rome” of the Sheila Weidenfeld Files at the Gerald R
The original documents are located in Box 16, folder “6/3/75 - Rome” of the Sheila Weidenfeld Files at the Gerald R. Ford Presidential Library. Copyright Notice The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Gerald R. Ford donated to the United States of America his copyrights in all of his unpublished writings in National Archives collections. Works prepared by U.S. Government employees as part of their official duties are in the public domain. The copyrights to materials written by other individuals or organizations are presumed to remain with them. If you think any of the information displayed in the PDF is subject to a valid copyright claim, please contact the Gerald R. Ford Presidential Library. Digitized from Box 16 of the Sheila Weidenfeld Files at the Gerald R. Ford Presidential Library 792 F TO C TATE WA HOC 1233 1 °"'I:::: N ,, I 0 II N ' I . ... ROME 7 480 PA S Ml TE HOUSE l'O, MS • · !? ENFELD E. • lt6~2: AO • E ~4SSIFY 11111~ TA, : ~ IP CFO D, GERALD R~) SJ 1 C I P E 10 NTIA~ VISIT REF& BRU SE 4532 UI INAl.E PAL.ACE U I A PA' ACE, TME FFtCIA~ RESIDENCE OF THE PR!S%D~NT !TA y, T ND 0 1 TH HIGHEST OF THE SEVEN HtL.~S OF ~OME, A CTENT OMA TtM , TH TEMPLES OF QUIRl US AND TME s E E ~oc T 0 ON THIS SITE. I THE CE TER OF THE PR!SENT QU?RINA~ IAZZA OR QUARE A~E ROMAN STATUES OF C~STOR .... -
Polychronia-Negotiating the Popular Representation of a Commonpast in Assassin'screed
JGVW 8 (1) pp. 3- 20 Intellect Limited 2016 Journal of Gam ing & Virtual Worl ds Volume 8 Number 1 © 2016 Intelle ct Ltd Art icle. English language. doi: 10.1386/jgvw.8.1.3_1 JONATHANWESTIN Univ ersity of Goth en bur g RAGNARHEDLUND Uppsala University Polychronia-negotiating the popular representation of a commonpast in Assassin'sCreed ABSTRACT KEYWORDS Severalof the most successful large-scale digital simulations in recentyears aref ound representation in the immensely popular gamese ries Assassin's Creed, developedby Ubisoft.A vari Assassin's Creed eh; of monuments and placesfigure prominently throughout th e series, but at different archaeology levels of detail and accuracy.Whil e not presenting a thoroughlyimagined re presenta Rome tion of any time period or place, theserecreations empha size the epistemological impact cultural hetitage of particularvisua l modeswhen communicatingth e past, representingthe collective digital media idea of a placeor time, rather than archaeological or historicalfacts. The time and spaces presented in the game series give us an opporhmih;to study how represen :t tations of the past can be assembled to be recognizable to a wide audience. This, in hm1, gives us insight into the mechanics of cultural memory.In orderto analyse these .' mechanics, we analyse the representation of the city of Rome created for Assassin's Creed 2: Brother hood, the third rnain instalmentof the series.Not only has Rome been the subject of several cenhtriesof archaeologicalr econstructions,b ut becauseof .r the countless popular representations available, the city holds a strong position in the public consciousness. In Ubisoft's versiono f Rome, the archaeologicalrecor d and ..' I • Jonathan Westin I Ragnar Hedlund Polychronia - negotiating the popular . -
Sulle Orme Di Lecchi: I Luoghi Fotografati
www.giornaledistoria.net – Maria Pia Critelli, Sulle orme di Lecchi: i luoghi fotografati SULLE ORME DI LECCHI: I LUOGHI FOTOGRAFATI di Maria Pia Critelli «E io non sono riuscito a trovare la cinta muraria Aureliana»; questo il commento che accompagna, in un sito internet, la riproduzione della fotografia di Stefano Lecchi “Batteria alla cinta Aureliana” (fig. 1). In effetti l’identificazione dei luoghi fotografati da Lecchi1 non è sempre facile e immediata, anche per un “curioso della città” che passeggia alla ricerca della memoria storica degli avvenimenti della difesa della Repubblica romana. Individuare i luoghi fotografati è un lavoro che non conosce vie di mezzo: o è estremamente semplice, da dimostrarsi quasi banale, o alquanto complicato fino a diventare un vero rompicapo. Molti luoghi ritratti infatti sono ancora esistenti e, la maggior parte di essi, anche ben noti. È il caso questo di Castel Sant’Angelo, di Piazza del Popolo, della Basilica di San Giovanni in Laterano, di Porta San Giovanni, del cosiddetto Tempio di Vesta al Foro Boario, del Foro Romano, dell’Arco di Settimio Severo, dell’Arco di Costantino, di Ponte Milvio e, fuori di Roma, della Casa del Forno di Pompei. Logicamente un altro punto di riferimento primario per l’identificazione dei luoghi è costituito dagli edifici rappresentati. Tra di essi vanno annoverati innanzitutto quelli che, per la loro importanza nei fatti d’arme descritti dai contemporanei, costituiscono di per se stessi il punto focale di calotipie. 2 Tra di essi vanno annoverati la porta San Pancrazio, il casino dei Quattro Venti, il Vascello, Villa Spada, Villa Savorelli, Villa Valentini, San Pietro in Montorio, il Casino Barberini. -
Storia Degli Scavi Di Roma E Notizie Intorno Le Collezioni Romane Di Antichit
lilKM^iSTNo 1^oii:scmi:k & Co. (Rretschnkidkr & Heoembero) ROMA - Corso Umberto I, 307 - ROMA Imminente pubblicazione: ATTILIO PROFUMO L'INCENDIO NERONIANO LE SUE FONTI, I SUOI TEMPI Volume in-l" di pag. 550 circa, con tre tavole. — Lire 15. INDICE GENERALE PARTE I. — L'autore dell'Inoendio. I. Ir. PROBLEMA STORICO. § 1. Determinazione del problema. - § 2. Il metodo. - § 3. I dati. II. Le fonti derivate indirette. § 4. Eusebio e s. Girolamo, Eutropio, Aui-elio Vittore, Sulpicio Se- vero, Orosio. III. Le fonti derivate prossime. § 5. Cassio Dione Cocceiano. lY. Le fonti derivate prossimiori. ! § 6. L'epigrafe Domizianea. - § 7. Suetonio Tranquillo. - § 8. Cor- nelio Tacito. - § 9. Il valore testimoniale attribuito nell'evo Romano a Tacito e a Suetonio. - § 10. L' autore dell' Incendio nelle fonti prossimiori. Yj. Le fonti prime. il § 11. Il canone della fonte principale. - § 12. Le scuole storiche r' romane. - § 13. Le fonti-prime Neroniane, in genere. - § 14. Fabius •' Rusticus. - § 15. Cluvius Rufus. - § 16. Plinius Secundus senior; - l'uomo e lo scrittore. § 17. Id.; lo storico. -§ 18. Id. ; lo storico Nerouiano. - .§ 19. Id.; la sua figura di Nerone. - § 20. I partiti po- litici nel quarto periodo Neroniano e le loro letterature. - § 21. Id. e la congiura Pisoniaua. - § 22. Id. e le nostre fonti prime. - § 23. L'au- tore dell'Incendio, nelle fonti prime; il passo di Plinio. -§ 24. Id.; la tecnica di Tacito. - § 25. Id.; la testimonianza di Fabius, di Plinio e di Cluvius. - § 26. Id.; la versione ufficiale dell'Incendio. - § 27. La concordanza dei racconti giunti a noi. VI. Conclusione. § 28. Riassunto. - § 29. L' indicazione « ardente domo » di Tacito. -
University of London Thesis .9
REFERENCE ONLY UNIVERSITY OF LONDON THESIS Degree Year ^2.00 § Name of Author 0 L - COPYRIGHT .9 This is a thesis accepted for a Higher Degree of the University of London. It is an unpublished typescript and the copyright is held by the author. All persons consulting this thesis must read and abide by the Copyright Declaration below. COPYRIGHT DECLARATION I recognise that the copyright of the above-described thesis rests with the author and that no quotation from it or information derived from it may be published without the prior written consent of the author. LOANS Theses may not be lent to individuals, but the Senate House Library may lend a copy to approved libraries within the United Kingdom, for consultation solely on the premises of those libraries. Application should be made to: Inter-Library Loans, Senate House Library, Senate House, Malet Street, London WC1E 7HU. REPRODUCTION University of London theses may not be reproduced without explicit written permission from the Senate House Library. Enquiries should be addressed to the Theses Section of the Library. Regulations concerning reproduction vary according to the date of acceptance of the thesis and are listed below as guidelines. A. Before 1962. Permission granted only upon the prior written consent of the author. (The Senate House Library will provide addresses where possible). B. 1962-1974. In many cases the author has agreed to permit copying upon completion of a Copyright Declaration. C. 1975-1988. Most theses may be copied upon completion of a Copyright Declaration. D. 1989 onwards. Most theses may be copied. This thesis comes within category D. -
Pratt Institute School of Architecture Undergraduate Spring Rome
Pratt Institute School of Architecture, Undergraduate Spring Rome Program Arch 400i-402 Advanced Design Course Syllabus Class Credits: 5 Type of Course: Required Studio – Honor’s Program Class Meetings & Location: T/TH 9AM-1PM & TH 2-6 PM Pratt Studio @ Santa Maria in Trastevere Prerequisites: Arch 301/ 302 or equivalent with at least a grade of “C” & Roman Form ARCH 420 – Honor’s Program Review Enrollment Capacity: 34 (2 sections of 17) Instructor’s Names: Anthony [email protected] / Marc Schautt- [email protected] Course Overview: This course will initially focus on analysis of historic models to reveal distinct architectural patterns within Rome. Design processes will explore the transformation of Roman prototypes. Design issues include understanding urban form as an accommodation of the city's growth, and acretive intervention within a fragmented historic context. Studies will conclude with formal propositions within the context of the city fabric. Rome, the eternal city of cultural and historical treasures, inventions, influence and endless lessons, is a rite of passage for those privileged to reside in the midst of this living laboratory, and study, first-hand, the palimpsest of accumulated artistic, architectural and urban masterpieces framed and intertwined within the puzzle of the urban fabric. Pratt Institute's Spring Semester in Rome provides an opportunity for qualified students to live and study in this unique context. The lesson of Rome is one that goes beyond its strong architectural heritage. It presents a different culture, language and landscape, where history assumes a dominant role in the continuum of time. This is an environment which generates particular responses, specifically toward people and toward an appreciation of urban place. -
328-San Giacomo Alla Lungara.Pages
(328/34) San Giacomo alla Lungara San Giacomo alla Lungara is a 17th century convent church, north of the Palazzo Corsini in Trastevere. The dedication is to St James the Great. An alternative name is San Giacomo in Settimiana. History: The foundation of this church has been ascribed to Pope Leo IV in the 9th century, although its first surviving documentary reference is from 1198 when the church was put under the care of the Chapter of St Peter's by Pope Innocent III. (A lost, slightly earlier epigraph of about 1185 allegedly recorded the gift of a marble pulpit.) The Leonine foundation depends solely on the witness of Panciroli, again allegedly quoting from a lost epigraph. In the 12th century, the Via della Lungara did not exist and the church would have served a little (328/34) settlement outside the Porta Settimiana and hence not actually part of Trastevere. This hamlet seems to have been called Settignano after the gate, hence the old name of the church. There was a ferry link across the river to water stairs next to the future Sant'Eligio degli Orefici. The church became conventual in the reign of Pope Innocent IV (1243-54), who gave permission for a monastery of Sylvestrine monks to be founded here. They built the extant bell-tower as part of the new convent. This establishment lasted 250 years before failing, upon which Pope Julius II (1503-13) gave it back to the Chapter of St Peter's. (The Sylvestrines were to found another monastery in Rome at San Stefano del Cacco fifty years later.) The Chapter transferred the complex to the care of the Franciscans of the Third Order Regular in 1620, apparently as a quid pro quo in return for friars performing choral duties at St Peter's. -
Rome Restaurants
ROME RESTAURANTS AL MORO HOSTARIA DELL’ORSO Roma Vicolo delle Bollette n°13 Via dei Soldati 25/c Ph. 06 69940736 Ph. 06 68301192 Great location, traditional cuisine Ideal for romantic and elegant dinner. Closed on Sunday Open only for dinner, closed on Sunday http://www.ristorantealmororoma.com/ www.hdo.it Al 34 HOSTARIA ST.ANA Roma Via Mario dei Fiori n°34 Via della Penna, 68 Ph. 06 6795091 fax.06 6786980 Ph. 06 3610291 Historical traditional restaurant Beautiful location in the heart of Rome, close to Piazza del Open every day Popolo. http://www.ristoranteal34.it/ Closed on Sunday. http://osteriastana.it/ ANTICA PESA Via Garibaldi 18 IL CONVIVIO-TROIANI Ph. 06 5809236 Vicolo dei Soldati 31 Traditional and innovative cuisine at the same time. Ph. 06 6869432 Closed on Sunday Elegant lounge in the heart of Rome, great Italian and Roman http://www.anticapesa.it/ cuisine Open only for dinner, closed on Sunday ANTICO ARCO www.ilconviviotroiani.com P.le Aurelio, 7 Ph. 06 5815274 IL DRAPPO One of the best restaurants of Rome for the special Via del Malpasso 9 atmosphere and its excellent service. Ph. 06 6877365 Excellent list of wines, delicious Italian cuisine. Sardinian cuisine. Restaurant with garden. Closed for lunch Closed on Sunday http://www.anticoarco.it/ www.ildrappo.it CAMPONESCHI IL MATRICIANO Piazza Farnese 50 Via dei Gracchi 55 Ph. 06 6874927 Ph. 06 3212327 Excellent location in the beautiful Piazza Farnese Typical roman cooking, very good pasta Open only for dinner, closed on Sunday Closed on Wednesday http://www.ristorantecamponeschi.it/home.html IL PALLARO DA EVANGELISTA Largo Pallaro, 15 Via delle Zoccolette, 11/A Ph. -
Rome and the Guidebook Tradition
Rome and the Guidebook Tradition Rome and the Guidebook Tradition From the Middle Ages to the 20th Century Edited by Anna Blennow and Stefano Fogelberg Rota ISBN 978-3-11-061044-4 e-ISBN (PDF) 978-3-11-061563-0 e-ISBN (EPUB) 978-3-11-061578-4 This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives4.0 License. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number: 2018963421 Bibliografic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutschen Nationalbibliografie; detailed bibliografic data are available on the Internet at http://dnb.dnb.de. © 2019 Anna Blennow and Stefano Fogelberg Rota, published by Walter de Gruyter GmbH, Berlin/Boston Typesetting: Integra Software Services Pvt. Ltd. Printing and binding: CPI books GmbH, Leck Cover image: Giambattista Nolli, Nuova Pianta di Roma (1748). Public Domain, via Wikimedia Commons www.degruyter.com Acknowledgements The project “Topos and Topography: Rome as the Guidebook City” has been based at the Swedish Institute for Classical Studies in Rome between 2013 and 2016, and financed by the Swedish Foundation for Humanities and Social Sciences (Riksbankens Jubileumsfond). The seven members of the project – also known as “the seven hills of Rome”–are Anna Blennow, Anna Bortolozzi, Carina Burman, Stefano Fogelberg Rota, Sabrina Norlander Eliasson, Victor Plahte Tschudi, and Frederick Whitling. The chapters of the present publication contain the results of the subprojects of the participants, as well as a valuable addition in the form of a study of Ludwig Schudt’sinfluentialLe Guide di Roma, performed by four scholars at the Royal Netherlands Institute in Rome (estimated neighbour of the Swedish Institute in via Omero): Arnold Witte, Head of Art History at the Netherlands Institute, together with Eva van Kemenade, Niels Graaf, and Joëlle Terburg.