DOCSLIB.ORG

Piazzi Di Ponte and the Military Origins of Panopticism

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Piazzi Di Ponte and the Military Origins of Panopticism 13 ROME Piazzi di Ponte and the Military Origins of Panopticism RICHARD INGERSOLL Figure i. Detail from Gian Battista Nolli's 1748 map of Rome, showing Piazza di Ponte and radiating from it the streets of Via Paola (left), Via de' Banchi (center), and Via di Panico (right), marked in black. Piazza di Ponte, which disappeared with the cial areas of the abitato, was a significant site in construction of the Lungotevere river embank­ the ceremonial life and mythos of Rome. It ments in the 1880s, was the center point for a marked the passage from secular to sacred space system of radiating streets in the heart of Re­ for official visitors, pilgrims, and papal proces­ naissance Rome (fig. 1). The axis of the ancient sions. The sixteenth-century improvements to bridge of Castel Sant'Angelo and the course of the piazza at the bridgehead accommodated a the existing road along the river were intersected variety of rituals, but in particular became the by a trident of new streets that reached their scenic backdrop for the papal theater of terror architectural completion during the reign of as the site of frequent public executions. Pope Paul III Farnese (1534-49). The bridge, The geometric purity of the trident at Piazza which served as a hinge between the papal en­ di Ponte and the resulting star-shaped pattern clave of the Vatican Borgo and the vital commer­ have a formal architectural power that antici- i77 The Panopticon was a radially planned car- cerial building with all the cells visible from the central core; the architecture allowed the per­ son representing authority in the center to be all-seeing, or "panoptic." For Michel Foucault this liberal punative technology became a con­ ceit for modern power relations. Rather than exercise direct control over the body in the form of a public execution, the agents of power could use architecture to establish psychologi­ cal control over prisoners, and thus appear to be more humane.1 The eventual uses of Piazza di Ponte combined the pre-Enlightenment mandate to demonstrate control over the body of the wrongdoer with the more psychological aspects of panopticism. The bridge and the piazza are physically Figure 2. ViewofCastel pated the more celebrated trident at the gate of dominated by the impressive bulk of Castel Sant'Angelo. Piazza del Popolo, planned during the first two Sant'Angelo across the river (fig. 2). Originally decades of the sixteenth century and built some built as the tumulus mausoleum for Emperor time later. Renaissance artistic principles of Hadrian in the second century, Castel Sant'An­ symmetry, axiality, and uniformity are often cited gelo was over the centuries transformed into to explain its design. But while art undoubtedly an impenetrable fortress. The bridge, known in had much to do with the formal results, it was antiquity as Pons Aelius, was constructed as more than likely the art of war that was its chief part of the mausoleum complex and has sur­ inspiration. Considering the time of trident's vived, with many restorations and additions, final design, ten years after the Sack of Rome of to the present. Castel Sant'Angelo became the 1527-28, and the provenance of its design—from key to Roman defense, as well as a major icon Antonio da Sangallo the Younger, the architect of papal power and a frequent papal residence. responsible for the city's defenses—one may sup­ Placed at the apex of the castle, the sculpture of pose that more than just formal issues were in­ the Archangel Michael gave the building its volved in it. The radiating pattern of Piazza di post-classical name and stood as a reminder of Ponte is probably the first built realization of the the alleged power of popes to summon divine theory of military city planning advocated by intervention on behalf of the city. According Sangallo. In successive years the piazza was adapted to legend, in 590 the angel appeared to Pope for the rituals of public punishment: the views Gregory the Great on the roof of the mauso­ from five different perspectives provided a re­ leum, after he had led a series of processions lentless view of the hangman's scaffold. A message calling for the end of a devastating plague. The of control was thus transmitted through the city angel returned his sword to its sheath to signal fabric in a way quite similar to that envisioned for the end of the crisis.2 This same statue was the Panopticon invented by Jeremy Bentham in inadvertently an excellent lightning rod, and the late eighteenth century. was destroyed and replaced many times. The 178 INGERSOLL most significant restorations of the statue in the context of the construction of Piazza di Ponte occurred under Nicholas V in the 1450s and Paul III in 1534.3 The redesign of the bridge district was con­ temporary with alterations made to Castel Sant'Angelo. Nicholas V, early in his papacy, ordered the construction of a set of square gate towers on the bridge and the three round bas­ tions on the outer walls of the castle. After the bridge collapsed in 1450, and over two hundred pilgrims lost their lives, he began planning the enlargement of Piazza di Ponte. As an expiatory gesture, he sponsored the addition of twin oc­ tagonal votive chapels, seen in the Hartmann Schedel view of 1493 (fig. 3), and ordered the clearing of various jerry-rigged wooden struc­ tures from the bridge. With the local landown­ ers, he initiated a process of eminent domain, which eventually came to be known in the city's planning legislation as the gettito. Buildings could now be condemned for the purpose of widening the piazza, and property owners were Piazza di Ponte was widened and the embank­ Figure 3. Hartmann Schedel, either taxed or credited according to an assess­ ment restored.5 view of the Vatican Borgo 4 ment of their frontage. In 1500 Alexander VI initiated the first sven- and Ponte Sant'Angelo, from The next significant alteration to the bridge tramenti (disembowelments) of post-antique the Liber Chronicarum and its area occurred under Alexander VI Borgia, Rome, with the demolitions for the new straight [Nuremberg Chronicle], 1493. who by 1495 had refortified Castel Sant'Angelo street of Via Alessandrina (later known as the and replaced the square bridgetowers with a Borgo Nuovo and replaced in the late 1930s by round gun tower, set back from the structure of Via della Conciliazione), which ran axially from the bridge and placed slightly off axis. A new, the new gate of the castle to the portal of the classically inspired gate to the Borgo was built as Vatican Palace. Large-scale demolitions on the the terminus of the future Via Alessandrina, other side of the river, which were much more built for the Jubilee of 1500. Other new features politically sensitive, began in 1508 with Julius included polygonal additions to the outer bas­ II, whose projects included the new straight tions, a restoration of the passetto, the escape street of Via Giulia and the widening of Via route between the Vatican Palace and the castle de' Banchi, the street on axis with the bridge. that ran along the top of the Leonine walls, and For the latter renewal, the church of San Celso, new additions and decorations to the apart­ which had an open portico that faced Piazza di ments in the upper part of the fortress. Accord­ Ponte, was demolished and replanned with a ing to the diaries of Johannes Burchardus, papal new orientation to Via de' Banchi. Other build­ master of ceremonies, in the year 1500 part of ings on the north side of this street were also ROME 179 strongest influence of all the foreign commu­ nities on the financial and cultural affairs of the city. The presence of over thirty banks, or banchi, in the area, gave it its name. At the time of the construction of Via Giulia, the Flor­ entines were granted permission to construct their national church, but plans for San Giovanni dei Fiorentini did not surface until the next decade, under the papacy of a Flor­ entine, Leo X Medici. Though the construc­ tion of the church dragged on for over a century, and the facade was not in place until 1734, San Giovanni dei Fiorentini was from its inception an important urban goal and symbol of Florentine presence.7 Via Paola, one of the three axes of the Ponte trident, uses it as a focal terminus (fig. 4). Among the Florentine residents of the Banchi district was the architect Antonio da Sangallo the Younger, who had a prominent role in the design of the area. His career as an urbanist began in 1516 under Leo X, assisting Raphael with the planning of Via Leonina, one of the trident prongs leading from Piaz­ za del Popolo. In 1520 he succeeded Jacopo Sansovino as architect of San Giovanni dei Fiorentini, and later, in 1535-42, he built his own palace next to the church. Sangallo was thus committed to this area as a Florentine, a designer, and a property owner.8 Figure 4. Axial view on torn down. At the terminus of Via de' Banchi, Before the addition of the new streets to Via Paola to San Julius placed the papal mint, or Zecca. These Piazza di Ponte, the connections to Via Giulia Giovanni dei Fiorentini. changes have been charted in detail in Hubertus were narrow capillary vicoli, as narrow as 2.5 Gunther's maps reconstructing this area of Pi­ meters wide. Giinther has clarified in his stu­ azza di Ponte before and after the time of Paul dy of the gettito tax records and in the related Ill's interventions.6 drawing by Sangallo from the Uffizi that in A significant factor in the development of the 1524 the planning of this area included Sangallo's district around the bridge was its distinctive concave triumphal facade for the Zecca, the ethnic composition.
Load more

Recommended publications
  • Michelangelo's Locations
    1 3 4 He also adds the central balcony and the pope’s Michelangelo modifies the facades of Palazzo dei The project was completed by Tiberio Calcagni Cupola and Basilica di San Pietro Cappella Sistina Cappella Paolina crest, surmounted by the keys and tiara, on the Conservatori by adding a portico, and Palazzo and Giacomo Della Porta. The brothers Piazza San Pietro Musei Vaticani, Città del Vaticano Musei Vaticani, Città del Vaticano facade. Michelangelo also plans a bridge across Senatorio with a staircase leading straight to the Guido Ascanio and Alessandro Sforza, who the Tiber that connects the Palace with villa Chigi first floor. He then builds Palazzo Nuovo giving commissioned the work, are buried in the two The long lasting works to build Saint Peter’s Basilica The chapel, dedicated to the Assumption, was Few steps from the Sistine Chapel, in the heart of (Farnesina). The work was never completed due a slightly trapezoidal shape to the square and big side niches of the chapel. Its elliptical-shaped as we know it today, started at the beginning of built on the upper floor of a fortified area of the Apostolic Palaces, is the Chapel of Saints Peter to the high costs, only a first part remains, known plans the marble basement in the middle of it, space with its sail vaults and its domes supported the XVI century, at the behest of Julius II, whose Vatican Apostolic Palace, under pope Sixtus and Paul also known as Pauline Chapel, which is as Arco dei Farnesi, along the beautiful Via Giulia.
    [Show full text]
  • Bus Regulations
    BUS REGULATIONS PAYMENT The bus service is payable in full and in advance for the semester and regardless of the number of times the student(s) will utilize the service during the semester. Partial use of the bus service is not allowed, except under special circumstances approved by the Director of Operations. For organizational reasons, the only bus service options are ROUND TRIP; ​ ​ MORNING ONLY or AFTERNOON ONLY; LATE BUS ONLY 1 ​ ​ ​ ​ ​ Only students for whom AOSR has a signed parental authorization form on file are permitted to ride the school bus. The form is requested for all students under the age of 14. STUDENT BEHAVIOR Students are expected to follow bus rules at all times when riding school buses. The following is a list of bus regulations. If these are not followed, the bus driver/monitor will report the offense to the bus coordinator. Parents will be notified of the offending behavior and students will be suspended from riding the bus, at first temporarily, and if necessary, permanently. ● Students must follow the directions of the bus driver/monitor in a respectful manner. ● All students are required to wear their seat belts. ● Only one student per seat and students must remain seated at all times. ● Students must not put their arms, hands, or heads out of the windows. ● Loud talking, swearing, rough play, or fighting is forbidden. ● Smoking is not allowed at any time. ● Riders must refrain from any action that would distract the driver and pose a safety problem for all on the bus. This includes gestures, making loud noises, the use of electronic devices, and inviting attention from pedestrians and motorists.
    [Show full text]
  • Borgo Pignano - Italy, Tuscany, Siena Area
    BORGO PIGNANO - ITALY, TUSCANY, SIENA AREA 100 GUESTS, 40 BEDROOMS BORGO PIGNANO SUMMARY Italy, Tuscany, Siena Area Countryside views Eco-friendly property 100 Guests Swimming pool 40 Bedrooms Landscaped gardens Spa facilities Outdoor living & dining Music & games rooms Wine cellar Events & weddings Wi-Fi LOCATION A magnificent 750 acres estate boasting lush gardens and incredible views of the countryside Italy, Tuscany, Siena Area Borgo Pignano is an 18th century property perched on a GUESTS hilltop, 500 metres above sea level. Located near Volterra and San Gimignano in Tuscany, the “borgo” (hamlet) is up to 100 comprised of an 18th century villa, a 13th century consecrated church, and multiple restored farmhouses and cottages, sleeping just under 100 guests in total. BEDROOMS The 300 hectares of land surrounding the hamlet are divided 40 into woods, fields, ponds, vegetable gardens and pastures for horses, making it an idyllic countryside escape. RENTAL PERIOD The main villa is stunning and immaculate, with a style that Nightly crosses effortlessly from historical to contemporary. It is composed of two wings; the western wing looks out towards the Mediterranean Sea and the eastern wing faces the fields PRICE and hills that lead to San Gimignano. From 20,000 EUR On the western side, the lawn leads on to the countryside with hills rolling away towards the far horizon. There is a MORE stunning pool carved from an ancient limestone quarry and its infinity edge overlooks the woods and hills below. Price per night. Minimum stay 3 nights in peak season, The eastern wing opens on to a luscious Mediterranean 2 nights in high and mid- garden with purple, mauve and lavender hues whilst the seasons, 1 night in shoulder northern garden of the property leads into the surrounding seasons.
    [Show full text]
  • TERRAIN VAGUE: the TIBER RIVER VALLEY Beatrice Bruscoli [email protected]
    TERRAIN VAGUE: THE TIBER RIVER VALLEY Beatrice Bruscoli [email protected] Figure 1: Bridge on Via del Foro Italico looking downstream Rome, the Eternal City, continues to be Rome—to really begin to know the an active model and exemplary location city—we must walk through it, taking to study and understand the dynamic our time. Arriving at a gate in the transformations taking place in contem- Aurelian Wall, we cross the threshold porary landscapes. In the process of and enter the Campagna (countryside) becoming “eternal,” Rome has been that surrounds Rome just as it has for continually—often radically—altered, millenea. while conserving its primordial image; Looking through the multitude of renewing itself over time, without losing images, paintings, and plans of Rome, its deeply rooted structure. we cannot help but notice that its Before urban form, forma urbis, primary characteristics have remained there is natural form. As Christian distinct and constant over the centuries. Norberg-Schultz informs us, the genius Gianbattista Nolli’s “La Pianta Grande loci of Rome does not reside in some di Roma” of 1748 is the city’s most abstract geometric order or a formalized well-known representation.2 (Plan 1) architectural space, but in the close and This remarkable figure-ground map continuous ties between buildings, voids, presents us with a view of Rome; of a and the natural landscape.1 Rome’s dense compact area of inhabitation, forma urbis was generated and shaped dotted with piazzas and courtyards, and by the natural morphology of its land- surrounded with vast unbuilt areas all scape.
    [Show full text]
  • Borgo Pignano Press Pack 2021.Pdf
    PRESS PACK 2021 ABOUT BORGO PIGNANO Borgo Pignano is set in the heart of a picturesque 750-acre organic estate in Tuscany, where Etruscans were the first settlers. The estate is a short drive from the medieval hilltop towns of Volterra and San Gimignano and is only 1 hour’s drive from Florence. Today, this sensitively restored and privately-owned Borgo offers warm hospitality in a tranquil setting at 500 metres above sea level, with some of the most commanding views in all of Tuscany. ACCOMMODATION Accommodation is spread over the estate and includes: • The 18th century Villa • The Hamlet • La Canonica (The Priest’s House) • Individual luxury villas NEW for 2021: Refurbished Villa La Fonte New Villa La Lavandaia THE VILLA Borgo Pignano’s main building is an 18th century noble house, surrounded by traditionally planted English gardens overlooking pristine landscapes of Tuscany that have changed little since Renaissance times. The Villa offers 14 elegant rooms and suites, some with original frescoes and all with en- suite white marble and travertine bathrooms. A grand stone staircase leads to the upper floors also accessible by an elevator. Rooms are furnished with exquisite antiques, original artworks, Italian linens and chandeliers. The main villa also features spacious common rooms that complete the country house atmosphere: the library, billiard room, ballroom and lounge offer a variety of environments where guests can relax. LA CANONICA Dating back to the 13th century, La Canonica can be used as one large three-bedroomed house or, independently, divided as two separate suites. La Canonica, the Priest’s house, is located next to the ancient church of San Bartolomeo and contains original features such as medieval stonework, archways, columns, vaulted ceilings, terracotta floors and restored medieval frescoes.
    [Show full text]
  • Waters of Rome Journal
    TIBER RIVER BRIDGES AND THE DEVELOPMENT OF THE ANCIENT CITY OF ROME Rabun Taylor [email protected] Introduction arly Rome is usually interpreted as a little ring of hilltop urban area, but also the everyday and long-term movements of E strongholds surrounding the valley that is today the Forum. populations. Much of the subsequent commentary is founded But Rome has also been, from the very beginnings, a riverside upon published research, both by myself and by others.2 community. No one doubts that the Tiber River introduced a Functionally, the bridges in Rome over the Tiber were commercial and strategic dimension to life in Rome: towns on of four types. A very few — perhaps only one permanent bridge navigable rivers, especially if they are near the river’s mouth, — were private or quasi-private, and served the purposes of enjoy obvious advantages. But access to and control of river their owners as well as the public. ThePons Agrippae, discussed traffic is only one aspect of riparian power and responsibility. below, may fall into this category; we are even told of a case in This was not just a river town; it presided over the junction of the late Republic in which a special bridge was built across the a river and a highway. Adding to its importance is the fact that Tiber in order to provide access to the Transtiberine tomb of the river was a political and military boundary between Etruria the deceased during the funeral.3 The second type (Pons Fabri- and Latium, two cultural domains, which in early times were cius, Pons Cestius, Pons Neronianus, Pons Aelius, Pons Aure- often at war.
    [Show full text]
  • January 2006 ********** February 2006 ********** March 2006
    January 2006 Sunday, 1st January 2006 - 11.00 am Via della Conciliazione - St. Peter's Square - Rome NEW YEAR'S DAY PARADE With the participation of: University of Nebraska Marching Band Rioni di Cori Flag Throwers Banda del Comune di Recanati Banda della Aeronautica Militare Friday, 6th January 2006 - 9.00 pm Church S. Ignazio, Piazza S. Ignazio - Rome Benedictine College Choir USA Program: sacred choir music Sunday, 22nd January 2006 – 5.00 pm Church S. Cipriano, Via di Torrevecchia 169 - Rome St. Cyprian Liturgical Choir - USA Iubilate Deo - Italy Program: sacred choir music ********** February 2006 Tuesday, 21st February 2006 - 9.00 pm Church S. Rufino, P. zza S. Rufino, Assisi Abbotts Bromley School Chapel Choir United Kingdom Program: Schubert, Elgar, Kodaly ********** March 2006 Sunday, 12th March 2006 - 9.00 pm Church S. Ignazio, Piazza S. Ignazio - Rome Curé of Ars Church Choir USA 1 Program: sacred choir music Tuesday, 14th March 2006 - 9.00 pm Church S. Ignazio, Piazza S. Ignazio - Rome Holy Trinity Church Choir USA Program: sacred choir music Sunday, 19th March 2006 - 9.00 pm Church S. Ignazio, Piazza S. Ignazio - Rome Cathedral of St. James’s Choir USA Program: sacred choir music Saturday, 25th March 2006 - 9.00 pm Auditorium Parco della Musica - Petrassi Hall Viale Pietro De Coubertin - Rome Sant'Ignazio di Loyola an Eighteenth Century chamber music piece by Domenico Zipoli S.J., Martin Schmid S.J., Anonymous Ensemble Abendmusik Interpreters: Randall Wong, Robin Blaze, Patricia Vaccari, Nicola Pascoli, Marco Andriolo, Mira Andriolo Conductor: John Finney Reservation required - Tel. nr. 0039 329 2395598 Sunday, 26th March 2006 - 5.00 pm Church Sant'Andrea al Quirinale - Via del Quirinale - Rome Sant'Ignazio di Loyola an Eighteenth Century chamber music piece by Domenico Zipoli S.J., Martin Schmid S.J., Anonymous Ensemble Abendmusik Interpreters: Randall Wong, Robin Blaze, Patricia Vaccari, Nicola Pascoli, Marco Andriolo, Mira Andriolo Conductor: John Finney Reservation required - Tel.
    [Show full text]
  • Sezioni Mostra
    SEZIONI MOSTRA L’esposizione è suddivisa in tre sezioni : Prima della Spina La Spina dei Borghi Cavare la “spina” a San Pietro PRIMA DELLA SPINA Tramite sculture, affreschi, disegni, dipinti e cartografie si racconterà come questo territorio passò dall’essere marginale e inospitale ad esercitare una forte attrazione urbanistica su Roma divenendone parte integrante. Escluso dal perimetro delle mura, povero e malsano a causa dei frequenti straripamenti del Tevere, questo territorio iniziò ad esercitare una forte attrazione urbanistica su Roma solo a partire dalla prima età imperiale. A seguito di interventi di bonifica furono realizzate le prime ville suburbane le più famose delle quali appartenevano ad Agrippina e Domizia. Giardini dal ricco arredo scultoreo si alternavano a costruzioni sfruttando scenograficamente la topografia dei luoghi, vicini al fiume e prossimi ai rilievi del colle Vaticano, del Monte Santo Spirito e del Gianicolo. Lungo le due strade principali che attraversavano la zona, la via Triumphalis e la via Cornelia, si addensarono diversi monumenti funerari (tra le memorie più evidenti, oggi, il mausoleo di Adriano, la necropoli vaticana – sotto la Basilica – e quella dell’Autoparco Vaticano e di S. Rosa). Se il termine “ Vaticano ” è oggi immediatamente riconducibile a San Pietro e al cristianesimo, in età imperiale ebbe una valenza fortemente pagana : quest’area ospitò infatti un luogo di culto dedicato alla dea frigia Cibele chiamato, per l’appunto, Vaticanum o Phrygianum Vaticanum frequentato ancora fin quasi alla fine del IV sec. d.C ., in compresenza e forse in contrapposizione alla nuova fede emergente, il cristianesimo. Nel corso dell’alto medioevo, intorno alla Basilica si sviluppò una vera e propria area sacra con monasteri, diaconie, chiese: burgs era il termine con cui i pellegrini germanici definivano l’agglomerato da cui “Borgo”.
    [Show full text]
  • A Literary Journey to Rome
    A Literary Journey to Rome A Literary Journey to Rome: From the Sweet Life to the Great Beauty By Christina Höfferer A Literary Journey to Rome: From the Sweet Life to the Great Beauty By Christina Höfferer This book first published 2017 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2017 by Christina Höfferer All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-7328-4 ISBN (13): 978-1-4438-7328-4 CONTENTS When the Signora Bachmann Came: A Roman Reportage ......................... 1 Street Art Feminism: Alice Pasquini Spray Paints the Walls of Rome ....... 7 Eataly: The Temple of Slow-food Close to the Pyramide ......................... 11 24 Hours at Ponte Milvio: The Lovers’ Bridge ......................................... 15 The English in Rome: The Keats-Shelley House at the Spanish Steps ...... 21 An Espresso with the Senator: High-level Politics at Caffè Sant'Eustachio ........................................................................................... 25 Ferragosto: When the Romans Leave Rome ............................................. 29 Myths and Legends, Truth and Fiction: How Secret is the Vatican Archive? ...................................................................................................
    [Show full text]
  • 9781107013995 Index.Pdf
    Cambridge University Press 978-1-107-01399-5 — Rome Rabun Taylor , Katherine Rinne , Spiro Kostof Index More Information INDEX abitato , 209 , 253 , 255 , 264 , 273 , 281 , 286 , 288 , cura(tor) aquarum (et Miniciae) , water 290 , 319 commission later merged with administration, ancient. See also Agrippa ; grain distribution authority, 40 , archives ; banishment and 47 , 97 , 113 , 115 , 116 – 17 , 124 . sequestration ; libraries ; maps ; See also Frontinus, Sextus Julius ; regions ( regiones ) ; taxes, tarif s, water supply ; aqueducts; etc. customs, and fees ; warehouses ; cura(tor) operum maximorum (commission of wharves monumental works), 162 Augustan reorganization of, 40 – 41 , cura(tor) riparum et alvei Tiberis (commission 47 – 48 of the Tiber), 51 censuses and public surveys, 19 , 24 , 82 , cura(tor) viarum (roads commission), 48 114 – 17 , 122 , 125 magistrates of the vici ( vicomagistri ), 48 , 91 codes, laws, and restrictions, 27 , 29 , 47 , Praetorian Prefect and Guard, 60 , 96 , 99 , 63 – 65 , 114 , 162 101 , 115 , 116 , 135 , 139 , 154 . See also against permanent theaters, 57 – 58 Castra Praetoria of burial, 37 , 117 – 20 , 128 , 154 , 187 urban prefect and prefecture, 76 , 116 , 124 , districts and boundaries, 41 , 45 , 49 , 135 , 139 , 163 , 166 , 171 67 – 69 , 116 , 128 . See also vigiles (i re brigade), 66 , 85 , 96 , 116 , pomerium ; regions ( regiones ) ; vici ; 122 , 124 Aurelian Wall ; Leonine Wall ; police and policing, 5 , 100 , 114 – 16 , 122 , wharves 144 , 171 grain, l our, or bread procurement and Severan reorganization of, 96 – 98 distribution, 27 , 89 , 96 – 100 , staf and minor oi cials, 48 , 91 , 116 , 126 , 175 , 215 102 , 115 , 117 , 124 , 166 , 171 , 177 , zones and zoning, 6 , 38 , 84 , 85 , 126 , 127 182 , 184 – 85 administration, medieval frumentationes , 46 , 97 charitable institutions, 158 , 169 , 179 – 87 , 191 , headquarters of administrative oi ces, 81 , 85 , 201 , 299 114 – 17 , 214 Church.
    [Show full text]
  • Background Information 1
    BACKGROUND INFORMATION 1. Centennial candle, Motherhouse, 1988. 2. Father Ivo Schaible, SDS; stained glass window in convent chapel, Münster (D). 3. Statue of Father Jordan in the courtyard of the convent at Steinfeld (D). Bronze, cast from an original by Ferdinand Seeboeck of 1930/31. 5. GURTWEIL, the origin of the name goes back to a Merovingian-Frankish settlement: GURTWILA (CURTVILLA) - curtis - a large estate (at the place of the castle) - villa, villare - a small hamlet (North to the estate a few houses, the villa) The first written document regarding GURTWILA dates from 873. It testifies to the fact that Count Adibreht made Gurtweil over to the Monastery of Rheinau; about 20 years later, it belongs to the Monastery of St. Gallen (CH); by the end of the 12th century St. Gallen had lost its rights over Gurtweil in favour of 'secular' Lords. In 1646 the property was sold to the Monastery of St. Blasien. With the secularization and the suppression of the Monastery, the area fell to Baden in 1807, and much of the property was sold to individuals. (cf. LEO BERINGER, Geschichte des Dorfes Gurtweil, 1960, S. 25f) 6. The house was owned by the Jordan family from 1842-1894. After 1878, it was built up with bricks, the windows on the first floor and the outside stairway were added, and the roof was covered with tiles. Because of debts, Father Jordan's brother Martin had to sell it in auction in 1894. Josepha Griesser re-sold it to Leo Müller already in 1895. (cf. DSS XIII, p.
    [Show full text]
  • Sant'anselmo in Rome
    Pius Engelbert, OSB Sant’Anselmo in Rome Sant’Anselmo in Rome College and University From the Beginnings to the Present Day Pius Engelbert, OSB Translated by Henry O’Shea, OSB LITURGICAL PRESS Collegeville, Minnesota www.litpress.org Cover design by Jodi Hendrickson. Cover images: Top: Sant’Anselmo from the North; image from the Archives of the Archabbey of Beuron. Bottom: Sant’Anselmo from the South; image from the Archives of St. Ottilien. This work was first published as Sant’Anselmo in Rom: Kolleg und Hochschule 1st German edition, Rome, 1988 2nd German edition, Sankt Ottilien, 2012 © 2015 by Order of Saint Benedict, Collegeville, Minnesota. All rights reserved. No part of this book may be reproduced in any form, by print, microfilm, microfiche, mechanical recording, photocopying, translation, or by any other means, known or yet unknown, for any purpose except brief quotations in reviews, without the previous written permission of Liturgical Press, Saint John’s Abbey, PO Box 7500, Collegeville, Minnesota 56321-7500. Printed in the United States of America. 123456789 Library of Congress Cataloging-in-Publication Data Engelbert, Pius. [Geschichte des Benediktinerkollegs St. Anselm in Rom. English] Sant’Anselmo in Rome : College and University : From the Beginnings to the Present Day / Pius Engelbert, OSB ; translated by Henry O’Shea, OSB. pages cm “1st German edition, Rome, 1988. 2nd German edition, Sankt Ottilien, 2012.” Includes bibliographical references. ISBN 978-0-8146-3713-5 — ISBN 978-0-8146-3738-8 (ebook) 1. Pontificio Ateneo S. Anselmo. I. Title. BX920.I8E5413 2015 271'.1045632—dc23 2014038326 Laudemus viros gloriosos et parentes nostros in generatione sua.
    [Show full text]