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When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Department of Archaeology Volume 1 of 2 Reconstructing Pozzuoli: Textual and visual reconstructions of a Roman port town by Elizabeth De Gaetano Thesis for the degree of Doctor of Philosophy September 2013 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF ARTS Archaeology Thesis for the degree of Doctor of Philosophy VISUALISING POZZUOLI: TEXTUAL AND VISUAL RECONSTRUCTIONS OF A ROMAN PORT TOWN Elizabeth De Gaetano With its long tradition of trade contacts with the eastern Mediterranean, coupled with the productivity of Campania, Pozzuoli rapidly became a centre for technical and commercial expertise. It soon became the principal port of the Capital in the late 3rd and 2nd Centuries BC and maintained its function as a port of Rome at least till the 3rd Century AD. Pozzuoli was also a ‘packet port’ for travellers to the east and the principal place of arrivals and departures for officials, embassies and ordinary travellers making the port very cosmopolitan in nature. Its richness in archaeological remains coupled with its unique geological setting has resulted in plenty of scholarly research, particularly on the individual public monuments of the port. There has however been little attempt to understand the urban development of the port and when compared to other Campanian towns such as Pompeii and Herculaneum, thematic research in the area is still in its infancy. The context within which the study will take place is the idea of knowledge representation and the use of visualisation as a tool for understanding complex datasets. Pozzuoli has been represented in many ways through various periods in time and a digital visualisation, together with the process with which the vast documentation is selected, gathered, transformed and ultimately displayed aims to provide a legitimate synthesis of all the complex information that has accumulated over time. The methodology adopted will be that which adheres to the principles of the London Charter with a particular focus on the documentation of process known as ‘Paradata’ and attempts to provide a new critical example of its implementation. ii iii iv Contents (Volume I) 1 INTRODUCTION 1 1.1 Aims and Objectives of the Project 1 1.2 Literature Review 3 1.3 Theoretical considerations 13 1.4 Proposed methodology 16 1.5 Thesis Structure 20 1.6 Potential Implications of the Research 25 1.6.1 On Roman port studies 25 1.6.2 On Computer modeling in Cultural Heritage 25 2 CAMPANIA FELIX: THE NATURAL SETTING 27 2.1 Introduction 27 2.2 Broad Structural Outlines 28 2.2.1 The Pre-Appenines of Latium and Campania 29 2.2.2 The Campanian plain 30 2.3 Campania 32 2.3.1 The Vesuvius, The ager Falernus and ager Campanus 34 2.3.2 The Phlegraean Fields (I Campi Flegrei) and the phenomenon of bradyseism 38 2.3.3 Rivers and Watercourses of Campania 47 2.3.4 A brief note on the climate of Campania 50 2.3.5 Modern Pozzuoli 51 2.3.6 Mediterranean winds and currents 52 2.3.7 Approaching Campania’s coast 54 2.4 A boat with a view: An image search of modern day Pozzuoli based on views from the sea 56 2.4.1 Observation 1 (Plates 1 and 2) 58 2.4.2 Observation 2 (Plates 3, 4, 5, 6, 7) 59 2.4.5 Observation 5 (Plate 13a and 13b) 63 2.4.6 From observation to comparison (Plate 14) 63 v 2.4.7 A textual reconstruction of the ancient landscape 64 2.5 Conclusion, The implications of geography and history 66 2.5.1 To the study of Pozzuoli 66 2.5.2 To Roman port studies 67 2.5.3 To computer modelling in cultural heritage 67 3 HISTORICAL PAINTINGS AND ENGRAVINGS OF POZZUOLI 69 3.1 Introduction 69 3.1.2 Travelling to the Phlegraean Fields 70 3.1.3 Overview of the Artists 72 3.1.4 Overview of the Authors 75 3.2 The Paintings 79 3.2.1 Flemish Artists 80 3.2.3 French Academy Artists 81 3.2.5 Morghen’s “raccolta” 84 3.3 Conclusion: The implications of these representations 87 3.3.1 To the study of Pozzuoli 87 3.3.2 To Roman port studies 87 3.3.3 To Computer modelling in Cultural Heritage 88 4 THE ARCHAEOLOGY AND HISTORY OF POZZUOLI 91 4.1 Introduction 91 4.2 Pozzuoli’s Historical Background 93 4.2.1 The early settlements 93 4.2.2 Puteoli during the Second Punic War 93 4.3 The econonic history of Pozzuoli: A brief overview 97 4.3.1 The administrative organisation of the Augustan city 100 4.4 Archaeological Evidence: Pozzuoli’s major monuments 102 4.4.1 The Amphitheatre 103 4.4.2 Pozzuoli’s Republican Amphitheatre 105 4.4.3 The Macellum 106 4.4.4 The Stadium 108 4.4.5 The Thermal Complex: “Terme di Nettuno” 110 vi 4.5 The promontory of Rione Terra and the development of Pozzuoli’s topography 112 4.5.1 The promontory of Rione Terra 112 4.5.2 The capitolium of Rione Terra (commonly known as the Temple of Augustus) 118 4.6 Port and Harbour Facilities 123 4.7 Contemporary Observations 129 4.7.1 Observations of landmarks and descriptions of sea-faring 129 4.7.1.1 Seneca’s Naturales Quaestiones 129 4.7.1.2 Seneca’s Letters 130 4.7.1.3 Rutilius Namatianus 131 4.7.1.4 Pliny the Elder 133 4.7.2 Observations of geological phenomena 133 4.7.2.1 Description of winds 133 4.7.2.3 Bradyseism in antiquity 135 4.7.3 The relevance of ancient observations 136 4.8 Ancient Representations of Pozzuoli: The Glass Flasks and the Bellori Drawing 137 4.8.2 Topographical representation: The glass flasks 141 4.8.3 The Bellori Drawing 153 4.9 Conclusion 155 5 THEORETICAL CONSIDERATIONS AND ISSUES 159 5.1 Introduction 159 5.2 The Phenomenology of Architecture 160 5.3 Theoretical Considerations on Roman Architecture 165 5.4 Rome and the creation of an urban image 166 5.4.1 An overview of Roman urbanism 166 5.4.2 The Augustan building programme and Imperial initiatives 169 5.5 Understanding Public Monuments 171 5.5.1 Amphitheatres 173 5.5.2 Public Baths 176 5.5.3 The Macellum 179 vii 5.5.4 The Stadium 181 5.6 Monumentality 182 5.6.1 The idea of “Monumentality” 182 5.6.2 Responding to Monumental Architecture 185 5.7 The Roman viewer 190 5.8 Conclusion: urban image and monumentality in Pozzuoli? 196 5.9 Theoretical considerations on Visualisation 199 5.9.1 A brief history of visualisation in Archaeology: That fifth category 199 5.9.2 Why visualization? 204 5.9.3 Examples of digital visualisation projects 216 5.10 Conclusion 219 6 METHODOLOGY 223 6.1 Introduction 223 6.2 Methodology for the reconstruction of the port of Puteoli 226 6.2.1 An overview of the techniques used (art-Humanities.net definitions) 226 6.2.2 Data Capture 228 6.2.2.1 2d Scanning 228 6.2.2.2 Heads up Digitising and Interactive Tracing 229 6.2.2.3 Use of Existing Digital Data 229 6.2.2.4 Manual input and transcription (Appendix 2) 230 6.2.3 Data Structuring and Enhancement 231 6.2.3.1 Image Enhancement 231 6.2.3.2 2d Modelling – Vector 232 6.2.3.3 Overlaying 232 6.2.3.4 3d Modelling – Vector 233 6.2.3.5 Graphical Rendering 234 6.2.4 Data Presentation 235 6.2.4.1 Visualisation 235 6.2.4.2 Animation 235 6.2.4.3 Image feature measurement 235 6.2.4.4 Interactive games engines and the use of the 3dsMax interface 236 6.2.4.5 GIS and the Use of a Digital Elevation Model 237 viii 6.3 Standards and Best Practice (ADS Guides) Data Generated by the Project (Appendix 3) 238 6.3.1 Raster Images 238 6.3.2 Vector Images (AutoCAD and GIS) 242 6.3.3 CAD (Computer Aided Design) 242 6.3.3.1 CAD conventions: Layers 245 6.3.3.2 CAD Conventions: Layer names 246 6.3.3.3 Conventions for selecting drawing colours 247 6.3.3.4 A note on precision versus accuracy of the CAD drawings 248 6.3.4 Three-dimensional modelling of data 249 6.3.4 Documents and Spreadsheets 250 6.3.6 Metadata 251 6.3.7 Types of Metadata 252 6.3.7.1 Project-Level Metadata (See Appendix 3) 252 6.3.7.2 File-Level Metadata (See Appendix 3) 253 6.4 The London Charter 254 6.4.1 Introduction to the London Charter 254 6.4.2 The Principles of the London Charter 256 6.5 The principle of Paradata: The youngest of the data triplets 262 7 THE BIOGRAPHY OF A MONUMENT 265 7.1 Introduction 265 7.2 Biography of the individual monuments 266 7.2.1 The Amphitheatre 266 7.2.1.1 The data sourced 266 7.2.1.2 How the model was built 268 7.2.1.3 A note about colour 269 7.2.1.4 Unresolved issues 270 7.2.2 The Capitolium on the Rione Terra 270 7.2.2.1 The data sourced 270 7.2.2.3 Unresolved issues 272 7.2.2.4 Colours 273 7.2.3 The Macellum (Market) 274 7.2.3.1 The data sourced 274 7.2.3.2 How the model was built 275 7.2.3.3 Unresolved issues 276 ix 7.2.3.4 Colours 276 7.2.4 The Porto Julio Warehouses 277 7.2.4.1 The data sourced 277 7.2.4.2 How the model was built and the issues raised: 277 7.2.5 The Stadium 279 7.2.5.1 The data sourced 279 7.2.5.3 Unresolved issues 281 7.2.6 The Harbour Mole 282 7.2.6.1 The data sourced 282 7.2.6.2 How the model was built 282 7.2.6.3 Issues raised 283 7.2.7 The Thermal Complex (Tempio di Nettuno) 284 7.3 The Biography of the Model’s Gap-Filling 285 7.3.1 The Data Sourced 285 7.3.2 How the landscape and remaining archaeology were reconstructed.