Archive for the 'Archaeology' Category



13
May

Vespasian Celebrates His 2000th Birthday

Flavian Portraits in the Curia in Rome

Those readers planning to be in Rome in 2009 may be interested to know about a special exhibit currently being held in the Colosseum and Forum and on the Palatine Hill.   Assembled in honor of the 2000th anniversary of the birth of the Roman Emperor Vespasian, who was born on 17 November in the year 9 AD (Put that on your calendar and start looking for Colosseum cupcakes for the party.)

The exhibit celebrates Vespasian, but also his sons Titus and Domitian, who, like their father, ruled Rome in the second half of the first century AD. Following the suicide of Nero in AD 68, an event that marked the end of the Julio-Claudian dynasty’s rule of the Roman Empire, and a struggle for control over Rome and its territories, Vespasian was crowned emperor by the Roman army while fighting the bloody Jewish Wars.  He returned to Rome triumphant and along with major achievements in Roman law, is best known for having built the Colosseum in AD 70-80.

Flavian Exhibit in the Senate House in the  Roman Forum

Most of the objects documenting the life and achievements of Vespasian and his sons are on display in the Colosseum, though organizers of the exhibit have made an effort to fold those monuments built by the three Flavian emperors into the mostra by providing a special audioguide that allows visitors to move from the Colosseum exhibit, through the Forum, and across the Palatine to see the Arch of Titus, the Flavian Palace,
the Temple of Vespasian and the Temple of Peace, all the while learning about the achievements of Vespasian, Titus, and Domitian.

Admittedly, we don’t much like this new-ish trend of hosting special exhibits in the Colosseum (too crowded, too much chaos to allow one to really concentrate) and the exhibit as a whole is a bit hard to follow while navigating Rome’s ancient landscape.  Nonetheless, we are thrilled that organizers saw fit to display portraits of the Flavian emperors–some colossal–in the Curia or Senate House in the Roman Forum.

Flavian Exhibit in the Curia

Usually off-limits to visitors, the display of these portraits (most have been brought to Rome from the Naples Archaeological Museum, having been found in Pompeii and Herculaueum, as Titus was the reigning emperor when Vesuvius erupted and destroyed those cities), the exhibit offers a fabulous opportunity to get into Senate House.

Not only are visitors enjoying the chance to examine the visages of Titus and Vespasian up-close and in-person, but the staging of a part of the exhibit in the Curia allows one to admire the beautiful inlaid marble or opus sectile pavement and the Plutei of Trajan, two huge marble reliefs showing the Emperor Trajan performing such grandiose deeds as the institution of the alimenta, a charitable organization for orphans, and destruction of tax records, a gesture of fiscal pardon.

For more information about the Flavian Exhibit, properly titled The Divine Vespasian, visit the Comune di Roma website.

Flavian Exhibit in the Curia

07
Apr

Baths of Caracalla Damaged in Earthquake

Baths of Caracalla

All eyes are on Italy these days as rescue workers and government officials struggle to save earthquake victims and to determine the amount of damage caused by Sunday night’s shake-up.  Here at the eCool Compound, we spent yesterday thinking about those who lost loved ones and homes in the area around L’Aquila, where the quake was most intense.

This morning–after further tremors last night that were felt even here in Rome–we’ve arisen to the news that the majestic Baths of Caracalla were damaged in Sunday night’s earthquake.  The extent of the damage is not clear, but both the New York Times and The Telegraph have articles quoting Angelo Bottini, superintendent of archaeology, who says that the Baths “suffered some damage” but that no other antiquities were harmed.

We’ll keep you posted as we hear about relief and repair efforts as we’re sure that some eCoolers will want to do what they can to help.

12
Mar

A Fight to the Death at the Palazzo Massimo

Portonaccio Sarcopahgus

If you read our entry yesterday, then you know that National Archaeological Museum is celebrating the 10th anniversary of its Palazzo Massimo branch with a special exhibit called “Discovering the Massimo.”   In honor of the fact that this fantastic museum has been open for a decade, they’ve cleaned up and restored some amazing ancient objects that have been out of the public eye for some time.

Yesterday we told you about the Doria-Pamphili Colombarium on display as part of this exhibit.  Today, we bring you some super-cool photos of the Portonaccio Sarcophagus which is also making an extraordinary appearance.

The Portonaccio Sarcophagus in Rome

Found in the Portonaccio area of Rome, along the Via Tiburtina, this newly-cleaned sarcophagus is carved in high relief and dates between 180-200 AD.  It seems to have been used for the burial of a Roman general involved in the campaigns of Marcus Aurelius, who is depicted charging into battle on horseback front near the center of the scene on the front of the sarcophagus (see uppermost photo as well as the photo on the left directly above).

If you look closely at the face of the general, you’ll see that it’s unfinished. Scholars suggest that the sarcophagus was carved in a sculptor’s workshop and the face of the general was left blank, with the idea that it would be carved to resemble the deceased person it housed when the sarcophagus was purchased.  For one reason or another, that never happened.

All around the general, Roman soldiers bravely slay their barbarian enemies, some of whom have fallen to the ground and are being trampled in the melee, and others of whom seem to be begging for mercy (see the image on the right, above).

The Portonaccio Sarcophagus in Rome

Almost indubitably, the Romans won this battle, a fact that is attested on the left and right edges of the front panel, where over-sized barbarians captured in war are chained and restrained, while terrifying Roman trophies display the arms and armor of those defeated in the war (see above, left, and below).

Such sarcophagi, of course, were meant to commemorate the dead and their achievements, as well as to elevate them in the eyes of those who would have seen and admired the carved coffins in which they were laid to rest.  Though 1800 years old, the Portonaccio Sarcophagus continues to serve this function, as its fine craftsmanship wows and amazes, especially seen under spotlights in a dark room, as currently displayed in the Palazzo Massimo.

For information on the Palazzo Massimo and its special exhibits, see the city of Rome’s tourism site (www.romaturismo.com) or the museum Web site, archeoroma.beniculturali.it/it/palazzo_massimo, which is in Italian-only.

Trophy on the Portonaccio Sarcophagus

11
Mar

Dead and Buried: A Colombarium at Palazzo Massimo

The Doria-Pamphili Colombarium in Rome's Palazzo Massimo Museum

Over the course of the past decades, the city of Rome has been busy reorganizing its system of National Archaeological Museums.  For about one hundred years, starting in  the late nineteenth century, the bulk of Rome’s expansive collection of antiquities was displayed at the Baths of Diocletian.  In the 1990s, however, the objects were divided up between four differen sites and spread across the city.

While all four branches of the museum are chock-full of interesting artworks and artifacts, it’s the Palazzo Massimo that we love the most.  From the extraordinary frescoes that once graced the walls of the Empress Livia’s dining room to the colossal bronze sculpture of the Hellenistic Prince, the permanent collection of the Palazzo Massimo is simply awe-inspiring.

And now they’ve made it better.  Until June 7th, a special exhibit called “Discover the  Massimo” celebrates the 10th anniversary of the opening of the Palazzo Massimo by putting on display some newly restored paintings and sculptures — some of which have been out of the public eye for quite some time.

Bird in the Doria Pamphili Colombarium

On a recent trip to the museum, we were quite happy to see that as part of the exhibit, archaeologists and restorers have fitted out a room with some 200 square meters of frescoes from a first-century columbarium, or burial chamber for cinerary urns, that was excavated between 1838 and 1922 in the Villa Doria Pamphili, Rome’s largest park.

What a treat!  Though various colombaria have been excavated in and around Rome, none are open to the public, so the exhibition gives its visitors a chance to study a kind of Roman funerary architecture that’s normally not on view.

Painting from the Doria-Pamphili Colombarium

The term colombarium comes from the Latin colomba (dove), and the term originally referred to compartmentalized housing for doves and pigeons but was chosen by modern excavators to describe built tombs, the walls of which were lined with niches to hold cremation urns.

Such individual niches (visible in the photo of the museum exhibit above and the bottommost photo in this entry which shows the Doria Pamphili colombarium as it looked when excavated) were frequently marked by memorial plaques and portrait sculptures.  As well, the walls of the colombaria were often decorated with painted images of mythological stories, landscape scenes, and animals, like those seen here.

Painting from the Doria Pamphili Colombarium

Studies suggest that the popularity of colombaria in Rome was due, in part, to rising population and the need to dispose of a large number of bodies in an environment in which land for tombs was at a premium.  The construction of such built tombs that could house the remains of hundreds of individuals certainly seems to provide a logical solution, though one that would be available to only some classes of society, for burial in a colombarium was not an inexpensive endeavor.  Inscriptions tell us that they were built by collegia, cooperative funeral clubs, in which members contributed to a joint tomb.

For information on the Palazzo Massimo and its special exhibits, see the city of Rome’s tourism site (www.romaturismo.com) or the museum Web site, archeoroma.beniculturali.it/it/palazzo_massimo, which is in Italian-only.

The Doria Pamphili Colombarium

11
Jan

The Ara Pacis in Color

Ara Pacis Illuminated in Rome

Last week, the Comune di Roma treated residents and visitors alike to a series of special museum events and exhibits, among which was a full-color illumination of the front of the Ara Pacis or Altar of Peace.

As part of an actor-led tour that dramatically recounted the stories of Romulus and Aeneas in order to expalin their presence on the front of the Ara Pacis, lights were used to superimpose dazzling colors onto white marble facade of the altar.  The goal was that of giving visitors an idea of the monument’s appearance at the time of its dedication in 9 BC.

Romulus Scene on the Ara Pacis

Though the altar is all-white now, scholars generally agree that monuments like it — as well as sculptures — were once brightly colored.  Thus, vivid blues, greens, yellows, and reds characterized the illumination.

Vatican Museums Director, Antonio Paolucci, who co-organized the project, said that the projected colors were chosen based on traces paint recovered from the monument in the 1930s, such as red ochre and gold leaf.

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The Ara Pacis or Altar of Peace was in celebration of the advent of peace under the reign of Rome’s first emperor, Augustus.

Though the color projections were a temporary holiday event, organizers say they hope to make the demonstration a permanent part of Ara Pacis Museum in December 2009.

Ara Pacis Flora

08
Jan

Improvements to Ancient Rome

Roman Forum

From ANSA:  The glories of Ancient Rome are to get a total makeover over the next two years, officials said this week.

The famed architectural sights will then be illuminated by a new lighting system, they said. Sites set for ”a complete clean-up” include the Colosseum, the Palatine Hill, the Roman and Imperial Forums and Nero’s Golden House, said Heritage Undersecretary Francesco Giro.

Long-awaited projects such as an underpass linking the forums and a new walkway up to the Palatine are part of the scheme which aims to restore Rome’s ancient splendour by the spring of 2011.

Unsightly scaffolding, rusty fences and open digs will be cleared away ”so that the central archaeological area regains all its sumptuous beauty,” Giro said.

The ”crowning touch,” he said, would be an ”integrated” illumination system for the entire area.

Giro said the culture ministry hoped to have the lights in place for the 2,764th anniversary of Rome’s traditional founding date, April 21 753 BC.

23
Nov

The Lapis Niger in Re-View

The Lapis Niger in the Roman Forum

Archaeologists and those interested in Rome’s earliest development will be excited by the recent announcement of Angelo Bottoni, superindent of archaeology in Rome, who says that the Lapis Niger in the Roman Forum will be opened to the public in 2009.

An archaic shrine–at which the oldest known Latin inscription was discovered–the Lapis Niger is a mysterious underground monument made up of an altar next to a truncated stele on which the Latin inscription is carved vertically in boustrophidon style (from left to right, then right to left, and alternating back and forth, “as an ox would plow a field.)

The underground stele and altar are capped by a black marble paving and “fenced off” with white marble slabs as if to keep the sacred spot from being walked upon by pedistrians.  In fact, the inscription on the stele curses anyone who tramples or defiles the spot:

Whosoever defiles this spot, let him be forfeit to the spirits of the underworld; whosoever contaminates it with refuse, after due process of law, it shall be proper for the King to deprive him of his property. And whatsoever persons the King shall discover passing on this road, let him bid the Herald seize the reins of their draught animals, to force them to turn aside forthwith and to take the approved detour. And whosoever shall fail to take the approved detour and shall persist in traveling this road, let him after due process of law be sold at auction to the highest bidder.

What was the significance of the Lapis Niger shrine?  The Roman historians Tacitus and Livy suggest that the area of the Lapis Niger was associated with the cult of Romulus, the legendary founder and first King of Rome. In the late Republic, tradition held that the ‘black stone’ was the very marker for the tomb of Romulus. Competing tradition held that it was rather the tomb of Hostilius, grandfather of Rome’s third king, Tullius Hostilius.

Lapis Niger Excavations & Stele

Rediscovered in the late 19th-century in excavations undertaken by Italian archaeologist Giacomo Boni, the Lapis Niger has been off limits to visitors in the past decades, as it is beneath a concrete covering that Bottini says is decaying.  Thus the soprintendenza plans to remove the old cover over the shrine and erect a hut-like structure that will allow visitors to the Forum to view the excavations.

Work is scheduled to begin in December and is part of a larger plan to improve Rome’s archaeological area as a way of celebrating the 2000th anniversary of the birth of the Roman Emperor Vespasian in 2009.

19
Oct

Photo Sunday: A Nose for These Things

Emperors in the Louvre

We’re a bit late this weekend as Photo Friday is landing on Sunday evening, but we bring you a photo of Roman Emperors’ busts taken recently by Susan Sanders in the Louvre in Paris.  With their drilled hair and beards, the faces look familiar.  It’s a crowd that would make any lover of Rome feel at home.

For more photos by Susan, visit her blog: Rome With A View.

16
Oct

Excavating Gladiator

Russell Crowe in Gladiator

Richard Owen of the Times provides the coverage:

Italian archeologists have discovered the tomb of the ancient Roman hero said to have inspired the character played by Russell Crowe in the film ‘Gladiator’.

Daniela Rossi, a Rome archeologist, said the discovery of the monumental marble tomb of Marcus Nonius Macrinus, including a large inscription bearing his name, was “an exceptional find”. She said it was “the most important ancient Roman monument to come to light for twenty or thirty years”.

The tomb is on the banks of the Tiber near the via Flaminia, north of Rome. Cristiano Ranieri, who led the archeological team at the site, said the tomb had long ago collapsed into the mud but its columns, roof and decorations were intact. Some parts of the tomb had slipped into the river, but had been recovered.

Marcus Nonius Macrinus, born in Brescia in northern Italy, was a general and consul who led military campaigns for Marcus Aurelius, the Roman emperor from 161 AD to 180 AD. He became part of the Emperor’s inner circle and one of his favorites, serving as proconsul in Asia.

In ‘Gladiator’, directed by Ridley Scott, he becomes Maximus Decimus Meridius, also a general and a favourite of Marcus Aurelius – with the twist that, after the murder of the emperor by his ambitious son Commodus (a fictional event), Maximus falls from grace and ends up in exile in North Africa. He later returns to Rome as a hardened gladiator to take revenge for the murder of his family and of Marcus Aurelius. Russell Crowe won an Oscar for the role.

There are believed to be plans to reconstruct the tomb as the centerpiece of a ‘Via Flaminia Archeological Park’, which would also include the House of Empress Livia, the wife of Emperor Augustus, at Prima Porta nearby.

The character of Maximus also draws on accounts by Roman historians of a wrestler named Narcissus, who murdered the Emperor Commodus by strangling him.

An AP image of the tomb of Marcus Nonius Macrinus under excavation is below:

Tomb of Marcus Nonius Macrinus

20
Sep

New Discoveries on the Via Marmorata

New Discoveries on Rome's Via Marmorata

Despite all odds, rome’s public transportation system works pretty well.  Certainly it’s over-crowded and under-organized — there’s no crowd control and the schedules on which buses run is barely discernable — but, if you know the basics, it’s quite easy to get around.

What can be tricky about the system is determining the most efficient way to move from place to place.  Most often, the process of getting from point A to point B is done more quickly if one is willing to ride three or four buses rather than holding out for the single direct line.  This is especially true if one is trying to get from one end of the city to another, say from the Gallery of Modern Art on the north side of Villa Borghese to Viale Trastevere or vice versa.

In theory, there’s a tram that runs this route — the number 3.  But, it’s route is so long and circuitous that it takes almost a lifetime to get from one end of the line to another.  Residents of Rome joke that one should take a picnic on the line 3 as you’re likely to get hungry in route.  We also think of the number 3 as the ultimate tour tram as it takes riders past the Circus Maximus, around the Colosseum, past St. John Lateran and Porta Maggiore, through the ugly underbelly of the city in the area around Stazione Tiburtina, before snaking its way through the Parioli neighborhood — and all at a snail’s pace.  Ride the number 3 and you’ve seen it all.

If, that is, the number three is running.  Which, it hasn’t for years.  At least not in its tram form.  For many many months now, it’s been transformed into a bus, which is a bit of a relief, because the bus moves more quickly than the tram.  We haven’t known why magic number 3 tram disappeared, and have assumed it’s due to roadworks and modifications to the tram tracks.

Archaeological Discoveries under Rome's Via Marmorata

Today, however, we’ve awakened to discover one of the reasons for the tram’s long absence.  It seems that in the process of installing an layer of anti-vibration material below and around the tracks in the Testaccio neighborhood, archaeologists and road workers discovered an entire city laying just below street level.

The newspaper La Repubblica reports the discovery of a myriad of materials:  walls dating to the imperial period as well a later wall that may have been built in the 5th century AD; tombs containing skeletal remains that may be of the high medieval period; warehouse pavements; buildings for grain storage that were originally connected to the nearby Roman port; deposits of amphorae; and pieces of a mosaic pavement that seem to have embellished an ancient Roman house.

The amazing thing about these discoveries is that they were made only inches below the surface of the modern day road (see top photo).  Did anyone know they were there?  There were clues.  Alessandra Capodiferro, head of archaeology in the Aventine area, says that photographs taken in at the turn of the century, show that in the early 20th century, houses in the area incorporated the remains of ancient Roman buildings into their fabric.  Later development in the area rendered all such remains invisible, however.

Furthermore, from the 1800s to the present day, the road now under excavation has been an important thoroughfare, hosting first a horse-drawn omnibus and later cars, buses, and the number 3 tram.  Thus, for more than a century, the newly uncovered remains have been sealed under a layer of pavement and forgotten.

The superintendency of archaeology plans to continue excavations, digging under one tram track at a time in order that public transportation can continue to pass along the road.  They’re hoping that the dig will shed light on the ancient and early Medieval city, for, as archaeologist  Paola Quaranta explained to La Repubblica, “This street along the slopes of the Aventine was one of the most ancient, one of the first in Rome to run to the sea and to the salt basins at Ostia.  It retained its importance in the Imperial period, when warehouses and offices connected with the Tiber port grew up in the area.  And, even into the 5th and 6th centuries, this road was important because it led to the basilica of San Paolo.”

Archaeological Discoveries in Rome's Via Marmorata




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