Pompeii

This dissertation investigates homo- and bisexuality in the Roman world, by focusing primarily on Pompeii’s graffiti. Scratched on walls, street facades, public buildings, within the domus and often inserted in paintings or frescoes, Pompeian graffiti differ in topic, structure and kind: they vary from insults to dedications, from political notices to salutations, from jokes to love poems. The quantity of homoerotic graffiti is, in particular, worthy of note, since they offer an important contribution to the study of homo- and bisexual attitudes in the Roman world. If today sexuality is divided into distinct categories and homo- and bisexuality are seen as “unnatural” and “against nature” in some countries, Pompeii’s homoerotic graffiti help us overturn this view: not only do they show that homo- and bisexual behaviours were widespread among the Romans but also that our modern conception of sexuality can be applied only in part to the Roman world, since it was not present in the same form. The graffiti from Pompeii demonstrate that sexuality is a transient concept, which varies according to time, society and culture, and they also invite us to think afresh about our modern way of considering of homo- and bisexual attitudes.

The visual devices used by Tony Blair and George Bush to get themselves elected and maintain power, come not from modern times, but a world that is thousands of years old. How Art Made the World ventures back to the creation of Stonehenge and the reign of Alexander the Great to reveal how imagery became an indispensable weapon in every leader's political armoury.

This episode explores how art can be used as a persuasion device by those in power and when did we learn to use images, to create a powerful icon or symbol, this way?

The use of art as a tool for those in power, started at different times, in different cultures. Near Stonehenge the grave of the Amesbury Archer was discovered in 2002, the grave was different to those previously found near the site, as this one was not Roman, but much earlier, dating to when the first sarsen stones were erected. What made him interesting were his gold hair tresses, possibly the oldest dated gold objects in Britain, and the fact that he was a foreigner, from the region that is now Germany / Switzerland. The archer had completed an epic journey for the time, and the treasures in his grave show a man of status. Art for personal adornment, like these hair clasps, elevated him above his peers.

As time progressed, art became a political tool, kings competed for more dazzling adornments. As kingdoms got bigger the kings had to overcome communication issues. Darius the Great of Persia, ruled over 20 nations from Persepolis. As very few people could read, Darius had stone reliefs created that combined styles from all over the empire, the carvings showed each nation bring tributes to their king. This showed respect, and the carvings communicated that Darius admired and respected his people. Darius created a symbol for himself, that of the archer, symbolic to Persians of leadership and wisdom, central to the concept of kingship. Darius embossed this symbol on gold coins, which became the currency to trade within the empire.

Darius’ conqueror, Alexander the Great, took this concept further. From an early age, Alexander’s image was being made for him. In his fathers tomb, an Ivory head recognisable as Alexander’s was found, showing that his image had been made for him in advance of him becoming king. In Pompeii, a copy of an original Macedonian painting, shows Alexander the Great, fearless, fixated on his enemy and leading from the front. He is in the midst of battle with king Darius, shown fearful and panicking. Where Darius had used a symbol to communicate his power, Alexander used his face. On defeating the Persians, Alexander melted down all their coins replacing them with coins bearing his head. Tests have shown that people are more influenced by the image of the head and this technique has endured 2500 years and still used today.

This artistic power can be used for sinister purposes, to persuade us to see things a certain way or even deceive us. The earliest known use of this dates back to the Romans. In 40BC Rome was in crisis, the city state was split between royalists and republicans. You could tell people’s political allegiance by how they dressed. Octavian (Augustus) understood the power of art and used it to his advantage. He needed to persuade his opponents ,and used artists to create a less threatening image, one that won over the republicans. Although the image showed him as a powerful general, it didn’t show any military arms, and his gestures were more about humility than power. His armour breast plates show him accepting surrender of the Parthian Empire, with the gods looking on approvingly. The statue offered reassurance, but it was all a lie. While he portrayed himself as a peace maker, he was getting rid of the opposition; while he was preaching humility, he lived like corrupt royalty and while pretending to hand power to the people he reinstated himself as a king.

The leaders of past used paint and marble, today we use digital manipulation. But as humans we still remain vulnerable to the persuasive power of art.

Pompeji Questo libro risponde alla esigenza, sempre più pressantemente avvertita, di sistematizzare riflessioni fatte in contesti diversi -convegni, ricerche, didattica, progetti -sulla città archeologica di Pompei, con la convinzione di fondo che essa rappresenti un giacimento di conoscenza "architettonica e urbana" pressoché inesauribile ma soprattutto inesaurito, in particolare se ci riferiamo alla idea che Pompei possa costituire un referente per il progetto della città moderna: da qui nasce il titolo Pompei. Città moderna. In sintesi, non un libro che vuole aggiungere tasselli di conoscenza storica ma che ambisce ad aiutare magari i più giovani, visitando Pompei, a provare, come descritto nel passo di Ernesto Nathan Rogers in esergo al testo, innanzitutto una commozione di natura architettonica.

On the 24 August 79 CE Mount Vesuvius erupted. The city of Pompeii was completely buried under pumice and ash. The exhibition A Day in Pompeii, presented by Museum Victoria, gives visitors the opportunity to understand what daily life in ancient Pompeii was really like, and to understand the process by which the city came to be destroyed, buried and eventually rediscovered. In contrast to the grim nature of Pompeii's history, the exhibition brings to life the town before the eruption through displays of a wide selection of artefacts that encapsulate various aspects of Pompeian society.

De Carolis Ernesto , Patricelli Giovanni

Anno di Edizione: 2018
Edizione: L'ERMA di BRETSCHNEIDER
Collane:
Pompei - Guide Tematiche., 7
ISBN: 978-88-913-1703-2
Rilegatura: Brossura
Pagine: 136, 50 ill. B/N, 40 ill. Col.
Formato: 21 x 24 cm
La notorieta' di Pompei, fin dai primi rinvenimenti nel 1748, fu talmente ampia da diventare una meta imperdibile del Grand Tour. Il suo primato, fra i numerosi siti archeologici di epoca romana, deriva indubbiamente dalla tragica eruzione del Vesuvio del 79 d.C. narrata nelle due lettere che scrisse Plinio il Giovane allo storico Tacito descrivendo, con una attenta osservazione dell' incalzante susseguirsi delle fasi eruttive, il viaggio da Miseno a Stabia di suo zio, Plinio il Vecchio, e la sua morte all' alba del 25 agosto dopo aver trascorso la notte nella Villa del suo amico Pomponiano.
Da sempre Pompei, ma anche Ercolano e gli altri siti vesuviani, hanno colpito l' immaginario collettivo per la loro improvvisa scomparsa insieme all' annientamento di ogni forma di vita a causa di un incontrollabile e catastrofico evento naturale. Luoghi dove risuonava spensierata la vita si trasformarono cos in luoghi dove regnava incontrastata la morte.
I continui rinvenimenti di corpi, a partire dal primo tornato alla luce il 19 aprile del 1748, segnarono la storia della riscoperta di Pompei suscitando un generale interesse dove prendeva il sopravvento l' aspetto emotivo rispetto all' importanza del dato scientifico.
Un momento fondamentale fu la geniale intuizione di Giuseppe Fiorelli, al di la' delle polemiche iniziali che suscito' sulla paternita' del metodo, di versare del gesso allo stato liquido nelle cavit rinvenute nello strato di cenere. E cos fra il 3 ed il 7 febbraio del 1863 risorsero le vittime dell' eruzione mostrando i lineamenti dei volti e la forma dei corpi oltre ai vestiti che indossavano in quel fatale giorno.
Le impronte cosi' ottenute entrarono immediatamente nell' immaginario di quanti si recavano a Pompei e furono riprodotte dai piu' celebri fotografi della seconda meta' dell' Ottocento ed inseriti negli Album che venivano acquistati dai visitatori come ricordo del loro viaggio in Italia.
Le sensazioni a volte morbose che suscitavano le impronte, come nel romanzo Nerinda di Norman Douglas, accompagnarono la progressiva riscoperta della citta' e non ci fu rinvenimento che non venisse ricordato nelle relazioni di scavo e nella stampa contemporanea accompagnato da una emozionale ricostruzione degli ultimi attimi di vita e da tentativi di identificazione delle vittime.

Con la presente pubblicazione ci siamo posti l' obiettivo di ricostruire nella prima parte il susseguirsi delle fasi eruttive sulla base delle due lettere di Plinio il Giovane insieme ai piu' recenti dati vulcanologici ed archeologici, facendo riferimento alla data canonica del 24 e 25 agosto, mentre nella seconda parte abbiamo esposto cronologicamente i principali rinvenimenti di impronte a partire dal 1863 fino al 2002.
L' apparato iconografico del testo e' costituito in gran parte dalla documentazione fotografica contemporanea ai rinvenimenti delle impronte ed eseguita, per quanto riguarda la seconda met dell' Ottocento, dagli ateliers di Giorgio Sommer, Robert Rive, Achille Mauri, Giacomo Brogi, Michele Amodio e dei fratelli Achille e Pasquale Esposito.
Il nostro contribuito, ponendoci l' obiettivo di rendere il testo agile e facilmente fruibile al lettore, si inserisce nell' ambito degli studi sui piu' diversi aspetti del patrimonio informativo che ha restituito quanto e' stato riportato alla luce fino ad oggi delle citta' vesuviane e che ancora potrebbero fornire se venissero riprese le campagne di scavo.

Esta obra se centra en el estudio de la delimitación de los espacios públicos dentro de las murallas de Pompeya. Esta ciudad nos brinda la posibilidad de realizar un estudio de esta índole, ya que es considerada una cápsula del tiempo y podemos ver en ella el ejemplo más claro de cómo se organizaba urbanísticamente una urbe romana en el siglo I d.C. Para analizar la delimitación de todos estos espacios se ha llevado a cabo un estudio de los bloques irregulares de piedra (termini) que los delimitan. Estos termini estaban fuertemente protegidos por la legislación, por un derecho consuetudinario y por preceptos religiosos. Por ello, a todo aquel que osara mover o sobrepasar dichos termini con la construcción de edificios se le impondría una sanción por parte de la ciudad e incluso en algunos casos por parte del emperador.

This book focuses on the delimitation of public spaces within the city wall of ancient Pompeii. Because the original pattern and architectural structures of this city are so well preserved, it provides valuable insight into the urbanism of a Roman city of the 1st century AD. The delimitation of public spaces in the city has here been examined through a study of the boundary stones known as termini. These stones were strongly controlled by municipal legislation, but they were also protected by customary law and religious precepts. Those who damaged or moved the termini, or built their house or any other structure in such a way as to violate the delimiting line marked by the termini, had to pay a penalty, which was imposed by the municipal council or, in some cases, by the emperor.

The Traffic System of Pompeii is the first sustained examination of the evidence for a regulated circulation of wheeled traffic at Pompeii. The physical architecture of the street and the street network's development from the archaic age to the eruption of Mt. Vesuvius in 79 CE provide the setting to this system and are given particular attention. Thus, the evolving form of the urban grid, the shape of the street, treatment of its surface, and the individual elements of construction -curbstones, stepping-stones, and guard stones -are described in detail both to enrich the image of life in the Pompeian street and to better understand the evidence for traffic that was inscribed there. Ruts are the most evocative evidence of ancient traffic and their formation through the combination of ancient vehicle design and the styles of street paving require careful scrutiny. Above all, it is the evidence discovered by the author on the vertical faces of street features that permits the determination of the direction that ancient carts were traveling and undergirds the argument for a system regulating their movements. Through the distillation of over five hundred observations in multiple categories of evidence, all wholly new to archaeology and unique to this research, the basic rules of the road are revealed.

editor luigi coiro art director enrica d'aguanno graphic design franco grieco on the cover Luigi Bazzani Via dell'Abbondanza and façade of Insula IX 1 (Casa di Epidio Rufo) 1896, watercolour on paper London, Victoria & Albert Museum on page 2 Naples, Museo Archeologico Nazionale Cork model of Pompeii historical photograph Richard C. Bauer collection on page 6 Georg Hilker Pompeii, Casa del gruppo dei Vasi di Vetro (wall painting) 1839, gouache on paper Copenhagen, Danish National Art Library on pages 14-15 Pompeii, fountain and edifices close to Porta Ercolano on pages 66-67 Pompeii, Casa dei Vettii wall painting, detail on pages 114-115 Francesco Piranesi, Louis-Jean Desprez The Temple of Isis at Pompeii, 1788 etching, hand-colored with watercolor Cleveland Museum of Art arte'm is a registered trademark of prismi quality management system ISO 9001: 2015 www.arte-m.net

o utinam liceat collo complexa tenere braciola et teneris | 2 oscula ferre labellis. i nunc, ventis tua gaudia, pupula, crede. | 3 crede mihi, levis est natura virorum. 5 saepe ego cu(m) media | 4 vigilare(m) perdita nocte haec mecum medita(n)s: 'multos | 5 Fortuna quos supstulit alte, hos modo proiectos subito | 6 praecipitesque premit; sic Venus ut subito coiunxit | 7 corpora amantum, diuidit lux, et se | 8 10 paries quid ama

A quantitative and qualitative evaluation of the damage caused by the products of explosive eruptions to buildings provides an excellent contribution to the understanding of the various eruptive processes during such dramatic events. To this end, the impact of the products of the two main phases (pumice fallout and pyroclastic density currents) of the Vesuvius AD 79 explosive eruption onto the Pompeii buildings has been evaluated. Based on different sources of data, such as photographs and documents referring to the archaeological excavations of Pompeii, the stratigraphy of the pyroclastic deposits, and in situ inspection of the damage suffered by the buildings, the present study has enabled the reconstruction of the events that occurred inside the city when the eruption was in progress. In particular, we present new data related to the C.J. Polibius’ house, a large building located inside Pompeii. From a comparison of all of the above data sets, it has been possible to reconstruct, in considerable detail, the stratigraphy of the pyroclastic deposits accumulated in the city, to understand the direction of collapse of the destroyed walls, and to evaluate the stratigraphic level at which the walls collapsed. Finally, the distribution and style of the damage allow us to discuss how the emplacement mechanisms of the pyroclastic currents are influenced by their interaction with the
urban centre. All the data suggest that both structure and shape of the town buildings affected the transport and deposition of the erupted products. For instance, sloping roofs ‘drained’ a huge amount of fall pumice into the ‘impluvia’ (a rectangular basin in the centre of the hall with the function to collect the rain water coming from a hole in the centre of the roof), thus producing anomalous deposit thicknesses. On the other hand, flat and low-sloping roofs collapsed under the weight of the pyroclastic material produced during the first phase of the eruption (pumice fall). In addition, it is evident that the walls that happened to be parallel to the direction of the pyroclastic density currents produced during the second eruptive phase were minimally damaged in comparison to those walls oriented perpendicular to the flow direction. We suggest that the lower depositional parts of the pyroclastic currents were partially blocked (locally reflected) and slowed down because of recurring encounters with the closely spaced walls within buildings. Locally, the percentage of demolished walls decreases down-current, which has been interpreted as a loss in kinetic energy within the depositional system of the flow. However, it seems that the upper transport system by-passed these obstacles, then supplied new pyroclasts to the depositional system that restored its physical characteristics and restored enough kinetic energy to demolish the next walls and buildings further along its path.

Geritzte Inschriften in den Wohnhäusern Pompejis Aus Pompeji stammen mehrere tausend informeller Wandinschriften, die bei den Ausgrabungen zwar dokumentiert, aber nur sehr selektiv untersucht wurden. Für die damals neuartige Inschriftengattung prägte man im 19. Jahrhundert den Begriff " Graffiti", der heute für eine Vielzahl ganz unterschiedlicher Schrift-und Textformen verwendet wird. Assoziationen zu modernen Graffiti-Writings und Taggings werden dabei häufig leichtfertig auf antike Graffiti übertragen. Dabei stammt ein Großteil der pompejanischen Ritzinschriften aus den Innenräumen von Wohnhäusern und wirft damit die Frage nach ihrer Akzeptanz und Wahrnehmung auf. Polly Lohmann nähert sich den antiken Graffiti im Vergleich mit ihren modernen Namenspendants einerseits, mit anderen antiken Inschriften, Texten und Bildern andererseits. Fallstudien stellen einzelne Wohnhäuser mit ihren Graffiti vor, und in kontextübergreifenden Vergleichen werden Bezüge zu anderen Text-und Bildgattungen des urbanen Raums aufgezeigt. Sie machen deutlich, dass die pompejanischen Graffiti vielfach von dem geprägt waren, was man im Alltag sah und erlebte.

La pieza que vamos a ver, el maravilloso mosaico de Alejandro, lo encontramos situado en la Casa del Fauno, casa que debe su nombre a la estatua de un fauno que encontramos en su impluvium-así se llama una especie de estanque rectangular destinado a recoger el agua de la lluvia situado en el patio (atrium) central de las casas romanas (domus) del tipo que encontramos en Pompeya. Esta imponente mansión, la más grande de Pompeya (Beard 2009: 45), se terminó de construir a finales del siglo II aC (Beard 2009: 47). En esta época Pompeya ya era aliada de Roma, lo fue desde inicios del siglo III aC (Beard 2009: 56), al tiempo que Roma consolidaba su poder en el Mediterráneo, formando un imperio que se extendía desde la península Ibérica, ocupaba el Adriático y Grecia hasta llegar a Asia Menor. Asimismo la admiración por Grecia crecía dentro de la sociedad romana, convirtiéndose en referente en su arte, las construcciones, etc. Pompeya, una ciudad de provincia que no destacaba especialmente en su época (Beard 2009: 66), tenía un destino catastrófico que a la vez la inmortalizó. El año 79 dC. a raíz de la erupción volcánica del Vesubio quedará inmortalizada, como si de una instantánea fotográfica se tratara, al ser sepultada por toneladas de sedimentos volcánicos. La vida quedó parada en ese momento para revivir en forma de hallazgo arqueológico.

Un día en Pompeya narra una jornada en la vida cotidiana de los pompeyanos, desde los habitantes de las hermosas villas hasta el ladrón de vasijas del mercado.
El rigor y la amenidad van de la mano en este día que nos llevará a descubrir muchas curiosidades de la vida en Pompeya y, sobre todo, que no eran tan diferentes de nosotros.

This chapter considers the role of the Roman house in providing a space where the second stage of a judicial activity (the apud iudicum portion), could be held in the Early Empire. Placing this activity within specific rooms of the house is complicated by the fact that a Roman court really did not have or need many specific architectural features. In one part of this chapter, I will propose a specific architectural feature in the House of the Faun, at Pompeii, as offering a suitable location for such hearings.

Esempio di unità didattica sul participio latino. Esempi ed esercitazioni.
Approfondimento sulle preposizioni italiane che derivano dai participi latini.
Spiegazione sugli strumenti di lavoro: Corpus Inscriptionum Latinarum e la banca dati Epigraphik datenbank.

Die römischen Spiele, vor allem zur Kaiserzeit, sind in der Forschung der vergangenen Jahre
zahlreich diskutiert worden. Überwiegend gerieten die historische Entwicklung der Spiele mit ihren
religiösen Wurzeln, die politischen Dimensionen im Hinblick auf Mittel zur Machtausübung der
Kaiser bzw. Spielgeber, soziale Aspekte der SpielteilnehmerInnen wie auch der Ablauf der Spiele
selber in den Fokus der Wissenschaft. Weniger Aufmerksamkeit bekamen Phänomene, die soziale
Dynamiken unter den Zuschauenden fokussierten. Wissenschaftliche Ausführungen zu sozialen
Phänomenen bei Aufständen oder Überblicksliteratur zu Aufständen allgemein, vor allem im Kontext
von Gladiatorenspielen, fehlen nahezu vollständig. Lediglich einzelne Ereignisse wie z.B. der Nika-
Aufstand wurden punktuell thematisiert. Vor allem im Vergleich zu den ausgiebigen Berichten über
Rom (aufgrund der Nähe zum Kaiserhof) fanden Ereignisse im Rahmen der Spiele außerhalb der
Hauptstadt nur bei Katastrophen oder anderen Ausnahmen Erwähnung. Somit fehlt in der Forschung
bislang eine Makroperspektive auf Aufstände im Kontext von öffentlichen Spielen einerseits,
andererseits aber auch die Mikroperspektive im Hinblick auf die römischen Provinzen.
Die vorliegende Arbeit legt das Augenmerk auf ein weiteres Ereignis, welches in der modernen
Forschung häufig erwähnt, aber selten ausgiebig besprochen wurde. Das Ziel besteht darin, die
mikroperspektivische Betrachtung des Aufstandes zwischen pompejianischen und nucerinischen
ZuschauerInnen anlässlich eines Gladiatorenspiels in Pompeji im Jahre 59 n. Chr. zu stärken.

Este artigo visa debater alguns aspectos da religiosidade romana, enfatiza, sobretudo, que temas como estes não necessitam estar separados de outros assuntos da esfera humana, e que podem estar atrelados a elementos da vida cotidiana, tais como o sexo e o amor. Para tanto, evidencia-se a importância das pinturas parietais, como um interessante instrumento de análise histórica e reflexão a respeito da diversidade do passado romano.