WINERY – “Divin Ostilia”, via Ostilia, 4.STREET FOOD – “Panificio DISA” it’s a bakery, where you can buy bread, pizza and cakes, but, for lunch time, they sell some home-made food, via S.Giovanni in Laterano, 74 ().DINNER – A special place is “Aroma”, in via Labicana,125, with a terrific terrace facing Colosseo and wonderful food.PIZZA – Li Rioni, via dei SS.Quattro, 24 ().Coleman (Oxford: Oxford University Press, 2006), lxviii.In this area be aware of touristic places. Valerii Martialis Liber Spectaculorum, trans. Foster (Cambridge, MA: Harvard University Press, 2014), 311.ġ9 Kathleen M. Quenemoen, eds., A Companion to Roman Architecture (Malden, MA: Wiley Blackwell, 2014), 290.Ĥ Ulrich and Quenemoen, Companion to Roman Architecture, 292.Ħ Amanda Claridge, Judith Toms, and Tony Cubberley, Rome: An Oxford Archaeological Guide (Oxford: Oxford University Press, 2010), 314.ħ Claridge, Toms, and Cubberley, Rome, 314.Ĩ Ulrich and Quenemoen, Companion to Roman Architecture, 295-96.ĩ Ulrich and Quenemoen, Companion to Roman Architecture, 290.ġ4 Ulrich and Quenemoen, Companion to Roman Architecture, 295.ġ6 Ulrich and Quenemoen, Companion to Roman Architecture, 292.ġ7 Ulrich and Quenemoen, Companion to Roman Architecture, 292.ġ8 Cassius Dio Cocceianus, "Book 66," in Historia Romana, trans. The map is known as the Forma Urbis Romae or the Severan Marble Plan. This, for example, documents remnants of a huge 3rd-century marble map of Rome that was fixed to an external wall of the Temple of Peace (Templum Pacis) in the Roman Forum. 20ġ Keith Hopkins and Mary Beard, The Colosseum (Cambridge, MA: Harvard University Press, 2005), 36-37.Ģ Filippo Coarelli, The Colosseum (Los Angeles: J Paul Getty Museum, 2001), 28.ģ Roger Ulrich and Caroline K. Piranesi, Pianta di Roma (Map of Rome) in Le Antichit Romane (Roman Antiquities), vol.1, plate 2. The book was set in Flecha on the cover and titles, and Hoefler Titling in body text. A series of lift systems and trapdoors provided dramatic and unexpected entrances for gladiators and animals into the arena. Piranesi, an engraver from the 18th century, became renowned for his architectural depictions of Rome and his imaginative illustrations of prisons. 19 The hypogeum was divided into chambers and tunnels that were used for various purposes including storing scenery and props. 18 If this is so, then the deeper, more intricately divided hypogeum that is visible today was built later, many believe by Domitian. Many scholars believe that the substructures beneath the arena, the hypogeum, were much simpler when first built, 17 based on the account of Cassius Dio, a Roman historian, that states that "Titus suddenly filled this same theatre with water". 13ĭigital rendering from Rome Reborn depicting the elevators of the Colosseum's "hypogeum" substructures. 9 From the time when spectators entered the arena, 10 to the corridors they could take to their seats, 11 to the seats themselves, 12 spectators were filtered based on their social status. Spectators were not free to walk anywhere they wanted, but were carefully funneled throughout the structure based on their social status. This segregation was so complete that the corridor systems made it impossible for Senators and Equestrians to run into each other, and it was possible for plebs only to meet other plebs. 8 The vaulting within the arena was crucial not only for the structural integrity of the building, but also to provide easy access and free circulation for spectators. 7 Spectators were seated based upon their social status, with the most elite viewers closest to the arena, and the lower class citizens higher up. Contemporary estimates claimed the Colosseum could seat up to 87,000 people, 6 though modern, more conservative estimates put that number closer to 50,000 people. His enthusiasm for Roman remains and his engraving talent meant he was successfully able to etch the original architecture, providing the missing pieces, completing the picture. Within the Colosseum, those four levels that are visible from outside provide huge amounts of spectator seating. Piranesi’s knowledge of ancient building methods allowed him to make a name for himself as an antiquarian, which showed earlier views of Roman landmarks. Giacomo Lauro Colosseum cutaway diagram revealing the interior passages and seating, from Splendore dell'antica e moderna Roma (Rome, 1641).
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