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Samuel Ball Platner, Thomas Ashby, A Topographical Dictionary of Ancient Rome 58 58 Browse Search
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Samuel Ball Platner, Thomas Ashby, A Topographical Dictionary of Ancient Rome, Note (search)
Renaissance times or even earlier, e.g. Palatium Decii, a name which comes from the interpolated acta of S. Lorenzo (cf. HJ 376; HCh 292). and which, though now demonstrably incorrect, will yet be found in many of the books, especially those of a century or two back, which may fall into the hands of the advanced scholar. Certainly the need is even greater in regard to works of art: for, if modern criticism has discovered that a statue which, for example, has been known from the sixteenth century up to the last few years as an Antinous, is in reality an Apollo, one may search in vain for it under its old and commonly current denomination in the index to any museum catalogue. Of course, on the other hand, I have no desire to encourage the uncritical acceptance of these rejected appellations. For example, the existence of a temple of Juno Martialis near the Forum is maintained by Pichler (Numism. Zeitschr. v. (1873) 92-101), who is followed by Bernhart (Handbuch zur Munzkunde, 12
Samuel Ball Platner, Thomas Ashby, A Topographical Dictionary of Ancient Rome, AMPHITHEATRUM CASTRENSE (search)
rior wall consisted of three stories of open arcades, adorned with pilasters and Corinthian capitals. When the Aurelian wall was built, the amphitheatre was utilized as a part of the line of fortification, the wall being joined to it in the middle of the east and west sides. The outer half of the building was thus made a projecting bastion, and the open arcades of the exterior were walled up, the ground level outside being at the same time lowered. The inner half was evidently pulled down, so that little use can have been made of the edifice at that time. Drawings of the sixteenth century represent all three stories, but since that time the upper one has entirely disappeared and all but a few fragments of the second. The cavea and the wall of the arena have also been destroyed, so that the remaining portion consists of the walled-up arcades of the lowest story (HJ. 248-249; RE iii. 1773; LR 386; LS iii. 164; DuP 132). See Ill. 1, which shows its condition in 1615; ASA 96.
Samuel Ball Platner, Thomas Ashby, A Topographical Dictionary of Ancient Rome, ARAE INCENDII NERONIS (search)
ARAE INCENDII NERONIS altars erected by Domitian, probably one in each region, to commemorate the great fire of Nero and also incendiorum arcendorum causa (CIL vi. 826, 30837). These altars were dedicated to Neptune, and copies exist of the inscriptions from three of them. One of these altars is recorded as having been used as building material for S. Peter's in the early sixteenth century. Another stood on the south-west side of the circus at the foot of the slope of the Aventine, within the present limits of the Jewish cemetery, where some remains of the steps were found. A third, rediscovered in 1889, stood in an area paved with travertine on the south side of the Alta Semita, opposite the temple of Quirinus, under the Ministero della Casa Reale, close to the modern church of S. Andrea. The three steps that led up from this area to the higher level of the street have been traced for a distance of 35 metres (and are partially visible in the modern wall). Along the front of
Samuel Ball Platner, Thomas Ashby, A Topographical Dictionary of Ancient Rome, ARCO DI DRUSO (search)
ARCO DI DRUSO the name that has been given since the sixteenth century to the arch on the via Appia just inside the Porta S. Sebastiano, perhaps the arcus Recordationis of the Einsiedeln Itinerary (11. 3; 13. 24), but see ARCUS DRUSI. Only the central part of this arch is now standing, but it was originally triple, or at least with projections on each side, and of somewhat elaborate construction, although never finished. It is built of travertine, which was faced with marble, and on each side of the archway are unfluted columns of Numidian marble with white marble bases and capitals of the Composite order. The archway is 7.21 metres high, 5.34 wide and 5.61 deep. The aqua Antoniniana, the branch of the AQUA MARCIA (q.v.) built by Caracalla in 211-216 A.D., ran over this arch, but the brick-faced concrete that is now visible on top of the arch seems to belong to a period later than that of Caracalla. This arch cannot be identified with that of Drusus, both because it is so far fr
Samuel Ball Platner, Thomas Ashby, A Topographical Dictionary of Ancient Rome, ARCO DI PORTOGALLO (search)
rned it and are now in the Palazzo dei Conservatori (Helbig Fuhrer , 897, 990; Strong, Sculpture 236-8; SScR 213-215; PBS iv. 258-263; v. 180; Cons. Cat. 36, 266). The keystone is also in the same place (ib. 37). This arch was removed in 1662 by Alexander VII in order that the Corso might be widened. An inscription was set up at the time to mark the spot, and may still be seen on the north side of the Corso. It was known earlier as the arcus Octaviani (PBS iii. 269-271), but from the sixteenth century it was called Arco di Portogallo because it adjoined the residence of the Portuguese ambassador, the Palazzo Peretti-Fiano. The foundation of one of the piers has been found beneath the present palace, 2.36 metres below the level of the Corso. Extant drawings of this arch, dating from the sixteenth and seventeenth centuries (HJ 466; PBS ii. 35, and No. 52; LR 507), show a single archway flanked on each side with two columns, and surrounded with a cornice (Ill. 2). The architecture seem
Samuel Ball Platner, Thomas Ashby, A Topographical Dictionary of Ancient Rome, ARCUS NOVUS (DIOCLETIANI) (search)
ARCUS NOVUS (DIOCLETIANI) * mentioned in the Regionary Catalogue in Region VII, and ascribed to Diocletian in the Chronograph of 354 A.D. (p. 148). This is probably the marble arch, adorned with trophies, which spanned the via Lata, close to the north-east corner of the present church of S. Maria in via Lata, and was destroyed by Innocent VIII (1488-1492). The last remains disappeared in 1523 (LS i. 217). The fragments of a relief found at this point in the sixteenth century, and now in the Villa Medici, probably came from this arch. The inscription- VOTIS X VOTIS XX (CIL vi. 31383)-suggests that on the arch of Constantine. If this was the arch of Diocletian, and the inscription belongs to it, it was probably built in 303-304 (BC 1895, 46; Jord. ii. 102, 417; HJ 469; PBS iii. 271; Matz-Duhn, Antike Bildwerke 3525).
Samuel Ball Platner, Thomas Ashby, A Topographical Dictionary of Ancient Rome, ARCUS OCTAVII (search)
ARCUS OCTAVII an arch on the Palatine which Augustus is said to have erected in honour of his father (Plin. NH xxxvi. 36: Lysiae opus quod in Palatio super arcum divus Augustus honori Octavi patris sui dicavit in aedicula columnis adornata, id est quadriga currusque et Apollo ac Diana ex uno lapide). It has been conjectured (BC 1883, 190) that this arch formed the entrance to the sacred precinct of the temple of APOLLO (q.v.), but this seems impossible of proof. Some fragments found in the middle of the sixteenth century may have belonged to this arch (Vacca, Mem. 76). The aedicula with a statue on the top of the arch was without parallel in Rome, so far as we know (Gardthausen, Augustus und seine Zeit i. 962; Richter 147; HJ 69; Jex-Blake and Sellers, The Elder Pliny's Chapters on the History of Art 208).
Samuel Ball Platner, Thomas Ashby, A Topographical Dictionary of Ancient Rome, BASILICA IUNII BASSI (search)
BASILICA IUNII BASSI consul ordinarius in 331 A.D. (not 317, cf. Gotting. Nachr. 1904, 345), situated on the Esquiline east of S. Maria Maggiore. The inscription, in mosaic, was copied in the sixteenth century (Iunius Bassus, v.c. consul ordinarius propria impensa a solo fecit et dedicavit feliciter, CIL vi. 1737) in the apse of a richly decorated hall belonging to it. He died in 359 (ib. 32004). In the time of Pope Simplicius (468-483) the hall was dedicated by the munificence of theoth Valila (or Flavius Theodobius) as the church of S. Andrea cata Barbara Patricia (LP xlviii. 1). Drawings of the fine decorations in marble and mosaic were made by Giuliano da Sangallo (Barb. 31' and text, p. 47) and at the end of the sixteenth century (see Hulsen in Festschrift fur Julius Schlosser (Vienna, 1926), 53-67, at the end of which a list of the drawings is given; add Windsor, Portfolio 5, No. 60 (Inv. 12121), for which see PBS vi. 186, n. 2; and Holkham, ii. 8, 9, 11; Baddel
Samuel Ball Platner, Thomas Ashby, A Topographical Dictionary of Ancient Rome, CASTRA PRAETORIA (search)
ose of Tiberius; for the latter, see RA 41-46, and especially fig. 46, in which both the lines of battlements are seen). The gates on the north and east sides were also walled up by Maxentius (?). In 312 Constantine disbanded the praetorian guard and dismantled their barracks, presumably by destroying the inner walls that had not been used by Aurelian (Zos. ii. 17; Aur. Vict. Caes. xl. 25; Lact. de mort. pers. 26), although a part of the west wall is reported as standing in the sixteenth century (LS ii. 243; HJ 389, n. 41). Within the castra was the shrine of the standards of the guard (CIL vi. 1609; Herod. iv. 4. 5; v. 8. 5-7), a tribunal, on which these standards were set up, restored by the statores attached to the barracks (CIL vi. 3559; WS 1902, 356-358), a shrine of Mars (CIL vi. 2256), and an armamentarium, or imperial armoury, mentioned twice by Tacitus (Hist. i. 38. 80) and in two inscriptions (CIL vi. 999, 2725; RE ii. 1176). In the north part of the castra,
Samuel Ball Platner, Thomas Ashby, A Topographical Dictionary of Ancient Rome, CIRCUS FLAMINIUS (search)
ion. The major axis of the circus ran almost due east and west. On the east (the carceres end) the limits of the circus seem to be set by the discovery of private houses and the pavement of an ancient street just east of the Piazza Margana (Bull. d. Inst. 1870, 48 ff.; cf. Fulvius, Antiquitates urbis p. l(x)v; LR 453; LS ii. 64-66). If so, the length of the circus was about 260 metres, and its width about 10O. The few remains (cf. Canina, Edifizi iv. pls. 186, 187) and drawings of the sixteenth century architects (LR 454-456; HJ 551, n. 122; JRS 1919, 187) show that this circus was built on the general plan adopted in later structures of a similar character, and that its lower story opened outwards through a series of travertine arcades, between which were Doric half-columns. In the Middle Ages the arcades on the north side were converted into dark shops, and gave the name to the street on that side, the Via delle Botteghe oscure; cf. the churches of S. Lucia de calcarario or de apot
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