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Browsing named entities in a specific section of Samuel Ball Platner, Thomas Ashby, A Topographical Dictionary of Ancient Rome. Search the whole document.

Found 7 total hits in 7 results.

52 BC (search for this): entry theatrum-pompei
the statement of Chron. Pasch. a. u. c. 702; Chron. min. ed. Mommsen, i. 215). Gellius, however, goes on to say that the inscription in theatre did not read so in his day, nam cum multis annis postea scaena, quae prociderat, refecta esset, numerus tertii consulatus non uti initio primoribus litteris sed tribus tantum liniolis incisis significatus est. Whatever may have been true of the dedication, the inscription on the temple, or on the temple and scaena both, was evidently put in place in 52 B.C. From the notice in two calendars (Fast. Allif. Amit. ad pr. Id. Aug., CIL i². p. 217, 244, 324; cf. Suet. Claud. 2 : cum prius apud superiores aedes supplicasset) it appears that there were shrines or altars to three other deities, Honor Virtus and Felicitas, similarly placed in the theatre, and perhaps a fourth (Fast. Allif.: V. ... ?). Augustus restored the theatre at great expense in 32 B.C. (Mon. Anc. iv. 9: sine ulla inscriptione nominis mei; cf., however, CIL vi. 9404: in schola sub t
32 BC (search for this): entry theatrum-pompei
n, the inscription on the temple, or on the temple and scaena both, was evidently put in place in 52 B.C. From the notice in two calendars (Fast. Allif. Amit. ad pr. Id. Aug., CIL i². p. 217, 244, 324; cf. Suet. Claud. 2 : cum prius apud superiores aedes supplicasset) it appears that there were shrines or altars to three other deities, Honor Virtus and Felicitas, similarly placed in the theatre, and perhaps a fourth (Fast. Allif.: V. ... ?). Augustus restored the theatre at great expense in 32 B.C. (Mon. Anc. iv. 9: sine ulla inscriptione nominis mei; cf., however, CIL vi. 9404: in schola sub theatro Aug(usto) Pompeian(o) ), and removed the statue of Pompeius, before which Caesar had been murdered, from the CURIA POMPEI (q.v.) to the theatre itself (Suet. Aug. 31: Pompei quoque statuam contra theatri eius regiam (the middle door of the scaena, Jord. FUR p. 23) marmoreo iano superposuit). Cf. also CIL vi. 32323. 157 (acta lud. saec. Aug.). It was burned in 21 A.D. (Hier. a. Abr. 2037)
21 AD (search for this): entry theatrum-pompei
at great expense in 32 B.C. (Mon. Anc. iv. 9: sine ulla inscriptione nominis mei; cf., however, CIL vi. 9404: in schola sub theatro Aug(usto) Pompeian(o) ), and removed the statue of Pompeius, before which Caesar had been murdered, from the CURIA POMPEI (q.v.) to the theatre itself (Suet. Aug. 31: Pompei quoque statuam contra theatri eius regiam (the middle door of the scaena, Jord. FUR p. 23) marmoreo iano superposuit). Cf. also CIL vi. 32323. 157 (acta lud. saec. Aug.). It was burned in 21 A.D. (Hier. a. Abr. 2037) and since there was no surviving member of the family able to restore it, this was undertaken by Tiberius (Tac. Ann. iii. 72; Veil. ii. 130; Sen. de cons. ad Marc. 22. 4), who set up a bronze statue of Sejanus within the building (Cass. Dio lvii. 21. 3). Tiberius did not complete the work of restoration (Suet. Tib. 47; Cal. 21), or, according to another statement, did not dedicate it (Tac. Ann. vi. 45). The completion of the work is ascribed to Caligula (Suet. Cal. 21)
66 AD (search for this): entry theatrum-pompei
g (Cass. Dio lvii. 21. 3). Tiberius did not complete the work of restoration (Suet. Tib. 47; Cal. 21), or, according to another statement, did not dedicate it (Tac. Ann. vi. 45). The completion of the work is ascribed to Caligula (Suet. Cal. 21) or Claudius (Suet. Claud. 21), and the dedication to the latter (Suet. Claud. 21; Cass. Dio lx. 6. 8), who inscribed the name of Tiberius on the scaena and built a marble arch in his honour (see ARCUS TIBERII) near the theatre (Suet. Claud. II). In 66 A.D. when Tiridates, king of Armenia, visited Rome, Nero is said to have gilded the scaena and the exterior of the theatre for that one occasion, and to have stretched purple awnings over the cavea (Plin. cit. xxxiii. 54; Cass. Dio lxii. 6. 1-2). In 80 the scaena was burned (Cass. Dio lxvi. 24. 2), but must have been repaired very soon. Under Severus some restoration must have been carried out, for there are two inscriptions of Q. Acilius Fuscus, who was procurator operis theatri Pompeiani in 20
55 BC (search for this): entry theatrum-pompei
THEATRUM POMPEI * the first permanent theatre in Rome, built of stone by Pompeius in his second consulship in 55 B.C., and dedicated in that year according to the common version (Asc. in Pis. I; Veil. ii. 48; Chron. Pasch. a. u. c. 697 (foundations laid); Chronica Min. ed. Momms. i. 215; Tac. Ann. xiv. 20; Cass. Dio xxxix. 38, whose story that a freedman of Pompeius furnished the money is to be rejected), when most elaborate games, contests of wild animals, and exhibitions of marvels, were provided (Cic. in Pis. 65; Plin. NH vii. 158; viii. 20; Plut. Pomp. 52). Besides the usual name, theatrum Pompei, it was called theatrum Pompeianum (Plin. cit. xxxiv. 39; xxxvi. 15; Mon. Anc. iv. 9; Suet. Tib. 47; Claud. 21; Tac. Ann. vi. 45; Mart. vi. 9; x. 51. 11; xiv. 29. I, 166. 1; in plural, Flor. 13. 8); theatrum marmoreum (Fast. Amit. ad pr. Id. Aug., CIL i². p. 244); theatrum magnum (Plin. cit. vii. 158); and sometimes simply theatrum (Cic. ad Att. iv. I. 6; Hor. Carm. i. 20. 3; Suet.
247 AD (search for this): entry theatrum-pompei
he exterior of the theatre for that one occasion, and to have stretched purple awnings over the cavea (Plin. cit. xxxiii. 54; Cass. Dio lxii. 6. 1-2). In 80 the scaena was burned (Cass. Dio lxvi. 24. 2), but must have been repaired very soon. Under Severus some restoration must have been carried out, for there are two inscriptions of Q. Acilius Fuscus, who was procurator operis theatri Pompeiani in 209-211 A.D. (Pros. i. 6. 47; CIL viii. 1439; xiv. 154; cf. NS 1880, 471, and CIL vi. 1031). In 247 the theatre was burned again (Hier. a. Abr. 2263), and probably under Carinus (Hist. Aug. Car. 19), for it was restored by Diocletian and Maximian (Chron. 148). Other restorations are recorded, by Arcadius and Honorius （CIL vi. 1191, cf. 1193; Mitt. 1899, 251-259), and finally by Symmachus at the command of Theodoric between 507 and 511 (Cassiod. Var. iv. 51; cf. Sym. Rel. 8. 3). Successive restorations probably increased its magnificence, and it is mentioned among the notable monuments of th
209 AD - 211 AD (search for this): entry theatrum-pompei
when Tiridates, king of Armenia, visited Rome, Nero is said to have gilded the scaena and the exterior of the theatre for that one occasion, and to have stretched purple awnings over the cavea (Plin. cit. xxxiii. 54; Cass. Dio lxii. 6. 1-2). In 80 the scaena was burned (Cass. Dio lxvi. 24. 2), but must have been repaired very soon. Under Severus some restoration must have been carried out, for there are two inscriptions of Q. Acilius Fuscus, who was procurator operis theatri Pompeiani in 209-211 A.D. (Pros. i. 6. 47; CIL viii. 1439; xiv. 154; cf. NS 1880, 471, and CIL vi. 1031). In 247 the theatre was burned again (Hier. a. Abr. 2263), and probably under Carinus (Hist. Aug. Car. 19), for it was restored by Diocletian and Maximian (Chron. 148). Other restorations are recorded, by Arcadius and Honorius （CIL vi. 1191, cf. 1193; Mitt. 1899, 251-259), and finally by Symmachus at the command of Theodoric between 507 and 511 (Cassiod. Var. iv. 51; cf. Sym. Rel. 8. 3). Successive restorations