#saepta iulia

[figlidiroma]

Da via dei Prefetti a via dei Redentoristi, 2 febbraio 2025.

Mascherone a via dei Prefetti

Basilica di Nettuno, via della Palombella

Particolari della parete degli Argonauti - Basilica di Nettuno

Sommità della Chiesa di sant'Eustachio

Leone decorativo sotto le finestre del palazzo Lante in via di Monterone

via dei Redentoristi, targa e gargoyle.

[figlidiroma]

The carvings pertain to the Basilica Neptuni, hence the dolphins; it should be the so called "Porticus Argonautarum" ^^

Si tratta della parte retrostante il Pantheon e, per essere più precisi, via della Palombella, che correndo proprio alle spalle del tempio di Minerva congiunge Santa Maria Sopra Minerva allo splendido scorcio della facciata di Sant'Eustachio.

La Basilica Neptuni fu eretta da Marco Vipsanio Agrippa per celebrare le vittorie navali proprie e di Augusto. Addossato alla parte retrostante del Pantheon, probabilmente ne era separato da un portico, detto degli Argonauti, dotato di colonne corinzie con decorazioni a tema marino e abbellito da pitture murarie. Il porticato degli Argonauti proseguiva poi lungo il lato che oggi corre tra il lato del Pantheon e la piazza sopra Minerva, costituendo il perimetro della cosiddetta Saepta Iulia, ampia piazza porticata ad uso elettorale che occupava la zona su cui oggi insistono Santa Maria Sopra Minerva e gli edifici attigui. Basilica era un termine che indicava normalmente strutture ad uso civile, ma è ipotizzabile che, lungo il Portico degli Argonauti, si dovesse trovare anche un'ara (altare) a Nettuno. Circa l'aspetto della basilica (che fu rimaneggiata, come il Pantheon, da Adriano, per cui ci giungono documenti e resti di quest'ultimo assetto più tardo), Wikipedia ci viene in aiuto: "La pianta, attestata da disegni di Andrea Palladio e confermata dagli scavi archeologici, era rettangolare, con due nicchie rettangolari praticate nei lati corti e due profonde absidi semicircolari sui lati lunghi, intervallate da nicchie semicircolari più piccole. La copertura era composta da tre volte a crociera, sostenute da quattro colonne corinzie per lato, che avevano un fregio decorato con motivi marini". Una dettagliata analisi dell'edificio si trova sul sito Romano Impero.

Avventurosa la vicenda di queste meravigliose rovine: dopo la distruzione causata dall'incendio neroniano e le ricostruzioni di Tito ed Adriano, la struttura finì con il crollare per incuria sotto il papato di Niccolò V (Papa Parentucelli, in carica dal 1397 al 1455). Nonostante Niccolò fosse forse il primo papa cui si adatti la definizione di "umanista" (assunse come notaio Lorenzo Valla, l'autore dell'erudito falso noto come Donazione di Costantino) tuttavia anche lui, come i suoi predecessori, si limitò a saccheggiare i materiali di spoglio. Non trovo molto sui secoli che corrono tra il papato niccoliano e il 1715, data in cui si menziona il "forno della Palombella": forse è quello che Roma Sparita indica come costruito un secolo dopo, addossato al fianco del Pantheon, licenza alla famiglia Cuccumos, sulla quale ecco il link a questa appassionante ricerca della studiosa Irene di Paola.

Sappiamo poi (ci aiuta info.roma) che, nel 1843 - ma chissà da quanto tempo questa pratica era in uso - un tale Antonio Vischetti aveva occupato le arcate della Basilica utilizzandole come stalle per le sue vacche. Del resto, parlando di piazza del Biscione abbiamo già visto che le "grotte" e i ruderi ancora utilizzabili venivano adibiti a botteghe o reimpiegati nelle fondamenta di nuovi edifici. Di questi esempi Roma è assolutamente satura, e sono del resto la ragione del suo fascino, la prova della sua capacità di reimpastarsi in eterno con farine vecchie e nuove.

Relief carving with aggressive dolphins (well, they have teeth.)

Exterior of the Pantheon, Rome.

[dererumgestarum]

PORTICUS AEMILIA

According to Livy, the curial aediles Marcus Aemilius Lepidus and Lucius Aemilius Paulus initiated construction of a new emporium (port) and warehouse for the storage and stockpiling and distribution of grain, referred to as the Porticus Aemilia. This complex was completed by the censors Quintus Fulvius Flaccus and Aulus Postumus Albinus in 173 BC.

In 1934, Guglielmo Gatti correctly identified the edifice represented on fragments 23-24a-c of the Forma Urbis Romae as the Porticus Aemilia, by comparing the fragments to the then recently-discovered ruins on the river bank across from the Aventine Hill. (1)

Based on the excavated remains, the Porticus Amelia extended 500m along the bank of the river. The vast warehouse comprised fifty parallel bays of 8.3m in width. The floor sloped down to the river in four broad levels. Each bay had entrances at both ends. The building is constructed concrete faced with opus incertum through, making it one of the earliest known examples of that technique.

Gatti postulated a flat roof. More recent scholarship favors barrel vaulting. The vaults terminated at each change in level; this gap, caused by the drop down to the next level, may have been filled with windows as seen below. The 50 entrances to the bays were placed at the lowest level, closest to the river. It has been suggested that recipients of the grain dole would be given a potsherd with a number of an entrance, where the would present themselves to obtain their allotment (2).

The Forma Urbis indicates that a forest of piers or pillars supported the vaults, not solid walls. These arcades allowed for lateral movement across bays and a greater penetration of light.

The truncated epigraphic label on fragment 23 of the marble map reads either -ILIA or -ALIA. Most scholars prefer the first reading and assume the inscription read (PORTICUS AEM)ILIA. Several scholars have noted that the building plotted on the FUR bears no resemblance to the other known portici. If the inscription were understood as -ALIA., the building may have been a Navalia, or naval yard. This theory, however, confounds the modern understanding of the area as an emporium, a theory too well supported by evidence to be set aside easily.

Porticus, which usually denotes colonnaded walkways around an open space, may also have signified a structure composed of numerous columns.

(1) Guglielmo Gatti, “Saepta Iulia e Porticus Aemilia nella Forma Severiana,” Bulletino della Commissione Archaeologica Communale di Roma 62 (1934), 123-149.

(2) Emilio Rodríguez-Almeida, “Aemiliana,” Atti della Pontificia Accademia Romana di Archeologia: Rendiconti 68 (1995-96) 373-383.

In this article, Rodríguez-Almeida proposes that the enigmatic Aemiliana were located south of the Aventine, in the area of the Emporium.

A. The author first summarizes the evidence he considers certain: the name Aemiliana is a patronym, the feature was located outside the pomerium (Varro, RR, 3.2.6), it was connected to the grain dole (annona), it consisted of a large quarter or complex of buildings of different use (including residential), it was damaged perhaps twice by fire and must have been located in an urban area, and it was located near the Tiber (CIL 15.7150). Despite his assertion to the opposite in LTUR I, pp. 19-20, the author is now convinced that the Aemiliana are identical to the praedia Aemiliana Tigillini (Tacitus, Ann. 15.40); it may, in fact, have been located in the same area as other large, mixed-use complexes, named praedia on the FUR, outside the porta Trigemina, near the porticus Aemilia. Varro's use of the adverb aut signals two analogous urban situations, but not neccessarily neighboring; we should therefore not assume that the Aemiliana were near the porta Flumentana. B. Recent research on the annonia and the location of the porticus Minucia frumentaria have overcomplicated matters by assuming that the archive, administration, and physical distribution of the grain dole had to take place/be located in the same area. The author suggests that once the grain recipient had had his name recorded in the temple of the Nymphs, he would go to the porticus Minuciae to receive his ticket, and thereafter to the Porticus Aemilia where his ticket would direct him to one of the 50 openings, and here he would receive his grain portion. C. The baths of Tigillinus (Mart., Epigr. 3.20) were probably part of the praedia Aemiliana Tigillini, and Martials's wording indicates they were not located in the Campus Martius. According to Tacitus, the fire of 64 CE burned in two stages. The first began near the circus Maximus and destroyed most of the city, leaving only 4 regions unharmed. Those who blamed the fire on Nero considered the second fire, which burned in an area that was more open and less residential, even more infamous than the first, because it started in the praedia Aemiliana of Tigillinus, Nero's debauched and much-hated friend, and was thus a sure sign that Nero, desiring to free an even larger area for his new city, was the instigator. Rodríguez-Almeida suggests that the second burning happened on the south slopes of the Aventine and in the area of the Emporium just south of it. This was one of the few places the first fire had not reached, and it was occupied mainly by warehouses and markets, thus corresponding well with Tacitus' description. This area was repaired immediately by Galba after Nero's death and Galba may even have entrusted Tigellinus with the rebuilding of the important buildings. The praedia Aemiliana Tigillini were probably located in this area. The bath complex visible in FUR fr. 25a is perhaps to be identified as the balnea Tigillini. (Summary quoted from the Stanford Digital Forma Urbis bibliography).

[azizdogdu]

🇮🇹❤️🇮🇹 repost @antiqua_archeologia ・・・ 🇮🇹 Pantheon, Roma. Il Pantheon, ossia il tempio di tutti gli dei, è un tempio dedicato a tutte le divinità romane. La prima costruzione fu eretta tra il 27 e il 25 a.C. dal console Agrippa nel Campo Marzio, tra i Saepta Iulia e la Basilica di Nettuno. Durante il regno di Adriano, tra il 118 ed il 125 d.C., il Pantheon fu interamente ricostruito, mantenendo però sulla facciata l' iscrizione di Agrippa in lettere di bronzo. Rispetto al precedente edificio fu invertito l'orientamento e radicalmente mutata la pianta: da una costruzione a pianta rettangolare si è passati ad una struttura costituita da un pronao ottastilo collegato ad una grande cella rotonda per mezzo di una struttura rettangolare intermedia. L' efificio si salvò dalle distruzioni in epoca medioevale in quanto fu consacrato come chiesa cristiana nel 609 d.C. con il nome di Santa Maria ad Martyres. 🔸 🔹 🔸 🔹 🔸 🔹 🔸 🔹 🔸 🔹 🔸 🔹 🔸 🔹 🔸 🔹 🔸️🔹️🇬🇧 Pantheon, Rome. The Pantheon is a temple dedicated to all the Roman deities. The first building was erected between 27 and 25 a.C. from the consul Agrippa in the Campus Martius, between the Saepta Iulia and the Basilica of Neptune. During the reign of Hadrian, between 118 and 125 AD, the Pantheon was entirely rebuilt, keeping the inscription of Agrippa in bronze letters on the facade. With respect to the previous building, the orientation was inverted and the plant was radically changed: from a rectangular-shaped building, it has been transformed to a structure consisting of an octastyle pronaos connected to a large round cell by means of an intermediate rectangular structure. The building was saved from destruction in the Middle Ages as it was consecrated as a Christian church in 609 AD. with the name of Santa Maria ad Martyres. 🔸️🔹️🔸️🔹️🔸️🔹️🔸️🔹️🔸️🔹️🔸️🔹️🔸️🔹️🔸️🔹️ 📸 by @giuliopugliese 🔸 🔹 🔸 🔹 🔸 🔹 🔸 🔹 🔸 🔹 🔸 🔹 #italy #italia #roma #rome #pantheon #hadrian #architecture #romanempire #emperor #history #culture #travel #tourism #campomarzio #cupola #archeology #archeologia #heritage #bestplace #culturalheritage #worldheritage #paesaggio #monuments #topview #view #storia #romanar https://www.instagram.com/p/B8JXyxFAGny/?igshid=11ydw91de35w0

[desvan-ru-mor]

(EN) Another old work for the magazine "Archaeology & History Desperta Ferro" about the Richs in Ancient Rome. Issue #8. Here you have several images of the illustration, as well as two WIPs with a change of the background achitecture. The definitive architecture is based on mockups and 3D of the ancient "Saepta Iulia". Important place where it was made the selling of slaves in that time. (ES) Otro pasado trabajo para la revista "Arqueología e historia" de @despertaferro_ediciones sobre los Ricos en Roma. número # 8. Aquí tenéis varias imágenes del trabajo, así como dos WIPs cuya diferencia es la arquitectura del fondo. La arquitectura definitiva se basa en maquetas y 3D de la antigua "Saepta Iulia" uno de los lugares más importantes donde se realizaba la venta de esclavos en aquella época. #desvanrumor #rome #ancientrome #ru_mor #illustration #history #historical #digitalart #digita #magazine #romanrich #slave #despertaferro #modernhistory #romanhistory #Saeptaiulia #architecture https://www.instagram.com/p/BqPjEJDnNdE/?utm_source=ig_tumblr_share&igshid=9c25iorgkyno