Capable photos on Flickr

Cinderella Castle : Now In Full Color (My Workflow) by Eddy Alvarez

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Digitally blended from a 6 exposure "manual" bracket on the Nikon D7000.

The D7000 is not capable to process brackets of 5, 7, or 9 exposures, so I adjusted this manually.

here's the camera shoot process:

At the scene I set up the camera to shoot at continuous high..then set the 3-shot bracket with an exposure differential of 1 stop each. I shoot the first three at an exposure level of -3. (-4,-3,-2)

I then raise the exposure setting using the camera's turn wheel to level 0. shoot 3 more shots. (-1,0,+1). Repeat the same step turning up the exposure level to +3 and shoot 3 more shots (+2,+3,+4).

I have now capture 9 exposures for a max 9-exp HDR. I ended up taking only the -2,-1,0,+1,+2,+3 exposures because the shots beyond were either too dark or too bright and will be useless in post processing later.

Here's the processing flow:

I opened the six selected shots in ACR via bridge. Here I look for any issues like dust spots, particles, etc and clean them via synchronizing my settings to all six shots then I save them individually as 16-bit TIFF's.

Even though I shot this on a tripod, the moving of the wheel to change the exposure levels creates a slight shift between the 3 grouped brackets..so I set this right using Photoshop's stack script. Under File>Scripts you will find 'Load Files into Stack'...this opens up an import window and I select the six TIFF I just made in ACR and check the box that says "Attempt to automatically align source images". This makes Adobe scan each shot and align it pixel association. This aligning process is also available in Photomatix, but I've felt Photoshop does a much better job aligning.

After Photoshop is done aligning you'll notice the shifts between the images (particularly in the end corners of each shot revealing my transparent background). I then go to Image>Canvas Size. In the window under new size I select from the drop down "Percent" and take it to 99 percent or less (if handheld) on both width and height. This crops the overall image evenly to the point my transparent edges are now gone and any misaligned edges have too disappeared.

Now its time to export each of these newly cropped files into separate TIFFs using another Photoshop script..under File>Scripts look for "export layers into files" I then save them into 16-bit TIFFs again in a new folder.

After you're done with this process in Photoshop its time to go to Photomatix. I load the bracket photos by selecting the 6 newly cropped files that came from Photoshop and assign them the proper exposure level separation by 1 full stop. I also check the box "Show 32-bit intermediary HDR image". This time there is no need to Align anything so I deselect that..but ghosting was left selected under automatic as Photomatix is better at that than I am..After this is processed there are two avenues I can go...take it to tone mapping or go about it by blending manually...

I went blending it manually...the file Photomatix creates (before you select tone mapping) usually is a flat and dull image..but it has 32-bit information. Without selecting any button I instead save the image as a 32-bit TIFF. I then open up the 32-bit TIFF in ACR and make adjustments from there. I feel I have a lot more control in the image through ACR than I do via Photomatix. Clarity is similar to strength here, the black, white, highlight, and shadow level adjustments are also a heck of a lot more precise than they are in photomatix.

You also can see an instant change in the image..where as photomatix has to process first before it shows the image.

After making these adjustments in ACR I then save the file as a 16-bit TIFF (ACR cant save 32-bit, it doesn't "parse" too well anyways) and then reopen that 16-bit TIFF for further fine tuning adjustments...then I open it in Photoshop for a final digital blend. Usually combing multiple adjustment layers of hue/saturation, curves, brightness and contrast. Each adjustment was painted in areas that needed the love via masking. I then used plug-ins like Nik Viveza (to enhance colors and structure in certain locations) and Noiseware (for overall noise reduction)

After that's done I sharpen it by duplicating the layer and adding a high pass filter..I then desaturate that layer, give it a soft light blend and control the overall strength of the sharpness by adjusting the fill/opacity amount.

I feel this came out as a more natural look than it would've via Photomatix's tone mapping. As much as I like Photomatix, it is still difficult to control the amount of detail, structure, and the images white/black levels primarily because it doesn't update instantly like it would in ACR. Tone Mapping also saturated the HELL out of that purple in the castle..so by processing it this way and getting a real natural result of the castle with that purple is what took the cake for me.

I used to hate HDR, then I fiddled with it and made overly-saturated stuck-in-customs look-a-likes for a while..but I've now fine tuned it to a form that I think blends reality with that slight touch of surrealism that creates a perfect blend of impressive photography. I now use this process for my HDR.

If any of you want any more information or tutorials on producing your own HDR workflow, visit these places.:

Blame the Monkey

EverydayHDR

Its one way to make your images look like Trey Ratcliff's...its another to make them look better.

Be sure to press "L" to really see all the nice details!!

Twitter | Facebook | 500px

Harthill Reservoir by Steve Whitham - BGphotography

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After cloud watching all afternoon and predicting a decent sunset, I shot off down to Harthill and picked my spot.

Unfortunately, the big, bland grey cloud decided to appear and then refuse to move so, I did the best I'm capable of in photoshop to rescue something.

E-311 Exodus by Stalkyr~

19 4

Bullpup combat rifle capable of tearing apart light armored targets at mid-long range.

It comes with an integrated folding grip and a laser sight.

Beautiful company! by Steve

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Sun Canures are capable of learning to talk, although their range is limited and their voices are squeaky and birdlike. They like to imitate amusing sounds microwave beeps, etc.

They really enjoy human attention, especially if there is no other bird around for them to groom and play with, don't you love to have bunch of them:-)

Happy Feathery Friday!

Silva by michaelgreenhill

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8A, in the capable hands of fireman Blair, leads G42 through the ferns of Selby onwards to Menzies Creek.

Upon arrival at Menzies Creek 8A peeled off the front of the train and looped around to the back, leaving G42 free to carry on to Lakeside with the forward 10 carriages and 8A to return to Belgrave with the remainder, which would then form the 12:30 luncheon train.

RAF Typhoon Aircraft During Exercise Capable Eagle by Defence Imagery

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A Royal Air Force Typhoon of 1(F) Squadron during Exercise Capable Eagle.

The exercise was the latest in a series designed to further improve the interoperability and effectiveness of Anglo-French military co-operation.

As well as Typhoons of 1(F) Sqn the exercise included Mirage 2000N aircraft of the Escadron de Chasse 2/4 "La Fayette".

-------------------------------------------------------

Photographer: Sgt Ralph Merry ABIPP RAF

Image 45156242.jpg from www.defenceimages.mod.uk

This image is available for high resolution download at www.defenceimagery.mod.uk subject to the terms and conditions of the Open Government License at www.nationalarchives.gov.uk/doc/open-government-licence/. Search for image number 45156242.jpg

For latest news visit www.gov.uk/government/organisations/ministry-of-defence

www.facebook.com/defenceimages

www.twitter.com/defenceimages

Black Goby, Gobius niger by Pfuetzi

6 2

Males are capable of changing (colour) from "normal" to black

and back again in the space of a few tens of seconds depending on the presence of competing males or potentially receptive females. (from "Inshore Fishes of Britain and Ireland")

P5070687

TriStar Aeroworks VF-1 Freestyle B by Dr. Spontaneous

38 7

The VF-1 (or Vertical Fighter-1) seen above is the direct descendant of the Soviet Union's Yakovlev Yak-141 program, which intended to create a carrierborne fourth-generation fighter capable of conducting short-take offs and vertical landings (otherwise known as STO/VL). Although the Yak-141 (NATO reporting name: Freestyle) was officially cancelled in 1991 following the unfortuitous collapse of the USSR, the program found a second life after the 2017 Russian Civil War. Utilizing the hectic war as a smokescreen, covert East Russian and Songun forces were able to pilfer scores of design records and engineers from Moscow. Despite having the blueprints to the Freestyle, both East Russia and the Songun Republics lacked a culture of industrial innovation. This meant that the shortcomings of the original Yakovlev design posed barriers to production, particularly since the Yak-141 was meant to be a navalized fighter and East Russia demanded more terrestrial capabilities. What's more, the USR's sponsorship of East Russia and direct intervention in Siberia translated to a dearth of immediately-available research and development monies, further retarding the USR's ability to capitalize on its new treasure trove.

Hence, in December 2019, TriStar Aeroworks was established as a joint venture between the USR, East Russia, and the Socialist Republic of Yugoslavia (SRY). The latter state, Yugoslavia, took particular interest in the USR's acquisition of the Freestyle primarily due to the lessons learned from NATO's air campaign against Belgrade in the early 1990s. Utilizing overwhelming air superiority, the transatlantic alliance was able to suffocate the SRY's ramshackle air force and conduct airstrikes with a high degree of impunity. The prospect of operating a STO/VL fighter aircraft, however, would allow Yugoslavia to hide its air force and utilize it in conjunction with surface-to-air missiles to conduct a sort of airborne guerrilla war in the future. Thus, Belgrade offered its cash reserves and industrial base to produce the fine parts necessary for such an aircraft whilst also empathizing with East Russian doctrinal priorities.

It would be another three years before TriStar Aeroworks produced a finalized aircraft--or technically two. Again, the Freestyle B shown here is in service with both East Russia and Yugoslavia as an extension of their respective ground-based air defenses. This is why key features like the folding wings have been retained; they allow the aircraft to be stored away in unconventional sites such as forests, tunnels, beneath overpasses, etc. The smaller the footprint, the harder it is for the enemy to discover where the planes are. The Union of Songun Republics on the other hand decided to only operate the original carrierborne design, i.e. the newly-minted Freestyle C (or VF-1N to use TriStar's nomenclature), to extend the capabilities of the Songun People's Army Navy Air Force.

It should be noted that despite service with three countries, the VF-1 has yet to be involved in any direct air-to-air combat with either a NATO, West Russian, or East Asian Defense Alliance aircraft. This fact alone suggests that actual capabilities of the Freestyle B and C are unknown. Rumors of engine failures, stallouts, and other such errors are rampant, but it's unclear if these slanderous remarks originated with the Yak-141 or actually reflect realities faced by TriStar Aeroworks. With tensions rising in both the Europe and East Asia, perhaps the truth will soon be revealed.

I did it! I built another plane and it only took me three years! There are still elements I'm displeased with, but I didn't want this thing languishing in my WIP folder for another half decade, so here it is. Shoutout to Evan for doing my decal work as usual. Enjoy!

_DSC0015ab by Ahsan Butt

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The Badshahi Mosque or the Royal Mosque in Lahore, commissioned by the sixth Mughal Emperor Aurangzeb in 1671 and completed in 1673, is the second largest mosque in Pakistan and South Asia and the fifth largest mosque in the world. Epitomising the beauty, passion and grandeur of the Mughal era, it is Lahore's most famous landmark and a major tourist attraction. Capable of accommodating 55,000 worshippers in its main prayer hall and a further 95,000 in its courtyard and porticoes, it remained the largest mosque in the world from 1673 to 1986 (a period of 313 years),

Qube Grain by Dave O'Brien

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In the capable hands of 8044-8030-RL309, Qube's 1CM4 grain from Yerong Creek powers past the site of Mathiesons Siding. 13/12/15

Adventurers 5988 Truck Revamp by Skello (Jack Lockhart)

7

Arriving at camp.

A perilous desert expedition calls for a capable vehicle.

Of all the incredible vehicles that the Adventurers theme gave us, I feel that one of the most overlooked is the truck from 5988. The box art suggests that it might belong to Baron von Barron, but I like to think of it as the larger companion to the Scorpion Tracker, providing some much-needed cargo space.

This is a revamp I’ve wanted to do for quite some time, and I’m very proud of how this came out. My version keeps a few iconic parts, such as the two-seater cab, the classic front grille, and the same rugged wheels, perfect for navigating the harsh desert landscape. There is still plenty of cargo space in the back for hauling crates, artefacts, or your fellow Adventurers if they don’t mind a slightly cramped ride.

Design-wise I wanted to make the truck a little more accurate to the 1920s, but I still wanted to maintain a certain level of late 90s Lego charm, so I tried to limit my usage of ultra-modern parts. Ultimately I’m really happy with how it turned out.

Aim High by Mitch

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"You are capable of more than you know. Choose a goal that seems right for you and strive to be the best, however hard the path. Aim high. Behave honorably. Prepare to be alone at times, and to endure failure. Persist! The world needs all you can give."

E. O. Wilson

_______From other times 1.1 by Don Costello

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“People are capable, at any time in their lives, of doing what they dream of.”

― Paulo Coelho, The Alchemist

Darvas-La Roche bedroom`s house - Oradea

Romania

2021

Love those end-cab switchers! by blair kooistra

14 2

Very capable road units perfect for Union Railroad's needs, the MP15 makes up its locomotive roster, and here's give of them backing a heavy coke train out of USS Clairton Works bound for interchange to CSX at Demmler yard with J Edgar Thomson works in the background. Note a second URR crew working in the lower yard.

Ry-50 (GU-50) Soviet Power Pentode Tubes, capable of producing high quality audio with over 50 watts of output power in a push-pull configuration / 200 watts: RMS. by Andrew Pilling

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Show me that you are capable by Patricia Bukowski

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A las 03:00 de ese mismo día conseguí conciliar el sueño. Mi cabeza cogió de la mano a mi corazón y a mi alma y se adentro en el mundo de los sueños, esperando encontrar la falsa dosis. Sin embargo fue un bosque lo que encontré. Un bosque lleno de flores, de árboles gigantescos y animalillos corriendo felices.

Busqué y busqué al rey de aquel lugar, hasta que después de algunas horas logré encontrarle.

En lo alto de la más alta piedra, rodeado de sus guardias se encontraba el león, con su larga melena y sus enormes dientes. Su comportamiento no era el habitual, al principio pensé que sería por el hecho de ser mi sueño y no tenía porque corresponderse con la realidad. Me quedé observándolo y pronto me di cuenta de que no era normal aquella actitud. Movía la boca, intentaba rugir, pero no podía.

- ¿Puedo pregunta qué es lo que le impide rugir? - su boca se cerró inmediatamente y sus ojos me trasmitieron una mirada que me hizo tiritar.

- Me he quedado sin voz. Rugí durante años atemorizando a mis presas y ahora como castigo carezco de la melodía que producía mi cuerpo.

De entre los matorrales salió una pantera que parecía estar al tanto de lo que pasaba en aquel lugar. Ando hasta ponerse en frente del León y comenzó su discurso.

- Durante años has hecho que los corazones de este bosque tiemblen al oír tus rugidos. Has cazado, has matado y lo peor, has destrozado familias, has acabado con vidas jóvenes y has hecho llorar de dolor al resto. Nunca te ha importando su corazón siempre que el tuyo estuviera guardado y tu estómago lleno. Y ya que la vida no te ha enseñado a respetar a los demás, yo te haré hacerlo. No sólo te has quedado sin rugidos, sino que también sin fuerzas y sin autoridad. Ahora eres uno más.

- Pero, pero... yo no puedo vivir así. Es mi naturaleza.

- Que sea tu naturaleza no implica que puedas justificarte con ello. El fin no justifica lo medios. Demuéstrame que puedes ganártelo viviendo así, demuéstrame que en tu corazón queda nobleza y entonces te devolveré lo que te he robado.

El león asintió y tomó camino entre el bosque.

En ese mismo instante el sol penetró entre las rendijas de mi persiana obligándome a despertar. ¿Aquello había sido sólo un sueño, o alguien había querido decirme algo?

Preguntas: www.formspring.me/patriciawound

Yeah! It's Sarah Palin Day! - A bit late by Joe Grossinger

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The danger to America is not Barack Obama but a citizenry capable of entrusting a man like him with the presidency. It will be easier to limit and undo the follies of an Obama presidency than to restore the necessary common sense and good judgment to an electorate willing to have such a man for their president. The problem is much deeper and far more serious than Mr. Obama, who is a mere symptom of what ails us. Blaming the prince of the fools should not blind anyone to the vast confederacy of fools that made him their prince. The republic can survive a Barack Obama. It is less likely to survive a multitude of fools such as those who made him their president. -- Author Unknown

Those who voted for him knew:

He hates America and would not even wear the lapel flag until the heat was turned on him.

He attended a racist, America hating church for 20 years!

Now he does not go to church at all.

He voted to kill babies that survive an abortion.

YOU KNEW THAT!!!

Some of his closest friends are terrorists.

You knew all that, yet you voted for him.

WHERE ARE THE JOBS OBAMA? WHERE ARE THE JOBS?

Mercedes-Benz SLS AMG | Fly Dreams! [Explored] by Tareq Abuhajjaj

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The SLS AMG is capable of accelerating from 0 to 100 km/h (62 mph) in 3.8 seconds, and can reach an electronically limited top speed of 197 mph (317 km/h) (figures are provisional).[16] In a Car and Driver test, the SLS recorded a quarter mile time of 11.7 seconds @ 125 mph (201 km/h).

for more info: en.wikipedia.org/wiki/Mercedes-Benz_SLS_AMG

Badshahi Mosque entrance, Lahore, Pakistan - April 2008 by Saffy H

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The Badshahi Mosque (Urdu: بادشاھی مسجد), or the 'Emperor's Mosque', was built in 1673 by the Mughal Emperor Aurangzeb in Lahore, Pakistan. It is one of the city's best known landmarks, and a major tourist attraction epitomising the beauty and grandeur of the Mughal era.

Capable of accommodating over 55,000 worshipers, it is the second largest mosque in Pakistan, after the Faisal Mosque in Islamabad. The architecture and design of the Badshahi Masjid is closely related to the Jama Masjid in Delhi, India, which was built in 1648 by Aurangzeb's father and predecessor, emperor Shah Jahan.

Badshahi Masjid is one of the locations where Qari' Abdul Basit recited the Qur'an.[citation needed] The Imam-e-Kaaba (Sheikh Abdur-Rahman Al-Sudais of Saudi Arabia) has also led prayers in this mosque in 2007.

The mosque was built under the patronage of the sixth Mughal Emperor, Aurangzeb Alamgir. It was completed in 1673 under the supervision of Aurangzeb's foster brother Muzaffar Hussain (also known as Fidaie Khan Koka) who was appointed governor of Lahore in May 1671 and held this post until 1675. He was also Master of Ordnance to the emperor. The construction of the mosque took about two years from May 1671 to April 1673. The mosque was built opposite the Lahore Fort, illustrating its stature in the Mughal Empire. In conjunction with the building of the mosque, a new gate was built at the fort, named Alamgiri Gate after the Emperor.

Badshahi Mosque was badly damaged and was misused during Sikh Rule. During the reign of Maharaja Ranjit Singh, the mosque was used as a stable for the army's horses.[1][2] They also would steal the jewels from the mosque, such as marble, rubies, gold, and other valuables. Muslims were not allowed to enter the mosque to worship; they were only given a small place outside the mosque where they could worship.

Even when the British took control of India, they would use the mosque for their military practices by using the mosque for gun practices, cannons, etc. Even when they sensed Muslim hate for the British, they demolished a large portion of the wall of the mosque so the Muslims could not use it as a kind of "fort" for anti-British reasons. After a while, they finally returned it to the Muslims as a good will gesture even though it was in terrible condition. It was then given to Badshahi Mosque Authority to restore it to its original glory.

From 1852 onwards, piecemeal repairs were carried out under the supervision of the Badshahi Mosque Authority. Extensive repairs were carried out from 1939 to 1960 at a cost of about 4.8 million rupees, which brought the mosque to its original shape and condition. The blueprint for the repairs was prepared by the late architect Nawab Zen Yar Jang Bahadur.

In 2000, the repair work of marble inlay in the main vault was repaired under the supervision of Saleem Anjum Qureshi.

On the occasion of the second Islamic Summit held at Lahore on February 22, 1974, thirty-nine heads of Muslim states offered their Friday prayers in the Badshahi Masjid, led by Maulana Abdul Qadir Azad, the 'Khatib' of the mosque.

Recently a small museum has also been added to the mosque complex. It contains relics of Muhammad (peace be upon him), his cousin Hazrat Ali (may Allah be pleased with him), and his daughter, Hazrat Fatima Zahra (may Allah be pleased with her). On August 14, 1947, the Pakistani people celebrated their independence from the British command.

Pakistan(Urdu: "land of the pure"), a country of 160 million people, is now the second most populous country in the Muslim world.

Hailed as the country's cultural capital, Lahore – also known as the "Heart of Pakistan" – is rich with many examples of Moghul architecture.[3]

Like the character of its founder, the mosque is bold, vast and majestic in its expression. It was the largest mosque in the world for a long time.

The interior has rich embellishment in stucco tracery (Manbatkari) and paneling with a fresco touch, all in bold relief, as well as marble inlay.

The exterior is decorated with stone carving as well as marble inlay on red sandstone, specially of loti form motifs in bold relief. The embellishment has Indo-Greek, Central Asian and Indian architectural influence both in technique and motifs.

The skyline is furnished by beautiful ornamental merlons inlaid with marble lining adding grace to the perimeter of the mosque. In its various architectural features like the vast square courtyard, the side aisles (dalans), the four corner minars, the projecting central transept of the prayer chamber and the grand entrance gate, is summed up the history of development of mosque architecture of the Muslim world over the thousand years prior to its construction in 1673.

The north enclosure wall of the mosque was laid close to the Ravi River bank, so a majestic gateway could not be provided on that side and, to keep the symmetry the gate had to be omitted on the south wall as well. Thus a four aiwan plan like the earlier Delhi Jamia Masjid could not be adopted here.

The walls were built with small kiln-burnt bricks laid in kankar, lime mortar (a kind of hydraulic lime) but have a veneer of red sandstone. The steps leading to the prayer chamber and its plinth are in variegated marble.

The prayer chamber is very deep and is divided into seven compartments by rich engraved arches carried on very heavy piers. Out of the seven compartments, three double domes finished in marble have superb curvature, whilst the rest have curvilinear domes with a central rib in their interior and flat roof above. In the eastern front aisle, the ceiling of the compartment is flat (Qalamdani) with a curved border (ghalatan) at the cornice level.

The original floor of the courtyard was laid with small kiln-burnt bricks laid in the Mussalah pattern. The present red sandstone flooring was laid during the last thorough repairs (1939-60). Similarly, the original floor of the prayer chamber was in cut and dressed bricks with marble and Sang-i-Abri lining forming Mussalah and was also replaced by marble Mussalah during the last repairs.

There are only two inscriptions in the mosque:

•one on the gateway

•the other of Kalimah in the prayer chamber under the main high vault.

•Courtyard: 528'-8" x 528'-4" (Area: 278,784 ft2), divided into two levels: the upper and the lower. In the latter, funeral prayers can also be offered.

•Prayer Chamber: 275'-8" x 83'-7" x 50'-6" high, with its main vault 37'-3" x 59'-4" high but with the merlons 74'-6". (Area: 22,825 ft2)

•Corner Minars: 67' in circumference, 176'-4" high are in four stages and have a contained staircase with 204 steps.

•Central Dome: Diameter 65' at bottom (at bulging 70'-6"); height 49'; pinnacle 24 ft and neck 15 ft high.

•Side Domes: Diameter 51'-6" (at bulging 54'-2"); height 32 ft; pinnacle 19 ft; neck 9'-6" high.

•Gateway: 66'-7" x 62'-10" x 65 high including domelets; vault 21'-6" x 32'-6" high. Its three sided approach steps are 22 in number.

•Side aisles (Dalans): 80 in number. Height above floor 23'-9"; plinth 2'-7".

•Central Tank: 50' x 50' x 3' deep (Area: 2,500 ft2)

Njord Viking - Aberdeen Harbour Scotland - 28/3/2018 by DanoAberdeen

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Njord Viking

High Ice-classed AHTS vessel capable of operations in harsh environment offshore regions, as well as Arctic/Sub-Arctic operations.

General Information.

Length o.a.: 85,20 metres

Length b.p.: 76,20 metres

Beam, moulded: 22,00 metres

Depth to main deck: 9,00 metres

Draft, design: 6,00 metres

Deadweight at 7,60 m: 4.500 tons

Accommodation: 45 persons

Speed: 17 knots

Bollard pull: 210 tons

Endurance: 9.000 miles

Propulsion

Main engines: MAK 2x6M32 + 2x8M32

Output: 14.000 kW at 600 rpm

Main Propellers: 2 x CPP

Forward retractile thruster: 1 x 830 kW

Forward tunnel thruster: 2 x 830 kW

Aft tunnel thrusters: 2 x 830 kW

TANK CAPACITIES

Fuel oil: 1.000 m3

Fresh water: 1.247 m3

Ballast: 2.013 m3

Oil Recovery: 1.989 m3

Rig chain locker: 665 m3

Liquid mud: 965 m3

Brine: 628 m3

Special products: 187 m3

Dry bulk: 220 m3

Main Anchor/Towing winch: 400 Tons at 18,7 m/min

Brake holding: 525 Tons 1st layer

Secondary Winch: 138 Tons at 28 m/min

Brake holding: 62 Tons 1st layer

2 Deck Cranes (sliding): 6/12 Tons at 20/10 mts

2 Tugger winch: 24 Tons at 22 m/min

2 Towing pins: 300 Tons

2 Karm Forks: 600 Tons

2 Capstans: 14 Tons at 24 m/min

AUXILIARY GENERATING SETS

Diesel generating sets: 2 x 720 ekW. 440 V. 60 Hz

Shaft generators: 2 x 2.700 ekW. 440 V. 60 Hz

Emergency generator set: 1 x 400 ekW. 440 V. 60 Hzp

Série com o Coliseu - IMG_1080 by Flávio Cruvinel Brandão

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Colosseum

Following, a text, in english, from the Wikipedia the Free Encyclopedia:

The Colosseum, or the Coliseum, originally the Flavian Amphitheatre (Latin: Amphitheatrum Flavium, Italian Anfiteatro Flavio or Colosseo), is an elliptical amphitheatre in the centre of the city of Rome, Italy, the largest ever built in the Roman Empire. It is considered one of the greatest works of Roman architecture and Roman engineering.

Occupying a site just east of the Roman Forum, its construction started between 70 and 72 AD[1] under the emperor Vespasian and was completed in 80 AD under Titus,[2] with further modifications being made during Domitian's reign (81–96).[3] The name "Amphitheatrum Flavium" derives from both Vespasian's and Titus's family name (Flavius, from the gens Flavia).

Capable of seating 50,000 spectators,[1][4][5] the Colosseum was used for gladiatorial contests and public spectacles such as mock sea battles, animal hunts, executions, re-enactments of famous battles, and dramas based on Classical mythology. The building ceased to be used for entertainment in the early medieval era. It was later reused for such purposes as housing, workshops, quarters for a religious order, a fortress, a quarry, and a Christian shrine.

Although in the 21st century it stays partially ruined because of damage caused by devastating earthquakes and stone-robbers, the Colosseum is an iconic symbol of Imperial Rome. It is one of Rome's most popular tourist attractions and still has close connections with the Roman Catholic Church, as each Good Friday the Pope leads a torchlit "Way of the Cross" procession that starts in the area around the Colosseum.[6]

The Colosseum is also depicted on the Italian version of the five-cent euro coin.

The Colosseum's original Latin name was Amphitheatrum Flavium, often anglicized as Flavian Amphitheater. The building was constructed by emperors of the Flavian dynasty, hence its original name, after the reign of Emperor Nero.[7] This name is still used in modern English, but generally the structure is better known as the Colosseum. In antiquity, Romans may have referred to the Colosseum by the unofficial name Amphitheatrum Caesareum; this name could have been strictly poetic.[8][9] This name was not exclusive to the Colosseum; Vespasian and Titus, builders of the Colosseum, also constructed an amphitheater of the same name in Puteoli (modern Pozzuoli).[10]

The name Colosseum has long been believed to be derived from a colossal statue of Nero nearby.[3] (the statue of Nero itself being named after one of the original ancient wonders, the Colossus of Rhodes[citation needed]. This statue was later remodeled by Nero's successors into the likeness of Helios (Sol) or Apollo, the sun god, by adding the appropriate solar crown. Nero's head was also replaced several times with the heads of succeeding emperors. Despite its pagan links, the statue remained standing well into the medieval era and was credited with magical powers. It came to be seen as an iconic symbol of the permanence of Rome.

In the 8th century, a famous epigram attributed to the Venerable Bede celebrated the symbolic significance of the statue in a prophecy that is variously quoted: Quamdiu stat Colisæus, stat et Roma; quando cadet colisæus, cadet et Roma; quando cadet Roma, cadet et mundus ("as long as the Colossus stands, so shall Rome; when the Colossus falls, Rome shall fall; when Rome falls, so falls the world").[11] This is often mistranslated to refer to the Colosseum rather than the Colossus (as in, for instance, Byron's poem Childe Harold's Pilgrimage). However, at the time that the Pseudo-Bede wrote, the masculine noun coliseus was applied to the statue rather than to what was still known as the Flavian amphitheatre.

The Colossus did eventually fall, possibly being pulled down to reuse its bronze. By the year 1000 the name "Colosseum" had been coined to refer to the amphitheatre. The statue itself was largely forgotten and only its base survives, situated between the Colosseum and the nearby Temple of Venus and Roma.[12]

The name further evolved to Coliseum during the Middle Ages. In Italy, the amphitheatre is still known as il Colosseo, and other Romance languages have come to use similar forms such as le Colisée (French), el Coliseo (Spanish) and o Coliseu (Portuguese).

Construction of the Colosseum began under the rule of the Emperor Vespasian[3] in around 70–72AD. The site chosen was a flat area on the floor of a low valley between the Caelian, Esquiline and Palatine Hills, through which a canalised stream ran. By the 2nd century BC the area was densely inhabited. It was devastated by the Great Fire of Rome in AD 64, following which Nero seized much of the area to add to his personal domain. He built the grandiose Domus Aurea on the site, in front of which he created an artificial lake surrounded by pavilions, gardens and porticoes. The existing Aqua Claudia aqueduct was extended to supply water to the area and the gigantic bronze Colossus of Nero was set up nearby at the entrance to the Domus Aurea.[12]

Although the Colossus was preserved, much of the Domus Aurea was torn down. The lake was filled in and the land reused as the location for the new Flavian Amphitheatre. Gladiatorial schools and other support buildings were constructed nearby within the former grounds of the Domus Aurea. According to a reconstructed inscription found on the site, "the emperor Vespasian ordered this new amphitheatre to be erected from his general's share of the booty." This is thought to refer to the vast quantity of treasure seized by the Romans following their victory in the Great Jewish Revolt in 70AD. The Colosseum can be thus interpreted as a great triumphal monument built in the Roman tradition of celebrating great victories[12], placating the Roman people instead of returning soldiers. Vespasian's decision to build the Colosseum on the site of Nero's lake can also be seen as a populist gesture of returning to the people an area of the city which Nero had appropriated for his own use. In contrast to many other amphitheatres, which were located on the outskirts of a city, the Colosseum was constructed in the city centre; in effect, placing it both literally and symbolically at the heart of Rome.

The Colosseum had been completed up to the third story by the time of Vespasian's death in 79. The top level was finished and the building inaugurated by his son, Titus, in 80.[3] Dio Cassius recounts that over 9,000 wild animals were killed during the inaugural games of the amphitheatre. The building was remodelled further under Vespasian's younger son, the newly designated Emperor Domitian, who constructed the hypogeum, a series of underground tunnels used to house animals and slaves. He also added a gallery to the top of the Colosseum to increase its seating capacity.

In 217, the Colosseum was badly damaged by a major fire (caused by lightning, according to Dio Cassius[13]) which destroyed the wooden upper levels of the amphitheatre's interior. It was not fully repaired until about 240 and underwent further repairs in 250 or 252 and again in 320. An inscription records the restoration of various parts of the Colosseum under Theodosius II and Valentinian III (reigned 425–455), possibly to repair damage caused by a major earthquake in 443; more work followed in 484[14] and 508. The arena continued to be used for contests well into the 6th century, with gladiatorial fights last mentioned around 435. Animal hunts continued until at least 523, when Anicius Maximus celebrated his consulship with some venationes, criticised by King Theodoric the Great for their high cost.

The Colosseum underwent several radical changes of use during the medieval period. By the late 6th century a small church had been built into the structure of the amphitheatre, though this apparently did not confer any particular religious significance on the building as a whole. The arena was converted into a cemetery. The numerous vaulted spaces in the arcades under the seating were converted into housing and workshops, and are recorded as still being rented out as late as the 12th century. Around 1200 the Frangipani family took over the Colosseum and fortified it, apparently using it as a castle.

Severe damage was inflicted on the Colosseum by the great earthquake in 1349, causing the outer south side, lying on a less stable alluvional terrain, to collapse. Much of the tumbled stone was reused to build palaces, churches, hospitals and other buildings elsewhere in Rome. A religious order moved into the northern third of the Colosseum in the mid-14th century and continued to inhabit it until as late as the early 19th century. The interior of the amphitheatre was extensively stripped of stone, which was reused elsewhere, or (in the case of the marble façade) was burned to make quicklime.[12] The bronze clamps which held the stonework together were pried or hacked out of the walls, leaving numerous pockmarks which still scar the building today.

During the 16th and 17th century, Church officials sought a productive role for the vast derelict hulk of the Colosseum. Pope Sixtus V (1585–1590) planned to turn the building into a wool factory to provide employment for Rome's prostitutes, though this proposal fell through with his premature death.[15] In 1671 Cardinal Altieri authorized its use for bullfights; a public outcry caused the idea to be hastily abandoned.

In 1749, Pope Benedict XIV endorsed as official Church policy the view that the Colosseum was a sacred site where early Christians had been martyred. He forbade the use of the Colosseum as a quarry and consecrated the building to the Passion of Christ and installed Stations of the Cross, declaring it sanctified by the blood of the Christian martyrs who perished there (see Christians and the Colosseum). However there is no historical evidence to support Benedict's claim, nor is there even any evidence that anyone prior to the 16th century suggested this might be the case; the Catholic Encyclopedia concludes that there are no historical grounds for the supposition. Later popes initiated various stabilization and restoration projects, removing the extensive vegetation which had overgrown the structure and threatened to damage it further. The façade was reinforced with triangular brick wedges in 1807 and 1827, and the interior was repaired in 1831, 1846 and in the 1930s. The arena substructure was partly excavated in 1810–1814 and 1874 and was fully exposed under Benito Mussolini in the 1930s.

The Colosseum is today one of Rome's most popular tourist attractions, receiving millions of visitors annually. The effects of pollution and general deterioration over time prompted a major restoration programme carried out between 1993 and 2000, at a cost of 40 billion Italian lire ($19.3m / €20.6m at 2000 prices). In recent years it has become a symbol of the international campaign against capital punishment, which was abolished in Italy in 1948. Several anti–death penalty demonstrations took place in front of the Colosseum in 2000. Since that time, as a gesture against the death penalty, the local authorities of Rome change the color of the Colosseum's night time illumination from white to gold whenever a person condemned to the death penalty anywhere in the world gets their sentence commuted or is released,[16] or if a jurisdiction abolishes the death penalty. Most recently, the Colosseum was illuminated in gold when capital punishment was abolished in the American state of New Mexico in April 2009.

Because of the ruined state of the interior, it is impractical to use the Colosseum to host large events; only a few hundred spectators can be accommodated in temporary seating. However, much larger concerts have been held just outside, using the Colosseum as a backdrop. Performers who have played at the Colosseum in recent years have included Ray Charles (May 2002),[18] Paul McCartney (May 2003),[19] Elton John (September 2005),[20] and Billy Joel (July 2006).

Exterior

Unlike earlier Greek theatres that were built into hillsides, the Colosseum is an entirely free-standing structure. It derives its basic exterior and interior architecture from that of two Roman theatres back to back. It is elliptical in plan and is 189 meters (615 ft / 640 Roman feet) long, and 156 meters (510 ft / 528 Roman feet) wide, with a base area of 6 acres (24,000 m2). The height of the outer wall is 48 meters (157 ft / 165 Roman feet). The perimeter originally measured 545 meters (1,788 ft / 1,835 Roman feet). The central arena is an oval 87 m (287 ft) long and 55 m (180 ft) wide, surrounded by a wall 5 m (15 ft) high, above which rose tiers of seating.

The outer wall is estimated to have required over 100,000 cubic meters (131,000 cu yd) of travertine stone which were set without mortar held together by 300 tons of iron clamps.[12] However, it has suffered extensive damage over the centuries, with large segments having collapsed following earthquakes. The north side of the perimeter wall is still standing; the distinctive triangular brick wedges at each end are modern additions, having been constructed in the early 19th century to shore up the wall. The remainder of the present-day exterior of the Colosseum is in fact the original interior wall.

The surviving part of the outer wall's monumental façade comprises three stories of superimposed arcades surmounted by a podium on which stands a tall attic, both of which are pierced by windows interspersed at regular intervals. The arcades are framed by half-columns of the Tuscan, Ionic, and Corinthian orders, while the attic is decorated with Corinthian pilasters.[21] Each of the arches in the second- and third-floor arcades framed statues, probably honoring divinities and other figures from Classical mythology.

Two hundred and forty mast corbels were positioned around the top of the attic. They originally supported a retractable awning, known as the velarium, that kept the sun and rain off spectators. This consisted of a canvas-covered, net-like structure made of ropes, with a hole in the center.[3] It covered two-thirds of the arena, and sloped down towards the center to catch the wind and provide a breeze for the audience. Sailors, specially enlisted from the Roman naval headquarters at Misenum and housed in the nearby Castra Misenatium, were used to work the velarium.[22]

The Colosseum's huge crowd capacity made it essential that the venue could be filled or evacuated quickly. Its architects adopted solutions very similar to those used in modern stadiums to deal with the same problem. The amphitheatre was ringed by eighty entrances at ground level, 76 of which were used by ordinary spectators.[3] Each entrance and exit was numbered, as was each staircase. The northern main entrance was reserved for the Roman Emperor and his aides, whilst the other three axial entrances were most likely used by the elite. All four axial entrances were richly decorated with painted stucco reliefs, of which fragments survive. Many of the original outer entrances have disappeared with the collapse of the perimeter wall, but entrances XXIII (23) to LIV (54) still survive.[12]

Spectators were given tickets in the form of numbered pottery shards, which directed them to the appropriate section and row. They accessed their seats via vomitoria (singular vomitorium), passageways that opened into a tier of seats from below or behind. These quickly dispersed people into their seats and, upon conclusion of the event or in an emergency evacuation, could permit their exit within only a few minutes. The name vomitoria derived from the Latin word for a rapid discharge, from which English derives the word vomit.

Interior

According to the Codex-Calendar of 354, the Colosseum could accommodate 87,000 people, although modern estimates put the figure at around 50,000. They were seated in a tiered arrangement that reflected the rigidly stratified nature of Roman society. Special boxes were provided at the north and south ends respectively for the Emperor and the Vestal Virgins, providing the best views of the arena. Flanking them at the same level was a broad platform or podium for the senatorial class, who were allowed to bring their own chairs. The names of some 5th century senators can still be seen carved into the stonework, presumably reserving areas for their use.

The tier above the senators, known as the maenianum primum, was occupied by the non-senatorial noble class or knights (equites). The next level up, the maenianum secundum, was originally reserved for ordinary Roman citizens (plebians) and was divided into two sections. The lower part (the immum) was for wealthy citizens, while the upper part (the summum) was for poor citizens. Specific sectors were provided for other social groups: for instance, boys with their tutors, soldiers on leave, foreign dignitaries, scribes, heralds, priests and so on. Stone (and later marble) seating was provided for the citizens and nobles, who presumably would have brought their own cushions with them. Inscriptions identified the areas reserved for specific groups.

Another level, the maenianum secundum in legneis, was added at the very top of the building during the reign of Domitian. This comprised a gallery for the common poor, slaves and women. It would have been either standing room only, or would have had very steep wooden benches. Some groups were banned altogether from the Colosseum, notably gravediggers, actors and former gladiators.

Each tier was divided into sections (maeniana) by curved passages and low walls (praecinctiones or baltei), and were subdivided into cunei, or wedges, by the steps and aisles from the vomitoria. Each row (gradus) of seats was numbered, permitting each individual seat to be exactly designated by its gradus, cuneus, and number.

The arena itself was 83 meters by 48 meters (272 ft by 157 ft / 280 by 163 Roman feet).[12] It comprised a wooden floor covered by sand (the Latin word for sand is harena or arena), covering an elaborate underground structure called the hypogeum (literally meaning "underground"). Little now remains of the original arena floor, but the hypogeum is still clearly visible. It consisted of a two-level subterranean network of tunnels and cages beneath the arena where gladiators and animals were held before contests began. Eighty vertical shafts provided instant access to the arena for caged animals and scenery pieces concealed underneath; larger hinged platforms, called hegmata, provided access for elephants and the like. It was restructured on numerous occasions; at least twelve different phases of construction can be seen.[12]

The hypogeum was connected by underground tunnels to a number of points outside the Colosseum. Animals and performers were brought through the tunnel from nearby stables, with the gladiators' barracks at the Ludus Magnus to the east also being connected by tunnels. Separate tunnels were provided for the Emperor and the Vestal Virgins to permit them to enter and exit the Colosseum without needing to pass through the crowds.[12]

Substantial quantities of machinery also existed in the hypogeum. Elevators and pulleys raised and lowered scenery and props, as well as lifting caged animals to the surface for release. There is evidence for the existence of major hydraulic mechanisms[12] and according to ancient accounts, it was possible to flood the arena rapidly, presumably via a connection to a nearby aqueduct.

The Colosseum and its activities supported a substantial industry in the area. In addition to the amphitheatre itself, many other buildings nearby were linked to the games. Immediately to the east is the remains of the Ludus Magnus, a training school for gladiators. This was connected to the Colosseum by an underground passage, to allow easy access for the gladiators. The Ludus Magnus had its own miniature training arena, which was itself a popular attraction for Roman spectators. Other training schools were in the same area, including the Ludus Matutinus (Morning School), where fighters of animals were trained, plus the Dacian and Gallic Schools.

Also nearby were the Armamentarium, comprising an armory to store weapons; the Summum Choragium, where machinery was stored; the Sanitarium, which had facilities to treat wounded gladiators; and the Spoliarium, where bodies of dead gladiators were stripped of their armor and disposed of.

Around the perimeter of the Colosseum, at a distance of 18 m (59 ft) from the perimeter, was a series of tall stone posts, with five remaining on the eastern side. Various explanations have been advanced for their presence; they may have been a religious boundary, or an outer boundary for ticket checks, or an anchor for the velarium or awning.

Right next to the Colosseum is also the Arch of Constantine.

he Colosseum was used to host gladiatorial shows as well as a variety of other events. The shows, called munera, were always given by private individuals rather than the state. They had a strong religious element but were also demonstrations of power and family prestige, and were immensely popular with the population. Another popular type of show was the animal hunt, or venatio. This utilized a great variety of wild beasts, mainly imported from Africa and the Middle East, and included creatures such as rhinoceros, hippopotamuses, elephants, giraffes, aurochs, wisents, barbary lions, panthers, leopards, bears, caspian tigers, crocodiles and ostriches. Battles and hunts were often staged amid elaborate sets with movable trees and buildings. Such events were occasionally on a huge scale; Trajan is said to have celebrated his victories in Dacia in 107 with contests involving 11,000 animals and 10,000 gladiators over the course of 123 days.

During the early days of the Colosseum, ancient writers recorded that the building was used for naumachiae (more properly known as navalia proelia) or simulated sea battles. Accounts of the inaugural games held by Titus in AD 80 describe it being filled with water for a display of specially trained swimming horses and bulls. There is also an account of a re-enactment of a famous sea battle between the Corcyrean (Corfiot) Greeks and the Corinthians. This has been the subject of some debate among historians; although providing the water would not have been a problem, it is unclear how the arena could have been waterproofed, nor would there have been enough space in the arena for the warships to move around. It has been suggested that the reports either have the location wrong, or that the Colosseum originally featured a wide floodable channel down its central axis (which would later have been replaced by the hypogeum).[12]

Sylvae or recreations of natural scenes were also held in the arena. Painters, technicians and architects would construct a simulation of a forest with real trees and bushes planted in the arena's floor. Animals would be introduced to populate the scene for the delight of the crowd. Such scenes might be used simply to display a natural environment for the urban population, or could otherwise be used as the backdrop for hunts or dramas depicting episodes from mythology. They were also occasionally used for executions in which the hero of the story — played by a condemned person — was killed in one of various gruesome but mythologically authentic ways, such as being mauled by beasts or burned to death.

The Colosseum today is now a major tourist attraction in Rome with thousands of tourists each year paying to view the interior arena, though entrance for EU citizens is partially subsidised, and under-18 and over-65 EU citizens' entrances are free.[24] There is now a museum dedicated to Eros located in the upper floor of the outer wall of the building. Part of the arena floor has been re-floored. Beneath the Colosseum, a network of subterranean passageways once used to transport wild animals and gladiators to the arena opened to the public in summer 2010.[25]

The Colosseum is also the site of Roman Catholic ceremonies in the 20th and 21st centuries. For instance, Pope Benedict XVI leads the Stations of the Cross called the Scriptural Way of the Cross (which calls for more meditation) at the Colosseum[26][27] on Good Fridays.

In the Middle Ages, the Colosseum was clearly not regarded as a sacred site. Its use as a fortress and then a quarry demonstrates how little spiritual importance was attached to it, at a time when sites associated with martyrs were highly venerated. It was not included in the itineraries compiled for the use of pilgrims nor in works such as the 12th century Mirabilia Urbis Romae ("Marvels of the City of Rome"), which claims the Circus Flaminius — but not the Colosseum — as the site of martyrdoms. Part of the structure was inhabited by a Christian order, but apparently not for any particular religious reason.

It appears to have been only in the 16th and 17th centuries that the Colosseum came to be regarded as a Christian site. Pope Pius V (1566–1572) is said to have recommended that pilgrims gather sand from the arena of the Colosseum to serve as a relic, on the grounds that it was impregnated with the blood of martyrs. This seems to have been a minority view until it was popularised nearly a century later by Fioravante Martinelli, who listed the Colosseum at the head of a list of places sacred to the martyrs in his 1653 book Roma ex ethnica sacra.

Martinelli's book evidently had an effect on public opinion; in response to Cardinal Altieri's proposal some years later to turn the Colosseum into a bullring, Carlo Tomassi published a pamphlet in protest against what he regarded as an act of desecration. The ensuing controversy persuaded Pope Clement X to close the Colosseum's external arcades and declare it a sanctuary, though quarrying continued for some time.

At the instance of St. Leonard of Port Maurice, Pope Benedict XIV (1740–1758) forbade the quarrying of the Colosseum and erected Stations of the Cross around the arena, which remained until February 1874. St. Benedict Joseph Labre spent the later years of his life within the walls of the Colosseum, living on alms, prior to his death in 1783. Several 19th century popes funded repair and restoration work on the Colosseum, and it still retains a Christian connection today. Crosses stand in several points around the arena and every Good Friday the Pope leads a Via Crucis procession to the amphitheatre.

Coliseu (Colosseo)

A seguir, um texto, em português, da Wikipédia, a enciclopédia livre:

O Coliseu, também conhecido como Anfiteatro Flaviano, deve seu nome à expressão latina Colosseum (ou Coliseus, no latim tardio), devido à estátua colossal de Nero, que ficava perto a edificação. Localizado no centro de Roma, é uma excepção de entre os anfiteatros pelo seu volume e relevo arquitectónico. Originalmente capaz de albergar perto de 50 000 pessoas, e com 48 metros de altura, era usado para variados espetáculos. Foi construído a leste do fórum romano e demorou entre 8 a 10 anos a ser construído.

O Coliseu foi utilizado durante aproximadamente 500 anos, tendo sido o último registro efetuado no século VI da nossa era, bastante depois da queda de Roma em 476. O edifício deixou de ser usado para entretenimento no começo da era medieval, mas foi mais tarde usado como habitação, oficina, forte, pedreira, sede de ordens religiosas e templo cristão.

Embora esteja agora em ruínas devido a terremotos e pilhagens, o Coliseu sempre foi visto como símbolo do Império Romano, sendo um dos melhores exemplos da sua arquitectura. Actualmente é uma das maiores atrações turísticas em Roma e em 7 de julho de 2007 foi eleita umas das "Sete maravilhas do mundo moderno". Além disso, o Coliseu ainda tem ligações à igreja, com o Papa a liderar a procissão da Via Sacra até ao Coliseu todas as Sextas-feiras Santas.

O coliseu era um local onde seriam exibidos toda uma série de espectáculos, inseridos nos vários tipos de jogos realizados na urbe. Os combates entre gladiadores, chamados muneras, eram sempre pagos por pessoas individuais em busca de prestígio e poder em vez do estado. A arena (87,5 m por 55 m) possuía um piso de madeira, normalmente coberto de areia para absorver o sangue dos combates (certa vez foi colocada água na representação de uma batalha naval), sob o qual existia um nível subterrâneo com celas e jaulas que tinham acessos diretos para a arena; Alguns detalhes dessa construção, como a cobertura removível que poupava os espectadores do sol, são bastante interessantes, e mostram o refinamento atingido pelos construtores romanos. Formado por cinco anéis concêntricos de arcos e abóbadas, o Coliseu representa bem o avanço introduzido pelos romanos à engenharia de estruturas. Esses arcos são de concreto (de cimento natural) revestidos por alvenaria. Na verdade, a alvenaria era construída simultaneamente e já servia de forma para a concretagem. Outro tipo de espetáculos era a caça de animais, ou venatio, onde eram utilizados animais selvagens importados de África. Os animais mais utilizados eram os grandes felinos como leões, leopardos e panteras, mas animais como rinocerontes, hipopótamos, elefantes, girafas, crocodilos e avestruzes eram também utilizados. As caçadas, tal como as representações de batalhas famosas, eram efetuadas em elaborados cenários onde constavam árvores e edifícios amovíveis.

Estas últimas eram por vezes representadas numa escala gigante; Trajano celebrou a sua vitória em Dácia no ano 107 com concursos envolvendo 11 000 animais e 10 000 gladiadores no decorrer de 123 dias.

Segundo o documentário produzido pelo canal televisivo fechado, History Channel, o Coliseu também era utilizado para a realização de naumaquias, ou batalhas navais. O coliseu era inundado por dutos subterrâneos alimentados pelos aquedutos que traziam água de longe. Passada esta fase, foi construída uma estrutura, que é a que podemos ver hoje nas ruínas do Coliseu, com altura de um prédio de dois andares, onde no passado se concentravam os gladiadores, feras e todo o pessoal que organizava os duelos que ocorreriam na arena. A arena era como um grande palco, feito de madeira, e se chama arena, que em italiano significa areia, porque era jogada areia sob a estrutura de madeira para esconder as imperfeições. Os animais podiam ser inseridos nos duelos a qualquer momento por um esquema de elevadores que surgiam em alguns pontos da arena; o filme "Gladiador" retrata muito bem esta questão dos elevadores. Os estudiosos, há pouco tempo, descobriram uma rede de dutos inundados por baixo da arena do Coliseu. Acredita-se que o Coliseu foi construído onde, outrora, foi o lago do Palácio Dourado de Nero; O imperador Vespasiano escolheu o local da construção para que o mal causado por Nero fosse esquecido por uma construção gloriosa.

Sylvae, ou recreações de cenas naturais eram também realizadas no Coliseu. Pintores, técnicos e arquitectos construiriam simulações de florestas com árvores e arbustos reais plantados no chão da arena. Animais seriam então introduzidos para dar vida à simulação. Esses cenários podiam servir só para agrado do público ou como pano de fundo para caçadas ou dramas representando episódios da mitologia romana, tão autênticos quanto possível, ao ponto de pessoas condenadas fazerem o papel de heróis onde eram mortos de maneiras horríveis mas mitologicamente autênticas, como mutilados por animais ou queimados vivos.

Embora o Coliseu tenha funcionado até ao século VI da nossa Era, foram proibidos os jogos com mortes humanas desde 404, sendo apenas massacrados animais como elefantes, panteras ou leões.

O Coliseu era sobretudo um enorme instrumento de propaganda e difusão da filosofia de toda uma civilização, e tal como era já profetizado pelo monge e historiador inglês Beda na sua obra do século VII "De temporibus liber": "Enquanto o Coliseu se mantiver de pé, Roma permanecerá; quando o Coliseu ruir, Roma ruirá e quando Roma cair, o mundo cairá".

A construção do Coliseu foi iniciada por Vespasiano, nos anos 70 da nossa era. O edifício foi inaugurado por Tito, em 80, embora apenas tivesse sido finalizado poucos anos depois. Empresa colossal, este edifício, inicialmente, poderia sustentar no seu interior cerca de 50 000 espectadores, constando de três andares. Aquando do reinado de Alexandre Severo e Gordiano III, é ampliado com um quarto andar, podendo suster agora cerca de 90 000 espectadores. A grandiosidade deste monumento testemunha verdadeiramente o poder e esplendor de Roma na época dos Flávios.

Os jogos inaugurais do Coliseu tiveram lugar ano 80, sob o mandato de Tito, para celebrar a finalização da construção. Depois do curto reinado de Tito começar com vários meses de desastres, incluindo a erupção do Monte Vesúvio, um incêndio em Roma, e um surto de peste, o mesmo imperador inaugurou o edifício com uns jogos pródigos que duraram mais de cem dias, talvez para tentar apaziguar o público romano e os deuses. Nesses jogos de cem dias terão ocorrido combates de gladiadores, venationes (lutas de animais), execuções, batalhas navais, caçadas e outros divertimentos numa escala sem precedentes.

O Coliseu, como não se encontrava inserido numa zona de encosta, enterrado, tal como normalmente sucede com a generalidade dos teatros e anfiteatros romanos, possuía um “anel” artificial de rocha à sua volta, para garantir sustentação e, ao mesmo tempo, esta substrutura serve como ornamento ao edifício e como condicionador da entrada dos espectadores. Tal como foi referido anteriormente, possuía três pisos, sendo mais tarde adicionado um outro. É construído em mármore, pedra travertina, ladrilho e tufo (pedra calcária com grandes poros). A sua planta elíptica mede dois eixos que se estendem aproximadamente de 190 m por 155 m. A fachada compõe-se de arcadas decoradas com colunas dóricas, jónicas e coríntias, de acordo com o pavimento em que se encontravam. Esta subdivisão deve-se ao facto de ser uma construção essencialmente vertical, criando assim uma diversificação do espaço.

Os assentos eram em mármore e a cavea, escadaria ou arquibancada, dividia-se em três partes, correspondentes às diferentes classes sociais: o podium, para as classes altas; as maeniana, sector destinado à classe média; e os portici, ou pórticos, construídos em madeira, para a plebe e as mulheres. O pulvinar, a tribuna imperial, encontrava-se situada no podium e era balizada pelos assentos reservados aos senadores e magistrados. Rampas no interior do edifício facilitavam o acesso às várias zonas de onde podiam visualizar o espectáculo, sendo protegidos por uma barreira e por uma série de arqueiros posicionados numa passagem de madeira, para o caso de algum acidente. Por cima dos muros ainda são visíveis as mísulas, que sustentavam o velarium, enorme cobertura de lona destinada a proteger do sol os espectadores e, nos subterrâneos, ficavam as jaulas dos animais, bem como todas as celas e galerias necessárias aos serviços do anfiteatro.

O monumento permaneceu como sede principal dos espetáculos da urbe romana até ao período do imperador Honorius, no século V. Danificado por um terremoto no começo do mesmo século, foi alvo de uma extensiva restauração na época de Valentinianus III. Em meados do século XIII, a família Frangipani transformou-o em fortaleza e, ao longo dos séculos XV e XVI, foi por diversas vezes saqueado, perdendo grande parte dos materiais nobres com os quais tinha sido construído.

Os relatos romanos referem-se a cristãos sendo martirizados em locais de Roma descritos pouco pormenorizadamente (no anfiteatro, na arena...), quando Roma tinha numerosos anfiteatros e arenas. Apesar de muito provavelmente o Coliseu não ter sido utilizado para martírios, o Papa Bento XIV consagrou-o no século XVII à Paixão de Cristo e declarou-o lugar sagrado. Os trabalhos de consolidação e restauração parcial do monumento, já há muito em ruínas, foram feitos sobretudo pelos pontífices Gregório XVI e Pio IX, no século XIX.

Prayer Hall of Badshahi Mosque, Lahore, Pakistan - April 2008 by Saffy H

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