View allAll Photos Tagged Reusable
www.recyclart.org/2013/06/too-many-plastic-bags/
I used over 100 plastic bags & knitted them into one useful plastic bag !
More information at relovedathome website !
Idea sent by caryn willmott !
Dumfries October 2019. Harman Reusable Camera with Ilford XP2. C-41 processed and scanned by AG Photolabs
Furniture designed using all recycled materials
G_Nee Lamp
A little teaser of the G_Nee Lamp: 180 Pieces / 180 Degrees of light coming from 180 Small spots, one spotlight at a time. You can hang it from any ceiling light bulb header, only the bulb must be an LED one. Working on it...
187 - - Amorphica Design Research Office
We decided early on in the build that we would try to reuse or recycle as much as we could. With many of our friends here developing properties we decided to put out an appeal for surplus materials that would otherwise have been discarded. As a result we've managed to collect over half the tiles we need. A big thank you to Dave Golding and Dave & Fiona. Tesselating them together will be a challenge but it will be very satisfying if we succeed.
A big thanks to another friend, Maja, for helping us prevent this iron gate from going into landfill
Crochet pattern for a reusable (and eco-friendly) swiffer cover. Use the textured side for the dry mop and then reverse it to use the other side to wet mop.
The Insurance Company of North America building, now housing an upscale restaurant, condos, etc. First opened
in 1925.
Phila., PA
A morning of scavenging resulted in: another 50 palm leaves for our privacy barrier; 4 old enamelled steel baths to be buried and used as reed planters in our grey water recycling system. The plastic crates will be used in the base of the compost toilet chambers to assist drainage.
Blogger Jessica enjoys her coffee. In her newest post, she shares the the joy of using her coffee grounds more than once: mcrecycles.blogspot.com/2013/03/reuse-coffee-grounds-and-....
Setlist:
A Pain That I'm Used To
A Question of Time
Suffer Well
Precious
Walking in My Shoes
Stripped
Home
It Doesn't Matter Two (Acoustic)
In Your Room ('Zephyr Mix' version)
Nothing's Impossible
John the Revelator
I Feel You
Behind the Wheel
World in My Eyes
Personal Jesus
Enjoy the Silence
Encore:
Leave in Silence (Acoustic; Sung by Martin)
Photographic
Never Let Me Down Again
© Copyright 2006, All rights reserved. Do not copy or otherwise reuse my photos.
Apartments, Mid Rise (5-8 stories), Senior Housing, Assisted Living (68 units)
Year Built: 1896
Description: The Harrington Inn is a beautiful historical building, that is located in down town 1501
www.recyclart.org/2011/08/plastic-bottle-pot-plants/
Reused plastic soda bottle to use it as a simple pot for your plants or flowers !
Idea sent by Alejandra Martínez !
Logo on the plastic bag in which our carryout order from Culver's Restaurant (in Nies, Michigan) was delivered. It needs to be stressed that "resuable" and "recyclable" are far from the same thing. The bag was manufactured by Command Packaging (of Vernon, California), a company that touts their "environmentally friendly" products.
www.recyclart.org/2009/03/reusing-yellow-pages/
Yellow pages seen by Afroditi Krassa.
What I'd assume is a former NYCRR code pole above the tunnel/ROW at Breakneck Ridge, now serves as a trail marker for the trail. Some insulators still remain on the pole as well.
In an attempt to save money and resources graygoosie and I walked to the store to refill our water bottles.
Maholo for reusing!
Hanalei, Kauai, Hawaii
185/365
Deboxing the Hasbro Fashion Collection Belle doll. First I cut off the front plastic cover from the backing by using a sharp knife. The box isn't very reusable, as it glued together, so you have to destroy it to get the doll out of the packaging.
Here are detailed photos of the live action Disney Beauty and the Beast Fashion Collection Belle Doll Set by Hasbro. It comes with Belle in her red and pink winter outfit as well as an extra blue peasant outfit. It is exclusively sold by Target stores, and costs $24.99. I found a local store that had it in stock. They had to get it from the stockroom, as it was not yet on the shelves. It is not yet available online (as of 2/12/2017). I could have done without the peasant outfit, as it available on a separately sold doll, and would have probably saved $5 off the cost of this doll.
Her winter outfit consists of a thin red velvet hooded cape with pink trim and a one piece pink satin dress with attached white apron and salmon velvet vest. The cape is tied at the neck with a pink satin ribbon. The vest is also tied in front with a pink ribbon. The apron has a floral printed design, with some of the flowers enhanced with red glitter. She has low heeled shoes (or boots) with tan ankle socks molded to the shoes.
She is 11 1/2 inches tall. She cannot free stand, as she angled feet, so stands on tippy toes in her boots. She has fully articulated arms, but stiff hard plastic legs. She has the same face as the other Hasbro LA Belle dolls, with light freckles on her cheeks and nose, narrow brown eyes, medium dark brown eyebrows, and pink lips in a gentle smile. Her dark brown hair is in the same style as the other Hasbro Belle dolls, with a small bun in the back, and the bulk of her hair in three sections. The middle section is a pony tail, and the other sections are gently curled.
EACH YEAR 18 BILLION PLASTIC BAGS ARE USED. RE-USE AND MORE IMPORTANTLY RE-FUSE PLASTIC BAGS.
Photography by Jake Green + Tia Grazette
The bird feeders I had always let the food get wet, so I recycled an old water fountain belonging to Max, and fashioned a way to hold a tray of food inside. It took the robin about half a day to work it out, and the tits about two days. But it works, the small birds can eat their fill of the now-dry food, and the larger birds ignore it... maybe something to do with the glass butterfly ornament I have fastened on top... it wobbles in the breeze and stops them from landing on it.
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.
Clarksdale, est. 1848, pop. 17,962
• built as 8-room G.T. Thomas Hospital for African Americans • adaptive reuse as 21-room Riverside Hotel, originally men-only, 1944 • designed by Z.L. "Momma" (Ratliff) Hill, longtime owner & proprietor • Momma Hill took in a young Ike Turner after his widowed mother suffered a nervous breakdown • designed dresses for Turner's background singers, The Ikettes • died, 1997 • son Frank "Rat" Ratliff & wife Joyce took over hotel
• during 70s "Rat" managed Subway Lounge, popular blues joint in Riverside basement • in later years was recipient of Sunfower River Festival's Early Wright Blues Heritage Award, 2003, and Juke Joint Festival's Miss Sarah Award, 2013 • daughter, Zelena "Zee" Ratliff, took over after Frank's death, 2013 -Rat Pack St Louis
• Muddy Waters, Sonny Boy Williamson, Ike Turner & Robert Nighthawk all lived here • hotel is airconditioned, doesn't take credit cards, has no in-room Internet, cable TV, phones or private bathrooms • dressers & bed frames all original • provided comfortable lodging for traveling African American bluesmen who had few choices in mid-century South, and just one in Clarksdale
• now a preferred destination of blues fans • rooms named for Sam Cooke, Pops Staples, John Lee Hooker, Rev. Martin Luther King, Bessie Smith • other notable guests: John F. Kennedy Jr., Blind Boys of Alabama, Duke Ellington, Rev. C. L. Franklin, Howlin' Wolf, Joe May, Peck Curtis, Joe Willie Wilkins, Raymond Hill
• If I put new furniture or change the rooms, it would not appear to be the place the musicians stayed. That’s the way the building was built. It stays like that. If I change it, I might as well close them doors because people want it that way. -Frank Ratliff, Edge Boston
• video: The Riverside Hotel (6:11) • Riverside Hotel, Clarksdale Institution, Celebrates Hospitality and Music -Huffington Post • Sleeping with Muddy Waters -Black Cat Bone & Mojo: Finding the Blues • Frank "Rat" Ratliff obituary • Clarksdale Historic District, National Register 09000763, 2009 • Coahoma County designated part of Mississippi Delta National Heritage Area, 2009
• Clarksdale-born Ike Turner rehearsed his band & recorded demos at the Riverside • their landmark song "Rocket 88" was credited to Jackie Brenston (1930-1979) and his Delta Cats, who were actually Ike Turner's Kings of Rhythm with Turner on piano
• versions of song's origins have Brenston as writer or Ike Turner writing the song with or without Brenston, either at the Riverside Hotel and/or on the road: We started writing the song in the car. By the time we got to Memphis, we was almost finished writing it, and we finished writing it in the studio. It took me 10 or 15 minutes to put the music together. - Ike Turner, We Like Ike, 2001
• produced by Sam Phillips (1923-2003), Memphis Recording Service • released by Chess Records, Chicago, Chess 1458, 03-05-51 • Phillips claimed "Rocket 88" first ever rock 'n roll record • others hold differing opinions • Brenston said song based on 1947 Jimmy Liggins hit, Cadillac Boogie (2:39): If you listen to the two songs, you'll find out they're both basically the same. The words are just changed. • original recording of "Rocket 88" (02:54) • also influenced by Pete Johnson's 1949 Rocket Boogie 88 (2:32), named for newly launched Oldsmobile Rocket 88 automobile
• Ike Turner (1931-2007) bio -Gibson USA • Ike Turner, aka Icky Rennut, Lover Boy, in Wikipedia • The History of Rock 'N' Roll in 25 Songs -Hunter Schwarz, rhombus • The Number One "Rocket 88 -Rock & Roll Hall of Fame
• 26 Sep, 1937, "Empress of the Blues" Bessie Smith (1894-1937), died in Ward 1 of G.T. Thomas Hospital, now Riverside Hotel's Rm 2 • the 5'9"/200 lb. artist's career had been in decline, her popularity having crested c. 1929 • in midst of a comeback, was featured performer in E. S. Winstead's touring tent-show, Broadway Rastus • listen: I'm Wild About that Thing, 1929 (2:50)
• in early AM, she had been en route to a performance in Darling, MS when critically injured in a car crash • 10 mi. N of Clarksdale on Hwy. 61, her old wood-framed Packard collided with a slow-moving truck • at the wheel was her lover, Richard Morgan, ex-bootlegger associated with Al Capone & uncle of jazz musician Lionel Hampton • Morgan uninjured • truck driver fled scene
• white surgeon Dr. Hugh Smith & fishing buddy Henry Broughton soon came upon wreck • Dr. Smith attended Bessie; Broughton set out to call for ambulance • the patient went into shock; Dr. Smith decided to drive her to Clarksdale himself • before he could move the unconscious singer to his parked vehicle, a car crashed into it • driver and passenger injured • an ambulance & a hearse finally arrived, almost simultaneously, one responding to Broughton's call, the other to truck driver's.
• 11 Nov, 1937, Down Beat magazine ran story by John Hammond (1910-1987), crusader for racial equality & Bessie's record producer • claimed she died in Memphis of blood loss after whites-only hospital refused to treat her • no evidence to support story • local ambulance crew would know not to try white hospital: See, they didn’t send no ambulance to get a colored person in those days. Just a hearse so they wouldn’t have to make two trips if the person just happened to die on the way to the hospital. After Bessie died, newspaper up North said she was refused at the white hospital, but that makes no sense. -"Rat" Ratliff (told to John Rogers, 2012)
• African American hearse driver Willie George Miller rushed Bessie Smith to (black) G.T. Thomas Hospital where her arm was amputated • she died, hours later, at 11:30 AM • nevertheless, the counterfactual story blaming Smith's death on racism went viral, reiterated by news & entertainment media, e.g., Edward Albee's 1960 play, The Death of Bessie Smith • the myth continues to circulate
• Dr. Hugh Smith's 1971 eyewitness account of accident, audio download (43:01) • video: Blues Legend Bessie Smith's only film appearance, 1929 2-reel short, St. Louis Blues (15:47) — singing begins at 6:49 • The Death of Bessie Smith by Chris Albertson, author of 1972 bio, Bessie • Who Killed Bessie Smith? -American Blues Scene • Chris Albertson interview -Jerry Jazz Musician • Stomp Off
• Broadway Rastus, Bessie Smith's last engagement, was vaudeville review created in 1915 by black actor/writer/producer/director Irwin C. Miller (1884-1975) • lead character Rastus "Broadway" King, always scheming to make easy money, played by Miller in blackface • versions of show ran through 1928, occasionally performed for white audiences
• "They proved that that a first-class colored show can get by in the South. The people are good-looking and young, have good wardrobe on and off, and their ability is second to none; in fact the company could give pointers to many attractions that have played the city this season. The show is in two acts and sixteen scenes, all of which is provided with especially-bui)t scenery. A cast of forty people makes up the company, and it includes... Irvin C. Miller himself." -A. Jackson, 1921 review of Broadway Rastus New Orleans performance in Billboard magazine
• Broadway Rastus purchased by Fayetteville, NC producer Emerson Stowe Winstead (1893-1943), owner of Winstead's Mighty Minstrels (c. 1931-1955) • performers from show appeared in 1947 film, Pitch a Boogie Woogie • poster • video: The Making Of... (58:47) — movie begins at 16:22 • list of entertainers who appeared in blackface
• Bessie Smith performed in Winstead's minstrel show in early 30s • returned to star in his fateful 1937 edition of Broadway Rastus • contract said to have been for $700/wk + 5% of gate
• 7000 fans attended Bessie Smith's funeral • though she had been highest paid black enterainer of the day, estranged husband, security guard Jack Gee, said to have allowed grave to go unmarked • in 1970, singer Janis Joplin — who idolized Smith — partnered with an NAACP official to provide a tombstone
• They say Bessie died because no hospital would take her, but that’s not right at all. They brought her here, right here, laid her up in the front room of the hospital. -Frank "Rat" Ratliff (1943 - 2013)
Description: View looking northeast along North Franklin Street, from the intersection with West Erie Street. The CTA Brown Line elevated tracks run above Franklin Street. In the foreground behind the tracks is 217-225-233 West Huron. Visible next to it on the left is the Bauer Building (224-230 West Huron Street). 230 West Superior is to the left of the Bauer Building.
Photographer: Brubaker, C. William, 1978
Date: 1919 (Bauer Building)
Geographic coverage: Near North Side (Chicago, Ill.); River North (Chicago, Ill.)
Collection: C. William Brubaker Collection (University of Illinois at Chicago)
Repository: University of Illinois at Chicago. Library. Special Collections Department
File Name: bru009_07_gF
Rights: This image may be used freely, with attribution, for research, study and educational purposes. For permission to publish, distribute, or use this image for any other purpose, please contact Special Collections and University Archives, University of Illinois at Chicago Library at lib-spec@uic.libanswers.com
For more images from the collection, visit collections.carli.illinois.edu/cdm/landingpage/collection/uic_bru...
O'Neil's was founded in 1877 by Michael O'Neil and Isaac Dyas. It was acquired by May Department Stores in 1912, and its new flagship building opened in 1927. O'Neil's operated stores throughout the Akron and Canton area. In 1989, O'Neil's was merged with May Company Ohio out of Cleveland, and this building was shuttered as the rest of the stores took on the May Company nameplate. In 1993, all of the May Company Ohio stores were rebranded Kaufmann's, and then of course Macy's in 2006. The building was adaptively reused into office space.
The O'Neil's Building is on the National Register #90001776.