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La construction du plus grand amphithéâtre de Rome débute en 72 ap. J.C. sur la demande de l'Empereur Vespasien. Ses deux fils, Titus et Domitien poursuivent sa construction qui s'achève en l'an 82. L’édifice s'appelle alors amphithéâtre Flavien, du nom de la dynastie de ces empereurs. Le nom de Colisée n'apparaît qu'au Moyen Age, en référence à la gigantesque statue de Néron de 35 mètres (appelée colosse) situé à côté de l'amphithéâtre. Avec ses 187 mètres de long, 155 mètres de large et 50 mètres de hauteur, le Colisée pouvait probablement accueillir 50 000 spectateurs avides de spectacles tels que les venationes (combats d'animaux sauvages), les munera (combats de gladiateurs) et autres spectacles publics. Pour améliorer le confort, le Colisée était équipé de 70 fontaines à eau et des marchands de nourriture passaient pendant les spectacles. Il est resté en service pendant près de 500 ans, les derniers jeux se prolongeant jusqu'au VIe siècle. Pour l'inauguration du Colisée, Titus donna une naumachie dans le Colisée transformé en bassin reconstituant la bataille navale de Corinthe contre Corcyre. Le bâtiment a finalement cessé d'être utilisé au cours du haut Moyen Âge. Il a plus tard été réutilisé pour des usages variés tels que des habitations, des ateliers d'artisans, le siège d'un ordre religieux, une forteresse, une carrière et un sanctuaire catholique chrétien.
En forme d’œuf, le Colisée présente 4 étages. Les trois premiers sont portés par des colonnes des différents ordres : Dorique (Rez-de-chaussée), Ionique (Premier étage) et Corinthien (Second étage). L'utilisation de ces trois styles montrent les évolutions artistiques connues durant l'antiquité. Cette succession d'arcades n'existent que sur les trois premiers niveaux, le quatrième, postérieur, est un mur plein (une pièce d'architecture que l'on appelle "attique") percé de petites fenêtres rectangulaires au rythme d'une arcade sur deux. L'attique servait à exposer de grands boucliers décoratifs, un peu comme un mur d'exposition. Au sommet, des excroissances encore visibles, permettaient de tendre une toile (le velarium) au-dessus du Colisée pour protéger les spectateurs du soleil. Ce voile était manœuvré par un détachement de marins de la flotte impériale basés à la caserne Castra Misenatium !
Le Colisée utilise plusieurs matériaux. Le principal est le travertin (piliers), le marbre pour des décorations, les murs rayonnants sont en briques ou en tuf, et les voûtes en béton romain. On s'est également servi de métal pour lier les pierres entre elles : pour s'assurer que deux blocs contigüs ne bougent pas on les perçait de deux trous et on y fixait une agrafe. Durant le Moyen-âge ces agrafes furent récupérées et fondues. On peut observer de nos jours sur la quasi-totalité des blocs des trous indiquant les emplacements des anciennes agrafes.
L'espace entre l'amphithéâtre et la façade est fait de deux couloirs circulaires mitoyens par étage. Le nombre de couloirs (vomitorium) permettait de faire sortir les spectateurs en 5 minutes. Chaque classe sociale avait sa tribune et ses couloirs avec leurs propres entrées. Les classes sociales pouvaient donc ne jamais se croiser dans le Colisée. Il existe un couloir spécial derrière le podium interdit au public, une sorte de galerie de service permettant de positionner des archers en charge de la sécurité des spectateurs.
La Cavea (gradins) est fortement dégradée et seule une toute petite partie des gradins a été reconstruite. Les gradins étaient répartis le long de la courbe de l'amphitéâtre. Les sièges les plus proches de l'arène étaient séparés par un mur de 3 mètres de hauteur (le podium), les plus hauts sièges étaient situés à plus de 40 mètres de haut. Les spectateurs étaient assis dans un arrangement hiérarchisé qui reflète la nature rigide et stratifiée de la société romaine. L'empereur était bien sûr tout en bas alors que la plèbe était au sommet. L'arène mesure 83m de long sur 48 m de large. Le sol était un plancher, parfois remplacé par de la brique sur certains endroits. L'arène couvre une vaste structure souterraine appelée « hypogée » (caves d'un bâtiment antique, partie souterraine) qui a été créé après l'inauguration, sous l'empereur Domitien et correspond à nos coulisses modernes. L'hypogée était divisés en 15 couloirs réalisés en brique et en blocs de tuf, bâtis parallèlement à une galerie centrale.
The construction of Rome's largest amphitheater begins in 72 AD. J.C. at the request of Emperor Vespasian. His two sons, Titus and Domitian continue his construction that ends in the year 82. The building is called Flavian Amphitheater, named after the dynasty of these emperors. The name of Colosseum appears only in the Middle Ages, in reference to the gigantic statue of Nero of 35 meters (called colosse) located next to the amphitheater. With its 187 meters long, 155 meters wide and 50 meters high, the Colosseum could probably accommodate 50 000 spectators eager for shows such as venationes (fights of wild animals), munera (gladiator fights) and other shows public. To improve comfort, the Colosseum was equipped with 70 water fountains and food vendors were running during the shows. It remained in service for nearly 500 years, the last games lasting until the sixth century. For the inauguration of the Colosseum, Titus gave a naumachie in the Colosseum transformed into a pool reconstituting the naval battle of Corinth against Corcyra. The building finally ceased to be used during the High Middle Ages. It was later reused for various uses such as dwellings, craftsmen's workshops, the seat of a religious order, a fortress, a quarry and a Christian Catholic sanctuary.
In the shape of an egg, the Coliseum has 4 floors. The first three are carried by columns of different orders: Doric (Ground floor), Ionic (First floor) and Corinthian (Second floor). The use of these three styles show the artistic evolutions known during antiquity. This succession of arcades only exist on the first three levels, the fourth, posterior, is a solid wall (a piece of architecture that we call "Attic") pierced with small rectangular windows to the rhythm of an arcade On two. The attic was used to expose large decorative shields, much like an exhibition wall. At the top, still visible growths, allowed to stretch a canvas (the velarium) above the Colosseum to protect the spectators from the sun. This sail was maneuvered by a detachment of sailors from the imperial fleet based at the Castra Misenatium barracks!
The Colosseum uses several materials. The main one is the travertine (pillars), the marble for decorations, the radiant walls are in brick or tuff, and the vaults in Roman concrete. Metal was also used to bind the stones together: to make sure that two contiguous blocks did not move they were pierced with two holes and a staple attached. During the Middle Ages these staples were recovered and melted. Almost all blocks of holes can be seen today, indicating the locations of the old staples.
The space between the amphitheater and the facade is made of two adjoining circular corridors per floor. The number of corridors (vomitorium) allowed to get the spectators out in 5 minutes. Each social class had its gallery and corridors with their own entrances. Social classes could never cross in the Colosseum. There is a special corridor behind the public banned podium, a kind of service gallery for positioning archers in charge of spectator safety.
The Cavea (bleachers) is heavily degraded and only a very small portion of the bleachers has been rebuilt. The bleachers were distributed along the curve of the amphitheater. The seats closest to the arena were separated by a wall 3 meters high (the podium), the highest seats were located more than 40 meters high. Spectators sat in a hierarchical arrangement that reflected the rigid and stratified nature of Roman society. The emperor was of course at the bottom while the plebs was at the top. The arena is 83m long by 48m wide. The floor was a floor, sometimes replaced by brick on some places. The arena covers a vast underground structure called "hypogeum" (cellars of an ancient building, underground part) that was created after the inauguration, under the emperor Domitian and fits our modern backstage. The hypogeum was divided into 15 corridors made of brick and blocks of tufa, built parallel to a central gallery.
Socimi low-floor tram 9020 has just left the Thorvaldsen terminal of very long LIne 3 and is passing the National Gallery of Modern and Contemporary Art in Rome's Museum District. Eventually, the line will reach Piazza di Porta Maggiore and continue past the Collosseum to the Trastevere District. HDR image. October 14, 2002. © 2015 Peter Ehrlich
In reference to Sams recent spots, I found these back in mid January when I was ill & suddenly decided to look at Rome in Streetview..
I think The Duna & possibly the white Delta are the ones he just put actual pictures up of.
I saved the page in my favourites intending to go back & do some more looking (hence there being blocks empty), but hadnt got round to it.
Quite a strange coincidence..
The cover of Punch magazine, that for 24 August 1960. Rome are hosting the Olympic Games and George Worsley Adamson (1913-2005) provided a suitable illustration. The Soviet Union headed the medal table with 43 golds; GB won just two, leaving us 12th in the rankings. I hear that we did rather better this year.
So here we are, on the road again, and I hadn't sorted out the Sony A6000 to Snapseed interfaces.
I shoot RAW and my image transfers from this trip look meh. After 4 weeks it finally occurred to me to look at the file size. Lo and behold, thumbnail jpgs were transferred. Ugh.
This is why my cellphone images look sharp on Flickr and the A6000 images do not.
I tested shooting RAW + JPG and the good, full Rez JPG does transfer. Lesson learned.
Next thing is image processing.
I read about how Norman Seeff used to print high contrast works with a twist. He used a black stocking between the enlarger lens and paper to give a interesting softness to some of his images.
He wasn't by any means the only one to do this.
When I worked at Samy Cameras photo lab on Sunset Blvd in Hollyweird we used to do this at client request. It was really no big deal.
What was a bigger deal was our use of Agfa Portriga Rapid 111 Glossy paper. It gave a gorgeous deep walnut brown tone. We used this for may of the gallery shows we printed for various then famous photographers.
Taking the black stocking idea and borrowing tones from Portriga Rapid, it turns out, expresses pretty well how I feel about Rome.
So, here is a series of images done in an old, outdated, likely not very hip manner.
(more details later, as time permits)
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As I've noted in other sets of photos here on Flickr, I've been lucky enough to visit Rome dozens of times since I first celebrated a solitary birthday there back in 1972. Since then, I've often come alone (usually on business trips to lecture about various aspects of software development), and I've sometimes managed to bring various children and/or my wife. This time, like many other trips, I was alone.
On most of my trips, I make a point of visiting Piazza del Popolo at least once -- because there are always interesting scenes to photograph, with a combination of tourists, students, lovers, and amateur musicians. But I thought I would try some alternatives this time, and for some reason I was particularly determined to photograph St. Peter's at dawn. Unfortunately, the weather didn't cooperate: it rained for a good portion of the entire week of my visit, and the clouds were thick, dark, and gloomy most of the time.
I did have one brief occasion to visit St. Peters on the first Sunday morning that I was in the city, and managed to get a few HDR shots as the darkness ended and the first shades of purple and blue filled the sky between 6 AM and 7 AM. But I couldn't understand why most of the open square was filled with barricades and metal fences; it was only later that I learned of the massive crowds that that fill the square every Sunday, to listen to the weekly address at Sunday noon, from their beloved new Pope. By noon, I was long gone, back in my hotel.
I also brought along a new camera on the trip, which I had rented for the week: a small, full-frame, fixed-lens, incredibly expensive Sony RX-1R camera. It worked as advertised, and I got a few interesting shots with it; but it quickly became clear that I really need a zoom lens for the street photography that I do -- and if I was going to use it for a tripod-based, wide-angle "landscape" shot, I might as well have used the larger, heavier Sony A-65 DSLR camera that I had brought along (which also has the advantage of built-in geotagging, with its GPS sensor)
On the final afternoon of my trip, after I had finished the last day of lecturing about nuances of project management and software development that I imagine nobody will care about when the Eternal City is still welcoming new visitors a thousand years hence, I parked myself at the center of Piazza del Popolo, at the massive obelisk and surrounding water fountains, and took some 600 photos of tourists and visitors, students and romantic couples. The people of Rome, and the visitors to this city, always seem happy, and it was nice to able to capture their joy and warmth in the camera once again.
The worlds largest Roman domed building intact. Just I didn't get to the dome! Rome was not buit in a day! One day I shall return and hopefully build more inlcuding the magnificant dome which is approxiamtly 1.2m wide to scale
Rome wasn't built in a day and you'll need much more than a day to take in this timeless city. The city is a real-life collage of piazzas, open-air markets, and astonishing historic sites.
Rome is the capital of Italy and the largest and most populous city in the country. It covers an area of 1,285 square kilometres and has nearly 3 million residents.
Most Visited Tourist Attractions In Rome: The Pantheon, Trevi Fountain, Roman Forum, Spanish steps, Piazza del Campidoglio, Castel Sant’Angelo, Vatican, St. Peter’s Basilica, Colosseum, piazza Venezia, piazza Navona, piazza Barberini, piazza della Rotonda, piazza della Minerva ,piazza del Popolo etc.