View allAll Photos Tagged Velario
"Nel Canaletto non c'è scenografia: egli si profonda tutto nel paese, e lì tra acque, pietre e cieli, ritrova la sua pittura, fresca come le cose nate allora.
Ma troppo intorno a lui tutta Venezia gridava colore: ed egli, sopra a quella prospettiva scritta e lineata, non plasticata come negli scenografi, versa e tramezza l'atmosfera lagunare. Del colore questa fu la rivincita. Trovò in essa un ammorbidimento alle secchezze di spigoli e un addolcimento di fusioni al troppo rigido delle parallele di linee, e vi trovò il veicolo della luce, che a volte ristagna nell'aria, fatta prigioniera dei vapori umidi, come un velario tra noi e la veduta delle cose."
— Luigi Dami - da La pittura italiana del Seicento e Settecento, 1924
------------------------
"In Canaletto there is no scenography: he goes all the way into the village, and there, among the waters, stones and skies, he finds his painting, fresh like the things born then.
But too much around him all of Venice shouted color: and he, above that written and lined perspective, not plasticized as in the scenographers, pours and divides the lagoon atmosphere. This was the revenge of color. He found in it a softening of the dry edges and a softening of fusions to the too rigid of the parallels of lines, and he found in it the vehicle of light, which sometimes stagnates in the air, captured by the humid vapors, like a curtain between us and the view of things. "
- Luigi Dami - from Italian painting of the seventeenth and eighteenth centuries, 1924
f00624
...Ma dal fumo d'un sigaro
come un bicchierino di liquore
si è allungato il viso alticcio di Severjanin.
"Lillà! Lillà! Gelato di lillà! Lillà
vuol dire : voluttà..."
Come osate chiamarvi poeta
e, mediocre, squittire come una quaglia?
Oggi
bisogna
a mò di frangicapo
conficcarsi nel cranio del mondo!
Voi,
turbati dal solo pensiero
di ballare con eleganza,
osservate in qual guisa me la spasso io,
truffatore di carte
e ruffiano di piazza!
Da voi
che siete fradici d'amore,
da voi
che nei secoli grondaste lacrime
io mi staccherò,
incastrando il sole
come un monocolo nel mio occhio divaricato.
Camuffatomi in modo incredibile
me ne andrò per la terra
a destar godimento e ad infiammarmi,
e innanzi a me condurrò alla catena
Napoleone come un bòtolo....
(V.Majiakovskij, da "la nuvola in calzoni")
www.facebook.com/CleanRome/?fref=nf
Campagna di sensibilizzazione per la salvaguardia del patrimonio artistico di Roma, senza scopo di lucro
Awareness campaign for the preservation of the artistic heritage of Rome
#PalazzoMontecitorio si affaccia sulla piazza omonima e ospita la #CameradeiDeputati della #RepubblicaItaliana. Commissionato nel 1653 da #PapaInnocenzoX a #GianLorenzoBernini come residenza della famiglia #Ludovisi, subì più volte l’interruzione dei lavori di costruzione per contrasti tra Innocenzo X e il Principe Niccolò Ludovisi (che aveva sposato la cognata del Papa). I lavori vennero ripresi anni dopo dall'architetto #CarloFontana che convinse #InnocenzoXII a installarvi due importanti attività: la #CuriaPontificia e il #Dazio. Fontana conservò la caratteristica facciata convessa impostata dal Bernini aggiungendovi il campanile a vela e modificando il progetto dell'ingresso. Con il #Risorgimento, il palazzo fu espropriato dallo Regno d'Italia e destinato a ospitare la Camera dei deputati. I lavori di ampliamento furono affidati all'architetto palermitano #ErnestoBasile, esponente di primo piano della stagione #liberty italiana, che costruì un nuovo edificio alle spalle dell'originale. Basile mantenne infatti solo la parte frontale del palazzo berniniano innalzando, sulla piazza del Parlamento, il nuovo corpo di fabbrica caratterizzato da quattro torri angolari in mattoni rossi e travertino. All'interno di questo blocco Basile collocò l'aula delle sedute, illuminata da uno straordinario lucernario a ventaglio in stile liberty, il noto #Velario di #GiovanniBeltrami. A Basile si deve anche l'imponente salone detto #Transatlantico posto sul diametro dell'emiciclo e centro informale della vita politica italiana.
Palazzo Montecitorio overlooks the homonymous square and houses the Chamber of Deputies of the Italian Republic. Commissioned in 1653 by Pope Innocent X to Gian Lorenzo Bernini as the residence of the Ludovisi family, it underwent several times the interruption of the construction work because of contrasts between Innocent X and Prince Niccolò Ludovisi (who had married the sister of the Pope). The work was taken up years later by the architect Carlo Fontana who persuaded Pope Innocent XII to install there two crucial activities: the Papal Curia and the Dazio. Fontana kept the characteristic convex façade set by Bernini adding a bell tower and changing the entrance project. During the Risorgimento period, the palace was expropriated by the Kingdom of Italy and destined to house the Chamber of Deputies. The works of the building expansion was entrusted to architect Ernesto Basile from Palermo, a leading exponent of Italian Art Nouveau season, who designed a new building behind the original. Basile mantained the Bernini façade but added a new building on the Parliament Square that features four corner towers in red brick and travertine. Within this block Basile placed the hall of sessions, illuminated by an extraordinary fan-shaped skylight, an Art Nouveau masterpiece: the known Velario by Giovanni Beltrami. Basile also designed the impressive lounge called "Transatlantico" placed on the hemicycle diameter that became the informal center of Italian political life.
testo di #alessandroloschiavo
Basilica della Santissima Trinità di Saccargia.
Nella parte interna dell'abside è conservato in modo completo un ciclo di affreschi (seconda metà XII sec.), considerati i più rappresentativi tra i pochi in affreschi in stile romanico ancora osservabili in Sardegna.
Le pitture occupano:
- il catino con il Cristo con serafini, angeli ed arcangeli
- il semicilindro absidale è suddiviso in tre fasce: nella prima si allineano la Madonna orante con i santi; quella mediana illustra alcune scene della vita di Cristo (Ultima Cena, Bacio di Giuda, Crocifissione, Sepoltura e Discesa agli Inferi); in quella alla base è rappresentato un finto velario.
Probabilmente gli affreschi risalgono al ventennio 1180-1201, contemporanei all'ampliamento della chiesa, quando si fece evidente l'influsso architettonico pisano nella nuova facciata e nel portico antistante.
Basilica of the Holy Trinity of Saccargia.
In the internal part of the apse a cycle of frescoes (second half of the 12th century) is completely preserved, considered the most representative of the few in Romanesque style still observable in Sardinia.
The paintings occupy:
- the basin with Christ with seraphs, angels and archangels
- the apse half cylinder is divided into three bands: in the first the praying Madonna aligns with the saints; the middle one illustrates some scenes from the life of Christ (Last Supper, Kiss of Judas, Crucifixion, Burial and Descent into the Underworld); in the one at the base is represented a fake velarium.
The frescoes probably date back to the twenty years 1180-1201, contemporaneous with the enlargement of the church, when the Pisan architectural influence became evident in the new facade and in the front porch.
Torrechiara is part of the municipality of Langhirano in the province of Parma and is known for its imposing castle built between 1448 and 1460 by Pier Maria Rossi II (1413-1482), Count of San Secondo.
It is located on the foothills, in an area always remembered for the mild climate and it is surrounded by vineyards, offering a beautiful view towards the valley and the town.
Torrechiara Castle was built in honor of the Bianca Pellegrini, lover of Pier Maria Rossi, and so it became her luxurious residence.torrechiara2
The Castle perfectly preserves its late-medieval squared structure with its four massive towers and crenellated curtain wall. It is accessible via a long covered entrance leading to the courtyard, where there is the little church of St. Nicomedes, whose front door is studded with the monograms of Bianca e Pier Maria.
Inside there are several beautiful frescoed rooms. The old kitchen, the room of Jupiter, of Pergolato, of Paesaggi (landscapes), of Vittoria (victory), of Angeli (angels), of Velario and of the Stemmi (crests) offer frescoes made by Cesare Baglione during the Sforza period.
The Coliseum was built of brick and covered with travertine in a valley between the hills Palatine, Celio and Esquilino, after draining a small lake that Nero used for the Domus Aurea.
The building of four storeys, with a height of 48.50 metres and an extension elliptical covering an area of approximately 19000 square meters, measuring axis greater than 188m and 156m less. The first floor is high with 10.50m semi Doric style, the second highest of about two metres is formed by Ionic columns, the third high 11.60m has Corinthian columns while the fourth wall with small square windows. At this level there are also holes required to support the beams of velario that, in ancient times, was used to protect spectators from the sun flying.
The Coliseum is made up of areas that we could access through ladders and tunnels in which, during the shows, vendors were placed chickpeas, beverages and pillows. Along the sidelines, including places for the senators and members of the court was built by order of the stage of the emperor Augustus ( "pulvinar"). It was probably entitled to access through an underground corridor known as passage of Commodus, the fact that, in a passage of the "Roman History", Dione Cassius tells how the emperor Commodus had suffered an attack in what was described as "a dark ways".
The elliptical arena, Flavian Amphitheater, which measures along the approximately 77m to 46, was formed by a wooden desk covered with sand. To access existed two inputs: west "Gateway Triumphalis", which entered the gladiators or animals, and to the east "Gateway Libitinensis", which were taken away the lifeless bodies of fighters (Labitinia Goddess of Death) .
Under the arena of the Coliseum extended several corridors and environments destined to host the gladiators and wild beasts that could be brought to centre stage by forklifts and ramps. Along the edges paved the arena there was a porch to two orders of which there were received around the remains while running at a pavement with marble which was set on the velarium. Outside the building you can see inscriptions that recall the work of consolidating the amphitheatre and especially the prohibition of Pope Benedict XIV to pillage the monument.
This pretty little red roadster was at the Syracuse Nationals. I know because I saw the sticker on the windshield when I saw the car in Welland on Sunday at the 5th Annual Tony Velario Memorial Car Show.
Not just a pretty face, the owner told me she's got Corvette power under the hood.
HDR from 3 tripod mounted exposures.
EXPLORED! July 31, 2012
Roman Theatre: view from the Decumanus Maximus.
The auditorium is supported by arches, overlooking the decumannus: the spaces between it and the curved facade of the theater had been paved in travertine and bordered by stones equally travertine, equipped with chains, and there were fortunes two nymphs (monumental fountains) semicircular .
In front of the theater on decumano there were two arches, of which there are pairs of brick pillars, which they switched to theater arcades and the porch of the triumphal arches, on the opposite side of the street. It was an honorary arch dedicated to Caracalla by the citizens of Ostia in 216. Perhaps the two arches were connected by a wooden roof, acting in this way from entrance hall to the theater.
The arches of the facade, extensively restored, rested on massive pillars in brick with a base of travertine. Above this they rose the Tuscan pilasters which framed the arches of the first order, with capitals, bases and entablature made with specially shaped bricks. The facade had originally two rows of arches, surmounted by an attic with windows; the second order the brickwork pilasters were Ionic pilasters and other smaller were present at the sides of the attic windows, perhaps Corinthian. Above the attic windows were present protruding shelves, to support the sturdy wooden poles that held the curtain, entered into the crowning cornice.
Inside the arches opened a porch-ambulatory Concentric, which looked out on a series of sixteen radially arranged environments, which alternated the central entrance to the places located further down and the four scales that allowed to reach places to second and third level. The sedicii radial environments hosted taberne (workshops) with the back room and the mezzanine, reachable by a staircase of which are the first steps in masonry. The taverns were decorated with simple frescoes. In the ambulatory, to the right of the main entrance, there is a well with puteal travertine.
The central access corridor had marble tiles on the floor and walls and the ceiling decorated with stucco. In the remake of the fourth century in the inner part they were placed the marble seats, which reimpiegano bases from the forecourt of Corporations, no longer in use. The outer part and the adjacent environments (taverns with back room) became the tanks, with paneled walls signino: from here the water was in the orchestra through two holes located in the side walls of the inner part of the corridor.
Teatro romano: vista dal Decumano Massimo.
La cavea è sostenuta da arcate, affacciate sul decumano massimo: gli spazi tra questo e la facciata curvilinea del teatro erano stati pavimentati in travertino e delimitati da cippi ugualmente in travertino, dotati di catene, e vi erano sorti due ninfei (fontane monumentali) semicircolari.
Davanti al teatro sul decumano sorgevano due archi, di cui restano le coppie di pilastri in laterizio, che si addossarono alle arcate del teatro e al portico degli Archi trionfali, sul lato opposto della via. Si trattava dell'arco onorario dedicato a Caracalla dai cittadini di Ostia nel 216. Forse i due archi furono collegati da una copertura lignea, fungendo in questo modo da atrio di ingresso per il teatro.
Le arcate della facciata, ampiamente restaurate, poggiavano su massicci pilastri in laterizio con uno zoccolo in travertino. Sopra questo si alzavano le lesene tuscaniche che inquadravano le arcate del primo ordine, con capitelli, basi e trabeazione realizzate con mattoni appositamente sagomati. La facciata presentava in origine due ordini di arcate, sormontati da un attico con finestre; al secondo ordine le lesene laterizie erano di ordine ionico e altre lesene più piccole erano presenti ai lati delle finestre dell'attico, forse di ordine corinzio. Sopra le finestre dell'attico erano presenti mensole sporgenti, destinate a sostenere i robusti pali in legno che reggevano il velario, inseriti nel cornicione di coronamento.
All'interno delle arcate si apriva un portico-deambulatorio concentrico, che dava su una serie di sedici ambienti disposti radialmente, a cui si alternavano l'ingresso centrale verso i posti situati più in basso e le quattro scale che permettevano di raggiungere i posti al secondo e al terzo livello. I sedicii ambienti radiali ospitavano taberne (botteghe) dotate di retrobottega e di mezzanino, raggiungibile da una scala di cui restano i primi gradini in muratura. Le taberne erano decorate con semplici affreschi. Nel deambulatorio, a destra dell'ingresso principale, è presente un pozzo con puteale in travertino.
Il corridoio di accesso centrale aveva rivestimenti in marmo su pavimento e pareti e la volta decorata in stucco. Nel rifacimento del IV secolo nella parte più interna furono collocati dei sedili marmorei, che reimpiegano delle basi provenienti dal piazzale delle Corporazioni, non più in uso. La parte più esterna e gli ambienti adiacenti (taberne con retrobottega) divennero delle cisterne, con le pareti rivestite in signino: da qui l'acqua arrivava nell'orchestra attraverso due fori ricavati nei muri laterali della parte più interna del corridoio.
JUAZEIRO DO NORTE - CE - BRASIL - 31/10/2013 - A Romaria de Finados de Juazeiro do Norte (CE), foi iniciada na noite de terça-feira (23) com uma missa na Basílica de Nossa Senhora das Dores para os romeiros que já se encontram na cidade. O tema da romaria deste ano é: "Com o Padre Cícero, somos Igreja peregrina que caminha para a Luz". O evento, que se estende até o próximo dia 2 de novembro, deve atrair um público de 600 mil pessoas, de diversas localidades do Nordeste brasileiro.
Foto Reinaldo Canato / Veja.Com
Op 23 september, de laatste doordeweekse dag van de vakbeurs Innotrans, werd er nogmaals een bezoek aan de beurs gebracht. Naast het rondkijken op de beurs zelf, werd deze dag vooral ook gebruikt om het aanwezige materieel te fotograferen.
Op de foto staan twee nieuwe treinstellen van PESA (links) en Siemens (rechts):
De PESA Dart 43WE is een nieuw elektrisch IC treinstel voor de PKP. De ED161-005 werd op Innotrans geplaatst.
Siemens Velario TR, de nieuwe Velario voor op het hogesnelheidsnet van Turkije. De HT 80105 stond met een paar bakken op Innotrans.
Ver fotos de Pepe Gil Paradas. on Flickeflu
** En 1653 el pueblo de Almonte nombra a la Virgen del Rocío Patrona de la villa y son frecuentes las “venidas” de su imagen al pueblo para rogarle su intercesión ante las sequías, las epidemias, etc., hasta que desde 1949 su venida es periódica cada siete años. En el siglo de Las Luces, los ministros ilustrados de Carlos III propiciaron la creación de una nueva población agrícola en los alrededores de la ermita del Rocío que perduró desde 1788 hasta 1810 con la llegada y ocupación de las tropas napoleónicas. Las escaramuzas guerrilleras de los almonteños contra las tropas de ocupación francesas en agosto de 1810 dio origen al conocido como Voto del Rocío Chico, que se celebra desde de 1813.
** Nikon D700. Objetivo SPIRATONE Plura-Coat f/2.8 20mm enfoque manual
*F 8 1/1250seg. 20mm. -0,67 EV ISO 200 RAW 14 bits.
**Revelado con CAMERA RAW V7.0 PARA CS6 MAC.
Ajustar los extremos del histograma con los controles.
Blancos y Negros.
Ajustar luces y sombras con los controles.
Iluminacion y Sombras.
Ajustar Texturas y Color con los controles.
Claridad Intensidad y Saturacion.
Marcar correciones del perfil de lente.
Perfil de lente. Hay que tener almacenados todos lo perfiles de los objetivos que se usen y el programa los detecta en automatico.
Marca de la cámara Nikon
Modelo 20 mm f2,8 (Spiratone)
Nikon D700
Valor de correccion.
Distorsion. 100
Viñetas. 100
Marcar. Quitar aberraciones cromáticas
Tambien se pueden ajustar en manual.
Calibracion de cámara.
Proceso. 2012
Perfil de cámara Existen mas para elegir.
Opciones de flujo de trabajo para abrir en Photoshop.
-Adobe RGB(1998) bit16 2832x 4256(12,1MP).- Se pueden elegir otros.
Abrir en photoshop. No elijo abrir en Photoshop como objeto inteligente porque aunque es muy util todavía no he resuelto algunos problemas al trabajar con capas, sin eliminarlas>.
**PHOTOSHOP CS6 MAC.Flujo de trabajo.Tratamiento por Zonas.
*Transformar, Sesgar, Desformar y Escala (Para mejorar el encuadre).Clonados varios.
*Capa + mascara de capa con la seleccion activada, y ajuste de curvas en modo LAB, y canal luminosidad, para no modificar el color. Perfeccionar mascara de capa.
*Capa + mascara de capa con la seleccion activada y ajuste de curvas en modo LAB, y canal luminosidad, para no modificar el color. Perfeccionar mascara de capa.
*Mejorar ruido, Despues de mucho tiempo cambio del Pluing disminuir ruido Topaz Labs, Raw Lightes al Pluing Nif Software Dfine 2. (Este calcula los ajustes en Auto a diferencia de Topaz que hay que aplicarlo en manual, además es bastante mas rápido) + Mascara de capa para aplicar en las zonas que tienen mas ruido.
*Localizar punto gris con (Acción mía), con Curvas y cuentagotas gris ajustar temperatura de color creando mascara de capa para ajustar por zonas.
*Pluing Color Efex Pro 3.0 Tonal contraste + Mascara de capa para aplicar por zonas. Aplicar el contraste tonal con opacidades variables del pincel por todas las zonas que lo necesiten. Me gusta mas que el nuevo Color Efex Pro 4
*Enfocar con separación de halos negros aprox. 60% y blancos aprox. 40% de opacidad (Accion mía) La opacidad mas baja en los blancos 40% es para no crear halos blancos en los bordes + mascara de capa para aplicarlo a voluntad según las zonas.
*Si veo que la imagen lo pide le aplico el Pluing Nif Software Viveza2 a una opacidad baja.
*Accion mia. Pasar de modo16 bits a 8 bits, convertir a Perfil de color incrustado sRGB IEC6 1966-2.1 + Guardar como J.P.G.
JUAZEIRO DO NORTE - CE - BRASIL - 31/10/2013 - A Romaria de Finados de Juazeiro do Norte (CE), foi iniciada na noite de terça-feira (23) com uma missa na Basílica de Nossa Senhora das Dores para os romeiros que já se encontram na cidade. O tema da romaria deste ano é: "Com o Padre Cícero, somos Igreja peregrina que caminha para a Luz". O evento, que se estende até o próximo dia 2 de novembro, deve atrair um público de 600 mil pessoas, de diversas localidades do Nordeste brasileiro.
Foto Reinaldo Canato / Veja.Com
ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2021. Pietro Ercole Visconti, "IL MODELLO IN LEGNO DEL COLOSSEO DI CARLO LUCANGELI." Roma (1851): 1-15 [in PDF]; S.v., Cinzia Conti, Il modello ligneo dell'Anfiteatro Flavio, di Carlo Lucangeli - osservazioni nel corso di restauro; in: Adriano La Regina (edt.), Sangue e Arena. Milano / Electa (2001): 117-125 [in PDF] & C. Conti & S. Orlandi, Rend. Pont. Acc., 85, (2013): 71-87 [in PDF]. wp.me/pbMWvy-12o
Foto: ROMA – “IL MODELLO IN LEGNO DEL COLOSSEO DI CARLO LUCANGELI.” Roma (1813 [1851]).
www.flickr.com/photos/imperial_fora_of_rome/50879528133
1). ROME - The Lucangeli model (1796-1810). The most famous model of the Colosseum is without any doubt the wooden reconstruction by Carlo Lucangeli. Lucangeli worked on it for 22 years, starting in 1790. He was the one who undertook the first scientific survey of the Colosseum in order to identify the architectural details. His studies led to the discovery of hidden parts of the monument, like the wall of the retropodio and the so-called Passaggio di Commodo.
Foto: C. Conti & S. Orlandi / Il modello ligneo dell’Anfiteatro Flavio, di Carlo Lucangeli (2013).
www.flickr.com/photos/imperial_fora_of_rome/50880343337
Lucangeli's notes [= Pietro Ercole Visconti, Roma (1851): 1-15] were published after his death and circulated among the intellectuals, becoming one of the main sources of knowledge about the Colosseum. Between 1792 and 1805 Lucangeli had completed another cork model of "the actual state" of the Colosseum, which is now in Paris, at the École des Beaux-Arts. When Lucangeli died in 1812 the first wooden model still wasn't finished; it was completed only in 1815 by his son-in-law Paolo Dalbono and other artists. They added to it the ipogei of the arena (that were excavated after Lucangeli's death and by his will), the seats and the velarium.
Lucangeli's model had a tormented life: it was transported to London from 1815 to 1819; when it was shipped back the boxes were impounded at the Port of Rome because of customs problems. Lucangeli's heirs sold it to the rich collector Emanuele Godoy, who placed it in his house on the Celian hill. The model passed through several hands, until in 1855 Count Zeloni proposed to the (then Vatican) State to exhibit the model for a fee inside the Colosseum, even though he had pawned it at the Monte di Pietà (the Roman official pawnshop in 1851).
Foto: C. Conti & S. Orlandi / Il modello ligneo dell’Anfiteatro Flavio, di Carlo Lucangeli (2013).
www.flickr.com/photos/imperial_fora_of_rome/50880343347
The papal government did not accept that idea, and when Rome became the capital city of the new Italian nation, also the newborn Italian government remained unmoved.
In 1874 it was proposed that the State should redeem the model from the Monte di Pietà, but nothing happened. In 1879 the archaeologist Rodolfo Lanciani planned an Antiquarium - a Museum - on the first floor of the amphitheatre, but the works started only in 1883.
By now, the model was considerably ruined, because its detachable sections had been "heaped up like firewood", therefore it had to undergo restoration. In the end, in 1895 it returned to the Colosseum, but then it was temporarily moved to the Museo Nazionale Romano at Palazzo Altemps. Recently Now (Jan 2013) it has been announced that it should soon be back to the Colosseum to be exposed to the admiration of all.
Fonte / source:
--- ROME - The Lucangeli model (1796-1810). MODELS / In the XVIII century. THE COLOSSEUM.net (01/2021).
www.the-colosseum.net/architecture/models.htm
Foto: C. Conti & S. Orlandi / Il modello ligneo dell’Anfiteatro Flavio, di Carlo Lucangeli (2001 & 2013).
www.flickr.com/photos/imperial_fora_of_rome/50880343907
2). ROMA - "IL MODELLO IN LEGNO DEL COLOSSEO DI CARLO LUCANGELI." - Questo modello fu realizzato tra il 1796 e il 1810; è smontabile secondo le partidell’organismo architettonico. È costruito in legno, con le superfici a vista dipinte, concolori coerenti all’originale: bianco-avorio il travertino, rosa-bruno il laterizio, verdiccio il conglomerato cementizio, grigio-bruno il peperino. Le carrucole del velario sono miniature inmetallo e legno, funzionanti. Inoltre, alcuni particolari dell’edificio sono resi con miniature inmetallo: ringhiere, inferriate, griglie per lo scarico delle acque; questi elementi, al vero in bronzo e ferro forgiato, sono nel modello fusioni di stagno e piombo; inoltre di piombo e stagno sono anche i 240 archivolti sul prospetto. La scala è 1:60; è alto 82 cm, mentre l’asse maggiore è 3,05 e il minore 2,49. Questo è il modello che vedevamo in mostra al I piano del Colosseo, ma era stato ridipinto in tempera bianca. Fu spolverato nel 2000 per l’esposizione “Sangue e arena” e alloravennero alla luce le cromie originali: fu riconosciuto come opera di Carlo Lucangeli, eseguitonell’età napoleonica. Oggi è nel Laboratorio di restauro di Palazzo Altemps.
Fonte / source:
--- Cinzia Conti, Il modello ligneo dell'Anfiteatro Flavio, di Carlo Lucangeli - osservazioni nel corso di restauro; in: Adriano La Regina (edt.), Sangue e Arena. Milano / Electa (2001): 117-125 [in PDF].
PDF = Cinzia Conti, (2001): 117-125 / wp.me/pbMWvy-12o
Fonte / source:
--- Pietro Ercole Visconti, "IL MODELLO IN LEGNO DEL COLOSSEO DI CARLO LUCANGELI." Roma (1851): 1-15 [in PDF].
PDF = Pietro Ercole Visconti, (1851): 1-15 / wp.me/pbMWvy-12o
S.v.,
--- Lucangeli, Carlo. 1747?-1812: Il Colosseo di Roma della grandezza di palmi 2449 di circonferenza, ridotto alla circonferenza di palmi 40 49/60 misura lineale dall'uno al sessanta opera mirabile di Carlo Lucangeli romano ultimata dal di lui Genero Paolo Dalbono.. Roma 1813; in: DAI / ARACHNE / University of Cologne
Archaeological Institute (01/2021).
arachne.uni-koeln.de/arachne/index.php?view[layout]=buch_item&search[constraints][buch][searchSeriennummer]=3644
Foto / fonte / sources:
--- C. Conti & S. Orlandi, Sui travertini del Colosseo, tra restauro ed epigrafia. Rend. Pont. Acc., 85, (2013): 71-87 [in PDF]. Silvia Orlandi / academia.edu. (01/2021).
www.academia.edu/6901954/C_Conti_S_Orlandi_Sui_travertini...
Seen at the 5th Annual Tony Velario Memorial Car Show in Welland, Ontario. HDR from 3 handheld exposures. Should be viewed LARGER.
A nice 54 Chevy. Seen at the 5th Annual Tony Velario Memorial Car Show in Welland, Ontario. HDR from 3 handheld exposures.
JUAZEIRO DO NORTE - CE - BRASIL - 31/10/2013 - A Romaria de Finados de Juazeiro do Norte (CE), foi iniciada na noite de terça-feira (23) com uma missa na Basílica de Nossa Senhora das Dores para os romeiros que já se encontram na cidade. O tema da romaria deste ano é: "Com o Padre Cícero, somos Igreja peregrina que caminha para a Luz". O evento, que se estende até o próximo dia 2 de novembro, deve atrair um público de 600 mil pessoas, de diversas localidades do Nordeste brasileiro.
Foto Reinaldo Canato / Veja.Com
ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2021. Pietro Ercole Visconti, "IL MODELLO IN LEGNO DEL COLOSSEO DI CARLO LUCANGELI." Roma (1851): 1-15 [in PDF]; S.v., Cinzia Conti, Il modello ligneo dell'Anfiteatro Flavio, di Carlo Lucangeli - osservazioni nel corso di restauro; in: Adriano La Regina (edt.), Sangue e Arena. Milano / Electa (2001): 117-125 [in PDF] & C. Conti & S. Orlandi, Rend. Pont. Acc., 85, (2013): 71-87 [in PDF]. wp.me/pbMWvy-12o
Foto: ROMA – “IL MODELLO IN LEGNO DEL COLOSSEO DI CARLO LUCANGELI.” Roma (1813 [1851]).
www.flickr.com/photos/imperial_fora_of_rome/50879528133
1). ROME - The Lucangeli model (1796-1810). The most famous model of the Colosseum is without any doubt the wooden reconstruction by Carlo Lucangeli. Lucangeli worked on it for 22 years, starting in 1790. He was the one who undertook the first scientific survey of the Colosseum in order to identify the architectural details. His studies led to the discovery of hidden parts of the monument, like the wall of the retropodio and the so-called Passaggio di Commodo.
Foto: C. Conti & S. Orlandi / Il modello ligneo dell’Anfiteatro Flavio, di Carlo Lucangeli (2013).
www.flickr.com/photos/imperial_fora_of_rome/50880343337
Lucangeli's notes [= Pietro Ercole Visconti, Roma (1851): 1-15] were published after his death and circulated among the intellectuals, becoming one of the main sources of knowledge about the Colosseum. Between 1792 and 1805 Lucangeli had completed another cork model of "the actual state" of the Colosseum, which is now in Paris, at the École des Beaux-Arts. When Lucangeli died in 1812 the first wooden model still wasn't finished; it was completed only in 1815 by his son-in-law Paolo Dalbono and other artists. They added to it the ipogei of the arena (that were excavated after Lucangeli's death and by his will), the seats and the velarium.
Lucangeli's model had a tormented life: it was transported to London from 1815 to 1819; when it was shipped back the boxes were impounded at the Port of Rome because of customs problems. Lucangeli's heirs sold it to the rich collector Emanuele Godoy, who placed it in his house on the Celian hill. The model passed through several hands, until in 1855 Count Zeloni proposed to the (then Vatican) State to exhibit the model for a fee inside the Colosseum, even though he had pawned it at the Monte di Pietà (the Roman official pawnshop in 1851).
Foto: C. Conti & S. Orlandi / Il modello ligneo dell’Anfiteatro Flavio, di Carlo Lucangeli (2013).
www.flickr.com/photos/imperial_fora_of_rome/50880343347
The papal government did not accept that idea, and when Rome became the capital city of the new Italian nation, also the newborn Italian government remained unmoved.
In 1874 it was proposed that the State should redeem the model from the Monte di Pietà, but nothing happened. In 1879 the archaeologist Rodolfo Lanciani planned an Antiquarium - a Museum - on the first floor of the amphitheatre, but the works started only in 1883.
By now, the model was considerably ruined, because its detachable sections had been "heaped up like firewood", therefore it had to undergo restoration. In the end, in 1895 it returned to the Colosseum, but then it was temporarily moved to the Museo Nazionale Romano at Palazzo Altemps. Recently Now (Jan 2013) it has been announced that it should soon be back to the Colosseum to be exposed to the admiration of all.
Fonte / source:
--- ROME - The Lucangeli model (1796-1810). MODELS / In the XVIII century. THE COLOSSEUM.net (01/2021).
www.the-colosseum.net/architecture/models.htm
Foto: C. Conti & S. Orlandi / Il modello ligneo dell’Anfiteatro Flavio, di Carlo Lucangeli (2001 & 2013).
www.flickr.com/photos/imperial_fora_of_rome/50880343907
2). ROMA - "IL MODELLO IN LEGNO DEL COLOSSEO DI CARLO LUCANGELI." - Questo modello fu realizzato tra il 1796 e il 1810; è smontabile secondo le partidell’organismo architettonico. È costruito in legno, con le superfici a vista dipinte, concolori coerenti all’originale: bianco-avorio il travertino, rosa-bruno il laterizio, verdiccio il conglomerato cementizio, grigio-bruno il peperino. Le carrucole del velario sono miniature inmetallo e legno, funzionanti. Inoltre, alcuni particolari dell’edificio sono resi con miniature inmetallo: ringhiere, inferriate, griglie per lo scarico delle acque; questi elementi, al vero in bronzo e ferro forgiato, sono nel modello fusioni di stagno e piombo; inoltre di piombo e stagno sono anche i 240 archivolti sul prospetto. La scala è 1:60; è alto 82 cm, mentre l’asse maggiore è 3,05 e il minore 2,49. Questo è il modello che vedevamo in mostra al I piano del Colosseo, ma era stato ridipinto in tempera bianca. Fu spolverato nel 2000 per l’esposizione “Sangue e arena” e alloravennero alla luce le cromie originali: fu riconosciuto come opera di Carlo Lucangeli, eseguitonell’età napoleonica. Oggi è nel Laboratorio di restauro di Palazzo Altemps.
Fonte / source:
--- Cinzia Conti, Il modello ligneo dell'Anfiteatro Flavio, di Carlo Lucangeli - osservazioni nel corso di restauro; in: Adriano La Regina (edt.), Sangue e Arena. Milano / Electa (2001): 117-125 [in PDF].
PDF = Cinzia Conti, (2001): 117-125 / wp.me/pbMWvy-12o
Fonte / source:
--- Pietro Ercole Visconti, "IL MODELLO IN LEGNO DEL COLOSSEO DI CARLO LUCANGELI." Roma (1851): 1-15 [in PDF].
PDF = Pietro Ercole Visconti, (1851): 1-15 / wp.me/pbMWvy-12o
S.v.,
--- Lucangeli, Carlo. 1747?-1812: Il Colosseo di Roma della grandezza di palmi 2449 di circonferenza, ridotto alla circonferenza di palmi 40 49/60 misura lineale dall'uno al sessanta opera mirabile di Carlo Lucangeli romano ultimata dal di lui Genero Paolo Dalbono.. Roma 1813; in: DAI / ARACHNE / University of Cologne
Archaeological Institute (01/2021).
arachne.uni-koeln.de/arachne/index.php?view[layout]=buch_item&search[constraints][buch][searchSeriennummer]=3644
Foto / fonte / sources:
--- C. Conti & S. Orlandi, Sui travertini del Colosseo, tra restauro ed epigrafia. Rend. Pont. Acc., 85, (2013): 71-87 [in PDF]. Silvia Orlandi / academia.edu. (01/2021).
www.academia.edu/6901954/C_Conti_S_Orlandi_Sui_travertini...
JUAZEIRO DO NORTE - CE - BRASIL - 31/10/2013 - A Romaria de Finados de Juazeiro do Norte (CE), foi iniciada na noite de terça-feira (23) com uma missa na Basílica de Nossa Senhora das Dores para os romeiros que já se encontram na cidade. O tema da romaria deste ano é: "Com o Padre Cícero, somos Igreja peregrina que caminha para a Luz". O evento, que se estende até o próximo dia 2 de novembro, deve atrair um público de 600 mil pessoas, de diversas localidades do Nordeste brasileiro.
Foto Reinaldo Canato / Veja.Com
ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2021. Pietro Ercole Visconti, "IL MODELLO IN LEGNO DEL COLOSSEO DI CARLO LUCANGELI." Roma (1851): 1-15 [in PDF]; S.v., Cinzia Conti, Il modello ligneo dell'Anfiteatro Flavio, di Carlo Lucangeli - osservazioni nel corso di restauro; in: Adriano La Regina (edt.), Sangue e Arena. Milano / Electa (2001): 117-125 [in PDF] & C. Conti & S. Orlandi, Rend. Pont. Acc., 85, (2013): 71-87 [in PDF]. wp.me/pbMWvy-12o
Foto: ROMA – “IL MODELLO IN LEGNO DEL COLOSSEO DI CARLO LUCANGELI.” Roma (1813 [1851]).
www.flickr.com/photos/imperial_fora_of_rome/50879528133
1). ROME - The Lucangeli model (1796-1810). The most famous model of the Colosseum is without any doubt the wooden reconstruction by Carlo Lucangeli. Lucangeli worked on it for 22 years, starting in 1790. He was the one who undertook the first scientific survey of the Colosseum in order to identify the architectural details. His studies led to the discovery of hidden parts of the monument, like the wall of the retropodio and the so-called Passaggio di Commodo.
Foto: C. Conti & S. Orlandi / Il modello ligneo dell’Anfiteatro Flavio, di Carlo Lucangeli (2013).
www.flickr.com/photos/imperial_fora_of_rome/50880343337
Lucangeli's notes [= Pietro Ercole Visconti, Roma (1851): 1-15] were published after his death and circulated among the intellectuals, becoming one of the main sources of knowledge about the Colosseum. Between 1792 and 1805 Lucangeli had completed another cork model of "the actual state" of the Colosseum, which is now in Paris, at the École des Beaux-Arts. When Lucangeli died in 1812 the first wooden model still wasn't finished; it was completed only in 1815 by his son-in-law Paolo Dalbono and other artists. They added to it the ipogei of the arena (that were excavated after Lucangeli's death and by his will), the seats and the velarium.
Lucangeli's model had a tormented life: it was transported to London from 1815 to 1819; when it was shipped back the boxes were impounded at the Port of Rome because of customs problems. Lucangeli's heirs sold it to the rich collector Emanuele Godoy, who placed it in his house on the Celian hill. The model passed through several hands, until in 1855 Count Zeloni proposed to the (then Vatican) State to exhibit the model for a fee inside the Colosseum, even though he had pawned it at the Monte di Pietà (the Roman official pawnshop in 1851).
Foto: C. Conti & S. Orlandi / Il modello ligneo dell’Anfiteatro Flavio, di Carlo Lucangeli (2013).
www.flickr.com/photos/imperial_fora_of_rome/50880343347
The papal government did not accept that idea, and when Rome became the capital city of the new Italian nation, also the newborn Italian government remained unmoved.
In 1874 it was proposed that the State should redeem the model from the Monte di Pietà, but nothing happened. In 1879 the archaeologist Rodolfo Lanciani planned an Antiquarium - a Museum - on the first floor of the amphitheatre, but the works started only in 1883.
By now, the model was considerably ruined, because its detachable sections had been "heaped up like firewood", therefore it had to undergo restoration. In the end, in 1895 it returned to the Colosseum, but then it was temporarily moved to the Museo Nazionale Romano at Palazzo Altemps. Recently Now (Jan 2013) it has been announced that it should soon be back to the Colosseum to be exposed to the admiration of all.
Fonte / source:
--- ROME - The Lucangeli model (1796-1810). MODELS / In the XVIII century. THE COLOSSEUM.net (01/2021).
www.the-colosseum.net/architecture/models.htm
Foto: C. Conti & S. Orlandi / Il modello ligneo dell’Anfiteatro Flavio, di Carlo Lucangeli (2001 & 2013).
www.flickr.com/photos/imperial_fora_of_rome/50880343907
2). ROMA - "IL MODELLO IN LEGNO DEL COLOSSEO DI CARLO LUCANGELI." - Questo modello fu realizzato tra il 1796 e il 1810; è smontabile secondo le partidell’organismo architettonico. È costruito in legno, con le superfici a vista dipinte, concolori coerenti all’originale: bianco-avorio il travertino, rosa-bruno il laterizio, verdiccio il conglomerato cementizio, grigio-bruno il peperino. Le carrucole del velario sono miniature inmetallo e legno, funzionanti. Inoltre, alcuni particolari dell’edificio sono resi con miniature inmetallo: ringhiere, inferriate, griglie per lo scarico delle acque; questi elementi, al vero in bronzo e ferro forgiato, sono nel modello fusioni di stagno e piombo; inoltre di piombo e stagno sono anche i 240 archivolti sul prospetto. La scala è 1:60; è alto 82 cm, mentre l’asse maggiore è 3,05 e il minore 2,49. Questo è il modello che vedevamo in mostra al I piano del Colosseo, ma era stato ridipinto in tempera bianca. Fu spolverato nel 2000 per l’esposizione “Sangue e arena” e alloravennero alla luce le cromie originali: fu riconosciuto come opera di Carlo Lucangeli, eseguitonell’età napoleonica. Oggi è nel Laboratorio di restauro di Palazzo Altemps.
Fonte / source:
--- Cinzia Conti, Il modello ligneo dell'Anfiteatro Flavio, di Carlo Lucangeli - osservazioni nel corso di restauro; in: Adriano La Regina (edt.), Sangue e Arena. Milano / Electa (2001): 117-125 [in PDF].
PDF = Cinzia Conti, (2001): 117-125 / wp.me/pbMWvy-12o
Fonte / source:
--- Pietro Ercole Visconti, "IL MODELLO IN LEGNO DEL COLOSSEO DI CARLO LUCANGELI." Roma (1851): 1-15 [in PDF].
PDF = Pietro Ercole Visconti, (1851): 1-15 / wp.me/pbMWvy-12o
S.v.,
--- Lucangeli, Carlo. 1747?-1812: Il Colosseo di Roma della grandezza di palmi 2449 di circonferenza, ridotto alla circonferenza di palmi 40 49/60 misura lineale dall'uno al sessanta opera mirabile di Carlo Lucangeli romano ultimata dal di lui Genero Paolo Dalbono.. Roma 1813; in: DAI / ARACHNE / University of Cologne
Archaeological Institute (01/2021).
arachne.uni-koeln.de/arachne/index.php?view[layout]=buch_item&search[constraints][buch][searchSeriennummer]=3644
Foto / fonte / sources:
--- C. Conti & S. Orlandi, Sui travertini del Colosseo, tra restauro ed epigrafia. Rend. Pont. Acc., 85, (2013): 71-87 [in PDF]. Silvia Orlandi / academia.edu. (01/2021).
www.academia.edu/6901954/C_Conti_S_Orlandi_Sui_travertini...
ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2021. Pietro Ercole Visconti, "IL MODELLO IN LEGNO DEL COLOSSEO DI CARLO LUCANGELI." Roma (1851): 1-15 [in PDF]; S.v., Cinzia Conti, Il modello ligneo dell'Anfiteatro Flavio, di Carlo Lucangeli - osservazioni nel corso di restauro; in: Adriano La Regina (edt.), Sangue e Arena. Milano / Electa (2001): 117-125 [in PDF] & C. Conti & S. Orlandi, Rend. Pont. Acc., 85, (2013): 71-87 [in PDF]. wp.me/pbMWvy-12o
Foto: ROMA – “IL MODELLO IN LEGNO DEL COLOSSEO DI CARLO LUCANGELI.” Roma (1813 [1851]).
www.flickr.com/photos/imperial_fora_of_rome/50879528133
1). ROME - The Lucangeli model (1796-1810). The most famous model of the Colosseum is without any doubt the wooden reconstruction by Carlo Lucangeli. Lucangeli worked on it for 22 years, starting in 1790. He was the one who undertook the first scientific survey of the Colosseum in order to identify the architectural details. His studies led to the discovery of hidden parts of the monument, like the wall of the retropodio and the so-called Passaggio di Commodo.
Foto: C. Conti & S. Orlandi / Il modello ligneo dell’Anfiteatro Flavio, di Carlo Lucangeli (2013).
www.flickr.com/photos/imperial_fora_of_rome/50880343337
Lucangeli's notes [= Pietro Ercole Visconti, Roma (1851): 1-15] were published after his death and circulated among the intellectuals, becoming one of the main sources of knowledge about the Colosseum. Between 1792 and 1805 Lucangeli had completed another cork model of "the actual state" of the Colosseum, which is now in Paris, at the École des Beaux-Arts. When Lucangeli died in 1812 the first wooden model still wasn't finished; it was completed only in 1815 by his son-in-law Paolo Dalbono and other artists. They added to it the ipogei of the arena (that were excavated after Lucangeli's death and by his will), the seats and the velarium.
Lucangeli's model had a tormented life: it was transported to London from 1815 to 1819; when it was shipped back the boxes were impounded at the Port of Rome because of customs problems. Lucangeli's heirs sold it to the rich collector Emanuele Godoy, who placed it in his house on the Celian hill. The model passed through several hands, until in 1855 Count Zeloni proposed to the (then Vatican) State to exhibit the model for a fee inside the Colosseum, even though he had pawned it at the Monte di Pietà (the Roman official pawnshop in 1851).
Foto: C. Conti & S. Orlandi / Il modello ligneo dell’Anfiteatro Flavio, di Carlo Lucangeli (2013).
www.flickr.com/photos/imperial_fora_of_rome/50880343347
The papal government did not accept that idea, and when Rome became the capital city of the new Italian nation, also the newborn Italian government remained unmoved.
In 1874 it was proposed that the State should redeem the model from the Monte di Pietà, but nothing happened. In 1879 the archaeologist Rodolfo Lanciani planned an Antiquarium - a Museum - on the first floor of the amphitheatre, but the works started only in 1883.
By now, the model was considerably ruined, because its detachable sections had been "heaped up like firewood", therefore it had to undergo restoration. In the end, in 1895 it returned to the Colosseum, but then it was temporarily moved to the Museo Nazionale Romano at Palazzo Altemps. Recently Now (Jan 2013) it has been announced that it should soon be back to the Colosseum to be exposed to the admiration of all.
Fonte / source:
--- ROME - The Lucangeli model (1796-1810). MODELS / In the XVIII century. THE COLOSSEUM.net (01/2021).
www.the-colosseum.net/architecture/models.htm
Foto: C. Conti & S. Orlandi / Il modello ligneo dell’Anfiteatro Flavio, di Carlo Lucangeli (2001 & 2013).
www.flickr.com/photos/imperial_fora_of_rome/50880343907
2). ROMA - "IL MODELLO IN LEGNO DEL COLOSSEO DI CARLO LUCANGELI." - Questo modello fu realizzato tra il 1796 e il 1810; è smontabile secondo le partidell’organismo architettonico. È costruito in legno, con le superfici a vista dipinte, concolori coerenti all’originale: bianco-avorio il travertino, rosa-bruno il laterizio, verdiccio il conglomerato cementizio, grigio-bruno il peperino. Le carrucole del velario sono miniature inmetallo e legno, funzionanti. Inoltre, alcuni particolari dell’edificio sono resi con miniature inmetallo: ringhiere, inferriate, griglie per lo scarico delle acque; questi elementi, al vero in bronzo e ferro forgiato, sono nel modello fusioni di stagno e piombo; inoltre di piombo e stagno sono anche i 240 archivolti sul prospetto. La scala è 1:60; è alto 82 cm, mentre l’asse maggiore è 3,05 e il minore 2,49. Questo è il modello che vedevamo in mostra al I piano del Colosseo, ma era stato ridipinto in tempera bianca. Fu spolverato nel 2000 per l’esposizione “Sangue e arena” e alloravennero alla luce le cromie originali: fu riconosciuto come opera di Carlo Lucangeli, eseguitonell’età napoleonica. Oggi è nel Laboratorio di restauro di Palazzo Altemps.
Fonte / source:
--- Cinzia Conti, Il modello ligneo dell'Anfiteatro Flavio, di Carlo Lucangeli - osservazioni nel corso di restauro; in: Adriano La Regina (edt.), Sangue e Arena. Milano / Electa (2001): 117-125 [in PDF].
PDF = Cinzia Conti, (2001): 117-125 / wp.me/pbMWvy-12o
Fonte / source:
--- Pietro Ercole Visconti, "IL MODELLO IN LEGNO DEL COLOSSEO DI CARLO LUCANGELI." Roma (1851): 1-15 [in PDF].
PDF = Pietro Ercole Visconti, (1851): 1-15 / wp.me/pbMWvy-12o
S.v.,
--- Lucangeli, Carlo. 1747?-1812: Il Colosseo di Roma della grandezza di palmi 2449 di circonferenza, ridotto alla circonferenza di palmi 40 49/60 misura lineale dall'uno al sessanta opera mirabile di Carlo Lucangeli romano ultimata dal di lui Genero Paolo Dalbono.. Roma 1813; in: DAI / ARACHNE / University of Cologne
Archaeological Institute (01/2021).
arachne.uni-koeln.de/arachne/index.php?view[layout]=buch_item&search[constraints][buch][searchSeriennummer]=3644
Foto / fonte / sources:
--- C. Conti & S. Orlandi, Sui travertini del Colosseo, tra restauro ed epigrafia. Rend. Pont. Acc., 85, (2013): 71-87 [in PDF]. Silvia Orlandi / academia.edu. (01/2021).
www.academia.edu/6901954/C_Conti_S_Orlandi_Sui_travertini...
»Römische Elegien«
I.
Saget, Steine, mir an, o sprecht, ihr hohen Paläste!
Straßen, redet ein Wort! Genius, regst du dich nicht?
Ja, es ist alles beseelt in deinen heiligen Mauern,
Ewige Roma; nur mir schweiget noch alles so still.
O wer flüstert mir zu, an welchem Fenster erblick ich
Einst das holde Geschöpf, das mich versengt und erquickt?
Ahn’ ich die Wege noch nicht, durch die ich immer und immer,
Zu ihr und von ihr zu gehn, opfre die köstliche Zeit?
Noch betracht’ ich Kirch’ und Palast, Ruinen und Säulen,
Wie ein bedächtiger Mann schicklich die Reise benutzt.
Doch bald ist es vorbei; dann wird ein einziger Tempel,
Amors Tempel nur sein, der den Geweihten empfängt.
Eine Welt zwar bist du, o Rom; doch ohne die Liebe
Wäre die Welt nicht die Welt, wäre denn Rom auch nicht Rom.
J. W. von Goethe
"Anphitheatrum Flavlum", fu costruito dall'Imperatore Vespasiano, nel 72 d.c. circa, e inaugurato da suo figlio Tito nell'80 d.c.
Circonferenza: 527 m
Altezza: 57 m
Capienza: 70.000 posti
Asse maggiore dell'ellisse: 188 m
Asse minore dell'ellisse: 156 m
Piani: i primi 3 costituiti da arcate inquadrate da semicolonne, il quarto piano e' scompartito da lesene e vi erano inseriti i pali che sorreggevano il grande velario a spicchi per riparare gli spettatori dal sole.
Dimensioni dell'arena: 76 m x 46
"Io venia pien d'angoscia a rimirarti:
E tu pendevi allor su quella selva
Siccome or fai, che tutta la rischiari.
Ma nebuloso e tremulo dal pianto
Che mi sorgea sul ciglio, alle mie luci
Il tuo volto apparia, che travagliosa
Era mia vita: ed è, né cangia stile,
O mia diletta luna."
(G. Leopardi - Alla luna)
Kebun Raya Bogor, Indonesia
(Bogor Botanical Gardens, Indonesia).
Parmentiera cereifera Seem. Bignoniaceae. CN: Candletree, Palo de velas, Velario. Native to Panama; elsewhere cultivated. grows up to 6 meters tall. The oppositely-arranged leaves are each made up of three leaflets. They are borne on winged petioles up to 5 centimeters long. The flowers emerge directly on the bark; solitary or borne in a cluster of up to four. The five-lobed corolla is greenish white. The fruit is a taper-shaped berry up to 60 centimeters long. It is green, ripening yellow, and waxy in texture. The fleshy fruit is edible.
Ref. and suggested reading:
Kebun Raya Bogor, Indonesia
(Bogor Botanical Gardens, Indonesia).
Parmentiera cereifera Seem. Bignoniaceae. CN: Candletree, Palo de velas, Velario. Native to Panama; elsewhere cultivated. grows up to 6 meters tall. The oppositely-arranged leaves are each made up of three leaflets. They are borne on winged petioles up to 5 centimeters long. The flowers emerge directly on the bark; solitary or borne in a cluster of up to four. The five-lobed corolla is greenish white. The fruit is a taper-shaped berry up to 60 centimeters long. It is green, ripening yellow, and waxy in texture. The fleshy fruit is edible.
Ref. and suggested reading:
Son nato ieri che mi sbigottisce
il carabo fuggente, e mi trastullo
della cetonia risopita sullo
stame, dell'erba, delle pietre lisce?
E quel velario azzurro tutto a strisce,
si chiama "cielo"? E "monti" questo brullo?
Oggi il mio cuore è quello d'un fanciullo,
se pur la tempia già s'impoverisce.
Non la voce così dell'Infinito,
né mai così la verità del Tutto
sentii levando verso i cieli puri
la maschera del volto sbigottito:
"Nulla s'acquista e nulla va distrutto:
o eternità dei secoli futuri!".
(Guido Gozzano, "Ora di grazia" tratto da "La via del rifugio")
Time of grace
I was born yesterday that terrified me
the ground beetle in flight, and I plaything
with the dozing rose chafer
on stamens, with grass, with rocks smooth?
And that all blue-striped awning,
is called "heaven"? And "mountains" this bleak?
Today my heart is that of a child,
though the temple already becomes impoverished.
Not so the voice of the Infinite,
never so the truth of the Whole
I heard raising to the skies pure
the mask of the face stunned:
"Nothing is gained and nothing is destroyed:
or eternity of future ages. "
Guido Gozzano, Italian poet (1883-1916), "Ora di grazia".
Textures: UsedCanvas5, “UsedCanvas2" and “Painted Canvas 1" all by Skeletal Mess
El Coliseo contaba con una cubierta de tela desplegable accionada mediante poleas. Esta cubierta, hecha primero con tela de vela y luego sustituida por lino (más ligero), se apoyaba en un entramado de cuerdas del que poco se sabe. Cada sector de tela podía moverse por separado de los de alrededor, y eran accionados por un destacamento de marineros de la flota romana.
En la parte superior de la fachada se han identificado los huecos en los que se colocaban los 250 mástiles de madera que soportaban los cables. Al parecer las cuerdas se anclaban en el suelo, pues de otro modo los mástiles soportarían demasiado peso. A tal efecto había un anillo concéntrico de piedras o cipos situados a 18 metros de la fachada en la explanada exterior, y que también permitían el control del público para evitar aglomeraciones. La franja entre la fachada y los cipos estaba pavimentada con travertino.
Kebun Raya Bogor, Indonesia
(Bogor Botanical Gardens, Indonesia).
Parmentiera cereifera Seem. Bignoniaceae. CN: Candletree, Palo de velas, Velario. Native to Panama; elsewhere cultivated. grows up to 6 meters tall. The oppositely-arranged leaves are each made up of three leaflets. They are borne on winged petioles up to 5 centimeters long. The flowers emerge directly on the bark; solitary or borne in a cluster of up to four. The five-lobed corolla is greenish white. The fruit is a taper-shaped berry up to 60 centimeters long. It is green, ripening yellow, and waxy in texture. The fleshy fruit is edible.
Ref. and suggested reading:
Kebun Raya Bogor, Indonesia
(Bogor Botanical Gardens, Indonesia).
Parmentiera cereifera Seem. Bignoniaceae. CN: Candletree, Palo de velas, Velario. Native to Panama; elsewhere cultivated. grows up to 6 meters tall. The oppositely-arranged leaves are each made up of three leaflets. They are borne on winged petioles up to 5 centimeters long. The flowers emerge directly on the bark; solitary or borne in a cluster of up to four. The five-lobed corolla is greenish white. The fruit is a taper-shaped berry up to 60 centimeters long. It is green, ripening yellow, and waxy in texture. The fleshy fruit is edible.
Ref. and suggested reading:
Kebun Raya Bogor, Indonesia
(Bogor Botanical Gardens, Indonesia).
Parmentiera cereifera Seem. Bignoniaceae. CN: Candletree, Palo de velas, Velario. Native to Panama; elsewhere cultivated. grows up to 6 meters tall. The oppositely-arranged leaves are each made up of three leaflets. They are borne on winged petioles up to 5 centimeters long. The flowers emerge directly on the bark; solitary or borne in a cluster of up to four. The five-lobed corolla is greenish white. The fruit is a taper-shaped berry up to 60 centimeters long. It is green, ripening yellow, and waxy in texture. The fleshy fruit is edible.
Ref. and suggested reading:
Kebun Raya Bogor, Indonesia
(Bogor Botanical Gardens, Indonesia).
Parmentiera cereifera Seem. Bignoniaceae. CN: Candletree, Palo de velas, Velario. Native to Panama; elsewhere cultivated. grows up to 6 meters tall. The oppositely-arranged leaves are each made up of three leaflets. They are borne on winged petioles up to 5 centimeters long. The flowers emerge directly on the bark; solitary or borne in a cluster of up to four. The five-lobed corolla is greenish white. The fruit is a taper-shaped berry up to 60 centimeters long. It is green, ripening yellow, and waxy in texture. The fleshy fruit is edible.
Ref. and suggested reading:
Kebun Raya Bogor, Indonesia
(Bogor Botanical Gardens, Indonesia).
Parmentiera cereifera Seem. Bignoniaceae. CN: Candletree, Palo de velas, Velario. Native to Panama; elsewhere cultivated. grows up to 6 meters tall. The oppositely-arranged leaves are each made up of three leaflets. They are borne on winged petioles up to 5 centimeters long. The flowers emerge directly on the bark; solitary or borne in a cluster of up to four. The five-lobed corolla is greenish white. The fruit is a taper-shaped berry up to 60 centimeters long. It is green, ripening yellow, and waxy in texture. The fleshy fruit is edible.
Ref. and suggested reading:
Kebun Raya Bogor, Indonesia
(Bogor Botanical Gardens, Indonesia).
Parmentiera cereifera Seem. Bignoniaceae. CN: Candletree, Palo de velas, Velario. Native to Panama; elsewhere cultivated. grows up to 6 meters tall. The oppositely-arranged leaves are each made up of three leaflets. They are borne on winged petioles up to 5 centimeters long. The flowers emerge directly on the bark; solitary or borne in a cluster of up to four. The five-lobed corolla is greenish white. The fruit is a taper-shaped berry up to 60 centimeters long. It is green, ripening yellow, and waxy in texture. The fleshy fruit is edible.
Ref. and suggested reading:
Kebun Raya Bogor, Indonesia
(Bogor Botanical Gardens, Indonesia).
Parmentiera cereifera Seem. Bignoniaceae. CN: Candletree, Palo de velas, Velario. Native to Panama; elsewhere cultivated. grows up to 6 meters tall. The oppositely-arranged leaves are each made up of three leaflets. They are borne on winged petioles up to 5 centimeters long. The flowers emerge directly on the bark; solitary or borne in a cluster of up to four. The five-lobed corolla is greenish white. The fruit is a taper-shaped berry up to 60 centimeters long. It is green, ripening yellow, and waxy in texture. The fleshy fruit is edible.
Ref. and suggested reading: