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Graffiti on the underpass on the via Ostiense.
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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
La #PiramideCestia sulla #ViaOstiense, fu costruita tra il 18 e il 12 a.C. come tomba per #GaioCestioEpulone, un membro dei #SeptemviriEpulones (collegio religioso che si occupava di allestire banchetti pubblici), in calcestruzzo e mattoni rivestiti di lastre di #marmodiCarrara. Alta 36,40 metri con una base quadrata di circa 30 metri di lato, fu costruita in soli 330 giorni perché Gaio Cestio dispose espressamente nel suo testamento che gli eredi gli innalzassero il sepolcro piramidale entro tale termine, pena la perdita della ricca eredità, come ricorda l'iscrizione scolpita sul fianco orientale del monumento. Gli eredi si affrettarono ad eseguire la disposizione testamentaria, tanto che, sembra, avessero completato la costruzione con qualche giorno di anticipo. La forma si deve probabilmente alla volontà di emulazione conseguente al fatto che l'Egitto era divenuto provincia romana alcuni anni prima (30 a.C.). La resistenza strutturale del calcestruzzo ha permesso tuttavia di costruire la piramide romana con un angolo molto più acuto di quelle dell’Egitto. All’interno vi è un'unica camera sepolcrale di circa 6 metri x 4 coperta da una volta a botte e oggi completamente spoglia. Nel III secolo la piramide fu incorporata nelle #MuraAureliane diventandone un bastione mentre, ai suoi piedi, dal XVIII secolo si cominciò a seppellire gli stranieri non cattolici morti a Roma e il sito fu ufficializzato nel 1821 come #CimiterodegliInglesi (tra gli altri #JohnKeats, #PercyShelley e #AntonioGramsci).
The Piramide Cestia on the Via Ostiense, was built between 18 and 12 BC as a tomb for Gaius Cestius Dives, a member of Septemviri Epulones (religious corporation that was in charge of setting up public banquets), in concrete and bricks covered with slabs of marble from Carrara. 36.40 meters high with a square base of 30 meters on each side, it was built in just 330 days, because Gaius Cestius expressly stipulated in her will that the heirs had to built the pyramidal tomb within that period, or risk losing the rich heritage, as noted in the inscription carved on the eastern side of the monument. The heirs hastened to execute the testamentary disposition, so much so that, it seems, had completed construction few days before deadline. The shape is probably due to a desire for emulation consequent to the fact that Egypt became a Roman province a few years earlier (30 BC). The structural strength of concrete, however, allowed to build the Roman pyramid with a much more acute angle than those of Egypt. Inside there is a single burial chamber of about 6 meters x 4 covered by a barrel vault and now completely bare. In the third century the pyramid was incorporated into the Aurelian Walls becoming a bastion of it while, at his feet, from the eighteenth century, some well known non Catholics foreigners dead in Rome were buried there and the site was formalized in 1821 as the British Cemetery (among others John Keats, Percy Shelley and Antonio Gramsci).
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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
La #BasilicadiSanPaolo fuori le Mura, danneggiata dal recente terremoto, è una delle 4 basiliche papali di Roma, la seconda più grande dopo quella di #SanPietro in Vaticano. Sorge lungo la #viaOstiense vicino la riva sinistra del Tevere, circa 2 km fuori le #muraAureliane. Si erge sul luogo che la tradizione indica come quello della sepoltura dell'apostolo Paolo la cui tomba si trova sotto l'altare papale e nel corso dei secoli è stata costante meta di pellegrinaggi. L’originale struttura paleocristiana venne sostituita completamente sotto il regno congiunto degli imperatori Teodosio I, Graziano e Valentiniano II (391), e rimarrà sostanzialmente intatta fino ad un disastroso incendio avvenuto nel 1823. Tra le poche opere superstiti di quel drammatico evento ci fu il #ciborio gotico di #ArnolfodiCambio (1285) tutt’ora presente sopra l’altare. La ricostruzione nelle forme attuali fu voluta da #LeoneXII nel 1825 e fu possibile anche grazie alle generose offerte provenienti da buona parte del mondo cristiano.
The Basilica of St. Paul outside the Walls, damaged by the recent earthquake, is one of the 4 papal basilicas of Rome, the second largest after that of St. Peter in Vatican. It's located along the Ostiense street near the left bank of the Tiber, about 2 km outside the Aurelian walls. It stands on the site that tradition identifies as the burial site of the apostle Paul whose tomb lies beneath the papal altar, and over the centuries has been constant destination of pilgrimage. The original early Christian structure was completely replaced under the joint reign of Emperor Theodosius I, Gratian and Valentinian II (391), and will remain substantially intact until a disastrous fire happened in 1823. Among the few surviving works of that dramatic event there was the Gothic ciborium by Arnolfo di Cambio (1285) still presents on the altar. The reconstruction in its present form was ordered by Leo XII in 1825 and was made possible thanks to the generous donations from much of the Christian world.
testo di Alessandro Loschiavo
This funerary relief is carved with portraits of the deceased: the husband and wife, to the sides, are united in a ceremonial handshake (dextrarum iunctio), while at the centre a child, whose face has been lost, clutches a dove in his hands to symbolise the purity of his soul. The hairstyles of the portrayed characters refer to a time between the late Flavian and early Trajanic periods.
The inscription identifies all three figures:
A(uli) Deci Spintheris, A(uli) Deci Felicionis, Deciae Spendusae
The husband is A. Decius Spinther and the wife is Decia Spendusa. Both were probably once slaves to a man named Decius. The boy is identified as A. Decius Felicio.
The father holds a rotulus (parchment roll), the top of which has been broken off; the rotulus might be the marriage contract (tabulae nuptiales), or perhaps it signifies his status as a literate man. His head is oddly large, out of proportion to his small-shouldered torso (maybe it was recarved).
Valentin Kockel surveyed hundreds of similar portraits, and says, “The clients who commissioned the portraits belonged overwhelmingly to the freedman class... …the reliefs reflected the aspirations and ideals of that class. The format, with frontal figures standing shoulder to shoulder, was inspired by honorific statues of magistrates set in public places; the wearing of the toga expressed the newly won citizen status of the menfolk; the emphasis on marital ties declared the legitimacy of their families” (Ling, Roger. Review of Kockel (1993). The Classical Review 46 (1996) 191-192)
Found in the Columbarium along the Via Ostiense, behind the Basilica of St. Paul (1898).
Roman, from Rome, ca. 100 CE. Lunense marble.
Museo Nazionale Romano, Palazzo Massimo alle Terme (inv. 72480)
The painting depicts a mix of ancient and post-antique landscapes and structures.
Designed by Giorgio Pascolini, painted by G. Marelli, 1954.
Oil painting
Museo delle Mura, Rome
The painting depicts a mix of ancient and post-antique landscapes and structures.
Designed by Giorgio Pascolini, painted by G. Marelli, 1954.
Oil painting
Places depicted in this detail:
Porta Ostiensis, Sepulcrum C. Cesti, Posterula Ostiensis, Ponte della Moletta, Almo rivus, sepulcretum, sepulcrum Timothei, coemeterium Commodillae, Basilica S. Pauli, Fosso di Grotta Perfetta, Ponticello di S. Paolo, Coemeterium S. Theclae, Vicus Alexandri, Fosso delle Tre Fontane, Ponte Fratta, Aquae Salviae (Tre Fontane), Lucus Fratrum Arvalium, sepulcrum M. Antii Lupi, rivus Albanus, Ponte dell'Arca, templum, torrino.
Museo della via Ostiense, Rome
The painting depicts a mix of ancient and post-antique landscapes and structures.
Designed by Giorgio Pascolini, painted by G. Marelli, 1954.
Oil painting
Museo della via Ostiense, Rome
The painting depicts a mix of ancient and post-antique landscapes and structures.
Designed by Giorgio Pascolini, painted by G. Marelli, 1954.
Oil painting
Places depicted in this detail:
Portus Augusti, Portus Traiani, Via Portuensis, Torre Clementina, Fossa Traiana, Capo Due Rami, sepulcretum (Isola Sacra)
Museo della via Ostiense, Rome
The painting depicts a mix of ancient and post-antique landscapes and structures.
Designed by Giorgio Pascolini, painted by G. Marelli, 1954.
Oil painting
Places depicted in this detail:
Acilia, Salinae, stagno ostiense, S. Aurea, Ostia, Torre Boacciana, Torre S. Michele, Via Severiana, Isola Sacra, sepulcretum, Capo Due Rami, Fossa Traiana, Portus Traiani
Museo della via Ostiense, Rome
The painting depicts a mix of ancient and post-antique landscapes and structures.
Designed by Giorgio Pascolini, painted by G. Marelli, 1954.
Oil painting
Museo della via Ostiense, Rome
The painting depicts a mix of ancient and post-antique landscapes and structures.
Designed by Giorgio Pascolini, painted by G. Marelli, 1954.
Oil painting
Places depicted in this detail:
Sepulcretum, sepulcrum Timothei, coemeterium Commodillae, Basilica S. Pauli, Fosso di Grotta Perfetta, Ponticello di S. Paolo, Coemeterium S. Theclae, Vicus Alexandri, Fosso delle Tre Fontane, Ponte Fratta, Aquae Salviae (Tre Fontane), Lucus Fratrum Arvalium, sepulcrum M. Antii Lupi, rivus Albanus, Ponte dell'Arca, templum, torrino.
Museo della via Ostiense, Rome
The painting depicts a mix of ancient and post-antique landscapes and structures.
Designed by Giorgio Pascolini, painted by G. Marelli, 1954.
Oil painting
Places depicted in this detail:
Portus Augusti, Portus Traiani, Fossa Traiana, Capo Due Rami, sepulcretum (Isola Sacra)
Museo della via Ostiense, Rome
The painting depicts a mix of ancient and post-antique landscapes and structures.
Designed by Giorgio Pascolini, painted by G. Marelli, 1954.
Oil painting
Places depicted in this detail:
Via Severiania, Laurentinum C. Plinii, villa, Vicus Augustanus Laurentium
Museo della via Ostiense, Rome
The painting depicts a mix of ancient and post-antique landscapes and structures.
Designed by Giorgio Pascolini, painted by G. Marelli, 1954.
Oil painting
Places depicted in this detail:
Villa, Ponte Ladrone, Ficana, Monti di S. Paolo, Acilia, Salinae, stagno ostiense, S. Aurea, Ostia, Torre Boacciana, Torre S. Michele, Via Severiana, Laurentium C. Plinii, villa, Isola Sacra, sepulcretum, Capo Due Rami, Fossa Traiana, Torre Clementina, Portus Traiani, via Portuensis
Museo della via Ostiense, Rome
Questo è uno dei pochi nasoni romani che mantengono la vasca di raccolta delle acque necessaria per l'abbeveraggio degli animali.
Beautiful mosaics. Built by Pope Honorius III, whose name is in very small letters near the foot of the throne, and near the tiny figure of him, just next to Christ’s right foot.
Foto di Alvaro, Elisabetta ed Ombretta de Alvariis in Ostia Antica;
- Testi della Soprintendenza per i Beni Archeologici di Ostia
Funerary altar made by lulus Hermes for his wife Cantinea Procla. The woman can be identified as a priestess of Isis by some elements of her representation: the headgear (basileion) formed by two grain ears, surmounted by a snake - instead of the crescent moon worn by the simple initiated - the fringed cloak, the situla in her left hand; the right one held a sistrum, the musical instrument - a rattle - used during religious rites.
The two sides of the altar show the wicker basket that contained the instruments of sacrifice - a cista mystica - wrapped in the coils of a snake.
Rome, via Ostiense
End of the 1st century CE
Museo Nazionale Romano, Baths of Diocletian
Foto di Alvaro, Elisabetta ed Ombretta de Alvariis in Ostia Antica;
- Testi della Soprintendenza per i Beni Archeologici di Ostia
Foto di Alvaro, Elisabetta ed Ombretta de Alvariis in Ostia Antica;
- Testi della Soprintendenza per i Beni Archeologici di Ostia
The Porta San Paolo is one of the southern gates in the 3rd-century Aurelian Walls of Rome, central Italy. The Ostiense Museum is housed within in the gatehouse. Just to the west is the Pyramid of Cestius, an Egyptian-style pyramid, and beyond that is the Protestant Cemetery.
The original name of the gate was Porta Ostiensis because it was located of the beginning of via Ostiense, the road that connected Rome and Ostia where functioned as its main gate.