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In addition to shooting with my Mamiya 645 I shot a roll of Delta 100 in my new Meikai EL which is a vintage toy camera from Japan. I developed in ID-11 and pushed to 200. I was really surprised by the results. I got some really good exposures and I shot without a meter. Also the images were pretty sharp for a toy camera and no light leaks.
View from the front showing all sections with electrical chadeliers (by Cir-Kit concepts) lit. Custom floor, stone, tile roof, pediment made by Goliath Miniatures. Columns by Lawbre. There is a lower level - octagon, upper level - octagon, front porch/entry - squarish, and alcove - squarish. In other pictures we have included furniture, plants, and a statue to give you an idea of the size and flexibility of the rooms. We do not see these as conservatories, but as rooms - you can use any furniture, not just wicker.
A old roman or greek statue in a Berlin museum. Very nicely displayed with a great contrast of the pale stone and the bright red background. Picture taken by me in a Berlin museum.
Covent Garden (/ˈkɒvənt/) is a district in London on the eastern fringes of the West End, between St. Martin's Lane and Drury Lane. It is associated with the former fruit and vegetable market in the central square, now a popular shopping and tourist site, and the Royal Opera House, which is also known as "Covent Garden". The district is divided by the main thoroughfare of Long Acre, north of which is given over to independent shops centred on Neal's Yard and Seven Dials, while the south contains the central square with its street performers and most of the elegant buildings, theatres and entertainment facilities, including the Theatre Royal, Drury Lane, and the London Transport Museum.
Though mainly fields until the 16th century, the area was briefly settled when it became the heart of the Anglo-Saxon trading town of Lundenwic. After the town was abandoned, part of the area was walled off by 1200 for use as arable land and orchards by Westminster Abbey, and was referred to as "the garden of the Abbey and Convent". The land, now called "the Covent Garden", was seized by Henry VIII, and granted to the Earls of Bedford in 1552. The 4th Earl commissioned Inigo Jones to build some fine houses to attract wealthy tenants. Jones designed the Italianate arcaded square along with the church of St Paul's. The design of the square was new to London, and had a significant influence on modern town planning, acting as the prototype for the laying-out of new estates as London grew. A small open-air fruit and vegetable market had developed on the south side of the fashionable square by 1654. Gradually, both the market and the surrounding area fell into disrepute, as taverns, theatres, coffee-houses and brothels opened up; the gentry moved away, and rakes, wits and playwrights moved in. By the 18th century it had become a well-known red-light district, attracting notable prostitutes. An Act of Parliament was drawn up to control the area, and Charles Fowler's neo-classical building was erected in 1830 to cover and help organise the market. The area declined as a pleasure-ground as the market grew and further buildings were added: the Floral Hall, Charter Market, and in 1904 the Jubilee Market. By the end of the 1960s traffic congestion was causing problems, and in 1974 the market relocated to the New Covent Garden Market about three miles (5 km) south-west at Nine Elms. The central building re-opened as a shopping centre in 1980, and is now a tourist location containing cafes, pubs, small shops, and a craft market called the Apple Market, along with another market held in the Jubilee Hall.
Covent Garden, with the postcode WC2, falls within the London boroughs of Westminster and Camden, and the parliamentary constituencies of Cities of London and Westminster and Holborn and St Pancras. The area has been served by the Piccadilly line at Covent Garden tube station since 1907; the journey from Leicester Square, at 300 yards, is the shortest in London.
Early history
The route of the Strand on the southern boundary of what was to become Covent Garden was used during the Roman period as part of a route to Silchester, known as "Iter VII" on the Antonine Itinerary. Excavations in 2006 at St Martin-in-the-Fields revealed a Roman grave, suggesting the site had sacred significance. The area to the north of the Strand was long thought to have remained as unsettled fields until the 16th century, but theories by Alan Vince and Martin Biddle that there had been an Anglo-Saxon settlement to the west of the old Roman town of Londinium were borne out by excavations in 1985 and 2005. These revealed Covent Garden as the centre of a trading town called Lundenwic, developed around 600 AD, which stretched from Trafalgar Square to Aldwych. Alfred the Great gradually shifted the settlement into the old Roman town of Londinium from around 886 AD onwards, leaving no mark of the old town, and the site returned to fields.
Around 1200 the first mention of an abbey garden appears in a document mentioning a walled garden owned by the Benedictine monks of the Abbey of St. Peter, Westminster. A later document, dated between 1250 and 1283, refers to "the garden of the Abbot and Convent of Westminster". By the 13th century this had become a 40-acre (16 ha) quadrangle of mixed orchard, meadow, pasture and arable land, lying between modern-day St. Martin's Lane and Drury Lane, and Floral Street and Maiden Lane. The use of the name "Covent"—an Anglo-French term for a religious community, equivalent to "monastery" or "convent" —appears in a document in 1515, when the Abbey, which had been letting out parcels of land along the north side of the Strand for inns and market gardens, granted a lease of the walled garden, referring to it as "a garden called Covent Garden". This is how it was recorded from then on.
The Bedford Estate (1552–1918)
After the Dissolution of the Monasteries in 1540, Henry VIII took for himself the land belonging to Westminster Abbey, including the convent garden and seven acres to the north called Long Acre; and in 1552 his son, Edward VI, granted it to John Russell, 1st Earl of Bedford. The Russell family, who in 1694 were advanced in their peerage from Earl to Duke of Bedford, held the land from 1552 to 1918.
Russell had Bedford House and garden built on part of the land, with an entrance on the Strand, the large garden stretching back along the south side of the old walled-off convent garden. Apart from this, and allowing several poor-quality tenements to be erected, the Russells did little with the land until the 4th Earl of Bedford, Francis Russell, an active and ambitious businessman, commissioned Inigo Jones in 1630 to design and build a church and three terraces of fine houses around a large square or piazza. The commission had been prompted by Charles I taking offence at the condition of the road and houses along Long Acre, which were the responsibility of Russell and Henry Carey, 2nd Earl of Monmouth. Russell and Carey complained that under the 1625 Proclamation concerning Buildings, which restricted building in and around London, they could not build new houses; the King then granted Russell, for a fee of £2,000, a licence to build as many new houses on his land as he "shall thinke fitt and convenient". The church of St Paul's was the first building, begun in July 1631 on the western side of the square. The last house was completed in 1637.
The houses initially attracted the wealthy, though when a market developed on the south side of the square around 1654, the aristocracy moved out and coffee houses, taverns, and prostitutes moved in. The Bedford Estate was expanded in 1669 to include Bloomsbury, when Lord Russell married Lady Rachel Vaughan, one of the daughters of the 4th Earl of Southampton.
By the 18th century, Covent Garden had become a well-known red-light district, attracting notable prostitutes such as Betty Careless and Jane Douglas. Descriptions of the prostitutes and where to find them were provided by Harris's List of Covent Garden Ladies, the "essential guide and accessory for any serious gentleman of pleasure". In 1830 a market hall was built to provide a more permanent trading centre. In 1913, Herbrand Russell, 11th Duke of Bedford agreed to sell the Covent Garden Estate for £2 million to the MP and land speculator Harry Mallaby-Deeley, who sold his option in 1918 to the Beecham family for £250,000.
Modern changes
Charles Fowler's 1830 neo-classical building restored as a retail market.
The Covent Garden Estate was part of Beecham Estates and Pills Limited from 1924 to 1928, after which time it was managed by a successor company called Covent Garden Properties Company Limited, owned by the Beechams and other private investors. This new company sold some properties at Covent Garden, while becoming active in property investment in other parts of London. In 1962 the bulk of the remaining properties in the Covent Garden area, including the market, were sold to the newly established government-owned Covent Garden Authority for £3,925,000.
By the end of the 1960s, traffic congestion had reached such a level that the use of the square as a modern wholesale distribution market was becoming unsustainable, and significant redevelopment was planned. Following a public outcry, buildings around the square were protected in 1973, preventing redevelopment. The following year the market moved to a new site in south-west London. The square languished until its central building re-opened as a shopping centre in 1980. An action plan was drawn up by Westminster Council in 2004 in consultation with residents and businesses to improve the area while retaining its historic character. The market buildings, along with several other properties in Covent Garden, were bought by a property company in 2006.
Geography
Historically, the Bedford Estate defined the boundary of Covent Garden, with Drury Lane to the east, the Strand to the south, St. Martin's Lane to the west, and Long Acre to the north. However, over time the area has expanded northwards past Long Acre to High Holborn, and since 1971, with the creation of the Covent Garden Conservation Area which incorporated part of the area between St Martins Lane and Charring Cross Road, the Western boundary is sometimes considered to be Charring Cross Road. Shelton Street, running parallel to the north of Long Acre, marks the London borough boundary between Camden and Westminster. Long Acre is the main thoroughfare, running north-east from St Martin's Lane to Drury Lane.
The area to the south of Long Acre contains the Royal Opera House, the market and central square, and most of the elegant buildings, theatres and entertainment facilities, including the Theatre Royal, Drury Lane, and the London Transport Museum; while the area to the north of Long Acre is largely given over to independent retail units centred on Neal Street, Neal's Yard and Seven Dials; though this area also contains residential buildings such as Odhams Walk, built in 1981 on the site of the Odhams print works, and is home to over 6,000 residents.
Governance
The Covent Garden estate was originally under the control of Westminster Abbey and lay in the parish of St Margaret. During a reorganisation in 1542 it was transferred to St Martin in the Fields, and then in 1645 a new parish was created, splitting governance of the estate between the parishes of St Paul Covent Garden and St Martin, both still within the Liberty of Westminster. St Paul Covent Garden was completely surrounded by the parish of St Martin in the Fields. It was grouped into the Strand District in 1855 when it came within the area of responsibility of the Metropolitan Board of Works.
In 1889 the parish became part of the County of London and in 1900 it became part of the Metropolitan Borough of Westminster. It was abolished as a civil parish in 1922. Since 1965 Covent Garden falls within the London boroughs of Westminster and Camden, and is in the Parliamentary constituencies of Cities of London and Westminster and Holborn and St Pancras. For local council elections it falls within the St James's ward for Westminster, and the Holborn and Covent Garden ward for Camden.
Economy
The area's historic association with the retail and entertainment economy continues. In 1979, Covent Garden Market reopened as a retail centre; in 2010, the largest Apple Store in the world opened in The Piazza. The central hall has shops, cafes and bars alongside the Apple Market stalls selling antiques, jewellery, clothing and gifts; there are additional casual stalls in the Jubilee Hall Market on the south side of the square. Long Acre has a range of clothes shops and boutiques, and Neal Street is noted for its large number of shoe shops. London Transport Museum and the side entrance to the Royal Opera House box office and other facilities are also located on the square. During the late 1970s and 1980s the Rock Garden music venue was popular with up and coming punk rock and New Wave artists.
The market halls and several other buildings in Covent Garden were bought by CapCo in partnership with GE Real Estate in August 2006 for £421 million, on a 150-year head lease. The buildings are let to the Covent Garden Area Trust, who pay an annual peppercorn rent of one red apple and a posy of flowers for each head lease, and the Trust protects the property from being redeveloped. In March 2007 CapCo also acquired the shops located under the Royal Opera House. The complete Covent Garden Estate owned by CapCo consists of 550,000 sq ft (51,000 m2), and has a market value of £650 million.
Landmarks
The Royal Opera House, often referred to as simply "Covent Garden", was constructed as the "Theatre Royal" in 1732 to a design by Edward Shepherd. During the first hundred years or so of its history, the theatre was primarily a playhouse, with the Letters Patent granted by Charles II giving Covent Garden and Theatre Royal, Drury Lane exclusive rights to present spoken drama in London. In 1734, the first ballet was presented; a year later Handel's first season of operas began. Many of his operas and oratorios were specifically written for Covent Garden and had their premières here. It has been the home of The Royal Opera since 1945, and the Royal Ballet since 1946.
The current building is the third theatre on the site following destructive fires in 1808 and 1857. The façade, foyer and auditorium were designed by Edward Barry, and date from 1858, but almost every other element of the present complex dates from an extensive £178 million reconstruction in the 1990s. The Royal Opera House seats 2,268 people and consists of four tiers of boxes and balconies and the amphitheatre gallery. The stage performance area is roughly 15 metres square. The main auditorium is a Grade 1 listed building. The inclusion of the adjacent old Floral Hall, previously a part of the old Covent Garden Market, created a new and extensive public gathering place. In 1779 the pavement outside the playhouse was the scene of the murder of Martha Ray, mistress of the Earl of Sandwich, by her admirer the Rev. James Hackman.
Covent Garden square
Balthazar Nebot's 1737 painting of the square before the 1830 market hall was constructed.
The central square in Covent Garden is simply called "Covent Garden", often marketed as "Covent Garden Piazza" to distinguish it from the eponymous surrounding area. Laid out in 1630, it was the first modern square in London, and was originally a flat, open space or piazza with low railings. A casual market started on the south side, and by 1830 the present market hall was built. The space is popular with street performers, who audition with the site's owners for an allocated slot. The square was originally laid out when the 4th Earl of Bedford, Francis Russell, commissioned Inigo Jones to design and build a church and three terraces of fine houses around the site of a former walled garden belonging to Westminster Abbey. Jones's design was informed by his knowledge of modern town planning in Europe, particularly Piazza d'Arme, in Leghorn, Tuscany, Piazza San Marco in Venice, Piazza Santissima Annunziata in Florence, and the Place des Vosges in Paris. The centrepiece of the project was the large square, the concept of which was new to London, and this had a significant influence on modern town planning in the city,[56] acting as the prototype for the laying-out of new estates as the metropolis grew. Isaac de Caus, the French Huguenot architect, designed the individual houses under Jones's overall design.
The church of St Paul's was the first building, and was begun in July 1631 on the western side of the square. The last house was completed in 1637. Seventeen of the houses had arcaded portico walks organised in groups of four and six either side of James Street on the north side, and three and four either side of Russell Street. These arcades, rather than the square itself, took the name Piazza; the group from James Street to Russell Street became known as the "Great Piazza" and that to the south of Russell Street as the "Little Piazza". None of Inigo Jones's houses remain, though part of the north group was reconstructed in 1877–79 as Bedford Chambers by William Cubitt to a design by Henry Clutton.
Covent Garden market
The first record of a "new market in Covent Garden" is in 1654 when market traders set up stalls against the garden wall of Bedford House. The Earl of Bedford acquired a private charter from Charles II in 1670 for a fruit and vegetable market, permitting him and his heirs to hold a market every day except Sundays and Christmas Day. The original market, consisting of wooden stalls and sheds, became disorganised and disorderly, and the 6th Earl requested an Act of Parliament in 1813 to regulate it, then commissioned Charles Fowler in 1830 to design the neo-classical market building that is the heart of Covent Garden today. The contractor was William Cubitt and Company. Further buildings were added—the Floral hall, Charter Market, and in 1904 the Jubilee Market for foreign flowers was built by Cubitt and Howard.
By the end of the 1960s, traffic congestion was causing problems for the market, which required increasingly large lorries for deliveries and distribution. Redevelopment was considered, but protests from the Covent Garden Community Association in 1973 prompted the Home Secretary, Robert Carr, to give dozens of buildings around the square listed-building status, preventing redevelopment. The following year the market relocated to its new site, New Covent Garden Market, about three miles (5 km) south-west at Nine Elms. The central building re-opened as a shopping centre in 1980, with cafes, pubs, small shops and a craft market called the Apple Market. Another market, the Jubilee Market, is held in the Jubilee Hall on the south side of the square. The market halls and several other buildings in Covent Garden have been owned by the property company Capital & Counties Properties (CapCo) since 2006.
Theatre Royal, Drury Lane
The current Theatre Royal on Drury Lane is the most recent of four incarnations, the Second of which opened in 1663, making it the oldest continuously used theatre in London. For much of its first two centuries, it was, along with the Royal Opera House, a patent theatre granted rights in London for the production of drama, and had a claim to be one of London's leading theatres. The first theatre, known as "Theatre Royal, Bridges Street", saw performances by Nell Gwyn and Charles Hart. After it was destroyed by fire in 1672, English dramatist and theatre manager Thomas Killigrew engaged Christopher Wren to build a larger theatre on the same spot, which opened in 1674. This building lasted nearly 120 years, under leadership including Colley Cibber, David Garrick, and Richard Brinsley Sheridan. In 1791, under Sheridan's management, the building was demolished to make way for a larger theatre which opened in 1794; but that survived only 15 years, burning down in 1809. The building that stands today opened in 1812. It has been home to actors as diverse as Shakespearean actor Edmund Kean, child actress Clara Fisher, comedian Dan Leno, the comedy troupe Monty Python (who recorded a concert album there), and musical composer and performer Ivor Novello. Since November 2008 the theatre has been owned by composer Andrew Lloyd Webber and generally stages popular musical theatre. It is a Grade I listed building.
London Transport Museum
The London Transport Museum is in a Victorian iron and glass building on the east side of the market square. It was designed as a dedicated flower market by William Rogers of William Cubitt and Company in 1871, and was first occupied by the museum in 1980. Previously the transport collection had been held at Syon Park and Clapham. The first parts of the collection were brought together at the beginning of the 20th century by the London General Omnibus Company (LGOC) when it began to preserve buses being retired from service. After the LGOC was taken over by the London Electric Railway (LER), the collection was expanded to include rail vehicles. It continued to expand after the LER became part of the London Passenger Transport Board in the 1930s and as the organisation passed through various successor bodies up to TfL, London's transport authority since 2000. The Covent Garden building has on display many examples of buses, trams, trolleybuses and rail vehicles from 19th and 20th centuries as well as artefacts and exhibits related to the operation and marketing of passenger services and the impact that the developing transport network has had on the city and its population.
St Paul's Church
St Paul's, commonly known as the Actors' Church, was designed by Inigo Jones as part of a commission by Francis Russell in 1631 to create "houses and buildings fitt for the habitacons of Gentlemen and men of ability". Work on the church began that year and was completed in 1633, at a cost of £4,000, with it becoming consecrated in 1638. In 1645 Covent Garden was made a separate parish and the church was dedicated to St Paul. It is uncertain how much of Jones's original building is left, as the church was damaged by fire in 1795 during restoration work by Thomas Hardwick; though it is believed that the columns are original—the rest is mostly Georgian or Victorian reconstruction.
Culture
The Covent Garden area has long been associated with both entertainment and shopping, and this continues. Covent Garden has 13 theatres, and over 60 pubs and bars, with most south of Long Acre, around the main shopping area of the old market. The Seven Dials area in the north of Covent Garden was home to the punk rock club The Roxy in 1977, and the area remains focused on young people with its trendy mid-market retail outlets.
Street performance
Street entertainment at Covent Garden was noted in Samuel Pepys's diary in May 1662, when he recorded the first mention of a Punch and Judy show in Britain. Impromptu performances of song and swimming were given by local celebrity William Cussans in the eighteenth century. Covent Garden is licensed for street entertainment, and performers audition for timetabled slots in a number of venues around the market, including the North Hall, West Piazza, and South Hall Courtyard. The courtyard space is dedicated to classical music only. There are street performances at Covent Garden Market every day of the year, except Christmas Day. Shows run throughout the day and are about 30 minutes in length. In March 2008, the market owner, CapCo, proposed to reduce street performances to one 30-minute show each hour.
Pubs and bars
The Covent Garden area has over 60 pubs and bars; several of them are listed buildings, with some also on CAMRA's National Inventory of Historic Pub Interiors; some, such as The Harp in Chandos Place, have received consumer awards. The Harp's awards include London Pub of the Year in 2008 by the Society for the Preservation of Beers from the Wood, and National Pub of the Year by CAMRA in 2011. It was at one time owned by the Charrington Brewery, when it was known as The Welsh Harp; in 1995 the name was abbreviated to just The Harp, before Charrington sold it to Punch Taverns in 1997. It has been owned by the landlady since 2010.
The Lamb and Flag in Rose Street has a reputation as the oldest pub in the area, though records are not clear. The first mention of a pub on the site is 1772 (when it was called the Cooper's Arms – the name changing to Lamb & Flag in 1833); the 1958 brick exterior conceals what may be an early 18th-century frame of a house replacing the original one built in 1638.[94] The pub acquired a reputation for staging bare-knuckle prize fights during the early 19th century when it earned the nickname "Bucket of Blood". The alleyway beside the pub was the scene of an attack on John Dryden in 1679 by thugs hired by John Wilmot, 2nd Earl of Rochester, with whom he had a long-standing conflict.
The Salisbury in St. Martin's Lane was built as part of a six-storey block around 1899 on the site of an earlier pub that had been known under several names, including the Coach & Horses and Ben Caunt's Head; it is both Grade II listed, and on CAMRA's National Inventory, due to the quality of the etched and polished glass and the carved woodwork, summed up as "good fin de siècle ensemble". The Freemasons Arms on Long Acre is linked with the founding of the Football Association in 1896; however, the meetings took place at The Freemasons Tavern on Great Queen Street, which was replaced in 1909 by the Connaught Rooms.
Other pubs that are Grade II listed are of minor interest, they are three 19th century rebuilds of 17th century/18th century houses, the Nell Gwynne Tavern in Bull Inn Court, the Nag's Head on James Street, and the White Swan on New Row; a Victorian pub built by lessees of the Marquis of Exeter, the Old Bell on the corner of Exeter Street and Wellington Street; and a late 18th or early 19th century pub the Angel and Crown on St. Martin's Lane.
Cultural connections
Covent Garden, and especially the market, have appeared in a number of works. Eliza Doolittle, the central character in George Bernard Shaw's play, Pygmalion, and the musical adaptation by Alan Jay Lerner, My Fair Lady, is a Covent Garden flower seller. Alfred Hitchcock's 1972 film Frenzy about a Covent Garden fruit vendor who becomes a serial sex killer, was set in the market where his father had been a wholesale greengrocer. The daily activity of the market was the topic of a 1957 Free Cinema documentary by Lindsay Anderson, Every Day Except Christmas, which won the Grand Prix at the Venice Festival of Shorts and Documentaries.
Transport
Covent Garden is served by the Piccadilly line at Covent Garden tube station on the corner of Long Acre and James Street. The station was opened by Great Northern, Piccadilly and Brompton Railway on 11 April 1907, four months after services on the rest of the line began operating on 15 December 1906. Platform access is only by lift or stairs; until improvements to the exit gates in 2007, due to high passenger numbers (16 million annually), London Underground had to advise travellers to get off at Leicester Square and walk the short distance (the tube journey at less than 300 yards is London's shortest) to avoid the congestion. Stations just outside the area include the Charing Cross tube station and Charing Cross railway station, Leicester Square tube station, and Holborn tube station. While there is only one bus route in Covent Garden itself—the RV1, which uses Catherine Street as a terminus, just to the east of Covent Garden square—there are over 30 routes which pass close by, mostly on the Strand or Kingsway.
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Thank you for your visit, for the kind and critical comments as well as for the favourites.
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Go large, see also farm2.static.flickr.com/1080/1035554067_fb910e8e73_b.jpg (original exposure settings, more highlight detail) (I prefer this treatment though.
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Ralph Waldo Emerson. The happiest man is he who learns from nature the lesson of worship.
Lucius Annaeus Seneca: On entering a temple we assume all signs of reverence. How much more reverent then should we be before the heavenly bodies, the stars, the very nature of God!
John Muir: All the wild world is beautiful, and it matters but little where we go, to highlands or lowlands, woods or plains, on the sea or land or down among the crystals of waves or high in a balloon in the sky; through all the climates, hot or cold, storms and calms, everywhere and always we are in God's eternal beauty and love. So universally true is this, the spot where we chance to be always seems the best.
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.
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