The Postcard

 

A postally unused carte postale bearing no publisher's name.

 

The Gardens of Versailles

 

The Gardens of Versailles are situated to the west of the palace. They cover some 800 hectares (1,977 acres) of land, much of which is landscaped in the classic French formal garden style perfected here by André Le Nôtre.

 

Beyond the surrounding belt of woodland, the gardens are bordered by the urban areas of Versailles to the east and Le Chesnay to the north-east, by the National Arboretum de Chèvreloup to the north, the Versailles plain (a protected wildlife preserve) to the west, and by the Satory Forest to the south.

 

In 1979, the gardens along with the château were inscribed on the UNESCO World Heritage List due to its cultural importance during the 17th. and 18th. centuries.

 

The gardens are now one of the most visited public sites in France, receiving more than six million visitors a year.

 

The gardens contain 200,000 trees, 210,000 flowers planted annually, and feature meticulously manicured lawns and parterres, as well as many sculptures.

 

50 fountains containing 620 water jets, fed by 35 km. of piping, are located throughout the gardens. Dating from the time of Louis XIV and still using much of the same network of hydraulics as was used during the Ancien Régime, the fountains contribute to making the gardens of Versailles unique.

 

On weekends from late spring to early autumn, there are the Grandes Eaux - spectacles during which all the fountains in the gardens are in full play. Designed by André Le Nôtre, the Grand Canal is the masterpiece of the Gardens of Versailles.

 

In the Gardens too, the Grand Trianon was built to provide the Sun King with the retreat that he wanted. The Petit Trianon is associated with Marie-Antoinette, who spent time there with her closest relatives and friends.

 

The Du Bus Plan for the Gardens of Versailles

 

With Louis XIII's purchase of lands from Jean-François de Gondi in 1632 and his assumption of the seigneurial role of Versailles in the 1630's, formal gardens were laid out west of the château.

 

Claude Mollet and Hilaire Masson designed the gardens, which remained relatively unchanged until the expansion ordered under Louis XIV in the 1660's. This early layout, which has survived in the so-called Du Bus plan of c.1662, shows an established topography along which lines of the gardens evolved. This is evidenced in the clear definition of the main east–west and north–south axis that anchors the gardens' layout.

 

Louis XIV

 

In 1661, after the disgrace of the finance minister Nicolas Fouquet, who was accused by rivals of embezzling crown funds in order to build his luxurious château at Vaux-le-Vicomte, Louis XIV turned his attention to Versailles.

 

With the aid of Fouquet's architect Louis Le Vau, painter Charles Le Brun, and landscape architect André Le Nôtre, Louis began an embellishment and expansion program at Versailles that would occupy his time and worries for the remainder of his reign.

 

From this point forward, the expansion of the gardens of Versailles followed the expansions of the château.

 

(a) The First Building Campaign

 

In 1662, minor modifications to the château were undertaken; however, greater attention was given to developing the gardens. Existing bosquets (clumps of trees) and parterres were expanded, and new ones created.

 

Most significant among the creations at this time were the Versailles Orangerie and the "Grotte de Thétys". The Orangery, which was designed by Louis Le Vau, was located south of the château, a situation that took advantage of the natural slope of the hill. It provided a protected area in which orange trees were kept during the winter months.

 

The "Grotte de Thétys", which was located to the north of the château, formed part of the iconography of the château and of the gardens that aligned Louis XIV with solar imagery. The grotto was completed during the second building campaign.

 

By 1664, the gardens had evolved to the point that Louis XIV inaugurated the gardens with the fête galante called Les Plaisirs de L'Île Enchantée. The event, was ostensibly to celebrate his mother, Anne d'Autriche, and his consort Marie-Thérèse but in reality celebrated Louise de La Vallière, Louis' mistress.

 

Guests were regaled with entertainments in the gardens over a period of one week. As a result of this fête - particularly the lack of housing for guests (most of them had to sleep in their carriages), Louis realised the shortcomings of Versailles, and began to expand the château and the gardens once again.

 

(b) The Second Building Campaign

 

Between 1664 and 1668, there was a flurry of activity in the gardens - especially with regard to fountains and new bosquets; it was during this time that the imagery of the gardens exploited Apollo and solar imagery as metaphors for Louis XIV.

 

Le Va's enveloppe of the Louis XIII's château provided a means by which, though the decoration of the garden façade, imagery in the decors of the grands appartements of the king and queen formed a symbiosis with the imagery of the gardens.

 

With this new phase of construction, the gardens assumed the design vocabulary that remained in force until the 18th. century. Solar and Apollonian themes predominated with projects constructed at this time.

 

Three additions formed the topological and symbolic nexus of the gardens during this phase of construction: the completion of the "Grotte de Thétys", the "Bassin de Latone", and the "Bassin d'Apollon".

 

The Grotte de Thétys

 

Started in 1664 and finished in 1670 with the installation of the statuary, the grotto formed an important symbolic and technical component to the gardens. Symbolically, the "Grotte de Thétys" related to the myth of Apollo - and by association to Louis XIV.

 

It represented the cave of the sea nymph Thetis, where Apollo rested after driving his chariot to light the sky. The grotto was a freestanding structure located just north of the château.

 

The interior, which was decorated with shell-work to represent a sea cave, contained the statue group by the Marsy brothers depicting the sun god attended by nereids.

 

Technically, the "'Grotte de Thétys" played a critical role in the hydraulic system that supplied water to the garden. The roof of the grotto supported a reservoir that stored water pumped from the Clagny pond and which fed the fountains lower in the garden via gravity.

 

The Bassin de Latone

 

Located on the east–west axis is the Bassin de Latone. Designed by André Le Nôtre, sculpted by Gaspard and Balthazar Marsy, and constructed between 1668 and 1670, the fountain depicts an episode from Ovid's Metamorphoses.

 

Altona and her children, Apollo and Diana, being tormented with mud slung by Lycian peasants, who refused to let her and her children drink from their pond, appealed to Jupiter who responded by turning the Lycians into frogs.

 

This episode from mythology has been seen as a reference to the revolts of the Fronde, which occurred during the minority of Louis XIV. The link between Ovid's story and this episode from French history is emphasised by the reference to "mud slinging" in a political context.

 

The revolts of the Fronde - the word fronde also means slingshot - have been regarded as the origin of the use of the term "mud slinging" in a political context.

 

The Bassin d'Apollon

 

Further along the east–west axis is the Bassin d'Apollon. The Apollo Fountain, which was constructed between 1668 and 1671, depicts the sun god driving his chariot to light the sky. The fountain forms a focal point in the garden, and serves as a transitional element between the gardens of the Petit Parc and the Grand Canal.

 

The Grand Canal

 

With a length of 1,500 metres and a width of 62 metres, the Grand Canal, which was built between 1668 and 1671, prolongs the east–west axis to the walls of the Grand Parc. During the Ancien Régime, the Grand Canal served as a venue for boating parties.

 

In 1674 the king ordered the construction of Petite Venise (Little Venice). Located at the junction of the Grand Canal and the northern transversal branch, Little Venice housed the caravels and yachts that were received from The Netherlands and the gondolas and gondoliers received as gifts from the Doge of Venice.

 

The Grand Canal also served a practical role. Situated at a low point in the gardens, it collected water that drained from the fountains in the garden above. Water from the Grand Canal was pumped back to the reservoir on the roof of the Grotte de Thétys via a network of windmill- and horse-powered pumps.

 

The Parterre d'Eau

 

Situated above the Latona Fountain is the terrace of the château, known as the Parterre d'Eau. Forming a transitional element from the château to the gardens below, the Parterre d'Eau provided a setting in which the symbolism of the grands appartements synthesized with the iconography of the gardens.

 

In 1664, Louis XIV commissioned a series of statues intended to decorate the water feature of the Parterre d'Eau. The Grande Command, as the commission is known, comprised twenty-four statues of the classic quaternities and four additional statues depicting abductions from the classic past.

 

Evolution of the Bosquets

 

One of the distinguishing features of the gardens during the second building campaign was the proliferation of bosquets. Expanding the layout established during the first building campaign, Le Nôtre added or expanded on no fewer that ten bosquets between 1670 and 1678:

 

-- The Bosquet du Marais

-- The Bosquet du Théâtre d'Eau, Île du Roi

-- The Miroir d'Eau

-- The Salle des Festins (Salle du Conseil)

-- The Bosquet des Trois Fontaines

-- The Labyrinthe

-- The Bosquet de l'Arc de Triomphe

-- The Bosquet de la Renommée (Bosquet des Dômes)

-- The Bosquet de l'Encélade

-- The Bosquet des Sources

 

In addition to the expansion of existing bosquets and the construction of new ones, there were two additional projects that defined this era, the Bassin des Sapins and the Pièce d'Eau des Suisses.

 

-- The Bassin des Sapins

 

In 1676, the Bassin des Sapins, which was located north of the château below the Allée des Marmoset's was designed to form a topological pendant along the north–south axis with the Pièce d'Eau des Suisses located at the base of the Satory hill south of the château.

 

Later modifications in the gardens transformed this fountain into the Bassin de Neptune.

 

-- Pièce d'Eau des Suisses

 

Excavated in 1678, the Pièce d'Eau des Suisses - named after the Swiss Guards who constructed the lake - occupied an area of marshes and ponds, some of which had been used to supply water for the fountains in the garden.

 

This water feature, with a surface area of more than 15 hectares (37 acres), is the second largest - after the Grand Canal - at Versailles.

 

(c) The Third Building Campaign

 

Modifications to the gardens during the third building campaign were distinguished by a stylistic change from the natural aesthetic of André Le Nôtre to the architectonic style of Jules Hardouin Mansart.

 

The first major modification to the gardens during this phase occurred in 1680 when the Tapis Vert - the expanse of lawn that stretches between the Latona Fountain and the Apollo Fountain - achieved its final size and definition under the direction of André Le Nôtre.

 

Beginning in 1684, the Parterre d'Eau was remodelled under the direction of Jules Hardouin-Mansart. Statues from the Grande Commande of 1674 were relocated to other parts of the garden; two twin octagonal basins were constructed and decorated with bronze statues representing the four main rivers of France.

 

In the same year, Le Vau's Orangerie, located to south of the Parterrre d'Eau was demolished to accommodate a larger structure designed by Jules Hardouin-Mansart.

 

In addition to the Orangerie, the Escaliers des Cent Marches, which facilitated access to the gardens from the south, to the Pièce d'Eau des Suisses, and to the Parterre du Midi were constructed at this time, giving the gardens just south of the château their present configuration and decoration.

 

Additionally, to accommodate the anticipated construction of the Aile des Nobles - the north wing of the château - the Grotte de Thétys was demolished.

 

With the construction of the Aile des Nobles (1685–1686), the Parterre du Nord was remodelled to respond to the new architecture of this part of the château.

 

To compensate for the loss of the reservoir on top of the Grotte de Thétys and to meet the increased demand for water, Jules Hardouin-Mansart designed new and larger reservoirs situated north of the Aile des Nobles.

 

Construction of the ruinously expensive Canal de l'Eure was inaugurated in 1685; designed by Vauban it was intended to bring waters of the Eure over 80 kilometres, including aqueducts of heroic scale, but the works were abandoned in 1690.

 

Between 1686 and 1687, the Bassin de Latone, under the direction of Jules Hardouin-Mansart, was rebuilt. It is this final version of the fountain that one sees today at Versailles.

 

During this phase of construction, three of the garden's major bosquets were modified or created. Beginning with the Galerie des Antiques, this bosquet was constructed in 1680 on the site of the earlier and short-lived Galerie d'Eau. This bosquet was conceived as an open-air gallery in which antique statues and copies acquired by the Académie de France in Rome were displayed.

 

The following year, construction began on the Salle de Bal. Located in a secluded section of the garden west of the Orangerie, this bosquet was designed as an amphitheater that featured a cascade – the only one surviving in the gardens of Versailles. The Salle de Bal was inaugurated in 1685 with a ball hosted by the Grand Dauphin.

 

Between 1684 and 1685, Jules Hardouin-Mansart built the Colonnade. Located on the site of Le Nôtre's Bosquet des Sources, this bosquet featured a circular peristyle formed from thirty-two arches with twenty-eight fountains, and was Hardouin-Mansart's most architectural of the bosquets built in the gardens of Versailles.

 

(d) The Fourth Building Campaign

 

Due to financial constraints arising from the War of the League of Augsburg and the War of the Spanish Succession, no significant work on the gardens was undertaken until 1704.

 

Between 1704 and 1709, bosquets were modified, some quite radically, with new names suggesting the new austerity that characterised the latter years of Louis XIV's reign.

 

Louis XV

 

With the departure of the king and court from Versailles in 1715 following the death of Louis XIV, the palace and gardens entered an era of uncertainty.

 

In 1722, Louis XV and the court returned to Versailles. Seeming to heed his great-grandfather's admonition not to engage in costly building campaigns, Louis XV did not undertake the costly rebuilding that Louis XIV had.

 

During the reign of Louis XV, the only significant addition to the gardens was the completion of the Bassin de Neptune (1738–1741).

 

Rather than expend resources on modifying the gardens at Versailles, Louis XV - an avid botanist - directed his efforts at Trianon. In the area now occupied by the Hameau de la Reine, Louis XV constructed and maintained les Jardins Botaniques.

 

In 1761, Louis XV commissioned Ange-Jacques Gabriel to build the Petit Trianon as a residence that would allow him to spend more time near the Jardins Botaniques. It was at the Petit Trianon that Louis XV fell fatally ill with smallpox; he died at Versailles on the 10th. May 1774.

 

Louis XVI

 

Upon Louis XVI's ascension to the throne, the gardens of Versailles underwent a transformation that recalled the fourth building campaign of Louis XIV. Engendered by a change in outlook as advocated by Jean-Jacques Rousseau and the Philosophes, the winter of 1774–1775 witnessed a complete replanting of the gardens.

 

Trees and shrubbery dating from the reign of Louis XIV were felled or uprooted with the intent of transforming the French formal garden of Le Nôtre and Hardouin-Mansart into a version of an English landscape garden.

 

The attempt to convert Le Nôtre's masterpiece into an English-style garden failed to achieve its desired goal. Owing largely to the topology of the land, the English aesthetic was abandoned and the gardens replanted in the French style.

 

However, with an eye on economy, Louis XVI ordered the Palisades - the labour-intensive clipped hedging that formed walls in the bosquets - to be replaced with rows of lime trees or chestnut trees. Additionally, a number of the bosquets dating from the time of the Sun King were extensively modified or destroyed.

 

The most significant contribution to the gardens during the reign of Louis XVI was the Grotte des Bains d'Apollon. The rockwork grotto set in an English style bosquet was the masterpiece of Hubert Robert in which the statues from the Grotte de Thétys were placed.

 

Revolution

 

In 1792, under order from the National Convention, some of the trees in the gardens were felled, while parts of the Grand Parc were parcelled and dispersed.

 

Sensing the potential threat to Versailles, Louis Claude Marie Richard (1754–1821) – director of the Jardins Botaniques and grandson of Claude Richard – lobbied the government to save Versailles. He succeeded in preventing further dispersing of the Grand Parc, and threats to destroy the Petit Parc were abolished by suggesting that the parterres could be used to plant vegetable gardens, and that orchards could occupy the open areas of the garden.

 

These plans were never put into action; however, the gardens were opened to the public - it was not uncommon to see people washing their laundry in the fountains and spreading it on the shrubbery to dry.

 

Napoléon I

 

The Napoleonic era largely ignored Versailles. In the château, a suite of rooms was arranged for the use of the empress Marie-Louise, but the gardens were left unchanged, save for the disastrous felling of trees in the Bosquet de l'Arc de Triomphe and the Bosquet des Trois Fontaines. Massive soil erosion necessitated planting of new trees.

 

Restoration

 

With the restoration of the Bourbons in 1814, the gardens of Versailles witnessed the first modifications since the Revolution. In 1817, Louis XVIII ordered the conversion of the Île du Roi and the Miroir d'Eau into an English-style garden - the Jardin du Roi.

 

The July Monarchy; The Second Empire

 

While much of the château's interior was irreparably altered to accommodate the Museum of the History of France (inaugurated by Louis-Philippe on the 10th. June 1837), the gardens, by contrast, remained untouched.

 

With the exception of the state visit of Queen Victoria and Prince Albert in 1855, at which time the gardens were a setting for a gala fête that recalled the fêtes of Louis XIV, Napoléon III ignored the château, preferring instead the château of Compiègne.

 

Pierre de Nolhac

With the arrival of Pierre de Nolhac as director of the museum in 1892, a new era of historical research began at Versailles. Nolhac, an ardent archivist and scholar, began to piece together the history of Versailles, and subsequently established the criteria for restoration of the château and preservation of the gardens, which are ongoing to this day.

 

Bosquets of the Gardens

 

Owing to the many modifications made to the gardens between the 17th. and the 19th. centuries, many of the bosquets have undergone multiple modifications, which were often accompanied by name changes.

 

Deux Bosquets - Bosquet de la Girondole - Bosquet du Dauphin - Quinconce du Nord - Quinconce du Midi

 

These two bosquets were first laid out in 1663. They were arranged as a series of paths around four salles de verdure and which converged on a central "room" that contained a fountain.

 

In 1682, the southern bosquet was remodeled as the Bosquet de la Girondole, thus named due to spoke-like arrangement of the central fountain. The northern bosquet was rebuilt in 1696 as the Bosquet du Dauphin with a fountain that featured a dolphin.

 

During the replantation of 1774–1775, both the bosquets were destroyed. The areas were replanted with lime trees and were rechristened the Quinconce du Nord and the Quinconce du Midi.

 

Labyrinthe - Bosquet de la Reine

 

In 1665, André Le Nôtre planned a hedge maze of unadorned paths in an area south of the Latona Fountain near the Orangerie. In 1669, Charles Perrault - author of the Mother Goose Tales - advised Louis XIV to remodel the Labyrinthe in such a way as to serve the Dauphin's education.

 

Between 1672 and 1677, Le Nôtre redesigned the Labyrinthe to feature thirty-nine fountains that depicted stories from Aesop's Fables. The sculptors Jean-Baptiste Tuby, Étienne Le Hongre, Pierre Le Gros, and the brothers Gaspard and Balthazard Marsy worked on these thirty-nine fountains, each of which was accompanied by a plaque on which the fable was printed, with verse written by Isaac de Benserade; from these plaques, Louis XIV's son learned to read.

 

Once completed in 1677, the Labyrinthe contained thirty-nine fountains with 333 painted metal animal sculptures. The water for the elaborate waterworks was conveyed from the Seine by the Machine de Marly.

 

The Labyrinthe contained fourteen water-wheels driving 253 pumps, some of which worked at a distance of three-quarters of a mile.

 

Citing repair and maintenance costs, Louis XVI ordered the Labyrinthe demolished in 1778. In its place, an arboretum of exotic trees was planted as an English-styled garden.

 

Rechristened Bosquet de la Reine, it would be in this part of the garden that an episode of the Affair of the Diamond Necklace, which compromised Marie-Antoinette, transpired in 1785.

 

Bosquet de la Montagne d'Eau - Bosquet de l'Étoile

 

Originally designed by André Le Nôtre in 1661 as a salle de verdure, this bosquet contained a path encircling a central pentagonal area. In 1671, the bosquet was enlarged with a more elaborate system of paths that served to enhance the new central water feature, a fountain that resembled a mountain, hence the bosquets new name: Bosquet de la Montagne d'Eau.

 

The bosquet was completely remodeled in 1704 at which time it was rechristened Bosquet de l'Étoile.

 

Bosquet du Marais - Bosquet du Chêne Vert - Bosquet des Bains d'Apollon - Grotte des Bains d'Apollon

 

Created in 1670, this bosquet originally contained a central rectangular pool surrounded by a turf border. Edging the pool were metal reeds that concealed numerous jets for water; a swan that had water jetting from its beak occupied each corner.

 

The centre of the pool featured an iron tree with painted tin leaves that sprouted water from its branches. Because of this tree, the bosquet was also known as the Bosquet du Chêne Vert.

 

In 1705, this bosquet was destroyed in order to allow for the creation of the Bosquet des Bains d'Apollon, which was created to house the statues had once stood in the Grotte de Thétys.

 

During the reign of Louis XVI, Hubert Robert remodeled the bosquet, creating a cave-like setting for the Marsy statues. The bosquet was renamed the Grotte des Bains d'Apollon.

 

Île du Roi - Miroir d'Eau - Jardin du Roi

 

Originally designed in 1671 as two separate water features, the larger - Île du Roi - contained an island that formed the focal point of a system of elaborate fountains.

 

The Île du Roi was separated from the Miroir d'Eau by a causeway that featured twenty-four water jets. In 1684, the island was removed and the total number of water jets in the bosquet was significantly reduced.

 

The year 1704 witnessed a major renovation of the bosquet, at which time the causeway was remodelled and most of the water jets were removed.

 

A century later, in 1817, Louis XVIII ordered the Île du Roi and the Miroir d'Eau to be completely remodeled as an English-style garden. At this time, the bosquet was rechristened Jardin du Roi.

 

Salle des Festins - Salle du Conseil - Bosquet de l'Obélisque

 

In 1671, André Le Nôtre conceived a bosquet - originally christened Salle des Festins and later called Salle du Conseil - that featured a quatrefoil island surrounded by a channel containing fifty water jets. Access to the island was obtained by two swing bridges.

 

Beyond the channel and placed at the cardinal points within the bosquet were four additional fountains. Under the direction of Jules Hardouin-Mansart, the bosquet was completely remodeled in 1706. The central island was replaced by a large basin raised on five steps, which was surrounded by a canal. The central fountain contained 230 jets that, when in play, formed an obelisk – hence the new name Bosquet de l'Obélisque.

 

Bosquet du Théâtre d'Eau - Bosquet du Rond-Vert

 

The central feature of this bosquet, which was designed by Le Nôtre between 1671 and 1674, was an auditorium/theatre sided by three tiers of turf seating that faced a stage decorated with four fountains alternating with three radiating cascades.

 

Between 1680 and Louis XIV's death in 1715, there was near-constant rearranging of the statues that decorated the bosquet.

 

In 1709, the bosquet was rearranged with the addition of the Fontaine de l'Île aux Enfants. As part of the replantation of the gardens ordered by Louis XVI during the winter of 1774–1775, the Bosquet du Théâtre d'Eau was destroyed and replaced with the unadorned Bosquet du Rond-Vert. The Bosquet du Théâtre d'Eau was recreated in 2014, with South Korean businessman and photographer Yoo Byung-eun being the sole patron, donating €1.4 million.

 

Bosquet des Trois Fontaines - Berceau d'Eau

 

Situated to the west of the Allée des Marmousets and replacing the short-lived Berceau d'Eau (a long and narrow bosquet created in 1671 that featured a water bower made by numerous jets of water), the enlarged bosquet was transformed by Le Nôtre in 1677 into a series of three linked rooms.

 

Each room contained a number of fountains that played with special effects. The fountains survived the modifications that Louis XIV ordered for other fountains in the gardens in the early 18th. century and were subsequently spared during the 1774–1775 replantation of the gardens.

 

In 1830, the bosquet was replanted, at which time the fountains were suppressed. Due to storm damage in the park in 1990 and then again in 1999, the Bosquet des Trois Fontaines was restored and re-inaugurated on the 12th. June 2004.

 

Bosquet de l'Arc de Triomphe

 

This bosquet was originally planned in 1672 as a simple pavillon d'eau - a round open expanse with a square fountain in the centre. In 1676, this bosquet was enlarged and redecorated along political lines that alluded to French military victories over Spain and Austria, at which time the triumphal arch was added - hence the name.

 

As with the Bosquet des Trois Fontaines, this bosquet survived the modifications of the 18th. century, but was replanted in 1830, at which time the fountains were removed.

 

Bosquet de la Renommée - Bosquet des Dômes

 

Built in 1675, the Bosquet de la Renommée featured a fountain statue of Fame. With the relocation of the statues from the Grotte de Thétys in 1684, the bosquet was remodelled to accommodate the statues, and the Fame fountain was removed.

 

At this time the bosquet was rechristened Bosquet des Bains d'Apollon. As part of the reorganisation of the garden that was ordered by Louis XIV in the early part of the 18th. century, the Apollo grouping was moved once again to the site of the Bosquet du Marais - located near the Latona Fountain - which was destroyed and was replaced by the new Bosquet des Bains d'Apollon.

 

The statues were installed on marble plinths from which water issued; and each statue grouping was protected by an intricately carved and gilded baldachin.

 

The old Bosquet des Bains d'Apollon was renamed Bosquet des Dômes due to two domed pavilions built in the bosquet.

 

Bosquet de l'Encélade

 

Created in 1675 at the same time as the Bosquet de la Renommée, the fountain of this bosquet depicts Enceladus, a fallen Giant who was condemned to live below Mount Etna, being consumed by volcanic lava.

 

From its conception, this fountain was conceived as an allegory of Louis XIV's victory over the Fronde. In 1678, an octagonal ring of turf and eight rocaille fountains surrounding the central fountain were added. These additions were removed in 1708.

 

When in play, this fountain has the tallest jet of all the fountains in the gardens of Versailles - 25 metres.

 

Bosquet des Sources - La Colonnade

 

Designed as a simple unadorned salle de verdure by Le Nôtre in 1678, the landscape architect enhanced and incorporated an existing stream to create a bosquet that featured rivulets that twisted among nine islets.

 

In 1684, Jules Hardouin-Mansart completely redesigned the bosquet by constructing a circular arched double peristyle. The Colonnade, as it was renamed, originally featured thirty-two arches and thirty-one fountains – a single jet of water splashed into a basin center under the arch.

 

In 1704, three additional entrances to the Colonnade were added, which reduced the number of fountains from thirty-one to twenty-eight. The statue that currently occupies the centre of the Colonnade - the Abduction of Persephone - (from the Grande Commande of 1664) was set in place in 1696.

 

Galerie d'Eau - Galerie des Antiques - Salle des Marronniers

 

Occupying the site of the Galerie d'Eau (1678), the Galerie des Antiques was designed in 1680 to house the collection of antique statues and copies of antique statues acquired by the Académie de France in Rome.

 

Surrounding a central area paved with colored stone, a channel was decorated with twenty statues on plinths, each separated by three jets of water.

 

The Galerie was completely remodeled in 1704 when the statues were transferred to Marly and the bosquet was replanted with horse chestnut trees - hence the current name Salle des Marronniers.

 

Salle de Bal

 

This bosquet, which was designed by Le Nôtre and built between 1681 and 1683, features a semi-circular cascade that forms the backdrop for a salle de verdure.

 

Interspersed with gilt lead torchères, which supported candelabra for illumination, the Salle de Bal was inaugurated in 1683 by Louis XIV's son, the Grand Dauphin, with a dance party.

 

The Salle de Bal was remodeled in 1707 when the central island was removed and an additional entrance was added.

 

Replantations of the Gardens

 

Common to any long-lived garden is replantation, and Versailles is no exception. In their history, the gardens of Versailles have undergone no less than five major replantations, which have been executed for practical and aesthetic reasons.

 

During the winter of 1774–1775, Louis XVI ordered the replanting of the gardens on the grounds that many of the trees were diseased or overgrown, and needed to be replaced.

 

Also, as the formality of the 17th.-century garden had fallen out of fashion, this replantation sought to establish a new informality in the gardens - that would also be less expensive to maintain.

 

This, however, was not achieved, as the topology of the gardens favored the Jardin à la Française over an English-style garden.

 

Then, in 1860, much of the old growth from Louis XVI's replanting was removed and replaced. In 1870, a violent storm struck the area, damaging and uprooting scores of trees, which necessitated a massive replantation program.

 

However, owing to the Franco-Prussian War, which toppled Napoléon III, and the Commune de Paris, replantation of the garden did not get underway until 1883.

 

The most recent replantations of the gardens were precipitated by two storms that battered Versailles in 1990 and then again in 1999. The storm damage at Versailles and Trianon amounted to the loss of thousands of trees - the worst such damage in the history of Versailles.

 

The replantations have allowed museum and governmental authorities to restore and rebuild some of the bosquets that were abandoned during the reign of Louis XVI, such as the Bosquet des Trois Fontaines, which was restored in 2004.

 

Catherine Pégard, the head of the public establishment which administers Versailles, has stated that the intention is to return the gardens to their appearance under Louis XIV, specifically as he described them in his 1704 description, Manière de Montrer les Jardins de Versailles.

 

This involves restoring some of the parterres like the Parterre du Midi to their original formal layout, as they appeared under Le Nôtre. This was achieved in the Parterre de Latone in 2013, when the 19th. century lawns and flower beds were torn up and replaced with boxwood-enclosed turf and gravel paths to create a formal arabesque design.

 

Pruning is also done to keep trees at between 17 and 23 metres (56 to 75 feet), so as not to spoil the carefully designed perspectives of the gardens.

 

Owing to the natural cycle of replantations that has occurred at Versailles, it is safe to state that no trees dating from the time of Louis XIV are to be found in the gardens.

 

Problems With Water

 

The marvel of the gardens of Versailles - then as now - is the fountains. Yet, the very element that animates the gardens, water, has proven to be the affliction of the gardens since the time of Louis XIV.

 

The gardens of Louis XIII required water, and local ponds provided an adequate supply. However, once Louis XIV began expanding the gardens with more and more fountains, supplying the gardens with water became a critical challenge.

 

To meet the needs of the early expansions of the gardens under Louis XIV, water was pumped to the gardens from ponds near the château, with the Clagny pond serving as the principal source.

 

Water from the pond was pumped to the reservoir on top of the Grotte de Thétys, which fed the fountains in the garden by means of gravitational hydraulics. Other sources included a series of reservoirs located on the Satory Plateau south of the château.

 

The Grand Canal

 

By 1664, increased demand for water necessitated additional sources. In that year, Louis Le Vau designed the Pompe, a water tower built north of the château. The Pompe drew water from the Clagny pond using a system of windmills and horsepower to a cistern housed in the Pompe's building. The capacity of the Pompe 600 cubic metres per day - alleviated some of the water shortages in the garden.

 

With the completion of the Grand Canal in 1671, which served as drainage for the fountains of the garden, water, via a system of windmills, was pumped back to the reservoir on top of the Grotte de Thétys.

 

While this system solved some of the water supply problems, there was never enough water to keep all of the fountains running in the garden in full-play all of the time.

 

While it was possible to keep the fountains in view from the château running, those concealed in the bosquets and in the farther reaches of the garden were run on an as-needed basis.

 

In 1672, Jean-Baptiste Colbert devised a system by which the fountaineers in the gardens would signal each other with whistles upon the approach of the king, indicating that their fountain needed to be turned on. Once the king had passed a fountain in play, it would be turned off and the fountaineer would signal that the next fountain could be turned on.

 

In 1674, the Pompe was enlarged, and subsequently referred to as the Grande Pompe. Pumping capacity was increased via increased power and the number of pistons used for lifting the water. These improvements increased the water capacity to nearly 3,000 cubic metres of water per day; however, the increased capacity of the Grande Pompe often left the Clagny pond dry.

 

The increasing demand for water and the stress placed on existing systems of water supply necessitated newer measures to increase the water supplied to Versailles. Between 1668 and 1674, a project was undertaken to divert the water of the Bièvre river to Versailles. By damming the river and with a pumping system of five windmills, water was brought to the reservoirs located on the Satory Plateau. This system brought an additional 72,000 cubic metres water to the gardens on a daily basis.

 

Despite the water from the Bièvre, the gardens needed still more water, which necessitated more projects. In 1681, one of the most ambitious water projects conceived during the reign of Louis XIV was undertaken.

 

Owing to the proximity of the Seine to Versailles, a project was proposed to raise the water from the river to be delivered to Versailles. Seizing upon the success of a system devised in 1680 that raised water from the Seine to the gardens of Saint-Germain-en-Laye, construction of the Machine de Marly began the following year.

 

The Machine de Marly was designed to lift water from the Seine in three stages to the Aqueduc de Louveciennes some 100 metres above the level of the river. A series of huge waterwheels was constructed in the river, which raised the water via a system of 64 pumps to a reservoir 48 metres above the river. From this first reservoir, water was raised an additional 56 metres to a second reservoir by a system of 79 pumps. Finally, 78 additional pumps raised the water to the aqueduct, which carried the water to Versailles and Marly.

 

In 1685, the Machine de Marly came into full operation. However, owing to leakage in the conduits and breakdowns of the mechanism, the machine was only able to deliver 3,200 cubic metres of water per day - approximately one-half the expected output. The machine was nevertheless a must-see for visitors. Despite the fact that the gardens consumed more water per day than the entire city of Paris, the Machine de Marly remained in operation until 1817.

 

During Louis XIV's reign, water supply systems represented one-third of the building costs of Versailles. Even with the additional output from the Machine de Marly, fountains in the garden could only be run à l'ordinaire - which is to say at half-pressure.

 

With this measure of economy, the fountains still consumed 12,800 cubic metres of water per day, far above the capacity of the existing supplies. In the case of the Grandes Eaux - when all the fountains played to their maximum - more than 10,000 cubic metres of water was needed for one afternoon's display.

 

Accordingly, the Grandes Eaux were reserved for special occasions such as the Siamese Embassy visit of 1685–1686.

 

The Canal de l'Eure

 

One final attempt to solve water shortage problems was undertaken in 1685. In this year it was proposed to divert the water of the Eure river, located 160 km. south of Versailles and at a level 26 m above the garden reservoirs.

 

The project called not only for digging a canal and for the construction of an aqueduct, it also necessitated the construction of shipping channels and locks to supply the workers on the main canal.

 

Between 9,000 to 10,000 troops were pressed into service in 1685; the next year, more than 20,000 soldiers were engaged in construction. Between 1686 and 1689, when the Nine Years' War began, one-tenth of France's military was at work on the Canal de l'Eure project.

 

However with the outbreak of the war, the project was abandoned, never to be completed. Had the aqueduct been completed, some 50,000 cubic metres of water would have been sent to Versailles - more than enough to solve the water problem of the gardens.

 

Today, the museum of Versailles is still faced with water problems. During the Grandes Eaux, water is circulated by means of modern pumps from the Grand Canal to the reservoirs. Replenishment of the water lost due to evaporation comes from rainwater, which is collected in cisterns that are located throughout the gardens and diverted to the reservoirs and the Grand Canal.

 

Assiduous husbanding of this resource by museum officials prevents the need to tap into the supply of potable water of the city of Versailles.

 

The Versailles Gardens In Popular Culture

 

The creation of the gardens of Versailles is the context for the film 'A Little Chaos', directed by Alan Rickman and released in 2015, in which Kate Winslet plays a fictional landscape gardener and Rickman plays King Louis XIV.

Got a broken U-Clip? Use these parts to customize your LMG into a SAW!

i modified my old LC-A rusian version to have some the feature the LC-A+ has. i added a multiple exposure switch and cable shutter release.

 

I also added a new rubber skin. it is off an old Pentax slide zoom lens, witch is cool because it the skin if from another camera and it adds great grip too

 

Website and or Blog

"Luxury!! Buick Century Station Wagon", Building & Modification.

youtu.be/GgndnmzEObQ

ビュイック リーガルワゴン ワンオーナー。

角目４灯、ファントムトップ、コンチネンタルキット、リアウィング、ロッカーパネル、オペラライト 1982年から1984年当時の内外装デザインをベースにモダンで上品な少し抜いた感じのお茶目なステーションワゴンに仕上げています。82年にセダン、84年にワゴンが発売されました。

The plastic shutter of my Big shot was beyond repair so I replaced it with a press type leaf shutter from an oscilloscope camera.

I kept is the single element plastic lens .

Distance from film plane is almost the same so only a small change in RF calibration is necessary.

The shutter is capable of various speeds but I'll leave it at 1/15s The aperture is adjustable for L/D correction.

With the plastic nosecone in place there will be little difference except the cable release thread where the red lever used to be. The shutter has an X-sync contact so I can mount an electronic flash where the Magicube used to be.

This is the third version of my modification of set 7997 (Train Station). Here are my notes to recap my progress from stock set to version three:

 

I built this station with set the 2007 CITY set 7997 in mind. I got the original set in 2007, along with a double rail crossover for my Birthday. I wanted to make it a full building but didn't have the parts. By 2008, I had discovered Bricklink, but the station was in pieces by then and was not re-created until early 2012. The station was a stock set, while I searched for ideas. Eventually, I came across a build by a fellow Eurobricks user named Lazarus that incorporated a modular basis, a full building (street & track-sides) & a appealing design. I saved a picture of it and made my own design based on his. I included really neat features, (such as the arched lattice windows made with a fence) but I went too far and made it impossible to transport to train shows and LUG meetings. The platforms were very flimsy, and during the move to my families current house, it shattered into small chunks. So, I went back to the drawing board, scrapping everything but the building itself. Here is the end result, which is strangely near where I started with set 7997. It has one platform, plentiful outside seating on the platform, and is still yellow-and-black. There are many changes from the set, (no stairs on the platform, for example.) but the heart and soul of that 2007 set is still there.

 

In this latest version, I relocated the clocks to the top of the tower roof so that the design was closer to the original model. I also combined / redid sections of the model, such as the building and trackside awning have become one large section instead of two smaller ones. I even swapped the town-name of this station and my Victorian station, making the one you see here "Barretts" while the other one became "Ironwood".

 

Here is the LDD file: www.moc-pages.com/user_images/80135/1449078417m.lxf

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!

 

Some background

After Mil Helicopters' Mi-28 combat helicopter did not find takers, the design bureau decided in the 2000s to take a huge development step forward and question the basic helicopter layout. The result was the Mil Mi-62 (NATO reporting name: Hepcat), a single-seat attack gyrodyne/compound helicopter: a VTOL aircraft with a helicopter-like rotor system that is driven by its engine for take-off and landing but basically relies on conventional means of propulsion to provide forward thrust during cruising flight. Lift during forward flight is provided by a combination of the rotor, like an autogyro, as well as conventional wings, even though these alone would not keep the aircraft in the air.

 

The Mi-62 featured a tip-jet-powered rotor that burned a mixture of fuel and compressed air, bled from two wing-root-mounted jet engines. The rotor was only driven during the start/landing phase and at low speed. The air for the rotor was produced by compressors driven through a clutch off the main engines, though, which was fed through ducting up to the rotor head. Two Progress AI-222-25 turbofans, each rated at 24.52 KN (5.512 lbf), provided thrust for translational flight while the rotor autorotated, enabling VTOL and STOL start with overload. The cockpit controls included a cyclic and collective pitch lever, as in a conventional helicopter.

 

Each engine supplied air for a pair of opposite rotor blades. The rotor blades were a symmetrical airfoil around a load-bearing spar. The airfoil was made of carbon fiber and light alloy because of center of gravity concerns. The compressed air was channeled through three tubes within the blade to tip-jet combustion chambers, where the compressed air was mixed with fuel and burned, driving the rotor. As a torque-less rotor system, no anti-torque correction system was required. Propeller pitch was controlled by the rudder pedals for low-speed yaw control. To support handling at low speed, bleed air from the main engines was also ducted to a control vent system in the tail.

 

Transition from helicopter to autogiro took place at around 60 mph by extinguishing the tip-jets, and at higher speeds up to half the lift was provided by the fixed wings. At high cruising speed, the Mi-62 almost behaved like a standard aircraft. Cruising speed was to be at about 500 km/h (312 mph), coupled with a range of up to 1400 km (870 ml).

 

Since the speed of the advancing rotor tip is a primary limitation to the maximum speed of a helicopter, this arrangement allowed a faster maximum speed than pure helicopters such as the Mi-24/35 or the AH-64. The elimination of the tail rotor is a qualitative advantage, too, because the torque-countering tail rotor can use up to 30% of engine power. Furthermore, the vulnerable boom and rear gearbox are fairly common causes of helicopter losses in combat. The Mi-62’s entire transmission presents a comparatively small target to ground fire, and is a rather simple/rigid arrangement with much less moving parts than a standard helicopter.

 

The Mi-62 was designed as an alternative to Kamov's successful Ka-50/52 program, and regarded as a heavier alternative. While the Ka-50 was designed to be small, fast and agile to improve survivability and lethality, the Mi-62 was to rely on speed, quick acceleration and decelleration as well as on good low altitude handling, coupled with sufficient protection against small caliber weapons. Since operation would be primarily at low level and using the landscape as cover, not much emphasis was put on stealth features, even though many passive protection elements like RAM were incorporated into the aircraft.

 

One of the program priorities was to enhance the helicopter's survivability. With this goal in mind, the configuration and systems' arrangement were chosen, assemblies designed, and structural materials tested, beyond the robust rotor propulsion system. The following measures to enhance pilot survivability were taken:

 

• Engines were placed on both sides of the airframe to prevent a single hit from destroying both engines

• The gyroplane could fly on a single engine in various modes – even with a damaged rotor a controlled landing glide was possible

• The cockpit was armored and screened with combined steel/aluminum armor and armored Plexiglas

• The hydraulic steering system compartment was armored and screened

• Vital units were screened by less important ones

• Self-sealing fuel tanks were filled with polyurethane foam

• Composites were used to preserve the helicopter's efficiency when its load-carrying elements are damaged

• A two-contour rotor-blade spar was developed, integrating the air ducts

• Control rod diameter was increased by positioning most of them inside the armored cockpit

• The powerplant and compartments adjacent to the fuel tanks were fire-protected

• The hydraulic system is capable of operating for 30 minutes if the oil system is damaged

• The power supply systems, control circuits etc. were made redundant and placed on opposite sides of the airframe

 

The armor consisted of spaced-aluminum plates with a total weight of more than 300 kg. The armor is fitted into the fuselage load-bearing structure, which reduces the total weight of the helicopter. GosNIIAS tests confirmed the pilot's protection up to 20mm caliber cannon rounds and shell fragments.

 

Another unique feature of the Mi-62 is the use of a rocket-parachute ejection system in case of an emergency. The helicopter emergency-escape system uses the K-37-800 ejection seat that was developed by the Zvezda Scientific Production Association (Chief Designer Guy Severin). The pilot's safety was also ensured by the undercarriage design. The undercarriage is capable of absorbing large loads in an emergency landing, and the cockpit has a crunch zone of up to 10-15% upon impact.

 

Basic armament consists of a twin-barreled Sh2A42 30-mm gun. The gun is mounted in a shallow turret which can rotate full 360° near the center of fuselage. It has 460 rounds of ammunition, firing high-fragmentation, explosive incendiary rounds and armor-piercing rounds.

The cannon has a dual-feed, which allows for a cyclic rate of fire between 300 to 900 RPM. Its effective range varies from 1500 meters for ground vehicles to 2,500 meters for air targets. Stated penetration for the 3UBR8 is 25 mm of RHA at 1,500 meters.

 

Beyond that, the aircraft carries a substantial load of weapons in six external hardpoints under the stub wings. An total of some 2.000 kg mixed ordnance, including AAMs, AGMs, gun and unguided rocket pods which include the S-13 and S-8 rockets, can be carried. Even unguided and guided (IR, optical, laser) bombs have been successfully tested, so that the Mi-62 could eventually replace early Su-25 combat aircraft in the CAS role. The "dumb" rocket pods can be upgraded to laser guided with the proposed Ugroza system.

 

The main armament against moving ground targets consists of up to sixteen laser-guided Vikhr anti-tank missiles (transl. Vortex or whirlwind) with a maximum range of some 8 km. The laser guidance is reported to be virtually jam-proof and the system features automatic guidance to target, enabling evasive action immediately after missile launch.

 

Like the Ka-50, the Mil gyrodyne was from the outset to be operated by a single pilot only. Mil’s designers concluded after thorough research of helicopter combat in Afghanistan and other war zones that the typical attack mission phases of low-level approach, pop-up target acquisition and weapon launch would not simultaneously demand navigation, maneuvering and weapons operation of the pilot. Thus, with well-designed support automation, a single pilot was expected to carry out the entire mission alone.

 

During operational testing from 1995 to 1996 the workload on the pilot was found to be similar to that of a fighter-bomber pilot, and the pilot could perform both flying and navigation duties. Later flight tests of the Mi-62 prototypes proved that its handling was more like an aircraft with VTOL capabilities than a standard helicopter, so that jet pilots could master it with some training.

 

Initially the Mi-62 was to be have been fitted with the Merkury Low-Light TV (LLTV) system. Due to a lack of funding, the system was late and experienced reliability and capability issues. As a result, focus shifted to Forward Looking Infra-Red (FLIR) systems, including the Shkval-N sighting system with an infrared sensor. Many versions were tried; on some the original "Shkval" was supplemented by a thermal imaging system, while others saw a complete replacement by the "Samshit" day-and-night system, which has become the final sensor standard, mounted in a chin sensor turret.

 

The fire control system automatically shares all target information among the four Mi-62 of a typical flight in real time, allowing one helicopter to engage a target spotted by another, and the system can also input target information from ground-based forward scouts with personnel-carried target designation gear.

 

The Mi-62 was, after a lengthy development and constant lack of funds, eventually adopted for service in the Russian army in 2015. It is currently manufactured by the new Russian Helicopters company that was founded in 2009 in Moscow, and built at the Mil Moscow Helicopter Plant. It has been introduced to both Air Force (Mi-62 sans suffix, ‘Hepcat A’) and Naval Aviation (Mi-62K, ‘Hepcat B’) and is being used as a heavily armed attack helicopter against both ground and airborne targets.

 

The navalized Mi-62K derivative has been selected as the new ship-borne attack type for the Russian Naval Aviation (Aviatsiya Voenno-morskogo Flota Rossii). It will feature folding rotor blades and life-support systems for the crew, who will fly in immersion suits. The fuselage and systems will be given special anti-corrosion treatment and a new fire-control radar will be capable of operating in "Sea Mode" and of supporting anti-ship missiles. Aviatsiya Voenno-morskogo Flota Rossii will need no fewer than 20 Mi-62, which will be operated together with Ka-52Ks.

 

The first Mi-62K is tentatively slated to enter squadron service by late 2014 or early 2015, coinciding with the delivery of the first carrier of the new Mistral class amphibious assault ships, ordered by the Russian Defense Ministry. These small carriers will contain rotary-wing assets, formed into aviation groups, and each of these groups is planned to include eight attack and eight assault/transport helicopters.

  

General characteristics

Crew: One

Length (fuselage only): 13,46 m (44 ft 1 in)

Rotor diameter: 15,40 m (50 ft 5 1/2 in)

Height: 4.60 m (15 ft 1 in)

Disc area: 186.3 m² (1.998 ft²)

Empty weight: 7,700 kg (17,000 lb)

Loaded weight: 9,800 kg / 10,400 kg (21,600 lb / 22,930 lb)

Max. takeoff weight: 10,800 kg (23,810 lb)

Powerplant

2× Progress AI-222-25 turbofans, 24.52 KN (5.512 lbf) each plus

4× rotor tip jet burning compressed air/fuel, 4.4 kN (1,000 lbf) thrust each

Performance

Never exceed speed: 550 km/h (297 knots, 342 mph) in dive

Maximum speed: 515 km/h (278 knots, 320 mph) in level flight

Cruise speed: 370 km/h (200 knots, 230 mph)

Range: 545 km (339 ml)

Combat radius: 800 km (500 ml)

Ferry range: 1400 km (870 ml) with 4 drop tanks

Service ceiling: 5,500 m (18,000 ft)

Rate of climb: 10.7 m/s (2,105 ft/min)

 

Armament

1× turret-mounted, wtin-barreled 30 mm Shipunov Sh2A42 cannon (460 rounds total, dual feeding AP or HE-Frag) under the fuselage

6×wing hardpoints with a capacity of 2,000 kg and provisions to carry combinations of launch pods for 80 mm S-8 rockets or 122 mm S-13 rockets, APU-6 Missile racks or up to 20× 9K121 Vikhr anti-tank missiles, 6× Vympel R-73 (NATO: AA-11 Archer) air-to-air missiles, Kh-25 semi-active laser guided tactical air-to-ground missiles, 4× 250 kg (550 lb) bombs or 2x 500 kg (1,100 lb) bombs, plus 23 mm UPK-23-250 gun pods (240 rounds each) or 500 l (130 US gal) external fuel tanks.

Two compartments in the lower fuselage with flare and chaff countermeasure dispensers, typically 4× UV-26 dispensers each (total 512 chaff/flare cartridges in each pod)

  

The kit and its assembly:

Another entry for the “Za Rodinu - The Anthony P Memorial Build” at whatifmodelers.com, and this time it’s a modern and rather exotic whif. Helicopters are rare among whiffers, so I thought I’d give that subject a chance, and I actually had the basis kit in store for some time, as I intended to build it for another GB but never got that kick to start it.

 

The fictional Mi-62 is a conversion of a snap-fit kit from Kotobukiya from a series of generic, roughly 1:72 scale mecha vehicles that do not belong to a specific series or movie, but they seem to be intended to go well with Gundam or Dougram. These are rather toy-like, sturdy things, but they have potential for more – especially the gyroplanes (two different types exist).

 

These seem to be unmanned drones/UAVs, though, and that immediately leads to the conversions I made. Most important change is a manned cockpit with a clear canopy (from a KP Su-25) and the respective, scratched interior.

 

Another big change was the deletion of the original, gigantic gatling gun under the fuselage, replaced by a much smaller twin cannon turret. That left a lot of ground clearance – as a late modification I decided to chop the landing gear and the respective fin/wing endplates by more than 1cm, so that the gyroplane would sit closer to the ground.

 

Further small cosmetics include an asymmetrical radome and a protruding pitot boom, some antenna bulges, new engine exhausts, chaff dispensers in the fuselage flanks, and free-standing main wheels.

 

The ordnance comes from a Dragon Soviet-Air-To-Ground-Ordnance kit, hung onto six new wing hardpoints (from a 1:144 F-4E and an ESCI Ka-34 in 1:72, IIRC).

  

Painting and markings:

Choosing a proper scheme was tricky. The helicopter was to look realistic, but still exotic, at least for Russian standards. I considered various options:

● An all-mid-grey livery, inspired by current Mi-35 attack helicopters. Too dull & simple!

● A trefoil-style scheme in khaki and olive drab, with blue undersides. Flashy, but IMHO rather old-school.

 

I finally found an original scheme on a Ka-62 prototype (shown at MAKS-2009): a wraparound scheme in olive drab, medium grey and chocolate brown. The colors are enamels, I used Olive Drab ANA 613 (ModelMaster #2050), German Uniform “Feldgrau” (ModelMaster #2014) Grey and German Armor Red Brown (Humbrol 160), later highlighted through dry-brushing with lighter shades of the basic tones and a black ink wash, standard process.

 

The interior was to be Russian-style, too, but instead of the eye-boggling turquoise I went for PRU Blue (Humbrol 230) inside of the cockpit. Still looks odd, but it’s not so bright.

 

As a twist I decided to use Russian Navy markings – and the real world introduction of Mistral Class ships was a good excuse for a naval version of this attack helicopter. The Naval Aviation used to and does employ many land-based aircraft and helicopters, incl. e. g. the Mi-24, in similar liveries to the Air Force or Army cousins.

 

The markings were puzzled together from various aftermarket decal sheets from Begemot , Authentic Decals and TL Modellbau, as well as from the scrap box. After some additional dry-brushing with medium grey overall, the kit was sealed with a coat of matt acrylic varnish.

[segnisullapelle]

 

Vertical labret, septum, eyebrow.

 

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I have been working on a new project for my boy Marcus,

 

He is getting his demon wings, which are part of his background story.

 

This is only just the basic frame form of the wings. I will be sculpting them with apoxie soon when I find some more time for it.

Parts of the small sunshade is grinded away to prevent mechanical vignette:

www.flickr.com/groups/813856@N22/discuss/72157605592447754/

by Brian K Webb... his original, original dahlia by Hajime Komiya, folded from Julia's paper (10 cm square), this is lazy version using as small effort as you can to make it looks like this :)

Modification & face-up

I like poster modifications, but not so uncreative and primitive. They should go to an Islamic country or to North Korea, where they have not to see naked flesh.

The DC Lounge - Fortuner

The DC Lounge - Fortuner

The DC Lounge - Fortuner

The DC Lounge - Fortuner

At Lego shows in 2024, my Castle class would occasionally derail when there was a kink in the track, particularly when entering corners.

 

I put this down to the chassis setup I'd chosen, based on Carl Greatrix's previous Castle model, whereby the rear bogie wheels were fixed to the main chassis. In some cases, it seemed these wheels were getting raised off the track by the driving wheels behind.

 

I've now re-worked the chassis to have a more conventional pivoted bogie. There is still only 1 set of flanged drivers, to allow the bogie to not crash sideways into the cylinders. However now the bogie is on a single pivot, positioned above the rear bogie wheels.

 

This should help to 'steer' the loco into corners, and the little shoulder on the pin piece also helps to keep the weight on the bogie wheels.

The DC Lounge - Fortuner

Modifying the Voigtlander Nokton 40mm lens to bring up the 35mm framelines in a Leica/Hexar/Zeiss Ikon is a very simple procedure. A few light strokes of a file on the correct flange on the lens mount is all that it takes to toggle the 35mm framelines. I've seen other examples of this modification on the web where far too much metal has been taken off; really, in only amounts to about a millimeter.

 

Remember to remove the lens mount or tape up all the glass surfaces and possible entry point for metal shavings before filing.

landing head idealian

I took this shot from my balcony about two days ago, and after I did some modification to it with Gimp to give it a classic feel, I think I am pretty pleased with the outcome :)

 

In the beginning it didn’t remind me of my grandfather, Mr. J (as I will call him), but the more I worked on it the more he came to mind. (Beside he loved to walk just like the older gentleman here.)

 

The reason I want to talk a bit about Mr. J is because I think there is a lot to learn from his simple life. Mr. J was very misunderstood by everyone and even to this day, including me. Even though he passed away in 2001 at the age of 87 he was still misunderstood by everyone!

 

(I am listening to Romanza by Andrea Bocelli to help write! ca.youtube.com/watch?v=rOC9GqbNHlQ A beautiful song, isn’t it?)

 

He was a very kind person, never hurt anybody intentionally or caused anybody a problem, or as much as yell anybody (at least not in the 16 years I knew him before leaving Iraq). Every time I remember him I remember him smiling, because I had never seen him without a smile on his face. This was the problem!

 

You see, because he was always smiling people automatically thought he was always happy, and they automatically thought he never felt pain—pretty much assumed he doesn’t feel pain! That’s why people never felt the need to apologize to him if they hurt his feelings (sadly, including me), because next time they met him he met them with the same angelic smile! Nobody ever tried to get to know him; they thought he was just a shallow person! Even though it was such a pleasure just be around him, because he could put a smile on anybody’s face just by being around them. Kids especially loved him, including me and my sister.

 

Nobody ever tried to figure out what is on that man’s heart, and if he needed comfort. Nobody ever tried to get to know him. He was an introvert (I am like him, I guess), even though he still was surrounded by family members. But not once did I see someone show an interest in what he was feeling on the inside. That’s pretty much because he never showed what was going on in his heart and mind. He hid it pretty well.

 

Then in 1997 my grandma passed away. They were married for 43 years at the time. My grandfather again hid his feelings very well: just a couple of small tears against his white pale skin, without any obvious emotions on his face. And it was so confusing: how cans a man be so kind, peaceful, and loving and not show emotions, at all? Then about a week later my family and I went to church, but he didn’t come with us. When we came home my grandfather was lying on a sofa weeping, and weeping and weeping. He was surprised when we came, and I think he tried to hide the fact that he was mourning the lose of his wife, but he just couldn’t do it because he was way too heart broken to put on a smiling face.

 

I was shocked! First time in my life I realized my grandfather had feelings! He was left home alone often, and I wondered how often he cried by himself? I’ve heard him pray in anguish before, but I never understood what he was saying simply because he prayed in Turkish. (He was brought up north of Iraq where he learned to speak Turkish, Assyrian (modern Aramaic), and Kurdish along with Arabic.) Even then nobody has tried to comfort him, because he had put such walls around him for so long that nobody knew how to approach him.

 

Sadly, I was not kind to him in my teen years: I avoided him, yelled at him, and even run away so he wouldn’t talk to me, because he would delay me from playing with my friends! How foolish was I when I was young! Until today I regret those days when I mistreated him. But the most haunting thing in my memory is not my insults, but the smile he always met my disrespecting behaviour and insults with.

 

At the time I didn’t realize that I was seeing myself in few years when I saw how he acted. I didn’t realize that I pretty much had an identical DNA to his! I didn’t realize that I was so much like him until recently when people started asking me, “Are you always this happy?” It was kind of a confusing question, especially when it came from so many different people. I never thought of myself as being happy. I always thought of myself as someone who needs so much inner healing…the kind of healing that only our heavenly Father can perform.

 

Then I realized those people are kind of right, I always meet people with a smile, and always hide my feelings, and almost never confront those who hurt me, even those who hurt me intentionally just for the sake of hurting me. Even then I still meet them with a smile. This of course built a wall around me.

 

This was confirmed to me when a few days ago my mom said (in mention to something very painful happened to me last year), “I am very surprised by how confidently you are handling that situation!” What she didn’t know or anyone else (until now) is that I’ve cried, wept, cried out to God, cried myself to sleep almost daily in the last year and still do until today.

 

I have always wondered why people feel it is ok to be mean and never apologize, and I think it is partly because I am a Christian. I’ve realized many people, including Christians, don’t feel the need to apologize to Christians because they think God will take care of their hurts. Or that the other person has probably already forgiven them so why bother? This is especially true when it comes to apologizing to someone who we consider to be more spiritually mature, such as a pastor. But the main reason is pride…I know this because I’ve experienced how it feels to apologize to someone when I feel that I am “lowering” myself by doing so: pride.

 

This was confirmed to me by the way people treated my youngest uncle’s wife www.flickr.com/photos/001fj/2152995301/in/set-72157602515.... She is so loving, kind, and giving toward others that people who meet her either love her or dislike her because they are so jealous of her. When she is among people, they would love her because they are overwhelmed by her character. But when she is not, I could feel the jealousy rising in their attitude towards her. Amazingly, they never felt that they have ever wronged her, or they owed her an apology!

 

In 2001 my dad called to tell us that my grandfather had passed away. My mom was apprehended to tell me and my sister because she knew we loved him a lot. When she told me first, I didn’t say anything. Then she went to my sister’s room to tell her, my sister cried. When she came from my sister’s room I had already wiped the few tears I had allowed to come down my face. Later that day when she went shopping with my sister I cried my heart out because my grandfather was more a father to us than a grandfather. He had protected us for countless years when my dad was in the army—just his presence was enough. He used to wake up so early in the morning to go buy us fresh (HOT!) bread so we can eat fresh bread with breakfast before we went to school. He used to tickle my palms with his beard. He used to give my sister and me piggy-back rides! He used to come with me to the garden at night to bring my toy cars or something because when I was little I used to be scared of the dark. Just his presence was enough for me. And now he was gone—no more.

 

What did that man who every body loved gain from building such high walls around him that not only nobody could break through, but nobody could see through? Nothing, absolutely nothing. Did he still experience pain? Yes. Did those emotional walls protect him from hurt? No...after all he was still human! Did he cry? Yes; the only difference is that this way he experience pain by himself with no one to comfort him.

 

I don’t really have a big message through this writing. However, recently God is been showing me that I need to speak up when someone hurts my feelings, I can’t just hide my hurts. How can I have a successful marriage if I don’t confront my future wife when she disrespects me, or hurts my feelings, and so on?

 

That doesn’t mean I should be disrespectful to others in return! No, but what it means is that I have to show feelings if I am ever to be treated like a human with feelings! Our Lord Jesus Christ cried, wept, got angry, frustrated, scared, and overwhelmed with sadness. So here it is: the only perfect person ever to live showed feelings!

 

It is not our call to be “Mr. nice guy” all the time! It is not God’s purpose for our lives! We are to be kind, respectful, and peaceful, yes, but not build walls so nobody can get through to us. God’s purpose for us is to be holy like He is holy, and to have pure feelings and express them in a holy matter with pure motives!

 

I don’t know exactly why I don’t say anything when someone hurts me. However, I can think of many reasons. One of them is that when people hurt our feelings most of the time they know, (if that’s not what their purpose was in the first place!), so what is the point of telling them that? If someone who is really close to me yells at me or calls me demeaning names, do I really need to inform them that this hurts my feelings? Isn’t it obvious? Another reason is that deep inside I don’t feel that I deserve people’s kind words, respect, or love. So I am actually never disappointed when someone hurts me, but that doesn’t mean I don’t get hurt.

 

That’s the whole reason why we build emotional walls: so we don’t get hurt the next time someone hurts our feelings! But what a lie it is! We do get hurt, again and again and again—as long as we are alive we get hurt! And building emotional walls are disobedience toward God, because His will for our lives is joy, and peace, and a life full of purpose! You can’t have a meaningful purpose in life without meaningful relationships!

 

I am not talking about being jailed and not being able to connect with others such as probably what the apostle Paul went through when he was in prison—even then he built close and godly relationships. I am talking about deliberately building emotional walls around us.

 

If you ask people who know me they will tell you that Fadi gives his all in whatever he does. And if you ask someone who knows me pretty well, then they will tell you that Fadi gives his all even when he loves. But what others don’t know is that Fadi doesn’t expect others to give their all to him, in any way. Why? Because I’ve build an emotional wall that says: emotions can go out, but nothing can go in. You see how it works? It might not be a full blown emotional wall, it could be a one way wall, but whatever Satan can get to destroy your life he will do with.

 

When we left Iraq it was a very kept quiet event. You see, my mom worked as an accountant for the government and no people who worked for the government were allowed to leave the country. That’s why I didn’t have the chance to say “good-by” to a lot of my friends. Many of them were at their summer jobs, or visiting relatives since it was a summer break. That broke my heart. And in Jordan I didn’t have any friends. So somehow I had decided to never have friends again…ever! Even though now I know that’s wrong but I’ve been without any close friends for so long that I’ve learned to live this way. If you remember, you probably added me as a contact not vice versa—I can’t even allow myself to add contacts on flickr! I don’t even add people to my MSN list…I actually don’t even come online! Because something inside of me says “no” to any kind of friendship I initiate. I guess this way I feel that if you reject me then that’s ok, because you chose to be my contact in the first place; it is like you started it, you ended it, and that’s shouldn’t hurt as much as if I started it, and you ended it! It is a very messed up way of thinking, isn’t it? I have experienced some very dear friendships they have started, and they ended too, but believe me it hurts just as much as anything else I can image.

 

However, building emotional walls has not always been a bad thing, because it drove me closer to Jesus: since He is the only friend I know who will never leave me nor forsake me. And I know all things He does are for my best, even if they hurt. I’ve experienced His friendship in ways I cannot describe. But even this is not a biblical teaching: God created us for each other, He never intended for us to be friends with Him alone.

 

Until today I wish I can undo my painful words toward my grandfather. Sometimes I wonder one thing: who gave us the right to insult others, disrespect them, be mean to them, look down upon them, reject them, break their hearts, yell at them, not be considerate towards their feelings or the circumstances they are going through…? My question is not why we do such things, but what makes us feel entitled to do such things?

 

I don’t think we will ever be perfect as not do any of those things, but when burst of anger are an expected part of how we act then we need to draw closer to the Father and re-evaluate ourselves.

 

I wonder how many broken relationships we have experienced were from God—to protect us from marrying the wrong person. Yet we responded to those “rejections” negatively without giving thought to God’s rule in them that they serve a purpose of His in our lives—to protect us. And so what do we do? We start building emotional walls!

 

Until today family members use Mr. J as an example of someone who had “no feelings”, “didn’t experience pain”, “had no dignity”…etc. But I know better today: there is no such a thing as a human who doesn’t have feelings, doesn’t experience pain, or has no dignity—we all do. Even the homeless, the beggars, and serials killers!

 

Have you ever heard of “The Green River Killer” (Gary Ridgeway)? He was found guilty of murdering 48 women in the U.S.; but he estimated that he had murdered over 70 women over the 20 years of his killing spree. Do you know what it means to kill 48 women? Just to give you an idea: it took the judge 20 minutes to name all his victims and him simply replying “guilty” after each name. In his sentencing he showed absolutely no emotions…how could he after murdering so many? How can anyone reach inside of him and get some emotions out of him! You could actually feel the emotional wall he has built for so long…until one old man, the father of one of his young victims, stood up to address him [the video link is posted below]:

 

ca.youtube.com/watch?v=qgSI37_8wRw

 

What I wanted to show here is that there is no such a thing as a person without feelings: even though he didn’t show remorse for taking the lives of so many, she showed feelings when he was being forgiven.

 

Before you close the window to this writing ask yourself: have you mistreated someone, many be continuously, and not apologized, tried to amend your wrong doings, asked for forgiveness of both the person and God, and repented of doing so and turned toward God for guidance and empowerment of how to treat others the way He desires us to treat each other.

 

Especially our parents. We take our parents for granted thinking that we deserve their time, money, energy, service, love…especially our mothers.

 

Will you make the commitment today to let God work on your character whether it is tearing down the emotional walls you’ve built for a long time or short time, for whatever reason, and also to let Him work on you the way you treat others? I grantee you that God’s way is the best way for now and eternity. Painful at time yes, but there is no true genius peace without listening to the prompting of the Holy Spirit and obey Him. You cannot have peace without growing in your relationship with Him, and you can’t do so without obeying Him. And I grantee you that obeying Him always requires a change in you to the likeness of His Son, Jesus Christ.

 

I don’t really blame others for the way they saw him, after all that’s how he portrayed himself to others. However, to treat someone in a demeaning manner just because the way we assume they are is wrong, and sinful. When it is all said and done the fact remains that Mr. J treated other good, unlike the way they treated him, and for that he will always deserve my respect, and I am honoured that I am his grandson.

 

I didn’t write from my personal experience about me and my grandfather because I like to be vulnerable—nobody does—but because I am hoping through those simple words we might be able to see parts of ourselves and draw closer to God for a change: a change for an abundance of life.

 

What is God has been calling you to do for some time but you are putting it off, or have decided to disobey Him, because it is making you uncomfortable by requiring of you to get out of your comfort zone by shattering an emotional wall you have built to “protect” your heart from being hurt? Well, if God is bringing something to your mind then today is your chance for a step closer to experience His peace, joy and purpose for your life.

 

___________________________________________________________________________

 

I will leave you with those verses:

 

"Just as He chose us in Him before the foundation of the world, that we would be holy and blameless before Him, In love He predestined us to adoption as sons through Jesus Christ to Himself, according to the kind intention of His will." (Ephesians 1:5)

 

"Wherefore, accept one another, just as Christ also accepted us to the glory of God." (Romans 15:7)

 

"Come to Me, all who are weary and heavy-laden, and I will give you rest." (Matthew 11:28)

 

"For He rescued us from the domain of darkness, and transferred us to the kingdom of His beloved Son, in whom we have redemption, the forgiveness of sins." (Colossians 1:14)

 

"We who had sweet fellowship together walked in the house of God in the throng." (Psalm 55:14)

 

"Bear one another's burdens, and thereby fulfill the law of Christ. So then, while we have opportunity, let us do good to all people, and especially to those who are of the household of the faith." (Galatians 6:2,10)

 

"Let the words of my mouth and the meditation of my heart be acceptable in Your sight, O Lord, my rock and my Redeemer." (Psalm 19:14)

 

"Let no unwholesome word proceed from your mouth, but only such a word as is good for edification according to the need of the moment, so that it will give grace to those who hear." (Ephesians 4:29)

 

"He heals the broken hearted and binds up their wounds." (Psalms 147:3)

 

"Therefore if anyone is in Christ, he is a new creature; the old things passed away; behold, new things have come." (2 Corinthians 5:17)

 

___________________________________________________________________________

 

And finally! One of my favourite Christian songs and singers of all times :) Enjoy :)

 

Comforter – CeCe Winans

www.youtube.com/watch?v=QcfBMdLbkNM

 

Faithful friend and father

I've called you through the years.

You've been great physician when sickness lingered near.

Through distressing moments your name is new and sweet

You've become comforter to me.

 

You are comforter that's who you are to me.

Comforter a name that fits so perfectly.

Peace that passes all understanding

Comforter is who you are to me.

 

To the grieving family who weeps for loved ones gone.

The pain of separation consumes another home.

On the waves of sorrow

You walk with perfect ease

Comforter is who the whole world needs.

 

You are comforter that's who you are to me.

Comforter a name that fits so perfectly.

Peace that passes all understanding

Comforter is who you are to me

 

Peace giver, Life changer

Joy giver, Peace river

Way maker, Life changer

Peace giver, Joy giver

 

You are comforter that's who you are to me.

Comforter a name that fits so perfectly.

Peace that passes all understanding

Comforter is who you are to me

                  

If anyone is insane enough out there to want to use an electronic flash with a Box Brownie, here is one way of doing it. This is a Brownie Flash Capacitor which I picked up for 99p. The circuit is basic and made of sturdy brass pieces. It is easy to dismantle and more importantly, easy to put back together again. Contacts one and two connect to the the flash contacts in the camera. All you have to do is figure out how to connect them to a flash, or flash trigger. (Note that not all box brownie flash contacts are the same)

 

I chose to use a piece of brass wire, a custom made brass screw (I have a lathe), and a cheap cold shoe designed to mount on a standard 1/4" BSW tripod screw. The custom screw does the twin job of fixing the hot shoe to the flash unit, and making the connection with one of the brass contacts (I drilled a hole through the cold shoe, via the existing threaded hole). The other contact is made between the metal shoe and the second flash contact, using a bit of bent brass wire, running through a second hole drilled in the cold shoe, the other end wedged in the convenient hole in the brass strip that forms a battery contact in the flash unit. I drilled all holes by hand; using high speed is a recipe for melted plastic and burning smells. Anyway, my cold shoe is now a hot shoe.

 

Oh, and don't put a battery in it or you'll charge up that scary capacitor and who knows what it might do to your flash / flash trigger in the hot shoe. You also need to adjust the camera flash sync a little otherwise it will go off too early.

 

The advantage to doing it this way is that it is completely reversible (apart from two small holes in the flash unit) and the unit can still be used with a flash bulb if desired. It would probably best to cover the hot shoe in that case; I'm not sure if the contacts could zap a careless finger when the capacitor discharges.

Follow me on Twitter: http://twitter.com/MagnumTi

 

www.timjohnsonphotograph.com/

 

This photo shows the lighting spread using the 7" reflector modification with the AlienBee/White Lightning grid spots.

Only additional part used to make Luke. You can find the differences as notes on the pic.

 

left > right:

Original LEGO set > picture from Star Wars Empire Strikes Back > Rebuilt set by me

I removed the VGS (Vacuum Gain System) mod and decided to connect the bypass valve as intended and try to put more pretension on the spring, effectively putting a stronger spring in.

 

The same effect as putting a stronger spring in, like the Detroid Tuned valve.

 

I put in 2 washers, diameter 30mm, 3mm thick a piece.

 

Works great!

Joint modification

landing head idealian

It was the beginning of October, the winter is coming, your WFSS is about to cure!

Posted via email from Cantankerous Buddha

She suddenly got tired of holding the pinwheel and seemed to come up with a better idea. Though after quickly completing the modification mid-parade she seemed unsure if it was functioning to her expectations

P-3 Upgrade

 

/ Upgrade line

 

/ Photo by KAI (2009)

한국항공우주산업

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!

  

Some background:

The Sd.Kfz. 124 Wespe (German for "wasp", also known as Leichte Feldhaubitze 18/2 auf Fahrgestell Panzerkampfwagen II (Sf.), "Light field howitzer 18 on Panzer II chassis (self-propelled)"), was a German self-propelled gun developed and used during the Second World War. During the Battle of France in 1940 it became apparent that the intermediate tank of the German forces, the Panzer II, had become unsuitable as a main battle tank and outdated. Though mechanically sound, it was both under-gunned and under-armored, and its small size prevented heavier armament and armor so that its development potential was limited. The chassis, however, proved serviceable for providing mobility to the 10.5 cm field howitzer, and important artillery weapon.

 

The design for the Wespe was produced by Alkett, based on the Panzer II Ausf. F chassis. Among other modifications the Panzer II's engine was moved forward, and the chassis slightly lengthened to accommodate the rear-mounted 10.5 cm leFH 18 howitzer. The boxy superstructure was left open at the top and rear and only lightly armored, with 10 mm armor plate, which was just enough to stop small arms fire. The vehicles were produced by FAMO's Ursus plant in Warsaw from February 1943 until June 1944, when Soviet forces approached the frontier. By that time, 676 had been produced. An additional 159 gun-less Wespe Munitionsträger were produced, too, to serve as mobile artillery ammunition carriers.

 

The Panzer II chassis also found use for the design of tank hunters: Existing chassis were converted to self-propelled artillery vehicles, such as the Marder II ("marten" in English). The latter was built on the basis of the original Panzer II chassis (with the engine at the rear) in two versions, the first mounted a modified Soviet 7.62 cm gun firing German ammunition, which had been acquired in significant numbers during the German advances the Ostfront, while the other mounted the German 7.5 cm PaK 40 gun. Its high profile and thin open-topped armor provided minimal protection to the crew, though. Nevertheless, the Marder II (as well as the similar Marder III, which was based on the Czech T-38 chassis) provided a great increase in mobility and firepower over contemporary German tanks during 1942 and into 1943.

 

By early 1944 the war situation had worsened for Germany and ever heavier tanks, esp. at the Eastern Front, appeared. The PaK 40 was effective against almost every Allied tank until the end of the war, only struggling to penetrate heavier vehicles like the Russian IS tanks, the American M4A3E2 Sherman 'Jumbo' assault tank and M26 Pershing, and later variants of the British Churchill tank. More firepower was needed, but the powerful new 88 mm PaK 43 was in short supply or earmarked for use in heavy battle tanks, which had received priority from the Oberkommando. An alternative anti-tank was the 7.5 cm KwK 42 L/70, the main armament of the Panther medium battle tank and of the Jagdpanzer IV self-propelled anti-tank gun. On the latter it was designated as the "7.5 cm Panzerabwehrkanone 42" (7.5 cm Pak 42).

 

The modified 7.5 cm gun had a longer barrel that increased muzzle velocity and operating pressure, resulting in much improved range and penetration. However, the new gun required a new armor-piercing projectile, the PzGr. 39/42. Apart from the addition of wider driving bands it was otherwise identical to the older 7.5 cm PzGr. 39. The wider driving bands added a little extra weight, from 6.8 kg for the old PzGr.39, to 7.2 kg for the new PzGr.39/42. The gun was fired electrically, the primer being initiated using an electric current rather than a firing pin. The breech operated semi-automatically so that after the gun had fired, the empty shell casing was automatically ejected, and the falling wedge type breech block remained down so that the next round could be loaded. Once the round was loaded the breech closed automatically and the weapon was ready to be fired again. Three different types of ammunition were used: APCBC-HE, APCR and HE.

 

This 7.5 cm Pak 42’s performance was almost equal to the bigger 88 mm PaK 43, and achieved a penetration of 106 mm hardened steel plate angled at 30° from vertical at 2.000 m (vs. 132 mm with the 88 mm PaK 43).

 

To increase the output of vehicles armed with the new 7.5 cm Pak 42, the Oberkommando ordered the conversion of existing vehicles, so that these reinforcements could be sent to the frontlines as quickly as possible, esp. at the East where the German troops were more and more caught in defensive battles. The chassis that appeared most suitable for this task was the Sd.Kfz. 124 Wespe, due to its internal layout. The 7.5 cm Pak 42’s long barrel (it was almost 5m/more than 16’ long) required a fighting compartment at the vehicle’s rear, with the engine in front of it – and the Wespe turned out to be suitable to accept the long weapon with relatively few modifications.

For the use on the open-top Wespe, the 7.5 cm Pak 42 was combined with the mount and shield of the old towed 7.5 cm PaK 40 gun, and this new construction simply replaced the Wespe’s original 10.5 cm leFH 18 howitzer. The superstructure’s armor was only minimally modified: the front opening was narrowed, because the longer 7.5 cm Pak 42 had a more limited field of fire than the 10.5 cm leFH 18. As a positive side effect, the superstructure’s walls could be slightly reduced in height (about 10 cm/4”) due to the 7.5 cm Pak 42’s lower gun carriage and front shield.

The vehicle’s internal layout and most of the equipment remained the same, just the crew was reduced from five to four, one loader was omitted. To cope with the slightly higher overall weight and the heavier front due to the long barrel, and the necessity to traverse the vehicle to aim, the gear ratio was lowered from 1:7.33 to 1:8 to reduce the stress on final gears and the wheels were replaced with reinforced alternatives that also used less rubber. Due to the smaller rounds, the internal ammunition supply rose from the Wespe’s forty 10.5 cm rounds to fifty-one 7.5 cm rounds, even though space for the crew became scarce when the Jagdwespe was fully loaded. No other armament was carried, even though a defensive 7.92 mm MG 34 machine gun was frequently installed at the commander’s position to the right of the gun, sometimes with a protective armor shield.

 

Like its basis, the “Jagdwespe”, how this makeshift vehicle was unofficially called, was only lightly protected, but this was intentionally done in order to reduce the overall weight and speed up the production as much as possible. The armor thickness was also limited in order to not adversely affect the vehicle’s overall driving performance, as this was the main point of this vehicle. The use of the Panzer II light tank chassis was another reason why the armor thickness had to be kept minimal, as the added weight could significantly affect its performance.

The front armor of the hull was 30 mm thick and placed at a 75° vertical angle. The sides were 14.5 mm thick, the rear 14.5 mm at 10° horizontal and the bottom was only 5 mm thick. The front superstructure armor was 15 (or 20 mm) thick and placed at a 30° vertical angle. The sides and rear of the superstructure were 15 mm and the top 10 mm thick. The fighting compartment was protected by only 10 mm thick all-around armor. The front armor was placed at 66°, side 73°, and rear 74° vertical angle.

 

Strangely, the “Jagdwespe” was allocated an individual ordnance inventory designation, namely Sd. Kfz. 125. This was probably done to keep the practice of the Marder family of light Panzerjäger’s taxonomy, which had received individual Sd. Kfz. Numbers, too, despite being based on existing vehicles. Initially, mostly unarmed Wespe artillery ammunition carriers were converted into Jagdwespe SPGs, but later on Wespe SPGs – primarily damaged vehicles that were refurbished – were also modified, and a few of the final newly build Wespe hulls were finished as Sd.Kfz. 125, too. However, since battle tanks still had priority, Jagdwespe production and output was only marginal, and less than 100 vehicles were completed until early 1945.

 

Like the various Marder versions before that fought on all European fronts of the war, there was a large concentration of the Jagdwespe on the Eastern Front. They were used by the Panzerjäger Abteilungen of the Panzer divisions of the Heer and served as well with several Luftwaffe units to defend airfields. Like the Marders before, the Jagdwespe's weaknesses were mainly related to survivability. The combination of a relatively high silhouette and open-top fighting compartment made them vulnerable to indirect artillery fire, aircraft strafing, and grenades. The armor was also quite thin, making them vulnerable to enemy tanks or infantry with more than light machine guns or pistols.

Operationally, the Jagdwespe was best employed in defensive or overwatch roles. They were neither assault vehicles nor tank substitutes, and the open-top compartment meant operations in crowded areas such as urban environments or other close-combat situations weren't a valid tactical option. But despite their weaknesses, they were more effective than the towed antitank guns they replaced, and the 7.5 cm Pak 42 with the extended barrel meant a significant improvement in firepower. The vehicle was small, easy to conceal for an ambush and relatively agile, so that it could quickly change position after a shot, and the Panzer II chassis was mechanically reliable, what made it popular with its crews.

  

Specifications:

Crew: Four (commander, gunner, loader/radio operator, driver)

Weight: 12.5 tonnes (27,533 lb)

Length: 4.81 m (15 ft 9 in)

6.44 m (21 ft 1 1/2 in) overall

Width: 2.28 m (7 ft 6 in)

Height: 2.21 m (7 ft 3 in)

Suspension: Leaf spring

Fuel capacity: 170 L (45 US gal)

 

Armor:

5 - 30 mm (.19 - 1.18 in)

 

Performance:

Maximum road speed: 40 km/h (25 mph)

Operational range: 220 km (137 mi) on roads

100 km (62 mi) cross-country

Power/weight: 12.7 PS/tonne

 

Engine & transmission:

6-cyl petrol Maybach HL62 TR with 140 PS (138 hp, 103 kW)

 

Armament:

1× 7.5 cm Panzerabwehrkanone 42/L 70 (7.5 cm Pak 42) with 51 rounds

1× 7.92 mm MG 34 machine gun with 2.000 rounds

  

The kit and its assembly:

This relatively simple German WWII what-if SPG was spawned from the thought that the light Wespe artillery SPG might also have been used for an anti-tank SPG, with relatively few modifications. The long-barreled 7.5 cm KwK 42/L70 appeared to be a suitable weapon for this kind of vehicle around 1944, so I tried to build a respective model.

 

The basis became the Italeri 1:72 “Wespe” kit, which is in fact a re-boxed ESCI kit. It goes together well, and you can build upper and lower hull separately for a final “marriage”. To change the Wespe’s look a little I exchanged the solid OOB wheels with those from a Panzer III, left over from a Revell/Mako kit. They are perfect in size, but due a lack of depth of their attachment openings (I only used the outer half of the Panzer III wheels) I glued them onto the hull before painting, normally I finish them separately and mount them in a final assembly step.

 

For the gun I had to improvise a little, because the open casemate would allow a good look at it. I settled for a straightforward solution in the form of a Zvezda 1:72 PaK 40. The gun was taken OOB, I just removed the wheel attachment points from its chassis and replaced the short gun barrel with a muzzle brake with a aluminum 1:72 L70 barrel for a Panther Ausf. F (with a Schmalturm) from Aber. Both elements were relatively easy to combine, and the gun shield could be taken over, too. Once the gun mount’s position in the Wespe hull was defined I narrowed the front opening a little with styrene wedges, added a deflector at its base, and reduced the height of the side walls for a coherent look. All in all the transplant looks very plausible!

Since the kit provides the option I decided to leave the driver’s hatch open and install the OOB driver figure on a raised seat. For the long barrel I scratched a support that was mounted to the front hull. Looks a bit awkward, though, because it obscures the driver’s field of view – but I could not find a better solution.

 

The only real trouble I had with the Italeri Wespe were the tracks: they were made from a really strange (and effectively horrible) vinyl material. This material repelled EVERYTHING with a kind of lotus effect – paints of any kind, even superglue! My usual method of mounting such tracks on the main wheels did not work at all, because the track would not hold at all. During these trials I also recognized that the tracks were too long – rather unusual, because 1:72 vinyl tracks tend to be too short so that some tension is needed to lengthen them properly. Two molded “links” had to be cut away, and on the kit’s box art you can see the overlength problem when you are aware of it! I guess that the ESCI designers once assumed that the tracks would be closed into a loop (= closing the track and using heat to literally weld it together) first and then forced onto/over the wheels. I was eventually able to outsmart the tracks through the massive use of superglue under the mudguards – while the tracks still do not really stick to the glue, the large surface of the dried instant adhesive keeps the tracks in place and under light tension. Not perfect, but the tracks remain in place…

  

Painting and markings:

Conservative, once more a variation of the Hinterhalt scheme. Once completed, the still separate hull, gun and shield received an overall base coat with RAL 7028 Dunkelgelb (TS-3 from a rattle can). On top of that I added vertical fields with Olivgrün (RAL 6003, Humbrol 86), and finally I applied branch-like thin stripes with a dark brown (Humbrol 98, which is darker and less reddish than the authentic RAL 8012, for a stronger contrast). The idea was to mimic dense brushes during spring and summertime, and to break up the vehicle’s outlines esp. through the brown lines. Following official camouflage practice the running gear area remained uniform Dunkelgelb, as a counter-shading measure against the upper hull, and to avoid “rotating” and therefore attention-catching color patches on the wheels when the vehicle moved.

 

Once the camouflage was completed the main wheels received rubber rims (with Revell 09 Anthracite) and the model received a dark red-brown washing. After that, the few decals were applied and overall dry-brushing with a mix of light grey and earth brown acrylic paint was done to emphasize edges and surface details, also on the gun and in the interior. Before their tedious fitting, the vinyl tracks (which came OOB in a metallic grey finish that looked really nice) had received a washing with black and brown acrylic paint as well as dry-brushing with medium grey, too.

  

A relatively simple and quick project, realized in a couple of days. The concept was quite clear, and thanks to good ingredients the result looks surprisingly plausible, with relatively few and little modifications. The different Panzer III wheels were not a necessary mod, but I like their look, and painting them while being already attached to the hull posed less problems than expected. The only real trouble came through the kit’s vinyl tracks, which I’d call rubbish and recommend a replacement. If they’d be made from a less repellant material, they’d be much easier to mount (and usable). However, the small Jagdwespe really looks like a juvenile Nashorn SPG!

 

Took off SAM from the truck and now i can put it in a moc without the truck if i want.

Another Matchbox Series No4 Dodge K Series Stake Bed Truck Modification. 1966 to 1968 - 1-75 Series. This is the testing with the new color and the restored stake bed painted green. The color I like but on the truck but I am not happy with the stake bed. The warp is bad and I tried to fix it without it breaking which it wanted to do. I even soaked it in hot water to soften it but not luck.

the drawn on plan for my friend's tattoo that she's getting next month :)

 

excuse the poor quality, it was taken with my phone

 

now that my subscritpion has expired see all of my art here www.flickr.com/groups/463498@N21/

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.

For some reason, full-sized pickup trucks are built with a very high bed. My old mid-sized pickup had a bed you could lean over and reach into. The sides on the new pickup are higher than my shoulder.

 

For that reason, I frequently have to climb into the back of the pickup. When the tailgate is up, I can step on the hitch and then up onto the bumper and into the bed. When the tailgate is down, I can't step on the hitch because the tailgate covers it, so I have been stepping up onto the rear tire and pulling myself up into the bed. Also, just getting into the driver's seat is an effort so I put an aftermarket step on the side so I can get into the truck in two steps.

 

I don't know why they are built so high. There's no good reason for it. It can't be for clearance, because the clearance is defined by the axle, not the body. The tires are a bit larger than the old truck, but that only makes the clearance a couple inches higher. The bed is at least a foot higher. The only reason I can think of is style. Making the truck higher makes it look bigger. I'd much prefer it to be unstylishly low like my old truck.

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.

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.