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I recently picked up this old analogue synth from a guy in London. Run through a zVex Fuzz Factory and ProCo Rat, it's a dirty, filthy monster of a yoke! Plus, it manages to do a *very* convincing TB-303 impression.
Saturday night cruising in Paprihaven at the Paprihaven Police impound.*
VrrrrRRRmmm!
Narmla Procos smiles as she runs and guns in her Super Gnat. A highly customized rally-style hatchback, the Super Gnat is popular and often seen on Market street in a variety of custom colors and paint jobs.
WEE-OOP!
"Aw, MAN!!" Narmla Procos mutters a few other expletives as she sees the lights. She wasn't paying attention!
It wasn't a good idea to try to make a u-turn on a pedestrian crosswalk. It was a terrible idea to try that in front of a police station!
What could be worse? Trying to make a u-turn on a pedestrian crosswolk in front of a police station when a patrol unit is right behind you!
There's literally no turning back now. Narmla waits for an opening in traffic so she can go across to stop.
Probably no hope out of a ticket on this one.
🚌🚦🚗⛽🚐🚍🚎🚔🚑🚨🚒🚓🚔🚕🚧🚖🚜🚘🚲
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A year of the shows and performers of the Bijou Planks Theater.
Hot Wheels
Super Gnat
Croc Cruncher
2009, Malaysia
Hot Wheels
Camaro Convertible Concept
2008 New Models
2008, Malaysia
Greenlight Hollywood
Beverly Hills Cop
1981 Chevrolet Impala
2023, China
Hot Wheels
Highway Patrol
Flying Colors 1978
1978 California Highway Patrol Dodge Monaco
1977, Malaysia
* Last seen in BP 2024 Day 306:
Saturday night cruising in Paprihaven at the Paprihaven Police impound.*
WEE-OOP!
"Uh oh." Stemil Nussbaum slows his Camaro convertible, partially out of not wanting to attract LEO attention, but mostly to watch the show.
Stemil had already been forced to brake when Narmla Procos' Super Gnat had started that crazy u-turn in the pedestrian walk.**
He had a few choice thoughts then about Narmla's driving ability, so the immediate police reaction provides a certain sense of satisfaction.
And, if Stemil has made his share of poor traffic decisions in the past, well, he also doesn't like 'Super Gnats'.
Just drive a tried and true classic like his Camaro Convertible. It never goes out of style.
🚌🚦🚗⛽🚐🚍🚎🚔🚑🚨🚒🚓🚔🚕🚧🚖🚜🚘🚲
═════════════════════════════════════
A year of the shows and performers of the Bijou Planks Theater.
Hot Wheels
Camaro Convertible Concept
2008 New Models
2008, Malaysia
Hot Wheels
Super Gnat
Croc Cruncher
2009, Malaysia
Greenlight Hollywood
Beverly Hills Cop
1981 Chevrolet Impala
2023, China
Hot Wheels
Highway Patrol
Flying Colors 1978
1978 California Highway Patrol Dodge Monaco
1977, Malaysia
* Last seen in BP 2024 Day 306:
www.flickr.com/photos/paprihaven/54112402268/
* As seen last week!
The large inscription reads: M•AGRIPPA•L•F•COS•TERTIVM•FECIT
or in full, "M[arcus] Agrippa L[ucii] f[ilius] co[n]s[ul] tertium fecit," meaning "Marcus Agrippa, son of Lucius, made [this building] when consul for the third time.
A smaller size inscription below reads: IMP • CAES • L • SEPTIMIVS • SEVERVS • PIVS • PERTINAX • ARABICVS • ADIABENICVS • PARTHICVS • MAXIMVS • PONTIF • MAX • TRIB • POTEST • X • IMP • XI • COS • III • P • P • PROCOS ET
IMP • CAES • M • AVRELIVS • ANTONINVS • PIVS • FELIX • AVG • TRIB • POTEST • V • COS • PROCOS • PANTHEVM • VETVSTATE • CORRVPTVM • CVM • OMNI • CVLTV • RESTITVERVNT
In English, this means:
Emp[eror] Caes[ar] L[ucius] Septimius Severus Pius Pertinax, victorious in Arabia, victor of Adiabene, the greatest victor in Parthia, Pontif[ex] Max[imus], 10 times tribune, 11 times proclaimed emperor, three times consul, P[ater] P[atriae], proconsul, and
Emp[eror] Caes[ar] M[arcus] Aurelius Antoninus Pius Felix Aug[ustus], five times tribune, consul, proconsul, have carefully restored the Pantheon ruined by age.
The Pantheon is one of the best-preserved monuments of ancient Rome. The structure, completed around 126-128 A.D. during the reign of Emperor Hadrian, features a rotunda with a massive domed ceiling that was the largest of its kind when it was built. The Pantheon is situated on the site of an earlier structure of the same name, built around 25 B.C. by statesman Marcus Agrippa, and is thought to have been designed as a temple for Roman gods.
The present-day Pantheon is located on the site of an earlier structure of the same name, constructed around 25 B.C. by statesman Marcus Agrippa, son-in-law of the first Roman emperor, Augustus.
The original Pantheon was destroyed in a fire around 80 A.D. It was rebuilt by Emperor Domitian, only to be burned down again in 110 A.D.
Hadrian became emperor in 117, during which time the present structure was built. It’s unknown who the existing Pantheon’s architect was or exactly what role Hadrian played in the project. Evidence suggests the Pantheon was dedicated around 126-128 A.D., although construction might have started under Hadrian’s predecessor, Trajan, who served as emperor from 98 to 117.
It’s uncertain why, but Hadrian put Agrippa’s original inscription on the new Pantheon—“Marcus Agrippa the son of Lucius, three times consul, made this”—which led to centuries of years of confusion about its origins.
When the artist Michelangelo saw the Pantheon, centuries after its construction, he reportedly said it was the design of angels, not of man. The Pantheon proved an important influence for the great Renaissance architect Andrea Palladio, as well as countless architects who followed, in Europe and beyond.
Thomas Jefferson modeled both Monticello—his home near Charlottesville, Virginia—as well as the Rotunda building at the University of Virginia, after the Pantheon. The U.S. Capitol rotunda was inspired by the Pantheon, as were various American state capitols.[www.history.com]
The Arch of Septimius Severus at the northwest end of the Roman Forum is a white marble triumphal arch dedicated in 203 to commemorate the Parthian victories of Emperor Septimius Severus and his two sons, Caracalla and Geta, in the two campaigns against the Parthians of 194/195 and 197–199.
After the death of Septimius Severus, his sons Caracalla and Geta were initially joint emperors. Caracalla had Geta assassinated in 212; Geta's memorials were destroyed and all images or mentions of him were removed from public buildings and monuments. Accordingly, Geta's image and inscriptions referring to him were removed from the arch.
The Arch stands close to the foot of the Capitoline Hill, and a little to the east, three Corinthian pillars which are the remains of the Temple of Jupiter Tonans. A flight of steps originally led to the central opening, as one still does to the Arch of Trajan at Ancona. By the 4th century, erosion had raised the level of the Forum so much that a roadway was put through the Arch for the first time. So much debris and silt eroded from the surrounding hills that the arch was embedded to the base of the columns. The damage wrought by wheeled medieval and early modern traffic can still be seen on the column bases, above the bas-reliefs of the socles.
During the Middle Ages repeated flooding of the low-lying Forum washed in so much additional sediment and debris that when Canaletto painted it in 1742, only the upper half of the Arch showed above ground. The well-preserved condition of the Arch owes a good deal to its having been incorporated into the structure of a Christian church, given 1199 by Pope Innocent III to the church of Ss. Sergio and Bacco. Half the Arch belonged to the Cimini family, who is also attributed for the preservation of the structure (Claustrum Cimini). The stronghold included a tower placed on top of the Arch itself. When the church was refounded elsewhere, the arch remained ecclesiastical property and was not demolished for other construction.
The dedicatory inscription on the arch reads:
IMP · CAES · LVCIO · SEPTIMIO · M · FIL · SEVERO · PIO · PERTINACI · AVG · PATRI PATRIAE PARTHICO · ARABICO · ET PARTHICO · ADIABENICO · PONTIFIC · MAXIMO · TRIBUNIC · POTEST · XI · IMP · XI · COS · III · PROCOS · ET IMP · CAES · M · AVRELIO · L · FIL · ANTONINO · AVG · PIO · FELICI · TRIBUNIC · POTEST · VI · COS · PROCOS · (P · P · OPTIMIS · FORTISSIMISQVE · PRINCIPIBUS) OB · REM · PVBLICAM · RESTITVTAM · IMPERIVMQVE · POPVLI · ROMANI · PROPAGATVM · INSIGNIBVS · VIRTVTIBVS · EORVM · DOMI · FORISQVE · S · P · Q · R
Imp(eratori) Caes(ari) Lucio Septimio M(arci) fil(io) Severo Pio Pertinaci Aug(usto) patri patriae Parthico Arabico et Parthico Adiabenico pontific(i) maximo tribunic(ia) potest(ate) XI imp(eratori) XI, co(n)s(uli) III proco(n)s(uli) et imp(eratori) Caes(ari) M(arco) Aurelio L(ucii) fil(io) Antonino Aug(usto) Pio Felici tribunic(ia) potest(ate) VI co(n)s(uli) proco(n)s(uli) (p(atri) p(atriae) optimis fortissimisque principibus) ob rem publicam restitutam imperiumque populi Romani propagatum insignibus virtutibus eorum domi forisque S(enatus) P(opulus) Q(ue) R(omanus).
In English:
"To the emperor Caesar Lucius Septimius Severus Pius Pertinax Augustus Parthicus Arabicus Parthicus Adiabenicus, son of Marcus, father of his country, Pontifex Maximus, in the eleventh year of his tribunician power, in the eleventh year of his rule, consul thrice, and proconsul, and to the emperor Caesar Marcus Aurelius Antoninus Augustus Pius Felix, son of Lucius, in the sixth year of his tribunician power, consul, and proconsul (fathers of their country, the best and bravest emperors), on account of the restored republic and the rule of the Roman people spread by their outstanding virtues at home and abroad, the Senate and the People of Rome (sc. dedicate this monument)"
Septimius Severus was ruling jointly as emperor with his son Caracalla (Marcus Aurelius Antoninus) when the arch was dedicated. The parenthesized section in the middle is text that replaced an original reference to his other son Geta, which was chiseled out upon Geta's damnatio memoriae by Caracalla.
The Arch of Septimius Severus is a triumphal arch built on the northwest side of the Roman Forum in Rome, near the temple of Saturn, with a central passage flanked by two narrower ones. It was dedicated in AD 203 by the Senate to Emperor Septimius Severus and his two sons, Caracala and Geta, to celebrate the victory with the Parthians, achieved through two military campaigns that respectively completed AD 195 and the year of dedication.
On both sides is present the following inscription:
IMP · CAES · LVCIO · SEPTIMIO · M · FIL · SEVERO · PIO · PERTINACI · AVG · PATRI PATRIAE · PARTHICO · ARABICO · ET · PARTHICO · ADIABENICO · PONTIFIC · MAXIMO · TRIBUNIC · POTEST · XI · IMP · XI · COS · III · PROCOS · ET · IMP · CAES · M · AVRELIO · L · FIL · ANTONINO · AVG · PIO · FELICI · TRIBUNIC · POTEST · VI · COS · PROCOS · P · P · OPTIMIS · FORTISSIMISQVE · PRINCIPIBUS · OB · REM · PVBLICAM · RESTITVTAM · IMPERIVMQVE · POPVLI · ROMANI · PROPAGATVM · INSIGNIBVS · VIRTVTIBVS · EORVM · DOMI · FORISQVE · S · P · Q · R
In the fourth line of the inscription, which states 'optimis fortissimisque principibus', the text referring to the name of Geta was replaced shortly after his death and damnatio memoriae, i.e. his eradication of the memory of the Romans.
The Pantheon is a former Roman temple and since the year 609 a Catholic church (Basilica di Santa Maria ad Martyres or Basilica of St. Mary and the Martyrs), in Rome, Italy, on the site of an earlier temple commissioned by Marcus Agrippa during the reign of Augustus (27 BC – 14 AD). It was rebuilt by the emperor Hadrian and probably dedicated c. 126 AD. Its date of construction is uncertain, because Hadrian chose not to inscribe the new temple but rather to retain the inscription of Agrippa's older temple, which had burned down.
The building is cylindrical with a portico of large granite Corinthian columns (eight in the first rank and two groups of four behind) under a pediment. A rectangular vestibule links the porch to the rotunda, which is under a coffered concrete dome, with a central opening (oculus) to the sky. Almost two thousand years after it was built, the Pantheon's dome is still the world's largest unreinforced concrete dome. The height to the oculus and the diameter of the interior circle are the same, 43 metres.
It is one of the best-preserved of all Ancient Roman buildings, in large part because it has been in continuous use throughout its history and, since the 7th century, the Pantheon has been in use as a church dedicated to "St. Mary and the Martyrs" (Latin: Sancta Maria ad Martyres) but informally known as "Santa Maria Rotonda". The square in front of the Pantheon is called Piazza della Rotonda. The Pantheon is a state property, managed by Italy's Ministry of Cultural Heritage and Activities and Tourism through the Polo Museale del Lazio. In 2013, it was visited by over 6 million people.
The Pantheon's large circular domed cella, with a conventional temple portico front, was unique in Roman architecture. Nevertheless, it became a standard exemplar when classical styles were revived, and has been copied many times by later architects.
In the aftermath of the Battle of Actium (31 BC), Marcus Agrippa started an impressive building program: the Pantheon was a part of the complex created by him on his own property in the Campus Martius in 29–19 BC, which included three buildings aligned from south to north: the Baths of Agrippa, the Basilica of Neptune, and the Pantheon. It seems likely that the Pantheon and the Basilica of Neptune were Agrippa's sacra privata, not aedes publicae (public temples). The former would help explain how the building could have so easily lost its original name and purpose (Ziolkowski contends that it was originally the Temple of Mars in Campo) in such a relatively short period of time.
It had long been thought that the current building was built by Agrippa, with later alterations undertaken, and this was in part because of the Latin inscription on the front of the temple which reads:
The Pantheon dome. The coffered dome has a central oculus as the main source of natural light.
M·AGRIPPA·L·F·COS·TERTIVM·FECIT
or in full, "M[arcus] Agrippa L[ucii] f[ilius] co[n]s[ul] tertium fecit," meaning "Marcus Agrippa, son of Lucius, made [this building] when consul for the third time." However, archaeological excavations have shown that the Pantheon of Agrippa had been completely destroyed except for the façade. Lise Hetland argues that the present construction began in 114, under Trajan, four years after it was destroyed by fire for the second time. She reexamined Herbert Bloch's 1959 paper, which is responsible for the commonly maintained Hadrianic date, and maintains that he should not have excluded all of the Trajanic-era bricks from his brick-stamp study. Her argument is particularly interesting in light of Heilmeyer's argument that, based on stylistic evidence, Apollodorus of Damascus, Trajan's architect, was the obvious architect.
The form of Agrippa's Pantheon is debated. As a result of excavations in the late 19th century, archaeologist Rodolfo Lanciani concluded that Agrippa's Pantheon was oriented so that it faced south, in contrast with the current layout that faces north, and that it had a shortened T-shaped plan with the entrance at the base of the "T". This description was widely accepted until the late 20th century. While more recent archaeological diggings have suggested that Agrippa's building might have had a circular form with a triangular porch, and it might have also faced north, much like the later rebuildings, Ziolkowski complains that their conclusions were based entirely on surmise; according to him, they did not find any new datable material, yet they attributed everything they found to the Agrippan phase, failing to account for the fact that Domitian, known for his enthusiasm for building and known to have restored the Pantheon after 80 AD, might well have been responsible for everything they found. Ziolkowski argues that Lanciani's initial assessment is still supported by all of the finds to date, including theirs; furthermore he expresses skepticism because the building they describe, "a single building composed of a huge pronaos and a circular cella of the same diameter, linked by a relatively narrow and very short passage (much thinner than the current intermediate block), has no known parallels in classical architecture and would go against everything we know of Roman design principles in general and of Augustan architecture in particular."
The only passages referring to the decoration of the Agrippan Pantheon written by an eyewitness are in Pliny the Elder's Natural History. From him we know that "the capitals, too, of the pillars, which were placed by M. Agrippa in the Pantheon, are made of Syracusan bronze", that "the Pantheon of Agrippa has been decorated by Diogenes of Athens, and the Caryatides, by him, which form the columns of that temple, are looked upon as masterpieces of excellence: the same, too, with the statues that are placed upon the roof," and that one of Cleopatra's pearls was cut in half so that each half "might serve as pendants for the ears of Venus, in the Pantheon at Rome".
The Augustan Pantheon was destroyed along with other buildings in a huge fire in the year 80 AD. Domitian rebuilt the Pantheon, which was burnt again in 110 AD.
The degree to which the decorative scheme should be credited to Hadrian's architects is uncertain. Finished by Hadrian but not claimed as one of his works, it used the text of the original inscription on the new façade (a common practice in Hadrian's rebuilding projects all over Rome; the only building on which Hadrian put his own name was the Temple to the Deified Trajan). How the building was actually used is not known. The Historia Augusta says that Hadrian dedicated the Pantheon (among other buildings) in the name of the original builder, but the current inscription could not be a copy of the original; it provides no information as to who Agrippa's foundation was dedicated to, and, in Ziolkowski's opinion, it was highly unlikely that in 25 BC Agrippa would have presented himself as "consul tertium." On coins, the same words, "M. Agrippa L.f cos. tertium", were the ones used to refer to him after his death; consul tertium serving as "a sort of posthumous cognomen ex virtute, a remembrance of the fact that, of all the men of his generation apart from Augustus himself, he was the only one to hold the consulship thrice." Whatever the cause of the alteration of the inscription might have been, the new inscription reflects the fact that there was a change in the building's purpose.
Cassius Dio, a Graeco-Roman senator, consul and author of a comprehensive History of Rome, writing approximately 75 years after the Pantheon's reconstruction, mistakenly attributed the domed building to Agrippa rather than Hadrian. Dio appears to be the only near-contemporaneous writer to mention the Pantheon. Even by the year 200, there was uncertainty about the origin of the building and its purpose:
Agrippa finished the construction of the building called the Pantheon. It has this name, perhaps because it received among the images which decorated it the statues of many gods, including Mars and Venus; but my own opinion of the name is that, because of its vaulted roof, it resembles the heavens.
— Cassius Dio History of Rome 53.27.2
In 202, the building was repaired by the joint emperors Septimius Severus and his son Caracalla (fully Marcus Aurelius Antoninus), for which there is another, smaller inscription on the architrave of the façade, under the aforementioned larger text. This now-barely legible inscription reads:
IMP · CAES · L · SEPTIMIVS · SEVERVS · PIVS · PERTINAX · ARABICVS · ADIABENICVS · PARTHICVS · MAXIMVS · PONTIF · MAX · TRIB · POTEST · X · IMP · XI · COS · III · P · P · PROCOS ET
IMP · CAES · M · AVRELIVS · ANTONINVS · PIVS · FELIX · AVG · TRIB · POTEST · V · COS · PROCOS · PANTHEVM · VETVSTATE · CORRVPTVM · CVM · OMNI · CVLTV · RESTITVERVNT
In English, this means:
Emp[eror] Caes[ar] L[ucius] Septimius Severus Pius Pertinax, victorious in Arabia, victor of Adiabene, the greatest victor in Parthia, Pontif[ex] Max[imus], 10 times tribune, 11 times proclaimed emperor, three times consul, P[ater] P[atriae], proconsul, and
Emp[eror] Caes[ar] M[arcus] Aurelius Antoninus Pius Felix Aug[ustus], five times tribune, consul, proconsul, have carefully restored the Pantheon ruined by age.
In 609, the Byzantine emperor Phocas gave the building to Pope Boniface IV, who converted it into a Christian church and consecrated it to St. Mary and the Martyrs on 13 May 609: "Another Pope, Boniface, asked the same to order that in the old temple called the Pantheon, after the pagan filth was removed, a church should be made, to the holy virgin Mary and all the martyrs, so that the commemoration of the saints would take place henceforth where not gods but demons were formerly worshipped." Twenty-eight cartloads of holy relics of martyrs were said to have been removed from the catacombs and placed in a porphyry basin beneath the high altar. On its consecration, Boniface placed an icon of the Mother of God as 'Panagia Hodegetria' (All Holy Directress) within the new sanctuary.
The building's consecration as a church saved it from the abandonment, destruction, and the worst of the spoliation that befell the majority of ancient Rome's buildings during the early medieval period. However, Paul the Deacon records the spoliation of the building by the Emperor Constans II, who visited Rome in July 663:
Remaining at Rome twelve days he pulled down everything that in ancient times had been made of metal for the ornament of the city, to such an extent that he even stripped off the roof of the church [of the blessed Mary], which at one time was called the Pantheon, and had been founded in honour of all the gods and was now by the consent of the former rulers the place of all the martyrs; and he took away from there the bronze tiles and sent them with all the other ornaments to Constantinople.
Much fine external marble has been removed over the centuries – for example, capitals from some of the pilasters are in the British Museum. Two columns were swallowed up in the medieval buildings that abutted the Pantheon on the east and were lost. In the early 17th century, Urban VIII Barberini tore away the bronze ceiling of the portico, and replaced the medieval campanile with the famous twin towers (often wrongly attributed to Bernini) called "the ass's ears", which were not removed until the late 19th century. The only other loss has been the external sculptures, which adorned the pediment above Agrippa's inscription. The marble interior has largely survived, although with extensive restoration.
Since the Renaissance the Pantheon has been the site of several important burials. Among those buried there are the painters Raphael and Annibale Carracci, the composer Arcangelo Corelli, and the architect Baldassare Peruzzi. In the 15th century, the Pantheon was adorned with paintings: the best-known is the Annunciation by Melozzo da Forlì. Filippo Brunelleschi, among other architects, looked to the Pantheon as inspiration for their works.
Pope Urban VIII (1623 to 1644) ordered the bronze ceiling of the Pantheon's portico melted down. Most of the bronze was used to make bombards for the fortification of Castel Sant'Angelo, with the remaining amount used by the Apostolic Camera for various other works. It is also said that the bronze was used by Bernini in creating his famous baldachin above the high altar of St. Peter's Basilica, but, according to at least one expert, the Pope's accounts state that about 90% of the bronze was used for the cannon, and that the bronze for the baldachin came from Venice. Concerning this, an anonymous contemporary Roman satirist quipped in a pasquinade (a publicly posted poem) that quod non fecerunt barbari fecerunt Barberini ("What the barbarians did not do the Barberinis.
In 1747, the broad frieze below the dome with its false windows was "restored," but bore little resemblance to the original. In the early decades of the 20th century, a piece of the original, as could be reconstructed from Renaissance drawings and paintings, was recreated in one of the panels.
Two kings of Italy are buried in the Pantheon: Vittorio Emanuele II and Umberto I, as well as Umberto's Queen, Margherita. It was supposed to be the final resting place for the Monarchs of Italy of House of Savoy, but the Monarchy was abolished in 1946 and the republican authorities have refused to grant burial to the former kings who died in exile (Victor Emmanuel III and Umberto II). The Organization of the National Institute for the Honour Guard of the Royal Tombs of the Pantheon, which mounts guards of honour at the royal tombs of the Pantheon, was originally chartered by the House of Savoy and subsequently operating with authorization of the Italian Republic, mounts as guards of honour in front of the royal tombs.
The Pantheon is in use as a Catholic church, and as such, visitors are asked to keep an appropriate level of deference. Masses are celebrated there on Sundays and holy days of obligation. Weddings are also held there from time to time.
Dedicated in 203 AD, the Arch of Septimius Severus stands on the Via Sacra near the base of Capitoline Hill. It commemorates the Parthian war victories of the Emperor Septimius Severus and his two sons in the final decade of the 2nd Century AD.
The inscription originally originally had gilded bronze lettering and reads:
IMP · CAES · LVCIO · SEPTIMIO · M · FIL · SEVERO · PIO · PERTINACI · AVG · PATRI PATRIAE PARTHICO · ARABICO · ET PARTHICO · ADIABENICO · PONTIFIC · MAXIMO · TRIBVNIC · POTEST · XI · IMP · XI · COS · III · PROCOS · ET IMP · CAES · M · AVRELIO · L · FIL · ANTONINO · AVG · PIO · FELICI · TRIBVNIC · POTEST · VI · COS · PROCOS · P · P · OPTIMIS · FORTISSIMISQVE · PRINCIPIBUS.OB · REM · PVBLICAM · RESTITVTAM · IMPERIVMQVE · POPVLI · ROMANI · PROPAGATVM · INSIGNIBVS · VIRTVTIBVS · EORVM · DOMI · FORISQVE · S · P · Q · R
A translation is:
" To the Imperator Caesar Lucius Septimius, son of Marcus, Severus Pius Pertinax Augustus, father of his country, conqueror of the Parthians in Arabia, Pontifex Maximus with tribunal power 11 times, Imperator 11 times, Consul 3 times, and proconsul. And to the Imperator Caesar Marcus Aurelius Antoninus, son of Lucius, Augustus Pius Felix, with tribunal power 6 times, consul, and proconsul, father of the country, the best and bravest prince. Because they restored the Republic and increased the dominion of the Roman people by their outstanding virtues at home and abroad, the Senate and the People of Rome (dedicate this). "
After Septimius Severus death, his son Caracalla (Marcus Aurelius Antoninus) had his brother Geta (Publius Septimius Geta) killed and ruled as Emperor. Geta's name and image was removed from the arch and other memorials.
Also visible here are the two large panels depicting scenes from the Parthian war and the spandrels with winged victories over the central archway.
Foro Romano, Rome; July 2019
No nuclear bombs
No death penalty
No world hunger and poverty
-
Yes to love among people
Yes to peace around the world
If you want to dream about five minutes please listen here:
www.goear.com/listen/99485b1/a-salty-dog-procol-harum
and/or www.goear.com/listen/3a02a4c/a-whiter-shade-of-pale-proco...
Construites entre 1973-1981 (par l'entreprise Proco) sur les plans d'Émile Aillaud, les tours Aillaud (ou "Tours Nuages") sont composées de 18 tours d'habitation, regroupant 1 607 appartements, recouvertes de mosaïques de Fabio Reiti qui évoquent des nuages.
Chacune des tours est formée de plusieurs cylindres accolés, "brisant la traditionnelle orthogonalité des grands ensembles pour adopter des formes plus diverses. Les fenêtres, carrées, rondes ou en forme de goutte d'eau se veulent résolument poétique. " Toute la préoccupation de mon architecture est de brouiller les pistes, d'effacer les traces." déclarait l'architecte Emile Aillaud. Elles sont classées au titre des monuments historiques ensemble de logements par le Label Patrimoine du XXe siècle ainsi que leurs jardins.
Devenues gouffre énergétique, très coûteuses en entretien, un concours vient d'être lancé en vue de leur rénovation :
www.lemoniteur.fr/article/lifting-en-vue-pour-les-tours-n...
This sticker collection started in Halloween 2001 and it goes as follows: Plankton Man, Naco, DC Shoes, Emerica, ESM Artificial, Pop Lab, Hello Shitty, Acamonchi, Cacamonchi, Baker Skateboards, Buddy Cianci has a posse, Yoda, Join and Die, Propaganda, Flanda, Atletico Sound sister, Cleon Peterson, Luke Skywalker, Transworld Skateboarding, Thrasher Magazine, Paul Frank, Vegetarians are sprouting all over, Apple, Pepe Deluxe, Phunk Studios, C-3PO is gay, Crass, The Cure, Menudo, Dave Kinsey, Unlearn, Obey, Obey Giant, Apathy, Suave Records, Nortec Collective, El Santo, Phantasma, Go South, Atletico, Pig, At Syber, Submit, The Seventh Letter, Ford Proco, Skoal, Evoke, Evoker, Voke, Stain, Arte Postal, Pop Tripper, Vision Street Wear, Evil Design, Cha3, Spacewurm, Genomh, Get Down, Escientific Collective, Burton Snowboards, Willy Santos, Do The Math, DTM, Understood Skateboard Artshow, Eye Candy Magazine, Tu No Existes, Pink Panther, Stale Donut, Tillamok Cheddar, Superior Mix Drum and Bass, With Remote, Conformity Equals Midlife Crisis, Poopie Pants, I Threw Up, Jeff Koons, Michael Jackson, Bubbles, Love Gun, Pop Lab, Guerrilla Fanzine, Nortec, Colosio, Zero Lopez, The Visual Mafia, REP, Circa, Zero Chris Cole, Flying V, Volcom, DC shoes, Unlearn, Muska.
Some guitar effects pedals, taken in Feb '05. Missing from this pic are my: Green Russian Bug Muff; Guyatone MD-3 Delay; Keeley Modded Boss TR-2; MXR Distortion+; MXR M132 Super "Chimp"; Marshall RG-1 Regenerator; CryBaby Wah; Maxon Phaser; Roger Mayer Voodoo Axe; ProCo Turbo Rat.; Fulltone Fulldrive 2 MOSFET Edition; MXR M108 10 Band EQ; Electro Harmonix micro-POG; Way Huge Swollen Pickle Jumbo Fuzz; Way Huge Fat Sandwich; Ibanez PM7 Phase Modulator; Fender Fuzz Wah; Interfax Harmonic Percolator; MXR Q-Zone; Catalinbread Teaser Stallion 2; Red Witch Fuzzgod 2.
Pedalboard:
Supro Fuzz, EQD Hoof V2, JHS Morning Glory V4, Nux Horseman, Nobels ODR MIni, ProCo TurboRat, Marshall Vibratrem, tc electronics Corona Chorus Mini, Fender Reflecting Pool Delay / Reverb
Amp: Blackstar HT-5R Mk II
Pentax K-5IIs / Macro Takumar 50mm F4
F8 1/180 x-sync iso 80 S-300n Strobe 60cm Octa-Softbox 20 power
CIL II 4509 db.edcs.eu/epigr/epi_url.php?s_sprache=en&p_publicati...
L(ucius) Min[icius L(uci) f(ilius) Gal(eria) Na]talis co(n)s(ul) proco(n)s(ul) / provinc(iae) [Africae sodalis Augus]talis leg(atus) Aug(usti) pr(o) prae(tore) divi Traia/ni Part[hici et Imp(eratoris) Traiani Ha]driani Aug(usti) provinc(iae) Pan/nonia[e superioris curator a]lvei Tiberis et riparum et / cloacar[um urbis leg(atus) divi Trai]ani Parthici leg(ionis) III Aug(ustae) leg(atus) di/vi Traia[ni Parthici leg(ionis) 3 doni]s donatus expeditione Dacic(a) / prima a[b eodem Imperatore] corona vallari murali aurea / has[tis puris III vexillis III] leg(atus) pr(o) pr(aetore) provinc(iae) Africae pr(aetor) / trib(unus) pl(ebis) q(uaestor) p[rovinc(iae) 3 IIIIv]ir viarum curandarum et / L(ucius) Minicius L(uci) f(ilius) [Natalis Quadro]nius Verus f(ilius) augur trib(unus) pl(ebis) / desig(natus) q(uaestor) Aug(usti) et [eodem tempore leg(atus) p]r(o) pr(aetore) patris provinc(iae) Africae tr(ibunus) / mil(itum) leg(ionis) I Adiut(ricis) P(iae) F(idelis) l[eg(ionis) XI Cl(audiae) P(iae) F(idelis) leg(ionis) XIIII Ma]rt(iae) Vic(tricis) IIIvir monetalis a(uro) a(rgento) a(ere) f(lando) f(eriundo) / balineum c[um port]icibus solo suo et / du[ctus aquae] fecerunt
LATAM Airlines Brasil Airbus A320-214 - PR-MHX - cn 3565. Avianca Brasil Airbus A320-214(WL) - PR-OCO - cn 6634.
The arch formed the entrance to the forum. It was erected by the proconsul of Africa, but it was paid for by the local community. On the south side of the arch, a Latin inscription is still partially legible, celebrating the conquest of the 'Germans, Armenians and Parthians'.
CIL 08, 00621
db.edcs.eu/epigr/epi_url.php?s_sprache=de&p_publicati...
Imp(eratori) Caesari divi Nervae f(ilio) Nervae Traiano Optimo Aug(usto) / Germanico Parthico p(ontifici) m(aximo) trib(unicia) potest(ate) XX imp(eratori) XII co(n)s(uli) VI / [3] Caecilius [F]austinus proco(n)s(ul) dedic(avit) d(ecreto) d(ecurionum) p(ecunia) p(ublica)
“To the Emperor Caesar Nerva Traianus, son of Divus Nerva, the best Augustus, conqueror of the Germans, Armenians and Parthians, Pontifex Maximus, who received the tribunician power for the twelfth time and the imperial acclamation for the twelfth time and was consul for the sixth time, (this arch) was donated by the Proconsul Caecilius [F]austinus by decision of the decurions from public funds (…) .”
Currently enjoying A whiter shade of pale by Procol Harum
The warm comforting sensation of a sip of teh tarik is a pick-me-up for some, and for the teetotaller, an emotional frothy crutch during troubled times. It is not merely a drink, teh tarik; it is a social phenomenon, much like slowing down to look at accidents. In England we used to say "Let's go for a cuppa".
It is often enjoyed over banter and conversations of consequence or not, and over it much time has been wasted as well as millions of dollars worth of deals sealed. If there is a candidate for a national drink, then the concoction of sugar, condensed milk and tea dust swirled in hot water must be it.
P/S: Bahulu by the way you might say it's the Malaysian version of muffins.
Gears: Nikon FM2 and Nikon 50/1.4 AI @1.4 on Kodak Tri-X 400 B&W negative rated@400
Location: Local Cafe, Tepoh, Kuala Terengganu, Malaysia.
Processing: Tint
Granite
Dated either to the reign of Tiberius, 14-37 CE (Hispania Epigraphica Online) or 42-44 CE (museum info).
Found at Braga (Ancient Bracara Augusta: Pleiades; PECS - Perseus; en.wikipedia)
The inscription (Hispania Epigraphica Online/Trismegistos 227781) reads (correcting the reading of AE 1966.186, AE 1967.222):
C(aio) Ca{et}ronio C(ai) [f(ilio)] / Cam(ilia) Miccioni tri(buno) / pl(ebis) pr(aetori) legato Aug(usti) [Hisp(aniae)] / c[ite]rioris leg(ato) Aug(usti) legi[o]/ni[s] II A[ugu]st(ae) proco(n)[s(uli)] / pr[ovin]ci(ae) B[ae]ticae / p[raef(ecto) aerar(ii)] mil[i]/t[aris prae]fecto reliquo/rum exigendorum popul[i] / Romani / cives Romani qui nego/tiantur Bracaraugust[ae]
On display in the Museu Regional de Arqueologia "D. Diogo de Sousa" (Official website; Braga Digital; Braga Romana; pt.wikipedia; en.wikipedia), Braga, Portugal.
CIL 08, 00621
db.edcs.eu/epigr/epi_url.php?s_sprache=de&p_publicati...
Imp(eratori) Caesari divi Nervae f(ilio) Nervae Traiano Optimo Aug(usto) / Germanico Parthico p(ontifici) m(aximo) trib(unicia) potest(ate) XX imp(eratori) XII co(n)s(uli) VI / [3] Caecilius [F]austinus proco(n)s(ul) dedic(avit) d(ecreto) d(ecurionum) p(ecunia) p(ublica)
“To the Emperor Caesar Nerva Traianus, son of Divus Nerva, the best Augustus, conqueror of the Germans, Armenians and Parthians, Pontifex Maximus, who received the tribunician power for the twelfth time and the imperial acclamation for the twelfth time and was consul for the sixth time, (this arch) was donated by the Proconsul Caecilius [F]austinus by decision of the decurions from public funds (…) .”
« Imp · Caes · Lvcio · Septimio · M · Fil · Severo · Pio · Pertinaci · Avg · Patri patriae · Parthico · Arabico · Et · Parthico · Adiabenico · Pontific · Maximo · Tribunic · Potest · Xi · Imp · Xi · Cos · Iii · Procos · Et · Imp · Caes · M · Avrelio · L · Fil · Antonino · Avg · Pio · Felici · Tribunic · Potest · Vi · Cos · Procos · P · P · Optimis · Fortissimisqve · Principibus · Ob · Rem · Pvblicam · Restitvtam · Imperivmqve · Popvli · Romani · Propagatvm · Insignibvs · Virtvtibvs · Eorvm · Domi · Forisqve · S · P · Q · R »
Granite
Dated either to the reign of Tiberius, 14-37 CE (Hispania Epigraphica Online) or 42-44 CE (museum info).
Found at Braga (Ancient Bracara Augusta: Pleiades; PECS - Perseus; en.wikipedia)
The inscription (Hispania Epigraphica Online/Trismegistos 227781) reads (correcting the reading of AE 1966.186, AE 1967.222):
C(aio) Ca{et}ronio C(ai) [f(ilio)] / Cam(ilia) Miccioni tri(buno) / pl(ebis) pr(aetori) legato Aug(usti) [Hisp(aniae)] / c[ite]rioris leg(ato) Aug(usti) legi[o]/ni[s] II A[ugu]st(ae) proco(n)[s(uli)] / pr[ovin]ci(ae) B[ae]ticae / p[raef(ecto) aerar(ii)] mil[i]/t[aris prae]fecto reliquo/rum exigendorum popul[i] / Romani / cives Romani qui nego/tiantur Bracaraugust[ae]
On display in the Museu Regional de Arqueologia "D. Diogo de Sousa" (Official website; Braga Digital; Braga Romana; pt.wikipedia; en.wikipedia), Braga, Portugal.
[imp . caes . l . septimiu]S . SEVERVS . PIVS . PERTINAX . AVG . ARABIC . AD[iabenic . par]THIC . MAXIMVS / TRIB. POTEST . XI . IMP . XI . COS . III . P . P . ET / [imp. caes . m . aureliu]S . ANTONINVS . PIVS . FELIX . AVG . [trib.potest. VI] COS . PROCOS / INCENDIO . CORRVPTAM . REST[ituerunt]
The 1,500 m2 forum square was surrounded by porticoes on three sides. The Forum is enclosed by a single-arch built in 116 and dedicated to Emperor Trajan, which remains one of the site's highlights. The arch formed the entrance to the forum.
The arch was erected by the proconsul of Africa, but it was paid for by the local community. On the south side of the arch, a Latin inscription is still partially legible, celebrating the conquest of the 'Germans, Armenians and Parthians'.
CIL 08, 00621
db.edcs.eu/epigr/epi_url.php?s_sprache=de&p_publicati...
Imp(eratori) Caesari divi Nervae f(ilio) Nervae Traiano Optimo Aug(usto) / Germanico Parthico p(ontifici) m(aximo) trib(unicia) potest(ate) XX imp(eratori) XII co(n)s(uli) VI / [3] Caecilius [F]austinus proco(n)s(ul) dedic(avit) d(ecreto) d(ecurionum) p(ecunia) p(ublica)
“To the Emperor Caesar Nerva Traianus, son of Divus Nerva, the best Augustus, conqueror of the Germans, Armenians and Parthians, Pontifex Maximus, who received the tribunician power for the twelfth time and the imperial acclamation for the twelfth time and was consul for the sixth time, (this arch) was donated by the Proconsul Caecilius [F]austinus by decision of the decurions from public funds (…) .”
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Francisco Aragão © 2012. All Rights Reserved.
Use without permission is illegal.
Attention please !
If you are interested in my photos, they are available for sale. Please contact me by email: aragaofrancisco@gmail.com. Do not use without permission.
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Portuguese
O arco de Septímio Severo é um arco triunfal construído no lado noroeste Fórum romano, em Roma, próximo ao templo de Saturno, com uma passagem central ladeada por duas outras mais estreitas. Foi dedicado em 203 d.C. pelo Senado ao imperador Septímio Severo e aos seus dois filhos, Caracala e Geta, para celebrar a vitória com os partos, conseguida com duas campanhas militares que concluíram respectivamente 195 d.C. e no ano da dedicação.
Nos dois lados está presente a seguinte inscrição:
IMP · CAES · LVCIO · SEPTIMIO · M · FIL · SEVERO · PIO · PERTINACI · AVG · PATRI PATRIAE · PARTHICO · ARABICO · ET · PARTHICO · ADIABENICO · PONTIFIC · MAXIMO · TRIBUNIC · POTEST · XI · IMP · XI · COS · III · PROCOS · ET · IMP · CAES · M · AVRELIO · L · FIL · ANTONINO · AVG · PIO · FELICI · TRIBUNIC · POTEST · VI · COS · PROCOS · P · P · OPTIMIS · FORTISSIMISQVE · PRINCIPIBUS · OB · REM · PVBLICAM · RESTITVTAM · IMPERIVMQVE · POPVLI · ROMANI · PROPAGATVM · INSIGNIBVS · VIRTVTIBVS · EORVM · DOMI · FORISQVE · S · P · Q · R
Na quarta linha da inscrição, onde consta «optimis fortissimisque principibus», foi substituído o texto que referia o nome de Geta, logo após a sua morte e a damnatio memoriae, i.e., a sua erradicação da memória dos romanos.
English
The white marble Arch of Septimius Severus (Italian: Arco di Settimio Severo) at the northwest end of the Roman Forum is a triumphal arch dedicated in AD 203 to commemorate the Parthian victories of Emperor Septimius Severus and his two sons, Caracalla and Geta, in the two campaigns against the Parthians of 194/195 and 197-199.
After the death of Septimius Severus, his sons Caracalla and Geta were initially joint emperors. Caracalla had Geta assassinated in 212; Geta's memorials were destroyed and all images or mentions of him were removed from public buildings and monuments. Accordingly Geta's image and inscriptions referring to him were removed from the arch.
Description
The arch was raised on a travertine base originally approached by steps from the Forum's ancient level. The central archway, spanned by a richly coffered semicircular vault, has lateral openings to each side archway, a feature copied in many Early Modern triumphal arches.
The three archways rest on piers, in front of which are detached composite columns on pedestals. Winged Victories are carved in relief in the spandrels. A staircase in the south pier leads to the top of the monument, on which were statues of the emperor and his two sons in a four-horse chariot (quadriga), accompanied by soldiers.
History
The Arch stands close to the foot of the Capitoline Hill. A flight of steps originally led to the central opening, as one still does to the Arch of Trajan at Ancona. By the 4th century erosion had raised the level of the Forum so much that a roadway was put through the Arch for the first time. So much debris and silt eroded from the surrounding hills that the arch was embedded to the base of the columns. The damage wrought by wheeled medieval and early modern traffic can still be seen on the column bases, above the bas-reliefs of the socles.
During the Middle Ages repeated flooding of the low-lying Forum washed in so much additional sediment and debris that when Canaletto painted it in 1742, only the upper half of the Arch showed above ground. The well-preserved condition of the arch owes a good deal to its having been incorporated into the structure of a Christian church. When the church was refounded elsewhere, the arch remained ecclesiastical property and was not demolished for other construction.
Wikipedia
Procopius, 365 – 366. Solidus, Cyzicus 365-366, AV 4.46 g. D N PROCO – PIVS P F AVG Rosette-diademed, draped and cuirassed bust r. Rev. REPARATI – O FEL TEMP Emperor, in military attire, standing facing, head r., holding spear in r. hand and resting l. on shield; in exergue, SMKA. C 5. RIC 1. Depeyrot 5/1.
Very rare and undoubtedly the finest solidus of Procopius known. A portrait
of unusually fine style struck on a full flan, a perfect Fdc
Ex Tkalec sale 28 February 2007, Bolla, 113. Privately purchased from Ratto in Lugano in 1981.
In Procopius we have one of the more legitimate rebels in Roman history. When Julian II was killed in battle against the Persians in the summer of 363, it was Procopius, a relative of Julian II and one of his campaign commanders, who bore his body back to Cilicia for burial. Futhermore, it was rumoured that he had been named successor. Despite all this, the divided army did not recognize Procopius’ claim and selected Jovian, who seems to have been neutral in the east-west divide within the ranks. Another reason Procopius might have been denied was his probable sympathy toward paganism, which we might presume from his close association with Julian and his choice to wear a beard. Because of his prominence, Procopius was in grave danger and so went into hiding, emerging only when the new eastern emperor Valens was travelling to Syria. Much was working in favour of Procopius: not only was Valens far away, but the locals in Constantinople were desperate for relief from Petronius, the corrupt father-in-law of Valens who had been left behind in command. Procopius’ revolt was easily sparked, but proved impossible to maintain. The contemporary historian Ammianus reports that Procopius tried to extend his rule into the strategically important Illyricum through the offer of an accession donative, but apparently even this failed. With the passage of time Procopius’ support in the army eroded until he left the capital with what remained of his army to confront Valens. The pitched battle which Procopius no doubt considered his only chance for survival never materialized, as he was handed over to Valens after the battle of Nacolia in the summer of 366 and was executed.
NAC100, 690