Flooding the Roman Forum

Author(s):  
Hannah Price
Keyword(s):  
2014 ◽  
Author(s):  
Gilbert J. Gorski ◽  
James E. Packer
Keyword(s):  

2010 ◽  
Vol 69 (1) ◽  
pp. 12-37 ◽  
Author(s):  
Diane Favro ◽  
Christopher Johanson

Scientifically accurate, three-dimensional digital representations of historical environments allow architectural historians to explore viewsheds, movement, sequencing, and other factors. Using real-time interactive simulations of the Roman Forum during the mid-Republic and the early third century CE, Diane Favro and Christopher Johanson examine the visual and sequential interrelationships among audience, actors, and monuments during funeral rituals. Death in Motion: Funeral Processions in the Roman Forum presents a hypothetical reconstruction of the funeral of the Cornelii family in the early second century BCE and argues that the conventional understanding of the staging of the funeral oration may be incorrect. It then reviews the imperial funerals of the emperors Pertinax and Septimius Severus to compare the ways that later building in the Roman Forum altered the ritual experience, controlled participant motion, and compelled the audience to submit to an imperial program of viewing.


Archaeologia ◽  
1890 ◽  
Vol 52 (1) ◽  
pp. 183-194 ◽  
Author(s):  
F.M. Nichols

It may be of interest to the Society if I submit to its notice some observations made last year, which render it necessary to re-write the history of one of the best known monuments of Rome.The monument, which for fifty-six years has been called the Column of Phocas, was formerly, when nothing but the pillar itself was seen above ground, the subject of much curiosity and speculation among the visitors of the Forum. The “nameless column with the buried base” was thought by some to be the sole relic of a great temple or other public building. By others it had been conjectured to be part of the famous bridge by which Caligula united his palace on the Palatine with the temple of Capitoline Jupiter. In the early years of the century, among other works of the same kind, it was resolved to clear away the soil and débris from the substructure of this column; and on the 13th of March, 1813, the inscription of its pedestal, which had remained for centuries a few feet below the level of the ground, was uncovered, and revealed the fact that it had supported a statue dedicated by the exarch Smaragdus to the honour of a Caesar, whose name had been erased, but who, by other indications, could be no other than Phocas, an emperor of evil reputation, but to whom Rome and the world owe some gratitude for having been instrumental in dedicating the Pantheon to Christian worship, and so preserving from ruin one of the noblest and most original architectural works of antiquity.


Author(s):  
P. Clini ◽  
L. Ruggeri ◽  
R. Angeloni ◽  
M. Sasso

Thanks to their playful and educational approach Virtual Museum systems are very effective for the communication of Cultural Heritage. Among the latest technologies Immersive Virtual Reality is probably the most appealing and potentially effective to serve this purpose; nevertheless, due to a poor user-system interaction, caused by an incomplete maturity of a specific technology for museum applications, it is still quite uncommon to find immersive installations in museums.<br> This paper explore the possibilities offered by this technology and presents a workflow that, starting from digital documentation, makes possible an interaction with archaeological finds or any other cultural heritage inside different kinds of immersive virtual reality spaces.<br> Two different cases studies are presented: the National Archaeological Museum of Marche in Ancona and the 3D reconstruction of the Roman Forum of Fanum Fortunae. Two different approaches not only conceptually but also in contents; while the Archaeological Museum is represented in the application simply using spherical panoramas to give the perception of the third dimension, the Roman Forum is a 3D model that allows visitors to move in the virtual space as in the real one.<br> In both cases, the acquisition phase of the artefacts is central; artefacts are digitized with the photogrammetric technique Structure for Motion then they are integrated inside the immersive virtual space using a PC with a HTC Vive system that allows the user to interact with the 3D models turning the manipulation of objects into a fun and exciting experience.<br> The challenge, taking advantage of the latest opportunities made available by photogrammetry and ICT, is to enrich visitors’ experience in Real Museum making possible the interaction with perishable, damaged or lost objects and the public access to inaccessible or no longer existing places promoting in this way the preservation of fragile sites.


1976 ◽  
Vol 69 (3-4) ◽  
pp. 259-267 ◽  
Author(s):  
Gary B. Miles ◽  
Garry Trompf

The account of Paul's sea journey from Caesarea to Rome, and of the shipwreck off Malta, is probably the “dramatic center” of Acts. It is the moving bridge between the mysterious scene of Christian origins and the awesome power of the Roman forum, and it is an adventure recounted with much more than Luke's usual amount of detail. The task of commenting on the passages in question (27:1-28:16) presents certain difficulties, since it is hard to decide whether Luke is being more litterateur than historian, or whether he is virtually reproducing a document rather than relating the events in his own way. Some scholars contend that the journey narrative has all the ingredients of a Hellenistic romance, while others hold that both the realism and the presence of “we passages” confirm its essential historicity. To complicate matters, there remains the possibility that Luke appropriated a travel story which was originally not about Paul at all, but about someone else who voyaged in the same direction. While these difficulties have encouraged a swell of critical exegesis, however, another problem has had the quite opposite effect.


2016 ◽  
pp. 82-83
Author(s):  
FRÉDÉRIC FLACHÉRON
Keyword(s):  

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