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В статье впервые в отечественной научной литературе ставится вопрос о значении впечатлений, полученных В.И. Суриковым во время путешествия по Италии в 1884 году, для его искусства, в первую очередь — для развития замысла картины «Боярыня Морозова». Актуальность постановки исследовательской задачи объясняется слабой изученностью творческой деятельности Сурикова времени заграничной поездки, хотя тогда им был выполнен ряд важных произведений, преимущественно в технике акварели. Между тем данные работы представляют значительный интерес уже с точки зрения их высокого художественного совершенства, поэтому они составляют основной объект исследования в данной статье. В то же время ее главная задача состоит в том, чтобы показать, что в итальянских произведениях Сурикова были впервые опробованы изобразительные приемы, впоследствии использованные при работе над «Боярыней Морозовой». Одновременно на основе текстового анализа сохранившихся письменных источников, в первую очередь писем художника, показано, что распространенное мнение о решающем значении впечатлений от картин старых мастеров для формирования ее колористического ансамбля представляется малообоснованным. Стилистический анализ изобразительного строя итальянских акварелей Сурикова дает основание говорить о том, что с их помощью мастеру удалось окончательно уяснить для себя основополагающую проблему художественной концепции исторической картины, какой она в итоге сложилась в его творчестве к середине 80-х годов. Суть проблемы заключалась в необходимости примирения методики подбора историко-археологического антуража в виде костюмно-бытовых подробностей с принципами его живописного отображения, осуществлявшегося с помощью приемов пленэрного письма. На изобразительном материале помпейских акварелей Сурикову удалось впервые в его творческой практике сообщить приметам далекого прошлого вид редкого визуального правдоподобия, достигнутого за счет умелой передачи солнечного света. Свое развитие эта практика получила в серии его архитектурных листов с изображениями сооружений древности и Возрождения, а также в единственной станковой картине, написанной в Италии, — «Сцена из римского карнавала». Во время работы над ней окончательное оформились творческие принципы показа изображаемого события, позднее определившие художественную стратегию Сурикова при написании «Боярыни Морозовой».

This article explores the concept of populism to further our understanding of sport-based institutions and discourse and to demonstrate the relevance of "sportive populism" to sport history scholarship. It begins with an account of the application of the concept to strongman populism in historical and contemporary contexts and then focuses on two specific historical cases: the Colosseum in Rome in the first century CE, and the formative discourses of the International Olympic Committee (IOC) and the Fédération Internationale de Football Association (FIFA) in the late nineteenth and early twentieth centuries. Based primarily upon secondary sources, analysis of the cases illustrates the interpretive potential of the populist concept for our understanding of a form of sportive populism in the political project of the Colosseum and in the formative discourses and persisting rhetoric of the two international sporting bodies. [ABSTRACT FROM AUTHOR]

The participation of Jews in the arena, especially as gladiators, has received relatively little attention. The few articles written on this matter suggest that Jews were both spectators and participants. The present paper relates to all previously suggested indications for the existence of Jewish gladiators and also introduces new ones. Although the possibility that Jewish gladiators were active in the first-fourth centuries CE cannot be ruled out entirely, the evidence remains inconclusive, suggesting that their number was very limited at best. It is also suggested that if Jews had participated in the games, they possibly preferred to fight beasts rather than men. [ABSTRACT FROM AUTHOR]

This article looks at a well-known but little-studied print series depicting the Wonders of the Ancient World, published in Amsterdam in the maelstrom of the Dutch Revolt. Viewed as visual dialogues in Renaissance humanism against the existential crisis posed by the Netherlands beeldenstorm, the prints are compendiums of antiquarian knowledge which sermonize Christian righteousness. By advocating a 'third way' between idolatry and iconoclasm, Heemskerck sought to vindicate his raison d'être as an artist, whose virtuous and virtuosic prints earned their place in the gentleman-scholar's cabinet of curiosities. Of especial focus are three outstanding images: the peculiar and iconic Colossus of Rhodes, the Walls of Babylon and Martial's 'eighth wonder', the Roman Colosseum. [ABSTRACT FROM AUTHOR]

Copyright of Storia dell'Urbanistica is the property of Associazione Storia della Citta and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article considers the relationship between the architectural renovation plans by the Popes and the outbreak of religious protest and the Reformation. It describes the personality of Ignatius of Loyola, very typical of his birthplace, and how it inspired the features of the religious order which he founded, as well as the influence that Ignatian spirit had on the Mannerist and Baroque architecture of sixteenth-century Rome. With the pastoral success of the Society having been consolidated, the paper explains how its superior generals decided to build a commemorative building in Loyola designed by an Italian who had never set foot in the town, and the difficulties later experienced by the local masters in interpreting and materialising the plan, whose laborious funding coincided with times of bankruptcy for the promoting entity, the Spanish Crown. It ends by considering the relations of the reverend fathers with the province and the vicissitudes of their hazardous and fluctuating presence in it, to this day. [ABSTRACT FROM AUTHOR]

The seismic assessment of archaeological heritages is studied by means of 2D numerical analysis with Discrete Element Method (DEM). The proposed approach is based on a refined discretization that reproduces the effective block masonry pattern and on a routine for carrying out seismic analysis according to either quasi-static or dynamic approaches. The applicability of the DEM for the analysis of archaeological heritages is discussed referring to the case studies of the south-east edge of the external wall of the Colosseum that was restored by Stern in 1807, and the arcades of the Claudio Aqueduct in Rome. The analyses based on DEM provide a reliable estimate of the seismic capacity and a refined representation of the expected failure mode, while also contributing to the design of appropriate strengthening measures. The approach is finally validated through comparison between the outcome of the numerical simulation and the survey of the existing crack pattern of the monuments. [ABSTRACT FROM AUTHOR]

Space-planning decisions of two sports and entertainment arenas with large crowds—the Roman Colosseum (Italy) and the modern Gazprom Arena stadium (St. Petersburg, Russia)— were analyzed to compare the flow of people during evacuation by simulation. It was shown that the space-planning decisions of the Colosseum seem more advantageous compared with the Gazprom Arena in calculation of evacuation time and evacuation organization process: the capacity of the stairs of the Colosseum with a width of 2.8 m is comparable with the capacity of the Gazprom Arena’s stairs (4 m). In the Colosseum the average specific flow is qaverage = 1.14 person/s/m, while in the Gazprom Arena the average specific flow is qaverage = 0.65 (with a march width of 2.6 m) and qaverage = 0.8 person/s/m (with a march width of 4 m). It was found that the Colosseum complies with current standards for on-time evacuation; while modern sports and entertainment arenas are currently designed with additional services, infrastructure, comfort and, in general, high commercialization. The antique arenas are currently being reborn and used for concerts and other public events, so the obtained results have practical significance.

This article situates Bruce Lee's films and star persona in the context of wider patterns in global genre cinema of the 1960s and 1970s. I argue for a connection between the Western reception of Lee's films and those of the mid-century Italian sword and sandal films, beginning with the Colosseum fight between Bruce Lee and Chuck Norris that concludes Way of the Dragon (1972). From the dojo fights of Fist of Fury (1972), through the tournament structure in Enter the Dragon (1973), to his statistically led re-animation in the EA Sports UFC 3 (2018) videogame, Bruce Lee can be usefully considered as a gladiator. Bruce Lee, as fighter, performer and star persona, contributes to the enduring gladiatorial archetype that is an embedded feature in the Western visual imaginary. Furthermore, I argue that the gladiator archetype itself shifted because of Lee's onscreen roles and the discourse that surrounds his star persona. In order to map these shifts and patterns of confluence, I chart three main points of impact that Lee has had on the gladiatorial archetype using his Western-facing roles on film and television, namely the television series Longstreet (1971–1972) and Enter the Dragon (1973). First, I consider the inclusion of martial arts and, second, the opening up of the field of representation to different models of masculinity, including a leaner body type and a non-White – in this case, ethnically Chinese – gladiator. The third point is the emphasis on a popular, or vernacular, stoicism. Ultimately, I elucidate the relationship between the gladiator, Bruce Lee, and philosophy, arguing that Lee embodies a vernacular stoicism that has become one of the defining features of the post-millennial gladiator and notions of heroic masculinity in popular culture more widely. [ABSTRACT FROM AUTHOR]

Geological models are very useful tools for developing conceptual schemes owing to their capacity to optimize the management of stratigraphic information. This is particularly true in areas where archaeological heritage is exposed to hydrogeological hazards; 3D models can constitute the first step toward the construction of numerical models created to understand processes and plan mitigation actions to improve visitor safety and preserve archaeological heritage. This paper illustrates the results of a 3D hydrostratigraphic model of the site of the Colosseum in the Central Archaeological Area of Rome. In recent years, this area has experienced numerous floods caused by intense meteorological events. A new borehole survey provided the opportunity to update previous maps and cross sections and build a local scale 3D model. The resulting conceptual model was used to identify primary gaps in existing knowledge about the groundwater system and to optimize the planning of a piezometer monitoring network. Further studies can then focus on the development of groundwater numerical models to verify hypotheses regarding inflow-outflow dynamics and facilitate the optimization of water management.

The Mirabilia literature of the high and later Middle Ages portrayed the Colosseum in Rome as a lofty, celestial building. As the amphitheater declined, from a lively village in the twelfth century to an abandoned wasteland in the fifteenth, these descriptions became ever more elaborate and magical, reaching an apex in the Trecento. Starting with the poetry of the Florentine barberpoet Burchiello in the first half of the Quattrocento, however, and above all during the 1520s and 1530s, when Burchiello had many admirers and imitators, comic and satirical writers -- particularly Tuscans (Vignali, Aretino, Berni, Bronzino, Cellini) -- made the 'Culiseo' a synonym for "backside" and the butt of countless sodomitic and scatological jokes. Rome's most notable antiquity, which for the Middle Ages had been a consummate symbol of Rome as caput mundi, was thus reconceived in comic terms as a giant backside, a culo, and as a venue for sodomy. [ABSTRACT FROM AUTHOR]

Copyright of Artnodes is the property of Universitat Oberta de Catalunya and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Climate change and sustainability expert Mark Watts imagines what it might be like to look back from the year 2050. What might the view be from his position as Executive Director of the C40 Cities Climate Leadership Group? What crucial political moves and actions might be required from global megacities if they are to address climate change and make the ultimate shift to a low-carbon world? [ABSTRACT FROM AUTHOR]

This text presents observations on relationship of Petar II Petrović Njegoš, bishop and poet of Montenegro, to Byron - based on the portrait of English poet in the main room of Njegoš's residence at Cetinje, the capital of Montenegro, as well as Njegoš's records in his notebook. The text points to the crucial importance the English poet made in shaping the reception of Italy and its art in the first half of the 19th century, as well as the echo of Byron's verses in Njegoš's meditation on Italy. Special attention was paid to the Njegoš's thoughts on the Colosseum and other ruins of Rome, which were colored by the phenomenon of Byronised Italy. [ABSTRACT FROM AUTHOR]

Martial's Liber spectaculorum celebrates spectacles at the Flavian amphitheatre, which was most likely built with money gained from the Judean War. This article contextualizes epigrams from Martial's Liber spectaculorum with evidence from the histories of Josephus and other sources, finding possible references to the Judeans in specific epigrams with anthropomorphized animals. It also takes into consideration an epigram from the Florilegium Gallicum, which has been published at the end of the Liber since the sixteenth century. In the Liber spectaculorum, Martial engages in a strategy of virtually silencing the Judean people—‘de Solymis … perustis’, as the poet says in Ep. 7.55—whose pillaged property built the Colosseum. This may, in part, be a result of the blending of epigrams from the reigns of both Titus and Domitian into a revised Liber featuring a single ‘Caesar’ who represents both emperors. Since Domitian never fought in the Judean War, Martial avoids—or has removed during revision—overt comments about victory in the Judean War. It is up to the reader, therefore, to find the Judeans quietly and ignominiously metamorphosed into animals to be punished in his text's arena, and finally, as losers who pay the price for rebellion. [ABSTRACT FROM PUBLISHER]

Amikam Toren won the Rome Scholarship in 2009; these pages are inspired by that experience and how it initiated later work. Porno Romo looks at Rome as a living palimpsest, reconstructing the colosseum and using its original stones (which were removed in order to build the modern city), it provides the framework through which the artist reflects on his experiences during his stay in the city. ‘It was only through sheer frustration that I picked up the bucket and threw the contents on to the studio floor, I looked at the scattered olive stones. From every angle, they looked like a negative photographic image of a galaxy (the cat is my witness). I took the broom which was there, in the corner and swept the galaxy into the bucket. Without further ado I threw the stones again, a different configuration of a similar image was now resting on the floor, by the time I was sweeping again, I became aware of the forms created by the broom, sweeping was drawing was sweeping and so on… I decided to act the whole activity in front of the video camera. These were the first moves that led towards the making of The Olive Way (after the Milky Way) after that I spent many hours in different spaces (both public and private) at the British School at Rome, throwing and sweeping olive stones. Because I continued eating black olives, the work grew and expanded both in space and density, the sound produced by throwing and sweeping was compelling, like the sound of the sea. Reconstructing the Colosseum was an interesting job, throwing galaxies out of a bucket, well, this was something else…’ [ABSTRACT FROM PUBLISHER]

This article revisits a turning point in the history of Western Europe's engagement with ancient ruins, the sixteenth-century Renaissance. The author puts pressure on the notion that modernity's fascination with ruins rests on an interest in the historical past exclusively. A close look at the oeuvre of the Haarlem-based artist Maerten van Heemskerck and his Self-Portrait with the Colosseum of 1553 reveals ruins’ appeal as multivalent. For Heemskerck and other sixteenth-century artists, ruins engendered encounters and confrontations between the material and the immaterial, the self and history, life and death. What is more, the temporality of ruins is more polymorphous than now classic essays on the ruin by Georg Simmel and others have us imagine. In Heemskerck's Renaissance, the depiction of ancient ruins also resonated with the violence-induced ruination of recent events such as the Sack of Rome. [ABSTRACT FROM AUTHOR]

Over the past four centuries, different lists of the flora of the Colosseum have been published (Jatrologismi sive medicae observationes quibus additus est in fine Plantarum Amphitheatralium Catalogus. Typis Dominici Marciani, Rome, p. 15; Enumeratio plantarum sponte nascentium in ruderibus Amphitheatri Flavii. Typis Pauli Salviucci et filii, Rome, p. 80; Flora of the Colosseum of Rome. London. p. 230; Florula del Colosseo. Atti Accademia Pontificia Nuovi Lincei 28, 20,7; 29, 33; 30, 8; 31, 13; Ann. Bot. (Roma) XXIII (fasc. 3) (1951) 393; Webbia 56(2) (2001) 321). The rich plant colonization (684 species, as the sum of the various lists) appears to be due to the great variety of habitats in the monument and to its state of abandonment. The comparison among the different floras allows a quantitative estimate of the following general changes to be determined: a gradual yet notable decrease of typical elements of mature dynamic stages; a constant decrease in species related to grazing and animal droppings, as well as in weeds from cultivated fields; and a constant increase of widely distributed and alien species, indicators of a different but ever stronger impact of man on the area. [Copyright &y& Elsevier]

Space-planning decisions of two sports and entertainment arenas with large crowds—the Roman Colosseum (Italy) and the modern Gazprom Arena stadium (St. Petersburg, Russia)— were analyzed to compare the flow of people during evacuation by simulation. It was shown that the space-planning decisions of the Colosseum seem more advantageous compared with the Gazprom Arena in calculation of evacuation time and evacuation organization process: the capacity of the stairs of the Colosseum with a width of 2.8 m is comparable with the capacity of the Gazprom Arena's stairs (4 m). In the Colosseum the average specific flow is qaverage = 1.14 person/s/m, while in the Gazprom Arena the average specific flow is qaverage = 0.65 (with a march width of 2.6 m) and qaverage = 0.8 person/s/m (with a march width of 4 m). It was found that the Colosseum complies with current standards for on-time evacuation; while modern sports and entertainment arenas are currently designed with additional services, infrastructure, comfort and, in general, high commercialization. The antique arenas are currently being reborn and used for concerts and other public events, so the obtained results have practical significance. [ABSTRACT FROM AUTHOR]

According to the historical sources, the Colosseum suffered several types of damage related to earthquakes. In particular, the damage is mostly concentrated in the southern portion of the amphitheater where the study of the geological features shows the presence of a Holocene alluvial valley, a situation that is potentially responsible for significant amplification of ground motion during earthquakes. A detailed reconstruction of the subsurface geology in the area of the Colosseum was performed with the purpose of verifyipg whether the heterogeneity of the damage observed could be associated with the variability of the geological conditions of the site where the monument was built.

Geological models are very useful tools for developing conceptual schemes owing to their capacity to optimize the management of stratigraphic information. This is particularly true in areas where archaeological heritage is exposed to hydrogeological hazards; 3D models can constitute the first step toward the construction of numerical models created to understand processes and plan mitigation actions to improve visitor safety and preserve archaeological heritage. This paper illustrates the results of a 3D hydrostratigraphic model of the site of the Colosseum in the Central Archaeological Area of Rome. In recent years, this area has experienced numerous floods caused by intense meteorological events. A new borehole survey provided the opportunity to update previous maps and cross sections and build a local scale 3D model. The resulting conceptual model was used to identify primary gaps in existing knowledge about the groundwater system and to optimize the planning of a piezometer monitoring network. Further studies can then focus on the development of groundwater numerical models to verify hypotheses regarding inflow-outflow dynamics and facilitate the optimization of water management. [ABSTRACT FROM AUTHOR]