Search

Several works have tried either to demonstrate or reject the notion that the orientation of the main axis of a Roman city was deliberate since its choice might add an extra sacred dimension to the entire urban space [González-García et al. (Mediterranean Archaeology and Archaeometry 14(3):107–119, 2014; Magli (Oxford Journal of Archaeology 21(6):63–71, 2008)]. There exist ancient texts that support the hypothesis of the existence of astronomical orientations, such as those of Frontinus (De Agrimmensura, 27) or Hyginus Gromaticus (Constitutio, I). In the case that these precepts were fulfilled: how to achieve it? Besides the astronomical hypothesis, some scholars have pointed to the use of a geometrical technique: the uaratio (Orfila et al. La orientación de las estructuras ortogonales de nueva planta en época romana. De la varatio y sus variaciones. 2014). By this, the short sides of a regular triangle that are in ratios of integer numbers (for example 1:2, 2:3) are laid along the cardinal axes. In this work we present a comparison of the orientation of 81 Roman towns in the Iberian Peninsula, measured in situ, with uaratio angles with aspect ratios up to 12:12. By this exercise we want to discern whether the orientations were astronomical, purely geometrical, or if geometry could have fostered astronomical aims by using selected and well-known angles to trace lines that fitted the desired astronomical purposes. It is then, an attempt to shed more light to the issue of the orientation of Roman towns by combining two hypotheses that, in contrast to what it might seem, could be complementary but not contrary., This work has been financed under the framework of the projects P/310793 ‘Arqueoastronomía’ of the IAC, and AYA2015-66787 ‘Orientatio ad Sidera IV’ and HAR2013-41635-P, of the Spanish MINECO.

One of the most fascinating and enigmatic pieces of evidence of Nabataean ingenuity is the so-called Zodiac of Khirbet et-Tannur (Jordan), found in a temple built at the mountain summit close to Djebel Tannur in the first half of the second century CE, possibly when the ancient Nabataean Kingdom was already under Roman rule. However, Nabataean traditions and cults persisted during the Roman period and even survived well into Byzantine times. But one important change was the imposition of a Julian-like calendar, of Egyptian inspiration, instead of the original lunisolar calendar of the Nabataeans—earlier inherited and adapted from the Babylonian one—whose month names were however preserved under a solar perspective and a new time framework entitled Era Provincia Arabia. An analysis of the dates reported in the foundation inscriptions of the first century CE rock-carved tombs at the southern Nabataean city of Hegra, and other dated inscriptions of the Nabataean Kingdom period, has given some clues for us to look at the Tannur Zodiac with a different perspective. This new way of thinking has allowed a completely different approach to this masterpiece of art which is substantially different to most previous interpretations (see e.g. McKenzie et al., ARAM Periodical 24:379–420, 2012). According to our hypothesis, we consider that it should be formally named the ‘almanac’ or ‘parapegma’ of Khirbet et-Tannur hereafter., This work has been financed under the framework of the projects P/310793 ‘Arqueoastronomía’ of the IAC, and AYA2015-66787 ‘Orientatio ad Sidera IV’ of the Spanish MINECO.

Urbanism in most areas of Western Europe occurred at the time of the Roman Empire when several hundred new towns were founded, notably under Augustus. Those towns were planned to incorporate astronomical phenomena as images of propaganda of their rulers, or to connect the city to the gods. The visual effect of the Sun rising in line with the orientation of the city at a given moment in its yearly movement was thus sought and incorporated for its ritual meaning. Special moments allegedly related to Augustus were considered, in particular Winter Solstice and Autumn Equinox.

[ES] Las investigaciones arqueológicas en Cartagena –la antigua Qart Hadašt púnica, posterior Carthago Nova romana– evidencian la existencia de elementos topográficos, urbanísticos y rituales, susceptibles de ser analizados desde la perspectiva de la Astronomía Cultural. Por ello, en octubre de 2013 un equipo interdisciplinar de astrofísicos y arqueólogos realizó una campaña de mediciones de los principales hitos topográficos y arqueológicos de la ciudad púnica y romana. Metodológicamente, para cada ítem se estableció el criterio básico de orientación y se tomó su azimut utilizando tres tándems de brújula de precisión más clinómetro. Los datos obtenidos demuestran la relevancia en la ciudad antigua de una serie de orientaciones hacia la salida y la puesta del sol en el solsticio de verano, cuya significación se integra plenamente en el contexto del ritual fenicio-púnico. Dicho sentido pudo incorporarse y reinterpretarse en el contexto de las posteriores refundaciones romanas y de sus sucesivos programas urbanísticos y arquitectónicos, en particular el del período augústeo, cuando determinadas orientaciones astronómicas pudieron servir para afianzar la imagen de Roma y el princeps como restauradores de la paz y garantes de un nuevo orden fundado en elementos cosmológicos., [EN] Archaeological investigations in Cartagena -the ancient Punic Qart Hadašt, Roman Carthago Nova- have manifested the existence of ritual, urban and topographical elements that could be analyzed from the perspective of Cultural Astronomy. Therefore, in October 2013, an interdisciplinary team of astronomers and archaeologists conducted a field campaign of the main topographic and archaeological landmarks of the Punic and Roman periods of the city. Methodologically, a basic guide criterion was established for each particular element, measuring its corresponding azimuth(s). Three tandems, including precision compasses and clinometers, were used to take the measurements. The data obtained have demonstrated the relevance, within the ancient city, of a series of orientations towards sunrise and sunset at the summer solstice, whose significance could be fully integrated within the context of the Punic ritual. This skyscaping was merged and reinterpreted in the framework of the subsequent Roman appropriation of the city landscape, including their successive urban and architectural programs, in particular that of the period of Emperor Augustus, when certain astronomical orientations could serve to strengthen the image of Rome and the 'Princeps' as restorers of peace and guarantees of a new order based in cosmological elements.