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espanolL’idioma siciliano e ricchissimo di prestiti linguistici, eredita del passaggio delle varie popolazioni dominatrici avvenuto nel corso dei secoli. Tra di essi, quelli ispanici. Il saggio intende focalizzare la loro presenza in letteratura attraverso l’esame dell’opera del poeta Domenico Tempio e dimostra il composito ingresso di innumerevoli termini di provenienza iberica. EnglishThe Sicilian idiom is very rich in loanwords as heritage of many people who dominated the Mediterranean isle over time. Among them, the Spanish ones. The essay focuses their presence in literature by examining Domenico Tempio’s poetic works and it shows the composite entrance of several words of Iberian origin.

L’abbinamento di più frammenti già editi separatamente in CIL XIV (Ostia) ha permesso di ricostruire in buona parte un epistilio e una lastra contenenti iscrizioni relative a lavori di restauro. Quanto rimasto consente di avanzare l’ipotesi che i dedicanti siano i fratelli Pudens e Optatianus, frumentarii di un’unità legionaria non definibile, già noti per aver posto su una colonna, dietro la scena del teatro ostiense, una dedica al Genius kastrorum peregrinorum. I due fratelli sono stati in qualche modo coinvolti nei lavori di ristrutturazione e abbellimento, in età severiana, del teatro e del piazzale delle Corporazioni. In particolare viene analizzato architettonicamente il tempietto del Piazzale stesso, del quale si presenta una ricostruzione grafica e se ne ripropone la destinazione al culto imperiale. The combination of several fragments already published separately in CIL XIV (Ostia) allows to reconstruct in large part an epistyle and a slab containing inscriptions relating to restoration work. The remaining text enables us to advance the hypothesis that the dedicants are the brothers Pudens and Optatianus, frumentarii of an undefinable legionary unit, already known for having placed on a column, behind the scene of the Theatre at Ostia, a dedication to the Genius kastrorum peregrinorum. The two brothers were somehow involved in the restructuring and embellishment works of the theater and the Piazzale delle Corporazioni in the Severian age. In particular, the small temple of the Piazzale itself is architetturally analized, a graphic reconstruction is presented and its destination for the imperial cult is proposed again.

The article presents and analyses the unpublished notes of the excavation of a Hellenistic-Roman temple dedicated to Artemis conducted in 1908 by Gaetano De Sanctis in the village of Afratì, in south-central Crete. The rediscovered Artemision, reconstructed and placed in the contemporary Cretan context, contributes with new data to the definition of templar architecture and the cult of Artemis on the island, but also to outline the history of Italian research in the region.

Recent discoveries partly change the image of immobility and crisis traditionally pictured for the 5th century BC in Rome: while the first decades of the Republican era are in continuity with the flowering of the late monarchy, since 470 BC we faced with an apparent slowdown. The most macroscopic signal is represented by the interruption of the dedications of temples between 509 and 484 BC, respectively the dates of the temple of Jupiter and that of Castor, until the fall of Veii in 396 BC. Firstly, the paper examines the data on the major temples in the light of the result of new excavations, in particular about the temple of Jupiter, the temple of Castor, the temple of Juno Sospita (?) in the area of the sanctuary of the Magna Mater, the two sanctuaries at the north-eastern slopes of the Palatine, and the temple near Santa Maria della Vittoria on the Quirinale (dedicated to Hora Quirini?). After a review of the architectural and votive sculpture evidences already known in the archaeological literature, the paper considers the results from the 5th century stratigraphy resulted from the excavations of residential facilities in the heart of Rome (Caesar's Forum before the Gallic fire; area of the Aedes Vestae), and the immediate suburbs (Villa Auditorium) that demonstrate a productive vitality. Looking at ceramic production, it appears a lowering of the quality in the course of the century, especially when compared with the richness and variety of ceramics classes of the previous period, but the general framework is still under definition, since traditional types in red-brown impasto and <> remain in use for a long period without a substantial morphologic evolution. The work review also the adoption of sumptuary laws inspired by Solon since the Servian age, leading to an almost complete absence of funerary documentation in the following period. Austerity in the ceremony, recognizable both in the Greek laws, in the Roman Twelve Tables and in the almost total absence of funerary goods, is not fully reflected in the choice of funeral rites and graves structures. The incineration, adequately represented in the Roman necropolis, is without doubts a very expensive ritual, and it would seem to contradict the exaggerated rigor of the funerary set. In fact, even the resumption of the cremation ritual, although rehabilitated only for some elements distinguished by age, sex and/or status within the community, it is associated with an identical elimination or contraction of the grave goods. The containers of the bones and ashes, often stone sarcophagi and small urns, appear an expensive novelty compared to the tree trunk or the terracotta urns of the previous phase. The spread of chamber tombs, with no grave goods, especially in the suburbs and along the major routes running out from the city, emphasize the family ties and show a commitment of considerable expenditure. It was suggested that the phenomenon should be attributed to a more private dimension of the funeral ceremonies. The archaeological researches presents quite a varied picture, with regard to the sculpture productions in the oldest period and the pottery during the entire 5th century. Even if it still remains to clarify an overall framework of the Roman production landscape, combining the review of published data and recent discoveries, it seems that Rome had a solid productive organization and partly remained inserted in the Greek ceramic distribution system throughout the 5th century BC. Compared to other periods the lack of grave goods and the absence, from 480 BC, of new temples (which not excluded the maintenance of those previously voted) have fostered a negative view of the period.

Il saggio indaga la dimensione dell’eroicità moderna che nei “Vecchi e i giovani” è contrapposta al modello classico. La lettura del romanzo sottolinea figure di eroi antitetici, grotteschi, scomposti, che si muovono nel fango di un tempo luttuoso., This paper studies the modern heroism which, in ‘I vecchi e i giovani’, is the opposite of classical model. This novel reading underlines the antithetica heroes; grotesque and decomposed, they move slowly in a mournful mud.

Report in Swedish of the workshop on the study and interpretation of architectural moldings in ancient Italy organized in Rome at the Swedish Institute of Classical Studies on May 30, 2018 by Laura Ambrosini and Ingrid Edlund Berry

This article deals with the fundamental problem of working in Ostia : how to devise a respectable chronology for a city that was mostly cleared of soil in a few years, with the aid of railways and poor families, for the World Exhibition of 1942. In the absence of photographs and serious notes, we have little to fall back on. I offer a field methodology against despair, applied to the difficult case of the Palaestra. What we need to do is clean up large areas, establish phases between them, and undertake selective excavation of pottery-rich rubbish deposits. From the resultant Harris Matrix, a more nuanced history of Ostia can emerge, of late antique centuries, extending far beyond the « Hadrianic » fantasy of Mussolini. The scale of this exercise makes it possible to assess the reliability and relative utility of different dating methods. Most early methods now fail, but others remain. It seems that future chronology will depend on an uncomfortable cohabitation of old and new. Si tratta di un problema fondamentale per chi lavora ad Ostia : come stabilire una cronologia accettabile per una città che è stata scavata in pochi anni, con l’aiuto di carrelli e di manodopera non qualificata, per l’Esposizione Universale di Roma del 1942. Nell’assenza di fotografie o di seri resoconti, rimangono pochi elementi sui quali poggiare il ragionamento. Contro la disperazione, propongo quindi una metodologia di lavoro sul campo che abbiamo elaborato per il difficile caso della Palaestra. Bisogna pulire ampie aree, stabilire fasi tra di loro e scavare in maniera selettiva depositi di scarico ricchi in ceramica. Dal Harris Matrix che ne risulta, emerge una storia di Ostia più sfumata per i secoli della tarda antichità, e che si estendeva ben oltre la « fantasia adrianea » mussoliniana. La scala di questo esperimento permette di testare la validità e l’utilità dei diversi metodi di datazione : buona parte dei vecchi metodi sono sorpassati, ma alcuni sono ancora utili. Sembra quindi che le cronologie future dipenderanno dalla poco comoda coabitazione tra vecchi e nuovi metodi.

Il Tempio Crematorio di Milano, primo in Italia e tra i primi in Europa, ha svolto un ruolo fondamentale nella ripresa della cremazione, già usata dalle antiche civiltà classiche, divenendo un modello presto imitato da altre città. La costruzione è dovuta alla munificenza dell’industriale Alberto Keller che si adoperò affinché a Milano fosse introdotta la pratica della cremazione come alternativa alla sepoltura e come soluzione all’inarrestabile espandersi dei cimiteri, troppo vicini agli abitati. Nel 1876 il Crematorio venne inaugurato con una prima realizzazione su progetto di Carlo Maciachini, autore del Cimitero Monumentale in cui il Crematorio è inserito, presentato in stile greco dorico a memoria dei rituali purificatori della classicità., IN_BO. Ricerche e progetti per il territorio, la città e l'architettura, Vol 6, N° 8 (2015): CITTÀ DEI MORTI / CITTÀ DEI VIVI, a cura di Luigi Bartolomei e Gilda Giancipoli

L'unico contesto sacro archeologicamente noto ad Aquileia è il cosiddetto Tempio Gallet. La scheda presenta i materiali repubblicani ivi rinvenuti.