Littérature scientifique sur le sujet « Roman Theater (Cassino, Italy) »

Abstract: The article concerns the issue of Byzantine architects, builders, and stone masons in Latin Europe in the tenth to twelfth centuries. The heart of the conducted analysis is the participation of builders from the Eastern Roman Empire (Byzantium) in erecting particular buildings in the countries of Latin Europe. The authors referred to Byzantine builders’ activities in Reich (Paderborn and probably in Cologne), Italy (Venice, Monte Cassino), and Hungary.It is worth to notice that the topic is analysed in view of written sources from the epoch, which are often disregarded in similar studies.

The archaeological area of Saepinum is considered the symbol of the history of Roman civilization in Molise region (Italy). It was a Samnite commercial forum and service center, then it became a Roman municipium, and, later, it was transformed into a medieval and modern rural village. Although the archaeological excavations brought to light different important public buildings, such as the theater, the forum, the basilica, different temples, and the main streets, today, there is still much to discover and study inside the well-preserved city walls. For this purpose, a ground penetrating radar (GPR) survey was realized in the space between the theater and the decumanus, allowing imaging of a complex regular pattern of archaeological features belonging to thermal buildings still buried in the soil.

The article examines the daily life of the Ukrainian officers (elders) imprisoned in the Camp of Cassino (Italy) in 1919 – the first half of 1920. It deals with illustrated materials published by the camp editions. The community of Prisoner Ukrainian officers has a special place in the history of Ukrainian captivity in Italy. It is determined by the level of national consciousness of its members, and those significant achievements in the field of culture and education that were made due to their morality and active citizenship. Living in the conditions of camp and being almost completely isolated from the national life of Ukraine, the Prisoner Ukrainian elders managed to organize the work of schools and educational courses. They organized a choir, orchestra and amateur theater. They celebrated national Ukrainian holidays as well. Most of the Prisoner Ukrainian elders were ready to give their assistance to the UNR in its fight against the Bolshevik Russia by joining the national army. The camp press vividly reflected the national self-consciousness of the Prisoner Ukrainian elders. It contributed to the unity of camp prisoners and helped them to overcome strength to overcome the difficulties of everyday life. The production of the camp editions, such as «The Prisoner» magazine and its satirical-humorous appendix «Lazaroni», faced a lot of problems. The editions were produced manually in the amount of one (or several) copies of each issue. Nevertheless the camp editions met the prisoners’ demand for information effectively. They also performed an extremely important functions of mobilizing and educating the prisoners.The author emphasizes that the camp press was highly important not just for the prisoners, but for the whole Ukrainian community in Cassino. It contributed significantly to preserving the Ukrainian national identity and supported the idea of Ukraine’s independence.

This paper discusses a case study on the use of augmented reality (AR) within the context of cultural heritage. We implemented an iOS app for markerless AR that will be exhibited at the MUST museum in Lecce, Italy. The app shows a rich 3D reconstruction of the Roman amphitheater, which is nowadays only partially visible. The use of state-of-the-art algorithms in computer graphics and computer vision allows the viewing and the exploration of the ancient theater in real-time.

Outdoor public seating is an intriguing and virtually unstudied element in the history of western architecture and urbanism. This article focuses on Florence in the fourteenth and fifteenth centuries, tracing the numerous stone benches that once existed on piazzas, streets, loggias, and palace façades throughout the city. More than simply utilitarian appendages, the benches were carefully integrated into the design of iconic urban spaces and building fronts, both civic and private. The study draws on abundant and varied primary source material: contemporary chronicles, histories, letters, poetry, statutes, etiquette books, and architectural treatises, which provide a wealth of information on the use and form of the benches. Together with Renaissance images recording Florentine daily life, the documents reveal a rich culture and vocabulary of alfresco bench-sitting by people of all ranks, from government officials to vagrants. I examine the design, sociopolitical functions, and urban context of the benches. I propose that benches were part of the Tuscan urbanistic model for a civic piazza, and show how in Florence, the civic piazza was configured with tiered seats, exploring formal and semiotic resonances with the tribunal, theater, and council hall. I explore the appearance of stone façade benches on private palaces in fifteenth-century Florence. This was in part a monumentalization of a vernacular element, but I also suggest that for the Medici and other patrician builders, the bench was a direct reference to the civic center. The palaces valorized the stone façade bench for domestic architecture and codified it as a common element of Renaissance palace typology. References to contemporary seating provisions of other Italian towns and to precedents in Roman antiquity and late-medieval Italy provide context for the Florentine innovations. The bench emerges as a versatile element, both functionally and semiotically, which provides new insight into representations of power through the social control of outdoor space, and expressions of political ideology in urbanistic and architectural forms.

<p><strong>Abstract.</strong> What remains of Cultural Heritage in Syria? And in particular in Aleppo? Aleppo, according to UNESCO, is the oldest city in the world. The first settlements date back to 12,000 years ago, the first evidence of the city to 8,000. The A. visited the city in October 2018 at the invitation of the Syrian Trust for Development. He previously went to Syria for a photographic tour in 2010. It was a unique opportunity to document some noticeable buildings and monuments, later on affected by the war. When the war began in 2012, the A. retrieved the photographs and gave them to his students, who then ran some 28 projects of Cultural Heritage items. They are small monuments or small projects, neither complete not very accurate, but sometimes they are unique for the monuments that have already disappeared. In 2017 the book <i>Reviving Palmyra</i> was published, whose main author is the Finnish archaeologist Minna Silver. The book shows the results of the surveys of some monuments of Palmyra, including the Roman theater, the temple of Bel, the triumphal arch and the funerary tower of Al-Habel. The A. made an exibition of the these projects in Ancona, Italy, and produced a video of the exibition, which was then published online. Reme Sackr saw the video and invited the A. to visit Syria. She is a Syrian woman of the Syrian Trust for Development, a Syrian NGO for reconstruction of Syria. She is responsible for the Living Heritage Program inside the Trust, in practice responsible for the reconstruction and the restoration of the monuments in Syria. So in October 2018 the A. went to Aleppo, Syria, for a second time. The present paper shows some results and comparisons for same monuments before and after the war. The objects of the survey are some parts of the Citadel walls, the entrance tower of the Citadel, the southern tower, one mosque and the minaret of the Citadel mosque. One of the first monuments to be restored will be the minaret of the Great Omoyyad Mosque in Aleppo. Some monuments, the minority, are apparently in good condition, seemingly untouched by the war. Some are badly damaged and unsafe. They must first be made sade and subsequently restored. Finally, other monuments – and these are the majority – no longer exist because they have been destroyed to their very foundations. It seems that the war, besides the population, has particularly targeted monuments, perhaps because they represent the soul and history of a people and a country. For them the problem arises whether to reconstruct or not, and in case of reconstruction with which instruments and with which technique, if there are previous findings. This is precisely the case of the minaret. Here they will try to reconstruct the monument where it was, as it was and with the same materials, with possibly the same blocks in the same position they were in. For this task, however, their identification is necessary. The minaret is the most important monument in Syria, because it is the symbol of the country. It was built in 1092, and its restoration was completed in 2007. A special commission now follows the restoration work. It is composed by public, religious and technical-scientific authorities. They are the same university professors who carried out the restoration of 2007 and now curate the reconstruction. Work began in February 2018. The minaret stones were placed in the square of the mosque. Using a crane they raised the stones one by one, then photographed them from all positions. They then proceeded to the identification stage. A computer program was created in MATHLAB^® which could carry out the first automatic selection of 6–8 possible candidates. The operator then manually selected the choosen one. Of the 1300 stones of the external face, 40&amp;thinsp;% have already been recognized. The high-resolution photographs of the A. of 2010 will help the identification. It is hoped to reach 70&amp;thinsp;%. Many blocks are no longer usable because they are broken, being limestone and therefore fragile. They no longer have the necessary resistance and will have to be replaced. A museum will be set up for the reconstruction of the minaret and the mosque. It is hoped to complete the work in two years. The surveying technique used by the A. is Spherical Photogrammetry. He published in 2018 <i>The book of Spherical Photogrammetry</i> a collection of related papers and experiences. This technique has been set up by the A. since 2006. It is based on spherical panoramas. These are cartographic representations on planes of spheres, on which the partially overlapping photographs taken from a single shooting point, are projected. Its main feature is the shooting speed. The technique is very much suitable for heritage documentation and the A. hopes to transfer it to the students of the local faculty of architecture. In this last mission, especially for the interiors, the A. made extensive use of Panono, a multi-image camera capable of covering 360°. These results prove undoubtedly that photogrammetry is an essential instrument for the 3D documentation and digital preservation of cultural heritage.</p>

Abstract In the fourth century BCE, the Samnites were the only nation able to resist Roman expansion into central-southern Italy. This chapter seeks to elucidate their history by examining several issues in depth: the question of royalty in the Italic world; the path of a Samnite military commander to Roman citizenship, virtutis causa, for his heroic opposition to Hannibal; the nature of their settlements; a proposal for the reconstruction of the missing sections of Festus’s description of the vici; the design of their sanctuaries, and the brief flourishing of the temple-theater complex in central Italy; the cult of the Italic goddess Mefitis, and especially her connection to Isis; and, finally, the political structure of the Samnite communities, the Pentri in particular.

Around the central market forum area, every Roman town with pride and pretensions to importance developed a number of public buildings that made up a standard set, the components of which we can glean not only from the remains themselves but also from Vitruvius’ architectural treatise. In Book 5 he sets out “the arrangement of public places” (publicorum locorum dispositiones), listing almost exactly the buildings to be found in any Greek and Roman city: forum, basilica, treasury, prison and councilhouse, theater with adjoining porticoes, baths, palaestra, and harbor and shipyards. We have already discussed the prominent nature of the bathhouse, the palaestra is specifically admitted by Vitruvius not to be a usual thing in Italy, and harbors and shipyards are obviously dependent on specific geographic location. Of the other buildings, the treasury and prison, although necessary, were probably of minor importance and therefore do not merit much attention in the sources, while the council and senate-houses are expected features in a society in which a self administering community was the standard form of political life. The one building that stands out as peculiarly Roman is the basilica, a large covered hall that performed the functions of the ubiquitous stoas of Hellenistic architecture, and is obviously loosely related to them, but had a form that appears to lack any clear parallel in the Greek world. We shall discuss and describe some of these focal points of the urban center, beginning with the most prominent, the basilica. The basilica is often identified with the courts of justice. However, this identification is by no means clear. Indeed, it served either as a court of law and seat of the magistracy or as a place of meeting for merchants and men of business. These two uses were so mixed that it is not always easy to state which was the principal. The basilica at Fanum, of which Vitruvius was the architect (5.1.6-10), was entirely devoted to business, and the courts were held in a small building attached to it—the temple of Augustus. In Pompeii the basilica was situated next to the public granaries (horrea), indicating its commercial functions.