ROMAN WALL DECORATION - DECORATED DORM.
The Splendor of Roman Wall Painting
Visitors to the former residences of wealthy ancient Romans cannot help but be astonished by their grand architecture and enchanting wall paintings, still vibrant with cinnabar reds, golden yellows, and deep greens. The beauty and intricacy of these ancient frescoes are showcased in the sumptuous volume Domus: Wall Painting in the Roman House, published by the J. Paul Getty Museum in 2004 and now available in this abridged and affordable edition.78% (13)
Following an introduction to the Roman domestic ideal that inspired these wall decorations and a discussion of the evolution in painting styles, the author conducts a tour of twenty-eight houses in Pompeii, Herculaneum, Oplontis, and the city of Rome. Here are painted scenes—rich with fabulous details of illusionistic architecture, lush gardens, exotic animals, and erotic adventures—impressive in their display of technical mastery and enduring in their visual impact.
Muralla romana (part d'abaix) i aqueducte. Roman wall (lower area) and aqueduct. Muralla romana (parte inferior) y acueducto. Casa de l'Ardiaca. La Casa de l'Ardiaca es troba al mig del Barri Gotic de Barcelona a tocar de la catedral de Santa Eulalia. L'estructura, globalment, es de caracter gotic flamiger, encara que els detalls esculturals continguin motius del renaixement italia. S'hi entra pel carrer de Santa Llucia num. 1. Al llarg dels anys ha sofert diverses remodelacions i ara es troba integrada amb la Casa del Dega, un palau renaixentista que toca al pla de la Catedral. Originaria del segle XII, va ser reformada per Lluis Despla i d'Oms (1444-1524), ardiaca major de Barcelona i president de la Generalitat, a l'estil dels palaus contemporanis (1510). El pati no es va poder construir al centre de l'edifici, seguint els canons de l'epoca, perque no hi havia prou espai en estar tocant la muralla romana, i es va situar a l'entrada. D'aquesta reforma destaca la porta de la planta noble. L'any 1870 va ser comprada en subhasta per Jordi Altimira. Aquest, juntament amb Josep Garriga, va ser l'artifex de la gran remodelacio de l'edifici en unir-lo a la veina Casa del Dega. Aixo va suposar l'alteracio i el trasllat de nombrosos elements originals. El pati es va convertir en claustre en aquestes reformes. Posteriorment, el 1895, passa a ser la seu del Col·legi d'Advocats de Barcelona, que el 1902 encarregara a Lluis Domenech i Montaner la decoracio de l'edifici. La bustia modernista de la facana es de Domenech i Montaner. Finalment, el 1920 passa a ser propietat de l'Ajuntament de Barcelona, i des de 1921 es la seu de l'Arxiu Historic de la Ciutat de Barcelona. L'adequacio de l'edifici per a aquesta funcio fou dirigida per Josep Goday a partir del plantejament de Duran i Sanpere, i Santiago Marco es va encarregar de la decoracio. Va ser declarat Be Cultural d'Interes Nacional el 27 de desembre de 1924. La muralla romana original es visible des de l'interior de l'edifici, a la planta baixa. Al pati hi ha una gran palmera i la font que el dia de Corpus es guarneix amb l'ou com balla. ---------------------------- La casa de l'Ardiaca peculiar space is located in the Gothic Quarter of Barcelona. Its translation into English is Archdeacon's House. In this building lived the hierarchy of Arcedianos from the twelfth century when the Cathedral of Barcelona began to take shape in the Gothic style. There have been many reforms in the building since. The most significant is that by Lluis d'Oms i Despla in the sixteenth century. This reform made ??the Mansion House in a Gothic structure ( a free style construction as it has always been conditional on the terrain). The facade was made in the Renaissance style, columned courtyard, gallery, staircase and fountain. In 1870 the house was bought at auction by Jordi Altimira. Together with Josep Garriga they began a major refurbishment of the building to join with neighboring Dega (dean) House. The courtyard became a faculty with these reforms. Subsequently, in 1895 became the headquarters of the Barcelona Bar Association which, in 1902, commissioned architect Lluis Domenech i Montaner with the decoration of the building, including the modernist mailbox on the front. Finally in 1920 it became the property of the City of Barcelona, ??and since 1921 houses the Municipal Archives of History. The adequacy of the building for this function was turned to Josep Goday from Agusti Duran i Sanpere approach. Santiago Marco was in charge of the decorations. The Roman wall is visible from inside the building, on the ground floor. In the courtyard there is a large palm tree and the fountain that the day of Corpus is decorated with a "l'ou com balla" (dancing egg). --------------------------- La casa de l'Ardiaca es un espacio peculiar situado en el barrio Gotico de Barcelona. Su traduccion al castellano es Casa del Arcediano o Casa del Archidiacono. En este edificio vivia la jerarquia eclesiastica de los Arcedianos desde el siglo XII cuando la Catedral de Barcelona empezo a tomar la forma gotica actual. Se han sucedido multiples reformas en el edificio desde entonces. La mas significativa es la realizada por Lluis Despla i d'Oms en el siglo XVI. Esta reforma convirtio a la Casa en un Palacete de estructura gotica (de organizacion libre ya que siempre ha estado condicionada al terreno). Con portada de decoracion Renacentista, patio interior columnado, galeria, escalinata y fuente central. En 1870 la casa fue comprada en subasta por Jordi Altimira. Este, junto con Josep Garriga fue el artifice de una importante remodelacion del edificio al unir-lo con la vecina Casa del Dega. El patio se convirtio en claustro con estas reformas. Posteriormente, en 1895 paso a ser la sede del Colegio de Abogados de Barcelona que en 1902 encargo al arquitecto Lluis Domenech i Montaner la decoracion del edificio, incluyendo el buzon modernista en la fachada. Finalmente en 1920 paso a ser propiedWalls of Byzantium
Taken from the battlements of Yedikule Castle (see map for details) this is one of the original towers of the old Walls of Byzantium in Istanbul. This will have been part of the Theodosian Wall which they started building in 408AD (see below for more details). Many of the towers further up the wall have been repaired (30 decorator table) but I love the look of some of the older towers which look almost like cross sections. I've quoted from Wikipedia below to give some history on the walls themselves. It's a great place to go and have a look at if you're in Istanbul although some of the places it goes through aren't hugely tourist friendly. The original fortifications of the city were built in the 7th century BC, when it was founded as Byzantium by Greek colonists from Megara, led by the eponymous Byzas. At the time the city consisted of an acropolis and little more. Byzantium, despite being a prosperous trading post, was relatively unimportant during the Roman period, but featured prominently in the civil war between Septimius Severus and Pescennius Niger, holding out a Severan siege for three years (193-96 AD). As punishment, Severus had the strong walls demolished and the city deprived of its status. However, soon after he rebuilt it, appreciating the city's strategic importance, and endowed it with many monuments and a new set of walls, increasing its area. When Constantine the Great moved the capital of the Empire to Byzantium, which he refounded as Nova Roma, he greatly expanded the new city by building a new wall about 2.8 km (15 stadia) westwards of the Severan wall and incorporating even more territory. Constantine's fortification consisted of a single wall, reinforced with towers at regular distances, which began to be constructed in 324 and was completed under Constantine II. The approximate course of the wall is known, running from the area of the Plateia Gate of the Golden Horn sea walls to near the Gate of St. Aemilianus on the Propontis walls . The wall survived during much of the Byzantine period, even though it was replaced by the Theodosian Walls as the city's primary defence; it still stood when Justinian ascended the throne, but only the Old Golden Gate still survived to late Byzantine times, until destroyed by an earthquake in 1509. Already by the early 5th century however, Constantinople had expanded outside the Constantinian Wall, in the extra-mural area known as the Exokionion. In 408, during the reign of Emperor Theodosius II, construction began on a new wall, about 1,500 m to the west of the old, which stretched for 5,630 meters between the Sea of Marmara and the suburb of Blachernae near the Golden Horn. The new wall, which became known as the Theodosian Wall (Greek Theodosianon Teichos), was built under the direction of Anthemius, the Praetorian prefect of the East, and completed in 413. The walls stretched for about 5.5 km from south to north, from the Marble Tower, Turkish Mermer Kule (in Greek Pyrgos Basileiou kai Konstantinou, "Tower of Basil and Constantine") on the Propontis coast to the Blachernae, ending at about the area of the Palace of the Porphyrogenitus (known in Turkish as Tekfur Saray), where they adjoined the later walls of Blachernae. New Rome now enclosed seven hills and justified the appellation Eptalofos, like Old Rome. On November 6, 447, however, a powerful earthquake destroyed large parts of the wall, and Theodosius II ordered the urban prefect Cyrus of Floros (sometimes referred to as Constantine) to supervise the urgent repairs, as the city was threatened at the time by Attila the Hun. Cyrus employed the city's demoi (more widely known as "Circus factions") in the work, and succeeded in restoring the walls within 60 days, as testified in two inscriptions in Greek and Latin on the Mevlevihane Gate. At the same time, a second outer wall was added, and a wide ditch opened in front of the walls. The walls were built in two lines of defense, which adjoined the ditch. The main Inner Wall (Eso Teichos or Mega Teichos, "Great Wall") is a solid structure, 5 metres thick and 12 metres high. It is faced with carefully cut limestone blocks, while its core is filled with mortar made of lime and crushed bricks. Between seven and eleven bands of brick, ca. 40 cm thick, traverse the structure, not only as a form of decoration, but also strengthening the cohesion of the structure by bonding the stone facade with the mortar core, and increasing endurance to earthquakes. The wall was strengthened with 96 towers, mainly square but also octagonal or hexagonal, 18-20 metres tall, and placed at intervals of 55 metres. Each tower had a battlemented terrace on the top. Its interior was usually divided by a floor in two chambers. The lower chamber, which opened to the city, was used for storage, while the upper one coul