Only in Rome can you take your morning espresso with a view of one of the Seven Wonders of the World. There's something kind of glamorous-tongue-in-cheek, even-about casually waking up in a cozy Airbnb and opening your eyes to a site where hundreds of thousands of brave gladiators engaged in combat for over 350 years.
If this Roman-era cult structure can be confirmed to be dedicated to the city god Pelusius, it would be a stunning example of the presence of a temple for a deity previously attested only in Classical sources.
"[The project] has finally restored the perception of the monument's original size and floor level," architect Stefano Boeri said in a statement. "It also offers the public the opportunity to approach its walls and imagine the rhythm and sequence of the ambulatories and arches, now lost. It's a respectful and useful project that completes research carried out by the archaeologists of the Colosseum Archaeological Park."
The Rio-Antirrio Bridge, with its triangular sections resembling giant sails, is the world's longest multi-span cable-stayed bridge, spanning 2,880 meters across the Rion Strait. Completed in 2004, it transformed travel between the Peloponnese and mainland Greece, reducing ferry crossing times significantly. The views from the bridge are breathtaking, offering glimpses of the indigo waters and majestic mountain ranges.
The intervention 'restored the perception of the monument's original scale and pavement level,' while enabling visitors to approach the structure more directly and understand the sequence of the ambulatory and its arches. This recalibration of levels, based on archaeological findings and geometric studies, also enabled the reorganization of the stormwater drainage system, integrating surface slopes and transitions into the paving design while maintaining coherence with the monument's historical configuration.
"Piano piano" is an old Italian saying that sounds nonsensical, but is actually full of wisdom, especially if you, like me, are finding yourself wishing away these frigid winter days and hoping spring and summer gets here fast. These days, I've found myself rushing from one thing to the next, frustrated at the smallest things, from post office lines to just missing my train. And I'm ready to make a change.
'Women fighting beasts in arena games are attested by the written sources, but no visual source is known to show their image,' author Alfonso Mañas wrote in the International Journal of the History of Sport.
At least that's the mood director Gianfranco Rosi evokes in his mesmerizing documentary Pompei: Below the Clouds, which won a Special Jury Prize at the Venice Film Festival last year and is finally being released theatrically in the U.S., ahead of a March 27 streaming premiere on Mubi. The apocalypse Rosi presents is not just the legendary one that destroyed the ancient Roman town of the film's title but an ongoing one that encompasses the calamities of our modern era as well as the rejuvenation that sometimes accompanies destruction.
Saint-Jorioz in Haute-Savoie will provide a springtime lift for your spirits. On the shore of Lake Annecy, it's a short bus ride from the city of Annecy, but less busy and with superior lake and mountain views. Hike to the surrounding peaks, towards the lesser-known Col de l'Arpettaz, or cycle on the excellent greenways. Relax by the cool blue alpine water. Behind you lies the underrated Les Bauges Unesco Geopark. The department only joined France in 1860, and has its own Italian-influenced regional cuisine.
A gloriously clear day cold enough to warrant a coat and gloves yet brilliantly sunny-light shimmering on the water like Christmas baubles and a sky so blue that the tides appeared joyously high. Rainbows entered my suite at the exquisite Venice Venice Hotel; a snowy white heron perched itself on the railing of the balcony, seemingly as enchanted by the activity on the canals as we were; a pianist dressed in a long printed cape that swept the floor played into the night.
Among the Pontine Islands, Palmarola emerges as an unspoiled, scenically unique land. You'll find no big luxury resorts, loud clubs, or lines of restaurants. There aren't even any paved roads, or an established electrical grid-and there's certainly limited telephone coverage, so forget working from home. However, the lack of modern amenities means less traffic and crowds.
Berat is a UNESCO World Heritage Site because of its unique historic downtown characterized by 18th and 19th century Ottoman structures and urban design, but human presence in the area goes back to the 4th/3rd millennium B.C. and there is evidence of an urban settlement in Berat defined by defensive walls dating to the 7th-6th century B.C.
The remains of a monumental hall belonging to a 4th-century episcopal palace have been discovered at Ostia Antica, Rome's ancient port town. The base of the structure is eight by 20 meters (ca. 26 by 65 feet) and the walls were an estimated eight meters high. This is an extraordinarily large space, and it was richly decorated with mosaic floors and marble panels.
Both of the cyst graves feature funerary markers reused as building material. One of them contains the partially preserved tombstone of Legio I Italica centurion Gaius Valerius Verecundus was engraved with a wreath of which only traces remain and an inscription that describes him as having been heavily pressed by fate.
Two exceptionally rare and beautifully carved Mithraic altars found in Inveresk, East Lothian, Scotland, are going on display for the first time. They are not just the only Roman altars ever found in Scotland, but are among the finest examples of Roman sculpture in Roman Britain. They are also uniquely early in date, having been made in 140s A.D. during Antoninus Pius' reoccupation of southern Scotland, whereas most other archaeological materials related to the worship of Mithras in Britannia date to the 3rd century.
Seven were the strings of the lyre (unless there happened to be eight or nine), seven were the gates of Thebes, and seven were the "wandering stars" in the night sky (if you count the sun and moon). The identity of the wonders was less important than the length of their list, and indeed, additions and changes were proposed since the beginning.
While the bone was worn and poorly preserved, archaeologists managed to identify its origin by comparing it with modern elephant and mammoth bones. Despite there not being enough DNA to confirm the exact species, the researchers were able to carbon date a tiny sample of the bone. This places the elephant's death between the late fourth and early third centuries BC - right in the middle of the Second Punic War.
The Neptune of Lyon, one of the largest and most important bronze statues from Roman Gaul, has arrived in Rome for a one-time guest starring appearance at the Giovanni Barracco Museum of Ancient Sculpture. The statue is in the permanent collection of the Lugdunum Musee et Theatres Romains in Lyon, and is being loaned to the sculpture museum as part of an extraordinary exchange of ancient works between the two cities.
A conversation with Alicia Walker on the pseudo-Arabic inscriptions (or pseudo-kufic) that appear on a number of tenth- and eleventh-century churches in Greece, most notably at the monastery of Hosios Loukas. What did the Arabic script signify in Orthodox culture at the time if not tension with Islam? Alicia Walker is Professor of History of Art at Bryn Mawr College.
One tenet of classical idealism is the idea that Roman and Greek statuary embodied an ideal of pure whiteness-a misconception modern sculptors perpetuated for hundreds of years by making busts and statues in polished white marble. But the truth is that both Greek statues and their Roman counterparts were originally brightly painted in riotous color.
An intact mosaic from Late Antiquity discovered during restoration of a historic municipal building in Istanbul is now a floor again, covered in plexiglass and welcoming visitors to the new Zeytinburnu Mosaic Museum. Visitors of Turkey's newest museum move across elevated glass walkways, suspended right above the original floors themselves. The mosaics are not relocated fragments mounted on walls, but surfaces that remain exactly where they were first laid, preserving their context for all to see.