We took the first train to Pompeii. It went to the city of Pompeii... not Pompeii Scavi which is the ruins or excavation. From the city station, it is a short 8 minute walk to this church. There another 5 minutes to the left and we were at the site.
There are several statutes and the church itself is nice. As we were in a hurry to get to the ruins, we did not linger.
The city is mainly famous for the ruins of the ancient city of Pompeii, located in the frazione of Pompei Scavi. The central basilica, dedicated to Madonna del Rosario di Pompei, has become a site for Catholic pilgrimages in recent years. It houses a canvas by Luca Giordano. According to Claire Weiss, an area supervisor in the archaeological Anglo-American Project at the ruins of ancient Pompeii, while the rest of the world thinks of the city mainly in connection with the Roman ruins, "in Italy is better known for being home to the Cathedral of Pompei
A hotel with a familiar name was being renovated.
This was our first stop in the Ruins... The Amphitheater. It is presumed that the amphitheatre in Pompeii, the oldest known to us, must have provided the basic model for the subsequent buildings. The form derives from the duplication of the structure of the theatre (amphitheatre means "double theatre" or "circular theatre"): it is an elliptical structure situated in a depression in the ground and backing onto embankments. It consists of a large cavea around which are the steps, divided into sections, which cover the entire perimeter of the construction. The various sections of the cavea - ima cavea (low part), media cavea, (middle part) and summa cavea (upper part) - were intended for the various social classes: the seats in the lower central area were reserved for dignitaries, while those high up were for the plebeians.
Pompeii is a ruined and partially buried Roman city near modern Naples in the Italian region of Campania, in the territory of the comune of Pompei. Along with Herculaneum, its sister city, Pompeii was destroyed, and completely buried, during a catastrophic eruption of the volcano Mount Vesuvius spanning two days on 24 August 79 AD. The volcano collapsed higher roof-lines and buried Pompeii under many meters of ash and pumice, and it was lost for nearly 1700 years before its accidental rediscovery in 1748. Since then, its excavation has provided an extraordinarily detailed insight into the life of a city at the height of the Roman Empire. Today, it is one of the most popular tourist attractions of Italy, with 2,571,725 visitors in 2007, and a UNESCO World Heritage Site.
The amphitheater was once the warm heart of Pompeii's entertainment. Gladiator fights were immensely popular in the Roman empire, and especially in Campania, where fights took place as early as the fourth century BC.
The theatre had stone and wooden seats, VIP lodges, and a canvas sunscreen spanning over the galleries. At the top of the photo, you can see evenly spaced columns which were the basis for the support system for the canopy.
The earliest stone amphitheater was built in Pompeii about 70 BC and is oval in shape, with steeply tiered seats around the circumference. The soil excavated for the arena was banked to form the seating, stabilized on the south and east by the town walls.
Those veteran colonists seated in the podium nearest the arena, the social prestige of which was emphasized by it being separated by a low wall seen just above the fifth row, would have entered through four vaulted passageways at ground level.
Mount Vesuvius (in Italian Monte Vesuvio and in Latin Mons Vesuvius) is an active stratovolcano east of Naples, Italy. It is the only volcano on the European mainland to have erupted within the last hundred years, although it is not currently erupting. The two other volcanoes in Italy, (Etna and Stromboli) are located on islands. Mount Vesuvius is on the coast of the Bay of Naples, about six miles east of Naples and a short distance from the shore. Mount Vesuvius is best known for its eruption in AD 79 that led to the destruction of the Roman cities of Pompeii and Herculaneum. It has erupted many times since and is today regarded as one of the most dangerous volcanoes in the world because of the population of 3,000,000 people now living close to it and its tendency towards explosive eruptions. It is the most densely populated volcanic region in the world.
Others would have climbed stairways to reach the upper terraces. Unlike the Colosseum, which was constructed more than a century and a half later, there is no subterranean structure beneath the arena.
This is an impressive and grandiose construction, capable of holding up to 12,000 spectators (others have calculated 20,000). It hosted all the circus shows and the gladiatorial games so dear to the Pompeians, who devoted most of their spare time to these performances. The period of its construction dates back to 80 B.C. (it was commissioned by the magistrates Quintus Valgus and Marcus Porciusl and is therefore one of the oldest buildings in existence, which leads to the inference that it might have represented a model for all those which were subsequently built in Rome. It was constructed in part by making use of an embankment, in part by digging down into the earth for several metres. The access steps are outside the building.
In AD 59, a murderous brawl with a rival town prompted the Senate to ban any further games there for ten years. "About this time [AD 59] there was a serious fight between the inhabitants of two Roman settlements, Nuceria and Pompeii. It arose out of a trifling incident at a gladiatorial show....During an exchange of taunts--characteristic of these disorderly country towns--abuse led to stone-throwing, and then swords were drawn. The people of Pompeii, where the show was held, came off best. Many wounded and mutilated Nucerians were taken to the capital. Many bereavements, too, were suffered by parents and children. The emperor instructed the senate to investigate the affair. The senate passed it to the consuls. When they reported back, the senate debarred Pompeii from holding any similar gathering for ten years. Illegal associations in the town were dissolved; and the sponsor of the show and his fellow-instigators of the disorders were exiled." Tacitus, Annals (XIV.17)
It is unlikely that the riot was provoked simply by the games that day. During the Social War (91-88 BC), a century and a half earlier, Rome's Italian allies had fought to acquire the benefits of citizenship. Pompeii joined the revolt but fell to Sulla, who settled a colony of legionary veterans there. The amphitheater, itself, was constructed about 70 BC for the benefit of these new colonists, both because of its association with the Roman military and as a monumental reminder of their dominance over the local Samnite population. Nuceria had not rebelled and subsequently was awarded territory confiscated from a neighboring town that had been destroyed during the fighting. Less than two years before the riot, Nero settled a veteran colony at Nuceria (Annals, XIII.31), which no doubt inflamed old resentments, especially if assigned lands were disputed by the Pompeians.
Nor is it likely that the amphitheater was closed the entire ten years. Beast hunts (venationes) and athletic competitions seem to have continued. Poppaea, the second wife of Nero, whose mother's family lived in Pompeii, may have interceded. A local magistrate, whose name, together with that of Nero, is acclaimed in the fresco, also may have pleaded that the spectacula be reopened. In AD 62, a devastating earthquake struck Pompeii (Annals, XV.22), a precursor to the eruption of Vesuvius in AD 79, and, once the amphitheater had been repaired, it may have been opened as a gesture of consolation to the populace.
The dedicatory inscription refers to the amphitheater as spectacula; the term amphitheatrum came into common use only at the time of Augustus.
These are the stair cases outside the structure that the commoners would have climbed to get to their seats.
Some wildflowers growing in the rotted stump of an old tree.
Vitruvius, through his text On Architecture, is an important ancient source about this building type and provides many details about what he calls ?palaistra, Greek-style?. Although the specifics of his descriptions do not always correspond to the architectural evidence, probably because he was writing around 27 BC, his account provides insight into the general design and uses of this type of space. As Vitruvius describes, the palaestra was square or rectangular in shape with colonnades along all four sides creating porticoes. The portico on the northern side of the palaestra was of double depth to protect against the weather. Spacious halls (exedrae) were built along the single depth sides of the palaestra with seats for those enjoying intellectual pursuits, and the double depth side was divided into an area for youth activities (ephebeum), a punching bag area (coryceum), a room for applying powders (conisterium), a room for cold bathing, and an oil storeroom (elaeothesium).
Just outside the Amphitheater, there are several vineyards from which exceptional wine is produced.
Mount Vesuvius was regarded by the Greeks and Romans as being sacred to the hero and demigod Heracles/Hercules and the town of Herculaneum, built at its base, was named after him.
The humble beginnings of a good wine...
Some wheat growing on a short wall of the Palestra Grande.
This is a botanical garden.
One of many fountains that appear throughout the city. This used to be the primary means of accessing drinking water for most Pompeian Citizens.
A very typical street in Pompeii... Large stone cobbled for the street and small narrow sidewalks.
This is a good picture that allows us to see two things. 1, how narrow the streets were. even though carriages would traverse them, there was very little room on either side before you encounter a very high curb. 2... how deep the joins of the cobbled stones are. You can see that the entire foot of the guy in the red shirt has disappeared between two stones. As a result, it is extremely difficult to walk the streets.
interesting decorative window on one of the houses of a nobleman.
You can see three big rocks in the middle of the street. We were told that this served two purposes... one, as a form of speed-bump. Carriages would have to slow as they approached them to make sure that the wheels went between the stones... and two, it served as stepping stones for cross foot traffic to keep feet above any water that may have accumulated in the street after a rain.
The top of a well...
This is the inside of a wealthy business man.
This was a small bar. the rings around a hole in the counter was where bar krrps would place the wine jugs for support. Jars of wine in this era had pointy bottoms and could not simply be set down.
This was an outdoor table where some simple meals could be eaten on a cool day.
Paintings on the wall of another little bar.
HOUSE OF THE LOVERS (ins. 10, no. 1 1) This house, albeit of modest proportions, is an architectural jewel. The decoration of the walls shows great refinement and the peri style surrounded by a double open gallery is truly delightful. The ceilings and floors of several of the rooms are intact. In the atrium is a collection of friezes, panels and painted medallions. The name of the house derives from an inscription which refers to the sweetness of love and states that "lovers, like bees, wish life to be as sweet as honey".
HOUSE OF THE TRAGIC POET (ins. 8, no.5) Its name derives from the mosaic scene depicting a "Master of the theatre". It dates back to the imperial age and is luxurious and refined, especially in terms of the fine decoration of some of the rooms. The architectural design is composite and harmonious: it is of modest but well-balanced proportions. The presence of workshops adjacent to the dwelling leads us to suppose that the owner was involved in commerce. At the entrance is the characteristic "cave canem" (beware of the dog), one of the best-known images from Pompeii.
HOUSE OF MELEAGER This was built in the Samnite epoch, but transformed, especially as far as the decorative part is concerned, in the following era. Worthy of attention is the room used for receptions, characterized by an elegant colonnade with Corinthian capitals. There is also a delightful peristyle with a colonnade which follows the perimeter of the central pool.
The fountain on Via Stabia. This water was soooo cool.
Pompeii had somewhere on the order of 44 fountains. Each had a unique design which would serve as the name. Fountains were often meeting places so you could simply say... "Meet me at the fountain of the woman with a bad haircut".
TEMPLE OF JUPITER OR CAPITOLIUM This was the main center of religious life in Pompeii. Situated on the northern side of the Forum, it is dedicated to the highest divinity of ancient times - actually it was built in honor of the Jupter, Juno and Minerva triad
Columns tower above a wide staircase with two large arches either side which have remained virtually intact. In a spectacular manner it closed off the fourth side of the square where there was no colonnade. The temple, dates back to the 2nd century B.C.
The temple, in the center of a sacred enclosure, was surrounded on all four sides by a wide series of tuff columns from Nocera, originally grooved and with Ionic capitals, that were being replaced with stucco columns and Corinthian capitals painted in yellow, red and dark blue.
The Temple of Apollo is a temple dedicated to the Roman god Apollo in the ancient Roman town of Pompeii. Facing the north side of the town's basilica, it is the town's most important religious building and has very ancient origins. The cult of Apollo, imported from Greece, was very widespread in Campania, and (from excavations in the temple's vicinity) is attested in Pompeii since the 6th century BC. The sanctuary gained its present appearance in a 2nd century BC rebuild and another reconstruction to repair the damage from the 62 earthquake (repairs left incomplete at the time of the eruption).
The elegant Doric architrave of metopes and triglyphs resting on the columns was transformed into a continuous frieze with griffins, festoons and foliage. Today the remains of the arcade appear as they originally did, since almost all of this transformation in plaster has disappeared.
Some statues of a deity have been recovered, facing the columns of the portico. These are now in the National Archeological Museum of Naples, though copies of two of them – one representing Apollo, the other a bust of Diana – have been placed where the originals were found.
The statute of Apollo...
... and the bust if Diana.
The temple itself, a peripteros with Corinthian columns, was on a high podium and entered up an imposing set of steps, in a fusion of Greek and Italic architectural ideas.[citation needed] Unusually, the cella is sited further back with respect to the peristyle. In front of the steps may still be seen a white marble altar on a travertine base, with a Latin inscription giving the names of the quattuorviri who dedicated it. To side of the steps is an Ionic column that supported a sundial.
These are some of the artifacts recovered from the ash and pumice. Ypu can see the pointed bottoms of the wine jars.
In 1748, Pompeii was rediscovered--not only its houses, but (eventually) some of its citizens. Although only fragmentary skeletal remains were found there, hollow spaces within the hardened volcanic debris revealed the forms of many deceased Romans. Suffocated by volcanic gasses and covered in ash and debris, their bodies eventually decayed inside the hardening matter. Two bodies exhibited in the Stabian Thermal Baths This air space essentially formed a mold, since the ash that had surrounded the person retained an imprint of the body. Excavators realized this and filled the air pockets with plaster. The resulting "plaster mummies" poignantly capture the human tragedy of Pompeii.
Plaster cast of a dog...
... and of a small boy.
This one found face down sheilding his eyes.
I guess they found out that jars with flat bottoms stood up easier... Actually, these are for water since it has no sediment often found in wine... particularly in that day.
The "thermae" were the city's public baths. There were relatively few private baths and these were limited to the most well-to-do families, given that the latter were the only ones who could afford to build rooms suited to the purpose. The thermal bath buildings were divided into two sections: one reserved for women and one reserved for men. Each of these contained a series of rooms with different functions: 1) apodyterium or changing room 2) frigidarium or cold bath room 3) tepidarium or tepid bath room 4) calidarium or hot bath room.
The system of heating the rooms - which was fairly ingenious -worked by running heated water through the cavities in the wall. The Thermae were not only buildings used for a function of public utility, but also played a very important social role in that they provided an important place for people to meet.
The Thermal Baths are rigidly divided between the area set aside for men and the area set aside for women. Both are organized in the same way, but the female section is more simple and less decorated. A pool occupies the western side of the Baths.
The rooms are frequently adorned with stuccos of fine workmanship and certainly among the most beautiful in Pompeian art. It is also possible to identify the system used to heat and cool the various rooms, which was achieved by pipes carrying air and water of varying temperature through the cavities in the walls. You can see the square hole which os one of the warm air ducts. In the third section the public baths are equipped with a pool and rooms used for practicing gymnastic activities.
The cold water bath was taken immediately after the hot one. Not only as a way to cool off but as a skin conditioner as it closes the pores.
More plaster casts...
There was a guide there that said that they have a cast of a pickpocket that had his hand in a lady's bag.
HOUSE OF THE GLADIATORS (ins. 5, no.3) This is an actual gladiators' barracks. When the gymnasium in Pompeii was specially built for them to train in, this building was used to provide accommodation for their families. Of interest are the numerous inscriptions found on the columns, all concerning the gladiatorial games and some providing a record of their successes.
The outside of the theater...
The theatre was the place where performances of comedies and tragedies were held. It included a semi-circular cavea from which led the series of steps divided into sections on which the spectators sat. Below was the area for the orchestra (the part intended for the chorus) and the scena, that is the stage where the actors performed. The theater in Pompeii shows the features of Greek models in that it exploits the natural inclination of the terrain. The Roman-type theater on the other hand depends on an architectural structure.
It had a remarkable capacity, being able to hold up to 5,000 spectators. Comedies and tragedies were acted here. A special feature of this theater was the natural background which could be used as scenery: there is in fact a panoramic view across to the splendid ring of mountains which stand behind Pompeii. In the southern area of the Theater there was a colonnade set aside to accommodate the spectators during the intervals or at the end of the performance.
LARGE THEATRE This is a magnificent building constructed in the 2nd century B.C., with the stage area subsequently undergoing conversion. As a type it conforms to the Greek theatres in that the architectural structure adapts to the natural inclination of the terrain. During performances it could be covered, but it was not equipped with a permanent canopy, a privilege enjoyed by the Small Theatre.
SMALL THEATRE OR ODEON Established in the 1st century B.C., it represents one of the most harmonious and well-balanced examples of architecture of this type. It could hold up to 1,000 spectators and could be covered permanently. It is well preserved and shows the typical design of the Greek theatre with its structure deeply embanked in the natural slope of the terrain. It was used to host plays and musical events.
In addition it was used for the performance of mimes. Mime was a special theatrical performance of a comical or even bawdy nature, inspired by aspects and incidents of everyday life. Usually it only lasted for a short time. The actors used masks as a rule and women were also admitted to the performance, which was not otherwise the case. Mime originated as farce in Sicily and was later modified in the Roman age.
The small theater had a natural amplification method. From the spot the girl in blue is standing... projecting a voice towards the rear, the sound gets channeled down to the corridors and getting amplified along the way. The sound travels around that back of the theaterback towards the front, and back on to the stage from the doors... amplified.
In effect this was the left speaker...
... and this one the right.
Another palestra where people could congregate before or after a show.
HOUSE OF THE WILD BOAR (ins. 3, no.8) This house contains the remains of some very interesting mosaics. Particularly worthy of mention is the one which gives the house its name and which, placed on the floor of the atrium, depicts a hunting scene showing a "wild boar assailed by dogs". There is also a precious mosaic decoration distinguished by geometric motifs. The marble floors and the area around the garden are of immense beauty.
This is the cemetery for the noble class.
We have left the ruins and are heading back to catch the train.
Another bride getting pictures taken.
The door to the church in the modern city of Pompeii/
Our train station...
Back at the docks, we see that the Queen Mary II has docked beside us.
... and she is sailing away...
They do not have nearly the deck space we have.
A view of Naples from the ship.
Our own sail away...
... well almost since we still have people filing in...
QMII sailing past Capri.
A good shot that shows just how close we are in Naples to the volcano
The Naples light house and a small pope blessing us as we leave.
Modern Naples...
Old Naples...
The island of Capri just off the coast.
Pompeii was around the coast to the right.
If you can imagine that there are some Italians that want to voice their displeasure... Some demonstration of some sort.
Meanwhile the tourists are blissfully ignoring the ranting.
