Effects of Anthropic and Ambient Vibrations on Archaeological Sites: The Case of the Circus Maximus in Rome

The vibration effects on the Torre della Moletta and the ruins of the Circus Maximus in Rome are analyzed in the framework of a preservation effort of this archaeological area. Thanks to its exceptional size, the Circus hosts many social events with large audience (pop-music, opera concerts, sport celebrations, etc.) every year, thus taking the structures under high anthropic and environmental stress. Recordings were completed before, during, and after the concert of a famous band, on 7 September 2019. Data were analyzed, both in time and frequency domains. The experimental dynamic recordings were coupled with a surface waves test and single-station ambient vibration recordings, which were useful for the geotechnical characterization of the soil. The results pointed out the differences in amplitudes but also in terms of frequency content of the recorded velocities during the concert with respect to before and after it. The maximum velocities recorded at various locations were almost similar to the limit values suggested by codes. The dynamic behavior of the ground and the structures is influenced by the presence of buried structures.

Nero and Britannicus in the pompa circensis: The Circus Procession as Dynastic Ceremony in the Court of Claudius

SummaryAs part of the events marking Nero’s assumption of the toga virilis in 51 CE, he along with Britannicus led the circus procession (pompa circensis) in advance of games in the Circus Maximus. The aim of this paper is to reconstruct this pompa circensis, both in its processional elements and route through the city. The presence of potential successors along with images of the deified and honored dead of the imperial family shows how this ceremony evolved and expanded in the Principate to become a dynastic ceremony. The route of the newly modified pompa circensis, marked by monuments built by or dedicated to members of the imperial family, also had become increasingly dynastic. An essential element of the pompa circensis was the participation of the senate and equestrian order as well as the urban plebs, an act of performed consensus fully realized when the procession ended in the Circus Maximus. This circus procession, as reconstructed here, has further implications for the larger question of the imperial succession under Claudius.

Quam Romanus honos et Graia licentia miscent

This chapter discusses Statius’ celebration of the beauty and serenity of Campania felix in contrast with Rome in Silv. 3.5. It demonstrates how the poet slyly enhances his assurances to his wife that their cultivated but modest daughter will find a more suitable husband in Naples by a series of witty intertextual allusions to Ovid’s Ars Amatoria to contrast Neapolitan refinement with the lascivious pleasures of the Roman theatre and Circus Maximus. The cultural fusion of Naples merges harmoniously with the refined complexity of Flavian poetry. A network of ingenious intertextual allusion draws together Virgil’s narrative of Hercules entering Evander’s humble cottage and Statius’ Hercules who accepts modest hospitality, but appreciates the opulent temple built by Pollius (Silv. 3.1).

Sol romano y Sol Invictus: circo y ludi en Roma = Roman Sol and Sol Invictus: circus and ludi in Rome

Resumen: El Sol está presente en todas las religiones antiguas en mayor o menor medida. Numerosas versiones sobre el mismo dios de la cuenca mediterránea entraron en contacto gracias al helenismo y, más tarde, al Imperio Romano, compartiendo teónimos epítetos y simbología. A consecuencia de esto, diferentes epíclesis grecorromanas y orientales del dios desarrollaron un lenguaje común de representación. Pese a todo, la vinculación a los ludi y la cuádriga son un hecho que se mostrará exclusivo del ámbito romano.Abstract: The Sun is present to a greater or lesser extent in all Ancient Religions. Various Mediterranean versions of the same god came into contact due to Hellenism and to Roman Empire later, sharing theonyms, epithets and symbology. As a result of that, diverse Greco-Roman and Oriental epikleseis of Sun developed a common language. However, beyond formal similarities Sol’s vinculation with Ludi and quadrigae is revealed as exclusively Roman.Palabras clave: Sol, religión romana, Ludi, cuadriga, Circo Máximo, orientalizante.Key words: Sol, Sun, Roman religion, Ludi, quadriga, Circus Maximus, orientalizing.

Nerón, auriga solar = Nero, solar auriga

Resumen: Se analiza la trayectoria de Nerón como auriga. Esta actividad estaba mal considerada por relacionarse con ‘gente infame’, pero Nerón defendió su afición argumentando que la antigua tradición de la conducción de carros era propia de reyes y héroes. Su inclinación le venía de herencia familiar, ya que algunos Ahenobarbos habían practicado la conducción de carros. Nerón se preparó para este deporte y actuó en el circo como auriga. Lo hizo en un principio de manera privada, hasta que a partir del año 64 participó en espectáculos públicos. En su papel de conductor de carros de caballos terminó identificándose con Febo, el Sol, y se hizo representar en las monedas y esculturas con la corona radiada. Esta innovación tuvo éxito y el tocado solar permaneció en las imágenes monetales de los emperadores hasta el Bajo Imperio.Abstract: We analyze Nero´s trajectory as a charioteer. This activity was badly considered for being related to 'infamous people', but Nero defended his hobby by arguing that the ancient tradition of car driving was typical of kings and heroes. His interest came from family tradition, since some Ahenobarbi had practiced the driving of cars. Nero trained for this sport and performed in circus as a charioteer. At first he did it privately until 64 A.D., when he started to participate in public shows. In his role of horse carriages driver, he ended up identifying himself with Phoebus, the Sun, and was represented in coins and sculptures with the radiated crown. This innovation was successful and the headdress remained in monetary images of the emperors until the Late Empire.Palabras clave: Cuadriga, Apolo, Febo, Sol, Olimpia, Circo Máximo.Key words: Quadriga, Apollo, Phoebus, Sol, Olympia, Circus Maximus.