Romans 1:18-19
The wrath of God is being revealed from heaven against all the godlessness and wickedness of people, who suppress the truth by their wickedness, since what may be known about God is plain to them, because God has made it plain to them.
Romans 1:22-23
22 Although they claimed to be wise, they became fools 23 and exchanged the glory of the immortal God for images made to look like a mortal human being and birds and animals and reptiles.EVERY TIME YOU DISCOVER A TRUTH FOR YOU IT IS SOMETHING NEW, BUT THE TRUTH IS THE ETERNAL AND UNIQUE TRUTH, THE ONE WHICH DISPELLS ALL HYPOTHESIS AND SHOWS THE IGNORANCE YOU CARRIED AND THE MIND’S VULNERABILITY… THERE ARE NO HOLOGRAPHIES WHICH CREATE THE REALITY, THERE ARE MINDS LIVING IN ONE ILLUSION TILL THE TRUTH PULLS THEM OUT OF THEIR IGNORANCE… EVERYONE GIVES WHAT HE IS, AND IN LIFE EVERY BEING MANIFESTS WHAT IT IS… IT IS THE FACTS WHICH DENOUNCE THE MIND AND THE INTENTION, NOT THE WORDS…
JESUS SAID, THE TRUTH WILL SET YOU FREE… ASTONISHING WORDS TO THINK ABOUT…
OBSERVE THE CREATION… IT IS THE KEY OF EVERYTHING…
IT IS THE TRUTH
Virtu Pontes.
Romans 1:20
20 For the invisible things of him from the creation of the world are clearly seen, being understood by the things that are made, even his eternal power and Godhead, so that they are without excuse.
Romans 8:9
9 You, however, are not in the realm of the flesh but are in the realm of the Spirit, if indeed the Spirit of God lives in you. And if anyone does not have the Spirit of Christ,they do not belong to Christ.
22 This is why I have often been hindered from coming to you.
Paul’s Plan to Visit Rome
23 But now that there is no more place for me to work in these regions, and since I have been longing for many years to visit you, 24 I plan to do so when I go to Spain. I hope to see you while passing through and to have you assist me on my journey there, after I have enjoyed your company for a while. 25 Now, however, I am on my way to Jerusalem in the service of the Lord’s people there. 26 For Macedonia and Achaia were pleased to make a contribution for the poor among the Lord’s people in Jerusalem. 27 They were pleased to do it, and indeed they owe it to them. For if the Gentiles have shared in the Jews’ spiritual blessings, they owe it to the Jews to share with them their material blessings. 28 So after I have completed this task and have made sure that they have received this contribution, I will go to Spain and visit you on the way. 29 I know that when I come to you, I will come in the full measure of the blessing of Christ.
30 I urge you, brothers and sisters, by our Lord Jesus Christ and by the love of the Spirit, to join me in my struggle by praying to God for me.31 Pray that I may be kept safe from the unbelievers in Judea and that the contribution I take to Jerusalem may be favorably received by the Lord’s people there, 32 so that I may come to you with joy, by God’s will,and in your company be refreshed. 33 The God of peace be with you all. Amen.
Romans 16:18
For such people do not serve our Lord Christ, but their own stomach, and by smooth speech and flattery they deceive the hearts of the unsuspecting.
May the 27th, 2010 Carlos Montero
MAXIMINUS THRAX: THE GIANT WHO WAS A ROMAN EMPEROR THAT NEVER SET FOOT IN ROME
Euro (mythology)
Eurus or Euro is a god of the Greek mythology, one of the Anemoi, the eastern wind's personification which brought heat and rain.
He was one of the four sons of Astraeus and Eos: Euro, Notus, Boreas and Zephyrus. His symbol was an inverted vase with spilling water.
His mythological roman equivalent was Vulturnus.
Part of the triptic of Santa Maria Maggiore (Rome).
Masolino da Panicale, real name Tommaso di Cristoforo Fini (Panicale, 1383–San Giovanni Valdano, 1440) was an Italian painter of the Quattrocento.
Infant and child burial rites in Roman Britain: a study from East Yorkshire, by Martin Millett and Rebecca Gowland
www.express.co.uk/news/history/628827/ANCIENT-ROMANS-America-eerie-discovery-change-history
www.mirror.co.uk/news/world-news/historians-claim-america-discovered-romans-7059452
https://ivarfjeld.com/2013/09/16/4-000-skeletons-in-crypt-in-roman-catholic-church-in-rome/
https://ivarfjeld.com/category/vatican-skulls-and-bones/
https://ivarfjeld.com/2011/11/01/catholics-in-mexico-worship-the-saint-of-death/
www.cardinalseansblog.org/2008/11/21/meetings-in-rome/
www.reuters.com/article/us-vatican-trial-book/woman-in-vatileaks-trial-got-messages-via-confession-box-book-idUSKBN15L2FX
www.spiegel.de/international/europe/a-growing-vatican-bank-scandal-threatens-catholic-church-image-a-842140-2.html
http://harunyahya.com/en/books/974/The_Evolution_Deceit/chapter/3694
www.talkorigins.org/faqs/homs/bonepeddlers.html
PURSUANT TO ALBERTO CANOSA, THE ISLAND OF MALTA HAS HOLES OF DARKNESS WHERE THE SUPPOSED DEMONS ARE... GRANITE IS ALSO CALLED PLUTONIC ROCK DUE TO THE ROMAN WORLD OF THE UNDERWORLD... PLUTO GOD OF THE RICHES, WHICH IS NOT PLUTON... LOOK AT THIS...
https://en.wikipedia.org/wiki/Pluto_(mythology)
https://en.wikipedia.org/wiki/Hades
Mythology and legends are much more real than you think...
You can find many information.
Klaus Dona: The hidden history of human race (Interview 2010)
www.agenciasinc.es/en/News/Laser-from-a-plane-discovers-Roman-goldmines-in-Spain
www.sciencedaily.com/releases/2014/11/141120082134.htm
https://en.wikipedia.org/wiki/Lidar
www.sciencedirect.com/science/article/pii/S2352409X16300074
This paper reports the use of integrated geomatic applications based on LiDAR data and UAV assisted photogrammetry for the identification, description and interpretation of ancient Roman gold mining sites in Northwest Spain. The study compares Digital Elevation Models (DEMs) with different acquisition methods, resolution and accuracy for analysis of archaeological remains. DEMs have been analysed using different visualization tools, such as principal component analysis, local relief factor, multiple hillshading, sky-view-factor and openness in order to improve visualization of the models, aiming at the identification of archaeological features. Our study suggests that principal component analysis, openness and multiple hillshading were the most effective tools for identification of archaeological remains. The results indicate that 5 m LiDAR provides insufficient resolution to perform detailed analysis and accurate description of the hydraulic systems, but the use of visualization tools improved the localization and description of remains. The 1 m resolution LiDAR data highly improve the resolution and capabilities for recognition and interpretation of canals, water reservoirs and mining zones. In addition, the use of UAV technology for smaller detailed surveys has shown a powerful capacity to reduce costs and time-consuming processing calculations, gaining in data resolution. The implementation of .LAZ files allows classification and analysis of point clouds yielding similar results to LiDAR technology in vegetated areas. However, unlike airborne lasers, its application is mainly restricted to small survey areas. Our study has focused on two areas characterized by a diversity of roman gold mining elements preserved in the landscape, such as hydraulic systems (canals and water reservoirs, drained canals and other anthropic elements) and mining areas along the Eria River Valley Gold District. The work has been implemented with the creation of 3D virtual reconstructions of the selected features, which can help to visualize different elements of the archaeological record to the general public, providing a useful tool for preservation and display of cultural heritage.
http://strangesounds.org/2016/07/20-kg-megacryometeor-crashes-on-car-in-rome-italy-pictures.html
A cool surprise for heatwave-hit MP: 30 kg of ice falls from the sky - Hindustan Times
www.independent.co.uk/news/world-0/tower-human-skulls-found-archaeologists-mexico-aztec-history-doubt-a7818841.html
www.bbc.com/news/world-latin-america-40473547
www.iflscience.com/editors-blog/tower-of-human-skulls-found-in-chapel-of-aztec-god-of-war/
The following article wasn't posted by Virtu Pontes. Maybe it is interesting for you. The owners of this blog can't guarantee it corresponds to Virtu Pontes' and Alberto Canosa's research:The Neopythagoreans at the Porta Maggiore in Rome
Dinosaurs in ancient Cambodian temple
The London Hammer: An Alleged Out-of-Place Artifact
A Chronology of Prehistoric Metallurgy
All history has been dictated by the oracles, ALL HISTORICAL CELEBRITIES HAD ORACLES.
THE BEINGS OF THE DARKNESS, DISGUISED AS GODS, GAVE THE ANSWERS IN ALL PERIODS OF TIME... THE OFFICIAL HISTORY WAS CREATED THAT WAY...
https://en.wikipedia.org/wiki/Oracle
A statue at a Roman Catholic Cathedral in Cologne Germany - Nicole Vettraino
http://magical-planet.com/giant-hole-sinks-cars-in-rome/
www.euronews.com/2018/02/15/investigation-as-huge-sinkhole-appears-in-rome
Rome on February the 22nd, 2018, an enormous flock of birds covers the sky. @Pamela Crialesi's picture. Hack the Matrix.
http://fox13now.com/2018/01/30/hundreds-of-birds-fall-from-sky-in-draper/
Roman gladiators were mainly vegetarians
Stable Isotope and Trace Element Studies on Gladiators and Contemporary Romans from Ephesus (Turkey, 2nd and 3rd Ct. AD) - Implications for Differences in Diet
The extraterrestrials and the Vatican
https://en.wikipedia.org/wiki/Corrado_Balducci
N.Y. Times: Vatican astronomer cites possibility of extraterrestrial 'brothers'
Zecharia Sitchin - Freemason & Fraud!
Murder By Decree: The Crime of Genocide in Canada: A Counter Report to the ‘Truth and Reconciliation Commission’
http://itccs.org/
www.thelocal.it/20150730/what-happens-to-italys-missing-migrant-children
The Telegraph: HOME»NEWS»UK NEWS»LAW AND ORDER 76 politicians, 178 celebrities and 7 sports stars: the scale of VIP child sex abuse inquiry
Pictures of ancient Rome
Giants and angels everywhere
THAT IS TO SAY, WE DON'T LIE...
Great pictures of Capitolium
The house of Zephyr and Flora, Pompeii
Pompei, affresco della casa dei Casti Amanti
Frammento decorativo, I d.C. Affresco, Museo Archeologico Nazionale, Napoli. Da Ercolano.
Romans 16:18
For such people do not serve our Lord Christ, but their own stomach, and by smooth speech and flattery they deceive the hearts of the unsuspecting.
Pursuant to the sources of his time, Maximinus suffered from gigantism and reached 2,59 meters (8 feet 6 inches) of height, what made him be not only the Roman emperor, but also the highest sovereign in History. HE WAS NEPHILIM DESCENDANT...
https://en.wikipedia.org/wiki/Maximinus_Thrax
Caius Julius Verus Maximinus. The giant emperor
of Rome
May the 27th, 2010 Carlos Montero
Maximus Trax
The adjective great doesn’t make reference to
the greatness he provided to the Empire, but that literally Maximus was a giant.
The ancient Roman Empire was cradle of emperors
of all kinds and all personalities. To the magnificent Julius Caesar or
Augustus, others depraved such as Caligula or Nero united through History, as
well as many others who, to a greater or lesser extent, contributed to forge
one of the most powerful empires of History.
The case introduced through these lines is
probably the story of an incredible being who came nothing less than Emperor of
Rome. It is the giant Caius Julius Verus Maximus, Maximus hereinafter.
The figure of this man is actually the first
historical reference to a giant pursuant to the literal meaning of the Word
given that, according to historical data, Maximus was 2.6 meters tall.
Humble origins
The place of birth of Maximus is located in Thrace, a zone which at present
corresponds to Bulgaria. He was born in the year 173 and his beginnings corresponded to the humble
life practiced in those lands, because he was a shepherd.
Maximus’ life went on with normality, despite
his disproportionate height, unaware of the messes which were concocted every
day in Rome.
However, the legions commanded by the emperor
Septimius Severus settled for a time at the zone where the giant lived and
after a fight demonstration, were Maximus defeated each soldier put himself in
front of him, Severus granted him a position in his personal guard, astonished
and astounded by the force of his new bodyguard.
Successful career in the legion
On the battlefield, Maximus didn’t only prove
all the strength and the braveness expected from him but a great capacity of
leadership also added thereto. For this reason, he achieved higher positions in
the army until, already with the new emperor Aurelius Antonius Severus
Alexander, he was named supreme commander of the Roman legions, in charge of
the soldiers’ training.
Pursuant a quota of the Historian Herodian "Maximinus won the affection of the soldiers.
He not only taught them their duties; he also demonstrated personally to each
man what he was to do. As a result, the recruits imitated his manliness and
were both his pupils and his admirers. He won their devotion by giving them all
kinds of gifts and rewards. Consequently, the recruits . .. praised the
masculinity of Maximinus and despised Alexander as a mother's boy."
And Maximus became Emperor
During the campaign agains the Germans in the
Rhin river in 235 the plot, which led the giant to be the Empire’s maximal
authority, took place.
The legions were dissatisfied because of the
scarce push of the emperor, who was accused to be bowed to his mother’s wishes.
The campaign was being a failure and the leader didn’t do anything to solve it.
Therefore, it was decided to terminate this services through the murder and to
nominate Maximus as new Emperor or Rome, fact which was ratified by the Senate,
when it became known.
Excelent soldier,
very poor administration
Soon, the giant realized at odds with the
reality of the Empire. The military campaigns cost a lot of money to the public
treasure and people was dissatisfied. To remedy the problem, Maximus started to
adopt unpopular measures such as tax increase, properties expropriation or even
plunder cities. Therefore, even though the troop veneered him, the ordinary
citizens started hating him and call him with names such as “the cyclops” or
the “savage beast”.
Against this backdrop, the conspiracies to eradicate
him didn’t take long time to appear. After some failed try, in the year 238 the
Senate decided to dismiss him, whereas Maximus was suppressing a revolt in the
African province of Sirmio.
Upon hearing of the affront Maximus charged with
his army till Rome, but it was evident that his troop didn’t follow him as
before.
Maximus’ end speaks for itself about his
strength and, simultaneously about the humanity, of this man. When a group of
soldiers entered into his tent to assassinate him, no one dared to take the
first step afraid of the giant’s strength, who was waiting ready to sell his
life with a high price. Only we they showed him his son’s cadaver, the colossus
let them kill him, blinded of pain.
Was he really a
giant?
So it seems to be. To his height of 2.6 meters
there are many data which might seems to corroborate Maximus was a colossal
being.
The historian Julius Capitolinus narrates in his
texts that Maximus used shoes which were approximately 30 cm. longer than an
average man’s, ate 20 kg. of meat and drank 27 liters of wine every day and used bracelets as rings.
All these data lasted until present leaving
life, works and death of a proper giant as part of History.
Euro (mythology)
Eurus or Euro is a god of the Greek mythology, one of the Anemoi, the eastern wind's personification which brought heat and rain.
He was one of the four sons of Astraeus and Eos: Euro, Notus, Boreas and Zephyrus. His symbol was an inverted vase with spilling water.
His mythological roman equivalent was Vulturnus.
Part of the triptic of Santa Maria Maggiore (Rome).
Masolino da Panicale, real name Tommaso di Cristoforo Fini (Panicale, 1383–San Giovanni Valdano, 1440) was an Italian painter of the Quattrocento.
Infant and child burial rites in Roman Britain: a study from East Yorkshire, by Martin Millett and Rebecca Gowland
www.express.co.uk/news/history/628827/ANCIENT-ROMANS-America-eerie-discovery-change-history
www.mirror.co.uk/news/world-news/historians-claim-america-discovered-romans-7059452
Dagon Fish God Mitre - Did you ever wonder why the Pope's mitre looks like the head of a fish? What are the origins of this ceremonial hat and what does it truly represent?
Dagon, the fish-god of the Philistines and Babylonians, wore a fish hat that is still seen today with Roman Catholic Church's pope and bishops.
"The miter is derived directly from the miters of the ancient pagan fish-god dagon and the goddess Cybele. The papal miter represents the head of Dagon with an open mouth, which is the reason for the pointed shape and split top."
The most prominent form of worship in Babylon was dedicated to Dagon, later known as Ichthys, or the fish.
In Chaldean times, the head of the church was the representative of Dagon, he was considered to be infallible, and was addressed as ‘Your Holiness’.
Nations subdued by Babylon had to kiss the ring and slipper of the Babylonian god-king.
By any name, this fish-god can be traced back to the genetic manipulation of man by the Anunnaki, as evidenced by Zecharia Sitchin's work.
It is believed that, in the daytime, this deity would emerge from the water and was responsible for teaching art, science and writing to the human race.
The chief priests wore miters shaped like the head of fish, in honor of Dagon, the fish-god, the lord of life - another form of the Tammuz mystery, as developed among Israel's old enemies, the Philistines.
When the chief priest was established in Rome, he took the title Pontifex Maximus, which was imprinted on his miter.
When Julius Caesar (who like all young Roman of good family, was an initiate) had become the head of State, he was elected Pontifex Maximus, and this title was held henceforth by all of the Roman emperors down to Constantine the Great, who was, at one and the same time, head of the church and high priest of the heathen!
The title was afterward conferred upon the bishops of Rome and is today borne by the pope, who is thus declared to be, not the successor of the fisherman-apostle Peter, but the direct successor of the high priest of the Babylonian mysteries and the servant of the fish-god Dagon, for whom he wears, like his idolatrous predecessor, the fisherman's ring.
Many consider the Canaanites to be part of the Philistines who worshipped worshiped, Baal, Astarte or Dagon.
These were some of the early sun-worshipping cultures that have led to many of the metaphors we see in modern religion, e.g. God's son/sun.
https://ivarfjeld.com/2013/09/16/4-000-skeletons-in-crypt-in-roman-catholic-church-in-rome/
https://ivarfjeld.com/category/vatican-skulls-and-bones/
https://ivarfjeld.com/2011/11/01/catholics-in-mexico-worship-the-saint-of-death/
www.cardinalseansblog.org/2008/11/21/meetings-in-rome/
www.reuters.com/article/us-vatican-trial-book/woman-in-vatileaks-trial-got-messages-via-confession-box-book-idUSKBN15L2FX
www.spiegel.de/international/europe/a-growing-vatican-bank-scandal-threatens-catholic-church-image-a-842140-2.html
http://harunyahya.com/en/books/974/The_Evolution_Deceit/chapter/3694
www.talkorigins.org/faqs/homs/bonepeddlers.html
PURSUANT TO ALBERTO CANOSA, THE ISLAND OF MALTA HAS HOLES OF DARKNESS WHERE THE SUPPOSED DEMONS ARE... GRANITE IS ALSO CALLED PLUTONIC ROCK DUE TO THE ROMAN WORLD OF THE UNDERWORLD... PLUTO GOD OF THE RICHES, WHICH IS NOT PLUTON... LOOK AT THIS...
Mythology and legends are much more real than you think...
You can find many information.
www.agenciasinc.es/en/News/Laser-from-a-plane-discovers-Roman-goldmines-in-Spain
www.sciencedaily.com/releases/2014/11/141120082134.htm
https://en.wikipedia.org/wiki/Lidar
www.sciencedirect.com/science/article/pii/S2352409X16300074
This paper reports the use of integrated geomatic applications based on LiDAR data and UAV assisted photogrammetry for the identification, description and interpretation of ancient Roman gold mining sites in Northwest Spain. The study compares Digital Elevation Models (DEMs) with different acquisition methods, resolution and accuracy for analysis of archaeological remains. DEMs have been analysed using different visualization tools, such as principal component analysis, local relief factor, multiple hillshading, sky-view-factor and openness in order to improve visualization of the models, aiming at the identification of archaeological features. Our study suggests that principal component analysis, openness and multiple hillshading were the most effective tools for identification of archaeological remains. The results indicate that 5 m LiDAR provides insufficient resolution to perform detailed analysis and accurate description of the hydraulic systems, but the use of visualization tools improved the localization and description of remains. The 1 m resolution LiDAR data highly improve the resolution and capabilities for recognition and interpretation of canals, water reservoirs and mining zones. In addition, the use of UAV technology for smaller detailed surveys has shown a powerful capacity to reduce costs and time-consuming processing calculations, gaining in data resolution. The implementation of .LAZ files allows classification and analysis of point clouds yielding similar results to LiDAR technology in vegetated areas. However, unlike airborne lasers, its application is mainly restricted to small survey areas. Our study has focused on two areas characterized by a diversity of roman gold mining elements preserved in the landscape, such as hydraulic systems (canals and water reservoirs, drained canals and other anthropic elements) and mining areas along the Eria River Valley Gold District. The work has been implemented with the creation of 3D virtual reconstructions of the selected features, which can help to visualize different elements of the archaeological record to the general public, providing a useful tool for preservation and display of cultural heritage.
http://strangesounds.org/2016/07/20-kg-megacryometeor-crashes-on-car-in-rome-italy-pictures.html
A cool surprise for heatwave-hit MP: 30 kg of ice falls from the sky - Hindustan Times
www.independent.co.uk/news/world-0/tower-human-skulls-found-archaeologists-mexico-aztec-history-doubt-a7818841.html
www.bbc.com/news/world-latin-america-40473547
www.iflscience.com/editors-blog/tower-of-human-skulls-found-in-chapel-of-aztec-god-of-war/
The following article wasn't posted by Virtu Pontes. Maybe it is interesting for you. The owners of this blog can't guarantee it corresponds to Virtu Pontes' and Alberto Canosa's research:The Neopythagoreans at the Porta Maggiore in Rome
A pagan basilica of first century AD Rome dedicated to Pythagoras’ and Plato’s metaphysics but depicting many types of Greek and Roman mythical beings has opened to the public. The family that founded the temple built it underground and was later accused of black magic. The patriarch, a rich, powerful consul and proconsul, committed suicide rather than await the Roman Senate’s verdict.
Telegraph: Secret pagan basilica in Rome emerges from the shadows after 2000 years
The History Blog: Mystery basilica under Porta Maggiore opens to the public
www.ancient-origins.net/news-history-archaeology/underground-pagan-basilica-dark-history-revealed-public-first-time-004631
Telegraph: Secret pagan basilica in Rome emerges from the shadows after 2000 years
The History Blog: Mystery basilica under Porta Maggiore opens to the public
www.ancient-origins.net/news-history-archaeology/underground-pagan-basilica-dark-history-revealed-public-first-time-004631
Derinkuyu underground city in Turkey
Dinosaurs in ancient Cambodian temple
The London Hammer: An Alleged Out-of-Place Artifact
A Chronology of Prehistoric Metallurgy
All history has been dictated by the oracles, ALL HISTORICAL CELEBRITIES HAD ORACLES.
THE BEINGS OF THE DARKNESS, DISGUISED AS GODS, GAVE THE ANSWERS IN ALL PERIODS OF TIME... THE OFFICIAL HISTORY WAS CREATED THAT WAY...
https://en.wikipedia.org/wiki/Oracle
A statue at a Roman Catholic Cathedral in Cologne Germany - Nicole Vettraino
http://magical-planet.com/giant-hole-sinks-cars-in-rome/
Rome on February the 22nd, 2018, an enormous flock of birds covers the sky. @Pamela Crialesi's picture. Hack the Matrix.
Roman gladiators were mainly vegetarians
Stable Isotope and Trace Element Studies on Gladiators and Contemporary Romans from Ephesus (Turkey, 2nd and 3rd Ct. AD) - Implications for Differences in Diet
The extraterrestrials and the Vatican
https://en.wikipedia.org/wiki/Corrado_Balducci
N.Y. Times: Vatican astronomer cites possibility of extraterrestrial 'brothers'
Murder By Decree: The Crime of Genocide in Canada: A Counter Report to the ‘Truth and Reconciliation Commission’
http://itccs.org/
www.thelocal.it/20150730/what-happens-to-italys-missing-migrant-children
The Telegraph: HOME»NEWS»UK NEWS»LAW AND ORDER 76 politicians, 178 celebrities and 7 sports stars: the scale of VIP child sex abuse inquiry
Pictures of ancient Rome
Giants and angels everywhere
THAT IS TO SAY, WE DON'T LIE...
Great pictures of Capitolium
Pegaso e Bellerofonte, I d.C. da Pompei Museo Archeologico Nazionale, Napoli
La Casa della Farnesina è una costruzione signorile antica di Roma, collocata in Trastevere, in parte sotto i giardini di villa Farnesina (dalla quale prende il nome). La casa ha una complessa planimetria e straordinarie pitture parietali.
La Casa fu rinvenuta casualmente durante gli scavi per la costruzione degli argini del Tevere, nel 1880. Finora è stato possibile scavare solo una metà posta sotto i giardini, mentre è sconosciuta la parte sotto le costruzioni di via della Lungara.
Tra le ipotesi sui proprietari di questa "villa" urbana c'è quella che fosse stata costruita per le nozze tra Giulia maggiore e Agrippa
L'edificio è orientato sull'asse nordest-sudovest lungo il fiume ed aveva il suo asse centrato su una grandiosa esedra, rivolta al fiume in un'interessante combinazione prospettica. Questa struttura era sorretta da tre muri concentrici, con un prospetto esterno a speroni che proseguiva anche oltre un porticato rivolto al fiume sugli avancorpi laterali (o almeno su quello destro, quello scavato). Il lato verso Trastevere era invece percorso da un lungo criptoportico con volte su pilastri. Oltre esso, sulla strada, si trovava una lunga fila di ambienti con cellette per botteghe e magazzini.
La parte centrale della casa presentava una piccola corte, dove si aprivano due cubicoli e un oecus. Sull'esedra si apriva un altro cubicolo estivo. Il resto dell'avancorpo sinistro era occupato da sale di minor pregio e da alcune corti scoperte.
La villa può essere confrontata con la villa dei Misteri di Pompei o con gli Horti Luculliani a Roma, dove si ritrova il gusto scenografico di matrice ellenistica, specialmente nei prospetti rivolti verso il mare o una valle (in questo caso un fiume): anche in questi casi il centro è occupato da esedre bordate da loggiati. Tali strutture si trovano infine anche in numerosissime rappresentazioni dipinte nei "quadretti di paesaggio" di Pompei.
Le pitture e gli stucchi della casa sono state staccate nel corso degli scavi e si trovano oggi nel Museo Nazionale Romano, sezione di Palazzo Massimo, anche se spesso vengono spostate per partecipare a mostre in tutto il mondo.
Tra le stanze della casa c'è una grande sala decorata con pitture a sfondo nero, in campi divisi da esili colonnine dipinte. In basso uno zoccolo è ornato con motivi a meandro. Particolarmente interessante è il fregio con scene egiziane, incentrate probabilmente sul tema del saggio giudice, che sembrano illustrare un testo letterario che non ci è noto, forse un popolare romanzo alessandrino. In generale le scene sono composte da una prima parte, dove si vede l'insorgere della controversia, e una seconda dove si vede il giudizio vero e proprio.
Il fondo monocromatico e la funzione puramente decorativa dell'esile intelaiatura architettonica colloca queste pitture nel cosiddetto "terzo stile pompeiano", anti-barocco, con le pareti concepite unitariamente invece che come pretesto per i giochi prospettici. La stesura poi "a macchie", molto ricercata, ha i suoi modelli nell'ambiente egiziano del I secolo a.C.
Il cosiddetto cubicolo "B" ha una parete di fondo con pitture ben conservate. Una firma sulla parete reca il nome di uno dei pittori dell'atelier che realizzarono la decorazione, Seleukos, nome di origine siriaca. La parete è tripartita verticalmente, secondo uno schema consueto, ma non ha alcune prospettiva illusionistica tipica del secondo stile. La parte centrale presenta infatti un'edicola dipinta con un quadro, che non allude a un paesaggio retrostante. In basso è dipinto uno zoccolo e i pannelli sono a sfondo rosso; in lato la parte centrale è decorata da timpano, mentre quelle laterali sporgono con due corpi dove si aprono nicchie e edicolette. In lato al centro presenta uno sfondo scuro sul quale si stagliano esili vittorie alate e un colonnato prospettico appena accennato.
La scena nel quadro centrale è un episodio dell'infanzia di Dioniso, tratto da un originale greco del IV secolo a.C., mentre due quadretti laterali, sorretto da genietti femminili alati, hanno sfondo bianco e scene di gineceo disegnate in uno stile arcaizzante, ripreso da originali del V secolo a.C. Colpisce l'elemento eclettico della decorazioni: grandi superfici di colore e intelaiatura architettonica esile tipica del terzo stile, decorazioni accessorie neoattiche (genietti, vittorie, acroterii, racemi...) e quadri classici riprodotti in grande dimensione. L'aura classicista delle pitture ha fatto datare le pitture al 30-20 a.C.
Dalla casa della Farnesina provengono anche due frammenti di pitture di giardino, di poco posteriori all'esempio più antico noto a Roma di questo genere, gli affreschi del ninfeo sotterraneo della villa di Livia (40-20 a.C.). Si tratta di due fontane marmoree a forma di vaso, poste su un letto verde e circondate da rientranze di una staccionata di canne.
I cubicoli "B", "D" ed "E" erano coperti da volte a botte coperte da stucchi, oggi pure staccati e conservati al Museo delle Terme. La decorazione è organizzata in zone piccole e grandi di forma quadrata, rettangolare e a meandri, coi bordi composti da leggeri kymatia. I riquadri minori presentano motivi di carattere arcaicista o grottesco (Vittorie, amorini, grifi, Arimaspi, candelabri, girali). I riquadri maggiori sono invece decorati da paesaggi idilliaci (cubicoli "B", "D" e angoli dell'"E"), cicli di scene dionisiache (angoli dei cubicoli "B" e "D") e scene del mito di Fetonte (centro del cubicolo "E").
Nel "D" è particolarmente rappresentativo il pannello centrale con la scena di iniziazione dionisica, con un sileno nell'atto di compiere la mystica vannus alla presenza di un fanciullo col capo coperto, l'iniziato, di una donna patrocinante e di un inserviente. Lo sfondo è essenziale, con un platano (albero dionisiaco), un pilastro (a sinistra) e una quinta con tendaggi (a destra). Si assiste in queste scene a tendenze in atto anche in pittura quali l'assottigliamento degli elementi e la rarefazione della composizione. Particolarmente curata è la disposizione simmetrica e la resa dei dettagli nonostante il bassissimo rilievo, che testimonia il livello raggiunto nell'età augustea in questo tipo di decorazione.
La Casa fu rinvenuta casualmente durante gli scavi per la costruzione degli argini del Tevere, nel 1880. Finora è stato possibile scavare solo una metà posta sotto i giardini, mentre è sconosciuta la parte sotto le costruzioni di via della Lungara.
Tra le ipotesi sui proprietari di questa "villa" urbana c'è quella che fosse stata costruita per le nozze tra Giulia maggiore e Agrippa
L'edificio è orientato sull'asse nordest-sudovest lungo il fiume ed aveva il suo asse centrato su una grandiosa esedra, rivolta al fiume in un'interessante combinazione prospettica. Questa struttura era sorretta da tre muri concentrici, con un prospetto esterno a speroni che proseguiva anche oltre un porticato rivolto al fiume sugli avancorpi laterali (o almeno su quello destro, quello scavato). Il lato verso Trastevere era invece percorso da un lungo criptoportico con volte su pilastri. Oltre esso, sulla strada, si trovava una lunga fila di ambienti con cellette per botteghe e magazzini.
La parte centrale della casa presentava una piccola corte, dove si aprivano due cubicoli e un oecus. Sull'esedra si apriva un altro cubicolo estivo. Il resto dell'avancorpo sinistro era occupato da sale di minor pregio e da alcune corti scoperte.
La villa può essere confrontata con la villa dei Misteri di Pompei o con gli Horti Luculliani a Roma, dove si ritrova il gusto scenografico di matrice ellenistica, specialmente nei prospetti rivolti verso il mare o una valle (in questo caso un fiume): anche in questi casi il centro è occupato da esedre bordate da loggiati. Tali strutture si trovano infine anche in numerosissime rappresentazioni dipinte nei "quadretti di paesaggio" di Pompei.
Le pitture e gli stucchi della casa sono state staccate nel corso degli scavi e si trovano oggi nel Museo Nazionale Romano, sezione di Palazzo Massimo, anche se spesso vengono spostate per partecipare a mostre in tutto il mondo.
Tra le stanze della casa c'è una grande sala decorata con pitture a sfondo nero, in campi divisi da esili colonnine dipinte. In basso uno zoccolo è ornato con motivi a meandro. Particolarmente interessante è il fregio con scene egiziane, incentrate probabilmente sul tema del saggio giudice, che sembrano illustrare un testo letterario che non ci è noto, forse un popolare romanzo alessandrino. In generale le scene sono composte da una prima parte, dove si vede l'insorgere della controversia, e una seconda dove si vede il giudizio vero e proprio.
Il fondo monocromatico e la funzione puramente decorativa dell'esile intelaiatura architettonica colloca queste pitture nel cosiddetto "terzo stile pompeiano", anti-barocco, con le pareti concepite unitariamente invece che come pretesto per i giochi prospettici. La stesura poi "a macchie", molto ricercata, ha i suoi modelli nell'ambiente egiziano del I secolo a.C.
Il cosiddetto cubicolo "B" ha una parete di fondo con pitture ben conservate. Una firma sulla parete reca il nome di uno dei pittori dell'atelier che realizzarono la decorazione, Seleukos, nome di origine siriaca. La parete è tripartita verticalmente, secondo uno schema consueto, ma non ha alcune prospettiva illusionistica tipica del secondo stile. La parte centrale presenta infatti un'edicola dipinta con un quadro, che non allude a un paesaggio retrostante. In basso è dipinto uno zoccolo e i pannelli sono a sfondo rosso; in lato la parte centrale è decorata da timpano, mentre quelle laterali sporgono con due corpi dove si aprono nicchie e edicolette. In lato al centro presenta uno sfondo scuro sul quale si stagliano esili vittorie alate e un colonnato prospettico appena accennato.
La scena nel quadro centrale è un episodio dell'infanzia di Dioniso, tratto da un originale greco del IV secolo a.C., mentre due quadretti laterali, sorretto da genietti femminili alati, hanno sfondo bianco e scene di gineceo disegnate in uno stile arcaizzante, ripreso da originali del V secolo a.C. Colpisce l'elemento eclettico della decorazioni: grandi superfici di colore e intelaiatura architettonica esile tipica del terzo stile, decorazioni accessorie neoattiche (genietti, vittorie, acroterii, racemi...) e quadri classici riprodotti in grande dimensione. L'aura classicista delle pitture ha fatto datare le pitture al 30-20 a.C.
Dalla casa della Farnesina provengono anche due frammenti di pitture di giardino, di poco posteriori all'esempio più antico noto a Roma di questo genere, gli affreschi del ninfeo sotterraneo della villa di Livia (40-20 a.C.). Si tratta di due fontane marmoree a forma di vaso, poste su un letto verde e circondate da rientranze di una staccionata di canne.
I cubicoli "B", "D" ed "E" erano coperti da volte a botte coperte da stucchi, oggi pure staccati e conservati al Museo delle Terme. La decorazione è organizzata in zone piccole e grandi di forma quadrata, rettangolare e a meandri, coi bordi composti da leggeri kymatia. I riquadri minori presentano motivi di carattere arcaicista o grottesco (Vittorie, amorini, grifi, Arimaspi, candelabri, girali). I riquadri maggiori sono invece decorati da paesaggi idilliaci (cubicoli "B", "D" e angoli dell'"E"), cicli di scene dionisiache (angoli dei cubicoli "B" e "D") e scene del mito di Fetonte (centro del cubicolo "E").
Nel "D" è particolarmente rappresentativo il pannello centrale con la scena di iniziazione dionisica, con un sileno nell'atto di compiere la mystica vannus alla presenza di un fanciullo col capo coperto, l'iniziato, di una donna patrocinante e di un inserviente. Lo sfondo è essenziale, con un platano (albero dionisiaco), un pilastro (a sinistra) e una quinta con tendaggi (a destra). Si assiste in queste scene a tendenze in atto anche in pittura quali l'assottigliamento degli elementi e la rarefazione della composizione. Particolarmente curata è la disposizione simmetrica e la resa dei dettagli nonostante il bassissimo rilievo, che testimonia il livello raggiunto nell'età augustea in questo tipo di decorazione.
Decorazione pittorica, I d.C. Casa dei Vettii, Pompei.
Casa del Menandro, Pompei. Larario a tempietto, I d.C.
Scene dell'Odissea, I a.C. affresco staccato, Biblioteca Apostolica, Vaticano. Provenienza: Via Graziosa, ora via Cavour, Roma
Apollo citaredo. Casa di Augusto sul Palatino
Settimio Severo, Giulia Domna, Caracalla e Geta, c. 200 encausto su tavolam Antikenmuseum, Berlin
Medaglioni di Sileno, Menade e Satiro, I d.C. Affresco staccato, Museo Archeologico Nazionale, Napoli. Provenienza da Ercolano
Giardino dipinto, I a.C. Museo Nazionale Romano, Roma. Provenienza: Villa di Livia a Prima Porta, Roma.
Giardino dipinto, I a.C. Museo Nazionale Romano, Roma. Provenienza: Villa di Livia a Prima Porta, Roma.
Giardino dipinto, I a.C. Museo Nazionale Romano, Roma. Provenienza: Villa di Livia a Prima Porta, Roma.
Giardino dipinto, I a.C. Museo Nazionale Romano, Roma. Provenienza: Villa di Livia a Prima Porta, Roma.
Giardino dipinto, I a.C. Museo Nazionale Romano, Roma. Provenienza: Villa di Livia a Prima Porta, Roma.
Giardino dipinto, I a.C. Museo Nazionale Romano, Roma. Provenienza: Villa di Livia a Prima Porta, Roma.
Giardino dipinto, I a.C. Museo Nazionale Romano, Roma. Provenienza: Villa di Livia a Prima Porta, Roma.
Decorazioni pittoriche della Casa sotto la Farnesina, I a.C. Museo Nazionale Romano, Roma.
Cerimonia isiaca, I d.C. affresco staccato, Museo Archeologico Nazionale, Napoli. Provenienza: Ercolano
Perseo libera Andromeda, I d.C. Affresco staccato, Museo Archeologico Nazionale, Napoli. Provenienza: Pompei.
Perseo libera Andromeda, I d.C. Affresco staccato, Museo Archeologico Nazionale, Napoli. Provenienza: Pompei.
Pompei, Saffo, I d.C.
Pompei, Villa dei Misteri, I a.C. - I d.C.
Pompei, Villa dei Misteri, I a.C. - I d.C.
Pompei, Villa dei Misteri, I a.C. - I d.C.
Pompei, Villa dei Misteri, I a.C. - I d.C.
Pompei, Villa dei Misteri, I a.C. - I d.C.
Pompei, Villa dei Misteri, I a.C. - I d.C.
Pompei, Villa dei Misteri, I a.C. - I d.C.
Pompei, Villa dei Misteri, I a.C. - I d.C.
Pompei, Villa dei Misteri, I a.C. - I d.C.
Pompei, Villa dei Misteri, I a.C. - I d.C.
Pompei, Villa dei Misteri, I a.C. - I d.C.
Il giudizio di Paride, I d.C. Museo Archeologico Nazionale, Napoli. Provenienza: Pompei.
Pompei, Casa di Marcus Lucretius Fronto, I a.C. - I d.C.
Pompei, Casa di Marcus Lucretius Fronto, I a.C. - I d.C.
Pompei, Casa di Marcus Lucretius Fronto, I a.C. - I d.C.
Pompei, Casa di Marcus Lucretius Fronto, I a.C. - I d.C.
Pompei, Casa di Marcus Lucretius Fronto, I a.C. - I d.C.
Pompei, Casa di Marcus Lucretius Fronto, I a.C. - I d.C.
Pompei, Casa di Marcus Lucretius Fronto, I a.C. - I d.C.
Pompei, Casa di Marcus Lucretius Fronto, I a.C. - I d.C.
Pompei, Casa di Marcus Lucretius Fronto, I a.C. - I d.C.
Pompei, Casa di Marcus Lucretius Fronto, I a.C. - I d.C.
Pompei, Casa di Marcus Lucretius Fronto, I a.C. - I d.C.
Pompei, affresco Casa del Bracciale d'oro.
Pompei, Ercole e Onfale, I d.C.
Casa di Marco Lucrezio, Pompei. Dioniso e Arianna, I d.C.
Affresco nella Villa di Poppea, Oplontis.
Casa dei Cervi, Ercolano. Nature morte, I d.C.
Affresco della villa di Publio Fannio Sinistore, Boscoreale 50-40 a.C.
Ercole ebbro e Onfale, I d.C. Casa del Principe di Montenegro, Pompei.
Medea, Museo archeologico nazionale di Napoli. Da Pompei, Casa dei Dioscuri. Medea medita di uccidere i suoi figli intenti a giocare con gli astragali, guardati con mestizia dal pedagogo.
Daedalus, Pasiphae and wooden cow. Roman fresco from the northern wall of the triclinium in the Casa dei Vettii in Pompeii.
Pompei, L'arrivo di Io a Canopo, I d.C. Affresco staccato, Museo Archeologico Nazionale, Napoli
Pompei, La pittrice, I d.C. Affresco staccato, Museo Archeologico Nazionale, Napoli
Pompei, La pittrice, I d.C. Affresco staccato, Museo Archeologico Nazionale, Napoli
Pompei, affresco nella casa dei Casti Amanti.
Affresco dalla villa di Fannio Sinistore in Boscoreale.
Affresco dalla villa di Fannio Sinistore in Boscoreale.
Pompei Casa dei Vettii. Triclinio, armorini profumieri.
Affresco dalla villa di San Marco a Stabiae (Castellammare di Stabia).
Triclinium della villa di Marco Vipsanio Agrippa a Trastevere. Museo Archeologico di Palazzo Massimo a Roma
Menadi danzanti, I d.C. Affresco staccato, Museo Archeologico Nazionale, Napoli. Provenienza: Villa detta di Cicerone, Pompei.
The villa of Marcus Vipsanius Agrippa at Trastevere. Archaeological Museum Palazzo Massimo in Rome.
Sacrificio di Ifigenia, I sec. d.C. Affresco, Museo archeologico nazionale Napoli. Provenienza Casa del Poeta Tragico, Pompei.
Pompei, Casa del Fauno - Mosaico del bambino Dioniso alato, a cavallo di un animale con la testa di un leone e il corpo di una tigre. Dall'archivio di Ritagli d'Arte.
Europa siede sul toro, Zeus in sembianze animali, festeggiato e accarezzato dalle compagne della giovanetta, prima che la porti a Creta dove genererà Minosse, Radamanto e Sarpedonte. Affresco, Museo archeologico nazionale di Napoli.
Satyr and Hermaphrodite, I AD. Pompeii, House of Epidius Sabinus. Museo Archeologico Nazionale Napoli.
House of Marine Venus, Pompeii.
Roman fresco from Temple of Isis in Pompeii (I AD). Museo Archeologico Nazionale Napoli.
Detail of Cubiculum in the Roman Villa of P. Fannius Synistor at Boscoreale. Metropolitan Museum of Art.
Detail of painting on the west wall of the triclinium. Villa Poppaea, Oplontis.
Decorazione pittorica, II-I a.C. Affresco, Capitolium, Brescia.
Decorazione pittorica, II-I a.C. Affresco, Capitolium, Brescia.
Affresco con maschere dionisiache da Pompei (I d.C.), Casa del Bracciale d'oro, Napoli, Museo archeologico nazionale.
Ercole e Telefo, affresco rinvenuto ad Ercolano nell'Augusteum. Museo Archeologico Nazionale di Napoli.
Attore re, I d.C. Affresco da Ercolano, Museo Archeologico Nazionale, Napoli.
Affresco romano di una domus a Ercolano del I d.C. Conservato al Museo Archeologico Nazionale, Napoli.
Selene e Endimione guidati da Eros, I d.C. Affresco, Museo Archeologico Nazionale, Napoli.
Teseo liberatore, affresco romano da Ercolano, Basilica, 45-79 d.C.
Affresco del Triclinium della Villa di Poppea ad Oplontis I sec. (oggi Torre Annunziata NA).
Ercolano, affresco del Collegio degli Augustali.
Mars Propugnator. Affresco del II sec. proveniente da Ostia antica, ora ai Musei Vaticani.
Affresco romano della Villa di P. Fannio Sinistore (Boscoreale) 30 a.C. Metropolitan Museum of Art NY.
Affresco romano della Villa di P. Fannio Sinistore (Boscoreale) 30 a.C. Metropolitan Museum of Art NY.
Vestizione della sacerdotessa, I d.C. Affresco staccato, Museo Archeologico Nazionale, Napoli. Provenienza: Palestra, Ercolano.
Decorazione pittorica, I d.C. Affresco, Villa Imperiale, Pompei.
Decorazione pittorica, I d.C. Affresco, Villa Imperiale, Pompei.
Decorazioni pittoriche della Casa sotto la Farnesina, I a.C. Affresco, Museo Nazionale Romano, Roma.
Affresco di Antiope e Thyias, I d.C. Museo Archeologico Nazionale, Napoli. Provenienza: Casa del Citarista, Pompei.
Ercole bambino uccide i serpenti, I d.C. Affresco da Ercolano, Museo Archeologico Nazionale, Napoli.
Pompei, Casa del poeta tragico: affresco del sacrificio di Ifigenia, I sec. d.C.
Decorazioni della villa di Agrippa Postumo, I d.C. Affresco, Museo Archeologico Nazionale, Napoli.
Affresco della Casa della Farnesina, I a.C.
Menade e Satiro in volo, I d.C. Affresco staccato, Museo Archeologico Nazionale, Napoli. Provenienza: Casa del Naviglio, Pompei.
Menade e Satiro in volo, I d.C. Affresco staccato, Museo Archeologico Nazionale, Napoli. Provenienza: Casa del Naviglio, Pompei.
Ercolano, affresco di Amazzone seduta, I d.C. Museo Archeologico Nazionale, Napoli.
Paesaggio con imbarcazioni, I a.C. - I d.C. Affresco staccato, Museo Archeologico Nazionale, Napoli.
Pompei, Casa del Poeta Tragico, affresco (I d.C.).
Pompei, Casa del Poeta Tragico, affresco (I d.C.).
Pompei, affresco in quarto stile nella Casa dei Vettii (Ercole bambino).
Pompei, affresco in quarto stile nella Casa dei Vettii (Ercole bambino).
Pompei, affresco della Casa dei Vettii.
Scena erotica, affresco del cubiculum di Villa Farnesina, I a.C. Palazzo Massimo alle Terme, Roma.
Scena di sacrificio a Diana, affresco dalla Casa dei Vettii a Pompei, I d.C.
Affresco da Pompei (Casa del Bracciale d'oro) I d.C. Napoli, Museo Archeologico Nazionale.
Lotta tra Grifo e Arimaspe, I a.C. Affresco staccato, Museo Archeologico Nazionale, Napoli. Provenienza Villa dei Misteri, Pompei. Tratta da Folle Mente.
Satiro ed ermafrodito, affresco del I d.C. Dalla casa di M. Epidius Sabinus a Pompei. Museo archeologico nazionale di Napoli.
Iphigenia with the Palladium, prima metà del I d.C. Affresco nella Villa San Marco a Stabiae.
Perseo con la testa di Medusa, prima metà del I d.C. Affresco nella Villa San Marco a Stabiae.
Giasone e Pelia. Affresco da Pompei, Casa dell'Amore fatale, I d.C. Napoli, Museo Archeologico Nazionale.
Il giovane Eracle lotta con i serpenti, 60-79 d.C. Affresco, Casa dei Vettii, Pompei.
La morte di Penteo, lacerato dalle Baccanti. Affresco sulla parete centrale dell'esedra della Casa dei Vettii di Pompei. 60-79 d.C.
Pompei, Affresco di Liber Pater e Libera, con iscrizioni elettorali per c. Iulius Polybius e C. Lollius Fuscus, 73 e 78 d.C.
Dionysus and Ariadne. Fresco of the early 4th style from Pompeii, House of the Gold Bracelet, Naples, National Archaeological Museum.
Marriage of Mars-Alexander and Aphrodite-Roxana. Fresco of the early 4th style from Pompeii, House of the Gold Bracelet. Naples, National Archaeological Museum.
Cupids and Psyche making sacrifices. Fresco of the 4th style from Pompeii, House of the Bronzes. Naples, National Archaeological Museum.
Satiro e Menade. Affresco Quarto stile. 50-79 d.C. Pompei, Casa del Menandro.
Decorazioni della villa di Agrippa Postumo, I d.C. Affresco staccato, Museo Archeologico Nazionale, Napoli.
Le Nozze Aldobrandini sono una pittura romana ad affresco della seconda metà del I secolo a.C., conservata presso l'omonima sala della Biblioteca Apostolica Vaticana, che rappresenta una scena di matrimonio, con la partecipazione di Imene e Venere.
A lungo ritenuta copia di un originale ellenistico del IV secolo a.C., è invece un prodotto originale della pittura romana di età augustea.
A lungo ritenuta copia di un originale ellenistico del IV secolo a.C., è invece un prodotto originale della pittura romana di età augustea.
Cerimonia isiaca, affresco del I d.C. Museo Archeologico Nazionale, Napoli.
Affresco decorativo da Boscoreale, databile al 50 a.C. Museo Archeologico Nazionale di Napoli.
Affresco del III stile pompeiano della villa di Agrippa Postumo, I d.C. Affresco staccato, Museo Archeologico Nazionale, Napoli.
Affresco del Planisfero, proveniente da Villa San Marco a Stabiae e conservato all'Antiquarium stabiano.
L'affresco è stato realizzato durante l'età flavia ed era dipinto sotto il soffitto del portico che circondava il secondo peristilio di Villa San Marco: fu rinvenuto sotto forma di frammenti nel 1952, a seguito degli scavi archeologici promossi da Libero D'Orsi e quindi restaurato e conservato nell'Antiquarium stabiano.
L'affresco è stato realizzato durante l'età flavia ed era dipinto sotto il soffitto del portico che circondava il secondo peristilio di Villa San Marco: fu rinvenuto sotto forma di frammenti nel 1952, a seguito degli scavi archeologici promossi da Libero D'Orsi e quindi restaurato e conservato nell'Antiquarium stabiano.
Scena nilotica con pigmei cacciatori, 55-79 d.C., intonaco dipinto della Casa del Medico a Pompei, Napoli, Museo Archeologico Nazionale.
Under the term Pompeian painting is summed up all the wall paintings in the homes of Pompeii of the period between the end of the second century BC and 79 A.D.
The first Pompeian style is called structural style or inlay and ranks in the period from the age Samnite (150 BC) until 80 BC
This painting technique, widespread both in public buildings and at home, mimics, in some cases using elements in stucco relief, the lining of the walls in opus quadratum and marble slabs, known as crusta, hence the name "style of 'fouling. "
The paintings in the first style are divided, according to a repetition sets in three areas:
an upper band decorated with stucco cornices overhanging.
a median strip, in turn tripartite painted with the predominant colors red and black, and purple, dark yellow-green, imitating marble, granite or alabaster
a plinth or base, usually yellow
The paints of this style also contain small architectural elements, such as pillars for the vertical division of the surfaces.
During the archaeological excavations of Pompeii this style is present in the Basilica, in the temple of Jupiter, in the House of the Faun and the House of Sallust in Samnite House in Herculaneum.
The second Pompeian style, or architectural style, is located in the period from 80 BC at the end of the first century B.C.
In this type of painting elements such as cornices and friezes with plant shoots begin to be painted rather than made in stucco, thereby repeating, with clever optical illusion of colors and shadows, what was achieved during the first style in relief. Compared to the first style, innovation is provided by the effect of trompe l'oeil that is created on the walls, where instead of the hoof are painted in the foreground podiums with fake colonnades, kiosks and doors behind which there are perspective views. In this period thus was born the figure of the landscape, which, in Pompeii, painting the details of the gardens, highly sought after by customers.
It was also in vogue paint still lifes with game along with vegetables and fruits; these representations can be explained by the custom that was to send gifts to friends consist of raw food. In the ruins of Pompeii style is present in the Villa of the Mysteries and in the homes of Obellius Firmus, the Labyrinth, of the Silver Wedding, the Criptoportico.
The third Pompeian style or ornamental style, from the chronological point of view, was superimposed on the second style and came up to the middle of the first century AD, the time of Claudius (41-54).
In it was completely reversed perspectivalness and the three-dimensional characteristics of the previous style giving way to flat structures with monochromatic backgrounds, mostly dark, similar to curtains and upholstery, the center of which were painted in light colors small panels (pinakes) depicting scenes of various kinds. During the archaeological excavations of Pompeii painted panels in this style are inserted into the wall of the dining room of the Villa della Porta Marina and in the House of Lucretius Fronto. Other examples of this kind are found in the Villa Imperiale at Pompeii, and in Boscotrecase, in that of Agrippa Postumus. The third style then gave space to the last style, the 4th style, also known as the latest style.
The fourth Pompeian style of perspective or states in the age of Nero and is distinguished from others by the inclusion of fantastic architecture and great scenicità (House of the Vettii in Pompeii and Domus Aurea in Rome).
Most of the villas of Pompeii were decorated with paintings in this style after the reconstruction of the city following the disastrous earthquake of 62, which caused extensive damage in the city. The fourth style is characterized by a revival of decorative elements and formulas have already been tried before: back in fashion imitations of marble facing, the false architecture and trompe-l'oeil style characteristic of the second but the ornamentation with chandeliers, winged figures, plant shoots, which are characteristic of the third style. Pompeian examples of great value, we find them in the House of the Vettii and House of the Dioscuri, probably decorated by artists from the same workshop. Another example of the fourth style is found, always in Pompeii, in the House of Menander, in the atrium where there are fine squares with episodes of the Trojan War; one of the most representative is the one that depicts the meeting of Priam, Menelaus and Helen in the royal palace, while Ajax chases Cassandra who tries in vain defense at the Palladium.
Roma, Case romane al Celio: affresco del ninfeo, III d.C.
Landscape with fisher and a priest offering in front of the sarcophagus of Harpocrates. Roman fresco from the temple of Isis in Pompeii. Museo Archeologico Nazionale (Naples).
IN MOSES AND JOSHUA'S TIME THE CHOSEN PEOPLE TO PURIFY HUMANITY AND IN ORDER THAT JESUS CAME FROM HIS LINEAGE DIDN'T HAVE KINGS, THE CHOSEN PEOPLE HAD THE LAWS GOD GAVE TO THEM, AS WELL AS THE CHARTERS TO LIVE IN HEALTH AND HONESTY. THE KINGS THEY DEFEATED IN THE CANAAN'S CONQUEST WERE GIANTS AND SATANISTS WORSHIPPING THE BAALS, ISHTAR AND DAGON, CHILD MURDERS...
HERE BELOW THE LIST OF KINGS CONQUERED BY JOSHUA AND MOSES... THE EARTH ALREADY HAD IMPOSED KINGS, THEY WERE BLOODY TYRANS...
The Kings Conquered by Joshua
7 And these are the kings of the country which Joshua and the children of Israel conquered on this side of the Jordan, on the west, from Baal Gad in the Valley of Lebanon as far as Mount Halak and the ascent to Seir, which Joshua gave to the tribes of Israel as a possession according to their divisions, 8 in the mountain country, in the lowlands, in the Jordanplain, in the slopes, in the wilderness, and in the South—the Hittites, the Amorites, the Canaanites, the Perizzites, the Hivites, and the Jebusites: 9 the king of Jericho, one; the king of Ai, which is beside Bethel, one; 10 the king of Jerusalem, one; the king of Hebron, one; 11 the king of Jarmuth, one; the king of Lachish, one; 12 the king of Eglon, one; the king of Gezer, one; 13 the king of Debir, one; the king of Geder, one; 14 the king of Hormah, one; the king of Arad, one; 15 the king of Libnah, one; the king of Adullam, one; 16 the king of Makkedah, one; the king of Bethel, one; 17 the king of Tappuah, one; the king of Hepher, one; 18 the king of Aphek, one; the king of Lasharon, one; 19 the king of Madon, one; the king of Hazor, one; 20 the king of Shimron Meron, one; the king of Achshaph, one; 21 the king of Taanach, one; the king of Megiddo, one; 22 the king of Kedesh, one; the king of Jokneam in Carmel, one; 23 the king of Dor in the heights of Dor, one; the king of the people of Gilgal, one; 24 the king of Tirzah, one—all the kings, thirty-one.
Welcome to the LGBTIQ world (financed by the governments). This is what the children's eyes are seeing at a metro station in Toronto in the country's busiest train line. Of course, nobody criticises the publicity of the health messages which are important, but... Do parent need to explain their children the images of men doing homosexual trios?...
Damn might be the gays if they had dignity they would request their removal... Being gay is not what is shown to people... Guys, they are using you...
Alberto Gutiérrez
Comments
Post a Comment