The Site of Rome

Chapter 1 Julie Rowe Rome's Medieval Fish Market at S. Angelo in Pescheria Rome's main fish market was firmly established at the church of S. Angelo 'in Pescheria' ('in the fish market') by 1192. Fish was sold there in both wholesale and retail quantities. It was a good location close to the Tiber River and other city markets, and fish could be delivered there from Rome's port in Trastevere and from the Campagna by way of the Tiber Island bridges. The site also connected directly to a major city thoroughfare for distribution purposes. A clear picture of how fish were sourced and how the market was organised and operated emerges from archival records. Key players were the canons of S. Angelo (in the retail market), the fishmongers' guild (in the wholesale market) and the fishmongers (pescivendoli) whose involvement was spread across all facets of the market operations Chapter 2 Joan Barclay Lloyd Memory, Myth and Meaning in the Via Appia from Piazza di Porta Capena to Porta S. Sebastiano This is a topographical and art historical study of the urban section of the Via Appia, which ran from the Servian to the Aurelian Walls, from modern Piazza di Porta Capena to the Porta S. Sebastiano (Porta Appia). Historical records, inscriptions, place names, monuments, ruins, churches and monasteries reflect the rich heritage of this part of Rome, from antiquity to the present. In the late nineteenth and early twentieth centuries this area became part of a vast archaeological park, which here focused on the ancient consular road and a series of ancient Roman buildings, such as the Baths of Caracalla. In the Middle Ages churches and convents, like the Dominican nunnery of S. Sisto, were built in this region on the edge of the city, where the population had gradually dwindled. Renaissance remodelling of churches along the Via Appia culminated in the Counter-Reformation renovation of SS. Nereo ed Achilleo and S. Cesareo by Cardinal Cesare Baronio and Pope Clement VIII (1592-1605). These churches contain medieval mosaics, re-used liturgical furniture, and sixteenth-century paintings of the early Christian martyrs. This paper recalls the historical significance of this place, as reflected in the art and architecture of the monuments along the road. Chapter 3 Louis Cellauro Roma Antiqva Restored: The Renaissance Archaeological Plan Images of ancient Rome, published from the mid sixteenth century onwards, constituted an important antiquarian phenomenon, which was representative of the general concern with ancient architecture and topography among architects, antiquarians, and humanist-scholars. This chapter investigates Bartolomeo Marliani's topographical map of 1544, the two maps of ancient Rome of the Neapolitan painter, architect, and antiquarian Pirro Ligorio (1553 and 1561), the map of the historian and antiquarian Onofrio Panvinio (1565), the small archaeological plan and the large bird's-eye view of the French architect and antiquarian Etienne Duperac (1573 and 1574), the map made by the engraver, draughtsman, and dealer in prints Mario Cartaro (1579), and the two images designed by the Milanese printmaker, painter, and poet Ambrogio Brambilla (1582 and 1589/90). These maps are of two different types, which correspond to two different approaches to the imaging of the ancient city. The first is the small archaeological plan representing such features as the seven hills, the geographic boundaries of the fourteen Augustan regions, and a few major ancient monuments. The second type was the large-scale panoramic bird's-eye view of the fully reconstructed ancient city. Antiquarians, including Ligorio, Duperac and Brambilla, often produced both types of maps, the first of which emphasised ancient topography, while the second presented an imaginative interpretation designed to stress the magnificence of the long-vanished Imperial capital and visualise its splendour and monumentality. Scholars have tended to conflate these two traditions of the representation of Roma Antica, and this chapter draws out the their differences in format and content. Chapter 4 Donato Esposito The Virtual Rome of Sir Joshua Reynolds Sir Joshua Reynolds (1723-1792) was in Rome from 15 April 1750 to 3 May 1752. He was there to form, in his own words, 'an idea of what is to be seen here, the remains of antiquity, the sculpture, paintings, architecture etc.'. In due course Reynolds assembled a large collection of works of art-paintings, prints and drawings-associated with Rome, its ancient history, numerous landmarks and decorative schemes. Reynolds' many Roman artworks both serve as 'virtual' surrogates of the city and as 'souvenirs' of his Italian sojourn, which was the foundation of the young artist's future success. Chapter 5 Lisa Beaven Claude Lorrain and La Crescenza: the Tiber Valley in the Seventeenth Century Claude Lorrain's paintings have been associated more with pastoral poetry and literary texts than with the topography of the Campagna, partly because of their idealisation. Yet he spent much time in the Campagna and the Tiber Valley, where he made hundreds of drawings (especially during the 1640s). This chapter examines Claude's depictions of the Tiber Valley from the Porta del Popolo in Rome north to La Crescenza, a fortified casale (farmhouse), in relation to the social and climatic conditions of the seventeenth-century Campagna. Claude was drawing the banks of the Tiber at a critical time for the river and the surrounding landscape, when the environment was unhealthy and the ecology precarious. Chapter 6 David R. Marshall The Campo Vaccino: Order and the Fragment from Palladio to Piranesi This chapter explores the relationship between the authority of the Cinquecento treatises on the orders (especially Vignola and Palladio) and the representation of Roman ruins in architectural painting and engraving from Viviano Codazzi (c.1604-1670) to Piranesi (1720-1778), by way of Niccolo Codazzi (1642-1693), the Monogrammist GAE, Gi