Postcard from Toulouse, France: Brick and timber swaybacks still standing

After the aristocratic, monochromatic ashlar (of large cut-stone masonry) buildings lining the streets of Bordeaux, walking the streets of Toulouse is like a double jolt of espresso. Yes, there are a multitude of stone-faced structures of the same period of affluence as those in Bordeaux, but there is also brick, tons of it. Often brick is laid in striking patterns contrasting the red with stone.

But, for now, I’ve isolated a few of what certainly appear amongst the oldest group of structures in the historic center of Toulouse. Without turning to experts to verify in each of these cases, these half-timbered houses with brick infill probably date to the 16th century. Several are constructed of Roman brick, shorter in height and wider than more “contemporary” brick.

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Postcard from Rome, Italy: Afflicted by a case of leo-mania

I give up. I can’t locate a word for it. Leo-mania? Highly contagious for camera lenses, particularly when held in the hand of a Leo.

Whatever the appropriate label might be, Romans through the centuries appear obsessed by lions. Ancient art, classical art, papal art, Renaissance art and even contemporary art continually focus on the lion. Lions are everywhere.

The lion is considered a symbol of strength. A powerful hunter devouring animals. An opponent for gladiators. A way to dispose of Christians, although not employed as often as numerous other methods of torturing them to death. By the time Romans felt the need to dispose of Christians, lions were becoming rather scarce in what we now know as Italy. They had to be imported for sporting events from Greece and, more often, from Africa.

But even when behaving savagely, as with a severed human head under-paw, the lions found along the streets of Rome and in her palaces and churches generally appear gentle. As lovable as the cowardly lion in The Wizard of Oz. Pet-able. The stylized Egyptian lions in the fountain surrounding the obelisk at the center of Piazza del Popolo rarely are permitted a moment’s rest from children eagerly climbing atop their backs.

 

Postcard from Rome, Italy: A numbers game sparked by the baths

Visualizing times gone by is difficult, even when surrounded by highly visible ancient remnants.

Baths to accommodate 3,000? That number finally hit me for some reason. Wait, how big was Rome?

The Diocletian Baths, built beginning about the year 290, could accommodate 3,000 people bathing, getting a shave and a haircut, exercising, reading in the library, gathering for gossip and, well okay, visiting the brothel. Not sure in which order these activities were engaged.

But the Diocletian Baths were not the only baths. There were hundreds and hundreds of them in ancient Rome.

Which finally sent me back to try to understand the immense size not of the sprawling Roman Empire, but of Rome itself.

The AlamoDome in San Antonio seems large to this girl; it can accommodate 64,000. The Coliseum in Rome could house somewhere in the range of 75,000 people, who could all exit within a 15-minute period after Emperor Diocletian (244-311) had executed some of the thousands of Christians he made into saints during several prime years of persecution.

But that was still a small house in Rome. Other special events attracted even larger crowds; close to 300,000 could gather to watch chariot races at Circus Maximus.

Wait, where did all those people come from? The majority were just locals. The population of Rome then was well over 1,000,000. So hard to envision an ancient urban environment that dense.

Things would change dramatically in only a view years. The collapse of the empire, invasions by those pesky Goths. The population evacuated for new opportunities or was devastated by pestilence. During the 1300s, with schism in the papacy between Rome and Avignon, Rome had fewer than 20,000 inhabitants.

But I digress, once again.

The photos below are from the collection of the Museo Nazionale Romano housed on the grounds of the former baths and portions renovated/remodeled into cloisters for a Carthusian monastery, commissioned in 1561 by Pope Pius IV (1499-1565) of the Medici clan and designed by Michelangelo (1475-1564).

More recent remodeling to house the collection and special exhibits was completed in 2014. Thousands of the museum’s holdings once crammed akimbo into this one location are now spread out for improved viewing around several locations.

And, by the way, sometimes there was a lot of r-rated activity happening on the outside of those sarcophagi.