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MY APPIA.
LABORATORY OF POSSIBLE WORLDS IN OPEN WOUNDS
"Along its entire length, and for over a kilometer on both sides, the Appian Way was a single monument should have been preserved intact because of its history and legends, its ruins and its trees, the countryside and landscapes, the views, the solitude, the silence, the light, its dawns and sunsets... it should have been saved because for centuries talented men the world over had loved it, described it, painted it, and sung of it, transforming it into a fantastical reality, a spiritual moment, and creating a work of art from a work of art: The Appian way was untouchable, like the Acropolis in Athens"
A. Cederna, The Gangsters dell'Appia, Il Mondo September 8, 1953. (more) "Along its entire length, and for over a kilometer on both sides, the Appian Way was a single monument should have been preserved intact because of its history and legends, its ruins and its trees, the countryside and landscapes, the views, the solitude, the silence, the light, its dawns and sunsets... it should have been saved because for centuries talented men the world over had loved it, described it, painted it, and sung of it, transforming it into a fantastical reality, a spiritual moment, and creating a work of art from a work of art: The Appian way was untouchable, like the Acropolis in Athens"
A. Cederna, The Gangsters dell'Appia, Il Mondo September 8, 1953.
This exhibition presents the Appia's recent history.
Protecting the most important of Roman public roads, built in 312 BC, has been complicated and an adequate solution for safeguarding the Appia's unique attributes has not yet been found; many monuments are still on private property.
The area that hosts it was purchased in 2002 by the Soprintendenza Archeologica of Rome to increase the public assets on the Appia and raise awareness of these ancient sites.
It has become a workshop for many activities: a cultural meeting point, a place to stop to visit the road and its monuments, and it houses the Antonio Cederna Archive and the computer system for the Appia area.
The photographs shown are only a fraction of the rich collection on the Appia and they relate to several periods: Late 800s - early 900s; the years between 1950 and 1970, and today.
They are views taken by people who have frequented, and still frequent, the Appia, for the most with a sharp eye for reasons of studies, research and journalism. During this time the landscape around the Appia has changed radically, sometimes for the better, usually for the worse, as is evident in some photos, although incomplete. Some of the episodes illustrated and the texts tell the main phases of this story.
While going about our daily lives we never cease to believe in the importance of a project for the Appia which on one hand confirms its value and reinstates legality, and on the other can enable the public to enjoy its combination of history, archaeology, landscapes and nature.
The part that has been made public has contributed to knowledge of ancient history and improved methods of research, restoration and valorization. The part that is private property has too often undergone changes in the exclusive interests of individuals that have been more or less damaging, in violation of rules aimed at enforcing respect for the assets pertaining to the territory of the Appian Way. (hide)
A. Cederna, The Gangsters dell'Appia, Il Mondo September 8, 1953. (more) "Along its entire length, and for over a kilometer on both sides, the Appian Way was a single monument should have been preserved intact because of its history and legends, its ruins and its trees, the countryside and landscapes, the views, the solitude, the silence, the light, its dawns and sunsets... it should have been saved because for centuries talented men the world over had loved it, described it, painted it, and sung of it, transforming it into a fantastical reality, a spiritual moment, and creating a work of art from a work of art: The Appian way was untouchable, like the Acropolis in Athens"
A. Cederna, The Gangsters dell'Appia, Il Mondo September 8, 1953.
This exhibition presents the Appia's recent history.
Protecting the most important of Roman public roads, built in 312 BC, has been complicated and an adequate solution for safeguarding the Appia's unique attributes has not yet been found; many monuments are still on private property.
The area that hosts it was purchased in 2002 by the Soprintendenza Archeologica of Rome to increase the public assets on the Appia and raise awareness of these ancient sites.
It has become a workshop for many activities: a cultural meeting point, a place to stop to visit the road and its monuments, and it houses the Antonio Cederna Archive and the computer system for the Appia area.
The photographs shown are only a fraction of the rich collection on the Appia and they relate to several periods: Late 800s - early 900s; the years between 1950 and 1970, and today.
They are views taken by people who have frequented, and still frequent, the Appia, for the most with a sharp eye for reasons of studies, research and journalism. During this time the landscape around the Appia has changed radically, sometimes for the better, usually for the worse, as is evident in some photos, although incomplete. Some of the episodes illustrated and the texts tell the main phases of this story.
While going about our daily lives we never cease to believe in the importance of a project for the Appia which on one hand confirms its value and reinstates legality, and on the other can enable the public to enjoy its combination of history, archaeology, landscapes and nature.
The part that has been made public has contributed to knowledge of ancient history and improved methods of research, restoration and valorization. The part that is private property has too often undergone changes in the exclusive interests of individuals that have been more or less damaging, in violation of rules aimed at enforcing respect for the assets pertaining to the territory of the Appian Way. (hide)
Historic photographs of the Appian Way
In the years between the end of the 800s and the first decades of the 900s the Appia attracted renewed attention of scholars, archaeologists and photographers, especially British who, in the wake of artists in the late XVIII century. . .In the years between the end of the 800s and the first decades of the 900s the Appia attracted renewed attention of scholars, archaeologists and photographers, especially British who, in the wake of artists in the late XVIII century, especially Carlo Labruzzi, depicted monuments and landscapes through the medium of photography. They were John Henry Parker (1806 -1884), Esther Boise Van Deman (1862 - 1937), James Anderson (1813 -1877) and his son Domenico (1854 - 1938), Thomas Ashby (1874 - 1931) and others, such as the Bulwer sisters.
Ashby, who took photographs of the stretch of the Appia that precedes the Roman part of the road, was overcome by an "elusive feeling" due to the charm of the landscapes. He was not interested in the archaeological aspect alone; he felt that changes were imminent and that Rome's new role as the capital of Italy would alter those landscapes.
Ashby, who took photographs of the stretch of the Appia that precedes the Roman part of the road, was overcome by an "elusive feeling" due to the charm of the landscapes. He was not interested in the archaeological aspect alone; he felt that changes were imminent and that Rome's new role as the capital of Italy would alter those landscapes.
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The Appia in current photographs
The photos were taken by Stefano Castellani (1966), a Roman archaeologist and photographer who comes from a family with artistic inclinations that take many forms. . .The photos were taken by Stefano Castellani (1966), a Roman archaeologist and photographer who comes from a family with artistic inclinations that take many forms.
He works in the field of archaeology and cultural heritage, mainly in Rome; he has documented excavations and restoration work on monuments on the Appia and Villa dei Quintili, of which he is particularly fond, for many years. When he finishes his documenting work on the Appia he likes to wander the furthest reaches of the area in search of unusual, inspirational clues to its history, surveying the landscape and enjoying the silence.
He works in the field of archaeology and cultural heritage, mainly in Rome; he has documented excavations and restoration work on monuments on the Appia and Villa dei Quintili, of which he is particularly fond, for many years. When he finishes his documenting work on the Appia he likes to wander the furthest reaches of the area in search of unusual, inspirational clues to its history, surveying the landscape and enjoying the silence.
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Via Appia. History of the protection
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The Mausoleum of Cecilia Metella and the Castrum
The Roman mausoleum, together with the medieval settlement built as a fortification with walls abutting the road. . .The Roman mausoleum, together with the medieval settlement built as a fortification with walls abutting the road, with the palace and the church on the opposite side, has always fascinated artists, scholars and poets, who have conferred everlasting fame on this isolated spot overlooking the surrounding countryside; in Roman times this vast area belonged to Triopio of Herodes Atticus.
The perimeter walls are perfectly preserved with small towers, but today they are mostly on private property that has gradually taken over the areas outside and inside the fence, which makes it impossible to view it as a whole.
In 1824 Giuseppe Valadier placed important fragments on the medieval building's plugging in order to keep the archaeological relics found in situ where they were unearthed during excavations. The work was later extended by Luigi Canina who used the same method on the tombs lining the Appian Way.
The perimeter walls are perfectly preserved with small towers, but today they are mostly on private property that has gradually taken over the areas outside and inside the fence, which makes it impossible to view it as a whole.
In 1824 Giuseppe Valadier placed important fragments on the medieval building's plugging in order to keep the archaeological relics found in situ where they were unearthed during excavations. The work was later extended by Luigi Canina who used the same method on the tombs lining the Appian Way.
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Casal Rotondo
This large funeral monument is named after the small house on top of it which comes from a XIII century tower that was part of a system. . .This large funeral monument is named after the small house on top of it which comes from a XIII century tower that was part of a system of fortifications and sentry towers situated strategically along the road to defend the territory for Roman nobility.
Fragments from marble architectural decorations, found nearby and judged to be from this mausoleum in the 800s, were inserted into the big wall set up in the mausoleum.
In 1881 Lanciani proposed to have the house expropriated and used by the guardian of the Appia, and documents of the time show that the mausoleum and the entire area surround it were reserved for State administration. In 1957 Cederna denounced the restorations being carried out on the house in an article published by Il Mondo, "The Raised Mausoleum". The monument is on private property; the top of the mausoleum is used as a garden and at this time it is not possible to carry out studies and surveys to inspect and preserve it. The work was not completed in the 800s due to the house being on private property, as indeed, was the entire monument.
Fragments from marble architectural decorations, found nearby and judged to be from this mausoleum in the 800s, were inserted into the big wall set up in the mausoleum.
In 1881 Lanciani proposed to have the house expropriated and used by the guardian of the Appia, and documents of the time show that the mausoleum and the entire area surround it were reserved for State administration. In 1957 Cederna denounced the restorations being carried out on the house in an article published by Il Mondo, "The Raised Mausoleum". The monument is on private property; the top of the mausoleum is used as a garden and at this time it is not possible to carry out studies and surveys to inspect and preserve it. The work was not completed in the 800s due to the house being on private property, as indeed, was the entire monument.
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09 Villa dei Quintili and S. Maria Nova
The Villa dei Quintili, with its 24 hectares of State property purchased by the Soprintendenza Archeologica of Rome in 1984. . .The Villa dei Quintili, with its 24 hectares of State property purchased by the Soprintendenza Archeologica of Rome in 1984, is one of the few places on the Appia that is open to the public. These imposing buildings have inspired artists for centuries, who have described them and saved them for posterity in drawings and photographs; Thomas Ashby studied and photographed the ruins of the villa, which enchanted him with its beautiful views in all seasons and at all times of day.
Since 1998 excavations have unearthed ancient chambers and revealed what their function was.
As behooves an area of outstanding archaeological, landscaping and naturalistic significance, one of the most important archaeological sites in Europe has been created here; a true laboratory for restoration work and activities to preserve it, study it and make it available to the public.
In 2006 the acquisition of the neighboring estate of S. Maria Nova, where there are other monuments and extraordinary evidence of this land's history and its transformation over the centuries, was completed. Projects underway will link the two areas and open them to the public via an entrance from the Via Appia Antica.
Since 1998 excavations have unearthed ancient chambers and revealed what their function was.
As behooves an area of outstanding archaeological, landscaping and naturalistic significance, one of the most important archaeological sites in Europe has been created here; a true laboratory for restoration work and activities to preserve it, study it and make it available to the public.
In 2006 the acquisition of the neighboring estate of S. Maria Nova, where there are other monuments and extraordinary evidence of this land's history and its transformation over the centuries, was completed. Projects underway will link the two areas and open them to the public via an entrance from the Via Appia Antica.
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Monuments
There are many monuments of various types along the road. They are mainly individual and collective tombs of elaborate design. . .There are many monuments of various types along the road. They are mainly individual and collective tombs of elaborate design, in keeping with fashions in different periods of Roman times. It was prestigious to be buried on the Appian Way. Along the road there were also large residential enclaves, such as those belonging to Maxentius at the III mile and the Quintili at the VI mile, and there were farms and places for dining and resting. Today many monuments are on private property and it is not possible to restore them and examine them. Canina, in the middle of the 800s, carried out impressive excavation work to restore and preserve them in order to establish an "outdoor museum" and keep sculptures brought to light in situ.
The Soprintendenza, at the end of the 1990, retraced Canina's steps and carried out restoration work to recover and preserve these monuments.
The Soprintendenza, at the end of the 1990, retraced Canina's steps and carried out restoration work to recover and preserve these monuments.
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The road
The Appian Way, the most famous of Roman public roads, was built in 312 A.C. to connect Rome to the southern end of the peninsula. . .The Appian Way, the most famous of Roman public roads, was built in 312 A.C. to connect Rome to the southern end of the peninsula.
Luigi Canina consecrated it as a monument in the middle of the 800s. The condition of the building gradually deteriorated and between 1950 and 1960 the Appia became a road like any other, clogged with traffic, as new buildings interrupted its continuity, the views changed as villas and decorative vegetation took over its surroundings. Antonio Cederna began documenting and reporting these facts in 1953.
In the last century, at the end of the 90s, restoration work began to restore the Appian Way to its former dignity, which included moving the ring road that cut across it underground; this work is gradually being extended to the perimeters of the city of Rome.
Luigi Canina consecrated it as a monument in the middle of the 800s. The condition of the building gradually deteriorated and between 1950 and 1960 the Appia became a road like any other, clogged with traffic, as new buildings interrupted its continuity, the views changed as villas and decorative vegetation took over its surroundings. Antonio Cederna began documenting and reporting these facts in 1953.
In the last century, at the end of the 90s, restoration work began to restore the Appian Way to its former dignity, which included moving the ring road that cut across it underground; this work is gradually being extended to the perimeters of the city of Rome.
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Mausoleums so-called of Calventii and Cercenii
At the beginning of Via Appia Pignatelli there are two mausoleums on private property built of brickwork that date from around the late IV century. . .At the beginning of Via Appia Pignatelli there are two mausoleums on private property built of brickwork that date from around the late IV century DC which are unfoundedly attributed to the Calventii and Cercenii families, whereas in fact they are from the area above ground in the Praetextatus Cemetery.
Thanks to their especial importance and good condition the monuments have been drawn by many artists since the XV century, some of whom have been Fra' Giocondo, Baldassare Peruzzi, Pirro Ligorio and Carlo Labruzzi. The larger mausoleum consists of a large circular room with six apses around it; the second, smaller mausoleum is square with three rectangular apses and a beautiful facade decorated with two pairs of pillars.
The area is linked to the sub divo area of the Pretestato Catacombs, whose tunnels reach this far.
In 1972 three small villas were built without proper planning permission; an application was immediately made to stop the work and demolish them, to no avail. The modern buildings are linked to the ancient monuments by stairways. At this time it is not possible to carry out investigations and conservation work to examine these important monuments and preserve them.
Thanks to their especial importance and good condition the monuments have been drawn by many artists since the XV century, some of whom have been Fra' Giocondo, Baldassare Peruzzi, Pirro Ligorio and Carlo Labruzzi. The larger mausoleum consists of a large circular room with six apses around it; the second, smaller mausoleum is square with three rectangular apses and a beautiful facade decorated with two pairs of pillars.
The area is linked to the sub divo area of the Pretestato Catacombs, whose tunnels reach this far.
In 1972 three small villas were built without proper planning permission; an application was immediately made to stop the work and demolish them, to no avail. The modern buildings are linked to the ancient monuments by stairways. At this time it is not possible to carry out investigations and conservation work to examine these important monuments and preserve them.
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Via dei Lugari, c. d. Mausoleo di S. Urbano e domus di Marmenia
In 1879 the Lugari brothers bought a vast area at the IV mile of the Appia from the Torlonias; they carried out archaeological excavations there from. . .In 1879 the Lugari brothers bought a vast area at the IV mile of the Appia from the Torlonias; they carried out archaeological excavations there from 1883 to 1895 under the guidance of Rodolfo Lanciani. This site uncovered the remains of a country house from the II century AD, the domus Marmeniae, and the area of the Mausoleum of S. Urban: a network of ancient roads with low walls that separated the ancient predii between the Appia and the Ardeatina; tombs, fountains, and seats at the crossroads that led to farmhouses and aristocratic homes.
The excavations continued to be visible until the 1950s. Between the 70s and 80s illegal excavations were carried out both in the area of the domus and near the mausoleum, seriously damaging the ancient structures so as to transform them into a home in the case of the domus, and a place of representation in the case of the mausoleum. This was carried out despite awareness of the severe building restrictions on the land and the Soprintendenza's repeated denunciations.
The ancient complex was imprisoned and could not be excavated, restored or explored; it was ridiculed by private interests and the whims of individuals. It is now totally closed to any possibility of interventions in the interest of increasing our cultural heritage and public enjoyment.
The excavations continued to be visible until the 1950s. Between the 70s and 80s illegal excavations were carried out both in the area of the domus and near the mausoleum, seriously damaging the ancient structures so as to transform them into a home in the case of the domus, and a place of representation in the case of the mausoleum. This was carried out despite awareness of the severe building restrictions on the land and the Soprintendenza's repeated denunciations.
The ancient complex was imprisoned and could not be excavated, restored or explored; it was ridiculed by private interests and the whims of individuals. It is now totally closed to any possibility of interventions in the interest of increasing our cultural heritage and public enjoyment.
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Aerial photos
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Appendix
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