Amfiteatar u Puli Krizmanić, Attilio
Prostor,
12/2020, Volume:
28, Issue:
2 (60)
Journal Article, Paper
Peer reviewed
Open access
O velariju i njegovu sustavu pisao sam 2016. godine. Tada sam tvrdio da su na pulskom Amfiteatru, na njegovoj četvrtoj etaži, očuvani jedinstveni detalji u kamenu koji omogućuju proučavanje ...konstrukcije rimskoga velarija kao ni na jednome drugom amfiteatru na svijetu. U sklopu velarija tada se konačno riješila konstrukcija zagonetne summae cavee in ligneis s pripadajućim palubama na četvrtoj etaži. Naglašen je najprije velarij jer je njegova osobita konstrukcija svojevrsna zaključnica Amfiteatra, koja ne završava samim isticanjem 84 drvena jarbola, i to u pravilu bez zatege (štraja), umjesto s isprepletenim konopima velarija duž kojih se sekcija razvlače i namještaju jedra u odnosu na momentalni položaj Sunca ili na smjer, intenzitet i učestalost kiše nošene vjetrom, ili pak smirena bonacom. Glavnih je nosača velarija ukupno bilo 84 jarbola (68: 30´30 cm i 16: 18´20 cm), a ne 72 kako se redovito navodi.
I wrote about the velarium system in 2016. I asserted then that, unlike any other amphitheatre in the world, the Amphitheatre in Pula (specifically its fourth level) boasts unique preserved stone details that provide insight into the construction of the Roman velaria. In this context the puzzling construction of summa cavea in ligneis with the associated decks on the fourth floor was finally solved. The emphasis is put on the velarium first due to its unique construction which completes the Amphitheatre. It consists not only of 84 wooden masts without backstays but also of the intertwined velaria ropes which serve to stretch and adjust the sails in relation to the current position of the sun or the direction, intensity and frequency of the prevailing winds and rainfall. There was a total of 84 masts as the main velarium carriers (68: 30´30 cm and 16: 18´20 cm), not 72 as often stated.
Amfiteatar u Puli Krizmanić, Attilio
Prostor,
06/2019, Volume:
27, Issue:
1 (57)
Journal Article, Paper
Peer reviewed
Open access
U tijesnoj je vezi s distribucijskom mrežom čiste vode njezino zbrinjavanje kao prljave nakon odgovarajućeg korištenja i odvodnje na za to određena mjesta. U pulskom Amfiteatru mrežu odvodnih kanala ...moguće je dobrim dijelom rekonstruirati jer su se u sustavu i u razini ispod I. cirkularnog hodnika sačuvali kanali i prostori raznih profila. Ovi nalazi također omogućuju preciznije identificiranje lokacije latrina na razini I. i II. cirkularnog hodnika u radijalnim prostorijama ispod gledališta. Nadam se da će se ovim radom konačno pobiti mišljenja da su kanalizaciju Amfiteatra, posebice prostore crne jame ispod arene - ‘fonje’, koristili gladijatori ili divlje zvijeri.
Wastewater disposal and storage is a necessary measure in the process of clean water supply. It is possible to reconstruct the entire network of sewer and rainwater drainage systems of Pula’s Amphitheatre due to the preserved ditches and canals of various sizes below the first circular passageway. These findings allow a more precise location of the latrines on the level of the first and second passageways in the radial rooms below the auditorium. This article is written with the aim to finally prove that the sewage system of the Amphitheatre, in particular the black pits below the arena, were not used to accommodate either the gladiators or the beasts.
Amfiteatar u Puli Krizmanić, Attilio
Prostor,
12/2018, Volume:
26, Issue:
2 (56)
Journal Article, Paper
Peer reviewed
Open access
Tema je ovoga rada opskrba čistom vodom u pulskom Amfiteatru. Budući da od unutarnjih zidova i građevnih sklopova s cjevovodom nije očuvano ostataka, nije se moglo sa sigurnošću virtualno ...rekonstruirati unutarnju distribucijsku mrežu vodovoda. Jedine čvrste točke vodovodne mreže, a što nije malo, ostaju zasigurno vodotornjevi (Castellum aquae) na vrhu rimske utvrde Castrum, kako za grad tako i za Amfiteatar, te važan i poželjan čimbenik u opskrbi vodom, a to je stalni izvor žive vode - u Puli od davnina nazvan Nimfej, a u novije doba Karolina, na pola puta između gradskih zidina i Amfiteatra.
This article deals with the water supply system of the Amphitheatre in Pula. Virtual reconstruction of the internal water distribution network is impossible since no trace has remained of the internal walls or of the building complex with the pipeline. The only surviving points of the water supply network that provide water both for the city and for the Amphitheatre are water towers (Castellum aquae) at the top of the Castrum and a permanent live water spring called Nimfej (Nymphaeum, nowadays Karolina) half way between the city walls and the Amphitheatre.
Amfiteatar u Puli Krizmanić, Attilio
Prostor,
12/2017, Volume:
25, Issue:
2(54)
Journal Article, Paper
Peer reviewed
Open access
Prvi je cilj ovoga rada razjasniti osnovni integralni sustav prometnih putova gledatelja unutar Amfiteatra u Puli, a u tome kontekstu podjelu gledališta na sektore (maeniane), koje su smjeli ...koristiti različiti stališi gledatelja u odnosu na njihov priznati položaj u društvu. U tom okviru središnja su tema ovoga članka četiri osobita stubišna tornja sa summa cavea in ligneis, s inkorporiranim bačvastim cisternama, s dvostrukim ukrižanim drvenim stubištima i tri palube, a koji do ovoga rada nisu nikada cjelovito i razložno proučeni, a još manje prikladno grafički prezentirani u izvornome stanju u kakvom su bili kada su nastali sredinom 1. stoljeća pr.Kr.
The primary goal of this study is to analyze the basic integral system of passageways for spectators of the Amphitheatre in Pula as well as the division of the auditorium into several seating sections reserved for different classes of citizens according to their social rank. This paper focuses on four staircase towers with summa cavea in ligneis with incorporated barrel-like cisterns with double crossed wooden staircases and three decks. They have neither been systematically explored so far nor graphically represented in order to show what they might have looked like in the period of their construction (mid-1st century B.C.).
Amfiteatar u Puli Krizmanić, Attilio
Prostor,
12/2016, Volume:
24, Issue:
2(52)
Journal Article, Paper
Peer reviewed
Open access
U članku se sažeto obrađuju nove spoznaje i rezultati istraživanja s najnužnijim informacijama o izvornom izgledu Amfiteatra u Puli podignutog sredinom 1. st.pr.Kr., od kojeg su se do danas, usprkos ...znatnim višestoljetnim destrukcijama, ipak sačuvali opsežni ostaci koji omogućuju vjerodostojnu virtualnu rekonstrukciju njegovih nestalih dijelova. Istaknuta je i njegova posebnost kao rano arhitektonsko djelo ostvareno na prijelazu amfiteatara iz drvene u kamenu konstrukciju, potvrđenu četirima istaknutim specifičnim tornjevima s ukrižanim drvenim stubištima, drvenim palubama i velarijem, kao i drugim prostornim značajkama. Proučavanjem integralnog izgleda Amfiteatra (1976.2016.) došlo se do novih saznanja u otkrivanju bitnih arhitektonskih sklopova i detalja njegova izvornog stanja.
This article brings forward new knowledge and research results including some basic information about the original appearance of the amphitheatre in Pula built in the mid-1st century BC. Although severely damaged through centuries, the structure is remarkably well preserved, allowing an authentic virtual reconstruction of its missing parts. The article points out its unique character as it was built at the time when wood replaced stone in the construction of amphitheatres. It is confirmed here by four projected towers with wooden staircases, wooden decks and a velarium, and some other spatial characteristics. Studying the amphitheatre’s integral appearance (1976-2016) has provided fresh insight into its original architectural features and details.
O velariju i njegovu sustavu pisao sam 2016. godine. Tada sam tvrdio da su na pulskom Amfiteatru, na njegovoj cetvrtoj etazi, ocuvani jedinstveni detalji u kamenu koji omogucuju proucavanje ...konstrukcije rimskoga velarija kao ni na jednome drugom amfiteatru na svijetu. U sklopu velarija tada se konacno rijesila konstrukcija zagonetne summae cavee in ligneis s pripadajucim palubama na cetvrtoj etazi. Naglasen je najprije velarij jer je njegova osobita konstrukcija svojevrsna zakljucnica Amfiteatra, koja ne zavrsava samim isticanjem 84 drvena jarbola, i to u pravilu bez zatege (straja), umjesto s isprepletenim konopima velarija duz kojih se sekcija razvlace i namjestaju jedra u odnosu na momentalni polozaj Sunca ili na smjer, intenzitet i ucestalost kise nosene vjetrom, ili pak smirena bonacom. Glavnih je nosaca velarija ukupno bilo 84 jarbola (68: 30*30 cm i 16: 18*20 cm), a ne 72 kako se redovito navodi. I wrote about the velarium system in 2016. I asserted then that, unlike any other amphitheatre in the world, the Amphitheatre in Pula (specifically its fourth level) boasts unique preserved stone details that provide insight into the construction of the Roman velaria. In this context the puzzling construction of summa cavea in ligneis with the associated decks on the fourth floor was finally solved. The emphasis is put on the velarium first due to its unique construction which completes the Amphitheatre. It consists not only of 84 wooden masts without backstays but also of the intertwined velaria ropes which serve to stretch and adjust the sails in relation to the current position of the sun or the direction, intensity and frequency of the prevailing winds and rainfall. There was a total of 84 masts as the main velarium carriers (68: 30*30 cm and 16: 18*20 cm), not 72 as often stated. The research presented in this paper is part of a more extensive research on possibly diverse velarium systems. At the beginning of this brief description of the velaria, it is necessary to list the main parts and elements that make up a velarium system. Each of the 23 complex catenaries was stretched over 4 masts connected to 4 pilasters by means of 8 backstays: 4 lower backstays that carry the sails and 4 upper tensioning backstays by means of tackles tied up to the top of the mast in order to elevate their middle parts and create a bell above the auditorium with a slope towards the main deck so that rainwater could be directed to the grooved cornice and waterspouts. A total of 92 lower backstays + 92 upper backstays = 184 backstays: 68 masts 30*30 cm and 16 masts 18*20 cm making up a total of 84 masts, 84*2 = 168 shrouds and 84 cippi. Each individual arm of the four-legged catenary is located in its own separate quarter in its special quadrant of the basic construction network of the velarium ropes with one staircase tower on which is placed the prominent flat deck (at 40.00 m above sea level) with the command post of the velarium. Therefore, each catenary of the velarium was determined by 4 lower and 4 upper backstays as well as with 2 longitudinal tensioning (parallel with the longer axis) and 2 transversal tensioning (parallel with the shorter axis) ropes that connected horizontally all 8 backstays into a unique static system. In order to help stabilize 84 masts and prevent their breakage due to the activity of the catenary with stretched sails, often under the impact of the wind or other pressure caused by operating the velarium, each mast was equipped with two shrouds (tension ropes) that stretched from its top to the stone four-ton cippus anchored in the terrain at 10 to 18 m distance from the outer wall. Five such cippi have been preserved around the Colosseum in Rome at a distance of 17.50 m from the front wall. Many more cippi have been preserved in the amphitheaters of Santa Maria Capua and Pozzuoli while in Pula probably only one was discovered in 1933, yet unrecorded. The discovery from 1997 of four slender velarium masts rising above the staircase towers with smaller spans between them indicated that a larger span of 5.20 m should be divided into two parts. However, this was abandoned after a graphic check-up showed that it was too dense and too complex. Dyggve 1933: 124 states "... that the few persons needed to service the velum could move freely on the roof (...) covered with solid Roman tiles...". At that time, Dyggve was not dealing with the velarium, so he could not possibly know that during its operation there were not just few people engaged in it but at least 400 disciplined sailors while for the first assembly and disassembly of the velaria around 1000 experienced sailors and various craftsmen were working on it. During the first assembly and management of a number of elements of a complex velarium catenary, it is impossible to imagine that this can be done on a 180 to 200 sloping roof surface covered with Roman tiles, while on a 10 to 20 sloping wooden deck it can certainly be done effectively. Decks, not the roof, are not just places to walk on, but also places to work, create, assemble and spread out the velarium units. While studying the possibility that rope makers might have actively worked and cooperated in the creation of the velaria, I learned that the greatgrandfather of the emperor Augustus was a rope maker. Where did a large number of sailors (nautae) and military sailors (classiarii) in the first preparation, assembly and initial management of the velarium in Pula come from? During the reign of the emperor Augustus, a real permanent navy appeared with permanent stations divided into two squadrons: a Mediterranean squadron based in Punta Miseno, near Naples, classis Misenensis; and an Adriatic one based in Ravenna, classis Ravennas. When more sailors and other craftsmen were needed, they came from Ravenna as it was close to Pula. However, it should not be forgotten that Pula with its port and arsenal was an important naval station with a large number of sailors and masters of all crafts, who were needed for the construction of the Amphitheater so it was easy to organize a unit of sailors - vexillatio classiarii. Thus, our Amphitheater in Pula's bay - port can be related to the construction of ships in its Roman arsenal, located in the area of today's Dante Alighieri Square where ships were always built and masters of various crafts learned their skills. All of them were actually needed for the construction of the velaria. Probably the ingenious ideas such as our summa cavea in ligneis with the velarium, were born in the field of shipbuilding engineering much earlier than in the period of thriving Roman engineering. In the design of the Amphitheater the undisputed ruler was in all things the architectus while in the execution of the Amphitheater the praefectus faber ruled with his teams of masters. In the construction of the fourth and fifth semi-storey and the deck in summa cavea in ligneis with the construction of about 60 entrance gates in the basement and in the first and second circular corridor, the carpenters (axe masters) came to the fore. In the complex performance of the velaria, sailors, rope makers and tailors of sails played an important role, probably with their orally transmitted hidden secrets about its effective work. Vitruvius did not even mention the velaria, Gianrinaldo Carli (1788) and Pietro Stancovich (1822) set up a system that served as the protection against sun and rain, but their masts used to collapse due to the absence of shrouds. Their system as a whole does not follow a polycentric curve. In 1915, Anton Gnirs completely denied the possibility of the existence of the velaria while the masts that he could not deny, only served him to make up ridiculous and unnecessary constructions. In his extensive work on velaria in 1979, R. Graefe proposed some strange constructions that he could not integrate into systems, so he concluded that the velaria served only as protection from the sun and not from rain. However, his proposal clearly shows that he did not understand any of the unique remains of the grooved cornices and rasma at positions 32 and 33 preserved to this day in their original condition in our Amphitheater.
AMFITEATAR ANTIKA IZVORNO STANJE NECISTE VODE PULA U tijesnoj je vezi s distribucijskom mrezom ciste vode njezino zbrinjavanje kao prljave nakon odgovarajuceg koristenja i odvodnje na za to odredena ...mjesta. U pulskom Amfiteatru mrezu odvodnih kanala moguce je dobrim dijelom rekonstruirati jer su se u sustavu i u razini ispod I. cirkularnog hodnika sacuvali kanali i prostori raznih profila. Ovi nalazi takoder omogucuju preciznije identificiranje lokacije latrina na razini I. i II. cirkularnog hodnika u radijalnim prostorijama ispod gledalista. Nadam se da ce se ovim radom konacno pobiti misljenja da su kanalizaciju Amfiteatra, posebice prostore crne jame ispod arene - 'fonje', koristili gladijatori ili divlje zvijeri. AMPHITHEATRE ANTIQUITY ORIGINAL CONDITION WASTEWATER PULA Wastewater disposal and storage is a necessary measure in the process of clean water supply. It is possible to reconstruct the entire network of sewer and rainwater drainage systems of Pula's Amphitheatre due to the preserved ditches and canals of various sizes below the first circular passageway. These findings allow a more precise location of the latrines on the level of the first and second passageways in the radial rooms below the auditorium. This article is written with the aim to finally prove that the sewage system of the Amphitheatre, in particular the black pits below the arena, were not used to accommodate either the gladiators or the beasts.
This article deals with the water supply system of the Amphitheatre in Pula. Virtual reconstruction of the internal water distribution network is impossible since no trace has remained of the ...internal walls or of the building complex with the pipeline. The only surviving points of the water supply network that provide water both for the city and for the Amphitheatre are water towers (Castellum aquae) at the top of the Castrum and a permanent live water spring called Nimfej (Nymphaeum, nowadays Karolina) half way between the city walls and the Amphitheatre. AMPHITHEATRE ANTIQUITY WATER SUPPLY SYSTEM PULA Tema je ovoga rada opskrba cistom vodom u pulskom Amfiteatru. Buduci da od unutarnjih zidova i gradevnih sklopova s cjevovodom nije ocuvano ostataka, nije se moglo sa sigurnoscu virtualno rekonstruirati unutarnju distribucijsku mrezu vodovoda. Jedine cvrste tocke vodovodne mreze, a sto nije malo, ostaju zasigurno vodotornjevi (Castellum aquae) na vrhu rimske utvrde Castrum, kako za grad tako i za Amfiteatar, te vazan i pozeljan cimbenik u opskrbi vodom, a to je stalni izvor zive vode--u Puli od davnina nazvan Nimfej, a u novije doba Karolina, na pola puta izmedu gradskih zidina i Amfiteatra. AMFITEATAR ANTIKA OPSKRBA CISTOM VODOM PULA
The primary goal of this study is to analyze the basic integral system of passageways for spectators of the Amphitheatre in Pula as well as the division of the auditorium into several seating ...sections reserved for different classes of citizens according to their social rank. This paper focuses on four staircase towers with summa cavea in ligneis with incorporated barrel-like cisterns with double crossed wooden staircases and three decks. They have neither been systematically explored so far nor graphically represented in order to show what they might have looked like in the period of their construction (mid-1st century B.C.). AMPHITHEATRE ANTIQUITY ORIGINAL CONDITION PULA STAIRCASE TOWERS Prvi je cilj ovoga rada razjasniti osnovni integraini sustav prometnih putova gledatelja unutar Amfiteatra u Puli, a u tome kontekstu podjelu gledalista na sektore (maeniane), koje su smjeli koristiti razliciti stalisi gledatelja u odnosu na njihov priznati polozaj u drustvu. U tom okviru sredisnja su tema ovoga clanka cetiri osobita stubisna tornja sa summa cavea in ligneis, s inkorporiranim bacvastim cisternama, s dvostrukim ukrizanim drvenim stubistima i tri palube, a koji do ovoga rada nisu nikada cjelovito i razlozno prouceni, a jos manje prikladno graficki prezentirani u izvornome stanju u kakvom su bili kada su nastali sredinom 1. stoljeca pr.Kr. AMFITEATAR ANTIKA IZVORNO STANJE PULA STUBISNI TORNJEVI
This article brings forward new knowledge and research results including some basic information about the original appearance of the amphitheatre in Pula built in the mid-ist century BC. Although ...severely damaged through centuries, the structure is remarkably well preserved, allowing an authentic virtual reconstruction of its missing parts. The article points out its unique character as it was built at the time when wood replaced stone in the construction of amphitheatres. It is confirmed here by four projected towers with wooden staircases, wooden decks and a velarium, and some other spatial characteristics. Studying the amphitheatre's integral appearance (1976-2016) has provided fresh insight into its original architectural features and details. AMPHITHEATRE ANTIQUITY ORIGINAL APPEARANCE PULA U clanku se sazeto obraduju nove spoznaje i rezultati istrazivanja s najnuznijim informacijama o izvornom izgledu Amfiteatra u Puli podignutog sredinom 1. st.pr.Kr., od kojeg su se do danas, usprkos znatnim visestoljetnim destrukcijama, ipak sacuvali opsezni ostaci koji omogucuju vjerodostojnu virtualnu rekonstrukciju njegovih nestalih dijelova. Istaknuta je i njegova posebnost kao rano arhitektonsko djelo ostvareno na prijelazu amfiteatara iz drvene u kamenu konstrukciju, potvrdenu cetirima istaknutim specificnim tornjevima s ukrizanim drvenim stubistima, drvenim palubama i velarijem, kao i drugim prostornim znacajkama. Proucavanjem integralnog izgleda Amfiteatra (1976.2016.) doslo se do novih saznanja u otkrivanju bitnih arhitektonskih sklopova i detalja njegova izvornog stanja. AMFITEATAR ANTIKA IZVORNO STANJE PULA
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