Charles Dickens, in his Pictures From Italy , talks about his impressions on first seeing the Colosseum, and mentions the plant life there in particular detail, as a natural force reclaiming the site of past glory:. To see it crumbling there, an inch a year; its walls and arches overgrown with green; its corridors open to the day; the long grass growing in its porches; young trees of yesterday, springing up on its ragged parapets, and bearing fruit: chance produce of the seeds dropped there by the birds who build their nests within its chink and crannies; to see its Pit of Fight filled up with earth The Scottish painter William Leighton Leitch — painted the Colosseum as an imposing empty space, a monumental hanging garden reminiscent of Babylon.
For Ippolito Caffi, meanwhile, the ruins became an almost nightmarish vision , a primeval jungle ruin where strange lights dance between the stones wreathed in matted vines. His paintings are by turns infused with a solemn quiet, and full of the life of common people. Paintings like these inspired writers as well.
Earlier, in , Percy Bysshe Shelley wrote lyrically of the way that the arena had itself become a natural entity, a landscape rather than a building. It has been changed by time into the image of an amphitheater of rocky hills overgrown by the wild olive, the myrtle, and the fig tree, and threaded by little paths which wind among its ruined stairs and immeasurable galleries: The copsewood overshadows you as you wander through its labyrinths, and the wild weeds of this climate of flowers bloom under your feet.
But the abundant green life of the Colosseum was soon to come to an end. In , Rome was captured by Italian nationalist forces, the final defeat of the Papal States in the war to unify the Italian peninsula. The Pope became an exile in his own palace, surrounded by armed soldiers who stopped him from appearing in public. A year later, Rome became the capital of the Kingdom of Italy, a new nation that was to be modern, democratic, and secular.
The Colosseum, too, was swept up in this upheaval. As nation-states were being born around Europe and the rest of the world in the late 19th century, many of these new states reached back into their pasts to find a foundation on which to build their identities. The new Italian nation found this opportunity in the lost splendor of the Colosseum. About us. Special themes. Major programmes. For the Press. Help preserve sites now! Join the , Members. Search Advanced.
By Properties. Cultural Criteria: i ii iii iv v vi Natural Criteria: vii viii ix x. Category Cultural Natural Mixed. All With videos With photo gallery. Country Region Year Name of the property. Without With. Historisch centrum van Rome, de eigendommen van de Heilige Stoel in die stad die extraterritoriale rechten genieten en San Paolo Fuori le Mura Rome is volgens de legende gesticht door Romulus en Remus in voor Christus.
Outstanding Universal Value Brief synthesis The World Heritage property encompasses the whole historic centre of Rome within the city walls at their widest extent in the 17th century, as well as the Basilica of St. Authenticity The historic city, which has constantly changed throughout the centuries, today has a multifaceted and distinctive image. Protection and management requirements The property is particularly complex, due not only to its size but also to its many functions it is also the centre of the capital of Italy , institutions and to its status as a transnational property involving Italy and the Holy See.
Notes At the time the property was extended, cultural criterion iv was also found applicable. News 1. Events 1. Holy See. WebGL must be enable, see documentation. Media Activities News Events Links. State of Conservation SOC by year Donate Now. License and Republishing. Written by. More on Arts and Culture View all. What is design fiction and how can it shape a sustainable real future? Heather Snyder Quinn 09 Nov How has the European map evolved over time?
Why the arts and humanities are critical to the future of tech Phil Baty 03 Nov Why we need a new approach to 'environmental art' for the 21st century Carlo Ratti 03 Nov What would it be like to actually live on Dune's sci-fi planet of Arrakis?
0コメント