This paper presents a new interpretation of a little-known roman arch, and among the few remaining arches part of the Servian Wall of Rome. The work is developed within four separate and autonomous paragraphs. The first one describes its origins as Esquiline Gate, one of the two surviving gates of the Servian Wall. The second one shows how the gate was turned into a monumental three-barrel vaults in honour of Gallienus, of which remain some reconstructive drawings from the Sixteenth Century. The third paragraph is focused on some sketches from the first Thirties, by one of the most important roman architects: Luigi Moretti (unpublished drawings from the Moretti-Magnifico archive). The last one is dedicated to the survey process, based on the photogrammetric technique, and the graphic hybridisation between the images of the actual model and the more significant representations of the original arch. The graphic comparison aims to preserve the drawings of each author by making a direct confrontation among them and even in relation to the images from the photogrammetric survey.
The signs of Arch of Gallienus in Rome / Schiavo, Antonio. - (2022), pp. 288-297. [10.3280/oa-832-c24].
The signs of Arch of Gallienus in Rome
Antonio Schiavo
2022
Abstract
This paper presents a new interpretation of a little-known roman arch, and among the few remaining arches part of the Servian Wall of Rome. The work is developed within four separate and autonomous paragraphs. The first one describes its origins as Esquiline Gate, one of the two surviving gates of the Servian Wall. The second one shows how the gate was turned into a monumental three-barrel vaults in honour of Gallienus, of which remain some reconstructive drawings from the Sixteenth Century. The third paragraph is focused on some sketches from the first Thirties, by one of the most important roman architects: Luigi Moretti (unpublished drawings from the Moretti-Magnifico archive). The last one is dedicated to the survey process, based on the photogrammetric technique, and the graphic hybridisation between the images of the actual model and the more significant representations of the original arch. The graphic comparison aims to preserve the drawings of each author by making a direct confrontation among them and even in relation to the images from the photogrammetric survey.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.