C11h14 - C11h44 (11-14-7 - 11-44-1)

Introduction

“…At the same time, and through the same mechanisms, the city, or the place itself, turns from reality into fiction, a map, a lexicon, an encyclopaediait turns into a book. 43 Some specific genre theories have proved especially fruitful for the project, departing from a workshop held in collaboration with the University of Gothenburg in 2014, during which professor Eva Haettner Aurelius introduced the different stages and uses of genre theory. Haettner Aurelius drew attention to Alastair Fowler's consideration that genres may appear more outlined if compared to one another.…”

“…While Lanciani did a more thorough work, linking the Medieval routes to the actual streets of Rome (most of which, more than a hundred years later, still exist), Hülsen presented the routes as graphic lines where the monuments and buildings mentioned were only approximately arranged along the way, and so did Walser; del Lungo presented a small-scale overview with the itineraries marked out as lines on a general map based on Rome in the early Middle ages (though leaving out itinerary XI). 43 During the "Topos and Topography" project, I have been able to reconstruct the itineraries of the manuscript in greater detail. For this scope, I have used the maps of Leonardo Bufalini (1551), Giovanni Battista Falda (1679) and Giambattista Nolli (1748), 44 together with Rodolfo Lanciani's archaeological map Forma Urbis Romae, which marks all excavations of ancient structures such as buildings and streets, up to the late nineteenth century.…”

“…Where the Notitia Ecclesiarum and De locis sanctis martyrum focused on the roads, this itinerary instead consists of a list over the city gates of Rome from porta sancti Petri (the itinerary also gives the alternative name porta Cornelia) and clockwise around the city wall, ending with porta Aurelia. For each gate, the principal road leading out from it is also mentioned, and the itinerary informs about which saints are buried along the road; for example, Secunda porta Flamminea … ibi in primo miliario foris sanctus Valentinus in sua ecclesia requiescit 98 Intrante in porticum sancti Andreae occurrit tibi in sinistra manu altare sancti Laurentii (…) egrediente vero accipiet sanctus te Martinus, et deducet ad sanctam Petronellam; ibi te primo accipiet Saluator mundi, adsignatque sanctae Anastasiae, et illa sanctissimae Genetrici Dei, quae te commendat sanctae Petronellae, ut te deducat ad filium suum … Notitia Ecclesiarum [36][37][38][39][40][41][42][43]CCSL 175,[310][311] The text is preserved in a ninth-century manuscript from Salzburg, now in the national library of Vienna. CCSL 175, 314-322;Valentini/Zucchetti (1942) 101-131;Bauer (1997) 218-219.…”

“…In his woodcuts, Serlio adopted the method of surveying the ancient monuments developed by Raphael and Peruzzi, and in some cases he directly copied Peruzzi's drawings, as for example in the orders of the Temple of Mars Ultor in the Augustan Forum. 43 There can be little doubt that it was the publication of Serlio's book Il Terzo Libro that encouraged Bartolomeo Marliano to complement the second edition of his Urbis Romae Topographia (1544) with images of ancient monuments. 44 Of the fifteen woodcuts that illustrated the volume, eight were taken straight from Serlio's plates: the Arch of Septimius Severus (Fig.…”

“…It seems therefore convenient to me that with this guide you start and finish your journeys here every day. 43 The visit to the city makes an orderly progression from north to south, which was at that time also the usual way of entering the city, through the Porta del Popolo. As every itinerary always commenced from via dell'Orso and its surroundings, and returned there at the end of each day, these routes naturally took a circular form (see Fig.…”