What Happened to the Missing Half of the Roman Colosseum?

What hap­pened to the miss­ing half of the Colos­se­um? It may be a ques­tion about ancient Rome you were afraid to ask in school, as the title of Dr. Gar­ret Ryan’s video above sug­gests. Or maybe, after see­ing the mas­sive ancient ruin’s jagged pro­file all your life on piz­za box­es and soft­ball t‑shirts spon­sored by your local Ital­ian eatery, you nev­er thought much of the Colos­se­um’ shape at all. You could spend hun­dreds of dol­lars and build a LEGO Colos­se­um, hun­dreds more and vis­it it your­self, or dri­ve past it every day on your com­mute, and nev­er think much about it.

Despite cur­rent­ly host­ing more vis­i­tors per year than Tre­vi Foun­tain and the Sis­tine Chapel com­bined, the mon­u­ment to bread and cir­cus impe­r­i­al Rome suf­fered from severe neglect in the mil­len­nia and a‑half after it was used as a glad­i­a­tor are­na – “some 1,500 years of neglect and hap­haz­ard con­struc­tion projects,” Tom Mueller writes at Smith­son­ian, “lay­ered one upon anoth­er.” Used as a quar­ry after the 6th cen­tu­ry, for most of its long, decay­ing life, the amphithe­ater and its “hypogeum” (the intri­cate sys­tem of tun­nels and earth­works under­neath) went ful­ly to seed.

For most of its his­to­ry, that is to say, humans most­ly ignored the Colos­se­um. But curios­i­ty about its his­to­ry pays:

Down through the cen­turies, peo­ple filled the hypogeum with dirt and rub­ble, plant­ed veg­etable gar­dens, stored hay and dumped ani­mal dung. In the amphithe­ater above, the enor­mous vault­ed pas­sages shel­tered cob­blers, black­smiths, priests, glue-mak­ers and mon­ey-chang­ers, not to men­tion a fortress of the Frangi­pane, 12th-cen­tu­ry war­lords. By then, local leg­ends and pil­grim guide­books described the crum­bling ring of the amphitheater’s walls as a for­mer tem­ple to the sun. Necro­mancers went there at night to sum­mon demons.

In the late 16th cen­tu­ry — before popes parad­ed through the are­na to hon­or Chris­tians fed to wild beasts — “Pope Six­tus V, the builder of Renais­sance Rome, tried to trans­form the Colos­se­um into a wool fac­to­ry.” The ven­ture failed, and soon after the huge vari­ety of wild plant life began to attract botanists, who cat­a­logued some 337 dif­fer­ent species. The hypogeum, the archi­tec­tur­al mech­a­nism that once pow­ered spec­ta­cles on the floor above, was only cleared in the 1930s by Ben­i­to Mus­soli­ni in his glo­ri­fi­ca­tion of clas­si­cal Rome.

Restora­tion on the Colos­se­um did not begin until the 1990s and vis­i­tors have only been allowed to see the ruin’s inner work­ings since 2011, almost 2000 years since it was first con­struct­ed between 72 and 80 AD. Orig­i­nal­ly called the Fla­vian Amphithe­atre, the build­ing’s name was changed to reflect its prox­im­i­ty to the Colos­sus of Nero, a mon­u­ment to impe­r­i­al hubris that has itself long dis­ap­peared. So, what about that miss­ing half? “The short answer,” writes Dr. Ryan, “is: earth­quakes and popes, in that order.”

The longer answer, as you might imag­ine, is far more col­or­ful, and far blood­i­er, involv­ing events like the Emper­or Tra­jan’s 123-day cel­e­bra­tion of his vic­to­ry in Dacia, “in the course of which 5,000 pairs of glad­i­a­tors fought and 11,000 ani­mals were killed.” After around 500 years of this kind of blood­sport (and oth­er amuse­ments) and anoth­er 1,500 years of dete­ri­o­ra­tion, I’d say the Colos­se­um has held up remark­ably well, a trib­ute to Roman archi­tec­tur­al engi­neer­ing, the one thing the Roman Empire seemed to love more than vio­lent death.

Relat­ed Con­tent:

When the Colos­se­um in Rome Became the Home of Hun­dreds of Exot­ic Plant Species

The Roman Colos­se­um Has a Twin in Tunisia: Dis­cov­er the Amphithe­ater of El Jem, One of the Best-Pre­served Roman Ruins in the World

An Ani­mat­ed Recon­struc­tion of Ancient Rome: Take A 30-Minute Stroll Through the City’s Vir­tu­al­ly-Recre­at­ed Streets

An 8‑Minute Ani­mat­ed Flight Over Ancient Rome

How Did Roman Aque­ducts Work?: The Most Impres­sive Achieve­ment of Ancient Rome’s Infra­struc­ture, Explained

The His­to­ry of Ancient Rome in 20 Quick Min­utes: A Primer Nar­rat­ed by Bri­an Cox

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

The History of the Byzantine Empire (or East Roman Empire): An Animated Timeline Covering 1,100 Years of History

The his­to­ry of Rome is, more or less, the his­to­ry of the mod­ern world. But the Roman world seemed to shrink dur­ing the Neo­clas­si­cal peri­od, an Enlight­en­ment-era move­ment to puri­fy the arts. Where Rome once encom­passed a glob­al empire, it began to inhab­it a nar­row range of ideas, imposed by human­ist schol­ars, French Jacobins, bour­geois rev­o­lu­tion­ar­ies in the North Amer­i­can colonies, and the courts of Louis XVI, George III, and Napoleon. Neo­clas­si­cal art was an ennobling arti­fice in a time when Euro­pean empires were swal­low­ing up the globe. (It was lat­er the favored style of Mus­soli­ni and, more recent­ly, Don­ald Trump.) Aca­d­e­mics and states­men rede­fined the cul­tur­al bound­aries of ancient Rome to suit the agen­das of their age.

Elites of the Ottoman Empire in the 16th and 17th cen­tu­ry, for exam­ple, believed there was no sep­a­ra­tion between them­selves and ancient Rome. They called them­selves Rūmī, Romans, inher­i­tors of the Empire. West­ern Euro­peans, how­ev­er, exclu­sive­ly used the terms Ottomans or Turks, in rhetoric designed to evoke fears of dan­ger­ous, threat­en­ing oth­ers. Sim­i­lar­ly, the East­ern, or Byzan­tine, Empire, ruled from Con­stan­tino­ple by Con­stan­tine and his suc­ces­sors, nev­er thought of itself as any­thing oth­er than Roman, and cer­tain­ly not as “Byzan­tine,” a word that comes from the city’s ancient name, Byzan­tium.

As the poster of the video above writes, “the empire this video is about was nei­ther called ‘Byzan­tine’ nor ‘East­ern Roman,’ but sim­ply ‘Roman/Romaioi’ but its con­tem­po­raries. ‘Byzan­tine empire’ is a made up term that appeared in the course of the 16th cen­tu­ry.” Orig­i­nal­ly meant to sug­gest the Greek influ­ence on the late Roman Empire, the word became a way of brack­et­ing off the late empire as strange and exot­ic. Then it became a pejo­ra­tive adjec­tive mean­ing “exces­sive­ly com­pli­cat­ed.” Not coin­ci­den­tal­ly, this also hap­pened to be the opin­ion of the Neo­clas­si­cists when it came to the late Roman Empire. Neo­clas­si­cal ideals empha­sized order, per­fec­tion, sim­plic­i­ty, virtue, ratio­nal­i­ty, all qual­i­ties retroac­tive­ly applied to the Rome of antiq­ui­ty, but not to the “East­ern” Empire.

Like many a term of abuse, both the Ottoman Empire and Byzan­tine Empire were reclaimed by nation­al­ists who had no desire to iden­ti­fy with ancient Rome. Dur­ing the Crimean War, Greek nation­al­ists embraced the Byzan­tine Empire as a his­tor­i­cal real­i­ty and a vision of a future restora­tion once Istan­bul had been reclaimed. The inhab­i­tants of Con­stan­tino­ple and many of the ter­ri­to­ries under its sway dur­ing the peri­od cov­ered by the ani­mat­ed time­line above, how­ev­er, just called them­selves Romans. “Indeed, the ‘Byzan­tine’ sov­er­eigns,” the video notes, “nev­er ceased to con­sid­er them­selves as the legit­i­mate suc­ces­sors of the Roman empire which had been divid­ed in 395 and whose West­ern part had fall­en in 476.”

Relat­ed Con­tent: 

An Ani­mat­ed His­to­ry of the Ottoman Empire (1299 – 1922)

How the Byzan­tine Empire Rose, Fell, and Cre­at­ed the Glo­ri­ous Hagia Sophia: A His­to­ry in Ten Ani­mat­ed Min­utes

A Vir­tu­al Tour of Ancient Rome, Cir­ca 320 CE: Explore Stun­ning Recre­ations of The Forum, Colos­se­um and Oth­er Mon­u­ments

What Did the Roman Emper­ors Look Like?: See Pho­to­re­al­is­tic Por­traits Cre­at­ed with Machine Learn­ing

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Machiavelli’s The Prince Explained in an Illustrated Film

Nic­colò Machi­avel­li lived in a time before the inter­net, before radio and tele­vi­sion, before drones and weapons of mass destruc­tion. Thus one nat­u­ral­ly ques­tions the rel­e­vance of his polit­i­cal the­o­ries to the twen­ty-first cen­tu­ry. Yet in dis­cus­sions about the dynam­ics of pow­er, no name has endured as long as Machi­avel­li’s. His rep­u­ta­tion as a the­o­rist rests most­ly on his 1532 trea­tise Il Principe, or The Prince, in which he pio­neered a way of ana­lyz­ing pow­er as it was actu­al­ly wield­ed, not as peo­ple would have liked it to be. How, he asked, does a ruler — a prince — attain his posi­tion in a state, and even more impor­tant­ly, how does he main­tain it?

You can hear Machi­avel­li’s answers to these ques­tions explained, and see them illus­trat­ed, in the 43-minute video above. It breaks The Prince down into sev­en parts sum­ma­riz­ing as many of the book’s main points, includ­ing “Do not be neu­tral,” “Destroy, do not would,” and “Be feared.”

These com­mand­ments would seem to align with Machi­avel­li’s pop­u­lar image as an apol­o­gist, even an advo­cate, for bru­tal and repres­sive forms of rule. But his enter­prise has less to do with offer­ing advice than with describ­ing how real fig­ures of pow­er, princes and oth­er­wise, had amassed and retained that pow­er.

The video comes from Eudai­mo­nia, a Youtube chan­nel that has also fea­tured sim­i­lar­ly ani­mat­ed exege­ses of Sto­icism and Sun Tzu’s The Art of War. Its cre­ator makes these ancient sources of knowl­edge acces­si­ble with not just his car­toon­ish illus­tra­tions, but also his inclu­sion of illu­mi­nat­ing exam­ples from more recent his­to­ry. In the case of The Prince, these come from eras like the Russ­ian Rev­o­lu­tion, World War II, and even our own time of instant glob­al com­mu­ni­ca­tion, atten­tion-hun­gry media, and a seem­ing­ly weak polit­i­cal class. In much of the world, we live in a time much less nasty and brutish than Machi­avel­li’s. But look­ing at the effec­tive­ness (or lack there­of) of our own lead­ers, we have to admit that the prin­ci­ples of The Prince may not have gone out of effect.

To delve deep­er into the world of Machi­avel­li, you can watch a BBC doc­u­men­tary on the Renais­sance polit­i­cal the­o­rist below.

Relat­ed con­tent:

What Does “Machi­avel­lian” Real­ly Mean?: An Ani­mat­ed Les­son

How Machi­avel­li Real­ly Thought We Should Use Pow­er: Two Ani­mat­ed Videos Pro­vide an Intro­duc­tion

Salman Rushdie: Machiavelli’s Bad Rap

Intro­duc­tion to Polit­i­cal Phi­los­o­phy: A Free Yale Course

Allan Bloom’s Lec­tures on Machi­avel­li (Boston Col­lege, 1983)

6 Polit­i­cal The­o­rists Intro­duced in Ani­mat­ed “School of Life” Videos: Marx, Smith, Rawls & More

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall, on Face­book, or on Insta­gram.

 

How the Byzantine Empire Rose, Fell, and Created the Glorious Hagia Sophia: A History in Ten Animated Minutes

If you only know one fact about the Roman Empire, it’s that it declined and fell. If you know anoth­er, it’s that the Roman Empire gave way to the Europe we know today — in the full­ness of time, at least. A good deal of his­to­ry lies between our twen­ty-first cen­tu­ry and the fall of Rome, which in any case would­n’t have seemed like such a deci­sive break when it hap­pened. “Most his­to­ry books will tell you that the Roman Empire fell in the fifth cen­tu­ry CE,” says the nar­ra­tor of the ani­mat­ed TED-Ed les­son above. “This would’ve come as a great sur­prise to the mil­lions of peo­ple who lived in the Roman Empire up through the Mid­dle Ages.”

This medieval Roman Empire, bet­ter known as the Byzan­tine Empire, began in the year 330. “That’s when Con­stan­tine, the first Chris­t­ian emper­or, moved the cap­i­tal of the Roman Empire to a new city called Con­stan­tino­ple, which he found­ed on the site of the ancient Greek city Byzan­tium.” Not only did Con­stan­tino­ple sur­vive the bar­bar­ian inva­sions of the Empire’s west­ern provinces, it remained the seat of pow­er for eleven cen­turies.

It thus remained a pre­serve of Roman civ­i­liza­tion, aston­ish­ing vis­i­tors with its art, archi­tec­ture, dress, law, and intel­lec­tu­al enter­pris­es. Alas, many of those glo­ries per­ished in the ear­ly thir­teenth cen­tu­ry, when the city was torched by the dis­grun­tled army of deposed ruler Alex­ios Ange­los.

Among the sur­viv­ing struc­tures was the jew­el in Con­stan­tino­ple’s crown Hagia Sophia, about which you can learn more about it in the Ted-ED les­son just above. The long con­ti­nu­ity of the holy build­ing’s loca­tion belies its own trou­bled his­to­ry: first built in the fourth cen­tu­ry, it was destroyed in a riot not long there­after, then rebuilt in 415 and destroyed again when more riots broke out in 532. But just five years lat­er, it was replaced by the Hagia Sophia we know today, which has since been a Byzan­tine Chris­t­ian cathe­dral, a Latin Catholic cathe­dral, a mosque, a muse­um (at the behest of sec­u­lar reformer Mustafa Kemal Atatürk), and most recently a mosque again. The Byzan­tine Empire may be long gone, but the end of the sto­ry told by Hagia Sophia is nowhere in sight.

Relat­ed con­tent:

An Intro­duc­tion to Hagia Sophia: After 85 Years as a Muse­um, It’s Set to Become a Mosque Again

360 Degree Vir­tu­al Tours of the Hagia Sophia

Hear the Hagia Sophia’s Awe-Inspir­ing Acoustics Get Recre­at­ed with Com­put­er Sim­u­la­tions, and Let Your­self Get Trans­port­ed Back to the Mid­dle Ages

Hear the Sound of the Hagia Sophia Recre­at­ed in Authen­tic Byzan­tine Chant

French Illus­tra­tor Revives the Byzan­tine Empire with Mag­nif­i­cent­ly Detailed Draw­ings of Its Mon­u­ments & Build­ings: Hagia Sophia, Great Palace & More

Istan­bul Cap­tured in Beau­ti­ful Col­or Images from 1890: The Hagia Sophia, Top­ka­ki Palace’s Impe­r­i­al Gate & More

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall, on Face­book, or on Insta­gram.

How Did Cartographers Create World Maps before Airplanes and Satellites? An Introduction

Reg­u­lar read­ers of Open Cul­ture know a thing or two about maps if they’ve paid atten­tion to our posts on the his­to­ry of car­tog­ra­phy, the evo­lu­tion of world maps (and why they are all wrong), and the many dig­i­tal col­lec­tions of his­tor­i­cal maps from all over the world. What does the sev­en and a half-minute video above bring to this com­pendi­um of online car­to­graph­ic knowl­edge? A very quick sur­vey of world map his­to­ry, for one thing, with stops at many of the major his­tor­i­cal inter­sec­tions from Greek antiq­ui­ty to the cre­ation of the Cata­lan Atlas, an aston­ish­ing map­mak­ing achieve­ment from 1375.

The upshot is an answer to the very rea­son­able ques­tion, “how were (some­times) accu­rate world maps cre­at­ed before air trav­el or satel­lites?” The expla­na­tion? A lot of his­to­ry — mean­ing, a lot of time. Unlike inno­va­tions today, which we expect to solve prob­lems near-imme­di­ate­ly, the inno­va­tions in map­ping tech­nol­o­gy took many cen­turies and required the work of thou­sands of trav­el­ers, geo­g­ra­phers, car­tog­ra­phers, math­e­mati­cians, his­to­ri­ans, and oth­er schol­ars who built upon the work that came before. It start­ed with spec­u­la­tion, myth, and pure fan­ta­sy, which is what we find in most geo­gra­phies of the ancient world.

Then came the Greek Anax­i­man­der, “the first per­son to pub­lish a detailed descrip­tion of the world.” He knew of three con­ti­nents, Europe, Asia, and Libya (or North Africa). They fit togeth­er in a cir­cu­lar Earth, sur­round­ed by a ring of ocean. “Even this,” says Jere­my Shuback, “was an incred­i­ble accom­plish­ment, roughed out by who knows how many explor­ers.” Sand­wiched in-between the con­ti­nents are some known large bod­ies of water: the Mediter­ranean, the Black Sea, the Pha­sis (mod­ern-day Rioni) and Nile Rivers. Even­tu­al­ly Eratos­thenes dis­cov­ered the Earth was spher­i­cal, but maps of a flat Earth per­sist­ed. Greek and Roman geo­g­ra­phers con­sis­tent­ly improved their world maps over suc­ceed­ing cen­turies as con­quer­ers expand­ed the bound­aries of their empires.

Some key moments in map­ping his­to­ry involve the 2nd cen­tu­ry AD geo­g­ra­ph­er and math­e­mati­cian Marines of Tyre, who pio­neered “equirec­tan­gu­lar pro­jec­tion and invent­ed lat­i­tude and lon­gi­tude lines and math­e­mat­i­cal geog­ra­phy.” This paved the way for Claudius Ptole­my’s huge­ly influ­en­tial Geo­graphia and the Ptole­ma­ic maps that would even­tu­al­ly fol­low. Lat­er Islam­ic car­tog­ra­phers “fact checked” Ptole­my, and reversed his pref­er­ence for ori­ent­ing North at the top in their own map­pa mun­di. The video quotes his­to­ri­an of sci­ence Son­ja Bren­thes in not­ing how Muham­mad al-Idrisi’s 1154 map “served as a major tool for Ital­ian, Dutch, and French map­mak­ers from the six­teenth cen­tu­ry to the mid-eigh­teenth cen­tu­ry.”

The inven­tion of the com­pass was anoth­er leap for­ward in map­ping tech­nol­o­gy, and ren­dered pre­vi­ous maps obso­lete for nav­i­ga­tion. Thus car­tog­ra­phers cre­at­ed the por­tolan, a nau­ti­cal map mount­ed hor­i­zon­tal­ly and meant to be viewed from any angle, with wind rose lines extend­ing out­ward from a cen­ter hub. These devel­op­ments bring us back to the Cata­lan Atlas, its extra­or­di­nary accu­ra­cy, for its time, and its extra­or­di­nary lev­el of geo­graph­i­cal detail: an arti­fact that has been called “the most com­plete pic­ture of geo­graph­i­cal knowl­edge as it stood in the lat­er Mid­dle Ages.”

Cre­at­ed for Charles V of France as both a por­tolan and map­pa mun­di, its con­tours and points of ref­er­ence were not only com­piled from cen­turies of geo­graph­ic knowl­edge, but also from knowl­edge spread around the world from the dias­poric Jew­ish com­mu­ni­ty to which the cre­ators of the Atlas belonged. The map was most like­ly made by Abra­ham Cresques and his son Jahu­da, mem­bers of the high­ly respect­ed Major­can Car­to­graph­ic School, who worked under the patron­age of the Por­tuguese. Dur­ing this peri­od (before mas­sacres and forced con­ver­sions dev­as­tat­ed the Jew­ish com­mu­ni­ty of Major­ca in 1391), Jew­ish doc­tors, schol­ars, and scribes bridged the Chris­t­ian and Islam­ic worlds and formed net­works that dis­sem­i­nat­ed infor­ma­tion through both.

In its depic­tion of North Africa, for exam­ple, the Cata­lan Atlas shows images and descrip­tions of Malian ruler Mansa Musa, the Berber peo­ple, and spe­cif­ic cities and oases rather than the usu­al drag­ons and mon­sters found in oth­er Medieval Euro­pean maps — despite the car­tog­ra­phers’ use of the works like the Trav­els of John Man­dev­ille, which con­tains no short­age of bizarre fic­tion about the region. While it might seem mirac­u­lous that humans could cre­ate increas­ing­ly accu­rate views of the Earth from above with­out flight, they did so over cen­turies of tri­al and error (and thou­sands of lost ships), build­ing on the work of count­less oth­ers, cor­rect­ing the mis­takes of the past with supe­ri­or mea­sure­ments, and crowd­sourc­ing as much knowl­edge as they could.

To learn more about the fas­ci­nat­ing Cata­lan Atlas, see the Flash Point His­to­ry video above and the schol­ar­ly descrip­tion found here. Find trans­la­tions of the map’s leg­ends here at The Cresque Project.

Relat­ed Con­tent: 

The His­to­ry of Car­tog­ra­phy, the “Most Ambi­tious Overview of Map Mak­ing Ever,” Is Now Free Online

Down­load 91,000 His­toric Maps from the Mas­sive David Rum­sey Map Col­lec­tion

Why Every World Map Is Wrong

Ani­mat­ed Maps Reveal the True Size of Coun­tries (and Show How Tra­di­tion­al Maps Dis­tort Our World)

The Evo­lu­tion of the World Map: An Inven­tive Info­graph­ic Shows How Our Pic­ture of the World Changed Over 1,800 Years

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Bach Played Beautifully on the Baroque Lute, by Preeminent Lutenist Evangelina Mascardi

In the two videos here, see Argen­tine lutenist Evan­geli­na Mas­car­di play pas­sion­ate ren­di­tions of J.S. Bach com­po­si­tions on the rich, res­o­nant Baroque lute. In Bach’s time, lutenists were some of the most wide­ly-admired instru­men­tal play­ers, and it’s easy to see why. The Baroque lute is not an easy instru­ment to play. Much less so were the the­o­r­bo and chi­tar­rone, instru­ments like it but with longer necks for longer bass strings. We see Mas­car­di con­cen­trate with utmost inten­si­ty on every note, a vir­tu­oso on an instru­ment that Bach him­self could not mas­ter.

Indeed, there has been sig­nif­i­cant debate over whether Bach actu­al­ly com­posed his four pieces for solo lute for that instru­ment and not anoth­er. For one thing, he seems to have had a “weak grasp” of the instru­ment, gui­tarist and lutenist Cameron O’Con­nor writes in an exam­i­na­tion of the evi­dence.

“The lute may have been an intim­i­dat­ing sub­ject even for Bach.” There are sev­er­al prob­lems with authen­ti­cat­ing exist­ing copies of the music, and “none of the pieces in staff nota­tion is playable on the stan­dard Baroque lute with­out some trans­po­si­tion of the bass­es and changes in chord posi­tions.”

Clas­si­cal gui­tarist Clive Tit­muss notes, “as stu­dent gui­tarists, we learned that J.S. Bach wrote four suites and a num­ber of mis­cel­la­neous pieces for the lute, now played on the gui­tar.” How­ev­er, recent schol­ar­ship seems to show that Bach, that most revered of Baroque com­posers, “did not write any music specif­i­cal­ly intend­ed for solo lute.” As O’Con­nor spec­u­lates, it was “the Laut­en­wer­ck, or lute harp­si­chord… which Bach most like­ly had in mind while com­pos­ing many of his ‘lute’ works.” You can see it in action here.

What does this debate add to our appre­ci­a­tion of Mas­cardi’s play­ing? Very lit­tle, per­haps. British lutenist and Bach schol­ar Nigel North writes in his Linn Records Bach on the Lute set, “Instead of labour­ing over per­pet­u­at­ing the idea that the so-called lute pieces of Bach are prop­er lute pieces I pre­fer to take the works for unac­com­pa­nied Vio­lin or Cel­lo and make them into new works for lute, keep­ing (as much as pos­si­ble) to the orig­i­nal text, musi­cal inten­tion, phras­ing and artic­u­la­tion, yet trans­form­ing them in a way par­tic­u­lar to the lute so that they are sat­is­fy­ing to play and to hear.”

A lutenist with the skill of North or Mas­car­di can trans­form solo Bach pieces — whether orig­i­nal­ly writ­ten for vio­lin, cel­lo, or laut­en­wer­ck — into the idiom of their cho­sen instru­ment. In Mas­cardi’s trans­for­ma­tions here, these works sound pos­i­tive­ly trans­port­ing.

Relat­ed Con­tent:

How a Bach Canon Works. Bril­liant.

Hear Bach’s Bran­den­burg Con­cer­tos Played on Orig­i­nal Baroque Instru­ments

Hear J.S. Bach’s Music Per­formed on the Laut­en­wer­ck, Bach’s Favorite Lost Baroque Instru­ment

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

How Much Would It Cost to Build the Colosseum Today?

Last year we told you about the plan to install a retractable floor in the Colos­se­um, thus restor­ing a fea­ture it boast­ed in its ancient glo­ry days. Though the state pledged €10 mil­lion, the bud­get of an ambi­tious ren­o­va­tion will sure­ly come to many times that — but still, we may imag­ine, only a frac­tion of the mon­ey it took to build the Colos­se­um in the first place. In fact we have to imag­ine it, since we have no records of what that icon of Rome actu­al­ly cost. In the video above, his­to­ry Youtu­ber Gar­rett Ryan, cre­ator of the chan­nel Told in Stone, does so by not just mar­shal­ing all his knowl­edge of the ancient world but also crowd­sourc­ing oth­ers’ knowl­edge of mod­ern con­struc­tion tech­niques and expens­es.

First, Ryan must reck­on the cost of the Colos­se­um in ses­ter­tii, the “big brass coins” com­mon in Rome of the first cen­tu­ry AD. “At the time the Colos­se­um was built,” he says, “one ses­ter­tius could buy two loaves of bread, four cups of cheap wine, or a sin­gle cup of good wine.”

The aver­age unskilled labor­er could expect to earn around four ses­ter­tii per day, and this project need­ed thou­sands of such labor­ers to exca­vate its foun­da­tion trench alone. Then came the lay­ing of the foun­da­tion itself, fol­lowed by the build­ing of the super­struc­ture, which remains for­mi­da­ble even in the ruined state we know today. Its mate­ri­als includ­ed 100,000 cubic meters of traver­tine — “rough­ly one-fifti­eth, inci­den­tal­ly, of all traver­tine ever quar­ried by the Romans.”

A good deal of traver­tine also went into the Get­ty Cen­ter, per­haps the clos­est thing to a Colos­se­um-scale con­struc­tion project in mod­ern-day Amer­i­ca. The Get­ty’s total cost came to $733 mil­lion, a price tag befit­ting the wealth syn­ony­mous with its name. But it still came cheap­er than the Colos­se­um by Ryan’s esti­mate, or at least by most of the esti­mates at which he arrives. Con­sult­ing with sev­er­al of his view­ers expe­ri­enced in archi­tec­ture and con­struc­tion, he cal­cu­lates that build­ing an exact repli­ca of the Colos­se­um in today’s Unit­ed States — tak­ing into account the much greater effi­cien­cy of cur­rent tools, as well as the much greater cost of labor — rough­ly equiv­a­lent to $150,000,000 to more than $1 bil­lion. That amount of mon­ey obvi­ous­ly exists in our world; whether we pos­sess the nec­es­sary ambi­tion is less clear. Then again, ancient Rome did­n’t have Lego.

Relat­ed con­tent:

Build­ing The Colos­se­um: The Icon of Rome

When the Colos­se­um in Rome Became the Home of Hun­dreds of Exot­ic Plant Species

Rome’s Colos­se­um Will Get a New Retractable Floor by 2023 — Just as It Had in Ancient Times

High-Res­o­lu­tion Walk­ing Tours of Italy’s Most His­toric Places: The Colos­se­um, Pom­peii, St. Peter’s Basil­i­ca & More

How Did the Romans Make Con­crete That Lasts Longer Than Mod­ern Con­crete? The Mys­tery Final­ly Solved

The Roman Colos­se­um Has a Twin in Tunisia: Dis­cov­er the Amphithe­ater of El Jem, One of the Best-Pre­served Roman Ruins in the World

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall, on Face­book, or on Insta­gram.

How Korean Things Are Made: Watch Mesmerizing Videos Showing the Making of Traditional Clothes, Teapots, Buddhist Instruments & More

It would be awful­ly clichéd to call Seoul, where I live, a place of con­trasts between old and new. And yet that tex­ture real­ly does man­i­fest every­where in Kore­an life, most pal­pa­bly on the streets of the cap­i­tal. In my favorite neigh­bor­hoods, one pass­es through a vari­ety of dif­fer­ent eras walk­ing down a sin­gle alley. “Third-wave” cof­fee shops and “newtro” bars coex­ist with fam­i­ly restau­rants unchanged for decades and even small indus­tri­al work­shops. Those work­shops pro­duce cloth­ing, plumb­ing fix­tures, print­ed mat­ter, elec­tron­ics, and much else besides, in many cas­es late into the night. For all its rep­u­ta­tion as a high-tech “Asian Tiger,” this remains, clear­ly and present­ly, a coun­try that makes things.

You can see just how Korea makes things on the Youtube chan­nel All Process of World, which has drawn tens of mil­lions of views with its videos of fac­to­ries: fac­to­ries mak­ing forksbricks, sliced tuna, sheep­skin jack­etsbowl­ing balls, humanoid robots. The scale of these Kore­an indus­tri­al oper­a­tions ranges from the mas­sive to the arti­sanal; some prod­ucts are unique to twen­ty-first cen­tu­ry life, and oth­ers have been in use for cen­turies.

On the tra­di­tion­al side, All Process of World has pro­vid­ed close-up views of the mak­ing of ceram­ic teapots, wood­en win­dow frames (as you would see in a clas­si­cal Kore­an hanok), hand­held per­cus­sive mok­tak to aid Bud­dhist monks in their chants, and even jeogori, the dis­tinc­tive jack­ets worn with han­bok dress­es.

Judg­ing by the com­ments, All Process of World’s many view­ers hail from around the globe. This should­n’t come as a sur­prise, giv­en Kore­a’s new­found world­wide pop­u­lar­i­ty. But that so-called “Kore­an wave” owes less to the appeal of Kore­a’s tra­di­tion­al cul­ture than its mod­ern one, less to its rus­tic yet ele­gant pot­tery and bril­liant­ly col­or­ful for­mal­wear than to BTS and “Gang­nam Style,” Par­a­site and Squid Game — whose “robot girl” appears on a rug made in one All Process of World video. Anoth­er shows us the pro­duc­tion of an equal­ly mod­ern item, the face masks seen every­where in Korea dur­ing the past two years. Just a few weeks ago, the gov­ern­ment gave us the okay to take those masks off out­doors. While hop­ing for the arrival of ful­ly post-COVID era, we’d do well to keep in mind how the past always seems to find its way into the present.

Relat­ed con­tent:

Watch a Kore­an Mas­ter Crafts­man Make a Kim­chi Pot by Hand, All Accord­ing to Ancient Tra­di­tion

The Art of the Japan­ese Teapot: Watch a Mas­ter Crafts­man at Work, from the Begin­ning Until the Star­tling End

How a Kore­an Pot­ter Found a “Beau­ti­ful Life” Through His Art: A Short, Life-Affirm­ing Doc­u­men­tary

How Japan­ese Things Are Made in 309 Videos: Bam­boo Tea Whisks, Hina Dolls, Steel Balls & More

Mod­ern Artists Show How the Ancient Greeks & Romans Made Coins, Vas­es & Arti­sanal Glass

Three Pink Floyd Songs Played on the Tra­di­tion­al Kore­an Gayageum: “Com­fort­ably Numb,” “Anoth­er Brick in the Wall” & “Great Gig in the Sky”

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall, on Face­book, or on Insta­gram.

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