Temple Of Jupiter Research Articles

Front Cover: Light‐Driven Catalyst‐Free Access to Phthalazines: Entry to Antiviral Model Drugs by Merging Domino Reactions (Eur. J. Org. Chem. 5/2023)

The Front Cover shows a light-induced enolization of o-methyl benzophenones/Diels–Alder reaction, combined with deprotection/aromatization steps in one pot toward new antiviral phthalazines. The Temple of Jupiter in the background is a colossal Roman temple in sunny Baalbek (Lebanon), that was dedicated to Jupiter Heliopolitanus, known as a SUN God. The columns of the temple on this cover picture represent the pillars of light-induced chemistry. Cover design and photo by S. B. Tsogoeva. More information can be found in the Research Article by S. B. Tsogoeva et al.

Archaeoastronomy of the Temples of the Bekaa Valley

The Bekaa Valley, Lebanon, is famous worldwide due to the magnificent temple of Heliopolitan Jupiter at Baalbek. In recent years, new research revived the interest in the unsolved problems posed by the Baalbek monuments, including original dating and construction phases, relationships with the landscape, and nature of the cult practiced. In a preliminary paper, we used archaeoastronomy to propose that the project of the Temple of Jupiter was a unified one conceived under Herod the Great, and that the cult was strongly connected to the renewal of the seasonal cycles. Here, we extend and confirm this analysis considering the other temples of the Baalbek proper and the three prominent sanctuaries which lie in the Bekaa Valley on the way to Baalbek from Berytus, showing the existence of an orientation custom which appears to originate in Baalbek and to inform all these sacred places.

The Megalithic Quarry of Baalbek: Sector III the Megaliths of Ḥajjar al-Ḥibla

ABSTRACT First excavated in 1898–1903 by a German expedition, the site of Baalbek has been under study ever since except for a forced interruption during the Lebanese civil war (1975–1990). In 1984 the temples of Baalbek were recognized as a UNESCO World Heritage site. In 2004 a research project for the quarries of Baalbek was implemented as a collaborative effort between the Lebanese University and the German Expedition of Baalbek under the Deutsches Archäologisches Institut. While the focus was the megalithic podium in the Temple of Jupiter, this led to the documentation of the quarry and a general survey of all the other stone quarries around Baalbek.

'Master, look at the size of those stones! Look at the size of those buildings!'1 Analogies in Construction Techniques Between the Temples at Heliopolis (Baalbek) and Jerusalem

Ever since the German excavations at the turn of the 20th century, the famous ruins of Baalbek have been held up as a prime example of Roman architecture in the Levant. But, despite their familiarity, it is virtually unknown both to the public and to academia that the colossal Temple of Jupiter contains the remains of an earlier building phase, 'podium 1', beneath the six giant columns. This article presents some preliminary results of the first detailed architectural survey of the first-phase podium. It will be shown that the masonry has striking, and somewhat surprising, parallels to contemporary building projects in Herodian Judaea. These correspondences provide a rough date for 'podium 1' and suggest some kind of Herodian involvement in the construction of the temple at Heliopolis, though its precise nature remains to be determined.

Splitska katedrala u ranome srednjem vijeku

The temple of Jupiter at Diocletian’s palace in Split, which at the same time was also the mausoleum of the emperor, was transformed in the early medieval period into a cathedral dedicated to the Virgin Mary, otherwise much better known under the name of St. Domnius, the patron saint of the city. Changes in the function of the structure were reflected in the following:

The Pompey Project: Digital Research and Virtual Reconstruction of Rome's First Theatre

In 55 B.C. the triumphal general Pompey the Great dedicated Rome's first permanent theatre and named it after himself. This was no ordinary theatre. Pompey's sumptuous and grandiose edifice probably the largest theatre ever built comprised, in addition to the Theatre itself (the stage of which was 300 feet wide), an extensive "leisure-complex" of gardens enclosed within a colonnade, and galleries displaying rare works of art. It also included a curia (a meeting house for the Senate), and it was in this building that Caesar was assassinated in 44 B.C. A grand temple above the uppermost tiers of the auditorium, dedicated to Pompey's patron divinity, Venus Victrix, crowned the entire architecturally unified monument. Although the theatre was built upon the flats of the Campus Martius, this, its highest point, was second in height only to the temple of Jupiter on the capitol. According to our research, the auditorium or cavea beneath it may have accommodated some 25,000 spectators.1 Pompey's gift to the Roman people was for centuries the site of many of the most important events in the cultural and political life of the city.2 Nero himself performed upon its stage,3 much to the disgust of the senatorial class and the delight of the masses. As late as the 6th century A.D., when it was restored for the last time the theatre was still sufficiently imposing for Cassiodorus to exclaim, "one would have thought it more likely for mountains to subside, than this strong building be shaken".4 Over five centuries earlier, when Vitruvius wrote his influential treatise, De Architectura, his detailed account of how a "typical" Roman theatre should be built was based upon Pompey's recently-completed edifice; indeed, at the time he wrote, it was probably still the only stone theatre in the city of Rome.5 Thus, through Vitruvius, the Theatre of Pompey became the architectural Ur-text for many of the numerous theatres built throughout the Roman Empire. Subsequently, in the Renaissance, through the influence of Vitruvius, the Theatre of Pompey left its imprint upon such seminal theatres as the Teatro Olimpico at Vicenza and the Teatro Farnese at Parma. This single theatre, therefore, had a unique

P iranesi's Double Ruin

Perhaps it is in the very nature of Rome to be read as a palimpsest, as the site of perpetual double-exposure. 1 Throughout the centuries, the modern eye finds its vision of the eternal city constantly undermined by--and therefore superimposed upon--visual reminders of a monumental past, a past so present that contemporary sensibility must accommodate rather than attempt to obliterate it. In November 1786, during his very first days in Rome, Goethe noted that "I find it a difficult and melancholy business, I must confess, separating the old Rome from the new." 2 In the stillness of an autumnal evening two decades earlier, the historian Edward Gibbon found in the juxtaposition of the old and the new not only the inspiration for, but also the central thesis of what would become his magnum opus. Here is how he recalled that moment years later in one of the six versions of his memoirs: "In my Journal the place and moment of conception are recorded; the fifteenth of October 1764, in the close of evening, as I sat musing in the Church of the Zoccolanti or Franciscan fryars, while they were singing Vespers in the Temple of Jupiter on the ruins of the Capitol." 3 Gibbons's great historical project was originally "circumscribed to the decay of the City," he notes, but it soon extended to the Empire itself.

El llamado Templo de Júpiter de Clunia: propuesta de restitución

This paper proposes the restoration of the elevation of the so-called Temple of Jupiter in Clunia, based on different architectural elements, inter-related by a stylistic and dimensional criterion. Some typological traces of the plan are also evaluated, while establishing a relationship with other known temples in the western part of the Roman Empire.

What the Sibyl Said: Frontinus Aq. 7. 5

The Roman Senate in 144 B.C. instructed the urban praetor, Q. Marcius Rex, to repair the conduits of Rome's two existing aqueducts, the Appia and the Anio (later called the Anio Vetus), and to put an end to illegal use of their water by private citizens. Urban growth now demanded a more copious water supply, and so the Senate further I instructed Marcius to secure additional water for the city. Money was appropriated for this work, and Marcius' praetorship was prorogued for 143. At this point the decemviri objected to a plan for bringing water to the Capitol. The issue was debated in the Senate in 143, and again in 140; but on both occasions Marcius' gratia prevailed, and water reached the Capitol in a new aqueduct which Marcius himself had built. A statue of Marcius was erected in later times on the Capitol, behind the temple of Jupiter, to commemorate this grand achievement.1 An everlasting glory was in fact to be his in the name of the aqueduct whose waters earned poets' praises.

The Wilkins Lecture: The origins of Darwin’s ideas on evolution and natural selection

For the origins of the ideas that led Darwin to the theories of evolution and natural selection, the classical source of information is his Autobiography 1 . That splendid document was written in 1876, 40 years after the critical period in question and when Darwin was 67 years old. That is not a great age by modern standards, but in his case it was towards the close of a life of hard work, constantly interrupted and handicapped by an illness which was always distressing, most probably due to the South American form of trypanosomiasis known as Chagas’s disease, contracted during excursions ashore from the Beagle , as Professor Saul Adler, 2 F. R. S. has shown. The difficulty in evaluating autobiographies of old men lies not so much in the fact that they forget, as because the passage of time and the gradual assimilation of new ideas, together with hindsight, present a picture different from the day-to-day record of the progress of those ideas when they were prised out of facts or surged ahead out of inspirations. Few works would seem to have had so unimpeachable a birth-certificate as that which Gibbon 3 in his Memoirs gave to the Decline and fall of the Roman Empire . 'In my Journal’, he wrote, ‘the place and moment of conception are recorded; the fifteenth of October, 1764, in the close of evening, as I sat musing in the Church bf the Zoccolanti or Franciscan Fryars, while they were singing Vespers in the Temple of Jupiter on the ruins of the Capitol.’ But Gibbon’s Journal 4 contains nothing of the kind, and two other versions of his Memoirs omit mention of it. Professor Georges Bonnard 5 has shown that these celebrated passages were a subsequent reconstruction in Gibbon’s mind of a long drawn-out process that could not be dated to a single day. Without any intention of impugning the veracity of Darwin’s Autobiography , it will not be without profit to scrutinize it closely in the ight of contemporary documents.

Some Inscriptions from Lepcis Magna

In 1816 the Bey of Tripoli presented to the Prince Regent a cargo of antiquities from Lepcis Magna. They were brought to England in 1817, and, after a sojourn in the courtyard of the British Museum, went to Virginia Water with material from other sources, to be disposed in a sham ruin. One inscribed stone was subsequently returned to the British Museum. Its findspot is certain, for it was seen c. 1806 at Lepcis Magna by J. D. Delaporte, among the remains of a building since identified as, possibly, the Temple of Jupiter Dolichenus.It is a block of the grey limestone typical of public building at Lepcis in the first and early second centuries A.D., part of an entablature, with mouldings above and below, a socket for a roofbeam at the back, and a monumental inscription on the face. Previous publications of the text are incomplete. There are two lines of Latin, followed by one in neo-Punic. The Latin text reads:… VESPASIAN]I F DOM[ITIAN… (erased)…] AVG SVFE[…

Three Notes on Appian

These words occur in Appian's account of the riot which led to the death of Tiberius Sempronius Gracchus in 133 B.C. The tribunician elections had been adjourned from the previous day, and Gracchus, who irregularly sought re-election, had with his supporters taken possession of the temple of Jupiter on the Capitol. The assembly broke up in disorder amid wild rumours that Gracchus had deposed all his colleagues or had declared himself tribune for the following year without election or had actually demanded the diadem. The Senate meanwhile had been in session in the temple of Fides, and upon receipt of the news from the Capitol Publius Cornelius Scipio Nasica Serapio urged the consul, Publius Mucius Scaevola, to crush the tyrant. When he declared that he would not put any citizen to death without trial, Nasica, calling loudly upon those who desired the safety of their country to follow him, mounted the Capitol at the head of a considerable body of Senators and led the attack on Gracchus and his partisans.