By Marco Rizzi
The booklet sheds new gentle on a far debated factor within the box of historic background: the unfold of Christianity within the Roman Empire and its courting with Judaism within the second century. The contributions gathered during this quantity illustrate from a multidisciplinary standpoint (including archaeology, cultural, spiritual, and political historical past) how Christianity came upon a unusual means of integrating into the reworking empire lower than Emperor Hadrian. during this method, Christianity won an expanding position inside of Roman society, which finally opened the door to its confirmation in next centuries.
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Additional resources for Hadrian and the Christians (Millennium-Studien Millennium Studies)
Sull’aspetto urbanistico globale di Villa Adriana Mac Donald 1986, 283; Purcell 1987, 187 – 203; anche Rakob 1973, 113 – 125. 15 In proposito vanno citati: il vestibolo della Piazza d’Oro, la sala ovest esterna al recinto di questa, la cupola dell’Eliocamino nelle omonime Terme, la sala ottagona delle Piccole 26 Elena Calandra Fig. 3. Alessandria. Pianta, con la zona dei palazzi. (Da A. Adriani, Alessandria, in Enciclopedia dell’Arte Antica, vol. I, Roma 1958) tradurre in materiali durevoli i padiglioni e le tende che animavano i palazzi alessandrini, alternandosi ai nuclei edificati16 (Fig.
Nell’attestazione odierna non risale ad Adriano, ma che da lui fu certamente voluto e progettato: dalla Piazza d’Oro provengono infatti due ritratti, di Marco Aurelio e di Caracalla, che fanno balenare l’idea di una galleria di effigi imperiali43. C. C. (da ultimo Calandra 2002, 68 – 70). Per gli altri ritrovamenti da ultimo Calandra 2002, 71. 36 Elena Calandra Fig. 10. Tivoli, Villa Adriana. Edificio dei Pilastri Dorici. Foto dell’Autore. L’Edificio dei Pilastri Dorici Il complesso (Fig. 10) presenta alcuni tratti grazie ai quali può essere ascritto alla sfera del culto imperiale.
14, 5 – 7. Cfr. Galimberti 2007, 95 – 98. Da ultimo su Antinoe Calandra 2008, 139 – 165. Per le epiclesi Meyer 1991, 163 – 172. Nel lavoro dedicato alla ritrattistica di Antinoo, Meyer 1991, 233 – 235 analizza le tipologie statuarie con cui Antinoo rappresentato. Per una bibliografia su Antinoo vedasi Calandra 2008, 162 – 164. Da ultimo Calandra 1996, 57 – 162 e 132 – 34. Si ipotizzato che nell’oscurità delle gallerie e dei criptoportici si celebrassero riti misterici (MacDonald-Pinto 1995, 135; Lavagne 2000, 16; contra Salza Prina Ricotti 2001, 311 – 315).