http___merlinpula.hr_antonija-cenida-i-vespazijan.html_1.xml
1.1 2.1 2.2 2.3 2.4 3.1 3.2 3.3 3.4 3.5 4.1 4.2 5.1 6.1 6.2 6.3 7.1 7.2 7.3 7.4 7.5 7.6 8.1 8.2 8.3 8.4 8.5 8.6 8.7 8.8 8.9 9.1 10.1 11.1 12.1 13.1 14.1 15.1
This is a historic love story about the origin of the amphitheater in Pula, which served as the basis for the design of souvenirs created by Merlin Association, with images of Emperor Vespasian and Antonia Cenida, a woman living in Pula in Roman times (magnets, lavender water and bags of lavender). The amphitheater in Pula or Pula Arena is the largest and best preserved monument of ancient architecture in Croatia. When compared with more than 200 Roman amphitheaters, the cloak of Roman amphitheater in Pula with four side towers is the most rare and unique example of technical and technological solutions. It is the 6th largest Roman amphitheater in the world, and the only one in the world with all three Roman architectural levels entirely preserved. Amphitheater in Pula is as important and attractive as are the Colosseum in Rome, the Arena in Verona, Roman amphitheater in Pompeii, Nimes and Arles in France and El Jem in Tunisia. The construction of the Arena took place in several stages during the first century. It is believed that already in the time of Emperor Augustus there was a similar, but smaller and mostly made of wood building at that same location. During the reign of the Flavian dynasty (Vespasian, Titus, Domitian) in the second half of the first century, Arena was further expanded, and the wooden parts were replaced with stone, so Arena got its present appearance. The detailed information about the exact time and duration of construction, or of builders, is not known - historical and archaeological resources on the primary purpose of the amphitheater are very limited. Interestingly, at about the same time the Colosseum in Rome was constructed. It is not yet fully known why the Romans did build this monumental building in Pula. One legend says that the construction of the amphitheater in Pula was commissioned by Emperor Vespasian in honor of his mistress Antonia Cenida who had estates in Pula. ANTONIA CENIDA and TITUS FLAVIUS VESPASIAN Nero's death in June 68 marked the end of the Julio-Claudian and the beginning of the Flavian (Vespasian) reign of Roman Empire. Istria can thank the first Flavian, Titus Flavius Vespazijan (17th November 09 - 24th June 79) for the Flavian road, which went from Aquileia, via Trieste, Porec, Pula and Vodnjan, to the Arena amphitheater (his statue was built in Pula in year 73). His last words were: "I think I'm turning into a god."[1] Antonia Cenida was born in Pula, and was first the slave and then a freed woman (liberta). She worked as a scribe in the house of Antonia Minor, the daughter of Marcus Antonius, mother of Emperor Claudius and grandmother of Caligula. Antonia, Vespasian's favorite, was energetic and intelligent woman who, after the death of his wife Domicile, came to Vespasian's court and remained his companion until her death at the age of 75. [2] It is believed that Cenida influenced Vespasian to complete the construction of the Roman amphitheater in Pula, which construction began in the time of Claudius. She had two influential brothers, Felix and Palant, who were both freedmen like Cenida. Antonius Felix became procurator of Judea during the reign of Claudius, and Antonius Pallas was among the most intimate advisers of the Emperor Claudius and his second companion Agrippina. Historical legend says that Emperor Titus Flavius Vespasian was madly in love with beautiful liberta Antonia Cenida, and in honor of his charming mistress he finished the construction of magnificent Arena. "Antonia Cenida thinks, moreover, she believes that the amphitheater in Pietas Julia is fruit of her and Titus' love, and all the others, in her view, are mere intermediaries. That is why Antonia Cenida will do anything to remove the names of all, including builders Lucia Subaga, purge them from everywhere, so that they will not be mentioned. Therefore, she believes, only two names will remain for history in connection with the greatest architectural work in Pietas Julia: Antonia Cenida and Titus Flavius Vespasianus. " [4] However, the historical sources claim that Vespasian "as widower lived with the liberated slave Cenida as his concubine." It was astounding, but not too worrisome, that this lady was much earlier a former slave of Antonia, daughter of Marcus Antonius. Cenida became older, and could hardly encourage the style of Marcus Antonius. However, she could certainly retell excellent gossip to old Vespasian when in his bed." [5] Whatever the truth, whether Cenida was a concubine or honorable mistress (faithful only to Vespasian), and whether the amphitheater in Pula was built because of love or for the leisure of Roman soldiers who arrived from many battlefields in that vast Empire, and needed to relax, Arena is still here and defies the time and human negligence for past two thousand years. Literature: [1] Robin Lane Fox: "Classical World: The Epic History of Greece and Rome", Naklada Ljevak, Zagreb 2008., page. [2] Alka Starac: "Imperial estates in Histria", Opuscula Archaeologica Papers of the Archaeological Institute, No. 1, Archaeological Institute of the Faculty of Philosophy in Zagreb, Zagreb 1994., page 136. [3] Bernardo Benussi: "The history of Pula in light of municipal institutions until 1918", Zavičajna naklada "Žakan Juri", Pula 2002., page 682-684. [4] Stjepan Vukušić: " Spirit in stone", Naklada Društva hrvatskih književnika, Nakladni zavod Matice hrvatske, City of Pula – Department of General Administration, Economic and Social activities, Zagreb-Pula 1997., page 85-86. [5] Robin Lane Fox: "Classical World: The Epic History of Greece and Rome", Naklada Ljevak, Zagreb 2008., page 449. Author: Miodrag Kalčić
1.1 2.1 2.2 2.3 2.4 3.1 3.2 3.3 3.4 3.5 4.1 4.2 5.1 6.1 6.2 6.3 6.4 7.1 7.2 7.3 8.1 8.2 8.3 8.4 8.5 8.6 8.7 9.1 10.1 11.1 12.1 13.1 14.1 15.1
Ovo je povijesna ljubavna priča o nastanku pulske ARENE na osnovu koje je udruga Merlin dizajnirala suvenire s likovima Cara Vespazijana i puljanke Antonije Cenide (magnete, lavandinu vodicu i vrećice s lavandom). Amfiteatar u Puli ili Pulska Arena najveći je i najsačuvaniji spomenik antičkog graditeljstva u Hrvatskoj. Uspoređujući ga s više od 200 rimskih amfiteatara, plašt pulskog amfiteatra s četiri stubišna tornja je najsačuvaniji i rijedak primjer jedinstvenih tehničkih i tehnoloških rješenja. Po veličini zauzima 6. mjesto među rimskim amfiteatrima na svijetu, te je jedini u svijetu čija su sva tri rimska arhitektonska reda u potpunosti očuvana. Pulski se amfiteatar stavlja uz bok Koloseju u Rimu, Areni u Veroni, amfiteatrima u Pompejima, Nimesu i Arlesu u Francuskoj i El Džemu u Tunisu. Sama gradnja Arene se odvijala u nekoliko faza tijekom 1. stoljeća. Smatra se da je već u doba cara Augusta na istom mjestu stajala slična,ali manja i pretežno od drva izrađena građevina. Za vrijeme vladavine dinastije Flavijevaca (Vespazijan, Tit, Domicijan) u drugoj polovici 1. stoljeća Arena je dodatno proširena, a drveni dijelovi su zamjenjeni kamenom, a Arena poprima današnji izgled. Ne znaju se podrobniji podaci o točnom vremenu i trajanju izgradnje, niti o graditeljima: kako povijesni, tako i arheološki izvori o osnovnoj namjeni amfiteatra vrlo su škrti. Zanimljivo je da se u otprilike isto vrijeme gradi Koloseum u Rimu. Još nije u potpunosti poznato zašto su uopće Rimljani u Puli gradili ovako monumentalnu građevinu. Jedna legenda kaže da je amfiteatar u Puli dao sagraditi car Vespazijan u čast svojoj ljubavnici Antoniji Cenidi koja je u Puli imala posjede. ANTONIJA CENIDA i TIT FLAVIJE VESPAZIJAN Neronova smrt u lipnju 68. godine obilježila je kraj julio-klaudijevaca i početak vladanja flavijevaca (Vespazijana) Rimskim carstvom. Prvom flavijevcu Tit Flaviju Vespazijanu (17. studenog 09. – 24. lipnja 79.) Istra može zahvaliti za Flavijevu cestu koja je od koja je od Akvileje, preko Trsta, Poreča, Vodnjana stizala u Pulu i pulski amfiteatar (u Puli mu je 73. godine izgrađen kip). Izdahnuo je s posljednjim riječima: "Jao, čini mi se da postajem bog."[1] Antonija Cenida, rodom Puljanka, bila je najprije robinja pa potom oslobođenica (liberta), uposlena kao pisarica, kod Atonije Minor, kćeri Marka Antonija, majci cara Klaudija i baki Kaligulinoj. Vespazijanova miljenica bila je energična i inteligentna žena koja, nakon smrti njegove supruge Domicile, dolazi na dvor i ostaje Vespazijanovom suputnicom do svoje smrti 75. godine.[2] Upravo se Cenidi pripisuje utjecaj na Vespazijana u dovršavanju gradnje pulskog amfiteatra započetog u vrijeme Klaudija. Imala je dva utjecajna brata, Feliksa i Palanta, obojica, poput Cenide, Antonijini oslobođenici: Antonije Feliks za Klaudijeve vlasti postaje prokurator Judeje, a Antonije Palant bio je među najprisnijim savjetnicima cara Klaudija i druge mu družice Agripine.[3] Povijesna predaja (legenda) kazuje kako je car Tit Flavije Vespazijan, opijen ljubavlju, u čast svoje zanosne ljubavnice, prelijepe Puljanke, liberte Antonije Cenide dovršio gradnju velebne Arene. "Antonija Cenida misli, štoviše, ona živo vjeruje da je amfiteatar u Pietas Juliji djelo njezine i Titove ljubavi, a svi su drugi, po njezinom shvaćanju, puki posrednici. Zato će Antonija Cenida sve učinit da se imena svih, pa i graditelja Lucija Subaga, odasvud istisnu, brišu i ne spominju. I tako će, misli ona, uz najveće graditeljsko djelo u Pietas Juliji ostati za povijest samo dva imena: Antonia Cenida i Titus Flavius Vespasianus."[4] Povijesna pak vrela tvrde da je Vespazijan "kao udovac, živio s oslobođenom robinjom Cenidom kao 'inočom'. Bilo je zapanjujuće, ali ne previše zabrinjavajuće, da je mnogo ranije ta ista gospa bila bivša robinja Antonije, kćeri Marka Antonija. Cenida je ostarjela, pa je teško mogla poticati stil Marka Antonija. Ipak, sigurno je starom Vespazijanu prepričavala izvrsne tračeve u krevetu."[5] Kako god, bila Cenida priležnica ili časna ljubavnica (vjerna samo Vespazijanu), i je li Arena podignuta iz puljske ljubavi ili za razonodu pridošlih rimskih vojnika tek stiglih na opuštanje s mnogih ratišta golema Carstva, Arena je još uvijek ovdje, već dvije tisuće godina prkosi zubu vremena i ljudskom nemaru. Literatura: [1] Robin Lane Fox: "Klasični svijet: epska povijest Grčke i Rima", Naklada Ljevak, Zagreb 2008., str. 454. [2] Alka Starac: "Carski posjedi u Histriji", Opuscula Archaeologica Radovi Arheološkog zavoda, br. 1, Arheološki zavod Filozofskog fakulteta u Zagrebu, Zagreb 1994., str. 136. [3] Bernardo Benussi: "Povijest Pule: u svjetlu municipalnih ustanova do 1918. godine", Zavičajna naklada "Žakan Juri", Pula 2002., str. 682-684. [4] Stjepan Vukušić: "Duh u kamenu", Naklada Društva hrvatskih književnika, Nakladni zavod Matice hrvatske, Grad Pula – Odjel za opću upravu, gospodarske i društvene djelatnosti, Zagreb-Pula 1997., str. 85-86. [5] Robin Lane Fox: "Klasični svijet: epska povijest Grčke i Rima", Naklada Ljevak, Zagreb 2008., str. 449. Autor: Miodrag Kalčić