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Theatre of Marcellus


The theatre of Marcellus was the largest and most important theatre in Rome and completed in the late 1st century BCE during the reign of Augustus. The architecture of the theatre would become a standard feature of theatres across the empire and influence the façades of such iconic buildings as the Colosseum.

The building project was actually begun by Julius Caesar but not completed until the reign of Augustus. In 13 BCE the emperor dedicated the theatre to his nephew Marcus Claudius Marcellus - son of Octavia and his daughter Julia's husband - who had been his heir prior to his early death in 23 BCE. To make room for the theatre within the Forum Holitorium the ancient Flaminian Circus was demolished and, along with several other buildings, the 433 BCE temple of Apollo Sosianus was moved a few metres. Today, three columns, the podium and front stairs of the temple can be seen next to the theatre.

The theatre had a capacity of 15-20,500 spectators.

The theatre had a capacity of between 15 to 20,500 spectators and its semicircular travertine façade originally had two tiers, each composed of 41 arches. The lower tier had Doric columns, the second tier Ionic and the top attic probably carried Corinthian pilasters. The arches led directly to the lower seats of the cavea and to stairs leading to the second tier corridor which had steps leading to the attic and the highest seats which were probably made of wood.

The first events held at the theatre were the Secular Games of 17 BCE but it was not officially inaugurated until 13 or 11 BCE. In its heyday the theatre hosted such cultural events as plays, musical contests and poetry recitals. However, with the increasing popularity of circuses and gladiator games held in the Circus Maximus and Colosseum, the theatre fell into disuse. Indeed, in the 4th century CE, material from the theatre was used in other building projects, in particular, the bridge of Cestius.

The monument, like many other buildings from antiquity, suffered in later times, especially during the 11th and 12th centuries CE when it was converted into a fortress by the Pierleone family. Taken over by the Savelli family in 1368 CE, the new owners employed Baldassare Peruzzi in 1519 CE to design a new building (palazzo) incorporating the ancient ruins. Further alterations were made in 1712 CE by the Orsini family and the building, which still includes two tiers of 12 original arches, is now known as the Palazzo Orsini.

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Theater of Balbus

L. Cornelius Balbus (&ldquoMinor&rdquo) lived in the Augustan age. Born in Spain, he obtained Roman citizenship in his youth and was the first naturalized citizen and last private person to celebrate a triumph (19 B.C.). With the spoils he won, he built a theater in the Campus Martius. Dedicated in 13 B.C., it was damaged in the fire of A.D. 80 and was restored shortly afterwards. It stood west and adjacent to the Crypta Balbi. By chance, when the day came to dedicate the complex in 13 B.C., the Tiber flooded, and Balbus and the other participants in the ceremony had to arrive by boat.


Colosseum

What could be described as Rome's signature structure, the Colosseum still stands as a breathtaking historical site, despite being around 2000 years old. The amphitheater, back in its glory, could hold an estimated number of 50,000 - 80,000 spectators. And people had a good reason to gather within the premises as the Flavian Amphitheater offered such entertainment as gladiatorial contests, mock sea battles, animal hunts, executions, re-enactments of famous battles, and dramas based on mythology. Nowadays the Coliseum is one of Rome's most popular tourist attractions, despite being damaged by earthquakes and stone-robbers over time. In 2007, New7Wonders Foundation chose the amazing architecture structure as one of the seven New7Wonders of the World.

What is wrong with these comments, is it already April 1st somewhere else? :D


Kosher Restaurants

One of the best attractions of the quarter is its kosher restaurants.

Giggetto al Portico d’Ottavia

Giggetto al Portico d’Ottavia located in the center of the Jewish Ghetto. Moreover, it is family run restaurant which exists since 1923. In the menu you will find a variety of kosher dishes, including famous carciofi alla guida and a wide selection of local wines.

  • Address: Via del Portico d’Ottavia, 21 / a
  • Working hours: Tuesday – Sunday: 12.30 pm – 3 pm, 7.30 pm – 11 pm
  • Website:www.giggetto.it

Ba’Ghetto

Ba’Ghetto is famous for the kosher dishes, including fried artichokes. The place offers exceptionally good service and quality of food. Moreover, the ambiance is warm and friendly.

  • Address: Via del Portico d’Ottavia, 57
  • Working hours: Monday – Thursday: 12 pm -11 pm, Friday: 12 pm – 3 pm Saturday: 6 pm-11 pm, Sunday: 11.30 am-11 pm
  • Website:www.baghetto.com

Pane Vino e San Daniele

Pane Vino e San Daniele is a mix between a wine bar and an osteria. There is a wide selection of wines and it would be a great place to stop by both for lunch or dinner. The food offered is made from fresh and high quality products.


Մարցելլա թատրոն

Մացելլա թատրոն (լատ.՝ Theatrum Marcelli , իտալ.՝ Teatro di Marcello ), հնագույն բացօթյա թատրոն Հռոմում` Տիբեր գետի աջ ափին։ Կառուցվել է Հռոմեական Հանրապետության վերջին տարիներին։ Թատրոնում տեղաբնակներն ու այցելուները դիտում էին դրամայի և երգերի ներկայացումներ։ Այսօր Սանտ Անջելո շրջանի այս հնագույն շինությունը կրկին քաղաքի ամենահանրաճանաչ զբոսաշրջային վայրերից մեկն է։ Թատրոնի տարածքը հատկացվել է Հուլիոս Կեսարի կողմից, որը սպանվեց մինչ կսկսեր կառուցումը։ Թատրոնը ավարտեց Օկտավիանոս Օգոստոսը [1] Ք. ա. 12-րդ դարում և նվիրեց իր հանգուցյալ զարմիկ Մարկոս Կլավդիուս Մարցելլի հիշատակին։ 111 տրամագծով թատրոնը, որն ամենամեծն ու կարևորն էր Հռոմում, հատկացված է 11-20 հազար հանդիսատեսի համար [2] [3] ։ Այն քաղաքային ճարտարապետական նմուշների տպավորիչ օրինակներից մեկն էր Հռոմեական աշխարհում։ Թատրոնը հիմնականում կառուցված է տուֆից, իսկ ամբողջությամբ պատված էր ճերմակ տրավերտինով։ Այն նաև ամենավաղ թվագրվող կառույցն է Հռոմում, որում օգտագործվել է Հռոմեական աղյուս [4] ։ Հարմար վայրերում տեղակայված մյուս հռոմեական թատրոնների նման, Մարցելլա թատրոնը նույնպես ուներ այնպիսի բացվածքներ, որտեղից երևում էին բնության տեսարաններ։ Այս դեպքում Տիբեր կղզին էր հարավարևմտյան կողմից։ Թատրոնը գործածումից դուրս եկավ 4-րդ դարի սկզբին, և կառույցը ծառայեց որպես քարանոց։ Սակայն կառույցի ներսում տեղակայված արձանները վերակառուցվեցին Պետրոնիուս Մաքսիմուսի կողմից 421 թվականին։ Վաղ միջնադարում թատրոնը դարձավ Ֆաբիաների ամրոցը, իսկ 11-րդ դարի վերջում՝ Պիեր Լեոնիի և նրա ժառանգների։ Դա կանխեց համալիրի հետագա կործանումը։ Սավելլիները դրան տիրացան 13-րդ դարում, հետագայում դրա վրա կառուցվեց հայտնի Օրսինի տան պալատը։ Թատրոնի ավերակների մոտ պահպանվել է Օկտավիայի հնագույն սյունասրահը։ 17-րդ դարում անգլիացի ճարտարապետ Քրիստոֆեր Ռենը հստակորեն ճանաչում է, որ Օքսֆորդում կառուցած Շելդոնի թատրոնի(1664-1669) ձևավորմանը ներգործել է Սեբաստիանո Սերլիոյի Մարցելլա թատրոնի փորագրությունները։ Ներկայումս թատրոնի վերին հարկերը բաժանված են բազմաթիվ բնակարանների, իսկ նրա շրջակայքը օգտագործվում է ամառային փոքր համերգների համար։


Liberating Hellenism from the Ottoman Empire: Comte de Marcellus and the Last of the Classics

Comte de Marcellus (1795-1865), traveler and secretary to the French embassy in Constantinople, had a gift for being in the right place at the right time. Over the course of just two short months—April-May 1820—he found himself on the island of Melos where a beautiful if armless statue of a woman had been unearthed he wasted no time purchasing and having it transported to the Louvre, where it is now well-known to us, of course, as the Venus de Milo. A few weeks earlier he had found himself the only Western spectator to a clandestine staged reading of Aeschylus’ Persians performed for a select circle of Greeks on the verge of their revolution he was the only one who lived to tell the tale. Gonda Van Steen’s immensely learned and engaging Liberating Hellenism from the Ottoman Empire uses these traveler’s tales of Marcellus as a platform to reinvestigate age-old and newly urgent West-East conflicts. The book moves from case studies on these “mutually illuminating” (155) events of the spring of 1820—the seizure of the Venus de Milo and the secret reading of Persians —to an extended analysis of literary and theatrical responses to the Persian Wars and the relationship between prerevolutionary Greek theatre and the Greek War of Independence. It closes with an epilogue situating her discoveries in present-day debates over the role classical texts and scholarship have played in the development and promulgation of Orientalism. She is aiming to write for a wide audience, which works very well in the first two narrative chapters, somewhat less so in the last half of the book, which has a more narrowly academic focus. In her investigation of the interrelatedness of philhellenism and Orientalism she extends arguments made in Stathis Gougouris’ groundbreaking Dream Nation: Enlightenment, Colonization, and the Institution of Modern Greece (Stanford UP, 1996), both exposing and complicating collusions between classical scholarship and imperialism. What BMCR readers might find particularly useful, and inspiring, is that in so doing, she demonstrates how vital the study of Classics is to education in art, politics, history, theatre, literature, and cultural theory.

The introduction, “Enter the Intrepid Traveler,” announces that “this is a book about learning and unlearning about Greece and the Orient, about travels and travel writing, with the intrepid Marcellus as our guide” (1). The book’s narrative doesn’t, strictly speaking, proceed chronologically—the reading of Persians takes place before the incidents on Melos—but understandably the negotiation for the Venus de Milo is given top billing, as it is the more dramatic and better known of the two case studies. This ordering also serves Van Steen’s purpose to introduce the tangled web of philhellenism and Orientalism as she narrates how “the Frenchman’s acts [of appropriating the Venus] form the kaleidoscopic microcosm of what was happening on the grand geopolitical and ideological scale of the first decades of the nineteenth century” (65).

As the first chapter’s title, “The Venus de Milo: The Abduction from the Imbroglio and Tales of Turkish Nights,” indicates, Van Steen reads the account in Marcellus’ popular travelogue Souvenirs de l’Orient as an abduction tale filled with the Orientalist intrigue of the tales from the seraglio that were all the rage. She reminds us that “when the Venus was found in 1820, she came to the modern era wholly undocumented” (47) there were no ancient written sources, apparently no previous knowledge of the existence of this statue. Marcellus, then, could name her and claim her for his own. Van Steen examines how Marcellus transforms the “banal hostility” (38) of power negotiations into an exotic tale of rescuing the vulnerable beauty Venus from the barbarian hordes (ignorant and superstitious Greeks and fanatical Muslim Turks alike) and transporting her to the safety and civilization of Paris, where she would allow the French to compete with their English foes, who had smugly led the race for ownership and representation of antiquity with the Elgin Marbles.

The second chapter, “Rehearsing Revolution: Aeschylus’ Persians on the Eve of the Greek War of Independence,” introduces us to a previously unknown event, a staged reading of Persians that took place for an elite audience of Greek intelligentsia in a mansion on the Bosphorus owned by the prominent Manos family. The invitation depicted the event as being of merely linguistic interest, an opportunity to hear ancient Greek verse recited using modern Greek pronunciation, but Marcellus sees political implications in gathering to witness this particular play, and describes the occasion in an 1859 memoir (re-released in 1861 as a “ scène orientale ”). Since none of the others produced their own versions of the evening there’s no other evidence to corroborate Marcellus’ narrative, and Van Steen combs through it with an appropriately critical eye—even questioning, at one point, whether the reading ever happened at all. Alternatively, she suggests. it might be a fabrication by Marcellus that utilizes the familiar trope of the Greek “secret school” and features of Platonic dialogue, Plutarch, and popular philhellenic literature to construct a dramatic moment when Greece was poised between its past and future. Since from this point on, interpretations of and responses to Persians shape the rest of the book, Van Steen is careful to remind us that “at the start of its new lease on life in the emerging nation-state of Greece, this tragedy was not the disquieting play that modern scholars have uncovered, but the exemplum of a soothing genre of patriotic (self-)assurance and moral confirmation” (68). Marcellus presents the 1820 staged reading as a rehearsal for the revolution that would take place eleven months later. He crafts a tale of the rebirth of Greek consciousness taking place through a rebirth of classical tragedy, a moment in which the Greeks recognize that antiquity is their key to liberation, a moment, in other words, in which we see the fusing of ancient heritage to modern patriotism that will be so essential to the (Western) representations of the Greek War of Independence.

The third chapter, “Remaking Persian War Heroes,” is the most jam-packed. Van Steen uses a thematic focus on responses to the Persian Wars to cover huge swaths of scholarly ground. This ranges from a discussion of the literary philhellenism of Shelley and Byron, who saw the Greek Revolution as a restaging of the events at Salamis and a reclaiming of ancient Greek glory, to a close textual analysis of the paean taken from Persians and transformed into revolutionary battle cries, to what may be her most substantial contribution to new scholarship: an extended history of the prerevolutionary Greek theatre that took place in Jassy, Bucharest, and especially Odessa, birthplace of the revolutionary organization Philike Hetaireia (Society of Friends). This theatre was heavily influenced by the Greek intelligentsia in the West and therefore partook of the narrative that education in the ancient Greek heritage—in other words, the Classics—would breed patriotism and the foundation for a successful revolution. From the same source, the theatre assimilated the East-West binary, which meant that Greek national consciousness was from the start embedded in the West’s construction of the East, or in Orientalism. Van Steen’s discoveries are gained from deep forays into previously unknown or underused archives she has managed not just to excavate and interpret the nineteenth-century sources in French and Modern Greek but to introduce readers to a whole realm of recent scholarship being conducted in Modern Greek that hasn’t yet entered English-language conversations on philhellenism, Orientalism, and theatre.

The ambitious Epilogue has the quality of a lecture that pulls together with impressive control the various strands of narrative and argument in the preceding pages. It is here that Van Steen, who in earlier chapters fruitfully used Said’s Orientalism in her analyses, cautions readers about the limitations of his conclusions for studying Greece, which has always held a unique position between the West and the East, and has a complicated colonial history with the Ottoman Empire that, to date, has not been fully addressed in postcolonial studies. She addresses Said’s provocative claim that Persians launched the Orientalizing attitude of the West toward the East but argues, in working to qualify the debate that has raged since then, that the ambiguity of Aeschylus’ own views and the complexities of the reception history of the play lead her to conclude that “in my view, the realization of the play’s meaning in antiquity did not overlap with the process of making western Orientalism” (163-4). Marcellus’ description of the 1820 reading of Persians, however, might have offered Said his “best proof yet” for how classical scholarship and philhellenism are bound up with Orientalism (164).

This final section demonstrates Liberating Hellenism from the Ottoman Empire ’s far-reaching implications for the study of Classics and the so-called clash of civilizations. Van Steen’s interdisciplinary methods of analysis are, in large part, what give the book its range. She deftly works with Romanticism, art and theatre history, performance studies, political science, literary and cultural theory, and travel and tourism throughout, she figuratively picks up an artifact, analyzes it from one perspective, arguing persuasively for the view captured in that perspective, then turns the object and analyzes it yet again, from a different disciplinary perspective. This layered analysis gives the study its satisfying feeling of thoroughness while it illustrates the complications involved in trying to understand a text or event and the potential blindnesses of staying rigidly within our disciplinary boundaries.


Primary Sources

(1) Celia Fiennes described St. Paul's Cathedral in her journal in 1702.

The great cathedral of St. Paul's was burnt by fire. It has since been rebuilt by a tax on coal. It is now almost finished and is very magnificent. The body of the church is not quite done. The church is going to be closed on the top with a large dome.

(2) Daniel Defoe described St. Paul's Cathedral in a letter that he wrote in 1723.

The cathedral of St. Paul's is exceedingly beautiful. The church of St. Peter's in Rome, which is believed to be the most magnificent in the world, only exceeds St. Paul's in the magnificence of its inside work the painting, the altars, and the oratories, things, which, in a Protestant church are not allowed.


Opens on Friday!

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CELEBRATING CINEMA SINCE 1941

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413 Market Street, Lewisburg, PA 17837

Email: Box Office: 570.577.FILM Office Phone: 570.577.7900

Members Seat Reservation Hotline: 570.577.7905

The Campus Theatre is a 501c3 non-profit historic movie theatre located in Lewisburg, PA. Built in 1941, and one of the few remaining single screen art deco movie houses in the country, the Campus Theatre remains dedicated to the promotion of the art of cinema and historic preservation of this architectural treasure.


Giacobbe Giusti, Theatre of Marcellus

Giacobbe Giusti, Theatre of Marcellus

Giacobbe Giusti, Theatre of Marcellus

Giacobbe Giusti, Theatre of Marcellus

Giacobbe Giusti, Theatre of Marcellus

Giacobbe Giusti, Theatre of Marcellus

Situation du théâtre sur le plan de Rome d&rsquoItalo Gismondi.

Giacobbe Giusti, Theatre of Marcellus

Fragment d&rsquoun masque de théâtre sculpté.

Giacobbe Giusti, Theatre of Marcellus

Fragment d&rsquoun chapiteau corinthien.

Giacobbe Giusti, Theatre of Marcellus

Palazzo Savelli prenant appui sur des passages du théâtre.

Giacobbe Giusti, Theatre of Marcellus

Fenêtres du Palazzo Savelli-Orsini au-dessus du deuxième étage.

Giacobbe Giusti, Theatre of Marcellus

Détail de l&rsquoarcade et des deux ordres superposés : premier étage dorique et deuxième étage ionique.

Giacobbe Giusti, Theatre of Marcellus

Giacobbe Giusti, Theatre of Marcellus

The Theatre of Marcellus (Latin: Theatrum Marcelli , Italian: Teatro di Marcello ) is an ancient open-air theatre in Rome, Italy, built in the closing years of the Roman Republic. At the theatre, locals and visitors alike were able to watch performances of drama and song. Today its ancient edifice in the rione of Sant&rsquoAngelo, Rome, once again provides one of the city&rsquos many popular spectacles or tourist sites. Space for the theatre was cleared by Julius Caesar, who was murdered before its construction could begin the theatre was advanced enough by 17 BC that part of the celebration of the ludi saeculares took place within the theatre it was completed in 13 BC and formally inaugurated in 12 BC by Augustus. [1]

The theatre was 111 m in diameter and was the largest and most important theatre in Ancient Rome [2] it could originally hold between 11,000 and 20,000 spectators. [1] [2] It was an impressive example of what was to become one of the most pervasive urban architectural forms of the Roman world. The theatre was built mainly of tuff, and concrete faced with stones in the pattern known as opus reticulatum, completely sheathed in white travertine. However, it is also the earliest dateable building in Rome to make use of fired Roman brick, then a new introduction from the Greek world. [3]

The network of arches, corridors, tunnels and ramps that gave access to the interiors of such Roman theatres were normally ornamented with a screen of engaged columns in Greek orders: Doric at the base, Ionic in the middle. It is believed that Corinthian columns were used for the upper level but this is uncertain as the theatre was reconstructed in the Middle Ages, removing the top tier of seating and the columns. [1]

Like other Roman theatres in suitable locations, it had openings through which the natural setting could be seen, in this case the Tiber Island to the southwest. The permanent setting, the scaena, also rose to the top of the cavea as in other Roman theatres.

Giacobbe Giusti, Theatre of Marcellus

End section, showing later redevelopment

The theatre fell out of use in the early 4th century and the structure served as a quarry for e.g. the Pons Cestius in 370 AD. However, the statues located inside the building were restored by Petronius Maximus in 421 and the remaining structure still housed small residential buildings. In the Early Middle Ages the theatre was used as a fortress of the Fabii and then at the end of the 11th century (when it was known as templum Marcelli), by Pier Leoni and later his heirs (the Pierleoni). This saved the complex from further destruction. The Savelli held it in the 13th century. Later, in the 16th century, the residence of the Orsini, designed by Baldassare Peruzzi, was built atop the ruins of the ancient theatre. By the 19th century, rises in the street level meant that almost half the ground floor was below it.

Now the upper floors are divided into multiple apartments, and its surroundings are used as a venue for small summer concerts the Portico d&rsquoOttavia lies to the north west leading to the Roman Ghetto and the Tiber to the south west.

In the 17th century, the English architect Sir Christopher Wren explicitly acknowledged that his design for the Sheldonian Theatre in Oxford was influenced by Serlio&lsquos engraving of the Theatre of Marcellus.


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Columbus-Belmont State Park Civil War Museum

350 Park Road
Columbus, KY 42032

Lloyd Tilghman House & Civil War Museum

631 Kentucky Ave.
Paducah, KY 42001

Jefferson Davis State Historic Site

258 Pembroke-Fairview Rd.
U.S. Highway 68-80
Fairview, KY 42221

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Battle for the Bridge Historic Preserve

1309 South Dixie Hwy
Munfordville, KY 42765

Abraham Lincoln Birthplace National Historical Park

2995 Lincoln Farm Rd.
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Abraham Lincoln Boyhood Home at Knob Creek

7120 Bardstown Rd.
Hodgenville, KY 42748

Hardin County History Museum

201 W. Dixie Ave.
Elizabethtown, KY 42701

Women's Museum of the 1800's and Civil War Period

310 E. Broadway St.
Bardstown, KY 40004

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Louisville, KY 40280

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Louisville, KY 40202

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Frankfort, KY 40601

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Thomas D. Clark Center for Kentucky History

100 W. Broadway
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Daniel Boone's Grave, Frankfort Cemetery

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Leslie Morris Park on Fort Hill

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Corner Of East Main & U.S. 60
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578 W. Main St.
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Ashland, The Henry Clay Estate

120 Sycamore Rd.
Lexington, KY 40502

Waveland State Historic Site

225 Waveland Museum Ln.
Lexington, KY 40514

Civil War Fort at Boonesboro

1250 Ford Road (KY1924)
Winchester, KY 40391

White Hall State Historic Site

500 White Hall Shrine Rd.
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Camp Nelson National Monument

6614 Old Danville Rd.
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Shaker Village of Pleasant Hill

3501 Lexington Rd.
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Old Fort Harrod State Park

100 S. College St.
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Perryville Battlefield State Historic Site

P.O. Box 296
1825 Battlefield Rd. (KY 1920)
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Tebbs Bend Battlefield Association

2218 Tebbs Bend Road
Campbellsville, KY 42718

Mill Springs Battlefield National Monument

9020 W. Hwy. 80
Nancy, KY 42544

Camp Wildcat Civil War Battlefield

Hazel Patch Road
London, KY 40744

Cumberland Gap National Historical Park

Hwy. 25 E., Quarter-mile S.
Middlesboro, KY 40965

James A. Ramage Civil War Museum

1402 Highland Ave.
Fort Wright, KY 41011

National Underground Railroad Museum

38 West Fourth Street
Maysville, KY 41056

Middle Creek National Battlefield

2968 KY-114
Prestonsburg, KY 41653

Western Waterlands Region

Columbus-Belmont State Park Civil War Museum

Perched on a high river bluff, this Confederate fort was strategic in maintaining control of the Mississippi River. See cannons, shells and Confederate General Leonidas Polk’s massive chain and anchor, which were used on the river to block Union forces. The museum is located in a restored antebellum farmhouse.


Lloyd Tilghman House & Civil War Museum

Learn about Western Kentucky’s role in the Civil War at this Greek Revival house museum, which was once the residence of Confederate General Lloyd Tilghman.

Jefferson Davis State Historic Site

This 351-foot obelisk is located on the birth site of Jefferson Davis, who served as President of the Confederate States during the Civil War. The Kentucky native was also a West Point graduate, congressman and senator. Visitors can ride an elevator to the top of the monument for scenic views, and tour the museum to learn about Davis’ life.

Caves, Lakes & Corvettes Region

Riverview House Museum

Construction on this grand Victorian mansion began before the Civil War, but building was halted at the onset of the conflict and the property was put to use as a munitions magazine. Today, the restored Riverview House Museum offers a rare glimpse into Victorian life during the late 19th century.

Battle For The Bridge Historic Preserve

The Battle for the Bridge Historic Preserve protects 219 acres of the Munfordville Battlefield, site of three Civil War battles, including the 1862 Battle and Siege of Munfordville – perhaps the most strategically important battle in the Commonwealth's Civil War history. A 2.25-mile interpretive trail is available featuring vistas of the Green River railroad bridge and Fort Craig.

Bourbon, Horses & History Region

Abraham Lincoln Birthplace National Historical Park

Long before President Abraham Lincoln went on to become one of the preeminent leaders in American history, he spent his earliest years in Hodgenville, and his family had roots all around Kentucky. The Abraham Lincoln Birthplace National Historical Park is home to the First Lincoln Memorial, which houses a replica of Lincoln’s birth cabin. You can also visit the Abraham Lincoln Boyhood Home at Knob Creek, just 10 miles away.


Hardin County History Museum

Explore the history of Hardin County from its early Native American inhabitants to the pioneers to the present day. Exhibits tell fascinating stories of the county’s Civil War history, including the Battle of Elizabethtown and the John Hunt Morgan Christmas Raid.

Women Of The Civil War Museum

From nurses to spies to soldiers in disguise, women played many roles during the Civil War. The Women of the Civil War Museum is the only museum of its kind dedicated to exploring women’s involvement in the conflict, with many artifacts to help tell the stories.

Farmington Historic Home

Farmington is the historic home and plantation site of John and Lucy Speed, completed in 1816. Farmington was a thriving 550-acre hemp plantation powered by the labor of nearly 60 enslaved African Americans who lived in cabins on the property. In the summer of 1841, Abraham Lincoln visited Farmington for three weeks, and had enduring relationships with the Speed family during his presidency. The property includes a visitor center with an exhibit room that interprets the plantation's history.


Frazier History Museum

Explore a wide range of permanent and rotating exhibits related to Kentucky’s rich and diverse history. Located in the heart of downtown Louisville, the Frazier History Museum is also the official first stop of the Kentucky Bourbon Trail.

Bluegrass, Horses, Bourbon & Boone Region

Old State Capitol

In September 1862, Frankfort became the only Union capital to be conquered by Confederate troops. That same October, the Old State Capitol – a Greek Revival masterpiece built in 1830 – was the site of the inauguration of Richard Hawes as Confederate governor of Kentucky. However, Union forces advanced on Frankfort just as Hawes was being sworn in, forcing the Confederates to flee the capital. Just days later, tensions erupted at the Battle of Perryville.

Kentucky State Capitol

The current Kentucky State Capitol was built between 1904 and 1910 using $1,000,000 in funds from the federal government for damage sustained during the Civil War and for Kentucky’s services during the Spanish-American War. Inside the ornate rotunda, you can see statues of two prominent Civil War leaders – Abraham Lincoln and Jefferson Davis, who were both born in Kentucky less than one year and 100 miles apart. Pick up a Capitol Building and Capitol Rotunda walking tour brochure to learn more about the Capitol’s Civil War history.


Thomas D. Clark Center For Kentucky History

As the headquarters of the Kentucky Historical Society, this is a great place to ground yourself in Kentucky’s Civil War history. Be sure to see Abraham Lincoln's pocket watch, one of the museum's most famous exhibits. Admission includes tours of the Old State Capitol and Kentucky Military History Museum, which boasts a large collection of Union and Confederate uniforms, flags, weapons and other memorabilia.


Daniel Boone's Grave, Frankfort Cemetery

Established in the early 1840s, the Frankfort Cemetery is perhaps best known for being the final resting place of Daniel and Rebecca Boone. It was also the burial site of many soldiers during the Civil War, and is home to the Kentucky War Memorial, which honors fallen Kentucky soldiers from numerous wars.

Leslie Morris Park On Fort Hill

Set on a hill overlooking downtown Frankfort and the Kentucky River Valley, this 125-acre park contains two Civil War earthwork forts built in 1863. On a self-guided tour, visitors can also see the site of an 1864 raid by Confederate General John Hunt Morgan.

Greenhill Cemetery

Established in 1865, this cemetery in east Frankfort features the only monument to Kentucky’s United States Colored Troops (USCT), commemorating more than 140 USCT members from Frankfort and the surrounding area.

Lexington Cemetery

A testament to Kentucky’s bitter divide during the Civil War, both Union and Confederate soldiers are buried in this historic cemetery, which dates to 1849. You can also visit the graves of Confederate General John Hunt Morgan, statesman Henry Clay and members of the Mary Todd Lincoln family.

Mary Todd Lincoln House

First Lady Mary Todd Lincoln grew up in the heart of downtown Lexington, and you can learn all about her fascinating life before, during and after her time in the White House, at her beautifully preserved childhood home.

Hunt-Morgan House and Civil War Museum

Explore the lives and legacies of the prominent Hunt-Morgan families, whose members included businessman John Wesley Hunt and “Thunderbolt of the Confederacy” John Hunt Morgan. The second floor of the home contains the Alexander T. Hunt Civil War Museum, and houses a large collection of Civil War artifacts.

Waveland State Historic Site

Located just outside of downtown Lexington, Waveland is a stately antebellum mansion that was built by Joseph Bryan, an ancestor of Daniel Boone, in 1848. During the Civil War, Bryan gave supplies to Confederate – eventually leading to his fleeing to Canada to avoid arrest. The home is now a living history museum that depicts life in Kentucky in the 1840s.


Ashland, The Henry Clay Estate

A magnificent Antebellum plantation home on the outskirts of Lexington, Ashland was built by U.S. statesman Henry Clay and served as his home until his death in 1852. The Civil War brought hard times upon Ashland and the Clay family in 1862 Ashland was the site of the bloody Battle of Ashland, the war left the Clay family as bitterly divided as the country.


Civil War Fort At Boonesboro

Visit the remnants of this earthwork fort, which was built by the Union to defend the Kentucky River and deter Confederate raiders. The fort was often manned by African-American soldiers. Explore walking trails for scenic river views, and take a self-guided or cell-phone tour of the fort.

White Hall State Historic Site

This Italianate mansion was the home of Cassius Marcellus Clay, an emancipationist, politician and friend of Abraham Lincoln. The home has been immaculately restored and features period furnishings that offer a glimpse of upper-class life in Kentucky during the 1860s.


Camp Nelson Civil War National Monument

One of Kentucky’s most historically and culturally significant places, Camp Nelson was the third-largest recruiting and training depot in the nation for African-American soldiers during the Civil War. The camp supplied the Union with more than 10,000 African-American soldiers, and eight United States Colored Troops (USCT) regiments were organized here. Today you can explore interpretive trails, forts, officers’ quarters, cemeteries, replica barracks, an Interpretive Center and more.


Shaker Village Of Pleasant Hill

This sprawling living history park interprets the lives of the Pleasant Hill Shakers, who flourished on this pastoral property outside Harrodsburg for over 100 years. The village played a fascinating role during the Civil War, when the turnpike and river that form its borders served as strategic arteries for soldiers on both sides of the conflict. As pacifists, the Shakers did not participate in the fighting, though they sided with the Union and held anti-slavery views. Nonetheless, a Confederate soldier is the only non-Shaker buried in the village, having died here after being wounded in the Battle of Perryville.

Old Fort Harrod State Park

One of Kentucky’s most significant historic sites, Old Fort Harrod State Park centers around a replica of Kentucky’s first permanent settlement. The park’s Mansion Museum houses Confederate and Union rooms filled with newspapers, firearms, photographs and other Civil War artifacts. You can also view the Lincoln Marriage Temple, the log cabin where Abraham Lincoln’s parents were wed in 1806.


Perryville Battlefield State Historic Site

The Battle of Perryville was one of the bloodiest battles in the Civil War, and left more than 7,600 soldiers killed, wounded or missing. At more than 1,000 acres, it is the largest battlefield in Kentucky, and one of the most unaltered in the nation. Take a self-guided tour of the battlefield, and visit the museum to learn the story of the Confederacy’s last major attempt to gain possession of Kentucky.


Southern Shorelines Region

Tebbs Bend Battlefield Association

This battlefield on the banks of the Green River was the site of a pivotal victory for Union forces when they defeated Confederate General John Hunt Morgan, who would be captured in Ohio less than a month later. A three-mile driving tour includes the battlefield, the Atkinson-Griffon House Museum – which served as a Confederate hospital – and more sites.

Mill Springs National Battlefield Visitor Center & Museum

This nine-mile battlefield was the site of the first Union victory in the Western theater of the Civil War. Start by learning about the history of the battle at the Mill Springs Battlefield Visitor Center and Museum in Nancy, which is on the site of the Mill Springs National Cemetery. Then take a driving tour of the battlefield, which includes 10 stops and opportunities to hike to more than 14 interpretive signs. Be sure to visit at the West-Metcalfe House, which was used as a hospital, and the Brown-Lanier House, which was a headquarters for three generals during the battle.


Daniel Boone Country Region

Camp Wildcat Civil War Battlefield

Kentucky’s first Civil War engagement occurred here on October 21, 1861, when Confederate and Union soldiers met along the Wilderness Road, an important strategic route into Kentucky. Take a walking tour of the battle site, where you can still see the soldiers’ trenches.

Cumberland Gap National Historical Park

The Wilderness Road through Cumberland Gap has been an important passageway into Kentucky since Daniel Boone’s days. It was equally important during the Civil War, and multiple fortifications were built all along the road – many of which can still be seen today, including Fort Lyon, which was the site of the final surrender of the Gap to the Union in 1863. The 20,305-acre wilderness park also offers abundant outdoor activities and beautiful scenery.

Northern Kentucky River Region

James A. Ramage Civil War Museum

This museum tells the lesser-known story of Northern Kentucky and Cincinnati’s role in the Civil War, when men, women and children came together to protect their community against advancing Confederate troops.

National Underground Railroad Museum

Known as the “Gateway to the South,” the town of Maysville was also the gateway for many slaves seeking freedom across the Ohio River. This museum is located in the Bierbower House, a documented safe house on the Underground Railroad where you can view artifacts and memorabilia, servants’ quarters and secret chambers where escaped slaves were hidden.

Kentucky Appalachians Region

Middle Creek National Battlefield

Eastern Kentucky’s largest Civil War battle was fought on the Appalachian ridges surrounding Prestonsburg in January 1862, with Union troops emerging victorious under the command of future U.S. president James A. Garfield. Learn about the battle from both sides with interpretive panels, and walk the Confederate and Union loop trails to see where the skirmish took place.


Watch the video: Theatre of Marcellus Time-lapse with Relaxing Piano (December 2021).