Stories of the forest, the grove, the scared space in between dense vegetation and the waters edge.
New Harmony, situated on a flood plain of the great Wabash river, is a dynamic site. The geology, archeology, paleontology and ecology of this place is a vital starting point for design.
How do we create a space with implicit meaning for the vitality of our mental landscapes?
Can we restore the primacy of mystery, grace and silence in the wake of automobiles, bypasses and the non-renewable energy climate of today?
William Turner,
Lake Nemi (British Museum, London, England, United Kingdom)
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| courtesy of william-turner.org |
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| courtesy of william-turner.org |
History of Diana Nemorensis
Experts from
The Golden Bough by Sir James George Frazer (project Gutenberg full html text)
"little woodland lake of Nemi— “Diana’s Mirror,” as it was called by the ancients. No one who has seen that calm water, lapped in a green hollow of the Alban hills, can ever forget it. The two characteristic Italian villages which slumber on its banks, and the equally Italian palace whose terraced gardens descend steeply to the lake, hardly break the stillness and even the solitariness of the scene. Diana herself might still linger by this lonely shore, still haunt these woodlands wild.
In antiquity this sylvan landscape was the scene of a strange and recurring tragedy. On the northern shore of the lake, right under the precipitous cliffs on which the modern village of Nemi is perched, stood the sacred grove and sanctuary of Diana Nemorensis, or Diana of the Wood. The lake and the grove were sometimes known as the lake and grove of Aricia. But the town of Aricia (the modern La Riccia) was situated about three miles off, at the foot of the Alban Mount, and separated by a steep descent from the lake, which lies in a small crater-like hollow on the mountain side"
"Of the worship of Diana at Nemi some leading features can still be made out. From the votive offerings which have been found on the site, it appears that she was conceived of especially as a huntress, and further as blessing men and women with offspring, and granting expectant mothers an easy delivery. Again, fire seems to have played a foremost part in her ritual. For during her annual festival, held on the thirteenth of August, at the hottest time of the year, her grove shone with a multitude of torches, whose ruddy glare was reflected by the lake; and throughout the length and breadth of Italy the day was kept with holy rites at every domestic hearth. Bronze statuettes found in her precinct represent the goddess herself holding a torch in her raised right hand; and women whose prayers had been heard by her came crowned with wreaths and bearing lighted torches to the sanctuary in fulfilment of their vows"
"Diana was essentially a goddess of the woodlands, as Ceres was a goddess of the corn and Bacchus a god of the vine. Her sanctuaries were commonly in groves, indeed every grove was sacred to her, and she is often associated with the forest god Silvanus in dedications. But whatever her origin may have been, Diana was not always a mere goddess of trees. Like her Greek sister Artemis, she appears to have developed into a personification of the teeming life of nature, both animal and vegetable. As mistress of the greenwood she would naturally be thought to own the beasts, whether wild or tame, that ranged through it, lurking for their prey in its gloomy depths, munching the fresh leaves and shoots among the boughs, or cropping the herbage in the open glades and dells. Thus she might come to be the patron goddess both of hunters and herdsmen, just as Silvanus was the god not only of woods, but of cattle. Similarly in Finland the wild beasts of the forest were regarded as the herds of the woodland god Tapio and of his stately and beautiful wife"
