document_title: I Love New York (season 1)

question_text: who does i love new york end up with

question_tokens: who does i love new york end up with

text: I Love New York (season 1)

text: Production[edit]

text: In July 2006, VH1 published a casting call[1] looking for contestants for their new series tentatively titled The Flavorette. Various blogs speculated that the star of this program could be Flavor of Love season one contestants "Rain" (Thela Brown), "Hoopz" (Nicole Alexander) or Pollard.[2] Before the second season finale of Flavor of Love, Pollard denied having her own show[3] but when the Flavor of Love season 2 finale aired, she confirmed she was the "Flavorette" and that she was already down to the final three contestants.[4]

text: On November 3, 2006, VH1 announced the show's official title: I Love New York.[5] The first commercial for the series aired on December 3, 2006 during the VH1 2006 Big Awards show. The show premiered on Monday, January 8, 2007 and is the most watched series debut in VH1 history.[6]

text: Contestants[edit]

text:
Contestant Nickname[7]
Real name
Eliminated

Tango
Patrick Hunter[8]
11bold !Winner

Chance
Kamal Givens
10 !Runner-Up

Real
Ahmad Givens
09 !Episode 9

Whiteboy
Joshua Gallander
08 !Episode 8

12 Pack
David Amerman[9]
07 !Episode 7

Mr. Boston
Lee Marks[10]
06 !Episode 6

Rico
Sandro Padrone
05 !Episode 5

Heat
Jason Rosell
04 !Episode 4

Onix
William Lash
04 !Episode 4

Bonez
Kevin Peters
03 !Episode 3

Pootie
Lamonty Council
03 !Episode 3 (Quit)[q]

T-Weed
Kevin Watson[11]
03 !Episode 3

Romance
Ricky Perillo
02 !Episode 2

Token
Chase Irwin
02 !Episode 2

Trendz
Hashim Smith
02 !Episode 2

Ace
Darin Darnell
01 !Episode 1

Jersey
Bryant Covert
01 !Episode 1

T-Bone
Tyrone Ellis
01 !Episode 1

T-Money
Thomas Young
01 !Episode 1

Wood
Randy Richwood
01 !Episode 1

text: Elimination Order[edit]

text:
New York's Call-out Order

#
Naming
Episodes

1
2
3
4
5
6
7
8
9
11

1
Rico
Whiteboy
Whiteboy1
Tango
Chance
Real
12 Pack
Chance2
Chance
Chance1
Tango

2
Pootie
Tango
Real
Real
12 Pack2
12 Pack
Real
Whiteboy
Real
Tango 1
Chance

3
Tango
Onix
T-Weed
Rico
Real2
Whiteboy2
Whiteboy
Real
Tango
Real1

4
Wood
Real
Rico
Onix
Whiteboy
Chance
Tango
Tango
Whiteboy

5
Whiteboy
Heat
Mr. Boston
12 Pack
Tango
Mr. Boston
Chance
12 Pack

6
12 Pack
Bonez
Tango
Chance
Rico
Tango
Mr. Boston2

7
Heat
Trendz
Heat
Whiteboy
Mr. Boston
Rico

8
T-Bone
12 Pack
Pootie
Mr. Boston
Heat2

9
Jersey
Pootie
Bonez
Heat
Onix

10
Mr. Boston
Token
Chance
Bonez

11
Onix
T-Weed
Onix1
T-Weed2

12
T-Weed
Romance
12 Pack1
Pootie

13
Ace
Rico
Trendz

14
Trendz
Mr. Boston
Token

15
Bonez
Chance
Romance

16
T-Money
Jersey

17
Real
Wood

18
Chance
T-Bone

19
Token
Ace

20
Romance
T-Money

text: The following numbers indicate which type of date the contestant won:

text:
1 The contestant won a group date with New York. On Episode 9, New York has a date with Tango, and another with Real and Chance. Their parents joined their sons on dates.
2 The contestant won a solo date with New York.

text: Episodes[edit]

text: This article's tone or style may not reflect the encyclopedic tone used on Wikipedia. See Wikipedia's guide to writing better articles for suggestions. (December 2007) (Learn how and when to remove this template message)

text: This article appears to contain a large number of buzzwords. There might be a discussion about this on the talk page. Please help improve this article if you can. (July 2011)

text: Do You Have Love For New York?[edit]

text: First aired January 8, 2007 (4.426M viewers)[12]

text: This was the first episode of I Love New York. New York talked about her Flavor of Love experiences and how she got her own show. Chamo was introduced as New York's personal stylist and assistant, while New York's mother, "Sister Patterson", served as New York's "consigliere" during this episode, especially during the naming ceremony. Unlike Flavor Flav in Flavor of Love, New York allowed the contestants to give themselves names with her final approval. Five men were selected for elimination during a mixer held in New York's backyard. Afterwards, Mr. Boston got into a fight with Chance, Romance scared New York by telling her he wanted to replace his dead dog, Rico called New York "mi negrita" (my little black girl)--a term of endearment in Spanish-speaking countries that greatly offended New York, and Chance got into an argument with New York's mother and yelled at her in a drunken stupor. Token was pointed out as a spy for New York's mother. New York eliminated Ace, Jersey, T-Bone, T-Money, and Wood for the following reasons: Wood was there to advance his acting career, having told New York that he did reality TV; New York called T-Money a "fucking pansy"; T-Bone was physically unattractive for New York; Jersey and Ace were not "good enough" for New York.

text: Eliminated: Ace, Jersey, T-Bone, T-Money, and Wood

text: The Mangeant[edit]

text: First aired January 15, 2007

text: In the episode 2, season 1 of I Love New York, New York brought various beauty pageant queens to the mansion to train the guys for the "Mangeant". Round 1 of the Mangeant was a swimsuit contest. Mr. Boston wore a spotted thong to show off his "bulge". In the end, New York chose five finalists to participate in a question and answer round; Real, 12 Pack, Onix, Whiteboy, and Romance, with Onix, 12 Pack and Whiteboy winning the reward of a date with New York. Onix won third place, 12 Pack came in second, and Whiteboy was the official Mangeant winner. Later that night, Pootie told New York that Trendz was passing out his demo CDs while she was in the hot tub with Rico. The next day, in a letter delivered by Chamo, New York told the guys she would take the top three to the Santa Monica Pier for the afternoon. Whiteboy received some extra time with New York, which included a ride on the ferris wheel. New York confronted 12 Pack about allegations that Romance made about 12 Pack having a girl back at home. When the guys returned home, New York sat 12 Pack and Romance down to talk about the allegations. At the elimination, Romance is sent home because he "needs Prozac," Trendz because New York thought he was trying to boost his music career, and Token because he didn't want to kiss New York.

text:
Challenge: Compete in a pageant for men.
Challenge Winners: 12 Pack, Whiteboy, Onix
Eliminated: Trendz, Romance, Token

text: Big Ballers[edit]

text: First aired January 22, 2007

text: The one contestants were set to New York's test to see who had the best capability to earn money by evaluating each contestant's business portfolio. Whiteboy chose to participate in the challenge even after finding out that his best friend had died. They headed to a boardroom where New York had invited a special guest to help her judge, Omarosa. One of the contestants, known as Heat pissed off New York by telling her that his family would eat first before her. Obviously New York's mom got furious of this. Unable to impress New York and her mother by telling them that he was broke, Pootie had a nervous breakdown—he collapsed and was tended to by EMTs. On the way back to the house, Whiteboy got into a heated argument with Tango on Tango following Pootie, and should have left him alone, or otherwise, Pootie wouldn't have had his meltdown. Tango tells Whiteboy he wants to settle this outside the van, to which Whiteboy stands outside, while the rest of the guys hold back Tango. Tired of waiting for Tango, Whiteboy goes into the other van. Back at the mansion, the results of the challenge were announced: T-Weed was the supposed winner by promising that he had a net worth of $100 million. Sister Patterson forced T-Weed to sign a sheet that would allow her to do a background check. T-Weed drove New York in a Benz to their solo date and Pootie got a date with New York's mom; she noticed Pootie's unstable behavior and later, with the help of Tango, was convinced to willingly leave the competition. The next day, the contestants threw a barbecue for New York and impressed her with massages and lap dances. New York was pleasantly surprised by Mr. Boston's lap dance and Tango's back massage. During elimination, Tango was given his chain first. Before giving out her last chain, Sister Patterson announced T-Weed's financial information. T-Weed was in financial debt rather than his claims of having over $100 million in assets. In the end, Heat received the last chain and therefore, Bonez and T-Weed were sent home. Bonez was eliminated because New York said she didn't want to corrupt him. However, T-Weed was eliminated for not being honest with New York. This was the first (and only) episode in which someone had left the competition before elimination.

text:
Challenge: Create portfolio showing capability to earn money.
Challenge Winner: T-Weed
Eliminated: T-Weed, Bonez
Withdrew: Pootie

text: What's Up Dog?[edit]

text: First aired January 29, 2007

text: The remaining nine men constructed a dog house for New York's Chihuahua, "Her Majesty." Each team had to appoint a foreman and the team that won would receive a date with New York. The black team had Chance, Mr. Boston and Rico as the foreman, the white team had Real, Heat, and 12 Pack as the foreman, and the gray team had Tango as the foreman, Onix, and Whiteboy. During construction, Rico and Chance complained that Mr. Boston wasn't working. After construction was over, New York and Her Majesty chose the white team's pink zebra-striped painted doghouse as the best. Later that night, the reward for Real was to have cocktails with New York and Heat's reward was to have dinner with New York, but New York didn't like how much he was into his family and was still upset about how Heat's grandmother (Yaya) came before her. Meanwhile, back at the mansion, Mr. Boston talks badly about his team behind their backs and Chance can't take it and after giving Whiteboy a haircut, he, Whiteboy, Real, and Rico gang up on Mr. Boston and try to shave his head, but Tango saved Mr. Boston, and Chance declares it isn't over and says "next time we throwin' this shit (bandanna) in your mouth." Mr. Boston likes that they see him as a threat. 12 Pack was New York's "dessert" and as the foreman, he got an extra treat: a session with a sex coach and an opportunity to get closer to New York. As it turns out, 12 Pack was more interested in pursuing a relationship with Heat. After the session, 12 Pack paraded about the house in speedos with Heat notoriously staring at him. Heat and 12 Pack then shared some drunken, romantic moments in the hot tub. Heat admitted that he admired 12 Pack's body and began making sexually suggestive drunken compliments. The next morning, Sister Patterson took all of the men to church (even Mr. Boston and Whiteboy, who are Jewish) and Sister Patterson testified in front of the church members. After the service, Onix told Rico and Tango that he thought New York's mother was "not real" and that she was faking it at the service. After the day was over, the elimination ceremony was held. Onix was eliminated for accusing Sister Patterson for being fake, and Heat was eliminated for prioritizing his family (and 12 Pack) over New York.

text:
Challenge: Build a doghouse for New York's dog, Her Majesty.
Teams

text:
Black: Chance, Mr. Boston, Rico
White: Real, Heat, 12 Pack
Gray: Tango, Onix, Whiteboy

text:
Challenge Winners: Real, Heat, 12 Pack
Eliminated: Heat, Onix

text: Who's Got Game?[edit]

text: First aired February 12, 2007

text: The remaining seven contestants participated in a basketball game against a professional WNBA basketball player, Tamara Moore from the Los Angeles Sparks. Chamo served as the cheerleader. Tango dislocated his arm and went to the hospital. Whiteboy won the competition and was awarded more quality time with New York. They had a romantic dinner. Soon after, everyone was having lunch in the backyard and Sister Patterson suspected that someone was in love with New York. Tango and Whiteboy got into a heated discussion. While New York stood out on her balcony, Tango revealed that he had strong feelings for New York, which made her cry. In the end, Rico was eliminated. In a confessional interview at the end of the episode, New York explained that "I had to let Rico go, because, simply, this competition is not for him. Rico is...a young kid, he's a young boy... He wasn't stepping it up."

text:
Challenge: Score a point against Tamara Moore in basketball, remaining two play against each other and the first to three points wins the date.
Challenge Winner: Whiteboy
Eliminated: Rico

text: Momma Said Knock You Out[edit]

text: First aired February 19, 2007

text: New York emerged in a tiara and asked the six remaining men if they were ready to party. The men said they were. At that time, a group of thirteen young girls ran through the front door. New York left the girls alone with the men to look after them at a "princess party." Chance didn't deal well, calling the girls "Oompa-Loompas" and insulting some of them. Real and White Boy both stayed aloof, and later the girls gave all three of them (Chance, Real, and White Boy) the thumbs down. 12-Pack allowed the girls to put makeup on him, saying that he hoped that they'll notice that he's attractive - but they painted his face red, making him look "scary." The girls later gave him a thumbs down, too; because, as they explain, "he's ugly." The girls did like Mr. Boston, who allowed them to dress him in a girl's dress and smashed his face in cake. Tango was also a success, because he was attentive. New York chose Mr. Boston to go on a date with her.

text: Mr. Boston noted to himself that this was his first date with New York - and his first date with a black woman. They went on a horse-drawn carriage ride and had a dinner outside by a lake, with a harpist playing music nearby. New York told Mr. Boston that she found him "way more attractive." In the limo ride on the way home, they fed each other treats, then began kissing.

text: Meanwhile, back at the mansion, the remaining contestants tried cooking dinner for Sister Patterson. She handed out index cards with recipes, and said that they had one hour to make the dinner. She hated all the food they made, except Real's salad. At dinner, Sister told Chance that he wasn't ready for kids, and this spurred Chance to reveal that he has a son. Soon, Chance began to shout that it was time for him to leave, so that he could be with his son. Sister encouraged him to do so. He went upstairs to pack, and Tango told Sister that if he had a child himself, he wouldn't go on a reality show. New York arrived home with Mr. Boston, and they planned to go into the hot tub together, but New York noticed Chance packing. She asked him not to go, and eventually — after an altercation with Tango — he decided to stay. Boston was annoyed because he didn't get to have sex in the hot tub with New York.

text: In the morning, the men were sent to a boxing ring for a series of boxing matches. White Boy knocked out Real in the first match; in the second round, 12-Pack knocked Tango's mouthpiece out and accused Tango of making excuses as to why he had lost the boxing match; and in the final round, despite Mr. Boston's boasts, Chance knocked Mr. Boston over the ropes. New York attended to Mr. Boston's bloody nose, and Mr. Boston said that would probably help him in the competition.

text: Chance approached Mr. Boston at the mansion to "check on him." Boston conceded the moral victory in the bout to Chance, as well, when he submitted to Chance's "lesson" in oneupmanship. Where Boston would have otherwise carried the day, his concession to Chance's overt psychological dress-down cost him his on-screen dignity.

text: At the elimination, it came down to Mr. Boston and Chance. New York scolded Chance about hiding his son from her, and about being so rude to the girls at the party. However, she said that she "isn't done with him yet." She gave him the chain, eliminating Mr. Boston. She explained that he "had to leave because he was taking a beat-down, and because I knew in my heart I would never end up with him." However, she told the remaining contestants that Mr. Boston was the best kisser in the house.

text:
Challenge: Watch and entertain 13 girls at a "Princess Party."
Challenge Winner: Mr. Boston
Eliminated: Mr. Boston

text: Guess Who's Coming To Dinner[edit]

text: First aired March 5, 2007 (4.06M viewers)[13]

text: The episode began with New York receiving a letter from Tango. In it, he expressed how much he liked her. Chamo then escorted the remaining five men into the living room where she had them lined up. One by one, New York sent in all of the men's ex-girlfriends, except Whiteboy, whose sister came instead. New York then told the men that while they stay at home, she would take the girls out. In the limo on the way to the salon, New York and her mom asked the girls the concerns they had for each man. 12 Pack's ex-girlfriend said that her parents thought he was gay, and noted that he had performed striptease for gay men at a New Jersey gay club called Feathers. Chance's ex-girlfriend talked about how drugs are basically a trend in the rap industry. New York's mom questioned if Chance had used drugs. Real's ex-girlfriend talked about their relationship, but New York thought that Real may have still had feelings for her. Tango's ex-girlfriend told her that they broke up due to Tango's obsession with his job. Whiteboy's sister talked about how Whiteboy was in a five-year relationship with a girl. 12 Pack's ex also said that 12 Pack had a girlfriend before he came to do the show. At dinner that night, 12 Pack confessed that he did have a girlfriend before he came to do the show, but he said that they had already broken up. When New York talked about 12 Pack working at a gay strip club, he said he only worked there for the money. New York talked about how she thought there was a vibe between Real and his ex-girlfriend. She became disappointed in Whiteboy, because she wished she knew about his relationship earlier. New York started to get jealous that Tango had supposedly only been paying attention to his ex-girlfriend. Once outside, New York overheard 12 Pack talking to his ex-girlfriend, saying that he would be famous because he would be on the number one show in America. New York then fought with Tango, for she was jealous, and Tango became tempted to leave the show. New York then realized her anger came out due to her feelings for Tango. She talked to Tango and he decides to stay.

text: The next day, New York's mother told her to go on a date with Real, but when she left, New York took Chance on a date instead. She took Chance to Chez Cherie cooking school. They had a great time and kissed then went back to the house. At elimination, New York eliminated 12 Pack because she felt that he had too many secrets-most of them involving his sexual orientation. They end on good terms and she wished 12 Pack the best of luck, saying that she hoped he would become famous, though this comment was likely sarcastic.

text: Eliminated: 12 Pack

text: Gettin' Hot In The Desert[edit]

text: First aired March 12, 2007 (4.7M viewers)[14]

text: The remaining four men went to Palm Springs, California, with New York, where each night a different contestant took New York on a date. On New York, Tango and Real's date, the trio went to the golf course. While driving the Cadillac-styled golf cart, New York drove into a sprinkler system and wrecked into another cart. During New York's date with Chance and Whiteboy, the three went on a hot air balloon ride. New York was afraid to get in the hot air balloon, in fear of getting her synthetic hair caught on fire. In the end, Whiteboy was eliminated, because New York "doesn't want to be a rebound girl", as Whiteboy had recently broken up with his girlfriend of five years.

text: Dates

text:
Tango and Real: Trip to the golf course.
Chance and Whiteboy: Hot air balloon ride.

text: Eliminated: Whiteboy

text: Momma's Boys[edit]

text: First aired March 19, 2007 (4.2M viewers)[15]

text: With the three remaining men, the mothers of the brothers, Chance and Real, and of Tango met New York and Sister Patterson. On the first date, New York and Sister Patterson went to Real, Chance, and their mother's horse ranch in California. During the excursion on the ranch, Real and Chance's mother impressed upon her sons that affection for New York should not drive their brotherhood to odds. Later, New York and Sister Patterson went with Tango and his mother for tango lessons. New York and Sister Patterson remarked that Tango's mother was old. After the date and before the elimination ceremony, Sister Patterson offered Chance $10,000 to give up his chain and go home. However, when New York gave Chance the chain, he took the chain off at first and wondered if Sister Patterson will follow up with her offer. New York got mad as a result. Later, Chance told New York of Sister Patterson's offer. In the end, Chance decided to stay. New York gave her second chain to Tango, because he is "hot and sexy." New York eliminated Real because she felt that he was too sensitive for her. After being eliminated, Real cried and confessed his love for New York.

text: Dates

text:
Real and Chance: Trip to Real and Chance's ranch.
Tango: Tango lessons.

text: Eliminated: Real

text: Clip Show[edit]

text: First aired March 26, 2007

text: In this episode, never-before-scenes were shown. They included:

text:
New York and Sister Patterson viewing the casting tapes
Romance sliding down the "ghetto Slip 'n Slide" naked.
Mr. Boston getting an "ass-tan" in a thong
More scenes of Chance bullying Mr. Boston
Sister Patterson commented on contestants she believed to be gay
12 Pack almost giving Chamo a lap dance
New York has laryngitis during her commentary

text: The Final Adios[edit]

text: First aired April 2, 2007 (4.8M viewers)[16]

text: The two finalists traveled with New York to Playacar resort in Playa del Carmen, Mexico. Later, New York made her final decision in Hollywood, California for her potential mate. This episode was the final episode where Chance and Tango were split into two separate rooms, because Chance and Tango were in a heated argument while at dinner with New York. In the end, New York chose Tango over Chance, to much of Chance's shock. New York claims she would have to bet on Tango, because Chance was beginning to remind her too much of Flav. Tango then kneeled and proposed to her. New York was taken aback by this proposal, and seemed to experience a mix of reluctance and elation, but she finally answered yes. Sister Patterson was pleased with New York's decision and said to the camera, "Praise God she didn't pick Chance!" On Chance's way out, Sister Patterson asks Chance if she can give him a hug before he leaves and Chance replies, "I sho as f**k ain't huggin' yo ass." Chance gets in a limousine and calls New York and Sister Patterson a 'hoe'.

text:
Winner: Tango Patrick S. Hunter
Runner Up: Chance

text: The Reunion[edit]

text: First aired April 15, 2007 (5.01M viewers)[17]

text: 17 of the original 20 contestants came together to discuss issues that arose from the series, and the audience discovered what had happened with Tango and New York after the show. The reunion was taped on April 9, 2007 so the cast would have already seen all of the episodes and had issues that were addressed. The host for the reunion (also the host for both Flavor of Love reunions) La La Vasquez revealed that Pootie wasn't invited because of his issues, Jersey was on crutches, and Rico was in jail for driving without a license because his father was having a heart attack.

text: First, Romance and New York argued over 12 Pack getting to stay and him leaving. Romance then boasted his new "love", a dog named Bella, looked better than New York's chihuahua, Your Majesty. New York learned Mr. Boston has a twin brother, Ben and was surprised when she kissed him and not Mr. Boston. She also found out that Mr. Boston and Pumkin, from Flavor of Love, were then dating. New York and Pumkin were not amicable on stage. New York and Pumkin start going at it. When Pumkin leaves the stage, New York says, "Bye, skank. Back to the trailer park." Rumor is that Pumkin called New York a "nigger" causing Sister Patterson to assault Pumkin. Pumkin backstage takes out her cell phone and shows a picture of her and New York making out, in attempt to embarrass New York. Heat and 12 Pack revealed that they have formed a partnership. Sister Patterson replied sarcastically that they make a "nice couple." Chance and Whiteboy had an argument with Tango, to which he told them to act on their threats (even telling Real to come up) and approach the stage. Chance stood up but almost immediately sat back down and even tried to tell Whiteboy to sit back down, but Whiteboy walked up to the stage and the security guards held him back. Wood came up to calm Whiteboy down as well. Tango was taken backstage where he made a threat to give them a "Tampa Bay ass-whupin'". This was similar to the way the girls on the Flavor of Love (season 2) reunion brawled in an attempt to attack at New York.

text: Tango Patrick S. Hunter and New York reunited to Macy Gray's "Glad You're Here" after not being able to see each other after the finale. Never before seen clips were shown of New York's reaction to Tango's proposal. He then went to get his "mother-in-law" while she still was confused and requested a drink. In an attempt to not tell her mother about the engagement, she hid the ring in her mouth. Sister Patterson found the ring and said it was too small. Tango became upset after watching the show and the comments New York made about his mother being too plain and overweight. He broke up with New York on stage, declaring that he originally came on the show to get to know Tiffany, the person; however, he received the notorious persona of "New York," which he had always dreaded. New York attempted to attack him and then made insulting comments about his appearance and physical assets, specifically calling him out on his inadequate penis size. She then cried onstage and said that she will not let it hurt her. She then told Chance that she should have chose him. La La comforted her by asking if she really wanted to be with someone like Tango. La La then ask New York if she knew in advance about Tango's decision to end the relationship to which New York replied "No". It was later revealed on VH1's website that Tango had already forgiven New York, before the reunion, for her remarks about his mother; however, the sudden angry attitude about her disrespecting his mother during the reunion show was just a plot to get himself out of the relationship he had committed to New York.

text: DVD release[edit]

text: The complete first season DVD was released October 2, 2007 for publicity for the second season. It contains all eleven episodes including the reunion special.[18] An Australian DVD was released on November 1, 2008.[19]

text: After the show[edit]

text:
12 Pack (David Amerman), Heat (Jason Rosell), Chance (Kamal Givens), Real (Ahmad Givens), Mr. Boston (Lee Marks) and Whiteboy (Joshua Gallander) appeared on the first season of I Love Money.
Bonez (Kevin Peters), Heat (Jason Rosell), Onix (William Lash), and T-Weed (Kevin Watson) appeared on the second season of I Love Money.
12 Pack (David Amerman) appeared on Daisy of Love.
Jason Rosell ("Heat") has appeared on Gilmore Girls,[20] also competed in I Love Money 1 and 2, as well as appearing in several movies and currently working on a 2011 film.
Mr. Boston (Lee Marks) made a guest appearance on I Love New York 2 and New York Goes to Work.
Real (Ahmad Givens) and Chance (Kamal Givens) made a guest appearance on I Love New York 2. The duo later appeared on their own VH1 dating game show entitled Real Chance of Love.
T-Weed (Kevin Watson) appeared in several films.[21]
Rico (Sandro Padrone) has starred in several pornographic videos under the alias "Marco Rivera".[22] He also appeared on an episode of Judge Joe Brown where he was ordered to pay his roommate (who claimed Padrone had stiffed him on rent for their Hollywood apartment) $3,130.[23]
Bonez (Keven Peters) was a contestant on an episode of Excused he was the last man standing out of all the three rounds of men who came to the door and in the end was Excused.
On February 20, 2015, Real (Ahmad Givens) died after his battle with stage 4 colon cancer at the age of 35.[24]


document_title: Ancient Roman architecture

question_text: what type of stone did the romans use

question_tokens: what type of stone did the romans use

root

text: Ancient Roman architecture

text: Overview[edit]

text: Despite the technical developments of the Romans, which took their buildings far away from the basic Greek conception where columns were needed to support heavy beams and roofs, they were very reluctant to abandon the classical orders in formal public buildings, even though these had become essentially decorative. However, they did not feel entirely restricted by Greek aesthetic concerns, and treated the orders with considerable freedom.

tag: p

text: Innovation started in the 3rd or 2nd century BC with the development of Roman concrete as a readily available adjunct to, or substitute for, stone and brick. More daring buildings soon followed, with great pillars supporting broad arches and domes. The freedom of concrete also inspired the colonnade screen, a row of purely decorative columns in front of a load-bearing wall. In smaller-scale architecture, concrete's strength freed the floor plan from rectangular cells to a more free-flowing environment.

text: Factors such as wealth and high population densities in cities forced the ancient Romans to discover new architectural solutions of their own. The use of vaults and arches, together with a sound knowledge of building materials, enabled them to achieve unprecedented successes in the construction of imposing infrastructure for public use. Examples include the aqueducts of Rome, the Baths of Diocletian and the Baths of Caracalla, the basilicas and Colosseum. These were reproduced at a smaller scale in most important towns and cities in the Empire. Some surviving structures are almost complete, such as the town walls of Lugo in Hispania Tarraconensis, now northern Spain. The administrative structure and wealth of the empire made possible very large projects even in locations remote from the main centres,[1] as did the use of slave labour, both skilled and unskilled.

text: Especially under the empire, architecture often served a political function, demonstrating the power of the Roman state in general, and of specific individuals responsible for building. Roman architecture perhaps reached its peak in the reign of Hadrian, whose many achievements include rebuilding the Pantheon in its current form and leaving his mark on the landscape of northern Britain with Hadrian's Wall.

text: Origins[edit]

text: While borrowing much from the preceding Etruscan architecture, such as the use of hydraulics and the construction of arches, Roman prestige architecture remained firmly under the spell of Ancient Greek architecture and the classical orders.[2] This came initially from Magna Graecia, the Greek colonies in southern Italy, and indirectly from Greek influence on the Etruscans, but after the Roman conquest of Greece directly from the best classical and Hellenistic examples in the Greek world. The influence is evident in many ways; for example, in the introduction and use of the Triclinium in Roman villas as a place and manner of dining. Roman builders employed Greeks in many capacities, especially in the great boom in construction in the early Empire.

text: Roman Architectural Revolution[edit]

text: The Roman Architectural Revolution, also known as the Concrete Revolution,[5][6][7] was the widespread use in Roman architecture of the previously little-used architectural forms of the arch, vault, and dome. For the first time in history, their potential was fully exploited in the construction of a wide range of civil engineering structures, public buildings, and military facilities. These included amphitheatres, aqueducts, baths, bridges, circuses, dams, domes, harbours, temples, and theatres.

text: A crucial factor in this development, which saw a trend toward monumental architecture, was the invention of Roman concrete (opus caementicium), which led to the liberation of shapes from the dictates of the traditional materials of stone and brick.[8]

text: These enabled the building of the many aqueducts throughout the empire, such as the Aqueduct of Segovia, the Pont du Gard, and the eleven aqueducts of Rome. The same concepts produced numerous bridges, some of which are still in daily use, for example the Puente Romano at Mérida in Spain, and the Pont Julien and the bridge at Vaison-la-Romaine, both in Provence, France.

text: The dome permitted construction of vaulted ceilings without crossbeams and made possible large covered public space such as public baths and basilicas, such as Hadrian's Pantheon, the Baths of Diocletian and the Baths of Caracalla, all in Rome.

text: The Romans first adopted the arch from the Etruscans, and implemented it in their own building. The use of arches that spring directly from the tops of columns was a Roman development, seen from the 1st century AD, that was very widely adopted in medieval Western, Byzantine and Islamic architecture.

text: Domes[edit]

text: The Romans were the first builders in the history of architecture to realize the potential of domes for the creation of large and well-defined interior spaces.[9] Domes were introduced in a number of Roman building types such as temples, thermae, palaces, mausolea and later also churches. Half-domes also became a favoured architectural element and were adopted as apses in Christian sacred architecture.

text: Monumental domes began to appear in the 1st century BC in Rome and the provinces around the Mediterranean Sea. Along with vaults, they gradually replaced the traditional post and lintel construction which makes use of the column and architrave. The construction of domes was greatly facilitated by the invention of concrete, a process which has been termed the Roman Architectural Revolution.[10] Their enormous dimensions remained unsurpassed until the introduction of structural steel frames in the late 19th century (see List of the world's largest domes).[9][11][12]

text: Influence on later architecture[edit]

text: Roman architecture supplied the basic vocabulary of Pre-Romanesque and Romanesque architecture, and spread across Christian Europe well beyond the old frontiers of the empire, to Ireland and Scandinavia for example. In the East, Byzantine architecture developed new styles of churches, but most other buildings remained very close to Late Roman forms. The same can be said in turn of Islamic architecture, where Roman forms long continued, especially in private buildings such as houses and the Turkish bath, and civil engineering such as fortifications and bridges.

text: In Europe the Italian Renaissance saw a conscious revival of correct classical styles, initially purely based on Roman examples. Vitruvius was respectfully reinterpreted by a series of architectural writers, and the Tuscan and Composite orders formalized for the first time, to give five rather than three orders. After the flamboyance of Baroque architecture, the Neoclassical architecture of the 18th century revived purer versions of classical style, and for the first time added direct influence from the Greek world.

text: Numerous local classical styles developed, such as Palladian architecture, Georgian architecture and Regency architecture in the English-speaking world, Federal architecture in the United States, and later Stripped Classicism and PWA Moderne.

text: Roman influences may be found around us today, in banks, government buildings, great houses, and even small houses, perhaps in the form of a porch with Doric columns and a pediment or in a fireplace or a mosaic shower floor derived from a Roman original, often from Pompeii or Herculaneum. The mighty pillars, domes and arches of Rome echo in the New World too, where in Washington DC we see them in the Capitol Building, the White House, the Lincoln Memorial and other government buildings. All across the US the seats of regional government were normally built in the grand traditions of Rome, with vast flights of stone steps sweeping up to towering pillared porticoes, with huge domes gilded or decorated inside with the same or similar themes that were popular in Rome.

text: In Britain, a similar enthusiasm has seen the construction of thousands of neo-Classical buildings over the last five centuries, both civic and domestic, and many of the grandest country houses and mansions are purely Classical in style, an obvious example being Buckingham Palace.

text: Materials[edit]

text: Stone[edit]

text: Marble is not found especially close to Rome, and was only rarely used there before Augustus, who famously boasted that he had found Rome made of brick and left it made of marble, though this was mainly as a facing for brick or concrete. The Temple of Hercules Victor of the late 2nd century BC is the earliest surviving exception in Rome. From Augustus' reign the quarries at Carrara were extensively developed for the capital, and other sources around the empire exploited,[13] especially the prestigious Greek marbles like Parian. Travertine limestone was found much closer, around Tivoli, and was used from the end of the Republic; the Colosseum is mainly built of this stone, which has good load-bearing capacity, with a brick core.[14] Other more or less local stones were used around the empire.[15]

text: The Romans were extremely fond of luxury imported coloured marbles with fancy veining, and the interiors of the most important buildings were very often faced with slabs of these, which have usually now been removed even where the building survives. Imports from Greece for this purpose began in the 2nd century BC.[16]

text: Roman brick[edit]

text: The Romans made fired clay bricks from about the beginning of the Empire, replacing earlier sun-dried mud-brick. Roman brick was almost invariably of a lesser height than modern brick, but was made in a variety of different shapes and sizes.[17] Shapes included square, rectangular, triangular and round, and the largest bricks found have measured over three feet in length.[18] Ancient Roman bricks had a general size of 1½ Roman feet by 1 Roman foot, but common variations up to 15 inches existed. Other brick sizes in ancient Rome included 24" x 12" x 4", and 15" x 8" x 10". Ancient Roman bricks found in France measured 8" x 8" x 3". The Constantine Basilica in Trier is constructed from Roman bricks 15" square by 1½" thick.[19] There is often little obvious difference (particularly when only fragments survive) between Roman bricks used for walls on the one hand, and tiles used for roofing or flooring on the other, so archaeologists sometimes prefer to employ the generic term ceramic building material (or CBM).

text: The Romans perfected brick-making during the first century of their empire and used it ubiquitously, in public and private construction alike. The Romans took their brickmaking skills everywhere they went, introducing the craft to the local populations.[19] The Roman legions, which operated their own kilns, introduced bricks to many parts of the empire; bricks are often stamped with the mark of the legion that supervised their production. The use of bricks in southern and western Germany, for example, can be traced back to traditions already described by the Roman architect Vitruvius. In the British Isles, the introduction of Roman brick by the ancient Romans was followed by a 600–700 year gap in major brick production.

text: Roman concrete[edit]

text: Concrete quickly supplanted brick as the primary building material,[citation needed] and more daring buildings soon followed, with great pillars supporting broad arches and domes rather than dense lines of columns suspending flat architraves. The freedom of concrete also inspired the colonnade screen, a row of purely decorative columns in front of a load-bearing wall. In smaller-scale architecture, concrete's strength freed the floor plan from rectangular cells to a more free-flowing environment.[citation needed] Most of these developments are described by Vitruvius, writing in the first century AD in his work De Architectura.

text: Although concrete had been used on a minor scale in Mesopotamia, Roman architects perfected Roman concrete and used it in buildings where it could stand on its own and support a great deal of weight. The first use of concrete by the Romans was in the town of Cosa sometime after 273 BC. Ancient Roman concrete was a mixture of lime mortar, aggregate, pozzolana, water, and stones, and was stronger than previously-used concretes. The ancient builders placed these ingredients in wooden frames where they hardened and bonded to a facing of stones or (more frequently) bricks. The aggregates used were often much larger than in modern concrete, amounting to rubble.

text: When the framework was removed, the new wall was very strong, with a rough surface of bricks or stones. This surface could be smoothed and faced with an attractive stucco or thin panels of marble or other coloured stones called revetment. Concrete construction proved to be more flexible and less costly than building solid stone buildings. The materials were readily available and not difficult to transport. The wooden frames could be used more than once, allowing builders to work quickly and efficiently. Concrete is arguably the Roman contribution most relevant to modern architecture.

text: City design[edit]

text: The ancient Romans employed regular orthogonal structures on which they molded their colonies.[20][21] [22] They probably were inspired by Greek and Hellenic examples, as well as by regularly planned cities that were built by the Etruscans in Italy.[23] (see Marzabotto)

text: The Romans used a consolidated scheme for city planning, developed for military defense and civil convenience. The basic plan consisted of a central forum with city services, surrounded by a compact, rectilinear grid of streets, and wrapped in a wall for defense. To reduce travel times, two diagonal streets crossed the square grid, passing through the central square. A river usually flowed through the city, providing water, transport, and sewage disposal.[24] Hundreds of towns and cities were built by the Romans throughout their empire. Many European towns, such as Turin, preserve the remains of these schemes, which show the very logical way the Romans designed their cities. They would lay out the streets at right angles, in the form of a square grid. All roads were equal in width and length, except for two, which were slightly wider than the others. One of these ran east–west, the other, north–south, and they intersected in the middle to form the center of the grid. All roads were made of carefully fitted flag stones and filled in with smaller, hard-packed rocks and pebbles. Bridges were constructed where needed. Each square marked off by four roads was called an insula, the Roman equivalent of a modern city block.

text: Each insula was 80 yards (73 m) square, with the land within it divided. As the city developed, each insula would eventually be filled with buildings of various shapes and sizes and crisscrossed with back roads and alleys. Most insulae were given to the first settlers of a Roman city, but each person had to pay to construct his own house.

text: The city was surrounded by a wall to protect it from invaders and to mark the city limits. Areas outside city limits were left open as farmland. At the end of each main road was a large gateway with watchtowers. A portcullis covered the opening when the city was under siege, and additional watchtowers were constructed along the city walls. An aqueduct was built outside the city walls.

text: The development of Greek and Roman urbanization is relatively well-known, as there are relatively many written sources, and there has been much attention to the subject, since the Romans and Greeks are generally regarded as the main ancestors of modern Western culture. It should not be forgotten, though, that the Etruscans had many considerable towns and there were also other cultures with more or less urban settlements in Europe, primarily of Celtic origin.[25]

text: Building types[edit]

text: Amphitheatre[edit]

text: The amphitheatre was, with the triumphal arch and basilica, the only major new type of building developed by the Romans.[26] Some of the most impressive secular buildings are the amphitheatres, over 200 being known and many of which are well preserved, such as that at Arles, as well as its progenitor, the Colosseum in Rome. They were used for gladiatorial contests, public displays, public meetings and bullfights, the tradition of which still survives in Spain. Their typical shape, functions and name distinguish them from Roman theatres, which are more or less semicircular in shape; from the circuses (akin to hippodromes) whose much longer circuits were designed mainly for horse or chariot racing events; and from the smaller stadia, which were primarily designed for athletics and footraces.[27]

text: The earliest Roman amphitheatres date from the middle of the first century BC, but most were built under Imperial rule, from the Augustan period (27 BC–14 AD) onwards.[28] Imperial amphitheatres were built throughout the Roman empire; the largest could accommodate 40,000–60,000 spectators, and the most elaborate featured multi-storeyed, arcaded façades and were elaborately decorated with marble, stucco and statuary.[29] After the end of gladiatorial games in the 5th century and of animal killings in the 6th, most amphitheatres fell into disrepair, and their materials were mined or recycled. Some were razed, and others converted into fortifications. A few continued as convenient open meeting places; in some of these, churches were sited.[30]

text: Architecturally, they are typically an example of the Roman use of the classical orders to decorate large concrete walls pierced at intervals, where the columns have nothing to support. Aesthetically, however, the formula is successful.

text: Basilica[edit]

text: The Roman basilica was a large public building where business or legal matters could be transacted. They were normally where the magistrates held court, and used for other official ceremonies, having many of the functions of the modern town hall. The first basilicas had no religious function at all. As early as the time of Augustus, a public basilica for transacting business had been part of any settlement that considered itself a city, used in the same way as the late medieval covered market houses of northern Europe, where the meeting room, for lack of urban space, was set above the arcades, however. Although their form was variable, basilicas often contained interior colonnades that divided the space, giving aisles or arcaded spaces on one or both sides, with an apse at one end (or less often at each end), where the magistrates sat, often on a slightly raised dais. The central aisle tended to be wide and was higher than the flanking aisles, so that light could penetrate through the clerestory windows.

text: The oldest known basilica, the Basilica Porcia, was built in Rome in 184 BC by Cato the Elder during the time he was Censor. Other early examples include the basilica at Pompeii (late 2nd century BC). After Christianity became the official religion, the basilica shape was found appropriate for the first large public churches, with the attraction of avoiding reminiscences of the Greco-Roman temple form.

text: Circus[edit]

text: The Roman circus was a large open-air venue used for public events in the ancient Roman Empire. The circuses were similar to the ancient Greek hippodromes, although circuses served varying purposes and differed in design and construction. Along with theatres and amphitheatres, Circuses were one of the main entertainment sites of the time. Circuses were venues for chariot races, horse races, and performances that commemorated important events of the empire were performed there. For events that involved re-enactments of naval battles, the circus was flooded with water.

text: The performance space of the Roman circus was normally, despite its name, an oblong rectangle of two linear sections of race track, separated by a median strip running along the length of about two thirds the track, joined at one end with a semicircular section and at the other end with an undivided section of track closed (in most cases) by a distinctive starting gate known as the carceres, thereby creating a circuit for the races.

text: Forum[edit]

text: A forum was a central public open space in a Roman municipium, or any civitas, primarily used as a marketplace, along with the buildings used for shops and the stoas used for open stalls. Other large public buildings were often sited at the edges or close by. Many forums were constructed at remote locations along a road by the magistrate responsible for the road, in which case the forum was the only settlement at the site and had its own name, such as Forum Popili or Forum Livi.[31]

text: During the years of the Republic, Augustus claimed he "found the city in brick and left it in marble".[32] While chances are high that this was an exaggeration, there is something to be said for the influx of marble use in Roman Forum from 63 BC onwards. During Augustus reign, the Forum was described to have been "a larger, freer space than was the Forum of imperial times."[33] The Forum began to take on even more changes upon the arrival of Julius Casear who drew out extensive plans for the market hub. While Casear's death came prematurely, the ideas himself, as well as Augustus had in regards to the Forum proved to be the most influential for years to come. According to Walter Dennison's The Roman Forum As Cicero Saw It, the author writes that "the diverting of public business to the larger and splendid imperial fora erected in the vicinity resulted in leaving the general design of the Forum Romanum".[33]

text: Every city had at least one forum of varying size. In addition to its standard function as a marketplace, a forum was a gathering place of great social significance, and often the scene of diverse activities, including political discussions and debates, rendezvous, meetings, etc. Much the best known example is the Roman Forum, the earliest of several in Rome.

text: In new Roman towns the forum was usually located at, or just off, the intersection of the main north-south and east-west streets (the cardo and decumanus). All forums would have a Temple of Jupiter at the north end, and would also contain other temples, as well as the basilica; a public weights and measures table, so customers at the market could ensure they were not being sold short measures; and would often have the baths nearby.

text: Horreum[edit]

text: A horreum was a type of public warehouse used during the ancient Roman period. Although the Latin term is often used to refer to granaries, Roman horrea were used to store many other types of consumables; the giant Horrea Galbae in Rome were used not only to store grain but also olive oil, wine, foodstuffs, clothing and even marble.[34] By the end of the imperial period, the city of Rome had nearly 300 horrea to supply its demands.[35] The biggest were enormous, even by modern standards; the Horrea Galbae contained 140 rooms on the ground floor alone, covering an area of some 225,000 square feet (21,000 m²).[36]

text: The first horrea were built in Rome towards the end of the 2nd century BC,[37] with the first known public horreum being constructed by the ill-fated tribune, Gaius Gracchus in 123 BC.[38] The word came to be applied to any place designated for the preservation of goods; thus it was often used refer to cellars (horrea subterranea), but it could also be applied to a place where artworks were stored,[39] or even to a library.[40] Some public horrea functioned somewhat like banks, where valuables could be stored, but the most important class of horrea were those where foodstuffs such as grain and olive oil were stored and distributed by the state.[41]

text: The word itself is thought to have linguist roots tied to the word hordeum which in Latin means 'barley'.[42] In the John's Hopkin's University Press, The Classical Weekly states that "Pliny the Elder does indeed make a distinction between the two words6. He describes the horreum as a structure made of brick, the walls of which were not less than three feet thick; it had no windows or openings for ventilation".[43] Furthermore, the storehouses would also host oil and wine and also utilize large jars that could serve as cache's for large amounts of products.These storehouses were also used to house keep large sums of money and were used much like personal storage units today are. Romans were "These horrea were divided and subdivided, so that one could hire only so much space as one wanted, a whole room (cella), a closet (armarium), or only a chest or strong box (arca, arcula, locus, loculus)."[43]

text: Insula[edit]

text: Multi-story apartment blocks called insulae catered to a range of residential needs. The cheapest rooms were at the top owing to the inability to escape in the event of a fire and the lack of piped water. Windows were mostly small, facing the street, with iron security bars. Insulae were often dangerous, unhealthy, and prone to fires because of overcrowding and haphazard cooking arrangements.[citation needed] There are examples in the Roman port town of Ostia, that date back to the reign of Trajan, but they seem to have been found only in Rome and a few other places. Elsewhere writers report them as something remarkable, but Livy and Vituvius refer to them in Rome.[44] External walls were in "Opus Reticulatum" and interiors in "Opus Incertum", which would then be plastered and sometimes painted.

text: To lighten up the small dark rooms, tenants able to afford a degree of painted colourful murals on the walls. Examples have been found of jungle scenes with wild animals and exotic plants. Imitation windows (trompe l'oeil) were sometimes painted to make the rooms seem less confined.

text: Ancient Rome had elaborate and luxurious houses owned by the elite. The average house, or in cities apartment, of a commoner or plebe did not contain many luxuries. The domus, or single-family residence, was only for the well-off in Rome, with most having a layout of the closed unit, consisting of one or two rooms. Between 312 and 315 A.D. Rome had 1781 domus and 44,850 of insulae.[45]

text: Insulae have been the subject of great debate for historians of Roman culture, defining the various meanings of the word.[46] Insula was a word used to describe apartment buildings, or the apartments themselves,[47] meaning apartment, or inhabitable room, demonstrating just how small apartments for Plebes were. Urban divisions were originally street blocks, and later began to divide into smaller divisions, the word insula referring to both blocks and smaller divisions. The insula contained cenacula, tabernae, storage rooms under the stairs, and lower floor shops. Another type of housing unit for Plebes was a cenaculum, an apartment, divided into three individual rooms: cubiculum, exedra, and medianum. Common Roman apartments were mainly masses of smaller and larger structures, many with narrow balconies that present mysteries as to their use, having no doors to access them, and they lacked the excessive decoration and display of wealth that aristocrats’ houses contained. Luxury in houses was not common, as the life of the average person did not consist of being in their houses, as they instead would go to public baths, and engage in other communal activities.

text: Lighthouses[edit]

text: Many lighthouses were built around the Mediterranean and the coasts of the empire, including the Tower of Hercules at A Coruña in northern Spain, a structure which survives to this day. A smaller lighthouse at Dover, England also exists as a ruin about half the height of the original. The light would have been provided by a fire at the top of the structure.

text: Thermae[edit]

text: All Roman cities had at least one thermae, a popular facility for public bathing, exercising and socializing. Exercise might include wrestling and weight-lifting, as well as swimming. Bathing was an important part of the Roman day, where some hours might be spent, at a very low cost subsidized by the government. Wealthier Romans were often accompanied by one or more slaves, who performed any required tasks such as fetching refreshment, guarding valuables, providing towels, and at the end of the session, applying olive oil to their masters' bodies which was then scraped off with a strigil, a scraper made of wood or bone. Romans did not wash with soap and water as we do now.

text: Roman bath-houses were also provided for private villas, town houses and forts. They were normally supplied with water from an adjacent river or stream, or by aqueduct. The design of thermae is discussed by Vitruvius in De Architectura.

text: Temples[edit]

text: Roman temples were among the most important and richest buildings in Roman culture, though only a few survive in any sort of complete state. Their construction and maintenance was a major part of ancient Roman religion, and all towns of any importance had at least one main temple, as well as smaller shrines. The main room (cella) housed the cult image of the deity to whom the temple was dedicated, and often a small altar for incense or libations. Behind the cella was a room or rooms used by temple attendants for storage of equipment and offerings.

text: Some remains of many Roman temples survive, above all in Rome itself, but the relatively few near-complete examples were nearly all converted to Christian churches (and sometimes subsequently to mosques), usually a considerable time after the initial triumph of Christianity under Constantine. The decline of Roman religion was relatively slow, and the temples themselves were not appropriated by the government until a decree of the Emperor Honorius in 415. Some of the oldest surviving temples include the Temple of Hercules Victor (mid 2nd century BC) and Temple of Portunus (120-80 BC), both standing within the Forum Boarium.

text: The form of the Roman temple was mainly derived from the Etruscan model, but using Greek styles. Roman temples emphasised the front of the building, which followed Greek temple models and typically consisted of wide steps leading to a portico with columns, a pronaos, and usually a triangular pediment above, which was filled with statuary in the most grand examples; this was as often in terracotta as stone, and no examples have survived except as fragments. However, unlike the Greek models, which generally gave equal treatment to all sides of the temple, which could be viewed and approached from all directions, the sides and rear of Roman temples might be largely undecorated (as in the Pantheon, Rome and Vic), inaccessible by steps (as in the Maison Carrée and Vic), and even back on to other buildings. As in the Maison Carrée, columns at the side might be half-columns, emerging from ("engaged with" in architectural terminology) the wall.[48] The platform on which the temple sat was typically raised higher in Roman examples than Greek, with up ten or twelve or more steps rather than the three typical in Greek temples; the Temple of Claudius was raised twenty steps. These steps were normally only at the front, and typically not the whole width of that.

text: The Greek classical orders in all their details were closely followed in the façades of temples, as in other prestigious buildings. However the idealized proportions between the different elements set out by the only significant Roman writer on architecture to survive, Vitruvius, and subsequent Italian Renaissance writers, do not reflect actual Roman practice, which could be very variable, though always aiming at balance and harmony. Following a Hellenistic trend, the Corinthian order and its variant the Composite order were most common in surviving Roman temples, but for small temples like that at Alcántara, a simple Tuscan order could be used.[49]

text: There was considerable local variation in style, as Roman architects often tried to incorporate elements the population expected in its sacred architecture. This was especially the case in Egypt and the Near East, where different traditions of large stone temples were already millennia old. The Romano-Celtic temple was a simple style for small temples found in the Western Empire, and by far the most common type in Roman Britain. It often lacked any of the distinctive classical features, and may have had considerable continuity with pre-Roman temples of the Celtic religion.

text: Theatres[edit]

text: Roman theatres were built in all areas of the empire from Spain, to the Middle East. Because of the Romans' ability to influence local architecture, we see numerous theatres around the world with uniquely Roman attributes.[50]

text: These buildings were semi-circular and possessed certain inherent architectural structures, with minor differences depending on the region in which they were constructed. The scaenae frons was a high back wall of the stage floor, supported by columns. The proscaenium was a wall that supported the front edge of the stage with ornately decorated niches off to the sides. The Hellenistic influence is seen through the use of the proscaenium. The Roman theatre also had a podium, which sometimes supported the columns of the scaenae frons. The scaenae was originally not part of the building itself, constructed only to provide sufficient background for the actors. Eventually, it became a part of the edifice itself, made out of concrete. The theatre itself was divided into the stage (orchestra) and the seating section (auditorium). Vomitoria or entrances and exits were made available to the audience.[51]

text: Villa[edit]

text: A Roman villa was a country house built for the upper class, while a domus was a wealthy family's house in a town. The Empire contained many kinds of villas, not all of them lavishly appointed with mosaic floors and frescoes. In the provinces, any country house with some decorative features in the Roman style may be called a "villa" by modern scholars.[52] Some were pleasure palaces such as those— like Hadrian's Villa at Tivoli— that were situated in the cool hills within easy reach of Rome or— like the Villa of the Papyri at Herculaneum— on picturesque sites overlooking the Bay of Naples. Some villas were more like the country houses of England or Poland, the visible seat of power of a local magnate, such as the famous palace rediscovered at Fishbourne in Sussex.

text: Suburban villas on the edge of cities were also known, such as the Middle and Late Republican villas that encroached on the Campus Martius, at that time on the edge of Rome, and which can be also seen outside the city walls of Pompeii, including the Villa of the Mysteries, famous for its frescos. These early suburban villas, such as the one at Rome's Auditorium site[53] or at Grottarossa in Rome, demonstrate the antiquity and heritage of the villa suburbana in Central Italy. It is possible that these early, suburban villas were also in fact the seats of power (maybe even palaces) of regional strongmen or heads of important families (gentes).

text: A third type of villa provided the organizational center of the large farming estates called latifundia; such villas might be lacking in luxuries. By the 4th century, villa could simply mean an agricultural estate or holding: Jerome translated the Gospel of Mark (xiv, 32) chorion, describing the olive grove of Gethsemane, with villa, without an inference that there were any dwellings there at all (Catholic Encyclopedia "Gethsemane").

text: With the colossal Diocletian's Palace, built in the countryside but later turned into a fortified city, a form of residential castle emerges, that anticipates the Middle Ages.

text: Watermills[edit]

text: The initial invention of the watermill appears to have occurred in the hellenized eastern Mediterranean in the wake of the conquests of Alexander the Great and the rise of Hellenistic science and technology.[54][55][56] In the subsequent Roman era, the use of water-power was diversified and different types of watermills were introduced. These include all three variants of the vertical water wheel as well as the horizontal water wheel.[57][58] Apart from its main use in grinding flour, water-power was also applied to pounding grain,[59][60][61] crushing ore,[62] sawing stones[63] and possibly fulling and bellows for iron furnaces.[64]

text: Decorative structures[edit]

text: Monoliths[edit]

text: In architecture, a monolith is a structure which has been excavated as a unit from a surrounding matrix or outcropping of rock.[65] Monoliths are found in all types of Roman buildings. They were either: quarried without being moved; or quarried and moved; or quarried, moved and lifted clear off the ground into their position (e.g. architraves); or quarried, moved and erected in an upright position (e.g. columns).

text: Transporting was done by land or water (or a combination of both), in the later case often by special-built ships such as obelisk carriers.[66] For lifting operations, ancient cranes were employed since ca. 515 BC,[67] such as in the construction of Trajan's Column.[68]

text: Obelisks[edit]

text: An obelisk is a tall, four-sided, narrow tapering monument which ends in a pyramid-like shape at the top. These were originally called "tekhenu" by the builders, the ancient Egyptians. The Greeks who saw them used the Greek 'obeliskos' to describe them, and this word passed into Latin and then English.[69] The Romans commissioned obelisks in an ancient Egyptian style. Examples include:

text:
Arles, France – the Arles Obelisk, in Place de la République, a 4th-century obelisk of Roman origin
Benevento, Italy – three Roman obelisks[70][71]
Munich – obelisk of Titus Sextius Africanus, Staatliches Museum Ägyptischer Kunst, Kunstareal, 1st century AD, 5.80 m
Rome – there are five ancient Roman obelisks in Rome.

tag: ul

text: Roman gardens[edit]

text: Roman gardens were influenced by Egyptian, Persian, and Greek gardening techniques. In Ancient Latium, a garden was part of every farm. According to Cato the Elder, every garden should be close to the house and should have flower beds and ornamental trees.[72] Horace wrote that during his time flower gardens became a national indulgence.[73]

text: Gardens were not reserved for the extremely wealthy. Excavations in Pompeii show that gardens attaching to residences were scaled down to meet the space constraints of the home of the average Roman. Modified versions of Roman garden designs were adopted in Roman settlements in Africa, Gaul, and Britannia. As town houses were replaced by tall insula (apartment buildings), these urban gardens were replaced by window boxes or roof gardens.[citation needed]

text: Triumphal arch[edit]

text: A triumphal arch is a monumental structure in the shape of an archway with one or more arched passageways, often designed to span a road. The origins of the Roman triumphal arch are unclear. There were precursors to the triumphal arch within the Roman world; in Italy, the Etruscans used elaborately decorated single bay arches as gates or portals to their cities. Surviving examples of Etruscan arches can still be seen at Perugia and Volterra.[74] The two key elements of the triumphal arch – a round-topped arch and a square entablature – had long been in use as separate architectural elements in ancient Greece.

text: The innovation of the Romans was to use these elements in a single free-standing structure. The columns became purely decorative elements on the outer face of arch, while the entablature, liberated from its role as a building support, became the frame for the civic and religious messages that the arch builders wished to convey.[75] Little is known about how the Romans viewed triumphal arches. Pliny the Elder, writing in the first century AD, was the only ancient author to discuss them.[76] He wrote that they were intended to "elevate above the ordinary world" an image of an honoured person usually depicted in the form of a statue with a quadriga.[76]

text: The first recorded Roman triumphal arches were set up in the time of the Roman Republic.[77] Generals who were granted a triumph were termed triumphators and would erect fornices or honorific arches bearing statues to commemorate their victories.[78] Roman triumphal practices changed significantly at the start of the imperial period when the first Roman Emperor Augustus decreed that only emperors would be granted triumphs. The triumphal arch changed from being a personal monument to being an essentially propagandistic one, serving to announce and promote the presence of the ruler and the laws of the state.[74] Arches were not necessarily built as entrances, but – unlike many modern triumphal arches – they were often erected across roads and were intended to be passed through, not round.[79]

text: Most Roman triumphal arches were built during the imperial period. By the fourth century AD there were 36 such arches in Rome, of which three have survived – the Arch of Titus (AD 81), the Arch of Septimius Severus (203-205) and the Arch of Constantine (312). Numerous arches were built elsewhere in the Roman Empire.[77] The single arch was the most common, but many triple arches were also built, of which the Triumphal Arch of Orange (circa AD 21) is the earliest surviving example. From the 2nd century AD, many examples of the arcus quadrifrons – a square triumphal arch erected over a crossroads, with arched openings on all four sides – were built, especially in North Africa. Arch-building in Rome and Italy diminished after the time of Trajan (AD 98-117) but remained widespread in the provinces during the 2nd and 3rd centuries AD; they were often erected to commemorate imperial visits.[78]

text: The ornamentation of an arch was intended to serve as a constant visual reminder of the triumph and triumphator. The façade was ornamented with marble columns, and the piers and attics with decorative cornices. Sculpted panels depicted victories and achievements, the deeds of the triumphator, the captured weapons of the enemy or the triumphal procession itself. The spandrels usually depicted flying Victories, while the attic was often inscribed with a dedicatory inscription naming and praising the triumphator. The piers and internal passageways were also decorated with reliefs and free-standing sculptures. The vault was ornamented with coffers. Some triumphal arches were surmounted by a statue or a currus triumphalis, a group of statues depicting the emperor or general in a quadriga.[74][78]

text: Inscriptions on Roman triumphal arches were works of art in themselves, with very finely cut, sometimes gilded letters. The form of each letter and the spacing between them was carefully designed for maximum clarity and simplicity, without any decorative flourishes, emphasizing the Roman taste for restraint and order. This conception of what later became the art of typography remains of fundamental importance down to the present day.[79]

text: Victory columns[edit]

text: Infrastructure[edit]

text: Roads[edit]

text: Roman roads were vital to the maintenance and development of the Roman state, and were built from about 500 BC through the expansion and consolidation of the Roman Republic and the Roman Empire.[80] They provided efficient means for the overland movement of armies, officials and civilians, and the inland carriage of official communications and trade goods.[81] At the peak of Rome's development, no fewer than 29 great military highways radiated from the capital, and the Late Empire's 113 provinces were interconnected by 372 great road links.[82][83] Roman road builders aimed at a regulation width (see Laws and standards above), but actual widths have been measured at between 3.6 ft (1.1 m) and more than 23 ft (7.0 m). Today, the concrete has worn from the spaces around the stones, giving the impression of a very bumpy road, but the original practice was to produce a surface that was no doubt much closer to being flat.

text: Aqueduct[edit]

text: The Romans constructed numerous aqueducts in order to bring water from distant sources into their cities and towns, supplying public baths, latrines, fountains and private households. Waste water was removed by complex sewage systems and released into nearby bodies of water, keeping the towns clean and free from effluent. Aqueducts also provided water for mining operations, milling, farms and gardens.

text: Aqueducts moved water through gravity alone, being constructed along a slight downward gradient within conduits of stone, brick or concrete. Most were buried beneath the ground, and followed its contours; obstructing peaks were circumvented or, less often, tunnelled through. Where valleys or lowlands intervened, the conduit was carried on bridgework, or its contents fed into high-pressure lead, ceramic or stone pipes and siphoned across. Most aqueduct systems included sedimentation tanks, sluices and distribution tanks to regulate the supply at need.

text: Rome's first aqueduct supplied a water-fountain sited at the city's cattle market. By the third century AD, the city had eleven aqueducts, sustaining a population of over a million in a water-extravagant economy; most of the water supplied the city's many public baths. Cities and municipalities throughout the Roman Empire emulated this model, and funded aqueducts as objects of public interest and civic pride, "an expensive yet necessary luxury to which all could, and did, aspire."[84]

text: Most Roman aqueducts proved reliable, and durable; some were maintained into the early modern era, and a few are still partly in use. Methods of aqueduct surveying and construction are noted by Vitruvius in his work De Architectura (1st century BC). The general Frontinus gives more detail in his official report on the problems, uses and abuses of Imperial Rome's public water supply. Notable examples of aqueduct architecture include the supporting piers of the Aqueduct of Segovia, and the aqueduct-fed cisterns of Constantinople.

text: Bridges[edit]

text: Roman bridges, built by ancient Romans, were the first large and lasting bridges built.[85] Roman bridges were built with stone and had the arch as the basic structure (see arch bridge). Most utilized concrete as well, which the Romans were the first to use for bridges.

text: Roman arch bridges were usually semicircular, although a few were segmental (such as Alconétar Bridge). A segmental arch is an arch that is less than a semicircle.[86] The advantages of the segmental arch bridge were that it allowed great amounts of flood water to pass under it, which would prevent the bridge from being swept away during floods and the bridge itself could be more lightweight. Generally, Roman bridges featured wedge-shaped primary arch stones (voussoirs) of the same in size and shape. The Romans built both single spans and lengthy multiple arch aqueducts, such as the Pont du Gard and Segovia Aqueduct. Their bridges featured from an early time onwards flood openings in the piers, e.g. in the Pons Fabricius in Rome (62 BC), one of the world's oldest major bridges still standing. Roman engineers were the first and until the industrial revolution the only ones to construct bridges with concrete, which they called Opus caementicium. The outside was usually covered with brick or ashlar, as in the Alcántara bridge.

text: The Romans also introduced segmental arch bridges into bridge construction. The 330 m long Limyra Bridge in southwestern Turkey features 26 segmental arches with an average span-to-rise ratio of 5.3:1,[87] giving the bridge an unusually flat profile unsurpassed for more than a millennium. Trajan's bridge over the Danube featured open-spandrel segmental arches made of wood (standing on 40 m high concrete piers). This was to be the longest arch bridge for a thousand years both in terms of overall and individual span length, while the longest extant Roman bridge is the 790 m long Puente Romano at Mérida.

text: Canals[edit]

text: Roman canals were typically multi-purpose structures, intended for irrigation, drainage, land reclamation, flood control and navigation where feasible. Some navigational canals were recorded by ancient geographers and are still traceable by modern archaeology. Channels which served the needs of urban water supply are covered at the List of aqueducts in the Roman Empire.

text: Cisterns[edit]

text: Freshwater reservoirs were commonly set up at the termini of aqueducts and their branch lines, supplying urban households, agricultural estates, imperial palaces, thermae or naval bases of the Roman navy.[88]

text: Dams[edit]

text: Roman dam construction began in earnest in the early imperial period.[89] For the most part, it concentrated on the semi-arid fringe of the empire, namely the provinces of North Africa, the Near East, and Hispania.[90] [91][92] The relative abundance of Spanish dams below is due partly to more intensive field work there; for Italy only the Subiaco Dams, created by emperor Nero (54–68 AD) for recreational purposes, are attested.[93][89] These dams are noteworthy, though, for their extraordinary height, which remained unsurpassed anywhere in the world until the Late Middle Ages.[89]

text: The most frequent dam types were earth- or rock-filled embankment dams and masonry gravity dams.[94] These served a wide array of purposes, such as irrigation, flood control, river diversion, soil-retention, or a combination of these functions.[95] The impermeability of Roman dams was increased by the introduction of waterproof hydraulic mortar and especially opus caementicium in the Concrete Revolution. These materials also allowed for bigger structures to be built,[96] like the Lake Homs Dam, possibly the largest water barrier today,[97] and the sturdy Harbaqa Dam, both of which consist of a concrete core.

text: Roman builders were the first to realize the stabilizing effect of arches and buttresses, which they integrated into their dam designs. Previously unknown dam types introduced by the Romans include arch-gravity dams,[92][98] arch dams,;[99][100][101] [102][103] buttress dams,[104] and multiple-arch buttress dams.[105][106][98][107]

text: Defensive walls[edit]

text: The Romans generally fortified cities, rather than fortresses, but there are some fortified camps, such as the Saxon Shore forts like Porchester Castle in England. City walls were already significant in Etruscan architecture, and in the struggle for control of Italy under the early Republic many more were built, using different techniques. These included tightly-fitting massive irregular polygonal blocks, shaped to fit exactly in a way reminiscent of later Inca work. The Romans called a simple rampart wall an agger; at this date great height was not necessary. The Servian Wall around Rome was an ambitious project of the early 4th century BC. The wall was up to 10 metres (32.8 ft) in height in places, 3.6 metres (12 ft) wide at its base, 11 km (7 mi) long,[108] and is believed to have had 16 main gates, though many of these are mentioned only from writings, with no other known remains. Some of it had a fossa or ditch in front, and an agger behind, and it was enough to deter Hannibal. Later the Aurelian Wall replaced it, enclosing an expanded city, and using more sophisticated designs, with small forts at intervals.

text: The Romans walled major cities and towns in areas they saw as vulnerable, and parts of many walls remain incorporated in later defences, as at Córdoba (2nd century BC), Chester (earth and wood in the 70s AD, stone from c. 100), and York (from 70s AD). Strategic walls across open country were far rarer, and Hadrian's Wall (from 122) and the Antonine Wall (from 142, abandoned only 8 years after completion) are the most significant examples, both on the Pictish frontier.

text: Architectural features[edit]

text: Mosaics[edit]

text: On his return from campaigns in Greece, the general Sulla brought back what is probably the most well-known element of the early imperial period, the mosaic, a decoration made of colourful chips of stone inserted into cement. This tiling method took the empire by storm in the late first century and the second century and in the Roman home joined the well known mural in decorating floors, walls, and grottoes with geometric and pictorial designs.

text: There were two main techniques in Greco-Roman mosaic: opus vermiculatum used tiny tesserae, typically cubes of 4 millimeters or less, and was produced in workshops in relatively small panels which were transported to the site glued to some temporary support. The tiny tesserae allowed very fine detail, and an approach to the illusionism of painting. Often small panels called emblemata were inserted into walls or as the highlights of larger floor-mosaics in coarser work. The normal technique, however, was opus tessellatum, using larger tesserae, which were laid on site.[109] There was a distinct native Italian style using black on a white background, which was no doubt cheaper than fully coloured work.[110]

text: A specific genre of Roman mosaic obtained the name asaroton (Greek "unswept floor"). It represented an optical illusion of the leftovers from a feast on the floor of reach houses.[111]

text: Hypocaust[edit]

text: A hypocaust was an ancient Roman system of underfloor heating, used to heat houses with hot air. The Roman architect Vitruvius, writing about the end of the 1st century B.C., attributes their invention to Sergius Orata. Many remains of Roman hypocausts have survived throughout Europe, western Asia, and northern Africa. The hypocaust was an invention which improved the hygiene and living conditions of citizens, and was a forerunner of modern central heating.

text: Hypocausts were used for heating hot baths (thermae), houses and other buildings, whether public or private. The floor was raised above the ground by pillars, called pilae stacks, with a layer of tiles, then a layer of concrete, then another of tiles on top; and spaces were left inside the walls so that hot air and smoke from the furnace would pass through these enclosed areas and out of flues in the roof, thereby heating but not polluting the interior of the room.

text: Roman roofs[edit]

text: In Sicily truss roofs presumably appeared as early as 550 BC.[112]Their potential was fully realized in the Roman period, which saw trussed roofs over 30 wide spanning the rectangular spaces of monumental public buildings such as temples, basilicas, and later churches. Such spans were three times as wide as the widest prop-and-lintel roofs and only surpassed by the largest Roman domes.[113]

text: The largest truss roof by span of ancient Rome covered the Aula Regia (throne room) built for emperor Domitian (81–96 AD) on the Palatine Hill, Rome. The timber truss roof had a width of 31.67 m, slightly surpassing the postulated limit of 30 m for Roman roof constructions. Tie-beam trusses allowed for much larger spans than the older prop-and-lintel system and even concrete vaulting. Nine out of the ten largest rectangular spaces in Roman architecture were bridged this way, the only exception being the groin vaulted Basilica of Maxentius.[113]

text: Spiral stairs[edit]

text: The spiral stair is a type of stairway which, due to its complex helical structure, was introduced relatively late into architecture. Although the oldest example dates back to the 5th century BC,[114] it was only in the wake of the influential design of Trajan's Column that this space-saving new type permanently caught hold in Roman architecture.[115]

text: Apart from the triumphal columns in the imperial cities of Rome and Constantinople, other types of buildings such as temples, thermae, basilicas and tombs were also fitted with spiral stairways.[115] Their notable absence in the towers of the Aurelian Wall indicates that although used in medieval castles, they did not yet figure prominently in Roman military engineering.[115] By late antiquity, separate stair towers were constructed adjacent to the main buildings, as in the Basilica of San Vitale.

text: The construction of spiral stairs passed on both to Christian and Islamic architecture.

text: Significant buildings and areas[edit]

text: Public buildings[edit]

text:
Baths of Trajan – these were a massive thermae, a bathing and leisure complex, built in ancient Rome starting from 104 AD and dedicated during the Kalends of July in 109.
Baths of Diocletian – in ancient Rome, these were the grandest of the public baths (thermae), built by successive emperors
Baths of Caracalla
Colosseum
Trajan's Column, in Rome
Circus Maximus, in Rome
Curia Hostilia (Senate House), in Rome
Domus Aurea (former building)
Pantheon
Tower of Hercules
Tropaeum Traiani
Hadrian's Villa
Verona Arena, in Verona

text: Private architecture[edit]

text:
Alyscamps – a necropolis in Arles, France, one of the most famous necropolises of the ancient world
Domus
Catacombs of Rome
Roman villa
Pompeii and Herculaneum

text: Civil engineering[edit]

text:
Roman engineering – Romans are famous for their advanced engineering accomplishments, although some of their own inventions were improvements on older ideas, concepts and inventions.
Roman watermill

text: Military engineering[edit]

text:
Antonine Wall, in Scotland
Hadrian's Wall
Limes Germanicus


document_title: Mr. Saturday Knight

question_text: who plays the black knight in family guy

text: Mr. Saturday Knight

text:
"Mr. Saturday Knight"

Family Guy episode

Episode no.
Season 3
Episode 9

Directed by
Michael Dante DiMartino

Written by
Steve Callaghan

Production code
3ACX04

Original air date
September 5, 2001

Recurring/Guest appearances

Will Ferrell as the Black Knight
R. Lee Ermey as the jousting instructor
Adam Carolla as Death
Phil LaMarr as Ollie Williams
Jimmy Kimmel as Death's dog
Jackson Douglas as vacuum repairman

Episode chronology

← Previous
"The Kiss Seen Around the World"
Next →
"A Fish out of Water"

Family Guy (season 3)
List of Family Guy episodes

tag: table

text: "Mr. Saturday Knight" is the ninth episode from the third season of Family Guy. It guest-stars Will Ferrell as the Black Knight, R. Lee Ermey as the Renaissance Fair jousting instructor, Adam Carolla as Death and Jimmy Kimmel as Death's dog. This episode marks the final appearance of Mr. Weed due to his death. Also "A Fish out of Water" is continued partially from this episode.

text: Plot[edit]

text: When Peter appears at Career Day for Chris's class, the kids are not impressed with his menial job at the Happy-Go-Lucky Toy Factory; even nerdy pharmacist Mort Goldman receives a better response. Peter worries that he is stuck at a dead-end job within the company, so Lois encourages him to invite his boss, Mr. Weed, to dinner. When Mr. Weed mentions that he will promote Peter to head of toy development, Brian begins choking on a dinner roll. When Peter and Lois try to use the Heimlich maneuver, the roll flies out of Brian's mouth and into Mr. Weed's, killing him.

text: At Mr. Weed's funeral, Peter attempts to convince his co-workers of Mr. Weed's promise to promote him. Mr. Weed's videotaped will, however, reveals that immediately after his death the Happy-Go-Lucky Toy Factory is to be demolished to make way for the Happy-Go-Lucky Terminal Disease Institute. The building is immediately razed and all workers are laid off.

text: Peter has trouble finding a new career, and even tries to become a cheap hooker. Lois reminds him of his long-standing dream of becoming a Renaissance fair jouster. Peter remembers how he had a bad acid trip as a teenager, when he jumped from a roof of the Renaissance fair while attempting to fly and was saved by a Black Knight (Will Ferrell). Peter enrolls in jousting training with Mort, displaying enthusiasm but little patience for speaking in "ye"s and "thou"s. When the Knight's girlfriend, Maid Madeleine, flirts with Peter, he bullies him into leaving the fair. Peter remains inconsolable despite his family's encouragement but decides to watch the joust from the stands.

text: The Black Knight defeats all challengers, inspiring Mort to flee in terror before their horses near each other. The Knight notices Peter in the stands and begins berating him. Determined to defeat the Knight, Peter challenges him. The Knight is distracted by an announcement that his Hyundai is being towed (by a vengeful Mort), enabling Peter to unhorse him and win the competition. Peter refuses an offer to join the Renaissance Fair as their new champion jouster and the family leaves for home. They note that Peter still has no job and Lois says the situation reminds her of the episode of The Honeymooners in which Ralph lost his job and did not get it back by the end of the episode.


document_title: Richard Harrow

question_text: who plays richard harrow sister on boardwalk empire

text: Richard Harrow

text: Fictional Biography[edit]

text: Backstory[edit]

text: Richard Harrow was a sharp shooter in the US Army during World War I. He was badly disfigured during the war, losing his eye, upper jaw and most of the cheekbone on the left side of his face. He has also suffered some throat damage which causes him to speak in a low, muffled voice. Because of his appearance, Harrow wears a tin mask in public that was molded to mirror the intact right side of his face.[1][2]

text: After the war he returned to Wisconsin where his twin sister, Emma, cared for him while his wounds healed. Once he was able to care for himself he left to live in Chicago.

text: Season 1[edit]

text: Richard meets fellow veteran Jimmy Darmody (Michael Pitt) in an army hospital in Chicago,[3] and they become fast friends. To prove his loyalty, Richard kills a local gangster who had disfigured a young prostitute with whom Jimmy was close. Jimmy invites Richard to stay with him and his family, and brings him into his bootlegging outfit.

text: Richard accompanies Jimmy back to New Jersey, where he becomes a hit man working for Jimmy under Atlantic City political boss Nucky Thompson (Steve Buscemi). Richard then moves into the Thompson home where he acts as a bodyguard to Nucky, his companion Margaret Schroeder (Kelly Macdonald) and her two small children. At first Margaret and her children are frightened by Richard's appearance, but they eventually warm up to him.

text: Season 2[edit]

text: Richard is now established as the right hand man on Jimmy's bootlegging crew. Jimmy and Richard have now gone into business with Charlie "Lucky" Luciano (Vincent Piazza), Meyer Lansky (Anatol Yusef) and Al Capone (Stephen Graham). Richard has also moved into the Darmody household, where he befriends Jimmy's wife Angela (Aleksa Palladino). Angela, a painter, asks Richard if she can do his portrait; he reluctantly agrees. During their session, Richard confides in Angela that he and his sister have not spoken since he left home. Richard then voluntarily removes his mask, and she paints his portrait.

text: Richard ventures out into a secluded forest during a remembrance day memorial, intending to commit suicide. As he puts a shotgun in his mouth, a hunter's dog runs off with his tin mask. Richard chases the dog, and  finds two hunters sitting around a campfire, who convince him to keep on living.

text: Richard serves as Jimmy's lieutenant throughout a turf war with Nucky, and remains loyal even as they suffer serious financial losses. Richard is deeply saddened by Angela's death at the hands of Philadelphia gangster Manny Horvitz (William Forsythe), and begins to wonder if their business is worth the price they pay.

text: To mend fences with Nucky, Richard and Jimmy go to Alderman James Neary (Robert Clohessy), scheduled to testify against Nucky, force him to type a note at gunpoint exonerating Nucky, then Richard shoots him in the head and stages his death as a suicide. When Nucky calls Jimmy and says they have captured Horvitz, both Jimmy and Richard sense a trap, and Richard offers to go along. Jimmy refuses, however, and tells Richard to live a good life. After Jimmy is murdered, Richard moves in with Jimmy's mother Gillian (Gretchen Mol) at her estate.

text: Season 3[edit]

text: One year later, Richard is a permanent resident at the late Commodore's estate, which Gillian has since turned into a brothel. Richard now acts as a caretaker at the brothel, and looks after Jimmy's son Tommy. Richard seeks vengeance on Manny Horvitz, who is now a member of Nucky's organization, for the death of Angela. Richard waits outside the Horvitz home and then shoots Horvitz in the face with a shotgun as he opens the door to leave his house.

text: Richard ventures off one evening to a veteran's legion for support and to discuss compensation which has been promised to wounded veterans. It's here that Richard meets Paul Sagorsky (Mark Borkowski), a bitter drunk who lost his son in the war. Richard looks after Paul when he is injured in a bar fight, and meets Paul's daughter Julia (Wrenn Schmidt). He falls in love with her, and they begin a courtship, despite her father's objections.

text: Later in the season, Gillian's brothel is occupied by New York gangster Gyp Rosetti (Bobby Cannavale), who is at war with Nucky Thompson. Fearing for Tommy's safety, Richard attempts to remove the boy to Julia's house, but Gillian finds out about the plan and, angered, she has Rosetti's men kick Richard out. Richard arms himself and returns days later to attack the house, massacring most of Rossetti's men and recovering Tommy, whom he leaves at the Sagorsky home. Richard then flees Atlantic City.

text: Season 4[edit]

text: One year later, Richard makes his way to his childhood home in Wisconsin to visit his twin sister Emma (Katherine Waterston). Richard returns home to find Emma widowed, pregnant and in debt. During his visit with his sister, Richard finds it difficult to put down the family dog. During this time Richard is tracked down by a former client who had hired Richard previously to carry out an assassination contract that was not honored. They corner Richard in the barn; during the ensuing struggle, Richard kills one of the gangsters, but the other one breaks Richard's hand and nearly kills him. Emma arrives just in time and kills the gangster, saving Richard's life. Richard realizes he is a danger to his sister and decides to go back to Atlantic City.

text: Upon returning to Atlantic City, Richard bumps into Paul Sagorsky, who is dying of cirrhosis of the liver. Richard finds out that Julia and Paul are locked in a custody battle with Gillian over Tommy. Richard returns to the Sagorsky's home to help Julia, whom he marries.[3] To provide for his new family, Richard gets a job washing dishes at the Onyx Club, with the help of Nucky.

text: When Gillian is arrested for murder, Richard and Julia see an opportunity to get permanent custody of Tommy. Gillian claims that the body found on her estate was that of her son, Jimmy, and with the body having been cremated, there is no way to prove otherwise. In order to undermine her story, Richard asks Nucky for the location where Jimmy's body is actually buried. Nucky agrees to tell Richard, but for a price: he must eliminate New York gangster Dr. Valentine Narcisse (Jeffrey Wright), who is causing problems for Nucky and his associate Chalky White (Michael K. Williams). As he prepares to shoot Narcisse, he hesitates and his hand shakes, and he accidentally kills White's daughter Maybelle when she unexpectedly steps into the line of fire.[3] Richard is mortally wounded in the ensuing gunfire, but manages to make his way to the Atlantic City Boardwalk, where he dies. His dying visions show him returning to the farm in Wisconsin to meet his entire family, with his face complete and healed.

text: Interview[edit]

text: Jack Huston was interviewed by Rolling Stone magazine. Huston stated that he was told that his character was going to die on the episode of Harrow's death. Huston stated that it was very appropriate for Harrow, a tragic character, to die tragically. Being honored instead of upset about the ending, Huston claimed that the writers wrote "the most unbelievably beautiful ending, and it made so much sense." Glad to have played a longer-than-initially-expected role in Boardwalk Empire, Huston stated that it was the start of his career in acting. Terence Winter said that if Harrow was not fatally wounded after shooting Maybelle, then Harrow would have committed suicide. Huston agrees that Harrow would have done that, for fact of killing Maybelle would be unforgivable in Harrow's mind. Huston stated that at first "Richard was a brilliant killer"; then he gives up killing, losing confidence; later, he was intuitive and expected himself to err; after shooting Maybelle he hesitates, allowing himself to be shot. Huston posited that Harrow's scrapbook became a reality: he fell in love, married, and had a family. Regarding Harrow's vision at the end of his life, Huston stated "In a way he reached heaven in his life."[3]