The Via del Corso is a main street in the historical centre of Rome. It is straight in an area otherwise characterized by small piazzas. Considered a wide street in ancient times, the Corso is 10 metres wide, it only has room for two lanes of traffic and two narrow sidewalks; the northern portion of the street is a pedestrian area. The length of the street is 1.5 kilometres. The Corso runs in a north-south direction. To the north, it links the northern entrance gate to the city, the Porta del Popolo and its piazza, the Piazza del Popolo, to the heart of the city at the Piazza Venezia, at the base of the Capitoline Hill. At the Piazza del Popolo, Via del Corso is framed by two Baroque churches, Santa Maria dei Miracoli and Santa Maria in Montesanto, along the street are the church of San Carlo al Corso, the church of San Giacomo in Augusta, the church of Gesù e Maria, the Piazza Colonna with the ancient column of Marcus Aurelius, the Galleria Alberto Sordi, the church of Santa Maria in Via Lata, the Oratory of Santissimo Crocifisso, the church of San Marcello al Corso and the Palazzo Doria Pamphili.
From the fifteenth century, the road served as the racetrack during the Roman Carnival for an annual running of riderless horses called the "corsa dei barberi", the source for the name Via del Corso. Following the assassination of King Umberto I in 1900, the road was re-named Corso Umberto I. In 1944, it became Corso del Popolo and two years reverted to Corso. Today, the Corso is a popular place for the passeggiata, the evening stroll for the populace to be seen and to see others, it is an important shopping street for tourists and locals alike. The history of Via del Corso began in 220 BC when Gaius Flaminius censor built a new road to link Rome with the Adriatic Sea in the north; the starting point of the road was Porta Fontinalis, a gate in the Servian city walls near present-day Piazza Venezia. In its first miles Via Flaminia cut through the plain between the Tiber and the eastern hills in a straight line; the Field of Mars, as it was called, was at the time used as pasture. Numerous tombs must have lined the road to the Appian Way.
The open area outside the city walls went through a process of urbanization during the late Republican and early imperial age. The city spread towards north and monumental public buildings were built along the road. A set of dynastic monuments around the Mausoleum of Augustus was the most important development in the unpopulated northern section of the district; the ancient name of Via Lata denotes that the street was considered wide in comparison to neighbouring lanes but at three places along its length, it became narrower due to triumphal arches. The first was the Arcus Novus erected by Diocletian in 303-304 the Arch of Claudius stood further ahead and the third was known as the Arco di Portogallo; the most important ancient monuments along Via Lata were Aurelian's Temple of the Sun, the Ara Pacis, the Ustrinum Domus Augustae, the Ara Providentiae and the Column of Marcus Aurelius. A densely populated residential quarter from the Hadrianic era was discovered on the right side of the road between Via delle Muratte and Via delle Convertite.
With the building of the Aurelian Walls the whole area was incorporated into the city of Rome, a new city gate was erected at present-day Piazza del Popolo where the road left the urban territory. From around the year 600 AD, the Corso accommodated a welfare centre linked to feeding the populace at Santa Maria in Via Lata and granaries at its southern end. During the Middle Ages the Via Lata, the present day Corso denoted a boundary, to the city which developed to the south and east of it. For this reason here was built in 1339 the hospital San Giacomo degli Incurabili rebuilt in the today form. From the fifteenth century, the Via del Corso became a fashionable street for new or renovated churches and new palaces for the nobility. However, by the mid seventeenth century, the street remained a mixture of different scales and architectural styles, some unfashionable, a number of churches lacked facades and some buildings were a combination of structures from different periods or were incomplete.
The lack of regularity and decorum of this principal street of the city meant that it became a main urban priority of Pope Alexander VII. In pursuing the nobility to complete their properties, he met with limited success. Where he met with greater success was over imposing order on the street by empowering the maestri di strade, the municipal body in charge of streets, to clear and regularize the street; this meant the properties could be acquired and demolished if necessary, projections from buildings could be removed and others added to so as to maintain a consistent line of street frontage. He had the ancient triumphal arch, the Arco di Portogallo, demolished because the central gateway of this arch reduced the street width to half. Alexander took a particular interest in regularizing the Piazza Colonna, about halfway along the Corso. In 1659, his family, the Chigi, bought the incomplete Palazzo Aldobrandini, bordering the piazza and the Corso, rebuilt as Palazzo Chigi. Around the same time, the leading painter of the time, Pietro da Cortona, developed a design for a ‘fountain palace’ in the piazza, a palace with a large fountain at the base of the façade
Salima Ikram is a Pakistani professor of Egyptology at the American University in Cairo, a participant in many Egyptian archaeological projects, the author of several books on Egyptian archaeology, a contributor to various magazines and a guest on pertinent television programs. Ikram was born in Lahore, Pakistan in 1965. A visit to Egypt when she was nine led to her interest in Egyptology. Ikram studied Egyptology and archaeology at Bryn Mawr College, earning an AB. in Classical and Near Eastern archaeology and history. Continuing her studies at the University of Cambridge, she earned her M. Phil. and PhD in Egyptology and Museum Studies. Her PhD thesis was entitled'Choice cuts: meat production in Ancient Egypt'. Ikram lives in Cairo and teaches Egyptology and Archaeology at the American University in Cairo, where she is Professor of Egyptology. In 2017, Ikram was a visiting professor at Yale University for the fall term, she was elected to the American Academy of Arts and Sciences in 2017 as an international honorary member.
Ikram is the co-director of the Animal Mummy Project at the Egyptian Museum. Since 2001, she has directed, with Corinna Rossi, the North Kharga Oasis Survey, directed the North Kharga Oasis Darb Ain Amur Survey and the Amenmesse Mission of KV10 and KV63 in the Valley of the Kings, she has worked with André Veldmeijer of the Netherlands-Flemish Institute in Cairo on the Ancient Egypt Leatherwork Project. Ikram has an active media presence, contributing to articles on Egyptology in Egypt Today and National Geographic, she has written for Kmt, a journal of modern Egyptology. Ikram has appeared on documentary series and specials for PBS, Channel 4, Discovery Channel, History Channel, National Geographic Channel, the BBC, she has served as an advisor on the Universal Pictures movie The Mummy. In 2018, Ikram participated in the international congress "Athanatos. Inmortal. Muerte e inmortalidad en las poblaciones del pasado". During this congress there was an exhibition of mummies from different parts of the world, including the Guanche mummies of the ancient inhabitants of the island of Tenerife, with a technique similar to the Egyptian mummies.
Excellence in Research Award by The American University in Cairo. Choice Cuts: Meat Production in Ancient Egypt. Pyramids. Royal Mummies in the Egyptian Museum; the Mummy in Ancient Egypt: Equipping the Dead for Eternity. Catalogue général of Egyptian antiquities in the Cairo Museum: 24048/24056, Non-human mummies. Death and Burial in Ancient Egypt; the Tomb in Ancient Egypt: royal and private sepulchres from the early dynastic period to the Romans. Ancient Egyptian Materials and Technology. Egyptian Bioarchaeology: Humans and the Environment. Egyptology In Ancient Egypt: Gods and Temples In Ancient Egypt: Mummies and Tombs Pharaohs Land and People Profile of Salima Ikram at the American University in Cairo Web site
The Shooting of Dan McGoo is a cartoon directed by Tex Avery and starring Frank Graham as the Wolf. Both Avery and Bill Thompson voiced the lead character Droopy. Sara Berner did the speaking voice of Lou; the cartoon was edited for a 1951 re-release. The cartoon starts off as an adaptation of Robert W. Service's poem in spoof of The Shooting of Dan McGrew, complete with a literal depiction of a man with one foot in the grave, but when Dan McGoo turns out to be Droopy, it turns into another Droopy-versus-the Wolf/Wolf-goes-ape-for-the-girl gagfest; the story begins in Coldernell, Alaska—Population 324 and getting smaller—a wild, rough town where gold is king and gambling and shooting each other are the major activities. Droopy is Dangerous Dan McGoo, a lone gambler, whose only love is the girl they call "Lou", played by Red; the wolf drags himself into the Malamute Saloon from the 50-below cold and pays for "drinks on the house". In a gag, the wolf wants a drink of whiskey. After he chugs it down, the film shows his stomach being blasted from the drink.
His eyes go red, smoke comes out of his ears. He comes back to the bar. Leaning over to the bartender, he complains, "This stuff's been cut!" Droopy makes a little remark to the wolf about the price of the whiskey as if it were the price of gasoline. The wolf resented the joke and draws out a giant switchblade knife, about to end Droopy's life, until he stops and hears the fanfare for the lady known as Lou making her appearance; as always, the wolf falls for Lou and tries to drag her off, but not before he goes on a shooting spree against anyone who objects to it. He shoots at a man who hides behind the table, but the table, hides behind the would-be victim, he shoots at the drinkers at the bar, one at a time, dropped dead from their wounds. The mortician, named Rig R. Mortis, is present at the bar, tallying the victims; the wolf shoots at a different table where the card players are sitting at, the group ran away with the whole table and made their exit. He shoots at the bartender covering the painting.
The latter gasps and hides under the bar, revealing the woman in the half-finished painting, it says, "I ain't got no body" in the middle. The wolf, carrying Lou, tries to make good his escape; that was when "the lights went out! A woman screamed and two guns blazed in the dark!" And when the lights go back up, Droopy receives a kiss from Lou. Bill Thompson and Tex Avery as Droopy Frank Graham as Wolf, Bartender Sara Berner and Imogene Lynn as Red Paul Frees as Narrator The Shooting of Dan McGoo on IMDb