Daily Updates
Week Nine: 14 November
14 November. Craig Dent and Brian Meyers Reporting, respectively:
Introductory Comments
Hadrian's Villa near Tivoli is one of the most celebrated achievements of high Imperial period Roman architecture. In addition to being the largest Roman villa ever constructed, it is also one of the most lavish private residences ever erected in the Roman world, rivaling structures like Nero's famed Domus Aurea and Domitian's Palace on the Palatine Hill.Construction on Hadrian's Villa began in 118 A.D. and was completed in several phases, the last of which was finished in 134 A.D. The site chosen for the terraced villa was a flat area occupied by a pre-existing Late Republican villa owned by Hadrian's wife Sabina, which was incorporated into the structure of the later Hadrianic construction. When it was finished, Hadrian's Villa covered about 120 hectares (300 acres), nearly twice the area encompassed within the walls of the city of Pompeii (65 hectares).
The Villa is characterized by about 30 distinct buildings, many of which are said by the ancient biographer Aelius Spartianus to have been named and modeled after famous places from the Greco-Roman world like the Lyceum, the Accademia, the Canopus, the Serapeum, the Percile and the Vale of Tempe. Although the identification of these structures from Hadrian's Villa is somewhat tenuous, these terms have become an integral part of the scholarly discourse on the Villa and are thus retained today.
One of the notable features that characterize many of the Villa structures is the use of innovative vaults to cover many different kinds of spaces. The Villa's complex, highly progressive plan remains a testament to the vision of the erudite Emperor Hadrian (118-138 A.D.) whose architectural sensibilities were strongly influenced by his extensive travels throughout the ancient world.
Lesser Baths
Although it is only one of three bath complexes at Hadrian's Villa, the Lesser Bath complex, also known as the Small Baths complex, is one of the most important architectural features of the Villa. The structure is important not only because it is a well-preserved private Roman bathhouse, but also because it was probably the Emperor Hadrian's own private bath complex at the Villa.
The building has an irregular shape, but its basic dimensions are ~54 meters (the length of the west wall) by ~38 meters (the length of the North Wall). The structure is comprised of 22 different rooms that are linked by a large number of doors and a series of narrow passageways. The walls are primarily constructed of opus mixtum, consisting of alternating courses of opus reticulatum and brick. The interior walls of the structure would have been covered in decorative marble revetments or stuccoed. The floor surfaces, elevated above the concrete base by a suspensurae system, would have been covered with opus sectile marble floors.
In some respects, the baths are representative of general characteristics of Roman bath structures. For example, the paired cold plunge baths coming off the common hall of the frigidarium and the hypocaust system running under the floor and walls of the building to control the air and water temperatures in different rooms are characteristic features of Roman bath buildings. However, the plan of the building, which is centered on a series of circles and numerous axes is completely at odds with the defined axial sequences of different room-types that typify most Roman baths.
In terms of the vaulted construction of the building, the Small Baths are also very inventive. Every room of the baths (save for one) is covered in vaults of various forms, the most notable of which is the octagonal room near the northern entrance corridor to the baths, which is characterized by alternating convex and straight sides.
Canopus/Serapeum complex
The famed Canopus/Serapeum complex is set in the center of a narrow artificial valley adjacent to the West Terrace of Hadrian's Villa. The Canopus pool measures 121.4 meters long by 18 meters wide, and would have been surrounded by a colonnade comprised of Corinthian order columns on the east side and caryatids and sileni on the west side (though this is speculative). Another colonnade of an indeterminate order ran along the east side of the pool, and around the pool were placed numerous Roman copies of Greek sculptures. The pool has been dated by brick stamps to 123-124 A.D., the first building phase of the villa, but brick stamps from 125-127 A.D. indicate that minor construction on the site likely continued on for some time.
At the far end of the Canopus pool is the related open-air triclinium/nymphaeum known as the Serapeum. In front of the main building complex is a rectangular pool, lined on both sides by two pavilions, each with several barrel vaulted rooms. Behind the pool is a four column Ionic colonnade of cipollino marble columns in front of a soaring, hemicircular pumpkin vault constructed of brick-faced concrete, which covers an open air triclinium featuring a stibadium built into on a platform that is surrounded by channels of water. The large vault would have been covered by glass mosaics, and the walls would have featured marble revetments. Behind this large vault are a number of chambers (24) that serve to buttress the weight of the structure.
In the center of the large vault is a 22 meter axial extension that is partially covered by a barrel vault, the floor of which would have been mostly covered by water. Behind the Serapeum an aqueduct line leads down from the hill and feeds the various water channels that characterize the structure.
A view from the north entrance to the Smaller Baths at Hadrian's Villa of the upper portion of the barrel vaulted passage leading into the main part of the baths. The remains of some of the original painted decoration of the vault, rendered in white and red paint are still extant. Note the use of the oculus, one of 30 different lighting sources in the baths, to illuminate the passage.
The remains of one of two apsidal cold plunge baths in the frigidarium in the southeast region of the Small Baths at Hadrian's Villa. The large rectangular window in the rear of the apse would have probably have been covered with a latticed metal grate filled with small glass panes. Also note the numerous small holes in the walls, which would have held attachments for the marble revetments that would have covered much of the interior wall surface of the bath complex.
The southern, or rear end of the Small Baths at Hadrian's Villa, as seen from the Large Baths. The proximity of the two main bath complexes at Hadrian's Villa near Tivoli has often been attributed to the different kinds of individuals that would have been able to access each respective complex. The Small Baths were probably the private baths of the Emperor Hadrian, while the Large Baths were used by the many staff members that lived and worked in the villa.
A plan of the Canopus/Serapeum complex. The Canopus and the Serapeum structures are labeled on the plan. (original image from Sear, 180.)
The northern end of the Canopus, which is encircled by a curved colonnade of Corinthian order columns that was re-erected following the excavation of the area. Note the small arches springing from the entablature, a rather progressive architectural feature that may have also been used for the facade of the Serapeum complex at the far end of the Canopus pool. Copies of some of the statuary found in the area have been installed in between the columns of the colonnade.
Four caryatids and one silenus figure lining the west side of the Canopus. These figures are copies of ones found in the excavation of the area, but the placement of the figures is somewhat speculative. The original caryatids may have been ones taken from Agrippa's original Pantheon by Hadrian and installed around the Canopus area, which was filled with many Roman copies of Classical Greek originals.
A photo of the front of the Serapeum complex, which is fronted by a four column Ionic order colonnade of Cipollino marble. The facade of the complex is dominated by a soaring pumpkin vault, which would have been covered with a glass paste mosaic.
The rear of the Serapeum complex. Two water channels carried by the arcades of the aqueduct line leading into the structure, which would have provided the constant flow of water required for the complex. Like many other buildings at Hadrian's Villa, water played a major role in the organization and character of the Serapeum, which served as an elaborate nymphaeum and triclinium aestivum (outdoor triclinium).
Maritime Theater (Also known as the Island Villa)
The 'maritime' portion of the name comes from the scenes that were found on a frieze that displayed maritime life. The choice of the name theater was somewhat arbitrary. Some refer to the structure as the Island Villa because the plan of the island roughly represents that of a domus. The enclosure has a diameter of 44.20 meters, almost 150 Roman feet. Unfluted Ionic columns, made of cipollino marble, support the interior side of an annular barrel vault that would have covered the walkway between the enclosure wall and the moat. The Island is surrounded by a moat that is 4.80 meters wide, which was lined with a white marble. In Hadrianic time, the moat was probably spanned by two wooden bridges, which could be removed at his whim. In later times, these wooden bridges were replaced by concrete. There is a vestibule with a colonnade of fluted Ionic columns through which an atrium can be seen. The columns of the vestibule held a marble frieze that displayed the aforementioned aquatic scenes. Past the atrium was a set of rooms that probably served as a tablinum or triclinium. On the the east side of the island were two cubicola. The west side contained a bath complex, which had both a frigidarium and heated areas. This was a truly private space, constructed so that the emperor could have somewhere to escape within his own villa. The island makes full use of all available space to pack everything that Hadrian would need into his retreat within his retreat.
Piazza d'Oro
Several sources say that the name 'Piazza d'Oro' was given to the area after many fine works of art where uncovered in excavations here. Sear wrote that the name comes from the yellow-colored mosaics on the floor of the double colonade. The Entrance Vestibule was an octagonal building with alternating rectangular and curvilinear niches on the sides of the building. The building was a roofed with an eight-sided umbrella vault with an oculus. The vestibule's exterior shape is determined by its interior space. A quadriporticus with a floor constructed with opus sectile surrounded the courtyard. The space was separated into two naves by cipollino marble and green granite columns, arranged 14 by 18. The area inside of the portico was a garden with a long pool which ran down the center. The central space on the southeast side of the courtyard had 8 sides. It is not walled, but instead, the space is delineated by Corinthian columns of white marble. The sides alternate between concave and convex curves. The presence and type of covering for this space are still subject to debate. Through this central space, there was a semicircular nymphaeum. Water flowed from the alternating rectilinear and curvilinear niches in the back of the room. The space in the center of the buildings on the southeast side of the courtyard provokes many questions and is still the subject of much debate. In full flow, the use of light and shade, when combined with sounds of running water would have produced a very interesting appearance.
A plan of Hadrian's villa (based on large foldout plan of Hadrian's Villa entitled "Sketch Plan of Hadrian's Villa Near Tivoli" in the back of Macdonald and Pinto's Hadrian's Villa and its Legacy). The original numbering system is provided. The areas colored in blue are those that are discussed on this web page.
Legend for above plan.
A plan of the Maritime Theater (based on figure 95 on p.82 of Macdonald and Pinto's Hadrian's Villa and its Legacy). (A) The entrance vestibule for the island. (B) The walkways from the outer walkway to the island. (C) The Atrium. (D) Probably a triclinium or a tablinum. (E) Two cubicola. (F) The western structures, which contained a small bathing complex.
A view of the maritime theater from the South. It is possible to see the main axes meeting in the atrium in the center. The axes are partially delineated by the remains of column shafts that have been re-erected. There is a clear view through the columns along the main North-South axis of the island.
This is a reconstruction of the annular barrel vault that covered the walkway around the circular pool. It is possible to view the flat arches in the entablature of the Ionic collonade which supports the annular vault above it.
A photograph of the architrave and frieze levels of the entablature of the vestibule area of the island from the South. Marine creatures are displayed in an aquatic setting.
A view of the Maritime Theater from the northwest through the vestibule. It is possible to see the remians of the cornice level of the entablature above the vestibule. The columns play a large role in creating the spaces of the atrium and the vestibule.
A plan of the Piazza d'Oro (Based on Figure 103 on p. 177 of Sear's Roman Architecture; the central dark grey area comes from Figure 114 on p.96 of Macdonald and Pinto's Hadrian's Villa and its Legacy). The main axis running from one end of the vestibule to the back of the Nymphaeum is approximately 92 meters long. (A) The location of the pool in the garden central garden of the courtyard. (B) The octagonal entrance vestibule. (C) The eight-sided space on the southeastern side of the courtyard. (D) The nymphaeum with five niches for fountains of flowing water.
A photograph of the remains of the octagonal entrance vestibule of the Piazza d'Oro from the east. This photo proveides a view of the interior of the dome, as well as some of the niches. It is also possible to make out a portion of the edge of the oculus at the very top of the dome.
This is a view along the main axis of the Piazza d'Oro from the southeast. It is possible to the see the foundations of the pool that ran along the main axis of the courtyard. The octagonal entrance vestibule to the courtyard is at the end of the picture. The channel which carried water to the pool is now covered by a grate.
A view of the nymphaeum. There are six niches which alternate between rectilinear and curvilinear shapes. These niches would have held the fountains of the nymphaeum. There is a grate in the ground which covers the channel that would have allowed water to run from the nymphaeum to the pool in the courtyard