Author: followinghadrian

I came, I saw, I photographed... follow me in the footsteps of Hadrian!

Volubilis

The ruins of Volubilis sit in the middle of a fertile plain about 33km north of Meknès in northern Morocco, near the heights of the Atlas Mountains. Considered the ancient capital of the kingdom of Mauretania, Volubilis developed from the 3rd century BC onwards and became an important outpost of the Roman Empire. The ancient city is the best-preserved archaeological site in Morocco and was declared a UNESCO World Heritage site in 1997. Extensive remains of fine buildings and many beautiful in situ mosaics survive on the archaeological site.

Coordinates: 34° 4′ 16″ N, 5° 33′ 13″ W

Volubilis was a Roman settlement constructed on what was probably a Carthaginian city, dating from the 3rd century BC. In the 1st century BC, under the Mauretanian king Juba II, Volubilis became a flourishing centre of late Hellenistic culture. Annexed to Rome about AD 44, the city grew rapidly under Roman rule. Claudius made it a municipium (a community that exercised partial rights of Roman citizenship) as a reward for supporting Rome against Aedmon’s rebellion. It became the chief inland city of the Roman province of Mauretania Tingitana.

From the 1st century onwards, Volubilis expanded spectacularly due to the wealth and prosperity derived from the province’s fertile lands, which produced valuable export commodities such as grain, olive oil, and wild animals for gladiatorial spectacles. During the 1st century AD, major urban structures were constructed; the Forum (probably Neronian), two sets of baths (Flavian), temples and two street grids with different orientations. The aqueduct that fed the first baths was built between 60 and 70 AD. The urban landscape was formed of houses with shops along their facades, bakeries, and oil-pressing complexes. The latest are so numerous that they suggest that the olive was one of the town’s principal riches.

Under the reign of Marcus Aurelius (r. AD 168-169), walls surrounding the city were constructed, including eight monumental gates flanked by towers. At that time, Volubilis occupied an area of 42 hectares. Further additions came during the Severan dynasty between 193 and 235 AD when a new monumental centre was created, including the Capitoline temple, the civil basilica and the remodelled Forum. A monumental arch was added during the time of the emperor Caracalla. It was built in 217 AD by the city’s governor, Marcus Aurelius Sebastenus, to honour the emperor and his mother, Julia Domna. It was meant to thank them for having bestowed upon the inhabitants of Rome’s provinces Roman citizenship and tax exemption. Also dating back to this period are the richly decorated houses with peristyles, pools and large mosaic floors, numerous bakeries, and about one hundred oil presses attesting to the thriving economy of this Roman outpost.

Towards the end of the 3rd century AD, the Roman administration and army withdrew from the area due to the Diocletian reorganization of Mauretania Tingitana. The city fell to local tribes and continued to be inhabited for at least another 700 years, first as a Latinised Christian community, then as an early Islamic settlement. In the late 8th century AD, it became the seat of Idris ibn Abdallah, the founder of the Idrisid dynasty and the state of Morocco. By the 11th century, Volubilis had been abandoned after the seat of power was relocated to Fes.

Archaeological excavations began in 1915 and continue to this day. They have exposed a large part of the town (more than 20 ha.), but much remains to be excavated, particularly in the area occupied in the post-Roman period.

PORTFOLIO

The Basilica (court of law and seat of the magistrates) lies on the eastern side of the forum. This imposing building is 42.2m long and 22.3m wide and originally had two storeys.
The outer wall of the basilica is faced with Corinthian columns and overlooks the forum where markets were held. The paved forum had numerous statues of emperors and local dignitaries, of which only the pedestals now remain.
Statue base for Caecilia Caeciliana.
Caeciliae Caecili[anae] / L(ucius) Caecilius Caec[ilia]nus pater et Valeria / Manlia mater filiae / piissumae d(e) s(ua) p(ecunia) d(e)d(erunt)
The interior of the basilica is divided into three parts, a central nave outlined to its north and south by an apse and two lateral aisles framed by Corinthian columns.
The basilica was converted into a church after the end of Roman rule. In the central area, a semicircular depression has been cut into the floor, representing a baptistery.
The Capitolium (dedicated to the three chief divinities of the Roman state, Jupiter, Juno and Minerva), with its porticoed courtyard, faces the back wall of the basilica. An altar stands in the courtyard in front of 13 steps leading up to the Corinthian-columned temple, which had a single cella.
The Capitolium was completed under the reign of the emperor Macrinus in 218 AD. Erected on a tall podium, this temple was probably peripteral and hexastyle (six columns) but was clumsily restored in modern times as a four-columned prostyle building.
View of the basilica and the Capitolium.
The House of Orpheus in the southern part of the city. It takes its name from the large mosaic depicting Orpheus playing his lyre to an audience of animals and birds.
The mosaic of Orpheus embellished the triclinium (dining room) of the house, where the diners would have reclined on couches set against the walls and admired the central mosaic.
Fountain with circular baths lined with mosaics and triclinium in the House of Orpheus.
Reconstructed Roman oil press in the House of Orpheus. Olive growing was the main industry in Volubilis.
Mosaic with dolphins in the House of Orpheus.
The triumphal arch is situated according to the usual architectural layout. It is found in the Decumanus Maximus (the principal axis), at the junction of the northeast, central and western sectors of the city.
The arch was erected sometime between December 216 and April 217 AD by the council of Volubilis in honour of the emperor Caracalla who bestowed Roman citizenship on its inhabitants and exempted them from paying taxes.
The inscription on the top of the arch was reconstructed from the fragments found scattered on the ground.
South side of the Arch of Caracalla. The monument was reconstructed by the French between 1930–34. However, the restoration is incomplete and of disputed accuracy.
The entrance to the House of the Ephebe. The house was named after a bronze statue found there.
The courtyard of the House of the Ephebe leads to a number of public rooms decorated with mosaics.
Detail of mosaic of a lobster in the House of Ephebe.
The entrance to the House of the Columns is named after the diversity of its columns (fluted, plain, spiral).
The atrium with a large circular pool in the House of the Columns.
Private garden with a lobed fountain in the House of the Columns.
Mosaic in the House of the Knight depicting the god Bacchus encountering the sleeping Ariadne, 1st century AD.
The entrance to the House of the Labours of Hercules, named for the mosaic depicting the twelve tasks that the demigod had to perform as penance for killing his wife and children. The house was of palatial size, with 41 rooms covering an area of 2,000 m2 (22,000 sq ft).
The atrium with a lobed fountain in the House of the Labors of Hercules.
Mosaic of the Labours of Hercules, in a triclinium of the house of that name.
Detail of the mosaic of the Labours of Hercules showing little Hercules strangling the snakes sent by Hera, one in each hand, before they could bite him, 1st century AD.
Detail of the mosaic of the Labours of Hercules showing Hercules capturing the three-headed dog Cerberus from the underworld, his twelfth labour, 1st century AD.
Detail of the mosaic of the Labours of Hercules showing Hercules slaying the Stymphalian birds with a bow and arrow, his sixth labour, 1st century AD.
The Decumanus Maximus was the main street in the city. It was paved with footways on either side and was lined with arcaded porticoes on either side, behind which were dozens of shops.
Section of the portico leading to the shops on Decumanus Maximus.
Detail of the arcade with the figure of the god Mars.
The Decumanus Maximus.
Overview of Volubilis.
The House of Dionysos and the Four Seasons.
Mosaic of the Four Seasons, in the triclinium (dining room) of the House of Dionysos, 3rd century AD.
Medallion from the mosaic of the Four Seasons depicting Summer in the triclinium of the House of Dionysos, 3rd century AD.
Ionic columns lining the Decumanus Maximus.
The Tingis Gate, built in 169 AD, marked the northern-eastern entrance to Volubilis.
The House of Venus was located towards the eastern side of the city. It was one of the most luxurious residences and had a set of private baths and a richly decorated interior, with fine mosaics dating from the 2nd century AD showing animal and mythological scenes.
Mosaic depicting Diana and a companion nymph being surprised by Actaeon while bathing. Actaeon is depicted with horns beginning to sprout from his head as he is transformed by the angry goddess into a stag before being chased down and killed by his own hunting dogs.
Mosaic depicting the Abduction of Hylas by the nymphs, 3rd century AD, from the House of the Procession of Venus.
The House of the Nereides.
Detail of the mosaic depicting Oceanus in the House of the Nereides.
Overview of Volubilis.

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Palatium: House of Augustus

The House of Augustus (Domus Augusti) was the home of Rome‘s first emperor and was located in the most sacred area of the Palatine next to the Temple of Apollo. In fact, the house must have stood above the Lupercal, the sacred cave where, according to legend, the twin founders of Rome, Romulus and Remus, were suckled by the she-wolf. Augustus‘ Domus, comprising two levels, served as his primary residence during his reign. Despite its relatively small size, the House of Augustus is celebrated for its lavish Second-Style Pompeian frescoes, which rank among the best in the Roman world. The Second Pompeian style, or “Architectural Style”, began in Rome in the early years of the 1st century BC and evolved during the reign of Augustus. This period saw a focus on architectural features and trompe-l’oeil compositions.

Augustus originally obtained the property from the orator Quintus Hortensius. He expanded the layout after his victory at the Battle of Actium. Some of the rooms containing the most spectacular wall paintings are known by their recurring motifs: the “Pine Room” (room 6), the “Room of the Masks” (room 5), and the “Room of the Perspective Paintings” (room 11). The first two rooms were domestic cubiculae (bedrooms). They occupied the western section of the house. The third room, identified as an ala (wing) flanking the tablinum (of which nothing of its decoration is preserved), served a more overtly public function and was located around the northern peristyle courtyard. But the most refined and elegant decoration can be seen in the so-called “Emperor’s Study” (room 15), which has no equal anywhere else in Rome.

Plan of the House of Augustus.
Plan of the House of Augustus.

The tour of the domus begins with the two cubiculae in the domestic section of the house (rooms 6 and 5). The “Pine Room” has a simple architectural scheme with pine festoons, porticoes, and Doric columns. The “Room of the Masks”, located just behind the “Pine Room” and slightly larger in size, is one of the finest in Augustus’ house. It has more elaborate perspectival Second-Style paintings incorporating tragic and comic theatre masks.

Next to the two cubiculae is a series of five rooms of various sizes arranged along the north side of the western court. The rooms include two libraries (or maybe rooms to display artworks) and a tablinum (where Augustus would receive guests) flanked by two alae (wings) on either side. One of the two alae, dubbed “Room of the Perspective Paintings”, has vividly-coloured frescoes on its north wall depicting a two-storey architectural facade in blue, white, yellow and red.

The path continues with the visit to the eastern section of the house, where rooms are preserved on two storeys. The upper room was originally joined by a corridor ramp (room 12). The most striking feature of the so-called “Ramp Room” is the painted vaulting in imitation of a real coffering decorated with a painted pattern of rhomboidal and square coffers containing rosettes.

The next room is the so-called “Large Oecus” (room 13), with architectural wall paintings with four pedestals for columns of piers (oecus tetrastilus – supported by four columns). The room served as a salon where elaborate dinner parties were staged, among other functions.

The final room, a cubiculum known as “The Emperor’s Study”, where the Emperor used to retire when he did not want to be disturbed. It is located on the highest level of the house. Today, it is accessed by climbing a modern steel staircase and can be viewed by peering through protective glass. The exceptional decorative elements were inspired by Egyptian-Alexandrine models, typical of the art of the Augustan period after the recent conquest of Egypt.

Following recent conservation work, a visit to the House of Livia and House of Augustus can now be booked with Coopculture.it and by purchasing the new S.U.P.E.R. (Seven Unique Places to Experience in Rome) Ticket.

PORTFOLIO

The Pine Room: decoration with pilastered portico and pine festoons.
The Pine Room: decoration with pilastered portico and pine festoons.
The Pine Room. The Pine cone was the symbol of Cybele (or Magna Mater) whose temple was located on the Palatine next to Augustus’ house. The temple burned on two occasions in the early Imperial era and was restored each time by Augustus.
The Pine Room. The Pine cone was the symbol of Cybele (or Magna Mater), whose temple was located on the Palatine next to Augustus’ house. The temple burned on two occasions in the early Imperial era and was restored each time by Augustus.
South wall of the Room of the Masks, 2nd Pompeian style.
South wall of the Room of the Masks in the Second Pompeian style.
The architecture depicted in the Room of the Masks is a one-storey structure with a central recess and narrow side-doors on each side, probably evoking a scaenae frons, a wooden theatre stage building.
The architecture depicted in the Room of the Masks is a one-storey structure with a central recess and narrow side doors on each side, probably evoking a scaenae frons, a wooden theatre stage building.
Detail of South wall of the Room of the Masks.
Detail of the South wall of the Room of the Masks.
North side of the western court with a series of five rooms including two libraries and a tablinum flanked by two alae.
The North side of the western court has five rooms, including two libraries and a tablinum flanked by two alae.
The tablinum of the House of Augustus of which only slight traces of decorations have survived.
The tablinum of the House of Augustus, of which only slight traces of decorations have survived.
The Room of the Perspective Paintings: architectural composition with perspective rendition of colonnades.
The Room of the Perspective Paintings.
The Room of the Perspective Paintings: architectural composition with perspective rendition of colonnades.
The Room of the Perspective Paintings: architectural composition with a perspective rendition of colonnades.

Illusionistic painted coffering on the vault of the “Ramp Room”, the painter emphasized the depth effect by using appropriate shading.
Illusionistic painted coffering on the vault of the “Ramp Room”, the painter emphasized the depth effect by using appropriate shading.
The ceiling is decorated with a painted pattern of rhomboidal and square coffers containing rosettes, whose relief was suggested by the use of shading as well as by means of perspective. The frames were rendered in shades of red, yellow and white, the inner moulding in orange, yellow, blue and green, and ornaments of the coffers in purple, black, white and yellow.
The ceiling is decorated with a painted pattern of rhomboidal and square coffers containing rosettes, whose relief was suggested by the use of shading and perspective. The frames were rendered in shades of red, yellow and white, the inner moulding in orange, yellow, blue and green, and the ornaments of the coffers in purple, black, white and yellow.
South wall of the “Large oecus” with architectural wall painting of the Second Pompeian Style.
South wall of the “Large oecus” with architectural wall painting of the Second Pompeian Style. The fresco on the south wall has a monumental Corinthian tetrastyle structure resting on a podium topped with an elegant frieze.
The theatrical inspiration is underlined by the presence of a mask crowned with vine leaves.
The theatrical inspiration of the “Large oecus” wall paintings is underlined by the presence of a mask crowned with vine leaves.
North wall of the “Large oecus” with wall painting imitating marble wall-facing.
North wall of the “Large oecus” with wall painting imitating marble wall-facing.
North wall of the “Large oecus” with wall painting imitating marble wall-facing.
North wall of the “Large oecus” with wall painting imitating marble wall-facing.
South wall of the “Large oecus” depicting a stage-like structure with human figures standing inside the central recess. One of the female figure wears a clock as well as a rich diadem and necklace while others are carrying votive offerings.
The south wall of the “Large oecus” depicts a stage-like structure with human figures standing inside the central recess. One of the female figures wears a cloak and a rich diadem and necklace, while others carry votive offerings.
North-east corner of the Lower cubiculum with architectural decoration.
North-east corner of the Lower cubiculum with architectural decoration.
North wall of the Lower cubiculum with architectural decoration.
North wall of the Lower cubiculum with architectural decoration.
The upper cubiculum so-called “Emperor’s Study”.
The upper cubiculum is the so-called “Emperor’s Study”. The walls are beautifully decorated with stylized winged obelisks, gryphons, sophisticated interweaving of floral elements (lotus leaves, flowers and aquatic plants) and objects such as vases and candelabra in powerful contrasts of red, black, green and yellow.
The ceiling decoration in the “The Emperor’s Study” also reveals the influence of Alexandria with lighter colours.
The ceiling decoration in the “The Emperor’s Study” reveals the influence of Alexandria with lighter colours.
The upper cubiculum so-called “Emperor’s Study”: painted frieze on the ceiling with winged female figure, satyr’s head and plant-shaped motifs.
The upper cubiculum, so-called “Emperor’s Study”: painted frieze on the ceiling with the winged female figure, a satyr’s head and plant-shaped motifs.
The dominant tones of the ceiling are pink and white with a range of shades of indigo, porphyry, violet, ochre and gold.
The dominant tones of the ceiling are pink and white with shades of indigo, porphyry, violet, ochre and gold.

91s3h3xi3glUnfortunately, the exquisite beauty of these frescoes could not be perfectly rendered through my photographs due to the artificial lighting in the rooms and the protective glass. If you want to see magnificent illustrations of the highest quality, I strongly recommend that you buy the magnificently illustrated book “The House of Augustus: Wall Paintings”. The book features all the wonderful fresco cycles covering the walls, from the general composition to the smallest detail.

You can buy the book on amazon.com or amazon.co.uk.

by Categories: RomeTags: , , , , 4 Comments