The Roman villa of “Casale a Piazza Armerina”
Piazza Armerina
It is highly likely that this was a hunting lodge belonging to the Emperor Massimiliano or a powerful Roman nobleman. The villa has 48 rooms covered by mosaics that were almost certainly put together by North African craftsmen as is demonstrated by the authenticity of the scenes depicted. These mosaics provide some details of the history of the greatest of all the Empires with its scenes showing daily life, depictions of heroic figures and the gods and other representations showing the hunt and games. The mosaics are arranged so that the depictions are seen at the entrance to every room.
The Thermal Springs – A section of aqueduct runs alongside the entrance to the complex and served the villa. Beyond this is a boiler room housing huge boilers that were used to heat water for both the baths and the rooms. Inside the baths we find: The Sala delle unzioni (Anointment Room), a small square room with mosaics depicting slaves preparing oils and unguents and using special utensils to anoint bathers. The Frigidarium is an octagonal room for cold baths and the mosaics depict seascapes showing cherub fishermen surrounded by tritons, nereids (sea nymphs) and dolphins: We also fine the Tepidarium and the three small Calidaria rooms. There is no access from the Frigidarium to the swimming pool or the hot part of the aqueduct. Passing the “edicola di Venere” (Shrine of Venus) where her statue once stood, we pass into the polygonal courtyard. Water collected was directed to the large latrine.
Peristilium – The mosaic features figures bearing a candlestick, a branch of laurel and, below, a figure with a diptych (a small book consisting of two panels) from which he might read a welcome addressed to the master of the house and any guests. Directly opposite is the Lararium, where statues of the household gods, the Lari, were kept. An imposing rectangular portico is decorated with a mosaic that covers all four walls: the beautiful mosaic is ornamented with round medallions set among squares, with, at their corners, birds and leaves. The medallions bear the heads of wild and domestic animals.
Piccola latrina (small latrine) – The floor mosaic depicts animals including a wild ass, a cheetah, a hare and a partridge.
Sala del circo – This long, oval-shaped room was the bathhouse gymnasium. The mosaic depicts the Circus Maximus in Rome.
Sala della danza – Although incomplete, the mosaic gives a clear impression of women and men dancing.
Sala delle quattro stagioni – The four seasons, after which this room is named, are represented in medallions, personified by two women (spring and autumn) and two men (summer and winter).
Sala degli amorini pescatori – A few cupid-like cherubs concentrate on fishing with lines, tridents and nets while others play in the water with dolphins.
Sala della piccola caccia – The room of the Small Hunt preserves five panels depicting the most important moments in the heat of the hunt. Different scenes depict moments. The centre features a sacrifice being made to Diana the goddess of hunting, and the banquet.
Ambulacro della grande caccia – The fabulous Corridor of the Great Hunt with a recess at each end is the most interesting part of the whole villa. The floor mosaic depicts an incredibly elaborate hunting scene. Wild animals were captured then shipped to Rome, where they were used to great acclaim in the circuses.
Sala delle dieci ragazze in bikini – The Room of the Ten Girls shows young women concentrating on performing their various exercises while a lower scene shows a girl wearing a toga about to crown another girl.
Diaeta di Orfeo – The Chamber of Orpheus is so called because it was reserved for playing music. At the centre is Orpheus seated on a rock, playing the lyre and enchanting all the animals around him.
Central Area – The main mosaic is dedicated to the Twelve Labours of Hercules, few of which are still recognisable.
Left Apse – The mosaic represents the glorification of Hercules, while Zeus bestows a laurel wreath on his head. The panel below illustrates the metamorphoses of Daphne into a laurel and of Cyparissus into a cypress.
Central Apse – The scene represents a battle of the giants. Five huge creatures have been stricken by Hercules’ arrows. Except for the central figure, the others have snakes’ tails for legs. In the mosaic below, Hercules saves Hesione, the daughter of the king of Troy, from a sea monster.
Right Apse – This mosaic shows the story of Lycurgus and Ambrosia who is depicted changing into a vine.
Diaeta di Arione – The chamber of Arion was probably dedicated to making music and reading poetry. The mosaic depicts Arion sitting astride a dolphin and playing the lyre.
Atrio degli amorini pescatori – The mosaic illustrates a delightful variety of fishing scenes.
Vestibolo del piccolo circo – The vestibule of the small circus shows circus scenes with children in the lead roles.
Cubicolo dei musici e degli attori – This cubiculum probably served as a bedroom for the owner’s daughter. Two girls sit at the foot of a tree making crowns of flowers. Other scenes depict actors and musicians.
Vestibolo di Eros e Pan – Pan, the god of the woodland and Eros, the god of love. An audience is visible behind the two contestants. The fight symbolises the difficulty for anyone who is ugly (Pan) to conquer love.
Cubicolo dei fanciulli cacciatori – This cubiculum was probably the bedroom of the son of the house-owner. The mosaic is divided into two parts, which in turn are sub-divided into three sections. There are scenes showing children and hunting.
Vestibolo di Ulisse e Polifemo – These mosaics illustrate the famous story of Ulysses outwitting Polyphemus with a goblet cup of wine intended to send him to sleep.
Cubicolo della scena erotica – Surrounded by images of the four seasons, the mosaic shows a young man embracing a loosely clad girl.
History, art and culture
On the Erei mountains, not far from Enna is Piazza Armenia easily reached by coming off the A19 Catania Palermo motorway slip-road at Enna. Situated on three hills, the town is dominated by the “Castello Aragonese”, built by Martino I, king of Sicily, towards the end of 1300’s, and by the Duomo, dedicated to Mary of the Assumption, dating back to the 1600′, which stands on the remains of a more ancient church, In the Duomo, hangs a painting of the Madonna which was apparently donated to the grand Count Ruggero by Pope Niccolò II, a double-faced crucifix, an interesting and unique work by the so-called “maestro della croce”, and the “Assunta” by Filippo Paladino.The diocesan museum holds the treasure of the Duomo and other precious pieces, such as paraments and wax statues. The old town centre is an interesting succession of noble palaces easily observed as you proceed through the characteristic medieval streets. Worth seeing is the gate in carved tuff of the baroque church of San Rocco, as well as the frescoed ceiling of the town palace, and the Borremans frescoes in the church of San Giovanni Evangelista. On the outskirts of the town, the ancient church priory of San Andrea, founded by a nephew of Ruggero I in 1096, is worth visiting. Heading out of the town towards Valguarnera, it is also worth stopping off at the Ronza Park, a well equipped and vast green area run by the Forestry Commission, with numerous animal species.
UNESCO INSCRIPTION
Villa Romana del Casale (Piazza Armerina)
Inscription N° 832 1997 C (i) (ii) (iii)
The Committee decided to inscribe this property on the basis of criteria (i), (ii) and (iii), considering that the Villa del Casale at Piazza Armerina is the supreme example of a luxury Roman villa, which graphically illustrates the predominant social and economic structure of its age.
The mosaics that decorate it are exceptional for their artistic quality and invention as well as their extent. The Committee asked the State Party to provide a report on the conservation and management of the site and in particular on the monitoring of the climatic conditions within the protective structures and their impact on the archaeological remains.
