The 'Achillian' Baths are numbered amongst the principal public bathing establishments of Roman date which survive in Catania, alongside the Terme dell'Indirizzo and the Terme della Rotonda, and constitute a mysterious and highly suggestive place. They are located beneath the Piazza Duomo and may be reached through a narrow underground passage next to the principal façade of the Cathedral.
The name derives from a fragmentary Greek inscription on a slab of Carrara marble, found around the middle of the 18th century. The inscription, attributable to the middle of the 5th century AD, is currently on display in the Museo Civico of Castello Ursino in Catania.
The part of the building complex which can be visited today includes the main hall, know as “Hall of Piers”, off which opens a series of rooms, some of which are linked to it by a corridor along the south side. This, covered by a barrel-vault and about 18m long, leads to four rooms of uncertain purpose. The area has yielded numerous fragments of late Roman and mediaeval pottery, which demonstrate the continued use of the building.
The meagre stratigraphic data obtained from the various excavation campaigns, together with the analysis of structural details, have made it possible to date the first bath building to the 2nd century AD; while a second building phase, observable in the east wall of the main hall, must belong to the mid-5th century AD. The latter must have constituted an elongated rectangle in the first phase, while it was probably re-shaped in the second phase, reducing its size.
Following refurbishments in late antiquity, the main hall is now more-or-less square in outline (11 m from north to south and 11.90 m from east to west). The vaulted ceiling of the hall, whose extraordinary figurative decoration can still be admired, was covered with stucco protraying cupids, vine scrolls and bunches of grapes. Along its own sides is a conduit 0.70 m wide, linked to the channel system found in the long corridor which flanks the hall on the south. The paving of the hall was a fine work in opus sectile, composed of re-used slabs, of which the impressions remain in the mortar bedding. In the centre of the hall is a basin, originally veneered with marble, in the centre of which would have stood a small column. During the first phase, the height of the piers would have appeared greater than it does now, for in fact the present paving dates from a complex remodelling of the building which involved its raising up. As one passes along the corridor, there is on the left a room which has yielded the only remains of the heating system (a hypocaust with piers composed of cylindrical bricks). In this same room have been found the remains of a staircase, indicating the existence of an upper floor to the bath complex, which must have occupied more than one level.References:
Tyniec Benedictine abbey was founded by King Casimir the Restorer probably around 1044. Casimir decided to rebuild the newly established Kingdom of Poland, after a Pagan rebellion and a disastrous Czech raid of Duke Bretislaus I (1039). The Benedictines, invited to Tyniec by the King, were tasked with restoring order as well as cementing the position of the State and the Church. First Tyniec Abbot was Aaron, who became the Bishop of Kraków. Since there is no conclusive evidence to support the foundation date as 1040, some historians claim that the abbey was founded by Casimir the Restorer’ son, King Boleslaw II the Generous.
In the second half of the 11th century, a complex of Romanesque buildings was completed, consisting of a basilica and the abbey. In the 14th century, it was destroyed in Tatar and Czech raids, and in the 15th century it was rebuilt in Gothic style. Further remodelings took place in the 17th and 18th centuries, first in Baroque, then in Rococo style. The abbey was partly destroyed in the Swedish invasion of Poland, and soon afterwards was rebuilt, with a new library. Further destruction took place during the Bar Confederation, when Polish rebels turned the abbey into their fortress.
In 1816, Austrian authorities liquidated the abbey, and in 1821-1826, it was the seat of the Bishop of Tyniec, Grzegorz Tomasz Ziegler. The monks, however, did not return to the abbey until 1939, and in 1947, remodelling of the neglected complex was initiated. In 1968, the Church of St. Peter and Paul was once again named the seat of the abbot. The church itself consists of a Gothic presbytery and a Baroque main nave. Several altars were created by an 18th-century Italian sculptor Francesco Placidi. The church also has a late Baroque pulpit by Franciszek Jozef Mangoldt.