The Villa Adriana (Hadrian's Villa) is an exceptional complex of classical buildings created in the 2nd century A.D. by the Roman emperor Hadrian. It combines the best elements of the architectural heritage of Egypt, Greece and Rome in the form of an 'ideal city'.
The villa was constructed at Tibur (modern-day Tivoli) as a retreat from Rome for Roman Emperor Hadrian during the second and third decades of the 2nd century AD. The picturesque landscape around Tibur had made the area a popular choice for villas and rural retreats.
During the later years of his reign, Hadrian actually governed the empire from the villa. Hadrian started using the Villa as his official residence around AD 128. A large court therefore lived there permanently and large numbers of visitors and bureaucrats would have to have been entertained and temporarily housed on site.
It isn't known if Hadrian's wife lived at the villa either on a temporary or permanent basis - his relations with her were apparently rather strained or distant, possibly due to his ambiguous sexuality. Hadrian's parents had died when he was young and he and his sister were adopted by Trajan. It is possible that Hadrian's court at the villa was predominately male but it's likely that his childhood nurse Germana, whom he had formed a deep attachment to, was probably accommodated there (she actually outlived him).
After Hadrian, the villa was occasionally used by his various successors (busts of Antoninus Pius (138-161), Marcus Aurelius (161-180), Lucius Verus (161-169), Septimius Severus and Caracalla have been found on the premises). Zenobia, the deposed queen of Palmyra, possibly lived here in the 270s.
During the decline of the Roman Empire in the 4th century, the villa gradually fell into disuse and was partially ruined as valuable statues and marble were taken away. The facility was used as a warehouse by both sides during the destructive Gothic War (535-554) between the Ostrogoths and Byzantines. Remains of lime kilns have been found, where marble from the complex was burned to extract lime for building material.
In the 16th century, Cardinal Ippolito II d'Este had much of the remaining marble and statues in Hadrian's Villa removed to decorate his own Villa d'Este located nearby. Since that period excavations have sporadically turned up more fragments and sculptures some of which have been kept in situ or housed on site in the display buildings.
Hadrian's Villa is a vast area of land with many pools, baths, fountains and classical Greek architecture set in what would have been a mixture of landscaped gardens, wilderness areas and cultivated farmlands.
One of the most striking and best preserved parts of the Villa consists of a pool named Canopus and an artificial grotto named Serapeum. The pool measured 119 by 18 meters. Each column surrounding the pool was connected to each other with marble.
Many beautiful artifacts have been unearthed and restored at the Villa, such as marble statues of Antinous, Hadrian's deified lover, accidentally drowned in Egypt, and mosaics from the theatre and baths.
Hadrian's Villa is a UNESCO World Heritage Site and important cultural and archaeological site. It is also a major tourist destination along with the nearby Villa d'Este and the town of Tivoli. The Academy of the villa was placed on the 100 Most Endangered Sites 2006 list of the World Monuments Watch because of the rapid deterioration of the ruins.References:
The St Sophia's Cathedral was built between 1045-1050 inside the Novgorod Kremlin (fortress). It is one of the earliest stone structures of northern Russia. Its height is 38 m. Originally it was taller, for during the past nine centuries the lower part of the building became concealed by the two-metre thick cultural layer. The cathedral was built by Prince Vladimir, the son of Yaroslav the Wise, and until the 1130s this principal church of the city also served as the sepulchre of Novgorodian princes. For the Novgorodians, St Sophia became synonymous with their town, the symbol of civic power and independence.
The five-domed church looks simpler but no less impressive than its prototype, the thirteen-domed St Sophia of Kiev. The cathedral exterior is striking in its majesty and epic splendour evoking the memories of Novgorod's glorious past and invincible might. In the 11th century it looked more imposing than now. Its facade represented a gigantic mosaic of huge, coarsely trimmed irregular slabs of flagstone and shell rock. In some places (particularly on the apses), the wall was covered with mortar, smoothly polished, drawn up to imitate courses of brick or of whitestone slabs, and slightly coloured. As a result, the facade was not white, as it is today, but multicoloured. The play of stone, decorative painting and the building materials of various texture enhanced the impression of austere simplicity and introduced a picturesque effect.
The two-storied galleries extend along the building's southern, western and northern sides, with a stair-tower constructed at the north-eastern corner. The cathedral has three entrances - the southern, western and northern, of which the western was the main one intended for ceremonial processions. A gate standing at the entrance is known as the Sigtuna Gate (mid-12th century); according to legend, it was brought from the Swedish town of Sigtuna in 1187. The second name of the gate derives from the town of Magdeburg, where it was made. The two leaves are decorated with biblical and evangelical scenes in cast bronze relief. In the lower left corner there are portraits of the craftsmen who created this superb specimen of medieval Western European bronze-work. An inscription in Latin gives their names, Riquin and Weissmut. The small central figure - judging from an inscription in Slavonic - is a representation of the Russian master craftsman Avraam, who assembled the gate.
There is yet another bronze gate in the cathedral, called the Korsun Gate. Made in the 11th century in Chersonesos, Byzantium, it leads from the southern gallery into the Nativity Side-Chapel. Legend has it that the gate was handed over to Novgorod as a gift of Prince Yaroslav the Wise (c. 978 - 1054).
The interior of the cathedral is as majestic as its exterior. It is divided by huge piers into five aisles, three of which end in altar apses. In the south-western corner, inside the tower, there is a wide spiral in relatively small, modest buildings of the 12th - 16th centuries.