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Facciata del Palazzo Vescovile di Tivoli con Telamoni
Vatican, Biblioteca Apostolica Vaticana, null, fol.41r.
Facciata del Palazzo Vescovile di Tivoli con Telamoni.
(The facade of the bishop's palace of Tivoli with telamones).
A drawing by Giuliano Giamberti known as Giuliano da Sangallo (c. 1443-1516).
For a long time. the two Antinous-telamones found c.1450 in the Villa Hadriana, occupied both sides of the entrance to the Episcopal Palace of Tivoli.
They were seen and drawn in that emplacement by Sangallo around 1504-07, long before the first writen testimony of that location: " Annali e Memorie di Tivoli", published in 1580 by Giovanni Maria Zappi (1519-1596). Sangallo really drew the same telamon twice, duplicating it without depicting the inverted position of the legs, and he he wrote the indication “ATIGHOLI”.
In 1779 the telamones were given as a present to Pope Pius VI by Giulio Mattei Natali, Bishop of Tivoli from 1765 to 1782, in accordance with the city council, and moved to the Vatican Museums and placed at the entrance to the Museo Pio-Clementino.
Originally the telamones formed part of the decorative elements of the Antinoeion, the temple-tomb of Antinous located outside the Villa Hadriana, in front of the Cento Camerelle.
"Garden of Antinous' tomb"
by Eugenia Salza Prina Ricotti:
"To make an important discovery is always an unexpected also if pleasant feeling. Usually the subject of your research is something you are sure to have completely examined and you are sure there could not be anything new to find out. As I have already told this is not always so and it was proved by me, when being 80 year old, I found Antinous’ tomb in Villa Adriana. I was quite shocked. Then I began to analyze my discovery.
At this moment my hypothesis had been verified, the excavations had proved that here, surrounded by a garden, was what would have been the tomb of the unhappy young man. Would have been because this tomb was never finished. The only thing that was completed was its garden with the two marble temples, the enclosure, the white marble basins and even the platform where Antinous’ shrine would have been built. Thus I began to reconstruct the garden. Luckily it was possible to do so with the best exactness, because here as in all Villa Adriana the tufa’s platform was nearly surfacing and all the garden’s arrangement had to be cut in the stone: trenches for the edges, pits for the bushes and canalizations for the basins and for irrigation. We find all this done with the usual precision of Hadrian’s works and this clears to us how the garden was made.
From our researches we knew that at Hadrian’s death in the 138 CE the garden with its temples and its enclosure had been completed. From the soil analysis we also learned that it did survive until the end of the Empire because the content of lead of its area was the same we find in the Canopus’ and in the other monumental part of the Imperial Residence which were created on the plots of never irrigated a land that were acquired by Hadrian, and that were tended up by his successors.
Obviously then, with the Barbarian invasions and the abandon of the Imperial Residence, this place stood exposed to all the pillages that ruined all the Roman’s monuments. For centuries the local people considered Villa Adriana as an enormous quarry where they went to refurnish their churches of columns and their floors with luxurious slabs of marbles. They also took bricks for their buildings and made lime, which they obtained burning in their kilns fragments of statues or marble of the architectonic moldings. They thought it was very nice to do so, because starting from the 8th century CE the Church requested all believers to destroy all the beautiful “pagan” works of art, besides this “ worthy action”, helped them to obtain the best lime possible for their mortar.
After the passage or this horde of locusts the only things that were left to Villa Adriana were its naked walls and not even all of them, because in 1650, when the Jesuits decided to make there a thriving vineyard, they completely cleaned the area and demolished all the walls that were still standing in Antinous’ garden. The only things that were left untouched were the bases of the two temples. To destroy those large masses of conglomerate would have taken lot of work. Thus they were left there where they stood, and low on the ground as they were, they were treated exactly as if the they were part of the tufa’s platform.
Today on this rocky plain, left naked by an exaggerate excavation we can see all that happened here, from the big mass of marble fragments prepared for the kilns and that was left there by the local people who now had more than enough lime, and never burned them, to the long furrow traced in the tufa platform traced by the holy Fathers in such a way as to held rain water in them, keep always humid the soil and by capillarity irrigate the young vines.
In the middle of all those scars, Hadrian’s cuts, straight and well
AUSSIEMANDIUS- "FINAL CURTAIN"
(BEST VIEWED LARGE)
Showbiz royalty to the last the Princess died with greater dignity than her gaudy career should have allowed.
During the Fall she quietly took down her banners and posters, cleaned her plush carpeted lobbies and marbled staircases, polished her guilded, coppered facade....
And closed her doors firmly against the crass Apocalypse.
No show today.
Melbourne's Princess Theatre in Spring Street is the second theatre on a site that's been used for the purpose since at least the 1850s. The current building was completed in 1866, designed by William Pitt in the Second Empire style. It had a feature sliding roof and the latest electrical stage lighting and opened with a performance of Gilbert & Sullivan's "The Mikado". It was extensively restored in 1990.
Pitt's Victorian era buildings (often in the Venetian Gothic style) are well represented in Melbourne and surviving examples (sometimes just the facades have been preserved) include the Victoria Brewery, the Olderfleet Buildings, St Kilda Town Hall, the Old Safe Deposit Building, the Old Rialto Building, the former Melbourne Stock Exchange, the old Bryant & May match factory and the Sir Charles Hotham Hotel.
I think Pitt's gracefully aging facades quite suit my Aussiemandius photoset, with the additional overlay of once glorious Empire...
I took this picture New Year's Day, 2007. It was odd to see the place shut up and without show posters trumpeting the latest popular hit.
Always unsettling to see such a place, which is also located on a very busy street, so empty, so silent...
Of course, there is a traditional theatrical haunt that's 'attached' itself to the place. At the conclusion of the opera 'Faust' singer Frederick 'Federici' Baker, playing Mephistopheles, disappeared down the trapdoor to Hell and promptly died of a heart attack. In the fictional lore of the supernatural his ghost is said to have been resident ever since. After The Fall I guess he'd have lots of company!
Much more spooky to me than spurious spirits is the way the central core of the building looks like the theatrical mask, "Tragedy" !! The vacant eyed windows (complete with closed eyelids!) flanking the black creped nose-like-billboard above the frowning verandah edge....
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