The Domus Aurea (Latin for "Golden House") was a big porch landscaped villa, designed to take advantage of artificially created landscapes built in the heart of ancient Rome by the Roman emperor Nero after the great fire of Rome, which devastated Rome in 64 AD, had swept away the aristocratic dwellings on the slopes of the Esquiline Hill.
Built of brick and concrete in the few years between the fire and Nero's suicide in 68, the extensive gold-leaf that gave its name was not the only extravagant element of: stuccoed ceilings were applied to semi-precious stones and veneers d 'Ivoire, while the walls were painted, the coordination of decorations different themes in each major group of rooms. Pliny the Elder watched it being built and mentioned it in his Naturalis Historia.
Suetonius says that Nero and the Domus Aurea:
When the building was finished in this style and named after him, he deigned to say anything more in terms of approval of what was finally beginning to be hosted as a human being.
If the Domus Aurea complex parts covered the slopes of the Palatino, Esquilino and Celio hills, with an artificial lake in the marshy Terrefonde, the estimated size of the Domus Aurea is an approximation, as much of it has not been removed. Some scholars place it at more than 300 hectares, mentre altri stima per le sue dimensioni sono stati meno di 100 ettari.
Svetonio descrive il complesso come "rovinosamente prodigo", come ha incluso boschetti di alberi, pascoli con greggi, vigneti e lago artificiale-rus in urbe ", campagna in città". Nerone anche commissionato dal greco Zenodorus una colossale 35,5 m (120 RF), statua di bronzo alta di se stesso, il Colossus Neronis. Plinio il Vecchio, tuttavia, mette la sua altezza, a soli 30,3 m (106,5 RF). L' la statua è stata posta appena fuori l'ingresso principale del palazzo al capolinea della Via Appia in un grande atrio di portici che città divisa dalla villa privata. Questa statua potrebbe essere rappresentato Nerone come il dio del sole Sol, come Pliny saw a certain similarity. This concept is widely accepted among scholars, but some are convinced that Nero has not been identified with Sol while he was alive. The face of the statue was amended shortly after Nero's death during Vespasian 's reign to make it truly a statue of Sol Adriano moved, with the help of architect Decrianus and 24 elephants, in a position next to the Flavian Amphitheater.
The Domus Aurea was a house party, as evidenced by the presence of 300 sleeping rooms with no quarter. Remained Nero's own palace on the Quirinal Hill. Nero's own palace remained on the Quirinal Hill. Strangely, no kitchens or latrines Have Been Discovered yet either. Strangely, no kitchens or latrines have yet been discovered two.
Rooms dazzling polished white marble have been very varied floor plans, shaped with niches and that esedre concentrated or dispersed the light of day out 'were swimming in the floors and fountains splashing in corridoi.Nerone has a great interest in every detail the project, according to the Annals of Tacitus', and oversaw the engineering / architects, Severus and Celer, who were also responsible for the waterway, with whom he hoped to try Nero's Miseno link with Lake Avernus.
Some of the extravagances of the Domus Aurea had repercussions for the future. The architects designed two of the main dining rooms flank an octagonal court, surmounted by a dome with a giant eye center to let in light. It was probably the first Roman use of a dome that was not in a temple dedicated to the gods, such as the Pantheon, and early use of buildings in calcestruzzo.Un 'other innovation was destined to have a huge influence on' art of the future: Nero placed mosaics, previously restricted to floors, vaulted ceilings. Only fragments have survived, but this technique was to be copied extensively, eventually as a fundamental element of Christian art: the mosaics that decorate so many churches in Rome, Ravenna, Sicily and Constantinople.
Celer and Severus also created an ingenious mechanism, cranked by slaves, who made the ceiling underneath the dome revolve like the heavens, while perfume was sprayed and rose petals were dropped on the diners gathered. According to some sources, perhaps embellished by Nero's political enemies, on one occasion such quantities of rose petals were dropped that one unlucky guest was asphyxiated (a similar story is told of the emperor Heliogabalus).
"Nero gave the best parties, ever," archaeologist Wallace-Hadrill told an interviewer when the Golden House was reopened in 1999 after being closed for years for restoration. "Three hundred years after his death, tokens bearing his head were still being given out at public spectacles - a thing of the more great showman of all. "Nero, who was obsessed with his status as an artist, certainly regarded as parts of works of art. Petronio was his official party.
frescoes covered every surface that was not even more refined. The main Was one Famulus artist (or Fabulus According To Some sources). The main artist was one Famulus (fabulus or according to some sources). Pliny in his Natural History, recounts how Famulus went for a few hours every day for the Domus Aurea, at work, while the light was right. The speed of execution Famulus offering a wonderful unity to his compositions and astonishing delicacy to their execution.
Pliny the Elder presents Amulio as one of the leading painters of the Domus Aurea: "More recently, he lived Amul, a serious and quiet character, but a painter-style floral. With him there was a Minerva, which had the appearance of always looking at the spectators, from any point where it was viewed. He painted only a few hours a day, and then with the utmost seriousness, for he always kept the toga on, even when in the middle of its implementation. The golden palace of Nero was the prison-house productions of this artist, and, therefore, is that there are so few of them to be seen elsewhere.
name Domus Aurea in modern times has come to mean wealth, opulence and luxury . Commercial uses of the name are grown, ranging from luxury hotels to wines using the same name to market themselves to a segment of consumers who are aware of the historical significance and a statement of wealth that goes with the name Domus Aurea .
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