one day private tour from £ 125 euro
Piazza Armerina, splendid art city woven into the heart of Sicily, boasts a slew of monuments that tell of its glorious past. Meanwhile, the apple of the citizens’ eyes is the Villa Romana del Casale; originally the property of a powerful Roman family, it dates back to the 4th Century A.D. This majestic Imperial villa, standing tall in the Province of Enna (perhaps the most “Roman” of places on the Island), is a magnificent rural abode, fascinating, above all, for its captivating mosaics, considered the most beautiful and best-preserved of their kind. The fruits of meticulous labor, these precise yet moving images make for a significant adornment to what remains of this extravagant residence – made a UNESCO World Heritage Site in 1997.
The Villa Romana del Casale (trans. Roman Country Villa) in Piazza Armerina is considered to be one of the most important exemplars of an official governmental residence, attributed to the elaboration and exceptional beauty of its architectonic and decorative elements. Dated back to 320-350 A.D., the villa most likely belonged to a member of Rome’s senatorial class, probably a governor of the Eternal City itself (Praefectus Urbi). However, some scholars would maintain that the villa was built and eventually expanded upon the official commission of an Imperial functionary of a rather high order; they have identified this person to be Maximian, a Tetrarch (one of four co-Emperors) of Diocletian.
Archaeologists undertook an important excavation project in the mid-18th Century, bringing to light 37,674 sq ft of mosaic flooring – figurative and geometric – along with wall mosaics, columns, statues, capitals and coins. The theme of the mosaics? They are essentially, in part, paeans to the homeowner himself, and they are done, one might add, with a certain profundity and eloquence. Moreover, much of the house exhibits a definite influence from North African art styles, leading diggers and academics to believe that some of the construction workers from the African Continent. In the mosaics, the viewer can detect varying styles and narrative cycles: one is dedicated to mythology and to Homeric poems, while another refers to nature and scenes from the Roman aristocracy’s quotidian life.