#aedicula

[donnodubus]

The Reims Stela (Autel de Reims) is one of the more impressive and complete survivals of Cernunnos iconography.

Because the weathered stone is so dull, I've always wanted to see it restored to its former polychromy glory — so I experimented with some digital colorization!

[charlesreeza]

In the vestibule of the Cathedral of Syracuse, Sicily

Photo by Charles Reeza

[viagginterstellari]

Small shrine - Matera, 2021

[careful-disorder]

Aedicula containing a painted Athena and Agathodaemon

[a-modernmajorgeneral]

The house has an irregular layout consisting of two originally independent units being united. The atrium area almost entirely preserves the original decoration dating back to the last period of the city; the upper part, consisting of painted blocks of rows, is well preserved. A marble table resting on legs in the shape of winged lions is found at the edge of the impluvium.

The rear part consists of richly decorated rooms formed around the portico and the central garden, dedicated to gatherings or receiving guests. The life-size images of Bacchus and Venus are painted on the walls of the exedra, and the central area of the floor of the triclinium is embellished with inlaid coloured marble.

There is an aedicula on the back wall of the garden, where there is the lararium for family worship.

Date of excavation: 1896-1897.

View of the lararium from the portico in the "House of the Prince of Naples", Pompeii.

Photo: Luigi Spina

[pikasus-artenews]

ALEJANDRO CESARCO. Three Books on Memory

Tre note a piè di pagina di un testo mai scritto dell’artista uruguaiano Alejandro Cesarco in mostra alla Galleria Cortese di Albisola

[whencyclopedia]

Populonia

Populonia (Etruscan name: Pupluna or Fufluna), located on the western coast of Italy, was an important Etruscan town which flourished between the 7th and 2nd century BCE. Rich in metal deposits and so noted for its production of pig iron, it has become known as the 'Pittsburgh of antiquity;' the town was a successful trading port, able to mint its own coinage. 7th and 5th century BCE tombs survive at the site, including large tumuli and square stone aediculae set in rows.

Early Settlement

The earliest archaeological evidence of settlement are the cemeteries belonging to the Villanovan culture (1000-750 BCE), a precursor of the Etruscans. The settlement of Populonia benefitted from its location on the coast where it could act as a trading centre between incoming goods shipped by sea from the wider Mediterranean and export the minerals mined from the interior of Etruria. There were also long-standing trade relations with Sardinia. With its own port in the only Etrurian natural harbour (the Gulf of Baratti), Populonia was the only Etruscan town to be constructed directly on the coast. The Etruscan name for the town - Fufluna - is derived from the Etruscan god of wine Fufluns, and this may indicate viticulture was an early source of wealth. More certain is that Populonia became prosperous based on its production of bronze, using copper and tin deposits found in the nearby hills.

Even more important than all its other resources put together, Populonia was particularly noted as a smelting centre for iron coming from Elba. The island had exhausted its supply of wood needed for charcoal used in the smelting process and so was forced to send iron ore across to the mainland for treatment. It is interesting to note that archaeology has shown that the Populonians did not make the same mistake of mass deforestation. Analysis of charcoal remains at the town show that it typically came from trees which were 20 years old, suggesting there was some forest management and trees were cut on a rotation basis. Iron would bring great wealth to Populonia's ruling class, and as historian J. Heurgon points out, it would make the city as famous in antiquity as Pittsburgh was in the 20th century CE for its steel.

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[venustapolis]

Wall painting on black ground - Aedicula with small landscape, from the imperial villa at Boscotrecase (1st century B.C.)

[atotaltaitaitale]

Porte des Lilas:

Saint-Fargeau:

Pelleport:

.

Monday Metro… Porte des Lilas (District 20 - Line 3bis & 11 - Exit 1 avenue Gambetta), Saint-Fargeau (District 20 - Line 3bis - Only one Exit) & Pelleport (District 20 - Line 3bis - Only one Exit)

I was going to post those 3 stations separately but they are identical in the form of an original aedicula with bas-reliefs and earthenware decoration, designed in 1922 by Charles Plumet. Because of the great depth of the platforms, it has a pair of elevators surrounded by a series of fixed stairs. The same model of kiosk, specific to line 3 bis, is only found at those three surrounding stations: Porte des Lilas, Saint-Fargeau & Pelleport.

[lannashanen]

Glosario N° 9 (Historia II)

•https://www.wordreference.com/definicion/heterodoxia

•https://estudyando.com/aedicula-definicion-arte-y-arquitectura/

•https://definicion.de/pinaculo/

[steliosagapitos]

          ~ “Relief of triplicate Hekate. Three female figures framed in aedicula, with high poloi on their heads, dressed in chiton and peplos, holding torches in their hands. Marble Hadrian classicism, now in the Kinský Palace of Prague in Czechia.” ~

[charlesreeza]

Here a niche, there a niche, everywhere a niche - Syracuse, Sicily

The Roman/Latin term for these is aedicula (singular) or aediculae (plural). They could be household shrines, tabernacles within temples and churches, or part of the decorative architecture of buildings. They can be seen on the walls and corners of buildings all over Europe, usually with a statue or image of a saint.

Photos by Charles Reeza

[betulpeker]

Competition, proposal for museumizing the Roman ruin in Curinga, Italy

I. The Turkish Bath (Le Bain turc) Painting by Jean Auguste Dominique Ingres

II. III. IV. V. drawings and visualizations by Jakub Dračka and Betül Peker, 2024

The thermal baths of Acconia di Curinga is a  harmonious blend of preservation, innovation, and sensory experience. The structure’s form, when viewed from above, is a testament to the rational grid inspired by the surrounding tree orchards. This grid, mirroring the hypocaust heating system, has been ingeniously translated into a new orchard of red-brown concrete columns, each proportioned differently to mimic the diversity of trees. The ruins themselves are encapsulated beneath an offset roof that not only casts shadows but also echoes the original structure’s shape. A wall, following the roof’s outline, gracefully crawls on the ground, reinforcing the historical silhouette. Roman-inspired windows perforate the roof strategically, allowing natural light to illuminate the interiors. These windows are not mere openings, they serve as architectural elements, transforming each space according to its historical function.

The immersive journey through the structure is facilitated by a path crafted from prefabricated steel, providing a lightweight contrast to the robust brick walls. Positioned close to the walls, it encourages visitors to engage their senses by touching and smelling the ancient materials. The scent of flowers and herbs planted within the small rooms and the garden further enriches the sensory experience. Orange and lemon trees, along with fragrant herbs like rosemary, creates an olfactory landscape. Thermae becomes a sensorial orchestra, playing with the elements of sound, light, darkness, silence, warmth, cold, and water. The frigidarium, filled with water and featuring a large window, exudes a cold and open ambiance. The gymnasium, with its open roof perforation, invites contemplation under the sky. In contrast, calidaria and tepidaria are intimate, dark spaces where small chimney-like windows distribute a subdued light. Aediculas, designed as a contemporary art gallery, adding a modern touch to the historical site. For those who prefer an external perspective, a strategically placed bench offers a shaded vantage point. The architectural design transcends mere visual aesthetics, aiming to engage visitors on a multisensory level, fostering a profound connection between the past and the present.

[careful-disorder]

Penry Williams, The Shrine

[ancientcharm]

Wall painting on black ground: Aedicula from the imperial villa at Boscotrecase. Period: Early Imperial, Augustan

MET Museum -Public Domain images

[pikasus-artenews]

CLARISSA BALDASSARRI. exposure value

Clarissa Baldassarri si interroga sulla manipolazione delle immagini, i meccanismi di presentazione dell’arte contemporanea e la ricezione delle opere d’arte