Some Hellenistic exedras were built in relation to a city's agora, as in Priene. Monument architects have also used this free-standing style in modern times.
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This high wall served as a firebreak, protecting the Forum area from the frequent conflagrations from which Rome suffered. The rectangular square has long deep porticos with a surface that widens into large semicircular exedras. Recently one more slightly smaller exedra was found south on the wall bordering the forum of Trajan. meaning that in sake of symmetry there must have been other exedra demolished to make room for the forum of Nerva, rising the number to 4 and not 2 exedras.
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During the reign of Emperor Trajan, domes and semi-domes over exedras were standard elements of Roman architecture, possibly due to the efforts of Trajan's architect, Apollodorus of Damascus, who was famed for his engineering ability. Two rotundas in diameter were finished in 109 AD as part of the Baths of Trajan, built over the Domus Aurea, and exedras wide were built as part of the markets north-east of his forum. The architecture of Trajan's successor, Hadrian, continued this style. Three wide exedras at Trajan's Baths have patterns of coffering that, as in the later Pantheon, align with lower niches only on the axes and diagonals and, also as in the Pantheon, that alignment is sometimes with the ribs between the coffers, rather than with the coffers themselves.
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NIS, Rome, 1987. Pages 35-84. as a spectacular series of terraces, exedras and porticos on four levels down the hillside, linked by monumental stairs and ramps. The inspiration for this feat of integrated urbanistic design lay not in republican Rome but in the Hellenistic monarchies of the eastern Mediterranean.
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A special feature of the church architecture is the absence of porticoes in front of the northern and southern facades, as well as at the eastern facade of the altar apse. Instead of porticoes, in the wall of this part there are arranged three exedras, with the middle one serving as an altar.
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Left and right of the façade are exedras decorated with busts of Roman emperors. The entrance to the palace is through the left exedra. Facing the courtyard façade is a peristyle with five arches. The central arch, the highest and widest, faces the centre of the façade and opens on the palace's main gate.
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The orchestra had a semicircular plan and housed three rows of wooden seats for the authorities (proedria). The stage (proscaenium) had a length of 43.60 m. The scaenae frons had three semicircular exedras and decorated by two orders of columns, with bases and capitals in Luni's marble, and shaft in pink travertine of Mula. The stage edifice had a total height of 14.60 m.
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The free-standing (open air) exedra, often supporting bronze portrait sculpture, is a familiar Hellenistic structure,Suzanne Freifrau von Thüngen, Die frei stehende griechische Exedra (Mainz:Zabern) 1994. Reviewed by Christopher Ratté in American Journal of Archaeology 101.1 (January 1997:181–82). Von Thüngen's catalogue lists 163 exedras. characteristically sited along sacred ways or in open places in sanctuaries, such as at Delos or Epidaurus.
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The main building stood in the centre with no connections to the surrounding walls, which housed the cisterns, two symmetrical libraries (south), two large exedras (east and west) and tabernae (shops) to the north. The surviving library measures 38 by 22 meters. Between the outer wall and the central complex were gardens (xystus). The axis of the baths was laid out in a northeast to southwest fashion to make use of the sun's heat.
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The house is approached through the terraced lawns on the east front and the building has landscaped woodlands with a pond to the west. North and south of the building are wooded hillsides. The eastern terraces are enclosed by a low castellated wall to ha-has and there is a 1900 summer-house at the southeastern corner of the walls. The walls are periodically interrupted with rectangular exedras with classical urns atop piers.
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43-60 In January 2016, Pablo Serrano, infographics artist of the Los Bañales project, carried out a 3D reconstruction of the monument based on detailed photogrammetric documentation and comparison with similar monuments and Roman funerary culture. This reconstruction is hosted on the Los Bañales video channel. Mausoleum of the Sádaba Synagogue A Roman mausoleum made of opus mixtum, with rigging made of ashlar and brick, a cruciform plan with two exedras appended to the sides, and unequal arms.
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Outside the temple complex stand the remains of a basilica, built in the 5th century over earlier buildings. It is one of the most impressive Coptic buildings: 55 m long, it features a colonnaded transept ending in exedras and side galleries. The nave with the apse is 14.7 m wide, and the width of the aisles is 5.6 m. The church was discovered in 1942 by Moharam Kamal,Moharam Kamal, Excavations in the so-called Agora of El Ashmunein.
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There were also urban gardens were organized around an atrium and served as a communal area for all the social classes. The center of atriums had a lake decorated with mosaics, vases, or statues, and walls decorated with frescos. Roman gardens usually had structural and architectural elements such as porticos, arches, columns, exedras, swimming pools, wooden kiosks, pergolas, arbours, and even artificial grottos (nymphaea). Water ran in abundance through channels and pilones, sometimes with small jets.
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Exedra tombstone An exedra (plural: exedras or exedrae) is a semicircular architectural recess or platform, sometimes crowned by a semi-dome, and either set into a building's façade or free-standing. The original Greek sense (ἐξέδρα, a seat out of doors) was applied to a room that opened onto a stoa, ringed with curved high-backed stone benches, a suitable place for conversation. An exedra may also be expressed by a curved break in a colonnade, perhaps with a semicircular seat. The exedra would typically have an apsidal podium that supported the stone bench.
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This completely changes the layout for the south part of the forum of Augustus, meaning that it is much more similar to the forum of Trajan and a new theory for this southern part of the forum suggests that in fact there was a basilica between the 2 new exedras (like in the forum of Trajan). This supports the numerous ancient authors that tell us the forum was used as a court of law. The entire decoration of the Forum was tightly connected to the ideology of Augustus. According to myth, Rome herself was born from the god Mars through Romulus.
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The Nile mosaic of Palestrina The first evidence of mosaic tiles in Rome dates back to the end of the third century BC. Mosaic art was used practically as a means to waterproof the clay floors and make it more resistant to trampling. Eventually, cultural exchanges with Greece and Egypt changed the aesthetics and compositions developed. Greek workers brought classic mosaic motifs, including doves and scenes from the Nile. The wall mosaic was born at the end of the Republic, towards the first century BC. In Pompeii and Herculaneum, mosaics were used to waterproof exedras, as they were often decorated with fountains.
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373, on ancient Jewish examples. as in Piero della Francesca's Throned Madonna with saints and Federigo da Montefeltro,Commons image and the example in the gallery below. Islamic examples may use muqarnas decorative corbelling, while in Late Antique, Byzantine and medieval church architecture the semi-dome is the classic location for a focal mosaic, or later fresco.Talbot Rice, 118 and 123 Looking up at the radiating semi-domes of Hagia Sophia Found in many Ancient Greek exedras, the semi-dome became a common feature of the apse at the end of Ancient Roman secular basilicas, which was adopted in Early Christian architecture as the commonest shape for churches, becoming the focal point for decoration.
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Other connections are the sculptures in the two exedras of the Statue Gallery: in the southern one are two satyrs, symbols of ungoverned passion and lust, while opposite are the virgin Athena, goddess of wisdom, and Ceres, the preserver of marriage and sacred law. In the Landscape Room it is possible to go from looking at the paintings to looking through the window at a real Landscape garden, one influenced by the images on the walls. The works collected in Italy include: sculpture, paintings, mosaics, books, manuscripts and old master drawings (most of which have been sold). The books included one of Leonardo da Vinci's note books now known as the Codex Leicester which was sold from the collection in 1980.
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220 and note 48. In Giuseppe Valadier's systemization of Piazza del Popolo, Stocchi provided the Autumn in the set of seasons the crown the exedras that delimit the piazza east and west. (TCI). He was among the team of sculptors working in the Torlonia Chapel in San Giovanni in Laterano under the architect Quintiliano Raimondi (TCI) He provided the dolphins added to the fountain in Piazza Colonna. In 1863 Achille Stocchi suggested a monument, for which he provided the plaster bozzetto (1867), commemorating the disfide di Barletta, 1503, when thirteen Italian champions turned back French forces in the city of Barletta; it was intended for the gardens of piazza Castello, but was not cast in bronze until 1980, long after Stocchi's death; it was reinstalled (2001) in a more prominent position, in piazza Fratelli Cervi.
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Giuseppe Valadier also designed a large park around the Villa dominating the Valley. Across from the entrance way, surrounded by oaks, is a 2000 m2 park where nature, landscape and architecture live in peaceful harmony. Magnificent cypress trees lead to the peak of the hill with two lateral paths that guide the way along the property. The central axis continues through a vast geometric square that contains two large pavilions made of wrought iron and decorated with roses ending in a vast elliptical square limited by exedras. The layout is in the geometric and symmetric lines of traditional Italian gardens, while the park as a whole follows the contour of the land in the style of English naturalism with hundreds of box hedges that create shaded winding walkways called ’Cocchi’, bounded by pergolas and flowers.
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