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A possible depiction of the Great Church of Antioch (to the right) next to the Imperial Palace, from the border of the late 5th century Megalopsychia hunt mosaic, found in Daphne, near Antioch. Domus Aurea (in English Golden House) or the Great Church in Antioch was the cathedral where the Patriarch of Antioch preached.
The Domus Aurea (Latin, "Golden House") was a vast landscaped complex built by the Emperor Nero largely on the Oppian Hill in the heart of ancient Rome after the great fire in 64 AD had destroyed a large part of the city. [1] It replaced and extended his Domus Transitoria that he had built as his first palace complex on the site. [2] [3]
Location of the Colossus (in red near the center) on a map of Rome. The Colossus of Nero (Colossus Neronis) was a 30-metre (98 ft) bronze statue that the Emperor Nero (37–68 AD) created in the vestibule of his Domus Aurea, the imperial villa complex which spanned a large area from the north side of the Palatine Hill, across the Velian ridge to the Esquiline Hill in Rome.
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Golden House, or Domus Aurea, was a large palace built by the Emperor Nero in the heart of ancient Rome. Golden House or The Golden House may also refer to: The Golden House, a tourist attraction in Hong Kong; The Golden House, a 2017 novel by Salman Rushdie; Golden House, a 2010 South Korean television series
Her tomb was transferred here from the Santa Aurea Church in Ostia Antica, Italy on 11 April 1424. [7] Her sarcophagus was designed by Isaia da Pisa (1410–1464) in 1455, and is now located in the Chapel of Saint Monica (left of the apse). Norways's Archbishop Olav Trondsson died on 25 November 1474. His tombstone reads: "CVI DEDERAT SACRAM ...
The term Domus Flavia is a modern name for the northwestern section of the Palace where the bulk of the large "public" rooms for official business, entertaining and ceremony are concentrated. [3] Domitian was the last of the Flavian dynasty , but the palace continued to be used by emperors with small modifications until the end of the empire.
According to Nicholas Temple, Nero's octagonal domed room in his Domus Aurea was an early example of an imperial reception hall, the symbolism of which "signaled an elevation of the status of the emperor as living deity, which in the case of Nero related specifically to his incarnation as Helios and the Persian Mithra."