Villa Giulia

Lincoln Street

Built on the initiative of the Praetor and Governor of the city Antonio La Grua between 1777 and 1778, it was named after Giulia d'Avalos, wife of the then viceroy Marcantonio Colonna, not to be confused with Marcantonio Colonna who lived in the sixteenth century.

The design of the villa was carried out by the architect Nicolò Palma who designed a public green with a perfectly square perimeter, divided in turn into four squares divided by their diagonals; the central space, circular in shape, is embellished by four exedras designed by Giuseppe Damiani Almeyda in Pompeian style.

The monumental entrance overlooking the Foro Italico is neoclassical, the Doric columns testify well to the already romantic taste of the late eighteenth century, this entrance is not used for access to the garden and remains constantly closed. The other entrance, located on Lincoln Street, is less elaborate and is the one used regularly to access the garden.

At the center of the villa is located The clock of the Dodecahedron that is a marble dodecahedron where for each face there is a sundial, designed by the mathematician Lorenzo Federici. The sculpture is located in the center of a circular fountain and is supported by the statue of a crouching young man. Around the fountain there is a ruler decorated with metal sculptures.

Inside the garden there are numerous marble sculptures, of which the most significant is that of Genius of Palermo by Ignazio Marabitti made in 1778. (Text source: wikipedia)

Card insertion: Ignazio Caloggero

Photo: web

Information contributions: Ignazio Caloggero Web, 

Property included in the Multimedia Archive of Esoteric Cultural Heritage

The property has been recognised as a property that could present characteristics attributable to theCultural EsotericismGroup belonging: A

Methodological note: 

The assets entered in the archive are divided into three groups, based on their level of recognition and documentation:

• Group A – Well signposted: This includes cultural assets identified as potentially esoteric. This is an initial observation phase, during which the asset is studied, compared with sources, and critically evaluated.
• Group B – Recognized asset: It includes assets for which there are reliable studies and documentation attesting to their belonging to the Esoteric Cultural Heritage, but which are not yet accompanied by the complete esoteric profile.
• Group C – Well documented: It contains fully recognized and analyzed items, accompanied by a detailed esoteric description illustrating their symbolic meanings, interpretations, and historical-cultural context. This is the most advanced level of documentation within the archive.

To ensure rigor and interpretative consistency, the archive is based on a rigorous methodology aimed at avoiding the indiscriminate inclusion of cultural assets. To this end, specific criteria are adopted: recognition tools and a classification system, illustrated in the project Archive of Cultural Esotericism, described on the external site Experiential itineraries, to which we refer for further methodological information.