Baths of Caracalla
Begun by Septimius Severus and completed by his son, the Baths of Caracalla (216 CE) are Rome's best preserved Baths, though the Baths of Diocletian are a little larger. Hence they may give the best impression of the incredible size and visual richness of all of the imperial baths. The Baths of Caracalla, or Thermae Antonins, are situated in the level space between the Via Appia and the N.E. declivity of the Aventine. They are the most perfect Thermae in Kome, and occupy an area of 140,000 square yards. They were commenced by Septimius Severus in AD 206, chiefly built by Caracalla, enlarged by Elagabalus, and completed by his successor Severus Alexander. According to 01ympiodorus,they could accommodate 1800 bathers at a time.
The baths properly speaking occupied an oblong rectangular space 720 ft. long by 375 ft. wide, in the centre of a large square enclosure, surrounded by porticoes, gardens, a stadium, and a large reservoir, into which the Antonine Aqueduct (the Claudian) emptied itself; in front of this enclosure ran the Via Nova, one of the most magnificent in Rome during the time of the Antonines; the principal entrance to the Baths was from it, or on the side towards the Via Appia, the modern Via di San Sebastiano. As examples of Roman magnificence, excepting the Colosseum, there are no ruins that leave on the mind a stronger impression than the Baths of Caracalla.
The baths are described by contemporary historians as the most magnificent edifice of Rome. They are supposed to have been quite entire in the 6th century, until the destruction of the aqueducts by Vitiges, during the siege in 537, rendered these and the other Thermae completely useless. From that time they fell rapidly into ruin. It is related that, when the granite columns of the Great Hall were removed, the roofs fell in with so fearful a concussion that the inhabitants of Rome thought it was the shock of an earthquake.
These extensive ruins were the favorite haunt of the poet Shelley. In the preface to the 'Prometheus Unbound' he says, "This poem was chiefly written upon the mountainous ruins of the baths of Caracalla, among the flowery glades and thickets of odoriferous blossoming trees which are extended in everwinding labyrinths upon its immense platforms and dizzy arches suspended in the air. The bright blue sky of Rome, and the effect of the vigorous awakening spring in that divinest climate, and the new life with which it drenches the spirits even to intoxication, were the inspiration of thedrama." This poetical description is not so true to nature, since the introduction of the system of scraping all the ruins, to divest them of vegetation.
The visitor enters by the lane called the Via Antoniniana, which strikes off right from the Via di P. S. Sebastiano, nearly opposite the church of S. Sisto Vecchio. A square ante-room opens into an oblong hall of great magnitude, having on the N. an apse, and on the S. side a semicircular tribune, which retains a part of its ancient stucco. A portico with columns, fragments of which may still be seen, surrounded this hall, and supported a massive vault. This lies in ruins below the remaining portions, showing the mosaic pavement of the upper floor, consisting chiefly of marine monsters. This hall, similar to one at the opposite extremity of the baths, was used as a palestra for gymnastic sports : the mosaic pavement under the portico has a scale pattern with a graceful floriated border: that of the tribune was divided into squares inserted between parallelograms, each containing a full-sized figure, or bust of some renowned athlete. These fine specimens of Koman mosaics, discovered by Count Velo in 1824, are now preserved in the Lateran Museum. From the tribune visitors enter the large central hall, the tepidarium of the Therma; having on the W. side the frigidarium, and on the E. the calidarium. The frigidarium was arranged for cold swimming-baths, its floor being sunk some 3 ft. below the level of the adjacent halls. The existing pavement was put down in 1870.
Had not the columns supporting the vault been remored, or broken into pieces for lime, the tepidarium would be almost as perfect as the church of S. M. degli Angeli. On each of the long sides are three recesses: the two central Does open on to the frigidarium and the ealidarium; the four others were used as baths, and were divided from the tepidarium by two pillars of red porphyry, fragments of which, as well as some of the richly sculptured capitals, lie scattered around.
The third of this series of main apartments, the Calidarium, is a vast circular hall, a kind of gigantic vapor-bath, projecting half-way into the gardens in front of the piscina. Twelve granite columns, the bases of some of which still remain, supported an inner gallery. Of the 8 pilasters formerly supporting the cupola, only 2 are now in a good state of preservation, but they are still sufficient to show that the point where the dome began was higher than in the Pantheon.
In Nov. 1878 the basements of two of the other pilasters were excavated. One of these is pierced for a flight of 22 steps, descending to the subter ranean corridors. At the foot of one of these stairs was found one of Theodoric's noted brick-stamps, the first indication of restorations having been made in the baths of Caracalla by that provident King.
The palaestra, corresponding in size and position to the one by which vistors entered the baths, was completely excavated in 1872. The mosaic pavements are well preserved, and the position of the columns of the porticoes is easily recognised. The colossal torso of Hercules, placed on the fragment of a column of Giallo antico, was discovered in 1871 under the Palazzo di Monte Citorio, and the block of Giallo comes from the marble-wharf in the Emporium. The two beautiful torsos, placed on each side of it, were dug up in the frigidarium and the tepidarium of the baths: the cippi, with inscriptions, on which they stand, belong to the Necropolis of the Appian Way. A remnant of the marble frieze, still seen on the N. wall, gives an idea of the rich decoration of this hall. On the wall at the W. side are remains of mouldings in giallo antico marble.
The destination of the four great halls on each side of the projecting rotunda, on the W. face of the central building, has not yet been defined, but from their overlooking the stadium it is supposed that spectators witnessed the games below from their lofty galleries. Many fine works of ancient sculpture, which now enrich the Italian museums, came to light in this majestic edifice. Among these are the Farnese Hercules, the colossal Flora, and the Toro Farnese, discovered in the 16th century, and now in the museum at Naples; the Atreus and Thyestes, the two gladiators, the Venus Callipyge, also at Naples, the Sarcophagi of green basalt in the Museum of the Vatican, the granite basins in the Piazza Farnese, with numerous basreliefs, cameos, bronzes, medals, and other treasures, most of which have been lost to Rome with the other property of the Farnese family.
Between the main building and the Aventine is a large level space for gymnastic and athletic sports; and higher up, on the slope of the hill, the reservoir for water, or piscina, in connection with the aqueduct crossing the Appian Way, over the so-called Arch of Drusus. At the foot of the front walL of the piscina, facing the larger area reserved for gymnastic sports, were rows of seats, of which only the slope remains. On the N. and S. of the area are huge remains of semi-elliptical form, which have been conjectured to have served as tennis courts.
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