The Mute Stones Speak: The Story of Archaeology in ItalyMacKendrick, Paul Lachlan
History
The Mute Stones Speak: The Story of Archaeology in Italy
MacKendrick, Paul Lachlan
Italy -- Antiquities
The main block of the baths is distinguished for its axial symmetry.
The most prominent room was the circular _caldarium_, or hot bath (just
to the right of center in the photograph). It is between its main piers
that the opera stage is set. Behind it the vast rectangular open space
(82 × 170 feet) is most logically interpreted as a grand concourse
whence the patrons of the baths (as many as 1600 in peak hours) could
move unimpeded to the bathing rooms of their choice. This central room
was groin-vaulted in coffered concrete, in three great bays supported
by eight piers (Fig. 12.5). The rooms around the central rectangle,
with their enormously thick walls, were ingeniously arranged as
buttresses to resist the thrust of the colossal vaults.
[Illustration: FIG. 12.4 Rome, Baths of Caracalla, air view.
(Castagnoli, _Roma antica_, Pl. 35)]
[Illustration: FIG. 12.5 Rome, baths of Caracalla, great hall,
nineteenth century reconstruction.]
The large open spaces at the east and west ends of the main block
were exercise-grounds. The exedras adjacent to their inner sides were
decorated in the early fourth century with the splendidly satiric
mosaics of athletes now in the Lateran Museum. With their broken
noses, low foreheads, and cauliflower ears, they are the very type
of overspecialized brutal brawn which intellectuals in all ages have
delighted to ridicule.
The large rectangular area at the rear center was the cold swimming
pool, or _frigidarium_; perhaps the rooms on either side were dressing
rooms. Below the pavement of the baths the excavators discovered tons
of L- or T-shaped iron bolted together in the form of a St. Andrew’s
cross. The possible inference is that some part of the baths was roofed
with iron girders, designed to support bronze plates ingeniously
contrived to reflect sunlight onto the bathers below. (The evidence for
the bronze plates and the sunroom is not archaeological but literary,
and, chiefly because the literary source had little or no idea what he
was talking about, has raised apparently insoluble controversy.)
Public-domain text, read in full here on John Shaqi.
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