Today the Baths of Caracalla serve as a tourist attraction for world travelers who visit Rome. It has been the site of many musical performances and operas, however now it is thought to be risky to host musical exertions for fear that it could threaten the still standing structures. It is amazing to think that the ground level we stood on to view the baths from the outside, is actually one level above where the ground used to be. Luckily there was never anything built over top of the baths and so it remains the most well preserved ruin in Rome.
While wandering through the corridors of the baths, I couldn't help but question why there is nothing quite like them that exists today. Of course we have establishments like the YMCA and other various gyms and spas, but there truly is nothing that even comes close to comparing to the social aspect and daily routine that the Roman people were involved in with the baths. It was considered an integral part of life for the people of its time and it didn't matter whether you were wealthy or poor, anyone could enjoy the luxurious bathing. It seems to me that our culture is so consumed with the fast paced lifestyle that there wouldn't necessarily be a demand or opportunity for people to thoroughly enjoy and take advantage of a modern day bathing community. Instead of physical and hygienic wellness being prioritized or practiced in public, our society creates an environment where exercise has to be scheduled in and personal hygiene remains just that, personal. Not to mention the collective shunning of public nudity and wide spread body shaming for those who don't look like supermodels.
It is only natural that as humans we are constantly evolving and changing. We may still consider all around personal wellness to be important, but the way in which it is approached and practiced is very different from the way things were in the time of the baths. Not only were the baths a place to exercise and bathe, but it was a place to gain mental health as well. The vast libraries and communal conversations that took place at the baths only added to the many things the baths offered its daily visitors. In our society, we compartmentalize everything to have its specific times and places. Very rarely do we ever have anything or any place that allows us to combine mental and physical activities together. We feel the need to separate everything into categories based on what is most important to each individual.
Not only have the structures of the baths survived this long, but they represent something that is much greater than just an old ruin. They become a portal to the past and allow us to recognize what was an important part of life for the Roman people. It boggles the mind just attempting to understand how advanced the people of this time were and how they were able to accomplish creating such large buildings that lasted centuries. It's amazing that throughout all the disasters and horrors of history, those baths still stand tall today. There is nothing in our American culture that could even come close to comparing to that volume of man made antiquity.
The Baths of Caracalla are just one part of an entire ancient Roman culture that fascinates me. Comparing and contrasting the habits, values, and beliefs of today's society to the society of the historical Roman people is very interesting to me. When looked at from a sociological view point, it is easy to see where things changed over time and why. The one advantage our society has today is the large reminder of the past still standing in our present. The baths provide a combination of old and new. Not only were they important enough to stand the test of time, but have also been repurposed and used as an icon of present day Roman tourism.
Friday, August 8, 2014
Wednesday, August 6, 2014
Collapse of the Baths
The Baths of Caracalla were in consistent use for over 300 years. They had been repaired, redecorated, restored, and refurbished over this long period of time. The last recorded alterations were done in the time of Theodoric (493-526). Baths were still very popular and considered a necessity. The amount of effort to keep them functioning throughout this period is astonishing. The Baths' demise came from the inability to maintain the aqueducts water supply. This is the result of the siege of the Goths in 537 when the aqueducts were cut and very few were opened again afterward. The abandonment of the Baths ultimately began its extended journey into antiquity and ruins.
It is unclear just exactly what became of the baths between its downfall and its rediscovery, however it is known that most of the sculptures and stone were mined and taken by vandals for other purposes. Based on the actions of the architects during the renaissance, who used the Roman forum as a foundation for quarries to rebuild, it is reasonable to conclude that the same actions were employed in the Baths during that same time period. There were also a series of earthquakes in the middle ages that caused much destruction. Despite the many obstacles the Baths faced, it remains one of the most well preserved ruins in Rome today.
It is no easy task to put the puzzle pieces back together of where recovered statues were once placed within the buildings. It wasn't until the 1540's when Alessandro Farnese, who served as Pope Paul III, began excavating the ruins of the baths in search of ancient statues to place in the Farnese Palace. The Farnese family were very important local aristocrats at the time and it was during these excavations that the Herakles Farnese and the Punishment of Dirke were recovered. Much of the marble that had once decorated the baths were also collected. They were able to have two of the marble basin's relocated to the piazza in front of the grand palazzo. Construction of the palazzo began in 1514 and was worked on until 1589. In fact, much of the structure of the palazzo is made from materials taken from the Baths of Caracalla as well as the Coliseum.
In 1748 the baths were divided among a number of proprietors and were eventually passed along and leased by Count Girolamo Egidio di Velo in 1824. Di Velo was a very wealthy man from Vicenza who's passion was collecting objects from antiquity. He received permits to excavate the baths in search of items to decorate his home and the tomb of Palladio. What he actually uncovered was detailed floor mosaics of famous athletes of the time. These mosaics were located in the semi-circular apses just off the Palaestrae. His goal of exporting the mosaics were delayed by the Director of Antiquities, Carlo Fea, who emphasized that the mosaics were an important part of the baths and belonged to the Papal State. Eventually di Velo succeeded in exporting the mosaics and after his death his collections were passed along to the Museo Civico of Vicenza. It wasn't until the late 19th century that systematic excavations were more thoroughly and carefully done. After that, restoration and preservation were the main goals of the Department of Antiquities.
Bibliography
Marvin, Miranda. "Freestanding Sculptures from the Baths of Caracalla." American Journal of
It is unclear just exactly what became of the baths between its downfall and its rediscovery, however it is known that most of the sculptures and stone were mined and taken by vandals for other purposes. Based on the actions of the architects during the renaissance, who used the Roman forum as a foundation for quarries to rebuild, it is reasonable to conclude that the same actions were employed in the Baths during that same time period. There were also a series of earthquakes in the middle ages that caused much destruction. Despite the many obstacles the Baths faced, it remains one of the most well preserved ruins in Rome today.
It is no easy task to put the puzzle pieces back together of where recovered statues were once placed within the buildings. It wasn't until the 1540's when Alessandro Farnese, who served as Pope Paul III, began excavating the ruins of the baths in search of ancient statues to place in the Farnese Palace. The Farnese family were very important local aristocrats at the time and it was during these excavations that the Herakles Farnese and the Punishment of Dirke were recovered. Much of the marble that had once decorated the baths were also collected. They were able to have two of the marble basin's relocated to the piazza in front of the grand palazzo. Construction of the palazzo began in 1514 and was worked on until 1589. In fact, much of the structure of the palazzo is made from materials taken from the Baths of Caracalla as well as the Coliseum.
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| "Thermae of Caracalla Pool at Piazza Farnese" by Chris 73 - Own work. Licensed under Creative Commons Attribution-Share Alike 3.0 |
In 1748 the baths were divided among a number of proprietors and were eventually passed along and leased by Count Girolamo Egidio di Velo in 1824. Di Velo was a very wealthy man from Vicenza who's passion was collecting objects from antiquity. He received permits to excavate the baths in search of items to decorate his home and the tomb of Palladio. What he actually uncovered was detailed floor mosaics of famous athletes of the time. These mosaics were located in the semi-circular apses just off the Palaestrae. His goal of exporting the mosaics were delayed by the Director of Antiquities, Carlo Fea, who emphasized that the mosaics were an important part of the baths and belonged to the Papal State. Eventually di Velo succeeded in exporting the mosaics and after his death his collections were passed along to the Museo Civico of Vicenza. It wasn't until the late 19th century that systematic excavations were more thoroughly and carefully done. After that, restoration and preservation were the main goals of the Department of Antiquities.
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| Baths of Caracalla, Tiled Mosaics of the Apodyterium, Rome, Italy, Copyright LuraPhotography |
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| Baths of Caracalla, Rome, Italy, Copyright LuraPhotography |
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| Baths of Caracalla, Frigidarium, Rome, Italy, Copyright LuraPhotography |
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| Baths of Caracalla, Rome, Italy, Copyright LuraPhotography |
Bibliography
Marvin, Miranda. "Freestanding Sculptures from the Baths of Caracalla." American Journal of
Archaeology Vol. 87, No. 3(1983): 347-84. Archaeological Institute of America, July 1983. Web.
29 Apr. 2014. <http://www.jstor.org/stable/504802>.
29 Apr. 2014. <http://www.jstor.org/stable/504802>.
Platner, Samuel B. "Forum Romanum Sive Magnum." Ed. Thomas Ashby. A
Topographical Dictionary of Ancient Rome. London: Oxford UP, 1929. 230-37. Forum
Romanum Sive Magnum. 21 Aug. 2012. Web. 07 Aug. 2014. <http://penelope.uchicago.edu/Thayer/E/Gazetteer/Places/Europe/Italy/Lazio/Roma/Rome/_Texts/PLATOP*/Forum_Romanum.html>.
Platner, Samuel B. "Thermae Antoninianae." A Topographical Dictionary of Ancient Rome. Ed.
Thomas Ashby. London: Oxford UP, 1929. 520-24. 28 Feb. 2014. Web. 06 Aug. 2014. <http://penelope.uchicago.edu/Thayer/E/Gazetteer/Places/Europe/Italy/Lazio/Roma/Rome/_Texts/PLATOP*/Thermae_Antoninianae.html>.
Friday, August 1, 2014
Creation and usage of the Baths
To pick up where I left off, Caracalla, Emperor from 212AD to 217AD, wanted to out-do his father Septimus Severus in every way, including building the largest bathing establishment in Rome. Roman baths were very important at the time and were considered a part of the daily routine for the citizens of the filthy city.
By the 4th century, there were almost 800 baths in Rome alone. The Baths of Caracalla, offically named Thermae Antoninianae, were the largest of its time and most lavishly decorated. The luxurious designs of the interior were meant to provide a sense of wealth and importance not only for higher class people of Rome, but for the impoverished as well. The sheer size of the Baths stood as an example of Caracalla's intent to display his grandeur. There were many geometric and sparkling mosaics, beautifully painted stucco, and grand marble. The baths consisted of many different rooms that each held a specific purpose. The main rooms were the Frigidarium, Tepidarium, and the Caldarium. The Caldarium held many of the pools and the dome was almost as large as the dome of the Pantheon. The Tepidarium consisted of warm baths, while the Frigidarium consisted of cold baths.
In some cases men and women bathed together but in most cases they came to the baths at different times of day. Women typically frequented the baths in the morning while the men bathed in the evenings after a long day of work or travel. The purpose of the baths was to obtain all around wellness and cleanliness. There was no real sense of body shame so it was not abnormal to be in the nude in front of others. The routine of the baths were to first be covered in oils and then exercise in the Palaestrae. Some of the activities included gymnastics, wrestling, playing ball, running, and swimming. This allowed them to sweat out the toxins so that they could be scraped down with a metal piece to remove the sweat and oils. After exercising they would bathe in the plunge pools. They would then make their way into the warm room, followed by the hot room, and then finally plunge into a cold pool. This was the process the people would follow to obtain a healthy personal hygiene. Not only were there baths and gymnasiums, but there were also libraries and lecture halls. These were so that the people of Rome could not only work out their bodies, but their minds as well.
The theme in which these rooms were decorated focused on sculptural elements that were reflective of Caracalla's motive to appear strong and powerful. The hundreds of statues placed in the baths varied from a few that were bronze to the many that were painted marble. Most of the sculptures were of athletic figures or depictions of the weary Hercules holding apples in his right hand. The most notable was the Hercules Farnese which was a Roman copy of the Lysippos original that was made in 330BC. It was re-done by Glycon of Athens and served as a sort of theme in the Frigidarium. Also the Farnese Bull was another famous sculpture featured in the baths. These sculptures were created to be viewed from all sides and were placed in the eastern Palaestrae. Without the 360-degree angle of view, the sculptural narrative would be incomplete. Caracalla wanted to draw connections between not only himself and Hercules, but also the great and famous athletes and gladiators of the time.
The designs of the buildings help clarify where the architects intended the sculptures to be placed. These niches were meant to hold and showcase the sculptures and some were even presented as fountains. Most of the sculptures were located in the rooms around the Palaestrae (Gymnasium). This was done to promote physical as well as intellectual activity. All of the sculptural representations hold a significance to the purpose of the baths and the themes they represent. Caracalla intended for the baths and the sculptures to showcase his power and strength. He succeeded in creating something that people of Rome could utilize and be reminded of his intentions, however as the ruins of the baths today show, nothing lasts forever.
Bibliography
By the 4th century, there were almost 800 baths in Rome alone. The Baths of Caracalla, offically named Thermae Antoninianae, were the largest of its time and most lavishly decorated. The luxurious designs of the interior were meant to provide a sense of wealth and importance not only for higher class people of Rome, but for the impoverished as well. The sheer size of the Baths stood as an example of Caracalla's intent to display his grandeur. There were many geometric and sparkling mosaics, beautifully painted stucco, and grand marble. The baths consisted of many different rooms that each held a specific purpose. The main rooms were the Frigidarium, Tepidarium, and the Caldarium. The Caldarium held many of the pools and the dome was almost as large as the dome of the Pantheon. The Tepidarium consisted of warm baths, while the Frigidarium consisted of cold baths.
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| Baths of Caracalla, Main building |
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| Baths of Caracalla Reconstruction |
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| Baths of Caracalla Reconstruction |
In some cases men and women bathed together but in most cases they came to the baths at different times of day. Women typically frequented the baths in the morning while the men bathed in the evenings after a long day of work or travel. The purpose of the baths was to obtain all around wellness and cleanliness. There was no real sense of body shame so it was not abnormal to be in the nude in front of others. The routine of the baths were to first be covered in oils and then exercise in the Palaestrae. Some of the activities included gymnastics, wrestling, playing ball, running, and swimming. This allowed them to sweat out the toxins so that they could be scraped down with a metal piece to remove the sweat and oils. After exercising they would bathe in the plunge pools. They would then make their way into the warm room, followed by the hot room, and then finally plunge into a cold pool. This was the process the people would follow to obtain a healthy personal hygiene. Not only were there baths and gymnasiums, but there were also libraries and lecture halls. These were so that the people of Rome could not only work out their bodies, but their minds as well.
The theme in which these rooms were decorated focused on sculptural elements that were reflective of Caracalla's motive to appear strong and powerful. The hundreds of statues placed in the baths varied from a few that were bronze to the many that were painted marble. Most of the sculptures were of athletic figures or depictions of the weary Hercules holding apples in his right hand. The most notable was the Hercules Farnese which was a Roman copy of the Lysippos original that was made in 330BC. It was re-done by Glycon of Athens and served as a sort of theme in the Frigidarium. Also the Farnese Bull was another famous sculpture featured in the baths. These sculptures were created to be viewed from all sides and were placed in the eastern Palaestrae. Without the 360-degree angle of view, the sculptural narrative would be incomplete. Caracalla wanted to draw connections between not only himself and Hercules, but also the great and famous athletes and gladiators of the time.
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| 'Hercules Farnese', Marble, Early 3rd century CE, Copy after late 4th century BCE original, Naples, Museo Nazionale |
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| 'Farnese Bull', Early 3rd century CE, copy after Hellenistic original |
The designs of the buildings help clarify where the architects intended the sculptures to be placed. These niches were meant to hold and showcase the sculptures and some were even presented as fountains. Most of the sculptures were located in the rooms around the Palaestrae (Gymnasium). This was done to promote physical as well as intellectual activity. All of the sculptural representations hold a significance to the purpose of the baths and the themes they represent. Caracalla intended for the baths and the sculptures to showcase his power and strength. He succeeded in creating something that people of Rome could utilize and be reminded of his intentions, however as the ruins of the baths today show, nothing lasts forever.
Bibliography
Bigger Is Better: The Baths of Caracalla and Other Second- and Third-Century Buildings in Rome.
Professor Kleiner. Bigger Is Better: The Baths of Caracalla and Other Second- and Third
Century Buildings in Rome. Yale Courses, 14 Sept. 2009. Web. 1 Aug. 2014.
<https://www.youtube.com/watch?v=zhon2e3vfTo>
Marvin, Miranda. "Freestanding Sculptures from the Baths of Caracalla." American Journal of
Frakes, Jim. "Baths of Caracalla." RomAmor. Baths of Caracalla, Rome, Italy. 21 May 2014. Lecture.
Furia, Katie. "Baths and Bathing in Ancient Roman Society, The Baths of Caracalla." Web log post.
Art History Presentation Archive. Blogspot, 16 Jan. 2007. Web. 5 Aug. 2014.
Archaeology Vol. 87, No. 3(1983): 347-84. Archaeological Institute of America, July 1983. Web.
29 Apr. 2014. <http://www.jstor.org/stable/504802>.
29 Apr. 2014. <http://www.jstor.org/stable/504802>.
Von Den Hoff, Ralf. "Horror and Amazement: Colossal and Mythological Statue Groups and the New
Rhetoric of Images in Late Second and Early Third Century Rome." Paideia: The World of the
Second Sophistic. Vol. 2. Berlin: Walter De Gruyter, 2004. 105-29. Print.
Thursday, July 31, 2014
History of Caracalla
While researching about the Baths of Caracalla, I came across a video of a lecture given by a Yale Professor, Dr. Kleiner. Her philosophy on how the Baths came into existence explain that they are the product of one Emperor's desire to build something bigger and better than that of his father. The baths are an example of this Emperor's ambitions to portray himself as a powerful and important figure in the Roman Empire.
In order to begin describing the baths, it is important to first describe the man who implemented its existence. Caracalla, who is actually named Marcus Aurelius Severus Antoninus Augustus, was the son of Emperor Lucius Septimus Severus who ruled in Rome from 193AD to 211AD. Septimus Severus was a military man who aimed for military glory, as many Emperor's did, however Septimus was partially responsible for the Roman government's movement into a military monarchy. He also signifies the start of the Severan Dynasty which was important due to the fact that many public and private structures were commissioned at this time. During his reign he conquered many regions and rival powers including, but not limited to, his once proclaimed Caesar (otherwise know as a junior emperor) Decimus Clodius Albinus. He then named his eldest son Caracalla his Caesar and heir to be his successor.
Septimus had two sons, Caracalla and Geta, who were known to be quarrelsome and rival each other. It was said that Caracalla was jealous of his brother's popularity with the Roman citizens and because of his envy had him murdered. Not only did he kill off his brother, but he executed his brother's friends and supporters and ordered to have his brother eradicated from history and art. He had Geta's face scrubbed out from important paintings including the one of his family portrait, but left the evidence as a way of showing and proving his power. Caracalla was thought of as a bloodthirsty and cruel Emperor who wanted to achieve military glory like his father. However, his intentions were to achieve more than his father ever did, in fact, there had even been speculation that at one point he even tried to literally stab his father in the back. There is no tangible evidence to prove this to be true, but the assumption is that this rumor would not have been out of character for him.
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| The Severan Tondo, 2nd Century, Staatliche Museum, Berlin |
Caracalla's cruelty was also demonstrated during his marriage to Fulvia Plautilla. He was married at the young age of 14 and resented this marriage greatly. He also despised her father Fulvius Plautianus who was a commander in the imperial guard. It is said that he played a part in having Plautianus killed for charges based on rumored conspiracy against the imperial dynasty. He then exiled his wife to an island where she was later killed.
Caracalla is almost always depicted in art with the look of sternness and cruelty. He was said to be insanely brutal with a sharp intelligence. Despite his harsh personal characteristics, he sought to build a bathing establishment greater than Rome had ever seen at the time. The Baths of Caracalla ended up being his greatest accomplishment during his time as Emperor.
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Caracalla, marble, Roman, 212–217 ce; in the Metropolitan Museum of Art, New York City.
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Bibliography
Bigger Is Better: The Baths of Caracalla and Other Second- and Third-Century Buildings in Rome.
Professor Kleiner. Bigger Is Better: The Baths of Caracalla and Other Second- and Third
Century Buildings in Rome. Yale Courses, 14 Sept. 2009. Web. 1 Aug. 2014.
The Editors of Encyclopædia Britannica. "Septimius Severus (Roman Emperor)." Encyclopedia
Britannica Online. Encyclopedia Britannica, 19 Feb. 2014. Web. 31 July 2014.
Kolb, Frank P. "Caracalla (Roman Emperor)." Encyclopedia Britannica Online. Encyclopedia
Britannica, 14 Mar. 2014. Web. 31 July 2014.
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