DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.67683#0209
ROMAN PERIOD
T39
was the same as that used today. A temporary wooden frame-
work was built up, into which the concrete was poured. It was
usually faced with brick or covered with a veneer of stucco or
marble.
The impression of material power that is felt in all Roman
architecture is specifically expressed in the triumphal arches and
columns erected
to commemorate
great victories or
other events. Like
the Colosseum, the
arches combined
the arch and lintel
system. While
many have the
triple opening, as
the Arch of Constan-
tine, for nobility of
design and propor-
tion the Arch of
Titus (Pl. 52 a)1 is
perhaps the finest.
The great central
opening is flanked
by solid masses of
masonry with en-
gaged columns
that rise from a
plain base to sup-
port the entabla-
ture, which has a
Fig. 71. Baths of Caracalla. Rome, 211-2.17 a.d.
The central building is 750 x 380 ft. (1) te^idarium, or
warm lounge; (2.) calidarium, or hot room; (3) frigi-
darium, or cooling room with a swimming pool open
to the air; (4) open peristyles; (5) lecture rooms and
libraries; (6) promenade; (7) garden; (8) stadium;
(9) aqueduct and reservoirs.
sculptured frieze uniting the three parts, though breaking to
project above the columns; this forms a base for the great super-
structure that contains the inscription. The decoration is re-
strained, and confined chiefly to the arch.
A sense of magnificence, resulting partly from size, and also
an impression of engineering ability is the effect of the great
thermae, or baths, that provided the Roman not only with his
daily baths, hot, warm, or cold, but with his library and loung-
ing place, for the numerous recreation rooms served the same
function as the modern athletic club. A ground plan (Fig. 72)
1 Erected to commemorate the conquest of Jerusalem by Titus. A bronze four-horse chariot
surmounted the arch, as was customary on triumphal arches. The four bronze horses now above
the entrance of Saint Mark's in Venice probably served such a purpose originally.
T39
was the same as that used today. A temporary wooden frame-
work was built up, into which the concrete was poured. It was
usually faced with brick or covered with a veneer of stucco or
marble.
The impression of material power that is felt in all Roman
architecture is specifically expressed in the triumphal arches and
columns erected
to commemorate
great victories or
other events. Like
the Colosseum, the
arches combined
the arch and lintel
system. While
many have the
triple opening, as
the Arch of Constan-
tine, for nobility of
design and propor-
tion the Arch of
Titus (Pl. 52 a)1 is
perhaps the finest.
The great central
opening is flanked
by solid masses of
masonry with en-
gaged columns
that rise from a
plain base to sup-
port the entabla-
ture, which has a
Fig. 71. Baths of Caracalla. Rome, 211-2.17 a.d.
The central building is 750 x 380 ft. (1) te^idarium, or
warm lounge; (2.) calidarium, or hot room; (3) frigi-
darium, or cooling room with a swimming pool open
to the air; (4) open peristyles; (5) lecture rooms and
libraries; (6) promenade; (7) garden; (8) stadium;
(9) aqueduct and reservoirs.
sculptured frieze uniting the three parts, though breaking to
project above the columns; this forms a base for the great super-
structure that contains the inscription. The decoration is re-
strained, and confined chiefly to the arch.
A sense of magnificence, resulting partly from size, and also
an impression of engineering ability is the effect of the great
thermae, or baths, that provided the Roman not only with his
daily baths, hot, warm, or cold, but with his library and loung-
ing place, for the numerous recreation rooms served the same
function as the modern athletic club. A ground plan (Fig. 72)
1 Erected to commemorate the conquest of Jerusalem by Titus. A bronze four-horse chariot
surmounted the arch, as was customary on triumphal arches. The four bronze horses now above
the entrance of Saint Mark's in Venice probably served such a purpose originally.