With regard to public architecture, Diocletian also built a major bath in Rome. Following the lead of Caracalla and many emperors before him, to provide for the Roman people a place where they could go to enjoy themselves as well as learn. Because you'll remember that by this time, these major bath structures, and this is one of those place the bathing block inside a much larger precinct that included rooms around it that served as lecture halls and meeting halls and seminar rooms and places for Greek and Latin libraries and the like. And we see that same scheme being used here. The baths were built between AD 298 and 306 by Diocletian in Rome. They are located near the train station today. So very close so very close to those remaining fragments of the Servian walls. And you see again that plan here and you see that the outer precinct has one of these large hemicycles. That what may have been used for performances, as you can see. And that it is like the other, other imperial baths that we've looked at with the central bathing rooms in the center. In axial relationship to one another and in the usual sequence. And then with other rooms disposed around them on either side in a symmetrical way. We see it number four, the natatio or swimming pool. We see, which has a scalloped, the bottom side as you see it here is scalloped the wall is. The number three is the frigidarium, the cold room of the bath, which had a triple groin vaulted ceiling. From there we go into the tepidarium. You see it here, a small circular structure with radiating arms that give it a cross shape. And then down below a very interesting caldarium because we see that Diocletian and his architects have rejected the round caldarium with the radiating alcoves looking so much like the Pantheon as we discussed, and almost as large. From the Baths of Caracalla. They've rejected that in favor of a more rectangular shape. That's more similar to the shape of the frigidarium. But with radiating apses that have a series of columns that allow this views and vistas from one to the other. This is another version of the same plan from Ward-Perkins in this particular case that shows, again, the natatio, the frigidarium. Here you can see better the way in which the circle becomes a cross shape for the tepidarium. And then here, the caldarium below where you can also see better, I believe the columns on those alcoves that allow views from both inside-out and outside-in. And here is still another one. This is the one that you have on your monument list that shows you those spaces once again, from the other direction. The natatio where you can see very well, the scalloped wall. The frigidarium, where you can see the triple groin vault. The tepidarium, with it's round shape and radiating arms. And then most importantly, the caldarium with probably also triple groin vault, and just like the frigidarium, but with radiating alcoves. And then all of these other rooms disposed around them symmetrically. Now what's very interesting also in terms of more architecture in later times is the is the baths of Diocletian were also reused. in, in a. But in this case, not for a single building, but for a variety of buildings. Including a, a major museum of antiquities, a planetarium and also a church. The famous church of Santa Maria degli Angeli. St. Mary of the Angels. And while this plan is still on the screen I want to show you when the church of San, San, Santa Maria degli Angeli was re-designed. And one of the re-designers, by the way, was Michelangelo. When it was re-designed what they did was they took the alcove, the, from where we're standing, the bottom alcove of the caldarium. They used that as the curved facade of their church. They used the tepidarium as the vestibule. They used the frigidarium as the main space of the church. And also and they, and, and so that becomes a church. That main, the bottom part of the caldarium and the tepidarium and the frigidarium become the church. And then some of these other spaces are used again for other kinds of buildings including the planetarium. I call your attention especially to the ones in the upper right and upper left. Both of which are octagonal spaces as you can see, comparable to early octagonal spaces under Nero or under Domitian. And one of those rooms, this one at the ri, our right, but to the left when you're facing the entrance to the church today is is still very well preserved and I'm going to show you, show you that in a moment. First, here's a view into the church, into the nave of Santa Maria degli Angeli. Which again what you've looking at is, is the original frigidarium of the Baths of Diocletian. You can see all the things one usually sees in a frigidarium and I show you a restored view of what we think the frigidarium of Baths of Caracalla looked like in antiquity. And you can see there's a close resemblance between the, the, the two. The groin vaults are still preserved we see original columns here. Granite columns with capitals. Some of the capitals are ancient, some of them are not. And we see a lot of color just as we would of seen in the original Baths of Caracalla of Diocletian. One, one difference is that we see the groin vaults in the Santa Maria degli Angeli are white. And that is the work of Michelangelo. Michelangelo decided that he wanted something much plainer for the vaulting of Santa Maria degli Angeli, and it was he who stuccoed it over, and no one ever dared to change Michelangelo's work. But another architect by the name of Luigi Vanvitelli, V-a-n-v-i-t-e-l-l-i. Love the name. Luigi Vanvitelli was at work in the Santa Maria degli Angeli interior in the 18th century. Precisely in 1749 he came into to to spruce up the decoration, and it was Vanvitelli who added to the original Roman granite columns. Who added these models, you see these modeled pilasters, I'll show you a detail of them in a moment with their capitals. Some new capitals to match the ancient Roman capitals. He added a lot of the stucco decoration that you see in here now, and a lot of the altarpieces were, were put in in the 17th and 18th century to make it the church that it needed to become. But if I show you a detail of Vanvitelli's work you can see you know, as you stand in Santa Maria degli Angeli, one tries to figure out what's ancient and what is, what is modern. But you can see here what seems to be a granite shaft from an ancient column with a new Corinthian capital design by Vanvitelli that imitates those the Roman ones that are there. But, all of this modeled work and all of the stucco decoration that you see over here added by Vanvitelli in the 18th century. But we, you've seen enough Roman, ancient Roman architecture, especially of the Baroque kind to know that this sort of thing in Roman times and I think Vanvitelli has actually done a pretty good job of giving us a sense of what the frigidarium of these paths would have looked like in the time of Diocletian. Now here's the facade, and so you see exactly what I described before. This is one of the alcoves. You can see the concrete, brick faced alcove that they have. I mean, this is the simplest facade of any in Rome. There's nothing quite like this but it's so typical of the Italians to make wonderful, to take wonderful advantage of what there is. And so in this case they decided best to leave it as it is. It speaks for itself. They just use that alcove. They added a couple of doors. Created a niche, slapped the name Basilica Santa Maria degli Angeli on the front, very simply put a cross at the top. And this became the facade into the church, and it has, has remained this to this day. Here's another view of the Baths of Car, of, of Diocletian, as they look today. We're looking at the outside, where we can see the outside of the frigidarium with it's windows and it's groin vaulting exposed on the outside. This is the tepidarium, and the roofing of the tepidarium. And over here you can see the curved facade that's the part of the caldarium that survives. Uses the facade of the church. And then as you stand here, if you go to the right you can go and look at what one of those octagonal rooms looks like today. And what they've done, they've taken advantage. This is a spectacular space. This was just, we don't know exactly what purpose this served in the bath originally. But it's actually a space that's more similar to the caldarium of Caracalla's baths, than it is to anything else in the Baths of Diocletian. But you can see that they have taken advantage of this extraordinary octagonal shape with radiating alcoves going back to, to Nero's Domus Transitoria, Domus Aurea to use as a place to display some of the greatest works of sculpture in the part of these baths that now serve as a museum. One very interesting feature though that I want to point out to you that will become important for something later we talk about today and for Tuesday's lecture, is the fact that you do see them using here, windows in the lower part of the dome. windows, arcuated windows to allow light into the system. We see this development in late antiquity where they move from providing light through the oculus to providing light through a series of windows, and again they're sophisticated in their use of concrete to be able to that and we see that's a trend.
