The Baths of Diocletian (Latin: Thermae Diocletiani, Italian: Terme di Diocleziano) were public baths in ancient Rome. Named after emperor Diocletian and built from AD 298 to 306, they were the largest of the imperial baths. The project was originally commissioned by Maximian upon his return to Rome in the autumn of 298 and was continued after his and Diocletian's abdication under Constantius, father of Constantine.

The baths were open until c. 537, when the Ostrogoths cut off aqueducts to the city of Rome. The site houses the Basilica of Santa Maria degli Angeli e dei Martiri, built within the ruins in the 16th century, the Church of San Bernardo alle Terme, and part of the National Roman Museum.

Location

The baths occupy the high ground on the northeast summit of the Viminal, the smallest of the Seven hills of Rome, just inside the Agger of the Servian Wall (near what are today the Piazza della Repubblica and Termini rail station). They served as baths for the people residing in the Viminal, Quirinal, and Esquiline quarters of the city. The Quadrigae Pisonis, a 2nd-century monument with various reliefs, some private homes, and a relief representing the temple of Quirinus once stood at the site but were demolished to build the baths. The water supply was provided by the Aqua Marcia, an aqueduct that had long served the city of Rome since the early 2nd century. To properly supply the baths, the supply of water to the city was increased under the order of Diocletian.

History

The baths were commissioned by Maximian in honour of co-emperor Diocletian in AD 298, the same year he returned from Africa. Evidence of this can be found in bricks from the main area of the baths, which distinctly show stamps of the Diocletianic period. This evidence shows the effect of the massive project on the brick industry in that all work by them was redirected and under the control of the emperor. Building took place between the year it was first commissioned and sometime between the abdication of Diocletian in 305 and the death of Constantius in July 306. when the Ostrogothic king Vitiges cut off the aqueducts.

According to the medieval guidebook Mirabilia Urbis Romae, the baths were then known as "Palatium Diocletiani".

Ezekiel's studio was regarded as "one of the Show Places of the Eternal City, magnificent in proportions and stored with fine artworks." He held an open house there every Friday afternoon, in addition to hosting musicales, Visitors to his studio included:

  • Gabriele d'Annunzio

Description

thumb|Reconstructed floorplan:<br>(1) [[Caldarium,

(2) Tepidarium,

(3) Frigidarium,

(4) Natatio,

(5) Palaestra,

(6) main entrance,

(7) Exedra.]]

One of the four inscriptions around the main entrance to the Baths of Diocletian reads, translated from Latin, "Our Lords Diocletian and Maximian, the elder and invincible Augusti, fathers of the Emperors and Caesars, our lords Constantius and Maximian and Severus and Maximum, noblest Caesars, dedicated to their beloved Romans these auspicious Baths of Diocletian, which the divine Maximin on his return from Africa ordered to be built and consecrated in the name of his brother Diocletian, having purchased the premises required for so huge and remarkable work and furnishing them with the most sumptuous refinement." about the same size as the Baths of Caracalla. The main entrance was to the northeast. To the southwest was a large exedra (now still visible as the outline of Piazza della Repubblica). The exedra was flanked by two large buildings, likely libraries. These in turn connected to circular halls: one of them is now the church of San Bernardo, the other is visible at the start of Via del Viminale. According to Olympiodorus, the baths were able to hold up to 3,000 people at one time. However, this claim is disputed because Olympiodorus never described how he calculated this figure.

alt=|thumb|[[Santa Maria degli Angeli e dei Martiri, built in the ruined frigidarium and tepidarium of the baths]]

Architectural styles

Within the frigidarium, the use of external buttresses for the cross vaults was considered by some to be the first example of the scientific system of thrusts and counter-thrusts in architecture. To manipulate the space within this style, the forms of the building were simple and give the impression of a vast amount of open space. The builders of the baths used different techniques to create this effect. The exterior walls of the bath were encrusted with stucco to give the impression of stonework. The interior parts of the bath were supported by vaulting ceilings and arches to create curvilinear lines. The structure of the roof is a typical example of Classical design. Architects used sloped forms to cover curved extrados (the outer surface of the arch) of the vaulted halls.

Present day

thumb|[[Funerary stele of a cook. Latin inscription: “Eros, cocus Posidippi, ser(vus) hic situs est” (“Eros, Posidippus' cook, slave, lies here”).]]

thumb|[[San Bernardo alle Terme]]

Parts of the structure were converted to ecclesiastical or other use, including:

  • Basilica of Santa Maria degli Angeli e dei Martiri
  • Church of San Bernardo alle Terme
  • Sections of the National Roman Museum

A part was, for many years, starting in the 1870s, the studio of the sculptor Moses Jacob Ezekiel.