Museum of Antiquity: A Description of Ancient Life

by L. W. Yaggy; T. L. Haines

"On occasion of the dedication of the baths, at the expense of Cnæus Alleius Nigidius Maius, there will be the chase of wild beasts, athletic contests, sprinkling of perfumes, and an awning. Prosperity to Maius, chief of the colony."

This announcement of a public entertainment is written on a wall of the court of the baths, to the right hand on entering.

The provincial towns, imitating the example of Rome, and equally fond of all sorts of theatrical and gladiatorial exhibitions, of which we have spoken at length in describing the various theatres of Pompeii, usually solemnized the completion of any edifices or monuments erected for the public service by dedicating them. This ceremony was nothing more than opening or exhibiting the building to the people in a solemn manner, gratifying them at the same time with largesses and various spectacles. When a private man had erected the building, he himself was usually the person who dedicated it. When undertaken by the public order and at the public cost, the citizens deputed some magistrate or rich and popular person to perform the ceremony. In the capital vast sums were expended in this manner; and a man who aspired to become a popular leader could scarcely lay out his money to better interest than in courting favor by the prodigality of his expenses on these or similar occasions. It appears, then, that upon the completion of the baths, the Pompeians committed the dedication to Cnæus Alleius Nigidius Maius, who entertained them with a sumptuous spectacle.

There were combats (venatio) between wild beasts, or between beasts and men, a cruel sport, to which the Romans were passionately addicted; athletic games (athletæ), sprinkling of perfumes (sparsiones), and it was further engaged that an awning should be raised over the amphitheatre. The convenience of such a covering will be evident, no less as a protection against sun than rain under an Italian sky: the merit of the promise, which may seem but a trifle, will be understood by considering the difficulty of stretching a covering over the immense area of an ancient amphitheatre. We may observe, by the way, that representations of hunting and of combats between wild beasts are common subjects of the paintings of Pompeii. A combat between a lion and a horse, and another, between a bear and a bull, have been found depicted in the amphitheatre. The velarium, or awning, is advertised in all the inscriptions yet found which give notice of public games. Athletæ and sparsiones appear in no other. We learn from Seneca that the perfumes were disseminated by being mixed with boiling water, and then placed in the centre of the amphitheatre, so that the scents rose with the steam, and soon became diffused throughout the building.

There is some reason to suppose that the completion and dedication of the baths preceded the destruction of the city but a short time, from the inscription being found perfect on the wall of the baths, for it was the custom to write these notices in the most public places, and after a very short season they were covered over by others, as one billsticker defaces the labors of his predecessors. This is abundantly evident even in the present ruined state of the town, especially at the corners of the principal streets, where it is easy to discover one inscription painted over another.

But to return to the Baths. They occupy almost an entire block, forming an irregular quadrangle; the northern front, facing to the Street of the Baths, being about 162 feet in length, the southern front about 93 feet, and the average depth about 174 feet. They are divided into three separate and distinct compartments, one of which was appropriated to the fireplaces and to the servants of the establishment; the other two were occupied each by a set of baths, contiguous to each other, similar and adapted to the same purposes, and supplied with heat and water from the same furnace and from the same reservoir. It is conjectured that the most spacious of them was for the use of the men, the lesser for that of the women. The apartments and passages are paved with white marble in mosaic. It appears, from Varro and Vitruvius, that baths for men and women were originally united, as well for convenience as economy of fuel, but were separated afterwards for the preservation of morals, and had no communication except that from the furnaces. We shall call these the old Baths by way of distinction, and because they were first discovered; but in reality, the more recently discovered Stabian Baths may probably be the more ancient.

It should be observed here that the old Pompeian thermæ are adapted solely to the original purposes of a bath, namely, a place for bathing and washing. They can not therefore for a moment be compared to the baths constructed at Rome during the period of the empire, of which such magnificent remains may still be seen at the baths of Diocletian, and especially at those of Caracalla. In these vast establishments the bath formed only a part of the entertainment provided. There were also spacious porticoes for walking and conversing, halls and courts for athletic games and gladiatorial combats, apartments for the lectures and recitations of philosophers, rhetoricians and poets. In short, they formed a sort of vast public club, in which almost every species of amusement was provided. In the more recently discovered baths, called the Thermæ Stabianæ, there is indeed a large quadrangular court, or palæstra, which may have served for gymnastic exercises, and among others for the game of ball, as appears from some large balls of stone having been found in it. Yet even this larger establishment makes but a very slight approach to the magnificence and luxury of a Roman bath.

The tepidarium, or warm chamber, was so called from a warm, but soft and mild temperature, which prepared the bodies of the bathers for the more intense heat which they were to undergo in the vapor and hot baths; and, vice versa, softened the transition from the hot bath to the external air. The wall is divided into a number of niches or compartments by Telamones, two feet high, in high relief, and supporting a rich cornice. These are male, as Caryatides are female statues placed to perform the office of pillars. By the Greeks they were named Atlantes, from the well-known fable of Atlas supporting the heavens. Here they are made of terra-cotta, or baked clay, incrusted with the finest marble stucco. Their only covering is a girdle round the loins; they have been painted flesh-color, with black hair and beards; the moulding of the pedestal and the baskets on their heads were in imitation of gold; and the pedestal itself, as well as the wall behind them and the niches for the reception of the clothes of the bathers, were colored to resemble red porphyry. Six of these niches are closed up without any apparent reason.