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The mastery by Roman architects and engineers of the arch, vault and dome -
further enhanced by their development of concrete - helped them to solve
the first problem of monumental architecture, which is to bridge space.
Roofing a great area means carrying heavy materials across spaces
impossible to span with the Greeks' simple post-and-lintel system. In the
arch, and the vault that grew out of it, the Romans had a means of
thrusting the massive Colosseum walls story above story, of covering a
luxurious bathing hall that could accommodate three thousand persons, and
of creating the majestic form of the Pantheon.
Given their tendency to show off, Roman architects had the least interest
in Greek Doric and, when they did use it, they invariably added a
decorative molding to the base. Examples of the Roman Doric style can be
seen in the Tabularium and the Colosseum in Rome, and in the Temple of
Hercules at Cori. The Ionic order was used by the Romans in some temples
and public buildings, as well as private homes. Exemplars include: the
Temple of Fortuna Virilis and Trajan's Forum in Rome. By far the most
popular idiom, however, was the Corinthian order. Based initially on the
style of columns taken from the Greek Temple of Olympian Zeus at Athens,
the order became progressively more decorative and elaborate. Good examples
can be seen at the temples of Mars Ultor in Rome, and the Temple of Vesta
at Tivoli.
The Roman mastery of concrete was a major step forward. Its strength,
flexibility, convenience and low cost - when compared to any other building
material - made arch, vaults and domes much easier to build. First employed
in the town of Cosa sometime after 273 BCE, its widespread use was a key
event in the Roman architectural revolution, and freed Roman construction
from the restrictions of stone and brick material and allowed for
revolutionary new designs in terms of both structural complexity and
dimension. Laid in the shape of arches, vaults and domes, it quickly
hardened into a rigid mass, free from many of the internal thrusts and
strains that troubled the builders of similar structures in stone or brick.
The widespread use of concrete in many Roman structures has ensured that
many survive to the present day. the Pantheon, Baths of Caracalla, and
Basilica of Constantine in Rome are just three examples.
Concrete walls, except those underground, were invariably faced. Works were
categorized according to the type of facing employed. The four main types
included: (1) Opus quadratum concrete, a type of ordinary stone walling
that was used to face important public buildings. (2) Opus
incertumconcrete, the most popular facing for ordinary concrete walls,
prior to the Imperial era. (3) Opus reticulatum concrete, similar to opus
incertum but with pyramid-shaped stones. (4) Opus Testaceum concrete, a
type of brick/tile-facing which became the most widespread form across the
empire. (5) Opus Mixtum concrete, a combined brick/stone facing, popular
with later empire architects during the Diocletian period.
Building Materials
The earliest buildings built in and around Rome were made of tuff, a type
of volcanic rock of varying hardness, which could be worked mostly with
bronze tools. Later, harder stones were used, like peperino and local
albani stone from the Alban hills. During the empire, the most common stone
used for building was travertine, a form of limestone quarried in Tivoli,
as used on the exterior of the Colosseum in Rome. Marble was used only for
facing or decoration, or sometimes in mosaics. Coloured marbles and stones
like alabaster, porphyry and granite, were also popular, as exemplified by
the remains of Hadrian's Villa at Tivoli. The majority of domestic homes
were made with a variety of unburned bricks faced with stucco.
Temples
There were temples in Rome, and throughout her far-flung colonies and
provinces. But they were far less distinctive and inventive than Greek
designs of (say) the Parthenon or other structures; rather they represented
the Greek idea adapted and elaborated. The columns usually carried florid
Corinthian capitals - the Doric style being too plain to Latin eyes.
Decoration was added elsewhere too, so that in the end no bit of bare wall
was tolerated. Even the architrave, kept clean by the Greeks to emphasize
the feeling of cross-bar strength, was soon being traced over with Roman
ornament.
The earlier round structures of the sort illustrated in the ancient Temple
of Vesta in the Roman forum, provided an appealing grace and a pleasing
ornamental fullness not known to the architecture of the Hellenes. The more
usual adaptation of the Greek rectangular temple is to be seen today in the
example at Nimes in France, known as the Maison Carree. It illustrates both
the survival of the essential Greek form, and the typical Roman (originally
Etruscan) changes, such as the podium or raised platform (stylobate) with a
flight of steps in front, and the substitution of engaged columns or
pilasters along the side walls of the cella, in place of the original
continuous colonnade. Even today the building has dignity and a quiet
effectiveness.
In some cases the cella of the Roman temple was vaulted in concrete; it
might also possess a semicircular end, as in the Baths of Diana at Nimes,
and the Temple of Venus and Rome, in Rome. The most important Roman temples
of which remains exist, include: Mars Ultor, Castor and Pollux, Fortuna
Virilis, Concord and Antoninus, in Rome; the Temple of Bacchus at Baalbek,
the Temple of Minerva at Assisi and the temples at Pompeii.
Basilicas
The Pantheon
Theatres
The theatres of Rome itself were usually temporary erections, but often
were adorned with almost incredibly rich displays of sculpture and
architectural accessories, if one may believe eyewitness reports. Some
surviving provincial examples indicate, indeed, that the architecture was
thought of as part of the spectacle. One Latin description mentions a stage
wall with 360 columns, 3000 statues, and other "special" adornments.
Amphitheatres
Amphitheatres were public arenas (of which 220 are known) in which
spectacles were held, such as contests between gladiators, public displays,
public meetings and bullfights. There is enough left of the Colosseum in
Rome, for instance, to indicate the form and to impress the eye - though
the complete interior sheathing of coloured marble has disappeared.
Constructed by the emperors Vespasian, Titus, and Domitian (c.70-82), the
structure is of concrete with a facing of Travertine marble. The 6-acre
complex is a marvellous constructive feat: a bowl more than 600 feet long,
with 50,000 or 60,000 seats resting on a honeycomb structure of arcades and
vaults, with passageways for spectators, rooms for the gladiators, and
cells for the wild beasts. To that extent the architecture is functional
and honest. But the marble facing to a certain degree weakens the mass
effect, denies the engineering, and contrasts badly with the necessarily
heavy materials. The columns carry no weight.
Incidentally it may be noted that the Emperor Augustus (31-14 BCE), of the
golden age of Rome, who is said to have boasted that he transformed Rome
from a city of brick to a city of marble, was speaking in terms of a
veneer. Greek monumental buildings had been of solid marble, and the
Egyptian pyramids are mountains of laid-up stone, but the Romans seem not
to have had the time or the thoroughness to deal in difficult materials
even when they had the materials at hand. (See also: Late Egyptian
Architecture.)