The Baths of Caracalla extend their visit path thanks to the commitment and work of the Special Superintendency of Rome which reopens the environment of a domus from the Hadrianic age by proposing an important novelty. “The frescoes that are now visible again belonged to a building located in a neighborhood that was destroyed at the beginning of the third century to make room for the Baths of Caracalla”, says Daniela Porro, Special Superintendent of Rome who adds: “In this way the visitors, in addition to the beauty and interest of these paintings, they will be able to capture a piece of history and the transformations of the ancient city. We also present a preview: a small part of the precious ceiling of an environment never exhibited before and which will soon be open to the public. another piece that enriches the space of the Baths of Caracalla, the pride of this Superintendency and of the city “. In the large frescoed room, visitors will be able to admire two superimposed decorations: the first, typical of the Hadrian age, reproduces architectural perspectives populated by human figures, statues, rampant felines; about fifty years later, the second presents figures of divinities from the Greek-Roman and Egyptian pantheon. “The presence in the same environment of Jupiter, Juno and Minerva together with Anubis, Isis and probably Serapis – explains Mirella Serlorenzi, director of the Baths di Caracalla- is the sign of that religious syncretism typical of ancient Rome since its foundation. But the rooms we now open are of great interest also because they show the microcosm of a private house and the macrocosm of a large imperial plant, the Baths of Caracalla. A comparison full of suggestions that prompts us to present a small preview of the ceiling of a second room of the domus, the Triclinium, now the subject of research studies for its overall restoration “. The paintings on display today come from a domus discovered in the nineteenth century, a few meters from the oriental gymnasium of the Terme brought to light in the 70s of the last century, when the frescoes were detached for their conservation. The articulation of the building, together with the chronology and typology of the paintings of the subjects represented are unique in the historical and artistic panorama of Rome.
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