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Amphitheatrum Castrense

Amphitheatres in RomeBuildings and structures completed in the 3rd century
Anfiteatro castrense
Anfiteatro castrense

The Amphitheatrum Castrense is a Roman amphitheatre in Rome, next to the church of Santa Croce in Gerusalemme. Both the Amphiteatrum and the Circus Varianus were part of the palatial villa known as the Sessorium. The Regionary Catalogues name it as the "Amphitheatrum Castrense", which could mean it was an amphitheatre connected to an imperial residence, which was not uncommon.

Excerpt from the Wikipedia article Amphitheatrum Castrense (License: CC BY-SA 3.0, Authors, Images).

Amphitheatrum Castrense
Via Nola, Rome Tuscolano

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N 41.8875 ° E 12.515 °
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Anfiteatro castrense

Via Nola
00182 Rome, Tuscolano
Lazio, Italy
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Anfiteatro castrense
Anfiteatro castrense
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Tomb of Eurysaces the Baker
Tomb of Eurysaces the Baker

The tomb of Marcus Vergilius Eurysaces the baker is one of the largest and best-preserved freedman funerary monuments in Rome. Its sculpted frieze is a classic example of the "plebeian style" in Roman sculpture. Eurysaces built the tomb for himself and perhaps also his wife Atistia around the end of the Republic (ca. 50–20 BC). Located in a prominent position just outside today's Porta Maggiore, the tomb was transformed by its incorporation into the Aurelian Wall; a tower subsequently erected by Honorius covered the tomb, the remains of which were exposed upon its removal by Gregory XVI in 1838. What is particularly significant about this extravagant tomb is that it was built by a freedman, a former slave. Three sides of the slightly trapezoidal structure remain largely intact. All have the same form, with over a plain lower storey, now mostly below ground level but exposed, a storey consisting of pairs of engaged columns between flat slabs, all crammed together with no space in between. The effect is far from the classical orders; at the corners the slabs turn to pilasters rising at the top level to unorthodox capitals combining scrolls at the sides with plant forms in the centre. There are unusual circular openings in the topmost storey, now thought to represent kneading-basins or grain-measuring vessels. Below a cornice is the frieze, with continuous scenes in relief showing the operation of the bakery where Eurysaces made what was evidently a considerable fortune. Reconstructions imagine a gently rising roof above this, now lost.