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28-642: Remains of the circus survive to the south of Porta Maggiore , next to the Aurelian Walls , near the church of Santa Croce in Gerusalemme . The dimensions of the circus were 565 x 125 m, only slightly smaller than the Circus Maximus (600 x 150 m). In around 271 AD the circus was cut in two by the Aurelian Walls and the major part then lay outside the city walls so became unused. According to records in

56-422: A freedman , a former slave . Three sides of the slightly trapezoidal structure remain largely intact. All have the same form, with a plain lower storey now mostly below ground level but exposed, consisting of pairs of engaged columns between flat vertical 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

84-448: A domed "pizza-type" oven; and, on the west, the stacking of loaves in baskets and their being taken for weighing. During demolition of the superimposed late antique fortifications by Pope Gregory XVI in 1838, a full-length relief portrait was discovered of a man and woman in toga and palla (taken to the Palazzo dei Conservatori ); along with an inscription honouring one Atistia,

112-408: A gently rising roof above this, now lost. Although there is no conclusive statement on the monument that Eurysaces was a freedman – there is no "L" for libertus in the inscription – there are a number of reasons for believing that this was the case. His name takes the form of a Roman praenomen and nomen followed by a Greek cognomen , nomenclature typical for a freedman, combining as it does

140-467: A good wife whose remains were placed in a breadbasket; and an urn taking the form of such a breadbasket. Theft of the female head from the relief in 1934 and uncertainty as to the present whereabouts of the urn, believed to be somewhere in the Museo Nazionale Romano , mean their study is now conducted from excavation drawings and early photographs. Reconstructions generally relate these items to

168-568: A public servant is appāritor ; the term can also apply to a gatekeeper, perhaps punning on the tomb's location. Appāret is a verb meaning "appears, makes apparent", this translation however does not seem to fit the rest of the inscription. The word Apparet is yet to be translated within the context of this quotation. In the BBC documentary Meet the Romans with Mary Beard , professor Mary Beard translates appāret as "it's obvious!" Beard suggests appāret

196-511: A subterranean Neopythagorean Porta Maggiore Basilica was discovered nearby on the Via Praenestina, dating from the 1st century. The groundplan shows three naves and an apse, a design similar to that which began to be adopted in Christian basilicas during the 4th century. The vaults are decorated with white stuccoes symbolizing Neopythagorean beliefs, although the precise meaning of elements of

224-675: Is an important place of prayer dedicated to the Virgin Mary . The following inscriptions in praise of the emperors Claudius, Vespasian , and Titus for their work on the aqueducts are prominently displayed on the attic of the Porta Maggiore: TI. CLAUDIUS DRUSI F. CAISAR AUGUSTUS GERMANICUS PONTIF. MAXIM., / TRIBUNICIA POTESTATE XII, COS. V, IMPERATOR XXVII, PATER PATRIAE, / AQUAS CLAUDIAM EX FONTIBUS, QUI VOCABANTUR CAERULEUS ET CURTIUS A MILLIARIO XXXXV, / ITEM ANIENEM NOVAM A MILLIARIO LXII SUA IMPENSA IN URBEM PERDUCENDAS CURAVIT. ([In AD 52]

252-563: Is one of the eastern gates in the ancient but well-preserved 3rd-century Aurelian Walls of Rome . Through the gate ran two ancient roads: the Via Praenestina and the Via Labicana . The Via Prenestina was the eastern road to the ancient town of Praeneste (modern Palestrina ). The Via Labicana (now called the Via Casilina ) heads southeast from the city. The Porta Maggiore is by far

280-448: Is signalling a joke, as if to say "get it?!". Thus Beard translates the epitaph as "This is the monument of Marcus Vergilius Eurysaces, baker, contractor, it's obvious." A relief representing various stages of bread production runs along the top of the tomb. The relief depicts, on the south side, the delivery and grinding of grain and sifting of flour; on the north, the mixing and kneading of dough, forming of round loaves, and baking in

308-572: The Aqua Claudia and the Anio Novus . At that time these aqueducts crossed the ancient Via Labicana and Praenestina roads thereby providing the opportunity to create at this location a sort of triumphal arch to the conquest of nature and its conqueror, the emperor Claudius. The two channels of these aqueducts, (the Aqua Claudia and Aqua Anio Novus), one lying on top of the other, can be seen when viewing

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336-514: The Societas Cantorum Graecorum (Association of Greek Singers). An inscription relating to another baker, Ogulnius, has also been found in local excavations. The tomb, dwarfed by the later Aqua Claudia , rises to a height of some thirty-three feet. Of concrete faced with travertine on a tufa base, it stands as a monument both to Eurysaces and, through the frieze, to the wider profession of baking. The style, very different from

364-402: The Via Praenestina and Via Labicana just before entering Rome, was in a particularly prominent position, and its trapezoidal form was likely dictated by the space available. Other burial complexes in the vicinity are known, including the columbarium of Statilius Taurus , consul at the time of Augustus , with over seven hundred loculi or burial niches; and the first century BC tomb of

392-693: The 16th century, an obelisk was found at the site, measuring 9.25 meters tall. It had originally been located at the temple dedicated to Antinous at Antinoöpolis and was moved in the reign of Elagabalus. After being discovered, the obelisk was moved to the Palazzo Barberini in 1633, from there to the Vatican in 1769, and reached Monte Pincio in 1822 where it resides currently. 41°53′16″N 12°31′10″E  /  41.8878°N 12.5194°E  / 41.8878; 12.5194 Porta Maggiore The Porta Maggiore ("Larger Gate"), or Porta Prenestina,

420-627: The Emperor Claudius [etc.] had the waters of the Claudia brought to Rome from the springs called Caeruleus and Curtius at the 45th milestone, and likewise the Anio Novus from the 62nd milestone, both at his own expense.) IMP. CAESAR VESPASIANUS AUGUST. PONTIF. MAX. TRIB. POT. II IMP. VI COS. III DESIG. IIII P. P. / AQUAS CURTIAM ET CAERULEAM PERDUCTAS A DIVO CLAUDIO ET POSTEA INTERMISSAS DILAPSASQUE / PER ANNOS NOVEM SUA IMPENSA URBI RESTITUIT. ([In AD 71]

448-590: The Emperor Titus [etc.] at his own expense, had the Curtian and Caerulean waters, introduced by the deified Claudius and afterwards repaired for the city by Titus’s deified father Vespasian, restored with new structures, beginning from its source, after the aqueduct was ruined to its foundations from age.) Close by the gate, just outside the wall, is the unusual Tomb of the Baker , built by Marcus Virgilius Eurysaces. In 1917,

476-639: The Emperor Vespasian [etc.] restored to the city at his own expense the Curtian and Caerulean waters, which had been led to the city by the deified Claudius but had fallen into intermittent use and disrepair for nine years.) IMP. T. CAESAR DIVI F. VESPASIANUS AUGUSTUS PONTIFEX MAXIMUS TRIBUNIC. / POTESTATE X IMPERATOR XVII PATER PATRIAE CENSOR COS. VIII / AQUAS CURTIAM ET CAERULEAM PERDUCTAS A DIVO CLAUDIO ET POSTEA / A DIVO VESPASIANO PATRE SUO URBI RESTITUTAS CUM A CAPITE AQUARUM A SOLO VETUSTATE DILAPSAE ESSENT NOVA FORMA REDUCENDAS SUA IMPENSA CURAVIT. ([In AD 81]

504-525: The best urban site to visit for an understanding and view of the ancient aqueducts. It is a monumental double archway built of white travertine . It was first known as the Porta Prenestina, perhaps a reference to the road over which it passes (the Via Praenestina). The "gate," built in 52 AD by the emperor Claudius, was originally intended to provide a decorative section of support for two aqueducts,

532-462: The classical Roman styles of tombs, makes Eurysaces' tomb stand out. The surviving part of the inscription reads EST HOC MONIMENTVM MARCEI VERGILEI EVRYSACIS PISTORIS REDEMPTORIS APPARET , or in English, "This is the monument of Marcus Vergilius Eurysaces, baker, contractor, public servant." While the final word in this quote, "Apparet", is often translated as public servant, the actual Latin word for

560-459: The cross-section running through the travertine attic at the top of the gate. The gate was incorporated in the Aurelian Wall in 271 AD by the emperor Aurelian thus truly turning it into an entrance (gate) to the city. Experts refer to this as an early example of “architectural recycling,” essentially adapting one existing structure to another use, in this case using an aqueduct as a wall. It

588-599: The decoration remains a subject of debate. [REDACTED] Media related to Porta Maggiore at Wikimedia Commons 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

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616-459: The end of the Republic (ca. 50–20 BCE). 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

644-421: The identity of the former owning family with that of the individual when a slave. The inscription also lacks the filiation usual for the freeborn . The banausic and labour-intensive activities commemorated, those of baking, are not usually celebrated by the freeborn upper classes. The unusual form of the monument and of its inscription have also been used to locate Eurysaces as a nouveau riche parvenu in

672-451: The manner of Trimalchio , with his "naïve ostentation" vulgarly imitative of élite culture. The slightly later Pyramid of Cestius is another individualistic tomb for an evidently wealthy man outside the traditional élite; in this case it perhaps referred to his taking part in campaigns in Nubia . Burial within the pomerium or sacred boundary of the city was generally prohibited. Although

700-517: The precise extent of the pomerium at the various stages of its history is uncertain, it is believed to have later been coterminous with the Aurelian Walls , perhaps extending to the area of the Porta Maggiore after its expansion by Claudius . Streets of tombs in a prominent position just outside the city gates are known from Pompeii as well as the Via Appia . Eurysaces' tomb, at the junction of

728-617: The tomb on the grounds of their style, subject matter, and findspot, with Atistia becoming Eurysaces' wife, and the double relief and inscription occupying the upper register of the now lost east facade of the tomb. This tomb may be one of many lavish tombs created by freedmen. These men were originally slaves, who then gained their freedom and became Roman citizens. Freedom could be granted by their masters for their hard work, or be bought through their peculia, or earnings. Upon becoming free, they were still subjected to some service to their former masters. However, they were proud of their work as it

756-424: 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

784-584: Was modified further when the emperor Honorius augmented the walls in 405. The foundations of a guardhouse added by Honorius are still visible, while the upper part of the gate, as built by Honorius, has been moved to the left side of the Porta. It is currently known as the Porta Maggiore, possibly designated as such because of the road that runs through the gate leads to the Basilica di Santa Maria Maggiore . The church

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