Rather than mortared, blocks were connected by several hundred tons of iron grips. An estimated 100,000 cubic meters of travertine blocks were required, carried in from a quarry 30 km away. Such a lengthy building phase reflected the massive scope of the project. As it turned out, the great amphitheater was completed during the reign of Vespasian’s eldest son, Titus. Instead of potentially heralding an industrial revolution, Vespasian refused to utilize a new invention that might put people out of work. The project might have been accelerated, if only the Emperor heeded the advice of an engineer who sought support for a promising new technology, the details of which are, unfortunately, uncertain. Commissioned to a Greek craftsman named Zenodorus, the Colossus Neronis (the Colossus of Nero), stood at least 30 m, comparable to the modern statue in New York Harbor patterned after the Roman goddess Libertas.Īlthough Vespasian ruled for a decade, he did not see his amphitheater’s completion. Arguably most egregious of all, Nero erected a huge statue of himself in guise of the Roman sun god Sol. The estate included a large artificial lake, thanks to a canal routed from the Aqua Claudia aqueduct. Even the landscaping pushed the limits of Roman engineering. Among the pair’s many impressive achievements was a revolving ceiling beneath the large central dome. For that ambitious project, Nero employed many talented architects and engineers, including Celer and Severus, early adopters of concrete construction. Subsequently, Emperor Nero repurposed the area for his Domus Aurea (Golden House), a grandiose palace replete with extensive gold leaf detailing and mosaic-covered ceilings. Once densely populated, the valley between the Caelian, Esquiline and Palatine Hills suffered extensive damage in the devastating 64 AD fire. The site chosen for construction was at the center of the Eternal City. Leveraging this enormous war booty, Augustus Vespasian began construction on the largest amphitheater the world had even seen. The latter conflict, culminating in a horrific siege of Jerusalem and plunder of its famed Temple, provided for enormous riches and many tens of thousands of slaves. One such ruler was Vespasian, whose extensive use of siege engines facilitated conquests in Britannia (43 AD) and the first Jewish-Roman war (66-73 AD). Not surprisingly, many of Rome’s Augusti exploited their Empire’s engineering expertise to achieve political and/or military gain. Another famous ancient Roman engineer was Agrippa, the trusted military ally of Augustus who credited him with turning Rome into a city of marble. Among the most prominent was an artilleryman named Vitruvius, who lived during the period when Rome transformed from Republic to Empire, and whose De architectura, dedicated to Augustus himself, represents the oldest such treatise. Such engineering marvels played an integral role in advancing Rome’s glory, even if surprisingly little is known regarding the individuals responsible. Beyond rapid deployment via construction of fortifications, bridges, and roads, this expertise allowed the ancient Romans to stay on the cutting edge of weaponry and siege equipment. Equally impressive and long lasting were ancient Roman innovations related to mining (e.g., the use of hydraulics, employed up to at least the mid 19th century California Gold Rush), material science (e.g., the invention of concrete), and power generation (e.g., unprecedented advancements in water wheel technology).Įngineering fundamentals were especially ingrained in the Roman military. Some ancient Roman roads and bridges are still used today. Such innovations facilitated construction of world-record-breaking aqueducts, sewer systems, and transportation networks. For instance, Roman engineers upgraded the weight-bearing ability of arches by limiting their circular arc < 180 degrees. Some techniques they developed on their own, while others, like much of Rome’s culture, evolved from Greek origins. The ancient Romans earned fame for their sophisticated engineering accomplishments. Such a massive project required commensurately massive financing, not to mention highly advanced civil planning and mechanical engineering. It even featured a retractable awning called the velarium, comprising an intricate web of canvas hung on 240 wooden masts, affording fans protection from the sun and rain. Its outer wall of travertine blocks stood 50 m high and measured 550 m in circumference. A truly colossal accomplishment, the Amphitheatrum Flavium accommodated an estimated 50,000 to 80,000 spectators. Ask anyone for an image that they associate with the Roman Empire, and they would likely think of the Colosseum.
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