for a steam, and finally into the frigidarium (cold room) with its tank of cold water. The caldarium, heated by a brazier underneath the hollow floor, contained cold-water basins which the bather could use for cooling. After taking this series of sweat and/or immersion baths, the bather returned to the cooler tepidarium for a massage with oils and final scraping with metal implements called strigils. Some baths also contained a laconicum (a dry, resting room) where the bather completed the process by resting and sweating. The layout of Roman baths contained other architectural features of note. Because wealthy Romans brought slaves to attend to their bathing needs, the bathhouse usually had three entrances: one for men, one for women, and one for slaves. The symmetry preference in Roman architecture usually meant a symmetrical facade, even though the women's area was usually smaller than the men's because of fewer patrons. Usually, solid walls or placement on opposite sides of the building separated the men's and women's sections. Roman bathhouses often contained a courtyard, or palaestra, which was an open-air garden used for exercise. In some cases, the builders made the palaestra an interior courtyard, and in other cases, they placed it in front of the bathhouse proper and incorporated it into the formal approach. Sometimes the palestra held a swimming pool. Most often a colonnade outlined the palaestra'''s edges. Republican bathhouses often had separate bathing facilities for women and men, but by the 1st century AD mixed bathing was common and is a practice frequently referred to in Martial and Juvenal, as well as in Pliny and Quintilian. However, gender separation might have been restored by Emperor Hadrian, but there is evidence it wasn't. To many Roman moralists, baths illustrated how far the Rome of their own day had fallen into decline and so became a negative image; Cato the Elder publicly attacked Scipio Africanus for his use of the bathhouses. Roman bathhouses offered amenities in addition to the bathing ritual. Ancillary spaces in the bathhouse proper housed food and perfume-selling booths, libraries, and reading rooms. Stages accommodated theatrical and musical performances. Adjacent stadia provided spaces for exercise and athletic competitions. Inside the bathhouses proper, marble mosaics tiled the elegant floors. The stuccoed walls frequently sported frescoes of trees, birds, and other pastoral images. Sky-blue paint, gold stars, and celestial imagery adorned interior domes. Statuary and fountains decorated the interior and