PLATE II.

THE TEMPLE OF VESTA

Is situated on the banks of the Tiber, within the walls of Rome. This is supposed to be the temple that was erected by NUMA, for the reception of the sacred fire, and its guardians the Vestal Virgins. It subsequently afforded a temporary refuge to MARIUS and his party, when SYLLA, his rival, entered Rome with his legions, carrying all before him with fire and sword.

This edifice is circular, and was formerly very magnificent. It consisted of a cell 26 feet in diameter, surrounded with nineteen detached fluted Corinthian columns elevated on a flight of steps, and supporting an entablature, the whole of which is now entirely lost. The exterior wall of the cell was of Grecian marble, the parts of which were so admirably joined together, as to have the appearance of one entire piece. The columns are of Parian marble, 32 feet in height.

This temple suffered during the conflagration of the city, in the reign of NERO, and was repaired by VESPASIAN. It is now converted into a Catholic Church, and dedicated to St. MARY of the Sun. At the time of this appropriation it underwent considerable repairs and alterations, which have so disfigured it, as almost totally to change its original appearance. To enlarge the body of the Church, a wall was continued round the building, filling up the intermediate spaces between the columns, and nearly excluding them from view. Upon this wall was placed a most preposterous and unsightly roof. In addition to these barbarous alterations the surface of the earth has risen so much, as to bury the Temple up to the base of the columns.

Plates 2 and 3

TEMPLE OF VESTA.

JOSEPH Vespasian and his Sons, during their Excess.

PLATE III.

THE TEMPLE OF FORTUNA VIRILIS,

NOW THE CHURCH OF SANTA MARIA EGIZZIACA.

THIS is supposed to be the Temple built by ANCUS MARTIUS, the fourth King of Rome, 634 years before the Christian era, and by him dedicated to that goddess of fortune who was honoured by the men. It is situated at the foot of Mount Janiculus, and opposite the Temple of Vesta. It is built of travertine stone in form of a parallelogram. Each side is decorated with seven half columns of the Ionic order, which sustain an entablature, enriched with festoons intersected with children, the heads of oxen, and candelabras, all of which are greatly damaged. A portico with Ionic columns originally graced the building.

This edifice was converted into a Catholic Church in the ninth century, and dedicated to the Virgin. It had fallen into a ruinous condition, and is thought to have been repaired and much altered about the middle of the seventeenth century, when the portico was destroyed by the erection of a wall between its columns; and windows were added between the half columns on one side of the building.

Plates 5 and 6 of FORTUNA VIRILIS.

TEMPLE of FORTUNA VIRILIS.

PLATE IV.

THE TEMPLE OF JANUS QUADRIFRONS

STANDS in the Forum Boarium, or Ox Market, between the Capitol and Mount Aventine. Some persons suppose this Temple to have been built by NUMA and repaired by AUGUSTUS; but this is disputed by others. If, however, the following relation be correct, it appears reasonable to fix the period of its erection at about the year of Rome 361.

After the surrender of Falerii in Tuscany to the Romans, a statue of JANUS with four faces was there accidentally discovered. The Romans were desirous of having a similar statue at Rome; and, to evince their respect, they erected this Temple in honour of that divinity.

This Temple is square, with transversal arcades, which were formerly enclosed with gates. It is built of white marble; and its four fronts, which represent the four seasons, have each twelve niches, which probably contained statues denoting the months of the year. These were also represented by twelve altars in the interior of the Temple.

This building was converted into a fortress, and the brick-work on its summit added by the FRANGIPANI family during the civil wars. It is in a very dilapidated state, and a considerable part of its base is buried in the earth.

The building on the left in the foreground of the print, was, as the inscription informs us, erected by the goldsmiths and bankers of the Forum Boarium in honour of SEPTIMUS SEVERUS, JULIA his wife, and their two sons CARACALLA and GETA. It is of marble, and embellished with basso-relievos, which are indifferently sculptured and greatly damaged: these represent SEVERUS and his wife offering sacrifices, a Roman soldier conducting a prisoner, and a labourer guiding a plough. There are also figures of HERCULES and BACCHUS.

Plate 4.

TEMPLE of JANUS QUADRIFRONS,
London, Published in this Series, 1761.

a part of the architrave which is still preserved, it is thought by some persons
to have been built under the direction of L. GELLIUS, during the time of the
republic. Others, however, date its erection in the reign of AUGUSTUS.

It is also uncertain to whom this edifice was dedicated; but antiquaries
have agreed in appropriating it to VESTA, which is probably correct, as its form
and decorations represent the Earth, and such of its productions as were offered
up to that Goddess. The entablature is ornamented with festoons of fruit and
flowers, with the heads of oxen inserted. The body of the Temple is twenty-
two feet in diameter, constructed with that species of masonry called opus
reticulatum, and is now without roof or covering. It was surrounded by eighteen
detached fluted Corinthian columns, eighteen feet in height, (exclusive of the
capitals,) of which ten only remain. Part of the wall is also destroyed; yet
at one particular point of view it presents the appearance of an entire Temple,
and displays one of the most elegant remains of the Grecian style of archi-
tecture, graceful in its character, and admirable in its proportions. The travertine
stone of which it is built exhibits a striking proof of durability; for after braving
the elements perhaps more than 2000 years, surviving the Empire, and even the
language of its founders, this Temple still presents its fair proportioned form to
the eye of the admiring traveller.

It stands in the yard of an inn, on the verge of a rocky bank, opposite
the great cascade of Tivoli, commanding a delightful view of the surrounding
country.

The Temple on the right, in the foreground of the print, is supposed to be
the real Temple of the Sybil. Its form is a parallelogram, built of travertine
stone, having the front adorned with four Ionic pillars. It is now converted
into a church, consecrated to ST. GEORGE.

Plate 7.

TOMB of CECILIA METELLA.

Londra, Palazzo Strozzi, n. 12.

PLATE VII.

THE TOMB OF CECILIA METELLA,
CALLED CAPO DI BOVE,

Is situated on the Via Appia, about two miles from Rome. This simple and beautiful Edifice was built by CRASSUS, in honour of his wife CECILIA METELLA, daughter of QUINTUS METELLUS CRETICUS. It is of a circular form, of considerable height, and elevated on a square base, which is at present buried under an accumulated mass of earth and rubbish. The wall of the Tomb is twenty-four feet thick, and built of travertine stone. The frieze is of white marble, and orna-mented with festoons of fruit and flowers, having the skulls of oxen interserted. Adjoining the frieze, and over the inscription, are the remains of a marble basso-relievo. In the centre of the building is a chamber, in which the ashes of METELLA were deposited in a marble sarcophagus, which remained until the time of PAUL III., who removed it to the court of the Farnese Palace.

This Tomb was converted into a fortress during the civil wars which raged among the Romans between the tenth and twelfth centuries. In 1312 this Mausoleum was in the possession of the SAVELLI family, and was besieged by the German army of HENRY VII., which took and burnt the outworks, but were unable to make themselves masters of the citadel by force. The garrison, however, ultimately surrendered their post upon terms, when HENRY alienated the property until a debt due to him from the dispossessed Baron was discharged.

The GAETANI family afterwards became masters of this place. They built the adjoining walls, the ruins of which are still to be seen, and are supposed to have formed part of their mansion: they also added the battlements which crown the summit.

Part of the basement was converted into lime, in the fifteenth century, by the Romans, and URBAN VIII, used some of the travertine stone in the construction of the Fountain of Trevia. The solidity of this building has enabled it to survive the ravages of time and the devastations of war since the era of the republic, to which period it doubtless belongs.

PLATE VIII.

THE TEMPLE OF MINERVA MEDICA

STANDS in a vineyard at the extremity of the Esquiline Mount, and not far from the Porta Maggiore. Antiquaries had variously designated this building, until the discovery of a statue of MINERVA with a Serpent, an emblem of ESCULAPIUS, at her feet, which caused it to be attributed to that Goddess. There were also found here, beautiful statues of POMONA, ADONIS, FAUNUS, HERCULES, and an ANTINOUS, besides many other pieces of sculpture; which renders it highly probable that this was originally a very magnificent Temple.

The form of the interior of this edifice is a decagon, each of its sides measuring twenty-two feet and a half. Between the angles are nine niches, designed for so many Deities; the entrance occupies the place of the tenth, over which the statue of MINERVA is said to have been placed. The roof is vaulted, and swells into the form of a bold dome.

The remains of this building are entirely of brick, and in a very ruinous condition.

PLATE 8.
TEMPLE of MINERVA MEDICA.

Plate 10

The PANTHEON.

London Publicity for the 1895 Exposition.

## PLATE IX.
### TEMPLE OF THE DEA TUSSIS.

This edifice is situated in a vineyard, a short distance from the town of Tivoli, and has given birth to much conjecture concerning its original destination. Some persons have supposed it to be a Bath, others a Tomb; but the most general opinion is, that it was dedicated to the Goddess of Coughing, which is not at all improbable, since it is well known that the Romans were in the habit of deifying even their diseases.

This Temple is circular, containing several niches for statues, and built of brick. It has a vaulted roof, and resembles the Temple of MINERVA MEDICA at Rome, but is much smaller.

This building is highly esteemed for its admirable proportions, and though stripped of its ornaments, is in good preservation.

## PLATE X.
### THE PANTHEON.

This magnificent Temple, one of the most noble and perfect specimens of antiquity remaining, is of a circular form, built of brick. The body of it is supposed by many antiquaries to have been erected during the Commonwealth, and the portico with the embellishments to have been added, and the

D

Temple dedicated to all the Gods by AGRIPPA, son-in-law of AUGUSTUS, in
his third consulate, 25 years before Christ.

This portico consists of sixteen Corinthian columns, and as many pilasters,
which sustain a frontispiece enriched with a pediment and entablature; the
whole of the most beautiful proportions of architecture. The tympanum of the
pediment was originally covered with the richest sculpture, of bronze gilt. The
shaft of the columns is fourteen feet in circumference, thirty-eight feet and a half
in height, and formed out of a single block of red granite; the bases and
capitals are of white marble. In the niches on the right and left of the entrance
were placed the statues of AUGUSTUS and AGRIPPA.

The portico is one hundred and three feet in length, and sixty-one feet in
width, with an ascent of five steps, although at present only two appear above
the surface of the earth. The whole forms a grand approach to the only entrance,
the gates to which were brazen, of extraordinary size and workmanship: they
were carried off by GENSERIC, King of the Vandals, when he plundered Rome;
but have since been replaced by others, which are covered with plates of
bronze, and hung on fluted pilasters of the same metal.

The interior forms a superb circular saloon, one hundred and forty feet in
diameter, and of an equal height, receiving light from an aperture in the dome
twenty-six feet in diameter. In the circumference of the saloon are several
niches hollowed out of the wall, which is nineteen feet thick. In these were
formerly ranged statues of the gods, of gold, silver, bronze, and marble, of
exquisite workmanship. Six of these niches are now converted into chapels,
each decorated with two pilasters, and two fluted Corinthian columns, eight of
which are of violet coloured marble mixed with yellow, and four of antique
yellow marble. The diameter of these columns is five and a half feet, and the
height of their shaft twenty-seven and a half feet. The bases and capitals are
of white marble, and surmounted with an entablature of the same material
extending round the edifice. Between the chapels are eight altars, each of which

is adorned with two smaller Corinthian columns and a pediment. The wall of
the Temple, to the height of the grand cornice, is in compartments, covered
with various kinds of marble, and the frieze is entirely of porphyry. The marble
pavement laid by AGRIPPA still forms its floor. The Temple also contains
several paintings, and the busts of many distinguished modern characters.

The dome is an exact hemisphere, and was formerly covered with plates of
silver, which have been removed, and replaced with lead. To the top of the
dome there is an ascent on the outside by one hundred and ninety steps.
From the rude appearance of the brick exterior, it seems probable that it was
either covered with marble, or concealed by attached edifices.

This building received considerable injury from an eruption of Vesuvius in
the reign of TIBERIUS, and was much damaged by a great fire in the reign
of TITUS. It was successively repaired by DOMITIAN, ADRIAN, and SEPTIMUS
SEVERUS; and retained its splendour until the incursion of ALARIC, in the reign
of HONORIUS, when it was deprived of many statues, and ornaments of gold
and silver. About thirty-nine years afterwards GENSERIC, King of the Vandals,
plundered it of many of its brass ornaments, but it was almost entirely stripped
of its metal decorations by CONSTANTINE, the grandson of HERACLIUS, in the
seventh century. About this time Pope BONIFACE IV. obtained the Pantheon of
the Emperor PHOCAS, converted it into a Catholic Church, without making any
alteration in the building, and dedicated it to the Virgin and the Martyrs. In 830
GREGORY IV. dedicated it to all the saints, whose festival he then instituted. It
was also converted into a fortress, and defended by the Antipope CLEMENT III.
against his competitor GREGORY VII. URBAN VIII. repaired the church, and
added the steeples, in conformity to the prevailing mode of distinguishing places
of worship.

PLATE XI.

PONTE LUGANO.

This Bridge crosses the Teverone, at the distance of about twelve miles from Rome, and is supposed to take its name from the circumstance of a battle fought near it, between the Romans and Lucanians, in which the latter were defeated.

The tomb which stands close to the Bridge belonged to the family of PLAUTIUS LUCANUS, and is said to have been erected in the reign of VESPASIAN. It is similar to the Mausoleum of CECILIA METELLA, being constructed of large blocks of travertine stone, and consisting of a circular tower raised on a square base. The base was formerly decorated with Ionic columns, of which there are now but a few fragments remaining. There are also some remains of the inscription.

This sepulchre was employed as a military station during the middle ages, and its summit crowned with battlements.

PLATES XII. AND XIII.

THE COLISEUM.

THE site of the Flavian Amphitheatre, or Coliseum, was formerly a pond, within the grounds belonging to NERO's gilded Palace, and is situated in the valley between the Palatine, Cœlian, and Esquiline Mounts.

The idea of erecting an Amphitheatre on this spot originated with AUGUSTUS

Plate II.
PONTE LUGANO.

Londra, Published on the 13th of November 1775.

CAESAR, upon whose plan the present building, for the exhibition of public spectacles, was commenced by FLAVIUS VESPASIAN, A. D. 72.

Historians differ in their accounts of the time occupied in its construction; but the greater part of the Amphitheatre appears to have been erected under TITUS, who employed upon it the Jewish captives that were brought to Rome. Upon its completion solemn games were appointed; and multitudes from every part of the empire crowded the seats, to witness the scenes to which this edifice was appropriated. Upon this occasion, according to different authors, five, or nine thousand ferocious animals were destroyed; after which the arena was suddenly filled with water, and numerous aquatic animals were introduced, in order to combat each other. This astonishing spectacle concluded with the exhibition of a naval action, representing a contest between the Corinthians and Coryrians. The Amphitheatre is said to have been capable of containing eighty-five thousand spectators, and from its magnitude probably derives the name of Coliseum. The exterior is built of travertine stones, cramped together with links of brass or iron.

The form of the Coliseum is an ellipsis, the larger diameter of which is about six hundred and fifteen feet, and the lesser five hundred and ten feet. The larger diameter of the arena is about two hundred and eighty-one feet, and the lesser one hundred and seventy-six feet, leaving a circuit for the seats and corridors of about one hundred and fifty-seven feet in breadth. The external circumference, when complete, was about one thousand seven hundred and seventy feet, enclosing a superficies of rather more than five acres and a half. The total elevation was about one hundred and sixty-four feet, consisting of three stories of arcades, respectively embellished with columns of the Doric, Ionic, and Corinthian orders, and an enclosed pilastrade of the Corinthian order supporting the uppermost cornice. Two hundred and forty arcades formed the external compass of the building, viz. eighty to each story: those of the basement were so many entrances to the Amphitheatre. The four chief entrances were at the extremities of the two diameters; the others, through which the spectators passed to their respective

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seats, were numbered; and each person had a ticket corresponding with the number over one of the entrances that led to the place assigned to him. The chief entrances served to introduce into the arena the machinery and wild beasts. The arcades over them were ornamented with chariots having four horses, on marble pedestals, and those over the other entrances with statues. This edifice contained one hundred and sixty staircases, which, with their passages, were contrived with skill so exquisite, that visitors, whether of the senatorial, equestrian, or plebeian order, proceeded to their appropriate seats without confusion.

The vast concave of the interior was formed by sixty or eighty rows of marble seats, placed above one another in the form of stairs, surrounding the whole of the building, and rising from the podium to its summit. The seats (gradinata) were divided into three orders (meniani), separated from each other by means of a broader step (via), and by a wall (precinctum). Under the seats were three stories of spacious ambulacri, or corridors. The arena was surrounded by a wall sixteen feet high and eleven feet thick, surmounted with rails of iron armed with spikes, and also with strong rollers, which turned vertically, to prevent the escape of the hunted animals. Upon this wall was formed a gallery (podium). Here the senators, magistrates, and Vestals, sat. From the middle of this gallery projected a balcony, from which the Emperors viewed the exhibitions. The wild animals were kept in cages, in subterraneous cells under the arena, whence they were raised by machinery, through trap-doors.

Over the heads of the spectators was extended the velarium, to screen them from the sun, and, in some degree, from the rain. It left the arena uncovered, that light might be admitted. It was formed of forty angular curtains, made of sail-cloth, which were supported by strong ropes crossing the two diameters of the building, and by smaller ropes radiating from the centre to the circumference, where they were attached to timbers covered with brass, and inserted in the cornice of the outer wall. The edges of each curtain had loops, through which the radiating ropes passed. They were also furnished with appropriate tackle,

for the purpose of expanding or contracting particular parts, as occasions required. Nothing seems to have been omitted that could add to the convenience, or even luxury, of the audience. In the corridors were rooms for refreshments of every description, and even residences, dedicated to the Cyprian Goddess, for the accommodation of her votaries. The air was scented with aromatics, and cooled by the continual playing of fountains.

The combats of Gladiators were exhibited for the last time in the reign of HONORIUS, during the celebration of his triumph to commemorate the repulse of ALARIC.

When the Goths plundered Rome, the ornaments of the Coliseum, its statues of gods and heroes, which were cast in brass, or covered with silver and gold, became the prey of avarice and conquest. A fair or market was held in the arena; and the chasms are still visible, which were perforated to receive the timbers that supported the tents or shops of the various trades. This Amphitheatre was converted into a fortress during the feuds amongst the Romans, and served for that purpose from about the year 1000 to 1312. In 1332 a magnificent bull-feast, after the manner of the Moors and Spaniards, was celebrated in the arena. Shortly after this period, the Romans neglected, and even plundered, with impunity from their magistrates, the materials of this majestic building. In 1381, a third part of it, with a jurisdiction over the whole, was granted by the senate and Roman people to the religious Society of Sancta Sanetorum. In the sixteenth century, the upstart families of FARNESE, BARBARINI, and others, still further despoiled these noble remains, to obtain materials for the erection of their palaces. During the pontificate of CLEMENT X., in 1675, the Coliseum was consecrated to the worship of the Christian martyrs who had expired on its arena; and the lower arches were blocked up, to prevent the entrance of animals. CLEMENT XI., in 1714, repaired the walls, and erected the altars round the arena. In 1742, LAMBERTINE renewed the consecration, and, by his enclosures and edicts, cleared it of murderer and prostitutes.

PLATE XIV.

THE FORUM OF NERVA.

This building was begun by DomITIAN, and finished by NERVA, after whom it was named. ALEXANDER SEVERUS placed within its walls the statues of all the Emperors who had been deified.

It was called Transitorium, from its situation necessarily making it a passage to the Forums of AUGUSTUS and TRAJAN, to which its arches served as entrances. It was also called Palladium, from a statue of MINERVA which was set up in it.

All that remains of this once magnificent building, is part of the exterior wall, and one of the arches, which, from its marshy situation, is now called the Arch de' Pantani. The wall is of great height, and composed of large blocks of Albanian stone.

The columns seen behind the arch are part of the remains of a temple erected in honour of NERVA: they are about fifty feet high, of Parian marble, fluted, and of the Corinthian order.

The brick tower rising immediately above these ruins is the steeple of the Church of the Nunziatina.

Plate 16.

FORUM of NERVA.