PLATE 15.
ARCH of TITUS.

PLATE XV.

THE ARCH OF TITUS

STANDS between the Forum and Coliseum. It was dedicated to TITUS by the Senate and Roman people, most probably after his death and apotheosis, as this event is represented on the archivault by a human figure borne to heaven on an eagle; and the epithet "Divo" is applied to him in the inscription.

This Arch appears to have been designed to commemorate the conquest of India and the destruction of Jerusalem. It is built of white marble, has only one arcade, and for the beauty of its architecture and sculpture is entitled to rank amongst the finest monuments of antiquity. It is said to have been adorned on each side with four fluted columns of the Composite order; only two of which remain. Upon the frieze is sculptured the triumphal procession of TITUS, including a representation of the river Jordan, under the form of an old man carried on a table. On the inner sides of the arcade are two basso-relievos, greatly damaged; one exhibits the Emperor in his triumphal car, drawn by four horses, which are conducted by a female figure representing the City of Rome. Lietors accompany the chariot, which is followed by Victory, crowning the hero, and holding in her left hand a branch of palm. Soldiers and citizens attend the procession. The other basso-relievo represents the table of shew-bread, the silver trumpets, and golden candlesticks with seven branches, the tables of the law, and other spoils brought from the Temple of Jerusalem. The tympans of the Arch are enriched with beautiful figures of Fame.

The brick ruins seen through the Arch in the print are the remains of the

F

Plate 17.
TRAJAN'S COLUMN.

London, published as the old direct, 1770.

PLATE XVII.

TRAJAN'S COLUMN

WAS built by APOLLODORUS, the most celebrated of the Roman architects, and stood in the centre of the Forum of Trajan, of which it is the only remaining relic.

According to the inscription, this historic Column was raised to show how much of the Quirinal Hill TRAJAN had, with infinite labour, caused to be levelled for the extension of his Forum. Its height denotes the original elevation of the hill.

The Column is one hundred and six feet in height, with a diameter of nearly thirteen feet, and is elevated on a pedestal nineteen feet high. The capital is surmounted with a crowning, which formerly supported a statue of the Emperor, of bronze gilt, for which has been substituted by SIXTUS V. a statue of St. PETER fourteen feet high, of similar materials.

The Column, with the crowning, is composed of thirty-four blocks of white marble, and contains a winding Staircase, consisting of one hundred and eighty-five steps, wrought out of the solid blocks, and receiving light through forty-three small apertures. The exterior of the shaft is decorated with a series of basso-relievos, ascending in a spiral line from the base to the capital. These present the several victories of TRAJAN over the Dacians, together with the various operations of war, the offering of sacrifices, and processions; and contain two thousand five hundred figures in complete and correct costume, besides horses, bulls, and sheep. The figures at the base are nearly two feet high, gradually increasing in size as they ascend towards the capital, where they are double that height. By this arrangement the whole of the figures appear to the spectator of the same magnitude.

Plate 18
ARCH of TRAJAN at BENEVENTO.

PLATE XVIII.

THE ARCH OF TRAJAN, AT BENEVENTO.

THIS Arch is highly esteemed for its elegance, and is one of the most
splendid remains of Roman grandeur without the walls of Rome. It was
erected in the year of Christ 114, after TRAJAN, by the submission of
DECEBALUS, had acquired the name of DACICUS, and, according to the
inscription, in the sixth year of his Consulate. As all the military columns
erected along TRAJAN's new road to Brundusium bear the same date, it is
probable that this Arch was erected to commemorate the completion of that
useful and extensive undertaking. It is built of white marble, has eight
fluted columns of the Composite order, and consists of a single arcade.

The frieze, intercolumniations, and attic, are enriched with basso-relievos,
which represent the battles and triumph for the success of the Dacian war.
They are exquisitely beautiful.

The whole of this building is in comparatively good preservation. It is
at present called the Porta Aurea, and forms one of the entrances into
Benevento.

PLATE XIX.

THE TOMB OF HADRIAN,

NOW CALLED THE CASTLE OF ST. ANGELO.

THIS Mausoleum is said to take its present name from its more modern
destination and the bronze statue of an angel which decorates its summit. It
was built by the Emperor HADRIAN, as a depository for his ashes, and was,
perhaps, the noblest structure of this description ever erected by the Romans.

It is situated at the foot of the Vatican Mount, on the banks of the Tiber,
and opposite the Campus Martius, to which there is a communication by a
bridge called the Pons Elius,

This edifice consisted of a circular tower, five hundred and seventy-six feet
in circumference, rising from a quadrangular base of considerable height, each
of the sides of which measured two hundred and sixty feet.

The whole was covered with Parian marble, and decorated with the statues
of gods, heroes, &c. probably from the chisel of PRAXITELES or LYSIPPUS.
The sarcophagus in which the ashes of HADRIAN were deposited is said to
be at present in the Chapel of St. JOHN LATERAN.

This Sepulchre was converted into a citadel A. D. 537, by BELISARIUS,
during his famous defence of Rome against VITIGES, King of the Goths, at
which time its statues and other ornaments were used as missile weapons, and
hurled on the heads of the besiegers. Thus were destroyed some of the finest
productions of art. From this period the Tomb of HADRIAN has been used
as a fortress. Its commanding situation caused it to be considered as the key
of Rome before the art of war was brought to its present perfection. The

Plate 19.
TOMB of HADRIAN.

solidity of the structure has enabled it to withstand the repeated assaults of the Barbarians and Christians by whom at various periods it has been besieged or defended.

This Tomb was stripped of its marbles in 1378, by the partisans of URBAN VI. They also demolished the angular parts of the base; but the solidity of the tower resisted all their efforts at destruction, and this is the only part of the ancient building remaining.

This fortress was much damaged by the explosion of a powder magazine in 1497, after which it was repaired, and reduced to its present form. NICHOLAS V. made some additions to the fortifications, and ALEXANDER VI. constructed the buildings on the summit and the bastions fronting the Tiber. URBAN VIII. added a mound, a ditch, a bastion, and a hundred pieces of cannon of different calibre.

The Pons Elius, or Bridge of St. ANGELO, was built by HADRIAN, and repaired by NICHOLAS V., and also by CLEMENT IX., who added the iron railing and marble statues with which it is decorated. It was on this Bridge that RECIMER, in A. D. 472, made his furious assault upon the city with the Burgundians and Oriental Suevi. He was opposed with equal valour by the Goths, until the death of GELIMER, their leader, when they gave way, and Rome was abandoned, for the third time, to be plundered by an enemy.

PLATE XX.

THE PYRAMID OF CAIUS CESTIUS.

This Mausoleum was erected to the memory of CAIUS CESTIUS, one of the priests of the order of Epulones, to whom were confided the ordering and serving of the sacred banquet offered to JUPITER and other Deities, in the solemn festival of the Lectisternium. There is some reason to suspect, although his identity cannot be ascertained, that this is the same CESTIUS who was a Prætor, and flatterer of the Augustan Court, and who suffered public chastisement for presuming to deny the Emperor's acquaintance with literature.

This noble Sepulchre was built in conformity to the last testament of CAIUS CESTIUS, and, as the inscription informs us, completed in three hundred and thirty days. It is of a quadrangular form, rising to the height of one hundred and seventeen feet, and terminating in an apex. Each of its sides is ninety-two feet at the base.

This edifice is built of stone, and encrusted with blocks of marble a foot in thickness. A door in the base opens into a gallery, which leads to a small sepulchral chamber, the ceiling and walls of which are decorated with paintings on stucco, in regular compartments. These paintings are now nearly obliterated. In this chamber was formerly deposited the sarcophagus containing the ashes of CESTIUS.

This structure having suffered greatly from the ravages of time, was repaired in 1637, by ALEXANDER VII., who also restored the two marble pillars which ornament the angles of the base without the walls. There were formerly four pillars, surmounted with statues, one at each angle.

The Pyramid is joined to the venerable and decayed walls of the City, and forms part of the fortifications. It seems to preside in lonely and majestic grandeur over the plain which lies extended before it, and in which are deposited the remains of the English and other Protestants who have died at Rome.

Plate 20.
PYRAMID of CAIUS CESTIUS.

Plate 21.

ARCH of SEPTIMUS SEVERUS.

PLATE XXI.

THE TRIUMPHAL ARCH OF SEPTIMUS SEVERUS.

THIS Arch was erected about the year 205 of the Christian era, and inscribed by the Roman people to SEPTIMUS SEVERUS, and his sons CARACALLA and GETA, in honour of their victories over the Parthians and other barbarous nations; also in acknowledgment of the virtues and valour of MARCUS AURELIUS, who had restored the safety of the state, and aggrandized the Roman empire.

The Arch stands near the back part of the Capitol. It is built of white marble, has three arcades, and is decorated with eight fluted Corinthian columns, as many pilasters, and with basso-relievos, which are but indifferently executed. They represent the expeditions of SEPTIMUS SEVERUS against the Parthians, the Arabs, and Adiabenians. In the tympanes of the arches are winged victories, bearing trophies, divinities of four rivers, and genii holding perfumes, flowers, and fruit, symbolical of the provinces subdued by SEVERUS. A staircase of marble once led to the summit of the building, on which were placed SEVERUS with his two sons, in a triumphal chariot drawn by six horses, of bronze gilt, surrounded by groups of horse and foot soldiers. The letters of the inscription were filled up with brass, which has been long since removed. The name of GETA was erased by the order of his brother CARACALLA, after he had murdered him.

Owing to the soft quality of the marble of which this Arch is built, the basso-relievos are much defaced, and the whole of the structure is in a very mutilated state, and partly buried in the accumulated earth.

PLATE XXIII.

THE CLAUDIAN AQUEDUCT.

This is said to have been the most beautiful Aqueduct ever erected for the use of Rome. It was begun by CALIGULA, and finished by CLAUDIUS. The waters, which it conveyed in two separate canals, one over the other, were collected from two springs, called Cærulius and Curtius, having their source in the Sabine Mountains at the distance of thirty-eight miles from Rome. From the advantage of a high source and the low situation of Rome, this building has a gentle and continued declivity, after the proportion of five feet and a half to every mile.

This Aqueduct was repaired by VESPASIAN, TITUS, MARCUS AURELIUS, and ANTONINUS PIUS. TITUS also added the monument which is the subject of the print. It is built of marble, and serves as one of the entrances into Rome, called the Porta Maggiore. In the attic of this edifice are three inscriptions: the first mentions the great undertaking of TIBERIUS CLAUDIUS; the second and third, the repairs made by VESPASIAN and TITUS. At present this Aqueduct is called Aqua Felice, and conveys water to the Fountain of MOSES at Termini, which was built by Pope SIXTUS V.

Plate 23.

CLAUDIAN AQUEDUCT.

PLATE XXIV.

PONTE SALARO.

THIS Bridge is situated on the Teverone, about three miles from the
Porta Pia.

When the Gauls invaded the Roman territory, about the year of Rome 365,
and the respective armies lay opposite to each other on the banks of the river,
a Gaul of gigantic stature came to this Bridge and challenged the bravest of
the Romans to single combat. His challenge was accepted by TITUS MANLIUS,
who slew his antagonist, and tore from his neck a golden collar, for which he
obtained the name of Torquatus.

This spot is also famous for the neighbouring encampment of HANNIBAL
with his army, when he threatened Rome.

This Bridge was destroyed by TOTILA, and rebuilt by NARSES after his
victory over the Goths.

Plate 24
PONTE SALARO.

PLATE XXV.

THE BATHS OF DIOCLESIAN.

THE THERMAE, or public Baths of the ancients, rank among their most
magnificent and stupendous structures. They contained cold, tepid, hot, and
vapour baths; with apartments for undressing, others for oils and perfumes,
lined with the finest marbles of various colours, and decorated with paintings
and statues.

These buildings were also furnished with libraries; halls for various games
and exercises; together with porticoes, gardens, and groves. In short, they
were arranged with the utmost skill, and contained every possible convenience
for the gratification of the most refined luxury. The use of them the meanest
Roman might command for about the eighth part of a penny.

The Baths of DIOCLESIAN were perhaps among the most splendid, and
are thought to have been capable of admitting eighteen hundred persons to
bathe at one time. They are situated on the Viminal and Quirinal Hills, and
the space which the ruins occupy evinces their former magnitude.

This building was square, with a circular edifice at each angle, two of
which remain; one is converted into a public granary, the other into a
Church, dedicated to ST. BERNARDO. Part of these Baths are occupied
by the Convents of the Carthusians and Bernardines. The principal Hall
was three hundred and fifty feet in length, eighty broad, and ninety in
height, and ornamented with eight columns, each of a single block of oriental
granite, forty feet in height and five feet in diameter. Pope PIUS IV.
converted this Hall into a Catholic Church, after a design by MICHAEL ANGELO,

Plate 25.

BATHS or DIOCLESIAN.

PLATE XXVI.

THE TRIUMPHAL ARCH OF CONSTANTINE.

THIS Arch was erected by the Senate and People of Rome to commemorate the victory of CONSTANTINE over the tyrant MAXENTIUS at Ponte Molle, A. D. 312.

It stands on the Appian Way, at the junction of the Cœlian and Palatine Mounts. It has three arcades, and is adorned with eight detached fluted Corinthian columns, of yellow marble, the same number of pilasters, several figures of Victory, and numerous basso-relievos, the majority of which, and by far the finest, were removed from an arch of TRAJAN. The few basso-relievos sculptured at the time of the erection of this Arch are those situated immediately over the lateral arcades, and nearly surrounding the building. They represent the conquest of Verona, and the victory of Ponte Molle. They are executed in the rudest manner, and evince the deplorable state of the fine arts in the time of CONSTANTINE, while those taken from the Arch of TRAJAN are in exquisite taste, and beautifully sculptured. Ten of these are placed in the attic. The four in front of the attic, seen in the print, represent TRAJAN declaring PARTHANASPATES king of the Parthians; the discovery of a conspiracy formed by DECEBALUS against TRAJAN; that Emperor haranguing his soldiers; and TRAJAN offering sacrifice. The four on the other side of the attic represent TRAJAN's triumphal entry into Rome; his lengthening the Appian Way as far as Brundusium; his supplying Italy with provisions; and PARTHIMASIRUS, supplicating TRAJAN to restore him the kingdom of Armenia. Those at each end of the attic, and the two under the centre arcade, are the most esteemed.

PLA. 26.

ARCH of CONSTANTINE.