central passage. These arches open into two large and lofty vaulted
chambers of considerable length, passing under the galleries. In the
pavement of the floor in each of these is a line of seven sockets for
pivots to work in, some of which retain the bronze socket, in others it
has been torn out.
Between the two great round-headed arches is seen a square-topped opening
at the end of a long passage over the great drain. This was the passage
for the animals that were brought through it in their cages, excepting
the elephants, which were led into the large dens provided for them, two
on each side of the passage further on.
Above this was the state entrance from the south towards S. Clement’s and
the Lateran, and on each side are the ruins of the galleries as before.
THE COLOSSEUM.
PLATE V.
INTERIOR, TOWARDS THE SOUTH-WEST, WITH THE SUBSTRUCTURES IN 1874.
[Illustration: THE COLOSSEUM IN 1874
INTERIOR S.W.—THE SUBSTRUCTURES]
DESCRIPTION OF PLATE V.
INTERIOR, TOWARDS THE SOUTH-WEST, WITH THE SUBSTRUCTURES IN 1874.
Immediately to the right, and nearly in the centre of the picture, is
seen the earth not then excavated when this view was taken. In front of
this, as shewn to the right of the picture, is one of the ancient walls
of tufa faced with brick, which carries on its right-hand side one of
the canals of water. To the left of the view, close under the _podium_,
is seen another wall of tufa, but cut, and with vertical grooves clearly
seen in it; these were for the lifts. Behind this are the arches of the
dens of the wild beasts, under the path in front of the _podium_; then
the _podium_ itself, with square recesses in it, usually said to have
been for men to take refuge in, should the animals be able to spring
over the net-work in front; but this is not probable, when we see the
precautions taken: they were more likely for the athletes, or for the
attendants or guards under the state gallery. Behind this are the ruins
of the galleries and the windows of the corridors, as before.
THE COLOSSEUM.
PLATE VI.
INTERIOR, AT THE SOUTH-EAST END.
WITH THE EARLY WALLS OF TUFA.
[Illustration: THE COLOSSEUM IN 1874.
INTERIOR S.E. END WITH THE EARLY WALLS]
DESCRIPTION OF PLATE VI.
INTERIOR, AT THE SOUTH-EAST END.
WITH THE EARLY WALLS OF TUFA.
In this view the grooves in the walls are clearly seen on both sides of
the passage between them, and the arches of the dens behind the outer
wall. The lions, or other wild animals about that size, passed from the
dens through an opening in the wall into the cages provided for them in
this passage. The cages were placed upon lifts, and when the word was
given by the emperor, were all pulled up at once to the arena, or floor
of boards, with trap-doors in it all along over this passage. We are told
by Herodian (as has been shewn in the text, p. 26) that on one occasion
a hundred lions leaped on to the stage or arena at the same time, and
appeared to the spectators in the gallery to “leap out of the earth;” the
sand with which the floor was covered over would have that appearance
when the trap-doors, and lifts, and the tops of the cages along with
them, were opened from below. In the passage is a long series (one behind
the place for each cage and lift) of sockets seen in the pavement,
apparently each for a capstan to wind the twenty-one feet of cord upon,
when the cage was pulled up to the top, and the trap-doors opened.
THE COLOSSEUM.
PLATE VII.
VIEW AT THE SOUTH-EAST END.
[Illustration: THE COLOSSEUM 1875.
VIEW OF SOUTH EAST END]
DESCRIPTION OF PLATE VII.
VIEW AT THE SOUTH-EAST END.
This plate is from an excellent drawing of Signor Cicconetti, made
chiefly from the photographs, in order to explain them more clearly. The
photographs are evidence of historical facts, which no drawing alone
can be, because drawings are always liable to errors, accidentally or
otherwise. Unfortunately drawings are very often made to suit the idea
either of the artist who draws the object as he thinks “it must have
been,” or to suit the view of the person who orders the drawing. These
drawings can be compared with the photographs throughout, and make them
more easy to understand.
A. Wooden framework (?), cradle (?), or dry dock (?).
B, B. Marble slabs placed upright, to serve as struts to support the
galleys standing on the frame.
C, C. Walls of the central passage.
D. Line of one of the canals.
E, E. Ancient tufa walls, with the dens behind them.
F, F. Podium and state gallery.
G, G. Principal gallery.
H, H. Second gallery.
I. Top gallery, added after the fire.
K. Drain or cloaca.
L. Passage for animals.
M. State entrance and corridor.
N. Modern buttress.
THE COLOSSEUM.
PLATE VIII.
PLAN OF THE SOUTHERN HALF, AT THE LOWEST LEVEL, SHEWING THE EXCAVATIONS
IN 1874 AND 1875.
[Illustration: THE COLOSSEUM—PLAN AT THE LOWEST LEVEL IN 1875.]
DESCRIPTION OF PLATE VIII.
PLAN OF THE SOUTH-EASTERN HALF, AT THE LOWEST LEVEL, SHEWING THE
EXCAVATIONS IN 1874 AND 1875.
A, A. The frame, cradle, or dry dock, for the galleys to stand upon when
not wanted for use.
F, F. The _podium_.
L. The passage for animals.
T, T. Lofty vaulted chambers, with seven sockets in a line in each.
V. Subterranean side-passage, called of Commodus.
a. The dens for wild beasts.
b. The shaft for a man to descend and feed the animals.
c. The drain and flood-gate at the mouth of it.
e, e. Small brick chambers of the time of Nero.
All the sockets that are visible are shewn in the plan, whether in the
passages or in the chambers.
THE COLOSSEUM.
PLATE IX.
ARCHES IN THE SUBSTRUCTURE.
[Illustration: COLOSSEUM.
ARCH OF THE SECOND CENTURY, IN THE SUBSTRUCTURE.
BRICK ARCH OF NERO, IN THE SUBSTRUCTURE.]
DESCRIPTION OF PLATE IX.
1. ARCH OF THE SECOND CENTURY IN THE SUBSTRUCTURE.
In addition to the two ancient walls of tufa parallel to each other round
the edge, with the grooves for lifts in them, there are some remains
here and there of a third wall of tufa within the other two, and this
appears to have been much shaken by an earthquake. In this, little is
perfect, but in the parts that remain there are arches, and these arches
are supported by brick walls of different periods. The upper arch in this
plate is supported by a brick wall of the second century, as is seen by
the thickness and quality of the bricks and of the mortar between them.
This is shewn by the six-foot rule, each foot painted alternately black
and white, by which the bricks can be counted the same as on the spot.
2. ARCH OF THE FIRST CENTURY IN THE SAME.
This small arch is in the same wall, but in this case the brick arch that
supports the tufa is clearly of the time of Nero[246]. The long, thin
bricks of his time, nine or ten to the foot, are well known to all Roman
archæologists, and are so marked that there is no mistaking them: they
are thus good evidence that the amphitheatre of Nero, mentioned by Pliny,
was on the same site as the Flavian Amphitheatre. A segment of another
arch of the same period abuts against it, to support it like a flying
buttress, and is seen in the plate.
THE COLOSSEUM.
PLATE X.
SUBSTRUCTURES.
REMAINS OF TWO CANALS, ONE SUPPORTED ON TIMBERS, THE OTHER ON BRICK
ARCHES.
[Illustration: COLOSSEUM—SUBSTRUCTURES
A. REMAINS OF A CANAL SUPPORTED ON TIMBERS
B. —— OF ANOTHER CANAL SUPPORTED ON ARCHES]
DESCRIPTION OF PLATE X.
SUBSTRUCTURES.
REMAINS OF TWO CANALS, ONE SUPPORTED ON TIMBERS, THE OTHER ON BRICK
ARCHES.
These two canals, parallel to each other, to be supplied with water by
the aqueducts, and used for the _naumachia_ or naval fights, are among
the most curious discoveries brought to light in the recent explorations.
They shew how completely the whole of the great public exhibitions of the
ancient Romans were theatrical displays, with all the usual tricks of a
theatre, just the same as in a Christmas pantomime.
This shews also that _stagna_ do not necessarily mean ponds; any
reservoir of water is a _stagnum_, whether supplied by a natural spring
or by an aqueduct. Neither of these now remaining are of the time
of Nero, they belong to later repairs or alterations; but the great
thickness and strength of the wall of so little height could only have
been made to support the weight of water. This is especially evident
in the upper view, where the wall is nearly as thick as it is high. In
this passage the canal, lined with lead, was supported on massive wooden
beams; in the lower view the canal in that passage, which is wider than
the other, was supported on the brick arches of the second or third
century, shewn in this view.
It is even probable that the _stagna_ of Nero were in the same place as
these, as a good deal of brickwork of his time is on a higher level than
these walls, and the two sheets of water, one on either side of the great
central passage, would have been magnificent sheets of water, about three
hundred feet long and fifty or sixty or more wide in the central part,
though narrow at both ends. It is still possible, though not probable,
that the _stagna_ of Nero were on a lower level, cut through a bed of
tufa, which is not generally very thick, to the clay of the Tiber valley
beneath. This would account for the central passages on the site of the
_stagna_ having suffered so much from the earthquakes, while the great
corridors of the Flavian Emperors, standing on the bed of tufa, have not
suffered at all.
THE COLOSSEUM.
PLATE XI.
TWO CAPITALS.
A. FROM THE UPPER STOREY.
B. FROM THE LOWER ONE, OR THE PODIUM.
[Illustration: COLOSSEUM—TWO CAPITALS
A. OF UPPER STOREY—B. OF LOWER]
DESCRIPTION OF PLATE XI.
TWO CAPITALS.
A. FROM THE UPPER STOREY.
B. FROM THE LOWER ONE, OR THE PODIUM.
It will be seen at once that this capital (A) is intentionally left in
a rude state to be seen from a distance[247], the upper gallery being
nearly a hundred feet above the level of the arena. A great number of
these capitals, and of the white marble columns to which they belonged,
have rolled down from the top of the building to the bottom in an
earthquake, crushing all the seats of the galleries in their fall; as
many as forty of them have been found, and a still larger number of
broken columns, which have evidently fallen with great force; some of
them have been found passing quite through the walls in the substructure,
and can be still seen with one end on one side of the wall, and the other
on the opposite side.
B. is a highly-finished capital of the Corinthian order: of this kind
only three or four have been found, but much more perfect than most of
the others. They were probably on the short columns of the _podium_ by
the side of the state entrance.
THE COLOSSEUM.
PLATE XII.
RESTORATION OF ONE COMPARTMENT OF THE SUPERSTRUCTURE.
[Illustration: COLOSSEUM—SUPERSTRUCTURES
RESTORATION OF ONE COMPARTMENT]
DESCRIPTION OF PLATE XII.
RESTORATION OF ONE COMPARTMENT OF THE SUPERSTRUCTURE.
Shewing the colonnade of the third century, on the upper storey, after
the burning of the wooden upper floor; to this colonnade the capitals and
columns that have fallen down in an earthquake have belonged,—shewing
also the arrangement of the seats, the corridors, and the _vomitoria_.
THE COLOSSEUM.
PLATE XIII.
SECTION AND DETAILS OF ONE COMPARTMENT, INCLUDING THE SUBSTRUCTURES
BELOW, AND THE AWNING ABOVE.
[Illustration: THE COLOSSEUM 1875. SECTION AND DETAILS]
DESCRIPTION OF PLATE XIII.
SECTION AND DETAILS OF ONE COMPARTMENT, INCLUDING THE SUBSTRUCTURES
BELOW, AND THE AWNING ABOVE.
A, A, A. The wooden framework.
C. Wall of central passage.
D. Wall of central passage.
E, E, E. The ancient tufa walls.
F. The _podium_.
G. First gallery.
H. Second gallery.
I, I. Upper galleries.
K. The drain or cloaca.
L. The passage for animals.
M, M. The state corridors.
O, O, O, O. Corbels at the foot of the masts.
P, P. The dens, and vertical shafts for a man to descend to feed the
animals.
R, R, R, R. Corbels to stiffen the masts, and to carry the boards or
planks of the arena.
S. Passage from the den to the cage.
a. Series of lattice-work to protect the lower gallery from the wild
beasts.
b, b, b. Masts to carry the awning.
e. Place for the counter-weight in the tufa wall.
f, f. Sockets in the pavement of the passage, for the pivots of the
capstans to work in.
THE COLOSSEUM.
PLATE XIV.
SECTION OF ONE BAY OR COMPARTMENT, AND PLANS OF THE SIX STOREYS.
[Illustration: COLOSSEUM
PLANS OF THE SIX STOREYS
SECTION OF ONE BAY]
DESCRIPTION OF PLATE XIV.
SECTION OF ONE BAY OR COMPARTMENT, AND PLANS OF THE SIX STOREYS.
a. Ground-storey and corridor.
b. First storey and upper corridor.
c. Second storey and _vomitoria_.
d. Third storey, passage, and _vomitoria_.
e. Fourth storey with _vomitoria_.
f. Upper storey.
It has not been generally observed that there are so many floors or
storeys in the Colosseum. Two of these are only subdivisions for the
_vomitoria_, still, to give a complete idea of the whole building, it was
necessary to have them.
THE COLOSSEUM.
PLATE XV.
SUBSTRUCTURES, WITH PROBABLE RESTORATIONS OF THE STAGNA, THE ARENA, &C.
TWO VIEWS.
[Illustration: COLOSSEUM—SUBSTRUCTURES
h.h. STAGNUM—l.l. ARENA
BRICK ARCHES OF NERO SUPPORTING THE TUFA WALL AND ARCH]
DESCRIPTION OF PLATE XV.
SUBSTRUCTURES, WITH PROBABLE RESTORATIONS OF THE STAGNA, THE ARENA, &C.
TWO VIEWS.
A. STAGNUM AND ARENA.
h, h. Stagnum.
i, i. Space between two canals, flooded at the time of the shows.
g, g, g. Passage under the canals.
A. The wooden framework.
F, F, F. Narrow platform and passage in front of the _podium_, and one of
the dens.
I, I, I. The trap-doors for the lifts.
k, k. Smaller trap-door for lifts, (for dogs?).
B. BRICK ARCHES OF NERO SUPPORTING THE TUFA WALL AND ARCH.
n, n, n. Level of the original pavement.
o. Passage.
p. Ancient tufa wall.
q. Brick arch of Nero, under an arch of tufa.
r. Segment of another brick arch of Nero, abutting against the centre of
the tufa arch to support it, like an arch-buttress or flying-buttress of
the Middle Ages. (For the Phototype of this arch, see Plate IX.)
s. Socket for a pivot to work in.
THE COLOSSEUM.
PLATE XVI.
SUBSTRUCTURES EXCAVATED IN 1875, WITH PROBABLE RESTORATIONS OF THE LIFTS
OR PEGMATA.
[Illustration: THE COLOSSEUM—SUBSTRUCTURES IN 1875
WITH PROBABLE RESTORATION OF THE LIFTS OR PEGMATA]
DESCRIPTION OF PLATE XVI.
SUBSTRUCTURES EXCAVATED IN 1875, WITH PROBABLE RESTORATIONS OF THE LIFTS
OR PEGMATA.
The object of this plate is to make more clear to the eye what has
previously been explained. An animal is represented first as coming out
of the den behind the tufa wall into the cage, with the empty socket
behind, as they actually remain, and a capstan with the cord is placed in
the socket on the opposite side of the cage. The second is half-way up,
to shew the action of the cords, which seems the only mode of explaining
the things found. In the third the animal is leaping out on to the stage
or arena, as described by Herodian. In front of the _podium_ a piece of
trellice-work is shewn in its place, taken from a graffito found on the
spot.
THE COLOSSEUM.
PLATE XVII.
VIEW IN THE SUBSTRUCTURES.
[Illustration: VIEW IN THE SUBSTRUCTURES.]
DESCRIPTION OF PLATE XVII.
VIEW IN THE SUBSTRUCTURES.
E. The Consoles, for placing the boards of the arena upon when not in use.
F. F. The Podium.
X. The level of the arena.
a a a. Doorways to small chambers, to descend to feed the wild beasts in
their dens.
b b b. The dens for the wild beasts.
c c c. Blocks of travertine to support the foot of the masts.
d d d. Aperture at the foot of the small chambers, for feeding the wild
beasts; these are ten feet from the ground.
e e e. Small water-course in front of the dens.
f. Socket for the pivot of a capstan.
g g. Original pavement of bricks, arranged herring-bone fashion.
h h. Sites of piers of tufa, (removed in the drawing to shew what is
behind them).
THE COLOSSEUM.
PLATE XVIII.
VIEW IN THE SUBSTRUCTURES.
[Illustration: VIEW IN THE SUBSTRUCTURES.]
DESCRIPTION OF PLATE XVIII.
VIEW IN THE SUBSTRUCTURES[248].
E. The consoles, for placing the planks of the arena upon.
E*. Consoles, now enclosed in the older tufa wall, in which holes are cut
to insert them.
F. The podium.
X. Level of the arena.
a. Doorways of the small descending passages, for feeding the wild beasts
in the dens below.
b. The dens for the wild beasts.
c. Blocks of travertine, to support the lower end of the masts for the
awning.
d. Recesses for lamps.
e. Small drain for water, which runs round the building in front of the
dens.
f. Sockets for the pivots of the capstans.
g. Brick pavement of the second century, in herring-bone pattern.
h. Line of the profiles of ancient tufa piers of arches. (These are
represented by dotted lines only, as if transparent, to shew the consoles
of the Flavian Emperor inserted in them.)
i*. Line of second arcade of tufa.
A. Plan.
B. Section.
The same letters of reference are used in the plan of this section.
THE COLOSSEUM.
PLATE XIX.
VIEW IN PART OF THE SUBSTRUCTURE, WITH PLAN AND SECTION.
[Illustration: VIEW IN THE SUBSTRUCTURES.]
DESCRIPTION OF PLATE XIX.
VIEW IN PART OF THE SUBSTRUCTURE, WITH PLAN AND SECTION.
E E. The consoles.
F F. The podium.
a. Entrance to the descent to feed the animals.
b. One of the dens.
c. The stream of water in front of the dens.
f f. The sockets for pivots for the capstan to work in.
g g. The original pavement.
h h. Piers of tufa in front of the dens.
k k. Long and lofty chamber under the gallery, in which are seven sockets
for the pivots of the capstan to work in.
y. Mouth of the great drain, with the iron grating.
z. Site of the sluice-gate, and groove for it to work in, as a portcullis.
A. The Plan of this part.
B. The Section of it.
THE COLOSSEUM.
PLATE XX.
PORTION OF THE SUPERSTRUCTURE IN THE PRINCIPAL GALLERY.
[Illustration: PORTION OF THE SUPERSTRUCTURE IN THE PRINCIPAL GALLERY.]
DESCRIPTION OF PLATE XX.
PORTION OF THE SUPERSTRUCTURE IN THE PRINCIPAL GALLERY.
A A. Walls of brick, dividing the different bays of the gallery.
B B. Arches of construction, to make the brick facing adhere better to
the mass of tufa concrete behind it.
C C. A void space from which a pier of travertine has been carried away
for building purposes[249].
D D. The great pier of travertine on one of the arches of the corridor of
the Flavian Emperors.
THE COLOSSEUM.
PLATE XXI.
VIEW IN THE UPPER PART.
DETAILS.
[Illustration: COLOSSEUM
DETAILS IN UPPER PART]
DESCRIPTION OF PLATE XXI.
VIEW IN THE UPPER PART.
DETAILS.
A A. Piers of the great corridor.
a a. Aperture from which a pier of travertine has been removed for
building material, by the Barberini (?).
b b. Wall of brick, with arch of construction standing equally well
without the support of the travertine pier.
c c. Wall of tufa, of a lower storey.
d d. Vault of a third storey, below.
e e. Remains of the vault of the stairs to the upper storey.
f f. Floor of the second corridor.
g g. Floor of the principal gallery.
The object of this plate is to make it still more clear that the brick
arches of construction did not _really_ rest on the piers of travertine,
although at first sight they appear to do so. The Roman bricks of the
first century are two feet square and one inch thick, but in these arches
they are cut down from two feet to three or four inches at the impost, or
springing of each arch, just where the greatest strength would have been
required. They have evidently been cut through to admit the stone piers,
which were required to carry the upper gallery, when that was built of
stone instead of wood.
THE COLOSSEUM.
PLATE XXII.
THE GRAFFITI, OR SCRATCHINGS ON MARBLE BY THE WORKMEN OF THE SECOND
CENTURY.
[Illustration: COLOSSEUM—GRAFFITI
A. AND B. ATHLETES
C. WILD-BEAST HUNT]
DESCRIPTION OF PLATE XXII.
THE GRAFFITI, OR SCRATCHINGS ON MARBLE BY THE WORKMEN OF THE SECOND
CENTURY.
A. An athlete, commonly called a wrestler; but the athletes were more
than merely wrestlers, they were often men of high rank, and fought with
weapons also, sometimes with fatal results. This is a prize-man with his
palm-branch in his hand.
B. Athletes.—On this fragment of marble the drawing is very indistinct,
but there appear to be two figures only, with arms in their hands,
and their heads bare, their helmets being on a table behind them.
Inscriptions are scratched upon these, which are rather difficult to make
out, but seem to be—on one, IVTOR (?); on another, LIMENI NIKÆ; on a
third, OVIM. The rest are too indistinct to be read.
C. A hunt of wild beasts.—This is extremely curious, but not very
distinct in the original, and therefore not in the photo-engraving, which
admits of no _restorations_. There are five animals all of the same kind,
but what animal they are intended for it is not easy to say; they have
claws, the heads look like wolves’. Each has a broken cord hanging to its
neck. There are two huntsmen with spears in their hands running after
them; they are clothed in tight dresses, with bands round the waist and
the knees, and with buskins on their feet.
THE COLOSSEUM.
PLATE XXIII.
GRAFFITO OF THE PODIUM, &c.
[Illustration: COLOSSEUM. GRAFFITO OF THE PODIUM etc.]
DESCRIPTION OF PLATE XXIII.
GRAFFITO OF THE PODIUM, &c.
This is one of the four _graffiti_ found during the excavations in 1874.
It represents the front of the _podium_, with the framework for the
netting to protect the spectators in the lower gallery, or state-gallery,
from the wild beasts, if they should attempt to spring up into it when
hunted on the stage or arena below, at the foot of the _podium_. This
fragment shews the lower portion of the screen, which is recorded to have
had a bar at the top that turned round, so that if any animal tried to
cling to it he would fall backwards on the arena. This was level with
the foot of the _podium_, and twenty-one feet above the pavement at the
bottom, on the level of the dens for the wild beasts, and the floor of
the passage between the two walls of tufa, with vertical grooves in them
for the lifts, with the cages upon them. Behind the place for each cage
in the paved floor of the passage, is a socket for a pivot to work in,
at the foot of a capstan or post, to wind the twenty-one feet of cord
upon, with the lift, when pulled up to the trap-door of the arena. This
pavement is represented as resting on the top of a series of arches with
bars across; these are probably intended for the doors of the wild beasts
below, but rudely represented, and with some sort of performance going on
in front.
THE COLOSSEUM.
PLATE XXIV.
REPRESENTATIONS ON COINS OR MEDALS.
[Illustration: REPRESENTATIONS ON COINS OR MEDALS.]
DESCRIPTION OF PLATE XXIV.
REPRESENTATIONS ON COINS OR MEDALS[250].
1. Titus sitting upon a trophy of arms (A.U.C. 823, A.D. 80).
On the obverse the legend is, TIB. VESP. AVG. P.M. TR. P.P. COS. VIII.
S.C.
On the reverse is the amphitheatre, with the Meta Sudans to the left, and
on the right a double colonnade, one over the other, for the aqueduct (?).
2. Head of Alexander Severus, A.D. 224.
Legend:—IMP. CÆSAR DIVI SEV. ALEXANDER.
Reverse:—The Amphitheatre, with the Meta Sudans on the right, and two
figures on the left, with the legend of the dates of his tribuneship and
consulate.
3. Obverse:—Head of Alexander Severus (A.U.C. 937, A.D. 224).
Legend:—IMP. CAES. DIVI. SEV. ALEXANDER.
Reverse:—Amphitheatre, with a group of figures to the left, and a
building of two storeys to the right[251].
Legend:—Dates of tribuneship and consulate.
4. Obverse:—Head of Gordianus III. (A.U.C. 997, A.D. 244).
Legend:—IMP. GORDIANVS PIVS FELIX AVG.
Reverse:—Amphitheatre, with a colossus on the left, and a small building
on the right[252].
Legend:—MUNIFICENTIA GORDIANI. AVG.
THE COLOSSEUM.
PLATE XXV.
DIAGRAMS OF COINS OR MEDALS.
[Illustration: COLOSSEUM—REPRESENTATIONS ON COINS]
DESCRIPTION OF PLATE XXV.
DIAGRAMS OF COINS OR MEDALS.
1. Obverse:—Head of Titus.
Legend:—VESP. GENS. T. CAES. IMP.
Reverse:—Amphitheatre, with Meta Sudans to the left, and double colonnade
to the right. (Same as No. 1, Plate XXIV.)
2. Obverse:—Head of Domitian, with legend, IMP. CAES. DOMIT. AVG. GERM.
P.M. TRP. XIIII.
Reverse:—Amphitheatre, with Meta Sudans and colonnade, probably of
aqueduct from the Cœlian.
3. Obverse:—Head of Alexander Severus (same as No. 3, Plate XXIV.), with
legend, IMP. CAES. M. AVR. SEV. ALEXANDER. AVG.
Reverse:—Amphitheatre, with group of figures on the left, and a small
building on the right (_castellum aquæ?_).