Legend:—IMP. GORDIANVS. PIVS. FELIX. AVG.
Reverse:—Amphitheatre, with a colossus and a building.
Legend:—MVNIFICENTIA GORDIANI. AVG.
THE COLOSSEUM.
PLATE XXVI.
A ROMAN GALLEY ON A CRADLE FOR LAUNCHING.
[Illustration: COLOSSEUM—A ROMAN GALLEY ON A CRADLE FOR LAUNCHING]
DESCRIPTION OF PLATE XXVI.
A ROMAN GALLEY ON A CRADLE FOR LAUNCHING.
This is drawn from a restoration made by M. Viollet-le-Duc for Napoleon
III. at Compiègne. It illustrates in a very remarkable manner the cradle
found in the Colosseum, with the struts on each side. As this cradle was
made from the best authorities long before the finding of the cradle in
the Colosseum, it is particularly valuable for the purpose of comparison.
THE COLOSSEUM.
PLATE XXVII.
AMPHITHEATRE OR COLOSSEUM AT CAPUA.
[Illustration: AMPHITHEATRE OR COLOSSEUM AT CAPUA
AMPHITHEATRE WITH AWNING FROM A FRESCO AT POMPEII]
DESCRIPTION OF PLATE XXVII.
AMPHITHEATRE OR COLOSSEUM AT CAPUA.
_This Plate is a reproduction of Photograph with no attempt at
restoration._
The resemblance between this and the Colosseum in Rome is so remarkable,
that there can be no doubt one is a copy from the other. In this
amphitheatre the two canals for water, on each side of the great central
passage, and the curved passage round the outer edge, are distinctly
visible. At Capua, the aqueduct for the water, and the drain to carry it
off, remain.
AMPHITHEATRE AT POMPEII, FROM A FRESCO PAINTING.
The lower view is from a fresco at Pompeii. It shews the awning is drawn
off behind. There is a front built out distinct from the oval building,
with which it is connected by a curved wall at each end, and on which
is a passage with persons upon it; there are two grand flights of steps
leading up to the top, and persons going up them. These steps are carried
on arches, increasing in height as they get nearer the top. The front
passage is also carried on tall arches. All these arrangements for the
entrance and exit seem to be a bad substitute for the _vomitoria_ of the
Roman Colosseum.
There appears to be another place of amusement of some kind by the side
of the amphitheatre. A square space enclosed by a high wall, with two
arches on one side or doorways (?), probably a school for gladiators,
with an _impluvium_ in the middle. There is an inscription on the wall,
of which all that is legible is DIVCRET ...; there is also in the front
of the picture a tent with persons under it, and two small square or
oblong huts, evidently of wood, the planks being shewn in one with a
door; this was probably a wine-shop.
There are a number of figures in active motion in all parts of the
picture, many of them evidently fighting, and it represents a skirmish
between the Nucerini and the Pompeiani; the inhabitants of a neighbouring
town, called Nuceria or Nocera, having made a sudden inroad on Pompeii,
the Pompeians are flying in all directions, closely followed, some dying
and some dead. These hand-to-hand fights are seen on the arena, in
the corridors or _ambulatories_, on the walls of the town, and on the
esplanade round the building, which is planted with trees for shade[253].
THE COLOSSEUM.
PLATE XXVIII.
AMPHITHEATRE AT CAPUA.
[Illustration: AMPHITHEATRE AT CAPUA—VIEW AND DETAILS]
DESCRIPTION OF PLATE XXVIII.
AMPHITHEATRE AT CAPUA.
A. Perspective view, looking down upon it, with a restoration of the
canals for water.
d. The pavement.
g g. Walls to support the canals of water.
h h. Dens for the wild beasts.
i. Socket for a pivot.
k k. Canals for water.
B. One of the chambers in the substructure of the time of Hadrian, with
the aqueduct, l, and an opening made in the vault.
THE COLOSSEUM.
PLATE XXIX.
AMPHITHEATRE AT CAPUA.
DETAILS.
[Illustration: AMPHITHEATRE AT CAPUA—DETAILS
A. PORTION OF EXTERIOR
B. LONGITUDINAL SECTION
C. PORTION OF ARCADES AND DENS
D. PLAN OF THE SAME]
DESCRIPTION OF PLATE XXIX.
AMPHITHEATRE AT CAPUA.
DETAILS.
o o o. Portion of the exterior,—all that remains of it being two arches
of the arcade, with pilasters between them, and one pilaster of the upper
storey.
A—B. Transverse section of the remains.
C. Four arches of the inner arcade.
h h h. Dens for wild beasts.
P P P. Corbels, or consoles, as in the Colosseum, Plate XVII.
l l. Aqueduct coming from the chambers of the time of Hadrian. (See the
Plan.)
D. Plan of this portion of the building.
THE COLOSSEUM.
PLATE XXX.
AMPHITHEATRE AT CAPUA.
PLAN OF THE SUBSTRUCTURES, WITH THE SUPERSTRUCTURES IN DOTTED LINES.
[Illustration: AMPHITHEATRE AT CAPUA
PLAN WITH THE SUBSTRUCTIONS]
DESCRIPTION OF PLATE XXX.
AMPHITHEATRE AT CAPUA.
PLAN OF THE SUBSTRUCTURES, WITH THE SUPERSTRUCTURES IN DOTTED LINES.
a. North entrance.
b b b. Central passage.
c c c. Eastern passage.
d. Small chamber of the time of Hadrian.
e e. Western passage.
f f. The galleries.
g g. Substructures with water.
h h h. Dens for the wild beasts.
i i. Sockets for pivots, as in the Colosseum.
k k k. Canals for water.
l l. The aqueduct.
m m. The drain.
n n. Stairs.
o o. Superstructure. The only remains of the exterior façade.
THE COLOSSEUM.
PLATE XXXI.
AMPHITHEATRE AT VERONA.
[Illustration: AMPHITHEATRE OF VERONA
A. VIEW OF EXTERIOR WITH THE ARCADES
B. VIEW IN INTERIOR WITH SEATS]
DESCRIPTION OF PLATE XXXI.
AMPHITHEATRE AT VERONA.
(_From Photograph._)
A. EXTERIOR, with the double arcade,—and remains of the exterior front.
B. INTERIOR, with the marble seats. These are the most perfect that
remain anywhere, and they shew what the Colosseum must have been when
perfect.
THE COLOSSEUM.
PLATE XXXII.
THE AMPHITHEATRE AT POZZUOLI, NEAR NAPLES.
[Illustration: AMPHITHEATRE AT POZZUOLI, NEAR NAPLES.]
DESCRIPTION OF PLATE XXXII.
THE AMPHITHEATRE AT POZZUOLI, NEAR NAPLES.
In this instance the arena has fortunately been preserved, with the
trap-doors in it; those round the edge being for wild beasts, the others
for men and dogs, and the central passage as in the _Colosseum_. We see
that the central passage has been boarded over also. The arrangement of
the seats in the galleries is also the same, and the tufa wall behind
probably indicates that there was an awning over the galleries in the
same manner. This confirms one part of the history of the Colosseum,
and the Amphitheatre at Capua confirms another part, the canals for
the _naumachia_ or naval battles, although these were evidently very
different from what had formerly been supposed. At each end of the
part that is uncovered of the central passage it will be observed that
there is a short post, looking very much like a capstan for winding a
cord upon, as in Rome, although in this instance they are square and
on the surface, and not on the pavement below. Each of the openings to
the trap-doors has a groove round it, for a cover to fit into; possibly
this was made water-tight, so that the whole surface could be flooded.
The central passage has the same sort of groove sunk round it. The same
arrangement may have been used in the Colosseum, but in that case there
is the difficulty of the interval between the _podium_ of the lower
gallery and the floor of the arena, which does not appear to have existed
at Pozzuoli. This would have made it impracticable to flood the whole
surface at Rome, which might have been done at Pozzuoli.
THE COLOSSEUM.
PLATE XXXIII.
AMPHITHEATRE AT POZZUOLI.
PLAN.
[Illustration: AMPHITHEATRE AT POZZUOLI—PLAN]
DESCRIPTION OF PLATE XXXIII.
AMPHITHEATRE AT POZZUOLI.
PLAN.
A—B. Line of the Longitudinal Section.
C—D. Line of the view of the exterior.
a. Plan of the substructions.
b. With the superstructure in dotted lines.
c. Principal entrance from the west.
d. Eastern entrance.
e. Central passage.
f. Transverse Section.
g. Aqueduct.
h. Dens for animals.
i i. Part of the substructure not yet excavated.
k. Chambers commonly called “the Prison of Nero.”
l l. Drain leading to the sea.
THE COLOSSEUM.
PLATE XXXIV.
AMPHITHEATRE AT POZZUOLI.
[Illustration: AMPHITHEATRE AT POZZUOLI]
DESCRIPTION OF PLATE XXXIV.
AMPHITHEATRE AT POZZUOLI.
A—B. Longitudinal Section.
c. Principal entrance from the west.
d. Eastern entrance.
These two entrances are on sloping ground, descending to the central
passage, e e e.
e. The drain to the sea.
C—D. View of the Exterior, from the principal entrance on the western
side.
THE COLOSSEUM.
PLATE XXXV.
AMPHITHEATRE AT POZZUOLI.
[Illustration: AMPHITHEATRE AT POZZUOLI—DETAILS]
DESCRIPTION OF PLATE XXXV.
AMPHITHEATRE AT POZZUOLI.
E. VIEW in the principal corridor, with the receptacles to collect the
water, m m m.
F. VIEW in a subterranean corridor under the arena, shewing remains of
the decorations thrown down by the hand of men, through the aperture, n.
It is here impossible that they could have fallen down in an earthquake,
as was the case in the Colosseum. A garden was made here upon the arena,
and these decorations were removed from the surface, as interfering with
the cultivation of the garden, and thrown down into the substructures,
and then arranged under the vault as we see them.
THE COLOSSEUM.
PLATE XXXVI.
PLAN OF THE GREAT DRAIN.
[Illustration: COLOSSEUM—PLAN OF THE GREAT DRAIN]
DESCRIPTION OF PLATE XXXVI.
PLAN OF THE GREAT DRAIN.
A. The Colosseum.
B. Part of the Cœlian Hill, on which the Claudium stood.
C. Part of the Palatine Hill.
a. Summa Sacra Via.
a*. Clivus Triumphalis.
b. Meta Sudans.
c. Arch of Constantine.
d d. Passage of Commodus.
e. Site on which the steam-engine was placed in 1874-5, to pump out the
water coming from this point.
f. Piscina of the time of Nero.
g. Castellum Aquæ, or reservoir of Alexander Severus.
g*. Aqueduct of the third century.
h h. Exhedra of the Ludus Magnus.
i i i. Great Drain of the Colosseum, to convey the water to the Tiber.
k. The exact spot where the water runs down from the Cœlian into the
Colosseum, called a natural spring, but not having the usual bubbling
character of a spring.
l. Via di S. Giovanni in Laterano.
m. Via Cœlimontana.
n n n. Orto Botanico. Waste ground at the foot of the Cœlian Hill,
planted with trees and shrubs, _called_ the Botanical Garden, but not
used as such.
o o. Via del Arco di Constantino. The road between the Cœlian and the
Palatine Hill.
p. Podium of the colossal statue of Gordianus, 50 ft. high.
FOOTNOTES
[1] See Plate XIII.
[2] Ibid. XVII., XVIII.
[3] See Plates V., VI.
[4] See Plate XVI.
[5] Ibid. XXII.
[6] Ibid. XXIII.
[7] Ibid. XXIV., XXV.
[8] Ibid. X.
[9] Ibid. IX., XV.
[10] See Plate IV.
[11] Ibid. XV.
[12] Ibid. I., II.
[13] See Plate XII.
[14] Ibid. XI.
[15] Ibid. XX., XXI.
[16] Ibid. XIV.
[17] Ibid. VII., VIII., XXVI.
[18] Ibid. XIX.
[19] Ibid. XXXVI.
[20] See Plates XXVII., XXVIII., XXIX., XXX., XXXI.
[21] Ibid. XXXII., XXXIII., XXXIV., XXXV.
[22] See the Part of this work on the Forum Romanum and the Via Sacra for
evidence of this.
[23] “Fecit et nova opera ... item amphitheatrum urbe media, ut
destinasse compererat Augustum.” (Suetonius, Vespasianus, c. 9.)
[24] Plinii Nat. Hist., lib. xxxvi. c. 24, s. 8.
[25] Dionis Hist., lib. xliii. c. 25.
[26] “Non patiemur duos Caios, vel duos Nerones, ne hac quidem gloria
famæ frui: docebimusque etiam insaniam eorum victam privatis operibus
M. Scauri, cujus nescio an ædilitas maxime prostraverit mores civiles,
majusque sit Sullæ malum, tanta privigni potentia, quam proscriptio tot
millium. Hic fecit in ædilitate sua opus maximum omnium, quæ unquam
fuere humana manu facta, non temporaria mora, verum etiam æternitatis
destinatione. Theatrum hoc fuit. Scena ei triplex in altitudinem, CCCLX
columnarum, in ea civitate, quæ sex Hymettias non tulerat sine probro
civis amplissimi. Ima pars scenæ e marmore fuit: media e vitro, inaudito
etiam postea genere luxuriæ: summa, e tabulis inauratis.” (Plinii Nat.
Hist., lib. xxxvi. 24. 7.)
[27] The meaning of this appears to be that the upper part was temporary,
and was removed shortly afterwards, as is related in another place; but
the substructures were permanent, or eternal.
[28] Dionis Hist. Rom., lib. xxxvii. c. 58.
[29] Justi Lipsii de Amphitheatro liber, 1684; _et apud_ Grævii Thesaurus
Ant. Rom., Lugd. Bat. 1699, folio, vol. ix.
[30] “Alter in Amphitheatrali _cavea_ cum adfuturus spectaculis
introiret.” (Ammiani Marcellini, lib. xxix. 1, Valentinianus, &c., A.D.
371.)
[31]
“Quid pulvis _Caveæ_ semper funebris et illa
Amphitheatralis spectacula tristia pompæ.”
(Prudentius contra Symmachum, lib. i. l. 384-5.)
[32]
“... stat cardine aperto
Infelix _Cavea_ et clausis circum undique portis
Hoc licuisse nefas pavidi timuere Leones.”
(Statii Silvæ, lib. ii. 5; Leo Mansuetus imp., l. xi.)
[33] Claudianus de laudibus Stilicho, lib. iii.
[34] Lipsius has collected a host of extracts from the classical authors
respecting this great amphitheatre, and the arrangement and amusements
in it; but as the substance of these is given in the usual classical
dictionaries, especially Dr. Smith’s, and they do not affect the history
of the building, it is not necessary to repeat them here.
[35] Polybii Hist., i. 84.
[36] Cassiodori Variar., lib. v. epist. 42.
[37] Livii Hist., xxxix. 22.
[38] Ibid., xliv. 18.
[39] Sig. Fabio Gori has collected all these passages, and given an
Italian translation of them in his work entitled _Le memorie storiche, i
giuochi e gli scavi dell’ anfiteatro Flavio_. Roma, 1874.
[40] Suetonii Julius Cæsar, cap. 39.
[41] That is, chariots on two wheels and others on four wheels.
[42] “In minore _Codeta_, defosso lacu.”
[43] Vessels with two, or three, or four rows of oars.
[44] See Plate IX.
[45] Every square yard of this part of Rome has been trenched in the
search for statues in the seventeenth and eighteenth centuries, and
records of these numerous excavations are carefully preserved in the
Miscellanea of Fea. Had there been any such building as would be required
for this purpose anywhere near his palace, it must have come to light,
and nothing of the kind has been found.
[46] See Plate II.
[47] The basin of Nero was possibly cut through the layer of tufa,
which underlies the whole soil of Rome, down to the clay under it. In
some excavations made under my direction in a cave under the Aventine,
near the Marmorata, which was the mouth of the Aqua Appia, a level bed
of white clay was found under the tufa rock of which the Aventine Hill
consists; this would account for the walls in the central part built
of concrete and brick, on this clay foundation, having been frequently
damaged by earthquakes, while the great stone arcades, being built upon
the tufa rock, did not suffer from the shocks. Clay is always a bad
foundation to build upon, and there are always settlements in buildings
that rest upon it. The objection to this theory is, that the surface of
the water would be twenty-one feet below the arena and the foot of the
_podium_.
[48] See Plate IX.
[49] In the ancient catalogue of the Emperors and their works, known
as “Catalogus Viennensis Imp. Rom. apud Eccard.,” under Vespasian, it
is stated that he dedicated the first three steps of the amphitheatre,
implying that three were already finished even in his time.
[A.D. 70.] “Hic prior tribus gradibus amphitheatrum dedicavit;”
That Titus added two more.
[A.D. 81.] “Hic amphitheatrum a tribus gradibus patris sui dura adjecit.”
And further, that Domitian completed the building up to the clypea, that
is, the top cornice at that time, when the upper storey was of wood.
[A.D. 92-96.] “Domitianus Imp. ... Amphitheatrum usque ad clypea.”
[50] See Plates V., VI., XV., XVI.
[51] Photos., Nos. 3136, 3137.
[52] Photos., No. 3204.
[53] This platform was, perhaps, constructed of a great number of timbers
fastened together. Lucan has described such a platform with a tower on
it. (Pharsal., lib. iv. 420, sqq.)
[54] Dionis Hist., lib. lxii. cap. 15.
[55] Ibid., lib. lxi. Nero, vi. c. 9 and 17.
[56] Ibid., lib. lxvi. c. 25.
[57] Ibid., lib. lxii. Nero, iii. c. 15, and 20, 22.
[58] “Spectacula magnifica assidue et sumptuosa edidit, non in
amphitheatro _modo_, rerum et in circo ... ac in amphitheatro, navale
quoque.” (Suetonii Domitianus, c. 4.)
[59] Dionis Hist., lib. lxii. c. 18.
[60]
“Omnis Cæsareo cedat labor Amphitheatro:
Unum pro cunctis fama loquatur opus....”
(Martialis, De Spectaculis, Epigr. 1.)
“Hic, ubi conspicui venerabilis Amphitheatri
Erigitur moles, stagna Neronis erant.”
(Ibid., Epigr. 2.)
[61] Taciti Ann., xv. 42.
[62] Ibid., lib. xiv. c. 15.
[63] Ibid., c. 31.
[64] “... lacu in ipso navale prælium adornatur, ut quondam Augustus,
structo cis Tiberim stagno; sed levibus navigiis et minori copiâ
ediderat.” (Taciti Annal., xii. 56.)
[65] “Igitur in stagno Agrippæ (Tigellinus) fabricatus est ratem, cui
superpositum convivium aliarum tractu navium moveretur ... volucres et
feras diversis e terris, et animalia maris Oceano abusque petiverat.”
(Taciti Annal., lib. xv. c. 37.)
[66] Taciti Ann., lib. xv. c. 42.
[67] Ibid., lib. xiv. c. 15.
[68] See p. 5.
[69] Santi-Bartoli (in a paper printed in the _Miscellanea_, by Fea, vol.
i. p. ccxxiii.) states that in his time a quantity of leaden water-pipes,
which carried water from the Thermæ of Titus to the Colosseum, were found
in an orchard north of the Colosseum.
[70] Suetonii Nero, c. 12.
[71] This dedication is referred to by Eutropius thus,—
“Hic [Titus] amphitheatrum Romæ ædificavit, et in dedicatione ejus
quinque millia ferarum occidit.” (Eutropius, lib. vii. c. 14. See also
Cassiodorus, Variar. l. v. op. 42. Opera omnia, ed. 1679, fol. vol. i. p.
94, c. 2.)
The account by Suetonius, writing some eighty or ninety years previously,
is very clear:—
“Amphitheatro dedicato, thermisque juxta celeriter exstructis, munus
edidit apparatissimum largissimumque. Dedit et navale prœlium in veteri
naumachia: ibidem et gladiatores: atque uno die quinque millia omne genus
ferarum.” (Suetonius Titus, c. 7.)
These old _naumachia_ were the same as the _stagnum navale_, the old
place for such amusements on the spot. They have been supposed to be the
Naumachia of Augustus in the Trastevere, but without authority; and the
mention of the gladiators in connection with them implies that it was at
the same place.
[72] See Photos., Nos. 3268, 3269, and the drawing of this restored in
Plates VII. and XV.
[73] See p. 37, and Plate X.
[74] Photos., Nos. 1761, 1762.
[75] Photos., No. 3279, and Plates II. and XX.
[76] It is important to notice this, because some able architects did
not see it at first sight, and imagined that these brick arches rested
upon the stone piers, which was evidently not really the case, though it
appears to be so.
M. Viollet-le-Duc, one of the most eminent architects of our time, says
that an experienced architect would cut through old tufa walls of this
kind as easily, and with as little scruple, as he would cut through
cheese, and the brick facing made no material difference.
[77] “... item stagnum maris instar, circumseptum ædificiis ad urbium
speciem.” (Suetonii Nero, c. 31.)
[78] Photos., Nos. 3282, 3285.
[79] See Plate XXI.
[80] See Plate XXII.
[81] See Plate XV.
[82] Photos., No. 3268, 3269.
[83] Photos., Nos. 3203, 3205, 3282, 3283. In some parts a brick wall of
the fifth or sixth century has been introduced between the two old tufa
walls, during the repairs after the earthquakes. This is at first sight
rather puzzling, until it is examined and properly considered.
[84] Photos., No. 3271.
[85] Photos., Nos. 3285, 3286.
[86] For elephants there are four larger dens provided, two on either
side of the central passage. See the Plan.
[87] Photos., No. 3282.
[88] See Plates XVI., XVII.
[89] This _vivarium_ is a triangular piece of ground, the wide end
of which touches the wall of the Amphitheatrum Castrense; the narrow
end is only just wide enough for the body of a man to pass through an
aperture made in it, as the ground is between a wall of Aurelian on the
inner side, and a wall of the Sessorium on the outer side, preserved by
Aurelian as an outwork. This was the scene of the celebrated ambuscade of
Belisarius, by means of which the Goths were driven away from Rome, as
described by Procopius (De Bello Gothico, lib. i. c. 22.)
[90]
PRO S. IMP. M. ANTONI . GORDIANI . PII
FELICIS AVG. ET TRANQVILLINAE SABI
NAE AVG. VENATORES IMMVN. CVM CV
STODE VIVARI PONT. VERVS MIL. COH
VI. PR. CAMPANIVS VERAX. MIL. COH. VI
PR. FVSCIVS CRESCENTIO ORD CVSTOS
VIVARI. COHH. PRAETT. ET VRBB
DIANAE AVG. D. S. EX. V. P.
DEDICATA XII. KAL. NOV.
IMP. D. N. GORDIANO AVG. ET POMPEIANO COS.
(Inscription found in Rome in 1710, and printed by Nibby, Roma Antica,
vol. i. p. 386.)
[91] A compartment of this is shewn in one of the _graffiti_, found in
the excavations of 1874.
[92] “Caius princeps in circo pegma duxit.” (Plinii Nat. Hist., xxxiii.
16.)
[93] “Ludiviæ sunt, quæ ad voluptatem oculorum atque aurium tendunt. His
annumeres licet machinatores, qui pegmata per se surgentia excogitant, et
tabulata tacite in sublime crescentia, et alias ex inopinato varietates,
aut dehiscendentibus quæ cohærebant, aut his quæ distabant, sua sponte
coeuntibus aut his quæ eminebant paulatim in se residentibus.” (Seneca,
Epist., 88, s. 19.)
[94]
“Sic pugnas Cilicis laudabat, et ictus;
Et pegma et pueros inde ad velaria raptos.”
(Juvenal, Satyr iv. 121, 122.)
[95] See p. 49.
[96] Photos., No. 3283.
[97] Photos., No. 3286, and Plate VII.
[98] Photos., No. 3263.
[99] Those English people who remember Sadler’s Wells Theatre in London
about 1820, must know that there was always a sheet of water or reservoir
under the stage, and trap-doors in the floor by which sea-monsters could
be introduced. The amusements of the old Roman people seem to have been
frequently of this kind. Naval fights in boats might have been performed
in the Colosseum, and a great deal of machinery must have been required
to remove the floor and replace it.
A wooden Roman bridge still remains under water near Compiègne in France,
of which M. Peigné Delacourt has published an account, with engravings
of it, so that wood under water is preserved in the same manner as when
it is buried in a wet soil. This is well known in the case of piles for
bridges, and in those under the city of Amsterdam.
[100] See Plate XXVI.
[101] It appears evident from the inscriptions from the College of
the Arvales that the seats were regularly and permanently allotted to
different persons holding different offices, according to their rank. The
lower seats being of marble, the upper ones of wood.
There are many inscriptions relating to the seats in the different
theatres and amphitheatres in Rome:
LOCA . ADSIGNATA IN AMPHITEATRO
L . AELIO . PLAVTIO . LAMIA . Q . PACTVMEIO
FRONTONE . COS .
ACCEPTVM . AB . LABERIO . MAXIMO
PROCVRATORE . PRAEF . ANNONAE
L . VENNVLEIO . APRONANO . MAG .
CVRATORE . THYRSO . L
FRATRIBVS . ARVALIBVS . MÆNIANO .
I̅ . CVN . X̅I̅I̅ . GRADIBVS . MARM . VIII.
GRADVI . P . V = GRAD . VIII . PED .
V≡£ . F . PED . XXXXIIS . GRADV. I . VNO .
P . XXII S . ET . MAENIANO . SVMMO .
I̅I̅ . CVN . V̅I̅ . GRADIB . MARM . I̅V̅ .
GRADV . I . VNO . P . XXII S . ET .
MAENIANO . SVMMO . IN . LIGNEIS .
TAB . LIII . GRADIBVS . XI . GRADV .
I PED . V = GRAD . XI. PED . V = = —)
F̅. PED . LXIII S = = — SVMMA . PED .
CXXVIIII S = = —
(Gius.-Ant. Guattari, Roma descritta ed illustrata, &c. Roma, 1805, 4to.,
vol. ii. p. 13.)
[102] Photos., No. 3279.
[103] See p. 6, and Plates II. and XX.
[104] See Photos., No. 367.
[105] One series of these corbels in the upper corridor seems to have
been for a wooden gallery, for the use of the sailors going to furl or
unfurl the awning.
[106] Some clamps of the same form were found, in 1870, in the interior
of the wall of Servius Tullius, (in the part destroyed for the railway,)
where the stones were joined together by them.
[107] SIC PREMIA SERVAS VESPASIANE DIRE PREMIATVS ES MORTE GAVDENTI
LETARE CIVITAS VBI GLORIE TVE AVTORI PROMISIT ISTE DAT KRISTVS OMNIA TIBI
QVI ALIVM PARAVIT THEATRV̅ IN CELO. This inscription only shews that he
was employed upon the work; it is preserved in the church of S. Martino a
Monti. See Nibby, Roma nell’ anno MDCCCXXXVIII. parte i. Antica, p. 400.
[108] See Photographs, Nos. 1500 and 1501, and the Photo-engraving, Plate
XXIII. of Supplement to vol. i.
[109] See Photos., No. 488, and Plates XXIV., XXV.