area surrounded by a covered way; and at the eastern angle there is
another smaller court, surrounded with a portico, which has a double row
of columns on the south-west side. This court is called the Palæstra by
Ligorio and Piranesi, and it is supposed by them that the double portico
was intended to be used in bad weather, when the athletes could not take
their exercise in the unsheltered part of the court. Several statues of
athletes, the colossal bust of Isis, now in the Museo Chiaromonti, and a
statue of Ceres, were found here. There is a suite of rooms on the
north-west side, intended, perhaps, for anointing-rooms, dust rooms, or
sparring-courts. On the southern side there is a spacious recess, with
niches for statues, and attached to it are two large halls, in the form of
a Greek cross, with small recesses at the sides, still retaining some
marks of their ancient decorations in stucco and paint. The western angle
of these ruins is conjectured to have been the site of the Xystus or
covered Palæstra, a cloistered court, with a small square opening in the
centre.
The ruins of the Nymphæum lie on the south side of the Palæstra, and are
connected with it by some chambers in which the stucco ornaments are still
well preserved, and show what elegance of design and workmanship was
bestowed even on the inferior parts of the villa. The curved basin of the
Nymphæum can be traced, though it is now overgrown with trees, and some of
the niches still covered with stucco-work remain. The western side of one
of the adjacent rooms, now used as a granary, is ornamented with niches,
and Nibby thinks that this, which was the back of the Nymphæum, was
arranged so as to present a fountain supplied from the main pipe of the
aqueduct. A similar arrangement, he says, may be seen in the remains of
the Nymphæum at Ampiglione. The great vase now at Warwick Castle came from
Hadrian’s Villa.
[Sidenote: Pœcile.]
The Pœcile lies to the south of the Nymphæum. Between them is a reservoir
and the remains of a fountain belonging to some building now entirely
destroyed.
[Sidenote: Castra.]
The Athenian Pœcile, of which this is an imitation, was a portico, the
walls of which were decorated with the paintings of Polygnotus and Micon.
From the description given of it by Pausanias, the Athenian building
appears to have been a portico with three sides at least, on one of which
the battle of Oenoe was represented; on the second, and longest, the wars
of Theseus against the Amazons, and the council of the Greek chiefs after
the capture of Troy; and on the third, the battle of Marathon. It thus
appears that one of the sides was much longer than the others; and this is
the case with the ruin in the Villa of Hadrian, which has three sides,
one, 640, on the north, and the others, on the east and west, each 240
feet in length. In Ligorio’s time, 1550, a part of the porticoes, which
were of brick, still remained, and some of the paintings corresponding to
the Athenian pattern. It is not certain whether there was a similar wall
and portico on the southern side. The wall of the northern side, which is
the longest, still remains entire. It had a portico on the exterior, which
terminated in two circular buildings; and in the centre was the principal
entrance to the Pœcile. The present entrance is modern. Both the eastern
and western sides are slightly curved. The former contains a recess in the
centre connected with the buildings behind. In the centre was an open
reservoir of the same shape as the building surrounding it. On the western
and southern sides the area of the Pœcile is supported by substructions
of masonry, against which are built a number of soldiers’ rooms commonly
called the Cento Camarelle. At the corner towards the south-west is a
public washhouse, the tubes of which are still in good preservation.
Attached to the north-eastern corner of the Pœcile is a fine building, in
the form of a recess, with a semicircular niche turned towards the north,
which, from the connection of the Stoic philosophy with the Stoa Pœcile at
Athens, has been called the Temple or School of the Stoics. It was
possibly a hall for conversation and discussion.
[Sidenote: Library.]
Opening from this school, towards the north-east, is a building in the
form of two concentric circles. Between the two circular parts there was a
canal filled with water. This edifice was probably a swimming-bath. It
appears to have been very highly ornamented with precious marbles and
sculptures, most of which were taken to Rome by Cardinal Alessandro
Farnese, and others to Tivoli by Cardinal Ippolito d’Este. The ruin
commonly goes by the name of Theatrum Maritimum. A little farther to the
north-east is a quadrilateral court, 200 feet wide, which was surrounded
by a portico with Corinthian columns. On the north-west side of this court
are the buildings usually supposed to belong to the library, and called
the Greek and Latin libraries. They consist of a large number of rooms,
more or less preserved, which may have been ante-rooms and chambers for
the attendants and librarians. In the centre of the north-western side of
the court is a well-preserved Nymphæum, and on the north-east a long
corridor with windows towards the south, which may be called a Helio
Caminus, or room for basking in the sun, from its resemblance to the place
so called by Pliny at his Laurentine villa. The ruins to the north-east of
these, towards the Valley of Tempe, are thought by Nibby to be the remains
of a suite of rooms belonging to one wing of the imperial palace, but
their plan is very imperfectly known.
[Sidenote: Palace.]
The great mass of the imperial apartments were farther to the south-east,
and were grouped round three large courts of dazzling magnificence. The
most splendid of those, which afforded spoil for generations of
plunderers, is called by Piranesi, from the richness of its decorative
work, the Piazza d’Oro. Round the courts were numberless suites of rooms
and several large recesses, a basilica, and a great hall now called Eco
Corintio, formerly supported on vast granite columns, and cased with slabs
of the choicest marbles.
[Sidenote: Stadium.]
The Stadium lies in a direction at right-angles to the southern side of
the Pœcile. The curved end is towards the south. Between the swimming-bath
and the northern, or square end of the Stadium, are some bath-rooms for
the use of the athletes, and on the west side stands a temple surrounded
by a sacred enclosure formed by two vast semicircular walls ornamented
with niches. On the eastern side are more rooms, and a magnificent
quadrilateral covered way.
[Sidenote: Thermæ.]
The Thermæ stand between the Stadium and the Canopus. Numerous pipes and
conduits for water, and also the arrangement of the various parts of the
buildings, show that they have been rightly placed here. There seem to
have been two distinct sets of bath-rooms, which are generally called the
Terme virili and the Terme muliebri by the Italian antiquaries. The
northern group of buildings is connected with the curved end of the
Stadium, and contains the usual number of halls and an elliptical
Laconicum. The Laconicum of the southern wing is circular, and is
connected with a grand central hall similar to that in the Baths of
Caracalla at Rome.
[Sidenote: Canopus.]
The place called Canopus lies to the south of the Thermæ, and close to a
mass of buildings now utterly destroyed, but in Piranesi’s time thought to
be a vestibule of the villa. The Canopus itself consists of an oblong pool
of water or euripus excavated in the tufa, with a row of buildings on the
west side, and a magnificent nymphæum at the southern end, containing a
great number of niches for statuary, and holes for jets of water. At the
back of the Nymphæum is a hall called the Sacrarium, in which it is
supposed the statue of Serapis stood. A passage of Strabo explains the
idea which Hadrian had in forming this canal and Nymphæum. He says that on
the grand festival of Serapis, whose temple and oracle were at Canopus,
120 stadia from Alexandria, immense crowds of men and women go down to
Canopus from Alexandria by boats on the canal, on the banks of which are
pleasant houses of entertainment, where the worshippers stop on their way
to feast and dance.[158] The long, broad pool was intended to represent
the Canopic canal, and the rooms ranged along the side, the houses of
refreshment. A confirmation of this is derived from the character of the
statues found here which were almost all those of Egyptian deities.
[Sidenote: Academy.]
To the south-west of the Canopus rise the immense substructions, 1755 feet
in length, which supported the highest terrace on this side of the villa.
They extend as far as the square tower called Rocca Bruna in Ligorio’s
plan. This terrace and hill are supposed to have been the imitation of the
Athenian Academy mentioned by Spartianus. There was a gymnasium here, the
ruins of which are to be seen in a vineyard at the southern end of the
hill, consisting of a large court, a circular temple, and a large recess.
Beyond these there was a large square block of buildings supposed by Nibby
to have been used for the students and masters of the School of Art
maintained by Hadrian, and beyond this again was a spacious Odeum or
theatre for musical performances. The raised seat of this is now converted
into a vineyard, but the stage is still well preserved. There were, as in
the Odeum of Catania, two divisions, and at the top of the central
division was a round temple dedicated to the presiding genius of the
Odeum; just as in the Theatre of Pompey the Chapel of Victory stood above
the seats.
Close to this Odeum are the vast subterranean passages supposed to be the
Inferi which Spartianus mentions. The depth at which these lie is only
fourteen feet, but they occupy a trapezoidal area, the longest side of
which is about one thousand and fifty feet, and the shortest two hundred.
Most of these corridors are excavated like catacombs in the natural rock.
A brick stamped with the name Cynosarges was found near the aqueduct which
runs to the south of the Inferi. There are two other names found in
Spartianus, the Lyceum, and the Prytaneum, and Piranesi identifies the
Lyceum with a ruined portico at a little distance to the south of the
Inferi, and the Prytaneum with some more extensive ruins to the
south-east.
After Constantine’s time, the Villa of Hadrian remained in a desolate
state, and was abandoned to the caprices of the imbecile Cæsars, who
tormented the empire in the fourth and fifth centuries, and to occasional
visits from the plundering hordes of Goths, Vandals, and Heruli, who
successively ravaged the neighbouring country. In the middle of the sixth
century it was completely pillaged and ruined. In the Gothic wars of
546-556 Totila took Tibur after a siege of some months, and revenged
himself for the resistance of the Isaurian garrison by putting all to the
sword without sparing even the bishop. At the same time Totila broke down
all the bridges on the Anio. During that long siege, the Villa of Hadrian
with its enormous halls, its vast ranges of rooms, and its advantageous
and commanding site at the junction of several roads, offered convenient
quarters to the barbarian king and his host. It may be imagined what
devastation such tenants would inflict upon the place. In the sixth
century the villa fell more and more into ruins; to the disasters of the
Gothic wars were added those incurred during the Lombard wars under
Astulf. The Lombards were a more savage horde than the Goths, and their
object was to destroy the Roman empire utterly, and to divide Italy into
dukedoms. These barbarians attacked Rome many times, and ravaged the
Campagna, but Astulf distinguished himself above all the rest in these
incursions, massacring and burning everywhere without distinction. As we
hear that he was encamped near Tivoli, we may conclude that the Villa of
Hadrian suffered severely in or about the year 755.
The wars between emperors and popes, and the quarrels between the factions
in Rome itself which followed, injured Rome perhaps rather more than the
cities of the Campagna. But the greatest damage of all was done to the
villa by its being made the quarry whence the churches, the monasteries,
and the houses of the wealthy Tiburtines were decorated with marbles,
columns, and costly stonework, and when these were filled and could hold
no more of the innumerable marble sculptures and statues, they were
condemned to the lime-kiln and converted into mortar. After the revival
of letters and arts in the fifteenth century, the lamentations poured out
in the time of Pius II. (A.D. 1458) over the ruins of the villa are most
pathetic. “The lofty vaults of the temples are still standing, and the
wonderful columns of the cloisters and magnificent porticoes. The
swimming-baths and Thermæ can be traced, where the water of the Anio once
mitigated the summer heats. But the hand of time has defaced all these,
and the walls once draped with embroidered tapestry and cloth of gold are
now clad with ivy; the thorns and briar grow where tribunes sat in purple
robes, and serpents crawl, in their kings’ chambers.” In spite of the
existence here and there of such love of antiquity, the burning of the
Tiburtine marbles into lime continued throughout the sixteenth century,
and the levelling of the ground for cultivation has gone on even to the
present century.[159]
The same fate attended all the other grand monuments of the Campagna.
Rutilius Numatianus, writing probably in 417 in the reign of Honorius,
speaks of the buildings of Rome and the aqueducts of the Campagna as if
they were still uninjured, but he prefers to return to his native home in
Gaul by sea, on account of the bad state of the roads on the coast caused
by the Gothic devastations.
[Illustration: ENVIRONS OF TIVOLI.]
[Sidenote: Tibur.]
Ascending from Hadrian’s Villa to the point where the Anio issues from a
valley dividing the Æquian from the Sabine Mountains, we find the river
winding round a considerable hill, partly clothed with groves of olive,
and rising to the height of 830 feet. At the back of this hill the river
has forced a passage for itself through the limestone rocks which threaten
to impede its exit from the upper valley, and falls in a tremendous
cataract down a precipitous cliff of 320 feet in height to the lower
level. The water is strongly charged with carbonate of lime, which is
constantly being deposited in the shape of masses of travertine in the
channels through which the stream runs, especially where the water, in
consequence of the violent agitation caused by its rapid descent, parts
quickly with the carbonic acid gas contained in it. The course of the
stream is from time to time blocked up by its own formations of stone,
and it is forced to open new passages for itself. From this cause the city
of Tibur, which stands on the hill, close to the point where the river
falls to its lower level, has always been subject to violent and dangerous
inundations. The great inundation of 1826 proved so formidable that it was
at once resolved to divert the course of part of the river and provide it
with an artificial outlet. This was effected by boring two tunnels through
Monte Catillo on the east of the city, through which any rush of water can
be allowed to pass and fall harmlessly into the lower valley. A part of
the river water is always allowed to pass through these tunnels, and forms
at their lower end a magnificent cascade. Another part passes under the
bridge called Ponte S. Gregorio and then rushes through a fantastic grotto
of travertine blocks called by the local guides Grotta di Nettuno, and
joins the stream from the tunnels at the bottom of the valley. A third
portion of the Anio is diverted just above the bridge into canals
apparently of very ancient date, which, passing completely through the
centre of the town, are used as the motive power of watermills and
factories of various kinds, and then fall again into the main stream at
various points of the romantic cliffs on the western hill side. These form
the wreaths of “snow white foam” so celebrated as the cascades of the
Anio, and explain perfectly the expression of Horace:
O headlong Anio, O Tiburnian groves,
And orchards saturate with shifting streams.
But few traces of the ancient walls of the city are left. Nibby is however
doubtless right in saying that there can be no question about their course
along the northern and eastern sides of the city, where the brow of the
hill is steep and perfectly adapted for defence by a wall placed on the
edge of the rocky valley of the Anio. The citadel was probably situated in
the quarter called Castro Vetere--where the two temples commonly called
the temples of the Sibyl and of Drusilla stand, for it is plain that some
pains have been taken to isolate this from the remainder of the site. On
the western side the limit of the ancient walls is marked by the old
gate, and by the fragments of walls which still exist at the point where
the direct road from Rome enters the city by the modern Porta del Colle.
The course of the walls then excludes the Villa d’Este, and runs across
the hill to the Church of the Annunziata and the Porta Santa Croce and the
citadel built by Pius II. on the site of the ancient amphitheatre. From
thence the walls passed in a straight line down to the river near the
Church of S. Bartolommeo. The ancient town did not extend to the right
bank of the Anio.
[Illustration: Temple of Vesta at Tibur.]
[Sidenote: Temple of Vesta.]
Two ancient temples are still standing in tolerable preservation at Tibur.
The first of these is a small round temple perched on the very edge of the
precipitous ravine through which the Anio dashes. It has been protected
against the violence of the furious torrent by massive substructions,
which apparently existed in ancient times and have often been renewed. Ten
of the eighteen columns which formerly surrounded the inner chamber still
remain.
The details of this temple are rather peculiar in style, and show an
originality of invention very rare in Roman architecture. The columns have
Attic bases, but the grooves of the fluting are cut in a style which is
neither Doric nor Ionic. They terminate above in an abrupt horizontal
line, and reach at the foot of the column quite down to the base without
any intermediate cylinder. The capitals exhibit a fantastic variety of the
Corinthian order, having the second row of acanthus leaves nearly hidden
behind the first, and a lotus blossom as the decoration of the abacus. The
frieze is ornamented with the skulls of oxen and festoons, in the loops of
which are rosettes and pateræ placed alternately. The inner chamber, which
is built of opus incertum, is partly destroyed, but the lower half of the
door and a window still remain.
From the above description it will be seen that the architecture of the
temple appears to belong to the end of the Republican era, but the
inscription on the architecture gives us no further hint of the exact
date, as the whole of it: with the exception of the words L. CELLIO. L.
F., has disappeared. The most probable conjecture as to the deity to whom
it was dedicated is that based upon the fact that Vesta was worshipped at
Tibur, as is shown not only by two inscriptions found near the spot, but
also by the mediæval name of this quarter of the town. The form of the
temple also confirms such an opinion.
[Sidenote: Temple of Albunea.]
The second temple stands quite close to this round building, and is now
consecrated as the Church of S. Giorgio. Its shape was that of a
pseudoperipteral temple, i.e. with the side columns half sunk in the
walls, raised on a meagre base of tufa blocks. It had a front, with four
Ionic columns, one of which still remains, forming a support to the
Campanile. An inscription dedicated to Drusilla, the sister of Caligula,
was found here, but no reference as to the name of the temple can be drawn
from it. A bas-relief, also found on the spot, represents the Tiburtine
Sibyl sitting, and in the act of delivering an oracle. Hence it has been
thought that we have in the Church of S. Giorgio the Temple of the Sibyl
Albunea mentioned by Horace, Tibullus, and Lactantius, and this seems to
be the most probable of the various conjectures which have been hazarded
on the subject. The Grove of Tiburnus mentioned by Horace was probably on
the right bank of the Anio, but further than this it is impossible to
determine its exact position. There was also a grove dedicated to Diana.
The Mons Catillus, now Monte Catillo or Monte della Croce, is the height
on the right bank of the Anio. The name is at least as early as the time
of Servius.
[Sidenote: Villas.]
As may easily be imagined there are numerous remains of ancient villas
scattered about the immediate neighbourhood of Tibur, and the local
guides, in order to please travellers but without the slightest evidence
in support of their assertions, have dubbed them the Villas of Catullus,
Horace, Ventidius, Quintilius Varus, Mæcenas, Sallust, Piso, Capito,
Brutus, Popillius, and other celebrated Romans.
The most remarkable ruins are those to which the name of Mæcenas has been
attached. The greater part of these have been now unfortunately concealed
by new buildings and by an iron manufactory, but a fine terrace and parts
of the porticoes still remain on the lofty bank of the Anio. The rest is
a mere confused mass of vaulted chambers and archways. The Via Tecta, or
Porta Oscura, as it is sometimes called, by which the road passes
underneath these ruins, was built, as we learn from an inscription now in
the Vatican collection, by O. Vitulus and Rustius Flavos. The materials
and style show that it can hardly be of a later date than the first
century A.D.
[Sidenote: Tempio della Tosse.]
The Tempio della Tosse which probably obtains its name from a vulgar
interpretation of the name of the gens Tossia, is a ruin standing in a
vineyard at the side of the old road, called the Via Constantina, below
the Villa d’Este. It has none of the characteristic marks of an ancient
temple, and the large number of windows it contains forbid us to suppose
it to be a tomb. The interior of the building is round, the exterior
octagonal. It is built of layers of small fragments of tufa intermixed
with courses of bricks, materials which point to the fourth century as the
earliest possible date of its erection. On the walls are the remains of
frescoes of the Saviour and the Virgin, dating probably from the 13th
century. These show that, if it was not originally a Christian Church, it
was used as one at the time the frescoes were painted.
[Sidenote: Villa of Cassius.]
The ruins of a considerable villa lie near the Porta S. Croce of Tivoli,
in the estate called Carciano, from the mediæval name of the Fundus
Cassianus, which is stated in a list of the estates belonging to the
cathedral at Tivoli to have been the site of a villa of Caius Cassius.
Part of these ruins consist of a very ancient structure of polygonal work,
but the rest is pronounced by Nibby to belong to the time of the later
republic. The casino of the Collegio Greco is now built on the spot, but
the plan of the ancient villa can be so far traced as to show that it had
several terraces, and looked towards the south-west. In the 16th century
there were still eighteen large apartments existing, surrounded with a
portico of Doric columns, and also some temples, a theatre, some
fountains, and fish ponds. The opus reticulatum of these ruins is peculiar
for the alternate arrangement of coloured tufa in its lozenges. An immense
number of works of art were dug up here, and the nearly complete
destruction of what still remained of the villa in the 16th century, is
probably due to the fact of its having been found to be so rich a mine of
sculpture.
[Sidenote: Sabine Farm of Horace.]
The Sabine farm of Horace can hardly be passed over here, though it is not
strictly included within the district of Tibur. There is no evidence to
show that Horace ever had any villa at Tibur in addition to his Sabine
farm; indeed his own words seem expressly to imply the contrary. The
estate he had was plainly usually called a Sabinum, not a Tiburtinum, and
must therefore be looked for at some distance from Tibur. Horace mentions
two places in its neighbourhood, Varia, and Mandela, the sites of which
can be exactly determined. The ancient list of towns places Varia on the
Via Valeria, eight miles beyond Tibur, and precisely at this distance are
the remains of an ancient town now covered by the modern village of Vico
Varo. But the position of Mandela is more important for ascertaining the
site of Horace’s farm, because if we can fix upon it, we then can discover
to which of the mountain streams which flow into the Anio the name
Digentia belonged. An inscription dug up in 1757 near the Church of S.
Cosimato on the Via Valeria, two miles from the village of Bardella, shows
that an estate in the modern district formed by the union of Cantalupo and
Bardella was called in the later imperial times, or the early Middle Ages,
Massa Mandelana.
From this it is plain that the Digentia was the torrent called Mariscella,
which joins the Anio between Cantalupo, Bardella and Vico Varo, descending
from near Licenza, a small village about six miles from Vico Varo. As to
the exact spot where the farm of Horace itself stood in the valley of the
Digentia, we cannot be quite certain. The ruins usually pointed out are on
a little knoll opposite to the village of Licenza, and on the other side
of the stream. These are possibly situated on the spot on which the
farmhouse stood, if they do not date so far back as the lifetime of the
poet himself. Dennis in Milman’s Horace says, “The ruins consist only of a
mosaic pavement, and of two capitals and two fragments of Doric columns
lying among the bushes. The pavement has been much ruined by the planting
of a vineyard, and can only be seen on removing the earth which covers
it. The groundwork is white with a border of animals in black. These are
the sole traces now visible (1842), but some fifty years ago, the mosaic
floors of six chambers were brought to light, but were covered again with
earth, as nothing was found to tempt any further excavation. The farm is
situated on a rising ground which sinks with a gentle slope to the stream,
leaving a level intervening strip now yellow with the harvest. In this I
recognised the sunny meadow which, as the poet says, was in danger of
being inundated. The sunny fields were probably then, as now, sown with
corn. Here it must have been that the poet was wont to repose on the grass
after his meal, and here his personal efforts perhaps to dam out the
stream provoked his neighbours’ smiles.” The place is surrounded on all
sides by hills, except where the main valley of the Digentia separates
them, running nearly due north and south, so that facing down the valley,
the sun before midday rests on the right-hand slopes, and in the afternoon
on the left hand, thus corresponding exactly to the poet’s description of
the site.[160]
[Illustration: Vico Varo and Lucretilis.]
The other spots mentioned by Horace as near his farm, are the Chapel of
Vacuna, the slopes of Ustica, and the mountain of Lucretilis. The first of
these has been placed by the Italian topographers at Rocca Giovane, a
village perched on a hill on the west side of the valley about two miles
above Cantalupo Bardella. The evidence for this identification is,
however, very doubtful.
The Ustica cubans of the poet is commonly with some probability supposed
to be La Rustica, which lies on the hill close to Licenza on the eastern
side of the valley. Lucretilis is probably a name applied to the whole
range of hills connected with Monte Gennaro. Cav. Rosa, however, places it
at Monte del Corynaleto just above Rocca Giovane. The name of Fons
Bandusiæ has been given to most of the springs in this valley by the
enthusiastic admirers of Horace, but it is quite uncertain whether the
Fons Bandusiæ was not in Apulia.
(F) THE NORTH-WESTERN DISTRICT.
The principal roads which traversed the Campagna to the north and
north-west of Rome are the Nomentana, the Salaria and the Flaminia.
These roads offer but little, within the bounds of ancient Latium, which
calls for remark.
[Illustration: AGRI ROMANI TABULA]
The Via Nomentana diverged from the Via Salaria at the Collina gate in the
Servian walls, and passed through the Aurelian wall at a gate which now
stands a little to the south of the modern Porta Pia. The present road
follows the line of the ancient Via Nomentana, as may be seen by the ruins
of tombs which fringe it beyond S. Agnese. The Chapel of S. Constanza,
opposite S. Agnese, is an interesting building of the Constantinian epoch,
and the mosaics it contains, including a mixture of Christian and pagan
emblems, are very remarkable. The Mons Sacer stands just beyond the bridge
over the Anio, and the Villa of Phaon, where Nero ended his life, was at
the Vigne Nuove, on a side road which branches off to the right, just
beyond the Ponte Nomentano.
The Via Salaria is said to have been so named from the supplies of salt
conveyed along it to the Sabine district at the time when the Romans and
Sabines were confederates. It is first mentioned in history as the scene
of the single combat between Manlius and the gigantic Gaul. The ancient
road passed out at the Collina gate, and followed very nearly the same
line as the present road along the left bank of the Tiber, as may be seen
by the ruins near Serpentara, and by the position of the ancient bridge,
the Ponte Salaro, which carries it over the Anio close to Antemnæ. Beyond
this, Fidenæ and the Allia are the most remarkable points of interest upon
the road in the neighbourhood of Rome. Beyond Malpasso, the ancient road,
according to Nibby, diverges to the right, crossing the railway to Ancona.
The Via Flaminia, after passing through the Porta Ratumena at the Tomb of
Bibulus, left the Aurelian fortifications at the Porta Flaminia, which
stood a little nearer the slope of Monte Pincio than the present Porta del
Popolo. It ran to the right of the present street, and then crossed the
Tiber at the well-known Milvian bridge, and then diverged to the right
along the Tiber valley, while the Via Cassia ascended to the left among
the Etruscan hills towards Veii, which lay to the right at the twelfth
milestone. The old Flaminian Road lay closer to the river than the
modern, which is carried through a cutting in the hills and rejoins it at
Tor di Quinto. There are a few rock tombs on the left hand, between the
fifth and sixth milestones. One of them has been connected with the poet
Ovid by a mistaken inference drawn from the inscription found upon it
which bears the name of Q. Nasonius Ambrosius.
[Illustration: Ponte Nomentano.]
The Ponte Molle, which derives its name from an unknown Roman Mulvius, or
from the neighbouring hills, carries the Flaminian Road over the Tiber at
a distance of two miles from the Porta del Popolo. Some of the foundations
of the bridge, and parts of the peperino and travertine stonework in the
smaller arches, are ancient. The victory of Constantine over Maxentius,
which is usually called the battle of the Pons Mulvius, was gained six
miles further along the road.
An inscription cut in a block of travertine has been fixed in the
right-hand parapet of the bridge. This inscription records the inspection
of the banks of the Tiber by the Censors of M. Valerius and Publius
Serveilius, who were Censors in the year B.C. 55.
[Sidenote: Villa of Livia at Prima Porta.]
One of the imperial villas of an early date was placed on the right bank
of the Tiber at the ninth milestone on the Via Flaminia in the Veientine
territory.
The Via Flaminia is here bordered for a long distance on the left-hand
side by tufa rocks of a reddish hue, whence the district had obtained, in
Livy’s time, the name of Saxa Rubra. The Cremera, now the Valca, is one of
the streams which enter the Tiber in this district, and beyond it, where
the road turns to the left, and, leaving the valley of the Tiber, ascends
the hill through a cutting, is the stream and hamlet of Prima Porta. On
the right of the road here, and between it and the Tiber, lie the ruins of
a large villa, the various terraces of which, raised one above the other,
occupy the whole of the top of the hill, and command magnificent views of
the Sabine and Æquian highlands. There can be no doubt that these ruins
are the remains of the villa of Livia called ad Gallinas, mentioned by
Pliny and by Suetonius as situated at the ninth milestone on the Via
Flaminia. The style of construction in the walls which remain corresponds
to that of the Mausoleum of Augustus in the Campus Martius. The
reticulated work has that peculiar irregularity about it which indicates
the transition from the opus incertum to the more regularly formed opus
reticulatum. Nibby had pointed out this spot in 1837 as one in which a
rich harvest might be reaped from excavating, but it was not till 1863
that the splendid Statue of Augustus, now in the Braccio Nuovo of the
Vatican with other interesting sculptures, was dug up here.[161]
At the same time some rooms were excavated at a depth of ten feet, under
the level of the ancient villa. They had apparently been closed at a very
early time and filled with earth, in order to erect a building over them.
The largest of these was apparently intended as a cool retreat during the
summer heats, and the walls are painted with trees and birds, in imitation
of a rustic bower. These paintings have attracted great attention as being
some of the most ancient now in existence, and also on account of their
intrinsic beauty, and the wonderful way in which they have preserved their
freshness of colour. The pavement of this painted room was of marble,
which was, however, removed when the earth was thrown in at the time of
building the rooms above.
The legend about this villa connects it with the death of Nero, relating
that the laurel bushes and the white fowls, for which the villa had been
celebrated since the days of Livia, withered and died out during Nero’s
last days.
[Sidenote: Veii.]
Beyond Prima Porta, to the west, is the site of Veii. This is about twelve
miles from Rome, and now bears the name of Isola Farnese. But little
remains of the ancient city have been found, but no doubt is now felt by
antiquaries that the city occupied the rocky ground between the Cremera
and the Fosso de’ due Fossi.
Inscriptions bearing the names of some Etruscan families, especially the
Tarquitii, have been found here, and the remains of the ancient citadel,
on the spot now called the Piazza d’Armi, are mentioned in some old
ecclesiastical documents.
[Illustration: _ICHNOGRAPHIA._ ROMAE VETERIS.]
One of the gates must have been at the spot now called the Porta de’ Sette
Pagi as the road from Veii to Sutri probably passed out here, and another
gate was opposite Isola called the Porta dell’ Arco. A third may have
stood towards Fidenæ, where the ancient postern and flight of steps is
now to be seen, called La Scaletta. Other remains are to be seen near
the site of a gate called by Canina La Spezieria. The Ponte Sodo and the
tombs near it are worth attention, as is also the ancient Etruscan tomb
called the Grotta Campana, in which a most interesting set of sepulchral
ornamentations and cinerary urns has been preserved. The chief monuments
of Veii, which have been taken to Rome, are the Ionic columns in front of
the Post Office in the Piazza Colonna, the Statue of Tiberius, and the
colossal heads of Tiberius and Augustus, now in the Vatican Museum.[162]
INDEX.
A.
Academia, 21, 246
Ædes Publican, Flavian, 22, 24
Æsculapius, temple of, 116
Agger of Servius, 157
Agon Capitolinus, 181
Agrippina, pedestal of, 146, 178
Alba Longa, 207
Alban Hills, 192, 194;
Emissarium or tunnel of, 204
---- Lake, 203
---- Mount, 206
Albanum Cæsarum, 202
Albula, 189
Albulæ Aquæ, 236
Alexamenus, 18
Allia, 257
Altar of Sextius, 16
Amphitheatrum Castrense, 173
Ancient stone work, 163
Anio, falls of, 249
Antoninus Pius, pedestal of column, 178
Appian Road, 194
Aqua Virgo, 135
Arches, 9
Arch of Constantine, 59
---- Dolabella, 174
---- Drusus, 171
---- Gallienus, 77
---- M. Aurelius, 177
---- Severus, 52
---- Silversmiths, 104
---- Tiberius, 46
---- Titus, 31
Architectural styles, 5, 11
Arco dei Pantani, 92
Area Flacciana, 15
Arena of Coliseum, 67
Arricia, causeway at, 208
Arval College, 231
Atta, tomb of, 219
Atticus, tomb of, 198
Atrium, Palatine, 23
Auguratorium, on Palatine, 30
Augustan buildings, 21
Aurelius, M., bas-reliefs from arch, 177
Aventine and Cælian Hills, 161.
B.
Bandusiæ Fons, 256
Basilica, Constantine, 34, 35, 183
---- Julia, 44
----, Palatine, 24
----, Ulpia, 83
Bas-reliefs in Forum, 42, 43
Baths of Agrippa, 134
---- Caracalla, 166, 183
---- Constantine, 100, 183
---- Diocletian, 153
---- Titus, 75
Bibliotheca, 21
Bibulus, tomb of, 97
Brickwork, 12
Bronze cone, 149, 178;
peacocks, 150, 178
Bovillæ, 200
C.
Cæcilia Metella, tomb of, 197
Cælian, houses on, 176
Caffarelli Palace, 98
Caligula, Palace of, 31
Calydonian boar hunt, 181
Campagna, hills of, 191;
population, 192
Capitoline map, 120, 181
Capitolium, 98
Casale Rotondo, 200
Cestius, tomb of, 165
Cicero’s Villa, 218
Circus Flaminius, 123;
---- Maximus, Carceres of, 112
Claudian Aqueduct, 20, 81, 174
Climate, 189
Clivus Victoriæ, 14
Cloaca Maxima, 46, 105
Clodius, Villa of, 201
Cluilia Fossa, 197
Coliseum, 61;
architecture of, 72;
characteristic of builder, 70
Colonnacce, 94
Colossus of Nero, 63
Columbaria, 73, 170
Columns, 10
Column of Marcus Aurelius, 138
---- Phocas, 41
---- Trajan, 84;
cast of, 89
Columna Centenaria, 142
Commodus, Palace of, 176
Constantine, Baths of, 100
Cornelia Gracchorum, 121
Cosmedin, S. Maria in, 111
Cremera, 259
Cryptoporticus, 25
Curtius, bas-relief, 179
D.
Dacian campaigns, Trajan’s, 87
Decebalus, 88
Demosthenes, statue of, 182
Digentia, 254
Dii Consentes, area of, 48
Dogana, in Piazza di Pietra, 136
Domitius Calvinus, pedestal, 26, 28
Domus Aurea of Nero, 73
Doria Palace, 127
Duilian column, inscription on, 179
E.
Egeria, grotto of, 195
Egyptian antiquities, 129, 177
Einsiedlen MS., 51, 76, 100, 125, 138, 148
Eurysaces, tomb of, 81
F.
Fasti Consulares, 179
---- Prænestini, 229
Faustina, the younger, 178
Fidenæ, 257
Fiumicino, 231
Flaminia, Via, 257
Forum Augusti, 92
---- Julium, 91
----, Nerva’s, 94
---- Romanum, 38
----, Trajan’s, 83
Fratres Arvales, 231;
buildings of, 232
Freshwater strata, 187
Frontispicium Neronis, 100
G.
Gabii, 221
Gabinius, Villa of, 218
Galuzze, 79
Gelotiana, Domus, 17
Geology of Campagna, 185
Germalus, 17, 29
Germanicus, House of, 26
Geta, erased, 104, 119
Gladiator or Gaul, dying, 181
Gnomon Obelisk, 137
Gordiana, Villa, 219
Gradus Concordiæ, 51
Graffiti, 18, 70
H.
Hadrian, colossal head of, 178
Hadrian’s Villa, 237;
antiquities from, 181, 183
Heliogabalus, Lavacrum, 36, 58
Horace, Sabine farm, 254
House of Laterani, 173
I.
Imperial monuments, 3
J.
Janus Quadrifrons, 103
Julius Cæsar, Heroon of, 39
Jupiter Pluvius, 141
---- Propugnator, 28
---- Redux, 176
---- Stator, 25
---- Victor, 28
L.
Labicum, 223
Laconicum, 134, 155, 168
Laocoon, 182
Lararium, Palatine, 24
Latifundia, 192
Latin road, tombs on, 211
Latium, towns of, 191, 192
Lautumiæ, 56
Legio fulminata, 141
Lucretilis, 256
M.
Mæcenas, Auditorium of, 80;
Tower of, 102
Mamertine Prison, 55
Mandela, 254
Marcus Aurelius, statue of, 183
Marine strata, 185
Masonry, Roman, 4
Mausoleum of Augustus, 143
---- Hadrian, 148
Maxentius, Circus of, 196
Meta Sudans, 58
Milestones on Appian Road, 183
Miliarium Aureum, 54
Minerva Medica, 78
Mons Sacer, 257
Monte Cavallo, 183
---- Testaccio, 164
Monumental History, 2
Monumentum Ancyranum, 145
Muro Torto, 147
Museum, Kircherian, antiquities in, 183
N.
Navicella, 174
Nemi, Lake of, 208;
Cæsar’s Villa at, 210
Nomentana, Via, 257
Nymphæum, Palatine, 23
O.
Obelisks, 12, 129, 145
Oligarchical monuments, 2
Ostia, 229;
antiquities from, 182
P.
Palatine, Belvedere on, 20;
entrance, 14;
paintings on peristylium, 23, 27;
walls, 16, 17
Pantheon, 130;
plundered, 135
Pedestals, in Forum, 41, 42
Phaon, Villa of, 257
Piazza Navona, 143
Pillar of Antoninus Pius, 138
Plautian Tomb, 236
Pompey, Villa and Tomb of, 201
Pons Ælius, 148
Ponte Lucano, 236
---- Molle, or Milvian bridge, 257
---- di Nono, 221
---- Rotto, 115
---- S. Sisto, 126
Porphyry basin, 182
Porta Capena, 163
---- Chiusa, 159
---- Collina, 257
---- Maggiore, 81
---- Mugionia, 24
---- Ratumena, 97
---- Romanula, 15
---- S. Lorenzo, 81
---- Viminalis, 153
Porticus Catuli, 15
---- Metelli, 120
---- Octaviæ, 119
Portland Vase, 181
Porto, 233
Præneste, 223
Prætorian Camp, 158
Prima Porta, statue of Augustus from, 260;
Villa of Livia, 259
Puteal, in Forum, 39
Q.
Quintiliana, Villa of Commodus, 198, 212;
sculpture from, 200
Quirinal Hill, 101
Quirinale, or Monte Cavallo, Piazza, 101, 183
R.
Rediculus, Divus, 195
Regal Monuments, 2
Republican Monuments, 2
Rienzi, 147
Roma Vecchia, 197, 212
Rostra of Empire, 54
Rutilius, 248
S.
Salaria Via, 257
Salita del Grillo, ruin in, 83
Sallustia, statue of, 172
S. Andrea della Valle, 123
S. Angelo, bridge of, 148
S. Constanza, Chapel of, 257
SS. Cosma and Damiano, 36
S. Maria degli Angeli, 153, 155
S. Maria in Via Lata, 127
S. Nicola in Carcere, ruins in, 117
S. Urbano, 195
Sarcophagi and cippus, 182
Saxa Rubra, 259
Scala Cœli, 29
Schola Xanthi, 49
Scipio, Sarcophagus, 182
Scipios, Tomb of, 170
Sculpture, ancient specimens of, 184
Seneca, Villa of, 197
Septa, 127
Septizonium, 20, 151
Servian Walls, 161
Sessorium, 172
Sette Basse, 212
---- Sale, 75
Site of Rome, 1
Sortes Prænestinæ, 225, 228
Stadium Palatinum, 18
Suovetaurilia, 42, 60, 88
T.
Tabularium, 56
Tarpeian Rock, 99
Tarquin Dynasty, 106, 157, 161
Teatro Correa, 143
Temple of Albunea at Tivoli, 252
---- Antoninus and Faustina, 40
---- Artemis at Nemi, 210
---- Bacchus or Honos, 195
---- Castor, 38
---- Ceres, 110
---- Concord, 50
---- Cybele, 29
---- Fortuna Prænestina, 225
---- Fortuna Virilis, 107
---- Hadrian, 137
---- Isis, 128
---- Jupiter Capitolinus, 98
---- Jupiter Feretrius, 29
---- Jupiter Latiaris, 207
---- Lares Præstites, 29
---- Marcus Aurelius, 139
---- Mars Ultor, 92
---- Minerva, 96
---- Penates, 36
---- Romulus, 196
---- Saturn, 46
---- Serapis, 128
---- Sibyl, or Vesta, at Tivoli, 251
---- Sun, Aurelian’s, 100
---- Venus and Cupid, 172
---- Venus and Rome, 32
---- Vespasian, 49
---- Vesta, 39
---- Vesta or Hercules, 108
Temples, on Palatine, 28
Theatre of Balbus, 122, 183
---- Marcellus, 112
---- Pompey, 123
Theseus and Amazons, 181
Tiber, Island of, 115;
bridges, 116;
water of, 188
Tiberius, House of, 26, 30
Tivoli, or Tibur, 235;
Villas at, 252
Torre Fiscale, 212
---- Paterno, ruins at, 234
---- Pignatara, 221
Torso Belvedere, 182
Totilas, 152, 236, 247
Transitoria, Domus, 34
Transtiberine Walls, 4
Travertine, quarries, 236
Triclinium, Palatine, 22
Trophies, of Marius, 76, 183
Tufaceous stone, 186
Tunnels, subterranean, 206
Tusculum, 214;
gate and walls, 216;
history of city, 217;
theatre at, 215
U.
Ustica, 256
Ustrina Cæsarum, 144, 146
V.
Vacuna, Chapel of, 256
Varia, 254
Vatican Hill, enclosed, 4
V. D. N., 18
Veii, 260
Veii and Campagna, antiquities from, 182
Velabrum, 103
Velia, 31
Vettius Prætextatus, 49
Vicus Tuscus, 39
Vigna Guidi, 169
Villa Mills, 21
Villas, ancient, 190, 193
Vitiges, 149, 152, 193
Volcanic strata, 186
Vota, 60
W.
Wolf, bronze figure, 17, 180
LONDON: PRINTED BY WILLIAM CLOWES AND SONS, STAMFORD STREET
AND CHARING CROSS.
FOOTNOTES:
[1] See Corp. Inscr. Lat. vol. vi. 1, No. 1158.
[2] Cic. de Har. Resp. xv., 33. Vettius, in Cic. ad Att. ii. 24, calls
Cicero “vicinus consulis,” i.e. near the Regia.
[3] See ‘Rome and the Campagna,’ ch. viii. p. 160.
[4] Festus, p. 262, “infimo clivo Victoriæ.”
[5] A descent to the right to the Forum has been observed by a French
architect. See ‘Le Forum Romain,’ par Dutert; Lévy, Paris, 1876, p. 14.
‘Guida del Palatino,’ p. 71. Valerius Maximus, vi. 3, 1. Cic. pro Dom. 38.
102.
[6] Cic. de Div. i. 45; ii. 32. Liv. v. 32.
[7] Corp. Inscr. i. 632. Wordsworth, Frag. of early Latin, p. 167, 410.
[8] Cic. de Orat. ii. 249.
[9] Cic. ad Att. iv. 3, 3. Liv. xxxiii. 26.
[10] Vacca Memorie 3, Urlichs, in Rheinisches Museum, 1846.
[11] See Henzen, in Bull. dell. Inst., 1867. The name of Domus Gelotiana
has been given to this ruin by Visconti. See ‘Rome and the Campagna,’ p.
181.
[12] The marks on the bricks found here bear the names of Clonius and
Ermetes, freedmen of the Gens Domitia, but the walls which stand near the
meta are constructed of materials which show that they are of later date,
and belong to the Restoration of Theodoric, A.D. 500.
[13] Hist. Aug. Severus, 19, 24. See ‘Rome and the Campagna,’ p. 180.
[14] See ‘Rome and the Campagna,’ pp. 174, 200.
[15] Plin. Ep. I. 13.
[16] See ‘The Journal of Philology,’ Cambridge 1869, vol. ii. p. 89.
[17] Stat. Silv., iv. 2, 26.
[18] The name Basilica Jovis, placed here by Rosa, probably refers to a
temple and not to this tribunal.
Plin. Panegyr., 47.
[19] ‘Rome and the Campagna,’ p. 34.
[20] Josephus, Ant. Jud. xix. 1, 15.
[21] Gell, N. A. xx. 1, 2.
[22] Suet. Tib. 5.
[23] Orelli, Inscr. 6057, 6058.
[24] See ‘Rome and the Campagna,’ p. 178.
[25] Solinus, i. 18.
[26] Orelli, 2286.
[27] Tac. Hist. i. 27.
[28] Hist. Aug. Ant. Pius, 10; Ant. Phil. 6; Gell. xiii. 20.
[29] See ‘Rome and the Campagna,’ p. 160, Note 1.
[30] See ‘Rome and the Campagna,’ p. 162.
[31] Josephus, Bell. Jud. vii. 5, 7.
[32] See ‘Rome and the Campagna,’ p. 170.
[33] See ‘Rome and the Campagna,’ p. 171.
[34] Parker’s ‘Archæology of Rome,’ vol. ii. p. 98. Jordan, ‘Forma urbis
Romæ’; Berlin, 1874, p. 37.
[35] ‘Rome and the Campagna,’ p. 169.
[36] Aur. Vict. Cæs. xl. 26. See ‘Rome and the Campagna,’ p. 166.
[37] Vitruv. v. 1.
[38] ‘Archæology of Rome,’ vol. ii. p. 75.
[39] See ‘Rome and the Campagna,’ p. 163.
[40] Lampridius, Hist. Aug. Ant. Hel. 8, 17, in ædibus aulicis. Parker,
‘Archæology of Rome,’ vol. ii. p. 92.
[41] See ‘Rome and the Campagna,’ p. 100.
[42] Ibid. p. 103.
[43] Eckhel, vii. 37. On the mistaken appropriation of the temple to M.
Aurelius, see ‘Rome and the Campagna,’ p. 114.
[44] See Reber’s ‘Ruinen Roms,’ p. 132.
[45] Corp. Inscr. Lat. vol. vi. pt. 1, No. 1200. “Indictionis undecimo
Post Consulatum pietatis ejus anno quinto” are the last words of the
inscription. “In the eleventh year of his appointment and the fifth year
of his reverence the emperor.” See Nibby, ‘Roma antica,’ p. 152; Zell.
Epigr. 1226. A D = A Deo.
[46] See Clinton, Fast. Rom. A.D. 608.
[47] Stat. Silv. i. 1. Mr. Parker thinks that this was the pedestal of a
statue of Constantine. Archæol. vol. ii. pl. xix.
[48] Nichols, ‘The Roman Forum,’ p. 78.
[49] See ‘Rome and the Campagna,’ Appendix, p. 452.
[50] Gardhausen, ‘Hermes,’ viii. 129. Nichols, ‘Roman Forum,’ p. 67. Ann.
dell. Inst. 1872. Mr. Nichols’s explanation does not account for the
position of the fig-tree and Marsyas satisfactorily.
[51] Jordan, ‘Forma urbis Romæ,’ pp. 4, 25. The proportion of the length
to the breadth is nearly that given by Vitruvius as proper for a basilica.
[52] Juv. Sat. v. 104.
[53] Tac. Ann. ii. 41.
[54] Jordan, ‘Forma urbis Romæ,’ p. 26.
[55] Cic. Phil. ii. 7.
[56] See ‘Rome and the Campagna,’ p. 58.
[57] See ‘Rome and the Campagna,’ p. 91.
[58] See ‘Rome and the Campagna,’ p. xxix.
[59] Cic. Phil. vii. ch. 8. The third Catilinarian oration was delivered
here.
[60] Dion. Cass. lxxvii. 12.
[61] Herodian iii. 9, 10, 11. Hist. Aug. Vit. Sev. 9, 16, 17.
[62] See Parker’s Archæol. vol. ii. pl. xi.
[63] See ‘Rome and the Campagna,’ p. 354, Appendix.
[64] See Jordan, Top. Rom. p. 13, Note 20.
[65] Liv. xxxvii. 3. Seneca, Contr. ix. 4, 21.
[66] Corp. Inscr. Lat. i. 591, 592. Mommsen, Ann. Inst. 1858, p. 211.
Canina, Rom. Ant. p. 290. Virgil’s use of the plural tabularia is not,
therefore, merely poetical: Georg. ii. 502.
[67] Seneca’s letter was written from Baiæ, which seems to place the
building he speaks of there and not at Rome. The word “meta” was used by
the Latin classical writers in speaking of haystacks or cream-cheeses made
in a conical shape. Columella, ii. 19; Mart. i. 44.
[68] See Casaubon’s note on Spartian, Hist. Aug. p. 40; B.C. Tac. Ann. vi.
17; xvi. 22.
[69] The great amphitheatre at El Djemm in Tunis is 480 feet by 420 and
102 feet in height, that at Pola in Istria 437 by 346 feet and 97 feet in
height. Shaw’s ‘Travels,’ i. p. 220. Ann. dell’ Inst. 1852. Allason’s
Pola.
[70] The tomb of Scipio Barbatus in the Vatican is another curious
instance of this mixture of Doric and Ionic decorative forms.
[71] This portico is shown in the medals of Titus and Alexander Severus.
The remains of a similar portico exist in the amphitheatre at Thysdrus (El
Djemm) in Tunis. See Canina in the Ann. dell’ Inst. 1852, tav. d’Agg. U.
[72] Suet. Vesp. viii. 13.
[73] Gibbon, ‘Decline and Fall,’ ch. lxxi.
[74] Suet. Jul. ii. Propert. iv. ii. 46.
[75] Gibbon, ‘Decline and Fall,’ ch. x.
[76] See Dion Cassius, lxviii. 9-13.
[77] Dion Cass. lvi. 27.
[78] The frieze is described and representations of it are given in the
Annali and Monumenti dell’ Inst. 1877.
[79] See ‘Rome and the Campagna,’ p. xlii.
[80] See the Annali and Monumenti of the Inst. di Corr. arch. 1876.
[81] Dionys. iv. 27.
[82] Tac. Ann. ii. 49. Dionys. vi. 7, 94. Vitruv. iii. 3, 5. Plin. N. H.
xxxv. 4, 24. 10, 99. 12. 154.
[83] Auson. Sept. Sap. prol. 22. Mon. Ancyr. tab. iv. Hist. Aug. Alex.
Sev. 44.
[84] See Reber, Ruinen Roms, p. 316. Eckhel, Num. Vet. tom. v. p. 210.
[85] Ann. dell’ Inst. 1850, p. 347. Monum. v. xxiv.
[86] Festus, p. 178, ed. Müller. Velleius, i. 1, 3; ii. 1, 2.
[87] Vitruv. v. 9.
[88] Tac. Ann. xiv. 20.
[89] Hier. Chron. ed. Ronealli, i. 475; ii. 247.
[90] Grut. Inser. cxi. 6. Amm. Marc. xvi. 10.
[91] Juv. Sat. vi. 529. Joseph. B. J. vii. 5, 4.
[92] Fea, Misc. lxvi. 26; cxxv. 17; ccliv. 112.
[93] Amm. Marc. xvi. 10. Seneca de Ben. iii. 32.
[94] Dion. Cass. liii. 27.
[95] In the Curiosum the temple and column are placed together in the
ninth region.
[96] Plin. N. H. xxxvi. 9, 71, 72.
[97] Annali dell’ Inst. 1852, p. 338.
[98] Dion. Cass. lv. 23. Orelli, Inscr. 517, 5447.
[99] Gruter, Inscr. 466.
[100] Strabo, v. 3, 8.
[101] Dion. Cass. liii. 32, liv. 26.
[102] Dion. Cass. lxix. 23.
[103] Reumont, Gesch. Roms, vol. ii. p. 917, A.D. 1354; Gibbon, ch. lxx.
[104] Procop. Bell. Goth. 22.
[105] Bunsen’s Memoirs, vol. i. p. 208. Hirt. Gesch. der Bauk, ii. p. 373.
[106] Hist. Aug. Sept. Sev. 19, 24. Herodian iv. 1, 4.
[107] Gibbon, ch. xlix.
[108] Donati ‘Roma vetus ac recens,’ 1665, p. 476.
[109] Dionys. ix. 68. Brocchi, Suolo di Roma, p. 144.
[110] Ann. dell’ Inst. xxxiv. 133. Festus, p. 261. Varro, L. L. v. § 49.
[111] Herodian, ii. 6.
[112] Bunsen, Beschreibung Roms, iii. 2, 359.
[113] Bull. dell’ Inst. 1855, p. 87.
[114] Abeken. ‘Mittelitalien,’ p. 143.
[115] Bull. dell’ Inst. xxv. 85, 116; xxxvii. 235.
[116] Hist. Aug. Car. 9. Hel. 17. Al. Sev. 25.
[117] Olymp. ap. Phot. Bibl. 80, p. 63. Bekker.
[118] Cor. Insc. Lat. vol. i. p. 12.
[119] Marini, Frat. Arv. p. 674.
[120] Eckhel, Num. Vet. ii. 6. 176.
[121] Frontin. 76.
[122] See Woodcut on p. 179.
[123] Ibid. p. 180.
[124] Plin. Ep. ii. 17. The depopulation of the Campagna began even in the
time of the later Republic. See Appian, B.C., i. 7. In the Antonine era
and the following reigns, pestilence and famine swept off millions of
inhabitants. Zumpt, ‘Stand der Bevölkerung,’ p. 84, quoted by Merivale,
vol. vii. p. 610.
[125] Cic. de Or. ii. 6. Val. Max. viii. 8. See Mommsen, R. H. i. 13, p.
200.
[126] Suet. Galb. i. Plin. N. H. xv. 40, 136, 137.
[127] Plin. N. H. xxxiv. § 20. Rutilius de Red. 224. Strabo, v. 3.
[128] Cic. pro Planc. 9. De Leg. Agr. ii. 35.
[129] Festus, p. 232.
[130] Visconti, op. Milan 1829, vol. ii. p. 387.
[131] Hobler, Roman coins, p. 821. No. 2035. Eckhel, Num. Vet. viii. p.
59.
[132] Hist. Aug. Flor. 16. Dion Cass. lxxii. 5, 13.
[133] Herodian, i. 12.
[134] Ann. dell’ Inst. 1853, 1854.
[135] Cic. pro Planc. 9; Propert. v. 1, 33.
[136] Cic. pro Mil. 10, 19, 20, 31.
[137] The mock council held over the gigantic turbot described in the
Fourth Satire of Juvenal was at the Albanum.
[138] Ann. and Mon. dell’ Inst. 1854, p. 101.
[139] Cic. de Div. i. 44; ii. 32.
[140] Hirt, Gesch. der Bau, ii. p. 106.
[141] Fea, Miscellanea, pp. cccxvii. cclxxiv.
[142] Nibby, Analisi, ii. 305.
[143] Annali and Monumenti dell’ Inst. 1856.
[144] Nibby, Anal. iii. p. 736.
[145] Schol. ad Hor. Ep. i. 29.
[146] Canina, Mon. dell’ Arch. ant. tav. 183.
[147] Nibby, Anal. vol. ii. p. 87.
[148] Nibby, Anal. ii. 496.
[149] Cecconi, ‘Storia di Palestrina,’ p. 162.
[150] See ‘Tempio di Fortuna Prænestina,’ Thon and Nibby, Roma 1825.
[151] Mon. dell’ Inst. VI. tav. xi. Ann. dell’ Inst. 1857 p. 281.
[152] Nibby, Anal. II. 468.
[153] Lanciani, ‘Scavi nel Bosco Sacro,’ Roma 1868.
[154] Plin. Ep. viii. 17.
[155] Herodian i. 12, 2.
[156] Nibby, Anal. ii. p. 205.
[157] Hist. Aug. Hadrian 26. Aur. Vict. Epit. xiv. Tertull. Apol. 5.
[158] Strabo, xvii. 17.
[159] Nibby, Anal. iii. 655.
[160] Dennis in Milman’s Horace, p. 101; pratum apricum, Ep. i. 14, 30;
aprica rura, Od. iii. 18, 2. See also, Od. iii. 16, 30; Ep. i. 14, 35, 39.
‘Rome and the Campagna,’ p. 430.
[161] Nibby, Anal. iii. 31. Bull. dell’ Inst. 1863, pp. 72, 81.
[162] See Dennis, ‘Etruria,’ ch. i.
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Transcriber's note:
Footnote 16 appears on page 21 of the text, but there is no corresponding
marker on the page.