Chapter 12

ROMAN ARCHITECTURE--_Continued_.

BOOKS RECOMMENDED: Same as for Chapter VIII. Also, Guhl and Kohner, _Life of the Ancient Greeks and Romans_. Adams, _Ruins of the Palace of Spalato_. Burn, _Rome and the Campagna_. Cameron, _Roman Baths_. Mau, tr. by Kelcey, _Pompeii, its Life and Art_. Mazois, _Ruines de Pompeii_. Von Presuhn, _Die neueste Ausgrabungen zu Pompeii_. Wood, _Ruins of Palmyra and Baalbec_.

+THE ETRUSCAN STYLE.+ Although the first Greek architects were employed in Rome as early as 493 B.C., the architecture of the Republic was practically Etruscan until nearly 100 B.C. Its monuments, consisting mainly of city walls, tombs, and temples, are all marked by a general uncouthness of detail, denoting a lack of artistic refinement, but they display considerable constructive skill. In the Etruscan walls we meet with both polygonal and regularly coursed masonry; in both kinds the true arch appears as the almost universal form for gates and openings. A famous example is the Augustan Gate at Perugia, a late work rebuilt about 40 B.C., but thoroughly Etruscan in style. At Volaterræ (Volterra) is another arched gate, and in Perugia fragments of still another appear built into the modern walls.

The Etruscans built both structural and excavated tombs; they consisted in general of a single chamber with a slightly arched or gabled roof, supported in the larger tombs on heavy square piers. The interiors were covered with pictures; externally there was little ornament except about the gable and doorway. The latter had a stepped or moulded frame with curious _crossettes_ or ears projecting laterally at the top. The gable recalled the wooden roofs of Etruscan temples, but was coarse in detail, especially in its mouldings. Sepulchral monuments of other types are also met with, such as _cippi_ or memorial pillars, sometimes in groups of five on a single pedestal (tomb at Albano).

Among the temples of Etruscan style that of +Jupiter Capitolinus+ on the Capitol at Rome, destroyed by fire in 80 B.C., was the chief. Three narrow chambers side by side formed a cella nearly square in plan, preceded by a hexastyle porch of huge Doric, or rather Tuscan, columns arranged in three aisles, widely spaced and carrying ponderous wooden architraves. The roof was of wood; the cymatium and ornaments, as well as the statues in the pediment, were of terra-cotta, painted and gilded. The details in general showed acquaintance with Greek models, which appeared in debased and awkward imitations of triglyphs, cornices, antefixæ, etc.

+GREEK STYLE.+ The victories of Marcellus at Syracuse, 212 B.C., Fabius Maximus at Tarentum (209 B.C.), Flaminius (196 B.C.), Mummius (146 B.C.), Sulla (86 B.C.), and others in the various Greek provinces, steadily increased the vogue of Greek architecture and the number of Greek artists in Rome. The temples of the last two centuries B.C., and some of earlier date, though still Etruscan in plan, were in many cases strongly Greek in the character of their details. A few have remained to our time in tolerable preservation. The temple of +Fortuna Virilis+ (really of Fors Fortuna), of the second century (?) B.C., is a tetrastyle prostyle pseudoperipteral temple with a high _podium_ or base, a typical Etruscan cella, and a deep porch, now walled up, but thoroughly Greek in the elegant details of its Ionic order (Fig. 51). Two circular temples, both called erroneously +Temples of Vesta+, one at Rome near the Cloaca Maxima, the other at Tivoli, belong among the monuments of Greek style. The first was probably dedicated to Hercules, the second probably to the Sibyls; the latter being much the better preserved of the two. Both were surrounded by peristyles of eighteen Corinthian columns, and probably covered by domical roofs with gilded bronze tiles. The Corinthian order appears here complete with its modillion cornice, but the crispness of the detail and the fineness of the execution are Greek and not Roman. These temples date from about 72 B.C., though the one at Rome was probably rebuilt in the first century A.D. (Fig. 52).

+IMPERIAL ARCHITECTURE; AUGUSTAN AGE.+ Even in the temples of Greek style Roman conceptions of plan and composition are dominant. The Greek architect was not free to reproduce textually Greek designs or details, however strongly he might impress with the Greek character whatever he touched. The demands of imperial splendor and the building of great edifices of varied form and complex structure, like the thermæ and amphitheatres, called for new adaptations and combinations of planning and engineering. The reign of Augustus (27 B.C.-14 A.D.) inaugurated the imperial epoch, but many works erected before and after his reign properly belong to the Augustan age by right of style. In general, we find in the works of this period the happiest combination of Greek refinement with Roman splendor. It was in this period that Rome first assumed the aspect of an opulent and splendid metropolis, though the way had been prepared for this by the regularization and adornment of the Roman Forum and the erection of many temples, basilicas, fora, arches, and theatres during the generation preceding the accession of Augustus. His reign saw the inception or completion of the portico of Octavia, the Augustan forum, the Septa Julia, the first Pantheon, the adjoining Thermæ of Agrippa, the theatre of Marcellus, the first of the imperial palaces on the Palatine, and a long list of temples, including those of the Dioscuri (Castor and Pollux), of Mars Ultor, of Jupiter Tonans on the Capitol, and others in the provinces; besides colonnades, statues, arches, and other embellishments almost without number.

+LATER IMPERIAL WORKS.+ With the successors of Augustus splendor increased to almost fabulous limits, as, for instance, in the vast extent and the prodigality of ivory and gold in the famous Golden House of Nero. After the great fire in Rome, presumably kindled by the agents of this emperor, a more regular and monumental system of street-planning and building was introduced, and the first municipal building-law was decreed by him. To the reign of Vespasian (68-79 A.D.) we owe the rebuilding in Roman style and with the Corinthian order of the temple of Jupiter Capitolinus, the Baths of Titus, and the beginning of the Flavian amphitheatre or Colosseum. The two last-named edifices both stood on the site of Nero’s Golden House, of which the greater part was demolished to make way for them. During the last years of the first century the arch of Titus was erected, the Colosseum finished, amphitheatres built at Verona, Pola, Reggio, Tusculum, Nîmes (France), Constantine (Algiers), Pompeii and Herculanum (these last two cities and Stabiæ rebuilt after the earthquake of 63 A.D.), and arches, bridges, and temples erected all over the Roman world.

The first part of the second century was distinguished by the splendid architectural achievements of the reign of Hadrian (117-138 A.D.) in Rome and the provinces, especially Athens. Nearly all his works were marked by great dignity of conception as well as beauty of detail. During the latter part of the century a very interesting series of buildings were erected in the Hauran (Syria), in which Greek and Arab workmen under Roman direction produced examples of vigorous stone architecture of a mingled Roman and Syrian character.

The most-remarkable thermæ of Rome belong to the third century--those of Caracalla (211-217 A.D.) and of Diocletian (284-305 A.D.)--their ruins to-day ranking among the most imposing remains of antiquity. In Syria the temples of the Sun at Baalbec and Palmyra (273 A.D., under Aurelian), and the great palace of Diocletian at Spalato, in Dalmatia (300 A.D.), are still the wonder of the few travellers who reach those distant spots.

While during the third and fourth centuries there was a marked decline in purity and refinement of detail, many of the later works of the period display a remarkable freedom and originality in conception. But these works are really not Roman, they are foreign, that is, provincial products; and the transfer of the capital to Byzantium revealed the increasing degree in which Rome was coming to look to the East for her strength and her art.

+TEMPLES.+ The Romans built both rectangular and circular temples, and there was much variety in their treatment. In the rectangular temples a high _podium_, or basement, was substituted for the Greek stepped stylobate, and the prostyle plan was more common than the peripteral. The cella was relatively short and wide, the front porch inordinately deep, and frequently divided by longitudinal rows of columns into three aisles. In most cases the exterior of the cella in prostyle temples was decorated by engaged columns. A barrel vault gave the interior an aspect of spaciousness impossible with the Greek system of a wooden ceiling supported on double ranges of columns. In the place of these, free or engaged columns along the side-walls received the ribs of the vaulting. Between these ribs the ceiling was richly panelled, or coffered and sumptuously gilded. The temples of +Fortuna Virilis+ and of +Faustina+ at Rome (the latter built 141 A.D., and its ruins incorporated into the modern church of S. Lorenzo in Miranda), and the beautiful and admirably preserved +Maison Carrée+, at Nîmes (France) (4 A.D.) are examples of this type. The temple of +Concord+, of which only the podium remains, and the small temple of Julius (both of these in the Forum) illustrate another form of prostyle temple in which the porch was on a long side of the cella. Some of the larger temples were peripteral. The temple of the +Dioscuri+ (Castor and Pollux) in the Forum, was one of the most magnificent of these, certainly the richest in detail (Fig. 44). Very remarkable was the double temple of +Venus and Rome+, east of the Forum, designed by the Emperor Hadrian about 130 A.D. (Fig. 53). It was a vast pseudodipteral edifice containing two cellas in one structure, their statue-niches or apses meeting back to back in the centre. The temple stood in the midst of an imposing columnar peribolus entered by magnificent gateways. Other important temples have already been mentioned on p. 91.

Besides the two circular temples already described, the temple of Vesta, adjoining the House of the Vestals, at the east end of the Forum should be mentioned. At Baalbec is a circular temple whose entablature curves inward between the widely-spaced columns until it touches the cella in the middle of each intercolumniation. It illustrates the caprices of design which sometimes resulted from the disregard of tradition and the striving after originality (273 A.D.).

+THE PANTHEON.+ The noblest of all circular temples of Rome and of the world was the +Pantheon+. It was built by Hadrian, 117-138 A.D., on the site of the earlier rectangular temple of the same name erected by Agrippa. It measures 142 feet in diameter internally; the wall is 20 feet thick and supports a hemispherical dome rising to a height of 140 feet (Figs. 54, 55). Light is admitted solely through a round opening 28 feet in diameter at the top of the dome, the simplest and most impressive method of illumination conceivable. The rain and snow that enter produce no appreciable effect upon the temperature of the vast hall. There is a single entrance, with noble bronze doors, admitting directly to the interior, around which seven niches, alternately rectangular and semicircular in plan and fronted by Corinthian columns, lighten, without weakening, the mass of the encircling wall. This wall was originally incrusted with rich marbles, and the great dome, adorned with deep coffering in rectangular panels, was decorated with rosettes and mouldings in gilt stucco. The dome appears to have been composed of numerous arches and ribs, filled in and finally coated with concrete. A recent examination of a denuded portion of its inner surface has convinced the writer that the interior panelling was executed after, and not during, its construction, by hewing the panels out of the mass of brick and concrete, without regard to the form and position of the origin skeleton of ribs.

The exterior (Fig. 56) was less successful than the interior. The gabled porch of twelve superb granite columns 50 feet high, three-aisled in plan after the Etruscan mode, and covered originally by a ceiling of bronze, was a rebuilding with the materials and on the plan of the original pronaos of the Pantheon of Agrippa. The circular wall behind it is faced with fine brickwork, and displays, like the dome, many curious arrangements of discharging arches, reminiscences of traditional constructive precautions here wholly useless and fictitious because only skin-deep. A revetment of marble below and plaster above once concealed this brick facing. The portico, in spite of its too steep gable (once filled with a “gigantomachia” in gilt bronze) and its somewhat awkward association with a round building, is nevertheless a noble work, its capitals in Pentelic marble ranking among the finest known examples of the Roman Corinthian. Taken as a whole, the Pantheon is one of the great masterpieces of the world’s architecture.

+FORA AND BASILICAS.+ The fora were the places for general public assemblage. The chief of those in Rome, the +Forum Magnum+, or +Forum Romanum+, was at first merely an irregular vacant space, about and in which, as the focus of the civic life, temples, halls, colonnades, and statues gradually accumulated. These chance aggregations the systematic Roman mind reduced in time to orderly and monumental form; successive emperors extended them and added new fora at enormous cost and with great splendor of architecture. Those of Julius, Augustus, Vespasian, and Nerva (or Domitian), adjoining the Roman Forum, were magnificent enclosures surrounded by high walls and single or double colonnades. Each contained a temple or basilica, besides gateways, memorial columns or arches, and countless statues. The +Forum of Trajan+ surpassed all the rest; it covered an area of thirty-five thousand square yards, and included, besides the main area, entered through a triumphal arch, the Basilica Ulpia, the temple of Trajan, and his colossal Doric column of Victory. Both in size and beauty it ranked as the chief architectural glory of the city (Fig. 57). The six fora together contained thirteen temples, three basilicas, eight triumphal arches, a mile of porticos, and a number of other public edifices.[14] Besides these, a net-work of colonnades covered large tracts of the city, affording sheltered communication in every direction, and here and there expanding into squares or gardens surrounded by peristyles.

[Footnote 14: Lanciani: _Ancient Rome in the Light of Recent Discoveries_, p. 89.]

The public business of Rome, both judicial and commercial, was largely transacted in the _basilicas_, large buildings consisting usually of a wide and lofty central nave flanked by lower side-aisles, and terminating at one or both ends in an apse or semicircular recess called the _tribune_, in which were the seats for the magistrates. The side-aisles were separated from the nave by columns supporting a clearstory wall, pierced by windows above the roofs of the side-aisles. In some cases the latter were two stories high, with galleries; in others the central space was open to the sky, as at Pompeii, suggesting the derivation of the basilica from the open square surrounded by colonnades, or from the forum itself, with which we find it usually associated. The most important basilicas in Rome were the +Sempronian+, the +Æmilian+ (about 54 B.C.), the +Julian+ in the Forum Magnum (51 B.C.), and the +Ulpian+ in the Forum of Trajan (113 A.D.). The last two were probably open basilicas, only the side-aisles being roofed. The Ulpian (Fig. 57) was the most magnificent of all, and in conjunction with the Forum of Trajan formed one of the most imposing of those monumental aggregations of columnar architecture which contributed so largely to the splendor of the Roman capital.

These monuments frequently suffered from the burning of their wooden roofs. It was Constantine who completed the first vaulted and fireproof basilica, begun by his predecessor and rival, Maxentius, on the site of the former Temple of Peace (Figs. 58, 59). Its design reproduced on a grand scale the plan of the tepidarium-halls of the thermæ, the side-recesses of which were converted into a continuous side-aisle by piercing arches through the buttress-walls that separated them. Above the imposing vaults of these recesses and under the cross-vaults of the nave were windows admitting abundant light. A _narthex_, or porch, preceded the hall at one end; there were also a side entrance from the Via Sacra, and an apse or tribune for the magistrates opposite each of these entrances. The dimensions of the main hall (325 × 85 feet), the height of its vault (117 feet), and the splendor of its columns and incrustations excited universal admiration, and exercised a powerful influence on later architecture.

+THERMÆ.+ The leisure of the Roman people was largely spent in the great baths, or _thermæ_, which took the place substantially of the modern club. The establishments erected by the emperors for this purpose were vast and complex congeries of large and small halls, courts, and chambers, combined with a masterly comprehension of artistic propriety and effect in the sequence of oblong, square, oval, and circular apartments, and in the relation of the greater to the lesser masses. They were a combination of the Greek _palæstra_ with the Roman _balnea_, and united in one harmonious design great public swimming-baths, private baths for individuals and families, places for gymnastic exercises and games, courts, peristyles, gardens, halls for literary entertainments, lounging-rooms, and all the complex accommodation required for the service of the whole establishment. They were built with apparent disregard of cost, and adorned with splendid extravagance. The earliest were the +Baths of Agrippa+ (27 B.C.) behind the Pantheon; next may be mentioned those of +Titus+, built on the substructions of Nero’s Golden House. The remains of the +Thermæ of Caracalla+ (211 A.D.) form the most extensive mass of ruins in Rome, and clearly display the admirable planning of this and similar establishments. A gigantic block of buildings containing the three great halls for cold, warm, and hot baths, stood in the centre of a vast enclosure surrounded by private baths, _exedræ_, and halls for lecture-audiences and other gatherings. The enclosure was adorned with statues, flower-gardens, and places for out-door games. The +Baths of Diocletian+ (302 A.D.) embodied this arrangement on a still more extensive scale; they could accommodate 3,500 bathers at once, and their ruins cover a broad territory near the railway terminus of the modern city. The church of S. Maria degli Angeli was formed by Michael Angelo out of the _tepidarium_ of these baths--a colossal hall 340 × 87 feet, and 90 feet high. The original vaulting and columns are still intact, and the whole interior most imposing, in spite of later stucco disfigurements. The circular _laconicum_ (sweat-room) serves as the porch to the present church. It was in the building of these great halls that Roman architecture reached its most original and characteristic expression. Wholly unrelated to any foreign model, they represent distinctively Roman ideals, both as to plan and construction.

+PLACES OF AMUSEMENT.+ The earliest Roman theatres differed from the Greek in having a nearly semicircular plan, and in being built up from the level ground, not excavated in a hillside (Fig. 61). The first theatre was of wood, built by Mummius 145 B.C., and it was not until ninety years later that stone was first substituted for the more perishable material, in the theatre of Pompey. The +Theatre of Marcellus+ (23-13 B.C.) is in part still extant, and later theatres in Pompeii, Orange (France), and in the Asiatic provinces are in excellent preservation. The orchestra was not, as in the Greek theatre, reserved for the choral dance, but was given up to spectators of rank; the stage was adorned with a permanent architectural background of columns and arches, and sometimes roofed with wood, and an arcade or colonnade surrounded the upper tier of seats. The amphitheatre was a still more distinctively Roman edifice. It was elliptical in plan, surrounding an elliptical arena, and built up with continuous encircling tiers of seats. The earliest stone amphitheatre was erected by Statilius Taurus in the time of Augustus. It was practically identical in design with the later and much larger Flavian amphitheatre, commonly known as the +Colosseum+, begun by Vespasian and completed 82 A.D. (Fig. 62). This immense structure measured 607 × 506 feet in plan and was 180 feet high; it could accommodate eighty-seven thousand spectators. Engaged columns of the Tuscan, Ionic, and Corinthian orders decorated three stories of the exterior; the fourth was a nearly unbroken wall with slender Corinthian pilasters. Solidly constructed of travertine, concrete, and tufa, the Colosseum, with its imposing but monotonous exterior, almost sublime by its scale and seemingly endless repetition, but lacking in refinement or originality of detail and dedicated to bloody and cruel sports, was a characteristic product of the Roman character and civilization. At Verona, Pola, Capua, and many cities in the foreign provinces there are well-preserved remains of similar structures.

Closely related to the amphitheatre were the circus and the stadium. The +Circus Maximus+ between the Palatine and Aventine hills was the oldest of those in Rome. That erected by Caligula and Nero on the site afterward partly occupied by St. Peter’s, was more splendid, and is said to have been capable of accommodating over three hundred thousand spectators after its enlargement in the fourth century. The long, narrow race-course was divided into two nearly equal parts by a low parapet, the _spina_, on which were the goals (_metæ_) and many small decorative structures and columns. One end of the circus, as of the stadium also, was semicircular; the other was segmental in the circus, square in the stadium; a colonnade or arcade ran along the top of the building, and the entrances and exits were adorned with monumental arches.

+TRIUMPHAL ARCHES AND COLUMNS.+ Rome and the provincial cities abounded in monuments commemorative of victory, usually single or triple arches with engaged columns and rich sculptural adornments, or single colossal columns supporting statues. The arches were characteristic products of Roman design, and some of them deserve high praise for the excellence of their proportions and the elegance of their details. There were in Rome in the second century A.D., thirty-eight of these monuments. The +Arch of Titus+ (71-82 A.D.) is the simplest and most perfect of those still extant in Rome; the arch of +Septimius Severus+ in the Forum (203 A.D.) and that of +Constantine+ (330 A.D.) near the Colosseum, are more sumptuous but less pure in detail. The last-named was in part enriched with sculptures taken from the earlier arch of Trajan. The statues of Dacian captives on the attic (_attic_ = a species of subordinate story added above the main cornice) of this arch were a fortunate addition, furnishing a _raison-d’être_ for the columns and broken entablatures on which they rest. Memorial columns of colossal size were erected by several emperors, both in Rome and abroad. Those of +Trajan+ and of +Marcus Aurelius+ are still standing in Rome in perfect preservation. The first was 140 feet high including the pedestal and the statue which surmounted it; its capital marked the height of the ridge levelled by the emperor for the forum on which the column stands. Its most striking peculiarity is the spiral band of reliefs winding around the shaft from bottom to top and representing the Dacian campaigns of Trajan. The other column is of similar design and dimensions, but greatly inferior to the first in execution. Both are really towers, with interior stair-cases leading to the top.

+TOMBS.+ The Romans developed no special and national type of tomb, and few of their sepulchral monuments were of large dimensions. The most important in Rome were the pyramid of +Caius Cestius+ (late first century B.C.), and the circular tombs of +Cecilia Metella+ (60 B.C.), +Augustus+ (14 A.D.) and +Hadrian+, now the Castle of S. Angelo (138 A.D.). The latter was composed of a huge cone of marble supported on a cylindrical structure 230 feet in diameter standing on a square podium 300 feet long and wide. The cone probably once terminated in the gilt bronze pine-cone now in the Giardino della Pigna of the Vatican. In the Mausoleum of Augustus a mound of earth planted with trees crowned a similar circular base of marble on a podium 220 feet square, now buried.

The smaller tombs varied greatly in size and form. Some were vaulted chambers, with graceful internal painted decorations of figures and vine patterns combined with low-relief enrichments in stucco. Others were designed in the form of altars or sarcophagi, as at Pompeii; while others again resembled ædiculæ, little temples, shrines, or small towers in several stories of arches and columns, as at St. Rémy (France).

+PALACES AND DWELLINGS.+ Into their dwellings the Romans carried all their love of ostentation and personal luxury. They anticipated in many details the comforts of modern civilization in their furniture, their plumbing and heating, and their utensils. Their houses may be divided into four classes: the palace, the villa, the _domus_ or ordinary house, and the _insula_ or many-storied tenement built in compact blocks. The first three alone concern us, and will be taken up in the above order.

The imperial +palaces+ on the Palatine Hill comprised a wide range in style and variety of buildings, beginning with the first simple house of Augustus (26 B.C.), burnt and rebuilt 3 A.D. Tiberius, Caligula, and Nero added to the Augustan group; Domitian rebuilt a second time and enlarged the palace of Augustus, and Septimius Severus remodelled the whole group, adding to it his own extraordinary seven-storied palace, the Septizonium. The ruins of these successive buildings have been carefully excavated, and reveal a remarkable combination of dwelling-rooms, courts, temples, libraries, basilicas, baths, gardens, peristyles, fountains, terraces, and covered passages. These were adorned with a profusion of precious marbles, mosaics, columns, and statues. Parts of the demolished palace of Nero were incorporated in the substructions of the Baths of Titus. The beautiful arabesques and plaster reliefs which adorned them were the inspiration of much of the fresco and stucco decoration of the Italian Renaissance. At Spalato, in Dalmatia, are the extensive ruins of the great +Palace of Diocletian+, which was laid out on the plan of a Roman camp, with two intersecting avenues (Fig. 64). It comprised a temple, mausoleum, basilica, and other structures besides those portions devoted to the purposes of a royal residence.

The +villa+ was in reality a country palace, arranged with special reference to the prevailing winds, exposure to the sun and shade, and the enjoyment of a wide prospect. Baths, temples, _exedræ_, theatres, tennis-courts, sun-rooms, and shaded porticoes were connected with the house proper, which was built around two or three interior courts or peristyles. Statues, fountains, and colossal vases of marble adorned the grounds, which were laid out in terraces and treated with all the fantastic arts of the Roman landscape-gardener. The most elaborate and extensive villa was that of +Hadrian+, at Tibur (Tivoli); its ruins, covering hundreds of acres, form one of the most interesting spots to visit in the neighborhood of Rome.

There are few remains in Rome of the +domus+ or private house. Two, however, have left remarkably interesting ruins--the +Atrium Vestæ+, or House of the Vestal Virgins, east of the Forum, a well-planned and extensive house surrounding a cloister or court; and the +House of Livia+, so-called, on the Palatine Hill, the walls and decorations of which are excellently preserved. The typical Roman house in a provincial town is best illustrated by the ruins of Pompeii and Herculanum, which, buried by an eruption of Vesuvius in 79 A.D., have been partially excavated since 1721. The Pompeiian house (Fig. 65) consisted of several courts or _atria_, some of which were surrounded by colonnades and called _peristyles_. The front portion was reserved for shops, or presented to the street a wall unbroken save by the entrance; all the rooms and chambers opened upon the interior courts, from which alone they borrowed their light. In the brilliant climate of southern Italy windows were little needed, as sufficient light was admitted by the door, closed only by portières for the most part; especially as the family life was passed mainly in the shaded courts, to which fountains, parterres of shrubbery, statues, and other adornments lent their inviting charm. The general plan of these houses seems to have been of Greek origin, as well as the system of decoration used on the walls. These, when not wainscoted with marble, were covered with fantastic, but often artistic, painted decorations, in which an imaginary architecture as of metal, a fantastic and arbitrary perspective, illusory pictures, and highly finished figures were the chief elements. These were executed in brilliant colors with excellent effect. The houses were lightly built, with wooden ceilings and roofs instead of vaulting, and usually with but one story on account of the danger from earthquakes. That the workmanship and decoration were in the capital often superior to what was to be found in a provincial town like Pompeii, is evidenced by beautiful wall-paintings and reliefs discovered in Rome in 1879 and now preserved in the Museo delle Terme. More or less fragmentary remains of Roman houses have been found in almost every corner of the Roman empire, but nowhere exhibiting as completely as in Pompeii the typical Roman arrangement.

+WORKS OF UTILITY.+ A word should be said about Roman engineering works, which in many cases were designed with an artistic sense of proportion and form which raises them into the domain of genuine art. Such were especially the bridges, in which a remarkable effect of monumental grandeur was often produced by the form and proportions of the arches and piers, and an appropriate use of rough and dressed masonry, as in the Pons Ælius (Ponte S. Angelo), the great bridge at Alcantara (Spain), and the Pont du Gard, in southern France. The aqueducts are impressive rather by their length, scale, and simplicity, than by any special refinements of design, except where their arches are treated with some architectural decoration to form gates, as in the Porta Maggiore, at Rome.

+MONUMENTS:+ (Those which have no important extant remains are given in italics.) TEMPLES: _Jupiter Capitolinus_, 600 B.C.; _Ceres, Liber, and Libera_, 494 B.C. (ruins of later rebuilding in S. Maria in Cosmedin); _first T. of Concord_ (rebuilt in Augustan age), 254 B.C.; _first marble temple_ in _portico of Metellus_, by a Greek, Hermodorus, 143 B.C.; temples of Fortune at Præneste and at Rome, and of “Vesta” at Rome, 83-78 B.C.; of “Vesta” at Tivoli, and of Hercules at Cori, 72 B.C.; _first Pantheon_, 27 B.C. In Augustan Age temples of _Apollo_, Concord rebuilt, Dioscuri, _Julius_, _Jupiter Stator_, _Jupiter Tonans_, Mars Ultor, Minerva (_at Rome_ and Assisi), Maison Carrée at Nîmes, Saturn; at Puteoli, Pola, etc. _T. of Peace_; _T. Jupiter Capitolinus_, rebuilt 70 A.D.; temple at Brescia. Temple of Vespasian, 96 A.D.; also _of Minerva_ in Forum of Nerva; _of Trajan_, 117 A.D.; second Pantheon; T. of Venus and Rome at Rome, and of Jupiter Olympius at Athens, 135-138 A.D.; Faustina, 141 A.D.; many in Syria; temples of Sun at _Rome_, Baalbec, and Palmyra, cir. 273 A.D.; of Romulus, 305 A.D. (porch S. Cosmo and Damiano). PLACES OF ASSEMBLY: FORA--Roman, Julian, 46 B.C.; Augustan, 40-42 B.C.; _of Peace_, 75 A.D.; Nerva, 97 A.D.; Trajan (by Apollodorus of Damascus, 117 A.D.) BASILICAS: _Sempronian_, _Æmilian_, 1st century B.C.; Julian, 51 B.C.; _Septa Julia_, 26 B.C.; the Curia, later rebuilt by Diocletian, 300 A.D. (now Church of S. Adriano); _at Fano_, 20 A.D. (?); Forum and Basilica at Pompeii, 60 A.D.; of Trajan; of Constantine, 310-324 A.D. THEATRES (th.) and AMPHITHEATRES (amp.): th. _Pompey_, 55 B.C.; of _Balbus_ and of Marcellus, 13 B.C.; th. and amp. at Pompeii and Herculanum; Colosseum at Rome, 78-82 A.D.; th. at Orange and in Asia Minor; amp. at Albano, Constantine, Nîmes, Petra, Pola, Reggio, Trevi, Tusculum, Verona, etc.; amp. Castrense at Rome, 96 A.D. Circuses and stadia at Rome. THERMÆ: of Agrippa, 27 B.C.; _of Nero_; of Titus, 78 A.D. _Domitian_, 90 A.D.; Caracalla, 211 A.D.; Diocletian, 305 A.D.; _Constantine_, 320 A.D.; “Minerva Medica,” 3d or 4th century A.D. ARCHES: _of Stertinius_, 196 B.C.; _Scipio_, 190 B.C.; _Augustus_, 30 B.C.; Titus, 71-82 A.D.; _Trajan_, 117 A.D.; Severus, 203 A.D.; Constantine, 320 A.D.; of Drusus, Dolabella, Silversmiths, 204 A.D.; Janus Quadrifrons, 320 A.D. (?); all at Rome. Others at Benevento, Ancona, Rimini in Italy; also at Athens, and at Reims and St. Chamas in France. Columns of Trajan, _Antoninus_, Marcus Aurelius at Rome, others at Constantinople, Alexandria, etc. TOMBS: along Via Appia and Via Latina, at Rome; Via Sacra at Pompeii; tower-tombs at St. Rémy in France; rock-cut at Petra; at Rome, of Caius Cestius and Cecilia Metella, 1st century B.C.; of Augustus, 14 A.D.; Hadrian, 138 A.D. PALACES and PRIVATE HOUSES: On Palatine, of Augustus, Tiberius, Nero, Domitian, Septimius Severus, _Elagabalus_; Villa of Hadrian at Tivoli; palaces of Diocletian at Spalato and _of Constantine_ at Constantinople. House of Livia on Palatine (Augustan period); of Vestals, rebuilt by Hadrian, cir. 120 A.D. Houses at Pompeii and Herculanum, cir. 60-79 A.D.; Villas of Gordianus (“Tor’ de’ Schiavi,” 240 A.D.), and _of Sallust_ at Rome and _of Pliny_ at Laurentium.