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The Digital Piranesi

Arch of Severus, and Caracalla

In this etching of the Arch of Septimius Severus, rendered here as viewed from the north, Piranesi’s fascination with ancient epigraphy comes to the fore, and his disdain for certain features of ancient architecture appears in the linked textual commentary. The large and lengthy inscription of the monument is given top billing in the print, and its Latin characters are carefully and legibly rendered with great fidelity to the original. This dedicatory inscription records the circumstances of the arch: it was dedicated in AD 203 CE to Emperors Septimius Severus (145-211 CE) and his sons and co-rulers Caracalla and Geta, and commemorative of their victories in the Parthian wars, which pitted the Roman empire against the Parthian empire in the eastern Mediterranean and Middle East. The arch, which sits today at the northwest end of the Roman Forum, features one of the most monumental and lengthiest surviving ancient inscriptions from the Roman Empire. This inscription has long been considered one of the most significant aspects of the monument, and Piranesi reproduces the full Latin text and its translation in his Index to the Map of Rome.

Appropriately then, Piranesi draws our attention to the ancient inscription in its placement and careful rendering, as well as in the play of light and shadow, the pointing arms of the staffage figures in the foreground, and the uplifted gazes of the figures below the arch all draw our eyes to this central element. More subtly, the ornamental program and especially the sculptural reliefs below the inscription are rendered with less detail to avoid distracting our gaze. While weathered in reality, Piranesi’s cursory rendering of these sculpted details further hinders any attempt at reading the relief panels, which present interesting scenes from the Parthian campaigns and figures of winged victories with trophies above the central arch. It also aligns with Piranesi’s dismissal of the sculptural program of the arch as “mancandole la buona maniera dell’Architettura e della Scultura” (Index to the Map of Rome, no. 269). (SB)

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Contents of this path:
1. Frontispiece
2. Dedicatory Frontispiece VRBIS . AETERNAE . VESTIGIA / AB . EQ . I . B . PIRANESIO . IAM . AENEIS . TABVLIS . INCISA / NVNC . DENVO / IIS . QVAE . SVPERERANT . EDENDA . QVAEQVE . NOVITER . DETECTA . SVNT / DECORATA . ADAVCTA . AMPLIFICATA / EQVES . FRANCISCVS . FILIVS / GVSTAVO . III / GOTH . SVEC . VAND . REGI &&& / SAPIENTI . FORTI . ATQVE . OPTIMO / ANTIQVITATVM / ET . BONARUM . ARTIVM . PATRONO . MVNIFICENTISSIMO / IN.OBSEQVII . GRATIQVE . ANIMI . SPECIMEN / D . D . D . ; Piranesi Archit(ectus) inv(enit) e fecit THE RUINS OF THE ETERNAL CITY / ENGRAVED ON COPPER PLATES BY THE CAVALIER GIOVANNI BATTISTA PIRANESI / AND NOW ONCE MORE / WITH RUINS THAT HAVE NOT YET BEEN PUBLISHED AND THOSE THAT HAVE BEEN NEWLY / DISCOVERED / EMBELLISHED, AUGMENTED, AND AMPLIFIED / BY HIS SON CAVALIER FRANCESCO PIRANESI / TO GUSTAV III / KING OF THE GOTHS, SWEDES, AND VENDS / WISE, POWERFUL AND GOOD / MOST MUNFICENT PATRON OF ANTIQUITIES AND THE ARTS / AS A DEMONSTRATION OF REVERENCE AND GRATEFUL SPIRIT / GAVE, GIFTED, AND DEDICATED; The Fatherland; Invented and engraved by the Architect Piranesi
10. Map of Rome
11. Marble Fragments from the Ancient Map of Rome (1 of 3)
12. Marble Fragments from the Ancient Map of Rome (2 of 3)
13. Marble Fragments from the Ancient Map of Rome (3 of 3)
14. Triangular Stones from the Aurelian Walls
15. Towers that Fortify the Aurelian Walls A. Torri di cui son munite le mura. B. Arcuazione interiore della medesime per uso delle Sentinelle. C. Comunicazion da un’arco all’altro. D. Feritoje corrispondenti nell’esterno. E. Piano di Roma anteriore alla costruzione delle mura Aurelianensi. F. Piano di Roma, o sia terrapieno fatto alle mura da Aureliano, colle rovine degli Edifizi che ingombravano il luogo e le vicinanze delle mura.; Piranesi Archit(etto) dis(egnò) inc(ise). A. Towers that fortify the Aurelian walls. B. Interior arches inside the towers used by the Sentinels. C. Corridors between the arches. D. Exterior openings that correspond to those of the interior. E. Ground level of Rome prior to the construction of the Aurelian walls. F. Ground level of Rome, or embankment made for the Aurelian walls, with the ruins of the Buildings that cluttered the area and the vicinity of the walls.; Drawn and engraved by the Architect Piranesi.
16. Piece of Tufa
17. View of the Remains of the Amphitheater Castrense
18. Remains of the Aqueduct of the Anione Vecchio
19. Porta San Lorenzo Built by Aurelian A. Porta San Lorenzo di Aureliano. B. Canale per uso della porta levatora a costume di que tempi. C. Mura, e torri di Bellisario. D. Acquedotto dell’Acqua Marcia. E. Porta interna. F. Facciata della porta. A. in tutto simile alla chiusa G. vicina alla Maggiore H. I. Merli della Porta F. in forma più grande. K. Modinatura della Cornice. L. Acquedotto dell’Acqua Claudia. M. Porta interna alla Maggiore.; Piranesi Archit(etto) dis(egnò) inc(ise). A. Porta San Lorenzo, built by Aurelian. B. Canal used for the drawbridge, in the custom of the times. C. Walls and towers built by Belisarius. D. Aqueduct of the Acqua Marcia. E. Interior gate. F. Facade of Gate A, which is similar to the closed gate near the Porta Maggiore H. I. Close-up of the Merlons of Gate F. K. Moulding of the Cornice. L. Aqueduct of the Acqua Claudia. M. Interior gate to the Porta Maggiore.; Drawn and engraved by the Architect Piranesi.
20. Cross Section of the Giulia, Tepula, and Marcia Aqueducts
21. Plan of the Buttresses of the Muro Torto A. Pianta de Speroni del muro del Busto, detto muro Torto. B. Cavi a guisa di casse incavate nella grossezza del muro, e de Speroni. C. Canali per i scoli dell’acque. D. Elevazione. E. Spaccato. F. Vacui, o siano Casse sudette in pianta. G. Buchi co canali, di terra cotta, per ricervere i scoli delle sopradette acque. H. Canali di terra cotta, disegnanti in forma piu grande.; Piranesi Archit(etto) dis(egnò) inc(ise). A. Plan of the Buttresses of the Bustum, called the Muro Torto. B. Cavities in the form of coffins hollowed out into the width of the wall and into the Buttresses. C. Canals for the drainage of the water from the aqueducts. D. Elevation. E. Cross-section. F. Plan of the aforementioned cavities, or rather coffins. G. Holes, with canals made of terracotta, that received the drainage of water from the aforementioned aqueducts. H. Canals of terracotta drawn in the form of a close-up.; Drawn and engraved by the Architect Piranesi.
22. Remains of the Aqueduct of the Acqua Alsietina
23. Aqueduct of the Acqua Vergine
24. Column of Marcus Aurelius
25. View of the Remains of the Temple of Antoninus Pius
26. Seven Columns with Corinthian Capitals Belonging to the Temple of Juturna
28. Interior View of the Pronaos of the Pantheon
30. Remains of the Baths of Sallust
31. Remains of the Temple of Minerva Medica
32. Remains of the Castellum of the Acqua Claudia and Anione Nuovo
33. View of the Monument of the Fountainhead of the Acqua Claudia and Anione Nuovo
34. Remains of the Temple of the Speranza Vecchia
35. Tomb Chamber in the Casali Vineyard at Porta San Sebastiano
36. Monument of the Fountainhead of the Antonine Aqueduct
37. Cross Section of the Aqueduct of Caracalla A. Spaccato del Condotto di Caracalla che portava l’ acqua al bottino. B. Bottino. C. Buca nella volta delle conserve, per la quale entrava l’ acqua in esse intepidita dal Sole. D. Lastrico di musaico che ricuopriva le conserve. E. Altra buca nella volta che riceveva l’ acqua tiepida. F. Fornelli per riscaldar maggiormente l’acqua. G. Antico piano di Roma. H. Spaccati delle conserve. I. Muri delle conserve. K. Tubi. L. Fornelli. M. Tegoloni che ricuoprono i fornelli. N. Lastrico grosso palmo 1.3 sopra posto ai tegoloni. O. Bocche per introdurre il fuoco nei fornelli. P. Muro delle conserve disegnato in forma piu grande.; Piranesi Architetto dis(egnò) inc(ise). A. Channel, or canal, of the Aqueduct. B. Arches of the same aqueduct. C. Remains of the same structure.;Drawn and engraved by the Architect Piranesi. Bottom image: A. Cross-section of the Aqueduct of Caracalla, which distributed the water to the reservoir. B. Reservoir. C. Opening in the vault of the reserves, through which the water would enter after having been heated by the Sun. D. Layer of mosaics that covered the reserves. E. Another opening in the vault that received the tepid water. F. Furnaces used to heat most of the water. G. Ancient ground level of Rome. H. Cross-sections of the reserves. I. Walls of the reserves. K. Pipes. L. Furnaces. M. Large tiles that covered the furnaces. N. Thick layer of bricks, 1.3 palmi wide, placed on the large tiles. O. Openings where the fire was introduced into furnaces. P. Wall of the reserves shown in a close-up.; Drawn and engraved by the Architect Piranesi.
38. View of the Portico Built by M. Aemilius Lepidus and P. Aemilius Paulus
39. View of the Broken Bridge and the Arch of the Ancient Senatorial Bridge
40. View of the Remains of the House of Cola di Rienzo
41. One of the Two Archways of Stertinius in the Forum Boarium
42. Remains of the Temple of Cybele
43. Wall Along the Tiber that Secures the Outlet of the Cloaca Maxima
44. View of the Remains of the Ancient Buildings on the Slopes of the Aventine Along the Road Called the Marmorata View of the remains of ancient buildings on the slopes of the Aventine Hill along the road called the Marmorata.; A. Remains of the ancient salt mines. B. Channel of the Aqueduct of the Acqua Appia. C. Modern small fountain that draws from the aforementioned channel. D. Modern hill, in ancient times called the Clivus Publicius. E. Remains of the foundations of the Aventine Hill.; Drawn and engraved by the Architect Piranesi.
45. View of the Remains of the Arches that brought the water from the Acqua Claudia to the Aventine Hill
46. View of the Walls that Surround the Slopes of the Caelian Hill
47. Ruins of the Neronian Arches on the Caelian Hill
48. View of the Archway of the Consuls Dolabella and Silanus A. View of the Archway of the Consuls Dolabella and Silanus, surrounded by the Neronian arches that draw from the Aqueduct of the Acqua Claudia. B. Remains of Nero’s Inscription on his arches. C. Progression of the aforementioned arches. D. Examples of travertine stone that served in the elevation of the building, and that were fortuitously left there for repairs.; Drawn and engraved by the Architect Piranesi.
49. Remains of the Pronaos of the Temple of Jupiter Tonans
50. Remains of the First Castellum of the Acqua Giulia
51. View of the Arch of Gallienus A. View of the Arch of Gallienus. B. Castellum of a part of the Aqueduct of the Acqua Giulia. C. Monument of the Aqueducts of the Acqua Marcia, Tepula, and Giulia at the Porta San Lorenzo. D. Monument of the Aqueducts of the Acqua Claudia and Anione Nuovo at the Porta Maggiore. E. Neronian arches that received part of the Aqueduct of the Acqua Claudia.; Drawn and engraved by the Architect Piranesi.
52. View of the Seven Remaining Corridors of the Second Floor of the Tepidarium of the Baths of Titus, Called the Seven Halls
53. Plan of the Baths of Titus Pianta delle Terme di Tito, con suo Tiepidario, dette le Sette Sale, a con gl' avanzi della sua Casa. La tinta più nera indica la fabrica esistente, la più leggiera ciò, ce da me è stato supplito.; 1. Avanzi della Casa di Tito, quali s’internano col primo Piano. 2. Cordonata al Piano superiore. 3. Piazza della Palestra. 4. Abbaini, che portano il lume a Bagni, e Corridoj. 5. Cella Soleare con Vestiboli, Atrj, Tablini, Sisto, Cavedj, Esedre per ì Filosofi, e Bagno per gl’Atleti. 6. Bagno degl’Atleti. 7. Portico innanzi al Teatro. 8. Teatro. 9. Emicicli per uso de Filosofi, e della Gioventù, che in essi s’esercitavano, con stanze per riporre le lor vesti, ed i stili necessarj. 10. Tiepidario, detto le Sette Sale. 11. Ponte, per mezzo del quale si passava all’altre Fabriche, come vedremo in appresso.; Piranesi Archit(etto) dis(egnò) inc(ise). Plan of the Baths of Titus with the Tepidarium, called the Seven Halls, and the remains of his House. The darker ink indicates the extant building, and the lighter ink indicates my additions.; 1. Remains of the House of Titus, which are buried with the first Floor. 2. Staircase to the upper floor. 3. The square of the Palestra. 4. Attic rooms illuminating the Baths and Corridors. 5. Sunroom with vestibules, atria, tablina, a xystus, courtyards, and exedra for the philosophers and a bath for the athletes. 6. Bath for the athletes. 7. Portico in front of the Theater. 8. Theater. 9. Hemicycles where the philosophers and youths exercised, with dressing rooms to change into the necessary garments.10. Tepidarium, called the Seven Halls. 11. Bridge, over which one passed to the other buildings, as we shall soon see.; Drawn and engraved by the Architect Piranesi.
54. View of the Remains of the Baths of Titus
55. View of the Remains of the Baths of Diocletian
56. View of a Part of the Exedra of Trajan's Forum
57. Column of Trajan
58. View of the Remains of the Forum of Nerva
59. View of Other Remains of the Aforementioned Forum of Nerva, called the Colonnacce
60. Lateral View of the Remains of the Temple of Antoninus and Faustina
61. Arch of Severus, and Caracalla
63. Interior View of the Temple of Santo Stefano Rotondo
64. Remains of the Temple of Castor and Pollux
65. View of the Remains Belonging to the Golden House of Nero
67. Remains of the Arches that Brought the Water of the Aqua Claudia from the Caelian Hill to the Palatine Hill
68. View of the Remains of the Palace of the Caesars on the Palatine
69. Remains of the Neronian Theater on the Palatine Hill
70. View of the Remains of the Peristyle of the House of Nero
71. View of the Arch of Constantine
72. View of the Flavian Amphitheatre, called the Colosseum Veduta dell'Anfiteatro Flavio detto il Colosseo.; A. Arco mancante del rispettivo numero ordinale con cui son notati tutti gli altri per rincontranza delle persone che andavano agli spettacoli. sopr’a quest’arco appoggiavasi il ponte, che dal portico di Claudio portava all’Anfiteatro, come dimostra la mancanza fra lo stesso arco e’ l superiore della ricorrenza dell’architrave, e delle altre membra, nella quale s’incastrava il ponte. B. Avanzi de’ parapetti fra gli archi. C. Forami nella cornice per dove passavano le antenne alle quali era raccomandata la tenda che copriva l’anfiteatro. D. Mensole sulle quali pesavano le antenne. E. Muri moderni.; Piranesi Architett(o) dis(egnò) inc(ise). View of the Flavian Amphitheater, called the Colosseum.; A. Arch missing the respective ordinal number with which all the other arches are marked, used for the crowds of people that went to the spectacles. On top of this arch there was a bridge that went from the Portico of Claudius to the Amphitheater, which is demonstrated by the lack of an architrave between the arch and the one above it, as well as other architectural elements that contained the bridge. B. Remains of the parapets between the arches. C. Holes in the cornice where the posts were placed to hang the velarium that covered the amphitheater. D. Ledges on which the posts rested. E. Modern walls.; Drawn and engraved by the Architect Piranesi.
73. View of the Remains of the Flavian Amphitheater from the Interior Veduta degli avanzi dell'Anfiteatro Flavio dalla parte interna.; A. Arena dell’Anfiteatro. B. Andito. C. Uno degl’ingressi all’andito. D. Muri de cunei inferiori e superiori. E. Segni delle scale per cui si ascendeva all’ultimo piano. F. Segni delle Scale per comodo de’ Machinisti allorche volgevano i molinelli per l’espansione della tenda sopra l’Anfiteatro. G. Cappellette, Chiesa, e muri moderni.; Piranesi Architetto diseg(nò) e incise. Interior View of the remains of the Flavian Amphitheater.; A. Arena of the Amphitheater. B. Corridor. C. One of the entryways to the corridor. D. Walls of the voussoirs of the upper and lower levels. E. Signs of stairs by which one ascended to the highest floor. F. Signs of stairs for the use of the Theater Technicians so that they could turn the wheels for the extension of the curtain above the Amphitheater. G. Little Chapels, Church, and modern walls.; Drawn and engraved by the Architect Piranesi.
74. Topographical Map of the Roman Aqueducts TAVOLA TOPOGRAFICA DI ROMA IN CVI SI DIMOSTRANO GLI ANDAMENTI DEGLI ANTICHI AQVEDOTTI RIFERITI NEL COMMENTARIO FRONTINIANO LA CIRCONFERENZA DELLE ANTICHE REGIONI E LE ANTICHE VIE.; Dichiarazione delle note della Tavola. A. Mura odierne di Roma. B. Mura di Roma anteriori all’ Imperatore Aureliano. Aquedotto arcuato della Marcia, Tepula, e Giulia; Aquedotto arcuato della Claudia e Anione Nuovo; Archi Neroniani; Archi Antoniniani; Aquedotto sostruito; Aquedotto sotterraneo; Rivo sotterraneo, porzionario delle acque; Circonferenza delle Regioni antiche di Roma; Nota delle Vie antiche; Le rimanenti note son dichiarate, o nella Tavola, o nella Spiegazione consecutiva della medesima.; Fig. I. A. Speco dell’Anione Nuovo. B. Speco della Claudia. C. Speco della Giulia. D. Speca della Tepula. E. Speco della Marcia. F. Speco dell’Anione Vecchio. G. Speco della Vergine. H. Speco dell’Appia. I. Speco dell Alsietina. J. Naumchia d’Augusto nel Trastevere. M. Piano antico dell’Esquilino a Porta Maggiore. N. Piano antico del Campo Marzo, e delle antiche Saline vicino la Porta Trigemina. Sezione del Bottino che riceveva parte della Marcia per tramandarla nel rivo Erculaneo e che si nota in pianta al num(ero) 22.; Fig. II. A. Speco della Tepula. B. Speco della Marcia. C. Investitura del condotto riferita ai num(eri) 117, 118, 119, e 120 dell’Indice generale. D. Bottino. E. Imbocco di una parte della Marcia nel *Bottino. F. Discesa dell’acqua nel ricettacolo sottoposto al Bottino. G. Altro imbocco corrispondente allo sgorgo H per dove l’acqua entrava nel rivo Erculaneo I. L. Piano moderno di Roma. M. Rovine che ingomb(ro)no il Bottino. N. Piano ant(i)co di Roma.; Fig. III. dimostrativa delle diverse costruzioni e andamenti degli antichi aquedotti. A. Aquedotto arcuato. B. Aquedotto sostruito. C. Superficie del terreno. D. Aquedotto sotterraneo. E. Aquedotto curvo inferiore all’aquedotto D. F. Aquedotto o rivo che interseca inferiormente l’aquedotto E. G. Altro aquedotto o rivo tendente in opposto.; Piranesi Archit(etto) dis(egnò) inc(ise). TOPOGRAPHICAL MAP OF ROME WHICH DEMONSTRATES THE COURSE OF THE ANCIENT AQUEDUCTS REFERENCED IN THE COMMENTARY BY FRONTINUS, AS WELL AS THE BOUNDARIES OF THE ANCIENT REGIONS AND STREETS OF THE CITY.; Declaration of the Map Legend.; A. Modern walls of Rome. B. Walls of Rome prior to Emperor Aurelian.; Arches of the Aqueducts of the Aqua Marcia, Tepula, and Giulia; Arches of the Aqueducts of the Aqua Claudia and Aniene Nuovo; Neronian Arches; Antonine Arches; Foundations of an Aqueduct; Subterranean Aqueduct; Subterranean stream, forming a portion of the water supply; Boundaries of the ancient Regions of Rome; Annotation indicating the ancient streets; The remaining annotations are declared either in the Map, or in the Explanation of the same that follows.; Figure I. A. Water channel of the Aqua Anione Nuovo. B. Water channel of the Aqua Claudia. C. Water channel of the Aqua Giulia. D. Water channel of the Aqua Tepula. E. Water channel of the Aqua Marcia. F. Water channel of the Aqua Anione Vecchio. G. Water channel of the Aqua Vergine. H. Water channel of the Aqua Appia. I. Water channel of the Aqua Alsietina. J. Naumachia of Augustus in Trastevere. M. Ancient ground level of the Esquiline Hill at the Porta Maggiore. N. Ancient ground level of the Campus Martius, and of the ancient Salt Mines near the Porta Trigemina.; Figure II. Section of the Reservoir that received part of the Aqueduct of the Aqua Marcia in order to divert it into the rivus Herculaneus noted in the map at number 22.; Figure II. A. Water channel of the Aqua Tepula. B. Water channel of the Aqua Marcia. C. Exterior structure of the Aqueduct referenced in numbers 117, 118, 119, and 120 in the General Index. D. Reservoir. E. Duct of a part of the Aqua Marcia in the *Reservoir. F. Descent of the water into the receptacle underneath the Reservoir. G. Another duct corresponding to the outlet H where the water entered the rivus Herculaneus I. L. Modern ground level of Rome. M. Ruins that blocked the Reservoir. N. Ancient ground level of Rome.; Figure III. demonstrating the different constructions and courses of the ancient aqueducts. A. Aqueduct with arches. B. Aqueduct foundations. C. Ground level. D. Subterranean aqueduct. E. Curved aqueduct underneath the aqueduct D. F. Water of the Aqueduct that intersects underneath the aqueduct E. G. Another aqueduct or water going in the opposite direction.; Drawn and engraved by the Architect Piranesi.
75. Plan of the Castrum of Tiberius Pianta della forma del Castro di Tiberio innanzi al suo disfacimento.; 1. Porta di Aureliano oggi chiusa. 2. Mura dello stesso. 3. Via Selciata. 4. Muro rifatto da moderni. 5. Andamento del Castro. 6. Abitazioni rifatte posteriorm(en)te a Costantino. 7. Fabrica di Costantino su gl’angoli curvilinei di Tiberio. 8.9. Porte di Costantino munite nell’interno di vanguardie da Bellisario, allorche ingrossò il muro. 10. Avanzo di via Selciata. 11. Castro rovinato. A. Pianta della forma del Castro di Tiberio innanzi al suo disfacimento, la quale si è rivelata da suoi avanzi, e dal Prospetto, che si vede nel basso rilievo dell’Arco di Costantino, dalle Medaglie, e dagli antichi Scrittori. B. Guardie o siano ingressi muniti di torri circolari. C. Portici per passeggio de soldati. D. Tribunale nel mezzo del Castro. E. Tempio di Tiberio. F. Statua di Marte. G. Statua di Giulio Cesare. H. Statua di Augusto. I. Due gran torri per conservare le macchine militari. K. Piazze con fontane. L. Vie con abitazioni de Soldati. M. Strada sotterranea, che s’univa all’altra sotto l’Argine di Servio e di Tarquinio, fatta per introdur soldati nella Città, e passava sotto le mura N Dal O fino al P fù prolungata da Diocleziano per introdur guardie nelle sue Terme. Q. Terme di Diocleziano. R. Mura della Città anteriori ad Aureliano. S. Porta Viminale. T. Argine del Rè Servio, e di Tarquinio.; Piranesi Archit(etto) dis(egnò) inc(ise). Plan of the Castrum of Tiberius before its destruction.; 1. Aurelian Gate, closed today. 2. Aurelian Walls. 3. Cobblestone street. 4. Wall rebuilt by modern architects. 5. Extent of the Castrum. 6. Houses rebuilt after Constantine. 7. Building constructed by Constantine on the round corners of the castrum of Tiberius. 8 and 9. Gates built by Constantine and fortified in the interior by the vanguards of Belisarius, in order to thicken the wall. 10. Remains of Cobblestone street. 11. Ruins of a castrum.;A. Plan of the form of the Castrum of Tiberius before its destruction, which is revealed through its remains and Facade and which can be seen in the bas-relief of the Arch of Constantine, in Medals, and in the Ancient Writers. B. Guard posts, or entrances fortified by circular towers. C. Porticoes for the passage of soldiers. D. Tribunal in the middle of the Castrum. E. Temple of Tiberius. F. Statue of Mars. G. Statue of Julius Caesar. H. Statue of Augustus. I. Two large towers to hold the armaments. K. Piazzas with fountains. L. Streets with housing for the Soldiers. M. Subterranean street, which connected to another street under the embankment of Servius and Tarquin. It was built to let soldiers into the City by passing under the city walls. N. From O to P the street was extended by Diocletian to let the guards into the Baths. Q. Baths of Diocletian. R. Walls of the City built before Aurelian. S. Porta Viminale. T. Embankment of the King Servius and Tarquin.; Drawn and engraved by the Architect Piranesi.
76. Plan and Cross-section of the Baths of Caracalla
77. Plan of the Nymphaeum of Nero Rappresentasi nella figura I il Ninfeo, di Nerone, e insieme lo Stadio, l’Odeo, ed i Templi della Gente Flavia, fabbricati da Domiziano. 1. Salita al Ninfeo. 2. Atrio con vestiboli, e cubicoli per varj usi. 3. Tempio di Nerone. 4. Piazza dinnanzi al Tempio. 5. Sala con emicicli per i conviti. 6. Stagno incavato nel terr(e)n vergine del Monte Celio, e che riceveva l’acqua da magnifiche fontane, ornate di Tritoni, cavalli marini, delfini, e gruppi di Statue. 7. Portici circolari situati sopra il medesimo Stagno. 8. Celle sul piano inferiore del Ninfeo. 9. Aquedotto del Ninfeo. 10. Uno degli archi dell’aquedotto, ove si legge l’avanzo della iscrizione rapportata nella fig(ura). II. e supplita nella figura III. colle lettere NERO secondo l’interpretazione la più probabile, che tante nè più nè meno doveano occuparne lo spazio, ov’ elle mancano, venendo così a comporre la parola NERONIONIANA, la quale, tutto che sia un solecismo per l’incremento delle due sillabe ONI, incompatibile ne’ secoli della latinità; può nondimeno esser ciò derivato dalla inavvedutezza degli artefici nel comporla. 11. Stadio di Domiziano. 12.Tribune situate al piano dello Stadio, delle quali si da la pianta in forma grande alla fig(ura). IV. Le medesime hanno al di dietro un’andito fattovi forse per isfogo dell’umidità che vi cagionavano le acque del Ninfeo, e del Monte Celio acciò queste non danneggiassero gli stucchi de’ quali erano adorne le stesse tribune al dinnanzi. 13. Tempio della Dea Pallade. 14. Tempio di Domiziano. 15. Tempio di Vespasiano. 16. Odeo. 17. Serraglio delle fiere fabbricato da Domiziano ad uso dell’Anfiteatro. 18. Fonte, o sia lago gia detto del Pastore. 19. Arco di Costantino. 20. Anfiteatro Flavio. 21. Aquedotto di Claudio. 22. Odierna Chiesa di S(anti) Gio(vanni) e Paolo. 23. Avanzi della Casa di Scauro. 24. Avanzi della Casa della Famiglia Anizia. 25. Avanzo degli alloggiamenti de Soldati pellegrini. 26. Altra parte dell’acquedo(t)to del Ninfeo con bottino. 27. Chiesa di S(anto) Stefano rotonda nel suo primiero essere.; Piranesi Archit(etto) dis(egnò) inc(ise). The Nymphaeum of Nero is represented in figure I, together with the Stadium, Odeon, and Temples of the Flavia family, built by Domitian;1. Ascent to the Nymphaeum. 2. Atrium with vestibules and small rooms for various uses. 3. Temple of Nero. 4. Piazza in front of the Temple. 5. Room with hemicycles for banquets. 6. Pond hollowed out in the virgin soil of the Caelian Hill, which received water from magnificent fountains adorned with Tritons, seahorses, dolphins, and groups of Statues. 7. Circular Porticoes situated above the Pond. 8. Rooms on the lower level. 9. Aqueduct of the Nymphaeum. 10. One of the arches of the aqueduct, where one reads the remnants of the inscription reproduced in figure II and additionally in figure III with the letters NERO, according to the most probable interpretation, since the number of letters could be no more and no less to fit the space where the letters are missing. They come together to form the word NERONIONIANA, which is a grammatical error due to the addition of the two syllables ONI, which is incompatible with that era of ancient Latin. In any case, this error might have been due to the carelessness of the authors in composing the inscription. 11. Stadium of Domitian. 12. Tribunes located on the same level as the Stadium, which are shown in a close-up of the plan in figure IV. They have a passageway behind them, possibly made to vent the humidity caused by the waters of the Nymphaeum and of the Caelian Hill so that it would not damage the stucco work that adorned the front of the galleries. 13. Temple of the Goddess Pallas. 4. Temple of Domitian. 15. Temple of Vespasian. 16. Odeon. 17. Cages of the Animals built by Domitian for the Amphitheater. 18. Fountain, or Lake of the Shepherd, as it was once called. 19. Arch of Constantine. 20. Flavian Amphitheater. 21. Aqueduct of Claudius. 22. Today, the Church of Santi Giovanni e Paolo. 23. Remains of the House of Scaurus. 24. Remains of the House of the Anicia Family. 25. Remains of the quarters of mercenary soldiers. 26. Another part of the aqueduct in the Nymphaeum with a reservoir. 27. Church of Santo Stefano Rotondo in its original state.; Designed and engraved by the Architect Piranesi.
78. Plan of the Baths of Diocletian PIANTA delle Terme di Diocleziano, Il primo loro piano fu riempiuto di scarichi delle rovine di una parte delle fabbriche del piano superiore, le quali, perchè minacciavano rovina, furon fatte demolireda Sisto V. La tinta più nera indica gli avanzi ch’ esistono, e la più leggiera il supplimento da me fattovi come nelle altre tavole.; 1. Argine di Tarquinio al pari di questo piano. 2. Strada selciata che porta ai tre ingressi delle Terme. 3. Vestibolo. 4. Portico, il quale circondava la gran piazza, e conduceva agli’ingressi della Palestra. 5. Vestiboli degli atrj. 6. Tablini. 7. Atrj del Sisto scoperti. 8. Magnifico e vastissimo Sisto, diviso in tre portici, e maggiore di tutti tra le Terme. 9. Luoghi ove si preparavano gli Atleti, e gli altri che si esercitavano nel Sisto. 10. Cavedi Scoperti per dar lume a’ portici della Palestra. 11. Atrio della Palestra, overo Dieta per uso di chi veniva da questa parte. 12. Stanza degli Atleti con bagno. 13. Alveo, o fossa. 14. Fornelli per riscaldare la stanza predetta. 15. Accademie. 16. Esedre a similitudine di portici per ricovero del Popolo. 17. Area con sedili in prospetto per comodo degli spettatori de’ giuochi. 18. Portico che circondava i sedili suddetti fabbricato in maggiore elevazione de’ medesimi. 19. Biblioteca greca. 20. Biblioteca latina l’una e l’altra fatte quivi trasportare da Diocleziano dal Foro di Trajano. 21. Diversi emicicli, o accademie per uso de’ letterati. 22. Luoghi ove s’ esercitava la gioventù. 23. Luoghi per riporvi gli strumenti necessari, e le vesti degli Atleti, e per abitazione degli ufiziali. 24. Abbaini per dar lume al piano inferiore. 25. Tepidario delle Terme. 26. Tempio d’Esculapio. 27. Tempio della Salute.; Piranesi Archit(etto) dis(egnò) inc(ise). PLAN of the Baths of Diocletian. The first floor was filled with fragments of ruins from a part of the buildings on the upper floor. These buildings were demolished by Sixtus V because they were in danger of collapsing. The darker ink indicates the extant remains and the lighter ink indicates my additions, as in the other plates.; 1. Embankment by Tarquin equal to the height of this level. 2. Cobblestone street that leads to the three entrances of the Baths. 3. Vestibule. 4. Portico that surrounded the great square and led to the entrance of the Gymnasium. 5. Vestibules of the atria. 6. Dining rooms. 7. Open Atria of the Xystus. 8. Magnificent and incredibly vast Xystus, divided into three porticoes, and the largest of all the Baths. 9. Places where the Athletes prepared themselves, and where others exercised in the Xystus. 10. Open Courtyard, illuminating the porticoes of the Gymnasium. 11. Atrium of the Gym, or rather Assembly Hall for the use of people coming from this side. 12. Room with a bath for the athletes. 13. Riverbed, or pit. 14. Furnaces for heating the aforementioned room. 15. Academies. 16. Exedra, similar to the porticoes, that provided shelter to the People. 17. Area with seats, shown in plan view, for the comfort of the spectators of the games. 18. Portico that surrounded the aforementioned seats, built in higher elevation. 19. Greek Library. 20. Latin Library, both of which were brought here by Diocletian from the Forum of Trajan. 21. Various hemicycles, or academies, for the use of the scholars. 22. Place where the youths exercised. 23. Place where the necessary equipment and clothes of the Athletes were held, as well as the location of the housing for officials. 24. Attic rooms illuminating the lower floor. 25. Tepidarium of the Baths. 26. Temple of Aesculapius. 27. Temple of Salus.; Drawn and engraved by the Architect Piranesi.
79. Plan of the Ancient Roman Forum PIANTA dell’antico Foro Romano, comprensivo delle Valli esistenti fra i Monti, Capitolino, Palatino, Celio, Equilino, e Quirinale, e contenente tutte le antiche fabbriche, disposte secondo la situazione e la traccia de’ loro odierni avanzi, e denominate nell’Indice consecutivo. La tinta più nera indica gli stessi avanzi, e la più leggiera il supplimento ai medesimi.; Piranesi Archit(etto) dis(egnò) inc(ise). PLAN of the ancient Roman Forum, comprising the extant Valleys and Hills including the Capitoline, Palatine, Caelian, Esquiline, and Quirinal, and containing all the ancient buildings organized according to their location and description, as well as traces of the remains that still exist today, which are listed in the Index that follows. The darker ink indicates the same remains, and the lighter ink indicates the supplement to the same.; Drawn and engraved by the Architect Piranesi.
80. Plan of the Capitoline Hill Nella figura I rappresentasi la Pianta del Monte Capitolino, e sua Rocca colla situazione di tutti i suoi Edifizi. La tinta piu nera indica l’esistente, e la meno nera dimostra il supplito da me. Nella figura II fannosi vedere in prospettiva i due Corni, ovvero Sassi, che sorgevano ne’ lati Capitolini, ora in gran parte ricoperti dalle rovine, a riserva di qualche parte del Sasso A che vedesi dietro al Palazzo Savelli per la scenta di Torre de specchi, quale è ricoperto da altre rovine, che oggi formano il Piano moderno sino al B. L’altra parte C resta sotterrata nella moderna Rupe Tarpeja, D. Avanzo delle Mura, e delle Torricelle del Campidoglio sotto la Scuderia del Palazzo Cafarelli E. Altre mure antichissime di peperino brugiate dal fuoco con avanzi delle volte de Corridoj quali veggonsi nell’orticello Savelli dietro le stalle del Palazzo sudetto F. Avanzi di due Torricelle, che attaccano al detto muro. G. In questo sito era la franchigia ornata di Alberi, oggi Piazza Capitolina. H. Altro Sasso, sopra il quale era piantato il Tempio di Giove Feretrio, e di Marte Capitolino. Volendo i PP(adri). D'Araceli fabr(ic)ar. La Libreria trovarono 20 palmi sotto al Tinello il mentovato Sasso, sopra al quale alzarono un grosso sperone per sostener la detta Libreria.; Piranesi Archit(etto) dis(egnò) inc(ise). The Plan of the Capitoline Hill and Stronghold is represented in Figure I, with the location and description of all its Buildings. The darker ink indicates the extant remains, and the lighter ink demonstrates what has been supplied by me. In Figure II, shown in perspective, are the two Horns, or Cliffs, that rise from the sides of the Capitoline Hill, now in large part covered by ruins, except part of Cliff A, which can be seen behind Palazzo Savelli through the ascent to the Tor de’ Specchi. This is covered by other ruins, which today form the modern ground level up to B, with the other part C remaining buried under the modern Tarpeian Rock. D. Remains of the Walls, and of the Towers of the Capitoline Hill under the Stables of Palazzo Caffarelli. E. Other very ancient walls of peperino, burned by the fire, with remains of the vaults of the Corridors. These can be seen in the Savelli gardens behind the stalls of the aforementioned Palace. F. Remains of the Towers attached to the aforementioned walls. G. On this site was the Asylum adorned with Trees, today the Piazza of the Campidoglio. H. Another Cliff, above which the Temple of Jupiter Feretrius and Mars was built. Since the Fathers of Araceli wanted to build a bookshop there, one can find the aforementioned Cliff 20 palmi underneath the Kitchens, above which they erected a large buttress to hold up the aforementioned Bookshop.; Drawn and engraved by the Architect Piranesi.
81. Plan of the Upper Floor of the Palace of the Caesars, believed to the House of Augustus on the Palatine Hill Pianta del Piano Superiore della parte del Palazzo de Cesari creduta l’abitazione d’Augusto sul Monte Palatino, il piano inferiore del quale era destinato per Terme o Bagni.; A. Siti corrispondenti sull’Atrio che era avanti la Casa. B. Gran sale sul dinnanzi dell’Edifizio ornate di nicchie alternativamente rettilinee, e curvilinee per tutto il giro delle pareti. C. Sito per quale dall’Atrio si passava al Tablino. D. Tablino. E. Sala di communicazione a due parti consimili della Casa, una delle quali poteva essere abitava da Livia, e l’altra da Augusto. F. Sale nobili ornate di Emicicli, e con graticcie di marmo nel mezzo, le quali davano lume all’altre sale nobili sottoposte. G. Antisale. H. Retrostanze di communicazione coll’antisale e sale sudette. I. Anditi con porte di communicazione alle dette sale e retrocammere. K. Gabinetti ottagoni. L. Ale di portici corrispondenti sopra due piccioli Cavedj di communicatione con le scale che discendono al secondo piano destinato per uso de Bagni. M. Atrio avanti la scala. N. Scale di communicazione col piano inferiore destinato per uso dei Bagni. O. Peristilio che nel piano inferiore era circondato da’ quattro ale di portici, e nel superiore solamente da due logge o gallerie segnate aa. P. Terrazzi corrispondenti sopra l’altre due ale dei portici del piano inferiore. Q. Conclavi per uso di abitazioni ed altro. R. Atrio nobile che in questo piano era ornato di pilastri, e communicava col piano superiore del sito curvilineo che sovrastava al Circo Massimo, e poteva essere il Podio Imperiale. S. Gallerie. T. Cavedi, o piccoli cortili pensili con fontane nel mezzo, in uno de quali fu’ trovato il condotto di piombo. V. Siti nobili di forma circolare in uno de quali fu’ trovato qualche frammento di Statua. X. Aditi di communicazione fra le gallerie, li cavedi, e li siti sud(ett)i. Y. Muri curvilinei ed altre stanze annesse che sovrastano al Circo Massimo erroneamente creduti parte del Teatro di Statilio Tauro, questi servivano di sustruzione ad un nobilissimo Podio o Tribuna imminente al Circo che aveva communicazione col descritto edifizio, ed era probabilmente il Podio dell’Imperatore. Z. Cortili minori esterni recinti di muro. bb. Ippodromo con indizio certo di portici all’intorno formati da due ordini di colonne. cc. Piano superiore delli detti portici che girano all’intorno dell’Ippodromo. dd. Siti nobili appartenenti all’Ippodromo. Si avverte che la tinta oscura dinota la fabrica che ancora esiste, o che resta al paro del piano di sotto, la seconda tinta un poco men carica quello che in questo piano è stato scoperto e che in parte esiste, la tinta più chiara dinota quello che e stato supp(li)to.; Cav(alier) Francesco Piranesi del(ineò) e inc(ise) 1787. Plan of the Upper Floor of the Palace of the Caesars, believed to the House of Augustus on the Palatine Hill. The lower floor was intended for Thermal Baths, or Washrooms.; A. Areas corresponding to the Atrium in front of the House. B. Great halls at the front of the Building, ornamented with alternating rectilinear and curvilinear niches for the entire perimeter of the walls. C. Area that passed from the Atrium to the Tablinum. D. Tablinum. E. Corridor in two similar areas of the House. One area could have been inhabited by Livia, and the other by Augustus. F. Noble Halls embellished with Hemicycles that had marble latticework at the center. This illuminated the other noble halls below. G. Antechambers. H. Storerooms with access to the antechamber and aforementioned halls. I. Corridors with doors leading to the aforementioned halls and storerooms. K. Octagonal washroom. L. Wings of corresponding porticoes above two small courtyards that give access to the stairs that descend to the second floor intended for the use of the Baths. M. Atrium in front of the stairs. N. Stairs that access the lower floor intended for use of the Baths. O. Peristyle on the lower floor that was surrounded by four wings of porticoes, and on the upper floor by only two loggias and galleries labeled a.a. P. Terraces above the other two wings of porticoes of the lower floor. Q. Closed rooms for habitation and other uses. R. Noble Atrium ornamented with pilasters, and which, from this floor, accessed the upper level at the curved area above the Circus Maximus, and could have been the Imperial Podium. S. Galleries. T. Cavaedia, or small elevated courtyards with fountains in the center, in one of which a lead water conduit was found. V. Circular noble rooms, in one of which a fragment of a Statue was found. X. Entrances that form corridors between the galleries, the cavaedia, and the aforementioned areas. Y. Curved walls and other annexed rooms above the Circus Maximus, erroneously believed to be part of the Theater of Statilius Taurus. These walls served to support the foundations of a most noble Podium or Tribune above the Circus that accessed the described edifice. This was probably the Podium of the Emperor. Z. Minor exterior courtyards surrounded by walls. bb. Hippodrome with conclusive evidence of surrounding porticoes formed by two floors of columns. cc. Upper floor of said porticoes that surround the Hippodrome. dd. Noble areas belonging to the Hippodrome. One should note that the darker ink indicates the extant building on the same level of the lower floor, and the second slightly lighter ink indicates what was discovered on this floor, which still partially exists, and the lighter ink indicates what has been reconstructed.; Drawn and engraved by the Cavalier Francesco Piranesi. 1787.
82. Plan of the Lower Floor of the Palace of the Caesars, believed to be the Palatine Baths Pianta del piano inferiore d’una parte del Palazzo de Cesari creduta le Terme Palatine.; A. Peristilio, o sia Cortile con portici intorno. B. Sala nobile con aperatura rotonda nel mezzo della fornice, o volta, che illuminava il detto sito. C. Sale ottagone parimente con apertura nel mezzo della fornice. D. Gabinetti di communicazione, con volte dipinte. E. Retrostanze, che erano nobilmente ornate con marmi mischi. F. Piccioli Cavedj che in questo piano erano ornati di portici arcuati sostenuti da pilastri quadrangolari. G. Stanze corrispondenti nei portici dei detti Cavedi. H. Stanze consimili, che communicavano con una delle Sale ottagone. I. Scale che dal piano superiore, discendevano in questo. K. Sterquilinj magnifici nobilmente impellicciati di marmo, che restano segregati da tutta l’abitazione. L. Aditi di communicazione co’ portici del Peristilio, de quali si le pareti, che le volte erano nobilmente dipinte. M. Piscine, o stanze per bagni freddi anche queste impellicciate di marmo. N. Stanze consimili per bagni caldi. O. Podi o Risege ad uso di Decursorj all’intorno delle stanze formante vasche. Q Sopoditeri, o siano spogliatori. R. Stanze intermedie per Tepidarj, Sudatori, ed altro. S. Corridore con volta dipinta. T. Sale nobili di communicazione a detti bagni. V. Parti della casa consimili a quelle del piano superiore. X. Stanze al disotto de cortili pensili corrispondenti nel piano superiore. Y. Atrio nobile con indizio certo di colonnato per cui dal piano Peristilio si passava al piano inferiore del sito curvilineo creduto il teatro di Statilio Tauro. Le altre parti della casa sono gia’ descritte nella tavola antecedente.; Cav(alier) Fr(a)nc(esc)o Piranesi del(ineo) e inc(ise) 1787. Plan of the lower floor of the Palace of the Caesars, believed to be the Palatine Baths.; A. Peristyle, or Courtyard with surrounding porticoes. B. Noble hall with a round opening in the middle of the archway, or vault, that illuminated the space. C. Octagonal halls, also with an opening in the middle of the archway. D. Washrooms and corridors with painted vaults. E. Storerooms that were nobly adorned with inlaid marble decoration. F. Small courtyards on this floor were ornamented with arched porticoes sustained by quadrangular pilasters. G. Rooms corresponding to the porticoes of the aforementioned courtyards. H. Similar rooms that accessed one of the octagonal halls. I. Stairs that descended from the upper floor to this one. K. Magnificent sewers nobly covered with marble, which are separated from the rest of the house. L. Entryways that access the porticoes of the Peristyle, whose walls and vaults were nobly painted. M. Pools, or rooms for cold baths that are also covered with marble. N. Similar rooms for hot baths. O. Podium or Platforms for the use of the Cavalry around the rooms that formed the pools. Q. Double peristyle, or possibly dressing rooms. R. Intermediate rooms for the Tepidaria, Sudatoria, and others. S. Corridor with a painted vault. T. Noble halls that access the aforementioned baths. V. Parts of the house similar to those of the upper floor. X. Rooms below the exterior courtyards corresponding to the upper floor. Y. Noble Atrium with conclusive evidence of a colonnade through which one passed to the lower floor from the Peristyle, situated on the curved area believed to be the theater of Statilius Taurus. The other parts of the house have already been described in the previous plate.; Drawn and engraved by the Cavalier Francesco Piranesi. 1787.

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1. Frontispiece with Statue of Minerva [Translation]: [upper left] TO THE SABINE PEOPLES. WHO WILL WITHSTAND [THEM]? THE ROMAN SENATE AND PEOPLE; [middle left] GNAEUS POMPEIUS, SON OF POMPEIUS, MAGNUS, COMMANDER IN CHIEF, HAVING COMPLETED A THIRTY YEARS’ WAR, ROUTED, SCATTERED, SLAIN, OR RECEIVED THE SURRENDER OF 12,183,000 PEOPLE, SUNKEN OR TAKEN 846 SHIPS, RECEIVED THE CAPITULATION OF 1,538 TOWNS AND FORTS, SUBDUED THE LANDS FROM THE MAEOTIANS TO THE RED SEA, DULY DEDICATES HIS OFFERING VOWED TO MINERVA; [lower left] TO ROME AND AUGUSTUS CAESAR, SON OF THE DEIFIED ONE AND FATHER OF THE FATHERLAND; [lower right] PIRANESI DESIGNED AND ENGRAVED (Campbell, 579) [upper left] SABINIS POPVLIS QVIS RESISTET SPQR; [middle left] CN POMPEIVS CN MAGNVS / IMP[ERATOR] / BELLO . XXX ANNORVM CONFECTO / FVSIS. FVGATIS. OCCISIS. IN. DEDITIONEM / ACCEPTIS. HOMINVM. CENTIE[N]S. VICIE[N]S / SEMEL. CENTENIS LXXXIII / DEPRESSIS AVT CAPT [IS] NAVIBVS DCCCXLVI / OPPIDIS CASTELIS MDXXXVIII / IN FIDEM RECEPTIS / TERRIS A MAEOTIS AD RVBRVM / MARE SVBACTIS / VOTVM MERITO MINERVÆ; [lower left] ROMAE ET AVGVSTO / CAESARI DIV F[ILIO] PAT[RI] PATRIAE; [lower right] PIRANESI INV INCI
3. View of the Temple of the Sibyl in Tivoli Title: Veduta del tempio della Sibilla in Tivoli Key: Volgarmente così si chiama. Alcuni han pensato, che fosse d’Ercole; ma il Cluverio nel libro 3. de Italia antiqua suppone che fosse di Tiburno per quelle parole di Stazio nel libro 1. delle Selve…. illa recubat Tiburnus in umbra; illic sulphureos cupit Albula mergere crines. Sul fregio di esso leggesi questa tronca iscrizione….. F.L.GELLIO.L.F. Abbiamo due Lucj Gellj figliuoli di Lucio. Consoli l’uno l’anno di Roma DCXXCI, l’altro l’anno DCCXVII, l’uno di essi forse fece o ristaurò questo tempio. 2 Altro tempio antico, oggi di San Giorgio. Anche questo, per que’ versi di Stazio potrebbe dirsi della Dea Albunea….. illa Tiburnus in umbra, illic Albula. Signature: Pressa l’Autore a Strada Felice nel Palazzo Tomati vicino alla Trinità de monti. Signature 2: Piranesi Fec(it). Title: View of the Temple of the Sibyl in Tivoli. Key: Commonly called by this name. Some have thought that the Temple was of Hercules; but Clüver in Book 3 of Italia Antiqua suggests that it was of Tiburnus because of those words by Statius in Book 1 of the Silvae... illa recubat Tiburnus in umbra; illic sulphureos cupit Albula mergere crines [here Tiburnus lies in this shade; here Albula wishes to wash her sulphurous hair]...on the frieze of this one reads this cut off inscription...F.L.GELLIO.L.F. We have two Lucius Gelliuses, son of Lucius. Both consuls, one in the year of Roma DCXXCI, the other in the year DCCXVII, one of them perhaps built or restored this temple. 2 Another ancient temple, now San Giorgio. Even this temple, for those verses of Statius, one could say that it is of the Goddess Albunea...here Tibur in the shade, here Albula. Signature: Published by the Author in the Strada Felice in Palazzo Tomati near Trinità de Monti. Signature 2: Made by Piranesi.
4. View of the Arch of Constantine
5. View of the Temple of Concord
6. Interior View of the Villa of Maecenas Title: Veduta interna della Villa di Mecenate. Key: Dall’iscrizione L.OCTAVIVS.L.F.VITVLVS C.RVSTICIVS.C.F.FLAVOS.INTER.III.VIR.D.S.S.VIAM.INTEGENDAM.CVRAVERE., che leggesi affissa ab antico nella finestra perpendicolare A, e dal vedersi che la volta, la quale copre la via fa con la villa un sol corpo di fabbrica, siam persuasi, che tutto l’edifizio non fosse una villa, ma un’opera fatta per uso del Comune di Tivoli, e per raffrenare la decrescenza della pendice, come vedesi dall’Iscrizione, che per mantener la via, ne fu ordinato il coperto e la volta da quel Senato. In fatti le fornici sotto la volta segnata col B, non avendo segno che fussero chiuse con veruna imposta, mostrano d’essere state tante taverne pubbliche. Signature: Piranesi F(ecit). Title: Interior View of the Villa of Maecenas Key: From the inscription L.OCTAVIVS.L.F.VITVLVS C.RVSTICIVS.C.F.FLAVOS.INTER.III.VIR.D.S.S.VIAM.INTEGENDAM.CVRAVERE., that one reads, affixed in the ancient method on the perpendicular window A, and from what one observes, that the vault that covers the street with the villa, makes one whole structure, we are convinced that the entire building was not a villa, but a building made for the use of the Commune of Tivoli, and to counteract the incline of the hill as one sees from the inscription, that to maintain the street, the cover and vault were ordered by that Senate. In fact, the archways under the vault labeled B, lacking any evidence of having been closed with shutters, demonstrate that there were many public taverns. Signature: Made by Piranesi.
7. Egyptian Obelisk
8. View of the Temple of Bacchus Title and Description: Veduta del Tempio di Bacco, inoggi Chiesa di Sant' Urbano, distante due miglia da Roma fuori della Porta di San Sebastiano. Esso è il più intero di questa forma che sia rimaso a Roma ai giorni nostri, sì nell’esterno che nell’interno. La sua Ara si conserva peranche nel Pronao colla iscrizione εCTIAI ΔIONYCOY AπPωNIANOC IζPOΦANTHC: Ara di Bacco, Aproniano Sacerdote. Key: 1. Muri fra gl’Intercolonnj del Pronao, e barbacani fatti da Urbano VIII per riparar la rovina del Tempio. 2. Chiavi delle catene di ferro impiegatovi per lo stesso fine. 3. Avanzo dell’antica casa dell’Edituo. Signature: Presso l’Autore a Strada Felice nel palazzo Tomati vicino alla Trinità de’monti Signature 2: Gio(vanni). Batt(ista). Piranesi Arch(itetto). F(ecit). Title and Description: View of the Temple of Bacchus, today the Church of Sant’Urbano, two miles from Rome outside the Porta San Sebastiano. This temple is the most intact of this form that remains in Rome today, both in its exterior and interior. Its Altar is also preserved in the Pronaos with the inscription: εCTIAI ΔIONYCOY AπPωNIANOC IζPOΦANTHC: Altar of Bacchus, Apronian Priest. Key: 1. Walls in between the columns of the Pronaos, and fortifications built by Urban VIII to repair the remains of the Temple. 2. Anchors for the iron chains employed for the same purpose. 3. Ruin of the ancient house of Aedituus. Signature: Published by the Author on the Strada Felice in the Palazzo Tomati near the Trinità de’ Monti. Signature 2: Made by the Architect Giovanni Battista Piranesi.
9. View of the Monument Erected by the Emperor Titus Commemorating His Restoration of the Aqueducts of the Anio and Claudia Title: Veduta del Monumento eretto dall’Imperadore Tito Vespasiano per aver ristaurati gl’Aquedotti dell’Acque dell'Aniene nuovo e Claudia essendovi scolpito in esso il nome, di Claudio, che lo edificò, e di Vespasiano che lo restaurò. Key: 1. Aquedotto di Sisto V. che conduce l’Acqua felice. 2. Forami fatti per introdurvi l’Aquedotto sopradetto 3. Porte di Aureliano, o siano di Arcadio, ed Onorio fabbricate sopra varie macerie che in quel tempo coprivano l’antico piano di Roma. 4. Via Labicana 5. Via Prenestina. Signature: Cavalier Piranesi F(ecit). Title: View of the Monument Erected by the Emperor Titus Vespasian Commemorating His Restoration of the Aqueducts of the Anio and Claudia, having been carved on the monument the name Claudio, who had built it, and Vespasian who restored it. Key: 1. Aqueduct of Sixtus V that conducts the water of the Acqua Felice. 2. Channels built to introduce the water of the Aqueduct mentioned above 3. Gates of Aurelian, or of Arcadius, and Honorius built above various pieces of rock that at that time covered the ancient ground level of Rome 4. Via Labicana 5. Via Prenestina. Signature: Made by Cavalier Piranesi.
10. View of the Tomb of the Plautius Family
11. View of the Palace of the Illustrious Barberini Family on the Quirinal Hill Title: Veduta sul Monte Quirinale del Palazzo dell’Eccellentissima Casa Barberini, Architettura del Cavalier Bernino Key: 1. Ponte levatojo, che dal vestibolo superiore dà l’ingresso al Secondo Appartamento del Palazzo. 2. Iscrizione dell’Arco di Claudio ritrovata fra le di lui rovine alla Piazza di Sciarra, e dinotante le Vittorie riportate da questo Imperadore sopra i Britanni. 3. Uno de’Portone del Vestibolo, corrispondente alla Piazza Barberini. 4. Chiesa de’ Cappuccini. 5. Labro antico di granito, che serve alla fontana del Vestibolo inferiore. 6. Obelisco Egizziaco, ivi trasferito dal Circo d’Elagabalo, o come altri vogliono d’Aureliano, che rimaneva fuori dell’odierna Porta Maggiore. Signature: Piranesi fece Signature 2: Presso l’Autore a Strada Felice nel palazzo Tomati vicino alla Trinità de’monti Title: View of the Palace of the Illustrious Barberini Family on the Quirinal Hill, Architecture by Cavalier Gian Lorenzo Bernini Key: 1. Drawbridge, that from the upper vestibule gives access to the Second Apartment of the Palace 2. Inscription on the Arch of Claudius recovered from its ruins in the Piazza di Sciarra, and denoting the Victories brought back from this Emperor against the Britains. 3. One of the large gates of the Vestibule, located on the Piazza Barberini. 4. Church of the Capuchin Monks 5. Ancient moulding or edge of a wall, made of granite, that served the fountain of the lower Vestibule 6. Egyptian Obelisk, transferred here from the Circus of Elagabalus, or as others claim of Aurelian, that remained outside of today’s Porta Maggiore. Signature: Made by Piranesi. Signature 2: Published by the Author on the Strada Felice in Palazzo Tomati near Trinità de Monti.
13. View of the Atrium of the Portico of Octavia Title: View of the Atrium of the Portico of Octavia Key: 1. Sant’Angelo in Pescaria. 2. Interior of the Atrium. 3. Marble posts which covered the Atrium, above each of which can be seen an upright piece of carved marble with an Eagle in bas-relief. 4. Modern paintings. Signature: Made by the Architect Piranesi. Signature 2: Publishied by the Author on Strada Felice near the Trinità de’ Monti.
14. Dedicatory Frontispiece VRBIS . AETERNAE . VESTIGIA / AB . EQ . I . B . PIRANESIO . IAM . AENEIS . TABVLIS . INCISA / NVNC . DENVO / IIS . QVAE . SVPERERANT . EDENDA . QVAEQVE . NOVITER . DETECTA . SVNT / DECORATA . ADAVCTA . AMPLIFICATA / EQVES . FRANCISCVS . FILIVS / GVSTAVO . III / GOTH . SVEC . VAND . REGI &&& / SAPIENTI . FORTI . ATQVE . OPTIMO / ANTIQVITATVM / ET . BONARUM . ARTIVM . PATRONO . MVNIFICENTISSIMO / IN.OBSEQVII . GRATIQVE . ANIMI . SPECIMEN / D . D . D . ; Piranesi Archit(ectus) inv(enit) e fecit THE RUINS OF THE ETERNAL CITY / ENGRAVED ON COPPER PLATES BY THE CAVALIER GIOVANNI BATTISTA PIRANESI / AND NOW ONCE MORE / WITH RUINS THAT HAVE NOT YET BEEN PUBLISHED AND THOSE THAT HAVE BEEN NEWLY / DISCOVERED / EMBELLISHED, AUGMENTED, AND AMPLIFIED / BY HIS SON CAVALIER FRANCESCO PIRANESI / TO GUSTAV III / KING OF THE GOTHS, SWEDES, AND VENDS / WISE, POWERFUL AND GOOD / MOST MUNFICENT PATRON OF ANTIQUITIES AND THE ARTS / AS A DEMONSTRATION OF REVERENCE AND GRATEFUL SPIRIT / GAVE, GIFTED, AND DEDICATED; The Fatherland; Invented and engraved by the Architect Piranesi
15. Arch of Severus, and Caracalla
16. Plan of the Nymphaeum of Nero Rappresentasi nella figura I il Ninfeo, di Nerone, e insieme lo Stadio, l’Odeo, ed i Templi della Gente Flavia, fabbricati da Domiziano. 1. Salita al Ninfeo. 2. Atrio con vestiboli, e cubicoli per varj usi. 3. Tempio di Nerone. 4. Piazza dinnanzi al Tempio. 5. Sala con emicicli per i conviti. 6. Stagno incavato nel terr(e)n vergine del Monte Celio, e che riceveva l’acqua da magnifiche fontane, ornate di Tritoni, cavalli marini, delfini, e gruppi di Statue. 7. Portici circolari situati sopra il medesimo Stagno. 8. Celle sul piano inferiore del Ninfeo. 9. Aquedotto del Ninfeo. 10. Uno degli archi dell’aquedotto, ove si legge l’avanzo della iscrizione rapportata nella fig(ura). II. e supplita nella figura III. colle lettere NERO secondo l’interpretazione la più probabile, che tante nè più nè meno doveano occuparne lo spazio, ov’ elle mancano, venendo così a comporre la parola NERONIONIANA, la quale, tutto che sia un solecismo per l’incremento delle due sillabe ONI, incompatibile ne’ secoli della latinità; può nondimeno esser ciò derivato dalla inavvedutezza degli artefici nel comporla. 11. Stadio di Domiziano. 12.Tribune situate al piano dello Stadio, delle quali si da la pianta in forma grande alla fig(ura). IV. Le medesime hanno al di dietro un’andito fattovi forse per isfogo dell’umidità che vi cagionavano le acque del Ninfeo, e del Monte Celio acciò queste non danneggiassero gli stucchi de’ quali erano adorne le stesse tribune al dinnanzi. 13. Tempio della Dea Pallade. 14. Tempio di Domiziano. 15. Tempio di Vespasiano. 16. Odeo. 17. Serraglio delle fiere fabbricato da Domiziano ad uso dell’Anfiteatro. 18. Fonte, o sia lago gia detto del Pastore. 19. Arco di Costantino. 20. Anfiteatro Flavio. 21. Aquedotto di Claudio. 22. Odierna Chiesa di S(anti) Gio(vanni) e Paolo. 23. Avanzi della Casa di Scauro. 24. Avanzi della Casa della Famiglia Anizia. 25. Avanzo degli alloggiamenti de Soldati pellegrini. 26. Altra parte dell’acquedo(t)to del Ninfeo con bottino. 27. Chiesa di S(anto) Stefano rotonda nel suo primiero essere.; Piranesi Archit(etto) dis(egnò) inc(ise). The Nymphaeum of Nero is represented in figure I, together with the Stadium, Odeon, and Temples of the Flavia family, built by Domitian;1. Ascent to the Nymphaeum. 2. Atrium with vestibules and small rooms for various uses. 3. Temple of Nero. 4. Piazza in front of the Temple. 5. Room with hemicycles for banquets. 6. Pond hollowed out in the virgin soil of the Caelian Hill, which received water from magnificent fountains adorned with Tritons, seahorses, dolphins, and groups of Statues. 7. Circular Porticoes situated above the Pond. 8. Rooms on the lower level. 9. Aqueduct of the Nymphaeum. 10. One of the arches of the aqueduct, where one reads the remnants of the inscription reproduced in figure II and additionally in figure III with the letters NERO, according to the most probable interpretation, since the number of letters could be no more and no less to fit the space where the letters are missing. They come together to form the word NERONIONIANA, which is a grammatical error due to the addition of the two syllables ONI, which is incompatible with that era of ancient Latin. In any case, this error might have been due to the carelessness of the authors in composing the inscription. 11. Stadium of Domitian. 12. Tribunes located on the same level as the Stadium, which are shown in a close-up of the plan in figure IV. They have a passageway behind them, possibly made to vent the humidity caused by the waters of the Nymphaeum and of the Caelian Hill so that it would not damage the stucco work that adorned the front of the galleries. 13. Temple of the Goddess Pallas. 4. Temple of Domitian. 15. Temple of Vespasian. 16. Odeon. 17. Cages of the Animals built by Domitian for the Amphitheater. 18. Fountain, or Lake of the Shepherd, as it was once called. 19. Arch of Constantine. 20. Flavian Amphitheater. 21. Aqueduct of Claudius. 22. Today, the Church of Santi Giovanni e Paolo. 23. Remains of the House of Scaurus. 24. Remains of the House of the Anicia Family. 25. Remains of the quarters of mercenary soldiers. 26. Another part of the aqueduct in the Nymphaeum with a reservoir. 27. Church of Santo Stefano Rotondo in its original state.; Designed and engraved by the Architect Piranesi.

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