Translations of Volume 2 Contents
Volume II. I
THE ROMAN ANTIQUITIES BY GIAMBATTISTA PIRANESI VENETIAN ARCHITECT VOLUME II CONTAINING THE REMAINS OF FUNERARY MONUMENTS IN ROME AND THE ROMAN COUNTRYSIDE.
Signature: Made by Piranesi.
FRONTISPIECE
Volume II. II
ANCIENT INTERSECTION OF THE VIA APPIA AND VIA ARDEATINA VIEWED FROM THE SECOND MILESTONE OUTSIDE THE PORTA CAPENA.
Signature: GIOVANNI BATTISTA PIRANESI VENETIAN ARCHITECT ROME IN THE YEAR 1756.
Additional Inscriptions:
Inscription 1:
Jacob Caulfield Viscount, King Charles [Stuart] H.P.A.
Inscription 2:
Alan Ramsay Scottish Painter Celebrated in All the Liberal Arts and Disciplines. Giovanni Battista Piranesi.
Inscription 3: To the Manes Robert Adams Illustrious Scottish Architect. Giovanni Battista Made This.
VOLUME II INDEX
Plate III
Index of the Contents in this Second Volume and in the Third
Plate IV. and V. Tomb of Gaius Publicius
Plate VI. Anonymous Tomb on the Via Appia
Plates VII, XVII, XVIII, and XIX. Anonymous Tomb near the aforementioned tomb of Lucius Arruntius Plate XX. Sarcophagus near the same tomb
Plates XXI, XXII, XXIV, and XXV. Tomb of Saint Constance
Plate XXVI. Anonymous tomb near Tor Pignattara
Plates XXVII, and XXVIII. Tomb of the Scipios
Plates XXIX, and XXX. Tomb at Tor de’ Schiavi
Plates XXXI, XXXII, XXXIII, XXXIV, e XXXV. Tomb of Alexander Severus
Plates XXXVI, and XXXVII. Anonymous Tomb on the Via Appia
Plates XXXVIII, and XXXIX. Tomb called the Pilaster of Tivoli
Plates XL, XLI, and XLII. Anonymous Tomb at the first milestone
Plates XLIII, XLIV, XLV, and XLVI. Anonymous Tomb opposite San Sebastiano
Plate XLVII. Anonymous tombs on the Via Appia
Plates XLVIII, XLIX, L, LI, LII, LIII, and LIV. Tomb in the Cinque Vineyards
Plates LV, and LVI. Anonymous Tomb in the Casali Vineyards
Plates LVII, and LVIII. Funerary Urns in the Villa Corsini
Plates LIX and LX Anonymous Tomb at the Tor de’ Schiavi
Plates LXI, LXII, and LXIII. Mausoleum of Augustus
IN THE THIRD VOLUME
Plates III, IV, V, and VI. Ustrinum on the Via Appia
Plate VII. Via Appia
Plate VIII Remains of Tombs on the same Street
Plate IX. Anonymous tomb in the Buonamici Vineyards
Plate X. Tomb of the Curazia in Albano
Plates XI, XII, and XIII. Tomb of Plautii in Tivoli
Plate XIV. Tomb of Publius Vibius [Maranus]
Plate XV. Tomb of the [Caecilli] Metelli
Plates XVI, XVII, XVIII, and XIX. Tomb of Saint Helen
Plate XX Anonymous tomb in the Buonamici Vineyards
Plates XXI, XXII, XXIII, XXIV, XXV, XXVI, XXVII, XXVIII, XXIX, XXX, XXXI, XXXII, XXXIII, XXXIV, XXXV, XXXVI, XXXVII, XXXVIII, and XXXIX. Tomb of Livia
Plates XL, XLI, XLII, XLIII, XLIV, XLV, XLVI, XLVII, and XLVIII. Pyramid of Gaius Cestius
Plates XLIX, L, LI, LII, LIII, LIV. Tomb of [Caecilia] Metella
Signature: Sold by the Author on the Strada Felice in the Palazzo Tomati near the Trinità de Monti. At the price of fifteen Zecchini.
VOLUME II PLATES
Volume II.IV
Key: A. Plan of the Remains of Walls constructed of Travertines in the Tomb of Gaius Publicius, located at the foot of the Capitoline Hill in the place called Macel de’ Corvi. B. Here, the broken Travertines show that the building extended further. C. Window that illuminates the interior of the Tomb: or rather, a Niche, in which there could have been a Statue, Bas-relief, Trophy, or another similar type of Ornament. D. Elevation of the Ruin. Note that the piece of the Architrave and Frieze E was moved and was originally behind its current location. The Architrave and Window Jambs on the first floor, labeled F, are much higher than the other Floors. These proportions, used in the times of the Republic until Augustus, truly increase the dignity of Buildings. The following Plate will show the corroded inscription as it is found currently and reconstructed here for greater clarity. The ancient ground level surrounding this Monument is much higher, due to the ruins of the Buildings in the Campidoglio that were built on top of it as well as to the Fora of Augustus and of Trajan that surrounded it.
Scale: Scale in Roman Palmi.
Signature: Drawn and engraved by the Architect Piranesi.
Inscription:
TO GAIUS PUBLICIUS BIBULUS, PLEBIAN AEDILE, IN RECOGNITION OF HIS HONOR AND VIRTUE, BY DECREE OF THE SENATE AND PEOPLE, LAND WAS GIVEN WITH PUBLIC FUNDS FOR HIS BURIAL AND THAT OF HIS DESCENDANTS.
Volume II.V
Title: Close-up of the principal Parts of the previous [plate of the] Tomb of Gaius Publicius etc. Key: A. Base composed of large Travertines that have been eroded and damaged over time and by various fires, above which the Inscription can be read as one finds it currently, with the Form of the Letters faithfully copied. B. Hole, or Window built in a later period. C. Angle from which it is possible to see one of the Pilasters of the tomb. This Pilaster can be observed in particular for the fact that its shaft is fused just below the middle up until the Necking in the style of a Column. This manner of tapering Pilasters was commonly practiced by the Ancients, especially when they had to place columns frontally, having made, however, good consideration of both the site and the size of the Work. One still sees many ancient buildings in which this method was not practiced, and hence the decision to use it, or not, rests with the individual. D. The surface of this Wall, placed between the Pilasters (since the other wall is toward the other corner) from a little under halfway until the architrave, has the same tapering of the Pilasters in the form of a shoe. This element appears more clearly in Cross-section E in which one can see the outline of the surface, F, parallel to the outline of the Pilaster, G. H. Another Cross-section that demonstrates the straight line of the surface, perpendicular to the Wall between the two Pilasters in the middle; however, this surface is different from the Walls toward the corners. Despite this difference in the Work, it remains imperceptible, and indeed pleasing to the eyes of the beholder. Further observing the Base of the Pilasters, built without following the rules of Vitruvius, who advises that the height of the base, in the Etruscan style, [should be] half of the diameter of the Column. Here, the base is not much more than a third. In this way, in my opinion, the worthy Architect of this building, having anticipated the appearance of the Work as a whole, used this method in order to add greater dignity and monumentality to the Tomb (a method also used in the Tomb in front of the Church of San Sebastiano fuori le Mura). Therefore, one need not always follow the rules of Vitruvius, as an inalterable law. Furthermore, if one [actually] observes ancient Monuments, one finds a great variety of Proportions, which, regarding the most renowned Monuments of architecture, one can observe directly from the conditions of the site and from the Buildings themselves, as I will explain in my Work on Architecture.
Signature: Drawn and engraved by the Architect Piranesi.
Inscription:
TO GAIUS PUBLICIUS BIBULUS, PLEBIAN AEDILE, IN RECOGNITION OF HIS HONOR AND VIRTUE, BY DECREE OF THE SENATE AND PEOPLE, LAND WAS GIVEN WITH PUBLIC FUNDS FOR HIS BURIAL AND THAT OF HIS DESCENDANTS.
Volume II. VI
Key: A. Plan of a Tomb outside the Porta San Sebastiano on the Via Appia inside Grounds of Santa Maria Nuova. One can imagine, from the ruins seen today, that it was one of the most noble Tombs among the great Roman Mausoleums. Around the circumference of the Building one does not find any vestige of an entrance, and yet [despite this] one is led to believe that it is buried under the ground. B. Large windows that illuminated the corridors. C. Doors through which one can access and move between the aforementioned Corridors. D. Façade of the Ruin above ground, restored with modern Roofs E. F. Large windows labeled B in the Plan. G. Cross-section of the aforementioned Ruin.
Signature: Drawn and engraved by the Architect Piranesi.
Volume II. VII
Title and Description: THIS INSCRIPTION from the Façade of the Tomb Chambers etc., which was [originally] above the Street, was [then] transported to the place where one can now see it affixed, that is, above the modern Entrance to the same Chambers. These clearly indicate that they were built to contain the ashes of the Liberti [Freed persons] and of Lucius Arruntius’s family. The Arruntius family was very wealthy and powerful and flourished in the most glorious centuries of the Empire. After which, as one reads in Tacitus, one Lucius Arruntius (maybe the Grandfather of the one mentioned here), illustrious for his eloquence and for the sanctity of his manners for which he was universally loved, enriched by the legacy of his friends, was considered by Octavian Augustus as among those who could aspire to the supreme dominion of the world. He was feared by Tiberius and under various pretexts was persecuted to the point of killing himself. Key: A. Terracotta pipes found in the wall next to the Inscription. B. Piece of marble with holes to spread the Ashes of the dead with Libations and tears.
Signature: Drawn and engraved by the Architect Piranesi.
Inscription: FREED [AND ENSLAVED] PERSONS IN THE HOUSEHOLD OF LUCIUS ARRUNTIUS, THIRD SON OF LUCIUS.
Volume II. VIII
PLAN of the Tomb Chambers of the Freed persons and the household of Lucius Arruntius. The drawing of this Plan was made when various chambers were discovered, as will be discussed shortly, some of which have been destroyed. A. Door, on the ancient floor, with Stairs descending to floor B. C. Windows that illuminate the Stairs. D, E. Chambers that still exist. F. Tombs with cinerary urns. G. Opening, through which light descended. H. Remains of the mosaic floor. I. Opening, which is now blocked by the ruins. K. Site where the modern stairs are located. These also descend to floor B. L. Columbaria, arranged around the Walls.
Scale: Scale of 18 Palmi.
Signature: Drawn and engraved by the Architect Piranesi.
Volume II. IX
Title and Description: VIEW of the Entrance to the TOMB CHAMBER of LUCIUS ARRUNTIUS and his Family. In the year 1736 during the ploughing of a vineyard, located on the left side before exiting from the Porta Maggiore, many funerary chambers were discovered by the Tenant Francesco Belardi. These were demolished except the present Chamber and another one nearby, conserved at the expense of the Antiquarian Ficoroni. In this Chamber, the tombs are contiguous to the walls which are constructed of opus reticulatum. One can see many Tombs of various sizes and constructions, from which, in addition to the altered form of the Characters of the Inscriptions placed on each of them, one can surmise that they were built in different centuries. Every Tomb, according to its capacity, contains two, four, or more terracotta urns in which the cremated bones and ashes of the bodies were placed. In the Corners, scattered here and there, Sarcophagi with skeletons inside were also found, along with funerary Urns of precious marble, gravestones, Altars, funerary Vases, Skulls covered in tiles, and many other sepulchral objects. The Inscription shown here was located on the exterior of the Chamber, which is now above the new entrance through which one descends to the Chamber.
Signature: Drawn and engraved by the Architect Piranesi.
Inscription (in the caption): FREED [AND ENSLAVED] PERSONS IN THE HOUSEHOLD OF LUCIUS ARRUNTIUS, THIRD SON OF LUCIUS.
Volume II. X
VIEW of another part of the TOMB CHAMBER of LUCIUS ARUNTIUS. There, one sees that the Tombs were made in the manner of Columbaria and each tomb contains two urns with the ashes of the cremated cadavers. One could believe that that this area led to another more prominent Chamber., since there is clear evidence in the ruins that enclose the Chamber. The site is further distinguished by the architectural arrangement of Columns and by the vault which is divided into various compartments that are nobly adorned by the finest Stucco reliefs on a background of faux ancient Yellow Porphyry executed by an excellent hand, as even the few decaying remains that can be seen there clearly demonstrate. Also found on this site were Gravestones, Urns, and Sarcophagi containing bodies with medals in their mouths. The Floor of the entire Chamber still has remains that are decorated with mosaics in a design of the finest taste. On the left side of the Door, which leads into the Chamber, one discovers a part of the Stairs which is almost completely in ruins, and where in ancient times one descended into the room.
Signature: Drawn and engraved by the Architect Piranesi.
Volume II. XI
Title and description: Illustrated in the present Plate are the Elevation and Section of one of the Tombs in the Chambers of the Freed and Enslaved Persons, etc., in the Household of Lucius Arruntius, in the Plan labeled a. Key: A. Elevation of the Tomb. B. Ground level of the Chamber. C. Section of the Vase and Urn buried in the ground D. E. Cross-section of the aforementioned Tomb with a section of the Vases and cross-section of the Urn F.
No signature.
Inscription:
IN COMMEMORATION OF ARRUNTIA FLORA, BY HER COMPANION NICEROS WHO MADE THIS TOMB FOR HER, HIMSELF, AND THEIR DESCENDANTS.
Volume II.XII
Title: Stucco Ornaments of the Vault in the Tomb Chamber of Lucius Arruntius.
Key: The lines A, B, C show a fourth of the Ornaments of the aforementioned Vault, which is divided by means of a well-ordered Cornice in different rectangular frames and sections, that correspond to each other with marvelous symmetry and proportion. The cornice in half relief is composed of five smaller elements, that is a rod, listels, and roundels as is distinctly seen in the Moulding D. Then, the other Moulding E, articulates the Cornice of roundel B in the middle of the Vault. Inside the rectangular sections one can see in the stucco bas-relief an array of figures, arabesques, and grotesques fashioned with all the exquisiteness and excellence of art. A part of these motifs is set in relief against a white background or in faux stone of various colors, as in Porphyry A, in ancient Yellow B, and Serpentine C. These elements, in addition to the roundel nearby, marvelously lighten the Vault and render the sight a most pleasing harmony; such that, when one considers the Vault both as a whole and in the parts that adorn it, it could be rightly said to be a perfect example of its type, and, as such, it can be included among the most illustrious ancient monuments. It is noteworthy for the robustness with which it is built, and the plaster with which it is decorated, and for the fact that even after having been buried for many centuries under a vineyard’s humid soil and many planted trees, it is nevertheless still preserved.
Signature: Drawn and engraved by the Architect Piranesi.
Signature 2: Barbault engraved the Figures.
Volume II.XIII
Title: Inscriptions and Fragments from the Tomb Chambers of the Arruntius Family.
Key: A close-up of a piece of bas-relief in Stucco situated in the center of the Vault of the chamber. Represented, without a doubt, is a [scene of] Rape, possibly the Rape of Orithyia by Boreas, from what one can hypothesize from these broken ruins and, also, from the drapery that is stirred by the force of air blown by the aforementioned Wind (Boreas). B. Various Oil Lamps of the finest clay found in some funerary Urns. These are gently worked and embellished by beautiful ornaments such as garlands, dolphins, a putto with a quiver on his shoulders hunting with dogs, leaves and bundles of grapes, and other lovely inventions. C. Figure, also in stucco, in the sections of the Chamber wall. There is a Woman kneeling that seems to be putting a basket, or something similar, on the ground, and attending to the ministration of the holy table, which is shown in the figures in the following Plates. D. Woman or Priestess in the Stuccoes of the Vault in the act of offering or growing some kind of fruit placed above the table, which is in front of her, as seen in the upper sections of the Vault in the Plates that follow.
Signature: Drawn and engraved by the Architect Piranesi.
Signature 2: Barbault engraved the Figures.
Volume II. XIV
Title: Inscriptions and Fragments of the Tomb Chambers of the Arruntius Family etc.
Key: A. Terracotta Vases with a silver color glaze. B. Ampoules of glass. These, as well as the others, served for use in annual funerary rites and Sacrifices. C. Mosaic Floor of the Chamber. D. Piece of Stucco, in the rectangular sections of the Vault, depicting a type of Hippogriff, or other animal, in the form of a fantastical grotesque. E. Another piece of Stucco, also in the sections of the Vault, representing, in the Grotesque style, a Woman standing on a pedestal made in the bizarre form of a chalice who supports above her head a tabletop covered with vegetables and fruits. F. Marble Fragments in which a mask of Zephyr is sculpted in half relief. Strewn about the floor are various Oil Lamps, Vases, and Patera.
Signature 1: Drawn and engraved by the Architect Piranesi.
Signature 2: Barbault engraved the Figures.
Inscription 1:
IN COMMEMORATION OF ARRUNTIA FLORA, BY HER COMPANION NICEROS WHO MADE THIS TOMB FOR HER, HIMSELF, AND THEIR DESCENDANTS.
Inscription 2:
ANENCLETUS [A FREEDMAN] OF THE ARRUNTIUS FAMILY BUILT THIS [TOMB] FOR HIMSELF, HIS WIFE, AND SON.
Volume II.XV
Title: Inscriptions and Fragments of the Tomb Chambers of the Arruntius Family
No Key.
Signature 1: Drawn and engraved by the Architect Piranesi.
Signature 2: Barbault engraved the Figures.
Inscription 1: IN COMMEMORATION OF THE TATA OF ARRUNTIA HERMIONE, [BUILT] BY HERMES AND HER FATHER ARRUNTIUS HERMIAS, FOR HIMSELF AND HIS DESCENDANTS.
Inscription 2: FREED [AND ENSLAVED] PERSONS IN THE HOUSEHOLD OF LUCIUS ARRUNTIUS, THIRD SON OF LUCIUS.
Volume II. XVI
Title and Description: TOMB CHAMBER near that already described of the Family of Lucius Arruntius in the same vineyard, discovered in 1736. The walls contain an arrangement of Columbaria. Underneath some of them there are Inscriptions with the names of the deceased. In the other Columbaria, where the names are lacking, there appears to be a sign that they were once there; one can assume that the ashes were not placed there, as we have also observed in other rooms. This Chamber does not have an inscription of anyone illustrious or any ruin of noble ornamentation. It seems that it was built for convenience as a communal request through a mutually agreed upon price. It is also easy to suppose this fact from the variety of names in the brief inscriptions found there and from the unrefined way in which they are written, among which one reads the name of a certain L. Aquilio Ciabattino. There is only one larger niche observable in the middle of the wall. The rest are all Columbaria which have mostly been covered up by the ground. Other Chambers adjacent to these, being half ruined, were completely demolished. However, among the ruins, a great quantity of fragments of Chests, Sarcophagi, Vases, Urns and other funerary objects were collected.
Signature: Drawn and engraved by the Architect Piranesi.
Volume II. XVII
Title: Inscriptions and Fragments from the Tomb Chamber near that of the Family Arruntius.
Key: A. Oil lamps made of very fine clay of various forms and modeling, found inside the urns of the Columbaria. B. Terracotta patera, worked very finely, which served to pour the libations. C. Some iron and metal Nails. With these nails, the plaques of the inscriptions were affixed to the wall underneath the Columbaria embedded in nothing more than a layer of plaster. D. Terracotta funerary Vase in which the ashes of the Aborted were placed. These were found, along with the other funerary urns, in the main niche of the aforementioned Room.
Signature: Drawn and engraved by the Architect Piranesi.
Volume II. XVIII
Title: Inscriptions and Fragments from the Tomb Chamber near that of the Family Arruntius.
Key: A. Marble Fragment of a large Lid, hollowed out and perforated in the middle. This and other similar lids served to cover funerary Altars, Gravestones, and Urns. During the annual sacrifices, performed in honor of the Manes [spirits of the dead], they poured the libations through the holes seen here, over the bones and ashes of the dead. B. Fragments of ampoules of glass, glazed in [the color] gold, and found inside some funerary urns. Balms and other scented liquids were placed in these objects for the use of the aforementioned libations. C. Oil lamps of a very fine clay, carved with extreme refinement, delicate form, and beautiful details. One can observe the name of the artisan on the bottom of each of them.
Signature: Drawn and engraved by the Architect Piranesi.
Volume II. XIX
Title: Inscriptions and Fragments from the Tomb Chamber near that of the Family Arruntius.
No Key.
No Signature.
Volume II XX
Title: A Marble Tomb Found in a Tomb Chamber near that of the Family of Lucius Arruntius.
Key: A. Part of the Plan of the same. B. Close-up of the central part of the front panel, where one observes two figures representing a husband and wife, or, as others would have it, Mars and Venus in the act of embracing each other with reciprocal affection and harmony. C. Another part of the Plan that reveals how and in what way the two small Columns are positioned on the front panel. D. Side of the Tomb. E. Perspective view of the same with the Sarcophagus inside. Indeed, the fact that this terracotta sarcophagus was found inside the Tomb, walled in by filling all around it, is rendered more visible [in this perspective]; not unlike those that can be observed in the three Tomb Chambers, believed to be of the Family of Augustus, which were lined with shards of flint on the exterior in order to better protect them. All of this was directed toward that goal of preserving in perpetuity the ashes and bodies of their dead, which was highly regarded by those Refined souls. This Tomb can be found in the Alborghetti Vineyard on the street that leads from Santa Maria Maggiore to Santa Croce in Gerusalemme.
Signature 1: Drawn and engraved by the Architect Piranesi.
Signature 2: Barbault engraved the figures.
Volume II.XXI
Title: PLAN of the MAUSOLEUM of Constantia, Daughter of the Emperor Constantine the Great. Today it is called the Church of Santa Constanza at Sant’Agnese fuori delle Mura.
Key: A. Interior of the Mausoleum built in the form of a round Chamber. B. Ancient entrance. C. Modern entrances. D. Columns in pairs of two, arranged in a circle in the center of the Mausoleum, which held up the walls, dome, and vaults of the interior ambulatory. The brickwork is formed with pieces of tomb inscriptions. E. Interior Ambulatory. F. Stairs by which one ascends above the Mausoleum. G. Urn of Porphyry in which the body of Constantia was placed. H. Higher floor from the ancient exterior floor, on top of which, in ancient times, there was an order of Columns that formed the exterior Ambulatory surrounding the Mausoleum. I. Columns of the exterior Ambulatory. K. Vestibule in front of the Mausoleum, largely in ruins. L. Great sepulchral Building added to the Mausoleum in a later period. The part that still supports the remains, is marked with darker ink; the other part, marked with lighter ink, is completely ruined. M. Doors and Stairs which lead to the floor of the Building, ascending to floor N which is an open Atrium. O. Vestibule. P. Portico shared by the Mausoleum and other Halls belonging to the added large [sepulchral] Building. Q. Halls surrounded by Niches in which the dead were buried. R. Open Cavaedia. S. Buttresses which sustained this part of the building and which are much higher than the ancient ground level of Street T.
Scale: Scale of (Roman) Palmi.
Signature: Drawn and engraved by the Architect Piranesi.
Volume II.XXII
Key:
Section 1. A. Ruin of the Large Sepulchral Building added to the Mausoleum of Constantia. One notes that the manner of construction in this ruin is far inferior to that in which the Mausoleum was constructed, since one can see large wooden bricks inserted in the wall and a poor arrangement of windows and other parts, an arrangement which greatly departs from the solid and regular Architecture of the previous centuries. B. Windows which illuminated the Halls. C. Niches where the dead were buried. D. Buttresses. E. Freshly laid soil. F. Remains of the Vestibule. G. Ancient entrance with niches; the Façade which one sees today is modern. H. Modern roofs made to preserve the Building.
Section II. I. Buttresses that support one of the circular walls of the large sepulchral Building. K. Side of the Vestibule. L. Side of the Mausoleum. M. Foundation, which held up the Columns of the exterior Ambulatory. N. Modern Door. O. Ruins of the Vault of the Exterior Ambulatory.
Section III [seen] from the side. P. Cross-section of the interior Mausoleum, in which one sees the Columns that supported the walls, dome, and vaults of the interior Ambulatory decorated with sections of mosaic. Q. Ancient Windows in the vaults. R. Modern windows. S. Cross-section of the Sarcophagus. T. Foundation, covered by the ground. U. Area underground filled with ruins where the Tomb was probably situated. X. Vestibule. Y. Walls and Buttresses of the large Sepulchral Building.
Signature: Drawn and engraved by the Architect Piranesi.
Volume II. XXIII
Title and description: The present Plate shows, in part, two Columns with their Capitals, Architrave, Frieze, and Cornice, which are beneath the interior Arches of the Mausoleum of Constantia.
Key: The Column A is thinner than the other, and the Capital above has a much greater diameter than the shaft of the Column. On the contrary, the Capital of Column B has a much smaller diameter than the shaft. From these features one can comprehend that the Mausoleum was built (as many other Buildings of the time) with the Spolia of other buildings. These very ill-fitting [pieces of] marble, even though they seem to have been placed with some care either to further strengthen the Building, or to lessen the offense on the eyes, nevertheless, one cannot deny, do not further debase the already flawed Building and its parts. Furthermore, the width of Architrave C and the Arches D do not correspond to that of the Columns. Moreover, the same arches have a façade that curves according to the circumference of the Mausoleum. And yet, similar defects have not only been considered as a curious invention, but others have [even] stupidly imitated them. E. Attic Base of the aforementioned Columns pierced with pins and soldered by means of holes. F. Mosaics of various styles in the Vault of the Ambulatory G. H. Ancient windows.
Signature: Drawn and engraved by the Architect Piranesi.
Volume II.XXIV
Title and description: LARGE PORPHYRY SARCOPHAGUS with its lid, in which it is believed that the body of Constantia was placed. It is certainly singular for its marvelous and great size and for its almost indestructible marble, which is incredibly difficult to work, from which it is formed. Seen on the front is a beautiful interlace of arabesques, carved in half relief, and decorated in the form of branches with fruits of various kinds and birds, which form three circles containing four winged Geniuses in the middle, two of which have bulla or golden medals around their necks. This was given to Roman youths to wear as a sign of their nobility, and the nobility of their parents. Children of Freed persons were permitted to wear a similar bulla, but made of leather, as one reads in various ancient writers. All these four youths, or winged Geniuses, are preparing for the grape harvest, since they are gathering grapes, some to put in the barrel and others in a basket to bring elsewhere to ferment in order to make the must, as the sides of the Sarcophagus itself show. One also observes a youth with the aforementioned bulla on his neck, holding up a garland of leaves, similar to the bark of a pine tree, as well as the festoons that adorn the sides of the lid of the sarcophagus. The animals under the arabesques could be interpreted as symbols of human traditions, as is noted in other places in this Work. The Mask in the middle of the great Lid and on the other sides, possibly indicates the four ages of man, and this one would symbolize youth. Others say the mask represents the head of a young Bacchus.
Scale: 10 Palmi and 6 once [ounces].
Signature: Drawn and engraved by the Architect Piranesi.
Volume II. XXV
Key: Section of the [preceding] Large Sarcophagus with its Lid, excavated inside what appears to be a Ribbed Vault. B. Side of the same Sarcophagus in which one sees two Vines in the grotesque style, interlaced with fronds and bunches of grapes. In the middle there are three winged Geniuses, with bulla or golden medals around their necks, who are all in the act of crushing the grapes with their feet. They are then collected in a large vat, [decorated] with a head of a lion. In front of its open mouth one can suppose that the must flowed in the great amphora of clay that are placed beneath it. The Mask of Silenus and the Festoon comprise the frieze on the side of the Lid and are the same as the other sides. The opposite Side is similar in every way to the present one except for the Mask of the young Bacchus, which we have labelled C. D. Another Mask of a Bacchante, or follower of Bacchus, on the back. E. Ruin of a marble Frieze found among the ruins. F. A Great Candelabrum of marble decorated with various grotesque foliage and festoons composed of flowers and fruits. The Pedestal has three heads of Aries on the upper corners, and in the lower corners three Sphinxes styled as grotesques, just as the Geniuses of the front side. The work is by an excellent Sculptor of the golden age, imitated in works by those gifted Masters of the fifteenth century, and today by those transalpine artists who are tireless investigators of the art, always trying to extract its model. G. Close-up of the gold medal, faithfully copied from the marble [sarcophagus].
No signature.
Volume II.XXVI
Key: A. Plan of a Sepulchral Building outside the Porta Maggiore inside a Vineyard next to the Torre Pignatara. B. Entrance which is almost completely ruined. C. Round Chamber in the form of an Atrium which led to the other chambers on the lower floor. D. Windows that illuminate said area, or rather the lower floor. E. Cross-section of the Ruin above the ground. F. Current ground level of the Vineyard. G. Line of the current ground level raised from the ruins to this point, covering the ancient ground level. H. Ruins of the [upper] Part, or rather the upper floor.
Signature: Drawn and engraved by the Architect Piranesi.
Volume II.XXVII
Key: A. Plan of the Tomb of the Scipios. B. Square Base constructed with Courses of Flint and Lime shards. C. Circular Layer composed of the same material, that surrounds the great Mass. D. Mass built of pieces of Tufa and Lime, enclosed by a reticulated wall. E. Entrance. F. Large Room in the center, the walls of which were covered with Travertine and are now completely dismantled. G. Elevation. H. Current ground level. I. Cross-section. K. Layer of Flint and Lime shards, which, having been damaged in some places, reveal the reticulated wall, L, that surrounds the great Mass.
Signature: Drawn and engraved by the Architect Piranesi.
Volume II. XXVIII
Title and description: VIEW of a Tomb, believed to be that of the Scipios, outside the Porta San Sebastiano above the ancient Via Appia, in the vineyard facing the Church Domine Quo Vadis. Today this ancient Building, as one can see, has been stripped not only of the marble sculptures that used to decorate it, but also of every other Ornament. Furthermore, the upper Finishings are also completely ruined.
Key: The building was used as a Fortress in the Low Times, as the small Tower A, which was installed in the middle of the great Mass, demonstrates. The Niches were arranged around the circumference [of the tomb], the height of which was less than the width. They probably contained Gravestones, Urns, and cinerary Vases, and other similar funerary Objects.
Signature: Drawn and engraved by the Architect Piranesi.
Volume II. XXIX
Key: A. Plan of a Sepulchral Building, not far from Tor de’ Schiavi. B. Tombs with cinerary Urns that are located inside the Niches of the great Chamber and elevated from the ground level of the Building. Today the tombs, as well as some areas on the Walls of the other lower Rooms, are ruined. C. Cross-section of the Remains of the great Chamber. The light fell [into this Chamber] from above. D. Large niches. E. Arches introduced to further strengthen the Building while also lightening the weight of the chambers below, so that the weight would be distributed equally throughout the work, and also so that the upper wall would remain supported even if one needed to pierce through it or restore it. Similar Arches, repeated and built on top of one another, are frequently found to have been used by the great ancients. F. Ruin of the lower Rooms.
Signature: Drawn and engraved by the Architect Piranesi.
Volume II. XXX
Key: A. Stucco Fragments excavated from the Vault of one of the Large Niches inside the Sepulchral Building near Tor de’ Schiavi. The Vault is divided into sections in low relief that form a Border, decorated with neatly strung fusaroles. Inside the Sections one sees various grotesques of Animals and Branches. B. Profile of the Moulding. C. Other Sections, which could be seen in the past in the Vault of the four corner Rooms, today almost completely ruined. The variety of Ornament in the Architecture of the Ancients is crafted with such gravity and magnificence, that it seems impossible to think of something new in this Genre, or of ways to adapt such a variety to Buildings as well as they did.
Signature: Drawn and engraved by the Architect Piranesi.
Volume II XXXI
Key: A. Plan of the Tomb of Alexander Severus, located outside Porta San Giovanni about a mile past the Aqueducts. The entire great Mass is built from stone Shards, and due to both its vast size and robustness, it must have been one of the most superb Tombs of Roman grandeur. Interior Walls of the Corridors lined with Tevolozza. C. Entrance which leads to the center of the Tomb. D. Other entrances, today filled up by ruins. E. Center, where, according to Flaminius Vaccus, a marble Urn was found, which will be shown in the following Plates. F. View of the Tomb exterior, today known as the Hill of Grain.
Signature: Drawn and engraved by the Architect Piranesi.
Volume II XXXII
Title: Cross-section of the Tomb of Alexander Severus.
Key: A. Profile of the Mass, today known as the Hill of Grain. B. Entrance leading to the Center, where the marble Tomb with ashes was placed. C. Center of the Tomb. D. Other entrances filled with ruins. E. Lower vault supported by Columns, and which was open in the middle. F. Ancient well. G. Windows that illuminate the interior. H. Pavement composed of minute shards, tevolozza, and lime, which is covered by another smoother layer of pavement, composed of the same, but much finer, materials. I. Stairs leading to the Center of the Tomb. During the time of Flaminius Vaccus, as he has written in his Memorie, an Excavator had the will to open such an enormous and heavy structure all the way to the center where the Sarcophagus was extracted, and which can be seen here, in the following plate.
Signature: Drawn and engraved by the Architect Piranesi.
Scale: Scale of 40 Palmi.
Volume II. XXXIII
Title: Large Marble Sarcophagus believed to be of Alexander Severus and Julia Mamaea, his Mother.
Description (lower caption): This great Sarcophagus was found in the middle of Alexander Severus’s Mausoleum with a most noble Vase of Sardinian Agate inside, which held [his] ashes. The Lid is in the form of a Bed beautifully adorned with arabesques, fascia, and embroidery showing various animal hunts, on top which rest Alexander Severus and Julia Mamaea. He embraces his Mother with his right hand. With her right hand she holds a laurel wreath. Both rest their left hands on top of a pillow which seems to sink into the soft mattress. The entire Sarcophagus is surrounded with figures sculpted in bas-relief. In the frontal section one sees Romans and Sabines represented in the act of making peace, after many bloody battles caused by the rape of the Sabine Women by the Romans, in addition to massacres, and the disadvantages that followed. Hence, on one side we see King Tatius of the Sabines with elders on a royal seat; and on the other Romulus, surrounded by young Roman women, also seated on top of a cover made of lion skin. In the middle, in between these two fierce peoples the young Sabine women are seen, uniquely intent to pacify the wounded souls of both their spouses and families, trying to convert past wrongs into the tender affections of concord and love, which unite those bonded by blood. The rest of the Parts of the Sarcophagus are embellished by various intaglios of tree branches, masks, and arabesques. This bas-relief could represent another scene, if modern restorations had not blocked the arms, heads, and other ornaments.
Signature: Drawn and engraved by the Architect Piranesi.
Signature 2: Barbault engraved the figures.
Label (upper caption): The Abbot [Ridolfino] Venuti in some folios he recently printed after the edition of the present Volumes, claims and explains, that the present bas-relief along with the following ones of Plate 35 represent the restitution of Cressida described to us by Homer in book 1 of the Iliad. In these folios, he refers to my account below, which consists of a commonly held belief about something that is very difficult to explain, but he does not offer any counter argument that would convince the public to change their minds. Before the production of these same Volumes, he had the grace to warn me of his claims, but I reproached him for the excessively substantial oppositions that I found there, and which are, his mistaking men for women: [for example] having Juno appear to soothe Achilles' turmoil, which is contrary to Homer’s text , [even] after citing it as the basis for his explanation; identifying different characters that have the same form represented by the Sculptor on the present face of the Urn, and then also depicted on the sides of it: taking symbols for sacrificial instruments, the ornaments of the urn for Symbols: and many, many other improprieties and contradictions that I have no place to refer to, but that everyone can recognize by visiting the marble [sculpture] and understand by reading his texts. When these came to light, I saw that the Signor Abbot was only inspired to produce them in the spirit of making himself singular with beautiful inventions. These went against the impulse of his tacit reprobation of what he displays (outwardly); since he got the idea of the restitution of Cressida from the apparent similarity of the present bas-reliefs to those in the Villa Pinciana, which are supposed to represent it. He does not make the slightest mention of it so as not to encourage the Public to observe the difference between one marble [sculpture] and the other, and to realize the weakness of his presumption. I am amazed then that having had so much talent to make such a certain declaration about the bas-reliefs, that are an accessory to the urn, he has failed to refer to the figures seated on the same urn, which are its main object; and so he is forced to rebuke, for no other reason than contempt, that it is a representation of Alexander Severus and Julia Mamaea which has up until now been commonly believed for many reasons, which are, the appearance of these two figures is quite suitable to Mother and Son, (although Signor Abbot, by making the male older than the female in his copy, has distanced himself from the representation in the marble [sculpture] by drawing a beard and wrinkles). The precise similarity in the marble not only of the head of the male to the medals of Alexander Severus, but also of the female and her hairstyle to the medals of Mamaea: a concurrence that excludes the objection of casual resemblance, as recognized by the most Erudite Signor Abbot Barthelemy, Antiquarian of His Most Christian Majesty who was with me to compare more and more of said medals with this marble [sculpture]. The quality of the bas-reliefs expresses the mediocre skill of the artists of Sculpture during the time of this Emperor; and many other reflections which I omit in seeing myself obliged to brevity. The Abbot also claims, at the end of his pages, that the bas-reliefs of the Vase I have drawn in the following Plates 34 and 35 represent the judgment of Paris, but assigning a man as Venus who is rather distinct from the virile sex, and which I have faithfully portrayed, and not seeing the Adam’s apple, which should be the main sign of the alleged representation: taking for a stick the cloth that the supposed Paris holds in his left hand: saying that the alleged Venus looks at him when she looks the opposite way, and that she has a small cup or basin, when there isn't one: adding in his drawing the breasts to this figure to make her female and then exclaiming: who will not say that Venus is represented here as victor of beauty over the other Goddesses? In sum, the alteration of the bas-reliefs in his copy; they are imaginings*: and discrepancies of such significance, do not permit us to see an Enlightener of Antiquities but is rather an Assailant of their most fundamental truths.
*See Plate LVII, or rather the last plate added to Volume IV.
Volume II.XXXIV
Key: A. Rear view of the Sarcophagus, sculpted in low relief but it is less refined. The bas-relief represents the first solemn Triumph of Romulus soon after the Rape of the Sabine Virgins and of conquests of other surrounding Peoples, which served as a model to those magnificent and superb Triumphs, as a measure of the expansion of the Republic and, after, the Empire, made by his Descendants to the wonder of all the world. Hence, one observes on the right corner the death of Acron, King of the Caeninenses, defeated and killed in battle by Romulus himself, and mourned by his closest kin. Acron, in order to avenge his people, was the first to fight with his army against the new City of Rome. Thus, one sees Romulus on a horse-drawn chariot, followed by a wagon full of rich spoils and Young Romans, some of whom carry military devices, vases, and other spoils of the conquered enemy. It is said that the triumphant Romulus, upon entering the Capitoline Hill for the first time, signaled the site where the Temple of Jupiter Feretrius was later built, where the spoils of the Kings, or illustrious Captains, killed by him and his successors were kept. B. Section in front of the Fountain, mentioned in the previous Plate, at the center of which one sees a seated a Woman with a serpent in her lap, extending her arm to a youth. In front of her is an old man who fixedly stares at her, and Love flies above her with a torch and arrow in his hands. Many suppose that these figures portray the Meeting of Jupiter Ammon and Olympia, from whom Alexander the Great was born. Others [suppose they represent] the rape of Proserpina by Pluto. C. Back panel, whose figures could each be interpreted as the Muses, one of whom is turned toward and looks favorably upon the young Poet, by whom she might have been invoked.
No signature.
Volume II XXXV
Key: A. One of the Sides of the Sarcophagus which seems to represent the council regarding the vendetta, held by the Sabines and the other Peoples, after the rape of their maidens by the Romans, deliberating about the bringing of arms against them to destroy them. B. The opposite Side in which one sees Hersilia, wife of Romulus, in the act of embracing her husband, who is seated and surrounded by Roman Youths. One can easily suppose that Romulus is here to establish the marriages, coupling the [Roman] bridegrooms with the maidens, for the greatest satisfaction of everyone according to the ceremonies of their own Country. A good clue as to this interpretation can be derived from two Figures who hold in their hands the Knot of Hercules, a symbol from the ancients of a close and strong union of Marriage. C. Cross-section of the Sarcophagus in the place it was found, excavated from only one stone. D. Cross-section of the same but from the side. E. Vase, believed to be of Sardinian Agate of a singular size, decorated in the Greek style, and found with ashes inside the Sarcophagus. The figures on the Vase will be shown in the next Plate. F. Figure of a youth sculpted below the foot of the Vase. He seems to put a finger over his mouth, indicating the silence that was superstitiously observed by nobles in the tombs. G. Close-up of the Knot of Hercules.
Signature: Drawn and engraved by the Architect Piranesi.
Signature 2: Barbault engraved the figures.
Volume II. XXXVI
Key: A. Plan of a Tomb on the ancient Via Appia near the Buonamici Vineyards. B. Entrance, today partially in ruins. C. Square room with large Niches on the sides. D. Windows, partially buried by the Ruins. E. Elevation. F. Mass built in Courses of shards of Flint with Lime, and of Pozzolana. G. Current ground level of the Countryside. H. Travertines which covered the entire exterior of the Tomb, now underground. Furthermore, those that remained above ground were detached from the Mass and taken elsewhere.
Signature: Drawn and engraved by the Architect Piranesi.
Volume II.XXXVII
Title: Cross-section of the previous Tomb.
Key: A. Travertines which cover the Walls of the Room, and still exist today, perhaps because it would not be an easy task to lift them away from this site due to the Pins, B, that join the blocks together, giving them greater stability and unity throughout the entire Structure. In each part of the Vault one can observe three courses of Travertines, C, which, beyond being in the form of a voussoir and being joined by Pins, are further interlocked by means of an upward slope and cut in the form of a wedge, as shown in perspective here below in Figure D. E. Windows. F. Travertine on the exterior of the Building. G. Current ground level of the Room, filled with ruins. The entire Room was decorated with the finest Stuccoes, some minute remains of which can be seen on the Walls. H. Ground level of the countryside.
Scale: Scale of Roman Palmi 3…12.
Signature: Drawn and engraved by the Architect Piranesi.
Volume II.XXXVIII
Key: A. Plan of a Tomb on the Via Tiburtina about 50 steps from the Ponte Lugano, composed of massive Travertines. B. Entrances to the Room. C. Edge, or Seat, which encircles the room. D. Cross-section. E. Pedestal shown in relief in order to show the width of the Side, which is smaller than that of the Façade, as will appear in the following Plate. F. Windows. G. Plan of the same but seen in a close-up. H. Courses of Travertines which also form the Door Jambs labelled in the Profile, I, which remains on the opposite side of the Street. On the upper, rusticated, Jamb, a fine Cornice was carved, labeled K. L. Profile of the aforementioned Jamb. M. Another Piece of the same [jamb] which demonstrates the small Cornice, which is plain at the crown. N. Moulding of the pedestal.
Signature: Drawn and engraved by the Architect Piranesi.
Volume II. XXXIX
Title and Description: VIEW of Ancient TOMB, remaining in a Vineyard on the Road to Tivoli, almost 50 steps away from the Ponte Lugano. This massive structure is constructed of large travertines and supports a beautiful Pedestal with a Bas-relief made by a skilled master; however, it has been damaged and ruined over time. Inside there is a square room with a door and window. Some believe that this room is one of the four great Pilasters that adorned the magnificent entrance to the renowned Villa of Emperor Hadrian. In truth, in the last years another one nearby, which was quite dissimilar, was destroyed. One can still see lying on the ground the ruins of the travertines that supported the Bas-relief, which is now preserved in the Villa Albani outside the Porta Salaria. For now, whether [it is] a Pilaster, or Tomb, as is commonly thought, considering the Architecture, Sculpture, and moulding of the Cornices, it seems worthy of being considered among the most rare and precious of ancient monuments.
Signature: Drawn and engraved by the Architect Piranesi.
Volume II.XL
Title: Plan and Cross-Section of Three Tomb Chambers thought to belong to the Family of Augustus.
Key: A. Staircase branching off into many wings, which led to the entrance of the two lateral Chambers, one to the Columbaria placed in the upper level, and the other to the house of the caretaker. Ascending far along the two wings A, one reaches the first floor B, and from another two wings one ascends to floor and corridors C. From there one passes through the entrance of the two lateral Chambers D, and ascending through another set of stairs E, one reaches the upper Columbaria and the Rooms of the caretaker. Thus, returning to the entrance of the two lateral Chambers D, one can descend to floor F by means of the stairs G. H. Windows that illuminate the two lateral Chambers. I. Entrances to the central Room. K. Windows that receive light from above. L. Wall constructed from tevolozza on the exterior, and from a layer of filling in the middle. M. Layer made of flint Shards to protect the wall from humidity. N. Façade above the Via Appia. O. Piece of a wall with a layer of Shards shown in a close-up. P. Columbarium with funerary urns. Q. Cross-section of the ruin of three Chambers, which remain above ground. The part in ruins is shown in the plan with lighter ink. This remarkable monument, located outside the Porta San Sebastiano at the first milestone on the Ancient Via Appia, is considered by Fabretti to belong to the Family of Augustus. Certainly, according to the method of its construction, the keystone arches made of tufa, the layers of shards, and other similar means of building one can, without a doubt, date it to that time period.
Scale: Scale of 60 Palmi.
Signature: Drawn and engraved by the Architect Piranesi.
Volume II.XLI
Title: Exterior View of the Three Tomb Chambers thought to belong to the Family of Augustus.
Key: A. Modern stairs, constructed inside the ancient wall.
Signature: Drawn and engraved by the Architect Piranesi.
Volume II. XLII
Title: Interior View of One of the Three Tomb Chambers thought to belong to the Family of Augustus.
Description: This Tomb Chamber has been stripped of not only all its most remarkable ornaments, but also every piece of marble and plaster. Most of the chamber is buried underground, as the two large niches show, which can be seen on one side. Organized around the walls, one can see Columbaria without any inscriptions, and indeed, there is no sign of them ever having been there. The reason for this is easy to hypothesize, as the plaster, in which the plaques of the inscription were affixed, had fallen from the wall. In addition, in order not to weaken the wall, it was not possible to excavate it, since the idea of the ancients was to construct their Buildings to endure, and in particular their Tombs, which through great study were made to preserve in perpetuity the ashes placed there. With these tombs they believed they were not only passing down the memory of their dead through the ages, but also preserving their Souls in the Elysian Fields in the most secure resting place. Now the Chamber is used as a cellar.
Signature (in image): Drawn and engraved by the Architect Piranesi.
Signature 2 (in text): Drawn and engraved by the Architect Piranesi.
Volume II.XLIII
Title: Plan and Elevation of a Tomb Chamber.
Key: This building, which one can still see above ground, labeled A, is found opposite the Church of San Sebastiano fuori le Mura. I traced the Plan when in 1750 there was an excavation [of the tomb] [that extended] up to the floor, on top of which, among various Fragments, many Bases with shafts of Columns, were found and arranged in the following order: two marble Sarcophagi inside the Niches, which will be illustrated in the subsequent Plate. Even from what remains one can see that it was a remarkable building made in the golden age [of Rome], though it was repaired several times. It was embellished with paintings, stuccoes, and other beautiful ornaments, the traces of which can still be seen on the walls, though the inscriptions have been taken down except for some fragments from the Low Times, found among the rubble and brought here. B. Part of the Plan showing where the Chamber has been damaged, indicated with lighter ink. C. Entrances and View above the Via Appia. D. Niches, in two of which Sarcophagi were found. E. Tribunes, that were joined by curving around the central Vault. F. Two rows of Columns which held up a simple Cornice and magnificently adorned the interior of the Chamber. G.Via Appia. H. Elevation of the Chamber that remains below ground. I. The upper part of the Cornices supported by the Columns. K. Modern ground level.
Signature: Drawn and engraved by the Architect Piranesi.
Volume II.XLIV
Title: Interior View of the Tomb Chamber opposite the Church of San Sebastiano fuori le Mura
Signature: Drawn and engraved by the Architect Piranesi.
Volume II. XLV
Title: Fragments of the Tomb Chamber opposite the Church of San Sebastiano fuori le Mura.
Key: A. Pieces of stone, shown upright and lying down, from the Via Appia found among the ruins. B. Marble Sarcophagus adorned with various ornaments. One sees winged Geniuses with crowns of loquats hanging around their necks, carried by Festoons interlaced with fruits and fronds, and holding in their hands branches of oak and baskets full of fruit. One sees two burning Torches, four-legged animals, and flying animals of every species, symbols of earthly deeds. Sculpted above the Festoons are two Busts of a husband and a wife, whose faces are unfinished, perhaps for the same reasons already suggested regarding other similar Sarcophagi. On the sides above the Festoons there are four theatrical masks, with which the ancients signified the variable and fleeting state of human life. C. Sarcophagus of striated marble. D. Earring made entirely of gold, found with other similar objects inside the Urns. It should be noted that these Earrings are made with a circle of one piece that does not open. E. Jamb made of travertine on the upper part of a Door. One can observe two round holes, shallow and roughly made, which were probably lined with metal so that one could easily turn the metal pins of the Door. F. Small marble stairs, gently carved in bands. G. Frieze sculpted in the grotesque style, arranged across multiple sections, which show, among other elements, various Patera sculpted in a meticulous manner and Ox Skulls adorned with ribbons interlaced with small bones and joints, made in the guise of a festoon.
Signature: Drawn and engraved by the Architect Piranesi.
Signature 2: Barbault engraved the figures.
Volume II.XLVI
Title: Fragments of a tomb Chamber opposite the Church of San Sebastiano fuori le Mura.
Key: A. Ruin of an Inscription. B. Paintings on the plaster of the walls, skillfully and clearly painted but rather defective in the design. Consequently, one can suppose that they were made in the lesser centuries. These represent different Hunts of ferocious Animals, since in the Fragments shown here, which are the most preserved and visible, one sees an Ethiopian man on horseback in the act of wounding a Leopard, who, at a gallop, is pouncing to kill him. One also sees a Lion that wounds, with its nails and claws, the Back of a Horse of another Hunter. C. Piece of a Cornice made of Travertine found among the fragments of the Chamber. D. Semicircular side of a Sarcophagus shown in a close-up, which has already been described in the preceding Plates. One can glimpse sculpted on both this and the opposite Side, a Festoon of fruits, fronds, two theatrical Masks, and some Animals, whose meaning we have mentioned elsewhere. E. Wall of another Inscription. F. Fragments of a pilaster of a tomb. G. Fragments of Medals and Rings corroded by rust with other small pieces of Cameos, found inside the urns. H. One of the Column Bases, with the shaft [still] attached, mentioned in the previous Plates.
Signature: Drawn and engraved by the Architect Piranesi.
Signature 2: Barbault engraved the Figures.
Volume II.XLVII
Title: VIEW of the Remains of Several Tomb Chambers on the Ancient Via Appia outside the Porta San Sebastiano.
Key: A. Chamber of three Apartments, one of which today remains underground. B. Ruins of a most noble ancient Roman Villa. C. Stones of the ancient Via Appia.
Signature: Drawn and engraved by the Architect Piranesi.
Volume II. XLVIII
Title and Description: Plan of Several Tomb Chambers Discovered in 1751 in the Villa de’ Cinque, located outside of the Porta Salaria near the Grotta Palotta. These Chambers were completely destroyed along with others next to them. As such, it was impossible to trace any drawings from them since they were indeed ruined and rendered unidentifiable not only due to the damage over the centuries, having been dismantled several times, but also due to many fires. There appear to be evident signs of these fires in the scorched underground floor mixed with ash, and also in the glass Vases found there, which were deformed from the heat of the fire. Passing underneath the aforementioned chambers was a cobblestone Street, also discovered at the site, which probably led to the ancient Porta Colina.
Key: A. Plan of various Chambers. B. Entrance. C. Floor in front of the Chambers above which there were many Inscriptions of Pretorian Soldiers installed in the form of a boundary. D. Ancient cobblestone street. E. Plan of other Chambers with tombs added to the Walls, as well as Columbaria. F. Reservoir 47 palmi deep, beneath which there were underground Corridors.
Scale: Scale of 60 Palmi.
Signature: Drawn and engraved by the Architect Piranesi.
Volume II.XLIX
Title: Inscription and Fragments from the Tomb Chambers of the Villa de’ Cinque
Key: A. Ivory Needles for Women’s hair. B. Metal Styluses for writing on wax Tablets, and for erasing, if necessary, what was written there. C. Spatula or a similar type of instrument with which scented oils were removed from Vases. D. Metal axe, perhaps one of those used by the illustrious consuls. E. Terracotta Urns. F. Lid of one the same. G. Glass vases for Balsams, deformed by the fires. H. Metal buttons similar to those used today. I. Urn with its striated lid made of very ornate oriental Alabaster, and agate of great prestige, almost two and a half palmi tall. It is now preserved by the Illustrious Signors de’ Cinque, owners of the Villa. K. Part of a Vault in the Chambers, labeled A. The vault, in the form of a corner, was organized into sections adorned with paintings and stuccoes. The center of the Vault was embellished by a circular Cornice L, composed as it appears in the Moulding M. N. Pipes and thick clay Tiles connected to each other by a joint. O. Mouth and Lid of the Reservoir referenced in [letter] E in the Plan of the previous Plate.
Signature: Drawn and engraved by the Architect Piranesi.
Volume II.L
Title and Key: INSCRIPTIONS of the PRAETORIAN GUARD, discovered in the Villa de’ Cinque, part of which have been transported to the Capitoline Museum and built into the wall of the Courtyard. However, the bottom part of the Inscriptions buried in the ground has been cut off. Also discovered there was a large quantity of Metalware of every type used for the construction of buildings, such as Nails, Pins, Bolts, Hinges, and other similar tools, some of iron, some of metal, very similar to those used in our times, some of which are labeled A, and metal Lever B, which I desired to draw here.
Signature: Drawn and engraved by the Architect Piranesi.
Volume. II. LI
Title: Inscriptions of the Praetorian Guard.
Signature: Drawn and Engraved by the Architect Piranesi.
Volume. II. LII
Title: Inscriptions of the Praetorian Guard.
Signature: Drawn and Engraved by the Architect Piranesi.
Volume. II. LIII
Title: Inscriptions of the Praetorian Guard.
Signature: Drawn and Engraved by the Architect Piranesi.
Volume. II. LIV
Title: Inscriptions of the Praetorian Guard.
Signature: Drawn and Engraved by the Architect Piranesi.
Volume II.LV
Title: Plan and Fragments of the Tomb Chamber in the Casali Vineyards at the Porta San Sebastiano.
Key: A. This Plan, in the form of a square, shows four large Arches, or Tribunes that supported the Walls and are today almost completely underground. They are further divided into additional small niches which are both rectangular and semicircular, and they have a groin vault, whose sections are decorated with stucco. The building is constructed of Tevolozza B and a [layer of] Filling C. D. Stairs that descend from above the Columbaria E to Floor A. F. Rectangular Niches, or Columbaria, each of which contain two urns as in the plan G. H. Tombstone with its Lid, adorned with an Eagle that holds three lightning bolts in its claws. I. Side of the Tombstone. On this and the opposite side, one can see holes where iron rings were secured, which closed the ashes inside with a lock. They opened them during the annual libations. K. Cross-section of the same tombstone showing the space where the ashes were placed. L. Terracotta Sarcophagus, round on one side and flat on the other, raised [on the bottom] with the same material in the form of a pillow. The holes, mentioned in other instances, seen on the sarcophagus, are shallow and possibly contained some aromatic balsams to protect against corrosion, which could be inserted multiple times by passing through the exterior.
Scale: Scale of the Plan, 15 palmi.
Signature: Drawn and engraved by the Architect Piranesi.
Volume II.LVI
Title: Interior VIEW of the Tomb Chamber in the Casali Vineyard at Porta San Sebastiano.
Key: A. Arches, or Tribunes, almost completely covered by ruins. B. Ancient Stairway. C. Descent from the modern floor, which is above the Building, leading to the ancient Stairway through which one then descends to the bottom of the Chamber. D. Semicircular Niches with Vaults decorated with stucco shells; Rectangular Niches embellished with an Entablature: above these are other smaller Niches, or Columbaria, each one containing two urns.
Signature: Drawn and engraved by the Architect Piranesi.
Volume II.LVII
Title: URNS, STELAE, AND CINERARY VASES OF MARBLE IN THE CORSINI VILLA OUTSIDE THE PORTA SAN PANCRAZIO
All of these funerary monuments, which can be seen arranged on top of a wall next to the Casino and are represented here in the same order, were found behind and dispersed throughout the building, together with innumerable others, while the Villa was being excavated. The Groundskeeper Domenico Pasquini claims to have seen many ruins of Sepulchral Buildings which appear to have not been excavated in various sites. For example, discovered in a great Pit near the large Pear Tree by the small wood, were whole Skeletons, marble and terracotta fragments, among which were many carved bands of various kinds of rock, Rings, coins, and many gold earrings, some which I saw firsthand. Also, near the citrus grove at the top of the small pathway entering 10 paces into a Trench, a piece of a Vault was found, decorated with many painted arabesques, including a beautiful Peacock drawn from life against a white background. Underneath the aforementioned Trench is a well that is so deep that if one were to throw a rock in it, one would not hear it hit the ground. At the two Bourjasotte Fig Trees, where the residue of the Wine is thrown away, a marble Stairway with a Travertine door was found. The stairway was covered up, and the Jambs of the Door were transported near the Palazzo. From time to time skulls were also discovered there as well as at other sites and human bones, of which one can see, even today, a large quantity dispersed above ground on the main Street.
Key: A. Similar holes that can also be observed in other Urns and Headstones in both areas. Metal rods or pins were put into them, by means of which the Ashes placed inside were enclosed, as we have indicated elsewhere.
Signature: Drawn and engraved by the Architect Piranesi.
Volume II.LVIII
Title: Marble cinerary vases located in the Villa Corsini outside Porta San Pancrazio.
Key: Cinerary vases carved from a single piece of marble and found in several Tomb Chambers, which were demolished many years ago in the same Villa. In front of each vase there is a corresponding inscription in three sections which are articulated by a decorative throat moulding that functions as a frame. Between each section, as well as on the side that is partially missing, one can see some birds and branches carved in the grotesque style. The corners in the upper part between the Vases are adorned with roses that are sculpted in low relief. B. Cross-section of the three Vases. C. Lid of one of three Vases, shown in two different views.
Signature: Drawn and engraved by the Architect Piranesi.
Volume II.LIX
Key: A. Plan of a magnificent Sepulchral building situated outside of the Porta Maggiore near the Tor de’ Schiavi. Tracing the entire form of this noble Monument from both the extant remains and the discoveries made during past excavations, one could conclude that it was a most ornate building, as can be seen in the Floor mosaics (still being uncovered today) with a beautiful arrangement of decorative leaves and from the Walls that are still painted with vermilion and other colors. B. Ruin above ground in which one can see part of the main Chamber with its Vault in the shape of a vast Shell and Walls adorned with Niches, inside of which were cinerary urns. C. Pieces of Wall in the same Building demonstrated in a close-up. The wall is composed of tiles made of Tufa, inserted section by section with courses of triangular bricks, which unite with the rectangular oblong bricks at the corners.
Signature: Drawn and engraved by the Architect Piranesi.
Volume II. LX
Title: VIEW of the Remains of a Magnificent Sepulchral Building, that can be seen near the Tor de’ Schiavi about a mile and a half outside of the Porta Maggiore.
Signature: Drawn and engraved by the Architect Piranesi.
Volume II.LXI
Title: PLAN of the Mausoleum of Augustus traced from its Remains, some of which exist above ground, which we have indicated with thicker lines in order to distinguish them from those added as a reconstruction based on their outline.
Key: A. Entrance to the Mausoleum. B. Center with Stairways through which one ascended to the various upper floors. C. Various rows of Rooms both rectangular and round for the use of the Tombs. D. Obelisks built in front of the massive structure, one of which is today erected behind the Church of Santa Maria Maggiore. The site of this most renowned Building is now occupied in large part by the Palace and Gardens of the Marquis Corea, where one can see the aforementioned Ruins. E. Wall built of stone shards and covered in ancient times with travertines, as will be explained shortly.
Signature: Drawn and engraved by the Architect Piranesi.
Volume II.LXII
Key: A. Cross-section of the Mausoleum of Octavian Augustus. B. Entrance, the Vault of which was supported by Travertines C, and bound together by chains D that still exist in the ruins of Wall E, and that were affixed to them as shown by the holes that can be seen in the aforementioned Pieces C and D. Regarding the aforementioned Travertines of the Vault, a fragment was found on this site these last years. In addition to the aforementioned ruins of the Chains being affixed to a part of the wall, which we have indicated in the Plan, constructed of stone shards, it seems that, the great Base was covered with an exterior layer in order to protect it from the humidity. One can observe this method of construction in many similar Tombs, based on which one could believe that this Tomb, both for its material and for its art, would have probably been superior, and corresponding to that great Emperor, to that era, and to the height of the Roman Empire.
Testifying to the magnificence of this building, many ancient writers have highly celebrated it, and today, even its bare ruins are still celebrated in good faith. Additionally, one can see a large quantity of these [ruins] of Serpentine stone which pave the Courtyard of the Palazzo Corea.
F. One of the rectangular Rooms where the Ashes of the Emperor’s Ancestors were put to rest. G. Ruins of the Walls, which, like rays, united the circumference to the center and supported the building. H. Part of the Pilaster of the Corridors. I. Modern ground level of Rome. K. Corridors which go around the building. L. Ruins of the round chambers intended by the Emperor as the tombs for his family. M. Lines that demonstrate the division of horizontal courses of Tufa in opus reticulatum, of which all the interior walls of the great structure were constructed. N. Courses of Tufa of a height of ¾ palmi and Arch, also made of Tufa, shown in a close-up. O. Line showing the division of courses, faithfully drawn. P. Tiles of Tufa which compose the walls of the Mausoleum, drawn here according to the scale [provided], as well as the Lime in between.
Signature: Drawn and engraved by the Architect Piranesi.
Scale: Roman Palmi 5...60.
Volume II.LXIII
Key: A. Ruin of the Mausoleum of Octavian Augustus, which we show here as it is found presently, as though it were not occupied by modern Buildings. B. Today, the Corea Gardens are located here. C. Ancient entrance toward the Church of San Rocco. D. Ruins of the round chambers. E. Two obelisks with their bases, one of which is drawn here in the way it would have been seen during the time of Sixtus V. It was also erected by this same Pontiff behind the Church of Santa Maria Maggiore. F. Marble Cinerary Urn, found at this site, now held in the Courtyard of the Palace of the Conservators on the Campidoglio. G. Small marble capital in the grotesque style adorned with leaves, seashells, and dolphins. Above the slab of the same capital, one sees a canal made to introduce lead into the hole in the middle, through which the capital must have been joined to the Architrave. Infinite examples of capitals such as this, as well as others adorned with caprices and various fantastical designs, can be seen throughout the city of Rome and its surroundings, so much so that it seems that the Ancients have not left any space for their descendants to invent anything new. H. Façade of the marble Tomb adorned with architectural figures and a Shield in the center, sculpted in the form of a shell surrounded by a laurel garland, containing the portrait of a deceased noble. I. Two marble pilasters, both of the same size and form, built into the wall on one side. K. Part of a Base, decorated very beautifully with leaves, which joined to the other part by putting a nail through the hole on the top. This base could possibly have sustained a Table, on top of which were placed Vases of Balsams, Patera, and other similar objects used in annual funerary rites. Some Fragments, along with many others which were destroyed and thus have no distinguishable form, have not been represented here. These were discovered during the excavations made around this renowned Monument. They can still be seen today in the aforementioned Corea Gardens.
Signature: Drawn and engraved by the Architect Piranesi.
Inscription:
THE BONES OF AGRIPPINA, THE DAUGHTER OF M[ARCUS] AGRIPPA,
THE GRANDDAUGHTER OF THE DIVINE AUGUSTUS, THE WIFE OF
C. CAESAR AUGUSTUS GERMANICUS, OUR PRINCE.