Temple of Jupiter this time there began a period of great constructive activity at Rome, and to this age must be referred the Temple of Jupiter Stator, which Q. Metelius Macedouicus built of marble according to the Grecian style. Within the same peristyle rose a prostyle dedicated to Juno; both temples were adorned with Greek statues.
Aqueeiztas, Bridges, and Arthes. —Next follows a series of utilitarian structures which are allied to those of the Etruscan period. In them skilful construction rather than external appearance was considered; so that they do not bear the stamp of any special style. The Marcian Aque duct (Aqua Marcia), thirty-eight miles long, was constructed in 143 B. C.; for about six miles of its extent it was carried upon nearly seven thousand arches. The Aqua Tepula was constructed in 127 B. C. on the same series of arches that carried the Aqua Marcia, but at a higher level. About the year 142 B. c. the arches of the Pons PathIllilIS (Ponte Rotto) were con structed. The Pons AK/rills (Ponte Molle) was built in 126 B. c. Many triumphal arches rather plainer in style were also erected about that time, of which the one built upon the Via Sacra about T2o B. c. in honor of the victory of Fabius Maximus over the Allobroges remained standing for a long time. In the course of the second century' the Basilica Porcia, built by M. Porcius Cato in IS4, and the Fulvian, Sempronian, and Opimian basilicas, were built. Upon the form of the basilica we shall have some thing more special to say farther on.
Temple of Pompeii there yet stands a Doric peripteral temple of decidedly Hellenic design, known as the Temple of Hercules. It stands upon a triangular plaza surrounded by Doric columns and entered from an Ionic portico. The Forum at Pompeii was surrounded with a Doric colonnade the execution of which exhibits in its decoration an entirely degenerate series of forms. An Ionic portico rises above this. Roman gateways—simple semicircles without any special richness of composition—gave entrance to the city (Pompeii). A line of tombs rose beside the "Street of Tombs," without the city (pl. 8). Some are sarcophagi or altar-like compositions adorned with pilasters or attached columns, some of the Hellenic form of the third century E. C. ; and some in that phase of elaboration which is usually
called Roman, but which is only a broader interpretation of Hellenic art. Similar streets of tombs stretched out beyond the gates of every city. Rome itself had in the Ufa Appi a a most extensive addition of this kind, and in other places a series of similar monuments, some of which are of importance. One of -the unique tombs of this age is that of the baker Eurysaces, outside the Porta Maggiore; it is built mainly of stone mor tars such as were used by the bakers for kneading dough. The Tomb of C. Publicius, in the Bibulns, now the Via di Marforio, upon the eastern side of the Capitol, has theoform of a small temple with Doric pilasters. One of the most magnificent sepulchral monuments is that of Mete11a, ou the Via Appia, which has a cylindrical superstructure about 24 metres (7S feet) in diameter upon a square base. A frieze of bulls' heads and festoons with a simple but effective cornice terminates tha cylindrical portion. The summit formerly consisted of a pyramid or cone. This tomb is well known through Byron's beautiful stanzas in Childs Harold, the first of which is as follows: " There is a stern round tower of other days, Firm as a fortress, with its fence of stone, Such as an army's battled strength delays, Standing with half its battlements alone, And with two thousand years of ivy grown, The garland of Eternity, where wave The green leaves over all by Time eerthrown ;— What was this tower of strength? within its cave What treasure lay so locked, so hid ?—A woman's grave." The Tempe of infiiier Cafiitolinns was burnt in the year 83 B. C., and was rebuilt by Sulla. The power of traditions utade sacred by religion was still so potent at Rome that though Grecian art had there become acclimated, and though the forms previously deemed sacred to temple architecture had in their new home long been applied to all the purposes of ordinary life, yet the Etruscan forms revered by the Romans were adopted in this temple.