Theatre the last years of Augustus's reign dates the theatre, built in 13 B. C., to which he gave the name of his nephew Marcellus ; it had a diameter of r to metres (360 feet) and accommodated thirty thousand spectators. The existing remains of the outer walls show arcades the lower series of which is adorned with Doric, the upper with Ionic, columns.
Tomb of Augustus was great and powerful, a magnif icent tomb was erected to his memory. The tumulus gave the funda mental idea. A circular structure the diameter of which at the base was nearly ioo metres (328 feet), and the interior of which contained a mul titude of vaulted chambers, formed a terrace, which was planted with trees, while upon the summit stood the colossal statue of the Caesar. Within this not only Augustus but also many of his successors were laid away for their last sleep.
Architecture under the Later the successors of Augustus architectural activity went on uninterruptedly in Rome and throughout the extensive provinces of the empire, and we know that both Tiberius and Caligula erected imperial palaces at the Capital. Although the provinces were plundered that the splendor of Rome might thereby shine more brightly, there always remained opportunities enough to raise architectural piles in them also ; and the high Roman officers, the administrators of the provinces, as well as the generals, took care that the luxury and sumptuousness of the Imperial City should not be altogether wanting in their provincial capitals.
Roman model of a provincial town in Italy has been well preserved. Pompeii, buried under the ashes of Vesuvius in 79 A. D., stands to-day an exact reproduction of what it was in the earli est period of the Empire.
particularly interests us is the plan of the dwelling-houses. Figure 7 (pl. 1o) gives a section of the one which is called the " Casa di Campionet," after its discoverer. The principal room is the atrium, the roof of which, sloping from all sides toward the middle, leaves in its centre an opening, the imiShtvium, which cor responds to an excavation on the floor-level, the compluvium, for the reception of the rain-water. A short entrance led from the street to the atrium ; between these were situated four smaller chambers, while there were other chambers between the atrium and a second court, which was probably planted with flowers and surrounded by a portico. A richly-decorated hall opening on both courts formed the principal com munication. There were also cellars beneath the garden-court, smaller living-rooms above the part which joined the two courts, and an open gallery above the porticoes which surrounded the rear court. (See
Vol. II. p. 2o6 ; pl. 31.) Rich decorations adorned the walls, and the entire appearance wore so poetical an aspect that we are surprised at the high development of culture and the refinement of taste displayed. This house was evi dently designed for one family only, probably a numerous one, which was served by a large staff of servants ; and it is likely that in Rome itself convenience may have required arrangements similar to those in the lofty structures of modern cities, where many storeys give accom modation to a great number of unrelated tenants.
At all events, Rome must have had many closely-built and thickly peopled quarters, and the speech of Augustus about a marble Rome must have been figurative. To remove these sections in the simplest manner, Nero set fire to the city, by which act several monumental public buildings were destroyed ; for these, however, he made rich resti tution. His "Golden House," a sumptuous palace such as before had not been seen in Rome, rose high over his other buildings.
If'orks of successor, Vespasian, built at Rome the Triumphal Arch of Titus to commemorate the conquest of Palestine, accomplished in 7o A.D.
The Coliseum (pi. 10, figs. 5, 6), that stupendous amphitheatre, which, like the arch just mentioned, still remains, was also built by Vespasian. Elliptical in form, its ranges of seats are reached by passages in the substructure. Outside there are four storeys, the three lower of which . have the customary pier-and-arch architecture with the half-columns and entablatures of the three orders. The fourth has an extraordinary height, out of harmony with the others ; it consists of a mass of wall which bears heavily upon the arched architecture and is only brought into relation with the piers and half-columns below by means of a system of pilasters. Particularly characteristic is the series of consoles which runs around the entire building about midway up the height of this storey, corresponding to openings ill the cornice, through which were thrust poles, their bases resting upon the consoles, while a canopy made fast to their tips by cords afforded the spectators shelter from the sun's rays. We may well believe that in the first instance this upper storey was not present, and that it belongs to a later time, or is, at any rate, a modification of the original design, since Vespasiau did not live to complete the building.