1. Portico, forming part of the colonnade of the Forum. 2, 3. Small niches for statues. 4, 4. Apsidal niches. 5, 5. Large niches, accessible by means of steps. 6. Entrance. 7. Passage room to stairway. 8. Porter's room. 9, 9. Colonnade. 10. Pedestal of the statue of Concordia Augusta. 11, 11. Light courts. 12, 12. Corridor. 13. Broad niche with the statue of Eumachia. 14. Passage leading from Abbondanza Street, with a door opening into the corridor. 15. Stone with ring. 17, 17. Rectangular elevations. 18, 18. Remains of masonry.] The plan of the large building on the east side of the Forum, between the temple of Vespasian and Abbondanza Street, is simple and regular. In front is a deep portico (1), facing the Forum. The interior consists of a large oblong court with three apses at the rear and a colonnade about the four sides (9); on three sides there is a corridor behind the colonnade, with numerous windows opening upon it (12). The corridor could be entered by three doors, two at the front end of the court, connecting with the colonnade, and a third at the rear, entered from the end of a passage leading up from Abbondanza Street (14), the grade of which at this point is considerably below the pavement of the building (Fig. 50). An inscription appears in large letters on the entablature of the portico, and again on a marble tablet over the side entrance in Abbondanza Street: _Eumachia L. f., sacerd[os] publ[ica], nomine suo et M. Numistri Frontonis fili chalcidicum, cryptam, porticus Concordiae Augustae Pietati sua pequnia fecit eademque dedicavit_,--'Eumachia, daughter of Lucius Eumachius, a city priestess, in her own name and that of her son, Marcus Numistrius Fronto, built at her own expense the portico, the corridor (_cryptam_, covered passage), and the colonnade, dedicating them to Concordia Augusta and Pietas.' The word _pietas_, in such connections, has no English equivalent, and is difficult to translate. It sums up in a single concept the qualities of filial affection, conscientious devotion, and obedience to duty which in the Roman view characterized the proper conduct of children toward their parents and grandparents. Here mother and son united in dedicating the building to personifications, or deifications, of the perfect harmony and the regard for elders that prevailed in the imperial family. The reference of the dedication can only be to the relation between the Emperor Tiberius and his mother Livia; it cannot apply to Nero and Agrippina, for the reason that the walls of the building were decorated in the third Pompeian style, which in Nero's time was no longer in vogue. In 22 A.D., when Livia was very ill, the Senate voted to erect an altar to Pietas Augusta. In the following year Drusus, the son of Tiberius, gave expression to his regard for his grandmother by placing her likeness upon his coins, with the word Pietas.