45 PORCH AND INTERIOR OF THE PANTHEON, ROME 196 From photographs by Anderson and Brogi. See p. 251 46 MAISON CARREE, NISMES 198 From a photograph kindly supplied by Sir Alexander Binnie. Perhaps the finest, certainly the most complete example of Græco-Roman architecture. The style is Corinthian, but characteristic Roman developments are the high _podium_ or base, and the fact that the surrounding peristyle is “engaged” or attached to the wall except in front (pseudo-peripteral). This temple was dedicated to M. Aurelius and L. Verus. It was surrounded by an open space and then a Corinthian colonnade. Nismes, once the centre of a flourishing trade in cheese, is especially rich in Roman remains 47 THEATRE OF MARCELLUS, ROME 200 From a photograph by Anderson. The theatre, built by Augustus in 13 b.c. in memory of his ill-fated nephew, was constructed in three tiers, Doric, Ionic, and Corinthian. The upper story has disappeared, and the elevation of the ground floor has been spoilt by the rise in the level of the ground 48 INNER COURT, FARNESE PALACE, ROME 202 From a photograph by Anderson. The splendid cortile of the Farnese Palace, designed by Michael Angelo, is copied from the Theatre of Marcellus, exhibiting the same succession of orders. The juxtaposition of these two plates should assist the reader’s imagination to re-create the original splendours of Roman architecture from the existing ruins 49 (Fig. 1) COLONNADE OF OCTAVIA 204 From a photograph by Anderson. Erected by Augustus in honour of his beloved sister, who was married first to M. Marcellus then to M. Antony. She was the mother of Marcellus, great-grandmother of Nero and Caligula. She died in 11 B.C. The colonnade was probably built some years before her death. It enclosed the temples of Jupiter Stator and Juno, it also contained a public library and a senate-house which was destroyed by fire in the reign of Titus (Fig. 2) ROMAN BAS-RELIEF From a photograph by Almari of the original in the Uffizi Gallery, Florence. A sacrifice, probably a work of the time of Domitian. The heads, most of them portraits, are of admirable execution, but the overcrowded design is unpleasing. The architectural background is typical of the Flavian period. This slab was used by Raphael in his cartoon of Paul and Barnabas at Lystra 50 COIN PLATE (IN COLLOTYPE): ROMAN EMPERORS 206 1. Nero 2. Trajan 3. Vespasian 4. Hadrian 5. Marcus Aurelius 6. Domitian 7. Vitellius 8. Galba From originals in the British Museum 51 HADRIAN’S WALL: NEAR HOUSESTEADS (BORCOVICIUM), NORTHUMBERLAND 210 From a photograph by Gibson & Son. See pp. 261-262 52 PORTA NIGRA, TRIER, GERMANY 214