The Mute Stones Speak: The Story of Archaeology in ItalyMacKendrick, Paul Lachlan
History
The Mute Stones Speak: The Story of Archaeology in Italy
MacKendrick, Paul Lachlan
Italy -- Antiquities
The stair which divides the Hemicycle Terrace leads to the Terrace
of the Arches with Half-columns (V), also symmetrically planned on
the axis of the stair. There are nine deep arches on either side of
the stair. Possibly these were stalls for the various guilds--wine
merchants, wagoners, cooks, weavers, garland-makers, second-hand
dealers, money-changers--who, as we know from inscriptions, made
dedications to Fortune, and had a financial interest in her Sanctuary.
Here again close observation has enabled the excavators to tell
exactly how the façade of this terrace looked when it was new. The
even-numbered arches are narrower and lower than the odd-numbered ones,
are left rough within, and are floored with a pebble fill, from all of
which it is inferred that they were not meant to be seen. Sills found
_in situ_, and uprights, cornices, and volutes, found on the Hemicycle
Terrace, where they do not fit into the architecture, and therefore
must have fallen from above, can be restored as blind doors set in the
walls which closed the even-numbered arches. Small travertine panels,
with a molded surround, and a cornice above, found on this terrace,
will have been set into the wall on either side of the blind doors, at
lintel level. The same decorative motif was found in place on the back
wall of the basilica area in the lower zone. The repetition of motif
makes an aesthetic link between the two levels. The odd-numbered arches
are mosaic-paved and plastered, and were therefore meant to be visible.
Enough remains in place to show that the profile of the arch was set
with tufa blocks supported on pilasters. These alternating open arches
framed with pilasters and closed arches with blind doors all supported
an epistyle and cornice which in turn supported the parapet of the
Cortina Terrace above.
Public-domain text, read in full here on John Shaqi.
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