Another Sullan descendant is the Tabularium (Public Records Office) in Rome (Fig. 5.9), finished in 78 B.C. by Quintus Lutatius Catulus, to whom Sulla’s veterans transferred their allegiance after Sulla’s death. It was a part of Sulla’s plan for monumentalizing the Forum, to provide, as it were, a scenic backdrop for it, which serves at the same time as a terrace-level to give order to the Capitoline Hill above. Its plan, its frontality, and its use of arch, vault and concrete is in the Palestrina tradition. There is a cryptoporticus in concrete, fronted by arches framed in half-columns placed at points in the wall which required extra strength. The upper levels of the Tabularium were removed by Michelangelo when he designed the Palazzo del Senatore, Rome’s city hall. Perhaps this may be taken as a symbol of the extent and the limits of the influence of Palestrina’s architect on Renaissance masters. One archeologist, Heinz Kähler, has argued, ingeniously but without carrying conviction, for an influence of the Cortina Terrace and the exedra above it upon the design of Pompey’s theater in Rome: one nabob borrowing architectural effects from another. [Illustration: FIG. 5.9 Rome, Tabularium. (Fototeca)] [Illustration: FIG. 5.10 Tivoli, Temple of Hercules Victor, reconstruction. (Fasolo and Gullini, _op. cit._, Pl. 27)] Finally, about the time of Cicero’s consulship (63 B.C.), Palestrina influenced the Sanctuary of Hercules Victor at Tivoli, well-known to many from Piranesi’s etching as the Villa of Maecenas. Like Kos and Palestrina (Cortina Terrace), it had a portico on three sides, and a temple against the back wall. Nowadays it houses a paper-mill, but forty years ago the portico was uncluttered. There was an approach by ramp and semicircular stair (Fig. 5.10), very theatrical, like Palestrina and the Tabularium; the material is again concrete faced with _opus incertum_. The podium is again supported on concrete vaults, and lightened by a complicated arrangement of subterranean rooms. A vast cryptoporticus pierces the whole podium to carry the Via Tiburtina, the main road from Rome to Tivoli. The famous terraced gardens of the Villa d’Este nearby, with their plays of water, felt the inspiration of Palestrina; their architect, Pirro Ligorio, has left sketches of our site made by him on the spot. Pietro da Cortona, Bramante, Raphael, Palladio and Bernini also knew and sketched Palestrina. Another successful terrace plan inspired by Palestrina is Valadier’s treatment in the 19th century of the steep slope up the Pincio from the Piazza del Popolo in Rome.