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Clivus Victoriæ

The basalt paving stones of this road are well preserved. On the right hand proceeding towards the northern angle of the hill lie a number of fragments of ancient houses, among which were probably the house bought by Clodius and that of Cicero. These houses appear to have looked down upon the Forum, since Cicero speaks of raising his house in order to exclude Clodius from the sight of the city which he had hoped to destroy.[2] Other houses of the Roman nobility of the later republican times were probably placed on this side of the Palatine, in order to be near the Forum and the places of political and social meetings.[3]

Porta Romanula.

The Museum in which are collected the various fragments of statuary and antiquarian interest which have been found in the late excavations on the Palatine has been placed in the ground-floor of the casina which stands near the Clivus Victoriæ. The ancient road is then overreached and arched over by the extensions of the Palatine imperial palace built by Caligula, under which it passes to the site of the ancient Porta Romanula.[4] Most of the chambers on the left were probably occupied by the guards of the gateway, and the graffiti they contain are of a character which confirms this supposition.

Outside the Porta Romanula the road bends round the hill along the side which looks towards the Capitoline. The first ruins to be seen under the slope of the hill here are the remains of a portico of the republican era, constructed of tufa with reticular-work facings. This portico has been supposed to be possibly that which Lutatius Catulus built after his victory over the Cimbri in the Area Flacciana, mentioned by Valerius Maximus and by Cicero as being near his house.[5] But there seems to be nothing left which can identify this ruin with the Porticus Catuli.

Area Flacciana.

Beyond this so-called Area Flacciana the line of walls presents some projecting masses, which appear to be built upon the ancient substructions of towers such as would be formed in fortified buildings. A great part of the walls erected here in imperial times were built of concrete framed and supported by beams and planks of timber. These beams having now rotted away, have left their impressions on the concrete, and hence the vertical and horizontal grooves which form so conspicuous a part of these walls. Two remarkable fragments of antiquity must be noticed here. The first is a conical aperture in the side of the hill which supplied a cistern placed below with water. Such cisterns are to be found elsewhere in the hills, and may be supposed to have been constructed previous to the great supplies of water having been brought by the aqueducts.

At the western corner of the hill opposite to the Janus Quadrifrons stands a large fragment of the most ancient walls of the Palatine. It is constructed of masses of tufa, taken from the hill behind it, and roughly laid together without cement or mortar. These stones appear to have been split from the rock, and not cut by chisel, which shows the antiquity of their construction. The wall of Romulus is the name by which this and the other portions of massive tufa walls round the Palatine are now known. They undoubtedly belong to the earliest defences of the Palatine settlement.

Altar.

Not far from this ancient fragment of wall stands a most interesting relic of primitive superstition, an altar of travertine stone cut in archaic fashion, with volutes resembling those in the well-known tomb of Scipio in the Vatican Museum. The inscription on this altar is as follows: SEI DEO SEI DEIVÆ SAC. C. SEXTIUS, C. F. CALVINUS, PR. DE SENATI SENTENTIA RESTITUIT. This is supposed by some antiquarians to be the altar mentioned by Cicero and Livy, as having been erected in consequence of the voice heard before the Gallic invasion predicting disastrous times.[6]

But that altar is said to have been placed above the Temple of Vesta at the end of the Nova Via, which was on the other side of the Palatine. This mode of dedication to an unknown Deity was not uncommon at Rome, and is mentioned by Cato and commented upon by Gellius. The form of the word DEIVÆ shows that the inscription belongs to the earlier Latin.[7]

C. Sextius Calvinus, who restored the altar, was probably son of C. S. Calvinus, the Consul of A.U.C. 630, and was the competitor of C. Servilius Glaucia in the year 654.[8]

Germalus.

The north-western end of the Palatine Hill, round which we have been passing, was the spot whence arose the name Germalus which Varro tells us was given to it in memory of the (germani) twin brothers, Romulus and Remus having been cast ashore here from the Tiber waters, and suckled by the wolf. How far the district called Germalus extended over the hill is not known. Cicero speaks of a house belonging to Milo which stood upon the Germalus, and Livy says that a wolf ran through the Vicus Tuscus and the Germalus to the Porta Capena.[9] The bronze figure of the wolf and twins now in the Capitoline Museum is said by Flaminius Vacca, who wrote in 1594, to have been found at no great distance from this place, and Urlichs has shown that this figure is probably the one dedicated by the Ogulnii, ædiles in B.C. 297.[10]

Further southwards at the foot of the slope we come to another fragment of the most ancient wall of the Palatine settlement. This building appears to stand at right angles to the line of the hillside, and it was therefore supposed at first to have belonged to a wall traversing the intermontium or depression which crosses the Palatine Hill from this point to the Arch of Titus, and to have confirmed the opinion of those archæologists who confine the extent of Roma quadrata to the north-western end of the hill. But subsequent exploration has shown that this wall does not pass along the intermontium, but turns off at a right angle. Another fragment of the most ancient wall was found in 1860, according to Lanciani, under the Villa Mills, showing that the wall of Roman quadrata passed round the whole hill, and not only round the north-western end.

Domus Gelotiana.

Close to the fragment of ancient wall we come to a series of chambers excavated first in 1857, and afterwards cleared and rendered more accessible in 1869. These belonged to a building in connection with this part of the imperial palace, and were occupied by soldiers of the emperor’s guard, as may be seen by examination of the inscriptions left on the walls. The traces of a square court, surrounded with a portico, one granite pillar of which remains, and on the side of this court towards the hill, of a number of chambers arranged on each side of a semicircular recess, are the main features of this ruin. The brickwork supports which appear here were erected by Canina, and a large quantity of remains have fallen from the higher levels of the hill.

The inscriptions which are most remarkable are the following. On the right-hand wall near the entrance the name HILARUS, followed by the letters MI. V. D. N., which have been interpreted to mean “miles veteranus domini nostri,” a veteran soldier of our Lord. Numerous other inscriptions with the letters V. D. N. will be found in the chamber to the left of the central recess. One of these in the triangular room records the name of two soldiers who belonged to the foreign troop of Peregrini: BASSUS ET SATURUS PEREG.[11] Other inscriptions allude to a pædagogium, or training school, as for example, CORINTHUS EXIT DE PEDAGOGIO. Most of these are in the triangular rooms behind the central semicircular recess, or in the furthest room on the left of it. In this last is to be seen the figure of an ass turning a mill, with the inscription, LABORA ASELLE QUOMODO EGO LABORA VI ET PRODERIT TIBI. But the most famous of these graffiti is that now shown in the Kircherian Museum representing the crucified ass, with the title “Alexamenus worshipping his god,” which was taken from the room on the right of the central semicircular recess, and has been the subject of much comment. Another record of the same Alexamenus was found here in 1870, in which he is called Alexamenus fidelis.

Stadium.

Passing now beneath the Villa Mills which occupy the site of the Augustan library, and the Temple of Apollo, built by Augustus, we turn to the left up the slope of the hill and find a large open space in which the later excavations have disinterred the relics of a stadium, consisting of a curved series of walls, surrounding the foundation of a meta or goal, and two lines of bases of columns, which ran along the sides and the end of the stadium.[12]

A large building in the form of a semicircular recess of exedra, a stand for viewing the races, is still partially remaining, and also the foundation of two entrances on the southern side. That this was a stadium connected with the imperial palace is evident from its shape and its length, which corresponds to that laid down by the ancient writers as the proper length of a stadium for foot-races. The large exedra at the southern side contains on the ground-floor a vast central saloon, and two side rooms. A few decorative paintings of the latest and least valuable kind of art remain on the walls, among which are some geographical and astronomical figures. A coat of foreign marbles covered the walls, and the pavement was of marble. This part of the Palatine buildings was probably occupied by the Frangipani in the 13th century. The right-hand chamber was apparently without decoration, but in the one on the left the wall is ornamented with fresco paintings of elegance, and the pavement is of fine mosaic. A list of names with numbers attached to them, which seem to be those of combatants in the stadium, was found among the graffiti here.

The upper level of the semicircular exedra was filled by a large chamber, the side of which, towards the stadium, was occupied by a line of granite columns, fragments of which remain in the arena below. The interior of this chamber was also ornamented with marbles and statues. Some statues of Amazons and the Hercules of Lysippus now in the Pitti at Florence, were found here according to Vacca, who wrote at the end of the sixteenth century. The brickwork and the architecture of this exedra seem to be of the time of Hadrian, and the bricks found here with labels give the date of A.D. 134, the third consulship of Ursus Servianus. The portico which ran round the stadium was apparently of later construction than the exedra, as the date on its bricks seems to refer to Tertullus Scapula, Consul in A.D. 195, in the reign of Septimius Severus, under whom great alterations and extensions were carried out in this wing of the palace.

The vast ruins which remain on the south of the stadium belong chiefly to the works of Septimius Severus, and have long been celebrated as the most picturesque among the Cæsarean relics. The curved wall behind the great exedra, and the numerous passages and chambers which stand near it, seem to have belonged to a bath supplied with water from the branch of the Aqua Claudia, four arches of which are still remaining on the hill below, opposite to the church of S. Gregorio. This was a branch from the Claudian aqueduct, and crossed the valley from the opposite Cælian Hill.

Palatine Belvedere.

The lofty wing of the palace, which extends along the slope of the Circus Maximus, opposite to the Aventine, is reached by a modern bridge from the ruins adjoining the stadium. From the top of this huge ruin a splendid view of the Cælian, the Aventine, and the Alban Hills may be seen, and the spot has been sometimes called the Palatine Belvedere. What the exact nature of the buildings placed upon these lofty ranges of arches was cannot be easily determined, but they correspond in some degree to the arched walls of the side between the arches of Titus and Constantine and to those of the palace of Caligula near the Capitoline, and were mainly intended to raise the imperial saloons to the higher level of the northern end of the hill. Spartianus in his ‘Life of Severus’ says that Severus bestowed particular pains on this part of the Palatine Hill in order to make it the chief entrance to the imperial palace, and that his reason for so doing was to produce an impression of his magnificence upon his African fellow-countrymen, who, when visiting Rome, would naturally enter at this point by the Porta Capena, which was the gate just below. The Septizonium was an imperial building near this part of the hill probably built by Severus, views of the ruins of which are to be seen in the books of the topographers Du Perac and Garrucci who wrote before the end of the sixteenth century, when the Septizonium was pulled down by Sixtus the Fifth.[13] At the western end of the long and lofty ruin, and near the end of the stadium, is a projecting portion of ruined chambers which has been generally supposed to have contained the emperor’s private pulvinar, or box whence he viewed the games in the Circus Maximus. But the construction of this edifice, including its round tower, seems to be of a very late style, and it may have been built as late as the sixteenth century.

We now return along a modern path which runs under the grounds of the Villa Mills towards the domus Gelotiana described above. A curved terrace occupies the upper edge of the hill, along which probably ran a portico commanding a view over the southern part of Rome and the Trastevere. At the back of this are the buildings called the Villa Mills from their former possessors, now occupied by a nunnery, and therefore inaccessible to the public. In the year 1777, the plan of the ancient buildings which stood here was explored by Rancoureuil. They consist of a court surrounded with columns and suites of chambers. Parts of the main front looking towards the circus remained till the year 1827. The brickwork of these ruins has induced Cav. Rosa to assign them to the Augustan Age and to call them Domus Augustana. No sure evidence has, however, been discovered for this, and it seems more probable that the Domus Augustana was nearer to the Forum Romanum.[14]

Academia and Bibliotheca.

Passing back again by the ruins called the Domus Gelotiana as before described, we turn to the right and ascend the side of the hill. On the higher level at this point are the ruins of two buildings to which the names of Academia and Bibliotheca have been given by Rosa. In one of these the remains of semicircular ranges of seats and a platform have been supposed to be recognizable, and here may have taken place the recitations and discussions mentioned by Pliny as constantly kept up in the imperial palace.[15]

Ædes Publicæ.

Behind these rooms stand the ruins of a portico, built upon substructions of an earlier period, with Corinthian columns of cipollino, probably forming the side of a small courtyard. Here it may be seen through an opening in the ground to what a depth the substructions of this part of the Palatine buildings descend into the depression or intermontium which originally separated the two parts of the hill, and was filled up by the Flavian emperors. We now enter the range of reception rooms commenced by Vespasian when he destroyed Nero’s golden house, and built by Vespasian and his sons, Titus and Domitian, at the same time with the Coliseum. These are raised on gigantic constructions of opus quadratum to the level of the rest of the Palatine Hill. Many stamps on the bricks found here seem to show that the buildings were finished by Domitian.

Triclinium.

The south-eastern side of the range of the Imperial Flavian buildings we are now entering is still covered by the edge of the monastery which occupies the grounds of the Villa Mills, and we can therefore only see the north-western part. But this is sufficient to convey a full idea of the extent of the suite. We are now entering at the back of the triclinium or dining hall, at the end of which is a semicircular apse, possibly intended for the emperor’s table when he dined here. The form of the room corresponds to Vitruvius’ description of the proper arrangements for a triclinium. Very little of the original decoration remains, except two granite columns, of which there were originally sixteen, and a portion of beautiful pavement composed of porphyry, serpentine, and giallo antico. It is possible that this may be the triclinium in which Statius dined at Domitian’s table, and of the marble decorations and spacious size of which he speaks in the fourth book of his ‘Silvæ.’[17]

Near the apse of this room an opening in the ground leads down to some subterranean rooms which formerly belonged to a private house situated in the depression of the hill, and afterwards covered over by the Flavian emperors. The brickwork in this house seems to be of the later republican period, and the walls retain decorations of the best style.

These decorative paintings have, of course, suffered very much from damp and neglect, and all the principal features of the house have been destroyed by the substructures of the Flavian triclinium. The name of Bagni di Livia was long used in connection with this spot by the ciceroni.

Nymphæum.

Returning to the upper level, we find, at the side of the triclinium, the remains of a nymphæum or viridarium, consisting of an elliptical basin and fountain of marble, with niches for statues and bas reliefs, and ledges for ornamental flowers and plants. On the western side of the nymphæum a garden-house was built by the Farnese, part of which still stands, the portico having some arabesques and some paintings by a pupil of Taddeo Zuccari, representing scenes on the Palatine as described by Virgil, the meeting of Æneas and Evander, and the monster Cacus.

Peristylium. Vestibulum.

Atrium.

Beyond the triclinium and nymphæum we come to the remains of the largest court in the suite, which is called the peristylium, occupying a space of 140 by 154 paces, anciently surrounded by a portico of columns of Porta Santa marble. The pavement and decorations of this quadrangle would seem by the remains to have been most superb. On the north-west side of it are eight rooms of various shapes, arranged symmetrically round an octagonal central chamber, from which four large doors open, with four corresponding niches. The same plan of rooms was carried out also on the opposite side of the peristylium, as was shown by some excavations in 1869. These were waiting-rooms and offices of various kinds. From the great quadrangle of the peristylium we pass to the grand audience chamber, the position of which corresponds generally to that of the atrium of a Roman house. This was surrounded by a portico of sixteen Corinthian columns of foreign marbles, and their frieze and bases were ornamented in a most elaborate manner. Eight niches with colossal statues of basalt are said by Bianchini to have stood round this court, and in the Tribune at the southern end was placed the solium augustale, where the emperor sat on grand occasions, when meetings of the senate or other bodies were held here. The grand entrance of this atrium, which looked towards the Arch of Titus, was adorned by two huge columns of giallo antico, and the threshold stone consisted of a mass of Greek marble from which the altar of the church of the Pantheon was made. Many of the marbles from this atrium were taken by the Farnese to Naples.

Lararium.

On the right hand of this reception room towards the Villa Mills was a building which shows us by its position and shape that it was the lararium or shrine of the household gods where sacrifices were offered on solemn occasions. The remains of an altar were discovered here.

Basilica.

Opposite to the lararium are the foundations of a building with a tribune and podium, probably used by the emperor in cases such as those described by Tacitus, when imperial constraint was exercised over a legal verdict. Two rows of columns, arranged as is commonly the case in the basilicæ, and a portion of some white marble railings have been found and preserved here.

Along the side of this tribunal hall and that of the peristylium and its adjoining offices, ran a long portico connecting the whole suite of halls together.

The history of this range of imperial buildings has been very probably supposed to be as follows. Vespasian intended them to be used in support of his revival of the Augustan imperial policy, and that a name such as Ædes Publicæ, “National Chambers,” should be given to them.[18]

Accordingly, all these rooms have the character of public rather than private buildings. There is apparently no provision for domestic life, and all the sections of the edifice seem to have been public audience or banqueting rooms.

Porta Mugionia.

Jupiter Stator.

In front of the last described buildings, which we have called the basilica, the atrium, and the lararium, is an open space, on the right hand of which, looking towards the Arch of Titus, a fragment of the earliest walls of the Palatine remains, constructed of tufa blocks taken from the hill underneath. Beyond this, towards the Arch of Titus, are the paving stones of an ancient road which was probably the approach to the palace, and to the left of this road stand the relics of one of the most ancient gates, the Porta Mugionia. This is described by Vacca as having been discovered at the end of the sixteenth century, when it was still decorated with marble. The substructions alone now remain, and close to them may still be traced the foundations of an ancient temple which can be no other than the temple of Jupiter Stator. Solinus says that the house of Tarquinius Priscus was near the Porta Mugionia, and Livy states that he lived near the Porta Mugionia. The statue of Clœlia is also said by Livy to have stood at the top of the Sacra Via which was near the Arch of Titus, and this statue is further placed by Pliny near the Porta Mugionia.[19] The remains of the temple show that it was arranged according to the cardinal points of the heavens, looking north and south. On the foundation stones are the names of Philocrates and Diocles, masons employed in building. Three old inscriptions referring to the worship of Jove were found here, and are to be seen in the Palatine Museum.

Cryptoporticus.

Near the ruins of this Temple of Jupiter Stator we find vast blocks of substruction which belong to the complicated ranges of buildings occupying the north-eastern end of the hill, and generally believed to have been erected by Caligula. They extend along the side of the hill over the Forum, and along the Clivus Victoriæ by which we entered, to the point which overlooks the Velabrum. The modifications and enlargements of this structure during the ages succeeding Caligula have rendered it a confused mass of ruins, and the walls and chambers now left have served chiefly as substructions for the lofty mansions erected upon them in the course of ages. From the corner of these ruins, next to the Temple of Jupiter Stator, runs a long arched cryptoporticus or covered passage, which can be entered from the ruins of this temple or from below nearer to the modern entrance gateway. It is supposed that this may have been the cryptoporticus in which, as we learn from Josephus, Caligula was assassinated on his return from the ludi palatini given in front of the palace. He is said to have turned off from the direct line of entrance, and to have passed into this covered way in order to hear and see some youths from Asia performing. The assassins, after accomplishing their end, were afraid to venture through the front of the palace, and took refuge by hiding in the house of Germanicus.[20]

House of Tiberius.

At the western end of the cryptoporticus a house has been disinterred by the late excavations, and it has been inferred that this must have been the one called by Josephus the house of Germanicus. Whatever name may now be assigned to it, the house appears to have been preserved for some reason from destruction, and it seems reasonable to conclude that some connection with the earlier history of the imperial Cæsars rendered it an object of veneration and care. The space between the cryptoporticus, along which we have passed, and the so-called basilica of the palace, is supposed to have been called the Area Palatina, where those who came to call upon the emperor had to wait.[21] The long cryptoporticus was connected with the Flavian public buildings, and perhaps also previously with the house of Augustus, by a branch passage which runs off from the long cryptoporticus at right angles, towards the back of the atrium and lararium. By this means the emperor could pass from his private palace to the public audience and banqueting chambers without encountering the crowd of those who were waiting for audience in the area. In this area was found, in 1868, the pedestal bearing the name of Domitius Calvinus, now placed on the site of the ruined temple which lies farther to the west, and which we shall presently mention.

In the angle of the cryptoporticus near the house of Germanicus, are some beautiful remains of decorative work, consisting of paintings of birds and winged genii. These have been much injured by the damp exuding from a piscina which was constructed here in the second or third century for the keeping of fish, and which can be entered at the angle of the cryptoporticus. Near this piscina is the entrance to the building called the house of Tiberius or Germanicus. The construction of this house belongs to the period of Roman architecture, when reticulated work formed of the harder tufa, with small diamond-shaped stones, and with corners and connecting parts of the same stone, but without brickwork, was generally used. It was therefore probably built during the later republican times, and this agrees with the supposition that it was the works of Tiberius’s father or grandfather. Suetonius says that Tiberius was born on the Palatine.[22] The leaden pipes which have been found here, bear the names of Julia, the daughter of Titus, of one of Domitian’s, and one of Septimius Severus’s freedmen.

The house is divided into two main parts, one of larger dimensions for receiving guests and showing hospitality, and the other of smaller sized rooms, for the family. The vestibule is an arched passage adorned with paintings on the walls, and mosaic pavement. From this the atrium is entered which had no impluvium, but was covered entirely with a roof. On the left are the remains of an altar of the Lares, and at the further side of the atrium are three large rooms, the decorative paintings of which are well preserved.

In the central chamber, the walls are divided into large compartments by columns of the Composite order, adorned with vine leaves. One of the large scenes represented here is that of Polyphemus, who, after having crushed his rival Acis with an enormous rock, turns towards Galatea, who is riding on a hippocampus. Another, placed above the frieze, is a picture of a domestic initiation ceremony, as the sacred tænia which is being presented seems to prove. A third picture, also above the frieze, shows the preparations for a sacrifice. On the right sits a female figure, with a mantle, and a faun standing before some utensils for ablution, which are being lifted by a second female figure, while the sacrificial kid is being brought by a young slave. The next picture represents a row of houses along the side of a street or road, at the door of one of which a lady with her maid is knocking, while four or five figures present themselves above on the balconies. The last picture is one of Io hidden in the wood of Juno at Mycenæ, and watched by Argos, with a figure of Hermes descending by Jove’s command to rescue Io. The names of Io, Argos, and Hermes are legible here.

The room on the left hand of this one is also divided by Composite columns adorned with vine leaves, and by a beautiful frieze of giallo antico. The lower compartments have no figures, but the upper are ornamented with designs of genii and fantastic flowers.

The room on the right hand is decorated with beautifully-designed paintings of flowers and fruit, hanging from one column to the next. From these festoons hang the emblems of various divinities, the lyre of Apollo, the timbrel of Cybele, and the mystic sieve and mask of Bacchus. These seem to indicate that this was the lararium of the house. The frieze contains a number of landscape and marine views, with many figures of men and animals painted on a yellow ground.

At the north-western corner of the atrium opens a fourth chamber, which may perhaps have been the dining-room, or triclinium, decorated with trophies of sacred emblems of Diana and Apollo. The atrium communicates with the rooms at the back of the house and with a small courtyard by means of a corridor. Some of these rooms were used as baths, others seem to have opened towards the street, the pavement of which still remains along the side of the house.

Palatine temples.

On the other side of this street is an entrance to the subterranean caves which have been cut in this part of the hill. These hollows were mainly stone quarries and wells. A puteal, or well-cover, has been placed over one of these in front of the house which we have described. On this side of the street also stand the foundations which have been supposed to have belonged to the priests of the Temple of Jupiter Propugnator on the Palatine, some portions of the fasti of whose college have been found near the Basilica Julia and the Marforio.[23] There is also the foundation of a temple, called by Rosa the Temple of Jupiter Victor, to be seen extending from this street towards the viridarium of the ædes publicæ of Domitian before mentioned, and towards the edge of the hill which looks over the Circus Maximus. These ruins consist of masses of tufa work mixed with later brickwork of the Antonine times. The pedestal with the name of Gnæus Domitius Calvinus which is placed here came, as we have said, from the spot called the Area Palatina before mentioned. The Notitia also places the Temple of Jupiter Victor in the Area Palatina, and for these two reasons the name seems to be wrongly applied to this ruin. We can trace in it the remains of a building raised on a basement with lofty flights of steps, alternating with terraces in front, towards the Circus Maximus, just as we find at Tibur and at Tusculum temples, placed on the side of a hill with high flights of steps ascending to them.[24]

Germalus and Scala Caci.

The remainder of the upper level of this north-western corner of the hill is occupied by numerous ruins of squared tufa stone, which evidently belonged to some of the most ancient and venerated relics of Rome. This was, no doubt, the part of the Palatine to which the name Germalus was given, in memory of the Germani, or twin-brothers, Romulus and Remus, who were cast ashore at its foot from the flooded waters of the Tiber. Two distinct edifices have been disclosed here, from the first of which, a rectangular foundation of tufa stones, a passage bearing marks of great antiquity descends towards the church of Anastasia and the gas works. This rectangular ruin has been called by many various names, such as the Temple of Jupiter Feretrius, the Tugurium Faustuli, the Temple of the Magna Mater Cybele, or of the Lares Præstites. The descending passage to the Vallis Murcia has been supposed to be the Scala Caci mentioned by Solinus,[25] and it is possible that the legend of Cacus refers to this point of the Palatine next to the Aventine. The marks on the stones of this descent are probably only quarry marks. No brickwork is found here in the lower ruins nor any marbles. But in the mass of fragments there are remains of the republican and of the imperial restorations of the many venerated buildings and altars which must have stood upon this corner of the hill. On the right hand of this descent a small rectangular court was discovered in 1872, with a staircase and a channel for water running through it. This is thought by Lanciani to have been possibly the fifth Argean Chapel, which was somewhere on the Germalus. A statue found here bears some marks of having represented the goddess Cybele.

Auguratorium.

The most conspicuous ruin at this end of the hill is a mass of concrete and tufa blocks, apparently of the republican era, in the shape of a rectangular basement. This has the form of a temple in antis, i.e. with projecting wings, and faces the south, commanding a view over the Aventine and Tiber valley. Cav. Rosa has conjectured that this is the ruin of the auguratorium mentioned by the Notitia as situated near the other most ancient sacred spots on the Palatine. But an inscription which records the restoration of the auguratorium by Hadrian does not support this view, as the work now remaining is mostly republican.[26] Lanciani thinks that this may have been the Ædes Matris Deum, to which the statue found as before mentioned in front of it belonged.

At the back of the so-called auguratorium we find a long series of rooms running in a line across the hill from north-west to south-east, which have vaulted roofs and are similar to those found below in the domus Gelotiana, before described. Cav. Rosa has inferred with reason from this and from the graffiti in these rooms that they formed a part of the offices and guard-rooms attached to that large portion of the palace which lay on the site now occupied by the gardens and the vast masses of brickwork at the northern corner of the hill. The graffiti to be seen here are chiefly the scribblings of soldiers’ names, rude sketches of ships and animals, and combats of gladiators.

Tiberiana domus.

Several passages of the Roman historians lead us to conclude that the suite of rooms occupied by Tiberius were situated here. It was from the Tiberiana Domus, as Tacitus relates, that Vitellius surveyed the conflagration of the Temple of Jupiter on the Capitol, and the engagement between his adherents and the Flavian party under Sabinus. The Tiberian part of the palace was also that through which, as Tacitus also tells us, Otho descended into the Velabrum, after joining Galba at the sacrifice in the Temple of Apollo on the Palatine.[27] Afterwards, the Tiberiana Domus became the favourite residence of Antoninus Pius and Marcus Aurelius, and it was probably during their reigns that the library which we find mentioned by Gellius was established here.[28]

We now pass through the garden grounds which lie over the remains of the Domus Tiberiana, and descend on the side which looks over the Forum, by a long staircase through the immense masses of brickwork and concrete which are said to have been part of the insane additions of Caligula to the imperial palace. He is declared to have made a passage from this wing of the palace to the back of the Temple of Castor below in the Forum, in order that he might appear in that sacred shrine as an equal of the twin gods and an object of worship when the Senate met there. He also joined this corner of the palace with the Capitoline Temple of Jupiter by a huge viaduct, which passed over the Basilica Julia, in order that he might thus make himself the contubernalis of Jupiter.[29] Some of the substructions of this viaduct are to be seen near the back of the church of S. Maria Liberatrice. We now leave the Palatine by the Clivus Victoriæ, along which we entered, and turn to the arch of Titus and the ruins which stand near it.

THE VELIA.

The Velia.

Near the arch of Titus the Palatine Hill runs out in a gradually sloping ridge north-eastwards towards the Esquiline Hill. On one side of this ridge the ground sinks towards the Forum Romanum, and on the other towards the Meta Sudans and the Coliseum. The level of the pavement under the arch of Titus is fifty-three feet above the ancient pavement of the Forum. It seems probable that this outlying part of the Palatine was that which bore the name of Velia.[30]

Arch of Titus.

On the summit of the ridge above described stands the arch of Titus, the most complete of all the monuments of imperial Rome. The central part of the original building remains, and is easily distinguished from the subsequent travertine restorations by being constructed of Pentelic marble. The height of the arch is forty-nine feet and its breadth forty-two feet. Originally there were two fluted Corinthian columns on each side of both faces of the arch, the two inner of which are now left, while the two outer are modern. Over the arch are two bas-reliefs of Victory which, though much injured, are still remarkable for the beauty of their outlines. On the keystone of the side towards the Coliseum is a figure of Rome, and on the other side Fortune with a cornucopia.

The most interesting parts of the arch have fortunately been preserved by their protected position in the interior. On each side is a magnificent alto-relievo, representing the triumphal procession of Titus after the capture of Jerusalem. The relievo on the south side shows a number of persons carrying the spoils of the Jewish Temple. The golden candlestick, the golden table for showbread, and the trumpets are clearly recognizable. These, according to Josephus,[31] among other utensils of the Jewish temple, were deposited in Vespasian’s Temple of Peace. The procession is moving towards a triumphal arch.

In the northern relief the emperor is represented in his triumphal car, drawn by four horses, and surrounded by his guards and suite. Victory is holding a crown over his head, and the goddess Roma guiding the reins. The interior of the arch is ornamented with richly-carved rosettes and coffers, and upon the crown is a rather undignified representation of the apotheosis of the emperor astride upon an eagle’s back.

On the Coliseum side a small portion of the entablature is left. The frieze had a bas-relief, which partially remains, of a sacrificial procession. The attica is modern, with the exception of the inscription. That the arch was erected after the emperor’s death is shown by the title Divus, and also by the figure of his apotheosis under the archway. Another arch had been erected in the Circus previously in the year 80, when the Coliseum was completed, and Titus gave a great festival. The date of the extant arch is, therefore, the year 82 or 83.

Fig. 9.

Temple of Venus and Rome.

Almost the whole of the southern slope of the Velia towards the Coliseum is occupied by the ruin of a vast foundation which extends under the church and convent of S. Francesca Romana. The substructions, of which the inner core only, consisting of rubble-work, is left, were originally cased with travertine blocks. They form an enormous quadrilateral terrace, round which a portico of granite columns ran. Upon this was raised a basement some four or five feet higher, and a building with two apses back to back, similar to the tribunes of a basilica. These are ornamented with large square coffers and niches for statues. It has been generally inferred from the statements of Dion Cassius and Spartianus that this building was the Temple of Venus and Rome built by Hadrian and dedicated by the Antonines, but burnt down in the time of Constantine and restored by him.[32] Pope Honorius I. stripped the bronze tiles from the roof, and they were placed on the Basilica of S. Peter, whence they were taken by the Saracens in A.D. 846. In the fifteenth and sixteenth centuries, limekilns were set up near the arch of Titus by the Romans and the marbles of this spot were burnt into lime.[33] The two tribunes which stand back to back and the buildings near them have not the appearance of a temple, but rather of a legal court or basilica. For this reason, and also because a large portico of this shape is represented in the marble plan of the city, the fragments of which are now in the Capitoline Museum, as having belonged to the Porticus Liviæ, Mr. Parker, in his ‘Archæology of Rome,’ has maintained that this was the Porticus Liviæ, built by Augustus and afterwards used by Hadrian for the Temple of the Sun and Moon. Jordan has also shown that the Porticus Liviæ was near this spot, but he places it farther to the north-east, behind the Basilica of Constantino.[34] Since Dion Cassius speaks of the Temple of Venus and Rome as having been close to the Coliseum and also near the Sacra Via, and Spartianus says that it stood in the vestibule of the Domus Aurea of Nero, we are almost compelled to assign this position to that temple.[35]