ROMAN ARCHITECTURE—BAGGALLAY. 661 
blocks of peperino are all cut to the same size—4 feet by 2 feet. The 
upper part of the structure consisted on the front of an open arcade, 
said to have been once two stories high, though now only part of the 
lower story exists, mostly built up and surrounded by other buildings 
(pl. 3, fig. 2). The architectural interest of this arcade is that it is 
probably the earliest, or the earliest extant, example of the famous 
Roman facade, namely, a series of constructional arches and piers, 
like those of an aqueduct, ornamented with a framework of columns 
and entablatures planted against them. It may be the first attempt 
to endow a native arched structure with what was considered Greek 
architectural grace. The engaged columns in this case are Doric— 
the Roman variety—and parts of the architrave still exist, but all 
above that is gone. If there were really two stories and the second 
had Tonic columns the design must have been very like what we have 
left of the outside of the Theater of Marcellus, only built straight 
instead of circular, and raised on a lofty basement. Pompey’s Thea- 
ter, the first stone theater in Rome, built 55 to 52 B. C., seems to have 
been similar. The Theater of Marcellus was begun by Julius Cesar, 
but, as it was not finished until 13 B. C., the works had probably not 
got very far at his death. It is too well known to need description. 
The whole of the outer wall is built of solid travertine masonry, as we 
are told was that of Pompey’s Theater. It was all stuccoed over, but, 
as in the case of the Temple of Fortuna, the moldings are carefully 
cut in the stone beneath and, except the impost molds of the arches, are 
good. The voussoirs of the arches are of great size and no archivolt 
molding is worked on them. One may, of course, have been formed 
in the stucco covering, but probably was not, for had it been in scale 
with the heavy impost moldings it would have needed a core and 
would also have been very ugly. The substructures of the cavea or 
auditorium, much of which still remain, can hardly be coeval with 
the outside wall; they may be part of the restoration undertaken by 
Vespasian or of a later one. 
A good deal might perhaps yet be learned concerning the history of 
architectural details and construction from a critical comparison ot 
tombs, and even of sarcophagi. They are more often dated by in- 
scriptions than buildings, and very little liable to extensive restora- 
tion. There are several large tombs near Rome known to be of the 
later Republican period; for instance, that of Cecilia Metella, and the 
curious baker’s tomb, close to the Porta Maggiore. Both of these are 
built of wrought masonry with a backing of concrete or rubble, and 
were once covered with the usual hard stucco. Neither brick nor 
marble entered into their construction. The drum of Cecilia Me- 
tella’s tomb has false V joints cut in the masonry, and a frieze of ox 
skulls and garlands which seems characteristic of the time. 
