Subject
Epitaph bearing an inscription in Latin for Attia Asclepias (CIL VI.12759).
You read: D · M/ ATTIAE/ ASCLEPIADI.
Transliteration: D(is) M(anibus) Attiae Asclepiadi.
Translation: “To the spirits of the deceased. To Attia Asclepias”.
 
Accession number 1805,0703.191
Marble
 
Provenance
Found in a columbarium close to the point in which the Via Appia and the Via Latina begin, it then entered the Ficoroni collection in years 1731-1733.
 
Placement
The British Museum (storage)
 
Credits
The British Museum
 
References
B. Cook, Documenting the Townley Marbles, London, British Museum, 2013, n. 262.
 
G. Henzen – I.B. De Rossi – E. Bormann, C. Huelsen, M. Bang et al., CIL VI/ Inscriptiones urbis Romae Latinae (12759), Berlin, 1876-.

Subject
Epitaph bearing an inscription in Latin (CIL VI.17805).
You read: D M FELICISSIMAE · FIL DVLCISSIMAE · QVAE VIX · ANNVM · M · IIII · D · V L · AVFIDIVS · EVTYCHVS ET · EVGENIA · MATER FECERVNT.
Transliteration: D(is) M(anibus) felicissimae fil(iae) dulcissimae quae vix(it) annum m(enses) IIII d(ies) V L(ucius) Aufidius Eutychus et Eugenia mater fecerunt.
Translation: “To the spirits of the deceased. Lucius Aufidius Eutychus and Eugenia, (her) mother, made (this) for the heappiest (and) sweetest daughter, who lived one year, four months (and) five days”.
 
Accession number 1805,0703.195
Marble
 
Provenance
Found in a columbarium close to the point in which the Via Appia and the Via Latina begin, it then entered the Ficoroni collection.
 
Placement
The British Museum (storage)
 
Credits
The British Museum
 
References
B. Cook, Documenting the Townley Marbles, London, British Museum, 2013, n. 255.
 
G. Henzen – I.B. De Rossi – E. Bormann, C. Huelsen, M. Bang et al., CIL VI/ Inscriptiones urbis Romae Latinae (17805), Berlin, 1876-.

Subject
Epitaph bearing an inscription in Latin, coming from a columbarium on the Via Appia (CIL VI.7580). There, inside a niche, lie the bones and ashes of Pinnia Didyma, positioned by Titus Pinnius Hermes.
You read: OSSA · CINERESQVE · PINNIAE · DIDYME · AN · IMAE BONAE · ET · SANCTAE · HIC·INTVS BENE · POSITA · QVIESCVNT · T · PINNIVS · HERMES CONLIBERTAE · SIBI CARISSIMAE · ET BENE · MERENTI · FECIT.
Transliteration: Ossa cineresque Pinniae Didym(a)e animae bonae et sanctae hic intus bene posita quiescunt T(itus) Pinnius Hermes conlibertae sibi carissimae et bene merenti fecit.
Translation: “The bones and ashes of Pinnia Didyma, of good and pious spirit, rest here, well positioned. Titus Pinnius Hermes made (this) for the dearly beloved and well-deserving freedwoman of his same owner”.
 
Accession number 1867,0508.63
Marble
54.61 cm x 30.48 cm
 
Provenance
Found on the Via Appia
 
Placement
The British Museum (storage)
 
Credits
The British Museum
 
References
G. Henzen – I.B. De Rossi – E. Bormann, C. Huelsen, M. Bang et al., CIL VI/ Inscriptiones urbis Romae Latinae (7580), Berlin, 1876-.

Subject
Epitaph bearing an inscription in Latin for Paquvia Agele (CIL VI.23820).
You read: OSSA · SITA PAQVVIAE · C · PAQVVI · RVFI · L AGELE · VIXIT · ANN · XXV.
Transliteration: Ossa sita Paquviae C(aii) Paquvi Rufi l(ibertae) Agel(a)e vixit ann(is) XXV.
Translation: “(Here) lie the bones of Paquvia Agela, freedwoman of Caius Paquvius Rufus. (She) lived twenty-five years”.
 
Accession number 1805,0703.200
Marble
 
Provenance
Found in a columbarium close to the point in which the Via Appia and the Via Latina begin, it then entered the Ficoroni collection.
 
Placement
The British Museum (storage)
 
Credits
The British Museum
 
References
B. Cook, Documenting the Townley Marbles, London, British Museum, 2013, n. 257.
 
G. Henzen – I.B. De Rossi – E. Bormann, C. Huelsen, M. Bang et al., CIL VI/ Inscriptiones urbis Romae Latinae (23820), Berlin, 1876-.

Subject
Epitaph bearing an inscription in Latin for Caius Cornelius Antistianus (CIL VI.16161).
You read: D · M C · CORNELIO ANTISTIANO CORNELIA · SABI NA · FILIO · PIENT ISSIMO · ET CORNELIVS THIASVS · PAT VIXIT · A · II · M · VI D XII.
Transliteration: D(is) M(anibus) C(aio) Cornelio Antistiano Cornelia Sabi/na filio pient/issimo et Cornelius Thiasus pat(er) vixit a(nnis) II m(ensibus) VI d(iebus) XII.
Translation: “To the spirits of the deceased. Cornelia Sabina and Cornelius Thiasus, (his) father, (made this) for an extremely pious son, Caius Cornelius Antistianus. (He) lived two years, six months (and) twelve days”.
 
Accession number 1805,0703.190
Marble
1st century B.C. – 2nd century A.D.
 
Provenance
Found in a columbarium close to the point in which the Via Appia and the Via Latina begin and in Ficoroni collection in years 1731-1733.
 
Placement
The British Museum
 
Credits
The British Museum
 
References
B. Cook, Documenting the Townley Marbles, London, British Museum, 2013, n. 260.
 
G. Henzen – I.B. De Rossi – E. Bormann, C. Huelsen, M. Bang et al., CIL VI/ Inscriptiones urbis Romae Latinae (16161), Berlin, 1876-.

Subject
Alabaster funerary urn, bearing an inscription in Latin.
You read: FLAVIAE VALENTINAE.
Transliteration: Flaviae Valentinae.
Translation: “To Flavia Valentina”.
 
Accession number 1814,0704.430
Alabaster
Height 22.86 cm
Approximately 200 A.D.
 
Provenance
Found near the Via Latina in 1772 (Townley)
 
Placement
The British Museum (storage)
 
Credits
The British Museum
 
References
P.C. Bol (ed.), Forschungen zur Villa Albani. Katalog der antiken Bildwerke. I. Bildwerke im Treppenaufgang und im Piano nobile des Casino, Berlin, Gebr. Mann Verlag, 1989, p. 209, note 4 (C. Gasparri).
 
B.F. Cook, Documenting the Townley Marbles, London, British Museum, 2013, n. 87.
 
G. Henzen – I.B. De Rossi – E. Bormann, C. Huelsen, M. Bang et al., CIL VI/ Inscriptiones urbis Romae Latinae (18458), Berlin, 1876-.
 
A.H. Smith, A Catalogue of Sculpture in the Department of Greek and Roman Antiquities, vol. III, London, BMP, 1904, pp. 369-370, n. 2416.

Subject
Marble epitaph with inscription in Latin (CIL VI.27459).
You read: TITIENIAE · D · L · PI [ P · TITIENIVS · Ɔ · L · HY[ FECIT · ET · SIB[
Transliteration: Titieniae D(ecimi) l(ibertae) Pi[ P(ublius) Titienius C(aiae) l(ibertus) Hy[las?] fecit et sib[i—].
Translation: “Publius Titienius Hy(las?), freedman of a woman, made (this) for Titienia Pi(?), freedwoman of Decimus, and for himself”.
 
Accession number 1973,0108.97
Marble
Height 12.50 cm; width 28 cm
1-300 A.D.
 
Provenance
Found on the Via Appia
 
Placement
The British Museum (storage)

Credits
The British Museum
 
References
G. Henzen – I.B. De Rossi – E. Bormann, C. Huelsen, M. Bang et al., CIL VI/ Inscriptiones urbis Romae Latinae (27459), Berlin, 1876-.

Subject
Slab with inscription in Latin (CIL VI.37859a), bearing the name of the owner of a niche inside a columbarium on the Via Latina, consisting of five rows of niches and identified as “Tomb of the XXXVI socii”.
You read: P · SONTI · Ɔ · L · PHILOSTORGVS SORS · I · LOCO · III.
Transliteration: P(ublius) Sonti(us) ((mulieris)) l(ibertus) Philostorgus sors I loco III.
Translation: “Publius Sontius Philostorgus, freedman of a woman, first row, third niche” (first row means the bottom row).
 
Accession number 1900,0517.1
Marble
1-200 A.D.
 
Provenance
Found on the Via Latina
 
Placement
The British Museum (storage)
 
Credits
The British Museum
 
References
A Guide to the Department of Greek and Roman Antiquities in the British Museum, London, British Museum, 1908 (III ed.), p. 136.
 
D. Booms, Latin Inscriptions, London, British Museum Press, 2016, pp. 45-46.
 
G. Gatti, ‘Singolari iscrizioni dell’aedificium XXXVI sociorum sulla Via Latina’, in “BCom” 10, 1882, pp. 3-28.
 
G. Henzen – I.B. De Rossi – E. Bormann, C. Huelsen, M. Bang et al., CIL VI/ Inscriptiones urbis Romae Latinae (37859a), Berlin, 1876-.

Subject
Section of a tomb on the Via Appia Antica, with accompanying description, from the series “Le Antichità Romane”.

Accession number RP-P-OB-39.452
Engraving
Giovanni Battista Piranesi, Mogliano Veneto 1720 – 1778 Rome
ca. 1756 – ca. 1757
39.7 cm x 52.0 cm

Inscription
Bottom centre (in a box): Scale in Roman Palms. Bottom: Section of the preceding Sepulchre. A Travertines, which clothe the Walls of the Room, which still exist to this day, perhaps because it was not an easy thing to remove them from there because of the Pins, B, which by binding one piece with the other, make them more stable, and strongly united to the whole Work. Observing at one side, and at the other side of the Vault, three courses of Travertines, C, which besides being wedge-shaped, and bound by Pins, are still interlocked with each other by means of some projections, cut as wedges; as they are shown here below in perspective in Figure D. E Windows. F Travertines on the exterior of the Structure. G Current floor of the Room filled with ruins. The whole Room was adorned with very fine Stuccoes, some minute remnants of them still being seen on the Walls. H Plan of the Countryside. Below right: Piranesi Archit. dis. et inc.

Placement
Rijksmuseum

Credits
Rijksmuseum

References
H. Focillon, Giovanni Battista Piranesi; a cura di Maurizio Calvesi e Augusta Monferini; traduzione di Giuseppe Guglielmi, Bologna, 1967, p. 305.

J. Wilton-Ely, Giovanni Battista Piranesi: the complete etchings, 2 voll., San Francisco, Alan Wofsy Fine Arts, 1994, p. 446.

Subject
View of the Via Appia Antica, from the series “Le Antichità Romane”

Accession number RP-P-OB-36.857
Engraving
Giovanni Battista Piranesi, Mogliano Veneto 1720 – 1778 Rome
ca. 1756 – ca. 1757
35.1 cm x 24.1 cm

Inscriptions
Top right: (initial part illegible) VII. Bottom: View of the ancient Via Appia, which passes beneath the walls already described in previous plates by Ustrino, today covered in the ruins of the same. A. Bed of the ground well de-sodded, and beaten with poles, before spreading the coarse fill one palm high in the likeness of a slab composed of pozzolan lime, and chips of flint stones, and over it forcibly planted the flint paving stones B. cut in the reverse to a diamond point. C. Other stones placed in the manner of Wedges, which tighten and handily enclose the aforesaid stones, which pave the Way already mentioned, among which at every 30. palms comes one D. more eminent and higher than the others of such making, which perhaps was to serve those, who mounted, and dismounted from horses, and of rest for Travellers. This and the lower others are planted above a large filling wall of similar stone chips, but larger than those mentioned above. Below right: Piranesi Archit. dis. inc.

Placement
Rijksmuseum

Credits
Rijksmuseum

References
H. Focillon, Giovanni Battista Piranesi; a cura di Maurizio Calvesi e Augusta Monferini; traduzione di Giuseppe Guglielmi, Bologna, 1967, p. 306.

J. Wilton-Ely, Giovanni Battista Piranesi: the complete etchings, 2 voll., San Francisco, Alan Wofsy Fine Arts, 1994, p. 479.