Hecatostylon «Marzial. nel lib. 2 epig. 14, lib. 3, epig. 19, Euseb. nella Cronac. Appian. nel lib. 2 della guerra civil. il frammento di marmo dell'antica pianta di Roma.» see chapter 4, article 11.
The Hecatostylon. Very near to the porticus Pompei was a similar structure, called the Hecatostylon, or porticus of the hundred columns. This is not mentioned until the end of the first century, but it may have been built by Pompeius. It is represented on the Marble Plan, and some of its ruins have been found in and around the piazza del Gesł, the most noteworthy of which was a long piece of peperino wall with travertine pavement in front, parallel to the line of the Corso Vittorio Emanuele, between the piazza and the via dell' arco dei Ginnasi.
...the new ideas re: the architectural promenade that developed because of the Danteum. Essentially, the Danteum has the same sequential series of architectural "events" as the formula for the architectural promenade that I have extracted from Le Corbusier and Stirling. The Danteum, however, adds the element of a journey from the profane to the sacred, and this addition significantly opens up the interpretive field and the buildings that can now be included as exhibiting the architectural promenade formula.
With regard to the profane/scared aspect, the triumphal way within Piranesi's Campo Marzio exhibits the same sequence. The procession (promenade) begins at the Templum Jani, a tetrahedron, which is the forest, the pilotis that raise the box. From there the route jaggedly marches through the "theater district" (downtown)--this is hell, the profane, the lower level. Just as the "way" approaches the Banks of the Tiber for the first time, the procession becomes straight and passes repetitive / monotonous buildings. The way remains perfectly straight except for two 90 degree turns, and this course comprises the greatest length of the promenade. (The straight portion of the procession passes, in sequential order, the Hecatonstylon and the outer niched wall of the Horti prius Pompejani deim Marci Antonii; then the long portico of the Stadium opposite the Domus Alexandri Severi; and across the river between the Porticus Hadriani and the Sepulchrum Libertorum et Servorum of the Bustum Hadriani. These buildings well exemplify the notion of inside/outside, thus tying the triumphal way more closely to the architectural promenade formula.) In the course of this long march, the procession crosses over from the area (of the Campo Marzio) that primarily represents life (inside/outside -- osmosis connection?) into the area that is primarily of death (the Bustum Hadriani). This is the same transition as in the Danteum's Purgatory, and the middle inside/outside level of the Villa Savoye (etc.). Ultimately, the Triumphal way ends at the Templum Martis, easily the most sacred place/space of the Campo Marzio. This culmination to the triumphal procession is analogous to the Paradiso of the Danteum, and to the solarium of the Villa Savoye (etc.). Of course, this has major implications towards my previous
analysis of the Triumphal Way.
Pagan - Christian - Triumphal Way