The Appian Way, one of the oldest and most significant roads of ancient Rome, is lined with a remarkable array of tombs and mausoleums that offer a glimpse into the funerary practices and architectural grandeur of the Roman Empire. This historic route, stretching from Rome to Brindisi, was not only a vital conduit for military and commercial activities but also served as a prestigious burial ground for the elite.

The "List of Tombs on the Appian Way" encompasses a variety of sepulchral monuments, from the grand mausoleums of prominent families to more modest burial sites, each reflecting the social status and personal legacies of those interred. Among these, notable examples include the imposing Tomb of Cecilia Metella, the circular mausoleum of the Scipios, and the well-preserved Catacombs of San Sebastiano. These tombs collectively highlight the cultural, historical, and artistic significance of the Appian Way, making it a rich repository of Roman history and heritage.

circa 509-27 BCE

Tomb of Marco Servilio Quarto
The tomb or mausoleum of Marcus Quarto (Tomba di Marco Servilio Quarto) is situated at a distance of 2.9 Roman miles from the first Roman mile merker column. Believed to date to the 1st century CE, the tomb is an example of the elaborate funerary architecture commissioned by wealthy Roman citizens to commemorate their achievements and social status. Marco Servilio Quarto, presumably a member of the prominent Servilii family, remains an enigmatic figure, as little is known about his personal history beyond the details inscribed on the monument itself.

Architecturally, the Tomb of Marco Servilio Quarto adheres to the Roman tradition of monumental tomb construction along major roadways. The tomb likely featured a combination of opus quadratum (ashlar masonry) and opus caementicium (Roman concrete), materials commonly used in Roman construction for durability and grandeur. Its façade may have been adorned with sculptural reliefs, inscriptions, and architectural ornamentation, such as pilasters or columns, to emphasize its prominence and attract attention from travelers along the Via Appia.

Like many Roman tombs, the Tomb of Marco Servilio Quarto suffered from centuries of neglect, repurposing, and environmental degradation. During the medieval period, tombs along the Via Appia were frequently dismantled for their valuable building materials, and many were incorporated into local estates or fortifications. Modern archaeological efforts have focused on documenting and preserving what remains of these monuments, offering valuable insights into Roman funerary practices and architectural innovations.

circa 290 BCE - 25 CE

Hypogeum of the Scipios
The Hypogeum of the Scipios (Hypogaeum Scipionum), also known as the Tomb of the Scipios, is an ancient Roman funerary monument located on the ancient Via Appia, one of Rome's most famous roads. The tomb served as the burial place for members of the Scipio family, a prominent patrician family in the Roman Republic known for their military and political role and achievements. The tomb dates back to the late third century BCE and was used until the early to mid first century CE. The Scipio family included notable figures such as Scipio Africanus, who defeated Hannibal in the Second Punic War.

The Hypogeum of Scipios is an underground burial chamber, reflecting the Etruscan influence on Roman funerary practices. It consists of a series of interconnected chambers and corridors, with niches for sarcophagi. The tomb is known for its inscriptions, which provide valuable information about the members of the Scipio family. Some sarcophagi are decorated with reliefs and inscriptions in Latin, offering insights into Roman art and epigraphy.

circa 30 BCE

Mausoleum of Hilarus Fuscus
The Tomb of Hilarus Fuscus (Tomba di Ilario Fusco) is an ancient Roman funerary monument located near the fourth mile of the Appian Way or the Via Appia Antica, to the southeast of Rome. It is located at a distance of 3.3 Roman miles from the first Roman mile marker.

The current structure built mostly out of brick and marble fragments of ancient mausoleum, dates back to the mid-nineteenth century CE when it was restored by Luigi Canina. The architecture of the fragmentary tomb remains and the analysis of figures depicted (particularly the hairstyle of the women) suggests the mausoleum was built at end of the Republican era, the beginning of the Imperial age. Before 1978 CE an inscription bearing the names of the deceased could be seen, which was lost sometime between 1978 - 1998 CE. The sculptures of the deceased currently displayed at the tomb site are copies, original artefacts are displayed in the National Museum of the Baths of emperor Diocletian.

circa 150 BCE

Tomb in the Form of a Shrine Called the Frontispiece
The Frontispiece Shrine tomb (Tomba in forma di edicola detta del Frontespizio), also known as the Tomb of the Frontispiece, is an ancient Roman funerary monument located along the Via Appia, dating to the 2nd century BCE. This tomb is distinctive for its architectural form, which closely resembles a small, classical temple or shrine, often referred to as an "edicola" (a small, open-fronted structure). The structure is characterized by a rectangular base topped with a triangular pediment, emulating the appearance of a public building, and it is often interpreted as a symbolic representation of the deceased's transition to the divine realm. The tomb's elaborate, yet compact, design suggests that it was intended for someone of significant social standing, likely a member of the Roman elite, given the prominence and positioning along an important route. The frontispiece-like features of the tomb, with its columns and pediment, reflect Roman architectural ideals of grandeur and permanence, suggesting an intended message of the lasting legacy of the deceased. Despite its name, there is no direct evidence to link the tomb to any specific individual, and its purpose appears primarily symbolic, emphasizing the status and commemoration of the deceased. The tomb remains a valuable example of Roman funerary architecture, illustrating the blending of public architectural forms with personal commemoration practices.

circa 30-20 BCE

Mausoleum of Caecilia Metella
The Mausoleum of Caecilia Metella (Mausoleo di Cecilia Metella) is an ancient Roman tomb located south-east of Rome just before the third mile marker of the Via Appia. The circular mausoleum, constructed circa 30–10 BCE, was built by her son, Marcus Licinius Crassus, a member of the powerful Crassus family. This family had long-standing influence in Rome, with her father-in-law, Marcus Licinius Crassus, being one of the wealthiest men of the late Republic and a member of the First Triumvirate alongside Julius Caesar and Pompey. The tomb’s monumental scale reflects both the social standing and the wealth of the family.

Architecturally, the mausoleum consists of a massive cylindrical drum measuring approximately 29.5 meters in diameter and resting on a square base. Its construction utilized travertine and local tufa stone, with the cylindrical exterior clad in travertine blocks. The structure features a frieze of carved bucrania (oxen skulls) and garlands, symbolizing sacrificial offerings and the sanctity of the deceased, a decorative motif often associated with funerary monuments. The design likely drew inspiration from earlier Hellenistic tombs and anticipated the grandeur of imperial mausolea such as the Mausoleum of Augustus.

The mausoleum once stood as part of a larger funerary complex, which may have included an adjoining villa or other family tombs. During the medieval period, the structure was incorporated into a fortification known as the Castrum Caetani after the Caetani family acquired the site in the 13th century. The transformation included the addition of crenellations and defensive walls, reflecting its strategic location along the Via Appia. These modifications altered the tomb's appearance but also ensured its preservation as a prominent landmark.

circa 211 CE

Tomb of Geta
The tomb or sepulchre of Geta (Sepolcro di Geta), located along the Via Appia Antica in Rome, is a funerary monument attributed to Geta, the younger son of Emperor Septimius Severus and brother of Caracalla. Born in 189 CE, Geta was co-emperor alongside Caracalla following their father's death in 211 CE, but their rivalry culminated in Geta's assassination later that year, reportedly orchestrated by his brother. This familial strife led to a damnatio memoriae pronounced against Geta, resulting in the erasure of his name and image from public monuments and records. Despite this official condemnation, his tomb survives as a remarkable structure, offering insights into late Severan imperial funerary practices.

Situated along the Via Appia, a location traditionally associated with elite burials, the tomb underscores the importance of the road as a corridor for showcasing Roman power and familial prestige. Its prominence along this route may have been an attempt to perpetuate Geta's memory among those traveling to and from Rome, even in the face of the official efforts to obliterate his legacy.

circa 50 BCE - 50 CE

Servilii Tomb
The tomb or the Servilii (Sepolcro di Servilii), located near the Via Appia Antica and adjacent to the imperial complex of Maxentius in Rome, is a lesser-known yet architecturally significant example of Roman funerary architecture associated with the Servilii family, an influential patrician lineage during the Republic and early Imperial periods. This tomb dates to the late Republican or early Augustan period, likely between the 1st century BCE and the early 1st century CE, and exemplifies the Roman elite’s emphasis on familial prestige and public commemoration.

The Tomb of the Servilii likely adhered to the stylistic preferences of the late Republican era, blending traditional Roman and Hellenistic influences. Architectural remains suggest a combination of opus quadratum (ashlar masonry) for structural elements and opus reticulatum for wall facings, indicative of advanced Roman engineering techniques. The tomb might have featured a rectangular or circular plan, possibly with a columbarium structure—a subterranean chamber with niches for urns containing cremated remains, a common funerary practice during this period.

Fragments of decorative reliefs, such as garlands, bucrania, and friezes, have been attributed to the tomb. These motifs often symbolized themes of sacrifice, prosperity, and familial unity. If inscriptions were present, they would have detailed the names, titles, and virtues of the deceased, aligning with Roman customs of eulogizing the deceased as paragons of Roman values such as devotion (pietas) and excellence (virtus).

Like many ancient Roman structures, the Tomb of the Servilii experienced repurposing over the centuries. First it was incorporated in to the enclosure of the empror Maxentius' dynastic tomb complex. During the medieval period, tombs along the Via Appia and other Roman roads were frequently dismantled for building materials or incorporated into agricultural estates. Archaeological investigations have provided insights into the tomb's original form, though much of its superstructure is now lost or fragmented.

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Pyramid Tomb of Via Appia Antica
The Pyramid Tomb of the Via Appia Antica (Sepolcro a piramide dell'Appia antica), is the ruins of ancient Roman tomb's masonary core.

circa 50 CE

Tomb of Priscilla
The sepulchre of Priscilla (Sepolcro di Priscilla) is a monumental tomb erected in the first century in Rome on the Appian Way (Via Appia Antica), situated opposite the Church of Domine Quo Vadis. The Tomb belonged to Priscilla, wife of Titus Flavius Abascanto, a freedman of the emperor Domitian.

On a quadrangular base, covered with travertine blocks (opus quadratum), there were in the past two superimposed cylindrical towers, built in opus mixtum and opus reticulatum, the upper one with 13 niches designed to house statues of the dead. The funerary cell covered by a barrel vault is entered via a corridor, currently accessible from the basement of one of the houses that are adjacent to the monument. The cell was coated within by blocks of travertine and included three niches designed to house sarcophagi.

The tomb was used in the 11th century and later as a fortress. It belonged to the counts of Tusculum, and later the Caetani. In modern times there were two farmhouses, one of which was the "Tavern of Acquataccio". The burial chamber was used as a store for maturing cheeses.

circa 50 CE

Sepulchre of Tiberius Claudius Secundus Philippianus
The mausoleum of Tiberius Claudius Secundus Philippianus (Sepolcro di Tiberio Claudio Secondo Filippiano) Approximately 100 meters south of the Tomb of Ilaro Fusco lies a funerary monument, which today appears in the form resulting from Luigi Canina's mid-nineteenth-century reconstruction. The facade features a brick wall into which marble fragments found in the vicinity have been integrated. Inscriptions on two small statue bases positioned at the top, along with the fragmentary text of the large epigraph embedded in the facade, indicate that this tomb belonged to Tiberius Claudius Secundus Philippianus, his wife Flavia Irene, and their children Tiberius Claudius Secundus and Claudia Secundus. The father, a freedman of an emperor from the Claudian dynasty (potentially Nero), held various positions including bank collector (coactor argentarius), magistrates' attendant (accensus velatus), copyist (scriba librarius), and messenger (viator). Behind the facade, the monument retains its concrete and flint core, though it has been entirely stripped of its original decorative covering.

circa 65 CE

Tomb of Seneca
The mausoleum of Seneca (Tomba di Seneca) is traditionally attributed to the famous Stoic philosopher Lucius Annaeus Seneca (Seneca the Younger), although its association with him remains a matter of scholarly debate. Located along the ancient Via Appia near Rome, this funerary monument dates to the 1st century CE, aligning with the period of Seneca's prominence during the reigns of Emperors Claudius and Nero. The tomb's attribution to Seneca is largely based on local tradition and historical conjecture, rather than definitive archaeological or textual evidence.

Althoug not much survives of the tomb except a single column of brick masonry, the structure attributed to Seneca was most likely relatively modest compared to the grand mausoleums of Rome's political and military elite, reflecting the philosophical ideals of simplicity and moderation often espoused by Seneca in his writings. Built using opus quadratum or opus latericium techniques, common in 1st-century CE Roman tomb construction, the tomb may have featured a cylindrical or square plan with minimal ornamental embellishments. Fragments of inscriptions or decorative elements, if they existed, have not survived to confirm the tomb's ownership or specific date of construction.

The attribution of this tomb to Seneca remains contentious. Some scholars suggest that the tomb could belong to another prominent individual of the same era, as funerary monuments were often misattributed based on proximity to known sites or later interpretations of historical records. The lack of inscriptions explicitly naming Seneca further complicates the identification.

circa 306-312 CE

Tomb of Romulus and Maxentius
The tomb of Romulus and Maxentius, part of the broader complex of the Villa of Maxentius, is a significant example of late Roman imperial funerary architecture. Located along the Via Appia Antica, this monumental tomb was constructed in the early 4th century CE by Emperor Maxentius (reigned 306–312 CE) as a mausoleum for his family. The tomb is named after Maxentius's son, Valerius Romulus, who died prematurely and was deified, becoming the focal figure of the mausoleum.

The tomb’s construction coincided with Maxentius’s ambitious building projects to reinforce his legitimacy as emperor and commemorate his lineage. Romulus, Maxentius’s son, was deified after his untimely death, a practice common among Roman emperors to solidify dynastic claims and elevate the status of their family. The tomb’s association with Maxentius himself stems from its centrality within the complex, although there is no direct evidence indicating that Maxentius was interred there.

The mausoleum is a striking cylindrical structure, characteristic of imperial tombs of the period, and reflects the monumental style of late Roman architecture. The tomb was likely covered with a dome, a common feature in Roman funerary monuments symbolizing the heavens and divine ascension. The structure was constructed using opus latericium (brick-faced concrete) and adorned with marble cladding, now largely lost. The interior layout likely included a central chamber, possibly designed to house a sarcophagus or urn, surrounded by niches for additional burials or statues. The design bears similarities to other monumental Roman tombs, such as the Mausoleum of Augustus and the Mausoleum of Hadrian, while also anticipating the architectural developments of late antiquity.

circa 380 CE

Hypogeum of Vibia
The Hypogeum of Vibia (Ipogeo di Vibia), an underground funerary complex located along the Via Appia near Rome, is a remarkable example of late Roman funerary art and architecture, dating to the mid-4th century CE. This hypogeum, named after Vibia, whose burial is prominently featured, offers critical insights into the syncretic religious and cultural practices of late antiquity, reflecting both traditional Roman paganism and the emerging influences of Christianity and mystery religions.

The Hypogeum of Vibia is one of several subterranean burial sites that proliferated in the later Roman Empire, catering to the wealthy elite and religious communities. By the 4th century CE, the use of hypogea had become a favored method of burial for prominent families and individuals, often designed as exclusive family tombs. These spaces served not only as burial chambers but also as commemorative venues for funerary rituals, emphasizing the deceased’s social and religious status.

The Hypogeum of Vibia consists of a series of chambers and corridors, intricately decorated with frescoes, inscriptions, and symbolic imagery. The architectural layout reflects typical Roman hypogea, with a central chamber serving as the primary burial space, surrounded by niches (loculi) and arched recesses (arcosolia) for additional burials. Vaulted ceilings were painted with elaborate frescoes depicting celestial themes, these ceilings symbolize the journey of the soul toward the divine realm. Entrance vestibule was most likely adorned with inscriptions or reliefs commemorating the family lineage or the virtues of the deceased. Chamber frescoes depict mythological and religious scenes, reflecting the deceased's beliefs about death and the afterlife.

The Hypogeum of Vibia is a prime example of the religious syncretism characteristic of late antiquity. The blend of Greco-Roman mythological motifs with esoteric symbols from mystery religions reflects the evolving spiritual landscape of the Roman Empire. While no overtly Christian symbols are present, the emphasis on individual salvation and afterlife journeys shares thematic parallels with early Christian theology.

Over time, the hypogeum fell into disuse and was forgotten until its rediscovery during the 19th-century archaeological explorations along the Via Appia. Subsequent excavations revealed its exceptional state of preservation, making it a key site for the study of late Roman funerary practices and art.

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Tomb of the Festoons
The Tomb of the Festoons (Tomba dei Festoni) is an ancient Roman funerary monument located along the Via Appia, dating from the late 1st century BCE. This tomb is notable for its distinctive decorative features, particularly the festoons—garlands or wreaths—carved into the stone reliefs that adorn the structure. The festoons are depicted as hanging from a central tie, draping elegantly over the tomb’s façade, symbolizing both death and the afterlife. These motifs were commonly used in Roman funerary art to signify the deceased’s passage to the afterlife, as well as to convey themes of celebration and eternal remembrance.

The tomb itself is relatively simple in architectural form, consisting of a large, rectangular chamber with a semi-circular, vaulted roof. It is part of a group of monuments designed to serve as lasting memorials to wealthy Romans along important roads, such as the Via Appia, which was a major route connecting Rome to the southern provinces. The tomb’s placement along this route indicates that it was intended for someone of high status, though the exact identity of the individual or family interred remains unknown.

The Tomb of the Festoons is important not only for its architectural and artistic features but also for its representation of Roman funerary customs. The use of festoons in tomb decoration highlights the Roman practice of integrating symbolic imagery into memorials, with these garlands often associated with festive occasions in Roman culture. The tomb is also an example of the larger trend of monumental burial sites along the Via Appia, which were designed to honor the deceased and demonstrate their wealth and status to travelers passing by.

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Family Tomb with a Columbrium
Only lower parts of the walls remain of the so-called family Tomb with a Columbrium (Tomba Familiare a Colombario).

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Tomb of Quintus Apuleius
The (Tomba di Quinto Apuleio) is an ancient Roman funerary monument located along the Via Appia, dating to the early 1st century CE. This tomb is significant both for its architectural design and the inscription it bears, which provides important details about the individual interred within. The tomb is part of the larger group of monumental burials found along the Via Appia, a prominent route used for the burial of Rome's elite.

The tomb is notable for its large, rectangular form, with a simple but elegant design that includes a series of inscriptions, some of which are still legible today. These inscriptions are crucial in providing historical context for the tomb, as they commemorate Quintus Apuleius, a Roman figure of some standing. While little is known about his life, the tomb's inscriptions suggest that he was a member of the local elite, likely holding some degree of political or social importance.

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Tower Tomb A
The so-called "tower tomb" (Sepolcro a Torre) has an arched passage in a square base and a circular top.

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Tomb of Rabirii
The Tomb of Rabirii (Tomba dei Rabirii), is an ancient Roman funerary monument located along the Via Appia, and it dates back to the early 1st century BCE. This tomb is of particular interest due to the inscriptions it bears, which reveal important information about the family it commemorates. The Tomb of the Rabirii belongs to a group of mausolea constructed along the Via Appia, a major Roman road that was traditionally used for the burials of prominent individuals and families. What sets the Tomb of the Rabirii apart is the inscription that names the individuals interred within and provides details about their social standing and family connections.

The inscription on the Tomb of the Rabirii is crucial for historical understanding, as it identifies the Rabirii as a Roman family of considerable influence, with ties to the political and military elite. The family may have been involved in the equestrian order, a class of Roman citizens that was typically engaged in administrative and military service. In addition to the inscription, some of the tomb’s reliefs depict symbolic motifs related to Roman funerary beliefs, including representations of the afterlife and honors bestowed upon the deceased.

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The So-called Small Temple Tomb
The "Small Temple Tomb" (Sepolcro a Tempietto), is an ancient Roman funerary monument situated along the Via Appia, a major Roman road that was often used for burials of prominent families. This tomb, which dates back to the 1st century BCE, is characterized by its distinctive architectural form, resembling a small temple. The structure is often referred to as the Small Temple Tomb due to its temple-like appearance, although it is not a temple in the religious sense, but rather a funerary monument.

Architecturally, the remains of the temple-tomb consist of a rectangular base with walls partially surviving, with a an apse in the back wall. The temple most likely featured columns that would have created a portico-like entrance. It is possible that the columns were either Corinthian or Ionic in style, a common feature of Roman architecture at the time and suggest a certain level of wealth and prestige for the individual or family interred within. Above the portico, there would have been a pediment, which is a triangular section that forms the upper part of the tomb's facade, often decorated with reliefs or inscriptions. The monument's temple-like design reflects a departure from the common Roman burial practices of the time.

The So-called Small Temple Tomb is an example of Roman funerary architecture that blends elements of religious and civic symbolism. Its temple-like appearance reflects the influence of Roman religious architecture, where temples were often dedicated to gods, heroes, or important figures. In this case, however, the temple design serves as a tribute to the deceased, emphasizing the importance of their memory within the context of Roman society and their elevation to the status or divine or semi-divine after death. The tomb stands as a reminder of the Roman practice of constructing monumental burial sites that not only commemorated the dead but also showcased the power and status of those who commissioned them.

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Circular Mausoleum
The circular or round mausoleum (Mausoleo Circolare) structure comprises of the inner masonary core of ancient Roman burial structure.

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Tomb of the sons of Sextus Pompeius the Just
The funerary monument dedicated to the children of Sextus Pompeius the Just (Tomba dei figli di Sesto Pompeo Giusto) is a first-century CE brick and marble tomb located along the Via Appia Antica. The tomb is notable for its elegiac inscription, an emotive and personal address from the grieving father, Sextus Pompeius Iustus, to passersby, detailing the premature loss of his children, Pompeia Eleutheris and Sextus Pompeius. The inscription, composed of eight couplets, is a powerful piece of Roman funerary epigraphy that subverts the traditional focus on aristocratic accomplishment, instead highlighting themes of parental grief, misfortune, and the fragility of life.

The tomb, initially constructed around 50 CE, was extensively rebuilt and restored in 1808 by the sculptor Antonio Canova, who incorporated the original funerary plaque and other architectural fragments into a new brick façade. This nineteenth-century intervention, a product of the neoclassical interest in Roman funerary commemoration, added a new layer of historical interpretation to the monument. The monument's material history, therefore, embodies a complex narrative of Roman social history, artistic patronage during the Napoleonic era, and the evolving reception of classical antiquity.

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Licini Tomb A
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Licini Doric Tomb
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Tomb of Saint Urban
The so-called Tomb of Saint Urban (Mausoleo di Sant'Urbano), a monumental brick funerary structure located on a side road near the fourth milestone of the Via Appia Antica, is an important example of Late Roman funerary architecture. Dating to the fourth century CE, the structure features a large apse and side niches, reflecting architectural trends of the period.

Its high walls, which rise over ten meters, suggest a considerable scale, although, like many monuments along the consular roads, it was later stripped of its finer facings. The attribution of the tomb to Saint Urban, according to Christian sources, results from the supposed transport of the saint's body to a nearby property owned by a Roman matron named Marmenia. This historical narrative, while contributing to the monument's popular name, is distinct from the building's original function and construction date.

Further studies and excavations, including those by archaeologist Rodolfo Lanciani in the late nineteenth century and recent acquisitions by the Parco Archeologico dell'Appia Antica, have aimed to clarify its history and construction. The mausoleum's subsequent repurposing, including its incorporation into a fortified tower in the thirteenth century, highlights the complex and long-lasting transformations that ancient monuments along the Via Appia have undergone.

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First Funerary Brick Monument
The (Primo Monumento Funerario in Laterizio)

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Bas-relief with two Deceased
The (Bassorilievo con due defunti)

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Second Funerary Brick Monument
The (Secondo Monumento Funerario in Laterizio)

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Round Tomb
The (Sepolcro Rotondo)

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Curiazi Tumulus
The tumulus of the Curiatii (Sepolcro dei Curiazi)

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Horatii Tumulii
The monuments known as the Tumuli of the Horatii and Curiatii (Tumuli degli Orazi), located at the fifth milestone of the Via Appia Antica near the site of the legendary duel, are a group of late Republican funerary mounds. Though popularly associated with the combatants from the foundation narrative involving Rome and Alba Longa, archaeological evidence refutes this traditional attribution, indicating a much later construction date during the first century BCE or early Augustan period.

This practice of anachronistic association with heroic figures served to reinforce Rome's historical memory and legitimize its mythological origins through visible, monumental structures along its most prestigious road. The so-called "Tomb of the Curiatii" is a circular, earth-covered monument with an Augustan-era concrete core, potentially intended to be the base for a statue, while the other two, smaller mounds—the "Tombs of the Horatii"—are revetted with peperino and travertine. The fabrication of this historical link illustrates the appropriation of the landscape for political and cultural purposes, turning archaeological remains into objects of national memory and reinforcing Roman civic identity through a constructed mythological past.

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Mausoleum of Casal Rotondo
The Mausoleum of Casal Rotondo (Mausoleo di Casal Rotondo), located at the sixth mile of the Via Appia Antica, stands as the largest circular tomb on the ancient road and a significant example of Augustan-era funerary architecture. Dating to the late first century BCE, the monumental concrete drum, originally faced with travertine, was built for a member of the elite, though its specific patron remains disputed. Nineteenth-century efforts by the archaeologist Luigi Canina to identify the owner with Marcus Valerius Messalla Corvinus, based on an inscribed fragment containing the name "Cotta," have since been refuted, as the fragment likely belonged to a smaller, adjacent monument.

The monument is a striking testament to the durability and adaptability of Roman structures, having been repurposed in the medieval period with a watchtower, and later incorporated into a farmhouse from which it derives its modern name (casale, meaning "farmhouse"). This long history of reuse, from elite tomb to medieval fortification and finally to a residential villa, illustrates the complex stratigraphy of occupation and the ongoing reinterpretation of the ancient landscape. The vast scale of the mausoleum, with a diameter of 35 meters, reflects the Roman predilection for monumental burial practices as a means of projecting and perpetuating aristocratic status.

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Mausoleum of Pompey the Great or the Selce Tower
The structure known as the Mausoleum of Pompey or the Selce Tower (Mausoleo di Pompeo Magno o Torre Selce, located at approximately the sixth mile of the Via Appia Antica, stands on the remains of a monumental Roman funerary structure. While medieval in its current visible form, the tower is built atop the concrete core of a much older tomb, likely dating to the Late Republican or Early Imperial period. This monumental funerary mound, originally consisting of a solid cylindrical drum and possibly similar in form to the Mausoleum of Caecilia Metella, was spoliated of its finer marble and travertine facing during the Middle Ages. The popular but erroneous tradition that attributes the structure to Pompey the Great is unsubstantiated by both historical and archaeological evidence, as accounts indicate Pompey was buried in his family's mausoleum in the Alban Hills. The repurposing of this ancient tomb into a medieval watchtower exemplifies a common historical pattern of adaptive reuse along the Via Appia, where Roman-era monuments were incorporated into later fortified rural estates and, in this case, a strategic outpost for observation along the road. The tower's name, "Selce" (flint), likely refers to the material used in its medieval construction, superimposed over the ancient volcanic and concrete core.

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Sepulcher of the Griffins
The tomb complex colloquially known as the Sepulcher of the Griffins (Sepolcro dei Grifi) is a brick and concrete structure located at approximately the sixth milestone of the Via Appia Antica, dating to the mid-Imperial period. The attribution derives from fragments of marble reliefs depicting griffins, mythological creatures with the body of a lion and the head and wings of an eagle, which were found within the walled enclosure of the funerary complex. In Roman funerary iconography, griffins served an apotropaic function, intended to ward off evil and protect the deceased.

The complex comprises a two-story, temple-shaped tomb and an adjacent subterranean chamber tomb, suggesting a sustained use of the site for elite burials over time. The visible remains include the opus testaceum (brickwork) core of the two-story tomb, which originally featured an upper chamber for funerary rituals and a lower burial chamber. This monumental ensemble offers a significant case study of Roman funerary practices, demonstrating the use of mythological imagery and architectural scale to convey status and secure the memory of the deceased within the prestigious burial corridor of the Appian Way.

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Epigrafe of C. Atilius Euhodus
The funerary inscription of Gaius Atilius Euhodus, a freedman and pearl merchant (margaritarius) of the first century BCE, stands as a notable example of late Republican epigraphy along the Via Appia. The inscription, recorded in the Corpus Inscriptionum Latinarum (CIL I, 1212), is a rare specimen of a non-elite voice speaking from the city's most prestigious necropolis. Its text directly addresses the passing traveler, imploring them to stop and acknowledge the modest tomb of a virtuous man.

This prosopographical and topographical detail provides significant insight into the commercial and social topography of the Roman city, noting Euhodus's trade on the Via Sacra and his final resting place along the consular road. The inscription is especially valuable for modern scholarship as it subverts the predominant narrative of the Via Appia as exclusively a burial corridor for the Roman aristocracy, revealing the presence of upwardly mobile freedmen who also sought to stake their claim to a lasting monumental presence in the Roman landscape.

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Bas Relief of Two Deceased Men and a Woman
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Alabaster Vase Tomb
The so-called "Tomb of the Alabaster Vase" (Sepolcro del Vaso di Alabastro) on the Via Appia Antica, located approximately at the seventh mile, derives its modern name from the discovery of a precious Egyptian alabaster vase within its vaulted subterranean burial chamber. The tomb itself is a two-story brick monument, featuring a concrete and basaltic lava core, whose remains today consist primarily of its frontal stairs and the preserved underground components.

The vase, an exquisite example of funerary goods from the mid-first century BCE, is now housed in the Vatican Museums. The structure's architecture and the provenance of the alabaster vase reflect the cosmopolitan networks of the late Roman Republic and early Empire, where elite Romans increasingly incorporated exotic and highly valued materials into their funerary practices. The inclusion of an Egyptian alabaster vessel points to significant cultural and trade connections with the Hellenistic East, underscoring the appropriation of foreign luxury goods to signify status even in death.

As with many monuments lining the Via Appia, the tomb's original external grandeur has been lost over time due to spoliation, leaving its material significance primarily associated with its unearthed contents.

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Tomb of the Monumental Exedra
The "Tomb of the Monumental Exedra" (Sepolcro monumentale a esedra) on the Via Appia Antica is a large, semicircular funerary structure, the concrete core of which is prominently visible on the left side of the road past the Rome Ring Road underpass. Constructed during the late Republican period, the original monument featured a large exedra, a semi-circular space, which was once faced with marble and crowned by a semi-dome. The concrete core also contains three rectangular niches that originally held funerary statues, demonstrating the tomb's elite status and monumental character. The choice of an exedra form for a tomb was a distinctive architectural choice during this period, reflecting an evolving Roman funerary aesthetic that embraced Hellenistic influences. While much of its fine cladding has long since been stripped, as with many monuments along the Appian Way, its extant remains offer valuable insight into the grand scale of elite funerary display in the late Republic and early Empire. This tomb, alongside other typologically distinct monuments such as temple- and tower-shaped tombs, showcases the variety of monumental forms that populated Rome's most prestigious burial corridor.

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Aedicule Tomb Attributed to Persius
The tomb (Sepolcro a edicola detto di Persio) conventionally identified as that of the satirical poet Aulus Persius Flaccus (34–62 CE), located at the eighth milestone of the Via Appia Antica, belongs to a typology of temple-shaped funerary monuments that became widespread only after the mid-second century CE. The monument, constructed primarily of brick, features a high rectangular podium enclosing the subterranean burial chamber, accessible from the rear. The façade is dominated by a central niche, originally surmounted by a pediment, which once housed the funerary statue of the deceased.

This niche was flanked by engaged half-columns and pilasters, elements that served an ornamental rather than structural function. However, the attribution to Persius, who died nearly a century earlier, has been definitively challenged by more recent archaeological scholarship, which established a significantly later date for the structure. The conventional name thus exemplifies a common historical practice wherein classical figures were anachronistically associated with anonymous architectural remains to satisfy romantic or antiquarian interests. The tomb is one of a pair of similar brick aediculae in the immediate vicinity, including one traditionally but also incorrectly attributed to the consul Quintus Veranius, whose actual tomb was discovered on the Via Tiburtina.

The monument's architectural style and its placement along this important burial corridor provide valuable insights into Roman funerary practices during the Antonine period, illustrating the continued use of the Via Appia for elite interments long after the Republican era.

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Circular Tomb at the VIII Mile
The (Mausoleo Circolare VIII miglio)

circa 300-400 CE

Berretta of the Priest
The circular monument on the Via Appia known as the "Berretta del Prete" ("Priest's Hat") is a funerary building of late antique or early medieval date, whose colloquial name derives from its hemispherical dome. Situated on the eighth mile of the ancient road, the structure is notable for its architectural features, which include a circular plan and a dome, elements that have led to its popular identification with a piece of clerical headwear. While its original purpose was likely a tomb, it was later repurposed, following a common pattern for monuments along the Appian Way. For instance, a nearby, earlier circular tomb was reportedly transformed into a church in the 11th century before serving as a tower and granary. The "Berretta del Prete" thus stands as a testament to the long, complex reuse and reinterpretation of Roman funerary monuments, where their original function is often overshadowed by later practical or folkloric associations.

circa 270 CE

Sepulchre of Emperor Gallienus
The tomb (Mausoleo di Gallieno) traditionally attributed to the emperor Gallienus (reigned 253–268 CE) is a large, circular brick monument on the ninth mile of the Via Appia, also believed by some sources to be the burial place of the general Severus. While the identification of the structure, featuring internal and external niches and originally clad in marble, rests largely on the account of Aurelius Victor, its dating to the third century aligns with the reign of Gallienus. It is important to note that the Historia Augusta, a source notorious for its unreliability and inaccuracies, also mentions his sepulchre, highlighting the need for critical engagement with the textual tradition surrounding Gallienus's reign. The monument's remains consist of its substantial brick core, which, like many structures along the consular roads, was stripped of its finer facings over time. Archaeological investigations and restoration work, such as those beginning in 2013, have sought to understand and preserve the monument, which provides an architectural example of funerary practices during the tumultuous mid-third century CE.

circa 1870 CE

Secci Tower
The (Torre Secchi)