




































Humanist Studies & the Digital Age, 3.1 (2013) 
ISSN: 2158-3846 (online) 
http://journals.oregondigital.org/hsda/ 
DOI: 10.5399/uo/HSDA.3.1.3171 
 

 

 

 

  70 

The GIS Forma Urbis Romae Project: Creating a Layered  

History of Rome 

James Tice, University of Oregon 
 

Abstract: Using advanced GIS technology and accepted scholarly 
methods, this multi-disciplinary project intends to create a layered 
history of Rome by updating Forma Urbis Romae, the cartographic 
masterpiece of ancient Roman topography published in 1901 by 
archeologist Rodolfo Lanciani. This extremely accurate map measures 
25 by 17 ft and uses an innovative graphic system that represents 
Rome’s historic urban fabric as a series of transparent layers from 
ancient to modern. The map remains the standard archeological 
reference for Rome even though it does not incorporate archeological 
discoveries uncovered since its original publication 100 years ago. 
We plan to critically examine, update, and eventually republish the 
map as an interactive website that will also serve as a dynamic 
geo-database for scholars and others. Our project team will bring its 
considerable experience in Web-based design in the study of the 
humanities to ensure a highly intuitive product that is accessible, 
interactive, and expandable. 

 

The GIS Forma Urbis Romae Project is a long term, multi-disciplinary effort 
involving archeology, art and architectural history, urban studies, cartography, 
history, and geography. It proposes to explore important aspects of the 
humanities using digital methods that can facilitate our understanding of history 
and place. The subject of this inquiry is Rome, and the object of our 
investigation is the cartographic masterpiece and pioneering study of ancient 
Roman topography, Forma Urbis Romae (fig. 1). Published in 1901 by the Italian 
archeologist Rodolfo Lanciani (1847-1929), this map sums up the rich cartographic 
tradition to be found for Rome. Today it remains the standard archeological 
reference for the city even though it does not incorporate the host of 
archeological discoveries that have come to light since its original publication. 
This phase of our work is being funded by an American Council of Learned 
Societies Digital Innovation Fellowship for the academic year 2012-2013. 
 

http://journals.oregondigital.org/hsda/
http://creativecommons.org/licenses/by-nd/3.0/


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Fig. 1. Forma Urbis Romae, detail, Rodolfo Lanciani, 1901 

 

     We are critically examining, updating, and eventually republishing a new 
Forma Urbis Romae in the form of an interactive and dynamically evolving “geo-
database” that will document and represent the archeological foundations of the 
city and their subsequent manifestations in later epochs. In addition to an 
interactive digital product, our future plans contemplate print versions of the map 
through periodic releases, or a print-on-demand feature, to record important 
milestones in the ongoing investigation. Our goal for the Forma Urbis Romae 
Project is to create an accessible, robust geo-database that will preserve 
Lanciani’s map in digital form. As a dynamically evolving digital database it will 
at once permit scholars to access information and invite them to contribute 
archeological evidence as it is discovered so that the map will accurately update 
and represent current research. 

 



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Fig. 2. La Pianta Grande, detail of the Campus Martius, Giambattista 
Nolli, 1748 

Background Description 

Forma Urbis Romae was issued in installments from 1893 to 1901. The map 
not only records the ancient city of Rome but also extensive cartographic detail 
about subsequent historical epochs including Early Christian, Renaissance and 
Baroque, and Modern. With his map, Lanciani paints a moving portrait of three 
millennia of human history in the longest continuously inhabited city in the 
Western world. No other city has been recorded in this fashion either in method, 
scope or scale. The map is drawn at 1:1000 and consists of 46 plates each 
measuring 25 by 36 inches, which, when combined, yields overall dimensions of 
approximately 17 by 24 feet, the largest map of Rome produced since the 
Severan marble plan, Forma Urbis, was created in the early third century AD. 
That monumental plan, almost four times the size of Lanciani’s, served as an 
inspiration for his work; as evidence, the surviving fragments from it are duly 
drawn and incorporated into Lanciani’s own map. Lanciani derived his idea in 
part from an earlier archeologist, Luigi Canina (1795-1856), who published his 
maps, Pianta di Roma Antica, in successive editions from 1830 to 1850. Canina 
used a layered technique for linking ancient monuments to the nineteenth-century 
city of his day and so set the precedent for Lanciani’s legible and informative 
graphic method. Perhaps the most profound of all Lanciani’s cartographic 
precedents is the 1748 Pianta Grande di Roma by Giambattista Nolli (fig. 2). 
This map was the first accurate map of Rome and one of the most influential 
city maps ever created. Its unsurpassed, meticulous detail of the Baroque city 



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reveals important churches, palaces, and extant ancient monuments but also 
includes bridges, aqueducts, prisons, pawnshops, and even street drains (there 
are 1,320 sites identified in the index while an additional 700 names appear as 
text on the map proper, bringing the identified sites to well over 2,000). The 
Nolli map quite literally served as the base for Lanciani’s map, as one can 
clearly see its appearance as the distinctive red layer in the Forma Urbis 
Romae plates. 

     Before examining the significance of Lanciani’s work to our project, it is 
worth commenting upon his creative graphic technique especially since it bears 
directly upon our visualization methods. Being acutely aware of the stratified 
nature of Rome with its successive historical epochs, Lanciani captured this 
profound insight by devising the simple graphic measure of representing the city 
as a series of transparent layers, each one of which was color-coded for easy 
visual recognition (fig. 3). Taking advantage of late nineteenth-century innovations 
in lithography, his superimposed plans reveal a palimpsest with three distinct 
historical strata: Ancient and Early Christian (black), Renaissance and Baroque 
Rome (red), and Modern (light blue). This approach enables the observer to 
read, cumulatively as well as simultaneously, the temporal evolution of Rome.  

 

 
Fig. 3. Forma Urbis Romae, Plate 15, detail of the Campus Martius, 

Rodolfo Lanciani, 1901 



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Closer investigation shows how the layered method allows for complex 
historical and spatial relationships to become readily apparent. For example, in 
the Vatican the Lanciani map reveals how Nero’s Circus (the place of St. 
Peter’s martyrdom in the first century) served as a foundation for the fourth-
century basilica dedicated to that saint (in black) and how that structure in turn 
provided the armature for Renaissance and Baroque phases of construction of 
the basilica which culminated in the seventeenth-century architectural complex (in 
red).  

 

Significance of the Forma Urbis Romae Project 

     The Lanciani map is an important cartographic resource for several 
reasons. Conceptually, it provides a comprehensive historical framework of Rome 
showing spatial relationships horizontally (for places within a given time frame) 
and vertically (for specific places over time). Lanciani’s map was the first to 
provide a comprehensive plan of the ancient city that accurately represented its 
constituent elements in their correct spatial relationship and in relationship to one 
another within the limits of known archeological scholarship of his day. It was 
also the first map of Rome to demonstrate a comprehensive layered 
understanding of the city that revealed how places in Baroque and Modern 
Rome were actually shaped by the ancient structure of the city. This aspect of 
the map highlights the remarkable staying power of ancient structures that have 
influenced subsequent urban form. For example, Lanciani reveals how the 
configuration of Piazza Navona with its later Baroque embellishments closely 
follows the footprint of Domitian’s third-century stadium on whose foundations it 
was constructed. While this relationship is well known, his visual depiction of it 
clarifies one’s understanding and provides a vivid graphic analysis of the spatial 
evolution of these sites. 

Lanciani’s map was inclusive in its representation of building types and other 
features. A heterogeneous array of structures such as temples, basilicas, palaces, 
insulae (housing blocks), granaries, baths, sports complexes, and even ancient 
trash dumps are shown with remarkable attention to detail. The city’s 
infrastructure was given equal weight as the depiction of streets, water cisterns, 
aqueducts, bridges, and street drains testify. Taken as a whole, this 
comprehensive, layered representation of Rome is unsurpassed for the wealth of 
information it portrays and the incisive clarity it achieves. 

Over a century has passed since Lanciani published Forma Urbis Romae. To 
his credit it still remains the most important map of ancient Rome ever 
produced and is therefore still prized as a resource by scholars and historians. 
Details of the Lanciani map continue to be published in scholarly works to the 



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present day with all the errors and omissions of the original. Three subsequent 
reprints of the original map were published in 1990 and 2007 (by Quasar). 
None of these publications, however, update content. The continuing interest in 
Lanciani’s work and the desire to bring it up to date has inspired at least three 
failed attempts by scholars in the last half century. From our particular vantage 
point of rigorous spatial analysis and visualization, the most serious limitation of 
all these attempts (besides their incompleteness) is that they lack the graphic 
sophistication and immediacy that is the goal of the Forma Urbis Romae Project. 
These well-intentioned but ultimately less than satisfactory trials demonstrate the 
continuing interest in Lanciani’s work, its permanent scholarly value, and the 
demand for an updated, accessible, and dynamically evolving Forma Urbis 
Romae. 

 

Challenge and Current Status of the Project 

Besides lacking currency, the 1901 Lanciani map has limitations imposed by 
the medium in which it was realized: the printed book. The large plates can be 
cumbersome to handle. It is a trying experience to focus on a zone of the city 
if it includes multiple plates, separated as they are by distracting joints, or more 
difficult still, distanced by several pages in the bound version. Printing technology 
in the late nineteenth century limited Lanciani to three colors and thus the 
complexity of the city was somewhat arbitrarily reduced to the same number of 
temporal layers. Annotations were limited by space available so that textual notes 
did not obscure drawings (these are referenced to the remote seven-volume text 
that Lanciani published to accompany his map). Most problematically, Lanciani’s 
map is difficult to update, as we have noted above, and therefore unable to 
grow with the expanding body of knowledge that in principle it was dedicated to 
reveal. The fact that the 1901 version has not changed in 110 years is a 
testament to the inertia that may result when reliance is placed exclusively on 
print media.  Our project hopes to demonstrate that all these limitations can be 
overcome with the knowledgeable use of advanced digital media as it facilitates 
historical research. The Forma Urbis Romae Project’s cartographic interface allows 
for seamless display and intuitive navigation from the macro scale of the city to 
the micro scale of individual monuments and details. The numbers of layers 
employed are theoretically limitless. At the very least, the city’s stratification could 
encompass eight layers that would cover important epochs: Kingdom, Republic, 
Empire, Early Christian, Medieval, Renaissance and Baroque, Roma Capitale (the 
period that followed the city’s annexation to Italy) and Contemporary. In the 
electronic form under construction for the Forma Urbis Romae Project, it will also 
be possible to access textual information (such as the detailed excavation notes 



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mentioned above) unobtrusively and efficiently by a simple click of the mouse on 
a specific site. While the limitations of print media have made past attempts to 
update the map obsolete by the time they reached the printing presses, the 
digital database we envision invites constant updates in a naturally evolving 
format. 

Using state-of-the-art GIS technology we are critically examining, refining, and 
updating the Forma Urbis Romae. It is now possible to augment its content so 
as to incorporate the most current scholarship available. At the University of 
Oregon, we are uniquely poised to accomplish this ambitious task based on our 
track record that brought two other major spatial historical resources to the Web:  
“The Nolli Map Interactive Website” published in 2005, focusing on the 
cartography of eighteenth-century Rome, and our most recent “Imago Urbis: 
Giuseppe Vasi’s Rome” published in 2007. The latter effort culminated in a 
major traveling exhibition, Giusepe Vasi’s Rome:  Lasting Impressions from the 
Age of the Grand Tour. The show, curated by James Tice and James Harper 
with digital installations by Erik Steiner, Creative Director of the Spatial History 
Project, Stanford University, and Ken Kato of the InfoGraphics Lab, opened at 
the Jordan Schnitzer Museum of Art at the University of Oregon in 2010 and 
traveled to the Princeton University Art Museum in 2011.  

With the advent of innovative digital tools we have seen significant advances 
in the ability to manage, manipulate, and measure geographic data, and yet only 
minor advances in cartographic design have resulted. In essence, our approach 
exploits Lanciani’s representational methods to enhance our updated Forma Urbis 
Romae by taking advantage of current digital tools such as GIS, advances in 
Web technology, and contemporary satellite imaging resources such as Bing 
Maps (figure 4). 



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Fig. 4. Contemporary Map of Rome, detail of the Campus Martius, Bing Maps, 2012 

Our chief task involves rendering the graphic and attribute contents of 
Lanciani’s original map into a dynamic spatial database and doing so accurately, 
using state of the art GIS tools. Building on our assets of the historical and 
modern GIS layers of Rome, the ongoing geo-database will become a platform 
to examine spatio-temporal data from any epoch in Rome’s history. In addition to 
this database, we intend to develop a first iteration of an interactive website 
(using either Flash or Drupal) that will allow users to explore and query layer 
upon layer of the updated map. Our work takes advantage of the unique 
strengths of the technical team specializing in Web design, programming, and 
GIS, using the most current technology for managing geospatial data and 
presenting it on the Web. Not coincidentally, the project will be hosted at the 
University of Oregon, one of the leading geographic research infrastructures in 
the country. 

 We are in the process of assessing the accuracy and currency of 
Lanciani’s map. This is being accomplished using two processes. The first is 
scientific. It is now possible to geo-rectify (carefully align or “rubber sheet”) 
historic maps such as Lanciani’s using GIS software (ArcGIS). A preliminary has 
been accomplished so that the Forma Urbis can now be geo-referenced (cross-
referenced topographically) with contemporary satellite imaging and coordinated 
with other scientific surveying techniques in addition to the several dozen original 
cartographic layers of Rome in our collection.  

The second aspect of the work is to critically examine historical and 
archeological evidence uncovered since 1901. Relying on our own expertise and 
that of our expert consultants, this information is being geo-referenced into the 



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map. Using a rigorous system to control and verify data in order to correct and 
amplify Lanciani’s work, we are bringing it into correspondence with the most 
authoritative information available, a development we are sure that Lanciani 
himself would have approved. A substantial proof-of-concept has been completed. 
The following section details what we have accomplished to date.  

Work Accomplished 

The 46 plates from the original Forma Urbis Romae have been scanned at 
high resolution using the detailed 1:1000 scale original edition. These plates have 
then been digitally “stitched” together to form one large, seamless map, in effect 
creating a digital facsimile of the original plates composed as one unified 
document. As far as we are aware, our printing of that file in 2008 is the first 
time the map has appeared as a single sheet, albeit in much reduced form 
(approximately 42 by 60 inches). This preliminary task would have been much 
more difficult to achieve before sophisticated digital tools were available. This 
version of Lanciani’s map was first presented at the conference “Descriptio Urbis: 
Measuring and representing the modern and contemporary city” held in Rome in 
2008. The newly assembled Lanciani map provides us with a template that has 
become the basis for separating or “delaminating” the layers of the original map 
itself. Using our copyrighted Nolli map, the Medieval/Renaissance/Baroque “red 
layer” has been extracted as a vectorized (scalable) slice and then reinserted 
into the Lanciani master, thus providing a more dynamic and reliable base. 
Furthermore, we have geo-rectified (rubber sheeted) the Nolli layer with satellite 
imagery (Bing Maps is now state of the art for many cities, including Rome) as 
a separate layer, reaffirming that a high degree of congruence exists between 
the two. These updated layers provide an accurate, scientific base for the work 
that follows.  



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Fig. 5. University of Oregon Forma Urbis Romae, detail Campus Martius (with updates), 

2012 

 

      Beyond work on the map as a whole, we have chosen Plate 15, one 
of the 46 plates in the historic center, as a trial segment to explore how we 
might analyze, represent, and subsequently treat the remaining 45 plates in the 
future (fig. 5). We selected this plate because it is especially rich in Ancient, 
Medieval and Baroque monuments. This zone accurately encompasses well-
documented landmarks, such as the Pantheon, the Piazza Navona/Stadium of 
Domitian and the Alexandrian Baths, which can then act as a control for other 
plates. The same segment, however, also displays very noticeable inadequacies. 
For example, Lanciani incorrectly locates the Saepta Julia (an ancient voting 
precinct now established as being next to the Pantheon) over a hundred meters 
away along the Via del Corso. A host of archeological discoveries that have 
come to light since Lanciani’s publication do not, of course, appear.  

Using this circumscribed yet key map segment we have been able to 
examine the city, level by level. We have succeeded in “delaminating” the 
multiple layers that Lanciani identified:  Ancient, Early Christian (black); 
Medieval/Renaissance and Baroque (red) and Modern, in Lanciani’s day (blue). 
Additional layers will show changes since Lanciani’s time. It would not be difficult 
to create sub-layers for the major divisions. For example, we could focus on 
ancient Rome during the reign of Augustus (27 BC-14 AD) or, if we wished to 
switch from a temporal perspective to a topographic/typological mode, we could 
create a layer that simply focuses on the Roman street system from antiquity to 
the present. We have begun to scrutinize the results, testing the extent to which 



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the separated layers—now readily examined in their “pure form”—agree with 
scholarly research that has come to light since the original publication.  

The results of our trial example have been illuminating. After consulting 
contemporary scholarship by F. Coarelli (Roma [Guida Archeologica], 2005); L. 
Haselberger, (Mapping Augustan Rome, 2002); E. Steinby (Lexicon topographicum 
urbis Romae, 1993 – 2000) among others, we have corrected errors in 
placement and faulty reconstructions in the trial segment of Lanciani’s map. Our 
test case highlights these corrections and other additions so they become 
apparent to the viewer. These and many other potential amendments to the 
1901 map demonstrate that an updated, dynamic version of Forma Urbis Romae 
is an achievable goal. Another important aspect of the Forma Urbis Romae 
Project is the manner in which Lanciani’s cartographic image is linked to textual 
information. His seven-volume Storia degli Scavi (History of the Excavations) has 
been digitally linked, in part, from the Internet Archive (Getty Research Institute). 

As part of the re-mastered map, we have digitally prepared and geo-
referenced the following maps for a portion of the map:  the third-century 
Severan Marble Plan; the 1748 Nolli Map (completed); the 1901 Forma Urbis 
Romae (completed); SARA Nistri Photogrammetry from the 1950s; and the 
contemporary Bing Satellite Image (completed). We will construct new layers for 
the following: Ancient Rome, Early Christian Rome, Medieval, Renaissance and 
Baroque Rome, Modern Rome and twentieth-century Rome. Each new layer 
reflects current scholarship and also makes evident the errors and gaps in the 
original Lanciani map. In addition we have incorporated a portion of the Storia 
degli Scavi and linked it to the re-mastered Forma Urbis Romae.  

Geospatial Database Management and Visualization Design 

The Forma Urbis geo-database will build on our already robust GIS 
infrastructure developed over the last decade in collaboration with the 
InfoGraphics Lab at the University of Oregon. The lab’s facility and expertise in 
managing geospatial data for research and infrastructure projects has been an 
essential ingredient in the success of our prior work. The lab maintains an 
“always on” enterprise-level ESRI ArcSDE geodatabase and ArcGIS server to 
manage the University of Oregon Facilities Services Department GIS infrastructure 
for campus mapping, emergency management, and facilities maintenance. This 
server also houses and serves all of the geographic data for our previous digital 
projects treating the cartography of Rome, as well as several research projects 
at Stanford’s Spatial History Lab, ensuring a powerful collaborative infrastructure 
for academic research uncommonly found in academic settings. Data may be 
inputted simultaneously by multiple users from any location over a secure 
connection, and several levels of user rights management may be implemented 



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thus facilitating remote collaboration between the three venues of our work:  the 
University of Oregon, Stanford University and Studium Urbis (Rome).  

Our team is experienced in the area of cartographic and visualization design, 
particularly with the interactive Web-based maps. With such an emphasis placed 
by Lanciani on clear visual representation, we expect to match this standard of 
legibility and enhance it with interactive features such as animation, linking, and 
brushing (i.e., interactive filters, for example, by construction date). In concert 
with ArcGIS software we are using a suite of graphic design and programming 
tools to re-master the Lanciani map in its updated form (e.g. Adobe Illustrator, 
Photoshop, and Flash/Flex). While we plan on matching the visual accessibility of 
the original map, we will ensure its dynamic nature in the future by recording 
all elements in a vector database (rather than rasterized versions), which is 
scalable and versatile (fig. 6). 

 



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Fig. 6. Layers of History Diagram:  Modern Rome, Baroque Rome, and Ancient Rome 

(graphics by J. Tice) 

Web Development, Collaboration, and Institutional Support 

The final key area of expertise required to implement the Forma Urbis 
Romae Project will be in Web development. While our previous two projects 
continue to function adequately, Web technologies are fast developing to support 
more dynamic sites that are rapidly updated and implement re-configurable 
modules. In particular, we are contemplating the use of Drupal as an appealing 
open-source platform with which to develop the site. The Spatial History Project 
has recently completed a major Drupal-based site 
(http://spatialhistory.stanford.edu/cgi-bin/railroaded/) that includes a user-friendly back-
end content management system. The support for Drupal is strong at Stanford, 
and there is a large pool of developers with which we intend to consult. As we 
have for our previous work, we also anticipate continuing to use ActionScript and 
Adobe Flash, which is still the most ubiquitous, engaging, and robust Web 
platform for interactive and animated graphics. Finally, we intend to take 
advantage of the Web-mapping tools offered by ESRI built on top of ArcGIS 
Server (programmed in Flex, Silverlight or JavaScript). In addition to a variety of 
other sophisticated GIS analyses, these tools support basic viewing, querying, and 
live editing of geographic data. All our work will be in the public domain and 
freely accessible on the Web.  

The Forma Urbis Romae Project is a multi-disciplinary, collaborative project 
that brings together three individuals who represent the study of archeology, 
architectural history, architecture, geography and geographic information systems. 
The overarching interests that all team members have in common are those 
revolving around the spatial history of place over time and its visualization using 
digital media. The advantages of this collaboration are twofold: the benefit from 
individual expertise and also from the assets of collaborators’ home institutions. 
Professor Allan Ceen is director of Studium Urbis, a unique research institution 
in the heart of Rome. With its extensive archive of historic maps and library, it 
specializes in the urban history of Rome. Since its founding in 2000 the director 
has authored numerous articles and exhibitions that treat the rich legacy of 
Roman urbanism, architecture, and history. Erik Steiner is the creative director of 
the Spatial History Project at Stanford University and has led a number of multi-
disciplinary research projects that use GIS technology to explore the humanities 
and social sciences. James Tice, the principal investigator, is professor of 
Architecture at the University of Oregon. Along with those colleagues mentioned 
above, he produced the award-winning website, “The Interactive Nolli Map 
Website” in 2005 and more recently “Imago Urbis: Giuseppe Vasi’s Grand Tour 

http://spatialhistory.stanford.edu/cgi-bin/railroaded/


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of Rome” in 2007. The Nolli map website in particular has enjoyed success with 
scholars and students around the globe and has been featured in various 
venues including the Victor and Albert Museum in London and the Université du 
Québec in Montreal.  

It is intended that the Forma Urbis Romae Project will allow scholars from 
around the world to participate in updating and verifying topographic information 
about the city of Rome. Since digital media is rapidly becoming the lingua 
franca of contemporary cartography, this consortium of scholars, digital designers, 
and institutions will have a collective power beyond what any one individual 
could achieve. Colleagues at Stanford University, the University of Rome, Penn 
State University, and other institutions have endorsed our research to date. We 
believe we are now poised to consolidate our work and will be able to attract 
major funding from other sponsors. We also believe that the interdisciplinary 
nature of our work will foster connections among a variety of disciplines that will 
lead to fruitful curricular development and exchange.  

Works Consulted 

Ashby, T. The Aqueducts of Ancient Rome. Oxford: Clarendon Press. 1935. Print. 

Benevolo, L. L'Area Archeologica Centrale e la Città di Roma.  Roma: De Luca 

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Carettoni, G. La Pianta Marmorea Di Roma Antica. 2 vols. Roma: Ripartizione 

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Carandini, A. Atlante di Roma antica. 2 vols. Roma.  2012. Print. 

Castagnoli, F. Roma Antica: profilo urbanistico.   Roma: Jouvence. 1978. Print. 

Coarelli, F.  Roma [Guida Archeologica], Roma. 2005. Print. 

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Print. 



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Gatti, G.  Archeologia. Roma. 1911. Print. 

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Arti. 1964. Print. 

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---. Storia degli Scavi, vols.1-4. Roma: Quasar. 1902-1912. Print. 

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Manacorda, D.  Crypta Balbi. Milano: Electa. 2001. Print. 

Marigliani, C., ed.  Le Piante di Roma delle collezioni private. Roma: Provincia 

di Roma. 2007. Print. 



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Nash, E. Pictorial Dictionary of Ancient Rome.   London: Thames & Hudson. 

1968. Print. 

Richardson, L. A New Topographical Dictionary of Ancient Rome.  Baltimore: 

Johns Hopkins University Press. 1992. Print. 

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Valentini, R. and G. Zucchetti. Codice Topografico della città di Roma.  Roma: 

Tipografia del Senato. 1940-1953. Print. 

Web Site Bibliography 

Frischer. B., ed. “Rome Reborn.” University of Virginia.  2010. Web. 

<http://www.romereborn.virginia.edu/>. 

Rinne, K., ed. “Aquae Urbis Romae: The Waters of Rome.” University of Virginia. 

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“Stanford Digital Forma Urbis Romae Project.” Stanford University. 2002-2003. 

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Tice, J., E. Steiner and A. Ceen. “The Interactive Nolli Map of Rome Website.” 

University of Oregon. 2005. Web. <http://nolli.uoregon.edu/>. 

 


