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Under the Flavian dynasty the Urbs underwent another radical transformation, itself the outcome of new religious and Imperial ideals which found expression in new architectural forms and strongly affected the plastic arts. "The age of the Flavians," as Rivoira points out, "has characteristics of its own, and stands out by the imposing scale of its buildings, which also show notable innovations both in plan and structure," but there was no real break with tradition. Changes were gradual and the reversal of Nero's building policy after his death was not as sudden as is generally represented. In the tragic year of the Four Emperors, Otho endeavored to finish the Golden House. This may seem natural, as Otho was a friend of Nero, but Titus, according to his contemporary and panegyrist the elder Pliny, continued to occupy some part of the Domus. Moreover, the Flavian building schemes were largely inspired by the same religious considerations as those of Augustus, and, like Augustus, Vespasian began by restoring so many temples that he was given the title of Restitutor Aedium Sacrarum. Out of deference to Augustus he shifted the Imperial residence back to the Palatine.

At the same time the new Imperial Palace planned there by Vespasian and finished by his son Domitian recalls Nero rather than Augustus, for though of smaller dimensions than the Golden House, it can hardly have been inferior to it in splendor, the Flavians wishing to make the Imperial residences on the Palatine a dominating feature of the Urbs. Vespasian further erected for himself a sumptuous residence within the Sallustian Gardens, but in order to effect a favorable contrast with the seclusion of the Golden House, he professed a desire that both park and palace should be thrown open to the public. This was a return to the public-spirited building policy of Agrippa and other benefactors in the Augustan principate. Vespasian was ably seconded by his two sons, Titus and Domitian, besides which he must have employed many architects, amongst whom the master-mind was presumably Rabirius, known from Martial as the architect of the Imperial residence on the Palatine.

To please the people, Vespasian decided on erecting the Flavian Amphitheatre or Colosseum on the site of one of Nero's artificial lakes. This, one of the earliest of the Flavian buildings, was begun by Vespasian and inaugurated by Titus in A.D. 80. Though repeatedly plundered in modern times to provide the building material for Roman palaces, it still produces an impression of unimpaired majesty. The imposing mass was supported on a great platform below which, sunk deep into the soil, was a network of subterranean chambers. The great oval or ellipse has a circumference of 527 metres, it measures 188 metres along its main axis, 156 metres along the shorter; the enclosing walls rise to a height of 48.50 metres. The beauty of the structure can best be appreciated on the north side, which stands practically intact to its full height. The arches of the three arcaded storeys are flanked - as in the Theatre of Marcellus - by Tuscan columns on the lower tier, by Ionic on the central, and by Corinthian on the upper. . .

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