The Forma Urbis Romae or Severan Marble Plan is a massive marble map of ancient Rome, created under the emperor Septimius Severus between 203 and 211. Matteo Cadario gives specific years of 205–208, noting that the map was based on property records. It originally measured 18 m (60 ft) wide by 13 m (45 ft) high and was carved into 150 Proconnesian marble slabs mounted on an interior wall of the Temple of Peace. Created at a scale of approximately 1 to 240 (Cadario states 1:260 to 1:270), the map was detailed enough to show the floor plans of nearly every temple, bath, and insula in the central Roman city. The boundaries of the plan were decided based on the available space on the marble, instead of by geographical or political borders as modern maps usually are. The map was oriented with south at the top. On the map are names and plans of public buildings, streets, and private homes. The creators used signs and details like columns and staircases. The Plan was gradually destroyed during the Middle Ages, with the marble stones being used as building materials or for making lime. In 1562, the young antiquarian sculptor Giovanni Antonio Dosio excavated fragments of the Forma Urbis from a site near the Church of SS. Cosma e Damiano, under the direction of the humanist condottiere Torquato Conti, who had purchased excavation rights from the canons of the church. Conti made a gift of the recovered fragments to Cardinal Alessandro Farnese, who entrusted them to his librarian Onofrio Panvinio and his antiquarian Fulvio Orsini. Little interest seems to have been elicited by the marble shards. In all about 10% of the original surface area of the plan has since been recovered in the form of over one thousand marble fragments. Part of the excavated plan showed a portion of the Forum of Augustus, interpreted as "a working drawing or as a proof of the existence of a more ancient Forma Urbis." Projects Piecing together the surviving fragments of the plan is an activity that has engrossed scholars for centuries. Renaissance scholars managed to match and identify around 250 of the pieces, usually by recognizing famous landmarks such as the Colosseum and the Circus Maximus. In the second half of the 20th century, thanks to the works and publications of Guglielmo Gatti, Lucos Cozza, and Emilio Rodríguez Almeida, several fragments of the