in plates of marble which survives inside Borsa building. Design Overall, the temple was presumed to have been octastyle, elevated on a typical Roman high podium, peripteral in style and likely approached by stairs covering the eastern end with a deep pronaos of three bays. During Hadrian's reign, the peripteral style of temple came briefly back into fashion at Rome, and was also used in the Temple of Venus and Roma. Also like the Temple of Venus and Roma, the Temple of Hadrian consists of a two-stepped architrave and cornice profile that is supported by plain consoles instead of modillions, a sima with a similar arrangement of palmettes and lions' heads (argued by Frank Sear to have been the work of the same architects), but a frieze which is pulvinated so not exactly the same structural design that we see in the Temple of Venus and Roma. An anonymous drawing alongside some fragmentary remains from the site indicate that the architrave was worked with garlands hung in swags and the frieze consisted of serpentine design of acanthus candelabra between reversing S-spirals. Inside the bank the remains of the non-apsidal naos can be seen, once covered by a barrel vault supported on columns between which were battle-trophies. The base of the columns had reliefs of personifications of the provinces of the empire (some of which are now in the National Roman Museum and Capitoline Museums), demonstrating Hadrian's less warlike policy than his predecessor Trajan. As one of Antoninus Pius' earlier building projects undertaken, the Temple of Hadrian resembles other design features we see with late Hadrianic architecture, such as the rejection of the orthodox Corinthian Order and notable stylistic transitions such as Asiatic illustrating Pergamene influence with rich ornamentation and other more eclectic features. Moreover, it has been argued given the remains and earlier renditions of the temple that nearly every surface was decorated, whether with intricate Asiatic designs, or engaged orders and pilasters surrounding the interior of the cella. The temple also had a large square arcade surrounded by columns in giallo antico and which opened onto the Via Lata (now the Via del Corso) through a triumphal arch. This arch has been identified as the one called the "arch of Antoninus" in later sources, but has also been called the "arch of Claudius" and the "arch of the Tosetti", from the name of the family that inhabited Piazza Sciarra