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Hare + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org/license + + +Title: Walks in Rome + +Author: Augustus J.C. Hare + +Release Date: March 29, 2012 [EBook #39308] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK WALKS IN ROME *** + + + + +Produced by Chuck Greif and the Online Distributed +Proofreading Team at http://www.pgdp.net (This book was +produced from scanned images of public domain material +from the Google Print project.) + + + + + + +</pre> + +<hr class="full" /> + +<h1><a name="vol_1_page_001" id="vol_1_page_001"></a></h1> + +<p><a name="VOLUME_I" id="VOLUME_I"></a></p> + +<p class="c">WALKS IN ROME<br /><br /> +<small>TWO VOLS.</small></p> + +<table border="3" cellpadding="4" cellspacing="0" summary=""> +<tr><td align="center"> +<a href="#VOLUME_I"><b>Volume I.</b></a><br /> +<a href="#CONTENTS-VOL-I"><b>Contents Volume I.</b></a><br /> +<a href="#VOLUME_II"><b>Volume II.</b></a><br /> +<a href="#CONTENTS-VOL-II"><b>Contents Volume II.</b></a><br /> +<a href="#INDEX"><b>Index.</b></a></td></tr> +</table> + +<p><a name="vol_1_page_002" id="vol_1_page_002"></a></p> + +<p><a name="vol_1_page_003" id="vol_1_page_003"></a></p> + +<h1>WALKS IN ROME</h1> + +<p class="cb">B<small>Y</small> AUGUSTUS J. C. HARE<br /> +<small>AUTHOR OF "MEMORIALS OF A QUIET LIFE," "WANDERINGS IN SPAIN," ETC.</small><br /> +<br /><br /><br /><br /> +TWO VOLUMES.—I.<br /> +<br /><br /><br /> +<i>FIFTH EDITION</i><br /> +<br /><br /><br /> +LONDON<br /> +DALDY, ISBISTER & CO.<br /> +56, LUDGATE HILL<br /> +<small>1875</small><br /> +<br /> +<small>[<i>All rights reserved</i>]</small><br /> +</p> + +<p><a name="vol_1_page_004" id="vol_1_page_004"></a></p> + +<p> </p> +<p> </p> + +<p class="c"><small>JO<span class="ov">HN CHILDS AND SON, PRINTE</span>RS.</small></p> +<p><a name="vol_1_page_005" id="vol_1_page_005"></a></p> + +<p> </p> +<p> </p> + +<p class="c"> +TO<br /> +HIS DEAR MOTHER<br /><br /> +<small>THE CONSTANT COMPANION OF MANY ROMAN WINTERS</small><br /><br /> +<span class="eng">These pages are Dedicated</span><br /> +<br /> +<span style="margin-left: 30%;">BY THE AUTHOR.</span></p> + +<p> </p> +<p> </p> + +<p class="figcenter"> +<a href="images/ill_rome_vol_2_a-lg.png"> +<img src="images/ill_rome_vol_2_a-sml.png" width="345" height="550" alt="ROME. +Showing the more important streets and buildings." title="ROME. +Showing the more important streets and buildings." /></a> + +<a href="images/ill_rome_vol_2_b-lg.png"> +<img src="images/ill_rome_vol_2_b-sml.png" width="362" height="550" alt="ROME. + +Showing the more important streets and buildings." title="ROME. +Showing the more important streets and buildings." /></a></p> + +<p><a name="vol_1_page_006" id="vol_1_page_006"></a></p> + +<p><a name="vol_1_page_007" id="vol_1_page_007"></a></p> + +<h2><a name="CONTENTS-VOL-I" id="CONTENTS-VOL-I"></a>CONTENTS VOLUME I.</h2> + +<table border="0" cellpadding="8" cellspacing="0" summary=""> + +<tr><td colspan="2" align="center"><a href="#INTRODUCTORY">INTRODUCTORY.</a></td></tr> + +<tr><td colspan="2" align="right"><small>PAGE</small></td></tr> + +<tr><td>THE ARRIVAL IN ROME</td><td align="right" valign="bottom"><a href="#vol_1_page_009">9</a></td></tr> + +<tr><td colspan="2" align="center"><a href="#CHAPTER_I">CHAPTER I.</a></td></tr> + +<tr><td>DULL-USEFUL INFORMATION</td><td align="right" valign="bottom"><a href="#vol_1_page_027">27</a></td></tr> + +<tr><td colspan="2" align="center"><a href="#CHAPTER_II">CHAPTER II.</a></td></tr> + +<tr><td>THE CORSO AND ITS NEIGHBOURHOOD</td><td align="right" valign="bottom"><a href="#vol_1_page_036">36</a></td></tr> + +<tr><td colspan="2" align="center"><a href="#CHAPTER_III">CHAPTER III.</a></td></tr> + +<tr><td>THE CAPITOLINE</td><td align="right" valign="bottom"><a href="#vol_1_page_109">109</a></td></tr> + +<tr><td colspan="2" align="center"><a href="#CHAPTER_IV">CHAPTER IV.</a></td></tr> + +<tr><td>THE FORUMS AND THE COLISEUM</td><td align="right" valign="bottom"><a href="#vol_1_page_159">159</a></td></tr> + +<tr><td colspan="2" align="center"><a href="#CHAPTER_V">CHAPTER V.</a></td></tr> + +<tr><td>THE VELABRUM AND THE GHETTO</td><td align="right" valign="bottom"><a href="#vol_1_page_221">221</a></td></tr> + +<tr><td colspan="2" align="center"><a href="#CHAPTER_VI">CHAPTER VI.</a></td></tr> + +<tr><td>THE PALATINE</td><td align="right" valign="bottom"><a href="#vol_1_page_273">273</a><a name="vol_1_page_008" id="vol_1_page_008"></a></td></tr> + +<tr><td colspan="2" align="center"><a href="#CHAPTER_VII">CHAPTER VII.</a></td></tr> + +<tr><td>THE CŒLIAN</td><td align="right" valign="bottom"><a href="#vol_1_page_316">316</a></td></tr> + +<tr><td colspan="2" align="center"><a href="#CHAPTER_VIII">CHAPTER VIII.</a></td></tr> + +<tr><td>THE AVENTINE</td><td align="right" valign="bottom"><a href="#vol_1_page_348">348</a></td></tr> + +<tr><td colspan="2" align="center"><a href="#CHAPTER_IX">CHAPTER IX.</a></td></tr> + +<tr><td>THE VIA APPIA</td><td align="right" valign="bottom"><a href="#vol_1_page_372">372</a></td></tr> + +<tr><td colspan="2" align="center"><a href="#CHAPTER_X">CHAPTER X.</a></td></tr> + +<tr><td>THE QUIRINAL AND VIMINAL</td><td align="right" valign="bottom"><a href="#vol_1_page_433">433</a></td></tr> +</table> +<p><a name="vol_1_page_009" id="vol_1_page_009"></a></p> + +<h2><a name="INTRODUCTORY" id="INTRODUCTORY"></a>INTRODUCTORY.<br /><br /> +THE ARRIVAL IN ROME.</h2> + +<p class="nind"><span class="letra">"A</span>GAIN this date of Rome; the most solemn and interesting that my hand +can ever write, and even now more interesting than when I saw it last," +wrote Dr. Arnold to his wife in 1840—and how many thousands before and +since have experienced the same feeling, who have looked forward to a +visit to Rome as one of the great events of their lives, as the +realization of the dreams and longings of many years.</p> + +<p>An arrival in Rome is very different to that in any other town of +Europe. It is coming to a place new and yet most familiar, strange and +yet so well known. When travellers arrive at Verona, for instance, or at +Arles, they generally go to the amphitheatres with a curiosity to know +what they are like; but when they arrive at Rome and go to the Coliseum, +it is to visit an object whose appearance has been familiar to them from +childhood, and, long ere it is reached, from the heights of the distant +Capitol, they can recognize the well-known form;—and as regards St. +Peter's, who is not familiar with the aspect of the dome, of the +wide-spreading piazza, and the foaming fountains, for long years before +they come to gaze upon the reality?<a name="vol_1_page_010" id="vol_1_page_010"></a></p> + +<p>"My presentiment of the emotions with which I should behold the Roman +ruins, has proved quite correct," wrote Niebuhr. "Nothing about them is +new to me; as a child I lay so often, for hours together, before their +pictures, that their images were, even at that early age, as distinctly +impressed upon my mind, as if I had actually seen them."</p> + +<p>Yet, in spite of the presence of old friends and landmarks, travellers +who pay a hurried visit to Rome, are bewildered by the vast mass of +interest before them, by the endless labyrinth of minor objects, which +they desire, or, still oftener, feel it a duty, to visit. Their Murray, +their Baedeker, and their Bradshaw indicate appalling lists of churches, +temples, and villas which ought to be seen, but do not distribute them +in a manner which will render their inspection more easy. The promised +pleasure seems rapidly to change into an endless vista of labour to be +fulfilled and of fatigue to be gone through; henceforward the hours +spent at Rome are rather hours of endurance than of pleasure—his +<i>cicerone</i> drags the traveller in one direction,—his antiquarian +friend, his artistic acquaintance, would fain drag him in others,—he is +confused by accumulated misty glimmerings from historical facts once +learnt at school, but long since forgotten,—of artistic information, +which he feels that he ought to have gleaned from years of society, but +which, from want of use, has never made any depth of impression,—by +shadowy ideas as to the story of this king and that emperor, of this +pope and that saint, which, from insufficient time, and the absence of +books of reference, he has no opportunity of clearing up. It is +therefore in the hope of aiding some of these bewildered ones, and of +rendering their walks in<a name="vol_1_page_011" id="vol_1_page_011"></a> Rome more easy and more interesting, that the +following chapters are written. They aim at nothing original, and are +only a gathering up of the information of others, and a gleaning from +what has been already given to the world in a far better and fuller, but +less portable form; while, in their plan, they attempt to guide the +traveller in his daily wanderings through the city and its suburbs.</p> + +<p>It must not, however, be supposed, that one short residence at Rome will +be sufficient to make a foreigner acquainted with all its varied +treasures; or even, in most cases, that its attractions will become +apparent to the passing stranger. The squalid appearance of its modern +streets, the filth of its beggars, the inconveniences of its daily life, +will leave an impression which will go far to neutralize the effect of +its ancient buildings, and the grandeur of its historic recollections. +It is only by returning again and again, by allowing the <i>feeling</i> of +Rome to gain upon you, when you have constantly revisited the same view, +the same temple, the same picture, that Rome engraves itself upon your +heart, and changes from a disagreeable, unwholesome acquaintance, into a +dear and intimate friend, seldom long absent from your thoughts. +"Whoever," said Chateaubriand, "has nothing else left in life, should +come to live in Rome; there he will find for society a land which will +nourish his reflections, walks which will always tell him something new. +The stone which crumbles under his feet will speak to him, and even the +dust which the wind raises under his footsteps will seem to bear with it +something of human grandeur."</p> + +<p>"When we have once known Rome," wrote Hawthorne, "and left her where she +lies, like a long-decaying corpse,<a name="vol_1_page_012" id="vol_1_page_012"></a> retaining a trace of the noble shape +it was, but with accumulated dust and a fungous growth overspreading all +its more admirable features—left her in utter weariness, no doubt, of +her narrow, crooked, intricate streets, so uncomfortably paved with +little squares of lava that to tread over them is a penitential +pilgrimage; so indescribably ugly, moreover, so cold, so alley-like, +into which the sun never falls, and where a chill wind forces its deadly +breath into our lungs—left her, tired of the sight of those immense +seven-storied, yellow-washed hovels, or call them palaces, where all +that is dreary in domestic life seems magnified and multiplied, and +weary of climbing those staircases which ascend from a ground-floor of +cook-shops, cobblers'-stalls, stables, and regiments of cavalry, to a +middle region of princes, cardinals, and ambassadors, and an upper tier +of artists, just beneath the unattainable sky,—left her, worn out with +shivering at the cheerless and smoky fireside by day, and feasting with +our own substance the ravenous population of a Roman bed at night, left +her sick at heart of Italian trickery, which has uprooted whatever faith +in man's integrity had endured till now, and sick at stomach of sour +bread, sour wine, rancid butter, and bad cookery, needlessly bestowed on +evil meats,—left her, disgusted with the pretence of holiness and the +reality of nastiness, each equally omnipresent,—left her, half lifeless +from the languid atmosphere, the vital principle of which has been used +up long ago or corrupted by myriads of slaughters,—left her, crushed +down in spirit by the desolation of her ruin, and the hopelessness of +her future,—left her, in short, hating her with all our might, and +adding our individual curse to the infinite anathema which her old<a name="vol_1_page_013" id="vol_1_page_013"></a> +crimes have unmistakeably brought down:—when we have left Rome in such +mood as this, we are astonished by the discovery, by-and-by, that our +heartstrings have mysteriously attached themselves to the Eternal City, +and are drawing us thitherward again, as if it were more familiar, more +intimately our home, than even the spot where we were born."</p> + +<p>This is the attractive and sympathetic power of Rome which Byron so +fully appreciated—</p> + +<div class="poem"><div class="stanza"> +<span class="i2">"Oh Rome my country! city of the soul!<br /></span> +<span class="i2">The orphans of the heart must turn to thee,<br /></span> +<span class="i2">Lone mother of dead empires! and controul<br /></span> +<span class="i2">In their shut breasts their petty misery.<br /></span> +<span class="i2">What are our woes and sufferance? Come and see<br /></span> +<span class="i2">The cypress, hear the owl, and plod your way<br /></span> +<span class="i2">O'er steps of broken thrones and temples. Ye!<br /></span> +<span class="i2">Whose agonies are evils of a day—<br /></span> +<span class="i0">A world is at our feet as fragile as our clay.<br /></span> +</div><div class="stanza"> +<span class="i2">"The Niobe of nations! there she stands<br /></span> +<span class="i2">Childless and crownless, in her voiceless woe;<br /></span> +<span class="i2">An empty urn within her withered hands,<br /></span> +<span class="i2">Whose sacred dust was scattered long ago;<br /></span> +<span class="i2">The Scipios' tomb contains no ashes now;<br /></span> +<span class="i2">The very sepulchres lie tenantless<br /></span> +<span class="i2">Of their heroic dwellers: dost thou flow,<br /></span> +<span class="i2">Old Tiber! through a marble wilderness?<br /></span> +<span class="i0">Rise, with thy yellow waves, and mantle her distress!"<br /></span> +</div></div> + +<p>The impressiveness of an arrival at the Eternal City was formerly +enhanced by the solemn singularity of the country through which it was +slowly approached. "Those who arrive at Rome now by the railway," says +Mrs. Craven in her 'Anne Severin,' "and rush like a whirlwind into a +station, which has nothing in its first aspect to distinguish it from +that of<a name="vol_1_page_014" id="vol_1_page_014"></a> one of the most obscure places in the world, cannot imagine the +effect which the words 'Ecco Roma' formerly produced, when on arriving +at the point in the road from which the Eternal City could be descried +for the first time, the postillion stopped his horses, and pointing it +out to the traveller in the distance, pronounced them with that Roman +accent which is grave and sonorous, as the name of Rome itself."</p> + +<p>"How pleasing," says Cardinal Wiseman, "was the usual indication to +early travellers, by voice and outstretched whip, embodied in the +well-known exclamation of every vetturino, 'Ecco Roma.' To one 'lasso +maris et viarum,' like Horace, these words brought the first promise of +approaching rest. A few more miles of weary hills, every one of which, +from its summit, gave a more swelling and majestic outline to what so +far constituted 'Roma,' that is, the great cupola, not of the church, +but of the city, its only discernible part, cutting, like a huge peak, +into the dear winter sky, and the long journey was ended, and ended by +the full realization of well-cherished hopes."</p> + +<p>Most travellers, perhaps, in the old days came by sea from Marseilles +and arrived from Civita Vecchia, by the dreary road which leads through +Palo, and near the base of the hills upon which stands Cervetri, the +ancient Cære, from the junction of whose name and customs the word +"ceremony" has arisen,—so especially useful in the great neighbouring +city. "This road from Civita Vecchia," writes Miss Edwards, the talented +authoress of 'Barbara's History,' "lies among shapeless hillocks, shaggy +with bush and briar. Far away on one side gleams a line of soft blue +sea—on the other lie mountains as blue, but not more<a name="vol_1_page_015" id="vol_1_page_015"></a> distant. Not a +sound stirs the stagnant air. Not a tree, not a housetop, breaks the +wide monotony. The dust lies beneath the wheels like a carpet, and +follows like a cloud. The grass is yellow, the weeds are parched; and +where there have been wayside pools, the ground is cracked and dry. Now +we pass a crumbling fragment of something that may have been a tomb or +temple, centuries ago. Now we come upon a little wide-eyed peasant boy, +keeping goats among the ruins, like Giotto of old. Presently a buffalo +lifts his black mane above the neighbouring hillock, and rushes away +before we can do more than point to the spot on which we saw it. Thus +the day attains its noon, and the sun hangs overhead like a brazen +shield, brilliant, but cold. Thus, too, we reach the brow of a long and +steep ascent, where our driver pulls up to rest his weary beasts. The +sea has now faded almost out of sight; the mountains look larger and +nearer, with streaks of snow upon their summits, the Campagna reaches on +and on and shows no sign of limit or of verdure,—while, in the midst of +the clear air, half way, so it would seem, between you and the purple +Sabine range, rises one solemn solitary dome. Can it be the dome of St. +Peter's?"</p> + +<p>The great feature of the Civita Vecchia route was that after all the +utter desolation and dreariness of many miles of the least interesting +part of the Campagna, the traveller was almost stunned by the +transition, when on suddenly passing the Porta Cavalleggieri, he found +himself in the Piazza, of St. Peter's, with its wide-spreading +colonnades, and high-springing fountains; indeed the first building he +saw was St. Peter's, the first house that of the Pope, the palace of the +Vatican. But the more gradual approach by<a name="vol_1_page_016" id="vol_1_page_016"></a> land from Viterbo and Tuscany +possessed equal if not superior interest.</p> + +<p>"When we turned the summit above Viterbo," wrote Dr. Arnold, "and opened +on the view on the other side, it might be called the first approach to +Rome. At the distance of more than forty miles, it was of course +impossible to see the town, and besides the distance was hazy; but we +were looking on the scene of the Roman history; we were standing on the +outward edge of the frame of the great picture, and though the features +of it were not to be traced distinctly, yet we had the consciousness +that they were before us. Here, too, we first saw the Mediterranean, the +Alban hills, I think, in the remote distance, and just beneath us, on +the left, Soracte, an outlier of the Apennines, which has got to the +right bank of the Tiber, and stands out by itself most magnificently. +Close under us in front, was the Ciminian lake, the crater of an extinct +volcano, surrounded as they all are, with their basin of wooded hills, +and lying like a beautiful mirror stretched out before us. Then there +was the grand beauty of Italian scenery, the depth of the valleys, the +endless variety of the mountain outline, and the towns perched upon the +mountain summits, and this now seen under a mottled sky, which threw an +ever-varying light and shadow over the valley beneath, and all the +freshness of the young spring. We descended along one of the rims of +this lake to Ronciglione, and from thence, still descending on the +whole, to Monterosi. Here the famous Campagna begins, and it certainly +is one of the most striking tracts of country I ever beheld. It is by no +means a perfect flat, except between Rome and the sea; but rather like +the Bagshot Heath<a name="vol_1_page_017" id="vol_1_page_017"></a> country, ridges of hills with intermediate valleys, +and the road often running between high steep banks, and sometimes +crossing sluggish streams sunk in a deep bed. All these banks are +overgrown with broom, now in full flower; and the same plant was +luxuriant everywhere. There seemed no apparent reason why the country +should be so desolate; the grass was growing richly everywhere. There +was no marsh anywhere visible, but all looked as fresh and healthy as +any of our chalk downs in England. But it is a wide wilderness; no +villages, scarcely any houses, and here and there a lonely ruin of a +single square tower, which I suppose used to serve as strongholds for +men and cattle in the plundering warfare in the middle ages. It was +after crowning the top of one of these lines of hills, a little on the +Roman side of Baccano, at five minutes after six, according to my watch, +that we had the first view of Rome itself. I expected to see St. Peter's +rising above the line of the horizon, as York Minster does, but instead +of that, it was within the horizon, and so was much less conspicuous, +and from the nature of the ground, it looked mean and stumpy. Nothing +else marked the site of the city, but the trees of the gardens and a +number of white villas specking the opposite bank of the Tiber for some +little distance above the town, and then suddenly ceasing. But the whole +scene that burst upon our view, when taken in all its parts, was most +interesting. Full in front rose the Alban hills, the white villas on +their sides distinctly visible, even at that distance, which was more +than thirty miles. On the left were the Apennines, and Tivoli was +distinctly to be seen on the summit of its mountain, on one of the +lowest and nearest parts of the chain. On the right and all before us<a name="vol_1_page_018" id="vol_1_page_018"></a> +lay the Campagna, whose perfectly level outline was succeeded by that of +the sea, which was scarcely more so. It began now to get dark, and as +there is hardly any twilight, it was dark soon after we left La Storta, +the last post before you enter Rome. The air blew fresh and cool, and we +had a pleasant drive over the remaining part of the Campagna, till we +descended into the valley of the Tiber, and crossed it by the Milvian +bridge. About two miles further on we reached the walls of Rome, and +entered it by the Porta del Popolo."</p> + +<p>Niebuhr coming the same way says:—"It was with solemn feelings that +this morning from the barren heights of the moory Campagna, I first +caught sight of the cupola of St. Peter's, and then of the city from the +bridge, where all the majesty of her buildings and her history seems to +lie spread out before the eye of the stranger; and afterwards entered by +the Porta del Popolo."</p> + +<p>Madame de Staël gives us the impression which the same subject would +produce on a different type of character:—</p> + +<p>"Le comte d'Erfeuil faisait de comiques lamentations sur les environs de +Rome. Quoi, disait-il, point de maison de campagne, point de voiture, +rien qui annonce le voisinage d'une grande ville! Ah! bon Dieu, quelle +tristesse! En approchant de Rome, les postillons s'écrièrent avec +transport: <i>Voyez, voyez, c'est la coupole de Saint-Pierre!</i> Les +Napolitains montrent aussi le Vésuve; et la mer fait de même l'orgueil +des habitans des côtes. On croirait voir le dôme des Invalides, s'écria +le comte d'Erfeuil."</p> + +<p>It was by this approach that most of its distinguished pilgrims have +entered the capital of the Catholic world:<a name="vol_1_page_019" id="vol_1_page_019"></a> monks, who came hither to +obtain the foundation of their Orders; saints, who thirsted to worship +at the shrines of their predecessors, or who came to receive the crown +of martyrdom; priests and bishops from distant lands,—many coming in +turn to receive here the highest dignity which Christendom could offer; +kings and emperors, to ask coronation at the hands of the reigning +pontiff; and among all these, came by this road, in the full fervour of +Catholic enthusiasm, Martin Luther, the future enemy of Rome, then its +devoted adherent. "When Luther came to Rome," says Ampère, in his +'Portraits de Rome à Divers Ages,' "the future reformer was a young +monk, obscure and fervent; he had no presentiment, when he set foot in +the great Babylon, that ten years later he would burn the bull of the +Pope in the public square of Wittenberg. His heart experienced nothing +but pious emotions; he addressed to Rome in salutation the ancient hymn +of the pilgrims; he cried, 'I salute thee, O holy Rome, Rome venerable +through the blood and the tombs of the martyrs.' But after having +prostrated on the threshold, he raised himself, he entered into the +temple, he did not find the God he looked for; the city of the saints +and martyrs was a city of murderers and prostitutes. The arts which +marked this corruption were powerless over the stolid senses, and +scandalised the austere spirit of the German monk; he scarcely gave a +passing glance at the ruins of pagan Rome;—and inwardly horrified by +all that he saw, he quitted Rome in a frame of mind very different from +that which he brought with him; he knelt then with the devotion of the +pilgrims, now he returned in a disposition like that of the <i>frondeurs</i> +of the Middle Ages, but more serious than theirs. This Rome of<a name="vol_1_page_020" id="vol_1_page_020"></a> which he +had been the dupe, and concerning which he was disabused, should hear of +him again; the day would come when, amid the merry toasts at his table, +he would cry three times, 'I would not have missed going to Rome for a +thousand florins, for I should always have been uneasy lest I should +have been rendering injustice to the Pope.'"</p> + +<p>When one is in Rome life seems to be free from many of the petty +troubles which beset it in other places; there is no foreign town which +offers so many comforts and advantages to its English visitors. The +hotels, indeed, are enormously expensive, and the rent of apartments is +high; but when the latter is once paid, living is rather cheap than +otherwise, especially for those who do not object to dine from a +<i>trattoria</i>, and to drive in hackney carriages.</p> + +<p>The climate of Rome is very variable. If the <i>sirocco</i> blows, it is mild +and very relaxing; but the winters are more apt to be subject to the +severe cold of the <i>tramontana</i>, which requires even greater precaution +and care than that of an English winter. Nothing can be more mistaken +than the impression that those who go to Italy are sure to find there a +mild and congenial temperature. The climate of Rome has been subject to +severity, even from the earliest times of its history. Dionysius speaks +of one year in the time of the republic when the snow at Rome lay seven +feet deep, and many men and cattle died of the cold.<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> Another year, +the snow lay for forty days, trees perished, and cattle died of +hunger.<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a> Present times are a great improvement on these: snow seldom +lies upon the ground for many hours together, and the beautiful +fountains of the city are only hung with icicles long enough to allow +the photographers to<a name="vol_1_page_021" id="vol_1_page_021"></a> represent them thus; but still the climate is not +to be trifled with, and violent transitions from the hot sunshine to the +cold shade of the streets often prove fatal. "No one but dogs and +Englishmen," say the Romans, "ever walk in the sun."</p> + +<p>The <i>malaria</i>, which is so much dreaded by the natives, lies dormant +during the winter months, and seldom affects strangers, unless they are +inordinately imprudent in sitting out in the sunset. With the heats of +the late summer this insidious ague-fever is apt to follow on the +slightest exertion, and particularly to overwhelm those who are employed +in field labour. From June to November the Villa Borghese and the Villa +Doria are uninhabitable, and the more deserted hills—the Cœlian, the +Aventine, and the greater part of the Esquiline,—are a constant prey to +fever. The malaria, however, flies before a crowd of human life, and the +Ghetto, which teems with inhabitants, is perfectly free from it. In the +Campagna,—with the exception of Porto d'Anzio, which has always been +healthy,—no town or village is safe after the month of August, and to +this cause the utter desolation of so many formerly populous sites +(especially those of Veii and Galera) may be attributed:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Roma, vorax hominum, domat ardua colla virorum;<br /></span> +<span class="i0"> Roma, ferax febrium, necis est uberrima frugum:<br /></span> +<span class="i0"> Romanæ febres stabili sunt jure fideles."<br /></span> +</div></div> + +<p>Thus wrote Peter Damian in the 10th century, and those who refuse to be +on their guard will find it so still.</p> + +<p>The greatest risk at Rome is incurred by those who, coming out of the +hot sunshine, spend long hours in the Vatican and the other galleries, +which are filled with a<a name="vol_1_page_022" id="vol_1_page_022"></a> deadly chill during the winter months. As March +comes on this chill wears away, and in April and May the temperature of +the galleries is delightful, and it is impossible to find a more +agreeable retreat. It is in the hope of inducing strangers to spend more +time in the study of these wonderful museums, and of giving additional +interest to the hours which are passed there, that so much is said about +their contents in these volumes. As far as possible it has been desired +to evade any mere catalogue of their collections,—so that no mention +has been made of objects which possess inferior artistic or historical +interest; while by introducing anecdotes connected with those to which +attention is drawn, or by quoting the opinion of some good authority +concerning them, an endeavour has been made to fix them in the +recollection.</p> + +<p>So much has been written about Rome, that in quoting from the remarks of +others the great difficulty has been selection,—and the rule has been +followed that the most learned books are not always the most instructive +or the most interesting. No endeavour has been made to enter into deep +archæological questions,—to define the exact limits of the Walls of +Servius Tullius,—or to hazard a fresh opinion as to how the earth +accumulated in the Roman Forum, or whence the pottery came, out of which +the Monte Testaccio has arisen; but it has rather been sought to gather +up and present to the reader such a succession of word pictures from +various authors, as may not only make the scenes of Rome more +interesting at the time, but may deepen their impression afterwards. +This was the work which the late illustrious M. Ampère intended to carry +out,<a name="vol_1_page_023" id="vol_1_page_023"></a> and which he would have done so much better and more fully.</p> + +<p>From the experience of many years the writer can truly say that the more +intimately these scenes become known, the more deeply they become +engraven upon the inmost affections. Rome, as Goethe truly says, "is a +world, and it takes years to find oneself at home in it." It is not a +hurried visit to the Coliseum, with guide book and cicerone, which will +enable one to drink in the fulness of its beauty; but a long and +familiar friendship with its solemn walls, in the ever-varying grandeur +of golden sunlight and grey shadow—till, after many days' +companionship, its stones become dear as those of no other building ever +can be;—and it is not a rapid inspection of the huge cheerless +basilicas and churches, with their gaudy marbles and gilded ceilings and +ill-suited monuments, which arouses your sympathy; but the long +investigation of their precious fragments of ancient cloister, and +sculptured fountain,—of mouldering fresco, and mediæval tomb,—of +mosaic-crowned gateway, and palm-shadowed garden;—and the +gradually-acquired knowledge of the wondrous story which clings around +each of these ancient things, and which tells how each has a motive and +meaning entirely unsuspected and unseen by the passing eye.</p> + +<p>The immense extent of Rome, and the wide distances to be traversed +between its different ruins and churches, is in itself a sufficient +reason for devoting more time to it than to the other cities of Italy. +Surprise will doubtless be felt that so few pagan ruins remain, +considering the enormous number which are known to have existed even +down to a<a name="vol_1_page_024" id="vol_1_page_024"></a> comparatively late period. A monumental record of <small>A.D.</small> 540, +published by Cardinal Mai, mentions 324 streets, 2 capitols—the +Tarpeian and that on the Quirinal,—80 gilt statues of the gods (only +the Hercules remains), 66 ivory statues of the gods, 46,608 houses, +17,097 palaces, 13,052 fountains, 3785 statues of emperors and generals +in bronze, 22 great equestrian statues of bronze (only Marcus Aurelius +remains), 2 colossi (Marcus Aurelius and Trajan), 9026 baths, 31 +theatres, and 8 amphitheatres!</p> + +<p>It is impossible to speak too highly of the facilities afforded to +strangers for seeing and enjoying everything, especially by the Roman +nobility. The beautiful grounds of the Villa Borghese and the Villa +Doria appear to be kept up at an enormous expense, solely for the use +and pleasure of the public, and almost all the palaces and collections +are thrown open on fixed days with unequalled liberality. In almost all +these galleries, museums, and gardens the stranger is permitted to +wander about and linger as he pleases, entirely unmolested by officious +servants and ignorant <i>ciceroni</i>.</p> + +<p>Those will enjoy Rome most who have studied it thoroughly before leaving +their own homes. In the multiplicity of engagements in which a foreigner +is soon involved, there is little time for historical research, and few +are able to do more than "read up their Murray," so that half the +pleasure and all the advantage of a visit to Rome are thrown away: while +those who arrive with the foundation already prepared, easily and +naturally acquire, amid the scenes around which the history of the world +revolved, an amount of information which will be astonishing even to +themselves.<a name="vol_1_page_025" id="vol_1_page_025"></a> "People out of Rome," says Goethe, "have no idea how one is +<i>schooled</i> there;" but then, as the author of 'Vera' remarks, "that is +true of Rome, which Madame Swetchine said of life, viz. that you find +exactly what you put into it."</p> + +<p>The pagan monuments of Rome have been written of and discussed ever +since they were built, and the catacombs have lately found historians +and guides both able and willing,—about the later Christian monuments +far less has hitherto been said. In English, except in the immense +collection of interest which is imbedded in the works of Hemans, and in +the few beautiful notices of some of the early martyrs by Mrs. Jameson, +very little has been written; in French there is far more. There is a +natural shrinking in the English Protestant mind from all that is +connected with the story of the saints,—especially the later saints of +the Roman Catholic Church. Many believe, with Addison, "that the +Christian antiquities are so embroiled in fable and legend, that one +derives but little satisfaction from searching into them." And yet, as +Mrs. Jameson observes, when all that the controversialist can desire is +taken away from the reminiscences of those, who to the Roman Catholic +mind have consecrated the homes of their earthly life, how much +remains!—"so much to awaken, to elevate, to touch the heart;—so much +that will not fade from the memory, so much that may make a part of our +after-life."</p> + +<p>No attempt has been made in these pages to describe the country round +Rome, beyond a few of the most ordinary drives and excursions outside +the walls. The opening of the railways to Naples and Civita Vecchia have +now brought a vast variety of new excursions within the range of a +day's<a name="vol_1_page_026" id="vol_1_page_026"></a> expedition—and the papal citadel of Anagni, the temples of Cori, +the cyclopean remains of Segni, Alatri, Norba, Cervetri, and Corneto, +and the wild heights of Soracte, will probably ere long become as well +known as the oft-visited Tivoli, Ostia, and Albano. It is intended to +supplement these "Walks in Rome" by a similar volume of "Excursions +round Rome."<a name="vol_1_page_027" id="vol_1_page_027"></a></p> + +<h2><a name="CHAPTER_I" id="CHAPTER_I"></a>CHAPTER I.<br /><br /> +DULL-USEFUL INFORMATION.</h2> + +<div class="blockquot"><p><i>Hotels.</i>—For passing travellers or bachelors, the best are: Hotel +d'Angleterre, Bocca di Leone; Hotel de Rome, Corso. For families, +or for a long residence: Hotel des Iles Britanniques, Piazza del +Popolo; Hotel de Russie (close to the last), Via Babuino; Hotel de +Londres, and Hotel Europa, Piazza di Spagna; Hotel Costanzi, Via S. +Nicolo in Tolentino, in a high airy situation towards the +railway-station, and very comfortable and well managed, but further +from the sights of Rome. Less expensive, are: Hotel d'Allemagne, +Via Condotti; Hotel Vittoria, Via Due Macelli; Hotel d'Italie, Via +Quattro Fontane; Hotel della Pace, 8 Via Felice; Hotel Minerva, +Piazza della Minerva, very near the Pantheon. A large new hotel is +the "Quirinale," in the Via Nazionale.</p> + +<p><i>Pensions</i> are much wanted in Rome. The best are those of Miss +Smith and Madame Tellenbach, in the Piazza di Spagna; Pension Suez, +Via S. Nicolo in Tolentino; and the small Hotel du Sud, in the Capo +le Case.</p> + +<p><i>Apartments</i> have lately greatly increased in price. An apartment +for a very small family in one of the best situations can seldom be +obtained for less than 300 to 500 francs a month. The English +almost all prefer to reside in the neighbourhood of the Piazza di +Spagna. The best situations are the sunny side of the Piazza +itself, the Trinità de' Monti, the Via Gregoriana, and Via Sistina. +Less good situations are, the Corso, Via Condotti, Via Due Macelli, +Via Frattina, Capo le Case, Via Felice, Via Quattro Fontane, Via +Babuino, and Via delle Croce,—in which last, however, are many +very good apartments. On the other side of the Corso suites of +rooms are much less expensive, but they are less convenient for +persons who make a short residence in Rome. In many of the palaces +are large apartments which are let by the year.<a name="vol_1_page_028" id="vol_1_page_028"></a></p> + +<p><i>Trattorie</i> (Restaurants) send out dinners to families in +apartments in a tin box with a stove, for which the bearer calls +the next morning. A dinner for six francs ought to be amply +sufficient for three persons, and to leave enough for luncheon the +next day. <i>Restaurants</i> where luncheons or dinners may be obtained +upon the spot, are those of Bedeau, Via della Croce, and Nazzari, +Piazza di Spagna. Those who wish for a real Roman dinner of +Porcupine, Hedgehog, and other such delicacies, find it at the +Falcone, where Ariosto used to lodge when in Rome.</p> + +<p><i>English Church.</i>—Just outside the Porta del Popolo, on the left. +Services at 9 <small>A.M.</small>, 11 <small>A.M.</small>, and 3 <small>P.M.</small> on Sundays; daily service +twice on week-days. The <i>American Church</i> is in the same building, +with an entrance further on.</p> + +<p><i>Post Office.</i>—In the Piazza Colonna. The English mail leaves +daily at 8 <small>P.M.</small></p> + +<p><i>Telegraph Office.</i>—121 Piazza Monte-Citorio. A telegraph of 20 +words to England, including name and address, costs 11 francs.</p> + +<p><i>Bankers.</i>—Hooker, 20 Piazza di Spagna; Macbean, 378 Corso; +Plowden, 50 Via Mercede; Spada and Flamini, 20 Via Condotti.</p> + +<p><i>For sending Boxes to England.</i>—Welby, Strada Papala. (His agents +in London, Messrs. Scott, 11 King William St.)</p> + +<p><i>English Doctors.</i>—Dr. Grigor, 3 Pa di Spagna; Dr. Small, 56 Via +Babuino; Dr. Gason, 82 Via della Croce. <i>German</i>: Dr. Taussig, 144 +Via Babuino. <i>American</i>: Dr. Gould, 107 Via Babuino. <i>Italian</i>: Dr. +Valeri, 138 Via Babuino.</p> + +<p><i>Homœopathic Doctor.</i>—Dr. Liberali, 69 Via della Frezza.</p> + +<p><i>Dentist.</i>—Dr. Parmby, 93 Piazza di Spagna.</p> + +<p><i>Sick-nurses.</i>—Mrs. Meyer, 44 Via delle Carozze; the Nuns of the +Bon-Secours at the convent in the Via del Banchi.</p> + +<p><i>Chemists.</i>—English Pharmacy, 498 Corso; Sininberghi, 134 Via +Frattina; and Borioni, Via Babuino, are those usually employed by +the English; but the chemists' shops in the Corso are as good, and +much less expensive.<a name="vol_1_page_029" id="vol_1_page_029"></a></p></div> + +<p><i>English House Agent.</i>—Shea, 11 Piazza di Spagna.</p> + +<p><i>English Livery Stables.</i>—Jarrett, 3 Piazza del Popolo; Ranucci, Vicolo +Aliberti.</p> + +<p><i>Circulating Library.</i>—Piale, 1, 2, Piazza di Spagna.</p> + +<p><i>Booksellers.</i>—Monaldini, Piazza di Spagna; Spithover, Piazza di +Spagna; Bocca, 216 Corso; Loesther, 346 Corso.</p> + +<p><i>Italian Masters.</i>—Vannini, 31 Via Condotti (in the summer at the Bagni +di Lucca); Monachesi (a Roman), 8 Via S. Sebastianello; Gordini, 374 +Corso; N. Lucantini, 17 Via della Stamperia.</p> + +<p><i>Photographers.—For views of Rome.</i>—Watson, Via Babuino; Macpherson, +12 Vicolo Aliberti; Mang, 104 Via Felice; Anderson (his photographs sold +at Spithover's); Joseph Phelps, 169 Via Babuino; Maggi, 329 Corso. <i>For +Artistic Bits</i>, very much to be recommended, De Bonis, 11 Via Felice. +<i>For Portraits</i>.—Suscipi, 48 Via Condotti (the best for medallions); +Alessandri, 12 Corso (excellent for Cartes de Visite); Lais, 57 Via del +Campo-Marzo; Ferretti, 50 Via Sta. Maria in Via.</p> + +<p><i>Drawing Materials.</i>—Dovizelli, 136 Via Babuino; Corteselli, 150 Via +Felice. For commoner articles and stationery, the "Cartoleria," 214 +Corso, opposite the Piazza Colonna.</p> + +<p><i>Engravings.</i>—At the Stamperia Nazionale (fixed prices), 6 Via della +Stamperia, near the fountain of Trevi.</p> + +<p><i>Antiquities.</i>—Depoletti, 31 Via Fontanella Borghese; Innocenti, 118 +Via Frattina; Santelli, 141 Via Frattina; Capobianchi, 152 Via Babuino.</p> + +<p><i>Bronzes.</i>—Röhrich, 104 Via Sistina; Chiapanelli, 92 Via Babuino; +Dressler, 17 Via Due Macelli.</p> + +<p><i>Cameos.</i>—Saulini, 96 Via Babuino; Neri, 72 Via Babuino.</p> + +<p><i>Mosaics.</i>—Rinaldi, 125 Via Babuino; Boschetti, 74 Via Condotti.</p> + +<p><i>Jewellers.</i>—Castellani, 88 Via Poli (closed from 12 to 1), very +beautiful, but very expensive; Pierret, 20 Piazza di Spagna; Innocenti, +33 Piazza Trinità de' Monti.</p> + +<p><i>Roman Pearls.</i>—Rey, 122 Via Babuino; Lacchini, 70 Via Condotti.<a name="vol_1_page_030" id="vol_1_page_030"></a></p> + +<p><i>Bookbinder.</i>—Olivieri, 1 Via Frattina.</p> + +<p><i>Engraver.</i>—(For visiting cards, &c.), Martelli, 139 Via Frattina.</p> + +<p><i>Tailors.</i>—Mattina (the "Poole" of Rome), Corso, opposite S. Carlo, +entrance 2 Via delle Carozze; Vai, 60 Piazza di Spagna; Reanda, 61 +Piazza. S. Apostoli; Evert, 77 Piazza Borghese.</p> + +<p><i>Shoemakers.</i>—Rubini, 223 Corso (none good).</p> + +<p><i>Dressmaker.</i>—Clarisse, 166 Corso.</p> + +<p><i>Shops for Ladies' Dress.</i>—Massoni, Palazzo Simonetti; the Ville de +Lyon, 48 Via dei Prefetti (behind S. Lorenzo in Lucina); Sebastiani, 8 +Via del Campo-Marzo; Giovannetti, 50 to 53 Campo-Marzo.</p> + +<p><i>Roman Ribbons and Shawls.</i>—Arvotti, 66 Piazza Madama (fixed prices); +Bianchi, 82 Via della Minerva.</p> + +<p><i>Gloves.</i>—Cremonesi, 420 Corso; 4 Piazza S. Lorenzo in Lucina.</p> + +<p><i>Carpets and small Household Articles.</i>—Cagiati, 250 Corso.</p> + +<p><i>German Baker.</i>—Colalucci, 88 Via della Croce (excellent).</p> + +<p><i>English Grocer.</i>—Lowe, 76 Piazza di Spagna.</p> + +<p><i>Italian Grocer and Wine Merchant.</i>—Giacosa, Via della Maddalena.</p> + +<p><i>Oil, Candles and Wood, &c.</i>—Luigioni, 70 Piazza di Spagna.</p> + +<p><i>English Dairy.</i>—Palmegiani, 66 Piazza di Spagna.</p> + +<p><i>Artists' Studios.</i>—</p> + +<p class="nind"> +<span style="margin-left: 2em;">Benonville, 61 Via Babuino,—landscapes.</span><br /> +<span style="margin-left: 2em;">Brennan, 76 Via Borghetto.</span><br /> +<span style="margin-left: 2em;">Coleman, 16 Via dei Zucchelli,—very good for animals.</span><br /> +<span style="margin-left: 2em;">Corrodi, 25 Angelo-Custode,—water-colour landscapes, very highly finished.</span><br /> +<span style="margin-left: 2em;">Desoulavy, 33 Via Margutta,—landscapes.<a name="vol_1_page_031" id="vol_1_page_031"></a></span><br /> +<span style="margin-left: 2em;">Fattorini, Via Margutta,—a very beautiful copyist.</span><br /> +<span style="margin-left: 2em;">Flatz, 3 Mario di Fiori,—sacred subjects.</span><br /> +<span style="margin-left: 2em;">Haseltine, J. H., 59 Via Babuino.</span><br /> +<span style="margin-left: 2em;">*Joris, 33 Via Margutta,—quite first-rate for figure subjects in water-colour.</span><br /> +<span style="margin-left: 2em;">Garelli, 217 Ripetta,—an admirable copyist, generally to be found in the Capitoline Gallery.</span><br /> +<span style="margin-left: 2em;">*Glennie, 17 Piazza Margana,—water-colour, first-rate.</span><br /> +<span style="margin-left: 2em;">Knebel, 33 Via Margutta,—oil landscapes.</span><br /> +<span style="margin-left: 2em;">Maes, 33 Via Margutta.</span><br /> +<span style="margin-left: 2em;">*Marianecci, 53 Via Margutta,—the prince of copyists.</span><br /> +<span style="margin-left: 2em;">Muller, 60 Piazza Barberini,—water-colour landscapes.</span><br /> +<span style="margin-left: 2em;">Podesti, 55 Via Margutta,—oil: large historical and sacred subjects.</span><br /> +<span style="margin-left: 2em;">Poingdestre, 36 Vicolo dei Greci—oil: landscapes.</span><br /> +<span style="margin-left: 2em;">Buchanan Read, 55 Via Margutta.</span><br /> +<span style="margin-left: 2em;">*Rivière, 36 Vicolo dei Greci,—water-colour.</span><br /> +<span style="margin-left: 2em;">De Sanctis, 33 Via Margutta.</span><br /> +<span style="margin-left: 2em;">Strutt (Arthur), 81 Via della Croce,—landscapes and figures, both oil and water-colour.</span><br /> +<span style="margin-left: 2em;">Tapiro (Spanish), 72 Sistina,—admirable for figures.</span><br /> +<span style="margin-left: 2em;">Tilton, 20 Via S. Basilio,—remarkable for his drawings of the Nile.</span><br /> +<span style="margin-left: 2em;">Vertunni, 53 Via Margutta.</span><br /> +<span style="margin-left: 2em;">Wedder, 55A Via Margutta.</span><br /> +<span style="margin-left: 2em;">*Penry Williams, 12 Piazza Mignanelli.</span><br /> +</p> + +<p> </p> + +<p><i>Sculptors' Studios.</i>—</p> + +<p class="nind"> +<span style="margin-left: 2em;">D'Epinay, 57 Via Sistina.</span><br /> +<span style="margin-left: 2em;">Fabj-Altini, 4 S. Nicolo in Tolentino.</span><br /> +<span style="margin-left: 2em;">Miss Foley, 53 Via Margutta,—admirable for medallion portraits and</span><br /> +<span style="margin-left: 2em;">busts, also the author of a beautiful fountain.</span><br /> +<span style="margin-left: 2em;">*Miss Hosmer, 118 Via Margutta—(Gibson's studio).</span><br /> +<span style="margin-left: 2em;">Miss Lewis, 8 Via S. Nicolo in Tolentino.</span><br /> +<span style="margin-left: 2em;">Macdonald, 7 Piazza Barberini.</span><br /> +<span style="margin-left: 2em;">Rosetti, 55 Via Margutta.<a name="vol_1_page_032" id="vol_1_page_032"></a></span><br /> +<span style="margin-left: 2em;">Story, 2 Via S. Nicolo in Tolentino.</span><br /> +<span style="margin-left: 2em;">Tadolini, 150A Via Babuino.</span><br /> +<span style="margin-left: 2em;">Wood (Shakspeare), 504 Corso,—excels in medallion portraits.</span><br /> +<span style="margin-left: 2em;">Wood (Warrington), 7 Piazza Trinità de' Monti.</span><br /> +</p> + +<hr style="width: 15%;" /> + +<p>It is impossible for a traveller who spends only a week or ten days in +Rome to see a tenth part of the sights which it contains. Perhaps the +most important objects are:</p> + +<div class="blockquot"><p><i>Churches.</i>—S. Peter's, S. John Lateran, Sta. Maria Maggiore, S. +Lorenzo fuori Mura, S. Paoli fuori Mura, S. Agnese fuori Mura, Ara +Cœli, S. Clemente, S. Pietro in Montorio, S. Pietro in Vincoli, +Sta. Sabina, Sta. Prassede and Sta. Pudentiana, S. Gregorio, S. +Stefano Rotondo, Sta. Maria sopra Minerva, Sta. Maria del Popolo.</p></div> + +<div class="blockquot"><p><i>Palaces.</i>—Vatican, Capitol, Borghese, Barberini (and, if +possible, Corsini, Colonna, Sciarra, Rospigliosi, and Spada).</p></div> + +<div class="blockquot"><p><i>Villas.</i>—Albani, Doria, Borghese, Wolkonski, and, though less +important, Ludovisi.</p></div> + +<div class="blockquot"><p><i>Ruins.</i>—Palace of the Cæsars, Temples in Forum, Coliseum, and, if +possible, the ruins in the Ghetto, and the Baths of Caracalla.</p></div> + +<p>It is desirable for the traveller who is pressed for time to apply at +once to his Banker for orders for any of the villas for which they are +necessary. The following scheme will give a good general idea of Rome +and its neighbourhood in a few days. The sights printed in italics can +only be seen on the days to which they are ascribed:—</p> + +<div class="blockquot"><p><i>Monday.</i>—General view of Capitol, Gallery of Sculpture, Ara +Cœli, General view of Forum, Coliseum, St. John Lateran (with +cloisters), and drive out to the Via Latina and the aqueducts at +Tavolato.</p> + +<p><i>Tuesday.</i>—Morning: St. Peter's and the Vatican Stanze. Afternoon: +<i>Villa Albani</i>, St. Agnese, and drive to the Ponte Nomentana.<a name="vol_1_page_033" id="vol_1_page_033"></a></p> + +<p><i>Wednesday.</i>—Go to Tivoli (the Cascades, Cascatelle, and Villa +d'Este).</p> + +<p><i>Thursday.</i>—Morning: <i>Palace of the Cæsars.</i> Afternoon: drive on +the Via Appia as far as Torre Mezzo Strada; in returning, see the +Baths of Caracalla.</p> + +<p><i>Friday.</i>—Morning: Palazzo Borghese, Palazzo Spada, The Ghetto, +The Temple of Vesta, cross the Ponte Rotto to Sta. Cecilia; and end +in the afternoon at St. Pietro in Montorio and the <i>Villa Doria</i> +(or on Monday).</p> + +<p><i>Saturday.</i>—Frascati and Albano. Drive to Frascati early, take +donkeys, by Rocca di Papa to Mte. Cavo; take luncheon at the +Temple, and return by Palazzuolo and the upper and lower Galleries +to Albano, whither the carriage should be sent on to await you at +the Hotel de Russie. Drive back to Rome in the evening.</p> + +<p><i>Sunday.</i>—Morning: Sta. Maria del Popolo on way to English Church. +Afternoon: St. Peter's again; drive to Monte Mario (Villa Mellini), +or in the Villa Borghese, and end with the Pincio.</p> + +<p><i>2d Monday.</i>—Morning: Sta. Prassede, Sta. Pudentiana, Sta. Maria +Maggiore. Afternoon: Sta. Sabina, Priorato Garden, English +Cemetery, S. Paolo, and the Tre Fontane.</p> + +<p><i>2d Tuesday.</i>—Morning: Vatican Sculptures. Afternoon: S. Gregorio, +S. Stefano Rotondo, S. Clemente, S. Pietro in Vincoli, Sta. Maria +degli Angeli, S. Lorenzo fuori Mura, and drive out to the Torre dei +Schiavi, returning by the Porta Maggiore.</p> + +<p><i>2d Wednesday.</i>—Morning: Palazzo Barberini, <i>Palazzo Rospigliosi</i>, +(and on Saturdays) Vatican Pictures. Afternoon: Forum in detail, +SS. Cosmo and Damian, and ascend the Coliseum.</p></div> + +<hr style="width: 15%;" /> + +<p>The following list may be useful as a guide to some of the best subjects +for artists who wish to draw at Rome, and have not much time to search +for themselves:—<a name="vol_1_page_034" id="vol_1_page_034"></a></p> + +<p class="hang"><i>Morning Light</i>:<br /> + +<span style="margin-left: 2em;">Temple of Vesta with the fountain.</span><br /> +<span style="margin-left: 2em;">Arch of Constantine from the Coliseum (early).</span><br /> +<span style="margin-left: 2em;">Coliseum from behind Sta. Francesca Romana (early).</span><br /> +<span style="margin-left: 2em;">Temples in the Forum from the School of Xanthus.</span><br /> +<span style="margin-left: 2em;">View from the Garden of the Rupe Tarpeia.</span><br /> +<span style="margin-left: 2em;">In the Garden of S. Giovanni e Paolo.</span><br /> +<span style="margin-left: 2em;">In the Garden of S. Buonaventura.</span><br /> +<span style="margin-left: 2em;">In the Garden of the S. Bartolomeo in Isola.</span><br /> +<span style="margin-left: 2em;">In the Garden of S. Onofrio.</span><br /> +<span style="margin-left: 2em;">On the Tiber from Poussin's Walk.</span><br /> +<span style="margin-left: 2em;">From the door of the Villa Medici.</span><br /> +<span style="margin-left: 2em;">At S. Cosimato.</span><br /> +<span style="margin-left: 2em;">At the back entrance of Ara Cœli.</span><br /> +<span style="margin-left: 2em;">At the Portico of Octavia.</span><br /> +<span style="margin-left: 2em;">Looking to the Arch of Titus up the Via Sacra.</span><br /> +<span style="margin-left: 2em;">In the Cloister of the Lateran.</span><br /> +<span style="margin-left: 2em;">In the Cloister of the Certosa.</span><br /> +<span style="margin-left: 2em;">Near the Temple of Bacchus.</span><br /> +<span style="margin-left: 2em;">On the Via Appia, beyond Cecilia Metella.</span><br /> +<span style="margin-left: 2em;">Torre Mezza Strada on the Via Appia.</span><br /> +<span style="margin-left: 2em;">Torre Nomentana, looking to the mountains.</span><br /> +<span style="margin-left: 2em;">Ponte Nomentana, looking to the Mons Sacer.</span><br /> +<span style="margin-left: 2em;">Torre dei Schiavi, looking towards Tivoli.</span><br /> +<span style="margin-left: 2em;">Aqueducts at Tavolato.</span><br /> +</p> + +<p class="hang"><i>Evening Light</i>:<br /> +<span style="margin-left: 2em;">From St. John Lateran.</span><br /> +<span style="margin-left: 2em;">From the Ponte Rotto.</span><br /> +<span style="margin-left: 2em;">From the Terrace of the Villa Doria (St. Peter's).</span><br /> +<span style="margin-left: 2em;">Palace of the Cæsars—Roman side—looking to Sta. Balbina.</span><br /> +<span style="margin-left: 2em;">Palace of the Cæsars—French side—looking to the Coliseum.</span><br /> +<span style="margin-left: 2em;">Apse of S. Giovanni e Paolo.</span><br /> +<span style="margin-left: 2em;">Near the Navicella.</span><br /> +<span style="margin-left: 2em;">Garden of the Villa Mattei.</span><br /> +<span style="margin-left: 2em;">Garden of the Villa Wolkonski.</span><br /> +<span style="margin-left: 2em;">Garden of the Priorato.</span><br /> +<span style="margin-left: 2em;">Porta S. Lorenzo.</span><br /> +<span style="margin-left: 2em;">Torre dei Schiavi, looking towards Rome.</span><br /> +<span style="margin-left: 2em;">Via Latina, looking towards the Aqueducts.</span><br /> +<span style="margin-left: 2em;">Via Latina, looking towards Rome.</span><br /> +</p> + +<p><a name="vol_1_page_035" id="vol_1_page_035"></a></p> + +<p>The months of November and December are the best for drawing. The +colouring is then magnificent; it is enhanced by the tints of the +decaying vegetation, and the shadows are strong and clear. January is +generally cold for sitting out, and February wet; and before the end of +March the vegetation is often so far advanced that the Alban Hills, +which have retained glorious sapphire and amethyst tints all winter, +change into commonplace green English downs; while the Campagna, from +the crimson and gold of its dying thistles and fenochii, becomes a +lovely green plain waving with flowers.</p> + +<p>Foreigners are much too apt to follow the native custom of driving +constantly in the Villa Borghese, the Villa Doria, and on the Pincio, +and getting out to walk there during their drives. For those who do not +care always to see the human world, a delightful variety of drives can +be found; and it is a most agreeable plan for invalids, without +carriages of their own, to take a "course to the Parco di San Gregorio," +or to the sunny avenues near the Lateran, and walk there instead of on +the Pincio. A carriage for the return may almost always be found in the +Forum or at the Lateran.<a name="vol_1_page_036" id="vol_1_page_036"></a></p> + +<h2><a name="CHAPTER_II" id="CHAPTER_II"></a>CHAPTER II.<br /><br /> +THE CORSO AND ITS NEIGHBOURHOOD.</h2> + +<div class="blockquot"><p class="hang">The Piazza del Popolo—Obelisk—Sta. Maria del Popolo—(The +Pincio—Villa Medici—Trinità de' Monti) (Via Babuino—Via +Margutta—Piazza di Spagna—Propaganda) (Via Ripetta—SS. Rocco e +Martino—S. Girolamo degli Schiavoni)—S. Giacomo degli +Incurabili—Via Vittoria—Mausoleum of Augustus—S. Carlo in +Corso—Via Condotti—Palazzo Borghese—Palazzo Ruspoli—S. Lorenzo +in Lucina—S. Sylvestro in Capite—S. Andrea delle Fratte—Palazzo +Chigi—Piazza Colonna—Palace and Obelisk of Monte-Citorio—Temple +of Neptune—Fountain of Trevi—Palazzo Poli—Palazzo Sciarra—The +Caravita—S. Ignazio—S. Marcello—Sta. Maria in Via Lata—Palazzo +Doria Pamfili—Palazzo Salviati—Palazzo Odescalchi—Palazzo +Colonna—Church of SS. Apostoli—Palazzo Savorelli—Palazzo +Buonaparte—Palazzo di Venezia—Palazzo Torlonia—Ripresa dei +Barberi—S. Marco—Church of Il Gesu—Palazzo Altieri.</p></div> + +<p class="nind"><span class="letra">T</span>HE +first object of every traveller will naturally be to reach the +Capitol, and look down thence upon ancient Rome; but as he will go down +to the Corso to do this, and must daily pass most of its surrounding +buildings, we will first speak of those objects which will, ere long, +become the most familiar.</p> + +<p>A stranger's first lesson in Roman geography should be learnt standing +in the <i>Piazza del Popolo</i>, whence three streets branch off—the Corso, +in the centre, leading towards the Capitol, beyond which lies ancient +Rome; the Babuino, on<a name="vol_1_page_037" id="vol_1_page_037"></a> the left, leading to the Piazza di Spagna and the +English quarter; the Ripetta, on the right, leading to the Castle of St. +Angelo and St. Peter's. The scene is one well known from pictures and +engravings. The space between the streets is occupied by twin churches, +erected by Cardinal Gastaldi.</p> + +<div class="blockquot"><p>"Les deux églises élevées au Place du Peuple par le Cardinal +Gastaldi à l'entrée du Corso, sont d'un effet médiocre. Comment un +cardinal n'a-t-il pas senti qu'il ne faut pas élever une église +pour <i>faire pendant</i> à quelque chose? C'est ravaler la majesté +divine." <i>Stendhal</i>, i. 172.</p></div> + +<p>It is in the church on the left that sermons are preached every winter +on Sunday afternoons by some of the best Roman Catholic +controversialists, just at the right moment for catching the Protestant +congregations as they emerge from their chapels outside the Porta del +Popolo.</p> + +<p>These churches are believed to occupy the site of the magnificent tomb +of Sylla, who died at Puteoli B.C. 82, but was honoured at Rome with a +public funeral, at which the patrician ladies burnt masses of incense +and perfumes on his funeral pyre.</p> + +<p>The <i>Obelisk</i> of the Piazza del Popolo was placed on this site by Sixtus +V. in 1589, but was originally brought to Rome and erected in honour of +Apollo by the Emperor Augustus.</p> + +<div class="blockquot"><p>"Apollo was the patron of the spot which had given a name to the +great victory of Actium; Apollo himself, it was proclaimed, had +fought for Rome and for Octavius on that auspicious day; the same +Apollo, the Sun-god, had shuddered in his bright career at the +murder of the Dictator, and terrified the nations by the eclipse of +his divine countenance." ... Therefore, "besides building a temple +to Apollo on the Palatine hill, the Emperor Augustus sought to +honour him by transplanting to the Circus Maximus, the sports of +which were under his<a name="vol_1_page_038" id="vol_1_page_038"></a> special protection, an obelisk from +Heliopolis, in Egypt. This flame-shaped column was a symbol of the +sun, and originally bore a blazing orb upon its summit. It is +interesting to trace an intelligible motive for the first +introduction into Europe of these grotesque and unsightly monuments +of eastern superstition."—<i>Merivale, Hist. of the Romans.</i></p> + +<p>"This red granite obelisk, oldest of things, even in Rome, rises in +the centre of the piazza, with a four-fold fountain at its base. +All Roman works and ruins (whether of the empire, the far-off +republic, or the still more distant kings) assume a transient, +visionary, and impalpable character, when we think that this +indestructible monument supplied one of the recollections which +Moses and the Israelites bore from Egypt into the desert. +Perchance, on beholding the cloudy pillar and fiery column, they +whispered awe-stricken to one another, 'In its shape it is like +that old obelisk which we and our fathers have so often seen on the +borders of the Nile.' And now that very obelisk, with hardly a +trace of decay upon it, is the first thing that the modern +traveller sees after entering the Flaminian Gate."—<i>Hawthorne's +Transformation.</i></p></div> + +<p>It was on the left of the Piazza, at the foot of what was even then +called "the Hill of Gardens," that Nero was buried (<small>A.D.</small> 68).</p> + +<div class="blockquot"><p>"When Nero was dead, his nurse Eclaga, with Alexandra, and Acte the +famous concubine, having wrapped his remains in rich white stuff, +embroidered with gold, deposited them in the Domitian monument, +which is seen in the Campus-Martius under the Hill of Gardens. The +tomb was of porphyry, having an altar of Luna marble, surrounded by +a balustrade of Thasos marble."—<i>Suetonius.</i></p></div> + +<p>Church tradition tells that from the tomb of Nero afterwards grew a +gigantic walnut-tree, which became the resort of innumerable crows,—so +numerous as to become quite a pest to the neighbourhood. In the eleventh +century, Pope Paschal II. dreamt that these crows were demons, and that +the Blessed Virgin commanded him to cut down and burn the tree ("albero +malnato"), and build a sanctuary to her honour in its place. A church +was then built by means of<a name="vol_1_page_039" id="vol_1_page_039"></a> a collection amongst the common people; +hence the name which it still retains of "St. Mary of the People."</p> + +<p><i>Sta. Maria del Popolo</i> was rebuilt by Bacio Pintelli for Sixtus IV. in +1480, and very richly adorned. It was modernized by Bernini for +Alexander VII. (Fabio Chigi, 1655-67), of whom it was the family +burial-place, but it still retains many fragments of beautiful fifteenth +century work (the principal door of the nave is a fine example of this); +and its interior is a perfect museum of sculpture and art.</p> + +<p>Entering the church by the west door, and following the right aisle, the +first chapel (Venuti, formerly Della Rovere<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a>) is adorned with +exquisite paintings by <i>Pinturicchio</i>. Over the altar is the +Nativity—one of the most beautiful frescoes in the city; in the +lunettes are scenes from the life of St. Jerome. Cardinal Christoforo +della Rovere, who built this chapel and dedicated it to "the Virgin and +St. Jerome," is buried on the left, in a grand fifteenth century tomb; +on the right is the monument of Cardinal di Castro. Both of these tombs +and many others in this church have interesting and greatly varied +lunettes of the Virgin and Child.</p> + +<p>The second chapel, of the Cibo family, rich in pillars of nero-antico +and jasper, has an altarpiece representing the Assumption of the Virgin, +by <i>Carlo Maratta</i>. In the cupola is the Almighty, surrounded by the +heavenly host.<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a></p> + +<p>The third chapel is also painted by <i>Pinturicchio</i>. Over the altar, the +Madonna and four saints; above, God the Father, surrounded by angels. In +the other lunettes, scenes<a name="vol_1_page_040" id="vol_1_page_040"></a> in the life of the Virgin;—that of the +Virgin studying in the Temple, a very rare subject, is especially +beautiful. In a frieze round the lower part of the wall, a series of +martyrdoms in grisaille. On the right is the tomb of Giovanni della +Rovere, ob. 1483. On the left is a fine sleeping bronze figure of a +bishop, unknown.</p> + +<p>The fourth chapel has a fine fifteenth century altar-relief of St. +Catherine between St. Anthony of Padua and St. Vincent. On the right is +the tomb of Marc-Antonio Albertoni, ob. 1485; on the left, that of +Cardinal Costa, of Lisbon, ob. 1508, erected in his lifetime. In this +tomb is an especially beautiful lunette of the Virgin adored by Angels.</p> + +<p>Entering the right transept, on the right is the tomb of Cardinal +Podocanthorus of Cyprus, a very fine specimen of fifteenth century work. +A door near this leads into a cloister, where is preserved, over a door, +the Gothic altar-piece of the church of Sixtus IV, representing the +Coronation of the Virgin, and two fine tombs—Archbishop Rocca, ob. +1482, and Bishop Gomiel.</p> + +<p>The choir (shown when there is no service) has a ceiling by +<i>Pinturicchio</i>. In the centre, the Virgin and Saviour, surrounded by the +Evangelists and Sibyls; in the corners, the Fathers of the +Church—Gregory, Ambrose, Jerome, and Augustine. Beneath are the tombs +of Cardinal Ascanio Sforza, and Cardinal Girolamo Basso, nephews of +Sixtus IV. (Francesco della Rovere), beautiful works of <i>Andrea di +Sansovino</i>. These tombs were erected at the expense of Julius II., +himself a Della Rovere, who also gave the windows, painted by <i>Claude +and Guillaume de Marseilles</i>, the only good specimens of stained glass +in Rome.<a name="vol_1_page_041" id="vol_1_page_041"></a></p> + +<p>The high-altar is surmounted by a miraculous image of the Virgin, +inscribed, "In honorificentia populi nostri," which was placed in this +church by Gregory IX., and which, having been "successfully invoked" by +Gregory XIII., in the great plague of 1578, has ever since been annually +adored by the pope of the period, who prostrates himself before it upon +the 8th of September. The chapel on the left of this has an Assumption, +by <i>Annibale Caracci</i>.</p> + +<p>In the left transept is the tomb of Cardinal Bernardino Lonati, with a +fine fifteenth century relief of the Resurrection.</p> + +<p>Returning by the left aisle, the last chapel but one is that of the +Chigi family, in which the famous banker, Agostino Chigi (who built the +Farnesina) is buried, and in which <i>Raphael</i> is represented at once as a +painter, a sculptor, and an architect. He planned the chapel itself; he +drew the strange design of the Mosaic on the ceiling (carried out by +<i>Aloisio della Pace</i>), which represents an extraordinary mixture of +Paganism and Christianity, Mercury, Venus, Mars, Jupiter, and Saturn (as +the planets), conducted by angels, being represented with and +surrounding Jehovah; and he modelled the beautiful statue of Jonah +seated on the whale, which was sculptured in the marble by <i>Lorenzetto</i>. +The same artist sculptured the figure of Elijah,—those of Daniel and +Habakkuk being by <i>Bernini</i>. The altarpiece, representing the Nativity +of the Virgin, is a fine work of <i>Sebastian del Piombo</i>. On the pier +adjoining this chapel is the strange monument by <i>Posi</i> (1771) of a +Princess Odescalchi Chigi, who died in childbirth, at the age of twenty, +erected by her husband, who describes himself, "In solitudine et luctu +superstes."<a name="vol_1_page_042" id="vol_1_page_042"></a></p> + +<p>The last chapel contains two fine fifteenth century ciboria, and the +tomb of Cardinal Antonio Pallavicini, 1507.</p> + +<p>On the left of the principal entrance is the remarkable monument of Gio. +Batt. Gislenus, the companion and friend of Casimir I. of Poland (ob. +1670). At the top is his portrait while living, inscribed, "Neque hic +vivus"; then a medallion of a chrysalis, "In nidulo meo moriar"; +opposite to which is a medallion of a butterfly emerging, "Ut Phœnix +multiplicabo dies": below is a hideous skeleton of giallo antico in a +white marble winding-sheet, "Neque hic mortuus."</p> + +<div class="blockquot"><p>Martin Luther "often spoke of death as the Christian's true birth, +and this life as but a growing into the chrysalis-shell in which +the spirit lives till its being is developed, and it bursts the +shell, casts off the web, struggles into life, spreads its wings, +and soars up to God."</p></div> + +<p>The Augustine Convent adjoining this church was the residence of Luther +while he was in Rome. Here he celebrated mass immediately on his +arrival, after he had prostrated himself upon the earth, saying, "Hail +sacred Rome! thrice sacred for the blood of the martyrs shed here!" +Here, also, he celebrated mass for the last time before he departed from +Rome to become the most terrible of her enemies.</p> + +<div class="blockquot"><p>"Lui pauvre écolier, élevé si durement, qui souvent, pendant son +enfance, n'avait pour oreiller qu'une dalle froide, il passe devant +des temples tout de marbre, devant des colonnes d'albâtre, des +gigantesques obélisques de granite, des fontaines jaillissantes, +des <i>villas</i> fraîches et embellies de jardins, de fleurs, de +cascades et de grottes. Veut-il prier? il entre dans une église qui +lui semble un monde véritable, où les diamants scintillent sur +l'autel, l'or aux soffites, le marbre aux colonnes, la mosaïque aux +chapelles, au lieu d'un de ces temples rustiques qui n'ont dans sa +patrie pour tout ornement que quelques roses qu'une main pieuse va +déposer sur l'autel le jour du dimanche. Est-il fatigué de la +route? il trouve sur son chemin, non plus un modeste banc de bois,<a name="vol_1_page_043" id="vol_1_page_043"></a> +mais un siège d'albâtre antique récemment déterré. Cherche-t-il une +sainte image? il n'aperçoit que des fantaisies païennes, des +divinités olympiques, Apollon, Vénus, Mars, Jupiter, auxquelles +travaillent mille mains de sculpteurs. De toutes ces merveilles, il +ne comprit rien, il ne vit rien. Aucun rayon de la couronne de +Raphaël, de Michel-Ange, n'éblouit ses regards; il resta froid et +muet devant tous les trésors de peinture et de sculpture rassemblés +dans les églises; son oreille fut fermée aux chants du Dante, que +le peuple répétait autour de lui. Il était entré à Rome en pèlerin, +il en sort comme Coriolan, et s'écrie avec Bembo: 'Adieu, Rome, que +doit fuir quiconque veut vivre saintement! Adieu, ville où tout est +permis, excepté d'être homme de bien.'"—<i>Audin, Histoire de +Luther</i>, c. ii.</p></div> + +<p>It was in front of this church that the cardinals and magnates of Rome +met to receive the apostate Christina of Sweden upon her entrance into +the city.</p> + +<hr style="width: 15%;" /> + +<p>On the left side of the piazza rise the terraces of the Pincio, adorned +with rostral-columns, statues, and marble bas-reliefs, interspersed with +cypresses and pines. A winding road, lined with mimosas and other +flowering shrubs, leads to the upper platform, now laid out in public +drives and gardens, but, till twenty years ago, a deserted waste, where +the ghost of Nero was believed to wander in the middle ages.</p> + +<p>Hence the Eternal City is seen spread at our feet, and beyond it the +wide-spreading Campagna, till a silver line marks the sea melting into +the horizon beyond Ostia. All these churches and tall palace roofs +become more than mere names in the course of the winter, but at first +all is bewilderment Two great buildings alone arrest the attention:</p> + +<div class="blockquot"><p>"Westward, beyond the Tiber, is the Castle of St. Angelo, the +immense tomb of a pagan emperor with the archangel on its +summit....<a name="vol_1_page_044" id="vol_1_page_044"></a> Still further off, a mighty pile of buildings, +surmounted by a vast dome, which all of us have shaped and swelled +outward, like a huge bubble, to the utmost scope of our +imaginations, long before we see it floating over the worship of +the city. At any nearer view the grandeur of St. Peter's hides +itself behind the immensity of its separate parts, so that we only +see the front, only the sides, only the pillared length and +loftiness of the portico, and not the mighty whole. But at this +distance the entire outline of the world's cathedral, as well as +that of the palace of the world's chief priest, is taken in at +once. In such remoteness, moreover, the imagination is not debarred +from rendering its assistance, even while we have the reality +before our eyes, and helping the weakness of human sense to do +justice to so grand an object. It requires both faith and fancy to +enable us to feel, what is nevertheless so true, that yonder, in +front of the purple outline of the hills, is the grandest edifice +ever built by man, painted against God's loveliest +sky."—<i>Hawthorne.</i></p></div> + +<p>Here the band plays under the great palm-tree every afternoon except +Friday. On Sunday afternoons the Pincio is in what Miss Thackeray +describes as "a fashionable halo of sunset and pink parasols"—when +immense crowds collect, showing every phase of Roman life; and disperse +again as the Ave-Maria bell rings from the churches, either to descend +into the city, or to hear benediction sung by the nuns in the Trinità +de' Monti.</p> + +<div class="blockquot"><p>"When the fashionable hour of rendezvous arrives, the same spot, +which a few minutes before was immersed in silence and solitude, +changes as it were with the rapidity of a scene in a pantomime to +an animated panorama. The scene is rendered not a little ludicrous +by the miniature representation of the Ring in Hyde Park in a small +compass. An entire revolution of the carriage-drive is performed in +the short period of three minutes as near as may be, and the +perpetual occurrence of the same physiognomies and the same +carriages trotting round and round for two successive hours, +necessarily reminds one of the proceedings of a country fair, and +children whirling in a roundabout."—<i>Sir G. Head's 'Tour in +Rome.'</i></p> + +<p>"The Pincian Hill is the favourite promenade of the Roman +aristocracy. At the present day, however, like most other Roman +possessions, it belongs less to the native inhabitants than to the<a name="vol_1_page_045" id="vol_1_page_045"></a> +barbarians from Gaul, Great Britain, and beyond the sea, who have +established a peaceful usurpation over all that is enjoyable or +memorable in the Eternal City. These foreign guests are indeed +ungrateful, if they do not breathe a prayer for Pope Clement, or +whatever Holy Father it may have been, who levelled the summit of +the mount so skilfully, and bounded it with the parapet of the city +wall; who laid out those broad walks and drives, and overhung them +with the shade of many kinds of tree; who scattered the flowers of +all seasons, and of every clime, abundantly over those smooth, +central lawns; who scooped out hollows in fit places, and setting +great basons of marble in them, caused ever-gushing fountains to +fill them to the brim; who reared up the immemorial obelisk out of +the soil that had long hidden it; who placed pedestals along the +borders of the avenues, and covered them with busts of that +multitude of worthies,—statesmen, heroes, artists, men of letters +and of song,—whom the whole world claims as its chief ornaments, +though Italy has produced them all. In a word, the Pincian garden +is one of the things that reconcile the stranger (since he fully +appreciates the enjoyment, and feels nothing of the cost,) to the +rule of an irresponsible dynasty of Holy Fathers, who seem to have +arrived at making life as agreeable an affair as it can well be.</p> + +<p>"In this pleasant spot the red-trousered French soldiers are always +to be seen; bearded and grizzled veterans, perhaps, with medals of +Algiers or the Crimea on their breasts. To them is assigned the +peaceful duty of seeing that children do not trample on the +flower-beds, nor any youthful lover rifle them of their fragrant +blossoms to stick in his beloved one's hair. Here sits (drooping +upon some marble bench, in the treacherous sunshine,) the +consumptive girl, whose friends have brought her, for a cure, into +a climate that instils poison into its very purest breath. Here, +all day, come nursery maids, burdened with rosy English babies, or +guiding the footsteps of little travellers from the far western +world. Here, in the sunny afternoon, roll and rumble all kinds of +carriages, from the Cardinal's old-fashioned and gorgeous purple +carriage to the gay barouche of modern date. Here horsemen gallop +on thorough-bred steeds. Here, in short, all the transitory +population of Rome, the world's great watering-place, rides, +drives, or promenades! Here are beautiful sunsets; and here, +whichever way you turn your eyes, are scenes as well worth gazing +at, both in themselves and for their historical interest, as any +that the sun ever rose and set upon. Here, too, on certain +afternoons in the week, a French military band flings out rich +music over the poor old city, floating her with strains as loud as +those of her own echoless triumphs."—<i>Hawthorne.</i> +<a name="vol_1_page_046" id="vol_1_page_046"></a></p></div> + +<p>The garden of the Pincio is very small, but beautifully laid out. At a +crossroads is placed an <i>Obelisk</i>, brought from Egypt, and which the +late discoveries in hieroglyphics show to have been erected there, in +the joint names of Hadrian and his empress Sabina, to their beloved +Antinous, who was drowned in the Nile <small>A.D.</small> 131.</p> + +<p>From the furthest angle of the garden we look down upon the strange +fragment of wall known as the <i>Muro-Torto</i>.</p> + +<div class="blockquot"><p>"Le Muro-Torto offre un souvenir curieux. On nomme ainsi un pan de +muraille qui, avant de faire partie du rempart d'Honorius, avait +servi à soutenir la terrasse du jardin du Domitius, et qui, du +temps de Bélisaire, était déjà incliné comme il l'est aujourd'hui. +Procope racconte que Bélisaire voulait le rebâtir, mais que les +Romains l'en empêchèrent, affirmant que ce point n'était pas +exposé, parce que Saint Pierre avait promis de le défendre. Procope +ajoute: 'Personne n'a osé réparer ce mur, et il reste encore dans +le même état.' Nous pouvons en dire autant que Procope, et le mur, +détaché de la colline à laquelle il s'appuyait, reste encore +incliné et semble près de tomber. Ce détail du siége de Rome est +confirmé par l'aspect singulier du Muro-Torto, qui <i>semble toujours +près de tomber</i>, et subsiste dans le même état depuis quatorze +siècles, comme s'il était soutenu miraculeusement par la main de +Saint Pierre. On ne saurait guère trouver pour l'autorité temporel +des papes, un meilleur symbole."—<i>Ampère, Emp.</i> ii. 397.</p> + +<p>"At the furthest point of the Pincio, you look down from the +parapet upon the Muro-Torto, a massive fragment of the oldest Roman +wall, which juts over, as if ready to tumble down by its own +weight, yet seems still the most indestructible piece of work that +men's hands ever piled together. In the blue distance rise Soracte, +and other heights, which have gleamed afar, to our imagination, but +look scarcely real to our bodily eyes, because, being dreamed about +so much, they have taken the aerial tints which belong only to a +dream. These, nevertheless, are the solid framework of hills that +shut in Rome, and its broad surrounding Campagna; no land of +dreams, but the broadest page of history, crowded so full with +memorable events, that one obliterates another, as if Time had +crossed and recrossed his own records till they grew +illegible."—<i>Hawthorne.</i></p></div> + +<p>In early imperial times the site of the Pincio garden was<a name="vol_1_page_047" id="vol_1_page_047"></a> occupied by +the famous villa of Lucullus, who had gained his enormous wealth as +general of the Roman armies in Asia.</p> + +<div class="blockquot"><p>"The life of Lucullus was like an ancient comedy, where first we +see great actions, both political and military, and afterwards +feasts, debauches, races by torchlight, and every kind of frivolous +amusement. For among frivolous amusements, I cannot but reckon his +sumptuous villas, walks, and baths; and still more so the +paintings, statues, and other works of art which he collected at +immense expense, idly squandering away upon them the vast fortune +he amassed in the wars. Insomuch that now, when luxury is so much +advanced, the gardens of Lucullus rank with those of the kings, and +are esteemed the most magnificent even of these."—<i>Plutarch.</i></p></div> + +<p>Here, in his Pincian villa, Lucullus gave his celebrated feast to Cicero +and Pompey, merely mentioning to a slave beforehand that he should sup +in the hall of Apollo, which was understood as a command to prepare all +that was most sumptuous.</p> + +<div class="blockquot"><p>After Lucullus—the beautiful Pincian villa belonged to Valerius +Asiaticus, and in the reign of Claudius was coveted by his fifth +wife, Messalina. She suborned Silius, her son's tutor, to accuse +him of a licentious life, and of corrupting the army. Being +condemned to death, "Asiaticus declined the counsel of his friends +to starve himself, a course which might leave an interval for the +chance of pardon; and after the lofty fashion of the ancient +Romans, bathed, perfumed, and supped magnificently, and then opened +his veins, and let himself bleed to death. Before dying he +inspected the pyre prepared for him in his own gardens, and ordered +it to be removed to another spot, that an umbrageous plantation +which overhung it might not be injured by the flames."</p> + +<p>As soon as she heard of his death, Messalina took possession of the +villa, and held high revel there with her numerous lovers, with the +most favoured of whom, Silius, she had actually gone through the +religious rites of marriage in the lifetime of the emperor, who was +absent at Ostia. But a conspiracy among the freedmen of the royal +household informed the emperor of what was taking place, and at +last even Claudius was aroused to a sense of her enormities.<a name="vol_1_page_048" id="vol_1_page_048"></a></p> + +<p>"In her suburban palace, Messalina was abandoning herself to +voluptuous transports. The season was mid-autumn, the vintage was +in full progress; the wine-press was groaning; the ruddy juice was +streaming; women girt with scanty fawnskins danced as drunken +Bacchanals around her: while she herself, with her hair loose and +disordered, brandished the thyrsus in the midst, and Silius by her +side, buskined and crowned with ivy, tossed his head to the +flaunting strains of Silenus and the Satyrs. Vettius, one, it +seems, of the wanton's less fortunate paramours, attended the +ceremony, and climbed in merriment a lofty tree in the garden. When +asked what he saw, he replied, 'an awful storm from Ostia'; and +whether there was actually such an appearance, or whether the words +were spoken at random, they were accepted afterwards as an omen of +the catastrophe which quickly followed.</p> + +<p>"For now in the midst of these wanton orgies the rumour quickly +spread, and swiftly messengers arrived to confirm it, that Claudius +knew it all, that Claudius was on his way to Rome, and was coming +in anger and vengeance. The lovers part: Silius for the forum and +the tribunals; Messalina for the shade of her gardens on the +Pincio, the price of the blood of the murdered Asiaticus." Once the +empress attempted to go forth to meet Claudius, taking her children +with her, and accompanied by Vibidia, the eldest of the vestal +virgins, whom she persuaded to intercede for her, but her enemies +prevented her gaining access to her husband; Vibidia was satisfied +for the moment by vague promises of a later hearing; and upon the +arrival of Claudius in Rome, Silius and the other principal lovers +of the empress were put to death. "Still Messalina hoped. She had +withdrawn again to the gardens of Lucullus, and was there engaged +in composing addresses of supplication to her husband, in which her +pride and long-accustomed insolence still faintly struggled into +her fears. The emperor still paltered with the treason. He had +retired to his palace; he had bathed, anointed, and lain down to +supper; and, warmed with wine and generous cheer, he had actually +despatched a message to the <i>poor creature</i>, as he called her, +bidding her come the next day, and plead her cause before him. But +her enemy Narcissus, knowing how easy might be the passage from +compassion to love, glided from the chamber, and boldly ordered a +tribune and some centurions to go and slay his victim. 'Such,' he +said, 'was the emperor's command'; and his word was obeyed without +hesitation. Under the direction of the freedman Euodus, the armed +men sought the outcast in her gardens, where she lay prostrate on +the ground, by the side of her mother Lepida. While their fortunes +flourished, dissensions had existed between the two; but now, in +her last distress, the mother had refused to desert her child,<a name="vol_1_page_049" id="vol_1_page_049"></a> and +only strove to nerve her resolution to a voluntary death. 'Life,' +she urged, 'is over; nought remains but to look for a decent exit +from it.' But the soul of the reprobate was corrupted by her vices; +she retained no sense of honour; she continued to weep and groan as +if hope still existed; when suddenly the doors were burst open, the +tribune and his swordsmen appeared before her, and Euodus assailed +her, dumb-stricken as she lay, with contumelious and brutal +reproaches. Roused at last to the consciousness of her desperate +condition, she took a weapon from one of the men's hands and +pressed it trembling against her throat and bosom. Still she wanted +resolution to give the thrust, and it was by a blow of the +tribune's falchion that the horrid deed was finally accomplished. +The death of Asiaticus was avenged on the very spot; the hot blood +of the wanton smoked on the pavement of his gardens, and stained +with a deeper hue the variegated marbles of Lucullus."—<i>Merivale, +Hist. of the Romans under the Empire.</i></p></div> + +<p>From the garden of the Pincio a terraced road (beneath which are the +long-closed catacombs of St. Felix) leads to the <i>Villa Medici</i>, built +for Cardinal Ricci da Montepulciano by Annibale Lippi in 1540. Shortly +afterwards it passed into the hands of the Medici family, and was +greatly enlarged by Cardinal Alessandro de Medici, afterwards Leo XI. In +1801 the Academy for French Art-Students, founded by Louis XIV., was +established here. The villa contains a fine collection of casts, open +every day except Sunday.</p> + +<p>Behind the villa is a beautiful <i>Garden</i> (which can be visited on +application to the porter). The terrace, which looks down upon the Villa +Borghese, is bordered by ancient sarcophagi, and has a colossal statue +of Rome. The garden side of the villa has sometimes been ascribed to +Michael Angelo.</p> + +<div class="blockquot"><p>"La plus grande coquetterie de la maison, c'est la façade +postérieure. Elle tient son rang parmi les chefs-d'œuvre de la +Renaissance. On dirait que l'architecte a épuisé une mine de +bas-reliefs grecs et romains pour en tapisser son palais. Le jardin +est de la même époque: il date du temps où l'aristocratie romaine +professait le plus profond dédain pour<a name="vol_1_page_050" id="vol_1_page_050"></a> les fleurs. On n'y voit que +des massifs de verdure, alignés avec un soin scrupuleux. Six +pelouses, entourées de haies à hauteur d'appui, s'étendent devant +la villa et laissent courir la vue jusqu'au mont Soracte, qui ferme +l'horizon. A gauche, quatre fois quatre carrés de gazon s'encadrent +dans de hautes murailles de lauriers, de buis gigantesques et de +chênes verts. Les murailles se rejoignent au-dessus des allées et +les enveloppent d'une ombre fraîche et mystérieuse. A droite, une +terrasse d'une style noble encadre un bois de chênes verts, tordus +et eventrés par le temps. J'y vais quelquefois travailler à +l'ombre; et le merle rivalise avec le rossignol au-dessus de ma +tête, comme un beau chantre de village peut rivaliser avec Mario ou +Roger. Un peu plus loin, une vigne toute rustique s'étend jusqu'à +la porte Pinciana, où Belisaire a mendié, dit-on. Les jardins +petits et grands sont semés de statues, d'Hermes, et de marbres de +toute sorte. L'eau coule dans des sarcophages antiques ou jaillit +dans des vasques de marbre: le marbre et l'eau sont les deux luxes +de Rome."—<i>About, Rome Contemporaine.</i></p> + +<p>"The grounds of the Villa Medici are laid out in the old fashion of +straight paths, with borders of box, which form hedges of great +height and density, and are shorn and trimmed to the evenness of a +wall of stone, at the top and sides. There are green alleys, with +long vistas, overshadowed by ilex-trees; and at each intersection +of the paths the visitor finds seats of lichen-covered stone to +repose upon, and marble statues that look forlornly at him, +regretful of their lost noses. In the more open portions of the +garden, before the sculptured front of the villa, you see fountains +and flower-beds; and, in their season, a profusion of roses, from +which the genial sun of Italy distils a fragrance, to be scattered +abroad by the no less genial breeze."—<i>Hawthorne.</i></p></div> + +<p>A second door will admit to the higher terrace of <i>the Boschetto</i>; a +tiny wood of ancient ilexes, from which a steep flight of steps leads to +the "Belvidere," whence there is a beautiful view.</p> + +<div class="blockquot"><p>"They asked the porter for the key of the Bosco, which was given, +and they entered a grove of ilexes, whose gloomy shade effectually +shut out the radiant sunshine that still illuminated the western +sky. They then ascended a long and exceedingly steep flight of +steps, leading up to a high mound covered with ilexes.</p> + +<p>"Here both stood still, side by side, gazing silently on the city, +where dome and bell-tower stood out against a sky of gold; the +desolate<a name="vol_1_page_051" id="vol_1_page_051"></a> Monte Mario and its stone pines rising dark to the right. +Behind, close at hand, were sombre ilex woods, amid which rose here +and there the spire of a cypress or a ruined arch, and on the +highest point, the white Villa Ludovisi; beyond, stretched the +Campagna, girdled by hills melting into light under the evening +sky."—<i>Mademoiselle Mori.</i></p></div> + +<p>From the door of the Villa Medici is the scene familiar to artists, of a +fountain shaded by ilexes, which frame a distant view of St Peter's.</p> + +<div class="blockquot"><p>"Je vois (de la Villa Medici) les quatre cinquièmes de la ville; je +compte les sept collines, je parcours les rues régulières qui +s'étendent entre le cours et la place d'Espagne, je fais le +d'enombrement des palais, des églises, des dômes, et des clochers; +je m'égare dans le Ghetto et dans la Trastévère. Je ne vois pas des +ruines autant que j'en voudrais: elles sont ramassées là-bas, sur +ma gauche, aux environs du Forum. Cependant nous avons tout près de +nous la colonne Antonine et la mausolée d'Adrien. La vue est fermée +agréablement par les pins de la villa Pamphili, qui reunissent +leurs larges parasols et font comme une table à mille pieds pour un +repas de géants. L'horizon fuit à gauche à des distances infinies; +la plaine est nue, onduleuse et bleue comme la mer. Mais si je vous +mettais en présence d'un spectacle si étendu et si divers, en seul +objet attirerait vos regards, un seul frapperait votre attention: +vous n'auriez des yeux que pour Saint Pierre. Son dôme est moitié +dans la ville, moitié dans la ciel. Quand j'ouvre ma fenêtre, vers +cinq heures du matin, je vois Rome noyée dans les brouillards de la +fièvre: seul, le dôme de Saint-Pierre est coloré par la lumière +rose du soleil levant."—<i>About.</i></p></div> + +<p>The terrace ("La Passeggiata") ends at the <i>Obelisk of the Trinità de' +Monti</i>, erected here in 1822 by Pius VII., who found it near the Church +of Sta. Croce in Gerusalemme.</p> + +<div class="blockquot"><p>"When the Ave Maria sounds, it is time to go to the church of +Trinità de' Monti, where French nuns sing; and it is charming to +hear them. I declare to heaven that I am become quite tolerant, and +listen to bad music with edification; but what can I do? The +composition is perfectly ridiculous, the organ-playing even more +absurd: but it is twilight, and the whole of the small bright +church is filled with persons kneeling, lit up by the sinking sun +each time that the door is opened;<a name="vol_1_page_052" id="vol_1_page_052"></a> both the singing nuns have the +sweetest voices in the world, quite tender and touching, more +especially when one of them sings the responses in her melodious +voice, which we are accustomed to hear chaunted by priests in a +loud, harsh, monotonous tone. The impression is very singular; +moreover, it is well known that no one is permitted to see the fair +singers, so this caused me to form a strange resolution. I have +composed something to suit their voices, which I have observed very +minutely, and I mean to send it to them. It will be pleasant to +hear my chaunt performed by persons I never saw, especially as they +must in turn sing it to the 'barbaro Tedescho,' whom they also +never beheld."—<i>Mendelssohn's Letters.</i></p> + +<p>"In the evenings people go to the Trinità to hear the nuns sing +from the organ-gallery. It sounds like the singing of angels. One +sees in the choir troops of young scholars, moving with slow and +measured steps, with their long white veils, like a flock of +spirits."—<i>Frederika Bremer.</i></p></div> + +<p><i>The Church of the Trinità de' Monti</i> was built in 1495 by Charles VIII. +of France, at the request of S. Francesco di Paola. At the time of the +French revolution it was plundered, but was restored by Louis XVIII. in +1817. It contains several interesting paintings.</p> + +<p>In the second chapel on the left is the Descent from the Cross, the +masterpiece of <i>Daniele da Volterra</i>, declared by Nicholas Poussin to be +the third picture in the world, but terribly injured by the French in +their attempts to remove it.</p> + +<div class="blockquot"><p>"We might almost fancy ourselves spectators of the mournful +scene,—the Redeemer, while being removed from the cross, gradually +sinking down with all that relaxation of limb and utter +helplessness which belongs to a dead body; the assistants engaged +in their various duties, and thrown into different and contrasted +attitudes, intently occupied with the sacred remains which they so +reverently gaze upon; the mother of the Lord in a swoon amidst her +afflicted companions; the disciple whom he loved standing with +outstretched arms, absorbed in contemplating the mysterious +spectacle. The truth in the representation of the exposed parts of +the body appears to be nature itself. The colouring of the heads +and of the whole picture accords precisely with<a name="vol_1_page_053" id="vol_1_page_053"></a> the subject, +displaying strength rather than delicacy, a harmony, and in short a +degree of skill, of which M. Angelo himself might have been proud, +if the picture had been inscribed with his name. And to this I +believe the author alluded, when he painted his friend with a +looking-glass near it, as if to intimate that he might recognize in +the picture a reflection of himself."—<i>Lanzi.</i></p> + +<p>"Daniele da Volterra's Descent from the Cross is one of the +celebrated pictures of the world, and has very grand features. The +body is not skilfully sustained; nevertheless the number of strong +men employed about it makes up in sheer muscle for the absence of +skill. Here are four ladders against the cross, stalwart figures +standing, ascending, and descending upon each, so that the space +between the cross and the ground is absolutely alive with +magnificent lines. The Virgin lies on one side, and is like a grand +creature struck down by a sudden death-blow. She has fallen, like +Ananias in Raphael's cartoon, with her head bent backwards, and her +arm under her. The crown of thorns has been taken from the dead +brow, and rests on the end of one of the ladders."—<i>Lady +Eastlake.</i></p></div> + +<p>The third chapel on the right contains an Assumption of the Virgin, +another work of <i>Daniele da Volterra</i>. The fifth chapel is adorned with +frescoes of his school. The sixth has frescoes of the school of +<i>Perugino</i>. The frescoes in the right transept are by <i>F. Zuccaro</i> and +<i>Pierino del Vaga</i>; in that of the Procession of St. Gregory the +mausoleum of Hadrian is represented as it appeared in the time of Leo X.</p> + +<p>The adjoining <i>Convent of the Sacré Cœur</i> is much frequented as a +place of education. The nuns are all persons of rank. When a lady takes +the veil, her nearest relations inherit her property, except about +1000<i>l.</i>, which goes to the convent. The nuns are allowed to retain no +personal property, but if they wish still to have the use of their +books, they give them to the convent library. They receive visitors +every afternoon, and quantities of people go to them from curiosity, on +the plea of seeking advice.</p> + +<p>From the Trinità the two popular streets—Sistina and<a name="vol_1_page_054" id="vol_1_page_054"></a> +Gregoriana—branch off; the former leading in a direct line (though the +name changes) to Sta. Maria Maggiore, and thence to St. John Lateran and +Sta. Croce in Gerusalemme. The house adjoining the Trinità was that of +Nicholas Poussin; that at the angle of the two streets, called the +<i>Tempietto</i>, was once inhabited by Claude Lorraine. The adjoining house +(64 Sistina)—formerly known as Palazzo della Regina di Polonia, from +Maria Casimira, Queen of Poland, who resided there for some years—was +inhabited by the Zuccari family, and has paintings on the ground-floor +by <i>Federigo Zuccaro</i>. One of the rooms on the first-floor was adorned +with frescoes by modern German artists at the expense of the Prussian +consul Bartholdy, viz.:—</p> + +<p class="nind"> +<span style="margin-left: 2em;">The Selling of Joseph: <i>Overbeck.</i></span><br /> +<span style="margin-left: 2em;">Joseph and Potiphar's Wife: <i>Veit.</i></span><br /> +<span style="margin-left: 2em;">Meeting of Joseph and his Brethren: <i>Cornelius.</i></span><br /> +<span style="margin-left: 2em;">The Seven Lean Years: <i>Overbeck.</i></span><br /> +<span style="margin-left: 2em;">Joseph interprets the Dreams in Prison: <i>Schadow.</i></span><br /> +<span style="margin-left: 2em;">The Brethren bring Joseph's Coat to Jacob: <i>Schadow.</i></span><br /> +<span style="margin-left: 2em;">Joseph interprets the Dreams of Pharaoh: <i>Cornelius.</i></span><br /> +<span style="margin-left: 2em;">The Seven Plentiful Years: <i>Veit.</i></span><br /> +</p> + +<hr style="width: 15%;" /> + +<p>On the left of the Piazza del Popolo, the <i>Via Babuino</i> branches off, +deriving its name from the mutilated figure on a fountain halfway down. +On the right is the Greek <i>Church of S. Atanasio</i>, attached to a college +founded by Gregory XIII. in 1580.</p> + +<div class="blockquot"><p>"To-day, the feast of the Epiphany, I have witnessed mass according +to the Greek rite. The ceremonies appear to be more stately, more +severe, more significant, and at the same time more popular, than +those of the Latin rite."—<i>Goethe, Romische Briefe.</i></p></div> + +<p>Behind this street is the <i>Via Margutta</i>, almost entirely inhabited by +artists and sculptors.<a name="vol_1_page_055" id="vol_1_page_055"></a></p> + +<div class="blockquot"><p>"The Via Margutta is a street of studios and stables, crossed at +the upper end by a little roofed gallery with a single window, like +a shabby Bridge of Sighs. Horses are continually being washed and +currycombed outside their stable doors; frequent heaps of +<i>immondeazzajo</i> make the air unfragrant; and the perspective is +frequently damaged by rows of linen suspended across the road from +window to window. Unsightly as they are, however, these obstacles +in no wise affect the popularity of the Via Margutta, either as a +residence for the artist, or a lounge for the amateur. Fashionable +patrons leave their carriages at the corner, and pick their way +daintily among the gutters and dust-heaps. A boar-hunt by Vallatti +compensates for an unlucky splash; and a campagna sunset of +Desoulavey glows all the richer for the squalor through which it is +approached."—<i>Barbara's History.</i></p></div> + +<p>In this street also is situated the <i>Costume Academy</i>.</p> + +<div class="blockquot"><p>"Imagine a great barn of a room, with dingy walls half covered with +chalk studies of the figure in all possible attitudes. Opposite the +door is a low platform with revolving top, and beside it an +<i>écorché</i>, or plaster figure bereft of skin, so as to exhibit the +muscles. Ranges of benches, raised one above the other, occupy the +remainder of the room; and if you were to look in at about eight +o'clock on a winter's evening, you would find them tenanted by a +multitude of young artists, mostly in their shirt sleeves, with +perhaps three or four ladies, all disposed around the model, who +stands upon the platform in one of the picturesque costumes of +Southern Italy, with a cluster of eight lamps, intensified by a +powerful reflector, immediately above his or her unlucky head.</p> + +<p>The costumes are regulated by Church times and seasons. During Lent +the models were mediæval dresses; during the winter and carnival, +Italian costumes of the present day; and with Easter begin mere +draperies, <i>pieghe</i>, or folds, as they are technically called.</p> + +<p>Every evening the subject for the next night is chalked up on a +black board beside the platform; for the next <i>two</i> nights rather; +for each model poses for two evenings; the position of his feet +being chalked upon the platform, so as to secure the same attitude +on the second evening. Consequently, four hours are allowed for +each drawing.... The <i>pieghe</i> are only for a single time, as it +would be impossible to secure the same folds twice over.... The +expense of attending the Academy, including attendance, each +person's share in the model, and his own especial lamp, amounts to +2½<i>d.</i> an evening, or<a name="vol_1_page_056" id="vol_1_page_056"></a> a scudo and a half (about 6<i>s.</i> 6<i>d.</i>) a +month; marvellously cheap, it most be confessed."—<i>H. M. B.</i>, in +<i>Once a Week</i>.</p></div> + +<p>The Babuino ends in the ugly but central square of the <i>Piazza di +Spagna</i>, where many of the best hotels and shops are situated. Hence the +Trinità is reached by a magnificent flight of steps (disgracefully ill +kept), which was built by Alessandro Specchi at the expense of a private +individual, M. Gueffier, secretary to the French embassy at Rome, under +Innocent XIII.</p> + +<div class="blockquot"><p>"No art-loving visitor to Rome can ever have passed the noble +flight of steps which leads from the Piazza di Spagna to the Church +of the Trinità de' Monti without longing to transfer to his +sketch-book the picturesque groups of models who there spend their +day, basking in the beams of the wintry sun, and eating those +little boiled beans whose yellow husks bestrew every place where +the lower class Romans congregate—practising, in short, the 'dolce +far niente.' Beppo, the celebrated lame beggar, is no longer to be +seen there, having been banished to the steps of the Church of St. +Agostino; but there is old Felice, with conical hat, brown cloak, +and bagpipes, father of half the models on the steps. He has been +seen in an artist's studio in Paris, and is reported to have +performed on foot the double journey between Rome and that capital. +There are two or three younger men in blue jackets and goat-skin +breeches; as many women in folded linen head-dresses, and red or +blue skirts; and a sprinkling of children of both sexes, in +costumes the miniature fac-similes of their elders. All these +speedily learn to recognise a visitor who is interested in that +especial branch of art which is embodied in models, and at every +turn in the street such a one is met by the flash of white teeth, +and the gracious sweetness of an Italian smile."—<i>H. M. B.</i></p> + +<p>"Among what may be called the cubs or minor lions of Rome, there +was one that amused me mightily. It is always to be found there; +and its den is on the great flight of steps that lead from the +Piazza di Spagna to the Church of the Trinità de' Monti. In plainer +words, these steps are the great place of resort for the artists' +'Models,' and there they are constantly waiting to be hired. The +first time I went up there, I could not conceive why the faces +seemed so familiar to me; why they appeared to have beset me, for +years, in every possible variety of action and costume;<a name="vol_1_page_057" id="vol_1_page_057"></a> and how it +came to pass that they started up before me, in Rome, in the broad +day, like so many saddled and bridled nightmares. I soon found that +we had made acquaintance, and improved it, for several years, on +the walls of various Exhibition Galleries. There is one old +gentleman with long white hair, and an immense beard, who, to my +knowledge, has gone half-through the catalogues of the Royal +Academy. This is the venerable or patriarchal model. He carries a +long staff; and every knob and twist in that staff I have seen, +faithfully delineated, innumerable times. There is another man in a +blue cloak, who always pretends to be asleep in the sun (when there +is any), and who, I need not say, is always very wide awake, and +very attentive to the disposition of his legs. This is the <i>dolce +far niente</i> model. There is another man in a brown cloak, who leans +against a wall, with his arms folded in his mantle, and look out of +the corners of his eyes, which are just visible beneath his broad +slouched hat. This is the assassin model. There is another man, who +constantly looks over his own shoulder, and is always going away, +but never goes. This is the haughty or scornful model. As to +Domestic Happiness, and Holy Families, they should come very cheap, +for there are heaps of them, all up the steps; and the cream of the +thing is, that they are all the falsest vagabonds in the world, +especially made up for the purpose, and having no counterparts in +Rome or any other part of the habitable globe."—<i>Dickens.</i></p> + +<p>"Climb these steps when the sun is setting. From a hundred belfries +the bells ring for Ave Maria, and there, across the town, and in a +blaze of golden glory, stands the great dome of St. Peter's: and +from the terrace of the Villa Medici you can see the whole +wonderful view, faintly pencilled Soracte far to your right, and +below you and around you the City and the Seven Hills."—<i>Vera.</i></p></div> + +<p>The <i>Barcaccia</i>, the fountain at the foot of the steps, executed by +<i>Bernini</i>, is a stone boat commemorating the naumachia of +Domitian,—naval battles which took place in an artificial lake +surrounded by a kind of theatre, which once occupied the site of this +piazza. In front of the <i>Palazzo di Spagna</i> (the residence of the +Spanish ambassador), which gives its name to the square, stands a +<i>Column</i> of cipollino, supporting a statue of the Virgin, erected by +Pius IX. in 1854, in honour of his new dogma of the Immaculate<a name="vol_1_page_058" id="vol_1_page_058"></a> +Conception. At the base are figures of Moses, David, Isaiah, and +Ezekiel.</p> + +<p>The Piazza di Spagna may be considered as the centre of the English +quarter, of which the Corso forms the boundary.</p> + +<div class="blockquot"><p>"Every winter there is a gay and pleasant English colony in Rome, +of course more or less remarkable for rank, fashion, or +agreeability, with every varying year. Thrown together every day +and night after night, flocking to the same picture-galleries, +statue-galleries, Pincian drives, and church functions, the English +colonists at Rome perforce become intimate, and in many cases +friendly. They have an English library where the various meets for +the week are placarded: on such a day the Vatican galleries are +open; the next is the feast of Saint so-and-so; on Wednesday there +will be music and vespers at the Sistine Chapel; on Thursday the +pope will bless the animals—sheep, horses, and what-not; and +flocks of English accordingly rush to witness the benediction of +droves of donkeys. In a word, the ancient city of the Cæsars, the +august fanes of the popes, with their splendour and ceremony, are +all mapped out and arranged for English diversion."—Thackeray, +<i>The Newcomes.</i></p></div> + +<p>The Piazza is closed by the <i>Collegio di Propaganda Fede</i>, founded in +1622 by Gregory XV., but enlarged by Urban VIII., who built the present +edifice from plans of Bernini. Like all the buildings erected by this +pope, its chief decorations are the bees of the Barberini. The object of +the college is the education of youths of all nations as missionaries.</p> + +<div class="blockquot"><p>"The origin of the Propaganda is properly to be sought in an edict +of Gregory XIII., by which the direction of eastern missions was +confided to a certain number of cardinals, who were commanded to +promote the printing of catechisms in the less known tongues. But +the institution was not firmly established; it was unprovided with +the requisite means, and was by no means comprehensive in its +views. It was at the suggestion of the great preacher Girolamo da +Narni that the idea was first conceived of extending the +above-named institution. At his suggestion, a congregation was +established in all due form, and by this body regular<a name="vol_1_page_059" id="vol_1_page_059"></a> meetings +were to be held for the guidance and conduct of missions in every +part of the world. The first funds were advanced by Gregory; his +nephew contributed from his private property; and since this +institution was in fact adapted to a want, the pressure of which +was then felt, it increased in prosperity and splendour. Who does +not know the services performed by the Propaganda for the diffusion +of philosophical studies? and not this only;—the institution has +generally laboured (in its earliest years most successfully, +perhaps) to fulfil its vocation in a liberal and noble +spirit."—<i>Ranke, Hist. of the Popes.</i></p> + +<p>"On y reçoit des jeunes gens nés dans les pays ultramontains et +orientaux, où sont les infidéles et les hérétiques; ils y font leur +education religieuse et civile, et retournent dans leur pays comme +missionnaires pour propager la loi."—<i>A. Du Pays.</i></p> + +<p>"Le collége du Propaganda Fede, ou l'on engraisse des missionnaires +pour donner à manger aux cannibales. C'est, ma foi, un excellent +ragout pour eux, que deux pères franciscains à la sauce rousse. Le +capucin en daube, se mange aussi comme le renard, quand il a été +gelé. Il y a à la Propagande une bibliothèque, une imprimerie +fournie de toutes sortes de caractères des langues orientales, et +de petits Chinois qu'on y élève ainsi que des alouettes +chanterelles, pour en attraper d'autres."—<i>De Brosses.</i></p></div> + +<p>In January a festival is held here, when speeches are recited by the +pupils in all their different languages. The public is admitted by +tickets.</p> + +<hr style="width: 15%;" /> + +<p>The <i>Via Ripetta</i> leaves the Piazza del Popolo on the right. Passing, on +the right, a large building belonging to the Academy of St. Luke, we +reach, on the right, the Quay of the Ripetta, a pretty architectural +construction of Clement XI. in 1707.</p> + +<p>Hence, a clumsy ferry-boat gives access to a walk which leads to St. +Peter's (by Porta Angelica) through the fields at the back of S. Angelo. +These fields are of historic interest, being the <i>Prata Quinctia</i> of +Cincinnatus.</p> + +<div class="blockquot"><p>"L. Quinctius Cincinnatus, the only hope of the Roman people, lived +beyond the Tiber, opposite the place where the Navalia are, where +he<a name="vol_1_page_060" id="vol_1_page_060"></a> cultivated the four acres of ground which are now called the +Quinctian meadows. There the messengers of the senate found him +leaning on his spade, either digging a trench or ploughing, but +certainly occupied in some field labour. The salutation, 'May it be +well with you and the republic,' was given and returned in the +usual form, and he was requested to put on his toga to receive a +message from the senate. Amazed, and asking if anything was wrong, +he desired his wife Racilia to fetch his toga from the cottage, and +having wiped off the sweat and dust with which he was covered, he +came forward dressed in his toga to the messengers, who saluted him +as dictator, and congratulated him."—<i>Livy</i>, iii. 26.</p></div> + +<p>The churches on the left of the Ripetta are, first, <i>SS. Rocco e +Martino</i>, built 1657, by Antonio de Rossi, with a hospital adjoining it.</p> + +<div class="blockquot"><p>"The lying-in hospital adjoins the Church of San Rocco. It contains +seventy beds, furnished with curtains and screens, so as to +separate them effectually. Females are admitted without giving +their name, their country, or their condition in life; and such is +the delicacy observed in their regard, that they are at liberty to +wear a veil, so as to remain unknown even to their attendants, in +order to save the honour of their families, and prevent abortion, +suicide, or infanticide. Even should death ensue, the deceased +remains unknown. The children are conveyed to Santo Spirito; and +the mother who wishes to retain her offspring, affixes a +distinctive mark, by which it may be recognised and recovered. To +remove all disquietude from the minds of those who may enter, the +establishment is exempt from all civil, criminal, and +ecclesiastical jurisdiction, and its threshold is never crossed +except by persons connected with the establishment."—<i>Dr. +Donovan.</i></p></div> + +<p>Then, opposite the quay, <i>S. Girolamo degli Schiavoni</i>, built for Sixtus +V. by Fontana. It contains, near the altar, a striking figure of St. +Jerome, seated, with a book upon his knees.</p> + +<hr style="width: 15%;" /> + +<p>We will now follow the Corso, which, in spite of its narrowness and bad +side-pavements, is the finest street in Rome. It is greatly to be +regretted that this street, which<a name="vol_1_page_061" id="vol_1_page_061"></a> is nearly a mile long, should lead to +nothing, instead of ending at the steps of the Capitol, which would have +produced a striking effect. It follows the line of the ancient Via +Flaminia, and in consequence was once spanned by four triumphal +arches—of Marcus Aurelius, Domitian, Claudius, and Gordian—but all +these have disappeared. The Corso is perfectly lined with balconies, +which, during the carnival, are filled with gay groups of maskers +flinging confetti. These balconies are a relic of imperial times, having +been invented at Rome, where they were originally called "Mœniana," +from the tribune Mœnius, who designed them to accommodate spectators +of processions in the streets below.</p> + +<div class="blockquot"><p>"The Corso is a street a mile long; a street of shops, and palaces, +and private houses, sometimes opening into a broad piazza. There +are verandahs and balconies, of all shapes and sizes, to almost +every house—not on one story alone, but often to one room or +another on every story—put there in general with so little order +or regularity, that if, year after year, and season after season, +it had rained balconies, hailed balconies, snowed balconies, blown +balconies, they could scarcely have come into existence in a more +disorderly manner."—<i>Dickens.</i></p></div> + +<p>On the left of the Corso is the Augustine Church of <i>Gesù e Maria</i>, with +a façade by <i>Rinaldi</i>. Almost opposite, is the Church of <i>S. Giacomo +degli Incurabili</i>, by <i>Carlo Maderno</i>. It is attached to a surgical +hospital for 350 patients. In the adjoining Strada S. Giacomo was the +studio of Canova, recognizable by fragments of bas-reliefs engrafted in +its walls.</p> + +<p>Three streets beyond this (on right) is the <i>Via de' Pontefici</i> (so +called from a series of papal portraits, now destroyed, which formerly +existed on the walls of one of its houses),<a name="vol_1_page_062" id="vol_1_page_062"></a> where (No. 57<small>R</small>) is the +entrance to the remains of the <i>Mausoleum of Augustus</i>.</p> + +<div class="blockquot"><p>"Hard by the banks of the Tiber, in the grassy meadows where the +Roman youths met in athletic and martial exercises, there rose a +lofty marble tower with three retiring stages, each of which had +its terrace covered with earth and planted with cypresses. These +stages were pierced with numerous chambers, destined to receive, +row within row, and story upon story, the remains of every member +of the imperial family, with many thousands of their slaves and +freedmen. In the centre of that massive mound the great founder of +the empire was to sleep his last sleep, while his statue was +ordained to rise conspicuous on its summit, and satiate its +everlasting gaze with the view of his beloved city."—<i>Merivale.</i></p></div> + +<p>The first funeral here was that of Marcellus, son of Octavia, the sister +of Augustus, and first husband of his daughter Julia, who died of +malaria at Baiæ, <small>B.C.</small> 23.</p> + +<table border="0" cellpadding="0" cellspacing="0" summary=""> +<tr><td align="left">"Quantos ille virûm magnam Mavortis ad urbem</td></tr> +<tr><td align="left"> Campus aget gemitus! vel quæ, Tiberine, videbis</td></tr> +<tr><td align="left"> Funera, cum tumulum præterlabere recentem!</td></tr> +<tr><td align="left"> Nec puer Iliacâ quisquam de gente Latinos</td></tr> +<tr><td align="left"> In tantum spe tollet avos; nec Romula quondam</td></tr> +<tr><td align="left"> Ullo se tantum tellus jactabit alumno.</td></tr> +<tr><td align="left"> Heu pietas, heu prisca fides, invictaque bello</td></tr> +<tr><td align="left"> Dextera! non illi se quisquam impune tulisset</td></tr> +<tr><td align="left"> Obvius armato, seu quum pedes iret in hostem,</td></tr> +<tr><td align="left"> Seu spumantis equi foderet calcaribus armos.</td></tr> +<tr><td align="left"> Heu, miserande puer! si qua fata aspera rumpas,</td></tr> +<tr><td align="left"> Tu Marcellus eris."</td></tr> +<tr><td align="right"><i>Æneid</i>, vi. 873.</td></tr> +</table> + +<p>The next member of the family buried here was Agrippa, the second +husband of Julia, ob. 12 <small>B.C.</small> Then came Octavia, sister of the emperor +and widow of Antony, honoured by a public funeral, at which orations +were delivered by Augustus himself, and Drusus, son of the empress +Livia. Her body was carried to the tomb by Tiberius (afterwards +emperor)<a name="vol_1_page_063" id="vol_1_page_063"></a> and Drusus, the two sons of the empress. Drusus (<small>B.C.</small> 9) died +in a German campaign by a fall from his horse, and was brought back +hither for interment. In <small>A.D.</small> 14 the great Augustus died at Nola, and +his body was burnt here on a funeral pile so gigantic, that the widowed +Livia, dishevelled and ungirt, with bare feet, attended by the principal +Roman senators, had to watch it for five days and nights, before it +cooled sufficiently for them to collect the ashes of the emperor. At the +moment of its being lighted an eagle was let loose from the summit of +the pyre, under which form a senator, named Numerius Atticus, was +induced, by a gift from Livia equivalent to 250,000 francs, to swear +that he saw the spirit of Augustus fly away to heaven. Then came +Germanicus, son of the first Drusus, and nephew of Tiberius, ob. <small>A.D.</small> +19, at Antioch, where he was believed to have been poisoned by Piso and +his wife Plancina. Then, in <small>A.D.</small> 23, Drusus, son of Tiberius, poisoned +by his wife, Livilla, and her lover, Sejanus: then the empress, Livia, +who died <small>A.D.</small> 29, at the age of 86. Agrippina, widow of Germanicus (ob. +<small>A.D.</small> 33), starved to death, and her two sons, Nero and Drusus, also +murdered by Tiberius, were long excluded from the family sepulchre, but +were eventually brought hither by the youngest brother Caius, afterwards +the emperor Caligula. Tiberius, who died <small>A.D.</small> 37, at the villa of +Lucullus at Misenum, was brought here for burial. The ashes of Caligula, +murdered <small>A.D.</small> 41, and first buried in the Horti Lamiani on the +Esquiline, were transferred here by his sisters. In his reign, Antonia, +the widow of Drusus, and mother of Germanicus, had died, and her ashes +were laid up here. The Emperor Claudius, <small>A.D.</small> 54, murdered by Agrippina; +his son, Britannicus, <small>A.D.</small> 55, murdered by<a name="vol_1_page_064" id="vol_1_page_064"></a> Nero; and the Emperor Nerva, +<small>A.D.</small> 98, were the latest inmates of the mausoleum.</p> + +<p>The last cremation which occurred here was long after the mausoleum had +fallen into ruin, when the body of the tribune Rienzi, after having hung +for two days at S. Marcello, was ordered to be burnt here by Jugurta and +Sciaretta, and was consumed by a vast multitude of Jews (out of flattery +to the Colonna, their neighbours at the Ghetto), "in a fire of dry +thistles, till it was reduced to ashes, and no fibre of it remained."</p> + +<p>There is nothing now remaining to testify to the former magnificence of +this building. The area is used in summer as an open-air theatre, where +very amusing little plays are very well acted. Among its massive cells a +poor washerwoman, known as "Sister Rose," established, some ten years +ago, a kind of hospital for aged women (several of them centagenarians), +whom she supported entirely by her own exertions, having originally +begun by taking care of one old woman, and gradually adding another and +another. The English church service was first performed in Rome in the +Palazzo Correa, adjoining this building.</p> + +<p>Opposite the Via de' Pontefici, the <i>Via Vittoria</i> leaves the Corso. To +the Ursuline convent in this street (founded by Camilla Borghese in the +seventeenth century) Madame Victoire and Madame Adelaide ("tantes du +Roi") fled in the beginning of the great French revolution, and here +they died.</p> + +<p><i>The Church of S. Carlo in Corso</i> (on right) is the national church of +the Lombards. It is a handsome building with a fine dome. The interior +was commenced by <i>Lunghi</i> in 1614, and finished by <i>Pietro da Cortona</i>. +It<a name="vol_1_page_065" id="vol_1_page_065"></a> contains no objects of interest, unless a picture of the Apotheosis +of S. Carlo Borromeo (the patron of the church), over the high altar, by +<i>Carlo Maratta</i>, can be called so. The heart of the saint is preserved +under the altar.</p> + +<p>Just beyond this on the left, the <i>Via Condotti</i>—almost lined with +jewellers'-shops—branches off to the Piazza di Spagna. The Trinità de' +Monti is seen beyond it. The opposite street, Via Fontanella, leads to +St. Peter's, and in five minutes to the magnificent—</p> + +<p><i>Palazzo Borghese</i>, begun in 1590 by Cardinal Deza, from designs of +Martino Lunghi, and finished by Paul V. (Camillo Borghese, 1605-21), +from those of Flaminio Ponzio. The apartments inhabited by the family +are handsome, but contain few objects of interest.</p> + +<div class="blockquot"><p>"In the reign of Paul V. the Borghese became the wealthiest and +most powerful family in Rome. In the year 1612, the church +benefices already conferred upon Cardinal Scipione Borghese were +computed to secure him an income of 150,000 scudi. The temporal +offices were bestowed on Marc-Antonio Borghese, on whom the pope +also conferred the principality of Sulmona in Naples, besides +giving him rich palaces in Rome and the most beautiful villas in +the neighbourhood. He loaded his nephews with presents; we have a +list of them through his whole reign down to the year 1620. They +are sometimes jewels or vessels of silver, or magnificent +furniture, which was taken directly from the stores of the palace +and sent to the nephews; at other times carriages, rich arms, as +muskets and falconets, were presented to them; but the principal +thing was the round sums of hard money. These accounts make it +appear that to the year 1620, they had received in ready money +689,627 scudi, 31 baj; in luoghi di monte, 24,600 scudi, according +to their nominal value; in places, computing them at the sum their +sale would have brought to the treasury, 268,176 scudi; all which +amounted, as in the case of the Aldobrandini, to nearly a million.</p> + +<p>"Nor did the Borghese neglect to invest their wealth in real +property. They acquired eighty estates in the Campagna of Rome; the +Roman nobles suffering themselves to be tempted into the sale of +their ancient hereditary domain by the large prices paid them, and +by the high rate<a name="vol_1_page_066" id="vol_1_page_066"></a> of interest borne by the luoghi di monte, which +they purchased with the money thus acquired. In many other parts of +the ecclesiastical states, the Borghese also seated themselves, the +pope facilitating their doing so by the grant of peculiar +privileges. In some places, for example, they received the right of +restoring exiles; in others, that of holding a market, or certain +exemptions were granted to those who became their vassals. They +were freed from various imposts, and even obtained a bull, by +virtue of which their possessions were never to be +confiscated."—<i>Ranke, Hist. of the Popes.</i></p> + +<p>"Si l'on peut reprocher à Paul, avec Muratori, ses libéralités +envers ses neveux, envers le cardinal Scipion, envers le duc de +Sulmone, il est juste d'ajouter que la plupart des membres de cette +noble famille rivalisèrent avec le pape de magnificence et de +générosité. Or, chaque année, Paul V. distribuait un million d'écus +d'or aux pélerins pauvres et un million et demi aux autres +nécessiteux. C'est à lui que remonte la fondation de la banque du +Saint-Esprit, dont les riches immeubles servirent d'hypothèques aux +dépôts qui lui furent confiés. Mais ce fut surtout dans les +constructions qu'il entreprit, que Paul V. déploya une royale +magnificence."—<i>Gournerie.</i></p> + +<p>"The Palazzo Borghese is an immense edifice standing round the four +sides of a quadrangle; and though the suite of rooms, comprising +the picture-gallery, forms an almost interminable vista, they +occupy only a part of the ground-floor of one side. We enter from +the street into a large court surrounded with a corridor, the +arches of which support a second series of arches above. The +picture-rooms open from one into another, and have many points of +magnificence, being large and lofty, with vaulted ceilings and +beautiful frescoes, generally of mythological subjects, in the flat +central parts of the vault. The cornices are gilded; the deep +embrasures of the windows are panelled with wood-work; the doorways +are of polished and variegated marble, or covered with a +composition as hard, and seemingly as durable. The whole has a kind +of splendid shabbiness thrown over it, like a slight coating of +rust; the furniture, at least the damask chairs, being a good deal +worn; though there are marble and mosaic tables which may serve to +adorn another palace, when this has crumbled away with +age."—<i>Hawthorne.</i></p></div> + +<p>The Borghese Picture Gallery is the best private collection in Rome, and +is open to the public daily from 9 to 2, except on Saturdays and +Sundays. The gallery is entered from the side of the palace towards the +Piazza Borghese.<a name="vol_1_page_067" id="vol_1_page_067"></a> It contains several gems, which are here marked with +an asterisk; noticeable pictures are:—</p> + +<div class="blockquot"><p class="hang"><i>1st Room.</i>—Schools of Milan and Perugia.<br /> +1. Holy Family: <i>Sandro Botticelli</i>.<br /> +2. Holy Family: <i>Lorenzo di Credi</i>.<br /> +3. Holy Family: <i>Paris Alfani Perugino</i>.<br /> +4. Portrait: <i>Lorenzo di Credi</i>.<br /> +5. Vanity: <i>School of Leonardo da Vinci</i>.<br /> +27, 28. Petrarch and Laura.<br /> +32. St. Agatha: <i>School of Leonardo</i>.<br /> +33. The Young Christ: <i>School of Leonardo</i>.<br /> +34. Madonna: <i>School of Perugino</i>.<br /> +35. Raphael as a boy: <i>Raphael?</i><br /> +43. Madonna: <i>Francesco Francia?</i><br /> +44. Calvario: <i>C. Crivelli</i>.<br /> +48. St. Sebastian: <i>Perugino</i>.<br /> +49, 57. History of Joseph: <i>Pinturicchio</i>.<br /> +59. Presepio: <i>Sketch attributed to Raphael when young</i>.<br /> +61. St. Antonio: <i>Francesco Francia</i>.<br /> +66. Presepio: <i>Mazzolino</i>.<br /> +67. Adoration of the Child Jesus: <i>Ortolano</i>.<br /> +68. Christ and St. Thomas: <i>Mazzolino?</i><br /> +69. Holy Family: <i>Pollajuolo</i>.<br /> + <br /> +</p> + +<p class="hang"><i>2nd Room.</i>—Chiefly of the school of Garofalo.<br /> + +6. Madonna with St. Joseph and St. Michael: <i>Garofalo</i>.<br /> +9. The mourners over the dead Christ: <i>Garofalo</i>.*<br /> +18. Portrait of Julius II.: <i>Giulio Romano, after Raphael</i>.<br /> +22. Portrait of a Cardinal: <i>Bronzino? called Raphael</i>.*<br /> +23. 'Madonna col divin' amore': <i>School of Raphael</i>.*<br /> +26. Portrait of Cæsar Borgia: <i>Bronzino, attributed to Raphael</i>.*<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a><br /> +28. Portrait of a (naked) woman: <i>Bronzino</i>.<br /> +36. Holy Family: <i>Andrea del Sarto</i>.<br /> +38. Entombment: <i>Raphael</i>.*<br /> +</p> + +<p>This picture was the last work of Raphael before he went to Rome. +It was ordered by Atalanta Baglioni for a chapel in S. Francesco +de' Conventuali at Perugia. Paul V. bought it for the Borghese. +The<a name="vol_1_page_068" id="vol_1_page_068"></a> 'Faith, Hope, and Charity' at the Vatican, formed a predella +for this picture.</p> + +<p>"Raphael's picture of 'Bearing the Body of Christ to the +Sepulchre,' though meriting all its fame in respect of drawing, +expression, and knowledge, has lost all signs of reverential +feeling in the persons of the bearers. The reduced size of the +winding-sheet is to blame for this, by bringing them rudely in +contact with their precious burden. Nothing can be finer than their +figures, or more satisfactory than their labour, if we forget what +it is they are carrying; but it is the weight of the burden only, +and not the character of it, which the painter has kept in view, +and we feel that the result would have been the same had these +figures been carrying a sack of sand. Here, from the youth of the +figure, the bearer at the feet appears to be St. John."—<i>Lady +Eastlake.</i></p> + +<p class="nind"> +40. Holy Family: <i>Fra Bartolomeo</i>.<br /> +43. Madonna: <i>Fr. Francia</i>.<br /> +44. Madonna: <i>Sodoma</i>.<br /> +51. St. Stephen: <i>Francesco Francia</i>.*<br /> +59. Adoration of the Magi: <i>Mazzolino</i>.<br /> +60. Presepio: <i>Garofalo</i>.<br /> +65. The Fornarina: <i>Copy of Raphael, Giulio Romano?</i><br /> +69. St. John Baptist in the Wilderness: <i>Giulio Romano</i>.<br /> +</p></div> + +<p><i>3rd Room.</i>—Chiefly of the school of Andrea del Sarto. (The works of +this painter are often confounded with those of his disciple, Domenico +Puligo.)</p> + +<p class="nind"> +<span style="margin-left: 2em;">1. Christ bearing the Cross: <i>Andrea Solario</i>.</span><br /> +<span style="margin-left: 2em;">2. Portrait: <i>Parmigianino.</i></span><br /> +<span style="margin-left: 2em;">5. 'Noli me tangere': <i>Bronzino?</i></span><br /> +<span style="margin-left: 2em;">11. The Sorceress Circe: <i>Dosso Dossi</i>.</span><br /> +<span style="margin-left: 2em;">13. Mater Dolorosa: <i>Solario?</i></span><br /> +<span style="margin-left: 2em;">22. Holy Family: <i>School of Raphael</i>.</span><br /> +<span style="margin-left: 2em;">24. Madonna and Child with three children: <i>A. del Sarto</i>.</span><br /> +<span style="margin-left: 2em;">28. Madonna, Child, and St. John: <i>A. del Sarto</i>.</span><br /> +<span style="margin-left: 2em;">29. Madonna, Child, St. John, and St. Elizabeth: <i>Pierino del</i></span><br /> +<span style="margin-left: 2em;"><i>Vaga</i>.</span><br /> +<span style="margin-left: 2em;">33. Holy Family: <i>Pierino del Vaga</i>.</span><br /> +<span style="margin-left: 2em;">35. Venus and Cupids: <i>A. del Sarto</i>.</span><br /> +<span style="margin-left: 2em;">40. Danae: <i>Correggio</i>.*</span><br /> +</p> + +<p>In the corner of this picture are the celebrated Cupids sharpening an +arrow.<a name="vol_1_page_069" id="vol_1_page_069"></a></p> + +<p class="nind"> +<span style="margin-left: 2em;">42. Cosmo de' Medici: <i>Bronzino</i>.</span><br /> +<span style="margin-left: 2em;">46. The Reading Magdalene: <i>School of Correggio</i>.</span><br /> +<span style="margin-left: 2em;">47. Holy Family: <i>Pomarancio</i>.</span><br /> +<span style="margin-left: 2em;">48. The Flagellation: <i>Sebastian del Piombo</i>.*</span><br /> +<span style="margin-left: 2em;">49. St. M. Magdalene: <i>A. del Sarto</i>.</span><br /> +</p> + +<p class="hang"><i>4th Room.</i>—Bolognese school.</p> + +<p class="nind"> +<span style="margin-left: 2em;">1. Entombment: <i>Ann. Carracci</i>.</span><br /> +<span style="margin-left: 2em;">2. Cumæan Sibyl: <i>Domenichino</i>.*</span><br /> +<span style="margin-left: 2em;">18. St. Francis: <i>Cigoli</i>.</span><br /> +<span style="margin-left: 2em;">20. St. Joseph: <i>Guido Reni</i>.</span><br /> +<span style="margin-left: 2em;">23. St. Francis: <i>Ann. Carracci</i>.</span><br /> +<span style="margin-left: 2em;">29. St. Domenic: <i>Ann. Carracci</i>.</span><br /> +<span style="margin-left: 2em;">36. Madonna: <i>Carlo Dolce</i>.</span><br /> +<span style="margin-left: 2em;">37. Mater Dolorosa: <i>Carlo Dolce</i>.</span><br /> +<span style="margin-left: 2em;">38, 41. Two heads for an Annunciation: <i>Furino</i>.</span><br /> +<span style="margin-left: 2em;">42. Head of Christ: <i>Carlo Dolce</i>.</span><br /> +<span style="margin-left: 2em;">43. Madonna: <i>Sassoferrato</i>.</span><br /> +</p> + +<p class="hang"><i>5th Room.</i>—<br /> +11, 12, 13, 14. The Four Seasons: <i>Fr. Albani</i>.</p> + +<div class="blockquot"><p>"The Seasons, by Francesco Albani, were, beyond all others, my +favourite pieces; the beautiful, joyous, angel-children—the Loves, +were as if creations of my own dreams. How deliciously they were +staggering about in the picture of Spring! A crowd of them were +sharpening arrows, whilst one of them turned round the great +grindstone, and two others, floating above, poured water upon it. +In Summer, they flew about among the tree-branches, which were +loaded with fruit, which they plucked; they swam in the fresh +water, and played with it. Autumn brought the pleasures of the +chase. Cupid sits, with a torch in his hand, in his little chariot, +which two of his companions draw; while Love beckons to the brisk +hunter, and shows him the place where they can rest themselves side +by side. Winter has lulled all the little ones to sleep; soundly +and fast they lie slumbering around. The Nymphs steal their quivers +and arrows, which they throw on the fire, that there may be an end +of the dangerous weapons."—<i>Andersen, in The Improvisatore.</i></p></div> + +<p class="nind"> +<span style="margin-left: 2em;">15. La Caccia di Diana: <i>Domenichino</i>.</span><br /> +<span style="margin-left: 2em;">25. The Deposition, with Angels: <i>F. Zuccari</i>.</span><br /> +</p> + +<p class="hang"><i>6th Room.</i>—<br /> +<span style="margin-left: 2em;">5. Return of the Prodigal Son: <i>Guercino</i>.</span><br /> +<span style="margin-left: 2em;">7. Portrait of G. Ghislieri: <i>Pietro da Cortona</i>.<a name="vol_1_page_070" id="vol_1_page_070"></a></span><br /> +<span style="margin-left: 2em;">10. St Stanislaus with the Child Jesus: <i>Ribera</i>.*</span><br /> +<span style="margin-left: 2em;">12. Joseph Interpreting the Dreams in Prison: <i>Valentin</i>.</span><br /> +<span style="margin-left: 2em;">13. The Three Ages of Man. <i>Copy from Titian by Sassoferrato</i>.<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a></span><br /> +<span style="margin-left: 2em;">18. Madonna: <i>Sassoferrato</i>.</span><br /> +<span style="margin-left: 2em;">22. Flight of Æneas from Troy: <i>Baroccio</i>.</span><br /> +</p> + +<p><i>7th Room.</i>—Richly decorated with mirrors, painted with Cupids by +<i>Girofiri</i>, and wreaths of flowers by <i>Mario di Fiori</i>.</p> + +<p><i>8th Room.</i>—Contains nothing of importance, except a mosaic portrait of +Paul V. by <i>Marcello Provenzali</i>.</p> + +<p><i>9th Room.</i>—Containing several interesting frescoes.</p> + +<p class="nind"> +<span style="margin-left: 2em;">1. The Nuptials of Alexander and Roxana.</span><br /> +<span style="margin-left: 2em;">2. The Nuptials of Vertumnus and Pomona.</span><br /> +<span style="margin-left: 2em;">3. 'Il Bersaglio dei Dei.'</span><br /> +</p> + +<div class="blockquot"><p>These three frescoes were brought hither from the Casino of +Raphael, in the Villa Borghese (destroyed in the siege of Rome in +1849), and are supposed to have been painted by some of Raphael's +pupils from his designs. The other frescoes in this room are by +<i>Giulio Romano</i>, and were removed from the Villa Lante, when it was +turned into a convent.</p></div> + +<p class="hang"><i>10th Room.</i>—<br /> +<span style="margin-left: 2em;">2. Cupid blindfolded by Venus: <i>Titian</i>.</span><br /> +<span style="margin-left: 2em;">4. Judith: <i>School of Titian</i>.</span><br /> +<span style="margin-left: 2em;">9. Portrait: <i>Pordenone</i>.</span><br /> +<span style="margin-left: 2em;">13. David with the head of Goliath: <i>Giorgione</i>.*</span><br /> +<span style="margin-left: 2em;">14. St. John the Baptist preaching (unfinished): <i>Paul Veronese</i>.</span><br /> +<span style="margin-left: 2em;">16. St. Domenic: <i>Titian</i>.</span><br /> +<span style="margin-left: 2em;">19. Portrait: <i>Giac. Bassano</i>.</span><br /> +<span style="margin-left: 2em;">21. 'Sacred and Profane Love': <i>Titian</i>.*</span><br /> +</p> + +<div class="blockquot"><p>"Out of Venice there is nothing of Titian's to compare to his +Sacred and Profane Love. It represents two figures: one, a heavenly +and youthful form, unclothed, except with a light drapery; the +other, a lovely female, dressed in the most splendid attire; both +are sitting on the brink of a well, into which a little winged Love +is groping, apparently to find his lost dart.... Description can +give no idea of the consummate beauty of this composition. It has +all Titian's matchless warmth of colouring, with a correctness of +design no other painter<a name="vol_1_page_071" id="vol_1_page_071"></a> of the Venetian school ever attained. It +is nature, but not individual nature: it is ideal beauty in all its +perfection, and breathing life in all its truth, that we +behold."—<i>Eaton's Rome.</i></p> + +<p>"Two female forms are seated on the edge of a sarcophagus-shaped +fountain, the one in a rich Venetian costume, with gloves, flowers +in her hands, and a plucked rose beside her, is in deep meditation, +as if solving some difficult question. The other is unclothed; a +red drapery is falling behind her, while she exhibits a form of the +utmost beauty and delicacy; she is turning towards the other figure +with the sweetest persuasiveness of expression. A Cupid is playing +in the fountain; in the distance is a rich, glowing +landscape."—<i>Kugler.</i></p></div> + +<p class="nind"> +<span style="margin-left: 2em;">30. Madonna: <i>Giov. Bellini</i>.</span><br /> +<span style="margin-left: 2em;">34. St. Cosmo and Damian: <i>Venetian School</i>.</span><br /> +</p> + +<p class="hang"><i>11th Room.</i>—Veronese school.<br /> + +<span style="margin-left: 2em;">1. Madonna with Adam (?) and St. Augustine: <i>Lorenzo Lotto</i>, <small>MDVIII</small>.</span><br /> +<span style="margin-left: 2em;">2. St. Anthony preaching to the Fishes: <i>P. Veronese?</i></span><br /> +<span style="margin-left: 2em;">3. Madonna: <i>Titian?</i></span><br /> +<span style="margin-left: 2em;">11. Venus and Cupid on Dolphins: <i>Luc. Cambiaso</i>.</span><br /> +<span style="margin-left: 2em;">14. Last Supper: <i>And. Schiavone</i>.</span><br /> +<span style="margin-left: 2em;">15. Christ and the Mother of Zebedee's Children: <i>Bonifazio</i>.*</span><br /> +<span style="margin-left: 2em;">16. Return of the Prodigal Son: <i>Bonifazio</i>.*</span><br /> +<span style="margin-left: 2em;">17. Samson: <i>Titian</i>.</span><br /> +<span style="margin-left: 2em;">18. Christ and the Woman taken in Adultery: <i>Bonifazio</i>.</span><br /> +<span style="margin-left: 2em;">19. Madonna and Saints: <i>Palma Vecchio</i>.</span><br /> +</p> + +<div class="blockquot"><p>In this picture the donors are introduced—the head of the man is +grandly devout and beautiful.</p></div> + +<p class="nind"> +<span style="margin-left: 2em;">25. Portrait of Himself: <i>Titian?</i></span><br /> +<span style="margin-left: 2em;">27. Portrait: <i>Giov. Bellini</i>.</span><br /> +<span style="margin-left: 2em;">31. Madonna and St. Peter: <i>Giov. Bellini</i>.</span><br /> +<span style="margin-left: 2em;">32. Holy Family: <i>Palma Vecchio</i>.</span><br /> +<span style="margin-left: 2em;">33. Portrait of the Family of Licini da Pordenone: <i>Bart. Licini da Pordenone</i>.</span><br /> +</p> + +<p class="hang"><i>12th Room.</i>—Dutch and German school.<br /> + +<span style="margin-left: 2em;">1. Crucifixion: <i>Vandyke</i>.</span><br /> +<span style="margin-left: 2em;">7. Entombment: <i>Vandyke</i>.</span><br /> +<span style="margin-left: 2em;">8. Tavern Scene: <i>Teniers</i>.</span><br /> +<span style="margin-left: 2em;">9. Interior: <i>Brouerer</i>.<a name="vol_1_page_072" id="vol_1_page_072"></a></span><br /> +<span style="margin-left: 2em;">19. Louis VI. of Bavaria: <i>Albert Dürer?</i></span><br /> +<span style="margin-left: 2em;">21. Portrait: <i>Holbein</i>.</span><br /> +<span style="margin-left: 2em;">21. Landscape and Horses: <i>Wouvermann</i>.</span><br /> +<span style="margin-left: 2em;">22. Cattle-piece: <i>Paul Potter</i>.</span><br /> +<span style="margin-left: 2em;">24. Portrait: <i>Holbein</i>.</span><br /> +<span style="margin-left: 2em;">26. Skating (in brown): <i>Berghem</i>.</span><br /> +<span style="margin-left: 2em;">27. Portrait: <i>Vandyke</i>.</span><br /> +<span style="margin-left: 2em;">35. Portrait: <i>Lucas von Leyden?</i></span><br /> +<span style="margin-left: 2em;">44. Venus and Cupid: <i>Lucas Cranach</i>.</span><br /> +</p> + +<p>The <i>Palazzetto Borghese</i> on the opposite side of the piazza, originally +intended as a dower-house for the family, is now let in apartments. It +is this house which is described as the "Palazzo Clementi," in +<i>Mademoiselle Mori</i>.</p> + +<p>At the corner of the Via Fontanella and the Corso is the handsome +<i>Palazzo Ruspoli</i>, built by Ammanati in 1586. It has a grand white +marble staircase erected by Lunghi in 1750. Beyond this are the palaces +<i>Fiano</i>, <i>Verospi</i>, and <i>Teodoli</i>.</p> + +<div class="blockquot"><p>"Les palais de Rome, bien que n'ayant pas un caractère original +comme ceux de Florence ou de Venise n'en sont pas moins cependant +un des traits de la ville des papes. Ils n'appartiennent ni au +moyen age, ni à la renaissance (la Palais de Venise seul rappelle +les constructions massives de Florence); ils sont des modèles +d'architecture civile moderne. Les Bramante, les Sangallo, les +Balthazar Peruzzi, qui les ont batis, sont des maîtres qu'on ne se +lasse pas d'étudier. La magnificence de ces palais reside +principalement dans leur architecture et dans les collections +artistiques que quelques-uns contiennent. Un certain nombre sont +malheureusement dans un triste état d'abandon. De plus, à +l'exception d'un très petit nombre, ils sont restés inachevés. Cela +se conçoit; presque tous sont le produit du luxe célibataire des +papes ou des cardinaux; très-peu de ces personages ont pu voir la +fin de ce qu'ils avaient commencé. Leurs heritiers, pour le +plupart, se souciaient fort peu de jeter les richesses qu'ils +venaient d'acquerir dans les édifices de luxe et de vanité. A +l'intérieur, le plus souvent, est un mobilier rare, suranné, et +mesquin."—<i>A. Du Pays.</i><a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a> +<a name="vol_1_page_073" id="vol_1_page_073"></a></p></div> + +<p>The <i>Palazzo Bernini</i> (151 Corso), on the left, has, inside its +entrance, a curious statue of "Calumny" by <i>Bernini</i>, with an +inscription relative to his own sufferings from slander.</p> + +<p>On the right, the small piazza of S. Lorenzo opens out of the Corso. +Here is the <i>Church of S. Lorenzo in Lucina</i>, founded in the fifth +century, but rebuilt in its present form by Paul V. in 1606. The +campanile is of an older date, and so are the lions in the portico.</p> + +<div class="blockquot"><p>"When the lion, or other wild beast, appears in the act of preying +on a smaller animal or on a man, is implied the severity of the +Church towards the impenitent or heretical; but when in the act of +sporting with another creature, her benignity towards the neophyte +and the docile. At the portal of St Lorenzo in Lucina, this idea is +carried out in the figure of a mannikin affectionately stroking the +head of the terrible creature who protects, instead of devouring +him."—<i>Hemans' Christian Art.</i></p></div> + +<p>No one should omit seeing the grand picture of <i>Guido Reni</i>, over the +high altar of this church,—the Crucifixion, seen against a wild, stormy +sky. Niccolas Poussin, ob. 1660, is buried here, and one of his best +known Arcadian landscapes is reproduced in a bas-relief upon his tomb, +which was erected by Chateaubriand, with the epitaph,—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Parce piis lacrymis, vivit Pussinus in urnâ,<br /></span> +<span class="i2">Vivus qui dederat, nescius ipse mori.<br /></span> +<span class="i0">Hîc tamen ipse silet; si vis audire loquentem,<br /></span> +<span class="i2">Mirum est, in tabulis vivit, et eloquitur."<br /></span> +</div><div class="stanza"> +</div></div> + +<p>In "The Ring and the Book" of Browning, this church is the scene of +Pompilia's baptism and marriage. She is made to say:—<a name="vol_1_page_074" id="vol_1_page_074"></a></p> + +<div class="poem"><div class="stanza"> +<span class="i7">—"This St. Lorenzo seems<br /></span> +<span class="i0">My own particular place, I always say.<br /></span> +<span class="i0">I used to wonder, when I stood scarce high<br /></span> +<span class="i0">As the bed here, what the marble lion meant,<br /></span> +<span class="i0">Eating the figure of a prostrate man."<br /></span> +</div><div class="stanza"> +</div></div> + +<p>Here the bodies of her parents are represented as being exposed after +the murder:</p> + +<div class="poem"><div class="stanza"> +<span class="i7">—"beneath the piece<br /></span> +<span class="i0">Of Master Guido Reni, Christ on Cross,<br /></span> +<span class="i0">Second to nought observable in Rome."<br /></span> +</div><div class="stanza"> +</div></div> + +<p>On the left, where the Via della Vite turns out of the Corso, an +inscription in the wall records the destruction, in 1665, of the +triumphal arch of Marcus Aurelius, which existed here till that time. +The magnificence of this arch is attested by the bas-reliefs +representing the history of the emperor, which were removed from it, and +are preserved on the staircase of the palace of the Conservators.</p> + +<div class="blockquot"><p>"Les Barbares n'en savaient pas assez et n'avaient pas assez de +patience pour démolir les monuments romains; mais, avec les +ressources de la science moderne et à la suite d'une administration +régulière, on est venu à bout de presque tout ce que le temps avait +épargné. Il y'avait, par exemple, au commencement du <small>XVI</small><sup>e</sup>. +siècle, quatre arcs de triomphe qui n'existent plus; le dernier, +celui de Marc Aurele, a été enlevé par le pape Alexandre VII. On +lit encore dans le Corso l'inconcevable inscription dans laquelle +le pape se vante d'avoir debarrassé la promenade publique de ce +monument, qui, vu sa date, devait être d'un beau style."—<i>Ampère, +Voyage Dantesque.</i></p></div> + +<p>A little further down the Corso, on the left, the Via delle Convertite +leads to <i>S. Sylvestro in Capite</i>, one of three churches in Rome +dedicated to the sainted pope of the time of Constantine. This, like S. +Lorenzo, has a fine mediæval campanile. The day of St. Sylvester's +death, December 31 (<small>A.D.</small> 335), is kept here with great solemnity, and is +celebrated by magnificent musical services. This pope<a name="vol_1_page_075" id="vol_1_page_075"></a> was buried in the +cemetery of Priscilla, whence his remains were removed to S. Martino al +Monte. The title "In Capite" is given to this church on account of the +head of St John Baptist, which it professes to possess, as is narrated +by an inscription engrafted into its walls.</p> + +<p>The convent attached to this church was founded in 1318, especially for +noble sisters of the house of Colonna who dedicated themselves to God. +Here it was that the celebrated Vittoria Colonna, Marchesa di Pescara, +came to reside in 1525, when widowed in her thirty-sixth year, and here +she began to write her sonnets, a kind of "In Memoriam," to her husband. +It is a curious proof of the value placed upon her remaining in the +world, that Pope Clement VII. was persuaded to send a brief to the +abbess and nuns, desiring them to offer her "all spiritual and temporal +consolations," but forbidding them, under pain of the greater +excommunication, to permit her to take the veil in her affliction.<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a></p> + +<p>At the end of this street, continued under the name of Via de Mercede +(No. 11 was the residence of Bernini), and behind the Propaganda, is the +<i>Church of S. Andrea delle Fratte</i>, whose brick cupola by Borromini is +so picturesque a feature. The bell-tower beside it swings when the bells +are rung. In the second chapel on the right is the beautiful modern tomb +of Mademoiselle Julie Falconnet, by Miss Hosmer. The opposite chapel is +remarkable for a modern miracle (?) annually commemorated here.</p> + +<div class="blockquot"><p>"M. Ratisbonne, un juif, appartenant à une très-riche famille +d'Alsace, qui se trouvait accidentellement à Rome, se promenant +dans l'église de S. Andrea delle Fratte pendant qu'on y faisait les +préparatifs pour<a name="vol_1_page_076" id="vol_1_page_076"></a> les obsèques de M. de la Ferronays, s'y est +converti subitement. Il se trouvait debout en face d'une chapelle +dédiée à l'ange gardien, à quelques pas, lorsque tout-à-coup il a +eu une apparition lumineuse de la Sainte Vierge qui lui a fait +signe d'aller vers cette chapelle. Une force irrésistible l'y a +entraíné, il y est tombé à genoux, et il a été à l'instant +chrétien. Sa première parole à celui qui l'avait accompagné a été, +en relevant son visage inondé de larmes: 'Il faut que ce monsieur +ait beaucoup prié pour moi.'"—<i>Récit d'une Sœur.</i></p> + +<p>"Era un istante ch'io mi stava in chiesa allora che di colpo mi +sentii preso da inesprimibile conturbamento. Alzai gli occhi; tutto +l'edifizio s'era dileguato a' miei sguardi; sola una cappella aveva +come in se raccolta tutta la luce, e di mezzo di raggianti +splendori s' è mostrata diritta sull'altare, grande, +sfolgoreggiante, piena di maestà, e di dolcezza, la Vergine Maria. +Una forza irresistibile m'ha sospinto verso di lei. La Vergine m'ha +fatto della mano segno d'inginocchiarmi; pareva volermi dire, +'Bene!' Ella non mi ha parlato ma io ho inteso tutto."—<i>Recital of +Alfonse Ratisbonne.</i><a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a></p></div> + +<p>M. de la Ferronays, whose character is now so well known from the +beautiful family memoirs of Mrs. Augustus Craven, is buried beneath the +altar where this vision occurred. In the third chapel on the left is the +tomb of Angelica Kauffmann; in the right aisle that of the Prussian +artist, Schadow. The two angels in front of the choir are by <i>Bernini</i>, +who intended them for the bridge of S. Angelo.</p> + +<p>Returning to the Corso, the Via S. Claudio (left) leads to the pretty +little church of that name, adjoining the Palazzo Parisani. Behind, is +the Church of Sta. Maria in Via.</p> + +<p>At the corner of the Piazza Colonna is the <i>Palazzo Chigi</i>, begun in +1526 by Giacomo della Porta, and finished by Carlo Maderno. It contains +several good pictures and a fine library, but is seldom shown.<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a><a name="vol_1_page_077" id="vol_1_page_077"></a></p> + +<p>The most remarkable members of the great family of Chigi have been the +famous banker Agostino Chigi, who lived so sumptuously at the Farnesina +(see chap. 20), and Fabio Chigi, who mounted the papal throne as +Alexander VII., and who long refused to have anything to do with the +aggrandisement of his family, saying that the poor were the only +relations he would acknowledge, and, like Christ, he did not wish for +any nearer ones. To keep himself in mind of the shortness of earthly +grandeur, this pope always kept a coffin in his room, and drank out of a +cup shaped like a skull.</p> + +<p>The side of the <i>Piazza Colonna</i>, which faces the Corso, is occupied by +the Post-Office. On its other sides are the Piombino and Ferrajuoli +palaces, of no interest. In the centre is placed the fine <i>Column</i>, +which was found on the Monte Citorio in 1709, having been originally +erected by the senate and people <small>A.D.</small> 174, to the Emperor Marcus +Aurelius Antoninus (adopted son of the Emperor Hadrian,—husband of his +niece, Annia Faustina,—father of the Emperor Commodus). It is +surrounded by bas-reliefs, representing the conquest of the Marcomanni. +One of these has long been an especial object of interest, from being +supposed to represent a divinity (Jupiter?) sending rain to the troops, +in answer to the prayers of a Christian legion from Mitylene. Eusebius +gives the story, stating that the piety of these Christians induced the +emperor to ask their prayers in his necessity, and a letter in Justin +Martyr (of which the authenticity is much doubted), in which Aurelius +allows the<a name="vol_1_page_078" id="vol_1_page_078"></a> fact, is produced in proof. The statue of St. Paul on the +top of the column was erected by Sixtus V.; the pedestal also is modern.</p> + +<p>Behind the Piazza Colonna is the <i>Piazza Monte Citorio</i>, containing an +<i>Obelisk</i> which was discovered in broken fragments near the Church of S. +Lorenzo in Lucina. It was repaired with pieces of the column of +Antoninus Pius, the pedestal of which may still be seen in the Vatican +garden. Its hieroglyphics are very perfect and valuable, and show that +it was erected more than 600 years before Christ, in honour of +Psammeticus I. It was brought from Heliopolis by Augustus, and erected +by him in the Campus Martius, where it received the name of Obeliscus +Solaris, from being made to act as a sun-dial.</p> + +<div class="blockquot"><p>"Ei, qui est in campo, divus Augustus addidit mirabilem usum ad +deprehendendas solis umbras, dierumque ac noctium ita magnitudines, +strato lapide ad magnitudinem obelisci, cui par fieret umbra, brumæ +confectæ die, sexta hora; paulatimque per regulas (quæ sunt ex die +exclusæ) singulis diebus decresceret ac rursus augesceret: digna +cognitu res et ingenio fœcundo. Manilius mathematicus apici +auratam pilam addidit, cujus umbra vertice colligeretur in se ipsa +alias enormiter jaculante apice ratione (ut ferunt) a capite +hominis intellecta. Hæc observatio triginta jam ferè annos non +congruit, sive solis ipsius dissono cursu, et cœli aliqua +ratione mutato, sive universa tellure a centra suo aliquid emota ut +deprehendi et in aliis locis accipio: sive urbis tremoribus ibi +tantum gnomone intorto, sive inundationibus Tiberis sedimento molis +facto: quanquam ad altitudinem impositi oneris in terram quoque +dicantur acta fundamenta."—<i>Plin. Nat. Hist.</i> lib. xxxiv. 14.</p></div> + +<p><i>The Palace of the Monte Citorio</i> (designed by Bernini) contains public +offices connected with police, passports, &c. On the opposite side of +the piazza are the Railway and Telegraph Offices.<a name="vol_1_page_079" id="vol_1_page_079"></a></p> + +<p>Proceeding up the Corso, the Via di Pietra (right) leads into the small +Piazza di Pietra, one side of which is occupied by the eleven remaining +columns of the <i>Temple of Neptune</i>, built up by Innocent XII. into the +walls of the modern Custom-house. It is worth while to enter the +courtyard in order to look back and observe the immense masses of stone +above the entrance, part of the ancient temple,—which are here +uncovered.</p> + +<p>Close to this, behind the Palazzo Cini, in the Piazza Orfanelli, is the +<i>Teatro Capranica</i>, occupying part of a palace of <i>c.</i> 1350, with gothic +windows. The opposite church, <i>Sta. Maria in Aquiro</i>, recalls by its +name the column of the Equiria, celebrated in ancient annals as the +place where certain games and horse-races, instituted by Romulus, were +celebrated. Ovid describes them in his Fasti. The church was founded +<i>c.</i> 400, but was re-built under Francesco da Volterra in 1590.</p> + +<p>A small increase of width in the Corso is now dignified by the name of +the <i>Piazza Sciarra</i>. The street which turns off hence, under an arch +(Via de Muratte, on the left), leads to the <i>Fountain of Trevi</i>, erected +in 1735 by Niccolo Salvi for Clement XII. The statue of Neptune is by +Pietro Bracci.</p> + +<div class="blockquot"><p>"The fountain of Trevi draws its precious water from a source far +beyond the walls, whence it flows hitherward through old +subterranean aqueducts, and sparkles forth as pure as the virgin +who first led Agrippa to its well-springs by her father's door. In +the design of the fountain, some sculptor of Bernini's school has +gone absolutely mad, in marble. It is a great palace-front, with +niches and many bas-reliefs, out of which looks Agrippa's legendary +virgin, and several of the allegoric sisterhood; while at the base +appears Neptune with his floundering steeds and tritons blowing +their horns about him, and twenty other artificial fantasies, which +the calm moonlight soothes into better taste<a name="vol_1_page_080" id="vol_1_page_080"></a> than is native to +them. And, after all, it is as magnificent a piece of work as ever +human skill contrived. At the foot of the palatial façade, is +strown, with careful art and ordered regularity, a broad and broken +heap of massive rock, looking as if it may have lain there since +the deluge. Over a central precipice falls the water, in a +semicircular cascade; and from a hundred crevices, on all sides, +snowy jets gush up, and streams spout out of the mouths and +nostrils of stone monsters, and fall in glistening drops; while +other rivulets, that have run wild, come leaping from one rude step +to another, over stones that are mossy, shining and green with +sedge, because, in a century of their wild play, nature has adopted +the fountain of Trevi, with all its elaborate devices, for her own. +Finally the water, tumbling, sparkling, and dashing with joyous +haste and never ceasing murmur, pours itself into a great marble +basin and reservoir, and fills it with a quivering tide; on which +is seen, continually, a snowy semi-circle of momentary foam from +the principal cascade, as well as a multitude of snow-points from +smaller jets. The basin, occupies the whole breadth of the piazza, +whence flights of steps descend to its border. A boat might float, +and make mimic voyages, on this artificial lake.</p> + +<p>"In the daytime there is hardly a livelier scene in Rome than the +neighbourhood of the fountain of Trevi; for the piazza is then +filled with stalls of vegetable and fruit dealers, +chestnut-roasters, cigar-vendors, and other people whose petty and +wandering traffic is transacted in the open air. It is likewise +thronged with idlers, lounging over the iron railing, and with +<i>forestieri</i>, who come hither to see the famous fountain. Here, +also, are men with buckets, urchins with cans, and maidens (a +picture as old as the patriarchal times) bearing their pitchers +upon their heads. For the water of Trevi is in request, far and +wide, as the most refreshing draught for feverish lips, the +pleasantest to mingle with wine, and the wholesomest to drink in +its native purity, that can anywhere be found. But, at midnight, +the piazza is a solitude; and it is a delight to behold this +untameable water, sporting by itself in the moonshine, and +compelling all the elaborate trivialities of art to assume a +natural aspect, in accordance with its own powerful simplicity. +Tradition goes, that a parting draught at the fountain of Trevi +ensures a traveller's return to Rome, whatever obstacles and +improbabilities may seem to beset him."—<i>Hawthorne's +Transformation</i>.</p> + +<p>"Le bas-relief, placé au-dessus de cette fontaine, représente la +jeune fille indiquant la source précieuse, comme dans l'antiquité +une peinture représentait le même évènement dans une chapelle +construite au lieu où il s'était passé."—<i>Ampère, Emp.</i> i. 264.</p> +<a name="vol_1_page_081" id="vol_1_page_081"></a></div> + +<p>In this piazza is the rather handsome front of <i>Sta. Maria in Trivia</i>, +formerly Sta. Maria in Fornica, erected by Cardinal Mazarin, on the site +of an older church built by Belisarius—as is told by an inscription:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Hanc vir patricius Belisarius urbis amicus<br /></span> +<span class="i2">Ob culpæ veniam condidit ecclesiam.<br /></span> +<span class="i0">Hanc, idcirco, pedem qui sacram ponis in ædem<br /></span> +<span class="i2">Ut miseretur eum sæpe precare Deum."<br /></span> +</div></div> + +<p>The fault which Belisarius wished to expiate, was the exile of Pope +Sylverius (<small>A.D.</small> 536), who was starved to death in the island of Ponza. +The crypt of the present building, being the parish church of the +Quirinal, contains the entrails of twenty popes (removed for +embalmment)—from Sixtus V. to Pius VIII.—who died in the Quirinal +Palace!</p> + +<p>The little church near the opposite corner of the piazza is that of <i>The +Crociferi</i>, and is still (1870) served by the Venerable Don Giovanni +Merlini, Father General of the Order of the Precious Blood, and the +personal friend of its founder, Gaspare del Buffalo.</p> + +<p>The Fountain of Trevi occupies one end of the gigantic <i>Palazzo Poli</i>, +which contains the English consulate. At the other end is the shop of +the famous jeweller, Castellani, well worth visiting, for the sake of +its beautiful collection of Etruscan designs, both in jewellery and in +larger works of art.</p> + +<div class="blockquot"><p>"Castellani est l'homme qui a ressuscité la bijouterie romaine. Son +escalier, tapissé d'inscriptions et de bas-reliefs antiques, fait +croire que nous entrons dans un musée. Un jeune marchand aussi +érudit que les archéologues fait voir une collection de bijoux +anciens de toutes les époques, depuis les origines de l'Etrurie +jusqu'au siècle de Constantin. C'est la source où Castellani puise +les éléments d'un art nouveau qui détrônera avant dix ans la +pacotille du Palais-Royal."—<i>About</i>, <i>Rome Contemporaine</i>.<a name="vol_1_page_082" id="vol_1_page_082"></a></p> + +<p>"C'est en s'inspirant des parures retrouvées dans les tombes de +l'Etrurie, des bracelets et des colliers dont se paraient les +femmes étrusques et sabines, que M. Castellani, guidé par le goût +savant et ingénieux d'un homme qui porte dignement l'ancien nom de +Caetani, a introduit dans la bijouterie un style à la fois +classique et nouveau. Parmi les artistes les plus originaux de Rome +sont certainement les orfèvres Castellani et D. Miguele Caetani, +duc de Sermoneta."—<i>Ampère</i>, <i>Hist. Rom.</i> i. 388.</p></div> + +<p>The <i>Palazzo Sciarra</i> (on left of the Corso), built in 1603 by Labacco, +contains a gallery of pictures. Its six celebrated gems are marked with +an asterisk. We may notice:—</p> + +<p class="hang"> +<span style="margin-left: 2em;"><i>1st Room.</i>—</span><br /> + +<span style="margin-left: 2.5em;">5. Death of St. John Baptist: <i>Valentin</i>.</span><br /> +<span style="margin-left: 2em;">13. Holy Family: <i>Innocenza da Imola</i>.</span><br /> +<span style="margin-left: 2em;">15. Rome Triumphant: <i>Valentin</i>.</span><br /> +<span style="margin-left: 2em;">20. Madonna: <i>Titian</i>.</span><br /> +<span style="margin-left: 2em;">23. Sta. Francesca Romana: <i>Carlo Veneziano</i>.</span><br /> +</p> +<p class="hang"> +<span style="margin-left: 2em;"><i>2nd Room.</i>—</span><br /> + +<span style="margin-left: 2em;">17. Flight into Egypt: <i>Claude Lorrain</i>.</span><br /> +<span style="margin-left: 2em;">18. Sunset: <i>Claude Lorrain</i>.</span><br /> +</p> +<p class="hang"> +<span style="margin-left: 2em;"><i>3rd Room.</i>—</span><br /> + +<span style="margin-left: 2.5em;">6. Holy Family: <i>Francia</i>.</span><br /> +<span style="margin-left: 2.5em;">9. Boar Hunt: <i>Garofalo</i>.</span><br /> +<span style="margin-left: 2em;">11. Holy Family: <i>Andrea del Sarto</i>.</span><br /> +<span style="margin-left: 2em;">17. A Monk led by an Angel to the Heavenly Spheres: <i>Gaudenzio</i></span><br /> +<span style="margin-left: 5em;"><i>Ferrari</i>.</span><br /> +<span style="margin-left: 2em;">26. The Vestal Claudia drawing a boat with the statue of Ceres up</span><br /> +<span style="margin-left: 5em;">the Tiber: <i>Garofalo</i>.</span><br /> +<span style="margin-left: 2em;">29. Tavern Scene: <i>Teniers</i>.</span><br /> +<span style="margin-left: 2em;">33. The Fornarina: <i>Copy of Raphael by Giulio Romano</i>.</span><br /> +<span style="margin-left: 2em;">36. Holy Family with Angels: <i>Lucas Cranach</i>, 1504.</span><br /> +</p> +<p class="hang"> +<span style="margin-left: 2em;"><i>4th Room.</i>—</span><br /> + +<span style="margin-left: 2em;">1. Holy Family: <i>Fra Bartolomeo</i>.*</span><br /> +</p> + +<div class="blockquot"><p>"The glow and freshness of colouring in this admirable painting, +the softness of the skin, the beauty and sweetness of the +expression, the look<a name="vol_1_page_083" id="vol_1_page_083"></a> with which the mother's eyes are bent upon +the baby she holds in her arms, and the innocent fondness with +which the other child gazes up in her face, are worthy of the +painter whose works Raphael delighted to study, and from which, in +a great measure, he formed his principles of colouring."—<i>Eaton's +Rome</i>.</p></div> + +<p class="nind"> +<span style="margin-left: 2em;">5. St. John the Evangelist: <i>Guercino</i>.</span><br /> +<span style="margin-left: 2em;">6. The Violin Player (Andrea Marone?): <i>Raphael</i>.*</span><br /> +</p> + +<div class="blockquot"><p>"The Violin Player is a youth holding the bow of a violin and a +laurel wreath in his hand, and looking at the spectators over his +shoulder. The expression of his countenance is sensible and +decided, and betokens a character alive to the impressions of +sense, yet severe. The execution is excellent,—inscribed with the +date 1518."—<i>Kugler.</i></p></div> + +<p class="nind"> +<span style="margin-left: 2.5em;">7. St. Mark: <i>Guercino</i>.</span><br /> +<span style="margin-left: 2.5em;">8. Daughter of Herodias: <i>Guercino</i>.</span><br /> +<span style="margin-left: 2em;">12. Conjugal Love: <i>Agostino Caracci</i>.</span><br /> +<span style="margin-left: 2em;">16. The Gamblers: <i>Caravaggio</i>.*</span><br /> +</p> + +<div class="blockquot"><p>"This is a masterpiece of the painter. A sharper is playing at +cards with a youth of family and fortune, whom his confederate, +while pretending to be looking on, is assisting to cheat. The +subject will remind you of the Flemish School, but this painting +bears no resemblance to it. Here is no farce, no caricature. +Character was never more strongly marked, nor a tale more +inimitably told. It is life itself, and you almost forget it is a +picture, and expect to see the game go on. The colouring is beyond +all praise."—<i>Eaton's Rome.</i></p></div> + +<p>17. Modesty and Vanity: <i>Leonardo da Vinci</i>.*</p> + +<div class="blockquot"><p>"One of Leonardo's most beautiful pictures is in Rome, in the +Sciarra Palace—two female half-figures of Modesty and Vanity. The +former, with a veil over her head, is a particularly pleasing, +noble profile, with a clear, open expression; she beckons to her +sister, who stands fronting the spectator, beautifully arrayed, and +with a sweet seducing smile. This picture is remarkably powerful in +colouring, and wonderfully finished, but unfortunately has become +rather dark in the shadows."—<i>Kugler.</i></p></div> + +<p class="nind"> +<span style="margin-left: 2em;">19. Magdalen: <i>Guido Reni</i>.</span><br /> +<span style="margin-left: 2em;">24. Family Portrait: <i>Titian</i>.</span><br /> +<span style="margin-left: 2em;">25. Portrait: <i>Bronzino</i>.</span><br /> +<span style="margin-left: 2em;">26. St. Sebastian: <i>Perugino</i>.</span><br /> +<span style="margin-left: 2em;">29. Bella Donna: <i>Titian</i>.*</span><br /> +</p> + +<p><a name="vol_1_page_084" id="vol_1_page_084"></a></p> + +<div class="blockquot"><p>Sometimes supposed to represent Donna Laura Eustachio, the peasant +Duchess of Alphonso I. of Ferrara.</p> + +<p>"When Titian or Tintoret look at a human being, they see at a +glance the whole of its nature, outside and in; all that it has of +form, of colour, of passion, or of thought; saintliness and +loveliness; fleshly power, and spiritual power; grace, or strength, +or softness, or whatsoever other quality, those men will see to the +full, and so paint, that, when narrower people come to look at what +they have done, every one may, if he chooses, find his own special +pleasure in the work. The sensualist will find sensuality in +Titian; the thinker will find thought; the saint, sanctity; the +colourist, colour; the anatomist, form; and yet the picture will +never be a popular one in the full sense, for none of these +narrower people will find their special taste so alone consulted, +as that the qualities which would ensure their gratification shall +be sifted or separated from others; they are checked by the +presence of the other qualities, which ensure the gratification of +other men.... Only there is a strange undercurrent of everlasting +murmur about the name of Titian, which means the deep consent of +all great men that he is greater than they."—<i>Ruskin's Two Paths, +Lect. 2.</i></p></div> + +<p class="nind"> +<span style="margin-left: 2em;">31. Death of the Virgin: <i>Albert Durer</i>.</span><br /> +<span style="margin-left: 2em;">32. Maddalena della Radice: <i>Guido Reni</i>.*</span><br /> +</p> + +<div class="blockquot"><p>"The two Magdalens by Guido are almost duplicates, and yet one is +incomparably superior to the other. She is reclining on a rock, and +her tearful and uplifted eyes, the whole of her countenance and +attitude, speak the overwhelming sorrow that penetrates her soul. +Her face might charm the heart of a stoic; and the contrast of her +youth and enchanting loveliness, with the abandonment of grief, the +resignation of all earthly hope, and the entire devotion of herself +to penitence and heaven, is most affecting."—<i>Eaton's Rome.</i><a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a></p></div> + +<p>Near the Piazza Sciarra, the Corso (as Via Flaminia) was formerly +spanned by the Arch of Claudius, removed in 1527. Some reliefs from this +arch are preserved in the portico of the Villa Borghese, and though much +mutilated are of fine workmanship. The inscription, which commemorated +the erection of the arch in honour of the conquest of Britain, is +preserved in the courtyard of the Barberini Palace.<a name="vol_1_page_085" id="vol_1_page_085"></a></p> + +<p>On the right of the Piazza Sciarra is the Via della Caravita, containing +the small but popular <i>Church of the Caravita</i>,<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a> used for the +peculiar religious exercises of the Jesuits, especially for their +terrible Lenten "flagellation" services, which are one of the most +extraordinary sights afforded by Catholic Rome.</p> + +<div class="blockquot"><p>"The ceremony of pious whippings, one of the penances of the +convents, still takes place at the time of vespers in the oratory +of the Padre Caravita and in another church in Rome. It is preceded +by a short exhortation, during which a bell rings, and whips, that +is, strings of knotted whipcord, are distributed quietly amongst +such of the audience as are on their knees in the nave. On a second +bell, the candles are extinguished—a loud voice issues from the +altar, which pours forth an exhortation to think of unconfessed, or +unrepented, or unforgiven crimes. This continues a sufficient time +to allow the kneelers to strip off their upper garments; the tone +of the preacher is raised more loudly at each word, and he +vehemently exhorts his hearers to recollect that Christ and the +martyrs suffered much more than whipping. 'Show, then, your +penitence—show your sense of Christ's sacrifice—show it with the +whip.' The flagellation begins. The darkness, the tumultuous sound +of blows in every direction—'Blessed Virgin Mary, pray for us!' +bursting out at intervals,—the persuasion that you are surrounded +by atrocious culprits and maniacs, who know of an absolution for +every crime—so far from exciting a smile, fixes you to the spot in +a trance of restless horror, prolonged beyond bearing. The +scourging continues ten or fifteen minutes."—<i>Lord Broughton.</i></p></div> + +<div class="blockquot"><p>"Each man on entering the church was supplied with a scourge. After +a short interval the doors were barred, the lights extinguished; +and from praying, the congregation proceeded to groaning, crying, +and finally, being worked up into a kind of ecstatic fury, applied +the scourge to their uncovered shoulders without +mercy."—<i>Whiteside's Italy in the Nineteenth Century.</i></p></div> + +<p>Beyond the Caravita is the <i>Church of S. Ignazio</i>, built by Cardinal +Ludovisi. The façade, of 1685, is by Algardi. It contains the tomb of +Gregory XIV. (Nicolo Sfondrati,<a name="vol_1_page_086" id="vol_1_page_086"></a> 1590—91), and that of S. Ludovico +Gonzaga, both sculptured by <i>Le Gros</i>.</p> + +<div class="blockquot"><p>"In S. Ignazio is the chapel of San Luigi Gonzaga, on whom not a +few of the young Roman damsels look with something of the same kind +of admiration as did Clytie on Apollo, whom he and St. Sebastian, +those two young, beautiful, graceful saints, very fairly represent +in Christian mythology. His festa falls in June, and then his altar +is embosomed in flowers, arranged with exquisite taste; and a pile +of letters may be seen at its foot, written to the saint by young +men and maidens, and directed to Paradiso. They are supposed to be +burnt unread, except by San Luigi, who must find singular petitions +in these pretty little missives, tied up now with a green ribbon, +expressive of hope, now with a red one, emblematic of love, or +whatever other significant colour the writer may +prefer."—<i>Mademoiselle Mori.</i></p></div> + +<p>The frescoes on the roof and tribune are by the Padre Pozzi.</p> + +<div class="blockquot"><p>"Amid the many distinguished men whom the Jesuits sent forth to +every region of the world, I cannot recollect the name of a single +artist unless it be the Father Pozzi, renowned for his skill in +perspective, and who used his skill less as an artist than a +conjuror, to produce such illusions as make the vulgar stare; to +make the impalpable to the grasp appear as palpable to the vision; +the near seem distant, the distant near; the unreal, real; to cheat +the eye; to dazzle the sense;—all this has Father Pozzi most +cunningly achieved in the Gesù and the Sant' Ignazio at Rome; but +nothing more, and nothing better than this. I wearied of his +altar-pieces and of his wonderful roofs which pretend to be no +roofs at all. Scheme, tricks, and deceptions in art should all be +kept for the theatre. It appeared to me nothing less than profane +to introduce <i>shams</i> into the temples of God."—<i>Mrs. Jameson.</i></p></div> + +<p>On the left of the Corso—opposite the handsome Palazzo Simonetti—is +the <i>Church of S. Marcello</i> (Pope, 308—10), containing some interesting +modern monuments. Among them are those of Pierre Gilles, the traveller +(ob. 1555), and of the English Cardinal Weld. Here, also, Cardinal +Gonsalvi,<a name="vol_1_page_087" id="vol_1_page_087"></a> the famous and liberal minister of Pius VII., is buried in +the same tomb with his beloved younger brother, the Marchese Andrea +Gonsalvi. Their monument, by Rinaldi, tells that here repose the bodies +of two brothers—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Qui cum singulari amore dum vivebant<br /></span> +<span class="i6">Se mutuo dilexissent<br /></span> +<span class="i8">Corpora etiam sua<br /></span> +<span class="i0">Una eademque urna condi voluere."<br /></span> +</div><div class="stanza"> +</div></div> + +<p>Here are the masterpieces which made the reputation of Pierino del Vaga +(1501—1547). In the chapel of the Virgin are the cherubs, whose +graceful movements and exquisite flesh-tints Vasari declares to have +been unsurpassed by any artist in fresco. In the chapel of the Crucifix +is the Creation of Eve, which is even more beautiful.</p> + +<div class="blockquot"><p>"The perfectly beautiful figure of the naked Adam is seen lying, +overpowered by sleep, while Eve, filled with life, and with folded +hands, rises to receive the blessing of her Maker,—a most grand +and solemn figure standing erect in heavy drapery."—<i>Vasari</i>, iv.</p></div> + +<p>This church is said to occupy the site of a house of the Christian +matron Lucina, in which Marcellus died of wounds incurred in attempting +to settle a quarrel among his Christian followers. It was in front of it +that the body of the tribune Rienzi, after his murder on the Capitol +steps, was hung up by the feet for two days as a mark for the rabble to +throw stones at.</p> + +<p>The next street to the right leads to the <i>Collegio Romano</i>, founded by +St. Francis Borgia, Duke of Gandia (a descendant of Pope Alexander VI.), +who, after a youth spent amid the splendours of the court of Madrid, +retired to Rome in 1550, in the time of Julius III., and became the +successor<a name="vol_1_page_088" id="vol_1_page_088"></a> of Ignatius Loyola as general of the Jesuits. The buildings +were erected, as we now see them, by Ammanati, in 1582, for Gregory +XIII. The college is entirely under the superintendence of the Jesuits. +The library is large and valuable. The <i>Kircherian Museum</i> (shown to +gentlemen from ten to eleven on Sundays) is worth visiting. It contains +a number of antiquities, illustrative of Roman and Etruscan customs, and +many beautiful ancient bronzes and vases. The most important object is +the "Cista Mistica," a bronze vase and cover, which was given as a prize +to successful gladiators, and which was originally fitted up with +everything useful for their profession.</p> + +<p>The <i>Observatory</i> of the Collegio Romano has obtained a European +reputation from the important astronomical researches of its director, +the Padre Secchi.</p> + +<p>The Collegio Romano has produced eight popes—Urban VIII., Innocent X., +Clement IX., Clement X., Innocent XII., Clement XI., Innocent XIII., and +Clement XII. Among its other pupils have been S. Camillo de Lellis, the +Blessed Leonardo di Porto-Maurizio, the Venerable Pietro Berna, and +others.</p> + +<div class="blockquot"><p>"Ignace, François Borgia, ont passé par ici. Leur souvenir plane, +comme un encouragement et une bénédiction, sur ces salles où ils +présidèrent aux études, sur ces chaires où peut-être retentit leur +parole, sur ces modestes cellules qu'ils ont habitées. A la fin du +seizième siècle, les élèves du collége Romain perdirent un de leurs +condisciples que sa douce aménité et ses vertus angéliques avaient +rendu l'objet d'un affectueux respect. Ce jeune homme avait été +page de Philippe II.; il était allié aux maisons royales +d'Autriche, de Bourbon et de Lorraine. Mais au milieu de ces +illusions d'une grande vie, sous ce brillant costume de cour qui +semblait lui promettre honneurs et fortune, il ne voyait jamais que +la pieuse figure de sa mère agenouillée au pied des autels, et +priant pour lui. A peine âgé de seize ans, il s'échappe de<a name="vol_1_page_089" id="vol_1_page_089"></a> Madrid, +il vient frapper à la porte du collége Romain, et demande place, au +dortoir et à l'étude, pour Louis Gonzague, fils du comte de +Castiglione. Pendant sept ans, Louis donna dans cette maison le +touchant exemple d'une vie céleste; puis ses jours <i>déclinèrent</i>, +comme parle l'Ecriture; il avait assez vécu."—<i>Gournerie</i>, <i>Rome +Chrétienne</i>, ii. 211.</p></div> + +<p>We now reach (on right) the <i>Church of Sta. Maria in Via Lata</i>, which +was founded by Sergius I., in the eighth century, but twice rebuilt, the +second time under Alexander VII., in 1662, when the façade was added by +Pietro da Cortona.</p> + +<div class="blockquot"><p>In this church "they still show a little chapel in which, as hath +been handed down from the first ages, St. Luke the Evangelist +wrote, and painted the effigy of the Virgin Mother of God."—<i>See +Jameson's Sacred Art</i>, p. 155.</p></div> + +<p>The subterranean church is shown as the actual house in which St. Paul +lodged when he was in Rome.</p> + +<div class="blockquot"><p>"And when we came to Rome, the centurion delivered the prisoners to +the captain of the guard: but Paul was suffered to dwell by himself +with a soldier that kept him."</p> + +<p>"And when they had appointed him a day, there came many to him into +his lodging; to whom he expounded and testified the kingdom of God, +persuading them concerning Jesus, both out of the law of Moses, and +out of the prophets, from morning till evening." ...</p> + +<p>"And Paul dwelt two whole years in his own hired house, and +received all that came in unto him, preaching the kingdom of God, +and teaching those things which concern the Lord Jesus Christ, with +all confidence, no man forbidding him."—<i>Acts</i> xxviii. 16, 23, 30, +31.</p> + +<p>"St. Paul after his arrival at Rome, having made his usual effort, +in the first place, for the salvation of his own countrymen, and as +usual, having found it vain, turned to the Gentiles, and during two +whole years, in which he was a prisoner, received all that came to +him, preaching the kingdom of God. It was thus that God overruled +his imprisonment for the furtherance of the gospel, so that his +bonds in Christ were manifest in the palace, and in all other +places, and<a name="vol_1_page_090" id="vol_1_page_090"></a> many of the brethren in the Lord, waxing confident by +his bonds, were much more bold to speak the word without fear. Even +in the palace of Nero, the most noxious atmosphere, as we should +have concluded, for the growth of divine truth, his bonds were +manifest, the Lord Jesus was preached, and, more than this, was +received to the saving of many souls; for we find the Apostle +writing to his Philippian converts: 'All the saints salute you, +chiefly they which are of Cæsar's household.' The whole Church of +Christ has abundant reason to bless God for the dispensation which, +during the most matured period of St. Paul's Christian life, +detained him a close prisoner in the imperial city. Had he, to the +end of his course, been at large, occupied, as he had long been, +'in labours most abundant,' he would, humanly speaking, never have +found time to pen those epistles which are among the most blessed +portion of the Church's inheritance. It was from within the walls +of a prison, probably chained hand to hand to the soldier who kept +him, that St. Paul indited the Epistles to the Ephesians, +Philippians, Colossians, and Hebrews."—<i>Blunt's Lectures on St. +Paul.</i></p> + +<p>"In writing to Philemon, Paul chooses to speak of himself as the +captive of Jesus Christ. Yet he went whither he would, and was free +to receive those who came to him. It is interesting to remember +amid these solemn vaults, the different events of St. Paul's +apostolate, during the two years that he lived here. It was here +that he converted Onesimus, that he received the presents of the +Philippians, brought by Epaphroditus; it was hence that he wrote to +Philemon, to Titus, to the inhabitants of Philippi and of Colosse; +it was here that he preached devotion to the cross with that +glowing eagerness, with that startling eloquence, which gained +fresh power from contest and which inspiration rendered sublime.</p> + +<p>"Peter addressed himself to the Circumcised; Paul to the +Gentiles,<a name="FNanchor_13_13" id="FNanchor_13_13"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a>—to their silence that he might confound it, to their +reason that he might humble it. Had he not already converted the +proconsul Sergius Paulus and Dionysius the Areopagite? At Rome his +word is equally powerful, and among the courtiers of Nero, perhaps +even amongst his relations, are those who yield to the power of +God, who reveals himself in each of the teachings of his +servant.<a name="FNanchor_14_14" id="FNanchor_14_14"></a><a href="#Footnote_14_14" class="fnanchor">[14]</a> Around the Apostle his eager disciples group +themselves—Onesiphorus of Ephesus, who was not ashamed of his +chain;<a name="FNanchor_15_15" id="FNanchor_15_15"></a><a href="#Footnote_15_15" class="fnanchor">[15]</a> Epaphras of Colosse, who was captive with him, +<i>concaptivus meus</i>;<a name="FNanchor_16_16" id="FNanchor_16_16"></a><a href="#Footnote_16_16" class="fnanchor">[16]</a> Timothy, who was one with his master in a +holy union <a name="vol_1_page_091" id="vol_1_page_091"></a>of every thought, and who was attached to him like a +son, <i>sicut patri filius</i>;<a name="FNanchor_17_17" id="FNanchor_17_17"></a><a href="#Footnote_17_17" class="fnanchor">[17]</a> Hermas, Aristarchus, Marcus, +Demas—and Luke the physician, the faithful companion of the +Apostle, his well-beloved disciple—'Lucas medicus +carissimus.'"—<i>From Gournerie, Rome Chrétienne.</i></p> + +<p>"I honour Rome for this reason; for though I could celebrate her +praises on many other accounts—for her greatness, for her beauty, +for her power, for her wealth, and for her warlike exploits,—yet, +passing over all these things, I glorify her on this account, that +Paul in his lifetime wrote to the Romans, and loved them, and was +present with and conversed with them, and ended his life amongst +them. Wherefore the city is on this account renowned more than on +all others—on this account I admire her, not on account of her +gold, her columns, or her other splendid decorations."—<i>St. John +Chrysostom, Homily on the Ep. to the Romans.</i></p> + +<p>"The Roman Jews expressed a wish to hear from St. Paul himself a +statement of his religious sentiments, adding that the Christian +sect was everywhere spoken against.... A day was fixed for the +meeting at his private lodging.</p> + +<p>"The Jews came in great numbers at the appointed time. Then +followed an impressive scene, like that at Troas (Acts xxi.)—the +Apostle pleading long and earnestly,—bearing testimony concerning +the kingdom of God,—and endeavouring to persuade them by arguments +drawn from their own Scriptures,—'from morning till evening.' The +result was a division among the auditors—'not peace, but a +sword,'—the division which has resulted ever since, when the Truth +of God has encountered, side by side, earnest conviction with +worldly indifference, honest investigation with bigoted prejudice, +trustful faith with the pride of scepticism. After a long and +stormy discussion, the unbelieving portion departed; but not until +St. Paul had warned them, in one last address, that they were +bringing upon themselves that awful doom of judicial blindness, +which was denounced in their own Scriptures against obstinate +unbelievers; that the salvation which they rejected would be +withdrawn from them, and the inheritance they renounced would be +given to the Gentiles. The sentence with which he gave emphasis to +this solemn warning was that passage in Isaiah, which recurring +thus with solemn force at the very close of the Apostolic history, +seems to bring very strikingly together the Old Dispensation and +the New, and to connect the ministry of Our Lord with that of His +Apostles:—'Go unto this people and say: Hearing ye shall hear and +shall not understand, and seeing ye shall see and shall not +perceive: for the heart of this people is<a name="vol_1_page_092" id="vol_1_page_092"></a> waxed gross, and their +ears are dull of hearing, and their eyes have they closed; lest +they should see with their eyes, and hear with their ears, and +understand with their heart, and should be converted, and I should +heal them.'</p> + +<p>" ... During the long delay of his trial St. Paul was not reduced, +as he had been at Cæsarea, to a forced inactivity. On the contrary, +he was permitted the freest intercourse with his friends, and was +allowed to reside in a house of sufficient size to accommodate the +congregation which flocked together to listen to his teaching. The +freest scope was given to his labours, consistent with the military +custody under which he was placed. We are told, in language +peculiarly emphatic, that his preaching was subjected to no +restraint whatever. And that which seemed at first to impede, must +really have deepened the impression of his eloquence; for who could +see without emotion that venerable form subjected by iron links to +the coarse control of the soldier who stood beside him? how often +must the tears of the assembly have been called forth by the +upraising of that fettered hand, and the clanking of the chain +which checked its energetic action.</p> + +<p>"We shall see hereafter that these labours of the imprisoned +Confessor were not fruitless; in his own words, he 'begot many +children in his chains.' Meanwhile, he had a wider sphere of action +than even the metropolis of the world. Not only 'the crowd which +pressed upon him daily,' but also 'the care of all the churches' +demanded his constant vigilance and exertion.... To enable him to +maintain this superintendence, he manifestly needed many faithful +messengers; men who (as he says of one of them) 'rendered him +profitable service'; and by some of whom he seems to have been +constantly accompanied, wheresoever he went. Accordingly we find +him, during this Roman imprisonment, surrounded by many of his +oldest and most valued attendants. Luke, his fellow-traveller, +remained with him during his bondage; Timotheus, his beloved son in +the faith, ministered to him at Rome, as he had done in Asia, in +Macedonia, and in Achaia. Tychicus, who had formerly borne him +company from Corinth to Ephesus, is now at hand to carry his +letters to the shores which they had visited together. But there +are two names amongst his Roman companions which excite a peculiar +interest, though from opposite reasons,—the names of Demas and of +Mark. The latter, when last we heard of him, was the unhappy cause +of the separation of Barnabas and Paul. He was rejected by Paul, as +unworthy to attend him, because he had previously abandoned the +work of the Gospel out of timidity or indolence. It is delightful +to find him now ministering obediently to the very Apostle who had +then<a name="vol_1_page_093" id="vol_1_page_093"></a> repudiated his services; still more to know that he +persevered in this fidelity even to the end, and was sent for by +St. Paul to cheer his dying hours. Demas, on the other hand, is now +a faithful 'fellow-labourer' of the Apostle but in a few years we +shall find that he had 'forsaken' him, having 'loved this present +world.'</p> + +<p>"Amongst the rest of St. Paul's companions at this time, there were +two whom he distinguishes by the honourable title of his +'fellow-prisoners.' One of these is Aristarchus, the other +Epaphras. With regard to the former, we know that he was a +Macedonian of Thessalonica, one of 'Paul's companions in travel,' +whose life was endangered by the mob at Ephesus, and who embarked +with St. Paul at Cæsarea when he set sail for Rome. The other, +Epaphras, was a Colossian, who must not be identified with the +Philippian Epaphroditus, another of St. Paul's fellow-labourers +during this time. It is not easy to say in what exact sense these +two disciples were peculiarly <i>fellow-prisoners</i> of St. Paul. +Perhaps it only implies that they dwelt in his house, which was +also his prison.</p> + +<p>"But of all the disciples now ministering to St. Paul at Rome, none +has a greater interest than the fugitive Asiatic slave Onesimus. He +belonged to a Christian named Philemon, a member of the Colossian +Church. But he had robbed his master, and fled from Colosse, and at +last found his way to Rome. Here he was converted to the faith of +Christ, and had confessed to St. Paul his sins against his +master."—<i>Conybeare and Howson, Life of St. Paul.</i></p></div> + +<p>A fountain in the crypt is shown, as having miraculously sprung up in +answer to the prayers of St. Paul, that he might have wherewithal to +baptize his disciples. At the end of the crypt are some large blocks of +peperino, said to be remains of the arch erected by the senate in honour +of the Emperor Gordian III., and destroyed by Innocent VIII.</p> + +<p>Far along the right side of the Corso now extends the façade of the +immense <i>Palazzo Doria</i>, built by Valvasori (the front towards the +Collegio Romano being by Pietro da Cortona, and that towards the Piazza +Venezia by Amati). Entering the courtyard, one must turn left to reach +the<a name="vol_1_page_094" id="vol_1_page_094"></a> <i>Picture Gallery</i> (which is open on Tuesdays and Fridays, from ten +till two)—a vast collection, which contains some grand portraits and a +few other fine paintings.</p> + +<p>The <i>1st Room</i> entered is a great hall—to which pictures are removed +for copying. It contains four fine sarcophagi, with reliefs of the Hunt +of Meleager, the Story of Marsyas, Endymion and Diana, and a Bacchic +procession. Of two ancient circular altars, one serves as the pedestal +of a bearded Dionysus. The pictures are chiefly landscapes, of the +school of Poussin and Salvator Rosa,—that of the Deluge is by <i>Ippolito +Scarsellino</i>.</p> + +<p><i>2nd Room.</i>—In the centre a Centaur (restored), of basalt and +rosso-antico. On either side groups of boys playing.</p> + +<div class="blockquot"><p class="hang"><i>Pictures:</i>—<br /> +4. Caritas Romana: <i>Valentin</i>.<br /> +5. Circumcision: <i>Giov. Bellini?</i><br /> +7. Madonna and Saints: <i>Basaiti</i>.<br /> +15. Temptations of St. Anthony: <i>Scuola di Mantegna</i>.<br /> +19. St. John in the Desert: <i>Guercino?</i><br /> +35. Birth of St. John: <i>Vittore Pisanello</i>.<br /> +21. Spozalizio: <i>V. Pisanello</i>.<br /> +23. St. Sylvester before Maximin II.: <i>Pesellino</i>.<br /> +24. Madonna and Child: <i>F. Francia?</i><br /> +28. Annunciation: <i>Fil. Lippi</i>.<br /> +29. St. Sylvester and the Dragon: <i>Pesellino</i> (see the account of +Sta. Maria Liberatrice). +33. St. Agnes on the burning pile: <i>Guercino</i>.<br /> +37. Magdalen: <i>Copy of the Titian in the Pitti Palace</i>.</p> + +<p class="hang"><i>4th Room.</i>—<br /> +A bust of Innocent X. (with whose ill-acquired wealth this palace +was built) in rosso-antico, with a bronze head: <i>Bernini</i>.</p> + +<p class="hang"><i>5th Room.</i>—<br /> +17. The Money-changers: <i>Quentin Matsys</i>.<a name="vol_1_page_095" id="vol_1_page_095"></a></p> + +<p>25. St. Joseph: <i>Guercino</i>. In the centre, a group of Jacob +wrestling with the Angel: <i>School of Bernini</i>.</p> + +<p class="hang"><i>6th Room.</i>—<br /> +8. Portrait of Olympia Maldacchini, the sister-in-law of Innocent +X., who ruled Rome in his time.<br /> +13. Madonna: <i>Carlo Maratta</i>.<br /> +30. Sketch of a Boy: <i>Incognito</i>.</p></div> + +<p>From this room we enter a small cabinet, hung with pictures of +<i>Breughel</i> and <i>Fiammingo</i>, and containing a bust by <i>Algardi</i>, of +Olympia Maldacchini-Pamfili, who built the Villa Doria Pamfili for her +son.</p> + +<div class="blockquot"> +<p class="hang"><i>7th Room.</i>—<br /> +8. Belisarius in the desert: <i>Salvator Rosa</i>.<br /> +19. Slaughter of the Innocents: <i>Mazzolino</i>.</p></div> + +<p>We now enter the Galleries—which begin towards the left—</p> + +<div class="blockquot"> + +<p class="hang"><i>1st Gallery.</i>—<br /> + +2. Holy Family in glory, and two Franciscan Saints adoring: +<i>Garofalo</i>.<br /> + +3. Magdalen: <i>Annibale Caracci</i>.<br /> + +8. Two Heads: <i>Quentin Matsys</i>.<br /> + +9. Holy Family: <i>Sassoferrato</i>.<br /> + +10. Story of the conversion of S. Eustachio (see the description of +his church): <i>School of Albert Durer</i>.<br /> + +14. A Portrait: <i>Titian</i>.<br /> + +15. Holy Family: <i>Andrea del Sarto</i>.<br /> + +20. The Three Ages of Man: <i>Titian</i>.*<br /> + +21. Return of the Prodigal Son: <i>Guercino</i>.<br /> + +25. Landscape with the Flight into Egypt: <i>Claude Lorraine</i>.<br /> + +26. The meeting of Mary and Elizabeth: <i>Garofalo</i>.<br /> + +38. Copy of the "Nozze Aldobrandini:" <i>Poussin</i>.<br /> + +45. Madonna: <i>Guido Reni</i>.<br /> + +50. Holy Family: <i>Giulio Romano, from Raphael</i>.<a name="vol_1_page_096" id="vol_1_page_096"></a></p> + +<p class="hang"><i>2nd Gallery.</i>—<br /> + +6. Madonna: <i>Fran. Francia</i>.<br /> + +14. "Bartolo and Baldo:" <i>Raphael</i>.*<br /> + +17. Portrait: <i>Titian</i>.<br /> + +21. Portrait of a Widow: <i>Vandyke</i>.<br /> + +24. Three Heads, called Calvin, Luther, and Catherine: <i>Giorgione</i>.<br /> + +26. Sacrifice of Isaac: <i>Titian</i>.<br /> + +33. Portrait of a Pamfili: <i>Vandyke</i>.<br /> + +40. Herodias with the Head of John the Baptist: <i>Pordenone</i>. A +grand bust of Andrew Doria.<br /> + +50. "The Confessor:" <i>Rubens</i>.<br /> + +53. Joanna of Arragon: <i>School of Leonardo da Vinci</i>.*<br /> + +56. Magdalene: <i>School of Titian</i>.<br /> + +61. Adoration of the Infant Jesus: <i>Gio. Batt. Benvenuti</i> +('<i>l'Ortolano</i>').<br /> + +66. Holy Family: <i>Garofalo</i>.<br /> + +69. Glory crowning Virtue (a sketch): <i>Correggio</i>.<br /> + +80. Portrait of Titian and his Wife: <i>Titian</i>. Also a number of +pictures of the Creation: <i>Breughel</i>.</p> + +<p class="hang"><i>3rd Gallery.</i>—<br /> + +1, 6, 28, 34. Landscapes (with figures introduced): <i>Ann. Caracci</i>.<br /> + +5. Landscape, with Mercury stealing cattle: <i>Claude Lorraine</i>.<br /> + +10. Titian's Wife: <i>Titian</i>.<br /> + +11. "Niccolaus Macchiavellus Historiar. Scriptor:" <i>Bronzino</i>.<br /> + +12. "The Mill:" <i>Claude Lorraine</i>.*</p> + +<p>"The foreground of the picture of 'the Mill' is a piece of very +lovely and perfect forest scenery, with a dance of peasants by a +brook-side; quite enough subject to form, in the hands of a master, +an impressive and complete picture. On the other side of the brook, +however, we have a piece of pastoral life; a man with some bulls +and goats tumbling head foremost into the water, owing to some +sudden paralytic affection of all their legs. Even this group is +one too many; the shepherd had no business to drive his flock so +near the dancers, and the dancers will certainly frighten the +cattle. But when we look farther into the picture, our feelings +receive a sudden and violent shock, by the unexpected appearance, +amidst things pastoral and musical, of the military; a number of +Roman soldiers riding in on hobby-horses, with a leader on foot, +apparently encouraging them to make an immediate and decisive +charge on the musicians. Beyond the soldiers is a circular temple, +in<a name="vol_1_page_097" id="vol_1_page_097"></a> exceedingly bad repair; and close beside it, built against its +very walls, a neat water-mill in full work; by the mill flows a +large river with a weir across it.... At an inconvenient distance +from the water-side stands a city, composed of twenty-five round +towers and a pyramid. Beyond the city is a handsome bridge; beyond +the bridge, part of the Campagna, with fragments of aqueducts; +beyond the Campagna the chain of the Alps; on the left, the +cascades of Tivoli.</p> + +<p>"This is a fair example of what is commonly called an 'ideal' +landscape; <i>i.e.</i> a group of the artist's studies from nature, +individually spoiled, selected with such opposition of character as +may insure their neutralizing each other's effect, and united with +sufficient unnaturalness and violence of association to insure +their producing a general sensation of the impossible."—<i>Ruskin's +Modern Painters.</i></p> + +<p>"Many painters take a particular spot, and sketch it to perfection; +but Claude was convinced that taking nature as he found it, seldom +produced beauty. Neither did he like exhibiting in his pictures +accidents of nature. He professed to pourtray the style of general +nature, and so his pictures were a composition of the various +draughts which he had previously made from beautiful scenes and +prospects."—<i>Sir J. Reynolds.</i></p> + +<p class="hang"> <br /> +18. Pietà: <i>Ann. Caracci</i>.<br /> + +23. Landscape, with the Temple of Apollo: <i>Claude Lorraine</i>.<br /> + +26. Portrait: <i>Mazzolino</i>.<br /> + +27. Portrait: <i>Giorgione</i>.<br /> + +33. Landscape, with Diana hunting: <i>Claude Lorraine</i>.</p></div> + +<p>At the end of this gallery is a small cabinet, containing the gems of +the collection:—</p> + +<div class="blockquot"><p class="hang"> <br /> + +1. Portrait of a "Letterato:" <i>Lucas V. Leyden?</i>*<br /> + +2. Portrait of Andrea Doria: <i>Sebastian del Piombo</i>.*<br /> + +3. Portrait of Giannetto Doria: <i>Bronzino</i>.*<br /> + +4. Portrait of S. Filippo Neri, as a boy: <i>Barocci</i>.<br /> + +5. Portrait of Innocent X.; Gio. Battista Pamfili (1644—55): +<i>Velasquez</i>.*<br /> + +6. Entombment: <i>John Emelingk</i>.*</p> +</div> + +<p>Here, also, is the bust of the late beloved Princess Doria (Lady Mary +Talbot), which has always been veiled in crape since her death.<a name="vol_1_page_098" id="vol_1_page_098"></a></p> + +<p>The <i>4th Gallery</i> is decorated with mirrors, and with statues of no +especial merit.</p> + +<div class="blockquot"><p>"In the whole immense range of rooms of the Palazzo Doria, I saw +but a single fire-place, and that so deep in the wall that no +amount of blaze would raise the atmosphere of the room ten degrees. +If the builder of the palace, or any of his successors, have +committed crimes worthy of Tophet, it would be a still worse +punishment to him to wander perpetually through this suite of +rooms, on the cold floors of polished brick tiles, or marble, or +mosaic, growing a little chiller and chiller through every moment +of eternity—or at least, till the palace crumbles down upon +him."—<i>Hawthorne, Notes on Italy.</i></p></div> + +<p>Opposite the Palazzo Doria is the <i>Palazzo Salviati</i>. The next two +streets on the left lead into the long narrow square called <i>Piazza +Santi Apostoli</i>, containing several handsome palaces. That on the right +is the <i>Palazzo Odescalchi</i>, built by Bernini, in 1660, for Cardinal +Fabio Chigi, to whose family it formerly belonged. It has some fine +painted and carved wooden ceilings. This palace is supposed to be the +scene of the latest miracle of the Roman Catholic Church. The present +Princess Odescalchi had long been bedridden, and was apparently dying of +a hopeless disease, when, while her family were watching what they +considered her last moments, the pope (Pius IX.) sent, by the hands of a +nun, a little loaf (panetello), which he desired her to swallow. With +terrible effort, the sick woman obeyed, and was immediately healed, and +on the following day the astonished Romans saw her go in person to the +pope, at the Vatican, to return thanks for her restoration!</p> + +<p>The building at the end of the square is the <i>Palazzo Valentini</i>, which +once contained a collection of antiquities.</p> + +<p>Near this, on the left, but separated from the piazza by a courtyard, is +the vast <i>Palazzo Colonna</i>, begun, in the<a name="vol_1_page_099" id="vol_1_page_099"></a> fifteenth century, by Martin +V., and continued at various later periods. Julius II. at one time made +it his residence, and also Cardinal (afterwards San Carlo) Borromeo. +Part of it is now the residence of the French ambassadors. The palace is +built very near the site of the ancient fortress of the Colonna +family—so celebrated in times of mediæval warfare with the Orsini—of +which one lofty tower still remains, in a street leading up to the +Quirinal.</p> + +<p>The <i>Gallery</i> is shown every day, except Sundays and holidays, from 11 +to 3. It is entered by the left wing. The first room is a fine, gloomy +old hall, containing the family dais, and hung with decaying Colonna +portraits. Then come three rooms covered with tapestries, the last +containing a pretty statue of a girl, sometimes called Niobe. Hence we +reach the pictures. The <i>1st Room</i> has an interesting collection of the +early schools, including Madonnas of <i>Filippo Lippi</i>; <i>Luca Longhi</i>; +<i>Botticelli</i>; <i>Gentile da Fabriano</i>; <i>Innocenza da Imola</i>; a curious +Crucifixion, by <i>Jacopo d'Avanzo</i>; and a portrait by <i>Giovanni Sanzio</i>, +father of Raphael.</p> + +<p>The ceiling of the <i>3rd Room</i> has a fresco, by <i>Battoni</i> and <i>Luti</i>, of +the apotheosis of Martin V. (Oddone Colonna, 1417—24). Among its +pictures, are St. Bernard, <i>Giovanni Bellini</i>; Onuphrius Pavinius, +<i>Titian</i>; Holy Family, <i>Bronzino</i>; Peasant dining, <i>Annibale Caracci</i>; +St. Jerome, <i>Spagna</i>; Portrait, <i>Paul Veronese</i>; Holy Family, +<i>Bonifazio</i>.</p> + +<p>Hence we enter the <i>Great Hall</i>, a truly grand room, hung with mirrors +and painted with flowers by <i>Mario de' Fiori</i>, and with genii by +<i>Maratta</i>. The statues here are unimportant. The ceiling is adorned with +paintings, by <i>Coli</i> and <i>Gherardi</i>, of the battle of Lepanto, Oct. 8, +1571, which Marc-Antonio<a name="vol_1_page_100" id="vol_1_page_100"></a> Colonna assisted in gaining. The best pictures +are the family portraits:—Federigo Colonna, <i>Sustermanns</i>; Don Carlo +Colonna, <i>Vandyke</i>; Card. Pompeio Colonna, <i>Lorenzo Lotto</i>; Vittoria +Colonna, <i>Muziano</i>; Lucrezia Colonna, <i>Vandyke</i>; Pompeio Colonna, +<i>Agostino Caracci</i>; Giacomo Sciarra Colonna, <i>Giorgione</i>. We may also +notice an extraordinary picture of the Madonna rescuing a child from a +demon, by <i>Niccolo d'Alunno</i>, with a double portrait, by <i>Tintoret</i>, on +the right wall, and a Holy Family of <i>Palma Vecchio</i> at the end of the +gallery. Near the entrance are some glorious old cabinets, inlaid with +ivory and lapis-lazuli. On the steps leading to the upper end of the +hall is a bomb left on the spot where it fell during the siege of Rome +in 1848.</p> + +<p>(Through the palace access may be obtained to the beautiful Colonna +Gardens; but as they are generally visited from the Quirinal, they will +be noticed in the description of that hill.)</p> + +<div class="blockquot"><p>"On parle d'un Pierre Colonna, dépouillé de tous ses biens en 1100 +par le pape Pascal II. Il fallait que la famille fût déjà +passablement ancienne, car les grandes fortunes ne s'élèvent pas en +un jour."—<i>About.</i></p> + +<p>"Si n'etoit le différent des Ursins et des Colonnois (Orsini and +Colonna) la terre de l'Eglise seroit la plus heureuse habitation +pour les subjects, qui soit en tout le monde."—<i>Philippe de +Comines.</i> 1500.</p></div> + +<div class="poem"><div class="stanza"> +<span class="i0">"Gloriosa Colonna, in cui s' appoggia<br /></span> +<span class="i2">Nostra speranza, e'l gran nome Latino,<br /></span> +<span class="i2">Ch'ancor non torte del vero cammino<br /></span> +<span class="ist">L'ira di Giove per ventosa pioggia."<br /></span> +<span class="i15"><i>Petrarca, Sonnetto</i> <small>X</small>.<br /></span> +</div></div> + +<p>Adjoining the Palazzo Colonna is the fine <i>Church of the Santi +Apostoli</i>, founded in the sixth century, rebuilt by Martin V., in 1420, +and modernized, <i>c.</i> 1602, by Fontana.<a name="vol_1_page_101" id="vol_1_page_101"></a> The portico contains a +magnificent bas-relief of an eagle and an oak-wreath (frequently copied +and introduced in architectural designs).</p> + +<div class="blockquot"><p>"Entrez sous la portique de l'église des Saints-Apôtres, et vous +trouverez là, encadré par hasard dans le mur, un aigle qu'entoure +une couronne d'un magnifique travail. Vous reconnaîtrez facilement +dans cet aigle et cette couronne la représentation d'une ensigne +romaine, telle que les bas-reliefs de la colonne Trajane vous en +ont montré plusieurs; seulement ce qui était là en petit est ici en +grand."—<i>Ampère, Emp.</i> ii. 168.</p></div> + +<p>Also in the portico, is a monument, by <i>Canova</i>, to Volpato, the +engraver. Over the sacristy door is the tomb of Pope Clement XIV. (Giov. +Antonio Ganganelli, 1769-74), also by Canova, executed in his +twenty-fifth year.</p> + +<div class="blockquot"><p>"La mort de Clément XIV. est du 22 Septembre, 1774. A cette époque, +Alphonse de Liguori était évêque de Sainte-Agathe des Goths, au +royaume de Naples. Le 22 Septembre, au matin, l'évêque tomba dans +une espèce de sommeil léthargique après avoir dit la messe, et, +pendant vingt-quatre heures, il demeura sans mouvement dans son +fauteuil. Ses serviteurs s'étonnant de cet état, le lendemain, avec +lui:—'Vous ne savez pas, leur dit-il, que j'ai assisté le pape qui +vient de mourir.' Peu après, la nouvelle du décès de Clément arriva +à Sainte Agathe."—<i>Gournerie, Rome Chrétienne</i>, ii. 362.</p></div> + +<p>In 1873 the traditional grave of St. Philip and St. James, the +"Apostoli" to whom this church is dedicated, was opened during its +restoration. Two bodies were found, enclosed in a sarcophagus of +beautiful transparent marble, and have been duly enshrined. In the choir +are monuments of the fifteenth century, to two relations of Pope Sixtus +IV., Pietro Riario, and Cardinal Raffaelo Riario. To the right is the +tomb of the Chevalier Girard, brother-in-law of Pope Julius II., and +maître d'hôtel to Charles VIII. and Louis XII. of France. The tomb of +Cardinal Bessarion was removed from the church, in 1702, to the +cloisters of the adjoining Convent, which is the residence of the +General of the<a name="vol_1_page_102" id="vol_1_page_102"></a> Order of "Minori Conventuali" (Black Friars). The +altar-piece represents the martyrdom of SS. Philip and James, by +<i>Muratori</i>.</p> + +<p>The heart of Maria Clementina Sobieski (buried in St. Peter's), wife of +James III., called the First Pretender, is also preserved here, as is +shown by a Latin inscription.</p> + +<div class="blockquot"><p>"Le roi d'Angleterre est devot a l'excès; sa matinée se passe en +prières aux Saints-Apôtres, près du tombeau de sa femme."—<i>De +Brosses</i>, 1739.</p></div> + +<p>In 1552 this church was remarkable for the sermons of the monk Felix +Peretti, afterwards Sixtus V.</p> + +<div class="blockquot"><p>"Suivant un manuscrit de la bibliothèque Alfieri, un jour, pendant +qu'il était dans la chaire des Saints-Apôtres, un billet cacheté +lui fut remis; Frère Félix l'ouvre et y lit, en face d'un certain +nombre de propositions que l'on disait être extraites de ses +discours, ce mot écrit en gros caractères: <span class="smcap">Mentiris</span> (tu mens). Le +fougueux orateur eut peine à contenir son émotion; il termina son +sermon en quelques paroles, et courut au palais de l'Inquisition +présenter le billet mystérieux, et demander qu'on examinât +scrupuleusement sa doctrine. Cet examen lui fut favorable, et il +lui valut l'amitié du grand inquisiteur, Michael Ghislieri, qui +comprit aussitôt tout le parti qu'on pouvait tirer d'un homme dont +les moindres actions étaient empreintes d'une inébranlable force de +caractère."—<i>Gournerie.</i></p></div> + +<p>In this church is buried the young Countess Savorelli, the story of +whose love, misfortunes, and death, has been celebrated by About, under +the name of <i>Tolla</i> (the Lello of the story having been one of the +Doria-Pamfili family).</p> + +<div class="blockquot"><p>"The convent which Tolla had sanctified by her death sent three +embassies in turn to beg to preserve her relics: already the people +spoke of her as a saint. But Count Feraldi (Savorelli) considered +that it was due to his honour and to his vengeance to bear her +remains with pomp to the tomb of his family. He had sufficient +influence to obtain that for which permission is not granted once +in ten years: the right of<a name="vol_1_page_103" id="vol_1_page_103"></a> transporting her uncovered, upon a bed +of white velvet, and of sparing her the horrors of a coffin. The +beloved remains were wrapped in the white muslin robe which she +wore in the garden on the day when she exchanged her sweet vows +with Lello. The Marchesa Trasimeni, ill and wasted as she was, came +herself to arrange her hair in the manner she loved. Every garden +in Rome despoiled itself to send her its flowers; it was only +necessary to choose. The funeral procession quitted the church of +S. Antonio Abbate on Thursday evening at 7.30 for the Santi +Apostoli, where the Feraldis are buried. The body was preceded by a +long file of the black and white confraternities, each bearing its +banner. The red light of the torches played upon the countenance of +the beautiful dead, and seemed to animate her afresh. The piazza +was filled with a dense and closely packed but dumb crowd; no +discordant sound troubled the grief of the relations and friends of +Tolla, who wept together at the Palazzo Feraldi....</p> + +<p>"The Church of the Apostoli and the tomb of the poor loving girl, +became at certain days of the year an object of pilgrimage, and +more than one young Roman maiden adds to her evening litany the +words, 'St. Tolla, virgin and martyr, pray for us.'"—<i>About.</i></p></div> + +<p>Just beyond the church is the <i>Palazzo Muto-Savorelli</i> (the home of +Tolla, "Palazzo Feraldi") long the residence of Prince Charles Edward +("the last Pretender"), who died here in 1788. Hence the <i>Via delle +Vergini</i>, with its dismal lines of latticed convent-windows, leads to +the Fountain of Trevi.</p> + +<p>Returning to the Corso, we pass (right) <i>Palazzo Buonaparte</i>, built by +Giovanni dei Rossi in 1660. Here Lætitia Buonaparte—"Madame Mère"—the +mother of Napoleon I., died February 2nd, 1836. The present head of the +family is Cardinal Lucien-Louis Buonaparte, son of Prince Charles (son +of Lucien) and of Princess Zénaïde, daughter of King Joseph of Spain. +His only surviving brother is Prince Napoleon Buonaparte.</p> + +<p>This palace forms one corner of the <i>Piazza di Venezia</i>, which contains +the ancient castellated <i>Palace</i> of the Republic<a name="vol_1_page_104" id="vol_1_page_104"></a> of Venice, built in +1468 by Giuliano da Majano (with materials plundered from the Coliseum) +for Paul II., who was of Venetian birth. On the ruin of the republic the +palace fell into the hands of Austria, and is still the residence of the +Austrian ambassador, to whom it was specially reserved on the cession of +Venice to Italy.</p> + +<p>Opposite this, on a line with the Corso, is the <i>Palazzo Torlonia</i>, +built by Fontana in 1650, for the Bolognetti family.</p> + +<div class="blockquot"><p>"Nobility is certainly more the fruit of wealth in Italy than in +England. Here, where a title and estate are sold together, a man +who can buy the one secures the other. From the station of a +lacquey, an Italian who can amass riches, may rise to that of duke. +Thus Torlonia, the Roman banker, purchased the title and estate of +the Duca di Bracciano, fitted up the 'Palazzo Nuovo di Torlonia' +with all the magnificence that wealth commands; and a marble +gallery, with its polished floors, modern statues, painted +ceilings, and gilded furniture, far outshines the faded splendour +of the halls of the old Roman nobility."—<i>Eaton's Rome.</i></p> + +<p>"Un ancien domestique de place, devenu spéculateur et banquier, +achète un marquisat, puis une principauté. Il crée un majorat pour +son fils aîné et une seconde géniture en faveur de l'autre. L'un +épouse une Sforza-Cesarini et marie ses deux fils à une Chigi et +une Ruspoli; l'autre obtient pour femme une Colonna-Doria. C'est +ainsi que la famille Torlonia, par la puissance de l'argent et la +faveur du saint-père, s'est élevée presque subitement à la hauteur +des plus grands maisons népotiques et féodales."—<i>About.</i></p></div> + +<p>The most interesting of the antiquities preserved in this palace is a +bas-relief, representing a combat between men and animals, brought +hither from the Palazzo Orsini, and probably pourtraying the famous +dedication of the theatre of Marcellus on that site, celebrated by the +slaughter of six hundred animals.</p> + +<p>The end of the Corso—narrowed by a projecting wing of the Venetian +Palace—is known as the <i>Ripresa dei Barberi<a name="vol_1_page_105" id="vol_1_page_105"></a></i>, because there the +horses, which run in the races during the Carnival, are caught in large +folds of drapery let down across the street to prevent their dashing +themselves to pieces against the opposite wall.</p> + +<p>Close to the end of this street, built into the wall of a house in the +Via di Marforio, is one of the few relics of republican times in the +city,—a Doric <i>Tomb</i>, bearing an inscription which states that it was +erected by order of the people on land granted by the Senate to Caius +Publicius Bibulus, the plebeian ædile, and his posterity. Petrarch +mentions in one of his letters that he wrote one of his sonnets leaning +against the tomb of Bibulus.</p> + +<p>This tomb has a secondary interest as marking the commencement of the +Via Flaminia, as it stood just outside the Porta Ratumena from whence +that road issued. There are some obscure remains of another tomb on the +other side of the street. The Via Flaminia, like the Via Appia, was once +fringed with tombs.</p> + +<p>From the Ripresa dei Barberi, a street passing under an arch on the +right, leads to the back of the Venetian Palace, where is the <i>Church of +S. Marco</i>, originally founded in the time of Constantine, but rebuilt in +833, and modernized by Cardinal Quirini in 1744. Its portico, which is +lined with early Christian inscriptions, contains a fine fifteenth +century doorway, surmounted by a figure of St. Mark. The interior is in +the form of a basilica, its naves and aisles separated by twenty +columns, and ending in an apse. The best pictures are S. Marco, "a pope +enthroned, by <i>Carlo Crivelli</i>, resembling in sharpness of finish and +individuality the works of Bartolomeo Viviani,"<a name="FNanchor_18_18" id="FNanchor_18_18"></a><a href="#Footnote_18_18" class="fnanchor">[18]</a> and a Resurrection +by <i>Palma Giovane</i>.<a name="vol_1_page_106" id="vol_1_page_106"></a></p> + +<div class="blockquot"><p>"The mosaics of S. Marco, executed under Pope Gregory IV. (<small>A.D.</small> +827—844), with all their splendour, exhibit the utmost poverty of +expression. Above the tribune, in circular compartments, is the +portrait of Christ between the symbols of the Evangelists, and +further below SS. Peter and Paul (or two prophets) with scrolls; +within the tribune, beneath a hand extended with a wreath, is the +standing figure of Christ with an open book, and on either side, S. +Angelo and Pope Gregory IV. Further on, but still belonging to the +dome, are the thirteen lambs, forming a second and quite uneven +circle round the figures. The execution is here especially rude, +and of true Byzantine rigidity, while, as if the artist knew that +his long lean figures were anything but secure upon their feet, he +has given them each a separate little pedestal. The lines of the +drapery are chiefly straight and parallel, while, with all this +rudeness, a certain play of colour has been contrived by the +introduction of high lights of another colour."—<i>Kugler.</i></p></div> + +<p>This church is said to have been originally founded in honour of the +Evangelist in 337 by Pope Marco, but this pope, being himself canonized, +is also honoured here, and is buried under the high altar. On April +25th, St. Mark's Day, a grand procession of clergy starts from this +church. It was for the most part rebuilt under Gregory IV. in 838.</p> + +<p>Behind the Palazzo Venezia is the vast <i>Church of Il Gesù</i>, begun in +1568 by the celebrated Vignola, but the cupola and façade completed in +1575 by his scholar Giacomo della Porta. In the interior is the monument +of Cardinal Bellarmin, and various pictures representing events in the +lives or deaths of the Jesuit saints,—that of the death of St. Francis +Xavier is by <i>Carlo Maratta</i>. The high altar, by Giacomo della Porta, +has fine columns of giallo-antico. The altar of St. Ignatius at the end +of the left transept is of gaudy magnificence. It was designed by Padre +Pozzi, the group of the Trinity being by Bernardino Ludovisi; the globe +in the hand of the Almighty is said to<a name="vol_1_page_107" id="vol_1_page_107"></a> be the largest piece of +lapis-lazuli in existence. Beneath this altar, and his silver statue, +lies the body of St. Ignatius Loyola, in an urn of gilt bronze, adorned +with precious stones. A great ceremony takes place in this church on +July 31st, the feast of St. Ignatius, and on December 31st a Te Deum is +sung here for the mercies of the past year, in the presence of the pope, +cardinals, and the people of Rome,—a really solemn and impressive +service.</p> + +<p>The <i>Convent of the Gesù</i> is the residence of the General of the Jesuits +("His Paternity"), and the centre of religious life in their Order. The +rooms in which St. Ignatius lived and died are of the deepest historic +interest. They consist of four chambers. The first, now a chapel, is +that in which he wrote his "Constitutions." The second, also a chapel, +is that in which he died. It contains the altar at which he daily +celebrated mass, and the autograph engagement to live under the same +laws of obedience, poverty, and chastity, signed by Laynez, Francis +Xavier, and Ignatius Loyola. On its walls are two portraits of Ignatius +Loyola, one as a young knight, the other as a Jesuit father, and +portraits of S. Carlo Borromeo and S. Filippo Neri. It was in this +chamber also that St. Francis Borgia died. The third room was that of +the attendant monk of St. Ignatius; the fourth is now a kind of museum +of relics containing portions of his robes and small articles which +belonged to him and to other saints of the Order.</p> + +<p>Facing the Church of the Gesù is the <i>Palazzo Altieri</i>, built by +Cardinal Altieri in 1670, from designs of Giov. Antonio Rossi.</p> + +<div class="blockquot"><p>"Quand le palais Altieri fut achevé, les Altieri, neveux de Clément +X., invitèrent leur oncle à le venir voir. Il s'y fit porter, et +d'aussi loin<a name="vol_1_page_108" id="vol_1_page_108"></a> qu'il aperçut la magnificence et l'étendue de cette +superbe fabrique, il reboussa chemin le cœur serré, sans dire un +seul mot, et mourut peu après."—<i>De Brosses.</i></p> + +<p>"On the staircase of the Palazzo Altieri, is an ancient colossal +marble <i>finger</i>, of such extraordinary size, that it is really +worth a visit."—<i>Eaton's Rome.</i></p></div> + +<p>This palace was the residence of the late noble-hearted vicar-general, +Cardinal Altieri, who died a martyr to his devotion to his flock (as +Bishop of Albano) during the terrible visitation of cholera at Albano in +1867.</p> + +<p>The <i>Piazza del Gesù</i> is considered to be the most draughty place in +Rome. The legend runs that the devil and the wind were one day taking a +walk together. When they came to this square, the devil, who seemed to +be very devout, said to the wind, "Just wait a minute, mio caro, while I +go into this church." So the wind promised, and the devil went into the +Gesù, and has never come out again—and the wind is blowing about in the +Piazza del Gesù to this day.<a name="vol_1_page_109" id="vol_1_page_109"></a></p> + +<h2><a name="CHAPTER_III" id="CHAPTER_III"></a>CHAPTER III.<br /><br /> +THE CAPITOLINE.</h2> + +<div class="blockquot"><p class="hang">The Story of the Hill—Piazza del Campidoglio—Palace of the +Senator—View from the Capitol Tower—The Tabularium—The Museo +Capitolino—Gallery of Statues—Palace of the Conservators—Gallery +of Pictures—Palazzo Caffarelli—Tarpeian Rock—Convent and Church +of Ara-Cœli—Mamertine Prisons.</p></div> + +<p class="nind"><span class="letra">T</span>HE Capitoline was the hill of the kings and the republic, as the +Palatine was of the empire.</p> + +<p>Entirely composed of tufa, its sides, now concealed by buildings or by +the accumulated rubbish of ages, were abrupt and precipitous, as are +still the sides of the neighbouring citadels of Corneto and Cervetri. It +was united to the Quirinal by an isthmus of land cut away by Trajan, but +in every other direction was isolated by its perpendicular cliffs:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Arduus in valles et fora clivus erat."<br /></span> +<span class="i15"><i>Ovid, Fast.</i> i. 264.<br /></span> +</div></div> + +<p>Up to the time of the Tarquins, it bore the name of Mons Saturnus,<a name="FNanchor_19_19" id="FNanchor_19_19"></a><a href="#Footnote_19_19" class="fnanchor">[19]</a> +from the mythical king Saturn, who is reported to have come to Italy in +the reign of Janus, and to have made a settlement here. His name was +derived from sowing, and he was looked upon as the introducer of +civilization and social order, both of which are inseparably connected +with<a name="vol_1_page_110" id="vol_1_page_110"></a> agriculture. His reign here was thus considered to be the golden +age of Italy. His wife was Ops, the representative of plenty.<a name="FNanchor_20_20" id="FNanchor_20_20"></a><a href="#Footnote_20_20" class="fnanchor">[20]</a></p> + +<div class="blockquot"><p>"C'est la tradition d'un âge de paix représenté par le règne +paisible de Saturne; avant qu'il y eut une <i>Roma</i>, ville de la +force, il y eut une <i>Saturnia</i>, ville de la paix."—<i>Ampère, Hist. +Rom.</i> i. 86.</p></div> + +<p>Virgil represents Evander, the mythical king of the Palatine, as +exhibiting Saturnia, already in ruins, to Æneas.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Hæc duo præterea disjectis oppida muris,<br /></span> +<span class="ist">Reliquias veterumque vides monumenta virorum.<br /></span> +<span class="ist">Hanc Janus pater, hanc Saturnus condidit arcem:<br /></span> +<span class="ist">Janiculum huic, illi fuerat Saturnia nomen."<br /></span> +<span class="i15"><i>Æn.</i> viii. 356.<br /></span> +</div></div> + +<p>When Romulus had fixed his settlement upon the Palatine, he opened an +asylum for fugitive slaves upon the then deserted Saturnus, and here, at +a sacred oak, he is said to have offered up the spoils of the +Cæcinenses, and their king Acron, who had made a war of reprisal upon +him, after the rape of their women in the Campus Martius; here also he +vowed to build a temple to Jupiter Feretrius, where spoils should always +be offered. But in the mean time, the Sabines, under Titius Tatus, +besieged and took the hill, having a gate of its fortress (said to have +been on the ascent above the spot where the arch of Severus now stands) +opened to them by Tarpeia, who gazed with longing upon the golden +bracelets of the warriors, and, obtaining a promise to receive that +which they wore upon their arms, was crushed by their shields as they +entered. Some authorities, however, maintain that she asked and obtained +the hand of king Tatius. From this time the hill was completely occupied +by the<a name="vol_1_page_111" id="vol_1_page_111"></a> Sabines, and its name became partially merged in that of <i>Mons +Tarpeia</i>, which its southern side has always retained. Niebuhr states +that it is a popular superstition that the beautiful Tarpeia still sits, +sparkling with gold and jewels, enchanted and motionless, in a cave in +the centre of the hill.</p> + +<p>After the death of Tatius, the Capitoline again fell under the +government of Romulus, and his successor, Numa Pompilius, founded here a +Temple of Fides Publica, in which the flamens were always to sacrifice +with a fillet on their right hands, in sign of fidelity. To Numa also is +attributed the worship of the god Terminus, who had a temple here in +very early ages.</p> + +<p>Under Tarquinius Superbus, <small>B.C.</small> 535, the magnificent <i>Temple of Jupiter +Capitolinus</i>, which had been vowed by his father, was built with money +taken from the Volscians in war. In digging its foundations, the head of +a man was found, still bloody, an omen which was interpreted by an +Etruscan augur to portend that Rome would become the head of Italy. In +consequence of this, the name of the hill was once more changed, and has +ever since been <i>Mons Capitolinus</i>, or Capitolium.</p> + +<p>The site of this temple has always been one of the vexed questions of +history. At the time it was built, as now, the hill consisted of two +peaks, with a level space between them. Niebuhr and Gregorovius place +the temple on the south-eastern height, but Canina and other +authorities, with more probability, incline to the north-eastern +eminence, the present site of Ara-Cœli, because, among many other +reasons, the temple faced the south, and also the Forum, which it could +not have done upon the south-eastern summit; and also because the +citadel is always represented<a name="vol_1_page_112" id="vol_1_page_112"></a> as having been nearer to the Tiber than +the temple: for when Herdonius, and the Gauls, arriving by the river, +scaled the heights of the Capitol, it was the <i>citadel</i> which barred +their path, and in which, in the latter case, Manlius was awakened by +the noise of the sacred geese of Juno.</p> + +<p>The temple of Jupiter occupied a lofty platform, the summit of the rock +being levelled to receive it. Its façade was decorated with three ranges +of columns, and its sides by a single colonnade. It was nearly square, +being 200 Roman feet in length, and 185 in width.<a name="FNanchor_21_21" id="FNanchor_21_21"></a><a href="#Footnote_21_21" class="fnanchor">[21]</a> The interior was +divided into three cells; the figure of Jupiter occupied that in the +centre, Minerva was on his right, and Juno on his left. The figure of +Jupiter was the work of an artist of the Volscian city of Fregellæ,<a name="FNanchor_22_22" id="FNanchor_22_22"></a><a href="#Footnote_22_22" class="fnanchor">[22]</a> +and was formed of terra-cotta, painted like the statues which we may +still see in the Etruscan museum at the Vatican, and clothed with the +tunica palmata, and the toga picta, the costume of victorious generals. +In his right hand was a thunder-bolt, and in his left a spear.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Jupiter angusta vix totus stabat in Æde;<br /></span> +<span class="i2">Inque Jovis dextra fictile fulmen erat."<br /></span> +<span class="i15"><i>Ovid, Fast.</i> i. 202.<br /></span> +</div></div> + +<p>At a later period the statue was formed of gold, but this figure had +ceased to exist in the time of Pliny.<a name="FNanchor_23_23" id="FNanchor_23_23"></a><a href="#Footnote_23_23" class="fnanchor">[23]</a> When Martial wrote, the +statues of Jupiter, Juno, and Minerva, were all gilt.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Scriptus es æterno nunc primum, Jupiter, auro,<br /></span> +<span class="ist">Et soror, et summi filia tota patris."<br /></span> +<span class="i15"><i>Martial,</i> xi. <i>Ep.</i> 5.<br /></span> +</div></div> + +<p>In the wall adjoining the cella of Minerva, a nail was<a name="vol_1_page_113" id="vol_1_page_113"></a> fastened every +year, to mark the lapse of time.<a name="FNanchor_24_24" id="FNanchor_24_24"></a><a href="#Footnote_24_24" class="fnanchor">[24]</a> In the centre of the temple was the +statue of Terminus.</p> + +<div class="blockquot"><p>"The sumptuous fane of Jupiter Capitolinus had peculiar claims on +the veneration of the Roman citizens; for not only the great lord +of the earth was worshipped in it, but the conservative principle +of property itself found therein its appropriate symbol. While the +statue of Jupiter occupied the usual place of the divinity in the +furthest recess of the building, an image of the god Terminus was +also placed in the centre of the nave, which was open to the +heavens. A venerable legend affirmed, that when, in the time of the +kings, it was requisite to clear a space on the Capitoline to erect +on it a temple to the great father of the gods, and the shrines of +the lesser divinities were to be removed for the purpose, Terminus +alone, the patron of boundaries, refused to quit his place, and +demanded to be included in the walls of the new edifice. Thus +propitiated he was understood to declare that henceforth the bounds +of the republic should never be removed; and the pledge was more +than fulfilled by the ever increasing circuit of her +dominion."—<i>Merivale, Romans Under the Empire.</i></p></div> + +<p>The gates of the temple were of gilt bronze, and its pavement of +mosaic;<a name="FNanchor_25_25" id="FNanchor_25_25"></a><a href="#Footnote_25_25" class="fnanchor">[25]</a> in a vault beneath were preserved the Sibylline books placed +there by Tarquin. The building of Tarquin lasted 400 years, and was +burnt down in the civil wars, <small>B.C.</small> 83. It was rebuilt very soon +afterwards by Sylla, and adorned with columns of Pentelic marble, which +he had brought from the temple of Jupiter Olympus at Athens.<a name="FNanchor_26_26" id="FNanchor_26_26"></a><a href="#Footnote_26_26" class="fnanchor">[26]</a> Sylla, +however, did not live to rededicate it, and it was finished by Q. +Lutatius Catulus, B.C. 62. This temple lasted till it was burnt to the +ground by the soldiers of Vitellius, who set fire to it by throwing +torches upon the portico, <small>A.D.</small> 69, and dragging forth Sabinus, the +brother of Vespasian, murdered him at the foot of the Capitol, near the +Mamertine Prisons.<a name="FNanchor_27_27" id="FNanchor_27_27"></a><a href="#Footnote_27_27" class="fnanchor">[27]</a> Domitian,<a name="vol_1_page_114" id="vol_1_page_114"></a> the younger son of Vespasian, was, at +that time, in the temple with his uncle, and escaped in the dress of a +priest; in commemoration of which, he erected a chapel to Jupiter +Conservator, close to the temple, with an altar upon which his adventure +was sculptured. The temple was rebuilt by Vespasian, who took so great +an interest in the work, that he carried away some of the rubbish on his +own shoulders; but his temple was the exact likeness of its predecessor, +only higher, as the aruspices said that the gods would not allow it to +be altered.<a name="FNanchor_28_28" id="FNanchor_28_28"></a><a href="#Footnote_28_28" class="fnanchor">[28]</a> In this building Titus and Vespasian celebrated their +triumph for the fall of Jerusalem. The ruin of the temple began in <small>A.D.</small> +404, during the short visit of the youthful Emperor Honorius to Rome, +when the plates of gold which lined its doors were stripped off by +Stilicho.<a name="FNanchor_29_29" id="FNanchor_29_29"></a><a href="#Footnote_29_29" class="fnanchor">[29]</a> It was finally plundered by the Vandals, in <small>A.D.</small> 455, when +its statues were carried off to adorn the African palace of Genseric, +and half its roof was stripped of the gilt bronze tiles which covered +it; but it is not known precisely when it ceased to exist,—the early +fathers of the Christian Church speak of having seen it. The story that +the bronze statue of Jupiter, belonging to this temple, was transformed +by Leo I. into the famous image of St. Peter, is very doubtful.</p> + +<p>Close beside this, the queen of Roman temples, stood the <i>Temple of +Fides</i>, said to have been founded by Numa, where the senate were +assembled at the time of the murder of Tiberius Gracchus, <small>B.C.</small> 133, who +fell in front of the temple of Jupiter, at the foot of the statues of +the kings: his blood being the first spilt in Rome in a civil war.<a name="FNanchor_30_30" id="FNanchor_30_30"></a><a href="#Footnote_30_30" class="fnanchor">[30]</a> +Near this, also, were the twin <i>Temples of Mars and Venus Erycina</i>, +vowed after the battle of Thrasymene, and consecrated,<a name="vol_1_page_115" id="vol_1_page_115"></a> <small>B.C.</small> 215, by the +consuls Q. Fabius Maximus and T. Otacilius Crassus. Near the top of the +Clivus was the <i>Temple of Jupiter Tonans</i>, built by Augustus, in +consequence of a vow which he made in an expedition against the Cantabri +when his litter was struck, and the slave who preceded him was killed by +lightning. This temple was so near, that it was considered as a porch to +that of Jupiter Capitolinus, and in token of that character, Augustus +hung some bells upon its pediment.</p> + +<p>On the Arx, or opposite height of the Capitol, was the <i>Temple of Honour +and Virtue</i>, built <small>B.C.</small> 103, by Marius, with the spoils taken in the +Cimbric wars. This temple was of sufficient size to allow of the senate +meeting there, to pass the decree for Cicero's recall.<a name="FNanchor_31_31" id="FNanchor_31_31"></a><a href="#Footnote_31_31" class="fnanchor">[31]</a> Here Nardini +places the ancient <i>Temple of Jupiter Feretrius</i>, in which Romulus +dedicated the first spolia opima. Here, on the site of the house of +Manlius, was built the <i>Temple of Juno Moneta</i>, <small>B.C.</small> 345, in accordance +with a vow of L. Furius Camillus.<a name="FNanchor_32_32" id="FNanchor_32_32"></a><a href="#Footnote_32_32" class="fnanchor">[32]</a> On this height, also, was the +<i>Altar of Jupiter Pistor</i>, which commemorated the stratagem of the +Romans, who threw down loaves into the camp of the besieging Gauls, to +deceive them as to the state of their supplies.<a name="FNanchor_33_33" id="FNanchor_33_33"></a><a href="#Footnote_33_33" class="fnanchor">[33]</a></p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Nomine, quam pretio celebratior, arce Tonantis,<br /></span> +<span class="i2">Dicam Pistoris quid velit ara Jovis."<br /></span> +<span class="i15"><i>Ovid, Fast.</i> vi. 349.<br /></span> +</div></div> + +<p>It was probably also on this side of the hill that the gigantic <i>Statue +of Jupiter</i> stood, which was formed out of the armour taken from the +Samnites, <small>B.C.</small> 293, and which is stated by Pliny to have been of such a +size that it was visible from the top of Monte Cavo.<a name="vol_1_page_116" id="vol_1_page_116"></a></p> + +<p>Two cliffs are now rival claimants to be considered as the Tarpeian +Rock; but it is most probable that the whole of the hill on this side of +the Intermontium was called the Mons Tarpeia, and was celebrated under +that name by the poets.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"In summo custos Tarpeiæ Manlius arcis<br /></span> +<span class="ist">Stabat pro templo, et Capitolia celsa tenebat:<br /></span> +<span class="ist">Romuleoque recens horrebat regia culmo.<br /></span> +<span class="ist">Atque hic auratis volitans argenteus anser<br /></span> +<span class="ist">Porticibus, Gallos in limine adesse canebat."<br /></span> +<span class="i15"><i>Virgil, Æn.</i> viii. 652.<br /></span> +</div></div> + +<div class="poem"><div class="stanza"> +<span class="i0">"Aurea Tarpeia ponet Capitolia rupe,<br /></span> +<span class="ist">Et junget nostro templorum culmina cœlo."<br /></span> +<span class="i15"><i>Sil. Ital.</i> iii. 623.<br /></span> +</div></div> + +<div class="poem"><div class="stanza"> +<span class="i0">... "juvat inter tecta Tonantis,<br /></span> +<span class="i0">Cernere Tarpeia pendentes rupe Gigantes."<br /></span> +<span class="i15"><i>Claud.</i> vi. <i>Cons. Hon.</i> 44.<br /></span> +</div></div> + +<p>Among the buildings upon the <i>Intermontium</i>, or space between the two +heights, were the Tabularium, or Record Office, part of which still +remains; a portico, built by Scipio Nasica,<a name="FNanchor_34_34" id="FNanchor_34_34"></a><a href="#Footnote_34_34" class="fnanchor">[34]</a> and an arch which Nero +built here to his own honour, the erection of which upon the sacred +hill, hitherto devoted to the gods, was regarded even by the subservient +senate as an unparalleled act of presumption.<a name="FNanchor_35_35" id="FNanchor_35_35"></a><a href="#Footnote_35_35" class="fnanchor">[35]</a></p> + +<p>In mediæval times the revolutionary government of Arnold of Brescia +established itself on this hill (1144), and Pope Lucius II., in +attempting to regain his temporal power, was slain with a stone in +attacking it. Here Petrarch received his laurel crown (1341); and here +the tribune Rienzi promulgated the laws of the "good estate." At this +time nothing existed on the Capitol but the church and convent of +Ara-Cœli,<a name="vol_1_page_117" id="vol_1_page_117"></a> and a few ruins. Yet the cry of the people at the +coronation of Petrarch, "Long life to <i>the Capitol</i> and the poet!" shows +that the scene itself was then still more present to their minds than +the principal actor upon it. But, when the popes returned from Avignon, +the very memory of the Capitol seemed effaced, and the spot was only +known as the Goat's Hill,—<i>Monte Caprino</i>. Pope Boniface IX. (1389—94) +was the first to erect on the Capitol, on the ruins of the Tabularium, a +residence for the senator and his assessors, Paul III. (1544—50) +employed Michael Angelo to lay out the Piazza del Campidoglio; when he +designed the Capitoline Museum and the Palace of the Conservators. Pius +IV., Gregory XIII., and Sixtus V. added the sculptures and other +monuments which now adorn the steps and balustrade.<a name="FNanchor_36_36" id="FNanchor_36_36"></a><a href="#Footnote_36_36" class="fnanchor">[36]</a></p> + +<hr style="width: 15%;" /> + +<p>Just beyond the end of the Corso, the <i>Via della Pedacchia</i> turns to the +right, under a quaint archway in the secret passage constructed as a +means of escape for the Franciscan Generals of Ara-Cœli to the +Palazzo Venezia, as that in the Borgo is for the escape of the popes to +S. Angelo. In this street is a house decorated with simple but elegant +Doric details, and bearing an inscription over the door which shows that +it was that of Pietro da Cortona.</p> + +<p>The street ends in the sunny open space at the foot of the Capitol, with +Ara-Cœli on its left, approached by an immense flight of steps, +removed hither from the Temple of the Sun, on the Quirinal, but marking +the site of the famous staircase to the temple of Jupiter Capitolinus, +which Julius Cæsar descended on his knees, after his triumph for his +Gallic victories.<a name="FNanchor_37_37" id="FNanchor_37_37"></a><a href="#Footnote_37_37" class="fnanchor">[37]</a><a name="vol_1_page_118" id="vol_1_page_118"></a></p> + +<p>The grand staircase, "<i>La Cordonnata</i>," was opened in its present form +on the occasion of the entry of Charles V., in 1536.<a name="FNanchor_38_38" id="FNanchor_38_38"></a><a href="#Footnote_38_38" class="fnanchor">[38]</a> At its foot are +two lions of Egyptian porphyry, which were removed hither from the +Church of S. Stefano in Cacco, by Pius IV. It was down the staircase +which originally existed on this site, that Rienzi the tribune fled in +his last moments, and close to the spot where the left-hand lion stands, +that he fell, covered with wounds, his wife witnessing his death from a +window of the burning palace above. A small space between the two +staircases has lately been transformed into a garden, through which +access may be obtained to four vaulted brick chambers, remnants of the +substructions of the temple of Jupiter Capitolinus. A living wolf is +kept here in commemoration of the nurse of Romulus and Remus.</p> + +<p>At the head of the stairs are colossal statues of the twin heroes, +Castor and Pollux (brought hither from the Ghetto), commemorating the +victory of the Lake Regillus, after which they rode before the army to +Rome, to announce the joyful news, watered their horses at the Aqua +Argentina, and then passed away from the gaze of the multitude into +celestial spheres. Beyond these, on either side, are two trophies of +imperial times discovered in the ruin on the Esquiline, misnamed the +Trophies of Marius. Next come statues of Constantine the Great and his +son Constantine II., from their baths on the Quirinal. The two ends of +the parapet are occupied by ancient Milliaria, being the first and +seventh milestones of the Appian Way. The first milestone was found in +<i>situ</i>, and showed that the miles counted from the gates of Rome, and +not, as was formerly supposed,<a name="vol_1_page_119" id="vol_1_page_119"></a> from the Milliarium Aureum, at the foot +of the Capitol.</p> + +<p>We now find ourselves in the <i>Piazza del Campidoglio</i>, occupying the +Intermontium, where Brutus harangued the people after the murder of +Julius Cæsar. In the centre of the square is the famous <i>Statue of +Marcus Aurelius</i>, the only perfect ancient equestrian statue in +existence. It was originally gilt, as may still be seen from marks of +gilding upon the figure, and stood in front of the arch of +Septimius-Severus. Hence it was removed by Sergius III. to the front of +the Lateran, where, not long after, it was put to a singular use by John +XIII., who hung a refractory prefect of the city from it by his +hair.<a name="FNanchor_39_39" id="FNanchor_39_39"></a><a href="#Footnote_39_39" class="fnanchor">[39]</a> During the rejoicings consequent upon the elevation of Rienzi +to the tribuneship in 1347, one of its nostrils was made to flow with +water and the other with wine. From its vicinity to the Lateran, so +intimately connected with the history of Constantine, it was supposed +during the middle ages to represent that Christian emperor, and this +fortunate error alone preserved it from the destruction which befell so +many other ancient imperial statues. Michael Angelo, when he designed +the buildings of the Capitoline Piazza, wished to remove the statue to +its present site, but the canons of the Lateran were unwilling to part +with their treasure, and only consented to its removal upon an annual +acknowledgment of their proprietorship, for which a bunch of flowers is +still presented once a year by the senators to the chapter of the +Lateran. Michael Angelo, standing in fixed admiration before this +statue, is said to have bidden the horse "Cammina." Even until late +years an especial guardian has been appointed to take care of it, with +an annual stipend of ten scudi a year, and the title of "Il custode del +Cavallo."<a name="vol_1_page_120" id="vol_1_page_120"></a></p> + +<div class="blockquot"><p>"They stood awhile to contemplate the bronze equestrian statue of +Marcus Aurelius. The moonlight glistened upon traces of the gilding +which had once covered both rider and steed; these were almost +gone, but the aspect of dignity was still perfect, clothing the +figure as it were with an imperial robe of light. It is the most +majestic representation of the kingly character that ever the world +has seen. A sight of the old heathen emperor is enough to create an +evanescent sentiment of loyalty even in a democratic bosom, so +august does he look, so fit to rule, so worthy of man's profoundest +homage and obedience, so inevitably attractive of his love. He +stretches forth his hand with an air of proud magnificence and +unlimited authority, as if uttering a decree from which no appeal +was permissible, but in which the obedient subject would find his +highest interests consulted: a command that was in itself a +benediction."—<i>Hawthorne.</i></p> + +<p>"I often ascend the Capitoline Hill to look at Marcus Aurelius and +his horse, and have not been able to refrain from caressing the +lions of basalt. You cannot stand on the Aventine or the Palatine +without grave thoughts, but standing on the spot brings me very +little nearer the image of past ages."—<i>Niebuhr's Letters.</i></p> + +<p>"La statue équestre de Marc-Aurèle a aussi sa légende, et celle-là +n'est pas du moyen âge, mais elle a été recueillie il y a peu +d'années de la bouche d'un jeune Romain. La dorure, en partie +détruite, se voit encore en quelques endroits. A en croire le jeune +Romain, cependant, la dorure, au lieu d'aller s'effaçant toujours +davantage, était en voie de progrès. 'Voyez, disait-il, la statue +de bronze commence à se dorer, et quand elle le sera entièrement, +le monde finira.'—C'est toujours, sous une forme absurde, la +vieille idée romaine, que les destinées et l'existence de Rome sont +liées aux destinées et à l'existence du monde. C'est ce qui faisait +dire au septième siècle; ainsi que les pèlerins saxons l'avaient +entendu et le répétaient; 'Quand le Colisée tombera, Rome et le +monde finiront.'"—<i>Ampère, Emp.</i> ii. 228.</p></div> + +<p>The building at the back of the piazza is <i>The Palace of the Senator</i>, +originally built by Boniface IX. (1389), but altered by Michael Angelo +to correspond with his buildings on either side. The fountain at the +foot of the double staircase was erected by Sixtus V., and is adorned +with statues of river gods found in the Colonna Gardens, and a curious +porphyry figure of Minerva—adapted as Rome. The<a name="vol_1_page_121" id="vol_1_page_121"></a> body of this statue +was found at Cori, but the head and arms are modern additions.</p> + +<div class="blockquot"><p>"Rome personnifiée, cette déesse à laquelle on érigea des temples, +voulut d'abord être une Amazone, ce qui se conçoit, car elle était +guerrière avant tout. C'est sous la forme de Minerve que Rome est +assise sur la place du Capitole."—<i>Ampère, Hist. Romaine</i>, iii. +242.</p></div> + +<p>In the interior of this building the Hall of the Senators contains some +papal statues, and that of Charles of Anjou, who was made senator of +Rome in the thirteenth century.</p> + +<p>The <i>Tower of the Capitol</i> contains the great bell of Viterbo, carried +off from that town during the wars of the middle ages, which is never +rung except to announce the death of a pope, or the opening of the +carnival. During the closing years of the temporal power of the popes, +it has been difficult to obtain admission to the tower, but the ascent +is well repaid by the view from the summit, which embraces not only the +seven hills of Rome, but the various towns and villages of the +neighbouring plain and mountains which successively fell under its +dominion.</p> + +<div class="blockquot"><p>"Pour suivre les vicissitudes des luttes extérieures des Romains +contre les peuples qui les entourent et les pressent de tous côtés, +nous n'aurons qu'à regarder à l'horizon la sublime campagne romaine +et ces montagnes qui l'encadrent si admirablement. Elles sont +encore plus belles et l'œil prend encore plus de plaisir à les +contempler quand on songe à ce qu'elles ont vu d'efforts et de +courage dans les premiers temps de la république. Il n'est presque +pas un point de cette campagne qui n'ait été témoin de quelque +rencontre glorieuse; il n'est presque un rocher de ces montagnes +qui n'est été pris et repris vingt fois.</p> + +<p>"Toutes ces nations sabelliques qui dominaient la ville du Tibre et +semblaient placées là sur des hauteurs disposées en demi-cercle +pour l'envelopper et l'écraser, toutes ces nations sont devant nous +et à la portée du regard.<a name="vol_1_page_122" id="vol_1_page_122"></a></p> + +<p>"Voici de côté de la mer les montagnes des Volsques; plus à l'est +sont les Herniques et les Æques; au nord, les Sabins; à l'ouest, +d'autres ennemis, les Etrusques, dont le mont Ciminus est le +rempart.</p> + +<p>"Au sud, la plaine se prolonge jusqu'à la mer. Ici sont les Latins, +qui, n'ayant pas des montagnes pour leur servir de citadelle et de +refuge, commenceront par être des alliés.</p> + +<p>"Nous pouvons donc embrasser le panorama historique des premiers +combats qu'eurent à soutenir et que soutinrent si vaillamment les +Romains affranchis."—<i>Ampère, Hist. Rom.</i> ii. 373.</p></div> + +<p>Beneath the Palace of the Senator (entered by a door in the street on +the right), are the gigantic remains of the <i>Tabularium</i>, consisting of +huge rectangular blocks of peperino supporting a Doric colonnade, which +is shown by an inscription still preserved to have been that of the +public Record Office, where the Tabulæ, engraved plates bearing +important decrees of the Senate, were preserved, having been placed +there by Q. Lutatius Catulus in B.C. 79. A gallery in the interior of +the Tabularium has been fitted up as a museum of architectural +antiquities collected from the neighbouring temples. This building is as +it were the boundary between inhabited Rome and that Rome which is a +city of ruins.</p> + +<div class="blockquot"><p>"I came to the Capitol, and looked down on the other side. There +before my eyes opened an immense grave, and out of the grave rose a +city of monuments in ruins, columns, triumphal arches, temples, and +palaces, broken, ruinous, but still beautiful and grand,—with a +solemn mournful beauty! It was the giant apparition of ancient +Rome."—<i>Frederika Bremer.</i></p></div> + +<p>The traces of an ancient staircase still exist, which led down from the +Tabularium to the Forum. This is believed by many to have been the path +by which the besiegers under Vitellius, <small>A.D.</small> 69, attacked the Capitol.</p> + +<p>The east side of the piazza—on the left as one stands at the head of +the steps—is the <i>Museo Capitolino</i> (open daily<a name="vol_1_page_123" id="vol_1_page_123"></a> from 9 to 4, for a +fee; and on Mondays and Thursdays gratis, from 2½ to 4½).</p> + +<p>Above the fountain in the court, opposite the entrance, reclines the +colossal statue of a river-god, called Marforio, removed hither from the +end of the Via di Marforio (Forum Martis?) near the arch of Severus. +This figure, according to Roman fancy, was the friend and gossip of +Pasquin (at the Palazzo Braschi), and lively dialogues, merciless to the +follies of the government and the times, used to appear with early +morning, placarded on their respective pedestals, as passing between the +two. Thus, when Clement XI. mulcted Rome of numerous sums to send to his +native Urbino, Marforio asked, "What is Pasquino doing?" The next +morning Pasquin answered, "I am taking care of Rome, that it does not go +away to Urbino." In the desire of putting an end to such inconvenient +remarks, the government ordered the removal of one of the statues to the +Capitol, and, since Marforio has been shut up, Pasquino has lost his +spirits.</p> + +<p>From the corridor on the ground floor open several rooms devoted to +ancient inscriptions and sarcophagi with bas-reliefs. The first room on +the left has some bronzes—in the centre a mutilated horse, found, 1849, +in the Trastevere.</p> + +<div class="blockquot"><p>"Calamis, venu un peu avant Phidias, n'eut point de rival pour les +chevaux. Calamis, qui fut fondeur en bronze, serait-il l'auteur du +cheval de bronze du Capitole, qui, en effet, semble plutôt un peu +antérieur que postérieur à Phidias?"—<i>Ampère, Hist. Rom.</i> iii. +234.</p></div> + +<p>At the foot of the staircase is a colossal statue of the Emperor +Hadrian, found on the Cœlian.</p> + +<p>The <i>Staircase</i> is lined with the fragments of the <i>Pianta Capitolina</i>, +a series of marble slabs of imperial date (found<a name="vol_1_page_124" id="vol_1_page_124"></a> in the sixteenth +century under SS. Cosmo and Damian), inscribed with ground plans of +Rome, and exceedingly important from the light they throw upon the +ancient topography of the city.</p> + +<p>The upper <i>Corridor</i> is lined with statues and busts. Here and elsewhere +we will only notice those especially remarkable for beauty or historic +interest.<a name="FNanchor_40_40" id="FNanchor_40_40"></a><a href="#Footnote_40_40" class="fnanchor">[40]</a></p> + +<div class="blockquot"><p class="nind">L. 12. Satyr playing on a flute.<br /> +R. 13. Cupid bending his bow.<br /> +R. 20. Old woman intoxicated.</p> + +<p>"Tout le monde a remarqué dans le musée du Capitole une vieille +femme serrant des deux mains une bouteille, la bouche entr'ouverte, +les yeux mourants tournés vers le ciel, comme si, dans la +jubilation de l'ivresse, elle savourait le vin qu'elle vient de +boire. Comment ne pas voir dans cette caricature en marbre une +reproduction de <i>la Vielle Femme ivre</i> de Myron, qui passait pour +une des curiosités de Smyrne."—<i>Ampère, Hist. Rom.</i> iii. 272.</p> + +<p class="nind"> +L. 26. The infant Hercules strangling a serpent.<br /> +L. 28. Grand Sarcophagus—the Rape of Proserpine.<br /> +R. 33. Satyr playing on a flute.<br /> +(In the wall on the left inscriptions from the columbarium of Livia.)<br /> +R. 43. Head of Ariadne.<br /> +L. 48. Sarcophagus—the birth and childhood of Bacchus.<br /> +L. 56. Statue, draped.<br /> +R. 64. Jupiter, on a cippus with a curious relief of Claudia drawing +the boat with the image of the Magna Mater up the Tiber.<br /> +L. 69. Bust of Caligula.<br /> +R. 70. Marcus Aurelius, as a boy—a very beautiful bust.<br /> +R. 70. Statue of Minerva from Velletri. The same as that in the +Braccio Nuovo of the Vatican.<br /> +R. 72. Trajan.<br /> + 76. In the window, a magnificent vase, found near the tomb +of Cecilia Metella, standing on a puteal adorned with reliefs of the +twelve principal gods and goddesses.<br /> +</p></div> + +<p>From the right of this corridor open two chambers. The<a name="vol_1_page_125" id="vol_1_page_125"></a> first is named +the <i>Room of the Doves</i>, from the famous mosaic found in the ruins of +Hadrian's villa near Tivoli, and generally called <i>Pliny's Doves</i>, +because Pliny, when speaking of the perfection to which the mosaic art +had attained, describes a wonderful mosaic of Sosus of Pergamos, in +which one dove is seen drinking and casting her shadow on the water, +while others are pluming themselves on the edge of the vase. As a +pendant to this is another <i>Mosaic, of a Tragic and Comic Mask</i>. In the +farther window is the <i>Iliac Tablet</i>, an interesting relief in the soft +marble called palombino, relating to the story of the destruction of +Troy, and the flight of Æneas, and found at Bovillæ.</p> + +<div class="blockquot"><p>"L'ensemble de la guerre contre Troie est contenu dans un abrégé +figuré qu'on appelle la Table Iliaque, petit bas-relief destiné à +offrir un résumé visible de cette guerre aux jeunes Romains, et à +servir dans les écoles soit pour l'<i>Iliade</i>, soit pour les poëmes +cycliques comme d'un <i>Index parlant</i>.</p> + +<p>"La Table Iliaque est un ouvrage romain fait à Rome. Tout ce qui +touche aux origines troyennes de cette ville, inconnues à Homère et +célébrées surtout par Stésichore avant de l'être par Virgile, tient +dans ce bas-relief une place importante et domine dans sa +composition."—<i>Ampère, Hist. Rom.</i> iii. 431.</p></div> + +<p>In the centre of the room is a pretty statuette of a girl shielding a +dove.</p> + +<p>The second chamber, known as <i>The Reserved Cabinet</i>, contains the famous +<i>Venus of the Capitol</i>—a Greek statue, found immured in a wall upon the +Quirinal.</p> + +<div class="blockquot"><p>"La vérité et la complaisance avec lesquelles la nature est rendue +dans la Vénus du Capitole faisaient de cette belle statue,—qui +pourtant n'a rien d'indécent bien que par une pruderie peu chaste +on l'ait reléguée dans un cabinet réservé,—faisaient de cette +belle statue un sujet de scandale pour l'austérité des premiers +chrétiens. C'était sans doute<a name="vol_1_page_126" id="vol_1_page_126"></a> afin de la soustraire à leurs +mutilations qu'on l'avait enfouie avec soin, ce qui l'a conservée +dans son intégrité; ainsi son danger l'a sauvée. Comme on l'a +trouvée dans le quartier suspect de la Suburra, on peut supposer +qu'elle ornait l'atrium élégant de quelque riche +courtisane."—<i>Ampère</i>, iii. 318.</p></div> + +<p>The two smaller sculptures of Leda and the Swan, and Cupid and +Psyche—two lovely children embracing (most needlessly secluded here), +were found on the Aventine.</p> + +<p>From the end of the gallery we enter</p> + +<p><i>The Hall of the Emperors.</i> In the centre is the beautiful seated statue +of Agrippina (grand-daughter of Augustus—wife of Germanicus—and mother +of Caligula).</p> + +<div class="blockquot"><p>"On s'arrête avec respect devant la première Agrippine, assise avec +une si noble simplicité et dont le visage exprime si bien la +fermeté virile."—<i>Ampère</i>, iv.</p> + +<p>"Ici nous la contemplons telle que nous pouvons nous la figurer +après la mort de Germanicus. Elle semble mise aux fers par le +destin, mais sans pouvoir encore renoncer aux pensées superbes dont +son âme était remplie aux jours de son bonheur."—<i>Braun.</i></p></div> + +<p>Round the room are ranged 83 busts of Roman emperors, empresses, and +their near relations, forming perhaps the most interesting portrait +gallery in the world. Even viewed as works of art, many of them are of +the utmost importance. They are—</p> + +<div class="blockquot"><p class="nind"> +1. Julius Cæsar, nat. <small>B.C.</small> 100; ob. <small>B.C.</small> 44.<br /> +2. Augustus, Imp. <small>B.C.</small> 12—<small>A.D.</small> 14.<br /> +3. Marcellus, his nephew and son-in-law, son of Octavia, ob. <small>B.C.</small> 23, aged 20.<br /> +4, 5. Tiberius, Imp. <small>A.D.</small> 14-37.<br /> +6. Drusus, his brother, son of Livia and Claudius Nero, ob. <small>B.C.</small> 10.<br /> +7. Drusus, son of Tiberius and Vipsania, ob. <small>A.D.</small> 23.<br /> +8. Antonia, daughter of Mark Antony and Octavia, wife of the elder +Drusus, mother of Germanicus and Claudius.<br /> +9. Germanicus, son of Drusus and Antonia, ob. <small>A.D.</small> 19.<a name="vol_1_page_127" id="vol_1_page_127"></a><br /> +10. Agrippina, daughter of Julia and Agrippa, granddaughter of +Augustus, wife of Germanicus. Died of starvation under Tiberius, +<small>A.D.</small> 33.<br /> +11. Caligula, Imp. <small>A.D.</small> 37-41, son of Germanicus and +Agrippina. Murdered by the tribune Cherœa (in basalt).<br /> +12. Claudius, Imp. <small>A.D.</small> 41-54, younger son of Drusus and Antonia. +Poisoned by Agrippina.<br /> +13. Messalina, third wife of Claudius. Put to death by Claudius, <small>A.D.</small> 48.</p> + +<p>"Une grosse commère sensuelle, aux traits bouffis, à l'air assez +commun, mais qui pouvait plaire à Claude."—<i>Ampère, Emp.</i> ii. 32.</p> + +<p> +14. Agrippina the younger, sixth wife of Claudius, daughter of Germanicus and Agrippina the elder, great-granddaughter of Augustus. Murdered by her son Nero, <small>A.D.</small> 60.<br /> +</p> + +<p>"Ce buste la montre avec cette beauté plus grande que celle de sa +mère, et qui était pour elle un moyen. Agrippine a les yeux levés +vers le ciel, on dirait qu'elle craint, et qu'elle attend."—<i>Emp.</i> +ii. 34.</p> + +<p class="nind"> +15, 16. Nero, Imp. <small>A.D.</small> 54-69, son of Agrippina the younger by her first husband, Ahenobarbus. Died by his own hand.<br /> +17. Poppæa Sabina (?), second wife of Nero. Killed by a kick from<br /> +her husband, <small>A.D.</small> 62.<br /> +</p> + +<p>"Ce visage a la délicatesse presque enfantine que pouvait offrir +celui de cette femme, dont les molles recherches et les soins +curieux de toilette étaient célèbres, et dont Diderot a dit avec +vérité, bien qu'avec un peu d'emphase, 'C'était une furie sous le +visage des grâces.'"—<i>Emp.</i> ii. 38.</p> + +<p class="nind"> +18. Galba, Imp. <small>A.D.</small> 69. Murdered in the Forum.<br /> +19. Otho, Imp. <small>A.D.</small> 69. Died by his own hand.<br /> +20. Vitellius (?), Imp.<span class="smcap"> A.D.</span> 69. Murdered at the Scalæ Gemoniæ.<br /> +21. Vespasian, Imp. <small>A.D.</small> 70-79.<br /> +22. Titus, Imp. <small>A.D.</small> 79-81. Supposed to have been poisoned by Domitian.<br /> +23. Julia, daughter of Titus.<br /> +24. Domitian, Imp. <small>A.D.</small> 81-96, son of Vespasian. Murdered in the Palace of the Cæsars.<br /> +</p> + +<p>"Domitien est sans comparaison le plus beau des trois Flaviens: +mais c'est une beauté formidable, avec un air farouche et +faux."—<i>Emp.</i> ii. 12.<a name="vol_1_page_128" id="vol_1_page_128"></a></p> + +<p class="nind"> +25. Longina (?).<br /> +26. Nerva (?), Imp. <small>A.D.</small> 96.<br /> +27. Trajan, Imp. <small>A.D.</small> 98-118.<br /> +28. Plotina, wife of Trajan.<br /> +29. Marciana, sister of Trajan.<br /> +30. Matidia, daughter of Marciana, niece of Trajan.<br /> +31, 32. Hadrian, Imp. <small>A.D.</small> 118-138, adopted son of Trajan.<br /> +33. Julia Sabina, wife of Hadrian, daughter of Matidia.<br /> +34. Elius Verus, first adopted son of Hadrian.<br /> +35. Antoninus Pius, Imp. <small>A.D.</small> 138-161, second adopted son of Hadrian.<br /> +36. Faustina the elder, wife of Antoninus Pius and sister of Elius Verus.<br /> +37. Marcus Aurelius, Imp. <small>A.D.</small> 161-180, son of Servianus by Paulina, sister of Hadrian, adopted by Antoninus Pius, as a boy.<br /> +38. Marcus Aurelius, in later life.<br /> +39. Annia Faustina, wife of Marcus Aurelius, daughter of Antoninus Pius and Faustina the elder.<br /> +40. Galerius Antoninus, son of Antoninus Pius.<br /> +41. Lucius Verus, son-in-law of Marcus Aurelius.<br /> +42. Lucilla, wife of Lucius Verus, daughter of Marcus Aurelius and Faustina the younger. Put to death at Capri for a plot against her husband.<br /> +43. Commodus, Imp. <small>A.D.</small> 180-193, son of Marcus Aurelius and Faustina. Murdered in the Palace of the Cæsars.<br /> +44. Crispina, wife of Commodus. Put to death by her husband at Capri.<br /> +45. Pertinax, Imp. <small>A.D.</small> 193, successor of Commodus, reigned three months. Murdered in the Palace of the Cæsars.<br /> +46. Didius Julianus, Imp. <small>A.D.</small> 193, successor of Pertinax. Murdered in the Palace of the Cæsars.<br /> +47. Manlia Scantilla (?), wife of Didius Julianus.</p> + +<table style="margin-left:0%; +margin-top:0%; +margin-bottom:0%; +margin-right:auto;" summary=""> +<tr valign="top"><td>48. Pescennius Niger, +<br />49. Clodius Albinus,</td><td +style="border-left:1px solid black;">—rival candidates (after murder of Didius<br /> +Julianus, <small>A.D.</small> 193) for the Empire, which<br /> +they failed to obtain, and were both put to +death.</td></tr> +</table> + +<p class="nind"> +50, 51. Septimius Severus, Imp. <small>A.D.</small> 193-211, successor of Didius Julianus.<br /> +52. Julia Pia, wife of Septimius Severus.<br /> +53. Caracalla, Imp. <small>A.D.</small> 211-217, son of Sept. Severus and Julia Pia. Murdered.<a name="vol_1_page_129" id="vol_1_page_129"></a><br /> +54. Geta, brother of Caracalla, by whose order he was murdered in the arms of Julia Pia.<br /> +55. Macrinus, Imp. <small>A.D.</small> 217, murderer and successor of Caracalla. Murdered.<br /> +56. Diadumenianus, son of Macrinus. Murdered with his father.<br /> +57. Heliogabalus, Imp. <small>A.D.</small> 218—222, son of Julia Soemis, daughter of Julia Mœsa, who was sister of Julia Pia. Murdered.<br /> +58. Annia Faustina, third wife of Heliogabalus, great-granddaughter of Marcus Aurelius.<br /> +59. Julia Mœsa, sister-in-law of Septimius Severus, aunt of Caracalla, and grandmother of Alexander Severus.<br /> +60. Alexander Severus, Imp., son of Julia Mammea, second daughter of Julia Mœsa. Murdered at the age of 30.<br /> +61. Julia Mammea, daughter of Julia Mœsa, and mother of Alexander Severus. Murdered with her son.<br /> +62. Julius Maximinus, Imp. 235—238; elected by the army. Murdered.<br /> +63. Maximus. Murdered with his father, at the age of 18.<br /> +64. Gordianus Africanus, Imp. 238; a descendant of Trajan. Died by his own hand.<br /> +65. (Antoninus) Gordianus, Junior, Imp. 238, son of Gordianus Africanus and Fabia Orestella, great-granddaughter of Antoninus Pius. Died in battle.<br /> +</p> + +<table style="margin-left:0%; +margin-top:0%; +margin-bottom:0%; +margin-right:auto;" summary=""> +<tr valign="top"><td>66. Pupienus, Imp. 238, +<br />67. Balbinus, Imp. 238,</td> +<td style="border-left:1px solid black;">reigned together for four months and then<br /> +were murdered. +</td></tr> +</table> + +<p class="nind"> +68. Gordianus Pius, Imp. 238, grandson, through his mother, of Gordianus Africanus. Murdered.<br /> +69. Philip II., Imp. 244, son of, and co-emperor with Philip I. Murdered.<br /> +70. Decius(?), Imp. 249—251. Forcibly elected by the army. Killed in battle.<br /> +71. Quintus Herennius Etruscus, son of Decius and Herennia Etruscilla. Killed in battle with his father.<br /> +72. Hostilianus, son or son-in-law of Decius, Imp. 251, with Treb. Gallus. Murdered.<br /> +73. Trebonianus Gallus, Imp. 251—254. Murdered.<br /> +74, 75. Volusianus, son of Trebonianus Gallus. Murdered.<br /> +76. Gallienus, Imp. 261—268. Murdered.<br /> +77. Salonina, wife of Gallienus.<br /> +78. Saloninus, son of Gallienus and Salonina. Put to death by Postumus, <small>A.D.</small> 259, at the age of 17.<a name="vol_1_page_130" id="vol_1_page_130"></a><br /> +79. Marcus Aurelius Carinus, Imp. 283, son of the Emperor Carus. Murdered.<br /> +80. Diocletian, Imp. 284-305; elected by the army.<br /> +81. Constantinus Chlorus, Imp. 305-306, son of Eutropius and Claudia, niece of the Emperor Claudius and Quintilius, father of Constantine the Great.<br /> +82. Julian the Apostate, Imp. 361-363, son of Julius Constantius and nephew of Constantine the Great. Died in battle.<br /> +83. Magnus Decentius, brother of the Emperor Magnentius. Strangled himself, 353.</p> + +<p>"In their busts the lips of the Roman emperors are generally +closed, indicating reserve and dignity, free from human passions +and emotions."—<i>Winckelmann.</i></p> + +<p>"At Rome the emperors become as familiar as the popes. Who does not +know the curly-headed Marcus Aurelius, with his lifted brow and +projecting eyes—from the full round beauty of his youth to the +more haggard look of his latest years? Are there any modern +portraits more familiar than the severe wedge-like head of +Augustus, with his sharp cut lips and nose,—or the dull phiz of +Hadrian, with his hair combed down over his low forehead,—or the +vain, perking face of Lucius Verus, with his thin nose, low brow, +and profusion of curls,—or the brutal bull head of Caracalla,—or +the bestial, bloated features of Vitellius?</p> + +<p>"These men, who were but lay figures to us at school, mere pegs of +names to hang historic robes upon, thus interpreted by the living +history of their portraits, the incidental illustrations of the +places where they lived and moved and died, and the buildings and +monuments they erected, become like men of yesterday. Art has made +them our contemporaries. They are as near to us as Pius VII. and +Napoleon."—<i>Story's Roba di Roma.</i></p> + +<p>"Nerva est le premier des bons, et Trajan le premier des grands +empereurs romains; après lui il y en eut deux autres, les deux +Antonins. Trois sur soixante-dix, tel est à Rome le bilan des +gloires morales de l'empire."—<i>Ampère, Hist. Rom.</i> liii.</p></div> + +<p>Among the reliefs round the upper walls of this room are two,—of +Endymion sleeping, and of Perseus delivering<a name="vol_1_page_131" id="vol_1_page_131"></a> Andromeda, which belong to +the set in the Palazzo Spada, and are exceedingly beautiful.</p> + +<p> </p> + +<p><i>The Hall of Illustrious Men</i> contains a seated statue of M. Claudius +Marcellus (?), the conqueror of Syracuse, <small>B.C.</small> 212. Round the room are +ranged 93 busts of ancient philosophers, statesmen, and warriors. Among +the more important are:—</p> + +<div class="blockquot"> + +<table border="0" cellpadding="0" cellspacing="0" summary=""> +<tr valign="top"><td align="right">4, 5, 6.</td><td>Socrates.</td><td align="right" +style="border-left:1px solid black;">48.</td><td>Cneius Domitius Corbulo, +general under Claudius and Nero.</td></tr> +<tr valign="top"><td align="right"> 9.</td><td >Aristides, the orator.</td><td align="right" style="border-left:1px solid black;">49.</td><td>Scipio Africanus.</td></tr> +<tr valign="top"><td align="right">10.</td><td >Seneca (?).</td><td align="right" style="border-left:1px solid black;">52.</td><td>Cato Minor.</td></tr> +<tr valign="top"><td align="right">16.</td><td >Marcus Agrippa.</td><td align="right" style="border-left:1px solid black;">54.</td><td>Aspasia(?).</td></tr> +<tr valign="top"><td align="right">19.</td><td >Theophrastus.</td><td align="right" style="border-left:1px solid black;">55.</td><td>Cleopatra (?).</td></tr> +<tr valign="top"><td align="right">23.</td><td >Thales.</td><td align="right" style="border-left:1px solid black;">60.</td><td>Thucydides (?).</td></tr> +<tr valign="top"><td align="right">25.</td><td >Theon.</td><td align="right" style="border-left:1px solid black;">61.</td><td>Æschines.</td></tr> +<tr valign="top"><td align="right">27.</td><td >Pythagoras.</td><td align="right" style="border-left:1px solid black;"> 62, 64.</td><td> Epicurus.</td></tr> +<tr valign="top"><td align="right">28.</td><td >Alexander the Great(?).</td><td align="right" style="border-left:1px solid black;">63.</td><td>Epicurus and Metrodorus.</td></tr> +<tr valign="top"><td align="right">30.</td><td >Aristophanes.</td><td align="right" style="border-left:1px solid black;">68, 69.</td><td> Masinissa.</td></tr> +<tr valign="top"><td align="right">31.</td><td >Demosthenes.</td><td align="right" style="border-left:1px solid black;">71.</td><td>Antisthenes.</td></tr> +<tr valign="top"><td align="right">38.</td><td >Aratus.</td><td align="right" style="border-left:1px solid black;">72, 73.</td><td> Julian the Apostate.</td></tr> +<tr valign="top"><td align="right">39, 40.</td><td>Democritus of Aldera.</td><td align="right" style="border-left:1px solid black;">75.</td><td>Cicero.</td></tr> +<tr valign="top"><td align="right">42, 43.</td><td>Euripides.</td><td align="right" style="border-left:1px solid black;">76.</td><td>Terence.</td></tr> +<tr valign="top"><td align="right">44, 45, 46.</td><td>Homer.</td><td align="right" style="border-left:1px solid black;">82.</td><td>Æschylus (?).</td></tr> +<tr valign="top"><td align="right">47.</td><td>Eumenides.</td><td align="right" style="border-left:1px solid black;"> </td></tr> +</table> +</div> + +<p>Among the interesting bas-reliefs in this room is one of a Roman +interior with a lady trying to persuade her cat to dance to a lyre—the +cat, meanwhile, snapping, on its hind legs, at two ducks; the detail of +the room is given—even to the slippers under the bed.</p> + +<p><i>The Saloon</i> contains, down the centre,</p> + +<div class="blockquot"><p>1. Jupiter (in nero-antico), from Porto d'Anzio, on an altar with +figures of Mercury, Apollo, and Diana.<a name="vol_1_page_132" id="vol_1_page_132"></a></p> + +<p>2, 4. Centaurs (in bigio-morato), by <i>Aristeas</i> and <i>Papias</i> (their +names are on the bases), from Hadrian's villa.</p> + +<p>3. The young Hercules, found on the Aventine. It stands on an altar +of Jupiter.</p> + +<p>"On voit au Capitole une statue d'Hercule très-jeune, en basalte, +qui frappe assez désagréablement, d'abord, par le contraste, +habilement exprimé toutefois, des formes molles de l'enfance et de +la vigueur caractéristique du héros. L'imitation de la Grèce se +montre même dans la matière que l'artiste a choisie; c'est un +basalt verdâtre, de couleur sombre. Tisagoras et Alcon avaient fait +un Hercule en fer, pour exprimer la force, et, comme dit Pline, +pour signifier l'énergie persévérante de dieu."—<i>Ampère, Hist. +Rom.</i> iii. 406.</p> + +<p>5. Æsculapius (in nero-antico), on an altar, representing a +sacrifice.</p></div> + +<p>Among the statues and busts round the room the more important are:—</p> + +<div class="blockquot"><p>9. Marcus Aurelius.</p> + +<p>14. A Satyr.</p> + +<p>21. Hadrian, as Mars, from Ceprano.</p> + +<p>24. Hercules, in gilt bronze, found in the Forum-Boarium (the +columns on either side come from the tomb of Cecilia Metella).</p> + +<p>"On cite de Myron trois Hercules, dont deux à Rome; l'un de ces +derniers a probablement servi de modèle à l'Hercule en bronze doré +du Capitole. Cette statue a été trouvée dans le marché aux +Bœufs, non loin du grand cirque. L'Hercule de Myron était dans +un temple élevé par Pompée et situé près du grand cirque; mais la +statue du Capitole, dont le geste est maniéré, quel que soit son +mérite, n'est pas assez parfaite qu'on puisse y reconnaître une +œuvre de Myron. Peut-être Pompée n'avait placé dans son temple +qu'une copie de l'un des deux Hercules de Myron et la donnait pour +l'original; peut-être aussi Pline y a-t-il été trompé. La vanité +que l'un montre dans tous les actes de sa vie et le peu de +sentiment vrai que trahit si souvent la vaste composition de +l'autre s'accordent également avec cette supposition et la rendent +assez vraisemblable."—<i>Ampère, Hist. Rom.</i> iii. 273.</p> + +<p>28. Hecuba.</p> + +<p>"Nous avons le personnage même d'Hécube dans la Pleureuse du +Capitole. Cette prétendué pleureuse est une Hécube furieuse et une +Hécube en scène, car elle porte le costume, elle a le geste et la +vivacité<a name="vol_1_page_133" id="vol_1_page_133"></a> du théâtre, je dirais volontiers de la pantomime.... Son +regard est tourné vers le ciel, sa bouche lance des imprécations; +on voit qu'elle pourra faire entendre ces hurlements, ces +aboiements de la douleur effrénée que l'antiquité voulut exprimer +en supposant que la malheureuse Hécube avait été métamorphosée en +chienne, une chienne à laquelle on a arraché ses petits."—<i>Ampère, +Hist. Rom.</i> iii. 468.</p> + +<p>31. Colossal bust of Antoninus Pius.</p></div> + +<p><i>The Hall of the Faun</i> derives its name from the famous Faun of +rosso-antico, holding a bunch of grapes to his mouth, found in Hadrian's +Villa. It stands on an altar dedicated to Serapis. Against the right +wall is a magnificent sarcophagus, whose reliefs (much studied by +Flaxman) represent the battle of Theseus and the Amazons. The opposite +sarcophagus has a relief of Diana and Endymion. We should also notice—</p> + +<div class="blockquot"> +<p>15. A boy with a mask.</p> + +<p>21. A boy with a goose (found near the Lateran).</p> + +<p>Let into the wall is a black tablet—the Lex Regia, or +Senatus-Consultum, conferring imperial powers upon Vespasian, being the +very table upon which Rienzi declaimed in favour of the rights of the +people.</p> +</div> + +<p><i>The Hall of the Dying Gladiator</i> contains the three gems of the +collection—"the Gladiator," "the Antinous of the Capitol," and the +"Faun of Praxiteles." Besides these, we should notice—2. Apollo with +the lyre, and 9. a bust of M. Junius Brutus, the assassin of Julius +Cæsar.</p> + +<p>In the centre of the room is the grand statue of the wounded Gaul, +generally known as the Dying Gladiator.</p> + +<p><a name="vol_1_page_134" id="vol_1_page_134"></a></p> + +<div class="poem"><div class="stanza"> +<span class="i0">"I see before me the gladiator lie:<br /></span> +<span class="ist">He leans upon his hand—his manly brow<br /></span> +<span class="ist">Consents to death, but conquers agony,<br /></span> +<span class="ist">And his drooped head sinks gradually low,—<br /></span> +<span class="ist">And through his side the last drops, ebbing slow<br /></span> +<span class="ist">From the red gash, fall heavy, one by one,<br /></span> +<span class="ist">Like the first of a thunder-shower; and now<br /></span> +<span class="ist">The arena swims around him—he is gone,<br /></span> +<span class="ist">Ere ceased the inhuman shout which hailed the wretch who won.<br /></span> +</div><div class="stanza"> +<span class="i0">"He heard it, but he heeded not—his eyes<br /></span> +<span class="ist">Were with his heart, and that was far away;<br /></span> +<span class="ist">He reck'd not of the life he lost, nor prize,<br /></span> +<span class="ist">But where his rude hut by the Danube lay<br /></span> +<span class="ist">There were his young barbarians all at play,<br /></span> +<span class="ist">There was their Dacian mother—he, their sire,<br /></span> +<span class="ist">Butchered to make a Roman holiday.<br /></span> +<span class="ist">All this rushed with his blood—shall he expire,<br /></span> +<span class="ist">And unavenged? Arise, ye Goths, and glut your ire!"<br /></span> +<span class="i15"><i>Byron, Childe Harold.</i><br /></span> +</div></div> + +<p>It is delightful to read in this room the description in +<i>Transformation</i>:—</p> + +<div class="blockquot"><p>"It was that room in the centre of which reclines the noble and +most pathetic figure of the dying gladiator, just sinking into his +death-swoon. Around the walls stand the Antinous, the Amazon, the +Lycian Apollo, the Juno; all famous productions of antique +sculpture, and still shining in the undiminished majesty and beauty +of their ideal life, although the marble that embodies them is +yellow with time, and perhaps corroded by the damp earth in which +they lay buried for centuries. Here, likewise, is seen a symbol (as +apt at this moment as it was two thousand years ago) of the Human +Soul, with its choice of Innocence or Evil close at hand, in the +pretty figure of a child, clasping a dove to her bosom, but +assaulted by a snake.</p> + +<p>"From one of the windows of this saloon, we may see a broad flight +of stone steps, descending alongside the antique and massive +foundation of the Capitol, towards the battered triumphal arch of +Septimius Severus, right below. Farther on, the eye skirts along +the edge of the desolate Forum (where Roman washerwomen hang out +their linen to the sun), passing over a shapeless confusion of +modern edifices, piled rudely up with ancient brick and stone, and +over the domes of Christian churches,<a name="vol_1_page_135" id="vol_1_page_135"></a> built on the old pavements +of heathen temples, and supported by the very pillars that once +upheld them. At a distance beyond—yet but a little way, +considering how much history is heaped into the intervening +space—rises the great sweep of the Coliseum, with the blue sky +brightening through its upper tier of arches. Far off, the view is +shut in by the Alban mountains, looking just the same, amid all +this decay and change, as when Romulus gazed thitherward over his +half-finished wall.</p> + +<p>"In this chamber is the Faun of Praxiteles. It is the marble image +of a young man, leaning his right arm on the trunk or stump of a +tree: one hand hangs carelessly by his side, in the other he holds +a fragment of a pipe, or some such sylvan instrument of music. His +only garment, a lion's skin with the claws upon the shoulder, falls +half-way down his back, leaving his limbs and entire front of the +figure nude. The form, thus displayed, is marvellously graceful, +but has a fuller and more rounded outline, more flesh, and less of +heroic muscle, than the old sculptors were wont to assign to their +types of masculine beauty. The character of the face corresponds +with the figure; it is most agreeable in outline and feature, but +rounded and somewhat voluptuously developed, especially about the +throat and chin; the nose is almost straight, but very slightly +curves inward, thereby acquiring an indescribable charm of +geniality and humour. The mouth, with its full yet delicate lips, +seems so really to smile outright, that it calls forth a responsive +smile. The whole statue—unlike anything else that ever was wrought +in the severe material of marble—conveys the idea of an amiable +and sensual creature, easy, mirthful, apt for jollity, yet not +incapable of being touched by pathos. It is impossible to gaze long +at this stone image, without conceiving a kindly sentiment towards +it, as if its substance were warm to the touch, and imbued with +actual life. It comes very near to some of our pleasantest +sympathies."—<i>Hawthorne.</i></p> + +<p>"Praxitèle avait dit à Phryné de choisir entre ses ouvrages celui +qu'elle aimerait le mieux. Pour savoir lequel de ses +chefs-d'œuvre l'artiste préférait, elle lui fit annoncer que le +feu avait pris à son atelier. 'Sauvez, s'écria-t-il, mon Satyre et +mon Amour!'"—<i>Ampère, Hist. Rom.</i> iii. 309.</p></div> + +<p>The west or right side of the Capitoline Piazza is occupied by <i>the +Palace of the Conservators</i>, which contains the Protomoteca, the Picture +Gallery, and various other treasures.<a name="vol_1_page_136" id="vol_1_page_136"></a></p> + +<p>The little court at the entrance is full of historical relics, including +remains of two gigantic statues of Apollo; a colossal head of Domitian; +and the marble pedestal, which once in the mausoleum of Augustus +supported the cinerary urn of Agrippina, wife of Germanicus, with a very +perfect inscription. In the opposite loggia are a statue of Rome +Triumphant, and a group of a lion attacking a horse, found in the bed of +the Almo. In the portico on the right is the only authentic statue of +Julius Cæsar; on the left, a statue of Augustus, leaning against the +rostrum of a galley, in allusion to the battle of Actium.</p> + +<p><i>The Protomoteca</i>, a suite of eight rooms on the ground floor, contains +a collection of busts of eminent Italians, with a few foreigners +considered as naturalised by a long residence in Rome. Those in the +second room, representing artists of the thirteenth, fourteenth, and +fifteenth centuries, were entirely executed at the expense of Canova.</p> + +<p>At the foot of the staircase is a restoration by Michael Angelo of the +column of Caius Duilius. On the upper flight of the staircase is a +bas-relief of Curtius leaping into the gulf, here represented as a +marsh.</p> + +<div class="blockquot"><p>"Un bas-relief d'un travail ancien, dont le style ressemble à celui +des figures peintes sur les vases dits archaïques, représente +Curtius engagé dans son marais; le cheval baisse la tête et flaire +le marécage, qui est indiqué par des roseaux. Le guerrier penché en +avant, presse sa monture. On a vivement, en présence de cette +curieuse sculpture, le sentiment d'un incident héroïque +probablement réel, et en même temps de l'aspect primitif du lieu +qui en fut témoin."—<i>Ampère, Hist. Rom. i. 321.</i></p></div> + +<p>On the first and second landings are magnificent reliefs, representing +events in the life of Marcus Aurelius, Imp.,<a name="vol_1_page_137" id="vol_1_page_137"></a> belonging to the arch +dedicated to him, which was wantonly destroyed, in order to widen the +Corso, by Alexander VII.</p> + +<div class="blockquot"><p>"Jusqu'au lègne de Commode Rome est représentée par une Amazone; +dans l'escalier du palais des Conservateurs, Rome, en tunique +courte d'Amazone et le globe à la main, reçoit Marc Aurèle; le +globe dans la main de Rome date de César."—<i>Ampère</i>, iii. 242.</p></div> + +<p><i>The Halls of the Conservators</i> consist of eight rooms. The 1st, painted +in fresco from the history of the Roman kings, by the <i>Cavaliere +d'Arpino</i>, contains statues of Urban VIII., by Bernini; Leo X., by the +Sicilian Giacomo della Duca;<a name="FNanchor_41_41" id="FNanchor_41_41"></a><a href="#Footnote_41_41" class="fnanchor">[41]</a> and Innocent X., in bronze, by Algardi. +The 2nd room, adorned with subjects from republican history by +<i>Lauretti</i>, has statues of modern Roman generals—Marc Antonio Colonna, +Tommaso Rospigliosi, Francesco Aldobrandini, Carlo Barberini, brother of +Urban VIII., and Alessandro Farnese, Duke of Parma. The 3rd room, +painted by <i>Daniele di Volterra</i>, with subjects from the wars with the +Cimbri, contains the famous <i>Bronze Wolf of the Capitol</i>, one of the +most interesting relics in the city. The figure of the wolf is of +unknown antiquity; those of Romulus and Remus are modern. It has been +doubted whether this is the wolf described by Dionysius as "an ancient +work of brass" standing in the temple of Romulus under the Palatine, or +the wolf described by Cicero, who speaks of a little gilt figure of the +founder of the city sucking the teats of a wolf. The Ciceronian wolf was +struck by lightning in the time of the great orator, and a<a name="vol_1_page_138" id="vol_1_page_138"></a> fracture in +the existing figure, attributed to lightning, is adduced in proof of its +identity with it.</p> + +<div class="poem"><div class="stanza"> +<span class="i6">"Geminos huic ubera circum<br /></span> +<span class="i0">Ludere pendentes pueros, et lambere matrem<br /></span> +<span class="i0">Impavidos: illam tereti cervice reflexam<br /></span> +<span class="i0">Mulcere alternos, et corpora fingere lingua."<br /></span> +</div><div class="stanza"> +<span class="i15"><i>Virgil, Æn.</i> viii. 632.<br /></span> +</div></div> + +<div class="poem"><div class="stanza"> +<span class="i0">"And thou, the thunder-stricken nurse of Rome!<br /></span> +<span class="ist">She-wolf! whose brazen-imaged dugs impart<br /></span> +<span class="ist">The milk of conquest yet within the dome<br /></span> +<span class="ist">Where, as a monument of antique art,<br /></span> +<span class="ist">Thou standest:—mother of the mighty heart,<br /></span> +<span class="ist">Which the great founder sucked from thy wild teat,<br /></span> +<span class="ist">Scorch'd by the Roman Jove's ethereal dart,<br /></span> +<span class="ist">And thy limbs black with lightning—dost thou yet<br /></span> +<span class="ist">Guard thy immortal cubs, nor thy fond charge forget?"<br /></span> +<span class="i15"><i>Byron, Childe Harold.</i><br /></span> +</div></div> + +<p>Standing near the wolf is the well-known and beautiful figure of a boy +extracting a thorn from his foot, called the Shepherd Martius.</p> + +<div class="blockquot"><p>"La ressemblance du type si fin de l'Apollon au lézard et du +charmant bronze du Capitole <i>le tíreur d'épine</i> est trop frappante +pour qu'on puisse se refuser à voir dans celui-ci une inspiration +de Praxitèle ou de son école. C'est tout simplement un enfant +arrachant de son pied une épine qui l'a blessé, sujet naïf et +champêtre analogue au Satyre se faisant rendre ce service par un +autre Satyre. On a voulu y voir un athlète blessé par une épine +pendant sa course et qui n'en est pas moins arrivé au but; mais la +figure est trop jeune et n'a rien d'athlétique. Le moyen âge avait +donné aussi son explication et inventé sa legende. On raccontait +qu'un jeune berger, envoyé à la découverte de l'ennemi, était +revenu sans s'arrêter et ne s'était permis qu'alors d'arracher une +épine qui lui blessait le pied. Le moyen âge avait senti le charme +de cette composition qu'il interprétait à sa manière, car elle est +sculptée sur un arceau de la cathédrale de Zurich qui date du +siècle de Charlemagne."—<i>Ampère</i>, iii. 315.</p></div> + +<p>Forming part of the decorations of this room are two fine<a name="vol_1_page_139" id="vol_1_page_139"></a> pictures, a +dead Christ with a monk praying, and Sta. Francesca Romana, by +<i>Romanelli</i>. Near the door of exit is a bust said to be that of Junius +Brutus.</p> + +<div class="blockquot"><p>"Il est permis de voir dans le buste du Capitole un vrai portrait +de Brutus; il est difficile d'en douter en le contemplant. Voilà +bien le visage farouche, la barbe <i>hirsute</i>, les cheveux roides +collés si rudement sur le front, la physiognomie inculte et +terrible du prémier consul romain; la bouche serrée respire la +détermination et l'énergie; les yeux, formés d'une matière +jaunâtre, se détachent en clair sur le bronze noirci par les +siècles et vous jettent un regard fixe et farouche. Tout près est +la louve de bronze. Brutus est de la même famille. On sent qu'il y +a du lait de cette louve dans les veines du second fondateur de +Rome, comme dans les veines du premier, et que lui aussi, pareil au +Romulus de la légende, marchera vers son but à travers le sang des +siens.</p> + +<p>"Le buste de Brutus est placé sur un piédestal qui le met à la +hauteur du regard. Là, dans un coin sombre, j'ai passé bien des +moments face à face avec l'impitoyable fondateur de la liberté +romaine."—<i>Ampère, Hist. Rom.</i> ii. 270.</p></div> + +<p>The 4th Room contains the <i>Fasti Consulares</i>, tables found near the +temple of Minerva Chalcidica, and inscribed with the names of public +officers from Romulus to Augustus. The 5th Room contains two bronze +ducks (formerly shown as the sacred geese of the Capitol) and a female +head—found in the gardens of Sallust, a bust of Medusa, by <i>Bernini</i>, +and many others. The 6th, or Throne Room, hung with faded tapestry, has +a frieze in fresco, by <i>Annibale Caracci</i>, representing the triumphs of +Scipio Africanus. The 7th Room is painted by <i>Daniele da Volterra</i>(?) +with the history of the Punic Wars. The 8th Room (now used as a passage) +is a chapel, containing a lovely fresco, by <i>Pinturicchio</i>, of the +Madonna and Child with Angels.</p> + +<div class="blockquot"><p>"The Madonna is seated enthroned, fronting the spectator; her large +mantle forms a grand cast of drapery; the child on her lap sleeps +in the<a name="vol_1_page_140" id="vol_1_page_140"></a> loveliest attitude; she folds her hands and looks down, +quiet, serious, and beautiful: in the clouds are two adoring +angels."—<i>Kugler.</i></p></div> + +<p>The four Evangelists are by <i>Caravaggio</i>; the pictures of Roman saints +(Cecilia, Alexis, Eustachio, Francesca-Romana), by <i>Romanelli</i>.</p> + +<p>By the same staircase, passing on the left a wonderful relief of the +apotheosis of the wicked Faustina, we may arrive at the <i>Picture Gallery +of the Capitol</i> (which can also be approached by a separate staircase, +entered from an alley at the back of the building), reached by two rooms +inscribed with the names of the Roman Conservators from the middle of +the sixteenth century. This gallery contains very few first-rate +pictures, but has a beautiful St. Sebastian, by Guido, and several fine +works of <i>Guercino</i>. The most noticeable pictures are—</p> + +<div class="blockquot"> +<p class="hang"><i>1st Room.</i>—<br /> + 2. Disembodied Spirit (unfinished): <i>Guido Reni</i>.<br /> +13. St. John Baptist: <i>Guercino</i>.<br /> +16. Mary Magdalene: <i>Guido Reni</i>.<br /> +20. The Cumæan Sibyl: <i>Domenichino</i>.<br /> +26. Mary Magdalene: <i>Tintoretto</i>.<br /> +27. Presentation in the Temple: <i>Fra. Bartolomeo</i>.<br /> +30. Holy Family: <i>Garofalo</i>.<br /> +52. Madonna and Saints: <i>Botticelli?</i><br /> +61. Portrait of himself: <i>Guido Reni</i>.<br /> +78. Madonna and Saints: <i>F. Francia</i>, 1513.<br /> +80. Portrait: <i>Velasquez</i>.<br /> +87. St. Augustine: <i>Giovanni Bellini</i>.<br /> +89. Romulus and Remus: <i>Rubens</i>.</p> + +<p class="hang"><i>2nd Room.</i>—<br /> +100. Two male portraits: <i>Vandyke</i>.<br /> +104. Adoration of the Shepherds: <i>Mazzolino</i>.<br /> +106. Two Portraits: <i>Vandyke</i>.<br /> +116. St. Sebastian: <i>Guido Reni</i>.<br /> +117. Cleopatra and Augustus: <i>Guercino</i>.<br /> +119. St. Sebastian: <i>Lud. Caracci</i>.<br /> +128. Gipsy telling a fortune: <i>Caravaggio</i>.<br /> +132. Portrait: <i>Giovanni Bellini</i>.<br /> +134. Portrait of Michael Angelo: <i>M. Venusti?</i><br /> +136. Petrarch: <i>Gio. Bellini?</i><br /> +142. Nativity of the Virgin: <i>Albani</i>.<br /> +143. Sta. Petronilla: <i>Guercino</i>. An enormous picture, brought hither from St. Peter's, where it has been replaced by a mosaic copy. The composition is divided into two parts. The lower represents the burial of Sta. Petronilla, the upper the ascension of her spirit.</p> + +<p>"The Apostle Peter had a daughter, born in lawful wedlock, who +accompanied him in his journey from the East. Petronilla was wonderfully +fair; and Valerius Flaccus, a young and noble Roman, who was a heathen, +became enamoured of her beauty, and sought her for his wife; and he, +being very powerful, she feared to refuse him; she therefore desired him +to return in three days, and promised that he should then carry her +home. But she prayed earnestly to be delivered from this peril; and when +Flaccus returned in three days, with great pomp, to celebrate the +marriage, he found her dead. The company of nobles who attended him, +carried her to the grave, in which they laid her, crowned with roses; +and Flaccus lamented greatly."—<i>Mrs. Jameson, from the Perfetto +Legendario.</i></p> + +<p class="hang"> <br />199. Death and Assumption of the Virgin: <i>Cola della Matrice</i>.</p> + +<p>"Here the death of the Virgin is treated at once in a mystical and +dramatic style. Enveloped in a dark blue mantle, spangled with golden +stars, she lies extended on a couch; St. Peter, in a splendid scarlet +cope as bishop, reads the service; St. John, holding the palm, weeps +bitterly. In front, and kneeling before the couch or bier, appear the +three great Dominican saints as witnesses of the religious mystery; in +the centre St. Dominic; on the left, St. Catherine of Siena; and on the +right, St. Thomas Aquinas. In a compartment above is the +Assumption."—<i>Jameson's Legends of the Madonna</i>, p. 315.</p> + +<p class="hang"> <br />123. Virgin and Angels: <i>Paul Veronese</i>.<br /> +124. Rape of Europa: <i>Paul Veronese</i>.</p> + +</div> + +<p><a name="vol_1_page_142" id="vol_1_page_142"></a></p> + +<p>At the head of the Capitol steps, to the right of the terrace, is the +entrance to the <i>Palazzo Caffarelli</i>, the residence of the Prussian +minister. It has a small but beautiful garden, and the view from the +windows is magnificent.</p> + +<div class="blockquot"><p>"After dinner, Bunsen called for us, and took us first to his house +on the Capitol, the different windows of which command the +different views of ancient and modern Rome. Never shall I forget +the view of the former; we looked down on the Forum, and just +opposite were the Palatine and the Aventine, with the ruins of the +Palace of the Cæsars on the one, and houses intermixed with gardens +on the other. The mass of the Coliseum rose beyond the Forum, and +beyond all, the wide plain of the Campagna to the sea. On the left +rose the Alban hills, bright in the setting sun, which played full +upon Frescati and Albano, and the trees which edge the lake, and +further away in the distance, it lit up the old town of +Labicum."—<i>Arnold's Letters.</i></p></div> + +<p>From the further end of the courtyard of the Caffarelli Palace one can +look down upon part of the bare cliff of the Rupe Tarpeia. Here there +existed till 1868 a small court, which is represented as the scene of +the murder in Hawthorne's Marble Faun, or "Transformation." The door, +the niche in the wall, and all other details mentioned in the novel, +were realities. The character of the place is now changed by the removal +of the boundary-wall. The part of the rock seen from here is that +usually visited from below by the Via Tor de' Specchi.</p> + +<p>To reach the principal portion of the south-eastern height of the +Capitol, we must ascend the staircase beyond the Palace of the +Conservators, on the right. Here we shall find ourselves upon the +highest part of</p> + +<div class="poem"><div class="stanza"> +<span class="i6">"The Tarpeian rock, the citadel<br /></span> +<span class="i0">Of great and glorious Rome, queen of the earth,<br /></span> +<span class="i0">So far renown'd, and with the spoils enriched<br /></span> +<span class="i0">Of nations."<br /></span> +<span class="i15"><i>Paradise Regained.</i><a name="vol_1_page_143" id="vol_1_page_143"></a><br /></span> +</div></div> + +<div class="poem"><div class="stanza"> +<span class="i6">"The steep<br /></span> +<span class="ist">Tarpeian, fittest goal of treason's race,<br /></span> +<span class="ist">The promontory whence the traitor's leap<br /></span> +<span class="ist">Cured all ambition."<br /></span> +<span class="i15"><i>Childe Harold.</i><br /></span> +</div></div> + +<p>The dirty lane, with its shabby houses, and grass-grown spaces, and +filthy children, has little to remind one of the appearance of the hill +as seen by Virgil and Propertius, who speak of the change in their time +from an earlier aspect.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Hinc ad Tarpeiam sedem, et Capitolia ducit,<br /></span> +<span class="i0">Aurea nunc, olim, silvestribus horrida dumis,<br /></span> +<span class="i0">Jam tum religio pavidos terrebat agrestes<br /></span> +<span class="i0">Dira loci; jam tum silvam saxumque tremebant."<br /></span> +<span class="i15"><i>Virgil, Æn.</i> viii. 347.<br /></span> +</div></div> + +<div class="poem"><div class="stanza"> +<span class="i0">"Hoc quodcumque vides, hospes, qua maxima Roma est,<br /></span> +<span class="i0">Ante Phrygem Aeneam collis et herba fuit."<br /></span> +<span class="i15"><i>Propertius</i>, iv. eleg. I.<br /></span> +</div></div> + +<p>It was on this side that the different attacks were made upon the +Capitol. The first was by the Sabine Herdonius at the head of a band of +slaves, who scaled the heights and surprised the garrison, in <small>B.C.</small> 460, +and from the heights of the citadel proclaimed freedom to all slaves who +should join him, with abolition of debts, and defence of the plebs from +their oppressors; but his offers were disregarded, and on the fourth day +the Capitol was re-taken, and he was slain with nearly all his +followers. The second attack was by the Gauls, who, according to the +well-known story, climbed the rock near the Porta Carmentale, and had +nearly reached the summit unobserved—for the dogs neglected to +bark—when the cries of the sacred geese of Juno aroused an officer +named Manlius, who rushed to the defence, and hurled over the precipice +the first assailant, who dragged down others in his fall, and thus the +Capitol was saved. In remembrance of this incident, a goose was<a name="vol_1_page_144" id="vol_1_page_144"></a> +annually carried in triumph, and a dog annually crucified upon the +Capitol, between the temple of Summanus and that of Youth.<a name="FNanchor_42_42" id="FNanchor_42_42"></a><a href="#Footnote_42_42" class="fnanchor">[42]</a> This was +the same Manlius, the friend of the people, who was afterwards condemned +by the patricians on pretext that he wished to make himself king, and +thrown from the Tarpeian rock, on the same spot, in sight of the Forum, +where Spurius Cassius, an ex-consul, had been thrown down before. To +visit the part of the rock from which these executions must have taken +place, it is necessary to enter a little garden near the German +Hospital, whence there is a beautiful view of the river and the +Aventine.</p> + +<div class="blockquot"><p>"Quand on veut visiter la roche Tarpéienne, on sonne à une porte de +peu d'apparence, sur laquelle sont écrits ces mots: <i>Rocca +Tarpeia</i>. Une pauvre femme arrive et vous mène dans un carré de +choux. C'est de là qu'on précipita Manlius. Je serais desolé que le +carré de choux manquât."—<i>Ampère, Portraits de Rome.</i></p></div> + +<p>This side of the Intermontium is now generally known as <i>Monte Caprino</i>, +a name which Ampère derives from the fact that Vejovis, the Etruscan +ideal of Jupiter, was always represented with a goat.<a name="FNanchor_43_43" id="FNanchor_43_43"></a><a href="#Footnote_43_43" class="fnanchor">[43]</a> On this side +of the hill, the viaduct from the Palatine, built by Caligula (who +affected to require it to facilitate communication with his friend +Jupiter), joined the Capitoline.</p> + +<p>We have still to examine the north-eastern height, the site of the most +interesting of pagan temples, now occupied by one of the most +interesting of Christian churches. The name of the famous <i>Church of +Ara-Cœli</i> is generally attributed to an altar erected by Augustus to +commemorate the Delphic oracle respecting the coming of our Saviour,<a name="vol_1_page_145" id="vol_1_page_145"></a> +which is still recognised in the well-known hymn of the Church:</p> + +<p class="c">Teste David cum Sibylla.<a name="FNanchor_44_44" id="FNanchor_44_44"></a><a href="#Footnote_44_44" class="fnanchor">[44]</a></p> + +<p>The altar bore the inscription "Ara Primogeniti Dei." Those who seek a +more humble origin for the church, say that the name merely dates from +mediæval times, when it was called "Sta, Maria in Aurocœlio." It +originally belonged to the Benedictine Order, but was transferred to the +Franciscans by Innocent IV. in 1252, since which time its convent has +occupied an important position as the residence of the General of the +Minor Franciscans (Grey-friars), and is the centre of religious life in +that Order.</p> + +<p>The staircase on the left of the Senators' palace, which leads to the +side entrance of Ara-Cœli, is in itself full of historical +associations. It was at its head that Valerius the consul was killed in +the conflict with Herdonius for the possession of the Capitol. It was +down the ancient steps on this site that Annius, the envoy of the +Latins, fell (<small>B.C.</small> 340), and was nearly killed, after his audacious +proposition in the temple of Jupiter, that the Latins and Romans should +become one nation, and have a common senate and consuls. Here also,<a name="FNanchor_45_45" id="FNanchor_45_45"></a><a href="#Footnote_45_45" class="fnanchor">[45]</a> +in <small>B.C.</small> 133, Tiberius Gracchus was knocked down with the leg of a chair, +and killed in front of the temple of Jupiter.</p> + +<p>It is at the top of these steps, that the monks of Ara-Cœli, who are +celebrated as dentists, perform their hideous, but useful and gratuitous +operations, which may be witnessed here every morning!</p> + +<p>Over the side entrance of Ara-Cœli is a beautiful mosaic of the +Virgin and Child. This, with the ancient brick arches<a name="vol_1_page_146" id="vol_1_page_146"></a> above, framing +fragments of deep blue sky—and the worn steps below—forms a subject +dear to Roman artists, and is often introduced as a background to groups +of monks and peasants. The interior of the church is vast, solemn, and +highly picturesque. It was here, as Gibbon himself tells us, that on the +15th of October, 1764, as he sat musing amidst the ruins of the Capitol, +while the bare-footed friars were singing vespers, the idea of writing +the "Decline and Fall" of the city first started to his mind.</p> + +<div class="blockquot"><p>"As we lift the great curtain and push into the church, a faint +perfume of incense salutes the nostrils. The golden sunset bursts +in as the curtain of the (west) door sways forward, illuminates the +mosaic floor, catches on the rich golden ceiling, and flashes here +and there over the crowd (gathered in Epiphany), on some brilliant +costume or closely shaven head. All sorts of people are thronging +there, some kneeling before the shrine of the Madonna, which gleams +with its hundreds of silver votive hearts, legs, and arms, some +listening to the preaching, some crowding round the chapel of the +<i>Presepio</i>. Old women, haggard and wrinkled, come tottering along +with their <i>scaldini</i> of coals, drop down on their knees to pray, +and, as you pass, interpolate in their prayers a parenthesis of +begging. The church is not architecturally handsome, but it is +eminently picturesque, with its relics of centuries, its mosaic +pulpits and floors, its frescoes of Pinturicchio and Pesaro, its +antique columns, its rich golden ceiling, its gothic mausoleum to +the Savelli, and its mediæval tombs. A dim, dingy look is over +all—but it is the dimness of faded splendour; and one cannot stand +there, knowing the history of the church, its great antiquity, and +the varied fortunes it has known, without a peculiar sense of +interest and pleasure.</p> + +<p>"It was here that Romulus in the grey dawning of Rome built the +temple of Jupiter Feretrius. Here the <i>spolia opima</i> were +deposited. Here the triumphal processions of the emperors and +generals ended. Here the victors paused before making their vows, +until, from the Mamertine prisons below, the message came to +announce that their noblest prisoner and victim—while the clang of +their triumph and his defeat rose ringing in his ears, as the +procession ascended the steps—had expiated with death the crime of +being the enemy of Rome. On the steps of Ara-Cœli, nineteen +centuries ago, the first great Cæsar climbed<a name="vol_1_page_147" id="vol_1_page_147"></a> on his knees after +his first triumph. At their base, Rienzi, the last of the Roman +tribunes, fell—and if the tradition of the Church is to be +trusted, it was on the site of the present high altar that Augustus +erected the 'Ara Primogeniti Dei,' to commemorate the Delphic +prophecy of the coming of our Saviour. Standing on a spot so +thronged with memories, the dullest imagination takes fire. The +forms and scenes of the past rise from their graves and pass before +us, and the actual and visionary are mingled together in strange +poetic confusion."—<i>Roba di Roma</i>, i. 73.</p></div> + +<p>The floor of the church is of the ancient mosaic known as Opus +Alexandrinum. The nave is separated from the aisles by twenty-two +ancient columns, of which two are of cipollino, two of white marble, and +eighteen of Egyptian granite. They are of very different forms and +sizes, and have probably been collected from various pagan edifices. The +inscription "A Cubiculo Augustorum" upon the third column on the left of +the nave, shows that it was brought from the Palace of the Cæsars. The +windows in this church are amongst the few in Rome which show traces of +gothic. At the end of the nave, on either side, are two ambones, marking +the position of the choir before it was extended to its present site in +the sixteenth century.</p> + +<p>The transepts are full of interesting monuments. That on the right is +the burial-place of the great family of Savelli, and contains—on the +left, the monument of Luca Savelli, 1266 (father of Pope Honorius IV.) +and his son Pandolfo,—an ancient and richly sculptured sarcophagus, to +which a gothic canopy was added by <i>Agostino</i> and <i>Agnolo da Siena</i> from +designs of Giotto. Opposite, is the tomb of the mother of Honorius, Vana +Aldobrandesca, upon which is the statue of the pope himself, removed +from his monument in the old St. Peter's by Paul III.</p> + +<p>On the left of the high altar is the tomb of Cardinal<a name="vol_1_page_148" id="vol_1_page_148"></a> Gianbattista +Savelli, ob. 1498, and near it—in the pavement, the half-effaced +gravestone of Sigismondo Conti, whose features are so familiar to us +from his portrait introduced into the famous picture of the Madonna di +Foligno, which was painted by Raphael at his order, and presented by him +to this church, where it remained over the high altar, till 1565, when +his great niece Anna became a nun at the convent of the Contesse at +Foligno, and was allowed to carry it away with her. In the east transept +is another fine gothic tomb, that of Cardinal Matteo di Acquasparta +(1302), a General of the Franciscans mentioned by Dante for his wise and +moderate rule.<a name="FNanchor_46_46" id="FNanchor_46_46"></a><a href="#Footnote_46_46" class="fnanchor">[46]</a> The quaint chapel in the middle of this transept, now +dedicated to St. Helena, is supposed to occupy the site of the "Ara +Primogeniti Dei."</p> + +<p>Upon the pier near the ambone of the gospel is the monument of Queen +Catherine of Bosnia, who died at Rome in 1478, bequeathing her states to +the Roman Church on condition of their reversion to her son, who had +embraced Mahommedanism, if he should return to the Catholic faith. Near +this, upon the transept wall, is the tomb of Felice de Fredis, ob. 1529, +upon which it is recorded that he was the finder of the Laocoon. The +Chapel of the Annunciation, opening from the west isle, has a tomb to G. +Crivelli, by Donatello, bearing his signature, "Opus Donatelli +Florentini." The Chapel of Santa Croce is the burial-place of the +Ponziani family, and was the scene of the celebrated ecstasy of the +favourite Roman saint Francesca Romana.</p> + +<div class="blockquot"><p>"The mortal remains of Vanozza Ponziani (sister-in-law of +Francesca) were laid in the church of Ara-Cœli, in the chapel of +Santa Croce. The Roman people resorted there in crowds to behold +once more their<a name="vol_1_page_149" id="vol_1_page_149"></a> loved benefactress—the mother of the poor, the +consoler of the afflicted. All strove to carry away some little +memorial of one who had gone about among them doing good, and +during the three days which preceded the interment, the concourse +did not abate. On the day of the funeral Francesca knelt on one +side of the coffin, and, in sight of all the crowd, she was wrapped +in ecstasy. They saw her body lifted from the ground, and a +seraphic expression in her uplifted face. They heard her murmur +several times with an indescribable emphasis the word 'Quando? +Quando?' When all was over, she still remained immoveable; it +seemed as if her soul had risen on the wings of prayer, and +followed Vanozza's spirit into the realms of bliss. At last her +confessor ordered her to rise and go and attend on the sick. She +instantly complied, and walked away to the hospital which she had +founded, apparently unconscious of everything about her, and only +roused from her trance by the habit of obedience, which, in or out +of ecstasy, never forsook her."—<i>Lady Georgiana Fullerton's Life +of Sta. Fr. Romana.</i></p></div> + +<p>There are several good pictures over the altars in the aisles of +Ara-Cœli. In the Chapel of St Margaret of Cortona are frescoes +illustrative of her life by <i>Filippo Evangelisti</i>,—in that of S. +Antonio, frescoes by <i>Nicola da Pesaro</i>;—but no one should omit +visiting the first chapel on the right of the west door, dedicated to S. +Bernardino of Siena, and painted by <i>Bernardino Pinturicchio</i>, who has +put forth his best powers to do honour to his patron saint with a series +of exquisite frescoes, representing his assuming the monastic habit, his +preaching, his vision of the Saviour, his penitence, death, and burial.</p> + +<p>Almost opposite this—closed except during Epiphany—is the Chapel of +the <i>Presepio</i>, where the famous image of the <i>Santissimo Bambino d'Ara +Cœli</i> is shown at that season lying in a manger.</p> + +<div class="blockquot"><p>"The simple meaning of the term <i>Presepio</i> is a manger; but it is +also used in the Church to signify a representation of the birth of +Christ. In the Ara-Cœli the whole of one of the side-chapels is +devoted to this exhibition. In the foreground is a grotto, in which +is seated the Virgin<a name="vol_1_page_150" id="vol_1_page_150"></a> Mary, with Joseph at her side and the +miraculous Bambino in her lap. Immediately behind are an ass and an +ox. On one side kneel the shepherds and kings in adoration; and +above, God the Father is seen surrounded by crowds of cherubs and +angels playing on instruments, as in the early pictures of Raphael. +In the background is a scenic representation of a pastoral +landscape, on which all the skill of the scene-painter is expended. +Shepherds guard their flocks far away, reposing under palm-trees or +standing on green slopes which glow in the sunshine. The distances +and perspective are admirable. In the middle ground is a crystal +fountain of glass, near which sheep, preternaturally white, and +made of real wool and cotton wool, are feeding, tended by figures +of shepherds carved in wood. Still nearer come women bearing great +baskets of real oranges and other fruits on their heads. All the +nearer figures are full-sized, carved in wood, painted, and dressed +in appropriate robes. The miraculous Bambino is a painted doll +swaddled in a white dress, which is crusted over with magnificent +diamonds, emeralds, and rubies. The Virgin also wears in her ears +superb diamond pendants. The general effect of the scenic show is +admirable, and crowds flock to it and press about it all day long.</p> + +<p>"While this is taking place on one side of the church, on the other +is a very different and quite as singular an exhibition. Around one +of the antique columns a stage is erected, from which little +maidens are reciting, with every kind of pretty gesticulation, +sermons, dialogues, and little speeches, in explanation of the +<i>Presepio</i> opposite. Sometimes two of them are engaged in alternate +questions and answers about the mysteries of the Incarnation and +the Redemption. Sometimes the recitation is a piteous description +of the agony of the Saviour and the sufferings of the Madonna, the +greatest stress being, however, always laid upon the latter. All +these little speeches have been written for them by their priest or +some religious friend, committed to memory, and practised with +appropriate gestures over and over again at home. Their little +piping voices are sometimes guilty of such comic breaks and +changes, that the crowd about them rustles into a murmurous +laughter. Sometimes, also, one of the little preachers has a +<i>dispetto</i>, pouts, shakes her shoulders, and refuses to go on with +her part; another, however, always stands ready on the platform to +supply the vacancy, until friends have coaxed, reasoned, or +threatened the little pouter into obedience. These children are +often very beautiful and graceful, and their comical little +gestures and intonations, their clasping of hands and rolling up of +eyes, have a very amusing and interesting effect."—<i>Story's Roba +di Roma.</i><a name="vol_1_page_151" id="vol_1_page_151"></a></p></div> + +<p>At other times the Bambino dwells in the inner Sacristy, where it can be +visited by admiring pilgrims. It is a fresh-coloured doll, tightly +swathed in gold and silver tissue, crowned, and sparkling with jewels. +It has servants of its own, and a carriage in which it drives out with +its attendants, and goes to visit the sick. Devout peasants always kneel +as the blessed infant passes. Formerly it was taken to sick persons and +left on their beds for some hours, in the hope that it would work a +miracle. Now it is never left alone. In explanation of this, it is said +that an audacious woman formed the design of appropriating to herself +the holy image and its benefits. She had another doll prepared of the +same size and appearance as the "Santissimo," and having feigned +sickness, and obtained permission to have it left with her, she dressed +the false image in its clothes, and sent it back to Ara-Cœli. The +fraud was not discovered till night, when the Franciscan monks were +awakened by the most furious ringing of bells and by thundering knocks +at the west door of the church, and hastening thither could see nothing +but a wee naked pink foot peeping in from under the door; but when they +opened the door, without stood the little naked figure of the true +Bambino of Ara-Cœli, shivering in the wind and the rain,—so the +false baby was sent back in disgrace, and the real baby restored to its +home, never to be trusted away alone any more.</p> + +<p>In the sacristy is the following inscription relating to the Bambino:—</p> + +<div class="blockquot"><p>"Ad hoc sacellum Ara Cœli a festo nativitatis domini usque ad +festum Epiphaniæ magna populi frequentia invisitur et colitur in +presepio Christi nati infantuli simulacrum ex oleæ ligno apud +montem olivarum Hierosolymis a quodam devoto Minorita sculptum eo +animo, ut ad hoc festum celebrandum deportaretur. De quo in primis +hoc accidit, quod<a name="vol_1_page_152" id="vol_1_page_152"></a> deficiente colore inter barbaras gentes ad +plenam infantuli figurationem et formam, devotus et anxius artifex, +professione laicus, precibus et orationibus impetravit, ut sacrum +simulacrum divinitus carneo colore perfunctum reperiretur. Cumque +navi Italiam veheretur, facto naufragio apud Tusciæ oras, simulacri +capsa Liburnum appulit. Ex quo, recognita, expectabatur, enim a +Fratribus, et jam fama illius a Hierosolymis ad nostras familiæ +partes advenerat, ad destinatam sibi Capitolii sedem devenit. +Fertur etiam, quod aliquando ex nimia devotione à quadam devota +fœmina sublatum ad suas ædes miraculosè remeaverit. Quapropter +in maxima veneratione semper est habitum a Romanis civibus, et +universo populo donatum monilibus, et jocalibus pretiosis, +liberalioribusque in dies prosequitur oblationibus."</p></div> + +<p>The outer Sacristy contains a fine picture of the Holy Family by <i>Giulio +Romano</i>.</p> + +<p>The scene on the long flight of steps which leads to the west door of +Ara-Cœli is very curious during Epiphany.</p> + +<div class="blockquot"><p>"If any one visit the Ara-Cœli during an afternoon in Christmas +or Epiphany, the scene is very striking. The flight of one hundred +and twenty-four steps is then thronged by merchants of Madonna +wares, who spread them out over the steps and hang them against the +walls and balustrades. Here are to be seen all sorts of curious +little coloured prints of the Madonna and Child of the most +extraordinary quality, little bags, pewter medals, and crosses +stamped with the same figures and to be worn on the neck—all +offered at once for the sum of one <i>baiocco</i>. Here also are framed +pictures of the saints, of the Nativity, and in a word of all sorts +of religious subjects appertaining to the season. Little wax dolls, +clad in cotton-wool to represent the Saviour, and sheep made of the +same materials, are also sold by the basket-full. Children and +<i>Contadini</i> are busy buying them, and there is a deafening roar all +up and down the steps, of 'Mezzo baiocco, bello colorito, mezzo +baiocco, la Santissima Concezione Incoronata,'—'Diario Romano, +Lunario Romano nuovo,'—'Ritratto colorito, medaglia e quadruccio, +un baiocco tutti, un baiocco tutti,'—'Bambinella di cera, un +baiocco.' None of the prices are higher than one baiocco, except to +strangers, and generally several articles are held up together, +enumerated, and proffered with a loud voice for this sum. Meanwhile +men, women, children, priests, beggars, soldiers, and <i>villani</i> are +crowding up and down, and we crowd with them."—<i>Roba di Roma</i>, i. +72.</p> + +<p>"On the sixth of January the lofty steps of Ara-Cœli looked like +an<a name="vol_1_page_153" id="vol_1_page_153"></a> ant-hill, so thronged were they with people. Men and boys who +sold little books (legends and prayers), rosaries, pictures of +saints, medallions, chestnuts, oranges, and other things, shouted +and made a great noise. Little boys and girls were still preaching +zealously in the church, and people of all classes were crowding +thither. Processions advanced with the thundering cheerful music of +the fire-corps. Il Bambino, a painted image of wood, covered with +jewels, and with a yellow crown on its head, was carried by a monk +in white gloves, and exhibited to the people from a kind of +altar-like erection at the top of the Ara-Cœli steps. Everybody +dropped down upon their knees; Il Bambino was shown on all sides, +the music thundered, and the smoking censers were +swung."—<i>Frederika Bremer.</i></p></div> + +<p>The <i>Convent of Ara-Cœli</i> contains much that is picturesque and +interesting. S. Giovanni Capistrano was abbot here in the reign of +Eugenius IV.</p> + +<p>Let us now descend from the Capitoline Piazza towards the Forum, by the +staircase on the left of the Palace of the Senator. Close to the foot of +this staircase is a church, very obscure-looking, with some rude +frescoes on the exterior. Yet every one must enter this building, for +here are the famous <i>Mamertine Prisons</i>, excavated from the solid rock +under the Capitol.</p> + +<p>The prisons are entered through the low Church of S. Pietro in Carcere, +hung round with votive offerings and blazing with lamps.</p> + +<div class="blockquot"><p>"There is an upper chamber in the Mamertine Prisons, over what is +said to have been—and very possibly may have been—the dungeon of +St. Peter. The chamber is now fitted up as an oratory, dedicated to +that saint; and it lives, as a distinct and separate place, in my +recollection, too. It is very small and low-roofed; and the dread +and gloom of the ponderous, obdurate old prison are on it, as if +they had come up in a dark mist through the floor. Hanging on the +walls, among the clustered votive offerings, are objects, at once +strangely in keeping and strangely at variance with the +place—rusty daggers, knives, pistols, clubs, divers instruments of +violence and murder, brought here, fresh<a name="vol_1_page_154" id="vol_1_page_154"></a> from use, and hung up to +propitiate offended Heaven; as if the blood upon them would drain +off in consecrated air, and have no voice to cry with. It is all so +silent and so close, and tomblike; and the dungeons below are so +black, and stealthy, and stagnant, and naked; that this little dark +spot becomes a dream within a dream: and in the vision of great +churches which come rolling past me like a sea, it is a small wave +by itself, that melts into no other wave, and does not flow on with +the rest."—<i>Dickens.</i></p></div> + +<p>Enclosed in the church, near the entrance, may be observed the outer +frieze of the prison wall, with the inscription <small>C. TIBIUS. C. F. +RUFINUS. M.. COCCEIUS. NERVA. COS. EX. S. C.</small>, recording the names of two +consuls of <small>A.D.</small> 22, who are supposed to have repaired the prison. +Juvenal's description of the time when one prison was sufficient for all +the criminals in Rome naturally refers to this building:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Felices proavorum atavos, felicia dicas<br /></span> +<span class="ist">Sæcula, quæ quondam sub regibus atque tribunis<br /></span> +<span class="ist">Viderunt uno contentam carcere Romam."<br /></span> +<span class="i15"><i>Sat.</i> iii. 312.<br /></span> +</div></div> + +<p>A modern staircase leads to the horrible dungeon of Ancus Martius, +sixteen feet in height, thirty in length, and twenty-two in breadth. +Originally there was no staircase, and the prisoners were let down +there, and thence into the lower dungeon, through a hole in the middle +of the ceiling. The large door at the side is a modern innovation, +having been opened to admit the vast mass of pilgrims during the festa. +The whole prison is constructed of huge blocks of tufa without cement. +Some remains are shown of the <i>Scalæ Gemoniæ</i>, so called from the groans +of the prisoners—by which the bodies were dragged forth to be exposed +to the insults of the populace or to be thrown into the Tiber. It was by +this staircase that Cicero came forth and announced the execution<a name="vol_1_page_155" id="vol_1_page_155"></a> of +the Catiline conspirators to the people in the Forum, by the single word +<i>Vixerunt</i>, "they have ceased to live." Close to the exit of these +stairs the Emperor Vitellius was murdered. On the wall by which you +descend to the lower dungeon is a mark, kissed by the faithful, as the +spot against which St. Peter's head rested. The lower prison, called +<i>Robur</i>, is constructed of huge blocks of tufa, fastened together by +cramps of iron and approaching horizontally to a common centre in the +roof. It has been attributed from early times to Servius Tullius; but +Ampère<a name="FNanchor_47_47" id="FNanchor_47_47"></a><a href="#Footnote_47_47" class="fnanchor">[47]</a> argues against the idea that the lower prison was of later +origin than the upper, and suggests that it is Pelasgic, and older than +any other building in Rome. It is described by Livy, and by Sallust, who +depicts its horrors in his account of the execution of the Catiline +conspirators.<a name="FNanchor_48_48" id="FNanchor_48_48"></a><a href="#Footnote_48_48" class="fnanchor">[48]</a> The spot is shown to which these victims were attached +and strangled in turn. In this dungeon, at an earlier period, Appius +Claudius and Oppius the decemvirs committed suicide (<small>B.C.</small> 449). Here +Jugurtha, king of Mauritania, was starved to death by Marius. Here +Julius Cæsar, during his triumph for the conquest of Gaul, caused his +gallant enemy Vercingetorix to be put to death. Here Sejanus, the friend +and minister of Tiberius, disgraced too late, was executed for the +murder of Drusus, son of the emperor, and for an intrigue with his +daughter-in-law, Livilla. Here, also, Simon Bar-Gioras, the last +defender of Jerusalem, suffered during the triumph of Titus.<a name="vol_1_page_156" id="vol_1_page_156"></a></p> + +<p>The spot is more interesting to the Christian world as the prison of SS. +Peter and Paul, who are said to have been bound for nine months to a +pillar, which is shown here. A fountain of excellent water, beneath the +floor of the prison, is attributed to the prayers of St. Peter, that he +might have wherewith to baptize his gaolers, Processus and Martinianus; +but, unfortunately for this ecclesiastical tradition, the fountain is +described by Plutarch as having existed at the time of Jugurtha's +imprisonment This fountain probably gave the dungeon the name of +<i>Tullianum</i>, by which it was sometimes known, <i>tullius</i> meaning a +spring.<a name="FNanchor_49_49" id="FNanchor_49_49"></a><a href="#Footnote_49_49" class="fnanchor">[49]</a> This name probably gave rise to the idea of its connection +with Servius Tullius.</p> + +<p>It is hence that the Roman Catholic Church believes that St. Peter and +St Paul addressed their farewells to the Christian world.</p> + +<div class="blockquot"><p>That of St. Peter:—</p> + +<p>"Shortly I must put off this my tabernacle, even as our Lord Jesus +Christ hath showed me. Moreover I will endeavour that ye may be +able after my decease to have these things always in remembrance. +For we have not followed cunningly devised fables, when we made +known to you the power and coming of our Lord Jesus Christ.... +Nevertheless we, according to his promise, look for new heavens and +a new earth, wherein dwelleth righteousness."—<i>2nd St. Peter.</i></p> + +<p>That of St. Paul:—</p> + +<p>"God hath not given us a spirit of fear.... Be not thou, therefore, +ashamed of the testimony of our Lord, nor of me his prisoner; but +be thou partaker of the afflictions of the gospel according to the +power of God.... I suffer trouble as an evil doer, even unto bonds; +but the word of God is not bound. Therefore I endure all things, +for the elect's sake, that they also may obtain the salvation which +is in Christ Jesus.... I charge thee by God and by the Lord Jesus +Christ, who <a name="vol_1_page_157" id="vol_1_page_157"></a>shall judge the quick and the dead ... preach the +word; be instant in season, out of season; reprove, rebuke, exhort +with all long-suffering and doctrine; ... watch in all things, +endure afflictions, do the work of an evangelist, make full proof +of thy ministry. For I am now ready to be offered, and the time of +my departure is at hand. I have fought a good fight, I have +finished my course, I have kept the faith."—<i>2nd Timothy.</i></p></div> + +<p>On July 4, the prisons are the scene of a picturesque solemnity, when +they are visited at night by the religious confraternities, who first +kneel and then prostrate themselves in silent devotion.</p> + +<p>Above the Church of S. Pietro in Carcere, is that of <i>S. Giuseppe del +Falegnami</i>, St. Joseph of the Carpenters.</p> + +<div class="blockquot"><p>"Pourquoi les guides et les antiquaires qui nous ont si souvent +montré la voie triomphale qui mène au Capitale et nous en ont tant +de fois énuméré les souvenirs; pourquoi aucun d'eux ne nous a-t-il +jamais parlé de ce qui survint le jour du triomphe de Titus, +là-bas, près des prisons Mamertines? Laisse-moi vous rappeler que +ce jour-là le triomphateur, au moment de monter au temple, devant +verser le sang d'une victime, s'arrêta à cette place, tandis que +l'on détachait de son cortége un captif de plus haute taille et +plus richement vêtu que les autres, et qu'on l'emmenait dans cette +prison pour y achever son supplice avec le lacet même qu'il portait +autour du cou. Ce ne fût qu'après cette immolation que le cortége +reprit sa marche et acheva de monter jusqu'au Capitole! Ce captif +dont on ne daigne nous parler, c'était Simon Bar-Gioras; c'était un +des trois derniers défenseurs de Jérusalem; c'était un de ceux qui +la défendirent jusqu'au bout, mais hélas! qui la défendirent comme +des démons maîtres d'une âme de laquelle ils ne veulent pas se +laisser chasser, et non point comme des champions héroïques d'une +cause sacrée et perdue. Aussi cette grandeur que la seule infortune +suffit souvent pour donner, elle manque à la calamité la plus +grande que le monde ait vue, et les noms attachés à cette immense +catastrophe ne demeurèrent pas même fameux! Jean de Giscala, +Eléazar, Simon Bar-Gioras; qui pense à eux aujourd'hui? L'univers +entier proclame et vénère les noms de deux pauvres juifs qui, +quatre ans auparavant, dans cette même prison, avaient eux aussi +attendu la supplice; mais le malheur, le courage, la mort tragique +des autres, ne leur ont point donné la gloire, et un dédaigneux +oubli les a effacés de la mémoire des hommes!"—<i>(Anne Severin) +Mrs. Augustus Craven.</i></p></div> + +<div class="poem"><div class="stanza"> +<span class="i6">"Along the sacred way<br /></span> +<span class="i0">Hither the triumph came, and, winding round<br /></span> +<span class="i0">With acclamation, and the martial clang<br /></span> +<span class="i0">Of instruments, and cars laden with spoil,<br /></span> +<span class="i0">Stopped at the sacred stair that then appeared,<br /></span> +<span class="i0">Then thro' the darkness broke, ample, star-bright,<br /></span> +<span class="i0">As tho' it led to heaven. 'Twas night; but now<br /></span> +<span class="i0">A thousand torches, turning night to day,<br /></span> +<span class="i0">Blazed, and the victor, springing from his seat,<br /></span> +<span class="i0">Went up, and, kneeling as in fervent prayer,<br /></span> +<span class="i0">Entered the Capitol. But what are they<br /></span> +<span class="i0">Who at the foot withdraw, a mournful train<br /></span> +<span class="i0">In fetters? And who, yet incredulous,<br /></span> +<span class="i0">Now gazing wildly round, now on his sons,<br /></span> +<span class="i0">On those so young, well pleased with all they see,<br /></span> +<span class="i0">Staggers along, the last? They are the fallen,<br /></span> +<span class="i0">Those who were spared to grace the chariot-wheels;<br /></span> +<span class="i0">And there they parted, where the road divides,<br /></span> +<span class="i0">The victor and the vanquished—there withdrew;<br /></span> +<span class="i0">He to the festal board, and they to die.<br /></span> +<span class="i2">"Well might the great, the mighty of the world,<br /></span> +<span class="i0">They who were wont to fare deliciously<br /></span> +<span class="i0">And war but for a kingdom more or less,<br /></span> +<span class="i0">Shrink back, nor from their thrones endure to look,<br /></span> +<span class="i0">To think that way! Well might they in their pomp<br /></span> +<span class="i0">Humble themselves, and kneel and supplicate<br /></span> +<span class="i0">To be delivered from a dream like this!"<br /></span> +<span class="i15"><i>Rogers' Italy.</i><br /></span> +</div></div> + +<p><a name="vol_1_page_159" id="vol_1_page_159"></a></p> + +<h2><a name="CHAPTER_IV" id="CHAPTER_IV"></a>CHAPTER IV.<br /><br /> +THE FORUMS AND THE COLISEUM.</h2> + +<div class="blockquot"><p class="hang">Forum of Trajan—(Sta. Maria di Loreto)—Temple of Mars +Ultor—Forum of Augustus—Forum of Nerva—Forum of Julius +Cæsar—(Academy of St. Luke)—Forum Romanum—Tribune—Comitium +—Vulcanal—Temple of Concord—Temple of Vespasian—Temple of +Saturn—Arch of Septimius Severus—Temple of Castor and +Pollux—Pillar of Phocas—Temple of Antoninus and +Faustina—Basilica of Constantine—(Sta. Martina—S. Adriano—Sta. +Maria—Liberatrice, SS. Cosmo and Damian—Sta. Francesca +Romana)—Temple of Venus and Rome—Arch of Titus—(Sta. Maria +Pallara—S. Buonaventura)—Meta Sudans—Arch of +Constantine—Coliseum.</p></div> + +<p class="nind"><span class="letra">F</span>OLLOWING the Corso to its end at the Ripresa dei Barberi, and turning +to the left, we find ourselves at once amid the remains of the <i>Forum of +Trajan</i>, erected by the architect Apollodorus for the Emperor Trajan on +his return from the wars of the Danube. This forum now presents the +appearance of a ravine between the Capitoline and Quirinal, but is an +artificial hollow, excavated to facilitate the circulation of life +within the city. An inscription over the door of the column, which +overtops the other ruins, shows that it was raised in order to mark the +depth of earth which was removed to construct the forum. The earth was +formerly as high as the top of the column, which reaches, 100 Roman +feet, to the level of the Palatine<a name="vol_1_page_160" id="vol_1_page_160"></a> Hill. The forum was sometimes called +the "Ulpian," from one of the names of the emperor.</p> + +<div class="blockquot"><p>"Before the year <small>A.D.</small> 107 the splendours of the city and the Campus +beyond it were still separated by a narrow isthmus, thronged +perhaps by the squalid cabins of the poor, and surmounted by the +remains of the Servian wall which ran along its summit. Step by +step the earlier emperors had approached with their new forums to +the foot of this obstruction. Domitian was the first to contemplate +and commence its removal. Nerva had the fortune to consecrate and +to give his own name to a portion of his predecessor's +construction; but Trajan undertook to complete the bold design, and +the genius of his architect triumphed over all obstacles, and +executed a work which exceeded in extent and splendour any previous +achievement of the kind. He swept away every building on the site, +levelled the spot on which they had stood, and laid out a vast area +of columnar galleries, connecting halls and chambers for public use +and recreation. The new forum was adorned with two libraries, one +for Greek, the other for Roman volumes, and it was bounded on the +west by a basilica of magnificent dimensions. Beyond this basilica, +and within the limits of the Campus, the same architect +(Apollodorus) erected a temple for the worship of Trajan himself; +but this work probably belonged to the reign of Trajan's successor, +and no doubt the Ulpian forum, with all its adjuncts, occupied many +years in building. The area was adorned with numerous statues, in +which the figure of Trajan was frequently repeated, and among its +decorations were groups in bronze or marble, representing his most +illustrious actions. The balustrades and cornices of the whole mass +of buildings flamed with gilded images of arms and horses. Here +stood the great equestrian statue of the emperor; here was the +triumphal arch decreed him by the senate, adorned with sculpture, +which Constantine, two centuries later, transferred without a blush +to his own, a barbarous act of this first Christian emperor, to +which however we probably owe their preservation to this day from +more barbarous spoliation."—<i>Merivale, Romans under the Empire</i>, +ch. lxiii.</p></div> + +<p>The beautiful <i>Column of Trajan</i> was erected by the senate and people of +Rome, <small>A.D.</small> 114. It is composed of thirty-four blocks of marble, and is +covered with a spiral band of bas-reliefs illustrative of the Dacian +wars, and increasing in size as it nears the top, so that it preserves<a name="vol_1_page_161" id="vol_1_page_161"></a> +throughout the same proportion when seen from below. It was formerly +crowned by a statue of Trajan, holding a gilt globe, which latter is +still preserved in the Hall of Bronzes in the Capitol. This statue had +fallen from its pedestal long before Sixtus V. replaced it by the +existing figure of St. Peter. At the foot of the column was a sepulchral +chamber, intended to receive the imperial ashes, which were however +preserved in a golden urn, upon an altar in front of it.</p> + +<div class="poem"><div class="stanza"> +<span class="i6">"And apostolic statues climb<br /></span> +<span class="i0">To crush the imperial urn, whose ashes slept sublime."<br /></span> +<span class="i15"><i>Childe Harold</i>, cx.<br /></span> +</div></div> + +<p>It was while walking in this forum, that Gregory the Great, observing +one of the marble groups which told of a good and great action of +Trajan, lamented bitterly that the soul of so noble a man should be +lost, and prayed earnestly for the salvation of the heathen emperor. He +was told that the soul of Trajan should be saved, but that to ensure +this he must either himself undergo the pains of purgatory for three +days, or suffer earthly pain and sickness for the rest of his life. He +chose the latter, and never after was in health. This incident is +narrated by his three biographers, John and Paul Diaconus, and John of +Salisbury.<a name="FNanchor_50_50" id="FNanchor_50_50"></a><a href="#Footnote_50_50" class="fnanchor">[50]</a></p> + +<p>The forum of Trajan was partly uncovered by Pope Paul III. in the +sixteenth century, but excavated in its present form by the French in +1812. There is much still buried under the streets and neighbouring +houses.</p> + +<div class="blockquot"><p>"All over the surface of what once was Rome it seems to be the +effort of Time to bury up the ancient city, as it were a corpse, +and he the sexton; so that, in eighteen centuries, the soil over +its grave has<a name="vol_1_page_162" id="vol_1_page_162"></a> grown very deep, by the slow scattering of dust, and +the accumulation of more modern decay upon older ruin.</p> + +<p>"This was the fate, also, of Trajan's forum, until some papal +antiquary, a few hundred years ago, began to hollow it out again, +and disclosed the whole height of the gigantic column, wreathed +round with bas-reliefs of the old emperor's warlike deeds (rich +sculpture, which, twining from the base to the capital, must be an +ugly spectacle for his ghostly eyes, if he considers that this +huge, storied shaft must be laid before the judgment seat, as a +piece of the evidence of what he did in the flesh). In the area +before the column stands a grove of stone, consisting of the broken +and unequal shafts of a vanished temple, still keeping a majestic +order, and apparently incapable of further demolition. The modern +edifices of the piazza (wholly built, no doubt, out of the spoil of +its old magnificence) look down into the hollow space whence these +pillars rise.</p> + +<p>"One of the immense gray granite shafts lies in the piazza, on the +verge of the area. It is a great, solid fact of the Past, making +old Rome actually visible to the touch and eye; and no study of +history, nor force of thought, nor magic of song, can so vitally +assure us that Rome once existed, as this sturdy specimen of what +its rulers and people wrought. There is still a polish remaining on +the hard substance of the pillar, the polish of eighteen centuries +ago, as yet but half rubbed off."—<i>Hawthorne, Transformation.</i></p></div> + +<p>On the north of this forum are two churches: that nearest to the Corso +is <i>Sta. Maria di Loreto</i> (founded by the corporation of bakers in +1500), with a dome surmounted by a picturesque lantern by Giuliano di +Sangallo, c. 1506. It contains a statue of Sta. Susanna (<i>not</i> the +Susanna of the Elders) by <i>Fiammingo</i> (François de Quesnoy), which is +justly considered the chef-d'œuvre of the Bernini School. The +companion church is called <i>Sta. Maria di Vienna</i>, and (like Sta. Maria +della Vittoria) commemorates the liberation of Vienna from the Turks in +1683, by Sobieski, king of Poland. It was built by Innocent XI.</p> + +<p>Leaving the forum at the opposite corner by the Via<a name="vol_1_page_163" id="vol_1_page_163"></a> Alessandrina, and +passing under the high wall of the Convent of the Nunziatina, a street, +opening on the left, discloses several beautiful pillars, which, after +having borne various names, are now declared to be the remains of the +<i>Temple of Mars Ultor</i>, built by Augustus in his new forum, which was +erected in order to provide accommodation for the crowds which +overflowed the Forum Romanum and Forum Julium.</p> + +<div class="blockquot"><p>"The title of Ultor marked the war and the victory by which, +agreeably to his vow, Augustus had avenged his uncle's death.</p> +</div> + +<div class="poem"><div class="stanza"> +<span class="i0">"'Mars ades, et satia scelerato sanguine ferrum;<br /></span> +<span class="i2">Stetque favor causa pro meliore tuus.<br /></span> +<span class="ist">Templa feres, et, me victore, vocaberis Ultor.'<a name="FNanchor_51_51" id="FNanchor_51_51"></a><a href="#Footnote_51_51" class="fnanchor">[51]</a><br /></span> +</div></div> + +<div class="blockquot"> + +<p>The porticoes, which extended on each side of the temple with a +gentle curve, contained statues of distinguished Roman generals. +The banquets of the Salii were transferred to this temple, a +circumstance which led to its identification, from the discovery of +an inscription here recording the <i>mansiones</i> of these priests. +Like the priesthood in general, they appear to have been fond of +good living, and there is a well-known anecdote of the Emperor +Claudius having been lured by the steams of their banquet from his +judicial functions in the adjacent forum, to come and take part in +their feast. The temple was appropriated to meetings of the senate +in which matters connected with wars and triumphs were debated.... +Here while Tiberius was building a temple to Augustus upon the +Palatine, his golden statue reposed upon a couch."—<i>Dyer's City of +Rome.</i></p> + +<p>"Up to the time of Augustus, the god Mars, the reputed father of +the Roman race, had never, it is said, enjoyed the distinction of a +temple within the walls. He was then introduced into the city which +he had saved from overthrow and ruin; and the aid he had lent in +bringing the murderers of Cæsar to justice, was signalised by the +title of Avenger, by which he was now specially addressed.... The +temple of Mars Ultor, of gigantic proportions, 'Et deus est ingens +et opus,' was erected<a name="vol_1_page_164" id="vol_1_page_164"></a> in the new forum of Augustus at the foot of +the Capitoline and Quirinal hills."—<i>Merivale, Romans under the +Empire.</i></p> + +<p>"Ce temple était particulièrement cher à Auguste. Il voulut que les +magistrats en partissent pour aller dans leurs provinces; que +l'honneur du triomphe y fût décerné, et que les triomphateurs y +fissent hommage à Mars Vengeur de leur couronne et de leur sceptre; +que les drapeaux pris à l'ennemi y fussent conservés; que les chefs +de la cavalerie exécutassent des jeux en avant des marches de ce +temple; enfin que les censeurs, en sortant de leur charge, y +plantassent le clou sacré, vieil usage étrusque jusque-là attaché +au Capitole. Auguste désirait que ce temple fondé par lui prît +l'importance du Capitole.</p> + +<p>"Il fit dédier le temple par ses petit-fils Caius et Lucius; et son +autre petit-fils, Agrippa, à la tête des plus nobles enfants de +Rome, y célébra le jeu de Troie, qui rappelait l'origine prétendue +troyenne de César; deux cent soixante lions furent égorgés dans la +cirque, c'était leur place; deux troupes de gladiateurs +combattirent dans les Septa ou se faisaient les élections au temps +de la république, comme si Auguste eût voulu, par ces combats qui +se livraient en l'honneur des morts, célébrer les funérailles de la +liberté romaine."—<i>Ampère, Emp.</i> i. 224.</p></div> + +<p>The temple of Mars stands at the north-eastern corner of the magnificent +<i>Forum of Augustus</i>, which extended from here as far as the present Via +Alessandrina, surpassing in size the forum of Julius Cæsar, to which it +was adjoining. It was of sufficient size to be frequently used for +fights of animals (venationes). Among its ornaments were statues of +Augustus triumphant and of the subdued provinces—with inscriptions +illustrative of the great deeds he had accomplished there; also a +picture by Apelles representing War with her hands bound behind her, +seated upon a pile of arms. Part of the boundary wall exists, enclosing +on two sides the remains of the temple of Mars Ultor, and is constructed +of huge masses of peperino. The arch, in the wall close to the temple, +is known as Arco dei Pantani. The sudden turn in the wall here is +interesting as commemorating a<a name="vol_1_page_165" id="vol_1_page_165"></a> concession made to the wish of some +proprietors, who were unwilling to part with their houses for the sake +of the forum.</p> + +<div class="blockquot"><p>"C'est l'histoire du moulin de Sans-Souci, qui du reste paraît +n'être pas vraie.</p> + +<p>"Il est piquant d'assister aujourd'hui à ce ménagement d'Auguste +pour l'opinion qu'il voulait gagner. Envoyant le mur s'infléchir +parce-qu'il a fallu épargner quelques maisons, on croit voir la +toute-puissance d'Auguste gauchir à dessein devant les intérêts +particuliers, seule puissance avec laquelle il reste à compter +quand tout intérêt général a disparu. L'obliquité de la politique +d'Auguste est visible dans l'obliquité de ce mur, qui montre et +rend pour ainsi dire palpable le manège adroit de la tyrannie, se +déguisant pour se fonder. Le mur biaise, comme biaisa constamment +l'empereur."—<i>Ampère, Emp.</i> i. 233.</p></div> + +<p>(The street on the left—passing the Arco dei Pantani—the Via della +Salita del Grillo, commemorates the approach to the castle of the great +mediæval family Del Grillo; the street on the right leads through the +ancient Suburra.)</p> + +<p>At the corner of the next street (Via della Croce Bianca)—on the left +of the Via Alessandrina—is the ruin called the "Colonnace," being part +of the <i>Portico of Pallas Minerva</i>, which decorated the <i>Forum +Transitorium</i>, begun by Domitian, but dedicated in the short reign of +Nerva, and hence generally called the <i>Forum of Nerva</i>, on account of +the execration with which the memory of Domitian was regarded. Up to the +seventeenth century seven magnificent columns of the temple of Minerva +were still standing, but they were destroyed by Paul V., who used part +of them in building the Fontana Paolina. The existing remains consist of +two half-buried Corinthian columns with a figure of Minerva, and a +frieze of bas-reliefs.<a name="vol_1_page_166" id="vol_1_page_166"></a></p> + +<div class="blockquot"><p>"Les bas-reliefs du forum de Nerva représentent des femmes occupées +des travaux d'aiguille, auxquels présidait Minerve. Quand on se +rappelle, que Domitien avait placé à Albano, près du temple de +cette déesse, un collège de prêtres qui imitaient la parure et les +mœurs de femmes, on est tenté de croire qu'il y a dans le choix +des subjets figurés ici une allusion aux habitudes efféminées de +ces prétres."—<i>Ampère, Emp.</i> ii. 161.</p> + +<p>"The portico of the temple of Minerva is most rich and beautiful in +architecture, but woefully gnawed by time, and shattered by +violence, besides being buried midway in the accumulation of the +soil, that rises over dead Rome like a flood-tide. Within this +edifice of antique sanctity a baker's shop is now established, with +an entrance on one side; for everywhere, the remnants of old +grandeur and divinity have been made available for the meanest +neccessities of to-day."—<i>Hawthorne.</i></p></div> + +<p>It was in this forum that Nerva caused Vetronius Turinus, who had +trafficked with his court interest, to be suffocated with smoke, a +herald proclaiming at the time, "Fumo punitur qui vendidit fumum."</p> + +<p>Returning a short distance down the Via Alessandrina, and turning (left) +down the Via Bonella, we traverse the site of the <i>Forum of Julius +Cæsar</i>, upon which 4000 sestertia (800,000 <i>l.</i>) were expended, and +which is described by Dion-Cassius as having been more beautiful than +the Forum Romanum. It was ornamented with a Temple of Venus +Genetrix—from whom Julius Cæsar claimed to be descended—which +contained a statue of the goddess by Archesilaus, a statue of Cæsar +himself, and a group of Ajax and Medea by Timomacus. Here, also, Cæsar +had the effrontery to place the statue of his mistress, Cleopatra, by +the side of that of the goddess. In front of the temple stood a bronze +figure of a horse—supposed to be the famous Bucephalus—the work of +Lysippus.<a name="vol_1_page_167" id="vol_1_page_167"></a></p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Cedat equus Latiæ qui, contra templa Diones,<br /></span> +<span class="ist">Cæsarei stat sede Fori. Quem tradere es ausus<br /></span> +<span class="ist">Pellæo Lysippa Duci, mox Cæsaris ora<br /></span> +<span class="ist">Aurata cervice tulit."<br /></span> +<span class="i15"><i>Statius, Silv.</i> i. 84.<br /></span> +</div></div> + +<p>The only visible remains of this forum are some courses of huge square +blocks of stone (Lapis Gabinus), in a dirty court.</p> + +<p>Part of the site of the forum of Julius Cæsar is now occupied—on the +right near the end of the Via Bonella—by the <i>Accademia di San Luca</i>, +founded in 1595, Federigo Zuccaro being its first director. The +collections are open from 9 to 5 daily. A ceiling representing Bacchus +and Ariadne, is by <i>Guido</i>. The best pictures are:—</p> + +<div class="blockquot"> +<p class="nind">Bacchus and Ariadne: <i>Poussin</i>.<br /> +Vanity: <i>Paul Veronese</i>.<br /> +Calista and the Nymphs: <i>Titian</i>.<br /> +The murder of Lucretia: <i>Guido Cagnacci</i>.<br /> +Fortune: <i>Guido</i>.<br /> +Innocent XI.: <i>Velasquez</i>.<br /> +The Saviour and the Pharisee: <i>Titian</i>.<br /> +A lovely fresco of a child: <i>Raphael</i>.<br /> +St. Luke painting the Virgin: <i>Attributed to Raphael</i>.</p> + +<p>"St. Luke painting the Virgin has been a frequent and favourite +subject. The most famous of all is a picture in the Academy of St. +Luke, ascribed to Raphael. Here St. Luke, kneeling on a footstool +before an easel, is busied painting the Virgin with the Child in +her arms, who appears to him out of heaven, sustained by clouds; +behind St. Luke stands Raphael himself, looking on."—<i>Mrs. +Jameson.</i></p></div> + +<p>A skull preserved here was long supposed to be that of Raphael, but his +true skull has since been found in his grave in the Pantheon.</p> + +<div class="blockquot"><p>"On a longtemps vénéré ici un crâne que l'on croyait être celui de +Raphael; crâne étroit sur lequel les phrénologistes auront prononcé +de<a name="vol_1_page_168" id="vol_1_page_168"></a> vains oracles, devant lequel on aura bien profondément rêvé et +qui n'était que celui d'un obscur chanoine bien innocent de toutes +ces imaginations."—<i>A. Du Pays.</i></p></div> + +<p>Just beyond St. Luca, we enter the Forum Romanum.</p> + +<hr style="width: 15%;" /> + +<p>The interest of Rome comes to its climax in the Forum. In spite of all +that is destroyed, and all that is buried, so much still remains to be +seen, and every stone has its story. Even without entering into all the +vexed archæological questions which have filled the volumes of Canina, +Bunsen, Niebuhr, and many others, the occupation which a traveller +interested in history will find here is all but inexhaustible; and, +after the disputes of centuries, the different sites seem now to be +verified with tolerable certainty. The study of the Roman Forum is +complicated by the <i>succession</i> of public edifices by which it has been +occupied, each period of Roman history having a different set of +buildings, and each in a great measure supplanting that which went +before. Another difficulty has naturally arisen from the exceedingly +circumscribed space in which all these buildings have to be arranged, +and which shows that many of the ancient temples must have been mere +chapels, and the so-called "lakes" little more than fountains.</p> + +<div class="blockquot"><p>"This spot, where the senate had its assemblies, where the rostra +were placed, where the destinies of the world were discussed, is +the most celebrated and the most classical of ancient Rome. It was +adorned with the most magnificent monuments, which were so crowded +upon one another, that their heaped-up ruins are not sufficient for +all the names which are handed down to us by history. The course of +centuries has overthrown the Forum, and made it impossible to +define; the level of the ancient soil is twenty-four feet below +that of to-day, and however great a desire one may feel to +reproduce the past, it must be acknowledged that this very +difference of level is a terrible obstacle to the<a name="vol_1_page_169" id="vol_1_page_169"></a> powers of +imagination; again, the uncertainties of archæologists are +discouraging to curiosity and the desire of illusion. For more than +three centuries learning has been at work upon this field of ruins, +without being able even to agree upon its bearings; some describing +it as extending from north to south, others from east to west. The +origin of the Forum goes back to the alliance of the Romans and +Sabines. It was a space surrounded by marshes, which extended +between the Palatine and the Capitol, occupied by the two colonies, +and serving as a neutral ground where they could meet. The Curtian +Lake was situated in the midst. Constantly adorned under the +republic and the empire, it appears that it continued to exist +until the eleventh century. Its total ruin dates from Robert +Guiscard, who, when called to the assistance of Gregory VII., left +it a heap of ruins. Abandoned for many centuries, it became a +receptacle for rubbish, which gradually raised the level of the +soil. About 1547, Paul III. began to make excavations in the Forum. +Then the place became a cattle-market, and the glorious name of +Forum Romanum changed into that of Campo Vaccino.</p> + +<p>"The Forum was surrounded by a portico of two stories, the lower of +which was occupied by shops (tabernæ). In the beginning of the +sixth century of Rome, two fires destroyed part of the edifices +with which it had been embellished. This was an opportunity for +isolating the Forum, and basilicas and temples were raised in +succession along its sides, which in their turn were partly +destroyed in the fire of Nero. Domitian rebuilt a part, and added +the temple of Vespasian, and Antoninus that of Faustina."—<i>A. Du +Pays.</i></p></div> + +<p>The excavations which were made in the Forum before 1871 are for the +most part due to the generosity of Georgiana, Duchess of Devonshire. The +papal government always displayed the most extraordinary apathy about +extending them, and, when a large excavation was made in the winter of +1869—70, by the British Archæological Society, in front of the Church +of Sta. Martina, insisted on its being immediately filled up again, +instead of extending it, as might easily have been done, to join the +excavation which had long existed on the Clivus Capitolinus. Lately the +excavations have been considerably<a name="vol_1_page_170" id="vol_1_page_170"></a> increased, but were the roads +leading to the Forum to be closed, and a large body of efficient +labourers set to work, the whole of the Roman Forum and its surroundings +might be laid bare in a month, without any injury to the interesting +churches in its neighbourhood. At present, even that part which is +disinterred is cut up by a number of raised causeways, which distract +the eye and mar the general effect, and the excavations, recommenced by +the Italian government, are slowly and inadequately carried on.</p> + +<p>If we stand on the causeway in front of the arch of Septimius Severus, +and turn towards the Capitol, we look upon the Clivus Capitolinus, which +is perfectly crowded with historical sites and fragments, viz.:—</p> + +<p>1. The modern Capitol, resting on the <i>Tabularium</i>. This is one of the +earliest architectural relics in Rome. It is built in the Etruscan +style, of huge blocks of tufa or peperino placed long-and cross-ways +alternately. It was formerly composed of two stages called Camellaria. +Only the lower now remains. It contained the tables of the laws. The +corridor which remains in the interior is used as a museum of +architectural fragments. The Tabularium probably communicated with the +<i>Ærarium</i> in the temple of Saturn.</p> + +<p>2. On the right of the excavated space, and nearest the Tabularium, the +site of the <i>Tribune</i>, in front of which were the <i>Rostra</i>, to which the +head of Octavius was affixed by Marius, and the head and hand of Cicero +by Antony, and where Fulvia, the widow of Clodius, spat in his dead +face, and pierced his inanimate tongue with the pin which she wore in +her hair. In front of the rostrum were the statues of the three Sibyls +called Tria Fata.<a name="vol_1_page_171" id="vol_1_page_171"></a></p> + +<p>3. Below, a little(**typo? little?) more to the right, is the site of +the <i>Comitium</i>, where the survivor of the Horatii was condemned to +death, and saved by the voice of the people. Here, also, was the +trophied pillar which bore the arms of the Curiatii. In the area of the +Comitium grew the famous fig-tree which was always preserved here in +commemoration of the tree under which Romulus and Remus were suckled by +the wolf, and beneath which was a bronze representation of the wolf and +the children.</p> + +<p>4. A little more to the left, is the site of <i>the Vulcanal</i>, so called +from an altar dedicated to Vulcan, a platform (still defined) where, in +the earliest times, Romulus and Tatius used to meet on intermediate +ground and transact affairs common to both; and where Brutus was seated, +when, without any change of countenance, he saw his two sons beaten and +beheaded. Adjoining the Vulcanal was the <i>Græcostasis</i>, where foreign +ambassadors waited before they were admitted to an audience of the +senate.</p> + +<p>5. Below the Vulcanal, and just behind the Arch of Severus, is the site +of the <i>Temple of Concord</i>, dedicated, with blasphemous +inappropriateness, <small>B.C.</small> 121, by the consul Opimius, immediately after +the murder of Caius Gracchus. Here Cicero pronounced his orations +against Catiline before the senate. A pavement of coloured marbles +remains. At its base are still to be seen some small remains of the +<i>Colonna Mænia</i>, which was surmounted by the statue of C. Mænius, who +decorated the rostra with the iron beaks of vessels taken in war.</p> + +<p>6. The three beautiful columns which are still standing were attributed +to a temple of Jupiter Tonans, but are now decided to belong to the +<i>Temple of Vespasian</i>. The engravings<a name="vol_1_page_172" id="vol_1_page_172"></a> of Piranesi represent them as +buried almost to their capitals, and they remained in this state until +they were disinterred during the first French occupation. The space was +so limited in this part of Rome, that in order to prevent encroaching +upon the street Clivus Capitolinus, which descends the hill between this +temple and that of Saturn, the temple of Vespasian was raised on a kind +of terrace, and the staircase which led to it was thrust in between the +columns. This temple was restored by Septimius Severus, and to this the +letters on the entablature refer, being part of the word <i>Restituere</i>. +Instruments of sacrifice are sculptured on the frieze.</p> + +<p>7. On the left of the excavated space, close beneath the Tabularium, a +low range of columns recently re-erected represents the building called +the <i>School of Xanthus</i>, chambers, for the use of the scribes and +persons in the service of the curule ædiles, which derived their name +from Xanthus, a freedman, by whom they were rebuilt.</p> + +<p>8. The eight Ionic columns still standing, part of the <i>Temple of +Saturn</i>, the ancient god of the Capitol. Before this temple Pompey sate +surrounded by soldiers, listening to the orations which Cicero was +delivering from the rostrum, when he received the personal address, "Te +enim jam appello, et ea voce ut me exaudire possis." Here the tribune +Metellus flung himself before the door and vainly attempted to defend +the treasure of the <i>Ærarium</i> in this temple against Julius Cæsar. The +present remains are those of an indifferent and late renovation of an +earlier temple, being composed of columns which differ in diameter, and +a frieze put together from fragments which do not belong to one another. +The original temple was built by Tarquin, and<a name="vol_1_page_173" id="vol_1_page_173"></a> was supposed to mark the +site of the ancient Sabine altar of the god and the limit of the wood of +refuge mentioned by Virgil.</p> + +<p>9. Just below the Temple of Saturn is the site of the <i>Arch of +Tiberius</i>, erected, according to Tacitus, upon the recovery by +Germanicus of the standards which Varus had lost.</p> + +<p>10. The remains of the <i>Milliarium Aureum</i>, which formed the upper +extremity of a wall faced with marbles, ending near the arch of Severus +in a small conical pyramid. Distances without the walls were inscribed +upon the Milliarium Aureum, as distances within the walls were upon the +pyramid (from which in this case they were also measured) which bore the +name of <i>Umbilicus Romæ</i>. The Via Sacra, which is still visible, +descended from the Capitol between the temples of Saturn and +Vespasian,—being known here as the Clivus Capitolinus, and passed to +the left of—</p> + +<p>11. The <i>Arch of Septimius Severus</i>, which was erected by the senate +<small>A.D.</small> 205, in honour of that emperor and his two sons, Caracalla and +Geta. It is adorned with bas-reliefs relating his victories in the +east,—his entry into Babylon and the tower of the temple of Belus are +represented. A curious memorial of imperial history may be observed in +the inscription, where we may still discern the erasure made by +Caracalla after he had put his brother Geta to death in <small>A.D.</small> 213, for +the sake of obliterating his memory. The added words are <small>OPTIMIS +FORTISSIMISQVE PRINCIPIBUS</small>—but the ancient inscription <small>P. SEPT. LVC. +FIL. GETÆ. NOBILISS. CÆSARI</small>, has been made out by painstaking +decipherers. In one of the piers is a staircase leading to the top of +the arch which was formerly (as seen from coins of Severus and<a name="vol_1_page_174" id="vol_1_page_174"></a> +Caracalla) adorned by a car drawn by six horses abreast, and containing +figures of Severus and his sons. It was in front of this arch that the +statue of Marcus Aurelius stood, which is now at the Capitol.</p> + +<div class="blockquot"><p>"Les proportions de l'arc de Septime-Sévère sont encore belles. +L'aspect en est imposant; il est solide sans être lourd. La grande +inscription où se lisent les épithètes victorieuses qui rappellent +les succès militaires de l'empereur, Parthique, Dacique, +Adiabénique, se déploie sur une vaste surface et donne à +l'entablement un air de majesté qu'admirent les artistes. Cette +inscription est doublement historique; elle rappelle les campagnes +de Sévère et la tragédie domestique qui après lui ensanglanta sa +famille, le meurtre d'un de ses fils immolé par l'autre, et +l'acharnement de celui-ci à poursuivre la mémoire du frère qu'il +avait fait assassiner. Le nom de Géta a été visiblement effacé par +Caracalla. La même chose se remarque dans une inscription sur +bronze qu'on voit au Capitale et sur le petit arc du Marché aux +bœufs dont j'ai parlé, où l'image de Géta a été effacée comme +son nom. Caracalla ne permit pas même à ce nom proscrit de se +cacher parmi les hiéroglyphes. En Egypte, ceux qui composaient le +nom de Géta ont été grattés sur les monuments."—<i>Ampère, Emp.</i> ii. +278.</p></div> + +<p>(The excavations in thé Forum are open to the public on the same days as +the Palace of the Cæsars—Thursdays and Sundays.)</p> + +<p>The platform on which we have been standing leads to the Via della +Consolazione, occupying the site of the ancient <i>Vicus Jugarius</i>, where +Augustus erected an altar to Ceres, and another to Ops Augusta, the +goddess of wealth. (In this street, on the left, is a good cinque-cento +doorway.) Where this street leaves the Forum was the so-called <i>Lacus +Servilius</i>, a basin which probably derived its name from Servilius Ahala +(who slew the philanthropist Sp. Mælius with a dagger near this very +spot), and which was encircled with a ghastly row of heads in the +massacres under Sylla. This fountain<a name="vol_1_page_175" id="vol_1_page_175"></a> was adorned by M. Aggrippa with a +figure of a hydra. The right side of the Forum is now occupied for a +considerable distance by the disinterred remains of the <i>Basilica +Julia</i>, begun by Julius Cæsar, and finished by Augustus, who dedicated +it in honour of his daughter. A basilica of this description was +intended partly as a Law Court and partly as an Exchange. In this +basilica the judges called Centumviri held their courts, which were four +in number:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Jam clamor, centumque viri, densumque coronæ<br /></span> +<span class="ist">Vulgus: et infanti Julia tecta placent."<br /></span> +<span class="i15"><i>Martial</i>, vi. <i>Ep.</i> 38.<br /></span> +</div></div> + +<p>Beyond the basilica are three beautiful columns which belong to a +restoration of the <i>Temple of Castor and Pollux</i>, dedicated by +Postumius, <small>B.C.</small> 484. Here costly sacrifices were always offered in the +ides of July, at the anniversary of the battle of the Lake Regillus, +after which the Roman knights, richly clothed, crowned with olive, and +bearing their trophies, rode past it in military procession, starting +from the temple of Mars outside the Porta Capena. The entablature which +the three columns support is of great richness, and the whole fragment +is considered to be one of the finest existing specimens of the +Corinthian order. None of the Roman ruins have given rise to more +discussion than this. It has perpetually changed its name. Bunsen and +many other authorities considered it to belong to the temple of Minerva +Chalcidica; but as it is known that the position of the now discovered +Basilica Julia was exactly between the temple of Saturn and that of +Castor, and a passage of Ovid describes the latter as being close to the +site of the temple of Vesta, which is also ascertained, it<a name="vol_1_page_176" id="vol_1_page_176"></a> seems almost +certain now that it belonged to the temple of the Dioscuri. Dion-Cassius +mentions that Caligula made this temple a vestibule to his house on the +Palatine.</p> + +<p>Here, on the right, branches off the Via dei Fienili, once the <i>Vicus +Tuscus</i>, or Etruscan quarter (see Chap. V.), leading to the Circus +Maximus. At its entrance was the bronze statue of Vertumnus, the god of +Etruria, and patron of the quarter. The long trough-shaped fountain +here, at which such picturesque groups of oxen and buffaloes are +constantly standing, is a memorial of the <i>Lake of Juturna</i> the sister +of Turnus, or as she was sometimes described, the wife of Janus the +Sabine war-god. This fountain, for such it must have been, was dried up +by Paul V.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"At quæ venturas præcedit sexta kalendas,<br /></span> +<span class="i2">Hac sunt Ledæis templa dicata deis.<br /></span> +<span class="ist">Fratribus illa deis fratres de gente deorum<br /></span> +<span class="i2">Circa Juturnæ composuere lacus."<br /></span> +<span class="i5"><i>Ovid, Fast.</i> i. 705.<br /></span> +</div></div> + +<p>Here, close under the Palatine, is the site of the famous <i>Temple of +Vesta</i>, in which the sacred fire was preserved, with the palladium saved +from Troy. On the altar of this temple, blood was sprinkled annually +from the tail of the horse which was sacrificed to Mars in the +Campus-Martius. The foundation of the temple was attributed to Numa, but +the worship must have existed in Pelasgic times, as the mother of +Romulus was a vestal. It was burnt down in the fire of Nero, rebuilt and +again burnt down under Commodus, and probably restored for the last time +by Heliogabalus. Here, during the consulate of the young Marius, the +high priest Scævola was murdered, splashing the image of Vesta with his +blood,—and here (<small>A.D.</small> 68)<a name="vol_1_page_177" id="vol_1_page_177"></a> Piso, the adopted son of Galba, was murdered +in the sanctuary whither he had fled for refuge, and his head, being cut +off, was affixed to the rostra. Behind the temple, along the lower ridge +of the Palatine, stretched the sacred grove of Vesta, and the site of +the Church of Sta. Maria Liberatrice was occupied by the <i>Atrium Vestæ</i>, +a kind of convent for the vestal virgins. Here Numa Pompilius fixed his +residence, hoping to conciliate both the Latins of the Palatine and the +Sabines of the Capitoline by occupying a neutral ground between them.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Quæris iter? dicam, vicinum Castora, canæ<br /></span> +<span class="i2">Transibis Vestæ, virgineamque domum,<br /></span> +<span class="ist">Inde sacro veneranda petes palatia Clivo."<br /></span> +<span class="i5"><i>Martial</i>, i. <i>Ep.</i> 70.<br /></span> +</div></div> + +<div class="poem"><div class="stanza"> +<span class="i0">"Hic focus est Vestæ, qui Pallada servat et ignem.<br /></span> +<span class="i2">Hic fuit antiqui regia parva Numæ."<br /></span> +<span class="i15"><i>Ovid, Trist.</i> iii. <i>El.</i> 1.<br /></span> +</div></div> + +<div class="poem"><div class="stanza"> +<span class="i0">"Hic locus exiguus, qui sustinet atria Vestæ,<br /></span> +<span class="i2">Tunc erat intonsi regia magna Numæ.<br /></span> +<span class="ist">Forma tamen templi, quae nunc manet, ante fuisse<br /></span> +<span class="i2">Dicitur; et formæ causa probanda subest.<br /></span> +<span class="ist">Vesta eadem est, et Terra; subest vigil ignis utrique,<br /></span> +<span class="i2">Significant sedem terra focusque suam.<br /></span> +<span class="ist">Terra pilæ similis, nullo fulcimine nixa,<br /></span> +<span class="i2">Aëre subjecto tam grave pendet onus.<br /></span> +<span class="ist">Arte Syracosia suspensus in aëre clauso<br /></span> +<span class="i2">Stat globus, immensi parva figura poli;<br /></span> +<span class="ist">Et quantum a summis, tantum secessit ab imis<br /></span> +<span class="i2">Terra. Quod ut fiat, forma rotunda facit.<br /></span> +<span class="ist">Par facies templi: nullus procurrit ab illo<br /></span> +<span class="i2">Angulus. A pluvio vindicat imbre tholus."<br /></span> +<span class="i5"><i>Ovid, Fast.</i> vi. 263.<br /></span> +</div></div> + +<div class="poem"><div class="stanza"> +<span class="i0">"Servat et Alba, Lares, et quorum lucet in aris<br /></span> +<span class="ist">Ignis adhuc Phrygius, nullique adspecta virorum<br /></span> +<span class="ist">Pallas, in abstruso pignus memorabile templo."<br /></span> +<span class="i15"><i>Lucan</i>, ix. 992.<br /></span> +</div></div> + +<p><a name="vol_1_page_178" id="vol_1_page_178"></a></p> + +<p>Close to the temple of Vesta was the <i>Regia</i>, where Julius Cæsar lived +(as pontifex maximus)—where Pompeia his second wife admitted her lover +Clodius in the disguise of a woman to the mysteries of the Bona +Dea—whence Cæsar went forth to his death—and from which his last wife +Calpurnia rushed forth with loud outcries to receive his dead body.</p> + +<p>Somewhere in this part of the Forum was the famous <i>Curtian Lake</i>, so +called from Mettus Curtius, a Sabine warrior, who with difficulty +escaped from its quagmires to the Capitol after a battle between Romulus +and Tatius.<a name="FNanchor_52_52" id="FNanchor_52_52"></a><a href="#Footnote_52_52" class="fnanchor">[52]</a> Tradition declares that the quagmire afterwards became a +gulf, which an oracle declared would never close until that which was +most important to the Roman people was sacrificed to it. Then the young +Marcus Curtius, equipped in full armour, leapt his horse into the abyss, +exclaiming that nothing was more important to the Roman people than arms +and courage; and the gulf was closed.<a name="FNanchor_53_53" id="FNanchor_53_53"></a><a href="#Footnote_53_53" class="fnanchor">[53]</a> Two altars were afterwards +erected on the site to the two heroes, and a vine and an olive tree grew +there.<a name="FNanchor_54_54" id="FNanchor_54_54"></a><a href="#Footnote_54_54" class="fnanchor">[54]</a></p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Hoc, ubi nunc fora sunt, udæ tenuere paludes:<br /></span> +<span class="i2">Amne redundatis fossa madebat aquis.<br /></span> +<span class="ist">Curtius ille lacus, siccas qui sustinet aras,<br /></span> +<span class="i2">Nunc solida est tellus, sed lacus ante fuit."<br /></span> +<span class="i15"><i>Ovid, Fast.</i> vi. 401.<br /></span> +</div></div> + +<p>Some fountain, like those of Servilius and Juturna, bearing the name of +Lacus Curtius must have existed on this site to imperial times, for the +Emperor Galba was murdered there.</p> + +<div class="blockquot"><p>"A single cohort still surrounded Galba, when the standard-bearer +tore the Emperor's image from his spear-head, and dashed it on the +ground. The soldiers were at once decided for Otho; swords were<a name="vol_1_page_179" id="vol_1_page_179"></a> +drawn, and every symptom of favour for Galba amongst the bystanders +was repressed by menaces, till they dispersed and fled in horror +from the Forum. At last, the bearers of the emperor's litter +overturned it at the Curtian pool beneath the Capitol. In a few +moments enemies swarmed around his body. A few words he muttered, +which have been diversely reported: some said that they were abject +and unbecoming; others affirmed that he presented his neck to the +assassin's sword, and bade him strike 'if it were for the good of +the republic;' but none listened, none perhaps heeded the words +actually spoken; Galba's throat was pierced, but even the author of +his mortal wound was not ascertained, while his breast being +protected by the cuirass, his legs and arms were hacked with +repeated gashes."—<i>Merivale</i>, vii. 73.</p></div> + +<p>At the foot of the Clivus Capitolinus, on the left (looking towards the +Arch of Titus) stood the <i>Temple of Janus Quirinus</i>, between the great +Forum and the Forum of Julius Cæsar, and near the ascent to the Porta +Janualis, by which Tarpeia admitted the Sabines to the Capitol. +Procopius, in the sixth century, saw the little bronze temple of Janus +still standing. This was one of many temples of the great Sabine god.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Quum tot sint Jani; cur stas sacratus in uno,<br /></span> +<span class="ist">Hic ubi juncta foris templa duobus habes?"<br /></span> +<span class="i15"><i>Ovid, Fast.</i> i. 257.<br /></span> +</div></div> + +<p>This was the temple which was the famous index of peace and war, closed +by Augustus for the third time from its foundation after the victory of +Actium.<a name="FNanchor_55_55" id="FNanchor_55_55"></a><a href="#Footnote_55_55" class="fnanchor">[55]</a></p> + +<div class="poem"><div class="stanza"> +<span class="i0">" ...et vacuum duellis<br /></span> +<span class="ist">Janum Quirini clausit, et ordinem<br /></span> +<span class="ist">Rectum, et vaganti fræna licentiæ<br /></span> +<span class="ist">Injecit."<br /></span> +<span class="i15"><i>Horace</i>, Ode iv. 15.<br /></span> +</div></div> + +<p>Besides this temple there were three arches, whose sites are unknown, +dedicated to Janus in different parts of the Forum.<a name="vol_1_page_180" id="vol_1_page_180"></a></p> + +<div class="poem"><div class="stanza"> +<span class="i0">" ...Hæc Janus summus ab imo<br /></span> +<span class="ist">Perdocet——"<br /></span> +<span class="i15"><i>Horace, Ep.</i> i. 1, 54.<br /></span> +</div></div> + +<p>The central arch was the resort of brokers and money-lenders.<a name="FNanchor_56_56" id="FNanchor_56_56"></a><a href="#Footnote_56_56" class="fnanchor">[56]</a></p> + +<div class="poem"><div class="stanza"> +<span class="i0">" ...Postquam omnis res mea Janum<br /></span> +<span class="ist">Ad medium fracta est."<br /></span> +<span class="i15"><i>Hor. Sat.</i> ii. 3, 18.<br /></span> +</div></div> + +<p>Along this side of the Forum stood the <i>Tabernæ Argentariæ</i>, the +silversmiths' shops, and beyond them—probably in front of S. +Adriano—were the Tabernæ Novæ, where Virginia was stabbed by her father +with a butcher's knife, which he had seized from one of the stalls, +saying, "This, my child, is the only way to keep thee free," as he +plunged it into her heart.<a name="FNanchor_57_57" id="FNanchor_57_57"></a><a href="#Footnote_57_57" class="fnanchor">[57]</a> Near this also was the statue of Venus +Cloacina.<a name="FNanchor_58_58" id="FNanchor_58_58"></a><a href="#Footnote_58_58" class="fnanchor">[58]</a></p> + +<p>The front of the Church of S. Adriano is a fragment of the <i>Basilica of +Æmilius Paulus</i>, built with part of 1500 talents which Cæsar had sent +from Gaul to win him over to his party. This basilica occupied the site +of the famous <i>Curia</i> of Tullus Hostilius.</p> + +<div class="blockquot"><p>"Là se réunit, pour la première fois sous un toit, le conseil des +anciens rois que le savant Properce, avec un sentiment vrai des +antiquités romaines, nous montre tel qu'il était dans l'origine, se +rassemblant au son de la trompe pastorale dans un pré, comme le +peuple dans certains petits cantons de la Suisse."—<i>Ampère, Hist. +Rom.</i> ii. 310.</p></div> + +<p>The Curia was capable of containing six hundred senators, their number +in the time of the Gracchi. It had no tribune,—each speaker rose in +turn and spoke in his place. Here was "the hall of assembly in which the +fate of the world was decided." The Curia was destroyed by fire, which +it caught from the funeral pyre of Clodius. Around the Curia stood many +statues of Romans who had rendered<a name="vol_1_page_181" id="vol_1_page_181"></a> especial service to the state. The +Curia Julia occupied the site of the Curia Hostilia in the early part of +the reign of Augustus. Close by the old Curia was the <i>Basilica Porcia</i>, +built by Cato the Censor, which was likewise burnt down at the funeral +of Clodius. Near this, the base of the rostral column, <i>Colonna Duilia</i>, +has been found.</p> + +<p>Opposite the Basilica Julia, in the depth of the Forum, is the <i>Column +of Phocas</i>, raised to that emperor by the exarch Smaragdus in 608. This +is—</p> + +<p class="c">"The nameless column with a buried base,"</p> + +<p class="nind">of Byron, but is now neither nameless nor buried, its pedestal having +been laid bare by the Duchess of Devonshire in 1813, and bearing an +inscription which shows an origin that no one ever anticipated.</p> + +<div class="blockquot"><p>"In the age of Phocas (602—610), the art of erecting a column like +that of Trajan or M. Aurelius had been lost. A large and handsome +Corinthian pillar, taken from some temple or basilica, was +therefore placed in the Forum, on a huge pyramidal basis quite out +of proportion to it, and was surmounted with a statue of Phocas in +gilt bronze. It has so little the appearance of a monumental +column, that for a long while it was thought to belong to some +ruined building, till, in 1813, the inscription was discovered. The +name of Phocas had, indeed, been erased; but that it must have been +dedicated to him is shown by the date.... The base of this column, +discovered by the excavations of 1816 to have rested on the ancient +pavement of the Forum, proves that this former centre of Roman life +was still, at the beginning of the seventh century, unencumbered +with ruins."—<i>Dyer's History of the City of Rome.</i></p> + +<p>"Ce monument et l'inscription qui l'accompagne sont précieux pour +l'histoire, car ils montrent le dernier terme de l'avilissement où +Rome devait tomber. Smaragdus est le premier magistrat de +Rome,—mais ce magistrat est un préfet, l'élu du pouvoir impérial +et non de ses concitoyens;—il commande, non, il est vrai, à la +capitale du monde, mais au chef-lieu du duché de Rome. Ce préfet, +qui n'est connu de l'histoire que par ses lâches ménagements envers +les Barbares, imagine de voler une colonne à un beau temple, au +temple d'un empereur de quelque<a name="vol_1_page_182" id="vol_1_page_182"></a> mérite, pour la dédier à un +exécrable tyran monté sur le trône par des assassinats, au +meurtrier de l'empereur Maurice, à l'ignoble Phocas, que tout le +monde connaît, grâce à Corneille, qui l'a encore trop ménagé. Et le +plat drôle ose appeler très-clément celui qui fit égorger sous les +yeux de Maurice ses quatre fils avant de l'égorger lui-même. Il +décerne le titre de triomphateur à Phocas, qui laissa conquérir par +Chosroès une bonne part de l'empire. Il ose écrire: 'pour les +innombrables bienfaits de sa piété, pour le repos procuré à +l'Italie et à la liberté.' Ainsi l'histoire monumentale de la Rome +de l'empire finit honteusement par un hommage ridicule de la +bassesse à la violence."—<i>Ampère, Emp.</i> ii. 389.</p></div> + +<p>A little behind the Column of Phocas are the marble slabs commemorating +the sacrifices called Suovetaurilia, consisting of a pig, a sheep, and +an ox, animals which are sculptured here in bold relief. On the side +towards the Capitol a number of figures are represented, amongst them a +woman presenting a child to the emperor, in reference to Trajan's asylum +for orphans, or for those who were too poor to bring up their children. +On the other side is a burning of deeds in reference to the famous +remission of debts by Trajan.</p> + +<p>Beyond this, on the left, the base of the famous statue of Domitian has +been discovered as described by Statius:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Ipse loci custos, cujus sacrata vorago,<br /></span> +<span class="ist">Famosusque lacus nomen memorabile servat."<br /></span> +<span class="i15"><i>Silv.</i> i. 66.<br /></span> +</div></div> + +<p>Here the Via Sacra turns, almost continuing the Vicus Tuscus. On its +right, on a line with the Temple of the Dioscuri, has been discovered +the base of the small Temple of Julius Cæsar (Ædes Divi Julii),<a name="FNanchor_59_59" id="FNanchor_59_59"></a><a href="#Footnote_59_59" class="fnanchor">[59]</a> +which was surrounded with a colonnade of closely-placed columns and +surmounted by a statue of the deified triumvir. This was the first +temple in Rome which was dedicated to a mortal.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Fratribus assimilis, quos proxima templa tenentes<br /></span> +<span class="ist">Divus ab excelsa Julius æde videt."<br /></span> +<span class="i15"><i>Ovid, Pont. El.</i> ii. 2.<br /></span> +</div></div> + +<p><a name="vol_1_page_183" id="vol_1_page_183"></a></p> + +<p>Dion Cassius narrates that this temple was erected on the spot where the +body of Julius was burnt. It was adorned by Augustus with the beaks of +the vessels taken in the battle of Actium, and hence obtained the name +of Rostra Julia. He also placed here the statue of Venus Anadyomene of +Apelles, because Cæsar had claimed descent from that goddess. Here, in +<small>A.D.</small> 14, the body of Augustus, being brought from Nola, where he died, +was placed upon a bier, while Tiberius pronounced a funeral oration over +it, before it was carried to the Campus Martius.</p> + +<p>The road turns again in front of the remains of the <i>Temple of Antoninus +and Faustina</i>, erected by the flattery of the senate to the memory of +the licentious Empress Faustina, the faithless wife of Antoninus Pius, +whom they elevated to the rank of a goddess. Her husband, dying before +its completion, was associated in her honours, and the inscription, +which still remains on the portico, is "<span class="smcap">Divo antonino et divæ faustinæ. +ex. s. c.</span>" The front of the temple is adorned with eight columns of +cipolino, forty-three feet high, supporting a frieze ornamented with +griffins and candelabra. The effect of these remains would be +magnificent if the modern road were removed, and the temple were laid +bare in its full height, with the twenty-one steps which formerly led to +it. It is also greatly injured by the hideous Church of S. Lorenzo in +Miranda, which encloses the cella of the temple, and whose name, says +Ampère, naively expresses the admiration in which its builders held +these remains.<a name="FNanchor_60_60" id="FNanchor_60_60"></a><a href="#Footnote_60_60" class="fnanchor">[60]</a></p> + +<p>On the left we now reach the Church of SS. Cosmo and Damian, considered +by Nibby and others to occupy the<a name="vol_1_page_184" id="vol_1_page_184"></a> site of a temple of Remus. Ampère has +since proved that this temple never existed, and that the remains are +those of a <i>Temple of the Penates</i>, rebuilt by Augustus. Here Valerius +Publicola had a house, to which he removed from the Velia, in deference +to the wishes of the Roman people.</p> + +<div class="blockquot"><p>"Le sentiment d'effroi que la demeure féodale des Valérius causait, +était pareille à celui qu'inspiraient aux Romains du moyen âge les +tours des barons, que le peuple, dès qu'il était le maître, se +hâtait de démolir. Valerius n'attendit pas qu'on se portât à cette +extrémité, et il vint habiter au pied de la Velia. C'est le premier +triomphe des plébéiens sur l'aristocratie romaine et la première +concession de cette aristocratie."—<i>Ampère, Hist. Rom.</i> ii. 274.</p></div> + +<p>A little further on are three gigantic arches, being all that remains of +the magnificent <i>Basilica of Constantine</i>, which was 320 feet in length +and 235 feet in width. The existing ruins are those of one of the aisles +of the basilica. There are traces of an entrance towards the Coliseum. +The roof was supported by eight Corinthian columns, of which one, +remaining here till the time of Paul V., was removed by him to the +piazza of Sta. Maria Maggiore, where it still stands. This site was +previously occupied by the <i>Temple of Peace</i>, burnt down in the time of +Commodus. This temple was the great museum of Rome under the empire, and +contained the seven-branched candlestick and other treasures brought +from Jerusalem,<a name="FNanchor_61_61" id="FNanchor_61_61"></a><a href="#Footnote_61_61" class="fnanchor">[61]</a> as well as all the works of art which had been +collected in the palace of Nero and which were removed hither by +Vespasian. A statue of the Nile, with children playing around it, is +mentioned by Pliny as among the sights in the temple of Peace.<a name="FNanchor_62_62" id="FNanchor_62_62"></a><a href="#Footnote_62_62" class="fnanchor">[62]</a><a name="vol_1_page_185" id="vol_1_page_185"></a></p> + +<p>It was near this that the Via Sacra was crossed by the <i>Arch of Fabius</i>, +erected <small>B.C.</small> 121, in honour of the conqueror of the Allobroges,—the +then inhabitants of Savoy. Close to this portion of the Via Sacra also +stood a statue of Valeria, daughter of Publicola, by whom the honours of +the virgin Clœlia were disputed.</p> + +<p>Besides those which we have noticed, there is mention in classical +authors of many other buildings and statues which were once crowded into +this narrow space; but all trace of many even of those enumerated is +still buried many feet below the soil.</p> + +<p>The modern name of <i>Campo Vaccino</i>, by which the Forum is now known, is +supposed by some antiquaries to be derived from Vitruvius Vacco, who +once had a house there.</p> + +<div class="blockquot"><p>"La guerre aux habitants de Privernum (Piperno) rattache à une +localité du Palatin.... Les habitants de Fondi avaient fait cause +commune avec les habitants de Privernum. Leur chef, Vitruvius +Vacca, possedait une maison sur le Palatin; c'était un homme +considérable dans son pays et même à Rome. Ils demandèrent et +obtinrent grâce. Privernum fut pris, et Vitruvius Vacca, qui s'y +était réfugié, conduit à Rome, enfermé dans le prison Mamertine +pour y être gardé jusqu'au retour du consul, et alors battu de +verges et mis à mort; sa maison du Palatin fut rasée, et le lieu où +elle avait été garda le nom de <i>Prés de Vacca</i>."—<i>Ampère, Histoire +Romaine</i>, iii. 17.</p></div> + +<p>But the name will seem singularly appropriate to those who are familiar +with the groups of meek-faced oxen of the Campagna, which are always to +be seen lying in the shade under the trees of the Forum, or drinking at +its water-troughs.</p> + +<div class="blockquot"> + +<p class="c">"'Romanoque Foro et lautis mugire Carinis.'</p> + +<p>"Ce vers m'a toujours profondément frappé, lorsque je traversais le +Forum, aujourd'hui Campo-Vaccino (le champ du bétail); je voyais +en<a name="vol_1_page_186" id="vol_1_page_186"></a> effet presque toujours à son extrémité des bœufs couchés au +pied du Palatin. Virgile, se reportant de la Rome de son temps à la +Rome ancienne d'Evandre, ne trouvait pas d'image plus frappante du +changement produit par les siècles, que la présence d'un troupeau +de bœufs dans le lieu destiné à être le Forum. Eh bien, le jour +devait venir où ce qui était pour Virgile un passé lointain et +presque incroyable se reproduirait dans la suite des âges; le Forum +devait être de nouveau un lieu agreste, ses magnificences s'en +aller et les bœufs y revenir.</p> + +<p>"J'aimais à les contempler à travers quelques colonnes moins +vieilles que les souvenirs qu'ils me retracaient, reprenant +possession de ce sol d'où les avait chassés la liberté, la gloire, +Cicéron, César, et où devait les ramener la plus grande vicissitude +de l'historie, la destruction de l'empire romain per les barbares. +Ce que Virgile trouvait si étrange dans le passé n'étonne plus dans +le présent; les bœufs mugissent au Forum; ils s'y couchent et y +ruminent aujourd'hui, de même qu'au temps d'Evandre et comme s'il +n'était rien arrivé."—Ampère, Hist. Rom. 1. 211.</p> + +<div class="poem"><div class="stanza"> +<span class="i6">"In many a heap the ground<br /></span> +<span class="ist">Heaves, is if Ruin in a frantic mood<br /></span> +<span class="ist">Had done his utmost. Here and there appears,<br /></span> +<span class="ist">As left to show his handy-work not ours,<br /></span> +<span class="ist">An idle column, a half-buried arch,<br /></span> +<span class="ist">A wall of some great temple. It was once,<br /></span> +<span class="ist">And long, the centre of their Universe,<br /></span> +<span class="ist">The Forum—whence a mandate, eagle-winged,<br /></span> +<span class="ist">Went to the ends of the earth. Let us descend<br /></span> +<span class="ist">Slowly. At every step much may be lost,<br /></span> +<span class="ist">The very dust we tread stirs as with life,<br /></span> +<span class="ist">And not a breath but from the ground sends up<br /></span> +<span class="ist">Something of human grandeur.<br /></span> +<span class="i6">. . . . .<br /></span> +<span class="ist">Now all is changed; and here, as in the wild,<br /></span> +<span class="ist">The day is silent, dreary as the night;<br /></span> +<span class="ist">None stirring, save the herdsman and his herd,<br /></span> +<span class="ist">Savage alike; or they that would explore,<br /></span> +<span class="ist">Discuss, and learnedly; or they that come,<br /></span> +<span class="ist">(And there are many who have crossed the earth,)<br /></span> +<span class="ist">That they may give the hours to meditation,<br /></span> +<span class="ist">And wander, often saving to themselves,<br /></span> +<span class="ist">'This was the Roman Forum!'"<br /></span> +<span class="i15"><i>Rogers' Italy.</i><br /></span> +</div></div> + +<p><a name="vol_1_page_187" id="vol_1_page_187"></a></p> + +<p>"We descended into the Forum, the light fast fading away and +throwing a kindred soberness over the scene of ruin. The soil has +risen from rubbish at least fifteen feet, so that no wonder that +the hills look lower than they used to do, having been never very +considerable at the first. There it was one scene of desolation, +from the massy foundation-stones of the Capitoline Temple, which +were laid by Tarquinius the Proud, to a single pillar erected in +honour of Phocas, the eastern emperor, in the fifth century. What +the fragments of pillars belonged to, perhaps we can never know; +but that I think matters little. I care not whether it was a temple +of Jupiter Stator or the Basilica Julia, but one knows that one is +on the ground of the Forum, under the Capitol, the place where the +tribes assembled, and the orators spoke; the scene, in short, of +all the internal struggles of the Roman people."—<i>Arnold's +Journal.</i></p> + +<p>"They passed the solitary column of Phocas, and looked down into +the excavated space, where a confusion of pillars, arches, +pavements, and shattered blocks and shafts—the crumbs of various +ruins dropt from the devouring maw of Time—stand, or lie, at the +base of the Capitoline Hill. That renowned hillock (for it is +little more) now rose abruptly above them. The ponderous masonry, +with which the hillside is built up, is as old as Rome itself, and +looks likely to endure while the world retains any substance or +permanence. It once sustained the Capitol, and now bears up the +great pile which the mediæval builders raised on the antique +foundation, and that still loftier tower, which looks abroad upon a +larger page of deeper historic interest than any other scene can +show. On the same pedestal of Roman masonry, other structures will +doubtless arise, and vanish like ephemeral things.</p> + +<p>"To a spectator on the spot, it is remarkable that the events of +Roman history, and of Roman life itself, appear not so distant as +the Gothic ages which succeeded them. We stand in the Forum, or on +the height of the Capitol, and seem to see the Roman epoch close at +hand. We forget that a chasm extends between it and ourselves, in +which lie all those dark, rude, unlettered centuries, around the +birthtime of Christianity, as well as the age of chivalry and +romance, the feudal system, and the infancy of a better +civilization than that of Rome. Or, if we remember these mediæval +times, they look further off than the Augustan age. The reason may +be, that the old Roman literature survives, and creates for us an +intimacy with the classic ages, which we have no means of forming +with the subsequent ones.</p> + +<p>"The Italian climate, moreover, robs age of its reverence, and +makes it look nearer than it is. Not the Coliseum, nor the tombs of +the<a name="vol_1_page_188" id="vol_1_page_188"></a> Appian Way, nor the oldest pillar in the Forum, nor any other +Roman ruin, be it as dilapidated as it may, ever give the +impression of venerable antiquity which we gather, along with the +ivy, from the grey walls of an English abbey or castle. And yet +every brick and stone, which we pick up among the former, had +fallen, ages before the foundation of the latter was +begun."—<i>Hawthorne, Transformation.</i></p> + +<p>"A Rome, vous marchez sur les pierres qui ont été les dieux de +César et de Pompée: vous considérez la ruine de ces grands +ouvrages, dont la vieillesse est encore belle, et vous vous +promènerez tous les jours parmi les histoires et les fables.... Il +n'y à que Rome où la vie soit agréable, où le corps trouve ses +plaisirs et l'esprit les siens, où l'on est à la source des belles +choses. Rome est cause que vous n'êtes plus barbares, elle vous a +appris la civilité et la religion.... Il est certain que je ne +monte jamais au Palatin ni au Capitole que je n'y change d'esprit, +et qu'il ne me vienne d'autres pensées que les miennes ordinaires. +Cet air m'inspire quelque chose de grand et de généreux que je +n'avais point auparavant: si je rêve deux heures au bord du Tibre, +je suis aussi savant que si j'avais étudié huit jours."—<i>Balzac.</i></p></div> + +<hr style="width: 15%;" /> + +<p>Before leaving the Forum we must turn from its classical to its mediæval +remains, and examine the very interesting group of churches which have +sprung up amid its ruins.</p> + +<p>Almost opposite the Mamertine Prisons, surmounted by a handsome dome, is +the <i>Church of Sta. Martina</i>, which contains the original model, +bequeathed by the sculptor Thorwaldsen, of his Copenhagen statue of +Christ in the act of benediction. The opposite transept contains a very +inferior statue of Religion by <i>Canova</i>. The figure of Sta. Martina by +<i>Guerini</i> reposes beneath the high altar. The subterranean church is +well worth visiting. An ante-chapel adorned with statues of four virgin +martyrs leads to a chapel erected at the cost and from the designs of +Pietro da Cortona, whose tomb stands near its entrance, with a fine bust +by <i>Bernini</i>. In the centre of the inner chapel lamps are burning round +the magnificent bronze altar which covers the shrine of Sta. Martina, +and beneath it, you can discover the martyr's tomb by the light of a +torch which a monk lets down<a name="vol_1_page_189" id="vol_1_page_189"></a> through a hole. In the tribune is an +ancient throne. A side chapel contains the grave in which the body of +the virgin saint, with three other martyrs, her companions, was found in +1634: it is adorned with a fine bas-relief by <i>Algardi</i>.</p> + +<div class="blockquot"><p>"At the foot of the Capitoline hill, on the left hand as we descend +from the Ara Cœli into the Forum, there stood in very ancient +times a small chapel dedicated to Sta. Martina, a Roman virgin, who +was martyred in the persecution under Alexander Severus. The +veneration paid to her was of very early date, and the Roman people +were accustomed to assemble there on the first day of the year. +This observance was, however, confined to the people, and not very +general till 1634; an era which connects her in rather an +interesting manner with the history of art. In this year, as they +were about to repair her chapel, they discovered, walled into the +foundations, a sarcophagus of terra-cotta, in which was the body of +a young female, whose severed head reposed in a separate casket. +These remains were very naturally supposed to be those of the saint +who had been so long venerated on that spot. The discovery was +hailed with the utmost exultation, not by the people only, but by +those who led the minds and consciences of the people. The pope +himself, Urban VIII., composed hymns in her praise; and Cardinal +Francesco Barberini undertook to rebuild her church. Amongst those +who shared the general enthusiasm was the painter, Pietro da +Cortona, who was at Rome at the time, who very earnestly dedicated +himself and his powers to the glorification of Sta. Martina. Her +church had already been given to the Academy of Painters, and +consecrated to St. Luke, their patron saint. It is now 'San Luca +and Santa Martina.' Pietro da Cortona erected at his own cost, the +chapel of Sta. Martina, and when he died, endowed it with his whole +fortune. He painted for the altarpiece his best picture, in which +the saint is represented as triumphing over the idols, while the +temple in which she has been led to sacrifice, is struck by +lightning from heaven, and falls in ruins around her. In a votive +picture of Sta. Martina kneeling at the feet of the Virgin and +Child, she is represented as very young and lovely; near her, a +horrid instrument of torture, a two-pronged fork with barbed +extremities, and the lictor's axe, signifying the manner of her +death."—<i>Jameson's Sacred and Legendary Art.</i></p></div> + +<p>The feast of the saint is observed here on Jan. 30, with much solemnity. +Then in all the Roman churches is sung the Hymn of Sta. Martina—<a name="vol_1_page_190" id="vol_1_page_190"></a></p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Martinæ celebri plaudite nomini,<br /></span> +<span class="ist">Cives Romulei, plaudite gloriæ;<br /></span> +<span class="ist">Insignem mentis dicite virginem,<br /></span> +<span class="ist">Christi dicite martyrem.<br /></span> +</div><div class="stanza"> +<span class="ist">Hæc dum conspicuis orta parentibus<br /></span> +<span class="ist">Inter delicias, inter amabiles<br /></span> +<span class="ist">Luxus illecebras, ditibus affluit<br /></span> +<span class="ist">Faustæ muneribus domus.<br /></span> +</div><div class="stanza"> +<span class="ist">Vitæ despiciens commoda, dedicat<br /></span> +<span class="ist">Se rerum Domino, et munifica manu<br /></span> +<span class="ist">Christi pauperibus distribuens opes<br /></span> +<span class="ist">Quærit præmia cœlitum.<br /></span> +</div><div class="stanza"> +<span class="ist">A nobis abigas lubrica gaudia<br /></span> +<span class="ist">Tu, qui martyribus dexter ades,<br /></span> +<span class="ist">Deus<br /></span> +<span class="ist">Une et trine: tuis da famulis jubar,<br /></span> +<span class="ist">Quo clemens animos beas. Amen."<br /></span> +</div></div> + +<p>There is nothing especial to notice in <i>S. Adriano</i>, which is built in +the ruins of the basilica of Emilius Paulus, or in <i>S. Lorenzo in +Miranda</i>, which occupies the temple of Antoninus and Faustina, but <i>Sta. +Maria Liberatrice</i>, built on the site of the house of Numa and the +convent of the Vestals, commemorates by its name a curious legend of the +fourth century. On this site, it is said, dwelt in a cave, a terrible +dragon who had slain three hundred persons with the poison of his +breath. Into this cave, instructed thereto by St. Peter, and entrusting +himself to the care of the Virgin, descended St. Silvester the Pope, +attended by two acolytes bearing torches, and here, having pronounced +the name of Christ, he was miraculously enabled to bind the dragon, and +to shut him up till the day of Judgment. But when he ascended in safety, +he found at the mouth of the cave two magicians who had followed him in +the hope of<a name="vol_1_page_191" id="vol_1_page_191"></a> discovering some imposture, dying from the poison of the +dragon's breath,—and these also he saved alive.</p> + +<p>We now reach the circular building which has been so long known as the +temple of Remus. To the right of the entrance are two pillars of +cipolino, almost buried in the soil. The porphyry pillars at the +entrance, supporting a richly sculptured cornice, were probably set up +in their present position when the temple was turned into a church. The +bronze doors were brought from Perugia. If, as is now supposed, the +temple on this site was that of the Penates, the protectors against all +kinds of illness and misfortune, the modern dedication to the protecting +physicians Cosmo and Damian may have had some reference to that which +went before.</p> + +<p>The Church of <i>SS. Cosmo and Damiano</i> was founded within the ancient +temple by Pope Felix IV. in 527, and restored by Adrian I. in 780. In +1633 the whole building was modernized by Urban VIII., who, in order to +raise it to the present level of the soil, cut the ancient church in +half by the vaulting which now divides the upper and lower churches. To +visit the lower church a monk must be summoned, who will bring a torch. +This is well worth while. It is of great size, and contains a curious +well into which Christian martyrs in the time of Nero are said to have +been precipitated. The tomb of the martyrs Cosmo and Damian is beneath +the altar, which is formed of beautiful transparent marble. Under a side +altar is the grave of Felix IV. The third and lowest church (the +<i>original</i> crypt) which is very small, is said to have been a place of +refuge during the early Christian persecutions. Here is shown the altar +at which Felix IV. celebrated mass<a name="vol_1_page_192" id="vol_1_page_192"></a> while his converts were hiding +here—the grave in which the body of the pope was afterwards +discovered—and a miraculous spring, still flowing, which is said to +have burst forth in answer to his prayers that he might have wherewithal +to baptize his disciples. A passage which formerly led from hence to the +Catacombs of St. Sebastian, was walled up, twenty years ago, by the +paternal government, because twenty persons were lost in it. In this +crypt were found the famous "Pianta Capitolina," now preserved in the +Capitol. In the upper church, on the right of the entrance from the +circular vestibule into the body of the building is this inscription—</p> + +<div class="blockquot"><p>"L'imagine di Madonna Santissima che esiste all'altar magg. parlò a +S. Gregorio Papa dicendogli, 'Perchè piu non mi saluti mentre +passando eri solito salutarmi?' Il santo domandò perdona e concesse +a quelli che celebrano in quell'altare la liberazione dell'anima +dal purgatorio, cioé per quell'anima per la quale si celebra la +messa."<a name="FNanchor_63_63" id="FNanchor_63_63"></a><a href="#Footnote_63_63" class="fnanchor">[63]</a></p></div> + +<p>Another inscription narrates—</p> + +<div class="blockquot"><p>"Gregorius primus concessit omnibus et singulis visitantibus +ecclesiam istam sanctorum Cosmæ et Damiani mille annos de +indulgentia, et in die stationis ejusdem ecclesiæ idem Gregorius +concessit decem millia annorum de indulgentia."</p></div> + +<p>Among the many relics preserved in this church are, "Una ampulla lactis +Beatæ Mariæ Virginis"; "De Domo Sanctæ Mariæ Magdalenæ"; "De Domo Sancti +Zachariæ profeta!"</p> + +<p>Deserving of the most minute attention is the grand mosaic of +Christ—coming on the clouds of sunset.</p> + +<div class="blockquot"><p>"The mosaics of SS. Cosmo and Damian (<small>A.D.</small> 526—530) are the finest +of ancient Christian Rome. Above the arch appear, on each side<a name="vol_1_page_193" id="vol_1_page_193"></a> of +the Lamb, four angels, of excellent but somewhat severe style; then +follow various apocalyptic emblems: a modern walling up having left +but few traces of the four and twenty elders. A gold surface, +dimmed by age, with little purple clouds, forms the background: +though in Rome, at least, at both an earlier and later date, a blue +ground prevailed. In the apsis itself, upon a dark blue ground, +with golden-edged clouds, is seen the colossal figure of Christ; +the right hand raised, either in benediction or teaching, the left +holding a written scroll; above is the hand, which is the emblem of +the First Person of the Trinity. Below, on each side, the apostles +Peter and Paul are leading SS. Cosmo and Damiano, each with crowns +on their heads, towards the Saviour, followed by St. Theodore on +the right, and by Pope Felix IV., the founder of the church, on the +left. This latter, unfortunately, is an entirely restored figure. +Two palm-trees, sparkling with gold, above one of which appears the +emblem of eternity, the phœnix—with a star-shaped nimbus, close +the composition on each side. Further below, indicated by +water-plants, sparkling also with gold, is the river Jordan. The +figure of Christ may be regarded as one of the most marvellous +specimens of the art of the middle ages. Countenance, attitude, and +drapery combine to give him an expression of quiet majesty, which, +for many centuries after, is not found again in equal beauty and +freedom. The drapery, especially, is disposed in noble folds, and +only in its somewhat too ornate details is a further departure from +the antique observable. The saints are not as yet arranged in stiff +parallel forms, but are advancing forward, so that their figures +appear somewhat distorted, while we already remark something +constrained and inanimate in their step. The apostles Peter and +Paul wear the usual ideal costume. SS. Cosmo and Damiano are +attired in the late Roman dress: violet mantles, in gold stuff, +with red embroideries of oriental barbaric effect. Otherwise the +chief motives of the drapery are of great beauty, though somewhat +too abundant in folds. The high lights are brought out by gold and +other sparkling materials, producing a gorgeous play of colour +which relieves the figures vigorously from the dark blue +background. Altogether, a feeling for colour is here displayed, of +which no later mosaics with gold grounds give any idea. The heads, +with the exception of the principal figure, are animated and +individual, though without any particular depth of expression; +somewhat elderly, also, in physiognomy, but still far removed from +any Byzantine stiffness; St. Peter has already the bald head, and +St. Paul the short brown hair and dark beard, by which they were +afterwards recognizable. Under this chief composition, on a gold +ground, is seen the Lamb upon a hill, with the four rivers of +Paradise, and the twelve sheep on either hand. The<a name="vol_1_page_194" id="vol_1_page_194"></a> great care of +execution is seen in the five or six gradations of tints which the +artist has adopted."—<i>Kugler.</i></p></div> + +<p>SS. Cosmo and Damian, to whom this church is dedicated, were two Arabian +physicians who exercised their art from charity. They suffered under +Diocletian. "First they were thrown into the sea, but an angel saved +them; and then into the fire, but the fire refused to burn them; then +they were bound to crosses and stoned, but the stones either fell +harmless or rebounded on their executioners and killed them, so then the +pro-consul Lycias, believing them to be sorcerers, commanded that they +should be beheaded, and thus they died." SS. Cosmo and Damian were the +patron saints of the Medici, and their gilt statues were carried in +state at the coronation of Leo X. (Giovanni de' Medici). Their fame is +general in many parts of France, where their fête is celebrated by a +village fair—children who ask for their fairing of a toy or gingerbread +calling it their "St. Côme."</p> + +<div class="blockquot"><p>"It is related that a certain man, who was afflicted with a cancer +in his leg, went to perform his devotions in the Church SS. Cosmo +and Damian at Rome, and he prayed most earnestly that these +beneficent saints would be pleased to aid him. When he had prayed, +a deep sleep fell upon him. Then he beheld St. Cosmo and St. +Damian, who stood beside him; and one carried a box of ointments, +and the other a sharp knife. And one said, 'What shall we do to +replace this diseased leg when we have cut it off?' And the other +replied, 'There is a Moor who has been buried just now at St. +Pietro in Vincoli; let us take his leg for the purpose.' So they +brought the leg of the dead man, and with it they replaced the leg +of the sick man; anointing it with celestial ointment, so that he +remained whole. When he awoke he almost doubted whether it could be +himself; but his neighbours, seeing that he was healed, looked into +the tomb of the Moor, and found that there had been an exchange of +legs: and thus the truth of this great miracle was proved to all +beholders."—<i>Mrs. Jameson, from the Legenda Aurea.</i><a name="vol_1_page_195" id="vol_1_page_195"></a></p></div> + +<p>Just beyond the basilica of Constantine, stands the <i>Church of Sta. +Francesca Romana</i>, which is full of interest. It was first built by St. +Sylvester on the site of the temple of Venus and dedicated to the +Virgin, under the title of Sta. Maria Antica. It was rebuilt in <small>A.D.</small> 872 +by John VIII., who resided in the adjoining monastery during his +pontificate. An ancient picture attributed to St. Luke, brought from +Troy in 1100, was the only object in this church which was preserved +when the building was totally destroyed by fire in 1216, after which the +church, then called Sta. Maria Nuova, was restored by Honorius III. +During the restoration, the picture was kept at S. Adriano, and its +being brought back led to a contest amongst the people, which was ended +by a child exclaiming—"What are you doing? the Madonna is already in +her own church." She had betaken herself thither none knew how.</p> + +<p>In the twelfth century the church was given to the Lateran Canons, in +the fourteenth to the Olivetan monks; under Eugenius IV., the latter +extended their boundaries so far that they included the Coliseum, but +their walls were forced down in the succeeding pontificate. Gregory XI., +Paul II., and Cæsar Borgia, were cardinals of Sta. Maria Novella. In +1440 the name was changed to that of Sta. Francesca Romana, when that +saint, Francesca de' Ponziani, foundress of the Order of Oblates, was +buried here. Her tomb was erected in 1640 by Donna Agata Pamfili, sister +of Innocent X., herself an Oblate. It is from the designs of Bernini, +and is rich in marbles. The figure was not added till 1868.</p> + +<div class="blockquot"><p>"After the death of Francesca, her body remained during a night and +a day at the Ponziani Palace, the Oblates watching by turns over<a name="vol_1_page_196" id="vol_1_page_196"></a> +the beloved remains.... Francesca's face, which had recently borne +traces of age and suffering, became as beautiful again as in the +days of youth and prosperity; and the astonished bystanders gazed +with wonder and awe at her unearthly loveliness. Many of them +carried away particles from her clothes, and employed them for the +cure of several persons who had been considered beyond the +possibility of recovery. In the course of the day the crowd +augmented to a degree which alarmed the inhabitants of the palace, +Battista Ponziani took measures to have the body removed at once to +the church, and a procession of the regular and secular clergy +escorted the venerated remains to Santa Maria Nuova, where they +were to be interred.</p> + +<p>"The popular feeling burst forth on the occasion; it was no longer +to be restrained. Francesca was invoked by the crowd, and her +beloved name was heard in every street, in every piazza, in every +corner of the Eternal City. It flew from mouth to mouth, it seemed +to float in the air, to be borne aloft by the grateful enthusiasm +of a whole people, who had seen her walk to that church by her +mother's side in her holy childhood; who had seen her kneel at that +altar in the grave beauty of womanhood, in the hour of bereavement, +and now in death, carried thither in state, she the gentle, the +humble saint of Rome, the poor woman of the Trastevere, as she was +sometimes called at her own desire."—<i>Lady G. Fullerton's Life of +Sta. Francesca Romana.</i></p></div> + +<p>A chapel on the right of the church contains the monument of Cardinal +Vulcani, 1322, supporting his figure, with Faith, Hope, and Charity +sculptured in high relief below. Near the door is that of Cardinal +Adimari, 1432, who died here after an ineffectual mission to the +anti-pope Pedro da' Luna. In the left transept was a fine Perugino +(removed 1867); in the right transept is the tomb of Pope Gregory XI., +by Pietro Paolo Olivieri, erected by the senate in gratitude for his +having restored the papal court to Rome from Avignon. A bas-relief +represents his triumphal entry, with St. Catherine of Siena, by whose +entreaties he was induced to return, walking before his mule. A breach +in the walls indicates the ruinous state into which Rome had fallen, the +chair of St. Peter is represented as<a name="vol_1_page_197" id="vol_1_page_197"></a> floating back through the air, +while an angel carries the papal tiara and keys; a metaphorical figure +of Rome is coming forth to welcome the pope.</p> + +<div class="blockquot"><p>"The greatest part of the praise due to Gregory's return to Rome +belongs to St. Catherine of Siena, who, with infinite courage, +travelled to Avignon, and persuaded the pope to return, and by his +presence to dispel the evils which disgraced Italy, in consequence +of the absence of the popes. Thus it is not to be wondered at, that +those writers, who rightly understand the matter, should have said +that Catherine, the virgin of Siena, brought back to God the +abandoned apostolical chair upon her shoulders."—<i>Ughelli, Ital. +Sacra</i>, vi. col. 45.</p></div> + +<p>Near Pope Gregory's tomb some blackened marks in the wall are shown as +holes made by the (gigantic) knees of St. Peter, when he knelt to pray +that Simon Magus might be dropped by the demons he had invoked to +support him in the air, which he is said to have done to show his power +on this spot.</p> + +<div class="blockquot"><p>"When the error of Simon was spreading farther and farther, the +illustrious pair of men, Peter and Paul, the rulers of the Church, +arrested it by going thither, who suddenly exhibited as dead, +Simon, the putative God, on his appearance. For when Simon declared +that he would ascend aloft into heaven, the servants of God cast +him headlong to the earth, and though this occurrence was wonderful +in itself, it was not wonderful under the circumstances, for it was +Peter who did it, he who bears with him the keys of heaven, ... it +was Paul who did it, he who was caught up into the third +heaven."—<i>St. Cyril of Jerusalem.</i></p> + +<p>"Simon promised to fly, and thus ascend to the heavenly abodes. On +the day agreed upon, he went to the Capitoline hill, and throwing +himself from the rock, began his ascent. Then Peter, standing in +the midst, said, 'O Lord Jesus, show him that his arts are in +vain.' Hardly had the words been uttered, when the wings which +Simon had made use of became entangled, and he fell. His thigh was +fractured, never to be healed,—and some time afterwards, the +unhappy man died at Aretia, whither he had retired after his +discomfiture."—<i>St. Ambrose.</i><a name="FNanchor_64_64" id="FNanchor_64_64"></a><a href="#Footnote_64_64" class="fnanchor">[64]</a><a name="vol_1_page_198" id="vol_1_page_198"></a></p> + +<p>"There can be no doubt that there existed in the first century a +Simon, a Samaritan, a pretender to divine authority and +supernatural powers; who, for a time, had many followers; who stood +in a certain relation to Christianity; and who may have held some +opinions more or less similar to those entertained by the most +famous heretics of the early ages, the Gnostics. Irenæus calls this +Simon the father of all heretics. 'All those,' he says, 'who in any +way corrupt the truth, or mar the preaching of the Church, are +disciples and successors of Simon, the Samaritan magician.' Simon +gave himself forth as a God, and carried about with him a beautiful +woman named Helena, whom he represented as the first conception of +his—that is, of the divine—mind, the symbol and manifestation of +that portion of spirituality which had become entangled in +matter."—<i>Jameson's Sacred Art</i>, p. 204.</p></div> + +<p>The vault of the tribune is covered with mosaics.</p> + +<div class="blockquot"><p>"The restored tribune mosaics (<small>A.D.</small> 858—887, during the +pontificate of Nicholas I.), close the list of Roman Byzantine +works. By their time it had become apparent that such figures as +the art of the day was alone able to achieve, could have no +possible relation to each other, and therefore no longer constitute +a composition; the artists accordingly separated the Madonna on the +throne, and the four saints with uplifted hands, by graceful +arcades. The ground is gold, the nimbuses blue. The faces consist +only of feeble lines—the cheeks are only red blotches; the folds +merely dark strokes; nevertheless a certain flow and fulness in the +forms, and the character of a few accessories (for instance, the +exchange of a crown upon the Virgin's head for the invariable +Byzantine veil), seem to indicate that we have not so much to do +here with the decline of Byzantine art, as with a northern and +probably Frankish influence."—<i>Kugler.</i></p></div> + +<p>The convent attached to this church was the abode of Tasso during his +first visit to Rome.</p> + +<p>Behind Sta. Francesca Romana, and facing the Coliseum, are the remains +generally known as the <i>Temple of Venus and Rome</i>, also called Templum +Urbis (now sometimes called by objectors the "Portico of Livia"), which, +if this name is the correct one, was originally planned by the Emperor<a name="vol_1_page_199" id="vol_1_page_199"></a> +Hadrian to rival the Forum of Trajan, erected by the architect +Apollodorus. It was built upon a site previously occupied by the atrium +of Nero's Golden House. Little remains standing except a cella facing +the Coliseum, and another in the cloisters of the adjoining convent +(these, perhaps, being restorations by Maxentius, <i>c.</i> 307, after a fire +had destroyed most of the building of Hadrian), but the surrounding +grassy height is positively littered with fragments of the grey granite +columns which once formed the grand portico (400 by 200 feet) of the +building. A large mass of Corinthian cornice remains near the cella +facing the Coliseum. This was the last pagan temple which remained in +use in Rome.<a name="FNanchor_65_65" id="FNanchor_65_65"></a><a href="#Footnote_65_65" class="fnanchor">[65]</a> It was only closed by Theodosius in 391, and remained +entire till 625, when Pope Honorius carried off the bronze tiles of its +roof to St. Peter's.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Ac sacram resonare viam mugitibus, ante<br /></span> +<span class="ist">Delubrum Romæ; colitur nam sanguine et ipsa<br /></span> +<span class="ist">More deæ, nomenque loci, ceu numen, habetur.<br /></span> +<span class="ist">Atque Urbis, Venerisque pari se culmine tollunt<br /></span> +<span class="ist">Templa, simul geminis adolentur thura deabus."<br /></span> +<span class="i15"><i>Prudentius contr. Symm.</i> v. 214.<br /></span> +</div></div> + +<div class="blockquot"><p>"When about to construct his magnificent temple of Venus and Rome, +Hadrian produced a design of his own and showed it with proud +satisfaction to the architect Apollodorus. The creator of the +Trajan column remarked with a sneer that the deities, if they rose +from their seats, must thrust their heads through the ceiling. The +emperor, we are assured, could not forgive this banter; but we can +hardly take to the letter the statement that he put his critic to +death for it."—<i>Merivale</i>, ch. lxvi.</p></div> + +<p>In front of this temple stood the bronze statue of Clœlia, mentioned +by Livy and Seneca, and (till the sixth century)<a name="vol_1_page_200" id="vol_1_page_200"></a> the bronze elephants +mentioned by Cassiodorus. Nearer the Coliseum may still be seen the +remains of the foundation prepared by Hadrian for the <i>Colossal Statue +of Nero</i>, executed in bronze by Zenodorus. This statue was twice moved, +first by Vespasian, in <small>A.D.</small> 75, that it might face the chief entrance of +his amphitheatre,<a name="FNanchor_66_66" id="FNanchor_66_66"></a><a href="#Footnote_66_66" class="fnanchor">[66]</a> whose plan had been already laid out. At the same +time—though it was a striking likeness of Nero—its head was surrounded +with rays that it might represent Apollo. In its second position it is +described by Martial:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Hic ubi sidereus propius videt astra colossus<br /></span> +<span class="i2">Et crescunt media pegmata celsa via,<br /></span> +<span class="i0">Invidiosa feri radiabant atria regis,<br /></span> +<span class="i2">Unaque jam tota stabat in urbe domus."<br /></span> +<span class="i15"><i>De Spect.</i> ii.<br /></span> +</div></div> + +<p>It was again moved (with the aid of forty-two elephants), a few yards +further north, by Hadrian, when he built his temple of Venus and Rome. +Pliny describes the colossus as 110, Dion Cassius as 100 feet high.</p> + +<div class="blockquot"><p>"Hadrian employed an architect named Decrianus to remove the +colossus of Nero, the face of which had been altered into a Sol. He +does not seem to have accomplished the design of Apollodorus to +erect a companion statue of Luna."—<i>Merivale</i>, ch. lxvi.</p></div> + +<p>Near the Church of Sta. Francesca the Via Sacra passes under the <i>Arch +of Titus</i>, which, even in its restored condition, is the most beautiful +monument of the kind remaining in Rome. Its Christian interest is +unrivalled, from its having been erected by the senate to commemorate +the taking of Jerusalem, and from its bas-reliefs of the seven-branched +candlestick and other treasures of the Jewish Temple. In mediæval times +it was called the Arch of the<a name="vol_1_page_201" id="vol_1_page_201"></a> Seven Candlesticks (septem lucernarum) +from the bas-relief of the candlestick, concerning which Gregorovius +remarks, that the fantastic figures carved upon it prove that it was +<i>not</i> an exact likeness of that which came from Jerusalem. The +bas-reliefs are now greatly mutilated, but they are shown in their +perfect state in a drawing of Giuliano di Sangallo. On the frieze is the +sacred river Jordan, as an aged man, borne on a bier. The arch, which +was in a very ruinous condition, had been engrafted in the middle ages +into a fortress tower called Turris Cartularia, and so it remained till +the present century. This tower originally formed the entrance to the +vast fortress of the powerful Frangipani family, which included the +Coliseum and a great part of the Palatine and Cœlian hills; and here, +above the gate, Pope Urban II. dwelt in 1093, under the protection of +Giovanni Frangipani. The arch was repaired by Pius VII., who replaced in +travertine the lost marble portions at the top and sides.</p> + +<div class="blockquot"><p>"Standing beneath the arch of Titus, and amid so much ancient dust, +it is difficult to forbear the commonplaces of enthusiasm, on which +hundreds of tourists have already insisted. Over the half-worn +pavement, and beneath this arch, the Roman armies had trodden in +their outward march, to fight battles, a world's width away. +Returning victorious, with royal captives, and inestimable spoil, a +Roman triumph, that most gorgeous pageant of earthly pride, has +streamed and flaunted in hundred-fold succession over these same +flagstones, and through this yet stalwart archway. It is politic, +however, to make few allusions to such a past; nor is it wise to +suggest how Cicero's feet may have stepped on yonder stone, or how +Horace was wont to stroll near by, making his footsteps chime with +the measure of the ode that was ringing in his mind. The very +ghosts of that massive and stately epoch have so much density that +the people of to-day seem the thinner of the two, and stand more +ghost-like by the arches and columns, letting the rich sculpture be +discerned through their ill-compacted substance."—<i>Hawthorne, +Transformation.</i><a name="vol_1_page_202" id="vol_1_page_202"></a></p> + +<p>"We passed on to the arch of Titus. Amongst the reliefs there is +the figure of a man bearing the golden candlestick from the Temple +at Jerusalem, as one of the spoils of the triumph. Yet He who +abandoned His visible and local temple to the hands of the heathen +for the sins of His nominal worshippers, has taken to Him His great +power, and has gotten Him glory by destroying the idols of Rome as +He had done the idols of Babylon; and the golden candlestick burns +and shall burn with an everlasting light, while the enemies of His +holy name, Babylon, Rome, or the carcass of sin in every land, +which the eagles of His wrath will surely find out, perish for ever +from before Him."—<i>Arnold's Journal.</i></p> + +<p>"The Jewish trophies are sculptured in bas-relief on the inside of +the arch beneath the vaulting. Opposite to these is another +bas-relief representing Titus in the quadriga, the reins borne by +the goddess Roma. In the centre of the arch, Titus is borne to +heaven by an eagle. It may be conjectured that these ornaments to +his glory were designed after the death of Vespasian, and completed +after his own.... These witnesses to the truth of history are +scanned at this day by Christians passing to and fro between the +Coliseum and the Forum; and at this day the Jew refuses to walk +beneath them, and creeps stealthily by the side, with downcast +eyes, or countenance averted."—<i>Merivale, Romans under the +Empire</i>, vii. 250.</p> + +<p>"The restoration of the arch of Titus reflects the greatest credit +on the commission appointed by Pius VII. for the restoration of +ancient edifices. This, not only beautiful, but precious monument, +had been made the nucleus of a hideous castellated fort by the +Frangipani family. Its masonry, however, embraced and held +together, as well as crushed, the marble arch; so that on freeing +it from its rude buttresses there was fear of its collapsing, and +it had first to be well bound together by props and bracing beams, +a process in which the Roman architects are unrivalled. The simple +expedient was then adopted by the architect Stern of completing the +arch in stone; for its sides had been removed. Thus increased in +solid structure, which continued all the architectural lines, and +renewed its proportions to the mutilated centre, the arch was both +completely secured and almost restored to its pristine +elegance."—<i>Wiseman's Life of Pius VII.</i></p></div> + +<p>The processions of the popes going to the Lateran for their solemn +installation, used to halt beside the arch of<a name="vol_1_page_203" id="vol_1_page_203"></a> Titus while a Jew +presented a copy of the Pentateuch, with a humble oath of fealty. This +humiliating ceremony was omitted for the first time at the installation +of Pius IX.</p> + +<hr style="width: 15%;" /> + +<p>At this point it may not be inappropriate to notice two other buildings, +which, though situated on the Palatine, are totally disconnected with +the other objects occupying that hill.</p> + +<p>A lane runs up to the right from the arch of Titus. On the left is a +gateway, surmounted by a faded fresco of St. Sebastian. Here is the +entrance to a wild and beautiful garden, possessing most lovely views of +the various ruins, occupying the site of the gardens of Adonis. This is +the place where St. Sebastian underwent his (so-called) martyrdom, and +will call to mind the many fine pictures, scattered over Europe, of the +youthful and beautiful saint, bound to a tree, and pierced with arrows. +The finest of these are the Domenichino, in Sta. Maria degli Angeli, and +the Sodoma at Florence. He is sometimes represented as bound to an +orange tree, and sometimes, as in the Guido at Bologna, to a cypress, +like those we still see on this spot. Here was an important Benedictine +Convent, where Pope Boniface IV. was a monk before his election to the +papacy, and where the famous abbots of Monte Casino had their Roman +residence. Here, in 1118, fifty-one cardinals took refuge, and elected +Gelasius II. as Pope. The only building remaining is the <i>Church of Sta. +Maria Pallara</i> or <i>S. Sebastiano</i>, containing some curious inscriptions +relating to events which have occurred here, and—in the tribune, +frescoes, of the Saviour in<a name="vol_1_page_204" id="vol_1_page_204"></a> benediction with four saints, and below, +two other groups representing the Virgin with saints and angels, placed, +as we learn by the inscription beneath, by one Benedict—probably an +abbot.</p> + +<p>Further up the lane a "Via Crucis" leads to the <i>Church of S. +Buonaventura</i>, "the seraphic doctor" (Cardinal and Bishop of Albano, ob. +July 14, 1274), who in childhood was raised from the point of death +(1221) by the prayers of St. Francis, who was so surprised when he came +to life, that he involuntarily exclaimed, "O buona ventura"—("what a +happy chance")—whence the name by which he was afterwards known.<a name="FNanchor_67_67" id="FNanchor_67_67"></a><a href="#Footnote_67_67" class="fnanchor">[67]</a></p> + +<p>The little church contains several good modern monuments. Beneath the +altar is shown the body of the Blessed Leonardo of Porto-Maurizio (ob. +1751), who arranged the Via Crucis in the Coliseum, and who is much +revered by the ultra-Romanists for having prophesied the proclamation of +the dogma of the Immaculate Conception. The crucifix and the picture of +the Madonna which he carried with him in his missions, are preserved in +niches on either side of the tribune, and many other relics of him are +shown in his cell in the adjoining convent of Minor Franciscans. Entered +through the convent is a lovely little garden, whence there is a grand +view of the Coliseum, and where a little fountain is shaded by two tall +palm trees.</p> + +<div class="blockquot"><p>"Oswald went next to the monastery of S. Buenaventura, built on the +ruins of Nero's palace. There, where so many crimes had reigned +remorselessly, poor friars, tormented by conscientious scruples, +doom themselves to fasts and stripes for the least omission of +duty. 'Our only hope,' said one, 'is that when we die, our faults +will not have exceeded<a name="vol_1_page_205" id="vol_1_page_205"></a> our penances.' Nevill, as he entered, +stumbled over a trap, and asked its purpose. 'It is through that we +are interred,' answered one of the youngest, already a prey to the +bad air. The natives of the south fear death so much that it is +wondrous to find there these perpetual mementoes; yet nature is +often fascinated by what she dreads, and such an intoxication fills +the soul exclusively. The antique sarcophagus of a child serves as +the fountain of this institution. The boasted palm of Rome is the +only tree of its garden."—<i>Madame de Staël, Corinne.</i></p></div> + +<hr style="width: 15%;" /> + +<p>The arch of Titus is spoken of as being "in summa <i>Via Sacra</i>," as the +street was called which led from the southern gate of Rome to the +Capitol, and by which the victorious generals passed in their triumphant +processions to the temple of Jupiter. Between the arch of Titus and the +Coliseum, the ancient pavement of this famous road, composed of huge +polygonal blocks of lava, has been allowed to remain. Here we may +imagine Horace taking his favourite walk.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Ibam forte Via Sacrâ, sicut meus est mos,<br /></span> +<span class="i0">Nescio quid meditans nugarum, et totus in illis."<br /></span> +<span class="i15"><i>Sat.</i> i. 9.<br /></span> +</div></div> + +<p>It appears to have been the favourite resort of the <i>flaneurs</i> of the +day:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Videsne, Sacram metiente te viam<br /></span> +<span class="i2">Cum bis ter ulnarum togâ,<br /></span> +<span class="i0">Ut ora vertat huc et huc euntium<br /></span> +<span class="i2">Liberrima indignatio?"<br /></span> +<span class="i15"><i>Horace, Epod.</i> 4.<br /></span> +</div></div> + +<p>The Via Sacra was originally bordered with shops, some of which, +together with some baths, have been unearthed on the right of the road. +Ovid alludes frequently to the purchases which might be made there in +his time. In this especial part of the Via was the market for fruit and +honey.<a name="FNanchor_68_68" id="FNanchor_68_68"></a><a href="#Footnote_68_68" class="fnanchor">[68]</a><a name="vol_1_page_206" id="vol_1_page_206"></a></p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Dum bene dives ager, dum rami pondere nutant;<br /></span> +<span class="i2">Adferat in calatho rustica dona puer.<br /></span> +<span class="i0">Rure suburbano poteris tibi dicere missa;<br /></span> +<span class="i2">Illa vel in Sacra sint licet empta Via."<br /></span> +<span class="i15"><i>Ovid, Art. Aman.</i> ii. 263.<br /></span> +</div></div> + +<p>At the foot of the hill are the remains of the bason and the brick cone +of a fountain called <i>Meta Sudans</i>, where the gladiators used to wash. +Seneca, who lived in this neighbourhood, complains (Epist. lvi.) of the +noise which was made by a showman who blew his trumpet close to this +fountain.</p> + +<p>On the right the Via Triumphalis leads to the Via Appia, passing under +the <i>Arch of Constantine</i>. The lower bas-reliefs upon this arch, which +are crude and ill-designed, refer to the deeds of Constantine; but the +upper, of fine workmanship, illustrate the life of Trajan, which has led +some to imagine that the arch was originally erected in honour of +Trajan, and afterwards appropriated by Constantine. They were, however, +removed from an arch of Trajan (whose ruins existed in 1430<a name="FNanchor_69_69" id="FNanchor_69_69"></a><a href="#Footnote_69_69" class="fnanchor">[69]</a>), and +were appropriated by Constantine for his own arch.</p> + +<div class="blockquot"><p>"Constantin a enlevé à un arc de triomphe de Trajan les statues de +prisonniers daces que l'on voit au sommet du sien. Ce vol a été +puni au seizième siècle, car, dans ce qui semble un accès de folie, +Lorenzino, le bizarre assassin d'Alexandre de Médicis a décapité +toutes les statues qui surmontaient l'arche Constantin, moins une, +la seule dont la tête soit antique. Heureusement on a dans les +musées, à Rome et ailleurs, bon nombre de ces statues de captifs +barbares avec le même costume, c'est-à-dire le pantalon et le +bonnet, souvent les mains liées, dans une attitude de soumission +morne, quelque fois avec une expression de sombre fierté, car l'art +romain avait la noblesse de ne pas humilier les vaincus; il ne les +représentait point à genoux, foulés aux pieds par leurs vainqueurs; +on ne donnait pas à leurs traits étranges un aspect qu'on eût pu +rendre<a name="vol_1_page_207" id="vol_1_page_207"></a> hideux; on les plaçait sur le sommet des arcs de triomphe, +debout, la tête baissée, l'air triste."</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"'Summus tristis captivus in arcu.'"<br /></span> +<span class="i15"><i>Ampère, Emp.</i> ii. 169.<br /></span> +</div></div> +</div> + +<p>The arch was further plundered by Clement VIII., who carried off one of +its eight Corinthian columns to finish a chapel at the Lateran. They +were formerly <i>all</i> of giallo-antico. But it is still the most striking +and beautiful of the Roman arches.</p> + +<div class="blockquot"><p>"L'inscription gravée sur l'arc de Constantin est curieuse par le +vague de l'expression en ce qui touche aux idées religieuses, par +l'indécision calculée des termes dont se servait un sénat qui +voulait éviter de se compromettre dans un sens comme dans l'autre. +L'inscription porte que cet arc a été dédié a l'empereur parcequ'il +a délivré la république d'un tyran (on dit encore la république!) +par la grandeur de son âme et une inspiration de la Divinité, +<i>instinctu Divinitatis</i>. Il parait même que ces mots ont été +ajoutés après coup pour remplacer une formule peut-être plus +explicitement païenne. Ce monument, qui célèbre le triomphe de +Constantin, ne proclame donc pas encore nettement le triomphe du +Christianisme. Comment s'en étonner, quand sur les monnaies de cet +empereur on voit d'un côté le monogramme du Christ et l'autre +l'effigie de Rome, qui était une divinité pour les +païens?"—<i>Ampère, Emp.</i> ii. 355.</p></div> + +<p>We now turn to the <i>Coliseum</i>, originally called The Flavian +Amphitheatre. This vast building was begun in A.D. 72, upon the site of +the reservoir of Nero, by the Emperor Vespasian, who built as far as the +third row of arches, the last two rows being finished by Titus after his +return from the conquest of Jerusalem. It is said that 12,000 captive +Jews were employed in this work, as the Hebrews in building the Pyramids +of Egypt, and that the external walls alone cost a sum equal to +17,000,000 francs. It consists of four stories, <a name="vol_1_page_208" id="vol_1_page_208"></a>the first Doric, the +second Ionic, the third and fourth Corinthian. Its circumference is 1641 +feet, its length is 287, its width 182, its height 157. The entrance for +the emperor was between two arches facing the Esquiline, where there is +no cornice. Here there are remains of stucco decoration. On the opposite +side was a similar entrance from the Palatine. Towards S. Gregorio has +been discovered the subterranean passage in which the Emperor Commodus +was near being assassinated. The numerous holes visible all over the +exterior of the building were made in the middle ages, to extract the +iron cramps, at that time of great value. The arena was surrounded by a +wall sufficiently high to protect the spectators from the wild beasts, +who were introduced by subterranean passages closed by huge gates, from +the side towards the Cœlian. The <i>podium</i> contained the places of +honour reserved for the Emperor and his family, the Senate, and the +Vestal virgins. The places for the other spectators who entered by +openings called <i>vomitoria</i>, were arranged in three stages (<i>caveæ</i>), +separated by a gallery (<i>præcinctio</i>). The first stage for knights and +tribunes, had 24 steps, the second (for the common people) 16, the third +(for the soldiery) 10. The women, by order of the emperor, sate apart +from the men, and married and unmarried men were also divided. The whole +building was probably capable of containing 100,000 persons. At the top, +on the exterior, may be seen the remains of the consoles which sustained +the <i>velarium</i> which was drawn over the arena to shelter the spectators +from the sun or rain. The arena could on occasions be filled with water +for the sake of naval combats.</p> + +<p>Nothing is known with certainty as to the architect of the Coliseum, +though a tradition of the Church (founded on an inscription in the crypt +of S. Martino al Monte), ascribes it<a name="vol_1_page_209" id="vol_1_page_209"></a> to Gaudentius, a Christian martyr, +who afterwards suffered on the spot.<a name="FNanchor_70_70" id="FNanchor_70_70"></a><a href="#Footnote_70_70" class="fnanchor">[70]</a></p> + +<div class="blockquot"><p>"The name of the architect to whom the great work of the Coliseum +was entrusted has not come down to us. The ancients seem themselves +to have regarded this name as a matter of little interest; nor, in +fact, do they generally care to specify the authorship of their +most illustrious buildings. The reason is obvious. The forms of +ancient art in this department were almost wholly conventional, and +the limits of design within which they were executed gave little +room for the display of original taste and special character.... It +is only in periods of eclecticism and renaissance, when the taste +of the architect has wider scope, and may lead the eye instead of +following it, that interest attaches to his personal merit. Thus it +is that the Coliseum, the most conspicuous type of Roman +civilisation, the monument which divides the admiration of +strangers in modern Rome with St. Peter's itself, is nameless and +parentless, while every stage in the construction of the great +Christian temple, the creation of a modern revival, is appropriated +with jealous care to its special claimants.</p> + +<p>"The dedication of the Coliseum afforded to Titus an opportunity +for a display of magnificence hitherto unrivalled, A battle of +cranes with dwarfs representing the pigmies was a fanciful novelty, +and might afford diversion for a moment; there were combats of +gladiators, among whom women were included, though no noble matron +was allowed to mingle in the fray; and the capacity of the vast +edifice was tested by the slaughter of five thousand animals in its +circuit. The show was crowned with the immission of water into the +arena, and with a sea-fight representing the contests of the +Corinthians and Corcyreans, related by Thucydides.... When all was +over, Titus himself was seen to weep, perhaps from fatigue, +possibly from vexation and disgust; but his tears were interpreted +as a presentiment of his death, which was now impending, and it is +probable that he was already suffering from a decline of bodily +strength.... He lamented effeminately the premature decease he too +surely anticipated, and, looking wistfully at the<a name="vol_1_page_210" id="vol_1_page_210"></a> heavens, +exclaimed that he did not deserve to die. He expired on the 13th +September, 81, not having quite completed his fortieth +year."—<i>Merivale</i>, ch. Ix.</p> + +<p>"Hadrian gave a series of entertainments in honour of his +birth-day, with the slaughter of a thousand beasts, including a +hundred lions and as many lionesses. One magical scene was the +representation of forests, when the whole arena became planted with +living trees, shrubs, and flowers; to complete which illusion the +ground was made to open, and send forth wild animals from yawning +clefts, instantly re-covered with bushes.</p> + +<p>"One may imagine the frantic excess to which the taste for +gladiatorial combats was carried in Rome, from the preventive law +of Augustus that gladiators should no more combat without +permission of the senate; that prætors should not give these +spectacles more than twice a year; that more than sixty couples +should not engage at the same time; and that neither knights nor +senators should ever contend in the arena. The gladiators were +classified according to the national manner of fighting which they +imitated. Thus were distinguished the Gothic, Dacian, Thracian, and +Samnite combatants; the <i>Retiarii</i>, who entangled their opponents +in nets thrown with the left hand, defending themselves with +tridents in the right; the <i>Secutores</i>, whose special skill was in +pursuit; the <i>Laqueatores</i>, who threw slings against their +adversaries; the <i>Dimachæ</i>, armed with a short sword in each hand; +the <i>Hoplomachi</i>, armed at all points; the <i>Myrmillones</i>, so called +from the figure of a fish at the crest of the Gallic helmet they +wore; the <i>Bustuarii</i>, who fought at funeral games; the +<i>Bestiarii</i>, who only assailed animals; other classes who fought on +horseback, called <i>Andabates</i>; and those combating in chariots +drawn by two horses, <i>Essedarii</i>. Gladiators were originally +slaves, or prisoners of war; but the armies who contended on the +Roman arena in later epochs, were divided into compulsory and +voluntary combatants, the former alone composed of slaves, or +condemned criminals. The latter went through a laborious education +in their art, supported at the public cost, and instructed by +masters called <i>Lanistæ</i>, resident in colleges, called <i>Ludi</i>. To +the eternal disgrace of the morals of Imperial Rome, it is recorded +that women sometimes fought in the arena, without more modesty than +hired gladiators. The exhibition of himself in this character by +Commodus, was a degradation of the imperial dignity, perhaps more +infamous, according to ancient Roman notions, than the theatrical +performances of Nero."—<i>Hemans' Story of Monuments in Rome.</i></p></div> + +<p>The Emperor Commodus (<small>A.D.</small> 180-182), frequently fought<a name="vol_1_page_211" id="vol_1_page_211"></a> in the Coliseum +himself, and killed both gladiators and wild beasts, calling himself +Hercules, dressed in a lion's-skin, with his hair sprinkled with +gold-dust.</p> + +<p>The gladiatorial combats came to an end, when, in <small>A.D.</small> 403, an oriental +monk named Telemachus, was so horrified at them, that he rushed into the +midst of the arena and besought the spectators to renounce them: instead +of listening to him, they stoned him to death. The first martyrdom here +was that of St Ignatius, said to have been the child especially blessed +by our Saviour—the disciple of John—and the companion of Polycarp—who +was sent here from Antioch, where he was bishop. When brought into the +arena, he knelt down, and exclaimed, "Romans who are present, know that +I have not been brought into this place for any crime, but in order that +by this means I may merit the fruition of the glory of God, for love of +whom I have been made prisoner. I am as the grain of the field, and must +be ground by the teeth of the lions, that I may become bread fit for His +table." The lions were then let loose, and devoured him, except the +larger bones, which the Christians collected during the night.</p> + +<div class="blockquot"><p>"It is related of Ignatius that he grew up in such innocence of +heart and purity of life, that to him it was granted to hear the +angels sing; hence, when he became bishop of Antioch, he introduced +into the service of his church the practice of singing the praises +of God in responses, as he had heard the choirs of angels answering +each other.... His story and fate are so well attested, and so +sublimely affecting, that it has always been to me a cause of +surprise as well as regret to find so few representations of +him."—<i>Jameson's Sacred Art</i>, 693.</p></div> + +<p>Soon after the death of Ignatius, 115 Christians were shot down here +with arrows. Under Hadrian, <small>A.D.</small> 218, a<a name="vol_1_page_212" id="vol_1_page_212"></a> patrician named Placidus, his +wife Theophista, and his two sons, were first exposed here to the wild +beasts, but when these refused to touch them were shut up in a brazen +bull, and roasted by a fire lighted beneath. In 253, Abdon and Sennen, +two rich citizens of Babylon, were exposed here to two lions and four +bears, but on their refusing to attack them, were killed by the swords +of the gladiators. In <small>A.D.</small> 259, Sempronius, Olympius, Theodulus, and +Exuperia, were burnt at the entrance of the Coliseum, before the statue +of the Sun. In <small>A.D.</small> 272, Sta. Prisca was vainly exposed here to a lion, +then starved for three days, then stretched on a rack to have her flesh +torn by iron hooks, then put into a furnace, and—having survived all +these torments—was finally beheaded. In <small>A.D.</small> 277, Sta. Martina, another +noble Roman lady, was exposed in vain to the beasts and afterwards +beheaded in the Coliseum. St. Alexander under Antoninus; St. Potitus, +168; St. Eleutherius, bishop of Illyria, under Hadrian; St Maximus, son +of a senator, 284; and Vitus, Crescentia, and Modesta, under Domitian, +were also martyred here.<a name="FNanchor_71_71" id="FNanchor_71_71"></a><a href="#Footnote_71_71" class="fnanchor">[71]</a></p> + +<div class="blockquot"><p>"It is no fiction, but plain, sober, honest truth, to say: so +suggestive and distinct is it at this hour: that, for a +moment—actually in passing in—they who will, may have the whole +great pile before them, as it used to be, with thousands of eager +faces staring down into the arena, and such a whirl of strife, and +blood, and dust going on there, as no language can describe. Its +solitude, its awful beauty, and its utter desolation, strike upon +the stranger, the next moment, like a softened sorrow; and never in +his life, perhaps, will he be so moved and overcome by any sight, +not immediately connected with his own affections and afflictions.</p> + +<p>"To see it crumbling there, an inch a year; its walls and arches +overgrown with green, its corridors open to the day; the long +grass<a name="vol_1_page_213" id="vol_1_page_213"></a> growing in its porches; young trees of yesterday springing +up on its ragged parapets, and bearing fruit—chance produce of the +seeds dropped there by the birds who build their nests within its +chinks and crannies; to see its pit of fight filled up with earth, +and the peaceful cross planted in the centre; to climb into its +upper halls, and look down on ruin, ruin, ruin, all about it; the +triumphal arches of Constantine, Septimius Severus, and Titus, the +Roman Forum, the Palace of the Cæsars, the temples of the old +religion, fallen down and gone; is to see the ghost of old Rome, +wicked, wonderful old city, haunting the very ground on which its +people trod. It is the most impressive, the most stately, the most +solemn, grand, majestic, mournful sight conceivable. Never, in its +bloodiest prime, can the sight of the gigantic Coliseum, full and +running over with the lustiest life, have moved one heart, as it +must move all who look upon it now, a ruin. God be thanked: a ruin!</p> + +<p>"As it tops all other ruins: standing there, a mountain among +graves: so do its ancient influences outlive all other remnants of +the old mythology and old butchery of Rome, in the nature of the +fierce and cruel Roman people. The Italian face changes as the +visitor approaches the city; its beauty becomes devilish; and there +is scarcely one countenance in a hundred, among the common people +in the streets, that would not be at home and happy in a renovated +Coliseum to-morrow."—<i>Dickens.</i></p></div> + +<p>The spot where the Christian martyrs suffered is now marked by a tall +cross, devoutly kissed by the faithful,—and all round the arena of the +Coliseum, are the small chapels or "stations," used in the Via Crucis, +which is observed here at 4 <small>P.M.</small> every Friday, when a confraternity +clothed in grey, with only the eyes visible, is followed by a crowd of +worshippers who chaunt and pray at each station in turn,—after which a +Capuchin monk preaches from a pulpit on the left of the arena. These +sermons are often very striking, being delivered in a familiar style, +and upon popular subjects of the day, but they also often border on the +burlesque.</p> + +<div class="blockquot"><p>"Oswald voulut aller au Colisée pour entendre le Capucin qui devait +y prêcher en plein air au pied de l'un des autels qui désignent, +dans l'intérieur<a name="vol_1_page_214" id="vol_1_page_214"></a> de l'enceinte, ce qu'on appelle <i>la route de la +Croix</i>. Quel plus beau sujet pour l'éloquence que l'aspect de ce +monument, que cette arène où les martyrs ont succédé aux +gladiateurs! Mais il ne faut rien espérer à cet égard du pauvre +Capucin, qui ne connâit de l'histoire des hommes que sa propre vie. +Néanmoins, si l'on parvient à ne pas écouter son mauvais sermon, on +se sent ému par les divers objets dont il est entouré. La plupart +de ses auditeurs sont de la confrérie des Camaldules; ils se +revêtent, pendant les exercises religieux, d'une espèce de robe +grise qui couvre entièrement la tête et le corps, et ne laisse que +deux petites ouvertures pour les yeux; c'est ainsi que les ombres +pourraient être représentées. Ces hommes, ainsi cachés sous leurs +vêtements, se prosternent la face contre terre, et se frappent la +poitrine. Quand le prédicateur se jette à genoux en criant +<i>miséricorde de pitié!</i> le peuple qui l'environne se jette aussi à +genoux, et répète ce même cri, qui va se perdre sous les vieux +portiques du Colisée. Il est impossible de ne pas éprouver alors +une émotion profondément religieuse; cet appel de la douleur à la +bonté, de la terre au ciel, remue l'âme jusque dans son sanctuaire +le plus intime."—<i>Madame de Staël.</i></p></div> + +<div class="blockquot"><p>"'C'est aujourd'hui Vendredi,' dit Guy, 'il y aura foule au +Colisée, il vaudrait mieux, je crois, y aller un autre jour.'</p> + +<p>"'Non, non,' dit Eveline, 'c'est précisément pour cela que je veux +y aller. On m'a dit qu'il fallait le voir ainsi rempli de monde, et +que d'ailleurs cette fête était curieuse.'</p> + +<p>"'Ce n'est pas une fête,' dit Guy gravement, 'c'est un simple acte +de dévotion qui se répète tous les Vendredis.'</p> + +<p>"'En vérité,' dit Eveline, 'et pourquoi le Vendredi?'</p> + +<p>"'Parceque c'est le jour où Christ est mort pour nous; par cette +raison, vous ne l'ignorez pas, ce jour est demeuré consacré dans le +monde chrétien ... dans le monde catholique du moins,' repondit +Guy.</p> + +<p>"'Mais à quel propos choisit-on le Colisée pour s'y réunir ce jour +là?'</p> + +<p>"'Parceque le Colisée a été baigné du sang des martyrs et que leur +souvenir se mêle là plus qu'ailleurs à celui de la croix pour +laquelle ils l'ont versé.'"—<i>Mrs. Augustus Craven in Anne +Severin.</i></p></div> + +<p>The pulpit of the Coliseum was used for the stormy sermons of Gavazzi, +who called the people to arms from thence in the revolution of March, +1848.</p> + +<p>It is well worth while to ascend to the upper galleries<a name="vol_1_page_215" id="vol_1_page_215"></a> (a man who +lives near the entrance from the Forum will open a locked door for the +purpose), as then only is it possible to realize the vast size and +grandeur of the building.</p> + +<div class="blockquot"><p>"<i>May, 1827.</i>—Lastly, we ascended to the top of the Coliseum, +Bunsen leaving us at the door, to go home; and I seated myself just +above the main entrance, towards the Forum, and there took my +farewell look over Rome. It was a delicious evening, and everything +was looking to advantage:—the huge Coliseum just under me, the +tufts of ilex and aliternus and other shrubs that fringe the walls +everywhere in the lower part, while the outside wall, with its top +of gigantic stones, lifts itself high above, and seems like a +mountain barrier of bare rock, enclosing a green and varied valley. +I sat and gazed upon the scene with an intense and mingled feeling. +The world could show nothing grander; it was one which for years I +had longed to see, and I was now looking at it for the last time. +When I last see the dome of St. Peter's I shall seem to be parting +from more than a mere town full of curiosities, where the eye has +been amused, and the intellect gratified. I never thought to have +felt thus tenderly towards Rome; but the inexplicable solemnity and +beauty of her ruined condition has quite bewitched me, and to the +latest hour of my life I shall remember the Forum, the surrounding +hills, and the magnificent Coliseum."—<i>Arnold's Letters.</i></p></div> + +<p>The upper arches frame a series of views of the Aventine, the +Capitoline, the Cœlian, and the Campagna, like a succession of +beautiful pictures.</p> + +<p>Those who visit the Coliseum by moonlight will realize the truthfulness +of the following descriptions:—</p> + +<p><a name="vol_1_page_216" id="vol_1_page_216"></a></p> + +<div class="poem"><div class="stanza"> +<span class="i0">"I do remember me, that in my youth,<br /></span> +<span class="i0">When I was wandering,—upon such a night,<br /></span> +<span class="i0">I stood within the Coliseum's wall,<br /></span> +<span class="i0">Midst the chief relics of almighty Rome;<br /></span> +<span class="i0">The trees which grew along the broken arches<br /></span> +<span class="i0">Waved dark in the blue midnight, and the stars<br /></span> +<span class="i0">Shone through the rents of ruin; from afar<br /></span> +<span class="i0">The watch-dog bayed beyond the Tiber; and<br /></span> +<span class="i0">More near from out the Cæsar's palace came<br /></span> +<span class="i0">The owl's long cry, and, interruptedly,<br /></span> +<span class="i0">Of distant sentinels the fitful song<br /></span> +<span class="i0">Began and died upon the gentle wind:—<br /></span> +<span class="i0">Some cypresses beyond the time-worn breach<br /></span> +<span class="i0">Appeared to skirt the horizon, yet they stood<br /></span> +<span class="i0">Within a bowshot where the Cæsars dwelt,<br /></span> +<span class="i0">And dwell the tuneless birds of night, amidst<br /></span> +<span class="i0">A grove which springs through levell'd battlements,<br /></span> +<span class="i0">And twines its roots with the imperial hearths;<br /></span> +<span class="i0">Ivy usurps the laurel's place of growth;—<br /></span> +<span class="i0">But the gladiator's bloody circus stands,<br /></span> +<span class="i0">A noble wreck in ruinous perfection!<br /></span> +<span class="i0">While Cæsar's chambers, and the Augustan halls,<br /></span> +<span class="i0">Grovel on earth in indistinct decay.<br /></span> +<span class="i0">And thou didst shine, thou rolling moon, upon<br /></span> +<span class="i0">All this, and cast a wide and tender light,<br /></span> +<span class="i0">Which softened down the hoar austerity<br /></span> +<span class="i0">Of rugged desolation, and fill'd up,<br /></span> +<span class="i0">As 't were anew, the gaps of centuries;<br /></span> +<span class="i0">Leaving that beautiful which still was so,<br /></span> +<span class="i0">And making that which was not, till the place<br /></span> +<span class="i0">Became religion, and the heart ran o'er<br /></span> +<span class="i0">With silent worship of the great of old:—<br /></span> +<span class="i0">The dead but scepter'd sovereigns, who still rule<br /></span> +<span class="i0">Our spirits from their urns."<br /></span> + +<span class="i15"><i>Manfred.</i><br /></span> +</div></div> + +<div class="poem"><div class="stanza"> +<span class="i0">"Arches on arches! as it were that Rome,<br /></span> +<span class="i0">Collecting the chief trophies of her line,<br /></span> +<span class="i0">Would build up all her triumphs in one dome,<br /></span> +<span class="i0">Her Coliseum stands; the moonbeams shine<br /></span> +<span class="i0">As 't were its natural torches, for divine<br /></span> +<span class="i0">Should be the light which streams here, to illume<br /></span> +<span class="i0">The long-explored but still exhaustless mine<br /></span> +<span class="i0">Of contemplation; and the azure gloom<br /></span> +<span class="i0">Of an Italian night, where the deep skies assume<br /></span> +</div><div class="stanza"> +<span class="i0">"Hues which have words, and speak to ye of heaven,<br /></span> +<span class="i0">Floats o'er this vast and wondrous monument,<br /></span> +<span class="i0">And shadows forth its glory. There is given<br /></span> +<span class="i0">Under the things of earth, which Time hath bent,<br /></span> +<span class="i0">A spirit's feeling, and where he hath leant<br /></span> +<span class="i0">His hand, but broke his scythe, there is a power<br /></span> +<span class="i0">And magic in the ruined battlement,<a name="vol_1_page_217" id="vol_1_page_217"></a><br /></span> +<span class="i0">For which the palace of the present hour<br /></span> +<span class="i0">Must yield its pomp, and wait till ages are its dower."<br /></span> +<span class="i15"><i>Childe Harold.</i><br /></span> +</div></div> + +<div class="blockquot"><p>"No one can form any idea of full moonlight in Rome who has not +seen it. Every individual object is swallowed in the huge masses of +light and shadow, and only the marked and principal outlines remain +visible. Three days ago (Feb. 2, 1787) we made good use of a light +and most beautiful night. The Coliseum presents a vision of beauty. +It is closed at night; a hermit lives inside in a little church, +and beggars roost amid the ruined vaults. They had lighted a fire +on the bare ground, and a gentle breeze drove the smoke across the +arena. The lower portion of the ruin was lost, while the enormous +walls above stood forth into the darkness. We stood at the gates +and gazed upon this phenomenon. The moon shone high and bright. +Gradually the smoke moved through the chinks and apertures in the +walls, and the moon illuminated it like a mist. It was an exquisite +moment!"—<i>Goethe.</i></p></div> + +<p>It is believed that the building of the Coliseum remained entire until +the eighth century, and that its ruin dates from the invasion of Robert +Guiscard, who destroyed it to prevent its being used as a stronghold by +the Romans. During the middle ages it served as a fortress, and became +the castle of the great family of Frangipani, who here gave refuge to +Pope Innocent II. (Papareschi) and his family, against the anti-pope +Anacletus II., and afterwards in the same way protected Innocent III. +(Conti) and his brothers against the anti-pope Paschal II. Constantly at +war with the Frangipani were the Annibaldi, who possessed a neighbouring +fortress, and obtained from Gregory IX. a grant of half the Coliseum, +which was rescinded by Innocent IV. During the absence of the popes at +Avignon the Annibaldi got possession of the whole of the Coliseum, but +it was taken away again in 1312, and placed in the hands of the +municipality, after which it was used for bull-fights, in which (as +described by Monaldeschi) nobles of<a name="vol_1_page_218" id="vol_1_page_218"></a> high rank took part and lost their +lives. In 1381 the senate made over part of the ruins to the Canons of +the Lateran, to be used as a hospital, and their occupation is still +commemorated by the arms of the Chapter (our Saviour's head between two +candelabra) sculptured in various parts of the building. From the +fourteenth century it began to be looked upon as a stone-quarry, and the +Palazzos Farnese, Barberini, S. Marco, and the Cancellaria, were built +with materials plundered from its walls. It is said that the first of +these destroyers, Cardinal Farnese, only extorted permission from his +reluctant uncle, Paul III., to quarry as much stone as he could remove +in twelve hours, and that he availed himself of this permission to let +loose four thousand workmen upon the building. Sixtus V. endeavoured to +utilize it by turning the arcades into shops, and establishing a woollen +manufactory, and Clement XI. (1700—1721) by a manufactory of saltpetre, +but both happily failed. In the last century the tide of restoration +began to set in. A Carmelite monk, Angelo Paoli, represented the +iniquity of allowing a spot consecrated by such holy memories to be +desecrated, and Clement XI. consecrated the arena to the memory of the +martyrs who had suffered there, and erected in one of the archways the +still existing chapel of Sta. Maria della Pietà. The hermit appointed to +take care of this chapel was stabbed in 1742, which caused Benedict XIV. +to shut in the Coliseum with bars and gates. After this time destruction +became sacrilege, and the five last popes all contributed to strengthen +and preserve the walls which remain. Even so late as thirty years ago, +however, the interior was (like that of an English abbey) an uneven +grassy space<a name="vol_1_page_219" id="vol_1_page_219"></a> littered with masses of ruin, amid which large trees grew +and flourished, and the clearing out of the arena, though exhibiting +more perfectly the ancient form of the building, is much to be regretted +by lovers of the picturesque.<a name="FNanchor_72_72" id="FNanchor_72_72"></a><a href="#Footnote_72_72" class="fnanchor">[72]</a></p> + +<p>Among the ecclesiastical legends connected with the Coliseum, it is said +that Gregory the Great presented some foreign ambassadors with a handful +of earth from the arena as a relic for their sovereigns, and upon their +receiving the gift with disrespect, he pressed it, when blood flowed +from the soil. Pius V, urged those who wished for relics to gather up +the dust of the Coliseum, wet with the blood of the martyrs.</p> + +<p>In 1744 "the blessed Leonardo di Porto Maurizio," who is buried in S. +Buonaventura, drew immense crowds to the Coliseum by his preaching, and +obtained permission from Benedict XIV. to found the confraternity of +"Amanti di Gesù e Maria," for whom the Via Crucis was established here. +Recently the ruins have been associated with the holy beggar, Benoit +Joseph Labré (beatified by Pius IX. in 1860), who died at Rome in 1783, +after a life spent in devotion. He was accustomed to beg in the +Coliseum, to sleep at night under its arcades, and to pray for hours at +its various shrines.</p> + +<p>The name Coliseum is first found in the writings of the Venerable Bede, +who quotes a prophecy of Anglo-Saxon pilgrims.</p> + +<p><a name="vol_1_page_220" id="vol_1_page_220"></a></p> + +<div class="poem"><div class="stanza"> +<span class="i0">"While stands the Coliseum, Rome shall stand;<br /></span> +<span class="i0">When falls the Coliseum, Rome shall fall;<br /></span> +<span class="i0">And when Rome falls, the world."<a name="FNanchor_73_73" id="FNanchor_73_73"></a><a href="#Footnote_73_73" class="fnanchor">[73]</a><br /></span> +</div></div> + +<p>The name was probably derived from its size; the amphitheatre of Capua +was also called Colossus.</p> + +<div class="blockquot"><p>"When one looks at the Coliseum everything else becomes small; it +is so great that one cannot keep its true image in one's soul; one +only remembers it on a smaller scale, and returning thither again +finds it again grown larger."—<i>Goethe, Romische Briefe.</i></p></div> + +<p>Once or twice in the course of every Roman winter the Coliseum is +illuminated with Bengal lights.</p> + +<div class="blockquot"><p>"Les étrangers se donnent parfois l'amusement d'éclairer le Colisée +avec des feux de Bengale. Cela ressemble un peu trop à un finale de +mélodrame, et on peut préférer comme illumination un radieux soleil +on les douces lueurs de la lune. Cependant j'avoue que la première +fois que le Colisée m'apparut ainsi, embrasé de feux rougeâtres, +son histoire me revint vivement à la pensée. Je trouvais qu'il +avait en ce moment sa vraie couleur, la couleur du sang."—<i>Ampère, +Emp.</i> ii. 156.<a name="vol_1_page_221" id="vol_1_page_221"></a></p></div> + +<h2><a name="CHAPTER_V" id="CHAPTER_V"></a>CHAPTER V.<br /><br /> +THE VELABRUM AND THE GHETTO.</h2> + +<div class="blockquot"><p class="hang">S. Teodoro—Sta. Anastasia—Circus Maximus—S. Giorgio in +Velabro—Arch of Septimius Severus—Arch of +Janus—Cloaca-Maxima—Sta. Maria in Cosmedin—Temple of +Vesta—Temple of Fortuna Virilis—House of +Rienzi—Ponte-Rotto—Ponte Sublicio—S. Nicolo in Carcere—Theatre +of Marcellus—Portico of Octavia—Pescheria—Jewish +Synagogue—Palazzo Cenci—Fontana Tartarughe—Palazzo +Mattei—Palazzo Caetani—Sta. Caterina dei Funari—Sta. Maria +Campitelli—Palazzo Margana—Convent of the Tor de' Specchi.</p></div> + +<p class="nind"><span class="letra">T</span>HE +second turn on the right of the Roman Forum is the Via dei Fienili, +formerly the <i>Vicus Tuscus</i>, so called from the Etruscan colony +established there after the drying up of the marsh which occupied that +site in the earliest periods of Roman history. During the empire, this +street, leading from the Forum to the Circus Maximus, was one of the +most important. Martial speaks of its silk-mercers; from an inscription +on a tomb we know that the fashionable tailors were to be found there; +and the perfumers' shops were of such abundance as to give to part of +the street the name of Vicus Thurarius. At its entrance was the statue +of the Etruscan god, Vertumnus, the patron of the quarter.<a name="FNanchor_74_74" id="FNanchor_74_74"></a><a href="#Footnote_74_74" class="fnanchor">[74]</a> This was +the street by which the processions of the Circensian games<a name="vol_1_page_222" id="vol_1_page_222"></a> passed from +the Forum to the Circus Maximus. In one of the Verrine Orations, an +accusation brought by Cicero against the patrician Verres, was that from +avaricious motives he had paved even this street—used for processions +of the Circus—in such a manner that he would not venture to use it +himself.<a name="FNanchor_75_75" id="FNanchor_75_75"></a><a href="#Footnote_75_75" class="fnanchor">[75]</a></p> + +<p>All this valley was once a stagnant marsh, left by inundations of the +Tiber, for in early times the river often overflowed the whole valley +between the Palatine and the Capitoline hills, and even reached as far +as the foot of the Quirinal, where the Goat's Pool, at which Romulus +disappeared, is supposed to have formed part of the same swamp. Ovid, in +describing the processions of the games, speaks of the willows and +rushes which once covered this ground, and the marshy places which one +could not pass over except with bare feet:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Qua Velabra solent in Circum ducere pompas,<br /></span> +<span class="i2">Nil præter salices crassaque canna fuit,<br /></span> +<span class="i0">Sæpe suburbanas rediens conviva per undas<br /></span> +<span class="i2">Cantat, et ad nautas ebria verba jacit.<br /></span> +<span class="i0">Nondum conveniens diversis iste figuris<br /></span> +<span class="i2">Nomen ab averso ceperat amne deus.<br /></span> +<span class="i0">Hic quoque lucus erat juncis et arundine densus,<br /></span> +<span class="i2">Et pede velato non adeunda palus.<br /></span> +<span class="i0">Stagna recesserunt, et aquas sua ripa coërcet:<br /></span> +<span class="i2">Siccaque nunc tellus. Mos tamen ille manet."<br /></span> +<span class="i15"><i>Fast.</i> vi. 405.<br /></span> +</div></div> + +<p>We even know the price which was paid for being ferried across the +Velabrum: "it was a <i>quadrans</i>, three times as much as one pays now for +the boat at the Ripetta."<a name="FNanchor_76_76" id="FNanchor_76_76"></a><a href="#Footnote_76_76" class="fnanchor">[76]</a> The<a name="vol_1_page_223" id="vol_1_page_223"></a> creation of the Cloaca Maxima had +probably done much towards draining, but some fragments of the marsh +remained to a late period.</p> + +<p>According to Varro the name of the Velabrum was derived from <i>vehere</i>, +because of the boats which were employed to convey passengers from one +hill to the other.<a name="FNanchor_77_77" id="FNanchor_77_77"></a><a href="#Footnote_77_77" class="fnanchor">[77]</a> Others derive the name from <i>vela</i>, also in +reference to the mode of transit, or, according to another idea, in +reference to the awnings which were stretched across the street to +shelter the processions,—though the name was in existence long before +any processions were thought of.</p> + +<p>It was the waters of the Velabrum which bore the cradle of Romulus and +Remus from the Tiber, and deposited it under the famous fig-tree of the +Palatine.</p> + +<hr style="width: 15%;" /> + +<p>On the left of the Via dei Fienili (shut in by a railing, generally +closed, but which will be opened on appealing to the sacristan next +door) is the round <i>Church of S. Teodoro</i>. The origin of this building +is unknown. It used to be called the temple of Romulus, on the very +slight foundation that the famous bronze wolf, mentioned by Dionysius as +existing in the temple of Romulus, was found near this spot. Dyer +supposes that it may have been the Temple of Cybele; this, however, was +upon, and not under, the Palatine. Be they what they may, the remains +were dedicated as a Christian church by Adrian I., in the eighth +century, and some well preserved mosaics in the tribune are of that +time.</p> + +<div class="blockquot"><p>"It is curious to note in Rome how many a modern superstition has +its root in an ancient one, and how tenaciously customs still cling +to the<a name="vol_1_page_224" id="vol_1_page_224"></a> old localities. On the Capitoline hill the bronze she-wolf +was once worshipped as the wooden Bambino is now. It stood in the +Temple of Romulus, and there the ancient Romans used to carry +children to be cured of their diseases by touching it. On the +supposed site of the temple now stands the church dedicated to S. +Teodoro, or Santo Toto, as he is called in Rome. Though names must +have changed and the temple has vanished, and church after church +has here decayed and been rebuilt, the old superstition remains, +and the common people at certain periods still bring their sick +children to Santo Toto, that he may heal them with his +touch."—<i>Story's Roba di Roma.</i><a name="FNanchor_78_78" id="FNanchor_78_78"></a><a href="#Footnote_78_78" class="fnanchor">[78]</a></p></div> + +<p>Further on the left, still under the shadow of the Palatine Hill, is the +large <i>Church of Sta. Anastasia</i>, containing, beneath the altar, a +beautiful statue of the martyred saint reclining on a faggot.</p> + +<div class="blockquot"><p>"Notwithstanding her beautiful Greek name, and her fame as one of +the great saints of the Greek Calendar, Sta. Anastasia is +represented as a noble Roman lady, who perished during the +persecution of Diocletian. She was persecuted by her husband and +family for openly professing the Christian faith, but being +sustained by the eloquent exhortations of St.<a name="vol_1_page_225" id="vol_1_page_225"></a> Chrysogonus, she +passed triumphantly, receiving in due time the crown of martyrdom, +being condemned to the flames. Chrysogonus was put to death with +the sword and his body thrown into the sea.</p> + +<p>"According to the best authorities, these two saints did not suffer +in Rome, but in Illyria; yet in Rome we are assured that Anastasia, +after her martyrdom, was buried by her friend Apollina in the +garden of her house under the Palatine hill and close to the Circus +Maximus. There stood the church, dedicated in the fourth century, +and there it now stands. It was one of the principal churches in +Rome in the time of St. Jerome, who, according to ancient +tradition, celebrated mass at one of the altars, which is still +regarded with peculiar veneration."—<i>Mrs. Jameson's Sacred and +Legendary Art.</i></p></div> + +<p>It was the custom for the mediæval popes to celebrate their second mass +of Christmas night in this church, for which reason Sta. Anastasia is +still especially commemorated in that mass.</p> + +<p>To the left of the high altar is the tomb of the learned Cardinal Mai, +by the sculptor Benzoni, who owed everything to the kind interest with +which this cardinal regarded him from childhood. The epitaph is +remarkable. It is thus translated by Cardinal Wiseman:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"I, who my life in wakeful studies wore,<br /></span> +<span class="i2">Bergamo's son, named Angelo, here lie.<br /></span> +<span class="i0">The empyreal robe and crimson hat I bore,<br /></span> +<span class="i2">Rome gave. Thou giv'st me, Christ, th' empyreal sky.<br /></span> +<span class="i0">Awaiting Thee, long toil I could endure:<br /></span> +<span class="i0">So with Thee be my rest now, sweet, secure."<br /></span> +</div></div> + +<p>Through this church, also, we may enter some of the subterraneous +chambers of the Palace of the Cæsars.</p> + +<p>The valley near this, between the Palatine and the Aventine, was the +site of the <i>Circus Maximus</i>, of which the last vestiges were destroyed +in the time of Paul V. Its ground plan can, however, be identified, with +the assistance<a name="vol_1_page_226" id="vol_1_page_226"></a> of the small circus of Maxentius on the Via Appia, which +still partially exists. It was intended for chariot-races and +horse-races, and is said to have been first instituted by Tarquinius +Priscus after his conquest of the Latin town of Apiolæ. It was a vast +oblong, ending in a semicircle, and surrounded by three rows of seats, +termed collectively <i>cavea</i>. In the centre of the area was the low wall +called the <i>spina</i>, at each end of which were the <i>metæ</i>, or goals. +Between the metæ were columns supporting the <i>ova</i>, egg-shaped balls, +and <i>Delphinæ</i>, or dolphins, each seven in number, one of which was put +up for each circuit made in the race. At the extremity of the Circus +were the stalls for the horses and chariots called <i>Carceres</i>. This, the +square end of the Circus, was termed <i>oppidum</i>, from its external +resemblance to a town, with walls and towers. In the Circus Maximus, +which was used for hunting wild beasts, Julius Cæsar made a canal, +called <i>Euripus</i>,<a name="FNanchor_79_79" id="FNanchor_79_79"></a><a href="#Footnote_79_79" class="fnanchor">[79]</a> ten feet wide, between the seats and the +racecourse, to protect the spectators. The <i>Ludi Circenses</i> were first +established by Romulus, to attract his Sabine neighbours, in order that +he might supply his city with wives. The games were generally at the +expense of the ædiles, and their cost was so great, that Cæsar was +obliged to sell his Tiburtine villa, to defray those given during his +ædileship. Perhaps the most magnificent games known were those in the +reign of Carinus (Imp. <small>A.D.</small> 283), when the Circus was transformed into +an artificial forest, in which hundreds of wild beasts and birds were +slaughtered. At one time this Circus was capable of containing 385,000 +persons.</p> + +<p>At the western extremity of the Circus Maximus stood<a name="vol_1_page_227" id="vol_1_page_227"></a> the Temple of +Ceres, Liber, and Libera (said to have been vowed by the Dictator Albus +Postumius, at the battle of the Lake Regillus), dedicated by the Consul +Sp. Cassius, <small>B.C.</small> 492.</p> + +<div class="blockquot"><p>"Quand le père de Cassius l'eut immolé de ses propres mains à +l'avidité patricienne, il fit don du pécule de son fils—un fils +n'avait que son pécule comme un esclave—à ce même temple de Cérès +que Spurius Cassius avait consacré, et par une féroce ironie, mit +au bas de la statue faite avec cet argent, et qu'il dédiait à la +déesse: 'Don de la famille Cassia.'</p> + +<p>"L'ironie était d'autant plus amère, que l'on vendait auprès du +temple de Cérès ceux qui avaient offensé au tribun.</p> + +<p>"Ce temple, mis particulièrement sous la surveillance des édiles et +où ils avaient leurs archives, était le temple de la démocratie +romaine. Le farouche patricien le choisit pour lui faire adresser +par son fils mort au service de la démocratie un dérisoire +hommage."—<i>Ampère, Hist. Rom.</i> ii. 416.</p></div> + +<p>We must now retrace our steps for a short distance, and descend into a +hollow on the left, which we have passed, between the churches of S. +Teodoro and Sta. Anastasia.</p> + +<p>Here an interesting group of buildings still stands to mark the site of +the famous ox-market, <i>Forum Boarium</i>. In its centre a brazen bull, +brought from Egina,<a name="FNanchor_80_80" id="FNanchor_80_80"></a><a href="#Footnote_80_80" class="fnanchor">[80]</a> once commemorated the story of the oxen of +Geryon, which Hercules left to pasture on this marshy site, and which +were stolen hence by Cacus,—and is said by Ovid to have given a name to +the locality:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Pontibus et magno juncta est celeberrima Circo<br /></span> +<span class="i0">Area, quæ posito de bove nomen habet."<br /></span> +<span class="i15"><i>Fast.</i> vi. 478.<br /></span> +</div></div> + +<p>The fact of this place being used as a market for oxen is mentioned by +Livy.<a name="FNanchor_81_81" id="FNanchor_81_81"></a><a href="#Footnote_81_81" class="fnanchor">[81]</a><a name="vol_1_page_228" id="vol_1_page_228"></a></p> + +<p>The Forum Boarium is associated with several deeds of cruelty. After the +battle of Cannæ, a male and female Greek and a male and female Gaul were +buried alive here;<a name="FNanchor_82_82" id="FNanchor_82_82"></a><a href="#Footnote_82_82" class="fnanchor">[82]</a> and here the first fight of gladiators took +place, being introduced by M. and D. Brutus, at the funeral of their +father in <small>B.C.</small> 264.<a name="FNanchor_83_83" id="FNanchor_83_83"></a><a href="#Footnote_83_83" class="fnanchor">[83]</a> Here the Vestal virgins buried the sacred +utensils of their worship, at the spot called Doliola, when they fled +from Rome after the battle of the Allia.<a name="FNanchor_84_84" id="FNanchor_84_84"></a><a href="#Footnote_84_84" class="fnanchor">[84]</a></p> + +<p>Amongst the buildings which once existed in the Forum Boarium, but of +which no trace remains, were the Temple of the Sabine deity Matuta, and +the Temple of Fortune, both ascribed to Servius Tullius.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Hac ibi luce ferunt Matutæ sacra parenti,<br /></span> +<span class="i0">Sceptiferas Servi templa dedisse manus."<br /></span> +<span class="i15"><i>Ovid, Fast.</i> vi. 479.<br /></span> +</div></div> + +<div class="poem"><div class="stanza"> +<span class="i0">"Lux eadem, Fortuna, tua est, auctorque, locusque,<br /></span> +<span class="i0">Sed superinjectis quis latet æde togis?<br /></span> +<span class="i0">Servius est: hoc constat enim——"<br /></span> +<span class="i15"><i>Fast.</i> vi. 569.<br /></span> +</div></div> + +<p>The Temple of Fortune was rebuilt by Lucullus, and Dion Cassius mentions +that the axle of Julius Cæsar's car broke down in front of it on +occasion of one of his triumphs.<a name="FNanchor_85_85" id="FNanchor_85_85"></a><a href="#Footnote_85_85" class="fnanchor">[85]</a> Another temple in this +neighbourhood was that of Pudicitia Patricia, into which the noble +ladies refused to admit Virginia, because she had espoused a plebeian +consul<a name="FNanchor_86_86" id="FNanchor_86_86"></a><a href="#Footnote_86_86" class="fnanchor">[86]</a> (see Chap. X.). Here, also, was the Temple of Hercules +Victor, erected by Pompey.<a name="FNanchor_87_87" id="FNanchor_87_87"></a><a href="#Footnote_87_87" class="fnanchor">[87]</a> The two earliest triumphal arches were +built in this forum, being in honour of L. Stertinius, erected <small>B.C.</small> 196, +after his victories in Spain.<a name="vol_1_page_229" id="vol_1_page_229"></a></p> + +<p>The building which first attracts attention, among those now standing, +is the <i>Arch of Janus</i>, the Sabine god. It has four equal sides and +arches, turned to the four points of the compass, and forty-eight +niches, probably intended for the reception of small statues. +Bas-reliefs on the inverted blocks employed in the lower part of this +edifice, show that they must have been removed from earlier buildings. +This was probably used as a portico for shelter or business for those +who trafficked in the Forum; there were many similar porticoes in +ancient Rome.</p> + +<p>On the left of the arch of Janus is a narrow alley, spanned by low brick +arches, which leads first to the beautiful clear spring of the Aqua +Argentina, which, according to some authorities, is the place where +Castor and Pollux watered their horses after the battle of the Lake +Regillus.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Then on rode those strange horsemen,<br /></span> +<span class="i2">With slow and lordly pace;<br /></span> +<span class="i0">And none who saw their bearing<br /></span> +<span class="i2">Durst ask their name or race.<br /></span> +<span class="i0">On rode they to the Forum,<br /></span> +<span class="i2">While laurel boughs and flowers<br /></span> +<span class="i0">From house-tops and from windows,<br /></span> +<span class="i2">Fell on their crests in showers.<br /></span> +</div><div class="stanza"> +<span class="i0">"When they drew nigh to Vesta,<br /></span> +<span class="i2">They vaulted down amain,<br /></span> +<span class="i0">And washed their horses in the well<br /></span> +<span class="i2">That springs by Vesta's fane.<br /></span> +<span class="i0">And straight again they mounted<br /></span> +<span class="i2">And rode to Vesta's door;<br /></span> +<span class="i0">Then, like a blast, away they passed,<br /></span> +<span class="i2">And no man saw them more."<br /></span> +<span class="i15"><i>Macaulay's Lays.</i><br /></span> +</div></div> + +<p>The alley is closed by an arch of the celebrated <i>Cloaca Maxima</i>, the +famous drain formed by Tarquinius Priscus,<a name="vol_1_page_230" id="vol_1_page_230"></a> fifth king of Rome, to dry +the marshy land of the Velabrum.</p> + +<div class="blockquot"><p>"Infima urbis loca circa Forum, aliasque interjectas collibus +convalles, quia ex planis locis haud facile evehebant aquas, +cloacis a fastigio in Tiberim ductis siccat."—<i>Livy</i>, lib. i. c. +38.</p></div> + +<p>The Cloaca extended from the Forum to the Tiber, and is still, after +2,400 years, used, during the latter part of its course, for the purpose +for which it was originally intended, though Pliny was filled with +wonder that, in his time, it had already withstood the earthquakes, +inundations, and accidents of seven hundred years. Strabo tells that the +tunnel of the Cloaca was of sufficient height to admit a waggon laden +with hay, but this probably supposes the water at its lowest. Agrippa, +who cleaned out the Cloaca, navigated its whole length in a boat. The +mouth of the Cloaca, composed of three concentric courses of blocks of +peperino, without cement, is visible on the river a little to the right +of the temple of Vesta.</p> + +<div class="blockquot"><p>"Ces lieux ont encore un air et comme une odeur de marécage—quand +on rôde aux approches de la nuit dans ce coin désert de Rome où fut +placée la scène des premiers moments de son premier roi, on y +retrouve, à présent mieux qu'au temps de Tite-Live, quelque chose +de l'impression que ce lieu devait produire il y a vingt-cinq +siècles, à l'époque où, selon la vieille tradition, le berceau de +Romulus s'arrêta dans les boues du Vélabre, au pied du Palatin, +près de l'antre Lupercal. Il faut s'écarter un peu de cet endroit, +qui était au pied du versant occidental du Palatin, et faire +quelques pas à droite pour aller chercher les traces du Vélabre là +où les rues et les habitations modernes ne les ont pas entièrement +effacées. En s'avançant vers la Cloaca Maxima, on rencontre un +enfoncement où une vieille église, elle-même au dedans humide et +moisie, rappelle par son nom, San Giorgio in Velabro, que le +Vélabre a été là. On voit sourdre encore les eaux qui +l'alimentaient sous une voûte sombre et froide, tapissée de +mousses, de scolopendres et de grandes herbes frissonnant dans la +nuit. Alentour, tout a un aspect<a name="vol_1_page_231" id="vol_1_page_231"></a> triste et abandonné, abandonné +comme le furent au bord du marais, suivant l'antique récit, les +enfants dont on croit presque ouïr dans le crépuscule les +vagissements. L'imagination n'a pas de peine à se représenter les +arbres et les plantes aquatiques qui croissaient sur le bord de cet +enfoncement que voilà, et à travers lesquelles la louve de la +légende se glissait à cette heure pour venir boire à cette eau. Ces +lieux sont assez peu fréquentés et assez silencieux pour qu'on se +les figure comme ils étaient alors, alors qu'il n'y avait ici, +comme dit Tite-Live, vrai cette fois, que des solitudes désertes: +<i>Vastæ tunc solitudines erant</i>."—<i>Ampère, Hist. Rom.</i> i. 271.</p></div> + +<p>The church with the picturesque campanile near the arch of Janus, is <i>S. +Giorgio in Velabro</i>, founded in the fourth century, as the Basilica +Sempronia, but repeatedly rebuilt. The architrave above its portico was +that where Rienzi affixed his famous inscription, announcing the return +to the Good Estate: "<i>In breve tempo gli Romani torneranno al loro +antico buono stato</i>." The church is seldom open, except on its festival +(Jan. 20), and during its station in Lent. The interior is in the +basilica form, the long nave being lined by sixteen columns, of various +sizes, and with strangely different capitals, showing that they have +been plundered from ancient temples. The carving on some of the capitals +is sharp and delicate. There is a rather handsome ancient baldacchino, +with an old Greek picture let into its front, over the high altar. +Beneath is preserved a fragment of the banner of St George. Some injured +frescoes in the tribune replace mosaics which once existed here, and +which were attributed to Giotto. In the centre is the Saviour, between +the Virgin and St. Peter; on one side, St. George with the martyr's palm +and the warrior's banner,—on the other, St. Sebastian, with an arrow. +Several fragments of carving and inscriptions are built into the side +walls. The pictures are poor and ugly which relate to the<a name="vol_1_page_232" id="vol_1_page_232"></a> saint of the +church, St. George (the patron of England and Germany), the knight of +Cappadocia, who delivered the Princess Cleodolinda from the dragon.</p> + +<div class="blockquot"><p>"Among good specimens of thirteenth century architecture is the +portico of S. Giorgio, with Ionic columns and horizontal +architrave, on which is a gothic inscription, in quaint Leonine +verse, informing us that the Cardinal (or Prior) Stephen, added +this detail (probably the campanile also), to the ancient +church—about the middle of the thirteenth century, as is supposed, +though no date is given here; and in the midst of an age so alien +to classic influences, a work in which classic feeling thus +predominates, is remarkable."—<i>Heman's Sacred Art.</i></p></div> + +<p>Partly hidden by the portico of this church, is the beautiful miniature +<i>Arch of Septimius Severus</i>, erected to the emperor, his wife Julia Pia, +and his sons Caracalla and Geta, by the silversmiths (argentarii) who +had their shops in the Forum Boarium on this very spot ("cujus loci qui +invehent"). The part of the dedication relating to Geta (as in the +larger arch of Septimius) was obliterated after his murder, and the +words <span class="smcap">Fortissimo felicissimoque principi</span> engraved in its place. The +architecture and sculpture, part of which represents a sacrifice by the +imperial family, prove the decadence of art at this period.</p> + +<p>Proceeding in a direct line from the Arch of Janus, we reach the <i>Church +of Sta. Maria in Cosmedin</i>, on the site of a Temple of Ceres, dedicated +by the consul Spurius Cassius, <small>B.C.</small> 493, and afterwards re-dedicated to +Ceres and Proserpine, probably by Augustus, who had been initiated into +the Eleusinian mysteries in Greece. The church was built in the basilica +form, in 782, by Adrian I., when the name Cosmedin, from the Greek +<span title="Greek: kosmos">κοσμος</span>, is supposed to have been given, from the +ornaments with which he adorned it It was intended for the use of the +Greek exiles expelled<a name="vol_1_page_233" id="vol_1_page_233"></a> from the East by the iconoclasts under +Constantine Copronimus, and derived the epithet of Sta. Maria in Scuola +Greca, from a "Schola" attached to it for their benefit. Another relic +of the Greek colony which existed here is to be found in the name of the +adjoining street, Via della Greca. In the middle ages the whole bank of +the river near this was called Ripa Greca.</p> + +<p>The interior of this church is of great interest. The nave is divided +from the aisles by twelve ancient marble columns, of which two have +especially curious antique capitals, and are evidently remains of the +temple which once existed here. The choir is raised, as at S. Clemente. +The pavement is of splendid Opus Alexandrinum (1120); the ambones are +perfect; there is a curious crypt; the altar covers an ancient bason of +red granite, and is shaded by a gothic canopy, supported by four +Egyptian granite pillars; behind it is a fine episcopal throne, with +lions, said to have been used by St. Augustine, an ancient Greek picture +of the Virgin, and a graceful tabernacle of marble inlaid with mosaic, +by <i>Deodato Cosmati</i>. In the sacristy is a very curious mosaic, one of +the few relics preserved from the old St Peter's, <small>A.D.</small> 705. (There is +another in S. Marco at Florence.) Crescimbeni, the founder and historian +of the Arcadian Academy (d. 1728), is buried in this church, of which he +was a canon. On St. Valentine's Day the skull of St. Valentine, crowned +with roses, is exhibited here.</p> + +<p>In the portico is the strange and huge mask of stone, which gives the +name of <i>Bocca della Verita</i> to the neighbouring piazza. It was believed +that if a witness, whose truthfulness was doubtful, were desired to +place his hand in the mouth of this mask, he would be unable to withdraw +it, if he were guilty of perjury.<a name="vol_1_page_234" id="vol_1_page_234"></a></p> + +<div class="blockquot"><p>"Cette Bouche-de-Vérité est une curieuse relique du moyen âge. Elle +servait aux jugements de Dieu. Figurez-vous une meule de moulin qui +ressemble, non pas à un visage humain, mais au visage de la lune: +on y distingue des yeux, un nez et une bouche ouverte où l'accusé +mettait la main pour prêter serment. Cette bouche mordait les +menteurs; au moins la tradition l'assure. J'y ai introduit ma +dextre en disant que le Ghetto était un lieu de délices, et je n'ai +pas été mordu."—<i>About, Rome Contemporaine.</i></p></div> + +<p>On the other side of the portico is the tomb of Cardinal Alfanus, ob. +1150.</p> + +<div class="blockquot"><p>"The church was rebuilt under Calixtus II.; about A.D. 1128, by +Alfanus, Roman Chancellor, whose marble sepulchre stands in the +atrium, with his epitaph, along a cornice, giving him that most +comprehensive title, 'an honest man,' <i>vir probus</i>. Some more than +half-faded paintings, a Madonna and Child, angels, and two mitred +heads, on the wall behind the canopy, give importance to this +Chancellor's tomb. Though now disfigured exteriorly by a modern +façade in the worst style, interiorly by a waggon-vault roof and +heavy pilasters, this church is still one of the mediæval gems of +Rome, and retains many olden details: the classic colonnades, +probably left in their original place since the time of Adrian I.; +and the fine campanile, one of the loftiest in Rome; also the +sculptured doorway, the rich intarsio pavement, the high altar, the +marble and mosaic-inlaid ambones, the marble episcopal throne, with +supporting lions and a mosaic decoration above, &c.,—all of the +twelfth century. But we have to regret the destruction of the +ancient choir-screens, and (still more inexcusable) the +white-washing of wall surfaces so as entirely to conceal the +mediæval paintings which adorned them, conformably to that once +almost universal practice of polychrome decoration in churches, +prescribed even by law under Charlemagne. Ciampini (see his +valuable history of this basilica) mentions the iron rods for +curtains between the columns of the atrium, and those, still in +their place, in the porch, with rings for suspending; also a small +chapel with paintings, at one end of the atrium, designed for those +penitents who were not allowed to worship within the sacred +building—as such, an evidence of disciplinary observance, retained +till the twelfth century. Over the portal are some tiny +bas-reliefs, so placed along the inner side of the lintel that many +might pass underneath without seeing them: in the centre, a hand +blessing, with the Greek action, between two sheep, laterally; the +four evangelistic emblems, and<a name="vol_1_page_235" id="vol_1_page_235"></a> two doves, each pecking out of a +vase, and one perched upon a dragon (more like a lizard), to +signify the victory of the purified soul over mundane +temptations."—<i>Hemans' Christian Art.</i></p></div> + +<p>Close to this church stood the Palace of Pope Gelasius II. (1118).</p> + +<p>Opposite the church is a beautiful fountain, erected by one of the +Medici, and beyond it the graceful round temple now called the <i>Temple +of Vesta</i>, supposed by Canina to have been that of Mater Matuta, and by +others to have been that of Hercules founded by Pompey. It is known to +have existed in the time of Vespasian. It is very small, the +circumference of the peristyle being only 156 feet, and that of the +cella 26 feet,—the height of the surrounding Corinthian columns +(originally twenty in number) 32 feet This temple was first dedicated as +a church under the name of S. Stefano delle Carrozze; it is now called +<i>Sta. Maria del Sole</i>.</p> + +<p>This is not the Temple of Vesta (which was situated near the Church of +Sta. Maria Liberatrice in the Forum) of which Horace wrote:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Vidimus flavum Tiberim, retortis<br /></span> +<span class="i0">Littore Etrusco violenter undis,<br /></span> +<span class="i0">Ire dejectum monumenta regum<br /></span> +<span class="i6">Templaque Vestæ."<br /></span> +<span class="i15"><i>Carm.</i> i. 2.<br /></span> +</div></div> + +<p>The modern overhanging roof of the temple has been much objected to, as +it replaces an entablature like that on the temple of the Sibyl at +Tivoli; but artists admire the exquisite play of light and shade caused +by its rugged tiles, and, finding it a perfect "subject," wish for no +change.</p> + +<div class="blockquot"><p>"C'est auprès de la Bouche-de-Vérité, devant le petit temple de<a name="vol_1_page_236" id="vol_1_page_236"></a> +Vesta, que la justice romaine exécute un meurtrier sur cent. Quand +j'arrivai sur la place, on n'y guillotinait personne; mais six +cuisinières, dont une aussi belle que Junon, dansaient la +tarantelle au son d'un tambour de basque. Malheureusement elles +divinèrent ma qualité d'étranger, et elles se mirent à polker +contre la mesure."—<i>About.</i></p></div> + +<p>Close to this—overhanging a little hollow way—is the <i>Temple of +Fortuna Virilis</i>, built originally by Servius Tullius, but rebuilt +during the republic, and, if the existing building is really republican, +the most ancient temple remaining in Rome. It is surrounded by Ionic +columns (one side being enclosed in other buildings), 28 feet high, +clothed with hard stucco, and supporting an entablature adorned with +figures of children, oxen, candelabra, &c. The Roman matrons had a great +regard for this goddess, who was supposed to have the power of +concealing their personal imperfections from the eyes of men. At the +close of the tenth century this temple was consecrated to the Virgin, +but has since been bestowed upon <i>St. Mary of Egypt</i>.</p> + +<p>Hard by, is a picturesque end of building, laden with rich but +incongruous sculpture, at one time called "The House of Pilate," but now +known as the <i>House of Rienzi</i>. It derives its present name from a long +inscription over a doorway, which tallies with the bombastic epithets +assumed by "The Last of the Tribunes" in his pompous letter of Aug. 1, +1347, when, in his semi-madness, he summoned kings and emperors to +appear before his judgment-seat. The inscription closes:—</p> + +<p><a name="vol_1_page_237" id="vol_1_page_237"></a></p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Primus de primis magnus Nicolaus ab imis,<br /></span> +<span class="ist">Erexit patrum decus ob renovare suorum.<br /></span> +<span class="ist">Stat patris Crescens matrisque Theodora nomen.<br /></span> +<span class="ist">Hoc culmen clarum caro de pignore gessit,<br /></span> +<span class="ist">Davidi tribuit qui pater exhibuit."<br /></span> +</div></div> + +<p>It is believed, from the inscription, that the house was fortified by +Nicholas, son of Crescentius and Theodora, who gave it to David, his +son; that the Crescentius alluded to was son of the famous patrician who +headed the populace against Otho III.; and that, three centuries later, +the house may have belonged to Cola di Rienzi, a name which is, in fact, +only popular language for Niccola Crescenzo. It is, however, known that +Rienzi was not born in this house, but in a narrow street behind S. +Tommaso, in the Rione alla Regola, where his father Lorenzo kept an inn, +and his mother, Maddalena, gained her daily bread as a washerwoman and +water-carrier—so were the Crescenzi fallen!</p> + +<p>Here is the entrance to a suspension-bridge, which joins the remaining +arches of the <i>Ponte Rotto</i>, and leads to the Trastevere. On this site +was the Pons Æmilius, begun, <small>B.C.</small> 180, by M. Æmilius Lepidus and Marcus +Fulvius Nobilior, and finished by P. Scipio Africanus and L. Mummius, +the censors, in <small>B.C.</small> 142. Hence the body of the Emperor Heliogabalus was +thrown into the Tiber. The bridge has been three times rebuilt by +different popes, but two of its arches were finally carried away in an +inundation of 1598, and have never since been replaced. The existing +remains, which only date from the time of Julius III., are highly +picturesque.</p> + +<div class="blockquot"><p>"Quand on a établi un pont en fil de fer, on lui a donné pour base +les piles du Ponte-Rotto, élevé au moyen âge sur les fondements du +Pons Palatinus, qui fut achevé sous la censure de Scipion +l'Africain. Scipion l'Africain et un pont en fil de fer, voilà de +ces contrastes qu'on ne trouve qu'à Rome."—<i>Ampère, Emp.</i> ii. 209.</p></div> + +<p>From this bridge is the best view of the Isola Tiberina and its bridges, +and hence, also, the Temple of Vesta is<a name="vol_1_page_238" id="vol_1_page_238"></a> seen to great advantage. Just +below is the mouth of the Cloaca Maxima.</p> + +<div class="blockquot"><p>"Quand du Ponte-Rotto on considère le triple cintre de l'ouverture +par laquelle la Cloaca Maxima se déchargeait dans le Tibre, on a +devant les yeux un monument qui rappelle beaucoup de grandeur et +beaucoup d'oppression. Ce monument extraordinaire est une page +importante de l'histoire romaine. Il est à la fois la suprême +expression de la puissance des rois étrusques et le signe +avant-coureur de leur chute. L'on croit voir l'arc triomphal de la +royauté par où devait entrer la république."—<i>Ampère, Hist. Rom.</i> +ii. 233.</p></div> + +<p>In the bed of the river a little lower down may be seen, at low water, +some massive fragments of masonry. Here stood the <i>Pons Sublicius</i>, the +oldest bridge in Rome, built by Ancus Martius (<small>B.C.</small> 639), on which +Horatius Cocles and his two companions "kept the bridge" against the +Etruscan army of Lars Porsenna, till—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Back darted Spurius Lartius;<br /></span> +<span class="i2">Herminius darted back:<br /></span> +<span class="i0">And, as they passed, beneath their feet<br /></span> +<span class="i2">They felt the timbers crack.<br /></span> +<span class="i0">But when they turned their faces,<br /></span> +<span class="i2">And on the farther shore<br /></span> +<span class="i0">Saw brave Horatius stand alone,<br /></span> +<span class="i2">They would have crossed once more.<br /></span> +</div><div class="stanza"> +<span class="i0">"But with a crash like thunder<br /></span> +<span class="i2">Fell every loosened beam,<br /></span> +<span class="i0">And, like a dam, the mighty wreck<br /></span> +<span class="i2">Lay right athwart the stream:<br /></span> +<span class="i0">And a long shout of triumph<br /></span> +<span class="i2">Rose from the walls of Rome,<br /></span> +<span class="i0">As to the highest turret-tops<br /></span> +<span class="i2">Was splashed the yellow foam."<br /></span> +<span class="i15"><i>Macaulay's Lays.</i><br /></span> +</div></div> + +<p>The name "Sublicius" came from the wooden beams of its construction, +which enabled the Romans to cut it away.<a name="vol_1_page_239" id="vol_1_page_239"></a> The bridge was rebuilt by +Tiberius and again by Antoninus Pius, each time of beams, but upon stone +piers, of which the present remains are fragments, the rest having been +destroyed by an inundation in the time of Adrian I.</p> + +<p>On the Trastevere bank, between these two bridges, half hidden in shrubs +and ivy (but worth examination in a boat), are two gigantic <i>Heads of +Lions</i>, to which in ancient times chains were fastened, and drawn across +the river to prevent hostile vessels from passing.</p> + +<p>Near this we enter the <i>Via S. Giovanni Decollato</i>, decorated with +numerous heads of John the Baptist in the dish, let into the walls over +the doors of the houses. The "Confraternità della Misericordia di S. +Giovanni Decollato," founded in 1488, devote themselves to criminals +condemned to death. They visit them in prison, accompany them to +execution, receive their bodies, and offer masses for their souls in +their little chapel. Vasari gives the highest praise to two pictures of +Francesco Salviati in the Church of S. Giov. Decollato, "before which +all Rome stood still in admiration,"—representing the appearance of the +angel to Zacharias, and the meeting of the Virgin and Elizabeth.</p> + +<p>On the left is the <i>Hospital of Sta. Galla</i>, commemorating the pious +foundation of a Roman matron in the time of John I. (523—526), who +attained such celebrity, that she is still commemorated in the Roman +mass by the prayer—</p> + +<div class="blockquot"><p>"Almighty and merciful God, who didst adorn the blessed Galla with +the virtue of a wonderful love towards thy poor; grant us, through +her merits and prayers, to practise works of love, and to obtain +Thy mercy, through the Lord, &c. Amen."</p></div> + +<p>On, or very near this site, stood the <i>Porta Carmentalis</i>, which, with +the temple beside it, commemorated Carmenta,<a name="vol_1_page_240" id="vol_1_page_240"></a> the supposed mother of +Evander, a Sabine prophetess, who is made by Ovid to predict the future +grandeur of Rome.<a name="FNanchor_88_88" id="FNanchor_88_88"></a><a href="#Footnote_88_88" class="fnanchor">[88]</a> Carmenta was especially invoked by women in +childbirth. The Porta Carmentalis was reached from the Forum by the +Vicus Jugarius. It was by this route that the Fabii went forth to meet +their doom in the valley of the Crimera. The Porta had two gates—one +for those who entered, the other for those who left it, so that in each +case the passenger passed through the "Janus," as it was called, upon +his right. After the massacre of the Fabii, the road by which they left +the city was avoided, and the Janus Carmentalis on the right was closed, +and called the Porta Scelerata.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Carmentis portæ dextro via proxima Jano est<br /></span> +<span class="i0">Ire per hanc noli, quisquis es; omen habet."<br /></span> +<span class="i15"><i>Ovid, Fast.</i> ii. 201.<br /></span> +</div></div> + +<p>Just beyond the Porta Carmentalis was the district called <i>Tarentum</i>, +where there was a subterranean "Ara Ditis Patris et Proserpinæ."</p> + +<p>We now reach (left) the <i>Church of S. Nicolo in Carcere</i>. It has a mean +front, with an inscription in honour of one of the Aldobrandini family, +and is only interesting as occupying the site of the three <i>Temples of +Juno Matuta, Piety(?), and Hope</i>, which are believed to mark the site of +the Forum Olitorium. The vaults beneath the church contain the massive +substructions of these temples, and fragments of their columns.</p> + +<p>The central temple is believed to be that of Piety, built by M. Acilius +Glabrio, the duumvir, in <small>B.C.</small> 165 (though Pliny says that this temple +was on the site afterwards occupied<a name="vol_1_page_241" id="vol_1_page_241"></a> by the theatre of Marcellus), in +fulfilment of a vow made by his father, a consul of the same name, on +the day of his defeating the forces of Antiochus the Great, king of +Syria, at Thermopylæ. Others endeavour to identify it with the temple +built on the site of the Decemviral prisons, to keep up the recollection +of the famous story, called the "Caritas Romana,"—of a woman condemned +to die of hunger in prison being nourished by the milk of her own +daughter. Pliny and Valerius Maximus tell the story as of a mother; +Festus only speaks of a father;<a name="FNanchor_89_89" id="FNanchor_89_89"></a><a href="#Footnote_89_89" class="fnanchor">[89]</a>—yet art and poetry have always +followed the latter legend. A cell is shown, by torchlight, as the scene +of this touching incident.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"There is a dungeon, in whose dim drear light<br /></span> +<span class="i0">What do I gaze on? Nothing. Look again!<br /></span> +<span class="i0">Two forms are slowly shadowed on my sight—<br /></span> +<span class="i0">Two insulated phantoms of the brain:<br /></span> +<span class="i0">It is not so; I see them full and plain—<br /></span> +<span class="i0">An old man, and a female young and fair,<br /></span> +<span class="i0">Fresh as a nursing mother, in whose vein<br /></span> +<span class="i0">The blood is nectar:—but what doth she there,<br /></span> +<span class="i0">With her unmantled neck, and bosom white and bare?<br /></span> +</div><div class="stanza"> +<span class="i0">"But here youth offers to old age the food,<br /></span> +<span class="i0">The milk of his own gift:—it is her sire,<br /></span> +<span class="i0">To whom she renders back the debt of blood<br /></span> +<span class="i0">Born with her birth. No, he shall not expire<br /></span> +<span class="i0">While in those warm and lovely veins the fire<br /></span> +<span class="i0">Of health and holy feeling can provide<br /></span> +<span class="i0">Great Nature's Nile, whose deep stream rises higher<br /></span> +<span class="i0">Than Egypt's river;—from that gentle side<br /></span> +<span class="i0">Drink, drink, and live, old man! Heaven's realm holds no such tide.<a name="vol_1_page_242" id="vol_1_page_242"></a><br /></span> +</div><div class="stanza"> +<span class="i0">"The starry fable of the milky-way<br /></span> +<span class="i0">Has not thy story's purity; it is<br /></span> +<span class="i0">A constellation of a sweeter ray,<br /></span> +<span class="i0">And sacred Nature triumphs more in this<br /></span> +<span class="i0">Reverse of her decree, than in the abyss<br /></span> +<span class="i0">Where sparkle distant worlds:—Oh, holiest nurse!<br /></span> +<span class="i0">No drop of that clear stream its way shall miss<br /></span> +<span class="i0">To thy sire's heart, replenishing its source<br /></span> +<span class="i0">With life, as our freed souls rejoin the universe."<br /></span> +<span class="i15"><i>Childe Harold.</i><br /></span> +</div></div> + +<p>A memorial of this story of a prison is preserved in the name of the +church—S. Nicolo <i>in Carcere</i>. It was probably owing to this legend +that, in front of the Temple of Piety, was placed the <i>Columna +Lactaria</i>, where infants were exposed, in the hope that some one would +take pity upon and nurse them out of charity.</p> + +<p>A wide opening out of the street near this, with a pretty fountain, is +called the <i>Piazza Montanara</i>, and is one of the places where the +country people collect and wait for hire.</p> + +<div class="blockquot"><p>"Le dimanche est le jour où les paysans arrivent à Rome. Ceux qui +cherchent l'emploi de leurs bras viennent se louer aux marchands de +campagne, c'est-à-dire aux fermiers. Ceux qui sont loués et qui +travaillent hors des murs viennent faire leurs affaires et +renouveler leurs provisions. Ils entrent en ville au petit jour +après avoir marché une bonne partie de la nuit. Chaque famille +amène un âne, qui porte le bagage. Hommes, femmes, et enfants, +poussant leur âne devant eux, s'établissent dans un coin de la +place Farnèse, ou de la place Montanara. Les boutiques voisines +restent ouvertes jusqu'à midi, par un privilège spécial. On va, on +vient, on achète, on s'accroupit dans les coins pour compter les +pièces de cuivre. Cependant les ânes se reposent sur leurs quatre +pieds au bord des fontaines. Les femmes, vêtues d'un corset en +cuirasse, d'un tablier rouge, et d'une veste rayée, encadrent leur +figure hâlée dans une draperie de linge très-blanc. Elles sont +toutes à peindre sans exception: quand ce n'est pas pour la beauté +de leurs traits, c'est pour l'élégance naïve de leurs attitudes. +Les hommes ont le long manteau bleu de ciel et le chapeau pointu; +là-dessous leurs<a name="vol_1_page_243" id="vol_1_page_243"></a> habits de travail font merveille, quoique roussis +par le temps et couleur de perdrix. Le costume n'est pas uniforme; +on voit plus d'un manteau amadou rapiécé de bleu vif ou de rouge +garance. Le chapeau de paille abonde en été. La chaussure est +très-capricieuse; soulier, botte et sandale foulent successivement +le pavé. Les déchaussés trouvent ici près de grandes et profondes +boutiques où l'on vend des marchandises d'occasion. Il y a des +souliers de tout cuir et de tout âge dans ces trésors de la +chaussure; on y trouverait des cothurnes de l'an 500 de la +république, en cherchant bien. Je viens de voir un pauvre diable +qui essayait une paire de bottes à revers. Elles vont à ses jambes +comme une plume à l'oreille d'un porc, et c'est plaisir de voir la +grimace qu'il fait chaque fois qu'il pose le pied à terre. Mais le +marchand le fortifie par de bonnes paroles: 'Ne crains rien,' lui +dit-il, 'tu souffriras pendant cinq ou six jours, et puis tu n'y +penseras plus.' Un autre marchand débite des clous à la livre: le +chaland les enfonce lui-même dans ses semelles; il y a des bancs +<i>ad hoc</i>. Le long des murs, cinq ou six chaises de paille servent +de boutique à autant de barbiers en plein vent. Il en coute un sou +pour abattre une barbe de huit jours. Le patient, barbouillé de +savon, regarde le ciel d'un œil résigné; le barbier lui tire le +nez, lui met les doigts dans la bouche, s'interrompt pour aiguiser +le rasoir sur un cuir attaché au dossier de la chaise, ou pour +écorner une galette noire qui pend au mur. Cependant l'opération +est faite en un tour de main; le rasé se lève et sa place est +prise. Il pourrait aller se laver à la fontaine, mais il trouve +plus simple de s'essuyer du revers de sa manche.</p> + +<p>"Les écrivains publics alternent avec les barbiers. On leur apporte +les lettres qu'on a reçues; ils les lisent et font la réponse: +total, trois sous. Dès qu'un paysan s'approche de la table pour +dicter quelque-chose, cinq ou six curieux se réunissent +officieusement autour de lui pour mieux entendre. Il y a une +certaine bonhomie dans cette indiscrétion. Chacun place son mot, +chacun donne un conseil: 'Tu devrais dire ceci.'—'Non; dis plutôt +cela.'—'Laissez-le parler,' crie un troisième, 'il sait mieux que +vous ce qu'il veut faire écrire.'</p> + +<p>"Quelques voitures chargées de galettes d'orge et de maïs circulent +au milieu de la foule. Un marchand de limonade, armé d'une pince de +bois, écrase les citrons dans les verres. L'homme sobre boit à la +fontaine en faisant un aqueduc des bords de son chapeau. Le gourmet +achète des viandes d'occasion devant un petit étalage, où les +rebuts de cuisine se vendent à la poignée. Pour un sou, le débitant +remplit de bœuf haché et d'os de côtelettes un morceau de vieux +journal; une pincée de sel ajoutée sur le tout pare agréablement la +denrée. L'acheteur<a name="vol_1_page_244" id="vol_1_page_244"></a> marchande, non sur le prix, qui est invariable, +mais sur la quantité; il prend au tas quelques bribes de viande, et +on le laisse faire; car rien ne se conclut à Rome sans marchander.</p> + +<p>"Les ermites et les moines passent de groupe en groupe en quêtant +pour les âmes du purgatoire. M'est avis que ces pauvres ouvriers +font leur purgatoire en ce monde; et qu'il vaudrait mieux leur +donner de l'argent que de leur en demander; ils donnent pourtant, +et sans se faire tirer l'oreille.</p> + +<p>"Quelquefois un beau parleur s'amuse à raconter une histoire; on +fait cercle autour de lui, et à mesure que l'auditoire augmente il +élève la voix. J'ai vu de ces conteurs qui avaient la physionomie +bien fine et bien heureuse; mais je ne sais rien de charmant comme +l'attention de leur public. Les peintres du quinzième siècle ont dû +prendre à la place Montanara les disciples qu'ils groupaient autour +du Christ."—<i>About, Rome Contemporaine.</i></p></div> + +<p>An opening on the left discloses the vast substructions of the <i>Theatre +of Marcellus</i>. This huge edifice seems to have been projected by Julius +Caesar, but he probably made little progress in it. It was actually +erected by Augustus, and dedicated (<i>c.</i> 13 <small>B.C.</small>) in memory of the young +nephew whom he married to his daughter Julia, and intended as his +successor, but who was cut off by an early death. The theatre was +capable of containing 20,000 spectators, and consisted of three tiers of +arches, but the upper range has disappeared, and the lower is very +imperfect. Still it is a grand remnant, and rises magnificently above +the paltry houses which surround it. The perfect proportions of its +Doric and Ionic columns served as models to Palladio.</p> + +<div class="blockquot"><p>"Le mur extérieur du portique demi-circulaire qui enveloppait les +gradins offre encore à notre admiration deux étages d'arceaux et de +colonnes doriques et ioniques d'une beauté presque grecque. L'étage +supérieur, qui devait être corinthien, a disparu. Les <i>fornices</i>, +ou voûtes du rez-de chaussée, sont habitées encore aujourd'hui +comme elles l'étaient dans l'antiquité, mais plus honnêtement, par +de pauvres gens qui<a name="vol_1_page_245" id="vol_1_page_245"></a> vendent des ferrailles. Au-dessous des belles +colonnes de l'enceinte extérieure, on a construit des maisons +modernes dans lesquelles sont pratiquées des fenêtres, et à ces +fenêtres du théâtre de Marcellus, on voit des pots à fleurs, ni +plus ni moins qu à une mansarde de la rue Saint Denis; des chemises +sèchent sur l'entablement; des cheminées surmontent la ruine +romaine, et un grand tube se dessine à l'extrémité.</p> + +<p>"Dans les jeux célébrés à l'occasion de la dédicace du théâtre de +Marcellus, on vit pour la première fois un tigre apprivoisé, +<i>tigrim mansuefactum</i>. Dans ce tigre le peuple romain pouvait +contempler son image."—<i>Ampère, Emp.</i> i. 256.</p></div> + +<p>In the middle ages this theatre was the fortress of the great family of +Pierleoni, the rivals of the Frangipani, who occupied the Coliseum; +their name is commemorated by the neighbouring street, Via Porta Leone. +The constant warfare in which they were engaged with their neighbours +did much to destroy the building, whose interior became reduced to a +mass of ruins, forming a hill, upon which Baldassare Peruzzi (1526) +built the <i>Palazzo Savelli</i>, of which the entrance, flanked by the two +armorial bears of the family, may be seen in the street (Via Savelli) +which leads to the Ponte Quattro Capi.</p> + +<div class="blockquot"><p>"Au dix-septième siècle, les Savelli exerçaient encore une +jurisdiction féodale. Leur tribunal, aussi régulièrement constitué +que pas un, s'appellait Corte Savella.<a name="FNanchor_90_90" id="FNanchor_90_90"></a><a href="#Footnote_90_90" class="fnanchor">[90]</a> Ils avaient le droit +d'arracher tous les ans un criminel à la peine de mort: droit de +grâce, droit régalien reconnu par la monarchie absolue des papes. +Les femmes de cette illustre famille ne sortaient point de leurs +palais sinon dans un carosse bien fermé. Les Orsini et les Colonna +se vantaient que pendant les siècles, aucun traité de paix n'avait +été conclu entre les princes chrétiens, dans lequel ils n'eussent +été nominativement compris."—<i>About.</i></p></div> + +<p>The palace has now passed to the family of Orsini-Gravina, who descended +from a senator of <small>A.D.</small> 1200. The<a name="vol_1_page_246" id="vol_1_page_246"></a> princes of Orsini and Colonna, in +their quality as attendants on the throne (<i>principi assistenti al +soglio</i>), take precedence of all other Roman nobles.</p> + +<div class="blockquot"><p>"Nicolovius will remember the Theatre of Marcellus, in which the +Savelli family built a palace. My house is half of it. It has stood +empty for a considerable time, because the drive into the courtyard +(the interior of the ancient theatre) rises like the slope of a +mountain upon the heaps of rubbish; although the road has been cut +in a zig-zag, it is still a break-neck affair. There is another +entrance from the Piazza Montanara, whence a flight of +seventy-three steps leads up to the same story I have mentioned; +the entrance-hall of which is on a level with the top of the +carriage-way through the courtyard. The apartments in which we +shall live are those over the colonnade of Ionic pillars forming +the third story of the ancient theatre, and some, on a level with +them, which have been built out like wings on the rubbish of the +ruins. These enclose a little quadrangular garden, which is indeed +very small, only about eighty or ninety feet long, and scarcely so +broad, but so delightful! It contains three fountains—an abundance +of flowers: there are orange-trees on the wall between the windows, +and jessamine under them. We mean to plant a vine besides. From +this story, you ascend forty steps, or more, higher, where I mean +to have my own study, and there are most cheerful little rooms, +from which you have a prospect over the whole country beyond the +Tiber, Monte Mario, and St. Peter's, and can see over St. Pietro in +Montorio, indeed almost as far as the Aventine. It would, I think, +be possible besides to erect a loggia upon the roof (for which I +shall save money from other things), that we may have a view over +the Capitol, Forum, Palatine, Coliseum, and all the inhabited parts +of the city."—<i>Niebuhr's Letters.</i></p></div> + +<p>Following the wall of the theatre, down a filthy street, we arrive at +the picturesque group of ruins of the "Porticus Octaviæ," erected by +Augustus, in honour of his sister (the unhappy wife of Antony), close to +the theatre to which he had given the name of her son. The exact form of +the building is known from the Pianta Capitolina,—that it was a +parallelogram, surrounded by a double arcade of 270 columns, and +enclosing the temples of Jupiter<a name="vol_1_page_247" id="vol_1_page_247"></a> and Juno, built by the Greek +architects, Batracus and Saurus.<a name="FNanchor_91_91" id="FNanchor_91_91"></a><a href="#Footnote_91_91" class="fnanchor">[91]</a></p> + +<p>With regard to these temples, Pliny narrates a fact which reminds one of +the story of the Madonna of Sta. Maria Nuova.<a name="FNanchor_92_92" id="FNanchor_92_92"></a><a href="#Footnote_92_92" class="fnanchor">[92]</a> The porters having +carelessly carried the statues of the gods to the wrong temples, it was +imagined that they had done so from divine inspiration, and the people +would not venture to remove them, so that the statues always remained +where they had been placed, though their surroundings were utterly +unsuitable.</p> + +<p>The <i>Portico of Octavia</i> built by Augustus, occupied the site of an +earlier portico—the Porticus Metelli—built by A. Cæcilius Metellus, +after his triumph over Andriscus in Macedonia, in <small>B.C.</small> 146. Temples of +Jupiter Stator and Juno existed also in this portico, one of them being +the earliest temple built of marble in Rome. Before these temples +Metellus placed the famous group of twenty-five bronze statues, which he +had brought from Greece, executed by Lysippus for Alexander the Great, +and representing that conqueror himself and twenty-four horsemen of his +troop who had fallen at the Granicus.<a name="FNanchor_93_93" id="FNanchor_93_93"></a><a href="#Footnote_93_93" class="fnanchor">[93]</a></p> + +<p>The existing fragment of the portico is the original entrance to the +whole. The building had suffered from fire in the reign of Titus, and +was restored by Septimius Severus, and of this time is the large brick +arch on one side of the ruin.</p> + +<div class="blockquot"><p>"It was in this hall of Octavia that Titus and Vespasian celebrated +their triumph over Israel with festive pomp and splendour. Among +the Jewish spectators stood the historian Flavius Josephus, who was +one of<a name="vol_1_page_248" id="vol_1_page_248"></a> the followers and flatterers of Titus ... and to this base +Jewish courtier we owe a description of the +triumph."—<i>Gregorovius, Wanderjahre in Italien.</i></p></div> + +<p>Within the portico is the <i>Church of S. Angelo in Pescheria</i>. Here it +was that Cola Rienzi summoned, at midnight—May 20, 1347—all good +citizens to hold a meeting for the re-establishment of "the good +estate;" here he kept the vigil of the Holy Ghost; and hence he went +forth, bareheaded, in complete armour, accompanied by the papal legate, +and attended by a vast multitude, to the Capitol, where he called upon +the populace to ratify the Good Estate.</p> + +<p>It is said that one of the causes which most incited the indignation of +Rienzi against the assumption and pride of the Roman families, was the +fact of their painting their arms on the ancient Roman buildings, and +thus in a manner appropriating them to their own glory. Remains of coats +of arms thus painted may be seen on the front wall of the Portico of +Octavia. It was also on this very wall that Rienzi painted his famous +allegorical picture. In this painting kings and men of the people were +seen burning in a furnace, with a woman half consumed, who personified +Rome,—and on the right was a church, whence issued a white-robed angel, +bearing in one hand a naked sword, while with the other he plucked the +woman from the flames. On the church tower were SS. Peter and Paul, +crying to the angel, "Aquilo, aquilo, succurri a l'albergatrice +nostra,"—and beyond this were represented falcons (typical of the Roman +barons) falling from heaven into the flames, and a white dove bearing a +wreath of olive, which it gave to a little bird (Rienzi), which was +chased by the falcons. Beneath was inscribed:<a name="vol_1_page_249" id="vol_1_page_249"></a> "I see the time of great +justice, do thou await that time."</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Then turn we to her latest tribune's name,<br /></span> +<span class="i0">From her ten thousand tyrants turn to thee,<br /></span> +<span class="i0">Redeemer of dark centuries of shame—<br /></span> +<span class="i0">The friend of Petrarch—hope of Italy—<br /></span> +<span class="i0">Rienzi! last of Romans! While the tree<br /></span> +<span class="i0">Of Freedom's wither'd trunk puts forth a leaf,<br /></span> +<span class="i0">Even for thy tomb a garland let it be—<br /></span> +<span class="i0">The forum's champion, and the people's chief—<br /></span> +<span class="i0">Her newborn Numa thou—with reign, alas! too brief."<br /></span> +<span class="i15"><i>Childe Harold.</i><br /></span> +</div></div> + +<p>Through the brick arch of the Portico we enter upon the ancient +<i>Pescheria</i>, with the marble fish-slabs of imperial times still +remaining in use. It is a striking scene—the dark, many-storied houses +almost meeting overhead and framing a narrow strip of deep blue +sky,—below, the bright groups of figures and rich colouring of hanging +cloths and drapery.</p> + +<div class="blockquot"><p>"C'est une des ruines les plus remarquables de Rome, et une de +celles qui offrent ces contrastes piquants entre le passé et le +présent, amusement perpétuel de l'imagination dans la ville des +contrastes. Le portique d'Octavie est, aujourd'hui, le marché aux +poissons. Les colonnes et le fronton s'élèvent au milieu de +l'endroit le plus sale de Rome; leur effet n'en est pas moins +pittoresque, il l'est peut-être davantage. Le lieu est fait pour +une aquarelle, et quand un beau soleil éclaire les débris antiques, +les vieux murs sombres de la rue étroite où la poisson se vend sur +des tables de marbre blanc, et à travers laquelle des nattes sont +tendues, on a, à côté du monument romain, le spectacle d'un marché +du moyen âge, et un peu le souvenir d'un bazar d'Orient."—<i>Ampère, +Emp.</i> i. 179.</p></div> + +<div class="blockquot"><p>"Who that has ever been to Rome does not remember Roman streets of +an evening, when the day's work is done? They are all alive in a +serene and homelike fashion. The old town tells its story. Low +arches cluster with life—a life humble and stately, though rags +hang from the citizens and the windows. You realize it as you pass +them—their temples are in ruins, their rule is over—their +colonies have revolted<a name="vol_1_page_250" id="vol_1_page_250"></a> long centuries ago. Their gates and their +columns have fallen like the trees of a forest, cut down by an +invading civilization."—<i>Miss Thackeray.</i></p></div> + +<hr style="width: 15%;" /> + +<p>Here we are in the centre of the Jews' quarter—the famous <i>Ghetto</i>.</p> + +<p>The name "Ghetto" is derived from the Hebrew word <i>chat</i>, broken, +destroyed, shaven, cut down, cast off, abandoned (see the Hebrew in +Isaiah xiv. 12; xv. 2; Jer. xlviii. 25, 27; Zech. xi. 10—14; &c.). The +first Jewish slaves were brought to Rome by Pompey the Great, after he +had taken Jerusalem, and forcibly entered the Holy of Holies. But for +centuries after this they lived in Rome in wealth and honour, their +princes Herod and Agrippa being received with royal distinction, and +finding a home in the Palace of the Cæsars,—in which Berenice (or +Veronica), the daughter of Agrippa, presided as the acknowledged +mistress of Titus, who would willingly have made her empress of Rome. +The chief Jewish settlement in imperial times was nearly on the site of +their present abode, but they were not compelled to live here, and also +had a large colony in the Trastevere; and when St. Peter was at Rome (if +the Church tradition be true), he dwelt, with Aquila and Priscilla, on +the slopes of the Aventine. Julius, Augustus, and Tiberius Cæsar treated +the Jews with kindness, but under Caligula they already met with +ill-treatment and contempt,—that emperor being especially irritated +against them as the only nation which refused to yield him divine +honours, and because they had successfully resisted the placing of his +statue in the Holy of Holies at Jerusalem. On the destruction of +Jerusalem by Titus, thousands of Jewish slaves were brought to Rome, and +were employed on the building<a name="vol_1_page_251" id="vol_1_page_251"></a> of the Coliseum. At the same time +Vespasian, while allowing the Hebrews in Rome the free exercise of their +religion, obliged them to pay the tax of half a skekel, formerly paid +into the Temple treasury, to Jupiter Capitolinus,—and this custom is +still kept up in the annual tribute paid by the Jews in the Camera +Capitolina.</p> + +<p>Under Domitian the Jews were banished from the city to the valley of +Egeria, where they lived in a state of poverty and outlawry, which is +described by Juvenal,<a name="FNanchor_94_94" id="FNanchor_94_94"></a><a href="#Footnote_94_94" class="fnanchor">[94]</a> and occupied themselves with soothsaying, +love-charms, magic-potions, and mysterious cures.<a name="FNanchor_95_95" id="FNanchor_95_95"></a><a href="#Footnote_95_95" class="fnanchor">[95]</a></p> + +<p>During the reigns of the earlier popes, the Jews at Rome enjoyed a great +amount of liberty, and the anti-pope Anacletus II. (ob. 1138) was even +the grandson of a baptized Jew, whose family bore a leading part in +Rome, as one of the great patrician houses. The clemency with which the +Jews were regarded was, however, partly due to their skill as +physicians,—and long after their persecutions had begun (as late as +Martin V., 1417—31), the physician of the Vatican was a Jew. The first +really bitter enemy of the Jews was Eugenius IV. (Gabriele Condolmiere, +1431—39), who forbade Christians to trade, to eat, or to dwell with +them, and prohibited them from walking in the streets, from building new +synagogues, or from occupying any public post. Paul II. (1468) increased +their humiliation by compelling them to run races during the Carnival, +as the horses run now, amidst the hoots of the populace. This custom +continued for two hundred years. Sprenger's "Roma Nuova" of 1667, +mentions that "the asses ran first, then the Jews—naked, with only a +band round their loins—then<a name="vol_1_page_252" id="vol_1_page_252"></a> the buffaloes, then the Barbary horses." +It was Clement IX. (Rospigliosi), in 1668, who first permitted the Jews +to pay a sum equivalent to 1500 francs annually instead of racing.</p> + +<div class="blockquot"><p>"On the first Saturday in Carnival, it was the custom for the heads +of the Jews in Rome to appear as a deputation before the +Conservators in the Capitol. Throwing themselves upon their knees, +they offered a nosegay and twenty scudi with the request that this +might be employed to ornament the balcony in which the Roman Senate +sate in the Piazza del Popolo. In like manner they went to the +senator, and, after the ancient custom, implored permission to +remain in Rome. The senator placed his foot on their foreheads, +ordered them to stand up, and replied in the accustomed formula, +that Jews were not adopted in Rome, but allowed from compassion to +remain there. This humiliation has now disappeared, but the Jews +still go to the Capitol, on the first Saturday of Carnival, to +offer their homage and tribute for the pallii of the horses, which +they have to provide, in memory that now the horses amuse the +people in their stead."—<i>Gregorovius, Wanderjahre.</i></p></div> + +<p>The Jews were first shut up within the walls of the Ghetto by the +fanatical Dominican pope, Paul IV. (Gio. Pietro Caraffa, 1555—59), and +commanded never to appear outside it, unless the men were in yellow +hats, or the women in yellow veils. "For," says the Bull Cum Nimis,</p> + +<div class="blockquot"><p>"It is most absurd and unsuitable that the Jews, whose own crime +has plunged them into everlasting slavery, under the plea that +Christian magnanimity allows them, should presume to dwell and mix +with Christians, not bearing any mark of distinction, and should +have Christian servants, yea, even buy houses."</p></div> + +<p>The Ghetto, or Vicus Judæorum, as it was at first called, was shut in by +walls which reached from the Ponte Quattro Capi to the Piazza del +Pianto, or "Place of Weeping," whose name bears witness to the grief of +the people on the 26th July, 1556, when they were first forced into +their prison-house.</p> + +<div class="blockquot"><p>"Those Jews who were shut up in the Ghetto were placed in +possession<a name="vol_1_page_253" id="vol_1_page_253"></a> of the dwellings of others. The houses in that quarter +were the property of Romans, and some of them were inhabited by +families of consideration, such as the Boccapaduli. When these +removed they remained the proprietors and the Jews only tenants. +But as they were to live for ever in these streets, it was +necessary that the Jews should have a perpetual lease to defend +them against a twofold danger,—negligence on the part of the owner +to announce to his Jewish tenant when his possession expired, or +bankruptcy if the owner raised his rent. Thus originated a law +which established that the Romans should remain in possession of +the dwellings let to the Jews, but that the latter should hold the +houses in fee farm; that is, the expiration of the contract cannot +be announced to a Jewish tenant, and so long as he pays the lawful +rent, the rent can never be raised; the Jew at the same time may +alter or enlarge his house as he chooses. This still existing +privilege is called the Jus Gazzaga. By virtue of it a Jew is in +hereditary possession of the lease, and can sell it to his +relations or others, and to the present day it is a costly fortune +to be in possession of a Jus Gazzaga, or a hereditary lease. Highly +extolled is the Jewish maiden who brings her bridegroom such a +dowry. Through this salutary law the Jew became possessed of a +home, which to some extent he may call his own."—<i>Gregorovius.</i></p></div> + +<p>The Jews were kindly treated by Sixtus V. on the plea that they were +"the family from whom Christ came," and he allowed them to practise many +kinds of trades, and to have intercourse with Christians, and to build +houses, libraries, and synagogues, but his mild laws were all repealed +by Clement VIII. (Aldobrandini, 1592—1605), and under Clement XI. and +Innocent XIII. all trade was forbidden them, except that in old-clothes, +rags, and iron, "stracci feracci." To these Benedict XIV. (Lambertini) +added trade in drapery, with which they are still largely occupied. +Under Gregory XIII. (Buoncompagni, 1572—85) the Jews were forced to +hear a sermon every week in the church, first of S. Benedetto alla +Regola, then in S. Angelo in Peschiera, and every Sabbath police-agents +were sent into the Ghetto to drive men, women, and children into the<a name="vol_1_page_254" id="vol_1_page_254"></a> +church with scourges, and to lash them while there if they appeared to +be inattentive.</p> + +<div class="blockquot"><p>"Now was come about Holy Cross Day, and now must my lord preach his +first sermon to the Jews: as it was of old cared for in the +merciful bowels of the Church, that, so to speak, a crumb at least +from her conspicuous table here in Rome, should be, though but once +yearly, cast to the famishing dogs, undertrampled and bespitten +upon beneath the feet of the guests; and a moving sight in truth +this, of so many of the besotted, blind, restive, and +ready-to-perish Hebrews! now maternally brought—nay (for He saith, +'Compel them to come in'), haled, as it were, by the head and hair, +and against their obstinate hearts, to partake of the heavenly +grace...."—<i>Diary by the Bishop's Secretary,</i> 1600.</p></div> + +<p>Though what the Jews really said, on thus being driven to church, was +rather to this effect:—</p> + +<div class="poem"><div class="stanza"> +<span class="i6">IX.<br /></span> +</div><div class="stanza"> +<span class="i0">"Groan all together now, whee-hee-hee!<br /></span> +<span class="i0">It's a-work, it's a-work, ah, woe is me!<br /></span> +<span class="i0">It began, when a herd of us, picked and placed,<br /></span> +<span class="i0">Were spurred through the Corso, stripped to the waist;<br /></span> +<span class="i0">Jew-brutes, with sweat and blood well spent<br /></span> +<span class="i0">To usher in worthily Christian Lent.<br /></span> +</div><div class="stanza"> +<span class="i6">X.<br /></span> +</div><div class="stanza"> +<span class="i0">'It grew, when the hangman entered our bounds,<br /></span> +<span class="i0">Yelled, pricked us out to his church like hounds.<br /></span> +<span class="i0">It got to a pitch, when the hand indeed<br /></span> +<span class="i0">Which gutted my purse, would throttle my creed.<br /></span> +<span class="i0">And it overflows, when, to even the odd,<br /></span> +<span class="i0">Men I helped to their sins, help me to their God."<br /></span> +<span class="i15"><i>R. B. Browning, Holy Cross Day.</i><br /></span> +</div></div> + +<p>This custom of compelling Jews to listen to Christian sermons was +renewed by Leo XII., and was only abolished in the early years of Pius +IX. The walls of the Ghetto also remained, and its gates were closed at +night until the reign of the present pope, who removed the limits of the +Ghetto, and revoked all the oppressive laws against the Jews. The humane +feeling with which he regarded this hitherto oppressed<a name="vol_1_page_255" id="vol_1_page_255"></a> race is said to +have been first evinced,—when, on the occasion of his placing a liberal +alms in the hand of a beggar, one of his attendants interposed, saying, +"It is a Jew!" and the pope replied, "What does that matter, it is a +man?"</p> + +<div class="blockquot"><p>"The present population of the Ghetto is estimated at 3800, a +number out of all proportion, considering the small size of the +Ghetto, which covers less space than the fifth part of any small +town of 3000 inhabitants. The Jews are under the chief congregation +of the Inquisition, and their especial magistrate for all civil and +criminal processes is the Cardinal Vicar. The tribunal which +governs them consists of the Cardinal Vicar, the Prelato +Vicegerente, the Prelato Luogo-tenente Civile, and the Criminal +Lieutenant. In police matters, the President of the Region of S. +Angelo and Campitelli exercises the local police magistracy. The +Jewish community has itself the right of regulating its internal +order by the so-called Fattori del Ghetto, chosen every half-year. +The common tribute of the Ghetto to the state, and to various +religious bodies, amounts to about 13,000 francs."</p></div> + +<p>Opposite the gate of the Ghetto near the Ponte Quattro Capi a converted +Jew erected a church, which is still to be seen, with a painting of the +Crucifixion on its outside wall (upon which every Jew must look as he +comes out of the Ghetto), and underneath an inscription in large letters +of Hebrew and Latin from Isaiah, lxv. 2:—"All day long I have stretched +out my hands to a disobedient and gainsaying people." The lower streets +of the Ghetto, especially the Fiumara, which is nearest to the banks of +the Tiber, are annually overflowed during the spring rains and melting +of the mountain snows, which is productive of great misery and distress. +Yet in spite of this, and of the teeming population crowded into its +narrow alleys, the mortality was less here during the cholera than in +any other part of Rome, and malaria is unknown here, a freedom from +disease which may<a name="vol_1_page_256" id="vol_1_page_256"></a> perhaps be attributed to the Jewish custom of +whitewashing their dwellings at every festival. There is no Jewish +hospital, and if the Jews go to an ordinary hospital, they must submit +to a crucifix being hung over their beds. It is remarkable that the very +centre of the Jewish settlement should be the Portico of Octavia, in +which Vespasian and Titus celebrated their triumph after the fall of +Jerusalem. Here and there in the narrow alleys the seven-branched +candlestick may be seen carved on the house walls, a "yet living symbol +of the Jewish religion."</p> + +<p>Everything may be obtained in the Ghetto: precious stones, lace, +furniture of all kinds, rich embroidery from Algiers and Constantinople, +striped stuffs from Spain,—but all is concealed and under cover. "Cosa +cercate," the Jew shopkeepers hiss at you as you thread their narrow +alleys, and try to entice you into a bargain with them. The same article +is often passed on by a mutual arrangement from shop to shop, and meets +you wherever you go. On Friday evening all shops are shut, and bread is +baked for the Sabbath, all merchandise is removed, and the men go to the +synagogue, and wish each other "a good Sabbath," on their return.<a name="FNanchor_96_96" id="FNanchor_96_96"></a><a href="#Footnote_96_96" class="fnanchor">[96]</a></p> + +<p>In the Piazza della Scuola are five schools under one roof—the Scuola +del Tempio, Catilana, Castigliana, Siciliana, and the Scuola Nuova, +"which show that the Roman Ghetto is divided into five districts or +parishes, each of which represents a particular race, according to the +prevailing nationality of the Jews, whose fathers have been either +Roman-Jewish from ancient times, or have been brought hither from Spain +and Sicily; the Temple-district<a name="vol_1_page_257" id="vol_1_page_257"></a> is said above all others to assert its +descent from the Jews of Titus." In the same piazza, is the chief +synagogue, richly adorned with sculpture and gilding. On the external +frieze are represented in stucco the seven-branched candlestick, David's +harp, and Miriam's timbrel. The interior is highly picturesque and +quaint, and is hung with curious tapestries on festas. The frieze which +surrounds it represents the temple of Solomon with all its sacred +vessels. A round window in the north wall, divided into twelve panes of +coloured glass, is symbolical of the twelve tribes of Israel, and a type +of the Urim and Thummim. "To the west is the round choir, a wooden desk +for singers and precentors. Opposite, in the eastern wall, is the Holy +of Holies, with projecting staves (as if for the carrying of the ark) +resting on Corinthian columns. It is covered by a curtain, on which +texts and various devices of roses and tasteful arabesques in the style +of Solomon's temple are embroidered in gold. The seven-branched +candlestick crowns the whole. In this Holy of Holies lies the sealed +Pentateuch, a large parchment roll. This is borne in procession through +the hall and exhibited from the desk towards all the points of the +compass, whereat the Jews raise their arms and utter a cry."</p> + +<div class="blockquot"><p>"On entering the Ghetto, we see Israel before its tents, in full +restless labour and activity. The people sit in their doorways, or +outside in the streets, which receive hardly more light than the +damp and gloomy chambers, and grub amid their old trumpery, or +patch and sew diligently. It is inexpressible what a chaos of +shreds and patches (called <i>Cenci</i> in Italian) is here accumulated. +The whole world seems to be lying about in countless rags and +scraps, as Jewish plunder. The fragments lie in heaps before the +doors, they are of every kind and colour,—gold fringes, scraps of +silk brocade, bits of velvet, red patches,<a name="vol_1_page_258" id="vol_1_page_258"></a> blue patches, orange, +yellow, black and white, torn, old, slashed and tattered pieces, +large and small. I never saw such varied rubbish. The Jews might +mend up all creation with it, and patch the whole world as gaily as +harlequin's coat. There they sit and grub in their sea of rags, as +though seeking for treasures, at least for a lost gold brocade. For +they are as good antiquarians as any of those in Rome, who grovel +amongst the ruins to bring to light the stump of a column, a +fragment of a relief, an ancient inscription, a coin, or such +matters. Each Hebrew Winckelmann in the Ghetto lays out his rags +for sale with a certain pride, as does the dealer in marble +fragments. The latter boasts a piece of giallo-antico, the Jew can +match it with an excellent fragment of yellow silk; porphyry here +is represented by a piece of dark red damask, verde-antico by a +handsome patch of ancient green velvet. And there is neither jasper +nor alabaster, black marble, or white, or parti-coloured, which the +Ghetto antiquarian is not able to match. The history of every +fashion from Herod the Great to the invention of paletôts, and of +every mode of the highest as well as of the lower classes may be +collected from these fragments, some of which are really +historical, and may once have adorned the persons of Romulus, +Scipio Africanus, Hannibal, Cornelia, Augustus, Charlemagne, +Pericles, Cleopatra, Barbarossa, Gregory VII., Columbus, and so +forth.</p> + +<p>"Here sit the daughters of Zion on these heaps and sew all that is +capable of being sewn. Great is their boasted skill in all work of +mending, darning, and fine-drawing, and it is said that even the +most formidable rent in any old drapery or garment whatsoever, +becomes invisible under the hands of these Arachnes. It is chiefly +in the Fiumara, the street lying lowest and nearest to the river, +and in the street corners (one of which is called Argumille, <i>i.e.</i> +of unleavened bread), that this business is carried on. I have +often seen with a feeling of pain the pale, stooping, starving +figures, laboriously plying the needle,—men as well as women, +girls, and children. Misery stares forth from the tangled hair, and +complains silently in the yellow-brown faces, and no beauty of +feature recalls the countenance of Rachel, Leah, or Miriam,—only +sometimes a glance from a deep-sunk, piercing black eye, that looks +up from its needle and rags, and seems to say—'From the daughter +of Zion, all her beauty is departed—she that was great among the +nations, and princess among the provinces, how is she become +tributary! She weepeth sore in the night, and her tears are on her +cheeks; among all her lovers she hath none to comfort her: all her +friends have dealt treacherously with her, they are become her +enemies. Judah is gone into captivity, because of affliction, and +because of great servitude; she dwelleth among the heathen, she +findeth no<a name="vol_1_page_259" id="vol_1_page_259"></a> rest; all her persecutors overtook her between the +straits. How hath the Lord covered the daughter of Zion with a +cloud in his anger!"—<i>Gregorovius, Wanderjahre.</i></p></div> + +<p>The narrow street which is a continuation of the Pescheria, emerges upon +the small square called <i>Piazza della Giudecca</i>. In the houses on the +left may be seen some columns and part of an architrave, being the only +visible remains of the <i>Theatre of Balbus</i>, erected by C. Cornelius +Balbus, a general who triumphed in the time of Augustus, with the spoils +taken from the Garamantes, a people of Africa. It was opened in the same +year as the Theatre of Marcellus, and though very much smaller, was +capable of containing as many as 11,600 spectators.</p> + +<p>To the right, still partly on the site of the ancient theatre, and +extending along one side of the Piazza delle Scuole, is the vast +<i>Palazzo Cenci</i>, the ancient residence of the famous Cenci family (now +represented by Count Cenci-Bolognetti), and the scene of many of the +terrible crimes and tragedies which stain its annals.</p> + +<div class="blockquot"><p>"The Cenci Palace is of great extent: and, though in part +modernized, there yet remains a vast and gloomy pile of feudal +architecture in the same state as during the dreadful scenes which +it once witnessed. The palace is situated in an obscure corner of +Rome, near the quarter of the Jews, and from the upper windows you +see the immense ruins of Mount Palatine, half hidden under the +profuse undergrowth of trees. There is a court in one part of the +palace supported by columns, and adorned with antique friezes of +fine workmanship, and built up, after the Italian fashion, with +balcony over balcony of open work. One of the gates of the palace, +formed of immense stones, and leading through a passage dark and +lofty, and opening into gloomy subterranean chambers, struck me +particularly."—<i>Shelley's Preface to "The Cenci."</i></p></div> + +<p>Opposite the further entrance of the Palace, is the tiny<a name="vol_1_page_260" id="vol_1_page_260"></a> Church of <i>S. +Tommaso del Cenci</i>, founded 1113 by Cencio, bishop of Sabina; granted by +Julius II. to Rocco Cenci;—and rebuilt in 1575 by the wicked Count +Cenci.</p> + +<div class="blockquot"><p>"In 1585, Francesco Cenci was the head of the family, a man of +passions so ungovernable and heart so depraved, that he hesitated +at no species of crime. His first wife was a Princess Santa Croce, +whom he is believed to have poisoned in order to marry the +beautiful Lucrezia Petroni. His domestic cruelties to his children, +especially to his three elder sons, Giacomo, Christoforo, and +Rocco, were so terrible, that they petitioned the reigning Pope +Clement VIII. to interfere in their behalf, but he abruptly +dismissed them as rebels against the paternal authority; one +daughter, Marguerita, alone escaped from her miserable home, being +given in marriage by the pope to a Signor Gabrielli.</p> + +<p>"The escape of this daughter made Francesco the more embittered +against the remainder of his family. His youngest child, Beatrice, +he immured in a solitary chamber, to which no one but himself was +admitted, and where he constantly starved and beat her severely. +When he received the news that his sons Christoforo and Rocco were +assassinated in the neighbourhood of Rome by an unknown hand, he +expressed the utmost joy, declaring that no money of his should +purchase masses for the repose of their souls, and that he could +have no peace until his wife and every child he had were in their +graves.</p> + +<p>"Lucrezia, believing that the monster whom she had espoused was +possessed, in spite of his cruelty, by a criminal passion for his +own daughter, attempted secretly to save her, by presenting a +memorial to the pope imploring him to give her in marriage to a +Signor Guerra, who had long been attached to her. But this petition +was intercepted by Francesco, who then carried off Lucrezia and his +two youngest children, Beatrice and Bernardo, to Petrella, a vast +and desolate castle in the Apennines. Guerra, and Giacomo the +eldest remaining brother of Beatrice, hired a band of banditti in +the Sabine hills who were to attack the party on the way, and to +carry off Francesco for a ransom, liberating the women;—but the +rescue arrived too late.</p> + +<p>"When they reached Petrella, Beatrice was incarcerated in a +subterranean dungeon, where she was persuaded that her lover Guerra +had been murdered, and was treated with such awful cruelty by her +father, that, for a time, she was deprived of her reason. One day a +servant, Marzio, whose betrothed had previously been seduced and +murdered by Francesco, roused by the shrieks of Beatrice, burst +into the room, and rushing upon his master dealt a terrible thrust +with a dagger on his<a name="vol_1_page_261" id="vol_1_page_261"></a> neck, exclaiming, 'I murder thee, assassin of +thy own blood.' But Cenci arose uninjured, to the horror of Marzio, +who imagined that only a demon could avert such a blow, and who was +ignorant that he wore under his vestments, even in bed, a coat of +mail which covered his entire body.</p> + +<p>"At length Beatrice contrived to communicate with her brother +Giacomo, who united with Guerra in hiring the services of Marzio +and of Olympio, another servant, who was inspired with an equal +thirst for vengeance upon Count Cenci. All felt that the death of +Francesco was the only hope for his unhappy family. The assassins +communicated with Lucrezia, who administered an opiate to her +husband, and then stole from him some keys which enabled her after +midnight to liberate Bernardo and Beatrice. The latter she found in +a state of stupefaction, and vainly endeavoured to rouse her, +signifying that the moment of escape had arrived. Beatrice showed +no symptom of surprise at the announcement, or at the visit of her +stepmother at that strange hour; she asked not how they had opened +her door, or how her liberty had been acquired. When they were all +assembled in the hall, Lucrezia told them the project, and asked +their aid. Bernardo at first hesitated, but Lucrezia roused him by +every argument she could urge and obtained his consent. Beatrice +made no reply.</p> + +<p>" ... Francesco Cenci was murdered in his sleep. Marzio placed a +large nail or iron bolt on his right eye, which Olympio, with one +blow of a hammer, drove straight into the brain. The deed thus +accomplished, Marzio and Olympio wrapped the dead body in a sheet, +and carried it to a small pavilion built at the end of a +terrace-walk, overlooking an orchard. From this height they cast it +down on an old gnarled elder-tree, in order that when the body +should be found the next morning, it might appear that whilst +walking on the terrace, the foot of the count had slipped, and that +he had fallen head-foremost on one of the stunted branches of the +tree, which, piercing through his eye to the brain, had caused his +death. Returning to the hall, they received from Lucrezia a purse +of gold; Marzio, carrying with him a valuable cloak trimmed with +gold lace, turned towards Beatrice (who still stood leaning against +the table), and saying, 'I shall keep this as a memorial of you,' +departed with Olympio. The report of Francesco's death was not +spread through the castle until the next morning. Lucrezia then +rushed through the house uttering cries. In a day or two the +funeral took place, and immediately after the family returned to +Rome. Giacomo took possession of the Cenci palace, and Beatrice +daily improved in health of body and mind.</p> + +<p>"Soon, however, the suspicious circumstances of Count Cenci's +death<a name="vol_1_page_262" id="vol_1_page_262"></a> excited attention; the body was exhumed and examined, and +the inhabitants of Petrella placed under arrest, when a washerwoman +deposed to having received bloody sheets from one of the +inhabitants of the castle—she thought from Beatrice—the day after +the murder. On hearing this, the fear that he would turn against +them, induced Signor Guerra to hire assassins to pursue Olympio, +whom they despatched at Terni; but Marzio was arrested, and +confessed the circumstances of the murder, though when confronted +with Beatrice, he proclaimed her innocence of it, and declared her +incapable of crime.</p> + +<p>"Guerra made good his escape, but the whole Cenci family were +thrown into prison and put to the torture. Giacomo, Bernardo, and +Lucrezia, unable to endure the sufferings of the rack, confessed at +once.</p> + +<p>"Such, however, was not the case with the young and beautiful +Beatrice. Full of spirit and courage, neither the persuasions nor +threats of Moscati the judge could extort from her the smallest +confession. She endured the torture of the cord with all the +firmness which the purity of her heart inspired. The judge failed +to extort from her lips a single word which could throw a shade +over her innocence, and at length, believing it useless to pursue +the torture further, he suspended the proceedings, and reported +them to the pope. But Clement VIII, suspecting that the +unwillingness of Moscati to believe Beatrice guilty was induced by +her extreme beauty, only replied by consigning the prosecution to +another judge, and Beatrice was left in the hands of Luciani, 'a +man whose heart was a stranger to every feeling of humanity.' Upon +her renewed protestations of innocence, he ordered the torture of +the Vigilia.</p> + +<p>"The torture of the Vigilia was as follows:—Upon a high +joint-stool, the seat about a span large, and instead of being +flat, cut in the form of pointed diamonds, the victim was seated: +the legs were fastened together and without support; the hands +bound behind the back, and with a running knot attached to a cord +descending from the ceiling: the body was loosely attached to the +back of the chair, cut also into angular points. A wretch stood +near, pushing the victim from side to side, and now and then, by +pulling the rope from the ceiling, gave the arms most painful +jerks. In this horrible position the sufferer <i>remained forty +hours</i>, the assistants being changed every fifth hour. At the +expiration of this time, Beatrice was carried into the prison more +dead than alive. The judge was annoyed at the account he received +of the fortitude of Beatrice, and, in a rage, he exclaimed, 'Never +shall it be said that a weak girl can escape from my hands, while +not one of those condemned have been able to resist my power!'<a name="vol_1_page_263" id="vol_1_page_263"></a></p> + +<p>"On the third day the examination was renewed, and Beatrice was +condemned to the <i>tortura capillorum</i>. 'At a given signal, the +satellites of the tribunal carried Beatrice under a rope suspended +from the ceiling, and twisting into a cord her long and beautiful +hair, they attached it, with diabolical art, to the rope, so that +the whole body could by this means be raised from the ground. The +frightful preparations over, and her protestations of innocence +again disregarded, she was elevated from the ground by the hair of +her head; at the same time was added another torture, consisting of +a mesh of small cords twined about the fingers, twisting them +nearly out of joint and dragging the hand almost from the bone of +the arm. The wretched girl screamed with agony, while the judge +stood by, commanding the suspended rope to be tightened, and +raising the body by the hair from the ground gave it a sudden jerk, +exhorting her to confess. She cried out in a convulsion for water, +rolling her eyes in agony, and exclaiming, 'I am innocent.' The +torture being repeated with still greater cruelty, and the +fortitude of the young girl remaining unshaken, the judge, +believing it impossible that a young female could resist such +torments, concluded, with the superstition of the times, that she +carried about with her some witchcraft; he ordered her to be +examined, and finding no cause of suspicion, was about to have her +hair cut off, when it was suggested the torment of the <i>tortura +capillorum</i> could not then be renewed; her hair was again fastened +to the rope, and for a whole hour she was subjected to such a +succession of cruelties as the heart shrinks from narrating: but +not a word escaped from her lips, that could compromise her +innocence.</p> + +<p>"In the mean time Lucrezia, Giacomo, and Bernardo were taken into +the hall Erculeo, and in their presence a repetition of the torture +was ordered, to so awful an extent, that she fainted and lay +senseless. A new cruelty was devised—the <i>taxilla</i>,—her feet were +bared, and to the soles was applied a block of heated wood, +prepared in such a way as to retain the scorching heat; then did +the unhappy girl utter piercing shrieks, and remained some minutes +apparently dead. These accumulated tortures were repeated, until +her relations, who were handcuffed lest they should render her any +assistance, began to implore her with heart-rending tears and +entreaties to yield. To this the judge mingled threats and the +application of further torments, and enforced them with such +rigour, that the victim shrieked in agony, and exclaimed, 'Oh! +cease this martyrdom, and I will confess anything.'</p> + +<p>"The tortures were at once suspended and restoratives applied, +while her family on their knees implored Beatrice to adhere to her +promise, urging that the unnatural cruelties of her father would be +a just defence for the crime imputed to her, and that by agreeing +to their<a name="vol_1_page_264" id="vol_1_page_264"></a> deposition, she might give them a hope of common +liberation. The unhappy girl replied, 'Be it as you wish. I am +content to die if I can preserve you'—and to each interrogatory of +the judge she replied, '<i>E vero</i>,' until asked whether she did not +urge the assassins to kill her father, and, on their refusal, +propose to commit the crime herself, when she involuntarily +exclaimed, 'Impossible, impossible! a tiger could not do it; how +much less a daughter!' Threatened anew with the torture, she +answered not, but, raising her eyes to Heaven, and moving her lips +in prayer, she said, 'Oh my God, Thou knowest if this be true!' +Thus did the judge force from Beatrice an assent to a deed at which +her very nature revolted.</p> + +<p>"Luciani hastened to the pope with the news that Beatrice had +confessed. Clement VIII. was seized with one of those fits of anger +to which he was subject, and exclaimed—'Let them all be +immediately bound to the tails of wild horses, and dragged through +the streets until life is extinct.' The horror evinced by all +classes at this sentence induced him to grant a respite of +twenty-five days, at the end of which a trial took place, and the +advocate Farinacci boldly pleaded the defence of the prisoners. But +while their fate was hanging in the balance, the Marchesa +Santa-Croce was murdered by her own son, which caused Clement to +order the immediate execution of the whole Cenci family, and the +entreaties of their friends only induced him to spare the life of +Bernardo, with the horrible proviso that he was to remain upon the +scaffold and witness the execution of his relations.</p> + +<p>" ... During the fearful and protracted transit to the scaffold, it +was the custom of the satellites of the inquisition, at regular +intervals, to tear from the body pieces of flesh with heated +pincers, but in this instance the pope dispensed with this torture, +but ordered that Giacomo should be beaten to death and then +quartered. As the procession passed the piazza of the Palazzo +Cenci, Giacomo, who had appeared resigned, became dreadfully +agitated, and uttered heart-rending cries of, 'My children! my +children!' The people shouted, 'Dogs, give him his children!' The +procession was proceeding, when the multitude assumed such a +threatening aspect, that two of the Compagnia dei Confortati +thought themselves authorised to pause, the unhappy man imploring +them in accents of despair, to suffer him once more to behold his +children. The crowd became pacified on seeing Giacomo descend from +the cart and conducted to the vestibule of his palace, where they +brought to him his children and his wife. The latter fainted on the +last step.</p> + +<p>"The scene that followed was the most affecting and painful that +the imagination can picture. His three children clung around his +legs,<a name="vol_1_page_265" id="vol_1_page_265"></a> uttering cries that rent the hearts of all present The +unhappy man embraced them, telling them that in Bernardo they would +find a father; then, fixing his eyes on his unconscious wife, he +said, 'Let us go!' Reascending the cart, the procession stopped +before the prison of the Corte Savella.</p> + +<p>"Here Beatrice and Lucrezia appeared before the gates, conducted by +the Confortati. They knelt down and prayed for some time before the +crucifix, and then walked on foot behind the carriage. Lucrezia +wore a robe of black, and a long black veil covered her head and +shoulders; Beatrice in a dark robe and veil, a handkerchief of +cloth of silver on her head, and slippers of white velvet, +ornamented with crimson sandals and rosettes, followed.... Twice +during the passage, an attempt was made to rescue Beatrice, but +each failed, and she reached the chapel, where all the condemned +were to receive the blessing of the Sacrament before execution.</p> + +<p>"The first brought out to ascend the scaffold was Bernardo, who, +according to the conditions of his reprieve, was to witness the +death of his relatives. The poor boy, before he had reached the +summit, fell down in a swoon, and was obliged to be supported to +his seat of torture. Preceded by the standard and the brethren of +the Misericordia, the executioner next entered the chapel to convey +Lucrezia. Binding her hands behind her back, and removing the veil +that covered her head and shoulders, he led her to the foot of the +scaffold. Here she stopped, prayed devoutly, kissed the crucifix, +and taking off her shoes, mounted the ladder barefoot. From +confusion and terror, she with difficulty ascended, crying out, +'Oh, my God! oh, holy brethren, pray for my soul, oh, God, pardon +me!' The principal executioner beckoned to her to place herself on +the block; the unhappy woman, from her unwieldy figure, being +unable to do so, some violence was used, the executioner raised his +axe, and with one stroke severed the head from the body! Catching +it by the hair, he exposed it, still quivering, to the gaze of the +populace; then wrapping it in the veil, he laid it on a bier in the +corner of the scaffold, the body falling into a coffin placed +underneath. The violence used towards the sufferer had so excited +the multitude, that a universal uproar commenced. Forty young men +rushed forward to the chapel to rescue Beatrice, but were again +defeated, after a short struggle....</p> + +<p>"Meanwhile Beatrice, kneeling in the chapel absorbed in prayer, +heeded not the uproar that surrounded her. She rose, as the +standard appeared to precede her to the block, and with eagerness +demanded, 'Is my mother then really dead?'—Answered in the +affirmative, she prayed with fervour; then raising her voice, she +said, 'Lord, thou hast called<a name="vol_1_page_266" id="vol_1_page_266"></a> me, and I obey the summons +willingly, as I hope for mercy!' Approaching her brother, she bade +him farewell, and with a smile of love, said, 'Grieve not for me. +We shall be happy in heaven, I have forgiven thee.' Giacomo +fainted; his sister, turning round, said, 'Let us proceed!' The +executioner appeared with a cord, but seemed afraid to fasten it +round her body. She saw this, and with a sad smile said, 'Bind this +body; but hasten to release the soul, which pants for immortality!'</p> + +<p>"Scarcely had the victim arrived at the foot of the scaffold, when +the square, filled with that vast multitude before so uproarious, +suddenly assumed the silence of a desert. Each one bent forward to +hear her speak; with every eye riveted on her, and lips apart, it +seemed as if their very existence depended on any words she might +utter. Beatrice ascended the stairs with a slow but firm step. In a +moment she placed herself on the block, which had caused so much +fear to Lucrezia. She did not allow the executioner to remove the +veil, but laid it herself upon the table. In this dreadful +situation she remained a few minutes, a universal cry of horror +staying the arm of the executioner. But soon the head of his victim +was held up separated from the trunk, which was violently agitated +for a few seconds. The miserable Bernardo Cenci, forced to witness +the fate of his sister, again swooned away; nor could he be +restored to his senses for more than half an hour.</p> + +<p>"Meanwhile the scaffold was made ready for the dreadful punishment +destined for Giacomo. Having performed some religious ceremonies, +he appeared dressed in a cloak and cap. Turning towards the people, +he said in a clear voice, 'Although in the agonies of torture I +accused my sister and brother of sharing in the crime for which I +suffer, I accused them falsely. Now that I am about to render an +account of my actions to God, I solemnly assert their entire +innocence. Farewell, my friends. Oh, pray to God for me.'</p> + +<p>"Saying these words, he knelt down; the executioner bound his legs +to the block and bandaged his eyes. To particularise the details of +this execution would be too dreadful; suffice it to say, he was +beaten, beheaded, and quartered in the sight of that vast +multitude, and by the side of a brother, who was sprinkled with his +blood. All was now over.</p> + +<p>"..... Near the statue of St. Paul, according to custom, were +placed three biers, each with four lighted torches. In these were +laid the bodies of the victims. A crown of flowers had been placed +around the head of Beatrice, who seemed as though in sleep, so +calm, so peaceful was that placid face, while a smile such as she +wore in life still hovered on her lips. Many a tear was shed over +that bier, many a<a name="vol_1_page_267" id="vol_1_page_267"></a> flower was scattered around her, whose fate all +mourned—whose innocence none questioned.</p> + +<p>"On that night the bodies were interred. The corpse of Beatrice, +clad in the dress she wore on the scaffold, was borne, covered with +garlands of flowers, to the church of San Pietro in Montorio; and +buried at the foot of the high altar, before Raffaelle's celebrated +picture of the Transfiguration."<a name="FNanchor_97_97" id="FNanchor_97_97"></a><a href="#Footnote_97_97" class="fnanchor">[97]</a></p></div> + +<p>Retracing our steps to the Piazza della Giudecca and turning left down a +narrow alley, which is always busy with Jewish traffic, we reach the +<i>Piazza delle Tartarughe</i>, so called from the tortoises which form part +of the adornments of its lovely little fountain,—designed by Giacomo +della Porta, the four figures of boys being by Taddeo Landini.</p> + +<p>At this point we leave the Ghetto.</p> + +<hr style="width: 15%;" /> + +<p>Forming one side of the Piazza delle Tartarughe is the <i>Palazzo +Costaguti</i>, celebrated for its six splendid ceilings by great artists, +viz.:—</p> + +<table border="0" cellpadding="2" cellspacing="0" summary=""> +<tr><td align="left">1.</td><td align="left"><i>Albani</i>: Hercules wounding the Centaur Nessus.</td></tr> +<tr><td align="left">2.</td><td align="left"><i>Domenichino</i>: Apollo in his car, Time discovering truth, &c., much injured.</td></tr> +<tr><td align="left">3.</td><td align="left"><i>Guercino</i>: <i>Rinaldo</i> and <i>Armida</i> in a chariot drawn by dragons.</td></tr> +<tr><td align="left">4.</td><td align="left"><i>Cav. d'Arpino</i>: Juno nursing Hercules, Venus and Cupids.</td></tr> +<tr><td align="left">5.</td><td align="left"><i>Lanfranco</i>: Justice and Peace.</td></tr> +<tr><td align="left">6.</td><td align="left"><i>Romanelli</i>: Arion saved by the dolphin.</td></tr> +</table> + +<p>In a corner of the piazza, is a well-known <i>Lace-Shop</i>, much frequented +by English ladies, but great powers of bargaining are called for. Almost +immediately behind this is one of the most picturesque mediæval +courtyards in the city.<a name="vol_1_page_268" id="vol_1_page_268"></a></p> + +<p>On the same line, at the end of the street, is the <i>Palazzo Mattei</i>, +built by Carlo Maderno (1615) for Duke Asdrubal Mattei, on the site of +the Circus of Flaminius. The small courtyard of this palace is well +worth examining, and is one of the handsomest in Rome, being quite +encrusted, as well as the staircase, with ancient bas-reliefs, busts, +and other sculptures. It contained a gallery of pictures, the greater +part of which have been dispersed. The rooms have frescoes by +<i>Pomerancio</i>, <i>Lanfranco</i>, <i>Pietro da Cortona</i>, <i>Domenichino</i>, and +<i>Albani</i>.</p> + +<p>Behind this, facing the Via delle Botteghe Oscure, is the vast <i>Palazzo +Caëtani</i>, now inhabited by the learned Don Michael-Angelo Caëtani (Duke +of Sermoneta and Prince of Teano), whose family is one of the most +distinguished in the mediæval history of Rome, and which gave Boniface +VIII. to the church:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Lo principe de' nuovi farisei."<br /></span> +<span class="i15"><i>Dante, Inferno,</i> xxvii.<br /></span> +</div></div> + +<p>It claims descent from Anatolius, created Count of Gaieta by Pope +Gregory II. in 730.</p> + +<p>Close to the Palazzo Mattei is the <i>Church of Sta. Caterina de' Funari</i>, +built by Giacomo della Porta, in 1563, adjoining a convent of +Augustinian nuns. The streets in this quarter are interesting as bearing +witness in their names to the existence of the Circus Flaminius, the +especial circus of the plebs, which once occupied all the ground near +this. The <i>Via delle Botteghe Oscure</i>, commemorates the dark shops which +in mediæval times occupied the lower part of the circus, as they do now +that of the Theatre of Marcellus. The Via dei Funari, the ropemakers who +took advantage for their work of the light and open space which<a name="vol_1_page_269" id="vol_1_page_269"></a> the +interior of the deserted circus afforded. The remains of the circus +existed to the sixteenth century.</p> + +<p>Near this, turning right, is the <i>Piazza di Campitelli</i>, which contains +the <i>Church of S. Maria in Campitelli</i>, built by Rinaldi for Alexander +VII. in 1659, upon the site of an oratory erected by Sta. Galla in the +time of John I. (523-6), in honour of an image of the Virgin, which one +day miraculously appeared imploring her charity, in company with the +twelve poor women to whom she was daily in the habit of giving alms. The +oratory of Sta. Galla was called Sta. Maria in Portico, from the +neighbouring portico of Octavia, a name which is sometimes applied to +the present church. The miraculous mendicant image is now enshrined in +gold and lapis-lazuli over the high altar. Other relics supposed to be +preserved here are the bodies of Sta. Cyrica, Sta. Victoria, and Sta. +Vincenza, and half that of Sta. Barbara! The second chapel on the right +has a picture of the Descent of the Holy Ghost by <i>Luca Giordano</i>; in +the first chapel on the left is the tomb of Prince Altieri, inscribed +"Umbra," and that of his wife, Donna Laura di Carpegna, inscribed +"Nihil;" they rest on lions of rosso-antico. In the right transept is +the tomb, by <i>Pettrich</i>, of Cardinal Pacca, who lived in the Palazzo +Pacca, on the opposite side of the square, and was the faithful friend +of Pius VII. in his exile. The bas-relief on the tomb, of St. Peter +delivered by the angel, is in allusion to the deliverance from the +French captivity.</p> + +<p>The name Campitelli is probably derived from Campusteli, because in this +neighbourhood (see Ch. XIV.) was the Columna Bellica, from which when +war was declared a dart was thrown into a plot of ground, representing +the hostile territory,—perhaps the very site of this church.<a name="vol_1_page_270" id="vol_1_page_270"></a></p> + +<p>In the street behind this, leading into the Via di Ara Cœli, are the +remains of the ancient <i>Palazzo Margana</i>, with a very richly-sculptured +gateway of <i>c.</i> 1350.</p> + +<p>Opening from hence upon the left is the <i>Via Tor de' Specchi</i>, whose +name commemorates the legend of Virgil as a necromancer, and of his +magic tower lined with mirrors, in which all the secrets of the city +were reflected and brought to light.</p> + +<p>Here is the famous <i>Convent of the Tor de' Specchi</i>, founded by Sta. +Francesca Romana, and open to the public during the octave of the +anniversary of her death (following the 9th of March). At this time the +pavements are strewn with box, the halls and galleries are bright with +fresh flowers, and Swiss guards are posted at the different turnings, to +facilitate the circulation of visitors. It is a beautiful specimen of a +Roman convent. The first hall is painted with ancient frescoes, +representing scenes in the life of the saint. Here, on a table, is the +large bowl in which Sta. Francesca prepared ointment for the poor. Other +relics are her veil, shoes, &c. Passing a number of open cloisters, +cheerful with flowers and orange-trees, we reach the chapel, where +sermons or rather lectures are delivered at the anniversary upon the +story of Sta. Francesca's life, and where her embalmed body may be seen +beneath the altar. A staircase seldom seen, but especially used by +Francesca, is only ascended by the nuns upon their knees. It leads to +her cell and a small chapel, black with age, and preserved as when she +used them. The picturesque dress of the Oblate sisters who are +everywhere visible, adds to the interest of the scene.</p> + +<div class="blockquot"><p>"It is no gloomy abode, the Convent of the Tor di Specchi, even in +the eyes of those who cannot understand the happiness of a nun. It +is such a place as one loves to see children in; where religion is +combined with<a name="vol_1_page_271" id="vol_1_page_271"></a> everything that pleases the eye and recreates the +mind. The beautiful chapel; the garden with its magnificent +orange-trees; the open galleries, with their fanciful decorations +and scenic recesses, where a holy picture or figure takes you by +surprise, and meets you at every turn; the light airy rooms, where +religious prints and ornaments, with flowers, birds, and ingenious +toys, testify that innocent enjoyments are encouraged and smiled +upon; while from every window may be caught a glimpse of the +Eternal City, a spire, a ruined wall,—something that speaks of +Rome and its thousand charms.</p> + +<p>"It was on the 21st of March, the festival of St. Benedict, that +Francesca herself entered the convent, not as the foundress, but as +a humble suppliant for admission. At the foot of the stairs, having +taken off her customary black gown, her veil, and her shoes, and +placed a cord around her neck, she knelt down, kissed the ground, +and, shedding an abundance of tears, made her general confession +aloud in the presence of all the Oblates; she described herself as +a miserable sinner, a grievous offender against God, and asked +permission to dwell amongst them as the meanest of their servants; +and to learn from them to amend her life, and enter upon a holier +course. The spiritual daughters of Francesca hastened to raise and +embrace her; and clothing her with their habit, they led the way to +the chapel, where they all returned thanks to God. While she +remained there in prayer, Agnese de Lellis, the superioress, +assembled the sisters in the chapter-room, and declared to them, +that now their true mother and foundress had come amongst them, it +would be absurd for her to remain in her present office; that +Francesca was their guide, their head, and that into her hands she +should instantly resign her authority. They all applauded her +decision, and gathering around the Saint, announced to her their +wishes. As was to be expected, Francesca strenuously refused to +accede to this proposal, and pleaded her inability for the duties +of a superioress. The Oblates had recourse to Don Giovanni, the +confessor of Francesca, who began by entreating, and finally +commanded her acceptance of the charge. His order she never +resisted; and accordingly, on the 25th of March, she was duly +elected to that office."—<i>Lady Georgina Fullerton's Life of Sta. +Francesca Romana.</i></p> + +<p>"Sta. Francesca Romana is represented in the dress of a Benedictine +nun, a black robe and a white hood or veil; and her proper +attribute is an angel, who holds in his hand the book of the Office +of the Virgin, open at the words, '<i>Tenuisti manum dexteram meam, +et in voluntate tua deduxisti me, et cum gloria suscepisti me</i>' +(Ps. lxxiii. 23, 24); which attribute is derived from an incident +thus narrated in the acts of<a name="vol_1_page_272" id="vol_1_page_272"></a> her canonisation. Though unwearied in +her devotions, yet if, during her prayers, she was called away by +her husband on any domestic duty, she would close her book, saying +that 'a wife and a mother, when called upon, must quit her God at +the altar, and find him in her household affairs.' Now it happened +once, that, in reciting the Office of Our Lady, she was called away +four times just as she was beginning the same verse, and, returning +the fifth time, she found that verse written upon the page in +letters of golden light by the hand of her guardian +angel."—<i>Jameson's Sacred Art</i>, p. 151.</p></div> + +<p>Almost opposite the convent is the Via del Monte Tarpeio, a narrow +alley, leading up to the foot of the Tarpeian rock, beneath the Palazzo +Caffarelli, and one of the points at which the rock is best seen. This +spot is believed to have been the site of the house of Spurius Mælius, +who tried to ingratiate himself with the people, by buying up corn and +distributing it in a year of scarcity (<small>B.C.</small> 440), but who was in +consequence put to death by the patricians. His house was razed to the +ground, and its site, being always kept vacant, went by the name of +Æquimælium.<a name="FNanchor_98_98" id="FNanchor_98_98"></a><a href="#Footnote_98_98" class="fnanchor">[98]</a><a name="vol_1_page_273" id="vol_1_page_273"></a></p> + +<h2><a name="CHAPTER_VI" id="CHAPTER_VI"></a>CHAPTER VI.<br /><br /> +THE PALATINE.</h2> + +<div class="blockquot"><p class="hang">The Story of the Hill—Orti Farnesiani—The Via Nova—Roma +Quadrata—The Houses of the early Kings—Temple of Jupiter +Stator—Palace of Augustus—Palace of +Vespasian—Crypto-Porticus—Temple of Jupiter-Victor—The Lupercal +and the Hut of Faustulus—Palace of Tiberius—Palace of +Caligula—Clivus Victoriæ—Ruins of the Kingly Period—Altar of the +Genius Loci—House of Hortensius—Septizonium of Severus—Palace of +Domitian.</p></div> + +<p class="nind"><span class="letra2">"</span><span class="letra">T</span>HE Palatine formed a trapezium of solid rock, two sides of which were +about 300 yards in length, the others about 400: the area of its summit, +to compare it with a familiar object, was nearly equal to the space +between Pall-Mall and Piccadilly in London."<a name="FNanchor_99_99" id="FNanchor_99_99"></a><a href="#Footnote_99_99" class="fnanchor">[99]</a></p> + +<p>The history of the Palatine is the history of the City of Rome. Here was +the Roma Quadrata, the "oppidum," or fortress of the Pelasgi, of which +the only remaining trace is the name Roma, signifying force. This is the +fortress where the shepherd-king Evander is represented by Virgil as +welcoming Æneas.</p> + +<p>The Pelasgic fortress was enclosed by Romulus within the limits of this +new city, which, "after the Etruscan fashion, he traced round the foot +of the hill with a plough drawn by a bull and a heifer, the furrow being +carefully made to fall<a name="vol_1_page_274" id="vol_1_page_274"></a> inwards, and the heifer yoked to the near-side, +to signify that strength and courage were required without, obedience +and fertility within the city.... The locality thus enclosed was +reserved for the temples of the gods and the residence of the ruling +class, the class of patricians or burghers, as Niebuhr has taught us to +entitle them, which predominated over the dependent commons, and only +suffered them to crouch for security under the walls of Romulus. The +Palatine was never occupied by the plebs. In the last age of the +republic, long after the removal of this partition, or of the civil +distinction between the great classes of the state, here was still the +chosen site of the mansions of the highest nobility."<a name="FNanchor_100_100" id="FNanchor_100_100"></a><a href="#Footnote_100_100" class="fnanchor">[100]</a></p> + +<p>In the time of the early kings the City of Rome was represented by the +Palatine only. It was at first divided into two parts, one inhabited, +and the other called Velia, and left for the grazing of cattle. It had +two gates, the Porta Romana to the north, and the Porta Mugonia—so +called from the lowing of the cattle—to the south, on the side of the +Velia.</p> + +<p>Augustus was born on the Palatine, and dwelt there in common with other +patrician citizens in his youth. After he became emperor he still lived +there, but simply, and in the house of Hortensius, till, on its +destruction by fire, the people of Rome insisted upon building him a +palace more worthy of their ruler. This building was the +foundation-stone of "the Palace of the Cæsars," which in time overran +the whole hill, and, under Nero, two of the neighbouring hills besides, +and whose ruins are daily being disinterred and recognised, though much +confusion still remains regarding their respective sites. In <small>A.D.</small> 663, +part of the palace remained sufficiently<a name="vol_1_page_275" id="vol_1_page_275"></a> perfect to be inhabited by the +Emperor Constans, and its plan is believed to have been entire for a +century after, but it never really recovered its sack by Genseric in +<small>A.D.</small> 455, in which it was completely gutted, even of the commonest +furniture; and as years passed on it became imbedded in the soil which +has so marvellously enshrouded all the ancient buildings of Rome, so +that till within the last ten years, only a few broken nameless walls +were visible above ground.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Cypress and ivy, weed and wallflower grown<br /></span> +<span class="i0">Matted and mass'd together, hillocks heap'd<br /></span> +<span class="i0">On what were chambers, arch crush'd, columns strown<br /></span> +<span class="i0">In fragments, choked-up vaults, and frescoes steep'd<br /></span> +<span class="i0">In subterranean damps, where the owl peep'd,<br /></span> +<span class="i0">Deeming it midnight:—Temples, baths, or halls?<br /></span> +<span class="i0">Pronounce who can; for all that Learning reap'd<br /></span> +<span class="i0">From her research has been, that these are walls.—<br /></span> +<span class="i0">Behold the Imperial Mount! 'Tis thus the mighty falls."<br /></span> +<span class="i15"><i>Byron, Childe Harold.</i><br /></span> +</div></div> + +<p>How different is this description to that of Claudian (de Sexto +Consulat. Honorii).</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"The Palatine, proud Rome's imperial seat,<br /></span> +<span class="i0">(An awful pile) stands venerably great:<br /></span> +<span class="i0">Thither the kingdoms and the nations come,<br /></span> +<span class="i0">In supplicating crowds to learn their doom:<br /></span> +<span class="i0">To Delphi less th' inquiring worlds repair,<br /></span> +<span class="i0">Nor does a greater god inhabit there:<br /></span> +<span class="i0">This sure the pompous mansion was design'd<br /></span> +<span class="i0">To please the mighty rulers of mankind;<br /></span> +<span class="i0">Inferior temples rise on either hand,<br /></span> +<span class="i0">And on the borders of the palace stand,<br /></span> +<span class="i0">While o'er the rest her head she proudly rears,<br /></span> +<span class="i0">And lodged amidst her guardian gods appears."<br /></span> +<span class="i15"><i>Addison's Translation.</i><br /></span> +</div></div> + +<p>After the middle of the sixteenth century a great part of the Palatine +became the property of the Farnese family,<a name="vol_1_page_276" id="vol_1_page_276"></a> latterly represented by the +Neapolitan Bourbons, who sold the "Orti Farnesiani," in 1861, to the +Emperor Napoleon III., for £10,000. Up to that time this part of the +Palatine was a vast kitchen-garden, broken here and there by picturesque +groups of ilex trees and fragments of mouldering wall. In one corner was +a casino of the Farnese (still standing) adorned in fresco by some of +the pupils of Raphael. This and all the later buildings in the "Orti," +are marked with the Farnese <i>fleur-de-lis</i>, and on the principal +staircase of the garden is some really grand distemper ornament of their +time. Since 1861 extensive excavations have been carried on here under +the superintendence of Signor Rosa, which have resulted in the discovery +of the palaces of some of the earlier emperors, and the substructions of +several temples. After the revolution of 1870 the French portion of the +Palatine was sold by the Ex-Emperor Napoleon to the Roman municipal +government.</p> + +<p>In visiting the Palace of the Cæsars, it will naturally be asked how it +is known that the different buildings are what they are described to be. +In a great measure this has been ascertained from the descriptions of +Tacitus and other historians,—but the greatest assistance of all has +been obtained from the Tristia of Ovid, who, while in exile, consoles +himself by recalling the different buildings of his native city, which +he mentions in describing the route taken by his book, which he had +persuaded a friend to convey to the imperial library. He supposes the +book to enter the Palatine by the Clivus Victoriæ behind the Temple of +Vesta, and follows its course, remarking the different objects it passed +on the right or the left.</p> + +<hr style="width: 15%;" /> + +<p><a name="vol_1_page_277" id="vol_1_page_277"></a></p> + +<p>If we enter the palace by the Farnese gateway, on the right of the +Campo-Vaccino, opposite SS. Cosmo e Damiano, we had better only ascend +the first division of the staircase and then turn to the left. Passing +along the lower ridge of the Palatine, afterwards occupied by many of +the great patrician houses, whose sites we shall return to and examine +in detail, we reach that corner of the garden which is nearest to the +Arch of Titus. Here a paved road of large blocks of lava has lately been +laid bare, and is identified beyond a doubt as part of the Via Nova, +which led from the Porta Mugonia of the Palatine along the base of the +hill to the Velabrum. In the reign of Augustus it appears to have been +made to communicate also with the Forum.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Qua Nova Romano nunc Via juncta Foro est."<br /></span> +<span class="i15"><i>Ovid, Fast.</i> vi. 396.<br /></span> +</div></div> + +<p>At this point the road was called <i>Summa Via Nova</i>.</p> + +<p>Near this spot must have been the site of the house where Octavius lived +with his wife Afra, the niece of Julius Cæsar (daughter of his eldest +sister Julia), and where their son, Octavius, afterwards the Emperor +Augustus, was born. This house afterwards passed into the possession of +C. Lætorius, a patrician; but after the death of Augustus, part of it +was turned into a chapel, and consecrated to him. It was situated at the +top of a staircase—"supra scalas annularias"<a name="FNanchor_101_101" id="FNanchor_101_101"></a><a href="#Footnote_101_101" class="fnanchor">[101]</a>—which probably led +to the Forum, and is spoken of as "ad capita bubula," perhaps from +bulls' heads, with which it may have been decorated.</p> + +<p>Here we find ourselves, owing to the excavations, in a deep hollow +between the two divisions of the hill. On the left is the Velia, upon +which, near the Porta Mugonia, the<a name="vol_1_page_278" id="vol_1_page_278"></a> Sabine king, Ancus Martius, had his +palace. When Ancus died, he was succeeded by an Etruscan stranger, +Lucius Tarquinius, who took the name of Tarquinius Priscus. This king +also lived upon the Velia,<a name="FNanchor_102_102" id="FNanchor_102_102"></a><a href="#Footnote_102_102" class="fnanchor">[102]</a> with Tanaquil his queen, and here he was +murdered in a popular rising, caused by the sons of his predecessor. +Here his brave wife Tanaquil closed the doors, concealed the death of +the king, harangued the people from the windows,<a name="FNanchor_103_103" id="FNanchor_103_103"></a><a href="#Footnote_103_103" class="fnanchor">[103]</a> and so gained time +till Servius Tullius was prepared to take the dead king's place and +avenge his murder.<a name="FNanchor_104_104" id="FNanchor_104_104"></a><a href="#Footnote_104_104" class="fnanchor">[104]</a></p> + +<p>Keeping to the valley, on our right are now some huge blocks of tufa, of +great interest as part of the ancient <i>Roma Quadrata</i>, anterior to +Romulus. Beyond this, also on the right, are foundations of the <i>Temple +of Jupiter Stator</i>, built by Romulus, who vowed that he would found a +temple to Jupiter under that name, if he would arrest the flight of his +Roman followers in their conflict with the superior forces of the +Sabines.<a name="FNanchor_105_105" id="FNanchor_105_105"></a><a href="#Footnote_105_105" class="fnanchor">[105]</a></p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Inde petens dextram, porta est, ait, ista Palati;<br /></span> +<span class="ist">Hic Stator, hoc primum condita Roma loco est."<br /></span> +<span class="i15"><i>Ovid, Trist.</i> iii. El. I.<br /></span> +</div></div> + +<div class="poem"><div class="stanza"> +<span class="i0">"Tempus idem Stator ædis habet, quam Romulus olim<br /></span> +<span class="ist">Ante Palatini condidit ora jugi."<br /></span> +<span class="i15"><i>Ovid, Fast.</i> vi. 793.<br /></span> +</div></div> + +<p>The temple of Jupiter Stator has an especial interest from its +connection with the story of Cicero and Catiline.</p> + +<div class="blockquot"><p>"Cicéron rassembla le sénat dans le temple de Jupiter Stator. Le +choix du lieu s'explique facilement; ce temple était près de la +principale<a name="vol_1_page_279" id="vol_1_page_279"></a> entrée du Palatin sur le Vélia, dominant, en cas +d'émeute, le Forum, que Cicéron et les principaux sénateurs +habitants du Palatin n'avaient pas à traverser comme s'il eût fallu +se rendre à la Curie. D'ailleurs Jupiter Stator, qui avait arrêté +les Sabines à la porte de Romulus, arrêterait ces nouveaux ennemis +qui voulaient sa ruine. Là Cicéron prononça la première +Catilinaire. Ce discours dut être en grande partie improvisé, car +les événements aussi improvisaient. Cicéron ne savait si Catilina +oserait se présenter devant le sénat; en le voyant entrer, il +conçut son fameux exorde: 'Jusqu'à quand, Catilina, abuseras-tu de +notre patience!'</p> + +<p>"Malgré la garde volontaire de chevaliers qui avait accompagné +Cicéron et qui se tenait à la porte du temple, Catilina y entra et +salua tranquillement l'assemblée; nul ne lui rendit son salut, à +son approche on s'écarta et les places restèrent vides autour de +lui. Il écouta les foudroyantes apostrophes de Cicéron, qui, après +l'avoir accablé des preuves de son crime, se bornait à lui dire: +'Sors de Rome. Va-t-en!'</p> + +<p>"Catilina se leva et d'un air modeste pria le sénat de ne pas +croire le consul avant qu'une enquête eût été faite. 'II n'est pas +vraisemblable, ajouta-t-il, avec une hauteur toute aristocratique, +qu'un patricien, lequel, aussi bien que ses ancêtres, a rendu +quelques services à la république, ne puisse exister que par sa +ruine, et qu'on ait besoin d'un étranger d'Arpinum pour la sauver.' +Tant d'orgueil et d'impudence révoltèrent l'assemblée; on cria à +Catilina: 'Tu es un ennemi de la patrie, un meurtrier.' Il sortit, +réunit encore ses amis, leur recommanda de se débarasser de +Cicéron, prit avec lui un aigle d'argent qui avait appartenu à une +légion de Marius, et à minuit quitta Rome et partit par la voie +Aurélia pour aller rejoindre son armée."—<i>Ampère, Hist. Rom.</i> iv. +445.</p></div> + +<p>Nearly opposite the foundations of Jupiter Stator, on the left,—are +some remains considered to be those of the Porta Palatii.</p> + +<p>The valley is now blocked by a vast mass of building which entirely +closes it. This is the palace of Augustus, built in the valley between +the Velia and the other eminence of the Palatine, which Rosa, contrary +to other opinions, identifies with the <i>Germale</i>. The division of the +Palatine thus named, was reckoned as one of "the seven hills" of<a name="vol_1_page_280" id="vol_1_page_280"></a> +ancient Rome. Its name was thought to be derived from Germani, owing to +Romulus and Remus being found in its vicinity.<a name="FNanchor_106_106" id="FNanchor_106_106"></a><a href="#Footnote_106_106" class="fnanchor">[106]</a></p> + +<p>The <i>Palace of Augustus</i> was begun soon after the battle of Actium, and +gradually increased in size, till the whole valley was blocked up by it, +and its roofs became level with the hill-sides. Part of the ground which +it covered had previously been occupied by the villa of Catiline.<a name="FNanchor_107_107" id="FNanchor_107_107"></a><a href="#Footnote_107_107" class="fnanchor">[107]</a> +Here Suetonius says that Augustus occupied the same bed-room for forty +years. Before the entrance of the palace it was ordained by the Senate, +<small>B.C.</small> 26, that two bay-trees should be planted, in remembrance of the +citizens he had preserved, while an oak wreath was placed above the gate +in commemoration of his victories.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Singula dum miror, video fulgentibus armis<br /></span> +<span class="i2">Conspicuos postes, tectaque digna deo.<br /></span> +<span class="i0">An Jovis hæc, dixi, domus est? Quod ut esse putarem,<br /></span> +<span class="i2">Augurium menti querna corona dabat.<br /></span> +<span class="i0">Cujus ut accepi dominum, non fallimur, inquam:<br /></span> +<span class="i2">Et magni rerum est hanc Jovis esse domum.<br /></span> +<span class="i0">Cur tamen apposita velatur janua lauro?<br /></span> +<span class="i2">Cingit et Augustas arbor opaca fores?"<br /></span> +<span class="i15"><i>Ovid, Trist.</i> i. 33.<br /></span> +</div></div> + +<div class="poem"><div class="stanza"> +<span class="i0">"State Palatinæ laurus; prætextaque quercu<br /></span> +<span class="i2">Stet domus; æternos tres habet una deos."<br /></span> +<span class="i15"><i>Fast.</i> iv. 953.<br /></span> +</div></div> + +<p>It was before the gate of this palace that Augustus upon one day in +every year sate as a beggar, receiving alms from the passers-by, in +obedience to a vision that he should thus appease Nemesis.</p> + +<p>Upon the top of this building of Augustus, Vespasian built his palace in +<small>A.D.</small> 70, not only using the walls of<a name="vol_1_page_281" id="vol_1_page_281"></a> the older palace as a support for +his own, but filling the chambers of the earlier building entirely up +with earth, so that they became a solid massive foundation. The ruins +which we visit are thus for the most part those of the palace of +Vespasian, but from one of its halls we can descend into rooms +underneath excavated from the palace of Augustus. The three projecting +rostra which we now see in front of the palace are restorations by +Signor Rosa.</p> + +<p>The palace on the Palatine was not the place where the emperors +generally lived. They resided at their villas, and came into the town to +the Palace of the Cæsars for the transaction of public business. Thus +this palace was, as it were, the St. James's of Rome. The fatigue and +annoyance of a public arrival every morning, amid the crowd of clients +who always waited upon the imperial footsteps, was naturally very great, +and to obviate this the emperors made use of a subterranean passage +which ran round the whole building, and by which they were enabled to +arrive unobserved, and not to present themselves in public till their +appearance upon the rostra in front of the building to receive the +morning salutations of their people.</p> + +<p>If we ascend a winding path to the right, to the garden which now covers +the greater part of the hill Germale, we shall find a staircase which +descends on the left to join this passage, following which, we will +ascend, with the emperor, into his palace.</p> + +<p>The passage, called <i>Crypto-Porticus</i>, is still quite perfect, and +retains a great part of its mosaic pavements and much of its inlaid +ceilings, from which the gilt mosaic has been picked out, but the +pattern is still traceable. The passage was lighted from above. It was +by this route that St.<a name="vol_1_page_282" id="vol_1_page_282"></a> Laurence was led up for trial in the basilica, +of the palace. Turning to the left, we again emerge upon the upper +level.</p> + +<p>The emperor here reached the palace, but as he did not yet wish to +appear in public, he turned to the left by the private passage called +<i>Fauces</i>, which still remains, running behind the main halls of the +building. Here he was received by the different members of the imperial +family, much as Napoleon III. was received by Princesses Mathilde, +Clotilde, and the Murats, in a private apartment at the Tuileries, +before entering the ball-room. Hence, passing across the end of the +basilica, the emperor reached the portico in front of the palace, +looking down upon the hollow space where were the Temple of Jupiter +Stator and the other buildings connected with the early history of the +Roman state. Here the whole Court received him and escorted him to the +central rostra, where he had his public reception from the people +assembled below, and whence perhaps he addressed to them a few words of +morning salutation in return. The attendants meanwhile defiled on either +side to the lower terraced elevation, which still remains.</p> + +<p>This ceremony being gone through, the emperor returned as he came, to +the basilica, for the transaction of business.</p> + +<p>The name Basilica means "King's House." It was the ancient Law Court. It +usually had a portico, was oblong in form, and ended in an apse for +ornament. The Christians adopted it for their places of worship because +it was the largest type of building then known. They also adopted the +names of the different parts of the pagan basilica, as the Confessional, +from the <i>Confession</i>, the bar of justice at which the criminal was +placed,—the Tribune, from the<a name="vol_1_page_283" id="vol_1_page_283"></a> <i>Tribunal</i> of the Judge, &c. A chapel +and sacristy added on either side produced the form of the cross. The +<i>Basilica</i> here is of great width. A leg of the emperor's chair actually +remains <i>in situ</i> upon the tribunal, and part of the richly wrought bar +of the Confession still exists. This was the bar at which St. Laurence +and many other Christian martyrs were judged. The basilica in the palace +of the Cæsars was also the scene of the trial of Valerius Asiaticus in +the time of Claudius (see Chap. II.), when the Empress Messalina, who +was seated near the emperor upon the tribunal, was so overcome by the +touching eloquence of the innocent man, that she was obliged to leave +the hall to conceal her emotion,—but characteristically whispered as +she went out, that the accused must nevertheless on no account be +suffered to escape with his life,<a name="FNanchor_108_108" id="FNanchor_108_108"></a><a href="#Footnote_108_108" class="fnanchor">[108]</a>—that she might take possession +of his Pincian Garden, which was as Naboth's Vineyard in her eyes. An +account is extant which describes how it was necessary to increase the +width of the seat upon the tribunal at this period, in consequence of a +change in the fashion of dress among the Roman ladies.</p> + +<p>This basilica, though perhaps not then itself in existence, will always +have peculiar interest as showing the form and character of that earlier +basilica in the Palace of the Cæsars, in which St. Paul was tried before +Nero. But it is quite possible that it may be the same actual basilica +itself,—and that the palace of Nero which overran the whole of the +hill, may have had its basilica on this site, where it was preserved by +Vespasian in his later and more contracted palace.</p> + +<div class="blockquot"><p>"The appeals from the provinces in civil causes were heard, not by<a name="vol_1_page_284" id="vol_1_page_284"></a> +the emperor himself, but by his delegates, who were persons of +consular rank: Augustus had appointed one such delegate to hear +appeals from each province respectively. But criminal appeals +appear generally to have been heard by the emperor in person, +assisted by his council of assessors. Tiberius and Claudius had +usually sat for this purpose in the Forum; but Nero, after the +example of Augustus, heard these causes in the imperial palace, +whose ruins still crown the Palatine. Here, at one end of a +splendid hall,<a name="FNanchor_109_109" id="FNanchor_109_109"></a><a href="#Footnote_109_109" class="fnanchor">[109]</a> lined with the precious marbles of Egypt and of +Libya, we must imagine Cæsar seated in the midst of his assessors. +These councillors, twenty in number, were men of the highest rank +and greatest influence. Among them were the two consuls and +selected representatives of each of the other great magistracies of +Rome. The remainder consisted of senators chosen by lot. Over this +distinguished bench of judges presided the representatives of the +most powerful monarchy which has ever existed,—the absolute ruler +of the whole civilised world.</p> + +<p>"Before the tribunal of the blood-stained adulterer Nero, Paul was +brought in fetters, under the custody of his military guard. The +prosecutors and their witnesses were called forward, to support +their accusation; for although the subject-matter for decision was +contained in the written depositions forwarded from Judæa by +Festus, yet the Roman law required the personal presence of the +accusers and the witnesses, whenever it could be obtained. We +already know the charges brought against the Apostle. He was +accused of disturbing the Jews in the exercise of their worship, +which was secured to them by law; of desecrating their Temple; and, +above all, of violating the public peace of the empire by perpetual +agitation, as the ringleader of a new and factious sect. This +charge was the most serious in the view of a Roman statesman; for +the crime alleged amounted to <i>majestas</i>, or treason against the +commonwealth, and was punishable with death.</p> + +<p>"These accusations were supported by the emissaries of the +Sanhedrim, and probably by the testimony of witnesses from Judæa, +Ephesus, Corinth, and the other scenes of Paul's activity.... When +the parties on both sides had been heard, and the witnesses all +examined, the judgment of the court was taken. Each of the +assessors gave his opinion in writing to the emperor, who never +discussed the judgment with his assessors, as had been the practice +of better emperors, but after reading their opinion, gave sentence +according to his own pleasure,<a name="vol_1_page_285" id="vol_1_page_285"></a> without reference to the judgment +of the majority. On this occasion it might have been expected that +he would have pronounced the condemnation of the accused, for the +influence of Poppæa had now reached its culminating point, and she +was a Jewish proselyte. We can scarcely doubt that the emissaries +from Palestine would have demanded her aid for the destruction of a +traitor to the Jewish faith; nor would any scruples have prevented +her listening to their request, backed as it probably was, +according to Roman usage, by a bribe. However this may be, the +trial resulted in the acquittal of St. Paul. He was pronounced +guiltless of the charges brought against him, his fetters were +struck off, and he was liberated from his long +captivity."—<i>Conybeare and Howson.</i></p></div> + +<p>Beyond the basilica is the <i>Tablinum</i>, the great hall of the palace, +which served as a kind of commemorative domestic museum, where family +statues and pictures were preserved. This vast room was lighted from +above, on the plan which may still be seen at Sta. Maria degli Angeli, +which was in fact a great hall of a Roman house. The roof of this hall +was one vast arch, unsupported except by the side walls. We have record +of a period when these walls were supposed insufficient for the great +weight, and had to be strengthened, in interesting confirmation of which +we can still see how the second wall was added and united to the first.</p> + +<p>Appropriately opening from the family picture gallery of the Tablinum, +was the <i>Lararium</i>, a private chapel for the worship of such members of +the family—Livia and many others—as were deified after death. An +altar, on the original site, has been erected here by Signor Rosa, from +bits which have been found.</p> + +<p>Hitherto the chambers which we have visited were open to the public; +beyond this, none but his immediate family and attendants could follow +the emperor. We now enter the <i>Peristyle</i>, a courtyard, which was open +to the sky, but surrounded with arcades ornamented with statues, where +we<a name="vol_1_page_286" id="vol_1_page_286"></a> may imagine that the empresses amused themselves with their birds +and flowers. Hence, by a narrow staircase, we can descend into what is +perhaps the most interesting portion of the whole, the one unearthed +fragment of the actual <i>Palace of Augustus</i>, which still retains remains +of gilding and fresco, and an artistic group in stucco. An original +window remains, and it will be recollected on looking at it, that when +this was built it was not subterranean, but merely in the hollow of the +valley, afterwards filled up. In these actual rooms may have lived +Livia, who in turn inhabited three houses on the Palatine, first that of +her first husband Nero Drusus, whom Augustus compelled her to divorce; +then the imperial house of Augustus; and lastly that of Tiberius, the +son by her first husband, whom she was the means of raising to the +throne.</p> + +<p>We now reach the <i>Triclinium</i> or dining-room, surrounded by a skirting +of pavonazzetto with a cornice of giallo. Tacitus describes a scene in +the imperial triclinium, in which the Emperor Tiberius is represented as +reclining at dinner, having on one side his aged mother, the Empress +Livia, and on the other his niece Agrippina, widow of Germanicus and +granddaughter of the great Augustus.<a name="FNanchor_110_110" id="FNanchor_110_110"></a><a href="#Footnote_110_110" class="fnanchor">[110]</a> It was while the imperial +family were seated at a banquet in the triclinium, in the time of Nero, +that his young step-brother Britannicus (son of Claudius and Messalina) +swallowed the cup of poison which the emperor had caused Locusta to +prepare and sank back dead upon his couch, his wretched sisters Antonia +and Octavia, also seated at the ghastly feast, not daring to give +expression to their grief and horror,—and Nero merely desiring the +attendants to carry<a name="vol_1_page_287" id="vol_1_page_287"></a> the boy out, and saying that it was a fit to which +he was subject.<a name="FNanchor_111_111" id="FNanchor_111_111"></a><a href="#Footnote_111_111" class="fnanchor">[111]</a> Here it was that Marcia the concubine presented the +cup of drugged wine to the wicked Commodus, on his return from a wild +beast hunt, and produced the heavy slumber during which he was strangled +by the wrestler Narcissus. In this very room also his successor +Pertinax, who had spent his short reign of three months in trying to +reform the State, resuscitate the finances, and to heal, as far as +possible, 'the wounds inflicted by the hand of tyranny,' received the +news that the guard, impatient of unwonted discipline, had risen against +him, and going forth to meet his assassins, fell, covered with wounds, +just in front of the palace.<a name="FNanchor_112_112" id="FNanchor_112_112"></a><a href="#Footnote_112_112" class="fnanchor">[112]</a></p> + +<p>Vitruvius says that every well-arranged Roman house has a dining-room +opening into a nymphæum, and accordingly here, on the right, is a +<i>Nymphæum</i>, with a beautiful fountain surrounded by miniature niches, +once filled with bronzes and statues. Water was conveyed hither by the +Neronian aqueduct. The pavement of this room was of oriental alabaster, +of which fragments remain.</p> + +<p>Beyond the Triclinium is a disgusting memorial of Roman imperial life, +in the <i>Vomitorium</i>, with its bason, whither the feasters retired to +tickle their throats with feathers, and come back with renewed appetite +to the banquet.</p> + +<p>We now reach the portico which closed the principal apartments of the +palace on the south-west. Some of its Corinthian pillars have been +re-erected on the sites where they were found. From hence we can look +down upon some grand walls of republican times, formed of huge tufa +blocks.<a name="vol_1_page_288" id="vol_1_page_288"></a></p> + +<p>Passing a space of ground, called, without much authority, +<i>Bibliotheca</i>, we reach a small <i>Theatre</i> on the edge of the hill, +interesting as described by Pliny, and because the Emperor Vespasian, +who is known to have been especially fond of reciting his own +compositions, probably did so here. Hence we may look down upon the +valley between the Palatine and Aventine, where the rape of the Sabines +took place, and upon the site of the Circus Maximus. From hence, we may +imagine, that the later emperors surveyed the hunts and games in that +circus, when they did not care to descend into the amphitheatre itself.</p> + +<p>Beyond this, on the right, is (partially restored) the grand staircase +leading to the platform once occupied by the <i>Temple of Jupiter-Victor</i>, +vowed by Fabius Maximus during the Samnite war, in the assurance that he +would gain the victory. On the steps is a sacrificial altar, which +retains its grooves for the blood of the victims, with an inscription +stating that it was erected by "Cnæus Domitius C. Calvinus, +Pontifex,"—who was a general under Julius Cæsar, and consul <small>B.C.</small> 53 and +<small>B.C.</small> 40.</p> + +<p>Now, for some distance, there are no remains, because this space was +always kept clear, for here, constantly renewed, stood the <i>Hut of +Faustulus and the Sacred Fig-tree</i>.</p> + +<div class="blockquot"><p>"The old Roman legend ran as follows:—Procas, king of Alba, left +two sons. Numitor, the elder, being weak and spiritless, suffered +Amulius to wrest the government from him, and reduce him to his +father's private estates. In the enjoyment of these he lived rich, +and, as he desired nothing more, secure: but the usurper dreaded +the claims that might be set up by heirs of a different character. +He had Numitor's son murdered, and appointed his daughter, Silvia, +one of the Vestal virgins.</p> + +<p>"Amulius had no children, or at least only one daughter: so that +the race of Anchises and Aphrodite seemed on the point of +expiring,<a name="vol_1_page_289" id="vol_1_page_289"></a> when the love of a god prolonged it, in spite of the +ordinances of man, and gave it a lustre worthy of its origin. +Silvia had gone into the sacred grove, to draw water from the +spring for the service of the temple. The sun quenched its rays: +the sight of a wolf made her fly into a cave: there Mars +overpowered the timid virgin, and then consoled her with the +promise of noble children, as Posidon consoled Tyro, the daughter +of Salmoneus. But he did not protect her from the tyrant; nor could +the protestations of her innocence save her. Vesta herself seemed +to demand the condemnation of the unfortunate priestess; for at the +moment when she was delivered of twins, the image of the goddess +hid its eyes, her altar trembled, and her fire died away. Amulius +ordered that the mother and her babes should be drowned in the +river. In the Anio Silvia exchanged her earthly life for that of a +goddess. The river carried the bole or cradle, in which the +children were lying, into the Tiber, which had overflowed its banks +far and wide, even to the foot of the woody hills. At the root of a +wild fig-tree, the Ficus Ruminalis, which was preserved and held +sacred for many centuries, at the foot of the Palatine, the cradle +overturned. A she-wolf came to drink of the stream: she heard the +whimpering of the children, carried them into her den hard by, made +a bed for them, licked and suckled them. When they wanted other +food than milk, a woodpecker, the bird sacred to Mars, brought it +to them. Other birds consecrated to auguries hovered over them, to +drive away insects. This marvellous spectacle was seen by +Faustulus, the shepherd of the royal flocks. The she-wolf drew +back, and gave up the children to human nature. Acca Laurentia, his +wife, became their foster-mother. They grew up, along with her +twelve sons, on the Palatine hill, in straw huts which they built +for themselves: that of Romulus was preserved by continual repairs, +as a sacred relic, down to the time of Nero. They were the stoutest +of the shepherd lads, fought bravely against wild beasts and +robbers, maintaining their right against every one by their might, +and turning might into right. Their booty they shared with their +comrades. The followers of Romulus were called Quinctilii, those of +Remus Fabii: the seeds of discord were soon sown amongst them. +Their wantonness engaged them in disputes with the shepherds of the +wealthy Numitor, who fed their flocks on Mount Aventine: so that +here, as in the story of Evander and Cacus, we find the quarrel +between the Palatine and the Aventine in the tales of the remotest +times. Remus was taken by the stratagem of these shepherds, and +dragged to Alba as a robber. A secret foreboding, the remembrance +of his grandsons, awakened by the story of the two brothers, kept +Numitor from pronouncing a hasty sentence.<a name="vol_1_page_290" id="vol_1_page_290"></a> The culprit's +foster-father hastened with Romulus to the city, and told the old +man and the youths of their kindred. They resolved to avenge their +own wrong and that of their house. With their faithful comrades, +whom the dangers of Remus had brought to the city, they slew the +king; and the people of Alba again became subject to Numitor.</p> + +<p>"But love for the home which fate had assigned them drew the youths +back to the banks of the Tiber, to found a city there, and the +shepherds, their old companions, were their first citizens.... This +is the old tale, as it was written by Fabius, and sung in ancient +lays down to the time of Dionysius."—<i>Niebuhr's Hist. of Rome.</i></p></div> + +<p>In the cliff of the Palatine, below the fig-tree, was shown for many +centuries the cavern Lupercal, sacred from the earliest times to the +Pelasgic god Pan.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Hinc lucum ingentum, quem Romulus acer Asylum<br /></span> +<span class="i0">Retulit, et gelidâ monstrat sub rupe Lupercal,<br /></span> +<span class="i0">Parrhasio dictum Panos de monte Lycæi."<br /></span> +<span class="i15"><i>Virgil, Æn.</i> viii. 342.<br /></span> +</div></div> + +<div class="blockquot"><p>"La louve, nourrice de Romulus, a peut-être été imaginée en raison +des rapports mythologiques qui existaient entre le loup et Pan +défenseur des troupeaux. Ce qu'il y a de sûr, c'est que les fêtes +lupercales gardèrent le caractère du dieu en l'honneur duquel elles +avaient été primitivement instituées et l'empreinte d'une origine +pélasgique; ces fêtes au temps de Cicéron avaient encore un +caractère pastoral en mémoire de l'Arcadie d'où on les croyait +venues. Les Luperques qui représentaient les Satyres, compagnons de +Pan, faisaient le tour de l'antique séjour des Pélasges sur le +Palatin. Ces hommes nus allaient frappant avec les lanières de peau +de bouc, l'animal lascif par excellence, les femmes pour les rendre +fécondes; des fêtes analogues se célébraient en Arcadie sous le nom +de Lukéia (les fêtes des loups), dont le mot lupercales est une +traduction."—<i>Ampère, Hist. Rome</i>, i. 143.</p></div> + +<p>In the hut of Romulus were preserved several objects venerated as relics +of him.</p> + +<div class="blockquot"><p>"On conservait le bâton augural avec lequel Romulus avait dessiné +sur le ciel, suivant le rite étrusque, l'espace où s'était +manifesté le grand auspice des douze vautours dans lesquels Rome +crut voir la promesse des douze siècles qu'en effet le destin +devait lui accorder. Tous les augures<a name="vol_1_page_291" id="vol_1_page_291"></a> se servirent par la suite de +ce bâton sacré, qui fut trouvé intact après l'incendie du monument +dans lequel il était conservé, miracle païen dont l'equivalent +pourrait se rencontrer dans plus d'une légende de la Rome +chrétienne. On montrait le cornouiller né du bois de la lance que +Romulus, avec la vigueur surhumaine d'un demi-dieu, avait jetée de +l'Aventin sur le Palatin, où elle s'était enfoncée dans la terre et +avait produit un grand arbre.</p> + +<p>"On montrait sur le Palatin le berceau et la cabane de Romulus. +Plutarque a vu ce berceau, le <i>Santo-Presepio</i> des anciens Romains, +qui était attaché avec des liens d'airain, et sur lequel on avait +tracé des caractères mystérieux. La cabane était à un seul étage, +en planches et couverte de roseaux, que l'on reconstruisait +pieusement chaque fois qu'un incendie la détruisait; car elle brûla +à diverses reprises, ce que la nature des matériaux dont elle était +formée fait croire facilement. J'ai vu dans les environs de Rome un +cabaret rustique dont la toiture était exactement pareille à celle +de là cabane de Romulus."—<i>Ampère, Hist. Rom.</i> i. 342.</p></div> + +<p>Turning along the terrace which overhangs the Velabrum we reach the +ruins of the <i>Palace of Tiberius</i>,<a name="FNanchor_113_113" id="FNanchor_113_113"></a><a href="#Footnote_113_113" class="fnanchor">[113]</a> in which he resided during the +earlier part of his reign, when he was under the influence of his aged +and imperious mother Livia. Here he had to mourn for Drusus, his only +son, who fell a victim (<small>A.D.</small> 23) to poison administered to him by his +wife Livilla and her lover the favourite Sejanus. Here also, in <small>A.D.</small> 29, +died Livia, widow of Augustus, at the age of eighty-six, "a memorable +example of successful artifice, having attained in succession, by craft +if not by crime, every object she could desire in the career of female +ambition."<a name="FNanchor_114_114" id="FNanchor_114_114"></a><a href="#Footnote_114_114" class="fnanchor">[114]</a></p> + +<p>The row of arches remaining are those of the soldiers' quarters. In the +fourth arch is a curious <i>graffite</i> of a ship. In another the three +pavements in use at different times may be seen <i>in situ</i>, one above +another. On the terrace<a name="vol_1_page_292" id="vol_1_page_292"></a> above these arches has recently been discovered +a large piscina, or <i>fish-pond</i>, and the painted chambers of a building, +which is supposed to have been the <i>House of Drusus</i> (elder brother of +Tiberius) <i>and Antonia</i>. Several of the rooms in this building are +richly decorated in fresco, one has a picture of a street with figures +of females going to a sacrifice, and of ladies at their toilette; +another of Mercury, Io, and Argus; and a third of Galatea and +Polyphemus. From the names of the characters in these pictures +represented being affixed to them in Greek, we may naturally conclude +that they are the work of Greek artists.</p> + +<p>The north-eastern corner of the area is entirely occupied by the vast +ruins of the <i>Palace of Caligula</i>, built against the side of the hill +above the <i>Clivus Victoriœ</i>, which still remains, and consisting of +ranges of small rooms, communicating with open galleries, edged by +marble balustrades, of which a portion exists. In these rooms the +half-mad Caius Caligula rushed about, sometimes dressed as a charioteer, +sometimes as a warrior, and delighted in astonishing his courtiers by +his extraordinary pranks, or shocking them by trying to enforce a belief +in his own divinity.<a name="FNanchor_115_115" id="FNanchor_115_115"></a><a href="#Footnote_115_115" class="fnanchor">[115]</a></p> + +<div class="blockquot"><p>"C'est dans ce palais que, tourmenté par l'insomnie et par +l'agitation de son âme furieuse, il passera une partie de la nuit à +errer sous d'immenses portiques, attendant et appellant le jour. +C'est là aussi qu'il aura l'incroyable idée de placer un dieu +infâme.</p> + +<p>"Caligula se fit bâtir sur le Palatin deux temples. Il avait +d'abord voulu avoir une demeure sur le mont Capitolin; mais, ayant +réfléchi que Jupiter l'avait precédé au Capitole, il en prit de +l'humeur et retourna sur le Palatin. Dans les folies de Caligula, +on voit se manifester cette pensée: Je suis dieu! pensée qui +n'était peut-être pas très-extraordinaire chez un jeune homme de +vingt-cinq ans devenu tout-à-coup maître du<a name="vol_1_page_293" id="vol_1_page_293"></a> monde. Il parut en +effet croire à sa divinité, prenant le nom et les attributs de +divers dieux, et changeant de nature divine en changeant de +perruque.</p> + +<p>"Non content de s'élever un temple à lui-même, Caligula en vint à +être son propre prêtre et à s'adorer. Le despotisme oriental avait +connu cette adoration étrange de soi: sur les monuments de l'Egypte +on voit Ramsès-roi présenter son offrande à Ramsès-dieu; mais +Caligula fit ce que n'avait fait aucun Pharaon; il se donna pour +collègue, dans ce culte de sa propre personne, son cheval, qu'il ne +nomma pas, mais qu'il songea un moment de nommer consul."—<i>Ampère, +Emp.</i> ii. 8.</p> + +<p>Here "one day at a public banquet, when the consuls were reclining +by his side, Caligula burst suddenly into a fit of laughter; and +when they courteously inquired the cause of his mirth, astounded +them by coolly replying that he was thinking how by one word he +could cause both their heads to roll on the floor. He amused +himself with similar banter even with his wife Cæsonia, for whom he +seems to have had a stronger feeling than for any of his former +consorts. While fondling her neck he is reported to have said, +'Fair as it is, how easily I could sever it.'"—<i>Merivale</i>, ch. +xlviii.</p></div> + +<p>After the murder of Caligula (Jan. 24, 794) by the tribune Cheræa, in +the vaulted passage which led from the palace to the theatre, a singular +chance which occurred in this part of the palace led to the elevation of +Claudius to the throne.</p> + +<div class="blockquot"><p>"In the confusion which ensued upon the death of Caius, several of +the prætorian guards had flung themselves furiously into the palace +and began to plunder its glittering chambers. None dared to offer +them any opposition; the slaves or freedmen fled and concealed +themselves. One of the inmates, half-hidden behind a curtain in an +obscure corner, was dragged forth with brutal violence; and great +was the intruder's surprise when they recognised him as Claudius, +the long despised and neglected uncle of the murdered emperor.<a name="FNanchor_116_116" id="FNanchor_116_116"></a><a href="#Footnote_116_116" class="fnanchor">[116]</a> +He sank at their feet almost senseless with terror: but the +soldiers in their wildest mood still respected the blood of the +Cæsars, and instead of slaying or maltreating<a name="vol_1_page_294" id="vol_1_page_294"></a> the suppliant, the +brother of Germanicus, they hailed him, more in jest perhaps than +earnest, with the title of Imperator, and carried him off to their +camp."—<i>Merivale</i>, ch. xlix.</p></div> + +<p>In this same palace Claudius was feasting when he was told that his +hitherto idolised wife Messalina was dead, without being told whether +she died by her own hand or another's,—and asked no questions, merely +desiring a servant to pour him out some more wine, and went on eating +his supper.<a name="FNanchor_117_117" id="FNanchor_117_117"></a><a href="#Footnote_117_117" class="fnanchor">[117]</a> Here also Claudius, who so dearly loved eating, +devoured his last and fatal supper of poisoned mushrooms which his next +loving wife (and niece) Agrippina prepared for him, to make way for her +son Nero upon the throne.<a name="FNanchor_118_118" id="FNanchor_118_118"></a><a href="#Footnote_118_118" class="fnanchor">[118]</a></p> + +<p>The Clivus Victoriæ commemorates by its name the <i>Temple of +Victory</i>,<a name="FNanchor_119_119" id="FNanchor_119_119"></a><a href="#Footnote_119_119" class="fnanchor">[119]</a> said to have been founded by the Sabine aborigines before +the time of Romulus, and to be the earliest temple at Rome of which +there is any mention except that of Saturnus. This temple was rebuilt by +the consul L. Posthumius.</p> + +<p>Chief of a group of small temples, the famous <i>Temple of Cybele</i>, +"Mother of the Gods," stood at this corner of the Palatine. Thirteen +years before it was built, the "Sacred Stone," the form under which the +"Idæan Mother" was worshipped, had been brought from Pessinus in +Phrygia, because, according to the Sibylline books, frequent showers of +stones which had occurred could only be expiated by its being +transported to Rome. It was given up to the Romans by their ally +Attalus, king of Pergamus, and P. Cornelius Scipio, the young brother of +Africanus—accounted the worthiest and most virtuous of the Romans—was +sent<a name="vol_1_page_295" id="vol_1_page_295"></a> to receive it. As the vessel bearing the holy stone came up the +Tiber it grounded at the foot of the Aventine, when the aruspices +declared that only chaste hands would be able to move it. Then the +Vestal Claudia drew the vessel up the river by a rope.</p> + +<div class="blockquot"><p>"Ainsi Sainte Brigitte, Suédoise morte à Rome, prouva sa pureté en +touchant le bois de l'autel, qui reverdit soudain. Une statue fut +érigée à Claudia, dans le vestibule du temple de Cybèle. Bien +qu'elle eût été, disait on, seule épargnée dans deux incendies du +temple, nous n'avons plus cette statue, mais nous avons au Capitole +un bas-relief où l'événement miraculeux est représenté. C'est un +autel dédié par une affranchie de la gens Claudia; il a été trouvé +au pied de l'Aventin, près du lieu qu'on désignait comme celui où +avait été opéré le miracle."—<i>Ampère, Hist. Rom.</i> iii. 142.</p></div> + +<p>In her temple, which was <i>round and surmounted</i> by a cupola, Cybele was +represented by a statue with its face to the east; the building was +adorned with a painting of Corybantes, and plays were acted in front of +it.<a name="FNanchor_120_120" id="FNanchor_120_120"></a><a href="#Footnote_120_120" class="fnanchor">[120]</a></p> + +<div class="poem"><div class="stanza"> +<span class="i6">"Qua madidi sunt tecta Lyæi<br /></span> +<span class="i0">Et Cybeles picto stat Corybante domus."<br /></span> +<span class="i15"><i>Martial, Ep.</i> i. 71, 9.<br /></span> +</div></div> + +<p>This temple, after its second destruction by fire, was entirely rebuilt +by Augustus in <small>A.D.</small> 2.</p> + +<div class="blockquot"><p>"Cybèle est certainement la grande déesse, la grande mère, +c'est-à-dire la personnification de la fécondité et de la vie +universelle: bizarre idole qui présente le spectacle hideux de +mamelles disposés par paires le long d'un corps comme enveloppé +dans une gaîne, et d'où sortent des taureaux et des abeilles, +images des forces créatrices et des puissances ordonnatrices de la +nature. On honorait cette déesse de l'Asie par des orgies +furieuses, par un mélange de débauche effrénée et de rites cruels; +ses prêtres efféminés dansaient au son des flûtes lydiennes et de +ses <i>crotales</i>, véritables castagnettes, semblables à celles que +fait résonner<a name="vol_1_page_296" id="vol_1_page_296"></a> aujourd'hui la paysanne romaine en dansant la +fougueuse <i>saltarelle</i>. On voit au musée du Capitole l'effigie +bas-relief d'un <i>archigalle</i>, d'un chef de ces prêtres insensés, et +près de lui les attributs de la déesse asiatique, les flûtes, les +crotales, et la mystérieuse corbeille. Cet archigalle, avec son air +de femme, sa robe qui conviendrait à une femme, nous retrace +l'espèce de démence religieuse à laquelle s'associaient les délires +pervers d'Héliogabale."—<i>Ampère, Emp.</i> ii. 310.</p></div> + +<p>We have the authority of Martial<a name="FNanchor_121_121" id="FNanchor_121_121"></a><a href="#Footnote_121_121" class="fnanchor">[121]</a> that in the immediate +neighbourhood of the temple of Cybele, stood the <i>Temple of Apollo</i>, +though Signor Rosa places it on the other side of the hill in the +gardens of S. Buonaventura. Its remains have yet to be discovered.</p> + +<div class="blockquot"><p>"Nothing could exceed the magnificence of this temple, according to +the accounts of ancient authors. Propertius, who was present at its +dedication, has devoted a short elegy to the description of it, and +Ovid describes it as a splendid structure of white marble.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">'Tum medium claro surgebat marmore templum,<br /></span> +<span class="i4">Et patria Phœbo carius Ortygia.<br /></span> +<span class="i0">Auro solis erat supra fastigia currus,<br /></span> +<span class="i4">Et valvæ Libyci nobile dentis opus.<br /></span> +<span class="i0">Altera dejectos Parnassi vertice Gallos,<br /></span> +<span class="i4">Altera mœrebat funera Tantalidos.<br /></span> +<span class="i0">Deinde inter matrem Deus ipse, interque sororem<br /></span> +<span class="i4">Pythius in longa carmina veste sonat.'<br /></span> +<span class="i15"><i>Propertius,</i> ii. <i>El.</i> 31.<br /></span> +</div></div> + +<div class="poem"><div class="stanza"> +<span class="i0">'Inde timore pari gradibus sublimia celsis<br /></span> +<span class="i4">Ducor ad intonsi candida templa Dei.'<br /></span> +<span class="i15"><i>Ovid, Trist.</i> iii. <i>El.</i> 1.<br /></span> +</div></div> + +<p>"From the epithet <i>aurea</i> porticus, it seems probable that the +cornice of the portico which surrounded it was gilt. The columns +were of African marble, or <i>giallo-antico</i>, and must have been +fifty-two in number, as between them were the statues of the fifty +Danaids, and that of their father, brandishing a naked sword.</p></div> + +<div class="poem"><div class="stanza"> +<span class="i0">'Quæris cur veniam tibi tardior? aurea Phœbi<br /></span> +<span class="i2">Porticus a magno Cæsare aperta fuit.<br /></span> +<span class="i0">Tota erat in speciem Pœnis digesta columnis:<br /></span> +<span class="i2">Inter quas Danai fœmina turba senis.'<br /></span> +<span class="i15"><i>Propert.</i> ii. <i>El.</i> 31.<br /></span> +</div></div> + +<div class="poem"><div class="stanza"> +<span class="i0">'Signa peregrinis ubi sunt alterna columnis<br /></span> +<span class="i2">Belides, et stricto barbarus ense pater.'<br /></span> +<span class="i15"><i>Ovid, Trist.</i> iii. 1. 61.<br /></span> +</div></div> + +<div class="blockquot"><p>"Here also was a statue of Apollo sounding the lyre, apparently a +likeness of Augustus; whose beauty when a youth, to judge from his +bust in the Vatican, might well entitle him to counterfeit the god. +Around the altar were the images of four oxen, the work of Myron, +so beautifully sculptured that they seemed alive. In the middle of +the portico rose the temple, apparently of white marble. Over the +pediment was the chariot of the sun. The gates were of ivory, one +of them sculptured with the story of the giants hurled down from +the heights of Parnassus, the other representing the destruction of +the Niobids. Inside the temple was the statue of Apollo in a tunica +talaris, or long garment, between his mother Latona and his sister +Diana, the work of Scopas, Cephisodorus, and Timotheus. Under the +base of Apollo's statue Augustus caused to be buried the Sibylline +books which he had selected and placed in gilt chests. Attached to +the temple was a library called <i>Bibliotheca Græca et Latina</i>, +apparently, however, only one structure, containing the literature +of both tongues. Only the choicest works were admitted to the +honour of a place in it, as we may infer from Horace:</p> + +<div class="poem"><div class="stanza"> +<span class="i6">'Tangere vitet<br /></span> +<span class="i0">Scripta, Palatinus quæcunque recepit Apollo.'<br /></span> +<span class="i15"><i>Ep.</i> i. 3. 16.<br /></span> +</div></div> + +<p>"The library appears to have contained a bronze statue of Apollo, +fifty feet high; whence we must conclude that the roof of the hall +exceeded that height. In this library, or more probably, perhaps, +in an adjoining apartment, poets, orators, and philosophers recited +their productions. The listless demeanour of the audience on such +occasions seems, from the description of the younger Pliny, to have +been, in general, not over-encouraging. Attendance seems to have +been considered as a friendly duty."—<i>Dyer's City of Rome.</i></p></div> + +<p>The temple of Apollo was built by Augustus to commemorate<a name="vol_1_page_298" id="vol_1_page_298"></a> the battle of +Actium. He appropriated to it part of the land covered with houses which +he had purchased upon the Palatine;—another part he gave to the +Vestals; the third he used for his own palace.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Phœbus habet partem, Vestæ pars altera cessit:<br /></span> +<span class="i0">Quod superest illis, tertius ipse tenet.<br /></span> +<span class="i6">. . . . .<br /></span> +<span class="i0">Stet domus, æternos tres habet una deos."<br /></span> +<span class="i15"><i>Ovid, Fast.</i> iv. 951.<br /></span> +</div></div> + +<p>Thus Apollo and Vesta became as it were the household gods of Augustus:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Vestaque Cæsareos inter sacrata penates,<br /></span> +<span class="i0">Et cum Cæsarea tu, Phœbe domestice, Vesta."<br /></span> +<span class="i15"><i>Ovid, Metam.</i> xv. 864.<br /></span> +</div></div> + +<p>Other temples on the Palatine were that of <i>Juno</i> Sospita:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Principio mensis Phrygiæ contermina Matri<br /></span> +<span class="i2">Sospita delubris dicitur aucta novis."<br /></span> +<span class="i15"><i>Ovid, Fast.</i> ii. 55.<br /></span> +</div></div> + +<p class="nind">of Minerva:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Sexte, Palatinæ cultor facunde Minervæ<br /></span> +<span class="i2">Ingenio frueris qui propiore Dei."<br /></span> + +<span class="i15"><i>Martial,</i> v. <i>Ep.</i> 5.<br /></span> +</div></div> + +<p class="nind">a temple of Moonlight mentioned by Varro (iv. 10) and a shrine of Vesta.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Vestaque Cæsareos inter sacrata penates."<br /></span> +<span class="i15"><i>Ovid, Met.</i> i.<br /></span> +</div></div> + +<p>From the <i>Torretta del Palatino</i> which is near the house of Caligula, +there is a magnificent view over the seven hills of Rome;—the Palatine, +Aventine, Capitoline, Cœlian, Quirinal, Viminal, and Esquiline. From +this point also it is very interesting to remember that these were not +the heights considered as "the Seven Hills" in the ancient history of +Rome, when the sacrifices of the <i>Septimontium</i> were offered<a name="vol_1_page_299" id="vol_1_page_299"></a> upon the +Palatine, Velia, and Germale, the three divisions of the Palatine—of +which one can no longer be traced; upon the Fagutal, Oppius, and +Cispius, the secondary heights of the Esquiline; and upon the Suburra, +which perhaps comprehended the Viminal.<a name="FNanchor_122_122" id="FNanchor_122_122"></a><a href="#Footnote_122_122" class="fnanchor">[122]</a> Hence also we see the +ground we have traversed on the Palatine spread before us like a map.</p> + +<p>If we descend the staircase in the Palace of Caligula, we may trace as +far as the Porta Romana the piers of the <i>Bridge of Caligula</i>, which, +half in vanity, half in madness, he threw across the valley, that he +might, as he said, the more easily hold intercourse with his friend and +comrade Jupiter upon the Capitol. One of the piers which he used for his +bridge, beyond the limits of the palace, was formed by the temple of +Augustus built by Tiberius.<a name="FNanchor_123_123" id="FNanchor_123_123"></a><a href="#Footnote_123_123" class="fnanchor">[123]</a> This bridge, with all other works of +Caligula, was of very short duration, being destroyed immediately after +his death by Claudius.</p> + +<p>Returning by the Clivus Victoriæ, we shall find ourselves again on the +eastern slope of the hill from which we started, the site once occupied +by so many of the great patrician families. Here at one time lived Caius +Gracchus, who to gratify the populace, gave up his house on the side of +the Palatine, and made his home in the gloomy Suburra. Here also lived +his coadjutor in the consulship, Fulvius Flaccus, who shared his fate, +and whose house was razed to the ground by the people after his murder. +At this corner of the hill also was the house of Q. Lutatius Catulus, +poet and historian, who was consul <small>B.C.</small> 102, and together with Marius +was conqueror of the Cimbri in a great battle near Vercelli. In<a name="vol_1_page_300" id="vol_1_page_300"></a> memory +of this he founded a temple of the "Fortuna hujusce diei," and decorated +the portico of his house with Cimbrian trophies. Varro mentions that his +house had also a domed roof.<a name="FNanchor_124_124" id="FNanchor_124_124"></a><a href="#Footnote_124_124" class="fnanchor">[124]</a> Here also the consul Octavius, +murdered on the Janiculum by the partisans of Marius, had a house, which +was rebuilt with great magnificence by Emilius Scaurus, who adorned it +with columns of marble thirty-eight feet high.<a name="FNanchor_125_125" id="FNanchor_125_125"></a><a href="#Footnote_125_125" class="fnanchor">[125]</a> These two last-named +houses were bought by the wealthy Clodius, who gave 14,800,000 +sesterces, or about 130,000<i>l.</i>, for that of Scaurus, and throwing down +the Porticus Catuli, included its site, and the house of E. Scaurus, in +his own magnificent dwelling. Clodius was a member of the great house of +the Claudii, and was the favoured lover of Pompeia, wife of Julius +Cæsar, by whose connivance, disguised as a female musician, he attempted +to be present at the orgies of the Bona Dea, which were celebrated in +the house of the Pontifex Maximus close to the temple of Vesta, and from +which men were so carefully excluded, that even a male mouse, says +Juvenal, dared not show himself there. The position of his own dwelling, +and that of the pontifex, close to the foot of the Clivus Victoriæ, +afforded every facility for this adventure, but it was discovered by his +losing himself in the passages of the Regia. A terrible scandal was the +result—Cæsar divorced Pompeia, and the senate referred the matter to +the pontifices, who declared that Clodius was guilty of sacrilege. +Clodius attempted to prove an alibi, but Cicero's evidence showed that +he was with him in Rome only three hours before he pretended to have +been at Interamna. Bribery and intimidation secured his acquittal by a +majority<a name="vol_1_page_301" id="vol_1_page_301"></a> of thirty-one to twenty-five,<a name="FNanchor_126_126" id="FNanchor_126_126"></a><a href="#Footnote_126_126" class="fnanchor">[126]</a> but from this time a deadly +enmity ensued between him and Cicero.</p> + +<p>The house of Clodius naturally leads us to that of Cicero, which was +also situated at this corner of the Palatine, whence he could see his +clients in the Forum and go to and fro to his duties there. This house +had been built for M. Livius Drusus, who, when his architect proposed a +plan to prevent its being overlooked, answered, "Rather build it so that +all my fellow-citizens may behold everything that I do." In his acts +Drusus seemed to imitate the Gracchi; but he sought popularity for its +own sake, and after being the object of a series of conspiracies was +finally murdered in the presence of his mother Cornelia, in his own +hall, where the image of his father was sprinkled with his blood. When +dying he turned to those around him and asked, with characteristic +arrogance, based perhaps upon conscious honesty of purpose, "when will +the commonwealth have a citizen like me again?" After the death of +Drusus the house was inhabited by L. Licinius Crassus the orator, who +lived here in great elegance and luxury. His house was called from its +beauty "the Venus of the Palatine," and was remarkable for its size, the +taste of its furniture, and the beauty of its grounds. "It was adorned +with pillars of Hymettian marble, with expensive vases, and triclinia +inlaid with brass. His gardens were provided with fishponds, and some +noble lotus-trees shaded his walks. Ahenobarbus, his colleague in the +censorship, found fault with such corruption of manners,<a name="FNanchor_127_127" id="FNanchor_127_127"></a><a href="#Footnote_127_127" class="fnanchor">[127]</a> estimated +his house at a hundred million, or, according to Valerius Maximus,<a name="FNanchor_128_128" id="FNanchor_128_128"></a><a href="#Footnote_128_128" class="fnanchor">[128]</a> +six<a name="vol_1_page_302" id="vol_1_page_302"></a> million sesterces, and complained of his crying for the loss of a +lamprey as if it had been a daughter. It was a tame lamprey which used +to come at the call of Crassus, and feed out of his hand. Crassus +retorted by a public speech against his colleague, and by his great +powers of ridicule, turned him into derision; jested upon his name,<a name="FNanchor_129_129" id="FNanchor_129_129"></a><a href="#Footnote_129_129" class="fnanchor">[129]</a> +and to the accusation of weeping for a lamprey, replied, that it was +more than Ahenobarbus had done for the loss of any of his three +wives."<a name="FNanchor_130_130" id="FNanchor_130_130"></a><a href="#Footnote_130_130" class="fnanchor">[130]</a> Cicero purchased the house of Crassus a year or two after +his consulate for a sum equal to about 30,000<i>l.</i>, and removed thither +from the Carinæ with his wife Terentia. His house was close to that of +Clodius, but a little lower down the hill, which enabled him to threaten +to increase the height, so as to shut out his neighbour's view of the +city. Upon his accession to the tribuneship Clodius procured the +disgrace of Cicero, and after his flight to Greece, obtained a decree of +banishment against him. He then pillaged and destroyed his house upon +the Palatine, as well as his villas at Tusculum and Formia, and obliged +Terentia to take refuge with the Vestals, whose Superior was fortunately +her sister. But in the following year, a change of consuls and revulsion +of the popular favour led to the recall of Cicero, who found part of his +house appropriated by Clodius, who had erected a shrine to Libertas +(with a statue which was that of a Greek courtezan carried off from the +tomb)<a name="FNanchor_131_131" id="FNanchor_131_131"></a><a href="#Footnote_131_131" class="fnanchor">[131]</a> on the site of the remainder, which he had razed to the +ground.<a name="FNanchor_132_132" id="FNanchor_132_132"></a><a href="#Footnote_132_132" class="fnanchor">[132]</a></p> + +<div class="blockquot"><p>"Clodius had also destroyed the portico of Catulus; in fact, he<a name="vol_1_page_303" id="vol_1_page_303"></a> +appears to have been desirous of appropriating all this side of the +Palatine. He wanted to buy the house of the ædile Seius. Seius +having declared that so long as he lived, Clodius should not have +it, Clodius caused him to be poisoned, and then bought his house +under a feigned name! He was thus enabled to erect a portico three +hundred feet in length, in place of that of Catulus. The latter, +however, was afterwards restored at the public expense.</p> + +<p>"Cicero obtained public grants for the restoration of his house and +of his Tusculan and Formian villas, but very far from enough to +cover the losses he had suffered. The aristocratic part of the +Senate appears to have envied and grudged the <i>novus homo</i> to whose +abilities they looked for protection. He was advised not to rebuild +his house on the Palatine, but to sell the ground. It was not in +Cicero's temper to take such a course; but he was hampered ever +after with debts. Clodius, who had been defeated but not beaten, +still continued his persecutions. He organised a gang of street +boys to call out under Cicero's windows, 'Bread! Bread!' His bands +interrupted the dramatic performances on the Palatine, at the +Megalesian games, by rushing upon the stage. On another occasion, +Clodius, at the head of his myrmidons, besieged the Senate in the +temple of Concord. He attacked Cicero in the streets, to the danger +of his life; and when he had begun to rebuild his house, drove away +the masons, overthrew what part had been re-erected of Catulus' +portico, and cast burning torches into the house of Quintus Cicero, +which he had hired next to his brother's on the Palatine, and +consumed a great part of it."—<i>Dyer's City of Rome</i>, 152.</p></div> + +<p>The indemnity which Cicero received from the state in order to rebuild +his house on the Palatine, amounted to about 16,000<i>l.</i> The house of +Quintus Cicero was rebuilt close to his brother's at the same time by +Cyrus, the fashionable architect of the day.<a name="FNanchor_133_133" id="FNanchor_133_133"></a><a href="#Footnote_133_133" class="fnanchor">[133]</a></p> + +<p>Among other noble householders on this part of the Palatine was Mark +Antony,<a name="FNanchor_134_134" id="FNanchor_134_134"></a><a href="#Footnote_134_134" class="fnanchor">[134]</a> whose house was afterwards given by Augustus to Agrippa and +Messala, soon after which it was burnt down.</p> + +<p>A small <i>Museum</i> in this part of the garden contains some<a name="vol_1_page_304" id="vol_1_page_304"></a> of the +smaller objects which have been found in the excavations, and specimens +of the different marbles and alabasters. There is nothing of any great +importance. The fragments of statues and some busts which have been +found (including Flavia Domitilla, wife of Vespasian, and Julia, +daughter of Titus), have been sent to Paris, but casts have been left +here.</p> + +<p>We have now made the round of the French division of the Palatine.</p> + +<hr style="width: 15%;" /> + +<p>It has been decided that some remains which exist in the garden of the +Villa Mills (now a Convent of Visitandine Nuns) are those of the House +of Hortensius, an orator, "who was second only to Cicero in eloquence, +and who, in the early part at least of their lives, was his chief +opponent."<a name="FNanchor_135_135" id="FNanchor_135_135"></a><a href="#Footnote_135_135" class="fnanchor">[135]</a> Cicero himself describes the extraordinary gifts of his +rival<a name="FNanchor_136_136" id="FNanchor_136_136"></a><a href="#Footnote_136_136" class="fnanchor">[136]</a> as well as the integrity with which he fulfilled the duties +of a quæstor.<a name="FNanchor_137_137" id="FNanchor_137_137"></a><a href="#Footnote_137_137" class="fnanchor">[137]</a> In the latter portion of his public career Hortensius +was frequently engaged on the same side with Cicero, and then always +recognised his superiority by allowing him to speak last. Hortensius +died <small>B.C.</small> 50, to the great grief of his ancient rival.<a name="FNanchor_138_138" id="FNanchor_138_138"></a><a href="#Footnote_138_138" class="fnanchor">[138]</a> The splendid +villas of Hortensius were celebrated. He was accustomed to water his +trees with wine at regular intervals,<a name="FNanchor_139_139" id="FNanchor_139_139"></a><a href="#Footnote_139_139" class="fnanchor">[139]</a> and had huge fishponds at +Bauli, into which the salt-water fish came to be fed from his hand, and +he became so fond of them, that he wept for the death of a favourite +muræna.<a name="FNanchor_140_140" id="FNanchor_140_140"></a><a href="#Footnote_140_140" class="fnanchor">[140]</a> But the house on the Palatine was exceedingly<a name="vol_1_page_305" id="vol_1_page_305"></a> simple and +had no decorations but plain columns of Alban stone.<a name="FNanchor_141_141" id="FNanchor_141_141"></a><a href="#Footnote_141_141" class="fnanchor">[141]</a> This was the +chosen residence of Augustus, until, upon its destruction by fire, the +citizens insisted upon raising the more sumptuous residence in the +hollow of the Palatine by public subscription. The subterranean chambers +which have been discovered have some interesting remains of stucco +ornament.</p> + +<p>The villa, which is now turned into a convent, possessed some frescoes +painted by Giulio Romano from designs of Raphael, but these have been +destroyed or removed in deference to the modesty of the present +inhabitants. The neighbouring church and garden of S. Sebastiano occupy +the site of the <i>Gardens of Adonis</i>. (See <a href="#CHAPTER_IV">Chap. IV.</a>)</p> + +<hr style="width: 15%;" /> + +<p>A large, and by far the most picturesque portion of the Palace of the +Cæsars (the only part which was not imbedded in soil ten years ago), is +now accessible either from the end of the lane of S. Buenaventura, or +from a gate on the left of the Via dei Fienili just before reaching Sta. +Anastasia. The excavations in the last-named quarter were begun by the +Emperor of Russia, who purchased the site, but afterwards presented it +to the city.</p> + +<p>Behind Sta. Maria Liberatrice, in some farm buildings, are remains which +probably belong to the Regia of Julius Cæsar.</p> + +<p>Beyond this, against the escarpment of the Palatine, a part of the +<i>Walls of Romulus</i> has been discovered, built in large oblong blocks. +Here also are fragments of bases of towers of republican times. Behind +S. Teodoro are remains of an early concrete wall, behind which the tufa +rock is<a name="vol_1_page_306" id="vol_1_page_306"></a> visible. The wall is only built where the tufa is of a soft +character.</p> + +<div class="blockquot"><p>"La système de construction est le même que dans les villes +d'Étrurie et dans la muraille bâtie à Rome par les rois étrusques. +Cependant l'appareil est moins régulier. Les murs d'une petite +ville du Latium fondée par un aventurier ne pouvaient être aussi +soignés que les murs des villes de l'Étrurie, pays tout autrement +civilisé. La petite cité de Romulus, bornée au Palatin, n'avait pas +l'importance de la Rome des Tarquins, qui couvrait les huit +collines.</p> + +<p>"Du reste, la construction est étrusque et devait l'être. Romulus +n'avait dans sa ville, habitée par des pâtres et des bandits, +personne qui fût capable d'en bâtir l'enceinte. Les Étrusques, +grands bâtisseurs, étaient de l'autre côté du fleuve. Quelques-uns +même l'avaient probablement passé déjà et habitaient le mont +Cœlius. Romulus dut s'adresser à eux, et faire faire cet ouvrage +par des architects et des maçons étrusques. Ce fut aussi selon le +rite de l'Étrurie, pays sacerdotal, que Romulus, suivant en cela +l'usage établi dans les cités latines, fit consacer l'enceinte de +la ville nouvelle. Il agit en cette circonstance comme agit un +paysan romain, quand il appelle un prêtre pour bénir l'emplacement +de la maison qu'il veut bâtir.</p> + +<p>"Les détails de la cérémonie par laquelle fut inaugurée la première +enceinte de Rome nous ont été transmis par Plutarque,<a name="FNanchor_142_142" id="FNanchor_142_142"></a><a href="#Footnote_142_142" class="fnanchor">[142]</a> et, avec +un grand détail par Tacite,<a name="FNanchor_143_143" id="FNanchor_143_143"></a><a href="#Footnote_143_143" class="fnanchor">[143]</a> qui sans doute avait sous les yeux +les livres des pontifes. Nous connaissons avec exactitude le +contour que traça la charrue sacrée. Nous pouvons le suivre encore +aujourd'hui.</p> + +<p>"Romulus attela an taureau blanc et une vache blanche à une charrue +dont le soc était d'airain.<a name="FNanchor_144_144" id="FNanchor_144_144"></a><a href="#Footnote_144_144" class="fnanchor">[144]</a> L'usage de l'airain a précédé à +Rome, comme partout, l'usage du fer. Il partit du lieu consacré par +l'antique autel d'Hercule, au-dessous de l'angle occidental du +Palatin et de la première Rome des Pelasges, et, se dirigeant vers +le sud-est, traça son sillon le long de la base de la colline.</p> + +<p>"Ceux qui suivaient Romulus, rejetaient les mottes de terre en +dedans du sillon, image du Vallum futur. Ce sillon était l'Agger de +Servius Tullius en petit. A l'extrémité de la vallée qui sépare le +Palatin de l'Aventin, où devait être le grand cirque, et où est +aujourd'hui la rue des <i>Cerchi</i>, il prit à gauche, et, contournant +la colline, continua, en creusant toujours son sillon, à tracer +sans le savoir la route que devaient suivre un jour les triomphes, +puis revint au point d'où il était parti. La charrue, l'instrument +du labour, le symbole de la vie agricole<a name="vol_1_page_307" id="vol_1_page_307"></a> des enfants de Saturne, +avait dessiné le contour de la cité guerrière de Romulus. De même, +quand on avait détruit une ville, on faisait passer la charrue sur +le sol qu'elle avait occupé. Par là, ce sol devenait sacré, et il +n'était pas plus permis de l'habiter qu'il ne l'était de franchir +le sillon qu'on creusait autour des villes lors de leur fondation, +comme le fit Romulus et comme le firent toujours depuis les +fondateurs d'une colonie; car toute colonie était une +Rome."—<i>Ampère, Hist. Rome</i>, i. 283.</p></div> + +<p>Close under this, the northern side of the walls of Romulus, ran the +<i>Via Nova</i>, down which Marcus Cædicius was returning to the city in the +gloaming, when, at this spot, between the sacred grove and the temple of +Vesta, he heard a supernatural voice, bidding him to warn the senate of +the approach of the Gauls. After the Gauls had invaded Rome, and +departed again, an altar and sanctuary recorded the miracle on this +site.<a name="FNanchor_145_145" id="FNanchor_145_145"></a><a href="#Footnote_145_145" class="fnanchor">[145]</a></p> + +<p>At the corner near Sta. Anastasia, are remains of a private house of +early times built against the cliff. Near this were the steps called the +<i>Stairs of Cacus</i>, leading up to the hut of Faustulus. On the other side +the <i>Gradus Pulchri Littoris</i>, the <span title="Greek: kalê Aktê">κλη Ακτη</span> of +Plutarch, led to the river.<a name="FNanchor_146_146" id="FNanchor_146_146"></a><a href="#Footnote_146_146" class="fnanchor">[146]</a></p> + +<p>Here a remarkable altar of republican times has been discovered, and +remains <i>in situ</i>. It is inscribed <small>SEI DEO SEI DIVAE SAC.—C SEXTIVS C T +CALVINUS TR—DE SENATI SENTENTIA RESTITVIT</small>. Some suppose this to be the +actual altar mentioned above as erected to the Genius Loci, in +consequence of the mysterious warning of the Gallic invasion. The father +of the tribune, C. S. Calvinus, mentioned in the inscription, was consul +with C. Cassius Longinus, <small>B.C.</small> 124, and is described by Cicero as an +elegant orator of a sickly constitution.<a name="FNanchor_147_147" id="FNanchor_147_147"></a><a href="#Footnote_147_147" class="fnanchor">[147]</a><a name="vol_1_page_308" id="vol_1_page_308"></a></p> + +<p>Beyond this a number of chambers have been discovered under the steep +bank of the Palatine, and retain a quantity of <i>graffiti</i> scratched upon +their walls. The most interesting of these, found in the fourth chamber, +has been removed to the museum of the Collegio Romano. It is generally +believed to have been executed during the reign of Septimius Severus, +and to have been done in an idle moment by one of the soldiers occupying +these rooms, supposed to have been used as guard-chambers under that +emperor. If so, it is perhaps the earliest existing pictorial allusion +to the manner of our Saviour's death. It is a caricature evidently +executed in ridicule of a Christian fellow-soldier. The figure on the +cross has an ass's head, and by the worshipping figure is inscribed in +Greek characters, <i>Alexamenos worships his God</i>.</p> + +<div class="blockquot"><p>"The lowest orders of the populace were as intelligently hostile to +it [the worship of the Crucified] as were the philosophers. Witness +that remarkable caricature of the adoration of our crucified Lord, +which was discovered some ten years ago beneath the ruins of the +Palatine palace. It is a rough sketch, traced, in all probability, +by the hand of some pagan slave in one of the earliest years of the +third century of our era. A human figure with an ass's head is +represented as fixed to a cross, while another figure in a tunic +stands on one side. This figure is addressing himself to the +crucified monster, and is making a gesture which was the customary +pagan expression of adoration. Underneath there runs a rude +inscription: <i>Alexamenos adores his God</i>. Here we are face to face +with a touching episode of the life of the Roman Church in the days +of Severus or of Caracalla. As under Nero, so, a century and a half +later, there were worshippers of Christ in the household of Cæsar. +But the paganism of the later date was more intelligently and +bitterly hostile to the Church than the paganism which had shed the +blood of the apostles. The Gnostic invective which attributed to +the Jews the worship of an ass, was applied by pagans +indiscriminately to Jews and Christians. Tacitus attributes the +custom to a legend respecting services rendered by wild asses to +the Israelites in the desert; 'and so, I suppose,' observes +Tertullian, 'it was thence presumed that we, as bordering<a name="vol_1_page_309" id="vol_1_page_309"></a> upon the +Jewish religion, were taught to worship such a figure.' Such a +story, once current, was easily adapted to the purposes of a pagan +caricaturist. Whether from ignorance of the forms of Christian +worship, or in order to make his parody of it more generally +intelligible to its pagan admirers, the draughtsman has ascribed to +Alexamenos the gestures of a heathen devotee. But the real object +of his parody is too plain to be mistaken. Jesus Christ, we may be +sure, had other confessors and worshippers in the Imperial palace +as well as Alexamenos. The moral pressure of the advancing Church +was felt throughout all ranks of pagan society; ridicule was +invoked to do the work of argument; and the moral persecution which +crowned all true Christian devotion was often only the prelude to a +sterner test of that loyalty to a crucified Lord, which was as +insensible to the misrepresentations, as Christian faith was +superior to the logic, of heathendom."<a name="FNanchor_148_148" id="FNanchor_148_148"></a><a href="#Footnote_148_148" class="fnanchor">[148]</a>—<i>Liddon, Bampton +Lectures of 1866</i>, lect. vii. p. 593.</p></div> + +<p>These chambers acquire a great additional interest from the belief which +many entertain that they are those once occupied by the Prætorian Guard, +in which St. Paul was confined.</p> + +<div class="blockquot"><p>"The close of the Epistle to the Ephesians contains a remarkable +example of the forcible imagery of St. Paul. Considered simply in +itself, the description of the Christian's armour is one of the +most striking passages in the sacred volume. But if we view it in +connection with the circumstances with which the Apostle was +surrounded, we find a new and living emphasis in his enumeration of +all the parts of the heavenly panoply,—the belt of sincerity and +truth, with which the loins are girded for the spiritual war,—the +breast-plate of that righteousness, the inseparable links whereof +are faith and love,—the strong sandals, with which the feet of +Christ's soldiers are made ready, not for such errands of death and +despair as those on which the Prætorian soldiers were daily sent, +but for the universal message of the gospel of peace,—the large +shield of confident trust, wherewith the whole man is protected, +and whereon the fiery arrows of the Wicked One fall harmless and +dead,—the close-fitting helmet, with which the hope of salvation +invests the head of the believer,—and finally the sword of the +Spirit, the Word of<a name="vol_1_page_310" id="vol_1_page_310"></a> God, which, when wielded by the Great Captain +of our Salvation, turned the tempter in the wilderness to flight, +while in the hands of His chosen Apostle (with whose memory the +sword seems inseparably associated), it became the means of +establishing Christianity on the earth.</p> + +<p>"All this imagery becomes doubly forcible if we remember that when +St. Paul wrote the words he was chained to a soldier, and in the +close neighbourhood of military sights and sounds. The appearance +of the Prætorian Guards was daily familiar to him; as his 'chains,' +on the other hand (so he tells us in the succeeding Epistle), +became well known throughout the whole <i>Prætorium</i>! (Phil. i. 13). +A difference of opinion has existed as to the precise meaning of +the word in this passage. Some have identified it, as in the +authorised version, with the house of Cæsar on the Palatine: more +commonly it has been supposed to mean that permanent camp of the +Prætorian Guards, which Tiberius established on the north of the +city, outside the walls. As regards the former opinion, it is true +that the word came to be used, almost as we use the word 'palace,' +for royal residences generally or for any residences of princely +splendour. Yet we never find the word employed for the imperial +house at Rome: and we believe the truer view to be that which has +been recently advocated, namely, that it denotes here, not the +palace itself, but the quarters of that part of the imperial +guards, which was in immediate attendance upon the emperor. The +emperor was <i>prætor</i> or commander-in-chief of the troops, and it +was natural that his immediate guard should be in <i>prætorium</i> near +him. It might, indeed, be argued that this military establishment +on the Palatine would cease to be necessary, when the Prætorian +camp was established: but the purpose of that establishment was to +concentrate near the city those cohorts, which had previously been +dispersed in other parts of Italy: a local body-guard near the +palace would not cease to be necessary: and Josephus, in his +account of the imprisonment of Agrippa, speaks of a 'camp' in +connection with the 'royal house.' Such we conceive to have been +the barrack immediately alluded to by St. Paul: though the +connection of these smaller quarters with the general camp was such +that he would naturally become known to '<i>all the rest</i>' of the +guards, as well as those who might for the time be connected with +the imperial household.</p> + +<p>"St. Paul tells us (in the Epistle to the Philippians) that +throughout the Prætorian quarter he was well known as a prisoner +for the cause of Christ, and he sends special salutations to the +Philippian Church from the Christians of the imperial household. +These notices bring before<a name="vol_1_page_311" id="vol_1_page_311"></a> us very vividly the moral contrasts by +which the Apostle was surrounded. The soldier to whom he was +chained to-day might have been in Nero's body-guard yesterday; his +comrade who next relieved guard might have been one of the +executioners of Octavia, and might have carried her head to Poppæa +a few weeks before.</p> + +<p>"History has few stronger contrasts than when it shows us Paul +preaching Christ under the walls of Nero's palace. Thenceforward +there were but two religions in the Roman world; the worship of the +emperor, and the worship of the Saviour. The old superstitions had +long been worn out; they had lost all hold on educated minds.... +Over against the altars of Nero and Poppæa, the voice of a prisoner +was daily heard, and daily woke in grovelling souls the +consciousness of their divine destiny. Men listened, and knew that +self-sacrifice was better than ease, humiliation more exalted than +pride, to suffer nobler than to reign. They felt that the only +religion which satisfied the needs of man was the religion of +sorrow, the religion of self-devotion, the religion of the +cross."—<i>Conybeare and Howson.</i></p></div> + +<p>Hence, we may ascend through some gardens beneath the Villa Mills, to +the terrace which surmounts the grand ruins at the end of the Palace of +the Cæsars, supposed to be remains of the <i>Palace of Nero</i>, but as no +inscriptions have been discovered, no part of it can be identified.<a name="FNanchor_149_149" id="FNanchor_149_149"></a><a href="#Footnote_149_149" class="fnanchor">[149]</a> +These are by far the most picturesque portions of the ruins, and few +compositions can be finer than those formed by the huge masses of +stately brick arches, laden with a wealth of laurustinus, cytizus, and +other flowering shrubs, standing out against the soft hues and delicate +blue and pink shadows of the distant Campagna. Beneath the terrace is a +fine range of lofty chambers, with a broken statue at the end, through +which there is a striking view. One of these ruined halls has been +converted into a kind of museum of architectural fragments found in this +part of the palace, many of them of great beauty. This was the portion +of the palace which<a name="vol_1_page_312" id="vol_1_page_312"></a> longest remained entire, and which was inhabited by +Heraclius in the seventh century. Some consider that these ruins were +incorporated into the</p> + +<p><i>Septizonium of Severus</i>, so called from its seven stories of building, +erected <small>A.D.</small> 198, and finally destroyed by Sixtus V., who carried off +its materials for the building of St Peter's. It was erected by Severus +at the southern corner of the palace, in order that it might at once +strike the eyes of his African compatriots,<a name="FNanchor_150_150" id="FNanchor_150_150"></a><a href="#Footnote_150_150" class="fnanchor">[150]</a> on their arrival in +Rome. He built two other edifices which he called Septizonium, one on +the Esquiline near the baths of Titus, and the other on the Via Appia, +which he intended as the burial-place of his family, and where his son +Geta was actually interred.</p> + +<p>The remaining ruins on this division of the hill, supposed to be those +of a theatre, a library, &c., have not yet been historically identified. +They probably belong to the <i>Palace of Domitian</i> (Imp. <small>A.D.</small> 81—96), who +added largely to the buildings on the Palatine. The magnificence of his +palace is extolled in the inflated verses of Statius, who describes the +imperial dwelling as exciting the jealousy of the abode of Jupiter—as +losing itself amongst the stars by its height, and rising above the +clouds into the full splendour of the sunshine! Such was the +extravagance displayed by Domitian in these buildings, that Plutarch +compares him to Midas, who wished everything to be made of gold. This +was the scene of many of the tyrannical vagaries of Domitian.</p> + +<div class="blockquot"><p>"'Having once made a great feast for the citizens, he proposed,' +says Dion, 'to follow it up with an entertainment to a select +number of the<a name="vol_1_page_313" id="vol_1_page_313"></a> highest nobility. He fitted up an apartment all in +black. The ceiling was black, the walls were black, the pavement +was black, and upon it were ranged rows of bare stone seats, black +also. The guests were introduced at night without their attendants, +and each might see at the head of his couch a column placed, like a +tomb-stone, on which his own name was graven, with the cresset lamp +above it, such as is suspended in the tombs. Presently there +entered a troop of naked boys, blackened, who danced around with +horrid movements, and then stood still before them, offering them +the fragments of food which are commonly presented to the dead. The +guests were paralysed with terror, expecting at every moment to be +put to death; and the more, as the others maintained a deep +silence, as though they were dead themselves, and Domitian spake of +things pertaining to the state of the departed only.' But this +funeral feast was not destined to end tragically. Cæsar happened to +be in a sportive mood, and when he had sufficiently enjoyed his +jest, and had sent his visitors home expecting worse to follow, he +bade each to be presented with the silver cup and platter on which +his dismal supper had been served, and with the slave, now neatly +washed and apparelled, who had waited upon him. Such, said the +populace, was the way in which it pleased the emperor to solemnise +the funereal banquet of the victims of his defeats in Dacia, and of +his persecutions in the city."—<i>Merivale</i>, ch. lxii.</p></div> + +<p>It was in this palace that the murder of Domitian took place:</p> + +<div class="blockquot"><p>"Of the three great deities, the august assessors in the Capitol, +Minerva was regarded by Domitian as his special patroness. Her +image stood by his bedside: his customary oath was by her divinity. +But now a dream apprised him that the guardian of his person was +disarmed by the guardian of the empire, and that Jupiter had +forbidden his daughter to protect her favourite any longer. Scared +by these horrors he lost all self-control, and petulantly cried, +and the cry was itself a portent: 'Now strike Jove whom he will!' +From supernatural terrors he reverted again and again to earthly +fears and suspicions. Henceforward the tyrant allowed none to be +admitted to his presence without being previously searched; and he +caused the ends of the corridor in which he took exercise to be +lined with polished marble, to reflect the image of any one behind +him; at the same time he inquired anxiously into the horoscope of +every chief whom he might fear as a possible rival or successor.<a name="vol_1_page_314" id="vol_1_page_314"></a></p> + +<p>"The victim of superstition had long since, it was said, +ascertained too surely the year, the day, the hour which should +prove fatal to him. He had learnt too that he was to die by the +sword.... The omens were now closing about the victim, and his +terrors became more importunate and overwhelming. 'Something,' he +exclaimed, 'is about to happen, which men shall talk of all the +world over.' Drawing a drop of blood from a pimple on his forehead, +'May this be all,' he added. His attendants, to reassure him, +declared that the hour had passed. Embracing the flattering tale +with alacrity, and rushing at once to the extreme of confidence, he +announced that the danger was over, and that he would bathe and +dress for the evening repast. But the danger was just then ripening +within the walls of the palace. The mysteries there enacted few, +indeed, could penetrate, and the account of Domitian's fall has +been coloured by invention and fancy. The story that a child, whom +he suffered to attend in his private chamber, found by chance the +tablets which he had placed under his pillow, and that the empress, +on inspecting them, and finding herself, with his most familiar +servants, designated for execution, contrived a plot for his +assassination, is one so often repeated as to cause great +suspicion. But neither can we accept the version of Philostratus, +who would have us believe that the murder of Domitian was the deed +of a single traitor, a freedman of Clemens, named Stephanus, who, +indignant at his patron's death, and urged to fury by the sentence +on his patron's wife, Domitilla, rushed alone into the tyrant's +chamber, diverted his attention with a frivolous pretext, and smote +him with the sword he bore concealed in his sleeve. It is more +likely that the design, however it originated, was common to +several of the household, and that means were taken among them to +disarm the victim, and baffle his cries for assistance. Stephanus, +who is said to have excelled in personal strength, may have been +employed to deal the blow; for not more, perhaps, than one +attendant would be admitted at once into the presence. Struck in +the groin, but not mortally, Domitian snatched at his own weapon, +but found the sword removed from its scabbard. He then clutched the +assassin's dagger, cutting his own fingers to the bone; then +desperately thrust the bloody talons into the eyes of his +assailant, and beat his head with a golden goblet, shrieking all +the time for help. Thereupon in rushed Parthenius, Maximus, and +others, and despatched him as he lay writhing on the +pavement."—<i>Merivale</i>, ch. lxii.</p></div> + +<p>Trajan stripped the palace of his predecessors of all its<a name="vol_1_page_315" id="vol_1_page_315"></a> ornaments to +adorn the temple of Jupiter Capitolinus,<a name="FNanchor_151_151" id="FNanchor_151_151"></a><a href="#Footnote_151_151" class="fnanchor">[151]</a> but it was restored by +Commodus, after a fire which occurred in his reign,<a name="FNanchor_152_152" id="FNanchor_152_152"></a><a href="#Footnote_152_152" class="fnanchor">[152]</a> and enriched by +Heliogabalus,<a name="FNanchor_153_153" id="FNanchor_153_153"></a><a href="#Footnote_153_153" class="fnanchor">[153]</a> and almost every succeeding emperor, till the time of +Theodoric.<a name="FNanchor_154_154" id="FNanchor_154_154"></a><a href="#Footnote_154_154" class="fnanchor">[154]</a></p> + +<div class="poem"><div class="stanza"> +<span class="i0">"'Brickwork I found thee, and marble I left thee!' their Emperor vaunted;<br /></span> +<span class="i0">'Marble I thought thee, and brickwork I find thee!' the Tourist may answer."<br /></span> +<span class="i15"><i>A. H. Clough.</i><br /></span> +</div></div> + +<p><a name="vol_1_page_316" id="vol_1_page_316"></a></p> + +<h2><a name="CHAPTER_VII" id="CHAPTER_VII"></a>CHAPTER VII.<br /><br /> +THE CŒLIAN.</h2> + +<div class="blockquot"><p class="hang">S. Gregorio—S. Giovanni e Paolo—Arch of Dolabella—S. Tommaso in +Formis—Villa Mattei—Sta. Maria della Navicella—S. Stefano +Rotondo—I Santi Quattro Incoronati—S. Clemente.</p></div> + +<p>The Cœlian Hill extends from St. John Lateran to the Vigna of the +Porta Capena, and from the Fountain of Egeria to the Convent of S. +Gregorio. It is now entirely uninhabited, except by monks of the +Camaldolese, Passionist, and Redemptorist Orders, and by the Augustinian +Nuns of the Incoronati.</p> + +<p class="nind"><span class="letra">I</span>N +the earliest times the name of this hill was Mons Querquetulanus, +"The Hill of Oaks," and it was clothed with forest, part of which long +remained as the sacred wood of the Camenæ. It first received its name of +Cœlius from Cœlius Vibenna, an Etruscan Lucumo of Ardea, who is +said to have come to the assistance of Romulus in his war against the +Sabine king Tatius, and to have afterwards established himself here. In +the reign of Tullus Hostilius the Cœlian assumed some importance, as +that king fixed his residence here, and transported hither the Latin +population of Alba.</p> + +<p>As the Cœlian had a less prominent share in the history of Rome than +any of the other hills, it preserves scarcely<a name="vol_1_page_317" id="vol_1_page_317"></a> any historical monuments +of pagan times. All those which existed under the republic were +destroyed by a great fire which ravaged this hill in the reign of +Tiberius,<a name="FNanchor_155_155" id="FNanchor_155_155"></a><a href="#Footnote_155_155" class="fnanchor">[155]</a> except the Temple of the Nymphs, which once stood in the +grove of the Camenæ, and which had been already burnt by Clodius, in +order to destroy the records of his falsehoods and debts which it +contained.<a name="FNanchor_156_156" id="FNanchor_156_156"></a><a href="#Footnote_156_156" class="fnanchor">[156]</a> Some small remains in the garden of the Passionist +convent are attributed to the temple which Agrippina raised to her +husband the Emperor Claudius, and in S. Stefano Rotondo some antiquaries +recognize the Macellum of Nero. There are no remains of the palace of +the Emperor Tetricus, who lived here, "between the two sacred +groves,"<a name="FNanchor_157_157" id="FNanchor_157_157"></a><a href="#Footnote_157_157" class="fnanchor">[157]</a> in a magnificent captivity under Aurelian, whom he +received here at a banquet, at which he exhibited an allegorical picture +representing his reception of the empire of Gaul, and his subsequent +resignation of it for the simple insignia of a Roman senator.<a name="FNanchor_158_158" id="FNanchor_158_158"></a><a href="#Footnote_158_158" class="fnanchor">[158]</a></p> + +<p>To the Christian visitor, however, the Cœlian will always prove of +the deepest interest—and the slight thread of connection which runs +between all its principal objects, as well as their nearness to one +another, brings them pleasantly within the limits of a single day's +excursion. Many of those who are not mere passing visitors at Rome, will +probably find that their chief pleasure lies not amid the well-known +sights of the great basilicas and palaces, but in quiet walks through +the silent lanes and amid the decaying buildings of these more distant +hills.</p> + +<div class="blockquot"><p>"The recollection of Rome will come back, after many years, in<a name="vol_1_page_318" id="vol_1_page_318"></a> +images of long delicious strolls, in musing loneliness, through the +deserted ways of the ancient city; of climbing among its hills, +over ruins, to reach some vantage-ground for mapping out the +subjacent territory, and looking beyond on the glorious chains of +greater and lesser mountains, clad in their imperial hues of gold +and purple; and then, perhaps, of solemn entrance into the cool +solitude of an open basilica, where your thought now rests, as your +body then did, after the silent evening prayer, and brings forward +from many well-remembered nooks, every local inscription, every +lovely monument of art, the characteristic feature of each, or the +great names with which it is associated. The Liberian speaks to you +of Bethlehem and its treasured mysteries; the Sessorian of Calvary +and its touching relics. Baronius gives you his injunctions on +Christian architecture inscribed, as a legacy, in his title of +Fasciola; St. Dominic lives in the fresh paintings of a faithful +disciple, on the walls of the opposite church of St. Xystus; there +stands the chair and there hangs the hat of St. Charles, as if he +had just left his own church, from which he calls himself in his +signature to letters 'the Cardinal of St. Praxedes;' near it, in a +sister church, is fresh the memory of St. Justin Martyr, addressing +his apologies for Christianity to heathen emperor and senate, and +of Pudens and his British spouse; and, far beyond the city gates, +the cheerful Philip<a name="FNanchor_159_159" id="FNanchor_159_159"></a><a href="#Footnote_159_159" class="fnanchor">[159]</a> is seen kneeling at S. Sebastiano, waiting +for the door to the Platonia to be opened for him, that he may +watch the night through in the martyr's dormitory."—<i>Wiseman's +Life of Leo XII.</i></p> + +<p>"For myself, I must say that I know nothing to compare with a +pilgrimage among the antique churches scattered over the Esquiline, +the Cœlian, and the Aventine Hills. They stand apart, each in +its solitude, amid gardens, and vineyards, and heaps of nameless +ruins;—here a group of cypresses, there a lofty pine or solitary +palm; the tutelary saint, perhaps some Sant' Achilleo, or Santa +Bibiana, whom we never heard of before,—an altar rich in precious +marbles,—columns of porphyry,—the old frescoes dropping from the +walls,—the everlasting colossal mosaics looking down so solemn, so +dim, so spectral;—these grow upon us, until at each succeeding +visit they themselves, and the associations by which they are +surrounded, become a part of our daily life, and may be said to +hallow that daily life when considered in a right spirit. True, +what is most sacred, what is most poetical, is often desecrated to +the fancy by the intrusion of those prosaic realities which<a name="vol_1_page_319" id="vol_1_page_319"></a> easily +strike prosaic minds; by disgust at the foolish fabrications which +those who recite them do not believe, by lying inscriptions, by +tawdry pictures, by tasteless and even profane restorations;—by +much that saddens, much that offends, much that disappoints;—but +then so much remains! So much to awaken, to elevate, to touch the +heart; so much that will not pass away from the memory, so much +that makes a part of our after-life."—<i>Mrs. Jameson.</i></p></div> + +<hr style="width: 15%;" /> + +<p>We may pass under the Arch of Constantine, or through the pleasant sunny +walks known as the <i>Parco di San Gregorio</i>,—planted by the French +during their first occupation of Rome, but which may almost be regarded +as a remnant of the sacred grove of the Camenæ which once occupied this +site.</p> + +<p>The further gate of the Parco opens on a small triangular piazza, whence +a broad flight of steps lead up to the <i>Church of S. Gregorio</i>, to the +English pilgrim one of the most interesting spots in Rome, for it was at +the head of these steps that St. Augustine took his last farewell of +Gregory the Great, and, kneeling on this green-sward below, the first +missionaries of England received the parting blessing of the great +pontiff, as he stood on the height in the gateway. As we enter the +portico (built 1633, by Card. Scipio Borghese,) we see on either side +two world-famous inscriptions.</p> + +<p>On the right:</p> + + <p class="c">Adsta hospes<br /> + et lege.<br /> + Hic olim fuit M. Gregori domus<br /> + Ipse in monasterium convertit,<br /> + Ubi monasticen professus est<br /> + Et diu abbas præfuit.<br /> + Monachi primum Benedictini<br /> + Mox Græci tenuere<br /> + Dein Benedictini iterum<br /> + Post varios casos<br /> + Quum jamdiu<br /> + Esset commendatum<br /> + Et poene desertum.<br /> + Anno MDLXXIII<br /> + Camaldulenses inducti<br /> + Qui et industria sua<br /> + Et ope plurium<br /> + R. E. Cardinalium<br /> + Quorum hic monumenta exstant,<br /> + Favente etiam Clemente XI. P. M.<br /> + Templum et adjacentes ædes<br /> + In hanc quam cernis formam<br /> + Restituerunt.</p> + +<p>On the left:</p> + +<table border="0" cellpadding="1" cellspacing="0" summary=""> +<tr><td align="right"> </td><td align="center">Ex hoc monasterio</td></tr> +<tr><td align="right"> </td><td align="center">Prodierunt.</td></tr> +<tr><td align="right">S.</td><td>Gregorius, M. Fundator et Parens</td></tr> +<tr><td align="right">S.</td><td>Eleutherius, A.B. Hilarion, A.B.</td></tr> +<tr><td align="right">S.</td><td>Augustinus. Anglor. Apostol.</td></tr> +<tr><td align="right">S.</td><td>Laurentius. Cantuar. Archiep.</td></tr> +<tr><td align="right">S.</td><td>Mellitus. Londinen. Ep. mox. Archiep. Cantuar.</td></tr> +<tr><td align="right">S.</td><td>Justus. Ep. Roffensis.</td></tr> +<tr><td align="right">S.</td><td>Paulinus. Ep. Eborac.</td></tr> +<tr><td align="right">S.</td><td>Maximianus. Syracusan. Ep.</td></tr> +<tr><td align="right">SS.</td><td>Antonius, Merulus, et Joannes, Monachi.</td></tr> +<tr><td align="right">St.</td><td>Petrus. A.B. Cantuar.</td></tr> +<tr><td align="right"> </td><td>Marinianus. Archiep. Raven.</td></tr> +<tr><td align="right"> </td><td>Probus. Xenodochi. Jerosolymit.</td></tr> +<tr><td align="right"> </td><td>Curator. A. S. Gregori. Elect.</td></tr> +<tr><td align="right"> </td><td>Sabinus Callipodit. Ep.</td></tr> +<tr><td align="right"> </td><td>Gregorius. Diac. Card. S. Eustach.</td></tr> +<tr><td align="right"> </td><td>Hic. Etiam. Diu. Vixit. M. Gregori</td></tr> +<tr><td align="right"> </td><td>Mater. S. Silvia. Hoc. Maxime</td></tr> +<tr><td align="right"> </td><td>Colenda. Quod. Tantum. Pietatis</td></tr> +<tr><td align="right"> </td><td>Sapientiæ. Et. Doctrinæ. Lumen Pepererit.</td></tr> +</table> + +<p><a name="vol_1_page_321" id="vol_1_page_321"></a></p> + +<div class="blockquot"><p>"Cette ville incomparable renferme peu de sites plus attrayants et +plus dignes d'éternelle mémoire. Le sanctuaire occupe l'angle +occidental du mont Cœlius.... Il est à égale distance du grand +Cirque, des Thermes de Caracalla et du Colisée, tout proche de +l'église des saints martyrs Jean et Paul. Le berceau du +christianisme de l'Angleterre touche ainsi au sol trempé par le +sang de tant de milliers de martyrs. En face s'élève le mont +Palatin, berceau de Rome païenne, encore couvert des vastes débris +du palais des Césars.... Où est donc l'Anglais digne de ce nom qui, +en portant son regard du Palatin au Colisée, pourrait contempler +sans émotion ce coin de terre d'où lui sont venus la foi, le nom +chrétien et la Bible dont il est si fier. Voilà où les enfants +esclaves de ses aïeux étaient recueillis et sauvés! Sur ces pierres +s'agenouillaient ceux qui ont fait sa patrie chrétienne! Sous ces +voûtes a été conçu par une âme sainte, confié à Dieu, béni par +Dieu, accepté et accompli par d'humbles et généreux chrétiens, le +grand dessein! Par ces degrés sont descendus les quarante moines +qui ont porté à l'Angleterre la parole de Dieu, la lumière de +l'Évangile, la succession apostolique et la règle de +Saint-Benoît!"—<i>Montalembert, Moines d'Occident.</i></p></div> + +<p>Hard by was the house of Sta. Silvia, mother of St. Gregory, of which +the ruins still remain, opposite to the church of S. Giovanni e Paolo, +and in the little garden which still exists, we may believe that he +played as a child under his mother's care. Close to his mother's home he +founded the monastery of St. Andrew, where he dwelt for many years as a +monk, employed in writing homilies, and in the enjoyment of visionary +conversation with the Virgin, whom he believed to answer him in person +from her picture before which he knelt. "To this monastery he presented +his own portrait, with those of his father and mother, which were +probably in existence 300 years after his death; and this portrait of +himself probably furnished that peculiar type of physiognomy which we +trace in all the best representations of him."<a name="FNanchor_160_160" id="FNanchor_160_160"></a><a href="#Footnote_160_160" class="fnanchor">[160]</a> During the life of +penance and poverty<a name="vol_1_page_322" id="vol_1_page_322"></a> which was led here by St. Gregory, he sold all his +goods for the benefit of the poor, retaining nothing but a silver bason +given him by his mother. One day a poor shipwrecked sailor came several +times to beg in the cell where he was writing, and as he had no money, +he gave him instead this one remaining treasure. A long time after, St. +Gregory saw the same shipwrecked sailor reappear in the form of his +guardian angel, who told him that God had henceforth destined him to +rule his church, and become the successor of St. Peter, whose charity he +had imitated.<a name="FNanchor_161_161" id="FNanchor_161_161"></a><a href="#Footnote_161_161" class="fnanchor">[161]</a></p> + +<div class="blockquot"><p>"Un moine (<small>A.D.</small> 590) va monter pour la première fois sur la chaire +apostolique. Ce moine, le plus illustre de tous ceux qui ont compté +parmi les souverains pontifes, y rayonnera d'un éclat qu'aucun de +ses prédécesseurs n'a égalé et qui rejaillera comme une sanction +suprême, sur l'institut dont il est issu. Grégoire, le seul parmi +les hommes avec le Pape Léon I<sup>er</sup> qui ait reçu à la fois, du +consentement universel, le double surnom de Saint et de Grand, sera +l'eternel honneur de l'Ordre bénédictin comme de la papauté. Par +son génie, mais surtout par le charme et l'ascendant de sa vertu, +il organisera le domaine temporel des papes, il développera et +régularisera leur souveraineté spirituelle, il fondera leur +paternelle suprématie sur les royautés naissantes et les nations +nouvelles qui vont devenir les grands peuples de l'avenir, et +s'appeler la France, l'Espagne, l'Angleterre. A vrai dire, c'est +lui qui inaugure le moyen âge, la société moderne et la +civilisation chrétienne."—<i>Montalembert.</i></p></div> + +<p>The church of St. Gregory is approached by a cloistered court filled +with monuments. On the left is that of Sir Edward Carne, one of the +commissioners to obtain the opinion of foreign universities respecting +the divorce of Henry VIII. from Catherine of Arragon, ambassador to +Charles V., and afterwards to the court of Rome. He was recalled when +the embassy was suppressed by Elizabeth,<a name="vol_1_page_323" id="vol_1_page_323"></a> but was kept at Rome by Paul +IV., who had conceived a great affection for him, and he died here in +1561. Another monument, of an exile for the catholic faith, is that of +Robert Pecham, who died 1567, inscribed:</p> + +<div class="blockquot"><p>"Roberto Pecham Anglo, equite aurato, Philippi et Mariæ Angliæ et +Hispan regibus olim a consiliis genere religione virtute præclaro +qui cum patriam suam a fede catholica deficientem adspicere sine +summo dolore non posset, relictis omnibus quæ in hac vita carissima +esse solent, in voluntarium profectus exilium, post sex annis +pauperibus Christi heredibus testamento institutis, sanctissime e +vita migravit."</p></div> + +<p>The <i>Church</i>, rebuilt in 1734, under Francesco Ferrari, has sixteen +ancient granite columns and a fine Opus-Alexandrinum pavement. Among its +monuments we may observe that of Cardinal Zurla, a learned writer on +geographical subjects, who was abbot of the adjoining convent. It was a +curious characteristic of the laxity of morals in the time of Julius II. +(1503-13), that her friends did not hesitate to bury the famous Aspasia +of that age in this church, and to inscribe upon her tomb: "Imperia, +cortisana Romana, quæ digna tanto nomine, raræ inter homines formæ +specimen dedit. Vixit annos xxvi. dies xii. obiit 1511, die 15 +Augusti,"—but this monument has now been removed.</p> + +<p>At the end of the right aisle is a picture by <i>Badalocchi</i>, +commemorating a miracle on this spot, when, at the moment of elevation, +the Host is said to have bled in the hands of St. Gregory, to convince +an unbeliever of the truth of transubstantiation. It will be observed +that in this and in most other representations of St. Gregory, a dove is +perched upon his shoulder, and whispering into his ear. This is +commemorative of the impression that every word and act of the saint was +directly inspired by the Holy Ghost; a belief first<a name="vol_1_page_324" id="vol_1_page_324"></a> engendered by the +happy promptitude of Peter, his arch-deacon, who invented the story to +save the beloved library of his master which was about to be destroyed +after his death by the people, in a pitiful spirit of revenge, because +they fancied that a famine which was decimating them, had been brought +about by the extravagance of Gregory.<a name="FNanchor_162_162" id="FNanchor_162_162"></a><a href="#Footnote_162_162" class="fnanchor">[162]</a> An altar beneath this picture +is decorated with marble reliefs, representing the same miracle, and +also the story of the soul of the Emperor Trajan being freed from +purgatory by the intercession of Gregory. (Chap. IV.)</p> + +<p>A low door near this leads into the monastic cell of St. Gregory, +containing his marble chair, and the spot where his bed lay, inscribed:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Nocte dieque vigil longo hic defessu labore<br /></span> +<span class="i2">Gregorius modica membra quiete levat."<br /></span> +</div></div> + +<p>Here also an immense collection of minute relics of saints are exposed +to the veneration of the credulous.</p> + +<p>On the opposite side of the church is the <i>Salviati Chapel</i>, the +burial-place of that noble family, modernized in 1690 by Carlo Maderno. +Over the altar is a copy of Annibale Caracci's picture of St. Gregory, +which once existed here, but is now in England. On the right is the +picture of the Madonna, "which spoke to St. Gregory," and which is said +to have become suddenly impressed upon the wall after a vision in which +she appeared to him;—on the left is a beautiful marble ciborium.</p> + +<p>Hence a sacristan will admit the visitor into the <i>Garden of Sta. +Silvia</i>, whence there is a grand view over the opposite Palatine.<a name="vol_1_page_325" id="vol_1_page_325"></a></p> + +<div class="blockquot"><p>"To stand here on the summit of the flight of steps which leads to +the portal, and look across to the ruined Palace of the Cæsars, +makes the mind giddy with the rush of thoughts. <i>There</i>, before us, +the Palatine Hill—pagan Rome in the dust; <i>here</i>, the little cell, +a few feet square, where slept in sackcloth the man who gave the +last blow to the power of the Cæsars, and first set his foot as +sovereign on the cradle and capital of their greatness."—<i>Mrs. +Jameson.</i></p></div> + +<p>Here are three Chapels, restored by the historian Cardinal Baronius, in +the sixteenth century. The first, of <i>Sta. Silvia</i>, contains a fresco of +the Almighty with a choir of angels, by <i>Guido</i>, and beneath it a +beautiful statue of the venerable saint (especially invoked against +convulsions), by <i>Niccolo Cordieri</i>—one of the best statues of saints +in Rome. The second chapel, of <i>St. Andrew</i>, contains the two famous +rival frescoes of <i>Guido</i> and <i>Domenichino</i>. Guido has represented St. +Andrew kneeling in reverent thankfulness at first sight of the cross on +which he was to suffer; Domenichino—a more painful subject—the +flagellation of the saint. Of these paintings Annibale Caracci observed +that "Guido's was the painting of the Master; but Domenichino's the +painting of the scholar who knew more than the master." The beautiful +group of figures in the corner, where a terrified child is hiding its +face in its mother's dress, is introduced in several other pictures of +Domenichino.</p> + +<div class="blockquot"><p>"It is a well-known anecdote that a poor old woman stood for a long +time before the story of Domenichino, pointing it out bit by bit +and explaining it to a child who was with her,—and that she then +turned to the story told by Guido, admired the landscape, and went +away. It is added that when Annibale Caracci heard of this, it +seemed to him in itself a sufficient reason for giving the +preference to the former work. It is also said that when +Domenichino was painting one of the executioners, he worked himself +up into a fury with threatening words and<a name="vol_1_page_326" id="vol_1_page_326"></a> gestures, and that +Annibale, surprising him in this condition, embraced him, saying: +'Domenico, to-day you have taught me a lesson, which is that a +painter, like an orator, must first feel himself that which he +would represent to others.'"—<i>Lanzi</i>, v. 82.</p> + +<p>"In historical pictures Domenichino is often cold and studied, +especially in the principal subject, while on the other hand, the +subordinate persons have much grace, and a noble character of +beauty. Thus, in the scourging of St. Andrew, a group of women +thrust back by the executioners is of the highest beauty. Guido's +fresco is of high merit—St. Andrew, on his way to execution, sees +the cross before him in the distance, and falls upon his knees in +adoration,—the executioners and spectators regard him with +astonishment."—<i>Kugler.</i></p></div> + +<p>The third chapel, of <i>Sta. Barbara</i>, contains a grand statue of St. +Gregory by <i>Niccolo Cordieri</i><a name="FNanchor_163_163" id="FNanchor_163_163"></a><a href="#Footnote_163_163" class="fnanchor">[163]</a> (where the whispering dove is again +represented), and the table at which he daily fed twelve poor pilgrims +after washing their feet. The Roman breviary tells how on one occasion +an angel appeared at the feast as the thirteenth guest. This story,—the +sending forth of St. Augustine,—and other events of St. Gregory's life, +are represented in rude frescoes upon the walls by <i>Viviani</i>.</p> + +<p>The adjoining <i>Convent</i> (modern) is of vast size, and is now occupied by +Camaldolese monks, though in the time of St. Gregory it belonged to the +Benedictines. In its situation it is beautiful and quiet, and must have +been so even in the time of St. Gregory, who often regretted the +seclusion which he was compelled to quit.</p> + +<div class="blockquot"><p>"Un jour, plus accablé que jamais par le poids des affaires +séculières, il s'était retiré dans un lieu secret pour s'y livrer +dans un long silence à<a name="vol_1_page_327" id="vol_1_page_327"></a> sa tristesse, et y fut rejoint par le +diàcre Pierre, son élève, son ami d'enfance et le compagnon de ses +chères études. 'Vous est-il donc arrivé quelque chagrin nouveau,' +lui dit le jeune homme, 'pour que vous soyez ainsi plus triste qu'à +l'ordinaire.' 'Mon chagrin,' lui répondit le pontife, 'est celui de +tous mes jours, toujours vieux par l'usage, et toujours nouveau par +sa croissance quotidienne. Ma pauvre âme se rappelle ce qu'elle +était autrefois, dans notre monastère, quand elle planait sur tout +ce qui passe, sur tout ce qui change; quand elle ne songeait qu'au +ciel; quand elle franchissait par la contemplation le cloître de ce +corps qui l'enserre; quand elle aimait d'avance la mort comme +l'entrée de la vie. Et maintenant il lui faut, à cause de ma charge +pastorale, supporter les mille affaires des hommes du siècle et se +souiller dans cette poussière. Et quand, après s'être ainsi +répandue au dehors, elle veut retrouver sa retraite intérieure, +elle n'y revient qu'amoindrie. Je médite sur tout ce que je souffre +et sur tout ce que j'ai perdu. Me voici, battu par l'océan et tout +brisé par la tempête; quand je pense à ma vie d'autrefois, il me +semble regarder en arrière vers le rivage. Et ce qu'il y a de plus +triste, c'est qu'ainsi ballotté par l'orage, je puis à peine +entrevoir le port que j'ai quitté.'"—<i>Montalembert, Moines +d'Occident.</i></p></div> + +<p>Pope Gregory XVI. was for some years abbot of this convent, to which he +was afterwards a generous benefactor;—regretting always, like his great +predecessor, the peace of his monastic life. His last words to his +cardinals, who were imploring him, for political purposes, to conceal +his danger, were singularly expressive of this—"Per Dio +lasciatemi!—voglio morire da frate, non da sovrano." The last great +ceremony enacted at S. Gregorio was when Cardinal Wiseman consecrated +the mitred abbot of English Cistercians,—Dr. Manning preaching at the +same time on the prospects of English Catholicism.</p> + +<p>Ascending the steep paved lane between S. Gregorio and the Parco, the +picturesque church on the left with the arcaded apse and tall campanile +(<i>c.</i> <small>A.D.</small> 1206), inlaid with coloured tiles and marbles, is that of +<i>SS. Giovanni e Paolo</i>,<a name="vol_1_page_328" id="vol_1_page_328"></a> two officers in the household of the Christian +princess Constantia, daughter of the Emperor Constantine, in whose time +they occupied a position of great influence and trust. When Julian the +Apostate came to the throne, he attempted to persuade them to sacrifice +to idols, but they refused, saying, "Our lives are at the disposal of +the emperor, but our souls and our faith belong to our God." Then +Julian, fearing to bring them to public martyrdom, lest their popularity +should cause a rebellion and the example of their well-known fortitude +be an encouragement to others, sent off soldiers to behead them +privately in their own house. Hence the inscription on the spot, "Locus +martyrii SS. Joannis et Paoli in ædibus propriis." The church was built +by Pammachus, the friend of St. Jerome, on the site of the house of the +saints. It is entered by a portico adorned with eight ancient granite +columns, interesting as having been erected by the English pope, +Nicholas Breakspear, <small>A.D.</small> 1158. The interior, in the basilica form, has +sixteen ancient columns and a beautiful Opus-Alexandrinum pavement. In +the centre of the floor is a stone, railed off, upon which it is said +that the saints were beheaded. Their bodies are contained in a porphyry +urn under the high altar. In early times these were the only bodies of +saints preserved within the walls of Rome (the rest being in the +catacombs). In the Sacramentary of St. Leo, in the Preface of SS. John +and Paul, it is said, "Of Thy merciful providence Thou hast vouchsafed +to crown not only the circuit of the city with the glorious passions of +the martyrs, but also to hide in the very heart of the city itself the +victorious limbs of St. John and St. Paul."<a name="FNanchor_164_164" id="FNanchor_164_164"></a><a href="#Footnote_164_164" class="fnanchor">[164]</a><a name="vol_1_page_329" id="vol_1_page_329"></a></p> + +<p>Above the tribune are frescoes by <i>Pomerancio</i>. A splendid chapel on the +right was built 1868;—two of its alabaster pillars were the gift of +Pius IX. Beneath the altar on the left of the tribune is preserved the +embalmed body of St. Paul of the Cross (who died 1776), founder of the +Order of Passionists, who inhabit the adjoining convent. The aged face +bears a beautiful expression of repose;—the body is dressed in the robe +which clothed it when living.<a name="FNanchor_165_165" id="FNanchor_165_165"></a><a href="#Footnote_165_165" class="fnanchor">[165]</a></p> + +<p>Male visitors are admitted through the convent to its large and +beautiful <i>Garden</i>, which overhangs the steep side of the Cœlian +towards the Coliseum, of which there is a fine view between its ancient +cypresses. Here, on a site near the monastery, are some remains believed +to be those of the temple built by Agrippina (<i>c.</i> <small>A.D.</small> 57), daughter of +Germanicus, to the honour of her deified husband (and uncle) Claudius, +after she had sent him to Olympus by feeding him with poisonous +mushrooms. This temple was pulled down by Nero, who wished to efface the +memory of his predecessor, on the pretext that it interfered with his +Golden House; but was rebuilt under Vespasian. In this garden also is +the entrance to the vast substructions known as the <i>Vivarium</i>, whence +the wild beasts who devoured the early Christian martyrs were frightened +by burning tow down a subterranean passage into the arena.</p> + +<p>The famous Church of SS. Giovanni e Paolo at Venice was founded by +emigrants from this convent. The memory<a name="vol_1_page_330" id="vol_1_page_330"></a> of these saints was so much +honoured up to the time of Pope Gregory the Great, that the eve of their +festival was an obligatory fast. Their fête (June 26) is still kept with +great solemnities on the Cœlian, when the railing round their place +of execution is wreathed and laden with flowers. When the "station" is +held at their church, the apse is illuminated.</p> + +<p>Continuing to follow the lane up the Cœlian, we reach the richly +tinted brick <i>Arch of Dolabella</i>, erected, <small>A.D.</small> 10, by the consuls P. +Cornelius Dolabella and Caius Julius Silanus. Nero, building his +aqueduct to the palace of the Cæsars, made use of this, which already +existed, and included it in his line of arches.</p> + +<p>Above the arch is a <i>Hermitage</i>, revered as that where S. Giovanni di +Matha lived, and where he died in 1213. Before he came to reside here he +had been miraculously brought from Tunis (whither he had gone on a +mission) to Ostia, in a boat without helm or sail, in which he knelt +without ceasing before the crucifix throughout the whole of his voyage!</p> + +<p>Passing beneath the gateway, we emerge upon the picturesque irregular +Piazza of the Navicella, the central point of the Cœlian, which is +surrounded by a most interesting group of buildings, and which contains +an isolated fragment of the aqueduct of Nero, dear to artists from its +colour. Behind this, under the trees, is the little marble <i>Navicella</i>, +which is supposed to have been originally a votive offering of a sailor +to Jupiter Redux, whose temple stood near this; but which was adapted by +Leo X. as a Christian emblem of the Church,—the boat of St. Peter.<a name="vol_1_page_331" id="vol_1_page_331"></a></p> + +<div class="blockquot"><p>"The allegory of a ship is peculiarly dwelt upon by the ancient +Fathers. A ship entering the port was a favourite heathen emblem of +the close of life. But the Christian idea, and its elevation from +individual to universal or catholic humanity, is derived directly +from the Bible,—see, for instance, <small>I</small> Peter iii. 20, 21. 'Without +doubt,' says St. Augustine, 'the ark is the figure of the city of +God pilgrimising in this world, in other words, of the Church, +which is saved by the wood on which hung the mediator between God +and man, the man Christ Jesus.' The same interpretation was +recognised in the Latin Church in the days of Tertullian and St. +Cyprian, &c. The bark of St. Peter is similarly represented on a +Greek gem, found in the Catacombs, as sailing on a fish, probably +Leviathan or Satan, while doves, emblematical of the faithful, +perch on the mast and stern,—two Apostles row, a third lifts up +his hands in prayer, and our Saviour, approaching the vessel, +supports Peter by the hand when about to sink.... But the allegory +of the ship is carried out to its fullest extent in the +fifty-seventh chapter of the second book of the 'Apostolical +Constitutions,' supposed to have been compiled in the name of the +Apostles, in the fourth century."—<i>Lord Lindsay's Christian Art</i>, +i. 18.</p></div> + +<p>On the right is (first) the gateway of the deserted convent of +Redemptorists, called <i>S. Tommaso in Formis</i>, which was founded by S. +Giovanni de Matha, who, when celebrating his first mass at Paris, beheld +in a vision, an angel robed in white, with a red and blue cross upon his +breast, and his hands resting in benediction upon the heads of two +captives,—a white and a black man. The bishop of Paris sent him to Rome +to seek explanation from Innocent III., who was celebrated as an +interpreter of dreams,—his foundation of the Franciscan order having +resulted from one which befell him. S. Giovanni was accompanied to the +pope by another hermit, Felix de Valois. They found that Innocent had +himself seen the same vision of the angel between the two captives while +celebrating mass at the Lateran, and he interpreted it as inculcating +the duty of charity towards Christian slaves, for which purpose he<a name="vol_1_page_332" id="vol_1_page_332"></a> +founded the Trinitarians, since called Redemptorists. The story of the +double vision is commemorated in a <i>Mosaic</i>, erected above the door, +<small>A.D.</small> 1260, and bearing the name of the artist, Jacobus Cosmati.</p> + +<p>The next gate beyond the church is that of the <i>Villa Mattei</i>, the +garden of the Redemptorists. (The villa is now the property of Baron +Richard Hoffmann: visitors are generally admitted upon writing down +their names at the gate.)</p> + +<p>These grounds are well worth visiting—quite the ideal of a deserted +Roman garden, a wealth of large Roman daisies, roses, and periwinkle +spreading at will amid remains of ancient statues and columns. A grand +little avenue of ilexes leads to a terrace whence there is a most +beautiful view towards the aqueducts and the Alban Hills, with a noble +sarcophagus and a quantity of fine aloes and prickly-pears in the +foreground. There is an obelisk, of which only the top is Egyptian. It +is said that there is a man's hand underneath;—when the obelisk was +lowered it fell suddenly, and one of the workmen had not time to take +his hand away. In the grounds annexed to the lower part of the villa is +the Fountain of Egeria (p. 375).</p> + +<p>Almost standing in the garden of the villa, and occupying the site of +the house of Sta. Cyriaca, is the <i>Church of Sta. Maria in Domenica</i> or +<i>della Navicella</i>. (If no one is here, the hermit at S. Stefano Rotondo +will unlock it.) The portico is due to Raphael (his design is at +Windsor). The damp interior (rebuilt by Leo X. from designs of Raphael) +is solemn and striking. It is in the basilica form, the nave separated +from the aisles by eighteen columns of granite and one (smaller, near +the tribune) of porphyry. The frieze, in chiaroscuro, was painted by +<i>Giulio Romano</i> and <i>Pierino del Vaga</i>. Beneath the confessional are +the<a name="vol_1_page_333" id="vol_1_page_333"></a> bones of Sta. Balbina, whose fortress-like church stands on the +Pseudo-Aventine. In the tribune are curious mosaics, in which the figure +of Pope Paschal I. is introduced, the square nimbus round his head being +an evidence of its portrait character, <i>i. e.</i>, that it was done during +his lifetime.<a name="FNanchor_166_166" id="FNanchor_166_166"></a><a href="#Footnote_166_166" class="fnanchor">[166]</a></p> + +<div class="blockquot"><p>"Within the tribune are mosaics of the Virgin and Child seated on a +throne, with angels ranged in regular rows on each side; and, at +her feet, with unspeakable stiffness of limb, the kneeling figure +of Pope Paschal I. Upon the walls of the tribune is the Saviour +with a nimbus, surrounded with two angels and the twelve apostles, +and further below, on a much larger scale, two prophets, who appear +to point towards him. The most remarkable thing here is the rich +foliage decoration. Besides the wreaths of flowers (otherwise not a +rare feature) which are growing out of two vessels on the edge of +the dome, the floor beneath the figures is also decorated with +flowers—a graceful species of ornament seldom aimed at in the +moroseness of Byzantine art. From this point, the decline into +utter barbarism is rapid."—<i>Kugler.</i></p> + +<p>"The Olivetan monks inhabited the church and cloisters of Sta. +Maria in Domenica, commonly called in Navicella, from the rudely +sculptured marble monument that stands on the grass before its +portal, a remnant of bygone days, to which neither history nor +tradition has given a name, but which has itself given one to the +picturesque old church which stands on the brow of the Cœlian +Hill."—<i>Lady Georgiana Fullerton.</i></p></div> + +<p>A tradition of the Church narrates that St. Lorenzo, deacon and martyr, +daily distributed alms to the poor in front of this church—then the +house of Sta. Cyriaca—with whom he had taken refuge.</p> + +<p>Opposite, is the round <i>Church of S. Stefano Rotondo</i>, dedicated by St. +Simplicius in 467. It appears to have<a name="vol_1_page_334" id="vol_1_page_334"></a> been built on the site of an +ancient circular building, and to have belonged to the great victual +market—Macellum Magnum—erected by Nero in this quarter.<a name="FNanchor_167_167" id="FNanchor_167_167"></a><a href="#Footnote_167_167" class="fnanchor">[167]</a> It is +seldom used for service, except on St. Stephen's Day (December 26), but +visitors are admitted through a little cloister, in which stands a well +of beautiful proportions, of temp. Leo X.—attributed to Michael Angelo. +The interior is exceedingly curious architecturally. It is one hundred +and thirty-three feet in diameter, with a double circle of granite +columns, thirty-six in the outer and twenty in the inner series, +enclosing two tall Corinthian columns, with two pilasters supporting a +cross wall. In the centre is a kind of temple in which are relics of St. +Stephen (his body is said to be at S. Lorenzo). In the entrance of the +church is an ancient marble seat from which St. Gregory is said to have +read his fourth homily.</p> + +<p>The walls are lined with frescoes by <i>Pomerancio</i> and <i>Tempesta</i>. They +begin with the Crucifixion, but as the Holy Innocents really suffered +before our Saviour, one of them is represented lying on each side of the +cross. Next comes the stoning of St. Stephen, and the frescoes continue +to pourtray every phase of human agony in the most revolting detail, but +are interesting as showing a historical series of what the Roman +Catholic Church considers as the best authenticated martyrdoms, viz.:<a name="vol_1_page_335" id="vol_1_page_335"></a></p> + +<table border="0" cellpadding="2" cellspacing="1" summary=""> + +<tr valign="middle"><td style="border-right:1px solid black;">Under Nero—</td> + +<td>St. Peter, crucified.<br /> +St. Paul, beheaded.<br /> +St. Vitale, buried alive.<br /> +St. Thecla, tossed by a bull.<br /> +St. Gervase, beaten to death.<br /> +SS. Protasius, Processus, and Martinianus, beheaded.<br /> +St. Faustus and others, clothed in skins of beasts and torn to pieces by dogs.</td></tr> + +<tr><td colspan="2"> </td></tr> + +<tr><td colspan="2"> </td></tr> + +<tr valign="middle"><td style="border-right:1px solid black;">Under Domitian—</td> + +<td>St. John, boiled in oil (which he survived) at the Porta Latina.<br /> +St. Cletus, Pope, beheaded.<br /> +St. Denis, beheaded (and carrying his head).<br /> +St. Domitilla, roasted alive.<br /> +SS. Nereus and Achilles, beheaded.</td></tr> + +<tr><td colspan="2"> </td></tr> + +<tr valign="middle"><td style="border-right:1px solid black;">Under Trajan—</td> + +<td>St. Ignatius, Bishop of Antioch, eaten by lions in the Coliseum.<br /> +St. Clement, Pope, tied to an anchor and thrown into the sea.<br /> +St. Simon, Bishop of Jerusalem, crucified.</td></tr> + +<tr><td colspan="2"> </td></tr> + +<tr valign="middle"><td style="border-right:1px solid black;">Under Hadrian—</td> + +<td>St. Eustachio, his wife Theophista, and his children +Agapita and Theophista, burnt in a brazen bull before the Coliseum.<br /> +St. Alexander, Pope, beheaded.</td></tr> + +<tr><td colspan="2"> </td></tr> + +<tr valign="middle"><td style="border-right:1px solid black;">Under Antoninus-Pius and Marcus Aurelius—</td> + +<td>St. Sinforosa, drowned, and her seven sons martyred in various ways.<br /> +St. Pius, Pope, beheaded.<br /> +St. Felicitas and her seven sons martyred in various ways.<br /> +St. Justus, beheaded.<br /> +St. Margaret, stretched on a rack, and torn to pieces with iron forks.</td></tr> + +<tr><td colspan="2"> </td></tr> + +<tr valign="middle"><td style="border-right:1px solid black;">Under Antoninus and Verus—</td> + +<td>St. Blandina, tossed by a bull, in a net.<br /> +St. Attalus, roasted on red-hot chair.<br /> +St. Pothicus and others, burnt alive.</td></tr> + +<tr><td colspan="2"> </td></tr> + +<tr valign="middle"><td style="border-right:1px solid black;">Under Septimius Severus and Caracalla—</td> + +<td>SS. Perpetua and Felicitas, torn to pieces by lions in the Coliseum.<br /> +SS. Victor and Zephyrinus, Leonida and Basil, beheaded.<br /> +St. Alexandrina, covered with boiling pitch.</td></tr> + +<tr><td colspan="2"> </td></tr> + +<tr valign="middle"><td style="border-right:1px solid black;">Under Alexander Severus—</td> + +<td>St. Calixtus, Pope, thrown into a well with a stone round his neck.<br /> +St. Calepodius, dragged through Rome by wild horses, and thrown into the Tiber.<br /> +St. Martina, torn with iron forks.<br /> +St. Cecilia, who, failing to be suffocated with hot water, was stabbed in the throat.<br /> +St. Urban the Pope, Tibertius, Valerianus, and Maximus, beheaded.</td></tr> + +<tr><td colspan="2"> </td></tr> + +<tr valign="middle"><td style="border-right:1px solid black;">Under Valerianus and Gallienus—</td> + +<td>St. Pontianus, Pope, beheaded in Sardinia.<br /> +St. Agatha, her breasts cut off.<br /> +SS. Fabian and Cornelius, Popes, and St. Cyprian of Carthage, beheaded.<br /> +St. Tryphon, burnt.<br /> +SS. Abdon and Sennen, torn by lions.<br /> +St. Apollonia, burnt, after all her teeth were pulled out.<br /> +St. Stephen, Pope, burnt in his episcopal chair.<br /> +St. Cointha, torn to pieces.<br /> +St. Sixtus, Pope, killed with the sword.<br /> +St. Venantius, thrown from a wall.<br /> +St. Laurence the deacon, roasted on a gridiron.<br /> +St. Hippolytus, torn by wild horses.<br /> +SS. Rufina and Semula, drowned in the Tiber.<br /> +SS. Protus and Hiacinthus, beheaded.</td></tr> + +<tr><td colspan="2"> </td></tr> + +<tr valign="middle"><td style="border-right:1px solid black;">Under Claudius II.—</td> + +<td>Three hundred Christians, burnt in a furnace.<br /> +St. Tertullian, burnt with hot irons.<br /> +St. Nemesius, beheaded.<br /> +St. Sempronius, Olympius, and Theodulus, burnt.<br /> +St. Marius, hung, with a huge weight tied to his feet.<br /> +St. Martha, and her children, martyred in different ways.<br /> +SS. Cyprian and Justinian, boiled.<br /> +St. Valentine, killed with the sword.</td></tr> + +<tr><td colspan="2"> </td></tr> + +<tr valign="middle"><td style="border-right:1px solid black;">Under Aurelian and Numerianus—</td> + +<td>St. Agapitus (aged 15), hung head downwards over a pan of burning charcoal. Inscribed above are these words from Wisdom, 'Properavit ut educeret illum a seductionibus et iniquitatibus gentis suæ.' +St. Christina, transfixed through the heart.<br /> +St. Columba, burnt.<br /> +SS. Chrysanthus and Daria, buried alive.</td></tr> + +<tr><td colspan="2"> </td></tr> + +<tr valign="middle"><td style="border-right:1px solid black;">Under Diocletian and Maximianus—</td> + +<td>St. Agnes, bound to a stake, afterwards beheaded.<br /> +St. Caius, Pope, beheaded.<br /> +St. Emerantia, stoned to death.<br /> +Nearly the whole population of Nicomedia martyred in different ways.<br /> +St. Erasmus, laid in a coffin, into which boiling lead was poured.<br /> +St. Blaise, bound to a column, and torn to pieces.<br /> +St. Barbara, burnt with hot irons.<br /> +St. Eustrathius and his companions, martyred in different ways.<br /> +St. Vincent, burnt on a gridiron.<br /> +SS. Primus and Felicianus, torn by lions.<br /> +St. Anastasia, thrown from a rock? +SS. Quattro Incoronati, martyred in various ways.<br /> +SS. Peter and Marcellinus, beheaded.<br /> +St. Boniface, placed in a dungeon full of boiling pitch.<br /> +St. Lucia, shut up in a well full of serpents.<br /> +St. Euphemia, run through with a sword.<br /> +SS. Vitus, Modestus, and Crescentius, boiled alive.<br /> +St. Sebastian, shot with arrows (which he survived).<br /> +SS. Cosmo and Damian, Pantaleon, Saturninus, Susanna, Gornius, Adrian, and others, in different ways.</td></tr> + +<tr><td colspan="2"> </td></tr> + +<tr valign="middle"><td style="border-right:1px solid black;">Under Maxentius—</td> + +<td>St. Catherine of Alexandria, and others, broken on the wheel.<br /> +SS. Faustina and Porfirius, burnt with a company of soldiers.<br /> +St. Marcellus, Pope, died worn out by persecution.</td></tr> + +<tr><td colspan="2"> </td></tr> + +<tr valign="middle"><td style="border-right:1px solid black;">Under Maximinus and Licinius—</td> + +<td>St. Simon and 1600 citizens cut into fragments.<br /> +St. Peter, Bishop of Alexandra, and forty soldiers, left to die, up to their waists in a frozen lake.</td></tr> + +<tr><td colspan="2"> </td></tr> + +<tr valign="middle"><td style="border-right:1px solid black;">Under Julian the Apostate—º</td> + +<td>SS. John and Paul, beheaded.<br /> +St. Artemius, crushed between two stones.<br /> +St. Pigmenius, drowned in the Tiber.<br /> +St. Bibiana, flogged to death, and thrown for food to dogs in the Forum.</td></tr> +</table> + +<p>The last picture represents the reunion of eminent martyrs (in which the +Roman Church includes English sufferers under Elizabeth), and above is +inscribed this verse from Isaiah xxv., "Laudabit populus fortis, civitas +gentium robustarum."</p> + +<div class="blockquot"><p>"Au-dessus du tableau de la Crucifixion se trouve cette +inscription: 'Roi glorieux des martyrs, s'il donne sa vie pour +racheter la péché, il verra une postérité sans fin.' Et quelle +postérité! Hommes, femmes, vieillards, jeunes hommes, jeunes +filles, enfants! Comme tous accourent, comme tous savent +mourir."—<i>Une Chrétienne à Rome.</i></p> + +<p>"Les païens avaient divinisé la vie, les chrétiens divinisèrent la +mort."—<i>Madame de Stael.</i></p> + +<p>"S. Stefano Rotondo exhibits, in a series of pictures all round the +church, the martyrdoms of the Christians in the so-called +persecutions, with a general picture of the most eminent martyrs +since the triumph of Christianity. No doubt many of the particular +stories thus painted will bear no critical examination; it is +likely enough, too, that Gibbon has truly accused the general +statements of exaggeration. But this is a thankless labour, such as +Lingard and others have undertaken with regard to the St. +Bartholomew massacre, and the Irish massacre of 1642. Divide the +sum total of reported martyrs by twenty,—by fifty, if you +will,—but after all you have a number of persons of all ages and +sexes suffering cruel torments and death for conscience' sake and +for Christ's, and by their sufferings manifestly, with God's +blessing, ensuring the triumph of Christ's gospel. Neither do I +think that we consider the excellence of this martyr-spirit half +enough. I do not think pleasure is a sin: the stoics of old, and +the ascetic Christians since, who have said so (see the answers of +that excellent man, Pope Gregory the Great, to Augustine's +questions, as given at length by Bede), have, in saying so, +outstepped<a name="vol_1_page_339" id="vol_1_page_339"></a> the simplicity and wisdom of Christian truth. But, +though pleasure is not a sin, yet surely the contemplation of +suffering for Christ's sake is a thing most needful to us in our +days, from whom, in our daily life, suffering seems so far removed. +And, as God's grace enabled rich and delicate persons, women, and +even children, to endure all extremities of pain and reproach in +times past, so there is the same grace no less mighty now, and if +we do not close ourselves against it, it might in us be no less +glorified in a time of trial. And that such times of trial will +come, my children, in your times, if not in mine, I do believe +fully, both from the teaching of man's wisdom and of God's. And +therefore pictures of martyrdom are, I think, very wholesome—not +to be sneered at, nor yet to be looked on as a mere +excitement,—but as a sober reminder to us of what Satan can do to +hurt, and what God's grace can enable the weakest of His people to +bear. Neither should we forget those who, by their sufferings, were +more than conquerors, not for themselves only, but for us, in +securing to us the safe and triumphant existence of Christ's +blessed faith—in securing to us the possibility, nay, the actual +enjoyment, had it not been for the Antichrist of the priesthood—of +Christ's holy and glorious <span title="Greek: ekklêsia">ἑκκλησια</span>, the +congregation and commonwealth of Christ's people."—<i>Arnold's +Letters.</i></p> + +<p>"On croit que l'église de Saint-Etienne-le-Rond est bâtie sur +l'emplacement du <i>Macellum Augusti</i>. S'il en est ainsi, les +supplices des martyrs, hideusement représentés sur les murs de +cette église, rappellent ce qu'elle a remplacé."—<i>Ampère, Emp.</i> i. +270.</p></div> + +<p>The first chapel on the left, dedicated to SS. Primus and Felicianus, +contains some delicate small mosaics.</p> + +<div class="blockquot"><p>"The mosaics of the small altar of S. Stefano Rotondo, are of <small>A.D.</small> +642—649. A brilliantly-decorated cross is represented between two +standing figures of St. Primus and St. Felicianus. On the upper end +of the cross (very tastefully introduced) appears a small head of +Christ with a nimbus, over which the hand of the Father is extended +in benediction."—<i>Kugler.</i></p></div> + +<p>In the next chapel is a very beautiful tomb of Bernardino Capella, Canon +of St. Peter's, who died 1524.</p> + +<p>In a small house, which formerly stood among the gardens in this +neighbourhood, Palestrina lived and wrote.<a name="vol_1_page_340" id="vol_1_page_340"></a></p> + +<div class="blockquot"><p>"Sous le règne de Paul IV., Palestrina faisait partie de la +chapelle papale; mais il fut obligé de la quitter, parce-qu'il +était marié. Il se retira alors dans une chaumière perdue au milieu +des vignes du Mont Cœlius, et là, seul, inconnu au monde, il se +livra, durant de longs jours, à cette extase de la pensée qui +agrandit, au-delà de toute mesure, la puissance créatrice de +l'homme. Le désir des Pères du concile lui ayant été manifesté, il +prit aussitôt une plume, écrivit en tête de son cahier, 'Mon Dieu, +éclairez-moi,' et se mit à l'œuvre avec un saint enthousiasme. +Ses premiers efforts ne répondirent pas à l'idéal que son génie +s'était formé; mais peu à peu ses pensées s'éclaircirent, et les +flots de poésie qui inondaient son âme, se répandirent en mélodies +touchantes. Chaque parole du texte retentissait clairement, allait +chercher toutes les consciences, et les exaltait dans une émotion +commune. La <i>messe du pape Marcel</i> trancha la question; et Pie IV. +s'écria, après l'avoir entendue, qu'il avait cru assister aux +concerts des anges."—<i>Gournerie, Rome Chrétienne</i>, ii. 195.</p></div> + +<p>Following the lane of S. Stefano Rotondo—skirted by broken fragments of +Nero's aqueduct—almost to its debouchment near St. J. Lateran, and then +turning to the left, we reach the quaint fortress like church and +convent of the <i>Santi Quattro Incoronati</i> crowned by a stumpy campanile +of 1112. The full title of this church is "I Santi quattro Pittori +Incoronati e i cinque Scultori Martiri," the names which the Church +attributes to the painters being Severus, Severianus, Carpoforus, and +Vittorinus; and those of the sculptors Claudius, Nicostratus, +Sinforianus, Castorius, and Simplicius,—who all suffered for refusing +to carve and paint idols for Diocletian. Their festa is kept on Nov. 8.</p> + +<p>This church was founded on the site of a temple of Diana by Honorius I., +<small>A.D.</small> 622; rebuilt by Leo IV. <small>A.D.</small> 850; and again rebuilt in its present +form by Paschal II., who consecrated it afresh in <small>A.D.</small> 1111. It is +approached through a double court, in which are many ancient +columns,—perhaps remains of the temple. Some antiquaries suppose that +the church itself was once of larger size, and that the<a name="vol_1_page_341" id="vol_1_page_341"></a> pillars which +now form its atrium were once included in the nave. The interior is +arranged on the English plan with a triforium and a clerestory, the +triforium being occupied by the nuns of the adjoining convent. The +aisles are groined, but the nave has a wooden ceiling. Behind the +tribune is a vaulted passage, partly subterranean. The tribune contains +a marble throne, and is adorned with frescoes by <i>Giovanni di San +Giovanni</i>.<a name="FNanchor_168_168" id="FNanchor_168_168"></a><a href="#Footnote_168_168" class="fnanchor">[168]</a> In the right aisle are preserved some of the verses of +Pope Damasus. Another inscription tells of the restoration of the church +in the fifteenth century, and describes the state of desolation into +which it had fallen.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Hæc quæcumque vides veteri prostrata ruina<br /></span> +<span class="i0">Obruta verberis, ederis, dumisque jacebant."<br /></span> +</div></div> + +<p>Opening out of the court in front of the church is the little <i>Chapel of +S. Sylvestro</i>, built by Innocent II. in 1140. It contains a series of +very curious frescoes.</p> + +<div class="blockquot"><p>"Showing the influence of Byzantine upon Roman art is the little +chapel of S. Silvestro, detailing the history of the conversion of +Constantine with a naïveté which, with the exception of a certain +dignity in some of the figures, constitutes their sole attraction. +They are indeed little better than Chinese paintings; the last of +the series, representing Constantine leading Pope Sylvester's horse +by the bridle, walking beside him in his long flowing robe, with a +chattah held over his head by an attendant, has quite an Asiatic +character."—<i>Lord Lindsay's Christian Art.</i></p> + +<p>"Here, as in so many instances, legend is the genuine reflex, not +of the external, but the moral part of history. In this series of +curious wall-paintings, we see Constantine dismissing, consoled and +laden with gifts, the mothers whose children were to be slaughtered +to provide a bath of blood, the remedy prescribed—but which he +humanely rejected—for his leprosy, his punishment for persecuting +the Church while he yet lingered in the darkness of paganism; we +see the vision of St. Peter and<a name="vol_1_page_342" id="vol_1_page_342"></a> St. Paul, who appear to him in his +dreams, and prescribe the infallible cure for both physical and +moral disease through the waters of baptism; we see the mounted +emissaries, sent by the emperor to seek St. Sylvester, finding that +pontiff concealed in a cavern on Mount Soracte; we see that saint +before the emperor, exhibiting to him the authentic portraits of +the two apostles (said to be still preserved at St. Peter's), +pictures in which Constantine at once recognises the forms seen in +his vision, assuming them to be gods entitled to his worship; we +see the imperial baptism, with a background of fantastic +architecture, the rite administered both by immersion (the neophyte +standing in an ample font) and affusion; we see the pope on a +throne, before which the emperor is kneeling, to offer him a +tiara—no doubt the artist intended thus to imply the immediate +bestowal of temporal sovereignty (very generally believed the act +of Constantine in the first flush of his gratitude and neophyte +zeal) upon the papacy; lastly, we see the pontiff riding into Rome +in triumph, Constantine himself leading his horse, and other mitred +bishops following on horseback. Another picture—evidently by the +same hand—quaintly represents the finding of the true cross by St. +Helena, and the miracle by which it was distinguished from the +crosses of the two thieves,—a subject here introduced because a +portion of that revered relic was among treasures deposited in this +chapel, as an old inscription, on one side, records. The largest +composition on these walls, which completes the series, represents +the Saviour enthroned amidst angels and apostles. This chapel is +now only used for the devotions of a guild of marble-cutters, and +open for mass on but one Sunday—the last—in every +month."—<i>Hemans Mediæval Christian Art.</i></p></div> + +<p>In the fresco of the Crucifixion in this chapel an angel is represented +taking off the crown of thorns and putting on a real crown, an incident +nowhere else introduced in art.</p> + +<p>The castellated Convent of the Santi Quattro was built by Paschal II. at +the same time as the church, and was used as a papal palace while the +Lateran was in ruins, hence its defensive aspect, suited to the +troublous times of the anti-popes. It is now inhabited by Augustinian +Nuns.</p> + +<p>At the foot of the Cœlian beneath the Incoronati, and in the street +leading from the Coliseum to the Lateran, is the <i>Church of S. +Clemente</i>, to which recent discoveries, have given an extraordinary +interest.<a name="vol_1_page_343" id="vol_1_page_343"></a></p> + +<p>The upper church, in spite of modernizations under Clement XI. in the +last century, retains more of the details belonging to primitive +ecclesiastical architecture than any other building in Rome. It was +consecrated in memory of Clement, the fellow-labourer of St Paul, and +the third bishop of Rome, upon the site of his family house. It was +already important in the time of Gregory the Great, who here read his +thirty-third and thirty-eighth homilies. It was altered by Adrian I. in +<small>A.D.</small> 772, and by John VIII. in <small>A.D.</small> 800, and again restored in <small>A.D.</small> 1099 +by Paschal II., who had been cardinal of the church, and who was elected +to the papacy within its walls. The greater part of the existing +building is thus either of the ninth or the twelfth century.</p> + +<p>At the west end a porch supported by two columns, and attributed to the +eighth century, leads into the <i>quadriporticus</i>, from which is the +entrance to the nave, separated from its aisles by sixteen columns +evidently plundered from pagan buildings. Raised above the nave and +protected by a low marble wall is the <i>cancellum</i>, preserving its +ancient pavement, ambones, altar, and episcopal throne.</p> + +<div class="blockquot"><p>"In S. Clemente, built on the site of his paternal mansion, and +restored at the beginning of the twelfth century, an example is +still to be seen, in perfect preservation, of the primitive church; +everything remains in statu quo—the court, the portico, the +cancellum, the ambones, paschal candlestick, crypt, and +ciborium—virgin and intact; the wooden roof has unfortunately +disappeared, and a small chapel, dedicated to St. Catherine, has +been added, yet even this is atoned for by the lovely frescoes of +Masaccio. I most especially recommend this relic of early +Christianity to your affectionate and tender admiration. Yet the +beauty of S. Clemente is internal only, outwardly it is little more +than a barn."—<i>Lord Lindsay.</i></p></div> + +<p>On the left of the side entrance is the Chapel of the Passion, clothed +with frescoes of <i>Masaccio</i>, which, though<a name="vol_1_page_344" id="vol_1_page_344"></a> restored, are very +beautiful—over the altar is the Crucifixion, on the side walls the +stories of St. Clement and St Catherine.</p> + +<div class="blockquot"><p>"The celebrated series relating to St. Catherine is still most +striking in the grace and refinement of its principal figures:</p> + +<p>"1. St. Catherine (cousin of the Emperor Constantine) refuses to +worship idols.</p> + +<p>"2. She converts the empress of Maximin. She is seen through a +window seated inside a prison, and the empress is seated outside +the prison, opposite to her, in a graceful listening attitude.</p> + +<p>"3. The empress is beheaded, and her soul is carried to heaven by +an angel.</p> + +<p>"4. Catherine disputes with the pagan philosophers. She is standing +in the midst of a hall, the forefinger of one hand laid on the +other, as in the act of demonstrating. She is represented fair and +girlish, dressed with great simplicity in a tunic and girdle,—no +crown, nor any other attribute. The sages are ranged on each side, +some lost in thought, others in astonishment, the tyrant (Maximin) +is seen behind, as if watching the conference, while through an +open window we behold the fire kindled for the converted +philosophers, and the scene of their execution.</p> + +<p>"5. Catherine is delivered from the wheels, which are broken by an +angel.</p> + +<p>"6. She is beheaded. In the background three angels lay her in a +sarcophagus on the summit of Mount Sinai."—See <i>Jameson's Sacred +Art</i>, p. 491.</p> + +<p>"'Masaccio,' says Vasari, 'whose enthusiasm for art would not allow +him to rest contentedly at Florence, resolved to go to Rome, that +he might learn there to surpass every other painter.' It was during +this journey, which, in fact, added much to his renown, that he +painted, in the Church of San Clemente—the chapel which now so +usually disappoints the expectations of the traveller, on account +of the successive restorations by which his work has been +disfigured.... The heavy brush which has passed over each +compartment has spared neither the delicacy of the outline, the +roundness of the forms, nor the play of light and shade: in a word, +nothing which constitutes the peculiar merit of Masaccio."—<i>Rio, +Poetry of Christian Art.</i></p></div> + +<p>At the end of the right aisle is the beautiful tomb of Cardinal +Rovarella, ob. 1476. A statue of St. John the<a name="vol_1_page_345" id="vol_1_page_345"></a> Baptist is by Simone, +brother of Donatello. Beneath the altar repose the relics of St. +Clement, St. Ignatius of Antioch—martyred in the Coliseum, St. Cyril, +and St. Servulus.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"'The Fathers are in dust, yet live to God:'<br /></span> +<span class="i2">So says the Truth; as if the motionless clay<br /></span> +<span class="i0">Still held the seeds of life beneath the sod,<br /></span> +<span class="i2">Smouldering and struggling till the judgment-day.<br /></span> +</div><div class="stanza"> +<span class="i0">"And hence we learn with reverence to esteem<br /></span> +<span class="i2">Of these frail houses, though the grave confines:<br /></span> +<span class="i0">Sophist may urge his cunning tests, and deem<br /></span> +<span class="i2">That they are earth;—but they are heavenly shrines."<br /></span> +<span class="i15"><i>J. H. Newman</i>, 1833.<br /></span> +</div></div> + +<div class="blockquot"><p>"St. Grégoire raconte que de son temps on voyait dans le vestibule +de l'église Saint Clément un pauvre paralytique, priant et +mendiant, sans que jamais une plainte sortît de sa bouche, malgré +les vives douleurs qu'il endurait. Chaque fidèle lui donnait, et le +paralytique distribuait à son tour, aux malheureux ce qu'il avait +reçu de la compassion publique. Lorsqu'il mourut, son corps fut +placé près de celui de Saint Clément, pape, et de Saint Ignace +d'Antioche, et son nom fut inscrit au martyrologe. On le vénère +dans l'Eglise sous le nom de Saint Servulus."—<i>Une Chrétienne à +Rome.</i></p></div> + +<p>The mosaics in the tribune are well worth examination.</p> + +<div class="blockquot"><p>"There are few Christian mosaics in which mystic meaning and poetic +imagination are more felicitous than in those on the apse of S. +Clemente, where the crucifix, and a wide-spreading vine-tree +(allusive to His words, who said 'I am the True Vine'), spring from +the same stem; twelve doves, emblems of the apostles, being on the +cross with the Divine Sufferer; the Mother and St. John beside it, +the usual hand stretched out in glory above, with a crown; the four +doctors of the Church, also other small figures, men and birds, +introduced amidst the mazy vine-foliage; and at the basement, the +four mystic rivers, with stags and peacocks drinking at their +streams. The figure of St. Dominic is a modern addition. It seems +evident, from characteristics of style, that the other mosaics +here, above the apsidal arch, and at the spandrils, are more +ancient, perhaps by about a century; these latter representing the +Saviour in benediction, the four Evangelic emblems,<a name="vol_1_page_346" id="vol_1_page_346"></a> St. Peter and +St. Clement, St. Paul and St. Laurence seated; the two apostles +designated by their names, with the Greek 'hagios' in Latin +letters. The later art-work was ordered (see the Latin inscription +below) in 1299, by a cardinal titular of S. Clemente, nephew to +Boniface VIII.; the same who also bestowed the beautiful gothic +tabernacle for the holy oils, with a relief representing the donor +presented by St. Dominic to the Virgin and Child—set against the +wall near the tribune, an admirable, though but an accessorial, +object of mediæval art."—<i>Hemans' Mediæval Art.</i></p></div> + +<p>From the sacristy a staircase leads to the <i>Lower Church</i> (occasionally +illuminated for the public) first discovered in 1857. Here, there are +several pillars of the rarest marbles in perfect preservation, and a +very curious series of frescoes of the eighth and ninth centuries, parts +of which are still clear and almost uninjured. These include—the +Crucifixion, with the Virgin and St. John standing by the cross,—the +earliest example in Rome of this well-known subject; the Ascension, +sometimes called by Romanists (in preparation for their dogma of 1870), +"the Assumption of the Virgin," because the figure of the Virgin is +elevated above the other apostles, though she is evidently intent on +watching the retreating figure of her divine Son—in this fresco the +figure of a pope is introduced (with the square nimbus, showing that it +was painted in his lifetime), and the inscription "Sanctissimus dominus, +Leo Papa Romanus," probably Leo III. or Leo IV.; the Maries at the +sepulchre; the descent into Hades; the Marriage of Cana; the Funeral of +St. Cyril with Pope Nicholas I. (858—67) walking in the procession; +and, the most interesting of all—probably of somewhat later date, the +story of S. Clemente, and that of S. Alexis, whose adventures are +described in the account of his church on the Aventine. An altar of +Mithras was discovered during the excavations here. Beneath this crypt<a name="vol_1_page_347" id="vol_1_page_347"></a> +is still a third structure, discovered 1867,—probably the very house of +St. Clement,—(decorated with rich stucco ornament)—sometimes supposed +to be the 'cavern near S. Clemente' to which the Emperor Otho III., who +died at the age of twenty-two, retired in <small>A.D.</small> 999 with his confessor, +and where he spent fourteen days in penitential retirement.</p> + +<p>According to the Acts of the Martyrs, the Prefect Mamertinus ordered the +arrest of Pope Clement, and intended to put him to death, but was +deterred by a tumult of the people, who cried with one voice, "What evil +has he done, or rather what good has he not done?" Clement was then +condemned to exile in the Chersonese, and Mamertinus, touched by his +submission and courage, dismissed him with the words—"May the God you +worship bring you relief in the place of your banishment."</p> + +<p>In his exile Clement received into the Church more than two hundred +Christians who had been waiting for baptism, and miraculously discovered +water for their support in a barren rock, to which he was directed by a +Lamb, in whose form he recognised the guidance of the Son of God. The +enthusiasm which these marvels excited led Trajan to send executioners, +by whom he was tied to an anchor and thrown into the sea. But his +disciples, kneeling on the shore, prayed that his relics might be given +up to them, when the waves retired, and disclosed a marble chapel, built +by unearthly hands—over the tomb of the saint. From the Chersonese the +remains of St. Clement were brought back to Rome by St. Cyril, the +Apostle of the Slavonians, who, dying here himself, was buried by his +side.<a name="vol_1_page_348" id="vol_1_page_348"></a></p> + +<h2><a name="CHAPTER_VIII" id="CHAPTER_VIII"></a>CHAPTER VIII.<br /><br /> +THE AVENTINE.</h2> + +<div class="blockquot"><p class="hang">Jewish Burial-ground—Sta. Sabina—S. Alessio—The Priorato—Sta. +Prisca—The Vigna dei Gesuiti—S. Sabba—Sta. Balbina.</p></div> + +<p class="nind"><span class="letra">T</span>HE Aventine, which is perhaps the highest, and now—from its coronet of +convents—the most picturesque of all the Roman hills, is of irregular +form, and is divided into two parts by a valley; one side, the higher, +is crowned by the churches of Sta. Sabina, S. Alessio, and the Priorato, +which together form "the Capitol of the Aventine;" the other, known as +the Pseudo-Aventine, is marked by the churches of S. Sabba and Sta. +Balbina.</p> + +<p>Virgil and Ovid allude repeatedly to the thick woods which once clothed +the Aventine.<a name="FNanchor_169_169" id="FNanchor_169_169"></a><a href="#Footnote_169_169" class="fnanchor">[169]</a> Dionysius speaks of the laurels or bays, an +indigenous tree of ancient Rome, which grew there in abundance. Only one +side of the hill, that towards the Tiber, now shows any of the natural +cliff, but it was once remarkable for its rocks, and the Pseudo-Aventine +obtained the name of Saxum from a huge solitary mass of stone which +surmounted it.</p> + +<p><a name="vol_1_page_349" id="vol_1_page_349"></a></p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Est moles nativa; loco res nomina fecit<br /></span> +<span class="i0">Appellant Saxum: pars bona mentis ea est."<a name="FNanchor_170_170" id="FNanchor_170_170"></a><a href="#Footnote_170_170" class="fnanchor">[170]</a><br /></span> +</div></div> + +<p>The upper portion of the hill is of volcanic formation, and it is +supposed that the legend of Cacus vomiting forth flames from his cave on +the side of the Aventine had its origin in noxious sulphuric vapours +emitted by the soil, as is still the case at the Solfatara on the way to +Tivoli. The demi-god Faunus, who had an oracle at the Solfatara, had +also an oracle on this hill.<a name="FNanchor_171_171" id="FNanchor_171_171"></a><a href="#Footnote_171_171" class="fnanchor">[171]</a></p> + +<p>Some derive the name of Aventine from Aventinus-Silvius, king of Alba, +who was buried here;<a name="FNanchor_172_172" id="FNanchor_172_172"></a><a href="#Footnote_172_172" class="fnanchor">[172]</a> others from Avens, a Sabine river; while +others say that the name simply means "the hill of birds," and connect +it with the story of the foundation of the city. For when it became +necessary to decide whether Romulus or Remus was to rule over the +newly-built Rome, Romulus seated himself upon the Palatine to watch the +auspices, but Remus upon the rock of the Pseudo-Aventine. Here Remus saw +only six vultures, while Romulus saw twelve, but each interpreted the +augury in his own favour, and Remus leapt across the boundary of the +Palatine, whether in derision or war, and was slain by his brother, or +by Celer, one of his followers. He was brought back and buried upon the +Aventine, and the stone whence he had watched the vultures was +thenceforth called the Sacred Rock. Ancient tradition places the tomb of +Remus on the Pseudo-Aventine, but in the middle ages the tomb of Caius +Cestus was believed—even by Petrarch—to be the monument of Remus.</p> + +<p>Some authorities consider that when Remus was watching the vultures on +the Pseudo-Aventine, that part of the hill was already occupied by a +Pelasgic fortress called Romoria, but at this time and for long +afterwards, the higher part of the<a name="vol_1_page_350" id="vol_1_page_350"></a> Aventine was held by the Sabines. +Here the Sabine king Numa dedicated an altar to Jupiter Elicius,<a name="FNanchor_173_173" id="FNanchor_173_173"></a><a href="#Footnote_173_173" class="fnanchor">[173]</a> +and the Sabine god Consus had also an altar here. Hither Numa came to +visit the forest-gods Faunus and Picus at their sacred fountain:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">Lucus Aventino suberat niger ilicis umbra,<br /></span> +<span class="i2">Quo posses viso dicere, numen inest.<br /></span> +<span class="i0">In medio gramen, muscoque adoperta virenti<br /></span> +<span class="i2">Manabat saxo vena perennis aquæ.<br /></span> +<span class="i0">Inde fere soli Faunus Picusque bibebant.<a name="FNanchor_174_174" id="FNanchor_174_174"></a><a href="#Footnote_174_174" class="fnanchor">[174]</a><br /></span> +</div></div> + +<p>By mingling wine and honey with the waters of their spring, Numa snared +the gods, and compelled them to tell him how he might learn from Jupiter +the knowledge of his will, and to reveal to him a charm against thunder +and lightning.<a name="FNanchor_175_175" id="FNanchor_175_175"></a><a href="#Footnote_175_175" class="fnanchor">[175]</a></p> + +<p>The Sabine king Tatius, the rival of Romulus, was buried on the Aventine +"in a great grove of laurels," and, at his tomb, then called +Armilustrum, it was the custom, every year, in the month of October, to +hold a feast for the purification of arms, accompanied by martial +dances. A horse was at the same time sacrificed to Janus, the Sabine +war-god.<a name="FNanchor_176_176" id="FNanchor_176_176"></a><a href="#Footnote_176_176" class="fnanchor">[176]</a></p> + +<p>Ancus Martius surrounded the Aventine by a wall,<a name="FNanchor_177_177" id="FNanchor_177_177"></a><a href="#Footnote_177_177" class="fnanchor">[177]</a> and settled there +many thousands of the inhabitants of Latin towns which he had subdued. +This was the origin of the plebs, who were soon to become such +formidable opponents of the first colonists of the Palatine, who took +rank as patricians, and who at first found in them an important +counterpoise to the power of the original Sabine inhabitants, against<a name="vol_1_page_351" id="vol_1_page_351"></a> +whom the little Latin colony of Romulus had hitherto been standing +alone. The Aventine continued always to be the especial property and +sanctuary of the plebs, the patricians avoiding it—in the first +instance, it is supposed, from an impression that the hill was of evil +omen, owing to the story of Remus. In <small>B.C.</small> 416, the tribune Icilius +proposed and carried a law by which all the public lands of the Aventine +were officially conferred upon the plebs, who forthwith began to cover +its heights with houses, in which each family of the people had a right +in one floor,—a custom which still prevails at Rome. At this time, +also, the Aventine was included for the first time within the +pomœrium or religious boundary of the city. Owing to its being the +"hill of the people," the commons henceforth held their comitia and +elected their tribunes here; and here, after the murder of Virginia, to +whom the tribune Icilius had been betrothed, the army assembled against +Appius Claudius.</p> + +<p>Very little remains of the numerous temples which once adorned the hill, +but their sites are tolerably well ascertained. We still ascend the +Aventine by the ancient Clivus Publicius, originally paved by two +brothers Publicii, who were ædiles at the same time, and had embezzled a +public sum of money, which they were compelled to expend thus—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">Parte locant clivum, qui tune erat ardua rupes:<br /></span> +<span class="i0">Utile nunc iter est, Publiciumque vocant.<a name="FNanchor_178_178" id="FNanchor_178_178"></a><a href="#Footnote_178_178" class="fnanchor">[178]</a><br /></span> +</div></div> + +<p>At the foot of this road was the temple of Luna, or Jana, in which +Tatius had also erected an altar to Janus or the Sun.</p> + +<p><a name="vol_1_page_352" id="vol_1_page_352"></a></p> + +<div class="poem"><div class="stanza"> +<span class="i0">Luna regit menses; hujus quoque tempora mensis<br /></span> +<span class="i0">Finit Aventino Luna colenda jugo.<a name="FNanchor_179_179" id="FNanchor_179_179"></a><a href="#Footnote_179_179" class="fnanchor">[179]</a><br /></span> +</div></div> + +<p>It was up this road that Caius Gracchus, a few hours before his death, +fled to take refuge in a small Temple of Diana, which stood somewhere +near the present site of S. Alessio, where, kneeling before the statue +of the goddess, he implored that the people who had betrayed him might +never be free. Close by, singularly enough, rose the Temple of Liberty, +which his grandfather Sempronius Gracchus had built. Adjoining this +temple was a hall where the archives of the censors were kept, and where +they transacted business; this was rebuilt by Asinius Pollio, who added +to it the first public library established in Rome.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">Nec me, quæ doctis patuerunt prima libellis<br /></span> +<span class="i0">Atria, Libertas tangere passa sua est.<a name="FNanchor_180_180" id="FNanchor_180_180"></a><a href="#Footnote_180_180" class="fnanchor">[180]</a><br /></span> +</div></div> + +<p>In the same group stood the famous sanctuary of Juno Regina, vowed by +Camillus during the siege of Veii, and to which the Juno of the captured +city was removed after she had given a verbal consent when asked whether +she wished to go to Rome and inhabit a new temple, much as the modern +queen of heaven is apt to do in modern times at Rome.<a name="FNanchor_181_181" id="FNanchor_181_181"></a><a href="#Footnote_181_181" class="fnanchor">[181]</a> The Temples +of Liberty and Juno were both rebuilt under Augustus; some imagine that +they were under a common roof. If they were distinct buildings, nothing +of the former remains; some beautiful columns built into the church of +Sta. Sabina are all that remain of the temple of Juno, though Livy +thought that her reign here would be eternal—</p> + +<p><a name="vol_1_page_353" id="vol_1_page_353"></a></p> + +<p class="c">... in Aventinum, æternam sedem suam.<a name="FNanchor_182_182" id="FNanchor_182_182"></a><a href="#Footnote_182_182" class="fnanchor">[182]</a></p> + +<p>Also belonging to this group was a Temple of Minerva.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">Sol abit a Geminis, et Cancri signa rubescunt:<br /></span> +<span class="i0">Cœpit Aventina Pallas in arce coli.<a name="FNanchor_183_183" id="FNanchor_183_183"></a><a href="#Footnote_183_183" class="fnanchor">[183]</a><br /></span> +</div></div> + +<p>Here the dramatist Livius Andronicus, who lived upon the Aventine, was +honoured after his death by a company of scribes and actors. Another +poet who lived upon the Aventine was Ennius, who is described as +inhabiting a humble dwelling, and being attended by a single female +slave. The poet Gallus also lived here.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">Totis, Galle, jubes tibi me servire diebus,<br /></span> +<span class="i0">Et per Aventinum ter quater ire tuum!<a name="FNanchor_184_184" id="FNanchor_184_184"></a><a href="#Footnote_184_184" class="fnanchor">[184]</a><br /></span> +</div></div> + +<p>On the other side of the Aventine (above the Circus Maximus), which was +originally covered with myrtle—a shrub now almost extinct at Rome—on +the site now occupied by Sta. Prisca, was a more important Temple of +Diana, sometimes called by the Sabine name of Murcia,—built in +imitation of the temple of Diana at Ephesus. Propertius writes—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">Phyllis Aventinæ quædam est vicina Dianæ;<a name="FNanchor_185_185" id="FNanchor_185_185"></a><a href="#Footnote_185_185" class="fnanchor">[185]</a><br /></span> +</div></div> + +<p class="nind">and Martial—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">Quique videt propius magna certamina Circi<br /></span> +<span class="i0">Laudat Aventinæ vicinus Sura Dianæ.<a name="FNanchor_186_186" id="FNanchor_186_186"></a><a href="#Footnote_186_186" class="fnanchor">[186]</a><br /></span> +</div></div> + +<p>Here till the time of Dionysius was preserved the pillar of brass on +which was engraved the law of Icilius.</p> + +<p>Near this were the groves of Simila, the retreat of the infamous +association discovered and terribly punished at the time of the Greek +wars; and—in the time of the empire—the gardens of Servilia, where she +received the devotion of Julius<a name="vol_1_page_354" id="vol_1_page_354"></a> Cæsar, and in which her son Brutus is +said to have conspired his murder, and to have been interrogated by his +wife Portia as to the mystery, which he refused to reveal to her, +fearing her weakness under torture, until, by the concealment of a +terrible wound which she had given to herself, she had proved to him +that the daughter of Cato could suffer and be silent.</p> + +<p>The Aventine continued to be inhabited, and even populous, until the +sixth century, from which period its prosperity began to decline. In the +eleventh century it was occupied by the camp of Henry IV. of Germany, +when he came in war against Gregory VII. In the thirteenth century +Honorius III. made a final effort to re-establish its popularity; but +with each succeeding generation it has become—partly owing to the +ravages of malaria—more and more deserted, till now its sole +inhabitants are monks, and the few ague-stricken contadini who look +after the monastic vineyards. In wandering along its desolate lanes, +hemmed in by hedges of elder, or by walls covered with parasitical +plants, it is difficult to realize the time when it was so thickly +populated; and except in the quantities of coloured marbles with which +its fields and vineyards are strewn, there is nothing to remind one of +the 16 ædiculæ, 64 baths, 25 granaries, 88 fountains, 130 of the larger +houses called <i>domus</i>, and 2487 of the poorer houses called <i>insulæ</i>, +which occupied this site.</p> + +<p>The present interest of the hill is almost wholly ecclesiastical, and +centres around the story of St. Dominic, and the legends of the saints +and martyrs connected with its different churches.</p> + +<hr style="width: 15%;" /> + +<p><a name="vol_1_page_355" id="vol_1_page_355"></a></p> + +<p>The best approach to the Aventine is behind the Church of Sta. Maria in +Cosmedin, where the <i>Via Sta. Sabina</i>, once the Clivus Publicius +(available for carriages), turns up the hill.</p> + +<p>A lane on the left leads to the Jewish burial-ground, used as a place of +sepulture for the Ghetto for many centuries. A curious instance of the +cupidity attributed to the Jewish race may be seen in the fact, that +they have, for a remuneration of four baiocchi, habitually given leave +to their neighbours to discharge the contents of a rubbish cart into +their cemetery, a permission of which the Romans have so abundantly +availed themselves, that the level of the soil has been raised by many +yards, and whole sets of older monuments have been completely swallowed +up, and new ones erected over their heads.</p> + +<p>After we turn the corner at the hill top, with its fine view over the +Palatine, and cross the trench of fortification formed during the fear +of a Garibaldian invasion in 1867, we skirt what appears to be part of a +city wall. This is in fact the wall of the Honorian city, built by Pope +Honorius III., of the great family of Savelli, whose idea was to render +the Aventine once more the populous and favourite portion of the city, +and who began great works for this purpose. Before his arrangements were +completed St. Dominic arrived in Rome, and was appointed master of the +papal household, and abbot of the convent of Sta. Sabina, where his +ministrations and popularity soon formed such an attraction, that the +pope wisely abandoned his design of founding a new city which should +commemorate himself, and left the field to St. Dominic,—to whom he made +over the land on this side of the hill. Henceforward the convent of +Sta.<a name="vol_1_page_356" id="vol_1_page_356"></a> Sabina and its surroundings have become, more than any other spot, +connected with the history of the Dominican Order,—there, all the great +saints of the Order have received their first inspiration,—have +resided,—or are buried; there St. Dominic himself received in a +beatific vision the institution of the rosary; there he was ordered to +plant the famous orange-tree, which, being then unknown in Rome, he +brought from his native Spain as the only present which it was suitable +for the gratitude of a poor monk to offer to his patron Honorius, who +was himself one of the great botanists of his time,—an orange-tree +which still lives, and which is firmly believed by the monks to flourish +or fail with the fortunes of the Order, so that it has lately been +greatly the worse for the suppression of the convents in Northern Italy, +though the residence of Père Lacordaire within the convent proved +exceedingly beneficial to it, and his visit even caused a new sucker to +sprout.</p> + +<p>The <i>Church of Sta. Sabina</i> was built on the site of the house of the +saint—in which she suffered martyrdom under the Emperor Hadrian,<a name="FNanchor_187_187" id="FNanchor_187_187"></a><a href="#Footnote_187_187" class="fnanchor">[187]</a> +in <small>A.D.</small> 423—by Peter, a priest of Illyria, "rich for the poor, and poor +for himself" <i>(pauperibus locuples, sibi pauper)</i>, as we read by the +mosaic inscription inside the principal entrance. St. Gregory the Great +read two of his homilies here. The church was rebuilt in 824, and +restored and reconsecrated by Gregory IX. in 1238. Much of its +interest,—ancient pavements, mosaics, &c.,—was destroyed in 1587 by +Sixtus V., who took the credit of discovering the relics of the martyrs +who are buried beneath the altar.<a name="vol_1_page_357" id="vol_1_page_357"></a></p> + +<p>On the west is a covered corridor containing several ancient +inscriptions. It is supported on one side by ancient spiral columns of +pavonazzetto, on the other these have been plundered and replaced by +granite. Hence, through a window, ladies are allowed to gaze upon the +celebrated orange-tree, 665 years old, which they cannot approach; a +rude figure of St. Dominic is sculptured upon the low wall which +surrounds it. The west door, of the twelfth century, in a richly +sculptured frame, is cited by Kugler as an instance of the extinction of +the Byzantine influence upon art. Its panels are covered with carvings +from the Old and New Testament, referred by Mamachi to the seventh, by +Agincourt to the thirteenth century. Some of the subjects have been +destroyed; among those which remain are the Annunciation, the Angels +appearing to the Shepherds, the Angel and Zachariah in the Temple, the +Magi, Moses turning the rods into serpents, the ascent of Elijah, Christ +before Pilate, the denial of Peter, and the Ascension. Within the +entrance are the only remains of the magnificent mosaic, erected in 431, +under Celestine I., which entirely covered the west wall till the time +of Sixtus V., consisting of an inscription in large letters, with a +female figure on either side, that on the left bearing the name +"Ecclesia cum circumcisione," that on the right, "Ecclesia ex gentibus." +Among the parts destroyed were the four beasts typical of the +Evangelists, and St. Peter and St. Paul. The church was thus gorgeously +decorated, because in the time of the Savelli popes, it was what the +Sistine is now, the Chiesa Apostolica.</p> + +<p>The nave is lined by twenty-four Corinthian columns of white marble, +relics of the temple of Juno Regina, which<a name="vol_1_page_358" id="vol_1_page_358"></a> once stood here. Above, is +an inlaid frieze of pietradura, of <small>A.D.</small> 431, which once extended up to +the windows, but was destroyed by Sixtus V., who at the same time built +up the windows which till then existed over each pier. In the middle of +the pavement near the altar, is a very curious mosaic figure over the +grave of Munoz de Zamora, a General of the Dominican Order, who died in +1300. Nearer the west door are interesting incised slabs representing a +German bishop and a lady, benefactors of this church, and (on the left) +a slab with arms in mosaic, to a lady of the Savelli family. In the left +aisle is another monument of 1312, commemorating a warrior of the +imperial house of Germany. The high altar covers the remains of Sabina +and Seraphia, Alexander the Pope, Eventius and Theodulus, all martyrs. +In the chapel beneath St. Dominic is said to have flagellated himself +three times nightly, "perché uno colpo solo non abbastava per +mortificare la carne."</p> + +<p>At the end of the right aisle is the Chapel of the Rosary, where a +beautiful picture of Sassoferrato, called "La Madonna del Rosario," +commemorates the vision of St. Dominic on that spot, in which he +received the rosary from the hands of the Virgin.</p> + +<div class="blockquot"><p>"St. Catherine of Siena kneels with St. Dominic before the throne +of the Madonna; the lily at her feet. The Infant Saviour is turned +towards her, and with one hand he crowns her with thorns, with the +other he presents the rosary. This is the master-piece of the +painter, with all his usual elegance, without his usual +insipidity."—<i>Jameson's Monastic Orders.</i></p></div> + +<p>Few Roman Catholic practices have excited more animadversion than the +"vain repetition" of the worship of the Rosary. The Père Lacordaire (a +Dominican) defended it, saying—<a name="vol_1_page_359" id="vol_1_page_359"></a></p> + +<div class="blockquot"><p>"Le rationaliste sourit en voyant passer de longues files de gens +qui redisent une même parole. Celui qui est éclairé d'une meilleure +lumière comprend que l'amour n'a qu'un mot, et qu'en le disant +toujours, il ne le répète jamais."</p></div> + +<p>Grouped around this chapel are three beautiful tombs,—a cardinal, a +bishop, and a priest of the end of the fifteenth century. That of the +cardinal (which is of the well-known Roman type of the time), is +inscribed "Ut moriens viveret, vixit est moriturus;" the others are +incised slabs. At the other end of this aisle is a marble slab, on which +St. Dominic is said to have been wont to lie prostrate in prayer. One +day while he was lying thus, the Devil in his rage is said to have +hurled a huge stone (a round black marble, <i>pietra di paragone</i>,) at +him, which missed the saint, who left the attack entirely unnoticed. The +devil was frantic with disappointment, and the stone, remaining as a +relic, is preserved on a low pillar in the nave. A small gothic +ciborium, richly inlaid with mosaic, remains on the left of the tribune.</p> + +<p>Opening from the left aisle is a chapel built by Elic of Tuscany—very +rich in precious marbles. The frame of the panel on the left is said to +be unique.</p> + +<p>It was in this church, in 1218, that St. Hyacinth, struck by the +preaching of St. Dominic, and by the recollection of the barbarism, +heathenism, and ignorance which prevailed in many parts of his native +land of Silesia, offered himself as its missionary, and took the vows of +the Dominican Order, together with his cousin St. Ceslas. Hither fled to +the monastic life St. Thomas Aquinas, pursued to the very door of the +convent by the tears and outcries of his mother, who vainly implored him +to return to her. One evening, a pilgrim, worn out with travel and<a name="vol_1_page_360" id="vol_1_page_360"></a> +fatigue, arrived at the door of this convent mounted upon a wretched +mule, and implored admittance. The prior in mockery asked, "What are you +come for, my father? are you come to see if the college of cardinals is +disposed to elect you as pope?" "I come to Rome," replied the pilgrim +Michele Ghislieri, "because the interests of the Church require it, and +I shall leave as soon as my task is accomplished; meanwhile I implore +you to give me a brief hospitality and a little hay for my mule." +Sixteen years afterwards Ghislieri mounted the papal throne as Pius V., +and proved, during a troubled reign, the most rigid follower and eager +defender of the institutions of St. Dominic. One day as Ghislieri was +about to kiss his crucifix in the eagerness of prayer, "the image of +Christ," says the legend, retired of its own accord from his touch, for +it had been poisoned by an enemy, and a kiss would have been death. This +crucifix is now preserved as a precious relic in the convent, where the +cells both of St. Dominic and of St. Pius V. are preserved, though, like +most historical chambers of Roman saints, their interest is lessened by +their having been beautified and changed into chapels. In the cell of +St. Dominic is a portrait by <i>Bazzani</i>, founded on the records of his +personal appearance; the lily lies by his side,—the glory hovers over +his head,—he is, as the chronicler describes him, "of amazing beauty." +In this cell he is said frequently to have passed the night in prayer +with his rival St. Francis of Assisi. The refectory is connected with +another story of St. Dominic:—</p> + +<div class="blockquot"><p>"It happened that when he was residing with forty of his friars in +the convent of Sta. Sabina at Rome, the brothers who had been sent +to beg for provisions had returned with a very small quantity of +bread,<a name="vol_1_page_361" id="vol_1_page_361"></a> and they knew not what they should do, for night was at +hand, and they had not eaten all day. Then St. Dominic ordered that +they should seat themselves in the refectory, and, taking his place +at the head of the table, he pronounced the usual blessing: and +behold! two beautiful youths clad in white and shining garments +appeared amongst them; one carried a basket of bread, and the other +a pitcher of wine, which they distributed to the brethren: then +they disappeared, and no one knew how they had come in, nor how +they had gone out. And the brethren sat in amazement; but St. +Dominic stretched forth his hand, and said calmly, 'My children, +eat what God hath sent you:' and it was truly celestial food, such +as they had never tasted before nor since."—<i>Jameson's Monastic +Orders</i>, p. 369.</p></div> + +<p>Other saints who sojourned for a time in this convent were St. Norbert, +founder of the Premonstratensians (ob. 1134), and St. Raymond de +Penaforte (ob. 1275), who left his labours in Barcelona for a time in +1230 to act as chaplain to Gregory IX.</p> + +<p>In 1287 a conclave was held at Sta. Sabina for the election of a +successor to Pope Martin IV., but was broken up by the malaria, six +cardinals dying at once within the convent, and all the rest taking +flight except Cardinal Savelli, who would not desert his paternal home, +and survived by keeping large fires constantly burning in his chamber. +Ten months afterwards his perseverance was rewarded by his own election +to the throne as Honorius IV.</p> + +<p>In the garden of the convent are some small remains of the palace of the +Savelli pope, Honorius III. Here, on the declivity of the Aventine, many +important excavations were made in 1856—57, by the French Prior Besson, +a person of great intelligence, and he was rewarded by the discovery of +an ancient Roman house—its chambers paved with black and white mosaic, +and some fine fragments of the wall of Servius Tullius, formed of +gigantic blocks of peperino.<a name="vol_1_page_362" id="vol_1_page_362"></a> In the chambers which were found decorated +in stucco with remnants of painting in figures and arabesque ornaments, +"one little group represented a sacrifice before the statue of a god, in +an ædicula. Some rudely scratched Latin lines on this surface led to the +inference that this chamber, after becoming subterranean and otherwise +uninhabitable, had served for a prison; one unfortunate inmate having +inscribed curses against those who caused his loss of liberty; and +another, more devout, left record of his vows to sacrifice to Bacchus in +case of recovering that blessing."<a name="FNanchor_188_188" id="FNanchor_188_188"></a><a href="#Footnote_188_188" class="fnanchor">[188]</a></p> + +<p>Since the death of Prior Besson<a name="FNanchor_189_189" id="FNanchor_189_189"></a><a href="#Footnote_189_189" class="fnanchor">[189]</a> the works have been abandoned, and +the remains already discovered have been for the most part earthed up +again. A nympheum, a well, and several subterranean passages, are still +visible on the hillside.</p> + +<p>Just beyond Sta. Sabina is the Hieronymite <i>Church and Convent of S. +Alessio</i>, the only monastery of Hieronymites in Italy where meat was +allowed to be eaten,—in consideration of the malaria. The first church +erected here was built in <small>A.D.</small> 305 in honour of St. Boniface, martyr, by +Aglae, a noble Roman lady, whose servant (and lover) he had been. It was +reconsecrated in <small>A.D.</small> 401 by Innocent I., in honour of St. Alexis, whose +paternal mansion was on this site. This saint, young and beautiful, took +a vow of virginity, and being forced by his parents into marriage, fled +on the same evening from his home, and was given up as lost. Worn out +and utterly changed he returned many years afterwards to be near those +who were dear to him, and remained, unrecognised, as a poor beggar, +under<a name="vol_1_page_363" id="vol_1_page_363"></a> the stairs which led to his father's house. Seventeen years +passed away, when a mysterious voice suddenly echoed through the Roman +churches, crying, "Seek ye out the man of God, that he may pray for +Rome." The crowd was stricken with amazement,—when the same voice +continued, "Seek in the house of Euphemian." Then, pope, emperor, and +senators rushed together to the Aventine, where they found the despised +beggar dying beneath the doorstep, with his countenance beaming with +celestial light, a crucifix in one hand, and a sealed paper in the +other. Vainly the people strove to draw the paper from the fingers which +were closing in the gripe of death, but when Innocent I. bade the dying +man in God's name to give it up, they opened, and the pope read aloud to +the astonished multitude the secret of Alexis; and his father Euphemian +and his widowed bride, regained in death the son and the husband they +had lost.</p> + +<p>S. Alessio is entered through a courtyard.</p> + +<div class="blockquot"><p>"The courtyards in front of S. Alessio, Sta. Cecilia, S. Gregorio, +and other churches, are like the vestibula of the ancient Roman +houses, on the site of which they were probably built. This style +of building, says Tacitus, was generally introduced by Nero. Beyond +opened the <i>prothyra</i>, or inner entrance, with the <i>cellæ</i> for the +porter and dog, <i>both</i> chained, on either side."</p></div> + +<p>In the portico of the church is a statue of Benedict XIII. (Pietro +Orsini, 1724). The west door has a rich border of mosaic. The church has +been so much modernised as to retain no appearance of antiquity. The +fine Opus-Alexandrinum pavement is preserved. In the floor is the +incised gothic monument of Lupi di Olmeto, General of the Hieronymites +(ob. 1433). Left of the entrance is a shrine of<a name="vol_1_page_364" id="vol_1_page_364"></a> S. Alessio, with his +figure sleeping under the staircase—part of the actual wooden stairs +being enclosed in a glass case over his head. Not far from this is the +ancient well of his father's house. In a chapel which opens out of a +passage leading to the sacristy is the fine tomb of Cardinal Guido di +Balneo, of the time of Leo X. He is represented sitting, with one hand +resting on the ground—the delicate execution of his lace in marble is +much admired. The mosaic roof of this chapel was burst open by a +cannon-ball during the French bombardment of 1849, but the figure was +uninjured. The baldacchino (well known from Macpherson's photographs) is +remarkable for its perfect proportions. Behind, in the tribune, are the +inlaid mosaic pillars of a gothic tabernacle. No one should omit to +descend into the <i>Crypt of S. Alessio</i>, which is an early church, +supported on stunted pillars, and containing a marble episcopal chair, +green with age. Here the pope used to meet the early conclaves of the +Church in times of persecution. The pillar under the altar is shown as +that to which St. Sebastian was bound when he was shot with the arrows.</p> + +<p>The cloister of the convent, from which ladies are excluded, blooms with +orange and lemon trees. There are only six Hieronymite brethren here +now. The convent was at one time purchased by the ex-king Ferdinand of +Spain, who intended turning it into a villa for himself.</p> + +<p>A short distance beyond S. Alessio is a sort of little square, adorned +with trophied memorials of the knights of Malta, and occupying the site +of the laurel grove (Armilustrum) which contained the tomb of Tatius. +Here is the<a name="vol_1_page_365" id="vol_1_page_365"></a> entrance of the Priorato garden, where is the famous <i>View +of St. Peter's through the Keyhole</i>, admired by crowds of people on +Ash-Wednesday, when the "stazione" is held at the neighbouring churches. +Entering the garden (which can always be visited) we find ourselves in a +beautiful avenue of old bay-trees framing the distant St. Peter's. A +terrace overhanging the Tiber has an enchanting view over the river and +town. In the garden is an old pepper-tree, and in a little court a +picturesque palm-tree and well. From hence we can enter the church, +sometimes called <i>S. Basilio</i>, sometimes <i>Sta. Maria Aventina</i>, an +ancient building modernized by Cardinal Rezzonico in 1765, from the very +indifferent designs of Piranesi. It contains an interesting collection +of tombs, most of them belonging to the Knights of Malta; that of Bishop +Spinelli is an ancient marble sarcophagus, with a relief of Minerva and +the Muses. A richly sculptured ancient altar contains relics of saints +found beneath the pavement of the church.</p> + +<p>The Priorato garden, so beautiful and attractive in itself, has an +additional interest as that in which the famous Hildebrand (Gregory +VII., 1073—80) was brought up as a boy, under the care of his uncle, +who was abbot of the adjoining monastery. A massive cornice in these +grounds is one of the few architectural fragments of ancient Rome +existing on the Aventine. It may perhaps have belonged to the smaller +temple of Diana in which Caius Gracchus took refuge, and in escaping +from which, down the steep hillside, he sprained his ankle, and so was +taken by his pursuers. Some buried houses were discovered and some +precious vases brought to light, when Urban VIII. built the<a name="vol_1_page_366" id="vol_1_page_366"></a> stately +buttress walls which now support the hillside beyond the Priorato.</p> + +<p>The cliff below these convents is the supposed site of the cave of the +giant Cacus, described by Virgil.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"At specus et Caci detecta apparuit ingens<br /></span> +<span class="i0">Regia, et umbrosæ penitus patuere cavernæ;<br /></span> +<span class="i0">Non secus, ac si quâ penitus vi terra dehiscens<br /></span> +<span class="i0">Infernas reseret sedes, et regna recludat<br /></span> +<span class="i0">Pallida, dîs invisa; superque immane barathrum<br /></span> +<span class="i0">Cernatur, trepidentque immisso lumine manes."<br /></span> +<span class="i15"><i>Æneid</i>, lib. viii.<br /></span> +</div></div> + +<p>Hercules brought the oxen of Geryon to pasture in the valley between the +Aventine and Palatine. Cacus issuing from his cave while their owner was +asleep, carried off four of the bulls, dragging them up the steep side +of the hill by their tails, that Hercules might be deceived by their +foot-prints being reversed. Then he concealed them in his cavern, and +barred the entrance with a rock. Hercules sought the stolen oxen +everywhere, and when he could not find them, he was going away with the +remainder. But as he drove them along the valley near the Tiber one of +his oxen lowed, and when the stolen oxen in the cave heard that, they +answered; and Hercules, after rushing three times round the Aventine +boiling with fury, shattered the stone which guarded the entrance of the +cave with a mass of rock, and, though the giant vomited forth smoke and +flames against him, he strangled him in his arms. Thus runs the legend, +which is explained by Ampère.</p> + +<div class="blockquot"><p>"Cacus habite une caverne de l'Aventin, montagne en tout temps mal +famée, montagne anciennement hérissée de rochers et couverte de +forêts, dont la forêt Nœvia, longtemps elle-même un repaire de +bandits,<a name="vol_1_page_367" id="vol_1_page_367"></a> était une dépendance et fut un reste qui subsista dans +les temps historiques. Ce Cacus était sans doute un brigand +célèbre, dangereux pour les pâtres du voisinage dont il volait les +troupeaux quand ils allaient paître dans les prés situés au bord du +Tibre et boire l'eau du fleuve. Les hauts faits de Cacus lui +avaient donné cette célébrité qui, parmi les paysans romains, +s'attache encore à ses pareils, et surtout le stratagème employé +par lui probablement plus d'une fois pour dérouter les bouviers des +environs, en emmenant les animaux qu'il dérobait, à manière de +cacher la direction de leurs pas. La caverne du bandit avait été +découverte et forcée par quelque pâtre courageux, qui y avait +pénétré vaillamment, malgré la terreur que ce lieu souterrain et +formidable inspirait, y avait surpris le voleur et l'avait +étranglé.</p> + +<p>"Tel était, je crois, le récit primitif où il n'était pas plus +question d'Hercule que de Vulcain, et dans lequel Cacus n'était pas +mis à mort par un demi-dieu, mais par un certain Recaranus, pâtre +vigoureux et de grande taille. A ces récits de bergers, qui +allaient toujours exagérant les horreurs de l'antre de Cacus et la +résistance désespérée de celui-ci, vinrent se mêler peu à peu des +circonstances merveilleuses."—<i>Hist. Rom.</i> i. 170.</p></div> + +<p>We must retrace our steps, as far as the summit of the hill towards the +Palatine, and then turn to the right in order to reach the ugly +obscure-looking <i>Church of Sta. Prisca</i>, founded by Pope Eutychianus in +<small>A.D.</small> 280, but entirely modernised by Cardinal Giustiniani from designs +of Carlo Lombardi, who encased its fine granite columns in miserable +stucco pilasters. Over the high altar is a picture by <i>Passignano</i> of +the baptism of the saint, which is said to have taken place in the +ancient crypt beneath the church, where an inverted Corinthian +capital,—a relic of the temple of Diana which once occupied this +site,—is shown as the font in which Sta. Prisca was baptized by St. +Peter.</p> + +<p>Opening from the right aisle is a kind of terraced loggia with a +peculiar and beautiful view. In the adjoining vineyard are three arches +of an aqueduct.<a name="vol_1_page_368" id="vol_1_page_368"></a></p> + +<div class="blockquot"><p>"According to the old tradition, this church stands on the site of +the house of Aquila and Priscilla, where St. Peter lodged when at +Rome, and who are the same mentioned by St. Paul as tent-makers; +and here is shown the font, from which, according to the same +tradition, St. Peter baptized the first Roman converts to +Christianity. The altar-piece represents the baptism of Sta. +Prisca, whose remains being afterwards placed in the church, it has +since borne her name. According to the legend, she was a Roman +virgin of illustrious birth, who, at the age of thirteen, was +exposed in the amphitheatre. A fierce lion was let loose upon her, +but her youth and innocence disarmed the fury of the savage beast, +which, instead of tearing her to pieces, humbly licked her +feet;—to the great consolation of Christians, and the confusion of +idolaters. Being led back to prison, she was there beheaded. +Sometimes she is represented with a lion, sometimes with an eagle, +because it is related that an eagle watched by her body till it was +laid in the grave; for thus, says the story, was virgin innocence +honoured by kingly bird as well as by kingly beast."—<i>Mrs. +Jameson.</i></p></div> + +<p>Opposite the door of this church is the entrance of the <i>Vigna dei +Gesuiti</i>, a wild and beautiful vineyard occupying the greater part of +this deserted hill, and extending as far as the Porta S. Paolo and the +pyramid of Caius Cestius. Several farm-houses are scattered amongst the +vines and fruit trees. There are beautiful views towards the Alban +mountains, and to the Pseudo-Aventine with its fortress-like convents. +The ground is littered with fragments of marbles and alabaster, which +lie unheeded among the vegetables, relics of unknown edifices which once +existed here. Just where the path in the vineyard descends a slight +declivity towards S. Paolo, are the finest existing remains of the +<i>Walls of Servius Tullius</i>,<a name="FNanchor_190_190" id="FNanchor_190_190"></a><a href="#Footnote_190_190" class="fnanchor">[190]</a> formed of large quadrilateral blocks of +tufa, laid alternately long and cross-ways, as in the Etruscan +buildings. The spot is beautiful,<a name="vol_1_page_369" id="vol_1_page_369"></a> and overgrown by a luxuriance of wild +mignonette and other flowers in the late spring.</p> + +<p>Descending to the valley beneath Sta. Prisca, and crossing the lane +which leads from the Via Appia to the Porta S. Paolo, we reach, on the +side of the Pseudo-Aventine, the <i>Church of S. Sabba</i>, which is supposed +to mark the site of the Porta Randusculana of the walls of Servius +Tullius. Its position is very striking, and its portico, built in <small>A.D.</small> +1200, is picturesque and curious.</p> + +<p>This church is of unknown origin, but is known to have existed in the +time of St. Gregory the Great, and to have been one of the fourteen +privileged abbacies of Rome. Its patron saint was St. Sabbas, an abbot +of Cappadocia, who died at Jerusalem in <small>A.D.</small> 532.</p> + +<div class="blockquot"><p>"The record of the artist Jacobus dei Cosmati, dated the third year +of Innocent III. (1205), on the lintel of the mosaic-inlaid +doorway, justifies us in classing this church among monuments of +the thirteenth century. From its origin a Greek monastery, it was +assigned by Lucius II., in 1141, to the Benedictines of the Cluny +rule. An epigraph near the sacristy mentions a rebuilding either of +the cloisters or church, in 1325, by an abbot Joannes; and in 1465 +the roof was renewed in woodwork by a cardinal, the nephew of Pius +II.</p> + +<p>"In 1512 the Cistercians of Clairvaux were located here by Julius +II.; and some years later these buildings were given to the +Germanic-Hungarian College. Amidst gardens and vineyards, +approached by a solitary lane between hedgerows, this now deserted +sanctuary has a certain affecting character in its forlornness. +Save on Thursdays, when the German students are brought hither by +their Jesuit professors to enliven the solitude by their sports and +converse, we might never succeed in finding entrance to this quiet +retreat of the monks of old.</p> + +<p>"Within the arched porch, through which we pass into an outer +court, we read an inscription telling that here stood the house and +oratory (called <i>cella nova</i>) of Sta. Sylvia, mother of St. Gregory +the Great, whence the pious matron used daily to send a porridge of +legumes to her son, while he inhabited his monastery on the Clivus +Scauri, or<a name="vol_1_page_370" id="vol_1_page_370"></a> northern ascent of the Cœlian. Within that court +formerly stood the cloistral buildings, of which little now +remains. The façade is remarkable for its atrium in two stories: +the upper with a pillared arcade, probably of the fifteenth +century; the lower formerly supported by six porphyry columns, +removed by Pius VI. to adorn the Vatican library, where they still +stand. The porphyry statuettes of two emperors embracing, supposed +either an emblem of the concord between the East and West, or the +intended portraits of the co-reigning Constantine II. and +Constans—a curious example of sculpture in its deep decline, and +probably imported by Greek monks from Constantinople—project from +two of those ancient columns."—<i>Hemans' Mediæval Art.</i></p></div> + +<p>The interior of St. Sabba is in the basilica form. It retains some +fragments of inlaid pavements, some handsome inlaid marble panels on +either side of the high altar, and an ancient sarcophagus. The tribune +has rude paintings of the fourteenth century—the Saviour between St. +Andrew and St. Sabbas the Abbot; and below the Crucifixion, the Madonna +and the twelve Apostles. Beneath the tribune is a crypt,—and over its +altar a beautifully ornamented disk with a Greek cross in the centre.</p> + +<p>Behind St. Sabbas is another delightful vineyard, but it is difficult to +gain admittance. Here Flaminius Vacca describes the discovery of a +mysterious chamber without door or window, whose pavement was of agate +and cornelian, and whose walls were plated with gilt copper; but of this +nothing remains.<a name="FNanchor_191_191" id="FNanchor_191_191"></a><a href="#Footnote_191_191" class="fnanchor">[191]</a></p> + +<p>To reach the remaining church of the Aventine, we have to turn to the +Via Appia, and then follow the lane which leads up the hillside from the +Baths of Caracalla to the <i>Church of Sta. Balbina</i>, whose picturesque +red brick tower forms so conspicuous a feature, as seen against the long +soft lines of the flat Campagna, in so many Roman<a name="vol_1_page_371" id="vol_1_page_371"></a> views. It was erected +in memory of Sta. Balbina, a virgin martyr (buried in Sta. Maria in +Domenica), who suffered under Hadrian, <small>A.D.</small> 132. It contains the remains +of an altar erected by Cardinal Barbo, in the old basilica of St. +Peter's, a splendid ancient throne of marble inlaid with mosaics, and a +fine tomb of Stefano Sordi, supporting a recumbent figure, and adorned +with mosaics by one of the Cosmati.</p> + +<p>Adjoining this church Monsignor de Mérode established a house of +correction for youthful offenders, to avert the moral result of exposing +them to communication with other prisoners.<a name="vol_1_page_372" id="vol_1_page_372"></a></p> + +<h2><a name="CHAPTER_IX" id="CHAPTER_IX"></a>CHAPTER IX.<br /><br /> +THE VIA APPIA.</h2> + +<div class="blockquot"><p class="hang">The Porta Capena—Baths of Caracalla—Vigna Guidi—SS. Nereo ed +Achilleo—SS. Sisto e Domenico—S. Cesareo (S. Giovanni in Oleo—S. +Giovanni in Porta Latina)—Columbarium of the Freedmen of +Octavia—Tomb of the Scipios—Columbarium of the Vigna Codini—Arch +of Drusus—Porta S. Sebastiano—Tombs of Geta and Priscilla—Church +of Domine Quo Vadis (Vigna Marancia)—Catacombs of S. Calixtus, of +S. Pretextatus, of the Jews, and SS. Nereo ed Achilleo—(Temple of +Bacchus, <i>i.e.</i> S. Urbano—Grotto of Egeria—Temple of Divus +Rediculus)—Basilica and Catacombs of S. Sebastiano—Circus of +Maxentius—Temple of Romulus, son of Maxentius—Tomb of Cecilia +Metella—Castle of the Caetani—Tombs of the Via Appia—Sta. Maria +Nuova—Roma Vecchia—Casale Rotondo—Tor di Selce, &c.</p></div> + +<p class="nind"><span class="letra">T</span>HE +<i>Via Appia</i>, called Regina Viarum by Statius, was begun <small>B.C.</small> 312, by +the Censor Appius Claudius the Blind, "the most illustrious of the great +Sabine and Patrician race, of whom he was the most remarkable +representative." It was paved throughout, and during the first part of +its course served as a kind of patrician cemetery, being bordered by a +magnificent avenue of family tombs. It began at the Porta Capena, itself +crossed by the Claudian aqueduct, which was due to the same great +benefactor,—</p> + +<p><a name="vol_1_page_373" id="vol_1_page_373"></a></p> + +<p class="c">"Substitit ad veteres arcus madidamque Capenam,"</p> + +<p class="nind">and was carried by Claudius across the Pontine Marshes as far as Capua, +but afterwards extended to Brundusium.</p> + +<p>The site of the Porta Capena, so important as marking the commencement +of the Appian Way, was long a disputed subject. The Roman antiquaries +maintained that it was outside the present Walls, basing their opinion +on the statement of St. Gregory, that the river Almo was in that Regio, +and considering the Almo identical with a small stream which is crossed +in the hollow about half a mile beyond the Porta S. Sebastiano, and +which passes through the Valle Caffarelle, and falls into the Tiber near +S. Paolo. This stream, however, which rises at the foot of the Alban +Hills below the lake, divides into two parts about six miles from Rome, +and its smaller division, after flowing close to the Porta San Giovanni, +recedes again into the country, enters Rome near the Porta Metronia, a +little behind the Church of S. Sisto, and passing through the Circus +Maximus, falls into the Tiber at the Pulchrum Littus, below the temple +of Vesta. Close to the point where this, the smaller branch of the Almo, +crosses the Via San Sebastiano, Mr. J. H. Parker, in 1868—69, +discovered some remains, on the original line of walls, which he has +identified, beyond doubt, as those of the <i>Porta Capena</i>, whose position +had been already proved by Ampère and other authorities.</p> + +<p>Close to the Porta Capena stood a large group of historical buildings, +of which no trace remains. On the right of the gate was the temple of +Mars:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Lux eadem Marti festa est; quem prospicit extra<br /></span> +<span class="i0">Appositum Tectæ Porta Capena viæ."<br /></span> +<span class="i15"><i>Ovid, Fast.</i> vi. 191.<br /></span> +</div></div> + +<p><a name="vol_1_page_374" id="vol_1_page_374"></a></p> + +<p>It is probably in allusion to this temple that Propertius says:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Armaque quum tulero portæ votiva Capenæ,<br /></span> +<span class="i0">Subscribam, salvo grata puella viro."<br /></span> +<span class="i15"><i>Prop.</i> iv. <i>Eleg.</i> 3.<br /></span> +</div></div> + +<p>Martial alludes to a little temple of Hercules near this:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Capena grandi porta qua pluit gutta,<br /></span> +<span class="i0">Phrygiæque Matris Almo qua lavat ferrum,<br /></span> +<span class="i0">Horatiorum qua viret sacer campus,<br /></span> +<span class="i0">Et qua pusilli fervet Herculis fanum."<br /></span> +<span class="i15"><i>Mart.</i> iii. <i>Ep.</i> 47.<br /></span> +</div></div> + +<p>Near the gate also stood the tomb of the murdered sister of the +Horatii,<a name="FNanchor_192_192" id="FNanchor_192_192"></a><a href="#Footnote_192_192" class="fnanchor">[192]</a> with the temples of Honour and Virtue, vowed by Marcellus +and dedicated by his son,<a name="FNanchor_193_193" id="FNanchor_193_193"></a><a href="#Footnote_193_193" class="fnanchor">[193]</a> and a fountain, dedicated to Mercury:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Est aqua Mercurii portæ vicina Capenæ;<br /></span> +<span class="i2">Si juvat expertis credere, numen habet.<br /></span> +<span class="i0">Huc venit incinctus tunicas mercator, et urna<br /></span> +<span class="i2">Purus suffita, quam ferat, haurit aquam.<br /></span> +<span class="i0">Uda fit hinc laurus: lauro sparguntur ab uda<br /></span> +<span class="i2">Omnia, quæ dominos sunt habitura novos."<br /></span> +<span class="i15"><i>Ovid, Fast.</i> v. 673.<br /></span> +</div></div> + +<p>It was at the Porta Capena that the survivor of the Horatii met his +sister.</p> + +<div class="blockquot"><p>"Horatius went home at the head of the army, bearing his triple +spoils. But as they were drawing near to the Capenian gate, his +sister came out to meet him. Now she had been betrothed in marriage +to one of the Curiatii, and his cloak, which she had wrought with +her own hands, was borne on the shoulders of her brother; and she +knew it, and cried aloud, and wept for him she had loved. At the +sight of her tears Horatius was so wrath that he drew his sword, +and stabbed his sister to the heart; and he said, 'So perish the +Roman maiden who shall weep for her country's enemy!'"—<i>Arnold's +Hist. of Rome</i>, i. 16.<a name="vol_1_page_375" id="vol_1_page_375"></a></p></div> + +<p>Among the many other historical scenes with which the Porta Capena is +connected, we may remember that it was here that Cicero was received in +triumph by the senate and people of Rome, upon his return from +banishment B.C. 57.</p> + +<hr style="width: 15%;" /> + +<p>Two roads lead to the Via S. Sebastiano, one the Via S. Gregorio, which +comes from the Coliseum beneath the arch of Constantine; the other, the +street which comes from the Ghetto, through the Circus Maximus, between +the Palatine and Aventine.</p> + +<p>The first gate on the left, after the junction of these roads, is that +of the vineyard of the monks of S. Gregorio, in which the site of the +Porta Capena was found. The remains discovered have been reburied, owing +to the indifference or jealousy of the government; but the vineyard is +worth entering on account of the picturesque view it possesses of the +Palace of the Cæsars.</p> + +<p>On the right, a lane leads up the Pseudo-Aventine to the Church of Sta. +Balbina, described Chap. VIII.</p> + +<p>On the left, where the Via Appia crosses the brook of the Almo, now +called Maranna, the Via di San Sisto Vecchio leads to the back of the +Cœlian behind S. Stefano Rotondo. Here, in the hollow, in the grounds +of the Villa Mattei, under some picturesque farm-buildings, is a spring +which modern archæology has determined to be the true <i>Fountain of +Egeria</i>, where Numa Pompilius is described as having his mysterious +meetings with the nymph Egeria. The locality of this fountain was +verified when that of the Porta Capena was ascertained, as it was +certain that it was in the immediate neighbourhood of that gate, from a +passage in the 3d Satire of Juvenal, which describes, that when he was +waiting<a name="vol_1_page_376" id="vol_1_page_376"></a> at the Porta Capena with Umbritius while the waggon was loading +for his departure to Cumæ, they rambled into the valley of Egeria, and +Umbritius said, after speaking of his motives for leaving Rome, "I could +add other reasons to these, but my beasts summon me to move on, and the +sun is setting. I must be going, for the muleteer has long been +summoning me by the cracking of his whip."</p> + +<p>To this valley the oppressed race of the Jews was confined by Domitian, +their furniture consisting of a basket and a wisp of hay:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Nunc sacri fontis nemus et delubra locantur<br /></span> +<span class="i0">Judæis, quorum cophinus fœnumque supellex."<br /></span> +<span class="i15"><i>Juvenal, Sat.</i> iii. 13.<br /></span> +</div></div> + +<p>On the right, are the <i>Baths of Caracalla</i>, the largest mass of ruins in +Rome, except the Coliseum; consisting for the most part of huge +shapeless walls of red and orange-coloured brickwork, framing vast +strips of blue sky, and tufted with shrubs and flowers. These baths, +which could accommodate 1600 bathers at once, were begun in A.D. 212, by +Caracalla, continued by Heliogabalus, and finished under Alexander +Severus. They covered a space of 2,625,000 square yards—a size which +made Ammianus Marcellinus say that the Roman baths were like +provinces—and they were supplied with water by the Antonine Aqueduct, +which was brought hither for that especial purpose from the Claudian, +over the Arch of Drusus.</p> + +<p>Antiquaries have amused themselves by identifying different chambers, to +which, with considerable uncertainty, the names of Calidarium, +Laconicum, Tepidarium, Frigidarium, &c., have been affixed.</p> + +<p>The habits of luxury and inertion which were introduced<a name="vol_1_page_377" id="vol_1_page_377"></a> with the +magnificent baths of the emperors were among the principal causes of the +decline and fall of Rome. Thousands of the Roman youth frittered away +their hours in these magnificent halls, which were provided with +everything which could gratify the senses. Poets were wont to recite +their verses to those who were reclining in the baths.</p> + +<div class="poem"><div class="stanza"> +<span class="i6">——"In medio qui<br /></span> +<span class="i0">Scripta foro recitent, sunt multi,—quique lavantes:<br /></span> +<span class="i0">Suave locus voci resonat conclusus."<br /></span> +<span class="i15"><i>Horace, Sat.</i> i. 4.<br /></span> +</div></div> + +<div class="blockquot"><p>"These <i>Thermæ</i> of Caracalla, which were one mile in circumference, +and open at stated hours for the indiscriminate service of the +senators and the people, contained above sixteen hundred seats of +marble. The walls of the lofty apartments were covered with curious +mosaics that imitated the art of the pencil in elegance of design +and in the variety of their colours. The Egyptian granite was +beautifully encrusted with the precious green marble of Numidia. +The perpetual stream of hot water was poured into the capacious +basons through so many wide mouths of bright and massy silver; and +the meanest Roman could purchase, with a small copper coin, the +daily enjoyment of a scene of pomp and luxury which might excite +the envy of the kings of Asia. From these stately palaces issued +forth a swarm of dirty and ragged plebeians, without shoes and +without mantle; who loitered away whole days in the street or +Forum, to hear news and to hold disputes; who dissipated, in +extravagant gaming, the miserable pittance of their wives and +children; and spent the hours of the night in the indulgence of +gross and vulgar sensuality."—<i>Gibbon.</i></p></div> + +<p>In the first great hall was found, in 1824, the immense mosaic pavement +of the pugilists, now in the Lateran museum. Endless works of art have +been discovered here from time to time, among them the best of the +Farnese collection of statues,—the Bull, the Hercules, and the +Flora,—which were dug up in 1534, when Paul III. carried off all the +still remaining marble decorations of the baths to use for the Farnese +Palace. The last of the pillars to be<a name="vol_1_page_378" id="vol_1_page_378"></a> removed from hence is that which +supports the statue of Justice in the Piazza Sta. Trinità at Florence.</p> + +<p>A winding stair leads to the top of the walls, which are worth +ascending, as well for the idea which you there receive of the vast size +of the ruins, as for the lovely views of the Campagna, which are +obtained between the bushes of lentiscus and phillyrea with which they +are fringed. It was seated on these walls that Shelley wrote his +"Prometheus Unbound."</p> + +<div class="blockquot"><p>"This poem was chiefly written upon the mountainous ruins of the +baths of Caracalla, among the flowery glades and thickets of +odoriferous blossoming trees which are extended in ever-winding +labyrinths upon its immense platforms and dizzy arches suspended in +the air. The bright blue sky of Rome, and the effect of the +vigorous awakening spring in that divinest climate, and the new +life with which it drenches the spirits even to intoxication, were +the inspiration of the drama."—<i>Preface to the Prometheus.</i></p></div> + +<div class="blockquot"><p>"Maintenant les murailles sont nues, sauf quelques fragments de +chapiteaux oubliés par la destruction; mais elles conservent ce que +seules des mains de géant pourraient leur ôter, leur masse +écrasante, la grandeur de leurs aspects, la sublimité de leurs +ruines. On ne regrette rien quand on contemple ces énormes et +pittoresque débris, baignés à midi par une ardente lumière ou se +remplissant d'ombres à la tombée de la nuit, s'élançant, à une +immense hauteur vers un ciel éblouissant, ou se dressant, mornes et +mélancoliques, sous un ciel grisâtre,—ou bien, lorsque, montant +sur la plate-forme inégale, crevassée, couverte d'arbustes et +tapissée de gazon, on voit, comme du haut d'une colline, d'un côté +se dérouler la campagne romaine et le merveilleux horizon de +montagnes qui la termine, de l'autre apparaître, ainsi qu'une +montagne de plus, le dôme de Saint-Pierre, la seule des œuvres +d'homme qui ait quelque chose de la grandeur des œuvres de +Dieu."—<i>Ampère, Emp.</i> ii. 286.</p></div> + +<p>The name of the lane which leads to the baths (<i>Via all' Antoniana</i>) +recalls the fact that, "with a vanity which seems like mockery, +Caracalla dared to bear the name<a name="vol_1_page_379" id="vol_1_page_379"></a> of Antoninus," which was always dear +to the Roman people.</p> + +<p>Passing under the wall of the government-garden for raising shrubs for +the public walks, a door on the left of the Via Appia, with a sculptured +marble frieze above it, is that of Guidi, the antiquity vendor, who has +a small museum here of splendid fragments of marble and alabaster for +sale. Opposite is the Vigna of Signor Guidi, who has unearthed a +splendid mosaic pavement of Tritons riding on dolphins, and who has here +also a collection of antique fragments to be disposed of.</p> + +<p>On the right, is <i>SS. Nereo ed Achilleo</i>, a most interesting little +church. The tradition runs that St. Peter, going to execution, let drop +here one of the bandages of his wounds, and that the spot was marked by +the early Christians with an oratory, which bore the name of Fasciola. +Nereus and Achilles, eunuchs in the service of Clemens Flavius and +Flavia Domitilla (members of the imperial family exiled to Pontia under +Diocletian), having suffered martyrdom at Terracina, their bodies were +transported here in 524 by John I., when the oratory was enlarged into a +church, which was restored under Leo III., in 795. The church was +rebuilt in the sixteenth century, by Cardinal Baronius, who took his +title from hence. In his work he desired that the ancient basilica +character should be carefully carried out, and all the ancient ornaments +of the church were preserved and re-erected. His anxiety that his +successors should not meddle with or injure these objects of antiquity +is shown by, the inscription on a marble slab in the tribune:</p> + +<div class="blockquot"><p>"Presbyter, Card. Successor quisquis fueris, rogo te, per gloriam +Dei, et per merita horum martyrum, nihil demito, nihil minuito, nec +mutato;<a name="vol_1_page_380" id="vol_1_page_380"></a> restitutam antiquitatem pie servato; sic Deus martyrum +suorum precibus semper adjuvet!"</p></div> + +<p>The chancel is raised and surrounded by an inlaid marble screen. Instead +of ambones there are two plain marble reading-desks for the epistle and +gospel. The altar is inlaid, and has "transennæ," or a marble grating, +through which the tomb of the saints Nereus and Achilles may be seen, +and through which the faithful might pass their handkerchiefs to touch +it. Behind, in the semicircular choir, is an ancient episcopal throne, +supported by lions, and ending in a gothic gable. Upon it part of the +twenty-eighth homily of St. Gregory was engraved by Baronius, under the +impression that it was delivered thence,—though it was really first +read in the catacomb, whence the bodies of the saints were not yet +removed. All these decorations are of the restoration under Leo III., in +the eighth century. Of the same period are the mosaics on the arch of +the tribune (partly painted over in later times), representing, in the +centre, the Transfiguration (the earliest instance of the subject being +treated in art), with the Annunciation on one side, and the Madonna and +Child attended by angels on the other.</p> + +<p>It is worth while remarking that when the relics of Flavia Domitilla +(who was niece of Vespasian) and of Nereus and Achilles were brought +hither from the catacomb on the Via Ardeatina, which bears the name of +the latter, they were first escorted in triumph to the Capitol, and made +to pass under the imperial arches which bore as inscriptions: "The +senate and the Roman people to Sta. Flavia Domitilla, for having brought +more honour to Rome by her death <a name="vol_1_page_381" id="vol_1_page_381"></a>than her illustrious relations by +their works." ... "To Sta. Flavia Domitilla, and to the Saints Nereus +and Achilles, the excellent citizens who gained peace for the Christian +republic at the price of their blood."</p> + +<p>Opposite, on the left, is a courtyard leading to the <i>Church of S. +Sisto</i>, with its celebrated convent, long deserted on account of +malaria.</p> + +<p>It was here that St. Dominic first resided in Rome, and collected one +hundred monks under his rule, before he was removed to Sta. Sabina by +Honorius III. After he went to the Aventine, it was decided to utilize +this convent by collecting here the various Dominican nuns, who had been +living hitherto under very lax discipline, and allowed to leave their +convents, and reside in their own families. The nuns of Sta. Maria in +Trastevere resisted the order, and only consented to remove on condition +of bringing with them a Madonna picture attributed to St. Luke, hoping +that the Trasteverini would refuse to part with their most cherished +treasure. St. Dominic obviated the difficulty by going to fetch the +picture himself at night, attended by two cardinals, and a bare-footed, +torch-bearing multitude.</p> + +<div class="blockquot"><p>"On Ash-Wednesday, 1218, the abbess and some of her nuns went to +take possession of their new monastery, and being in the +chapter-house with St. Dominic and Cardinal Stefano di Fossa Nuova, +suddenly there came in one tearing his hair, and making great +outcries, for the young Lord Napoleon Orsini, nephew of the +cardinal, had been thrown from his horse, and killed on the spot. +The cardinal fell speechless into the arms of Dominic, and the +women and others who were present were filled with grief and +horror. They brought the body of the youth into the chapter-house, +and laid it before the altar; and Dominic, having prayed, turned to +it, saying, 'O adolescens Napoleo, in nomine Domini nostri Jesu +Christi tibi dico surge,' and thereupon he arose sound and whole, +to the unspeakable wonder of all present."—<i>Jameson's Monastic +Orders.</i><a name="vol_1_page_382" id="vol_1_page_382"></a></p></div> + +<p>After being convinced by this miracle of the divine mission of St. +Dominic, forty nuns settled at S. Sisto, promising never more to cross +its threshold.<a name="FNanchor_194_194" id="FNanchor_194_194"></a><a href="#Footnote_194_194" class="fnanchor">[194]</a></p> + +<p>There is very little remaining of the ancient S. Sisto, except the +campanile, which is of 1500. But the vaulted <i>Chapter-House</i>, now +dedicated to St. Dominic, is well worth visiting. It has recently been +covered with frescoes by the Padre Besson,—himself a Dominican +monk,—who received his commission from Father Mullooly, Prior of S. +Clemente, the Irish Dominican convent, to which S. Sisto is now annexed. +The three principal frescoes represent three miracles of St. Dominic—in +each case of raising from the dead. One represents the resuscitation of +a mason of the new monastery, who had fallen from a scaffold; another, +that of a child in a wild and beautiful Italian landscape; the third, +the restoration of Napoleone Orsini on this spot,—the mesmeric +upspringing of the lifeless youth being most powerfully represented. The +whole chapel is highly picturesque, and effective in colour. Of two +inscriptions, one commemorates the raising of Orsini; the other, a +prophecy of St. Dominic, as to the evil end of two monks who deserted +their convent.</p> + +<p>Just beyond S. Sisto, where the Via della Ferratella branches off on the +left to the Lateran, stands a small ædiculum, or <i>Shrine of the Lares</i>, +with brick niches for statues.</p> + +<p>Further, on the right, standing back from a kind of piazza, adorned with +an ancient granite column, is the <i>Church of S. Cesareo</i>, which already +existed in the time of St. Gregory the Great, but was modernized under<a name="vol_1_page_383" id="vol_1_page_383"></a> +Clement VII. (1523—34). Its interior retains many of its ancient +features. The pulpit is one of the most exquisite specimens of church +decoration in Rome, and is covered with the most delicate sculpture, +interspersed with mosaic; the emblems of the Evangelists are introduced +in the carving of the panels. The high altar is richly encrusted with +mosaics, probably by the Cosmati family; tiny owls form part of the +decorations of the capitals of its pillars. Beneath is a "confession," +where two angels are drawing curtains over the tomb of the saint. The +chancel has an inlaid marble screen. In the tribune is an ancient +episcopal throne, once richly ornamented with mosaics.</p> + +<p>In this church St. Sergius was elected to the papal throne, in 687; and +here, also, an Abbot of SS. Vincenzo ed Anastasio was elected in 1145, +as Eugenius III., and was immediately afterwards forced by the opposing +senate to fly to Montecelli, and then to the Abbey of Farfa, where his +consecration took place.</p> + +<p>Part of the palace of the titular cardinal of S. Cesareo remains in the +adjoining garden, with an interesting loggia of <i>c.</i> 1200.</p> + +<p>In this neighbourhood was the <i>Piscina Publica</i>, which gave a name to +the twelfth Region of the city. It was used for learning to swim, but +all trace of it had disappeared before the time of Festus, whose date is +uncertain, but who lived before the end of the fourth century—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"In thermas fugio: sonas ad aurem,<br /></span> +<span class="i0">Piscinam peto: non licet natare."<br /></span> +<span class="i15"><i>Martial</i>, iii. <i>Ep.</i> 44.<br /></span> +</div></div> + +<hr style="width: 15%;" /> + +<p><a name="vol_1_page_384" id="vol_1_page_384"></a></p> + +<p>Here a lane turns on the left, towards the ancient <i>Porta Latina</i> +(through which the Via Latina led to Capua), now closed.</p> + +<p>In front of the gate is a little chapel, of the sixteenth century, +called <i>S. Giovanni in Oleo</i>, decorated with indifferent frescoes, on +the spot where St. John is said to have been thrown into a cauldron of +boiling oil (under Domitian), from which "he came forth as from a +refreshing bath." It is the suffering in the burning oil which gave St. +John the palm of a martyr, with which he is often represented in art. +The festival of "St. John ante Port. Lat." (May 6) is preserved in the +English Church Calendar.</p> + +<p>On the left, is the <i>Church of S. Giovanni a Porta Latina</i>, built in +1190 by Celestine III.</p> + +<p>In spite of many modernizations, the last by Cardinal Rasponi in 1685, +this building retains externally more of its ancient character than most +Roman churches, in its fine campanile and the old brick walls of the +nave and apse, decorated with terra-cotta friezes. The portico is +entered by a narrow arch resting on two granite columns. The +entrance-door and the altar have the peculiar mosaic ribbon decoration +of the Cosmati, of 1190. The frescoes are all modern; in the tribune, +are the deluge and the baptism of Christ,—the type and antitype. Of the +ten columns, eight are simple and of granite, two are fluted and of +porta-santa, showing that they were not made for the church, but removed +from some pagan building—probably from the temple of Ceres and +Proserpine. Near the entrance is a very picturesque marble <i>Well</i>, like +those so common at Venice and Padua, decorated with an intricate pattern +of rich carving.<a name="vol_1_page_385" id="vol_1_page_385"></a></p> + +<p>In the opposite vineyard, behind the chapel of the Oleo, very +picturesquely situated under the Aurelian Wall, is the <i>Columbarium of +the Freedmen of Octavia</i>. A columbarium was a tomb containing a number +of cinerary urns in niches like pigeon-holes, whence the name. Many +columbaria were held in common by a great number of persons, and the +niches could be obtained by purchase or inheritance; in other cases, the +heads of the great houses possessed whole columbaria for their families +and their slaves. In the present instance the columbarium is more than +usually decorated, and, though much smaller, it is far more worth seeing +than the columbaria which it is the custom to visit immediately upon the +Appian Way. One of the cippi, above the staircase, is beautifully +decorated with shells and mosaic. Below, is a chamber, whose vault is +delicately painted with vines and little Bacchi gathering in the +vintage. Round the walls are arranged the urns, some of them in the form +of temples, and very beautifully designed, others merely pots sunk into +the wall, with conical lids, like pipkins let into a kitchen-range. A +beautiful vase of lapis-lazuli found here has been transferred to the +Vatican.</p> + +<hr style="width: 15%;" /> + +<p>Proceeding along the Via Appia, on the left by a tall cypress (No. 13) +is the entrance to <i>the Tomb of the Scipios</i>, a small catacomb in the +tufa rock, discovered in 1780, from which the famous sarcophagus of L. +Scipio Barbatus, and a bust of the poet Ennius,<a name="FNanchor_195_195" id="FNanchor_195_195"></a><a href="#Footnote_195_195" class="fnanchor">[195]</a> were removed to the +Vatican by Pius VII.<a name="vol_1_page_386" id="vol_1_page_386"></a></p> + +<div class="poem"><div class="stanza"> +<span class="i0">"The Scipios' tomb contains no ashes now;<br /></span> +<span class="i0">The very sepulchres lie tenantless<br /></span> +<span class="i0">Of their heroic dwellers."<br /></span> +<span class="i15"><i>Childe Harold.</i><br /></span> +</div></div> + +<p>The contadino at the neighbouring farmhouse provides lights, with which +one can visit a labyrinth of steep narrow passages, some of which still +retain inscribed sepulchral slabs. Among the Scipios whose tombs have +been discovered here were Lucius Scipio Barbatus and his son, the +conqueror of Corsica; Aula Cornelia wife of Cneius Scipio Hispanis; a +son of Scipio Africanus; Lucius Cornelius son of Scipio Asiaticus; +Cornelius Scipio Hispanis and his son Lucius Cornelius. At the further +end of these passages, and now, like them, subterranean, may be seen the +pediment and arched entrance of the tomb towards the Via Latina. "It is +uncertain whether Scipio Africanus was buried at Liternum or in the +family tomb. In the time of Livy monuments to him were extant in both +places."<a name="FNanchor_196_196" id="FNanchor_196_196"></a><a href="#Footnote_196_196" class="fnanchor">[196]</a></p> + +<p>There is a beautiful view towards Rome from the vineyard above the tomb.</p> + +<p>A little further on, left (No. 14), is the entrance of the <i>Vigna +Codini</i> (a private garden with an extortionate custode), containing +three interesting <i>Columbaria</i>. Two of these are large square vaults, +supported by a central pillar, which, as well as the walls, is +perforated by niches for urns. The third has three vaulted passages.<a name="vol_1_page_387" id="vol_1_page_387"></a></p> + +<p>We now reach the <i>Arch of Drusus</i>. On its summit are the remains of the +aqueduct by which Caracalla carried water to his baths. The arch once +supported an equestrian statue of Drusus, two trophies, and a seated +female figure representing Germany.</p> + +<p>The Arch of Drusus was decreed by the senate in honour of the second son +of the empress Livia, by her first husband, Tiberius Nero. He was father +of Germanicus and the emperor Claudius, and brother of Tiberius. He died +during a campaign on the Rhine, <small>B.C.</small> 9, and was brought back to be +buried by his step-father Augustus in his own mausoleum. His virtues are +attested in a poem ascribed to Pedo Albinovanus.</p> + +<div class="blockquot"><p>"This arch, 'Marmoreum arcum cum tropæo Appia Via' (Suet. I), is, +with the exception of the Pantheon, the most perfect existing +monument of Augustan architecture. It is heavy, plain, and narrow, +with all the dignified but stern simplicity which belongs to the +character of its age."—<i>Merivale.</i></p></div> + +<div class="blockquot"><p>"It is hard for one who loves the very stones of Rome, to pass over +all the thoughts which arise in his mind, as he thinks of the great +Apostle treading the rude and massive pavement of the Appian Way, +and passing under that Arch of Drusus at the Porta S. Sebastiano, +toiling up the Capitoline Hill past the Tabularium of the Capitol, +dwelling in his hired house in the Via Lata or elsewhere, +imprisoned in those painted caves in the Prætorian Camp, and at +last pouring out his blood for Christ at the Tre Fontane, on the +road to Ostia."—<i>Dean Alford's Study of the New Testament</i>, p. +335.</p></div> + +<p><i>The Porta San Sebastiano</i> has two fine semicircular towers of the +Aurelian wall, resting on a basement of marble blocks, probably +plundered from the tombs on the Via Appia. Under the arch is a gothic +inscription relating to the repulse of some unknown invaders.<a name="vol_1_page_388" id="vol_1_page_388"></a></p> + +<p>It was here that the senate and people of Rome received in state the +last triumphant procession which has entered the city by the Via Appia, +that of Marc-Antonio Colonna, after the victory of Lepanto in 1571. As +in the processions of the old Roman generals, the children of the +conquered prince were forced to adorn the triumph of the victor, who +rode into Rome attended by all the Roman nobles, "in abito di grande +formalità,"<a name="FNanchor_197_197" id="FNanchor_197_197"></a><a href="#Footnote_197_197" class="fnanchor">[197]</a> preceded by the standard of the fleet.</p> + +<p>From the gate, the <i>Clivus Martis</i> (crossed by the railway to Civita +Vecchia) descends into the valley of the Almo, where antiquaries +formerly placed the Porta Capena. On the hillside stood a Temple of +Mars, vowed in the Gallic war, and dedicated by T. Quinctius the +"duumvir sacris faciundis," in <small>B.C.</small> 387. No remains exist of this +temple. It was "approached from the Via Capena by a portico, which must +have rivalled in length the celebrated portico at Bologna extending to +the church of the Madonna di S. Luca."<a name="FNanchor_198_198" id="FNanchor_198_198"></a><a href="#Footnote_198_198" class="fnanchor">[198]</a> Near this, a temple was +erected to Tempestas in <small>B.C.</small> 260, by L. Cornelius Scipio, to commemorate +the narrow escape of his fleet from shipwreck off the coast of +Sardinia.<a name="FNanchor_199_199" id="FNanchor_199_199"></a><a href="#Footnote_199_199" class="fnanchor">[199]</a> Near this, also, the poet Terence owned a small estate of +twenty acres, presented to him by his friend Scipio Emilianus.<a name="FNanchor_200_200" id="FNanchor_200_200"></a><a href="#Footnote_200_200" class="fnanchor">[200]</a> +After crossing the brook, we pass between two conspicuous tombs. That on +the left is the <i>Tomb of Geta</i>, son of Septimius Severus, the murdered +brother of Caracalla; that on the right is the <i>Tomb of Priscilla</i>, wife +of Abascantius, a favourite freedman of Domitian.<a name="vol_1_page_389" id="vol_1_page_389"></a></p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Est locus, ante urbem, qua primum nascitur ingens<br /></span> +<span class="i0">Appia, quaque Italo gemitus Almone Cybele<br /></span> +<span class="i0">Ponit, et Idæos jam non reminiscitur amnes.<br /></span> +<span class="i0">Hic te Sidonio velatam molliter ostro<br /></span> +<span class="i0">Eximius conjux (nec enim fumantia busta<br /></span> +<span class="i0">Clamoremque rogi potuit perferre), beato<br /></span> +<span class="i0">Composuit, Priscilla, toro."<br /></span> +<span class="i15"><i>Statius</i>, lib. v. <i>Sylv.</i> i. 222.<br /></span> +</div></div> + +<p>Just beyond this, the <i>Via Ardeatina</i> branches off on the right, +passing, after about two miles, the picturesque <i>Vigna Marancia</i>, a +pleasant spot, with fine old pines and cypresses.</p> + +<p>Where the roads divide, is the <i>Church of Domine Quo Vadis</i>, containing +a copy of the celebrated footprint said to have been left here by Our +Saviour: the original being removed to S. Sebastiano.</p> + +<div class="blockquot"><p>"After the burning of Rome, Nero threw upon the Christians the +accusation of having fired the city. This was the origin of the +first persecution, in which many perished by terrible and hitherto +unheard-of deaths. The Christian converts besought Peter not to +expose his life. As he fled along the Appian Way, about two miles +from the gates, he was met by a vision of our Saviour travelling +towards the city. Struck with amazement, he exclaimed, 'Lord, +whither goest thou?' to which the Saviour, looking upon him with a +mild sadness, replied, 'I go to Rome to be crucified a second +time,' and vanished. Peter, taking this as a sign that he was to +submit himself to the sufferings prepared for him, immediately +turned back to the city.<a name="FNanchor_201_201" id="FNanchor_201_201"></a><a href="#Footnote_201_201" class="fnanchor">[201]</a> Michael Angelo's famous statue, now +in the Church of Sta. Maria sopra Minerva, is supposed to represent +Christ as he appeared to St. Peter on this occasion. A cast or copy +of it is in the little church of 'Domine, quo vadis?'</p> + +<p>"It is surprising that this most beautiful, picturesque, and, to my +fancy, sublime legend, has been so seldom treated; and never, as it +seems to me, in a manner worthy of its capabilities and high +significance. It is seldom that a story can be told by two figures, +and these two figures placed in such grand and dramatic +contrast;—Christ in His<a name="vol_1_page_390" id="vol_1_page_390"></a> serene majesty, and radiant with all the +joy of beatitude, yet with an expression of gentle reproach; the +Apostle at his feet arrested in his flight, amazed, and yet filled +with a trembling joy; and for the background the wide Campagna, or +towering walls of imperial Rome."—<i>Mrs. Jameson.</i><a name="FNanchor_202_202" id="FNanchor_202_202"></a><a href="#Footnote_202_202" class="fnanchor">[202]</a></p></div> + +<p>Beyond the church is a second "Bivium," or cross-ways, where a lane on +the left leads up the Valle Caffarelle. Here, feeling an uncertainty +<i>which</i> was the crossing where Our Saviour appeared to St. Peter, the +English Cardinal Pole erected a second tiny chapel of "Domine Quo +Vadis," which remains to this day.</p> + +<p>On the left, is the <i>Columbarium of the Freedmen of Augustus and Livia</i>, +divided into three chambers, but despoiled of its adornments. Other +Columbaria near this are assigned to the Volusii, and the Cæcilii.</p> + +<p>Over the wall on the left of the Via Appia now hangs in profusion the +rare yellow-berried ivy. Many curious plants are to be found on these +old Roman walls. Their commonest parasite, the Pellitory—"<i>herba +parietina</i>," calls to mind the nickname given to the Emperor Trajan in +derision of his passion for inscribing his name upon the walls of Roman +buildings which he had merely restored, as if he were their +founder;<a name="FNanchor_203_203" id="FNanchor_203_203"></a><a href="#Footnote_203_203" class="fnanchor">[203]</a> a passion in which the popes have since largely +participated.</p> + +<p>We now reach (on the right) the entrance of the <i>Catacombs of St. +Calixtus</i>.</p> + +<div class="blockquot"><p>(The Catacombs (except those at S. Sebastiano) can only be visited +in company of a guide. For most of the Catacombs it is necessary to +obtain a <i>permesso</i> at the office of the Cardinal-Vicar, 70 Via +della<a name="vol_1_page_391" id="vol_1_page_391"></a> Scrofa, before 12 <small>A.M.</small>; upon which a day (generally Sunday) +is fixed, which must be adhered to. The Catacombs of St. Calixtus +are sometimes superficially shown without a special <i>permesso</i>. It +may be well for the visitor to provide himself with +tapers—<i>cerini.</i>)</p></div> + +<p>All descriptions of dangers attending a visit to the Catacombs, if +accompanied by a guide, and provided with "cerini," are quite imaginary. +Neither does the visitor ever suffer from cold; the temperature of the +Catacombs is mild and warm; the vaults are almost always dry, and the +air pure.</p> + +<div class="blockquot"><p>"The Roman Catacombs—a name consecrated by long usage, but having +no etymological meaning, and not a very determinate geographical +one—are a vast labyrinth of galleries excavated in the bowels of +the earth in the hills around the Eternal City; not in the hills on +which the city itself was built, but in those beyond the walls. +Their extent is enormous; not as to the amount of superficial soil +which they underlie, for they rarely, if ever, pass beyond the +third mile-stone from the city, but in the actual length of their +galleries; for these are often excavated on various levels, or +<i>piani</i>, three, four, or even five—one above the other; and they +cross and recross one another, sometimes at short intervals, on +each of these levels; so that, on the whole, there are certainly +not less than 350 miles of them; that is to say, if stretched out +in one continuous line, they would extend the whole length of Italy +itself. The galleries are from two to four feet in width, and vary +in height according to the nature of the rock in which they are +dug. The walls on both sides are pierced with horizontal niches, +like shelves in a bookcase or berths in a steamer, and every niche +once contained one or more dead bodies. At various intervals this +succession of shelves is interrupted for a moment, that room may be +made for a doorway opening into a small chamber; and the walls of +these chambers are generally pierced with graves in the same way as +the galleries.</p> + +<p>"These vast excavations once formed the ancient Christian +cemeteries of Rome; they were begun in apostolic times, and +continued to be used as burial-places of the faithful till the +capture of the city by Alaric in the year 410. In the third +century, the Roman Church numbered twenty-five or twenty-six of +them, corresponding to the number of her titles, or parishes, +within the city; and besides these, there are about<a name="vol_1_page_392" id="vol_1_page_392"></a> twenty others, +of smaller dimensions, isolated monuments of special martyrs, or +belonging to this or that private family. Originally they all +belonged to private families or individuals, the villas or gardens +in which they were dug being the property of wealthy citizens who +had embraced the faith of Christ, and devoted of their substance to +His service. Hence their most ancient titles were taken merely from +the names of their lawful owners, many of which still survive. +Lucina, for example, who lived in the days of the Apostles, and +others of the same family, or at least of the same name, who lived +at various periods in the next two centuries; Priscilla, also a +contemporary of the Apostles; Flavia Domitilla, niece of Vespasian; +Commodilla, whose property lay on the Via Ostiensis; Cyriaca, on +the Via Tiburtina; Pretextatus, on the Via Appia; Pontiano, on the +Via Portuensis; and the Jordani, Maximus and Thraso, all on the Via +Salaria Nova. These names are still attached to the various +catacombs, because they were originally begun upon the land of +those who bore them. Other catacombs are known by the names of +those who presided over their formation, as that of St. Calixtus, +on the Via Appia; or St. Mark, on the Via Ardeatina; or of the +principal martyrs who were buried in them, as SS. Hermes, Basilla, +Protus, and Hyacinthus, on the Via Salaria Vetus; or, lastly, by +some peculiarity of their position, as <i>ad Catacumbas</i> on the Via +Appia, and <i>ad duas Lauros</i> on the Via Labicana.</p> + +<p>"It has always been agreed among men of learning who have had an +opportunity of examining these excavations, that they were used +exclusively by the Christians as places of burial and of holding +religious assemblies. Modern research has now placed it beyond a +doubt, that they were also originally designed for this purpose and +for no other: that they were not deserted sand-pits (<i>arenariæ</i>) or +quarries, adapted to Christian uses, but a development, with +important modifications, of a form of sepulchre not altogether +unknown even among the heathen families of Rome, and in common use +among the Jews both in Rome and elsewhere.</p> + +<p>"At first, the work of making the Catacombs was done openly, +without let or hindrance, by the Christians; the entrances to them +were public on the high-road or on the hill-side, and the galleries +and chambers were freely decorated with paintings of a sacred +character. But early in the third century, it became necessary to +withdraw them as much as possible from the public eye; new and +often difficult entrances were now effected in the recesses of +deserted <i>arenariæ</i>, and even the liberty of Christian art was +cramped and fettered, lest what was holy should fall under the +profane gaze of the unbaptized.<a name="vol_1_page_393" id="vol_1_page_393"></a></p> + +<p>"Each of these burial-places was called in ancient times either +<i>hypogæum</i>, i. e. generically, a subterranean place, or +<i>cœmeterium</i>, a sleeping-place, a new name of Christian origin +which the pagans could only repeat, probably without understanding; +sometimes also <i>martyrium</i>, or <i>confessio</i> (its Latin equivalent), +to signify that it was the burial-place of martyrs or confessors of +the faith. An ordinary grave was called <i>locus</i> or <i>loculus</i>, if it +contained a single body; or <i>bisomum</i>, <i>trisomum</i>, or +<i>quadrisomum</i>, if it contained two, three, or four. The graves were +dug by <i>fossores</i>, and burial in them was called <i>depositio</i>. The +galleries do not seem to have had any specific name; but the +chambers were called <i>cubicula</i>. In most of these chambers, and +sometimes also in the galleries themselves, one or more tombs are +to be seen of a more elaborate kind; a long oblong <i>chasse</i>, like a +sarcophagus, either hollowed out in the rock or built up of +masonry, and closed by a heavy slab of marble lying horizontally on +the top. The niche over tombs of this kind was of the same length +as the grave, and generally vaulted in a semicircular form, whence +they were called <i>arcosolia</i>. Sometimes, however, the niche +retained the rectangular form, in which case there was no special +name for it, but for distinction's sake we may be allowed to call +it a table-tomb. Those of the <i>arcosolia</i>, which were also the tomb +of martyrs, were used on the anniversaries of their deaths +(<i>Natalitia</i>, or birthdays) as altars whereon the holy mysteries +were celebrated; hence, whilst some of the <i>cubicula</i> were only +family-vaults, others were chapels, or places of public assembly. +It is probable that the holy mysteries were celebrated also in the +private vaults, on the anniversaries of the deaths of their +occupants; and each one was sufficiently large in itself for use on +these private occasions; but in order that as many as possible +might assist at the public celebrations, two, three, or even four +of the <i>cubicula</i> were often made close together, all receiving +light and air through one shaft or air-hole (<i>luminare</i>), pierced +through the superincumbent soil up to the open air. In this way as +many as a hundred persons might be collected in some parts of the +catacombs to assist at the same act of public worship; whilst a +still larger number might have been dispersed in the <i>cubicula</i> of +neighbouring galleries, and received there the bread of life +brought to them by the assistant priests and deacons. Indications +of this arrangement are not only to be found in ancient +ecclesiastical writings; they may still be seen in the very walls +of the catacombs themselves, episcopal chairs, chairs for the +presiding deacon or deaconess, and benches for the faithful, having +formed part of the original design when the chambers were hewn out +of the living rock, and still remaining<a name="vol_1_page_394" id="vol_1_page_394"></a> where they were first +made."—<i>Roma Sotterranea, Northcote and Brownlow.</i></p></div> + +<div class="blockquot"><p>"To our classic associations, Rome was still, under Trajan and the +Antonines, the city of the Cæsars, the metropolis of pagan +idolatry—in the pages of her poets and historians we still linger +among the triumphs of the Capitol, the shows of the Coliseum; or if +we read of a Christian being dragged before the tribunal, or +exposed to the beasts, we think of him as one of a scattered +community, few in number, spiritless in action, and politically +insignificant. But all this while there was living beneath the +visible an invisible Rome—a population unheeded, +unreckoned—thought of vaguely, vaguely spoken of, and with the +familiarity and indifference that men feel who live on a +volcano—yet a population strong-hearted, of quick impulses, nerved +alike to suffer or to die, and in number, resolution, and physical +force sufficient to have hurled their oppressors from the throne of +the world, had they not deemed it their duty to kiss the rod, to +love their enemies, to bless those that cursed them, and to submit, +for their Redeemer's sake, to the 'powers that be.' Here, in these +'dens and caves of the earth,' they lived; here they died—a +'spectacle' in their lifetime 'to men and angels,' and in their +death a 'triumph' to mankind—a triumph of which the echoes still +float around the walls of Rome, and over the desolate Campagna, +while those that once thrilled the Capitol are silenced, and the +walls that returned them have long since crumbled into +dust."—<i>Lord Lindsay' s Christian Art</i>, i. 4.</p></div> + +<p>The name Catacombs is modern, having originally been only applied to S. +Sebastiano "ad catacumbas." The early Christians called their +burial-places by the Greek name <i>Cœmeteria</i>, sleeping-places. Almost +all the catacombs are between the first and third mile-stones from the +Aurelian wall, to which point the city extended before the wall itself +was built. This was in obedience to the Roman law which forbade burial +within the precincts of the city.</p> + +<p>The fact that the Christians were always anxious not to burn their dead, +but to bury them, in these rock-hewn sepulchres, was probably owing to +the remembrance that our Lord was himself laid "in a new tomb hewn out +of<a name="vol_1_page_395" id="vol_1_page_395"></a> the rock," and perhaps also for this reason the bodies were wrapt in +fine linen cloths, and buried with precious spices, of which remains +have been found in the tombs.</p> + +<p>The Catacomb which is known as St. Calixtus, is composed of a number of +catacombs, once distinct, but now joined together. Such were those of +Sta. Lucina; of Anatolia, daughter of the consul Æmilianus; and of Sta. +Soteris, "a virgin of the family to which St. Ambrose belonged in a +later generation," and who was buried "in cœmeterio suo," <small>A.D.</small> 304. +The passages of these catacombs were gradually united with those which +originally belonged to the cemetery of Calixtus.</p> + +<p>The high mass of ruin which meets our eyes on first entering the +vineyard of St. Calixtus, is a remnant of the tomb of the Cæcilii, of +which family a number of epitaphs have been found. Beyond this is +another ruin, supposed by Marangoni to have been the basilica which St. +Damasus provided for his own burial and that of his mother and sister; +which Padre Marchi believed to be the church of St. Mark and St. +Marcellinus;—but which De Rossi identifies with the <i>cella memoriæ</i>, +sometimes called of St. Sistus, sometimes of St. Cecilia (because built +immediately over the graves of those martyrs), by St. Fabian in the +third century.<a name="FNanchor_204_204" id="FNanchor_204_204"></a><a href="#Footnote_204_204" class="fnanchor">[204]</a></p> + +<p>Descending into the Catacomb by an ancient staircase restored, we reach +(passing a sepulchral cubiculum on the right) the <i>Chapel of the Popes</i>, +a place of burial and of worship of the third or fourth century, (as it +was restored<a name="vol_1_page_396" id="vol_1_page_396"></a> after its discovery in 1854) but still retaining remains +of the marble slabs with which it was faced by Sixtus III. in the fifth +century, and of marble columns, &c. with which it was adorned by St. Leo +III. (795—816). The walls are lined with graves of the earliest popes, +many of them martyrs—viz. St. Zephyrinus, (202—211); St Pontianus, who +died in banishment in Sardinia, (231—236); St. Anteros, martyred under +Maximian in the second month of his pontificate, (236); St. Fabian, +martyred under Decius, (236—250); St. Lucius, martyred under Valerian, +(253—255); St. Stephen I., martyred in his episcopal chair under +Valerian, (255—257); St. Sixtus II., martyred in the catacombs of St. +Pretextatus, (257—260); St. Dionysius, (260—271); St. Eutychianus, +martyr, (275—283); and St. Caius, (284—296). Of these, the gravestones +of Anteros, Fabian, Lucius, and Eutychianus, have been discovered, with +inscriptions in Greek, which is acknowledged to have been the earliest +language of the Church,—in which St. Paul and St. James wrote, and in +which the proceedings of the first twelve Councils were carried on.<a name="FNanchor_205_205" id="FNanchor_205_205"></a><a href="#Footnote_205_205" class="fnanchor">[205]</a> +Though no inscriptions have been found relating to the other popes +mentioned, they are known to have been buried here from the earliest +authorities.</p> + +<p>Over the site of the altar is one of the beautifully-cut inscriptions of +Pope St. Damasus (366—384), "whose labour of love it was to rediscover +the tombs which had been blocked up for concealment under Diocletian, to +remove the earth, widen the passages, adorn the sepulchral chambers with +marble, and support the friable tufa walls with arches of brick and +stone."<a name="FNanchor_206_206" id="FNanchor_206_206"></a><a href="#Footnote_206_206" class="fnanchor">[206]</a><a name="vol_1_page_397" id="vol_1_page_397"></a></p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Hic congesta jacet quæris si turba Piorum<br /></span> +<span class="ist">Corpora Sanctorum retinent veneranda sepulchra,<br /></span> +<span class="ist">Sublimes animas rapuit sibi Regia Cœli:<br /></span> +<span class="ist">Hic comites Xysti portant qui ex hoste tropæa;<br /></span> +<span class="ist">Hic numerus procerum servat qui altaria Christi;<br /></span> +<span class="ist">Hic positus longâ vixit qui in pace Sacerdos;<br /></span> +<span class="ist">Hic Confessores sancti quos Græcia misit;<br /></span> +<span class="ist">Hic juvenes, puerique, senes, castique nepotes,<br /></span> +<span class="ist">Quis mage virgineum placuit retinere pudorem.<br /></span> +<span class="ist">Hic fateor Damasus volui mea condere membra,<br /></span> +<span class="ist">Sed cineres timui sanctos vexare Piorum.<br /></span> +</div></div> + +<div class="poem"><div class="stanza"> +<span class="i0">"Here, if you would know, lie heaped together a number of the holy,<br /></span> +<span class="ist">These honoured sepulchres inclose the bodies of the saints,<br /></span> +<span class="ist">Their lofty souls the palace of heaven has received.<br /></span> +<span class="ist">Here lie the companions of Xystus, who bear away the trophies from the enemy;<br /></span> +<span class="ist">Here a tribe of the elders which guards the altars of Christ;<br /></span> +<span class="ist">Here is buried the priest who lived long in peace;<a name="FNanchor_207_207" id="FNanchor_207_207"></a><a href="#Footnote_207_207" class="fnanchor">[207]</a><br /></span> +<span class="ist">Here the holy confessors who came from Greece;<a name="FNanchor_208_208" id="FNanchor_208_208"></a><a href="#Footnote_208_208" class="fnanchor">[208]</a><br /></span> +<span class="ist">Here lie youths and boys, old men and their chaste descendants,<br /></span> +<span class="ist">Who kept their virginity undefiled.<br /></span> +<span class="ist">Here I Damasus wished to have laid my limbs,<br /></span> +<span class="ist">But feared to disturb the holy ashes of the saints."<a name="FNanchor_209_209" id="FNanchor_209_209"></a><a href="#Footnote_209_209" class="fnanchor">[209]</a><br /></span> +</div></div> + +<p>From this chapel we enter the <i>Cubiculum of Sta. Cecilia</i>, where the +body of the saint was buried by her friend Urban after her martyrdom in +her own house in the Trastevere (see Chap. XVII.) <small>A.D.</small> 224, and where it +was discovered in 820 by Pope Paschal I. (to whom its resting-place had +been revealed in a dream), "fresh and perfect as when it was first laid +in the tomb, and clad in rich garments mixed with gold, with linen +cloths stained with blood rolled up at her feet, lying in a cypress +coffin."<a name="FNanchor_210_210" id="FNanchor_210_210"></a><a href="#Footnote_210_210" class="fnanchor">[210]</a><a name="vol_1_page_398" id="vol_1_page_398"></a></p> + +<p>Close to the entrance of the cubiculum, upon the wall, is a painting of +Cecilia, "a woman richly attired, and adorned with bracelets and +necklaces." Near it is a niche for the lamp which burnt before the +shrine, at the back of which is a large head of Our Saviour, "of the +Byzantine type, and with rays of glory behind it in the form of a Greek +cross. Side by side with this, but on the flat surface of the wall, is a +figure of St. Urban (the friend of Cecilia, who laid her body here) in +full pontifical robes, with his name inscribed." Higher on the wall are +figures of three saints, "executed apparently in the fourth, or perhaps +even the fifth century"—Polycamus, an unknown martyr, with a palm +branch; Sebastianus; and Curinus, a bishop (Quirinus bishop of +Siscia—buried at St. Sebastian). In the pavement is a gravestone of +Septimus Pretextatus Cæcilianus, "a servant of God, who lived worthy for +three-and-thirty years;"—considered important as suggesting a +connection between the family of Cecilia and that of St. Prætextatus, in +whose catacomb on the other side of the Appian Way her husband and +brother-in-law were buried, and where her friend St. Urban was +concealed.</p> + +<p>These two chapels are the only ones which it is necessary to dwell upon +here in detail. The rest of the catacomb is shown in varying order, and +explained in different ways. Three points are of historic interest. 1. +The roof-shaped tomb of Pope St. Melchiades, who lived long in peace and +died <small>A.D.</small> 313. 2. The Cubiculum of Pope St. Eusebius, in the middle of +which is placed an inscription, pagan on one side, on the other a +restoration of the fifth century of one<a name="vol_1_page_399" id="vol_1_page_399"></a> of the beautiful inscriptions +of Pope Damasus, which is thus translated:—</p> + +<div class="blockquot"><p>"Heraclius forbade the lapsed to grieve for their sins. Eusebius +taught those unhappy ones to weep for their crimes. The people were +rent into parties, and with increasing fury began sedition, +slaughter, fighting, discord, and strife. Straightway both (the +pope and the heretic) were banished by the cruelty of the tyrant, +although the pope was preserving the bonds of peace inviolate. He +bore his exile with joy, looking to the Lord as his judge, and on +the shore of Sicily gave up the world and his life."</p></div> + +<p>At the top and bottom of the tablet is the following title:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Damasus Episcopus fecit Eusebio episcopo et martyri,"<br /></span> +</div></div> + +<p class="nind">and on either side a single file of letters which hands down to us the +name of the sculptor who executed the Damasine inscriptions.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Furius Dionysius Filocalus scripsit Damasis pappæ cultor atque amatot."<br /></span> +</div></div> + +<p>3. Near the exit, properly in the catacomb of Sta. Lucina, connected +with that of Calixtus by a labyrinth of galleries, is the tomb of Pope +St. Cornelius (251, 252) the only Roman bishop down to the time of St. +Sylvester (314) who bore the name of any noble Roman family, and whose +epitaph, (perhaps in consequence) is in Latin, while those of the other +popes are in Greek. The tomb has no chapel of its own, but is a mere +grave in a gallery, with a rectangular instead of a circular space +above, as in the cubicula. Near the tomb are fragments of one of the +commemorative inscriptions of St. Damasus, which has been ingeniously +restored by De Rossi thus:—<a name="vol_1_page_400" id="vol_1_page_400"></a></p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Aspice, descensu extructo tenebrisque fugatis<br /></span> +<span class="ist">Corneli monumenta vides tumulumque sacratum<br /></span> +<span class="ist">Hoc opus ægroti Damasi præstantia fecit,<br /></span> +<span class="ist">Esset ut accessus melior, populisque paratum<br /></span> +<span class="ist">Auxilium sancti, et valeas si fundere puro<br /></span> +<span class="ist">Corde preces, Damasus melior consurgere posset,<br /></span> +<span class="ist">Quem non lucis amor, tenuit mage cura laboris."<br /></span> +</div></div> + +<div class="blockquot"><p>"Behold! a way down has been constructed, and the darkness +dispelled; you see the monuments of Cornelius, and his sacred tomb. +This work the zeal of Damasus has accomplished, sick as he is, in +order that the approach might be better, and the aid of the saint +might be made convenient for the people; and that, if you will pour +forth your prayers from a pure heart, Damasus may rise up better in +health, though it has not been love of life, but care for work, +that has kept him (here below)."<a name="FNanchor_211_211" id="FNanchor_211_211"></a><a href="#Footnote_211_211" class="fnanchor">[211]</a></p></div> + +<p>St. Cornelius was banished under Gallus to Centumcellæ—now Civita +Vecchia, and was brought back thence to Rome for martyrdom Sept. 14, +<small>A.D.</small> 252. On the same day of the month, in 258, died his friend and +correspondent St. Cyprian, archbishop of Carthage,<a name="FNanchor_212_212" id="FNanchor_212_212"></a><a href="#Footnote_212_212" class="fnanchor">[212]</a> who is +consequently commemorated by the Church on the same day with St. +Cornelius. Therefore also, on the right of the grave, are two figures of +bishops with inscriptions declaring them to be St. Cornelius and St. +Cyprian. Each holds the book of the Gospels in his hands and is clothed +in pontifical robes, "including the pallium, which had not yet been +confined as a mark of distinction to metropolitans."<a name="FNanchor_213_213" id="FNanchor_213_213"></a><a href="#Footnote_213_213" class="fnanchor">[213]</a> Beneath the +picture stands a pillar which held one of the vases of oil which were +always kept burning before the shrines of the martyr. Beyond the tomb, +at the end of the gallery, is another painting of two bishops, St. +Sistus II., martyred in<a name="vol_1_page_401" id="vol_1_page_401"></a> the catacomb of Pretextatus, and St. Optatus +who was buried near him.</p> + +<p>In going round this catacomb, and in most of the others, the visitor +will be shown a number of rude paintings, which will be explained to him +in various ways, according to the tendencies of his guide. The paintings +may be considered to consist of three classes, symbolical; allegorical +and biblical; and liturgical. There is little variety of subject,—the +same are introduced over and over again.</p> + +<p>The symbols most frequently introduced on and over the graves are:—</p> + +<div class="blockquot"><p class="hang"><i>The Anchor</i>, expressive of hope. Heb. vi. 19.</p> + +<p class="hang"><i>The Dove</i>, symbolical of the Christian soul released from its +earthly tabernacle. Ps. lv. 6.</p> + +<p class="hang"><i>The Sheep</i>, symbolical of the soul still wandering amid the +pastures and deserts of earthly life. Ps. cxix. 176. Isaiah liii. +6. John x. 14; xxi. 15, 16, 17.</p> + +<p class="hang"><i>The Phœnix</i>, "the palm bird," emblematical of eternity and the +resurrection.</p> + +<p class="hang"><i>The Fish</i>—typical of Our Saviour—from the word <span title="Greek: ichthus">ιχθυς</span>, formed by the initial letters of the titles of Our +Lord—<span title="Greek: Iêsous Christos theou Huihos Sôtêr">Ιησοὑς Χριστὁς +θεοὑ Υἱὁς Σωτἡρ</span>—"Jesus Christ, the Son of God, the Saviour."</p> + +<p class="hang"><i>The Ship</i>—representing the Church militant, sometimes seen +carried on the back of the fish.</p> + +<p class="hang"><i>Bread</i>, represented with fish, sometimes carried in a basket on +its back, sometimes with it on a table—in allusion to the +multiplication of the loaves and fishes.</p> + +<p class="hang"><i>A Female Figure Praying</i>, an "Orante"—in allusion to the Church.</p> + +<p class="hang"><i>A Vine</i>—also in allusion to the Church. Ps. lxxx. 8. Isaiah v. 1.</p> + +<p class="hang"><i>An Olive branch</i>, as a sign of peace.</p> + +<p class="hang"><i>A Palm branch</i>, as a sign of victory and martyrdom. Rev. vii. 9.</p></div> + +<p class="c"><i>Allegorical and Biblical Representations.</i></p> + +<p>Of these <i>The Good Shepherd</i> requires an especial notice from the +importance which is given to it and its frequent<a name="vol_1_page_402" id="vol_1_page_402"></a> introduction in +catacomb art, both in sculpture and painting.</p> + +<div class="blockquot"><p>"By far the most interesting of the early Christian paintings is +that of Our Saviour as the Good Shepherd, which is almost +invariably painted on the central space of the dome or cupola, +subjects of minor interest being disposed around it in +compartments, precisely in the style, as regards both the +arrangement and execution, of the heathen catacombs.</p> + +<p>"He is represented as a youth in a shepherd's frock and sandals, +carrying the 'lost sheep' on his shoulders, or leaning on his staff +(the symbol, according to St. Augustine, of the Christian +hierarchy), while the sheep feed around, or look up at him. +Sometimes he is represented seated in the midst of the flock, +playing on a shepherd's pipe,—in a few instances, in the oldest +catacombs, he is introduced in the character of Orpheus, surrounded +by wild beasts enrapt by the melody of his lyre,—Orpheus being +then supposed to have been a prophet or precursor of the Messiah. +The background usually exhibits a landscape or meadow, sometimes +planted with olive-trees, doves resting on their branches, +symbolical of the peace of the faithful; in others, as in a fresco +preserved in the Museum Christianum, the palm of victory is +introduced, —but such combinations are endless. In one or two +instances the surrounding compartments are filled with +personifications of the Seasons, apt emblems of human life, whether +natural or spiritual.</p> + +<p>"The subject of the Good Shepherd, I am sorry to add, is not of +Roman but Greek origin, and was adapted from a statue of Mercury +carrying a goat, at Tanagra, mentioned by Pausanias. The Christian +composition approximates to its original more nearly in the few +instances where Our Saviour is represented carrying a goat, +emblematical of the scapegoat of the wilderness. Singularly enough, +though of Greek parentage, and recommended to the Byzantines by +Constantine, who erected a statue of the Good Shepherd in the forum +of Constantinople, the subject did not become popular among them; +they seem, at least, to have tacitly abandoned it to Rome."—<i>Lord +Lindsay's Christian Art.</i></p></div> + +<div class="blockquot"><p>"The Good Shepherd seems to have been quite the favourite subject. +We cannot go through any part of the Catacombs, or turn over any +collection of ancient Christian monuments, without coming across it +again and again. We know from Tertullian that it was often designed +upon chalices. We find it ourselves painted in fresco upon the +roofs and walls of the sepulchral chambers; rudely scratched upon +gravestones, or more carefully sculptured on sarcophagi; traced in +gold<a name="vol_1_page_403" id="vol_1_page_403"></a> upon glass, moulded on lamps, engraved on rings; and, in a +word, represented on every species of Christian monument that has +come down to us. Of course, amid such a multitude of examples, +there is considerable variety of treatment. We cannot, however, +appreciate the suggestion of Kügler, that this frequent repetition +of the subject is probably to be attributed to the capabilities +which it possessed in an artistic point of view. Rather, it was +selected because it expressed the whole sum and substance of the +Christian dispensation. In the language even of the Old Testament, +the action of Divine Providence upon the world is frequently +expressed by images and allegories borrowed from pastoral life; God +is the Shepherd, and men are His sheep. But in a still more special +way our Divine Redeemer offers Himself to our regards as the Good +Shepherd. He came down from His eternal throne into this wilderness +of the world to seek the lost sheep of the whole human race, and +having brought them together into one fold on earth, thence to +transport them into the ever-verdant pastures of Paradise."—<i>Roma +Sotterranea.</i></p></div> + +<p>Other biblical subjects are:—from the <i>Old Testament</i> (those of Noah, +Moses, Daniel, and Jonah being the only ones at all common)—</p> + +<div class="blockquot"><p class="hang">1. The Fall. Adam and Eve on either side of the Tree of Knowledge, +round which the serpent is coiled. Sometimes, instead of this, "Our +Saviour (as the representative of the Deity) stands between them, +condemning them, and offering a lamb to Eve and a sheaf of corn to +Adam, to signify the doom of themselves and their posterity to +delve and to spin through all future ages."</p> + +<p class="hang">2. The Offering of Cain and Abel. They present a lamb and sheaf of +corn to a seated figure of the Almighty.</p> + +<p class="hang">3. Noah in the Ark, represented as a box—a dove, bearing an +olive-branch, flies towards him. Interpreted to express the +doctrine that "the faithful having obtained remission of their sins +through baptism, have received from the Holy Spirit the gift of +divine peace, and are saved in the mystical ark of the church from +the destruction which awaits the world."<a name="FNanchor_214_214" id="FNanchor_214_214"></a><a href="#Footnote_214_214" class="fnanchor">[214]</a> (Acts ii. 47.)</p> + +<p class="hang">4. Sacrifice of Isaac.</p> + +<p class="hang">5. Passage of the Red Sea.<a name="vol_1_page_404" id="vol_1_page_404"></a></p> + +<p class="hang">6. Moses receiving the Law.</p> + +<p class="hang">7. Moses striking water from the rock—(very common).</p> + +<p class="hang">8. Moses pointing to the pots of manna.</p> + +<p class="hang">9. Elijah going up to heaven in the chariot of fire.</p> + +<p class="hang">10. The Three Children in the fiery furnace;—very common as +symbolical of martyrdom.</p> + +<p class="hang">11. Daniel in the lions' den;—generally a naked figure with hands +extended, and a lion on either side; most common—as an +encouragement to Christian sufferers.</p> + +<p class="hang">12. Jonah swallowed up by the whale, represented as a strange kind +of sea-horse.</p> + +<p class="hang">13. Jonah disgorged by the whale.</p> + +<p class="hang">14. Jonah under the gourd; or, according to the Vulgate, under the +ivy.</p> + +<p class="hang">15. Jonah lamenting for the death of the gourd.<br /> +These four subjects from the story of Jonah are constantly +repeated, perhaps as encouragement to the Christians suffering from +the wickedness of Rome—the modern Nineveh, which they were to warn +and pray for.</p></div> + +<p>Subjects from the <i>New Testament</i> are:</p> + +<div class="blockquot"><p class="hang">1. The Nativity—the ox and the ass kneeling.</p> + +<p class="hang">2. The Adoration of the Magi—repeatedly placed in juxtaposition +with the story of the Three Children.</p> + +<p class="hang">3. Our Saviour turning water into wine.</p> + +<p class="hang">4. Our Saviour conversing with the woman of Samaria.</p> + +<p class="hang">5. Our Saviour healing the paralytic man—who takes up his bed. +This is very common.</p> + +<p class="hang">6. Our Saviour healing the woman with the issue of blood.</p> + +<p class="hang">7. Our Saviour multiplying the loaves and fishes.</p> + +<p class="hang">8. Our Saviour healing the daughter of the woman of Canaan.</p> + +<p class="hang">9. Our Saviour healing the blind man.</p> + +<p class="hang">10. The raising of Lazarus, who appears at a door in his +grave-clothes, while Christ with a wand stands before it. This is +the New Testament subject oftenest introduced. It is constantly +placed in juxtaposition with a picture of Moses striking the rock. +"These two subjects may be intended to represent the beginning and +end of the Christian course, 'the fountain of water springing up to +life everlasting.' God's grace and the gift of faith being typified +by the water flowing from the rock,<a name="vol_1_page_405" id="vol_1_page_405"></a> 'which was Christ,' and life +everlasting by the victory over death and the second life +vouchsafed to Lazarus."<a name="FNanchor_215_215" id="FNanchor_215_215"></a><a href="#Footnote_215_215" class="fnanchor">[215]</a></p> + +<p class="hang">11. Our Saviour's triumphal entry into Jerusalem.</p> + +<p class="hang">12. Our Saviour giving the keys to Peter—very rare.</p> + +<p class="hang">13. Our Saviour predicting the denial of Peter.</p> + +<p class="hang">14. The denial of Peter.</p> + +<p class="hang">15. Our Saviour before Pilate.</p> + +<p class="hang">16. St.Peter taken to prison.<br /> +These last six subjects are only represented on tombs.<a name="FNanchor_216_216" id="FNanchor_216_216"></a><a href="#Footnote_216_216" class="fnanchor">[216]</a></p></div> + +<p>The class of paintings shown as <i>Liturgical</i> are less definite than +these. In the Catacombs of Calixtus several obscure paintings are shown +(in cubicula anterior to the middle of the third century), which are +said to have reference to the sacrament of baptism. Pictures of the +paralytic carrying his bed are identified by some Roman Catholic +authorities with the sacrament of penance. (!) Bosio believed that in +the Catacomb of Sta. Priscilla he had found paintings which illustrated +the sacrament of ordination. Representations undoubtedly exist which +illustrate the <i>agape</i> or love-feast of the primitive Church.</p> + +<p>On the opposite side of the Via Appia from St. Calixtus (generally +entered from the road leading to S. Urbano) is the <i>Catacomb of St. +Pretextatus</i>, interesting as being the known burial-place of several +martyrs. A large crypt was discovered here in 1857, built with solid +masonry and lined with Greek marble.</p> + +<div class="blockquot"><p>"The workmanship points to early date, and specimens of pagan +architecture in the same neighbourhood enable us to fix the middle +of the latter half of the second century (<small>A.D.</small> 175) as a very +probable date for its erection. The Acts of the Saints explain to +us why it was built with bricks, and not hewn out of the rock—viz. +because the Christian who made it (Sta. Marmenia) had caused it to +be excavated immediately<a name="vol_1_page_406" id="vol_1_page_406"></a> below her own house; and now that we see +it, we understand the precise meaning of the words used by the +itineraries describing it—viz. 'a large cavern, most firmly +built.' The vault of the chapel is most elaborately painted, in a +style by no means inferior to the best classical productions of the +age. It is divided into four bands of wreaths, one of roses, +another of corn-sheaves, a third of vine-leaves and grapes (and in +all these, birds are introduced visiting their young in nests), and +the last or highest, of leaves of laurel or the bay-tree. Of course +these severally represent the seasons of spring, summer, autumn, +and winter. The last is a well-known figure or symbol of death; and +probably the laurel, as the token of victory, was intended to +represent the new and Christian idea of the everlasting reward of a +blessed immortality. Below these bands is another border, more +indistinct, in which reapers are gathering in the corn; and at the +back of the arch is a rural scene, of which the central figure is +the Good Shepherd carrying a sheep upon his shoulders. This, +however, has been destroyed by graves pierced through the wall and +the rock behind it, from the eager desire to bury the dead of a +later generation as near as possible to the tombs of the martyrs. +As De Rossi proceeded to examine these graves in detail, he could +hardly believe his eyes when he read around the edge of one of them +these words and fragments of words:—<i>Mi Refrigeri Januarius +Agatopos Felicissim Martyres</i>—'Januarius, Agapetus, Felicissimus, +martyrs, refresh the soul of....' The words had been scratched upon +the mortar while it was yet fresh, fifteen centuries ago, as the +prayer of some bereaved relative for the soul of him whom they were +burying here, and now they revealed to the antiquarian of the +nineteenth century the secret he was in quest of—viz. the place of +burial of the saints whose aid is here invoked; for the numerous +examples to be seen in other cemeteries warrant us in concluding +that the bodies of the saints, to whose intercession the soul of +the deceased is here recommended, were at the time of his burial +lying at no great distance."—<i>Roma Sotterranea.</i></p></div> + +<p>The St. Januarius buried here was the eldest of the seven sons of St. +Felicitas, martyred July 10, <small>A.D.</small> 162. St. Agapitus and St. Felicissimus +were deacons of Pope Sixtus II., who were martyred together with him and +St. Pretextatus<a name="FNanchor_217_217" id="FNanchor_217_217"></a><a href="#Footnote_217_217" class="fnanchor">[217]</a> in this very catacomb, because Sixtus II. "had set +at nought the commands of the Emperor Valerian."<a name="FNanchor_218_218" id="FNanchor_218_218"></a><a href="#Footnote_218_218" class="fnanchor">[218]</a><a name="vol_1_page_407" id="vol_1_page_407"></a></p> + +<p>A mutilated inscription of St. Damasus, in the Catacomb of Calixtus, +near the tomb of Cornelius, thus records the death of this pope:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Tempore quo gladius secuit pia visura Matris<br /></span> +<span class="ist">Hic positus rector cælestia jussa docebam;<br /></span> +<span class="ist">Adveniunt subito, rapiunt qui forte sedentem;<br /></span> +<span class="ist">Militibus missis, populi tunc colla dedere.<br /></span> +<span class="ist">Mox sibi cognovit senior quis tollere vellet<br /></span> +<span class="ist">Palmam seque suumque caput prior obtulit ipse,<br /></span> +<span class="ist">Impatiens feritas posset ne lædere quemquam.<br /></span> +<span class="ist">Ostendit Christus reddit qui præmia vitæ<br /></span> +<span class="ist">Pastoris meritum, numerum gregis ipse tuetur."<br /></span> +</div></div> + +<div class="blockquot"><p>"At the time when the sword pierced the heart of our Mother +(Church), I, its ruler, buried here, was teaching the things of +heaven. Suddenly they came, they seized me seated as I was;—the +soldiers being sent in, the people gave their necks (to the +slaughter). Soon the old man saw who was willing to bear away the +palm from himself, and was the first to offer himself and his own +head, fearing lest the blow should fall on any one else. Christ who +awards the rewards of life recognises the merit of the pastor, he +himself is preserving the number of his flock."</p></div> + +<p>An adjoining crypt, considered to date from <small>A.D.</small> 130, is believed to be +the burial-place of St. Quirinus.</p> + +<p>Above this catacomb are ruins of two basilicas, erected in honour of St. +Zeno; and of Tiburtius, Valerian, and Maximus, companions of Sta. +Cecilia in martyrdom.</p> + +<p>In the road leading to S. Urbano is the entrance to the <i>Jewish +Catacomb</i>. It is entered by a chamber open to the sky, floored with +black and white mosaic, which is supposed to have formed part of a pagan +dwelling. The following chamber has remains of a well. Hence a low door +forms the entrance of a gallery out of which open six cubicula, one of +them containing a fine while marble sarcophagus, and decorated with a +painting of the seven-branched<a name="vol_1_page_408" id="vol_1_page_408"></a> candlestick. A side passage leads to +other cubicula, and to an open space which seems to have been an actual +arenarium. A winding passage at the end of the larger gallery leads to +the graves in the floor divided into different cells for corpses, and +called <i>Cocim</i> by Rabbinical writers. A cubiculum at the end of the +catacomb has paintings of figures—Plenty, with a cornucopia; Victory, +with a palm leaf, &c. The inscriptions found show that this cemetery was +exclusively Jewish. They refer to officers of the synagogue, rulers +(<span title="Greek: archontes">αρχοντες</span>), and scribes (<span title="Greek: grammateis">γραμματεις</span>), &c. The inscriptions are in great part in Greek letters, +expressing Latin words.</p> + +<p>Another small Jewish catacomb has been discovered behind the basilica of +St. Sebastian. Behind the Catacomb of St. Calixtus, on the right of the +Via Ardeatina, is the <i>Catacomb of SS. Nereo ed Achilleo</i>. Close to its +entrance is the farm of <i>Tor Marancia</i>, where are some ruins, believed +to be remains of the villa of Flavia Domitilla. This celebrated member +of the early Christian Church was daughter of the Flavia Domitilla who +was sister of the Emperor Domitian,—and wife of Titus Flavius Clemens, +son of the Titus Flavius Sabinus who was brother of the Emperor +Vespasian. Her two sons were, Vespasian Junior and Domitian Junior, who +were intended to succeed to the throne, and to whom Quinctilian was +appointed as tutor by the emperor. Dion Cassius narrates that "Domitian +put to death several persons, and amongst them Flavius Clemens the +consul, although he was his nephew, and although he had Flavia Domitilla +for his wife, who was also related to the emperor. They were both +accused of atheism, on which charge many others also had been +condemned,<a name="vol_1_page_409" id="vol_1_page_409"></a> going after the manners and customs of the Jew; and some of +them were put to death, and others had their goods confiscated; but +Domitilla was only banished to Pandataria."<a name="FNanchor_219_219" id="FNanchor_219_219"></a><a href="#Footnote_219_219" class="fnanchor">[219]</a> This Flavia Domitilla +is frequently confused with her niece of the same name,<a name="FNanchor_220_220" id="FNanchor_220_220"></a><a href="#Footnote_220_220" class="fnanchor">[220]</a> whose +banishment is mentioned by Eusebius, when he says:—"The teaching of our +faith had by this time shone so far and wide, that even pagan historians +did not refuse to insert in their narratives some account of the +persecution and the martyrdoms that were suffered in it. Some, too, have +marked the time accurately, mentioning, amongst many others, in the +fifteenth year of Domitian (<small>A.D.</small> 97), Flavia Domitilla, the daughter of +a sister of Flavius Clemens, one of the Roman consuls of those days, +who, for her testimony for Christ, was punished by exile to the island +of Pontia." It was this younger Domitilla who was accompanied in her +exile by her two Christian servants, Nereus and Achilles; whose +banishment is spoken of by St. Jerome as "a life-long martyrdom,"—whose +cell was afterwards visited by Sta. Paula,<a name="FNanchor_221_221" id="FNanchor_221_221"></a><a href="#Footnote_221_221" class="fnanchor">[221]</a> and who, according to +the Acts of SS. Nereus and Achilles, was brought back to the mainland to +be burnt alive at Terracina, because she refused to sacrifice to idols. +The relics of Domitilla, with those of her servants, were preserved in +the catacomb under the villa which had belonged to her Christian aunt.</p> + +<p>Receiving as evidence the story of Sta. Domitilla, this catacomb must be +looked upon as the oldest Christian cemetery in existence. Its galleries +were widened and strengthened by John I. (523—526). A chamber near the<a name="vol_1_page_410" id="vol_1_page_410"></a> +entrance is pointed out as the burial-place of Sta. Petronilla.</p> + +<div class="blockquot"><p>"The sepulchre of SS. Nereus and Achilles was in all probability in +that chapel to which we descend by so magnificent a staircase, and +which is illuminated by so fine a <i>luminare</i>; for that this is the +central point of attraction in the cemetery is clear, both from the +staircase and the luminare just mentioned, as also from the greater +width of the adjacent galleries and other similar tokens." Here +then St. Gregory the Great delivered his twenty-eighth homily +(which Baronius erroneously supposes to have been delivered in the +Church of SS. Nereo ed Achilleo, to which the bodies of the saints +were not yet removed), in which he says—"These saints, before +whose tomb we are assembled, despised the world and trampled it +under their feet, when peace, plenty, riches, and health gave it +charms."</p> + +<p>" ... There is a higher and more ancient <i>piano</i>, in which coins +and medals of the first two centuries, and inscriptions of great +value, have been recently discovered. Some of these inscriptions +may still be seen in one of the chambers near the bottom of the +staircase; they are both Latin and Greek; sometimes both languages +are mixed; and in one or two instances Latin words are written in +Greek characters. Many of these monuments are of the deepest +importance both in an antiquarian and religious point of view; in +archaeology, as showing the practice of private Christians in the +first ages to make the subterranean chambers at their own expense +and for their own use, <i>e. g.</i>—'M. Aurelius Restutus made this +subterranean for himself, and those of his family who believed in +the Lord,'—where, both the triple names and the limitation +introduced at the end (which shows that many of his family were +still pagan), are unquestionably proofs of very high +antiquity."—<i>Northcote's Roman Catacombs</i>, p. 103, &c.</p></div> + +<p>Among the most remarkable paintings in this catacomb are, Orpheus with +his lyre, surrounded by birds and beasts who are charmed with his music; +Elijah ascending to heaven in a chariot drawn by four horses; and the +portrait of Our Lord.</p> + +<div class="blockquot"><p>"The head and bust of our Lord form a medallion, occupying the +centre of the roof in the same <i>cubiculum</i> where Orpheus is +represented.<a name="vol_1_page_411" id="vol_1_page_411"></a> This painting, in consequence of the description +given of it by Kügler (who misnamed the catacomb St. Calixtus), is +often eagerly sought after by strangers visiting the catacombs. It +is only just, however, to add, that they are generally +disappointed. Kügler supposed it to be the oldest portrait of Our +Blessed Saviour in existence, but we doubt if there is sufficient +authority for such a statement. He describes it in these +words:—'The face is oval, with a straight nose, arched eyebrows, a +smooth and rather high forehead, the expression serious and mild; +the hair, parted on the forehead, flows in long curls down the +shoulders; the beard is not thick, but short and divided; the age +between thirty and forty.' But this description is too minute and +precise, too artistic, for the original, as it is now to be seen. A +lively imagination may, perhaps, supply the details described by +our author, but the eye certainly fails to distinguish +them."—<i>Roma Sotterranea</i>, p. 253.</p></div> + +<p>Approached by a separate entrance on the slope of the hill-side is a +sepulchral chamber, which De Rossi considers to have been the +<i>Burial-place of Sta. Domitilla</i>.</p> + +<div class="blockquot"><p>"It is certainly one of the most ancient and remarkable Christian +monuments yet discovered. Its position, close to the highway; its +front of fine brickwork, with a cornice of terra-cotta, with the +usual space for an inscription (which has now, alas, perished); the +spaciousness of its gallery, with its four or five separate niches +prepared for as many sarcophagi; the fine stucco on the wall; the +eminently classical character of its decorations; all these things +make it perfectly clear that it was the monument of a Christian +family of distinction, excavated at great cost, and without the +slightest attempt at concealment. In passing from the vestibule +into the catacomb, we recognise the transition from the use of the +sarcophagus to that of the common <i>loculus</i>; for the first two or +three graves on either side, though really mere shelves in the +wall, are so disguised by painting on the outside as to present to +passers-by the complete outward appearance of a sarcophagus. Some +few of these graves are marked with the names of the dead, written +in black on the largest tiles, and the inscriptions on the other +graves are all of the simplest and oldest form. Lastly, the whole +of the vaulted roof is covered with the most exquisitely graceful +designs, of branches of the vine (with birds and winged genii among +them) trailing with all the freedom of nature over the whole walls, +not fearing any interruption by graves, nor confined by any of +those lines of geometrical symmetry which characterise similar +productions in the next century. Traces also<a name="vol_1_page_412" id="vol_1_page_412"></a> of landscapes may be +seen here and there, which are of rare occurrence in the catacombs, +though they may be seen in the chambers assigned by De Rossi to SS. +Nereus and Achilles. The Good Shepherd, an <i>agape</i>, or the heavenly +feast, a man fishing, and Daniel in the lions' den, are the chief +historical or allegorical representations of Christian mysteries +which are painted here. Unfortunately they have been almost +destroyed by persons attempting to detach them from the +wall."—<i>Roma Sotterranea</i>, p. 70.</p></div> + +<hr style="width: 15%;" /> + +<p>A road to the left now leads to the Via Appia Nuova, passing about a +quarter of a mile hence, a turn on the left to the ruin generally known +as the <i>Temple of Bacchus</i>, from an altar dedicated to Bacchus which was +found there, but considered by modern antiquaries as a temple of Ceres +and Proserpine. This building has been comparatively saved from the +destruction which has befallen its neighbours by having been consecrated +as a church in <small>A.D.</small> 820 by Pope Pascal I., in honour of his sainted +predecessor Urban I., <small>A.D.</small> 226—whose pontificate was chiefly passed in +refuge in the neighbouring Catacomb of St. Calixtus—because of a belief +that he was wont to resort hither.</p> + +<p>A chapel at a great depth below the church, is shown as that in which +St. Urban baptized and celebrated mass. A curious fresco here represents +the Virgin between St. Urban and St. John.</p> + +<p>Around the upper part of the interior are a much injured series of +frescoes, comprising—the life of Christ from the Annunciation to the +descent into Hades,—and the life of St. Cecilia and her husband +Valerian, ending in the burial of Cecilia by Pope Urban in the Catacombs +of Calixtus, and the story of the martyred Urban I. In the picture of +the Crucifixion, the thieves have their names, "Calpurnius and +Longinus." The frescoes were altered in<a name="vol_1_page_413" id="vol_1_page_413"></a> the seventeenth century to suit +the views of the Roman Church, keys being placed in the hand of Peter, +&c. Sets of drawings taken <i>before</i> and <i>after</i> the alterations, are +preserved in the Barberini Library, and curiously show the difference.</p> + +<p>A winding path leads from S. Urbano into the valley. Here, beside the +Almo rivulet, is a ruined Nymphæum containing a mutilated statue of a +river-god, which was called "the Grotto of Egeria," till a few years +ago, when the discovery of the true site of the Porta Capena fixed that +of the grotto within the walls. The fine grove of old ilex-trees on the +hillside, was at the same time pointed out as the sacred grove of +Egeria.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Egeria! sweet creation of some heart<br /></span> +<span class="i0">Which found no mortal resting-place so fair<br /></span> +<span class="i0">As thine ideal breast; whate'er thou art<br /></span> +<span class="i0">Or wert,—a young Aurora of the air,<br /></span> +<span class="i0">The nympholepsy of some fond despair;<br /></span> +<span class="i0">Or, it might be, a beauty of the earth,<br /></span> +<span class="i0">Who found a more than common votary there<br /></span> +<span class="i0">Too much adoring; whatsoe'er thy birth,<br /></span> +<span class="i0">Thou wert a beautiful thought, and softly bodied forth.<br /></span> +</div><div class="stanza"> +<span class="i0">"The mosses of thy fountain still are sprinkled<br /></span> +<span class="i0">With thine Elysian water-drops; the face<br /></span> +<span class="i0">Of thy cave-guarded spring, with years unwrinkled,<br /></span> +<span class="i0">Reflects the meek-eyed genius of the place,<br /></span> +<span class="i0">Whose green, wild margin now no more erase<br /></span> +<span class="i0">Art's works; nor must the delicate waters sleep,<br /></span> +<span class="i0">Prisoned in marble, bubbling from the base<br /></span> +<span class="i0">Of the cleft statue, with a gentle leap<br /></span> +<span class="i0">The rill runs o'er, and round, fern, flowers, and ivy, creep,<br /></span> +</div><div class="stanza"> +<span class="i0">"Fantastically tangled; the green hills<br /></span> +<span class="i0">Are clothed with early blossoms, through the grass<br /></span> +<span class="i0">The quick-eyed lizard rustles, and the bills<br /></span> +<span class="i0">Of summer-birds sing welcome as ye pass;<a name="vol_1_page_414" id="vol_1_page_414"></a><br /></span> +<span class="i0">Flowers fresh in hue, and many in their class,<br /></span> +<span class="i0">Implore the pausing step, and with their dyes<br /></span> +<span class="i0">Dance in the soft breeze in a fairy mass;<br /></span> +<span class="i0">The sweetness of the violet's deep blue eyes,<br /></span> +<span class="i0">Kiss'd by the breath of heaven, seems coloured by its skies."<br /></span> +<span class="i15"><i>Byron, Childe Harold.</i><br /></span> +</div></div> + +<p>It is now known that this nymphæum and the valley in which it stands +belonged to the suburban villa called Triopio, of Herodes Atticus, whose +romantic story is handed down to us through two Greek inscriptions in +the possession of the Borghese family, and is further illustrated by the +writings of Filostratus and Pausanias.</p> + +<div class="blockquot"><p>A wealthy Greek named Ipparchus offended his government and lost +all his wealth by confiscation, but the family fortunes were +redeemed, through the discovery by his son Atticus of a vast +treasure, concealed in a small piece of ground which remained to +them, close to the rock of the Acropolis. Dreading the avarice of +his fellow-citizens, Atticus sent at once to Nerva, the then +emperor, telling him of the discovery, and requesting his orders as +to what he was to do with the treasure. Nerva replied, that he was +welcome to keep it, and use it as he pleased. Not yet satisfied or +feeling sufficiently sure of the protection of the emperor, Atticus +again applied to him, saying that the treasure was far too vast for +the use of a person in a private station of life, and asking how he +was to use it. The emperor again replied that the treasure was his +own and due to his own good fortune, and that "what he could not +use he might abuse." Atticus then entered securely into possession +of his wealth, which he bequeathed to his son Herodes, who used his +fortune magnificently in his bountiful charities, in the +encouragement of literature and art throughout both Greece and +Italy, and (best appreciated of all by the Greeks) in the splendour +of the public games which he gave.</p> + +<p>Early in the reign of Antoninus Pius, Herodes Atticus removed to +Rome, where he was appointed professor of rhetoric to Marcus +Aurelius and Lucius Verus, the two adopted sons of the emperor, and +where he attained the consulship in <small>A.D.</small> 143. Soon after his +arrival he fell in love with Annia Regilla, a beautiful and wealthy +heiress, and in spite of the violent opposition of her brother, +Annius Attilius Braduas, who, belonging to the Julian family, and +claiming an imaginary descent from<a name="vol_1_page_415" id="vol_1_page_415"></a> Venus and Anchises, looked upon +the marriage as a mesalliance, he succeeded in obtaining her hand. +Part of the wealth which Annia Regilla brought to her husband was +the Valle Caffarelli and its nymphæum.</p> + +<p>For some years Herodes Atticus and Annia Regilla enjoyed the +perfection of married happiness in this beautiful valley; but +shortly before the expected birth of her fifth child, she died very +suddenly, leaving her husband almost frantic with grief and +refusing every consolation. He was roused, however, from his first +anguish by his brother-in-law Annius Braduas, who had never laid +aside his resentment at the marriage, and who now accused him of +having poisoned his wife. Herodes demanded a public trial, and was +acquitted. Filostratus records that the intense grief he showed and +the depth of the mourning he wore, were taken as signs of his +innocence. Further to clear himself from imputation, Herodes +offered all the jewels of Annia Regilla upon the altar of the +Eleusinian deities, Ceres and Proserpine, at the same time calling +down the vengeance of the outraged gods if he were guilty of +sacrilege.</p> + +<p>The beloved Regilla was buried in a tomb surrounded by "a +sepulchral field" within the precincts of the villa, dedicated to +Minerva and Nemesis, and (as recorded in one of the Greek +inscriptions) it was made an act of the highest sacrilege, for any +but her own descendants to be laid within those sacred limits. A +statue was also erected to Regilla in the Triopian temple of Ceres +and Proserpine, which is now supposed to be the same with that +usually called the temple of Bacchus. Not only did Herodes hang his +house with black in his affliction, but all gaily coloured marbles +were stripped from the walls, and replaced with the dark grey +marble known as "bardiglio,"—and his depth of woe made him so +conspicuous, that a satirical person seeing his cook prepare white +beans for dinner, wondered that he could dare to do so in a house +so entirely black.</p></div> + +<p>The inscriptions in which this story is related (one of them containing +thirty-nine Greek verses) are engraved on slabs of Pentelic marble—and +Philostratus and Pausanias narrate that the quarries of this marble were +the property of Herodes, and that in his magnificent buildings he almost +exhausted them.<a name="FNanchor_222_222" id="FNanchor_222_222"></a><a href="#Footnote_222_222" class="fnanchor">[222]</a><a name="vol_1_page_416" id="vol_1_page_416"></a></p> + +<p>The field path from hence leads back to the Church of Domine Quo Vadis, +passing on the right a beautifully-finished tomb (of the time of +Septimius Severus) known as the <i>Temple of Divus Rediculus</i>, and +formerly described as having been built to commemorate the retreat of +Hannibal, who came thus far in his intended attack upon Rome. The temple +erected in memory of this event was really on the right of the Via +Appia. It was dedicated to Rediculus, the god of Return. The folly of +ciceroni often cites this name as "Ridiculous."</p> + +<div class="blockquot"><p>The neighbourhood of the Divus Rediculus (which he however places +on the <i>right</i> of the Via Appia) is described by Pliny in +connection with a curious story of imperial times. There was a +cobbler who had his stall in the Roman Forum, and who possessed a +tame raven, which was a great favourite with the young Romans, to +whom he would bid good day as he sate perched upon the rostra. At +length he became quite a public character, and the indignation was +so great when his master killed him with his hammer in a fit of +rage at his spoiling some new leather, that they slew the cobbler +and decreed a public funeral to the bird; who was carried to the +grave on a bier adorned with honorary crowns, preceded by a piper, +and supported by two negroes in honour of his colour,—and +buried—"ad rogum usque, qui constructus dextrâ Viæ Appiæ ad +secundum lapidem in campo Rediculo appellate fuit."—<i>Pliny, Nat. +Hist.</i> lib. x. c. 60.</p></div> + +<hr style="width: 15%;" /> + +<p>Returning to the Via Appia, we reach, on the right, the <i>Basilica of S. +Sebastiano</i>, rebuilt in 1611 by Flaminio Ponzio for Cardinal Scipio +Borghese on the site of a church which had been founded by Constantine, +where once existed the house and garden of the matron Lucina, in which +she had buried the body of Sebastian, after his (second) martyrdom under +Diocletian. The basilica contains nothing ancient, but the six granite +columns in the<a name="vol_1_page_417" id="vol_1_page_417"></a> portico. The altar covers the relics of the saint (a +Gaul, a native of Narbonne, a Christian soldier under Diocletian) and +the chapel of St. Sebastian has a statue of him in his youth, designed +by Bernini and executed by Antonio Giorgetti.</p> + +<div class="blockquot"><p>"The almost colossal form lies dead, the head resting on his helmet +and armour. It is evidently modelled from nature, and is perhaps +the finest thing ever designed by Bernini.... It is probably from +the association of arrows with his form and story that St. +Sebastian has been regarded from the first ages of Christianity as +the protecting saint against plague and pestilence; Apollo was the +deity who inflicted plague, and therefore was invoked with prayer +and sacrifice against it; and to the honour of Apollo, in this +particular character, St. Sebastian has succeeded."—<i>Jameson's +Sacred Art</i>, p. 414.</p></div> + +<p>The original of the footprint in the Domine Quo Vadis is said to be +preserved here.</p> + +<p>On the left of the entrance is the descent into the catacombs, with the +inscription:</p> + +<div class="blockquot"><p>"In hoc sacrosancto loco qui dicitur ad Catacumbas, ubi sepulta +fuerunt sanctorum martyrum corpora 174,000 ac 46 summorum +pontificium pariterque martyrum. In altare in quo corpus divi +Sebastiani Christi athletæ jacet celebrans summus Pontifex S. +Gregorius Magnus vidit angelum Dei candidiorem nive, sibi in +tremendo sacrificio ministrantem ac dicentem, 'Hic est locus +sacratissimus in quo est divina promissio et omnium peccatorum +remissio, splendor et lux perpetua, sine fine lætitia, quam Christi +martyr Sebastianus habere promeruit.' Prout Severanus Tom. Pº. +pagina 450, ac etiam antiquissimæ lapideæ testantur tabulæ.</p> + +<p>"Ideo in hoc insigne privilegiato altari, tam missæ cantatæ quam +privatæ, dum celebrante, animæ quæ sunt in purgatorio pro quibus +sacrificium offertur plenariam indulgentiam, et omnium suorum +peccatorum remissionem consequuntur prout ab angelo dictum fuit et +summi pontifices confirmarunt."</p></div> + +<p>These are the catacombs which are most frequently visited by strangers, +because they can always be seen on<a name="vol_1_page_418" id="vol_1_page_418"></a> application to the monks attached to +the church,—though they are of greatly inferior interest to those of St +Calixtus.</p> + +<div class="blockquot"><p>"Though future excavations may bring to light much that is +interesting in this cemetery, the small portion now accessible is, +as a specimen of the Catacombs, utterly without value. Its only +interest consists in its religious associations: here St. Bridget +was wont to kneel, rapt in contemplation; here St. Charles Borromeo +spent whole nights in prayer; and here the heart of St. Philip Neri +was so inflamed with divine love as to cause his very bodily frame +to be changed."—<i>Northcote's Roman Catacombs.</i></p></div> + +<div class="poem"><div class="stanza"> +<span class="i0">"Philip, on thee the glowing ray<br /></span> +<span class="i2">Of heaven came down upon thy prayer,<br /></span> +<span class="i0">To melt thy heart, and burn away<br /></span> +<span class="i2">All that of earthly dross was there.<br /></span> +</div><div class="stanza"> +<span class="i0">"And so, on Philip when we gaze,<br /></span> +<span class="i2">We see the image of his Lord;<br /></span> +<span class="i0">The saint dissolves amid the blaze<br /></span> +<span class="i2">Which circles round the Living Word.<br /></span> +</div><div class="stanza"> +<span class="i0">"The meek, the wise, none else is here,<br /></span> +<span class="i2">Dispensing light to men below;<br /></span> +<span class="i0">His awful accents fill the ear,<br /></span> +<span class="i2">Now keen as fire, now soft as snow."<br /></span> +<span class="i15"><i>J. H. Newman</i>, 1850.<br /></span> +</div></div> + +<p>Owing to the desire in the early Christian Church of saving the graves +of their first confessors and martyrs from desecration, almost all the +catacombs were gradually blocked up, and by lapse of time their very +entrances were forgotten. In the fourteenth century very few were still +open. In the fifteenth century none remained except this of St. +Sebastian, which continued to be frequented by pilgrims, and was called +in all ancient documents "cœmeterium ad catacumbas."</p> + +<p>At the back of the high-altar is an interesting half-subterranean +building, attributed to Pope Liberius (352—355), and afterwards adorned +by Pope Damasus, who briefly<a name="vol_1_page_419" id="vol_1_page_419"></a> tells its history in one of his +inscriptions, which may still be seen here:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Hinc habitasse prius sanctos cognoscere debes,<br /></span> +<span class="ist">Nomina quisque Petri pariter Paulique requiris.<br /></span> +<span class="ist">Discipulos Oriens misit, quod sponte fatemur,<br /></span> +<span class="ist">Sanguinis ob meritum Christumque per astra sequuti,<br /></span> +<span class="ist">Aetherios petiere sinus et regna piorum.<br /></span> +<span class="ist">Roma suos potius meruit defendere cives.<br /></span> +<span class="ist">Hæc Damasus vestras referat sidera laudes."<br /></span> +</div></div> + +<div class="blockquot"><p>"Here you should know that saints dwelt. Their names, if you ask +them, were Peter and Paul. The East sent disciples, which we freely +acknowledge. For the merit of their blood they followed Christ to +the stars, and sought the heavenly home and the kingdom of the +blest. Rome however deserved to defend her own citizens. May +Damasus record these things for your praise, O new stars."</p> + +<p>"The two Apostles, St. Peter and St. Paul, were originally buried, +the one at the Vatican, the other on the Ostian Way, at the spot +where their respective basilicas now stand; but, as soon as the +Oriental Christians had heard of their death, they sent some of +their brethren to remove their bodies, and bring them back to the +East, where they considered that they had a right to claim them as +their fellow-citizens and countrymen. These so far prospered in +their mission as to gain a momentary possession of the sacred +relics, which they carried off, along the Appian Way, as far as the +spot where the church of St. Sebastian was afterwards built. Here +they rested for a while, to make all things ready for their +journey, or, according to another account, were detained by a +thunderstorm of extraordinary violence, which delay, however +occasioned, was sufficient to enable the Christians of Rome to +overtake them and recover their lost treasure. These Roman +Christians then buried the bodies, with the utmost secrecy, in a +deep pit, which they dug on the very spot where they were. Soon, +indeed, they were restored to their original places of sepulture, +as we know from contemporary authorities, and there seems reason to +believe the old ecclesiastical tradition to be correct, which +states them to have only remained in this temporary abode for a +year and seven months. The body of St. Peter, however, was destined +to revisit it a second time, and for a longer period; for when, at +the beginning of the third century, Heliogabalus made his circus at +the Vatican, Calixtus, who was then pope, removed the relics of the +Apostle to their former temporary resting-place, the pit on the +Appian Way. But in <small>A.D.</small> 257, St. Stephen, the<a name="vol_1_page_420" id="vol_1_page_420"></a> pope, having been +discovered in this very cemetery and having suffered martyrdom +there, the body of St. Peter was once more removed, and restored to +its original tomb in the Vatican."—<i>Northcote's Roman Catacombs.</i></p></div> + +<p>In the passages of this catacomb are misguiding inscriptions placed here +in 1409 by William, Archbishop of Bourges, calling upon the faithful to +venerate <i>here</i> the tombs of Sta. Cecilia and of many of the martyred +popes, who are buried elsewhere. The martyr St. Cyrinus is known to have +been buried here from very early itineraries, but his grave has not been +discovered.</p> + +<div class="blockquot"><p>"When I was a boy, being educated at Rome, I used every Sunday, in +company with other boys of my own age and tastes, to visit the +tombs of the apostles and martyrs, and to go into the crypts +excavated there in the bowels of the earth. The walls on either +side as you enter are full of the bodies of the dead, and the whole +place is so dark, that one seems almost to see the fulfilment of +those words of the prophet, 'Let them go down alive into Hades.' +Here and there a little light, admitted from above, suffices to +give a momentary relief to the horror of the darkness; but as you +go forwards, and find yourself again immersed in the utter +blackness of night, the words of the poet come spontaneously to +your mind: 'The very silence fills the soul with dread.'"—<i>St. +Jerome</i> (<small>A.D.</small> 354), <i>In Ezek.</i> ch. lx.</p></div> + +<div class="blockquot"><p>"A gaunt Franciscan friar, with a wild bright eye, was our only +guide down into this profound and dreadful place. The narrow ways +and openings hither and thither, coupled with the dead and heavy +air, soon blotted out, in all of us, any recollection of the track +by which we had come; and I could not help thinking, 'Good Heaven, +if in a sudden fit of madness he should dash the torches out, or if +he should be seized with a fit, what would become of us!' On we +wandered, among martyrs' graves: passing great subterranean vaulted +roads, diverging in all directions, and choked up with heaps of +stones, that thieves and murderers may not take refuge there, and +form a population under Rome, even worse than that which lives +between it and the sun. Graves, graves, graves; graves of men, of +women, of little children, who ran crying to the persecutors, 'We +are Christians! we are Christians!' that they might be murdered +with their parents; graves<a name="vol_1_page_421" id="vol_1_page_421"></a> with the palm of martyrdom roughly cut +into their stone boundaries, and little niches, made to hold a +vessel of the martyr's blood; graves of some who lived down here, +for years together, ministering to the rest, and preaching truth, +and hope, and comfort, from the rude altars, that bear witness to +their fortitude at this hour; more roomy graves, but far more +terrible, where hundreds, being surprised, were hemmed in and +walled up; buried before death, and killed by slow starvation.</p> + +<p>"'The triumphs of the Faith are not above-ground in our splendid +churches,' said the friar, looking round upon us, as we stopped to +rest in one of the low passages, with bones and dust surrounding us +on every side. 'They are here! among the martyrs' graves!' He was a +gentle, earnest man, and said it from his heart; but when I thought +how Christian men have dealt with one another; how, perverting our +most merciful religion, they have hunted down and tortured, burnt +and beheaded, strangled, slaughtered, and oppressed each other; I +pictured to myself an agony surpassing any that this Dust had +suffered with the breath of life yet lingering in it, and how these +great and constant hearts would have been shaken—how they would +have quailed and drooped—if a foreknowledge of the deeds that +professing Christians would commit in the great name for which they +died, could have rent them with its own unutterable anguish, on the +cruel wheel, and bitter cross, and in the fearful +fire."—<i>Dickens.</i></p></div> + +<div class="blockquot"><p>"Countless martyrs, they say, rest in these ancient sepulchres. In +these dark depths the ancient Church took refuge from persecution; +there she laid her martyrs, and there, over their tombs, she +chaunted hymns of triumph, and held communion with Him for whom +they died. In that church I spend hours. I have no wish to descend +into those sacred sepulchres, and pry among the graves the +resurrection trump will open soon enough. I like to think of the +holy dead, lying undisturbed and quiet there; of their spirits in +Paradise; of their faith triumphant in the city that massacred +them.</p> + +<p>"No doubt they also had their perplexities, and wondered why the +wicked triumph, and sighed to God, 'How long, O Lord, how +long?'"—<i>Schonberg Cotta Family.</i></p></div> + +<div class="blockquot"><p>"And when he had opened the fifth seal, I saw under the altar the +souls of them that were slain for the word of God, and for the +testimony which they held: and they cried with a loud voice, +saying, How long, O Lord, holy and true, dost thou not judge and +avenge our blood on them that dwell on the earth? And white robes +were given unto every one of them; and it was said unto them, that +they should rest yet for a little season, until their +fellow-servants also and their brethren, that should be killed as +they were, should be fulfilled."—<i>Rev.</i> vi. 9—11. +<a name="vol_1_page_422" id="vol_1_page_422"></a></p></div> + +<p>In the valley beneath S. Sebastiano are the ruins of the <i>Circus of +Maxentius</i>, near those of a villa of that emperor. The circus was 1482 +feet long, 244 feet broad, and was capable of containing 15,000 +spectators, yet it is a miniature compared with the Circus Maximus, +though very interesting as retaining in tolerable preservation all the +different parts which composed a circus. The circular ruin near it was a +<i>Temple</i> dedicated by Maxentius to his son Romulus.</p> + +<div class="blockquot"><p>"Le jeune Romulus, étant mort, fut placé au rang des dieux, dans +cet olympe qui s'écroulait. Son père lui éleva un temple dont la +partie inférieure se voit encore, et le cirque lui-même fut +peut-être une dépendance de ce temple funèbre, car les courses de +chars étaient un des honneurs que l'antiquité rendait aux morts, et +sont souvent pour cela représentées sur les tombeaux."—<i>Ampère, +Emp.</i> ii. 360.</p></div> + +<p>These ruins are very picturesque, backed by the peaks of the Sabine +range, which in winter are generally covered with snow.</p> + +<p>The opposite hill is crowned by the <i>Tomb of Cecilia Metella</i>, daughter +of Quintus Metellus Creticus, and wife of Crassus. It is a round tower, +seventy feet in diameter. The bulls' heads on the frieze gave it the +popular name of Capo di Bove. The marble coating of the basement was +carried off by Urban VIII. to make the fountain of Trevi. The +battlements were added when the tomb was turned into a fortress by the +Caëtani in the thirteenth century.</p> + +<div class="blockquot"><p>"About two miles, or more, from the city gates, and right upon the +roadside, is an immense round pile, sepulchral in its original +purpose, like those already mentioned. It is built of great blocks +of hewn stone, on a vast, square foundation of rough, agglomerated +material, such as composes the mass of all the other ruinous tombs. +But, whatever might be the cause, it is in a far better state of +preservation than they. On its broad summit rise the battlements of +a mediæval fortress, out of the midst of which (so long since had +time begun to crumble the supplemental structure, and cover it with +soil, by means of wayside dust) grow<a name="vol_1_page_423" id="vol_1_page_423"></a> trees, bushes, and thick +festoons of ivy. This tomb of a woman has become the dungeon-keep +of a castle; and all the care that Cecilia Metella's husband could +bestow, to secure endless peace for her beloved relics, only +sufficed to make that handful of precious ashes the nucleus of +battles, long ages after her death."—<i>Hawthorne, Transformation.</i></p></div> + +<div class="poem"><div class="stanza"> +<span class="i0">"There is a stern round tower of other days,<br /></span> +<span class="ist">Firm as a fortress, with its fence of stone,<br /></span> +<span class="ist">Such as an army's baffled strength delays,<br /></span> +<span class="ist">Standing with half its battlements alone,<br /></span> +<span class="ist">And with two thousand years of ivy grown,<br /></span> +<span class="ist">The garland of eternity, where wave<br /></span> +<span class="ist">The green leaves over all by time o'erthrown;—<br /></span> +<span class="ist">What was this tower of strength? within its cave<br /></span> +<span class="ist">What treasure lay so lock'd, so hid?—a woman's grave.<br /></span> +</div><div class="stanza"> +<span class="i0">"But who was she, the lady of the dead,<br /></span> +<span class="ist">Tomb'd in a palace? Was she chaste and fair?<br /></span> +<span class="ist">Worthy a king's—or more—a Roman's bed?<br /></span> +<span class="ist">What race of chiefs and heroes did she bear?<br /></span> +<span class="ist">What daughter of her beauties was the heir?<br /></span> +<span class="ist">How lived—how loved—how died she? Was she not<br /></span> +<span class="ist">So honoured—and conspicuously there,<br /></span> +<span class="ist">Where meaner relics must not dare to rot,<br /></span> +<span class="ist">Placed to commemorate a more than mortal lot?<br /></span> +</div><div class="stanza"> +<span class="i0">"Perchance she died in youth: it may be, bow'd<br /></span> +<span class="ist">With woes far heavier than the ponderous tomb<br /></span> +<span class="ist">That weigh'd upon her gentle dust, a cloud<br /></span> +<span class="ist">Might gather o'er her beauty, and a gloom<br /></span> +<span class="ist">In her dark eye, prophetic of the doom<br /></span> +<span class="ist">Heaven gives its favourites—early death; yet shed<br /></span> +<span class="ist">A sunset charm around her, and illume<br /></span> +<span class="ist">With hectic light, the Hesperus of the dead,<br /></span> +<span class="ist">Of her consuming cheek the autumnal leaf-like red.<br /></span> +</div><div class="stanza"> +<span class="i0">"Perchance she died in age—surviving all,<br /></span> +<span class="ist">Charms, kindred, children—with the silver grey<br /></span> +<span class="ist">On her long tresses, which might yet recall,<br /></span> +<span class="ist">It may be, still a something of the day<br /></span> +<span class="ist">When they were braided, and her proud array<br /></span> +<span class="ist">And lovely form were envied, praised, and eyed<br /></span> +<span class="ist">By Rome—but whither would Conjecture stray?<a name="vol_1_page_424" id="vol_1_page_424"></a><br /></span> +<span class="ist">Thus much alone we know—Metella died,<br /></span> +<span class="ist">The wealthiest Roman's wife: Behold his love or pride!"<br /></span> +<span class="i15"><i>Childe Harold.</i><br /></span> +</div></div> + +<p>Close to the tomb are the ruins of a Gothic church of the Caëtani.</p> + +<div class="blockquot"><p>"Le tombeau de Cecilia-Metella était devenu un château fort alors +aux mains des Caëtani, et autour du château s'était formé un +village avec son église, dont on a récemment retrouvé les +restes."—<i>Ampère, Voyage Dantesque.</i></p></div> + +<p>It is at Cecilia Metella's tomb that the beauties of the Via Appia +really begin. A very short distance further, we emerge from the walls +which have hitherto shut in the road on either side, and enjoy +uninterrupted views over the Latin plain, strewn with its ruined castles +and villages—and the long lines of aqueducts, to the Sabine and Alban +mountains.</p> + +<div class="blockquot"><p>"The Via Appia is a magnificent promenade, amongst ruinous tombs, +the massive remains of which extend for many miles over the Roman +Campagna. The powerful families of ancient Rome loved to build +monuments to their dead by the side of the public road, probably to +exhibit at once their affection for their relations and their own +power and affluence. Most of these monuments are now nothing but +heaps of ruins, upon which are placed the statues and sculptures +which have been found in the earth or amongst the rubbish. Those +inscriptions which have been found on the Via Appia bear witness to +the grief of the living for the dead, but never to the hope of +reunion. On a great number of sarcophagi or the friezes of tombs +may be seen the dead sitting or lying as if they were alive, some +seem to be praying. Many heads have great individuality of +character. Sometimes a white marble figure, beautifully draped, +projects from these heaps of ruins, but without head or hands; +sometimes a hand is stretched out, or a portion of a figure rises +from the tomb. It is a street through monuments of the dead, across +an immense churchyard; for the desolate Roman Campagna may be +regarded as such. To the left it is scattered with the ruins of +colossal aqueducts, which, during the time of the emperors, +conveyed lakes and rivers to Rome, and which still, ruinous and +destroyed,<a name="vol_1_page_425" id="vol_1_page_425"></a> delight the eye by the beautiful proportions of their +arcades. To the right is an immense prairie, without any other +limit than that of the ocean, which, however, is not seen from it. +The country is desolate, and only here and there are there any huts +or trees to be seen."—<i>Frederika Bremer.</i></p></div> + +<div class="blockquot"><p>"For the space of a mile or two beyond the gate of S. Sebastiano, +this ancient and famous road is as desolate and disagreeable as +most of the other Roman avenues. It extends over small, +uncomfortable paving-stones, between brick and plastered walls, +which are very solidly constructed, and so high as almost to +exclude a view of the surrounding country. The houses are of the +most uninviting aspect, neither picturesque, nor homelike and +social; they have seldom or never a door opening on the wayside, +but are accessible only from the rear, and frown inhospitably upon +the traveller through iron-grated windows. Here and there appears a +dreary inn, or a wine-shop, designated by the withered bush beside +the entrance, within which you discover a stone-built and +sepulchral interior, where guests refresh themselves with sour +bread and goat's-milk cheese, washed down with wine of dolorous +acerbity.</p> + +<p>"At frequent intervals along the roadside, up rises the ruin of an +ancient tomb. As they stand now, these structures are immensely +high, and broken mounds of conglomerated brick, stone, pebbles, and +earth, all molten by time into a mass as solid and indestructible +as if each tomb were composed of a single boulder of granite. When +first erected, they were cased externally, no doubt, with slabs of +polished marble, artfully wrought, bas-reliefs, and all such +suitable adornments, and were rendered majestically beautiful by +grand architectural designs. This antique splendour has long since +been stolen from the dead, to decorate the palaces and churches of +the living. Nothing remains to the dishonoured sepulchres, except +their massiveness.</p> + +<p>"Even the pyramids form hardly a stranger spectacle, or a more +alien from human sympathies, than the tombs of the Appian Way, with +their gigantic height, breadth, and solidity, defying time and the +elements, and far too mighty to be demolished by an ordinary +earthquake. Here you may see a modern dwelling, and a garden with +its vines and olive-trees, perched on the lofty dilapidation of a +tomb, which forms a precipice of fifty feet in depth on each of the +four sides. There is a house on that funeral mound, where +generations of children have been born, and successive lives have +been spent, undisturbed by the ghost of the stern Roman whose ashes +were so preposterously burdened. Other sepulchres wear a crown of +grass, shrubbery, and forest-trees, which throw out a broad sweep +of branches, having had time, twice over, to<a name="vol_1_page_426" id="vol_1_page_426"></a> be a thousand years +of age. On one of them stands a tower, which, though immemorially +more modern than the tomb, was itself built by immemorial hands, +and is now rifted quite from top to bottom by a vast fissure of +decay; the tomb-hillock, its foundation, being still as firm as +ever, and likely to endure until the last trump shall rend it wide +asunder, and summon forth its unknown dead.</p> + +<p>"Yes, its unknown dead! For, except in one or two doubtful +instances, these mountainous sepulchral edifices have not availed +to keep so much as the bare name of an individual or a family from +oblivion. Ambitious of everlasting remembrance as they were, the +slumberers might just as well have gone quietly to rest, each in +his pigeon-hole of a columbarium, or under his little green +hillock, in a grave-yard, without a headstone to mark the spot. It +is rather satisfactory than otherwise, to think that all these idle +pains have turned out so utterly abortive."—<i>Hawthorne.</i></p></div> + +<p>Near the fourth milestone, is the tomb of Marcus Servilius Quartus (with +an inscription), restored by Canova in 1808. A bas-relief of the death +of Atys, killed by Adrastus, a short distance beyond this, has been +suggested as part of the tomb of Seneca, who was put to death "near the +fourth milestone" by order of Nero. An inscribed tomb beyond this is +that of Sextus Pompeius Justus.</p> + +<p>Near this, in the Campagna on the left, are some small remains, supposed +to be those of a Temple of Juno.</p> + +<p>Beyond this a number of tombs can be identified, but none of any +importance. Such are the tombs of Plinius Eutychius, erected by Plinius +Zosimus, a freedman of Pliny the younger; of Caius Licinius; the Doric +tomb of the tax-gatherer Claudius Philippanus, inscribed "Tito. Claudio. +Secundo. Philippiano. Coactori. Flavia. Irene. Vxori Indulgentissimo;" +of Rabinius, with three busts in relief; of Hermodorus; of Elsia Prima, +priestess of Isis; of Marcus C. Cerdonus, with the bas-relief of an +elephant bearing a burning altar.</p> + +<p>Beyond the fifth milestone, two circular mounds with<a name="vol_1_page_427" id="vol_1_page_427"></a> basements of +peperino, were considered by Canina to be the tombs of the Horatii and +Curiatii.</p> + +<p>On the opposite side of the road is the exceedingly picturesque mediæval +fortress, known as <i>Torre Mezza Strada</i>, into which are incorporated the +remains of the Church of Sta. Maria Nuova, or della Gloria. Behind this +extend a vast assemblage of ruins, which form a splendid foreground to +the distant mountain view, and whose size has led to their receiving the +popular epithet of <i>Roma Vecchia</i>. Here was the favourite villa of the +Emperor Commodus, where he was residing, when the people, excited by a +sudden impulse during the games of the Circus, rose and poured out of +Rome against him—as the inhabitants of Paris to Versailles—and refused +to depart, till, terrified into action by the entreaties of his +concubine Marcia, he tossed the head of the unpopular Cleander to them +out of the window, and had the brains of that minister's child dashed +out against the stones. This villa is proved by the discovery of a +number of pipes bearing their names to have been that of the brothers +Condianus and Maximus, of the great family of the Quintilii, which was +confiscated by Commodus.</p> + +<div class="blockquot"><p>"L'histoire des deux frères est intéressante et romanesque. +Condianus et Maximus Quintilius étaient distingués par la science, +les talents militaires, la richesse, et surtout par une tendresse +mutuelle qui ne s'était jamais démentie. Servant toujours ensemble, +l'un se faisait le lieutenant de l'autre. Bien qu'étrangers à toute +conspiration, leur vertu les fit soupçonner d'être peu favorables à +Commode; ils furent proscrits et moururent ensemble comme ils +avaient vécu. L'un d'eux avait un fils nommé Sextus. Au moment de +la mort de son père et de son oncle, ce fils se trouvait en Syrie. +Pensant bien que le même sort l'attendait, il feignit de mourir +pour sauver sa vie. Sextus, après avoir bu sang du lièvre, monta à +cheval, se laissa tomber, vomit le sang qu'il avait pris et qui +parut être son propre sang. On mit dans sa bière le corps d'un +bélier qui passa pour son cadavre, et il disparut. Depuis ce temps, +il<a name="vol_1_page_428" id="vol_1_page_428"></a> erra sons divers déguisements; mais on sut qu'il avait échappé, +et on se mit à sa recherche. Beaucoup furent tués parce-qu'ils lui +ressemblaient ou parce-qu'ils étaient soupçonnés de lui avoir donné +asile. Il n'est pas bien sûr qu'il ait été atteint, que sa tête se +trouvât parmi celles qu'on apporta à Rome et qu'on dit être la +sienne. Ce qui est certain, c'est qu'après la mort de Commode, un +aventurier, tenté par la belle villa et par les grandes richesses +des Quintilii, se donna pour Sextus et réclama son héritage. Il +paraît ne pas avoir manqué d'adresse et avoir connu celui pour +lequel il voulut qu'on le prît, car par ses réponses il se tira +très-bien de toutes les enquêtes. Peut-être s'était-il lié avec +Sextus et l'avait-il assassiné ensuite. Cependant l'empereur +Pertinax, successeur de Commode, l'ayant fait venir, eut l'idée de +lui parler grec. Le vrai Sextus connaissait parfaitement cette +langue. Le faux Sextus, qui ne savait pas le grec, répondit tout de +travers, et sa fraude fut ainsi découverte."—<i>Ampère, Emp.</i> ii. +253.</p></div> + +<p>On the left of the Via Appia, appears a huge monument, on a narrow base, +called the Tomb of the Metelli. Beyond this, after the fifth milestone, +are the tombs of Sergius Demetrius, a wine merchant; of Lucius Arrius; +of Septimia Gallia; and of one of the Cæcilii, in whose sepulchre, +according to Eutropius, was buried Pomponius Atticus, the friend of +Cicero, whose daughter Vipsania was the first wife of Agrippa, and whose +granddaughter Vipsania Agrippina was the first wife of Tiberius.</p> + +<p>Close to the sixth milestone is the mass of masonry sometimes called +"Casale Rotondo," or "Cotta's Tomb," from that name being found there +inscribed on a stone, but generally attributed to Messala Corvinus, the +poet, and friend of Horace, and believed to have been raised to him by +his son Valerius Maximus Cotta, mentioned in Ovid.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Te autem in turba non ausim, Cotta, silere,<br /></span> +<span class="i0">Pieridum lumen, præsidiumque fori."<br /></span> +<span class="i15"><i>Epist.</i> xvi.<br /></span> +</div></div> + +<p>This tomb was even larger than that of Cecilia Metella,<a name="vol_1_page_429" id="vol_1_page_429"></a> and was turned +into a fortress by the Orsini in the fifteenth century.</p> + +<p>Beyond this are tombs identified as those of P. Quintius, tribune of the +sixteenth legion; Marcus Julius, steward of Claudius; Publius Decumius +Philomusus (with appropriate bas-reliefs of two mice nibbling a cake); +and of Cedritius Flaccianius.</p> + +<p>Passing on the left the <i>Tor di Selce</i>, erected upon a huge unknown +tomb, are the tombs of Titia Eucharis, and of Atilius Evodus, jeweller +(margaritarius) on the Via Sacra, with the inscription, "Hospes +resiste—aspice ubi continentur ossa hominis boni misericordis amantis +pauperis." Near the eighth milestone are ruins attributed to the temples +of Silvanus and of Hercules,—of which the latter is mentioned in +Martial's Epigrams, beyond which were the villas of Bassus and of +Persius. The last tomb identified is that of Quintus Verranius. Near the +ninth milestone is a tomb supposed to be that of Gallienus (Imp. 268), +who lived close by in a villa, amid the ruins of which "the Discobolus" +was discovered.</p> + +<p>From the stream called Pontecello, near the tenth milestone, the road +gradually ascends to Albano, passing several large but unnamed tombs. At +the Osteria delle Frattocchie it joins the Via Appia Nuova. Close to the +gate of Albano, it passes on the left the tall tomb attributed to Pompey +the Great, in accordance with the statement of Plutarch, and in spite of +the epigram of Varro Atacinus, which says:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Marmoreo Licinius tumulo jacet; at Cato parvo;<br /></span> +<span class="i0">Pompeius nullo: quis putet esse Deus."<br /></span> +</div></div> + +<p>Among the many processions which have passed along<a name="vol_1_page_430" id="vol_1_page_430"></a> this road, perhaps +the most remarkable have been that bearing back to Rome the dead body of +Sylla, who died at Pozzuoli, "in a gilt litter, with royal ornaments, +trumpets before him, and horsemen behind;"<a name="FNanchor_223_223" id="FNanchor_223_223"></a><a href="#Footnote_223_223" class="fnanchor">[223]</a> and the funeral of +Augustus, who dying at Nola (<small>A.D.</small> 14), was brought to Bovillæ, and +remained there a month in the sanctuary of the Julian family, after +which the knights brought the body in solemn procession to his palace on +the Palatine.</p> + +<p>But throughout a walk along the Appian Way, the one great Christian +interest of this world-famous road, will, to the Christian visitor, +overpower all others.</p> + +<div class="blockquot"><p>"And so we went toward Rome.</p> + +<p>"And from thence, when the brethren heard of us, they came to meet +us as far as Appii-forum, and the Three Taverns: whom when Paul +saw, he thanked God, and took courage.</p> + +<p>"And when we came to Rome, the centurion delivered the prisoners to +the captain of the guard; but Paul was suffered to dwell by +himself, with a soldier that kept him."—<i>Acts</i> xxviii. 14—16.</p></div> + +<div class="blockquot"><p>"It is not without its manifold uses to remember that, amidst the +dim and wavering traditions of later times, one figure at least +stands out clear and distinct and undoubted, and this figure is the +Apostle Paul. He, whatever we may think concerning any other +apostle or apostolic man in connection with Rome, he, beyond a +shadow of doubt, appears in the New Testament as her great teacher. +No criticism or scepticism of modern times has ever questioned the +perfect authenticity of that last chapter of the Acts, which gives +the account of his journey, stage by stage, till he set foot within +the walls of the city. However much we may be compelled to distrust +any particular traditions concerning special localities of his life +and death, we cannot doubt for a moment that his eye rested on the +same general view of sky and plain and mountain; that his feet trod +the pavement of the same Appian road; that his way lay through the +same long avenue of ancient tombs on which we now look and wonder; +that he entered (and there we have our last authentic glimpse of +his progress) through the arch of Drusus, and then is lost to our +view in the great Babylon of Rome."—<i>A. P. Stanley's Sermons.</i><a name="vol_1_page_431" id="vol_1_page_431"></a></p> + +<p>"When St. Paul was approaching Rome, all the bases of the mountains +were (as indeed they are partially now) clustered round with the +villas and gardens of wealthy citizens. The Appian Way climbs and +then descends along its southern slope. After passing Lanuvium it +crossed a crater-like valley or immense substructions, which still +remain. Here is Aricia, an easy stage from Rome. The town was above +the road, and on the hillside swarms of beggars beset travellers as +they passed. On the summit of the next rise, Paul of Tarsus would +obtain his first view of Rome. There is no doubt that the prospect +was, in many respects, very different from the view which is now +obtained from the same spot. It is true that the natural features +of the scene are unaltered. The long wall of blue Sabine mountains, +with Soracte in the distance, closed in the Campagna, which +stretched far across to the sea and round the base of the Alban +hills. But ancient Rome was not, like modern Rome, impressive from +its solitude, standing alone, with its one conspicuous cupola, in +the midst of a desolate though beautiful waste. St. Paul would see +a vast city, covering the Campagna, and almost continuously +connected by its suburbs with the villas on the hill where he +stood, and with the bright towns which clustered on the sides of +the mountains opposite. Over all the intermediate space were the +houses and gardens, through which aqueducts and roads might be +traced in converging lines towards the confused mass of edifices +which formed the city of Rome. Here no conspicuous building, +elevated above the rest, attracted the eye or the imagination. +Ancient Rome had neither cupola nor campanile, still less had it +any of those spires which give life to all the capitals of northern +Christendom. It was a widespread aggregate of buildings, which, +though separated by narrow streets and open spaces, appeared, when +seen from near Aricia, blended into one indiscriminate mass: for +distance concealed the contrasts which divided the crowded +habitations of the poor and the dark haunts of filth and +misery—from the theatres and colonnades, the baths, the temples, +and palaces with gilded roofs, flashing back the sun.</p> + +<p>"The road descended into the plain at Bovillæ, six miles from +Aricia: and thence it proceeded in a straight line, with the +sepulchres of illustrious families on either hand. One of these was +the burial-place of the Julian gens, with which the centurion who +had charge of the prisoners was in some way connected. As they +proceeded over the old pavement, among gardens and modern houses, +and approached nearer the busy metropolis—the 'conflux issuing +forth or entering in' in various costumes and on various +errands,—vehicles, horsemen, and foot-passengers, soldiers and +labourers, Romans and foreigners,—became more crowded and +confusing. The houses grew closer. They were already in Rome.<a name="vol_1_page_432" id="vol_1_page_432"></a> It +was impossible to define the commencement of the city. Its populous +portions extended far beyond the limits marked out by Servius. The +ancient wall, with its once sacred pomœrium, was rather an +object for antiquarian interest, like the walls of York or Chester, +than any protection against the enemies, who were kept far aloof by +the legions on the frontier.</p> + +<p>"Yet the Porta Capena is a spot which we can hardly leave without +lingering for a moment. Under this arch—which was perpetually +dripping with the water of the aqueduct that went over it—had +passed all those who, since a remote period of the republic, had +travelled by the Appian Way,—victorious generals with their +legions, returning from foreign service,—emperors and courtiers, +vagrant representatives of every form of heathenism, Greeks and +Asiatics, Jews and Christians. From this point entering within the +city, Julius and his prisoners moved on, with the Aventine on their +left, close round the base of the Cœlian, and through the hollow +ground which lay between this hill and the Palatine: thence over +the low ridge called Velia, where afterwards was built the arch of +Titus, to commemorate the destruction of Jerusalem; and then +descending, by the <i>Via Sacra</i>, into that space which was the +centre of imperial power and imperial magnificence, and associated +also with the most glorious recollections of the republic. The +Forum was to Rome, what the Acropolis was to Athens, the heart of +all the characteristic interest of the place. Here was the +<i>Milliarium Aureum</i>, to which the roads of all the provinces +converged. All around were the stately buildings, which were raised +in the closing years of the republic, and by the earlier emperors. +In front was the Capitoline Hill, illustrious long before the +invasion of the Gauls. Close on the left, covering that hill, whose +name is associated in every modern European language with the +notion of imperial splendour, were the vast ranges of the +<i>palace</i>—the 'house of Cæsar' (Philipp. iv. 22). Here were the +household troops quartered in a <i>prætorium</i> attached to the palace. +And here (unless, indeed, it was in the great Prætorian Camp +outside the city wall) Julius gave up his prisoner to Burrus, the +Prætorian Prefect, whose official duty it was to keep in custody +all accused persons who were to be tried before the +Emperor."—<i>Conybeare and Howson.</i><a name="vol_1_page_433" id="vol_1_page_433"></a></p></div> + +<h2><a name="CHAPTER_X" id="CHAPTER_X"></a>CHAPTER X.<br /><br /> +THE QUIRINAL AND VIMINAL.</h2> + +<div class="blockquot"><p class="hang">Palazzo Barberini—Palazzo Albani—S. Carlo a Quattro Fontane—S. +Andrea a Monte Cavallo—Quirinal Palace—Palazzo della +Consulta—Palazzo Rospigliosi—Colonna Gardens and Temple of the +Sun—S. Silvestro a Monte Cavallo—Sta. Caterina di Siena—SS. +Domenico e Sisto—Sta. Agata dei Goti—Sta. Maria in Monte—S. +Lorenzo Pane e Perna—Sta. Pudenziana—S. Paolo Primo Eremita—S. +Dionisio—S. Vitale.</p></div> + +<p class="nind"><span class="letra">I</span>T is difficult to determine the exact limits of what in ancient times +were regarded as the Quirinal and Viminal hills. They, like the +Esquiline and Cœlian, are "in fact merely spurs or tongues of hill, +projecting inwards from a common base, the broad table-land, which +slopes on the other side almost imperceptibly into the Campagna."<a name="FNanchor_224_224" id="FNanchor_224_224"></a><a href="#Footnote_224_224" class="fnanchor">[224]</a> +That, which is described in this chapter as belonging to these two +hills, is chiefly the district to the right of the Via Quattro Fontane, +and its continuations—which extend in a straight line to Sta. Maria +Maggiore.</p> + +<p>The Quirinal, like all the other hills, except the Palatine and the +Cœlian, belonged to the Sabines in the early period of Roman history, +and is full of records of their occupation. They had a Capitol here +which is believed to have been long anterior to that on the Capitoline, +and which was<a name="vol_1_page_434" id="vol_1_page_434"></a> crowned by a temple of Jupiter, Juno, and Minerva. This +Sabine capitol occupied the site of the present Palazzo Rospigliosi.</p> + +<p>The name Quirinal is derived from the Sabine word <i>Quiris</i>—signifying a +lance, which gave the Sabines their name of Quirites, or lance-bearers, +and to their god the name Quirinus.<a name="FNanchor_225_225" id="FNanchor_225_225"></a><a href="#Footnote_225_225" class="fnanchor">[225]</a> After his death Romulus +received this title, and an important temple was raised to him on the +Quirinal by Numa,<a name="FNanchor_226_226" id="FNanchor_226_226"></a><a href="#Footnote_226_226" class="fnanchor">[226]</a> under this name, thus identifying him with Janus +Quirinus, the national god. This temple was surrounded by a sacred grove +mentioned by Ovid.<a name="FNanchor_227_227" id="FNanchor_227_227"></a><a href="#Footnote_227_227" class="fnanchor">[227]</a> It was rebuilt by the consul L. Papirius Cursor, +to commemorate his triumph after the third Samnite war, <small>B.C.</small> 293, when +he adorned it with a sun-dial (<i>solarium horologium</i>), the first set up +in Rome, which, however, not being constructed for the right latitude, +did not show the time correctly. This defect was not remedied till +nearly a century afterwards, when Q. Marcius Philippus set up a correct +dial.<a name="FNanchor_228_228" id="FNanchor_228_228"></a><a href="#Footnote_228_228" class="fnanchor">[228]</a> In front of this temple grew two celebrated myrtle-trees, one +called <i>Patricia</i>, the other <i>Plebeia</i>, which shared the fortunes of +their respective orders, as the orange-tree at Sta. Sabina now does that +of the Dominicans. Thus, up to the fifth century, Patricia flourished +gloriously, and Plebeia pined; but from the time when the plebeians +completely gained the upper hand, Patricia withered away.<a name="FNanchor_229_229" id="FNanchor_229_229"></a><a href="#Footnote_229_229" class="fnanchor">[229]</a> The +temple was rebuilt by Augustus, and Dion Cassius states that the number +of pillars by which it was surrounded accorded with that of the years of +his life.<a name="FNanchor_230_230" id="FNanchor_230_230"></a><a href="#Footnote_230_230" class="fnanchor">[230]</a><a name="vol_1_page_435" id="vol_1_page_435"></a></p> + +<p>Adjoining the temple was a portico:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Vicini pete porticum Quirini:<br /></span> +<span class="i0">Turbam non habet otiosiorem<br /></span> +<span class="i0">Pompeius."<br /></span> +<span class="i15"><i>Martial</i>, xi. Ep. i.<br /></span> +</div></div> + +<div class="poem"><div class="stanza"> +<span class="i6">——"Officium cras<br /></span> +<span class="i0">Primo sole mihi peragendum in valle Quirini."<br /></span> +<span class="i15"><i>Juvenal, Sat.</i> ii. 132.<br /></span> +</div></div> + +<p>Hard by was a temple of Fortuna Publica,</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Qui dicet, Quondam sacrata est colle Quirini<br /></span> +<span class="i0">Hac Fortuna die Publica; verus erit."<br /></span> +<span class="i15"><i>Ovid, Fast.</i> iv. 375.<br /></span> +</div></div> + +<p class="nind">also an altar to Mamurius, an ancient Sabine divinity, probably +identical with Mars, and a temple of Salus, or Health, which gave a name +to the Porta Salutaria, which must have stood nearly on the site of the +present Quattro Fontane, and near which, not inappropriately, was a +temple of Fever, in the Via S. Vitale, where fever is still prevalent.</p> + +<p>The site of the temple of Quirinus is ascertained to have been nearly +that now occupied by S. Andrea a Monte Cavallo. On the opposite side of +the street, where part of the papal palace now stands, was the temple of +Semo-Sanctus, the reputed father of Sabinus. Between these two temples +was the House of Pomponius Atticus (the friend and correspondent of +Cicero), a situation which gave an opportunity for the witticism of +Cicero when he said that Caesar would rather dwell with Quirinus than +with Salus, meaning that he would rather be at war than be in good +health.<a name="FNanchor_231_231" id="FNanchor_231_231"></a><a href="#Footnote_231_231" class="fnanchor">[231]</a></p> + +<p>In the same neighbourhood lived Martial the epigrammatist,<a name="vol_1_page_436" id="vol_1_page_436"></a> "on the +third floor, in a narrow street," whence he had a view as far as the +portico of Agrippa, near the Flaminian Way. Below, probably on the site +now occupied by the Piazza Barberini, was a Circus of Flora.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Mater, ades, florum, ludis celebranda jocosis:<br /></span> +<span class="i2">Distuleram partes mense priore tuas.<br /></span> +<span class="i0">Incipis Aprili: transis in tempora Maii.<br /></span> +<span class="i2">Alter te, fugiens; cum venit, alter habet.<br /></span> +<span class="i0">Quum tua sint cedantque tibi confinia mensum,<br /></span> +<span class="i2">Convenit in laudes ille vel ille tuas.<br /></span> +<span class="i0">Circus in hunc exit, clamataque palma theatris:<br /></span> +<span class="i2">Hoc quoque cum Circi munere carmen eat."<br /></span> +<span class="i15"><i>Ovid, Fast.</i> v. 183.<br /></span> +</div></div> + +<p>Among the great families who lived on the Quirinal were the Cornelii, +who had a street of their own, <i>Vicus Corneliorum</i>, probably on the +slopes behind the present Colonna Palace; and the Flavii, who were of +Sabine origin.<a name="FNanchor_232_232" id="FNanchor_232_232"></a><a href="#Footnote_232_232" class="fnanchor">[232]</a> Domitian was born here in the house of the Flavii, +afterwards consecrated by him as a temple, in which Vespasian, Titus, +and Domitian himself were buried, and Julia the ugly daughter of +Titus—well known from her statues in the Vatican.</p> + +<p>As some fragments remain of the two buildings erected on the Quirinal +during the later empire, Aurelian's Temple of the Sun, and the Baths of +Constantine, they will be noticed in the regular course.</p> + +<hr style="width: 15%;" /> + +<p>On the ascent of the hill, just above the Piazza del Tritone, is the +noble <i>Barberini Palace</i>, built by Urban VIII. from designs of Carlo +Maderno, continued by Borromini, and finished by Bernini, in 1640. It is +screened from the<a name="vol_1_page_437" id="vol_1_page_437"></a> street by a magnificent railing between columns, +erected 1865—67, and if this railing could be continued, and the block +of houses towards the piazza removed, it would be far the most splendid +private palace in Rome.</p> + +<p>This immense building is a memorial of the magnificence and ambition of +Urban VIII. Its size is enormous, the smallest apartment in the palace +containing forty rooms. The Prince at present inhabits the right wing; +with him lives his elder brother the Duke, who abdicated the family +honours in his favour. In the left wing—occupied in the beginning of +this century by the ex-king (Charles VII.) and queen of Spain, and the +"Prince of Peace"—is the huge apartment of the late Cardinal Barberini, +now uninhabited. On this side is the grand staircase, upon which is +placed a lion in high relief, found on the family property at +Palestrina. It is before this lion that Canova is said to have lain for +hours upon the pavement, studying for his tomb of Clement XIII. in St. +Peter's. The <i>guarda-roba</i>, badly kept, contains many curious relics of +family grandeur; amongst them is a sedan-chair, painted by Titian.</p> + +<p>The <i>Library</i> (open on Thursdays from nine to two) contains a most +valuable collection of MSS., about 7000 in number, brought together by +Cardinal Francesco Barberini, nephew of Urban VIII. They include +collections of letters of Galileo, Bembo, and Bellarmine; the official +reports to Urban VIII., relating to the state of Catholicism in England +in the time of Charles I.; a copy of the Bible in the Samaritan +character; a Bible of the fourth century; several MSS. copies of Dante; +a missal illuminated by Ghirlandajo; and a book of sketches of ancient +Roman edifices, of 1465, by Giuliano de Sangallo,—most interesting<a name="vol_1_page_438" id="vol_1_page_438"></a> to +the antiquarian and architect, as preserving the forms of many public +buildings which have disappeared since that date. Among the 50,000 +printed books is a Hebrew Bible of 1788, one of the twelve known copies +of the complete edition of Soncino; a Latin Plato, by Ficino, with +marginal notes by Tasso and his father Bernardo; a Dante of 1477, with +notes by Bembo, &c.</p> + +<p>In the right wing is a huge <i>Hall</i> (adorned with second-rate statues), +with a grand ceiling by <i>Pietro da Cortona</i> (1596—1669), representing +"Il Trionfo della Gloria," the Forge of Vulcan, Minerva annihilating the +Titans, and other mythological subjects—much admired by Lanzi, and +considered by Kugler to be the most important work of the artist. Four +vast frescoes of the Fathers of the Church are preserved here, having +been removed from the dome of St. Peter's, where they were replaced with +mosaics by Urban VIII. Below are other frescoes by <i>Pietro da Cortona</i>, +a portrait of Urban VIII., and some tapestries illustrative of the +events of his reign and of his own intense self-esteem—thus the Virgin +and Angels are represented bringing in the ornaments of the papacy at +his coronation, &c. But the conceit of Pope Urban reaches its climax in +a room at the top of the house, which exhibits a number of the Barberini +bees (the family crest) flocking against the sun, and eclipsing it—to +typify the splendour of the family. The Will of Pope Urban VIII. is a +very curious document, providing against the extinction of the family in +every apparent contingency; this, however, now seems likely to take +place; the heir is a Sciarra. The pillars in front of the palace, and +all the surrounding buildings, teem with the bees of the Barberini, +which may also be seen on the Propaganda and<a name="vol_1_page_439" id="vol_1_page_439"></a> many other great Roman +edifices, and which are creeping up the robe of Urban VIII. in St. +Peter's.</p> + +<div class="blockquot"><p>"The Barberini were the last papal nephews who aspired to +independent principalities. Urban VIII., though he enriched them +enormously, appears to have been but little satisfied with them. He +used to complain that he had four relations who were fit for +nothing, the first, Cardinal Francesco, was a saint, and worked no +miracles: the second, Cardinal Antonio, was a monk, and had no +patience: the third, Cardinal Antonio the younger, was an orator +(<i>i.e.</i> an ambassador), and did not know how to speak: and the +fourth was a general, who could not draw a sword."—<i>Goethe, +Romische Briefe.</i></p></div> + +<p>On the right, on entering the palace, is the small <i>Collection of +Pictures</i> (open when the custode chooses to be there), indifferently +lodged for a building so magnificent. We may notice:—</p> + +<div class="blockquot"><p class="hang"><i>2nd Room.</i>—<br /> +34. Urban VIII.: <i>Andrea Sacchi</i>.<br /> +35. A Cardinal: <i>Titian</i>.<br /> +48. Madonna and Child, St. John, and St Jerome: <i>Francia</i>.<br /> +54. Madonna and Child: <i>Sodoma</i>.<br /> +58. Madonna and Child: <i>Giovanni Bellini</i>.<br /> +63. Daughter of Raphael Mengs: <i>Mengs</i>.<br /> +67. Portrait of himself: <i>Masaccio</i>.<br /> +74. Adam and Eve: <i>Domenichino</i>.<br /> +</p> + +<p class="hang"><i>3rd Room.</i>—<br /> +73. The "Schiava:" <i>Palma Vecchio</i>.<br /> + "The so-called Slave (a totally unmeaning name) is probably a mere +school picture, of grand beauty, but with too clumsy a style of +drapery, too cold an expression, and too brown a carnation for +Titian—to whom it is attributed."—<i>Kugler.</i><br /> +76. Castel Gandolfo: <i>Claude Lorraine</i>.<br /> + +78. Portrait: <i>Bronzino</i>.<br /> + +79. Christ among the Doctors—painted in five days, in 1506: +<i>Albert Durer</i>.<br /> + +81. "The mother of Beatrice Cenci"? <i>Caravaggio</i>.<br /> + +82. The Fornarina (with the painter's name on the armlet): +<i>Raphael</i>.<a name="vol_1_page_440" id="vol_1_page_440"></a></p> + +<p>"The history of this person, to whom Raphael was attached even to +his death, is obscure, nor are we very clear with regard to her +likenesses. In the tribune at Florence there is a portrait, +inscribed with the date 1512, of a very beautiful woman holding the +fur trimming of her mantle with her right hand, which is said to +represent her. The picture is decidedly by Raphael, but can hardly +represent the Fornarina; at least it has no resemblance to this +portrait, which has the name of Raphael on the armlet, and of the +authenticity of which (particularly with respect to the subject) +there can hardly be a doubt. In this the figure is seated, and is +uncovered to the waist; she draws a light drapery around her; a +shawl is twisted round her head. The execution is beautiful and +delicate, although the lines are sufficiently defined; the forms +are fine and not without beauty, but at the same time not free from +an expression of coarseness and common life. The eyes are large, +dark, and full of fire, and seem to speak of brighter days. There +are repetitions of this picture, from the school of Raphael, in +Roman galleries."—<i>Kugler.</i></p> + +<p class="hang"> <br />86. Death of Germanicus: <i>Poussin.</i><br /> +88. Seaport: <i>Claude Lorraine.</i><br /> +90. Holy Family: <i>Andrea del Sarto.</i><br /> +93. Annunciation: <i>Botticelli.</i></p> +</div> + +<p>But the interest of this collection centres entirely around two +portraits—that (81) of Lucrezia, the unhappy wife of Francesco Cenci, +by <i>Scipione Gaetani</i>, and that (85) of Beatrice Cenci, by <i>Guido Reni</i>.</p> + +<div class="blockquot"><p>"The portrait of Beatrice Cenci is most interesting as a just +representation of one of the loveliest specimens of the workmanship +of nature. There is a fixed and pale composure upon the features; +she seems sad and stricken down in spirit, yet the despair thus +expressed is lightened by the patience of gentleness. Her head is +bound with folds of white drapery, from which the yellow strings of +her golden hair escape, and fall about her neck. The moulding of +her face is exquisitely delicate; the eyebrows are distinct and +arched; the lips have that permanent meaning of imagination and +sensibility which suffering has not repressed, and which it seems +as if death scarcely could extinguish. Her forehead is large and +clear; her eyes, which we are told were remarkable for their +vivacity, are swollen with weeping, and lustreless, but beautifully +tender and serene. In the whole mien there is a simplicity and +dignity, which, united with her exquisite loveliness and deep +sorrow, is inexpressibly pathetic. Beatrice Cenci appears to have +been one of those<a name="vol_1_page_441" id="vol_1_page_441"></a> persons in whom energy and gentleness dwell +together without destroying one another; her nature simple and +profound. The crimes and miseries in which she was an actor and +sufferer, are as the mask and the mantle in which circumstances +clothed her for her impersonation on the scene of the +world."—<i>Shelley's Preface to the Cenci.</i></p></div> + +<div class="blockquot"><p>"The picture of Beatrice Cenci represents simply a female head; a +very youthful, girlish, perfectly beautiful face, enveloped in +white drapery, from beneath which strays a lock or two of what +seems a rich, though hidden luxuriance of auburn hair. The eyes are +large and brown, and meet those of the spectator, evidently with a +strange, ineffectual effort to escape. There is a little redness +about the eyes, very slightly indicated, so that you would question +whether or no the girl had been weeping. The whole face is very +quiet; there is no distortion or disturbance of any single feature; +nor is it easy to see why the expression is not cheerful, or why a +single touch of the artist's pencil should not brighten it into +joyousness. But, in fact, it is the very saddest picture ever +painted or conceived; it involves an unfathomable depth of sorrow, +the sense of which comes to the observer by a sort of intuition. It +is a sorrow that removes this beautiful girl out of the sphere of +humanity, and sets her in a far-off region, the remoteness of +which, while yet her face is so close before us,—makes us shiver +as at a spectre. You feel all the time you look at Beatrice, as if +she were trying to escape from your gaze. She knows that her sorrow +is so strange and immense, that she ought to be solitary for ever +both for the world's sake and her own; and this is the reason we +feel such a distance between Beatrice and ourselves, even when our +eyes meet hers. It is infinitely heart-breaking to meet her glance, +and to know that nothing can be done to help or comfort her, +neither does she ask help or comfort, knowing the hopelessness of +her case better than we do. She is a fallen angel—fallen and yet +sinless: and it is only this depth of sorrow with its weight and +darkness, that keeps her down to earth, and brings her within our +view even while it sets her beyond our reach."—<i>Hawthorne, +Transformation.</i></p></div> + +<div class="blockquot"><p>"The portrait of Beatrice Cenci is a picture almost impossible to +be forgotten. Through the transcendent sweetness and beauty of the +face, there is a something shining out that haunts me. I see it +now, as I see this paper, or my pen. The head is loosely draped in +white; the light hair falling down below the linen folds. She has +turned suddenly towards you; and there is an expression in the +eyes—although they are very tender and gentle—as if the wildness +of a momentary terror, or distraction, had been struggled with and +overcome, that instant; and<a name="vol_1_page_442" id="vol_1_page_442"></a> nothing but a celestial hope, and a +beautiful sorrow, and a desolate earthly helplessness remained. +Some stories say that Guido painted it the night before her +execution; some other stories, that he painted it from memory, +after having seen her on her way to the scaffold. I am willing to +believe that, as you see her on his canvas, so she turned towards +him, in the crowd, from the first sight of the axe, and stamped +upon his mind a look which he has stamped on mine as though I had +stood beside him in the concourse. The guilty palace of the Cenci: +blighting a whole quarter of the town, as it stands withering away +by grains: had that face, to my fancy, in its dismal porch, and at +its black blind windows, and flitting up and down its dreary +stairs, and growing out of the darkness of its ghostly galleries. +The history is written in the painting; written, in the dying +girl's face, by Nature's own hand. And oh! how in that one touch +she puts to flight (instead of making kin) the puny world that +claims to be related to her, in right of poor conventional +forgeries!"—<i>Dickens.</i></p></div> + +<div class="blockquot"><p>"Five days had been passed by Beatrice in the secret prisons of the +Torre Savella, when, at an early hour in the morning, her advocate, +Farinacci, entered her sad abode. With him appeared a young man of +about twenty-five years of age, dressed in the fashion of a writer +in the courts of justice of that day. Unheeded by Beatrice, he sat +regarding her at a little distance with fixed attention. She had +risen from her miserable pallet, but, unlike the wretched inmate of +a dungeon, she seemed a being from a brighter sphere. Her eyes were +of liquid softness, her forehead large and clear, her countenance +of angelic purity, mysteriously beautiful. Around her head a fold +of white muslin had been carelessly wrapped, from whence in rich +luxuriance fell her fair and waving hair. Profound sorrow imparted +an air of touching sensibility to her lovely features. With all the +eagerness of hope, she begged Farinacci to tell her frankly if his +visit foreboded good, and assured him of her gratitude for the +anxiety he evinced, to save her life and that of her family.</p> + +<p>"Farinacci conversed with her for some time, while at a distance +sat his companion, sketching the features of Beatrice. Turning +round, she observed this with displeasure and surprise; Farinacci +explained that this seeming writer was the celebrated painter, +Guido Reni, who, earnestly desiring her picture, had entreated to +be introduced into the prison for the purpose of obtaining so rich +an acquisition. At first unwilling, but afterwards consenting, she +turned and said, 'Signor Guido, your renown might make me desirous +of knowing you, but how will you undervalue me in my present +situation. From the fatality<a name="vol_1_page_443" id="vol_1_page_443"></a> that surrounds me, you will judge me +guilty. Perhaps my face will tell you I am not wicked; it will show +you, too, that I now languish in this prison, which I may quit, +only to ascend the scaffold. Your great name, and my sad story, may +make my portrait interesting, and,' she added, with touching +simplicity, 'the picture will awaken compassion if you write on one +of its angles the word, <i>innocente</i>.' The great artist set himself +to work, and produced the picture now in the Palazzo Barberini, a +picture that rivets the attention of every beholder, which, once +seen, ever after hovers over the memory with an interest the most +harrowing and mysterious."—<i>From "Beatrice Cenci, Storia del +Secolo XVI., Raccontata dal D.A.A., Firenze." Whiteside's +Translation.</i></p></div> + +<p>There is a pretty old-fashioned garden belonging to this palace, at one +corner of which—overhanging an old statue—was the celebrated +<i>Barberini Pine</i>, often drawn by artists from the Via Sterrata at the +back of the garden, where statue and pine combined well with the Church +of S. Caio; but, alas, this magnificent tree was cut down in 1872.</p> + +<p>At the back of the palace-court, behind the arched bridge leading to the +garden, is—let into the wall—an inscription which formed part of the +dedication of an arch erected to Claudius by the senate and people, in +honour of the conquest of Britain. The letters were inlaid with bronze. +It was found near the Palazzo Sciarra, where the arch is supposed to +have stood.</p> + +<p>Ascending to the summit of the hill, we find four ugly statues of +river-gods, lying over the <i>Quattro Fontane</i>, from which the street +takes its name.</p> + +<p>On the left is the <i>Palazzo Albani</i>, recently restored by Queen +Christina of Spain.</p> + +<div class="blockquot"><p>"In one of its rooms is a very ancient painting of Jupiter and +Ganymede, in a very uncommon style, uniting considerable grandeur +of conception, great force and decision, and a deep tone and colour +which produce great effect. It is said to be Grecian."—<i>Eaton's +Rome.</i></p></div> + +<p>The opposite church, <i>S. Carlo a Quattro Fontane</i>, is worth<a name="vol_1_page_444" id="vol_1_page_444"></a> observing +from the fact that the whole building, church and convent, corresponds +with one of the four piers supporting the cupola of St. Peter's. Here +was formed the point of attack against the Quirinal Palace, November 16, +1848, which caused the flight of Pius IX., and the downfall of his +government. From a window of this convent the shot was fired which +killed Monsignor Palma, one of the pontifical secretaries, and a writer +on ecclesiastical history—who had unfortunately exposed himself at one +of the windows opposite. The church contains two pictures by <i>Mignard</i> +relating to the history of S. Carlo.</p> + +<p>Turning down Via del Quirinale, on the left is <i>S. Andrea a Monte +Cavallo</i> (on the supposed site of the temple of Quirinus), erected, as +it is told by an inscription inside, by Camillo Pamphili, nephew of +Innocent X., from designs of Bernini. It has a Corinthian façade and a +projecting semicircular portico with Ionic columns. The interior is +oval. It is exceedingly rich, being almost entirely lined with red +marble streaked with white (Sicilian jasper), divided by white marble +pillars supporting a gilt cupola. The high altar—supposed to cover the +body of St. Zeno—between really magnificent pillars, is surmounted by a +fine picture, by <i>Borgognone</i>, of the crucifixion of St. Andrew. Near +this is the tomb, by <i>Festa</i>, of Emmanuel IV., king of Sardinia, who +abdicated his throne in 1802, to become a Jesuit monk in the adjoining +convent, where he died in 1818. On the right is the chapel of Santa +Croce, with three pictures of the passion and death of Christ by +<i>Brandini</i>; and that of St. Francis Xavier, with three pictures by +<i>Baciccio</i>, representing the saint preaching,—baptizing an Indian +queen,—and lying dead in the island of Sancian in China. On the<a name="vol_1_page_445" id="vol_1_page_445"></a> left +is the chapel of the Virgin, with pictures, by <i>David</i>, of the three +great Jesuit saints—St. Ignatius Loyola, St. Francis Borgia, and St. +Luigi Gonzaga—adoring the Virgin, and, by <i>Gerard de la Nuit</i>, of the +Adoration of the Shepherds and of the Magi; and lastly the chapel of S. +Stanislas Kostka, containing his shrine of gold and lapis-lazuli, under +an exceedingly rich altar, which is adorned with a beautiful picture by +<i>Carlo Maratta</i>, representing the saint receiving the Infant Jesus from +the arms of his mother. At the sides of the chapel are two other +pictures by <i>Maratta</i>, one of which represents S. Stanislas "bathing +with water his breast inflamed with divine love," the other his +receiving the host from the hands of an angel. These are the three +principal incidents in the story of the young S. Stanislas, who belonged +to a noble Polish family and abandoned the world to shut himself up +here, saying, "I am not born for the good things of this world; that +which my heart desires is the good things of eternity."</p> + +<div class="blockquot"><p>"I have long ago exhausted all my capacity of admiration for +splendid interiors of churches; but methinks this little, little +temple (it is not more than fifty or sixty feet across) has a more +perfect and gem-like beauty than any other. Its shape is oval, with +an oval dome, and above that another little dome, both of which are +magnificently frescoed. Around the base of the larger dome is +wreathed a flight of angels, and the smaller and upper one is +encircled by a garland of cherubs—cherub and angel all of pure +white marble. The oval centre of the church is walled round with +precious and lustrous marble, of a red-veined variety, interspersed +with columns and pilasters of white; and there are arches, opening +through this rich wall, forming chapels, which the architect seems +to have striven hard to make even more gorgeous than the main body +of the church. The pavement is one star of various tinted +marble."—<i>Hawthorne, Notes on Italy.</i></p></div> + +<p>The adjoining <i>Convent of the Noviciate of the Order of <a name="vol_1_page_446" id="vol_1_page_446"></a>Jesus</i> contains +the room in which S. Stanislas Kostka died, at the age of eighteen, with +his reclining statue by <i>Le Gros</i>, the body in white, his dress (that of +a novice) in black, and the couch upon which he lies in yellow marble. +Behind his statue is a picture of a celestial vision which consoled him +in his last moments. On the day of his death, November 13, the convent +is thrown open, and mass is said without ceasing in this chamber, which +is visited by thousands.</p> + +<div class="blockquot"><p>"La petite chambre de S. Stanislas Kostka, est un de ces lieux où +la prière naît spontanément dans le cœur, et s'en échappe comme +par un cours naturel."—<i>Veuillot, Parfum de Rome.</i><a name="FNanchor_233_233" id="FNanchor_233_233"></a><a href="#Footnote_233_233" class="fnanchor">[233]</a></p></div> + +<p>In the convent garden is shown the fountain where "the angels used to +bathe the breast of S. Stanislas burning with the love of Christ."</p> + +<p>Passing the Benedictine convent, with a courtyard containing an old +sarcophagus as a fountain, and a humble church decorated with rude +frescoes of St. Benedict and Sta. Scholastica, we reach a small and +popular church, rich in marbles, belonging to the <i>Perpetua Adoratrice +del Divin Sacramento del Altare</i>, founded by sister Maddalena of the +Incarnation, who died 1829, and is buried on the right of the entrance. +Here the low monotonous chant of the perpetual adoration may be +constantly heard.</p> + +<p>The <i>Piazza of the Monte Cavallo</i> has in its centre the red granite +obelisk (ninety-five feet high with its base) erected here by Antinori +in 1781, for Pius VI. It was originally brought from Egypt by Claudius, +<small>A.D.</small> 57, together with the obelisk now in front of Sta. Maria Maggiore, +and they were<a name="vol_1_page_447" id="vol_1_page_447"></a> both first placed at the entrance of the mausoleum of +Augustus. At its base are the colossal statues found in the baths of +Constantine, of the Dioscuri Castor and Pollux reining in their horses. +These statues give a name to the district. Their bases bear the names of +Phidias and Praxiteles, and though their claim to be the work of such +distinguished sculptors is doubtful, they are certainly of Greek origin. +Copies of these statues at Berlin have received the nicknames of +Gehemmter Fortschritt, and Beförderter Rückschritt,—Progress checked +and Retrogression encouraged.</p> + +<div class="blockquot"><p>"At the time when the <i>Mirabilia Romæ</i> were published, that is, +about the thirteenth century, these statues were believed to +represent the young philosophers, Praxiteles and Phidias, who came +to Rome during the reign of Tiberius, and promised to tell him his +most secret words and actions provided he would honour them with a +monument. Having performed their promise, they obtained these +statues, which represent them naked, because all human science was +naked and open to their eyes. From this fable, wild and absurd as +it is, we may nevertheless draw the inference that the statues had +been handed down from time immemorial as the works of Phidias and +Praxiteles, though those artists had in the lapse of ages been +metamorphosed into philosophers. May we not also assume the +existence of a tradition that the statues were brought to Rome in +the reign of Tiberius? In the middle ages the group appears to have +been accompanied by a statue of Medusa, sitting at their feet, and +having before her a shell. According to the text of the +<i>Mirabilia</i>, as given by Montfaucon in his <i>Diarium Italicum</i>, this +figure represented the Church. The snakes which surrounded her +typified the volumes of Scripture, which nobody could approach +unless he had first been washed—that is, baptized—in the water of +the shell. But the Prague MS. of the <i>Mirabilia</i> interprets the +female figure to represent Science, and the serpents to typify the +disputed questions with which she is concerned."—<i>Dyer's Hist. of +the City of Rome.</i></p></div> + +<div class="blockquot"><p>"L'imitation du grand style de Phidias est visible dans plusieurs +sculptures qu'il a inspirées, et surtout dans les colosses de +Castor et Pollux, domptant des chevaux, qui ont fait donner à une +partie du mont Quirinal le nom de <i>Monte Cavallo</i>.<a name="vol_1_page_448" id="vol_1_page_448"></a></p> + +<p>"Il ne faut faire aucune attention aux inscriptions qui attribuent +un des deux colosses à Phidias et l'autre à Praxitèle, Praxitèle +dont le style n'a rien à faire ici; son nom a été inscrit sur la +base de l'une des deux statues, comme Phèdre le reprochait déjà à +des faussaires du temps d'Auguste, qui croyaient augmenter le +mérite d'un nouvel ouvrage en y mettant le nom de Praxitèle. Quelle +que soit l'époque où les colosses de Monte Cavallo ont été +exécutés, malgré quelques différences, on doit affirmer que les +deux originaux étaient de la même école, de l'école de +Phidias."—<i>Ampère, Hist. Romaine</i>, iii. 252.</p></div> + +<div class="blockquot"><p>"Chacun des deux héros dompte d'une seule main un cheval fougueux +qui se cabre. Ces formes colossales, cette lutte de l'homme avec +les animaux, donnent, comme tous les ouvrages des anciens, une +admirable idée de la puissance physique de la nature +humaine."—<i>Mad. de Staël.</i></p></div> + +<div class="poem"><div class="stanza"> +<span class="i0">"Ye too, marvellous Twain, that erect on the Monte Cavallo<br /></span> +<span class="i0">Stand by your rearing steeds in the grace of your motionless movement,<br /></span> +<span class="i0">Stand with your upstretched arms and tranquil regardant faces,<br /></span> +<span class="i0">Stand as instinct with life in the might of immutable manhood,—<br /></span> +<span class="i0">O ye mighty and strange, ye ancient divine ones of Hellas."<br /></span> +<span class="i15"><i>A. H. Clough.</i><br /></span> +</div></div> + +<div class="blockquot"><p>"Before me were the two Monte Cavallo statues, towering +gigantically above the pygmies of the present day, and looking like +Titans in the act of threatening heaven. Over my head the stars +were just beginning to look out, and might have been taken for +guardian angels keeping watch over the temples below. Behind, and +on my left, were palaces; on my right, gardens, and hills beyond, +with the orange tints of sunset over them still glowing in the +distance. Within a stone's throw of me, in the midst of objects +thus glorious in themselves, and thus in harmony with each other, +was stuck an unplaned post, on which glimmered a paper lantern. +Such is Rome."—<i>Guesses at Truth.</i></p></div> + +<p>Close by is a fountain playing into a fine bason of Egyptian granite, +brought hither by Pius VII. from the Forum, where it had long been used +for watering cattle.</p> + +<p>On the left, is the <i>Palace of the Consulta</i>, built in 1730 by Clement +XII. (Corsini), from designs of Fuga. Before its gates, under the old +regime, some of the Papal Guardia Nobile were always to be seen sunning +themselves in a<a name="vol_1_page_449" id="vol_1_page_449"></a> uniform so resplendent that it could scarcely be +believed that the pay of this "noble guard" of the Pope amounted only to +£5 6<i>s.</i> 3<i>d.</i> a month!</p> + +<p>On the right, is the immense <i>Palace of the Quirinal</i>, which also +extends along one whole side of the street we have been pursuing.</p> + +<div class="blockquot"><p>"That palace-building, ruin-destroying pope, Paul IV., began to +erect the enormous palace on the Quirinal Hill; and the +prolongation of his labours, by a long series of successive +pontiffs, has made it one of the largest and ugliest buildings +extant."—<i>Eaton's Rome.</i></p></div> + +<div class="blockquot"><p>The chief, indeed almost the only, interest of this palace arises +from its having been the favourite residence of Pius VII. +(Chiaramonte). It was here that he was taken prisoner by the +French. General Radet forced his way into the pope's room on the +night of June 6, 1809, and, while excusing himself for being the +messenger, hastily intimated to the pontiff, in the name of the +emperor, that he must at once abdicate his temporal sovereignty. +Pius absolutely refused, upon which he was forced to descend the +staircase, and found a coach waiting at the entrance of the palace. +Here the pope paused, his face streaming with tears, and, standing +in the starlit piazza, solemnly extended his arms in benediction +over his sleeping people. Then he entered the carriage, followed by +Cardinal Pacca, and was hurried away to exile.... "Whirled away +through the heat and dust of an Italian summer's day, without an +attendant, without linen, without his spectacles—fevered and +wearied, he never for a moment lost his serenity. Cardinal Pacca +tells us, that when they had just started on this most dismal of +journeys, the pope asked him if he had any money. The secretary of +state replied that he had had no opportunity of providing himself. +'We then drew forth our purses,' continues the cardinal, 'and +notwithstanding the state of affliction we were in at being thus +torn away from Rome, and all that was dear to us, we could hardly +compose our countenances, on finding the contents of each purse to +consist—of the pope's, of a papetto (10<i>d.</i>), and of mine, of +three grossi (7½<i>d.</i>). We had precisely thirty-five baiocchi +between us. The pope, extending his hand, showed his papetto to +General Radet, saying, at the same time, 'Look here—this is all I +possess.'"<a name="FNanchor_234_234" id="FNanchor_234_234"></a><a href="#Footnote_234_234" class="fnanchor">[234]</a>.... Six years after, Napoleon was sent to St. +Helena, and Pius VII. returned in triumph to Rome!</p></div> + +<p>It was from this same palace that Pius IX.—who has never inhabited it +since—made his escape to Gaeta during the revolution of 1848, when the +siege of the Quirinal by the insurgents had succeeded in extorting the +appointment of a democratic ministry.</p> + +<div class="blockquot"><p>"On the afternoon of the 24th of November, the Duc d'Harcourt had +arrived at the Quirinal in his coach as ambassador of France, and +craved an audience of the sovereign. The guards wondered that he +stayed so long; but they knew not that he sat reading the +newspapers in the papal study, while the pope had retired to his +bed-room to change his dress. Here his major-domo, Filippani, had +laid out the black cassock and dress of an ordinary priest. The +pontiff took off his purple stole and white pontifical robe, and +came forth in the simple garb he had worn in his quiet youth. The +Duc d'Harcourt threw himself on his knees exclaiming, 'Go forth, +holy Father; divine wisdom inspires this counsel, divine power will +lead it to a happy end.' By secret passages and narrow staircases, +Pius IX. and his trusty servant passed unseen to a little door, +used only occasionally for the Swiss guards, and by which they were +to leave the palace. They reached it, and bethought them that the +key had been forgotten! Filippani hastened back to the papal +apartment to fetch it; and returning unquestioned to the wicket, +found the pontiff on his knees, and quite absorbed in prayer. The +wards were rusty, and the key turned with difficulty; but the door +was opened at last, and the holy fugitive and his servant quickly +entered a poor hackney coach that was waiting for them outside. +Here, again, they ran risk of being discovered through the +thoughtless adherence to old etiquette of the other servant, who +stood by the coach, and who, having let down the steps, knelt, as +usual, before he shut the door.</p> + +<p>"The pope wore a dark great coat over his priest's cassock, a +low-crowned round hat, and a broad brown woollen neckcloth outside +his straight Roman collar. Filippani had on his usual loose cloak; +but under this he carried the three-cornered hat of the pope, a +bundle of the most private and secret papers, the papal seals, the +breviary, the cross-embroidered slippers, a small quantity of +linen, and a little box full of gold medals stamped with the +likeness of his Holiness. From the inside of the carriage, he +directed the coachman to follow many winding and diverging streets, +in the hope of misleading the spies, who were known to swarm at +every corner. Beside the Church of SS. Pietro e Marcellino, in the +deserted quarter beyond the Coliseum, they found the Bavarian +minister, Count Spaur, waiting in his own private carriage,<a name="vol_1_page_451" id="vol_1_page_451"></a> and +imagining every danger which could have detained them so long. The +sovereign pressed the hand of his faithful Filippani, and entered +the Count's carriage. Silently they drove on through the old gate +of Rome,—Count Spaur having there shown the passport of the +Bavarian minister going to Naples on affairs of state.</p> + +<p>"Meanwhile the Duc d'Harcourt grew tired of reading the newspapers +in the pope's study; and when he thought that his Holiness must be +far beyond the walls of Rome, he left the palace, and taking +post-horses, hastened with all speed to overtake the fugitive on +the road to Civita Vecchia, whither he believed him to be flying. +As he left the study in the Quirinal, a prelate entered with a +large bundle of ecclesiastical papers, on which, he said, he had to +confer with the pope; then his chamberlain went in to read to him +his breviary, and the office of the day. The rooms were lighted up, +and the supper taken in as usual; and at length it was stated that +his Holiness, feeling somewhat unwell, had retired to rest; and his +attendants, and the guard of honour, were dismissed for the night. +It is true that a certain prelate, who chanced to see the little +door by which the fugitive had escaped into the street left open, +began to cry out, 'The pope has escaped! the pope has escaped!' But +Prince Gabrielli was beside him; and, clapping his hand upon the +mouth of the alarmist, silenced him in time, by whispering, 'Be +quiet, Monsignore; be quiet, or we shall be cut to pieces!'</p> + +<p>"Near La Riccia, the fugitives found Countess Spaur (who had +arranged the whole plan of the escape) waiting with a coach and six +horses—in which they pursued their journey to Gaeta, reaching the +Neapolitan frontier between five and six in the morning. The pope +throughout carried with him the sacrament in the pyx which Pius the +Seventh carried when he was taken prisoner to France, and which, as +if with prescience of what would happen, had been lately sent to +him as a memorial by the Bishop of Avignon."—<i>Beste.</i></p></div> + +<p>It is in the Quirinal Palace that the later conclaves have always met +for the election of the popes.</p> + +<div class="blockquot"><p>"In the afternoon of the last day of the novendiali, as they are +called, after the death of a pope, the cardinals assemble (at S. +Sylvestro a Monte Cavallo), and walk in procession, accompanied by +their conclavisti, a secretary, a chaplain, and a servant or two, +to the great gate of the royal residence, in which one will remain +as master and supreme lord. Of course the hill is crowded by +persons, lining the avenue kept open for the procession. Cardinals +never before seen by them, or not<a name="vol_1_page_452" id="vol_1_page_452"></a> for many years, pass before +them; eager eyes scan and measure them, and try to conjecture, from +fancied omens in eye, in figure, or in expression, who will be +shortly the sovereign of their fair city; and, what is much more, +the head of the Catholic Church, from the rising to the setting +sun. They all enter equal over the threshold of that gate: they +share together the supreme rule, spiritual and temporal: there is +still embosomed in them all, the voice yet silent, that will soon +sound from one tongue over all the world, and the dormant germ of +that authority which will soon again be concentrated in one man +alone. To-day they are all equal; perhaps to-morrow one will sit +enthroned, and all the rest will kiss his feet; one will be +sovereign, and others his subjects; one the shepherd, and the +others his flock.</p> + +<p class="c">* * * * * * +* * </p> + +<p>"From the Quirinal Palace stretches out, the length of a whole +street, an immense wing, divided in its two upper floors into a +great number of small but complete suites of apartments, occupied +permanently, or occasionally, by persons attached to the Court. +During conclave these are allotted, literally so, to the cardinals, +each of whom lives apart with his own attendants. His food is +brought daily from his own house, and is overhauled, and delivered +to him in the shape of 'broken victuals,' by the watchful guardians +of the <i>turns</i> and lattices, through which alone anything, even +conversation, can penetrate into the seclusion of that sacred +retreat. For a few hours, the first evening, the doors are left +open, and the nobility, the diplomatic body, and, in fact, all +presentable persons, may roam from cell to cell, paying a brief +compliment to its occupant, perhaps speaking the same good wishes +to fifty, which they know can only be accomplished in one. After +that, all is closed; a wicket is left accessible for any cardinal +to enter, who is not yet arrived; but every aperture is jealously +guarded by faithful janitors, judges and prelates of various +tribunals, who relieve one another. Every letter even is opened and +read, that no communications may be held with the outer world. The +very street on which the wing of the conclave looks is barricaded +and guarded by a picquet at each end; and as, fortunately, opposite +there are no private residences, and all the buildings have access +from the back, no inconvenience is thereby created.... In the mean +time, within, and unseen from without, <i>fervet opus</i>.</p> + +<p>"Twice a day the cardinals meet in the chapel belonging to the +palace, included in the enclosure, and there, on tickets so +arranged that the voter's name cannot be seen, write the name of +him for whom they give their suffrage. These papers are examined in +their presence, and if the number of votes given to any one do not +constitute the majority, they are burnt in such a manner that the +smoke, issuing through a flue, is<a name="vol_1_page_453" id="vol_1_page_453"></a> visible to the crowd usually +assembled in the square outside. Some day, instead of this usual +signal to disperse, the sound of pick and hammer is heard, a small +opening is seen in the wall which had temporarily blocked up the +great window over the palace gateway. At last the masons of the +conclave have opened a rude door, through which steps out on the +balcony the first Cardinal Deacon, and proclaims to the many, or to +the few, who may happen to be in waiting, that they again possess a +sovereign and a pontiff."—<i>Cardinal Wiseman.</i></p></div> + +<div class="blockquot"><p>"Sais-tu ce que c'est qu'un conclave? Une réunion de vieillards, +moins occupés du ciel que de la terre, et dont quelques-uns se font +plus maladifs, plus goutteux, et plus cacochymes qu'ils ne le sont +encore, dans l'espérance d'inspirer un vif interêt à leurs +partisans. Grand nombre d'éminences ne renonçant jamais à la +possibilité d'une élection, le rival le plus près de la tombe +excite toujours le moins de répugnance. Un rhumatisme est ici un +titre à la confiance; l'hydropisie a ses partisans: car l'ambition +et la mort comptent sur les mêmes chances. Le cercueil sert comme +de marchepied au trône; et il y a tel pieux candidat qui +négocierait avec son concurrent, si la durée du nouveau règne +pouvait avoir son terme obligatoire comme celui d'un effet de +commerce. Eh! ne sais-tu pas toi-même que le pâtre d'Ancône brûla +gaiement ses béquilles dès qu'il eut ceint la tiare; et que Léon +X., élu à trente-huit ans, avait eu grand soin de ne guérir d'un +mal mortel que le lendemain de son couronnement?"—<i>Lorenzo +Ganganelli (Clement XIV.) à Carlo Bertinazzi, Avril 16, 1769.</i></p></div> + +<p>Under the rule of the Popes the palace was shown from 12 <small>A.M.</small> to 4 <small>P.M.</small> +on presentation of a ticket, which could easily be obtained through a +banker. It was stripped of all historical memorials and contained very +few fine pictures, so was little worth visiting. Since the winter of +1870—71 the palace has been appropriated as the residence of the +Sardinian Royal Family.</p> + +<p>On the landing of the principal staircase, in a bad light, is a very +important fresco by <i>Melozzo da Forli</i>, a rare master of the Paduan +school.<a name="FNanchor_235_235" id="FNanchor_235_235"></a><a href="#Footnote_235_235" class="fnanchor">[235]</a><a name="vol_1_page_454" id="vol_1_page_454"></a></p> + +<div class="blockquot"><p>"On the vaulted ceiling of a chapel in the Church of the SS. +Apostoli at Rome, Melozzo executed a work (1472) which, in those +times, can have admitted of comparison with few. When the chapel +was rebuilt in the eighteenth century some fragments were saved. +That comprehending the Creator between angels was removed to a +staircase in the Quirinal palace, while single figures of angels +were placed in the sacristy of St. Peter's. These detached portions +suffice to show a beauty and fulness of form, and a combination of +earthly and spiritual grandeur, comparable in their way to the +noblest productions of Titian, although in mode of execution rather +recalling Coreggio. Here, as in the cupola frescoes of Coreggio +himself, half a century later, we trace that constant effort at +true perspective of the figure, hardly in character, perhaps, with +high ecclesiastical art; the drapery, also, is of a somewhat +formless description; but the grandeur of the principal figure, the +grace and freshness of the little adoring cherubs, and the elevated +beauty of the angels are expressed with an easy naïveté, to which +only the best works of Mantegna and Signorelli can +compare."—<i>Kugler.</i></p></div> + +<p>Passing through a great hall, one hundred and ninety feet long, we are +shown a number of rooms fitted up by Pius VII. and Gregory XVI. for the +papal summer residence. They contain few objects of interest. In one +chamber is a Last Supper by <i>Baroccio</i>;—in the next a fine tapestry +representing the marriage of Louis XIV. The following rooms contain some +good Gobelin tapestries.</p> + +<p>Several apartments have mosaic pavements, brought hither from pagan +edifices. The chamber is shown in which Pius VII. died,—the bed has +been changed. In the next room—an audience chamber—he was taken +prisoner. Here is a curious ancient pietra-dura of the +Annunciation,—the ceiling is painted by Overbeck. In one of the +following rooms are some pictures, including—</p> + +<p class="c">S. Giorgio: <i>Pordenone</i>.</p> + +<div class="blockquot"><p>"One picture especially attracted me at the Quirinal; a St. George, +the conqueror of the dragon, and deliverer of the maiden. No one<a name="vol_1_page_455" id="vol_1_page_455"></a> +could tell me the name of the master, till a modest little man +stepped forward, and told me the picture was by Pordenone the +Venetian, one of his best works, showing all his merits. This quite +explained my liking for it; the picture had struck me, because +being best acquainted with the Venetian school, I could best +appreciate the merits of one of its masters."—<i>Goethe, Romische +Briefe.</i></p></div> + +<p class="nind"> +<span style="margin-left: 2em;">Marriage of S. Catherine: <i>Battoni</i>.</span><br /> +<span style="margin-left: 2em;">St. Peter and St. Paul: <i>Fra Bartolomeo</i>.</span><br /> +</p> + +<div class="blockquot"><p>"The two standing figures of St. Peter and St. Paul, as large as +life, were executed during a short residence in Rome. The first was +completed by Raphael after Fra Bartolomeo's departure."—<i>Kugler.</i></p></div> + +<p>The room which is decorated with a fine modern tapestry of the martyrdom +of St. Stephen, has a plaster frieze, being the original cast of the +Triumph of Alexander the Great, modelled for Napoleon by <i>Thorwaldsen</i>. +One of the last rooms shown is a kind of picture gallery. Among the best +works here are:—</p> + +<p class="nind"> +<span style="margin-left: 2em;">Saul and David: <i>Guercino</i>.</span><br /> +<span style="margin-left: 2em;">Ecce Homo: <i>Domenichino</i>.</span><br /> +<span style="margin-left: 2em;">St. Jerome: <i>Spagnoletto</i>.</span><br /> +<span style="margin-left: 2em;">The Flight into Egypt: <i>Baroccio</i>.</span><br /> +</p> + +<p>Here also is a worthless picture of the Battle of Mentana, presented to +Pius IX. by the English Catholic ladies.</p> + +<p>The <i>Private Chapel of the Pope</i>, opening from this gallery, contains a +magnificent picture of the Annunciation by <i>Guido</i>, and frescoes of the +life of the Virgin by <i>Albani</i>. The great hall of the Consistory, a bare +room with benches, has a fresco of the Virgin and Child by <i>Carlo +Maratta</i>, over an altar.</p> + +<p>The <i>Gardens of the Quirinal</i> can be visited with an order from 8 to 12 +<small>A.M.</small> They are in the stiff style of box hedges and clipped avenues, +which seems to belong especially<a name="vol_1_page_456" id="vol_1_page_456"></a> to Rome, and which we know to have +been popular here even in imperial times. Pliny, in his account of his +Tusculan villa, describes his gardens decorated with "figures of +different animals, cut in box: evergreens clipped into a thousand +different shapes; sometimes into letters forming different names; walls +and hedges of cut box, and trees twisted into a variety of forms." But +the Quirinal gardens are also worth visiting, on account of the many +pretty glimpses they afford of St. Peter's and other distant buildings, +and the oddity of some of the devices—an organ played by water, &c. The +Casino, built by Fuga, has frescoes by <i>Orizonti</i>, <i>Pompeo Battoni</i>, and +<i>Pannini</i>.</p> + +<p>If we turn to the left on issuing from the palace, we reach—on the +left—the entrance to the courtyard of the vast <i>Palazzo Rospigliosi</i>, +built by Flaminio Ponzio, in 1603, for Cardinal Scipio Borghese, on a +portion of the site of the Baths of Constantine. It was inhabited by +Cardinal Bentivoglio, and sold by him to Cardinal Mazarin, who enlarged +it from designs of Carlo Maderno. From his time to 1704 it was inhabited +by French ambassadors, and it then passed to the Rospigliosi family. The +present Prince Rospigliosi inhabits the second floor, his brother, +Prince Pallavicini, the first.</p> + +<p>The palace itself (well known from its hospitalities) is not shown, but +the <i>Casino</i> is open on Wednesdays and Saturdays. It is situated at the +end of a very small but pretty garden planted with magnolias, and +consists of three chambers. On the roof of the central room is the +famous Aurora of Guido.</p> + +<div class="blockquot"><p>"Guido's Aurora is the very type of haste and impetus; for surely +no man ever imagined such hurry and tumult, such sounding and +clashing.<a name="vol_1_page_457" id="vol_1_page_457"></a> Painters maintain that it is lighted from two +sides,—they have my full permission to light theirs from three if +it will improve them, but the difference lies +elsewhere."—<i>Mendelssohn's Letters</i>, p. 91.</p></div> + +<div class="blockquot"><p>"This is the noblest work of Guido. It is embodied poetry. The +Hours, that hand in hand encircle the car of Phœbus, advance +with rapid pace. The paler, milder forms of those gentle sisters +who rule over declining day, and the glowing glance of those who +bask in the meridian blaze, resplendent in the hues of heaven,—are +of no mortal grace and beauty; but they are eclipsed by Aurora +herself, who sails on the golden clouds before them, shedding +'showers of shadowing roses' on the rejoicing earth; her celestial +presence diffusing gladness, and light, and beauty around. Above +the heads of the heavenly coursers, hovers the morning star, in the +form of a youthful cherub, bearing his flaming torch. Nothing is +more admirable in this beautiful composition than the motion given +to the whole. The smooth and rapid step of the circling Hours as +they tread on the fleecy clouds; the fiery steeds; the whirling +wheels of the car; the torch of Lucifer, blown back by the velocity +of his advance; and the form of Aurora, borne through the ambient +air, till you almost fear she should float from your +sight."—<i>Eaton's Rome.</i></p></div> + +<div class="blockquot"><p>"The work of Guido is more poetic than that of Guercino, and +luminous, and soft, and harmonious. Cupid, Aurora, Phœbus, form +a climax of beauty, and the Hours seem as light as the clouds on +which they dance."—<i>Forsyth.</i></p></div> + +<div class="blockquot"><p>Lanzi points out that Guido always took the Venus de Medici and the +Niobe as his favourite models, and that there is scarcely one of +his large pictures in which the Niobe or one of her sons is not +introduced, yet with such dexterity, that the theft is scarcely +perceptible.</p></div> + +<p>The frescoes of the frieze are by <i>Tempesta;</i> the landscapes by <i>Paul +Brill</i>. In the hall are busts, statues, and a bronze horse found in the +ruins of the Baths.</p> + +<p>There is a small collection of pictures—the only work of real +importance being the beautiful <i>Daniele di Volterra</i> of our Saviour +bearing his cross, in the room on the left. In the same room are two +large pictures, David triumphing<a name="vol_1_page_458" id="vol_1_page_458"></a> with the head of Goliath, +<i>Domenichino</i>; and Perseus rescuing Andromeda, <i>Guido</i>. In the room on +the right are, Adam gathering fig-leaves for Eve, in a Paradise which is +crowded with animals like a menagerie, <i>Domenichino</i>; and Samson pulling +down the pillars upon the Philistines, <i>Ludovico Caracci</i>.</p> + +<p>A second small garden belonging to this palace is well worth seeing in +May from the wealth of camellias, azaleas, and roses, with which it is +filled.</p> + +<p>Opposite the Rospigliosi Palace, by ringing at a gate in the wall, we +gain admission to the <i>Colonna Gardens</i> (connected with the palace in +the Piazza SS. Apostoli, by a series of bridges across the intervening +street). Here, on a lofty terrace which has a fine view towards the +Capitol, and overshadowed by grand cypresses, are the colossal remains +of the <i>Temple of the Sun</i> (huge fragments of cornice) built by Aurelian +(<small>A.D.</small> 270—75). At the other end of the terrace, looking down through +two barns into a kind of pit, we can see some remains of the <i>Baths of +Constantine</i>—built <small>A.D.</small> 326—and of the great staircase which led up to +them from the valley below. The portico of these baths remained erect +till the time of Clement XII. (1730—40), and was adorned with four +marble statues, of which two—those of the two Constantines—may now be +seen on the terrace of the Capitol.</p> + +<p>Beneath the magnificent cypress-trees on the slope of the hill are +several fine sarcophagi. Only the stem is preserved of the grand +historical pine-tree, which was planted on the day on which Cola di +Rienzi died, and which was one of the great ornaments of the city till +1848, when it was broken in a storm.<a name="vol_1_page_459" id="vol_1_page_459"></a></p> + +<p>Just beyond the end of the garden, are the great <i>Convent</i> and <i>Church +of S. Silvestro a Monte Cavallo</i>—belonging to the Missionaries of St. +Vincent de Paul—in which the Cardinals meet before going in procession +to the Conclave. It contains a few rather good pictures. The cupola of +the second chapel has frescoes by <i>Domenichino</i>, of David dancing before +the Ark,—the Queen of Sheba and Solomon,—Judith with the head of +Holofernes,—and Esther fainting before Ahasueras. These are considered +by Lanzi as some of the finest frescoes of the master. In the left +transept is a chapel containing a picture of the Assumption, painted on +slate, considered the masterpiece of <i>Scipione Gaetani</i>. The last chapel +but one on the left has a ceiling by <i>Cav. d'Arpino</i>, and frescoes on +the walls by <i>Polidoro da Caravaggio</i>. The picture over the altar, +representing St. Dominic and St. Catherine of Siena, is by <i>Mariotto +Albertinelli</i>. Cardinal Bentivoglio—who wrote the history of the wars +in Flanders, and lived in the Rospigliosi Palace—is buried here.</p> + +<p>We now reach the height of Maganaopoli, from which the isthmus which +joined the Quirinal to the Capitoline was cut away by Trajan. Here is a +cross-ways. On the right is a descent to the Forum of Trajan, at the +side of which is the villa of Cardinal Antonelli, and beyond it, the +handsome modern palace of Count Trapani, cousin to the King of Naples.</p> + +<p>Opposite, is the <i>Church of Sta. Caterina di Siena</i>, possessing some +frescoes attributed, on doubtful grounds, to the rare master <i>Timoteo +della Vite</i>. Adjoining, is a large convent, enclosed within the +precincts of which is the tall brick mediæval tower, sometimes called +the Tower of Nero,<a name="vol_1_page_460" id="vol_1_page_460"></a> but generally known as the <i>Torre delle Milizie</i>, +<i>i.e.</i> the Roman Militia. It was erected by the sons of Peter Alexius, a +baron attached to the party of the Senator Pandolfo de Suburra. The +lower part is said to have been built in 1210, the upper in 1294 and +1330.</p> + +<div class="blockquot"><p>"People pass through two regular courses of study at Rome,—the +first in learning, and the second in unlearning.</p> + +<p>"'This is the tower of Nero, from which he saw the city in +flames,—and this is the temple of Concord,—and this is the temple +of Castor and Pollux,—and this is the temple of Vesta,—and these +are the baths of Paulus-Æmilius,'—and so on, says your lacquey.</p> + +<p>"'This is not the tower of Nero,—nor that the temple of Castor and +Pollux,—nor the other the temple of Concord,—nor are any of these +things what they are called,' says your antiquary."—<i>Eaton's +Rome.</i></p></div> + +<p>The Convent of Sta. Caterina was built by the celebrated Vittoria +Colonna, who requested the advice of Michael Angelo on the subject, and +was told that she had better make the ancient "Torre" into a belfry. A +very curious account of the interview in which this subject was +discussed, and which took place in the Church of S. Silvestro a Monte +Cavallo, is left us in the memoirs of Francesco d'Olanda, a Portuguese +painter, who was himself present at the conversation.</p> + +<p>Near this point are two other fine mediæval towers. One is to the right +of the descent to the Forum of Trajan, being that of the Colonnas, now +called <i>Tor di Babele</i>, ornamented with three beautiful fragments of +sculptured frieze, one of them bearing the device of the Colonna, a +crowned column rising from a wreath. The other tower, immediately facing +us, is called <i>Torre del Grillo</i>, from the ancient family of that name.<a name="vol_1_page_461" id="vol_1_page_461"></a></p> + +<p>Opposite Sta. Caterina is the handsome <i>Church of SS. Domenico e Sisto</i>, +approached by a good double twisted staircase. Over the second altar on +the left is a picture of the marriage of St. Catherine by <i>Allegrani</i>, +and, on the anniversary of her (visionary) marriage (July 19), the dried +hand of the saint is exhibited here to the unspeakable comfort of the +faithful.</p> + +<p>Turning by this church into the Via Maganaopoli (formerly Baganaopoli, a +corruption of Balnea Pauli—Baths of Emilius Paulus), we pass on the +left the <i>Palazzo Aldobrandini</i>, with a bright pleasant-looking court +and handsome fountain. The present Prince Aldobrandini is brother of +Prince Borghese. Of this family was S. Pietro Aldobrandini, generally +known as S. Pietro Igneo, who was canonized because, in 1067, he walked +unhurt, crucifix in hand, through a burning fiery furnace ten feet long +before the church door of Settimo, near Florence, to prove an accusation +of simony which he had brought against Pietro di Pavia, bishop of that +city.</p> + +<p>In the Via di Mazzarini, in the hollow between the Quirinal and Viminal, +is the <i>Convent of Sta. Agata in Suburra</i>, through the courtyard of +which we enter the <i>Church of Sta. Agata dei Goti</i>. A tradition declares +that this (like S. Sabba on the Aventine) is on the site of a house of +Sta. Silvia, mother of St. Gregory the Great, who consecrated the church +after it had been plundered by the Goths, and dedicated it to Sta. +Agata. It was rebuilt by Ricimer, the king-maker, in <small>A.D.</small> 472. Twelve +ancient granite columns and a handsome opus-alexandrinum pavement are +its only signs of antiquity. The church now belongs to the Irish +Seminary. In the left aisle is the<a name="vol_1_page_462" id="vol_1_page_462"></a> monument of Daniel O'Connell, with +bas-reliefs by Benzoni, inscribed:—</p> + +<div class="blockquot"><p>"This monument contains the heart of O'Connell, who dying at Genoa +on his way to the Eternal City, bequeathed his soul to God, his +body to Ireland, and his heart to Rome. He is represented at the +bar of the British House of Commons in MDCCCXXIII., when he refused +to take the anti-catholic declaration, in these remarkable +words—'I at once reject this declaration; part of it I believe to +be untrue, and the rest I know to be false.' He was born vi. Aug. +MDCCLXXVI., and died xv. May, MDCCCXLVIII. Erected by Charles +Bianconi, the faithful friend of the immortal liberator, and of +Ireland the land of his adoption."</p></div> + +<p>At the end of the left aisle is a chapel, which Cardinal Antonelli (who +has his palace near this) decorated, 1863, with frescoes and arabesques +as a burial-place for his family. In the opposite chapel is a gilt +figure of Sta. Agata carrying her breasts—showing the manner in which +she suffered.</p> + +<div class="blockquot"><p>"Agatha was a maiden of Catania, in Sicily, whither Decius the +emperor sent Quintianus as governor. He, inflamed by the beauty of +Agatha, tempted her with rich gifts and promises, but she repulsed +him with disdain. Then Quintianus ordered her to be bound and +beaten with rods, and sent two of his slaves to tear her bosom with +iron shears, and as her blood flowed forth, she said to him, 'O +thou cruel tyrant! art thou not ashamed to treat me thus—hast thou +not thyself been fed at thy mother's breasts?' Thus only did she +murmur. And in the night a venerable man came to her, bearing a +vase of ointment, and before him walked a youth bearing a torch. It +was the holy apostle Peter, and the youth was an angel; but Agatha +knew it not; though such a glorious light filled the prison, that +the guards fled in terror.... Then St. Peter made himself known and +ministered to her, restoring with heavenly balm her wounded +breasts.</p> + +<p>"Quintianus, infuriated, demanded who had healed her. She replied, +'He whom I confess and adore with heart and lips, he hath sent his +apostle who hath healed me.' Then Quintianus caused her to be +thrown bound upon a great fire, but instantly an earthquake arose, +and the people in terror cried, 'This visitation is sent because of +the sufferings<a name="vol_1_page_463" id="vol_1_page_463"></a> of the maiden Agatha.' So he caused her to be taken +from the fire, and carried back to prison, where she prayed aloud +that having now proved her faith, she might be freed from pain and +see the glory of God;—and her prayer was answered and her spirit +instantly departed into eternal glory, Feb. 5, <small>A.D.</small> 251."—<i>From +the "Legende delle SS. Vergini."</i></p></div> + +<p>Agatha (patroness of Catania) is one of the saints most reverenced by +the Roman people. On the 5th of February her vespers are sung here, +which contain the antiphons:—</p> + +<div class="blockquot"><p>"Who art thou that art come to heal my wounds?—I am an apostle of +Christ, doubt not concerning me, my daughter.</p> + +<p>"Medicine for the body have I never used; but I have the Lord Jesus +Christ, who with his word alone restoreth all things.</p> + +<p>"I render thanks to thee, O Lord Jesus Christ, for that thou hast +been mindful of me, and hast sent thine apostle to heal my wounds.</p> + +<p>"I bless thee, O Father of my Lord Jesus Christ, because through +thine apostle thou hast restored my breasts to me.</p> + +<p>"Him who hath vouchsafed to heal me of every wound, and to restore +to me my breasts, him do I invoke, even the living God.</p> + +<p class="c">* * * * * * * </p> + +<p>"Blessed Agatha, standing in her prison, stretched forth her hands +and prayed unto the Lord, saying, 'O Lord Jesus Christ, my good +master, I thank thee because thou hast given me strength to +overcome the tortures of the executioners; and now, Lord, speak the +word, that I may depart hence to thy glory which fadeth not away."</p></div> + +<p>The tomb of John Lascaris (a refugee from Constantinople when taken by +the Turks) has—in Greek—the inscription:—</p> + +<div class="blockquot"><p>"Lascaris lies here in a foreign grave; but, stranger, that does +not disturb him, rather does he rejoice; yet he is not without +sorrow, as a Grecian, that his fatherland will not bestow upon him +the freedom of a grave."</p></div> + +<p>Passing the great Convent of S. Bernardino Senensis, we reach the Via +dei Serpenti, interesting as occupying<a name="vol_1_page_464" id="vol_1_page_464"></a> the supposed site of the Vallis +Quirinalis, where Julius Proculus, returning from Alba Longa, +encountered the ghost of Romulus:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Sed Proculus Longâ veniebat Julius Albâ;<br /></span> +<span class="i2">Lunaque fulgebat; nec facis usus erat:<br /></span> +<span class="i0">Cum subito motu nubes crepuere sinistræ:<br /></span> +<span class="i2">Retulit ille gradus, horrueruntque comæ.<br /></span> +<span class="i0">Pulcher, et humano major, trabeâque decorus,<br /></span> +<span class="i2">Romulus in mediâ visus adesse viâ."<br /></span> +<span class="i15"><i>Ovid, Fast.</i> ii. 498.<br /></span> +</div></div> + +<p>Turning to the right down the Via dei Serpenti, we reach the Piazza Sta. +Maria in Monti, containing a fountain, and a church dedicated to SS. +Sergius and Bacchus, two martyrs who suffered under Maximian at Rasapha +in Syria.</p> + +<p>One side of this piazza is occupied by the <i>Church of Sta. Maria in +Monti</i>, in which is deposited a figure of the beggar Labre (canonized by +Pius IX. in 1860), dressed in the gown of a mendicant-pilgrim, which he +wore when living. Over the altar is a picture of him in the Coliseum, +distributing to his fellow-beggars the alms which he had obtained. His +fête is observed here on April 16. (At No. 3 Via dei Serpenti, one may +visit the chamber in which Labre died—and in the Via dei Crociferi, +near the fountain of Trevi, a chapel containing many of his relics,—the +bed on which he died, the crucifix which he wore in his bosom, &c.)</p> + +<div class="blockquot"><p>"Benoît Joseph Labre naquit en 1748 dans le diocèse de Boulogne +(France) de parents chrétiens et jouissant d'une modeste aisance. +D'une piété vive et tendre, il voulut d'abord se faire religieux; +mais sa santé ne put résister, ni aux règles des Chartreux, ni à +celles des Trappistes, chez lesquels il entra successivement. <i>Il +fut alors sollicité intérieurement</i>, est il dit dans la notice sur +sa vie, <i>de mener une vie de pénitence et de charité au milieu du +siècle</i>. Pendant sept années, il parcourut en<a name="vol_1_page_465" id="vol_1_page_465"></a> pèlerin-mendiant, +les sanctuaires de la Vierge les plus vénérés de toute l'Europe; on +a calculé qu'il fit, à pied, plus de cinq mille lieues, pendant ces +sept années.</p> + +<p>"En 1777, il revint en Italie, pour ne plus en sortir. Il habitait +Rome, faisant seulement une fois chaque année, le pèlerinage de +Lorète. Il passait une grande partie de ses journées dans les +églises, mendiait, et faisait des œuvres de charité. Il couchait +quelquefois sous le portique des églises, et le plus souvent au +Colysée derrière la petite chapelle de la cinquième station du +chemin de la croix. L'église qu'il fréquentait le plus, était celle +de Ste. Marie des Monts; le 16 Avril, 1783, après y avoir prié fort +longtemps, en sortant, il tomba, comme évanoui, sur les marches du +péristyle de l'église. On le transporta dans une maison voisine, où +il mourut le soir."—<i>Une Année à Rome.</i></p></div> + +<p>Almost opposite this church, a narrow alley, which appears to be a +<i>cul-de-sac</i> ending in a picture of the Crucifixion, is in reality the +approach to the carefully concealed <i>Convent of the Farnesiani Nuns</i>, +generally known as the <i>Sepolte Vive</i>. The only means of communicating +with them is by rapping on a barrel which projects from a wall on a +platform above the roofs of the houses,—when a muffled voice is heard +from the interior,—and if your references are satisfactory, the barrel +turns round and eventually discloses a key by which the initiated can +admit themselves to a small chamber in the interior of the convent. Over +its door is an inscription, bidding those who enter that chamber to +leave all worldly thoughts behind them. Round the walls are +inscribed,—"Qui non diligit, manet in morti."—"Militia est vita +hominis super terram."—"Alter alterius onera portate"; and, on the +other side, opposite the door,</p> + +<p><a name="vol_1_page_466" id="vol_1_page_466"></a></p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Vi esorto a rimirar<br /></span> +<span class="i2">La vita del mondo<br /></span> +<span class="i0">Nella guisa che la mira<br /></span> +<span class="i2">Un moribondo."<br /></span> +</div></div> + +<p>In one of the walls is an opening with a double grille, beyond which is +a metal plate, pierced with holes like the rose of a watering-pot. It is +beyond this grille and behind this plate, that the abbess of the Sepolte +Vive receives her visitors, but she is even then veiled from head to +foot in heavy folds of thick bure. Gregory XVI., who of course could +penetrate within the convent and who wished to try her, said, "Sorella +mia, levate il velo." "No, mio padre," she replied, "E vietato dalla +nostra regola."</p> + +<p>The nuns of the Sepolte Vive are never seen again after they once assume +the black veil, though they are allowed double the ordinary noviciate. +They never hear anything of the outer world, even of the deaths of their +nearest relations. Daily, they are said to dig their own graves and lie +down in them, and their remaining hours are occupied in perpetual and +monotonous adoration of the Blessed Sacrament.</p> + +<p>Returning as far as the Via Pane e Perna (a continuation of the Via +Maganaopoli) we ascend the slope of the <i>Viminal Hill</i>, now with +difficulty to be distinguished from the Quirinal. It derives its name +from <i>vimina</i>, osiers, and was once probably covered with woods, since a +temple of Sylvanus or Pan was one of several which adorned its principal +street—the Vicus Longus—the site of which is now marked by the +countrified lane called Via S. Vitale. This end of the hill is crowned +by the <i>Church of S. Lorenzo Pane e Perna</i>, built on the site of the +martyrdom of the deacon St. Laurence, who suffered under Claudius II., +in <small>A.D.</small> 264, for refusing to give up the goods of the Church. Over the +altar is a huge fresco, representing the saint extended upon a red-hot +gridiron, and below—entered from the exterior of<a name="vol_1_page_467" id="vol_1_page_467"></a> the church—a crypt +is shown as the scene of his cruel sufferings.<a name="FNanchor_236_236" id="FNanchor_236_236"></a><a href="#Footnote_236_236" class="fnanchor">[236]</a></p> + +<div class="blockquot"><p>"Blessed Laurentius, as he lay stretched and burning on the +gridiron, said to the impious tyrant, 'The meat is done, make haste +hither and eat. As for the treasures of the Church which you seek, +the hands of the poor have carried them to a heavenly +treasury.'"—<i>Antiphon of St. Laurence.</i></p></div> + +<p>The funeral of St. Bridget of Sweden took place in this church, July +1373, but after resting here for a year, her body was removed by her son +to the monastery of Wastein in Sweden.</p> + +<p>Under the second altar on the right are shown the relics of St. Crispin +and St. Crispinian, "two holy brothers, who departed from Rome with St. +Denis to preach the Gospel in France, where, after the example of St. +Paul, they laboured with their hands, being by trade shoemakers. And +these good saints made shoes for the poor without fee or reward (for +which the angels supplied them with leather), until, denounced as +Christians, they suffered martyrdom at Soissons, being, after many +tortures, beheaded by the sword (<small>A.D.</small> 300)."<a name="FNanchor_237_237" id="FNanchor_237_237"></a><a href="#Footnote_237_237" class="fnanchor">[237]</a> The festival of St. +Crispin and St. Crispinian is held on October 25, the anniversary of the +battle of Agincourt.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"And Crispin Crispian shall ne'er go by,<br /></span> +<span class="i0">From this day to the ending of the world,<br /></span> +<span class="i0">But we in it shall be remembered."<br /></span> +<span class="i15"><i>Shakespeare, Henry V.</i><br /></span> +</div></div> + +<p>Throughout the middle ages the statues of Posidippus and Menander, now +in the gallery of statues at the Vatican,<a name="vol_1_page_468" id="vol_1_page_468"></a> were kissed and worshipped in +this church under the impression that they represented saints (see Ch. +XV.). They were found on this site, which was once occupied by the baths +of Olympias, daughter-in-law of Constantine.</p> + +<p>The strange name of the church, Pane e Perna, is supposed to have had +its origin in a dole of bread and ham once given at the door of the +adjacent convent. In the garden belonging to the convent is a mediæval +house of <i>c.</i> 1200. The campanile is of 1450.</p> + +<p>The small neighbouring <i>Church of S. Lorenzo in Fonte</i> covers the site +of the prison of St. Lawrence, and a fountain is shown there as that in +which he baptized Vicus Patricius and his daughter Lucilla, whom he +miraculously raised from the dead.</p> + +<p>Descending the hill below the church—in the valley between the +Esquiline and Viminal—we reach at the corner of the street a spot of +preëminent historical interest, as that where Servius Tullius was +killed, and where Tullia (<small>B.C.</small> 535) drove in her chariot over the dead +body of her father. The Vicus Urbius by which the old king had reached +the spot is now represented by the Via Urbana; the Vicus Cyprius, by +which he was about to ascend to the palace on the hill Cispius, by the +Via di Sta. Maria Maggiore.</p> + +<div class="blockquot"><p>"Servius-Tullius, après avoir pris le chemin raccourci qui partait +du pied de la Velia et allait du côté des Carines, atteignit le +Vicus-Cyprius (Via Urbana).</p> + +<p>"Parvenu à l'extrémité du Vicus-Cyprius, le roi fut atteint et +assassiné par les gens de Tarquin auprès d'un temple de Diane.</p> + +<p>"C'est arrivés en cet endroit, au moment de tourner à droite et de +gagner, en remontant le Vicus-Virbius, le Cispius, où habitait son +père, que les chevaux s'arrêtèrent; que Tullie, poussée par +l'impatience fièvreuse de l'ambition, et n'ayant plus que quelques +pas à faire pour<a name="vol_1_page_469" id="vol_1_page_469"></a> arriver au terme, avertie par le cocher que le +cadavre de son père était là gisant, s'écria: 'Eh bien, pousse le +char en avant.'</p> + +<p>"Le meurtre s'est accompli au pied du Viminal, à l'extrémité du +Vicus-Cyprius, là où fut depuis le Vicus-Sceleratus, la rue +Funeste.</p> + +<p>"Le lieu où la tradition plaçait cette tragique aventure ne peut +être sur l'Esquilin: mais nécessairement au pied de cette colline +et du Viminal, puisque, parvenu à l'extrémité du Vicus-Cyprius, le +cocher allait tourner à droite et remonter pour gravir l'Esquilin. +Il ne faut donc pas chercher, comme Nibby, la rue Scélérate sur une +des pentes, ou, comme Canina et M. Dyer, sur le sommet de +l'Esquilin, d'où l'on ne pouvait monter sur l'Esquilin.</p> + +<p>"Tullie n'allait pas sur l'Oppius (San-Pietro in Vincoli), dans la +demeure de son mari, mais sur le Cispius, dans la demeure de son +père. C'était de la demeure royale qu'elle allait prendre +possession pour le nouveau roi.</p> + +<p>* * * * * * * </p> + +<p>"Je n'oublierai jamais le soir où, après avoir longtemps cherché le +lieu qui vit la mort de Servius et le crime de Tullie, tout-à-coup +je découvris clairement que j'y étais arrivé, et m'arrêtant plein +d'horreur, comme le cocher de la parricide, plongeant dans l'ombre +un regard qui, malgré moi, y cherchait le cadavre du vieux roi, je +me dis: 'C'était là!'"</p> + +<p> +<i>Ampère, Hist. Rom.</i> ii. 153.<br /> +</p></div> + +<p>Turning to the left, at the foot of the Esquiline, we find the +interesting <i>Church of Sta. Pudenziana</i>, supposed to be the most ancient +of all the Roman churches ("omnium ecclesiaram urbis vetustissima"). +Cardinal Wiseman, who took his title from this church, considers it was +the principal place of worship in Rome after apostolic times, being +founded on the site of the house where St. Paul lodged, <small>A.D.</small> 41 to 50, +with the senator Pudens, whose family were his first converts, and who +is said to have himself suffered martyrdom under Nero. On this ancient +place of worship an oratory was engrafted by Pius I. (<i>c.</i> <small>A.D.</small> 145), in +memory of the younger daughter of Pudens, Pudenziana, perhaps at the +request of her sister Prassede, who is believed to have survived till +that time. In very early times two<a name="vol_1_page_470" id="vol_1_page_470"></a> small churches existed here, known +as "Titulus Pudentis" and "Titulus Pastoris," the latter in memory of a +brother of Pius I.</p> + +<p>The church, which has been successively altered by Adrian I. in the +eighth century, by Gregory VII., and by Innocent II., was finally +modernised by Cardinal Caetani in 1597. Little remains of ancient +external work except the graceful brick campanile (<i>c.</i> 1130) with +triple arcades of open arches on every side separated by bands of +terra-cotta moulding,—and the door adorned with low reliefs of the Lamb +bearing a cross, and of Sta. Prassede and Sta. Pudenziana with the vases +in which they collected the blood of the martyrs, and two other figures, +probably St. Pudens and St. Pastor.</p> + +<p>The chapel on the left of the tribune, which is regarded as the "Titulus +Pudentis," has an old mosaic pavement, said to have belonged to the +house of Pudens. Here is a bas-relief by Giacomo della Porta, +representing our Saviour delivering the keys to St. Peter; and here is +preserved part of the altar at which St. Peter is said to have +celebrated mass (the rest is at the Lateran), and which was used by all +the early popes till the time of Sylvester. Among early Christian +inscriptions let into the walls, is one to a Cornelia, of the family of +the Pudenziani, with a rude portrait.</p> + +<p>Opening from the left aisle is the chapel of the Caetani family, with +tombs of the seventeenth century. Over the altar is a bas-relief of the +Adoration of the Magi, by <i>Paolo Olivieri</i>. On each side are fine +columns of Lunachella marble. Over the entrance from the nave are +ancient mosaics,—of the Evangelists and of Sta. Pudenziana collecting +the blood of the martyrs. Beneath, is a gloomy and<a name="vol_1_page_471" id="vol_1_page_471"></a> neglected vault, in +which all the sarcophagi and coffins of the dead Caetani are shown by +torchlight.</p> + +<p>In the tribune are magnificent mosaics, ascribed by some to the eighth, +by others to the fourth century, and considered by De Rossi,<a name="FNanchor_238_238" id="FNanchor_238_238"></a><a href="#Footnote_238_238" class="fnanchor">[238]</a> as the +best of all ancient Christian mosaics.</p> + +<div class="blockquot"><p>"In conception and treatment this work is indeed classic: seated on +a rich throne in the centre, is the Saviour with one arm extended, +and in the other hand holding a book open at the words, +<i>Conservator Ecclesiæ Pudentianæ</i>; laterally stand SS. Praxedis and +Pudentiana with leafy crowns in their hands; and at a lower level, +but more in front, SS. Peter and Paul with eight other male +figures, all in the amply-flowing costume of ancient Romans; while +in the background are seen, beyond a portico with arcades, various +stately buildings, one a rotunda, another a parallelogram with a +gable-headed front, recognizable as a baptistery and basilica, +here, we may believe, in authentic copy from the earliest types of +the period of the first Christian emperors. Above the group, and +hovering in the air, a large cross, studded with gems, surmounts +the head of our Saviour, between the four symbols of the +Evangelists, of which one has been entirely, and another in the +greater part, sacrificed to some wretched accessories in woodwork +actually allowed to conceal portions of this most interesting +mosaic! As to expression, a severe solemnity is that prevailing, +especially in the principal head, which <i>alone</i> is crowned with the +nimbus—one among other proofs, if but negative, of its high +antiquity."—<i>Heman's Ancient Christian Art.</i></p></div> + +<p>Besides Sta. Pudenziana and St. Pudens,—St. Novatus and St. Siricius +are said to be buried here. Those who visit this sanctuary every day +obtain an indulgence of 3000 years, with remission of a third part of +their sins! Excavations made by Mr. J. H. Parker, in 1865, have laid +bare some interesting constructions beneath the church,—supposed to be +those of the house of Pudens—a part of the public baths of Novatus, the +son of Pudens, which were in use for some<a name="vol_1_page_472" id="vol_1_page_472"></a> centuries after his time, and +a chamber in which is supposed to have been the oratory dedicated by +Pius I. in <span class="smcap">a.d.</span> 145.</p> + +<div class="blockquot"><p>"Eubulus greeteth thee, and <i>Pudens</i>, and Linus, and Claudia, and +all the brethren."—<i>2 Timothy</i> iv. 21.</p></div> + +<p>The following account of the family of Pudens is received as the legacy +of Pastor to the Christian Church.</p> + +<div class="blockquot"><p>"Pudens went to his Saviour, leaving his daughters strengthened +with chastity, and learned in all the divine law. These sold their +goods, and distributed the produce to the poor, and persevered +strictly in the love of Christ, guarding intact the flower of their +virginity, and only seeking for glory in vigils, fastings, and +prayer. They desired to have a baptistery in their house, to which +the blessed Pius not only consented, but with his own hand drew the +plan of the fountain. Then calling in their slaves, both from town +and country, the two virgins gave liberty to those who were +Christians, and urged belief in the faith upon those who had not +yet received it. By the advice of the blessed Pius, the +affranchisement was declared, with all the ancient usages, in the +oratory founded by Pudens; then, at the festival of Easter, +ninety-six neophytes were baptized; so that thenceforth assemblies +were constantly held in the said oratory, which night and day +resounded with hymns of praise. Many pagans gladly came thither to +find the faith and receive baptism.</p> + +<p>"Meanwhile the Emperor Antonine, being informed of what was taking +place, issued an edict commanding all Christians to dwell apart in +their own houses, without mixing with the rest of the people, and +that they should neither go to the public shops, nor to the baths. +Praxedis and Pudentiana then assembled those whom they had led to +the faith, and housed them. They nourished them for many days, +watching and praying. The blessed bishop Pius himself frequently +visited us with joy, and offered the sacrifice for us to the +Saviour.</p> + +<p>"Then Pudentiana went to God. Her sister and I wrapped her in +perfumes and kept her concealed in the oratory. Then, at the end of +twenty-eight days, we carried her to the cemetery of Priscilla, and +laid her near her father Pudens.</p> + +<p>"Eleven months after, Novatus died in his turn. He bequeathed his +goods to Praxedis, and she then begged of St. Pius to erect a +titular (a church) in the baths of Novatus, which were no longer +used, and where there was a large and spacious hall. The bishop +made the dedication in the name of the blessed virgin Praxedis. In +the same place he consecrated a baptistery.<a name="vol_1_page_473" id="vol_1_page_473"></a></p> + +<p>"But, at the end of two years, a great persecution was declared +against the Christians, and many of them received the crown of +martyrdom. Praxedis concealed a great number of them in her +oratory, and nourished them at once with the food of this world and +with the word of God. But the Emperor Antonine, having learnt that +these meetings took place in the oratory of Priscilla, caused it to +be searched, and many Christians were taken, especially the priest +Simetrius and twenty-two others. And the blessed Praxedis collected +their bodies by night, and buried them in the cemetery of +Priscilla, on the seventh day of the calends of June. Then the +virgin of the Saviour, worn out with sorrow, only asked for death. +Her tears and her prayers reached to heaven, and fifty-four days +after her brethren had suffered, she passed to God. And I, Pastor, +the priest, have buried her body near that of her father +Pudens."—<i>From the Narration of Pastor.</i></p></div> + +<p>Returning by the main line of streets to the Quattro Fontane, we skirt +on the right the wall of the Villa Negroni (see Ch. XI). Beyond this, on +the left, is the <i>Church of S. Paolo Primo Eremita</i>. The strange-looking +palm-tree over the door, with a raven perched upon it and two lions +below, commemorates the story of the saint, who, retiring to the desert +at the age of 22, lived there till he was 112, eating nothing but the +dates of his tree for twenty-two years, after which bread was daily +brought to him by a raven. In his last hours St. Anthony came to visit +him and was present at his burial, when two lions his companions came to +dig his grave. The sustaining palm-tree and the three animals who loved +S. Paolo are again represented over the altar. Further on the left, we +pass the Via S. Vitale, occupying the site of the Vicus Longus, +considered by Dyer to have been the longest street in the ancient city. +Here stood the temples of Sylvanus, and of Fever, with that of Pudicitia +Plebeia, founded <i>c.</i> <small>B.C.</small> 297, by Virginia the patrician, wife of +Volumnius, when excluded from the patrician temple of Pudicitia in the +Forum Boarium, on account of her plebeian<a name="vol_1_page_474" id="vol_1_page_474"></a> marriage. "At its altar none +but plebeian matrons of unimpeachable chastity, and who had been married +to only one husband, were allowed to sacrifice."<a name="FNanchor_239_239" id="FNanchor_239_239"></a><a href="#Footnote_239_239" class="fnanchor">[239]</a></p> + +<p>The <i>Church of S. Vitale</i> on the Viminal, which now stands here, was +founded by Innocent I. in <small>A.D.</small> 416. The interior is covered with +frescoes of martyrdoms. It is seldom open except early on Sunday +mornings. S. Vitale, father of S. Gervasius and S. Protasius, was the +martyr and patron saint of Ravenna who was buried alive under Nero.</p> + +<p>Beyond this, on the left of the Via delle Quattro Fontane, is the +<i>Church of S. Dionisio</i>, belonging to the Basilian nuns, called +Apostoline di S. Basilio. It contains an Ecce Homo of <i>Luca Giordano</i>, +and the gaudy shrine of the virgin martyr Sta. Coraola.</p> + +<p> </p> +<p> </p> + +<p class="c">END OF VOL. I.</p> + +<p><a name="vol_2_page_001" id="vol_2_page_001"></a></p> + +<p><a name="VOLUME_II" id="VOLUME_II"></a></p> + +<p class="c">WALKS IN ROME<br /><br /> +<small>TWO VOLS. —II.</small></p> + +<p><a name="vol_2_page_002" id="vol_2_page_002"></a></p> + +<p><a name="vol_2_page_003" id="vol_2_page_003"></a></p> + +<hr class="full" /> + +<h1>WALKS IN ROME</h1> + +<p class="cb">B<small>Y</small> AUGUSTUS J. C. HARE<br /> +<small>AUTHOR OF "MEMORIALS OF A QUIET LIFE," "WANDERINGS IN SPAIN," ETC.</small><br /> +<br /><br /><br /><br /> +TWO VOLUMES.—II.<br /> +<br /><br /><br /> +<i>FIFTH EDITION</i><br /> +<br /><br /><br /> +LONDON<br /> +DALDY, ISBISTER & CO.<br /> +56, LUDGATE HILL<br /> +<small>1875</small><br /> +<br /> +<small>[<i>All rights reserved</i>]</small><br /> +</p> + +<p><a name="vol_2_page_004" id="vol_2_page_004"></a></p> + +<p> </p> +<p> </p> + +<p class="c"><small>JO<span class="ov">HN CHILDS AND SON, PRINTE</span>RS.</small></p> + +<h2><a name="CONTENTS-VOL-II" id="CONTENTS-VOL-II"></a>CONTENTS VOLUME II.</h2> + +<table border="0" cellpadding="8" cellspacing="0" summary="CONTENTS VOLUME II."> + +<tr><td colspan="2" align="center"><a href="#CHAPTER_XI">CHAPTER XI.</a></td></tr> + +<tr><td colspan="2" align="right"><small>PAGE</small></td></tr> + +<tr><td>THE NEIGHBOURHOOD OF THE BATHS OF DIOCLETIAN </td><td align="right" valign="bottom"><a href="#vol_2_page_007">7</a></td></tr> + +<tr><td colspan="2" align="center"><a href="#CHAPTER_XII">CHAPTER XII.</a></td></tr> + +<tr><td>THE ESQUILINE</td><td align="right" valign="bottom"><a href="#vol_2_page_046">46</a></td></tr> + +<tr><td colspan="2" align="center"><a href="#CHAPTER_XIII">CHAPTER XIII.</a></td></tr> + +<tr><td>THE BASILICAS OF THE LATERAN, SANTA CROCE, AND S. LORENZO</td><td align="right" valign="bottom"><a href="#vol_2_page_094">94</a></td></tr> + +<tr><td colspan="2" align="center"><a href="#CHAPTER_XIV">CHAPTER XIV.</a></td></tr> + +<tr><td>IN THE CAMPUS MARTIUS</td><td align="right" valign="bottom"><a href="#vol_2_page_148">148</a></td></tr> + +<tr><td colspan="2" align="center"><a href="#CHAPTER_XV">CHAPTER XV.</a></td></tr> + +<tr><td>THE BORGO AND ST. PETER'S</td><td align="right" valign="bottom"><a href="#vol_2_page_223">223</a></td></tr> + +<tr><td colspan="2" align="center"><a href="#CHAPTER_XVI">CHAPTER XVI.</a></td></tr> + +<tr><td>THE VATICAN</td><td align="right" valign="bottom"><a href="#vol_2_page_282">282</a><a name="vol_2_page_006" id="vol_2_page_006"></a></td></tr> + +<tr><td colspan="2" align="center"><a href="#CHAPTER_XVII">CHAPTER XVII.</a></td></tr> + +<tr><td>THE ISLAND AND THE TRASTEVERE</td><td align="right" valign="bottom"><a href="#vol_2_page_360">360</a></td></tr> + +<tr><td colspan="2" align="center"><a href="#CHAPTER_XVIII">CHAPTER XVIII.</a></td></tr> + +<tr><td>THE TRE FONTANE AND S. PAOLO</td><td align="right" valign="bottom"><a href="#vol_2_page_392">392</a></td></tr> + +<tr><td colspan="2" align="center"><a href="#CHAPTER_XIX">CHAPTER XIX.</a></td></tr> + +<tr><td>THE VILLAS BORGHESE MADAMA, AND MELLINI</td><td align="right" valign="bottom"><a href="#vol_2_page_410">410</a></td></tr> + +<tr><td colspan="2" align="center"><a href="#CHAPTER_XX">CHAPTER XX.</a></td></tr> + +<tr><td>THE JANICULAN</td><td align="right" valign="bottom"><a href="#vol_2_page_432">432</a></td></tr> +</table> + +<p><a name="vol_2_page_007" id="vol_2_page_007"></a></p> + +<h2><a name="CHAPTER_XI" id="CHAPTER_XI"></a>CHAPTER XI.<br /><br /> +THE NEIGHBOURHOOD OF THE BATHS OF DIOCLETIAN.</h2> + +<div class="blockquot"><p class="hang">The Cappuccini—S. Isidore—S. Niccolo in Tolentino—Via S. +Basilio—Convent of the Pregatrici—Villa Massimo Rignano—Gardens +of Sallust—Villa Ludovisi—Porta Salara—(Villa Albani—Catacombs +of Sta. Felicitas and Sta. Priscilla—Ponte Salara)—Porta +Pia—(Villa Torlonia—Sant' Agnese—Sta. Costanza—Ponte +Nomentana—Mons Sacer—S. Alessandro)—Villa Torlonia within the +walls—Via Macao—Pretorian Camp—Railway Station—Villa +Negroni—Agger of Servius Tullius—Sta. Maria degli +Angeli—Fountain of the Termini—Sta. Maria della Vittoria—Sta. +Susanna—S. Bernardo—S. Caio.</p></div> + +<p class="nind"><span class="letra">O</span>PENING from the left of the Piazza Barberini, is the small <i>Piazza of +the Cappuccini</i>, named from a convent suppressed since the Sardinian +occupation, but which was one of the largest and most populous in Rome.</p> + +<p>The conventual church, dedicated to <i>Sta. Maria della Concezione</i>, +contains several fine pictures. In the first chapel, on the right, is +the magnificent <i>Guido</i> of the Archangel Michael trampling upon the +Devil,—said to be a portrait of Pope Innocent X., against whom the +painter had a peculiar spite.</p> + +<div class="blockquot"><p>"Here the angel, standing, yet scarcely touching the ground, poised +on his outspread wings, sets his left foot on the head of his +adversary; in one hand he brandishes a sword, in the other he holds +the end of a chain, with which he is about to bind down the demon +in the bottomless pit. The<a name="vol_2_page_008" id="vol_2_page_008"></a> attitude has been criticised, and +justly; the grace is somewhat mannered, verging on the theatrical; +but Forsyth is too severe when he talks of 'the air of a dancing +master': one thing, however, is certain, we do not think about the +attitude when we look at Raphael's St. Michael (in the Louvre); in +Guido's it is the first thing that strikes us; but when we look +farther, the head redeems all; it is singularly beautiful, and in +the blending of the masculine and feminine graces, in the serene +purity of the brow, and the flow of the golden hair, there is +something divine; a slight, very slight expression of scorn is in +the air of the head. The fiend is the worst part of the picture; it +is not a fiend, but a degraded prosaic human ruffian; we laugh with +incredulous contempt at the idea of an angel called down from +heaven to overcome such a wretch. In Raphael the fiend is human, +but the head has the god-like ugliness and malignity of a satyr; +Guido's fiend is only stupid and base. It appears to me that there +is just the same difference—the same <i>kind</i> of difference—between +the angel of Raphael and the angel of Guido, as between the +description in Tasso and the description in Milton; let any one +compare them. In Tasso we are struck by the picturesque elegance of +the description as a piece of art, the melody of the verse, the +admirable choice of the expressions, as in Guido by the finished +but somewhat artificial and studied grace. In Raphael and Milton we +see only the vision of a 'shape divine.'"—<i>Jameson's Sacred Art</i>, +p. 107.</p></div> + +<p>In the same chapel is a picture by <i>Gherardo della Notte</i> of Christ in +the purple robe. The third chapel contains a fresco by <i>Domenichino</i> of +the Death of St Francis, and a picture of the Ecstasy of St. Francis, +which was a gift from the same painter to this church.</p> + +<p>The first chapel on the left contains The Visit of Ananias to Saul, by +<i>Pietro da Cortona</i>.</p> + +<div class="blockquot"><p>"Whoever would know to what length this painter carried his style +in his altar-piece should examine the Conversion of St. Paul in the +Cappuccini at Rome, which though placed opposite to the St. Michael +of Guido, cannot fail to excite the admiration of such judges as +are willing to admit various styles of beauty in art."—<i>Lanzi.</i></p></div> + +<p>On the left of the high-altar is the tomb of Prince<a name="vol_2_page_009" id="vol_2_page_009"></a> Alexander Sobieski, +son of John III., king of Poland, who died at Rome in 1714.</p> + +<p>The church was founded in 1624, by Cardinal Barberini, the old +monk-brother of Urban VIII., who, while his nephews were employed in +building magnificent palaces, refused to take advantage of the family +elevation otherwise than to endow this church and convent. He is buried +in front of the altar, with the remarkable epitaph—very different to +the pompous, self-glorifying inscriptions of his brother—</p> + +<p class="c">"Hic jacet pulvis, cinis, et nihil."</p> + +<p>This Cardinal Barberini possesses some historical interest from the +patronage he extended to Milton during his visit to Rome in 1638.</p> + +<div class="blockquot"><p>"During his sojourn in Rome Milton enjoyed the conversation of +several learned and ingenious men, and particularly of Lucas +Holsteinius, keeper of the Vatican library, who received him with +the greatest humanity, and showed him all the Greek authors, +whether in print or MS.—which had passed through his correction; +and also presented him to Cardinal Barberini, who, at an +entertainment of music, performed at his own expense, waited for +him at the door, and taking him by the hand, brought him into the +assembly. The next morning he waited upon the Cardinal to return +him thanks for these civilities, and by the means of Holsteinius +was again introduced to his Eminence, and spent some time in +conversation with him."—<i>Newton's Life of Milton.</i><a name="FNanchor_240_240" id="FNanchor_240_240"></a><a href="#Footnote_240_240" class="fnanchor">[240]</a></p></div> + +<p>Over the entrance is a cartoon (with some differences) for the Navicella +of Giotto.</p> + +<p>From this church is entered the famous cemetery of the<a name="vol_2_page_010" id="vol_2_page_010"></a> Cappuccini (not +subterranean), consisting of four chambers, ornamented with human bones +in patterns, and with mummified bodies. The earth was brought from +Jerusalem. As the cemetery was too small for the convent, when any monk +died, the one who had been buried longest was ejected to make room for +him. The loss of a grave was supposed to be amply compensated by the +short rest in the holy earth which the body had already enjoyed. It is +pleasant to read on the spot the pretty sketch in the "Improvisatore."</p> + +<div class="blockquot"><p>"I was playing near the church of the Capuchins, with some other +children who were all younger than myself. There was fastened on +the church door a little cross of metal; it was fastened about the +middle of the door, and I could just reach it with my hand. Always +when our mothers had passed by with us they had lifted us up that +we might kiss the holy sign. One day, when we children were +playing, one of the youngest of them inquired, 'why the child Jesus +did not come down and play with us?' I assumed an air of wisdom, +and replied that he was really bound upon the cross. We went to the +church door, and although we found no one, we wished, as our +mothers had taught us, to kiss him, but we could not reach up to +it; one therefore lifted up the other, but just as the lips were +pointed for the kiss, that one who lifted the other lost his +strength, and the kissing one fell down just when his lips were +about to touch the invisible child Jesus. At that moment my mother +came by, and when she saw our child's play, she folded her hands, +and said, 'You are actually some of God's angels, and thou art mine +own angel,' added she, and kissed me.</p> + +<p>"The Capuchin monk, Fra Martino, was my mother's confessor. He made +very much of me, and gave me a picture of the Virgin, weeping great +tears, which fell, like rain-drops, down into the burning flames of +hell, where the damned caught this draught of refreshment. He took +me over with him into the convent, where the open colonnade, which +enclosed in a square the little potato-garden, with the two cypress +and orange-trees, made a very deep impression upon me. Side by +side, in the open passages, hung old portraits of deceased monks, +and on the door of each cell were pasted pictures from the history +of the martyrs, which I contemplated with the same holy emotions as +afterwards the masterpieces of Raphael and Andrea del Sarto.<a name="vol_2_page_011" id="vol_2_page_011"></a></p> + +<p>"'Thou art really a bright youth,' said he; 'thou shall now see the +dead.' Upon this, he opened a little door of a gallery which lay a +few steps below the colonnade. We descended, and now I saw round +about me skulls upon skulls, so placed one upon another, that they +formed walls, and therewith several chapels. In these were regular +niches, in which were seated perfect skeletons of the most +distinguished of the monks, enveloped in their brown cowls, their +cords round their waists, and with a breviary or withered bunch of +flowers in their hands. Altars, chandeliers, bas-reliefs, of human +joints, horrible and tasteless as the whole idea. I clung fast to +the monk, who whispered a prayer, and then said to me, 'Here also I +shall some time sleep; wilt thou thus visit me?'</p> + +<p>"I answered not a word, but looked horrified at him, and then round +about me upon the strange grizzly assembly. It was foolish to take +me, a child, into this place. I was singularly impressed with the +whole thing, and did not feel myself easy again until I came into +his little cell, where the beautiful yellow oranges almost hung in +at the window, and I saw the brightly coloured picture of the +Madonna, who was borne upwards by angels into the clear sunshine, +while a thousand flowers filled the grave in which she had +rested.....</p> + +<p>"On the festival of All-Saints I was down in the chapel of the +dead, where Fra Martino took me when I first visited the convent. +All the monks sang masses for the dead, and I, with two other boys +of my own age, swung the incense-breathing censer before the great +altar of skulls. They had placed lights in the chandeliers made of +bones, new garlands were placed around the brows of the skeleton +monks, and fresh bouquets in their hands. Many people, as usual, +thronged in; they all knelt and the singers intoned the solemn +Miserere. I gazed for a long time on the pale yellow skulls, and +the fumes of the incense which wavered in strange shapes between me +and them, and everything began to swim round before my eyes; it was +as if I saw everything through a large rainbow; as if a thousand +prayer-bells rung in my ear; it seemed as if I was borne along a +stream; it was unspeakably delicious—more, I know not; +consciousness left me,—I was in a swoon."—<i>Hans Ch. Andersen.</i></p></div> + +<p>The street behind the Piazza Cappuccini leads to the <i>Church of S. +Isidoro</i>,<a name="FNanchor_241_241" id="FNanchor_241_241"></a><a href="#Footnote_241_241" class="fnanchor">[241]</a> built 1622, for Irish Franciscan monks.<a name="vol_2_page_012" id="vol_2_page_012"></a> The altar-piece, +representing S. Isidore, is by <i>Andrea Sacchi</i>. This church contains +several tombs of distinguished Irishmen who have died in Rome.</p> + +<p>Opposite are the recently founded convent and small chapel of the +<i>Pregatrici</i>—nuns most picturesquely attired in blue and white, and +devoted to the perpetual adoration of the Sacrament, who sing during the +Benediction service, like the nuns of the Trinità di Monti.</p> + +<p>The <i>Via S. Niccolo in Tolentino</i> leads by the handsome Church of that +name, from the Piazza Barberini to the railway station. In this street +are the hotels "Costanzi" and "Del Globo."</p> + +<p>Parallel with, and behind this, the <i>Via S. Basilio</i> runs up the +hill-side. At the top of this street is the entrance of the <i>Villa +Massimo Rignano</i>, containing some fine palm-trees. This site, with the +ridge of the opposite hill, and the valley between, was once occupied by +the <i>Gardens of Sallust</i> (Horti Pretiosissimi), purchased for the +emperors after the death of the historian, and a favourite residence of +Vespasian, Nerva, and especially of Aurelian. Some vaulted halls under +the cliff of the opposite hill, and a circular ruin surrounded by +niches, are the only remains of the many fine buildings which once +existed here, and which comprised a palace, baths, and the portico +called Milliarensis, 1000 feet long. These edifices are known to have +been ruined when Rome was taken by the Goths under Alaric (410), who +entered at the neighbouring Porta Salara. The obelisk now in front of +the Trinità di Monti, was removed from hence by Pius VI. The picturesque +old casino of the Barberini, which occupied the most prominent position +in the gardens, was pulled down in 1869, to<a name="vol_2_page_013" id="vol_2_page_013"></a> make way for a house +belonging to Spithover the librarian. The hill-side is supported by long +picturesque buttresses, beneath which are remains of the huge masonry of +Servius Tullius, whose <i>Agger</i> may be traced on the ridge of the hill +running towards the present railway station. Part of these grounds are +supposed to have formed the Campus Sceleratus, where the vestal virgins +suffered who had broken their vows of chastity.</p> + +<div class="blockquot"><p>"When condemned by the college of pontifices, the vestal was +stripped of her vittæ and other badges of office, was scourged, was +attired like a corpse, placed in a close litter, and borne through +the forum, attended by her weeping kindred with all the ceremonies +of a real funeral, to the Campus Sceleratus, within the city walls, +close to the Colline gate. There a small vault underground had been +previously prepared, containing a couch, a lamp, and a table with a +little food. The Pontifex Maximus, having lifted up his hands to +heaven and uttered a secret prayer, opened the litter, led forth +the culprit, and placing her on the steps of the ladder which gave +access to the subterranean cell, delivered her over to the common +executioner and his assistants, who conducted her down, drew up the +ladder, and having filled the pit with earth until the surface was +level with the surrounding ground, left her to perish deprived of +all the tributes of respect usually paid to the spirits of the +departed. In every case the paramour was publicly scourged to death +in the forum."—<i>Smith's Dict. of Antiquities.</i></p></div> + +<div class="blockquot"><p>"A Vignaiuolo showed us in the Gardens of Sallust a hole, through +which he said those vestal virgins were put who had violated their +vows of chastity. While we were listening to their story, some +pretty Contadini came up to us attended by their rustic swains, and +after looking into the hole, pitied the vestal +virgins—'<i>Poverine</i>,' shrugged their shoulders, and laughing, +thanked their stars and the Madonna, that poor Fanciulle were not +buried alive for such things now-a-days."—<i>Eaton's Rome.</i></p></div> + +<p>A turn in the road now leads to the gate of the beautiful <i>Villa +Ludovisi</i>, to which it has been very difficult to obtain admittance +since the Sardinian occupation. The excellent proprietors, the Duke and +Duchess Sora, have lived at<a name="vol_2_page_014" id="vol_2_page_014"></a> Foligno in complete seclusion, since the +change of government.</p> + +<p>The villa was built early in the last century by Cardinal Ludovisi, +nephew of Gregory XV., from whom it descended to the Prince of Piombino, +father of Duke Sora. The grounds, which are of an extent extraordinary +when considered as being within the walls of a capital, were laid out by +Le Nôtre, and are in the stiff French style of high clipped hedges, and +avenues adorned with vases and sarcophagi. Near the entrance is a pretty +fountain shaded by a huge plane-tree; the Quirinal is seen in the +distance.</p> + +<p>To the right of the entrance is the principal casino of sculptures, a +very beautiful collection (catalogues on the spot). Especially +remarkable are,—the grand colossal head, known as the "Ludovisi Juno" +(41);</p> + +<div class="blockquot"><p>"A Rome, une Junon surpasse toutes les autres par son aspect et +rappelle la Junon de Polyclète par sa majesté: c'est la célèbre +Junon Ludovisi que Goethe admirait tant, et devant laquelle dans un +accès de dévotion païenne,—seul genre de dévotion qu'il ait connu +à Rome,—il faisait, nous dit-il, sa prière du matin.</p> + +<p>"Cette tête colossale de Junon offre bien les caractères de la +sculpture de Polyclète; la gravité, la grandeur, la dignité; mais +ainsi que dans d'autres Junons qu'on peut supposer avoir été +sculptées à Rome, l'imitateur de Polyclète, on doit le croire, +adoucit la sévérité, je dirai presque la dureté de l'original, +telle qu'elle se montre sur les médailles d'Argos, et celles +d'Elis."—<i>Ampère, Hist. Romaine</i>, iii. 264.</p></div> + +<div class="blockquot"><p>"No words can give a true impression of the colossal head of Juno +in the Villa Ludovisi: it is like a song of Homer."—<i>Goethe.</i></p></div> + +<p>—the <i>Statue of Mars</i> seated (<small>I</small>), with a Cupid at his feet, found in +the portico of Octavia, and restored by Bernini;</p> + +<div class="blockquot"><p>"II y avait bien un Mars assis de Scopas, et ce Mars était à Rome; +mais un dieu dans son temple devait être assis sur un trône et non +sur<a name="vol_2_page_015" id="vol_2_page_015"></a> un rocher, comme le prétendu Mars Ludovisi. On a donc eu +raison, selon moi, de reconnaître dans cette belle statue un +Achille, à l'expression pensive de son visage, et surtout à +l'attitude caractéristique que le sculpteur lui a donnée, lui +faisant embrasser son genou avec ses deux mains, attitude qui, dans +le langage de la sculpture antique, était le signe d'une méditation +douloureuse. On citait comme très-beau un Achille de Silanion, +sculpteur grec habile à rendre les sentiments violents. D'après +cela, son Achille pouvait être un Achille indigné; c'est de lui que +viendrait l'Achille de la villa Ludovisi. L'expression de dépit, +plus énergique dans l'original, eût été adoucie dans une admirable +copie.'—<i>Ampère, Hist. Rom.</i> iii. 437.</p></div> + +<p class="nind">—and No. 28;</p> + +<div class="blockquot"><p>"Le beau groupe auquel on avait donné le nom d'Arria et Pætus; il +fallait fermer les yeux à l'évidence pour voir un Romain du temps +de Claude dans ce chef barbare qui, après avoir tué sa femme, se +frappe lui-même d'un coup mortel. Le type du visage, la chevelure, +le caractère de l'action, tout est gaulois; la manière même dont +s'accomplit l'immolation volontaire montre que ce n'est pas un +Romain que nous avons devant les yeux; un Romain se tuait plus +simplement, avec moins de fracas. Le principal personnage du groupe +Ludovisi conserve en ce moment suprême quelque chose de triomphant +et de théâtral; soulevant d'une main sa femme affaissée sous le +coup qu'il lui a porté, de l'autre il enfonce son épée dans sa +poitrine. La tête haute, l'œil tourné vers le ciel, il semble +répéter le mot de sa race: 'Je ne crains qu'une chose, c'est que le +ciel tombe sur ma tête.'"—<i>Ampère, Hist. Rom.</i> iii. 207.</p></div> + +<p>At the end of the gardens, to the left, is another casino, from whose +roof a most beautiful view may be obtained. Here are the most famous +frescoes of <i>Guercino</i>. On the ceiling of the ground-floor, Aurora +driving away Night and scattering flowers in her course, with Evening +and Daybreak in the lunettes; and, on the first floor, "Fame" attended +by Force and Virtue. Smaller rooms on the ground floor have landscapes +by <i>Guercino</i> and <i>Domenichino</i>, and some groups of Cupids by <i>T. +Zucchero</i>;<a name="vol_2_page_016" id="vol_2_page_016"></a> on the staircase is a fine bas-relief of two Cupids dragging +a quiver.</p> + +<div class="blockquot"><p>"The prophets and sibyls of Guercino da Cento (1590—1666), and his +Aurora, in a garden pavilion of the Villa Ludovisi, at Rome, almost +attain to the effect of oil paintings in their glowing colouring +combined with the broad and dark masses of shadow."—<i>Kugler.</i></p></div> + +<div class="blockquot"><p>"In allegorising nature, Guercino imitates the deep shades of +night, the twilight grey, and the irradiations of morning, with all +the magic of <i>chiaroscuro</i>; but his figures are too mortal for the +region where they move."—<i>Forsyth.</i></p></div> + +<p>In <small>B.C.</small> 82, the district near the Porta Collina, now occupied by the +Villa Ludovisi, was the scene of a great battle for the very existence +of Rome, between Sylla, and the Samnites and Lucanians under the Samnite +general Pontius Telesinus, who declared he would raze the city to the +ground if he were victorious. The left wing under Sylla was put to +flight; but the right wing, commanded by Crassus, enabled him to restore +the battle, and to gain a complete victory; fifty thousand men fell on +each side.</p> + +<p>The road now runs along the ridge of the hill to the Porta Salara, by +which Alaric entered Rome through the treachery of the Isaurian guard, +on the 24th of August, 410.</p> + +<p>Passing through the gate and turning to the right along the outside of +the wall, we may see, against the grounds of the Villa Ludovisi, the two +round towers of the now closed <i>Porta Pinciana</i>, restored by Belisarius. +This is the place where tradition declares that in his declining years +the great general sat begging, with the cry, "Date obolum Belisario."</p> + +<div class="blockquot"><p>"A côté de la Porta Pinciana, on lit sur une pierre les paroles +célèbres: 'Donnez une obole à Bélisaire'; mais cette inscription +est moderne, comme la légende à laquelle elle fait allusion, et +qu'on ne trouve dans nul historien contemporain de Bélisaire. +Bélisaire ne demanda<a name="vol_2_page_017" id="vol_2_page_017"></a> jamais l'aumône, et si le cicerone montre +encore aux voyageurs l'endroit où, vieux et aveugle, il implorait +une obole de la charité des passants, c'est que près de ce lieu il +avait, sur la colline du Pincio, son palais, situé entre les +jardins de Lucullus et les jardins de Salluste, et digne +probablement de ce double voisinage par sa magnificence. Ce qui est +vrai, c'est que le vainqueur des Goths et des Vandales fut +disgracié par Justinien, grâce aux intrigues de Théodora. La +légende, comme presque toujours, a exprimé par une fable une +vérité, l'ingratitude si fréquente des souverains envers ceux qui +leur ont rendu lus plus grands services."—<i>Ampère, Emp.</i> ii. 396.</p></div> + +<hr style="width: 15%;" /> + +<p>A short distance from the gate, along the Via Salara, is, on the right, +the <i>Villa Albani</i> (shown on Tuesdays by an order), built in 1760 by +Cardinal Alessandro Albani,—sold in 1834 to the Count of Castelbarco, +and in 1868 to Prince Torlonia, its present possessor. The scene from +its garden terrace is among the loveliest of Roman pictures, the view of +the delicate Sabine mountains—Monte Gennaro, with the Montecelli +beneath it—and in the middle distance, the churches of Sant' Agnese and +Sta. Costanza, relieved by dark cypresses and a graceful fountain.</p> + +<p>The <i>Casino</i>, which is, in fact, a magnificent palace, is remarkable as +having been built from Cardinal Albani's own designs, Carlo Marchionni +having been only employed to see that they were carried out.</p> + +<div class="blockquot"><p>"Here is a villa of exquisite design, planned by a profound +antiquary. Here Cardinal Albani, having spent his life in +collecting ancient sculpture, formed such porticoes and such +saloons to receive it as an old Roman would have done: porticoes +where the statues stood free upon the pavement between columns +proportioned to their stature; saloons which were not stocked but +embellished with families of allied statues, and seemed full +without a crowd. Here Winckelmann grew into an antiquary under the +cardinal's patronage and instruction; and here he projected his +history of art, which brings this collection continually into +view."—<i>Forsyth's Italy.</i><a name="vol_2_page_018" id="vol_2_page_018"></a></p></div> + +<p>The collection of sculptures is much reduced since the French invasion, +when 294 of the finest specimens were carried off by Napoleon to Paris, +where they were sold by Prince Albani upon their restoration in 1815, as +he was unwilling to bear the expense of transport. The greater +proportion of the remaining statues are of no great importance. Those of +the imperial family in the vestibule are interesting—those of Julius +and Augustus Cæsar, of Agrippina wife of Germanicus, and of Faustina, +are seated; most of the heads have been restored.</p> + +<p>Conspicuous among the treasures of this villa, are the sarcophagus with +reliefs of the marriage of Peleus and Thetis, pronounced by Winckelmann +to be one of the finest in existence; a head of Æsop, supposed to be +after Lysippus; and the bronze "Apollo Sauroctonos," considered by +Winckelmann to be the original statue by Praxiteles described by Pliny, +and the most beautiful bronze statue in the world,—it was found on the +Aventine. But most important of all is the famous relievo of Antinous +crowned with lotus, from the Villa Adriana (over the chimney-piece of +the first room to the right of the saloon), supposed to have formed part +of an apotheosis of Antinous:</p> + +<div class="blockquot"><p>"As fresh, and as highly finished, as if it had just left the +studio of the sculptor, this work, after the Apollo and the +Laocoon, is perhaps the most beautiful monument of antiquity which +time has transmitted to us."—<i>Winckelmann, Hist. de l'Art</i>, vi. +ch. 7.</p></div> + +<p>Inferior only to this, is another bas-relief, also over a +chimney-piece,—the parting of Orpheus and Eurydice.</p> + +<div class="blockquot"><p>"Les deux époux vont se quitter. Eurydice attache sur Orphée un +profond regard d'adieu. Sa main est posée sur l'épaule de son +époux, geste ordinaire dans les groupes qui expriment la séparation +de ceux qui<a name="vol_2_page_019" id="vol_2_page_019"></a> s'aiment. La main d'Orphée dégage doucement celle +d'Eurydice, tandis que Mercure fait de la sienne un léger mouvement +pour l'entraîner. Dans ce léger mouvement est tout leur sort; +l'effet le plus pathétique est produit par la composition la plus +simple; l'émotion la plus pénétrante s'exhale de la sculpture la +plus tranquille."—<i>Ampère, Hist. Rom.</i> iii. 256.</p></div> + +<p>The villa also contains a collection of pictures, of which the most +interesting are the sketches of <i>Giulio Romano</i> for the frescoes of the +story of Psyche in the Palazzo del Te at Mantua, and two fine pictures +by Luca Signorelli and Perugino, in compartments, in the first room on +the left of the saloon. All the works of art have lately been +rearranged. The <i>Caffè</i> and the <i>Bigliardo</i>—(reached by an avenue of +oaks, which, being filled with ancient tombstones, has the effect of a +cemetery)—contain more statues, but of less importance.</p> + +<p>Beyond the villa, the Via Salara (said by Pliny to derive its name from +the salt of Ostia exported to the north by this route) passes on the +left the site of Antemnæ, and crosses the Anio two miles from the city, +by the <i>Ponte Salara</i>, destroyed by the Roman government in the terror +of Garibaldi's approach from Monte Rotondo, in 1867. This bridge was a +restoration by Narses, in the sixth century, but stood on the +foundations of that famous Ponte Salara, upon which Titus Manlius fought +the Gaulish giant, and cutting off his head, carried off the golden +collar which earned him the name of Torquatus.</p> + +<div class="blockquot"><p>"Manlius prend un bouclier léger de fantassin, une épée espagnole +commode pour combattre de très-près, et s'avance à la rencontre du +Barbare. Les deux champions, isolés sur le pont, comme sur un +théâtre, se joignent au milieu. Le Barbare portait un vêtement +bariolé et une armure ornée de dessins et d'incrustations dorées, +conforme au caractère de sa race, aussi vaine que vaillante. Les +armes du Romain étaient<a name="vol_2_page_020" id="vol_2_page_020"></a> bonnes, mais sans éclat. Point chez lui, +comme chez son adversaire, de chant, de transports, d'armes agitées +avec fureur, mais un cœur plein de courage et d'une colère +muette qu'il réservait tout entière pour le combat.</p> + +<p>"Le Gaulois, qui dépassait son adversaire de toute la tête, met en +avant son bouclier et fait tomber pesamment son glaive sur l'armure +de son adversaire. Celui-ci le heurte deux fois de son bouclier, le +force à reculer, le trouble, et se glissant alors entre le bouclier +et le corps du Gaulois, de deux coups rapidement portés lui ouvre +le ventre. Quand le grand corps est tombé, Manlius lui coupe la +tête, et, ramassant le collier de son ennemi décapité, jette tout +sanglant sur son cou ce collier, le <i>torques</i>, propre aux Gaulois, +et qu'on peut voir au Capitole porté par celui qu'on appelle à tort +le gladiateur mourant. Un soldat donne, en plaisantant, à Manlius +le sobriquet de <i>Torquatus</i>, que sa famille a toujours été fière de +porter."—<i>Ampère, Hist. Rom.</i> iii. 10.</p></div> + +<p>Beyond the ruins of the bridge, is a huge tomb with a tower, now used as +an Osteria. Hence, the road leads by the Villa of Phaon (Villa Spada) +where Nero died, and the site of Fidenæ, now known as Castel Giubeleo, +to Monte Rotondo.</p> + +<p>The district beyond the Porta Salara, and that extending between the Via +Salara and the Monte Parioli, are completely undermined by catacombs +(see Ch. IX.). The most important are—1. Nearest the gate, the +<i>Catacomb of St. Felicitas</i>, which had three tiers of galleries, adorned +by Pope Boniface I., who took refuge there from persecution,—now much +dilapidated. Over this cemetery was a church, now destroyed, which is +mentioned by William of Malmesbury. 2. <i>The Catacomb of SS. Thraso and +Saturninus</i>, much decorated with the usual paintings. 3. <i>The Catacomb +of Sta. Priscilla</i>, near the descent to the Anio. This cemetery is of +great interest, from the number of martyrs' graves it contains, and from +its peculiar construction in an ancient <i>arenarium</i>, pillars and walls +of masonry being added<a name="vol_2_page_021" id="vol_2_page_021"></a> throughout the central part, in order to sustain +the tufa walls. Here were buried—probably because the entrance to the +Chapel of the Popes at St. Calixtus was blocked up to preserve it in the +persecution under Diocletian—Pope St. Marcellinus (ob. 308), and Pope +St. Marcellus (ob. 310), who was sent into exile by Maxentius. On the +tomb of the latter was placed, in finely cut type, the following epitaph +by Pope Damasus:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Veredicus Rector, lapsos quia crimina flere<br /></span> +<span class="ist">Prædixit, miseris fuit omnibus hostis amarus.<br /></span> +<span class="ist">Hinc furor, hinc odium sequitur, discordia, lites,<br /></span> +<span class="ist">Seditio, cædes, solvuntur fœdera pacis.<br /></span> +<span class="ist">Crimen ob alterius Christum qui in pace negavit,<br /></span> +<span class="ist">Finibus expulsus patriæ est feritate tyranni.<br /></span> +<span class="ist">Hæc breviter Damasus voluit comperta referre,<br /></span> +<span class="ist">Marcelli ut populus meritum cognoscere posset."<br /></span> +</div></div> + +<div class="blockquot"><p>"The truth-speaking pope, because he preached that the lapsed +should weep for their crimes, was bitterly hated by all those +unhappy ones. Hence followed fury, hatred, discord, contentions, +sedition, and slaughter, and the bonds of peace were ruptured. For +the crime of another, who in (a time of) peace had denied Christ, +(the pontiff) was expelled the shores of his country by the cruelty +of the tyrant. These things Damasus having learnt, was desirous to +narrate briefly, that people might recognise the merit of +Marcellus."<a name="FNanchor_242_242" id="FNanchor_242_242"></a><a href="#Footnote_242_242" class="fnanchor">[242]</a></p></div> + +<p>Several of the paintings in this catacomb are remarkable; especially +that of a woman with a child, claimed by the Roman Church as one of the +earliest representations of the Virgin. The painting is thus described +by Northcote:—</p> + +<div class="blockquot"><p>"De Rossi unhesitatingly says that he believes this painting of our +Blessed Lady to belong almost to the apostolic age. It is to be +seen on the vaulted roof of a <i>loculus</i>, and represents the Blessed +Virgin seated, her head partially covered by a short light veil, +and with the Holy Child in her arms; opposite to her stands a man, +clothed in the pallium, holding a volume in one hand, and with the +other pointing to a star<a name="vol_2_page_022" id="vol_2_page_022"></a> which appears above and between the +figures. This star almost always accompanies our Blessed Lady, both +in paintings and in sculptures, where there is an obvious +historical excuse for it, <i>e. g.</i>, when she is represented with the +Magi offering their gifts, or by the side of the manger with the ox +and the ass; but with a single figure, as in the present instance, +it is unusual. The most obvious conjecture would be that the figure +was meant for St. Joseph, or for one of the Magi. De Rossi, +however, gives many reasons for preferring the prophet Isaias, +whose prophecies concerning the Messias abound with imagery +borrowed from light."—<i>Roma Sotterranea.</i></p></div> + +<p>This catacomb is one of the oldest, Sta. Priscilla, from whom it is +named, being supposed to have been the mother of Pudens, and a +contemporary of the apostles. Her granddaughters, Prassede and +Pudenziana, were buried here before the removal of their relics to the +church on the Esquiline. With this cemetery is connected the +extraordinary history of the manufacture of Sta. Filomena, now one of +the most popular saints in Italy, and one towards whom idolatry is +carried out with frantic enthusiasm both at Domo d'Ossola and in some of +the Neapolitan States. The story of this saint is best told in the words +of Mrs. Jameson.</p> + +<div class="blockquot"><p>"In the year 1802, while some excavations were going forward in the +catacomb of Priscilla, a sepulchre was discovered containing the +skeleton of a young female; on the exterior were rudely painted +some of the symbols constantly recurring in these chambers of the +dead; an anchor, an olive branch (emblems of Hope and Peace), a +scourge, two arrows, and a javelin: above them the following +inscription, of which the beginning and end were destroyed:—</p> + +<p class="c"> +——LUMENA PAX TE CUM FI——<br /> +</p> + +<p>"The remains, reasonably supposed to be those of one of the early +martyrs for the faith, were sealed up and deposited in the treasury +of relics in the Lateran; here they remained for some years +unthought of. On the return of Pius VII. from France, a Neapolitan +prelate was sent to congratulate him. One of the priests in his +train, who wished<a name="vol_2_page_023" id="vol_2_page_023"></a> to create a sensation in his district, where the +long residence of the French had probably caused some decay of +piety, begged for a few relics to carry home, and these recently +discovered remains were bestowed on him; the inscription was +translated somewhat freely, to signify <i>Santa Philumena, rest in +peace</i>. Another priest, whose name is suppressed <i>because of his +great humility</i>, was favoured by a vision in the broad noon-day, in +which he beheld the glorious virgin Filomena, who was pleased to +reveal to him that she had suffered death for preferring the +Christian faith and her vow of chastity to the addresses of the +emperor, who wished to make her his wife. This vision leaving much +of her history obscure, a certain young artist, whose name is also +suppressed, perhaps because of his great humility, was informed in +a vision that the emperor alluded to was Diocletian, and at the +same time the torments and persecutions suffered by the Christian +virgin Filomena, as well as her wonderful constancy, were also +revealed to him. There were some difficulties in the way of the +Emperor Diocletian, which <i>incline</i> the writer of the <i>historical</i> +account to incline to the opinion that the young artist in his +wisdom <i>may</i> have made a mistake, and that the emperor may have +been not Diocletian but Maximian. The facts, however, now admitted +of no doubt; the relics were carried by the priest Francesco da +Lucia to Naples; they were enclosed in a case of wood resembling in +form the human body; this figure was habited in a petticoat of +white satin, and over it a crimson tunic after the Greek fashion; +the face was painted to represent nature, a garland of flowers was +placed on the head, and in the hands a lily and a javelin with the +point reversed to express her purity and her martyrdom; then she +was laid in a half-sitting posture in a sarcophagus, of which the +sides were glass, and, after lying for some time in state in the +chapel of the Torres family in the Church of Sant' Angiolo, she was +carried in grand procession to Mugnano, a little town about twenty +miles from Naples, amid the acclamations of the people, working +many and surprising miracles by the way.... Such is the legend of +Sta. Filomena, and such the authority on which she has become +within the last twenty years one of the most popular saints in +Italy."—<i>Sacred and Legendary Art</i>, p. 671.</p></div> + +<p>It is hoped that very interesting relics may still be discovered in this +Catacomb.</p> + +<div class="blockquot"><p>"In an account preserved by St. Gregory of Tours, we are told that +under Numerianus, the martyrs Chrysanthus and Daria were put to<a name="vol_2_page_024" id="vol_2_page_024"></a> +death in an <i>arenaria</i>, and that a great number of the faithful +having been seen entering a subterranean crypt on the Via Salara, +to visit their tombs, the heathen emperor caused the entrance to be +hastily built up, and a vast mound of sand and stone to be heaped +in front of it, so that they might be all buried alive, even as the +martyrs whom they had come to venerate. St. Gregory adds, that when +the tombs of these martyrs were re-discovered, after the ages of +persecution had ceased, there were found with them, not only the +relics of those worshippers who had been thus cruelly put to death, +skeletons of men, women, and children lying on the floor, but also +the silver cruets (<i>urcei argentei</i>) which they had taken down with +them for the celebration of the sacred mysteries. St. Damasus was +unwilling to destroy so touching a memorial of past ages. He +abstained from making any of those changes by which he usually +decorated the martyrs' tombs, but contented himself with setting up +one of his invaluable historical inscriptions, and opening a window +in the adjacent wall or rock, that all might see, without +disturbing, this monument so unique in its kind—this Christian +Pompeii in miniature. These things might still be seen in St. +Gregory's time, in the sixth century; and De Rossi holds out hopes +that some traces of them may be restored even to our own +generation, some fragments of the inscription perhaps, or even the +window itself through which our ancestors once saw so moving a +spectacle, assisting, as it were, at a mass celebrated in the third +century."—<i>Roma Sotterranea</i>, p. 88.</p></div> + +<hr style="width: 15%;" /> + +<p>Returning to the Porta Salara, and following the walls, we reach the +<i>Porta Pia</i>, built, as it is now seen, by Pius IX.—very ugly, but +appropriately decorated with statues of St. Agnes and St. Alexander, to +whose shrines it leads. The statues lost their heads in the capture of +Rome in 1870 by the Italian troops, who entered the city by a breach in +the walls close to this. A little to the right was the <i>Porta +Nomentana</i>, flanked by round towers, closed by Pius IV. It was by this +gate that the oppressed Roman people retreated to the Mons Sacer—and +that Nero fled.</p> + +<div class="blockquot"><p>"Suivons-le du Grand-Cirque à la porte Nomentane. Quel spectacle! +Néron, accoutumé à toutes les recherches de la volupté,<a name="vol_2_page_025" id="vol_2_page_025"></a> s'avance à +cheval, les pieds nus, en chemise, couvert d'un vieux manteau dont +la couleur était passée, un mouchoir sur le visage. Quatre +personnes seulement l'accompagnent; parmi elles est ce Sporus, que +dans un jour d'indicible folie il avait publiquement épousé. Il +sent la terre trembler, il voit les éclairs au ciel: Néron a peur. +Tous ceux qu'il a fait mourir lui apparaissent et semblent se +précipiter sur lui. Nous voici à la porte Nomentane, qui touche au +Camp des Prétoriens. Néron reconnaît ce lieu où, il y a quinze ans, +suivant alors le chemin qu'il vient de suivre, il est venu se faire +reconnaître empereur par les prétoriens. En passant sous les murs +de leur camp, vers lequel son destin le ramène, il les entend +former des vœux pour Galba, et lancer des imprécations contre +lui. Un passant lui dit: 'Voilà des gens qui cherchent Néron.' Son +cheval se cabre au milieu de la route: c'est qu'il a flairé un +cadavre. Le mouchoir qui couvrait son visage tombe; un prétorien +qui se trouvait là le ramasse et le rend à l'empereur, qu'il salue +par son nom. A chacun de ces incidents son effroi redouble. Enfin +il est arrivé à un petit chemin qui s'ouvre à notre gauche, dans la +direction de la voie Salara, parallèle à la voie Nomentane. C'est +entre ces deux voies qu'était la villa de Phaon, à quatre milles de +Rome. Pour l'attendre, Néron, qui a mis pied à terre, s'enfonce à +travers un fourré d'épines et un champ de roseaux comme il s'en +trouve tant dans la Campagne de Rome; il a peine de s'y frayer un +chemin; il arrive ainsi au mur de derrière de la villa. Près de là +était un de ces antres creusés pour l'extraction du sable +volcanique, appelé <i>pouzzolane</i>, tels qu'on en voit encore de ce +côté. Phaon engage le fugitif à s'y cacher; il refuse. On fait un +trou dans la muraille de la villa par où il pénètre, marchant +quatre pieds, dans l'intérieur. Il entre dans une petite salle et +se couche sur un lit formé d'un méchant matelas sur lequel on avait +jeté un vieux manteau. Ceux qui l'entourent le pressent de mourir +pour échapper aux outrages et au supplice. Il essaye à plusieurs +reprises de se donner la mort et n'y peut se résoudre; il pleure. +Enfin, en entendant les cavaliers qui venaient le saisir, il cite +un vers grec, fait un effort et se tue avec le secours d'un +affranchi."—<i>Ampère, Emp.</i> ii. 65.</p></div> + +<hr style="width: 15%;" /> + +<p>Immediately outside the Porta Pia is the entrance of the beautiful +<i>Villa Patrizi</i>, whose grounds enclose the small <i>Catacomb of St. +Nicomedus</i>. Then comes the <i>Villa Lezzani</i>, where Sta. Giustina is +buried in a chapel, and where her festa is observed on the 25th of +October.<a name="vol_2_page_026" id="vol_2_page_026"></a></p> + +<p>Beyond this is the ridiculous <i>Villa Torlonia</i> (shown with an order on +Wednesdays from 11 to 4, but not worth seeing), sprinkled with mock +ruins.</p> + +<p>At little more than a mile from the gate the road reaches the <i>Basilica +of St' Agnese fuori le Mura</i>, founded by Constantine at the request of +his daughter Constantia, in honour of the virgin martyr buried in the +neighbouring catacomb; but rebuilt 625—38 by Honorius I. It was altered +in 1490 by Innocent VIII., but retains more of its ancient character +than most of the Roman churches. The polychrome decorations of the +interior, and the rebuilding of the monastery, were carried out at the +expense of Pius IX., as a thank-offering for his escape, when he fell +through the floor here into a cellar, with his cardinals and attendants, +on April 15, 1855. The scene is represented in a large fresco by +<i>Domenico Tojetti</i>, in a chamber on the right of the courtyard.</p> + +<p>The approach to the church is by a picturesque staircase of forty-five +ancient marble steps, lined with inscriptions from the catacombs. The +nave is divided from the aisles by sixteen columns, four of which are of +"porta-santa" and two of "pavonazzetto." A smaller range of columns +above these supports the roof of a triforium, which is on a level with +the road. The baldacchino, erected in 1614, is supported by four +porphyry columns. Beneath is the shrine of St. Agnes surmounted by her +statue, an antique of oriental alabaster, with modern head, and hands of +gilt bronze. The mosaics of the tribune, representing St. Agnes between +Popes Honorius I. and Symmachus, are of the seventh century. Beneath, is +an ancient episcopal chair.</p> + +<p>The second chapel on the right has a beautiful mosaic<a name="vol_2_page_027" id="vol_2_page_027"></a> altar, and a +relief of SS. Stephen and Laurence of 1490. The third chapel is that of +St. Emerentiana, foster-sister of St. Agnes, who was discovered praying +beside the tomb of her friend, and was stoned to death because she +refused to sacrifice to idols.</p> + +<div class="blockquot"><p>"So ancient is the worship paid to St. Agnes, that next to the +Evangelists and Apostles, there is no saint whose effigy is older. +It is found on the ancient glass and earthenware vessels used by +the Christians in the early part of the third century, with her +name inscribed, which leaves no doubt of her identity. But neither +in these images, nor in the mosaics, is the lamb introduced, which +in later times has become her inseparable attribute, as the +patroness of maidens and maidenly modesty."—<i>Jameson's Sacred +Art</i>, p. 105.</p></div> + +<p>St. Agnes suffered martyrdom by being stabbed in the throat, under +Diocletian, in her thirteenth year (see Ch. XIV.), after which, +according to the expression used in the acts of her martyrdom, her +parents "with all joy" laid her in the catacombs. One day as they were +praying near the body of their child, she appeared to them surrounded by +a great multitude of virgins, triumphant and glorious like herself, with +a lamb by her side, and said, "I am in heaven, living with these virgins +my companions, near Him whom I have so much loved." By her tomb, also, +Constantia, a princess sick with hopeless leprosy, was praying for the +healing of her body, when she heard a voice saying, "Rise up, +Constantia, and go on constantly ('Costanter age, Constantia') in the +faith of Jesus Christ, the Son of God, who shall heal your +diseases,"—and, being cured of her evil, she besought her father to +build this basilica as a thank-offering.<a name="FNanchor_243_243" id="FNanchor_243_243"></a><a href="#Footnote_243_243" class="fnanchor">[243]</a></p> + +<p>On the 21st of January, a beautiful service is celebrated here, in which +two lambs, typical of the purity of the virgin<a name="vol_2_page_028" id="vol_2_page_028"></a> saint, are blessed upon +the altar. They are sent by the chapter of St. John Lateran, and their +wool is afterwards used to make the pallium of the pope, which is +consecrated before it is worn, by being deposited in a golden urn upon +the tomb of St. Peter. The pallium is the sign of episcopal +jurisdiction.</p> + +<div class="blockquot"><p>"Ainsi, le simple ornement de laine que ces prélats doivent porter +sur leurs épaules comme symbole de la brebis du bon Pasteur, et que +le pontife Romain prend sur l'autel même de Saint Pierre pour le +leur adresser, va porter jusqu'aux extrémités de l'Eglise, dans une +union sublime, le double sentiment de la force du Prince des +Apôtres et de la douceur virginale d'Agnes."—<i>Dom Guéranger.</i></p></div> + +<p>Close to St' Agnese is the round <i>Church of Sta. Costanza</i>. erected by +Constantine as a mausoleum for his daughters Constantia and Helena, and +converted into a church by Alexander IV. (1254—61) in honour of the +Princess Constantia, ob. 354, whose life is represented by Marcellinus +as anything but saintlike, and who is supposed to have been confused in +her canonization with a sainted nun of the same name. The rotunda, +seventy-three feet in diameter, is surrounded by a vaulted corridor; +twenty-four double columns of granite support the dome. The vaulting is +covered with mosaic arabesques of the fourth century, of flowers and +birds, with scenes referring to a vintage. The same subjects are +repeated on the splendid porphyry sarcophagus of Sta. Costanza, of which +the interest is so greatly marred by its removal to the Vatican from its +proper site, whence it was first stolen by Pope Paul II., who intended +to use it as his own tomb.</p> + +<div class="blockquot"><p>"Les enfants qui foulent le raisin, tels qu'on les voit dans les +mosaïques de l'église de Sainte Constance, les bas-reliefs de son +tombeau et ceux de beaucoup d'autres tombeaux chrétiens sont bien +d'origine païenne, car on les voit aussi figurer dans les +bas-reliefs où paraît Priape."—<i>Ampère, Hist. Rom.</i> iii. 257. +<a name="vol_2_page_029" id="vol_2_page_029"></a></p></div> + +<p>Behind the two churches is an oblong space, ending in a fine mass of +ruin, which is best seen from the valley below. This was long supposed +to be the Hippodrome of Constantine, but is now discovered to have +belonged to an early Christian cemetery.</p> + +<p><i>The Catacomb of St Agnese</i> is entered from a vineyard about a quarter +of a mile beyond the church. It is lighted and opened to the public on +St. Agnes' Day. After those of St. Calixtus, this, perhaps, is the +catacomb which is most worthy of a visit.</p> + +<p>We enter by a staircase attributed to the time of Constantine. The +passages are lined with the usual <i>loculi</i> for the dead, sometimes +adapted for a single body, sometimes for two laid together. Beside many +of the graves the palm of victory may be seen scratched on the mortar, +and remains of the glass bottles or <i>ampullæ</i>, which are supposed to +indicate the graves of martyrs, and to have contained a portion of their +blood, of which they are often said to retain the trace. One of the +graves in the first gallery bears the names of consuls of <small>A.D.</small> 336, +which fixes the date of this part of the cemetery.</p> + +<p>The most interesting features here are a square chamber hewn in the +rock, with an arm-chair (<i>sedia</i>) cut out of the rock on either side of +the entrance, supposed to have been a school for catechists,—and near +this is a second chamber for female catechists, with plain seats in the +same position. Opening out of the gallery close by is a chamber which +was apparently used as a chapel; its <i>arcosolium</i> has marks of an altar +remaining at the top of the grave, and near it is a credence-table; the +roof is richly painted,—in the central compartment is our Lord seated +between the rolls of the Old and New Testament. Above the arcosolium, in +the<a name="vol_2_page_030" id="vol_2_page_030"></a> place of honour, is our Saviour as the Good Shepherd, bearing a +sheep upon his shoulders, and standing between other sheep and +trees;—in the other compartments are Daniel in the lions' den, the +Three Children in the furnace, Moses taking off his shoes, Moses +striking the rock, and—nearest the entrance—the Paralytic carrying his +bed. A neighbouring chapel has also remains of an altar and +credence-table, and well-preserved paintings,—the Good Shepherd, Adam +and Eve, with the tree between them, Jonah under the gourd, and in the +fourth compartment a figure described by Protestants merely as an +Orante, and by Roman Catholics as the Blessed Virgin.<a name="FNanchor_244_244" id="FNanchor_244_244"></a><a href="#Footnote_244_244" class="fnanchor">[244]</a> Near this +chapel we can look down through an opening into the second floor of the +catacomb, which is lined with graves like the first.</p> + +<p>In the further part of the catacomb is a long narrow chapel which has +received the name of the <i>cathedral</i> or <i>basilica</i>. It is divided into +three parts, of which the furthest, or presbytery, contains an ancient +episcopal chair with lower seats on either side for priests—probably +the throne where Pope St. Liberius (<small>A.D.</small> 359) officiated, with his face +to the people, when he lived for more than a year hidden here from +persecution. Hence a flight of steps leads down to what Northcote calls +"the Lady Chapel," where, over the altar, is a fresco of an orante, +without a nimbus, with outstretched arms,—with a child in front of her. +On either side of this picture, a very interesting one, is the monogram +of Constantine, and the painting is referred to his time. Near this +chapel is a chamber with a spring running through it, evidently used as +a baptistery.<a name="vol_2_page_031" id="vol_2_page_031"></a></p> + +<p>At the extremity of the catacomb, under the basilica of St. Agnes, is +one of its most interesting features. Here the passages become wider and +more irregular, the walls sloping and unformed, and graves cease to +appear, indicating one of the ancient <i>arenaria</i>, which here formed the +approach to the catacomb, and beyond which the Christians excavated +their cemetery.</p> + +<p>The graves throughout almost all the catacombs have been rifled, the +bones which they contained being distributed as relics throughout Roman +Catholic Christendom, and most of the sarcophagi and inscriptions +removed to the Lateran and other museums.</p> + +<div class="blockquot"><p>"Vous pourriez voir ici la capitale des catacombes de toute la +chrétienté. Les martyrs, les confesseurs, et les vierges, y +fourmillent de tous côtés. Quand on se fait besoin de quelques +reliques en pays étrangers, le Pape n'a qu'à descendre ici et +crier, <i>Qui de vous autres veut aller être saint en Pologne?</i> +Alors, s'il se trouve quelque mort de bonne volonté, il se lève et +s'en va."—<i>De Brosses</i>, 1739.</p></div> + +<p>Half a mile beyond St' Agnese, the road reaches the willow-fringed river +Anio, in which "Silvia changed her earthly life for that of a goddess," +and which carried the cradle containing her two babes Romulus and Remus +into the Tiber, to be brought to land at the foot of the Palatine +fig-tree. Into this river we may also recollect that Sylla caused the +ashes of his ancient rival Marius to be thrown. The river is crossed by +the <i>Ponte Nomentana</i>, a mediæval bridge, partially covered, with forked +battlements.</p> + +<div class="blockquot"><p>"Ponte Nomentana is a solitary dilapidated bridge in the spacious +green Campagna. Many ruins from the days of ancient Rome, and many +watch-towers from the middle ages, are scattered over this long +succession of meadows; chains of hills rise towards the horizon, +now partially covered with snow, and fantastically varied in form +and colour by the shadows of the clouds. And there is also the +enchanting<a name="vol_2_page_032" id="vol_2_page_032"></a> vapoury vision of the Alban hills, which change their +hues like the chameleon, as you gaze at them—where you can see for +miles little white chapels glittering on the dark foreground of the +hills, as far as the Passionist Convent on the summit, and whence +you can trace the road winding through thickets, and the hills +sloping downwards to the lake of Albano, while a hermitage peeps +through the trees."—<i>Mendelssohn's Letters.</i></p></div> + +<p>The hill immediately beyond the bridge is the <i>Mons Sacer</i> (not only the +part usually pointed out on the right of the road, but the whole +hillside), to which the famous secession of the Plebs took place in <small>B.C.</small> +549, amounting, according to Dionysius, to about 4000 persons. Here they +encamped upon the green slopes for four months, to the terror of the +patricians, who foresaw that Rome, abandoned by its defenders, would +fall before its enemies, and that the crops would perish for want of +cultivation. Here Menenius Agrippa delivered his apologue of the belly +and its members, which is said to have induced them to return to Rome; +that which really decided them to do so being the concession of +tribunes, to be the organs and representatives of the plebs as the +consuls were of the patricians. The epithet Sacer is ascribed by +Dionysius to an altar which the plebeians erected at the time on the +hill to <span title="Greek: Zeus Deimatios">Ζεὑς Δειμἁτιος</span>.</p> + +<p>A second secession to the Mons Sacer took place in <small>B.C.</small> 449, when the +plebs rose against Appius Claudius after the death of Virginia, and +retired hither under the advice of M. Duilius, till the decemvirs +resigned.</p> + +<p>Following the road beyond the bridge past the castle known as <i>Casale +dei Pazzi</i> (once used as a lunatic asylum) and the picturesque tomb +called Torre Nomentana,—as far as the seventh milestone—we reach the +remains of the unburied <i>Basilica of S. Alessandro</i>, built on the site +of the<a name="vol_2_page_033" id="vol_2_page_033"></a> place where that pope suffered martyrdom with his companions +Eventius and Theodulus, <small>A.D.</small> 119, and was buried on the same spot by the +Christian matron Severina.<a name="FNanchor_245_245" id="FNanchor_245_245"></a><a href="#Footnote_245_245" class="fnanchor">[245]</a> The plan of the basilica, disinterred +1856-7, is still quite perfect. The tribune and high altar retain +fragments of rich marbles and alabasters; the episcopal throne also +remains in its place.</p> + +<p>The "Acts of the martyrs Alexander, Eventius, and Theodulus," narrate +that Severina buried the bodies of the first two martyrs in one tomb, +and the third separately—"Theodulum vero alibi sepelivit." This is +borne out by the discovery of a chapel opening from the nave, where the +single word "martyri," is supposed to point out the grave of Theodulus. +A baptistery has been found with its font, and another chapel adjoining +is pointed out as the place where neophytes assembled to receive +confirmation from the bishop. Among epitaphs laid bare in the pavement +is one to a youth named Apollo "votus Deo" (dedicated to the +priesthood?) at the age of 14. Entered from the church is the catacomb +called "ad nymphas," containing many ancient inscriptions and a few rude +paintings.</p> + +<p>Mass is solemnly performed here by the Cardinal Prefect of the +Propaganda on the festival of St. Alexander, May 3, when the roofless +basilica—backed by the blue Sabine mountains and surrounded by the +utterly desolate Campagna—is filled with worshippers, and presents a +striking scene. Beyond this a road to the left leads through beautiful +woods to <i>Mentana</i>, occupying the site of the ancient Nomentum, and +recently celebrated for the battle between the papal troops and the +Garibaldians on Nov. 3, 1867. The conflict took<a name="vol_2_page_034" id="vol_2_page_034"></a> place chiefly on the +hillside which is passed on the right before reaching the town. Two +miles further is <i>Monte Rotondo</i>, with a fine old castle of the +Barberini family (once of the Orsini), from which there is a beautiful +view. This place was also the scene of fighting in 1867. It is possible +to vary the route in returning to Rome from hence by the lower road +which leads by the (now broken) Ponte Salara.</p> + +<hr style="width: 15%;" /> + +<p>If we re-enter Rome by the Porta Pia, immediately within the gates we +find another Villa belonging to the Torlonia family. The straight road +from the gate leads by the Termini to the Quattro Fontane and the Monte +Cavallo. On the left, if we follow the <i>Via de Macao</i>, which takes its +strange name from a gift of land which the princes of Savoy made to the +Jesuits for a mission in China, we reach a small piazza with two pines, +where a gate on the left leads to the remains of the <i>Pretorian Camp</i>, +established by Sejanus, the minister of Tiberius. It was dismantled by +Constantine, but from three sides having been enclosed by Aurelian in +the line of his city-wall, its form is still preserved to us. The +Pretorian Camp was an oblong of 1200 by 1500 feet; its area was occupied +by a vineyard of the Jesuits till 1861, when a "Campo Militare" was +again established here, for the pontifical troops.</p> + +<div class="blockquot"><p>"En suivant l'enceinte de Rome, quand on arrive à l'endroit où elle +se continue par le mur du Camp des prétoriens, on est frappé de la +supériorité de construction que présente celui-ci. La partie des +murs d'Honorius qui est voisine a été refaite au huitième siècle. +Le commencement et la fin de l'empire se touchent. On peut +apprécier d'un coup d'œil l'état de la civilisation aux deux +époques: voilà ce qu'on faisait dans le premier siècle, et voilà ce +qu'on faisait au huitième, après la conquête de l'empire Romain par +les Barbares. Il faut songer toutefois que cette époque où l'on +construisait si bien a amené celle où l'on ne savait plus +construire."—<i>Ampère, Emp.</i> i. 421. +<a name="vol_2_page_035" id="vol_2_page_035"></a></p></div> + +<p>Hence a road, three-quarters of a mile long, leads—passing under an +arch of Sixtus V.—to the Porta S. Lorenzo (Ch. XIII.).</p> + +<p>The road opposite the gateway leading to the Camp is bordered on the +left by the buildings belonging to the <i>Railway Station</i>, beyond which +is the entrance to the grounds of the <i>Villa Massimo Negroni</i>, which +possessed a delightful terrace, fringed with orange-trees—a most +agreeable sunny walk in winter—and many pleasant shady nooks and +corners for summer, but which has been mutilated and stripped of all its +beauties since the Sardinian rule. In a part of this villa beyond the +railway but still visible from hence, is a colossal statue of Minerva +(generally called "Rome"), which is a relic of the residence here of +Cardinal Felix Perretti, who as a boy had watched the pigs of his father +at Montalto, and who lived to mount the papal throne as Sixtus V. The +pedestal of the statue bears his arms,—a lion holding three pears in +its paw. Here, with her husband's uncle, lived the famous Vittoria +Accoramboni, the wife of the handsome Francesco Perretti, who had been +vainly sought in marriage by the powerful and ugly old Prince Paolo +Orsini. It was from hence that her young husband was summoned to a +secret interview with her brothers on the slopes of the Quirinal, where +he was cruelly murdered by the hired bravos of her first lover. Hence +also Vittoria went forth—on the very day of the installation of Sixtus +V.—to her strange second marriage with the murderer of her husband, who +died six months after, leaving her with one of the largest fortunes in +Italy—an amount of wealth which led to her own barbarous murder through +the jealousy of the Orsini a month afterwards.</p> + +<p>Here, after the election of her brother to the papacy, lived<a name="vol_2_page_036" id="vol_2_page_036"></a> Camilla, +the sister of Sixtus V., whom he refused to recognise when she came to +him in splendid attire as a princess, but tenderly embraced when she +reappeared in her peasant's wimple and hood. From hence her two +granddaughters were married,—one to Virginius Orsini, the other to +Marc-Antonio Colonna, an alliance which healed the feud of centuries +between the two families.</p> + +<p>In later times the Villa Negroni was the residence of the poet Alfieri.</p> + +<p>The principal terrace ends near a reservoir which belonged to the baths +of Diocletian.</p> + +<div class="blockquot"><p>"As one looks from the Villa Negroni windows, one cannot fail to be +impressed by the strange changes through which this wonderful city +has passed. The very spot on which Nero, the insane emperor-artist, +fiddled while Rome was burning, has now become a vast +kitchen-garden, belonging to Prince Massimo (himself a descendant, +as he claims, of Fabius Cunctator), where men no longer, but only +lettuces, asparagus, and artichokes, are ruthlessly cut down. The +inundations are not for mock sea-fights among slaves, but for the +peaceful purposes of irrigation. In the bottom of the valley, a +noble old villa, covered with frescoes, has been turned into a +manufactory for bricks, and part of the Villa Negroni itself is now +occupied by the railway station. Yet here the princely family of +Negroni lived, and the very lady at whose house Lucrezia Borgia +took her famous revenge may once have sauntered under the walls, +which still glow with ripening oranges, to feed the gold fish in +the fountain,—or walked with stately friends through the long +alleys of clipped cypresses, or pic-nicked <i>alla Giornata</i> on lawns +which are now but kitchen-gardens, dedicated to San +Cavolo."—<i>Story's Roba di Roma.</i></p></div> + +<p>The lower part of the Villa Negroni, and the slopes towards the +Esquiline, were once celebrated as the <i>Campus Esquilinus</i>, a large +pauper burial-ground, where bodies were thrown into pits called +<i>puticoli</i>,<a name="FNanchor_246_246" id="FNanchor_246_246"></a><a href="#Footnote_246_246" class="fnanchor">[246]</a> as is still the custom at Naples. There were also tombs +here of a somewhat pretentious<a name="vol_2_page_037" id="vol_2_page_037"></a> character: "those probably of rich +well-to-do burgesses, yet not great enough to command the posthumous +honour of a roadside mausoleum."<a name="FNanchor_247_247" id="FNanchor_247_247"></a><a href="#Footnote_247_247" class="fnanchor">[247]</a> Horace dwells on the horrors of +this burial-ground, where he places the scene of Canidia's +incantations:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Nec in sepulcris pauperum prudens anus<br /></span> +<span class="ist">Novemdiales dissipare pulveres."<br /></span> +<span class="i4"><i>Epod.</i> xvii. 47.<br /></span> +</div></div> + +<div class="poem"><div class="stanza"> +<span class="i6">'Has nullo perdere possum<br /></span> +<span class="ist">Nec prohibere modo, simul ac vaga luna decorum<br /></span> +<span class="ist">Protulit os, quin ossa legant, herbasque nocentes.<br /></span> +<span class="ist">Vidi egomet nigrâ succinctam vadere pallâ<br /></span> +<span class="ist">Canidiam, pedibus nudis passoque capillo,<br /></span> +<span class="ist">Cum Saganâ majore ululantem; pallor utrasque<br /></span> +<span class="ist">Fecerat horrendas aspectu,<br /></span> +<span class="i6">. . . . . . .<br /></span> +<span class="i6">Serpentes atque videres<br /></span> +<span class="ist">Infernas errare canes; lunamque rubentem,<br /></span> +<span class="ist">Ne foret his testis, post magna latere sepulcra."<br /></span> +<span class="i7"><i>Hor. Sat.</i> i. 8'<br /></span> +</div></div> + +<p>The place was considered very unhealthy until its purification by +Mæcenas.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Huc prius angustis ejecta cadavera cellis<br /></span> +<span class="ist">Conservus vili portanda locabat in arcâ.<br /></span> +<span class="ist">Hoc miseræ plebi stabat commune sepulcrum,<br /></span> +<span class="ist">Pantolabo scurræ, Nomentanoque nepoti.<br /></span> +<span class="ist">Mille pedes in fronte, trecentos cippus in agrum<br /></span> +<span class="ist">Hîc dabat; heredes monumentum ne sequeretur.<br /></span> +<span class="ist">Nunc licet Esquiliis habitare salubribus, atque<br /></span> +<span class="ist">Aggere in aprico spatiari; quo modo tristes<br /></span> +<span class="ist">Albis informem spectabant ossibus agrum."<br /></span> +<span class="i15"><i>Hor. Sat.</i> i. 8.<br /></span> +</div></div> + +<div class="poem"><div class="stanza"> +<span class="i0">"Post insepulta membra different lupi,<br /></span> +<span class="ist">Et Esquilinæ alites."<br /></span> +<span class="i15"><i>Hor. Ep.</i> v. 100.<br /></span> +</div></div> + +<div class="blockquot"><p>"The Campus Esquilinus, between the roads which issued from the<a name="vol_2_page_038" id="vol_2_page_038"></a> +Esquiline and Viminal gates, was the spot assigned for casting out +the carcases of slaves, whose foul and half-burnt remains were +hardly hidden from the vultures. The <i>accursed field</i> was enclosed, +it would appear, neither by wall nor fence, to exclude the +wandering steps of man or beast; and from the public walk on the +summit of the ridge, it must have been viewed in all its horrors. +Here prowled in troops the houseless dogs of the city and the +suburbs; here skulked the solitary wolf from the Alban hills, and +here perhaps, to the doleful murmurs of the Marsic chaunt, the +sorceress compounded her philtres of the ashes of dead men's bones. +Mæcenas (<small>B.C.</small> 7) deserved the gratitude of the citizens, when he +obtained a grant of this piece of land, and transformed it into a +park or garden.... The Campus Esquilinus is now part of the gardens +of the Villa Negroni."—<i>Merivale, Romans under the Empire.</i></p></div> + +<p>Within what were the grounds of the Villa Negroni until they were +encroached upon by the railway, but now only to be visited with a +"lascia passare" from the station master, are some of the best remains +of the <i>Agger of Servius Tullius</i>. In 1869—70, some curious painted +chambers were discovered here, but were soon destroyed,—and the foolish +jealousy of the authorities prevented any drawings or photographs being +taken. The Agger can be traced from the Porta Esquilina (near the Arch +of Gallienus), to the Porta Collina (near the Gardens of Sallust). In +the time of the empire it had become a kind of promenade, as we learn +from Horace.<a name="FNanchor_248_248" id="FNanchor_248_248"></a><a href="#Footnote_248_248" class="fnanchor">[248]</a></p> + +<p>Opposite the station are the vast, but for the most part uninteresting, +remains of the <i>Baths of Diocletian</i>, covering a space of 440,000 square +yards. They were begun by Diocletian and Maximian, about <small>A.D.</small> 302, and +finished by Constantius and Maximinus. It is stated by Cardinal +Baronius, that 40,000 Christians were employed in the work; some bricks +marked with crosses have been found<a name="vol_2_page_039" id="vol_2_page_039"></a> in the ruins. At the angles of the +principal front were two circular halls, both of which remain; one is +near the modern Villa Strozzi, at the back of the Negroni garden, and is +now used as a granary, the other is transformed into the Church of S. +Bernardo.</p> + +<p>The Baths are supposed to have first fallen into decay after the Gothic +invasion of <small>A.D.</small> 410. In the sixteenth century the site was sold to +Cardinal Bella, ambassador of Francis I. at Rome, who built a fine +palace among the ruins; after his death, in 1560, the property was +re-sold to S. Carlo Borromeo. He sold it again to his uncle, Pope Pius +IV., who founded the monastery of Carthusian monks. These, in 1593, sold +part of the ruins to Caterina Sforza, who founded the Cistercian convent +of S. Bernardo.</p> + +<p>About 1520, a Sicilian priest called Antonio del Duca came to Rome, +bringing with him from Palermo pictures of the seven archangels +(Michael, Gabriel, Raphael, Uriel, Santhiel, Gendiel, and Borachiel), +copied from some which existed in the Church of S. Angiolo. Carried away +by the desire of instituting archangel-worship at Rome, he obtained +leave to affix these pictures to seven of the columns still standing +erect in the Baths of Diocletian, which, ten years after, Julius II. +allowed to be consecrated under the title of Sta. Maria degli Angeli; +though Pius IV., declaring that angel-worship had never been sanctioned +by the Church, except under the three names mentioned in Scripture, +ordered the pictures of Del Duca to be taken away.<a name="FNanchor_249_249" id="FNanchor_249_249"></a><a href="#Footnote_249_249" class="fnanchor">[249]</a> At the same time +he engaged Michael Angelo to convert the great oblong hall of the Baths +(Calidarium) into a church. The church then arranged was not such as we +now see, the present<a name="vol_2_page_040" id="vol_2_page_040"></a> entrance having been then the atrium of the side +chapel, and the main entrance at first by what is now the right +transept, while the high altar stood in what is now the left transept. +In 1749, the desire of erecting a chapel to the Beato Nicolo Albergati, +led to the church being altered, under Vanvitelli, as we now see it.</p> + +<p>The <i>Church of Sta. Maria degli Angeli</i>, still most magnificent, is now +entered by a rotunda (Laconicum) which contains four monuments of some +interest; on the right of the entrance is that of the artist Carlo +Maratta, who died 1713; on the left that of Salvator Rosa, who died +1673, with an epitaph by his son, describing him as "Pictorum sui +temporis nulli secundum, poetarum omnium temporum principibus parem!" +Beyond, on the right, is the monument of Cardinal Alciati, professor of +law at Milan, who procured his hat through the interest of S. Carlo +Borromeo, with the epitaph "Virtute vixit, memoria vivit, gloria +vivet,"—on the left, that of Cardinal Parisio di Corenza, inscribed, +"Corpus humo tegitur, fama per ora volat, spiritus astra tenet." In the +chapel on the right are the angels of Peace and Justice, by <i>Pettrich</i>; +in that on the left Christ appearing to the Magdalen, by <i>Arrigo +Fiamingo</i>. Against the pier on the right is the grand statue of S. +Bruno, by <i>Houdon</i>, of which Clement XIV. (Ganganelli) used to say, "He +would speak, if the rule of his Order did not forbid it."</p> + +<p>The body of the church is now a perfect gallery of very large pictures, +most of which were brought from St. Peter's, where their places have +been supplied by mosaic copies. In what is now the right transept, on +the right, is the Crucifixion of St. Peter, <i>Ricciolini</i>; the Fall of +Simon Magus, a copy of <i>Francesco Vanni</i> (the original in St. Peter's); +on the<a name="vol_2_page_041" id="vol_2_page_041"></a> left, St. Jerome, with St. Bruno and St. Francis, <i>Muziano</i> +(1528—92) (the landscape by <i>Brill</i>); and the Miracles of St. Peter, +<i>Baglioni</i>. This transept ends in the chapel of the Beato Nicolo +Albergati, a Carthusian Cardinal, who was sent as legate by Martin V., +in 1422, to make a reconciliation between Charles VI. of France and +Henry V. of England. The principal miracle ascribed to him, the +conversion of bread into coal in order to convince the Emperor of +Germany of his divine authority, is represented in the indifferent +altar-piece. In the left transept, which ends in the chapel of S. Bruno, +are: on the left, St. Basil by the solemnity of the Mass rebuking the +Emperor Valens, <i>Subleyras</i>; and the Fall of Simon Magus, <i>Pompeo +Battoni</i>;—on the right, the Immaculate Conception, <i>P. Bianchi</i>; and +Tabitha raised from the Dead, <i>P. Costanzi</i>.</p> + +<p>In the tribune are, on the right, the Presentation of the Virgin in the +Temple, <i>Romanelli</i>; and the Martyrdom of St. Sebastian, a grand fresco +of <i>Domenichino</i>, painted originally on the walls of St. Peter's, and +removed here with great skill by the engineer Zabaglia;—on the left, +the Death of Ananias and Sapphira, <i>Pomarancio</i>; and the Baptism of +Christ, <i>Maratta</i>.</p> + +<p>On the right of the choir is the tomb of Cardinal Antonio Serbelloni; on +the left that of Pius IV., Giovanni Angelo Medici (1559-1565), under +whose reign the Council of Trent was closed,—uncle of S. Carlo +Borromeo, a lively and mundane pope, but the cruel persecutor of the +Caraffa nephews of his predecessor, Paul IV., whom he executed in the +Castle of S. Angelo.</p> + +<p>Of the sixteen columns in this church (45 feet in height, 16 feet in +diameter), only the eight in the transept are of<a name="vol_2_page_042" id="vol_2_page_042"></a> ancient Egyptian +granite; the rest are in brick, stuccoed in imitation, and were +additions of Vanvitelli. On the pavement is a meridian line, laid down +in 1703.</p> + +<div class="blockquot"><p>"Quand Dioclétien faisait travailler les pauvres chrétiens à ses +étuves, ce n'était pas son dessein de bâtir des églises à leurs +successeurs; il ne pensait pas être fondateur, comme il l'a été, +d'un monastère de Pères Chartreux et d'un monastère de Pères +Feuillants.... C'est aux dépens de Dioclétien, de ses pierres et de +son ciment qu'on fait des autels et des chapelles à Jesus-Christ, +des dortoirs et des réfectoires à ses serviteurs. La providence de +Dieu se joue de cette sorte des pensées des hommes, et les +événements sont bien éloignés des intentions quand la terre a un +dessein et le ciel un autre."—<i>Balzac.</i></p></div> + +<p>The Carthusian convent behind the church (ladies are not admitted) +contains several picturesque fountains. That in the great cloister, +built from designs of Michael Angelò, is surrounded by a group of huge +and grand cypresses, said to have been planted by his hand.</p> + +<div class="blockquot"><p>"Il semble que la vie ne sert ici qu'à contempler la mort—les +hommes qui existent ainsi sont pourtant les mêmes à qui la guerre +et toute son activité suffirait à peine s'ils y étaient accoutumés. +C'est un sujet inépuisable de réflexion que les différentes +combinaisons de la destinée humaine sur la terre. Il se passe dans +l'intérieur de l'âme mille accidents, il se forme mille habitudes, +qui font de chaque individu un monde et son histoire."—<i>Madame de +Staël.</i></p></div> + +<p>On a line with the monastery is a Prison for Women—then an Institution +for Deaf, Dumb, and Blind—then the ugly <i>Fountain of the Termini</i> +(designed by Fontana), sometimes called Fontanone dell' Acqua Felice, +(Felice, from Fra Felice, the name by which Sixtus V. was known before +his papacy,) to which the Acqua Felice was brought from Colonna 22 miles +distant in the Alban hills, in 1583, by Sixtus V. It is surmounted by a +hideous statue of Moses by <i>Prospero<a name="vol_2_page_043" id="vol_2_page_043"></a> Bresciano</i>, who is said to have +died of vexation at the ridicule it excited when uncovered. The side +statues, of Aaron and Gideon, are by <i>Giov. Batt. della Porta</i> and +<i>Flaminio Vacca</i>.</p> + +<p>Opposite this, in the Via della Porta Pia, is the <i>Church of Sta. Maria +della Vittoria</i>, built in 1605, by Carlo Maderno, for Paul V. Its façade +was added from designs of Giov. Batt. Soria, by Cardinal Borghese, in +payment to the monks of the adjoining Carmelite convent, for the statue +of the Hermaphrodite, which had been found in their vineyard.</p> + +<p>The name of the church commemorates an image of the Virgin, burnt in +1833, which was revered as having been instrumental in gaining the +victory for the Catholic imperial troops over the Protestant Frederick +and Elizabeth of Bohemia, at the battle of the White Mountain, near +Prague. The third chapel on the left contains the Trinity, by +<i>Guercino</i>; a Crucifixion, by <i>Guido</i>; and a portrait of Cardinal +Cornaro, <i>Guido</i>. The altar-piece of the second chapel on the right, +representing St. Francis receiving the Infant Christ from the Virgin, is +by <i>Domenichino</i>, as are two frescoes on the side walls. In the left +transept, above an altar adorned with a gilt bronze-relief of the Last +Supper, by Cav. d'Arpino, is a group representing Sta. Teresa transfixed +by the dart of the Angel of Death, by <i>Bernini</i>. The following +criticisms upon it are fair specimens of the contrast between English +and French taste.</p> + +<div class="blockquot"><p>"All the Spanish pictures of Sta. Theresa sin in their materialism; +but the grossest example—the most offensive—is the marble group +of Bernini, in the Santa Maria della Vittoria at Rome. The head of +Sta. Theresa is that of a languishing nymph, the angel is a sort of +Eros; the whole has been significantly described as 'a parody of +Divine love.' The vehicle, white marble,—its place in a Christian +church,—enhance<a name="vol_2_page_044" id="vol_2_page_044"></a> all its vileness. The least destructive, the +least prudish in matters of art, would here willingly throw the +first stone."—<i>Mrs. Jameson's Monastic Orders</i>, p. 421.</p></div> + +<div class="blockquot"><p>"La sainte Thérèse de Bernin est adorable! couchée, évanouie +d'amour les mains, les pieds nus pendants, les yeux demiclos, elle +s'est laissée tomber de bonheur et d'extase. Son visage est maigri, +mais combien noble! C'est la vraie grande dame qui a séché dans les +feux, dans les larmes, en attendant celui qu'elle aime. Jusqu'aux +draperies tortillées, jusqu'à l'allanguissement des mains +défaillantes, jusqu'au soupir qui meurt sur ses levres +entr'ouvertes, il n'y a rien en elle ni autour d'elle qui n'exprime +l'angoisse volupteuse et le divin élancement de son transport. On +ne peut pas rendre avec des mots une attitude si enivrée et si +touchante. Renversée sur le dos, elle pâme, tout son être se +dissout; le moment poignant arrive, elle gémit; c'est son dernier +gémissement, la sensation est trop forte. L'ange cependant, un +jeune page de quatorze ans, en légère tunique, la poitrine +découverte jusqu'au dessous du sein, arrive gracieux, aimable; +c'est le plus joli page de grand seigneur qui vient faire le +bonheur d'une vassal trop tendre. Un sourire demi-complaisant, +demi-malin, creuse des fossettes dans ses fraîches joues luisantes; +sa flêche d'or à la main indique le tressaillement délicieux et +terrible dont il va secouer tous les nerfs de ce corps charmant, +ardent, qui s'étale devant sa main. On n'a jamais fait ce roman si +séduisant et si tendre."—<i>Taine, Voyage en Italie.</i></p></div> + +<p>Close by is the handsome <i>Church of Sta. Susanna</i>, rebuilt by <i>Carlo +Maderno</i>, for Sixtus V., on the site of an oratory founded by Pope Caius +(<small>A.D.</small> 283), in the house of his brother Gabinus, who was martyred with +his daughter Susanna because she refused to break her vow of virginity +by a marriage with Maximianus Galerus, adopted son of the Emperor +Diocletian, to whom this family were related. The bodies of these +martyrs are said to rest beneath the high altar. The side chapel of St. +Laurence was presented by Camilla Peretti, the sister of Sixtus V., +together with a dowry of fifty scudi, to be paid every year to the nine +best girls in the parish, on the festival of Sta. Susanna. The frescoes +of the story of Susanna and the Elders, painted<a name="vol_2_page_045" id="vol_2_page_045"></a> here on the side walls, +from the analogy of names, are by <i>Baldassare Croce</i>; those in the +tribune are by <i>Cesare Nebbia</i>.</p> + +<p>Opposite this, is the Cistercian convent and <i>Church of S. Bernardo</i>, a +rotunda of the Baths of Diocletian, turned into a church in 1598, by +Caterina Sforza, Contessa di Santa Fiora.</p> + +<p>Hence the Via della Porta Pia leads to the Quattro Fontane. On the left +is the small <i>Church of S. Caio</i>, which encloses the tomb of that pope, +inscribed "Sancti Caii, Papæ, martyris ossa." Further, on the left, is +the great recently suppressed convent of the Carmelites, and the <i>Church +of Sta. Teresa</i>. The right of the street is bordered by the +orange-shaded wall of the Barberini garden.</p> + +<p>Between S. Caio and Sta. Teresa, is the <i>Studio of Overbeck</i>, the +venerable German devotional painter, who died 1869. His daughter allows +visitors to be admitted on Sunday afternoons.<a name="vol_2_page_046" id="vol_2_page_046"></a></p> + +<h2><a name="CHAPTER_XII" id="CHAPTER_XII"></a>CHAPTER XII.<br /><br /> +THE ESQUILINE.</h2> + +<div class="blockquot"><p class="hang">Golden House of Nero—Baths of Titus and Trajan—S. Pietro in +Vincoli—Frangipani Tower—House of Lucrezia Borgia—S. Martino al +Monte—Sta. Lucia in Selce—Sta. Prassede—Santissimo +Redentore—Arch of Gallienus—Trophies of Marius—Sta. +Bibiana—Temple of Minerva Medica—S. Eusebio—S. Antonio +Abbate—Sta. Maria Maggiore.</p></div> + +<p class="nind"><span class="letra">T</span>HE +Esquiline, which is the largest of the so-called 'hills of Rome,' is +not a distinct hill, but simply a projection of the Campagna. "The +Quirinal, Viminal, Esquiline, and Cœlian stretch out towards the +Tiber, like four fingers of a hand, of which the plain whence they +detach themselves represents the vast palm. This hand has seized the +world."<a name="FNanchor_250_250" id="FNanchor_250_250"></a><a href="#Footnote_250_250" class="fnanchor">[250]</a></p> + +<p>Varro says that the name Esquiline was derived from the word <i>excultus</i>, +because of the ornamental groves which were planted on this hill by +Servius Tullius,—such as the Lucus Querquetulanus, Fagutalis, and +Esquilinus.<a name="FNanchor_251_251" id="FNanchor_251_251"></a><a href="#Footnote_251_251" class="fnanchor">[251]</a> The sacred wood of the Argiletum long remained on the +lower slope of the hill, where the Via Sta. Maria dei Monti now is.</p> + +<p>The Esquiline, which is still unhealthy, must have been so in ancient +times, for among its temples were those<a name="vol_2_page_047" id="vol_2_page_047"></a> dedicated to Fever, near Sta. +Maria Maggiore—to Juno Mephitis,<a name="FNanchor_252_252" id="FNanchor_252_252"></a><a href="#Footnote_252_252" class="fnanchor">[252]</a> near a pool which emitted +poisonous exhalations—and to Venus Libitina,<a name="FNanchor_253_253" id="FNanchor_253_253"></a><a href="#Footnote_253_253" class="fnanchor">[253]</a> for the registration +of deaths, and arrangement of funerals. As the hill was in the hands of +the Sabines, its early divinities were Sabine. Besides those already +mentioned, it had an altar of the Sabine sun-god Janus, dedicated +together with an altar to Juno by the survivor of the Horatii,<a name="FNanchor_254_254" id="FNanchor_254_254"></a><a href="#Footnote_254_254" class="fnanchor">[254]</a> and +a temple of Juno Lucina, the goddess of birth and light.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Monte sub Esquilio multis incæduus annis<br /></span> +<span class="ist">Junonis magnæ nomine lucus erat."<br /></span> +<span class="i15"><i>Ovid, Fast.</i> ii. 435.<br /></span> +</div></div> + +<p>This hill has two heights. That which is crowned by Santa Maria Maggiore +was formerly called <i>Cispius</i>, where Servius Tullius had a palace; that +which is occupied by S. Pietro in Vincoli was formerly called <i>Oppius</i>, +where Tarquinius Superbus lived. It was in returning to his palace on +the former (and not on the latter height, as generally maintained) that +Servius Tullius was murdered.</p> + +<p>The most important buildings of the Esquiline, in the later republican +and in imperial times, were on the slope of the hill behind the Forum, +and near the Coliseum, in the fashionable quarter called Carinæ,—the +"rich Carinæ,"</p> + +<div class="poem"><div class="stanza"> +<span class="i6">"Passimque armenta videbant<br /></span> +<span class="i0">Romanoque Foro et lautis mugire Carinis."<br /></span> +<span class="i15"><i>Virgil, Æn.</i> viii. 361.<br /></span> +</div></div> + +<p class="nind">of which the principal street probably occupied the site of the present +Via del Colosseo. At the entrance of this<a name="vol_2_page_048" id="vol_2_page_048"></a> suburb, where the fine +mediæval Torre dei Conti now stands, was the house of Spurius Cassius +(Consul <small>B.C.</small> 493), which was confiscated and demolished, and the ground +ordained to be always kept vacant, because he was suspected of aiming at +regal power. Here, however, or very nearly on this site, the <i>Ædes +Telluris</i>, or temple of Tellus, was erected <i>c.</i> <small>B.C.</small> 269,<a name="FNanchor_255_255" id="FNanchor_255_255"></a><a href="#Footnote_255_255" class="fnanchor">[255]</a>—a +building of sufficient importance for the senate, summoned by Antony, to +assemble in it. The quarter immediately surrounding this temple acquired +the name of <i>In Tellure</i>, which is still retained by several of its +modern churches.<a name="FNanchor_256_256" id="FNanchor_256_256"></a><a href="#Footnote_256_256" class="fnanchor">[256]</a> Near this temple—"in tellure," lived Pompey, in a +famous though small historical house, which he adorned on the outside +with rostra in memory of his naval victories, and which was painted +within to look like a forest with trees and birds, much probably as the +chambers are painted which were discovered a few years ago in the villa +of Livia.<a name="FNanchor_257_257" id="FNanchor_257_257"></a><a href="#Footnote_257_257" class="fnanchor">[257]</a> Here Julia, the daughter of Julius Cæsar, and wife of +Pompey, died. After the death of Pompey this house was bought by the +luxurious Antony. The difference between its two masters is pourtrayed +by Cicero, who describes the severe comfort of the house of Pompey +contrasted with the voluptuous luxury of its second master, and winds up +his oration by exclaiming, "I pity even the roofs and the walls under +the change." At a later period the same house was the favourite +residence of Antoninus Pius. Hard by, in the Carinæ, the favourite +residence of Roman knights, lived the father of Cicero, and hence the +young Tullius went to listen in the forum to the orators whom he was one +day to<a name="vol_2_page_049" id="vol_2_page_049"></a> surpass.<a name="FNanchor_258_258" id="FNanchor_258_258"></a><a href="#Footnote_258_258" class="fnanchor">[258]</a> Also in the Carinæ, but nearer the site of the +Coliseum, was the magnificent house of the wealthy Vedius Pollio, which +he bequeathed to Augustus, who pulled it down, and built the portico of +Livia on its site:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Disce tamen, veniens ætas, ubi Livia nunc est<br /></span> +<span class="i2">Porticus, immensæ tecta fuisse domûs.<br /></span> +<span class="i0">Urbis opus domus una fuit; spatiumque tenebat,<br /></span> +<span class="i2">Quo brevius muris oppida multa tenent.<br /></span> +<span class="i0">Hæc æquata solo est, nullo sub crimine regni,<br /></span> +<span class="i2">Sed quia luxuriâ visa nocere suâ.<br /></span> +<span class="i0">Sustinuit tantas operum subvertere moles,<br /></span> +<span class="i2">Totque suas heres perdere Cæsar opes."<br /></span> +<span class="i15"><i>Ovid, Fast.</i> vi. 639.<br /></span> +</div></div> + +<p>At its opposite extremity the Carinæ was united to the unfashionable and +plebeian quarter of the <i>Suburra</i>, occupying the valley formed by the +convergence of the Esquiline, Quirinal, and Viminal—which is still +crowded with a teeming population. In one of the small streets leading +from the Vicus Cyprius (between the Esquiline and Viminal) towards the +Carinæ, was the <i>Tigellum Sororis</i>, which was extant—repaired at the +public expense—till the fifth century. This, "the Sister's Beam," +commemorated the well-known story of the last of the Horatii, who, +returning from the slaughter of the Curiatii, and being met by his +sister, bewailing one of the dead to whom she was betrothed, stabbed her +in his anger. He was condemned to death, but at the prayer of his father +his crime was expiated by his passing under the yoke of "the Sister's +Beam." On one side of the Tigellum Sororis was an altar to Juno Sororis; +on the other an altar to Janus Curiatius.<a name="FNanchor_259_259" id="FNanchor_259_259"></a><a href="#Footnote_259_259" class="fnanchor">[259]</a><a name="vol_2_page_050" id="vol_2_page_050"></a></p> + +<p>During the empire several poets had their residence on the Esquiline. +Virgil lived there, near the gardens of Mæcenas, which covered the +slopes between the Esquiline and Viminal. Propertius had a house there, +as we learn from himself—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"I, puer, et citus hæc aliqua propone columna<br /></span> +<span class="ist">Et dominum Esquiliis scribe habitare tuum."<br /></span> +<span class="i15"><i>Propert. Eleg.</i> iv. 23.<br /></span> +</div></div> + +<p>It is believed, but without certainty, that Horace also lived upon the +Esquiline. He was constantly there in the villa of Mæcenas, where he was +buried, and which he has described in his poems both in its original +state as a desecrated cemetery, and again after his friend had converted +it into a beautiful garden.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Nunc licet Esquiliis habitare salubribus, atque<br /></span> +<span class="ist">Aggere in aprico spatiari, quo modo tristes<br /></span> +<span class="ist">Albis informem spectabant ossibus agrum."<br /></span> +<span class="i15"><i>Sat.</i> i.<br /></span> +</div></div> + +<p>The house of Mæcenas, the great patron of the poets of the Augustan age, +probably occupied a site above the Carinæ, where the baths of Titus +afterwards were. It was a lofty and magnificent edifice, and is +described by Horace, who calls it—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Fastidiosam desere copiam, et<br /></span> +<span class="ist">Molem propinquam nubibus arduis:<br /></span> +<span class="i2">Omitte mirari beatæ<br /></span> +<span class="i4">Fumum et opes strepitumque Romæ."<br /></span> +<span class="i15"><i>Od.</i> iii. 29.<br /></span> +</div></div> + +<p>Mæcenas bequeathed his villa to Augustus, and Tiberius at one time +resided in it.<a name="vol_2_page_051" id="vol_2_page_051"></a></p> + +<p>Another, though less well-known poet of this age, who lived upon the +Esquiline, was Pedo Albinovanus, much extolled by Ovid, who lived at the +summit of the Vicus Cyprius (probably the Via Sta. Maria Maggiore), in a +little house:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Illic parva tui domus Pedonis<br /></span> +<span class="i4">Cælata est aquilæ minore penna."<br /></span> +<span class="i15"><i>Martial</i>, x. <i>Ep.</i> 19.<br /></span> +</div></div> + +<p>Near this was the <i>Lacus Orphei</i>, a fountain, in the centre of which was +a rock, &c., surmounted by a statue of Orpheus with the enchanted beasts +around him. The house of Pedo was afterwards inhabited by Pliny. On +<i>Septimius</i>, as the furthest slope of the Esquiline towards the Viminal +was called, lived Maximus—of whom Martial says:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Esquiliis domus est, domus est tibi colle Dianæ,<br /></span> +<span class="i2">Et tua Patricius culmina Vicus habet:<br /></span> +<span class="i0">Hinc viduæ Cybeles, illinc sacraria Vestæ,<br /></span> +<span class="i2">Inde Novum, Veterem prospicis inde Jovem."<br /></span> +<span class="i15"><i>Mart.</i> vii. <i>Ep.</i> 72.<br /></span> +</div></div> + +<p>Only the northern side of the Esquiline is now inhabited at all; the +southern, and by far the larger portion, is clothed with vineyards and +gardens, sprinkled over with titanic masses of ruin. On most parts of +the hill, one might imagine oneself far away in the country. According +to Niebuhr, the dweller amid the vines of the Esquiline, when he +descends into the city, still says, "I am going to Rome."</p> + +<hr style="width: 15%;" /> + +<p>Nero (<small>A.D.</small> 54—68) purchased the site of the villa of Mæcenas, and +covered the whole side of the hill towards<a name="vol_2_page_052" id="vol_2_page_052"></a> the Carinæ with the vast +buildings of his Golden House, which also swallowed up the Cœlian and +a great part of the Palatine; but he did not destroy the buildings which +already existed, and "the Golden House was still the old mansion of +Augustus and the villa of Mæcenas connected by a long series of columns +and arches."<a name="FNanchor_260_260" id="FNanchor_260_260"></a><a href="#Footnote_260_260" class="fnanchor">[260]</a> Titus (<small>A.D.</small> 79—81) and Trajan (<small>A.D.</small> 98—117) used +part of the same site for their baths, and the ruins of all these +buildings are now jumbled up together, and the varying whims of +antiquaries have constantly changed the names of each fragment that has +been discovered.</p> + +<p>The more interesting of these ruins are on the southern slope of the +Esquiline towards the Coliseum, and are most easily approached from the +Via Polveriera. They are shown now as the <i>Baths of Titus</i>, or Camere +Esquiline, and occupy a space of about 1150 feet by 850. That the +chambers which are now visible were to be seen in the time of Leo X. +(1513—22) we learn from Vasari, who says that Raphael and Giovanni da +Udine were wont to study there and copy the arabesques to assist their +work in the Vatican Loggie. After this, neglect and the falling in of +the soil caused these treasures to be lost till 1774, when they were +again partially unearthed, but they were only completely brought to view +by the French, who began to take the work in hand in 1811, and continued +their excavations for three years.</p> + +<p>The principal remains, which are now exhibited by the dim torch of a +solitary cicerone, are those of nine chambers, extending for 300 feet, +and having on the north a kind of corridor, or cryptoporticus, whose +vault is covered with<a name="vol_2_page_053" id="vol_2_page_053"></a> paintings of birds, griffins, and flowers, &c. In +two of these halls are alcoves for couches, and in one is a cavity for a +fountain with a trench round it, like that in the nymphæum of the Palace +of the Cæsars. In one of the halls is a group representing Venus +attended by two Cupids, with doves hovering over her. Near this a +pedestal is shown as that occupied by the Laocoon, though it was really +found in the Vigna de Fredis, between the Sette Sale and Sta. Maria +Maggiore. A set of thirty engravings, published by Mirri, from drawings +taken in 1776, show what the paintings were at that time, but very few +now remain perfect. A group of Coriolanus and his mother, represented in +Mirri's work, is now inaccessible. All the paintings are Pompeian in +character, and for some time were considered the best remains of ancient +pictorial art in Rome, but they are inferior to those which have since +been discovered on the Latin way and at the Baths of Livia. The chambers +which open beyond the nine outer halls are considered to be part of the +Golden House. In one of these the Meleager of the Vatican was found. A +small chapel, dedicated to Sta. Felicitas and her seven sons (evidently +engrafted upon the pagan building in the sixth century), was discovered +in 1813. It is like the chapels in the catacombs, and is decorated with +the conventional frescoes of the Good Shepherd, Daniel in the lions' +den, &c. There are also some faint remains of a fresco of the sainted +patrons.</p> + +<p>Behind the convent of S. Pietro in Vincoli, in the open vineyards, are +other ruins called the <i>Sette Sale</i>, being remains of the reservoirs (in +reality nine in number) for the Baths. In these vineyards also are three +large circular ruins, adorned on the interior with rows of niches for +statues. One of them is partly built into the Polveriera, or powder +magazine.<a name="vol_2_page_054" id="vol_2_page_054"></a> These have been referred alternately to the Baths of Titus +and those of Trajan.</p> + +<hr style="width: 15%;" /> + +<p>Immediately behind the forum of Nerva stands the colossal brick tower, +known as the Torre dei Conti, and built by Innocent III. (1198—1216) as +a retreat for his family, now extinct. Its architect was Marchione +d'Arezzo, and it was so much admired by Petrarch that he declared it had +"no equal upon earth;" he must have meant in height. Four of the Conti +have mounted the papal throne, Innocent III., Gregory IX., Alexander +IV., and Innocent XIII. The last-named pope (1721—24) boasted of having +"nine uncles, eight brothers, four nephews, and seven great nephews;" +yet—a century after—and not a Conti remained.</p> + +<p>If we turn to the left close to this, we shall find, in a commanding +position, the famous Church of <i>S. Pietro in Vincoli</i>, said to have been +originally founded in <small>A.D.</small> 109 by Theodora, sister of Hermes, Prefect of +Rome, both converts of the then pope, who was the martyr St. Alexander +of the basilica in the Campagna. A bolder legend attributes the +foundation to St. Peter himself, who is believed to have dedicated this +church to his Divine Master. History, however, can assign no earlier +foundation than that in 442, by the Empress Eudoxia, wife of Valentinian +III., from whom the church takes its name of the <i>Eudoxican Basilica</i>, +and who placed there one of the famous chains which now form its great +attraction to Roman Catholic pilgrims.</p> + +<div class="blockquot"><p>"The chains, left in the Mamertine Prisons after St. Peter's +confinement there, are said to have been found by the martyr Sta. +Balbina, in 126, and by her given to Theodora, another sainted +martyr, sister to<a name="vol_2_page_055" id="vol_2_page_055"></a> Hermes, Prefect of Rome, from whom they passed +into the hands of St. Alexander, first pope of that name, and were +finally deposited by him in the church erected by Theodora, where +they have since remained. Such is the legendary, but the historic +origin of this basilica cannot be traced higher than about the +middle of the fifth century, subsequent to the year 439, when +Juvenal, Bishop of Jerusalem, presented to the Empress Eudoxia, +wife of Theodosius the younger, two chains, believed to be those of +St. Peter, one of which was placed by her in the basilica of the +apostles at Constantinople, and the other sent to Rome for her +daughter Eudoxia, wife of Valentinian III., who caused this church, +hence called Eudoxian, to be erected, as the special shrine of +Peter's chains."—<i>Hemans.</i></p></div> + +<p>One chain had been sent to Rome by Eudoxia the elder, and the other +remained at Constantinople, but the Romans could not rest satisfied with +the possession of half the relic; and within the walls of this very +basilica, Leo I. beheld in a vision the miraculous and mystical uniting +of the two chains, since which they have both been exhibited here, and +the day of their being soldered together by invisible power, August 1, +has been kept sacred in the Latin Church!</p> + +<p>The church is at present entered by an ugly atrium, which was the work +of Fontana in 1705; but Bacio Pintelli had already done almost all that +was possible to destroy the features of the old basilica, under the +Cardinal Titular of the church, Giulio della Rovere, the same who, as +Pope Julius II., destroyed the old St Peter's and eighty-seven tombs of +his predecessors. By Pintelli the present capitals were added to the +columns in the nave, and the horizontal architrave above them was +exchanged for a series of narrow round-headed arches.</p> + +<p>But, in spite of alterations, the interior is still imposing. Two long +lines of ancient fluted Doric columns (ten on each side), relics of the +Baths of Titus or Trajan, which once<a name="vol_2_page_056" id="vol_2_page_056"></a> covered this site, lead the eye to +the high altar, supposed to cover the remains of the seven Maccabean +brothers, and to the tribune, which contains an ancient episcopal +throne, and is adorned with frescoes by <i>Jacopo Coppi</i>, a Florentine of +the sixteenth century, illustrative of the life of St. Peter. Beneath +these is the tomb of G. Clovis, a miniature painter of the sixteenth +century, and canon of this church.</p> + +<p>On the left of the entrance is the tomb of Antonio Pollajuolo, the +famous worker in bronze, and his brother Pietro. The fresco above, which +is ascribed to Pollajuolo, refers to the translation of the body of St. +Sebastian, as "Depulsor Pestilitatis," from the catacombs to this +church,—one of the most picturesque stories of the middle ages. The +great plague of <small>A.D.</small> 680 was ushered in by an awful vision of the two +angels of good and evil, who wandered through the streets by night, side +by side, when the one smote upon the door where death was to enter, +unless arrested by the other. The people continued to die by hundreds +daily. At length a citizen dreamt that the sickness would cease when the +body of St. Sebastian should be brought into the city, and when this was +done, the pestilence was stayed. In the fresco the whole story is told. +In the background the citizen tells his dream to Pope Agatho, who is +seated among his cardinals. On the right the angels of good and evil +(the bad angel represented as a devil) are making their mysterious +visitation, on the left a procession is bringing in the relics, and the +foreground is strewn with the corpses of the dead. The general +invocation of St. Sebastian in Italy, and the frequent introduction of +his figure in art, have their origin in this story.<a name="vol_2_page_057" id="vol_2_page_057"></a></p> + +<p>At the entrance of the left aisle is a fine bas-relief of St. Peter +throned, delivering his keys to an angel, who acknowledges his supremacy +by receiving them on his knees. This work was executed in 1465, and +serves as a monument to the Cardinal de Cusa, Bishop of Brixen, whose +incised gravestone lies beneath.</p> + +<p>Over the second altar is a most interesting mosaic of 680, representing, +in old age, the St. Sebastian whom we are accustomed to see as a +beautiful youth, wounded with arrows,—which he survived:—</p> + +<div class="blockquot"><p>"A single figure in mosaic exists as an altar-piece in S. Pietro in +Vincoli. It is intended for St. Sebastian, who was removed to the +church by Pope Agathon, on occasion of the plague in 680, and +doubtless executed soon after this date. As a specimen of its kind +it is very remarkable. There is no analogy between this figure and +the usual youthful type of St. Sebastian which was subsequently +adopted. On the contrary, the saint is represented here as an old +man with white hair and beard, carrying the crown of martyrdom in +his hand, and dressed from head to foot in true Byzantine style. In +his countenance there is still some life and dignity. The more +careful shadowing also of the drapery shows that, in a work +intended to be so much exposed to the gaze of the pious, more pains +were bestowed than usual; nevertheless, the figure, upon the whole, +is very inanimate; the ground is blue."—<i>Kugler.</i></p></div> + +<p>The first altar in the right aisle has a picture of St. Augustine by +<i>Guercino</i>; then come tombs of Cardinals Margotti and Agucci, from +designs of <i>Domenichino</i>, who has introduced a portrait of the former in +his monument. At the end of this aisle is the beautiful picture of St. +Margaret and the Dragon by <i>Guercino</i>; the saint is inspired, and +displaying no sign of fear,—an earthly impulse only appearing in the +motion of her hand, which seems pushing back the dragon.<a name="vol_2_page_058" id="vol_2_page_058"></a></p> + +<div class="blockquot"><p>"St. Margaret was daughter of a priest of Antioch named Theodosius, +and was brought up as a Christian by her nurse, whose sheep she +watched upon the hills, while meditating upon the mysteries of the +gospel. The governor of Antioch fell in love with her and wished to +marry her, but she refused, and declared herself a Christian. Her +friends thereupon deserted her, and the governor tried to subdue +her by submitting her to horrible tortures, amid which her faith +did not fail. She was then dragged to a dungeon, where Satan, in +the form of a terrible dragon, came upon her with his inflamed and +hideous mouth wide open, and sought to terrify and confound her; +but she held up the cross of the Redeemer, and he fled before it. +She finally suffered death by decapitation. Her legend was +certainly known in the fifth century: in the fourteenth century she +was one of the favourite saints, and was specially invoked by women +against the pains of child-birth.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"'Mild Margarete, that was God's maide;<br /></span> +<span class="ist">Maid Margarete, that was so meeke and milde.'"<br /></span> +<span class="i15">See <i>Jameson's Sacred and Legendary Art</i>, v. <small>I</small>.<br /></span> +</div></div> + +</div> + +<p>Here is the glory of the church—the famous Moses of <i>Michael Angelo</i>, +forming part of the decorations of the unfinished monument of Julius II.</p> + +<div class="blockquot"><p>"This pope, whom nature had intended for a conqueror, and destiny +clothed with the robe of a priest, takes his place by the side of +the great warriors of the sixteenth century, by the side of Charles +V., of Francis I., of Gonsalvo, of Cortes, of Alba, of Bayard, and +of Doria. It is difficult to imagine Julius II. murmuring prayers, +or saying mass in pontifical robes, and performing, in the midst of +all those unmanly functions and thousand passive forms, the +spirit-deadening part which is assigned to the popes, while his +soul was on fire with great-hearted designs, and while in the music +of the psalms he seemed to hear the thunder of cannon. He wished to +be a prince of the Church; and with the political instinct of a +prince he founded his state in the midst of the most difficult wars +against France, and unhesitatingly conquered and took possession of +Bologna, Piacenza, Parma, Reggio, and Urbino....</p> + +<p>The greatest pope since Innocent III., and the creator of a new +political spirit in the papacy, he wished, as a second Augustus, to +glorify himself and his creation. He took up again the projects of +Nicholas V. Rome should become his monument. To carry out his +designs he found the genius of Bramante and Raphael, and, above +all,<a name="vol_2_page_059" id="vol_2_page_059"></a> that of Michael Angelo, who belonged to him like an organ of +his being. St. Peter's, of which he laid the foundation-stone, the +paintings of the Sistine, the loggie of Bramante, the stanze of +Raphael, are memorials of Julius the Second."—<i>Gregorovius, +Grabmaler der Papste.</i></p></div> + +<p>Most of all Julius II. sought immortality in his tomb, for which the +original design was absolutely gigantic. Eighteen feet high, and twelve +wide, it was intended to contain more than forty statues, which were to +include Moses, St. Peter and St. Paul, Rachel and Leah, and chained +figures of the Provinces, while those of the Heaven and the Earth were +to support the sarcophagus of the pope. This project was cut short by +the death of Julius in 1513, when only four of the statues were +finished, and eight designed.<a name="FNanchor_261_261" id="FNanchor_261_261"></a><a href="#Footnote_261_261" class="fnanchor">[261]</a> Of those which were finished, three +statues, the Moses, the Rachel, and the Leah, were afterwards used for +the existing memorial, which was put together under Paul III. by the +Duke of Urbino, heir of Julius II.—in this church of which his uncle +had been a cardinal.</p> + +<div class="blockquot"><p>"The eye does not know where to rest in this the masterpiece of +sculpture since the time of the Greeks. It seems to be as much an +incarnation of the genius of Michael Angelo, as a suitable allegory +of Pope Julius. Like Moses, he was at once lawgiver, priest, and +warrior. The figure is seated in the central niche, with +long-flowing beard descending to the waist, with horned head, and +deep-sunk eyes, which blaze, as it were, with the light of the +burning bush, with a majesty of anger which makes one tremble, as +of a passionate being, drunken with fire. All that is positive and +all that is negative in him is equally<a name="vol_2_page_060" id="vol_2_page_060"></a> dreadful. If he were to +rise up, it seems as if he would shout forth laws which no human +intellect could fathom, and which, instead of improving the world, +would drive it back into chaos. His voice, like that of the gods of +Homer, would thunder forth in tones too awful for the ear of man to +support. Yes! there is something infinite which lies in the Moses +of Michael Angelo. Nor is his countenance softened by the twilight +of sadness, which is stealing from his forehead over his eyes. It +is the same deep sadness which clouded the countenance of Michael +Angelo himself. But here it is less touching than terrible. The +Greeks could not have endured a glance from such a Moses, and the +artist would certainly have been blamed, because he had thrown no +softening touch over his gigantic picture. That which we have is +the archetype of a terrible and quite unapproachable sublimity. +This statue might take its place in the cell of a colossal temple, +as that of Jupiter Ammon, but the tomb where it is placed is so +little suited to it, that regarded even only as its frame it is too +small."—<i>Gregorovius.</i></p></div> + +<p>On either side of the principal figure are niches containing Michael +Angelo's statues of Rachel and Leah,—emblematic of active and +contemplative life. Those above, of the Prophet and the Sibyl, are by +Raphael da Montelupo, his best pupil; on the summit is the Madonna with +the Infant Jesus by Scherano da Settignano. The worst figure of the +whole is that, by Maso dal Bosco, of the pope himself, who seems quite +overwhelmed by the grandeur of his companions, and who lies upon a +pitiful sarcophagus, leaning his head upon his hand, and looking down +upon the Moses. He is represented with the beard which he was the first +pope to reintroduce after an interval of many centuries,—and it is said +to have been from his example that Francis I., Charles V., and others, +adopted it also.</p> + +<p>After all, Julius II. was not buried here, and the tomb is merely +commemorative. He rests beneath a plain marble slab near his uncle +Sixtus IV., in the chapel of the Sacrament at St. Peter's.<a name="vol_2_page_061" id="vol_2_page_061"></a></p> + +<p>Close to the Moses is the entrance to the chapel in which the chains are +preserved, behind a bronze screen—the work of Pollajuolo. They are of +unequal size, owing to many fragments of one of them (first whole links, +then only filings) having been removed in the course of centuries by +various popes and sent to Christian princes who have been esteemed +worthy of the favour!<a name="FNanchor_262_262" id="FNanchor_262_262"></a><a href="#Footnote_262_262" class="fnanchor">[262]</a> The longest is about five feet in length. At +the end of one of them is a collar, which is said to have encircled the +neck of St. Peter. They are exposed on the day of the "station" (the +first Monday in Lent) in a reliquary presented by Pius IX., adorned with +statuettes of St. Peter and the angel—to whom he is represented as +saying, "Ecce nunc scio vere."<a name="FNanchor_263_263" id="FNanchor_263_263"></a><a href="#Footnote_263_263" class="fnanchor">[263]</a> On the following day a priest gives +the chains to be kissed by the pilgrims, and touches their foreheads +with them, saying, "By the intercession of the blessed Apostle Peter, +may God preserve you from evil. Amen."</p> + +<div class="blockquot"><p>"Peter, therefore, was kept in prison: but prayer was made without +ceasing of the church unto God for him. And when Herod would have +brought him forth, the same night Peter was sleeping between two +soldiers, bound with two chains: and the keepers before the door +kept the prison. And, behold, the angel of the Lord came upon him, +and a light shined in the prison: and he smote Peter on the side, +and raised him up, saying, Arise up quickly. And his chains fell +off from his hands."—<i>Acts</i> xii. 5—7.</p></div> + +<p>Other relics preserved here are portions of the crosses of St. Peter and +St. Andrew, and the body of Sta. Costanza.</p> + +<p>The sacristy, opening out of this chapel, contains a number of pictures, +including, very appropriately, the Deliverance of St. Peter from Prison, +by <i>Domenichino</i>. Here, till a few<a name="vol_2_page_062" id="vol_2_page_062"></a> years ago, was preserved the famous +and beautiful small picture, known as the Speranza of <i>Guido</i>. It has +lately been sold by the monks to an Englishman, and is replaced by a +copy.</p> + +<p>In this church Hildebrand was crowned pope as Gregory VII. (1073). +Stephen IX. was also proclaimed here in 939. The adjoining convent was +built from designs of Giuliano San Gallo. Its courtyard contains a +picturesque well (with columns), bearing the arms of Julius II., by +<i>Simone Mosca</i>. The arcades were decorated in the present century with +frescoes by <i>Pietra Camosci</i>, as a votive offering for his recovery from +cholera, to St. Sebastian, "depulsori pestilitatis."</p> + +<p>Opposite S. Pietro in Vincoli is a convent of Maronite monks, in whose +garden is a tall palm-tree, perhaps the finest in Rome. In the view from +the portico of the church it forms a conspicuous feature, and the +combination of the old tower, the palm-tree, and the distant capitol, +standing out against the golden sky of sunset, is one very familiar to +Roman artists.</p> + +<p>The tall machicolated <i>Tower</i> on the right was once a fortress of the +Frangipani family, who obtained their glorious surname of +"bread-breakers" from the generosity which they showed in the +distribution of food to the poor during a famine in the thirteenth +century. The tower is now used as a belfry to the adjoining Church of +<i>S. Francesco di Paola</i>, being the only mediæval fortress tower applied +to this purpose. The adjoining building is known as the <i>House of +Lucrezia Borgia</i>, and the balcony over the gateway on the other side is +pointed out as that in which she used to stand meditating on her crimes. +Here Cæsar Borgia and his unhappy<a name="vol_2_page_063" id="vol_2_page_063"></a> brother, the Duke of Gandia, supped +with Lucrezia and their mother Vanozza, the evening before the murder of +the duke, of which Cæsar was accused by popular belief. It is worth +while to descend under the low-browed arch from the church piazza, and +look back upon this lofty house, with its steep, dark, winding +staircase,—a most picturesque bit of street architecture, which looks +better the further you descend. The Via S. Francesco di Paola is +considered by Ampère<a name="FNanchor_264_264" id="FNanchor_264_264"></a><a href="#Footnote_264_264" class="fnanchor">[264]</a> to have been the place where the house of the +Horatii and the Tigellum Sororis once stood.</p> + +<p>Following the narrow lane behind S. Pietro, we reach, on the left, <i>S. +Martino al Monte</i>, the great church of the Carmelites, which, though of +uninviting exterior, is of the highest interest. It was built in <small>A.D.</small> +500 by S. Symmachus, and dedicated to the saints Sylvestro and Martino, +on the site of an older church founded by St. Sylvester in the time of +Constantine. After repeated alterations, it was modernised in 1650 by P. +Filippini, General of the Carmelites. The nave is separated from the +aisles by twenty-four ancient Corinthian columns. The aisles are painted +with landscapes by <i>Gaspar Poussin</i>, having figures introduced by his +brother Nicholas. The roof is an addition by S. Carlo Borromeo.</p> + +<p>The pillars of different marbles are magnificent, and the effect of the +raised choir, with winding staircases to the crypt below, is highly +picturesque. On the walls are frescoes by <i>Cavaluccio</i> (ob. 1795), who +is buried in the left aisle. The collection of incised gravestones +deserves attention, they comprise those of a knight in mail armour of +1349; Cardinal Diomede Caraffa, with a curious epitaph; and various +generals and remarkable monks of the Carmelite Order.<a name="vol_2_page_064" id="vol_2_page_064"></a> Beneath the high +altar rest the bodies of Popes Sergius, Sylvester, Martin I., Fabian, +Stephen I., Soter, Ciriacus, Anastasius, and Innocent I., with several +saints not papal, removed hither from the catacombs. In the curious +crypt, part of the Baths of Titus, the early Council of Sylvester and +Constantine was held, as represented in the fresco in the left aisle of +the upper church. The back of the ancient chair of Sylvester still +remains, green with age and damp. In the chapel on the left, where St. +Sylvester used to celebrate mass, is an ancient mosaic of the Madonna. +In front of the papal chair is the grand sepulchral figure of a +Carmelite, who was General of the Order in the time of Sta. Teresa. An +urn contains the intestines of the "Beato," Cardinal Giuseppe-Maria de +Tommasis, who died in 1713. His body is preserved beneath an altar in +the left aisle of the upper church, and is dressed in his cardinal's +robes.</p> + +<div class="blockquot"><p>"In 1650 was reopened, beneath SS. Martino e Sylvestro, the +long-forgotten oratory formed (according to Anastasius) by +Sylvester among the halls of Trajan's Thermæ—or, more probably, in +an antique palace adjacent to those imperial baths—and called by +Christian writers 'Titulus Equitii,' from the name of a Roman +priest then proprietor of the ground. Now a gloomy, time-worn, and +sepulchral subterranean, this structure is in form an extensive +quadrangle, under a high-hung vault, divided into four aisles by +massive square piers; the central bay of one aisle adorned with a +large red cross, painted as if studded with gems; and ranged round +this, four books, each within a nimbus, earliest symbolism to +represent the Evangelists. Among the much-faded and dim-seen +frescoes on these dusky walls, are figures of the Saviour between +SS. Peter and Paul, besides other saints, each crowned by a large +nimbus."—<i>Hemans' Ancient Sacred Art.</i></p></div> + +<p>Here is preserved a mitre, probably the most ancient extant, and said to +be that of St. Sylvester, who lived in the fourth century, and who was +the first Latin bishop to<a name="vol_2_page_065" id="vol_2_page_065"></a> wear the mitre originally worn by the priests +of pagan temples. This ancient mitre is so low as to rise only just +above the crown of the head.</p> + +<p>This church was dedicated to St. Martin, the holy Bishop of Tours, +within a hundred years after his death, showing the very early +veneration with which that saint was regarded.</p> + +<p>Leaving S. Martino by the other door, near the tribune, we emerge at the +top of the steep street called <i>Sta. Lucia in Selci</i>, which is the same +with that described by Martial in going to visit the younger Pliny as—</p> + +<p class="c">"Altum vincere tramitem Suburræ." <i>Lib.</i> x. <i>Ep.</i> 19, 5.</p> + +<p>And again—</p> + +<p class="c">"Alto Suburrani vincenda est semita clivi." <i>Lib.</i> v. <i>Ep.</i> 23, 5.</p> + +<p>Here is a whole group of convents. In the hollow is the convent of S. +Francesco di Paola, with several others. Just above (in the Via Quattro +Cantone) is the convent of the Oratorians, or S. Filippo Neri. At this +point also are two mediæval towers, one enclosed within the convent +walls of Sta. Lucia in Selci, the other on the opposite side of the +street, supposed by some to be the tower of Mecænas, celebrated by +Horace. On the left of the street is the house of Domenichino (Domenico +Zampieri), whose residence here is commemorated by an inscription.</p> + +<p>Mounting the street we soon reach, on the right, the picturesque tenth +century west gate (a high narrow arch upon Ionic columns, modernized and +plastered over under the Sardinian government) of the <i>Church of Sta. +Prassede</i>, which leads into the atrium of the church. This is seldom +open, but we can enter by a door in the north aisle.</p> + +<p>Sta. Prassede was sister of Sta. Pudenziana, and daughter<a name="vol_2_page_066" id="vol_2_page_066"></a> of Pudens and +his wife Claudia, with whom St. Paul lodged, and who were among his +first converts (see Ch. X., Sta. Pudenziana). She gave shelter in her +house to a number of persecuted Christians, twenty-three of whom were +discovered and martyred in her presence. She then buried their bodies in +the catacombs of her grandmother, Sta. Priscilla, but, collecting their +blood in a sponge, placed it in a well in her own house, where she was +afterwards buried herself. An oratory is said to have been erected on +the site by Pius I., <small>A.D.</small> 160, and was certainly in existence in <small>A.D.</small> +499, when it is mentioned in the acts of a Council. In <small>A.D.</small> 822 the +original church was destroyed, and the present church erected by Pascal +I., of whose time are the low tower, the porch, the terra-cotta +cornices, and the mosaics. During the absence of the popes at Avignon, +Sta. Prassede was one of the many churches which fell almost into ruin, +and it has since suffered terribly from injudicious modernisations, +first in the fifteenth century from Rosellini, under Nicholas V., and +afterwards under S. Carlo Borromeo in 1564.</p> + +<p>The interior is a basilica, the nave being separated from the aisles by +sixteen granite columns, many of which have been boxed up in hideous +stucco pilasters, decorated with frescoes of apostles; but their +Corinthian capitals are visible, carved with figures of birds (the +eagle, cock, and dove) in strong relief against the acanthus leaves. The +nave is divided into four compartments by arches rising from the square +pilasters; the roof is coffered.</p> + +<p>In the right aisle is the entrance to the famous chapel, called, from +its unusual and mysterious splendour, the <i>Orto del +Paradiso</i>—originally dedicated to S. Zeno, then to the Virgin, with the +invocation "Libera nos a pœnis inferi,"<a name="vol_2_page_067" id="vol_2_page_067"></a> and finally to the great +relic which it contains. Females are never allowed to enter this shrine +except upon Sundays in Lent, but can see the relic through a grating. +Males are admitted by the door which is flanked by two columns of rare +black and white marble, supporting a richly-sculptured marble cornice, +above which are two lines of mosaic heads in circlets—in the outer, the +Saviour and the twelve apostles; in the inner, the Virgin between St. +Stephen and St. Laurence, with eight female saints; at the angles St. +Pudens and St. Pastor. In the interior of the chapel four granite +columns support a lofty groined vault, which, together with the upper +part of the walls, is entirely covered with mosaic figures, which stand +out distinctly from a gold ground.</p> + +<div class="blockquot"><p>"Here are SS. Peter and Paul before a throne, on which is the +cross, but no seated figure; the former apostle holding a single +gold key,<a name="FNanchor_265_265" id="FNanchor_265_265"></a><a href="#Footnote_265_265" class="fnanchor">[265]</a> the latter a scroll; St. John the Evangelist, with a +richly-bound volume; SS. James and Andrew, the two daughters of +Pudens, and St. Agnes, all in rich vestments, and holding crowns; +the Virgin Mary (a veiled matronly figure), and St. John the +Baptist standing beside her; under the arch of a window, another +half-figure of Mary, with three other females, all having the +nimbus, one crowned, one with a square halo to indicate a person +still living; above these, the Divine Lamb on a hill, from which +the four rivers issue, with stags drinking of their waters; above +the altar, the Saviour, between four other saints,—figures in part +barbarously sacrificed to a modern tabernacle that conceals them. +On the vault a colossal half-figure of the Saviour, youthful but +severe in aspect, with cruciform nimbus, appears in a large +circular halo supported by four archangels, solemn forms in long +white vestments, that stand finely distinct in the dim light. +Within a niche over the altar is another mosaic of the Virgin and +Child, with the two daughters of Pudens, in which Rumohr +(Italienische Forsch.) observes ruder execution, indicating origin +later than the ninth century."—<i>Hemans' Ancient Christian Art.</i> +<a name="vol_2_page_068" id="vol_2_page_068"></a></p></div> + +<p>The relic preserved here (one of the principal objects of pilgrimage in +Rome) is the column to which our Saviour is reputed to have been bound, +said to have been given by the Saracens to Giovanni Colonna, cardinal of +this church, and legate of the crusade, because, when he had fallen into +their hands and was about to be put to death, he was rescued by a +marvellous intervention of celestial light. Its being of the rarest +blood jasper is a reason against its authenticity; the peculiarity of +its formation having even given rise to the mineralogical term, "Granito +della Colonna." A disk of porphyry in the pavement marks the grave of +forty martyrs collected by Paschal I. The mother of that pope is also +buried here, and the inscription commemorating her observes an ancient +ecclesiastical usage in allowing her the title of "episcopa:" "<i>Ubi +utique benignissimæ suæ genitricis, scilicet Dominæ Theodoræ, Episcopæ +corpus quiescit.</i>" In this chapel Paschal I. saw the spirit of his +nephew dragged to heaven by an angel, through the little window, while +he was saying a mass for his soul.</p> + +<p>The high altar covers the entrance to a small crypt, in which are two +ancient sarcophagi, containing the remains of the sainted sisters +Prassede and Pudenziana. An altar here, richly decorated with mosaic, is +shown as that which existed in the house of Prassede. Above is a fresco, +referred to the twelfth century, representing the Madonna between the +sainted sisters. At the end of the left aisle is a large slab of granite +(nero-bianco), upon which Sta. Prassede is said to have slept, and above +it a picture of her asleep. In the centre of the nave is the well where +she collected the blood, with a hideous statue of her squeezing it out +of a sponge.<a name="vol_2_page_069" id="vol_2_page_069"></a></p> + +<p>The chapel at the end of the left aisle is that of S. Carlo Borromeo, +who was cardinal of this church, and contains his episcopal throne (a +wooden chair) and a table, at which, like St. Gregory, he used to feed +and wait upon twelve poor men daily. The pictures in this chapel, by +<i>Louis Stern</i>, represent S. Carlo in prayer, and in ecstasy before the +Sacrament. In the cloister is an old orange-tree which was planted by +him, but is still flourishing.</p> + +<p>Opposite the side entrance of the Orto del Paradiso is the tomb of +Cardinal Cetive (1474), with his sleeping figure and statuettes of SS. +Peter and Paul, Sta. Prassede, and Sta. Pudenziana. This will recall +Browning's quaint forcible poem of 'The Bishop who orders his tomb at +Saint Praxed's church.'</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Saint Praxed's ever was the church for peace.<br /></span> +<span class="i6">. . . . . . . . . . .<br /></span> +<span class="ist">And there how I shall lie through centuries,<br /></span> +<span class="ist">And hear the blessed mutter of the mass,<br /></span> +<span class="ist">And see God made and eaten all day long,<br /></span> +<span class="ist">And feel the steady candle flame, and taste<br /></span> +<span class="ist">Good strong thick stupefying incense-smoke!"<br /></span> +</div></div> + +<p class="nind">Other tombs of interest are those of Cardinal Ancherus, assassinated in +1286 outside the Porta S. Giovanni, and of Monsignor Santoni, a bust, +said to have been executed by Bernini when only ten years old.</p> + +<p>Two pictures in side chapels are interesting in a Vallombrosan church, +as connected with saints of that order,—one representing S. Pietro +Aldobrandini passing through the furnace at Settimo; and another the +martyrdom of Cardinal Beccaria, put to death at Florence (whither he was +sent by Alexander IV. to make peace between the Guelfs and +Ghibellines)—and consigned to hell by Dante.<a name="vol_2_page_070" id="vol_2_page_070"></a></p> + +<div class="poem"><div class="stanza"> +<span class="i3">——"Quel di Beccaria<br /></span> +<span class="i0">Di cui segò Fiorenza la gorgiera."<br /></span> +<span class="i15"><i>Inferno</i>, xxxii.<br /></span> +</div></div> + +<p>Steps of magnificent rosso-antico lead to the tribune, which is covered +with mosaics of <small>A.D.</small> 817-824. Those on the arch represent the heavenly +Jerusalem; within is the Saviour with a cruciform halo—the hand of the +first person of the Trinity holding a crown over his head—and St. Peter +and St. Paul bringing in the sainted sisters of the church; on the +right, Pope Paschal I.,<a name="FNanchor_266_266" id="FNanchor_266_266"></a><a href="#Footnote_266_266" class="fnanchor">[266]</a> with a model of his church; on the left, +St. Zeno (?). Above these figures, is the Adoration of the spotless +Lamb, and beneath their feet the Jordan; below all is the Lamb again, +with the twelve sheep issuing from the mystic cities of Jerusalem and +Bethlehem, and verses recording the work of Paschal I.</p> + +<div class="blockquot"><p>"The arrangement of saints at Sta. Prassede (817) is altogether +different from that at Ravenna, but equally striking. Over the +grand arch which separates the choir from the nave is a mosaic, +representing the New Jerusalem, as described in the Revelations. It +is a walled enclosure, with a gate at each end, guarded by angels. +Within is seen the Saviour of the World, holding in his hand the +orb of sovereignty, and a company of blessed seated on thrones: +outside, the noble army of martyrs is seen approaching, conducted +and received by angels. They are all arrayed in white, and carry +crowns in their hands. Lower down, on each side, a host of martyrs +press forward with palms and crowns, to do homage to the Lamb, +throned in the midst. None of the martyrs are distinguished by +name, except those to whom the church is dedicated—Sta. Prassede +and her sister Pudenziana."—<i>Mrs. Jameson.</i></p></div> + +<p>While Pope Gelasius II. was celebrating mass in this church, he was +attacked by armed bands of the inimical houses of Leone and Frangipani, +and was only rescued by the assistance of his nephew Gaetano, after a +conflict of<a name="vol_2_page_071" id="vol_2_page_071"></a> some hours. Hence in 1630, Moriandi, abbot of Sta. +Prassede, was suddenly carried off and put to fearful tortures, which +resulted in his death, ostensibly on account of irregularities in his +convent, but really because he had been heard to speak against Urban +VIII.<a name="FNanchor_267_267" id="FNanchor_267_267"></a><a href="#Footnote_267_267" class="fnanchor">[267]</a></p> + +<p>In the sacristy is preserved a fine picture by Giulio Romano of the +Flagellation—especially appropriate in the church of the Colonna.</p> + +<p>Hence the curious campanile of the old church (built 1110) may be +entered, and a loggia whence the great relics of the church are +exhibited at Easter, including: portions of the crown of thorns, of the +sponge, of the Virgin's hair, and a miniature portrait of our Saviour +which is said to have belonged to St. Peter and to have been left by him +with the daughters of Pudens.</p> + +<p>The <i>Monastery</i> attached to the church, founded by Paschal I., was first +occupied by Basilian, but since 1198 has belonged to Vallombrosan monks. +Nothing remains of the mosaic-covered chapel of St. Agnes, built by the +founder within its walls.</p> + +<p>Where the Via Sta. Prassede crosses the road leading from Sta. Maria +Maggiore to the Lateran, is the modern gothic church of <i>Il Santissimo +Redentore</i>, built by Father Douglas within the last few years.</p> + +<p>A little beyond this, attached to the Church of S. Vito, from which it +has sometimes been named, is the <i>Arch of Gallienus</i> (supposed to occupy +the site of the Esquiline gate in the wall of Servius), dedicated to +Gallienus (<small>A.D.</small> 253—260) and his Empress Salonina, by Marcus Aurelius +Victor, evidently a court-flatterer of the period, who was prefect of<a name="vol_2_page_072" id="vol_2_page_072"></a> +Rome, and possessed gardens on this spot. It is of very inferior +execution; the original plan had three arches; only that in the centre +remains, but traces of another may be seen on the side next the church. +Gallienus was a cruel and self-indulgent emperor, who excited the +indignation of the Romans by leaving his old father, Valerian, to die a +captive in the hands of the Persians, so that the inscription, +"<i>Clementissimo principi cuius invicta virtus sola pietate superata +est</i>," is singularly false, even for the time.</p> + +<div class="blockquot"><p>"Il arrivait à Gallien de faire tuer trois ou quatre mille soldats +en un jour, et il écrivait des lettres comme celle-ci, adressée à +un de ses généraux: 'Tu n'auras pas fait assez pour moi, si tu ne +mets à mort que des hommes armés, car le sort de la guerre aurait +pu les faire périr. Il faut tuer quiconque a eu une intention +mauvaise, quiconque a mal parlé de moi. Déchire, tue, extermine: +<i>lacera, occide, concide</i>.' Entré dans Byzance en promettant leur +pardon aux troupes qui avaient combattu contre lui, il les fit +égorger, et les soldats ravagèrent la ville au point qu'il n'y +resta pas un habitant. Voilà pour la clémence. Tandis que Valérien, +son père, était prisonnier du roi des Perses Sapor, qui pour monter +à cheval se servait du dos du vieil empereur comme d'un marchepied, +en attendant qu'il le fit empailler, l'indigne fils de Valérien +vivait au sein des plus honteuses voluptés, et ne tentait pas un +seul effort pour le délivrer. Voilà pour la vaillance et la +piété."—<i>Ampère, Emp.</i> ii. 334.</p></div> + +<p>Close to this Gallienus had ordered a statue of himself to be erected, +which was to be double the height of the colossus of Nero, but it was +unfinished at the time of his death, and destroyed by his successor. +From the centre of the arch hung, from the thirteenth century, the chain +and keys of the gates of Viterbo, removed at the same time as the great +bell of the Capitol. These interesting memorials of middle-age warfare +were taken down in 1825.</p> + +<p>Passing under the arch we enter upon the Via Maggiore, the main artery +leading to Santa Croce. On the left is the humble convent of the +<i>Monache Polacche</i>, where the long-suffering<a name="vol_2_page_073" id="vol_2_page_073"></a> Madre Makrena, the sole +survivor of the terrible persecution of the nuns of Minsk, has lived in +the closest retirement since her escape in 1845.</p> + +<div class="blockquot"><p>The story of the cruel sufferings of the Polish-Basilian nuns of +Minsk reminds one of the worst persecutions of the early +Christians, under Nero and Diocletian. Makrena Miaczylslawska was +abbess of a convent of thirty-eight nuns, whom the apostate bishop +Siemasko first tried to compel to the Greek faith in the summer of +1838. Their refusal led to their being driven, laden with chains, +to Witepsk, in Siberia, where they were forced to hard labour, many +of them being beaten to death, one roasted alive in a hot stove, +and another having her brains beaten out with a stake by the abbess +of the Czernice (apostate nuns), on their persisting in their +refusal to change their religion. In 1840 the surviving nuns were +removed to Polock, where they were forced to work at building a +palace for the bishop Siemasko, and where nine of them perished by +a falling scaffold, and many others expired under the heavy weights +they were compelled to carry, or under the lash. In 1842 their +tortures were increased tenfold, eight of the sisters having their +eyes torn out, and others being trodden to death. In 1843 those who +still survived were removed to Miadzioly, where the "protopope +Skrykin" said that he would "drown them like puppies," and where +they were dragged by boats through the shallows of the half-frozen +Dwina, up to their necks in water, till many died of the cold. In +the spring of 1845, Makrena, with the only three nuns who survived +with the use of their limbs (Eusebia Wawrzecka, Clotilda Konarska, +and Irene Pomarnacka,) scaled the walls of their prison, while the +priests and nuns who guarded them were lying drunk after an orgie, +and, after wandering for three months in the forests of Lithuania, +made good their escape. The nuns remained in Vienna; the abbess, +after a series of extraordinary adventures, arrived in Rome, where +she was at first lodged in the convent of the Trinità de' Monti. +The story of the nuns of Minsk was taken down from her dictation at +the same time by a number of eminent ecclesiastics, authorized by +the pope, and the authenticity of her statements verified; after +which she retired into complete seclusion in the Polish convent on +the Esquiline, where she has long filled the humble office of +portress. Her legs are eaten into the bone by the chains she wore +in her prison life. The story of the persecution at Minsk may be +read in "Le Récit de Makrena Miaczylslawska," published at Paris, +by Lecoffre, in 1846; in a paper by Charles Dickens, in the +"Household Words," for May, 1854; and in "Pictures of Christian +Heroism," 1855. +<a name="vol_2_page_074" id="vol_2_page_074"></a></p></div> + +<p>Nearly opposite this convent is the picturesque ruin of a nymphæum, +probably of the time of Septimius Severus, erroneously called <i>The +Trophies of Marius</i>, from the trophies, now on the terrace in front of +the Capitol, which were found here.</p> + +<p>Beyond this, on the right, is the entrance of the <i>Villa Palombara</i>, +occupying a great part of the site of the Baths of Titus.</p> + +<div class="blockquot"><p>"This villa once belonged to Queen Christina of Sweden, who has +left upon the little doorway exactly opposite the ruin called the +Trophies of Marius, a curious record of her credulity. It consists +of a collection of unintelligible words, signs, and triangles, +given her by some alchymist, as the rule to make gold, and which, +no doubt, he had found successful, having obtained from her, and +probably from many other votaries, abundance of that precious metal +in exchange for it. But as she could make nothing of it, she caused +it to be inscribed here, in case any passenger, wiser than herself, +should be able to develope the mystic signs of this golden +secret."—<i>Eaton's Rome.</i></p></div> + +<p>Though the existing ruin is misnamed, the trophies erected in honour of +the victories which Marius gained over the Cimbri were really set up +near this; and, curiously enough, on this site also Marius was defeated +at the "Forum Esquilinum" by Sylla, who suddenly descended upon Rome +from Nola with six legions, and entering by the Porta Esquilina, met his +adversary here, and forced him to fly to Ostia.</p> + +<p>Behind the Trophies of Marius a lane branches off on the left to the +desolate <i>Church of Sta. Bibiana</i>.</p> + +<div class="blockquot"><p>In the time of Julian the Apostate, there dwelt in Rome a Christian +unity, consisting of Flavian, his wife Dalfrosa, and his two +daughters, Bibiana and Demetria. All these died for their faith. +Flavian was exiled, and died of starvation; Dalfrosa was beheaded; +the sisters were imprisoned (<small>A.D.</small> 362) and scourged, and Demetria +died at once under the torture. Bibiana glorified God by longer +sufferings. Apronius, the<a name="vol_2_page_075" id="vol_2_page_075"></a> prefect of the city, astonished by her +beauty, conceived a guilty passion for her, and placed her under +the care of one of his creatures named Rufina, who was gradually to +bend her to his will. But Bibiana repelled his proposals with +horror, and her firmness excited him to such fury, that he +commanded her to be bound to a column, and scourged to compliance. +"The order was executed with all imaginable cruelty, rivers of +blood flowed from each wound, and morsels of flesh were torn away, +till even the most barbarous spectators were stricken with horror. +The saint alone continued immoveable, with her eyes fixed upon +heaven, and her countenance radiant with celestial peace,—until +her body being torn to pieces, her soul escaped to her heavenly +bridegroom, to receive the double crown of virginity and +martyrdom."<a name="FNanchor_268_268" id="FNanchor_268_268"></a><a href="#Footnote_268_268" class="fnanchor">[268]</a></p> + +<p>After the death of Bibiana, her body was exposed to dogs for three +days in the Forum Boarium, but remained unmolested; after which it +was stolen at night by John the priest, who buried it here.</p></div> + +<p>The church, founded in the fifth century by Olympia, a Roman matron, was +modernised by Bernini for Urban VIII., and has no external appearance of +antiquity. The interior is adorned with frescoes; those on the right are +by <i>Agostino Ciampelli</i>, those on the left are considered by Lanzi as +the best works of <i>Pietro da Cortona</i>. They pourtray in detail the story +of the saint:—</p> + +<p class="nind"> +<span style="margin-left: 2em;">1. Bibiana refuses to sacrifice to idols.</span><br /> +<span style="margin-left: 2em;">2. The death of Demetria.</span><br /> +<span style="margin-left: 2em;">3. Bibiana is scourged at the column.</span><br /> +<span style="margin-left: 2em;">4. The body of Bibiana is watched over by a dog.</span><br /> +<span style="margin-left: 2em;">5. Olympia founds the church, which is dedicated by Pope Simplicius.</span><br /> +</p> + +<p>The statue of the saint at the high altar is considered the masterpiece +of <i>Bernini</i>. It is dignified and graceful, and would hardly be +recognised as his work.</p> + +<div class="blockquot"><p>"This statue is one of his earliest works; and it is said that when +Bernini, in advanced life, returned from France, he uttered, on +seeing it, an involuntary expression of admiration. 'But,' added +he, 'had I<a name="vol_2_page_076" id="vol_2_page_076"></a> always worked in this style, I should have been a +beggar.' This would lead us to conclude, that his own taste led him +to prefer simplicity and truth, but that he was obliged to conform +to the corrupted predilection of the age."—<i>Eaton's Rome.</i></p></div> + +<p>The remains of the saint are preserved beneath the altar, in a splendid +sarcophagus of oriental alabaster, adorned with a leopard's head. A +column of rosso-antico is shown as that to which Sta. Bibiana was bound +during her flagellation. The <i>fête</i> of the martyred sisters is observed +with great solemnity on December 2.</p> + +<div class="blockquot"><p>"Il est touchant de voir, le jour de la fête, le Chapitre entier de +la grande et somptueuse basilique de Sainte-Marie-Majeure venir +processionellement à cette modeste église et célébrer de +solennelles et pompeuses cérémonies en l'honneur de ces deux +vierges et leur mère: C'est que si ces trois femmes étaient faibles +et ignorées selon le monde, elles sont devenues par leur foi, +fortes et sublimes; et l'Église ne croit pouvoir trop faire pour +glorifier une pareille grandeur."—<i>Impressions d'une Catholique à +Rome.</i></p></div> + +<p>On or near this site were the <i>Horti Lamiani</i>, in which the Emperor +Caligula was hastily buried after his assassination, <small>A.D.</small> 41, though his +remains were shortly afterwards disinterred by his sisters and burnt. +These gardens were probably the property of Ælius Lamia, to whom Horace +addressed one of his odes.<a name="FNanchor_269_269" id="FNanchor_269_269"></a><a href="#Footnote_269_269" class="fnanchor">[269]</a> At an earlier period Elius Tubero lived +here, celebrated for his virtue, his poverty, and his little house, +where sixteen members of the Elian Gens dwelt harmoniously +together.<a name="FNanchor_270_270" id="FNanchor_270_270"></a><a href="#Footnote_270_270" class="fnanchor">[270]</a> He married the daughter of L. Emilius Paulus, "who," says +Plutarch, "though the daughter of one who had twice been consul and +twice triumphed, did not blush for the poverty of her husband, but +admired the virtue which had made him poor."<a name="vol_2_page_077" id="vol_2_page_077"></a></p> + +<p>On the other side of the Trophies of Marius, the Via Porta Maggiore +leads to the gate of that name (see Ch. XIII.). Approached by a gate on +the left of this road, most desolate, until the making of the railway +amid its vineyards and gardens, and crowned with lentiscus and other +shrubs, is the picturesque ruin generally called the <i>Temple of Minerva +Medica</i>, from a false impression that the Giustiniani Minerva, now in +the Vatican, had been found here.<a name="FNanchor_271_271" id="FNanchor_271_271"></a><a href="#Footnote_271_271" class="fnanchor">[271]</a> It is now generally decided to be +a remnant of the bath built by Augustus in honour of his grandsons Caius +and Lucius Cæsar (sons of Agrippa and Julia). It is a decagon, with a +vaulted brick roof, and nine niches for statues; those of Æsculapius, +Antinous, Hercules, Adonis, Pomona, and (the Farnese) Faun, have been +found on the site.</p> + +<p>Near this is a curious <i>Columbarium of the Arruntia Family</i>, and a +brick-lined hollow, supposed to be part of the Naumachia which Dion +Cassius says that Augustus constructed "in the grove of Caius and +Lucius."</p> + +<p>Just where the lane turns off to Sta. Bibiana is the entrance to the +courtyard of the <i>Church and Monastery of S. Eusebio</i>, built upon the +site of the house of the saint, a priest of noble family, martyred by +starvation under Constantius, <small>A.D.</small> 357. His body rests under the high +altar, with that of St. Orosus, a Spanish priest, who suffered at the +same time. The ceiling of the church is painted by <i>Mengs</i>, and +represents the apotheosis of the patron saint. The campanile dates from +1220. In this convent (which was conceded to the Jesuits in 1825 by Leo +XII.) English clergymen about to join the Roman Catholic Church +frequently "make a retreat" before their reception; Archdeacon +Wilberforce<a name="vol_2_page_078" id="vol_2_page_078"></a> is one of many converts who have been received here.</p> + +<p>Turning towards Sta. Maria Maggiore, on the left is a <i>Cross</i> on a +pedestal formed by a cannon reversed, and inscribed "In hoc signo +vinces,"—a memorial of the absolution given by Clement VIII. in 1595 to +Henry IV. of France on his being received into the Roman Catholic +Church.</p> + +<p>Opposite this is a peculiar round arched doorway—unique in +Rome—forming the entrance to the <i>Church of S. Antonio Abbate</i>, said to +occupy the site of a temple of Diana. The church is decorated with very +coarsely-executed frescoes of the life of the saint,—his birth, his +confirmation by a bishop who predicted his future saintship, and his +temptation by the devil in various forms.</p> + +<div class="blockquot"><p>"S. Antonio, called 'the patriarch of monks,' became a hermit in +his twentieth year, and lived alone in the Egyptian desert till his +fifty-fifth year, when he founded his monastery of Phaim, where he +died at the age of 105, having passed his life in perpetual prayer, +and often tasting no food for three days at a time. In the desert +Satan was permitted to assault him in a visible manner, to terrify +him with dismal noises; and once he so grievously beat him that he +lay almost dead, covered with bruises and wounds. At other times +the fiends attacked him with terrible clamours, and a variety of +spectres, in hideous shapes of the most frightful wild beasts, +which they assumed to dismay and terrify him; till a ray of +heavenly light breaking in upon him, chased them away, and caused +him to cry out, 'Where wast thou, my Lord and Master? Why wast thou +not with me?' And a voice answered, 'Anthony, I was here the whole +time; I stood by thee, and beheld thy combat: and because thou hast +manfully withstood thy enemies I will always protect thee, and will +render thy name famous throughout the earth.'"—<i>Butler's Lives of +the Saints.</i></p></div> + +<div class="blockquot"><p>"Surely the imagery painted on the inner walls of Egyptian tombs, +and probably believed by Anthony and his compeers to be connected +with devil-worship, explains his visions. In the 'Words of the +Elders' a monk complains of being troubled with 'pictures, old and +new.' Probably, again, the pain which Anthony felt was the agony of +a fever, and the visions which he saw its delirium."—<i>Kingsley's +Hermits.</i> +<a name="vol_2_page_079" id="vol_2_page_079"></a></p></div> + +<p>In the chapel of S. Antonio is a very ancient mosaic, representing a +tiger tearing a bull.</p> + +<div class="blockquot"><p>"Le tigre en mosaïque conservé dans l'église de St. Antoine, patron +des animaux, est, selon toute apparence, le portrait d'un acteur +renommé."—<i>Ampère, Hist. Rom.</i> iv. 28.</p></div> + +<p>Hither, on the week following the feast of St. Anthony (January 17), +horses, mules, and cows are brought to be blest as a preservative +against accidents for the year to come. On the 23rd, the horses of the +pope, Prince Borghese, and other Roman grandees (about 2½ <small>P.M.</small>) are +sent for this purpose. All the animals are sprinkled with holy water by +a priest, who receives a gift in proportion to the wealth of their +master, and recites over each group the formula,—</p> + +<div class="blockquot"><p>"Per intercessionem beati Antonii Abbatis, hæc animalia liberantur +a malis, in nomine Patris et Filii et Spiritus Sancti. Amen!"</p></div> + +<div class="blockquot"><p>"Les bergers romains faisaient la <i>lustration</i> de leurs taureaux; +ils purifiaient leurs brebis à la fête de Pales (pour écarter d'eux +toute influence funeste), comme ils les font encore asperger d'eau +bénite à la fête de Saint Antoine."—<i>Ampère, Hist. Rom.</i> ii. +329.<a name="FNanchor_272_272" id="FNanchor_272_272"></a><a href="#Footnote_272_272" class="fnanchor">[272]</a></p></div> + +<div class="blockquot"><p>"'Long live St. Anthony,' writes Mabillon (in the 17th century) as +he describes the horses, asses, and mules, all going on the saint's +festival to be sprinkled with holy water, and receive the +benediction of a reverend father. 'All would go to ruin,' say the +Romans, 'if this act of piety were omitted.' So nobody escapes +paying toll on this occasion, not even Nostro Signore +himself."—<i>Stephens' French Benedictines.</i></p></div> + +<div class="blockquot"><p>"S. Antonio Abbate is the patron of the four-footed creation, and +his feast is a saturnalia for the usually hard-worked beasts and +for their attendants and drivers. Gentlefolks must be content on +this day to stay at home or go on foot, for there are not wanting +solemn tales of how the unbelievers who had obliged their coachmen +to drive out on this day<a name="vol_2_page_080" id="vol_2_page_080"></a> have been punished by great misfortunes. +The church of S. Antonio stands in a large piazza, usually looking +like a desert; but to-day it was enlivened by a varied throng: +horses and mules, with tails and manes splendidly interlaced with +ribbons, are brought to a small chapel standing somewhat apart from +the church, where a priest armed with a large asperge plentifully +besprinkles the animals with the holy water which is placed before +him in tubs and pails, sometimes apparently with a sly wish to +excite them to gambols. Devout coachmen bring larger or smaller +wax-tapers, and their masters send alms and gifts, in order to +secure to their valuable and useful animals a year's exemption from +disease and accident. Horned cattle and donkeys, equally precious +and serviceable to their owners, have their share in the +blessing."—<i>Goethe, Romische Briefe.</i></p></div> + +<div class="blockquot"><p>"At the blessing of the animals, an adventure happened, which +afforded us some amusement. A countryman, having got a blessing on +his beast, putting his whole trust in its power, set off from the +church door at a grand gallop, and had scarcely cleared a hundred +yards before the ungainly animal tumbled down with him, and over +its head he rolled into the dirt. He soon got up, however, and +shook himself, and so did the horse, without either seeming to be +much the worse. The priest seemed not a whit out of countenance at +this; and some of the standers-by exclaimed, with laudable +steadfastness of faith, 'That but for the blessing, they might have +broken their necks.'"—<i>Eaton's Rome.</i></p></div> + +<div class="blockquot"><p>"Un postilion Italien, qui voyait mourir son cheval, priait pour +lui, et s'écriait: O, Sant' Antonio, abbiate pietà dell' anima +sua!"—<i>Madame de Staël.</i></p></div> + +<div class="blockquot"><p>"The hog was the representative of the demon of sensuality and +gluttony, which Anthony is supposed to have vanquished by the +exercise of piety and by the divine aid. The ancient custom of +placing in all his effigies a black pig at his feet, or under his +feet, gave rise to the superstition, that this unclean animal was +especially dedicated to him and under his protection. The monks of +the Order of St. Anthony kept herds of consecrated pigs, which were +allowed to feed at the public charge, and which it was a +profanation to steal or kill; hence the proverb about the fatness +of a 'Tantony pig.'"—<i>Jameson's Sacred Art</i>, p. 750.</p></div> + +<p>We now enter the Piazza of Sta. Maria Maggiore, in front of which stands +a beautiful Corinthian column, now called <i>Colonna della Vergine</i>. This +is the last remaining column of the Basilica of Constantine, and is +forty-seven feet high<a name="vol_2_page_081" id="vol_2_page_081"></a> without its base and capital. It was brought +hither by Paul V. in 1613. The figure of the Virgin on the top is by +Bertelot.</p> + +<p>The <i>Basilica of Sta. Maria Maggiore</i>, frequently named from its founder +the <i>Liberian Basilica</i>, was founded <small>A.D.</small> 352, by Pope Liberius, and +John,<a name="FNanchor_273_273" id="FNanchor_273_273"></a><a href="#Footnote_273_273" class="fnanchor">[273]</a> a Roman patrician, to commemorate a miraculous fall of snow, +which covered this spot of ground and no other, on the 5th of August, +when the Virgin appearing in a vision, showed them that she had thus +appropriated the site of a new temple.<a name="FNanchor_274_274" id="FNanchor_274_274"></a><a href="#Footnote_274_274" class="fnanchor">[274]</a> This legend is commemorated +every year on the 5th of August, the festa of La Madonna della Neve, +when, during a solemn high mass in the Borghese chapel, showers of white +rose-leaves are thrown down constantly through two holes in the ceiling, +"like a leafy mist between the priests and worshippers."</p> + +<p>This church, in spite of many alterations, is in some respects +internally the most beautiful and harmonious building in Rome, and +retains much of the character which it received when rebuilt between 432 +and 440, by Sixtus III., who dedicated it to Sta. Maria Mater Dei, and +established it as one of the four patriarchal basilicas, whence it is +provided with the "porta santa," only opened by the pope, with great +solemnity, four times in a century.</p> + +<p>The west front was added under Benedict XIV. (Lambertini) in 1741, by +Ferdinando Fuga, destroying a portico of the time of Eugenius III., of +which the only remnant is an architrave, inserted into which is an +inscription, quoted<a name="vol_2_page_082" id="vol_2_page_082"></a> by its defenders in proof of the existence of +Mariolatry in the twelfth century:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Tertius Eugenius Romanus Papa benignus<br /></span> +<span class="i2">Obtulit hoc munus, Virgo Maria, tibi,<br /></span> +<span class="ist">Quæ Mater Christi fieri merito meruisti,<br /></span> +<span class="i2">Salva perpetua Virginitate tibi.<br /></span> +<span class="ist">Es Via, Vita, Salus, totius Gloria Mundi,<br /></span> +<span class="i2">Da veniam culpis, Virginitatis Honos."<br /></span> +</div></div> + +<p>In this portico is a statue of Philip IV. of Spain by <i>Lucenti</i>. In the +upper story are preserved the mosaics which once decorated the old +façade, some of them representing the miracle which led to the +foundation of the church.</p> + +<div class="blockquot"><p>"To 1300 belong the mosaics on the upper part of the façade of Sta. +Maria Maggiore (now inserted in the loggia), in which, in two rows, +framed in architectural decorations, may be seen Christ in the act +of benediction, and several saints above, and the legend of the +founding of the church below—both well-arranged compositions. An +inscription gives the name of the otherwise unknown master, +'Philippus Rusuti.' This work was formerly attributed to the +Florentine mosaicist Gaddo Gaddi, who died 1312."—<i>Kugler.</i></p></div> + +<p>Five doors, if we include the walled-up Porta Santa, lead into the +magnificent nave (280 feet long, 60 broad), lined by an avenue of white +marble columns, surmounted by a frieze of mosaic pictures from the Old +Testament, of A.D. 440—unbroken, except where six of the subjects have +been cut away to make room for arches in front of the two great side +chapels. The mosaics increase in splendour as they approach the tribune, +in front of which is a grand baldacchino by Fuga, erected by Benedict +XIV., supported by four porphyry columns wreathed with gilt leaves, and +surmounted by four marble angels by Pietro Bracci. The pavement is of +the most glorious opus-alexandrinum, and its crimson<a name="vol_2_page_083" id="vol_2_page_083"></a> and violet hues +temper the white and gold on the walls. The flat roof (by Sangallo), +panelled and carved, is gilt with the first gold brought to Spain from +South America, and presented to Alexander VI. by Ferdinand and Isabella.</p> + +<div class="blockquot"><p>"The mosaics above the chancel arch are valuable for the +illustration of Christian doctrine: the throne of the Lamb as +described in the Apocalypse, SS. Peter and Paul beside it (the +earliest instance of their being thus represented); and the four +symbols of the Evangelists above; the Annunciation; the Angel +appearing to Zacharias; the Massacre of the Innocents; the +Presentation in the Temple; the Adoration of the Magi; Herod +receiving the head of St. John the Baptist; and, below these +groups, a flock of sheep, type of the faithful, issuing from the +mystic cities, Bethlehem and Jerusalem. We see here one curious +example of the nimbus, round the head of Herod, as a symbol of +power, apart from sanctity. In certain details these mosaics have +been altered, with a view to adapting them to modern devotional +bias, in a manner that deserves reprobation; but Ciampini +(Monumenta Vetera) shows us in engraving what the originals were +before this alteration, effected under Benedict XIV. In the group +of the Adoration the child <i>alone</i> occupied the throne, while +opposite (in the original work) was seated, on another chair, an +elderly person in a long blue mantle veiling the head—concluded by +Ciampini to be the senior among the Magi; the two others, younger, +and both in the usual Oriental dress, with trousers and Phrygian +caps, being seen to approach at the same side, whilst the mother +<i>stood</i> beside the throne of the child,—her figure recognisable +from its resemblance to others in scenes where she appears in the +same series. As this group is now before us, the erect figure is +left out; the seated one is converted into that of Mary, with a +halo round the head, though in the original even such attribute +(alike given to the Saviour and to all the angels introduced) is +<i>not</i> assigned to her."—<i>Hemans' Ancient Christian Art.</i></p></div> + +<p>The vault of the tribune is covered with mosaics by Jacopo da Turrita, +the same who executed those at the Lateran basilica.</p> + +<div class="blockquot"><p>"A general affinity with the style of Cimabue is observable in some +mosaics executed by contemporary artists. Those in Sta. Maria<a name="vol_2_page_084" id="vol_2_page_084"></a> +Maggiore are inscribed with the name of Jacobus Torriti, and +executed between 1287 and 1292. They are surpassed by no +contemporary work in dignity, grace, and decorative beauty of +arrangement. In a blue, gold-starred circle is seen Christ +enthroned with the Virgin; on each side are adoring angels, +kneeling and flying, on a gold ground, with St. Peter and St. Paul, +the two St. Johns, St. Francis, and St. Anthony (the same in size +and position as at St. J. Lateran), advancing devoutly along. The +upper part is filled with graceful vine-branches, with symbolical +animals among them. Below is Jordan, with small river gods, boats, +and figures of men and animals. Further below are scenes from the +life of Christ in animated arrangement. The group in the centre of +the circle, of Christ enthroned with the Virgin, is especially +fine: while the Saviour is placing the crown on His mother's head, +she lifts up her hands with the expression both of admiration and +of modest remonstrance.<a name="FNanchor_275_275" id="FNanchor_275_275"></a><a href="#Footnote_275_275" class="fnanchor">[275]</a> The forms are very pure and noble; the +execution careful, and very different from the Roman mosaics of the +twelfth century."—<i>Kugler.</i></p></div> + +<p>In front of and beneath the high altar Pius IX. has lately been +preparing his own monument, by constructing a splendid chamber +approached by staircases, and lined with the most precious alabaster and +marbles.</p> + +<p>On the right of the western entrance is the tomb of the Rospigliosi +pope, Clement IX. (1667—69), the work of Ercole Ferrata, a pupil of +Bernini. His body rests before the high altar, surrounded by a number of +the members of his family. Left of the entrance is the tomb of Nicholas +IV., Masci (1288-92), erected to his memory three hundred years after +his death by Sixtus V. while still a cardinal. He is represented giving +benediction, between two allegorical figures of Justice and Religion,—a +fine work of Leonardo da Sarzana.<a name="vol_2_page_085" id="vol_2_page_085"></a></p> + +<div class="blockquot"><p>"It is well to know that this pope, a mere upstart from the dust, +sought to support himself through the mighty family of Colonna, by +raising them too high. His friend, the Cardinal Giacomo Colonna, +contributed with him to the renewal of the mosaics which are in the +tribune of Sta. Maria Maggiore, and one can see their two figures +there to this day. It was in this reign that Ptolemais, the last +possession of the Christians in Asia, fell into the hands of the +Mohammedans; thus ended the era of the Crusades."—<i>Gregorovius.</i></p></div> + +<p>Behind this tomb, near the walled-up Porta Santa, is a good tomb of two +bishops, brothers, of the fifteenth century, and in the same aisle are +many other monuments of the sixteenth century, some of them fine in +their way.</p> + +<p>Nearly on a line with the baldacchino is the entrance of the <i>Borghese +Chapel</i>, built by Flaminio Ponzio for Paul V. in 1608, gorgeous with +precious marbles and alabasters. Over its altar is preserved one of the +pictures attributed to St. Luke (and announced to be such in a papal +bull attached to the walls!), much revered from the belief that it +stayed the plague which decimated the city during the reign of Pelagius +II., and that (after its intercession had been sought by a procession by +order of Innocent VIII.) it brought about the overthrow of the Moorish +dominion in Spain.</p> + +<div class="blockquot"><p>"On conserve à Sainte Marie Majeure une des images de la Madonne +peintes par St. Luc, et plusieurs fois on a trouvé les anges +chantant les litanies autour de ce tableau."—<i>Stendhal.</i></p></div> + +<div class="blockquot"><p>The "Scheme of decorations in this gorgeous chapel is so +remarkable, as testifying to the development which the theological +idea of the Virgin, as the Sposa or personified Church, had +attained in the time of Paul V.—the same pope who in 1615 +promulgated the famous bull relative to the Immaculate +Conception"—that the insertion of the whole passage of Mrs. +Jameson on this subject will not be considered too much.</p> + +<p>"First, and elevated above all, we have the 'Madonna della +Concezione,' 'Our Lady of the Immaculate Conception,' in a glory of +light, sustained and surrounded by angels, having the crescent +under her feet, according to the approved treatment. Beneath, round +the<a name="vol_2_page_086" id="vol_2_page_086"></a> dome, we read in conspicuous letters the text from the +Revelation:—<small>SIGNUM. MAGNUM. APPARAVIT. IN. CŒLO. MULIER. +AMICTA. SOLE. ET. LUNA. SUB. PEDIBUS. EJUS. ET. IN. CAPITE. EJUS. +CORONA. STELLARUM. DUODECIM.</small> Lower down is a second inscription +expressing the dedication. <small>MARIÆ. CHRISTI. MATRI. SEMPER. VIRGINI. +PAULUS. QUINTUS. P.M.</small> The decorations beneath the cornice consist +of eighteen large frescoes, and six statues in marble, above life +size. We have the subjects arranged in the following order:—</p> + +<p>"1. The four great prophets, Isaiah, Jeremiah, Ezekiel, and Daniel, +in their usual place in the four pendatives of the dome.</p> + +<p>"2. Two large frescoes. In the first the Vision of St. Gregory +Thaumaturgus, and Heretics bitten by Serpents. In the second, St. +John Damascene and S. Ildefonso miraculously rewarded for defending +the majesty of the Virgin.</p> + +<p>"3. A large fresco, representing the four Doctors of the Church who +had especially written in honour of the Virgin: viz., Irenæus and +Cyprian, Ignatius and Theophilus, grouped two and two.</p> + +<p>"4. St. Luke, who painted the Virgin, and whose gospel contains the +best account of her.</p> + +<p>"5. As spiritual conquerors in the name of the Virgin, St. Dominic +and St. Francis, each attended by two companions of his Order.</p> + +<p>"6. As military conquerors in the name of the Virgin, the Emperor +Heraclius, and Narses, the general against the Arians.</p> + +<p>"7. A group of three female figures, representing the three famous +saintly princesses, who in marriage preserved their virginity, +Pulcheria, Edeltruda (our famous Queen Ethelreda), and Cunegunda.</p> + +<p>"8. A group of three learned Bishops, who had especially defended +the immaculate purity of the Virgin, St. Cyril, St. Anselm, and St. +Denis (?).</p> + +<p>"9. The miserable ends of those who were opposed to the honour of +the Virgin. 1. The death of Julian the Apostate, very oddly +represented; he lies on an altar, transfixed by an arrow, as a +victim; St. Mercurius in the air. 2. The death of Leo IV., who +destroyed the effigies of the Virgin. 3. The death of Constantine +IV., also a famous iconoclast.</p> + +<p>"The statues which are placed in niches are—</p> + +<p>"1—2. St. Joseph, as the nominal husband, and St. John the +Evangelist, as the nominal son, of the Virgin; the latter, also, as +prophet and poet, with reference to the passage in the Revelation, +xii. i.</p> + +<p>"3—4. Aaron, as priestly ancestor (because his wand blossomed), +and David, as kingly ancestor, of the Virgin.<a name="vol_2_page_087" id="vol_2_page_087"></a></p> + +<p>"5—6. St. Dionysius the Areopagite, who was present at the death +of the Virgin, and St. Bernard, who composed the famous 'Salve +Regina' in her honour.</p> + +<p>"Such is this grand systematic scheme of decoration, which, to +those who regard it cursorily, is merely a sumptuous confusion of +colours and forms, or at best a 'fine example of the Guido school +and Bernini.' It is altogether a very complete and magnificent +specimen of the prevalent style of art, and a very comprehensive +and suggestive expression of the prevalent tendency of thought in +the Roman Catholic Church from the beginning of the seventeenth +century. In no description of this chapel have I seen the names and +subjects accurately given: the style of art belongs to the +<i>decadence</i>, and the taste being worse than questionable, the +prevailing <i>doctrinal</i> idea has been neglected, or never +understood."—<i>Legends of the Madonna</i>, lxxi.</p></div> + +<p>On the right is the tomb of Clement VIII. (1592—1605), the Florentine +Ippolito Aldobrandini, the builder of the new palace of the Vatican, and +the cruel torturer and executioner of the Cenci. He is represented in +the act of benediction. The bas-reliefs on his monument commemorate the +principal events of his reign,—the conclusion of peace between France +and Spain, and the taking of Ferrara, which he seized from the heirs of +Alphonso II.</p> + +<p>On the left is the tomb of Paul V. (1605-1621), Camillo Borghese,—in +whose reign St. Peter's was finished, as every traveller learns from the +gigantic inscription over its portico,—who founded the great Borghese +family, and left to his nephew, Cardinal Scipio Borghese, a fortune +which enabled him to buy the Borghese Palace and to build the Borghese +Villa.</p> + +<div class="blockquot"><p>"It is a truly herculean figure, with a grandly developed head, +while in his thick neck, pride, violence, and sensuality seem to be +united. He is the first pope who wore the beard of a cavalier, like +that of Henry IV., which recalls the Thirty-years' War, which he +lived through; as far as the battle of the White Mountain. In this +round, domineering, pride-swollen countenance, appears the +violent,<a name="vol_2_page_088" id="vol_2_page_088"></a> imperious spirit of Paul, which aimed at an absolute +power. Who does not remember his famous quarrel with Venice, and +the rôle which his far superior adversary Paolo Sarpi played with +such invincible courage? The bas-reliefs of his tomb represent the +reception given by the pope to the envoys of Congo and Japan, the +building of the citadel of Ferrara, the sending of auxiliary troops +to Hungary to the assistance of Rudolph II., and the canonization +of Sta. Francesca Romana and S. Carlo Borromeo."—<i>Gregorovius.</i></p></div> + +<p>The frescoes in the cupola are by <i>Cigoli</i>; those around the altar by +the Cav. D'Arpino; those above the tombs and on the arches by <i>Guido</i>, +except the Madonna, which is by <i>Lanfranco</i>. The late beloved Princess +Borghese, <i>née</i> Lady Gwendoline Talbot, was buried in front of the +altar, all Rome following her to the grave.</p> + +<div class="blockquot"><p>The funeral of Princess Borghese proved the feeling with which she +was regarded. Her body lay upon a car which was drawn by forty +young Romans, and was followed by all the poor of Rome, the +procession swelling like a river in every street and piazza it +passed through, while from all the windows as it passed flowers +were showered down. In funeral ceremonies of great personages at +Rome an ancient custom is observed by which, when the body is +lowered into the grave, a chamberlain, coming out to the church +door, announces to the coachman, who is waiting with the family +carriage, that his master or mistress has no longer need of his +services; and the coachman thereupon breaks his staff of office and +drives mournfully away. When this formality was fulfilled at the +funeral of Princess Borghese, the whole of the vast crowd waiting +outside the basilica broke into tears and sobs, and kneeling by a +common impulse, prayed aloud for the soul of their benefactress.</p></div> + +<p>The chapel has been lately the scene of a miraculous story, with +reference to a visionary appearance of the Princess Borghese, which has +obtained great credit among the people, by whom she is already looked +upon as a saint.</p> + +<p>The first chapel in the right aisle is that of the Patrizi family, and +close by is the sepulchral stone of their noble<a name="vol_2_page_089" id="vol_2_page_089"></a> ancestor, Giovanni +Patricino, whose bones were found beneath the high altar, and deposited +here in 1700. A little further is the chapel of the Santa Croce, with +ten porphyry columns. Then comes the <i>Chapel of the Holy Sacrament</i>, +built by Fontana for Sixtus V. while still Cardinal of Montalto. Gregory +XIII., who was then on the throne, visited this gorgeous chapel when it +was nearly completed, and immediately decided that one who could build +such a splendid temple was sufficiently rich, and suppressed the +cardinal's pension. Fontana advanced a thousand scudi for the completion +of the work, and had the delicacy never to allow the cardinal to imagine +that he was indebted to him. The chapel, restored 1870, is adorned with +statues by Giobattista Pozzo, Cesare Nebbia, and others. Under the altar +is a presepio—one of the best works of Bernini, and opposite to it, in +the confession, a beautiful statue of S. Gaetano (founder of the +Theatines, who died 1547<a name="FNanchor_276_276" id="FNanchor_276_276"></a><a href="#Footnote_276_276" class="fnanchor">[276]</a>), with two little children. On the right +is the splendid tomb of Pius V., Michaele Ghislieri (1566—72), the +barefooted, bareheaded Dominican monk of Sta. Sabina, who in his short +six years' reign beheld amongst other events the victory of Lepanto, the +fall of the Huguenots in France, and the massacre of St. Bartholomew, +events which were celebrated at Rome with <i>fêtes</i> and thanksgivings. The +figure of the pope, a monk wasted to a skeleton (by Leonardo de +Sarzana), sits in the central niche, between statues of St. Dominic and +St. Peter Martyr. A number of bas-reliefs by different sculptors +represent the events of his life. Some are by the Flemish artists +Nicolas d'Arras and Egidius.</p> + +<p>On the left, is the tomb of Sixtus V. (1585-90), Felice<a name="vol_2_page_090" id="vol_2_page_090"></a> Perretti, who +as a boy kept his father's pigs at Montalto; who as a young man was a +Franciscan monk preaching in the Apostoli, and attracting crowds by his +eloquence; and who then rose to be bishop of Fermo, soon after to be +cardinal, and was lastly raised to the papal throne, which he occupied +only five years, a time which sufficed for the prince of the Church who +loved building the most, to renew Rome entirely.</p> + +<div class="blockquot"><p>"If anything can still the spectator to silence, and awaken him to +great recollections, it is the monument of this astonishing man, +who, as child, herded swine, and as an old man commanded people and +kings, and who filled Rome with so many works, that from every side +his name, like an echo, rings in the traveller's ear. We never +cease to be amazed at the wonderful luck which raised Napoleon from +the dust to the throne of the world, as if it were a romance or a +fairy story. But if in the history of kings these astonishing +changes are extraordinary accidents, they seem quite natural in the +history of the popes, they belong to the very essence of +Christendom, which does not appeal to the person, but to the +spirit; and while the one history is full of ordinary men, who, +without the prerogative of their crown, would have sunk into +eternal oblivion, the other is rich in great men, who, placed in a +different sphere, would have been equally worthy of +renown."—<i>Gregorovius.</i></p></div> + +<p>In a little chapel on the left of the entrance of this—which is as it +were a transept of the church—is a fine picture of St. Jerome by +<i>Spagnuoletto</i>, and in the chapel opposite a sarcophagus of two early +Christian consuls, richly wrought in the Roman imperial style, but with +Christian subjects,—Daniel in the den of lions, Zaccheus in the +sycamore-tree, Martha at the raising of Lazarus, &c.</p> + +<p>At the east end of the right aisle, near the door, is perhaps the finest +gothic monument in Rome,—the tomb of Cardinal Gonsalvi, bishop of +Albano, <i>c.</i> 1299.</p> + +<div class="blockquot"><p>"A recumbent statue, in pontifical vestments, rests on a +sarcophagus, and two angels draw aside curtains as if to show us +the dead; in the<a name="vol_2_page_091" id="vol_2_page_091"></a> background is a mosaic of Mary enthroned, with +the Child, the apostle Matthias, St. Jerome, and a smaller kneeling +figure of Gonsalvi, in pontifical robes; at the apex is a +tabernacle with cusped arch, and below the epitaph 'Hoc opus fecit +Joannes Magister Cosmæ civis Romanus,' the artist's record of +himself. In the hands of St. Matthias and St. Jerome are scrolls; +on that held by the apostle, the words, 'Me tenet ara prior'; on +St. Jerome's,'Recubo presepis ad antrum', these epigraphs +confirming the tradition that the bodies of St. Matthias and St. +Jerome repose in this church, while indicating the sites of their +tombs. Popular regards have distinguished this tomb; no doubt in +intended honour to the Blessed Virgin, lamps are kept ever burning, +and vases of flowers ranged, before her mosaic image."—<i>Hemans' +Mediæval Christian Art.</i></p></div> + +<p>At the west end of the right aisle is the entrance of the <i>Baptistery</i>, +which has a vast porphyry vase as a font. Hence we reach the <i>Sacristy</i>, +in the inner chamber of which are some exceedingly beautiful bas-reliefs +by <i>Mino da Fiesole</i>.</p> + +<p>One of the greatest of the Christmas ceremonies is the procession at 5 +<small>A.M.</small>, in honour of the great relic of the church—the Santa +Culla—<i>i.e.</i>, the cradle in which our Saviour was carried into Egypt, +not, as is frequently imagined, the manger, which is allowed to have +been of stone, and of which a single stone only is supposed to have +found its way to Rome, and to be preserved in the altar of the Blessed +Sacrament. The "Santa Culla" is preserved in a magnificent reliquary, +six feet high, adorned with bas-reliefs and statuettes in silver. On the +afternoon of Christmas eve the public can visit the relic at an altar in +a little chapel near the sacristy. On the afternoon of Christmas Day it +is also exposed, but upon the high altar, where it is less easily seen.</p> + +<div class="blockquot"><p>"Le Seigneur Jésus a voulu naître dans une étable; mais les hommes +ont apporté précieusement le petit berceau qui a reçu le salut du +monde, dans la reine des cités, et ils l'ont enchâssé dans l'or.</p> + +<p>"C'est bien ici que nous devons accourir avec joie et redire ce +chant triomphant de l'Église: <i>Adeste, fideles, læti triumphantes; +venite, venite in Bethleem</i>."—<i>Une Chrétienne à Rome.</i> +<a name="vol_2_page_092" id="vol_2_page_092"></a></p></div> + +<p>Among the many other relics preserved here are two little bags of the +brains of St. Thomas à Becket.</p> + +<p>It was in this church that Pope St. Martin I. was celebrating mass in +the seventh century, when a guard sent by the Exarch Olympius appeared +on the threshold with orders to seize and put him to death. At the sight +of the pontiff the soldier was stricken with blindness, a miracle which +led to the conversion of Olympius and many other persons.</p> + +<p>Platina, the historian of the popes, was buried here, with the epitaph: +"Quisquis es, si pius, Platynam et sua ne vexes, anguste jacent et soli +volunt esse."</p> + +<p>Sta. Maria Maggiore was the scene of the seizure of Hildebrand by +Cencius:</p> + +<div class="blockquot"><p>"On Christmas Eve, 1075, the city of Rome was visited by a dreadful +tempest. Darkness brooded over the land, and the trembling +spectators believed that the day of final judgment was about to +dawn. In this war of the elements, however, two processions were +seen advancing to the Church of Sta. Maria Maggiore. At the head of +one was the aged Hildebrand, conducting a few priests to worship at +the shrine of the Virgo Deipara. The other was preceded by Cencius, +a Roman noble. At each pause in the tempest might be heard the +hallelujahs of the worshippers, or the voice of the pontiff, +pouring out benedictions on the little flock which knelt before +him—when Cencius grasped his person, and some yet more daring +ruffian inflicted a wound on his forehead. Bound with cords, +stripped of his sacred vestments, beaten, and subjected to the +basest indignities, the venerable minister of Christ was carried to +a fortified mansion within the walls of the city, again to be +removed at daybreak to exile or death. Women were there, with +women's sympathy and kindly offices, but they were rudely put +aside; and a drawn sword was already aimed at the pontiff's bosom, +when the cries of a fierce multitude, threatening to burn or batter +down the house, arrested the aim of the assassin. An arrow, +discharged from below, reached and slew him. The walls rocked +beneath the strokes of the maddened populace, and Cencius, falling +at his prisoner's feet, became himself a suppliant for pardon and +for life.... In profound silence, and with undisturbed serenity, +Hildebrand had thus <a name="vol_2_page_093" id="vol_2_page_093"></a>far submitted to these atrocious indignities. +The occasional raising of his eyes towards heaven alone indicated +his consciousness of them. But to the supplication of his prostrate +enemy he returned an instant and a calm assurance of forgiveness. +He rescued Cencius from the exasperated besiegers, dismissed him in +safety and in peace, and returned, amidst the acclamations of the +whole Roman people, to complete the interrupted solemnities of Sta. +Maria Maggiore."—<i>Stephens' Lectures on Eccles. Hist.</i></p></div> + +<p>Leaving the church by the door behind the tribune, we find ourselves at +the top of the steep slope of the Esquiline and in front of an <i>Obelisk</i> +erected here by Fontana for Sixtus V.,—brought from Egypt by Claudius, +and one of two which were used to guard the entrance to the mausoleum of +Augustus. The inscriptions on three of its sides are worth +notice:—"Christi Dei in æternum viventis cunabula lætissime colo, qui +mortui sepulchro Augusti tristis serviebam."—"Quem Augustus de vergine +nasciturum vivens adoravit, sed deinceps dominum dici noluit, +adoro."—"Christus per invictam crucem populo pacem præbeat, qui Augusti +pace in præsepe nasci voluit."<a name="vol_2_page_094" id="vol_2_page_094"></a></p> + +<h2><a name="CHAPTER_XIII" id="CHAPTER_XIII"></a>CHAPTER XIII.<br /><br /> +THE BASILICAS OF THE LATERAN, SANTA CROCE, AND S. LORENZO.</h2> + +<div class="blockquot"><p class="hang">Via S. Giovanni—The Obelisk and Baptistery—Basilica and +Cloisters—Mosaic of the Triclinium—Santa Scala—Palace of the +Lateran—Villa Massimo Arsole—SS. Pietro e Marcellino—Villa +Wolkonski—(Porta Furba—Tombs of the Via Latina—Basilica of S. +Stefano)—Santa Croce in Gerusalemme—Amphitheatrum +Castrense—Porta Maggiore—(Tomb of Sta. Helena—Torre dei +Schiavi—Cervaletto—Cerbara)—Porta and Basilica of S. +Lorenzo—Catacomb of S. Hippolytus.</p></div> + +<p class="nind"><span class="letra">B</span>EHIND the Coliseum the Via S. Giovanni ascends the slope of the +Esquiline. In mediæval times this road was always avoided by the popes, +on account (as most authorities state) of the scandal attaching to the +more than doubtful legend of Joan, the famous papessa, who is said to +have horrified her attendants by giving birth to a child on this spot, +during a procession from the Lateran, and to have died of shame and +terror immediately afterwards. Joan is stated to have been educated at +Athens, to have skilfully obtained her election to the papal throne, +disguised as a man, between the reign of Leo IV. and that of Benedict +III. (855), and to have taken the name of John VIII. In the cathedral of +Siena the heads of all the popes in terra-cotta (down to<a name="vol_2_page_095" id="vol_2_page_095"></a> Alexander +III.) decorate the frieze above the arches of the nave, and among them +was that of Pope Joan, inscribed "Johannes VIII. Femina de Anglia," till +1600, when it was changed into a head of Pope Zacharias by the Grand +Duke, at the request of Pope Clement VIII.</p> + +<p>On the left of this street is S. Clemente (described Ch. VII.). On the +right, a long wall flooded by a cascade of Banksia roses in spring, and +a villa inlaid with terra-cotta ornaments, are those of the favourite +residence of the well-known Marchese Campana, the learned archæologist +of Etruria, and the chief benefactor of the Etruscan museum at the +Vatican, cruelly imprisoned and exiled by the papal government in 1858, +upon an accusation of having tampered with the revenues of Monte di +Pietà.</p> + +<p>Beyond the turn of the road leading to S. Stefano Rotondo (Ch. VII.), +bas-reliefs of Our Saviour's Head (from the Acheirotopeton in the Sancta +Sanctorum) between two candelabra—upon the different buildings, +announce the property of the Lateran chapter.</p> + +<p>The <i>Piazza di San Giovanni</i> is surrounded by a remarkable group of +buildings. In front are the Baptistery and Basilica of the Lateran. On +the right is a Hospital for women, capable of containing 600 patients; +on the left, beyond the modern palace, are seen the buildings which +enclose the Santa Scala, and some broken arches of the Aqua Marcia. In +the centre of the piazza is the <i>Obelisk of the Lateran</i>, 150 feet high, +the oldest object in Rome, being referred by translators of +hieroglyphics to the year 1740 <small>B.C.</small>, when it was raised in memory of the +Pharaoh Thothmes IV. It was brought, from the temple of the Sun at +Heliopolis, to Alexandria by Constantine, and removed<a name="vol_2_page_096" id="vol_2_page_096"></a> thence by his son +Constantius to Rome, where it was used, together with the obelisk now in +the Piazza del Popolo, to ornament the Circus Maximus. Hence it was +moved to its present site in 1588, by Fontana, for Sixtus V. The obelisk +was then broken into three pieces, and in order to piece them together, +some part had to be cut off, but it is still the tallest in the city. +One of the inscriptions on the basement is false, as it narrates that +Constantine received at the Lateran the baptism which he did not receive +till he was dying at Nicomedia.</p> + +<p>An octagon building of mean and miserable exterior is that of the +<i>Baptistery of the Lateran</i>, sometimes called S. Giovanni in Fonte, +built, not by Constantine, to whom it is falsely ascribed, but by Sixtus +III. (430-40). Of his time are the two porphyry columns at the entrance +on the side nearest the church, and the eight which form a colonnade +round the interior, supporting a cornice from which rise the eight small +columns of white marble, which sustain the dome. In the centre is the +font of green basalt in which Rienzi bathed on the night of August 1, +1347, before his public appearance as a knight, when he summoned Clement +VI. and other sovereigns of Europe to appear before him for judgment. +The cupola is decorated with scenes from the life of John the Baptist by +<i>Andrea Sacchi</i>. On the walls are frescoes pourtraying the life of +Constantine by <i>Gimignano</i>, <i>Carlo Maratta</i>, and <i>Andrea Camassei</i>.</p> + +<p>On the right is the <i>Chapel of St. John the Baptist</i>, built by Pope +Hilary (461-67). Between two serpentine columns is a figure of St. John +Baptist by <i>L. Valadico</i> after Donatello.</p> + +<p>On the left is the <i>Chapel of St. John the Evangelist</i>, also built by +Hilary, who presented its bronze doors (said to have<a name="vol_2_page_097" id="vol_2_page_097"></a> once belonged to +the Baths of Caracalla) in remembrance of his delivery from the fury of +fanatical monks at the Second Council of Ephesus, where he appeared as +the legate of Leo I.,—a fact commemorated by the inscription: +"Liberatori suo B. Joanni Evangelistæ Hilarius Episcopus famulus +Christi." The vault is covered with mosaics representing the Spotless +Lamb in Paradise. Here is a statue of St. John by <i>Landini</i>.</p> + +<p>Close by is the entrance to the <i>Oratory of S. Venanzio</i>,<a name="FNanchor_277_277" id="FNanchor_277_277"></a><a href="#Footnote_277_277" class="fnanchor">[277]</a> built in +640 by John IV., and dedicated to St. Venantius, from a filial feeling +to his father, who bore the same name. Nothing, however, remains of this +time but the mosaics. Those in the apse represent the Saviour in the act +of benediction with angels, and below him the Virgin (an aged woman) in +adoration,<a name="FNanchor_278_278" id="FNanchor_278_278"></a><a href="#Footnote_278_278" class="fnanchor">[278]</a> with St. Peter and St. John Baptist, St. Paul and St. +John the Evangelist, St. Venantius and St. Domnus—and another figure +unnamed, probably John IV., holding the model of a church. Outside the +chancel arch are eight saints, with their names (Palmianus, Julius, +Asterius, Anastasius, Maurus, Septimius, Antiochianus, Cajanus), the +symbols of the evangelists, and the cities Bethlehem and Jerusalem; also +the verses:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Martyribus Christi Domini pia vota Johannes<br /></span> +<span class="ist">Reddidit antistes sanctificante Deo.<br /></span> +<span class="ist">Ac sacri fontis simile fulgente metallo,<br /></span> +<span class="ist">Providus instanter hoc copulavit opus:<br /></span> +<span class="ist">Quo quisque gradiens et Christum pronus adorans,<br /></span> +<span class="ist">Effusasque preces impetrat ille suas."<br /></span> +</div></div> + +<p><a name="vol_2_page_098" id="vol_2_page_098"></a></p> + +<p>The next chapel, called the <i>Capella Borgia</i>, and used as the +burial-place of that family, was once an open portico, but this +character was destroyed by the building up of the intercolumniations. On +its façade are a number of fragments of ancient friezes, &c. Over the +inner door is a bas-relief of the Crucifixion, of 1494.</p> + +<p>The piteous modernization of this ancient group of chapels is chiefly +due to the folly of Urban VIII. The baptistery is used on Easter Eve for +the ceremony of adult baptism, the recipients being called Jews.</p> + +<p>The <i>Lateran</i> derives its name from a rich patrician family, whose +estates were confiscated by Nero, when their head, Plautius Lateranus, +was put to death for taking part in the conspiracy of Piso.<a name="FNanchor_279_279" id="FNanchor_279_279"></a><a href="#Footnote_279_279" class="fnanchor">[279]</a> It +afterwards became an imperial residence, and a portion of it being given +by Maximianus to his daughter Fausta, second wife of Constantine, +received the name of "Domus Faustæ." It was this which was given by +Constantine to Pope Melchiades in 312,—a donation which was confirmed +to St. Sylvester, in whose reign the first basilica was built here, and +consecrated on November 9, 324, Constantine having laboured with his own +hands at the work. This basilica was overthrown by an earthquake in 896, +but was rebuilt by Sergius III. (904—11), being then dedicated to St. +John the Baptist. This second basilica, whose glories are alluded to by +Dante,—</p> + +<div class="poem"><div class="stanza"> +<span class="i6">——"Quando Laterano<br /></span> +<span class="i0">Alle cose mortale andò di sopra."<br /></span> +<span class="i15"><i>Paradiso</i>, xxxi.<br /></span> +</div></div> + +<p><a name="vol_2_page_099" id="vol_2_page_099"></a></p> + +<p class="nind">was of the greatest interest, but was almost entirely destroyed by fire +in 1308. It was rebuilt, only to be again burnt down in 1360, when it +remained for four years in utter ruin, in which state it was seen and +mourned over by Petrarch. The fourth restoration of the basilica was due +to Urban V. (1362-70), but it has since undergone a series of +mutilations and modernizations, which have deplorably injured it. The +west front still retains the inscription "Sacrosancta Lateranensis +ecclesia, Omnium urbis et orbis Ecclesiarum Mater et Caput;" the Chapter +of the Lateran still takes precedence even over that of St. Peter's; and +every newly elected pope comes hither for his coronation.</p> + +<div class="blockquot"><p>"St. J. Lateran est regardé comme le siége du patriarchal romain. À +St. Pierre le pape est souverain pontife. À St. J. Lateran il est +évêque de Rome. Quand le pape est élu, il vient à St. J. Lateran +prendre possession de son siége comme évêque de Rome."—<i>A. Du +Pays.</i></p></div> + +<p>The west end of the basilica is in part a remnant of the building of the +tenth century, and has two quaint towers (rebuilt by Sixtus IV.) at the +end of the transept, and a rich frieze of terra-cotta. The church is +entered from the transept by a portico, ending in a gloomy chapel which +contains a statue of Henry IV., by <i>Niccolo Cordieri</i>. The +<i>transept</i>—rich in colour from its basement of varied marbles, and its +upper frescoes of the legendary history of Constantine—is by far the +finest part of the basilica, which, as a whole, is infinitely inferior +to Sta. Maria Maggiore. The nave, consisting of five aisles, is of grand +proportions, but has been hideously modernized under <i>Borromini</i>, who +has enclosed all its ancient columns, except two near the tribune, in +tawdry plaster piers, in front of which are huge statues of the +apostles; the roof is gilt and gaudy, the tabernacle ugly<a name="vol_2_page_100" id="vol_2_page_100"></a> and +ill-proportioned,—only the ancient pavement of opus-alexandrinum is +fine. Confessionals for different languages are placed here as in St. +Peter's. The <i>Tabernacle</i> was erected by Urban V. in the fourteenth +century. Four granite columns support a gothic canopy, decorated at its +angles with canopied statuettes. Between these, on either side, are +three much restored frescoes by <i>Berni da Siena</i>, those in central +panels representing the Annunciation, the Crucifixion, the Coronation of +the Virgin, and the Saviour as a shepherd (very beautifully treated) +feeding his flock with corn. The skulls of SS. Peter and Paul are said +to be preserved here. The altar encloses the greater part of the famous +wooden table, saved at great risk of life from the conflagration of +1308, upon which St. Peter is supposed to have celebrated mass in the +house of Pudens.<a name="FNanchor_280_280" id="FNanchor_280_280"></a><a href="#Footnote_280_280" class="fnanchor">[280]</a> The steps of the altar (at the top of which the +pope is installed) have an allegorical enamelled border with emblems of +an asp, a dragon, a lion, and basilisk, in allusion to Psalm xci.</p> + +<p>In the confession, in front of the altar, is the bronze tomb of Martin +V., Oddone Colonna (1417—24), the wise and just pope who was elected at +the Council of Constance to put an end to the schism which had long +divided the papacy, and which had almost reduced the capital of the +Church to ruins. A bronze slab bears his figure, in low-relief, and is a +fine work of <i>Antonio Filarete</i>, author of the bronze doors at St. +Peter's. It bears the appropriate surname which was given to this +justly-loved pope—"Temporum suorum felicitas."</p> + +<p>The tribune is of the time of Nicholas IV. (1287—1292). Above the arch +is a grand mosaic head of the Saviour,<a name="vol_2_page_101" id="vol_2_page_101"></a> attributed to the time of +Constantine, and evidently of the fourth century,—of great interest on +this spot, as commemorating the vision of the Redeemer, who is said to +have appeared here on the day of the consecration of the church by +Sylvester and Constantine, looking down upon the people, and solemnly +hallowing the work with his visible presence. The head, which is grand +and sad in expression, is surrounded by six-winged seraphim. Below is an +ornamented cross, above which hovers a dove—from whose beak, running +down the cross, flow the waters which supply the four rivers of +Paradise. The disciples, as harts (panting for the water-brooks) and +sheep, flock to drink of the waters of life. In the distance is the New +Jerusalem, within which the Phœnix, the bird of eternity, is seated +upon the tree of Life, guarded by an angel with a two-edged sword. +Beside the cross stand, on the left, the Virgin with her hand resting on +the head of the kneeling pope, Nicholas IV.; St. Peter with a scroll +inscribed, "Tu es Christus filius Dei vivi;" St. Paul with a scroll +inscribed, "Salvatorem expectamus Dominum Jesum." On the right St. John +the Baptist, St. John the Evangelist, St. Andrew (all with their names). +Between the first and second of these figures are others, on a smaller +scale, of St. Francis and St. Anthony of Padua. All these persons are +represented as walking in a flowery Paradise, in which the souls of the +blessed are besporting, and in front of which flows the Jordan. Below, +between the windows, are figures of prophets, and (very small) of two +Franciscans, who were the artists of the lower portion of the mosaic, as +is shown by the inscriptions, "Jacobus Turriti, pictor, hoc opus +fecit;"—"Fra Jacobus de Camerino socius magistri."<a name="vol_2_page_102" id="vol_2_page_102"></a></p> + +<p>Behind the tribune, is all that remains internally of the architecture +of the tenth century, in the vaulted passage called "Portico Leonino," +from its founder, Leo I. It is supported on low marble and granite +columns with Ionic and Corinthian capitals. Here are collected a variety +of relics of the ancient basilica. On either side of the entrance are +mosaic tablets, which relate to the building of the church. Then, on the +right, is a curious kneeling statue of Pope Nicholas IV., Masci +(1287—92). On the left, in the centre, is an altar, above which is an +ancient crucifix, and on either side tenth century statues of SS. Peter +and Paul.</p> + +<p>On the right is the entrance to the sacristy (whose inner bronze doors +date from 1196), which contains an Annunciation by <i>Sebastian del +Piombo</i>, and a sketch by <i>Raphael</i> for the Madonna, called "Della Casa +d'Alba," now at St. Petersburg; also an ancient bas-relief, which +represents the old and humble basilica of Pope Sergius. On the left, at +the end of the passage, is a very handsome cinquecento ciborium, and +near it the "Tabula Magna Lateranensis," containing the list of relics +belonging to the church.</p> + +<p>Near this, opening from the transept, is the <i>Capella del Coro</i>, with +handsome wooden stallwork. It contains a portrait of Martin V., by +<i>Scipione Gaetani</i>.</p> + +<p>The altar of the Sacrament, which closes the transept, has four fluted +bronze columns, said to have been brought from Jerusalem by Titus, and +to be hollow and filled with earth from Palestine.<a name="FNanchor_281_281" id="FNanchor_281_281"></a><a href="#Footnote_281_281" class="fnanchor">[281]</a> The last chapel +in the left aisle is<a name="vol_2_page_103" id="vol_2_page_103"></a> the <i>Corsini Chapel</i>, erected in 1729 in honour of +St. Andrea Corsini, from designs of Alessandro Galilei. It is in the +form of a Greek cross, and ranks next to the Borghese Chapel in the +richness of its marble decoration. The mosaic altar-piece, representing +S. Andrea Corsini, is a copy from <i>Guido</i>. The founder of the chapel, +Clement XII., Lorenzo Corsini (1730—40), is buried in a splendid +porphyry sarcophagus which he plundered from the Pantheon. Above it is a +bronze statue of the pope.<a name="FNanchor_282_282" id="FNanchor_282_282"></a><a href="#Footnote_282_282" class="fnanchor">[282]</a> Opposite is the tomb of Cardinal Neri +Corsini, with a number of statues of the Bernini school.</p> + +<p>Beneath the chapel is a vault lined with sarcophagi of the Corsini. Its +altar is surmounted by a magnificent Pietà—in whose beautiful and +impressive figures it is difficult to recognise a work of the usually +coarse and theatrical artist <i>Bernini</i>.</p> + +<div class="blockquot"><p>Of the many tombs of mediæval popes which formerly existed in this +basilica,<a name="FNanchor_283_283" id="FNanchor_283_283"></a><a href="#Footnote_283_283" class="fnanchor">[283]</a> none remain, except the memorial slab and epitaph of +Sylvester II., Gerbert (999—1003). This pope is said (by the +chronicler Martin Polonus de Corenza) to have been a kind of +magician, who obtained first the archbishopric of Rheims, then that +of Ravenna, and then the papacy, by the aid of the devil, to whom, +in return, he promised to belong after death. When he ascended the +throne, he asked the devil how long he could reign, and the devil, +as is his custom, answered by a double-entendre, "If you never +enter Jerusalem, you will reign a long time." He occupied the +throne for four years, one month, and ten days, when, one day, as +he was officiating in the basilica of Sta. Croce in Gerusalemme, he +saw that he had passed the fatal threshold, and that his death was +impending. Overwhelmed with repentance, he confessed<a name="vol_2_page_104" id="vol_2_page_104"></a> his +backslidings before the people, and exhorted them to lay aside +pride, to resist the temptations of the devil, and to lead a good +life. After this he begged of his attendants to cut his body in +pieces after he was dead, as he deserved, and to place it on a +common cart, and bury it wherever the horses stopped of their own +accord. Then was manifested the will of the Divine Providence, that +repentant sinners should learn that their God preserves for them a +place of pardon even in this life,—for the horses went of their +own accord to St. John Lateran, where he was buried. "Since then," +says Platina, "the rattling of his bones, and the sweat, or rather +the damp, with which his tomb becomes covered, has always been the +infallible sign and forerunner of the death of a pope"!</p></div> + +<p>Against the second pillar of the right aisle, counting from the west +door, is a very interesting fresco of <i>Giotto</i>, originally one of many +paintings executed by him for the loggia of the adjoining papal palace, +whence the benediction and "plenary indulgence" were given in the +jubilee year. It represents Boniface VIII. (Benedetto Gaetani, +1294—1303), the founder of the jubilee, between two priests.</p> + +<div class="blockquot"><p>"On y voit Boniface annonçant au peuple le jubilé. Le portrait du +pape doit être ressemblant. J'ai reconnu dans cette physiognomie, +où il y a plus de finesse que de force, la statue que j'avais vue +couchée sur le tombeau de ce pape, dans les souterrains du +Vatican."—<i>Ampère, Voyage Dantesque.</i></p></div> + +<p>Opening from this aisle are several chapels. The second is that of the +newly established and rich family of Torlonia, which contains a marble +Pietà, by Tenerani, and some handsome modern monuments. The third is +that of the Massimi (designed by Giacomo della Porta), which has, as an +altar-piece, the Crucifixion by <i>Sermoneta</i>. Beyond this, in the right +aisle, are several remarkable tombs of cardinals, among which is the +tomb of Cardinal Guissano, who died<a name="vol_2_page_105" id="vol_2_page_105"></a> in 1287. The painters Cav. d'Arpino +and Andrea Sacchi are buried in this church.</p> + +<p>Entered from the last chapel in the left aisle (by a door which the +sacristan will open) is the beautiful twelfth century <i>Cloister of the +Monastery</i>, surrounded by low arches supported on exquisite inlaid and +twisted columns, above which is a lovely frieze of coloured marbles. The +court thus enclosed is a garden of roses; in the centre is a well +(adorned with crosses) of the tenth century, called the "Well of the +Woman of Samaria." In the cloister is a collection of architectural and +traditional relics, including a beautiful old white marble throne, +inlaid with mosaics, a candelabrum resting on a lion, and several other +exquisitely wrought details from the old basilica; also a porphyry slab +upon which the soldiers are said to have cast lots for the seamless +robe; columns which were rent by the earthquake of the Crucifixion; a +slab, resting on pillars, shown as a measure of the height of Our +Saviour,<a name="FNanchor_284_284" id="FNanchor_284_284"></a><a href="#Footnote_284_284" class="fnanchor">[284]</a> and a smaller slab, also on pillars, of which it is said +that it was once an altar, at which the officiating priest doubted of +the Real Presence, when the wafer fell from his hand through the stone, +leaving a round hole which still remains.</p> + +<p>Five General Councils have been held at the Lateran, viz.:—</p> + +<div class="blockquot"><p class="hang">I.—March 19, 1123, under Calixtus II., with regard to the +Investiture.</p> + +<p class="hang">II.—April 18, 1139, under Innocent II., to condemn the doctrines +of Arnold of Brescia and Peter de Bruys, and to oppose the +anti-pope Anacletus II.</p> + +<p class="hang">III.—March 5, 1179, under Alexander III., to condemn the +doctrines<a name="vol_2_page_106" id="vol_2_page_106"></a> of Waldenses and Albigenses, and to end the schism +caused by Frederick Barbarossa.</p> + +<p class="hang">IV.—Nov. 11, 1215, at which 400 bishops assembled under Innocent +III., to condemn the Albigenses, and the heresies of the Abbot +Joachim.</p> + +<p class="hang">V.—May 3, 1512, under Julius II. and Leo X., at which the +Pragmatic Sanction was abolished, and a Concordat concluded between +the Pope and Francis I. for the destruction of the liberties of the +Gallican Church.</p></div> + +<p>It is in the basilica of the Lateran that the Church places the first +meeting between St. Francis and St Dominic.</p> + +<div class="blockquot"><p>"Une nuit, pendant que Dominique dormait, il lui sembla voir +Jésus-Christ se préparant à exterminer les superbes, les +voluptueux, les avares, lorsque tout-à-coup la Vierge l'apaisa en +lui présentant deux hommes: l'un d'eux lui-même; quant à l'autre, +il ne le connaissait pas; mais le lendemain, la première personne +qu'il aperçut, en entrant au Latran, fut l'inconnu qui lui était +apparu en songe. Il était couvert de haillons et priait avec +ferveur. Dominique se précipita dans ses bras, et l'embrassant avec +effusion: 'Tu es mon compagnon,' lui dit-il; 'nous courons la même +carrière, demeurons ensemble, et aucun ennemi ne prévaudra contre +nous.' Et, à partir de ce moment, dit la légende, ils n'eurent plus +qu'un cœur et qu'une âme dans le Seigneur. Ce pauvre, ce +mendiant, était saint François d'Assise."—<i>Gournerie, Rome +Chrétienne.</i></p></div> + +<p>Issuing from the west door of the basilica, we find ourselves in a wide +portico, one of whose five doors is a Porta Santa. At the end, is +appropriately placed an ancient marble statue of Constantine, who is in +the dress of a Roman warrior, bearing the <i>labarum</i>, or standard of the +cross, which is here represented as a lance surmounted by the monogram +of Christ. From this portico we look down upon one of the most beautiful +and characteristic views in Rome. On one side are the Alban Hills, blue +in morning, or purple in evening light, sprinkled with white villages of +historic interest—Albano, Rocca di Papa, Marino, Frescati, Colonna; on +the other side are the<a name="vol_2_page_107" id="vol_2_page_107"></a> Sabine Mountains, tipped with snow; in the +middle distance the long, golden-hued lines of aqueducts stretch away +over the plain, till they are lost in the pink haze, and nearer still +are the desolate basilica of Santa Croce, the fruit gardens of the Villa +Wolkonski, interspersed with rugged fragments of massive brickwork, and +the glorious old walls of the city itself. The road at our feet is the +Via Appia Nuova, which leads to Naples, and which immediately passes +through the modern gate of Rome, known as the Porta <i>San Giovanni</i> +(built in the sixteenth century by Gregory XIII.). Nearer to us, on the +right, is an ancient gateway, the finest on the Aurelian wall, bricked +up by Ladislaus, king of Naples, in 1408. By this gate, known as the +<i>Porta Asinaria</i>, from the family of the Asinarii, Belisarius entered +Rome in 505, and Totila, through the treachery of the Isaurian Guard, in +546. Here also, in 1084, Henry IV. entered Rome against Hildebrand with +his anti-pope Guibert; and, a few years after, the name of the gate +itself was changed to Porta Perusta, in consequence of the injuries it +received from Robert Guiscard, who came to the rescue of the lawful +pontiff.</p> + +<p>The broad open space which we see beneath the steps was the favourite +walk of the mediæval popes.</p> + +<div class="blockquot"><p>"The splendid palace of the Lateran reflected the rays of the +evening sun, as Francis of Assisi with two or three of his +disciples approached it to obtain the papal sanction for the rules +of his new Order. A group of churchmen in sumptuous apparel were +traversing with slow and measured steps its lofty terrace, then +called 'the Mirror,' as if afraid to overtake him who preceded +them, in a dress studiously simple, and with a countenance wrapped +in earnest meditation. Unruffled by passion, and yet elate with +conscious power, that eagle eye, and those capacious brows, +announced him the lord of a dominion which might have satisfied the +pride of Diogenes, and the ambition of Alexander. Since the<a name="vol_2_page_108" id="vol_2_page_108"></a> +Tugurium was built on the Capitoline, no greater monarch had ever +called the seven hills his own. But, in his pontificate, no era had +occurred more arduous than that in which Innocent III. saw the +mendicants of Assisi prostrate at his feet. The interruption was as +unwelcome as it was abrupt; as he gazed at the squalid dress and +faces of his suitors, and observed their bare and unwashed feet, +his lip curled with disdain, and sternly commanding them to +withdraw, he seemed again to retire from the outer world into some +of the deep recesses of that capacious mind. Francis and his +companions betook themselves to prayer; Innocent to his couch. +There (says the legend) he dreamed that a palm-tree sprouted up +from the ground beneath his feet, and, swiftly shooting up into the +heavens, cast her boughs on every side, a shelter from the heat, +and a refreshment to the weary. The vision of the night dictated +the policy of the morning, and assured Innocent that, under his +fostering care, the Franciscan palm would strike deep her roots, +and expand her foliage on every side, in the vineyard of the +Church."—<i>Stephens' St. Francis of Assisi.</i></p></div> + +<p>The western façade of the basilica, built by Alessandro Galilei in 1734, +has a fine effect at a distance, but the statues of Christ and the +apostles which line its parapet are too large for its proportions.</p> + +<p><i>The ancient Palace of the Lateran</i> was the residence of the popes for +nearly 1000 years. Almost all the events affecting the private lives of +a vast line of ecclesiastical sovereigns happened within its walls. +Plundered in each successive invasion, stricken with malaria during the +autumn months, and often partially burnt, it was finally destroyed by +the great enemy of Roman antiquities, Sixtus V. Among the scenes which +occurred within its walls, perhaps the most terrible was that when John +X., the completer of the Lateran basilica, was invaded here by Marozia, +who was beginning to seize the chief power in Rome, and who carried the +pope off prisoner to St. Angelo, after he had seen his brother Peter +murdered before his eyes in the hall of the pontifical palace.<a name="vol_2_page_109" id="vol_2_page_109"></a></p> + +<p>The only remnants preserved of this famous building are the private +chapel of the popes, and the end wall of their dining-hall, known as the +<i>Triclinium</i>, which contains a copy, erected by Benedict XIV., of the +ancient mosaic of the time of Leo III. which formerly existed here, and +the remains of which are preserved in the Vatican.</p> + +<div class="blockquot"><p>"In this mosaic, Hallam (Middle Ages) sees proof that the authority +of the Greek Emperor was not entirely abrogated at Rome till long +after the period of papal aggrandisement by Pepin and his son, but +he is warranted by no probabilities in concluding that Constantine +V., whose reign began <small>A.D.</small> 780, is intended by the emperor kneeling +with St. Peter or Pope Sylvester."—<i>Hemans' Ancient Christian +Art.</i></p></div> + +<p>Professor Bryce finds two paintings in which the theory of the mediæval +empire is unmistakeably set forth; one of them in Rome, the other in +Florence, (a fresco in the chapter-house of S. M. Novella).</p> + +<div class="blockquot"><p>"The first of these is the famous mosaic of the Lateran triclinium, +constructed by Pope Leo III., about <small>A.D.</small> 800, and an exact copy of +which, made by the order of Sixtus V., may still be seen over +against the facade of St. John Lateran. Originally meant to adorn +the state banqueting-hall of the popes, it is now placed in the +open air, in the finest situation in Rome, looking from the brow of +a hill across the green ridges of the Campagna to the olive groves +of Tivoli and the glistering crags and snow-capped summits of the +Umbrian and Sabine Apennine. It represents in the centre Christ +surrounded by the apostles, whom He is sending forth to preach the +gospel; one hand is extended to bless, the other holds a book with +the words 'Pax vobis.' Below and to the right Christ is depicted +again, and this time sitting: on His right hand kneels Pope +Sylvester, on His left the Emperor Constantine; to the one He gives +the keys of heaven and hell, to the other a banner surmounted by a +cross. In the group on the opposite, that is, on the left side of +the arch, we see the Apostle Peter seated, before whom in like +manner kneel Pope Leo III. and Charles the Emperor; the latter +wearing, like Constantine, his crown. Peter, himself grasping the +keys, gives to Leo the pallium of an archbishop, to Charles the +banner of the Christian army. The inscription is 'Beatus Petrus +dona<a name="vol_2_page_110" id="vol_2_page_110"></a> vitam Leoni P. Pet victoriam Carulo regi dona;' while round +the arch is written, 'Gloria in excelsis Deo, et in terra pax +omnibus bonæ voluntatis.'</p> + +<p>"The order and nature of the ideas here symbolized is sufficiently +clear. First comes the revelation of the gospel, and the divine +commission to gather all men into its fold. Next, the institution, +at the memorable era of Constantine's conversion, of the two powers +by which the Christian people is to be respectively taught and +governed. Thirdly, we are shown the permanent Vicar of God, the +apostle who keeps the keys of heaven and hell, re-establishing +these same powers on a new and firmer basis. The badge of +ecclesiastical supremacy he gives to Leo as the spiritual head of +the faithful on earth, the banner of the Church militant to +Charles, who is to maintain her cause against heretics and +infidels."—<i>J. Bryce</i>, <i>Holy Roman Empire</i>, ch. vii. pp. 117, 118, +3rd ed., 1871.</p></div> + +<p>In the building behind the Triclinium, attached to a convent of +Passionist monks, and erected by Fontana for Sixtus V., is preserved +<i>the Santa Scala</i>. This famous staircase, supposed to be that of the +house of Pilate, ascended and descended by our Saviour, is said to have +been brought from Jerusalem by Helena, mother of Constantine the Great, +and has been regarded with especial reverence by the Roman Church for +1500 years. In 897 it was injured and partially thrown down by an +earthquake, but was re-erected in the old Lateran palace, whence it was +removed to its present site on the demolition of that venerable +building. Clement XII. caused the steps to be covered by a wooden +casing, which has since been repeatedly worn out by the knees of +ascending pilgrims. Apertures are left, through which the marble steps +can be seen; two of them are said to be stained with the blood of the +Saviour!</p> + +<p>At the foot of the stairs, within the atrium, are fine sculptures of +<i>Giacometti</i>, representing the "Ecce Homo,"—and the "Kiss of Judas," +purchased and placed here by Pius IX.<a name="vol_2_page_111" id="vol_2_page_111"></a></p> + +<p>Between these statues the pilgrims kneel to commence the ascent of the +Santa Scala. The effect of the staircase (especially on Fridays in Lent, +and most of all on Good Friday), with the figures ascending on their +knees in the dim light, and the dark vaulted ceiling covered with faded +frescoes, is exceedingly picturesque.</p> + +<div class="blockquot"><p>"Reason may condemn, but feeling cannot resist the claim to +reverential sympathy in the spectacle daily presented by the Santa +Scala. Numerous indulgences have been granted by different popes to +those who ascend it with prayer at each step. Whilst kneeling upon +these stairs public penance used to be performed in the days of the +Church's more rigorous discipline; as the saintly matron Fabiola +there appeared a penitent before the public gaze, in sackcloth and +ashes, <small>A.D.</small> 390.... There is no day on which worshippers may not be +seen slowly ascending those stairs; but it is during Holy Week the +concourse is at its height; and on Good Friday I have seen this +structure completely covered by the multitude, like a swarm of bees +settling on flowers!"—<i>Hemans' Ancient Sacred Art.</i></p></div> + +<div class="blockquot"><p>"Brother Martin Luther went to accomplish the ascent of the Santa +Scala—the Holy Staircase—which once, they say, formed part of +Pilate's house. He slowly mounted step after step of the hard +stone, worn into hollows by the knees of penitents and pilgrims. An +indulgence for a thousand years—indulgence from penance—is +attached to this act of devotion. Patiently he crept half-way up +the staircase, when he suddenly stood erect, lifted his face +heavenward, and, in another moment, turned and walked slowly down +again.</p> + +<p>"He said that, as he was toiling up, a voice as if from heaven, +seemed to whisper to him the old, well-known words, which had been +his battle-cry in so many a victorious combat,—'The just shall +live by faith.'</p> + +<p>"He seemed awakened, as if from a nightmare, and restored to +himself. He dared not creep up another step; but, rising from his +knees, he stood upright, like a man suddenly loosed from bonds and +fetters, and with the firm step of a freeman, he descended the +staircase, and walked from the place."—<i>Schönberg-Cotta +Chronicles.</i></p> + +<p>"Did the feet of the Saviour actually tread these steps? Are these +reliques really portions of his cross, crown of thorns, &c., or is +all this fictitious? To me it is all one.</p> + +<p><a name="vol_2_page_112" id="vol_2_page_112"></a>"'He is not here, he is risen!' said the angel at the tomb. The +worship of the bodily covering which the spirit has cast off +belongs to the soul still in the larva condition; and the ascending +of the Scala Santa on the knees is too convenient a mode for +obtaining the forgiveness of sins, and at the same time a hindrance +upon the only true way."—<i>Frederika Bremer.</i></p></div> + +<p>Ascending one of the lateral staircases—no <i>foot</i> must touch the Santa +Scala—we reach the outside of the <i>Sancta Sanctorum</i>, a chapel held so +intensely sacred that none but the pope can officiate at its altar, and +that it is <i>never</i> open to others, except on the morning before Palm +Sunday, when the canons of the Lateran come hither to worship, in solemn +procession, with torches and a veiled crucifix, and, even then, none but +the clergy are allowed to pass its threshold. The origin of the +sanctuary is lost in antiquity, but it was the private chapel of the +mediæval popes in the old palace, and is known to have existed already, +dedicated to St. Laurence, in the time of Pelagius I. (578—590), who +deposited here some relics of St. Andrew and St. Luke. It was restored +by Honorius III. in 1216, and almost rebuilt by Nicholas III. in 1277.</p> + +<p>It is permitted to gaze through a grating upon the picturesque glories +of the interior, which are chiefly of the thirteenth century. The altar +is in a recess, supported by two porphyry columns. Above it a beautiful +silver tabernacle, presented by Innocent III. (1198-1216), to contain +the great relic, which invests the chapel with its peculiar sanctity,—a +portrait of our Saviour (placed here by Stephen III. in 752), held by +the Roman Church as authentic,—to have been begun by St. Luke and +finished by an angel, whence the name by which it is known, +"Acheirotopeton," or, the "picture made without hands."</p> + +<div class="blockquot"><p>"The different theories as to the acheirotopeton picture, and the<a name="vol_2_page_113" id="vol_2_page_113"></a> +manner in which it reached this city, are stated with naïveté by +Maroni—<i>i.e.</i>, that the apostles and the Madonna, meeting after +the ascension, resolved to order a portrait of the Crucified, for +satisfying the desire of the faithful, and commissioned St. Luke to +execute the task; that after three days' prayer and fasting, such a +portrait was drawn in outline by that artist, but, before he had +begun to colour, the tints were found to have been filled in by +invisible hands; that this picture was brought from Jerusalem to +Rome, either by St. Peter, or by Titus (together with the sacred +spoils of the temple); or else expedited hither in a miraculous +voyage of only twenty-four hours by S. Germanus, patriarch of +Constantinople, who desired thus to save such a treasure from the +outrages of the Iconoclasts; and that, about <small>A.D.</small> 726, Pope Gregory +II., apprised of its arrival at the mouth of the Tiber by +revelation, proceeded to carry it thence, with due escort, to Rome; +since which advent it has remained in the Sancta +Sanctorum."—<i>Hemans' Mediæval Christian Art.</i></p></div> + +<p>Above the altar is, in gilt letters, the inscription, "non est in tota +sanctior urbe locus." Higher up, under gothic arches, and between +twisted columns, are pictures of sainted popes and martyrs, but these +have been so much retouched as to have lost their interest. The gratings +here are those of the relic chamber, which contains the reputed sandals +of Our Saviour, fragments of the true cross, &c. On the ceiling is a +grand mosaic,—a head of Our Saviour within a nimbus, sustained by +six-winged seraphim—ascribed to the eighth century. The sill in front +of the screen is covered with money, thrown in as offerings by the +pilgrims.</p> + +<p>The chapel was once much larger. Its architect was probably Deodatus +Cosmati. An inscription near the door tells us, "Magister Cosmatus fecit +hoc opus."</p> + +<p>Here, in the time when the Lateran palace was inhabited, the feet of +twelve sub-deacons were annually washed by the pope on Holy Thursday. On +the Feast of the Assumption the sacred picture used to be borne in +triumph through the city, halting in the Forum, where the feet of the +pope<a name="vol_2_page_114" id="vol_2_page_114"></a> were washed in perfumed waters on the steps of Sta. Maria Nuova, +and the "Kyrie Eleison" was chaunted a hundred times. This custom was +abolished by Pius V. in 1566.</p> + +<p>The <i>Modern Palace of the Lateran</i> was built from designs of Fontana by +Sixtus V. In 1693 Innocent XII. turned it into a hospital,—in 1438 +Gregory XVI. appropriated it as a museum. The entrance faces the obelisk +in the Piazza di San Giovanni. The palace is always shown, but the +terrible cold which pervades it makes it a dangerous place except in the +late spring months, and a visit to it is often productive of fever.</p> + +<p>The ground floor is the principal receptacle for antiquities, found at +Rome within the last few years. It contains a number of very beautiful +sarcophagi and bas-reliefs.</p> + +<p>Entering under the corridor on the right, the most remarkable objects +are:—</p> + +<div class="blockquot"><p class="hang"><i>1st Room.</i>—</p> + +<p class="hang"><span class="smcap">Left Wall</span>:<br /> +Relief of the Abduction of Helen.</p> + +<p class="hang"><span class="smcap">Right Wall</span>:<br /> +High relief of two pugilists, 'Dares and Entellus.'<br /> +Grand relief of Trajan followed by senators, from the Forum of +Trajan.<br /> +The sacred oak of Jupiter, with figures.<br /> +Bust of Marcus Aurelius.</p> + +<p class="hang"><i>2nd Room.</i>—<br /> +Beautiful architectural fragments, chiefly from the Forum of +Trajan.</p> + +<p class="hang"><i>3rd Room.</i>—</p> + +<p><span class="smcap">Entrance Wall</span>:<br /> +Statue of Æsculapius.</p> + +<p class="hang"><span class="smcap">Right Wall</span>:<br /> +Statue of Antinous, called the Braschi, found at Palestrina.<a name="vol_2_page_115" id="vol_2_page_115"></a><br /> +Bought from the Braschi family by Gregory XVI for 12,000 scudi.</p> + +<p class="hang"><span class="smcap">Wall of Egress</span>:<br /> +Sarcophagus of a child, with a relief representing pugilists.</p> + +<p class="hang"><i>4th Room.</i>—</p> + +<p class="hang"><span class="smcap">Entrance Wall</span>:<br /> +Greek relief of Medea and the daughters of Peleus.<br /> +Above (one of a number of busts), 762. Beautiful head of a Dryad.<br /> +Statue of Germanicus.</p> + +<p class="hang"><span class="smcap">Right Wall</span>:<br /> +Statue of Mars.</p> + +<p class="hang"><span class="smcap">Wall of Egress</span>:<br /> +Copy of the Faun of Praxiteles.</p> + +<p class="hang"><span class="smcap">In the Centre</span>:<br /> +A fine vase of Lumachella.</p></div> + +<p class="hang">A passage is crossed to the</p> + +<div class="blockquot"> +<p class="hang"><i>5th Room.</i>—</p> + +<p class="hang"><span class="smcap">In the Centre</span>:<br /> +1. Sacrifice of Mithras.<br /> +2. A stag of basalt.<br /> +3. A cow.<br /> +</p> + +<p class="hang"><span class="smcap">Right Wall</span>:<br /> +Sepulchral urn, with a curious relief representing children and +cock-fighting.</p> + +<p class="hang"><i>6th Room.</i>—<br /> +An interesting collection of statues, from Cervetri (Cære), +including those of Tiberius and Claudius; between them Agrippina, +sixth wife of Claudius,—and others less certain.</p> + +<p class="hang"><span class="smcap">Between the Windows</span>:<br /> +Drusilla, sister of Claudius, and, on the wall, part of her +epitaph.</p> + +<p class="hang"><i>7th Room.</i>—</p> + +<p class="hang"><span class="smcap">Right Wall</span>:<br /> +Faun dancing,—found near Sta. Lucia in Selce.<a name="vol_2_page_116" id="vol_2_page_116"></a></p> + +<p class="hang"><span class="smcap">Facing the Entrance</span>:<br /> +<i>A grand statue of Sophocles</i> (the gem of the collection), found at +Terracina, 1838. Given by the Antonelli family.<br /> + "Sophocle, dans une pose aisée et fière, un pied en avant, un bras +enveloppé dans son manteau qu'il serre contre son corps, contemple +avec une majestueuse sérénité la nature humaine et la domine d'un +regard sûr et tranquille."—<i>Ampère, Hist. Rom.</i> iii. 573.</p> + +<p class="hang"><i>8th Room.</i>—</p> + +<p>Statue of Neptune, from Porto—the legs and arms restored.</p> + +<p class="hang"><i>9th Room.</i>—</p> + +<p>Architectural fragments from the Via Appia and Forum.</p> + +<p class="hang"><i>10th Room.</i>—</p> + +<p>A series of interesting reliefs, found 1848, at the tomb of the +Aterii at Centocellæ, representing the preparations for the funeral +solemnities of a great Roman lady.</p> + +<p class="hang"><span class="smcap">Entrance Wall</span>:<br /> +The building of the sepulchre. A curious machine for raising heavy +stones is introduced.</p> + +<p class="hang"><span class="smcap">Right Wall</span>:<br /> +The body of the dead surrounded by burning torches, the mourners +tearing their hair and beating their breasts.</p> + +<p class="hang"><span class="smcap">Wall of Egress</span>:<br /> +Showing several Roman buildings which the funeral procession would +pass,—among them the Coliseum and the Arch of Titus—inscribed, +"Arcus in sacra via summa."<br /> + Signor Rosa has considered this last relief of great importance, as +indicating by the different monuments the route which a +well-ordered funeral procession ought to pursue.</p></div> + +<p>A second passage is crossed to the</p> + +<div class="blockquot"> +<p class="hang"><i>11th Room.</i>—<br /> +Containing several fine sarcophagi.</p> + +<p class="hang"><i>12th Room.</i>—</p> + +<p><span class="smcap">Entrance Wall</span>:<br /> +Sarcophagus, with the story of Orestes.</p> + +<p class="hang"><span class="smcap">Right Wall</span>:<br /> +Sarcophagus decorated with Cupids bearing garlands, and supporting +a head of Augustus.<a name="vol_2_page_117" id="vol_2_page_117"></a></p> + +<p class="hang"><span class="smcap">Wall of Egress</span>:<br /> +Sarcophagus representing the destruction of the children of Niobe.</p> + +<p class="hang"><i>13th Room.</i>—</p> + +<p><span class="smcap">Entrance Wall</span>:<br />Statue of C. Lælius Saturninus.</p> + +<p class="hang"><span class="smcap">In the Centre</span>:<br /> +Sarcophagus of P. Cæcilius Vallianus, representing a funeral +banquet.</p> + +<p class="hang"><span class="smcap">Left Wall</span>:<br /> +Unfinished statue of a captive barbarian, with sculptor's marks +remaining, to guide the workman's chisel.</p> + +<p class="hang"><i>15th Room.</i>—<br /> +This and the next room are devoted to objects recently found in the +excavations at Ostia.</p> + +<p class="hang"><span class="smcap">Left Wall</span>:<br /> +Mosaic in a niche.</p> + +<p class="hang"><i>16th Room.</i>—</p> + +<p><span class="smcap">In the Centre</span>:<br /> +Reclining statue of Atys.</p> + +<p class="hang"><span class="smcap">Right Wall</span>:<br /> +Frescoes of the story of Orpheus and Eurydice, from a tomb at +Ostia.</p></div> + +<p>The <i>Christian Museum</i>, founded by Pius IX., and arranged by Padre +Marchi and the Cavaliere Rossi, is of great interest. In the first hall +is a statue of Christ by <i>Sosnowsky</i>, and in the wall behind it three +mosaics,—two from the catacombs, that in the centre—of Christ with SS. +Peter and Paul—from the old St. Peter's. Hence we ascend a staircase +lined with Christian sarcophagi. At the foot are two statues of the Good +Shepherd.</p> + +<div class="blockquot"><p>"Une des compositions de Calamis ne doit pas être oubliée à Rome, +car ce sujet païen a été adopté par l'art chrétien des premiers +temps. Les représentations du <i>Bon Pasteur rapportant la brebis</i>, +expressions touchante de la miséricorde divine, ont leur origine +dans le <i>Mercure<a name="vol_2_page_118" id="vol_2_page_118"></a> porte-bélier</i> (Criophore). Quelquefois c'est un +<i>berger</i> qui porte un bélier, une brebis ou un agneau; l'on se +rapproche ainsi a l'idée du <i>bon pasteur</i>. En général, le bon +pasteur, dans les monuments chrétiens, porte une <i>brebis</i>, la +brebis égarée de l'Évangile; mais quelquefois aussi il porte <i>un +bélier</i>; et alors le souvenir de l'original païen dans la +composition chrétienne est manifeste."—<i>Ampère, Hist. Rom.</i> iii. +256.</p></div> + +<p>The sarcophagus on the left, which tells the story of Jonah, is +especially fine. The corridor above is also lined with sarcophagi. The +best are on the left; of these the most remarkable are, the 1st, the +marriage at Cana; 4th, the Good Shepherd repeated several times among +vines, with cherubs gathering the grapes; 7th, a sarcophagus with a +canopy supported by two pavonazzetto columns, and on the wall behind, +frescoes of the Good Shepherd, &c. At the raised end of the corridor is +the seated statue of Hippolytus, Bishop of Porto in the third century +(the upper part a restoration), found in the Catacomb of Sta. Cyriaca, +and moved hither from the Vatican Library; upon the chair is engraved +the celebrated Paschal Calendar, which is supposed to settle the +unorthodoxy of those early Christians who kept Easter at the same time +as the Jews.</p> + +<p>Hence, three rooms lined with drawings from the paintings in the +different catacombs, lead to,—</p> + +<p class="c"><span class="smcap">The Picture Gallery.</span></p> + +<div class="blockquot"><p class="hang"><i>1st Room.</i>—</p> + +<p> class="hang"<span class="smcap">Entrance Wall</span>:<br /> +Cartoon of stoning of Stephen: <i>Giulio Romano</i>.</p> + +<p>Below this is the celebrated mosaic called <i>Asarotos</i>, representing +an unswept floor after a banquet. It is inscribed with the name of +its artist, <i>Heraclitus</i>, but is a copy from one of the two famous +mosaics of Sosus of Pergamus (the other is "Pliny's Doves"). It was +found on the Aventine in 1833 in the gardens of Servilius, and +"probably adorned a dining-room where Cæsar may have supped with +Servilia, the sister of<a name="vol_2_page_119" id="vol_2_page_119"></a> Cato, and mother of Brutus." A similar +pavement is alluded to by Statius:—</p> + +<div class="poem"><div class="stanza"> +<span class="i6">"Varias ubi picta per artes<br /></span> +<span class="i0">Gaudet humus superare novis asarota figuris."<br /></span> +<span class="i15"><i>Sylv.</i> i. 3, 55.<br /></span> +</div></div> + +<p class="hang"><span class="smcap">Left Wall</span>:<br /> +Christ and St Thomas—a cartoon: <i>Camuccini</i>.</p> + +<p class="hang"><span class="smcap">Window Wall</span>:<br /> +The first sketch for the famous fresco of the Descent from the<br /> +Cross at the Trinità de' Monti: <i>Daniele da Volterra</i>.</p></div> + +<p>On the right is the entrance of the</p> + +<div class="blockquot"><p class="hang"><i>2nd Room.</i>—</p> + +<p> class="hang"<span class="smcap">Entrance Wall</span>:<br /> +Annunciation: <i>Cav. d' Arpino</i>.</p> + +<p class="hang"><span class="smcap">Right Wall</span>:<br /> +George IV. of England (most strangely out of place): <i>Lawrence</i>.</p> + +<p class="hang"><span class="smcap">Wall of Egress</span>:<br /> +Assumption of the Virgin: <i>After Guercino</i>.</p></div> + +<p>From the corner of this room, on the right, a staircase leads to a +gallery, whence one may look down upon the huge and hideous mosaic +pavement—with portraits of twenty-eight athletes—found in the Baths of +Caracalla in 1822.</p> + +<div class="blockquot"><p>"Les gladiateurs de la mosaïque de Saint Jean de Latran ont reçu la +forte alimentation qu'on donnait à leurs pareils; ils ont bien cet +air de résolution brutale que devaient avoir ceux qui prononçaient +ce féroce serment que nous a conservé Pétrone: 'Nous jurons d'obéir +à nôtre maître Eumolpe, qu'il nous ordonne de nous laisser brûler, +enchaîner, frapper, tuer par le fer ou autrement; et comme vrais +gladiateurs, nous dévouons à notre maître nos corps et nos +vies.'"—<i>Ampère, Hist. Rom.</i> iv. 33.</p></div> + +<p>On the left of 1st room is the</p> + +<div class="blockquot"><p class="hang"><i>3rd Room.</i>—</p> + +<p class="hang"><span class="smcap">Entrance Wall</span>:<br /> +Madonna with SS. Peter, Dominic, and Anthony on the right,<a name="vol_2_page_120" id="vol_2_page_120"></a> and SS. +John Baptist, Laurence, and Francis on the left: <i>Marco Palmezzano +di Forli</i>, 1537.</p> + +<p class="hang"><span class="smcap">In the Left Corner</span>:<br /> +Madonna and Saints: <i>Carlo Crivelli</i>, 1482.</p> + +<p class="hang"><span class="smcap">Left Wall</span>:<br /> +St. Thomas receiving the girdle of the Virgin (the Sacra Cintola of +Prato)—with a predella: <i>Benozzo Gozzoli</i>.</p> + +<p class="hang"><span class="smcap">Wall of Egress</span>:<br /> +Madonna with St. John Baptist and St. Jerome: <i>Palmezzano</i>.</p> + +<p class="hang"><i>4th Room.</i>—</p> + +<p class="hang"><span class="smcap">Entrance Wall</span>:<br /> +Sixtus V. as Cardinal: <i>Sassoferrato</i>.<br /> +Madonna: <i>Carlo Crivelli</i>, 1482—very highly finished.</p> + +<p class="hang"><span class="smcap">Left Wall</span>:<br /> +Sixtus V. as Pope: <i>Domenichino</i>(?).<br /> +Two Gobelins from pictures of Fra Bartolommeo at the Quirinal.</p> + +<p class="hang"><span class="smcap">Wall of Egress</span>:<br /> +Christ with the Tribute Money: <i>Caravaggio</i>.</p> + +<p class="hang"><i>5th Room.</i>—</p> + +<p class="hang"><span class="smcap">Entrance Wall</span>:</p> + +<p>Entombment: <i>Venetian School</i>.</p> + +<p class="hang"><span class="smcap">Left Wall</span>:<br /> +Greek Baptism: <i>Pietro Nocchi</i>, 1840.</p> + +<p class="hang"><span class="smcap">Wall of Egress</span>:<br /> +Holy Family: <i>Andrea del Sarto</i>.</p> + +<p class="hang"><i>6th Room.</i>—</p> + +<p class="hang"><span class="smcap">Entrance Wall</span>:<br /> +Baptism of Christ: <i>Cesare da Sesto</i>.</p> + +<p class="hang"><span class="smcap">Left Wall</span>:<br /> +SS. Agnes and Emerentiana: <i>Luca Signorelli</i>; Annunciation: <i>F. +Francia</i>; SS. Laurence and Benedict (very peculiar, as scarcely +showing their faces at all, but magnificent in colour): <i>Luca +Signorelli</i>.</p> + +<p class="hang"><span class="smcap">Wall of Egress</span>:<br /> +Coronation of the Virgin, with wings, of saints, angels, and doves: +<i>F. Filippo Lippi</i>.<a name="vol_2_page_121" id="vol_2_page_121"></a></p> + +<p class="hang"><span class="smcap">Between the Windows</span>: S. Jerome, in tempera: <i>Giovanni Sanzio, +father of Raphael</i>.</p> + +<p class="hang"><i>7th Room.</i>—</p> + +<p class="hang"><span class="smcap">Entrance Wall</span>:<br /> +Pagan sacrifice: <i>Caravaggio</i> (?).</p> + +<p class="hang"><span class="smcap">Left Wall</span>:<br /> +<i>Altar-piece by Antonio da Murano</i>, 1464.</p> + +<p class="hang"><span class="smcap">Wall of Egress</span>:<br /> +Christ at Emmaus: <i>Caravaggio</i>.</p> + +<p class="hang"><i>8th Room.</i>—<br /> +An oil copy of the fresco of the Flagellation of St. Andrew by +Domenichino, at S. Gregorio.</p> + +<p class="hang"><i>9th Room.</i>—<br /> +A set of beautiful terracotta busts and reliefs by <i>Pettrich</i>, +illustrative of North American Indian life. This room is called the +Hall of Council, and is surrounded by fresco portraits of popes, +and pictures allegorical of their arms, &c.</p></div> + +<p>The walls of the open galleries on this floor of the palace have been +covered with early Christian inscriptions from the catacombs, which have +been thus arranged in arches:—</p> + +<p class="nind"> +<span style="margin-left: 2em;">1—3. Epitaphs of martyrs and others of temp. Damasus I. (366 to 384).</span><br /> +<span style="margin-left: 2em;">4—7. Dated inscriptions from 238 to 557.</span><br /> +<span style="margin-left: 2em;">8—9. Inscriptions relating to doctrine.</span><br /> +<span style="margin-left: 2em;">10.—Inscriptions relating to popes, presbyters, and deacons.</span><br /> +<span style="margin-left: 2em;">11—12. Inscriptions relating to simple ecclesiastics.</span><br /> +<span style="margin-left: 2em;">13.—Inscriptions of affection to relations and friends.</span><br /> +<span style="margin-left: 2em;">14—16. Symbolical.</span><br /> +<span style="margin-left: 2em;">17.—Simple epitaphs from different catacombs.</span><br /> +</p> + +<p>On the third floor of the palace are casts from the bas-reliefs on the +column of Trajan.</p> + +<p>Before leaving the Lateran altogether, we must notice amongst its early +institutions, the famous school of music which existed here throughout +the middle ages.<a name="vol_2_page_122" id="vol_2_page_122"></a></p> + +<div class="blockquot"><p>"Gregory the Great, whose object it seems to have been to render +religion a thing of the senses, was the founder of the music of the +Church. He instituted the school for it in the Lateran, whence the +Carlovingian monarchs obtained teachers of singing and +organ-playing. The Frankish monks were sent thither for +instruction."—<i>Dyer's Hist. of the City of Rome.</i></p></div> + +<p>Opposite the palace is the entrance of the <i>Villa Massimo Arsoli</i>, to +which admission may be obtained by a permesso given at the Palazzo +Massimo alle Colonne. There is little to see here, however, except a +casino beautifully decorated with scenes taken from the great Italian +poets by the modern German artists, Schnorr, Kock, Ph. Veit, Overbeck, +and Führich.</p> + +<div class="blockquot"><p>"Les sujets sont tirés de Dante, de l'Arioste, et du Tasse. Dante a +été confide à Cornélius, l'Arioste à Schnorr, le Tasse à Overbeck, +les trois plus célèbres noms de cette école qui croit pouvoir +remonter par une imitation savante à la naïveté du <small>XV</small><sup>e</sup>. +siècle."—<i>Ampère, Voyage Dantesque.</i></p></div> + +<p>Leading from the Piazza di San Giovanni to Sta. Maria Maggiore is the +Via Immerulana, where, in the hollow, is the strange-looking <i>Church of +SS. Pietro e Marcellino</i>, in which is preserved a miraculous painting of +the Crucifixion; the figure upon the cross is supposed to move the eyes, +when regarded by the faithful. This picture, a small replica of the +magnificent Guido at S. Lorenzo in Lucina, is shown, behind a grille, by +a nun of Sta. Theresa, veiled from head to foot in blue, like an +immovable pillar of blue drapery.</p> + +<div class="blockquot"><p>"SS. Pietro e Marcellino stands in the valley behind the Esquiline, +in the long, lonely road between Sta. Maria Maggiore and the +Lateran. SS. Peter Exorcista and Marcellinus are always represented +together in priestly habits, bearing their palms. Their legend +relates, that in the persecution under Diocletian they were cast +into prison. Artemius, keeper of the dungeon, had a daughter named +Paulina, and she fell<a name="vol_2_page_123" id="vol_2_page_123"></a> sick; and St. Peter offered to restore her +to health, if her father would believe in the true God. And the +jailer mocked him, saying, 'If I put thee into the deepest dungeon, +and load thee with heavier chains, will thy God deliver thee? If he +doth, I will believe in him.' And Peter answered, 'Be it so, not +out of regard to thee; for it matters little to our God whether +such an one as thou believe in him or not, but that the name of +Christ may be glorified, and thyself confounded.'</p> + +<p>"And in the middle of the night Peter and Marcellinus, in white +shining garments, entered the chamber of Artemius as he lay asleep, +who, being struck with awe, fell down and worshipped the name of +Christ; and he, his wife, daughter, and three hundred others, were +baptized. After this the two holy men were condemned to die for the +faith, and the executioner was ordered to lead them to a forest +three miles from Rome, that the Christians might not discover their +place of sepulture. And when he had brought them to a solitary +thicket overgrown with brambles and thorns, he declared to them +that they were to die, upon which they cheerfully fell to work and +cleared away a space fit for the purpose, and dug the grave in +which they were to be laid. Then they were beheaded (June 2), and +died encouraging each other.</p> + +<p>"The fame of SS. Pietro e Marcellino is not confined to Rome. In +the reign of Charlemagne they were venerated as martyrs throughout +Italy and Gaul; and Eginhard, the secretary of Charlemagne who +married his daughter Emma, is said to have held them in particular +honour. Every one, I believe, knows the beautiful story of Eginhard +and Emma,—and the connection of these saints with them, as their +chosen protectors, lends an interest to their solitary deserted +church. In the Roma Sotterranea of Bosio, p. 126, there is an +ancient fragment found in the catacombs, which represents St. Peter +Exorcista, St. Marcellinus, and Paulina, standing together."—<i>Mrs. +Jameson.</i></p></div> + +<p>Behind the Santa Scala, a narrow lane leads to the <i>Villa Wolkonski</i> (a +"permesso" may be obtained through your banker), a most beautiful +garden, running along the edge of the hill, intersected by the broken +arches of the Aqua Claudia, and possessing exquisite views over the +Campagna, with its lines of aqueducts to the Alban and Sabine mountains. +<i>No one should omit to visit this villa.</i></p> + +<div class="blockquot"><p>"Where the aqueducts, just about to enter the city, most nearly +converge,<a name="vol_2_page_124" id="vol_2_page_124"></a> and looking across the Campagna—which their arches only +seem able to span—towards Albano and the hills, stands the Villa. +Embosomed in olive and in ilex trees, it is rich in hoar cypresses, +in urns, and in those pathetic fragments of old workmanship which +an undergrowth of violets and acanthus half hides, and half +reveals."—<i>Vera.</i></p></div> + +<hr style="width: 15%;" /> + +<p>About a mile beyond the Porta S. Giovanni, a road branches off on the +left to the <i>Porta Furba</i>, an arch of the Aqua Felice, founded on the +line of the Claudian and Marcian aqueducts. Artists may find a +picturesque subject here in a pretty fountain, with a portion of the +decaying aqueduct. Beyond the arch is the mound called <i>Monte del +Grano</i>, which has been imagined to be the burial-place of Alexander +Severus. Beyond this, the road (to Frescati) passes on the left the vast +ruins, called <i>Sette Bassi</i>.</p> + +<p>The direct road—which leads to Albano—reaches, about two miles from +the gate, a queer building, called the Casa del Diavolo, on the outside +of which some rude frescoes testify to the popular belief as to its +owner. Just beyond this a field track on the left leads to the <i>Via +Latina</i>, of which a certain portion, paved with huge polygonal blocks of +lava, is now laid bare. Here are some exceedingly interesting and +well-preserved tombs, richly ornamented with painting and stucco. The +view, looking back upon Rome, or forward to the long line of broken +arches of the Claudian aqueduct, seen between these ruined sepulchres, +is most striking and beautiful.</p> + +<p>Close by have been discovered remains of a villa of the Servilii, which +afterwards belonged to the Asinarii. Here also, in 1858 (on the left of +the Via Latina), Signor Fortunati discovered the long buried and +forgotten <i>Basilica of S. Stefano</i>. It is recorded by Anastasius that +this basilica was<a name="vol_2_page_125" id="vol_2_page_125"></a> founded in the time of Leo I. (440—461) by Demetria, +a lady who escaped from the siege by the Goths, with her mother, to +Carthage, where she became a nun. It was restored by Leo III. at the end +of the eighth century. The remains are interesting, though they do +little more than show perfectly the substruction and plan of the ancient +building. An inscription relating to the foundation of the church by +Demetria has been found among the ruins.</p> + +<p>Not far from this is the <i>Catacomb of the Santi-Quattro</i>.</p> + +<p>Three and a half miles from Rome is the Osteria of <i>Tavolato</i>, near +which is one of the most striking and picturesque portions of the +Claudian Aqueduct. It is on the rising ground between this aqueduct and +the road, that the <i>Temple of Fortuna Muliebris</i> is believed to have +stood. This was the temple which Valeria, the sister of Publicola, and +Volumnia, the mother of Coriolanus, claimed to erect at their own +expense, when the senate asked them to choose their recompense for +having preserved Rome by their entreaties.</p> + +<div class="blockquot"><p>"As Valeria, sister of Publicola, was sitting in the temple, as a +suppliant before the image of Jupiter, Jupiter himself seemed to +inspire her with a sudden thought, and she immediately rose, and +called upon all the other noble ladies who were with her, to arise +also, and she led them to the house of Volumnia, the mother of +Caius (Coriolanus). There she found Virgilia, the wife of Caius, +with his mother, and also his little children. Valeria then +addressed Volumnia and Virgilia, and said, 'Our coming here to you +is our own doing; neither the senate nor any mortal man have sent +us; but the god in whose temple we were sitting as suppliants put +it into our hearts, that we should come and ask you to join with +us, women with women, without any aid of men, to win for our +country a great deliverance, and for ourselves a name, glorious +above all women, even above those Sabine wives in the old time, who +stopped the battle between their husbands and their fathers. Come, +then, with us to the camp of Caius, and let us pray to him to show +us mercy.' Volumnia said, 'We will go with you:' and Virgilia took +her young children with her, and they all went to the camp of the +enemy.<a name="vol_2_page_126" id="vol_2_page_126"></a></p> + +<p>"It was a sad and solemn sight to see this train of noble ladies, +and the very Volscian soldiers stood in silence as they passed by, +and pitied them and honoured them. They found Caius sitting on the +general's seat, in the midst of the camp, and the Volscian chiefs +were standing round him. When he first saw them he wondered what it +could be; but presently he knew his mother, who was walking at the +head of the train, and then he could not contain himself, but leapt +down from his seat, and ran to meet her, and was going to kiss her. +But she stopped him, and said, 'Ere thou kiss me, let me know +whether I am speaking to an enemy or to my son; whether I stand in +thy camp as thy prisoner or thy mother?' Caius could not answer +her; and then she went on and said, 'Must it be, then, that had I +never borne a son, Rome never would have seen the camp of an enemy; +that had I remained childless, I should have died a free woman in a +free city? But I am too old to bear much longer either thy shame or +my misery. Rather look to thy wife and children, whom, if thou +persistest, thou art dooming to an untimely death, or a long life +of bondage.' Then Virgilia and his children came up to him and +kissed him, and all the noble ladies wept, and bemoaned their own +fate and the fate of their country. At last Caius cried out, 'O +mother, what hast thou done to me?' and he wrung her hand +vehemently, and said, 'Mother, thine is the victory; a happy +victory for thee and for Rome, but shame and ruin to thy son.' Then +he fell on her neck and embraced her, and he embraced his wife and +his children, and sent them back to Rome; and led away the army of +the Volscians, and never afterwards attacked Rome any more. The +Romans, as was right, honoured Volumnia and Valeria for their deed, +and a temple was built and dedicated to 'Woman's Fortune' just on +the spot where Caius had yielded to his mother's words; and the +first priestess of the temple was Valeria, into whose heart Jupiter +had first put the thought to go to Volumnia, and to call upon her +to go out to the enemy's camp and entreat her son."—<i>Arnold's +Hist. of Rome</i>, vol. i.</p> + +<p>"Il y a peu de scènes dans l'histoire plus émouvantes que celle-là, +et elle ne perd rien à la décoration du théâtre; en se plaçant sur +un tertre à quatre milles de Rome, près de la voie Latine, dans un +lieu où il n'y a aujourd'hui que des tombeaux et des ruines, on +peut se figurer le camp des Volsques, dont les armes et les tentes +étincellent au soleil. Les montagnes s'élèvent à l'horizon. A +travers la plaine ardente et poudreuse défile une foule voilée dont +les gémissements retentissent dans le silence de la campagne +romaine. Bientôt Coriolan est entouré de cette multitude suppliante +dont les plaintes, les cris, devaient avoir la vivacité des +démonstrations passionées des Romaines de nos jours. Coriolan eût +ré<a name="vol_2_page_127" id="vol_2_page_127"></a> sisté à tout ce bruit, il eût peut-être résisté aux larmes de +sa femme et aux caresses de ses enfants; il ne résista pas à la +sévérité de sa mère.</p> + +<p>"Le soir, par un glorieux coucher du soleil de Rome qui éclaire +leur joie, la procession triomphante s'éloigne en adressant un +chant de reconnaissance aux dieux, et lui se retire dans sa tente, +étonné d'avoir pu céder."—<i>Ampère, Hist. Rom.</i> ii. 402.</p></div> + +<p>The return drive to Rome may be varied by turning to the right about a +mile beyond this, into a lane which leads past the so-called temple of +Bacchus to the Via Appia Vecchia.</p> + +<hr style="width: 15%;" /> + +<p>We may now follow the lines of white mulberry-trees across the open +space in front of St. John Lateran, which is a continuation of the +ancient papal promenade of "the Mirror," to Sta. Croce. The sister +basilicas look at each other, and at Sta. Maria Maggiore, down avenues +of trees. On the left are the walls of Rome, upon which run the arches +of the Aqua Marcia.</p> + +<div class="blockquot"><p>"Few Roman churches are set within so impressive a picture as Santa +Croce, approached on every side through these solitudes of +vineyards and gardens, quiet roads, and long avenues of trees, that +occupy such immense extent within the walls of Rome. The scene from +the Lateran, looking towards this basilica across the level common, +between lines of trees, with the distance of Campagna and +mountains, the castellated walls, the arcades of the Claudian +aqueduct, amid gardens and groves, is more than beautiful, full of +memory and association. The other approach, by the unfrequented Via +di Sta. Croce, presents the finest distances, seen through a +foliage beyond the dusky towers of the Honorian walls, and a wide +extent of slopes covered with vineyards, amid which stand at +intervals some of those forlorn cottage farms, grey and +dilapidated, that form characteristic features in Roman scenery. +The majestic ruins of Minerva-Medica, the so-called temple of Venus +and Cupid, the fragments of the Baths of St. Helena, the Castrense +Amphitheatre, the arches of the aqueduct, half concealed in cypress +and ivy, are objects which must increase the attractions of a walk +to this sanctuary of the cross. But the exterior of the church is +disappointing and inappropriate, retaining nothing antique except +the square Lombardic<a name="vol_2_page_128" id="vol_2_page_128"></a> tower of the twelfth century, in storeys of +narrow-arched windows, its brickwork ornamented with disks of +coloured marble, and a canopy, with columns, near the summit, for a +statue no longer in its place."—<i>Hemans' Catholic Italy</i>, vol. i.</p></div> + +<p>The site of the <i>Basilica of Sta. Croce in Gerusalemme</i> was once +occupied by the garden of Heliogabalus, and afterwards by the palace of +the Empress Helena, mother of Constantine, whose residence here was +known as the Palatium Sessorianum, whence the name of Sessorian, +sometimes given to the basilica.</p> + +<p>The church was probably once a hall in the palace of Helena, to which an +apse was added by Constantine, in whose reign it was consecrated by Pope +Sylvester. It was repaired by Gregory II. early in the eighth century; +the monastery was added by Benedict VII. about 975, and the whole was +rebuilt by Lucius II. in 1144. The church was completely modernized by +Benedict XIV. in the last century, and scarcely anything, except the +tower, now remains externally, which is even as old as the twelfth +century. The fine columns of granite and bigio-lumachellato, which now +adorn the façade, were plundered from the neighbouring temple in 1744.</p> + +<p>The interior of the church is devoid of beauty, owing to modernizations. +Four out of twelve fine granite columns, which divided its nave and +aisles, are boxed up in senseless plaster piers. The high altar is +adorned with an urn of green basalt, sculptured with lions' heads, which +contains the bodies of SS. Anastasius and Cæsarius. Two of the pillars +of the baldacchino are of breccia-corallina. The fine frescoes of the +tribune by <i>Pinturicchio</i> have been much retouched. They were executed +under Alexander VI., on a commission from Cardinal Carvajal, who is +himself represented<a name="vol_2_page_129" id="vol_2_page_129"></a> as kneeling before the cross, which is held by the +Empress Helena.</p> + +<div class="blockquot"><p>"The very important frescoes of the choir apsis of Sta. Croce (now +much over-painted) are of Pinturicchio's better time. They +represent the finding of the Cross, with a colossal Christ in a +nimbus among angels above,—a figure full of wild +grandeur."—<i>Kugler.</i></p> + +<p>"Near the entrance of the church is a valuable monument of the +papal history of the tenth century, in a metrical epitaph to +Benedict VII., recording his foundation of the adjoining monastery +for monks, who were to sing day and night the praises of the Deity; +his charities to the poor; and the deeds of the anti-pope Franco, +called by Baronius (with play upon his assumed name Boniface) +Malefacius, who usurped the Holy See, imprisoned and strangled the +lawful pope, Benedict VI., and pillaged the treasury of St. +Peter's, but in one month was turned out and excommunicated, when +he fled to Constantinople. The chronology of this epitaph is by the +ancient system of Indictions, the death of the pope dated XII. +Indiction, corresponding to the year 984: and the Latin style of +the tenth century is curiously exemplified in lines relating to the +anti-pope:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">'Hic primus repulit Franconis spurca superbi<br /></span> +<span class="ist">Culmina qui invasit sedis apostolicæ<br /></span> +<span class="ist">Qui dominumque suum captum in castro habebat<br /></span> +<span class="ist">Carceris interea auctis constrictus in uno<br /></span> +<span class="ist">Strangulatus ubi exuerat hominem.'"<br /></span> +<span class="i15"><i>Hemans' Catholic Italy.</i><br /></span> +</div></div> + +</div> + +<p>The consecration of the Golden Rose, formerly sent to foreign princes, +used to take place in this church. The principal observances here now +are connected with the exhibition of the relics, of which the principal +is the Title of the True Cross.</p> + +<div class="blockquot"><p>"In 1492, when some repairs were ordered by Cardinal Mendoza, a +niche was discovered near the summit of the apse, enclosed by a +brick front, inscribed 'Titulus Crucis.' In it was a leaden coffer, +containing an imperfect plank of wood, 2 inches thick, 1½ palm +long, 1 palm broad. On this, in letters more or less perfect, was +the inscription in Hebrew, Greek, and Latin, <i>Jesus Nazarene King</i>. +It was venerated by Innocent VIII., with the college of cardinals, +and enclosed by Mendoza<a name="vol_2_page_130" id="vol_2_page_130"></a> in the silver shrine, where it is exposed +three times a year from the balcony. The relics are exposed on the +4th Sunday in Lent. On Good Friday the rites are more impressive +here than in any other church, the procession of white-robed monks, +and the deep toll of the bell announcing the display of the relics +by the mitred abbot, are very solemn, and it is surprising, that +while crowds of strangers submit to be crushed in the Sistine, +scarcely one visits this ancient basilica on that day."—<i>Hemans' +Catholic Italy.</i></p> + +<p>"The list of relics on the right of the apsis of Sta. Croce +includes, the finger of St. Thomas Apostle, with which he touched +the most holy side of our Lord Jesus Christ; one of the pieces of +money with which the Jews paid the treachery of Judas; great part +of the veil and of the hair of the most blessed Virgin; a mass of +cinders and charcoal, united in the form of a loaf, with the fat of +St. Lawrence, martyr; one bottle of the most precious blood of our +Lord Jesus Christ; another of the milk of the most blessed Virgin; +a little piece of the stone where Christ was born; a little piece +of the stone where our Lord sate when he pardoned Mary Magdalen; of +the stone where our Lord wrote the law, given to Moses on Mount +Sinai; of the stone where reposed SS. Peter and Paul; of the cotton +which collected the blood of Christ; of the manna which fed the +Israelites; of the rod of Aaron, which flourished in the desert; of +the relics of the eleven prophets!"—<i>Percy's Romanism.</i></p></div> + +<p>Two staircases near the tribune lead to the subterranean church, which +has an altar with a pietà, and statues of SS. Peter and Paul of the +twelfth century. Hence opens the chapel of Sta. Helena,<a name="FNanchor_285_285" id="FNanchor_285_285"></a><a href="#Footnote_285_285" class="fnanchor">[285]</a> which women +(by a perversion especially strange in this case) are never allowed to +enter except on the festival of the saint, August 18. It is built upon a +soil composed of earth brought by the empress from Palestine. Her statue +is over the altar. The vault has mosaics (originally erected under +Valentinian III., but restored by <i>Zucchi</i> in 1593) representing, in +ovals, a half-length figure of<a name="vol_2_page_131" id="vol_2_page_131"></a> the Saviour; the Evangelists and their +symbols; the Finding of the True Cross; SS. Peter and Paul; St. +Sylvester, the conservator of the church; and Sta. Helena, with Cardinal +Carvajal kneeling before her.</p> + +<p>Here the feast of the "Invention of the True Cross" (May 3) is +celebrated with great solemnity, when the hymns "Pange Lingua" and +"Vexilla Regis" are sung, and the antiphon:—</p> + +<div class="blockquot"><p>"O Cross, more glorious than the stars, world famous, beauteous of +aspect, holiest of things, which alone wast worthy to sustain the +weight of the world: dear wood, dear nails, dear burden, bearing; +save those present assembled in thy praise to-day. Alleluia."</p></div> + +<p>And the collect:—</p> + +<div class="blockquot"><p>"O God, who by the glorious uplifting of the salvation-bearing +cross, hast displayed the miracles of thy passion, grant that by +the merit of that life-giving wood, we may attain the suffrages of +eternal life, &c."</p></div> + +<p>The adjoining <i>Monastery</i> belongs to the Cistercians. Only part of one +wing is ancient. The library formerly contained many curious MSS., but +most of these were lost to the basilica, when the collection was removed +to the Vatican during the French occupation and the exile of Pius VII.</p> + +<p>The garden of the monastery contains the ruin generally known as the +<i>Temple of Venus and Cupid</i>, but considered by Dr. Braun to be the +Sessorian Basilica or law-court, where the causes of slaves (who were +allowed to appeal to no other court) were wont to be heard. Behind the +monastery is the <i>Amphitheatrum Castrense</i>, attributed to the time of +Nero, when it is supposed to have been erected for the games of two +cohorts of soldiers, quartered near here. It is ingrafted into the line +of the Honorian walls, and is best seen from the outside of the city. +Its arches and pillars, with Corinthian capitals, are all of brick.<a name="vol_2_page_132" id="vol_2_page_132"></a></p> + +<p>(On the left of the Via Sta. Croce, which leads hence to Sta. Maria +Maggiore, is the gate of the <i>Villa Altieri</i>, chiefly remarkable for its +grand umbrella pine, the finest in the city. Further, on the right, is a +tomb of unknown origin, now used as a farm-house and a wine-shop.)</p> + +<p>Turning to the right from the basilica, we follow a lane which leads +beneath some fine brick arches of an aqueduct of the time of Nero, cited +by Ampère,<a name="FNanchor_286_286" id="FNanchor_286_286"></a><a href="#Footnote_286_286" class="fnanchor">[286]</a> as exemplifying the perfection to which architecture +attained in the reign of this emperor, "by the quality of the bricks, +and the excellence and small quantity of the cement." These ruins are +popularly called the Baths of Sta. Helena.</p> + +<p>Passing these arches we find ourselves facing the <i>Porta Maggiore</i>, +formed by two arches of the Claudian Aqueduct, formerly known as the +Porta Labicana, and Porta Prenestina, of which the former was closed in +the time of Honorius, and has never been re-opened. Three inscriptions +remain, the first relating to the building of the aqueduct by the +Emperor Tiberius Claudius;—the second and third to its restoration by +Vespasian and Titus. Above the Aqua Claudia flowed a second stream, the +Anio Novus.</p> + +<p>Outside the gate, only lately disclosed, upon the removal of +constructions of the time of Honorius (the fragments of those worth +preserving are placed on the opposite wall), is the <i>Tomb of the Baker +Eurysaces</i>, who was also one of the inspectors of aqueducts. The tomb is +attributed to the early years of the Empire. Its first storey is +surmounted by the inscription: "E<small>ST HOC MONUMENTUM MARCEI VERGILEI +EVRYSACES PISTORIS REDEMPTORIS APPARET</small>." Its second storey is composed +of rows of the mortars used in baking,<a name="vol_2_page_133" id="vol_2_page_133"></a> placed sideways, and supporting +a frieze with bas-reliefs telling the story of a baker's work, from the +bringing of the corn into the mill to its distribution as bread. In the +front of the tomb was formerly a relief of the baker and his wife, with +a sarcophagus, and the inscription: "<small>FUIT ATISTIA UXOR MIHEI—FEMINA +OPTVMA VEIXSIT—QUOIVS CORPORIS RELIQUIÆ—QUOD SUPERANT SUNT IN—HOC +PANARIO</small>." This has been foolishly removed, and is now to be seen upon +the opposite wall.</p> + +<hr style="width: 15%;" /> + +<p>From this gate many pleasant excursions may be taken. The direct road +leads to Palestrina by Zagarolo, and at 1½ mile from the gate passes, +on the left, <i>Torre Pignatarra</i>, the tomb of Sta. Helena, whence the +magnificent porphyry sarcophagus, now in the Vatican, was removed. The +name is derived from the <i>pignatte</i>, or earthen pots, used in the +building. Beneath it is a catacomb, now closed. The adjoining <i>Catacomb +of SS. Pietro e Marcellino</i> contains some well preserved paintings; the +most interesting is that of the Divine Lamb on a mound (from which four +rivers flow as in the mosaics of the ancient basilicas), with figures of +Petrus, Gorgonius, Marcellinus, and Tiburtius. At three miles from the +gate the road reaches <i>Centocellæ</i>, whence, near the desolate tower +called <i>Torre Pernice</i>, there is a most picturesque view of the aqueduct +<i>Aqua Alexandrina</i>, built by Alexander Severus, with a double line of +arches crossing the hollow. At five miles, on the right, is the Borghese +farm of Torre Nuova, with a fine group of old stone pines.</p> + +<p>The road which turns left from the gate leads by the <i>Aqua Bollicante</i>, +where the Arvales sang their hymn, to the picturesque ruins of the +<i>Torre dei Schiavi</i>, the palace of the<a name="vol_2_page_134" id="vol_2_page_134"></a> Emperors Gordian (<small>A.D.</small> 238), +adjoining which are the remains of a round temple of Apollo. This is, +perhaps, one of the most striking scenes in the Campagna and—backed by +the violet mountains above Tivoli—is a favourite subject with artists.</p> + +<div class="blockquot"><p>"Les Gordiens, très-grands personnages, furent de très-petits +empereurs. Ils montrent ce qu'était devenu l'aristocratie romaine +dégénérée. Le premier, honnête et pusillanime, comme le prouvent +son élection et sa mort, était un peu replet et avait dans l'air du +visage quelque chose de solennel et de théâtral (<i>pompali vultu</i>). +Il aimait et cultivait les lettres. Son fils également se fit +quelque réputation en ce genre, grâce surtout à sa bibliothèque de +soixante mille volumes; mais il avait d'autres goûts encore que +celui des livres: on lui donne jusqu'à vingt-deux concubines en +titre, et de chacune d'elles, il eut trois ou quatre enfants. Il +menait une vie épicurienne dans ses jardins et sous des ombrages +délicieux: c'étaient les jardins et les ombrages d'une villa +magnifique que les Gordiens avaient sur la voie Prénestine, et dont +Capitolin, au temps duquel elle existait encore, nous a laissé une +description détaillée. Le péristyle était formé de deux cents +colonnes des marbres les plus précieux, le cipollin, le +pavonazetto, le jaune et le rouge antiques. La villa renfermait +trois basiliques et les thermes que ceux de Rome surpassaient à +peine. Telle était l'opulence d'une habitation privée vers le +milieu du troisième siècle de l'empire."—<i>Ampère, Emp.</i> ii. 328.</p></div> + +<p>The road which continues in a straight line from hence passes, on the +left, the Torre Tre Teste. The eighth mile-stone is of historic +interest, being described by Livy (v. 49) as the spot where the dictator +Camillus overtook and exterminated the army of Gauls who were retreating +from Rome with the spoils of the Capitol.</p> + +<p>At the ninth mile is the <i>Ponte di Nono</i>, a magnificent old bridge with +seven lofty arches of lapis-gabinus. This leads (twelve miles from Rome) +to the dried-up lake and the ruins of Gabii (Castiglione), including +that of the temple of Juno Gabina.<a name="vol_2_page_135" id="vol_2_page_135"></a></p> + +<div class="poem"><div class="stanza"> +<span class="i6">"Quique arva Gabinæ<br /></span> +<span class="i0">Junonis, gelidumque Anienem, et roscida rivis<br /></span> +<span class="i0">Hernica saxa colunt."<br /></span> +<span class="i15"><i>Virgil, Æn.</i> vii. 682.<br /></span> +</div></div> + +<p>The road which branches off on the left leads (twelve miles from Rome) +to <i>Lunghezza</i>, the fine old castle of the Strozzi family, situated on +the little river Osa. Hence a beautiful walk through a wood leads to +Castello del Osa, the ruins of the ancient <i>Collatia</i>, so celebrated +from the tragedy of Lucretia. Two miles beyond the Torre dei Schiavi, on +the left, is the fine castellated farm of <i>Cervaletto</i>, a property of +the Borghese. A field road of a mile and half, passing in front of this +(practicable for carriages), leads to another fine old castellated farm +(five miles from Rome), close to which are the extraordinary <i>Grottoes +of Cerbara</i>,—a succession of romantic caves of great size, in the tufa +rocks, from which the material of the Coliseum was excavated. Here the +"Festa degli Artisti" is held in May, which is well worth seeing,—the +artists in costume riding in procession, and holding games, amid these +miniature Petra-like ravines. Beyond Cerbara are remains of a villa of +Lucius Verus, and, on the bank of the Anio, the romantically-situated +castle of <i>Rustica</i>.</p> + +<p>From the Porta Maggiore we may follow a lane along the inside of the +wall, crossing the railway—whence there is a picturesque view of the +temple of Minerva Medica—to <i>The Porta S. Lorenzo</i>, anciently called +the Porta Tiburtina (the road to Tivoli passes through it), built in +402, by the Emperors Arcadius and Honorius, on the advice of Stilicho, +as we learn from an inscription over the archway of the Marcian, +Tepulan, and Julian Aqueducts, now half buried within the later brick +gateway.<a name="vol_2_page_136" id="vol_2_page_136"></a></p> + +<p>The road just beyond the gate is connected with the story of the +favourite saint of the Roman people.</p> + +<div class="blockquot"><p>"When Sta. Francesca Romana had no resource but to beg for the sick +under her care, she went to the basilica of <i>S. Lorenzo fuori</i> +Mura, where was the station of the day, and seated herself amongst +the crowd of beggars, who, according to custom, were there +assembled. From the rising of the sun to the ringing of the +vesper-bell, she sate there, side by side with the lame, the +deformed, and the blind. She held out her hand as they did, gladly +enduring, not the semblance, but the reality, of that deep +humiliation. When she had received enough wherewith to feed the +poor at home, she rose, and entering the old basilica, adored the +Blessed Sacrament, and then walked back the long and weary way, +blessing God all the while."—<i>Lady G. Fullerton.</i></p></div> + +<p>A quarter of a mile beyond the gate we come in sight of the church and +monastery, but the effect is much spoilt by the hideous modern cemetery, +formed since the following description was written:—</p> + +<div class="blockquot"><p>"S. Lorenzo is as perfect a picture of a basilica externally, as S. +Clemente is internally. Viewing it from a little distance, the +whole pile—in its grey reverend dignity—the row of stones +indicating the atrium, with an ancient cross in the centre—the +portico overshadowing faded frescoes—the shelving roof, the +body-wall bulging out and lapping over, like an Egyptian +temple—the detached Lombard steeple—with the magic of sun and +shadow, and the background of the Campagna, bounded by the blue +mountains of Tivoli—together with the stillness, the repose, +interrupted only by the chirp of the grasshopper, and the distant +intermitted song of the Contadino—it forms altogether such a scene +as painters love to sketch, and poets to re-people with the shadows +of past ages; and I open a wider heaven for either fraternity to +fly their fancies in, when I add that it was there the ill-fated +Peter de Courtenay was crowned Emperor of the East."—<i>Lord +Lindsay, Christian Art.</i></p> + +<p>"To St. Laurence was given a crown of glory in heaven, and upon +earth eternal and universal praise and fame; for there is scarcely +a city or town in all Christendom which does not contain a church +or altar dedicated to his honour. The first of these was built by +Constantine outside the gates of Rome, on the spot where he was +buried; and<a name="vol_2_page_137" id="vol_2_page_137"></a> another was built on the summit of the hill, where he +was martyred; besides these, there are at Rome four others; and in +Spain the Escurial, and at Genoa the Cathedral."—<i>Mrs. Jameson.</i></p></div> + +<p>We have already followed St. Laurence to the various spots in Rome +connected with his story,—to the green space at the Navicella, where he +distributed his alms before the house of St. Cyriaca (in whose catacomb +he was first buried); to the basilica in the Palace of the Cæsars, where +he was tried and condemned; to S. Lorenzo in Fonte, where he was +imprisoned; to S. Lorenzo Pane e Perna, where he died; to S. Lorenzo in +Lucina, where his supposed gridiron is preserved; and now we come to his +grave, where a grand basilica has arisen around the little oratory, +erected by Constantine, which marked his first burial-place in the +Catacombs.</p> + +<p>The first basilica erected here was built in the end of the sixth +century, by Pope Pelagius II., but this was repeatedly enlarged and +beautified by succeeding popes, and at length was so much altered in +1216, by Honorius III., that the old basilica became merely the choir or +tribune of a larger and more important church. So many other changes +have since taken place, that Bunsen remarks upon S. Lorenzo as more +difficult of explanation than any other of the Roman churches.</p> + +<p>In front of the basilica stands a bronze statue of St. Laurence, upon a +tall granite pillar.</p> + +<p>The portico is supported by six Ionic columns, four of them spiral. +Above these is a mosaic frieze of the thirteenth century. In the centre +is the Spotless Lamb, having, on the right, St. Laurence, Honorius III., +and another figure; and on the left three heads, two of whom are +supposed to be<a name="vol_2_page_138" id="vol_2_page_138"></a> the virgin martyr Sta. Cyriaca, and her mother +Tryphœna, buried in the adjoining cemetery. Above this is a very +richly decorated marble frieze, boldly relieved with lions' heads. The +gable of the church is faced with modern mosaics of saints. Within the +portico are four splendid sarcophagi; that on the left of the entrance +is adorned with reliefs representing a vintage, with cupids as the +vine-gatherers, and contains the remains of Pope Damasus II., who died +in 1049, after a reign of only twenty-three days. At the sides of the +door are two marble lions. The walls of the portico are covered with a +very curious series of frescoes, lately repainted. They represent four +consecutive stories.</p> + +<p>On the right:—</p> + +<div class="blockquot"><p>A holy hermit, living a life of solitude and prayer, heard a +rushing noise, and, looking out of his window, saw a troop of +demons, who told him that the Emperor Henry II. had just expired, +and that they were hurrying to lay claim to his soul. The hermit +trembled, and besought them to let him know as they returned how +they had succeeded. Some days after, they came back and narrated +that when the Archangel was weighing the good and evil deeds of the +emperor in his balance, the weight was falling in their +favour—when suddenly the roasted St. Laurence appeared, bearing a +golden chalice, which the emperor, shortly before his death, had +bestowed upon the Church, and cast it into the scale of good deeds, +and so turned the balance the other way, but that in revenge they +had broken off one of the golden handles of the chalice. And when +the hermit heard these things he rejoiced greatly; and the soul of +the emperor was saved and he became a canonized saint,—and the +devils departed blaspheming.</p></div> + +<p>The order of the frescoes representing this legend is:—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="" +class="small85"> +<tr><td align="right">1, 2.</td><td align="left">Scenes in the life of Henry II.</td></tr> +<tr><td align="right">3.</td><td align="left">The Emperor offers the golden chalice.</td></tr> +<tr><td align="right">4.</td><td align="left">A banquet scene.</td></tr> +<tr><td align="right">5.</td><td align="left">The hermit discourses with the devils.</td></tr> +<tr><td align="right">6.</td><td align="left">The death of Henry II.—1024.</td></tr> +<tr><td align="right">7.</td><td align="left">The dispute for the soul of the Emperor.</td></tr> +<tr><td align="right">8.</td><td align="left">It is saved by St. Laurence.</td></tr> +</table> + +<p>The second series represents the whole story of the acts, trial, +martyrdom, and burial of St. Laurence; one or two frescoes in this were +entirely effaced, and have been added by the restorer. Of the old series +were:—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="" +class="small85"> +<tr><td align="right">1.</td><td align="left">The investiture of St. Laurence as deacon.</td></tr> +<tr><td align="right">2.</td><td align="left">St. Laurence washes the feet of poor Christians.</td></tr> +<tr><td align="right">3.</td><td align="left">He heals Sta. Cyriaca.</td></tr> +<tr><td align="right">4.</td><td align="left">He distributes alms on the Cœlian.</td></tr> +<tr><td align="right">5.</td><td align="left">He meets St. Sixtus led to death, and receives his blessing.</td></tr> +<tr><td align="right">6.</td><td align="left">He is led before the prefect.</td></tr> +<tr><td align="right">7.</td><td align="left">He restores sight to Lucillus.</td></tr> +<tr><td align="right">8.</td><td align="left">He is scourged.</td></tr> +<tr><td align="right">9.</td><td align="left">He baptizes St. Hippolytus.</td></tr> +<tr><td align="right">11.</td><td align="left">He refuses to give up the treasures of the Church.</td></tr> +<tr><td align="right">13, 14, 15.</td><td align="left">His burial by St. Hippolytus.</td></tr> +</table> + +<p>The third series represents the story of St. Stephen, followed by that +of the translation of his relics to this basilica.</p> + +<div class="blockquot"><p>The relics of St. Stephen were preserved at Constantinople, whither +they had been transported from Jerusalem by the Empress Eudoxia, +wife of Theodosius II. Hearing that her daughter Eudoxia, wife of +Valentinian II., Emperor of the West, was afflicted with a devil, +she begged her to come to Constantinople that her demon might be +driven out by the touch of the relics. The younger Eudoxia wished +to comply,—but the devil refused to leave her, unless St. Stephen +was brought to Rome. An agreement was therefore made that the +relics of St. Stephen should be exchanged for those of St. +Laurence. St. Stephen arrived, and the empress was immediately +relieved of her devil, but when the persons who had brought the +relics of St. Stephen from Constantinople were about to take those +of St. Laurence back with them, they all fell down dead! Pope +Pelagius prayed for their restoration to life, which was granted +for a short time, to prove the efficacy of prayer, but they all +died again ten days after! Thus the Romans knew that it would be +criminal to fulfil their promise, and part with the relics of St. +Laurence, and the bodies of the two martyrs were laid in the same +sarcophagus.</p></div> + +<p>The frescoes in the left wall represent a separate story:—</p> + +<div class="blockquot"><p>A holy sacristan arose before the dawn to enjoy solitary prayers +before the altars of this church. Once when he was thus employed, +he found that he was not alone, and beheld three persons, a priest, +a deacon, and sub-deacon, officiating at the altar, and the church +around him filled with worshippers, whose faces bore no mortal +impress. Tremblingly he drew near to him whom he dreaded the least, +and inquired of the deacon, who this company might be. 'The priest +whom thou seest is the blessed apostle Peter,' answered the spirit, +'and I am Laurence who suffered cruel torments for the love of my +master Christ, upon a Wednesday, which was the day of his betrayal; +and in remembrance of my martyrdom we are come to-day to celebrate +here the mysteries of the Church; and the sub-deacon who is with us +is the first martyr, St. Stephen,—and the worshippers are the +apostles, the martyrs, and virgins who have passed with me into +Paradise, and have come back hither to do me honour; and of this +solemn service thou art chosen as the witness. When it is day, +therefore, go to the pope and tell what thou hast seen, and bid +him, in my name, to come hither and to celebrate a solemn mass with +all his clergy, and to grant indulgences to the faithful.' But the +sacristan trembled and said, 'If I go to the pope he will not +believe me: give me some visible sign, then, which will show what I +have seen.' And St. Laurence ungirt his robe, and giving his girdle +to the sacristan, bade him show it in proof of what he told. In the +morning the old man related what he had seen to the abbot of the +monastery, who bore the girdle to the then pope, Alexander II. The +pope accompanied him back to the basilica,—and on their way they +were met by a funeral procession, when, to test the powers of the +girdle, the pope laid it on the bier, and at once the dead arose +and walked. Then all men knew that the sacristan had told what was +true, and the pope celebrated mass as he had been bidden, and +promised an indulgence of forty years to all who should visit on a +Wednesday any church dedicated to St. Laurence.</p></div> + +<p>This story is told in eight pictures:—</p> + +<table border="0" cellpadding="1" cellspacing="0" summary="" +class="small85"> +<tr><td align="right">1.</td><td align="left">The sacristan sees the holy ones.</td></tr> +<tr><td align="right">2.</td><td align="left">The Phantom Mass.</td></tr> +<tr><td align="right">3.</td><td align="left">The sacristan tells the abbot.</td></tr> +<tr><td align="right">4.</td><td align="left">The abbot tells the pope.</td></tr> +<tr><td align="right">5.</td><td align="left">The pope consults his cardinals.</td></tr> +<tr><td align="right">6.</td><td align="left">The dead is raised by the girdle.</td></tr> +<tr><td align="right">7.</td><td align="left">Mass is celebrated at St. Lorenzo, and souls are freed from purgatory by the intercession of the saint.</td></tr> +<tr><td align="right">8.</td><td align="left">Prayer is made at the shrine of St. Laurence.</td></tr> +</table> + +<p>The nave—which is the basilica of Honorius III.—is divided from its +side aisles by twenty-two Ionic columns of granite and cipollino. The +sixth column on the right has a lizard and a frog amongst the +decorations of its capital, which led Winckelmann to the supposition +that these columns were brought hither from the Portico of Octavia, +because Pliny describes that the architects of the Portico of Metellus, +which formerly occupied that site, were two Spartans, named Sauros and +Batrachus, who implored permission to carve their names upon their work; +and that when leave was refused, they introduced them under this +form,—Batrachus signifying a frog, and Sauros a lizard.</p> + +<p>Above the architrave are frescoes by <i>Fracassini</i>, of the lives and +martyrdoms of SS. Stephen and Laurence. Higher up are saints connected +with the history of the basilica. The roof is painted in patterns. The +splendid opus-alexandrinum pavement is of the tenth century. On the left +of the entrance is a baptismal font, above which are more frescoes +relating to the story of St. Laurence. On the right, beneath a mediæval +canopy, is a very fine sarcophagus, sculptured with a wedding +scene,—adapted as the tomb of Cardinal Fieschi, nephew of Innocent IV., +who died in 1256. Inside the canopy, is a fresco of Christ throned, to +whom St. Laurence presents the cardinal, and St. Stephen Innocent IV. +Behind stand St. Eustace and St. Hippolytus. The west end of the church +is closed by the inscription, "Hi sunt qui venerunt de tribulatione +magna, et laverunt stolas suas in sanguine agni."<a name="vol_2_page_142" id="vol_2_page_142"></a></p> + +<p>The splendid ambones in the nave, inlaid with serpentine and porphyry, +are of the twelfth century. That on the right, with a candelabrum for +the Easter candle, was for the gospel; that on the left for the epistle.</p> + +<p>At the end of the left aisle, a passage leads down to a subterranean +chapel, used for prayer for the souls in purgatory. Here is the entrance +to the <i>Catacombs of Sta. Ciriaca</i>, which are said to extend as far as +Sant' Agnese, but which have been much and wantonly injured in the works +for the new cemetery. Here the body of St. Laurence is related to have +been found. Over the entrance is inscribed:—</p> + +<div class="blockquot"><p>"Hæc est tumba illa toto orbe terrarum celeberrima ex cimeterio S. +Cyriacæ Matronæ ubi sacrum si quis fecerit pro defunctis eorum +animas e purgatorii pœnis divi Laurentii meritis evocabit."<a name="FNanchor_287_287" id="FNanchor_287_287"></a><a href="#Footnote_287_287" class="fnanchor">[287]</a></p></div> + +<p>Passing the triumphal arch, we enter the early basilica of Pope Pelagius +II. (572—590), which is on a lower level than that of the nave. Here +are twelve splendid columns of pavonazzetto, of which the two first bear +trophies carved above the acanthus leaves of their capitals. These +support an entablature formed from various antique fragments, put +together without uniformity,—and a triforium, divided by twelve small +columns.</p> + +<p>On the inside, which was formerly the outside, of the triumphal arch, is +a restored mosaic of the time of Pelagius, representing the Saviour +seated upon the world, having on the right St. Peter, St. Laurence, and +St. Pelagius, and on the left St. Paul and St. Stephen, and with them, +in a warrior's dress, St. Hippolytus, the soldier who was appointed to +guard St. Laurence in prison, and who, being converted by<a name="vol_2_page_143" id="vol_2_page_143"></a> him, was +dragged to death by wild horses, after seeing nineteen of his family +suffer before his eyes. He is the patron saint of horses. Here also are +the mystic cities, Bethlehem and Jerusalem.</p> + +<p>A long poetical inscription is known to have once existed here; only two +lines remain round the arch:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Martyrium flaminis olim Levita subisti<br /></span> +<span class="ist">Jure tuis templis lux veneranda redit."<br /></span> +</div></div> + +<p>The high altar, with a baldacchino, supported by four porphyry columns, +covers the remains of SS. Laurence and Stephen, enclosed in a silver +shrine by Pelagius II., a pope so munificent that he had given up his +own house as a hospital for aged poor. St. Justin is also buried here.</p> + +<div class="blockquot"><p>"No one knew what had become of the body of St. Stephen for 400 +years, when Lucian, a priest of Carsamagala, in Palestine, was +visited in a dream by Gamaliel, the doctor of the law at whose feet +Paul was brought up in all the learning of the Jews; and Gamaliel +revealed to him that after the death of Stephen he had carried away +the body of the saint, and had buried it in his own sepulchre, and +had also deposited near it the body of Nicodemus and other saints; +and this dream having been repeated three times, Lucian went with +others deputed by the bishop, and dug with mattocks and spades in +the spot which had been indicated,—a sepulchre in a garden,—and +found what they supposed to be the remains of St. Stephen, their +peculiar sanctity being proved by many miracles. These relics were +first deposited in Jerusalem, in the church of Sion, and afterwards +by the younger Theodosius carried to Constantinople, whence they +were taken to Rome, and placed by Pope Pelagius in the same tomb +with St. Laurence. It is related that when they opened the +sarcophagus, and lowered into it the body of St. Stephen, St. +Laurence moved on one side, giving the place of honour on the right +hand to St. Stephen: hence the common people of Rome have conferred +on St. Laurence the title of 'Il cortese Spagnuolo'—the courteous +Spaniard."—<i>Jameson's Sacred and Legendary Art.</i></p></div> + +<p>Behind the altar is a mosaic screen, with panels of porphyry and +serpentine, and an ancient episcopal throne.<a name="vol_2_page_144" id="vol_2_page_144"></a></p> + +<p>The lower church was filled up with soil till 1864, when restorations +were ordered here. These were entrusted to Count Vespignani, and have +been better carried out than most church alterations in Rome; but an +interesting portico, with mosaics by one of the famous Cosmati family, +has been destroyed to make room for some miserable arrangements +connected with the modern cemetery.</p> + +<p>It was in this basilica that Peter Courtenay, Count of Auxerre, with +Yolande his wife, received the imperial crown of Constantinople from +Honorius III. in 1217.</p> + +<p>Adjoining the church is the very picturesque <i>Cloister of the +Monastery</i>, built in 1190, for Cistercian monks, but assigned as a +residence for any Patriarchs of Jerusalem who might visit Rome. Here are +preserved many ancient inscriptions, and other fragments from the +neighbouring catacombs.</p> + +<p>The basilica is now almost engulfed in the Cemetery of S. Lorenzo, the +great modern burial-ground of Rome. It was opened in 1837, but has been +much enlarged in the last ten years. Hither wend the numerous funerals +which are seen passing through the streets after Ave-Maria, with a +procession of monks bearing candles. A frightful gate, with a laudatory +inscription to Pius IX., and a hideous modern chapel, have been erected. +There are very few fine monuments. The best are those in imitation of +the cinque-cento tombs of which there are so many in the Roman churches. +That by Podesti, the painter, to his wife, in the right corridor of the +cloister, is touching. The higher ground to the left, behind the church, +is occupied by the tombs of the rich. Those of the poor are +indiscriminately scattered over a wide plain. A range of cliffs on the +left<a name="vol_2_page_145" id="vol_2_page_145"></a> were perforated by the catacombs of Sta. Cyriaca, which, with the +bad taste so constantly displayed in Rome, have been wantonly and +shamefully broken up. Those who do not wish to descend into a catacomb, +may here see (from without) all their arrangements—in the passages +lined with sepulchres, and even some small chapels, lined with rude +frescoes, laid open to the air, where the cliff has been cut away.</p> + +<p>A Roman funeral is a most sad sight, and strikes one with an unutterable +sense of desolation.</p> + +<div class="blockquot"><p>"After a death the body is entirely abandoned to the priests, who +take possession of it, watch over it, and prepare it for burial; +while the family, if they can find refuge anywhere else, abandon +the house and remain away a week.... The body is not ordinarily +allowed to remain in the house more than twelve hours, except on +condition that it is sealed up in lead or zinc. At nightfall a sad +procession of <i>becchini</i> and <i>frati</i> may be seen coming down the +street, and stopping before the house of the dead. The <i>becchini</i> +are taken from the lowest classes of the people, and hired to carry +the corpse on the bier and to accompany it to the church and +cemetery. They are dressed in shabby black <i>cappe</i>, covering their +head and face as well as their body, and having two large holes cut +in front of the eyes to enable them to see. These <i>cappe</i> are +girdled round the waist, and the dirty trousers and worn-out shoes +are miserably manifest under the skirts of their dress—showing +plainly that their duty is occasional. All the <i>frati</i> and +<i>becchini</i>, except the four who carry the bier, are furnished with +wax candles, for no one is buried in Rome without a candle. You may +know the rank of the person to be buried by the lateness of the +hour and the number of the <i>frati</i>. If it be the funeral of a +person of wealth or a noble, it takes place at a late hour, the +procession of <i>frati</i> is long, and the bier elegant. If it be a +state-funeral, as of a prince, carriages accompany it in mourning, +the coachman and lackeys are bedizened in their richest liveries, +and the state hammer-cloths are spread on the boxes, with the +family arms embossed on them in gold. But if it be a pauper's +funeral, there are only <i>becchini</i> enough to carry the bier to the +grave, and two <i>frati</i>, each with a little candle; and the sunshine +is yet on the streets when they come to take away the corpse.</p> + +<p>"You will see this procession stop before the house where the +corpse is lying. Some of the <i>becchini</i> go up-stairs, and some keep +guard below.<a name="vol_2_page_146" id="vol_2_page_146"></a> Scores of shabby men and boys are gathered round the +<i>frati</i>; some attracted simply by curiosity, and some for the +purpose of catching the wax, which gutters down from the candles as +they are blown by the wind. The latter may be known by the great +horns of paper which they carry in their hands. While this crowd +waits for the corpse, the <i>frati</i> light their candles, and talk, +laugh, and take snuff together. Finally comes the body, borne down +by four of the <i>becchini</i>. It is in a common rough deal coffin, +more like an ill-made packing-case than anything else. No care or +expense has been laid out upon it to make it elegant, for it is +only to be seen for a moment. Then it is slid upon the bier, and +over it is drawn the black velvet pall with golden trimmings, on +which a cross, death's head, and bones are embroidered. Four of the +<i>becchini</i> hoist it on their shoulders, the <i>frati</i> break forth +into their hoarse chaunt, and the procession sets out for the +church. Little and big boys and shabby men follow along, holding up +their paper horns against the sloping candles to catch the dripping +wax. Every one takes off his hat, or makes the sign of the cross, +or mutters a prayer, as the body passes; and with a dull, sad, +monotonous chaunt, the candles gleaming and flaring, and casting +around them a yellow flickering glow, the funeral winds along +through the narrow streets, and under the sombre palaces and +buildings, where the shadows of night are deepening every moment. +The spectacle seen from a distance, and especially when looked down +upon from a window, is very effective; but it loses much of its +solemnity as you approach it; for the <i>frati</i> are so vulgar, dirty, +and stupid, and seem so utterly indifferent and heartless, as they +mechanically croak out their psalms, that all other emotions yield +to a feeling of disgust."—<i>Story's Roba di Roma.</i></p> + +<p>"Ces rapprochements soudains de l'antiquité et des temps modernes, +provoqués par la vue d'un monument dont la destinée se lie à l'une +et aux autres, sont très-fréquents à Rome. L'histoire poétique +d'Énée aurait pu m'en fournir plusieurs. Ainsi dans l'Énéide, aux +funérailles de Pallas, une longue procession s'avance, portant des +flambeaux funèbres, suivant l'usage antique, dit Virgile. En effet, +on se souvient que l'usage des cierges remontait à l'abolition des +sacrifices humains, accompli dans les temps héroïques par le dieu +pélasgique Hercule. La description que fait Virgile des funérailles +de Pallas pourrait convenir à un de ces enterrements romains où +l'on voit de longues files de capucins marchant processionnellement +en portant des cierges.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">... 'Lucet via longo<br /></span> +<span class="i0">Ordine flammarum.'"<br /></span> +<span class="i15"><i>Æn.</i> xi. 143.<br /></span> +</div></div> + +<p>—<i>Ampère</i>, i. 217. +<a name="vol_2_page_147" id="vol_2_page_147"></a></p></div> + +<p>On the other side of the road from S. Lorenzo is the <i>Catacomb of St. +Hippolytus</i>, interesting as described by the Christian poet Prudentius, +who wrote at the end of the fourth century.</p> + +<div class="blockquot"><p>"Not far from the city walls, among the well-trimmed orchards, +there lies a crypt buried in darksome pits. Into its secret +recesses a steep path in the winding stairs directs one, even +though the turnings shut out the light. The light of day, indeed, +comes in through the doorway, as far as the surface of the opening, +and illuminates the threshold of the portico; and when, as you +advance further, the darkness as of night seems to get more and +more obscure throughout the mazes of the cavern, there occur at +intervals apertures cut in the roof which convey the bright rays of +the sun upon the cave. Although the recesses, twisting at random +this way and that, form narrow chambers with darksome galleries, +yet a considerable quantity of light finds its way through the +pierced vaulting down into the hollow bowels of the mountain. And +thus throughout the subterranean crypt it is possible to perceive +the brightness and enjoy the light of the absent sun. To such +secret places is the body of Hippolytus conveyed, near to the spot +where now stands the altar dedicated to God. That same altar-slab +(mensa) gives the sacrament, and is the faithful guardian of its +martyrs' bones, which it keeps laid up there in expectation of the +Eternal Judge, while it feeds the dwellers by the Tiber with holy +food. Wondrous is the sanctity of the place! The altar is at hand +for those who pray, and it assists the hopes of men by mercifully +granting what they need. Here have I, when sick with ills both of +soul and body, oftentimes prostrated myself in prayer and found +relief.... Early in the morning men come to salute (Hippolytus): +all the youth of the place worship here: they come and go until the +setting of the sun. Love of religion collects together into one +dense crowd both Latins and foreigners; they imprint their kisses +on the shining silver; they pour out their sweet balsams; they +bedew their faces with tears."—See <i>Roma Sotterranea</i>, p. 98. +<a name="vol_2_page_148" id="vol_2_page_148"></a></p></div> + +<h2><a name="CHAPTER_XIV" id="CHAPTER_XIV"></a>CHAPTER XIV.<br /><br /> +IN THE CAMPUS MARTIUS.</h2> + +<div class="blockquot"><p class="hang">S. Antonio dei Portoguesi—Torre della Scimia—S. Agostino—S. +Apollinare—Palazzo Altemps—Sta. Maria dell' Anima—Sta. Maria +della Pace—Palazzo del Governo Vecchio—Monte Giordano and Palazzo +Gabrielli—Sta. Maria Nuova—Sta. Maria di Monserrato—S. Girolamo +della Carità—Sta. Brigitta—S. Tommaso degl' Inglese—Palazzo +Farnese—Sta. Maria della Morte—Palazzo Falconieri—Campo di +Fiore—Palazzo Cancelleria—SS. Lorenzo e Damaso—Palazzo +Linote—Palazzo Spada—Trinità dei Pellegrini—Sta. Maria in +Monticelli—Palazzo Santa Croce—S. Carlo a Catinari—Theatre of +Pompey—S. Andrea della Valle—Palazzo Vidoni—Palazzo Massimo alle +Colonne—S. Pantaleone—Palazzo Braschi—Statue of Pasquin—Sant' +Agnese—Piazza Navona—Palazzo Pamfili—S. Giacomo degli +Spagnuoli—Palazzo Madama—S. Luigi dei Francesi—The Sapienza—S. +Eustachio—Pantheon—Sta. Maria sopra Minerva—Il Piè die Marmo.</p></div> + +<p class="nind"><span class="letra">T</span>HE Campus Martius, now an intricate labyrinth of streets, occupying the +wide space between the Corso and the Tiber, was not included within the +walls of ancient Rome, but even to late imperial times continued to be +covered with gardens and pleasure-grounds, interspersed with open +spaces, which were used for the public exercises and amusements of the +Roman youth.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Tunc ego me memini ludos in gramine Campi<br /></span> +<span class="ist">Aspicere, et didici, lubrice Tibri, tuos."<br /></span> +<span class="i15"><i>Ovid</i>, <i>Fast.</i> vi. 237.<a name="vol_2_page_149" id="vol_2_page_149"></a><br /></span> +</div></div> + +<div class="poem"><div class="stanza"> +<span class="i0">"Tot jam abiere dies, cum me, nec cura theatri,<br /></span> +<span class="ist">Nec tetigit Campi, nec mea musa juvat."<br /></span> +<span class="i15"><i>Propert.</i> ii. <i>El.</i> 13.<br /></span> +</div></div> + +<p>The vicinity of the Tiber afforded opportunities for practice in +swimming.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Quamvis non alius flectere equum sciens<br /></span> +<span class="ist">Æque conspicitur gramine Martio."<br /></span> +<span class="i15"><i>Hor.</i> iii. <i>Od.</i> 7.<br /></span> +</div></div> + +<div class="poem"><div class="stanza"> +<span class="i0">"Altera gramineo spectabis Equiria campo,<br /></span> +<span class="ist">Quem Tiberis curvis in latus urget aquis."<br /></span> +<span class="i15"><i>Ovid</i>, <i>Fast.</i> iii. 519.<br /></span> +</div></div> + +<div class="poem"><div class="stanza"> +<span class="i4">"Once, upon a raw and gusty day,<br /></span> +<span class="ist">The troubled Tiber chafing with her shores,<br /></span> +<span class="ist">Cæsar said to me, 'Dar'st thou, Cassius, now<br /></span> +<span class="ist">Leap in with me into this angry flood,<br /></span> +<span class="ist">And swim to yonder point?' Upon the word,<br /></span> +<span class="ist">Accoutred as I was, I plunged in,<br /></span> +<span class="ist">And bade him follow,—so, indeed, he did:<br /></span> +<span class="ist">The torrent roared; and we did buffet it<br /></span> +<span class="ist">With lusty sinews; throwing it aside,<br /></span> +<span class="ist">And stemming it with hearts of controversy."<br /></span> +<span class="i15"><i>Shakspeare</i>, <i>Julius Cæsar</i>.<br /></span> +</div></div> + +<p>It was only near the foot of the Capitol that any buildings were erected +under the republic, and these only public offices; under the empire a +few magnificent edifices were scattered here and there over the plain. +In the time of Cicero, the Campus was quite uninhabited; it is supposed +that the population were first attracted here when the aqueducts were +cut during the Lombard invasion, which drove the inhabitants from the +hills, and obliged them to seek a site where they could avail themselves +of the Tiber.</p> + +<p>The hills, which were crowded by a dense population in ancient Rome, are +now for the most part deserted; the<a name="vol_2_page_150" id="vol_2_page_150"></a> plain, which was deserted in +ancient Rome, is now thickly covered with inhabitants.</p> + +<p>The plain was bounded on two sides by the Quirinal and Capitoline hills, +which were both in the hands of the Sabines, but it had no connection +with the Latin hill of the Palatine. Thus it was dedicated to the Sabine +god, Mamers or Mars, either before the time of Servius Tullius, as is +implied by Dionysius, or after the time of the Tarquins, as stated by +Livy.</p> + +<p>Tarquinius Superbus had appropriated the Campus Martius to his own use, +and planted it with corn. After he was expelled, and his crops cut down +and thrown into the Tiber, the land was restored to the people. Here the +tribunes used to hold the assemblies of the plebs in the Prata Flaminia +at the foot of the Capitol, before any buildings were erected as their +meeting-place.</p> + +<p>The earliest building in the Campus Martius of which there is any +record, is the Temple of Apollo, built by the consul C. Julius, in <small>B.C.</small> +430. Under the censor C. Flaminius, in <small>B.C.</small> 220, a group of important +edifices arose on a site which is ascertained to be nearly that occupied +by the Palazzo Caetani, Palazzo Mattei, and Sta. Caterina dei Funari. +The most important was the Circus Flaminius, where the plebeian games +were celebrated under the care of the plebeian ædiles, and which in +later times was flooded by Augustus, when thirty-six crocodiles were +killed there for the amusement of the people.<a name="FNanchor_288_288" id="FNanchor_288_288"></a><a href="#Footnote_288_288" class="fnanchor">[288]</a></p> + +<p>Close to this Circus was the <i>Villa Publica</i>, erected <small>B.C.</small> 438, for +taking the census, levying troops, and such other public business as +could not be transacted within the city.<a name="vol_2_page_151" id="vol_2_page_151"></a></p> + +<p>Here, also, foreign ambassadors were received before their entrance into +the city, as afterwards at the Villa Papa Giulio, and here victorious +generals awaited the decree which allowed them a triumph.<a name="FNanchor_289_289" id="FNanchor_289_289"></a><a href="#Footnote_289_289" class="fnanchor">[289]</a> It was in +the Villa Publica that Sylla cruelly massacred three thousand partisans +of Marius, after he had promised them their lives.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Tunc flos Hesperiæ, Latii jam sola juventus,<br /></span> +<span class="ist">Concidit, et miseræ maculavit ovilia Romæ."<br /></span> +<span class="i15"><i>Lucan</i>, ii. 196.<br /></span> +</div></div> + +<p>The cries of these dying men were heard by the senate who were assembled +at the time in the <i>Temple of Bellona</i> (restored by Appius Claudius +Cæcus in the Samnite War), which stood hard by, and in front of which at +the extremity of the Circus Flaminius, where the Piazza Paganica now is, +stood the <i>Columna Bellica</i>, where the Ferialis, when war was declared, +flung a lance into a piece of ground, supposed to represent the enemy's +country, when it was not possible to do it at the hostile frontier +itself. Julius Cæsar flung the spear here when war was declared against +Cleopatra.<a name="FNanchor_290_290" id="FNanchor_290_290"></a><a href="#Footnote_290_290" class="fnanchor">[290]</a></p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Prospicit a templo summum brevis area Circum.<br /></span> +<span class="i2">Est ibi non parvæ parva columna notæ.<br /></span> +<span class="ist">Hinc solet hasta manu, belli prænuncia, mitti;<br /></span> +<span class="i2">In regem et gentes, cum placet arma capi."<br /></span> +<span class="i15"><i>Ovid</i>, <i>Fast.</i> vi. 205.<br /></span> +</div></div> + +<p>Almost adjoining the Villa Publica was the Septa, where the Comitia +Centuriata of the plebs assembled for the election of their tribunes. +The other name of this place of assembly, Ovilia, or the sheepfolds, +bears witness to its primitive construction, when it was surrounded by a +wooden barrier. In later times the Ovilia was more<a name="vol_2_page_152" id="vol_2_page_152"></a> richly adorned; +Pliny describes it as containing two groups of sculpture—Pan and the +young Olympus, and Chiron and the young Achilles—for which the keepers +were responsible with their lives;<a name="FNanchor_291_291" id="FNanchor_291_291"></a><a href="#Footnote_291_291" class="fnanchor">[291]</a> and under the empire it was +enclosed in magnificent buildings.</p> + +<p>In <small>B.C.</small> 189 the <i>Temple of Hercules Musagetes</i> was built by the censor +Fulvius Nobilior. It occupied a site on the north-west of the portico of +Octavia.<a name="FNanchor_292_292" id="FNanchor_292_292"></a><a href="#Footnote_292_292" class="fnanchor">[292]</a> Sylla restored it:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Altera pars Circi custode sub Hercule tuta est;<br /></span> +<span class="i2">Quod Deus Euboico carmine munus habet.<br /></span> +<span class="ist">Muneris est tempus, qui Nonas Lucifer ante est:<br /></span> +<span class="i2">Si titulos quæris; Sulla probavit opus."<br /></span> +<span class="i15"><i>Ovid</i>, <i>Fast.</i> vi. 209.<br /></span> +</div></div> + +<p>This temple was rebuilt by L. Marcius Philippus, stepfather of Augustus, +and surrounded by a portico called after him Porticus Philippi.<a name="FNanchor_293_293" id="FNanchor_293_293"></a><a href="#Footnote_293_293" class="fnanchor">[293]</a></p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Vites censeo porticum Philippi,<br /></span> +<span class="ist">Si te viderit Hercules, peristi."<br /></span> +<span class="i15"><i>Martial</i>, v. <i>Ep.</i> 50.<a name="FNanchor_294_294" id="FNanchor_294_294"></a><a href="#Footnote_294_294" class="fnanchor">[294]</a><br /></span> +</div></div> + +<p>The <i>Portico of Octavia</i> itself was originally built by the prætor, Cn. +Octavius, in <small>B.C.</small> 167, and rebuilt by Augustus, who re-dedicated it in +memory of his sister. Close adjoining was the <i>Porticus Metelli</i>, built +<small>B.C.</small> 146, by Cæcilius Metellus.<a name="FNanchor_295_295" id="FNanchor_295_295"></a><a href="#Footnote_295_295" class="fnanchor">[295]</a> It contained two <i>Temples of Juno +and Jupiter</i>.<a name="FNanchor_296_296" id="FNanchor_296_296"></a><a href="#Footnote_296_296" class="fnanchor">[296]</a> Another <i>Temple of Juno</i> stood between this and the +theatre of Pompey, having been erected by M. Æmilius Lepidus in<a name="vol_2_page_153" id="vol_2_page_153"></a> <small>B.C.</small> +170, together with a <i>Temple of Diana</i>.<a name="FNanchor_297_297" id="FNanchor_297_297"></a><a href="#Footnote_297_297" class="fnanchor">[297]</a> Near the same spot was a +<i>Temple of Fortuna Equestris</i>, erected in consequence of a vow of Q. +Fulvius Flaccus when fighting against the Celtiberians in <small>B.C.</small> 176; a +<i>Temple of Isis and Serapis</i>; and a <i>Temple of Mars</i>, erected by D. +Junius Brutus, for his victories over the Gallicians in <small>B.C.</small> 136;<a name="FNanchor_298_298" id="FNanchor_298_298"></a><a href="#Footnote_298_298" class="fnanchor">[298]</a> +at this last-named temple the people, assembled in their centuries, +voted the war against Philip of Macedon. In the same neighbourhood was +the <i>Theatre of Balbus</i>, a general under Julius Cæsar, occupying the +site of the Piazza della Scuola.</p> + +<p>The munificence of Pompey extended the public buildings much further +into the Campus. He built, after his triumph, a <i>Temple of Minerva</i> on +the site now occupied by the Church of Sta. Maria sopra Minerva, on +which the beautiful statue called "the Giustiniani Minerva" was found, +and the <i>Theatre of Pompey</i>, surrounded by pillared porticoes and walks +shaded with plane-trees.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Scilicet umbrosis sordet Pompeia columnis<br /></span> +<span class="i2">Porticus aulæis nobilis Attalicis:<br /></span> +<span class="ist">Et creber pariter platanis surgentibus ordo,<br /></span> +<span class="i2">Flumina sopito quæque Marone cadunt."<br /></span> +<span class="i15"><i>Propertius</i>, ii. <i>El.</i> 32.<br /></span> +</div></div> + +<div class="poem"><div class="stanza"> +<span class="i0">"Tu modo Pompeia lentus spatiare sub umbra,<br /></span> +<span class="i2">Cum Sol Herculei terga leonis adit."<br /></span> +<span class="i15"><i>Ovid</i>, <i>de Art. Am.</i> i. 67.<br /></span> +</div></div> + +<div class="poem"><div class="stanza"> +<span class="i0">"Inde petit centum pendentia tecta columnis,<br /></span> +<span class="i2">Illinc Pompeii dona, nemusque duplex."<br /></span> +<span class="i15"><i>Martial</i>, ii. <i>Ep.</i> 14.<br /></span> +</div></div> + +<p>Under the empire important buildings began to rise up further from the +city. The <i>Amphitheatre of Statilius Taurus</i>, whose ruins are supposed +to be the foundation of the<a name="vol_2_page_154" id="vol_2_page_154"></a> Monte-Citorio, was built by a general under +Augustus; the magnificent <i>Pantheon</i>, the <i>Baths of Agrippa</i>, and the +<i>Diribitorium</i>—where the soldiers received their pay—whose huge and +unsupported roof was one of the wonders of the city,<a name="FNanchor_299_299" id="FNanchor_299_299"></a><a href="#Footnote_299_299" class="fnanchor">[299]</a> were due to +his son-in-law. Agrippa also brought the <i>Aqua Virgo</i> into the city to +supply his baths, conveying it on pillars across the Flaminian Way, the +future Corso.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Qua vicina pluit Vipsanis porta columnis,<br /></span> +<span class="i2">Et madet assiduo lubricus imbre lapis,<br /></span> +<span class="ist">In jugulum pueri, qui roscida templa subibat,<br /></span> +<span class="i2">Decidit hiberno prægravis unda gelu."<br /></span> +<span class="i15"><i>Martial</i>, iv. <i>Ep.</i> 18.<br /></span> +</div></div> + +<p>Near this aqueduct was a temple of Juturna;</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Te quoque lux eadem, Turni soror, æde recepit;<br /></span> +<span class="ist">Hic ubi Virginea campus obitur aqua."<br /></span> +<span class="i15"><i>Ovid</i>, <i>Fast.</i> i. 463.<br /></span> +</div></div> + +<p class="nind">and another of Isis.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"A Meroë portabit aquas, ut spargat in æde<br /></span> +<span class="ist">Isidis, antiquo quæ proxima surgit ovili."<br /></span> +<span class="i15"><i>Juvenal</i>, <i>Sat.</i> vi. 528.<br /></span> +</div></div> + +<p>These were followed by the erection of the <i>Temple of Neptune</i>—by some +ascribed to Agrippa, who is said to have built it in honour of his naval +victories, by others to the time of the Antonines; by the great +<i>Imperial Mausoleum</i>, then far out in the country; and by the <i>Baths of +Nero</i>, on the site now occupied by S. Luigi and the neighbouring +buildings.</p> + +<div class="poem"><div class="stanza"> +<span class="i6">" ... Quid Nerone pejus?<br /></span> +<span class="i0">Quid thermis melius Neronianis?"<br /></span> +<span class="i15"><i>Martial</i>, vii. <i>Ep.</i> 33.<br /></span> +</div></div> + +<p><a name="vol_2_page_155" id="vol_2_page_155"></a></p> + +<div class="poem"><div class="stanza"> +<span class="i6">" ... Fas sit componere magnis<br /></span> +<span class="i0">Parva, Neronea nec qui modo totus in unda<br /></span> +<span class="i0">Hic iterum sudare negat."<br /></span> +<span class="i15"><i>Statius</i>, <i>Silv.</i> i. 5.<br /></span> +</div></div> + +<p>Besides these were an <i>Arch of Tiberius</i>, erected by Claudius; a <i>Temple +of Hadrian</i> and <i>Basilica of Matidia</i>, built by Antoninus Pius, in +honour of his predecessors; the <i>Temple and Arch of Marcus Aurelius</i>, +near the site of the present Palazzo Chigi; and an <i>Arch of Gratian, +Valentinian II., and Theodosius</i>.</p> + +<p>Of all these various buildings nothing remains except the Pantheon, a +single arch of the Baths of Agrippa, some disfigured fragments of the +Mausoleum, a range of columns belonging to the temple of Neptune, and a +portion of the Portico of Octavia. The interest of the Campus Martius is +almost entirely mediæval or modern, and the objects worth visiting are +scattered amid such a maze of dirty and intricate streets, that they are +seldom sought out except by those who make a long stay in Rome, and care +for everything connected with its history and architecture.</p> + +<hr style="width: 15%;" /> + +<p>Following the line of streets which leads from the Piazza di Spagna to +St. Peter's (Via Condotti, Via Fontanella Borghese), beyond the Borghese +Palace, let us turn to the left by the Via della Scrofa,<a name="FNanchor_300_300" id="FNanchor_300_300"></a><a href="#Footnote_300_300" class="fnanchor">[300]</a> at the +entrance of which is the <i>Palazzo Galitzin</i> on the right, and the +<i>Palazzo Cardelli</i> on the left.</p> + +<p>Passing, on the right, <i>St. Ivo of Brittany</i>, the national church of the +Bretons, the second turn on the right, Via S.<a name="vol_2_page_156" id="vol_2_page_156"></a> Antonio dei Portoguesi, +shows a church dedicated to St. Anthony of Padua, and the fine mediæval +tower called <i>Torre della Scimia</i>.</p> + +<p>In this tower once lived a man who had a favourite ape. One day this +creature seized upon a baby, and rushing to the summit, was seen from +below, by the agonized parents, perched upon the battlements, and +balancing their child to and fro over the abyss. They made a vow in +their terror that if the baby were restored in safety, they would make +provision that a lamp should burn nightly for ever before an image of +the Virgin on the summit. The monkey, without relaxing its hold of the +infant, slid down the wall, and bounding and grimacing, laid the child +at its mother's feet. Thus a lamp always burns upon the battlements +before an image of the Madonna.</p> + +<p>This building is better known, however, as "Hilda's Tower," a fictitious +name which it has received from Hawthorne's mysterious novel.</p> + +<div class="blockquot"><p>"Taking her way through some of the intricacies of the city, Miriam +entered what might be called either a widening of a street or a +small piazza. The neighbourhood comprised a baker's oven, emitting +the usual fragrance of sour bread; a shoe shop; a linendraper's +shop; a pipe and cigar shop; a lottery office; a station for French +soldiers, with a sentinel pacing in front; and a fruit stand, at +which a Roman matron was selling the dried kernels of chesnuts, +wretched little figs, and some bouquets of yesterday. A church, of +course, was near at hand, the façade of which ascended into lofty +pinnacles, whereon were perched two or three winged figures of +stone, either angelic or allegorical, blowing stone trumpets in +close vicinity to the upper windows of an old and shabby palace. +This palace was distinguished by a feature not very common in the +architecture of Roman edifices; that is to say, a mediæval tower, +square, massive, lofty, and battlemented and machicolated at the +summit.</p> + +<p>"At one of the angles of the battlements stood a shrine of the +Virgin,<a name="vol_2_page_157" id="vol_2_page_157"></a> such as we see everywhere at the street-corners of Rome, +but seldom or never, except in this solitary instance, at a height +above the ordinary level of men's views and aspirations. Connected +with this old tower and its lofty shrine, there is a legend; and +for centuries a lamp has been burning before the Virgin's image at +noon, at midnight, at all hours of the twenty-four, and must be +kept burning for ever, as long as the tower shall stand; or else +the tower itself, the palace, and whatever estate belongs to it, +shall pass from its hereditary possessor, in accordance with an +ancient vow, and become the property of the Church.</p> + +<p>"As Miriam approached, she looked upward, and saw—not, indeed, the +flame of the never-dying lamp, which was swallowed up in the broad +sunlight that brightened the shrine—but a flock of white doves, +shining, fluttering, and wheeling above the topmost height of the +tower, their silver wings flashing in the pure transparency of the +air. Several of them sat on the ledge of the upper window, pushing +one another off by their eager struggle for this favourite station, +and all tapping their beaks and flapping their wings tumultuously +against the panes; some had alighted in the street, far below, but +flew hastily upward, at the sound of the window being thrust ajar, +and opening in the middle, on rusty hinges, as Roman windows +do."—<i>Transformation.</i></p></div> + +<p>The next street, on the right, leads to the <i>Church of S. Agostino</i>, +built originally by Bacio Pintelli, in 1483, for Cardinal +d'Estouteville, archbishop of Rouen and Legate in France (the vindicator +of Joan of Arc), but altered in 1740 by Vanvitelli. The delicate work of +the front, built of travertine robbed from the Coliseum, is much admired +by those who do not seek for strength of light and shadow. This +church—dedicated to her son—contains the remains of Sta. Monica, +brought hither from Ostia, where she died. The chapel of St. Augustin, +in the right transept, contains a gloomy picture by <i>Guercino</i> of St. +Augustin between St. John Baptist and St. Paul the Hermit. The high +altar, by Bernini, has an image of the Madonna brought from Sta. Sophia +at Constantinople, and attributed to St. Luke. The second chapel in the +left aisle has a group of the<a name="vol_2_page_158" id="vol_2_page_158"></a> Virgin and Child with St. Anna, by +<i>Andrea Sansovino</i>, 1512.</p> + +<p>On the third pilaster, to the left of the nave, is a fresco of Isaiah by +<i>Raphael</i>, painted in 1512, but retouched by Daniele de Volterra in the +reign of Paul IV. The prophet holds a scroll with words from Isaiah +xxvi. 2. Few will agree with the stricture of Kugler:—</p> + +<div class="blockquot"><p>"In a fresco, representing the prophet Isaiah and two angels, who +hold a tablet, the comparison is unfavourable to Raphael. An effort +to rival the powerful style of Michael-Angelo is very visible in +this picture; an effort which, notwithstanding the excellence of +the execution in parts, has produced only an exaggerated and +affected figure."—<i>Kugler</i>, ii. 371.</p></div> + +<p>The church overflows with silver hearts and other votive offerings, +which are all addressed to the Madonna and Child of <i>Andrea Sansovino</i>, +close to the west entrance, which is really a fine piece of +sculpture—for an object of Roman Catholic idolatry.</p> + +<div class="blockquot"><p>"On the pedestal of the image is inscribed—'N. S. Pio VII. concede +in perpetuo 100 giorni d'indulgenza da lucrarsi una volta al giorno +da tutte quelle che divotamente toccheranno il piede di questa S. +Immagine recitando un Ave Maria per il bisogno di S. Chiesa. 7 +Giug. <small>MD.CCCXXII</small>."</p></div> + +<p>Around this statue are, or were a short time ago, a whole array of +assassins' daggers hung up, strange instances of trespass-offering.</p> + +<div class="blockquot"><p>"The Church of S. Agostino is the Methodist meeting-house, so to +speak, of Rome, where the extravagance of the enthusiasm of the +lower orders is allowed the freest scope. Its Virgin and Child are +covered, smothered, with jewels, votive offerings of those whose +prayers the image had heard and answered. All round the image the +walls are covered with votive offerings likewise; some of a similar +kind—jewels, watches, valuables of different descriptions. Some +offerings again consist of<a name="vol_2_page_159" id="vol_2_page_159"></a> pictures, representing, generally in +the rudest way, some sickness or accident, cured or averted by the +appearance in the clouds of the Madonna, as seen in the image. +Almost the whole side of the church is covered, from pavement to +roof, with these curious productions."—<i>Alford's Letters from +Abroad.</i></p> + +<p>"It is not long since the report was spread, that one day when a +poor woman called upon this image of the Madonna for help, it began +to speak, and replied, 'If I had only something, then I could help +thee, but I myself am so poor!'</p> + +<p>"This story was circulated, and very soon throngs of credulous +people hastened hither to kiss the foot of the Madonna, and to +present her with all kinds of gifts. The image of the Virgin, a +beautiful figure in brown marble, now sits shining with ornaments +of gold and precious stones. Candles and lamps burn around, and +people pour in, rich and poor, great and small, to kiss, some of +them two or three times—the Madonna's foot, a gilt foot, to which +the forehead also is devotionally pressed. The marble foot is +already worn away with kissing, the Madonna is now rich.... Below +the altar it is inscribed in golden letters that Pius VII. promised +two hundred days' absolution to all such as should kiss the +Madonna's foot, and pray with the whole heart <i>Ave +Maria</i>."—<i>Frederika Bremer.</i></p></div> + +<p>Passing the arch, just beyond this, is the <i>Church of S. Apollinare</i>, +built originally by Adrian I. (772—795), but modernized under Benedict +XIV. by Fuga. It contains a number of relics of saints brought from the +East by Basilian monks. Over the altar, on the left, in the inner +vestibule, is a Madonna by <i>Perugino</i>. The church now belongs to the +German college.</p> + +<div class="blockquot"><p>S. Apollinare is said to have accompanied St. Peter from Antioch to +Rome, and to have remained here as his companion and assistant +(whence the church dedicated to him here). He was afterwards sent +to preach the faith in Ravenna, where he became the first Christian +bishop, and suffered martyrdom outside the Rimini gate, July 23, +<small>A.D.</small> 79.</p></div> + +<p>Adjoining this church is the <i>Seminario Romano</i>, founded by Pius IV., on +a system drawn up by his nephew, S. Carlo<a name="vol_2_page_160" id="vol_2_page_160"></a> Borromeo. Eight hundred young +boys are annually educated here. In order to gain admittance, it is +necessary to be of Roman birth, to be acquainted with grammar, and to +wish to take orders. Pupils are held to their first intention of +entering the priesthood, by being compelled to refund all the expenses +of their education, if they renounce it.</p> + +<p>Nearly opposite the church is the <i>Palazzo Altemps</i>, built 1580, by +Martino Lunghi. Its courtyard, due, like all the best palace work in +Rome, to Baldassare Peruzzi, is exceedingly graceful and picturesque. +Ancient statues and flowering shrubs occupy the spaces between the +arches of the ground-floor, and on the first-floor is a loggia, richly +decorated with delicate arabesques in the style of Giovanni da Udine. +Near this loggia is a chapel of exceedingly beautiful proportions, and +delicately worked detail. It has several good frescoes, especially the +Flight into Egypt, and Sta. Cecilia singing to the Virgin and the Child. +At the west end is a small gracefully proportioned music-gallery, in +various coloured marbles; in an inner chapel is a fine bronze crucifix. +The palace, of which the most interesting parts are shown on request, is +now the property of the Duke of Gallese, to whom it came by the marriage +of Jules Hardouin, Duke of Gallese, with Donna Lucrezia d'Altemps.</p> + +<p>Following the Via S. Agostino by the mediæval <i>Torre Sanguinea</i>, whose +name bears witness to the mediæval frays of popes and anti-popes, we +reach the German national church of <i>Sta. Maria dell' Anima</i>, which +derives its name from a marble group of the Madonna invoked by two souls +in purgatory, found among the foundations, and now inserted in the +tympanum of the portal. It was originally<a name="vol_2_page_161" id="vol_2_page_161"></a> built <i>c.</i> 1440, with funds +bequeathed by "un certo Giovanni Pietro," but enlarged in 1514; the +façade is by Giuliano da Sangallo. The door-frames, of delicate +workmanship, are by Antonio Giamberti.</p> + +<p>The front entrance is generally closed, but one can always gain +admittance from behind, through the courtyard of the German hospital.</p> + +<p>The interior is peculiar, from its great height and width in comparison +with its length. It is divided into three almost equal aisles. Over the +high altar is a damaged picture of the Holy Family with saints, by +<i>Giulio Romano</i>. On the right is the fine tomb of Pope Adrian VI., +Adrian Florent (1522—23), designed by Baldassare Peruzzi, and carried +out by Michelangelo Sanese and Niccolo Tribolo. This pope, the son of a +ship-builder at Utrecht, was professor at the university of Louvain, and +tutor of Charles V. After the witty, brilliant age of Julius II. and Leo +X., he ushered in a period of penitence and devotion. He drove from the +papal court the throng of artists and philosophers who had hitherto +surrounded it, and he put a stop to the various great buildings which +were in progress, saying, "I do not wish to adorn priests with churches, +but churches with priests." Still he found the times so much too +frivolous for him, that he only survived a year. In his epitaph we +read:—</p> + +<div class="blockquot"><p>"Hadrianus hic situs est, qui nihil sibi infelicius in vita quam +quod imperaret, duxit."<a name="FNanchor_301_301" id="FNanchor_301_301"></a><a href="#Footnote_301_301" class="fnanchor">[301]</a></p></div> + +<p class="nind">and—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Proh dolor! quantum refert in quæ tempora vel optimi.<br /></span> +<span class="i6">.... Cujusque virtus incidat!"<br /></span> +</div></div> + +<p><a name="vol_2_page_162" id="vol_2_page_162"></a></p> + +<p>The tomb was erected at the expense of Cardinal William of Enkenfort, +the only prelate to whom he had time to give a hat.</p> + +<div class="blockquot"><p>"It is an irony, that Adrian, who despised all the arts on +principle, and looked upon Greek statues as idolatrous, had a more +artistic monument than Leo X. of the house of Medici. Baldassare +Peruzzi made the design, its sculptures were carried out by +Michelangelo Sanese and Tribolo, and they merit the highest +acknowledgment. Here, as is so often the case, the architecture is, +as it were, a frontispiece; but the way in which the pope is +represented, resembles, in conformity with his character, the type +of the middle ages. He is stretched upon a simple marble +sarcophagus, and slumbers with his head supported by his hand. His +countenance (Adrian was very handsome) is deeply marked and +sorrowful. In the lunette above, following the ancient type, +appears Mary with the Child between St. Peter and St. Paul. Below, +in the niches, stand the figures of the four cardinal virtues: +Temperance holds a chain; Courage a branch of a tree, while a lion +stands by her side; Justice has an ostrich by her side; Wisdom +carries a mirror and a serpent. These figures are executed with +great care. Lastly, under the sarcophagus is a large bas-relief +representing the entry of the pope to Rome. He sits on horseback in +the dress of a cardinal; behind him follow cardinals and monks; the +senator of Rome renders homage on his knees, while from the gate +the eternal Rome comes forth to meet him. This Cypria, so well +adorned by his predecessors, seems ill-pleased to do homage to this +cross old man. With secret pleasure one sees a pagan idea carried +out in the corner: the Tiber is represented as a river god with his +horn of abundance; and thus the devout pope could not defend +himself against the heathen spirit of the time, which has at least +attached itself to his tomb."—<i>Gregorovius, Grabmäler der Päpste.</i></p></div> + +<p>Opposite the pope, on the left of the choir, is the fine tomb of a Duke +of Cleves, who died 1575, by Egidius of Riviere and Nicolaus of Arras.</p> + +<p>The body of the church has several good pictures. In the 1st chapel of +the right aisle is St. Bruno receiving the keys of the cathedral of +Miessen in Saxony from a fisherman, who had found them in the inside of +a fish, by <i>Carlo Saraceni<a name="vol_2_page_163" id="vol_2_page_163"></a></i>; in the 2nd chapel, the monument of +Cardinal Slusius; in the 3rd chapel, an indifferent copy of the Pietà of +Michael Angelo, by <i>Nanni di Bacio Bigio</i>. In the 1st chapel of the left +aisle is the martyrdom of St. Lambert, <i>C. Saraceni</i>.</p> + +<div class="blockquot"><p>The two pictures in this church are cited by Lanzi as the best +works of this comparatively rare artist, sometimes called Carlo +Veneziano, 1585—1625. He sought to follow in the steps of +Caravaggio; many will think that he surpassed him, when they look +upon the richness of colour and grand effect of light and shadow +which is displayed here.</p></div> + +<p>In the 3rd chapel (del Christo Morto), frescoes from the life of Sta. +Barbara, <i>Mich. Coxcie</i>, altar-piece (the entombment) and frescoes by +<i>Salviati</i>.</p> + +<p>On the left of the west door is the tomb of Cardinal Andrea of Austria, +nephew of Ferdinand II., who died 1650; on the right that of Cardinal +Enckenovirt, died 1500. In the passage towards the sacristy is a fine +bas-relief, representing Gregory XIII. giving a sword to the Duke of +Cleves.</p> + +<p>Close to this church is that of <i>Sta. Maria della Pace</i>, built in 1487, +by Baccio Pintelli, to fulfil a curious <i>ex-voto</i> made by Sixtus IV. +Formerly there stood here a little chapel dedicated to St. Andrew, in +whose portico was an image of the Virgin. One day a drunken soldier +pierced the bosom of this Madonna with his sword, when blood +miraculously spirted forth. Sixtus IV. (Francesco della Rovere, +1471—84) visited the spot with his cardinals, and vowed to compensate +the Virgin by building her a church, if she would grant peace to Europe +and the Church, then afflicted by a cruel war with the Turks. Peace was +restored, and the Church of "St. Mary of Peace" was erected by the +grateful pope. Pietro da Cortona added the peculiar semicircular<a name="vol_2_page_164" id="vol_2_page_164"></a> +portico under Alexander VII. The interior has only a short nave ending +under an octagonal cupola.</p> + +<p>Above the 1st chapel on the right (that of the Chigi family) are the +<i>Four Sibyls of Raphael</i>.</p> + +<div class="blockquot"><p>"This is one of Raphael's most perfect works: great mastery is +shown in the mode of filling and taking advantage of the apparently +unfavourable space. The angels who hold the tablets to be written +on, or read by the Sibyls, create a spirited variety in the severe +symmetrical arrangement of the whole. Grace in the attitudes and +movements, with a peculiar harmony of form and colour, pervade the +whole picture; but important restorations have unfortunately become +necessary in several parts. An interesting comparison may be +instituted between this work and the Sibyls of Michael Angelo. In +each we find the peculiar excellence of the great masters; for +while Michael Angelo's figures are grand, sublime, profound, the +fresco of the Pace bears the impress of Raphael's severe and +ingenious grace. The four Prophets, on the wall over the Sibyls, +were executed by Timoteo della Vite, after drawings by +Raphael."—<i>Kugler.</i></p> + +<p>"The Sibyls have suffered much from time, and more, it is said, +from restoration; yet the forms of Raphael, in all their +loveliness, all their sweetness, are still before us; they breathe +all the soul, the sentiment, the chaste expression, and purity of +design that characterize his works. The dictating angels hover over +the heads of the gifted maids, one of whom writes with rapid pen +the irreversible decrees of Fate. The countenances and musing +attitudes of her sister Sibyls express those feelings of habitual +thoughtfulness and pensive sadness natural to those who are cursed +with the knowledge of futurity, and all its coming +evils."—<i>Eaton's Rome.</i></p> + +<p>"The Sibyls are simply beautiful women of antique form, to whom, +with the aid of books, scrolls, and inscriptions, the Sibyllic idea +has been given, but who would equally pass for the abstract +personifications of virtues or cities. They are four in +number,—the Cumana, Phrygia, Persica, and Tiburtina; all, with the +exception of the last, in the fulness of youth and beauty, and +occupied, apparently, with no higher aim than that of displaying +both. Indeed, the Tiburtina matches ill with the rest, either in +character or action. She is aged, has an open book on her lap, but +turns with a strange and rigid action as if suddenly called. The +very comparison with her tends to divest the others of the +Sibylline character. In this, the angels who float above, and +obviously inspire them, also help, for while adding to the charm of +the composition,<a name="vol_2_page_165" id="vol_2_page_165"></a> which is one of the most exquisite as to mere +art, they interfere with that inwardly inspired expression which +all other art has given to these women.</p> + +<p>"The inscription on the scroll of the Cumæan Sibyl gives in Greek +the words, 'The Resurrection of the Dead.' The Persica is writing +on the scroll held by the angel, 'He will have the lot of Death.' +The beautiful Phrygia is presented with a scroll, 'The heavens +surround the sphere of the earth;' and the Tiburtina has under her +the inscription, 'I will open and arise.' The fourth angel floats +above, holding the seventh line of Virgil's Eclogue, 'Jam nova +progenies.'"—<i>Lady Eastlake's 'History of Our Lord.'</i></p></div> + +<p>The 1st chapel on the left has monuments of the Ponzetti family. The 2nd +chapel on the left has an altar-piece of the Virgin between St. Bridget +and St. Catherine, by <i>Baldassare Peruzzi</i>; in the front of the picture +kneels the donor, Cardinal Ponzetti. The 1st altar on the right has the +Adoration of the Shepherds by <i>Sermoneta</i>. The 2nd chapel, the +burial-place of the Santa Croce family, has rich carved work of the +sixteenth century. The high altar, designed by Carlo Maderno, has an +ancient (miracle-working) Madonna. Of the four paintings of the cupola, +the Nativity of the Virgin is by <i>Francesco Vanni</i>; the Visitation, +<i>Carlo Maratta</i>; the Presentation in the Temple, <i>Baldassare Peruzzi</i>; +the Death of the Virgin, <i>Morandi</i>.</p> + +<p>Newly-married couples have the touching custom of attending their first +mass here, and invoking "St. Mary of Peace" to rule the course of their +new life.</p> + +<p>The <i>Cloister of the Convent</i>, entered on the left under the dome, was +designed by <i>Bramante</i> for Cardinal Caraffa in 1504.</p> + +<p>From the portico of the church the Via in Parione leads to the <i>Via del +Governo Vecchio</i>. Here, on the right, is the <i>Palazzo del Governo +Vecchio</i>, with a richly-sculptured door-way, and ancient cloistered +court.<a name="vol_2_page_166" id="vol_2_page_166"></a></p> + +<p>Proceeding as far as the Piazza del Orologio, we see on the right an +eminence known as <i>Monte Giordano</i>, supposed to be artificial, and to +have arisen from the ruins of ancient buildings.</p> + +<div class="blockquot"><p>Its name is derived from Giordano Orsini, a noble of one of the +oldest Roman families, who built the palace there, which is now +known as the <i>Palazzo Gabrielli</i>, and which has rather a handsome +fountain. It was probably in consequence of the name Jordan, that +this hillock was chosen in mediæval times as the place where the +Jews in Rome received the newly-elected pope on his way to the +Lateran, and where their elders, covered with veils, presented him, +on their knees, with a copy of the Pentateuch bound in gold. Then +the Jews spoke in Hebrew, saying, "Most holy Father, we Hebrew men +beseech your Holiness, in the name of our synagogue, to vouchsafe +to us that the Mosaic Law, given on Mount Sinai by the Almighty God +to Moses our priest, may be confirmed and approved, as also other +eminent popes, the predecessors of your Holiness, have approved and +confirmed it". And the pope replied, "We confirm the Law, but we +condemn your faith and interpretation thereof, because He who you +say is to come, the Lord Jesus Christ, is come already, as our +Church teaches and preaches."</p></div> + +<p>Turning to the left, we enter a piazza, one side of which is occupied by +the convent of the Oratorians, and the vast <i>Church of Santa Maria in +Valicella, or the Chiesa Nuova</i>, built by Martino Lunghi for Gregory +XIII. and S. Filippo Neri. The façade is by Rughesi. The decorations of +the magnificently-ugly interior are partly due to Pietro da Cortona, who +painted the roof and cupola.</p> + +<p>On the left of the tribune is the gorgeous <i>Chapel of S. Filippo Neri</i>, +containing the shrine of the saint, rich in lapis-lazuli and gold, +surmounted by a mosaic copy of the picture by <i>Guido</i> in the adjoining +convent.</p> + +<p>On the right, in the 1st chapel, is the Crucifixion, by <i>Scipione +Gaetani</i>; in the 3rd chapel, the Ascension, <i>Maziano</i>. On the left, in +the 2nd chapel, is the Adoration of the Magi,<a name="vol_2_page_167" id="vol_2_page_167"></a> <i>Cesare Nebbia</i>; in the +3rd chapel, the Nativity, <i>Durante Alberti</i>; in the 4th chapel, the +Visitation, <i>Baroccio</i>. In the left transept are statues of SS. Peter +and Paul, by <i>Valsoldo</i>, and the Presentation in the Temple, by +<i>Baroccio</i>. When S. Filippo Neri saw this picture, he said to the +painter "Ma come avete ben fatto!—Che vera somiglianza!—E così che mi +ha apparato tante volte la Santa Vergine."</p> + +<p>The high altar has four columns of porta-santa. Its pictures are by +<i>Rubens</i> in his youth;—that in the centre represents the Virgin in a +glory of angels; on the right are St. Gregory, S. Mauro, and St. Papias; +on the left St. Domitilla, St. Nereus, and St. Achilleus.</p> + +<p><i>The Sacristy</i>, entered from the left transept, is by Marucelli. It has +a grand statue of S. Filippo Neri, by <i>Algardi</i>. The ceiling is painted +by <i>Pietro da Cortona</i>—the subject is an angel bearing the instruments +of the passion to heaven.</p> + +<p>The <i>Monastery</i>, built by Borromini, contains the magnificent library +founded by S. Filippo. The cell of the saint is accessible, even to +ladies. It retains his confessional, chair, shoes, rope-girdle,—and +also a cast taken from his face after death, and some pictures which +belonged to him, including one of Sta. Francesca Romana, and the +portrait of an archbishop of Florence. In the private chapel adjoining, +is the altar at which he daily said mass, over which is a picture of his +time. Here also are the crucifix which was in his hands when he died, +his candlesticks, and some sacred pictures on tablets which he carried +to the sick. The door of the cell is the same, and the little bell by +which he summoned his attendant. In a room below is the carved coffin in +which he lay in state, a picture of him lying dead,<a name="vol_2_page_168" id="vol_2_page_168"></a> and the portrait by +<i>Guercino</i> from which the mosaic in the church is taken. A curious +picture in this chamber represents an earthquake at Beneventum, in which +Pope Gregory XIV. believed that his life was saved by an image of S. +Filippo. When S. Filippo Nero died,—as in the case of S. Antonio,—the +Catholic world exclaimed intuitively, "Il Santo è morto!"</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Let the world flaunt her glories! each glittering prize,<br /></span> +<span class="ist">Though tempting to others, is naught in my eyes.<br /></span> +<span class="ist">A child of St. Philip, my master and guide,<br /></span> +<span class="ist">I would live as he lived, and would die as he died.<br /></span> +</div><div class="stanza"> +<span class="i0">"If scanty my fare, yet how was he fed?<br /></span> +<span class="ist">On olives and herbs and a small roll of bread.<br /></span> +<span class="ist">Are my joints and bones sore with aches and with pains?<br /></span> +<span class="ist">Philip scourged his young flesh with fine iron chains.<br /></span> +</div><div class="stanza"> +<span class="i0">"A closet his home, where he, year after year,<br /></span> +<span class="ist">Bore heat or cold greater than heat or cold here;<br /></span> +<span class="ist">A rope stretch'd across it, and o'er it he spread<br /></span> +<span class="ist">His small stock of clothes; and the floor was his bed.<br /></span> +</div><div class="stanza"> +<span class="i0">"One lodging besides; God's temple he chose,<br /></span> +<span class="ist">And he slept in its porch his few hours of repose;<br /></span> +<span class="ist">Or studied by light which the altar-lamp gave,<br /></span> +<span class="ist">Or knelt at the martyr's victorious grave."<br /></span> +<span class="i15"><i>J. H. Newman</i>, 1857.<br /></span> +</div></div> + +<p>The church of the Chiesa Nuova belongs exclusively to the Oratorian +Fathers. Pope Leo XII. wished to turn it into a parish church.</p> + +<div class="blockquot"><p>"It was said that the superior of the house took, and showed, to +the Holy Father, an autograph memorial of the founder St. Philip +Neri to the pope of his day, petitioning that his church should +never be a parish. And below it was written that pope's promise, +also in his own hand, that it never should. This pope was St. Pius +V. Leo bowed to such authorities, said that he could not contend +against two saints, and altered his plans."—<i>Wiseman's Life of Leo +XII.</i></p> + +<p>"S. Filippo Neri was good-humoured, witty, strict in essentials,<a name="vol_2_page_169" id="vol_2_page_169"></a> +indulgent in trifles. He never commanded; he advised, or perhaps +requested: he did not discourse, he conversed: and he possessed, in +a remarkable degree, the acuteness necessary to distinguish the +peculiar merit of every character."—<i>Ranke.</i></p> + +<p>"S. Filippo Neri laid the foundation of the Congregation of +Oratorians in 1551. Several priests and young ecclesiastics +associating themselves with him, began to assist him in his +conferences, and in reading prayers and meditations to the people +in the Church of the Holy Trinity. They were called Oratorians, +because at certain hours every morning and afternoon, by ringing a +bell, they called the people to the church to prayers and +meditations. In 1564, when the saint had formed his congregation +into a regular community, he preferred several of his young +ecclesiastics to holy orders; one of whom was the eminent Cæsar +Baronius, whom, for his sanctity, Benedict XIV., by a decree dated +on the 12th of January, 1745, honoured with the title of 'Venerable +Servant of God.' At the same time he formed his disciples into a +community, using one common purse and table, and he gave them rules +and statutes. He forbade any of them to bind themselves to this +state by vow or oath, that all might live together joined only by +the bands of fervour and holy charity; labouring with all their +strength to establish the kingdom of Christ in themselves by the +most perfect sanctification of their own souls, and to propagate +the same in the souls of others, by preaching, instructing the +ignorant, and teaching the Christian doctrine."—<i>Alban Butler.</i></p> + +<p>"S. Filippo Neri exacted from his scholars and associates various +undignified outward acts. He required from a young Roman prince, +who wished to enjoy the distinction of being a member of his Order, +that he should walk through Rome with a fox's tail fastened on +behind: and when the prince declined to submit to this, he was +declined admission to the Order. Another was made to go through the +city without a coat; and another, with torn and tattered sleeves. A +nobleman took compassion on the last, and offered him a new pair of +sleeves: the youth declined, but afterwards, by command of the +master, was obliged gratefully to fetch and wear them. During the +building of the new church, he compelled his disciples to bring up +the materials like day labourers, and to lay their hands to the +work."—<i>Goethe, Romische Briefe.</i></p></div> + +<p>It was in the piazza in front of this church that (during the reign of +Clement XIV.) a beautiful boy was wont to improvise wonderful verses to +the admiration of the crowds who surrounded him. This boy was named +Trapassi, and<a name="vol_2_page_170" id="vol_2_page_170"></a> was the son of a grocer in the neighbourhood. The +Arcadian Academy changed his name into Greek, and called him +"Metastasio."</p> + +<p>From the corner of the piazza in front of the Chiesa Nuova, the Via +Calabraga leads into the Via Monserrato, which it enters between Sta. +Lucia del Gonfalone on the right, and S. Stefano in Piscinula on the +left;—then, passing on the right S. Giacomo in Aino—behind which, and +the Palazzo Ricci, is Santo Spirito dei Napolitani, a much frequented +and popular little church—we reach <i>Sta. Maria di Monserrato</i>, built by +Sangallo, in 1495, where St. Ignatius Loyola was wont to preach and +catechise.</p> + +<p>Here, behind the altar, under a stone unmarked by any epitaph, repose at +last the remains of Pope Alexander VI., Rodrigo Borgia +(1492—1503),—the infamous father of the beautiful and wicked Cæsar and +Lucretia Borgia, who is believed to have died from accidentally drinking +in a vineyard-banquet the poison which he had prepared for one of his +own cardinals. When exhumed and turned out of the pontifical vaults of +St Peter's by Julius II., he found a refuge here in his national church. +The bones of his uncle Calixtus III., Alfonso Borgia (1455—58), rest in +the same grave.</p> + +<p>A little further, on the left, is the <i>Church of S. Tommaso degli +Inglesi</i>, rebuilt 1870, on the site of a church founded by Offa, king of +the East Saxons in 775, but destroyed by fire in 817. It was rebuilt, +and was dedicated by Alexander III. (1159) to St. Thomas à Becket, who +had lodged in the adjoining hospital when he was in Rome. Gregory XIII., +in 1575, united the hospital which existed here with one for English +sailors on the Ripa Grande, dedicated to St. Edmund<a name="vol_2_page_171" id="vol_2_page_171"></a> the Martyr, and +converted them into a college for English missionaries.</p> + +<div class="blockquot"><p>"Nothing like a hospice for English pilgrims existed till the first +great Jubilee, when John Shepherd and his wife Alice, seeing this +want, settled in Rome, and devoted their substance to the support +of poor palmers from their own country. This small beginning grew +into sufficient importance for it to become a royal charity; the +King of England became its patron, and named its rector, often a +person of high consideration. Among the fragments of old monuments +scattered about the house by the revolution, and now collected and +arranged in a corridor of the college, is a shield surmounted by a +crown, and carved with the ancient arms of England, lions or +lionceaux, and fleur-de-lis, quarterly. This used formerly to be +outside the house, and under it was inscribed:</p> + +<div class="poem"><div class="stanza"> +<span class="i3">'Hæc conjuncta duo,<br /></span> +<span class="i4">Successus debita legi,<br /></span> +<span class="i3">Anglia dant, regi<br /></span> +<span class="i4">Francia signa suo.<br /></span> +<span class="i0">Laurentius Chance me fecit <small>M.CCC.XII.</small>'"<br /></span> +<span class="i15"><i>Cardinal Wiseman.</i><br /></span> +</div></div> + +</div> + +<p>In the hall of the college are preserved portraits of Roman Catholics +who suffered for their faith in England under Henry VIII. and Elizabeth.</p> + +<p>The small cloister has a beautiful tomb of Christopher Bainbrigg, +archbishop of York, British envoy to Julius II., who died at Rome 1514, +and a monument of Sir Thomas Dereham, ob. 1739. Against the wall is the +monument of Martha Swinburne, a prodigy of nine years old, inscribed:</p> + +<div class="blockquot"><p>"Memoriæ Marthæ, Henrici et Marthæ Swinburne. Nat. Angliæ. ex. +Antiqua. et. Nobili. Familia. Caphæton. Northumbriæ. Parentes. +Mœstiss. Filiæ. Carissimæ. Pr. Quæ. Ingenio. Excellenti. Forma. +Eximia. Incredibili. Doctrina. Moribus. Suavissimis. Vix. Ann. +viii. Men. xi. Tantum. Prærepta. Romæ. v. <small>ID. SEPT. AN. MDCCLXVIII.</small></p> + +<p>"Martha Swinburne, born Oct. <small>X. MDCCLVIII</small>. Died Sept. <small>VIII. +MDCCLXVII</small>. Her years were few, but her life was long and full. She +spoke English, French, and Italian, and had made some progress<a name="vol_2_page_172" id="vol_2_page_172"></a> in +the Latin tongue; knew the English and Roman histories, arithmetic, +and geography; sang the most difficult music at sight with one of +the finest voices in the world, was a great proficient on the +harpsichord, wrote well, and danced many sorts of dances with +strength and elegance. Her face was beautiful and majestic, her +body a perfect model, and all her motions graceful. Her docility in +doing everything to make her parents happy, could only be equalled +by her sense and aptitude. With so many perfections, amidst the +praises of all persons, from the sovereign down to the beggar in +the street, her heart was incapable of vanity; affectation and +arrogance were unknown to her. Her beauty and accomplishments made +her the admiration of all beholders, the love of all that enjoyed +her company. Think, then, what the pangs of her wretched parents +must be on so cruel a separation. Their only comfort is in the +certitude of her being completely happy beyond the reach of pain, +and for ever freed from the miseries of this life. She can never +feel the torments they endure for the loss of a beloved child. +Blame them not for indulging an innocent pride in transmitting her +memory to posterity as an honour to her family and to her native +country England. Let this plain character, penned by her +disconsolate father, draw a tear of pity from every eye that +peruses it."</p></div> + +<p>The arm of St. Thomas à Becket is the chief "relic" preserved here.</p> + +<p>At the end of the street are two exceedingly ugly little churches—very +interesting from their associations. On the right is <i>St. Girolamo della +Carità</i>, founded on the site of the house of Sta. Paula, where she +received St Jerome upon his being called to Rome from the Thebaid by +Pope Damasus in 392. Here he remained for three years, till, embittered +by the scandal excited by his residence in the house of the widow, he +returned to his solitude.</p> + +<p>In 1519 S. Filippo Neri founded here a <i>Confraternity</i> for the +distribution of dowries to poor girls, for the assistance of debtors, +and for the maintenance of fourteen priests for the visitation and +confession of the sick.</p> + +<div class="blockquot"><p>"Lorsque St. Philippe de Neri fut prêtre, il alla se loger à +Saint-Jerôme <i>della Carità</i>, où il demeura trente-cinq ans, dans la +société des<a name="vol_2_page_173" id="vol_2_page_173"></a> pieux ecclésiastiques qui administraient les +sacrements dans cette paroisse. Chaque soir, Philippe ouvrait, dans +sa chambre qui existe encore, des conférences sur tous les points +du dogme catholique; les jeunes gens affluaient à ces saintes +réunions: on y voyait Baronius; Bordini, qui fut archevêque; +Salviati, frère du cardinal; Tarugia, neveu du pape Jules III. Un +désir ardent d'exercer ensemble le ministère de la prédication et +les devoirs de la charité porta ces pieux jeunes gens à vivre en +commun, sous la discipline du vertueux prêtre, dont le parole était +si puissante sur leurs cœurs."—<i>Gournerie.</i></p></div> + +<p>The masterpiece of Domenichino, the Last Communion of St. Jerome, in +which Sta. Paula is introduced kissing the hand of the dying saint, hung +in this church till carried off to Paris by the French.</p> + +<p>Opposite this is the <i>Church of Sta. Brigitta</i>, on the site of the +dwelling of the saint, a daughter of the house of Brahé, and wife of +Walfon, duke of Nericia, who came hither in her widowhood, to pass her +declining years near the Tomb of the Apostles. With her, lived her +daughter St. Catherine of Sweden, who was so excessively beautiful, and +met with so many importunities in that wild time (1350), that she made a +vow never to leave her own roof except to visit the churches. The +crucifix, prayer-book, and black mantle of St. Bridget are preserved +here.<a name="FNanchor_302_302" id="FNanchor_302_302"></a><a href="#Footnote_302_302" class="fnanchor">[302]</a></p> + +<div class="blockquot"><p>"St. Bridget exercised a reformatory influence as well upon the +higher class of the priesthood in Rome as in Naples. For she did +not alone satisfy herself with praying at the graves of the +martyrs, she earnestly exhorted bishops and cardinals, nay, even +the pope himself, to a life of the true worship of God and of good +works, from which they had almost universally fallen, to devote +themselves to worldly ambition. She awoke the consciences of many, +as well by her prayers and remonstrances, as by her example. For +she herself, of a rich and noble race, that of a Brahé, one of the +nobles in Sweden, yet lived here in Rome, and laboured like a truly +humble servant of Christ. 'We must walk<a name="vol_2_page_174" id="vol_2_page_174"></a> barefoot over pride, if we +would overcome it,' said she, and Brigitta Brahé did so; and, in so +doing, overcame those proud hearts, and won them to +God."—<i>Frederika Bremer.</i></p></div> + +<p>We now reach the <i>Palazzo Farnese</i>,—the most magnificent of all the +Roman palaces,—begun by Paul III., Alessandro Farnese (1534—50), and +finished by his nephew, Cardinal Alessandro Farnese. Its architects were +Antonio di Sangallo, Michael Angelo, and Giacomo della Porta, who +finished the façade towards the Tiber. The materials were plundered +partly from the Coliseum and partly from the theatre of Marcellus; the +granite basons of the fountains in front are from the baths of +Caracalla. The immense size of the blocks of travertine used in the +building give it a solid grandeur.</p> + +<p>This palace was inherited by the Bourbon kings of Naples by descent from +Elizabetta Farnese, who was the last of her line, and it has for the +last few years been the residence of the Neapolitan Court, who have +lived here in the utmost seclusion since their exile. For this reason +the palace is now very seldom shown. Its vast halls are painted with the +masterpieces of Annibale Caracci—huge mythological subjects,—and a few +frescoes by Guido, Domenichino, Daniele da Volterra, Taddeo Zucchero, +and others; but there has not been much to see since the dispersion of +the Farnese gallery of sculpture, of which the best pieces (the Bull, +Hercules, Flora, &c.) are in the museum at Naples. In the courtyard is +the sarcophagus which is said once to have held the remains of Cecilia +Metella.</p> + +<div class="blockquot"><p>"The painting the gallery at the Farnese Palace is supposed to have +partly caused the death of Caracci. Without fixing any price he set +about it, and employed both himself and all his best pupils nearly +seven years in perfecting the work, never doubting that the Farnese +family,<a name="vol_2_page_175" id="vol_2_page_175"></a> who had employed him, would settle a pension upon him, or +keep him in their service. When his work was finished they paid him +as you would pay a house-painter, and this ill-usage so deeply +affected him, that he took to drinking, and never painted anything +great afterwards."—<i>Miss Berry's Journals.</i></p></div> + +<p>Behind the Palazzo Farnese runs the <i>Via Giulia</i>, which contains the +ugly fountain of the Mascherone. Close to the arch which leads to the +Farnese gardens is the church of <i>Sta. Maria della Morte</i>, or <i>Dell' +Orazione</i>, built by Fuga. It is in the hands of a pious confraternity +who devote themselves to the burial of the dead.</p> + +<div class="blockquot"><p>"L'église de la <i>Bonne-Mort</i> a son caveau, décoré dans le style +funèbre comme le couvent des Capucins. On y conserve aussi +élégamment que possible les os des noyés, asphyxiés et autres +victimes des accidents. La confrérie de la <i>Bonne-Mort</i> va chercher +les cadavres; un sacristain assez adroit les dessèche et les +dispose en ornements. J'ai causé quelque temps avec cet artiste: +'Monsieur,' me disait-il, 'je ne suis heureux qu'ici, au milieu de +mon œuvre. Ce n'est pas pour les quelques écus que je gagne tous +les jours en montrant la chapelle aux étrangers; non; mais ce +monument que j'entretiens, que j'embellie, que j'égaye par mon +talent, est devenu l'orgueil et la joie de ma vie.' Il me montra +ses matériaux, c'est-à-dire quelques poignées d'ossements jetés en +tas dans un coin, fit l'éloge de la pouzzolane, et témoigna de son +mépris pour la chaux. 'La chaux brûle les os,' me dit-il, 'elle les +fait tomber en poussière. On ne peut faire rien de bon avec les os +qui ont été dans la chaux. C'est de la drogue +(<i>robbaccia</i>).'"—<i>About.</i></p></div> + +<p>Beyond the arch is the <i>Palazzo Falconieri</i> (with falcons at the +corners), built by Borromini about 1650. There is something rather +handsome in its tall three-arched loggia, as seen from the back of the +courtyard, which overhangs the Tiber opposite the Farnesina. Cardinal +Fesch (uncle of Napoleon I.) lived here, and here formed his fine +gallery of pictures.</p> + +<div class="blockquot"><p>"The whole of Cardinal Fesch's collection was dispersed at his +death, having been vainly offered by him, during the last years of +his<a name="vol_2_page_176" id="vol_2_page_176"></a> life, for sale to the English government, for an annuity of +4000<i>l.</i> per annum."—<i>Eaton's Rome.</i></p></div> + +<p>Further on are the <i>Carceri Nuove</i>, prisons established by Innocent X. +(appropriately reached by the Via del Malpasso), and then the <i>Palazzo +Sacchetti</i>, built by Antonio da Sangallo for his own residence, and +adorned by him with the arms of his patron, Paul III., and the grateful +inscription, "Tu mihi quodcumque hoc rerum est." The collection of +statues which was formed here by Cardinal Ricci, was removed to the +Capitol by Benedict XIV., and became the foundation of the present +Capitoline collection.</p> + +<p>In front of the Palazzo Farnese, beyond its own piazza, is that known as +the <i>Campo di Fiore</i>, a centre of commerce among the working classes. +Here the most terrible of the Autos da Fé were held by the Dominicans, +in which many Jews and other heretics were burnt alive.</p> + +<div class="blockquot"><p>One of the most remarkable sufferers here was Giordano Bruno, who +was born at Nola, <small>A.D.</small> 1550. His chief heresy was ardent advocacy +of the Copernican system,—the author of which had died ten years +before his birth. He was also strongly opposed to the philosophy of +Aristotle, and gave great offence by setting forth views of his +own, which strongly tended to pantheism. He visited Paris, England, +and Germany, and everywhere excited hostility by the uncompromising +expression of his opinions. It was at Venice that he first came +into the power of his ecclesiastical enemies. After six years of +imprisonment in that city, he was brought to Rome to be put to +death. His execution took place in the Campo di Fiore on the 17th +of February, 1600, in the presence of an immense concourse. It was +noted that when the monks offered him the crucifix as he was led to +the stake, he turned away and refused to kiss it. This put the +finishing touch to his career, in the estimation of all beholders. +Scioppus, the Latinist, who was present at the execution, with a +sarcastic allusion to one of Bruno's heresies, the infinity of +worlds, wrote, "The flames carried him to those worlds which he had +imagined."<a name="FNanchor_303_303" id="FNanchor_303_303"></a><a href="#Footnote_303_303" class="fnanchor">[303]</a> +<a name="vol_2_page_177" id="vol_2_page_177"></a></p></div> + +<p>On the left of this piazza is the gigantic <i>Palace of the Cancelleria</i>, +begun by Cardinal Mezzarota, and finished in 1494 by Cardinal Riario, +from designs of Bramante. The huge blocks of travertine of which it is +built were taken from the Coliseum. The colonnades have forty-four +granite pillars, said to have belonged to the theatre of Pompey. The +roses with which their (added) capitals are adorned are in reference to +the arms of Cardinal Riario, nephew of Sixtus IV.</p> + +<p>This palace was the seat of the Tribunal of the Cancelleria Apostolica. +In June, 1848, the Roman Parliament, summoned by Pius IX., was held +here. In July, while the deputies were seated here, the mob burst into +the council-chamber, and demanded the instant declaration of war against +Austria. On the 16th of November, its staircase was the scene of the +murder of Count Rossi.</p> + +<div class="blockquot"><p>"C'était le 16 Novembre, 1848, le ministre de Pie IX., voué dès +longtemps à la mort, dont la presse séditieuse disait: 'Si la +victime condamnée parvient à s'échapper, elle sera poursuivie sans +relâche, en tout lieu, le coupable sera frappé par une main +invisible, se fût-il réfugié sur le sein de sa mère ou dans le +tabernacle du Christ.'</p> + +<p>"Dans la nuit du 14 au 15 Novembre, de jeunes étudiants, réunis +dans cette pensée, s'exercent sans frémir sur un cadavre apporté à +prix d'or au théâtre Capranica, et quand leurs mains infâmes furent +devenues assez sûres pour le crime, quand ils sont certains +d'atteindre au premier coup la veine jugulaire, chacun se rend à +son poste—'Gardez-vous d'aller au Palais Législatif, la mort vous +y attend,' fait dire au ministre une Française alors à Rome, Madame +la Comtesse de Menon: 'Ne sortez pas, ou vous serez assassiné!' lui +écrit de son côté la Duchesse de Rignano. Mais l'intrépide Rossi, +n'écoutant que sa conscience, arrive au Quirinal. A son tour le +pape le conjure d'être prudent, de ne point s'exposer, afin, lui +dit-il, 'd'éviter à nos ennemis un grand crime, et à moi une +immense douleur.'—'Ils sont trop lâches, ils n'oseront pas.' Pie +IX. le bénit et il continue de se diriger vers la chancellerie....</p> + +<p>" ... Sa voiture s'arrête, il descend au milieu d'hommes sinistres, +leur lance un regard de dédain, et continuant sans crainte ni<a name="vol_2_page_178" id="vol_2_page_178"></a> +peur, il commence à mouter; la foule le presse en sifflant, l'un le +frappe sur l'épaule gauche, d'un mouvement instinctif, il retourne +la tête, découvrant la veine fatale, il tombe, se relève, monte +quelques marches, et retombe inondé de sang."—<i>M. de Bellevue.</i></p></div> + +<p>Entered from the courtyard of the palace is the <i>Church of SS. Lorenzo e +Damaso</i>, removed by Cardinal Riario in 1495, from another site, where it +had been founded in 560 by the sainted pope Damasus. It consists of a +short nave and aisles, and is almost square, with an apse and chapels. +The doors are by Vignola. At the end of the left aisle is a curious +black virgin, much revered. Opening from the right aisle is the chapel +of the Massimi, with several tombs; a good modern monument of Princess +Gabrielli, &c. Against the last pilaster is a seated statue of S. +Hippolytus, Bishop of Porto, taken from that at the Lateran. His relics +are preserved here, with those of S. Giovanni Calabita, and many other +saints. The tomb of Count Rossi is also here, inscribed "Optimam mihi +causam tuendam assumpsi, miserebitur Deus." The story of his death is +told in the words: "Impiorum consilio meditata cæde occubuit." He was +embalmed and buried on the very night of his murder, for fear of further +outrage. St Francis Xavier used to preach in this church in the +sixteenth century.</p> + +<p>Standing a little back from the street, in the Via de' Baullari, is a +pretty little palace, carefully finished in all its details, and +attributed to Baldassare Peruzzi. It is sometimes called <i>Palazzetto +Farnese</i>, sometimes <i>Palazzo Linote</i>, and is now almost in a state of +ruin.</p> + +<p>Turning to the left, in front of the Palazzo Farnese, we reach the +Piazza Capo di Ferro, one side of which is occupied by the <i>Palazzo +Spada alla Regola</i>, built in 1564, by Cardinal Capodifero, but +afterwards altered and adorned by<a name="vol_2_page_179" id="vol_2_page_179"></a> Borromini. The courtyard is very rich +in sculptured ornament The palace is always visible, but has a rude and +extortionate porter.</p> + +<p>In a picturesque and dimly-lighted hall on the first-floor, partially +hung with faded tapestries, is the famous statue believed to be that of +Pompey, at the foot of which Julius Cæsar fell. Suetonius narrates that +it was removed by Augustus from the Curia, and placed upon a marble +Janus in front of the basilica. Exactly on that spot was the existing +statue found, lying under the partition-wall of two houses, whose +proprietors intended to evade disputes by dividing it, when Cardinal +Capodifero interfered, and in return received it as a gift from Pope +Julius III., who bought it for 500 gold crowns.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"And them, dread statue! yet existent in<br /></span> +<span class="ist">The austerest form of naked majesty,—<br /></span> +<span class="ist">Thou who beheldest 'mid the assassins' din,<br /></span> +<span class="ist">At thy bathed base the bloody Cæsar lie,<br /></span> +<span class="ist">Folding his robe in dying dignity,<br /></span> +<span class="ist">An offering to thine altar from the queen<br /></span> +<span class="ist">Of gods and men, great Nemesis! did he die,<br /></span> +<span class="ist">And thou, too, perish, Pompey? have ye been<br /></span> +<span class="ist">Victors of countless kings, or puppets of a scene?"<br /></span> +<span class="i15"><i>Byron, Childe Harold.</i><br /></span> +</div></div> + +<div class="blockquot"><p>"I saw in the Palazzo Spada, the statue of Pompey: the statue at +whose base Cæsar fell. A stem, tremendous figure! I imagined one of +greater finish: of the last refinement: full of delicate touches: +losing its distinctness in the giddy eyes of one whose blood was +ebbing before it, and settling into some such rigid majesty as +this, as Death came creeping over the upturned face."—<i>Dickens.</i></p> + +<p>"Cæsar was persuaded at first by the entreaties of his wife +Calpurnia, who had received secret warning of the plot, to send an +excuse to the senate; but afterwards, being ridiculed by Brutus for +not going, was carried thither in a litter.... At the moment when +Cæsar descended from his litter at the door of the hall, Popilius +Læna approached him, and was observed to enter into earnest +conversation with<a name="vol_2_page_180" id="vol_2_page_180"></a> him. The conspirators regarded one another, and +mutually revealed their despair with a glance. Cassius and others +were grasping their daggers beneath their robes; the last resource +was to despatch themselves. But Brutus, observing that the manner +of Popilius was that of one supplicating rather than warning, +restored his companions' confidence with a smile. Caesar entered; +his enemies closed in a dense mass around him, and while they led +him to his chair kept off all intruders. Trebonius was specially +charged to detain Antonius in conversation at the door. Scarcely +was the victim seated, when Tillius Cimber approached with a +petition for his brother's pardon. The others, as was concerted, +joined in the supplication, grasping his hands, and embracing his +neck. Cæsar at first put them gently aside, but, as they became +more importunate, repelled them with main force. Tillius seized his +toga with both hands, and pulled it violently over his arms. Then +P. Casca, who was behind, drew a weapon, and grazed his shoulder +with an ill-directed stroke. Cæsar disengaged one hand, and +snatched at the hilt, shouting, 'Cursed Casca, what means +this?'—'Help,' cried Casca to his brother Lucius, and at the same +moment the others aimed each his dagger at the devoted object. +Cæsar for an instant defended himself, and even wounded one of his +assailants with his stylus; but when he distinguished Brutus in the +press, and saw the steel flashing in his hand also, 'What, thou +too, Brutus!' he exclaimed, let go his hold of Casca, and drawing +his robe over his face, made no further resistance. The assassins +stabbed him through and through, for they had pledged themselves, +one and all, to bathe their daggers in his blood. Brutus himself +received a wound in their eagerness and trepidation. The victim +reeled a few paces, propped by the blows he received on every side, +till he fell dead at the foot of Pompeius' statue."—<i>Merivale</i>, +ch. xxi.</p></div> + +<p>The collection of pictures in this palace is little worth seeing. Among +its other sculptures are eight grand reliefs, which, till 1620, were +turned upside down, and used as a pavement in Sant' Agnese fuori Mura; +and a fine statue of Aristotle.</p> + +<div class="blockquot"><p>"Aristote est à Rome, vous pouvons l'aller voir au palais Spada, +tel que le peignent ses biographes et des vers de Christodore sur +une statue qui était à Constantinople, les jambes grêles, les joues +maigres, le bras hors du manteau, <i>exserto brachio</i>, comme dit +Sidoine Apollinaire d'une autre statue qui était à Rome. Le +philosophe est ici sans barbe aussi<a name="vol_2_page_181" id="vol_2_page_181"></a> bien que sur plusieurs pierres +gravées; on attribuait à Aristote l'habitude de se raser, rare +parmi les philosophes et convenable à un sage qui vivait à la cour. +Du reste, c'est bien là <i>le maître de ceux qui savent</i>, selon +l'expression de Dante, corps usé par l'étude, tête petite mais qui +enferme et comprend tout."—<i>Ampère</i>, <i>Hist. Rom.</i> iii. 547.</p></div> + +<p>A little further, on the right, is the <i>Church of the Trinità dei +Pellegrini</i>, built in 1614; the façade designed by Francesco de' +Sanctis. It contains a picture of the Trinity by <i>Guido</i>.</p> + +<p>The hospital attached to this church was founded by S. Filippo Neri for +receiving and nourishing pilgrims of pious intention, who had come from +more than sixty miles' distance, for a space of from three to seven +days. It is divided into two parts, for males and females. Here, during +the Holy Week, the feet of the pilgrims are publicly washed, those of +the men by princes, cardinals, &c., those of the women by queens, +princesses, and other ladies of rank. In this case the washing is a +reality, the feet not having been "prepared beforehand," as for the +Lavanda at St Peter's.</p> + +<p>An authentic portrait of S. Filippo Neri is preserved here, said to have +been painted surreptitiously by an artist who happened to be one of the +inmates of the hospital. When S. Filippo saw it, he said, "You should +not have stolen me unawares."</p> + +<p>The building in front of this church is the <i>Monte di Pietà</i>, founded by +the Padre Calvo, in the fifteenth century, to preserve the people from +suffering under the usury of the Jews. It is a government establishment, +where money is lent at the rate of five per cent. to every class of +person. Poor people, especially "Donne di facenda," who have no work in +the summer, thankfully avail themselves<a name="vol_2_page_182" id="vol_2_page_182"></a> of this and pawn their +necklaces and earrings, which they are able to redeem when the means of +subsistence come back with the return of the forestieri. Many Roman +servants go through this process annually, and though the Monte di Pietà +is often a scene of great suffering when unredeemed goods are sold for +the benefit of the establishment, it probably in the main serves to +avert much evil from the poorer classes.</p> + +<p>A short distance further, following the Via dei Specchi, surrounded by +miserable houses (in one of which is a beautiful double gothic window, +divided by a twisted column), is the small <i>Church of Sta. Maria in +Monticelli</i>, which has a fine low campanile of 1110. Admission may +always be obtained through the sacristy to visit the famous +"miracle-working" picture called "Gesù Nazareno," a modern half-length +of Our Saviour, with the eyelids drooping and half-closed. By an +illusion of the painting, the eyes, if watched steadily, appear to open +and then slowly to close again as if falling asleep,—in the same way +that many English family portraits appear to follow the living +bystanders with their eyes; but the effect is very curious. In the case +of this picture, the pope turned Protestant, and disapproving of the +attention it excited, caused its secret removal. Remonstrance was made, +that the picture had been a "regalo" to the church, and ought not to be +taken away, and when it was believed to be sufficiently forgotten, it +was sent back by night. The mosaics in the apse of this obscure church +are for the most part quite modern, but enclose a very grand and +expressive head of the Saviour of the World, which dates from 1099, when +it was ordered by Pope Paschal II.</p> + +<p>A little to the left of this church is the <i>Palazzo Santa<a name="vol_2_page_183" id="vol_2_page_183"></a> Croce</i>. This +palace will bring to mind the murder of the Marchesa Costanza Santa +Croce, by her two sons (because she would not name them her heirs), on +the day when the fate of Beatrice Cenci was trembling in the balance, +which brought about her condemnation—the then pope, Clement VIII., +determining to make her terrible punishment "an example to all +parricides."</p> + +<p>Prince Santa Croce claims to be a direct descendant of Valerius +Publicola, the "friend of the people," who is commemorated in the name +of a neighbouring church, "Sancta Maria de Publicolis."</p> + +<p>This is one of the few haunted houses in Rome: it is said that by night +two statues of Santa Croce cardinals descend from their pedestals, and +rattle their marble trains about its long galleries.</p> + +<p>Hence a narrow street leads to the <i>Church of S. Carlo a Catinari</i>, +built in the seventeenth century, from designs of Rosati and Soria. It +is in the form of a Greek cross. The very lofty cupola is adorned with +frescoes of the cardinal virtues by <i>Domenichino</i>, and a fresco of S. +Carlo, by <i>Guido</i>, once on the façade of the church, is now preserved in +the choir. Over the high altar is a large picture by <i>Pietro da +Cortona</i>, of S. Carlo in a procession during the plague at Milan. In the +first chapel on the right, is the Annunciation, by <i>Lanfranco</i>; in the +second chapel, on the left, the Death of St. Anna, by <i>Andrea Sacchi</i>. +On the pilaster of the last chapel on the right is a good modern tomb, +with delicate detail. The cord which S. Carlo Borromeo wore round his +neck in the penitential procession during the plague at Milan, is +preserved as a relic here. The Catinari, from whom this church is named, +were makers of wooden dishes, who had<a name="vol_2_page_184" id="vol_2_page_184"></a> stalls in the adjoining piazza, +or sold their wares on its steps. The street opening from hence (Via de +Giubbonari) contains on its right the Palazzo Pio; at the back of which +are the principal remains of <i>The Theatre of Pompey</i>, which was once of +great magnificence. In the portico (of a hundred columns) attached to +this theatre, Brutus sate as prætor, on the morning of the murder of +Julius Cæsar, and close by was the Curia, or senate-house, where:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">——"In his mantle muffling up his face,<br /></span> +<span class="i0">Even at the base of Pompey's statue,<br /></span> +<span class="i0">Which all the while ran blood, great Cæsar fell."<a name="FNanchor_304_304" id="FNanchor_304_304"></a><a href="#Footnote_304_304" class="fnanchor">[304]</a><br /></span> +</div></div> + +<p>Behind the remains of the theatre, perhaps on the very site of the +Curia, rises the fine modern <i>Church of S. Andrea della Valle</i>,<a name="FNanchor_305_305" id="FNanchor_305_305"></a><a href="#Footnote_305_305" class="fnanchor">[305]</a> +begun in 1591, by Olivieri, and finished by Carlo Maderno. The façade is +by Carlo Rainaldi. The cupola is covered with frescoes by <i>Lanfranco</i>, +those of the four Evangelists at the angles being by <i>Domenichino</i>, who +also painted the flagellation and glorification of St. Andrew in the +tribune. Beneath the latter are frescoes of events in the life of St. +Andrew by <i>Calabrese</i>.</p> + +<div class="blockquot"><p>"In the fresco of the Flagellation, the apostle is bound by his +hands and feet to four short posts set firmly in the ground; one of +the executioners, in tightening a cord, breaks it, and falls back; +three men prepare to scourge him with thongs: in the foreground we +have the usual group of the mother and her frightened children. +This is a composition full of dramatic life and movement, but +unpleasing."—<i>Jameson's Sacred Art</i>, p. 229.</p></div> + +<p>In the second chapel on the left is the tomb of Giovanni della Casa, +archbishop of Beneventum, 1556.<a name="vol_2_page_185" id="vol_2_page_185"></a></p> + +<p>The last piers of the nave are occupied by the tombs of Pius II., Eneas +Sylvius Piccolomini (1458—64), and Pius III., Todeschini (1503), +removed from the old basilica of St. Peter's. The tombs are hideous +erections in four stages, by Niccolo della Guardia and Pietro da Todi. +The epitaph of the famous Eneas Sylvius is as good as a biography.</p> + +<div class="blockquot"><p>"Pius II., sovereign pontiff, a Tuscan by nation, by birth a native +of Siena, of the family of the Piccolomini, reigned for six years. +His pontificate was short, but his glory was great. He reunited a +Christian Council (Basle) in the interests of the faith. He +resisted the enemies of the holy Roman see, both in Italy and +abroad. He placed Catherine of Siena amongst the saints of Christ. +He abolished the Pragmatic Sanction in France. He re-established +Ferdinand of Arragon in the kingdom of Sicily. He increased the +power of the Church. He established the alum mines which were +discovered near Talpha. Zealous for religion and justice, he was +also remarkable for his eloquence. As he was setting out for the +war which he had declared against the Turks, he died at Ancona. +There he had already his fleet prepared, and the doge of Venice, +with his senate, as companions in arms for Christ. Brought to Rome +by a decree of the fathers, he was laid in this spot, where he had +ordered the head of St. Andrew, which had been brought him from the +Peloponnese, to be placed. He lived fifty-eight years, nine months, +and twenty-seven days. Francis, cardinal of Siena, raised this to +the memory of his revered uncle. <small>MCDLXIV.</small>"</p></div> + +<p>Pius III., who was the son of a sister of Eneas Sylvius, only reigned +for twenty-six days. His tomb was the last to be placed in the old St. +Peter's, which was pulled down by his successor.</p> + +<p>To the right, from S. Andrea della Valle runs the Via della Valle, on +the right of which is the <i>Palazzo Vidoni</i> (formerly called Caffarelli, +and Stoppani), the lower portion of which was designed by Raphael, in +1513, the upper floor being a later addition. There are a few +antiquities preserved here, among them the "Calendarium Prænestinum"<a name="vol_2_page_186" id="vol_2_page_186"></a> of +Verrius Flaccus, being five months of a Roman calendar found by Cardinal +Stoppani at Palestrina. At the foot of the stairs is a statue of Marcus +Aurelius. At one corner of the palace on the exterior is the mutilated +statue familiarly known as the <i>Abbate Luigi</i>, which was made to carry +on witty conversation with the Madama Lucrezia near S. Marco, as Pasquin +did with Marforio.</p> + +<p>To the left from St. Andrea della Valle runs the <i>Via S. Pantaleone</i>, on +the right of which, cleverly fitting into an angle of the street, is the +gloomy but handsome <i>Palazzo Massimo alle Colonne</i>, built <i>c.</i> 1526 by +Baldassare Peruzzi. The semi-circular portico has six Doric columns. +The staircase and fountain are peculiar and picturesque. In the loggia +is a fine antique lion.</p> + +<p>The palace is not often shown, but is a good specimen of one of the +smaller Roman princely houses. In the drawing-room, well placed, is the +famous <i>Statue of the Discobolus</i>, a copy of the bronze statue of Myron, +found in 1761, upon the Esquiline, near the ruined nymphæum known as the +Trophies of Marius. This is more beautiful and better preserved than the +Discobolus of the Vatican, of which the head is modern.</p> + +<div class="blockquot"><p>"Le tête du discobole Massimi se retourne vers le bras qui lance le +disque, <span title="Greek: apestramminon eis tên diskophoron">απεστραμμἱνον εἱς +τἡν δισκοφὁρον</span>. Cette tête est admirable, ce qui est encore une +resemblance avec Myron, qui excellait dans les têtes comme +Polyclète dans les poitrines et Praxitèle dans les +bras."—<i>Ampère</i>, iii. 271.</p></div> + +<p>The entrance-hall has its distinctive dais and canopy adorned with the +motto of the family "Cunctando Restituit," in allusion to the descent +which they claim from the great dictator Fabius Maximus, who is +described by Ennius as having "saved the republic by delaying."<a name="vol_2_page_187" id="vol_2_page_187"></a></p> + +<div class="blockquot"><p>"Napoléon interpella un Massimo avec cette brusquerie qui +intimidait tant de gens: 'Est il vrai,' lui dit-il, 'que vous +descendiez de Fabius-Maximus?'</p> + +<p>"'—Je ne saurais le prouver,' répondit le noble romain, 'mais +c'est un bruit qui court depuis plus de mille ans dans notre +famille.'"—<i>About.</i></p></div> + +<p>On the second floor is a chapel in memory of the temporary resuscitation +to life by S. Filippo Neri of Paul Massimo, a youth of fourteen, who had +died of a fever, March 16th, 1584.</p> + +<div class="blockquot"><p>"S. Filippo Neri was the spiritual director of the Massimo family; +it is in his honour that the Palazzo Massimo is dressed up in +festal guise every 16th of March. The annals of the family narrate, +that the son and heir of Prince Fabrizio Massimo died of a fever at +the age of fourteen, and that St. Philip, coming into the room amid +the lamentations of the father, mother, and sisters, laid his hand +upon the brow of the youth, and called him by his name, on which he +revived, opened his eyes, and sate up—'Art thou unwilling to die?' +asked the saint. 'No,' sighed the youth. 'Art thou resigned to +yield thy soul to God?' 'I am.' 'Then go,' said Philip. 'Va, che +sii benedetto, e prega Dio per noi.'—The boy sank back on his +pillow with a heavenly smile on his face and expired."—<i>Jameson's +Monastic Orders.</i></p></div> + +<p>The back of the palace towards the Piazza Navona is covered with curious +frescoes in distemper by <i>Daniele di Volterra.</i></p> + +<p>In buildings belonging to this palace, Pannartz and Schweinheim +established the first printing-office in Rome in 1455. The rare editions +of this time bear in addition to the name of the printers, the +inscription, "In ædibus Petri de Maximis."</p> + +<div class="blockquot"><p>"Conrad Sweynheim et Arnold Pannartz s'établirent près de Subiaco, +au monastère de Sainte-Scholastique, qui était occupé par les +Bénédictins de leur nation, et publièrent successivement, avec le +concours des moines, les <i>[Oe]uvres de Lactance</i>, la <i>Cité de Dieu</i> +de saint Augustin, et le traité <i>de Oratore</i> de Cicéron. En 1467, +ils se transportèrent à Rome, au palais Massimi, où ils +s'associèrent Jean André de Bussi, évêque d'Aleria, qui avait +étudié sous Victorin de Feltre, et<a name="vol_2_page_188" id="vol_2_page_188"></a> dont la science leur fut d'une +haute utilité pour la correction de leurs textes. Le savant évêque +leur donnait son temps, ses veilles:—'Malheureux métier,' +disait-il, 'qui consiste non pas à chercher des perles dans le +fumier, mais du fumier parmi les perles!'—Et cependant il s'y +adonnait avec passion, sans même y trouver l'aisance. Les livres, +en effet, se vendirent d'abord si mal que Jean-André de Bussi +n'avait pas toujours de quoi se faire faire la barbe. Les premiers +livres qu'il publia chez Conrad et Arnold furent la <i>Grammaire de +Donatus</i>, à trois cents exemplaires, et les <i>Épitres familières de +Cicéron</i>, à cinq cent cinquante."—<i>Gournerie</i>, <i>Rome Chrétienne</i>, +ii. 79, 1.</p></div> + +<p>Further, on the right, is the modernized <i>Church of S. Pantaleone</i>, +built originally in 1216 by Honorius III., and given by Gregory XV., in +1641, to S. Giuseppe Calasanza, founder of the Order of the Scolopians, +and of the institution of the Scuola Pia. He died in 1648, and is buried +here in a porphyry sarcophagus.</p> + +<p>Adjoining this, is the very handsome <i>Palazzo Braschi</i>, the last result +of papal nepotism in Rome,—built at the end of the last century by +Morelli, for the Duke Braschi, nephew of Pius VI. The staircase, which +is, perhaps, the finest in Rome, is adorned with sixteen columns of red +oriental granite. Annual subscription balls for charities are held in +this palace.</p> + +<p>At the further corner of the Braschi palace stands the mutilated but +famous statue called Pasquino, from a witty tailor, who once kept a shop +opposite, and who used to entertain his customers with all the clever +scandal of the day. After the tailor's death his name was transferred to +the statue, on whose pedestal were appended witty criticisms on passing +events, sometimes in the form of dialogues which Pasquino was supposed +to hold with his friend Marforio, another statue at the foot of the +Capitol. From the repartees appended to this statue the term Pasquinade +is derived.<a name="vol_2_page_189" id="vol_2_page_189"></a></p> + +<p>Pasquin has naturally been regarded as a mortal enemy by the popes, who, +on several occasions, have made vain attempts to silence him. The +bigoted Adrian VI. wished to have the statue burnt and then thrown into +the Tiber, but it was saved by the suggestion of Ludovico Suessano, that +his ashes would turn into frogs, who would croak louder than he had +done. When Marforio, in the hope of stopping the dialogues, was shut up +in the Capitoline museum, the pope attempted to incarcerate Pasquino +also, but he was defended by his proprietor, Duke Braschi. Among +offensive Pasquinades which have been placed here are:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Venditur hic Christus, venduntur dogmata Petri,<br /></span> +<span class="ist">Descendam infernum ne quoque vendar ego."<br /></span> +</div></div> + +<p>Among the earliest Pasquinades were those against the venality and evil +life of Alexander VI. (Rodrigo Borgia, 1492—1503):</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Vendit Alexander claves, altaria, Christum:<br /></span> +<span class="ist">Emerat ille prius, vendere jure potest."<br /></span> +</div></div> + +<p class="nind">and,</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Sextus Tarquinius, Sextus Nero—Sextus et iste;<br /></span> +<span class="ist">Semper sub Sextis perdita Roma fuit."<br /></span> +</div></div> + +<p class="nind">and, upon the body of his son Giovanni, murdered by his brother Cæsar +Borgia, being fished up on the following day from the Tiber:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Piscatorem hominum re te non, Sexte, putemus,<br /></span> +<span class="ist">Piscaris natum retibus ecce tuum."<br /></span> +</div></div> + +<p>In the reign of the warlike Julius II. (1503—13), of whom it is said +that he threw the keys of Peter into the Tiber, while marching his army +out of Rome, declaring that the sword of Paul was more useful to him:<a name="vol_2_page_190" id="vol_2_page_190"></a></p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Cum Petri nihil efficiant ad prælia claves,<br /></span> +<span class="i0">Auxilio Pauli forsitan ensis erit."<br /></span> +</div></div> + +<p class="nind">and, in allusion to his warlike beard:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Huc barbam Pauli, gladium Pauli, omnia Pauli:<br /></span> +<span class="ist">Claviger ille nihil ad mea vota Petrus."<br /></span> +</div></div> + +<p>At a moment of great unpopularity:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Julius est Romæ, quid abest? Date, numina, Brutum.<br /></span> +<span class="ist">Nam quoties Romæ est Julius, ilia perit."<br /></span> +</div></div> + +<p>In reference to the sale of indulgences and benefices by Leo X.:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Dona date, astantes; versus ne reddite; sola<br /></span> +<span class="ist">Imperat æthereis alma Moneta deis."<br /></span> +</div></div> + +<p class="nind">and to his love of buffoons:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Cur non te fingi scurram, Pasquille, rogasti?<br /></span> +<span class="ist">Cum Romæ scurris omnia jam licent."<br /></span> +</div></div> + +<p class="nind">and with reference to the death of Leo, suddenly, under suspicion of +poison, and without the sacrament:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Sacra sub extrema, si forte requiritis, horâ<br /></span> +<span class="ist">Cur Leo non potuit sumere: vendiderat."<br /></span> +</div></div> + +<p>On the death of Clement VII. (1534), attributed to the mismanagement of +his physician, Matteo Curzio:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Curtius occidit Clementem—Curtius auro<br /></span> +<span class="ist">Donandus, per quem publica parta salus."<br /></span> +</div></div> + +<p>To Paul III. (1534—50) who attempted to silence him, Pasquin replied:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Ut canerent data multa olim sunt vatibus æra;<br /></span> +<span class="ist">Ut taceam, quantum tu mihi, Paule, dabis."<br /></span> +</div></div> + +<p>Upon the spoliation of ancient Rome by Urban VIII.:</p> + +<p class="c">"Quod non fecerunt barbari, fecerunt Barberini."</p> + +<p><a name="vol_2_page_191" id="vol_2_page_191"></a></p> + +<p>Upon the passion of Innocent X. (1644—55) for his sister-in-law, +Olympia Maldacchini:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Magis amat Olympiam quam Olympum."<br /></span> +</div></div> + +<p>Upon Christina of Sweden, who died at Rome, in 1689:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Regina senza Regno,<br /></span> +<span class="ist">Christiana senza Fede,<br /></span> +<span class="ist">E Donna senza Vergogna."<br /></span> +</div></div> + +<p>In reference to the severities of the Inquisition during the reign of +Innocent XI. (1676—89):</p> + +<div class="blockquot"><p>"Se parliamo, in galera; se scriviamo, impiccati; se stiamo in +quiete, al santo uffizio. Eh!—che bisogna fare?"</p></div> + +<p>To Francis of Austria, on his visit to Rome:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Gaudium urbis,—fletus provinciarum,—risus mundi."<br /></span> +</div></div> + +<p>After an awful storm, and the plunder of the works of art by Napoleon +occurring together:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"L'Altissimo in sù, ci manda la tempesta,<br /></span> +<span class="ist">L'Altissimo qua giù, ci toglia quel che resta,<br /></span> +<span class="i4">E fra le Due Altissimi,<br /></span> +<span class="i4">Stiamo noi malissimi."<br /></span> +</div></div> + +<p>During the stay of the French in Rome:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"I Francesi son tutti ladri."<br /></span> +<span class="i4">. . . . . . .<br /></span> +<span class="i0">"Non tutti—ma Buona parte."<br /></span> +</div></div> + +<p>Against the vain-glorious follies of Pius VI., Pasquin was especially +bitter. Pius finished the sacristry of St. Peter's, and inscribed over +its entrance, "Quod ad Templi Vaticani ornamentum publico vota +flagitabant, Pius VI. fecit." The next day Pasquin retorted:</p> + +<div class="poem"><div class="stanza"> + +<span class="i0">"Publica! mentiris! Non publica vota fuere,<br /></span> +<span class="ist">Sed tumidi ingenii vota fuere tui."<br /></span> +</div></div> + +<p><a name="vol_2_page_192" id="vol_2_page_192"></a></p> + +<p>Upon his nepotism, when building the Braschi palace:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Tres habuit fauces, et terno Cerberus ore<br /></span> +<span class="ist">Latratus intra Tartara nigra dabat.<br /></span> +<span class="ist">Et tibi plena fame tria sunt vel quatuor ora<br /></span> +<span class="ist">Quæ nulli latrant, quemque sed illa vocant."<br /></span> +</div></div> + +<p>And in allusion to the self-laudatory inscriptions of this pope upon all +his buildings, at a time when the two-baiocchi loaf of the common people +was greatly reduced in size; one of these tiny loaves was exhibited +here, with the satirical notice, "Munificentia Pii Sexti."</p> + +<p>But perhaps the most remarkable of all Pasquin's productions is his +famous Antithesis Christi:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Christus regna fugit—Sed vi Papa subjugat urbem.<br /></span> +<span class="ist">Spinosam Christus—Triplicem gerit ille coronam.<br /></span> +<span class="ist">Abluit ille pedes—Reges his oscula præbent.<br /></span> +<span class="ist">Vectigal solvit—Sed clerum hic eximit omnem.<br /></span> +<span class="ist">Pavit oves Christus—Luxum hic sectatur inertem.<br /></span> +<span class="ist">Pauper erat Christus—Regna hic petit omnia mundi.<br /></span> +<span class="ist">Bajulat ille crucem—Hic servis portatur avaris.<br /></span> +<span class="ist">Spernit opes Christus—Auri hic ardore tabescit.<br /></span> +<span class="ist">Vendentes pepulit templo—Quos suscipit iste.<br /></span> +<span class="ist">Pace venit Christus—Venit hic radiantibus armis.<br /></span> +<span class="ist">Christus mansuetus venit—Venit ille superbus.<br /></span> +<span class="ist">Quas leges dedit hic—Præsul dissolvit iniquus.<br /></span> +<span class="ist">Ascendit Christus—Descendit ad infera Præsul."<br /></span> +</div></div> + +<p>The statue called Pasquin is said to represent Menelaus with the body of +Patroclus, and to be the same as two groups which still exist at +Florence, but so little remains of either of these heroes, that it could +only have been when overpowered by "L'esprit de contradiction," that +Bernini protested that this was "the finest piece of ancient sculpture +in Rome."</p> + +<div class="blockquot"><p>"A l'angle que forment deux rues de Rome se voit encore il +Pasquino, nom donné par le peuple à un des plus beaux restes de la +sculpture<a name="vol_2_page_193" id="vol_2_page_193"></a> antique. Bernin, qui exagérait, disait le plus beau; +cette assertion fut sur le point d'attirer un duel à celui qui se +l'était permise. Tout homme qui s'avise d'avoir une opinion sur les +monuments de Rome s'applaudira pour son compte, en le regrettant +peut-être, qu'on ne prenne plus si à cœur les questions +archéologiques."—<i>Ampère, Hist. Rome</i>, iii. 440.</p> + +<p>"Jan. 16, 1870: The public opinion of Rome has only one traditional +organ. It is that mutilated block of marble called Pasquin's statue +... on which are mysteriously affixed by unknown hands the frequent +squibs of Roman mother-wit on the events of the day. That organ has +now uttered its cutting joke on the Fathers in Council. Some +mornings ago there was found pasted in big letters on this defaced +and truncated stump of a once choice statue the inscription, +'Libero come il Concilio.' The sarcasm is admirably to the +point."—<i>Times.</i></p></div> + +<p>Following the Via dell' Anima from hence, on the right, opposite the +mediæval <i>Torre Mellina</i>, is the <i>Church of Sant' Agnese</i>. It was built +in 1642 by Girolamo Rainaldi, in the form of a Greek cross, upon the +site of the scaffold where St. Agnes, in her fourteenth year, was +compelled to be burnt alive.<a name="FNanchor_306_306" id="FNanchor_306_306"></a><a href="#Footnote_306_306" class="fnanchor">[306]</a> When</p> + +<div class="blockquot"><p>"The blessed Agnes, with her hands extended in the midst of the +flames, prayed thus: 'It is to thee that I appeal, to thee, the +all-powerful, adorable, perfect, terrible God. O my Father, it is +through thy most blessed Son that I have escaped from the menaces +of a sacrilegious tyrant, and have passed unblemished through +shameful abominations. And thus I come to thee, to thee whom I have +loved, to thee whom I have sought, and whom I have always +chosen."—<i>Roman Breviary.</i></p></div> + +<p>Then the flames, miraculously changed into a heavenly shower, refreshed +instead of burning her, and dividing in two, and leaving her uninjured, +consumed her executioners, and the virgin saint cried:—</p> + +<div class="blockquot"><p>"I bless Thee, O Father of my God and Saviour Jesus Christ, who, by +the power of this thy well-beloved Son, commanded the fire to +respect me."<a name="vol_2_page_194" id="vol_2_page_194"></a></p> + +<p>"At this age, a young girl trembles at an angry look from her +mother; the prick of a needle draws tears as easily as a wound. Yet +fearless under the bloody hands of her executioners, Agnes is +immoveable under the heavy chains which weigh her down; ignorant of +death, but ready to die, she presents her body to the point of the +sword of a savage soldier. Dragged against her will to the altar, +she holds forth her arms to Christ through the fires of the +sacrifice; and her hand forms even in those blasphemous flames the +sign which is the trophy of a victorious Saviour. She presents her +neck and her two hands to the fetters which they bring for her, but +it is impossible to find any small enough to encircle her delicate +limbs."—<i>St. Ambrose.</i></p></div> + +<p>The statue of St. Sebastian in this church is an antique, altered by +<i>Maini</i>, that of St. Agnes is by <i>Ercole Ferrata</i>; the bas-relief of St. +Cecilia is by <i>Antonio Raggi</i>. Over the entrance is the half-length +figure and tomb of Innocent X. (Gio. Battista Pamfili, 1644—55), an +amiable but feeble pope, who was entirely governed by his strong-minded +and avaricious sister-in-law, Olympia Maldacchini, who deserted him on +his death-bed, making off with the accumulated spoils of his ten years' +papacy, which enabled her son, Don Camillo, to build the Palazzo Doria +Pamfili, in the Corso, and the beautiful Villa Doria Pamfili.<a name="FNanchor_307_307" id="FNanchor_307_307"></a><a href="#Footnote_307_307" class="fnanchor">[307]</a></p> + +<div class="blockquot"><p>"After the three days during which the body of Innocent remained +exposed at St. Peter's, say the memoirs of the time, no one could +be found who would undertake his burial. They sent to tell Donna +Olympia to prepare for him a coffin, and an escutcheon, but she +answered that she was a poor widow. Of all his other relations and +nephews, not one gave any sign of life; so that at length the body +was carried away into a chamber where the masons kept their tools. +Some one, out of pity, placed a lighted tallow-candle near the +head; and some one else having mentioned that the room was full of +rats, and that they might eat the corpse, a person was found who +was willing to pay for a watcher. And after another day had +elapsed, Monsignor Scotti, the majordomo, had pity upon him, and +prepared him a coffin of poplar-wood, and Monsignor Segni, Canon of +St. Peter's, who had been his majordomo, and whom he had dismissed, +returned him good for evil, and expended five crowns for his +burial."—<i>Gregorovius.</i></p></div> + +<p>Beneath the church are vaulted chambers, said to be part of the house of +infamy where St. Agnes was publicly exposed<a name="FNanchor_308_308" id="FNanchor_308_308"></a><a href="#Footnote_308_308" class="fnanchor">[308]</a> before her execution.</p> + +<div class="blockquot"><p>"As neither temptation nor the fear of death could prevail with +Agnes, Sempronius thought of other means to vanquish her +resistance; he ordered her to be carried by force to a place of +infamy, and exposed to the most degrading outrages. The soldiers, +who dragged her thither, stripped her of her garments; and when she +saw herself thus exposed, she bent down her head in meek shame and +prayed; and immediately her hair, which was already long and +abundant, became like a veil, covering her whole person from head +to foot; and those who looked upon her were seized with awe and +fear as of something sacred, and dared not lift their eyes. So they +shut her up in a chamber, and she prayed that the limbs which had +been consecrated to Jesus Christ should not be dishonoured, and +suddenly she saw before her a white and shining garment, with which +she clothed herself joyfully, praising God, and saying, 'I thank +thee, O Lord, that I am found worthy to put on the garment of thine +elect!' and the whole place was filled with miraculous light, +brighter than the sun at noon-day.</p> + +<p class="c">* * * * * * +* * </p> + +<p>"The chamber, which, for her preservation, was filled with heavenly +light, has become, from the change of level all over Rome, as well +as from the position of the church, a subterranean cell, and is now +a chapel of peculiar sanctity, into which you descend by +torchlight. The floor retains the old mosaic, and over the altar is +a bas-relief, representing St. Agnes, with clasped hands, and +covered only by her long tresses, while two ferocious soldiers +drive her before them. The upper church, as a piece of +architecture, is beautiful, and rich in precious marbles and +antique columns. The works of art are all mediocre, and of the 17th +century, but the statue over her altar has considerable elegance. +Often have I seen the steps of this church, and the church itself, +so crowded with kneeling worshippers at matins and vespers, that I +could not make my way among them;—principally the women of the +lower orders, with their distaffs and market baskets, who had come +thither to pray, through the intercession of the patron saint, for +the gifts of meekness and chastity,—gifts not abounding in these +regions."—<i>Jameson's Sacred Art.</i></p></div> + +<p>Yorkshire maidens, anxious to know who their future<a name="vol_2_page_196" id="vol_2_page_196"></a> spouse is to be, +still consult St. Agnes on St Agnes' Eve, after 24 hours' abstinence +from everything but pure spring water, in the distich:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"St. Agnes, be a friend to me,<br /></span> +<span class="ist">In the boon I ask of thee;<br /></span> +<span class="ist">Let me this night my husband see."<br /></span> +</div></div> + +<p>Here, on the festival of St. Agnes, the papal choir sing the antiphons +of the virgin saint, and the hymn "Jesu Corona Virginum."</p> + +<p>The front of Sant' Agnese opens upon the <i>Piazza Navona</i>, a vast oblong +square on the site of the ancient Circus Agonalis, decorated with three +fountains. That in the centre, by Bernini, supports an obelisk brought +from the Circus of Maxentius, where it was erected in honour of +Domitian. Around the mass of rock which supports the obelisk are figures +of the gods of the four largest rivers (Danube, Nile, Ganges, Rio de la +Plata). That of the Nile veiled his face, said Bernini, that he might +not be shocked by the façade which was added by Borromini to the Church +of St Agnes.</p> + +<div class="blockquot"><p>"Bernin s'ingéra de creuser un des fameux piliers de St. Pierre +pour y pratiquer un petit escalier montant à la tribune; aussitôt +le dôme prit coup et se fendit. On fut obligé de le relier tout +entier avec un cercle de fer. Ce n'est point raillerie, le cercle y +est encore; le mal n'a pas augmenté depuis. Par malheur pour le +pauvre cavalier, on trouva dans les Mémoires de Michel-Ange qu'il +avait recommandé, <i>sub pœnâ capitis</i>, de ne jamais toucher aux +quatre piliers massifs faits pour supporter le dôme, sachant de +quelle masse épouvantable il allait les charger; le pape voulait +faire pendre Bernin, qui, pour se rédimer, inventa la fontaine +Navone."—<i>De Brosses.</i></p></div> + +<p>The lower fountain, also by Bernini, is adorned with tritons and the +figure of a Moor. The great palace to the right of the church is the +<i>Palazzo Pamfili</i>, built by Rainaldi for Innocent X. in 1650. It +possesses a ceiling painted by <i>Pietro di Cortona</i> with the adventures +of Eneas. Its<a name="vol_2_page_197" id="vol_2_page_197"></a> music-hall is still occasionally used for public +concerts.</p> + +<p>It was in this palace that the notorious Olympia Maldacchini, foundress +of the Pamfili fortunes, besported herself during the reign of her +brother-in-law, Innocent X.</p> + +<div class="blockquot"><p>"The great object of Donna Olympia was to keep at a distance from +Innocent every person and every influence that could either lessen +her own, or go shares in the profits to be extracted from it. For +this, after all, was the great and ultimate scope of her exertions. +To secure the profits of the papacy in hard cash; this was the +problem. No appointment to office of any kind was made, except in +consideration of a proportionable sum paid down into her own +coffers. This often amounted to three or four years' revenue of the +place to be granted. Bishoprics and benefices were sold as fast as +they became vacant. One story is told of an unlucky disciple of +Simon, who on treating with the popess, for a very valuable see, +just fallen vacant, and hearing from her a price, at which it might +be his, far exceeding all he could command, persuaded the members +of his family to sell all they had for the purpose of making this +profitable investment. The price was paid, and the bishopric was +given to him, but with a fearful resemblance to the case of +Ananias, he died within the year; and his ruined family saw the see +a second time sold by the insatiable and incorrigible Olympia.... +During the last year of Innocent's life, Olympia literally hardly +ever quitted him. Once a week, we read, she left the Vatican, +secretly by night, accompanied by several porters carrying sacks of +coin, the proceeds of the week's extortions and sales, to her own +palace. And, during these short absences, she used to lock the pope +into his chamber, and take the key with her!"—<i>Trollope's Life of +Olympia Pamfili.</i></p></div> + +<p>On the opposite side of the piazza, some architectural fragments denote +the half-ruined <i>Church of S. Giacomo degli Spagnuoli</i> of the fifteenth +century. It possesses a gothic rose window, which is almost unique in +Rome. There is a handsome door on the other side towards the Via della +Sediola. The lower end of the square near this is occupied by the +<i>Palazzo Lancellotti</i>, built by Pirro Ligorio, behind which is the +frescoed front of Palazzo Massimo, mentioned above. The Piazza Navona +has been used as a market ever since 1447. In the hot months, the +singular<a name="vol_2_page_198" id="vol_2_page_198"></a> custom prevails of occasionally stopping the escape of water +from the fountains, and so turning the square into a lake, through which +the rich splash about in carriages, and eat ices and drink coffee in the +water, while the poor look on from raised galleries. It is supposed that +this practice is a remnant of the pleasures of the Naumachia, once +annually exhibited almost on this very spot, formerly the Circus +Agonalis.</p> + +<p>Vitale Mascardi gives an extraordinary account of the magnificent +tournament held here in 1634 in honour of the visit of Prince Alexander +of Poland, when the piazza was hung with draperies of gold and silver, +and Donna Anna Colonna and Donna Costanza Barberini awarded gorgeous +prizes of diamonds to noble and princely competitors.</p> + +<p>Nearly opposite Sant' Agnese, a short street leads (passing on the left, +Arvotti's, the famous Roman-scarf shop) to the front of the <i>Palazzo +Madama</i>, which is sometimes said to derive its name from Margaret of +Parma, daughter of Charles V., who once occupied it, and sometimes from +Catherine de' Medici, who also lived here, and under whom it was altered +in its present form by Paolo Marucelli. The balcony towards the piazza +is the scene every Saturday at noon of the drawing of the Roman lottery.</p> + +<div class="blockquot"><p>"In the middle of the balcony, on the rail, is fixed a glass +barrel, with a handle to turn it round. Behind it stand three or +four officials, who have been just now ushered in with a blast from +two trumpeters, also stationed in the balcony. Immediately behind +the glass barrel itself stands a boy of some twelve or thirteen +years, dressed in the white uniform of one of the orphan +establishments, with a huge white shovel hat. Some time is occupied +by the folding, and putting into the barrel, pieces of paper, +inscribed with the numbers, from one onwards. Each of these is +proclaimed, as folded and put in, by one of the officials who acts +as spokesman or crier. At last, after eighty-seven, eighty-eight,<a name="vol_2_page_199" id="vol_2_page_199"></a> +and eighty-nine have been given out, he raises his voice to a +chant, and sings forth, <i>Numero novanta</i>, 'number ninety,' this +completing the number put in.</p> + +<p>"And now, or before this, appears on the balcony another +character—no less a person than a Monsignore, who appears, not in +his ordinary, but in his more solemn official costume; and this +connects the ceremonial directly with the spiritual authority of +the realm. And now commences the drawing. The barrel having been +for some time turned rapidly round to shuffle the numbers, the +orphan takes off his hat, makes the sign of the cross, and having +waved his open hand in the air to show that it is empty, inserts it +into the barrel, and draws out a number, giving it to the +Monsignore, who opens it and hands it to the crier. This latter +then proclaims it—'<i>Prima-estratta, numero venti cinque</i>.' Then +the trumpets blow their blast, and the same is repeated four times +more: the proclamation varying each time, <i>Seconda estratta</i>, +<i>Terza</i>, <i>Quatra</i>, <i>Quinta</i>, etc., five numbers being thus the +whole drawn, out of ninety put in. This done, with various +expressions of surprise, delight, or disappointment from the crowd +below, the officials disappear, the square empties itself, and all +is as usual till the next Saturday at the same time....</p> + +<p>"In almost every street in Rome are shops devoted to the purchase +of lottery tickets. Two numbers purchased with the double chance of +these two numbers turning up are called an <i>ambo</i>, and three +purchased with the treble chance of those three turning up, are +called a <i>terno</i>, and, of course, the higher and more perilous the +stake, the richer the prize, if obtained."—<i>Alford's Letters from +Abroad.</i></p> + +<p>"Les étrangers qui viennent à Rome commencent par blâmer sévèrement +la loterie. Au bout de quelque temps, l'esprit de tolérance qui est +dans l'air pénètre peu-à-peu jusqu'au fond de leur cerveau; ils +excusent un jeu philanthropique qui fournit au pauvre peuple six +jours d'espérances pour cinq sous. Bientôt, pour se rendre compte +du mécanisme de la loterie, ils entrent euxmêmes dans un bureau, en +évitant de se laisser voir. Trois mois après, ils poursuivent +ouvertement une combinaison savante; ils ont une théorie +mathématique qu'ils signeraient volontiers de leur nom; ils donnent +des leçons aux nouveaux arrivés; ils érigent le jeu en principe et +jurent qu'un homme est impardonnable s'il ne laisse pas une porte +ouverte à la Fortune."—<i>About, Rome Contemporaine.</i></p></div> + +<p>The court at the back of the palazzo is now occupied by the General Post +Office.<a name="vol_2_page_200" id="vol_2_page_200"></a></p> + +<p>Close by is the <i>Church of S. Luigi dei Francesi</i>, rebuilt 1589, with a +façade by Giacomo della Porta. It contains a number of tombs of eminent +Frenchmen who have died in Rome, and some good pictures.</p> + +<p>Following the right aisle, the second chapel has frescoes from the life +of Sta. Cecilia, by <i>Domenichino</i> (she gives clothes to the poor,—is +crowned by an angel with her husband Valerian,—refuses to sacrifice to +idols,—suffers martyrdom,—enters into heaven).</p> + +<div class="blockquot"><p>"Domenichino is often cold and studied in the principal subject, +while the subordinate persons have much grace, and a noble +character of beauty. Of this the two frescoes in S. Luigi at Rome, +from the life of Sta. Cecilia, are striking examples. It is not the +saint herself, bestowing her goods from a balcony, who contributes +the chief subject, but the masterly group of poor people struggling +for them below. The same may be said of the death of the saint, +where the admiration and grief of the bystanders are +inimitable."—<i>Kugler.</i></p> + +<p>"Reclining on a couch, in the centre of the picture, her hand +pressed on her bosom, her dying eyes raised to heaven, the saint is +breathing her last; while female forms, of exquisite beauty and +innocence, are kneeling around, or bending over her. The noble +figure of an old man, whose clasped hands and bent brow seem to +bespeak a father's affection, appears on one side; and lovely +children, in all the playful graces of unconscious infancy, as +usual in Domenichino's paintings, by contrast heighten, yet +relieve, the deep pathos of the scene. From above, an angel—such +an angel as Domenichino alone knew how to paint, a cherub form of +light and loveliness—is descending on rapid wing, bearing to the +expiring saint the crown and palm of glory."—<i>Eaton's Rome.</i></p></div> + +<p>The copy of Raphael's Sta. Cecilia over the altar is by <i>Guido</i>. The +fourth chapel has on the right frescoes by <i>Girolamo Sicciolante</i>, on +the left by <i>Pellegrino da Bologna</i>, the altar-piece is by <i>Giacomo del +Conte</i>. The fifth chapel has on the right the monument of Agincourt (ob. +1814), the famous archæologist, on the left that of Guerin the painter.<a name="vol_2_page_201" id="vol_2_page_201"></a></p> + +<p>The high altar has an Assumption by <i>Bassano</i>.</p> + +<p>The first chapel in the left aisle has a St. Sebastian by <i>Massei</i>. In +the fifth chapel, of St. Matthew, three pictures by <i>Caravaggio</i> +represent the vocation and martyrdom of that saint.</p> + +<div class="blockquot"><p>"The paintings of Caravaggio at S. Luigi belong to his most +comprehensive works. The Martyrdom of St Matthew, with the angel +with a palm branch squatting upon a cloud, and a boy running away, +screaming, though highly animated, is an offensive production. On +the other hand, the Calling of the Apostle may be considered as a +<i>genre</i> picture of grand characteristic figures; for instance, +those of the money-changers and publican at the table; some of them +counting money, others looking up astonished at the entrance of the +Saviour."—<i>Kugler.</i></p> + +<p>"Over the altar is St. Matthew writing his Gospel; he looks up at +the attendant angel, who is behind with outspread wings, and in the +act of dictating. On the left is the Calling of St. Matthew: the +saint, who has been counting money, rises with one hand on his +breast, and turns to follow the Saviour: an old man, with +spectacles on his nose, examines with curiosity the personage whose +summons has had such a miraculous effect: a boy is slyly +appropriating the money which the apostle has thrown down. The +third picture is the martyrdom of the saint, who, in the sacerdotal +habit, lies extended on a block; while a half-naked executioner +raises the sword, and several spectators shrink back with horror. +There is nothing dignified or poetical in these representations; +and though painted with all that power of effect which +characterized Caravaggio, then at the height of his reputation, +they have also his coarseness of feeling and execution: the priests +were (not without reason) dissatisfied; and it required all the +influence of his patron, Cardinal Giustiniani, to induce them to +retain the pictures in the church where we now see +them."—<i>Jameson's Sacred Art</i>, p. 146.</p></div> + +<p>Amongst the monuments scattered over this church are those of Cardinal +d'Ossat, ambassador of Henry IV.; Cardinal de la Grange d'Arquien, +father-in-law of Sobieski, who died at the age of 105; Cardinal de la +Trémouille, ambassador of Louis XIV.; Madame de Montmorin, with an +epitaph by Chateaubriand; and Claude Lorraine, who is buried at the +Trinità di Monti.<a name="vol_2_page_202" id="vol_2_page_202"></a></p> + +<p>The pillars which separate the nave and aisles are of splendid Sicilian +jasper. They were intended for S. Ignazio, but when the Order of the +Jesuits was dissolved by Clement XIV., he presented them to S. Luigi.</p> + +<p>The site of this church, the Palazzo Madama, and their adjoining +buildings, was once occupied by the baths of Nero. They are commemorated +by the name of the small church "S. Salvatore in Thermis."</p> + +<p>In front of S. Luigi are the <i>Palaces Patrizi and Giustiniani</i>, and, +following—to the right—the Via della Sediola, on the left is the +entrance to the <i>University of the Sapienza</i>, founded by Innocent IV. in +1244 as a law school. Its buildings were begun by Pius III. and Julius +II., and extended by Leo X. on plans of Michael Angelo. The portico was +built under Gregory XIII. by Giacomo della Porta. The northern façade +was erected by Borromini, with the ridiculous church (S. Ivo), built in +the form of a bee to flatter Urban VIII., that insect being his device. +The building is called the Sapienza, from the motto, "Initium Sapientiæ +timor Domini," engraved over the window above the principal entrance. +Forty professors teach here all the different branches of law, medicine, +theology, philosophy, and philology.</p> + +<p>Behind the Sapienza is the small <i>Piazza di S. Eustachio</i>, containing on +three sides the Giustiniani, Lante, and Maccarini palaces, and +celebrated for the festival of the Befana,<a name="FNanchor_309_309" id="FNanchor_309_309"></a><a href="#Footnote_309_309" class="fnanchor">[309]</a> which takes place here.</p> + +<div class="blockquot"><p>"The Piazza and all the adjacent streets are lined with booths +covered with every kind of plaything for children. These booths are +gaily illuminated with rows of candles and the three-wick'd brass +<i>lucerne</i> of Rome; and at intervals, painted posts are set into the +pavement, crowned<a name="vol_2_page_203" id="vol_2_page_203"></a> with pans of grease, with a wisp of tow for +wick, from which flames blaze and flare about. Besides these, +numbers of torches carried about by hand lend a wavering and +picturesque light to the scene. By eight o'clock in the evening +crowds begin to fill the piazza and the adjacent streets. Long +before one arrives the squeak of penny-trumpets is heard at +intervals; but in the piazza itself the mirth is wild and furious, +and the din that salutes one's ears on entering is almost +deafening. The object of every one is to make as much noise as +possible, and every kind of instrument for this purpose is sold at +the booths. There are drums beating, <i>tamburelli</i> thumping and +jingling, pipes squeaking, watchman's rattles clacking, +penny-trumpets and tin-horns shrilling, the sharpest whistles +shrieking,—and mingling with these is heard the din of voices, +screams of laughter, and the confused burr and buzz of a great +crowd. On all sides you are saluted by the strangest noises. +Instead of being spoken to, you are whistled at. Companies of +people are marching together in platoons, or piercing through the +crowd in long files, and dancing and blowing like mad on their +instruments. It is a perfect witches' Sabbath. Here, huge dolls +dressed as Polichinello or Pantaloon are borne about for sale,—or +over the heads of the crowd great black-faced jumping-jacks, lifted +on a stick, twitch themselves in fantastic fits,—or, what is more +Roman than all, long poles are carried about strung with rings of +hundreds of <i>Giambelli</i> (a light cake, called jumble in English), +which are screamed for sale at a <i>mezzo baiocco</i> each. There is no +alternative but to get a drum, whistle, or trumpet, and join in the +racket,—and to fill one's pocket with toys for the children, and +absurd presents for one's older friends. The moment you are once in +for it, and making as much noise as you can, you begin to relish +the jest. The toys are very odd, particularly the Roman whistles; +some of these are made of pewter, with a little wheel that whirls +as you blow; others are of terra-cotta, very rudely modelled into +every shape of bird, beast, or human deformity, each with a whistle +in its head, breast, or tail, which it is no joke to hear, when +blown close to your ears by a stout pair of lungs. The scene is +extremely picturesque. Above, the dark vault of night, with its far +stars, the blazing and flaring of lights below, and the great, dark +walls of the Sapienza and church looking down grimly upon the +mirth."—<i>Story's Roba di Roma.</i></p></div> + +<p>The <i>Church of S. Eustachio</i> commemorates one, who, first a brave +soldier of the army of Titus in Palestine, became master of the horse +under Trajan, and general under Hadrian, and who suffered martyrdom for +refusing to<a name="vol_2_page_204" id="vol_2_page_204"></a> sacrifice to idols, by being roasted alive in a brazen bull +before the Coliseum, with his wife Theophista, and his sons, Agapetus +and Theophistus. The relics of these saints repose in a porphyry +sarcophagus under the high altar. The stags' heads on the portico and on +the apex of the gable refer to the legend of the conversion of St. +Eustace.</p> + +<div class="blockquot"><p>"One day, while hunting in the forest, he saw before him a white +stag, of marvellous beauty, and he pursued it eagerly, and the stag +fled before him, and ascended a high rock. Then Placidus (Eustace +was called Placidus before his conversion), looking up, beheld, +between the horns of the stag, a cross of radiant light, and on it +the image of the crucified Redeemer; and being astonished and +dazzled by this vision, he fell on his knees, and a voice which +seemed to come from the crucifix cried to him, and said, 'Placidus! +why dost thou pursue me? I am Christ, whom thou hast hitherto +served without knowing me. Dost thou now believe?' And Placidus +fell with his face to the earth, and said, 'Lord, I believe!' And +the voice answered, saying, 'Thou shall suffer many tribulations +for my sake, and shalt be tried by many temptations; but be strong +and of good courage, and I will not forsake thee.' To which +Placidus replied, 'Lord, I am content. Do thou give me patience to +suffer!' And when he looked up again the glorious vision had +departed."—<i>Jameson's Sacred Art</i>, p. 792.</p></div> + +<p>A similar story is told of St. Hubert, St. Julian, and St. Felix.</p> + +<p>A fresco of St. Peter, by <i>Pierino del Vaga</i>, in this church, was much +admired by Vasari, who dilates upon the boldness of its design, the +simple folds of its drapery, its careful drawing and judicious +treatment.</p> + +<p>Two streets lead from the Piazza S. Eustachio to—</p> + +<p><i>The Pantheon</i>, the most perfect pagan building in the city, built <small>B.C.</small> +27, by Marcus Agrippa, the bosom friend of Augustus Cæsar, and the +second husband of his daughter Julia. The inscription in huge letters, +perfectly legible from beneath, "<small>M. AGRIPPA. L. F. COS. TERTIUM FECIT</small>,"<a name="vol_2_page_205" id="vol_2_page_205"></a> +records its construction. Another inscription on the architrave, now +almost illegible, records its restoration under Septimius Severus and +his son Caracalla, <i>c.</i> 202, who, "Pantheum vetustate corruptum cum omni +cultu restitverunt." Some authorities have maintained that the Pantheon +was originally only a vast hall in the baths of Agrippa, acknowledged +remains of which exist at no great distance; but the name "Pantheum" was +in use as early as <small>A.D.</small> 59.</p> + +<p>In <small>A.D.</small> 399 the Pantheon was closed as a temple in obedience to a decree +of the Emperor Honorius, and in 608 was consecrated as a Christian +church by Pope Boniface IV., with the permission of the Emperor Phocas, +under the title of <i>Sta. Maria ad Martyres</i>. To this dedication we owe +the preservation of the main features of the building, though it had +been terribly maltreated. In 663 the Emperor Constans, who had come to +Rome with great pretence of devotion to its shrines and relics, and who +only staid there twelve days, did not scruple, in spite of its religious +dedication, to strip off the tiles of gilt bronze with which the roof +was covered, and carry them off with him to Syracuse, where, upon his +murder, a few years after, they fell into the hands of the Saracens. In +1087 it was used by the anti-pope Guibert as a fortress, whence he made +incursions upon the lawful pope, Victor III., and his protector, the +Countess Matilda. In 1101, another anti-pope, Sylvester IV., was elected +here. Pope Martin V., after the return from Avignon, attempted the +restoration of the Pantheon by clearing away the mass of miserable +buildings in which it was encrusted, and his efforts were continued by +Eugenius IV., but Urban VIII. (1623—44), though he spent 15,000 scudi +upon the Pantheon, and added the two ugly<a name="vol_2_page_206" id="vol_2_page_206"></a> campaniles, called in +derision "the asses' ears," of their architect, Bernini, did not +hesitate to plunder the gilt bronze ceiling of the portico, 450,250 lbs. +in weight, to make the baldacchino of St. Peter's, and cannons for the +Castle of S. Angelo. Benedict XIV. (1740—58) further despoiled the +building by tearing away all the precious marbles which lined the attic, +to ornament other buildings.</p> + +<p>The Pantheon was not originally, as now, below the level of the piazza, +but was approached by a flight of five steps. The portico, which is 110 +feet long and 44 feet deep, is supported by sixteen grand Corinthian +columns of oriental granite, 36 feet in height. The ancient bronze doors +remain. On either side are niches, once occupied by colossal statues of +Augustus and Agrippa.</p> + +<div class="blockquot"><p>"Agrippa wished to dedicate the Pantheon to Augustus, but he +refused, and only allowed his statue to occupy a niche on the right +of the peristyle, while that of Agrippa occupied the niche on the +left."—<i>Merivale.</i></p></div> + +<p>The <i>Interior</i> is a rotunda, 143 feet in diameter, covered by a dome. It +is only lighted by an aperture in the centre, 28 feet in diameter. Seven +great niches around the walls once contained statues of different gods +and goddesses, that of Jupiter being the central figure. All the +surrounding columns are of giallo-antico, except four, which are of +pavonazzetto, painted yellow. It is a proof of the great value and +rarity of giallo-antico, that it was always impossible to obtain more to +complete the set.</p> + +<div class="blockquot"><p>"L'intérieur du Panthéon, comme l'extérieur, est parfaitement +conservé, et les édicules, placés dans le pourtour du temple +forment les chapelles de l'église. Jamais la simplicité ne fut +alliée à la grandeur dans une plus heureuse harmonie. Le jour, +tombant d'en haut et glissant le long des colonnes et des parois de +marbre, porte dans l'âme un<a name="vol_2_page_207" id="vol_2_page_207"></a> sentiment de tranquillité sublime, et +donne à tous les objets, dit Serlio, un air de beauté. Vue du +dehors, la coupole de plomb qui a remplacé l'ancienne coupole de +bronze couverte de tuiles dorées, fait bien comprendre l'expression +de Virgile, lequel l'avait sous les yeux et peut-être en vue, quand +il écrivait:</p> + +<p class="c"> +... 'Media testudine templi.'<br /> +</p> + +<p>En effet, cette coupole surbaissée ressemble tout à fait à la +carapace d'une tortue."—<i>Ampère, Emp.</i> i. 342.</p> + +<p>"Being deep in talk, it so happened that they found themselves near +the majestic, pillared portico and huge black rotundity of the +Pantheon. It stands almost at the central point of the labyrinthine +intricacies of the modern city, and often presents itself before +the bewildered stranger when he is in search of other objects. +Hilda, looking up, proposed that they should enter.</p> + +<p>"They went in, accordingly, and stood in the free space of that +great circle, around which are ranged the arched recesses and +stately altars, formerly dedicated to heathen gods, but +Christianized through twelve centuries gone by. The world has +nothing else like the Pantheon. So grand it is, that the pasteboard +statues over the lofty cornice do not disturb the effect, any more +than the tin crowns and hearts, the dusty artificial flowers, and +all manner of trumpery gewgaws, hanging at the saintly shrines. The +rust and dinginess that have dimmed the precious marble on the +walls; the pavement, with its great squares and rounds of porphyry +and granite, cracked crosswise and in a hundred directions, showing +how roughly the troublesome ages have trampled here; the grey dome +above, with its opening to the sky, as if heaven were looking down +into the interior of this place of worship, left unimpeded for +prayers to ascend the more freely: all these things make an +impression of solemnity, which St. Peter's itself fails to produce.</p> + +<p>"'I think,' said Kenyon, 'it is to the aperture in the dome—that +great eye, gazing heavenward—that the Pantheon owes the +peculiarity of its effect. It is so heathenish, as it were—so +unlike all the snugness of our modern civilization! Look, too, at +the pavement directly beneath the open space! So much rain has +fallen there, in the last two thousand years, that it is green with +small, fine moss, such as grows over tombstones in damp English +churchyards.'</p> + +<p>"'I like better,' replied Hilda, 'to look at the bright, blue sky, +roofing the edifice where the builders left it open. It is very +delightful, in a breezy day, to see the masses of white cloud float +over the opening, and then the sunshine fall through it again, +fitfully, as it does now. Would it be any wonder if we were to see +angels hovering there, partly in and<a name="vol_2_page_208" id="vol_2_page_208"></a> partly out, with genial, +heavenly faces, not intercepting the light, but transmuting it into +beautiful colours? Look at that broad, golden beam—a sloping +cataract of sunlight—which comes down from the aperture, and rests +upon the shrine, at the right hand of the entrance.'"—<i>Hawthorne.</i></p> + +<p>... "'Entrons dans le temple,' dit Corinne: 'vous le voyez, il +reste découvert presque comme il l'était autrefois. On dit que +cette lumière qui venait d'en haut était l'emblème de la divinité +supérieure à toutes les divinités. Les païens ont toujours aimé les +images symboliques. Il semble en effet que ce langage convient +mieux à la religion que la parole. La pluie tombe souvent sur ces +parvis de marbre; mais aussi les rayons du soleil viennent éclairer +les prières. Quelle sérénité; quel air de fête on remarque dans cet +édifice! Les païens ont divinisé la vie, et les chrétiens ont +divinisé la mort: tel est l'esprit des deux cultes.'"—<i>Mad. de +Staël.</i></p> + +<p>"In the ancient Pantheon, when the music of Christian chaunts rises +among the shadowy forms of the old vanished gods painted on the +walls, and the light streams down, not from painted windows in the +walls, but from the glowing heavens above, every note of the +service echoes like a peal of triumph, and fills my heart with +thankfulness."—<i>Mrs. Charles.</i></p> + +<p>"'Where,' asked Redschid Pasha, on his visit to the Pantheon, 'are +the statues of the heathen gods?' 'Of course they were removed when +the temple was Christianized,' was the natural answer. 'No,' he +replied, 'I would have left them standing to show how the true God +had triumphed over them in their own house."—<i>Cardinal Wiseman.</i></p></div> + +<div class="poem"><div class="stanza"> +<span class="i0">"No, great Dome of Agrippa, thou art not Christian! canst not,<br /></span> +<span class="ist">Strip and replaster and daub and do what they will with thee, be so!<br /></span> +<span class="ist">Here underneath the great porch of colossal Corinthian columns,<br /></span> +<span class="ist">Here as I walk, do I dream of the Christian belfries above them;<br /></span> +<span class="ist">Or, on a bench as I sit and abide for long hours, till thy whole vast<br /></span> +<span class="ist">Round grows dim as in dreams to my eyes, I repeople thy niches,<br /></span> +<span class="ist">Not with the martyrs, and saints, and confessors, and virgins, and children,<br /></span> +<span class="ist">But with the mightier forms of an older, austerer worship;<br /></span> +<span class="ist">And I recite to myself, how<br /></span> +<span class="i6">'eager for battle here<br /></span> +<span class="i3">Stood Vulcan, here matronal Juno,<br /></span> +<span class="i4">And, with the bow to his shoulder faithful,<br /></span> +<span class="i2">He who with pure dew laveth of Castaly<br /></span> +<span class="i2">His flowing locks, who holdeth of Lycia<a name="vol_2_page_209" id="vol_2_page_209"></a><br /></span> +<span class="i2">The oak forest and the wood that bore him,<br /></span> +<span class="i3">Delos' and Patara's own Apollo.'"<br /></span> +<span class="i15"><i>A. H. Clough.</i><br /></span> +</div></div> + +<p>Some antiquarians have supposed that the aperture at the top of the +Pantheon was originally closed by a huge "Pigna," or pine-cone of +bronze, like that which crowned the summit of the mausoleum of Hadrian, +and this belief has been encouraged by the name of a neighbouring church +being S. Giovanni della Pigna.</p> + +<p>The Pantheon has become the burial-place of painters. Raphael, Annibale +Caracci, Taddeo Zucchero, Baldassare Peruzzi, Pierino del Vaga, and +Giovanni da Udine, are all buried here.</p> + +<p>The third chapel on the left contains the <i>tomb of Raphael</i> (born April +6, 1483; died April 6, 1520). From the pen of Cardinal Bembo is the +epigram:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Ille hic est Raphael, timuit quo sospite vinci<br /></span> +<span class="ist">Rerum magna parens, et moriente mori"<a name="FNanchor_310_310" id="FNanchor_310_310"></a><a href="#Footnote_310_310" class="fnanchor">[310]</a><br /></span> +</div></div> + +<div class="blockquot"><p>"Raphael mourut à l'âge de 37 ans. Son corps resta exposé pendant +trois jours. Au moment où l'on s'apprêtait à le descendre dans sa +dernière demeure, on vit arriver le pape (Leon X.) qui se +prosterna, pria quelques instants, bénit Raphael, et lui prit pour +la dernière fois la main, qu'il arrosa de ses larmes (si prostrò +innanzi l'estinto Rafaello et baciogli quella mano, tra le +lagrime). On lui fit de magnifiques funérailles, auxquelles +assistèrent les cardinaux, les artistes, &c."—<i>A. Du Pays.</i></p></div> + +<div class="poem"><div class="stanza"> +<span class="i6">"When Raphael went,<br /></span> +<span class="i0">His heavenly face the mirror of his mind,<br /></span> +<span class="i0">His mind a temple for all lovely things<br /></span> +<span class="i0">To flock to and inhabit—when He went,<br /></span> +<span class="i0">Wrapt in his sable cloak, the cloak he wore,<br /></span> +<span class="i0">To sleep beneath the venerable Dome,<a name="vol_2_page_210" id="vol_2_page_210"></a><br /></span> +<span class="i0">By those attended, who in life had loved,<br /></span> +<span class="i0">Had worshipped, following in his steps to Fame,<br /></span> +<span class="i0">('Twas on an April-day, when Nature smiles,)<br /></span> +<span class="i0">All Rome was there. But, ere the march began,<br /></span> +<span class="i0">Ere to receive their charge the bearers came,<br /></span> +<span class="i0">Who had not sought him? And when all beheld<br /></span> +<span class="i0">Him, where he lay, how changed from yesterday,<br /></span> +<span class="i0">Him in that hour cut off, and at his head<br /></span> +<span class="i0">His last great work;<a name="FNanchor_311_311" id="FNanchor_311_311"></a><a href="#Footnote_311_311" class="fnanchor">[311]</a> when, entering in, they looked<br /></span> +<span class="i0">Now on the dead, then on that masterpiece,<br /></span> +<span class="i0">Now on his face, lifeless and colourless,<br /></span> +<span class="i0">Then on those forms divine that lived and breathed,<br /></span> +<span class="i0">And would live on for ages—all were moved;<br /></span> +<span class="i0">And sighs burst forth, and loudest lamentations."<br /></span> +<span class="i15"><i>Rogers.</i><br /></span> +</div></div> + +<p>Taddeo Zucchero and Annibale Caracci are buried on either side of +Raphael. Near the high altar is a monument to Cardinal Gonsalvi +(1757—1824), the faithful secretary and minister of Pius VII., by +<i>Thorwaldsen</i>. This, however, is only a cenotaph, marking the spot where +his heart is preserved. His body rests with that of his beloved brother +Andrew in the church of S. Marcello.</p> + +<p>During the middle ages the pope always officiated here on the day of +Pentecost, when, in honour of the descent of the Holy Spirit, showers of +white rose-leaves were continually sent down through the aperture during +service.</p> + +<div class="blockquot"><p>"Though plundered of all its brass, except the ring which was +necessary to preserve the aperture above; though exposed to +repeated fire; though sometimes flooded by the river, and always +open to the rain, no monument of equal antiquity is so well +preserved as this rotunda. It passed with little alteration from +the pagan into the present worship; and so convenient were its +niches for the Christian altar, that Michael Angelo, ever studious +of ancient beauty, introduced their design as a model in the +Catholic church."—<i>Forsyth.</i> +<a name="vol_2_page_211" id="vol_2_page_211"></a></p></div> + +<div class="poem"><div class="stanza"> +<span class="i0">"Simple, erect, severe, austere, sublime—<br /></span> +<span class="ist">Shrine of all saints and temple of all gods,<br /></span> +<span class="ist">From Jove to Jesus—spared and bless'd by time,<br /></span> +<span class="ist">Looking tranquillity, while falls or nods<br /></span> +<span class="ist">Arch, empire, each thing round thee, and man plods<br /></span> +<span class="ist">His way through thorns to ashes—glorious dome!<br /></span> +<span class="ist">Shalt thou not last? Time's scythe and tyrant's rods<br /></span> +<span class="ist">Shiver upon thee—sanctuary and home<br /></span> +<span class="ist">Of art and piety—Pantheon! pride of Rome!"<br /></span> +<span class="i15"><i>Byron, Childe Harold.</i><br /></span> +</div></div> + +<p>In the Piazza della Rotonda is a small <i>Obelisk</i> found in the Campus +Martius.</p> + +<div class="blockquot"><p>"At a few paces from the streets where meat is sold, you will find +gathered round the fountain in the Piazza della Rotonda, a number +of bird-fanciers, surrounded by cages in which are multitudes of +living birds for sale. Here are Java sparrows, parrots and +parroquets, grey thrushes and nightingales, red-breasts (<i>petti +rossi</i>), yellow canary-birds, beautiful sweet-singing little +<i>cardellini</i>, and gentle ringdoves, all chattering, singing, and +cooing together, to the constant splashing of the fountain. Among +them, perched on stands, and glaring wisely out of their great +yellow eyes, may be seen all sorts of owls, from the great solemn +<i>barbigiani</i>, and white-tufted owl, to the curious little +<i>civetta</i>, which gives its name to all sharp-witted heartless +flirts, and the <i>aziola</i>, which Shelley has celebrated in one of +his minor poems."—<i>Story's Roba di Roma.</i></p></div> + +<p>(Following the Via della Rotonda from hence, in the third street on the +left is the small semicircular ruin called, from a fancied resemblance +to the favourite cake of the people, <i>Arco di Ciambella</i>. This is the +only remaining fragment of the baths of Agrippa, unless the Pantheon +itself was connected with them.)</p> + +<p>Behind the Pantheon, is the <i>Piazza della Minerva</i>, where a small +<i>Obelisk</i> was erected 1667 by Bernini, on the back of an elephant. It is +exactly similar to the obelisk in front of the Pantheon, and they were +both found near this site, where they formed part of the decorations of +the Campus Martius.<a name="vol_2_page_212" id="vol_2_page_212"></a> The hieroglyphics show that it dates from Hophres, +a king of the 25th dynasty. On the pedestal is the inscription:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Sapientis Ægypti insculptas obelisco figuras<br /></span> +<span class="ist">Ab elephanto belluarum fortissimo gestari<br /></span> +<span class="i2">Quisquis hic vides, documentum intellige<br /></span> +<span class="ist">Robustæ mentis esse solidam sapientiam sustinere."<br /></span> +</div></div> + +<p>One side of the piazza is occupied by the mean ugly front of the <i>Church +of Sta. Maria sopra Minerva</i>, built in 1370 upon the ruins of a temple +of Minerva founded by Pompey. It is the only gothic church in Rome of +importance. In 1848—55 it was redecorated with tawdry imitation +marbles, which have only a good effect when there is not sufficient +light to see them. In spite of this, the interior is very interesting, +and its chapels are a perfect museum of relics of art or history. The +services, too, in this church were, under the papal government, +exceedingly imposing, especially the procession on the night before +Christmas, the mass of St. Thomas Aquinas, and that of "the white mule +day." Some celebrated divine generally preaches here at 11 <small>A.M.</small> every +morning in Lent.</p> + +<p>Hither, on the feast of the Annunciation, comes the famous "Procession +of the White Mule," when the host is borne by the grand almoner riding +on the papal mule, followed by the pope in his glass coach, and a long +train of cardinals and other dignitaries. Up to the time of Pius VI., it +was the pope himself who rode upon the white mule, but Pius VII. was too +infirm, and since his time they have given it up. But this procession +has continued to be one of the finest <i>spectacles</i> of the kind, and has +been an opportunity for a loyal demonstration, balconies being hung with +scarlet draperies, and flowers showered down upon the papal<a name="vol_2_page_213" id="vol_2_page_213"></a> coach, +while the pope, on arriving and departing, has usually been received +with tumultuous "evivas."</p> + +<p>On the right of the entrance is the tomb of Diotisalvi, a Florentine +knight, ob. 1482. Beginning the circuit of the church by the right +aisle, the first chapel has a picture of S. Ludovico Bertrando, by +<i>Baciccio</i>, the paintings on the pilasters being by <i>Muziano</i>. In the +second, the Colonna Chapel, is the tomb of the late Princess Colonna +(Donna Isabella Alvaria of Toledo) and her child, who both died at +Albano in the cholera of 1867. The third chapel is that of the Gabrielli +family. The fourth is that of the Annunciation. Over its altar is a most +interesting picture, shown as a work of Fra Angelico, but more probably +that of <i>Benozzo Gozzoli</i>. It represents Monsignore Torquemada attended +by an angel, presenting three young girls to the Virgin, who gives them +dowries: the Almighty is seen in the clouds. Torquemada was a Dominican +Cardinal, who founded the association of the Santissima-Annunziata, +which holds its meetings in this chapel, and which annually gives +dowries to a number of poor girls, who receive them from the pope when +he comes here in state on the 25th of March. On this occasion, the girls +who are to receive the dowries are drawn up in two lines in front of the +church. Some are distinguished by white wreaths. They are those who are +going to "enter into religion," and who consequently receive double the +dowry of the others, on the plea that "money placed in the hands of +religion bears interest for the poor."</p> + +<p>Torquemada is himself buried in this chapel, opposite the tomb, by +Ambrogio Buonvicino, of his friend Urban VII., Giov. Battista Castagna, +1590,—who was pope only for eleven days.<a name="vol_2_page_214" id="vol_2_page_214"></a></p> + +<p>The fifth chapel is the burial-place of the Aldobrandini family. It +contains a faded Last Supper, by <i>Baroccio</i>.</p> + +<div class="blockquot"><p>"The Cenacolo of Baroccio, painted by order of Clement VIII. +(1594), is remarkable for an anecdote relating to it. Baroccio, who +was not eminent for a correct taste, had in his first sketch +reverted to the ancient fashion of placing Satan close behind +Judas, whispering in his ear, and tempting him to betray his +master. The pope expressed his dissatisfaction,—'che non gli +piaceva il demonio se dimesticasse tanto con Gesù Christo,'—and +ordered him to remove the offensive figure."—<i>Jameson's Sacred +Art</i>, p. 277.</p></div> + +<p>Here are the fine tombs erected by Clement VIII. (Ippolito Aldobrandini) +as soon as he obtained the papacy, to his father and mother. Their +architecture is by <i>Giacomo della Porta</i>, but the figures are by +<i>Cordieri</i>, the sculptor of Sta. Silvia's statue. At the sides of the +mother's tomb are figures emblematical of Charity, by that of the +father, figures of Humility and Vanity. Beyond his mother's tomb is a +fine statue of Clement VIII. himself (who is buried at Sta. Maria +Maggiore), by <i>Ippolito Buzi</i>.</p> + +<div class="blockquot"><p>"Hippolyte Aldobrandini, qui prit le nom de Clément VIII., était le +cinquième fils du célèbre jurisconsulte Silvestro Aldobrandini, +qui, après avoir professé à Pise et joui d'une haute autorité à +Florence, avait été condamné à l'exil par le retour au pouvoir des +Médicis ses ennemis. La vie de Silvestre devint alors pénible et +calamiteuse. Dépouillé de ses biens, il fut, du moins, toujours +ennoblir son malheur par la dignité de son caractère. Sa famille +présentait un rare assemblage de douces vertus et de jeunes talents +qu'une forte éducation développait chaque jour avec puissance. +Appelé à Rome par Paul III., qui le nomma avocat consistorial, +Silvester s'y transporta avec son épouse, la pieuse Leta Deti, qui, +pendant trente-sept ans, fut pour lui comme son bon ange, et avec +tous ses enfants, Jean, qui devait être un jour cardinal; Bernard, +qui devint un vaillant guerrier; Thomas, qui préparait déjà +peut-être sa traduction de Diogène-Laërce; Pierre, qui voulut être +jurisconsulte comme son père; et le jeune Hippolyte, un enfant +alors, dont les saillies inquiétaient le vieillard, car il ne +savait comment pourvoir à son éducation et utiliser cette vivacité +de génie qui déjà brillait<a name="vol_2_page_215" id="vol_2_page_215"></a> dans son regard. Hippolyte fut élevé +aux frais du cardinal Farnèse; puis, tous les emplois, toutes les +dignités vinrent successivement au-devant de lui, sans qu'il les +cherchât autrement qu'en s'en rendant digne."—<i>Gournerie, Rome +Chrétienne</i>, ii. 238.</p></div> + +<p>The sixth chapel contains two fine cinque-cento tombs; on the left, +Benedetto Superanzio, bishop of Nicosa, ob. 1495; on the right, a +Spanish bishop, Giovanni da Coca, with frescoes. Close to the former +tomb, on the floor, is the grave of (archdeacon) Robert Wilberforce, who +died at Albano in 1857.</p> + +<p>Here we enter the right transept. On the right is a small dark chapel +containing a fine Crucifix, attributed to Giotto. The central, or +Caraffa Chapel, is dedicated to St. Thomas Aquinas, and is covered with +well-preserved frescoes. On the right, St. Thomas Aquinas is represented +surrounded by allegorical figures, by <i>Filippino Lippi</i>. Over the altar +is a beautiful Annunciation, in which a portrait of the donor, Cardinal +Olivieri Caraffa, is introduced. Above is the Assumption of the Virgin. +On the ceiling are the four Sibyls, by <i>Raffaelino del Garbo</i>.</p> + +<p>Against the left wall is the tomb of Paul IV., Gio. Pietro Caraffa +(1555—59), the great supporter of the Inquisition, the patron of the +Jesuits, the persecutor of the Jews (whom he shut up with walls in the +Ghetto),—a pope so terrible to look upon, that even Alva, who feared no +man, trembled at his awful aspect Such he is represented upon his tomb, +with deeply-sunken eyes and strongly-marked features, with one hand +raised in blessing—or cursing, and the keys of St. Peter in the other. +The tomb was designed by Pirro Ligorio; the statue is the work of +Giacomo and Tommaso Casignuola, and being made in marble of different +pieces and colours, is cited by Vasari as an instance of a sculptor's<a name="vol_2_page_216" id="vol_2_page_216"></a> +ingenuity in imitating painting with his materials. The epitaph runs:</p> + +<div class="blockquot"><p>"To Jesus Christ, the hope and the life of the faithful; to Paul +IV. Caraffa, sovereign pontiff, distinguished amongst all by his +eloquence, his learning, and his wisdom; illustrious by his +innocence, by his liberality, and by his greatness of soul; to the +most ardent champion of the catholic faith, Pius V., sovereign +pontiff, has raised this monument of his gratitude and of his +piety. He lived eighty-three years, one month, and twenty days, and +died the 14th August, 1559, the fifth year of his +pontificate."<a name="FNanchor_312_312" id="FNanchor_312_312"></a><a href="#Footnote_312_312" class="fnanchor">[312]</a></p></div> + +<p>On the transept wall, just outside this chapel, is the beautiful gothic +tomb of Guillaume Durandus, bishop of Mende,<a name="FNanchor_313_313" id="FNanchor_313_313"></a><a href="#Footnote_313_313" class="fnanchor">[313]</a> with a recumbent +figure guarded by two angels, the background being occupied by a mosaic +of the Virgin and Child, by <i>Giovanni Cosmati</i>.</p> + +<p>The first chapel on a line with the choir—the burial-place of the +Altieri family—has an altar-piece, by <i>Carlo Maratta</i>, representing +five saints canonized by Clement X., presented to the Virgin by St. +Peter. On the floor is the incised monument of a bishop of Sutri.</p> + +<p>The second chapel—which contains a fine cinque-cento tomb—is that of +the Rosary. Its ceiling, representing the Mysteries of the Rosary, is by +<i>Marcello Venusti</i>; the history of St. Catherine of Siena is by +<i>Giovanni de' Vecchi</i>; the large and beautiful Madonna with the Child +over the altar is attributed to <i>Fra Angelico</i>. Here is the tomb of +Cardinal Capranica of 1470.</p> + +<p>Beneath the high altar, with lamps always burning before it, is a marble +sarcophagus with a beautiful figure, enclosing<a name="vol_2_page_217" id="vol_2_page_217"></a> the body of St. +Catherine of Siena. In it her relics were deposited in 1461, by +Antoninus, archbishop of Florence. On the last pillar to the right is an +inscription stating that, "all the indulgences and privileges in every +church, of all the religious orders, mendicant or not mendicant, in +every part of the world, are granted especially to this church, where is +the body of St. Catherine of Siena."</p> + +<div class="blockquot"><p>"St. Catherine was one of twenty-five children born in wedlock to +Jacopo and Lupa Benincasa, citizens of Siena. Her father exercised +the trade of dyer and fuller. In the year of her birth, 1347, Siena +reached the climax of its power and splendour. It was then that the +plague of Bocaccio began to rage, which swept off 80,000 citizens, +and interrupted the building of the great Duomo. In the midst of so +large a family and during these troubled times, Catherine grew +almost unnoticed, but it was not long before she manifested her +peculiar disposition. At six years old she already saw visions and +longed for a monastic life: about the same time she used to collect +her childish companions together and preach to them. As she grew +her wishes became stronger; she refused the proposals which her +parents made that she should marry, and so vexed them by her +obstinacy that they imposed on her the most servile duties in their +household. These she patiently fulfilled, at the same time pursuing +her own vocation with unwearied ardour. She scarcely slept at all, +and ate no food but vegetables and a little bread, scourged +herself, wore sackcloth, and became emaciated, weak, and half +delirious. At length the firmness of her character and the force of +her hallucination won the day. Her parents consented to her +assuming the Dominican robe, and at the age of thirteen she entered +the monastic life. From this moment till her death we see in her +the ecstatic, the philanthropist, and the politician combined to a +remarkable degree. For three whole years she never left her cell +except to go to church, maintaining an almost unbroken silence. +Yet, when she returned to the world, convinced at length of having +won by prayer and pain the favour of her Lord, it was to preach to +infuriated mobs, to toil among men dying of the plague, to execute +diplomatic negotiations, to harangue the republic of Florence, to +correspond with queens, and to interpose between kings and popes. +In the midst of this varied and distracting career she continued to +see visions, and to fast and scourge herself. The domestic virtues +and the personal wants and wishes of a woman were annihilated in +her; she lived for the<a name="vol_2_page_218" id="vol_2_page_218"></a> Church, for the poor, and for Christ, whom +she imagined to be constantly supporting her. At length she died +(at Rome, on the 29th of April, 1380, in her 33rd year) worn out by +inward conflicts, by the tension of a half-delirious ecstasy, by +want of food and sleep, and by the excitement of political +life."—<i>Cornhill Mag.</i> Sept. 1866.</p></div> + +<p>On the right of the high altar is a statue of St. John, by <i>Obicci</i>,—on +the left is the famous statue of Christ, by <i>Michael Angelo</i>. This is +one of the sculptures which Francis I. tried hard to obtain for Paris. +Its effect is marred by the bronze drapery.</p> + +<p>Behind, in the choir, are the tombs of two Medici popes. On the left is +Leo X., Giovanni de Medici (1513—21). This great pope, son of Lorenzo +the Magnificent, was destined to the papacy from his cradle. He was +ordained at seven years old, was made a cardinal at seventeen, and pope +at thirty-eight, and at the installation procession to the Lateran, rode +upon the same white horse, upon which he had fought and had been taken +prisoner at the battle of Ravenna. His reign was one of fêtes and +pleasures. He was the great patron of artists and poets, and Raphael and +Ariosto rose into eminence under his protection. His tomb is from a +design of Antonio di Sangallo, but the figure of the pope is by +Raffaello da Montelupo.</p> + +<p>Near the foot of Leo X.'s tomb is the flat monumental stone of Cardinal +Bembo, his friend, and the friend of Raphael, who died 1547. His epitaph +has been changed. The original inscription, half-pagan, half-Christian, +ran:</p> + +<div class="poem"><div class="stanza"> + +<span class="i0">"Hic Bembus jacet Aonidum laus maxima Phœbi<br /></span> +<span class="i2">Cum sole, et luna vix periturus honos.<br /></span> +<span class="ist">Hic et fama jacet, spes, et suprema galeri<br /></span> +<span class="i2">Quam non ulla queat restituisse dies.<br /></span> +<span class="ist">Hic jacet exemplar vitæ omni fraude carentis,<br /></span> +<span class="i2">Summa jacet, summa hic cum pietate fides."<br /></span> +</div></div> + +<p><a name="vol_2_page_219" id="vol_2_page_219"></a></p> + +<p>On the right of the choir is the tomb, by Sangallo, of Clement VII., +Giulio de Medici (1523—34), son of the Giulio who fell in the +conspiracy of the Pazzi,—who in his unhappy reign saw the sack of Rome +(1527) under the Constable de Bourbon, and the beginning of the +separation from England under Henry VIII. The figure of the pope is by +<i>Baccio Bandinelli</i>. Among other graves here is that of the English +Cardinal Howard, ob. 1694. Just beyond the choir is a passage leading to +a door into the Via S. Ignazio. Immediately on the left is the slab tomb +of Fra Angelico da Fiesole. It is inscribed:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Hic jacet Vene Pictor Fl. Jo. de Florentia Ordinis<br /></span> +<span class="i6">prædicatorum, 1404.<br /></span> +</div><div class="stanza"> +<span class="i0">"Non mihi sit laudi quod eram velut alter Apelles,<br /></span> +<span class="i2">Sed quod lucra tuis omnia, Christe, dabam.<br /></span> +<span class="ist">Altera nam terris opera exstant, altero cœlo.<br /></span> +<span class="i2">Urbs me Johannem flos tulit Etruriæ."<a name="FNanchor_314_314" id="FNanchor_314_314"></a><a href="#Footnote_314_314" class="fnanchor">[314]</a><br /></span> +</div></div> + +<div class="blockquot"><p>"Fra Angelico was simple and most holy in his manners,—and let +this serve for a token of his simplicity, that Pope Nicholas one +morning offering him refreshment, he scrupled to eat flesh without +the licence of his superior, forgetful for the moment of the +dispensing authority of the pontiff. He shunned altogether the +commerce of the world, and living in holiness and in purity, was as +loving towards the poor on earth as I think his soul must be now in +heaven. He worked incessantly at his art, nor would he ever paint +other than sacred subjects. He might have been rich, but cared not +to be so, saying that true riches consisted rather in being content +with little. He might have ruled over many, but willed it not, +saying there was less trouble and hazard of sin in obeying others. +Dignity and authority were within his grasp, but he disregarded +them, affirming that he sought no other advancement than to escape +hell and draw nigh to Paradise. He was most meek and temperate, and +by a chaste life loosened himself from the snares of the world, +ofttimes saying that the student of painting hath need of quiet and +to live without anxiety, and that the dealers in the things of +Christ<a name="vol_2_page_220" id="vol_2_page_220"></a> ought to live habitually with Christ. Never was he seen in +anger with the brethren, which appears to me a thing most +marvellous, and all but incredible; his admonitions to his friends +were simple and always softened by a smile. Whoever sought to +employ him, he answered with the utmost courtesy, that he would do +his part willingly so the prior were content.—In sum, this never +sufficiently to be lauded father was most humble and modest in all +his words and deeds, and in his paintings graceful and devout; and +the saints which he painted have more of the air and aspect of +saints than those of any other artist. He was wont never to retouch +or amend any of his paintings, but left them always as they had +come from his hand at first, believing, as he said, that such was +the will of God. Some say that he never took up his pencil without +previous prayer. He never painted a crucifix without tears bathing +his cheeks; and throughout his works, in the countenance and +attitude of all his figures, the correspondent impress of his +sincere and exalted appreciation of the Christian religion is +recognisable. Such was this verily Angelic father, who spent the +whole time of his life in the service of God and in doing good to +the world and to his neighbour. And truly a gift like his could not +descend on any but a man of most saintly life, for a painter must +be holy himself before he can depict holiness."—<i>Lord Lindsay, +from Vasari.</i></p></div> + +<p>In the same passage are tombs of Cardinal Alessandrino, by Giacomo della +Porta; of Cardinal Pimentel, by Bernini; and of Cardinal Bonelli, by +Carlo Rainaldi.</p> + +<p>Beyond this, in the left transept, is the Chapel of S. Domenico, with +eight black columns, appropriate to the colour of the Order, and an +interesting picture of the saint. Here is the tomb of Benedict XIII., +Vincenzo-Maria Orsini (1724—30), by Pietro Bracci. This pope, who had +been a Dominican monk, laboured hard in his short reign for the +reformation of the Church, and the morals of the clergy.</p> + +<p>Over a door leading to the Sacristy are frescoes representing the +election of Eugenius IV. in 1431, and of Nicholas V. in 1447, which both +took place in this church. The altar of the sacristy has a Crucifixion, +by Andrea Sacchi.</p> + +<p>Returning down the left aisle, the second chapel, counting<a name="vol_2_page_221" id="vol_2_page_221"></a> from this +end, is that of the Lante family, which contains the fine tomb of the +Duchess Lante, ob. 1840, by <i>Tenerani</i>, with the Angel of the +Resurrection, a sublime upward-gazing figure seated upon the +sarcophagus. Here is a picture of St. James, by <i>Baroccio</i>.</p> + +<p>The third chapel is that of S. Vincenzo Ferreri, apostle of the Order of +Preachers, with a miracle-working picture, by <i>Bernardo Castelli</i>. The +fourth chapel—of the Grazioli family—has on the right a statue of St. +Sebastian, by <i>Mino da Fiesole</i>, and over the altar a lovely head of our +Saviour, by <i>Perugino</i>. This chapel was purchased by the Grazioli from +the old family of Maffei, of which there are some fine tombs. The fifth +chapel—of the Patrizi family—contains the famous miraculous picture +called "La Madonna Consolatrice degli afflitti," in honour of which Pope +Gregory XVI. conceded so many indulgences, as we read by the +inscription.</p> + +<div class="blockquot"><p>"La santità di N. S. Gregorio Papa XVI. con breve in data 17 Sept. +1836. Ho accordato l'indulgenzia plenaria a chiunque confessato e +communicato visiterà divotamente questa santa imagine della B. +Vergine sotto il titolo di consolatrice degli afflitti nella +seconda dominica di Luglio e suo ottavo di ciascun anno: concede +altresi la parziale indulgenza di 200 giorni in qualunque giorno +dell' anno a chiunque almeno contrito visiterà la detta S. +Immagine: le dette indulgenze poi sono pure applicabili alle +benedette anime del purgatorio."</p></div> + +<p>The last chapel, belonging to a Spanish nobleman, contains the picture +of the Crucifixion, which is said to have conversed with Sta. Rosa di +Lima.</p> + +<p>Near the entrance is the tomb of Cardinal Giacomo Tebaldi, ob. 1466, and +beneath it that of Francesco Tornabuoni, by <i>Mino da Fiesole</i>. It was +for the tomb of the wife of this Tornabuoni, who died in childbirth, +that the wonderful relief of Verocchio, now in the Uffizi at Florence, +was executed. In the pavement is the gravestone of Paulus<a name="vol_2_page_222" id="vol_2_page_222"></a> Manutius, the +printer, son of the famous Aldus Manutius of Venice, with the +inscription, "Paulo Manutio Aldi Filio. Obiit CIƆIƆLXXIV."</p> + +<p>The great <i>Dominican Convent of the Minerva</i>, lately suppressed, was the +residence of the General of the Order. It contains the <i>Bibliotheca +Casanatensis</i> (so called from its founder, Cardinal Casanata), the +largest library in Rome after that of the Vatican, comprising 120,000 +printed volumes and 4500 MSS. It is open from 8 to 11 <small>A.M.</small>, and 1½ to +3½ <small>P.M.</small> This convent has always been connected with the history of +the Inquisition. Here, on June 22, 1633, Galileo was tried before its +tribunal for the "heresy" of saying that the earth went round the sun, +instead of the sun round the earth, and was forced to recant upon his +knees, this "accursed, heretical, and detestable doctrine." As he rose +from his humiliation, he is said to have consoled himself by adding, in +an undertone, "E pur si muove." When the "Palace of the Holy Office" was +stormed by the mob in the revolution of 1848, it was feared that the +Dominican convent would have been burnt down.</p> + +<p>The very beautiful cloister of the convent, which has a vaulted roof +richly painted in arabesques, contains grand fifteenth century +tombs,—of Cardinal Tiraso, ob. 1502, and of Cardinal Astorgius, ob. +1503. S. Antonino, archbishop of Florence, who lived in the reigns of +Eugenius IV. and Nicholas V., was prior of this convent.</p> + +<p>From the Minerva, the <i>Via del Piè di Marmo</i>, so called from a gigantic +marble foot which stands on one side of it, leads to the Corso.<a name="FNanchor_315_315" id="FNanchor_315_315"></a><a href="#Footnote_315_315" class="fnanchor">[315]</a><a name="vol_2_page_223" id="vol_2_page_223"></a></p> + +<h2><a name="CHAPTER_XV" id="CHAPTER_XV"></a>CHAPTER XV.<br /><br /> +THE BORGO AND ST. PETER'S.</h2> + +<div class="blockquot"><p class="hang">Via Tordinona—S. Salvatore in Lauro—House of Raphael—S. Giovanni +de' Fiorentini—Bridge and Castle of S. Angelo—Sta. Maria +Traspontina—Palazzo Giraud—Piazza Scossa-Cavalli—Hospital of +Santo Spirito—Piazza and Obelisk of the Vatican—S. Peter's; its +portico, tombs, crypts, dome, and sacristy—Churches of S. Stefano +and Sta. Marta—Il Cimeterio dei Tedeschi—Palazzo del +Santo-Uffizio—S. Salvatore in Torrione—S. Michaele in Sassia.</p></div> + +<p class="nind"><span class="letra">C</span>ONTINUING in a direct course from the Piazza Borghese, we pass through +a series of narrow dirty streets quite devoid of interest, but bordering +on one side upon the Tiber, of which—with its bridge, S. Angelo and St. +Peter's—beautiful views may be obtained from little courts and narrow +strips of shore, at the back of the houses.</p> + +<p>A short distance after passing (on left) the Locanda dell' Orso, where +Montaigne used to stay when he was in Rome, and beneath which are some +curious vaulted chambers of <i>c.</i> <small>A.D.</small> 1500, the street, which repeatedly +changes its name, is called <i>Via Tordinona</i>, from the Tor di Nona, which +once stood here, but was destroyed in 1690. It was used as a prison, as +is shown by the verse of Regnier:</p> + +<p class="c">"Qu'un barisel vous mit dedans la tour de Nonne."</p> + +<p>One of the narrow streets on the left of the Via Tordinona debouches +into the Via dei Coronari, close to the<a name="vol_2_page_224" id="vol_2_page_224"></a> <i>Church of S. Salvatore in +Lauro</i>, built on the site of a laurel-grove, which flourished near the +portico of Europa. It contains a picture of the Nativity, by <i>Pietro da +Cortona</i>, and a modern work of <i>Gagliardi</i>, representing S. Emidio, S. +Nicolo da Tolentino, and S. Giacomo della Marina, the three protectors +of Ancona. In a side chapel, opening out of the cloisters, is the rich +tomb of Pope Eugenius IV. (Gabriele Condolmieri, ob. 1439), with his +recumbent figure by Isaia da Pisa. Francesco Salviati painted a portrait +of this pope for the adjoining convent, to which he had belonged, as +well as a fine fresco of the Marriage of Cana.<a name="FNanchor_316_316" id="FNanchor_316_316"></a><a href="#Footnote_316_316" class="fnanchor">[316]</a></p> + +<p>(There are several other fine monuments in the same chapel with the +tomb, which in 1867 was given up as a barrack to the Flemish zouaves, at +the great risk of injury to its delicate carvings.)</p> + +<p>Passing the <i>Apollo Theatre</i>, the Via Tordinona emerges upon the quay of +the Tiber, opposite S. Angelo. Hence several streets diverge into the +heart of the city.</p> + +<p>(At the corner of the Via di Banchi is a house with a frieze, richly +sculptured with lions' heads, &c. On the left is the <i>Church of San +Celso in Banchi</i>, in front of which Lorenzo Colonna, the protonotary, +was murdered by the Orsini and Santa Croce, immediately after the death +of Sixtus IV. (1484); and where his mother, finding his head cut off, +and seizing it by the hair, shrieked forth her curses upon his enemies. +On the right, further down the street, is the <i>Church of Sta. Caterina +da Siena</i>, which contains an interesting altar-piece by <i>Girolamo +Genga</i>, representing the return of Gregory XI. from Avignon, which was +due to her influence.)<a name="vol_2_page_225" id="vol_2_page_225"></a></p> + +<p>The house joining the Ponte S. Angelo is said to have been that of the +"Violinista," the friend of Raphael, who is familiar to us from his +portrait in the Sciarra Palace. Some say that Raphael died while he was +on a visit to him. But the best authorities maintain that he died in a +house built for him by Bramante, in the Piazza Rusticucci, which was +pulled down to enlarge the Piazza of St. Peter's. No. 124, Via Coronari, +not far from the Ponte S. Angelo, is shown as the house in which the +great painter lived previously to this, and is that which he bequeathed +to the chapel in the Pantheon in which he is buried. It was partly +rebuilt in 1705, when Carlo Maderno painted on its façade a portrait of +Raphael in <i>chiaro-scuro</i>, now almost obliterated. The house at present +belongs to the canons of Sta. Maria Maggiore.</p> + +<p>(The Via <i>S. Giovanni de' Fiorentini</i> leads to the <i>Church</i> of that +name, abutting picturesquely into the angle of the Tiber. This is the +national church of the Tuscans, and was built at the expense of the city +of Florence. In the tribune are tombs of the Falconieri family. Here are +several fine pictures; a St. Jerome writing, by <i>Cigoli</i>, who is buried +in this church; St. Jerome praying before a crucifix, <i>Tito Santi</i><a name="FNanchor_317_317" id="FNanchor_317_317"></a><a href="#Footnote_317_317" class="fnanchor">[317]</a> +(1538—1603); St. Francis, <i>Tito Santi</i>; SS. Cosmo and Damian condemned +to martyrdom by fire,—a grand work of <i>Salvator Rosa</i>.</p> + +<div class="blockquot"><p>"Some of the altar-pieces of Salvator-Rosa (1615-1673), are well +conceived and full of effect, especially when they represent a +horrible subject, like the martyrdom in S. Giovanni de' +Fiorentini."—Lanzi, ii. 165.</p></div> + +<p><a name="vol_2_page_226" id="vol_2_page_226"></a>The Chapel of the Crucifix is painted by <i>Lanfranco</i>: the third chapel +on the right has frescoes by <i>Tempesta</i> on the roof, relating to the +history of S. Lorenzo.</p> + +<p>The building of this church was begun in the reign of Leo X. by +Sansovino, who, for want of space, laid its foundations, at enormous +expense, in the bed of the Tiber. While overlooking this, he fell from a +scaffold, and being dangerously hurt, was obliged to give up his place +to Antonio da Sangallo.<a name="FNanchor_318_318" id="FNanchor_318_318"></a><a href="#Footnote_318_318" class="fnanchor">[318]</a> Soon after Pope Leo died, and the work, +with many others, was suspended during the reign of Adrian VI. Under +Clement VII. Sansovino returned, but was driven away, robbed of all his +possessions in the sack of Rome, under the Constable de Bourbon. The +church was finished by Giacomo della Porta in 1588, but Alessandro +Galileo added the façade in 1725.</p> + +<div class="blockquot"><p>"En 1488, une affreuse épidémie décimait les malheureux habitants +des environs de Rome; les mourants étaient abandonnés, les cadavres +restaient sans sépulture. Aussitôt quelques Florentins forment une +confrérie sous le titre de <i>la Pitié</i>, pour rendre aux pestiférés +les derniers devoirs de la charité chrétienne: c'est à cette +confrérie qu'on doit la belle église de Saint-Jean des Florentins, +à Strada Giulia."—<i>Gournerie, Rome Chrétienne.</i></p></div> + +<p>The <i>Ponte S. Angelo</i> is the Pons Elius of Hadrian, built as an approach +to his mausoleum, and only intended for this, as another public bridge +existed close by, at the time of its construction. It is almost entirely +ancient, except the parapets. The statues of St. Peter and St. Paul, at +the extremity, were erected by Clement VII., in the place of two +chapels, in 1530, and the angels, by Clement IX., in 1688. The pedestal +of the third angel on the right is a relic of the siege of Rome in 1849, +and bears the impress of a cannon-ball.<a name="vol_2_page_227" id="vol_2_page_227"></a></p> + +<p>These angels, which have been called the "breezy maniacs" of Bernini, +are only from his designs. The two angels which he executed himself, and +intended for this bridge, are now at S. Andrea delle Fratte. The idea of +Clement IX. was a fine one, that "an avenue of the heavenly host should +be assembled to welcome the pilgrim to the shrine of the great apostle."</p> + +<p>Dante saw the bridge of S. Angelo divided lengthways by barriers to +facilitate the movement of the crowds going to and from St Peter's on +the occasion of the first jubilee, 1300.</p> + +<div class="poem"><div class="stanza"> +<span class="i2">"Come i Romani per l'esercito molto,<br /></span> +<span class="i0">L'anno del giubbileo, su per lo ponte<br /></span> +<span class="i0">Hanno a passar la gente modo tolto;<br /></span> +<span class="i2">Che dall' un lato tutti hanno la fronte<br /></span> +<span class="i0">Verso 'l castello, e vanno a Santo Pietro,<br /></span> +<span class="i0">Dall' altra sponda vanno verso 'l monte."<br /></span> +<span class="i15"><i>Inferno</i>, xviii. 29.<br /></span> +</div></div> + +<p>From the Ponte S. Angelo, when the Tiber is low, are visible the remains +of the bridge by which the ancient <i>Via Triumphalis</i> crossed the river. +Close by, where Santo Spirito now stands, was the Porta Triumphalis, by +which victors entered the city in triumph.</p> + +<p>Facing the bridge, is the famous <i>Castle of S. Angelo</i>, built by the +Emperor Hadrian as his family tomb, because the last niche in the +imperial mausoleum of Augustus was filled when the ashes of Nerva were +laid there. The first funeral here was that of Elius Verus, the first +adopted son of Hadrian, who died before him. The emperor himself died at +Baiæ, but his remains were transported hither from a temporary tomb at +Pozzuoli by his successor Antoninus Pius, by whom the mausoleum was +completed in <small>A.D.</small> 140.<a name="vol_2_page_228" id="vol_2_page_228"></a> Here, also, were buried, Antoninus Pius, <small>A.D.</small> +161; Marcus Aurelius, 180; Commodus, 192; and Septimius Severus, in an +urn of gold, enclosed in one of alabaster, <small>A.D.</small> 211; Caracalla, in 217, +was the last emperor interred here. The well-known lines of Byron:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Turn to the mole which Hadrian rear'd on high,<br /></span> +<span class="ist">Imperial mimic of old Egypt's piles,<br /></span> +<span class="ist">Colossal copyist of deformity,<br /></span> +<span class="ist">Whose travell'd phantasy from the far Nile's<br /></span> +<span class="ist">Enormous model, doom'd the artist's toils<br /></span> +<span class="ist">To build for giants, and for his vain earth,<br /></span> +<span class="ist">His shrunken ashes, raise this dome! How smiles<br /></span> +<span class="ist">The gazer's eye with philosophic mirth,<br /></span> +<span class="ist">To view the huge design which sprung from such a birth."<br /></span> +</div></div> + +<p class="nind">seem rather applicable to the <i>Pyramid</i> of Caius Cestius than to this +mausoleum.</p> + +<p>The castle, as it now appears, is but the skeleton of the magnificent +tomb of the emperors. Procopius, writing in the sixth century, describes +its appearance in his time. "It is built," he says, "of Parian marble; +the square blocks fit closely to each other without any cement. It has +four equal sides, each a stone's throw in length. In height it rises +above the walls of the city. On the summit are statues of men and +horses, of admirable workmanship, in Parian marble." Canina, in his +"Architectura Romana," gives a restoration of the mausoleum, which shows +how it consisted of three storeys: 1, a quadrangular basement, the upper +part intersected with Doric pillars, between which were spaces for +epitaphs of the dead within, and surmounted at the corners by marble +equestrian statues; 2, a circular storey, with fluted Ionic colonnades: +3, a circular storey, surrounded by Corinthian columns, between<a name="vol_2_page_229" id="vol_2_page_229"></a> which +were statues. The whole was surmounted by a pyramidal roof, ending in a +bronze fir-cone.</p> + +<div class="blockquot"><p>"The mausoleum which Hadrian erected for himself on the further +bank of the Tiber far outshone the tomb of Augustus, which it +nearly confronted. Of the size and dignity which characterized this +work of Egyptian massiveness, we may gain a conception from the +existing remains; but it requires an effort of imagination to +transform the scarred and shapeless bulk before us, into the +graceful pile which rose column upon column, surmounted by a gilded +dome of span almost unrivalled." <i>Merivale</i>, ch. lxvi.</p></div> + +<p>The history of the Mausoleum, in the middle ages, is almost the history +of Rome. It was probably first turned into a fortress by Honorius, <small>A.D.</small> +423. From Theodoric it derives the name of "Carcer Theodorici." In 537, +it was besieged by Vitiges, when the defending garrison, reduced to the +last extremity, hurled down all the magnificent statues which decorated +the cornice, upon the besiegers. In <small>A.D.</small> 498 Pope Symmachus removed the +bronze fir-cone at the apex of the roof to the court of St. Peter's, +whence it was afterwards transferred to the Vatican garden, where it is +still to be seen between two bronze peacocks, which probably stood on +either side of the entrance.</p> + +<p>Belisarius defended the castle against Totila, whose Gothic troops +captured and held it for three years, after which it was taken by +Narses.</p> + +<p>It was in 530 that the event occurred which gave the building its +present name. Pope Gregory the Great was leading a penitential +procession to St. Peter's, in order to offer up prayers for the staying +of the great pestilence which followed the inundation of 589; when, as +he was crossing the bridge, even while the people were falling dead +around him, he looked up at the mausoleum, and saw an angel on<a name="vol_2_page_230" id="vol_2_page_230"></a> its +summit, sheathing a bloody sword,<a name="FNanchor_319_319" id="FNanchor_319_319"></a><a href="#Footnote_319_319" class="fnanchor">[319]</a> while a choir of angels around +chaunted with celestial voices, the anthem, since adopted by the Church +in her vesper service—"<i>Regina cœli, lætare—quia quem meruisti +portare—resurrexit, sicut dixit, Alleluja</i>"—To which the earthly voice +of the pope solemnly responded, "<i>Ora pro nobis Deum, Alleluja</i>."<a name="FNanchor_320_320" id="FNanchor_320_320"></a><a href="#Footnote_320_320" class="fnanchor">[320]</a></p> + +<p>In the tenth century the fortress was occupied by the infamous Marozia, +who, in turn, brought her three husbands (Alberic, Count of Tusculum; +Guido, Marquis of Tuscany; and Hugo, King of Italy) thither, to +tyrannise with her over Rome. It was within the walls of this building +that Alberic, her son by her first husband, waiting upon his royal +stepfather at table, threw a bowl of water over him, when Hugo retorted +by a blow, which was the signal for an insurrection, the people taking +part with Alberic, putting the king to flight, and imprisoning Marozia. +Shut up within these walls, Pope John XI. (931-936), son of Marozia by +her first husband, ruled under the guidance of his stronger-minded +brother Alberic; here, also, Octavian, son of Alberic, and grandson of +Marozia, succeeded in forcing his election as John XII.<a name="vol_2_page_231" id="vol_2_page_231"></a> (being the +first pope who took a new name), and scandalised Christendom by a life +of murder, robbery, adultery, and incest.</p> + +<p>In 974 the castle was seized by Cencio (Crescenzio Nomentano), the +consul, who raised up an anti-pope (Boniface VII.) here, with the +determination of destroying the temporal power of the popes, and +imprisoned and murdered two popes, Benedict VI. (972), and John XIV. +(984), within these walls. In 996 another lawful pope, Gregory V., +calling in the emperor Otho to his assistance, took the castle, and +beheaded Cencio, though he had promised him life if he would surrender. +From this governor the fortress long held the name of Castello de +Crescenzio, or Turris Crescentii, by which it is described in mediæval +writings. A second Cencio supported another anti-pope, Cadolaus, here in +1063, against Pope Alexander II. A third Cencio imprisoned Gregory VII. +here in 1084. From this time the possession of the castle was a constant +point of contest between popes and anti-popes. In 1313 Arlotto degli +Stefaneschi, having demolished most of the other towers in the city, +arranged the same fate for S. Angelo, but it was saved by cession to the +Orsini. It was from hence, on December 15, 1347, that Rienzi fled to +Bohemia, at the end of his first period of power, his wife having +previously made her escape disguised as a friar.</p> + +<p>"The cause of final ruin to this monument" is described by Nibby to have +been the resentment of the citizens against a French governor who +espoused the cause of the anti-pope (Clement VII.) against Urban VI. in +1378. It was then that the marble casings were all torn from the walls +and used as street pavements.<a name="vol_2_page_232" id="vol_2_page_232"></a></p> + +<p>A drawing of Sangallo of 1465 shows the "upper part of the fortress +crowned with high square towers and turreted buildings; a cincture of +bastions and massive square towers girding the whole; two square-built +bulwarks flanking the extremity of the bridge, which was then so +connected with these outworks that passengers would have immediately +found themselves inside the fortress after crossing the river. +Marlianus, 1588, describes its double cincture of fortifications—a +large round tower at the inner extremity of the bridge; two towers with +high pinnacles, and the cross on their summits, the river flowing all +around."<a name="FNanchor_321_321" id="FNanchor_321_321"></a><a href="#Footnote_321_321" class="fnanchor">[321]</a></p> + +<p>The castle began to assume its present aspect under Boniface IX. in +1395. John XXIII., 1411, commenced the covered way to the Vatican, which +was finished by Alexander VI.; and roofed by Urban VIII., in 1630. By +the last-named pope the great outworks of the fortress were built under +Bernini, and furnished with cannon made from the bronze roof of the +Pantheon. Under Paul III. the interior was decorated with frescoes, and +a colossal marble angel erected on the summit, in the place of a chapel +(S. Angelo inter Nubes), built by Boniface IV. The marble angel was +exchanged by Benedict XIV. for the existing angel of bronze, by a Dutch +artist, Verschaffelt.</p> + +<div class="blockquot"><p>"Paul III. voulant justifier le nom donné à cette forteresse, fit +placer au sommet de l'édifice une statue de marbre, représentant un +ange tenant à la main une épée nue. Cet ouvrage de Raphaël de +Montelupo a été remplacé, du temps de Benoit XIV., par une statue +de bronze qui fournit cette belle réponse à un officier français +assiégé dans le fort. 'Je me rendrai quand l'ange remettra son épée +dans le fourreau.'</p> + +<p>" ... Cet ange a l'air naïf d'une jeune fille de dix-huit ans, et +ne cherche qu'à bien remettre son épée dans le +fourreau."—<i>Stendhal</i>, i. 33.<a name="vol_2_page_233" id="vol_2_page_233"></a></p> + +<p>"I suppose no one ever looked at this statue critically—at least, +for myself, I never could; nor can I remember now whether, as a +work of art, it is above or below criticism; perhaps both. With its +vast wings, poised in air, as seen against the deep blue skies of +Rome, or lighted up by the golden sunset, to me it was ever like +what it was intended to represent—like a vision."—<i>Jameson's +Sacred Art</i>, p. 98.</p></div> + +<p>Of the castle, as we now see it externally, only the quadrangular +basement is of the time of Hadrian; the round tower is of that of Urban +VIII., its top added by Paul III. The four round towers of the outworks, +called after the four Evangelists, are of Nicholas V., 1447.</p> + +<p>The <i>interior</i> of the fortress can be visited by an order. Excavations +made in 1825 have laid open the sepulchral chamber in the midst of the +basement. Here stood, in the centre, the porphyry sarcophagus of +Hadrian, which was stolen by Pope Innocent II. to be used as his own +tomb in the Lateran, where it was destroyed by the fire of 1360, the +cover alone escaping, which was used for the tomb of Otho II., in the +atrium of St. Peter's, and which, after filling this office for seven +centuries, is now the baptismal font of that basilica. A spiral passage, +thirty feet high, and eleven wide, up which a chariot could be driven, +gradually ascends through the solid mass of masonry. There is +wonderfully little to be seen. A saloon of the time of Paul III. is +adorned with frescoes of the life of Alexander the Great, by <i>Pierino +del Vaga</i>. This room would be used by the pope in case of his having to +take refuge in S. Angelo. An adjoining room, adorned with a stucco +frieze of Tritons and Nereids, is that in which Cardinal Caraffa was +strangled (1561) under Pius IV., for alleged abuses of authority under +his uncle, Paul IV.—his brother, the Marquis Caraffa, being beheaded in +the castle<a name="vol_2_page_234" id="vol_2_page_234"></a> the same night. The reputed prison of Beatrice Cenci is +shown, but it is very uncertain that she was ever confined here,—also +the prison of Cagliostro, and that of Benvenuto Cellini, who escaped, +and broke his leg in trying to let himself down by a rope from the +ramparts. The statue of the angel by <i>Montelupo</i> is to be seen stowed +away in a dark corner. Several horrible <i>trabocchette</i> (oubliettes) are +shown.</p> + +<p>On the roof, from which there is a beautiful view, are many modern +prisons, where prisoners suffer terribly from the summer sun beating +upon their flat roofs.</p> + +<p>Among the sculptures found here were the Barberini Faun, now at Munich, +the Dancing Faun, at Florence, and the Bust of Hadrian at the Vatican. +The sepulchral inscriptions of the Antonines existed till 1572, when +they were cut up by Gregory XIII. (Buoncompagni), and the marble used to +decorate a chapel in St Peter's! The magnificent Easter display of +fireworks (from an idea of Michael Angelo, carried out by Bernini), +called the girandola, used to be exhibited here, but now takes place at +S. Pietro in Montorio, or from the Pincio. From 1849 to 1870, the castle +was occupied by French troops, and their banner floated here, except on +great festivals, when it was exchanged for that of the pope.</p> + +<p>Running behind, and crossing the back streets of the Borgo, is the +covered passage intended for the escape of the popes to the castle. It +was used by Alexander VI. when invaded by Charles VIII. in 1494, and +twice by Clement VII. (Giulio di Medici), who fled, in 1527, from +Moncada, viceroy of Naples, and in May, 1527, during the terrible sack +of Rome by the troops of the Constable de Bourbon.</p> + +<div class="blockquot"><p>"Pendant que l'on se battait, Clement VII. était en prières devant<a name="vol_2_page_235" id="vol_2_page_235"></a> +l'autel de sa chapelle au Vatican, détail singulier chez un homme +qui avait commencé sa carrière par être militaire. Lorsque les cris +des mourants lui annoncèrent la prise de la ville, il s'enfuit du +Vatican au château St. Ange par le long corridor qui s'élève +au-dessus des plus hautes maisons. L'historien Paul-Jove, qui +suivait Clement VII., relevait sa longue robe pour qu'il pût +marcher plus vîte, et lorsque le pape fut arrivé au pont qui le +laissait à découvert pour un instant, Paul-Jove le couvrit de son +manteau et de son chapeau violet, de peur qu'il ne fût reconnu à +son rochet blanc et ajusté par quelque soldat bon tireur.</p> + +<p>"Pendant cette longue fuite le long du corridor, Clement VII. +apercevait au-dessous de lui, par les petites fenêtres, ses sujets +poursuivis par les soldats vainqueurs qui déjà se répandaient dans +les rues. Ils ne faisaient aucun quartier à personne, et tuaient à +coups de pique tout ce qu'ils pouvaient atteindre."—<i>Stendhal</i>, i. +388.</p></div> + +<p>"The Escape" consists of two passages; the upper open like a loggia, the +lower covered, and only lighted by loop-holes. The keys of both are kept +by the pope himself.</p> + +<p>S. Angelo is at the entrance of <i>the Borgo</i>, promised at the Italian +invasion of September, 1870, as the sanctuary of the papacy, the tiny +sovereignty where the temporal sway of the popes should remain +undisturbed,—the sole relic left to them of all their ancient +dominions. The Borgo, or <i>Leonine City</i>, is surrounded by walls of its +own, which were begun in A.D. 846, by Pope Leo IV., for the better +defence of St. Peter's from the Saracens, who had been carrying their +devastations up to the very walls of Rome. These walls, 10,800 feet in +circumference, were completed in four years by labourers summoned from +every town and monastery of the Roman states. Pope Leo himself daily +encouraged their exertions by his presence. In 852 the walls were +solemnly consecrated by a vast procession of the whole Roman clergy +barefooted, their heads strewn with ashes, who sprinkled<a name="vol_2_page_236" id="vol_2_page_236"></a> them with holy +water, while the pope offered a prayer composed by himself,<a name="FNanchor_322_322" id="FNanchor_322_322"></a><a href="#Footnote_322_322" class="fnanchor">[322]</a> at each +of the three gates.</p> + +<p>The adjoining Piazza Pia is decorated with a fountain erected by Pius +IX. The principal of the streets which meet here is the Via del Borgo +Nuovo, the main artery to St. Peter's. On its left is the <i>Church of +Sta. Maria Traspontina</i>, built 1566, containing two columns which bear +inscriptions, stating that they were those to which St. Peter and St. +Paul were respectively attached, when they suffered flagellation by +order of Nero!</p> + +<p>This church occupies the site of a Pyramid supposed to have been erected +to Scipio Africanus, who died at Liternum, <small>B.C.</small> 183, and which was +regarded in the middle ages as the tomb of Romulus. Its sides were once +coated with marble, which was stripped off by Donus I. This pyramid is +represented on the bronze doors of St Peter's.</p> + +<p>A little further is the <i>Palazzo Giraud</i>, belonging to Prince Torlonia. +It was built, 1506, by Bramante, for Cardinal Adriano da Corneto,<a name="FNanchor_323_323" id="FNanchor_323_323"></a><a href="#Footnote_323_323" class="fnanchor">[323]</a> +who gave it to Henry VIII., by whom it was given to Cardinal Campeggio. +Thus it was for a short time the residence of the English ambassador +before the Reformation. Innocent XII. converted it into a college for +priests, by whom it was sold to the Marquis Giraud.</p> + +<p>Facing this palace is the <i>Piazza Scossa Cavalli</i>, with a pretty +fountain. Its name bears witness to a curious legend, which tells how +when St. Helena returned from<a name="vol_2_page_237" id="vol_2_page_237"></a> Palestine, bringing with her the stone on +which Abraham was about to sacrifice Isaac, and that on which the Virgin +Mary sate down at the time of the presentation of the Saviour in the +Temple, the horses drawing these precious relics stood still at this +spot, and refused every effort to make them move. Then Christian people, +"recognising the finger of God," erected a church on this spot (S. +Giacomo Scossa Cavalli), where the stones are still to be seen.</p> + +<p>The Strada del Borgo Sto. Spirito contains the immense <i>Hospital of +Santo Spirito</i>, running along the bank of the Tiber. This establishment +was founded in 1198 by Innocent III. Sixtus IV., in 1471, ordered it to +be rebuilt by Bacio Pintelli, who added a hall 376 feet long by 44 high +and 37 wide. Under Benedict XIV., Ferdinando Fuga built another great +hall. The altar in the midst of the great hall is the only work of +Andrea Palladio in Rome. The church was designed by Bacio Pintelli, but +built by Antonio di San Gallo under Paul III. Under Gregory XIII., +Ottaviano Mascherino built the palace of the governor, which unites the +hospital with the church.</p> + +<p>The institution comprises a hospital for every kind of disease, +containing in ordinary times 1620 beds, a number which can be almost +doubled in time of necessity; a lunatic asylum containing an average of +450 inmates; and a foundling hospital, where children are received from +all parts of the papal states, and even from the Neapolitan towns. +Upwards of 3000 foundlings pass through the hospital annually, but the +mortality is very great,—in the return of 1846, as much as fifty-seven +per cent. The person who wishes to deposit an infant rings a bell, when +a little bed is turned towards the grille near the door, in which the<a name="vol_2_page_238" id="vol_2_page_238"></a> +baby is deposited. Close to this is another grille, without any apparent +use. "What is that for?" you ask. "Because, when nurses come in from the +country, they might be tempted to take the children for money, and yet +not feel any natural tenderness towards them, but by looking through the +second grille, they can see the child, and discover if it is +<i>simpatico</i>, and if not, they can go away and leave it."</p> + +<p>At the end of the street one enters the Piazza Rusticucci (where Raphael +died), from which open the magnificent colonnades of Bernini, which lead +the eye up to the façade of St. Peter's, while the middle distance is +broken by the silvery spray of its glittering fountains.</p> + +<p>The <i>Colonnades</i> have 284 columns, are sixty-one feet wide, and +sixty-four high; they enclose an area of 777 English feet; they were +built by Bernini for Alexander VII., 1657-67. In the centre is the +famous red granite <i>Obelisk of the Vatican</i>, brought to Rome from +Heliopolis by Caligula, in a ship which Pliny describes as being "nearly +as long as the left side of the port of Ostia." It was used to adorn the +circus of Nero, and was brought from a position near the present +sacristy of St. Peter's by Sixtus V. in 1586. Here it was elevated by +Domenico Fontana, who estimated its weight at 963,537 Roman pounds; and +employed 800 men, 150 horses, and 46 cranes in its removal.</p> + +<p>The obelisk was first exorcised as a pagan idol, and then dedicated to +the Cross. Its removal was preceded by high mass in St. Peter's, after +which Pope Sixtus bestowed a solemn benediction upon Fontana and his +workmen, and ordained that none should speak, upon pain of death, during +the raising of the obelisk. The immense mass was<a name="vol_2_page_239" id="vol_2_page_239"></a> slowly rising upon its +base, when suddenly it ceased to move, and it was evident that the ropes +were giving way. An awful moment of suspense ensued, when the breathless +silence was broken by a cry of "Acqua alle funi!"—<i>throw water on the +ropes</i>, and the workmen, acting on the advice so unexpectedly received, +again saw the monster move, and gradually settle on its base. The man +who saved the obelisk was Bresca, a sailor of Bordighiera, a village of +the Riviera di Ponente, and Sixtus V., in his gratitude, promised him +that his native village should ever henceforth have the privilege of +furnishing the Easter palms to St. Peter's. A vessel laden with +palm-branches, which abound in Bordighiera, is still annually sent to +the Tiber in the week before Palm Sunday, and the palms, after being +prepared and plaited by the nuns of S. Antonio Abbate, are used in the +ceremonial in St. Peter's.</p> + +<p>The height of the whole obelisk is 132 feet, that of the shaft, +eighty-three feet. Upon the shaft is the inscription to Augustus and +Tiberius: "<small>DIVO. CÆS. DIVI. JULII. F. AUGUSTO.—TI. CÆSARI. DIVI. AUG. +F.—AUGUSTA. SACRUM</small>." The inscriptions on the base show its modern +dedication to the Cross<a name="FNanchor_324_324" id="FNanchor_324_324"></a><a href="#Footnote_324_324" class="fnanchor">[324]</a>—"Ecce Crux Domini—Fugite partes +adversæ—Vicit Leo de tribu Juda."</p> + +<div class="blockquot"><p>"Sixte-quint s'applaudissait du succès, comme de l'œuvre la plus +gigantesque des temps modernes; des médailles furent frappées; +Fontana fut créé, noble romain, chevalier de l'Éperon d'or, et +reçut une gratification de 5,000 écus, indépendamment des matériaux +qui avaient servi à l'entreprise, et dont la valeur s'élevait à +20,000 écus (108,000 fr.); enfin des poëmes, dans toutes les +langues, sur ce nouveau triomphe<a name="vol_2_page_240" id="vol_2_page_240"></a> de la croix, furent adressés aux +différents souverains de l'Europe."—<i>Gournerie, Rome Chrétienne</i>, +ii. 232.</p></div> + +<div class="blockquot"><p>"In summer the great square basks in unalluring magnificence in the +midday sun. Its tall obelisk sends but a slim shadow to travel +round the oval plane, like the gnomon of a huge dial; its fountains +murmur with a delicious dreaminess, sending up massive jets like +blocks of crystal into the hot sunshine, and receiving back a +broken spray, on which sits serene an unbroken iris, but present no +'cool grot,' where one may enjoy their freshness; and in spite of +the shorter path, the pilgrim looks with dismay at the dazzling +pavement and long flight of unsheltered steps between him and the +church, and prudently plunges into the forest of columns at either +side of the piazza, and threads his way through their uniting +shadows, intended, as an inscription<a name="FNanchor_325_325" id="FNanchor_325_325"></a><a href="#Footnote_325_325" class="fnanchor">[325]</a> tells him, for this +express purpose."—<i>Cardinal Wiseman.</i></p></div> + +<div class="blockquot"><p>"Un jour Pie V. traversait, avec l'ambassadeur de Pologne, cette +place du Vatican. Pris d'enthousiasme au souvenir du courage des +martyrs qui l'ont arrosée de leurs larmes, et fertilisée par leur +sang, il se baisse, et saisissant dans sa main une poignée de +poussière: 'Tenez,' dit-il au représentant de cette noble nation, +'prenez cette poussière formée de la cendre des saints, et +imprégnée du sang des martyrs.'</p> + +<p>"L'ambassadeur ne portait pas dans son cœur la foi d'un pape, ni +dans son âme les illuminations d'un saint; il reçut pourtant avec +respect cette rélique étrange à ses yeux: mais revenu en son +palais, retirant, d'une main indifférente peut-être, le linge qui +la contenait, il le trouva ensanglanté.</p> + +<p>"La poussière avait disparu. La foi du pontife avait évoqué le sang +des martyrs, et ce sang généreux reparaissait à cet appel pour +attester, en face de l'hérésie, que l'Église romaine, au <small>XVI</small><sup>e</sup> +siècle, était toujours celle pour laquelle ces héros avaient donné +leur vie sous Néron."—<i>Une Chrétienne à Rome.</i></p></div> + +<p>No one can look upon the Piazza of St. Peter's without associating it +with the great religious ceremonies with which it is connected, +especially that of the Easter Benediction.</p> + +<div class="blockquot"><p>"Out over the great balcony stretches a white awning, where priests +and attendants are collected, and where the pope will soon be seen. +Below, the piazza is alive with moving masses. In the centre are +drawn<a name="vol_2_page_241" id="vol_2_page_241"></a> up long lines of soldiery, with yellow and red pompons, and +glittering helmets and bayonets. These are surrounded by crowds on +foot, and at the outer rim are packed carriages filled and overrun +with people, mounted on the seats and boxes. What a sight it +is!—above us the great dome of St. Peter's, and below, the grand +embracing colonnade, and the vast space, in the centre of which +rises the solemn obelisk thronged with masses of living beings. +Peasants from the Campagna and the mountains are moving about +everywhere. Pilgrims in oil-cloth cape and with iron staff demand +charity. On the steps are rows of purple, blue, and brown +umbrellas, for there the sun blazes fiercely. Everywhere crop forth +the white hoods of Sisters of Charity, collected in groups, and +showing, among the parti-coloured dresses, like beds of +chrysanthemums in a garden. One side of the massive colonnade casts +a grateful shadow over the crowd beneath, that fill up the +intervals of its columns; but elsewhere the sun burns down and +flashes everywhere. Mounted on the colonnade are crowds of people +leaning over, beside the colossal statues. Through all the heat is +heard the constant plash of the sun-lit fountains, that wave to and +fro their veils of white spray. At last the clock strikes. In the +far balcony are seen the two great showy peacock fans, and between +them a figure clad in white, that rises from a golden chair, and +spreads his great sleeves like wings as he raises his arms in +benediction. That is the pope, Pius the Ninth. All is dead silence, +and a musical voice, sweet and penetrating, is heard chanting from +the balcony;—the people bend and kneel; with a cold gray flash, +all the bayonets gleam as the soldiers drop to their knees, and +rise to salute as the voice dies away, and the two white wings are +again waved;—then thunder the cannon,—the bells clash and +peal,—a few white papers, like huge snow-flakes, drop wavering +from the balcony;—these are Indulgences, and there is an eager +struggle for them below;—then the pope again rises, again gives +his benediction,<a name="FNanchor_326_326" id="FNanchor_326_326"></a><a href="#Footnote_326_326" class="fnanchor">[326]</a> waving to and fro his right hand, three +fingers open, and making the sign of the cross,—<a name="vol_2_page_242" id="vol_2_page_242"></a>and the peacock +fans retire, and he between them is borne away,—and Lent is +over."—<i>Story's Roba di Roma.</i></p></div> + +<p>The first church which existed on or near the site of the present +building, was the oratory founded in <small>A.D.</small> 90, by Anacletus, bishop of +Rome, who is said to have been ordained by St. Peter himself, and who +thus marked the spot where many Christian martyrs had suffered in the +circus of Nero, and where St. Peter was buried after his crucifixion.</p> + +<p>In 306 Constantine the Great yielded to the request of Pope Sylvester, +and began the erection of a basilica on this spot, labouring with his +own hands at the work, and himself carrying away twelve loads of earth, +in honour of the twelve apostles.<a name="FNanchor_327_327" id="FNanchor_327_327"></a><a href="#Footnote_327_327" class="fnanchor">[327]</a> Anastasius describes how the body +of the great apostle was exhumed at this time, and re-interred in a +shrine of silver, enclosed in a sarcophagus of gilt bronze. The early +basilica measured 395 feet in length by 212 in width. Its nave and +aisles were divided by eighty-six marble pillars of different sizes, in +great part brought from the Septizonium of Severus, and it had an +atrium, and a <i>paradisus</i>, or quadrangular portico, along its +front.<a name="FNanchor_328_328" id="FNanchor_328_328"></a><a href="#Footnote_328_328" class="fnanchor">[328]</a> Though only half the size of the present cathedral, still it +covered a greater space than any mediæval cathedral except those of +Milan and Seville, with which it ranked in size.<a name="FNanchor_329_329" id="FNanchor_329_329"></a><a href="#Footnote_329_329" class="fnanchor">[329]</a></p> + +<p>The old basilica suffered severely in the Saracenic invasion<a name="vol_2_page_243" id="vol_2_page_243"></a> of 846, +when some authorities maintain that even the tomb of the great apostle +was rifled of its contents, but it was restored by Leo IV., who raised +the fortifications of the Borgo for its defence.</p> + +<p>Among the most remarkable of its early <i>pilgrims</i> were, Theodosius, who +came to pray for a victory over Eugenius; Valentinian, emperor of the +East, with his wife Eudoxia, and his mother Galla-Placidia; Belisarius, +the great general under Justinian; Totila; Cedwalla, king of the West +Saxons, who came for baptism; Concred, king of the Mercians, who came to +remain as a monk, having cut off and consecrated his long hair at the +tomb of St. Peter; Luitprand, king of the Lombards; Ina of Wessex, who +founded a church here in honour of the Virgin, that Anglo-Saxons might +have a place of prayer, and those who died, a grave; Carloman of France, +who came for absolution and remained as a monk, first at S. Oreste +(Soracte), then at Monte Casino; Richard of England; Bertrade, wife of +Pepin, and mother of Charlemagne; Offa, the Saxon, who made his kingdom +tributary to St. Peter; Charlemagne (four times), who was crowned here +by Leo III.; Lothaire, crowned by Paschal I.; and, in the last year of +the reign of Leo IV., Ethelwolf, king of the Anglo-Saxons, who was +crowned here, remained a year, and who brought with him his boy of six +years old, afterwards the great Alfred.</p> + +<p>Of the old basilica, the crypt is now the only remnant, and there are +collected the few relics preserved of the endless works of art with +which it was filled, and which for the most part were lost or wilfully +destroyed, when it was pulled down. Its destruction was first planned by +Nicholas V.<a name="vol_2_page_244" id="vol_2_page_244"></a> (1450), but was not carried out till the time of Julius +II., who in 1506 began the new St. Peter's from designs of Bramante. The +four great piers and their arches above were completed, before the +deaths of both Bramante and Pope Julius interrupted the work. The next +pope, Leo X., obtained a design for a church in the form of a Latin +cross from Raphael, which was changed, after his death (on account of +expense) to a Greek cross, by Baldassare Peruzzi, who only lived to +complete the tribune. Paul III. (1534) employed Antonio di Sangallo as +an architect, who returned to the design of a Latin cross, but died +before he could carry out any of his intentions. Giulio Romano succeeded +him and died also. Then the pope, "being inspired by God," says Vasari, +sent for Michael Angelo, then in his seventy-second year, who continued +the work under Julius III., returning to the plan of a Greek cross, +enlarging the tribune and transepts, and beginning the dome on a new +plan, which he said would "raise the Pantheon in the air." The dome +designed by Michael Angelo, however, was very different to that which we +now admire, being much lower, flatter, and heavier. The present dome is +due to Giacomo della Porta, who brought the great work to a conclusion +in 1590, under Sixtus V., who devoted 100,000 gold crowns annually to +the building. In 1605 Paul V. destroyed all that remained of the old +basilica, and employed Carlo Maderno as his architect, who once more +returned to the plan of the Latin cross, and completed the present ugly +façade in 1614. The church was dedicated by Urban VIII., November 18th, +1626; the colonnade added by Alexander VII., 1667, the sacristy by Pius +VI., in 1780. The building of the present St. Peter's extended +altogether<a name="vol_2_page_245" id="vol_2_page_245"></a> over 176 years, and its expenses were so great that Julius +II. and Leo X. were obliged to meet them by the sale of indulgences, +which led to the Reformation. The expense of the main building alone has +been estimated at 10,000,000<i>l.</i> The annual expense of repairs is +6300<i>l.</i></p> + +<div class="blockquot"><p>"St. Pierre est une sorte de ville à part dans Rome, ayant son +climat, sa température propre, sa lumière trop vive pour être +religieuse, tantôt deserte, tantôt traversée par des sociétés de +voyageurs, ou remplie d'une foule attirée par les cérémonies +religieuses (à l'époque des jubilés le nombre des pélerins s'est +parfois élevé à Rome, jusqu'à 400,000). Elle a ses reservoirs +d'eau; sa fontaine coulant perpetuellement au pied de la grande +coupole, dans un bassin de plomb, pour la commodité des travaux; +ses rampes, par lesquelles les bêtes de somme peuvent monter; sa +population fixe, habitant ses terrasses. Les San Pietriné, ouvriers +chargés de tous les travaux qu'exige la conservation d'un aussi +précieux edifice, s'y succèdent de père en fils, et forment une +corporation qui a ses lois et sa police."—<i>A. Du Pays.</i></p></div> + +<p>The façade of St. Peter's is 357 feet long and 144 feet high. It is +surmounted by a balustrade six feet in height, bearing statues of the +Saviour and the Twelve Apostles. Over the central entrance is the loggia +where the pope is crowned, and whence he gives the Easter benediction. +The huge inscription runs—"In. Honorem. Principis. Apost. Paulus V. +Burghesius. Romanus. Pont. Max. A. MDCXII. Pont. VII."</p> + +<div class="blockquot"><p>"I don't like to say the façade of the church is ugly and +obtrusive. As long as the dome overawes, that façade is +supportable. You advance towards it—through, O such a noble court! +with fountains flashing up to meet the sunbeams; and right and left +of you two sweeping half-crescents of great columns; but you pass +by the courtiers and up to the steps of the throne, and the dome +seems to disappear behind it. It is as if the throne was upset, and +the king had toppled over."—<i>Thackeray, The Newcomes.</i></p></div> + +<p>A wide flight of steps, at the foot of which are statues of<a name="vol_2_page_246" id="vol_2_page_246"></a> St. Peter +by <i>De Fabris</i>, and St. Paul by <i>Tadolini</i>, lead by fine entrances to +the <i>Vestibule</i>, which is 468 feet long, 66 feet high, and 50 feet wide. +Closing it on the right is a statue of Constantine by <i>Bernini</i>—on the +left that of Charlemagne by <i>Cornacchini</i>. Over the principal entrance +(facing the door of the church) is the celebrated <i>Mosaic of the +Navicella</i>, executed 1298, by <i>Giotto</i>, and his pupil, <i>Pietro +Cavallini</i>.</p> + +<div class="blockquot"><p>"For the ancient basilica of St. Peter, Giotto executed his +celebrated mosaic of the Navicella, which has an allegorical +foundation. It represents a ship, with the disciples, on an +agitated sea; the winds, personified as demons, storm against it; +above appear the Fathers of the Old Testament speaking comfort to +the sufferers. According to the early Christian symbolization, the +ship denoted the Church. Nearer, and on the right, in a firm +attitude, stands Christ, the Rock of the Church, raising Peter from +the waves. Opposite sits a fisherman in tranquil expectation, +denoting the hope of the believer. The mosaic has frequently +changed its place, and has undergone so many restorations, that the +composition alone can be attributed to Giotto. The fisherman and +the figures hovering in the air are, in their present form, the +work of Marcello Provenzale."—<i>Kugler</i>, i. 127.</p></div> + +<div class="blockquot"><p>"This mosaic is ill placed and ill seen for an especial reason. +Early converts from paganism retained the heathen custom of turning +round to venerate the sun before entering a church, so that in the +old basilica, as here, the mosaic was thus placed to give a fitting +object of worship. The learned Cardinal Baronius never, for a +single day, during the space of thirty years, failed to bow before +this symbol of the primitive Church, tossed on the stormy sea of +persecution and of sin, saying, 'Lord, save me from the waves of +sin as thou didst Peter from the waves of the sea.' "—<i>Mrs. +Elliot's Historical Pictures.</i></p></div> + +<p>The magnificent central door of bronze is a remnant from the old +basilica, and was made in the time of Eugenius IV., 1431—39, by Antonio +Filarete, and Simone, brother of Donatello. The bas-reliefs of the +compartments represent the martyrdoms of SS. Peter and Paul, and the +principal events in the reign of Eugenius,—the Council of Florence,<a name="vol_2_page_247" id="vol_2_page_247"></a> +the Coronation of Sigismund, emperor of Germany, &c. The bas-reliefs of +the framework are entirely mythological; Ganymede, Leda and her Swan, +&c., are to be distinguished.</p> + +<div class="blockquot"><p>"Corinne fit remarquer à Lord Nelvil que sur les portes étaient +représentées en bas-relief les métamorphoses d'Ovide. On ne se +scandalise point à Rome, lui dit-elle, des images du paganisme, +quand les beaux-arts les ont consacrées. Les merveilles du génie +portent toujours à l'âme une impression religieuse, et nous faisons +hommage au culte chrétien de tous les chefs-d'œuvre que les +autres cultes ont inspirés."—<i>Mad. de Staël.</i></p></div> + +<p>Let into the wall between the doors are three remarkable inscriptions: +1. Commemorating the donation made to the church by Gregory II., of +certain olive-grounds to provide oil for the lamps; 2. The bull of +Boniface VIII., 1300, granting the indulgence proclaimed at every +jubilee; 3. In the centre, the Latin epitaph of Adrian I. (Colonna, +772-95), by Charlemagne,<a name="FNanchor_330_330" id="FNanchor_330_330"></a><a href="#Footnote_330_330" class="fnanchor">[330]</a> one of the most ancient memorials of the +papacy:</p> + +<p><a name="vol_2_page_248" id="vol_2_page_248"></a></p> + +<div class="poem10"><div class="stanza"> +<span class="i0">"The father of the Church, the ornament of Rome, the famous writer Adrian, the blessed pope, rests in peace:<br /></span> +<span class="ist">God was his life, love was his law, Christ was his glory;<br /></span> +<span class="ist">He was the apostolic shepherd, always ready to do that which was right.<br /></span> +<span class="ist">Of noble birth, and descended from an ancient race,<br /></span> +<span class="ist">He received a still greater nobility from his virtues.<br /></span> +<span class="ist">The pious soul of this good shepherd was always bent<br /></span> +<span class="ist">Upon ornamenting the temples consecrated to God.<br /></span> +<span class="ist">He gave gifts to the churches, and sacred dogmas to the people;<br /></span> +<span class="ist">And showed us all the way to heaven.<br /></span> +<span class="ist">Liberal to the poor, his charity was second to none,<br /></span> +<span class="ist">And he always watched over his people in prayer.<br /></span> +<span class="ist">By his teachings, his treasures, and his buildings, he raised,<br /></span> +<span class="ist">O illustrious Rome, thy monuments, to be the honour of the town and of the world.<br /></span> +<span class="ist">Death could not injure him, for its sting was taken away by the death of Christ;<br /></span> +<span class="i2">It opened for him the gate of the better life.<br /></span> +<span class="ist">I, Charles, have written these verses, while weeping for my father;<br /></span> +<span class="i2">O my father, my beloved one, how lasting is my grief for thee.<br /></span> +<span class="ist">Dost thou think upon me, as I follow thee constantly in spirit;<br /></span> +<span class="ist">Now reign blessed with Christ in the heavenly kingdom.<br /></span> +<span class="ist">The clergy and people have loved you with a heart-love,<br /></span> +<span class="ist">Thou wert truly the love of the world, O excellent priest.<br /></span> +<span class="ist">O most illustrious, I unite our two names and titles,<br /></span> +<span class="ist">Adrian and Charles, the king and the father.<br /></span> +<span class="ist">O thou who readest these verses, say with pious heart the prayer;<br /></span> +<span class="ist">O merciful God, have pity upon them both.<br /></span> +<span class="ist">Sweetly slumbering, O friend, may thy earthly body rest in the grave,<br /></span> +<span class="ist">And thy spirit wander in bliss with the saints of the Lord<br /></span> +<span class="ist">Till the last trumpet sounds in thine ears,<br /></span> +<span class="ist">Then arise with Peter to the contemplation of God.<br /></span> +<span class="ist">Yes, I know that thou wilt hear the voice of the merciful judge<br /></span> +<span class="ist">Bid thee to enter the paradise of thy Saviour.<br /></span> +<span class="ist">Then, O great father, think upon thy son,<br /></span> +<span class="ist">And ask, that with the father the son may enter into joy.<br /></span> +<span class="ist">Go, blessed father, enter into the kingdom of Christ,<br /></span> +<span class="ist">And thence, as an intercessor, help thy people with thy prayers.<br /></span> +<span class="ist">Even so long as the sun rolls upon its fiery axis,<br /></span> +<span class="ist">Shall thy glory, O heavenly father, remain in the world.<br /></span> +</div></div> + +<div class="blockquot"><p>Adrian the pope, of blessed memory, reigned for three-and-twenty +years, ten months, and seventeen days, and died on the 25th of +December."</p></div> + +<p>The walled-up door on the right is the <i>Porta Santa</i>, only opened for +the jubilee, which has taken place every twenty-fifth year (except 1850) +since the time of Sixtus IV. The pope himself gives the signal for the +destruction of the wall on the Christmas-eve before the sacred year.</p> + +<div class="blockquot"><p>"After preliminary prayers from Scripture singularly apt, the pope +goes down from his throne, and, armed with a silver hammer, strikes +the wall in the doorway, which, having been cut round from its +jambs and lintel, falls at once inwards, and is cleared away in a +moment by the<a name="vol_2_page_249" id="vol_2_page_249"></a> San Pietrini. The pope, then, bare-headed and torch +in hand, first enters the door, and is followed by his cardinals +and his other attendants to the high altar, where the first vespers +of Christmas Day are chaunted as usual. The other doors of the +church are then flung open, and the great queen of churches is +filled."—<i>Cardinal Wiseman.</i></p></div> + +<div class="blockquot"><p>"Arrêtez-vous un moment ici, dit Corinne à Lord Nelvil, comme il +était déjà sous le portique de l'église; arrêtez-vous, avant de +soulever le rideau qui couvre la porte du temple; votre cœur ne +bat-il pas à l'approche de ce sanctuaire? Et ne ressentez-vous pas, +au moment d'entrer, tout ce que ferait éprouver l'attente d'un +évènement solennel?"—<i>Mad. de Staël.</i></p></div> + +<p>We now push aside the heavy double curtain and enter the Basilica.</p> + +<div class="blockquot"><p>"Hilda had not always been adequately impressed by the grandeur of +this mighty cathedral. When she first lifted the heavy leathern +curtains, at one of the doors, a shadowy edifice in her imagination +had been dazzled out of sight by the reality."—<i>Hawthorne.</i></p></div> + +<div class="blockquot"><p>"The ulterior burst upon our astonished gaze, resplendent in light, +magnificence, and beauty, beyond all that imagination can conceive. +Its apparent smallness of size, however, mingled some degree of +surprise, and even disappointment, with my admiration; but as I +walked slowly up its long nave, empanelled with the rarest and +richest marbles, and adorned with every art of sculpture and taste, +and caught through the lofty arches opening views of chapels, and +tombs, and altars of surpassing splendour, I felt that it was, +indeed, unparalleled in beauty, in magnitude, and magnificence, and +one of the noblest and most wonderful of the works of +man."—<i>Eaton's Rome.</i></p></div> + +<div class="blockquot"><p>"St Peter's, that glorious temple—the largest and most beautiful, +it is said, in the world, produced upon me the impression rather of +a Christian pantheon, than of a Christian church. The æsthetic +intellect is edified more than the God-loving or God-seeking soul. +The exterior and interior of the building appear to me more like an +apotheosis of the popedom than a glorification of Christianity and +its doctrine. Monuments to the popes occupy too much space. One +sees all round the walls angels flying upwards with papal +portraits, sometimes merely with papal tiaras."—<i>Frederika +Bremer.</i></p></div> + +<div class="blockquot"><p>"L'Architecture de St. Pierre est une musique fixée."—<i>Madame de +Staël.</i></p></div> + +<div class="blockquot"><p>"The building of St. Peter's surpasses all powers of description. +It appears to me like some great work of nature, a forest, a mass +of rocks,<a name="vol_2_page_250" id="vol_2_page_250"></a> or something similar; for I never can realise the idea +that it is the work of man. You strive to distinguish the ceiling +as little as the canopy of heaven. You lose your way in St. +Peter's, you take a walk in it, and ramble till you are quite +tired; when divine service is performed and chaunted there, you are +not aware of it till you come quite close. The angels in the +Baptistery are enormous giants; the doves, colossal birds of prey; +you lose all sense of measurement with the eye, or proportion; and +yet who does not feel his heart expand, when standing under the +dome, and gazing up at it."—<i>Mendelssohn's Letters.</i></p></div> + +<div class="poem"><div class="stanza"> +<span class="i0">"But thou, of temples old, or altars new,<br /></span> +<span class="ist">Standest alone—with nothing like to thee—<br /></span> +<span class="ist">Worthiest of God, the holy and the true.<br /></span> +<span class="ist">Since Zion's desolation, when that He<br /></span> +<span class="ist">Forsook His former city, what could be<br /></span> +<span class="ist">Of earthly structures, in His honour piled,<br /></span> +<span class="ist">Of a sublimer aspect? Majesty,<br /></span> +<span class="ist">Power, Glory, Strength, and Beauty,—all are aisled<br /></span> +<span class="ist">In this eternal ark of worship undefiled.<br /></span> +</div><div class="stanza"> +<span class="i0">"Enter: its grandeur overwhelms thee not;<br /></span> +<span class="ist">And why? it is not lessen'd; but thy mind,<br /></span> +<span class="ist">Expanded by the genius of the spot,<br /></span> +<span class="ist">Has grown colossal, and can only find<br /></span> +<span class="ist">A fit abode wherein appear enshrined<br /></span> +<span class="ist">Thy hopes of immortality; and thou<br /></span> +<span class="ist">Shalt one day, if found worthy, so defined,<br /></span> +<span class="ist">See thy God face to face, as thou dost now<br /></span> +<span class="ist">His Holy of Holies, nor be blasted by His brow."<br /></span> +<span class="i15"><i>Byron, Childe Harold.</i><br /></span> +</div></div> + +<div class="blockquot"><p>"On pousse avec peine une grosse portière de cuir, et nous voici +dans Saint-Pierre. On ne peut qu'adorer la religion qui produit de +telles choses. Rien du monde ne peut être comparé à l'intérieur de +Saint Pierre. Après un an de séjour à Rome, j'y allais encore +passer des heures entières avec plaisir."—<i>Fontana, Tempio +Vaticano Illustrato.</i></p></div> + +<div class="blockquot"><p>"Tandis que, dans les églises gothiques, l'impression est de +s'agenouiller, de joindre les mains avec un sentiment d'humble +prière et de profond regret; dans Saint-Pierre au contraire, le +mouvement involontaire serait d'ouvrir les bras en signe de joie, +de relever la tête avec bonheur et épanouissement. Il semble, que +là, le péché n'accable plus; le sentiment vif du pardon par le +triomphe de la résurrection remplit seul le cœur."—<i>Eugénie de +la Ferronays.</i><a name="vol_2_page_251" id="vol_2_page_251"></a></p> + +<p>"The temperature of St. Peter's seems, like the happy islands, to +experience no change. In the coldest weather it is like summer to +your feelings, and in the most oppressive heats it strikes you with +a delightful sensation of cold—a luxury not to be estimated but in +a climate such as this."—<i>Eaton's Rome.</i></p></div> + +<p>On each side of the nave are four pillars with Corinthian pilasters, and +a rich entablature supporting the arches. The roof is vaulted, coffered, +and gilded. The pavement is of coloured marble, inlaid from designs of +Giacomo della Porta and Bernini. In the centre of the floor, immediately +within the chief entrance, is a round slab of porphyry, upon which the +emperors were crowned.</p> + +<p>The enormous size of the statues and ornaments in St. Peter's do away +with the impression of its vast size, and it is only by observing the +living, moving figures, that one can form any idea of its colossal +proportions. A line in the pavement is marked with the comparative size +of the other great Christian churches. According to this the length of +St Peter's is 613½ feet; of St. Paul's, London, 520½ feet; Milan +Cathedral, 443 feet; St. Sophia, Constantinople, 360½ feet. The +height of the dome in the interior is 405 feet; on the exterior, 448 +feet. The height of the baldacchino is 94½ feet.</p> + +<p>The first impulse will be to go up to the shrine, around which a circle +of eighty-six gold lamps is always burning, and to look down into the +Confessional, where there is a beautiful kneeling statue of Pope Pius +VI. (Braschi, 1785—1800) by <i>Canova</i>. Hence one can gaze up into the +dome, with its huge letters in purple-blue mosaic upon a gold ground +(each six feet long).<a name="FNanchor_331_331" id="FNanchor_331_331"></a><a href="#Footnote_331_331" class="fnanchor">[331]</a> "Tu es Petrus, et super<a name="vol_2_page_252" id="vol_2_page_252"></a> hanc petram +ædificabo ecclesiam meam, et tibi dabo claves regni cœlorum." Above +this are four colossal mosaics of the Evangelists from designs of the +Cav. d'Arpino; the pen of St. Luke is seven feet in length.</p> + +<div class="blockquot"><p>"The cupola is glorious, viewed in its design, its altitude, or +even its decorations; viewed either as a whole or as a part, it +enchants the eye, it satisfies the taste, it expands the soul. The +very air seems to eat up all that is harsh or colossal, and leaves +us nothing but the sublime to feast on:—a sublime peculiar as the +genius of the immortal architect, and comprehensible only on the +spot."—<i>Forsyth.</i></p></div> + +<div class="blockquot"><p>"Ce dôme, en le considérant même d'en bas, fait éprouver une sorte +de terreur; on croit voir des abîmes suspendus sur sa +tête."—<i>Madame de Staël.</i></p></div> + +<p><i>The Baldacchino</i>, designed by Bernini in 1633, is of bronze, with gilt +ornaments, and was made chiefly with bronze taken from the roof of the +Pantheon. It covers the high altar, which is only used on the most +solemn occasions. Only the pope can celebrate mass there, or a cardinal +who is authorised by a papal brief.</p> + +<div class="blockquot"><p>"Without a sovereign priest officiating before and for his people, +St. Peter's is but a grand aggregation of splendid churches, +chapels, tombs, and works of art. With him, it becomes a whole, a +single, peerless temple, such as the world never saw before. That +central pile, with its canopy of bronze as lofty as the Farnese +Palace, with its deep-diving stairs leading to a court walled and +paved with precious stones, that yet seems only a vestibule to some +cavern or catacomb, with its simple altar that disdains ornament in +the presence of what is beyond the reach of human price,—that +which in truth forms the heart of the great body, placed just where +the heart should be, is then animated, and surrounded by living and +moving sumptuousness. The immense cupola above it, ceases to be a +dome over a sepulchre, and becomes a canopy over an altar; the +quiet tomb beneath is changed into the shrine of relics below the +place of sacrifice—the saints under the altar;—the quiet spot at +which a few devout worshippers at most times may be found, bowing +under the hundred lamps, is crowded by rising groups, beginning +from the lowest step, increasing in dignity and in richness of +sacred robes, till, at the summit and in the centre, stands supreme +the pontiff himself, on the very spot<a name="vol_2_page_253" id="vol_2_page_253"></a> which becomes him, the one +living link in a chain, the first ring of which is rivetted to the +shrine of the Apostles below.... St. Peter's is only itself when +the pope is at the high altar, and hence only by, or for, him it is +used."—<i>Cardinal Wiseman.</i></p></div> + +<p>The four huge piers which support the dome are used as shrines for the +four great relics of the church, viz., 1. The lance of S. Longinus, the +soldier who pierced the side of our Saviour, presented to Innocent +VIII., by Pierre d'Aubusson, grandmaster of the Knights of Rhodes, who +had received it from the Sultan Bajazet;<a name="FNanchor_332_332" id="FNanchor_332_332"></a><a href="#Footnote_332_332" class="fnanchor">[332]</a> 2. The head of St. Andrew, +said to have been brought from Achaia in 1460, when its arrival was +celebrated by Pius II.; 3. A portion of the true cross, brought by Sta. +Helena; 4. The napkin of Sta. Veronica, said, doubtless from the +affinity of names, to bear the impression—vera-icon—of our Saviour's +face.</p> + +<div class="blockquot"><p>"The 'Volto-Santo,' said to be the impress of the countenance of +our Saviour on the handkerchief of Sta. Veronica, or Berenice, +which wiped his brow on the way to Calvary, was placed in the +Vatican by John VII., in 707, and afterwards transferred to the +Church of Santo Spirito, where six Roman noblemen had the care of +it, each taking charge of one of the keys with which it was locked +up. Among the privileges enjoyed for this office, was that of +receiving, every year, from the hospital of Santo Spirito at the +feast of Pentecost, two cows, whose flesh, an ancient chronicle +says, 'si mangiavano lì, con gran festa.' In 1440, this picture was +carried back to St. Peter's, whence it has not since been moved. +When I examined the head on the Veronica handkerchief, it struck me +as undoubtedly a work of early Byzantine art, perhaps of the +seventh or eighth century, painted on linen. It is with implicit +acceptance of its claims that Petrarch alludes to it—'verendam +populis Salvatoris Imaginem.' Ep. ix., lib. 2. During the +republican domination in 1849, it was rumoured that about Easter, +the canons of St. Peter saw the Volto-Santo turn pale, and +ominously change colour while they gazed upon it."—<i>Hemans' +Catholic Italy</i>, vol. i. +<a name="vol_2_page_254" id="vol_2_page_254"></a></p></div> + +<p>The ceremony of exhibiting the relics from the balcony above the statue +of Sta. Veronica takes place on Holy Thursday, Good Friday, and Easter +Day, but the height is so great that nothing can really be +distinguished.</p> + +<div class="blockquot"><p>"To-day we gazed on the Veronica—the holy impression left by our +Saviour's face on the cloth Sta. Veronica presented to him to wipe +his brow, bowed under the weight of the Cross. We had looked +forward to this sight for days, for seven thousand years of +indulgence from penance are attached to it.</p> + +<p>"But when the moment came we could see nothing but a black board +hung with a cloth, before which another white cloth was held. In a +few minutes this was withdrawn, and the great moment was over, the +glimpse of the sacred thing on which hung the fate of seven +thousand years."—<i>Schönberg-Cotta Chronicles.</i></p></div> + +<p>The niches in the piers are occupied by four statues, of Longinus, St. +Andrew, Sta. Helena, and Sta. Veronica, holding the napkin or +"sudarium," "flourishing a marble pocket-handkerchief."<a name="FNanchor_333_333" id="FNanchor_333_333"></a><a href="#Footnote_333_333" class="fnanchor">[333]</a></p> + +<div class="blockquot"><p>"Malheureusement toutes ces statues pèchent par le goût. Le rococo, +mis à la mode par le Bernin, est surtout exécrable dans le genre +colossale. Mais la présence du génie de Bramante et de Michel-Ange +se fait tellement sentir, que les choses ridicules ne le sont plus +ici; elles ne sont qu' insignifiantes. Les statues colossales des +piliers représentent: St. André, par François Quesnoy (Fiammingo), +elle excita la jalousie du Bernin; St. Veronique par M. Mochi, dont +il blamait les draperies volantes (dans un endroit clos). Un +plaisant lui répondait que leur agitation provenait du vent qui +soufflait par les crevasses de la coupole, depuis qu'il avait +affaibli les piliers par des niches et tribunes: St. Hélène par A. +Bolgi, St. Longin par Bernin."—<i>A. Du Pays.</i></p></div> + +<p>Not very far from the confessional, against the last pier on the right +of the nave, stands the statue of St. Peter, said to have been cast by +Leo the Great, from the old statue of Jupiter Capitolinus. It is of very +rude workmanship. Its extended foot is eagerly kissed by Roman Catholic +devotees,<a name="vol_2_page_255" id="vol_2_page_255"></a> who then rub their foreheads against its toes. Protestants +wonder at the feeling which this figure excites. Gregory II. wrote of it +to Leo the Isaurian: "Christ is my witness, that when I enter the temple +of the prince of the Apostles, and contemplate his image, I am filled +with such emotion, that tears roll down my cheeks like the rain from +heaven." On high festivals the statue is dressed up in full pontificals. +On the day of the jubilee of Pius IX. (June 16, 1871), it was attired in +a lace alb, stole, and gold-embroidered cope, fastened at the breast by +a clasp of diamonds; and its foot was kissed by upwards of 20,000 +persons during the day.</p> + +<div class="blockquot"><p>"La coutume antique chez les Grecs d'habiller et de parer les +statues sacrées s'était conservée à Rome et s'y conserve encore. +Tout le monde a vu la statue de saint Pierre revêtir dans les +grandes solennités ses magnifiques habits de pape. On lavait les +statues des dieux, on les frottait, on les frisait comme des +poupées. Les divinités du Capitole avaient un nombreux domestique +attaché à leur personne et qui était chargé de ce soin. L'usage +romain a subsisté chez les populations latines de l'Espagne et +elles l'ont porté jusqu'au Mexique où j'ai vu, à Puebla, la veille +d'une fête, une femme de chambre faire une toilette en règle à une +statue de la Vierge."—<i>Ampère, Hist. Rom.</i> iv. 91.</p></div> + +<p>Along the piers of the nave and transepts are ranged statues of the +different Founders, male and female, of religious Orders.</p> + +<p>Returning to the main entrance, we will now make the tour of the +basilica. Those who expect to find monuments of great historical +interest will, however, be totally disappointed. Scarcely anything +remains above-ground which is earlier than the sixteenth century. Of the +tombs of the eighty-seven popes who were buried in the old basilica, the +greater part were totally lost at its destruction,—a few were removed +to other churches (those of the Piccolomini<a name="vol_2_page_256" id="vol_2_page_256"></a> to S. Andrea della Valle, +&c.), and some fragments are still to be seen in the crypt. Only two +monuments were replaced in the new basilica, those of the two popes who +lived in the time and excited the indignation of Savonarola—"Sixtus +IV., with whose cordial concurrence the assassination of Lorenzo di +Medici was attempted—and Innocent VIII., the main object of whose +policy was to secure place and power for his illegitimate children."</p> + +<div class="blockquot"><p>"The side-chapels are splendid, and so large that they might serve +for independent churches. The monuments and statues are numerous, +but all are subordinate, or unite harmoniously with the large and +beautiful proportions of the chief temple. Everything there is +harmony, light, beauty—an image of the church-triumphant, but a +very worldly, earthly image; and whilst the mind enjoys its +splendour, the soul cannot, in the higher sense, be edified by its +symbolism."—<i>Frederika Bremer.</i></p></div> + +<p>The first chapel on the right derives its name from the <i>Pietà of +Michael Angelo</i>, representing the dead Saviour upon the knees of the +Madonna, a work of the great artist in his twenty-fourth year, upon an +order from the French ambassador, Cardinal Jean de Villiers, abbot of +St. Denis. The sculptor has inscribed his name (the only instance in +which he has done so) upon the girdle of the Virgin. Francis I. +attempted to obtain this group from Michael Angelo in 1507, together +with the statue of Christ at the Minerva, "comme de choses que l'on m'a +assuré estre des plus exquises et excellentes en votre art." Opening +from this chapel are two smaller ones. That on the right has a Crucifix +by <i>Pietro Cavallini</i>; the mosaic, representing St. Nicholas of Bari, is +by <i>Christofari</i>. That on the left is called <i>Cappella della Colonna +Santa</i>, from a column, said to have been brought from Jerusalem, and to +have been that against which our<a name="vol_2_page_257" id="vol_2_page_257"></a> Saviour leant, when he prayed and +taught in the temple. It is inscribed:</p> + +<div class="blockquot"><p>"Hæc est illa columna in qua DNS N<sup>r</sup> Jesus XPS appodiatus dum +populo prædicabat et Deo pn̄o preces in templo effundebat +adhærendo, stabatque una cum aliis undeci hic circumstantibus de +Salomonis templo in triumphum. Hujus Basilicæ hic locata fuit +demones expellit et immundis spiritibus vexatos liberos reddit et +multa miracula cotidie facit. P. reverendissimum prem̄ et Dominum +Dominus. Card. de Ursinis. <small>A.D. MDCCCXXXVIII.</small>"</p></div> + +<p>A more interesting object in this chapel is the sarcophagus (once used +as a font) of Anicius Probus, a prefect of Rome in the fourth century, +of the great family of the Anicii, to which St. Gregory the Great +belonged. Its five compartments have bas-reliefs, representing Christ +and the Apostles.</p> + +<p>Returning to the aisle, on the right, is the tomb of Leo XII., Annibale +della Genga (1823—29) by <i>Fabris</i>; on the left is the tomb of Christina +of Sweden, daughter of Gustavus Adolphus, who died at Rome, 1689, by +<i>Carlo Fontana</i>, with a bas-relief by Teudon, representing her +abjuration of Protestantism in 1655, in the cathedral of Innspruck.</p> + +<p>On the right is the altar of St. Sebastian, with a mosaic copy of +Domenichino's picture at Sta. Maria degli Angeli; beyond which is the +tomb of Innocent XII., Antonio Pignatelli (1691—1700). This was the +last pope who wore the martial beard and moustache, which we see +represented in his statue. Pignatella is Italian for a little cream-jug; +in allusion to this we may see three little cream-jugs in the upper +decorations of this monument, which is by <i>Filippo Valle</i>. On the left +is the tomb, by <i>Bernini</i>, of the Countess Matilda, foundress of the +temporal power of the popes, who died in 1115, was buried in a monastery +near Mantua, and<a name="vol_2_page_258" id="vol_2_page_258"></a> transported hither by Urban VIII. in 1635. The +bas-relief represents the absolution of Henry IV. of Germany, by +Hildebrand, which took place at her intercession and in her presence.</p> + +<p>We now reach, on the right, the large <i>Chapel of the Santissimo +Sacramento</i>, decorated with a fresco altar-piece, representing the +Trinity, by <i>Pietro da Cortona</i>, and a tabernacle of lapis-lazuli and +gilt bronze, copied from Bramante's little temple at S. Pietro in +Montorio. Here is the magnificent tomb of Sixtus IV., Francesco della +Rovere (1471—81), removed from the choir of the old St. Peter's, where +it was erected by his nephew, Cardinal Giulio della Rovere, afterwards +Pope Julius II. This pope's reign was entirely occupied with politics, +and he was secretly involved in the conspiracy of the Pazzi at Florence; +he was the first pope who carried nepotism to such an extent as to found +a principality (Imola and Forli) for his nephew Girolamo Riario. The +tomb is a beautiful work of the Florentine artist, <i>Antonio Pollajuola</i>, +in 1493. The figure of the pope reposes upon a bronze couch, surrounded, +in memory of his having taught successively in the six great +universities of Italy, with allegorical bas-reliefs of Arithmetic, +Astrology, Philology, Rhetoric, Grammar, Perspective, Music, Geography, +Philosophy, and Theology, which last is represented like a pagan Diana, +with a quiver of arrows on her shoulders. Close to this monument of his +uncle, a flat stone in the pavement marks the grave of Julius II., for +whom the grand tomb at S. Pietro in Vincoli was intended.</p> + +<p>Returning to the aisle, we see on the right the tomb of Gregory XIII., +Ugo Buoncompagni (1572—85), during whose reign the new calendar was +invented, an event commemorated<a name="vol_2_page_259" id="vol_2_page_259"></a> in a bas-relief upon the monument, +which was not erected till 1723, and is by <i>Camillo Rusconi</i>. The figure +of the pope (he died aged eighty-four) is in the attitude of +benediction: beneath are Wisdom, represented as Minerva, and Faith, +holding a tablet inscribed, "Novi opera hujus et fidem." Opposite this +is the paltry tomb of Gregory XIV., Nicolo Sfrondati (1590—91).</p> + +<div class="blockquot"><p>"Le tombeau de Gregoire XIII., que le massacre de Saint Barthélemy +réjouit si fort, est de marbre. Le tombeau de stuc ou d'abord il +avait été placé, a été accordé, après son départ, au cendres de +Grégoire XIV."—<i>Stendhal.</i></p></div> + +<p>On the left, against the great pier, is a mosaic copy of Domenichino's +Communion of St. Jerome. On the right is the chapel of the Madonna, +founded by Gregory XIII., and built by Giacomo della Porta. The cupola +has mosaics by Girolamo Muziano. Beneath the altar is buried St. Gregory +Nazianzen, removed hither from the convent of Sta. Maria in the Campo +Marzo by Gregory XIII.</p> + +<div class="blockquot"><p>St. Gregory Nazianzen (or St. Gregory Theologos) was son of St. +Gregory and St. Nonna, and brother of St. Gorgonia and St. Cesarea. +He was born <i>c.</i> <small>A.D.</small> 328. In his childhood he was influenced by a +vision of the two virgins, Temperance and Chastity, summoning him +to pursue them to the joys of Paradise. Being educated at Athens +(together with Julian the Apostate), he formed there a great +friendship with St. Basil. He became first the coadjutor, +afterwards the successor, of his father, in the bishopric of +Nazianzen, but removed thence to Constantinople, where he preached +against the Arians. By the influence of Theodosius, he was ordained +Bishop of Constantinople, but was so worn out by the cabals and +schisms in the Church, that he resigned his office, and retired to +his paternal estate, where he passed the remainder of his life in +the composition of Greek hymns and poems. He died May 9, <small>A.D.</small> 390.</p></div> + +<p>On the right is the tomb of Benedict XIV., Prospero Lambertini +(1740—58), by <i>Pietro Bracci</i>, a huge and ugly<a name="vol_2_page_260" id="vol_2_page_260"></a> monument. On the left +is the tomb of Gregory XVI., Mauro-Cappellari (1831—46), by <i>Amici</i>, +erected in 1855 by the cardinals he had created.</p> + +<p>Turning into the right transept, used as a council-chamber (for which +purpose it proved thoroughly unsatisfactory), 1869—70, we find several +fine mosaics from pictures, viz.: The Martyrdom of SS. Processus and +Martinianus from the Valentin at the Vatican; the Martyrdom of St. +Erasmus from Poussin; St. Wenceslaus, king of Bohemia, from Caroselli; +Our Saviour walking on the sea to the boat of St. Peter, from Lanfranco.</p> + +<p>Opposite to the last-named mosaic is the famous monument of Clement +XIII., Carlo Rezzonico (1758—69), in whose reign the Order of Jesuits +was attacked by all the sovereigns of the house of Bourbon, and expelled +from Portugal, France, Spain, Naples, and Parma. The pope, who had long +defended them, was about to yield to the pressure put upon him and had +called a consistory for their suppression, but died suddenly on the +evening before its assembling. This tomb, the greatest work of Canova, +was uncovered April 4, 1795, in the presence of an immense crowd, with +whom the sculptor mingled, disguised as an abbé, to hear their opinion. +The pope (aged 75) is represented in prayer, upon a pedestal, beneath +which is the entrance to a vault, guarded by two grand marble lions. On +the right is Religion, standing erect with a cross; on the left the +Genius of Death, holding a torch reversed. The beauty of this work of +Canova is only felt when it is compared with the monuments of the +seventeenth century in St. Peter's; "then it seems as if they were +separated by an abyss of centuries."<a name="FNanchor_334_334" id="FNanchor_334_334"></a><a href="#Footnote_334_334" class="fnanchor">[334]</a><a name="vol_2_page_261" id="vol_2_page_261"></a></p> + +<p>Beyond this are mosaics from the St. Michael of Guido at the Cappuccini, +and from the Martyrdom of St. Petronilla, of Guercino, at the Capitol. +Each of these large mosaics has cost about 150,000 francs.</p> + +<p>Now, on the right, is the tomb of Clement X., Gio. Baptista Altieri +(1670—76), by <i>Rossi</i>, the statue by <i>Ercole Ferrata</i>; and on the left, +is a mosaic of St. Peter raising Tabitha from the dead, by Costanzi.</p> + +<p>Ascending into the tribune, we see at the end of the church, beneath the +very ugly window of yellow glass, the "Cathedra Petri" of <i>Bernini</i>, +supported by figures of the four Fathers of the Church, Augustine, +Ambrose, Chrysostom, and Athanasius. Enclosed in this, is a very ancient +wooden senatorial chair, encrusted with ivory, which is believed to have +been the episcopal throne of St. Peter and his immediate successors. +Late Roman Catholic authorities (Mgr. Gerbet, &c.) consider that it may +perhaps have been originally the chair of the senator Pudens, with whom +the apostle lodged. A magnificent festival in honour of St. Peter's +chair (Natale Petri de Cathedra) has been annually celebrated here from +the earliest times, and is mentioned in a calendar of Pope Liberius of +<small>A.D.</small> 354. It was said that if any pope were to reign longer than the +traditional years of the government of St. Peter (Pius IX. is the first +pope who has done so), St. Peter's chair would be again brought into +use.</p> + +<p>On the right of the chair is the tomb of Urban VIII., Matteo Barberini +(1623—44), who was chiefly remarkable from his passion for building, +and who is perpetually brought to mind through the immense number of his +erections which still exist. The tomb is by <i>Bernini</i>, the architect of +his endless fountains and public buildings, and has the usual fault of +this<a name="vol_2_page_262" id="vol_2_page_262"></a> sculptor in overloading his figures (except in that of Urban +himself, which is very fine,<a name="FNanchor_335_335" id="FNanchor_335_335"></a><a href="#Footnote_335_335" class="fnanchor">[335]</a>) with meaningless drapery. Figures of +Charity and Justice stand by the black marble sarcophagus of the pope, +and a gilt skeleton is occupied in inscribing the name of Urban on the +list of Death. The whole monument is alive with the bees of the +Barberini. The pendant tomb on the left is that of Paul III., Alessandro +Farnese (1534—50), in whose reign the Order of the Jesuits was founded. +This pope (the first Roman who had occupied the throne for 103 +years—since Martin V.) was learned, brilliant, and witty. He was adored +by his people, in spite of his intense nepotism, which induced him to +form Parma into a duchy for his natural son Pierluigi, to build the +Farnese Palace, and to marry his grandson Ottavio to Marguerite, natural +daughter of Charles V., to whom he gave the Palazzo Madama and the Villa +Madama as a dowry. His tomb, by <i>Guglielmo della Porta</i>, perhaps the +finest in St. Peter's, cost 24,000 Roman crowns; it was erected in the +old basilica just before its destruction in 1562,—and in 1574 was +transferred to this church, where its position was the source of a +quarrel between the sculptor and Michael Angelo, by whose interest he +had obtained his commission.<a name="FNanchor_336_336" id="FNanchor_336_336"></a><a href="#Footnote_336_336" class="fnanchor">[336]</a> It was first placed on the site where +the Veronica now stands, whence it was moved to its present position in +1629. The figure of the pope is in bronze. In its former place four +marble statues adorned the pedestal; two are now removed to the Farnese +Palace; those which remain, of Prudence and Justice, were once entirely +nude, but were draped by Bernini. The statue<a name="vol_2_page_263" id="vol_2_page_263"></a> of Prudence is said to +represent Giovanna Gaetani da Sermoneta, the mother of the pope, and +that of Justice his famous sister-in-law, Giulia.</p> + +<div class="blockquot"><p>"On a dit de ces figures que c'était le Rubens en sculpture."—<i>A. +Du Pays.</i></p></div> + +<p>Near the steps of the tribune are two marble slabs, on which Pius IX. +has immortalised the names of the cardinals and bishops who, on December +8, 1854, accepted, on this spot, his dogma of the Immaculate Conception.</p> + +<p>Turning towards the left transept;—on the left is a mosaic of St. Peter +healing the lame man, from <i>Mancini</i>. On the right is the tomb of +Alexander VIII., Pietro Ottobuoni (1689—91), by <i>Giuseppe Verlosi</i> and +<i>Angelo Rossi</i>, gorgeous in its richness of bronze, marbles, and +alabasters. Beyond this is the altar of Leo the Great, over which is a +huge bas-relief, by <i>Algardi</i>, representing S. Leo calling down the +assistance of SS. Peter and Paul against the invasion of Attila.</p> + +<div class="blockquot"><p>"The king of the Huns, terrified by the apparition of the two +apostles in the air, turns his back and flies. We have here a +picture in marble, with all the faults of taste and style which +prevailed at that time, but the workmanship is excellent; it is, +perhaps, the largest bas-relief in existence, excepting the rock +sculpture of the Indians and Egyptians—at least fifteen feet in +height."—<i>Jameson's Sacred Art</i>, p. 685.</p></div> + +<p>Next to this is the Cappella della Colonna, possessing a much revered +Madonna from a pillar of the old basilica, and beneath it an ancient +Christian sarcophagus containing the remains of Leo II. (ob. 683), Leo +III. (ob. 816), and Leo IV. (ob. 855). In the pavement near these two +altars is the slab tomb of Leo XII. (ob. 1828), with an epitaph +illustrating Invocation of Saints, but touching in its humility.</p> + +<div class="blockquot"><p>"Commending myself, a suppliant, to my great celestial patron Leo,<a name="vol_2_page_264" id="vol_2_page_264"></a> +I, Leo XII., his humble client, unworthy of so great a name, have +chosen a place of sepulture, near his holy ashes."</p></div> + +<p>Over the door known as the Porta Sta. Marta (from the church in the +square behind St. Peter's, to which it leads), is the tomb of Alexander +VII., Fabio Chigi (1655—67), the last work of <i>Bernini</i>, who had built +for this pope the Scala-Regia and the Colonnade of St. Peter's. This is, +perhaps, the worst of all the papal monuments—a hideous figure of Death +is pushing aside an alabaster curtain and exhibiting his hour-glass to +the kneeling pope.</p> + +<p>Opposite to this tomb is an oil painting on slate, by <i>Francesco Vanni</i>, +of the Fall of Simon Magus. The south transept has a series of mosaic +pictures; The Incredulity of St. Thomas from Camuccini, the Crucifixion +of St. Peter and a St. Francis from Guido, and, on the pier of the +Cupola, Ananias and Sapphira from the Roncalli at Sta. Maria degli +Angeli, and the Transfiguration from Raphael.<a name="FNanchor_337_337" id="FNanchor_337_337"></a><a href="#Footnote_337_337" class="fnanchor">[337]</a></p> + +<p>Opposite the mosaic of Ananias and Sapphira is the last tomb erected in +St. Peter's, that of Pius VIII., Francesco Castiglione (1829—31), by +<i>Tenerani</i>. It represents the pope kneeling, and above him the Saviour +in benediction, with SS. Peter and Paul. It is of no great merit.</p> + +<p>The Cappella Clementina has the Miracle of St. Gregory the Great from +the Andrea Sacchi at the Vatican. Close to this is the fine tomb of Pius +VII., Gregorio Chiaramonte (1800—23), who crowned Napoleon,—who +suffered exile for seven years for refusing to abdicate the temporal +power,—and who returned in triumph to die at the Quirinal, after having +re-established the Order of the Jesuits. His monument is the work of +<i>Thorwaldsen</i>, graceful and simple, though<a name="vol_2_page_265" id="vol_2_page_265"></a> perhaps too small to be in +proportion to the neighbouring tombs. The figure of the pope, a gentle +old man (he died at the age of eighty-one, having reigned twenty-three +years), is seated in a chair; figures of Courage and Faith adorn the +pedestal. The tomb was erected by Cardinal Gonsalvi, the faithful friend +and minister of this pope (who died very poor, having spent all his +wealth in charity), at an expense of 27,000 scudi.</p> + +<p>Turning into the left aisle,—on the right is the tomb of Leo XI., +Alessandro de Medici (1605), to which one is inclined to grudge so much +space, considering that the pope it commemorates only reigned twenty-six +days. The tomb, in allusion to this short life, is sculptured with +flowers, and bears the motto, <i>Sic Florui</i>. It is the work of <i>Algardi</i>. +The figures of Wisdom and Abundance, which adorn the pedestal, are fine +specimens of this allegorical type.</p> + +<p>Opposite, is the tomb of Innocent XI., Benedetto Odescalchi (1676—89), +by <i>Etienne Monot</i>, with a bas-relief representing the raising of the +siege of Vienna by King John Sobieski.</p> + +<p>Near this, is the entrance to the Cappella del Coro, the very +inconvenient chapel (decorated with gilding and stucco by Giacomo della +Porta), in which the vesper services are held. The altar-piece is a +mosaic copy of the Conception by Pietro Bianchi at the Angeli. In the +pavement is the gravestone of Clement XI., Giov. Francesco Albani +(1700—21).</p> + +<p>Under the next arch of the aisle, on the left, is the interesting tomb +of Innocent VIII., Gio. Battista Cibò (1484—92), by Pietro and Antonio +Pollajuolo. The pope is represented asleep upon his sarcophagus, and a +second time above, seated on a throne, his right hand extended in +benediction,<a name="vol_2_page_266" id="vol_2_page_266"></a> and his left holding the sacred lance of Longinus (said to +have been that which pierced the side of our Saviour), sent to him by +the sultan Bajazet. It is supposed that it was owing to the +representation of this relic, that this tomb alone (except that of +Sixtus IV., uncle of the destroyer), was replaced after the destruction +of the old basilica. Upon the sarcophagus of the pope is inscribed, in +allusion to the name of Innocent, the 11th verse of the 26th Psalm, "In +innocentiâ meâ ingressus sum, redime me Domine et miserere mei." +Opposite, is a tomb which is a kind of Memento Mori to the living pope, +which always bears the name of his predecessor, and in which his corpse +will be deposited, till his real tomb is prepared. "This tomb is now +empty, and awaits its prey, Pius IX."<a name="FNanchor_338_338" id="FNanchor_338_338"></a><a href="#Footnote_338_338" class="fnanchor">[338]</a></p> + +<p>Passing the Cappella della Presentazione, which contains a mosaic from +the "Presentation of the Virgin," by <i>Romanelli</i>, we reach the last +arch, which contains the tombs of the Stuarts. On the right is the +monument, by <i>Filippo Barigioni</i>, of Maria Clementina Sobieski, wife of +James III., called in the inscription "Queen of Great Britain, France, +and Ireland"; on the left is that by Canova to the three Stuart princes, +James III. and his sons, Charles Edward, and Henry—Cardinal York. It +bears this inscription:</p> + +<div class="blockquot"> + <p class="c">"JACOBO III.<br /> + JACOBI II., MAGNÆ BRIT. REGIS FILIO<br /> + KAROLO EDOARDO<br /> + ET HENRICO, DECANO PATRUM<br /> + CARDINALIUM,<br /> + JACOBI III. FILIIS,<br /> + REGLÆ STIRPIS STVARDIÆ POSTREMIS<br /> + ANNO MDCCCXIX<br /> + BEATI MORTUI QUI IN DOMINO MORIUNTUR."</p> + +<p><a name="vol_2_page_267" id="vol_2_page_267"></a></p> + +<p>"George IV., fidèle à sa réputation du <i>gentleman</i> le plus accompli +des trois royaumes, a voulu honorer la cendre des princes +malheureux que de leur vivant il eût envoyés à l'échafaud s'ils +fussent tombés en son pouvoir."—<i>Stendhal.</i></p> + +<p>"Beneath the unrivalled dome of St. Peter's, lie mouldering the +remains of what was once a brave and gallant heart; and a stately +monument from the chisel of Canova, and at the charge, as I +believe, of the house of Hanover, has since arisen to the memory of +<i>James the Third, Charles the Third, and Henry the Ninth, Kings of +England</i>,—names which an Englishman can scarcely read without a +smile or a sigh! Often at the present day does the British +traveller turn from the sunny crest of the Pincian, or the carnival +throng of the Corso, to gaze, in thoughtful silence, on that +mockery of human greatness, and that last record of ruined hopes! +The tomb before him is of a race justly expelled; the magnificent +temple that enshrines it is of a faith wisely reformed; yet who at +such a moment would harshly remember the errors of either, and +might not join in the prayer even of that erring Church for the +departed, 'Requiescant in pace.'"—<i>Lord Mahon.</i></p></div> + +<p>The last chapel is the Baptistery, and contains, as a font, the ancient +porphyry cover of the sarcophagus of Hadrian, which was afterwards used +for the tomb of the Emperor Otho II. The mosaic of the Baptism of our +Saviour is from Carlo Maratta.</p> + +<p>Distributed around the whole basilica are confessionals for every +Christian tongue.</p> + +<div class="blockquot"><p>"Au milieu de toutes les créations hardies et splendides de l'art +dans le basilique de St. Pierre, il est une impression morale qui +saisit l'esprit, à la vue des confessionaux des diverses langues. +Il y a là encore une autre espèce de grandeur."—<i>A. Du Pays.</i></p></div> + +<p><i>The Crypt of St. Peter's</i> can always be visited by gentlemen, on +application in the sacristy; but by ladies only with a special +permission. The entrance is near the statue of Sta. Veronica. The +visitor is terribly hurried in his inspection of this, the most +historically interesting part of the basilica, and the works of art it +contains are so ill-arranged,<a name="vol_2_page_268" id="vol_2_page_268"></a> as to be difficult to investigate or +remember. The crypt is divided into two portions, the <i>Grotte Nuove</i>, +occupying the area beneath the dome, and opening into some ancient +lateral chapels,—and the <i>Grotte Vecchie</i>, which extended under the +whole nave of the old basilica, and reaches as far as the Cappella del +Coro of the present edifice.</p> + +<p>The first portion entered is a corridor in the Grotte Nuove. Hence open, +on the right, two ancient chapels. The first, <i>Sta. Maria in Portico</i>, +derives its name from a picture of the Virgin, attributed to <i>Simone +Memmi</i>, which stood in the portico of the old basilica; it contains, +besides several statues from the magnificent monument of Nicholas V., +which perished with the old church, a statue of St. Peter which stood in +the portico, and the cross which crowned its summit. The second chapel, +<i>Sta. Maria delle Partorienti</i>, has a mosaic of our Saviour in +benediction, from the tomb of Otho II.; a mosaic of the Virgin, of the +eighth century; several ancient inscriptions; and, at the entrance, +statues of the two apostles James, from the tomb of Nicholas V. Behind +this chapel were preserved the remains of Leo II., III., and IX., till +they were removed to the upper church by Leo XII.</p> + +<p>Entering the <i>Grotte Vecchie</i>, we find a nave and aisles separated by +pilasters with low arches. Following the south aisle we are first +arrested by the marble inscription relating to the donation of lands +made by the Countess Matilda to the church in 1102. Near this is the +small <i>Cappella del Salvatore</i>, containing a bas-relief of the Virgin +and Child by <i>Arnolfo</i>, which once decorated the tomb of Boniface +VIII.,—and the grave of Charlotte, Queen of Cyprus, who died in 1487. +Near this are the sepulchral urns of the three Stuart<a name="vol_2_page_269" id="vol_2_page_269"></a> princes, +commemorated in the upper church. At the end of this aisle is the tomb +of the Emperor Otho II., who died at Rome in <small>A.D.</small> 983; this formerly +stood in the portico of the basilica.</p> + +<p>Here is the empty tomb of Alexander VI., Rodrigo Borgia (1492—1503), +the wicked and avaricious father of Cæsar and Lucretia, who is believed +to have died of the poison which he intended for one of his cardinals. +The body of this pope was not allowed to rest in peace. Julius II., the +bitter enemy of the Borgias, turned it out of its tomb, and had it +carried to S. Giacomo degli Spagnuoli, whence, when that church was +pulled down, it was taken to Sta. Maria di Monserrato. The empty +sarcophagus is surmounted by the figure of Alexander, who was himself a +handsome old man, and in whose features may be traced the lineaments of +the splendid Cæsar Borgia, known to us from the picture in the Borghese +Palace.</p> + +<p>At the end of the central nave is the sarcophagus of Christina of +Sweden, who has a monument in the upper church.</p> + +<p>The first tomb in the south aisle, beginning from the west, is that of +Boniface VIII., Benedetto Gaetani (1294—1303).</p> + +<div class="blockquot"><p>"The last prince of the Church, who understood the papacy in the +sense of universal dominion, in the spirit of Gregory VII., of +Alexander and Innocent III. Two kings held the bridle of his +palfrey as he rode from St Peter's to the Lateran after his +election. He received Dante as the ambassador of Florence; in 1300 +he instituted the jubilee; and his reign—filled with contests with +Philip le Bel of France and the Colonnas—ended in his being taken +prisoner in his palace at Anagni by Sciarra Colonna and William of +Nogaret, and subjected to the most cruel indignities. He was +rescued by his fellow-citizens and conducted to Rome by the Orsini, +but he died thirty seven days after of grief and mortification. The +Ghibelline story relates that he sate alone silently gnawing the +top of his staff, and at length dashed out his brains against<a name="vol_2_page_270" id="vol_2_page_270"></a> the +wall, or smothered himself with his own pillows. But the +contemporary verse of the Cardinal St. George describes him as +dying quietly in the midst of his cardinals, at peace with the +world, and having received all the consolations of the +Church."—<i>See Milman's Latin Christianity</i>, vol. <small>V</small>.</p></div> + +<p>The character of Boniface has ever been one of the battlefields of +history. He was scarcely dead when the epitaph, "He came in like a fox, +he ruled like a lion, he died like a dog," was proclaimed to +Christendom. He was consigned by Dante to the lowest circle of Hell; yet +even Dante expressed the universal shock with which Christendom beheld +"the Fleur de lis enter Anagni, and Christ again captive in his +Vicar,—the mockery, the gall and vinegar, the crucifixion between +living robbers, the cruelty of the second Pilate." In later times, +Tosti, Drumann, and lastly, Cardinal Wiseman, have engaged in his +defence.</p> + +<p>Boniface VIII. was buried with the utmost magnificence in a splendid +chapel, which he had built himself, and adorned with mosaics, and where +a grand tomb was erected to him. Of this nothing remains now, but the +sarcophagus, which bears a majestic figure of the pope by <i>Arnolfo del +Cambio</i>.</p> + +<div class="blockquot"><p>"The head is unusually beautiful, severe and noble in its form, and +corresponds perfectly with the portrait which we have (at the +Lateran) from the hand of Giotto, which represents his face as +beardless and of the most perfect oval. His head is covered by a +long, pointed mitre, like a sugar-loaf, decked with two crowns. +This proud man was indeed the first who wore the double crown,—all +his predecessors having been content with a simple crowned mitre. +This new custom existed till the tune of Urban V., by whom the +third crown was added."—<i>Gregorovius, Grabmäler der Päpste.</i></p></div> + +<p>Close to that of Boniface are the sarcophagi of Pius II.,<a name="vol_2_page_271" id="vol_2_page_271"></a> Æneas Sylvius +Piccolomini (1458—64) and Pius III., Antonio Todeschini Piccolomini +(1503), whose monuments are removed to S. Andrea della Valle.</p> + +<p>Next beyond Boniface is the tomb of Adrian IV. (Nicholas Breakspeare, +1154—59), the only Englishman who ever occupied the papal throne.<a name="FNanchor_339_339" id="FNanchor_339_339"></a><a href="#Footnote_339_339" class="fnanchor">[339]</a> +He is buried in a pagan sarcophagus of red granite, adorned with Medusa +heads in relief, and without any inscription.</p> + +<p>Opposite this, is a sarcophagus bearing the figure of Nicholas V., +Tomaso di Sarzana(1447—55), being nearly all that has been preserved of +the glorious tomb of that pope, who founded the Vatican library, +collected around him a court of savants and poets, and "with whom opened +the age of papacy to which belonged the times of Julius II. and Leo X." +His epitaph, attributed to Pius II., is by his secretary Mafeo Vegio.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"The bones of Nicholas V. rest in this grave,<br /></span> +<span class="ist">Who gave to thee, O Rome! thy golden age.<br /></span> +<span class="ist">Famous in council, more famous in shining virtue,<br /></span> +<span class="ist">He honoured wise men, who was himself the wisest of all.<br /></span> +<span class="ist">He gave healing to the world, long wounded with schism,<br /></span> +<span class="ist">And renewed at once its manners and customs, and the buildings and temples of the city.<br /></span> +<span class="ist">He gave an altar to St. Bernardino of Siena<br /></span> +<span class="ist">When he celebrated the holy year of jubilee.<br /></span> +<span class="ist">He crowned with gold the forehead of Frederick and his wife,<br /></span> +<span class="ist">And gave order to the affairs of Italy by the treaty which he made.<br /></span> +<span class="ist">He translated many Greek writings into the Latin tongue;—<br /></span> +<span class="ist">Then offer incense to-day at his holy grave."<br /></span> +</div></div> + +<p>Next comes a remnant of the tomb of Paul II., Pietro Barbo (1464—71), +chiefly remarkable for his personal<a name="vol_2_page_272" id="vol_2_page_272"></a> beauty, of which he was so vain, +that when he issued from the conclave as pope, he wished to take the +name of Formosus. This pontiff built the Palazzo S. Marco, and gave a +name to the Corso, by establishing the races there. He also prepared for +himself one of the most splendid tombs in the old basilica, for which he +obtained Mino da Fiesole as an architect It was his wish to lie in the +porphyry sarcophagus of Sta. Costanza, which he stole from her church +for this purpose; hence the simplicity of the existing sarcophagus, +which bears his effigy. Beyond this, are sarcophagi of Julius III., Gio. +Maria Ciocchi del Monte (1550—55), builder of the Villa Papa Giulio; +and Nicholas III., Orsini (1277—81), who made a treaty with Rudolph of +Hapsburg, and obtained from him a ratification of the donation of the +Countess Matilda. Then comes the sarcophagus of Urban VI., Bartolomeo +Prignani (1378—87), the sole relic of a most magnificent tomb of this +cruel pope, who is believed to have died of poison. It bears his figure, +and in the front, a bas-relief of him receiving the keys from St. Peter. +His epitaph runs:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Here rests the just, wise, and noble prince,<br /></span> +<span class="ist">Urban VI., a native of Naples.<br /></span> +<span class="ist">He, full of zeal, gave a safe refuge to the teachers of the faith.<br /></span> +<span class="ist">That gained for him, noble one, a fatal poison cup at the close of the repast.<br /></span> +<span class="ist">Great was the schism, but great was his courage in opposing it,<br /></span> +<span class="ist">And in the presence of this mighty pope Simony sate dumb.<br /></span> +<span class="ist">But it is needless to reiterate his praises upon earth,<br /></span> +<span class="ist">While heaven is shining with his immortal glory."<br /></span> +</div></div> + +<div class="blockquot"><p>"Sepelitur in beati Petri Basilica, paucis admodum ejus mortem, +utpote hominis rustici et inexorabilis, flentibus. Hujus autem +sepulchrum adhuc visitur cum epitaphio satis rustico et +inepto."—<i>Platina.</i> +<a name="vol_2_page_273" id="vol_2_page_273"></a></p></div> + +<p>Next come the sarcophagi of Innocent VII., Cosmato de Miliorati +(1404—6), bearing his figure; of Marcellus II., Marcello Cervini +(1555), who only reigned twenty-five days; and of Innocent IX., Giov. +Antonio Facchinetti (1591—92), who reigned only sixty.</p> + +<p>Near these is the urn of Agnese Gaetani Colonna, the only lady not of +royal birth buried in the basilica.</p> + +<p>Hence we return to the corridor of the Grotte Nuove, containing a number +of mosaics and statues detached from different papal tombs, the best +being those from that of Nicholas V. and that of Paul II., by <i>Mino da +Fiesole</i> (a figure of Charity is especially beautiful), and a bas-relief +of the Virgin and Child, by <i>Arnolfo</i>, from the tomb of Benedict VIII.</p> + +<p>Here also are a half-length statue of Boniface VIII., ascribed to +<i>Andrea Pisano</i>; a half-length of Benedict XII., by <i>Paolo di Siena</i>; +and a figure of St. Peter seated on a gothic throne which once supported +a statue of Benedict XII.</p> + +<p>The <i>Chapel of St. Longinus</i> has a mosaic from a picture by Andrea +Sacchi. Near the entrance of the shrine are marble reliefs of the +martyrdoms of St. Peter and St. Paul. Opposite to the entrance of the +shrine is the magnificent sarcophagus of Junius Bassus, Christian +prefect of Rome, who died <small>A.D.</small> 359. It was discovered near its present +site in 1595. It is adorned with admirable sculptures from the Old and +New Testament.</p> + +<p>Opening from the centre of the circular passage is the <i>Confession or +Shrine of SS. Peter and Paul</i>, which contains the sarcophagus brought +from the Catacomb near S. Sebastiano in 257, and which the Roman +Catholic Church has always revered as that of St. Peter. On the altar, +consecrated<a name="vol_2_page_274" id="vol_2_page_274"></a> in 1122, are two ancient pictures of St. Peter and St. +Paul. Only half the bodies of the saints are held to be preserved here, +the other portion of that of St. Peter being at the Lateran, and of St. +Paul at S. Paolo fuori Mura.</p> + +<p>To the Roman Catholic mind this is naturally one of the most sacred +spots in the world, since it holds literally the words of St. Ambrose, +that: "Where Peter is, there is the Church,—and where the Church is, +there is no death, but life eternal."<a name="FNanchor_340_340" id="FNanchor_340_340"></a><a href="#Footnote_340_340" class="fnanchor">[340]</a></p> + +<div class="blockquot"><p>"From this place Peter, from this place Paul, shall be caught up in +the resurrection. Oh consider with trembling that which Rome will +behold, when Paul suddenly rises with Peter from this sepulchre, +and is carried up into the air to meet the Lord."—<i>St. John +Chrysostom, Homily on the Ep. to the Romans.</i></p> + +<p>"Among the cemeteries ascribed by tradition to apostolic times, the +crypts of the Vatican would have the first claim on our attention, +had they not been almost destroyed by the foundations of the vast +basilica which guards the tomb of St. Peter.... The <i>Liber +Pontificalis</i> says that Anacletus, the successor of Clement in the +Apostolic See, '<i>built</i> and adorned the sepulchral monument +(<i>construxit memoriam</i>) of blessed Peter, since he had been +ordained priest by St. Peter, and other burial-places where the +bishops might be laid.' It is added that he himself was buried +there; and the same is recorded of Linus and Cletus, and of +Evaristus, Sixtus I., Telesphorus, Hyginus, Pius I., Eleutherius, +and Victor, the last of whom was buried <small>A.D.</small> 203; and after St. +Victor, no other pontiff is recorded to have been buried at the +Vatican until Leo the Great was laid in St. Peter's, <small>A.D.</small> 461. The +idea conveyed by the words <i>construxit memoriam</i> is that of a +monument above-ground according to the usual Roman custom; and we +have seen that such a monument, even though it covered the tomb of +Christian bishops, would not be likely to be disturbed at any time +during the first or second century. For the reason we have already +stated, it is impossible to confront these ancient notices with any +existing monuments. It is worth mentioning, however, that De Rossi +believes that the sepulchre<a name="vol_2_page_275" id="vol_2_page_275"></a> of St. Linus was discovered in this +very place early in the seventeenth century, bearing simply the +name of Linus."—<i>Northcote and Brownlow, Roma Setterranea.</i></p></div> + +<p>To ascend the <i>Dome of St. Peter's</i> requires a special order. The +entrance is from the first door in the left aisle, near the tomb of +Maria-Clementina Sobieski. The ascent is by an easy staircase <i>à +cordoni</i>, the walls of which bear memorial tablets of all the royal +personages who have ascended it. The aspect of the roof is exceedingly +curious from the number of small domes and houses of workmen with which +it is studded,—quite a little village in themselves. A chamber in one +of the pillars which support the dome contains a model of the ancient +throne of St. Peter, and a model of the church, by Michael Angelo and +his predecessor, Antonio di Sangallo. The dome is 300 feet above the +roof, and 613½ feet in circumference. An iron staircase leads thence +to the ball, which is capable of containing sixteen persons.</p> + +<div class="blockquot"><p>"Cette hauteur fait frémir," dit Beyle, "quand on songe aux +tremblements de terre qui agitent fréquemment l'Italie, et qu'un +instant peut vous priver du plus beau monument qui existe. +Certainement jamais il ne serait relevé: nous sommes trop +<i>raisonables</i>."</p> + +<p>"De Brosse raconte que deux moines espagnoles, qui se trouvaient +dons la boule de St. Pierre lors de la secousse de 1730, eurent une +telle peur, que l'un d'eux mourut sur la place."—<i>A. Du Pays.</i></p></div> + +<p><i>The Sacristy of St. Peter's</i>, which is entered by a grey marble door on +the left, before turning into the south transept, was built by Pius VI., +in 1755, from designs of <i>Carlo Marchione</i>. It consists of three halls, +with a corridor adorned with columns and inscriptions from the old +church, and with statues of SS. Peter and Paul, which stood in front of +it. The central hall, <i>Sagrestia Commune</i>, is adorned with eight fluted +pillars of grey marble (bigio) from Hadrian's<a name="vol_2_page_276" id="vol_2_page_276"></a> Villa. On the left is the +<i>Sagrestia dei Canonici</i>, with the Cappella dei Canonici, which has two +pictures, the Madonna and Saints (Anna, Peter, and Paul), by <i>Francesco +Penni</i>, and the Madonna and Child, <i>Giulio Romano</i>. Hence opens the +<i>Stanza Capitolare</i>, containing an interesting remnant of the many works +of Giotto in the old basilica under Boniface VIII. (for which he +received 3020 gold florins), in three panel pictures belonging to the +ciborium for the high altar ordered by Cardinal Stefaneschi, and +representing,—Christ with that Cardinal,—the Crucifixion of St. +Peter,—the Execution of St. Peter,—and on the back of the same panel, +another picture, in which Cardinal Stefaneschi is offering his ciborium +to St. Peter.</p> + +<div class="blockquot"><p>"The fragments which are preserved of the painting which Giotto +executed for the Church of St. Peter cannot fail to make us regret +its loss. The fragments are treated with a grandeur of style which +has led Rumohr to suspect that the susceptible imagination of +Giotto was unable to resist the impression which the ancient +mosaics of the Christian basilicas must have produced upon +him."—<i>Rio. Poetry of Christian Art.</i></p></div> + +<p>Here also are several fragments of the frescoes (of angels and +apostles), by <i>Melozzo da Forlì</i>, which existed in the former dome of +the SS. Apostoli, and of which the finest portion is now at the Quirinal +Palace. On the right is the <i>Sagrestia dei Benefiziati</i>, which contains +a picture of the Saviour giving the keys to St. Peter, by <i>Muziano</i>, and +an image called La Madonna della Febbre, which stood in the old +Sacristy. Opening hence is the <i>Treasury of St. Peter's</i>, containing +some ancient jewels, crucifixes, and candelabra, by Benvenuto Cellini +and Michael Angelo, and, among other relics, the famous sacerdotal robe +called the <i>Dalmatica di Papa San Leone</i>, "said to have been embroidered +at<a name="vol_2_page_277" id="vol_2_page_277"></a> Constantinople for the coronation of Charlemagne as Emperor of the +West, but fixed by German criticism as a production of the twelfth, or +the early part of the thirteenth century. The emperors, at least, have +worn it ever since, while serving as deacons at the pope's altar during +their coronation-mass."</p> + +<div class="blockquot"><p>"It is a large robe of stiff brocade, falling in broad and unbroken +folds in front and behind,—broad and deep enough for the +Goliath-like stature and the Herculean chest of Charlemagne +himself. On the breast the Saviour is represented in glory, on the +back the Transfiguration, and on the two shoulders Christ +administering the Eucharist to the Apostles. In each of these last +compositions, our Saviour, a stiff but majestic figure, stands +behind the altar, on which are deposited a chalice and a paten or +basket containing crossed wafers. He gives, in the one case, the +cup to St. Paul, in the other the bread to St. Peter,—they do not +kneel, but bend reverently to receive it; five other disciples +await their turn in each instance,—all are standing.</p> + +<p>"I do not apprehend your being disappointed with the Dalmatica di +San Leone, or your dissenting from my conclusion, that a master, a +Michael-Angelo I would almost say, then flourished at Byzantium.</p> + +<p>"It was in this Dalmatica—then <i>semée</i> all over with pearls and +glittering in freshness—that Cola di Rienzi robed himself over his +armour in the sacristy of St. Peter's and thence ascended to the +Palace of the Popes, after the manner of the Cæsars, with sounding +trumpets and his horsemen following him—his truncheon in his hand +and his crown on his head—'terribile e fantastico,' as his +biographer describes him—to wait upon the Legate."—<i>Lord +Lindsay's Christian Art</i>, i. 137.</p></div> + +<p>Above the Sacristy are the <i>Archives of St. Peter's</i>, containing, among +many other ancient MSS., a life of St. George, with miniatures, by +<i>Giotto</i>. The entrance to the Archivio, at the end of the corridor, is +adorned with fragments of the chains of the ports of Smyrna and Tunis. +Here, also, is a statue of Pius VI., by <i>Agostino Penna</i>.</p> + +<p>It is quite worth while to leave St. Peter's by the Porta<a name="vol_2_page_278" id="vol_2_page_278"></a> Sta. Marta +beneath the tomb of Alexander VII., in order to examine the exterior of +the church from behind, where it completely dwarfs all the surrounding +buildings. Among these are the <i>Church of S. Stefano</i>, with a fine door +composed of antique fragments, and the dismal <i>Church of Sta. Marta</i>, +which contains several of the Roman weights known as "Pietra di +Paragone," said to have been used in the martyrdoms. Beyond the Sacristy +is the pretty little <i>Cimeterio dei Tedeschi</i>, the oldest of Christian +burial-grounds, said to have been set apart by Constantine, and filled +with earth from Calvary. It was granted to the Germans in 1779, by Pius +VI. Close by is the <i>Church of Sta. Maria della Pietà in Campo Santo</i>.</p> + +<p>Not far from hence (in a street behind the nearest colonnade) is the +<i>Palazzo del Santo Uffizio—or of the Inquisition</i>. This body, for some +time past, suppressed everywhere except in the States of the Pope, was +established here in 1536 by Paul III., acting on the advice of Cardinal +Caraffa, afterwards Paul IV., for inquiry into cases of heresy, and the +punishment of ecclesiastical offences. It was by the authority of the +"Holy Office" that the "Index" of prohibited books was first drawn up. +Paul IV., on his deathbed, summoned the cardinals to his side, and +recommended to them this "Santissimo Tribunale," as he called it, and +succeeding popes have protected and encouraged it. The character of the +Inquisition has been much changed from that which it bore three hundred +years ago; but even in late years, many cases of extreme severity have +been reported,—especially one of a French bishop cruelly imprisoned for +sixteen years in one of its dungeons (merely because he had received his +consecration from a French constitutional prelate), and who<a name="vol_2_page_279" id="vol_2_page_279"></a> was only +released when its doors were opened in the revolution of 1848.</p> + +<div class="blockquot"><p>"Within these walls has been confined for many years a very +extraordinary person—the archbishop of Memphis.... Pope Leo XII. +received a letter from the Pacha of Egypt informing his Holiness, +that he and a large portion of his subjects desired to be received +into the bosom of the Church of Rome; and announcing that he and +they were willing to conform, provided the pope would send out an +archbishop, with a suitable train of ecclesiastics, and requesting +that his Holiness would do him the favour of appointing a certain +young student whom he named, the first archbishop of Memphis, and +despatch him to Egypt. No doubt was entertained as to the truth of +this communication, but an objection presented itself in the youth +of the ecclesiastical student whom the Pacha wished to have as his +archbishop. The pope consulted his cardinals, who advised him not +to make the dangerous precedent of raising a novice to so high a +rank in the Church, but his Holiness, tempted by the desire of +converting a kingdom to Christianity, resolved to conform to the +wishes of the Pacha, and did consecrate the youth archbishop of +Memphis. The archbishop was sent out attended by a train of priests +to Egypt. When the ship arrived, the authorities in Egypt declared +the affair was an imposition. His Grace confessed the fraud, was +arrested, and reconducted to Rome. He was the author of the letter +which imposed on the pope—his original intention having been to +confess to the pope as a priest, after his consecration, the +imposition he had practised; and as the pope could not betray a +secret imparted to him at the confessional, the offender might have +obtained absolution, and escaped punishment. Whether this would +have been practicable I know not; but it was not accomplished, and +as the youth had the rank of archbishop indelibly imprinted on him, +nothing remained but to confine his Grace for the remainder of his +life; and accordingly he was confined to this prison near the +Vatican, whence he may find it difficult to escape."—<i>Whiteside's +Italy</i>, 1860.</p></div> + +<p>The tribunal of the Inquisition was formally abolished by the Roman +Assembly in February, 1849, but was re-established by Pius IX. in the +following June. Its meetings, however, now take place in the Vatican, +and the old palace of the Holy Office was long used as a barrack for +French soldiers.<a name="vol_2_page_280" id="vol_2_page_280"></a></p> + +<p>In the interior of the building is a lofty hall, with gloomy frescoes of +Dominican saints,—and many terrible dungeons and cells in which the +victim is unable to stand upright, having their vaulted ceilings lined +with reeds, to deaden sound,—but all this is seldom seen. When the +people rushed into the Inquisition at the revolution, a number of human +bones were found in these vaults, which so excited the popular fury, +that an attack on the Dominican convent at the Minerva was anticipated. +Ardent defenders of the papacy maintain that these bones had been +previously transported to the Inquisition from a cemetery, to get up a +sensation.<a name="FNanchor_341_341" id="FNanchor_341_341"></a><a href="#Footnote_341_341" class="fnanchor">[341]</a></p> + +<p>Built up into the back of this palace is the tribune of the <i>Church of +S. Salvatore in Torrione or in Macello</i>, whose foundation is ascribed to +Charlemagne (797). Senerano (Sette Chiese) supposes that the French had +here their schola or special centre for worship and assemblage. The +windows of this building are among the few examples of gothic in Rome, +and there are good terra-cotta mouldings. It may best be seen from the +<i>Porta Cavalleggieri</i>, which was designed by Sangallo, and derives its +name from the cavalry barracks close by.</p> + +<p>A short distance from the lower end of the Colonnade is the <i>Church of +S. Michaele in Sassia</i>, whose handsome tower is a relic of the church +founded by Leo IV., who built the walls of the Borgo, especially for +funeral masses for the souls of those who fell in its defence against +the Saracens. Raphael Mengs is buried in the modern church.</p> + +<p>The name of this church commemorates the Saxon settlement "called Burgus +Saxonum, Vicus Saxonum, Schola<a name="vol_2_page_281" id="vol_2_page_281"></a> Saxonum, and simply Saxia or +Sassia,"<a name="FNanchor_342_342" id="FNanchor_342_342"></a><a href="#Footnote_342_342" class="fnanchor">[342]</a> founded <i>c.</i> 727 by Ina, king of Wessex, and enlarged in +794 by Offa, king of Mercia, when he made a pilgrimage to Rome in +penance for the murder of Ethelbert, king of East-Anglia. Ina founded +here a church, "Sta. Maria quæ vocatur Schola Saxorum," which is +mentioned as late as 854. Dyer (Hist. of the City of Rome) says that +"when Leo IV. enclosed this part of the city, it obtained the name of +Borgo, from the Burgus Saxonum, and one of the gates was called Saxonum +Posterula. The 'Schola Francorum' was also in the Borgo."<a name="vol_2_page_282" id="vol_2_page_282"></a></p> + +<h2><a name="CHAPTER_XVI" id="CHAPTER_XVI"></a>CHAPTER XVI.<br /><br /> +THE VATICAN.</h2> + +<div class="blockquot"><p class="hang">History of the Vatican Quarter and of the Palace—Scala +Regia—Pauline Chapel—Sistine Chapel—Sala Ducale—Court of St. +Damasus—Galleria Lapidaria—Braccio Nuovo—Museo Chiaramonti—The +Belvedere—Gallery of Statues—Hall of Busts—Sala delle Muse—Sala +Rotonda—Sala a Croce Greca—Galleria dei Candelabri—Galleria +degli Arazzi—Library—Appartamenti Borgia—Etruscan +Museum—Egyptian Museum—Gardens—Villa Pia—Loggie—Stanze—Chapel +of S. Lorenzo—Gallery of Pictures.</p></div> + +<p class="nind"><span class="letra">T</span>HE hollow of the Janiculum between S. Onofrio and the Monte Mario is +believed to have been a site of Etruscan divination.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Fauni vatesque canebant."<br /></span> +<span class="i15"><i>Ennius.</i><br /></span> +</div></div> + +<p>Hence the name, which is now only used in regard to the papal palace and +the basilica of St. Peter, but which was once applied to the whole +district between the foot of the hill and the Tiber near S. Angelo.</p> + +<div class="poem"><div class="stanza"> +<span class="i4">" ... ut paterni<br /></span> +<span class="i0">Fluminis ripæ, simul et jocosa<br /></span> +<span class="i0">Redderet laudes tibi Vaticani<br /></span> +<span class="i4">Montis imago."<br /></span> +<span class="i15"><i>Horace</i>, i. <i>Od.</i> 20.<br /></span> +</div></div> + +<p><a name="vol_2_page_283" id="vol_2_page_283"></a></p> + +<p>Tacitus speaks of the unwholesome air of this quarter. In this district +was the Circus of Caligula, adjoining the gardens of his mother +Agrippina, decorated by the obelisk which now stands in the front of St. +Peter's.<a name="FNanchor_343_343" id="FNanchor_343_343"></a><a href="#Footnote_343_343" class="fnanchor">[343]</a> Here Seneca describes that while Caligula was walking by +torchlight, he amused himself by the slaughter of a number of +distinguished persons—senators and Roman ladies. Afterwards it became +the Circus of Nero, who from his adjoining gardens used to watch the +martyrdom of the Christians<a name="FNanchor_344_344" id="FNanchor_344_344"></a><a href="#Footnote_344_344" class="fnanchor">[344]</a>—mentioned by Suetonius as "a race +given up to a new and evil superstition"—and who used their living +bodies, covered with pitch and set on fire, as torches for his nocturnal +promenades.</p> + +<p>The first residence of the popes at the Vatican was erected by St. +Symmachus (<small>A.D.</small> 498—514) near the forecourt of the old St. Peter's, and +here Charlemagne is believed to have resided on the occasion of his +several visits to Rome during the reigns of Adrian I. (772—795) and Leo +III. (795—816). This ancient palace having fallen into decay during the +twelfth century, it was rebuilt in the thirteenth by Innocent III. It +was greatly enlarged by Nicholas III. (1277—1281), but the Lateran +continued to be the papal residence, and the Vatican palace was only +used on state occasions, and for the reception of any foreign sovereigns +visiting Rome. After the return of the popes from Avignon, the Lateran +palace had fallen into decay, and for the sake of the greater security +afforded by the vicinity of S. Angelo, it was determined to make the +pontifical residence at the Vatican, and the first conclave was held +there in 1378. In order to increase its security, John XXIII. +constructed the covered passage to<a name="vol_2_page_284" id="vol_2_page_284"></a> S. Angelo in 1410. Nicholas V. +(1447—1455) had the idea of making it the most magnificent palace in +the world, and of uniting in it all the government offices and dwellings +of the cardinals, but died before he could do more than begin the work. +The building which he commenced was finished by Alexander VI., and still +exists under the name of Tor di Borgia. In 1473 Sixtus IV. built the +Sistine Chapel, and in 1490 "the Belvedere" was erected as a separate +garden-house by Innocent VIII. from designs of Antonio da Pollajuolo. +Julius II., with the aid of Bramante, united this villa to the palace by +means of one vast courtyard, and erected the Loggie around the Court of +St. Damasus; he also laid the foundation of the Vatican Museum in the +gardens of the Belvedere. The Loggie were completed by Leo X.; the Sala +Regia and the Pauline Chapel were built by Paul III. Sixtus V. divided +the great court of Bramante into two by the erection of the library, and +began the present residence of the popes, which was finished by Clement +VIII. (1592—1605). Urban VIII. built the Scala Regia; Clement XIV. and +Pius VII., the Museo Pio-Clementino; Pius VII., the Braccio Nuovo; Leo +XII., the picture-gallery; Gregory XVI., the Etruscan Museum; and Pius +IX., the handsome staircase leading to the court of Bramante.</p> + +<p>The length of the Vatican palace is 1151 English feet; its breadth, 767. +It has eight grand staircases, twenty courts, and is said to contain +11,000 chambers of different sizes.</p> + +<div class="blockquot"><p>(The collections in the Vatican may be visited daily with an order +<a name="vol_2_page_285" id="vol_2_page_285"></a>and at fixed hours, except on Sundays and high festivals. +Permission to make drawings must be obtained from the maggiordomo.)</p></div> + +<hr style="width: 15%;" /> + +<p>The principal entrance of the Vatican is at the end of the right +colonnade of St. Peter's. Hence a door on the right opens upon the +staircase leading to the Cortile di S. Damaso, and is the nearest way to +the collections of statues and pictures.</p> + +<p>Following the great corridor, and passing on the left the entrance to +the portico of St. Peter's, we reach the <i>Scala Regia</i>, a magnificent +work of Bernini, formerly guarded by the picturesque Swiss soldiers. +Hence we enter the <i>Sala Regia</i>, built in the reign of Paul III. by +Antonio di Sangallo, and used as a hall of audience for ambassadors. It +is decorated with frescoes illustrative of the history of the popes.</p> + +<div class="blockquot"><p class="hang"><span class="smcap">Entrance Wall</span>:<br /> +Alliance of the Venetians with Paul V. against the Turks, and +Battle of Lepanto, 1571: <i>Vasari</i>.</p> + +<p class="hang"><span class="smcap">Right Wall</span>:<br /> +Absolution of the Emperor Henry IV., by Gregory VII.: <i>Federigo</i> +and <i>Taddeo Zucchero</i>.</p> + +<p class="hang"><span class="smcap">Left Wall</span>:<br /> +Massacre of St. Bartholomew: <i>Vasari</i>.</p> + +<p class="hang"><span class="smcap">Opposite Wall</span>, towards the Sala Regia:<br /> +Return of Gregory XI. from Avignon.<br /> +Benediction of Frederick Barbarossa by Alexander III., in the +Piazza of S. Marco: <i>Giuseppe Porta</i>.</p></div> + +<p>On the right is the entrance of the <i>Pauline Chapel</i> (Cappella Paolina), +also built (1540) by Antonio di Sangallo for Paul III. Its decorations +are chiefly the work of <i>Sabbatini</i> and <i>F. Zucchero</i>, but it contains +two frescoes by <i>Michael Angelo</i>.<a name="vol_2_page_286" id="vol_2_page_286"></a></p> + +<div class="blockquot"><p>"Two excellent frescoes, executed by Michael Angelo on the side +walls of the Pauline Chapel, are little cared for, and are so much +blackened by the smoke of lamps that they are seldom mentioned. The +Crucifixion of St. Peter, under the large window, is in a most +unfavourable light, but is distinguished for its grand, severe +composition. That on the opposite wall—the Conversion of St. +Paul—is still tolerably distinct. The long train of his soldiers +is seen ascending in the background. Christ, surrounded by a host +of angels, bursts upon his sight from the storm-flash. Paul lies +stretched on the ground—a noble and finely-developed form. His +followers fly on all sides, or are struck motionless by the +thunder. The arrangement of the groups is excellent, and some of +the single figures are very dignified; the composition has, +moreover, a principle of order and repose, which, in comparison +with the Last Judgment, places this picture in a very favourable +light. If there are any traces of old age to be found in these +works, they are at most discoverable in the execution of +details."—<i>Kugler</i>, p. 308.</p></div> + +<p>On the left of the approach from the Scala Regia is the <i>Sistine Chapel</i> +(Cappella Sistina), built by Bacio Pintelli in 1473 for Sixtus IV. The +lower part of the walls of this wonderful chapel was formerly hung on +festivals with the tapestries executed from the cartoons of Raphael; the +upper portion is decorated in fresco by the great Florentine masters of +the fifteenth century.</p> + +<div class="blockquot"><p>"It was intended to represent scenes from the life of Moses on one +side of the chapel, and from the life of Christ on the other, so +that the old law might be confronted by the new,—the type by the +typified."—<i>Lanzi.</i></p></div> + +<p>The following is the order of the frescoes, type and anti-type +together:</p> + +<div class="blockquot"><p>Over the altar—now destroyed to make way for the Last Judgment:</p> + +<table border="0" cellpadding="3" cellspacing="0" summary=""> + +<tr><td>1. Moses in the Bulrushes: <i>Perugino</i>.</td> +<td style="border-left:1px solid black;">1. Christ in the Manger: <i>Perugino</i>.</td></tr> + +<tr><td colspan="2" align="center">(Between these was the Assumption of the Virgin, in which Pope +Sixtus IV. was introduced, kneeling: <i>Perugino</i>.)<a name="vol_2_page_287" id="vol_2_page_287"></a> +</td></tr> + +<tr><td>On the left wall, still existing:</td> +<td style="border-left:1px solid black;">On the right wall, still existing:</td></tr> + +<tr><td>2. Moses and Zipporah on the way +to Egypt, and the circumcision +of their son: <i>Luca Signorelli</i>.</td> +<td style="border-left:1px solid black;">2. The Baptism of Christ: <i>Perugino</i>.</td></tr> + +<tr><td>3. Moses killing the Egyptian, and +driving away the shepherds from +the well: <i>Sandro Botticelli</i>.</td> +<td style="border-left:1px solid black;">3. The Temptation of Christ: <i>Sandro Botticelli</i>.</td></tr> + +<tr><td>4. Moses and the Israelites, +after the passage of the Red Sea: +<i>Cosimo Rosselli</i>.</td> +<td style="border-left:1px solid black;">4. The calling of the Apostles on the Lake of Gennesareth: <i>Domenico Ghirlandajo</i>.</td></tr> + +<tr><td>5. Moses giving the Law +from the Mount: <i>Cosimo Rosselli</i>.</td> +<td style="border-left:1px solid black;">5. Christ's Sermon on the Mount: <i>Cosimo Rosselli</i>.</td></tr> + +<tr><td>6. The punishment of Korah, +Dathan, and Abiram, who aspired +uncalled to the priesthood: +<i>Sandro Botticelli</i>.</td> +<td style="border-left:1px solid black;">6. The institution of the Christian Priesthood. Christ giving the keys to Peter: +<i>Perugino</i>.</td></tr> + +<tr><td>7. The last interview of Moses +and Joshua: <i>Luca Signorelli</i>.</td> +<td style="border-left:1px solid black;">7. The Last Supper: <i>Cosimo</i> +<i>Rosselli</i>.</td></tr> + +<tr><td colspan="2" align="center">On the entrance wall:</td></tr> + +<tr><td>8. Michael bears away the +body of Moses (Jude 9): +<i>Cecchino Salviati</i>.</td> +<td style="border-left:1px solid black;">8. The Resurrection: <i>Domenico +Ghirlandajo</i>, restored by <i>Arrigo Fiamingo</i>.</td></tr> +</table> + +</div> + +<p>On the pillars between the windows are the figures of twenty-eight +popes, by <i>Sandro Botticelli</i>.</p> + +<div class="blockquot"><p>"Vasari says that the two works of Luca Signorelli surpass in +beauty all those which surround them,—an assertion which is at +least questionable as far as regards the frescoes of Perugino; but +with respect to all the rest, the superiority of Signorelli is +evident, even to the most inexperienced eye. The subject of the +first picture is the journey of Moses and Zipporah into Egypt: the +landscape is charming, although evidently ideal; there is great +depth in the aërial perspective; and in the various groups +scattered over the different parts of the picture there are female +forms of such beauty, that they may have afforded models to +Raphael. The same graceful treatment is also perceptible in the +representation of<a name="vol_2_page_288" id="vol_2_page_288"></a> the death of Moses, the mournful details of +which have given scope to the poetical imagination of the artist. +The varied group to whom Moses has just read the Law for the last +time, the sorrow of Joshua, who is kneeling before the man of God, +the charming landscape, with the river Jordan threading its way +between the mountains, which are made singularly beautiful, as if +to explain the regrets of Moses when the angel announces to him +that he will not enter into the promised land—all form a series of +melancholy scenes perfectly in harmony with one another, the only +defect being that the whole is crowded into too small a +space."—<i>Rio. Poetry of Christian Art.</i></p></div> + +<p>The avenue of pictures is a preparation for the surpassing grandeur of +the ceiling:</p> + +<div class="blockquot"><p>"The <i>ceiling</i> of the Sistine Chapel contains the most perfect +works done by <i>Michael Angelo</i> in his long and active life. Here +his great spirit appears in its noblest dignity, in its highest +purity; here the attention is not disturbed by that arbitrary +display to which his great power not unfrequently seduced him in +other works. The ceiling forms a flattened arch in its section; the +central portion, which is a plain surface, contains a series of +large and small pictures, representing the most important events +recorded in the book of Genesis—the Creation and Fall of Man, with +its immediate consequences. In the large triangular compartments at +the springing of the vault, are sitting figures of the prophets and +sibyls, as the foretellers of the coming of the Saviour. In the +soffits of the recesses between these compartments, and in the +arches underneath, immediately above the windows, are the ancestors +of the Virgin, the series leading the mind directly to the Saviour. +The external connection of these numerous representations is formed +by an architectural framework of peculiar composition, which +encloses the single subjects, tends to make the principal masses +conspicuous, and gives to the whole an appearance of that solidity +and support so necessary, but so seldom attended to, in soffit +decorations, which may be considered as if suspended. A great +number of figures are also connected with the framework; those in +unimportant situations are executed in the colour of stone or +bronze; in the more important, in natural colours. These serve to +support the architectural forms, to fill up and to connect the +whole. They may be best described as the living and embodied +<i>genii</i> of architecture. It required the unlimited power of an +architect, sculptor, and painter, to conceive a structural whole of +so much grandeur, to design the decorative figures with the +significant repose<a name="vol_2_page_289" id="vol_2_page_289"></a> required by the sculpturesque character, and +yet to preserve their subordination to the principal subjects, and +to keep the latter in the proportions and relations best adapted to +the space to be filled."—<i>Kugler</i>, p. 301.</p> + +<p>The pictures from the Old Testament, beginning from the altar, are:</p> + +<p class="nind"> +<span style="margin-left: 2em;">1. The Separation of Light and Darkness.</span><br /> +<span style="margin-left: 2em;">2. The Creation of the Sun and Moon.</span><br /> +<span style="margin-left: 2em;">3. The Creation of Trees and Plants.</span><br /> +<span style="margin-left: 2em;">4. The Creation of Adam.</span><br /> +<span style="margin-left: 2em;">5. The Creation of Eve.</span><br /> +<span style="margin-left: 2em;">6. The Fall and the Expulsion from Paradise.</span><br /> +<span style="margin-left: 2em;">7. The Sacrifice of Noah.</span><br /> +<span style="margin-left: 2em;">8. The Deluge.</span><br /> +<span style="margin-left: 2em;">9. The Intoxication of Noah.</span><br /> +</p> + +<p>"The scenes from Genesis are the most sublime representations of +these subjects;—the Creating Spirit is unveiled before us. The +peculiar type which the painter has here given of the form of the +Almighty Father has been frequently imitated by his followers, and +even by Raphael, but has been surpassed by none. Michael Angelo has +represented him in majestic flight, sweeping through the air, +surrounded by <i>genii</i>, partly supporting, partly borne along with +him, covered by his floating drapery; they are the distinct +syllables, the separate virtues of his creating word. In the first +(large) compartment we see him with extended hands, assigning to +the sun and moon their respective paths. In the second, he awakens +the first man to life. Adam lies stretched on the verge of the +earth, in the act of raising himself; the Creator touches him with +the point of his finger, and appears thus to endow him with feeling +and life. This picture displays a wonderful depth of thought in the +composition, and the utmost elevation and majesty in the general +treatment and execution. The third subject is not less important, +representing the Fall of Man and his Expulsion from Paradise. The +tree of knowledge stands in the midst, the serpent (the upper part +of the body being that of a woman) is twined around the stem; she +bends down towards the guilty pair, who are in the act of plucking +the forbidden fruit. The figures are nobly graceful, particularly +that of Eve. Close to the serpent hovers the angel with the sword, +ready to drive the fallen beings out of Paradise. In this double +action, this union of two separate moments, there is something +peculiarly poetic and significant: it is guilt and punishment in +one picture. The sudden and lightning-like appearance of the +avenging<a name="vol_2_page_290" id="vol_2_page_290"></a> angel behind the demon of darkness has a most impressive +effect."—<i>Kugler</i>, p. 304.</p> + +<p>"It was the seed of Eve that was to bruise the serpent's head. +Hence it is that Michael Angelo made the Creation of Eve the +central subject on the ceiling of the Sistine Chapel. He had the +good taste to suggest, and yet to avoid, that literal rendering of +the biblical story which in the ruder representations borders on +the grotesque, and which Milton, with all his pomp of words, could +scarcely idealise."—<i>Mrs. Jameson, Hist. of Our Lord.</i></p></div> + +<p>The lower portion of the ceiling is divided into triangles occupied by +the Prophets and Sibyls in solemn contemplation, accompanied by angels +and genii. Beginning from the left of the entrance, their order is,—</p> + +<div class="blockquot"> + +<table border="0" cellpadding="1" cellspacing="0" summary=""> +<tr><td colspan="2" align="center">1. Jonah.</td></tr> +<tr><td>2. Jeremiah.</td><td style="border-left:1px solid black;"> 7. Sibylla Libyca.</td></tr> +<tr><td>3. Sibylla Persica.</td><td style="border-left:1px solid black;"> 8. Daniel.</td></tr> +<tr><td>4. Ezekiel.</td><td style="border-left:1px solid black;"> 9. Sibylla Cumæa.</td></tr> +<tr><td>5. Sibylla Erythræa.</td><td style="border-left:1px solid black;"> 10. Isaiah.</td></tr> +<tr><td>6. Joel.</td><td style="border-left:1px solid black;"> 11. Sibylla Delphica.</td></tr> +<tr><td colspan="2" align="center">12. Zachariah.</td></tr> +</table> + +<p>"The prophets and sibyls in the triangular compartments of the +curved portion of the ceiling are the largest figures in the whole +work; these, too, are among the most wonderful forms that modern +art has called into life. They are all represented seated, employed +with books or rolled manuscripts; genii stand near, or behind them. +These mighty beings sit before us pensive, meditative, inquiring, +or looking upwards with inspired countenances. Their forms and +movements, indicated by the grand lines and masses of the drapery, +are majestic and dignified. We see in them beings, who, while they +feel and bear the sorrows of a corrupt and sinful world, have power +to look for consolation into the secrets of the future. Yet the +greatest variety prevails in the attitudes and expression—each +figure is full of individuality. Zacharias is an aged man, busied +in calm and circumspect investigation; Jeremiah is bowed down +absorbed in thought—the thought of deep and bitter grief; Ezekiel +turns with hasty movement to the genius next to him, who points +upwards, with joyful expectation, &c. The sibyls are equally +characteristic: the Persian—a lofty, majestic woman, very aged; +the Erythræan—full of power, like the warrior goddess of wisdom; +the Delphic—like Cassandra,<a name="vol_2_page_291" id="vol_2_page_291"></a> youthfully soft and graceful, but +with strength to bear the awful seriousness of +revelation."—<i>Kugler</i>, p. 304.</p> + +<p>"The belief of the Roman Catholic Church in the testimony of the +Sibyl is shown by the well-known hymn, said to have been composed +by Pope Innocent III. at the close of the thirteenth century, +beginning with the verse:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">'Dies iræ, dies illa,<br /></span> +<span class="ist">Solvet sæclum in favilla,<br /></span> +<span class="ist">Teste David cum Sibylla.'<br /></span> +</div></div> + +<p class="nind">It may be inferred that this hymn, admitted into the liturgy of the +Roman Church, gave sanction to the adoption of the Sibyls into +Christian art. They are seen from this time accompanying the +prophets and apostles in the cyclical decorations of the church.... +But the highest honour that art has rendered to the Sibyls has been +by the hand of Michael Angelo, on the ceiling of the Sistine +Chapel. Here, in the conception of a mysterious order of women, +placed above and without all considerations of the graceful or the +individual, the great master was peculiarly in his element. They +exactly fitted his standard of art, not always sympathetic, nor +comprehensible to the average human mind, of which the grand in +form and the abstract in expression, were the first and last +conditions. In this respect, the Sibyls on the Sistine Chapel +ceiling are more Michael Angelesque than their companions the +Prophets. For these, while types of the highest monumental +treatment, are yet men, while the Sibyls belong to a distinct class +of beings, who convey the impression of the very obscurity in which +their history is wrapt—creatures who have lived far from the +abodes of men, who are alike devoid of the expression of feminine +sweetness, human sympathy, or sacramental beauty; who are neither +Christians nor Jewesses, Witches nor Graces, yet living, grand, +beautiful, and true, according to laws revealed to the great +Florentine genius only. Thus their figures may be said to be +unique, as the offspring of a peculiar sympathy between the +master's mind and his subject. To this sympathy may be ascribed the +prominence and size given them—both Prophets and Sibyls—as +compared to their usual relation to the subjects they environ. They +sit here in twelve throne-like niches, more like presiding deities, +each wrapt in self-contemplation, than as tributary witnesses to +the truth and omnipotence of Him they are intended to announce. +Thus they form a gigantic framework round the subjects of the +Creation, of which the birth of Eve, as the type of the Nativity, +is the intentional centre. For some reason, the twelve figures are +not Prophets and Sibyls alternately—there being only five Sibyls +to seven<a name="vol_2_page_292" id="vol_2_page_292"></a> Prophets—so that the Prophets come together at one +angle. Books and scrolls are given indiscriminately to them.</p> + +<p>"The Sibylla Persica, supposed to be the oldest of the sisterhood, +holds the book close to her eyes, as if from dimness of sight, +which fact, contradicted as it is by a frame of obviously Herculean +strength, gives a mysterious intentness to the action.</p> + +<p>"The Sibylla Libyca, of equally powerful proportions, but less +closely draped, is grandly wringing herself to lift a massive +volume from a height above her head on to her knees.</p> + +<p>"The Sibylla Cumana, also aged, and with her head covered, is +reading with her volume at a distance from her eyes.</p> + +<p>"The Sibylla Delphica, with waving hair escaping from her turban, +is a beautiful young being—the most human of all—gazing into +vacancy or futurity. She holds a scroll.</p> + +<p>"The Sibylla Erythræa, grand bare-headed creature, sits reading +intently with crossed legs, about to turn over her book.</p> + +<p>"The Prophets are equally grand in structure, and though, as we +have said, not more than men, yet they are the only men that could +well bear the juxtaposition with their stupendous female +colleagues. Ezekiel, between Erythræa and Persica, has a scroll in +his hand that hangs by his side, just cast down, as he turns +eagerly to listen to some voice.</p> + +<p>"Jeremiah, a magnificent figure, sits with elbow on knee, and head +on hand, wrapt in the meditation appropriate to one called to utter +lamentation and woe. He has neither book nor scroll.</p> + +<p>"Jonah is also without either. His position is strained and +ungraceful—looking upwards, and apparently remonstrating with the +Almighty upon the destruction of the gourd, a few leaves of which +are seen above him. His hands are placed together with a strange +and trivial action, supposed to denote the counting on his fingers +the number of days he was in the fish's belly. A formless marine +monster is seen at his side.</p> + +<p>"Daniel has a book on his lap, with one hand on it. He is young, +and a piece of lion's skin seems to allude to his history."—<i>Lady +Eastlake, Hist. of Our Lord</i>, i. 248.</p></div> + +<p>In the recesses between the prophets and sibyls are a series of lovely +family groups representing the Genealogy of the Virgin, and expressive +of calm expectation of the future. The four corners of the ceiling +contain groups illustrative of the power of the Lord displayed in the +especial deliverances of his chosen people.<a name="vol_2_page_293" id="vol_2_page_293"></a></p> + +<p>Near the altar are:</p> + +<p class="nind"> +<span style="margin-left: 2em;"><i>Right.</i>—The deliverance of the Israelites by the brazen serpent.</span><br /> +<span style="margin-left: 2em;"><i>Left.</i>—The execution of Haman.</span><br /> +</p> + +<p>Near the entrance are:</p> + +<p class="nind"> +<span style="margin-left: 2em;"><i>Right.</i>—Judith and Holofernes.</span><br /> +<span style="margin-left: 2em;"><i>Left.</i>—David and Goliath.</span><br /> +</p> + +<p>It was when Michael Angelo was already in his sixtieth year that Clement +VII. formed the idea of effacing the three pictures of Perugino at the +end of the chapel, and employing him to paint the vast fresco of <i>The +Last Judgment</i> in their place. It occupied the artist for seven years, +and was finished in 1541 when Paul III. was on the throne. To induce him +to pursue his work with application, Paul III. went himself to his house +attended by ten cardinals; "an honour," says Lanzi, "unique in the +annals of art." The pope wished that the picture should be painted in +oil, to which he was persuaded by Sebastian del Piombo, but Michael +Angelo refused to employ anything but fresco, saying that oil-painting +was work for women and for idle and lazy persons.</p> + +<div class="blockquot"><p>"In the upper half of the picture we see the Judge of the world, +surrounded by the apostles and patriarchs; beyond these, on one +side, are the martyrs; on the other, the saints, and a numerous +host of the blessed. Above, under the two arches of the vault, two +groups of angels bear the instruments of the passion. Below the +Saviour another group of angels holding the book of life sound the +trumpets to awaken the dead. On the right is represented the +resurrection; and higher, the ascension of the blessed. On the +left, hell, and the fall of the condemned, who audaciously strive +to press to heaven.</p> + +<p>"The day of wrath ('dies iræ') is before us—the day, of which the +old hymn says,—</p> + +<p><a name="vol_2_page_294" id="vol_2_page_294"></a></p> + +<div class="poem"><div class="stanza"> +<span class="i0">'Quantus tremor est futurus,</span> +<span class="ist">Quando judex est venturus</span> +<span class="ist">Cuncta stricte discussurus.'</span> +</div></div> + +<p class="nind">The Judge turns in wrath towards the condemned and raises his right +hand, with an expression of rejection and condemnation; beside him +the Virgin veils herself with her drapery, and turns, with a +countenance full of anguish, toward the blessed. The martyrs, on +the left, hold up the instruments and proofs of their martyrdom, in +accusation of those who had occasioned their temporal death: these +the avenging angels drive from the gates of heaven, and fulfil the +sentence pronounced against them. Trembling and anxious, the dead +rise slowly, as if still fettered by the weight of an earthly +nature; the pardoned ascend to the blessed; a mysterious horror +pervades even their hosts—no joy, nor peace, nor blessedness, are +to be found here.</p> + +<p>"It must be admitted that the artist has laid a stress on this view +of his subject, and this has produced an unfavourable effect upon +the upper half of his picture. We look in vain for the glory of +heaven, for beings who bear the stamp of divine holiness, and +renunciation of human weakness; everywhere we meet with the +expression of human passion, of human efforts. We see no choir of +solemn, tranquil forms, no harmonious unity of clear, grand lines, +produced by ideal draperies; instead of these, we find a confused +crowd of the most varied movements, naked bodies in violent +attitudes, unaccompanied by any of the characteristics made sacred +by holy tradition. Christ, the principal figure of the whole, wants +every attribute but that of the Judge: no expression of divine +majesty reminds us that it is the Saviour who exercises this +office. The upper part of the composition is in many parts heavy, +notwithstanding the masterly boldness of the drawing; confused, in +spite of the separation of the principal and accessory groups; +capricious, notwithstanding a grand arrangement of the whole. But, +granting for a moment that these defects exist, still this upper +portion, as a whole, has a very impressive effect, and, at the +great distance from which it is seen, some of the defects alluded +to are less offensive to the eye. The lower half deserves the +highest praise. In these groups, from the languid resuscitation and +upraising of the pardoned, to the despair of the condemned, every +variety of expression, anxiety, anguish, rage, and despair, is +powerfully delineated. In the convulsive struggles of the condemned +with the evil demons, the most passionate energy displays itself, +and the extraordinary skill of the artist here finds its most +appropriate exercise. A peculiar tragic grandeur pervades alike the +beings who are given up to despair and their hellish tormentors. +The representation of all that is fearful, far from being +repulsive, is thus invested with that true moral dignity which is +so essential a condition in the higher aims of art."—<i>Kugler</i>, p. +308.</p> + +<p>"The Last Judgment is now more valuable as a school of design<a name="vol_2_page_295" id="vol_2_page_295"></a> than +as a fine painting, and it will be sought more for the study of the +artist, than the delight of the amateur. Beautiful it is not—but +it is sublime;—sublime in conception, and astonishing in +execution. Still, I believe, there are few who do not feel that it +is a labour rather than a pleasure to look at it. Its blackened +surface—its dark and dingy sameness of colouring—the obscurity +which hangs over it—the confusion and multitude of naked figures +which compose it—their unnatural position, suspended in the air, +and the sameness of form and attitude, confound and bewilder the +senses. These were, perhaps, defects inseparable from the subject, +although it was one admirably calculated to call forth the powers +of Michael Angelo. To merit in colouring it has confessedly no +pretensions, and I think it is also deficient in expression—that +in the conflicting passions, hopes, fears, remorse, despair, and +transport, that must agitate the breasts of so many thousands in +that awful moment, there was room for powerful expression which we +do not see here. But it is faded and defaced; the touches of +immortal genius are lost for ever; and from what it is, we can form +but a faint idea of what it was. Its defects daily become more +glaring—its beauties vanish; and, could the spirit of its great +author behold the mighty work upon which he spent the unremitting +labour of seven years, with what grief and mortification would he +gaze upon it now.</p> + +<p>"It may be fanciful, but it seems to me that in this, and in every +other of Michael Angelo's works, you may see that the ideas, +beauties, and peculiar excellences of statuary, were ever present +to his mind; that they are the conceptions of a sculptor embodied +in painting.</p> + +<p>" ...St. Catharine, in a green gown, and somebody else in a blue +one, are supremely hideous. Paul IV., in an unfortunate fit of +prudery, was seized with the resolution of whitewashing over the +whole of the Last Judgment, in order to cover the scandal of a few +naked female figures. With difficulty was he prevented from utterly +destroying the grandest painting in the world, but he could not be +dissuaded from ordering these poor women to be clothed in this +unbecoming drapery. Daniele da Volterra, whom he employed in this +office (in the lifetime of Michael Angelo), received, in +consequence, the name of Il Braghettone (the +breeches-maker)."—<i>Eaton's Rome.</i></p></div> + +<p>Michael Angelo avenged himself upon Messer Biagio da Cesena, master of +the ceremonies, who first suggested the indelicacy of the naked figures +to the pope, by introducing him in hell, as Midas, with ass's ears. When +Cesena begged<a name="vol_2_page_296" id="vol_2_page_296"></a> Paul IV. to cause this figure to be obliterated, the pope +sarcastically replied, "I might have released you from purgatory, but +over hell I have no power."</p> + +<div class="blockquot"><p>"Michel-Ange est extraordinaire, tandis qu'Orcagna<a name="FNanchor_345_345" id="FNanchor_345_345"></a><a href="#Footnote_345_345" class="fnanchor">[345]</a> est +religieux. Leurs compositions se résument dans les deux Christs qui +jugent. L'un est un bourreau qui foudroie, l'autre est un monarque +qui condamne en montrant la plaie sacrée de son côté pour justifier +sa sentence."—<i>Cartier, Vie du Père Angelico.</i></p> + +<p>"The Apostles in Michael Angelo's Last Judgment stand on each side +of the Saviour, who is not, here, Saviour and Redeemer, but +inexorable Judge. They are grandly and artificially grouped, all +without any drapery whatever, with forms and attitudes which recall +an assemblage of Titans holding a council of war, rather than the +glorified companions of Christ."—<i>Jameson's Sacred and Legendary +Art</i>, i. 179.</p></div> + +<p>The Sistine Chapel is associated in the minds of all Roman sojourners +with the great ceremonies of the Church, but especially with the +Miserere of Passion Week.</p> + +<div class="blockquot"><p>"On Wednesday afternoon began the Miserere in the Sistine +Chapel.... The old cardinals entered in their magnificent +violet-coloured velvet cloaks, with their white ermine capes; and +seated themselves side by side, in a great half-circle, within the +barrier, whilst the priests who had carried their trains seated +themselves at their feet. By the little side door of the altar the +holy father now entered in his purple mantle and silver tiara. He +ascended his throne. Bishops swung the vessels of incense around +him, whilst young priests, in scarlet vestments, knelt, with +lighted torches in their hands, before him and the high altar.</p> + +<p>"The reading of the lessons began.<a name="FNanchor_346_346" id="FNanchor_346_346"></a><a href="#Footnote_346_346" class="fnanchor">[346]</a> But it was impossible to +keep the eyes fixed on the lifeless letters of the missal—they +raised themselves, with the thoughts, to the vast universe which +Michael Angelo had breathed forth in colours upon the ceiling and +the walls. I contemplated his mighty sibyls and wondrously glorious +prophets, every one of them a subject for a painting. My eyes drank +in the magnificent processions, the beautiful groups of angels; +they were not to me painted pictures, all stood living before me. +The rich tree of knowledge,<a name="vol_2_page_297" id="vol_2_page_297"></a> from which Eve gave the fruit to Adam: +the Almighty God, who floated over the waters, not borne up by +angels, as the older masters had represented him—no, the company +of angels rested upon him and his fluttering garments. It is true I +had seen these pictures before, but never as now had they seized +upon me. My excited state of mind, the crowd of people, perhaps +even the lyric of my thoughts, made me wonderfully alive to +poetical impressions; and many a poet's heart has felt as mine did!</p> + +<p>"The bold foreshortenings, the determinate force with which every +figure steps forward, is amazing, and carries one quite away! It is +a spiritual Sermon on the Mount in colour and form. Like Raphael, +we stand in astonishment before the power of Michael Angelo. Every +prophet is a Moses like that which he formed in marble. What giant +forms are those which seize upon our eye and our thoughts as we +enter! But, when intoxicated with this view, let us turn our eyes +to the background of the chapel, whose whole wall is a high altar +of art and thought. The great chaotic picture, from the floor to +the roof, shows itself there like a jewel, of which all the rest is +only the setting. We see there the Last Judgment.</p> + +<p>"Christ stands in judgment upon the clouds, and the apostles and +his mother stretch forth their hands beseeching for the poor human +race. The dead raise the gravestones under which they have lain; +blessed spirits float upwards, adoring, to God, whilst the abyss +seizes its victims. Here one of the ascending spirits seeks to save +his condemned brother, whom the abyss already embraces in its snaky +folds. The children of despair strike their clenched fists upon +their brows and sink into the depths! In bold foreshortening, float +and tumble whole legions between heaven and earth. The sympathy of +the angels; the expression of lovers who meet; the child that, at +the sound of the trumpet, clings to the mother's breast, is so +natural and beautiful, that one believes oneself to be among those +who are waiting for judgment. Michael Angelo has expressed in +colours what Dante saw and has sung to the generations of the +earth.</p> + +<p>"The descending sun, at that moment, threw his last beams in +through the uppermost windows. Christ, and the blessed around him, +were strongly lighted up; whilst the lower part, where the dead +arose, and the demons thrust their boat, laden with damned, from +shore, were almost in darkness.</p> + +<p>"Just as the sun went down the last Psalm was ended, and the last +light which now remained was extinguished, and the whole +picture-world vanished in the gloom from before me; but, in that +same moment, burst forth music and singing. That which colour had<a name="vol_2_page_298" id="vol_2_page_298"></a> +bodily revealed arose now in sound: the day of judgment, with its +despair and its exultation, resounded above us.</p> + +<p>"The father of the Church, stripped of his papal pomp, stood before +the altar, and prayed to the holy cross; and upon the wings of the +trumpet resounded the trembling quire, 'Populus meus, quid feci +tibi!' Soft angel notes rose above the deep song, tones which +ascended not from a human breast: it was not a man's nor a woman's: +it belonged to the world of spirits: it was like the weeping of +angels dissolved in melody."'—<i>Anderson's Improvisatore.</i></p> + +<hr style="width: 15%;" /> + +<p>"Le <i>Miserere</i>, c'est-à-dire, <i>ayez pitié de nous</i>, est un psaume +composé de versets qui se chantent alternativement d'une manière +très-différente. Tour-à-tour une musique céleste se fait entendre, +et le verset suivant, dit en récitatif, et murmuré d'un ton sourd +et presque rauque, on dirait que c'est la réponse des caractères +durs aux cœurs sensibles, que c'est le réel de la vie qui vient +flétrir et repousser les vœux des âmes généreuses; et quand le +chœur si doux reprend, on renaît à l'espérance; mais lorsque le +verset récité recommence, une sensation de froid saisit de nouveau; +ce n'est pas la terreur qui la cause, mais le découragement de +l'enthousiasme. Enfin le dernier morceau, plus noble et plus +touchant encore que tous les autres, laisse au fond de l'âme une +impression douce et pure: Dieu nous accorde cette même impression +avant de mourir.</p> + +<p>"On éteint les flambeaux; la nuit s'avance; les figures des +prophètes et des sibylles apparaissent comme des fantômes +enveloppés du crépuscule. Le silence est profond, la parole ferait +un mal insupportable dans cet état de l'âme, où tout est intime et +intérieur; et quand le dernier son s'éteint, chacun s'en va +lentement et sans bruit; chacun semble craindre de rentrer dans les +intérêts vulgaires de ce monde."—<i>Mad. de Staël.</i></p></div> + +<p>Opposite the Sistine Chapel is the entrance of the <i>Sala Ducale</i>, in +which the popes formerly gave audience to foreign princes, and which is +now used for the consistories for the admission of cardinals to the +sacred college. Its decorations were chiefly executed by Bernini for +Alexander VII. The landscapes are by <i>Brill</i>. This hall is used as a +passage to the Loggie of Bramante.</p> + +<hr style="width: 15%;" /> + +<p>The small portion of the Vatican inhabited by the pope is never seen +except by those who are admitted to a special<a name="vol_2_page_299" id="vol_2_page_299"></a> audience. The rooms of +the aged pontiff are furnished with a simplicity which would be +inconceivable in the abode of any other sovereign prince. It is a lonely +life, as the dread of an accusation of nepotism has prevented any of the +later popes from having any of their family with them, and etiquette +always obliges them to dine, &c., alone. No one, whatever the difference +of creed, can look upon this building inhabited by the venerable old men +who have borne so important a part in the history of Christianity and of +Europe, without the deepest interest.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Je la vois cette Rome, où d'augustes vieillards,<br /></span> +<span class="ist">Héritiers d'un apôtre et vainqueurs des Césars,<br /></span> +<span class="ist">Souverains sans armée et conquérants sans guerre,<br /></span> +<span class="ist">A leur triple couronne ont asservi la terre."<br /></span> +<span class="i15"><i>Racine.</i><br /></span> +</div></div> + +<p>Two hundred and fifty-five popes are reckoned from St Peter to Pio IX. +inclusive. A famous prophecy of S. Malachi, first printed in 1595, is +contained in a series of mottoes, one for each of the whole line of +pontiffs until the end of time. Following this it will be seen that only +eleven more popes are needed to exhaust the mottoes, and to close the +destinies of Rome, and of the world. The later ones run thus:—</p> + +<table border="0" cellpadding="0" cellspacing="0" summary=""> +<tr><td>"Pius VII. Aquila Rapax.<br /> + Leo XII. Canis et coluber.<br /> + Pius VIII. Vir religiosus.<br /> + Gregory XVI. de Balneis Etruriæ.<br /> + Pius IX. Crux de cruce.<br /> + . . . Lumen in cœlo.<br /> + . . . Ignis ardens.<br /> + . . . Religio depopulata.</td> +<td> . . . Fides intrepida.<br /> + . . . Pastor angelicus.<br /> + . . . Pastor et nauta.<br /> + . . . Flos florum.<br /> + . . . De medietate lunæ.<br /> + . . . De labore solis.<br /> + . . . Gloria olivæ.</td></tr> + +<tr><td colspan="2">In persecutione extrema sacra Romanæ Ecclesiæ sedebit PETRUS<br /> +Romanus, qui pascet oves in multis tribulationibus: quibus transactis,<br /> +civitas septicollis diruetur, et JUDEX tremendus judicabit populum."</td></tr> +</table> + +<p><a name="vol_2_page_300" id="vol_2_page_300"></a></p> + +<p>The Cardinal Secretary of State has rooms above the pontifical +apartments. His collection of antique gems is of European celebrity.</p> + +<div class="blockquot"><p>"Antonelli loge au Vatican, sur la tête du pape. Les Romains +demandent, en manière du calembour, lequel est le plus haut, du +pape ou d'Antonelli."—<i>About, Question Romaine.</i></p></div> + +<hr style="width: 15%;" /> + +<p>The entrance to the Museum of Statues (for those who do not come from +the Sala Regia) is by the central door on the left of the Cortile S. +Damaso, whence you ascend a staircase and follow the loggia on the first +floor, covered with stuccoes and arabesques by <i>Giovanni da Udine</i>, to +the door of</p> + +<p>The <i>Galleria Lapidaria</i>, a corridor 2131 feet in length. Its sides are +covered on the right with Pagan, on the left with Early Christian +inscriptions. Ranged along the walls are a series of sarcophagi, cippi, +and funeral altars, some of them very fine. The last door on the left of +this gallery is the entrance to the Library.</p> + +<p>Separated from this by an iron gate, which is locked, except on Mondays, +but opened by a custode (fee 50 c.), is the Museo Chiaramonti; but the +visitors should first enter, on the left,</p> + +<p>The <i>Braccio-Nuovo</i>, built under Pius VII. in 1817, by Raphael Stern, a +fine hall, 250 feet long, filled with gems of sculpture. Perhaps most +worth attention are (the <i>chefs d'œuvre</i> being marked with an +asterisk):</p> + +<div class="blockquot"><p><i>Right.</i>—</p> + +<p>5. *Caryatide.</p> + +<p>This statue was admirably restored by Thorwaldsen. Its Greek origin +is undoubted, and it is supposed to be the missing figure from the +Erechtheum at Athens.</p> + +<p>"Quand une fille des premières familles n'avait pour vêtement,<a name="vol_2_page_301" id="vol_2_page_301"></a> +comme celle-ci, qu'une chemise et par-dessus une demi-chemise; +quand elle avait l'habitude de porter des vases sur sa tête, et par +suite de se tenir droite; quand pour toute toilette elle +retroussait ses cheveux ou les laissait tomber en boucles; quand le +visage n'était pas plissé par les mille petites grâces et les mille +petites préoccupations bourgeoises, une femme pouvait avoir la +tranquille attitude de cette statue. Aujourd'hui il en reste un +débris dans les paysannes des environs qui portent leurs corbeilles +sur la tête, mais elles sont gâtées par le travail et les haillons. +Le sein paraît sous la chemise; la tunique colle et visiblement +n'est qu'un linge; on voit la forme de la jambe qui casse l'étoffe +au genou; les pieds apparaissent nus dans les sandales. Rien ne +peut rendre le sérieux naturel du visage. Certainement, si on +pouvait revoir la personne réelle avec ses bras blancs, ses cheveux +noirs, sous la lumière du soleil, les genoux plieraient, comme +devant une déesse, de respect et de plaisir."—<i>Taine, Voyage en +Italie.</i></p> + +<p>8. Commodus.</p> + +<p>"La statue de Commode est très curieuse par le costume. Il tient à +la main une lance, il a des espèces de bottes: tout cela est du +chasseur, enfin il porte la tunique à manches dont parle Dion +Cassius, et qui était son costume d'amphithéâtre."—<i>Ampère, Emp.</i> +ii. 246.</p> + +<p>9. Colossal head of a Dacian, from the Forum of Trajan.</p> + +<p>11. Silenus and the infant Bacchus.</p> + +<p>This is a copy from the Greek, of which there were several +replicas. One, formerly in the Villa Borghese, is now at Paris. The +original group is described by Pliny, who says that the name of the +sculptor was lost even in his time. The greater portion of the +child, the left arm and hand of Silenus, and the ivy-leaves, are +restorations.</p> + +<p>"Je pense que ce chef-d'œuvre est une imitation modifiée du +<i>Mercure nourricier de Bacchus</i>, par Céphisodote, fils de +Praxitèle."—<i>Ampère, Hist. Rom.</i> iii. 332.</p> + +<p>14. *Augustus, found 1863, in the villa of Livia at Prima-Porta.</p> + +<p>"This is, without exception, the finest portrait statue of this +class in the whole collection.... The cuirass is covered with small +figures, in basso-relievo, which, as works of art, are even finer +than the statue itself, and merit the most careful examination. +These small figures are, in their way, marvels of art, for the +wonderful boldness of execution and minuteness of detail shown in +them. They are almost like cameos, and yet, with all the delicacy +of finish displayed, there is no mere smoothness of surface. The +central group is supposed to represent the restoration to Augustus +by King Phraates of the eagles taken from<a name="vol_2_page_302" id="vol_2_page_302"></a> Crassus and Antony. +Considerable traces of colour were found on this statue and are +still discernible. Close examination will also show that the face +and eyes were coloured."—<i>Shakspere Wood.</i></p> + +<p>17. Æsculapius.</p> + +<p>20. Nerva? Head modern.</p> + +<p>23. *Pudicitia. From the Villa Mattei. Head modern.</p> + +<p>"The portrait of a noble Roman lady, much disfigured by +restorations. This statue shows the neglect, by a sculptor of great +ability, of that thoroughness of execution which was such a +characteristic of Greek art. Compare the great beauty of the lower +portion of the drapery, seen from the front, with the poverty of +execution at the back."—<i>Shakspere Wood.</i></p> + +<p>"Qu'on regarde une statue toute voilée, par exemple celle de la +Pudicité: il est evident que le vêtement antique n'altère pas la +forme du corps, que les plis collants ou mouvants reçoivent du +corps leurs formes et leurs changements, qu'on suit sans peine à +travers les plis l'équilibre de toute la charpente, la rondeur de +l'épaule ou de la hanche, le creux du dos."—<i>Taine.</i></p> + +<p>26. Titus. Found 1828, near the Lateran (with his daughter Julia).</p> + +<p>27, 40, 92. Colossal busts of Medusa, from the temple of Venus at +Rome.</p> + +<p>32, 33. Fauns, sitting, from the villa of Quintilius at Tivoli.</p> + +<p>38. Ganymede, found at Ostia; on the tree against which he leans is +engraved the name of Phædimus.</p> + +<p>39. Vase of black basalt, found on the Quirinal. It stands on a +mosaic, from the Tor Marancia.</p> + +<p>41. Faun playing on a flute, from the villa of Lucullus.</p> + +<p>44. Wounded Amazon (both arms and legs are restorations).</p> + +<p>"Les trois Amazones blessées de Rome ne peuvent être que des copies +de la célèbre Amazone de Crésilas.... Ce Crésilas fut l'auteur du +guerrier grec mourant qui selon toute apparence a inspiré le +prétendu Gladiateur mourant auquel s'applique merveilleusement bien +ce que dit Pline du premier."—<i>Ampère, Hist. Rom.</i> iii. 263.</p> + +<p>47. Caryatide.</p> + +<p>48. Bust of Trajan.</p> + +<p>50. *Diana contemplating the sleeping Endymion.</p> + +<p>53. Euripides.</p> + +<p>"Le plus remarquable portrait d'Euripide est une belle statue au +Vatican. Cette statue donne une haute idée de la sublimité de l'art +tragique en Grèce.... Regardez ce poëte, combien toute sa personne +a<a name="vol_2_page_303" id="vol_2_page_303"></a> de gravité et de grandeur, rien n'avertit qu'on a devant les +yeux celui qui aux yeux des juges sévères, affaiblissait l'art et +le corrompait; l'attitude est simple, le visage sérieux, comme il +convient à un poëte philosophe. Ce serait la plus belle statue de +poëte tragique si la statue de Sophocle n'existait pas."—<i>Ampère</i>, +iii. 572.</p> + +<p>62. *Demosthenes, found near Frescati.</p> + +<p>"Both hands were wanting, and the restorer has replaced them +holding a roll.... They were originally placed with the fingers +clasped together, and the proofs are these. An anecdote is related +of an Athenian soldier, who had hidden some stolen money in the +clasped hands of a statue of Demosthenes; and if you observe the +lines formed by the fore-arms, from the elbows to half-way down the +wrists, where the restoration commences, you will find that, +continued on, they would bring the wrists very much nearer to each +other than they now are in the restoration. It is possible that +this is the identical statue spoken of."—<i>Shakspere Wood.</i></p> + +<p>67. *Apoxyomenos. An Athlete scraping his arm with a strigil; found +1849 in the Vicolo delle Palure in the Trastevere.</p> + +<p>This is a replica of the celebrated bronze statue of Lysippus, and +is described by Pliny, who narrates that it was brought from Greece +by Agrippa to adorn the baths which he built for the people, and +that Tiberius so admired it, that he carried it off to his palace, +but was forced to restore it by the outcries of the populace, the +next time he appeared in public.</p> + +<p><i>Left.</i>—</p> + +<p>71. Amazon. (Arms and feet restorations by Thorwaldsen.)</p> + +<p>77. Antonia, from Tusculum.</p> + +<p>81. Bust of Hadrian.</p> + +<p>83. Juno? (head, a restoration) from Hadrian's villa.</p> + +<p>86. Fortune with a cornucopia, from Ostia.</p> + +<p>92. Venus Anadyomena.</p> + +<p>"La gracieuse Vénus Anadyomène, que chacun connaît, a le mérite de +nous rendre une peinture perdue d'Apelles; elle en a un autre +encore, c'est de nous conserver dans ce portrait—qui n'est point +en buste—quelques traits de la beauté de Campaspe, d'après +laquelle Apelles, dit-on, peignit sa Venus Anadyomène."—<i>Ampère</i>, +iii. 324.</p> + +<p>96. Bust of Marc Antony, from the Tor Sapienza.</p> + +<p>109. *Colossal group of the Nile, found, temp. Leo X., near Sta. +Maria sopra Minerva.<a name="vol_2_page_304" id="vol_2_page_304"></a></p> + +<p>A Greek statue. The sixteen children clambering over it are +restorations, and allude to the sixteen cubits' depth with which +the river annually irrigates the country. On the plinth, the +accompaniments of the river,—the ibis, crocodile, hippopotamus, +&c., are represented.</p> + +<p>111. Julia, daughter of Titus, found near the Lateran.</p> + +<p>"Cette princesse, de la nouvelle et bourgeoise race des Flaviens, +n'offre rien du noble profil et de la fière beauté des Agrippines: +elle a un nez écrasé et l'air commun. La coiffure de Julie achève +de la rendre disgracieuse: c'est une manière de pouf assez +semblable à une éponge. Comparé aux coiffures du siècle d'Auguste, +le tour de cheveux ridicule de Julie montre la décadence du goût, +plus rapide dans la toilette que dans l'art."—<i>Ampère, Emp.</i> ii. +120.</p> + +<p>112. Bust of Juno, called the Juno Pentini.</p> + +<p>114. *Minerva Medica, found in the temple so called; formerly in +the Giustiniani collection.</p> + +<p>A most beautiful Greek statue, much injured by restoration.</p> + +<p>"In the Giustiniani palace is a statue of Minerva which fills me +with admiration. Winckelmann scarcely thinks anything of it, or at +any rate does not give it its proper position; but I cannot praise +it sufficiently. While we were gazing upon the statue, and standing +a long time beside it, the wife of the custode told us that it was +once a sacred image, and that the English, who are of that +religion, still held it in veneration, being in the habit of +kissing one of its hands, which was certainly quite white, while +the rest of the statue was of a brownish colour. She added, that a +lady of this religion had been there a short time before, had +thrown herself on her knees, and worshipped the statue. Such a +wonderful action she, as a Christian, could not behold without +laughter, and fled from the room, for fear of +exploding."—<i>Goethe.</i></p> + +<p>117. Claudius.</p> + +<p>120. A replica of the Faun of Praxiteles, inferior to that at the +Capitol.</p> + +<p>"Le jeune Satyre qui tient une flûte est trop semblable à celui du +Capitole pour n'être pas de même une reproduction de l'un des deux +Satyres isolés de Praxitèle, son Satyre d'Athènes ou son Satyre de +Mégare; on pourrait croire aussi que le Satyre à la flûte a eu pour +original le Satyre de Protogène qui, bien que peint dans Rhodes +assiégée, exprimait le calme le plus profond et qu'on appelait +<i>celui qui se repose</i> (<i>anapauomenos</i>); on pourrait le croire, car +la statue a toujours une jambe croisée sur l'autre, attitude qui, +dans le langage de la sculpture antique, désigne le repos. Il ne +serait pas impossible non plus que Protogène<a name="vol_2_page_305" id="vol_2_page_305"></a> se fût inspiré de +Praxitèle; mais en ce cas il n'en avait pas reproduit complétement +le charme, car Apelles, tout en admirant une autre figure de +Protogène, lui reprochait de manquer de grâce. Or, le Satyre à la +flûte est très-gracieux; ce qui me porte à croire qu'il vient +directement de Praxitèle plutôt que de Praxitèle par +Protogène."—<i>Ampère, Hist. Rom.</i> iii. 308.</p> + +<p>123. L. Verus. Naked statue.</p> + +<p>126. Athlete; the discus a restoration.</p> + +<p>129. Domitian, from the Giustiniani collection.</p> + +<p>132. Mercury (the head a restoration by Canova), from the Villa +Negroni.</p> + +<p>Here we re-enter the <i>Museo Chiaramonti</i>, lined with sculptures, +chiefly of inferior interest. They are arranged in thirty +compartments. We may notice:</p> + +<table border="0" cellpadding="0" cellspacing="1" summary=""> +<tr><td align="right"> </td><td align="left"><small>I.</small> 6, 13. Autumn and Winter, two sarcophagi from Ostia, the latter bearing the name of Publius Elius Verus.</td></tr> +<tr><td align="right"><small>VIII.</small> </td><td align="left">r. 176. A beautiful mutilated fragment, supposed to be one of the daughters of Niobe.</td></tr> +<tr><td align="right"> </td><td align="left">r. 197. Head of Roma, from Laurentum.</td></tr> +<tr><td align="right"><small>XIV.</small></td><td align="left">r. 352. Venus Anadyomena.</td></tr> +<tr><td align="right"><small>XVI.</small></td><td align="left">r. 400. Tiberius, seated, found at Veii in 1811.</td></tr> +<tr><td align="right"> </td><td align="left">r. 401. Augustus, from Veii.</td></tr> +<tr><td align="right"><small>XVII.</small></td><td align="left">r. 417. *Bust of the young Augustus, found at Ostia, 1808.</td></tr> +<tr><td align="right"><small>XX.</small></td><td align="left">r. 494. Seated statue of Tiberius, from Piperno.</td></tr> +<tr><td align="right"> </td><td align="left">r. 495. Cupid bending his bow, a copy of a statue by Lysippus.</td></tr> +<tr><td align="right"><small>XXI.</small></td><td align="left">r. 550, 512. Two busts of Cato.</td></tr> +<tr><td align="right"><small>XXIV.</small></td><td align="left">r. 589. Mercury, found near the Monte di Pietà.</td></tr> +<tr><td align="right"><small>XXV.</small></td><td align="left">r. 606. Head of Neptune, from Ostia.</td></tr> +<tr><td align="right"><small>XXX.</small></td><td align="left">r. 732. Recumbent Hercules, from Hadrian's Villa.</td></tr> +</table> + +<p>At the end of this gallery is the entrance to the Giardino della Pigna +(described under the Vatican Gardens). Admittance may probably be +obtained from hence for a fee of 50 c. At the top of the short +staircase, on the left, is the entrance of the Egyptian Museum. Here we +enter the <i>Museo Pio-Clementino</i>, founded under Clement XIV., but +chiefly due to the liberality and taste of Pius VI., in whose<a name="vol_2_page_306" id="vol_2_page_306"></a> reign, +however, most of the best statues were carried off to Paris, though they +were restored to Pius VII.</p> + +<p>In the centre of <i>1st Vestibule</i> is the *Torso Belvidere, found in the +baths of Caracalla, and sculptured, as is told by a Greek inscription on +its base, by Apollonius, son of Nestor of Athens. It was to this statue +that Michael-Angelo declared that he owed his power of representing the +human form, and in his blind old age he used to be led up to it, that he +might pass his hands over it, and still enjoy, through touch, the +grandeur of its lines.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"And dost thou still, thou mass of breathing stone<br /></span> +<span class="ist">(Thy giant limbs to night and chaos hurled),<br /></span> +<span class="ist">Still sit as on the fragment of a world,<br /></span> +<span class="ist">Surviving all, majestic and alone?<br /></span> +<span class="ist">What tho' the Spirits of the North, that swept<br /></span> +<span class="ist">Rome from the earth when in her pomp she slept,<br /></span> +<span class="ist">Smote thee with fury, and thy headless trunk<br /></span> +<span class="ist">Deep in the dust 'mid tower and temple sunk;<br /></span> +<span class="ist">Soon to subdue mankind 'twas thine to rise,<br /></span> +<span class="ist">Still, still unquelled thy glorious energies!<br /></span> +<span class="ist">Aspiring minds, with thee conversing, caught<br /></span> +<span class="ist">Bright revelations of the good they sought;<br /></span> +<span class="ist">By thee that long-lost spell in secret given,<br /></span> +<span class="ist">To draw down gods, and lift the soul to Heaven."<br /></span> +<span class="i15"><i>Rogers.</i><br /></span> +</div></div> + +<p>"Quelle a été l'original du torse d'Hercule, ce chef-d'œuvre que +palpait de ses mains intelligentes Michel-Ange aveugle et réduit à +ne plus voir que par elles? Heyne a pensé que ce pouvait être une +copie en grand de l'Hercule <i>Epitrapezios</i> de Lysippe, mais par le +style cette statue me semble antérieure à Lysippe. Cependant on lit +sur le torse le nom d'Apollonios d'Athènes, fils de Nestor, et la +forme des lettres ne permet pas de placer cette inscription plus +haut que le dernier siècle de la République.</p> + +<p>"Comment admettre que cette statue, aussi admirée par Winckelmann +que par Michel-Ange, ce débris auquel on revient après +l'éblouissement de l'Apollon du Belvidère, pour retrouver une +sculpture plus mâle et plus simple, un style plus fort et plus +grand; comment admettre qu'une<a name="vol_2_page_307" id="vol_2_page_307"></a> telle statue soit l'œuvre d'un +sculpteur inconnu dont Pline ne parle point, ni personne autre dans +l'antiquité, et qu'elle date d'un temps si éloigné de la grande +époque de Phidias, quand elle semble y tenir de si près?</p> + +<p>" ... Pourquoi le torse du Vatican ne serait-il pas d'Alcamène, ou, +si l'on veut, d'après Alcamène, par Apollonius?"—<i>Ampère, Hist. +Rome</i>, iii. p. 360, 363.</p></div> + +<p>Close by, in a niche, is the celebrated peperino *Tomb of L. Cornelius +Scipio Barbatus, consul <small>B.C.</small> 297. It supports a bust, supposed, upon +slight foundation, to be that of the poet Ennius. Inscriptions from +other tombs of the Scipios are inserted in the neighbouring wall.<a name="FNanchor_347_347" id="FNanchor_347_347"></a><a href="#Footnote_347_347" class="fnanchor">[347]</a></p> + +<div class="blockquot"><p>"L'épitaphe de Scipion le Barbu semble le résumé d'une oraison +funèbre; elle s'adresse aux spectateurs: 'Cornélius Scipion +Barbatus, né d'un père vaillant, homme courageux et prudent, dont +la beauté égalait la vertu. Il a été parmi vous consul, censeur, +édile; il a pris Taurasia, Cisauna, le Samnium. Ayant soumis toute +la Lucanie, il en a emmené des otages.'</p> + +<p>"Y a-t-il rien de plus grand? Il a pris le Samnium et la Lucanie. +Voilà tout.</p> + +<p>"Ce sarcophage est un des plus curieux monuments de Rome. Par la +matière, par la forme des lettres et le style de l'inscription, il +vous représente la rudesse des Romains au sixième siècle. Le goût +très-pur de l'architecture et des ornements vous montre l'avènement +de l'art grec tombant, pour ainsi dire, en pleine sauvagerie +romaine. Le tombeau de Scipion le Barbu est en pépérin, ce tuf +rugueux, grisâtre, semé de taches noires. Les caractères sont +irréguliers, les lignes sont loin d'être droites, le latin est +antique et barbare, mais la forme et les ornements du tombeau sont +grecs. Il y a là des volutes, des triglyphes, des denticules; on ne +saurait rien imaginer qui fasse mieux voir la culture grecque +venant surprendre et saisir la rudesse latine."—<i>Ampère, Hist. +Rom.</i> iii. 132.</p></div> + +<p>The <i>Round Vestibule</i> contains a fine vase of pavonazzetto.</p> + +<p>The adjoining balcony contains a curious Wind Indicator, found (1779) +near the Coliseum. Hence there is a lovely view over the city. In the +garden beneath is a fountain<a name="vol_2_page_308" id="vol_2_page_308"></a> with a curious bronze ship floating in its +bason (see Vatican Gardens).</p> + +<p>At the end of the <i>3rd Vestibule</i> stands the *Statue of Meleager, with a +boar's head and a dog, supposed to have been begun in Greece by some +famous sculptor, and finished in Rome (the dog, &c.) by an inferior +workman.</p> + +<div class="blockquot"><p>"Meleager is represented in a position of repose, leaning on his +spear, the mark of the junction of which, with the plinth, is still +to be seen. The want of the spear gives the statue the appearance +of leaning too much to one side, but if you can imagine it +replaced, you will see that the pose is perfectly and truthfully +rendered. This statue was found at the commencement of the +sixteenth century, outside the Porta Portese, in a vineyard close +to the Tiber."—<i>Shakspere Wood.</i></p> + +<p>"Ce Méléagre du Vatican respire une grâce tranquille, et, placé +entre le sublime <i>Torse</i> et les merveilles du Belvédère, semble +être là pour attendre et pour accueillir de son air aimable et un +peu mélancolique, où l'on a cru voir le signe d'une destinée qui +devait être courte, l'enthousiasme du voyageur."—<i>Ampère, Hist. +Rom.</i> iii. 515.</p></div> + +<p>From the central vestibule we enter the <i>Cortile del Belvidere</i>, an +octagonal court built by <i>Bramante</i>, having a fountain in the centre, +and decorated with fine sarcophagi and vases, &c. From this opens, +beginning from the right, the—</p> + +<p><i>First Cabinet</i>, containing the Perseus, and the two Boxers—Kreugas and +Damoxenus, by <i>Canova</i>.</p> + +<p><i>The Second Cabinet</i>, containing *the Antinous (now called Mercury), +perhaps the most beautiful statue in the world. It was found on the +Esquiline near S. Martino al Monte. It has never been injured by +restoration, but was broken across the ankles when found, and has been +unskilfully put together.</p> + +<div class="blockquot"><p>"Je suis bien tenté de rapporter à un original de Polyclète, qui +aimait les formes carrées, le Mercure du Belvédère, qui n'est pas +très-svelte<a name="vol_2_page_309" id="vol_2_page_309"></a> pour un Mercure. On a cru reconnaître que les +proportions de cette statue se rapprochaient beaucoup des +proportions préscrites par Polyclète. Poussin, comme Polyclète, ami +des formes carrées, déclarait le Mercure, qu'on appelait alors sans +motif un Antinoüs, le modèle le plus parfait des proportions du +corps humain; il pourrait à ce titre remplacer jusqu'à un certain +point la statue de Polyclète, appelée <i>la règle</i>, parcequ'elle +passait pour offrir ce modèle parfait, et <i>faisait règle</i> à cet +égard. De plus, on sait qu'un Mercure de Polyclète avait été +apporté à Rome."—<i>Ampère, Hist. Rom.</i> iii. 267.</p></div> + +<p><i>Third Cabinet</i>, of *the Laocoon. This wonderful group was discovered +near the Sette Sale on the Esquiline in 1506, while Michael-Angelo was +at Rome. The right arm of the father is a terra-cotta restoration, and +is said by Winckelmann to be the work of Bernini; the arms of the sons +are additions by Agostino Cornacchini of Pistoia. There is now no doubt +that the Laocoon is the group described by Pliny.</p> + +<div class="blockquot"><p>"The fame of many sculptors is less diffused, because the number +employed upon great works prevented their celebrity; for there is +no one artist to receive the honour of the work, and where there +are more than one they cannot all obtain an equal fame. Of this the +Laocoon is an example, which stands in the palace of the emperor +Titus,—a work which may be considered superior to all others both +in painting and statuary. The whole group,—the father, the boys, +and the awful folds of the serpents,—were formed out of a single +block, in accordance with a vote of the senate, by Agesander, +Polydorus, and Athenodorus, Rhodian sculptors of the highest +merit."—<i>Pliny</i>, lib. xxxvi. c. 4.</p> + +<p>"Les trois sculpteurs rhodiens qui travaillèrent ensemble au +Laocoon étaient probablement un père et ses deux fils, qui +exécutèrent l'un la statue du père, et les autres celles des deux +fils, touchante analogie entre les auteurs et l'ouvrage.</p> + +<p>"Les auteurs du Laocoon étaient Rhodiens, ce peuple auquel, dit +Pindare, Minerve a donné de l'emporter sur tous les mortels par le +travail habile de leurs mains, et dont les rues étaient garnies de +figures vivantes qui semblaient marcher. Or, le grand éclat, la +grande puissance de Rhodes, appartiennent surtout à l'époque qui +suivit la mort d'Alexandre. Après qu'elle se fût délivrée du joug +macédonien, presque toujours alliée de Rome, Rhodes fut florissante +par le commerce,<a name="vol_2_page_310" id="vol_2_page_310"></a> les armes et la liberté, jusqu'au jour on elle +eut embrassé le parti de César; Cassius prit d'assaut la capitale +de l'île et dépouilla ses temples de tous leurs ornements. Le coup +fut mortel à la république de Rhodes, qui depuis ne s'en releva +plus.</p> + +<p>"C'est avant cette fatale époque, dans l'époque de la prospérité +rhodienne, entre Alexandre et César, que se place le grand +développement de l'art comme de la puissance des Rhodiens, et qu'on +est conduit naturellement à placer la création d'un chef-d'œuvre +tel que le Laocoon.</p> + +<p>"Pline dit que les trois statues dont se compose le groupe étaient +d'un seul morceau, et ce groupe est formé de plusieurs, on en a +compté jusqu'à six. Ceci semblerait faire croire que nous n'avons +qu'une copie, mais j'avoue ne pas attacher une grande importance à +cette indication de Pline, compilateur plus érudit qu'observateur +attentif. Michel-Ange, dit-on, remarqua le premier que le Laocoon +n'était pas d'un seul morceau; Pline a très-bien pu ne pas s'en +apercevoir plus que nous et répéter de confiance une assertion +inexacte."—<i>Ampère, Hist. Rom.</i> iii. 382, 385, 387.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">... "Turning to the Vatican, go see<br /></span> +<span class="ist">Laocoon's torture dignifying pain—<br /></span> +<span class="ist">A father's love and mortal's agony<br /></span> +<span class="ist">With an immortal's patience blending, vain<br /></span> +<span class="ist">The struggle; vain against the coiling strain<br /></span> +<span class="ist">And gripe, and deepening of the dragon's grasp,<br /></span> +<span class="ist">The old man's clench; the long envenom'd chain<br /></span> +<span class="ist">Rivets the living links,—the enormous asp<br /></span> +<span class="ist">Enforces pang on pang, and stifles gasp on gasp."<br /></span> +<span class="i15"><i>Childe Harold.</i><br /></span> +</div></div> + +<p>"The circumstance of the two sons being so much smaller than the +father, has been criticised by some, but this seems to have been +necessary to the harmony of the composition. The same apparent +disproportion exists between Niobe and her children, in the +celebrated group at Florence, supposed to be by Scopas. The raised +arms of the three figures are all restorations, as are some +portions of the serpents. Originally, the raised hands of the old +man rested on his head, and the traces of the junction are clearly +discernible. For this we have also the evidence of an antique gem, +on which it is thus engraved. This work was found in the baths (?) +of Titus, in the reign of Julius II., by a certain Felix de Fredis, +who received half the revenue of the gabella of the Porta San +Giovanni as a reward, and whose epitaph, in the church of Ara +Cœli, records the fact."—<i>Shakspere Wood.</i><a name="vol_2_page_311" id="vol_2_page_311"></a></p> + +<p>"Il y avait dans la vie, au seizième siècle, je ne sais qu'elle +excitation fébrile, quelle aspiration vers le beau, vers l'inconnu, +qui disposait les esprits à l'enthousiasme.... Félix de Frédis fut +gratifié d'une part dans les revenus de la porte de Saint Jean de +Latran, pour avoir trouvé le groupe du Laocoon, et, lorsque l'ordre +fut donné de transporter au Belvédère le Laocoon, l'Apollon, la +Vénus, Rome entière s'émut, on jetait des fleurs au marbre, on +battait des mains; depuis les thermes de Titus jusqu'au Vatican, le +Laocoon fut porté en triomphe; et Sadolet chantait sur le mode +virgilien que durent reconnaître les échos de l'Esquilin et du +palais d'Auguste."—<i>Gournerie, Rome Chrétienne.</i></p> + +<p>"I felt the Laocoon very powerfully, though very quietly; an +immortal agony, with a strange calmness diffused through it, so +that it resembles the vast rage of the sea, calm on account of its +immensity; or the tumult of Niagara, which does not seem to be +tumult, because it keeps pouring on for ever and ever."</p> + +<p>"It is a type of human beings, struggling with an inexplicable +trouble, and entangled in a complication which they cannot free +themselves from by their own efforts, and out of which Heaven alone +can help them."—<i>Hawthorne, Notes on Italy.</i></p></div> + +<p><i>The Fourth Cabinet</i> contains *the Apollo Belvedere, found in the +sixteenth century at Porto d'Anzio (Antium), and purchased by Julius II. +for the Belvedere Palace, which was at that time a garden pavilion +separated from the rest of the Vatican, and used as a museum of +sculpture. It is now decided that this statue, beautiful as it is, is +not the original work of a Greek sculptor, but a copy, probably from the +bronze of Calamides, which represented Apollo, as the defender of the +city, and which was erected at Athens after the cessation of a great +plague. Four famous statues of Apollo are mentioned by Pliny as existing +at Rome in his time, but this is not one of them.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Or view the Lord of the unerring bow,<br /></span> +<span class="ist">The God of life, and poesy, and light—<br /></span> +<span class="ist">The Sun in human limbs array'd, and brow<br /></span> +<span class="ist">All radiant from his triumph in the fight;<br /></span> +<span class="ist">The shaft hath just been shot—the arrow bright<a name="vol_2_page_312" id="vol_2_page_312"></a><br /></span> +<span class="ist">With an immortal's vengeance; in his eye<br /></span> +<span class="ist">And nostril beautiful disdain, and might,<br /></span> +<span class="ist">And majesty flash their full lightnings by,<br /></span> +<span class="ist">Developing in that one glance the Deity."<br /></span> +<span class="i15"><i>Childe Harold.</i><br /></span> +</div></div> + +<div class="poem"><div class="stanza"> +<span class="i2">"Bright kindling with a conqueror's stem delight,<br /></span> +<span class="i0">His keen eye tracks the arrow's fateful flight:<br /></span> +<span class="i0">Burns his indignant cheek with vengeful fire,<br /></span> +<span class="i0">And his lip quivers with insulting ire:<br /></span> +<span class="i0">Firm fix'd his tread, yet light, as when on high<br /></span> +<span class="i0">He walks th' impalpable and pathless sky:<br /></span> +<span class="i0">The rich luxuriance of his hair, confined<br /></span> +<span class="i0">In graceful ringlets, wantons on the wind,<br /></span> +<span class="i0">That lifts in sport his mantle's drooping fold,<br /></span> +<span class="i0">Proud to display that form of faultless mould.<br /></span> +<span class="i2">Mighty Ephesian! with an eagle's flight<br /></span> +<span class="i0">Thy proud soul mounted through the fields of light,<br /></span> +<span class="i0">View'd the bright conclave of Heaven's blest abode,<br /></span> +<span class="i0">And the cold marble leapt to life a god:<br /></span> +<span class="i0">Contagious awe through breathless myriads ran,<br /></span> +<span class="i0">And nations bow'd before the work of man.<br /></span> +<span class="i0">For mild he seem'd, as in Elysian bowers,<br /></span> +<span class="i0">Wasting in careless ease the joyous hours;<br /></span> +<span class="i0">Haughty, as bards have sung, with princely sway<br /></span> +<span class="i0">Curbing the fierce flame-breathing steeds of day;<br /></span> +<span class="i0">Beauteous as vision seen in dreamy sleep<br /></span> +<span class="i0">By holy maid on Delphi's haunted steep,<br /></span> +<span class="i0">Mid the dim twilight of the laurel grove,<br /></span> +<span class="i0">Too fair to worship, too divine to love."<br /></span> +<span class="i15"><i>Henry Hart Milman.</i><br /></span> +</div></div> + +<p>In the second portico, between Canova's statues and the Antinous, is +(No. 43) a Venus and Cupid,—interesting because the Venus is a portrait +of Sallustia Barbia Orbiana, wife of Alexander Severus. It was +discovered in the fifteenth century, in the ruin near Sta. Croce in +Gerusalemme, to which it has given a name. In the third portico, between +the Antinous and the Laocoon, are two beautiful dogs. Between these we +enter:<a name="vol_2_page_313" id="vol_2_page_313"></a></p> + +<p>The <i>Sala degli Animali</i>, containing a number of representations of +animals in marble and alabaster. Perhaps the best is No. 116—two +greyhounds playing. The statue of Commodus on horseback (No. 139) served +as a model to Bernini for his figure of Constantine in the portico of +St. Peter's.</p> + +<div class="blockquot"><p>"La Salle des Animaux au Vatican est comme un musée de l'école de +Myron; le naturel parfait qu'il donna à ses représentations +d'animaux y éclate partout. C'est une sorte de ménagerie de l'art, +et elle mérite de s'appeler, comme celle du Jardin des Plantes, une +ménagerie <i>d'animaux vivants</i>.</p> + +<p>"Ces animaux sont pourtant d'un mérite inégal: parmi les meilleurs +morceaux on compte des chiens qui jouent ensemble avec beaucoup de +vérité, un cygne dont le duvet, un mouton tué dont la toison sont +très-bien rendus, une tête d'âne très-vraie et portant une couronne +de lierre, allusion au rôle de l'âne de Silène dans les mystères +bacchiques."—<i>Ampère, Hist. Rom.</i> iii. 276.</p></div> + +<p>On the right we enter:</p> + +<p>The <i>Galleria delle Statue</i>, once a summer-house of Innocent VIII., but +arranged as a statue-gallery under Pius VI. In its lunettes are remains +of frescoes by <i>Pinturicchio</i>. Beginning on the right, are:</p> + +<div class="blockquot"><p class="hang">248. An armed statue of Claudius Albinus standing on a cippus which +marked the spot where the body of Caius Cæsar was burnt, inscribed +C. C<small>ÆSAR</small> G<small>ERMANICI</small> C<small>ÆSARIS HIC CREMATUS EST</small>.</p> + +<p class="hang">250. The *Statue called "The Genius of the Vatican," supposed to be +a copy from a Cupid of Praxiteles which existed in the Portico of +Octavia in the time of Pliny. On the back are the holes for the +metal pins which supported the wings.</p> + +<p class="hang">251. Athlete.</p> + +<p class="hang">253. Triton, from Tivoli.</p> + +<p class="hang">255. Paris.</p> + +<p>Le Vatican possède une statue de Pâris jugeant les déesses. Cette +statue est-elle, comme on le pense généralement, une copie du Pâris +d'Euphranor?<a name="vol_2_page_314" id="vol_2_page_314"></a></p> + +<p>"Euphranor avait-il choisi le moment où Pâris juge les déesses? Les +expressions de Pline pourraient en faire douter: il ne l'affirme +point; il dit que dans la statue d'Euphranor on eût pu reconnaître +le juge des trois déesses, l'amant d'Hélène et le vainqueur +d'Achille.</p> + +<p class="c">* * * * * * +* * </p> + +<p>"La statue du Vatican est de beaucoup la plus remarquable des +statues de Pâris. On y sent, malgré ses imperfections, la présence +d'un original fameux; de plus, son attitude est celle de Pâris sur +plusieurs vases peints et sur plusieurs bas-reliefs, et nous +verrons que les bas-reliefs reproduisaient très-souvent une statue +célèbre. Il m'est impossible, il est vrai, de voir dans le Pâris du +Vatican tout ce que Pline dit du Pâris d'Euphranor. Je ne puis y +voir que le juge des déesses. L'expression de son visage montre +qu'il a contemplé la beauté de Vénus, et que le prix va être donné. +Rien n'annonce l'amant d'Hélène, ni surtout le vainqueur d'Achille; +mais ce qui était dans l'original aurait pu disparaître de la +copie."—<i>Ampère, Hist. Rom.</i> iii. 300.</p></div> + +<div class="blockquot"><p class="hang">256. Young Hercules.</p> + +<p class="hang">259. Figure probably intended for Apollo, restored as Minerva.</p> + +<p class="hang">260. A Greek relief, from a tomb.</p> + +<p class="hang">261. Penelope, on a pedestal, with a relief of Bacchus and Ariadne.</p></div> + +<div class="blockquot"><p>"L'attente de Pénélope nous est présente, et, pour ainsi dire, dure +encore pour nous dans cette expressive Pénélope, dont le torse nous +a montré un spécimen de l'art grec sous la forme la plus +ancienne."—<i>Ampère, Hist. Rome</i>, iii. p. 452.</p></div> + +<div class="blockquot"><p class="hang">264. *Apollo Sauroctonos (killing a lizard), found on the Palatine +in 1777—a copy of a work of Praxiteles. Several other copies are +in existence, one in bronze, in the Villa Albani, inferior to this. +The right arm and the legs above the knees are restorations, well +executed.</p></div> + +<div class="blockquot"><p>"Apollon presque enfant épie un lézard qui se glisse le long d'un +arbre. On sait, à n'en pouvoir douter, d'après la description de +Pline et de Martial, que cet Apollon, souvent répété, est une +imitation de celui de Praxitèle, et quand on ne le saurait pas, on +l'eût deviné."—<i>Ampère</i>, iii. 313.</p></div> + +<div class="blockquot"><p class="hang">265. Amazon, found in thé Villa Mattei, the finest of the three +Amazons in the Vatican, which are all supposed to be copies from +the fifty statues of Amazons, which decorated the temple of Diana +at Ephesus.</p> + +<p class="hang">267. Drunken Satyr.<a name="vol_2_page_315" id="vol_2_page_315"></a></p> + +<p class="hang">268. Juno, from Otricoli.</p> + +<p class="hang">271, 390. Posidippus and Menander, very fine statues, perfectly +preserved, owing to their having been kept through the middle ages +in the church of S. Lorenzo Pane e Perna, where they were +worshipped under the belief that they were statues of saints, a +belief which arose from their having metal discs over their heads, +a practice which prevailed with many Greek statues intended for the +open air. The marks of the metal pins for these discs may still be +seen, as well as those for a bronze protection for the feet, to +prevent their being worn away by the kisses of the faithful,—as on +the statue of St. Peter at St Peter's.</p></div> + +<p class="nind">Between these statues we enter:</p> + +<p class="nind">The <i>Hall of Busts</i>. Perhaps the best are:</p> + +<div class="blockquot"><p class="hang">278. Augustus, with a wreath of corn.</p> + +<p class="hang">289. Julia Mammæa, mother of Alexander Severus.</p> + +<p class="hang">299. Jupiter-Serapis, in basalt.</p> + +<p class="hang">325. Jupiter.</p> + +<p class="hang">357. Antinous.</p> + +<p class="hang">388. *Roman Senator and his wife, from a tomb. (These busts, having +been much admired by the great historian, were copied for the +monument of Niebuhr at Bonn, erected, by his former pupil the King +of Prussia, to his memory—with that of his loving wife Gretchen, +who only survived him nine days.)</p> + +<p>"Les têtes de deux époux, représentés au devant de leur tombeau +d'où ils semblent sortir à mi-corps et se tenant par le main, sont +surtout d'une simplicité et d'une vérité inexprimable. La femme est +assez jeune et assez belle, l'époux est vieux et très-laid; mais ce +groupe a un air honnête et digne qui répond pour tous deux d'une +vie de sérénité et de vertu. Nul récit ne pourrait aussi bien que +ces deux figures transporter au sein des mœurs domestiques de +Rome; en leur présence on se sent pénétré soi-même d'honnêteté, de +pudeur et de respect, comme si on était assis au chaste foyer de +Lucrèce."—<i>Ampère, Hist. Rom.</i> iv. 103.</p></div> + +<p>Re-entering the Gallery of Statues, and following the left wall, are:</p> + +<div class="blockquot"><p class="hang">392. Septimius Severus.</p> + +<p class="hang">393. Girl at a spring?<a name="vol_2_page_316" id="vol_2_page_316"></a></p> + +<p class="hang">394. Neptune.</p> + +<p class="hang">395. Apollo Citharœdus.</p> + +<p class="hang">396. Wounded Adonis.</p> + +<p class="hang">397. Bacchus, from Hadrian's Villa.</p> + +<p class="hang">398. Macrinus (Imp. 217).</p> + +<p class="hang">399. Æsculapius and Hygeia, from Palestrina.</p> + +<p class="hang">400. Euterpe.</p> + +<p class="hang">401. Mutilated group from the Niobides, found near Porta San Paolo.</p> + +<p class="hang">405. Danaide.</p> + +<p class="hang">406. Copy of the Faun of Praxiteles, very beautiful, but inferior +to that at the Capitol.</p> + +<p class="hang">422. Head of a fountain, with Bacchanalian Procession.</p></div> + +<p>(Here is the entrance of the <i>Gabinetto delle Maschere</i>, which contains +works of small importance. It is named from the mosaic upon the floor, +of masks from Hadrian's Villa. It is seldom shown, probably because it +contains a chair of rosso-antico, called "Sedia forata," found near the +Lateran, and supposed to be the famous "Sella Stercoraria" used at the +installation of the mediæval popes, and associated with the legend of +Pope Joan.</p> + +<div class="blockquot"><p>"Le Pape élu (Célestine III. 1191) se prosterne devant l'autel +pendant que l'on chante le Te Deum: puis les Cardinaux Evêques le +conduisent à son siége derrière l'autel: là ils viennent à ses +pieds, et il leur donne le baiser de paix. On le mène ensuite à une +chaise posée devant la portique de la Basilique du Sauveur de +Latran. Cette chaise était nommée dès lors '<i>Stercoraria</i>,' +parceque elle est percée au fond: mais l'ouverture est petite, et +les antiquaires jugent que c'étoit pour égouter l'eau, et que cette +chaise servait à quelque bain."—<i>Fleury, Histoire Ecclésiastique</i>, +xv. p. 525.)</p></div> + +<p class="hang">462. Cinerary Urn of Alabaster.</p> + +<p class="hang">414. *Sleeping Ariadne, found <i>c.</i> 1503—formerly supposed to represent +Cleopatra.</p> + +<div class="blockquot"><p>"The effect of sleep, so remarkable in this statue, and which could +not have been rendered by merely closing the lids over the eyes, is +produced by giving positive form to the eyelashes; a distinct +ridge,<a name="vol_2_page_317" id="vol_2_page_317"></a> being raised at right angles to the surface of the lids, +with a slight indented line along the edge to show the +division."—<i>Shakspere Wood.</i></p> + +<p>"La figure est certainement idéale et n'est point un portrait; mais +ce qui ne laisse aucun doute sur le nom à lui donner, c'est un +bas-relief, un peu refait, il est vrai, qu'on a eu la très-heureuse +idée de placer auprès d'elle.</p> + +<p>"On y voit une femme endormie dont l'attitude est tout à fait +pareille à celle de la statue, Thésée qui va s'embarquer pendant le +sommeil d'Ariane, et Bacchus qui arrive pour la consoler. C'est +exactement ce que l'on voyait peint dans le temple de Bacchus à +Athènes.</p> + +<p>"Cette statue, belle sans doute, mais peut-être trop vantée, doit +être postérieure à l'époque d'Alexandre. Sa pose gracieuse est +presque maniérée: on dirait qu'elle se regarde dormir. La +disposition de la draperie est compliquée et un peu embrouillée, à +tel point que les uns prennent pour une couverture ce que d'autres +regardent comme un manteau."—<i>Ampère, Hist. Rom.</i> iii. 534.</p> + +<p>Beneath this figure is a fine sarcophagus, representing the Battle +of the Giants.</p></div> + +<div class="blockquot"><p class="hang">412, 413. "The Barberini Candelabra" from Hadrian's Villa.</p> + +<p class="hang">416. Ariadne.</p> + +<p class="hang">417. Mercury.</p> + +<p class="hang">420. Lucius Verus—on a pedestal which supported the ashes of +Drusus in the Mausoleum of Augustus.</p></div> + +<p>From the centre of the Sala degli Animali we now enter:</p> + +<p>The <i>Sala delle Muse</i>, adorned with sixteen Corinthian columns from +Hadrian's Villa. It is chiefly filled with statues and busts from the +villa of Cassius at Tivoli. The statues of the Muses and that called +Apollo Musagetes (No. 516) are generally attributed to the time of the +Antonines.</p> + +<div class="blockquot"><p>"Nous savons que l'Apollon Citharède de Scopas était dans le temple +d'Apollon Palatin, élevé par Auguste; les médailles, Properce et +Tibulle, nous apprennent que le dieu s'y voyait revêtu d'une longue +robe.</p></div> + +<div class="poem"><div class="stanza"> +<span class="i0">'Ima videbatur talis illudere palla.'<br /></span> +<span class="i15"><i>Tib.</i> iii. 4, 35.<br /></span> +</div></div> + +<div class="poem"><div class="stanza"> +<span class="i0">'Pythius in longa carmina veste sonat.'<br /></span> +<span class="i15"><i>Prop.</i> ii. 31, 16.<br /></span> +</div></div> + +<p><a name="vol_2_page_318" id="vol_2_page_318"></a></p> + +<div class="blockquot"><p>"Nous ne pouvons donc hésiter à admettre que l'Apollon de la salle +des Muses au Vatican a eu pour premier original l'Apollon de +Scopas.</p> + +<p>"Nous savons aussi qu'un Apollon de Philiscus et un Apollon de +Timarchide (celui-ci tenant la lyre), sculpteurs grecs moins +anciens que Scopas, étaient dans un autre temple d'Apollon, près du +portique d'Octavie, en compagnie des Muses, comme l'Apollon +Citharède du Vatican a été trouvé avec celles qui l'entourent +aujourd'hui dans la salle des Muses. Il est donc vraisemblable que +cet Apollon est d'après Philiscus ou Timarchide, qui eux-mêmes +avaient sans doute copié l'Apollon <i>à la lyre</i> de Scopas et +l'avaient placé au milieu des Muses.</p> + +<p>"Apollon est là, ainsi que plus anciennement il avait été +représenté sur le coffre de Cypsélus, avec cette inscription qui +conviendrait à la statue du Vatican: 'Alentour est le chœur +gracieux des Muses, auquel il préside;' et, comme dit Pindare, 'au +milieu du beau chœur des Muses, Apollon frappe du plectrum d'or +la lyre aux sept voix."—<i>Ampère, Hist. Rom.</i> iii. 292.</p></div> + +<p>Here we reach the <i>Sala Rotonda</i>, built by Pius VI., paved with a mosaic +found in 1780 in the baths of Otricoli, and containing in its centre a +grand porphyry vase from the baths of Titus. On either side of the +entrance are colossal heads of Tragedy and Comedy, from Hadrian's Villa. +Beginning from the right are:</p> + +<div class="blockquot"><p>539. *Bust of Jupiter from Otricoli—the finest extant.</p> + +<p>540. Antinous, from Hadrian's Villa. All the drapery (probably once +of bronze) is a restoration.</p></div> + +<div class="blockquot"><p>"Antinous was drowned in the Nile, <small>A.D.</small> 131. Some accounts assert +that he drowned himself in obedience to an oracle, which demanded +for the life of the emperor Hadrian the sacrifice of the object +dearest to him. However this may be, Hadrian lamented his death +with extravagant weakness, proclaimed his divinity to the jeering +Egyptians, and consecrated a temple in his honour. He gave the name +of Besantinopolis to a city in which he was worshipped in +conjunction with an obscure divinity named Besa."—<i>Merivale</i>, +lxvi.</p></div> + +<div class="blockquot"><p class="hang">541. Faustina the elder, wife of Antoninus Pius.</p> + +<p class="hang">542. Augustus, veiled.</p> + +<p class="hang">543. *Hadrian, found in his mausoleum.</p> + +<p class="hang">544. *Colossal Hercules, in gilt bronze, found (1864) near the<a name="vol_2_page_319" id="vol_2_page_319"></a> +Theatre of Pompey. The feet and ankles are restorations by +Tenerani.</p> + +<p class="hang">546. *Bust of Antinous.</p> + +<p class="hang">547. Sea-god, from Pozzuoli.</p> + +<p class="hang">548. *Nerva.</p></div> + +<div class="blockquot"><p>"Among the treasures of antiquity preserved in modern Rome, none +surpasses,—none perhaps equals,—in force and dignity, the sitting +statue of Nerva, which draws all eyes in the rotunda of the +Vatican, embodying the highest ideal of the Roman magnate, the +finished warrior, statesman, and gentleman of an age of varied +training and wide practical experience."—<i>Merivale</i>, ch. xliii.</p></div> + +<div class="blockquot"><p class="hang">549. Jupiter Serapis.</p> + +<p class="hang">550. *The Barberini Juno.</p> + +<p class="hang">551. Claudius.</p> + +<p class="hang">552. Juno Sospita, from Lanuvium. This is the only statue in the +Vatican of which we can be certain that it was a worshipped idol; +the sandals of the Tyrrhenian Juno turn up at the end,—no other +Juno wears these sandals.</p> + +<p class="hang">553. Plotina, wife of Trajan.</p> + +<p class="hang">554. Julia Domna, wife of Septimius Severus.</p> + +<p class="hang">556. Pertinax.</p></div> + +<p>The <i>Sala a Croce Greca</i> contains:</p> + +<div class="blockquot"><p><i>On the right.</i>—The porphyry sarcophagus of Sta. Constantia, +daughter of Constantine the Great, adorned with sculptures of a +vintage, brought hither most inappropriately, from her church near +St'Agnese.</p> + +<p><i>On the left.</i>—The porphyry sarcophagus of Sta. Helena, mother of +Constantine the Great, carried off from her tomb (now called Torre +Pignatarra) by Anastasius IV., and placed in the Lateran, whence it +was brought hither by Pius VI. The restoration of its reliefs, +representing battle scenes of the time of Constantine, cost +£20,000.</p></div> + +<p>At the end of the hall on the right is a recumbent river-god, said to +have been restored by Michael Angelo. The stairs, adorned with twenty +ancient columns from Palestrina, lead to:</p> + +<p>The <i>Sala della Biga</i>, so called from a white marble chariot, drawn by +two horses. Only the body of the chariot (which long served as an +episcopal throne in the<a name="vol_2_page_320" id="vol_2_page_320"></a> church of S. Marco) and part of the horse on +the right, are ancient; the remainder is restoration. Among the +sculptures here, are:</p> + +<div class="blockquot"><p>608. Bearded Bacchus.</p> + +<p>609. An interesting sarcophagus representing a chariot-race. The +chariots are driven by Amorini, who are not attending to what they +are about, and drive over one another. The eggs and dolphins on the +winning-posts indicated the number of times they had gone round; +each time they passed another egg and dolphin were put up.</p> + +<p>610. Bacchus, as a woman.</p> + +<p>611. Alcibiades?</p> + +<p>612. Veiled priest, from the Giustiniani collection.</p> + +<p>614. Apollo Citharædus.</p> + +<p>615. Discobolus, copy of a bronze statue by Naubides.</p> + +<p>616. *Phocion, very remarkable and beautiful from the extreme +simplicity of the drapery.</p> + +<p>618. Discobolus, copy of the bronze statue of Myron—inferior to +that at the Palazzo Massimo.</p></div> + +<div class="blockquot"><p>"Il n'y a pas une statue dont l'original soit connu avec plus de +certitude que le Discobole. Cet original fut l'athlète lançant le +disque de Myron.</p> + +<p>"C'est bien la statue se contournant avec effort dont parle +Quintilien; en effet, la statue, penchée en avant et dans +l'attitude du jet, porte le corps sur une jambe, tandis que l'autre +est traînante derrière lui. Ce n'est pas la main, c'est la personne +tout entière qui va lancer le disque."—<i>Ampère, Hist. Rom.</i> iii. +270.</p></div> + +<div class="blockquot"><p>619. Charioteer.</p></div> + +<p>Proceeding in a straight line from the top of the stairs, we enter:</p> + +<p>The <i>Galleria dei Candelabri</i>, 300 feet long, filled with small pieces +of sculpture. Among these we may notice in the centre, on the right, +Bacchus and Silenus, found near the Sancta-Sanctorum, also:</p> + +<div class="blockquot"><p>194. Boy with a goose.</p> + +<p>224. Nemesis.<a name="vol_2_page_321" id="vol_2_page_321"></a></p> + +<p>'Une petite statue da Vatican rappelle une curieuse anecdote dont +le héros est Agoracrite. Alcamène et lui avaient fait chacun une +statue de Vénus. Celle d'Alcamène fut jugée la meilleure par les +Athéniens. Agoracrite, indigné de ce qui lui semblait une +injustice, transforma la sienne en Némésis, déesse vengeresse de +l'équité violée, et le rendit aux habitants du bourg de Rhamnus, à +condition qu'elle ne serait jamais exposée à Athènes. Ceci montre +combien sa Vénus avait gardé la sévérité du type primitif. Ce n'est +pas de la Vénus du Capitole ou de la Vénus de Médicis, qu'on aurait +pu faire une Némésis. Némésis avait pour emblème la coudée, signe +de la <i>mesure</i> que Némésis ne permet point de dépasser, et +l'avant-bras était la figure de la <i>coudée</i>, par suite, de la +mesure. C'est pourquoi quand on représentait Némésis on plaçait +toujours l'avant-bras de manière d'attirer sur lui l'attention. +Dans la Némésis du Vatican la donnée sévère est devenue un motif +aimable. Cet avant-bras, qu'il fallait montrer pour rappeller une +loi terrible, Némésis le montre en effet, mais elle s'en sert avec +grâce pour rattacher son vêtement."—<i>Ampère, Hist. Rom.</i> iii. 260.</p> + +<p>253. Statuette of Ceres, the head from some other statue.</p></div> + +<p>Hence we enter:</p> + +<p>The <i>Galleria degli Arazzi</i> (open gratis on Mondays), hung with +tapestries from the New Testament History, executed for the lower walls +of the Sistine Chapel, in 1515—16, for Leo X., from the cartoons of +<i>Raphael</i>, of which seven were purchased in Flanders by Charles I., and +are now at Hampton Court. The tapestries are ill arranged. According to +their present order, beginning on the left wall, they are:</p> + +<div class="blockquot"><p>1. St. Peter receiving the keys. (On the border, the flight of +Cardinal de' Medici from Florence in 1494, disguised as a +Franciscan Monk.)</p> + +<p>2. The Miraculous draught of Fishes.</p> + +<p>3. The Sacrifice at Lystra.</p> + +<p>4. St. Paul preaching at Athens.</p> + +<p>5. The Saviour and Mary Magdalene.</p> + +<p>6. The Supper at Emmaus.</p> + +<p>7. The Presentation in the Temple.</p> + +<p>8. The Adoration of the Shepherds.<a name="vol_2_page_322" id="vol_2_page_322"></a></p> + +<p>9. The Ascension.</p> + +<p>10. The Adoration of the Magi.</p> + +<p>11. The Resurrection.</p> + +<p>12. The Day of Pentecost.</p></div> + +<p>Returning, on the right wall, are:</p> + +<div class="blockquot"><p>1. An Allegorical Composition of the Triumph of Religion (by <i>Van +Orley</i> and other pupils of Raphael).</p> + +<p>2. The Stoning of Stephen (on the border the return of the Cardinal +de' Medici to Florence as Legate).</p> + +<p>3. Elymas the Sorcerer (?—removed 1869—70).</p> + +<p>4, 5, 6. Massacre of the Innocents.</p> + +<p>7. (Smaller than the others.) Christ falling under the Cross.</p> + +<p>8. Christ appearing to his disciples on the shore of the Lake of +Galilee.</p> + +<p>9. Peter and John healing the lame man.</p> + +<p>10. The Conversion of St. Paul.</p></div> + +<p>The Arazzi were long used as church decorations on high festivals.</p> + +<div class="blockquot"><p>"On Corpus-Christi Day I learnt the true destination of the +Tapestries, when they transformed colonnades and open spaces into +handsome halls and corridors: and while they placed before us the +power of the most gifted of men, they gave us at the same time the +happiest example of art and handicraft, each in its highest +perfection, meeting for mutual completion."—<i>Goethe.</i></p></div> + +<hr style="width: 15%;" /> + +<p>The <i>Library of the Vatican</i> is shown from 12 to 3, except on Sundays +and festivals, but the visitor is hurried through in a crowd by a +custode, and there is no time for examination of the individual objects. +The entrance is by a door on the left at the end of the Galleria +Lapidaria, which leads to the museum of statues. The Papal Library was +founded by the early popes at the Lateran. The Public Library was begun +by Nicholas V., and greatly increased under Sixtus IV. (1475) and Sixtus +V. (1588), who built the present halls for the collection. In 1623 the +library was<a name="vol_2_page_323" id="vol_2_page_323"></a> increased by the gift of the "Bibliotheca Palatina" of +Heidelberg, captured by Tilly from Maximilian of Bavaria; in 1657 by the +"Bibliotheca Urbinas," founded by Federigo da Montefeltro; in 1690 by +the "Bibliotheca Reginensis," or "Alexandrina," which belonged to +Christina of Sweden; in 1746 by the Bibliotheca Ottoboniana, purchased +by the Ottobuoni pope, Alexander VIII. The number of Greek, Latin, and +Oriental MSS. in the collection has been reckoned at 23,580.</p> + +<p>The ante-chambers are hung with portraits of the Librarians;—among +them, in the first room, is that of Cardinal Mezzofanti. In this room +are facsimiles of the columns found in the Triopium of Herodes Atticus +(see the account of the Valle Caffarelli), of which the originals are at +Naples. From the second ante-chamber we enter the <i>Great Hall</i>, 220 feet +long, decorated with frescoes by <i>Scipione Gaetani</i>, <i>Cesare Nebbia</i>, +and others,—unimportant in themselves, but producing a rich general +effect of colour. No books or MSS. are visible; they are all enclosed in +painted cupboards, so that of a <i>library</i> there is no appearance +whatever, and it is only disappointing to be told that in one cupboard +are the MSS. of the Greek Testament of the fifth century, Virgil of the +fifth, and Terence of the fourth centuries, and that another contains a +Dante, with miniatures by <i>Giulio Clovio</i>,<a name="FNanchor_348_348" id="FNanchor_348_348"></a><a href="#Footnote_348_348" class="fnanchor">[348]</a> &c. Ranged along the +middle of the hall are some of the handsome presents made to Pius IX. by +different foreign potentates, including the Sèvres font, in which the +Prince Imperial was baptized, presented by Napoleon III., and some +candelabra given by Napoleon I. to Pius VII. At the end of the hall, +long corridors open<a name="vol_2_page_324" id="vol_2_page_324"></a> out on either side. Turning to the left, the second +room has two interesting frescoes—one representing St. Peter's as +designed by Michael Angelo, the other the erection of the obelisk in the +Piazza S. Pietro under Fontana. At the end of the third room are two +ancient statues, said to represent Aristides, and Hippolytus Bishop of +Porto. The fourth room is a museum of Christian antiquities, and +contains, on the left, a collection of lamps and other small objects +from the Catacombs; on the right, some fine ivories by <i>Guido da +Spoleto</i>, and a Deposition from the Cross attributed to <i>Michael +Angelo</i>. The room beyond this, painted by <i>Raphael Mengs</i>, is called the +Stanza dei Papiri, and is adorned with papyri of the fifth, sixth, and +seventh centuries. The next room has an interesting collection of +pictures, by early masters of the schools of <i>Giotto</i>, <i>Giottino</i>, +<i>Cimabue</i>, and <i>Fra Angelico</i>. Here is a Prie Dieu, of carved oak and +ivory, presented to Pius IX. by the four bishops of the province of +Tours.</p> + +<p>At the end of this room, not generally shown, is the <i>Chapel of St. Pius +V.</i></p> + +<p>The <i>Appartamenti Borgia</i>, which are reached from hence, are only shown +by a special permission, difficult to obtain. They consist of four +rooms, which were built by Alexander VI., though their beautiful +decorations were chiefly added by Leo X. The <i>first room</i> is painted by +<i>Giovanni da Udine</i> and <i>Pierino del Vaga</i>, and represents the course of +the planets,—Jupiter drawn by eagles, Venus by doves, Diana (the moon) +by nymphs, Mars by wolves, Mercury by cocks, Apollo (the sun) by horses, +Saturn by dragons. These frescoes, executed at the time Michael Angelo +was painting the Last Judgment, are interesting<a name="vol_2_page_325" id="vol_2_page_325"></a> as the last revival +under Clement VII. of the pagan art so popular in the papal palace under +Leo X.</p> + +<p>The second room, painted by <i>Pinturicchio</i>, has beautiful lunettes of +the Annunciation, Adoration of the Magi, Resurrection, Ascension, +Descent of the Holy Ghost, and Assumption of the Virgin. The ceiling of +the <i>third room</i> has paintings by <i>Pinturicchio</i> of the Martyrdom of St +Sebastian; the Visitation of St Elizabeth; the Meeting of St Anthony +with St. Paul, the first hermit; St. Catherine before Maximian; the +Flight of St. Barbara; St. Julian of Nicomedia; and, over the door, the +Virgin and Child. This last picture is of curious historical interest, +as a relic of the libertinism of the court of Alexander VI. (Rodrigo +Borgia), the "figure of the Virgin being a faithful representation of +Giulia Farnese, the too celebrated Vanozza," mistress of the pope, and +mother of his children, Cæsar and Lucrezia. "She held upon her knees the +infant Jesus, and Alexander knelt at her feet."</p> + +<p>The fourth room, also painted by <i>Pinturicchio</i>, is adorned with +allegorical figures of the Arts and Sciences, and of the Cardinal +Virtues.</p> + +<div class="blockquot"><p>"On the accession of the infamous Alexander VI., Pinturicchio was +employed by him to paint the Appartamento Borgia, and a great +number of rooms, both in the castle of S. Angelo and in the +pontifical palace. The patronage of this pope was still more fatal +to the arts than that of the Medici at Florence. The subjects +represented in the castle of S. Angelo were drawn from the life of +Alexander himself, and the portraits of his relations and friends +were introduced there,—amongst others, those of his brothers, +sisters, and that of the infamous Cæsar Borgia. To all acquainted +with the scandalous history of this family, this representation +appeared a commemoration of their various crimes, and it was +impossible to regard it in any other light, when, in addition to +the publicity they affected to give to these scandalous excesses, +they appeared desirous of making art itself their accomplice; and +by an<a name="vol_2_page_326" id="vol_2_page_326"></a> excess of profanation hitherto unexampled in the Catholic +world, Alexander VI. caused himself to be represented, in a room in +the Vatican, in the costume of one of the Magi, kneeling before the +holy Virgin, whose head was no other than the portrait of the +beautiful Giulia Farnese ('Vanozza'), whose adventures are +unfortunately too well known. We may indeed say that the walls have +in this case made up for the silence of the courtiers: for on them +was traced, for the benefit of contemporaries and posterity, an +undeniable proof of the depravity of the age.</p> + +<p>"At the sight of that Appartamento Borgia, which is entirely +painted by Pinturicchio, we shall experience a sort of satisfaction +in discovering the inferiority of this purely mercenary work, as +compared with the other productions of the same artist, and we +cannot but rejoice that it is so unworthy of him. Such an ignoble +task was not adapted to an artist of the Umbrian school, and there +is good reason to believe that, after this act of servility, +Pinturicchio became disgusted with Rome, and returned to the +mountains of Umbria, in search of nobler inspirations."—<i>Rio. +Poetry of Christian Art.</i></p></div> + +<p>A door on the right of the room with the old pictures opens into a room +containing a very interesting collection of ancient frescoes. On the +right wall is the celebrated "<i>Nozze Aldobrandini</i>," found in 1606<a name="FNanchor_349_349" id="FNanchor_349_349"></a><a href="#Footnote_349_349" class="fnanchor">[349]</a> +in some ruins belonging to the baths of Titus near the arch of Gallienus +on the Esquiline, and considered to be the finest specimen of ancient +pictorial art in Rome. It was purchased at first by the Aldobrandini +family, whence its name. It represents an ancient Greek ceremony, +possibly the nuptials of Peleus and Thetis. There is a fine copy by +Nicholas Poussin in the Doria Palace.</p> + +<div class="blockquot"><p>"S'il fait allusion à un sujet mythologique, le réel y est à côté +de l'idéal, et la mythologie y est appliquée à la représentation +d'un mariage ordinaire. Tout porte à y voir une peinture romaine, +mais l'auteur s'était inspiré des Grecs, comme on s'en inspirait +presque toujours à Rome. La nouvelle mariée, assise sur le lit +nuptial et attendant son époux, a cette expression de pudeur +virginale, d'embarras modeste, qui<a name="vol_2_page_327" id="vol_2_page_327"></a> avait rendu célèbre un tableau +dont le sujet était le mariage de Roxane et l'auteur Ætion, peintre +grec."—<i>Ampère, Hist. Rom.</i> iv. 127.</p></div> + +<p>Opposite to this is a Race of the Cupids, from Ostia. The other frescoes +in this room were found in the ruins on the Esquiline and at the Torre +di Marancia.</p> + +<hr style="width: 15%;" /> + +<p>The <i>Etruscan Museum</i> can be visited on application to the custode, +every day except Monday, from 10 to 2. It is reached by the staircase +which passes the entrance to the Gallery of Candelabra: after which one +must ring at a closed door on the right.</p> + +<div class="blockquot"><p>"This magnificent collection is principally the fruit of the +excavating partnership established, some twelve or fifteen years +since, between the Papal government and the Campanari of +Toscanella; and will render the memory of Gregory XVI., who +forwarded its formation with more zeal than he ordinarily +displayed, ever honoured by all interested in antiquarian science. +As the excavations were made in the neighbourhood of Vulci, most of +the articles are from that necropolis; yet the collection has been +considerably enlarged by the addition of others previously in the +possession of the government, and still more by recent acquisitions +from the Etruscan cemeteries of Cervetri, Corneto, Bomarzo, Orte, +Toscanella, and other sites within the Papal dominions."—<i>Dennis.</i></p></div> + +<p><i>The 1st Room</i>—</p> + +<div class="blockquot"><p>Contains three sarcophagi of terra-cotta from Toscanella, with +three life-size figures reposing upon them. Their extreme length is +remarkable. The figure on the left wears a fillet, indicating +priesthood. The head of the family was almost always priest or +priestess. Most of the objects in terra-cotta, which have been +discovered, come from Toscanella. The two horses' heads in this +room, in nenfro, i.e. volcanic tufa, were found at the entrance of +a tomb at Vulci.</p></div> + +<p><i>The 2nd Room</i>—</p> + +<div class="blockquot"><p>Is a corridor filled with cinerary urns, chiefly from Volterra, +bearing recumbent figures, ludicrously stunted. The large +sarcophagus on the left supports the bearded figure of a man, and +is adorned with reliefs<a name="vol_2_page_328" id="vol_2_page_328"></a> of a figure in a chariot and musicians +painted red. The urns in this room are of alabaster, which is the +characteristic of Volterra.</p></div> + +<p><i>The 3rd Room</i>—</p> + +<div class="blockquot"><p>Has in the centre a large sarcophagus of nenfro, found at +Tarquinii, in 1834, supporting a reclining figure of a Lucumo, with +a scroll in his hand, "recalling the monuments of the middle ages." +At the sides are reliefs representing the story of Clytemnestra and +Ægisthus,—the Theban brothers,—the sacrifice of +Clytemnestra,—and Pyrrhus slaying the infant Astyanax. In this +room is a slab with a bilingual inscription, in Latin and Umbrian, +from Todi. In the comers are some curious cinerary urns shaped like +houses.</p></div> + +<p><i>The 4th Room</i>—</p> + +<div class="blockquot"><p>Is the Chamber of Terra-cottas. In the centre is a most beautiful +statue of Mercury found at Tivoli. At the sides are fragments of +female figures from Vulci,—and an interesting terra-cotta urn from +Toscanella, with a youth lying on a couch. "From the gash in his +thigh, and the hound at his bed-side, he is usually called Adonis; +but it may be merely the effigy of some young Etruscan, who met his +death in the wild-boar chase."</p></div> + +<p><i>The 5th Room</i>—</p> + +<div class="blockquot"><p>This and the three following rooms are occupied by Vases. The vases +in the 5th room are mostly small amphoræ, in the second or Archaic +style, with black figures on the ground of the clay. On a column, +near the window, is a <i>Crater</i>, or mixing-vase, from Vulci, with +parti-coloured figures on a very pale ground, and in the most +beautiful style of Greek art. It represents Mercury presenting the +infant Bacchus to Silenus. To the left of the window is a humorous +representation of the visit of Jupiter and Mercury to Alcmena, who +is looking at them out of a window. In the cabinets are objects in +crystal from Palestrina.</p></div> + +<p><i>The 6th Room</i>—</p> + +<div class="blockquot"><p>In the centre of this room are five magnificent vases. The central, +from Cervetri, "is of the rare form called <i>Holmos</i>—a large +globe-shaped bowl on a tall stand, like an enormous cup and ball;" +its paintings are of wild animals. Nearest the entrance is, with +three handles, "a <i>Calpis</i>, of the third or perfect style," from +Vulci, with paintings of Apollo and six Muses. Behind this, from +Vulci, is "a large <i>Amphora</i> of the second or Archaic style," in +which hardness and severity of design are combined<a name="vol_2_page_329" id="vol_2_page_329"></a> with most +conscientious execution of detail. It represents Achilles +("Achilleos") and Ajax ("Aiantos") playing at dice, or <i>astralagi</i>. +Achilles cries "Four!" and Ajax "Three!"—the said words, in choice +Attic, issuing from their mouths. The maker's name, "Echsekias," is +recorded, as well as that of "the brave Onetorides" to whom it was +presented. On the other side of the vase is a family scene of +"Kastor" with his horse, and "Poludeukes" playing with his dog, +"Tyndareos" and "Leda" standing by. 4th, is an <i>Amphora</i> from Cære, +representing the body of Achilles borne to Peleus and Thetis. 5th, +is a <i>Calpis</i> from Vulci, representing the death of Hector in the +arms of Minerva.</p> + +<p>The 6th vase on the shelf of the entrance wall is the kind of +amphora called a <i>Pelice</i>, from Cære. "Two men are represented +sitting under an olive-tree, each with an amphora at his feet," and +one who is measuring the oil exclaims, "O father Jupiter, would +that I were rich!" On the reverse of the vase is the same pair, at +a subsequent period, when the prayer has been heard, and the +oil-dealer cries, "Verily, yea, verily, it hath been filled to +overflowing." By the window is a <i>Calpis</i>, representing a boy with +a hoop in one hand, and a stolen cock in the other, for which his +tutor is reproving him.</p></div> + +<p><i>The 7th Room</i>—</p> + +<div class="blockquot"><p>Is an arched corridor. In the second niche, is a <i>Hydria</i> with +Minerva and Hercules, from Vulci. Sixth on the line, is an +<i>Amphora</i> from Vulci; "'Ekabe' (Hecuba) presents a goblet to her +son, 'the brave Hector,'—and regards him with such intense +interest, that she spills the wine as she pours it out to him. +'Priamos' stands by, leaning on his staff, looking mournfully at +his son, as if presaging his fate." Many other vases in this room +are of great beauty.</p></div> + +<p><i>The 8th Room</i>—</p> + +<div class="blockquot"><p>"Contains <i>Cylices</i> or <i>Pateræ</i>, which are more rare than the +upright vases, and not inferior in beauty."</p></div> + +<p><i>The 9th Room</i>—</p> + +<div class="blockquot"><p>Entered from the 6th room, is the jewel room. Among the bronzes on +the right, is a warrior in armour found at Todi in 1835 and a +bronze couch with a raised place for the head, found in the +Regulini Galassi tomb at Cervetri, where it bore the corpse of a +high priest. A boy with a bulla, sitting, from Tarquinii, is +"supposed to represent Tages, the mysterious boy-god, who sprung +from the furrows of that site."</p> + +<p>At the opposite end of the room is a biga or war-chariot, not +Etruscan, but Roman, found in the villa of the Quintilii, near the +Via<a name="vol_2_page_330" id="vol_2_page_330"></a> Appia. Near this are some colossal fragments of bronze +statues, found near Civita Vecchia. A beautiful oval <i>Cista</i>, with +a handle formed by two swans bearing a boy and a girl, is from +Vulci; and so are the braziers or censers retaining the tongs, +shovel, and rake, found with them:—"the tongs are on wheels, and +terminate in serpents' heads; the shovel handle ends in a swan's +neck; and the rake in a human hand." Among the smaller relics are a +curious bottle from Cære, with an Etruscan alphabet and spelling +lesson (!) scratched upon it, and a pair of Etruscan clogs found in +a tomb at Vulci.</p> + +<p>In the centre of the room is the jewel-case of glass. The whole of +the upper division and one compartment of the lower are devoted to +Cervetri (Cære). All these objects are from the Regulini Galassi +tomb, for all the other tombs had been rifled at an early period, +except one, whence the objects were taken by Campana. The +magnificent oak-wreath with the small ornaments and the large +ear-rings were worn by a lady, over whom was written in Etruscan +characters, "Me Larthia,"—I, the Great Lady,—evidently because at +the time of her death, 3000 years ago, it was supposed that she was +so very great that the memory of her name could never by any +possibility perish, and that therefore it was quite unnecessary to +record it. The tomb was divided, and she was walled up with +precious spices (showing what the commerce of Etruria must have +been) in one half of it. It was several hundred years before any +one was found of sufficient dignity to occupy the other half of the +great lady's tomb. Then the high priest of Etruria died, and was +buried there with all his ornaments. His were the large bracelets, +the fillets for the head, with the plate of gold covering the head, +and a second plate of gold which covered the forehead—worn only on +the most solemn occasions. This may be considered to have been the +headdress of Aaron. His also was the broad plate of gold, covering +the breast, reminding of the Urim and Thummim. The bronze bed on +which he lay (and on which the ornaments were found lying where the +body had mouldered) is preserved in another part of the room, and +the great incense burner filled with precious spices which was +found by his side. The three large bollas on his breast were filled +with incense, whose perfume was still so strong when the tomb was +opened, that those who burnt it could not remain in the room.</p> + +<p>The ivy leaves on the ornaments denote the worship of Bacchus, a +late period in Etruria: laurel denotes a victor in battle or the +games.</p></div> + +<p><i>The 10th Room</i>—</p> + +<div class="blockquot"><p>(Entrance on right of the jewel-room), is a passage containing a<a name="vol_2_page_331" id="vol_2_page_331"></a> +number of Roman water-pipes of lead, and the bronze figure of a boy +with a bird and an Etruscan inscription on his leg, from Perugia.</p></div> + +<p><i>The 11th Room</i>—</p> + +<div class="blockquot"><p>Is hung with paintings on canvas copied from the principal tombs of +Vulci and Tarquinii. Beginning from the right, on entering, they +take the following order:</p> + +<p class="nind"> +From the Camera del Morto: Tarquinii.<br /> +From the Grotta delle Bighe, or Grotta Stackelberg: Tarquinii.<br /> +From the Grotta Querciola: Tarquinii<br /> +From the Grotta della Iscrizioni: Tarquinii.<br /> +From the Grotta del Triclinio, or Grotta Marzi: Tarquinii.<br /> +From the Grotta del Barone, or Grotta del Ministro: Tarquinii.<br /> +From the painted tomb at Vulci.<br /> +</p> + +<p>"All the paintings from Tarquinii are still to be seen on that +site, though not in so perfect a state as they are here +represented. But the tomb at Vulci is utterly destroyed."</p> + +<p>Each of the paintings is most interesting. That of the death-bed +scene proves that the Etruscans believed in the immortality of the +soul. In the upper division a daughter is mounting on a stool to +reach the high bed and give a last kiss to her dying father, while +the son is wailing and lamenting in the background. Below, is the +rejoicing spirit, freed from the trammels of the flesh.</p> + +<p>In the scenes representing the games, the horses are painted bright +red and bright blue, or black and red. These may be considered to +have been the different colours of the rival parties. A number of +jars for oil and wine are arranged in this room. All the black +pottery is from Northern Etruria.</p></div> + +<p><i>The 12th Room</i> (entered from the left of the jewel room) is a very +meagre and most inefficient facsimile of an ordinary Etruscan tomb. It +is guarded by two lions in nenfro, found at Vulci.<a name="FNanchor_350_350" id="FNanchor_350_350"></a><a href="#Footnote_350_350" class="fnanchor">[350]</a></p> + +<hr style="width: 15%;" /> + +<p><i>The Egyptian Museum</i> is entered by a door on the left of the entrance +of the Museo Pio-Clementino. It is open<a name="vol_2_page_332" id="vol_2_page_332"></a> gratis on Mondays from 12 to 3. +The collection is chiefly due to Pius VII. and Gregory XVI. The greater +part is of no especial importance.</p> + +<p><i>The 6th Room</i> contains eight statues of the goddess Pasht from Carnac.</p> + +<p><i>The 8th Room</i> is occupied by Roman imitations of Egyptian statues, from +the Villa Adriana.</p> + +<div class="blockquot"><p>"Ces statues sont toutes des traductions de l'art égyptien en art +grec. L'alliance, la fusion de la sculpture égyptienne et de la +sculpture gréco-romaine est un des traits les plus saillantes de +cosmopolitisme si étranger à d'anciennes traditions nationales, et +dont Adrien, par ses voyages, ses goûts, ces monuments, fut la plus +éclatante manifestation.</p> + +<p>"Sauf l'Antinoüs, les produits de cette sculpture d'imitation bien +que datant d'une époque encore brillante de l'art romain, ne +sauraient le disputer à leurs modèles. Pour s'en convaincre, il +suffit de les comparer aux statues vraiment égyptiennes qui +remplissent une salle voisine. Dans celles-ci, la réalité du détail +est méprisée et sacrifiée; mais les traits fondamentaux, les +linéaments essentiels de la forme sont rendus admirablement. De là +un grand style, car employer l'expression la plus générale, c'est +le secret de la grandeur du style, comme a dit Buffon. Cette +élévation, cette sobriété du génie égyptien ne se retrouvent plus +dans les imitations bâtardes du temps d'Adrien."—<i>Ampère, Emp.</i> +ii. 197, 202.</p></div> + +<p>On the right is the Nile in black marble; opposite the entrance is a +colossal statue of Antinous, the favourite of Hadrian, in white marble.</p> + +<div class="blockquot"><p>"Il est naturel qu'Antinoüs, qui s'était, disait-on, précipité dans +le Nil, ait été représenté sous les traits d'un dieu égyptien ... +La physiognomie triste d'Antinoüs sied bien à un dieu d'Egypte, et +le style grec emprunte au reflet du style égyptien une grandeur +sombre."—<i>Ampère, Emp.</i> ii 196.</p></div> + +<p><i>The 9th Room</i> contains colossal Egyptian statues. On the right is the +figure of the mother of Rhamses II. (Sesostris) between two lions of +basalt, which were found in the Baths of Agrippa, and which long +decorated the Fontana<a name="vol_2_page_333" id="vol_2_page_333"></a> dei Termini. Upon the base of these lions is +inscribed the name of the Egyptian king Nectanebo.</p> + +<div class="blockquot"><p>"Dans cette sculpture bien égyptienne, on sent déjà le souffle de +l'art grec. La pose de ces lions est la pose roide et monumentale +des lions à tête humaine de Louqsor; la crinière est encore de +convention, mais la vie est exprimée, les muscles sont accusés avec +un soin et un relief que la sculpture purement égyptienne n'a pas +connus."—<i>Ampère, Emp.</i> ii. 198.</p></div> + +<div class="blockquot"><p>"Ces lions ont une expression remarquable de force et de repos; il +y a quelque chose dans leur physiognomie qui n'appartient ni à +l'animal ni à l'homme: ils semblent une puissance de la nature, et +l'on conçoit, en les voyant, comment les dieux du paganisme +pouvaient être représentés sous cet emblème."—<i>Mad. de Staël.</i></p></div> + +<p>In the centre of the entrance-wall are, Ptolemy-Philadelphus, and, on +his left, his queen Arsinoë, of red granite. These were found in the +gardens of Sallust, and were formerly preserved in the Senator's Palace.</p> + +<div class="blockquot"><p>"There is a fine collection of Egyptian antiquities in the Vatican; +and the ceilings of the rooms in which they are arranged, are +painted to represent a starlight sky in the desert. It may seem an +odd idea, but it is very effective. The grim, half-human monsters +from the temples, look more grim and monstrous underneath the deep +dark blue; it sheds a strange uncertain gloomy air on everything—a +mystery adapted to the objects; and you leave them, as you find +them, shrouded in a solemn night."—<i>Dickens.</i></p></div> + +<p>The Egyptian Gallery has an egress into the Sala a Croce Greca.</p> + +<hr style="width: 15%;" /> + +<p>The windows of the Egyptian Museum look upon the inner <i>Garden of the +Vatican</i>, which may be reached by a door at the end of the long gallery +of the Museo Chiaramonti, before ascending to the Torso. The garden +which is thus entered, called <i>Giardino della Pigna</i>, is in fact merely +the second great quadrangle of the Vatican, planted with shrubs and +flowers. Several interesting relics are preserved here.<a name="vol_2_page_334" id="vol_2_page_334"></a> In the centre +is the <i>Pedestal of the Column of Antoninus Pius</i>, found in 1709 on the +Monte Citorio. The column was a simple memorial pillar of granite, +erected by the two adopted sons of the emperor, Marcus Aurelius and +Lucius Verus. It was broken up to mend the obelisk of Psammeticus I. at +the Monte Citorio. Among the reliefs of the pedestal is one of a winged +genius guiding Antoninus and Faustina to Olympus. In the great +semicircular niche of Bramante, at the end of the court-garden, is the +famous <i>Pigna</i>, a gigantic fir-cone, which once crowned the summit of +the Mausoleum of Hadrian. Thence it was first removed to the front of +the old basilica of St. Peter's. In the fresco of the old St. Peter's at +S. Martino al Monte, the pigna is introduced, but it is there placed in +the centre of the nave, a position it never occupied. Dante saw it at +St. Peter's, and compares it to a giant's head (it is eleven feet high) +which he saw through the mist in the last circle of hell.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"La faccia mi parea lunga e grossa<br /></span> +<span class="ist">Come la pina di S. Pietro in Roma."<br /></span> +</div></div> + +<p>On either side of the pigna are two bronze peacocks, which are said to +have stood on either side the entrance of Hadrian's Mausoleum.</p> + +<div class="blockquot"><p>"Je pense qu'ils y avaient été placés en l'honneur des impératrices +dont les cendres devaient s'y trouver. La paon consacré à Junon +était le symbole de l'apothéose des impératrices, comme l'oiseau +dédié à Jupiter celui de l'apothéose des empereurs, car le mausolée +d'Adrien n'était pas pour lui seul, mais, comme avaient été le +mausolée d'Auguste et le temple des Flaviens, pour toute la famille +impériale."—<i>Ampère, Emp.</i> ii. 212.</p></div> + +<p>A flight of steps leads from this court to the narrow <i>Terrace of the +Navicella</i>, in front of the palace, so called from a bronze ship with +which its fountain is decorated. The<a name="vol_2_page_335" id="vol_2_page_335"></a> visitor should beware of the +tricksome water-works upon this terrace.</p> + +<p>Beyond the courtyard is the entrance to the larger garden, which may be +reached in a carriage by those who do not wish to visit the palace on +the way, by driving round through the courts at the back of St. Peter's. +Formerly it was always open till 2 <small>P.M.</small>, after which hour the pope went +there to walk, or to ride upon his white mule. It is a most delightful +retreat for the hot days of May and June, and before that time its woods +are carpeted with wild violets and anemones. No one who has not visited +them can form any idea of the beauty of these ancient groves, +interspersed with fountains and statues, but otherwise left to nature, +and forming a fragment of sylvan scenery quite unassociated with the +English idea of a garden. They are backed by the walls of the Borgo, and +a fine old tower of the time of Leo IV. The <i>Casino del Papa</i>, or Villa +Pia,<a name="FNanchor_351_351" id="FNanchor_351_351"></a><a href="#Footnote_351_351" class="fnanchor">[351]</a> built by Pius IV. in the lower and more cultivated portion of +the ground, is the chef-d'œuvre of the architect, Pirro Ligorio, and +is decorated with paintings by <i>Baroccio</i>, <i>Zucchero</i>, and <i>Santi di +Tito</i>, and a set of terra-cotta reliefs collected by Agincourt and +Canova. The shell decorations are pretty and curious.</p> + +<p>During the hours which he spent daily in this villa, its founder Pius +IV. enjoyed that easy and simple life for which he was far better fitted +by nature than for the affairs of government; but here also he received +the counsels of his nephew S. Carlo Borromeo, who, summoned to Rome in +1560, became for several succeeding years the real ruler of the state. +Here he assembled around him all those who were distinguished by their +virtue or talents, and held many<a name="vol_2_page_336" id="vol_2_page_336"></a> of the meetings which received the +name of <i>Notte Vaticane</i>—at first employed in the pursuit of philosophy +and poetry, but—after the necessity of Church reform became apparent +both to the pope and to S. Carlo—entirely devoted to the discussion of +sacred subjects. In this villa the late popes, Pius VIII. and Gregory +XVI., used frequently to give their audiences.</p> + +<p>The sixteenth century was the golden age for the Vatican. Then the +splendid court of Leo X. was the centre of artistic and literary life, +and the witty and pleasure-loving pope made these gardens the scene of +his banquets and concerts; and, in a circle to which ladies were +admitted, as in a secular court, listened to the recitations of the +poets who sprang up under his protection, beneath the shadow of its +woods.</p> + +<div class="blockquot"><p>"Le Vatican était encombré, sous Leon X., d'historiens, de savants, +de poëtes surtout. 'La tourbe importune des poëtes,' s'écrie +Valérianus, 'le poursuit de porte en porte, tantôt sous les +portiques, tantôt à la promenade, tantôt au palais, tantôt à la +chambre, <i>penetralibus in imis</i>; elle ne respecte ni son repos, ni +les graves affaires qui l'occupent aujourd'hui que l'incendie +ravage le monde.' On remarquait dans cette foule: Berni, le poëte +burlesque; Flaminio, le poëte élégiaque; Molza, l'enfant de +Pétrarque, et Postumo, Maroni, Carteromachus, Fedra Inghirami, le +savant bibliothécaire, et <i>la grande lumière d'Arezzo</i>, comme dit +l'Arioste, <i>l'unique Accolti</i>. Accolti jouit pendant toute la durée +du seizième siècle d'une réputation que la postérité n'a pas +confirmée. On l'appelait le <i>céleste</i>. Lorsqu'il devait réciter ses +vers, les magasins étaient fermés comme en un jour de fête, et +chacun accourait pour l'entendre. Il était entouré de prélats de la +première distinction; un corps de troupes suisses l'accompagnait, +et l'auditoire était éclairé par des flambeaux. Un jour qu'Accolti +entrait chez le pape:—Ouvrez toutes les portes, s'écria Léon, et +laissez entrer la foule. Accolti récita un <i>ternale</i> à la Vierge, +et, quand il eut fini, mille acclamations retentirent: <i>Vive le +poëte divin, vive l'incomparable Accolti!</i> Léon était le premier à +applaudir, et le duché de Nessi devenait la récompense du poëte.<a name="vol_2_page_337" id="vol_2_page_337"></a></p> + +<p>"Une autre fois, c'était Paul Jove, l'homme aux <i>ouï-dires</i>, comme +l'appelle Rabelais, qui venait lire des fragments de son histoire, +et que Léon X. saluait du titre de Tite-Live italien. Il y avait +dans ces éloges, dans ces encouragements donnés avec entraînement, +mais avec tact, je ne sais quel souffle de vie pour l'intelligence, +qui l'activait et qui lui faisait rendre au centuple les dons +qu'elle avait reçus du ciel. Rome entière était devenue un musée, +une académie; partout des chants, partout la science, la poésie, +les beaux-arts, une sorte de volupté dans l'étude. Ici, c'est +Calcagnini, qui a déjà déviné la rotation de la terre; là, Ambrogio +de Pise, qui parle chaldéen et arabe; plus loin, Valérianus, que la +philologie, l'archéologie, la jurisprudence revendiquent à la fois, +et qui se distrait de ses doctes travaux par des poésies dignes +d'Horace."—<i>Gournerie, Rome Chrétienne</i>, ii. 114.</p></div> + +<hr style="width: 15%;" /> + +<p>The <i>Loggie of Raphael</i> are reached, except on Mondays, by the staircase +on the left of the fountain in the Cortile S. Damaso. Two sides of the +corridors on the second floor (formerly open) are decorated in stucco by +<i>Marco da Faenza</i> and <i>Paul Schnorr</i> and painted by <i>Sicciolante da +Sermoneta</i>, <i>Tempesta</i>, <i>Sabbatini</i>, and others. The third corridor, +entered on the right (opened by a custode), contains the celebrated +frescoes, executed by Raphael, or from the designs of Raphael, by Giulio +Romano, Pierino del Vaga, Pellegrino da Modena, Francesco Penni, and +Rafaello da Colle. Of the fifty-two subjects represented, forty-eight +are from the Old Testament, only the four last being from the Gospel +History, as an appropriate introduction to the pictures which celebrate +the foundation and triumphs of the Church, in the adjoining stanze. The +stucco decorations of the gallery are of exquisite beauty; especially +remarkable, perhaps, are those of the windows in the first arcade, where +Raphael is represented drawing,—his pupils working from his +designs,—and Fame celebrating his work. The frescoes are arranged in +the following order:<a name="vol_2_page_338" id="vol_2_page_338"></a></p> + +<div class="blockquot"> +<table border="0" cellpadding="2" cellspacing="2" summary=""> +<tr valign="middle"><td align="left" colspan="2"><i>1st Arcade.</i></td></tr> +<tr valign="middle"><td style="padding-left:5%;"> +1. Creation of Light.<a name="FNanchor_352_352" id="FNanchor_352_352"></a><a href="#Footnote_352_352" class="fnanchor">[352]</a><br /> +2. Creation of Dry Land.<br /> +3. Creation of the Sun and Moon.<br /> +4. Creation of Animals.</td> + +<td style="border-left:1px solid black;">—<i>Raphael.</i></td></tr> + +<tr valign="middle"><td align="left" colspan="2"><i>2nd Arcade.</i></td></tr> +<tr valign="middle"><td style="padding-left:5%;"> +1. Creation of Eve.<br /> +2. The Fall.<br /> +3. The Exile from Eden.<br /> +4. The Consequence of the Fall.</td> + +<td style="border-left:1px solid black;">—<i>Giulio Romano.</i></td></tr> + +<tr valign="middle"><td align="left" colspan="2"><i>3rd Arcade.</i></td></tr> + +<tr valign="middle"><td style="padding-left:5%;"> +1. Noah builds the Ark.<br /> +2. The Deluge.<br /> +3. The Coming forth from the Ark.<br /> +4. The Sacrifice of Noah.</td> + +<td style="border-left:1px solid black;" valign="middle">—<i>Giulio Romano.</i></td></tr> + +<tr valign="middle"><td align="left" colspan="2"><i>4th Arcade.</i></td></tr> + +<tr valign="middle"><td style="padding-left:5%;"> +1. Abraham and Melchizedek.<br /> +2. The Covenant of God with Abraham.<br /> +3. Abraham and the three Angels.<br /> +4. Lot's flight from Sodom.</td> + +<td style="border-left:1px solid black;">—<i>Francesco Penni.</i></td></tr> + +<tr valign="middle"><td align="left" colspan="2"><i>5th Arcade.</i></td></tr> +<tr valign="middle"><td style="padding-left:5%;"> +1. God appears to Isaac.<br /> +2. Abimelech sees Isaac with Rebecca.<br /> +3. Isaac gives Jacob the blessing.<br /> +4. Isaac blesses Esau also.</td> + +<td style="border-left:1px solid black;">—<i>Francesco Penni.</i></td></tr> + +<tr valign="middle"><td align="left" colspan="2"><i>6th Arcade.</i></td></tr> +<tr valign="middle"><td style="padding-left:5%;"> +1. Jacob's Ladder.<br /> +2. Jacob meets Rachel.<br /> +3. Jacob upbraids Laban.<br /> +4. The journey of Jacob.</td> +<td style="border-left:1px solid black;">—<i>Pellegrino da Modena.</i></td></tr> + +<tr valign="middle"><td align="left" colspan="2"><i>7th Arcade.</i></td></tr> +<tr valign="middle"><td style="padding-left:5%;"> +1. Joseph tells his dream.<br /> +2. Joseph sold into Egypt.<br /> +3. Joseph and Potiphar's wife.<br /> +4. Joseph interprets Pharaoh's dream.</td> +<td style="border-left:1px solid black;">—<i>Giulio Romano.</i> +<a name="vol_2_page_339" id="vol_2_page_339"></a></td></tr> + +<tr valign="middle"><td align="left" colspan="2"><i>8th Arcade.</i></td></tr> +<tr valign="middle"><td style="padding-left:5%;"> +1. The Finding of Moses.<br /> +2. Moses and the Burning Bush.<br /> +3. The Destruction of Pharaoh.<br /> +4. Moses striking the rock.</td> +<td style="border-left:1px solid black;">—<i>Giulio Romano.</i></td></tr> + +<tr valign="middle"><td align="left" colspan="2"><i>9th Arcade.</i></td></tr> +<tr valign="middle"><td style="padding-left:5%;"> +1. Moses receives the Tables of the Law.<br /> +2. The Worship of the Golden Calf.<br /> +3. Moses breaks the Tables.<br /> +4. Moses kneels before the Pillar of Cloud.</td> +<td style="border-left:1px solid black;">—<i>Raffaello da Colle.</i></td></tr> + +<tr valign="middle"><td align="left" colspan="2"><i>10th Arcade.</i></td></tr> +<tr valign="middle"><td style="padding-left:5%;"> +1. The Israelites cross the Jordan.<br /> +2. The Fall of Jericho.<br /> +3. Joshua stays the course of the Sun.<br /> +4. Joshua and Eleazer divide the Promised Land.</td> +<td style="border-left:1px solid black;">—<i>Pierino del Vaga.</i></td></tr> + +<tr valign="middle"><td align="left" colspan="2"><i>11th Arcade.</i></td></tr> +<tr valign="middle"><td style="padding-left:5%;"> +1. Samuel anoints David.<br /> +2. David and Goliath.<br /> +3. The Triumph of David.<br /> +4. David sees Bathsheba.</td> +<td style="border-left:1px solid black;">—<i>Pierino del Vaga.</i></td></tr> + +<tr valign="middle"><td align="left" colspan="2"><i>12th Arcade.</i></td></tr> +<tr valign="middle"><td style="padding-left:5%;"> +1. Zadok anoints Solomon.<br /> +2. The Judgment of Solomon.<br /> +3. The Coming of the Queen of Sheba.<br /> +4. The Building of the Temple.</td> +<td style="border-left:1px solid black;">—<i>Pellegrino da Modena.</i></td></tr> + +<tr valign="middle"><td align="left" colspan="2"><i>13th Arcade.</i></td></tr> +<tr valign="middle"><td style="padding-left:5%;"> +1. Adoration of the Shepherds.<br /> +2. Coming of the Magi.<br /> +3. Baptism of Christ.<br /> +4. Last Supper.</td> +<td style="border-left:1px solid black;">—<i>Giulio Romano.</i></td></tr> +</table> + +<p>"From the Sistine Chapel we went to Raphael's Loggie, and I hardly +venture to say that we could scarcely bear to look at them. The eye +was so educated and so enlarged by those grand forms and the +glorious completeness of all their parts, that it could take no +pleasure in the imaginative play of arabesques, and the scenes from +Scripture, beautiful as they are, had lost their charm. To see +these works <i>often</i> alternately and to compare them at leisure and +without prejudice, must be a great pleasure, but all sympathy is at +first one-sided."—<i>Goethe, Romische Briefe.</i> +<a name="vol_2_page_340" id="vol_2_page_340"></a></p></div> + +<p>Close to the entrance of the Loggie is that of</p> + +<p><i>The Stanze</i>, three rooms decorated under Julius II. and Leo X. with +frescoes by Raphael, for each of which he received 1200 ducats. These +rooms are approached through,—</p> + +<p>The <i>Sala di Constantino</i>, decorated under Clement VII. (Giulio di +Medici) in 1523—34, after the death of Raphael, who however had +prepared drawings for the frescoes, and had already executed in oil the +two figures of Justice and Urbanity. The rest of the compositions, +completed by his pupils, are in fresco.</p> + +<div class="blockquot"><p>"Raphaël se multiplie, il se prodigue, avec une fécondité de toutes +les heures. De jeunes disciples, admirateurs de son beau génie, le +servent avec amour, et sont déjà admis à l'honneur d'attacher leurs +noms à quelques parties de ses magnifiques travaux. Le maître leur +distribue leur tâche: à Jules Romain, le brillant coloris des +vêtements et peut-être même le dessin de quelques figures; au +Fattore, à Jean d'Udine, les arabesques; à frère Jean de Vérone les +clairs-obscurs des portes et des lambris qui doivent compléter la +décoration de ces spendides appartements. Et lui, que se +réserve-t-il?—la pensée qui anime tout, le génie qui enfante et +qui dirige."—<i>Gournerie, Rome Chrétienne.</i></p></div> + +<div class="blockquot"><p><i>Entrance Wall.</i>—The Address of Constantine to his troops and the +vision of the Fiery Cross: <i>Giulio Romano</i>. On the left, St Peter +between the Church and Eternity,—on the right, Clement I. (the +martyr) between Moderation and Gentleness.</p> + +<p><i>Right Wall.</i>—The Battle of the Ponte Molle and the Defeat of +Maxentius by Constantine, designed by Raphael, and executed by +<i>Giulio Romano</i>. On the left is Sylvester I. between Faith and +Religion, on the right Urban I. (the friend of Cecilia) between +Justice and Charity.</p> + +<p><i>Left Wall.</i>—The donation of Rome by Constantine to Sylvester I. +(<small>A.D.</small> 325), <i>Raffaello da Colle</i>. (The head of Sylvester was a +portrait of Clement VII., the reigning pope; Count Castiglione the +friend of Raphael, and Giulio Romano, are introduced amongst the +attendants.) On the left, Sylvester I. with Fortitude; on the +right, Gregory VII. with Strength. <i>Wall of Egress.</i>—The +supposititious Baptism of Constantine, interesting as pourtraying +the interior of the Lateran baptistery in the 15th century, by +<i>Francesco Penni</i>, who has introduced his own portrait in a black +dress and velvet cap. On left, is Damasus I. (<small>A.D.</small> 366—384),<a name="vol_2_page_341" id="vol_2_page_341"></a> +between Prudence and Peace; on right, Leo I. (<small>A.D.</small> 440—462), +between Innocence and Truth. The paintings on the socles represent +scenes in the life of Constantine by <i>Giulio Romano</i>.</p></div> + +<p>The <i>Stanza d'Eliodoro</i>, painted in 1511—1514, shows the Church +triumphant over her enemies, and the miracles by which its power has +been attested. On the roof are four subjects from the Old +Testament,—the Covenant with Abraham; the Sacrifice of Isaac; Jacob's +dream; Moses at the burning bush.</p> + +<div class="blockquot"><p><i>Entrance Wall.</i>—Heliodorus driven out of the Temple (Maccabees +iii.). In the background Onias the priest is represented praying +for divine interposition;—in the foreground Heliodorus, pursued by +two avenging angels, is endeavouring to bear away the treasures of +the Temple. Amid the group on the left is seen Julius II. in his +chair of state, attended by his secretaries. One of the bearers in +front is Marc-Antonio Raimondi, the engraver of Raphael's designs. +The man with the inscription, 'Jo. Petro de Folicariis Cremonen,' +was secretary of briefs to Pope Julius.</p> + +<p>"Here you may almost fancy you hear the thundering approach of the +heavenly warrior and the neighing of his steed; while in the +different groups who are plundering the treasures of the Temple, +and in those who gaze intently on the sudden consternation of +Heliodorus, without being able to divine its cause, we see the +expression of terror, amazement, joy, humility, and every passion +to which human nature is exposed."—<i>Lanzi.</i></p> + +<p><i>Left Wall.</i>—The Miracle of Bolsena. A priest at Bolsena, who +refused to believe in the doctrine of transubstantiation, is +convinced by the bleeding of the host. On the right kneels Julius +II., with Cardinal Riario, founder of the Cancelleria. This was the +last fresco executed by Raphael under Julius II.</p> + +<p><i>Right Wall.</i>—Peter delivered from prison. A fresco by Pietro +della Francesca was destroyed to make room for this picture, which +is said to have allusion to the liberation of Leo X., while Legate +in Spain, after his capture at the battle of Ravenna. This fresco +is considered especially remarkable for its four lights, those from +the double representation of the angel, from the torch of the +soldier, and from the moon.</p> + +<p><i>Wall of Egress.</i>—The Flight of Attila. Leo I. (with the features +of Leo X.) is represented on his white mule, with his cardinals, +calling<a name="vol_2_page_342" id="vol_2_page_342"></a> upon SS. Peter and Paul, who appear in the clouds, for aid +against Attila. The Coliseum is seen in the background.</p></div> + +<p>The <i>Stanza della Segnatura</i> is so called from a judicial assembly once +held here. The frescoes in this chamber are illustrative of the Virtues +of Theology, Philosophy, Poetry, and Jurisprudence, who are represented +on the ceiling by <i>Raphael</i>, in the midst of arabesques by <i>Sodoma</i>. The +square pictures by Raphael refer:—the Fall of Man to Theology; the +Study of the Globe to Philosophy; the Flaying of Marsyas to Poetry; and +the Judgment of Solomon to Jurisprudence.</p> + +<div class="blockquot"><p><i>Entrance Wall.</i>—"The School of Athens." Raphael consulted Ariosto +as to the arrangement of its 52 figures. In the centre, on the +steps of a portico, are seen Plato and Aristotle, Plato pointing to +heaven, and Aristotle to earth. On the left is Socrates conversing +with his pupils, amongst whom is a young warrior, probably +Alcibiades. Lying upon the steps in front is Diogenes. To his left +Pythagoras is writing on his knee, and near him, with ink and pen, +is Empedocles. The youth in the white mantle is Francesco Maria +della Rovere, nephew of Julius II. On the right, is Archimedes, +drawing a geometrical problem upon the floor. The young man near +him with uplifted hands is Federigo II., Duke of Mantua. Behind +these are Zoroaster and Ptolemy, one with a terrestrial, the other +with a celestial globe, addressing two figures which represent +Raphael and his master Perugino. The drawing in brown upon the +socle beneath this fresco, is by <i>Pierino del Vaga</i>, and represents +the death of Archimedes.</p> + +<p><i>Right Wall.</i>—"Parnassus," Apollo surrounded by the Muses, on his +right Homer, Virgil, and Dante. Below, on the right, Sappho, +supposed to be addressing Corinna, Petrarch, Propertius, and +Anacreon; on the left, Pindar and Horace, Sannazzaro, Boccaccio, +and others. Beneath this, in grisaille, are,—Alexander placing the +poems of Homer in the tomb of Achilles,—and Augustus preventing +the burning of Virgil's Eneid.</p> + +<p><i>Left Wall.</i>—Above the window are Prudence, Fortitude, and +Temperance. On the left, Justinian delivers the Pandects to +Tribonian. On the right, Gregory IX. (with the features of Julius +II.) delivers the Decretals to a jurist;—Cardinal de' Medici, +afterwards Leo X., Cardinal<a name="vol_2_page_343" id="vol_2_page_343"></a> Farnese, afterwards Paul III., and +Cardinal del Monte, are represented near the pope. In the socle +beneath is Solon addressing the people of Athens.</p> + +<p><i>Wall of Egress</i>.—"The Disputa," so called from an impression that +it represents a Dispute upon the Sacrament. In the upper part of +the composition the heavenly host are present;—Christ between the +Virgin and St. John Baptist;—On the left, St. Peter, Adam, St. +John, David, St. Stephen, and another;—On the right, St. Paul, +Abraham, St. James, Moses, St. Laurence, and St. George. Below is +an altar surrounded by the Latin fathers, Gregory, Jerome, Ambrose, +and Augustine. Near St. Augustine stand St. Thomas Aquinas, St. +Anacletus with the palm of a martyr, and Cardinal Buonaventura +reading. Those in front are Innocent III., and in the background +Dante, near whom a monk in a black hood is pointed out as +Savonarola. The Dominican on the extreme left is supposed to be Fra +Angelico. The other figures are uncertain.</p> + +<p>"Raphaël a bien jugé Dante en plaçant parmi les Théologiens, dans +la <i>Dispute du Saint Sacrement</i>, celui pour la tombe duquel a été +écrit ce vers, aussi vrai qu'il est plat:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">'Theologus Dantes, nullius dogmatis expers.'"</span><br /> +<span class="i5"><i>Ampère, Voyage Dantesque.</i></span><br /> +</div></div> + +<p>The chiaro-scuros on the socle beneath this fresco are by <i>Pierino +del Vaga</i> (added under Paul III.) and represent, 1, A heathen +sacrifice; 2, St. Augustine finding a child attempting to drain the +sea; 3, The Cumæ Sibyl and Augustus.</p> + +<p>"Raphael commenced his work in the Vatican by painting the ceiling +and the four walls of the room called <i>della Segnatura</i>, on the +surface of which he had to represent four great compositions, which +embraced the principal divisions of the encyclopædia of that +period; namely, Theology, Philosophy, Poetry, and Jurisprudence.</p> + +<p>"It will be conceived, that to an artist imbued with the traditions +of the Umbrian school, the first of these subjects was an +unparalleled piece of good fortune; and Raphael, long familiar with +the allegorical treatment of religious compositions, turned it here +to the most admirable account; and, not content with the +suggestions of his own genius, he availed himself of all the +instruction he could derive from the intelligence of others. From +these combined inspirations resulted, to the eternal glory of the +Catholic faith and of Christian art, a composition without a rival +in the history of painting, and we may also add without a name; for +to call it lyric or epic is not enough, unless, indeed, we mean, by +using these expressions, to compare it with the allegorical epic +of<a name="vol_2_page_344" id="vol_2_page_344"></a> Dante, alone worthy to be ranked with this marvellous +production of the pencil of Raphael.</p> + +<p>"And let no one consider this praise as idle and groundless, for it +is Raphael himself who forces the comparison upon us, by placing +the figure of Dante among the favourite sons of the Muses; and, +what is still more striking, by draping the allegorical figure of +Theology in the very colours in which Dante has represented +Beatrice; namely, the white veil, the red tunic, and the green +mantle, while on her head he has placed the olive crown.</p> + +<p>"Of the four allegorical figures which occupy the compartments of +the ceiling, and which were all painted immediately after Raphael's +arrival in Rome, Theology and Poetry are incontestably the most +remarkable. The latter would be easily distinguished by the calm +inspiration of her glance, even were she without her wings, her +starry crown, and her azure robe, all having allusion to the +elevated region towards which it is her privilege to soar. The +figure of Theology is quite as admirably suited to the subject she +personifies; she points to the upper part of the grand composition, +which takes its name from her, and in which the artist has provided +inexhaustible food for the sagacity and enthusiasm of the +spectator.</p> + +<p>"This work consists of two grand divisions,—Heaven and +Earth,—which are united to one another by that mystical bond, the +Sacrament of the Eucharist. The personages whom the Church has most +honoured for learning and holiness are ranged in picturesque and +animated groups on either side of the altar, on which the +consecrated wafer is exposed. St. Augustine dictates his thoughts +to one of his disciples; St. Gregory, in his pontifical robes, +seems absorbed in the contemplation of celestial glory; St. +Ambrose, in a slightly different attitude, appears to be chaunting +the Te Deum; while St. Jerome, seated, rests his hands on a large +book, which he holds on his knees. Pietro Lombardo, Duns Scotus, +St. Thomas Aquinas, Pope Anacletus, St. Buonaventura, and Innocent +III. are no less happily characterised; while, behind all these +illustrious men, whom the Church and succeeding generations have +agreed to honour, Raphael has ventured to introduce Dante with his +laurel crown, and, with still greater boldness, the monk +Savonarola, publicly burnt ten years before as a heretic.</p> + +<p>"In the glory, which forms the upper part of the picture, the Three +Persons of the Trinity are represented, surrounded by patriarchs, +apostles, and saints: it may, in fact, be considered in some sort +as a <i>resumé</i> of all the favourite compositions produced during the +last hundred years by the Umbrian school. A great number of the +types, and particularly those of Christ and the Virgin, are to be +found in the earlier<a name="vol_2_page_345" id="vol_2_page_345"></a> works of Raphael himself. The Umbrian +artists, from having so long exclusively employed themselves on +mystical subjects, had certainly attained to a marvellous +perfection in the representation of celestial beatitude, and of +those ineffable things of which it has been said that the heart of +man cannot conceive them, far less, therefore, the pencil of man +pourtray; and Raphael, surpassing them in all, and even in this +instance while surpassing himself, appears to have fixed the +limits, beyond which Christian art, properly so called, has never +since been able to advance."—<i>Rio. Poetry of Christian Art.</i></p></div> + +<p>The <i>Stanza of the Incendio del Borgo</i> is decorated with frescoes +illustrative of the triumphs of the Church from events in the reigns of +Leo III. and Leo IV. The roof has four frescoes by <i>Perugino</i> +illustrative of the Saviour in glory.</p> + +<div class="blockquot"><p><i>Entrance Wall.</i>—The Victory of Leo IV. over the Saracens at +Ostia, by <i>Giovanni da Udine</i>, from designs of Raphael. The pope is +represented with the features of Leo X.; behind him are Cardinal +Giulio de' Medici (Clement VII.), Cardinal Bibbiena, and others. +The castle of Ostia is seen in the background. Beneath are +Ferdinand the Catholic and the Emperor Lothaire, by <i>Polidoro da +Caravaggio</i>.</p> + +<p><i>Left Wall.</i>—The "Incendio del Borgo," a fire in the Leonine City +in 847. In the background Leo IV. is seen in the portico of the old +St. Peter's arresting with a cross the progress of the flames, on +their approach to the basilica. In the foreground is a group of +fugitives, by <i>Giulio Romano</i>, resembling Æneas escaping from Troy +with Anchises, followed by Ascanius and Creusa. Beneath are Godfrey +de Bouillon and Astulf (Ethelwolf), the latter with the +inscription: "Astulphus Rex sub Leone IV. Pont. Britanniam Beato +Petro vectigalem fecit."</p> + +<p><i>Right Wall.</i>—The Justification of Leo III. before Charlemagne, by +<i>Pierino del Vaga</i>. The pope is a portrait of Leo X., the emperor +of Francis I.</p> + +<p><i>Wall of Egress.</i>—The Coronation of Charlemagne in the old St. +Peter's. Leo X. is again represented as Leo III., and Francis I. as +Charlemagne. This fresco is partly by <i>Raphael</i>, partly by <i>Pierino +del Vaga</i>. On the socle is Charlemagne, by <i>Polidoro da +Caravaggio</i>.</p></div> + +<p><i>A Fifth Chamber</i> has been decorated under Pius IX. with frescoes by +<i>Fracassini</i>, in honour of the recent dogma of the Immaculate +Conception. The Proclamation of the Dogma;<a name="vol_2_page_346" id="vol_2_page_346"></a> the Adoration of the image +of the Virgin; and the Reception of the news by the Virgin in heaven, +from an angelic messenger, are duly represented!</p> + +<p>From the corner of the Sala del Constantino, a custode, if requested, +will give access to the</p> + +<p><i>Cappella di San Lorenzo</i>, a tiny chapel covered with frescoes executed +by Fra Angelico for Nicholas V. in 1447. The upper series represents +events in the life of St. Stephen.</p> + +<div class="blockquot"><p class="nind">1. His Ordination by St. Peter.<br /> +2. His Almsgiving.<br /> +3. His Preaching.<br /> +4. He is brought before the Council at Jerusalem ("his +accuser has the dress and shaven crown of a monk").<br /> +5. He is +dragged to Execution.<br /> +6. He is Stoned. Saul is among the +spectators.</p> + +<p>"Angelico has represented St. Stephen as a young man, beardless, +and with a most mild and candid expression. His dress is the +deacon's habit, of a vivid blue."—<i>Mrs. Jameson.</i></p></div> + +<p>The lower series represents the life of St Laurence.</p> + +<div class="blockquot"><p class="nind"> +1. He is ordained by Sixtus II. (with the features of Nicholas V.).<br /> +2. Sixtus II. delivers the treasures of the Church to him for +distribution among the poor.<br /> +3. He Distributes them in Alms.<br /> +4. He is carried before Decius the Prefect.<br /> +5. He suffers Martyrdom <small>A.D.</small> 253.</p></div> + +<p>Introduced in the side arches, are the figures of St. Jerome, St. +Ambrose, St. Augustine, St. Gregory, St. John Chrysostom, St. +Athanasius, St. Leo—as the protector of Rome, and St. Thomas +Aquinas—as painted by the Dominican Angelico, and for a Dominican pope +Nicholas V.</p> + +<div class="blockquot"><p>"The Consecration of St. Stephen, the Distribution of Alms, and, +above all, his Preaching, are three pictures as perfect of their +kind as any that have been produced by the greatest masters, and it +would be<a name="vol_2_page_347" id="vol_2_page_347"></a> difficult to imagine a group more happily conceived as to +arrangement, or more graceful in form and attitude, than that of +the seated females listening to the holy preacher; and if the +furious fanaticism of the executioners, who stone him to death, is +not expressed with all the energy we could desire, this may be +attributed to a glorious incapacity in this angelic imagination, +too exclusively occupied with love and ecstasy to be ever able to +familiarise itself with those dramatic scenes in which hateful and +violent passions were to be represented."—<i>Rio. Poetry of +Christian Art.</i></p></div> + +<div class="blockquot"><p>"The soul of Angelico lives in perpetual peace. Not seclusion from +the world. No shutting out of the world is needful for him. There +is nothing to shut out. Envy, lust, contention, discourtesy, are to +him as though they were not; and the cloister walls of Fiesole no +penitential solitude, barred from the stir and joy of life, but a +possessed land of tender blessing, guarded from the entrance of all +but holiest sorrow. The little cell was as one of the houses of +heaven prepared for him by his Master. What need had it to be +elsewhere? Was not the Val d'Arno, with its olive woods in white +blossom, paradise enough for a poor monk? Or could Christ be indeed +in heaven more than here? Was He not always with him? Could he +breathe or see, but that Christ breathed beside him, or looked into +his eyes? Under every cypress avenue the angels walked; he had seen +their white robes,—whiter than the dawn,—at his bedside, as he +woke in early summer. They had sung with him, one on each side, +when his voice failed for joy at sweet vesper and matin time; his +eyes were blinded by their wings in the sunset, when it sank behind +the hills of Luni."—<i>Ruskin's Modern Painters.</i></p></div> + +<hr style="width: 15%;" /> + +<p>The same staircase which is usually ascended to reach the Stanze (that +on the left of the fountain in the Cortile S. Damaso) will also lead, by +turning to the left in the loggia of the third floor, to:</p> + +<p><i>The Gallery of Pictures</i>, founded by Pius VII., who acted on the advice +of Cardinal Gonsalvi and of Canova, and formed the present collection +from the pictures which had been carried off by the French from the +Roman churches, upon their restoration. The pictures have, to a great +extent, been recently rearranged and are not all numbered. Each<a name="vol_2_page_348" id="vol_2_page_348"></a> picture +is worthy of separate examination. They are contained in four rooms, and +according to their present position are:</p> + +<div class="blockquot"> + +<p class="hang"><i>1st Room.</i>—</p> + +<p class="hang"><span class="smcap">Entrance Wall</span>:<br /> +1. St. Jerome: <i>Leonardo da Vinci</i>, painted in bistre.<br /> +16. St. John Baptist: <i>Guercino</i>.<br /> +4. The Annunciation, Adoration of the Magi, and Presentation in the +Temple: <i>Raphael</i>;—formerly a predella to the Coronation of the +Virgin in the third room.<br /> +5. The dead Christ and Mary Magdalen: <i>Andrea Mantegna</i>,—from the +Aldrovandi gallery at Bologna.<br /> +7. Madonna with the Child and St. John: <i>Fr. Francia.</i></p> + +<p class="hang"><span class="smcap">Right Wall</span>:<br /> +The Story of St. Nicolo of Bari: <i>Fra Angelico da Fiesole</i>,—two +out of the three predella pictures once in the sacristy of S. +Domenico at Florence, whence they were carried off to Paris, where +the third remains.<br /> +(Above,) The Adoration of the Shepherds: <i>Murillo.</i><br /> +The Virgin surrounded by Angels: <i>Fra Angelico.</i><br /> +3. The Story of St. Hyacinth: <i>Benozzo Gozzoli.</i><br /> +(Above,) The Marriage of St. Catherine: <i>Murillo.</i><br /> +2. "I Tre Santi:" <i>Perugino.</i></p></div> + +<div class="blockquot"><p>Part of a large predella in the church of S. Pietro Casinensi at +Perugia. Several saints from this predella still remain in the +sacristy of S. Pietro; two are at Lyons.</p> + +<p>"In the centre is St. Benedict, with his black cowl over his head +and long parted beard, the book in one hand, and the asperge in the +other. On one side, St. Placidus, young, and with a mild, candid +expression, black habit and shaven crown. On the other side is St. +Flavia (or St. Catherine?), crowned as a martyr, holding her palm, +and gazing upward with a divine expression."—<i>Mrs. Jameson.</i></p> + +<p>(Above this) The Holy Family and Saints: <i>Bonifasio</i>.</p> + +<p><i>Left Wall.</i>—The Dead Christ, with the Virgin, St. John, and the +Magdalen lamenting: <i>Carlo Crivelli</i>.</p> + +<p><i>Wall of Egress.</i>—Faith, Hope, and Charity, <i>Raphael</i>:—circular<a name="vol_2_page_349" id="vol_2_page_349"></a> +medallions in bistre, which once formed a predella for "the +Entombment" in the Borghese gallery.</p> + +<p> </p> + +<p><i>2nd Room.</i>—</p> + +<p><i>Entrance Wall.</i>—The Communion of St. Jerome: <i>Domenichino</i>. This +is the master-piece of the master, and perhaps second only to the +Transfiguration. It was painted for the monks of Ara Cœli, who +quarrelled with the artist, and shut up the picture. Afterwards +they commissioned Poussin to paint an altar-piece for their church, +and, instead of supplying him with fresh canvas, produced the +picture of Domenichino, and desired him to paint over it. Poussin +indignantly threw up his engagement, and made known the existence +of the picture, which was afterwards preserved in the church of S. +Girolamo della Carità, whence it was carried off by the French. St. +Jerome, dying at Bethlehem, is represented receiving the Last +Sacraments from St. Ephraim of Syria, while St. Paula kneels by his +side.</p> + +<p>"The Last Communion of St. Jerome is the subject of one of the most +celebrated pictures in the world,—the St. Jerome of Domenichino, +which has been thought worthy of being placed opposite to the +Transfiguration of Raphael, in the Vatican. The aged +saint,—feeble, emaciated, dying,—is borne in the arms of his +disciples to the chapel of his monastery, and placed within the +porch.<a name="FNanchor_353_353" id="FNanchor_353_353"></a><a href="#Footnote_353_353" class="fnanchor">[353]</a> A young priest sustains him; St. Paula, kneeling, +kisses one of his thin bony hands; the saint fixes his eager eyes +on the countenance of the priest, who is about to administer the +Sacrament,—a noble, dignified figure in a rich ecclesiastical +dress; a deacon holds the cup, and an attendant priest the book; +the lion droops his head with an expression of grief;<a name="FNanchor_354_354" id="FNanchor_354_354"></a><a href="#Footnote_354_354" class="fnanchor">[354]</a> the eyes +and attention of all are on the dying saint, while four angels, +hovering above, look down upon the scene."—<i>Jameson's Sacred Art.</i></p> + +<p>"And Jerome's death (<small>A.D.</small> 420) drawing near, he commanded that he +should be laid on the bare ground and covered with sackcloth, and +calling the brethren around him, he spake sweetly to them, and +exhorted them in many holy words, and appointed Eusebius to be +their abbot in his room. And then, with tears, he received the +blessed Eucharist, and sinking backwards again on the earth, his +hands crossed on his heart, he sung the 'Nunc Dimittis,' which +being finished, it being the<a name="vol_2_page_350" id="vol_2_page_350"></a> hour of compline, suddenly a great +light, as of the noonday sun, shone round about him, within which +light angels innumerable were seen by the bystanders, in shifting +motion, like sparks among the dry reeds. And the voice of the +Saviour was heard, inviting him to heaven, and the holy Doctor +answered that he was ready. And after an hour, that light departed, +and Jerome's spirit with it."—<i>Lord Lindsay, from Peter de +Natalibus.</i></p> + +<p><i>Right Wall.</i>—"The Madonna di Foligno," <i>Raphael</i>, ordered in 1511 +by Sigismondo Conti for the church of Ara Cœli (where he is +buried), and removed in 1565 to Foligno, when his great-niece, Anna +Conti, took the veil there at the convent of St' Anna. The angel in +the foreground bears a tablet, with the names of the painter and +donor, and the date 1512. The city of Foligno is seen in the +background, with a falling bomb, from which one may believe that +the picture was a votive offering from Sigismondo for an escape +during a siege. The picture was originally on panel, and was +transferred to canvas at Paris.</p> + +<p>"The Madonna di Foligno, however beautiful in the whole +arrangement, however excellent in the execution of separate parts, +appears to belong to a transition state of development. There is +something of the ecstatic enthusiasm which has produced such +peculiar conceptions and treatment of religious subjects in other +artists—Correggio, for example—and which, so far from harmonizing +with the unaffected serene grace of Raphael, has in this instance +led to some serious defects. This remark is particularly applicable +to the figures of St. John and St. Francis: the former looks out of +the picture with a fantastic action, and the drawing of his arm is +even considerably mannered. St. Francis has an expression of +fanatical ecstasy, and his countenance is strikingly weak in the +painting (composed of reddish, yellowish, and grey tones, which +cannot be wholly ascribed to their restorer). Again, St. Jerome +looks up with a sort of fretful expression, in which it is +difficult to recognise, as some do, a mournful resignation; there +is also an exaggerated style of drawing in the eyes, which +sometimes gives a sharpness to the expression of Raphael's figures, +and appears very marked in some of his other pictures. Lastly, the +Madonna and the Child, who turn to the donor, are in attitudes +which, however graceful, are not perhaps sufficiently tranquil for +the majesty of the queen of heaven. The expression of the Madonna's +countenance is extremely sweet, but with more of the character of a +mere woman than of a glorified being. The figure of the donor, on +the other hand, is excellent, with an expression of sincerity and +truth; the angel with the tablet is of unspeakable intensity and +exquisite beauty—one of the most marvellous figures that Raphael +has created."—<i>Kugler.</i><a name="vol_2_page_351" id="vol_2_page_351"></a></p> + +<p>"In the upper part of the composition sits the Virgin in heavenly +glory; by her side is the Infant Christ, partly sustained by his +mother's veil, which is drawn round his body: both look down +benignly on the votary, Sigismund Conti, who, kneeling below, gazes +up with an expression of the most intense gratitude and devotion. +It is a portrait from the life, and certainly one of the finest and +most life-like that exist in painting. Behind him stands St. +Jerome, who, placing his hand upon the head of the votary, seems to +present him to his celestial protectress. On the other side, John +the Baptist, the meagre wild-looking prophet of the desert, points +upward to the Redeemer. More in front kneels St. Francis, who, +while he looks up to heaven with trusting and imploring love, +extends his right hand towards the worshippers supposed to be +assembled in the church, recommending them also to the protecting +grace of the Virgin. In the centre of the picture, dividing these +two groups, stands a lovely angel-boy, holding in his hand a +tablet, one of the most charming figures of this kind Raphael ever +painted; the head, looking up, has that sublime, yet perfectly +childish grace, which strikes one in those awful angel-boys in the +'Madonna di San Sisto.' The background is a landscape, in which +appears the city of Foligno at a distance; it is overshadowed by a +storm-cloud, and a meteor is seen falling; but above these bends a +rainbow, pledge of peace and safety. The whole picture glows +throughout with life and beauty, hallowed by that profound +religious sentiment which suggested the offering, and which the +sympathetic artist seems to have caught from the grateful donor. It +was dedicated in the church of the Ara Cœli at Rome, which +belongs to the Franciscans, hence St. Francis is one of the +principal figures. When I was asked, at Rome, why St. Jerome had +been introduced into the picture, I thought it might be thus +accounted for:—The patron saint of the donor, St. Sigismund, was a +king and warrior, and Conti might possibly think it did not accord +with his profession, as a humble ecclesiastic, to introduce him +here. The most celebrated convent of the Jeronymites in Italy is +that of St. Sigismund, near Cremona, placed under the special +protection of St. Jerome, who is also in a general sense the patron +of all ecclesiastics; hence, perhaps, he figures here as the +protector of Sigismund Conti."—<i>Jameson's Legends of the Madonna</i>, +p. 103.</p> + +<p><i>Wall of Egress.</i>—"The Transfiguration:" <i>Raphael</i>. The grandest +picture in the world. It was originally painted by order of +Cardinal Giulio de' Medici (afterwards Clement VII.) Archbishop of +Narbonne, for that provincial cathedral. But it was scarcely +finished when Raphael died, and it hung over his death-bed as he +lay in state, and was carried in his funeral procession.</p></div> + +<div class="poem"><div class="stanza"> +<span class="i6">"And when all beheld<br /></span> +<span class="i0">Him where he lay, how changed from yesterday—<br /></span> +<span class="i0">Him in that hour cut off, and at his head<br /></span> +<span class="i0">His last great work; when, entering in, they look'd,<br /></span> +<span class="i0">Now on the dead, then on that masterpiece—<br /></span> +<span class="i0">Now on his face, lifeless and colourless,<br /></span> +<span class="i0">Then on those forms divine that lived and breathed,<br /></span> +<span class="i0">And would live on for ages—all were moved,<br /></span> +<span class="i0">And sighs burst forth and loudest lamentations."<br /></span> +<span class="i15"><i>Rogers.</i><br /></span> +</div></div> + +<div class="blockquot"><p>The three following quotations may perhaps represent the practical, +æsthetical, and spiritual aspects of the picture.</p> + +<p>"It is somewhat strange to see the whole picture of the +Transfiguration—including the three apostles, prostrate on the +mount, shading their dazzled senses from the insufferable +brightness—occupying only a small part of the top of the canvas, +and the principal field filled with a totally distinct and +certainly unequalled picture—that of the demoniac boy, whom our +Saviour cured on coming down from the mount, after his +transfiguration. This was done in compliance with the <i>orders</i> of +the monks of S. Pietro in Montorio, for which church it was +painted. It was the universal custom of the age—the yet unbanished +taste of Gothic days—to have two pictures, a celestial and a +terrestrial one, wholly unconnected with each other; accordingly, +we see few, even of the finest paintings, in which there is not a +heavenly subject above and an earthly below—for the great masters +of that day, like our own Shakspeare, were compelled to suit their +works to the taste of their employers."—<i>Eaton's Rome.</i></p> + +<p>"It must ever be matter of wonder that any one can have doubted of +the grand unity of such a conception as this. In the absence of the +Lord, the disconsolate parents bring a possessed boy to the +disciples of the Holy One. They seem to have been making attempts +to cast out the Evil Spirit; one has opened a book, to see whether +by chance any spell were contained in it which might be successful +against this plague, but in vain. At this moment appears He who +alone has the power, and appears transfigured in glory. They +remember His former mighty deeds; they instantly point aloft to the +vision as the only source of healing. How can the upper and lower +parts be separated? Both are one; beneath is Suffering craving for +Aid; above is active Power and helpful Grace. Both refer to one +another; both work in one another. Those who, in our dispute over +the picture, thought with me, confirmed their view by this +consideration: Raffaelle, they said, was ever distinguished<a name="vol_2_page_353" id="vol_2_page_353"></a> by the +exquisite propriety of his conceptions. And is it likely that this +painter, thus gifted by God, and everywhere recognisable by the +excellence of this His gift, would in the full ripeness of his +powers have thought and painted wrongly? Not so; he is, as nature +is, ever right, and then most deeply and truly right when we least +suspect it."—<i>Goethe's Werke</i>, iii. p. 33.</p> + +<p>"In looking at the Transfiguration we must bear in mind that it is +not an historical but a devotional picture,—that the intention of +the painter was not to represent a scene, but to excite religious +feelings by expressing, so far as painting might do it, a very +sublime idea.</p> + +<p>"If we remove to a certain distance from the picture, so that the +forms shall become vague, indistinct, and only the masses of colour +and the light and shade perfectly distinguishable, we shall see +that the picture is indeed divided as if horizontally, the upper +half being all light, and the lower half comparatively all dark. As +we approach nearer, step by step, we behold above, the radiant +figure of the Saviour floating in mid-air, with arms outspread, +garments of transparent light, glorified visage upturned as if in +rapture, and the hair lifted and scattered as I have seen it in +persons under the influence of electricity. On the right, Moses; on +the left, Elijah; representing respectively the old Law and the old +Prophecies, which both testified of Him. The three disciples lie on +the ground, terror-struck, dazzled. There is a sort of eminence or +platform, but no perspective, no attempt at real locality, for the +scene is revealed as in a vision, and the same soft transparent +light envelopes the whole. This is the spiritual life, raised far +above the earth, but not yet in heaven. Below is seen the earthly +light, poor humanity struggling helplessly with pain, infirmity, +and death. The father brings his son, the possessed, or as we +should now say, the epileptic boy, who oftentimes falls into the +water, or into the fire, or lies grovelling on the earth, foaming +and gnashing his teeth; the boy struggles in his arms,—the rolling +eyes, the distorted features, the spasmodic limbs, are at once +terrible and pitiful to look on.</p> + +<p>"Such is the profound, the heart-moving significance of this +wonderful picture. It is, in truth, a fearful approximation of the +most opposite things; the mournful helplessness, suffering, and +degradation of human nature, the unavailing pity, are placed in +immediate contrast with spiritual light, life, hope,—nay, the very +fruition of heavenly rapture.</p> + +<p>"It has been asked, who are the two figures, the two saintly +deacons, who stand on each side of the upper group, and what have +they to do with the mystery above, or the sorrow below? Their +presence shows that the whole was conceived as a vision, or a poem. +The two saints are St. Laurence and St. Julian, placed there at the +request of the Cardinal<a name="vol_2_page_354" id="vol_2_page_354"></a> de' Medici, for whom the picture was +painted, to be offered by him as an act of devotion as well as +munificence to his new bishopric; and these two figures commemorate +in a poetical way, not unusual at the time, his father, Lorenzo, +and his uncle, Giuliano de' Medici. They would be better away; but +Raphael, in consenting to the wish of his patron that they should +be introduced, left no doubt of the significance of the whole +composition, that it is placed before worshippers as a revelation +of the double life of earthly suffering and spiritual faith, as an +excitement to religious contemplation and religious hope.</p> + +<p>"In the Gospel, the Transfiguration of Our Lord is first described, +then the gathering of the people and the appeal of the father in +behalf of his afflicted son. They appear to have been simultaneous; +but painting only could have placed them before our eyes, at the +same moment, in all their suggestive contrast. It will be said that +in the brief record of the Evangelist, this contrast is nowhere +indicated, but the painter found it there and was right to use +it,—just the same as if a man should choose a text from which to +preach a sermon, and, in doing so, should evolve from the inspired +words many teachings, many deep reasonings, besides those most +obvious and apparent.</p> + +<p>"But, after we have prepared ourselves to understand and to take +into our heads all that this wonderful picture can suggest, +considered as an emanation of the mind, we find that it has other +interests for us, considered merely as a work of art. It was the +last picture which came from Raphael's hand; he was painting on it +when he was seized with his last illness. He had completed all the +upper part of the composition, all the ethereal vision, but the +lower part of it was still unfinished, and in this state the +picture was hung over his bier; when, after his death, he was laid +out in his painting-room, and all his pupils and friends, and the +people of Rome, came to look upon him for the last time; and when +those who stood round raised their eyes to the Transfiguration, and +then bent them on the lifeless form extended beneath it, 'every +heart was like to burst with grief (<i>faceva scoppiare l'anima di +dolore a ognuno che quivi guardava</i>), as, indeed, well it might.</p> + +<p>"Two-thirds of the price of the picture, 655 'ducati di camera,' +had already been paid by the Cardinal de' Medici, and, in the +following year, that part of the picture which Raphael had left +unfinished was completed by his pupil Giulio Romano, a powerful and +gifted, but not a refined or elevated, genius. He supplied what was +wanting in the colours and chiaroscuro according to Raphael's +design, but not certainly as Raphael himself would have done it. +The sum which Giulio received he bestowed as a dowry on his sister, +when he gave her in marriage to Lorenzetto the sculptor, who had +been a friend and pupil of Raphael.<a name="vol_2_page_355" id="vol_2_page_355"></a> The cardinal did not send the +picture to Narbonne, but, unwilling to deprive Rome of such a +masterpiece, he presented it to the church of San Pietro in +Montorio, and sent in its stead the Raising of Lazarus, by +Sebastian del Piombo, now in our National Gallery. The French +carried off the Transfiguration to Paris in 1797, and when +restored, it was placed in the Vatican, where it now is."—<i>Mrs. +Jameson's History of Our Lord</i>, vol. i.</p></div> + +<div class="blockquot"> +<p><i>3rd Room.</i>—</p> + +<p><i>Entrance Wall.</i>—Madonna and Saints: <i>Titian</i>.</p> + +<p>"Titian's altar-piece is a specimen of his pictures of this class. +St. Nicholas, in full episcopal costume, is gazing upwards with an +air of inspiration. St. Peter is looking over his shoulder at a +book, and a beautiful St. Catherine is on the other side. Farther +behind, are St. Francis and St. Anthony of Padua; on the left St. +Sebastian, whose figure recurs in almost all of these pictures. +Above, in the clouds, with angels, is the Madonna, who looks +cheerfully on, while the lovely Child holds a wreath, as if ready +to crown a votary."—<i>Kugler.</i></p> + +<p>"In this picture there are three stages, or whatever they are +called, the same as in the Transfiguration. Below, saints and +martyrs are represented in suffering and abasement; on every face +is depicted sadness, nay, almost impatience; one figure in rich +episcopal robes looks upwards, with the most eager and agonized +longing, as if weeping, but he cannot see all that is floating +above his head, but which <i>we</i> see, standing in front of the +picture. Above, Mary and her Child are in a cloud, radiant with +joy, and surrounded by angels, who have woven many garlands; the +Holy Child holds one of these, and seems as if about to crown the +saints beneath, but his Mother withholds his hand for the +moment(?). The contrast between the pain and suffering below, +whence St. Sebastian looks forth out of the picture with gloom and +almost apathy, and the lofty unalloyed exultation in the clouds +above, where crowns and palms are already awaiting him, is truly +admirable. High above the group of Mary hovers the Holy Spirit, +from whom emanates a bright streaming light, thus forming the apex +of the whole composition. I have just remembered that Goethe, at +the beginning of his first visit to Rome, describes and admires +this picture; and he speaks of it in considerable detail. It was at +that time in the Quirinal."—<i>Mendelssohn's Letters.</i></p></div> + +<div class="blockquot"><p>Sta. Margherita da Cortona: <i>Guercino</i>. She is represented +kneeling,—angels hovering above,—in the background is the Convent +of Cortona.<a name="vol_2_page_356" id="vol_2_page_356"></a></p> + +<p><span class="smcap">Right Wall</span>:</p> + +<p>Martyrdom of St. Laurence: <i>Spagnoletto</i>.</p> + +<p>22. The Magdalen, with angels bearing the instruments of the +Passion: <i>Guercino</i>.</p> + +<p>23. The Coronation of the Virgin: <i>Pinturicchio</i>.</p> + +<p>24. The Resurrection: <i>Perugino</i>. The figures are sharply relieved +against a bright green landscape and a perfectly green sky. The +figure of the risen Saviour is in a raised gold nimbus surrounded +by cherubs' heads, as in the fresco of Pinturicchio at the Ara +Cœli. The escaping soldier is said to be a portrait of Perugino, +introduced by Raphael,—the sleeping soldier that of Raphael, by +Perugino.</p> + +<p>25. "La Madonna di Monte Luco," designed by Raphael: the upper part +painted by <i>Giulio Romano</i>, the lower by <i>Francesco Penni</i> (Il +Fattore). The apostles looking into the tomb of the Virgin, find it +blooming with heartsease and ixias. Above, the Virgin is crowned +amid the angels. There is a lovely landscape seen through a dark +cave, which ends awkwardly in the black clouds. This picture was +painted for the convent of Monte Luco near Spoleto.</p> + +<p>26. The Nativity: <i>Giovanni Spagna</i>.</p> + +<p>27. The Coronation of the Virgin: <i>Raphael</i>. The predella in the +first room belonged to this picture, which was painted for the +Benedictines of Perugia.</p> + +<p>28. The Virgin and Child enthroned under an arcade—with S. +Lorenzo, St. Louis, S. Ercolano, and S. Costanzo, standing: On the +step of the throne is inscribed 'Hoc Petrus de Chastro Plebis +Pinxit.'</p> + +<p>29. Virgin and Child: <i>Sassoferrato</i>. A fat mundane Infant and a +coarse Virgin seated on a crescent moon. The Child holds a rosary.</p> + +<p> </p> + +<p><span class="smcap">End Wall</span>:</p> + +<p>The Entombment: <i>Caravaggio</i>.</p> + +<p>"Caravaggio's entombment of Christ is a picture wanting in all the +characteristics of holy sublimity; but is nevertheless full of +solemnity, only perhaps too like the funeral solemnity of a gipsy +chief. A figure of such natural sorrow as the Virgin, who is +represented as exhausted with weeping, with her trembling +outstretched hands, has seldom been painted. Even as mother of a +gipsy chief, she is dignified and touching."—<i>Kugler.</i><a name="vol_2_page_357" id="vol_2_page_357"></a></p> + +<p><span class="smcap">Left Wall (returning)</span>:</p> + +<p>31. Doge A. Gritti (<i>Titian</i>), half-length, in a yellow robe.</p> + +<p>Two very large pictures in many compartments, by <i>Niccolo Alunno</i>, +of the Crucifixion and Saints. (Between them.)</p> + +<p>Sixtus IV. and his Court: <i>Melozzo da Forlì</i>. A fresco, removed +from the Vatican library by Leo XII., which is a most interesting +memorial of an important historical family. Near the figure of the +pope, Sixtus IV., who is known to Roman travellers from his +magnificent bronze tomb in the Chapel of the Sacrament at St. +Peter's, stand two of his nephews, of whom one is Giuliano della +Rovere, afterwards Julius II., and the other Pietro Riario, who, +from the position of a humble Franciscan monk, was raised, in a few +months, by his uncle, to be Bishop of Treviso, Cardinal-Archbishop +of Seville, Patriarch of Constantinople, Archbishop of Valentia, +and Archbishop of Florence, when his life changed, and he lived +with such extravagance, and gave banquets so magnificent, that +"never had pagan antiquity seen anything like it;"<a name="FNanchor_355_355" id="FNanchor_355_355"></a><a href="#Footnote_355_355" class="fnanchor">[355]</a> but within +two years "he died (not without suspicion of poison), to the great +grief of Pope Sixtus, and to the infinite joy of the whole college +of cardinals."<a name="FNanchor_356_356" id="FNanchor_356_356"></a><a href="#Footnote_356_356" class="fnanchor">[356]</a> The kneeling figure represents Platina, the +historian of the popes and prefect of the Vatican library. In the +background stand two other nephews of the pope, Cardinal Giovanni +della Rovere, and Girolamo Riario, who was married by his uncle (or +father?), the pope, to the famous Caterina Sforza,—was suspected +of being the originator of the conspiracy of the Pazzi,—was +created Count of Forlì, and to whose aggrandisement Sixtus IV. +sacrificed every principle of morality and justice: he was murdered +at Forli, April 14th, 1488. Beneath is inscribed:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Templa domum expositis fora mœnia pontes:<br /></span> +<span class="i2">Virgineam Trivii quod repararis aquam<br /></span> +<span class="ist">Prisca licet nautis statuas dare commoda portus:<br /></span> +<span class="i2">Et Vaticanum cingere Sixte jugum:<br /></span> +<span class="ist">Plus tamen urbs debet: nam quæ squalore latebet.<br /></span> +<span class="i2">Germitur in celebri bibliotheca loco."<br /></span> +</div></div> +</div> + +<div class="blockquot"> +<p><i>4th Room.</i>—</p> + +<p><span class="smcap">Entrance Wall</span>:</p> + +<p class="hang">32. The Martyrdom of SS. Processus and Martinianus, the gaolers of +St Peter: <i>Valentin</i>. It is stigmatised by Kugler as "an +unimportant and bad picture," but, perhaps from the connection<a name="vol_2_page_358" id="vol_2_page_358"></a> of +the subject with the story of St Peter, has been thought worthy of +being copied in mosaic in the basilica, whence this picture was +brought.</p> + +<p>"This picture is terrible for dark and effective expression; it is +just one of those subjects in which the Caravaggio school +delighted."—<i>Jameson's Sacred Art.</i></p> + +<p class="hang">33. Martyrdom of St. Peter: <i>Guido Reni</i>.</p> + +<p>"This has the heavy powerful forms of Caravaggio, but wants the +passionate feeling which sustains such subjects,—it is a martyrdom +and nothing more,—it might pass for an enormous and horrible genre +picture."—<i>Kugler.</i></p> + +<p class="hang">34. Martyrdom of St. Erasmus: <i>N. Poussin</i>. A most horrible picture +of the disembowelment of the saint upon a wheel. It was copied in +mosaic in St Peter's when the picture was removed from thence.</p> + +<p> </p> + +<p><span class="smcap">Left Wall</span>:</p> + +<p class="hang">35. The Annunciation: <i>Baroccio</i>. From Sta. Maria di Loreto, +detained in the Vatican in exchange for a mosaic, after it was sent +back by the French.</p> + +<p class="hang">36. St. Gregory the Great—the miracle of the Brandeum: <i>Andrea +Sacchi</i>.</p> + +<p>"The Empress Constantia sent to St. Gregory requesting some of the +relics of St. Peter and St. Paul. He excused himself, saying that +he dared not disturb their sacred remains for such a purpose,—but +he sent her part of a consecrated cloth (Brandeum) which had +enfolded the body of St. John the Evangelist. The empress rejected +this gift with contempt: whereupon Gregory, to show that such +things are hallowed not so much in themselves as by the faith of +believers, laid the Brandeum on the altar, and after praying he +took up a knife and pierced it, and blood flowed as from a living +body."—<i>Jameson's Sacred Art</i>, p. 321.</p> + +<p class="hang">37. The Ecstasy of Sta. Michelina: <i>Baroccio</i>. This picture is +mentioned by Lanzi as "Sta. Michelina estatica <i>sul Calvario</i>." The +story appears to be lost.</p> + +<p><span class="smcap">Between the Windows</span>:</p> + +<p class="hang">The Madonna and Child with St. Jerome and St. Bartholomew: <i>Moretto +da Brescia</i> (<i>Buonvicino</i>).</p> + +<p class="hang">38. The Dream of Sta. Helena (of the finding of the true Cross): +<i>Paolo Veronese</i>. Once in the Capitol collection.<a name="vol_2_page_359" id="vol_2_page_359"></a></p> + +<p><span class="smcap">Right Wall (returning)</span>:</p> + +<p class="hang">39. Madonna with St. Thomas and St. Jerome: <i>Guido</i>. The St. Thomas +is very grand.</p> + +<p class="hang">40. Madonna della Cintola with St. John and St. Augustin. Signed +1521: <i>Cesare da Sesto</i>.</p> + +<p class="hang">41. Salvator Mundi. Christ seated on the rainbow: <i>Correggio?</i></p> + +<p class="hang">42. St. Romualdo: <i>Andrea Sacchi</i>. The saint sees the vision of a +ladder by which the friars of his Order ascend to heaven. The monks +in white drapery are grand and noble figures.</p> + +<p>"It is recorded in the legend of St. Romualdo, that, a short time +before his death, he fell asleep beside a fountain near his cell; +and he dreamed, and in his dream he saw a ladder like that which +the patriarch Jacob beheld in his vision, resting on the earth, and +the top of it reaching to heaven; and he saw the brethren of his +Order ascending by twos and by threes, all clothed in white. When +Romualdo awoke from his dream, he changed the habit of his monks +from black to white, which they have ever since worn in remembrance +of this vision."—<i>Jameson's Monastic Orders</i>, p. 117.</p></div> + +<hr style="width: 15%;" /> + +<p>A door on the ground-floor of the Cortile di S. Damaso will admit +visitors (with an order) to visit the <i>Papal Manufactory of Mosaics</i>, +whence so many beautiful works have issued, and where others are always +in progress.</p> + +<div class="blockquot"><p>"Ghirlandajo, who felt the utmost enthusiasm for the august remains +of Roman grandeur, was still more deeply impressed by the sight of +the ancient mosaics of the Christian basilicas, the image of which +was still present to his mind when he said, at a more advanced age, +that 'mosaic was the true painting for eternity.'"—<i>Rio.</i> +<a name="vol_2_page_360" id="vol_2_page_360"></a></p></div> + +<h2><a name="CHAPTER_XVII" id="CHAPTER_XVII"></a>CHAPTER XVII.<br /><br /> +THE ISLAND AND THE TRASTEVERE.</h2> + +<div class="blockquot"><p class="hang">Ponte Quattro Capi—Gaetani Tower—S. Bartolomeo in Isola—Temple +of Æsculapius—Hospital of the Benfratelli—Mills on the +Tiber—Ponte Cestio—Fornarina's House—S. Benedetto a +Piscinuola—Castle of the Alberteschi—S. Crispino—Palazzo +Ponziani—Sta. Maria in Cappella—Sta. Cecilia—Hospital of S. +Michele—Porta Portese—Sta. Maria del Orto—S. Francesco a +Ripa—Castle of the Anquillara—S. Chrisogono—Hospital of S. +Gallicane—Sta. Maria in Trastevere—S. Calisto—Convent of Sta. +Anna—S. Cosimato—Porta Settimiana—Sta. Dorotea—Ponte Sisto.</p></div> + +<p class="nind"><span class="letra">F</span>OLLOWING the road which leads to the Temple of Vesta, &c., as far as +the Via Savelli, and then turning down past the gateway of the Orsini +palace, with its two bears,—we reach the <i>Ponte Quattro Capi</i>.</p> + +<p>This was the ancient Pons Fabricius, built of stone in the place of a +wooden bridge, <small>A.U.C.</small> 733, by Fabricius, the Curator Viarum. It has two +arches, with a small ornamental one in the central pier. In the twelfth +century the greater part was faced with brickwork. An inscription, only +partly legible, remains. <small>L. FABRICIUS. C. T. CUR. VIAR. FACIUNDUM. +CURAVIT. EIDEMQ. PROBAVIT.—Q. LEPIDUS. M. F. M. LOLLIUS. M. F. COS. EX. +S. C. PROBAVERUNT.</small> From this inscription the inference has been drawn +that the senate always allowed forty years to elapse between the +completion<a name="vol_2_page_361" id="vol_2_page_361"></a> of a public work, and the grant to it of their public +approval. This bridge, according to Horace, was a favourite spot with +those who wished to drown themselves; hence Damasippus would have leaped +into the Tiber, if it were not for the precepts of the stoic Stertinius:</p> + +<div class="poem"><div class="stanza"> +<span class="i6">"Unde ego mira<br /></span> +<span class="ist">Descripsi docilis præcepta hæc, tempore quo me<br /></span> +<span class="ist">Solatus jussit sapientem pascere barbam,<br /></span> +<span class="ist">Atque a Fabricio non tristem ponte reverti."<br /></span> +<span class="i15"><i>Horace, Sat.</i> ii. 3.<br /></span> +</div></div> + +<p>The name of the bridge changed with time to "Pons Tarpeius" and "Pons +Judæorum," from the neighbouring Ghetto. It is now called Ponte Quattro +Capi, from two busts of the four-headed Janus, which adorn its parapet, +and are supposed to have come from the temple of "Janus Geminus," which +stood in this neighbourhood.</p> + +<p>On crossing this bridge, we are on the Island in the Tiber, the +formation of which is ascribed by tradition to the produce of the +corn-fields of the Tarquins (cast contemptuously upon the waters after +their expulsion), which accumulated here, till soil gathered around +them, and a solid piece of land was formed. Of this, Ampère says:</p> + +<div class="blockquot"><p>"L'effet du courant rapide du fleuve est plutôt de détruire les +îles que d'en former. C'est ainsi qu'une petite île a été entraînée +par la violence des eaux en 1718."—<i>Histoire Romaine à Rome.</i></p></div> + +<p>On this island, anciently known as the <i>Isola Tiberina</i>, were three +temples,—those, namely, of Æsculapius:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Unde Coroniden circumflua Tibridis alveo<br /></span> +<span class="ist">Insula Romuleæ sacris adsciverit urbis."<br /></span> +<span class="i15"><i>Ovid, Metam.</i> xv. 624.<br /></span> +</div></div> + +<div class="poem"><div class="stanza"> +<span class="i0">"Accepit Phœbo Nymphaque Coronide natum<br /></span> +<span class="ist">Insula, dividua quam premit amnis aqua."<br /></span> +<span class="i15"><i>Ovid, Fast.</i> i. 291.<br /></span> +</div></div> + +<p><a name="vol_2_page_362" id="vol_2_page_362"></a></p> + +<p class="nind">of Jupiter:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Jupiter in parte est, cepit locus unus utrumque:<br /></span> +<span class="ist">Junctaque sunt magno templa nepotis avo."<br /></span> +<span class="i15"><i>Ovid, Fast.</i> i. 293.<br /></span> +</div></div> + +<p class="nind">and of Faunus:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Idibus agrestis fumant altaria Fauni,<br /></span> +<span class="ist">Hic ubi discretas insula rumpit aquas."<br /></span> +<span class="i15"><i>Ovid, Fast.</i> ii. 193.<br /></span> +</div></div> + +<p>Here also was an altar to the Sabine god Semo-Sancus, whose inscription, +legible in the early centuries of Christianity, led various +ecclesiastical authors into the error that the words "Semoni Sanco" +referred to Simon Magus.<a name="FNanchor_357_357" id="FNanchor_357_357"></a><a href="#Footnote_357_357" class="fnanchor">[357]</a></p> + +<p>In imperial times the island was used as a prison: among remarkable +prisoners immured here was Arvandus, Prefect of Gaul, <small>A.D.</small> 468. In the +reign of Claudius sick slaves were exposed and left to die here,—that +emperor—by a strange contradiction in one who caused fallen gladiators +to be butchered "for the pleasure of seeing them die"—making a law that +any slave so exposed should receive his liberty if he recovered. In the +middle ages the island was under the jurisdiction of the Cardinal Bishop +of Porto, who lived in the Franciscan convent. Under Leo X. a fête was +held here in which Camillo Querno, the papal poet, was crowned with ivy, +laurel, and cabbage (!). In 1656 the whole island was appropriated as a +hospital for those stricken with the plague,—a singular coincidence for +the site of the temple of Æsculapius.</p> + +<p>The first building on the left, after passing the bridge, is a fine +brick tower, of great historic interest, as the only relic of a castle, +built by the family of the Anicii, of which St.<a name="vol_2_page_363" id="vol_2_page_363"></a> Gregory the Great was a +member, and two of whom were consuls together under Honorius:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Est in Romuleo procumbens insula Tibri,<br /></span> +<span class="ist">Qua medius geminas interfluit alveus urbes,<br /></span> +<span class="ist">Discretas subeunte freto, pariterque minantes<br /></span> +<span class="ist">Ardua turrigeræ surgunt in culmina ripæ.<br /></span> +<span class="ist">Hic stetit et subitum prospexit ab aggere votum.<br /></span> +<span class="ist">Unanimes fratres junctos stipante senatu<br /></span> +<span class="ist">Ire forum, strictasque procul radiare secures,<br /></span> +<span class="ist">Atque uno bijuges tolli de limine fasces."<br /></span> +<span class="i15"><i>Claudius, Paneg. in Prob. et Olyb. Cons.</i> 226.<br /></span> +</div></div> + +<p>From the Anicii the castle passed to the Gaetani. It was occupied as a +fortress by the Countess Matilda, after she had driven the faction of +the anti-pope Guibert out of the island, and was the refuge where two +successive popes, Victor III. and Urban II., lived under her +protection.<a name="FNanchor_358_358" id="FNanchor_358_358"></a><a href="#Footnote_358_358" class="fnanchor">[358]</a></p> + +<p>The centre of the island is now occupied by the <i>Church and Convent of +S. Bartolomeo</i>, which gives it its present name.</p> + +<p>The piazza in front of the church is occupied by a pillar, erected at +the private expense of Pius IX., to commemorate the opening of the +Vatican Council of 1869—70,—adorned with statues of St. Bartholomew, +St. Paulinus of Nola, St. Francis, and S. Giovanni di Dio. Here formerly +stood an ancient obelisk (the only one of unknown origin). A fragment of +it was long preserved at the Villa Albani, whence it is said to have +been removed to Urbino. The church, a basilica, was founded by Otho III. +<i>c.</i> 1000; its campanile dates from 1118. The nave and aisles are +divided by red granite columns, said to be relics of the ancient +temple,—as is a marble well-head under the stairs leading to the +tribune. This was restored in 1798, and dedicated to St. Adalbert<a name="vol_2_page_364" id="vol_2_page_364"></a> of +Gnesen, who bestowed upon the church its great relic, the body of St. +Bartholomew, which he asserted to have brought from Beneventum, though +the inhabitants of that town profess that they still possess the <i>real</i> +body of the apostle, and sent that of St. Paulinus of Nola to Rome +instead. The dispute about the possession of this relic ran so high as +to lead to a siege of Beneventum in the middle ages. The convent belongs +to the Franciscans (Frati-Minori), who will admit male visitors into +their pretty little garden at the end of the island, to see the remains +of</p> + +<p>The Temple of Æsculapius, built after the great plague in Rome, in <small>B.C.</small> +291, when, in accordance with the advice of the Sibylline books, +ambassadors were sent to Epidaurus to bring Æsculapius to Rome;—they +returned with a statue of the god, but as their vessel sailed up the +Tiber, a serpent, which had lain concealed during the voyage, glided +from it, and landed on this spot, hailed by the people under the belief +that Æsculapius himself had thus come to them. In consequence of this +story the form of a ship was given to this end of the island, and its +bow may still be seen at the end of the convent garden, with the famous +serpent of Æsculapius sculptured upon it in high relief.<a name="FNanchor_359_359" id="FNanchor_359_359"></a><a href="#Footnote_359_359" class="fnanchor">[359]</a> The +curious remains still existing are not of sufficient size to bear out +the assertion often made that the whole island was enclosed in the +travertine form of a ship, of which the temple of Jupiter at the other +end afterwards formed the prow, and the obelisk the mast.</p> + +<div class="blockquot"><p>"Pendant les guerres Samnites, Rome fut de nouveau frappée par une +de ces maladies auxquelles elle était souvent en proie; celle-ci +dura<a name="vol_2_page_365" id="vol_2_page_365"></a> trois années. On eut recours aux livres Sibyllins. En cas +pareil ils avaient prescrit de consacrer un temple à Apollon; cette +fois ils prescrivirent d'aller à Epidaure chercher le fils +d'Apollon, Esculape, et de l'amener à Rome. Esculape, sous la forme +d'un serpent, fut transporté d'Epidaure dans l'île Tibérine, où on +lui éleva un temple, et où ont été trouvés des <i>ex-voto</i>, +représentant des bras, des jambes, diverses autres parties du corps +humain, <i>ex-votos</i> qu'on eût pu croire provenir d'une église de +Rome, car le catholicisme romain a adopté cet usage païen sans y +rien changer.</p> + +<p>"Pourquoi place-t-on le temple d'Esculape en cet endroit? On a vu +que l'île Tibérine avait été très-anciennement consacrée au culte +d'un dieu des Latins primitifs, Faunus; or ce dieu rendait ses +oracles près des sources thermales; its devaient avoir souvent pour +l'objet la guérison des malades qui venaient demander la santé à +ces sources. De plus, les malades consultaient Esculape dans les +songes par incubation, comme dans l'Ovide, Numa va consulter Faunus +sur l'Aventin. Il n'est donc pas surprenant qu'on ait institué le +culte du dieu grec de la santé, là où le dieu latin Faunus rendait +ses oracles dans des songes, et où étaient probablement des sources +d'eau chaude qui ont disparu comme les <i>lautulæ</i> près du Forum +romain.</p> + +<p>"On donna à l'île la forme d'un vaisseau, plus tard un obélisque +figura le mât; en la regardant du Ponte Rotto, on reconnaît encore +très bien cette forme, de ce côté, on voit sculpté sur le mur qui +figure le vaisseau d'Esculape une image du dieu avec un serpent +entortillé autour de son sceptre. La belle statue d'Esculape, venue +des jardins Farnèse, passe pour avoir été celle de l'île Tibérine. +Un temple de Jupiter touchait à ce temple d'Esculape.</p> + +<p>"Un jour que je visitais ce lieu, le sacristain de l'église de St. +Barthélemy me dit, '<i>Al tempo d'Esculapio quando Giove regnava.</i>' +Phrase singulière, et qui montre encore vivante une sorte de foi au +paganisme chez les Romains."—<i>Ampère</i>, iii. 42.</p></div> + +<p>Opposite S. Bartolomeo, on the site of the temple of Faunus, is the +<i>Hospital of S. Giovanni Calabita</i>, also called <i>Benfratelli</i>, entirely +under the care of the brethren of S. Giovanni di Dio, who cook, nurse, +wash, and otherwise do all the work of those who pass under their care, +often to the number of 1200 in the course of the year, though the +hospital is very small.<a name="vol_2_page_366" id="vol_2_page_366"></a></p> + +<div class="blockquot"><p>"C'est à Pie V. que les frères de l'ordre de la <i>Charité</i>, institué +par saint Jean de Dieu, durent leur premier établissement à Rome.</p> + +<p>"Au milieu du cortége triomphal qui accompagnait don Juan +d'Autriche (1571), lors de son retour de Lépante, on remarquait un +pauvre homme misérablement vêtu et à l'attitude modeste. Il se +nommait Sébastien Arias <i>des frères de Jean de Dieu</i>. Jean de Dieu +était mort sans laisser d'autre règle à ses disciples que ces +touchantes paroles qu'il répétait sans cesse, <i>faites le bien, mes +frères</i>; et Sébastien d'Arias venait à Rome pour demander au pape +l'autorisation de former des couvents et d'avoir des hospices où +ils pussent suivre les exemples de dévouement que leur avait +laissés Jean de Dieu. Or, Sébastien rencontra don Juan à Naples, et +le vainqueur de Lépante le prit avec lui. Il se chargea même +d'appuyer sa requête, et Pie V. s'empressa d'accorder aux frères +non-seulement la bulle qu'ils désiraient, mais encore un monastère +dans l'île du Tibre."—<i>Gournerie</i>, <i>Rome Chrétienne</i>, ii. 206.</p></div> + +<p>A narrow lane near this leads to the other end of the island, where the +temple of Jupiter stood. It is worth while to go thither for the sake of +the view of the river and its bridges, which is to be obtained from a +little quay leading to one of the numerous water-mills which exist near +this. These floating <i>Mills</i> (which bear sacred monograms upon their +gables) are interesting as having been invented by Belisarius in order +to supply the people and garrison with bread, during the siege of Rome +by Vitiges, when the Goths had cut the aqueducts, and thus rendered the +mills on the Janiculan useless.</p> + +<p>The bridge, of one large and two smaller arches, which connects the +island with the Trastevere, is now called the <i>Ponte S. Bartolomeo</i>, but +was anciently the Pons Cestius, or Gratianus, built <small>A.U.C.</small> 708, by the +Prætor Lucius Cestius, who was probably father to the Caius Cestius +buried near the Porta S. Paolo. It was restored <small>A.D.</small> 370 by the emperors +Valentinian, Valens, and Gratian, as is seen<a name="vol_2_page_367" id="vol_2_page_367"></a> from the fragments of a +red letter inscription on the inside of the parapet, in which the title +"Pontifex Maximus" is ascribed to each—"a tide accepted without +hesitation," says Gibbon, "by seven Christian emperors, who were +invested with more absolute authority over the religion they had +deserted, than over that which they professed."</p> + +<p>We now enter <i>the Trastevere</i>, the city "across the Tiber,"—the portion +of Rome which is most unaltered from mediæval times, and whose narrow +streets are still overlooked by many ancient towers, gothic windows, and +curious fragments of sculpture. The inhabitants on this side differ in +many respects from those on the other side of the Tiber. They pride +themselves upon being born "Trasteverini," profess to be the direct +descendants of the ancient Romans, seldom intermarry with their +neighbours, and speak a dialect peculiarly their own. It is said that in +their dispositions also they differ from the other Romans, that they are +a far more hasty, passionate, and revengeful, as they are a stronger and +more vigorous race. The proportion of murders (a crime far less common +in Rome than in England) is larger in this than in any other part of the +city. This, it is believed, is partly due to the extreme excitement +which the Trasteverini display in the pursuit of their national games, +especially that of Morrà:—</p> + +<div class="blockquot"><p>"Morrà is played by the men, and merely consists in holding up, in +rapid succession, any number of fingers they please, calling out at +the same time the number their antagonist shows. Nothing, +seemingly, can be more simple or less interesting. Yet, to see them +play, so violent are their gestures, that you would imagine them +possessed by some diabolical passion. The eagerness and rapidity +with which they carry it on render it very liable to mistake and +altercation; then frenzy fires them, and too often furious disputes +arise at this trivial play that<a name="vol_2_page_368" id="vol_2_page_368"></a> end in murder. Morrà seems to +differ in no respect from the <i>Micare Digitis</i> of the ancient +Romans."—<i>Eaton's Rome.</i></p></div> + +<p>A house with gothic windows on the right, soon after passing the bridge, +is pointed out as that once inhabited by the <i>Fornarina</i>, beloved of +Raphael, and so well known to us from his portrait of her in the Tribune +at Florence.</p> + +<p>Crossing the Via Longarina, we find ourselves in the little piazza of +<i>S. Benedetto a Piscinuola</i>, where there is a tiny church, with a good +brick campanile intersected by terra-cotta mouldings, which occupies the +site of the house inhabited by St. Benedict before his retreat to +Subiaco. The exterior is uninviting, but the interior very curious; an +atrium with antique columns opens to a vaulted chapel (of the same +design as the Orto del Paradiso at Sta. Prassede), in which is a picture +of the Virgin and Child, revered as that before which St. Benedict was +wont to pray. Hence is entered the cell of the saint, of rough-hewn +stones. His stone pillow is shown.</p> + +<p>The church has ancient pillars, and a rich opus-alexandrinum pavement.</p> + +<div class="blockquot"><p>"Over the high altar is a picture—full-length—of St. Benedict, +which Mabillon ('Iter Italicum') considers a genuine contemporary +portrait—though Nibby and other critics suppose it less ancient. +The figure on gold background is seated in a chair with gothic +carvings, such as were in mediæval use; the black cowl is drawn +over the head, the hair and beard are white; the aspect is serious +and thoughtful, in one hand a crozier, in the other the book of +rules drawn up by the Saint, displaying the words with which they +begin: 'Ausculta fili precepta magistri."—<i>Hemans' Ancient Sacred +Art.</i></p></div> + +<p>Turning down the Via Longarina towards the river, we pass, on the left, +considerable remains of the old mediæval <i>Castle of the Alberteschi +Family</i>, consisting of a block of<a name="vol_2_page_369" id="vol_2_page_369"></a> palatial buildings of handsome +masonry, with numerous antique fragments built into them, and a very +rich porch sculptured with egg and billet mouldings of <i>c.</i> <small>A.D.</small> 1150, +and beyond these, separated from them by a modern street, a high brick +tower of <i>c.</i> <small>A.D.</small> 1100. Above one of the windows of this tower, a head +of Jupiter is engrafted in the wall.</p> + +<p>We now reach the entrance of the Ponte Rotto (described Chap. V.). Close +to this bridge is the Church of <i>S. Crispino al Ponte</i> (the saint is +buried at S. Lorenzo Pane e Perna). The front is modernized, but the +east end displays rich terra-cotta cornices, and is very picturesque. On +the river bank below this are the colossal lions' heads mentioned in +Chap. V.</p> + +<p>Turning up the Via dei Vascellari, we pass on the right, the ancient +<i>Palace of the Ponziani Family</i>, once magnificent, but now of humble and +rude exterior, and scarcely to be distinguished, except in March, during +the festa of Sta. Francesca Romana, when old tapestries are hung out +upon its white-washed walls, and the street in front is thickly strewn +with box-leaves.</p> + +<div class="blockquot"><p>"The modern building that has been raised on the foundation of the +old palace is the Casa dei Esercizii Pii, for the young men of the +city. There the repentant sinner who longs to break the chain of +sin, the youth beset by some strong temptation, one who has heard +the inward voice summoning him to higher paths of virtue, another +who is in doubt as to the particular line of life to which he is +called, may come, and leave behind him for three, or five, or ten +days, as it may be, the busy world, with all its distractions and +its agitations, and, free for the time being from temporal cares, +the wants of the body being provided for, and the mind at rest, may +commune with God and their own souls.</p> + +<p>"Over the Casa dei Esercizii Pii the sweet spirit of Francesca +seems still to preside. On the day of her festival its rooms are +thrown open,<a name="vol_2_page_370" id="vol_2_page_370"></a> every memorial of the gentle saint is exhibited, +lights burn on numerous altars, flowers deck the passages, leaves +are strewn in the chapel, on the stairs, in the entrance-court; gay +carpets, figured tapestry, and crimson silks hang over the door, +and crowds of people go in and out, and kneel before the relics or +the pictures of the dear saint of Rome. It is a touching festival, +which carries back the mind to the day when the young bride of +Lorenzo Ponziano entered these walls for the first time, in all the +sacred beauty of holiness and youth."—<i>Lady G. Fullerton.</i></p></div> + +<p>In this house, also, Sta. Francesca Romana died, having come hither from +her convent to nurse her son who was ill, and having been then seized +with mortal illness herself.</p> + +<div class="blockquot"><p>"Touching were the last words of the dying mother to her spiritual +children: 'Love, love,' was the burden of her teaching, as it had +been that of the beloved disciple. 'Love one another,' she said, +'and be faithful unto death. Satan will assault you, as he has +assaulted me, but be not afraid. You will overcome him through +patience and obedience; and no trial will be too grievous, if you +are united to Jesus; if you walk in His ways, He will be with you.' +On the seventh day of her illness, as she had herself announced, +her life came to a close. A sublime expression animated her face, a +more ethereal beauty clothed her earthly form. Her confessor for +the last time inquired what it was her enraptured eyes beheld, and +she answered, 'The heavens open! the angels descend! the angel has +finished his task. He stands before me. He beckons me to follow +him.' These were the last words Francesca uttered."—<i>Lady G. +Fullerton's Life of Sta. F. Romana.</i></p></div> + +<p>Almost opposite the Ponziani Palace, an alley leads to the small chapel +of <i>Sta. Maria in Cappella</i>, which has a good brick campanile, dating +from 1090. This building is attached to a hospital for poor women ill of +incurable diseases, attended by sisters of charity, and entirely under +the patronage of the Doria family.</p> + +<p>We now reach the front of the <i>Convent and Church of Sta. Cecilia</i> +(facing which is a picturesque mediæval house), in<a name="vol_2_page_371" id="vol_2_page_371"></a> many ways one of the +most interesting buildings in the city.</p> + +<p>Cecilia was a noble and rich Roman lady, who lived in the reign of +Alexander Severus. She was married at sixteen to Valerian, a heathen, +with whom she lived in perpetual virginity, telling him that her +guardian angel watched over her by day and night.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"I have an angel which thus loveth me—<br /></span> +<span class="ist">That with great love, whether I wake or sleep,<br /></span> +<span class="ist">Is ready aye my body for to keep."<br /></span> +<span class="i15"><i>Chaucer.</i><br /></span> +</div></div> + +<p>At length Valerian and his brother Tiburtius were converted to +Christianity by her prayers, and the exhortations of Pope Urban I. The +husband and brother were beheaded for refusing to sacrifice to idols, +and Cecilia was shortly afterwards condemned by Almachius, prefect of +Rome, who was covetous of the great wealth she had inherited by their +deaths. She was first shut up in the <i>Sudatorium</i> of her own baths, and +a blazing fire was lighted, that she might be destroyed by the hot +vapours. But when the bath was opened, she was found still living, "for +God," says the legend, "had sent a cooling shower, which had tempered +the heat of the fire, and preserved the life of the saint." Almachius, +then, who dreaded the consequences of bringing so noble and courageous a +victim to public execution, sent a lictor to behead her in her own +palace, but he executed his office so ill, that she still lived after +the third blow of his axe, after which the Roman law forbade that a +victim should be stricken again. "The Christians found her bathed in her +blood, and during three days she still preached and taught, like a +doctor of the Church,<a name="vol_2_page_372" id="vol_2_page_372"></a> with such sweetness and eloquence, that four +hundred pagans were converted. On the third day she was visited by Pope +Urban, to whose care she tenderly committed the poor whom she nourished, +and to him she bequeathed the palace in which she had lived, that it +might be consecrated as a temple to the Saviour. Then, "thanking God +that he considered her, a humble woman, worthy to share the glory of his +heroes, and with her eyes apparently fixed upon the heavens opening +before her, she departed to her heavenly bridegroom, upon the 22nd +November, <small>A.D.</small> 280."</p> + +<p>The foundation of the church dates from its consecration by Pope Urban +I., after the death of St. Cecilia, but it was rebuilt by Paschal I. in +821, and miserably modernized by Cardinal Doria in 1725. The exterior +retains its ancient campanile of 1120, and its atrium of marble pillars, +evidently collected from pagan edifices and surmounted by a frieze of +mosaic, in which medallion heads of Cecilia, Valerian, Tiburtius, Urban +I., and others are introduced. In the courtyard of the convent, which +belongs to Benedictine nuns, is a fine specimen of the Roman vase called +Cantharus, perhaps coeval with St. Cecilia's own residence here.</p> + +<p>Right of the door, on entering, is the tomb of Adam of Hertford, Bishop +of London, who died 1398, the only one spared from a cruel death, of the +cardinals who conspired against Urban VI., and were taken prisoners at +Lucera—from fear of King John who was his friend. His sarcophagus is +adorned with the arms of England, then three leopards and fleurs-de-lis +quartered. On the opposite side of the entrance is the tomb of Cardinal +Fortiguerra, conspicuous in the contests of Pius II. and Paul II. with +the Malatestas and<a name="vol_2_page_373" id="vol_2_page_373"></a> Savellis in the fifteenth century. The drapery is a +beautiful specimen of the delicate carving of detail during that period.</p> + +<p>The altar canopy, which bears the name of its artist, Arnolphus, and the +date 1286, is a fine specimen of gothic work, and has statuettes of +Cecilia, Valerian, Tiburtius, and Urban. Beneath the altar is the famous +statue of St. Cecilia.</p> + +<p>In the archives of the Vatican remains an account written by Pope +Paschal I. (<small>A.D.</small> 817—24) himself, describing how, "yielding to the +infirmity of the flesh," he fell asleep in his chair during the early +morning service at St. Peter's, with his mind pre-occupied with a +longing to find the burial-place of Cecilia, and discover her relics. +Then in a glorified vision the virgin-saint appeared before him, and +revealed the spot where she lay, with her husband and brother-in-law, in +the catacomb of Calixtus, and there they were found, and transported to +her church on the following day.</p> + +<p>In the sixteenth century, Sfondrato, titular cardinal of the church, +opened the tomb of the martyr, when the embalmed body of Cecilia was +found, as it had been previously found by Paschal, robed in gold tissue, +with linen clothes steeped in blood at her feet, "not lying upon the +back, like a body in a tomb, but upon its right side, like a virgin in +her bed, with her knees modestly drawn together, and offering the +appearance of sleep." Pope Clement VIII. and all the people of Rome +rushed to look upon the saint, who was afterwards enclosed as she was +found, in a shrine of cypress wood cased in silver. But before she was +again hidden from sight, the greatest artist of the day, Stefano<a name="vol_2_page_374" id="vol_2_page_374"></a> +Maderno, was called in by Sfondrato, to sculpture the marble portrait +which we now see lying upon her grave. Sfondrato (whose tomb is in this +church) also enriched her shrine with the ninety-six silver lamps which +burn constantly before it. In regarding this statue it will be +remembered that Cecilia was not beheaded, but wounded in the throat,—a +gold circlet conceals the wound.</p> + +<div class="blockquot"><p>In the statue "the body lies on its side, the limbs a little drawn +up; the hands are delicate and fine,—they are not locked, but +crossed at the wrists: the arms are stretched out. The drapery is +beautifully modelled, and modestly covers the limbs.... It is the +statue of a lady, perfect in form, and affecting from the +resemblance to reality in the drapery of white marble, and the +unspotted appearance of the statue altogether. It lies as no living +body could lie, and yet correctly, as the dead when left to +expire,—I mean in the gravitation of the limbs."—<i>Sir C. Bell.</i></p> + +<p>The inscription says: "Behold the body of the most holy virgin +Cecilia, whom I myself saw lying incorrupt in her tomb. I have in +this marble expressed for thee the same saint in the very same +posture of body."</p></div> + +<p>The tribune is adorned with mosaics of the ninth century, erected in the +lifetime of Paschal I. (see his <i>square</i> nimbus). The Saviour is seen in +the act of benediction, robed in gold: at his side are SS. Peter and +Paul, St. Cecilia and St. Valerian, St. Paschal I. carrying the model of +his church, and St. Agatha, whom he joined with Cecilia in its +dedication. The mystic palm-trees and the phœnix, the emblem of +eternity, are also represented, and, beneath, the four rivers, and the +twelve sheep, emblematical of the apostles, issuing from the gates of +Bethlehem and Jerusalem, to the adoration of the spotless Lamb. The +picture of St. Cecilia behind the altar is attributed to <i>Guido</i>.</p> + +<p>At the end of the right aisle is an ancient fresco representing<a name="vol_2_page_375" id="vol_2_page_375"></a> the +dream of Pope Paschal,—the (mitred) pope asleep upon his throne, and +the saint appearing before him in a rich robe adorned with gems. This is +the last of a series of frescoes which once existed in the portico of +the church. The rest were destroyed in the seventeenth century. There +are copies of them in the Barberini Library, viz.</p> + +<p class="nind"> +<span style="margin-left: 2em;">1. The marriage feast of Valerian and Cecilia.</span><br /> +<span style="margin-left: 2em;">2. Cecilia persuades Valerian to seek for St. Urban.</span><br /> +<span style="margin-left: 2em;">3. Valerian rides forth to seek for Urban.</span><br /> +<span style="margin-left: 2em;">4. Valerian is baptized.</span><br /> +<span style="margin-left: 2em;">5. An Angel crowns Cecilia and Valerian.</span><br /> +<span style="margin-left: 2em;">6. Cecilia converts her executioners.</span><br /> +<span style="margin-left: 2em;">7. Cecilia suffers in the bath.</span><br /> +<span style="margin-left: 2em;">8. The Martyrdom of Cecilia.</span><br /> +<span style="margin-left: 2em;">9. The Burial of Cecilia.</span><br /> +<span style="margin-left: 2em;">10. The dream of Paschal.</span><br /> +</p> + +<p>Opening out of the same aisle are two chambers in the house of St. +Cecilia, one the sudatorium of her baths, in which she was immured, +actually retaining the pipes and calorifers of an ancient Roman bath.</p> + +<p>The Festa of St. Cecilia is observed in this church on November 22nd, +when—</p> + +<p class="c">—"rapt Cecilia, seraph-haunted queen of harmony"—<a name="FNanchor_360_360" id="FNanchor_360_360"></a><a href="#Footnote_360_360" class="fnanchor">[360]</a></p> + +<p class="nind">is honoured in beautiful music from the papal choir assembled here. +Visitors to Bologna will recollect the glorious figure of St. Cecilia by +Raphael, rapt in ecstasy, and surrounded by instruments of music. This +association with Cecilia probably arises from the tradition of the +church, which tells how Valerian, returning from baptism by Pope Urban, +found her singing hymns of triumph for his conversion, of which he had +supposed her to be ignorant, and that<a name="vol_2_page_376" id="vol_2_page_376"></a> when the bath was opened after +her three days' imprisonment, she was again found singing the praises of +her Saviour.</p> + +<p>It is said that "she sang with such ravishing sweetness, that even the +angels descended from heaven to listen to her, or to join their voices +with hers."</p> + +<p>The antiphons sung upon her festival are:</p> + +<div class="blockquot"><p>"And Cecilia, thy servant, serves thee, O Lord, even as the bee +that is never idle.</p> + +<p>"I bless thee, O Father of my Lord Jesus Christ, for through thy +Son the fire hath been quenched round about me.</p> + +<p>"I asked of the Lord a respite of three days, that I might +consecrate my house as a church.</p> + +<p>"O Valerian, I have a secret to tell thee; I have for my lover an +angel of God, who, with great jealousy, watches over my body.</p> + +<p>"The glorious virgin ever bore the Gospel of Christ in her bosom, +and neither by day nor night ceased from conversing with God in +prayer."</p></div> + +<p>And the anthem:</p> + +<div class="blockquot"><p>"While the instruments of music were playing, Cecilia sang unto the +Lord, and said, Let my heart be undefiled, that I may never be +confounded.</p> + +<p>"And Valerianus found Cecilia praying in her chamber with an +angel."</p></div> + +<p>It will be remembered that Cecilia is one of the chosen saints <i>daily</i> +commemorated in the canon of the mass.</p> + +<div class="blockquot"><p>"Nobis quoque peccatoribus famulis tuis, de multitudine +miserationum tuarum sperantibus, partem aliquam et societatem +donare digneris cum tuis sanctis Apostolis et Martyribus: cum +Joanne, Stephano, Matthia, Barnaba, Ignatio, Alexandro, Marcellino, +Petro, Felicitate, Perpetua, Agata, Lucia, Agnete, <i>Cæcilia</i>, +Anastasia, et omnibus sanctis."</p></div> + +<p>Just beyond St. Cecilia is the immense <i>Hospital of S. Michele</i>, founded +by Cardinal Odescalchi, nephew of Innocent XI., in 1693, as a refuge for +vagabond children, where<a name="vol_2_page_377" id="vol_2_page_377"></a> they might be properly brought up and taught a +trade. Innocent XII. (Pignatelli) added to this foundation a hospital +for sick persons of both sexes, and each succeeding pope has increased +the buildings and their endowment. The establishment is now divided into +an asylum for old men and women, a school with ateliers for boys and +girls, and a penitentiary ("Casa delle Donne cattive"). A large church +was attached to the hospital by Leo XII. No old men are admitted who +have not inhabited Rome for five years; if they are still able to work a +small daily task is given to them. The old women, as long as they can +work, are obliged to mend and wash the linen of the establishment. The +boys, for the most part orphans, are received at the age of eleven. The +girls receive a dowry of 300 francs if they marry, but double that sum +if they consent to enter a convent. A printing press is attached to the +hospital.</p> + +<p>S. Michele occupies the site of the sacred grove of the goddess Furina +(not of the Furies), where Caius Gracchus was killed, <small>B.C.</small> 123. +Protected by his friends, he escaped from the Aventine, where he had +first taken refuge, and crossed the Pons Sublicius. A single slave +reached the grove of Furina with him, who having in vain sought for a +horse to continue their flight, first slew his master and then himself. +One Septimuleius then cut off the head of Gracchus, and—a proclamation +having been issued that any one who brought the head of Caius Gracchus +should receive its weight in gold—first filled it with lead, and then +carried it on a spear to the consul Opimius, who paid him his +blood-money.</p> + +<p>At the end of this street is the <i>Porta Portese</i>, built by<a name="vol_2_page_378" id="vol_2_page_378"></a> Urban VIII., +through which runs the road to Porto and Fiumicino.</p> + +<p>Outside this gate was the site of the camp of Tarquin,—afterwards given +by the senate to Mutius-Scævola, for his bravery in the camp of Lars +Porsenna. The vineyards here have an interest to Roman Catholics as the +scene of one of the miracles attributed to Sta. Francesca Romana.</p> + +<div class="blockquot"><p>"One fine sunny January day, Francesca and her companions had +worked since dawn in the vineyards of the Porta Portese. They had +worked hard for several hours, and then suddenly remembered that +they had brought no provisions with them. They soon became faint +and hungry, and, above all, very thirsty. Perna, the youngest of +all the oblates, was particularly heated and tired, and asked +permission of the Mother Superior to go to drink water at a +fountain some way off on the public road.</p> + +<p>"'Be patient, my child,' Francesca answered, and they went on with +their work; but Francesca withdrawing aside, knelt down, and said, +'Lord Jesus, I have been thoughtless in forgetting to provide food +for my sisters,—help us in our need.'</p> + +<p>"Perna, who had kept near the Mother Superior, said to herself, +with some impatience, 'It would be more to the purpose to take us +home at once.' Then Francesca, turning to her, said, 'My child, you +do not trust in God; look up and see.' And Perna saw a vine +entwined around a tree, whose dead and leafless branches were +loaded with grapes. In speechless astonishment the oblates +assembled around the tree, for they had all seen its bare and +withered branches. Twenty times at least they had passed before it, +and the season for grapes was gone by. There were exactly as many +bunches as persons present.'—<i>See Lady G. Fullerton's Life of Sta. +F. Romana.</i></p></div> + +<p>From the back of S. Michele a cross street leads to the <i>Church of Sta. +Maria dell' Orto</i>, designed by Giulio Romano, <i>c.</i> 1530, except the +façade, which is by Martino Lunghi. The high altar is by Giacomo della +Porta. The church contains an Annunciation by <i>Taddeo Zucchero</i>.<a name="vol_2_page_379" id="vol_2_page_379"></a></p> + +<div class="blockquot"><p>"Cette église appartient à plusieurs corporations; chacune a sa +tombe devant sa propre chapelle, et sur le couvercle sont gravées +ses armes particulières; un coq sur la tombe des marchands de +volaille, une pantoufle sur celle des savetiers, des artichauts sur +celle des jardiniers, &c."—<i>Robello.</i></p></div> + +<p>Close to this, at the end of the street which runs parallel with S. +Michele, is the <i>Church of S. Francesco a Ripa</i>, the noviciate of the +Franciscans—"Frati Minori." The convent contains the room (approached +through the church) in which St. Francis lived, during his visits at +Rome, with many relics of him. His stone pillow and his crucifix are +shown, and a picture of him by G. de' Lettesoli. An altar in his chamber +supports a reliquary in which 18,000 relics are displayed!</p> + +<p>The church was rebuilt soon after the death of St. Francis by the knight +Pandolfo d'Anquillara (his castle is in the Via Lungaretta), whose tomb +is in the church, with his figure, in the dress of a Franciscan monk, +which he assumed in the latter part of his life. It was again rebuilt by +Cardinal Pallavicini, from designs of Matteo Rossi. Among its pictures +are the Virgin and St. Anne by <i>Baciccio</i>, the Nativity by <i>Simon +Vouet</i>, and a dead Christ by <i>Annibale Caracci</i>. On the left of the +altar is the Altieri chapel, in which is a recumbent statue of the +blessed Luigi Albertoni, by <i>Bernini</i>. In the third chapel on the right +is a mummy, said to be that of the virgin martyr Sta. Semplicia. The +convent garden has some beautiful palm-trees.</p> + +<p>Following the Via Morticelli we regain the Via Lungaretta near S. +Benedetto. This street, more than any other in Rome, retains remnants of +mediæval architecture. On the right (opposite the opening to the west +end of S. Chrisogono) is the entrance to the old <i>Castle of the +Anguillara<a name="vol_2_page_380" id="vol_2_page_380"></a> Family</i>, of whom were Count Pandolfo d'Anguillara already +mentioned, and Everso, his grandson, celebrated for his highway +robberies between Rome and Viterbo in the fifteenth century; also Orso +d'Anguillara, senator of Rome, who crowned Petrarch at the Capitol on +Easter Day, 1341. "The family device, two crossed eels, surmounted by a +helmet, and a wild boar holding a serpent in his mouth, is believed to +refer to the story of the founder of their house, Malagrotta, a second +St. George, who slew a terrible serpent, which had devastated the +district round his abode, and received in recompense from the pope the +gift of as much land as he could walk round in one day."<a name="FNanchor_361_361" id="FNanchor_361_361"></a><a href="#Footnote_361_361" class="fnanchor">[361]</a></p> + +<p>The existing remains consist of an arch, called "L'Arco dell' +Annunziata," and a brick tower, which is now in the possession of a +Signor Forti, who exhibits here, during Epiphany, a remarkably pretty +<i>Presepio</i>, in which the Holy Family and the Shepherds are seen backed +by the real landscape. For those who witness this sight it will be +interesting to turn to the origin of a Presepio.</p> + +<div class="blockquot"><p>"St. Francis asked [of Pope Honorius III. 1223], with his usual +simplicity, to be allowed to celebrate Christmas with certain +unusual ceremonies which had suggested themselves to +him—ceremonies which he must have thought likely to seize upon the +popular imagination and impress the unlearned folk. He would not do +it on his own authority, we are told, lest he should be accused of +levity. When he made this petition, he was bound for the village of +Grecia, a little place not far from Assisi, where he was to remain +during that sacred season. In this village, when the eve of the +nativity approached, Francis instructed a certain grave and worthy +man, called Giovanni, to prepare an ox and an ass, along with a +manger and all the common fittings of a stable, for his use, in the +church. When the solemn night arrived, Francis and his brethren +arranged all these things into a visible representation of the +occurrences of the night at Bethlehem. The manger was filled with +hay,<a name="vol_2_page_381" id="vol_2_page_381"></a> the animals were led into their places; the scene was +prepared as we see it now through all the churches of Southern +Italy—a reproduction, so far as the people know how, in startling +realistic detail of the surroundings of the first Christmas.... We +are told that Francis stood by this, his simple theatrical (for +such, indeed, it was—no shame to him) representation, all the +night long, sighing for joy, and filled with an unspeakable +sweetness."—<i>Mrs. Oliphant, St. Francis.</i></p></div> + +<p>On the left, is the fine <i>Church of S. Chrisogono</i>, founded by Pope +Sylvester, but rebuilt in 731, and again by Cardinal Scipio Borghese +(who modernized so many of the old churches), in 1623. The tower is +mediæval (rebuilt?), but spoilt by whitewash; the portico has four +ancient granite columns. The interior is a basilica, the nave being +separated from the aisles by twenty-two granite columns, and the tribune +from the nave by two magnificent columns of porphyry. The baldacchino, +of graceful proportions, rests on pillars of yellow alabaster. Over the +tabernacle is a picture of the Virgin and Child by the <i>Cav. d'Arpino</i>. +The mosaic in the tribune, probably only the fragment of a larger +design, represents the Madonna and Child enthroned, between St. James +the Great and St. Chrisogonus. The stalls are good specimens of modern +wood-carving. Near the end of the right aisle is the modern tomb of Anna +Maria Taigi, lately beatified and likely to be canonized, though readers +of her life will find it difficult to imagine why,—the great point of +her character being that she was a good wife to her husband, though he +was "ruvido di maniere, e grossolano." Stephen Langton, Archbishop of +Canterbury, was titular cardinal of this church.</p> + +<p>S. Chrisogono, represented in the mosaic as a young knight, stood by +Sta. Anastasia during her martyrdom, exhorting her to patient endurance. +He was afterwards himself<a name="vol_2_page_382" id="vol_2_page_382"></a> beheaded under Diocletian, and his body +thrown into the sea.</p> + +<p>In 1866 an <i>Excubitorium</i> of the <small>VII</small>th cohort of Vigiles (a station of +Roman firemen) was discovered near this church. Several chambers were +tolerably perfect.</p> + +<p>On the left, we pass the <i>Hospital of S. Gallicano</i>, founded by Benedict +XIII. (Orsini), in 1725, as is told by the inscription over the +entrance, for the "neglectis rejectisque ab omnibus." The interior +contains two long halls opening into one another, the first containing +120 beds for men, the second 88 for women. Patients affected with +maladies of the skin are received here to the number of 100. The +principal treatment is by means of baths, which gives the negative, +within these walls, to the Italian saying that "an ancient Roman took as +many baths in a week as a modern Roman in all his life." The +establishment is at present under the management of the Benfratelli +("Fate bene fratelli"). S. Gallicano, to whom the hospital is dedicated, +was a Benfratello of the time of Constantine, who devoted his time and +his fortune to the poor.</p> + +<p>At the upper end of the Via Lungaretta is a piazza with a very handsome +fountain, on one side of which is the <i>Church of Sta. Maria in +Trastevere</i>, supposed to be the first church in Rome dedicated to the +Virgin. It was founded by St. Calixtus in <i>A.D.</i> 224, on the site of the +Taberna-Meritoria, an asylum for old soldiers; where, according to Don +Cassius, a fountain of pure oil sprang up at the time of our Saviour's +birth, and flowed away in one day to the Tiber, a story which gave the +name of "Fons Olei" to the church in early times. It is said that +wine-sellers and tavern-keepers (popinarii) disputed with the early +Christian inhabitants for<a name="vol_2_page_383" id="vol_2_page_383"></a> this site, upon which the latter had raised +some kind of humble oratory, and that they carried their complaint +before Alexander Severus, when the emperor awarded the site to the +Christians, saying, "I prefer that it should belong to those who honour +God, whatever be their form of worship."</p> + +<div class="blockquot"><p>"Ce souvenir augmente encore l'intérêt qui s'attache à l'église de +Santa Maria in Trastevere. Les colonnes antiques de granit égyptien +de cette basilique et les belles mosaïques qui la décorent me +touchent moins que la tradition d'après laquelle elle fut élevée là +où de pauvres chrétiens se rassemblaient dans un cabaret purifié +par leur piété, pour y célébrer le culte qui devait un jour étaler +ses magnificences sous le dôme resplendissant de +Saint-Pierre."—<i>Ampère, Emp.</i> ii. 318.</p></div> + +<p>The church was rebuilt in 340 by Julius I., and after a series of +alterations was again almost entirely reconstructed in 1139 by Innocent +II., as a thanksgiving offering for the submission of the anti-pope. +Eugenius III. (1145—50) finished what was left uncompleted, but the new +basilica was not consecrated till the time of Innocent III. +(1198—1216). The tower, apse, tribune, and mosaics belong to the early +restoration; the rest is due to alterations made by Bernardino +Rossellini for Nicholas V.</p> + +<p>The west façade is covered with mosaics; the upper part—representing +the Saviour throned between angels—and the lower—of palms, the twelve +sheep, and the mystic cities—are additions by Pius IX. in 1869. The +central frieze was begun in the twelfth century under Eugenius III., and +completed in the fourteenth by Pietro Cavallini. It represents the +Virgin and Child enthroned in the midst, and ten female figures, +generally described as the Ten Virgins,—but Hemans remarks:</p> + +<div class="blockquot"><p>"It is evident that such subject cannot have been in the artist's +thoughts, as each stately figure advances towards the throne with +the<a name="vol_2_page_384" id="vol_2_page_384"></a> same devout aspect and graceful serenity, the same faith and +confidence; the sole observable distinctions being that the two +with unlit lamps are somewhat more matronly, their costumes +simpler, than is the case with the rest; and that instead of being +crowned, as are the others, these two wear veils. Explanation of +such attributes may be found in the mystic meaning—the light being +appropriate to virgin saints, the oil taken to signify benevolence +or almsgiving; and we may conclude that those without light +represent wives or widows, the others virgin saints, in this group. +Two other diminutive figures (the scale indicating humility), who +kneel at the feet of Mary, are Innocent II. and Eugenius III., both +vested in the pontifical mantle, but bareheaded. Originally the +Mother and Child <i>alone</i> had the nimbus around the head, as we see +in a water-colour drawing from this original (now in the Barberini +Library) dated 1640, made <i>before</i> a renovation by which that halo +has been given alike to all the female figures. Another much faded +mosaic, the Madonna and Child, under an arched canopy, high up on +the campanile, may perhaps be as ancient as those on the +façade."—<i>Mediæval Christian Art.</i></p></div> + +<p>The portico contains two frescoes of the Annunciation, one of them +ascribed to <i>Cavallini</i>. Its walls are occupied by early Christian and +pagan inscriptions. One, of the time of Trajan, is regarded with +peculiar interest: "<small>MARCUS COCCEUS LIB. AUG. AMBROSIUS PRÆPOSITUS, +VESTIS ALBÆ, TRIUMPHALIS, FECIT, NICE CONJUGI SUÆ CUM QUA VIXIT ANNOS +XXXXV., DIEBUS XI., SINE ULLA QUERELA</small>." Between the doors is preserved a +curious relic—the stone said to have been attached to St. Calixtus when +he was thrown into the well. The interior is that of a basilica. The +nave, paved with opus-alexandrinum, is divided from the aisles by +twenty-two ancient granite columns, whose Ionic capitals are in several +instances decorated with heads of pagan gods. They support a +richly-decorated architrave. The roof, in the centre of which is a +picture of the Assumption of the Virgin, is painted by <i>Domenichino</i>. On +the right of the entrance is a ciborium by Mino da Fiesole. The high +altar covers a confessional, beneath which are the remains of five +early<a name="vol_2_page_385" id="vol_2_page_385"></a> popes, removed from the catacombs. Among the tombs are those of +the painters, Lanfranco and Ciro Ferri, and of Bastari, librarian of the +Vatican, editor of the dictionary of the Della Cruscan Academy, and +canon of this church, ob. 1775.</p> + +<p>Pope Innocent II. is buried here without a tomb.</p> + +<p>In the left transept is a beautiful gothic tabernacle over an altar, +erected by Cardinal d'Alençon, nephew of Charles de Valois, and brother +of Philippe le Bel. On one side is the tomb of that cardinal (the fresco +represents the martyrdom of his patron St. Philip, who is pourtrayed as +crucified with his head downwards like St. Peter); on the other is the +monument of Cardinal Stefaneschi, by <i>Paolo</i>, one of the first sculptors +of the fourteenth century. Opening from hence is a chapel, which has a +curious picture of the Council of Trent by <i>Taddeo Zucchero</i>. At the end +of the right aisle are several more fine tombs of the sixteenth century, +and the chapel of the Madonna di Strada Cupa, designed by <i>Domenichino</i>, +from whose hand is the figure of a child scattering flowers, sketched +out in one corner of the vaulting.</p> + +<p>The upper part of the tribune is adorned with magnificent mosaics, +(restored in modern times by Camuccini,) of the time of Innocent II.</p> + +<div class="blockquot"><p>"In the centre of the principal group on the vault is the Saviour, +seated, with his Mother, crowned and robed like an Eastern Queen, +beside him, both sharing the same gorgeous throne and footstool; +while a hand extends from a fan-like glory with a jewelled crown +held over his head; <i>she</i> (a singular detail here) giving +benediction with the usual action; He embracing her with the left +arm, and in the right hand holding a tablet that displays the words +'Veni, electa mea, et ponam in thronum meum;' to which corresponds +the text, from the song of Solomon, on a tablet in her left hand, +'Læva ejus sub capite meo et dextera illius amplexabitur me.' Below +the heavenly throne stand, each with name inscribed in gold +letters, Innocent II., holding a model of<a name="vol_2_page_386" id="vol_2_page_386"></a> this church; St. +Laurence, in deacon's vestments, with the Gospels and the jewelled +cross; the sainted popes, Calixtus I., Cornelius, and Julius I.; +St. Peter (in classic white vestments), and Calepodius, a martyr of +the third century, here introduced because his body, together with +those of the other saints in the same group, was brought from the +catacombs to this church.</p> + +<p>"As to ecclesiastical costume, this work affords decisive evidence +of its ancient splendour and varieties. We do not see the keys in +the hands of St. Peter, but the large tonsure on his head; that +ecclesiastical badge which he is said to have invented, and which +is sometimes the sole peculiarity (besides the ever-recognisable +type) given to this Apostle in art.</p> + +<p>"Above the archivolt we see a cross between the Alpha and Omega, +and the winged emblems of the Evangelists; laterally, Jeremiah and +Isaiah, each with a prophetic text on a scroll; along a frieze +below, twelve sheep advancing from the holy cities, Jerusalem and +Bethlehem, towards the Divine Lamb, who stands on a mount whence +issue the four rivers of Paradise—or, according to perhaps juster +interpretation, the four streams of gospel truth. Palms and a +phœnix are seen beside the two prophets; also a less common +symbol—caged birds, that signify the righteous soul incarcerated +in the body, or (with highest reference) the Saviour in his assumed +humanity; such accessory reminding of the ancient usage, in some +countries, of releasing birds at funerals, and of that still kept +up amidst the magnificent canonization-rites, of offering various +kinds of birds, in cages, at the papal throne.</p> + +<p>"Remembering the date of the composition before us, about a century +and a half before the time of Cimabue and Giotto, we may hail in +it, if not an actual Renaissance, the dawn, at least, that heralds +a brighter day for art, compared with the deep gloom +previous."—<i>Hemans' Mediæval Christian Art.</i></p></div> + +<p>Below these are another series of mosaics representing six scenes in the +life of the Virgin, the work of Pietro Cavallini, of the thirteenth +century, when they were ordered by Bertoldo Stefaneschi, who is himself +introduced in one of the subjects. In the centre of the tribune is an +ancient marble episcopal throne, raised by a flight of steps.</p> + +<p>In the <i>Sacristy</i> is a picture of the Virgin with S. Rocco and S. +Sebastiano, by <i>Perugino</i>. Here are preserved some<a name="vol_2_page_387" id="vol_2_page_387"></a> beautiful fragments +of mosaics of birds, &c., from the catacombs.</p> + +<p>Outside the right transept of Sta. Maria is a picturesque shrine, and +there are many points about this ancient church which are interesting to +the artist. The palace, which forms one side of the piazza at the west +end of the church, formerly <i>Palazzo Moroni</i>, is now used as the summer +residence of the Benedictine monks of S. Paolo, who are driven from +their convent by the malaria during the hot months. During the +revolutionary government of 1848—49, a number of priests suffered death +here, which has led to the monastery being regarded as "the Carmes of +Rome." The modern <i>Church of S. Calisto</i> contains the well in which he +suffered martyrdom, <small>A.D.</small> 222. This well, now seen through a door near +the altar, was then in the open air, and the pope was thrown into it +from the window of a house in which he had been imprisoned and scourged, +and where he had converted the soldier who was appointed to guard him. +His festival is celebrated here with great splendour by the monks.</p> + +<p>Opposite S. Calisto is the <i>Monastery of St. Anna</i>, in which were passed +the last days of the beautiful and learned Vittoria Colonna. As her +death approached she was removed to the neighbouring house of her +kinsman Giuliano Cesarini, and there she expired (February, 1547) in the +presence of her devoted friend, Michael Angelo, who always regretted +that he had not in that solemn moment ventured to press his lips for the +first and last time to her beautiful countenance. She was buried, by her +own desire, in the convent chapel, without any monument.</p> + +<p>Hence a lane leads to the <i>Church of S. Cosimato</i>, in an open space +facing the hill of S. Rietro in Montorio (where<a name="vol_2_page_388" id="vol_2_page_388"></a> stands of seats are +placed during the Girandola). A courtyard is entered through a low arch +supported by two ancient columns, having a high roof with rich +terra-cotta mouldings,—beautiful in colour. The court contains an +antique fountain, and is exceedingly picturesque. The church has +carefully sculptured details of cornice and moulding; the door is a good +specimen of mediæval wood-carving. The wall on the left of the altar is +occupied by a most beautiful fresco of <i>Pinturicchio</i>, representing St. +Francis and St. Clare standing on either side of the Virgin and Child. +Opening from the end of the left aisle is a very interesting chapel, +decorated with frescoes, and containing a most beautiful altar of the +fifteenth century, in honour of the saints Severa and Fortunata, with +statuettes of Faith, Justice, Charity, and Hope. Attached to the church +is a very large convent of Poor Clares, which produced two saints, +Theodora and Seraphina, in the fifteenth century.</p> + +<p>Following the Via della Scala, on the south side of Sta. Maria in +Trastevere, we reach the <i>Porta Settimiana</i>, built by Alexander VI. on +the site of a gateway raised by Honorius, which marked the position of +an arch of Septimius Severus. This is the entrance of the Via Lungara, +containing the Corsini and Farnesina Palaces (see Chapter XX.). The +gateway has forked battlements, but is much spoilt by recent +plasterings. Near this is <i>Sta. Dorotea</i>, an ugly church, but important +in church history from its connection with the foundation of the Order +of the Theatins, which arose out of a revulsion from the sensuous age of +Leo X.; and as containing the tomb of their founder, Don Gaëtano di +Teatino, the friend of Paul IV.</p> + +<div class="blockquot"><p><a name="vol_2_page_389" id="vol_2_page_389"></a>"Dès le règne de Léon X., quelques symptômes d'une réaction +religieuse se manifestèrent dans les hautes classes de la société +romaine. On vit un certain nombre d'hommes éminents s'affilier les +uns aux autres, afin de trouver dans de saintes pratiques assez de +force pour résister à l'atmosphère énervante qui les entourait. Ils +prirent pour leur association le titre et les emblèmes de l'amour +divin, et ils s'assemblèrent, à des jours déterminés, dans l'église +de Sainte-Dorothée, près de la porte Settimiana. Parmi ces hommes +de foi et d'avenir, on citait un archevêque, Caraffa; un +protonotaire apostolique, Gaëtan de Thiène; un noble Vénitien aussi +distingué par son caractére que par ses talents, Contarini; et +cinquante autres dont les noms rappellaient tons, ou une +illustration ou une haute position sociale, tels que Lippomano, +Sadolet, Ghiberti.</p> + +<p>"Mais bientôt ces premiers essais de rupture avec la tendance +générale des esprits enflammèrent le zèle de plusieurs des membres +de la Congrégation de <i>l'Amour divin</i>. Caraffa surtout, dont l'âme +ardente n'avait trouvé qu'anxiétés et fatigue dans les grandeurs, +aspirait à une vie d'action qui lui permit de s'employer, de tous +ses moyens, à la réforme du monde. Il trouva dans Gaëtan de Thiène +des dispositions conformes à ce qu'il désirait. Gaëtan avait +cependant un caractère très-différent du sien; doué d'une angélique +douceur, craignant de se faire entendre, recherchant la méditation +et la retraite, il eût voulu, lui aussi, réformer le monde, mais il +n'eût pas voulu en être connu. Les qualités diverses de ces deux +hommes rares se combinèrent heureusement dans l'exécution du projet +qu'ils avaient conçu, c'était de former des ecclésiastiques voués, +tout ensemble à la contemplation et à une vie austère, à la +prédication et au soin des malades; des ecclésiastiques qui +donnassent partout au clergé l'exemple de l'accomplissement des +devoirs de sa sainte mission."—<i>Gournerie, Rome Chrétienne</i>, ii. +157.</p> + +<p>"When Dorothea, the maiden of Cæsarea, was condemned to death by +Sapritius, she replied, 'Be it so, then I shall the sooner stand in +the presence of Christ, my spouse, in whose garden are the fruits +of paradise, and roses that never fade.' As she was being led to +execution, the young Theophilus mocking said, 'O maiden, goest thou +to join thy bridegroom? send me then, I pray thee, of the fruits +and flowers which grow in his garden.' And the maiden bowed her +head and smiled, saying, 'Thy request is granted, O Theophilus,' +whereat he laughed, and she went forward to death.</p> + +<p>"And behold, at the place of execution, a beautiful child, with +hair like the sunbeam, stood beside her, and in his hand was a +basket containing three fresh roses and three apples. And she said, +'Take these to Theophilus, and tell him that Dorothea waits for him +in the garden from whence they came.'<a name="vol_2_page_390" id="vol_2_page_390"></a></p> + +<p>"And the child sought Theophilus, and gave him the flowers and the +fruits, saying, 'Dorothea sends thee these,' and vanished. And the +heart of Theophilus melted, and he ate of the fruit from heaven, +and was converted and professed himself one of Christ's servants, +so that he also was martyred, and was translated into the heavenly +garden."—<i>Legend.</i></p></div> + +<p>This story is told in nearly all the pictures of Sta. Dorotea.</p> + +<p>Hence we reach the <i>Ponte Sisto</i>, built 1473—75 by Sixtus IV. in the +place of the Pons Janiculensis, (or, according to Ampère, the Pons +Antoninus,) which Caracalla had erected to reach the garden in the +Trastevere, formerly belonging to his brother Geta,—but which was known +as the Pons Fractus after a flood had destroyed part of it in 792. The +Acts of Eusebius describe the many Christian martyrdoms which took place +from this bridge. S. Symphorosa under Hadrian, S. Sabas under Aurelian, +S. Calepodius under Alexander, and S. Anthimius under Diocletian, were +thrown into the Tiber from hence, with many others, whose bodies, +usually drifting to the island then called Lycaonia, were recovered +there by their faithful disciples.<a name="FNanchor_362_362" id="FNanchor_362_362"></a><a href="#Footnote_362_362" class="fnanchor">[362]</a> An inscription upon the bridge +begs the prayers of the passengers for its papal founder.</p> + +<p>Beautiful views may be obtained from this bridge,—on the one side, of +the island, of the temple of Vesta, and the Alban hills; on the other, +of St. Peter's, rising behind the Farnesina Gardens, and the grand mass +of the Farnese Palace, towering above the less important buildings.</p> + +<div class="blockquot"><p>"They had reached the bridge and stopped to look at the view, +perhaps the most beautiful of all those seen from the Roman +bridges.<a name="vol_2_page_391" id="vol_2_page_391"></a> Looking towards the hills, the Tiber was spanned by Ponte +Rotto, under which the old black mills were turning ceaselessly, +almost level with the tawny water; the sunshine fell full on the +ruins of the Palatine, about the base of which had gathered a crowd +of modern buildings; a brick campanile, of the middle ages, rose +high above them against the blue sky, which was seen through its +open arches; beyond were the Latin Hills; on the other hand, St. +Peter's stood pre-eminent in the distance; nearer, a stack of +picturesque old houses were half hidden by orange-trees, where +golden fruit clustered thickly; women leant from the windows, long +lines of flapping clothes hung out to dry; below, the ferry-boat +was crossing the river, impelled by the current. Modern and ancient +Rome all mingled together—everywhere were thrilling names +connected with all that was most glorious in the past. The moderns +are richer than their ancestors, the past is theirs as well as the +present."—<i>Mademoiselle Mori.</i></p></div> + +<p>Close to the further entrance of the bridge, opposite the Via Giulia, is +the <i>Fountain of the Ponte Sisto</i>, built by Paul V. from a design of +Fontana. The water, which falls in one body from a niche in the wall of +a palace, is discharged a second time from the mouths of two monsters +below.<a name="vol_2_page_392" id="vol_2_page_392"></a></p> + +<h2><a name="CHAPTER_XVIII" id="CHAPTER_XVIII"></a>CHAPTER XVIII.<br /><br /> +THE TRE FONTANE AND S. PAOLO.</h2> + +<div class="blockquot"><p class="hang">The Marmorata—Arco di S. Lazzaro—Protestant Cemetery—Pyramid of +Caius Cestius—Monte-Testaccio—Porta S. Paolo—Chapel of the +Farewell—The Tre Fontane (SS. Vincenzo ed Anastasio—Sta. Maria +Scala Cœli—S. Paolo alle Tre Fontane)—Basilica and Monastery +of S. Paolo.</p></div> + +<p class="nind"><span class="letra">B</span>EYOND the Piazza Bocca della Verità, the <i>Via della Marmorata</i> is +spanned by an arch which nearly marks the site of the <i>Porta Trigemina</i>, +by which Marius fled to Ostia before Sylla in <small>B.C.</small> 88. Near this stood +the statue erected by public subscription to Minucius, whose jealousy +brought about the execution of the patriot Mælius, <small>B.C.</small> 440. Here also +was the temple of Jupiter Inventor, whose dedication was attributed to +the gratitude of Hercules for the restoration of his cattle, carried off +by Cacus to his cave on the neighbouring Aventine.</p> + +<p>It was at the Porta Trigemina that Camillus (<small>B.C.</small> 391), sent into exile +to Ardea by the accusations of the plebs, stayed, and, stretching forth +his hands to the Capitol, prayed to the gods who reigned there that if +he was unjustly expelled, Rome might "one day have need of Camillus."</p> + +<p>Passing the arch, the road skirts the wooded escarpment<a name="vol_2_page_393" id="vol_2_page_393"></a> of the +Aventine, crowned by its three churches—Sta. Sabina, S. Alessio, and +the Priorato.</p> + +<div class="blockquot"><p>"De ce côté, entre l'Aventin et le Tibre, hors de la porte +Trigemina, étaient divers marchés, notamment le marché aux bois, le +marché à la farine et au pain, les <i>horrea</i>, magasins de blés. Le +voisinage de ces marchés, de ces magasins et de l'emporium, +produisait un grand mouvement de transport et fournissait de +l'occupation à beaucoup de portefaix. Plaute<a name="FNanchor_363_363" id="FNanchor_363_363"></a><a href="#Footnote_363_363" class="fnanchor">[363]</a> fait allusion à +ces porteurs de sacs de la porte Trigemina. On peut en voir encore +tous les jours remplir le même office au même lieu."—<i>Ampère, +Hist. Rom.</i> iv. 75.</p></div> + +<p>From the landing-place for modern Carrara marble, a new road on the +right, planted with trees, leads along the river to the ancient +<i>Marmorata</i>, discovered 1867—68, when many magnificent blocks of +ancient marble were found buried in the mud of the Tiber. Recent +excavations have laid bare the inclined planes by which the marbles were +landed, and the projecting bars of stone with rings for mooring the +marble vessels.</p> + +<p>In the neighbouring vineyard are the massive ruins of the <i>Emporium</i>, or +magazine for merchandise, founded by M. Æmilius Lepidus and L. Æmilius +Paulus, the ædiles in <small>B.C.</small> 186. Upon the ancient walls of this time is +engrafted a small and picturesque winepress of the fifteenth century. +The neighbouring vineyard is much frequented by marble collectors.</p> + +<p>A short distance beyond the turn to the Marmorata the main road is +crossed by an ancient brick arch, called <i>Arco di S. Lazzaro</i>, or Arco +della Salara, by the side of which is a hermitage.</p> + +<p>About half a mile beyond this we reach the <i>Porta S.<a name="vol_2_page_394" id="vol_2_page_394"></a> Paolo</i>, built by +Belisarius on the site of the Ancient Porta Ostiensis.</p> + +<p>It was here, just within the Ostian Gate, that the Emperor Claudius, +returning from Ostia to take vengeance upon Messalina, was met by their +two children, Octavia and Britannicus, accompanied by a vestal, who +insisted upon the rights of her Order, and imperiously demanded that the +empress should not be condemned undefended.</p> + +<div class="blockquot"><p>"Totila entra par la porte Asinaria et une autre fois par la porte +Ostiensis, aujourd'hui porte Saint-Paul; par la même porte, +Genséric, que la mer apportait, et qui, en s'embarquant, avait dit +à son pilote: 'Conduis-moi vers le rivage que menace la colère +divine.'"—<i>Ampère, Emp.</i> ii. 325.</p></div> + +<p>Close to this, is the famous <i>Pyramid of Caius Cestius</i>. It is built of +brick, coated with marble, and is 125 feet high, and 100 feet wide at +its square basement. In the midst is a small sepulchral chamber, painted +with arabesques. Two inscriptions on the exterior show that the Caius +Cestius buried here was a prætor, a tribune of the people, and one of +the "Epulones" appointed to provide the sacrificial feasts of the gods. +He died about 30 B.C., leaving Agrippa as his executor, and desiring by +his will that his body might be buried, wrapped up in precious stuffs. +Agrippa, however, applied to him the law which forbade luxurious burial, +and spent the money, partly upon the pyramid and partly upon erecting +two colossal statues in honour of the deceased, of which the pedestals +have been found near the tomb. In the middle ages this was supposed to +be the sepulchre of Remus.</p> + +<div class="blockquot"><p>"Cette pyramide, sauf les dimensions, est absolument semblable aux +pyramides d'Égypte. Si l'on pouvait encore douter que celles-ci<a name="vol_2_page_395" id="vol_2_page_395"></a> +étaient des tombeaux, l'imitation des pyramides égyptiennes dans un +tombeau romain serait un argument de plus pour prouver qu'elles +avaient une destination funéraire. La chambre qu'on a trouvée dans +le monument de Cestius était décorée de peintures dont quelques +unes ne sont pas encore effacées. C'était la coutume des peuples +anciens, notamment des Egyptiens et des Etrusques, de peindre +l'intérieur des tombeaux, que l'on fermait ensuite soigneusement. +Ces peintures, souvent très-considérables, n'étaient que pour le +mort, et ne devaient jamais être vues par l'œil d'un vivant. Il +en était certainement ainsi de celles qui décoraient la chambre +sépulchrale de la pyramide de Cestius, car cette chambre n'avait +aucune entrée. L'ouverture par laquelle on y pénètre aujourd'hui +est moderne. On avait déposé le corps ou les cendres avant de +terminer le monument, on acheva ensuite de la bâtir jusqu'au +sommet."—<i>Ampère, Emp.</i> i. 347.</p></div> + +<div class="blockquot"><p>"St. Paul was led to execution beyond the city walls, upon the road +to Ostia. As he issued forth from the gate, his eyes must have +rested for a moment on that sepulchral pyramid which stood beside +the road, and still stands unshattered, amid the wreck of so many +centuries, upon the same spot. That spot was then only the +burial-place of a single Roman; it is now the burial-place of many +Britons. The mausoleum of Caius Cestius rises conspicuously amongst +humbler graves, and marks the site where Papal Rome suffers her +Protestant sojourners to bury their dead. In England and in +Germany, in Scandinavia and in America, there are hearts which turn +to that lofty cenotaph as the sacred point of their whole horizon; +even as the English villager turns to the grey church tower, which +overlooks the grave-stones of his kindred. Among the works of man, +that pyramid is the only surviving witness of the martyrdom of St. +Paul; and we may thus regard it with yet deeper interest, as a +monument unconsciously erected by a pagan to the memory of a +martyr. Nor let us think they who lie beneath its shadow are indeed +resting (as degenerate Italians fancy) in unconsecrated ground. +Rather let us say, that a spot where the disciples of Paul's faith +now sleep in Christ, so near the soil once watered by his blood, is +doubly hallowed; and that their resting-place is most fitly +identified with the last earthly journey, and the dying glance of +their own patron saint, the apostle of the Gentiles."—<i>Conybeare +and Howson.</i></p></div> + +<p>At the foot of the Pyramid is the <i>Old Protestant Cemetery</i>, a lovely +spot, now closed. Here is the grave of Keats, with the inscription:<a name="vol_2_page_396" id="vol_2_page_396"></a></p> + +<div class="blockquot"><p>"This grave contains all that was mortal of a young English poet, +who, on his death-bed, in the bitterness of his heart at the +malicious power of his enemies, desired these words to be engraven +on his tombstone: 'Here lies one whose name was writ in water.' +February 24, 1821."</p></div> + +<div class="poem"><div class="stanza"> +<span class="i0">"Go thou to Rome—at once the paradise,<br /></span> +<span class="ist">The grave, the city, and the wilderness;<br /></span> +<span class="ist">And where its wrecks like shattered mountains rise,<br /></span> +<span class="ist">And flowering weeds, and fragrant copses dress<br /></span> +<span class="ist">The bones of desolation's nakedness,<br /></span> +<span class="ist">Pass, till the spirit of the spot shall lead<br /></span> +<span class="ist">Thy footsteps to a slope of green access,<br /></span> +<span class="ist">Where, like an infant's smile, over the dead,<br /></span> +<span class="ist">A light of laughing flowers along the grass is spread,<br /></span> +</div><div class="stanza"> +<span class="ist">"And grey walls moulder round, on which dull Time<br /></span> +<span class="ist">Feeds, like slow fire upon a hoary brand;<br /></span> +<span class="ist">And one keen pyramid, with wedge sublime,<br /></span> +<span class="ist">Pavilioning the dust of him who planned<br /></span> +<span class="ist">This refuge for his memory, doth stand<br /></span> +<span class="ist">Like flame transformed to marble; and beneath<br /></span> +<span class="ist">A field is spread, on which a newer band<br /></span> +<span class="ist">Have pitched in Heaven's smile their camp of death,<br /></span> +<span class="ist">Welcoming him we lose with scarce extinguished breath."<br /></span> +<span class="i15"><i>Shelley's Adonais.</i><br /></span> +</div></div> + +<p>Very near the grave of Keats is that of Augustus William Hare, the elder +of the two brothers who wrote the "Guesses at Truth," ob. 1834.</p> + +<div class="blockquot"><p>"When I am inclined to be serious, I love to wander up and down +before the tomb of Caius Cestius. The Protestant burial-ground is +there, and most of the little monuments are erected to the +young—young men of promise, cut off when on their travels full of +enthusiasm, full of enjoyment; brides, in the bloom of their +beauty, on their first journey; or children borne from home in +search of health. This stone was placed by his fellow-travellers, +young as himself, who will return to the house of his parents +without him; that, by a husband or a father, now in his native +country. His heart is buried in that grave.</p> + +<p>"It is a quiet and sheltered nook, covered in the winter with +violets; and the pyramid, that overshadows it, gives it a classic +and singularly solemn air. You feel an interest there, a sympathy +you were<a name="vol_2_page_397" id="vol_2_page_397"></a> not prepared for. You are yourself in a foreign land; and +they are for the most part your countrymen. They call upon you in +your mother tongue—in English—in words unknown to a native, known +only to yourself: and the tomb of Cestius, that old majestic pile, +has this also in common with them. It is itself a stranger among +strangers. It has stood there till the language spoken round about +it has changed; and the shepherd, born at the foot, can read the +inscription no longer."—<i>Rogers.</i></p></div> + +<p>The <i>New Burial Ground</i> was opened in 1825. It extends for some distance +along the slope of the hill under the old Aurelian Wall, and is +beautifully shaded by cypresses, and carpeted with violets. Amid the +forest of tombs we may notice that which contains the heart of Shelley +(his body having been burnt upon the shore at Lerici, where it was +thrown up by the sea), inscribed:</p> + +<div class="blockquot"><p>"Percy Bysshe Shelley, Cor Cordium. Natus <small>IV.</small> Aug. <small>MDCCXCII.</small> Obiit +<small>VIII.</small> Jul. <small>MDCCCXXII.</small></p> + +<div class="poem"><div class="stanza"> +<span class="i0">'Nothing of him that doth fade,<br /></span> +<span class="ist">But doth suffer a sea change<br /></span> +<span class="ist">Into something rich and strange.'"<br /></span> +</div></div></div> + +<p>Another noticeable tomb is that of Gibson the sculptor, who died 1868.</p> + +<p>From the fields in front of the cemetery (<i>Prati del Popolo Romano</i>) +rises the <i>Monte Testaccio</i>, only 160 feet in height, but worth +ascending for the sake of the splendid view it affords. The +extraordinary formation of this hill, which is entirely composed of +broken pieces of pottery, has long been an unexplained bewilderment.</p> + +<div class="blockquot"><p>"Le Monte-Testaccio est pour moi des nombreux problèmes qu'offrent +les antiquités romaines le plus difficile à résoudre. On ne peut +s'arrêter à discuter sérieusement la tradition d'après laquelle il +aurait été formé avec les débris des vases contenant les tributs +qu'apportaient à Rome les peuples soumis par elle. C'est là +évidemment une légende du moyen âge née du souvenir de la grandeur +romaine et imaginée pour exprimer la<a name="vol_2_page_398" id="vol_2_page_398"></a> haute idée qu'on s'en +faisait, comme on avait imaginé ces statues de provinces placées au +Capitole, et dont chacune portait au cou une cloche qui sonnait +tout-à-coup d'elle-même, quand une province se soulevait, comme on +a prétendu que le lit du Tibre était pavé en airain par les tributs +apportés aux empereurs romains. Il faut donc chercher une autre +explication."—<i>Ampère, Emp.</i> ii. 386.</p></div> + +<p>Just outside the Porta S. Paolo is (on the right) a vineyard which +belonged to Sta. Francesca Romana (born 1384, canonized 1608 by Paul +V.).</p> + +<div class="blockquot"><p>"Instead of entering into the pleasures to which her birth and +riches entitled her, Sta. Francesca went every day, disguised in a +coarse woollen garment, to her vineyard, and collected faggots, +which she brought into the city on her head, and distributed to the +poor. If the weight exceeded her womanly strength, she loaded +therewith an ass, following after on foot in great +humility."—<i>Mrs. Jameson's Monastic Orders.</i></p></div> + +<p>A straight road a mile and a half long leads from the gate to the +basilica. Half way (on the left) is the humble chapel which commemorates +the farewell of St. Peter and St. Paul on their way to martyrdom, +inscribed:</p> + +<div class="blockquot"><p>"In this place SS. Peter and Paul separated on their way to +martyrdom.</p> + +<p>"And Paul said to Peter, 'Peace be with thee, Foundation of the +Church, Shepherd of the flock of Christ.'</p> + +<p>"And Peter said to Paul, 'Go in peace, Preacher of good tidings, +and Guide of the salvation of the just.'"<a name="FNanchor_364_364" id="FNanchor_364_364"></a><a href="#Footnote_364_364" class="fnanchor">[364]</a></p></div> + +<p>Passing the basilica, which looks outside like a very ugly railway +station, let us visit the scene of the martyrdom, before entering the +grand church which arose in consequence.</p> + +<p>The road we now traverse is the scene of the legend of Plautilla.<a name="vol_2_page_399" id="vol_2_page_399"></a></p> + +<div class="blockquot"><p>"St. Paul was beheaded by the sword outside the Ostian gate, about +two miles from Rome, at a place called the Aqua Salvias, now the +'Tre Fontane.' The legend of his death relates that a certain Roman +matron named Plautilla, one of the converts of St. Peter, placed +herself on the road by which St. Paul passed to his martyrdom, to +behold him for the last time; and when she saw him she wept +greatly, and besought his blessing. The apostle then, seeing her +faith, turned to her, and begged that she would give him her veil +to blind his eyes when he should be beheaded, promising to return +it to her after his death. The attendants mocked at such a promise, +but Plautilla, with a woman's faith and charity, taking off her +veil, presented it to him. After his martyrdom, St. Paul appeared +to her, and restored the veil stained with his blood.</p> + +<p>"In the ancient representations of the martyrdom of St. Paul, the +legend of Plautilla is seldom omitted. In the picture by Giotto in +the sacristy of St. Peter's, Plautilla is seen on an eminence in +the background, receiving the veil from the hands of St. Paul, who +appears in the clouds above; the same representation, but little +varied, is executed in bas-relief on the bronze doors of St. +Peter's."—<i>Jameson's Sacred Art.</i></p></div> + +<p>The lane which leads to the Tre Fontane turns off to the left a little +beyond S. Paolo.</p> + +<div class="blockquot"><p>"In all the melancholy vicinity of Rome, there is not a more +melancholy spot than the Tre Fontane. A splendid monastery, rich +with all the offerings of Christendom, once existed there: the +ravages of that mysterious scourge of the Campagna, the malaria, +have rendered it a desert; three ancient churches and some ruins +still exist, and a few pale monks wander about the swampy dismal +confines of the hollow in which they stand. In winter you approach +them through a quagmire; in summer, you dare not breathe in their +pestilential vicinity; and yet there is a sort of dead beauty about +the place, something hallowed as well as sad, which seizes on the +fancy."—<i>Jameson's Sacred Art.</i></p></div> + +<p>The convent was bestowed in 1867 by Pius IX. upon the French Trappists, +and twelve brethren of the Order went to reside there. Entering the +little enclosure, the first church on the right is <i>Sta. Maria Scala +Cœli</i>, supposed to occupy the site of the cemetery of S. Zeno, in +which the 12,000 Christians employed in building the Baths of Diocletian +were buried. The present edifice was the work of Vignola and<a name="vol_2_page_400" id="vol_2_page_400"></a> Giacomo +della Porta in 1582. The name is derived from the legend that here St. +Bernard had a vision of a ladder which led to heaven, its foot resting +on this church, and of angels on the ladder leading upwards the souls +whom his prayers had redeemed from purgatory. The mosaics in the apse +were the work of <i>F. Zucchero</i>, in the sixteenth century, and are +perhaps the best of modern mosaics. They represent the saints Zeno, +Bernard, Vincenzo, and Anastasio, adored by Pope Clement VIII. and +Cardinal Aldobrandini, under whom the remodelling of the church took +place.</p> + +<p>The second church is the basilica of <i>SS. Vincenzo ed Anastasio</i>, +founded by Honorius I. (625), and restored by Honorius III. (1221), when +it was consecrated afresh. It is approached by an atrium with a +penthouse roof, supported by low columns, and adorned with decaying +frescoes, among which the figure of Honorius III. may be made out. The +interior, which reeks with damp, is almost entirely of the twelfth +century. The pillars are adorned with coarse frescoes of the apostles.</p> + +<div class="blockquot"><p>"S. Vincenzo alle Tre Fontane so far deviates from the usual +basilican arrangement as almost to deserve the appellation of +gothic. It has the same defect as all the rest—its pier arches +being too low, for which there is no excuse here; but both +internally and externally it shows a uniformity of design, and a +desire to make every part ornamental, that produces a very pleasing +effect, although the whole is merely of brick, and ornament is so +sparingly applied as only just to prevent the building sinking to +the class of mere utilitarian erections."—<i>Fergusson's Handbook of +Architecture,</i> vol. ii.</p></div> + +<div class="blockquot"><p>The two saints whose relics are said to repose here were in no wise +connected in their lifetime. S. Vincenzo, who suffered <small>A.D.</small> 304, +was a native of Saragossa, cruelly tortured to death at Valencia, +under Dacian, by being racked on a slow fire over a gridiron, "of +which the bars were framed like scythes." His story is told with +horrible detail by Prudentius. Anastasius, who died <small>A.D.</small> 628, was a +native of Persia, who had become a Christian and taken the monastic +habit at a convent near<a name="vol_2_page_401" id="vol_2_page_401"></a> Jerusalem. He was tortured and finally +strangled, under Chosroes, at Barsaloe, in Assyria. He is not known +to be represented anywhere in art, save in the almost obliterated +frescoes in the atrium of this church.</p></div> + +<p>The third church, <i>S. Paolo alle Tre Fontane</i>, was built by Giacomo +della Porta for Cardinal Aldobrandini in 1590. It contains the pillars +to which St. Paul is said to have been bound, the block of marble upon +which he is supposed to have been beheaded, and the three fountains +which sprang forth, wherever the severed head struck the earth during +three bounds which it made after decapitation. In proof of this story, +it is asserted that the water of the first of these fountains is still +warm, of the second tepid, of the third cold. Three modern altars above +the fountains are each decorated with a head of the apostle in +bas-relief.</p> + +<div class="blockquot"><p>"A la première, l'âme vient à l'instant même de s'échapper du +corps. Ce chef glorieux est plein de vie! A la seconde, les ombres +de la mort couvrent déjà ses admirables traits; à la troisième, le +sommeil éternel les a envahis, et, quoique demeurés tout rayonnants +de beauté, ils disent, sans parler, que dans ce monde ces lèvres ne +s'entr'ouvriront plus, et que ce regard d'aigle s'est voilé pour +toujours."—<i>Une Chrétienne à Rome.</i><a name="FNanchor_365_365" id="FNanchor_365_365"></a><a href="#Footnote_365_365" class="fnanchor">[365]</a></p></div> + +<p>The pavement is an ancient mosaic representing the Four Seasons, brought +from the excavations at Ostia. The interior of this church has been +beautified at the expense of a French nobleman, and the whole enclosure +of the Tre Fontane has been improved by Mgr. de Merode.<a name="vol_2_page_402" id="vol_2_page_402"></a></p> + +<div class="blockquot"><p>"As the martyr and his executioners passed on (from the Ostian +gate), their way was crowded with a motley multitude of goers and +comers between the metropolis and its harbour—merchants hastening +to superintend the unlading of their cargoes—sailors eager to +squander the profits of their last voyage in the dissipations of +the capital—officials of the government charged with the +administration of the provinces, or the command of the legions on +the Euphrates or the Rhine—Chaldean astrologers—Phrygian +eunuchs—dancing-girls from Syria, with their painted +turbans—mendicant priests from Egypt, howling for Osiris—Greek +adventurers, eager to coin their national cunning into Roman +gold—representatives of the avarice and ambition, the fraud and +lust, the superstition and intelligence, of the Imperial world. +Through the dust and tumult of that busy throng, the small troop of +soldiers threaded their way silently, under the bright sky of an +Italian midsummer. They were marching, though they knew it not, in +a procession more really triumphal than any they had ever followed, +in the train of general or emperor, along the Sacred Way. Their +prisoner, now at last and for ever delivered from captivity, +rejoiced to follow his Lord 'without the gate.' The place of +execution was not far distant, and there the sword of the headsman +ended his long course of sufferings, and released that heroic soul +from that feeble body. Weeping friends took up his corpse, and +carried it for burial to those subterranean labyrinths, where, +through many ages of oppression, the persecuted Church found refuge +for the living, and sepulchres for the dead.</p> + +<p>"Thus died the apostle, the prophet, and the martyr, bequeathing to +the Church, in her government, and her discipline, the legacy of +his apostolic labours; leaving his prophetic words to be her living +oracles; pouring forth his blood to be the seed of a thousand +martyrdoms. Thenceforth, among the glorious company of the +apostles, among the goodly fellowship of the prophets, among the +noble army of martyrs, his name has stood pre-eminent. And +wheresoever the holy Church throughout all the world doth +acknowledge God, there Paul of Tarsus is revered, as the great +teacher of a universal redemption and a catholic religion—the +herald of glad tidings to all mankind."—<i>Conybeare and Howson</i>.</p></div> + +<p>Let us now return to the grand Basilica which arose to commemorate the +martyrdom on this desolate site, and which is now itself standing alone +on the edge of the Campagna, entirely deserted except by a few monks +who<a name="vol_2_page_403" id="vol_2_page_403"></a> linger in its monastery through the winter months, but take flight +to St. Calisto before the pestilential malaria of the summer,—though in +the middle ages it was not so, when S. Paolo was surrounded by the +flourishing fortified suburb of Joanopolis (so called from its founder, +John VIII.), whose possession was sharply contested in the wars between +the popes and anti-popes.<a name="FNanchor_366_366" id="FNanchor_366_366"></a><a href="#Footnote_366_366" class="fnanchor">[366]</a></p> + +<p>The first church on this site was built in the time of Constantine, on +the site of the vineyard of the Roman matron Lucina, where she first +gave a burial-place to the apostle. This primal oratory was enlarged +into a basilica in 386 by the emperors Valentinian II. and Theodosius. +The church was restored by Leo III. (795—816), and every succeeding +century increased its beauty and magnificence. The sovereigns of +England, before the Reformation, were protectors of this basilica—as +those of France are of St. John Lateran, and of Spain of Sta. Maria +Maggiore—and the emblem of the Order of the Garter may still be seen +amongst its decorations.</p> + +<div class="blockquot"><p>"The very abandonment of this huge pile, standing in solitary +grandeur on the banks of the Tiber, was one source of its value. +While it had been kept in perfect repair, little or nothing had +been done to modernize it, and alter its primitive form and +ornaments, excepting the later addition of some modern chapels +above the transept; it stood naked and almost rude, but +unencumbered with the lumpish and tasteless plaster encasement of +the old basilica in a modern Berninesque church, which had +disfigured the Lateran cathedral under pretence of supporting it. +It remained genuine, though bare, as S. Apollinare in Classe, at +Ravenna, the city eminently of unspoiled basilicas. No chapels, +altars, or mural monuments softened the severity of its outlines; +only the series of papal portraits, running round the upper line of +the walls, redeemed this sternness. But the unbroken files of +columns<a name="vol_2_page_404" id="vol_2_page_404"></a> along each side, carried the eye forward to the great +central object, the altar and its 'Confession;' while the secondary +row of pillars, running behind the principal ones, gave depth and +shadow, mass and solidity, to back up the noble avenue along which +one glanced."—<i>Cardinal Wiseman.</i></p></div> + +<p>On the 15th of July, 1823, this magnificent basilica was almost totally +destroyed by fire, on the night which preceded the death of Pope Pius +VII.</p> + +<div class="blockquot"><p>"Quelque-chose de mystérieux s'est lié dans l'esprit des Romains à +l'incendie de St. Paul, et les gens à l'imagination de ce peuple +parlent avec ce sombre plaisir qui tient à la mélancolie, ce +sentiment si rare en Italie, et si fréquent en Allemagne. Dans le +grand nef, sur le mur, au dessus des colonnes, se trouvait la +longue suite des portraits de tous les papes, et le peuple de Rome +voyait avec inquiétude qu'il n'y avait plus de place pour le +portrait du successeur de Pie VII. De là les fruits de la +suppression du saint-siège. Le vénérable pontife, qui était presqu' +un martyre aux yeux de ses sujets, touchait à ses derniers moments +lorsqu'arriva l'incendie de Saint-Paul. Il eut lieu dans la nuit du +15 au 16 Juillet, 1823; cette même nuit, le pape, presque mourant, +fut agité par un songe, qui lui présentait sans cesse un grand +malheur arrivé à l'église de Rome. Il s'éveilla en sursaut +plusieurs fois, et demanda s'il n'était rien arrivé de nouveau. Le +lendemain, pour ne pas aggraver son état, on lui cacha l'incendie, +et il est mort après sans l'avoir jamais su."—<i>Stendhal</i>, ii. 94.</p></div> + +<div class="blockquot"><p>"Not a word was said to the dying Pius VII. of the destruction of +St. Paul. For at St. Paul's he had lived as a quiet monk, engaged +in study and in teaching, and he loved the place with the force of +an early attachment. It would have added a mental pang to his +bodily sufferings to learn the total destruction of that venerable +sanctuary, in which he had drawn down by prayer the blessings of +heaven on his youthful labour."—<i>Wiseman, Life of Pius VII.</i></p></div> + +<p>The restoration of the basilica was immediately begun, and a large +contribution levied for the purpose from all Roman Catholic countries. +In 1854 it was re-opened in its present form by Pius IX. Its exterior is +below contempt; its interior, supported by eighty granite columns, is +most striking and magnificent, but it is cold and uninteresting<a name="vol_2_page_405" id="vol_2_page_405"></a> when +compared with the ancient structure, "rich with inestimable remains of +ancient art, and venerable from a thousand associations."<a name="FNanchor_367_367" id="FNanchor_367_367"></a><a href="#Footnote_367_367" class="fnanchor">[367]</a></p> + +<p>If we approach the basilica by the door on the side of the monastery, we +enter, first, a portico, containing a fine statue of Gregory XVI., and +many fragments of the ancient mosaics, collected after the fire;—then, +a series of small chapels which were not burnt, from the last of which +ladies can look into the beautiful <i>cloister</i> of the twelfth century, +which they are not permitted to enter, but which men may visit (through +the sacristy), and inspect its various architectural remains, and a fine +sarcophagus, adorned with reliefs of the story of Apollo and Marsyas.</p> + +<p>The church is entered by the south end of the transept. Hence we look +down upon the nave (306 feet long and 222 wide) with its four ranges of +granite columns (quarried near the Lago Maggiore), surmounted by a +mosaic series of portraits of the popes, each five feet in +diameter,—most of them of course being imaginary. The grand triumphal +arch which separates the transept from the nave is a relic of the old +basilica, and was built by Galla-Placidia, sister of Honorius, in 440. +On the side towards the nave it is adorned with a mosaic of Christ +adored by the twenty-four elders, and the four beasts of the +Revelation;—on that towards the transept by the figure of the Saviour, +between St Peter and St. Paul.</p> + +<p>It bears two inscriptions, the first:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Theodosius cœpit,—perfecit Honorius aulam<br /></span> +<span class="ist">Doctoris mundi sacratam corpore Pauli."<br /></span> +</div></div> + +<p>The other, especially interesting as the only inscription<a name="vol_2_page_406" id="vol_2_page_406"></a> commemorating +the great pope who defended Rome against Attila:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Placidiæ pia mens operis decus homne (<i>sic</i>) paterni<br /></span> +<span class="ist">Gaudet pontificis studio splendere Leonis."<br /></span> +</div></div> + +<p>The mosaics of the tribune, also preserved from the fire, were designed +by <i>Cavallini</i>, a pupil of Giotto, in the thirteenth century, and were +erected by Honorius III. They represent the Saviour with St. Peter and +St Andrew on the right, and St Paul and St Luke on the left,—and +beneath these twelve apostles and two angels. The Holy Innocents +(supposed to be buried in this church!) are represented lying at the +feet of our Saviour.</p> + +<div class="blockquot"><p>"In the mosaics of the old basilica of S. Paolo the Holy Innocents +were represented by a group of small figures holding palms, and +placed immediately beneath the altar or throne, sustaining the +gospel, the cross, and the instruments of the passion of our Lord. +Over these figures was the inscription, H. I. S. +<span class="smcap">Innocentes</span>."—<i>Jameson's Sacred Art.</i></p></div> + +<p>Beneath the triumphal arch stands the ugly modern baldacchino, which +encloses the ancient altar canopy, erected, as its inscription tells us, +by Arnolphus and his pupil Petrus, in 1285. In front is the +"Confession," where the Apostle of the Gentiles is believed to repose. +The baldacchino is inscribed:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Tu es vas electionis,<br /></span> +<span class="ist">Sancte Paule Apostole,<br /></span> +<span class="ist">Prædicator veritatis<br /></span> +<span class="ist">In universo mundo."<br /></span> +</div></div> + +<p>It is supported by four pillars of Oriental alabaster, presented by +Mehemet Ali, pasha of Egypt. The altars of malachite, at the ends of the +transepts, were given by the Emperor Nicholas of Russia.<a name="vol_2_page_407" id="vol_2_page_407"></a></p> + +<div class="blockquot"><p>"Les schismatiques et les mussulmans eux-mêmes sont venus rendre +hommage à ce souverain de la parole, qui entraînait les peuples au +martyre et subjuguait toutes les nations."—<i>Une Chrétienne à +Rome.</i></p></div> + +<p>In a building so entirely modern, there are naturally few individual +objects of interest. Among those saved<a name="FNanchor_368_368" id="FNanchor_368_368"></a><a href="#Footnote_368_368" class="fnanchor">[368]</a> from the old basilica, is +the magnificent paschal candlestick, covered with sculpture in +high-relief. The altar at the south end of the transept has an +altar-piece representing the Assumption, by <i>Agricola</i>, and statues of +St. Benedict, <i>Baini</i>, and Sta. Scholastica, by <i>Tenerani</i>. Of the two +chapels between this and the tribune, the first has a statue of St. +Benedict by <i>Tenerani</i>; the second, the Cappella del Coro, was saved +from the fire, and is by <i>Carlo Maderno</i>.</p> + +<p>The altar at the north end of the transept is dedicated to St. Paul, and +has a picture of his conversion, by <i>Camuccini</i>. At the sides are +statues of St. Gregory by <i>Laboureur</i> and of S. Romualdo by <i>Stocchi</i>. +Of the chapels between this and the tribune, the first, dedicated to St. +Stephen, has a statue of the saint, by <i>Rinaldi</i>; the second is +dedicated to St. Bridget (Brigitta Brahe), and contains the famous +crucifix of Pietro Cavallini, which is said to have spoken to her in +1370.</p> + +<div class="blockquot"><p>"Not far from the chancel is a beautiful chapel, dedicated to St. +Bridget, and ornamented with her statue in marble. During her +residence in Rome, she frequently came to pray in this church; and +here is preserved, as a holy relic, the cross from which, during +her ecstatic devotion, she seemed to hear a voice +proceeding."—<i>Frederika Bremer.</i></p></div> + +<p>The upper walls of the nave are decorated with frescoes by <i>Galiardi</i>, +<i>Podesti</i>, and other modern artists.<a name="vol_2_page_408" id="vol_2_page_408"></a></p> + +<p>The two great festivals of St. Paul are solemnly observed in this +basilica upon January 25 and June 30, and that of the Holy Innocents +upon December 28.</p> + +<p>Very near S. Paolo, the main branch of the little river Almo, the +"cursuque brevissimus Almo" of Ovid, falls into the Tiber. This is the +spot where the priests of Cybele used to wash her statue and the sacred +vessels of her temple, and to raise their loud annual lamentation for +the death of her lover, the shepherd Atys:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Est locus, in Tiberim quo lubricus influit Almo,<br /></span> +<span class="i2">Et nomen magno perdit ab amne minor,<br /></span> +<span class="ist">Illic purpurea canus cum veste sacerdos,<br /></span> +<span class="i2">Almonis dominam sacraque lavit aquis."<br /></span> +<span class="i15"><i>Ovid, Fast.</i> iv. 337.<br /></span> +</div></div> + +<div class="poem"><div class="stanza"> +<span class="i0">"Phrygiæque matris Almo quà levat ferrum."<br /></span> +<span class="i15"><i>Martial, Ep.</i> iii. 472.<br /></span> +</div></div> + +<div class="blockquot"><p>"Un vieux prêtre de Cybèle, vêtu de pourpre, y lavait chaque année +la pierre sacrée de Pessinunte, tandis que d'autres prêtres +poussaient des hurlements, frappaient sur le tambour de basque +qu'on place aux mains de Cybèle, soufflaient avec fureur dans les +flûtes phrygiennes, et que l'on se donnait la discipline,—ni plus +ni moins qu'on le fait encore dans l'église des <i>Caravite</i>,—avec +des fouets garnis de petits cailloux ou d'osselets."—<i>Ampère, +Hist. Rom.</i> iii. 145.</p></div> + +<p>The Campagna on this side of Rome is perhaps more stricken by malaria +than any other part, and is in consequence more utterly deserted. That +this terrible scourge has followed upon the destruction of the villas +and gardens which once filled the suburbs of Rome, and that it did not +always exist here, is evident from the account of Pliny, who says:</p> + +<div class="blockquot"><p>"Such is the happy and beautiful amenity of the Campagna that it +seems to be the work of a rejoicing nature. For truly so it appears +in the vital and perennial salubrity of its atmosphere (<i>vitalis ac +perennis salubritatis cœli temperies</i>), in its fertile plains, +sunny hills, healthy<a name="vol_2_page_409" id="vol_2_page_409"></a> woods, thick groves, rich varieties of trees, +breezy mountains, fertility in fruits, vines, and olives, its noble +flocks of sheep, abundant herds of cattle, numerous lakes, and +wealth of rivers and streams pouring in upon its many seaports, in +whose lap the commerce of the world lies, and which run largely +into the sea as it were to help mortals."</p></div> + +<p>Under the emperors, the town of Ostia (founded by Ancus Martius) reached +such a degree of prosperity, that its suburbs are described as joining +those of Rome, so that one magnificent street almost united the two. +There is now, beyond S. Paolo, a road through a desert, only one human +habitation breaking the utter solitude.<a name="vol_2_page_410" id="vol_2_page_410"></a></p> + +<h2><a name="CHAPTER_XIX" id="CHAPTER_XIX"></a>CHAPTER XIX.<br /><br /> +THE VILLAS BORGHESE, MADAMA, AND MELLINI.</h2> + +<div class="blockquot"><p class="hang">Protestant Churches—Villa Borghese—Raphael's Villa—Casino and +Villa of Papa Giulio—(Claude's +Villa—Arco-Oscuro—Acqua-Acetosa)—Chapel of St. +Andrew—Ponte-Molle (Castle of Crescenza—Prima Porta—The +Crimera—The Allia)—(The Via Cassia)—Villa Madama—Monte +Mario—Villa Mellini—Porta Angelica.</p></div> + +<p class="nind"><span class="letra">I</span>MMEDIATELY outside the Porta del Popolo, on the left, are the English +and American churches.</p> + +<div class="blockquot"><p>"As to the position selected for these buildings, it is to be +observed that, although restricted by the regulations of the Roman +Catholic hierarchy to a locality outside the walls, the greatest +possible attention has been paid to the convenience of the English, +the great majority of whose dwelling-houses are in this immediate +quarter. The English church in Rome, therefore, though nominally +outside the walls, is really, as regards centrality, in the very +heart of the city. The greatest possible facilities are afforded by +the authorities to our countrymen in all matters relating to the +establishment; and though the general behaviour of the Roman +inhabitants is such as to render the precaution almost unnecessary, +the protection of the police and military is invariably afforded +during the hours of divine service.... Whatever be the +disagreements on points of religious faith between Protestant and +Catholic, there is at least one point of feeling in common between +both in this respect; for the streets are tranquil, the shops are +shut, the demeanour of the people is decent and orderly, and, +notwithstanding the distance<a name="vol_2_page_411" id="vol_2_page_411"></a> from England, Sunday feels more like +a Sunday at Rome than in any other town in Europe."—<i>Sir G. Head's +"Tour in Rome."</i></p></div> + +<p>The papal government of Rome had more tolerance for a religion which was +not its own than that of the early emperors. Augustus refused to allow +the performance of Egyptian rites within a mile of the city walls.</p> + +<p>On the right of the Gate is the handsome entrance of the beautiful +<i>Villa Borghese</i>, most liberally thrown open to the public on every day +except Monday, when the Villa Doria is open.</p> + +<div class="blockquot"><p>"The entrance to the Villa Borghese is just outside the Porta del +Popolo. Passing beneath that not very impressive specimen of +Michael Angelo's architecture, a minute's walk will transport the +visitor from the small uneasy lava stones of the Roman pavement, +into broad, gravelled carriage drives, whence a little further +stroll brings him to the soft turf of a beautiful seclusion. A +seclusion, but seldom a solitude; for priest, noble, and populace, +stranger and native, all who breathe the Roman air, find free +admission, and come hither to taste the languid enjoyment of the +day-dream which they call life.</p> + +<p>"The scenery is such as arrays itself to the imagination when we +read the beautiful old myths, and fancy a brighter sky, a softer +turf, a more picturesque arrangement of venerable trees, than we +find in the rude and untrained landscapes of the western world. The +ilex-trees, so ancient and time-honoured are they, seem to have +lived for ages undisturbed, and to feel no dread of profanation by +the axe anymore than overthrow by the thunder-stroke. It has +already passed out of their dreamy old memories that only a few +years ago they were grievously imperilled by the Gauls' last +assault upon the walls of Rome. As if confident in the long peace +of their lifetime, they assume attitudes of evident repose. They +lean over the green turf in ponderous grace, throwing abroad their +great branches without danger of interfering with other trees, +though other majestic trees grow near enough for dignified society, +but too distant for constraint. Never was there a more venerable +quietude than that which sleeps among their sheltering boughs; +never a sweeter sunshine than that which gladdens the gentle bloom +which these leafy patriarchs strive to diffuse over the swelling +and subsiding lawns.</p> + +<p>"In other portions of the grounds the stone pines lift their dense<a name="vol_2_page_412" id="vol_2_page_412"></a> +clumps of branches upon a slender length of stem, so high that they +look like green islands in the air, flinging down a shadow upon the +turf so far off that you scarcely know which tree has made it.</p> + +<p>"Again, there are avenues of cypress, resembling dark flames of +huge funeral candles, which spread dusk and twilight round about +them instead of cheerful radiance. The more open spots are all +a-bloom, early in the season, with anemones of wondrous size, both +white and rose-coloured, and violets that betray themselves by +their rich fragrance, even if their blue eyes fail to meet your +own. Daisies, too, are abundant, but larger than the modest little +English flower, and therefore of small account.</p> + +<p>"These wooded and flowery lawns are more beautiful than the finest +English park scenery, more touching, more impressive, through the +neglect that leaves nature so much to her own ways and methods. +Since man seldom interferes with her, she sets to work in her quiet +way and makes herself at home. There is enough of human care, it is +true, bestowed long ago, and still bestowed, to prevent wildness +from growing into deformity; and the result is an ideal landscape, +a woodland scene that seems to have been projected out of the +poet's mind. If the ancient Faun were other than a mere creation of +old poetry, and could reappear anywhere, it must be in such a scene +as this.</p> + +<p>"In the openings of the wood there are fountains plashing into +marble basons, the depths of which are shaggy with water-weeds; or +they tumble like natural cascades from rock to rock, sending their +murmur afar, to make the quiet and silence more appreciable. +Scattered here and there with careless artifice, stand old altars, +bearing Roman inscriptions. Statues, grey with the long corrosion +of even that soft atmosphere, half hide and half reveal themselves, +high on pedestals, or perhaps fallen and broken on the turf. +Terminal figures, columns of marble or granite porticoes and +arches, are seen in the vistas of the wood-paths, either veritable +relics of antiquity, or with so exquisite a touch of artful ruin on +them that they are better than if really antique. At all events, +grass grows on the tops of the shattered pillars, and weeds and +flowers root themselves in the chinks of the massive arches and +fronts of temples, as if this were the thousandth summer since +their winged seeds alighted there.</p> + +<p>"What a strange idea—what a needless labour—to construct +artificial ruins in Rome, the native soil of ruin! But even these +sportive imitations, wrought by man in emulation of what time has +done to temples and palaces, are perhaps centuries old, and, +beginning as illusions, have grown to be venerable in sober +earnest. The result of all is a scene,<a name="vol_2_page_413" id="vol_2_page_413"></a> such as is to be found +nowhere save in these princely villa-residences in the +neighbourhood of Rome; a scene that must have required generations +and ages, during which growth, decay, and man's intelligence +wrought kindly together, to render it so gently wild as we behold +it now.</p> + +<p>"The final charm is bestowed by the malaria. There is a piercing, +thrilling, delicious kind of regret in the idea of so much beauty +being thrown away, or only enjoyable at its half-development, in +winter and early spring, and never to be dwelt amongst, as the home +scenery of any human being. For if you come hither in summer, and +stray through these glades in the golden sunset, fever walks +arm-in-arm with you, and death awaits you at the end of the dim +vista. Thus the scene is like Eden in its loveliness; like Eden, +too, in the fatal spell that removes it beyond the scope of man's +actual possessions."—<i>Transformation</i>.</p> + +<p>"Oswald et Corinne terminèrent leur voyage de Rome par la +Villa-Borghèse, celui de tous les jardins et de tous les palais +romains où les splendeurs de la nature et des arts sont rassemblées +avec le plus de goût et d'éclat. On y voit des arbres de toutes les +espèces et des eaux magnifiques. Une réunion incroyable de statues, +de vases, de sarcophages antiques, se mêlent avec la fraîcheur de +la jeune nature du sud. La mythologie des anciens y semble ranimée. +Les naïades sont placées sur le bord des ondes, les nymphes dans +les bois dignes d'elles, les tombeaux sous les ombrages élyséens; +la statue d'Esculape est au milieu d'une île; celle de Vénus semble +sortir des ondes; Ovide et Virgile pourraient se promener dans ce +beau lieu; et se croire encore au siècle d'Auguste. Les +chefs-d'œuvre de sculpture que renferme le palais, lui donnent +une magnificence à jamais nouvelle. On aperçoit de loin à travers +les arbres, la ville de Rome et Saint-Pierre, et la campagne, et +les longues arcades, débris des aqueducs qui transportaient les +sources des montagnes dans l'ancienne Rome. Tout est là pour la +pensée, pour l'imagination, pour la rêverie.</p> + +<p>"Les sensations les plus pures se confondent avec les plaisirs de +l'âme, et donnent l'idée d'un bonheur parfait; mais quand on +demande, pourquoi ce séjour ravissant n'est-il pas habité? l'on +vous répond que le mauvais air (<i>la cattiva aria</i>) ne permet pas +d'y vivre pendant l'été."—<i>Madame de Staël.</i></p></div> + +<p>The <i>Casino</i>, at the further end of the villa, built by Cardinal Scipio +Borghese, the favourite nephew of Paul V., contains a collection of +sculpture. The first room entered is a great hall, with a ceiling +painted by <i>Mario Rossi</i>, and a<a name="vol_2_page_414" id="vol_2_page_414"></a> floor paved with an ancient mosaic +discovered at the Torre Nuova (one of the principal Borghese farms) in +1835.</p> + +<div class="blockquot"><p>"Cette mosaïque fort curieuse nous offre et les combats des +gladiateurs entre eux et leurs luttes avec les animaux féroces. +Cette mosaïque est d'un dessin aussi barbare que les scènes +représentées; tout est en harmonie, le sujet et le tableau. Le +sentiment de répulsion qu'inspire la cruauté romaine n'en est que +plus complet; celle-ci n'est point adoucie par l'art et paraît dans +toute sa laideur.</p> + +<p>"On voit les gladiateurs poursuivre, s'attaquer, se massacrer, +couverts d'armures qui ressemblent à celle des chevaliers: vous +diriez une odieuse parodie du moyen âge. Dans le corps de l'un des +combattants un glaive est enfoncé. Des cadavres sont gisant parmi +les flaques de sang; à côté d'eux est le <span title="Greek: Th">Θ</span> fatal, +initiale du mot grec <span title="Greek: Thanatos">Θἁνατος</span>—à laquelle leur +juge impitoyable, le peuple, les a condamnés; du grec partout. Le +maître excite ses élèves on leur montrant le fouet et la palme; les +vainqueurs élèvent leurs épées, et sans doute la foule applaudit. +Ils ont un air de triomphe. Ce sont des acteurs renommés. Auprès de +chacun son nom est écrit; ces noms barbares ou étranges: l'un +s'appelle Buccibus, un autre Cupidor, un autre Licentiosus, avis +effronté aux dames romaines."—<i>Ampère</i>, iv. 31.</p></div> + +<p>The collection in this villa contains no exceedingly important statues. +In the vestibule are some reliefs from the arch of Claudius in the +Corso, destroyed in 1527. Leaving the great hall to the left we may +notice:</p> + +<div class="blockquot"><p class="hang"><i>1st Room.</i>—</p> + +<p class="hang"><span class="smcap">In the Centre</span>:<br /> +Juno Pronuba, from Monte Calvi.</p> + +<p class="hang"><i>2nd Room.</i>—</p> + +<p class="hang"><span class="smcap">In the Centre</span>:<br /> +A Fighting Amazon, on horseback.</p> + +<p class="hang"><i>3rd Room.</i>—<br /> +4. Daphne changed into a Laurel.<br /> +13. Anacreon, seated.</p> + +<p>"La statue d'Anacréon est très-remarquable, elle ressemble à la +figure du poëte sur une médaille de Téos. Le style est simple et +grandiose, l'expression énergique plutôt que gracieuse, la draperie +est rude,<a name="vol_2_page_415" id="vol_2_page_415"></a> la statue respire l'enthousiasme; ce n'est pas le faux +Anacréon que nous connaissons et dont les poésies sont postérieures +au moins en grande partie à la date du véritable; c'est le vieil et +primitif Anacréon; cet Anacréon-là ne vit plus que dans cet +énergique portrait, seule image de son inspiration véritable, dont +les produits authentiques ont presque entièrement +disparu."—<i>Ampère, Hist. Rom.</i> iii. 567.</p> + +<p class="hang"><i>4th Room.</i>—<br /> +A handsome gallery with paintings by <i>Marchetti</i> and <i>De Angelis</i>, +adorned with porphyry busts of the twelve Cæsars.<br /> +32. Bronze statue of a boy.</p> + +<p class="hang"><i>6th Room.</i>—</p> + +<p class="hang"><span class="smcap">In the Centre</span>:<br /> +A Greek poet, probably Alcæus.<br /> +7. The Hermaphrodite; found near Sta. Maria Vittoria.</p> + +<p class="hang"><i>7th Room.</i>—</p> + +<p class="hang"><span class="smcap">In the Centre</span>:<br /> +Boy on a Dolphin.</p> + +<p>"D'autres statues peuvent dériver de la grande composition maritime +de Scopas. Tel est la Palémon, assis sur un dauphin, de la villa +Borghese, d'après lequel a été évidemment conçu le Jonas de +l'église de Sainte-Marie du Peuple, qu'on attribue à +Raphaël."—<i>Ampère, Hist. Rom.</i> iii. 284.</p> + +<p class="hang"><i>8th Room.</i>—<br /> +1. Dancing Satyr.</p></div> + +<p>The <i>Upper Story</i>, reached by a winding staircase from the Galleria, +contains:</p> + +<div class="blockquot"><p class="hang"><i>1st Room.</i>—Three fine works by <i>Bernini</i>.<br /> +David with the sling: executed in his 18th year.<br /> +Apollo and Daphne.<br /> +Æneas carrying off Anchises: executed when the sculptor was only 15 +years old.</p> + +<p class="hang"><i>2nd Room.</i>—<br /> +Filled with a collection of portraits, for the most part unknown.</p> + +<p>Worthy of attention are the portraits of Paul V. by <i>Caravaggio</i>, +and of his father Marc-Antonio Borghese, attributed to <i>Guido</i>; +also<a name="vol_2_page_416" id="vol_2_page_416"></a> the busts of Paul V. and of Cardinal Scipio Borghese, who +built the villa, by <i>Bernini</i>.</p> + +<p class="hang"><i>5th Room.</i>—<br /> +Statue of Princess Pauline Borghese, sister of Napoleon I., by +<i>Canova</i>, as Venus Victrix.</p> + +<p>"Canova esteemed his statue of the Princess Borghese as one of his +best works. No one else could have an opportunity of judging of it, +for the prince, who certainly was not jealous of his wife's person, +was so jealous of her statue, that he kept it locked up in a room +in the Borghese Palace, of which he kept the key, and not a human +being, not even Canova himself, could get access to it."—<i>Eaton's +Rome.</i></p> + +<p>Canova took Chantrey to see this statue by night, wishing, as was +his wont, to show it by the light of a single taper. Chantrey, +wishing to do honour to the artist, insisted upon holding the taper +for the best light himself, which gave rise to Moore's lines:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"When he, thy peer in art and fame,<br /></span> +<span class="i2">Hung o'er the marble with delight;<br /></span> +<span class="ist">And while his ling'ring hand would steal<br /></span> +<span class="i3">O'er every grace the taper's rays,<br /></span> +<span class="ist">Gave thee, with all the generous zeal<br /></span> +<span class="ist">Such master-spirits only feel,<br /></span> +<span class="i4">The best of fame—a rival's praise!"<br /></span> +</div></div></div> + +<p>In the upper part of the grounds, not far from the walls of Rome, stood +the Villa Olgiati, once the <i>Villa of Raphael</i>. It contained three rooms +ornamented with frescoes from the hand of the great master. The best of +these are now preserved in a room at the end of the gallery in the +Borghese Palace. The villa was destroyed during the siege of Rome in +1849, when many of the fine old trees were cut down on this side of the +grounds.</p> + +<div class="blockquot"><p>"The Casino of Raphael was unfurnished, except with casks of wine, +and uninhabited, except by a <i>contadina</i>. The chamber which was the +bedroom of Raphael was entirely adorned with the work of his own +hands. It was a small pleasant apartment, looking out on a little +green lawn, fenced in with trees irregularly planted. The walls +were covered with arabesques, in various whimsical and beautiful +designs—such as the sports of children; Loves balancing themselves +on poles, or mounted<a name="vol_2_page_417" id="vol_2_page_417"></a> on horseback, full of glee and mirth; Fauns +and Satyrs; Mercury and Minerva; flowers and curling tendrils, and +every beautiful composition that could suggest itself to a classic +imagination in its most sportive mood. The cornice was supported by +painted Caryatides. The coved roof was adorned with four +medallions, containing portraits of his mistress, the Fornarina—it +seemed as if he took pleasure in multiplying that beloved object, +so that wherever his eyes turned her image might meet them. There +were three other paintings, one representing a Terminus with a +target before it, and a troop of men shooting at it with bows and +arrows which they had stolen from unsuspecting Cupid, lying asleep +on the ground. The second represented a figure, apparently a god, +seated at the foot of a couch, with an altar before him, in a +temple or rotunda, and from the gardens which appeared in +perspective through its open intercolumniations, were seen +advancing a troop of gay young nymphs, bearing vases full of roses +upon their heads.<a name="FNanchor_369_369" id="FNanchor_369_369"></a><a href="#Footnote_369_369" class="fnanchor">[369]</a> ... The last and best of these paintings +represented the nuptials of Alexander the Great and +Roxana."—<i>Eaton's Rome.</i></p></div> + +<p>Just outside the Porta del Popolo, a small gate on the left of the Villa +Borghese leads to the <i>Villa Esmeade</i>,—the property of an +Englishman,—of considerable extent, and possessing beautiful views of +Rome and the Sabine mountains from its heights, which are adorned with a +few ancient statues and vases.</p> + +<p>Unpleasantly situated near the gate of the Villa Borghese is the +Pig-market. Fortunately the manner of pig-killing at Rome is not so +noisy as that in northern countries. The throats of the animals are not +cut, but they are pierced under the left shoulder with a long pointed +bodkin, which kills them almost instantly—no blood flowing. In a very +few minutes a whole pen-full of pigs can be stilettoed in this +manner—indeed, for any one interested in farming matters, the slaughter +of the Roman pigs is a sight worth seeing.</p> + +<p>We now enter upon the ugly dusty road which leads in a straight line to +the Milvian Bridge. By this road the last<a name="vol_2_page_418" id="vol_2_page_418"></a> triumphal procession entered +Rome—that of the Emperor Honorius and Stilicho (described by the poet +Claudian) in <small>A.D.</small> 403—a whole century having then elapsed since the +Romans had beheld their last triumph—that of Diocletian.</p> + +<p>Under the line of hills (Monte Parioli) on the right of the road are the +<i>Catacombs of St. Valentine</i>. On the other side, the same hills are +undermined by the <i>Catacombs of SS. Gianutus and Basilla</i>.</p> + +<p>Half a mile from the gate, rises conspicuously on the right of the road +the <i>Casino of Papa Giulio</i>, with picturesque overhanging cornices and +sculptured fountain. The courtyard has a quaint cloister. This is the +"Villino," and, far behind, but formerly connected with it by a long +corridor, is the <i>Villa of Papa Giulio</i>, containing several rooms with +very richly decorated ceilings, painted by <i>Taddeo Zucchero</i>. Michael +Angelo was consulted by the pope as to the building of this villa, and +Vasari made drawings for it, but "the actual architect was Vignola, a +modest genius, who had to suffer severely, together with all his +fellow-workmen, from the tracasseries of the pope's favourite, the +bishop Aliotti, whom the less-enduring Michael Angelo was wont to +nickname Monsignor Tante Cose."</p> + +<div class="blockquot"><p>"The villa of Papa Giulio is still visited by the stranger. +Restored to the presence of those times, he ascends the spacious +steps to the gallery, whence he overlooks the whole extent of Rome, +from Monte Mario, with all the windings of the Tiber. The building +of this palace, the laying out of its gardens, were the daily +occupation of Pope Julius III. The place was designed by himself, +but was never completed: every day brought with it some new +suggestion or caprice, which the architects must at once set +themselves to realize. This pontiff desired to forward the +interests of his family; but he was not inclined to involve himself +in dangerous perplexities on their account. The pleasant blameless +life of his villa was that which was best suited to him. He<a name="vol_2_page_419" id="vol_2_page_419"></a> gave +entertainments, which he enlivened with proverbial and other modes +of expression, that sometimes mingled blushes with the smiles of +his guests. In the important affairs of the Church and State, he +took no other share than was absolutely inevitable. This Pope +Julius died March 23, 1555."—<i>Ranke's Hist. of the Popes.</i></p></div> + +<div class="blockquot"><p>"C'est uniquement comme protecteur des arts et comme prince +magnifique que nous pouvons envisager Jules III. Sa mauvaise santé +lui faisait rechercher le repos et les douceurs d'une vie grande et +libre. Aussi avait-il fait édifier avec une sorte de tendresse +paternelle cette belle <i>villa</i>, qui est célèbre, dans l'histoire de +l'art, sous le nom de Vigne de pape Jules. Michel-Ange, Vasari, +Vignole en avaient dessiné les profils; les nymphées et les +fontaines étaient d'Ammanati; les peintures de Taddeo Zuccari. Du +haut d'une galerie élégante on découvrait les sept collines, et +d'ombreuses allées, tracées par Jules III., égaraient les pas du +vieillard dans ce dédale de tertres et de vallées qui sépare le +pont où périt Maxence de la ville éternelle."—<i>Gournerie, Rome +Chrétienne</i>, ii. 172.</p></div> + +<p>Pope Julius used to come hither, with all his court, from the Vatican by +water. The richly-decorated barge, filled with venerable ecclesiastics, +gliding between the osier-fringed banks of the yellow Tiber, with its +distant line of churches and palaces, would make a fine subject for a +picture.</p> + +<p>Nearly opposite the Casino Papa Giulio, on the further bank of the +Tiber, is the picturesque classic <i>Villa of Claude Lorraine</i>, whither he +was wont to retire during the summer months, residing in the winter in +the Tempietto at the head of the Trinità steps. This villa is best seen +from the walk by the river-side, which is reached by turning at once to +the left on coming out of the Porta del Popolo. Hence it makes a good +foreground to the view of the city and distant heights of the Janiculan.</p> + +<div class="blockquot"><p>"This road is called 'Poussin's Walk,' because the great painter +used to go along it from Rome to his villa near Ponte Molle. One +sees here an horizon such as one often finds in Poussin's +pictures."—<i>Frederika Bremer.</i> +<a name="vol_2_page_420" id="vol_2_page_420"></a></p></div> + +<p>Close to the Villa Papa Giulio is the tunnel called <i>Arco Oscuro</i>, +passing which, a steep lane with a beautiful view towards St. Peter's, +ascends between the hillsides of the Monte Parione, and descends on the +other side (following the turn to the right) to the Tiber bank, about +two miles from Rome, where is situated the <i>Acqua Acetosa</i>, a refreshing +mineral spring like seltzer water, enclosed in a fountain erected by +Bernini for Alexander VII. There is a lovely view from hence across the +Campagna in the direction of Fidenæ (Castel Giubeleo) and the Tor di +Quinto.</p> + +<div class="blockquot"><p>"A green hill, one of those bare table-lands so common in the +Campagna, rises on the right. Ascend it to where a broad furrow in +the slope seems to mark the site of an ancient road. You are on a +plateau, almost quadrangular in form, rising steeply to the height +of nearly two hundred feet above the Tiber, and isolated, save at +one angle, where it is united to other high ground by a narrow +isthmus. Not a tree—not a shrub on its turf-grown surface—not a +house—not a ruin—not one stone upon another, to tell you that the +site had been inhabited. Yet here once stood Antemnæ, the city of +many towers,<a name="FNanchor_370_370" id="FNanchor_370_370"></a><a href="#Footnote_370_370" class="fnanchor">[370]</a> one of the most ancient of Italy!<a name="FNanchor_371_371" id="FNanchor_371_371"></a><a href="#Footnote_371_371" class="fnanchor">[371]</a> Not a +trace remains above ground. Even the broken pottery, that +infallible indicator of bygone civilisation, which marks the site +and determines the limits of habitation on many a now desolate spot +of classic ground, is here so overgrown with herbage that the eye +of an antiquary would alone detect it. It is a site strong by +nature, and well adapted for a city, as cities then were; for it is +scarcely larger than the Palatine Hill, which, though at first it +embraced the whole of Rome, was afterwards too small for a single +palace. It has a peculiar interest as one of the three cities of +Sabina,<a name="FNanchor_372_372" id="FNanchor_372_372"></a><a href="#Footnote_372_372" class="fnanchor">[372]</a> whose daughters, ravished by the followers of Romulus, +became the mothers of the Roman race. Antemnæ was the nearest city +to Rome—only three miles distant—and therefore must have suffered +most from the inhospitable violence of the Romans."—<i>Dennis' +Cities of Etruria</i>, ch. iii. +<a name="vol_2_page_421" id="vol_2_page_421"></a></p></div> + +<p>There is a walk—rather dangerous for carriages—by the river, from +hence, to the Ponte Molle. Here Miss Bathurst was drowned by being +thrown from her horse into the Tiber.</p> + +<p>The river bank presents a series of picturesque views, though the yellow +Tiber in no way reminds us of Virgil's description:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Cæruleus Tybris cœlo gratissimus amnis."<br /></span> +<span class="i15"><i>Æn.</i> viii. 64.<br /></span> +</div></div> + +<p>Continuing to follow the main road, on the left is the round <i>Church of +St. Andrew</i>, with a Doric portico, built by Vignola, in 1527, to +commemorate the deliverance of Clement VII. from the Germans.</p> + +<p>Further, on the right, is another <i>Chapel in honour of St. Andrew's +Head</i>.</p> + +<div class="blockquot"><p>"One of the most curious instances of relique worship occurred here +in the reign of Æneas Sylvius, Pope Pius II. The head of St. Andrew +was brought in stately procession from the fortress of Narni, +whither, as the Turks invaded the Morea, it had been brought for +safety from Patras. It was intended that the most glorious heads of +St. Peter and St. Paul should go forth to meet that of their +brother apostle. But the mass of gold which enshrined, the cumbrous +iron which protected these reliques, was too heavy to be moved; so, +without them, the pope, the cardinals, the whole population of +Rome, thronged forth to the meadows near the Milvian Bridge. The +pope made an eloquent address to the head, a hymn was sung +entreating the saint's aid in the discomfiture of the Turks. It +rested that day on the altar of Santa Maria del Popolo, and was +then conveyed through the city, decorated with all splendour, to +St. Peter's. Cardinal Bessarion preached a sermon, and the head was +deposited with those of his brother apostles under the +high-altar<i>."—Milman's Latin Christianity.</i></p></div> + +<p>A mile and a half from the gate, the Tiber is crossed by the <i>Ponte +Molle</i>, built by Pius VII. in 1815, on the site<a name="vol_2_page_422" id="vol_2_page_422"></a> and foundations of the +Pons Milvius, which was erected <small>B.C.</small> 109 by the Censor M. Æmilius +Scaurus. It was here that, on the night of December 3, <small>B.C.</small> 63, Cicero +captured the emissaries of the Allobrogi, who were engaged in the +conspiracy of Catiline. Hence, on October 27, <small>A.D.</small> 312, Maxentius was +thrown into the river and drowned after his defeat by Constantine at the +Saxa Rubra. It was on this occasion that the seven-branched candlestick +of Jerusalem was dropped into the river, where it has probably ever +since been embedded. The statues of Our Saviour and John the Baptist, at +the further entrance of the bridge, are by <i>Mochi</i>.</p> + +<p>Here are a number of taverns and <i>Trattorie</i>, much frequented by the +lower ranks of the Roman people, and for which especial open omnibuses +run from the Porta del Popolo. Similar places of public amusement seem +to have existed here from imperial times. Ovid describes the people +coming out hither in troops by the Via Flaminia to celebrate the fête of +Anna Perenna, an old woman who supplied the plebs with cakes during the +retreat to the Mons Sacer, but who afterwards, from a similitude of +names, was confounded with Anna, sister of Dido.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Idibus est Annæ festum geniale Perennæ,<br /></span> +<span class="i2">Haud procul a ripis, advena Tibri, tuis.<br /></span> +<span class="ist">Plebs venit, ac virides passim disjecta per herbas<br /></span> +<span class="i2">Potat; et accumbit cum pare quisque sua.<br /></span> +<span class="ist">Sub Jove pars durat; pauci tentoria ponunt;<br /></span> +<span class="i2">Sunt, quibus e ramo frondea facta casa est:<br /></span> +<span class="ist">Pars, ubi pro rigidis calamos statuere columnis,<br /></span> +<span class="i2">Desuper extentas imposuere togas.<br /></span> +<span class="ist">Sole tamen vinoque calent; annosque precantur,<br /></span> +<span class="i2">Quot sumant cyathos, ad numerumque bibunt.<br /></span> +<span class="ist">Inventes illic, qui Nestoris ebibat annos:<br /></span> +<span class="i2">Quæ sit per calices facta Sibylla suos.<a name="vol_2_page_423" id="vol_2_page_423"></a><br /></span> +<span class="ist">Illic et cantant, quidquid didicere theatris,<br /></span> +<span class="i2">Et jactant faciles ad sua verba manus:<br /></span> +<span class="ist">Et ducunt posito duras cratere choreas,<br /></span> +<span class="i2">Multaque diffusis saltat amica comis.<br /></span> +<span class="ist">Quum redeunt, titubant, et sunt spectacula vulgo,<br /></span> +<span class="i2">Et fortunatos obvia turba vocat.<br /></span> +<span class="ist">Occurri nuper. Visa est mihi digna relatu<br /></span> +<span class="i2">Pompa: senem potum pota trahebat anus."<br /></span> +<span class="i15"><i>Fast.</i> iii. 523.<br /></span> +</div></div> + +<p>Here three roads meet. That on the right is the old Via Flaminia, begun +<small>B.C.</small> 220 by C. Flaminius the censor. This was the great northern road of +Italy, which, issuing from the city by the Porta Ratumena, which was +close to the tomb of Bibulus, followed a line a little east of the +modern Corso, and passed the Aurelian wall by the Porta Flaminia, near +the present Porta del Popolo. It extended to Ariminum (Rimini), a +distance of 210 miles.<a name="FNanchor_373_373" id="FNanchor_373_373"></a><a href="#Footnote_373_373" class="fnanchor">[373]</a></p> + +<p>(Following this road for about 1½ mile, on the left are the ruins +called <i>Tor di Quinto</i>. A little further on the right of the road are +some tufa-rocks, with an injured tomb of the Nasones. Following the +valley under these rocks to the left we reach (1½ mile) the fine +<i>Castle of Crescenza</i>, now a farmhouse, picturesquely situated on a +rocky knoll,—once inhabited by Poussin, and reproduced in the +background of many of his pictures. In the interior are some remains of +ancient frescoes.</p> + +<p>On this road, seven miles from Rome, is Prima Porta, where are the ruins +of the <i>Villa of Livia</i>, wife of Augustus, and mother of Tiberius. When +first opened, several small rooms in the villa, supposed to be baths, +were covered with frescoes and arabesques in a state of the most +marvellous beauty and<a name="vol_2_page_424" id="vol_2_page_424"></a> preservation, but they are now greatly injured by +damp and exposure. From the character of the paintings, a trellis-work +of fruit and flowers, amid which birds and insects are sporting, it is +supposed that they are the work of Ludius, described in Pliny, who "divi +Augusti ætate primus instituit amœnissimam parietum picturam, villas +et porticus ac topiaria opera, lucos, nemora ... blandissimo aspectu +minimoque impendio." It was here that the magnificent statue of +Augustus, now in the Braccio Nuovo of the Vatican, was discovered in +1863.</p> + +<div class="blockquot"><p>"What Augustus's affection for Livia was, is well known. 'Preserve +the remembrance of a husband who has loved you very tenderly,' were +the last words of the emperor, as he lay on his death-bed. And when +asked how she contrived to retain his affection, Dion Cassius tells +us that she replied, 'My secret is very simple: I have made it the +study of my life to please him, and I have never manifested any +indiscreet curiosity with regard to his public or private +affairs.'"—<i>Weld.</i></p></div> + +<p>Just beyond this, the Tiber receives the little river <i>Valca</i>, +considered to be identical with the Crimera. Hither the devoted clan of +the Fabii, 4000 in number, retired from Rome, having offered to sustain, +at their own cost and risk, the war which Rome was then carrying on +against Veii. Here, because they felt a position within the city +untenable on account of the animosity of their fellow-patricians, which +had been excited by their advocacy of the agrarian law, and their +popularity with the plebeians, they established themselves on a hillock +overhanging the river, which they fortified, and where they dwelt for +three years. At the end of that time the Veiientines, by letting loose +herds of cattle like the <i>Vaccine</i>, which one still sees wandering in +that part of the Campagna, drew them into<a name="vol_2_page_425" id="vol_2_page_425"></a> an ambuscade, and they were +all cut off to a man. According to Dionysius, a portion of the little +army remained to guard the fort, and the rest fled to another hill, +perhaps that now known as Vaccareccia. These were the last to be +exterminated.</p> + +<div class="blockquot"><p>"They fought from dawn to sunset. The enemy slain by their hand +formed heaps of corpses which barred their passage."—They were +summoned to surrender, but they preferred to die.—"The people of +Veii showered arrows and stones upon them from a distance, not +daring to approach them again. The arrows fell like thick snow. The +Fabii, with swords blunted by force of striking, with bucklers +broken, continued to fight, snatching fresh swords from the hands +of the enemy, and rushing upon them with the ferocity of wild +beasts."—<i>Dionysius</i>, ix. 21.</p></div> + +<p>A little beyond this, ten miles from Rome, is the stream <i>Scannabecchi</i>, +which descends from the Crustuminian Hills, and is identical with the +Allia, "infaustum Allia nomen," where the Romans were (<small>B.C.</small> 390) +entirely defeated with great slaughter by the Gauls, before the capture +of the city, in which the aged senators were massacred at the doors of +their houses.</p> + +<p>It was in the lands lying between the villa of Livia and the Tiber that +<i>Saxa Rubra</i><a name="FNanchor_374_374" id="FNanchor_374_374"></a><a href="#Footnote_374_374" class="fnanchor">[374]</a> was situated, where Constantine (<small>A.D.</small> 312) gained his +decisive victory over Maxentius, who, while attempting to escape over +the Milvian Bridge, was pushed by the throng of fugitives into the +Tiber, and perished, engulfed in the mud. The scene is depicted in the +famous fresco of Giulio Romano, in the stanze of the Vatican.</p> + +<p>On the opposite side of the river, Castel Giubeleo, on the site of the +Etruscan Fidenæ, is a conspicuous object.)<a name="vol_2_page_426" id="vol_2_page_426"></a></p> + +<p>(The direct road from the Ponte Molle is the ancient <i>Via Cassia</i>, which +must be followed for some distance by those who make the interesting +excursions to Veii, Galera, and Bracciano, each easily within the +compass of a day's expedition. On the left of this road, three miles +from Rome, is the fine sarcophagus of Publius Vibius Maximus and his +wife Regina Maxima, popularly known as "Nero's Tomb.")</p> + +<p>Following the road to the left of the Ponte Molle, we turn up a steep +incline to the deserted <i>Villa Madama</i>, built by Giulio Romano, from +designs of Raphael for Cardinal Giulio de' Medici, afterwards Clement +VII. It derives its name from Margaret of Austria, daughter of Charles +V., and wife, first of Alessandro de' Medici, and then of Ottavio +Farnese, duke of Parma; from this second marriage, it descended through +Elisabetta Farnese, to the Bourbon kings of Naples. The neglected halls +contain some fresco decorations by <i>Giulio Romano</i> and <i>Giovanni da +Udine</i>.</p> + +<div class="blockquot"><p>"They consist of a series of beautiful little pictures, +representing the sports of Satyrs and Loves; Juno, attended by her +peacocks; Jupiter and Ganymede; and various subjects of mythology +and fable. The paintings in the portico have been of first-rate +excellence; and I cannot but regret, that designs so beautiful +should not be engraved before their last traces disappear for ever. +A deep fringe on one of the deserted chambers, representing angels, +flowers, Caryatides, &c., by Giulio Romano; and also a fine fresco +on a ceiling, by Giovanni da Udine, of Phœbus driving his +heavenly steeds, are in somewhat better preservation.</p> + +<p>"It was in the groves that surrounded Villa Madama, that the Pastor +Fido of Guarini was represented for the first time before a +brilliant circle of princes and nobles, such as these scenes will +see no more, and Italy itself could not now produce."—<i>Eaton's +Rome.</i></p></div> + +<p>The frescoes and arabesques executed here by Giovanni<a name="vol_2_page_427" id="vol_2_page_427"></a> da Udine were +considered at the time as among the most successful of his works. Vasari +says that in these he "wished to be supreme, and to excel himself." +Cardinal de' Medici was so delighted with them that he not only heaped +benefits on all the relations of the painter, but rewarded him with a +rich canonry, which he was allowed to transfer to his brother.</p> + +<p>One can scarcely doubt from the description of Martial that this villa +occupies the site of that in which the poet came to visit his friend and +namesake.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Juli jugera pauca Martialis,<br /></span> +<span class="ist">Hortis Hesperidum beatiora,<br /></span> +<span class="ist">Longo Janiculi jugo recumbunt.<br /></span> +<span class="ist">Lati collibus imminent recessus;<br /></span> +<span class="ist">Et planus modico tumore vertex<br /></span> +<span class="ist">Cœlo perfruitur sereniore:<br /></span> +<span class="ist">Et, curvas nebula tegente valles,<br /></span> +<span class="ist">Solus luce nitet peculiari:<br /></span> +<span class="ist">Puris leniter admoventur astris<br /></span> +<span class="ist">Celsæ culmina delicata villæ.<br /></span> +<span class="ist">Hinc septem dominos videre montes,<br /></span> +<span class="ist">Et totam licet sestimare Romam."<br /></span> +</div></div> + +<p>The Villa Madama is situated on one of the slopes of <i>Monte Mario</i>, +which is ascended by a winding carriage-road from near the Porta +Angelica. This hill, in ancient times called Clivus Cinnæ, was in the +middle ages Monte Malo, and is thus spoken of by Dante (Paradiso, xv. +109). Its name changed to Mario, through Mario Mellini, its possessor in +the time of Sixtus V. Passing the two churches of Sta. Maria del Rosario +and Sta. Croce di Monte Mario,<a name="FNanchor_375_375" id="FNanchor_375_375"></a><a href="#Footnote_375_375" class="fnanchor">[375]</a> we reach a gate with an old +pine-tree. This is the <i>Villa Mellini</i> (for which an order is supposed +to<a name="vol_2_page_428" id="vol_2_page_428"></a> be necessary, though a franc will usually cause the gates to fly +open), which possesses a magnificent view over Rome, from its terraces, +lined with ilexes and cypresses.</p> + +<div class="blockquot"><p>"The Monte Mario, like Cooper's Hill, is the highest, boldest, and +most prominent part of the line; it is about the height and +steepness too of Cooper's Hill, and has the Tiber at the foot of +it, like the Thames at Anchorwick. To keep up the resemblance, +there is a sort of terrace at the top of the Monte Mario, planted +with cypresses, and a villa, though dilapidated, crowns the summit, +as well as at our old friend above Egham. Here we stood, on a most +delicious evening, the ilex and the gum-cistus in great profusion +about us, the slope below full of vines and olives, the cypresses +above our heads, and before our eyes all that one has read of in +Roman History—the course of the Tiber between the hills that bound +it, coming down from Fidenæ and receiving the Allia and the Anio; +beyond, the Apennines, the distant and higher summits still quite +white with snow; in front, the Alban Hills; on the right, the +Campagna to the sea; and just beneath us the whole length of Rome, +ancient and modern—St. Peter's and the Coliseum, rising as the +representatives of each—the Pantheon, the Aventine, the Quirinal, +all the well-known objects distinctly laid before us. One may +safely say that the world cannot contain many views of such mingled +beauty and interest as this."—<i>Dr. Arnold.</i></p></div> + +<div class="blockquot"><p>"Les maisons de campagne des grands seigneurs donnent l'idée de +cette solitude, de cette indifférence des possesseurs au milieu des +plus admirables séjours du monde. On se promène dans ces immenses +jardins, sans se douter qu'ils aient un maître. L'herbe croît au +milieu des allées; et, dans ces mêmes allées abandonnées, les +arbres sont taillés artistement, selon l'ancien goût qui régnait en +France; singulière bizarrerie que cette négligence du nécessaire, +et cette affectation de l'inutile!"—<i>Mad. de Staël.</i></p></div> + +<p>(Behind the Monte Mario, about four miles from Rome, is the church of +<i>S. Onofrio in Campagna</i>, with a curious ossuary.)</p> + +<p>Just outside the Porta Angelica was the vineyard in which Alexander VI. +died.</p> + +<div class="blockquot"><p>"This is the manner in which Pope Alexander VI. came to his death.<a name="vol_2_page_429" id="vol_2_page_429"></a></p> + +<p>"The cardinal datary, Arian de Corneto, having received a gracious +intimation that the pontiff, together with the Duke Valentinos, +designed to come and sup with him at his vineyard, and that his +Holiness would bring the supper with him, the cardinal suspected +that this determination had been taken for the purpose of +destroying his life by poison, to the end that the duke might have +his riches and appointments, the rather as he knew that the pope +had resolved to put him to death by some means, with a view to +seizing his property as I have said,—which was very great. +Considering of the means by which he might save himself, he could +see but one hope of safety—he sent in good time to the pope's +carver, with whom he had a certain intimacy, desiring that he would +come to speak with him; who, when he had come to the said cardinal, +was taken by him into a secret place, where, they two being +retired, the cardinal showed the carver a sum, prepared beforehand, +of 10,000 ducats, in gold, which the said cardinal persuaded the +carver to accept as a gift and to keep for love of him, and after +many words, they were at length accepted, the cardinal offering, +moreover, all the rest of his wealth at his command—for he was a +very rich cardinal, for he said that he could not keep the said +riches by any other means than through the said carver's aid, and +declared to him, 'You know of a certainty what the nature of the +pope is, and I know that he has resolved, with the Duke Valentinos, +to procure my life by poison, through your hand,'—wherefore he +besought the carver to take pity on him, and to give him his life. +And having said this, the carver declared to him the manner in +which it was ordered that the poison should be given to him at the +supper, but being moved to compassion he promised to preserve his +life. Now the orders were that the carver should present three +boxes of sweetmeats, in tablets or lozenges, after the supper, one +to the pope, one to the said cardinal, and another to the duke, and +in that for the cardinal there was poison: and thus being told, the +said cardinal gave directions to the aforesaid carver in what +manner he should serve them, so as to cause that the box of +poisoned confect which was to be for the cardinal, should be placed +before the pope, so that he might eat thereof, and so poison +himself, and die. And the pope being come accordingly with the duke +to supper on the day appointed, the cardinal threw himself at his +feet, kissing them and embracing them closely; then he entreated +his Holiness with most affectionate words, saying, he would never +rise from those feet until his Holiness had granted him a favour. +Being questioned by the pontiff what this favour was, and requested +to rise up, he would first have the grace he demanded, and the +promise of his Holiness to grant it. Now after much persuasion, the +pope remained sufficiently astonished, seeing<a name="vol_2_page_430" id="vol_2_page_430"></a> the perseverance of +the cardinal, and that he would not rise, and promised to grant the +favour. Then the cardinal rose up and said, 'Holy Father, it is not +fitting that when the master comes to the house of his servant, the +servant should eat with his master like an equal (confrezer +parimente),' and therefore the grace he demanded was the just and +honest one, that he, the servant, should wait at the table of his +master; and this favour the pope granted him. Then having come to +supper, and the time for serving the confectionery having arrived, +the carver put the poisoned sweetmeats into the box, according to +the first order given to him by the pope, and the cardinal being +well informed as to which box had no poison, tasted of that one, +and put the poisoned confect before the pope. Then his Holiness, +trusting to his carver, and seeing the cardinal tasting, judged +that no poison was there, and ate of it heartily; while of the +other, which the pope thought was poisoned, but which was not, the +cardinal ate. Now at the hour accustomed, according to the quality +of that poison, his Holiness began to feel its effect, and so died +thereof; but the cardinal, who was yet much afraid, having +physicked himself and vomited, took no harm and escaped, though not +without difficulty."—<i>Sanuto</i>, iv., <i>Translation in Ranke's Hist. +of the Popes</i>.</p></div> + +<p>The wine of the Vatican hill has had a bad reputation even from +classical times. "If you like vinegar," wrote Martial, "drink the wine +of the Vatican!"<a name="FNanchor_376_376" id="FNanchor_376_376"></a><a href="#Footnote_376_376" class="fnanchor">[376]</a> and again, "To drink the wine of the Vatican is to +drink poison."<a name="FNanchor_377_377" id="FNanchor_377_377"></a><a href="#Footnote_377_377" class="fnanchor">[377]</a></p> + +<p>(Here, also, is the entrance of the <i>Val d' Inferno</i>, a pleasant winter +walk, where, near the beginning of the Cork Woods, are some picturesque +remains of an ancient nymphæum.)</p> + +<p>The <i>Porta Angelica</i>, built by Pius IV. (1559—1566), leads into the +Borgo, beneath the walls of the Vatican.</p> + +<p>Those who return from hence to the English quarter in the evening, will +realize the vividness of Miss Thackeray's description:—<a name="vol_2_page_431" id="vol_2_page_431"></a></p> + +<div class="blockquot"><p>"They passed groups standing round their doorways; a blacksmith +hammering with great straight blows at a copper pot, shouting to a +friend, a young baker, naked almost, except for a great sheet flung +over his shoulders, and leaning against the door of his shop. The +horses tramp on. Listen to the flow of fountains gleaming white +against the dark marbles,—to the murmur of voices. An old lady, +who has apparently hung all her wardrobe out of window, in +petticoats and silk hankerchiefs, is looking out from beneath these +banners at the passers in the streets. Little babies, tied up tight +in swaddling-clothes, are being poised against their mother's hips; +a child is trying to raise the great knocker of some feudal-looking +arch, hidden in the corner of the street. Then they cross the +bridge, and see the last sun's rays flaming from the angel's sacred +sword. Driving on through the tranquil streets, populous and +thronged with citizens, they see brown-faced, bronze-headed Torsos +in balconies and window-frames; citizens sitting tranquilly, +resting on the kerb-stones, with their feet in the gutters; +grand-looking women resting against their doorways. Sibyls out of +the Sistine were sitting on the steps of the churches. In one stone +archway sat the Fates spinning their web. There was a holy family +by a lemonade-shop, and a whole heaven of little Coreggio angels +perching dark-eyed along the road. Then comes a fountain falling +into a marble basin, at either end of which two little girls are +clinging and climbing. Here is a little lighted May-altar to the +Virgin, which the children have put up under the shrine by the +street-corner. They don't beg clamorously, but stand leaning +against the wall, waiting for a chance miraculous +baioch?"—<i>Bluebeard's Keys.</i> +<a name="vol_2_page_432" id="vol_2_page_432"></a></p></div> + +<h2><a name="CHAPTER_XX" id="CHAPTER_XX"></a>CHAPTER XX.<br /><br /> +THE JANICULAN.</h2> + +<div class="blockquot"><p class="hang">Gate of Sto. Spirito—Church, Convent, and Garden of S. +Onofrio—The Lungara—Palazzo Salviati and the Botanic-Garden—S. +Giovanni alla Lungara—Palazzo Corsini—The Farnesina—Porta +Settimiana—S. Pietro in Montorio—Fontana Paolina—Villa +Lante—Porta and Church of S. Pancrazio—Villa +Doria-Pamfili—Chapel of St. Andrew's Head.</p></div> + +<p class="nind"><span class="letra">T</span>HE Janiculan is a steep crest of hill which rises abruptly on the west +bank of the Tiber, and breaks imperceptibly away on the other side into +the Campagna towards Civita Vecchia. Its lower formation is a marine +clay abounding in fossils, but its upper surface is formed of the yellow +sand which gave it the ancient name of Mons Aureus,—still commemorated +in Montorio—S. Pietro in Montorio.</p> + +<p>A tradition universally received in ancient times, and adopted by +Virgil, derives the name of Janiculum from Janus, who was the sun-god, +as Jana, or Diana, was the moon-goddess. On this hill Janus is believed +to have founded a city, which is mentioned by Pliny under the name of +Antinopolis. Ovid makes Janus speak for himself as to his property:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Arx mea collis erat, quem cultrix nomine nostro<br /></span> +<span class="ist">Nuncupat hæc ætas, Janiculumque vocat."<a name="FNanchor_378_378" id="FNanchor_378_378"></a><a href="#Footnote_378_378" class="fnanchor">[378]</a><br /></span> +</div></div> + +<p>Fons, the supposed son of Janus, is known to have had an altar here in +very early times.<a name="FNanchor_379_379" id="FNanchor_379_379"></a><a href="#Footnote_379_379" class="fnanchor">[379]</a> Janus Quirinus was a<a name="vol_2_page_433" id="vol_2_page_433"></a> war-god, "the sun armed +with a lance." Thus, in time of peace, the gates of this temple were +closed, both because his worship was then unnecessary, and from an idea +of preventing war from going forth. It was probably in this character +that he was honoured on a site which the Romans looked upon as "the key +of Etruria," while other nations naturally regarded it as "the key of +Rome."</p> + +<p>Janus was represented as having a key in his hand.</p> + +<div class="blockquot"><p class="c">"Ille tenens dextra baculum, clavemque sinistra."</p> + +<p>"Par un hasard singulier, Janus, qu'on représentait une clef à la +main, était le dieu du Janicule, voisin du Vatican, où est le +tombeau de Saint Pierre, que l'on représente aussi tenant une clef. +Janus, comme Saint Pierre, son futur voisin, était le portier +céleste."—<i>Ampère, Hist. Rom.</i> i. 229,</p></div> + +<p>When the first Sabine king of Rome, Numa Pompilius, "like the darlings +of the gods in the golden age, fell asleep, full of days,"<a name="FNanchor_380_380" id="FNanchor_380_380"></a><a href="#Footnote_380_380" class="fnanchor">[380]</a> he was +buried upon the sacred hill of his own people, and the books of his +sacred laws and ordinances were buried near him in a separate tomb.<a name="FNanchor_381_381" id="FNanchor_381_381"></a><a href="#Footnote_381_381" class="fnanchor">[381]</a> +In the sixth century of the republic, a monument was discovered on the +Janiculan, which was believed to be that of Numa, and certain books were +dug up near it which were destroyed by the senate in the fear that they +might give a too free-thinking explanation of the Roman mythology.<a name="FNanchor_382_382" id="FNanchor_382_382"></a><a href="#Footnote_382_382" class="fnanchor">[382]</a></p> + +<p>Ancus Martius, the fourth king of Rome, connected the Janiculan with the +rest of the city by building the Pons Sublicius, the first bridge over +the Tiber; and erected a citadel on the crest of the hill as a bulwark +against Etruria, with which he was constantly at war.<a name="FNanchor_383_383" id="FNanchor_383_383"></a><a href="#Footnote_383_383" class="fnanchor">[383]</a> Some +escarpments, supposed to belong to the fortifications of Ancus, have<a name="vol_2_page_434" id="vol_2_page_434"></a> +lately been found behind the Fontana Paolina. It was from this same +ridge that his Etruscan successor, Tarquinius Priscus, coming from +Tarquinii (Corneto), had his first view of the city over which he came +to reign, and here the eagle, henceforth to be the emblem of Roman +power, replaced upon his head the cap which it had snatched away as he +was riding in his chariot. Hence, also, Lars Porsena, king of Etruria, +looked upon Rome, when he came to the assistance of Tarquinius Superbus, +and retired in fear of his life after he had seen specimens of Roman +endurance, in Horatius Cocles, who kept the falling bridge; in Mutius, +who burnt his hand in the charcoal; and in the hostage, Cœllia, who +swam home across the Tiber,—all anecdotes connected with the Janiculan.</p> + +<p>After the time of the kings this hill appears less frequently in +history. But it was here that the consul Octavius, the friend of Sylla, +was murdered by the partisans of Marius, while seated in his curule +chair,—near the foot of the hill Julius Cæsar had his famous gardens, +and on its summit the Emperor Galba was buried. The Christian +associations of the hill will be noticed at the different points to +which they belong.</p> + +<p>From the Borgo (Chap. XV.) the unfinished gate called <i>Porta Sto. +Spirito</i>, built by Antonio da San Gallo, leads into the Via Lungara, a +street three-quarters of a mile long, formed by Sixtus V., and occupying +the whole length of the valley between the Tiber and the Janiculan.</p> + +<p>Immediately on the right, the steep "Salita di S. Onofrio" leads up the +hillside to the <i>Church of S. Onofrio</i>, built in 1439 by Nicolo da Forca +Palena, in honour of the Egyptian hermit, Honophrius.<a name="vol_2_page_435" id="vol_2_page_435"></a></p> + +<div class="blockquot"><p>"St. Onofrius was a monk of Thebes, who retired to the desert, far +from the sight of men, and dwelt there in a cave for sixty years, +and during all that time never beheld one human being, or uttered +one word of his mother-tongue except in prayer. He was unclothed, +except by some leaves twisted round his body, and his beard and +hair had become like the face of a wild beast. In this state he was +discovered by a holy man whose name was Paphnutius, who, seeing him +crawling on the ground, knew not at first what live thing it might +be."—<i>Jameson's Sacred Art.</i></p></div> + +<p>From the little platform in front of the convent is one of the loveliest +views over the city. The church is approached by a portico, decorated +with glazed frescoes by <i>Domenichino</i>. Those on either side of the door +represent the saints of the Hieronomyte Order (the adjoining convent +belongs to Hieronomytes), viz.: S. Jerome, Sta. Paula, St. Eustochium, +S. Pietro Gambacorta of Pisa, St Augustine the hermit, S. Nicolo di +Forca Palena, S. Onofrio and the Blessed Benedict of Sicily, Philip of +St. Agatha, Paul of Venice, Bartholomew of Cesarea, Mark of Manuta, +Philip of Fulgaria, and John of Catalonia. Over the door is a Madonna +and Child. In the side arcade are three scenes in the life of St. +Jerome. 1. Represents his baptism as a young man at Rome. 2. Refers to +his vision of the Judgment (described in his letter to Eustochium), in +which he heard the Judge of the World ask what he was, and he answered, +"I am a Christian." But the Judge replied, "No, you lie, for you are a +Ciceronian," and he was condemned to be scourged, but continued to +protest that he was a Christian between every lash. 3. Is a scene +alluded to in another letter to Eustochium, in which Jerome says, "O how +often when alone in the desert with the wild beasts and scorpions, half +dead with fasting and penance, have I fancied myself a spectator of the +sins of Rome, and of the dances of its young women."<a name="vol_2_page_436" id="vol_2_page_436"></a></p> + +<p>The church has a solemn and picturesque interior. It ends in a tribune +richly adorned with frescoes, those of the upper part (the Coronation of +the Virgin, and eight groups of saints and angels) being by +<i>Pinturicchio</i>, those of the lower (the Virgin and Saints, Nativity, and +Flight into Egypt) by <i>Baldassare Peruzzi</i>.</p> + +<p>On the left of the entrance is the original monument of Tasso (with a +portrait), erected after his death by Cardinal Bevilacqua. Greatly +inferior in interest is a monument recently placed to his memory in the +adjoining chapel, by subscription, the work of <i>De Fabris</i>. Near this is +the grave of the poet, Alessandro Guidi, ob. 1712. In the third chapel +on the left is the grave of the learned Cardinal Mezzofanti, born at +Bologna, 1774, died at Rome, 1849.</p> + +<p>The first chapel on the right, which is low and vaulted, with stumpy +pillars, is covered with frescoes relating to S. Onofrio.</p> + +<p>The second chapel on the right, which is very richly decorated, contains +a Madonna crowned by Angels, by <i>Annibale Caracci</i>. Beyond this is the +fine tomb of Archbishop Sacchi, ob. 1502. The beautiful lunette, of the +Madonna teaching the Holy Child to read, is by <i>Pinturicchio</i>. The tomb +is inscribed:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Labor et gloria vita fuit,<br /></span> +<span class="i2">Mors requies."<br /></span> +</div></div> + +<p>Ladies are never admitted to visit the convent, except on April 25th, +the anniversary of the death of Tasso. It is approached by a cloister, +decorated with frescoes from the life of S. Onofrio.</p> + +<div class="blockquot"><p>"S. Onofrio is represented as a meagre old man, with long hair and +beard, grey and matted, a leafy branch twisted round his loins, a +stick in his hand. The artist generally tries to make him look as +haggard and inhuman as possible."—<i>Mrs. Jameson.</i> +<a name="vol_2_page_437" id="vol_2_page_437"></a></p></div> + +<p>In a passage on the first floor is a beautiful fresco of the Virgin and +Child with the donor, by <i>Leonardo da Vinci</i>.</p> + +<div class="blockquot"><p>"To 1513 belongs a Madonna, painted on the wall of the upper +corridor of the convent of S. Onofrio. It is on a gold ground: the +action of the Madonna is beautiful, displaying the noblest form, +and the expression of the countenance is peculiarly sweet; but the +Child, notwithstanding his graceful action, is somewhat hard and +heavy, so as almost to warrant the conclusion that this picture +belongs to an earlier period, which would suppose a previous visit +to Rome."—<i>Kugler.</i></p></div> + +<p>Torquato Tasso came to Rome in 1594, on the invitation of Clement VIII., +that he might be crowned on the Capitol, but as he arrived in the month +of November, and the weather was then very bad, it was decided to +postpone the ceremony till late in the following spring. This delay was +a source of trouble to Tasso, who was in feeble health, and had a +presentiment that his death was near. Before the time for his crowning +arrived he had removed to S. Onofrio, saying to the monks who received +him at the entrance, "My fathers, I have come to die amongst you!" and +he wrote to one of his friends, "I am come to begin my conversation in +heaven in this elevated place, and in the society of these holy +fathers." During the fourteen days of his illness, he became perfectly +absorbed in the contemplation of divine subjects, and upon the last day +of his life, when he received the papal absolution, exclaimed, "I +believe that the crown which I looked for upon the Capitol is to be +changed for a better crown in heaven." Throughout the last night a monk +prayed by his side till the morning, when Tasso was heard to murmur, "In +manus tuas, Domine," and then he died. The room in which he expired, +April 25, 1595, contains his bust, crucifix, inkstand, autograph, a mask +taken from his face after death, and other relics. The archives of S. +Onofrio have this entry:<a name="vol_2_page_438" id="vol_2_page_438"></a></p> + +<div class="blockquot"><p>"Torquato Tasso, illustrious from his genius, died thus in our +monastery of S. Onofrio. In April, 1595, he caused himself to be +brought here that he might prepare for death with greater devotion +and security, as he felt his end approaching. He was received +courteously by our fathers, and conducted to chambers in the +loggia, where everything was ready for him. Soon afterwards he +became dangerously ill, and desired to confess and receive the most +Holy Sacrament from the prior. Being asked to write his will, he +said that he wished to be buried at S. Onofrio, and he left to the +convent his crucifix and fifty scudi for alms, that so many masses +might be said for his soul, in the manner that is read in the book +of legacies in our archives. Pope Clement VIII. was requested for +his benediction, which he gave amply for the remission of sins. In +his last days he received extreme unction, and then, with the +crucifix in his hand, contemplating and kissing the sacred image, +with Christian contrition and devotion, being surrounded by our +fathers, he gave up his spirit to the Creator, on April 25, 1595, +between the eleventh and twelfth hours (<i>i.e.</i>, between 7 and 8 +<small>A.M.</small>), in the fiftieth year of his age. In the evening his body was +interred with universal concourse in our church, near the steps of +the high altar, the Cardinal Giulio Aldobrandini, under whose +protection he had lived during the last years, being minded to +erect to him, as soon as possible, a sumptuous sepulchre; which, +however, was never carried into effect; but after the death of the +latter, the Signor Cardinal Bevilacqua raised to his memory the +monument which is seen on entering the church on the left side."</p></div> + +<p>Ladies are admitted to the beautiful garden of the convent on ringing at +the first large gate on the left below the church.</p> + +<p>This lovely plot of ground, fresh with running streams, possesses a +glorious view over the city, and the Campagna beyond S. Paolo. At the +further extremity, near a picturesque group of cypresses, are remains of +the oak planted by Tasso, the greater part of which was blown down in +1842. A young sapling is shooting up beside it. Beyond this is the +little amphitheatre, overgrown with grass and flowers, where S. Filippo +Neri used to teach children, and assemble them "for the half-dramatic +musical performances which were an original form of his oratorios. Here +every 25th of April a<a name="vol_2_page_439" id="vol_2_page_439"></a> musical entertainment of the Accademia is held in +memory of Tasso,—his bust, crowned with laurel wreaths, and taken from +the cast after death, being placed in the centre of the +amphitheatre."<a name="FNanchor_384_384" id="FNanchor_384_384"></a><a href="#Footnote_384_384" class="fnanchor">[384]</a></p> + +<p>Returning to the Lungara, on the left is a Lunatic Asylum, founded by +Pius IX., with a pompous inscription, and beyond it, a chain bridge to +S. Giovanni dei Fiorentini. On the right is the handsome <i>Palazzo +Salviati</i>, which formerly contained a fine collection of pictures, +removed to the Borghese Palace, when, upon the property falling into the +hands of Prince Borghese, he sold the palace to the government, who now +use it as a repository for the civil archives. The adjoining garden now +belongs to the Sapienza, and has been turned into a <i>Botanic Garden</i>. +The modernized church of S. <i>Giovanni alla Lungara</i> dates from the time +of Leo IV. (845—857), and is now attached to a reformatory. On the +right is a large <i>Convent of the Buon Pastore</i>.</p> + +<p>We now reach, on the right, the magnificent <i>Palazzo Corsini</i>, built +originally by the Riario family, from whom it was bought by Clement XII. +in 1729, for his nephew Cardinal Neri Corsini, for whom it was altered +to its present form by <i>Fuga</i>.</p> + +<p>This palace was in turn the resort of Caterina Sforza, the brave duchess +of Imola; of the learned Poet Cardinal di S. Giorgio; of Michael Angelo, +who remained here more than a year on a visit to the cardinal, "who," +says Vasari, "being of small understanding in art, gave him no +commission"; and of Erasmus, who always remembered the pleasant +conversations (confabulationes mellifluæ) of the "Riario Palace," as it +was then called. In the seventeenth century<a name="vol_2_page_440" id="vol_2_page_440"></a> the palace became the +residence of Queen Christina of Sweden, who died here on April 19, 1689, +in a room which is distinguished by two columns of painted wood.</p> + +<div class="blockquot"><p>"With her residence in Rome, the habits of Christina became more +tranquil and better regulated. She obtained some mastery over +herself, suffered certain considerations of what was due to others +to prevail, and consented to acknowledge the necessities incident +to the peculiarities of her chosen residence. She took a constantly +increasing part in the splendour, the life, and the business of the +Curia, becoming indeed eventually altogether identified with its +interests. The collections she had brought with her from Sweden, +she now enlarged by so liberal an expenditure, and with so much +taste, judgment, and success, that she surpassed even the native +families, and elevated the pursuit from a mere gratification of +curiosity, to a higher and more significant importance both for +learning and art. Men such as Spanheim and Havercamp thought the +illustration of her coins and medals an object not unworthy of +their labours, and Sante Bartolo devoted his practised hand to her +cameos. The Coreggios of Christina's collection have always been +the richest ornament of every gallery into which the changes of +time have carried them. The MSS. of her choice have contributed in +no small degree to maintain the reputation of the Vatican library, +into which they were subsequently incorporated. Acquisitions and +possessions of this kind filled up the hours of her daily life, +with an enjoyment that was at least harmless. She also took +interest and an active part in scientific pursuits; and it is much +to her credit that she received the poor exiled Borelli, who was +compelled to resort in his old age to teaching as a means of +subsistence. The queen supported him with her utmost power, and +caused his renowned and still unsurpassed work, on the mechanics of +animal motion, by which physiological science has been so +importantly influenced and advanced, to be printed at her own cost. +Nay, I think we may even venture to affirm, that she herself, when +her character and intellect had been improved and matured, exerted +a powerfully efficient and enduring influence on the period, more +particularly on Italian literature. In the year 1680, she founded +an academy in her own residence for the discussion of literary and +political subjects; and the first rule of this institution was, +that its members should carefully abstain from the turgid style, +overloaded with false ornament, which prevailed at the time, and be +guided only by sound sense and the models of the Augustan and +Medicean ages. From the queen's academy proceeded such men as +Alessandro Guidi, who had previously been addicted<a name="vol_2_page_441" id="vol_2_page_441"></a> to the style +then used, but after some time passed in the society of Christina, +he not only resolved to abandon it, but even formed a league with +some of his friends for the purpose of labouring to abolish it +altogether. The Arcadia, an academy to which the merit of +completing this good work is attributed, arose out of the society +which assembled around the Swedish queen. On the whole, it must +needs be admitted, that in the midst of the various influences +pressing around her, Christina preserved a noble independence of +mind. To the necessity for evincing that ostentatious piety usually +expected from converts, or which they impose on themselves, she +would by no means subject herself. Entirely Catholic as she was, +and though continually repeating her conviction of the pope's +infallibility, and of the necessity for believing all doctrines +enjoined either by himself or the Church, she had nevertheless an +extreme detestation of bigots, and utterly abhorred the direction +of father confessors, who were at that time the exclusive rulers of +all social and domestic life. She would not be prevented from +enjoying the amusements of the carnival, concerts, dramatic +entertainments, or whatever else might be offered by the habits of +life at Rome; above all, she refused to be withheld from the +internal movement of an intellectual and animated society. She +acknowledged a love of satires, and took pleasure in Pasquin. We +find her constantly mingled in the intrigues of the court, the +dissensions of the papal houses, and the factions of the +cardinals.... She attached herself to the mode of life presented to +her with a passionate love, and even thought it impossible to live +if she did not breathe the atmosphere of Rome."—<i>Ranke's Hist. of +the Popes.</i></p></div> + +<p>In 1797 this palace was used as the French embassy, and on the 28th of +December was the scene of a terrible skirmish, when Joseph Buonaparte, +then ambassador, attempted to interfere between the French democratic +party and the papal dragoons, and when young General Duphot, who was +about to be married to Buonaparte's sister-in-law, was shot by his side +in a balcony. These events, after which Joseph Buonaparte immediately +demanded his passports and departed, were among the chief causes which +led to the invasion of Rome by Berthier, and the imprisonment of Pius +VII.<a name="FNanchor_385_385" id="FNanchor_385_385"></a><a href="#Footnote_385_385" class="fnanchor">[385]</a></p> + +<p>The collections now in the palace have all been formed<a name="vol_2_page_442" id="vol_2_page_442"></a> since the death +of Queen Christina. The <i>Picture Gallery</i> is open to the public from +nine to twelve, every day except Sundays and holidays.</p> + +<p>The following criticism, applicable to all the private galleries in +Rome, is perhaps especially so to this:</p> + +<div class="blockquot"><p>"You may generally form a tolerably correct conjecture of what a +gallery will contain, as to subject, before you enter it,—a +certain quantity of Landscapes, a great many Holy Families, a few +Crucifixions, two or three Pietàs, a reasonable proportion of St. +Jeromes, a mixture of other Saints and Martyrdoms, and a large +assortment of Madonnas and Magdalenes, make up the principal part +of all the collections in Rome; which are generally comprised of +quite as many bad as good paintings."—<i>Eaton's Rome.</i></p> + +<p>The 1st room is chiefly occupied by pretty but unimportant +landscapes by <i>Orizzonti</i> and <i>Vanvitelli</i>, and figure pieces by +Locatelli. We may notice (the best pictures being marked with an +asterisk):</p> + +<p class="hang"><i>1st Room.</i>—<br /> +24, 26. <i>Canaletti.</i></p> + +<p class="hang"><i>2nd Room.</i>—<br /> +12. Madonna and Child in glory: <i>Elis. Sirani</i>.<br /> +11, 27. Fruit: <i>Mario di Fiori</i>.<br /> +15. Landscape: <i>G. Poussin</i>.<br /> +17, 19. Landscapes with Cattle: <i>Berghem</i>.<br /> +20. Pietà: <i>Lod. Caracci</i>.<br /> +41. S. Andrea Corsini: <i>Fr. Gessi</i>.</p> + +<p class="hang"><i>3rd Room.</i>—<br /> +1. Ecce Homo: <i>Guercino</i>.*<br /> +9. Madonna and Child: <i>A. del Sarto</i>.<br /> +13. Holy Family: <i>Barocci</i>.<br /> +16, 20. Rock Scenes: <i>Salvator Rosa</i>.<br /> +17. Madonna and Child: <i>Caravaggio</i>.<br /> +23. Sunset: <i>Both</i>.*<br /> +26. Holy Family: <i>Fra. Bartolomeo</i>.<br /> +43. Two Martyrdoms: <i>Carlo Saraceni</i>.<br /> +44. Julius II.: <i>after Raphael</i>.</p> + +<p class="hang">The portrait of Julius II. (della Rovere) is a replica or copy <a name="vol_2_page_443" id="vol_2_page_443"></a>of +that at the Pitti Palace. There are other duplicates in the +Borghese Gallery, at the National Gallery in England, and at Leigh +Court in Somersetshire. Julius II. ob. 1513.<br /> +49. St. Appollonia: <i>Carlo Dolce</i>.<br /> +50. Philip II. of Spain: <i>Titian</i>.<br /> +52. Vanity: <i>Carlo Saraceni</i>.*<br /> +88. Ecce Homo: <i>Carlo Dolce</i>.</p> + +<p class="hang"><i>4th Room.</i>—<br /> +1. Clement XII. (Lorenzo Corsini, 1730—40): <i>Benedetto Luti</i>.<br /> +4. Cupid asleep: <i>Guido Reni</i>.<br /> +11. Daughter of Herodias: <i>Guido Reni</i>.*<br /> +16. Madonna: <i>Guido Reni</i>.<br /> +22. Christ and the Magdalen: <i>Barocci</i>.<br /> +27. Two Heads: <i>Lod. Caracci</i>.<br /> +28. St. Jerome: <i>Titian</i>.<br /> +40. Faustina Maratta—his daughter: <i>Carlo Maratta</i>.<br /> +41. Fornarina: <i>Giulio Romano, after Raphael</i>,—replica of the +picture at Florence.<br /> +42. Old Man: <i>Guido</i>.<br /> +44. A Hare: <i>Albert Durer</i>.*<br /> +55. Death of Adonis: <i>Spagnoletto</i>.</p> + +<p>In this room is an ancient marble chair, found near the +Lateran—and on a table "the Corsini Vase," in silver, with reliefs +representing the judgment of Areopagus upon the matricide of +Orestes.</p> + +<p class="hang"><i>5th Room.</i>—(In which Christina died, with a ceiling by the <i>Zuccari</i>.)<br /> +2. Holy Family: <i>Pierino del Vaga</i>.<br /> +12. St. Agnes: <i>Carlo Dolce</i>.*<br /> +14. Madonna reading: <i>Sassoferrato</i>.<br /> +20. Ulysses and Polyphemus: <i>Lanfranco</i>.<br /> +23. Madonna and Child: <i>Albani</i>.<br /> +26. Madonna and Child: <i>Sassoferrato</i>.<br /> +37. Addolorata: <i>Guido Reni</i>.<br /> +38. Ecce Homo: <i>Guido Reni</i>.<br /> +39. St. John: <i>Guido Reni</i>.</p> + +<p class="hang"><i>6th Room.</i>—<br /> +19. Portrait: <i>Holbein</i>.<br /> +20. Mgr. Ghiberti: <i>Titian</i>.<br /> +21. Children of Charles V.: <i>Titian</i>.*<a name="vol_2_page_444" id="vol_2_page_444"></a><br /> +22. Old Woman: <i>Rembrandt</i>.*<br /> +23. Male Portrait: <i>Giorgione</i>.<br /> +31. Caterina Bora, Wife of Luther: <i>Holbein</i>.*<br /> +32. Male Portrait: <i>Vandyke</i>.<br /> +34. Nativity of the Virgin. Miniature from <i>Durer</i>.<br /> +40. Cardinal Divitius de Bibbiena: <i>Bronzino</i>.<br /> +47. Portrait of Himself: <i>Rubens</i>.*<br /> +48. A Doge of Venice: <i>Tintoret</i>.<br /> +54. Cardinal Alessandro Farnese: <i>Titian</i>.*<br /> +68. Cardinal Neri Corsini: <i>Baciccio</i>.</p> + +<p class="hang"><i>7th Room.</i>—<br /> +1. Madonna and Child: <i>Murillo</i>.*<br /> +13. Landscape: <i>G. Poussin</i>.<br /> +15. St. Sebastian: <i>Rubens</i>.<br /> +18. Christ bearing the Cross: <i>Garofalo</i>.<br /> +21. Christ among the Doctors: <i>Luca Giordano</i>.<br /> +22. Descent of the Holy Spirit: <i>Fra Angelico</i>.<br /> +23. Last Judgment: <i>Fra Angelico</i>.<br /> +24. Ascension: <i>Fra Angelico</i>.</p> + +<p>"A Last Judgment by Angelico da Fiesole, with wings containing the +Ascension and the Descent of the Holy Ghost, is in the Corsini +Gallery. Here we perceive a great richness of expression and beauty +of drapery; the rapture of the blessed is told, chiefly by their +embraces and by their attitudes of prayer and praise. It is a +remarkable feature, and one indicative of the master, that the +ranks of the condemned are entirely filled by monks."—<i>Kugler.</i></p> + +<p class="hang"> <br />26. Martyrdom of St. Bartholomew: <i>Lod. Caracci</i>.<br /> +30. Woman taken in Adultery: <i>Titian</i>.*<br /> +35. Gonfaloniere of the Church: <i>Domenichino</i>.</p> + +<p class="hang"><i>8th Room.</i>—<br /> +8. Christ before Pilate: <i>Vandyke</i>.<br /> +12. St. George: <i>Ercole Grandi</i>.<br /> +13. Contemplation: <i>Guido Reni</i>.<br /> +15. Landscape: <i>G. Poussin</i>.<br /> +17. Judith and Head of Holofernes: <i>Gérard de la Nuit</i>.<br /> +24. St. Jerome: <i>Guercino</i>.<br /> +25. St. Jerome: <i>Spagnoletto</i>.<br /> +43. Mosaic portrait of Clement XII. and his nephew Cardinal Neri +Corsini.</p> + +<p>In this room are two modern family busts with touching +inscriptions.<a name="vol_2_page_445" id="vol_2_page_445"></a></p> + +<p class="hang"><span class="smcap">Cabinet</span>:<br /> +26. Madonna and Child: <i>Spagna</i>.*</p> + +<p class="hang"><i>9th Room.</i>—<br /> +2. Village Interior: <i>Teniers</i>.<br /> +9. Innocent X.: <i>Velasquez</i> (a replica of the Doria portrait).<br /> +26. Female Portrait: <i>Bronzino</i>.<br /> +28, 29. Battle-pieces: <i>Salvator Rosa</i>.<br /> +30. Two Heads: <i>Giorgione</i>.<br /> +40. Madonna Addolorata: <i>Cignani</i>.<br /> +49. Madonna and Child: <i>Gherardesco da Siena</i>.</p></div> + +<p>One of the gems of the collection, a highly finished Madonna and Child +of Carlo Dolce, is usually shown in a glass case in the first room.</p> + +<p>The Corsini Library (open every day except Wednesdays) contains a +magnificent collection of MSS. and engravings, founded by Cardinal Neri +Corsini. It has also some beautiful original drawings by the old +masters. Behind the palace, on the slope of the Janiculan, are large and +beautiful <i>Gardens</i> adorned with fountains, cypresses, and some grand +old plane-trees. There is a fine view from the Casino on the summit of +the hill.</p> + +<div class="blockquot"><p>"A magnificent porter in cocked hat and grand livery conducted the +visitors across the quadrangle, unlocked the ponderous iron gates +of the gardens, and let them through, leaving them to their own +devices, and closing and locking the gates with a crash. They now +stood in a wide avenue of ilex, whose gloomy boughs, interlacing +overhead, effectually excluded the sunlight; nearly a quarter of a +mile further on, the ilexes were replaced by box and bay trees, +beneath which the sun and shade divided the path between them, +trembling and flickering on the ground and invading each other's +dominions with every breath of wind. The strangers heard the splash +of fountains as they walked onwards by banks precipitous as a +hill-side, and covered with wild rank herbage and tall trees. +Stooping to gather a flower, they almost started, as looking up, +they saw, rising against a sky fabulously blue, the unfamiliar +green ilex and dark cypress spire."—<i>Mademoiselle Mori</i>.</p></div> + +<p>Opposite the Corsini Palace is the beautiful villa of <i>the<a name="vol_2_page_446" id="vol_2_page_446"></a> Farnesina</i> +(open on Sundays from 10 to 3), built in 1506 by Baldassare Peruzzi for +the famous banker Agostino Chigi, who here gave his sumptuous and +extravagant entertainments to Leo X. and his court—banquets at which +three fish cost as much as 230 crowns, and after which the plate that +had been used, was all thrown into the Tiber.<a name="FNanchor_386_386" id="FNanchor_386_386"></a><a href="#Footnote_386_386" class="fnanchor">[386]</a> This same Agostino +Chigi was one of the greatest of art patrons, and has handed down to us +not only the decorations of the Farnesina, but the Sibyls of Sta. Maria +della Pace, which he also ordered from Raphael.</p> + +<div class="blockquot"><p>"Le jour où Leon X. alla prendre possession de la basilique de +Latran, l'opulent Chigi se distingua. Le théâtre qui s'élevait +devant son palais était rempli des envoyés de tous les peuples, +blancs, cuivrés, et noirs; au milieu d'eux on distinguait les +images de Vénus, de Mars, de Minerve, allusion singulière aux trois +pontificats d'Alexander VI., de Jules II, et de Léon X. <i>Vénus a eu +son temps</i>: disait l'inscription; <i>Mars a eu le sien; c'est +aujourd'hui le règne de Minerve</i>. Antoine de San-Marino, qui +demeurait près de Chigi, répondit aussitot en plaçant sur sa +boutique la statue isolée de Vénus, avec ce peu de mots: Mars a +régné, Minerve règne, Vénus régnera toujours."—<i>Gournerie, Rome +Chrétienne</i>, ii. 109.</p></div> + +<p>The Farnesina contains some of the most beautiful existing frescoes of +Raphael and his school. The principal hall was once open, but has now +been closed in to preserve the paintings. Its ceiling was designed by +<i>Raphael</i> (1518—20), and painted by <i>Giulio Romano</i> and <i>Francesco +Penni</i>, with twelve scenes from the story of Psyche as narrated by +Apuleius:</p> + +<div class="blockquot"><p>A king had three daughters. The youngest was named Psyche, and was +more lovely than the sunshine. Venus, the queen of beauty, was +herself jealous of her, and bade her son Cupid to destroy her +charms by inspiring her with an unworthy love (1). But Cupid, when +he beheld<a name="vol_2_page_447" id="vol_2_page_447"></a> Psyche, loved her himself, showed her to the Graces (2), +and carried her off. He only visited her in the darkness of night, +and bade her always to repress her curiosity as to his appearance. +But while Cupid was sleeping, Psyche lighted a lamp, and looked +upon him,—and a drop of the hot oil fell upon him and he awoke. +Then he left her alone in grief and solitude. Venus in the mean +time learnt that Cupid was faithless to her, and imprisoned him, +and sought assistance from Juno and Ceres that she might find +Psyche, but they refused to aid her (3). Then she drove to seek +Jupiter in her chariot drawn by doves (4), and implored him to send +Mercury to her assistance (5). Jupiter listened to her prayer, and +Mercury was sent forth to seek for Psyche (6). Venus then showed +her spite against Psyche, and imposed harsh tasks upon her which +she was nevertheless enabled to perform. At length she was ordered +to bring a casket from the infernal regions (7), and even this, to +the amazement of Venus, she succeeded in effecting (8). Cupid, +escaped from captivity, then implored Jupiter to restore Psyche to +him. Jupiter embraced him (9), and bade Mercury summon the gods to +a council on the subject (see the ceiling on the right). Psyche was +then brought to Olympus (10), and became immortal, and the gods +celebrated her nuptial banquet (ceiling painting on left).</p> + +<p>"On the flat of the ceiling are two large compositions, with +numerous figures,—the Judgment of the Gods, who decide the dispute +between Venus and Cupid, and the Marriage of Cupid and Psyche in +the festal assembly of the gods. In the lunettes of the ceiling are +<i>amorini</i>, with the attributes of those gods who have done homage +to the power of Love. In the triangular compartments between the +lunettes are different groups, illustrative of the incidents in the +fable. They are of great beauty, and are examples of the most +tasteful disposition in a given space. The picture of the three +Graces, that in which Cupid stands in an imploring attitude before +Jupiter; a third, where Psyche is borne away by Loves, are +extremely graceful. Peevish critics have designated these +representations as common and sensual, but the noble spirit visible +in all Raphael's works prevails also in these: religious feeling +could naturally find no place in them; but they are conceived in a +spirit of the purest artlessness, always a proof of true moral +feeling, and to which a narrow taste alone could object. In the +execution, indeed, we recognise little of Raphael's fine feeling; +the greatest part is by his scholars, after his cartoons, +especially by G. Romano. The nearest of the three Graces, in the +group before alluded to, appears to be by Raphael's own +hand."—<i>Kugler</i>.</p></div> + +<p>The paintings were injuriously retouched by <i>Carlo Maratta<a name="vol_2_page_448" id="vol_2_page_448"></a></i>. The +garlands round them are by <i>Giovanni da Udine</i>. The second room contains +the beautiful fresco of Galatea floating in a shell drawn by dolphins, +by <i>Raphael</i> himself.</p> + +<div class="blockquot"><p>"Raphael not only designed, but executed this fresco; and faded as +is its colouring, the mind must be dead to the highest beauties of +painting, that can contemplate it without admiration. The spirit +and beauty of the composition, the pure and perfect design, the +flowing outline, the soft and graceful contours, and the sentiment +and sweetness of the expression, all remain unchanged; for time, +till it totally obliterates, has no power to injure them.... The +figures of the attendant Nereid, and of the triumphant Triton who +embraces her, are beautiful beyond description."—<i>Eaton's Rome.</i></p> + +<p>"The fresco of Galatea was painted in 1514. The greater part of +this is Raphael's own work, and the execution is consequently much +superior to that of the others. It represents the goddess of the +sea borne over the waves in her shell; tritons and sea-nymphs sport +joyously around her; <i>amorini</i>, discharging their arrows, appear in +the air like an angel-glory. The utmost sweetness, the most ardent +sense of pleasure, breathe from this work; everything lives, feels, +vibrates with enjoyment "—<i>Kugler.</i></p></div> + +<p>The frescoes of the ceiling, representing Diana in her Car, and the +story of Medusa, are by <i>Baldassare Peruzzi</i>; the lunettes are by +<i>Sebastian del Piombo</i> and <i>Daniele da Volterra</i>. Michael Angelo came +one day to visit the latter, and not finding him at his work, left the +colossal head, which remains in a lunette of the left wall, as a sign of +his visit.</p> + +<p>In the upper story are two rooms; the first, adorned with a frieze of +subjects from Ovid's Metamorphoses, contains large architectural +paintings by <i>Baldassare Peruzzi</i>; the second has the Marriage of +Alexander and Roxana, and the family of Darius in the presence of +Alexander, by <i>Sodoma</i>.</p> + +<p>The <i>Porta Settimiana</i> at the end of the Lungara preserves in its name a +recollection of the gardens of Septimius Severus, which existed in this +quarter. From hence the Via delle Fornaci ascends the hill, and leads to +the broad<a name="vol_2_page_449" id="vol_2_page_449"></a> new carriage-road, formed in 1867 under the superintendence +of the Cav. Trochi. A Via-Crucis with a staircase will conduct the +pedestrian by a shorter way to the platform on the hill-top.</p> + +<p>The succession of beggars who infest this hill and stretch out their +maimed limbs or kiss their hands to the passers-by will call to mind the +lines of Juvenal:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Cæcus adulator, dirusque a ponte satelles,<br /></span> +<span class="ist">Dignus Aricinos qui mendicaret ad axes,<br /></span> +<span class="ist">Blandaque devexæ jactaret basia rhedæ."<br /></span> +<span class="i15"><i>Sat.</i> iv. 116.<br /></span> +</div></div> + +<p><i>The Church of S. Pietro in Montorio</i> was built by Ferdinand and +Isabella of Spain, from designs of Baccio Pintelli, on the site of an +oratory founded by Constantine upon the supposed spot of St. Peter's +crucifixion.</p> + +<p>The first chapel on the right belongs to the Barberini, and contains +pictures by <i>Sebastian del Piombo</i>, (painted in oil upon stone, a +process which has caused them to be much blackened by time,) from +drawings of <i>Michael Angelo</i>. The central picture represents the +Scourging of Christ, a subject of which Sebastian was especially fond, +as it gave the opportunity of displaying his great anatomical power. On +the left is St. Peter, on the right St. Francis,—on the ceiling is the +Transfiguration,—outside the arch are a Prophet and a Sibyl. The second +chapel on the right has paintings by pupils of Perugino; the fifth +contains St. Paul healed by Ananias, by <i>Vasari</i>.</p> + +<p>The fourth chapel on the right is of some interest in the history of +art. Julius III. had it greatly at heart to build and beautify this +chapel as a memorial to his family, to contain the tombs of his uncle +Cardinal Antonio di Monti, and of Fabiano, who first founded the +splendours of his house.<a name="vol_2_page_450" id="vol_2_page_450"></a> The work was entrusted to Michael Angelo and +Vasari, who were at that time on terms of intimate friendship. They +disputed about their subordinates. Vasari wished to employ Simone Mosca +for the ornaments, and Raffaello da Montalupo for the statues; Michael +Angelo objected to having any ornamental work at all, saying that where +there were to be marble figures, there ought to be nothing else, and he +would have nothing to do with Montalupo because his figures for the tomb +of Julius II. had turned out so ill. When the chapel was finished +Michael Angelo confessed himself in the wrong for not having allowed +more ornament. The statues were entrusted to Bartolomeo Ammanati.</p> + +<p>The first chapel on the left has St. Francis receiving the stigmata +attributed to <i>Giovanni de Vecchi</i>.</p> + +<div class="blockquot"><p>"A barber of the Cardinal S. Giorgio was an artist, who painted +very well in tempera, but had no idea of design. He made friends +with Michael-Angelo, who made him a cartoon of a St. Francis +receiving the stigmata, which the barber carefully carried out in +colour, and his picture is now placed in the first chapel on the +left of the entrance of S. Pietro in Montorio."—<i>Vasari</i>, vi.</p></div> + +<p>The third chapel on the left contains a Virgin and Child with St. Anne, +of the school of Perugino; the fourth, a fine Entombment, by an unknown +hand; the fifth, the Baptism of Christ, said to be by <i>Daniele da +Volterra</i>.</p> + +<p>The Transfiguration of Raphael was painted for this church, and remained +here till the French invasion. When it was returned from the Louvre it +was kept at the Vatican. Had it been restored to this church, it would +have been destroyed in the siege of 1849, when the tribune and +bell-tower were thrown down. Here, in front of the high altar, the +unhappy Beatrice Cenci was buried without any monument.</p> + +<p>Irish travellers may be interested in the gravestones in<a name="vol_2_page_451" id="vol_2_page_451"></a> the nave, of +Hugh O'Neil of Tyrone, Baron Dungannon, and O'Donnell of Tyrconnell +(1608). Near the door is the fine tomb, with the beautiful sleeping +figure of Julian, Archbishop of Ragusa, ob. 1510, inscribed "Bonis et +Mors et Vita dulcis est." An inscription below the steps in front of the +church commemorates the translation of a miraculous image of the Virgin +hither in 1714.</p> + +<p>In the cloister is the <i>Tempietto</i>, a small domed building resting on +sixteen Doric columns, built by Bramante in 1502, on the spot where St. +Peter's cross is said to have stood. A few grains of the sacred sand +from the hole in the centre of the chapel are given to visitors by the +monks as a relic.</p> + +<div class="blockquot"><p>"St. Peter, when he was come to the place of execution, requested +of the officers that he might be crucified with his head downwards, +alleging that he was not worthy to suffer in the same manner his +divine Master had died before him. He had preached the cross of +Christ, had borne it in his heart, and its marks in his body, by +sufferings and mortification, and he had the happiness to end his +life on the cross. The Lord was pleased not only that he should die +for his love, but in the same manner himself had died for us, by +expiring on the cross, which was the throne of his love. Only the +apostle's humility made a difference, in desiring to be crucified +with his head downward. His Master looked toward heaven, which by +his death he opened to men; but he judged that a sinner formed from +dust, and going to return to dust, ought rather in confusion to +look on the earth, as unworthy to raise his eyes to heaven. St. +Ambrose, St. Austin, and St. Prudentius ascribe this his petition +partly to his humility, and partly to his desire of suffering more +for Christ. Seneca mentions that the Romans sometimes crucified men +with their heads downward; and Eusebius testifies that several +martyrs were put to that cruel death. Accordingly, the executioners +easily granted the apostle his extraordinary request. St. +Chrysostom, St. Austin, and St. Austerius say that he was nailed to +the cross; Tertullian mentions that he was tied with cords. He was +probably both nailed and bound with ropes."—<i>Alban Butler.</i></p></div> + +<p>The view from the front of the church is almost unrivalled.</p> + +<p>Behind it is the famous <i>Fontana Paolina</i>, whose name, by a<a name="vol_2_page_452" id="vol_2_page_452"></a> curious +coincidence, combines those of its architect, Fontana, and its +originator, Paul V. It was erected in 1611, and is supplied with water +from the Lake of Bracciano, by the aqueduct of the Aqua Trajana, +thirty-five miles in length. The red granite columns, which divide the +fountain, were brought from the temple of Minerva in the Forum +Transitorium.</p> + +<div class="blockquot"><p>"The pleasant, natural sound of falling water, not unlike that of a +distant cascade in the forest, may be heard in many of the Roman +streets and piazzas, when the tumult of the city is hushed; for +consuls, emperors, and popes, the great men of every age, have +found no better way of immortalising their memories, than by the +shifting, indestructible, ever new, yet unchanging, up-gush and +down-fall of water. They have written their names in that unstable +element, and proved it a more durable record than brass or +marble."—<i>Hawthorne.</i></p> + +<p>"Il n'y a rien encore, dans quelque état que ce soit, à opposer aux +magnifiques fontaines qu'on voit à Rome dans les places et les +carrefours, ni à l'abondance des eaux qui ne cessent jamais de +couler; magnificence d'autant plus louable que l'utilité publique y +est jointe."—<i>Duclos.</i></p></div> + +<p>A little beyond this fountain is the modern <i>Porta S. Pancrazio</i>, near +the site of the ancient Porta Aurelia, built by Pius IX. in 1857, to +replace a gate destroyed by the French under Oudinot in 1849. Many +buildings outside the gate, injured at the same time, still remain in +ruins.</p> + +<p>The lane on the right, inside the gate, leads to the <i>Villa Lante</i>, +built in 1524 by Giulio Romano, for Bartolomeo da Pescia, secretary of +Clement VII. It still contains some frescoes of Giulio Romano, though +they are only lately uncovered, as the house was used, until the last +two years, as a succursale to the Convent of the Sacré Cœur at the +Trinità de' Monti.</p> + +<p>Not far outside the gate are the <i>Church and Convent of S. Pancrazio</i>, +founded in the sixth century by Pope Symmachus, but modernized in 1609 +by Cardinal Torres. Here Crescenzio Nomentano, the famous consul of Rome +in the tenth<a name="vol_2_page_453" id="vol_2_page_453"></a> century, is buried; here Narses, after the defeat of +Totila, was met by the pope and cardinals, and conducted in triumph to +St. Peter's to return thanks for his victory; here, also, Peter II. of +Arragon was crowned by Innocent III., and Louis of Naples was received +by John XII.</p> + +<p>A flight of steps leads from the church to the <i>Catacomb of Calepodius</i>, +where many of the early popes and martyrs were buried. It has no +especial characteristic to make it worth visiting. Another flight of +steps leads to the spot where S. Pancrazio was martyred. His body rests +with that of St. Victor beneath the altar. A parish church in London is +dedicated to St. Pancras, in whose name kings of France used to confirm +their treaties.</p> + +<div class="blockquot"><p>"In the persecution under Diocletian, this young saint, who was +only fourteen years of age, offered himself voluntarily as a +martyr, defending boldly before the emperor the cause of the +Christians. He was therefore beheaded by the sword, and his body +was honourably buried by Christian women. His church, near the gate +of S. Pancrazio, has existed since the year 500. St. Pancras was in +the middle ages regarded as the protector against false oaths, and +the avenger of perjury. It was believed that those who swore +falsely by St. Pancras were immediately and visibly punished; hence +his popularity."—<i>Jameson's Sacred Art.</i></p></div> + +<p>Turning to the left from the gate, on the side of the hill between this +and the Porta Portese, is the <i>Catacomb of S. Ponziano</i>.</p> + +<div class="blockquot"><p>"Here is the only perfect specimen still extant of a primitive +subterranean baptistery. A small stream of water runs through this +cemetery, and at this one place the channel has been deepened so as +to form a kind of reservoir, in which a certain quantity of water +is retained. We descend into it by a flight of steps, and the depth +of water it contains varies with the height of the Tiber. When that +river is swollen so as to block up the exit by which this stream +usually empties itself, the waters are sometimes so dammed back as +to inundate the adjacent galleries of the catacomb; at other times +there are not above three or four feet of<a name="vol_2_page_454" id="vol_2_page_454"></a> water. At the back of +the font, and springing out of the water, is painted a beautiful +Latin cross, from whose sides leaves and flowers are budding forth, +and on the two arms rest ten candlesticks, with the letters Alpha +and Omega suspended by a little chain below them. On the front of +the arch over the font is the Baptism of our Lord in the river +Jordan by St. John, whilst St. Abdon, St. Sennen, St. Miles, and +other saints of the Oriental Church occupy the sides. These +paintings are all of late date, perhaps of the seventh or eighth +century: but there is no reason to doubt but that the baptistery +had been so used from the earliest times. We have distinct evidence +in the Acts of the Martyrs that the sacrament was not unfrequently +administered in the cemeteries."—<i>The Roman Catacombs—Northcote.</i></p></div> + +<p>In this catacomb is an early <i>Portrait of Christ</i>, much resembling that +at SS. Nereo ed Achilleo.</p> + +<div class="blockquot"><p>"The figure is, however, draped, and the whole work has certain +peculiarities which appear to mark a later period of art. Both +these portraits agree, if not strictly, yet in general features, +with the description in Lentulus's letter (to the Roman senate), +and portraits and descriptions together serve to prove that the +earliest Christian delineators of the person of the Saviour +followed no arbitrary conception of their own, but were guided +rather by a particular traditional type, differing materially from +the Grecian ideal, and which they transmitted in a great measure to +future ages."—<i>Kugler</i>, i. 16.</p></div> + +<p>In this vicinity are the Catacombs of SS. Abdon and Sennen, of St. +Julius, and of Sta. Generosa.</p> + +<p>Opposite the Porta S. Pancrazio is the entrance of the beautiful <i>Villa +Pamfili Doria</i> (open to pedestrians and to <i>two-horse</i> carriages after +12 o'clock on Mondays and Fridays), called by the Italians "Belrespiro." +The <i>Casino</i> contains a few (not first-rate) ancient statues, and some +views of Venice in the seventeenth century by <i>Heintius</i>. The garden, +for which especial permission must be obtained, is full of beautiful +azaleas and camellias.</p> + +<p>From the ilex-fringed terrace in front of the casino is one of the best +views of St. Peter's, which is here seen without the town,—backed by +the Campagna, the Sabine Mountains,<a name="vol_2_page_455" id="vol_2_page_455"></a> and the blue peak of Soracte. The +road to the left leads through pine-shaded lawns and woods, and by some +modern ruins, to the lake, above which is a graceful fountain. A small +temple raised in 1851 commemorates the French who fell here during the +siege of Rome in 1849. The word "Mary" in large letters of clipped box +on the other side of the grounds is a memorial of the late beloved +Princess Doria (Lady Mary Talbot). Not far from this is a columbarium.</p> + +<p>The site of the Villa Doria was once occupied by the gardens of Galba, +and here the murdered emperor is believed to have been buried.</p> + +<div class="blockquot"><p>"Un certain Argius, autrefois esclave de Galba, ramassa son corps, +qui avait subi mille outrages, et alla lui creuser une humble +sépulture dans les jardins de son ancien maître; mais il fallut +retrouver la tête: elle avait été mutilée et promenée par les +goujats de l'armée. Enfin Argius la trouva le lendemain, et la +réunit au corps déjà brûlé. Les jardins de Galba étaient sur le +Janicule, près de la voie Aurélienne, et on croit que le lieu qui +vit le dernier dénouement de cette affreuse tragédie est celui +qu'occupe aujourd'hui la plus charmante promenade de Rome, là où +inclinent avec tant de grâce sur les pentes semées d'anémones et où +dessinent si délicatement sur l'azur du ciel et des montagnes leurs +parasols élégants les pins de la villa Pamphili."—<i>Ampère, Emp.</i> +ii. 80.</p></div> + +<p>The foundation of the Villa Pamfili Doria is due to the wealth extorted +by Olympia Maldacchini during the reign of her brother-in-law, Innocent +X.</p> + +<div class="blockquot"><p>"Innocent X. fut, pour ainsi dire, contraint de fonder la maison +Pamphili. Les casuistes et les jurisconsultes levèrent ses +scrupules, car il en avait. Ils lui prouvèrent que le pape était en +droit d'économiser sur les revenus du saint-siége pour assurer +l'avenir de sa famille. Ils fixèrent, avec une modération qui nous +fait dresser les cheveux sur la tête, le chiffre des libéralités +permises à chaque pape. Suivant eux, le souverain pontife pouvait, +sans abuser, établir un majorat de quatre mille francs de rente +nette, fonder une seconde géniture en faveur de quelque parent +moins avantagé, et donner neuf cent mille francs de dot à chacune +de ses nièces. Le général des jésuites, R. P. Vitelleschi, approuva +cette<a name="vol_2_page_456" id="vol_2_page_456"></a> décision. Là-dessus, Innocent X. se mit à fonder la maison +Pamphili, à construire le palais Pamphili, à créer la villa +Pamphili, et à pamphiliser, tant qu'il put, les finances de +l'église et de l'état."—<i>About, Rome Contemporaine.</i></p></div> + +<p>There are two ways of returning to Rome from the Villa Doria—one, which +descends straight into the valley to the Porta Cavalleggieri, passing on +the left the Church of Sta. Maria delle Fornaci; the other, skirting the +walls of the city beneath the Villa Lante, which passes a <i>Chapel</i>, +where St. Andrew's head, lost one day by the canons of St. Peter's, was +miraculously re-discovered!</p> + +<div class="blockquot"><p>"On ne voit pas que de nouveaux monuments religieux se rapportent +aux deux apparitions de Pyrrhus en Italie; seulement les augures +firent rétablir le temple du dieu des foudres nocturnes, le dieu +étrusco-sabin Summanus, en expiation sans doute de ce que la tête +de la statue de Summanus, placée sur le temple de Jupiter +Capitolin, avait été détachée par la foudre, et, après qu'on l'eut +cherchée en vain, retrouvée dans le Tibre.</p> + +<p>"Je ne compare pas, mais j'ai vu le long des murs de Rome, entre la +porte Cavalleggieri et la porte Saint Pancrace, une petite chapelle +élevée au lieu où l'on a retrouvé la tête de Saint André apportée +solennellement de Constantinople à Rome au quinzième siècle, et qui +s'était perdue."—<i>Ampère, Hist. Rom.</i> iii. 55.</p></div> + +<hr style="width:15%;" /> + +<div class="poem"><div class="stanza"> +<span class="i0">"Therefore farewell, ye hills, and ye, ye envineyarded ruins!<br /></span> +<span class="i2">Therefore farewell, ye walls, palaces, pillars, and domes!<br /></span> +<span class="ist">Therefore farewell, far seen, ye peaks of the mythic Albano,<br /></span> +<span class="i2">Seen from Montorio's height, Tibur and Æsula's hills!<br /></span> +<span class="ist">Ah, could we once ere we go, could we stand, while, to ocean descending,<br /></span> +<span class="i2">Sinks o'er the yellow dark plain slowly the yellow broad sun,<br /></span> +<span class="ist">Stand from the forest emerging at sunset, at once in the champaign,<br /></span> +<span class="i2">Open, but studded with trees, chestnuts umbrageous and old,<br /></span> +<span class="ist">E'en in those fair open fields that incurve to thy beautiful hollow,<br /></span> +<span class="i2">Nemi imbedded in wood, Nemi inurn'd in the hill!—<br /></span> +<span class="ist">Therefore farewell, ye plains, and ye hills, and the City Eternal!<br /></span> +<span class="i2">Therefore farewell! we depart, but to behold you again!"<br /></span> +<span class="i15"><i>A. H. Clough, Amours de Voyage.</i><br /></span> +</div></div> + +<p class="c">THE END.</p> + +<p>Showing the more important streets and buildings. (right-side of map)]<a name="vol_2_page_460" id="vol_2_page_460"></a></p> + +<h2><a name="INDEX" id="INDEX"></a>INDEX.</h2> + +<p class="cb"><a href="#A">A</a>, +<a href="#B">B</a>, +<a href="#C">C</a>, +<a href="#D">D</a>, +<a href="#E">E</a>, +<a href="#F">F</a>, +<a href="#G">G</a>, +<a href="#H">H</a>, +<a href="#I">I</a>, +<a href="#J">J</a>, +<a href="#K">K</a>, +<a href="#L">L</a>, +<a href="#M">M</a>, +<a href="#N">N</a>, +<a href="#O">O</a>, +<a href="#P">P</a>, +<a href="#Q">Q</a>, +<a href="#R">R</a>, +<a href="#S">S</a>, +<a href="#T">T</a>, +<a href="#U">U</a>, +<a href="#V">V</a>, +<a href="#W">W</a>, +<a href="#Z">Z</a></p> + +<p class="nind"> +<span style="margin-left: 6em;"><a name="A" id="A"></a>A.</span><br /> + +<span style="margin-left: 2em;">Academy, French, in the Villa Medici, i. <a href="#vol_1_page_049">49</a>;</span><br /> +<span style="margin-left: 3em;">Costume, i. <a href="#vol_1_page_055">55</a>;</span><br /> +<span style="margin-left: 3em;">di S. Luca, i. <a href="#vol_1_page_167">167</a></span><br /> + +<span style="margin-left: 2em;">Æsculapius, temple of, +ii. <a href="#vol_2_page_364">364</a></span><br /> + +<span style="margin-left: 2em;">Agger of Servius Tullius, +ii. <a href="#vol_2_page_038">38</a></span><br /> + +<span style="margin-left: 2em;">Agrippa, baths of, +ii. <a href="#vol_2_page_211">211</a></span><br /> +<span style="margin-left: 2em;">Alberteschi family, Castle of the, +ii. <a href="#vol_2_page_368">368</a></span><br /> + +<span style="margin-left: 2em;">Aldobrandini family, palace of, i. <a href="#vol_1_page_461">461</a>;</span><br /> +<span style="margin-left: 3em;">burial-place of, +ii. <a href="#vol_2_page_214">214</a></span><br /> + +<span style="margin-left: 2em;">Alexis, St., frescoes of the life of, i. <a href="#vol_1_page_346">346</a>;</span><br /> +<span style="margin-left: 3em;">the story of, i. <a href="#vol_1_page_362">362</a></span><br /> + +<span style="margin-left: 2em;">Almo, the, i. <a href="#vol_1_page_373">373</a>, <a href="#vol_1_page_375">375</a>, <a href="#vol_1_page_413">413</a>; +ii. <a href="#vol_2_page_408">408</a></span><br /> + +<span style="margin-left: 2em;">Altieri family, palace of, i. <a href="#vol_1_page_107">107</a>;</span><br /> +<span style="margin-left: 3em;">burial-place of, +ii. <a href="#vol_2_page_216">216</a></span><br /> + +<span style="margin-left: 2em;">Amphitheatrum Castrense, +ii. <a href="#vol_2_page_131">131</a></span><br /> + +<span style="margin-left: 2em;">Angelico, Fra, pictures by, +ii. <a href="#vol_2_page_216">216</a>, <a href="#vol_2_page_324">324</a>, <a href="#vol_2_page_348">348</a>, <a href="#vol_2_page_444">444</a>;</span><br /> +<span style="margin-left: 3em;">tomb of, i. <a href="#vol_1_page_219">219</a></span><br /> + +<span style="margin-left: 2em;">Angelo, St., Castle, +ii. <a href="#vol_2_page_227">227</a>;</span><br /> +<span style="margin-left: 3em;">Ponte, +ii. <a href="#vol_2_page_226">226</a></span><br /> + +<span style="margin-left: 2em;">Anicii, Castle of the, +ii. <a href="#vol_2_page_362">362</a></span><br /> + +<span style="margin-left: 2em;">Anio, the, +ii. <a href="#vol_2_page_031">31</a></span><br /> + +<span style="margin-left: 2em;">Antemnæ, site of, +ii. <a href="#vol_2_page_420">420</a></span><br /> + +<span style="margin-left: 2em;">Antinous, the, +ii. <a href="#vol_2_page_308">308</a></span><br /> + +<span style="margin-left: 2em;">Apollo, Temple of, i. <a href="#vol_1_page_296">296</a>; +ii. <a href="#vol_2_page_134">134</a></span><br /> +<span style="margin-left: 4em;">Belvedere, +ii. <a href="#vol_2_page_311">311</a></span><br /> + +<span style="margin-left: 2em;">Appia, Via, i. <a href="#vol_1_page_372">372</a></span><br /> + +<span style="margin-left: 2em;">Aqua Acetosa, +ii. <a href="#vol_2_page_420">420</a></span><br /> +<span style="margin-left: 3em;">Alexandrina, +ii. <a href="#vol_2_page_133">133</a></span><br /> +<span style="margin-left: 3em;">Argentina, i. <a href="#vol_1_page_229">229</a></span><br /> +<span style="margin-left: 3em;">Bollicante, +ii. <a href="#vol_2_page_133">133</a></span><br /> +<span style="margin-left: 3em;">Claudia, +ii. <a href="#vol_2_page_113">113</a></span><br /> +<span style="margin-left: 3em;">Felice, +ii. <a href="#vol_2_page_124">124</a></span><br /> +<span style="margin-left: 3em;">Marcia, +ii. <a href="#vol_2_page_095">95</a></span><br /> + +<span style="margin-left: 2em;">Aqueduct, Claudian, +ii. <a href="#vol_2_page_125">125</a></span><br /> + +<span style="margin-left: 2em;">Arches—</span><br /> +<span style="margin-left: 3em;">Arco dell' Annunziata, +ii. <a href="#vol_2_page_380">380</a></span><br /> +<span style="margin-left: 4em;">di S. Lazzaro, +ii. <a href="#vol_2_page_393">393</a></span><br /> +<span style="margin-left: 4em;">Oscuro, +ii. <a href="#vol_2_page_420">420</a></span><br /> +<span style="margin-left: 4em;">dei Pantani, i. <a href="#vol_1_page_165">165</a></span><br /> +<span style="margin-left: 3em;">of Constantine, i. <a href="#vol_1_page_206">206</a></span><br /> +<span style="margin-left: 3em;">of Dolabella, i. <a href="#vol_1_page_330">330</a></span><br /> +<span style="margin-left: 3em;">of Drusus, i. <a href="#vol_1_page_387">387</a></span><br /> +<span style="margin-left: 3em;">of Gallienus, +ii. <a href="#vol_2_page_071">71</a></span><br /> +<span style="margin-left: 3em;">of Janus, i. <a href="#vol_1_page_229">229</a></span><br /> +<span style="margin-left: 3em;">of Septimius Severus, i. <a href="#vol_1_page_173">173</a>;</span><br /> +<span style="margin-left: 4em;">miniature, 232</span><br /> +<span style="margin-left: 3em;">of Tiberius, i. <a href="#vol_1_page_173">173</a></span><br /> +<span style="margin-left: 3em;">of Titus, i. <a href="#vol_1_page_200">200</a></span><br /> + +<span style="margin-left: 2em;">Arnolphus, +ii. <a href="#vol_2_page_373">373</a></span><br /> + +<span style="margin-left: 2em;">Arpino, Cav. d', grave of, +ii. <a href="#vol_2_page_105">105</a></span><br /> + +<span style="margin-left: 2em;">Artists, studios of, i. <a href="#vol_1_page_030">30</a></span><br /> + +<span style="margin-left: 2em;">Atticus, Herodes, story of, i. <a href="#vol_1_page_414">414</a>, <a href="#vol_1_page_415">415</a></span><br /> + +<span style="margin-left: 2em;">Augustus, Palace of, i. <a href="#vol_1_page_280">280</a></span><br /> + +<span style="margin-left: 2em;">Aurelian, Wall, i. <a href="#vol_1_page_385">385</a>;</span><br /> +<span style="margin-left: 3em;">Temple of the Sun built by, i. <a href="#vol_1_page_436">436</a>;</span><br /> +<span style="margin-left: 3em;">favourite residence of, +ii. <a href="#vol_2_page_012">12</a></span><br /> + +<span style="margin-left: 2em;">Ave-Maria bell, i. <a href="#vol_1_page_044">44</a></span><br /> + +<span style="margin-left: 2em;">Aventine, the, i. <a href="#vol_1_page_348">348</a></span><br /> + +<br /> +<span style="margin-left: 6em;"><a name="B" id="B"></a>B.</span><br /> + +<span style="margin-left: 2em;">Babuino, the, i. <a href="#vol_1_page_036">36</a></span><br /> + +<span style="margin-left: 2em;">Balconies, origin of, i. <a href="#vol_1_page_061">61</a></span><br /> + +<span style="margin-left: 2em;">Bambino, Il Santissimo, i. <a href="#vol_1_page_151">151</a></span><br /> + +<span style="margin-left: 2em;">Baptistery of the Lateran, +ii. <a href="#vol_2_page_096">96</a></span><br /> + +<span style="margin-left: 2em;">Barberini,</span><br /> +<span style="margin-left: 3em;">Palazzo, i. <a href="#vol_1_page_438">438</a></span><br /> +<span style="margin-left: 3em;">Cardinal, +ii. <a href="#vol_2_page_009">9</a></span><br /> +<span style="margin-left: 3em;">Casino of the, +ii. <a href="#vol_2_page_012">12</a></span><br /> +<span style="margin-left: 3em;">Castle of the, +ii. <a href="#vol_2_page_034">34</a></span><br /> +<span style="margin-left: 3em;">Garden of the, +ii. <a href="#vol_2_page_045">45</a></span><br /> + +<span style="margin-left: 2em;">Barcaccia, the, i. <a href="#vol_1_page_057">57</a></span><br /> + +<span style="margin-left: 2em;">Basilicas (<i>pagan</i>)—</span><br /> +<span style="margin-left: 3em;">of Æmilius Paulus, i. <a href="#vol_1_page_181">181</a></span><br /> +<span style="margin-left: 3em;">Constantine, i. <a href="#vol_1_page_184">184</a>; +ii. <a href="#vol_2_page_080">80</a></span><br /> +<span style="margin-left: 3em;">Julia, i. <a href="#vol_1_page_175">175</a></span><br /> +<span style="margin-left: 3em;">in the Palace of the Cæsars, i. <a href="#vol_1_page_282">282</a></span><br /> +<span style="margin-left: 3em;">Porcia, i. <a href="#vol_1_page_182">182</a></span><br /> + +<span style="margin-left: 2em;">Basilicas (<i>Christian</i>)—</span><br /> +<span style="margin-left: 3em;">Sessorian, +ii. <a href="#vol_2_page_131">131</a></span><br /> +<span style="margin-left: 3em;">S. Agnese fuori le Mura, +ii. <a href="#vol_2_page_026">26</a></span><br /> +<span style="margin-left: 3em;">S. Alessandro, +ii. <a href="#vol_2_page_032">32</a></span><br /> +<span style="margin-left: 3em;">S. Croce in Gerusalemme, +ii. <a href="#vol_2_page_128">128</a></span><br /> +<span style="margin-left: 3em;">Eudoxian, +ii. <a href="#vol_2_page_054">54</a></span><br /> +<span style="margin-left: 3em;">S. John Lateran, +ii. <a href="#vol_2_page_098">98</a></span><br /> +<span style="margin-left: 3em;">S. Lorenzo, +ii. <a href="#vol_2_page_136">136</a></span><br /> +<span style="margin-left: 3em;">S. Maria Maggiore, +ii. <a href="#vol_2_page_081">81</a></span><br /> +<span style="margin-left: 3em;">S. Pietro, +ii. <a href="#vol_2_page_242">242</a></span><br /> +<span style="margin-left: 3em;">S. Paolo fuori le Mura, +ii. <a href="#vol_2_page_402">402</a></span><br /> +<span style="margin-left: 3em;">S. Sebastiano, i. <a href="#vol_1_page_416">416</a></span><br /> +<span style="margin-left: 3em;">S. Stefano, +ii. <a href="#vol_2_page_124">124</a></span><br /> + +<span style="margin-left: 2em;">Baths—</span><br /> +<span style="margin-left: 3em;">of Agrippa, +ii. <a href="#vol_2_page_211">211</a></span><br /> +<span style="margin-left: 3em;">of Caracalla, i. <a href="#vol_1_page_376">376</a></span><br /> +<span style="margin-left: 3em;">of Constantine, i. <a href="#vol_1_page_436">436</a></span><br /> +<span style="margin-left: 3em;">of Diocletian, +ii. <a href="#vol_2_page_036">36</a>, <a href="#vol_2_page_038">38</a></span><br /> +<span style="margin-left: 3em;">of Livia, +ii. <a href="#vol_2_page_423">423</a></span><br /> +<span style="margin-left: 3em;">of Nero, +ii. <a href="#vol_2_page_202">202</a></span><br /> +<span style="margin-left: 3em;">of Titus, +ii. <a href="#vol_2_page_052">52</a></span><br /> + +<span style="margin-left: 2em;">Befana, festival of the, +ii. <a href="#vol_2_page_202">202</a></span><br /> + +<span style="margin-left: 2em;">Benedict, St., house inhabited by, +ii. <a href="#vol_2_page_368">368</a></span><br /> + +<span style="margin-left: 2em;">Bernini, Palazzo, i. <a href="#vol_1_page_073">73</a></span><br /> + +<span style="margin-left: 2em;">Bocca della Verita, i. <a href="#vol_1_page_233">233</a></span><br /> + +<span style="margin-left: 2em;">Borghese, Camillo, tomb of, +ii. <a href="#vol_2_page_087">87</a></span><br /> +<span style="margin-left: 3em;">Cervaletto, farm at, +ii. <a href="#vol_2_page_085">85</a></span><br /> +<span style="margin-left: 3em;">Palace, i. <a href="#vol_1_page_065">65</a></span><br /> +<span style="margin-left: 3em;">Piazza, i. <a href="#vol_1_page_066">66</a></span><br /> +<span style="margin-left: 3em;">Villa, +ii. <a href="#vol_2_page_411">411</a></span><br /> +<span style="margin-left: 3em;">Casino, +ii. <a href="#vol_2_page_413">413</a></span><br /> +<span style="margin-left: 3em;">Chapel of, +ii. <a href="#vol_2_page_085">85</a></span><br /> + +<span style="margin-left: 2em;">Borgia, family burial-place of, +ii. <a href="#vol_2_page_098">98</a></span><br /> +<span style="margin-left: 3em;">Cæsar, +ii. <a href="#vol_2_page_325">325</a></span><br /> +<span style="margin-left: 3em;">Lucrezia, +ii. <a href="#vol_2_page_062">62</a></span><br /> +<span style="margin-left: 3em;">Rodrigo, Pope Alexander VI., grave of, +ii. <a href="#vol_2_page_170">170</a>;</span><br /> +<span style="margin-left: 4em;">empty tomb of, <a href="#vol_2_page_269">269</a>;</span><br /> +<span style="margin-left: 4em;">representations of the life of, 325</span><br /> + +<span style="margin-left: 2em;">Borgo, the, +ii. <a href="#vol_2_page_235">235</a></span><br /> + +<span style="margin-left: 2em;">Boschetto, the, i. <a href="#vol_1_page_050">50</a></span><br /> + +<span style="margin-left: 2em;">Bramante, +ii. <a href="#vol_2_page_244">244</a>, <a href="#vol_2_page_284">284</a>, <a href="#vol_2_page_308">308</a></span><br /> + +<span style="margin-left: 2em;">Burial-Ground,</span><br /> +<span style="margin-left: 3em;">German, +ii. <a href="#vol_2_page_278">278</a></span><br /> +<span style="margin-left: 3em;">Jewish, i. <a href="#vol_1_page_355">355</a></span><br /> +<span style="margin-left: 3em;">Protestant, +ii. <a href="#vol_2_page_397">397</a></span><br /> +<span style="margin-left: 3em;">Roman, +ii. <a href="#vol_2_page_144">144</a></span><br /> + +<br /> +<span style="margin-left: 6em;"><a name="C" id="C"></a>C.</span><br /> + +<span style="margin-left: 2em;">Cæsars, Palace of the, i. <a href="#vol_1_page_273">273</a></span><br /> + +<span style="margin-left: 2em;">Caius Gracchus, spot where he was killed, +ii. <a href="#vol_2_page_377">377</a></span><br /> + +<span style="margin-left: 2em;">Caligula, Palace of, i. <a href="#vol_1_page_292">292</a>;</span><br /> +<span style="margin-left: 3em;">bridge of, <a href="#vol_1_page_299">299</a>;</span><br /> +<span style="margin-left: 3em;">obelisk brought to Rome by, +ii. <a href="#vol_2_page_238">238</a>;</span><br /> +<span style="margin-left: 3em;">circus of, 283</span><br /> + +<span style="margin-left: 2em;">Cameos, i. <a href="#vol_1_page_029">29</a></span><br /> + +<span style="margin-left: 2em;">Campaniles—</span><br /> +<span style="margin-left: 3em;">S. Benedetto a Piscinuola, +ii. <a href="#vol_2_page_368">368</a></span><br /> +<span style="margin-left: 3em;">S. Cecilia, +ii. <a href="#vol_2_page_372">372</a></span><br /> +<span style="margin-left: 3em;">S. Giovanni a Porta Latina, i. <a href="#vol_1_page_384">384</a></span><br /> +<span style="margin-left: 3em;">S. Lorenzo in Lucina, i. <a href="#vol_1_page_073">73</a></span><br /> +<span style="margin-left: 3em;">S. Lorenzo Pane e Perna, i. <a href="#vol_1_page_468">468</a></span><br /> +<span style="margin-left: 3em;">S. Maria in Cosmedin, i. <a href="#vol_1_page_234">234</a></span><br /> +<span style="margin-left: 3em;">S. Maria in Monticelli, +ii. <a href="#vol_2_page_182">182</a></span><br /> +<span style="margin-left: 3em;">S. Prassede, +ii. <a href="#vol_2_page_071">71</a></span><br /> +<span style="margin-left: 3em;">S. Pudenziana, i. <a href="#vol_1_page_470">470</a></span><br /> +<span style="margin-left: 3em;">S. Silvestro, i. <a href="#vol_1_page_074">74</a></span><br /> +<span style="margin-left: 3em;">S. Sisto, i. <a href="#vol_1_page_382">382</a></span><br /> + +<span style="margin-left: 2em;">Campo—</span><br /> +<span style="margin-left: 3em;">Militare, +ii. <a href="#vol_2_page_034">34</a></span><br /> +<span style="margin-left: 3em;">di Fiori, +ii. <a href="#vol_2_page_176">176</a></span><br /> + +<span style="margin-left: 2em;">Campus Esquilinus, +ii. <a href="#vol_2_page_036">36</a></span><br /> + +<span style="margin-left: 2em;">Campus Martius, +ii. <a href="#vol_2_page_148">148</a></span><br /> + +<span style="margin-left: 2em;">Canova, i. <a href="#vol_1_page_101">101</a>; +ii. <a href="#vol_2_page_251">251</a>, <a href="#vol_2_page_266">266</a>, <a href="#vol_2_page_308">308</a>, <a href="#vol_2_page_347">347</a>, <a href="#vol_2_page_415">415</a></span><br /> + +<span style="margin-left: 2em;">Capena, Porta, site of, i. <a href="#vol_1_page_373">373</a>;</span><br /> +<span style="margin-left: 3em;">historical interest of, 432</span><br /> + +<span style="margin-left: 2em;">Capitol, the, i. <a href="#vol_1_page_109">109—158</a></span><br /> + +<span style="margin-left: 2em;">Cappuccini, piazza, +ii. <a href="#vol_2_page_007">7</a></span><br /> +<span style="margin-left: 3em;">Cemetery, 10</span><br /> + +<span style="margin-left: 2em;">Caracci, Ann., tomb of, +ii. <a href="#vol_2_page_210">210</a></span><br /> + +<span style="margin-left: 2em;">Carinæ, the, +ii. <a href="#vol_2_page_047">47</a></span><br /> + +<span style="margin-left: 2em;">Caritas Romana, i. <a href="#vol_1_page_241">241</a></span><br /> + +<span style="margin-left: 2em;">Casale dei Pazzi, +ii. <a href="#vol_2_page_032">32</a></span><br /> + +<span style="margin-left: 2em;">Castel Giubeleo, +ii. <a href="#vol_2_page_425">425</a></span><br /> + +<span style="margin-left: 2em;">Castles of—</span><br /> +<span style="margin-left: 3em;">St. Angelo, +ii. <a href="#vol_2_page_227">227—234</a></span><br /> +<span style="margin-left: 3em;">the Alberteschi, +ii. <a href="#vol_2_page_368">368</a></span><br /> +<span style="margin-left: 3em;">the Anicii, +ii. <a href="#vol_2_page_368">368</a></span><br /> +<span style="margin-left: 3em;">the Anguillara, +ii. <a href="#vol_2_page_379">379</a></span><br /> +<span style="margin-left: 3em;">Crescenza, +ii. <a href="#vol_2_page_423">423</a></span><br /> +<span style="margin-left: 3em;">Rustica, +ii. <a href="#vol_2_page_135">135</a>.</span><br /> + +<span style="margin-left: 2em;">Catacombs—</span><br /> +<span style="margin-left: 3em;">of S. Agnese, +ii. <a href="#vol_2_page_029">29</a></span><br /> +<span style="margin-left: 3em;">of Calepodius, +ii. <a href="#vol_2_page_453">453</a></span><br /> +<span style="margin-left: 3em;">of St. Calixtus, i. <a href="#vol_1_page_390">390—405</a></span><br /> +<span style="margin-left: 3em;">of S. Ciriaca, +ii. <a href="#vol_2_page_142">142—145</a></span><br /> +<span style="margin-left: 3em;">of S. Felicitas, +ii. <a href="#vol_2_page_020">20</a></span><br /> +<span style="margin-left: 3em;">of S. Felix, i. <a href="#vol_1_page_049">49</a></span><br /> +<span style="margin-left: 3em;">of SS. Gianutus and Basilla, +ii. <a href="#vol_2_page_418">418</a></span><br /> +<span style="margin-left: 3em;">of S. Hippolytus, +ii. <a href="#vol_2_page_147">147</a></span><br /> +<span style="margin-left: 3em;">Jewish, i. <a href="#vol_1_page_407">407</a></span><br /> +<span style="margin-left: 3em;">of SS. Nereo ed Achilleo, i. <a href="#vol_1_page_408">408</a></span><br /> +<span style="margin-left: 3em;">of SS. Pietro e Marcellino, +ii. <a href="#vol_2_page_133">133</a></span><br /> +<span style="margin-left: 3em;">of S. Pretextatus, i. <a href="#vol_1_page_405">405</a></span><br /> +<span style="margin-left: 3em;">of S. Ponziano, +ii. <a href="#vol_2_page_453">453</a></span><br /> +<span style="margin-left: 3em;">of S. Priscilla, +ii. <a href="#vol_2_page_020">20—24</a></span><br /> +<span style="margin-left: 3em;">of the Santi Quattro, +ii. <a href="#vol_2_page_125">125</a></span><br /> +<span style="margin-left: 3em;">of S. Sebastiano, i. <a href="#vol_1_page_417">417</a></span><br /> +<span style="margin-left: 3em;">of St. Valentine, +ii. <a href="#vol_2_page_418">418</a></span><br /> + +<span style="margin-left: 2em;">Cathedra Petri, +ii. <a href="#vol_2_page_261">261</a>.</span><br /> + +<span style="margin-left: 2em;">Catherine, S., of Siena, Church of, i. <a href="#vol_1_page_459">459</a>;</span><br /> +<span style="margin-left: 3em;">tomb of, +ii. <a href="#vol_2_page_217">217</a>.</span><br /> + +<span style="margin-left: 2em;">Cecilia. S., relics and tomb of, +ii. <a href="#vol_2_page_373">373</a>;</span><br /> +<span style="margin-left: 3em;">house of, <a href="#vol_2_page_375">375</a>;</span><br /> +<span style="margin-left: 3em;">grave of, i. <a href="#vol_1_page_397">397</a></span><br /> + +<span style="margin-left: 2em;">Cemeteries—</span><br /> +<span style="margin-left: 3em;"><i>See</i> Burial-grounds</span><br /> + +<span style="margin-left: 2em;">Cenci, tragedy of the, i. <a href="#vol_1_page_260">260—267</a>;</span><br /> +<span style="margin-left: 3em;">portraits of Lucrezia and Beatrice, i. <a href="#vol_1_page_440">440</a>;</span><br /> +<span style="margin-left: 3em;">grave of Beatrice, +ii. <a href="#vol_2_page_450">450</a></span><br /> + +<span style="margin-left: 2em;">Centocellæ, +ii. <a href="#vol_2_page_133">133</a></span><br /> + +<span style="margin-left: 2em;">Chapels—</span><br /> +<span style="margin-left: 3em;">of St. Andrew, i. <a href="#vol_1_page_325">325</a>;</span><br /> +<span style="margin-left: 3em;">of St. Andrew's head, +ii. <a href="#vol_2_page_421">421</a></span><br /> + +<span style="margin-left: 2em;">Chapter House of S. Sisto, i. <a href="#vol_1_page_382">382</a></span><br /> + +<span style="margin-left: 2em;">Churches of—</span><br /> +<span style="margin-left: 3em;">S. Adriano, i. <a href="#vol_1_page_190">190</a></span><br /> +<span style="margin-left: 3em;">S. Agata dei Goti, i. <a href="#vol_1_page_461">461</a></span><br /> +<span style="margin-left: 3em;">S. Agnese, +ii. <a href="#vol_2_page_193">193</a></span><br /> +<span style="margin-left: 3em;">S. Agnese fuori le Mura, +ii. <a href="#vol_2_page_026">26</a></span><br /> +<span style="margin-left: 3em;">S. Agostino, +ii. <a href="#vol_2_page_157">157</a></span><br /> +<span style="margin-left: 3em;">S. Alessio, i. <a href="#vol_1_page_362">362</a></span><br /> +<span style="margin-left: 3em;">S. Anastasia, i. <a href="#vol_1_page_224">224</a></span><br /> +<span style="margin-left: 3em;">S. Andrea a Monte Cavallo, i. <a href="#vol_1_page_444">444</a></span><br /> +<span style="margin-left: 3em;">S. Andrea delle Fratte, i. <a href="#vol_1_page_075">75</a></span><br /> +<span style="margin-left: 3em;">S. Andrea della Valle, +ii. <a href="#vol_2_page_184">184</a></span><br /> +<span style="margin-left: 3em;">S. Angelo in Pescheria, i. <a href="#vol_1_page_248">248</a></span><br /> +<span style="margin-left: 3em;">S. Antonio Abbate, +ii. <a href="#vol_2_page_078">78</a></span><br /> +<span style="margin-left: 3em;">S. Apollinare, +ii. <a href="#vol_2_page_159">159</a></span><br /> +<span style="margin-left: 3em;">SS. Apostoli, i. <a href="#vol_1_page_100">100</a></span><br /> +<span style="margin-left: 3em;">Ara-Cœli, i. <a href="#vol_1_page_117">117</a>, <a href="#vol_1_page_144">144</a></span><br /> +<span style="margin-left: 3em;">S. Balbina, i. <a href="#vol_1_page_370">370</a></span><br /> +<span style="margin-left: 3em;">S. Bartolomeo, +ii. <a href="#vol_2_page_363">363</a></span><br /> +<span style="margin-left: 3em;">S. Benedetto a Piscinuola, +ii. <a href="#vol_2_page_368">368</a></span><br /> +<span style="margin-left: 3em;">S. Bernardo, +ii. <a href="#vol_2_page_039">39</a>, <a href="#vol_2_page_045">45</a></span><br /> +<span style="margin-left: 3em;">S. Bibiana, +ii. <a href="#vol_2_page_074">74</a></span><br /> +<span style="margin-left: 3em;">S. Brigitta, +ii. <a href="#vol_2_page_173">173</a></span><br /> +<span style="margin-left: 3em;">S. Buonaventura, i. <a href="#vol_1_page_204">204</a></span><br /> +<span style="margin-left: 3em;">S. Caio, i. <a href="#vol_1_page_443">443</a>; +ii. <a href="#vol_2_page_045">45</a></span><br /> +<span style="margin-left: 3em;">S. Calisto, +ii. <a href="#vol_2_page_387">387</a></span><br /> +<span style="margin-left: 3em;">I. Cappuccini, +ii. <a href="#vol_2_page_007">7</a></span><br /> +<span style="margin-left: 3em;">La Caravita, i. <a href="#vol_1_page_085">85</a></span><br /> +<span style="margin-left: 3em;">S. Carlo a Catinari, +ii. <a href="#vol_2_page_183">183</a></span><br /> +<span style="margin-left: 3em;">S. Carlo in Corso, i. <a href="#vol_1_page_064">64</a></span><br /> +<span style="margin-left: 3em;">S. Carlo a Quattro Fontane, i. <a href="#vol_1_page_043">43</a></span><br /> +<span style="margin-left: 3em;">S. Caterina de' Funari, i. <a href="#vol_1_page_268">268</a></span><br /> +<span style="margin-left: 3em;">S. Caterina di Siena, i. <a href="#vol_1_page_459">459</a>; +ii. <a href="#vol_2_page_224">224</a></span><br /> +<span style="margin-left: 3em;">S. Cecilia, +ii. <a href="#vol_2_page_370">370</a></span><br /> +<span style="margin-left: 3em;">S. Celso in Banchi, +ii. <a href="#vol_2_page_224">224</a></span><br /> +<span style="margin-left: 3em;">S. Cesareo, i. <a href="#vol_1_page_382">382</a></span><br /> +<span style="margin-left: 3em;">S. Claudio, i. <a href="#vol_1_page_076">76</a></span><br /> +<span style="margin-left: 3em;">S. Clemente, i. <a href="#vol_1_page_342">342</a></span><br /> +<span style="margin-left: 3em;">S. Cosimato, +ii. <a href="#vol_2_page_388">388</a></span><br /> +<span style="margin-left: 3em;">SS. Cosmo e Damiano, i. <a href="#vol_1_page_191">191</a></span><br /> +<span style="margin-left: 3em;">S. Costanza, +ii. <a href="#vol_2_page_028">28</a></span><br /> +<span style="margin-left: 3em;">S. Crisogono, +ii. <a href="#vol_2_page_381">381</a></span><br /> +<span style="margin-left: 3em;">S. Crispino al Ponte, +ii. <a href="#vol_2_page_369">369</a></span><br /> +<span style="margin-left: 3em;">S. Croce in Gerusalemme, +ii. <a href="#vol_2_page_128">128</a></span><br /> +<span style="margin-left: 3em;">I Crociferi, i. <a href="#vol_1_page_081">81</a></span><br /> +<span style="margin-left: 3em;">SS. Domenico e Sisto, i. <a href="#vol_1_page_461">461</a></span><br /> +<span style="margin-left: 3em;">S. Dionisio, i. <a href="#vol_1_page_474">474</a></span><br /> +<span style="margin-left: 3em;">Domine Quo Vadis, i. <a href="#vol_1_page_389">389</a></span><br /> +<span style="margin-left: 3em;">S. Dorotea, +ii. <a href="#vol_2_page_388">388</a></span><br /> +<span style="margin-left: 3em;">English and American, +ii. <a href="#vol_2_page_410">410</a></span><br /> +<span style="margin-left: 3em;">S. Eusebio, +ii. <a href="#vol_2_page_077">77</a></span><br /> +<span style="margin-left: 3em;">S. Eustachio, +ii. <a href="#vol_2_page_203">203</a></span><br /> +<span style="margin-left: 3em;">S. Francesco di Paola, +ii. <a href="#vol_2_page_062">62</a></span><br /> +<span style="margin-left: 4em;">a Ripa, +ii. <a href="#vol_2_page_379">379</a></span><br /> +<span style="margin-left: 3em;">S. Francesca Romana, i. <a href="#vol_1_page_195">195</a></span><br /> +<span style="margin-left: 3em;">Gesù e Maria, i. <a href="#vol_1_page_061">61</a></span><br /> +<span style="margin-left: 3em;">S. Giacomo degli Incurabili, i. <a href="#vol_1_page_061">61</a></span><br /> +<span style="margin-left: 3em;">S. Giacomo Scossa Cavalli, +ii. <a href="#vol_2_page_237">237</a></span><br /> +<span style="margin-left: 3em;">S. Giorgio in Velabro, i. <a href="#vol_1_page_231">231</a></span><br /> +<span style="margin-left: 3em;">S. Giovanni Decollato, i. <a href="#vol_1_page_239">239</a></span><br /> +<span style="margin-left: 3em;">S. Giovanni de' Fiorentini, +ii. <a href="#vol_2_page_225">225</a></span><br /> +<span style="margin-left: 3em;">S. Giovanni alla Lungara, +ii. <a href="#vol_2_page_439">439</a></span><br /> +<span style="margin-left: 3em;">SS. Giovanni e Paolo, i. <a href="#vol_1_page_321">321</a>, <a href="#vol_1_page_327">327</a></span><br /> +<span style="margin-left: 3em;">S. Giovanni della Pigna, +ii. <a href="#vol_2_page_209">209</a></span><br /> +<span style="margin-left: 3em;">S. Giovanni a Porta Latina, i. <a href="#vol_1_page_384">384</a></span><br /> +<span style="margin-left: 3em;">S. Girolamo della Carità, +ii. <a href="#vol_2_page_172">172</a></span><br /> +<span style="margin-left: 3em;">S. Girolamo degli Schiavoni, i. <a href="#vol_1_page_060">60</a></span><br /> +<span style="margin-left: 3em;">S. Giuseppe dei Falegnami, i. <a href="#vol_1_page_157">157</a></span><br /> +<span style="margin-left: 3em;">Greek, i. <a href="#vol_1_page_054">54</a></span><br /> +<span style="margin-left: 3em;">S. Gregorio, i. <a href="#vol_1_page_319">319</a>, <a href="#vol_1_page_322">322</a></span><br /> +<span style="margin-left: 3em;">S. Ignazio, i. <a href="#vol_1_page_085">85</a></span><br /> +<span style="margin-left: 3em;">Il Gesù, i. <a href="#vol_1_page_106">106</a></span><br /> +<span style="margin-left: 3em;">S. Isidoro, +ii. <a href="#vol_2_page_011">11</a></span><br /> +<span style="margin-left: 3em;">S. Ivo of Brittany, +ii. <a href="#vol_2_page_155">155</a></span><br /> +<span style="margin-left: 3em;">SS. Lorenzo e Damaso, +ii. <a href="#vol_2_page_178">178</a></span><br /> +<span style="margin-left: 3em;">S. Lorenzo in Fonte, i. <a href="#vol_1_page_468">468</a></span><br /> +<span style="margin-left: 4em;">in Lucina, i. <a href="#vol_1_page_073">73</a></span><br /> +<span style="margin-left: 4em;">fuori le Mura, +ii. <a href="#vol_2_page_136">136</a></span><br /> +<span style="margin-left: 4em;">Pane e Perna, i. <a href="#vol_1_page_466">466</a></span><br /> +<span style="margin-left: 3em;">S. Luigi dei Francesi, +ii. <a href="#vol_2_page_200">200</a></span><br /> +<span style="margin-left: 3em;">S. Marcello, i. <a href="#vol_1_page_087">87</a></span><br /> +<span style="margin-left: 3em;">S. Marco, i. <a href="#vol_1_page_105">105</a></span><br /> +<span style="margin-left: 3em;">S. Maria degli Angeli, +ii. <a href="#vol_2_page_040">40</a></span><br /> +<span style="margin-left: 4em;">dell' Anima, +ii. <a href="#vol_2_page_160">160</a></span><br /> +<span style="margin-left: 4em;">in Aquiro, i. <a href="#vol_1_page_079">79</a></span><br /> +<span style="margin-left: 4em;">Aventina, i. <a href="#vol_1_page_365">365</a></span><br /> +<span style="margin-left: 4em;">in Campitelli, i. <a href="#vol_1_page_269">269</a></span><br /> +<span style="margin-left: 4em;">in Cappella, +ii. <a href="#vol_2_page_370">370</a></span><br /> +<span style="margin-left: 4em;">della Concezione, +ii. <a href="#vol_2_page_007">7</a></span><br /> +<span style="margin-left: 4em;">in Cosmedin, i. <a href="#vol_1_page_232">232</a></span><br /> +<span style="margin-left: 4em;">in Domenica, i. <a href="#vol_1_page_332">332</a></span><br /> +<span style="margin-left: 4em;">delle Fornaci, +ii. <a href="#vol_2_page_456">456</a></span><br /> +<span style="margin-left: 4em;">Liberatrice, i. <a href="#vol_1_page_190">190</a></span><br /> +<span style="margin-left: 4em;">di Loreto, i. <a href="#vol_1_page_162">162</a></span><br /> +<span style="margin-left: 4em;">Maggiore, +ii. <a href="#vol_2_page_081">81</a></span><br /> +<span style="margin-left: 4em;">sopra Minerva, +ii. <a href="#vol_2_page_212">212</a></span><br /> +<span style="margin-left: 4em;">di Monserrato, +ii. <a href="#vol_2_page_170">170</a></span><br /> +<span style="margin-left: 4em;">in Monticelli, +ii. <a href="#vol_2_page_182">182</a></span><br /> +<span style="margin-left: 4em;">in Monti, i. <a href="#vol_1_page_464">464</a></span><br /> +<span style="margin-left: 4em;">dell' Orto, +ii. <a href="#vol_2_page_378">378</a></span><br /> +<span style="margin-left: 4em;">della Pace, +ii. <a href="#vol_2_page_163">163</a></span><br /> +<span style="margin-left: 4em;">della Pietà in Campo Santo, +ii. <a href="#vol_2_page_278">278</a></span><br /> +<span style="margin-left: 4em;">del Popolo, i. <a href="#vol_1_page_039">39</a></span><br /> +<span style="margin-left: 4em;">Scala Cœli, +ii. <a href="#vol_2_page_399">399</a></span><br /> +<span style="margin-left: 4em;">Traspontina, +ii. <a href="#vol_2_page_236">236</a></span><br /> +<span style="margin-left: 4em;">in Trastevere, +ii. <a href="#vol_2_page_382">382</a></span><br /> +<span style="margin-left: 4em;">in Trivia, i. <a href="#vol_1_page_081">81</a></span><br /> +<span style="margin-left: 4em;">in Valicella, +ii. <a href="#vol_2_page_166">166</a></span><br /> +<span style="margin-left: 4em;">in Via Lata, i. <a href="#vol_1_page_089">89</a></span><br /> +<span style="margin-left: 4em;">di Vienna, i. <a href="#vol_1_page_162">162</a></span><br /> +<span style="margin-left: 4em;">della Vittoria, +ii. <a href="#vol_2_page_043">43</a></span><br /> +<span style="margin-left: 3em;">S. Marta, +ii. <a href="#vol_2_page_278">278</a></span><br /> +<span style="margin-left: 3em;">S. Martina, i. <a href="#vol_1_page_188">188</a></span><br /> +<span style="margin-left: 3em;">S. Martino al Monte, +ii. <a href="#vol_2_page_063">63</a></span><br /> +<span style="margin-left: 3em;">S. Michaele in Sassia, +ii. <a href="#vol_2_page_280">280</a></span><br /> +<span style="margin-left: 3em;">SS. Nereo ed Achilleo, i. <a href="#vol_1_page_379">379</a></span><br /> +<span style="margin-left: 3em;">S. Nicolo in Carcere, i. <a href="#vol_1_page_240">240</a></span><br /> +<span style="margin-left: 4em;">in Tolentino, +ii. <a href="#vol_2_page_012">12</a></span><br /> +<span style="margin-left: 3em;">S. Onofrio, +ii. <a href="#vol_2_page_434">434</a></span><br /> +<span style="margin-left: 3em;">S. Onofrio in Campagna, +ii. <a href="#vol_2_page_428">428</a></span><br /> +<span style="margin-left: 3em;">dell' Orazione, +ii. <a href="#vol_2_page_175">175</a></span><br /> +<span style="margin-left: 3em;">S. Pancrazio, +ii. <a href="#vol_2_page_452">452</a></span><br /> +<span style="margin-left: 3em;">S. Pantaleone, +ii. <a href="#vol_2_page_188">188</a></span><br /> +<span style="margin-left: 3em;">S. Paolo fuori le Mura, +ii. <a href="#vol_2_page_403">403</a></span><br /> +<span style="margin-left: 4em;">Primo Eremita, i. <a href="#vol_1_page_473">473</a></span><br /> +<span style="margin-left: 4em;">allé Tre Fontane, +ii. <a href="#vol_2_page_401">401</a></span><br /> +<span style="margin-left: 3em;">delle Perpetua Adoratrice del Divin Sacramento del Altare, i. <a href="#vol_1_page_446">446</a></span><br /> +<span style="margin-left: 3em;">S. Pietro in Carcere, i. <a href="#vol_1_page_153">153</a></span><br /> +<span style="margin-left: 3em;">SS. Pietro e Marcellino, +ii. <a href="#vol_2_page_122">122</a></span><br /> +<span style="margin-left: 3em;">S. Pietro in Montorio, +ii. <a href="#vol_2_page_449">449</a></span><br /> +<span style="margin-left: 4em;">in Vincoli, +ii. <a href="#vol_2_page_054">54</a></span><br /> +<span style="margin-left: 3em;">S. Prassede, +ii. <a href="#vol_2_page_065">65</a></span><br /> +<span style="margin-left: 3em;">S. Prisca, i. <a href="#vol_1_page_367">367</a></span><br /> +<span style="margin-left: 3em;">S. Pudenziana, i. <a href="#vol_1_page_469">469</a></span><br /> +<span style="margin-left: 3em;">SS. Quattro Incoronati, i. <a href="#vol_1_page_340">340</a></span><br /> +<span style="margin-left: 3em;">SS. Rocco e Martino, i. <a href="#vol_1_page_060">60</a></span><br /> +<span style="margin-left: 3em;">S. Sabba, i. <a href="#vol_1_page_369">369</a></span><br /> +<span style="margin-left: 3em;">S. Sabina, i. <a href="#vol_1_page_356">356</a></span><br /> +<span style="margin-left: 3em;">S. Salvatore in Lauro, +ii. <a href="#vol_2_page_224">224</a></span><br /> +<span style="margin-left: 3em;">S. Salvatore in Torrione, +ii. <a href="#vol_2_page_280">280</a></span><br /> +<span style="margin-left: 3em;">Il Santissimo Redentore, +ii. <a href="#vol_2_page_071">71</a></span><br /> +<span style="margin-left: 3em;">S. Sebastiano, i. <a href="#vol_1_page_416">416</a></span><br /> +<span style="margin-left: 4em;">in Palatino, i. <a href="#vol_1_page_203">203</a></span><br /> +<span style="margin-left: 3em;">S. Silvestro a Monte Cavallo, i. <a href="#vol_1_page_459">459</a></span><br /> +<span style="margin-left: 3em;">S. Sisto, i. <a href="#vol_1_page_381">381</a></span><br /> +<span style="margin-left: 3em;">S. Stefano, +ii. <a href="#vol_2_page_278">278</a></span><br /> +<span style="margin-left: 3em;">S. Stefano Rotondo, i. <a href="#vol_1_page_333">333</a></span><br /> +<span style="margin-left: 3em;">S. Susanna, +ii. <a href="#vol_2_page_044">44</a></span><br /> +<span style="margin-left: 3em;">S. Sylvestro in Capite, i. <a href="#vol_1_page_074">74</a></span><br /> +<span style="margin-left: 3em;">S. Teodoro, i. <a href="#vol_1_page_223">223</a></span><br /> +<span style="margin-left: 3em;">S. Teresa, +ii. <a href="#vol_2_page_045">45</a></span><br /> +<span style="margin-left: 3em;">S. Tomaso dei Cenci, i. <a href="#vol_1_page_260">260</a></span><br /> +<span style="margin-left: 3em;">S. Tomaso degli Inglesi, +ii. <a href="#vol_2_page_170">170</a></span><br /> +<span style="margin-left: 3em;">Trinità de' Monti, i. <a href="#vol_1_page_052">52</a></span><br /> +<span style="margin-left: 3em;">Trinità dei Pellegrini, ii, 181</span><br /> +<span style="margin-left: 3em;">S. Urbano, i. <a href="#vol_1_page_413">413</a></span><br /> +<span style="margin-left: 3em;">SS. Vincenzo ed Anastasio, +ii. <a href="#vol_2_page_400">400</a></span><br /> +<span style="margin-left: 3em;">S. Vitale, i. <a href="#vol_1_page_474">474</a></span><br /> +<span style="margin-left: 3em;">S. Vito, +ii. <a href="#vol_2_page_071">71</a></span><br /> + +<span style="margin-left: 2em;">Cicero, House of, i. <a href="#vol_1_page_301">301</a>;</span><br /> +<span style="margin-left: 3em;">received at the Porta Capena, 375</span><br /> + +<span style="margin-left: 2em;">Cimeterio dei Tedeschi, oldest Christian burial-ground, +ii. <a href="#vol_2_page_278">278</a></span><br /> + +<span style="margin-left: 2em;">Circus—</span><br /> +<span style="margin-left: 3em;">Agonalis, +ii. <a href="#vol_2_page_196">196</a></span><br /> +<span style="margin-left: 3em;">of Caligula, +ii. <a href="#vol_2_page_283">283</a></span><br /> +<span style="margin-left: 3em;">of Flaminius, site of, i. <a href="#vol_1_page_268">268</a></span><br /> +<span style="margin-left: 3em;">of Maxentius, i. <a href="#vol_1_page_422">422</a></span><br /> +<span style="margin-left: 3em;">Maximus, i. <a href="#vol_1_page_288">288</a></span><br /> +<span style="margin-left: 3em;">of Nero, +ii. <a href="#vol_2_page_283">283</a></span><br /> + +<span style="margin-left: 2em;">Clement, St., Church and house of. i. <a href="#vol_1_page_342">342—347</a></span><br /> + +<span style="margin-left: 2em;">Clivus Capitolinus, i. <a href="#vol_1_page_170">170</a>, <a href="#vol_1_page_172">172</a></span><br /> +<span style="margin-left: 3em;">Martis, i. <a href="#vol_1_page_388">388</a></span><br /> +<span style="margin-left: 3em;">Victoriæ, i. <a href="#vol_1_page_292">292</a></span><br /> + +<span style="margin-left: 2em;">Cloaca Maxima, i. <a href="#vol_1_page_229">229</a></span><br /> + +<span style="margin-left: 2em;">Cloisters—</span><br /> +<span style="margin-left: 3em;">of S. Alessio, i. <a href="#vol_1_page_364">364</a></span><br /> +<span style="margin-left: 3em;">of the Angeli, +ii. <a href="#vol_2_page_042">42</a></span><br /> +<span style="margin-left: 3em;">of S. Gregorio, i. <a href="#vol_1_page_322">322</a></span><br /> +<span style="margin-left: 3em;">of the Lateran, +ii. <a href="#vol_2_page_105">105</a></span><br /> +<span style="margin-left: 3em;">of S. Lorenzo, +ii. <a href="#vol_2_page_144">144</a></span><br /> +<span style="margin-left: 3em;">of S. Paolo, +ii. <a href="#vol_2_page_405">405</a></span><br /> +<span style="margin-left: 3em;">of S. Pietro in Vincoli, +ii. <a href="#vol_2_page_062">62</a></span><br /> + +<span style="margin-left: 2em;">Cœlian Hill, i. <a href="#vol_1_page_316">316—342</a></span><br /> + +<span style="margin-left: 2em;">Coliseum, i. <a href="#vol_1_page_207">207—220</a></span><br /> + +<span style="margin-left: 2em;">Collatia, ruins of, +ii. <a href="#vol_2_page_135">135</a></span><br /> + +<span style="margin-left: 2em;">College for English missionaries, +ii. <a href="#vol_2_page_171">171</a></span><br /> + +<span style="margin-left: 2em;">Collegio di Propaganda Fede, i. <a href="#vol_1_page_058">58</a></span><br /> + +<span style="margin-left: 2em;">Collegio Romano, i. <a href="#vol_1_page_087">87</a></span><br /> + +<span style="margin-left: 2em;">Colonna, Agnese Gaetani, funeral urn of, +ii. <a href="#vol_2_page_273">273</a></span><br /> +<span style="margin-left: 3em;">Gardens, i. <a href="#vol_1_page_458">458</a></span><br /> +<span style="margin-left: 3em;">Lorenzo, murder of, +ii. <a href="#vol_2_page_224">224</a></span><br /> +<span style="margin-left: 3em;">Oddone, tomb of, +ii. <a href="#vol_2_page_100">100</a></span><br /> +<span style="margin-left: 3em;">Palazzo, i. <a href="#vol_1_page_098">98</a></span><br /> +<span style="margin-left: 3em;">Piazza, i. <a href="#vol_1_page_077">77</a></span><br /> +<span style="margin-left: 3em;">Princess, tomb of, +ii. <a href="#vol_2_page_213">213</a></span><br /> +<span style="margin-left: 3em;">Vittoria, residence of, i. <a href="#vol_1_page_075">75</a>;</span><br /> +<span style="margin-left: 4em;">death of, +ii. <a href="#vol_2_page_387">387</a></span><br /> + +<span style="margin-left: 2em;">Columbaria,—</span><br /> +<span style="margin-left: 3em;">of the Arruntia family, +ii. <a href="#vol_2_page_077">77</a></span><br /> +<span style="margin-left: 3em;">of the Freedmen of Octavia, i. <a href="#vol_1_page_385">385</a></span><br /> + +<span style="margin-left: 2em;">Columna Lactaria, i, 242</span><br /> + +<span style="margin-left: 2em;">Columns—</span><br /> +<span style="margin-left: 3em;">Colonna della Vergine, ii, 80</span><br /> +<span style="margin-left: 3em;">of M. Antoninus, i. <a href="#vol_1_page_077">77</a></span><br /> +<span style="margin-left: 3em;">of Antoninus Pius, +ii. <a href="#vol_2_page_334">334</a></span><br /> +<span style="margin-left: 3em;">of Piazza di Spagna, i. <a href="#vol_1_page_057">57</a></span><br /> +<span style="margin-left: 3em;">of Phocas, i. <a href="#vol_1_page_179">179</a></span><br /> +<span style="margin-left: 3em;">of S. Prassede, +ii. <a href="#vol_2_page_068">68</a></span><br /> +<span style="margin-left: 3em;">of Trajan, i. <a href="#vol_1_page_160">160</a></span><br /> +<span style="margin-left: 3em;">of the Vatican Council, +ii. <a href="#vol_2_page_363">363</a></span><br /> + +<span style="margin-left: 2em;">Connell, Daniel O', monument of, i. <a href="#vol_1_page_462">462</a></span><br /> + +<span style="margin-left: 2em;">Constantine, statue of, i. <a href="#vol_1_page_118">118</a>;</span><br /> +<span style="margin-left: 3em;">basilica of, i. <a href="#vol_1_page_184">184</a>;</span><br /> +<span style="margin-left: 3em;">arch of, i. <a href="#vol_1_page_206">206</a>;</span><br /> +<span style="margin-left: 3em;">frescoes representing the conversion of, i. <a href="#vol_1_page_341">341</a>;</span><br /> +<span style="margin-left: 3em;">baths of, i. <a href="#vol_1_page_458">458</a>;</span><br /> +<span style="margin-left: 3em;">frescoes of legendary history of, +ii. <a href="#vol_2_page_099">99</a>;</span><br /> +<span style="margin-left: 3em;">erection of a basilica on the site of St. Peter's, by, +ii. <a href="#vol_2_page_242">242</a>;</span><br /> +<span style="margin-left: 3em;">Cimeterio del Tedeschi, set apart by, +ii. <a href="#vol_2_page_278">278</a>;</span><br /> +<span style="margin-left: 3em;">Saxa Rubra, site of decisive victory of, +ii. <a href="#vol_2_page_425">425</a></span><br /> + +<span style="margin-left: 2em;">Convents of—</span><br /> +<span style="margin-left: 3em;">S. Agata in Suburra, i. <a href="#vol_1_page_461">461</a></span><br /> +<span style="margin-left: 3em;">S. Alessio, i. <a href="#vol_1_page_362">362</a></span><br /> +<span style="margin-left: 3em;">Ara-Cœli, i. <a href="#vol_1_page_153">153</a></span><br /> +<span style="margin-left: 3em;">S. Bartolomeo, +ii. <a href="#vol_2_page_363">363</a></span><br /> +<span style="margin-left: 3em;">S. Bernardo, +ii. <a href="#vol_2_page_045">45</a></span><br /> +<span style="margin-left: 3em;">the Buon Pastore, +ii. <a href="#vol_2_page_439">439</a></span><br /> +<span style="margin-left: 3em;">S. Buenaventura, i. <a href="#vol_1_page_204">204</a></span><br /> +<span style="margin-left: 3em;">S. Caterina, i. <a href="#vol_1_page_460">460</a></span><br /> +<span style="margin-left: 3em;">S. Cecilia, +ii. <a href="#vol_2_page_370">370</a></span><br /> +<span style="margin-left: 3em;">S. Eusebio, +ii. <a href="#vol_2_page_077">77</a></span><br /> +<span style="margin-left: 3em;">S. Francesca Romana, i. <a href="#vol_1_page_198">198</a></span><br /> +<span style="margin-left: 3em;">S. Francesco a Rapa, +ii. <a href="#vol_2_page_379">379</a></span><br /> +<span style="margin-left: 3em;">the Gesù, i. <a href="#vol_1_page_107">107</a></span><br /> +<span style="margin-left: 3em;">S. Gregorio, i. <a href="#vol_1_page_326">326</a></span><br /> +<span style="margin-left: 3em;">S. Maria degli Angeli, +ii. <a href="#vol_2_page_042">42</a></span><br /> +<span style="margin-left: 3em;">the Minerva, +ii. <a href="#vol_2_page_222">222</a></span><br /> +<span style="margin-left: 3em;">Monache Polacche, +ii. <a href="#vol_2_page_072">72</a></span><br /> +<span style="margin-left: 3em;">the Noviciate of the order of Jesus, i. <a href="#vol_1_page_445">445</a></span><br /> +<span style="margin-left: 3em;">S. Onofrio, +ii. <a href="#vol_2_page_435">435</a></span><br /> +<span style="margin-left: 3em;">the Oratorians, +ii. <a href="#vol_2_page_166">166</a></span><br /> +<span style="margin-left: 3em;">S. Pancrazio, +ii. <a href="#vol_2_page_452">452</a></span><br /> +<span style="margin-left: 3em;">S. Paolo, +ii. <a href="#vol_2_page_387">387</a></span><br /> +<span style="margin-left: 3em;">S. Pietro in Vincoli, +ii. <a href="#vol_2_page_053">53</a></span><br /> +<span style="margin-left: 3em;">Poor Clares, +ii. <a href="#vol_2_page_388">388</a></span><br /> +<span style="margin-left: 3em;">the Pregatrici, +ii. <a href="#vol_2_page_012">12</a></span><br /> +<span style="margin-left: 3em;">S. Sabina, i. <a href="#vol_1_page_355">355</a></span><br /> +<span style="margin-left: 3em;">the Sacré Cœur, i. <a href="#vol_1_page_053">53</a></span><br /> +<span style="margin-left: 3em;">Santi Quattro Incoronati, i. <a href="#vol_1_page_340">340</a>, <a href="#vol_1_page_342">342</a></span><br /> +<span style="margin-left: 3em;">Sepolte Vive, the, or Farnesiani nuns, i. <a href="#vol_1_page_465">465</a></span><br /> +<span style="margin-left: 3em;">S. Silvestro a Monte Cavallo, i. <a href="#vol_1_page_459">459</a></span><br /> +<span style="margin-left: 3em;">S. Sisto, i. <a href="#vol_1_page_381">381</a></span><br /> +<span style="margin-left: 3em;">S. Tomaso in Formis, i. <a href="#vol_1_page_331">331</a></span><br /> +<span style="margin-left: 3em;">Tor de Specchi, i. <a href="#vol_1_page_270">270</a></span><br /> +<span style="margin-left: 3em;">Ursuline nuns, i. <a href="#vol_1_page_064">64</a>,</span><br /> +<span style="margin-left: 3em;">Visitandine nuns, i. <a href="#vol_1_page_304">304</a></span><br /> + +<span style="margin-left: 2em;">Cordieri, Nicolo, statues by, i. <a href="#vol_1_page_325">325</a>, <a href="#vol_1_page_326">326</a>; +ii. <a href="#vol_2_page_099">99</a>, <a href="#vol_2_page_214">214</a></span><br /> + +<span style="margin-left: 2em;">Cordonnata, La, i. <a href="#vol_1_page_118">118</a></span><br /> + +<span style="margin-left: 2em;">Corsini, Palazzo, +ii. <a href="#vol_2_page_439">439</a></span><br /> +<span style="margin-left: 3em;">Chapel of the, +ii. <a href="#vol_2_page_103">103</a></span><br /> + +<span style="margin-left: 2em;">Corso, the, i. <a href="#vol_1_page_060">60</a></span><br /> + +<span style="margin-left: 2em;">Crypts—</span><br /> +<span style="margin-left: 3em;">of S. Alessio, i. <a href="#vol_1_page_364">364</a></span><br /> +<span style="margin-left: 3em;">of SS. Cosmo e Damiano, i. <a href="#vol_1_page_191">191</a></span><br /> +<span style="margin-left: 3em;">of S. Croce in Gerusalemme, +ii. <a href="#vol_2_page_130">130</a></span><br /> +<span style="margin-left: 3em;">of S. Martina, i. <a href="#vol_1_page_188">188</a></span><br /> +<span style="margin-left: 3em;">of S. Martino al Monte, +ii. <a href="#vol_2_page_063">63</a></span><br /> +<span style="margin-left: 3em;">of St. Peter's, +ii. <a href="#vol_2_page_267">267</a></span><br /> +<span style="margin-left: 3em;">of S. Prassede, +ii. <a href="#vol_2_page_068">68</a></span><br /> + +<span style="margin-left: 2em;">Crypto-Porticus, i. <a href="#vol_1_page_281">281</a></span><br /> + +<span style="margin-left: 2em;">Cybele, Temple of, i. <a href="#vol_1_page_294">294</a>;</span><br /> +<span style="margin-left: 3em;">Sacred Stone of, <a href="#vol_1_page_294">294</a>;</span><br /> +<span style="margin-left: 3em;">washing the statue of, +ii. <a href="#vol_2_page_408">408</a></span><br /> + +<br /> +<span style="margin-left: 6em;"><a name="D" id="D"></a>D.</span><br /> + +<span style="margin-left: 2em;">Dalmatica di Papa San Leone, in Treasury of St. Peter's, +ii. <a href="#vol_2_page_276">276</a></span><br /> + +<span style="margin-left: 2em;">Damasus, Pope St., inscriptions of, i. <a href="#vol_1_page_396">396</a>, <a href="#vol_1_page_407">407</a>, <a href="#vol_1_page_418">418</a></span><br /> + +<span style="margin-left: 2em;">Diana, Temple of, i. <a href="#vol_1_page_353">353</a></span><br /> + +<span style="margin-left: 2em;">Diavolo, Casa del, +ii. <a href="#vol_2_page_124">124</a></span><br /> + +<span style="margin-left: 2em;">Diocletian, Baths of, +ii. <a href="#vol_2_page_038">38</a></span><br /> + +<span style="margin-left: 2em;">Doctors in Rome, i. <a href="#vol_1_page_028">28</a></span><br /> + +<span style="margin-left: 2em;">Domenichino, his most famous fresco, i. <a href="#vol_1_page_325">325</a>;</span><br /> +<span style="margin-left: 3em;">his masterpiece, +ii. <a href="#vol_2_page_349">349</a></span><br /> + +<span style="margin-left: 2em;">Dominic, St., Convent of, i. <a href="#vol_1_page_355">355</a>;</span><br /> +<span style="margin-left: 3em;">orange-tree of, <a href="#vol_1_page_356">356</a>;</span><br /> +<span style="margin-left: 3em;">vision of, <a href="#vol_1_page_358">358</a>;</span><br /> +<span style="margin-left: 3em;">legends of, <a href="#vol_1_page_359">359</a>, <a href="#vol_1_page_360">360</a>;</span><br /> +<span style="margin-left: 3em;">first residence of, <a href="#vol_1_page_381">381</a>;</span><br /> +<span style="margin-left: 3em;">Divine mission of, <a href="#vol_1_page_382">382</a>;</span><br /> +<span style="margin-left: 3em;">place of first meeting with St. Francis, +ii. <a href="#vol_2_page_106">106</a></span><br /> + +<span style="margin-left: 2em;">Domitian. Palace of, i. <a href="#vol_1_page_312">312</a>;</span><br /> +<span style="margin-left: 3em;">martyrs under, 334</span><br /> + +<span style="margin-left: 2em;">Doria, Palazzo, i. <a href="#vol_1_page_093">93</a>;</span><br /> +<span style="margin-left: 3em;">Villa, +ii. <a href="#vol_2_page_454">454</a>.</span><br /> + +<span style="margin-left: 2em;">Dorotea, Sta., legend of, +ii. <a href="#vol_2_page_390">390</a></span><br /> + +<span style="margin-left: 2em;">Drawing, materials, shops for, i. <a href="#vol_1_page_029">29</a>;</span><br /> +<span style="margin-left: 3em;">list of subjects for, <a href="#vol_1_page_034">34</a>;</span><br /> +<span style="margin-left: 3em;">best months for, in Rome, 35</span><br /> + +<br /> +<span style="margin-left: 6em;"><a name="E" id="E"></a>E.</span><br /> + +<span style="margin-left: 2em;">Easter benediction, ceremony of the, +ii. <a href="#vol_2_page_240">240</a>, <a href="#vol_2_page_241">241</a></span><br /> + +<span style="margin-left: 2em;">Egeria, Fountain of, i. <a href="#vol_1_page_375">375</a>;</span><br /> +<span style="margin-left: 3em;">Grotto and grove of, 413</span><br /> + +<span style="margin-left: 2em;">Esquiline Hill, +ii. <a href="#vol_2_page_046">46—93</a></span><br /> + +<span style="margin-left: 2em;">Eustace, St., legend of the conversion of, +ii. <a href="#vol_2_page_204">204</a>.</span><br /> + +<br /> +<span style="margin-left: 6em;"><a name="F" id="F"></a>F.</span><br /> + +<span style="margin-left: 2em;">Fabii, scene of the destruction of the, +ii. <a href="#vol_2_page_424">424</a></span><br /> + +<span style="margin-left: 2em;">Farnese, Palazzo, ii <a href="#vol_2_page_174">174</a>;</span><br /> +<span style="margin-left: 3em;">Palazzetto, 178</span><br /> + +<span style="margin-left: 2em;">Faustulus, Hut of, i. <a href="#vol_1_page_288">288</a></span><br /> + +<span style="margin-left: 2em;">Festa degli Artisti, +ii. <a href="#vol_2_page_135">135</a></span><br /> + +<span style="margin-left: 2em;">Filomena, Sta., +ii. <a href="#vol_2_page_022">22</a></span><br /> + +<span style="margin-left: 2em;">Fiori, Mario di, +ii. <a href="#vol_2_page_442">442</a></span><br /> + +<span style="margin-left: 2em;">Fontana, works of, +ii. <a href="#vol_2_page_089">89</a>, <a href="#vol_2_page_093">93</a>, <a href="#vol_2_page_096">96</a>, <a href="#vol_2_page_114">114</a>, <a href="#vol_2_page_238">238</a>, <a href="#vol_2_page_257">257</a>, <a href="#vol_2_page_391">391</a></span><br /> + +<span style="margin-left: 2em;">Fontana Paolina, +ii. <a href="#vol_2_page_451">451</a></span><br /> + +<span style="margin-left: 2em;">Forums—</span><br /> +<span style="margin-left: 3em;">of Augustus, i. <a href="#vol_1_page_164">164</a></span><br /> +<span style="margin-left: 3em;">Boarium, i. <a href="#vol_1_page_227">227</a></span><br /> +<span style="margin-left: 3em;">of Nerva, i. <a href="#vol_1_page_165">165</a></span><br /> +<span style="margin-left: 3em;">Romanum, i. <a href="#vol_1_page_168">168—185</a></span><br /> +<span style="margin-left: 3em;">of Trajan, i. <a href="#vol_1_page_159">159</a></span><br /> + +<span style="margin-left: 2em;">Fountains—</span><br /> +<span style="margin-left: 3em;">of the Barcaccia, i. <a href="#vol_1_page_057">57</a></span><br /> +<span style="margin-left: 3em;">of Egeria, i. <a href="#vol_1_page_375">375</a></span><br /> +<span style="margin-left: 3em;">of S. Maria degli Angeli, +ii. <a href="#vol_2_page_042">42</a></span><br /> +<span style="margin-left: 3em;">of S. Maria in Cosmedin, i. <a href="#vol_1_page_235">235</a></span><br /> +<span style="margin-left: 3em;">of S. Maria in Trastevere, +ii. <a href="#vol_2_page_382">382</a></span><br /> +<span style="margin-left: 3em;">of the Mascherone, +ii. <a href="#vol_2_page_175">175</a></span><br /> +<span style="margin-left: 3em;">of Palazzo Aldobrandini, i. <a href="#vol_1_page_461">461</a></span><br /> +<span style="margin-left: 3em;">in Palace of the Senator, i. <a href="#vol_1_page_120">120</a></span><br /> +<span style="margin-left: 3em;">in Piazza Navona, +ii. <a href="#vol_2_page_196">196</a></span><br /> +<span style="margin-left: 3em;">in Piazza Pia, +ii. <a href="#vol_2_page_236">236</a></span><br /> +<span style="margin-left: 3em;">of the Tantarughe, i. <a href="#vol_1_page_267">267</a></span><br /> +<span style="margin-left: 3em;">Paolina, +ii. <a href="#vol_2_page_451">451</a></span><br /> +<span style="margin-left: 3em;">of the Piazza Montanara, i. <a href="#vol_1_page_242">242</a></span><br /> +<span style="margin-left: 3em;">of the Ponte Sisto, +ii. <a href="#vol_2_page_391">391</a></span><br /> +<span style="margin-left: 3em;">attributed to the prayers of Peter and Paul in prison, i. <a href="#vol_1_page_156">156</a></span><br /> +<span style="margin-left: 3em;">of the Quirinal, i. <a href="#vol_1_page_473">478</a></span><br /> +<span style="margin-left: 3em;">of the Termini, +ii. <a href="#vol_2_page_042">42</a></span><br /> +<span style="margin-left: 3em;">of the Tre Fontane, +ii. <a href="#vol_2_page_401">401</a></span><br /> +<span style="margin-left: 3em;">of Trevi, i. <a href="#vol_1_page_079">79</a></span><br /> + +<span style="margin-left: 2em;">Francis, St., relics of, +ii. <a href="#vol_2_page_379">379</a>;</span><br /> +<span style="margin-left: 3em;">celebration of Christmas by, 380</span><br /> + +<span style="margin-left: 2em;">Frangipani family, castle of the, i. <a href="#vol_1_page_217">217</a>;</span><br /> +<span style="margin-left: 3em;">fortress of the, +ii. <a href="#vol_2_page_062">62</a></span><br /> + +<br /> +<span style="margin-left: 6em;"><a name="G" id="G"></a>G.</span><br /> + +<span style="margin-left: 2em;">Galileo, place of trial of, +ii. <a href="#vol_2_page_222">222</a></span><br /> + +<span style="margin-left: 2em;">Gardens—</span><br /> +<span style="margin-left: 3em;">of Adonis, i. <a href="#vol_1_page_305">305</a></span><br /> +<span style="margin-left: 3em;">of Barberini Palace, i. <a href="#vol_1_page_443">443</a></span><br /> +<span style="margin-left: 3em;">Botanic, +ii. <a href="#vol_2_page_439">439</a></span><br /> +<span style="margin-left: 3em;">Colonna, i. <a href="#vol_1_page_458">458</a></span><br /> +<span style="margin-left: 3em;">containing Columbaria, i. <a href="#vol_1_page_386">386</a></span><br /> +<span style="margin-left: 3em;">Corsini, +ii. <a href="#vol_2_page_445">445</a></span><br /> +<span style="margin-left: 3em;">Government, i. <a href="#vol_1_page_379">379</a></span><br /> +<span style="margin-left: 3em;">of the Pincio, i. <a href="#vol_1_page_046">46</a></span><br /> +<span style="margin-left: 3em;">Priorato, i. <a href="#vol_1_page_365">365</a></span><br /> +<span style="margin-left: 3em;">of the Quirinal, i. <a href="#vol_1_page_445">445</a></span><br /> +<span style="margin-left: 3em;">Vatican, +ii. <a href="#vol_2_page_333">333</a></span><br /> +<span style="margin-left: 3em;">of S. Silvia, i. <a href="#vol_1_page_324">324</a></span><br /> +<span style="margin-left: 3em;">of Sallust, +ii. <a href="#vol_2_page_012">12</a></span><br /> +<span style="margin-left: 3em;">of Villa Medici, i. <a href="#vol_1_page_049">49</a></span><br /> +<span style="margin-left: 3em;">of Villa Massimo, +ii. <a href="#vol_2_page_122">122</a></span><br /> +<span style="margin-left: 3em;">of Villa Negroni, +ii. <a href="#vol_2_page_035">35</a></span><br /> +<span style="margin-left: 3em;">of Villa Wolkonski, +ii. <a href="#vol_2_page_123">123</a></span><br /> + +<span style="margin-left: 2em;">Germale, the, i. <a href="#vol_1_page_279">279</a></span><br /> + +<span style="margin-left: 2em;">Gesù Nazareno, miracle-working picture of, +ii. <a href="#vol_2_page_182">182</a></span><br /> + +<span style="margin-left: 2em;">Ghetto, the, i. <a href="#vol_1_page_250">250</a>;</span><br /> +<span style="margin-left: 3em;">burial-ground for, 355</span><br /> + +<span style="margin-left: 2em;">Giardino della Pigna, +ii. <a href="#vol_2_page_333">333</a></span><br /> + +<span style="margin-left: 2em;">Giotto, works of, +ii. <a href="#vol_2_page_104">104</a>, <a href="#vol_2_page_215">215</a>, <a href="#vol_2_page_246">246</a>, <a href="#vol_2_page_277">277</a>, <a href="#vol_2_page_324">324</a></span><br /> + +<span style="margin-left: 2em;">Græcostasis, i. <a href="#vol_1_page_171">171</a></span><br /> + +<span style="margin-left: 2em;">Gregory, St., legends of, i. <a href="#vol_1_page_322">322</a>; +ii. <a href="#vol_2_page_229">229</a>;</span><br /> +<span style="margin-left: 3em;">Church of, i. <a href="#vol_1_page_322">322</a>;</span><br /> +<span style="margin-left: 3em;">monastic cell of, <a href="#vol_1_page_324">324</a>;</span><br /> +<span style="margin-left: 3em;">statue of, <a href="#vol_1_page_326">326</a>;</span><br /> +<span style="margin-left: 3em;">family to which he belonged, 363</span><br /> + +<span style="margin-left: 2em;">Grottoes of Cerbara, +ii. <a href="#vol_2_page_135">135</a></span><br /> + +<span style="margin-left: 2em;">Guidi, antiquity vendor, i. <a href="#vol_1_page_379">379</a></span><br /> + +<span style="margin-left: 2em;">Guido, important works of, i. <a href="#vol_1_page_073">73</a>, <a href="#vol_1_page_325">325</a>; +ii. <a href="#vol_2_page_007">7</a></span><br /> + +<br /> +<span style="margin-left: 6em;"><a name="H" id="H"></a>H.</span><br /> + +<span style="margin-left: 2em;">Heads of Lions, on bank of the Tiber, i. <a href="#vol_1_page_239">239</a></span><br /> + +<span style="margin-left: 2em;">Horti Lamiana, +ii. <a href="#vol_2_page_076">76</a></span><br /> + +<span style="margin-left: 2em;">Hospitals—</span><br /> +<span style="margin-left: 3em;">Sta. Galla, i. <a href="#vol_1_page_239">239</a></span><br /> +<span style="margin-left: 3em;">S. Gallicano, +ii. <a href="#vol_2_page_382">382</a></span><br /> +<span style="margin-left: 3em;">of S. Giacomo degli Incurabili, i. <a href="#vol_1_page_061">61</a></span><br /> +<span style="margin-left: 3em;">German, +ii. <a href="#vol_2_page_161">161</a></span><br /> +<span style="margin-left: 3em;">of S. Giovanni Calabrita, +ii. <a href="#vol_2_page_365">365</a></span><br /> +<span style="margin-left: 3em;">of S. Giovanni Laterano, +ii. <a href="#vol_2_page_095">95</a></span><br /> +<span style="margin-left: 3em;">in Mausoleum of Augustus, i. <a href="#vol_1_page_064">64</a></span><br /> +<span style="margin-left: 3em;">S. Michaele, +ii. <a href="#vol_2_page_376">376</a></span><br /> +<span style="margin-left: 3em;">of Santa Maria in Capella, +ii. <a href="#vol_2_page_370">370</a></span><br /> +<span style="margin-left: 3em;">of San Rocco, i. <a href="#vol_1_page_060">60</a></span><br /> +<span style="margin-left: 3em;">of Santo Spirito, +ii. <a href="#vol_2_page_237">237</a></span><br /> +<span style="margin-left: 3em;">of the Trinità dei Pellegrini, +ii. <a href="#vol_2_page_181">181</a></span><br /> + +<span style="margin-left: 2em;">Houses—</span><br /> +<span style="margin-left: 3em;">of Aquila and Priscilla, i. <a href="#vol_1_page_368">368</a></span><br /> +<span style="margin-left: 4em;">Cicero, i. <a href="#vol_1_page_301">301</a></span><br /> +<span style="margin-left: 4em;">Claude Lorraine, i. <a href="#vol_1_page_054">54</a></span><br /> +<span style="margin-left: 4em;">S. Clement, i. <a href="#vol_1_page_347">347</a></span><br /> +<span style="margin-left: 4em;">Clodius, i. <a href="#vol_1_page_300">300</a></span><br /> +<span style="margin-left: 4em;">Crassus, i. <a href="#vol_1_page_301">301</a></span><br /> +<span style="margin-left: 4em;">Drusus and Antonia, i. <a href="#vol_1_page_292">292</a></span><br /> +<span style="margin-left: 4em;">the Fornarina, +ii. <a href="#vol_2_page_368">368</a></span><br /> +<span style="margin-left: 4em;">Hortensius, i. <a href="#vol_1_page_304">304</a></span><br /> +<span style="margin-left: 4em;">Lucrezia Borgia, +ii. <a href="#vol_2_page_062">62</a></span><br /> +<span style="margin-left: 4em;">Mark Antony, i. <a href="#vol_1_page_303">303</a></span><br /> +<span style="margin-left: 3em;">Nero's Golden, +ii. <a href="#vol_2_page_052">52</a></span><br /> +<span style="margin-left: 3em;">of Nicholas Poussin, i. <a href="#vol_1_page_054">54</a></span><br /> +<span style="margin-left: 4em;">Octavius and Afra, i. <a href="#vol_1_page_277">277</a></span><br /> +<span style="margin-left: 4em;">Palestrina, i. <a href="#vol_1_page_339">339</a></span><br /> +<span style="margin-left: 4em;">Pudens, i. <a href="#vol_1_page_469">469</a></span><br /> +<span style="margin-left: 4em;">Poets, +ii. <a href="#vol_2_page_050">50</a></span><br /> +<span style="margin-left: 4em;">Pompey, +ii. <a href="#vol_2_page_048">48</a></span><br /> +<span style="margin-left: 4em;">Pomponius Atticus, i. <a href="#vol_1_page_435">435</a></span><br /> +<span style="margin-left: 4em;">the Queen of Poland, i. <a href="#vol_1_page_054">54</a></span><br /> +<span style="margin-left: 4em;">Raphael, +ii. <a href="#vol_2_page_225">225</a></span><br /> +<span style="margin-left: 4em;">Rienzi, i. <a href="#vol_1_page_236">236</a></span><br /> +<span style="margin-left: 4em;">S. Silvia, i. <a href="#vol_1_page_321">321</a></span><br /> +<span style="margin-left: 4em;">Spurius Mælius, i. <a href="#vol_1_page_272">272</a></span><br /> +<span style="margin-left: 4em;">the "Violinista," +ii. <a href="#vol_2_page_225">225</a></span><br /> + +<br /> +<span style="margin-left: 6em;"><a name="I" id="I"></a>I.</span><br /> + +<span style="margin-left: 2em;">Ignatius, S., rooms in which he lived, i. <a href="#vol_1_page_107">107</a>;</span><br /> +<span style="margin-left: 3em;">his martyrdom, 211</span><br /> + +<span style="margin-left: 2em;">Inquisition, Palace of the, +ii. <a href="#vol_2_page_278">278</a></span><br /> + +<span style="margin-left: 2em;">Intermontium, the, i. <a href="#vol_1_page_116">116</a></span><br /> + +<span style="margin-left: 2em;">Island in the Tiber, +ii. <a href="#vol_2_page_360">360—62</a></span><br /> + +<br /> +<span style="margin-left: 6em;"><a name="J" id="J"></a>J.</span><br /> + +<span style="margin-left: 2em;">Janiculan, the, +ii. <a href="#vol_2_page_432">432—434</a></span><br /> + +<span style="margin-left: 2em;">Jesuits, Order of the, established, +ii. <a href="#vol_2_page_262">262</a>;</span><br /> +<span style="margin-left: 3em;">re-established, 264</span><br /> + +<span style="margin-left: 2em;">Jews, quarter of the, i. <a href="#vol_1_page_250">250</a>;</span><br /> +<span style="margin-left: 3em;">history of, in Rome, from early times, <a href="#vol_1_page_250">250</a>;</span><br /> +<span style="margin-left: 3em;">persecution of, <a href="#vol_1_page_251">251</a>, <a href="#vol_1_page_252">252</a>;</span><br /> +<span style="margin-left: 3em;">terms of occupation of houses by, <a href="#vol_1_page_253">253</a>;</span><br /> +<span style="margin-left: 3em;">revocation of laws against, <a href="#vol_1_page_254">254</a>;</span><br /> +<span style="margin-left: 3em;">population, government, and mortality, <a href="#vol_1_page_255">255</a>;</span><br /> +<span style="margin-left: 3em;">synagogue of, <a href="#vol_1_page_256">256</a>;</span><br /> +<span style="margin-left: 3em;">burial-ground of, <a href="#vol_1_page_355">355</a>;</span><br /> +<span style="margin-left: 3em;">cupidity of, <a href="#vol_1_page_355">355</a>;</span><br /> +<span style="margin-left: 3em;">catacomb of, <a href="#vol_1_page_407">407</a>;</span><br /> +<span style="margin-left: 3em;">custom of, on the election of a pope, +ii. <a href="#vol_2_page_166">166</a></span><br /> + +<span style="margin-left: 2em;">Jupiter, Capitolinus, temples of, i. <a href="#vol_1_page_111">111</a>; +ii. <a href="#vol_2_page_366">366</a>;</span><br /> +<span style="margin-left: 3em;">—Tonans,—Feretrius,—Pistor, temples of, i. <a href="#vol_1_page_115">115</a>;</span><br /> +<span style="margin-left: 3em;">statue of, <a href="#vol_1_page_115">115</a>;</span><br /> +<span style="margin-left: 3em;">—Stator, temple of, <a href="#vol_1_page_247">247</a>, <a href="#vol_1_page_278">278</a>;</span><br /> +<span style="margin-left: 3em;">—Inventor, temple of, +ii. <a href="#vol_2_page_392">392</a></span><br /> + +<br /> +<span style="margin-left: 6em;"><a name="K" id="K"></a>K.</span><br /> + +<span style="margin-left: 2em;">Kircherian Museum. i. <a href="#vol_1_page_088">88</a></span><br /> + +<br /> +<span style="margin-left: 6em;"><a name="L" id="L"></a>L.</span><br /> + +<span style="margin-left: 2em;">La Madonna Consolatrice degli Afflitti, miraculous picture, +ii. <a href="#vol_2_page_221">221</a></span><br /> + +<span style="margin-left: 2em;">Lanfranco, tomb of, +ii. <a href="#vol_2_page_385">385</a></span><br /> + +<span style="margin-left: 2em;">Laocoon, the, +ii. <a href="#vol_2_page_309">309</a></span><br /> + +<span style="margin-left: 2em;">Lares, shrine of the, i. <a href="#vol_1_page_382">382</a></span><br /> + +<span style="margin-left: 2em;">Lateran, obelisk of the, +ii. <a href="#vol_2_page_095">95</a>;</span><br /> +<span style="margin-left: 3em;">baptistery of, <a href="#vol_2_page_096">96</a>;</span><br /> +<span style="margin-left: 3em;">cloisters of, <a href="#vol_2_page_104">104</a>;</span><br /> +<span style="margin-left: 3em;">five General Councils held at, <a href="#vol_2_page_105">105</a>;</span><br /> +<span style="margin-left: 3em;">ancient palace of, <a href="#vol_2_page_108">108</a>;</span><br /> +<span style="margin-left: 3em;">modern palace of, <a href="#vol_2_page_114">114</a>;</span><br /> +<span style="margin-left: 3em;">Christian Museum, <a href="#vol_2_page_117">117</a>;</span><br /> +<span style="margin-left: 3em;">Picture Gallery, <a href="#vol_2_page_118">118</a>;</span><br /> +<span style="margin-left: 3em;">School of Music, 121</span><br /> + +<span style="margin-left: 2em;">Libraries, i. <a href="#vol_1_page_029">29</a></span><br /> +<span style="margin-left: 3em;">Barberini, i. <a href="#vol_1_page_437">437</a></span><br /> +<span style="margin-left: 3em;">Bibliotheca Casanatensis, +ii. <a href="#vol_2_page_222">222</a></span><br /> +<span style="margin-left: 3em;">of the Collegio Romano, i. <a href="#vol_1_page_088">88</a></span><br /> +<span style="margin-left: 3em;">Corsini, +ii. <a href="#vol_2_page_445">445</a></span><br /> +<span style="margin-left: 3em;">of the Chiesa Nuova, +ii. <a href="#vol_2_page_167">167</a></span><br /> +<span style="margin-left: 3em;">of Palazzo Chigi, i. <a href="#vol_1_page_076">76</a></span><br /> +<span style="margin-left: 3em;">of Santa Croce, +ii. <a href="#vol_2_page_131">131</a></span><br /> +<span style="margin-left: 3em;">of the Vatican, +ii. <a href="#vol_2_page_322">322</a></span><br /> + +<span style="margin-left: 2em;">Locanda dell' Orso, +ii. <a href="#vol_2_page_223">223</a></span><br /> + +<span style="margin-left: 2em;">Loggie of Raphael, +ii. <a href="#vol_2_page_337">337</a></span><br /> + +<span style="margin-left: 2em;">Lorenzo, St., almsgiving of, i. <a href="#vol_1_page_333">333</a>;</span><br /> +<span style="margin-left: 3em;">sketch of life of, +ii. <a href="#vol_2_page_137">137</a>;</span><br /> +<span style="margin-left: 3em;">trial of i. <a href="#vol_1_page_283">283</a>;</span><br /> +<span style="margin-left: 3em;">martyrdom of, i. <a href="#vol_1_page_446">446</a>;</span><br /> +<span style="margin-left: 3em;">burial-place of, <a href="#vol_1_page_143">143</a>;</span><br /> +<span style="margin-left: 3em;">cemetery of, 144</span><br /> + +<span style="margin-left: 2em;">Lottery, Roman weekly drawing of the, +ii. <a href="#vol_2_page_198">198</a></span><br /> + +<span style="margin-left: 2em;">Loyola, Ignatius, residence of, i. <a href="#vol_1_page_107">107</a>;</span><br /> +<span style="margin-left: 3em;">church where he was wont to preach, +ii. <a href="#vol_2_page_170">170</a></span><br /> + +<span style="margin-left: 2em;">Lunatic Asylum, +ii. <a href="#vol_2_page_439">439</a></span><br /> + +<span style="margin-left: 2em;">Lunghezza, +ii. <a href="#vol_2_page_135">135</a></span><br /> + +<span style="margin-left: 2em;">Lupercal, the, i. <a href="#vol_1_page_290">290</a></span><br /> + +<span style="margin-left: 2em;">Luther, residence of, in Rome, i. <a href="#vol_1_page_042">42</a></span><br /> + +<br /> +<span style="margin-left: 6em;"><a name="M" id="M"></a>M.</span><br /> + +<span style="margin-left: 2em;">Macellum Magnum, i. <a href="#vol_1_page_334">334</a></span><br /> + +<span style="margin-left: 2em;">Maderno, Stefano, masterpiece of, +ii. <a href="#vol_2_page_373">373</a></span><br /> + +<span style="margin-left: 2em;">Malaria the, i. <a href="#vol_1_page_021">21</a></span><br /> + +<span style="margin-left: 2em;">Maldacchini, Olympia, influence of, +ii. <a href="#vol_2_page_197">197</a>;</span><br /> +<span style="margin-left: 3em;">villa built by, 455</span><br /> + +<span style="margin-left: 2em;">Mamertine Prisons, i. <a href="#vol_1_page_153">153</a></span><br /> + +<span style="margin-left: 2em;">Manufactory of Mosaics, +ii. <a href="#vol_2_page_359">359</a></span><br /> + +<span style="margin-left: 2em;">Maranna, i. <a href="#vol_1_page_375">375</a></span><br /> + +<span style="margin-left: 2em;">Maratta, Carlo, monument of, +ii. <a href="#vol_2_page_040">40</a></span><br /> + +<span style="margin-left: 2em;">Marmorata, the, +ii. <a href="#vol_2_page_393">393</a></span><br /> + +<span style="margin-left: 2em;">Mars, temples of, i. <a href="#vol_1_page_164">164</a>, <a href="#vol_1_page_373">373</a>, <a href="#vol_1_page_388">388</a></span><br /> + +<span style="margin-left: 2em;">Martyrdoms—</span><br /> +<span style="margin-left: 3em;">best authenticated, i. <a href="#vol_1_page_334">334—338</a></span><br /> +<span style="margin-left: 3em;">of Christians, place of, +ii. <a href="#vol_2_page_390">390</a></span><br /> +<span style="margin-left: 3em;">of S. Agata, i. <a href="#vol_1_page_462">462</a></span><br /> +<span style="margin-left: 3em;">of S. Agnes, +ii. <a href="#vol_2_page_027">27</a></span><br /> +<span style="margin-left: 3em;">of S. Cecilia, +ii. <a href="#vol_2_page_371">371</a></span><br /> +<span style="margin-left: 3em;">of S. Ignatius, i. <a href="#vol_1_page_211">211</a></span><br /> +<span style="margin-left: 3em;">of S. Gaudentius, i. <a href="#vol_1_page_209">209</a></span><br /> +<span style="margin-left: 3em;">of S. Lorenzo, i. <a href="#vol_1_page_466">466</a></span><br /> +<span style="margin-left: 3em;">of S. Martina, i. <a href="#vol_1_page_212">212</a></span><br /> +<span style="margin-left: 3em;">of St. Paul, +ii. <a href="#vol_2_page_401">401</a></span><br /> +<span style="margin-left: 3em;">of St. Peter, +ii. <a href="#vol_2_page_451">451</a></span><br /> +<span style="margin-left: 3em;">of S. Prisca, i. <a href="#vol_1_page_212">212</a></span><br /> +<span style="margin-left: 3em;">Pietra di Paragone, used in the, +ii. <a href="#vol_2_page_278">278</a></span><br /> + +<span style="margin-left: 2em;">Masaccio, frescoes by, i. <a href="#vol_1_page_343">343</a></span><br /> + +<span style="margin-left: 2em;">Mausoleum of Augustus, i. <a href="#vol_1_page_062">62</a>;</span><br /> +<span style="margin-left: 3em;">statues at entrance of, 474</span><br /> +<span style="margin-left: 3em;">of Hadrian, +ii. <a href="#vol_2_page_227">227</a>, <a href="#vol_2_page_233">233</a></span><br /> + +<span style="margin-left: 2em;">Medici, Villa, i. <a href="#vol_1_page_049">49</a>;</span><br /> +<span style="margin-left: 3em;">tombs of the Medici family, +ii. <a href="#vol_2_page_218">218</a>, <a href="#vol_2_page_219">219</a></span><br /> + +<span style="margin-left: 2em;">Melozzo da Forli, important pictures by, i. <a href="#vol_1_page_453">453</a>; +ii. <a href="#vol_2_page_276">276</a>, <a href="#vol_2_page_357">357</a></span><br /> + +<span style="margin-left: 2em;">Mentana, +ii. <a href="#vol_2_page_033">33</a></span><br /> + +<span style="margin-left: 2em;">Meta Sudans, i. <a href="#vol_1_page_206">206</a></span><br /> + +<span style="margin-left: 2em;">Michael Angelo, works attributed to, i. <a href="#vol_1_page_117">117</a>, <a href="#vol_1_page_119">119</a>, <a href="#vol_1_page_332">332</a>, <a href="#vol_1_page_334">334</a>; +ii. <a href="#vol_2_page_058">58</a>, <a href="#vol_2_page_060">60</a>, <a href="#vol_2_page_163">163</a>, <a href="#vol_2_page_174">174</a>, <a href="#vol_2_page_210">210</a>, <a href="#vol_2_page_218">218</a>;</span><br /> +<span style="margin-left: 3em;">the Moses of, +ii. <a href="#vol_2_page_058">58</a>;</span><br /> +<span style="margin-left: 3em;">design of, for St. Peter's, +ii. <a href="#vol_2_page_244">244</a>;</span><br /> +<span style="margin-left: 3em;">statue by, in St. Peter's, +ii. <a href="#vol_2_page_256">256</a>;</span><br /> +<span style="margin-left: 3em;">frescoes by, +ii. <a href="#vol_2_page_285">285</a>;</span><br /> +<span style="margin-left: 3em;">his most perfect work, +ii. <a href="#vol_2_page_388">388</a></span><br /> + +<span style="margin-left: 2em;">Milliarium Aureum, i. <a href="#vol_1_page_173">173</a></span><br /> + +<span style="margin-left: 2em;">Mills of Belisarius, +ii. <a href="#vol_2_page_366">366</a></span><br /> + +<span style="margin-left: 2em;">Miserere, of Passion Week, +ii. <a href="#vol_2_page_296">296</a></span><br /> + +<span style="margin-left: 2em;">Monasteries—</span><br /> +<span style="margin-left: 3em;">of S. Andrew, i. <a href="#vol_1_page_321">321</a></span><br /> +<span style="margin-left: 3em;">of S. Anna. +ii. <a href="#vol_2_page_387">387</a></span><br /> +<span style="margin-left: 3em;">of the Chiesa Nuova, +ii. <a href="#vol_2_page_167">167</a></span><br /> +<span style="margin-left: 3em;">of S. Croce, +ii. <a href="#vol_2_page_131">131</a></span><br /> +<span style="margin-left: 3em;">of S. Eusebio, +ii. <a href="#vol_2_page_077">77</a></span><br /> +<span style="margin-left: 3em;">of the Passionists, i. <a href="#vol_1_page_329">329</a></span><br /> + +<span style="margin-left: 2em;">Mons Sacer, +ii. <a href="#vol_2_page_032">32</a></span><br /> + +<span style="margin-left: 2em;">Monte Caprino, i. <a href="#vol_1_page_117">117</a></span><br /> +<span style="margin-left: 3em;">Cavallo, i. <a href="#vol_1_page_446">446</a></span><br /> +<span style="margin-left: 3em;">Citorio, i. <a href="#vol_1_page_078">78</a></span><br /> +<span style="margin-left: 3em;">Giordano, +ii. <a href="#vol_2_page_166">166</a></span><br /> +<span style="margin-left: 3em;">del Grano, +ii. <a href="#vol_2_page_124">124</a></span><br /> +<span style="margin-left: 3em;">Mario, +ii. <a href="#vol_2_page_427">427</a></span><br /> +<span style="margin-left: 3em;">di Pietà, +ii. <a href="#vol_2_page_181">181</a></span><br /> +<span style="margin-left: 3em;">Rotondo, +ii. <a href="#vol_2_page_034">34</a></span><br /> +<span style="margin-left: 3em;">Sacro (Mons Sacer), +ii. <a href="#vol_2_page_032">32</a></span><br /> +<span style="margin-left: 3em;">Testaccio, +ii. <a href="#vol_2_page_397">397</a></span><br /> + +<span style="margin-left: 2em;">Morrà, national game of the Trasteverini, +ii. <a href="#vol_2_page_367">367</a></span><br /> + +<span style="margin-left: 2em;">Mosaics—</span><br /> +<span style="margin-left: 3em;">in S. Cecilia, +ii. <a href="#vol_2_page_374">374</a></span><br /> +<span style="margin-left: 3em;">in S. Cesareo, i. <a href="#vol_1_page_383">383</a></span><br /> +<span style="margin-left: 3em;">in S. Antonio, +ii. <a href="#vol_2_page_079">79</a></span><br /> +<span style="margin-left: 3em;">in S. Croce, +ii. <a href="#vol_2_page_130">130</a></span><br /> +<span style="margin-left: 3em;">in S. Clemente, i. <a href="#vol_1_page_345">345</a></span><br /> +<span style="margin-left: 3em;">at S. Tommaso in Formis, i. <a href="#vol_1_page_351">351</a></span><br /> +<span style="margin-left: 3em;">of SS. Cosmo and Damian, i. <a href="#vol_1_page_192">192</a></span><br /> +<span style="margin-left: 3em;">in Crypt of St. Peter's, +ii. <a href="#vol_2_page_268">268</a>, <a href="#vol_2_page_273">273</a></span><br /> +<span style="margin-left: 3em;">in S. Francesca Romana, i. <a href="#vol_1_page_198">198</a></span><br /> +<span style="margin-left: 3em;">in Jewish Catacomb, i. <a href="#vol_1_page_407">407</a></span><br /> +<span style="margin-left: 3em;">in the Lateran, +ii. <a href="#vol_2_page_100">100</a></span><br /> +<span style="margin-left: 3em;">in S. Lorenzo, +ii. <a href="#vol_2_page_138">138</a></span><br /> +<span style="margin-left: 3em;">in Sta. Maria in Cosmedin, i. <a href="#vol_1_page_233">233</a></span><br /> +<span style="margin-left: 4em;">in Domenica, i. <a href="#vol_1_page_333">333</a></span><br /> +<span style="margin-left: 4em;">Maggiore, +ii. <a href="#vol_2_page_082">82</a>, <a href="#vol_2_page_083">83</a></span><br /> +<span style="margin-left: 4em;">Scala Cœli, +ii. <a href="#vol_2_page_400">400</a></span><br /> +<span style="margin-left: 4em;">in Trastevere, +ii. <a href="#vol_2_page_383">383</a>, <a href="#vol_2_page_385">385—387</a></span><br /> +<span style="margin-left: 3em;">in S. Martino al Monte, +ii. <a href="#vol_2_page_064">64</a></span><br /> +<span style="margin-left: 3em;">in the Navicella, i. <a href="#vol_1_page_333">333</a></span><br /> +<span style="margin-left: 3em;">in SS. Nereo ed Achilleo, i. <a href="#vol_1_page_380">380</a></span><br /> +<span style="margin-left: 3em;">in the Oratory of S. Venanzio, +ii. <a href="#vol_2_page_097">97</a></span><br /> +<span style="margin-left: 3em;">in the Orto del Paradiso, +ii. <a href="#vol_2_page_067">67</a></span><br /> +<span style="margin-left: 3em;">in S. Paolo fuori le Mura, +ii. <a href="#vol_2_page_405">405</a>, <a href="#vol_2_page_406">406</a></span><br /> +<span style="margin-left: 3em;">Papal Manufactory of, +ii. <a href="#vol_2_page_359">359</a></span><br /> +<span style="margin-left: 3em;">in St. Peter's, +ii. <a href="#vol_2_page_252">252</a>, <a href="#vol_2_page_256">256</a>, <a href="#vol_2_page_259">259</a>, <a href="#vol_2_page_260">260</a>, <a href="#vol_2_page_261">261</a>, <a href="#vol_2_page_263">263</a>, <a href="#vol_2_page_264">264</a></span><br /> +<span style="margin-left: 3em;">in S. Pietro in Vincoli, +ii. <a href="#vol_2_page_057">57</a></span><br /> +<span style="margin-left: 3em;">in S. Prassede, +ii. <a href="#vol_2_page_070">70</a></span><br /> +<span style="margin-left: 3em;">in S. Pudenziana, i. <a href="#vol_1_page_471">471</a></span><br /> +<span style="margin-left: 3em;">in the Quirinal Palace, i. <a href="#vol_1_page_454">454</a></span><br /> +<span style="margin-left: 3em;">in S. Sabina, i. <a href="#vol_1_page_357">357</a></span><br /> +<span style="margin-left: 3em;">in the Sala Rotondo, +ii. <a href="#vol_2_page_318">318</a></span><br /> +<span style="margin-left: 3em;">in the Sancta Sanctorum, +ii. <a href="#vol_2_page_113">113</a></span><br /> +<span style="margin-left: 3em;">in S. Stefano Rotondo, i. <a href="#vol_1_page_339">339</a></span><br /> +<span style="margin-left: 3em;">in S. Teodoro, i. <a href="#vol_1_page_223">223</a></span><br /> +<span style="margin-left: 3em;">found at Torre Nuova, +ii. <a href="#vol_2_page_414">414</a></span><br /> +<span style="margin-left: 3em;">in the Triclinium of the Palace of Lateran, +ii. <a href="#vol_2_page_109">109</a></span><br /> + +<span style="margin-left: 2em;">Muro-Torto, i. <a href="#vol_1_page_046">46</a></span><br /> + +<span style="margin-left: 2em;">Museo, Chiaramonti, +ii. <a href="#vol_2_page_305">305</a></span><br /> +<span style="margin-left: 3em;">Pio-Clementino, +ii. <a href="#vol_2_page_305">305</a></span><br /> + +<span style="margin-left: 2em;">Museums—</span><br /> +<span style="margin-left: 3em;">Capitoline, i. <a href="#vol_1_page_122">122</a></span><br /> +<span style="margin-left: 3em;">Christian, of the Lateran, +ii. <a href="#vol_2_page_117">117</a></span><br /> +<span style="margin-left: 3em;">Vatican, of Christian Antiquities, +ii. <a href="#vol_2_page_324">324</a></span><br /> +<span style="margin-left: 3em;">Egyptian, ii 331</span><br /> +<span style="margin-left: 3em;">Etruscan, +ii. <a href="#vol_2_page_327">327—331</a></span><br /> +<span style="margin-left: 3em;">Kircherian, i. <a href="#vol_1_page_088">88</a></span><br /> + +<br /> +<span style="margin-left: 6em;"><a name="N" id="N"></a>N.</span><br /> + +<span style="margin-left: 2em;">Navicella, the, i. <a href="#vol_1_page_330">330</a>;</span><br /> +<span style="margin-left: 3em;">Mosaic of, +ii. <a href="#vol_2_page_246">246</a></span><br /> + +<span style="margin-left: 2em;">Navona, Piazza, +ii. <a href="#vol_2_page_196">196</a></span><br /> + +<span style="margin-left: 2em;">Naumachia, remnant of the pleasures of the, +ii. <a href="#vol_2_page_198">198</a></span><br /> + +<span style="margin-left: 2em;">Neri, S. Filippo, i. <a href="#vol_1_page_418">418</a>;</span><br /> +<span style="margin-left: 3em;">chapel of, +ii. <a href="#vol_2_page_166">166</a>;</span><br /> +<span style="margin-left: 3em;">library founded by, +ii. <a href="#vol_2_page_167">167</a>;</span><br /> +<span style="margin-left: 3em;">foundation of Oratorians by, +ii. <a href="#vol_2_page_169">169</a>;</span><br /> +<span style="margin-left: 3em;">hospital founded by, +ii. <a href="#vol_2_page_181">181</a>;</span><br /> +<span style="margin-left: 3em;">portrait of, +ii. <a href="#vol_2_page_181">181</a>;</span><br /> +<span style="margin-left: 3em;">resuscitation to life by, +ii. <a href="#vol_2_page_187">187</a></span><br /> + +<span style="margin-left: 2em;">Nero, Grave of, i. <a href="#vol_1_page_038">38</a>;</span><br /> +<span style="margin-left: 3em;">Statue of, i. <a href="#vol_1_page_200">200</a>;</span><br /> +<span style="margin-left: 3em;">Palace of, i. <a href="#vol_1_page_311">311</a>;</span><br /> +<span style="margin-left: 3em;">Aqueduct of, i. <a href="#vol_1_page_330">330</a>;</span><br /> +<span style="margin-left: 3em;">Martyrs under, i. <a href="#vol_1_page_335">335</a>;</span><br /> +<span style="margin-left: 3em;">Tower of, i. <a href="#vol_1_page_459">459</a>;</span><br /> +<span style="margin-left: 3em;">death of, +ii. <a href="#vol_2_page_025">25</a>;</span><br /> +<span style="margin-left: 3em;">Golden House of, +ii. <a href="#vol_2_page_052">52</a>;</span><br /> +<span style="margin-left: 3em;">site of Baths of, +ii. <a href="#vol_2_page_202">202</a></span><br /> + +<span style="margin-left: 2em;">Notte Vaticane, +ii. <a href="#vol_2_page_336">336</a></span><br /> + +<span style="margin-left: 2em;">Nymphæum—</span><br /> +<span style="margin-left: 3em;">of S. Urbano, i. <a href="#vol_1_page_413">413</a></span><br /> +<span style="margin-left: 3em;">of the Val d' Inferno, +ii. <a href="#vol_2_page_430">430</a></span><br /> + +<br /> +<span style="margin-left: 6em;"><a name="O" id="O"></a>O.</span><br /> + +<span style="margin-left: 2em;">Obelisk—</span><br /> +<span style="margin-left: 3em;">of the Esquiline, +ii. <a href="#vol_2_page_093">93</a></span><br /> +<span style="margin-left: 3em;">of the Villa Mattel, i. <a href="#vol_1_page_332">332</a></span><br /> +<span style="margin-left: 3em;">of the Lateran, +ii. <a href="#vol_2_page_095">95</a></span><br /> +<span style="margin-left: 3em;">of the Minerva, +ii. <a href="#vol_2_page_211">211</a></span><br /> +<span style="margin-left: 3em;">of the Monte Cavallo, i. <a href="#vol_1_page_446">446</a></span><br /> +<span style="margin-left: 4em;">Citorio, i. <a href="#vol_1_page_078">78</a></span><br /> +<span style="margin-left: 3em;">of the Pantheon, +ii. <a href="#vol_2_page_211">211</a></span><br /> +<span style="margin-left: 3em;">of St. Peter's, +ii. <a href="#vol_2_page_238">238</a>, <a href="#vol_2_page_239">239</a></span><br /> +<span style="margin-left: 3em;">of the Piazza Navona, +ii. <a href="#vol_2_page_196">196</a></span><br /> +<span style="margin-left: 3em;">of the Pincio, i. <a href="#vol_1_page_046">46</a></span><br /> +<span style="margin-left: 3em;">of the Piazza del Popolo, i. <a href="#vol_1_page_037">37</a></span><br /> +<span style="margin-left: 3em;">of the Trinità de' Monti, i. <a href="#vol_1_page_051">51</a></span><br /> + +<span style="margin-left: 2em;">Observatory of the Collegio Romano, i. <a href="#vol_1_page_088">88</a></span><br /> + +<span style="margin-left: 2em;">Orti Farnesiani, i. <a href="#vol_1_page_276">276</a></span><br /> + +<span style="margin-left: 2em;">Osa, the river, +ii. <a href="#vol_2_page_135">135</a></span><br /> + +<span style="margin-left: 2em;">Osteria delle Frattocchie, i. <a href="#vol_1_page_429">429</a></span><br /> + +<span style="margin-left: 2em;">Ostia, +ii. <a href="#vol_2_page_409">409</a></span><br /> + +<span style="margin-left: 2em;">Ostian Gate, +ii. <a href="#vol_2_page_394">394</a>, <a href="#vol_2_page_399">399</a></span><br /> + +<span style="margin-left: 2em;">Overbeck, Studio of, +ii. <a href="#vol_2_page_045">45</a></span><br /> + +<br /> +<span style="margin-left: 6em;"><a name="P" id="P"></a>P.</span><br /> + +<span style="margin-left: 2em;">Palaces—</span><br /> +<span style="margin-left: 3em;">Albani, i. <a href="#vol_1_page_443">443</a></span><br /> +<span style="margin-left: 3em;">Aldobrandini, i. <a href="#vol_1_page_461">461</a></span><br /> +<span style="margin-left: 3em;">Altemps, +ii. <a href="#vol_2_page_160">160</a></span><br /> +<span style="margin-left: 3em;">Altieri, i. <a href="#vol_1_page_107">107</a></span><br /> +<span style="margin-left: 3em;">of Augustus, i. <a href="#vol_1_page_280">280</a></span><br /> +<span style="margin-left: 3em;">Barberini, i. <a href="#vol_1_page_436">436</a></span><br /> +<span style="margin-left: 3em;">Bernini, i. <a href="#vol_1_page_073">73</a></span><br /> +<span style="margin-left: 3em;">Borghese, i. <a href="#vol_1_page_065">65</a>;</span><br /> +<span style="margin-left: 4em;">gallery in, 66</span><br /> +<span style="margin-left: 3em;">Braschi, +ii. <a href="#vol_2_page_188">188</a></span><br /> +<span style="margin-left: 3em;">Buonaparte, i. <a href="#vol_1_page_103">103</a></span><br /> +<span style="margin-left: 3em;">of the Cæsars, i. <a href="#vol_1_page_250">250</a></span><br /> +<span style="margin-left: 3em;">Caëtani, i. <a href="#vol_1_page_268">268</a></span><br /> +<span style="margin-left: 3em;">Caffarelli, i. <a href="#vol_1_page_142">142</a></span><br /> +<span style="margin-left: 3em;">of Caligula, i. <a href="#vol_1_page_292">292</a></span><br /> +<span style="margin-left: 3em;">of the Cancelleria, +ii. <a href="#vol_2_page_177">177</a></span><br /> +<span style="margin-left: 3em;">Cardelli, +ii. <a href="#vol_2_page_155">155</a></span><br /> +<span style="margin-left: 3em;">Cenci, i. <a href="#vol_1_page_259">259</a></span><br /> +<span style="margin-left: 3em;">Chigi, i. <a href="#vol_1_page_076">76</a></span><br /> +<span style="margin-left: 3em;">Colonna, gallery in, i. <a href="#vol_1_page_098">98</a></span><br /> +<span style="margin-left: 3em;">of the Conservators, i. <a href="#vol_1_page_135">135</a></span><br /> +<span style="margin-left: 3em;">of the Consulta, i. <a href="#vol_1_page_448">448</a></span><br /> +<span style="margin-left: 3em;">Corsini, +ii. <a href="#vol_2_page_439">439</a></span><br /> +<span style="margin-left: 3em;">Costaguti, i. <a href="#vol_1_page_267">267</a></span><br /> +<span style="margin-left: 3em;">of Domitian, i. <a href="#vol_1_page_312">312</a></span><br /> +<span style="margin-left: 3em;">Doria, i. <a href="#vol_1_page_093">93</a>;</span><br /> +<span style="margin-left: 4em;">gallery in, 94</span><br /> +<span style="margin-left: 3em;">Falconieri, +ii. <a href="#vol_2_page_175">175</a></span><br /> +<span style="margin-left: 3em;">Farnese, +ii. <a href="#vol_2_page_174">174</a></span><br /> +<span style="margin-left: 3em;">Farnesina, +ii. <a href="#vol_2_page_388">388</a></span><br /> +<span style="margin-left: 3em;">Gabrielli, +ii. <a href="#vol_2_page_166">166</a></span><br /> +<span style="margin-left: 3em;">Galitzin, +ii. <a href="#vol_2_page_155">155</a></span><br /> +<span style="margin-left: 3em;">Giraud, +ii. <a href="#vol_2_page_236">236</a></span><br /> +<span style="margin-left: 3em;">Giustiniani, +ii. <a href="#vol_2_page_202">202</a></span><br /> +<span style="margin-left: 3em;">del Governo Vecchio, +ii. <a href="#vol_2_page_165">165</a></span><br /> +<span style="margin-left: 3em;">Lancellotti, +ii. <a href="#vol_2_page_197">197</a></span><br /> +<span style="margin-left: 3em;">of the Lateran, ancient, +ii. <a href="#vol_2_page_108">108</a></span><br /> +<span style="margin-left: 3em;">of the Lateran, modern, +ii. <a href="#vol_2_page_114">114</a></span><br /> +<span style="margin-left: 3em;">Linote, +ii. <a href="#vol_2_page_178">178</a></span><br /> +<span style="margin-left: 3em;">Madama, +ii. <a href="#vol_2_page_198">198</a></span><br /> +<span style="margin-left: 3em;">Margana, i. <a href="#vol_1_page_270">270</a></span><br /> +<span style="margin-left: 3em;">Massimo alle Colonne, +ii. <a href="#vol_2_page_186">186</a></span><br /> +<span style="margin-left: 3em;">Mattei, i. <a href="#vol_1_page_268">268</a></span><br /> +<span style="margin-left: 3em;">Moroni, +ii. <a href="#vol_2_page_387">387</a></span><br /> +<span style="margin-left: 3em;">Muto-Savorelli, i. <a href="#vol_1_page_103">103</a></span><br /> +<span style="margin-left: 3em;">of Nero, i. <a href="#vol_1_page_311">311</a></span><br /> +<span style="margin-left: 3em;">Odescalchi, i. <a href="#vol_1_page_098">98</a></span><br /> +<span style="margin-left: 3em;">Orsini, +ii. <a href="#vol_2_page_360">360</a></span><br /> +<span style="margin-left: 3em;">Pamfili, +ii. <a href="#vol_2_page_196">196</a></span><br /> +<span style="margin-left: 3em;">Parisani, i. <a href="#vol_1_page_076">76</a></span><br /> +<span style="margin-left: 3em;">Patrizi, +ii. <a href="#vol_2_page_202">202</a></span><br /> +<span style="margin-left: 3em;">Pio, +ii. <a href="#vol_2_page_184">184</a></span><br /> +<span style="margin-left: 3em;">Poli, i. <a href="#vol_1_page_081">81</a></span><br /> +<span style="margin-left: 3em;">Ponziani, +ii. <a href="#vol_2_page_369">369</a></span><br /> +<span style="margin-left: 3em;">of Pope Honorius III., i. <a href="#vol_1_page_361">361</a></span><br /> +<span style="margin-left: 3em;">of the Quirinal, i. <a href="#vol_1_page_449">449</a></span><br /> +<span style="margin-left: 3em;">della Regina di Polonia, i. <a href="#vol_1_page_054">54</a></span><br /> +<span style="margin-left: 3em;">Rospigliosi, i. <a href="#vol_1_page_434">434</a>, <a href="#vol_1_page_456">456</a></span><br /> +<span style="margin-left: 3em;">Ruspoli, i. <a href="#vol_1_page_072">72</a></span><br /> +<span style="margin-left: 3em;">Sacchetti, +ii. <a href="#vol_2_page_176">176</a></span><br /> +<span style="margin-left: 3em;">Salviati, +ii. <a href="#vol_2_page_439">439</a></span><br /> +<span style="margin-left: 3em;">Santa Croce, +ii. <a href="#vol_2_page_182">182</a></span><br /> +<span style="margin-left: 3em;">Sciarra, i. <a href="#vol_1_page_082">82</a></span><br /> +<span style="margin-left: 3em;">of the Senator, i. <a href="#vol_1_page_120">120</a></span><br /> +<span style="margin-left: 3em;">Spada alla Regola, +ii. <a href="#vol_2_page_178">178</a></span><br /> +<span style="margin-left: 3em;">di Spagna, i. <a href="#vol_1_page_057">57</a></span><br /> +<span style="margin-left: 3em;">of Tiberius, i. <a href="#vol_1_page_291">291</a></span><br /> +<span style="margin-left: 3em;">Torlonia, i. <a href="#vol_1_page_104">104</a></span><br /> +<span style="margin-left: 3em;">del Santo Uffizio, +ii. <a href="#vol_2_page_278">278</a></span><br /> +<span style="margin-left: 3em;">Valentini, i. <a href="#vol_1_page_098">98</a></span><br /> +<span style="margin-left: 3em;">Venezia, i. <a href="#vol_1_page_105">105</a></span><br /> +<span style="margin-left: 3em;">of Vespasian, i. <a href="#vol_1_page_281">281</a></span><br /> +<span style="margin-left: 3em;">Vidoni, +ii. <a href="#vol_2_page_185">185</a></span><br /> + +<span style="margin-left: 2em;">Palatine, the, i. <a href="#vol_1_page_273">273—315</a></span><br /> + +<span style="margin-left: 2em;">Pantheon, the, +ii. <a href="#vol_2_page_204">204—211</a></span><br /> + +<span style="margin-left: 2em;">Parco di San Gregorio, i. <a href="#vol_1_page_319">319</a></span><br /> + +<span style="margin-left: 2em;">Pasquinades, +ii. <a href="#vol_2_page_188">188—192</a></span><br /> + +<span style="margin-left: 2em;">Pasquino, +ii. <a href="#vol_2_page_188">188</a></span><br /> + +<span style="margin-left: 2em;">Paul, St., house in which he lodged, i. <a href="#vol_1_page_089">89</a>;</span><br /> +<span style="margin-left: 3em;">trial of, in Palace of the Cæsars, i. <a href="#vol_1_page_284">284</a>;</span><br /> +<span style="margin-left: 3em;">prison of, i. <a href="#vol_1_page_309">309</a>;</span><br /> +<span style="margin-left: 3em;">skull of, +ii. <a href="#vol_2_page_100">100</a>;</span><br /> +<span style="margin-left: 3em;">shrine of, +ii. <a href="#vol_2_page_273">273</a>;</span><br /> +<span style="margin-left: 3em;">parting of, with St. Peter, +ii. <a href="#vol_2_page_398">398</a>;</span><br /> +<span style="margin-left: 3em;">martyrdom of, +ii. <a href="#vol_2_page_399">399</a>, <a href="#vol_2_page_402">402</a>;</span><br /> +<span style="margin-left: 3em;">pillar to which he was bound, +ii. <a href="#vol_2_page_401">401</a>;</span><br /> +<span style="margin-left: 3em;">festivals of, +ii. <a href="#vol_2_page_408">408</a></span><br /> + +<span style="margin-left: 2em;">Perretti, Cardinal, his residence at the Villa Negroni, +ii. <a href="#vol_2_page_035">35</a></span><br /> + +<span style="margin-left: 2em;">Peruzzi, Baldassare, works of, +ii. <a href="#vol_2_page_160">160</a>, <a href="#vol_2_page_165">165</a>, <a href="#vol_2_page_178">178</a>, <a href="#vol_2_page_186">186</a>;</span><br /> +<span style="margin-left: 3em;">tomb of, in the Pantheon, +ii. <a href="#vol_2_page_209">209</a>;</span><br /> +<span style="margin-left: 3em;">design of, for St. Peter's, +ii. <a href="#vol_2_page_244">244</a>;</span><br /> +<span style="margin-left: 3em;">frescoes by, +ii. <a href="#vol_2_page_448">448</a></span><br /> + +<span style="margin-left: 2em;">Pescheria, the, i. <a href="#vol_1_page_249">249</a></span><br /> + +<span style="margin-left: 2em;">Peter, St., dungeon occupied by, in Mamertine Prisons, i. <a href="#vol_1_page_153">153</a>;</span><br /> +<span style="margin-left: 3em;">legend relating to, concerning Simon Magus, i. <a href="#vol_1_page_197">197</a>;</span><br /> +<span style="margin-left: 3em;">tradition of, i. <a href="#vol_1_page_379">379</a>;</span><br /> +<span style="margin-left: 3em;">legend relating to persecution of, +ii. <a href="#vol_2_page_389">389</a>;</span><br /> +<span style="margin-left: 3em;">burial-place of, +ii. <a href="#vol_2_page_274">274</a>;</span><br /> +<span style="margin-left: 3em;">preservation of his chains, +ii. <a href="#vol_2_page_054">54</a>, <a href="#vol_2_page_061">61</a>;</span><br /> +<span style="margin-left: 3em;">relics of, +ii. <a href="#vol_2_page_061">61</a>, <a href="#vol_2_page_100">100</a>;</span><br /> +<span style="margin-left: 3em;">statues of, +ii. <a href="#vol_2_page_226">226</a>, <a href="#vol_2_page_254">254</a>;</span><br /> +<span style="margin-left: 3em;">episcopal chair of, +ii. <a href="#vol_2_page_261">261</a>;</span><br /> +<span style="margin-left: 3em;">shrine and sarcophagus of, +ii. <a href="#vol_2_page_273">273</a>;</span><br /> +<span style="margin-left: 3em;">parting of, with St. Paul, +ii. <a href="#vol_2_page_398">398</a>;</span><br /> +<span style="margin-left: 3em;">crucifixion of, +ii. <a href="#vol_2_page_451">451</a></span><br /> + +<span style="margin-left: 2em;">Photographers, i. <a href="#vol_1_page_029">29</a></span><br /> + +<span style="margin-left: 2em;">Pianta Capitolina, i. <a href="#vol_1_page_123">123</a></span><br /> + +<span style="margin-left: 2em;">Piazzas—</span><br /> +<span style="margin-left: 3em;">Barberini, i. <a href="#vol_1_page_436">436</a></span><br /> +<span style="margin-left: 3em;">Bocca della Verità, +ii. <a href="#vol_2_page_392">392</a></span><br /> +<span style="margin-left: 3em;">Borghese, i. <a href="#vol_1_page_066">66</a></span><br /> +<span style="margin-left: 3em;">del Campidoglio, i. <a href="#vol_1_page_119">119</a></span><br /> +<span style="margin-left: 3em;">di Campitelli, i. <a href="#vol_1_page_269">269</a></span><br /> +<span style="margin-left: 3em;">Campo di Fiore, +ii. <a href="#vol_2_page_176">176</a></span><br /> +<span style="margin-left: 3em;">Capo di Ferro, +ii. <a href="#vol_2_page_178">178</a></span><br /> +<span style="margin-left: 3em;">of the Cappuccini, +ii. <a href="#vol_2_page_007">7</a></span><br /> +<span style="margin-left: 3em;">Colonna, i. <a href="#vol_1_page_076">76</a></span><br /> +<span style="margin-left: 3em;">di S. Eustachio, +ii. <a href="#vol_2_page_202">202</a></span><br /> +<span style="margin-left: 3em;">del Gesù, i. <a href="#vol_1_page_108">108</a></span><br /> +<span style="margin-left: 3em;">di S. Giovanni, +ii. <a href="#vol_2_page_095">95</a></span><br /> +<span style="margin-left: 3em;">della Guidecca, i. <a href="#vol_1_page_259">259</a></span><br /> +<span style="margin-left: 3em;">of S. Maria Maggiore, +ii. <a href="#vol_2_page_080">80</a></span><br /> +<span style="margin-left: 4em;">in Monti, i. <a href="#vol_1_page_464">464</a></span><br /> +<span style="margin-left: 3em;">della Minerva, +ii. <a href="#vol_2_page_211">211</a></span><br /> +<span style="margin-left: 3em;">Montanara, i. <a href="#vol_1_page_242">242</a></span><br /> +<span style="margin-left: 3em;">of the Monte Cavallo, i. <a href="#vol_1_page_446">446</a></span><br /> +<span style="margin-left: 3em;">Monte Citorio, i. <a href="#vol_1_page_078">78</a></span><br /> +<span style="margin-left: 3em;">of the Navicella, i. <a href="#vol_1_page_330">330</a></span><br /> +<span style="margin-left: 3em;">Navona, +ii. <a href="#vol_2_page_196">196</a></span><br /> +<span style="margin-left: 3em;">del Orologio, +ii. <a href="#vol_2_page_166">166</a></span><br /> +<span style="margin-left: 3em;">of St. Peter's, +ii. <a href="#vol_2_page_238">238—240</a></span><br /> +<span style="margin-left: 3em;">Pia, +ii. <a href="#vol_2_page_236">236</a></span><br /> +<span style="margin-left: 3em;">del Popolo, i. <a href="#vol_1_page_036">36</a></span><br /> +<span style="margin-left: 3em;">della Rotonda, +ii. <a href="#vol_2_page_211">211</a></span><br /> +<span style="margin-left: 3em;">Rusticucci, +ii. <a href="#vol_2_page_238">238</a></span><br /> +<span style="margin-left: 3em;">Scossa Cavalli, +ii. <a href="#vol_2_page_236">236</a></span><br /> +<span style="margin-left: 3em;">della Scuola, i. <a href="#vol_1_page_256">256</a></span><br /> +<span style="margin-left: 3em;">di Spagna, i. <a href="#vol_1_page_056">56</a>, <a href="#vol_1_page_058">58</a></span><br /> +<span style="margin-left: 3em;">delle Tartarughe, i. <a href="#vol_1_page_267">267</a></span><br /> +<span style="margin-left: 3em;">del Tritone, i. <a href="#vol_1_page_436">436</a></span><br /> + +<span style="margin-left: 2em;">Picture Galleries—</span><br /> +<span style="margin-left: 3em;">Palazzo Barberini, i. <a href="#vol_1_page_439">439</a></span><br /> +<span style="margin-left: 3em;">Borghese, i. <a href="#vol_1_page_066">66</a></span><br /> +<span style="margin-left: 3em;">Capitoline, i. <a href="#vol_1_page_140">140</a></span><br /> +<span style="margin-left: 3em;">Palace of the Lateran, +ii. <a href="#vol_2_page_118">118</a></span><br /> +<span style="margin-left: 4em;">Quirinal, i. <a href="#vol_1_page_455">455</a></span><br /> +<span style="margin-left: 3em;">Palazzo Colonna, i. <a href="#vol_1_page_099">99</a></span><br /> +<span style="margin-left: 4em;">Corsini, +ii. <a href="#vol_2_page_442">442</a></span><br /> +<span style="margin-left: 4em;">Doria, i. <a href="#vol_1_page_094">94</a></span><br /> +<span style="margin-left: 4em;">Mattei, i. <a href="#vol_1_page_268">268</a></span><br /> +<span style="margin-left: 4em;">Sciarra, i. <a href="#vol_1_page_082">82</a></span><br /> +<span style="margin-left: 3em;">the Vatican, +ii. <a href="#vol_2_page_347">347</a>, <a href="#vol_2_page_359">359</a></span><br /> + +<span style="margin-left: 2em;">Pierleoni, fortress of the, i. <a href="#vol_1_page_245">245</a></span><br /> + +<span style="margin-left: 2em;">Pietà, in S. Croce, +ii. <a href="#vol_2_page_130">130</a></span><br /> +<span style="margin-left: 3em;">in the Lateran, +ii. <a href="#vol_2_page_103">103</a>, <a href="#vol_2_page_104">104</a></span><br /> +<span style="margin-left: 3em;">in S. Maria dell' Anima, +ii. <a href="#vol_2_page_163">163</a></span><br /> +<span style="margin-left: 3em;">of S. Peter's, +ii. <a href="#vol_2_page_256">256</a></span><br /> + +<span style="margin-left: 2em;">Pietra di Paragone, +ii. <a href="#vol_2_page_278">278</a></span><br /> + +<span style="margin-left: 2em;">Pig-Market, Roman mode of killing pigs, +ii. <a href="#vol_2_page_417">417</a></span><br /> + +<span style="margin-left: 2em;">Pigna, in garden of the Vatican, +ii. <a href="#vol_2_page_334">334</a></span><br /> + +<span style="margin-left: 2em;">Pincio, the, i. <a href="#vol_1_page_043">43</a>, <a href="#vol_1_page_044">44</a></span><br /> + +<span style="margin-left: 2em;">Piscina Publica, i. <a href="#vol_1_page_383">383</a></span><br /> + +<span style="margin-left: 2em;">Plautilla, legend of, +ii. <a href="#vol_2_page_398">398</a>, <a href="#vol_2_page_399">399</a></span><br /> + +<span style="margin-left: 2em;">Pollajuolo, Antonio, tomb of, +ii. <a href="#vol_2_page_056">56</a></span><br /> + +<span style="margin-left: 2em;">Pompey, statue of, +ii. <a href="#vol_2_page_179">179</a>;</span><br /> +<span style="margin-left: 3em;">theatre of, +ii. <a href="#vol_2_page_184">184</a></span><br /> + +<span style="margin-left: 2em;">Ponte—</span><br /> +<span style="margin-left: 3em;">S. Angelo, +ii. <a href="#vol_2_page_226">226</a></span><br /> +<span style="margin-left: 3em;">S. Bartolomeo, +ii. <a href="#vol_2_page_366">366</a></span><br /> +<span style="margin-left: 3em;">Molle, +ii. <a href="#vol_2_page_421">421</a></span><br /> +<span style="margin-left: 3em;">Nomentana, +ii. <a href="#vol_2_page_031">31</a></span><br /> +<span style="margin-left: 3em;">di Nono, +ii. <a href="#vol_2_page_134">134</a></span><br /> +<span style="margin-left: 3em;">Quattro Capi, +ii. <a href="#vol_2_page_360">360</a></span><br /> +<span style="margin-left: 3em;">Rotto, i. <a href="#vol_1_page_237">237</a>; +ii. <a href="#vol_2_page_369">369</a></span><br /> +<span style="margin-left: 3em;">Salara, +ii. <a href="#vol_2_page_019">19</a></span><br /> +<span style="margin-left: 3em;">Sisto, +ii. <a href="#vol_2_page_390">390</a></span><br /> +<span style="margin-left: 3em;">Pontecello, stream of, i. <a href="#vol_1_page_429">429</a></span><br /> + +<span style="margin-left: 2em;">Popolo, Piazza del, i. <a href="#vol_1_page_036">36</a></span><br /> +<span style="margin-left: 3em;">Prati del, +ii. <a href="#vol_2_page_397">397</a></span><br /> +<span style="margin-left: 3em;">Porta del, i. <a href="#vol_1_page_037">37</a>; +ii. <a href="#vol_2_page_422">422</a></span><br /> +<span style="margin-left: 3em;">Church of S. Maria del, i. <a href="#vol_1_page_039">39</a></span><br /> + +<span style="margin-left: 2em;">Porta, Giacomo della, works of, +ii. <a href="#vol_2_page_174">174</a>, <a href="#vol_2_page_244">244</a>, <a href="#vol_2_page_251">251</a>, <a href="#vol_2_page_400">400</a>, <a href="#vol_2_page_401">401</a></span><br /> +<span style="margin-left: 3em;">Guglielmo della, +ii. <a href="#vol_2_page_262">262</a></span><br /> + +<span style="margin-left: 2em;">Porta—</span><br /> +<span style="margin-left: 3em;">Angelica, +ii. <a href="#vol_2_page_430">430</a></span><br /> +<span style="margin-left: 3em;">Asinaria, +ii. <a href="#vol_2_page_107">107</a></span><br /> +<span style="margin-left: 3em;">Capena, i. <a href="#vol_1_page_373">373</a></span><br /> +<span style="margin-left: 3em;">Carmentalis, i. <a href="#vol_1_page_239">239</a></span><br /> +<span style="margin-left: 3em;">Cavalleggieri, +ii. <a href="#vol_2_page_280">280</a></span><br /> +<span style="margin-left: 3em;">Collina, +ii. <a href="#vol_2_page_016">16</a></span><br /> +<span style="margin-left: 3em;">Furba, +ii. <a href="#vol_2_page_124">124</a></span><br /> +<span style="margin-left: 3em;">S. Giovanni, +ii. <a href="#vol_2_page_107">107</a></span><br /> +<span style="margin-left: 3em;">Latina, i. <a href="#vol_1_page_384">384</a></span><br /> +<span style="margin-left: 3em;">S. Lorenzo, +ii. <a href="#vol_2_page_135">135</a></span><br /> +<span style="margin-left: 3em;">Maggiore, +ii. <a href="#vol_2_page_132">132</a></span><br /> +<span style="margin-left: 3em;">Mugonia, i. <a href="#vol_1_page_274">274</a></span><br /> +<span style="margin-left: 3em;">Nomentana, +ii. <a href="#vol_2_page_024">24</a></span><br /> +<span style="margin-left: 3em;">Ostiensis, +ii. <a href="#vol_2_page_394">394</a></span><br /> +<span style="margin-left: 3em;">Palatii, i. <a href="#vol_1_page_279">279</a></span><br /> +<span style="margin-left: 3em;">S. Pancrazio, +ii. <a href="#vol_2_page_452">452</a></span><br /> +<span style="margin-left: 3em;">S. Paolo, +ii. <a href="#vol_2_page_393">393</a></span><br /> +<span style="margin-left: 3em;">Pia, +ii. <a href="#vol_2_page_024">24</a></span><br /> +<span style="margin-left: 3em;">Pinciana, +ii. <a href="#vol_2_page_016">16</a></span><br /> +<span style="margin-left: 3em;">del Popolo, +ii. <a href="#vol_2_page_410">410</a></span><br /> +<span style="margin-left: 3em;">Portese, +ii. <a href="#vol_2_page_377">377</a></span><br /> +<span style="margin-left: 3em;">Romana, i. <a href="#vol_1_page_274">274</a></span><br /> +<span style="margin-left: 3em;">Salara, +ii. <a href="#vol_2_page_016">16</a></span><br /> +<span style="margin-left: 3em;">Salutaria, i. <a href="#vol_1_page_435">435</a></span><br /> +<span style="margin-left: 3em;">Santa, +ii. <a href="#vol_2_page_082">82</a>;</span><br /> +<span style="margin-left: 4em;">ceremony of the destruction of the wall of, 248</span><br /> +<span style="margin-left: 3em;">S. Sebastiano, i. <a href="#vol_1_page_387">387</a></span><br /> +<span style="margin-left: 3em;">Settimiana, +ii. <a href="#vol_2_page_388">388</a>, <a href="#vol_2_page_448">448</a></span><br /> +<span style="margin-left: 3em;">Sto. Spirito, +ii. <a href="#vol_2_page_434">434</a></span><br /> +<span style="margin-left: 3em;">Trigemina, +ii. <a href="#vol_2_page_392">392</a></span><br /> + +<span style="margin-left: 2em;">Porticos—</span><br /> +<span style="margin-left: 3em;">of Baths of Constantine, i. <a href="#vol_1_page_458">458</a></span><br /> +<span style="margin-left: 3em;">Leonino, +ii. <a href="#vol_2_page_102">102</a></span><br /> +<span style="margin-left: 3em;">of Livia, i. <a href="#vol_1_page_198">198</a></span><br /> +<span style="margin-left: 3em;">of Octavia, i. <a href="#vol_1_page_247">247</a></span><br /> +<span style="margin-left: 3em;">of Pallas Minerva, i. <a href="#vol_1_page_165">165</a></span><br /> +<span style="margin-left: 3em;">of the Pantheon, +ii. <a href="#vol_2_page_206">206</a></span><br /> +<span style="margin-left: 3em;">of Temple of Mars, i. <a href="#vol_1_page_388">388</a></span><br /> +<span style="margin-left: 4em;">of Quirinus, i. <a href="#vol_1_page_435">435</a></span><br /> +<span style="margin-left: 3em;">of Theatre of Pompey, +ii. <a href="#vol_2_page_184">184</a></span><br /> + +<span style="margin-left: 2em;">Poussin, Niccolas, i, <a href="#vol_1_page_052">52</a>;</span><br /> +<span style="margin-left: 3em;">house of, <a href="#vol_1_page_054">54</a>;</span><br /> +<span style="margin-left: 3em;">tomb of, 73</span><br /> + +<span style="margin-left: 2em;">Prata Quinctia, i. <a href="#vol_1_page_059">59</a></span><br /> + +<span style="margin-left: 2em;">Presepio, origin of the, +ii. <a href="#vol_2_page_380">380</a></span><br /> + +<span style="margin-left: 2em;">Pretorian Camp, remains of, +ii. <a href="#vol_2_page_034">34</a></span><br /> + +<span style="margin-left: 2em;">Prima Porta, +ii. <a href="#vol_2_page_423">423</a></span><br /> + +<span style="margin-left: 2em;">Prisons—</span><br /> +<span style="margin-left: 3em;">Carceri Nuove, +ii. <a href="#vol_2_page_176">176</a></span><br /> +<span style="margin-left: 3em;">in Castle of St. Angelo, +ii. <a href="#vol_2_page_234">234</a></span><br /> +<span style="margin-left: 3em;">the Island in the Tiber used as, in imperial times, +ii. <a href="#vol_2_page_362">362</a></span><br /> +<span style="margin-left: 3em;">Mamertine, i. <a href="#vol_1_page_153">153</a></span><br /> +<span style="margin-left: 3em;">for Women, +ii. <a href="#vol_2_page_042">42</a></span><br /> + +<span style="margin-left: 2em;">Propaganda, the, i. <a href="#vol_1_page_059">59</a></span><br /> + +<span style="margin-left: 2em;">Protestant Cemetery, +ii. <a href="#vol_2_page_395">395</a></span><br /> +<span style="margin-left: 3em;">Churches, +ii. <a href="#vol_2_page_410">410</a></span><br /> + +<span style="margin-left: 2em;">Protomoteca, i. <a href="#vol_1_page_136">136</a></span><br /> + +<span style="margin-left: 2em;">Pseudo-Aventine, i. <a href="#vol_1_page_368">368</a></span><br /> + +<span style="margin-left: 2em;">Pyramid, of Caius Cestius, +ii. <a href="#vol_2_page_394">394</a></span><br /> +<span style="margin-left: 3em;">of Scipio Africanus, +ii. <a href="#vol_2_page_236">236</a></span><br /> + +<br /> +<span style="margin-left: 6em;"><a name="Q" id="Q"></a>Q.</span><br /> + +<span style="margin-left: 2em;">Quattro Fontane, +ii. <a href="#vol_2_page_034">34</a>, <a href="#vol_2_page_045">45</a></span><br /> + +<span style="margin-left: 2em;">Quirinal, i. <a href="#vol_1_page_433">433—455</a></span><br /> + +<br /> +<span style="margin-left: 6em;"><a name="R" id="R"></a>R.</span><br /> + +<span style="margin-left: 2em;">Railway Station, +ii. <a href="#vol_2_page_035">35</a></span><br /> + +<span style="margin-left: 2em;">Raphael, painter, sculptor, and architect, i. <a href="#vol_1_page_041">41</a>;</span><br /> +<span style="margin-left: 3em;">Works of, <a href="#vol_1_page_067">67</a>, <a href="#vol_1_page_083">83</a>, <a href="#vol_1_page_096">96</a>, <a href="#vol_1_page_167">167</a>, <a href="#vol_1_page_305">305</a>, <a href="#vol_1_page_439">439</a>; +ii. <a href="#vol_2_page_102">102</a>, <a href="#vol_2_page_158">158</a>, <a href="#vol_2_page_164">164</a>, <a href="#vol_2_page_185">185</a>;</span><br /> +<span style="margin-left: 3em;">tomb of, in the Pantheon, <a href="#vol_2_page_209">209</a>;</span><br /> +<span style="margin-left: 3em;">house of, <a href="#vol_2_page_225">225</a>;</span><br /> +<span style="margin-left: 3em;">design of, for St. Peter's, <a href="#vol_2_page_244">244</a>;</span><br /> +<span style="margin-left: 3em;">cartoons of, <a href="#vol_2_page_321">321</a>;</span><br /> +<span style="margin-left: 3em;">Loggie of, <a href="#vol_2_page_337">337</a>;</span><br /> +<span style="margin-left: 3em;">frescoes by, <a href="#vol_2_page_338">338</a>, <a href="#vol_2_page_340">340—343</a>, <a href="#vol_2_page_345">345</a>, <a href="#vol_2_page_446">446</a>, <a href="#vol_2_page_448">448</a>;</span><br /> +<span style="margin-left: 3em;">pictures by, <a href="#vol_2_page_348">348</a>, <a href="#vol_2_page_350">350</a>, <a href="#vol_2_page_356">356</a>;</span><br /> +<span style="margin-left: 3em;">his last work, +ii. <a href="#vol_2_page_351">351</a>;</span><br /> +<span style="margin-left: 3em;">Villa of, 416</span><br /> + +<span style="margin-left: 2em;">Regia, site of the, i. <a href="#vol_1_page_178">178</a></span><br /> + +<span style="margin-left: 2em;">Relics—</span><br /> +<span style="margin-left: 3em;">of S. Andrew, +ii. <a href="#vol_2_page_253">253</a>, <a href="#vol_2_page_421">421</a>, <a href="#vol_2_page_456">456</a></span><br /> +<span style="margin-left: 3em;">Arm of St. Thomas à Becket, +ii. <a href="#vol_2_page_172">172</a></span><br /> +<span style="margin-left: 3em;">Brains of St. Thomas à Becket, +ii. <a href="#vol_2_page_092">92</a></span><br /> +<span style="margin-left: 3em;">Body of St. Bartholomew, +ii. <a href="#vol_2_page_364">364</a></span><br /> +<span style="margin-left: 3em;">ait S.S. Cosmo and Damian, i. <a href="#vol_1_page_192">192</a></span><br /> +<span style="margin-left: 3em;">Chains of St. Peter, +ii. <a href="#vol_2_page_061">61</a></span><br /> +<span style="margin-left: 3em;">Chair of St. Peter, +ii. <a href="#vol_2_page_261">261</a></span><br /> +<span style="margin-left: 3em;">Column to which our Saviour is reputed to have been bound, +ii. <a href="#vol_2_page_068">68</a></span><br /> +<span style="margin-left: 3em;">of S. Carlo Borromeo, +ii. <a href="#vol_2_page_069">69</a>; +ii. <a href="#vol_2_page_167">167</a></span><br /> +<span style="margin-left: 3em;">of S. Dominic, i. <a href="#vol_1_page_360">360</a></span><br /> +<span style="margin-left: 3em;">of S. Francesca Romana, i. <a href="#vol_1_page_270">270</a></span><br /> +<span style="margin-left: 3em;">of St. Francis, +ii. <a href="#vol_2_page_379">379</a></span><br /> +<span style="margin-left: 3em;">of Ignatius Loyola, i. <a href="#vol_1_page_107">107</a></span><br /> +<span style="margin-left: 3em;">list of, in Lateran, +ii. <a href="#vol_2_page_102">102</a></span><br /> +<span style="margin-left: 3em;">in S. Martino al Monte, +ii. <a href="#vol_2_page_064">64</a></span><br /> +<span style="margin-left: 3em;">of St Peter's, exhibition of, +ii. <a href="#vol_2_page_253">253</a>, <a href="#vol_2_page_254">254</a></span><br /> +<span style="margin-left: 3em;">in Sancta Sanctorum, +ii. <a href="#vol_2_page_112">112</a>, <a href="#vol_2_page_113">113</a></span><br /> +<span style="margin-left: 3em;">Sancta Culla, +ii. <a href="#vol_2_page_091">91</a></span><br /> +<span style="margin-left: 3em;">Santa Scala, +ii. <a href="#vol_2_page_110">110</a></span><br /> +<span style="margin-left: 3em;">of Tasso, +ii. <a href="#vol_2_page_437">437</a></span><br /> +<span style="margin-left: 3em;">Title of the True Cross, exhibition of, +ii. <a href="#vol_2_page_129">129</a></span><br /> +<span style="margin-left: 3em;">in Treasury of St. Peter's, +ii. <a href="#vol_2_page_276">276</a></span><br /> + +<span style="margin-left: 2em;">Remus, temple of, i. <a href="#vol_1_page_191">191</a></span><br /> + +<span style="margin-left: 2em;">Ripetta, the, i. <a href="#vol_1_page_037">37</a>;</span><br /> +<span style="margin-left: 3em;">Quay of the, 59</span><br /> + +<span style="margin-left: 2em;">Ripresa dei Barberi, i. <a href="#vol_1_page_105">105</a></span><br /> + +<span style="margin-left: 2em;">Roman Pearls, i. <a href="#vol_1_page_029">29</a></span><br /> + +<span style="margin-left: 2em;">Romana, Sta. Francesca, favourite saint of the Romans, i. <a href="#vol_1_page_148">148</a>; +ii. <a href="#vol_2_page_136">136</a>;</span><br /> +<span style="margin-left: 3em;">her death, i. <a href="#vol_1_page_195">195</a>; +ii. <a href="#vol_2_page_370">370</a>;</span><br /> +<span style="margin-left: 3em;">miracle attributed to, +ii. <a href="#vol_2_page_378">378</a>;</span><br /> +<span style="margin-left: 3em;">vineyard of, +ii. <a href="#vol_2_page_398">398</a></span><br /> + +<span style="margin-left: 2em;">Rome, statue so called, +ii. <a href="#vol_2_page_035">35</a></span><br /> + +<span style="margin-left: 2em;">Romulus and Remus, legend of, i. <a href="#vol_1_page_288">288</a>;</span><br /> +<span style="margin-left: 3em;">walls of, <a href="#vol_1_page_305">305</a>;</span><br /> +<span style="margin-left: 3em;">connection with Aventine, <a href="#vol_1_page_349">349</a>;</span><br /> +<span style="margin-left: 3em;">temple to, 434</span><br /> + +<span style="margin-left: 2em;">Rosa, Salvator, i. <a href="#vol_1_page_094">94</a>, <a href="#vol_1_page_095">95</a>;</span><br /> +<span style="margin-left: 3em;">monument of, +ii. <a href="#vol_2_page_040">40</a></span><br /> + +<span style="margin-left: 2em;">Rospigliosi, Palazzo, i. <a href="#vol_1_page_456">456</a></span><br /> + +<span style="margin-left: 2em;">Rupe Tarpeia, i. <a href="#vol_1_page_142">142</a></span><br /> + +<br /> +<span style="margin-left: 6em;"><a name="S" id="S"></a>S.</span><br /> + +<span style="margin-left: 2em;">Sacchi, Andrea, grave of, +ii. <a href="#vol_2_page_105">105</a></span><br /> + +<span style="margin-left: 2em;">Sacer, Mons, +ii. <a href="#vol_2_page_032">32</a></span><br /> + +<span style="margin-left: 2em;">Sala degli Animali, +ii. <a href="#vol_2_page_313">313</a></span><br /> +<span style="margin-left: 3em;">della Biga, +ii. <a href="#vol_2_page_319">319</a></span><br /> +<span style="margin-left: 3em;">di Constantino, +ii. <a href="#vol_2_page_340">340</a></span><br /> +<span style="margin-left: 3em;">a Croce Greca, +ii. <a href="#vol_2_page_319">319</a></span><br /> +<span style="margin-left: 3em;">Ducale, +ii. <a href="#vol_2_page_298">298</a></span><br /> +<span style="margin-left: 3em;">delle Muse, +ii. <a href="#vol_2_page_317">317</a></span><br /> + +<span style="margin-left: 2em;">Sala delle Regia, +ii. <a href="#vol_2_page_285">285</a></span><br /> +<span style="margin-left: 3em;">Rotonda, +ii. <a href="#vol_2_page_318">318</a></span><br /> + +<span style="margin-left: 2em;">Salita di S. Onofrio, +ii. <a href="#vol_2_page_434">434</a></span><br /> + +<span style="margin-left: 2em;">Sancta Sanctorum, in Palace of Lateran, +ii. <a href="#vol_2_page_111">111</a></span><br /> + +<span style="margin-left: 2em;">Sangallo, Antonio di, works of, +ii. <a href="#vol_2_page_174">174</a>, <a href="#vol_2_page_244">244</a>, <a href="#vol_2_page_285">285</a></span><br /> + +<span style="margin-left: 2em;">Sansovino, Andrea, statue by, +ii. <a href="#vol_2_page_158">158</a></span><br /> + +<span style="margin-left: 2em;">Santa Scala, +ii. <a href="#vol_2_page_110">110</a></span><br /> + +<span style="margin-left: 2em;">Scannabecchi, stream of, +ii. <a href="#vol_2_page_425">425</a></span><br /> + +<span style="margin-left: 2em;">Schools—</span><br /> +<span style="margin-left: 3em;">Castigliana, i. <a href="#vol_1_page_256">256</a></span><br /> +<span style="margin-left: 3em;">Catilana, i. <a href="#vol_1_page_256">256</a></span><br /> +<span style="margin-left: 3em;">for Music, in the Middle Ages, +ii. <a href="#vol_2_page_121">121</a></span><br /> +<span style="margin-left: 3em;">Scuola Nuova, i. <a href="#vol_1_page_256">256</a></span><br /> +<span style="margin-left: 3em;">Siciliana, i. <a href="#vol_1_page_256">256</a></span><br /> +<span style="margin-left: 3em;">del Tempio, i. <a href="#vol_1_page_256">256</a></span><br /> +<span style="margin-left: 3em;">Sciarra, Palazzo, i. <a href="#vol_1_page_082">82</a></span><br /> + +<span style="margin-left: 2em;">Scipios, Tomb of the, i. <a href="#vol_1_page_385">385</a></span><br /> + +<span style="margin-left: 2em;">Sculptors, studios of, i. <a href="#vol_1_page_031">31</a></span><br /> + +<span style="margin-left: 2em;">Sebastian, St., place of martyrdom of, i. <a href="#vol_1_page_203">203</a>;</span><br /> +<span style="margin-left: 3em;">fresco, relating to legend of, +ii. <a href="#vol_2_page_056">56</a>;</span><br /> +<span style="margin-left: 3em;">statues of, i. <a href="#vol_1_page_417">417</a>; +ii. <a href="#vol_2_page_194">194</a></span><br /> + +<span style="margin-left: 2em;">Seminario Romano, +ii. <a href="#vol_2_page_159">159</a></span><br /> + +<span style="margin-left: 2em;">Septizonium of Severus, i. <a href="#vol_1_page_312">312</a></span><br /> + +<span style="margin-left: 2em;">Seven Hills of Rome, i. <a href="#vol_1_page_298">298</a></span><br /> + +<span style="margin-left: 2em;">Shops—</span><br /> +<span style="margin-left: 3em;">for Antiquities, i. <a href="#vol_1_page_029">29</a></span><br /> +<span style="margin-left: 3em;">Arvotti's, the famous Roman-scarf shop, +ii. <a href="#vol_2_page_198">198</a></span><br /> +<span style="margin-left: 3em;">Bookbinder's, i. <a href="#vol_1_page_030">30</a></span><br /> +<span style="margin-left: 3em;">Booksellers', i. <a href="#vol_1_page_029">29</a></span><br /> +<span style="margin-left: 3em;">for Bronzes, i. <a href="#vol_1_page_029">29</a></span><br /> +<span style="margin-left: 3em;">for Cameos, i. <a href="#vol_1_page_029">29</a></span><br /> +<span style="margin-left: 3em;">for Carpets and small house articles, i. <a href="#vol_1_page_030">30</a></span><br /> +<span style="margin-left: 3em;">for Drawing materials, i. <a href="#vol_1_page_029">29</a></span><br /> +<span style="margin-left: 3em;">English Grocer's, i. <a href="#vol_1_page_030">30</a></span><br /> +<span style="margin-left: 3em;">Engraver's, i. <a href="#vol_1_page_030">30</a></span><br /> +<span style="margin-left: 3em;">for Engravings, i. <a href="#vol_1_page_029">29</a></span><br /> +<span style="margin-left: 3em;">German Baker's, i. <a href="#vol_1_page_030">30</a></span><br /> +<span style="margin-left: 3em;">for Gloves, i. <a href="#vol_1_page_030">30</a></span><br /> +<span style="margin-left: 3em;">Italian Grocer and Wine-Merchant's, i. <a href="#vol_1_page_030">30</a></span><br /> +<span style="margin-left: 3em;">Jewellers', i. <a href="#vol_1_page_029">29</a></span><br /> +<span style="margin-left: 3em;">for Lace, well-known, i. <a href="#vol_1_page_267">267</a></span><br /> +<span style="margin-left: 3em;">for Ladies' dresses, i. <a href="#vol_1_page_030">30</a></span><br /> +<span style="margin-left: 3em;">for Mosaics, i. <a href="#vol_1_page_029">29</a></span><br /> +<span style="margin-left: 3em;">for Oil, Candles, and Wood, &c., i. <a href="#vol_1_page_030">30</a></span><br /> +<span style="margin-left: 3em;">for Roman Ribbons and Shawls, i. <a href="#vol_1_page_030">30</a></span><br /> +<span style="margin-left: 3em;">for Roman Pearls, i. <a href="#vol_1_page_029">29</a></span><br /> +<span style="margin-left: 3em;">Shoemakers', i. <a href="#vol_1_page_030">30</a></span><br /> +<span style="margin-left: 3em;">Tailors', i. <a href="#vol_1_page_030">30</a></span><br /> + +<span style="margin-left: 2em;">St. Peter's, first sight of, i. <a href="#vol_1_page_017">17</a>;</span><br /> +<span style="margin-left: 3em;">view of, from the Pincio, <a href="#vol_1_page_044">44</a>;</span><br /> +<span style="margin-left: 3em;">distant view of, from Villa Medici, <a href="#vol_1_page_051">51</a>;</span><br /> +<span style="margin-left: 3em;">"View of, through the Keyhole," <a href="#vol_1_page_365">365</a>;</span><br /> +<span style="margin-left: 3em;">the approach to, +ii. <a href="#vol_2_page_238">238</a>;</span><br /> +<span style="margin-left: 3em;">early history of buildings on the site of, <a href="#vol_2_page_242">242</a>;</span><br /> +<span style="margin-left: 3em;">the building of, <a href="#vol_2_page_244">244</a>;</span><br /> +<span style="margin-left: 3em;">expenses of building, <a href="#vol_2_page_245">245</a>;</span><br /> +<span style="margin-left: 3em;">façade, <a href="#vol_2_page_245">245</a>;</span><br /> +<span style="margin-left: 3em;">vestibule, <a href="#vol_2_page_246">246</a>;</span><br /> +<span style="margin-left: 3em;">entrance of the Cathedral, <a href="#vol_2_page_249">249</a>;</span><br /> +<span style="margin-left: 3em;">nave, <a href="#vol_2_page_251">251</a>;</span><br /> +<span style="margin-left: 3em;">dimensions of building, <a href="#vol_2_page_251">251</a>;</span><br /> +<span style="margin-left: 3em;">cupola, <a href="#vol_2_page_252">252</a>;</span><br /> +<span style="margin-left: 3em;">Baldacchino, <a href="#vol_2_page_252">252</a>;</span><br /> +<span style="margin-left: 3em;">relics, <a href="#vol_2_page_253">253</a>;</span><br /> +<span style="margin-left: 3em;">statues, <a href="#vol_2_page_254">254</a>, <a href="#vol_2_page_255">255</a>;</span><br /> +<span style="margin-left: 3em;">chapels, <a href="#vol_2_page_256">256—258</a>;</span><br /> +<span style="margin-left: 3em;">monuments, <a href="#vol_2_page_259">259—266</a>;</span><br /> +<span style="margin-left: 3em;">tribune, <a href="#vol_2_page_261">261</a>;</span><br /> +<span style="margin-left: 3em;">chair of, <a href="#vol_2_page_261">261</a>;</span><br /> +<span style="margin-left: 3em;">confessionals, <a href="#vol_2_page_267">267</a>;</span><br /> +<span style="margin-left: 3em;">crypt of, <a href="#vol_2_page_267">267—274</a>;</span><br /> +<span style="margin-left: 3em;">sarcophagi, <a href="#vol_2_page_270">270—274</a>;</span><br /> +<span style="margin-left: 3em;">dome of, <a href="#vol_2_page_275">275</a>;</span><br /> +<span style="margin-left: 3em;">sacristy of, <a href="#vol_2_page_275">275</a>;</span><br /> +<span style="margin-left: 3em;">treasury of, <a href="#vol_2_page_276">276</a>;</span><br /> +<span style="margin-left: 3em;">archives of, <a href="#vol_2_page_277">277</a>;</span><br /> +<span style="margin-left: 3em;">best view of, 454</span><br /> + +<span style="margin-left: 2em;">Stanze, d'Eliodoro, +ii. <a href="#vol_2_page_341">341</a></span><br /> +<span style="margin-left: 3em;">of the Incendio del Borgo, +ii. <a href="#vol_2_page_345">345</a></span><br /> +<span style="margin-left: 3em;">della Segnatura, +ii. <a href="#vol_2_page_342">342</a></span><br /> + +<span style="margin-left: 2em;">Statues of—</span><br /> +<span style="margin-left: 3em;">Abbate Luigi, +ii. <a href="#vol_2_page_186">186</a></span><br /> +<span style="margin-left: 3em;">S. Agnese, +ii. <a href="#vol_2_page_194">194</a></span><br /> +<span style="margin-left: 3em;">Agrippa, +ii. <a href="#vol_2_page_206">206</a></span><br /> +<span style="margin-left: 3em;">S. Anastasia, i. <a href="#vol_1_page_224">224</a></span><br /> +<span style="margin-left: 3em;">Antinous, the, +ii. <a href="#vol_2_page_308">308</a></span><br /> +<span style="margin-left: 3em;">Aristotle, +ii. <a href="#vol_2_page_180">180</a></span><br /> +<span style="margin-left: 3em;">Augustus, +ii. <a href="#vol_2_page_206">206</a>, <a href="#vol_2_page_424">424</a></span><br /> +<span style="margin-left: 3em;">Barberini Palace, the, i. <a href="#vol_1_page_438">438</a></span><br /> +<span style="margin-left: 3em;">Benedict XIII., i. <a href="#vol_1_page_303">303</a></span><br /> +<span style="margin-left: 3em;">S. Bruno, +ii. <a href="#vol_2_page_040">40</a></span><br /> +<span style="margin-left: 3em;">Calumny, i. <a href="#vol_1_page_075">75</a></span><br /> +<span style="margin-left: 3em;">Capitoline Gallery, the, 123—135</span><br /> +<span style="margin-left: 3em;">Castor and Pollux, i. <a href="#vol_1_page_118">118</a></span><br /> +<span style="margin-left: 3em;">S. Cecilia, +ii. <a href="#vol_2_page_373">373</a></span><br /> +<span style="margin-left: 3em;">Chapel of the Sacrament, the, +ii. <a href="#vol_2_page_089">89</a></span><br /> +<span style="margin-left: 3em;">Christian Museum, the, +ii. <a href="#vol_2_page_117">117</a></span><br /> +<span style="margin-left: 3em;">Clœlia, i. <a href="#vol_1_page_199">199</a></span><br /> +<span style="margin-left: 3em;">Collection of, in Palazzo Sacchetti, +ii. <a href="#vol_2_page_176">176</a></span><br /> +<span style="margin-left: 3em;">Colossal, Minerva, +ii. <a href="#vol_2_page_035">35</a></span><br /> +<span style="margin-left: 3em;">Constantine, +ii. <a href="#vol_2_page_106">106</a></span><br /> +<span style="margin-left: 3em;">Corsini Chapel, the, +ii. <a href="#vol_2_page_103">103</a></span><br /> +<span style="margin-left: 3em;">Discobolus, the, +ii. <a href="#vol_2_page_186">186</a></span><br /> +<span style="margin-left: 3em;">Domitian, i. <a href="#vol_1_page_179">179</a></span><br /> +<span style="margin-left: 3em;">Drusus, i. <a href="#vol_1_page_387">387</a></span><br /> +<span style="margin-left: 3em;">Egyptian Museum, the, +ii. <a href="#vol_2_page_332">332</a></span><br /> +<span style="margin-left: 3em;">S. Gregorio, i. <a href="#vol_1_page_326">326</a></span><br /> +<span style="margin-left: 3em;">Gregory XVI., +ii. <a href="#vol_2_page_405">405</a></span><br /> +<span style="margin-left: 3em;">Hall of the Senators, the, i. <a href="#vol_1_page_121">121</a></span><br /> +<span style="margin-left: 3em;">Henry IV., +ii. <a href="#vol_2_page_099">99</a></span><br /> +<span style="margin-left: 3em;">S. Jerome, i. <a href="#vol_1_page_060">60</a></span><br /> +<span style="margin-left: 3em;">S. John the Baptist, i. <a href="#vol_1_page_344">344</a></span><br /> +<span style="margin-left: 3em;">Julius II., on tomb, +ii. <a href="#vol_2_page_059">59</a>, <a href="#vol_2_page_060">60</a></span><br /> +<span style="margin-left: 3em;">Juno, i. <a href="#vol_1_page_112">112</a></span><br /> +<span style="margin-left: 3em;">Jupiter, i. <a href="#vol_1_page_112">112</a></span><br /> +<span style="margin-left: 3em;">Justice, i. <a href="#vol_1_page_378">378</a></span><br /> +<span style="margin-left: 3em;">S. Lorenzo, +ii. <a href="#vol_2_page_137">137</a></span><br /> +<span style="margin-left: 3em;">Marcus Aurelius, i. <a href="#vol_1_page_119">119</a>; +ii. <a href="#vol_2_page_186">186</a></span><br /> +<span style="margin-left: 3em;">Mars, +ii. <a href="#vol_2_page_014">14</a></span><br /> +<span style="margin-left: 3em;">S. Martina, i. <a href="#vol_1_page_188">188</a></span><br /> +<span style="margin-left: 3em;">Mausoleum of Augustus, the, i. <a href="#vol_1_page_447">447</a></span><br /> +<span style="margin-left: 3em;">Minerva, i. <a href="#vol_1_page_112">112</a></span><br /> +<span style="margin-left: 3em;">Moses, +ii. <a href="#vol_2_page_042">42</a>, <a href="#vol_2_page_059">59</a></span><br /> +<span style="margin-left: 3em;">Nile, the, i. <a href="#vol_1_page_184">184</a></span><br /> +<span style="margin-left: 3em;">Orpheus, +ii. <a href="#vol_2_page_051">51</a></span><br /> +<span style="margin-left: 3em;">Pasquino, +ii. <a href="#vol_2_page_188">188</a></span><br /> +<span style="margin-left: 3em;">Peter and Paul, +ii. <a href="#vol_2_page_130">130</a></span><br /> +<span style="margin-left: 3em;">S. Peter's, balustrade and steps of, +ii. <a href="#vol_2_page_245">245</a>, <a href="#vol_2_page_246">246</a>;</span><br /> +<span style="margin-left: 4em;">nave, <a href="#vol_2_page_254">254</a>;</span><br /> +<span style="margin-left: 4em;">crypt of, <a href="#vol_2_page_268">268</a>, 273</span><br /> +<span style="margin-left: 3em;">Philip IV. of Spain, +ii. <a href="#vol_2_page_082">82</a></span><br /> +<span style="margin-left: 3em;">Pincio, the, i. <a href="#vol_1_page_043">43</a></span><br /> +<span style="margin-left: 3em;">Pompey, at the foot of which Cæsar fell, +ii. <a href="#vol_2_page_179">179</a></span><br /> +<span style="margin-left: 3em;">Porta Pia, +ii. <a href="#vol_2_page_024">24</a></span><br /> +<span style="margin-left: 3em;">Raphael, by, i. <a href="#vol_1_page_041">41</a></span><br /> +<span style="margin-left: 3em;">S. Sebastian, +ii. <a href="#vol_2_page_194">194</a>, <a href="#vol_2_page_221">221</a></span><br /> +<span style="margin-left: 3em;">S. Silvia, i. <a href="#vol_1_page_325">325</a></span><br /> +<span style="margin-left: 3em;">Torso Belvidere, +ii. <a href="#vol_2_page_306">306</a></span><br /> +<span style="margin-left: 3em;">Trajan, i. <a href="#vol_1_page_161">161</a></span><br /> +<span style="margin-left: 3em;">Vatican, the, +ii. <a href="#vol_2_page_300">300—322</a></span><br /> +<span style="margin-left: 3em;">Vatican Library, the, +ii. <a href="#vol_2_page_324">324</a></span><br /> +<span style="margin-left: 3em;">Villa Albani, the, +ii. <a href="#vol_2_page_018">18</a></span><br /> +<span style="margin-left: 3em;">Villa Borghese, the, +ii. <a href="#vol_2_page_414">414—416</a></span><br /> +<span style="margin-left: 3em;">Villa Pamfili Doria, the, +ii. <a href="#vol_2_page_454">454</a></span><br /> + +<span style="margin-left: 2em;">Stone, on which Abraham was about to offer Isaac, +ii. <a href="#vol_2_page_237">237</a></span><br /> +<span style="margin-left: 3em;">Sacred, legend of, i. <a href="#vol_1_page_294">294</a></span><br /> + +<span style="margin-left: 2em;">Streets—see Via</span><br /> + +<span style="margin-left: 2em;">Studios—</span><br /> +<span style="margin-left: 3em;">Artists', i. <a href="#vol_1_page_030">30</a></span><br /> +<span style="margin-left: 3em;">of Overbeck, +ii. <a href="#vol_2_page_045">45</a></span><br /> +<span style="margin-left: 3em;">Sculptors', i. <a href="#vol_1_page_031">31</a></span><br /> + +<span style="margin-left: 2em;">Suburra, the, +ii. <a href="#vol_2_page_049">49</a></span><br /> + +<span style="margin-left: 2em;">Summa Via Nova, i. <a href="#vol_1_page_277">277</a></span><br /> + +<span style="margin-left: 2em;">Sun, Aurelian's Temple of the, i. <a href="#vol_1_page_436">436</a>, <a href="#vol_1_page_458">458</a></span><br /> + +<span style="margin-left: 2em;">Sylvester, ancient Chair and Mitre of, +ii. <a href="#vol_2_page_064">64</a></span><br /> + +<br /> +<span style="margin-left: 6em;"><a name="T" id="T"></a>T.</span><br /> + +<span style="margin-left: 2em;">Tarquin, site of camp of, +ii. <a href="#vol_2_page_378">378</a></span><br /> + +<span style="margin-left: 2em;">Tasso, Monument of, +ii. <a href="#vol_2_page_436">436</a>;</span><br /> +<span style="margin-left: 3em;">death of, <a href="#vol_2_page_437">437</a>;</span><br /> +<span style="margin-left: 3em;">remains of oak planted by, <a href="#vol_2_page_438">438</a>;</span><br /> +<span style="margin-left: 3em;">annual commemoration of, at the Accademia, 439</span><br /> + +<span style="margin-left: 2em;">Teatino, Don Gaëtano di, founder of the Order of the Theatins, +ii. <a href="#vol_2_page_388">388</a></span><br /> + +<span style="margin-left: 2em;">Tempesta, i. <a href="#vol_1_page_334">334</a>, <a href="#vol_1_page_457">457</a>; +ii. <a href="#vol_2_page_226">226</a>, <a href="#vol_2_page_337">337</a></span><br /> + +<span style="margin-left: 2em;">Tempietto, on the Pincio, i. <a href="#vol_1_page_054">54</a>;</span><br /> +<span style="margin-left: 3em;">on site of St. Peter's crucifixion, +ii. <a href="#vol_2_page_451">451</a></span><br /> + +<span style="margin-left: 2em;">Temples—</span><br /> +<span style="margin-left: 3em;">of Æsculapius, +ii. <a href="#vol_2_page_364">364</a></span><br /> +<span style="margin-left: 4em;">Antoninus and Faustina, i. <a href="#vol_1_page_182">182</a></span><br /> +<span style="margin-left: 4em;">Apollo, i. <a href="#vol_1_page_296">296</a>; +ii. <a href="#vol_2_page_134">134</a></span><br /> +<span style="margin-left: 4em;">the Aventine, i. <a href="#vol_1_page_351">351—353</a></span><br /> +<span style="margin-left: 4em;">Bacchus, i. <a href="#vol_1_page_412">412</a></span><br /> +<span style="margin-left: 4em;">Castor and Pollux, i. <a href="#vol_1_page_175">175</a></span><br /> +<span style="margin-left: 4em;">Ceres, i. <a href="#vol_1_page_227">227</a></span><br /> +<span style="margin-left: 4em;">Cybele, i. <a href="#vol_1_page_294">294</a></span><br /> +<span style="margin-left: 4em;">Fides, i. <a href="#vol_1_page_114">114</a></span><br /> +<span style="margin-left: 4em;">Fortuna Virilis, i. <a href="#vol_1_page_235">235</a></span><br /> +<span style="margin-left: 5em;">Muliebris, +ii. <a href="#vol_2_page_125">125</a></span><br /> +<span style="margin-left: 4em;">Fortune, i. <a href="#vol_1_page_228">228</a></span><br /> +<span style="margin-left: 4em;">Health and Fever, i. <a href="#vol_1_page_435">435</a></span><br /> +<span style="margin-left: 4em;">Honour and Virtue, i. <a href="#vol_1_page_115">115</a></span><br /> +<span style="margin-left: 3em;">on the Island, +ii. <a href="#vol_2_page_363">363</a></span><br /> +<span style="margin-left: 3em;">of Janus Quirinus, i. <a href="#vol_1_page_180">180</a></span><br /> +<span style="margin-left: 4em;">Julius Cæesar, i. <a href="#vol_1_page_183">183</a></span><br /> +<span style="margin-left: 4em;">Juno, i. <a href="#vol_1_page_247">247</a></span><br /> +<span style="margin-left: 5em;">Moneta, i. <a href="#vol_1_page_115">115</a></span><br /> +<span style="margin-left: 5em;">Sospita, i. <a href="#vol_1_page_298">298</a></span><br /> +<span style="margin-left: 4em;">Jupiter Capitolinus, i. <a href="#vol_1_page_111">111—114</a></span><br /> +<span style="margin-left: 5em;">Feretrius, i. <a href="#vol_1_page_115">115</a></span><br /> +<span style="margin-left: 5em;">Stator, i. <a href="#vol_1_page_247">247</a>, <a href="#vol_1_page_278">278</a></span><br /> +<span style="margin-left: 5em;">Tonans, i. <a href="#vol_1_page_115">115</a></span><br /> +<span style="margin-left: 4em;">Liber, i. <a href="#vol_1_page_227">227</a></span><br /> +<span style="margin-left: 4em;">Libera, i. <a href="#vol_1_page_227">227</a></span><br /> +<span style="margin-left: 4em;">Mars, i. <a href="#vol_1_page_114">114</a></span><br /> +<span style="margin-left: 5em;">Ultor, i. <a href="#vol_1_page_163">163</a>, <a href="#vol_1_page_164">164</a></span><br /> +<span style="margin-left: 3em;">in Memory of the French who fell in the siege of Rome, +ii. <a href="#vol_2_page_455">455</a></span><br /> +<span style="margin-left: 3em;">of Minerva, i. <a href="#vol_1_page_298">298</a></span><br /> +<span style="margin-left: 4em;">Moonlight, i. <a href="#vol_1_page_298">298</a></span><br /> +<span style="margin-left: 4em;">Neptune, i. <a href="#vol_1_page_079">79</a></span><br /> +<span style="margin-left: 4em;">Peace, i. <a href="#vol_1_page_184">184</a></span><br /> +<span style="margin-left: 4em;">Piety, i. <a href="#vol_1_page_241">241</a></span><br /> +<span style="margin-left: 4em;">Remus, i. <a href="#vol_1_page_191">191</a></span><br /> +<span style="margin-left: 4em;">Romulus, i. <a href="#vol_1_page_434">434</a></span><br /> +<span style="margin-left: 4em;">Saturn, i. <a href="#vol_1_page_172">172</a></span><br /> +<span style="margin-left: 4em;">the Sun, i. <a href="#vol_1_page_117">117</a></span><br /> +<span style="margin-left: 4em;">Tellus, +ii. <a href="#vol_2_page_048">48</a></span><br /> +<span style="margin-left: 4em;">Venus Erycina, i. <a href="#vol_1_page_114">114</a></span><br /> +<span style="margin-left: 4em;">Venus and Rome, last Pagan, in use, i. <a href="#vol_1_page_199">199</a></span><br /> +<span style="margin-left: 4em;">Vespasian, i. <a href="#vol_1_page_171">171</a></span><br /> +<span style="margin-left: 4em;">Vesta, i. <a href="#vol_1_page_176">176</a>, <a href="#vol_1_page_235">235</a></span><br /> +<span style="margin-left: 4em;">Victory, i. <a href="#vol_1_page_294">294</a></span><br /> +<span style="margin-left: 2em;">Tenerani, works of, +ii. <a href="#vol_2_page_221">221</a>, <a href="#vol_2_page_264">264</a>, <a href="#vol_2_page_407">407</a></span><br /> + +<span style="margin-left: 2em;">Termini, the, +ii. <a href="#vol_2_page_034">34</a></span><br /> + +<span style="margin-left: 2em;">Terraces of—</span><br /> +<span style="margin-left: 3em;">the Pincio, i. <a href="#vol_1_page_043">43</a></span><br /> +<span style="margin-left: 3em;">the Villa Albani, view from. +ii. <a href="#vol_2_page_017">17</a></span><br /> +<span style="margin-left: 4em;">Doria, +ii. <a href="#vol_2_page_454">454</a></span><br /> +<span style="margin-left: 4em;">Medici, i. <a href="#vol_1_page_049">49</a></span><br /> + +<span style="margin-left: 2em;">Theatres of—</span><br /> +<span style="margin-left: 3em;">Apollo, the, +ii. <a href="#vol_2_page_224">224</a> (modern)</span><br /> +<span style="margin-left: 3em;">Balbus, +ii. <a href="#vol_2_page_153">153</a></span><br /> +<span style="margin-left: 3em;">Marcellus, i. <a href="#vol_1_page_244">244</a></span><br /> +<span style="margin-left: 3em;">Palace of the Cæsars, in, i. <a href="#vol_1_page_288">288</a></span><br /> +<span style="margin-left: 3em;">Pompey, +ii. <a href="#vol_2_page_153">153</a>, <a href="#vol_2_page_184">184</a></span><br /> + +<span style="margin-left: 2em;">Thorwaldsen, works of, i. <a href="#vol_1_page_188">188</a>, <a href="#vol_1_page_455">455</a>; +ii. <a href="#vol_2_page_210">210</a>, <a href="#vol_2_page_264">264</a>, <a href="#vol_2_page_300">300</a></span><br /> + +<span style="margin-left: 2em;">Tiber, inundations of the, i. <a href="#vol_1_page_222">222</a>;</span><br /> +<span style="margin-left: 3em;">Island in the, +ii. <a href="#vol_2_page_361">361</a>;</span><br /> +<span style="margin-left: 3em;">picturesque views on the banks of, 421</span><br /> + +<span style="margin-left: 2em;">Tiberius, Arch of, i. <a href="#vol_1_page_173">173</a>;</span><br /> +<span style="margin-left: 3em;">Palace of, 291</span><br /> + +<span style="margin-left: 2em;">Tigellum Sororis, +ii. <a href="#vol_2_page_049">49</a></span><br /> + +<span style="margin-left: 2em;">Titus, Arch of, i. <a href="#vol_1_page_200">200</a>;</span><br /> +<span style="margin-left: 3em;">Baths of, +ii. <a href="#vol_2_page_052">52</a></span><br /> + +<span style="margin-left: 2em;">Tombs—</span><br /> +<span style="margin-left: 3em;">of Adam of Hertford, Bishop of London, +ii. <a href="#vol_2_page_372">372</a></span><br /> +<span style="margin-left: 3em;">in Ara-Cœli, i. <a href="#vol_1_page_147">147</a>, <a href="#vol_1_page_148">148</a></span><br /> +<span style="margin-left: 3em;">of the Baker Eurysaces, +ii. <a href="#vol_2_page_132">132</a></span><br /> +<span style="margin-left: 4em;">Bastari, +ii. <a href="#vol_2_page_385">385</a></span><br /> +<span style="margin-left: 4em;">Bernardino Capella, i. <a href="#vol_1_page_339">339</a></span><br /> +<span style="margin-left: 4em;">Bibulus, i. <a href="#vol_1_page_105">105</a></span><br /> +<span style="margin-left: 4em;">the Cæcilii, i. <a href="#vol_1_page_395">395</a></span><br /> +<span style="margin-left: 4em;">Caius Cestius, +ii. <a href="#vol_2_page_394">394</a></span><br /> +<span style="margin-left: 4em;">Camillo Borghese, +ii. <a href="#vol_2_page_087">87</a></span><br /> +<span style="margin-left: 3em;">in the Campus Esquilinus, +ii. <a href="#vol_2_page_036">36</a></span><br /> +<span style="margin-left: 3em;">of Carlo Maratta, +ii. <a href="#vol_2_page_040">40</a></span><br /> +<span style="margin-left: 4em;">Cardinal Adimari, i. <a href="#vol_1_page_196">196</a></span><br /> +<span style="margin-left: 5em;">d'Alençon, ii, 385</span><br /> +<span style="margin-left: 5em;">Barberini, +ii. <a href="#vol_2_page_009">9</a></span><br /> +<span style="margin-left: 5em;">Fortiguerra, +ii. <a href="#vol_2_page_372">372</a></span><br /> +<span style="margin-left: 5em;">Gonsalvi, i. <a href="#vol_1_page_087">87</a>; +ii. <a href="#vol_2_page_090">90</a></span><br /> +<span style="margin-left: 5em;">Guido di Balneo, i. <a href="#vol_1_page_364">364</a></span><br /> +<span style="margin-left: 5em;">Mai, i. <a href="#vol_1_page_225">225</a></span><br /> +<span style="margin-left: 5em;">Pacca, i. <a href="#vol_1_page_269">269</a></span><br /> +<span style="margin-left: 5em;">Rovarella, i. <a href="#vol_1_page_344">344</a></span><br /> +<span style="margin-left: 5em;">Vulcani, i. <a href="#vol_1_page_196">196</a></span><br /> +<span style="margin-left: 5em;">Zurla, i. <a href="#vol_1_page_323">323</a></span><br /> +<span style="margin-left: 3em;">Casale Rotondo, i. <a href="#vol_1_page_428">428</a></span><br /> +<span style="margin-left: 3em;">of Cecilia Metella, i. <a href="#vol_1_page_422">422</a></span><br /> +<span style="margin-left: 3em;">in Chapel of the Rosary, i. <a href="#vol_1_page_359">359</a></span><br /> +<span style="margin-left: 3em;">of Clement VII., +ii. <a href="#vol_2_page_219">219</a></span><br /> +<span style="margin-left: 5em;">IX., +ii. <a href="#vol_2_page_084">84</a></span><br /> +<span style="margin-left: 5em;">XIV., i. <a href="#vol_1_page_101">101</a></span><br /> +<span style="margin-left: 4em;">S. Constantia, +ii. <a href="#vol_2_page_028">28</a></span><br /> +<span style="margin-left: 4em;">S. Cosmo and Damian, i. <a href="#vol_1_page_191">191</a></span><br /> +<span style="margin-left: 3em;">destruction of, in old Basilica of St. Peter's, +ii. <a href="#vol_2_page_257">257—266</a></span><br /> +<span style="margin-left: 3em;">of Daniel O'Connell, i. <a href="#vol_1_page_462">462</a></span><br /> +<span style="margin-left: 3em;">Doric, relic of republican times, i. <a href="#vol_1_page_105">105</a></span><br /> +<span style="margin-left: 3em;">of Emmanuel IV., i. <a href="#vol_1_page_444">444</a></span><br /> +<span style="margin-left: 4em;">Francesca di Ponziani, i. <a href="#vol_1_page_195">195</a></span><br /> +<span style="margin-left: 4em;">eminent Frenchmen, +ii. <a href="#vol_2_page_200">200</a></span><br /> +<span style="margin-left: 4em;">Geta, i. <a href="#vol_1_page_388">388</a></span><br /> +<span style="margin-left: 4em;">Gibson, the sculptor, +ii. <a href="#vol_2_page_397">397</a></span><br /> +<span style="margin-left: 4em;">Gregory XI., i. <a href="#vol_1_page_196">196</a></span><br /> +<span style="margin-left: 5em;">XIV., i. <a href="#vol_1_page_085">85</a></span><br /> +<span style="margin-left: 4em;">S. Helena, +ii. <a href="#vol_2_page_133">133</a></span><br /> +<span style="margin-left: 4em;">the Historian of the popes, +ii. <a href="#vol_2_page_092">92</a></span><br /> +<span style="margin-left: 4em;">the Horatii and Curiatii, i. <a href="#vol_1_page_427">427</a></span><br /> +<span style="margin-left: 4em;">Imperia, i. <a href="#vol_1_page_323">323</a></span><br /> +<span style="margin-left: 4em;">John Lascaris, i. <a href="#vol_1_page_463">463</a></span><br /> +<span style="margin-left: 4em;">Julius II., +ii. <a href="#vol_2_page_059">59</a></span><br /> +<span style="margin-left: 4em;">Knights of Malta, i. <a href="#vol_1_page_365">365</a></span><br /> +<span style="margin-left: 4em;">Lanfranco, +ii. <a href="#vol_2_page_385">385</a></span><br /> +<span style="margin-left: 4em;">Leo X., +ii. <a href="#vol_2_page_218">218</a></span><br /> +<span style="margin-left: 3em;">in S. Maria del Popolo, i. <a href="#vol_1_page_039">39—42</a></span><br /> +<span style="margin-left: 3em;">of Martha Swinburne, +ii. <a href="#vol_2_page_171">171</a></span><br /> +<span style="margin-left: 4em;">Sta. Martina, i. <a href="#vol_1_page_188">188</a></span><br /> +<span style="margin-left: 4em;">Munoz de Zamora, i. <a href="#vol_1_page_358">358</a></span><br /> +<span style="margin-left: 4em;">Nero, i. <a href="#vol_1_page_038">38</a></span><br /> +<span style="margin-left: 4em;">Nicholas IV., +ii. <a href="#vol_2_page_084">84</a></span><br /> +<span style="margin-left: 4em;">Nicholas Poussin, i. <a href="#vol_1_page_073">73</a></span><br /> +<span style="margin-left: 4em;">Painters, in the Pantheon, +ii. <a href="#vol_2_page_209">209</a>, <a href="#vol_2_page_210">210</a></span><br /> +<span style="margin-left: 4em;">Paul IV., +ii. <a href="#vol_2_page_215">215</a></span><br /> +<span style="margin-left: 4em;">Pius V., +ii. <a href="#vol_2_page_089">89</a></span><br /> +<span style="margin-left: 4em;">Pompey, i. <a href="#vol_1_page_429">429</a></span><br /> +<span style="margin-left: 4em;">Pope St. Cornelius, i. <a href="#vol_1_page_399">399</a></span><br /> +<span style="margin-left: 5em;">Melchiades, i. <a href="#vol_1_page_398">398</a></span><br /> +<span style="margin-left: 3em;">in S. Prassede, +ii. <a href="#vol_2_page_069">69</a></span><br /> +<span style="margin-left: 3em;">of Prince Altieri, i. <a href="#vol_1_page_269">269</a></span><br /> +<span style="margin-left: 4em;">Princess Colonna, +ii. <a href="#vol_2_page_213">213</a></span><br /> +<span style="margin-left: 3em;">Ruins of, i. <a href="#vol_1_page_426">426</a>, <a href="#vol_1_page_428">428</a>, <a href="#vol_1_page_429">429</a></span><br /> +<span style="margin-left: 3em;">of Salvator Rosa, +ii. <a href="#vol_2_page_040">40</a></span><br /> +<span style="margin-left: 4em;">the Scipios, i. <a href="#vol_1_page_385">385</a></span><br /> +<span style="margin-left: 4em;">Sixtus V., +ii. <a href="#vol_2_page_089">89</a></span><br /> +<span style="margin-left: 4em;">Bishop Spinelli, i. <a href="#vol_1_page_365">365</a></span><br /> +<span style="margin-left: 4em;">the Stuarts, +ii. <a href="#vol_2_page_266">266</a></span><br /> +<span style="margin-left: 4em;">Sylla, i. <a href="#vol_1_page_037">37</a></span><br /> +<span style="margin-left: 3em;">Temple of Divus Rediculus, i. <a href="#vol_1_page_416">416</a></span><br /> +<span style="margin-left: 3em;">of Torquemada, +ii. <a href="#vol_2_page_213">213</a></span><br /> + +<span style="margin-left: 2em;">Torre—</span><br /> +<span style="margin-left: 3em;">degli Anicii, +ii. <a href="#vol_2_page_362">362</a></span><br /> +<span style="margin-left: 3em;">di Babele, i. <a href="#vol_1_page_460">460</a></span><br /> +<span style="margin-left: 3em;">dei Conti, +ii. <a href="#vol_2_page_048">48</a>, <a href="#vol_2_page_054">54</a></span><br /> +<span style="margin-left: 3em;">del Grillo, i. <a href="#vol_1_page_460">460</a></span><br /> +<span style="margin-left: 3em;">Marancia, i. <a href="#vol_1_page_408">408</a></span><br /> +<span style="margin-left: 3em;">Mellina, +ii. <a href="#vol_2_page_193">193</a></span><br /> +<span style="margin-left: 3em;">Mezza Strada, mediæval fortress, i. <a href="#vol_1_page_427">427</a></span><br /> +<span style="margin-left: 3em;">delle Milizie, i. <a href="#vol_1_page_460">460</a></span><br /> +<span style="margin-left: 3em;">Nomentana, +ii. <a href="#vol_2_page_032">32</a></span><br /> +<span style="margin-left: 3em;">di Nona, +ii. <a href="#vol_2_page_223">223</a></span><br /> +<span style="margin-left: 3em;">Nuova, +ii. <a href="#vol_2_page_133">133</a>, <a href="#vol_2_page_414">414</a></span><br /> +<span style="margin-left: 3em;">Pernice, +ii. <a href="#vol_2_page_133">133</a></span><br /> +<span style="margin-left: 3em;">Pignatarra, +ii. <a href="#vol_2_page_133">133</a></span><br /> +<span style="margin-left: 3em;">di Quinto, +ii. <a href="#vol_2_page_423">423</a></span><br /> +<span style="margin-left: 3em;">Sanguinea, +ii. <a href="#vol_2_page_160">160</a></span><br /> +<span style="margin-left: 3em;">dei Schiavi, +ii. <a href="#vol_2_page_133">133</a></span><br /> +<span style="margin-left: 3em;">della Scimia (Hilda's Tower), +ii. <a href="#vol_2_page_156">156</a></span><br /> +<span style="margin-left: 3em;">di Selce, i. <a href="#vol_1_page_429">429</a></span><br /> +<span style="margin-left: 3em;">Tre Teste, +ii. <a href="#vol_2_page_134">134</a></span><br /> + +<span style="margin-left: 2em;">Torretta del Palatino, view from, i. <a href="#vol_1_page_298">298</a></span><br /> + +<span style="margin-left: 2em;">Towers—</span><br /> +<span style="margin-left: 3em;">Capitol, of the, i. <a href="#vol_1_page_121">121</a></span><br /> +<span style="margin-left: 3em;">Frangipani, of the, +ii. <a href="#vol_2_page_062">62</a></span><br /> +<span style="margin-left: 3em;">Mecænas, of, +ii. <a href="#vol_2_page_065">65</a></span><br /> +<span style="margin-left: 3em;">Mediæval, of S. Lucia in Selce, +ii. <a href="#vol_2_page_065">65</a></span><br /> + +<span style="margin-left: 2em;">Trastevere, the, i. <a href="#vol_1_page_237">237</a>;</span><br /> +<span style="margin-left: 3em;">its present condition, characteristics of its inhabitants, its national games, +ii. <a href="#vol_2_page_367">367</a></span><br /> + +<span style="margin-left: 2em;">Trattorie, resort of lower orders to, +ii. <a href="#vol_2_page_422">422</a></span><br /> + +<span style="margin-left: 2em;">Travellers, hurried, scheme for, in visiting Rome, i. <a href="#vol_1_page_032">32</a>;</span><br /> +<span style="margin-left: 3em;">first lesson in Roman Geography for, <a href="#vol_1_page_036">36</a>;</span><br /> +<span style="margin-left: 3em;">interesting excursions for, +ii. <a href="#vol_2_page_426">426</a>;</span><br /> +<span style="margin-left: 3em;">objects of interest for Irish, 450</span><br /> + +<span style="margin-left: 2em;">Tre Fontane, the, +ii. <a href="#vol_2_page_399">399</a></span><br /> + +<span style="margin-left: 2em;">Trevi, Fountain of, i. <a href="#vol_1_page_079">79</a></span><br /> + +<span style="margin-left: 2em;">Trophies of Marius, +ii. <a href="#vol_2_page_074">74</a></span><br /> + +<span style="margin-left: 2em;">Turrita, Jacopo da, mosaics by, +ii. <a href="#vol_2_page_083">83</a></span><br /> + +<br /> +<span style="margin-left: 6em;"><a name="U" id="U"></a>U.</span><br /> + +<span style="margin-left: 2em;">Udine, Giovanni da, +ii. <a href="#vol_2_page_300">300</a>, <a href="#vol_2_page_324">324</a>, <a href="#vol_2_page_426">426</a>, <a href="#vol_2_page_448">448</a></span><br /> + +<span style="margin-left: 2em;">Umbilicus Romæ, i. <a href="#vol_1_page_173">173</a></span><br /> + +<span style="margin-left: 2em;">University of the Sapienza, +ii. <a href="#vol_2_page_202">202</a></span><br /> + +<br /> +<span style="margin-left: 6em;"><a name="V" id="V"></a>V.</span><br /> + +<span style="margin-left: 2em;">Vaga, Pierino del, tomb of, +ii. <a href="#vol_2_page_209">209</a></span><br /> + +<span style="margin-left: 2em;">Val d'Inferno, +ii. <a href="#vol_2_page_430">430</a></span><br /> + +<span style="margin-left: 2em;">Valleys—</span><br /> +<span style="margin-left: 3em;">of the Almo, i. <a href="#vol_1_page_388">388</a></span><br /> +<span style="margin-left: 3em;">Caffarelle, i. <a href="#vol_1_page_390">390</a></span><br /> +<span style="margin-left: 3em;">between the Palatine and Capitoline Hills, i. <a href="#vol_1_page_222">222</a></span><br /> + +<span style="margin-left: 2em;">Valley between Palatine and Aventine, i. <a href="#vol_1_page_225">225</a>, <a href="#vol_1_page_365">365</a></span><br /> + +<span style="margin-left: 2em;">Vallis Quirinalis, site of, i. <a href="#vol_1_page_464">464</a></span><br /> + +<span style="margin-left: 2em;">Vatican, the, i. <a href="#vol_1_page_467">467</a>;</span><br /> +<span style="margin-left: 3em;">history of the quarter, and of the foundation of the Palace, +ii. <a href="#vol_2_page_282">282—284</a>;</span><br /> +<span style="margin-left: 3em;">Sala Regia, <a href="#vol_2_page_285">285</a>;</span><br /> +<span style="margin-left: 3em;">Sistine Chapel, paintings of, <a href="#vol_2_page_286">286—295</a>;</span><br /> +<span style="margin-left: 3em;">residence of the pope in, <a href="#vol_2_page_298">298</a>;</span><br /> +<span style="margin-left: 3em;">Museum of Statues, <a href="#vol_2_page_300">300</a>;</span><br /> +<span style="margin-left: 3em;">Braccio-Nuovo, <a href="#vol_2_page_300">300</a>;</span><br /> +<span style="margin-left: 3em;">Cabinets of Sculpture, <a href="#vol_2_page_308">308—311</a>;</span><br /> +<span style="margin-left: 3em;">Gabinetto delle Maschere, <a href="#vol_2_page_316">316</a>;</span><br /> +<span style="margin-left: 3em;">Library of the, <a href="#vol_2_page_271">271</a>, <a href="#vol_2_page_322">322</a>;</span><br /> +<span style="margin-left: 3em;">portraits of librarians, <a href="#vol_2_page_323">323</a>;</span><br /> +<span style="margin-left: 3em;">Appartamenti Borgia, <a href="#vol_2_page_324">324</a>;</span><br /> +<span style="margin-left: 3em;">inner Garden of the, <a href="#vol_2_page_333">333</a>;</span><br /> +<span style="margin-left: 3em;">larger Garden, <a href="#vol_2_page_335">335</a>;</span><br /> +<span style="margin-left: 3em;">Golden age of the, <a href="#vol_2_page_336">336</a>;</span><br /> +<span style="margin-left: 3em;">Loggie of Raphael, <a href="#vol_2_page_337">337</a>;</span><br /> +<span style="margin-left: 3em;">Stanze, frescoes in the, <a href="#vol_2_page_340">340—345</a>;</span><br /> +<span style="margin-left: 3em;">Picture Gallery, <a href="#vol_2_page_347">347</a>;</span><br /> +<span style="margin-left: 3em;">Wine of the, 430</span><br /> + +<span style="margin-left: 2em;">Velabrum, the, i. <a href="#vol_1_page_222">222</a>;</span><br /> +<span style="margin-left: 3em;">derivation of name, 223</span><br /> + +<span style="margin-left: 2em;">Velia, the, i. <a href="#vol_1_page_277">277</a></span><br /> + +<span style="margin-left: 2em;">Vespasian, Palace of, i. <a href="#vol_1_page_281">281</a>;</span><br /> +<span style="margin-left: 3em;">favourite residence of, +ii. <a href="#vol_2_page_012">12</a></span><br /> + +<span style="margin-left: 2em;">Vesta, Temple of, i. <a href="#vol_1_page_235">235</a>;</span><br /> +<span style="margin-left: 3em;">Shrine of, <a href="#vol_1_page_298">298</a></span><br /> + +<span style="margin-left: 2em;">Via—</span><br /> +<span style="margin-left: 3em;">S. Agostino, +ii. <a href="#vol_2_page_160">160</a></span><br /> +<span style="margin-left: 3em;">Alessandrina, i. <a href="#vol_1_page_163">163</a></span><br /> +<span style="margin-left: 3em;">dell' Anima, +ii. <a href="#vol_2_page_193">193</a></span><br /> +<span style="margin-left: 3em;">S. Antonio dei Portoguesi, +ii. <a href="#vol_2_page_156">156</a></span><br /> +<span style="margin-left: 3em;">Appia, i. <a href="#vol_1_page_372">372</a></span><br /> +<span style="margin-left: 3em;">Appia Nuova, i. <a href="#vol_1_page_412">412</a>, <a href="#vol_1_page_429">429</a>; +ii. <a href="#vol_2_page_107">107</a></span><br /> +<span style="margin-left: 3em;">Ardeatina, i. <a href="#vol_1_page_389">389</a></span><br /> +<span style="margin-left: 3em;">Babuino, i. <a href="#vol_1_page_054">54</a></span><br /> +<span style="margin-left: 3em;">di Banchi, +ii. <a href="#vol_2_page_224">224</a></span><br /> +<span style="margin-left: 3em;">S. Basilio, +ii. <a href="#vol_2_page_012">12</a></span><br /> +<span style="margin-left: 3em;">de' Baullari, +ii. <a href="#vol_2_page_178">178</a></span><br /> +<span style="margin-left: 3em;">del Borgo Nuovo, +ii. <a href="#vol_2_page_236">236</a></span><br /> +<span style="margin-left: 3em;">Borgo Sto. Spirito, +ii. <a href="#vol_2_page_237">237</a></span><br /> +<span style="margin-left: 3em;">delle Botteghe Oscure, i. <a href="#vol_1_page_268">268</a></span><br /> +<span style="margin-left: 3em;">Calabraga, +ii. <a href="#vol_2_page_170">170</a></span><br /> +<span style="margin-left: 3em;">della Caravita, i. <a href="#vol_1_page_085">85</a></span><br /> +<span style="margin-left: 3em;">Cassia, +ii. <a href="#vol_2_page_426">426</a></span><br /> +<span style="margin-left: 3em;">S. Claudio, i. <a href="#vol_1_page_076">76</a></span><br /> +<span style="margin-left: 3em;">Clivus Capitolinus, i. <a href="#vol_1_page_170">170</a>, <a href="#vol_1_page_172">172</a></span><br /> +<span style="margin-left: 3em;">del Colosseo, +ii. <a href="#vol_2_page_047">47</a></span><br /> +<span style="margin-left: 3em;">Condotti, i. <a href="#vol_1_page_065">65</a></span><br /> +<span style="margin-left: 3em;">della Consolazione, i. <a href="#vol_1_page_174">174</a></span><br /> +<span style="margin-left: 3em;">delle Convertite, i. <a href="#vol_1_page_074">74</a></span><br /> +<span style="margin-left: 3em;">dei Coronari, +ii. <a href="#vol_2_page_223">223</a></span><br /> +<span style="margin-left: 3em;">del Corso, i. <a href="#vol_1_page_036">36</a>, <a href="#vol_1_page_060">60</a></span><br /> +<span style="margin-left: 3em;">della Croce Bianca, i. <a href="#vol_1_page_165">165</a></span><br /> +<span style="margin-left: 3em;">dei Crociferi, i. <a href="#vol_1_page_464">464</a></span><br /> +<span style="margin-left: 3em;">Crucis, +ii. <a href="#vol_2_page_449">449</a></span><br /> +<span style="margin-left: 3em;">della Ferratelia, i. <a href="#vol_1_page_382">382</a></span><br /> +<span style="margin-left: 3em;">dei Fienili (Vicus Tuscus), i. <a href="#vol_1_page_176">176</a>, <a href="#vol_1_page_221">221</a></span><br /> +<span style="margin-left: 3em;">Flaminia, great Northern road of Italy, +ii. <a href="#vol_2_page_423">423</a></span><br /> +<span style="margin-left: 3em;">delle Fornaci, +ii. <a href="#vol_2_page_449">449</a></span><br /> +<span style="margin-left: 3em;">S. Giovanni, +ii. <a href="#vol_2_page_094">94</a></span><br /> +<span style="margin-left: 3em;">Decollato, i. <a href="#vol_1_page_239">239</a></span><br /> +<span style="margin-left: 3em;">de' Fiorentini, +ii. <a href="#vol_2_page_225">225</a></span><br /> +<span style="margin-left: 3em;">Giulia, +ii. <a href="#vol_2_page_175">175</a></span><br /> +<span style="margin-left: 3em;">del Governo Vecchio, +ii. <a href="#vol_2_page_165">165</a></span><br /> +<span style="margin-left: 3em;">Gregoriana, i. <a href="#vol_1_page_054">54</a></span><br /> +<span style="margin-left: 3em;">S. Gregorio, i. <a href="#vol_1_page_375">375</a></span><br /> +<span style="margin-left: 3em;">Immerulana, +ii. <a href="#vol_2_page_122">122</a></span><br /> +<span style="margin-left: 3em;">Latina, +ii. <a href="#vol_2_page_124">124</a></span><br /> +<span style="margin-left: 3em;">Longarina, +ii. <a href="#vol_2_page_368">368</a></span><br /> +<span style="margin-left: 3em;">S. Lucia in Selci, +ii. <a href="#vol_2_page_065">65</a></span><br /> +<span style="margin-left: 3em;">Lungara, +ii. <a href="#vol_2_page_434">434</a></span><br /> +<span style="margin-left: 3em;">Lungaretta, +ii. <a href="#vol_2_page_379">379</a>, <a href="#vol_2_page_382">382</a></span><br /> +<span style="margin-left: 3em;">de Macao, +ii. <a href="#vol_2_page_034">34</a></span><br /> +<span style="margin-left: 3em;">Maganaopoli, i. <a href="#vol_1_page_461">461</a></span><br /> +<span style="margin-left: 3em;">Maggiore, +ii. <a href="#vol_2_page_072">72</a></span><br /> +<span style="margin-left: 3em;">Margutta, i. <a href="#vol_1_page_054">54</a></span><br /> +<span style="margin-left: 3em;">della Marmorata, +ii. <a href="#vol_2_page_392">392</a></span><br /> +<span style="margin-left: 3em;">Mazzarini, i. <a href="#vol_1_page_461">461</a></span><br /> +<span style="margin-left: 3em;">de Mercede, i. <a href="#vol_1_page_075">75</a></span><br /> +<span style="margin-left: 3em;">Monserrato, +ii. <a href="#vol_2_page_170">170</a></span><br /> +<span style="margin-left: 3em;">del Monte Tarpeio, i. <a href="#vol_1_page_272">272</a></span><br /> +<span style="margin-left: 3em;">Morticelli, +ii. <a href="#vol_2_page_379">379</a></span><br /> +<span style="margin-left: 3em;">S. Niccolo in Tolentino, +ii. <a href="#vol_2_page_012">12</a></span><br /> +<span style="margin-left: 3em;">Nova, i. <a href="#vol_1_page_307">307</a></span><br /> +<span style="margin-left: 3em;">Ostiensis, +ii. <a href="#vol_2_page_409">409</a></span><br /> +<span style="margin-left: 3em;">Pane e Perna, i. <a href="#vol_1_page_466">466</a></span><br /> +<span style="margin-left: 3em;">S. Pantaleone, +ii. <a href="#vol_2_page_186">186</a></span><br /> +<span style="margin-left: 3em;">in Parione, +ii. <a href="#vol_2_page_165">165</a></span><br /> +<span style="margin-left: 3em;">della Pedacchia, i. <a href="#vol_1_page_117">117</a></span><br /> +<span style="margin-left: 3em;">del Piè di Marmo, +ii. <a href="#vol_2_page_222">222</a></span><br /> +<span style="margin-left: 3em;">de' Pontefici, i. <a href="#vol_1_page_061">61</a></span><br /> +<span style="margin-left: 3em;">della Porta Pia, +ii. <a href="#vol_2_page_043">43</a></span><br /> +<span style="margin-left: 3em;">delle Quattro Fontane, i. <a href="#vol_1_page_474">474</a></span><br /> +<span style="margin-left: 3em;">del Quirinale, i. <a href="#vol_1_page_444">444</a></span><br /> +<span style="margin-left: 3em;">Ripetta, i. <a href="#vol_1_page_037">37</a></span><br /> +<span style="margin-left: 3em;">Sta. Sabina, i. <a href="#vol_1_page_355">355</a></span><br /> +<span style="margin-left: 3em;">Sacra, i. <a href="#vol_1_page_205">205</a></span><br /> +<span style="margin-left: 3em;">della Salita del Grillo, i. <a href="#vol_1_page_165">165</a></span><br /> +<span style="margin-left: 3em;">Savelli, +ii. <a href="#vol_2_page_360">360</a></span><br /> +<span style="margin-left: 3em;">della Scala, +ii. <a href="#vol_2_page_388">388</a></span><br /> +<span style="margin-left: 3em;">della Scrofa, +ii. <a href="#vol_2_page_154">154</a></span><br /> +<span style="margin-left: 3em;">S. Sebastiano, i. <a href="#vol_1_page_375">375</a></span><br /> +<span style="margin-left: 3em;">della Sediola, +ii. <a href="#vol_2_page_197">197</a>, <a href="#vol_2_page_202">202</a></span><br /> +<span style="margin-left: 3em;">dei Serpenti, i. <a href="#vol_1_page_463">463</a></span><br /> +<span style="margin-left: 3em;">Sistina, i. <a href="#vol_1_page_054">54</a></span><br /> +<span style="margin-left: 3em;">di San Sisto Vecchio, i. <a href="#vol_1_page_375">375</a></span><br /> +<span style="margin-left: 3em;">Sterrata, i. <a href="#vol_1_page_443">443</a></span><br /> +<span style="margin-left: 3em;">Tor de' Specchi, i. <a href="#vol_1_page_270">270</a></span><br /> +<span style="margin-left: 3em;">Tordinona, +ii. <a href="#vol_2_page_223">223</a></span><br /> +<span style="margin-left: 3em;">Triumphalis, i. <a href="#vol_1_page_206">206</a></span><br /> +<span style="margin-left: 3em;">Urbana, i. <a href="#vol_1_page_468">468</a></span><br /> +<span style="margin-left: 3em;">della Vale, +ii. <a href="#vol_2_page_185">185</a></span><br /> +<span style="margin-left: 3em;">dei Vascellari, +ii. <a href="#vol_2_page_369">369</a></span><br /> +<span style="margin-left: 3em;">delle Vergine, i. <a href="#vol_1_page_103">103</a></span><br /> +<span style="margin-left: 3em;">S. Vitale, i. <a href="#vol_1_page_435">435</a>, <a href="#vol_1_page_466">466</a></span><br /> +<span style="margin-left: 3em;">della Vite, i. <a href="#vol_1_page_074">74</a></span><br /> +<span style="margin-left: 3em;">Vittoria, i. <a href="#vol_1_page_064">64</a></span><br /> + +<span style="margin-left: 2em;">Vicus, Corneliorum, i. <a href="#vol_1_page_436">436</a>;</span><br /> +<span style="margin-left: 3em;">Cyprius, +ii. <a href="#vol_2_page_049">49</a></span><br /> + +<span style="margin-left: 2em;">Vigna, Codini, i. <a href="#vol_1_page_386">386</a></span><br /> +<span style="margin-left: 3em;">dei Gesuiti, i. <a href="#vol_1_page_368">368</a></span><br /> +<span style="margin-left: 3em;">Marancia, i. <a href="#vol_1_page_389">389</a></span><br /> + +<span style="margin-left: 2em;">Vignola, works of, +ii. <a href="#vol_2_page_418">418</a>, <a href="#vol_2_page_421">421</a></span><br /> + +<span style="margin-left: 2em;">Villas—</span><br /> +<span style="margin-left: 3em;">Albani, +ii. <a href="#vol_2_page_017">17</a></span><br /> +<span style="margin-left: 3em;">Altieri, +ii. <a href="#vol_2_page_132">132</a></span><br /> +<span style="margin-left: 3em;">Borghese, +ii. <a href="#vol_2_page_411">411</a></span><br /> +<span style="margin-left: 3em;">of Claude Lorraine, +ii. <a href="#vol_2_page_419">419</a></span><br /> +<span style="margin-left: 3em;">of Commodus, i. <a href="#vol_1_page_427">427</a></span><br /> +<span style="margin-left: 3em;">Doria, +ii. <a href="#vol_2_page_454">454</a></span><br /> +<span style="margin-left: 3em;">Esmeade, +ii. <a href="#vol_2_page_417">417</a></span><br /> +<span style="margin-left: 3em;">Farnesina, +ii. <a href="#vol_2_page_446">446</a></span><br /> +<span style="margin-left: 3em;">of the Gordians, +ii. <a href="#vol_2_page_133">133</a></span><br /> +<span style="margin-left: 3em;">Lante, +ii. <a href="#vol_2_page_452">452</a></span><br /> +<span style="margin-left: 3em;">Lezzani, +ii. <a href="#vol_2_page_025">25</a></span><br /> +<span style="margin-left: 3em;">List of most important, i. <a href="#vol_1_page_032">32</a></span><br /> +<span style="margin-left: 3em;">of Livia, +ii. <a href="#vol_2_page_423">423</a></span><br /> +<span style="margin-left: 3em;">of Lucius Verus, +ii. <a href="#vol_2_page_135">135</a></span><br /> +<span style="margin-left: 3em;">Ludovisi, +ii. <a href="#vol_2_page_013">13</a></span><br /> +<span style="margin-left: 3em;">Madama, +ii. <a href="#vol_2_page_426">426</a></span><br /> +<span style="margin-left: 3em;">Massimo Arsoli, +ii. <a href="#vol_2_page_122">122</a></span><br /> +<span style="margin-left: 4em;">Negroni, +ii. <a href="#vol_2_page_035">35</a></span><br /> +<span style="margin-left: 4em;">Rignano, +ii. <a href="#vol_2_page_012">12</a></span><br /> +<span style="margin-left: 3em;">Mattei, i. <a href="#vol_1_page_332">332</a></span><br /> +<span style="margin-left: 3em;">Medici, i. <a href="#vol_1_page_049">49</a></span><br /> +<span style="margin-left: 3em;">Mellini, +ii. <a href="#vol_2_page_427">427</a></span><br /> +<span style="margin-left: 3em;">Mills, i. <a href="#vol_1_page_304">304</a>, <a href="#vol_1_page_311">311</a></span><br /> +<span style="margin-left: 3em;">Negroni, i. <a href="#vol_1_page_473">473</a></span><br /> +<span style="margin-left: 3em;">Olgiati, once of Raphael, +ii. <a href="#vol_2_page_416">416</a></span><br /> +<span style="margin-left: 3em;">Palombara, +ii. <a href="#vol_2_page_074">74</a></span><br /> +<span style="margin-left: 3em;">Pamfili Doria, +ii. <a href="#vol_2_page_454">454</a></span><br /> +<span style="margin-left: 3em;">of Papa Giulio, +ii. <a href="#vol_2_page_418">418</a></span><br /> +<span style="margin-left: 3em;">Patrizi, +ii. <a href="#vol_2_page_025">25</a></span><br /> +<span style="margin-left: 3em;">of the Servilii, +ii. <a href="#vol_2_page_124">124</a></span><br /> +<span style="margin-left: 3em;">Spada, +ii. <a href="#vol_2_page_020">20</a></span><br /> +<span style="margin-left: 3em;">Torlonia, +ii. <a href="#vol_2_page_026">26</a></span><br /> +<span style="margin-left: 3em;">Triopio, i. <a href="#vol_1_page_414">414</a></span><br /> +<span style="margin-left: 3em;">Wolkonski, +ii. <a href="#vol_2_page_123">123</a></span><br /> + +<span style="margin-left: 2em;">Viminal Hill, i. <a href="#vol_1_page_433">433</a>, <a href="#vol_1_page_466">466</a></span><br /> + +<span style="margin-left: 2em;">Vinci, Leonardo da, remarkable works of, i. <a href="#vol_1_page_083">83</a>; +ii. <a href="#vol_2_page_437">437</a></span><br /> + +<span style="margin-left: 2em;">Virgin, one of the earliest representations of the, +ii. <a href="#vol_2_page_021">21</a>;</span><br /> +<span style="margin-left: 3em;">first church dedicated to, +ii. <a href="#vol_2_page_382">382</a></span><br /> + +<span style="margin-left: 2em;">Volterra, Daniele da, the masterpiece of, i. <a href="#vol_1_page_052">52</a></span><br /> + +<span style="margin-left: 2em;">Vulcanal, site of the, i. <a href="#vol_1_page_171">171</a></span><br /> + +<br /> +<span style="margin-left: 6em;"><a name="W" id="W"></a>W.</span><br /> + +<span style="margin-left: 2em;">Walls—</span><br /> +<span style="margin-left: 3em;">Aurelian, i. <a href="#vol_1_page_385">385</a></span><br /> +<span style="margin-left: 3em;">of Romulus, i. <a href="#vol_1_page_305">305</a></span><br /> +<span style="margin-left: 4em;">Servius Tullius, 368</span><br /> + +<span style="margin-left: 2em;">Wine of the Vatican, +ii. <a href="#vol_2_page_430">430</a></span><br /> + +<br /> +<span style="margin-left: 6em;"><a name="Z" id="Z"></a>Z.</span><br /> + +<span style="margin-left: 2em;">Zucchero, T., tomb of, +ii. <a href="#vol_2_page_210">210</a></span><br /> +</p> + +<p> </p> +<p> </p> + +<p class="c">JOH<span class="ov">N CHILDS AND SON, PRINT</span>ERS.</p> + +<p class="c"><span class="eng">By the same Author.</span></p> + +<p class="c">I.</p> + +<p class="c">DAYS NEAR ROME.</p> + +<p class="c">With numerous Illustrations. Two Vols., Crown 8vo.</p> + +<p class="c">II.</p> + +<p class="c">WANDERINGS IN SPAIN.</p> + +<p class="c">With Illustrations. Third Edition. Crown 8vo., 10s. 6d.</p> + +<div class="blockquot"><p>"We recollect no book that so vividly recalls the country to those +who have visited it, and we should recommend intending tourists to +carry it with them as a companion of travel."—<i>Times.</i></p> + +<p>"Mr Hare's book is admirable. We are sure no one will regret making +it the companion of a Spanish journey. It will bear reading +repeatedly when one is moving among the scenes it describes—no +small advantage when the travelling library is scanty."—<i>Saturday +Review.</i></p> + +<p>"Here is the ideal book of travel in Spain; the book which exactly +anticipates the requirements of everybody who is fortunate enough +to be going to that enchanted land; the book which ably consoles +those who are not so happy, by supplying the imagination from the +daintiest and most delicious of its stores."—<i>Spectator.</i></p> + +<p>"Since the publication of 'Castilian Days,' by the American +diplomat, Mr John Hay, no pleasanter or more readable sketches have +fallen under our notice."—<i>Athenæum.</i></p></div> + +<p class="c">III.</p> + +<p class="c">MEMORIALS OF A QUIET LIFE.</p> + +<p class="c">WITH TWO STEEL PORTRAITS.</p> + +<p class="c">Twelfth Edition. Two Vols., Crown 8vo., 21s.</p> + +<div class="blockquot"><p>"The name of Hare is one deservedly to be honoured; and in these +'Memorials,' which are as true and satisfactory a biography as it +is possible to write, the author places his readers in the heart of +the family, and allows them to see the hidden sources of life and +love by which it was nourished and sustained."—<i>Athenæum.</i></p> + +<p>"One of those books which it is impossible to read without +pleasure. It conveys a sense of repose not unlike that which +everybody must have felt out of service time in quiet little +village churches. Its editor will receive the hearty thanks of +every cultivated reader for these profoundly interesting +'Memorials' of two brothers, whose names and labours their +universities and church have alike reason to cherish with affection +and remember with pride, who have smoothed the path of faith to so +many troubled wayfarers, strengthening the weary and confirming the +weak."—<i>Standard.</i></p> + +<p>"The book is rich in insight and in contrast of character. It is +varied and full of episodes, which few can fail to read with +interest; and as exhibiting the sentiments and thoughts of a very +influential circle of minds during a quarter of a century, it may +be said to have a distinct historical value."—<i>Nonconformist.</i></p> + +<p>"A charming book, simply and gracefully recording the events of a +simple and gracious life. Its connection with the beginning of a +great movement in the English Church will make it to the thoughtful +reader more profoundly suggestive than many biographies crowded and +bustling with incident. It is almost the first of a class of books +the Christian world just now greatly needs, as showing how the +spiritual life was maintained amid the shaking of religious +'opinions'; how the life of the soul deepened as the thoughts of +the mind broadened; and how, in their union, the two formed a +volume of larger and more thoroughly vitalised Christian idea than +the English people had witnessed for many days."—<i>Glasgow Herald.</i></p></div> + +<p class="c">DALDY, ISB<span class="ov">ISTER & CO., 56, LUD</span>GATE HILL.</p> + +<p class="c"><i>Uniform with "Walks in Rome."</i></p> + +<p class="c">WALKS IN FLORENCE.</p> + +<p class="c">By SUSAN AND JOANNA HORNER.</p> + +<p class="c">With Illustrations. Second Edition.</p> + +<p class="c">Two Vols., Crown 8vo., 21<i>s.</i></p> + +<p class="c"><i>TIMES.</i></p> + +<p>"No one can read it without wishing to visit Florence, and no one ought +to visit Florence without having read it."</p> + +<p class="c"><i>BRITISH QUARTERLY REVIEW.</i></p> + +<p>"It will make one who has never seen the historic city of Dante as +familiar with it as though he had spent years there. To visitors it will +hereafter be almost a <i>sine qua non</i> as a hand-book."</p> + +<p class="c"><i>GRAPHIC.</i></p> + +<p>"A pleasanter literary companion could scarcely be found. Teeming with +the results of observation, reading, and a sympathetical critical taste, +its value is beyond question."</p> + +<p class="c"><i>SPECTATOR.</i></p> + +<p>"We have in these two volumes a valuable acquisition."</p> + +<p class="c"><i>NONCONFORMIST.</i></p> + +<p>"The book will hereafter be a <i>sine qua non</i> for English and American +visitors to Florence, whose numbers, we are fain to think, it will also +tend very considerably to increase."</p> + +<p class="c"><i>GUARDIAN.</i></p> + +<p>"A work which, by the accuracy of its information, the exactness of its +detail, and the refined taste conspicuous in every page, proves its +authors to be worthy inheritors of the honoured name they bear. +Henceforward it will be as indispensable to every intelligent visitor to +the 'City of Flowers' as Mr. Hare's is for 'The Eternal City.'"</p> + +<p class="c">DALDY, ISB<span class="ov">ISTER & CO., 56, LUD</span>GATE HILL.</p> + +<hr /> + +<table border="0" cellpadding="1" cellspacing="0" summary="" +style="border:2px dotted black;padding:2%;"> +<tr><th align="center">The following typographical error were corrected by the etext transcriber:</th></tr> +<tr><td align="left">Palmegiani, 66 Piazzi di Spagna=>Palmegiani, 66 Piazza di Spagna</td></tr> +<tr><td align="left">putatur is esse constitutus è marmore=>putatur is esse constitutus ex marmore</td></tr> +<tr><td align="left">with vaulted cielings and beautiful frescoes=>with vaulted ceilings and beautiful frescoes</td></tr> +<tr><td align="left">after his truimph for his=>after his triumph for his</td></tr> +<tr><td align="left">la mémoire du frère quil avait=>la mémoire du frère qu'il avait</td></tr> +<tr><td align="left">Madame de Stael=>Madame de Staël</td></tr> +<tr><td align="left">cet egard du pauvre Capucin=>cet égard du pauvre Capucin</td></tr> +<tr><td align="left">qui ne connâi de l'histoire des=>qui ne connâit de l'histoire des</td></tr> +<tr><td align="left">dépuis les thermes de=>depuis les thermes de</td></tr> +<tr><td align="left">Before he came to reside here he had been miracuously=>Before he came to reside here he had been miraculously</td></tr> +<tr><td align="left">St. Cyprian and Justinian=>SS. Cyprian and Justinian</td></tr> +<tr><td align="left">The interior of S. Sabba is in the basilica form=>The interior of St. Sabba is in the basilica form</td></tr> +<tr><td align="left">Roma Sotteranea=>Roma Sotterranea</td></tr> +<tr><td align="left">Il fut alors sollicite intérieurement=>Il fut alors sollicité intérieurement</td></tr> +<tr><td align="left">litanies autour de ce tableau."—Stendal.=>litanies autour de ce tableau."—Stendhal.</td></tr> +<tr><td align="left">se précipita dons ses bras,=>se précipita dans ses bras,</td></tr> +<tr><td align="left">good terrra-cotta mouldings=>good terra-cotta mouldings</td></tr> +<tr><td align="left">la visage sérieux=>le visage sérieux</td></tr> +<tr><td align="left">On y voit une femme endormie dont l'attidude=>On y voit une femme endormie dont l'attitude</td></tr> +<tr><td align="left">eyes in the rotonda of the Vatican=>eyes in the rotunda of the Vatican</td></tr> +<tr><td align="left">île a été entrainée par la violence=>île a été entraînée par la violence</td></tr> +<tr><td align="left">construire le palais Pamphili, a créer la villa Pamphili, et a pamphiliser=>construire le palais Pamphili, à créer la villa Pamphili, et à pamphiliser</td></tr> +<tr><td align="left">S. Pancrado, ii. 452=>S. Pancrazio, ii. 452</td></tr> +</table> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> Dionysius, xii. 8.</p></div> + +<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> Livy, v. 13.</p></div> + +<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> <i>Observe.</i>—Here and elsewhere the arms of the Della +Rovere—an oak-tree. Robur, an oak,—hence Rovere.</p></div> + +<div class="footnote"><p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> The beautiful 15th century altar of four virgin saints at +S. Cosimato in Trastevere, is said to have been brought from this +chapel.</p></div> + +<div class="footnote"><p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> All authorities agree that this beautiful portrait is not +the work of Raphael. Kugler also denies that it is the likeness of Cæsar +Borgia.</p></div> + +<div class="footnote"><p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> See Kugler, ii. 449.</p></div> + +<div class="footnote"><p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> Of the many Handbooks for Italy which have appeared, +perhaps that of Du Pays (in one volume) is the most comprehensive, +and—as far as its very condensed form allows—much the most +interesting.</p></div> + +<div class="footnote"><p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> See Trollope's Life of Vittoria Colonna.</p></div> + +<div class="footnote"><p><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a> See "Un Figliuol' di Maria, ossia un Nuovo nostro +Fratello," edited by the Baron di Bussiere. 1842.</p></div> + +<div class="footnote"><p><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span></a> It is more worth while to visit the Palazzo Chigi at +Lariccia, near Albano, which retains its stamped leather hangings, and +much of its old furniture. Here may be seen, assembled in one room, the +portraits of the twelve nieces of Alexander VII., who were so enchanted +when their uncle was made pope, that they all took the veil immediately +to please him!</p></div> + +<div class="footnote"><p><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a> This Gallery has been closed since the Sardinian +occupation.</p></div> + +<div class="footnote"><p><a name="Footnote_12_12" id="Footnote_12_12"></a><a href="#FNanchor_12_12"><span class="label">[12]</span></a> So called from the Jesuit father of that name, who lived +in the 17th century.</p></div> + +<div class="footnote"><p><a name="Footnote_13_13" id="Footnote_13_13"></a><a href="#FNanchor_13_13"><span class="label">[13]</span></a> Galat. ii. 7.</p></div> + +<div class="footnote"><p><a name="Footnote_14_14" id="Footnote_14_14"></a><a href="#FNanchor_14_14"><span class="label">[14]</span></a> Philipp. iv. 22.</p></div> + +<div class="footnote"><p><a name="Footnote_15_15" id="Footnote_15_15"></a><a href="#FNanchor_15_15"><span class="label">[15]</span></a> 2 Timothy i. 16</p></div> + +<div class="footnote"><p><a name="Footnote_16_16" id="Footnote_16_16"></a><a href="#FNanchor_16_16"><span class="label">[16]</span></a> Philemon 23.</p></div> + +<div class="footnote"><p><a name="Footnote_17_17" id="Footnote_17_17"></a><a href="#FNanchor_17_17"><span class="label">[17]</span></a> Philipp. ii. 22.</p></div> + +<div class="footnote"><p><a name="Footnote_18_18" id="Footnote_18_18"></a><a href="#FNanchor_18_18"><span class="label">[18]</span></a> Kugler.</p></div> + +<div class="footnote"><p><a name="Footnote_19_19" id="Footnote_19_19"></a><a href="#FNanchor_19_19"><span class="label">[19]</span></a> Varro, De Ling. Lat. v. 42.</p></div> + +<div class="footnote"><p><a name="Footnote_20_20" id="Footnote_20_20"></a><a href="#FNanchor_20_20"><span class="label">[20]</span></a> Smith's Roman Mythology.</p></div> + +<div class="footnote"><p><a name="Footnote_21_21" id="Footnote_21_21"></a><a href="#FNanchor_21_21"><span class="label">[21]</span></a> Vitruvius, iv. 7, 1.</p></div> + +<div class="footnote"><p><a name="Footnote_22_22" id="Footnote_22_22"></a><a href="#FNanchor_22_22"><span class="label">[22]</span></a> Pliny, xxxv. 12.</p></div> + +<div class="footnote"><p><a name="Footnote_23_23" id="Footnote_23_23"></a><a href="#FNanchor_23_23"><span class="label">[23]</span></a> Pliny, vii. 39.</p></div> + +<div class="footnote"><p><a name="Footnote_24_24" id="Footnote_24_24"></a><a href="#FNanchor_24_24"><span class="label">[24]</span></a> Livy, vii. 3.</p></div> + +<div class="footnote"><p><a name="Footnote_25_25" id="Footnote_25_25"></a><a href="#FNanchor_25_25"><span class="label">[25]</span></a> Pliny, xxxiii. 18.</p></div> + +<div class="footnote"><p><a name="Footnote_26_26" id="Footnote_26_26"></a><a href="#FNanchor_26_26"><span class="label">[26]</span></a> Pliny, xxxvi. 5.</p></div> + +<div class="footnote"><p><a name="Footnote_27_27" id="Footnote_27_27"></a><a href="#FNanchor_27_27"><span class="label">[27]</span></a> Tacitus, Hist. iii. 74.</p></div> + +<div class="footnote"><p><a name="Footnote_28_28" id="Footnote_28_28"></a><a href="#FNanchor_28_28"><span class="label">[28]</span></a> Tacitus, Hist. iv. 53.</p></div> + +<div class="footnote"><p><a name="Footnote_29_29" id="Footnote_29_29"></a><a href="#FNanchor_29_29"><span class="label">[29]</span></a> Zosimus, lib. v. c. 38.</p></div> + +<div class="footnote"><p><a name="Footnote_30_30" id="Footnote_30_30"></a><a href="#FNanchor_30_30"><span class="label">[30]</span></a> Valerius Maximus, ii. 3. 3.</p></div> + +<div class="footnote"><p><a name="Footnote_31_31" id="Footnote_31_31"></a><a href="#FNanchor_31_31"><span class="label">[31]</span></a> Vitruvius, iii. 2, 5; Propertius, iv. 11, 45; Cic. pro +Planc. 32.</p></div> + +<div class="footnote"><p><a name="Footnote_32_32" id="Footnote_32_32"></a><a href="#FNanchor_32_32"><span class="label">[32]</span></a> Livy, vi. 20.</p></div> + +<div class="footnote"><p><a name="Footnote_33_33" id="Footnote_33_33"></a><a href="#FNanchor_33_33"><span class="label">[33]</span></a> Livy, v. 48.</p></div> + +<div class="footnote"><p><a name="Footnote_34_34" id="Footnote_34_34"></a><a href="#FNanchor_34_34"><span class="label">[34]</span></a> Velleius Paterc. ii. 3.</p></div> + +<div class="footnote"><p><a name="Footnote_35_35" id="Footnote_35_35"></a><a href="#FNanchor_35_35"><span class="label">[35]</span></a> See Merivale, Hist. of the Romans, vol. vi.</p></div> + +<div class="footnote"><p><a name="Footnote_36_36" id="Footnote_36_36"></a><a href="#FNanchor_36_36"><span class="label">[36]</span></a> Dyer's Rome, 407, 408, 409.</p></div> + +<div class="footnote"><p><a name="Footnote_37_37" id="Footnote_37_37"></a><a href="#FNanchor_37_37"><span class="label">[37]</span></a> Ampère, Emp. i. 22.</p></div> + +<div class="footnote"><p><a name="Footnote_38_38" id="Footnote_38_38"></a><a href="#FNanchor_38_38"><span class="label">[38]</span></a> When 400 houses and three or four churches were levelled +to the ground to make a road for his triumphal approach.—<i>Rabelais</i>, +Lettre viii. p. 21.</p></div> + +<div class="footnote"><p><a name="Footnote_39_39" id="Footnote_39_39"></a><a href="#FNanchor_39_39"><span class="label">[39]</span></a> Dyer's City of Rome, p. 379.</p></div> + +<div class="footnote"><p><a name="Footnote_40_40" id="Footnote_40_40"></a><a href="#FNanchor_40_40"><span class="label">[40]</span></a> R, right; L, left.</p></div> + +<div class="footnote"><p><a name="Footnote_41_41" id="Footnote_41_41"></a><a href="#FNanchor_41_41"><span class="label">[41]</span></a> The statue of Leo X. is interesting as having been erected +to this popular art-loving pope in his lifetime. It is +inscribed—"Optimi liberalissimique pontificis memoriæ."</p></div> + +<div class="footnote"><p><a name="Footnote_42_42" id="Footnote_42_42"></a><a href="#FNanchor_42_42"><span class="label">[42]</span></a> Plin. Nat Hist xxix. 14, I; Plut. Fort. Rom. 12.</p></div> + +<div class="footnote"><p><a name="Footnote_43_43" id="Footnote_43_43"></a><a href="#FNanchor_43_43"><span class="label">[43]</span></a> Hist. Rom. i. 382.</p></div> + +<div class="footnote"><p><a name="Footnote_44_44" id="Footnote_44_44"></a><a href="#FNanchor_44_44"><span class="label">[44]</span></a> The "Dies Iræ," by Tommaso di Celano, of the fourteenth +century.</p></div> + +<div class="footnote"><p><a name="Footnote_45_45" id="Footnote_45_45"></a><a href="#FNanchor_45_45"><span class="label">[45]</span></a> "Per gradus qui sunt super Calpurnium fornicem."</p></div> + +<div class="footnote"><p><a name="Footnote_46_46" id="Footnote_46_46"></a><a href="#FNanchor_46_46"><span class="label">[46]</span></a> Paradiso, canto xii.</p></div> + +<div class="footnote"><p><a name="Footnote_47_47" id="Footnote_47_47"></a><a href="#FNanchor_47_47"><span class="label">[47]</span></a> Hist. Rome.</p></div> + +<div class="footnote"><p><a name="Footnote_48_48" id="Footnote_48_48"></a><a href="#FNanchor_48_48"><span class="label">[48]</span></a> "Est locus in carcere quod Tullianum appellatur, ubi +paululum descenderis ad lævam, circiter duodecim pedes humi depressus. +Eum muniunt undique parietes, atque insuper camera lapideis fornicibus +vincta; sed incultu, tenebris, odore fœda. atque terribilis ejus +facies."—<i>Sall. Catil.</i> lv.</p></div> + +<div class="footnote"><p><a name="Footnote_49_49" id="Footnote_49_49"></a><a href="#FNanchor_49_49"><span class="label">[49]</span></a> See Ampère, Hist. Rom. ii. 31.</p></div> + +<div class="footnote"><p><a name="Footnote_50_50" id="Footnote_50_50"></a><a href="#FNanchor_50_50"><span class="label">[50]</span></a> This story is most picturesquely told by Dante. Purg. x. +72.</p></div> + +<div class="footnote"><p><a name="Footnote_51_51" id="Footnote_51_51"></a><a href="#FNanchor_51_51"><span class="label">[51]</span></a> Ovid, Fasti, v. 575, 699.</p></div> + +<div class="footnote"><p><a name="Footnote_52_52" id="Footnote_52_52"></a><a href="#FNanchor_52_52"><span class="label">[52]</span></a> Statius, i. 6. Livy, vii. 6.</p></div> + +<div class="footnote"><p><a name="Footnote_53_53" id="Footnote_53_53"></a><a href="#FNanchor_53_53"><span class="label">[53]</span></a> Livy, vii. 6. Varr. iv. 32.</p></div> + +<div class="footnote"><p><a name="Footnote_54_54" id="Footnote_54_54"></a><a href="#FNanchor_54_54"><span class="label">[54]</span></a> Pliny, xv. 18.</p></div> + +<div class="footnote"><p><a name="Footnote_55_55" id="Footnote_55_55"></a><a href="#FNanchor_55_55"><span class="label">[55]</span></a> Suetonius, Aug. 22.</p></div> + +<div class="footnote"><p><a name="Footnote_56_56" id="Footnote_56_56"></a><a href="#FNanchor_56_56"><span class="label">[56]</span></a> Cicero de Off. ii. 25.</p></div> + +<div class="footnote"><p><a name="Footnote_57_57" id="Footnote_57_57"></a><a href="#FNanchor_57_57"><span class="label">[57]</span></a> Livy, iii. 48.</p></div> + +<div class="footnote"><p><a name="Footnote_58_58" id="Footnote_58_58"></a><a href="#FNanchor_58_58"><span class="label">[58]</span></a> Pliny, xv. 29.</p></div> + +<div class="footnote"><p><a name="Footnote_59_59" id="Footnote_59_59"></a><a href="#FNanchor_59_59"><span class="label">[59]</span></a> Vitruvius, iii.</p></div> + +<div class="footnote"><p><a name="Footnote_60_60" id="Footnote_60_60"></a><a href="#FNanchor_60_60"><span class="label">[60]</span></a> Ampère, Emp. ii. 233.</p></div> + +<div class="footnote"><p><a name="Footnote_61_61" id="Footnote_61_61"></a><a href="#FNanchor_61_61"><span class="label">[61]</span></a> Josephus, vii. 37.</p></div> + +<div class="footnote"><p><a name="Footnote_62_62" id="Footnote_62_62"></a><a href="#FNanchor_62_62"><span class="label">[62]</span></a> Pliny, xxxvi. 7.</p></div> + +<div class="footnote"><p><a name="Footnote_63_63" id="Footnote_63_63"></a><a href="#FNanchor_63_63"><span class="label">[63]</span></a> See Percy's Romanism.</p></div> + +<div class="footnote"><p><a name="Footnote_64_64" id="Footnote_64_64"></a><a href="#FNanchor_64_64"><span class="label">[64]</span></a> See the whole question of Simon Magus discussed in +Waterworth's "England and Rome."</p></div> + +<div class="footnote"><p><a name="Footnote_65_65" id="Footnote_65_65"></a><a href="#FNanchor_65_65"><span class="label">[65]</span></a> Prudentius contra Symmac. i. 1, 25.</p></div> + +<div class="footnote"><p><a name="Footnote_66_66" id="Footnote_66_66"></a><a href="#FNanchor_66_66"><span class="label">[66]</span></a> Dion Cassius, lxvi. 15.</p></div> + +<div class="footnote"><p><a name="Footnote_67_67" id="Footnote_67_67"></a><a href="#FNanchor_67_67"><span class="label">[67]</span></a> S. Buonaventura is perhaps best known to the existing +Christian world as the author of the beautiful hymn, "Recordare sanctæ +crucis."</p></div> + +<div class="footnote"><p><a name="Footnote_68_68" id="Footnote_68_68"></a><a href="#FNanchor_68_68"><span class="label">[68]</span></a> Varro, de R. Rust i. 2, and iii. 16.</p></div> + +<div class="footnote"><p><a name="Footnote_69_69" id="Footnote_69_69"></a><a href="#FNanchor_69_69"><span class="label">[69]</span></a> See Poggio, De Vanitate Fortunæ.</p></div> + +<div class="footnote"><p><a name="Footnote_70_70" id="Footnote_70_70"></a><a href="#FNanchor_70_70"><span class="label">[70]</span></a> This inscription, found in the catacomb of S. Agnese, +runs: +</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Sic præmia servas Vespasiane dire<br /></span> +<span class="i0">Premiatus es morte Gaudenti letare<br /></span> +<span class="i0">Civitatis ubi gloriæ tuæ autori,<br /></span> +<span class="i0">Promisit iste Kristus omnia tibi<br /></span> +<span class="i0">Quï alium paravit theatrum in cœlo."<br /></span> +</div></div> +</div> + +<div class="footnote"><p><a name="Footnote_71_71" id="Footnote_71_71"></a><a href="#FNanchor_71_71"><span class="label">[71]</span></a> See Hemans' Catholic Italy.</p></div> + +<div class="footnote"><p><a name="Footnote_72_72" id="Footnote_72_72"></a><a href="#FNanchor_72_72"><span class="label">[72]</span></a> A work has been published by S. Deakin on the Flora of the +Coliseum. This was very remarkable, but has greatly suffered during the +so-called cleansing of the building by the Italian government in 1871.</p></div> + +<div class="footnote"><p><a name="Footnote_73_73" id="Footnote_73_73"></a><a href="#FNanchor_73_73"><span class="label">[73]</span></a> Quamdiu stat Colysæus, stabit et Roma; quando cadet +Colysæus, cadet Roma; quando cadet Roma, cadet et mundus.</p></div> + +<div class="footnote"><p><a name="Footnote_74_74" id="Footnote_74_74"></a><a href="#FNanchor_74_74"><span class="label">[74]</span></a> See Ampère, Hist. Rom. ii. 289—292.</p></div> + +<div class="footnote"><p><a name="Footnote_75_75" id="Footnote_75_75"></a><a href="#FNanchor_75_75"><span class="label">[75]</span></a> "Quis a signo Vertumni in circum maximum venit, quin is +unoquoque gradu de avaritia tua commoneretur? quam tu viam tensarum +atque pompæ ejus modi exegisti, ut tu ipse ire non audeas."—<i>In +Verrem</i>, i. 59.</p></div> + +<div class="footnote"><p><a name="Footnote_76_76" id="Footnote_76_76"></a><a href="#FNanchor_76_76"><span class="label">[76]</span></a> Varro, de Ling. Lat. v. 44. See Ampère, Hist. Rom. ii. +32.</p></div> + +<div class="footnote"><p><a name="Footnote_77_77" id="Footnote_77_77"></a><a href="#FNanchor_77_77"><span class="label">[77]</span></a> Varro, de Ling. Lat. iv. 8.</p></div> + +<div class="footnote"><p><a name="Footnote_78_78" id="Footnote_78_78"></a><a href="#FNanchor_78_78"><span class="label">[78]</span></a> "There is no doubt that many of the amusements, still more +many of the religious practices now popular in this capital, may be +traced to sources in Pagan antiquity. The game of <i>morra</i>, played with +the fingers (the <i>micare digitis</i> of the ancients); the rural feasting +before the chapel of the <i>Madonna del divino Amore</i> on Whit Monday; the +revelry and dancing <i>sub diu</i> for the whole night on the Vigil of St. +John, (a scene on the Lateran piazza, riotous, grotesque, but not +licentious); the divining by dreams to obtain numbers for the lottery; +hanging <i>ex voto</i> pictures in churches to commemorate escapes from +danger or recovery from illness; the offering of jewels, watches, +weapons, &c., to the Madonna; the adorning and dressing of sacred +images, sometimes for particular days; throwing flowers on the Madonna's +figure when borne in processions (as used to be honoured the image, or +stone, of Cybele); burning lights before images on the highways; paying +special honour to sacred pictures, under the notion of their having +moved their eyes; or to others, under the idea of their supernatural +origin—made without hands; wearing effigies or symbols as amulets (thus +Sylla wore, and used to invoke, a little golden Apollo hung round his +neck); suspending flowers to shrines and tombs; besides other uses, in +themselves blameless and beautiful, nor, even if objectionable, to be +regarded as the genuine reflex of what is dogmatically taught by the +Church. This enduring shadow thrown by Pagan over Christian Rome is, +however, a remarkable feature in the story of that power whose eminence +in ruling and influencing was so wonderfully sustained, nor destined to +become extinct after empire had departed from the Seven +Hills."—<i>Hemans' Monuments of Rome.</i></p></div> + +<div class="footnote"><p><a name="Footnote_79_79" id="Footnote_79_79"></a><a href="#FNanchor_79_79"><span class="label">[79]</span></a> Made to flow with wine under Heliogabalus.</p></div> + +<div class="footnote"><p><a name="Footnote_80_80" id="Footnote_80_80"></a><a href="#FNanchor_80_80"><span class="label">[80]</span></a> Pliny, xxxiv. 2.</p></div> + +<div class="footnote"><p><a name="Footnote_81_81" id="Footnote_81_81"></a><a href="#FNanchor_81_81"><span class="label">[81]</span></a> Livy, xxi. 62.</p></div> + +<div class="footnote"><p><a name="Footnote_82_82" id="Footnote_82_82"></a><a href="#FNanchor_82_82"><span class="label">[82]</span></a> Ampère, Hist. Rom. i.</p></div> + +<div class="footnote"><p><a name="Footnote_83_83" id="Footnote_83_83"></a><a href="#FNanchor_83_83"><span class="label">[83]</span></a> Dyer, 104.</p></div> + +<div class="footnote"><p><a name="Footnote_84_84" id="Footnote_84_84"></a><a href="#FNanchor_84_84"><span class="label">[84]</span></a> Livy, v. 40.</p></div> + +<div class="footnote"><p><a name="Footnote_85_85" id="Footnote_85_85"></a><a href="#FNanchor_85_85"><span class="label">[85]</span></a> Dion Cassius, lxiii. 21.</p></div> + +<div class="footnote"><p><a name="Footnote_86_86" id="Footnote_86_86"></a><a href="#FNanchor_86_86"><span class="label">[86]</span></a> Ampère, iii. 48.</p></div> + +<div class="footnote"><p><a name="Footnote_87_87" id="Footnote_87_87"></a><a href="#FNanchor_87_87"><span class="label">[87]</span></a> Vitruvius, iii. 3.</p></div> + +<div class="footnote"><p><a name="Footnote_88_88" id="Footnote_88_88"></a><a href="#FNanchor_88_88"><span class="label">[88]</span></a> Fasti, i. 515.</p></div> + +<div class="footnote"><p><a name="Footnote_89_89" id="Footnote_89_89"></a><a href="#FNanchor_89_89"><span class="label">[89]</span></a> Plin. H. N. vii. 36; Val. Max. v. 4—7; Festus, p. 609.</p></div> + +<div class="footnote"><p><a name="Footnote_90_90" id="Footnote_90_90"></a><a href="#FNanchor_90_90"><span class="label">[90]</span></a> Beatrice and Lucrezia Cenci were imprisoned in the Corte +Savella, and led thence to execution.</p></div> + +<div class="footnote"><p><a name="Footnote_91_91" id="Footnote_91_91"></a><a href="#FNanchor_91_91"><span class="label">[91]</span></a> See the account of the Basilica of St. Lorenzo fuori +Mura.</p></div> + +<div class="footnote"><p><a name="Footnote_92_92" id="Footnote_92_92"></a><a href="#FNanchor_92_92"><span class="label">[92]</span></a> See<a href="#CHAPTER_IV"> Ch. IV.</a></p></div> + +<div class="footnote"><p><a name="Footnote_93_93" id="Footnote_93_93"></a><a href="#FNanchor_93_93"><span class="label">[93]</span></a> See Dyer's City of Rome.</p></div> + +<div class="footnote"><p><a name="Footnote_94_94" id="Footnote_94_94"></a><a href="#FNanchor_94_94"><span class="label">[94]</span></a> Sat. iii.</p></div> + +<div class="footnote"><p><a name="Footnote_95_95" id="Footnote_95_95"></a><a href="#FNanchor_95_95"><span class="label">[95]</span></a> Sat. xvi.</p></div> + +<div class="footnote"><p><a name="Footnote_96_96" id="Footnote_96_96"></a><a href="#FNanchor_96_96"><span class="label">[96]</span></a> See Dr. Philip's article on "The Jews in Rome."</p></div> + +<div class="footnote"><p><a name="Footnote_97_97" id="Footnote_97_97"></a><a href="#FNanchor_97_97"><span class="label">[97]</span></a> This account is much abridged from the interesting +translation in Whiteside's "Italy in the Nineteenth Century," from +"<i>Beatrice Cenci Romana, Storia del Secolo xvi. Raccontata dal D. A. A. +Firenze</i>."</p></div> + +<div class="footnote"><p><a name="Footnote_98_98" id="Footnote_98_98"></a><a href="#FNanchor_98_98"><span class="label">[98]</span></a> Livy, iv. 16; xxxviii. 28.</p></div> + +<div class="footnote"><p><a name="Footnote_99_99" id="Footnote_99_99"></a><a href="#FNanchor_99_99"><span class="label">[99]</span></a> Merivale, Hist. of Romans under the Empire, chap. xl.</p></div> + +<div class="footnote"><p><a name="Footnote_100_100" id="Footnote_100_100"></a><a href="#FNanchor_100_100"><span class="label">[100]</span></a> Merivale, chap. xl.</p></div> + +<div class="footnote"><p><a name="Footnote_101_101" id="Footnote_101_101"></a><a href="#FNanchor_101_101"><span class="label">[101]</span></a> Sueton. <i>Aug.</i> 72.</p></div> + +<div class="footnote"><p><a name="Footnote_102_102" id="Footnote_102_102"></a><a href="#FNanchor_102_102"><span class="label">[102]</span></a> Livy, i. 41.</p></div> + +<div class="footnote"><p><a name="Footnote_103_103" id="Footnote_103_103"></a><a href="#FNanchor_103_103"><span class="label">[103]</span></a> Livy, i. 41.</p></div> + +<div class="footnote"><p><a name="Footnote_104_104" id="Footnote_104_104"></a><a href="#FNanchor_104_104"><span class="label">[104]</span></a> The palace of Numa was close to the Temple of Vesta; that +of Tullus Hostilius was on the Cœlian; those of Servius Tullius and +Tarquinius Superbus on the Esquiline.</p></div> + +<div class="footnote"><p><a name="Footnote_105_105" id="Footnote_105_105"></a><a href="#FNanchor_105_105"><span class="label">[105]</span></a> Dionysius, ii. 50; Livy, i. 12.</p></div> + +<div class="footnote"><p><a name="Footnote_106_106" id="Footnote_106_106"></a><a href="#FNanchor_106_106"><span class="label">[106]</span></a> Varr, iv. 8.</p></div> + +<div class="footnote"><p><a name="Footnote_107_107" id="Footnote_107_107"></a><a href="#FNanchor_107_107"><span class="label">[107]</span></a> Vell. Paterc. ii. 81.</p></div> + +<div class="footnote"><p><a name="Footnote_108_108" id="Footnote_108_108"></a><a href="#FNanchor_108_108"><span class="label">[108]</span></a> Tac. <i>Ann.</i> xi. 2.</p></div> + +<div class="footnote"><p><a name="Footnote_109_109" id="Footnote_109_109"></a><a href="#FNanchor_109_109"><span class="label">[109]</span></a> Dion Cassius mentions that the ceilings of Halls of +Justice in the Palatine were painted by Severus to represent the starry +sky. The old Roman practice was for the magistrate to sit under the open +sky, which probably suggested this kind of ceiling.</p></div> + +<div class="footnote"><p><a name="Footnote_110_110" id="Footnote_110_110"></a><a href="#FNanchor_110_110"><span class="label">[110]</span></a> Ann, iv. 54.</p></div> + +<div class="footnote"><p><a name="Footnote_111_111" id="Footnote_111_111"></a><a href="#FNanchor_111_111"><span class="label">[111]</span></a> Tac. <i>Ann.</i> xiii. 18; Suet. <i>Ner.</i> 33; Dion. lxi. 7.</p></div> + +<div class="footnote"><p><a name="Footnote_112_112" id="Footnote_112_112"></a><a href="#FNanchor_112_112"><span class="label">[112]</span></a> See Gibbon, i. 133.</p></div> + +<div class="footnote"><p><a name="Footnote_113_113" id="Footnote_113_113"></a><a href="#FNanchor_113_113"><span class="label">[113]</span></a> Tacitus, Hist. i. 77; Suet. Vitell. 15.</p></div> + +<div class="footnote"><p><a name="Footnote_114_114" id="Footnote_114_114"></a><a href="#FNanchor_114_114"><span class="label">[114]</span></a> Merivale, ch. xlv.</p></div> + +<div class="footnote"><p><a name="Footnote_115_115" id="Footnote_115_115"></a><a href="#FNanchor_115_115"><span class="label">[115]</span></a> Suet. Cal. 22.</p></div> + +<div class="footnote"><p><a name="Footnote_116_116" id="Footnote_116_116"></a><a href="#FNanchor_116_116"><span class="label">[116]</span></a> <i>Suet. Claud.</i> 10. "Prorepsit ad solarium proximum, +interque prætenta foribus vela se abdidit." The solarium was the +external terraced portico, and this still remains.</p></div> + +<div class="footnote"><p><a name="Footnote_117_117" id="Footnote_117_117"></a><a href="#FNanchor_117_117"><span class="label">[117]</span></a> Tac. <i>Ann.</i> xi. 37, 38; Dion. lx. 31; Suet. <i>Claud.</i> 39.</p></div> + +<div class="footnote"><p><a name="Footnote_118_118" id="Footnote_118_118"></a><a href="#FNanchor_118_118"><span class="label">[118]</span></a> Tac. <i>Ann.</i> xii. 67; Suet <i>Claud.</i> 44.</p></div> + +<div class="footnote"><p><a name="Footnote_119_119" id="Footnote_119_119"></a><a href="#FNanchor_119_119"><span class="label">[119]</span></a> Dionysius, i. 32; Livy, xxix. 14.</p></div> + +<div class="footnote"><p><a name="Footnote_120_120" id="Footnote_120_120"></a><a href="#FNanchor_120_120"><span class="label">[120]</span></a> Dyer's Hist. of the City of Rome.</p></div> + +<div class="footnote"><p><a name="Footnote_121_121" id="Footnote_121_121"></a><a href="#FNanchor_121_121"><span class="label">[121]</span></a> Ep. i. 70.</p></div> + +<div class="footnote"><p><a name="Footnote_122_122" id="Footnote_122_122"></a><a href="#FNanchor_122_122"><span class="label">[122]</span></a> Festus, 340, 348.</p></div> + +<div class="footnote"><p><a name="Footnote_123_123" id="Footnote_123_123"></a><a href="#FNanchor_123_123"><span class="label">[123]</span></a> Suet. Tib. 47; Cal. 21, 22; Tac. Ann. vi. 45.</p></div> + +<div class="footnote"><p><a name="Footnote_124_124" id="Footnote_124_124"></a><a href="#FNanchor_124_124"><span class="label">[124]</span></a> De re Rust, iii. 5.</p></div> + +<div class="footnote"><p><a name="Footnote_125_125" id="Footnote_125_125"></a><a href="#FNanchor_125_125"><span class="label">[125]</span></a> Pliny, xxxvi. 2.</p></div> + +<div class="footnote"><p><a name="Footnote_126_126" id="Footnote_126_126"></a><a href="#FNanchor_126_126"><span class="label">[126]</span></a> See Smith's Dict. of Roman Biography.</p></div> + +<div class="footnote"><p><a name="Footnote_127_127" id="Footnote_127_127"></a><a href="#FNanchor_127_127"><span class="label">[127]</span></a> Plin. H. N. xvii. 1.</p></div> + +<div class="footnote"><p><a name="Footnote_128_128" id="Footnote_128_128"></a><a href="#FNanchor_128_128"><span class="label">[128]</span></a> ix. 1, 4.</p></div> + +<div class="footnote"><p><a name="Footnote_129_129" id="Footnote_129_129"></a><a href="#FNanchor_129_129"><span class="label">[129]</span></a> Suet. <i>Nero</i>, 2.</p></div> + +<div class="footnote"><p><a name="Footnote_130_130" id="Footnote_130_130"></a><a href="#FNanchor_130_130"><span class="label">[130]</span></a> Smith's Dict. of Roman Biography.</p></div> + +<div class="footnote"><p><a name="Footnote_131_131" id="Footnote_131_131"></a><a href="#FNanchor_131_131"><span class="label">[131]</span></a> Tollam altius tectum, non ut ego te despiciam, sed ne tu +aspicias urbem eam, quam delere voluisti.—<i>De Harusp. Res.</i> 15.</p></div> + +<div class="footnote"><p><a name="Footnote_132_132" id="Footnote_132_132"></a><a href="#FNanchor_132_132"><span class="label">[132]</span></a> Cic. pro Dom. ad Pont. 42.</p></div> + +<div class="footnote"><p><a name="Footnote_133_133" id="Footnote_133_133"></a><a href="#FNanchor_133_133"><span class="label">[133]</span></a> See Ampère, Hist. Rom. iv. 528.</p></div> + +<div class="footnote"><p><a name="Footnote_134_134" id="Footnote_134_134"></a><a href="#FNanchor_134_134"><span class="label">[134]</span></a> Dion Cass. liiii. 27.</p></div> + +<div class="footnote"><p><a name="Footnote_135_135" id="Footnote_135_135"></a><a href="#FNanchor_135_135"><span class="label">[135]</span></a> Dyer, p. 143.</p></div> + +<div class="footnote"><p><a name="Footnote_136_136" id="Footnote_136_136"></a><a href="#FNanchor_136_136"><span class="label">[136]</span></a> Pro Quinet. 1, 2, 22, 24, 26.</p></div> + +<div class="footnote"><p><a name="Footnote_137_137" id="Footnote_137_137"></a><a href="#FNanchor_137_137"><span class="label">[137]</span></a> Pro Verr. i. 14, 39.</p></div> + +<div class="footnote"><p><a name="Footnote_138_138" id="Footnote_138_138"></a><a href="#FNanchor_138_138"><span class="label">[138]</span></a> Ad Att. vi. 6.</p></div> + +<div class="footnote"><p><a name="Footnote_139_139" id="Footnote_139_139"></a><a href="#FNanchor_139_139"><span class="label">[139]</span></a> Macrob. Saturn, ii. 9.</p></div> + +<div class="footnote"><p><a name="Footnote_140_140" id="Footnote_140_140"></a><a href="#FNanchor_140_140"><span class="label">[140]</span></a> Varr. R. R. iii. 17; Pliny, H. N. ix. 55.</p></div> + +<div class="footnote"><p><a name="Footnote_141_141" id="Footnote_141_141"></a><a href="#FNanchor_141_141"><span class="label">[141]</span></a> Suet. <i>Aug.</i> 72.</p></div> + +<div class="footnote"><p><a name="Footnote_142_142" id="Footnote_142_142"></a><a href="#FNanchor_142_142"><span class="label">[142]</span></a> Plut. <i>Romul.</i> xi.</p></div> + +<div class="footnote"><p><a name="Footnote_143_143" id="Footnote_143_143"></a><a href="#FNanchor_143_143"><span class="label">[143]</span></a> Tac. Ann. xii. 24.</p></div> + +<div class="footnote"><p><a name="Footnote_144_144" id="Footnote_144_144"></a><a href="#FNanchor_144_144"><span class="label">[144]</span></a> Prell. R. Myth. 456.</p></div> + +<div class="footnote"><p><a name="Footnote_145_145" id="Footnote_145_145"></a><a href="#FNanchor_145_145"><span class="label">[145]</span></a> Cic. de Div. i. 45; Livy, v. 32.</p></div> + +<div class="footnote"><p><a name="Footnote_146_146" id="Footnote_146_146"></a><a href="#FNanchor_146_146"><span class="label">[146]</span></a> Plut. <i>Rom. Sol.</i> 2.</p></div> + +<div class="footnote"><p><a name="Footnote_147_147" id="Footnote_147_147"></a><a href="#FNanchor_147_147"><span class="label">[147]</span></a> Cic. <i>Brut.</i> 34.</p></div> + +<div class="footnote"><p><a name="Footnote_148_148" id="Footnote_148_148"></a><a href="#FNanchor_148_148"><span class="label">[148]</span></a> Padre Garucci, S. J., has published an exhaustive +monograph on this now celebrated "Graffito Blasphemo." Roma, 1857.</p></div> + +<div class="footnote"><p><a name="Footnote_149_149" id="Footnote_149_149"></a><a href="#FNanchor_149_149"><span class="label">[149]</span></a> The Palace of Nero is described in Tacitus, Ann. xv. 42, +and Suetonius, <i>Ner.</i> 31.</p></div> + +<div class="footnote"><p><a name="Footnote_150_150" id="Footnote_150_150"></a><a href="#FNanchor_150_150"><span class="label">[150]</span></a> Septimius Severus was born <small>A.D.</small> 146, near Leptis in +Africa. Statius addresses a poem to one of his ancestors, Sept. Severus +of Leptis.</p></div> + +<div class="footnote"><p><a name="Footnote_151_151" id="Footnote_151_151"></a><a href="#FNanchor_151_151"><span class="label">[151]</span></a> Martial, xii. Ep. 75.</p></div> + +<div class="footnote"><p><a name="Footnote_152_152" id="Footnote_152_152"></a><a href="#FNanchor_152_152"><span class="label">[152]</span></a> Dion Cass. Commod.</p></div> + +<div class="footnote"><p><a name="Footnote_153_153" id="Footnote_153_153"></a><a href="#FNanchor_153_153"><span class="label">[153]</span></a> Lamprid. Elagab. 8.</p></div> + +<div class="footnote"><p><a name="Footnote_154_154" id="Footnote_154_154"></a><a href="#FNanchor_154_154"><span class="label">[154]</span></a> Cassiod. vii. 5.</p></div> + +<div class="footnote"><p><a name="Footnote_155_155" id="Footnote_155_155"></a><a href="#FNanchor_155_155"><span class="label">[155]</span></a> Dyer's Rome, p. 222.</p></div> + +<div class="footnote"><p><a name="Footnote_156_156" id="Footnote_156_156"></a><a href="#FNanchor_156_156"><span class="label">[156]</span></a> Ampère, Hist. Rom. iv. 460.</p></div> + +<div class="footnote"><p><a name="Footnote_157_157" id="Footnote_157_157"></a><a href="#FNanchor_157_157"><span class="label">[157]</span></a> Trebellius Pollio.</p></div> + +<div class="footnote"><p><a name="Footnote_158_158" id="Footnote_158_158"></a><a href="#FNanchor_158_158"><span class="label">[158]</span></a> Gibbon, v. 1.</p></div> + +<div class="footnote"><p><a name="Footnote_159_159" id="Footnote_159_159"></a><a href="#FNanchor_159_159"><span class="label">[159]</span></a> S. Filippo Neri.</p></div> + +<div class="footnote"><p><a name="Footnote_160_160" id="Footnote_160_160"></a><a href="#FNanchor_160_160"><span class="label">[160]</span></a> Mrs. Jameson.</p></div> + +<div class="footnote"><p><a name="Footnote_161_161" id="Footnote_161_161"></a><a href="#FNanchor_161_161"><span class="label">[161]</span></a> Montalembert, Moines d'Occident.</p></div> + +<div class="footnote"><p><a name="Footnote_162_162" id="Footnote_162_162"></a><a href="#FNanchor_162_162"><span class="label">[162]</span></a> Milman's Latin Christianity, vol. II.</p></div> + +<div class="footnote"><p><a name="Footnote_163_163" id="Footnote_163_163"></a><a href="#FNanchor_163_163"><span class="label">[163]</span></a> Rome possesses at least eight fine modern statues of +saints:—besides those of Sta. Silvia and St. Gregory, are the Sta. +Agnese of Algardi, the Sta. Bibiana of Bernini, the Sta. Cecilia of +Moderno, the Sta. Susanna of Quesnoy, the Sta. Martina of Menghino, and +the S. Bruno of Houdon.</p></div> + +<div class="footnote"><p><a name="Footnote_164_164" id="Footnote_164_164"></a><a href="#FNanchor_164_164"><span class="label">[164]</span></a> See Roma Sotterranea, p. 106.</p></div> + +<div class="footnote"><p><a name="Footnote_165_165" id="Footnote_165_165"></a><a href="#FNanchor_165_165"><span class="label">[165]</span></a> "Deus, qui sanctum Joannem confessorem tuum perfectæ suæ +abnegationis, et crucis amatorem eximium efficisti, concede; ut ejus +imitationi jugiter inhærentes, gloriam assequamur æternam."—<i>Collect of +St. John of the Cross, Roman Vesper-Book.</i></p></div> + +<div class="footnote"><p><a name="Footnote_166_166" id="Footnote_166_166"></a><a href="#FNanchor_166_166"><span class="label">[166]</span></a> A square nimbus indicates that a portrait was executed +<i>before</i>, a round <i>after</i> the death of the person represented.</p></div> + +<div class="footnote"><p><a name="Footnote_167_167" id="Footnote_167_167"></a><a href="#FNanchor_167_167"><span class="label">[167]</span></a> See Emile Braun—the building of the Macellum is +described by Dion Cassius, xi. 18; Notitia, Reg. ii.</p></div> + +<div class="footnote"><p><a name="Footnote_168_168" id="Footnote_168_168"></a><a href="#FNanchor_168_168"><span class="label">[168]</span></a> Best known by his comic pictures in the Uffizi at +Florence.</p></div> + +<div class="footnote"><p><a name="Footnote_169_169" id="Footnote_169_169"></a><a href="#FNanchor_169_169"><span class="label">[169]</span></a> Virg. Æn. viii. 104, 108, 216; Ov. Fast. i. 551.</p></div> + +<div class="footnote"><p><a name="Footnote_170_170" id="Footnote_170_170"></a><a href="#FNanchor_170_170"><span class="label">[170]</span></a> Ov. Fast. v. 149.</p></div> + +<div class="footnote"><p><a name="Footnote_171_171" id="Footnote_171_171"></a><a href="#FNanchor_171_171"><span class="label">[171]</span></a> Ampère, Hist. Rom. i. 79.</p></div> + +<div class="footnote"><p><a name="Footnote_172_172" id="Footnote_172_172"></a><a href="#FNanchor_172_172"><span class="label">[172]</span></a> Varro, iv. 7.</p></div> + +<div class="footnote"><p><a name="Footnote_173_173" id="Footnote_173_173"></a><a href="#FNanchor_173_173"><span class="label">[173]</span></a> Livy, i, 20.</p></div> + +<div class="footnote"><p><a name="Footnote_174_174" id="Footnote_174_174"></a><a href="#FNanchor_174_174"><span class="label">[174]</span></a> Ovid, Fast. iii. 295.</p></div> + +<div class="footnote"><p><a name="Footnote_175_175" id="Footnote_175_175"></a><a href="#FNanchor_175_175"><span class="label">[175]</span></a> "Onions, hair, and pilchards."—See Plutarch's Life of +Numa.</p></div> + +<div class="footnote"><p><a name="Footnote_176_176" id="Footnote_176_176"></a><a href="#FNanchor_176_176"><span class="label">[176]</span></a> Ampère, Hist. Rom. i. 427.</p></div> + +<div class="footnote"><p><a name="Footnote_177_177" id="Footnote_177_177"></a><a href="#FNanchor_177_177"><span class="label">[177]</span></a> Dionysius, iii. 43.</p></div> + +<div class="footnote"><p><a name="Footnote_178_178" id="Footnote_178_178"></a><a href="#FNanchor_178_178"><span class="label">[178]</span></a> Ovid, Fast. v. 293.</p></div> + +<div class="footnote"><p><a name="Footnote_179_179" id="Footnote_179_179"></a><a href="#FNanchor_179_179"><span class="label">[179]</span></a> Fast. iii 883.</p></div> + +<div class="footnote"><p><a name="Footnote_180_180" id="Footnote_180_180"></a><a href="#FNanchor_180_180"><span class="label">[180]</span></a> Ovid, Trist. iii. 71.</p></div> + +<div class="footnote"><p><a name="Footnote_181_181" id="Footnote_181_181"></a><a href="#FNanchor_181_181"><span class="label">[181]</span></a> See the account of the Ch. of Sta. Francesca Romana, +Chap. iv.</p></div> + +<div class="footnote"><p><a name="Footnote_182_182" id="Footnote_182_182"></a><a href="#FNanchor_182_182"><span class="label">[182]</span></a> Livy, v. 22.</p></div> + +<div class="footnote"><p><a name="Footnote_183_183" id="Footnote_183_183"></a><a href="#FNanchor_183_183"><span class="label">[183]</span></a> Ovid, Fast. vi. 727.</p></div> + +<div class="footnote"><p><a name="Footnote_184_184" id="Footnote_184_184"></a><a href="#FNanchor_184_184"><span class="label">[184]</span></a> Martial, x. Ep. 56.</p></div> + +<div class="footnote"><p><a name="Footnote_185_185" id="Footnote_185_185"></a><a href="#FNanchor_185_185"><span class="label">[185]</span></a> Propert. iv. El. 9.</p></div> + +<div class="footnote"><p><a name="Footnote_186_186" id="Footnote_186_186"></a><a href="#FNanchor_186_186"><span class="label">[186]</span></a> Mart. vi. Ep. 64.</p></div> + +<div class="footnote"><p><a name="Footnote_187_187" id="Footnote_187_187"></a><a href="#FNanchor_187_187"><span class="label">[187]</span></a> There is a beautiful picture of Sta. Sabina by Vivarini +of Murano, in St. Zacharia at Venice.</p></div> + +<div class="footnote"><p><a name="Footnote_188_188" id="Footnote_188_188"></a><a href="#FNanchor_188_188"><span class="label">[188]</span></a> Hemans' Monuments in Rome.</p></div> + +<div class="footnote"><p><a name="Footnote_189_189" id="Footnote_189_189"></a><a href="#FNanchor_189_189"><span class="label">[189]</span></a> Commemorated in the beautiful Memoir of "A Dominican +Artist" (Rivingtons, 1872).</p></div> + +<div class="footnote"><p><a name="Footnote_190_190" id="Footnote_190_190"></a><a href="#FNanchor_190_190"><span class="label">[190]</span></a> Some antiquaries attribute them to the wall of the +Aventine, built by Ancus Martius. The arch, of course, is an addition.</p></div> + +<div class="footnote"><p><a name="Footnote_191_191" id="Footnote_191_191"></a><a href="#FNanchor_191_191"><span class="label">[191]</span></a> Hemans' Story of Monuments in Rome, ii. 228.</p></div> + +<div class="footnote"><p><a name="Footnote_192_192" id="Footnote_192_192"></a><a href="#FNanchor_192_192"><span class="label">[192]</span></a> Livy, i. 10.</p></div> + +<div class="footnote"><p><a name="Footnote_193_193" id="Footnote_193_193"></a><a href="#FNanchor_193_193"><span class="label">[193]</span></a> Livy, xxvii. 25; xxix. 11.</p></div> + +<div class="footnote"><p><a name="Footnote_194_194" id="Footnote_194_194"></a><a href="#FNanchor_194_194"><span class="label">[194]</span></a> Hemans' Mediæval Sacred Art.</p></div> + +<div class="footnote"><p><a name="Footnote_195_195" id="Footnote_195_195"></a><a href="#FNanchor_195_195"><span class="label">[195]</span></a> This bust has been supposed to represent the poet Ennius, +the friend of Scipio Africanus, because his last request was that he +might be buried by his side. Even in the time of Cicero, Ennius was +believed to be buried in the tomb of the Scipios. "Carus fuit Africano +superiori noster Ennius: itaque etiam in sepulchro Scipionum putatur is +esse constitutus ex marmore."—<i>Cic. Orat. pro Arch. Poeta.</i></p></div> + +<div class="footnote"><p><a name="Footnote_196_196" id="Footnote_196_196"></a><a href="#FNanchor_196_196"><span class="label">[196]</span></a> Dyer's Hist. of the City of Rome.</p></div> + +<div class="footnote"><p><a name="Footnote_197_197" id="Footnote_197_197"></a><a href="#FNanchor_197_197"><span class="label">[197]</span></a> Coppi, Memorie Colonnesi, p. 342.</p></div> + +<div class="footnote"><p><a name="Footnote_198_198" id="Footnote_198_198"></a><a href="#FNanchor_198_198"><span class="label">[198]</span></a> See Dyer's Hist. of the City of Rome, p. 85.</p></div> + +<div class="footnote"><p><a name="Footnote_199_199" id="Footnote_199_199"></a><a href="#FNanchor_199_199"><span class="label">[199]</span></a> <i>Ibid.</i> p. 97.</p></div> + +<div class="footnote"><p><a name="Footnote_200_200" id="Footnote_200_200"></a><a href="#FNanchor_200_200"><span class="label">[200]</span></a> <i>Ibid.</i> p. 122.</p></div> + +<div class="footnote"><p><a name="Footnote_201_201" id="Footnote_201_201"></a><a href="#FNanchor_201_201"><span class="label">[201]</span></a> This story is told by St. Ambrose.</p></div> + +<div class="footnote"><p><a name="Footnote_202_202" id="Footnote_202_202"></a><a href="#FNanchor_202_202"><span class="label">[202]</span></a> This story is represented in one of the ancient +tapestries in the cathedral of Anagni.</p></div> + +<div class="footnote"><p><a name="Footnote_203_203" id="Footnote_203_203"></a><a href="#FNanchor_203_203"><span class="label">[203]</span></a> Amm. Marcell. lib. xxvii. c.</p></div> + +<div class="footnote"><p><a name="Footnote_204_204" id="Footnote_204_204"></a><a href="#FNanchor_204_204"><span class="label">[204]</span></a> Roma Sotterranea, p. 130.</p></div> + +<div class="footnote"><p><a name="Footnote_205_205" id="Footnote_205_205"></a><a href="#FNanchor_205_205"><span class="label">[205]</span></a> Roma Sotterranea, p. 177.</p></div> + +<div class="footnote"><p><a name="Footnote_206_206" id="Footnote_206_206"></a><a href="#FNanchor_206_206"><span class="label">[206]</span></a> Roma Sotterranea, p. 97.</p></div> + +<div class="footnote"><p><a name="Footnote_207_207" id="Footnote_207_207"></a><a href="#FNanchor_207_207"><span class="label">[207]</span></a> St. Melchiades, buried in another part of the catacomb, +who lived long in peace after the persecution had ceased.</p></div> + +<div class="footnote"><p><a name="Footnote_208_208" id="Footnote_208_208"></a><a href="#FNanchor_208_208"><span class="label">[208]</span></a> Hippolytus, Adrias, Marca, Neo, Paulina, and others.</p></div> + +<div class="footnote"><p><a name="Footnote_209_209" id="Footnote_209_209"></a><a href="#FNanchor_209_209"><span class="label">[209]</span></a> St. Damasus was buried in the chapel above the entrance.</p></div> + +<div class="footnote"><p><a name="Footnote_210_210" id="Footnote_210_210"></a><a href="#FNanchor_210_210"><span class="label">[210]</span></a> "A more striking commentary on the divine promise, 'The +Lord keepeth all the bones of his servants: He will not lose one of +them' (Ps. xxxiii. 24), it would be difficult to conceive."—<i>Roma +Sotterranea.</i></p></div> + +<div class="footnote"><p><a name="Footnote_211_211" id="Footnote_211_211"></a><a href="#FNanchor_211_211"><span class="label">[211]</span></a> Roma Sotterranea, p. 180.</p></div> + +<div class="footnote"><p><a name="Footnote_212_212" id="Footnote_212_212"></a><a href="#FNanchor_212_212"><span class="label">[212]</span></a> Alban Butler, viii. 204.</p></div> + +<div class="footnote"><p><a name="Footnote_213_213" id="Footnote_213_213"></a><a href="#FNanchor_213_213"><span class="label">[213]</span></a> Roma Sotterranea, p. 182.</p></div> + +<div class="footnote"><p><a name="Footnote_214_214" id="Footnote_214_214"></a><a href="#FNanchor_214_214"><span class="label">[214]</span></a> Roma Sotterranea, p. 242.</p></div> + +<div class="footnote"><p><a name="Footnote_215_215" id="Footnote_215_215"></a><a href="#FNanchor_215_215"><span class="label">[215]</span></a> Roma Sotterranea, p. 247.</p></div> + +<div class="footnote"><p><a name="Footnote_216_216" id="Footnote_216_216"></a><a href="#FNanchor_216_216"><span class="label">[216]</span></a> Lord Lindsay's Christian Art, i. 46.</p></div> + +<div class="footnote"><p><a name="Footnote_217_217" id="Footnote_217_217"></a><a href="#FNanchor_217_217"><span class="label">[217]</span></a> Alban Butler, viii. 148.</p></div> + +<div class="footnote"><p><a name="Footnote_218_218" id="Footnote_218_218"></a><a href="#FNanchor_218_218"><span class="label">[218]</span></a> Lib. Pont.</p></div> + +<div class="footnote"><p><a name="Footnote_219_219" id="Footnote_219_219"></a><a href="#FNanchor_219_219"><span class="label">[219]</span></a> Now Santa Maria, an island near Gaieta.</p></div> + +<div class="footnote"><p><a name="Footnote_220_220" id="Footnote_220_220"></a><a href="#FNanchor_220_220"><span class="label">[220]</span></a> Alban Butler, v. 205.</p></div> + +<div class="footnote"><p><a name="Footnote_221_221" id="Footnote_221_221"></a><a href="#FNanchor_221_221"><span class="label">[221]</span></a> Alban Butler, v. 205.</p></div> + +<div class="footnote"><p><a name="Footnote_222_222" id="Footnote_222_222"></a><a href="#FNanchor_222_222"><span class="label">[222]</span></a> For these and many other particulars, see an interesting +lecture by Mr. Shakespere Wood, on "The Fountain of Egeria," given +before the Roman Archæological Society.</p></div> + +<div class="footnote"><p><a name="Footnote_223_223" id="Footnote_223_223"></a><a href="#FNanchor_223_223"><span class="label">[223]</span></a> Ampère, Hist. Rom. iv. 402.</p></div> + +<div class="footnote"><p><a name="Footnote_224_224" id="Footnote_224_224"></a><a href="#FNanchor_224_224"><span class="label">[224]</span></a> Merivale, Romans under the Empire, ch. xi.</p></div> + +<div class="footnote"><p><a name="Footnote_225_225" id="Footnote_225_225"></a><a href="#FNanchor_225_225"><span class="label">[225]</span></a> Ampère, Hist. Rom. i. 141</p></div> + +<div class="footnote"><p><a name="Footnote_226_226" id="Footnote_226_226"></a><a href="#FNanchor_226_226"><span class="label">[226]</span></a> Dionysius, ii. 63.</p></div> + +<div class="footnote"><p><a name="Footnote_227_227" id="Footnote_227_227"></a><a href="#FNanchor_227_227"><span class="label">[227]</span></a> Ovid, Met. xiv. 452, 453.</p></div> + +<div class="footnote"><p><a name="Footnote_228_228" id="Footnote_228_228"></a><a href="#FNanchor_228_228"><span class="label">[228]</span></a> Dyer's Rome, p. 95.</p></div> + +<div class="footnote"><p><a name="Footnote_229_229" id="Footnote_229_229"></a><a href="#FNanchor_229_229"><span class="label">[229]</span></a> Pliny, Hist. Nat. xv. 35, 2.</p></div> + +<div class="footnote"><p><a name="Footnote_230_230" id="Footnote_230_230"></a><a href="#FNanchor_230_230"><span class="label">[230]</span></a> Dion Cass. liv.</p></div> + +<div class="footnote"><p><a name="Footnote_231_231" id="Footnote_231_231"></a><a href="#FNanchor_231_231"><span class="label">[231]</span></a> "De Cæsare vicino scripseram ad te, quia cognoram ex tuis +literis, eum <span title="Greek: sunnaon">σὑνναον</span>, Quirino malo, quam Saluti." Ad +Att. xii. 45.</p></div> + +<div class="footnote"><p><a name="Footnote_232_232" id="Footnote_232_232"></a><a href="#FNanchor_232_232"><span class="label">[232]</span></a> Vespasian had a brother named Sabinus; his son's name +recalls that of Titus Tatius.</p></div> + +<div class="footnote"><p><a name="Footnote_233_233" id="Footnote_233_233"></a><a href="#FNanchor_233_233"><span class="label">[233]</span></a> "Deus, qui inter cætera sapientiæ tuæ miracula etiam in +tenera ætate maturæ sanctitatis gratiam contulisti; da, quæsumus, ut +beati Stanislai exemplo, tempus, instanter operando, redimentes, in +æternam ingredi requiem festinemus."—<i>Collect of St. S. Kostka, Roman +Vesper-Book.</i></p></div> + +<div class="footnote"><p><a name="Footnote_234_234" id="Footnote_234_234"></a><a href="#FNanchor_234_234"><span class="label">[234]</span></a> Cardinal Wiseman's Life of Pius VII.</p></div> + +<div class="footnote"><p><a name="Footnote_235_235" id="Footnote_235_235"></a><a href="#FNanchor_235_235"><span class="label">[235]</span></a> By this same master is the interesting fresco of Sixtus +IV. and his nephews—now in the Vatican gallery.</p></div> + +<div class="footnote"><p><a name="Footnote_236_236" id="Footnote_236_236"></a><a href="#FNanchor_236_236"><span class="label">[236]</span></a> The body of this saint is said to repose at S. Lorenzo +fuori Mura; his head is at the Quirinal; at S. Lorenzo in Lucina his +gridiron and chains are shown.</p></div> + +<div class="footnote"><p><a name="Footnote_237_237" id="Footnote_237_237"></a><a href="#FNanchor_237_237"><span class="label">[237]</span></a> Jameson's Sacred and Legendary Art.</p></div> + +<div class="footnote"><p><a name="Footnote_238_238" id="Footnote_238_238"></a><a href="#FNanchor_238_238"><span class="label">[238]</span></a> Roma Christiana.</p></div> + +<div class="footnote"><p><a name="Footnote_239_239" id="Footnote_239_239"></a><a href="#FNanchor_239_239"><span class="label">[239]</span></a> Dyer, p. 94.</p></div> + +<div class="footnote"><p><a name="Footnote_240_240" id="Footnote_240_240"></a><a href="#FNanchor_240_240"><span class="label">[240]</span></a> "At Rome, Selvaggi made a Latin distich in honour of +Milton, and Salsilli a Latin tetrastich, celebrating him for his Greek, +Latin, and Italian poetry; and he in return presented to Salsilli in his +sickness those fine Scazons or Iambic verses having a spondee in the +last foot, which are inserted among his juvenile poems. From Rome he +went to Naples."—<i>Newton.</i></p></div> + +<div class="footnote"><p><a name="Footnote_241_241" id="Footnote_241_241"></a><a href="#FNanchor_241_241"><span class="label">[241]</span></a> A holy hermit of Scete, who died 391.</p></div> + +<div class="footnote"><p><a name="Footnote_242_242" id="Footnote_242_242"></a><a href="#FNanchor_242_242"><span class="label">[242]</span></a> See Roma Sotterranea, p. 174.</p></div> + +<div class="footnote"><p><a name="Footnote_243_243" id="Footnote_243_243"></a><a href="#FNanchor_243_243"><span class="label">[243]</span></a> Une Chrétienne à Rome.</p></div> + +<div class="footnote"><p><a name="Footnote_244_244" id="Footnote_244_244"></a><a href="#FNanchor_244_244"><span class="label">[244]</span></a> The reasons for this belief are given in "The Roman +Catacombs of Northcote," p. 78.</p></div> + +<div class="footnote"><p><a name="Footnote_245_245" id="Footnote_245_245"></a><a href="#FNanchor_245_245"><span class="label">[245]</span></a> The bodies were removed to Sta. Sabina in the fifth +century by Celestine I.</p></div> + +<div class="footnote"><p><a name="Footnote_246_246" id="Footnote_246_246"></a><a href="#FNanchor_246_246"><span class="label">[246]</span></a> Cramer's Ancient Italy, i. 389.</p></div> + +<div class="footnote"><p><a name="Footnote_247_247" id="Footnote_247_247"></a><a href="#FNanchor_247_247"><span class="label">[247]</span></a> Cic. Phil. ix. 7. See Dyer's Rome, p. 215.</p></div> + +<div class="footnote"><p><a name="Footnote_248_248" id="Footnote_248_248"></a><a href="#FNanchor_248_248"><span class="label">[248]</span></a> Sat i. 8, 15.</p></div> + +<div class="footnote"><p><a name="Footnote_249_249" id="Footnote_249_249"></a><a href="#FNanchor_249_249"><span class="label">[249]</span></a> See Hemans' Catholic Italy, Part I.</p></div> + +<div class="footnote"><p><a name="Footnote_250_250" id="Footnote_250_250"></a><a href="#FNanchor_250_250"><span class="label">[250]</span></a> Ampère, Hist. Rom. i. 38.</p></div> + +<div class="footnote"><p><a name="Footnote_251_251" id="Footnote_251_251"></a><a href="#FNanchor_251_251"><span class="label">[251]</span></a> Varro, de Ling. Lat. iv. 8.</p></div> + +<div class="footnote"><p><a name="Footnote_252_252" id="Footnote_252_252"></a><a href="#FNanchor_252_252"><span class="label">[252]</span></a> Fest. <i>v.</i> Septimone.</p></div> + +<div class="footnote"><p><a name="Footnote_253_253" id="Footnote_253_253"></a><a href="#FNanchor_253_253"><span class="label">[253]</span></a> Ampère, Hist. Rom. i. 65.</p></div> + +<div class="footnote"><p><a name="Footnote_254_254" id="Footnote_254_254"></a><a href="#FNanchor_254_254"><span class="label">[254]</span></a> Fest. p. 297.</p></div> + +<div class="footnote"><p><a name="Footnote_255_255" id="Footnote_255_255"></a><a href="#FNanchor_255_255"><span class="label">[255]</span></a> Cicero pro doma sua, 38; Dionysius, viii. 79; Livy, ii. +41.</p></div> + +<div class="footnote"><p><a name="Footnote_256_256" id="Footnote_256_256"></a><a href="#FNanchor_256_256"><span class="label">[256]</span></a> See Dyer's City of Rome, p. 65. The Acts of the Martyrs +mention that several Christians suffered "In tellure."</p></div> + +<div class="footnote"><p><a name="Footnote_257_257" id="Footnote_257_257"></a><a href="#FNanchor_257_257"><span class="label">[257]</span></a> See Ampère, Hist. Rom. iv. 421.</p></div> + +<div class="footnote"><p><a name="Footnote_258_258" id="Footnote_258_258"></a><a href="#FNanchor_258_258"><span class="label">[258]</span></a> See Ampère, Hist. Rom. iv. 431.</p></div> + +<div class="footnote"><p><a name="Footnote_259_259" id="Footnote_259_259"></a><a href="#FNanchor_259_259"><span class="label">[259]</span></a> Liv. i. 26; Dionysius, iii. 22.</p></div> + +<div class="footnote"><p><a name="Footnote_260_260" id="Footnote_260_260"></a><a href="#FNanchor_260_260"><span class="label">[260]</span></a> Merivale, Romans under the Empire, ch. liii.</p></div> + +<div class="footnote"><p><a name="Footnote_261_261" id="Footnote_261_261"></a><a href="#FNanchor_261_261"><span class="label">[261]</span></a> "Des huit figures ébauchées il y en a deux aujourd'hui au +musée du Louvre (les deux esclaves). Lorsque Michel-Ange eut renoncé à +son plan primitif il en fit don à Roberto Strozzi. Des mains de Strozzi +elles passèrent dans celles de François 1<sup>er</sup>, et puis dans celles du +connétable de Montmorency, qui les plaça à son château d'Ecouen, d'où +elles sont venues au Louvre. Quatre autres <i>prisonniers</i> sont placés +dans la grotte de Buontalenti au jardin du Palais Pitti, à Florence. Un +groupe, représentant une figure virile en terrassant une seconde, se +voit aujourd'hui dans la grande salle del <i>Cinquecento</i>, au Palais vieux +de Florence, où elle fut placé par Côsme 1<sup>er</sup>."—<i>F. Sabatier.</i></p></div> + +<div class="footnote"><p><a name="Footnote_262_262" id="Footnote_262_262"></a><a href="#FNanchor_262_262"><span class="label">[262]</span></a> The wife of Oswy, king of Northumberland received a +golden key containing filings of the chains from Pope Vitalianus, in the +sixth century.</p></div> + +<div class="footnote"><p><a name="Footnote_263_263" id="Footnote_263_263"></a><a href="#FNanchor_263_263"><span class="label">[263]</span></a> Acts xii. <small>II</small>.</p></div> + +<div class="footnote"><p><a name="Footnote_264_264" id="Footnote_264_264"></a><a href="#FNanchor_264_264"><span class="label">[264]</span></a> Hist. Rom. i. 464.</p></div> + +<div class="footnote"><p><a name="Footnote_265_265" id="Footnote_265_265"></a><a href="#FNanchor_265_265"><span class="label">[265]</span></a> "Ciampini gives an engraving of this figure without the +key: a detail, therefore, to be ascribed to restorers:—surely neither +justifiable nor judicious."—<i>Hemans.</i></p></div> + +<div class="footnote"><p><a name="Footnote_266_266" id="Footnote_266_266"></a><a href="#FNanchor_266_266"><span class="label">[266]</span></a> With a square nimbus, denoting execution in his lifetime, +as at Sta. Cecilia and Sta. Maria in Navicella.</p></div> + +<div class="footnote"><p><a name="Footnote_267_267" id="Footnote_267_267"></a><a href="#FNanchor_267_267"><span class="label">[267]</span></a> See Hemans' Catholic Italy.</p></div> + +<div class="footnote"><p><a name="Footnote_268_268" id="Footnote_268_268"></a><a href="#FNanchor_268_268"><span class="label">[268]</span></a> Croiret, Vie des Saints.</p></div> + +<div class="footnote"><p><a name="Footnote_269_269" id="Footnote_269_269"></a><a href="#FNanchor_269_269"><span class="label">[269]</span></a> I. 26.</p></div> + +<div class="footnote"><p><a name="Footnote_270_270" id="Footnote_270_270"></a><a href="#FNanchor_270_270"><span class="label">[270]</span></a> Ampère, Hist. Rom. iii. 177.</p></div> + +<div class="footnote"><p><a name="Footnote_271_271" id="Footnote_271_271"></a><a href="#FNanchor_271_271"><span class="label">[271]</span></a> It was found in the gardens of the convent of Sta. Maria +sopra Minerva</p></div> + +<div class="footnote"><p><a name="Footnote_272_272" id="Footnote_272_272"></a><a href="#FNanchor_272_272"><span class="label">[272]</span></a> This pagan benediction of the animals is represented in a +bas-relief in the Vatican (Museo Pio-Clementino, 157). A peasant bearing +two ducks as his offering, brings his cow to be blessed by a priest at +the door of a chapel, and the priest delaying to come forth, a calf +drinks up the holy water. Ovid describes how he took part in the feast +of Pales, and sprinkled the cattle with a laurel bough. (<i>Fasti</i>, iv. +728.)</p></div> + +<div class="footnote"><p><a name="Footnote_273_273" id="Footnote_273_273"></a><a href="#FNanchor_273_273"><span class="label">[273]</span></a> His flat tombstone is in the centre of the nave.</p></div> + +<div class="footnote"><p><a name="Footnote_274_274" id="Footnote_274_274"></a><a href="#FNanchor_274_274"><span class="label">[274]</span></a> This story is the subject of two of Murillo's most +beautiful pictures in the Academy at Madrid. The first represents the +vision of the Virgin to John and his wife,—in the second they tell what +they have seen to Pope Liberius.</p></div> + +<div class="footnote"><p><a name="Footnote_275_275" id="Footnote_275_275"></a><a href="#FNanchor_275_275"><span class="label">[275]</span></a> This mosaic will bring to mind the beautiful lines of +Dante:— +</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"L'amor che mosse già l'eterno padre<br /></span> +<span class="ist">Per figlia aver di sua Deita trina<br /></span> +<span class="ist">Costei che fu del figlio suo poi madre<br /></span> +<span class="ist">Dell' universo qui fa la regina."<br /></span> +</div></div> + +</div> + +<div class="footnote"><p><a name="Footnote_276_276" id="Footnote_276_276"></a><a href="#FNanchor_276_276"><span class="label">[276]</span></a> See Sta. Dorothea, ch. xvii.</p></div> + +<div class="footnote"><p><a name="Footnote_277_277" id="Footnote_277_277"></a><a href="#FNanchor_277_277"><span class="label">[277]</span></a> St. Venantius was a child martyred at Camerino, under +Decius, in 250. Pope Clement X., who had been bishop of Camerino, had a +peculiar veneration for this saint.</p></div> + +<div class="footnote"><p><a name="Footnote_278_278" id="Footnote_278_278"></a><a href="#FNanchor_278_278"><span class="label">[278]</span></a> This figure of the Virgin is of great interest, as +introducing the Greek classical type under which she is so often +afterwards represented in Latin art.</p></div> + +<div class="footnote"><p><a name="Footnote_279_279" id="Footnote_279_279"></a><a href="#FNanchor_279_279"><span class="label">[279]</span></a> It was near the Lateran, on the site of the gardens of +Plautius Lateranus, that the famous statues of the Niobedes, attributed +to Scopus, now at Florence, were found. The fine tomb of the Plautii is +a striking object on the road to Tivoli.</p></div> + +<div class="footnote"><p><a name="Footnote_280_280" id="Footnote_280_280"></a><a href="#FNanchor_280_280"><span class="label">[280]</span></a> See Sta. Pudenziana, ch. x.</p></div> + +<div class="footnote"><p><a name="Footnote_281_281" id="Footnote_281_281"></a><a href="#FNanchor_281_281"><span class="label">[281]</span></a> These columns are mentioned in the thirteenth century +list of Lateran relics, which says that <i>all</i> the relics of the Temple +at Jerusalem brought by Titus, were preserved at the Lateran.</p></div> + +<div class="footnote"><p><a name="Footnote_282_282" id="Footnote_282_282"></a><a href="#FNanchor_282_282"><span class="label">[282]</span></a> There is a curious mosaic portrait of Clement XII. in the +Palazzo Corsini.</p></div> + +<div class="footnote"><p><a name="Footnote_283_283" id="Footnote_283_283"></a><a href="#FNanchor_283_283"><span class="label">[283]</span></a> Sergius III. ob. 911; Agapetus II. ob. 956; John XII. ob. +964; Sylvester II. ob. 1003; John XVIII. ob. 1009; Alexander II. ob. +1073; Pascal II. ob. 1118; Calixtus II. ob. 1124; Honorius II. ob. 1140; +Celestine II. ob. 1143; Lucius II. ob. 1145; Anastasius IV. ob. 1154; +Alexander III. ob. 1159; Clement III. ob. 1191; Celestine III. ob. 1198; +Innocent V. ob. 1276—were buried at St. John Lateran, besides those +later popes whose tombs still exist.</p></div> + +<div class="footnote"><p><a name="Footnote_284_284" id="Footnote_284_284"></a><a href="#FNanchor_284_284"><span class="label">[284]</span></a> "Ces monuments, consacrés par la tradition, n'ont pas été +jugés cependant assez authentiques pour être solennellement exposés a la +vénération des fidèles."—<i>Gournerie.</i></p></div> + +<div class="footnote"><p><a name="Footnote_285_285" id="Footnote_285_285"></a><a href="#FNanchor_285_285"><span class="label">[285]</span></a> Sta. Helena is claimed as an English saint, and all the +best authorities allow that she was born in England,—according to +Gibbon, at York—according to others, at Colchester, which town bears as +its arms a cross between three crowns, in allusion to this claim. Some +say that she was an innkeeper's daughter, others that her father was a +powerful British prince, Coilus or Coel.</p></div> + +<div class="footnote"><p><a name="Footnote_286_286" id="Footnote_286_286"></a><a href="#FNanchor_286_286"><span class="label">[286]</span></a> Emp. ii. 43.</p></div> + +<div class="footnote"><p><a name="Footnote_287_287" id="Footnote_287_287"></a><a href="#FNanchor_287_287"><span class="label">[287]</span></a> The existence of this inscription makes the destruction +of this catacomb under Pius IX. the more extraordinary.</p></div> + +<div class="footnote"><p><a name="Footnote_288_288" id="Footnote_288_288"></a><a href="#FNanchor_288_288"><span class="label">[288]</span></a> Dyer's Rome, 70.</p></div> + +<div class="footnote"><p><a name="Footnote_289_289" id="Footnote_289_289"></a><a href="#FNanchor_289_289"><span class="label">[289]</span></a> Ampère, Hist. ii. 10.</p></div> + +<div class="footnote"><p><a name="Footnote_290_290" id="Footnote_290_290"></a><a href="#FNanchor_290_290"><span class="label">[290]</span></a> Ampère, Emp. i. 184.</p></div> + +<div class="footnote"><p><a name="Footnote_291_291" id="Footnote_291_291"></a><a href="#FNanchor_291_291"><span class="label">[291]</span></a> Pliny, H. N. xxxv. 37, 2; and 49, 4.</p></div> + +<div class="footnote"><p><a name="Footnote_292_292" id="Footnote_292_292"></a><a href="#FNanchor_292_292"><span class="label">[292]</span></a> Dyer, 111.</p></div> + +<div class="footnote"><p><a name="Footnote_293_293" id="Footnote_293_293"></a><a href="#FNanchor_293_293"><span class="label">[293]</span></a> Dyer, 211.</p></div> + +<div class="footnote"><p><a name="Footnote_294_294" id="Footnote_294_294"></a><a href="#FNanchor_294_294"><span class="label">[294]</span></a> It was close to this temple of Hercules that the bodies +of Sta. Symphorosa and her seven sons, martyred under Hadrian ("the +seven Biothanati"), were buried by order of the emperor. Sta. Symphorosa +herself had been hung up here by her hair, before being drowned in the +Tiber.</p></div> + +<div class="footnote"><p><a name="Footnote_295_295" id="Footnote_295_295"></a><a href="#FNanchor_295_295"><span class="label">[295]</span></a> Dyer, 113, 115.</p></div> + +<div class="footnote"><p><a name="Footnote_296_296" id="Footnote_296_296"></a><a href="#FNanchor_296_296"><span class="label">[296]</span></a> Ampère, Hist. Rom. iii. 198.</p></div> + +<div class="footnote"><p><a name="Footnote_297_297" id="Footnote_297_297"></a><a href="#FNanchor_297_297"><span class="label">[297]</span></a> Dyer, 115.</p></div> + +<div class="footnote"><p><a name="Footnote_298_298" id="Footnote_298_298"></a><a href="#FNanchor_298_298"><span class="label">[298]</span></a> Dyer, 115, 116.</p></div> + +<div class="footnote"><p><a name="Footnote_299_299" id="Footnote_299_299"></a><a href="#FNanchor_299_299"><span class="label">[299]</span></a> Pliny, H. N. xxxvi. 15, 24.</p></div> + +<div class="footnote"><p><a name="Footnote_300_300" id="Footnote_300_300"></a><a href="#FNanchor_300_300"><span class="label">[300]</span></a> So called from a fountain adorned with the figure of a +sow, which once existed here.</p></div> + +<div class="footnote"><p><a name="Footnote_301_301" id="Footnote_301_301"></a><a href="#FNanchor_301_301"><span class="label">[301]</span></a> "Here rests Hadrian, who found his greatest misfortune in +being obliged to command."</p></div> + +<div class="footnote"><p><a name="Footnote_302_302" id="Footnote_302_302"></a><a href="#FNanchor_302_302"><span class="label">[302]</span></a> There is a chapel dedicated to St. Bridget in S. Paolo +fuori Mura. Sion House, in England, was a famous convent of the +Brigittines.</p></div> + +<div class="footnote"><p><a name="Footnote_303_303" id="Footnote_303_303"></a><a href="#FNanchor_303_303"><span class="label">[303]</span></a> See Penny Cyclopædia, and Lewes's Hist. of Philosophy.</p></div> + +<div class="footnote"><p><a name="Footnote_304_304" id="Footnote_304_304"></a><a href="#FNanchor_304_304"><span class="label">[304]</span></a> Shakespeare, Julius Cæsar, act iii. sc. 2.</p></div> + +<div class="footnote"><p><a name="Footnote_305_305" id="Footnote_305_305"></a><a href="#FNanchor_305_305"><span class="label">[305]</span></a> So called from a slight hollow, scarcely now perceptible, +left by a reservoir made by Agrippa for the public benefit, and used by +Nero in his fêtes.</p></div> + +<div class="footnote"><p><a name="Footnote_306_306" id="Footnote_306_306"></a><a href="#FNanchor_306_306"><span class="label">[306]</span></a> The story of St. Agnes is told by St. Jerome.</p></div> + +<div class="footnote"><p><a name="Footnote_307_307" id="Footnote_307_307"></a><a href="#FNanchor_307_307"><span class="label">[307]</span></a> Donna Olympia soon after died of the plague at her villa +near Viterbo.</p></div> + +<div class="footnote"><p><a name="Footnote_308_308" id="Footnote_308_308"></a><a href="#FNanchor_308_308"><span class="label">[308]</span></a> "Les maisons de la Place Navone sont assises sur la base +des anciens gradins du cirque de Domitien. Sous ces gradins étaient les +voûtes habitées par des femmes perdues."—<i>Ampère, Emp.</i> ii. 137.</p></div> + +<div class="footnote"><p><a name="Footnote_309_309" id="Footnote_309_309"></a><a href="#FNanchor_309_309"><span class="label">[309]</span></a> A corruption of "Epiphania"—Epiphany.</p></div> + +<div class="footnote"><p><a name="Footnote_310_310" id="Footnote_310_310"></a><a href="#FNanchor_310_310"><span class="label">[310]</span></a> +</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Living, great nature feared he might outvie<br /></span> +<span class="ist">Her works; and, dying, fears herself to die."<br /></span> +<span class="i15"><i>Pope's Translation (without acknowledgment) in<br /> +his Epitaph on Sir Godfrey Kneller.</i><br /></span> +</div></div> + +</div> + +<div class="footnote"><p><a name="Footnote_311_311" id="Footnote_311_311"></a><a href="#FNanchor_311_311"><span class="label">[311]</span></a> Raphael lay in state beneath his last great work, the +Transfiguration.</p></div> + +<div class="footnote"><p><a name="Footnote_312_312" id="Footnote_312_312"></a><a href="#FNanchor_312_312"><span class="label">[312]</span></a> See Gregorovius, Grabmāler der Pāpste.</p></div> + +<div class="footnote"><p><a name="Footnote_313_313" id="Footnote_313_313"></a><a href="#FNanchor_313_313"><span class="label">[313]</span></a> Author of the "Rationale Divinorum Officiorum"—"A +treasure of information on all points connected with the decorations and +services of the mediæval church. Durandus was born in Provence about +1220, and died in 1290 at Rome."—<i>Lord Lindsay.</i></p></div> + +<div class="footnote"><p><a name="Footnote_314_314" id="Footnote_314_314"></a><a href="#FNanchor_314_314"><span class="label">[314]</span></a> It is no honour to me to be like another Apelles, but +rather, O Christ, that I gave all my gains to thy poor. One was a work +for earth, the other for heaven—a city, the flower of Etruria, bare me, +John.</p></div> + +<div class="footnote"><p><a name="Footnote_315_315" id="Footnote_315_315"></a><a href="#FNanchor_315_315"><span class="label">[315]</span></a> That part of the ancient Campus Martius which contains +the Theatre of Marcellus and Portico of Octavia, is described in Chapter +V.; that which belongs to the Via Flaminia in Chapter II.</p></div> + +<div class="footnote"><p><a name="Footnote_316_316" id="Footnote_316_316"></a><a href="#FNanchor_316_316"><span class="label">[316]</span></a> Vasari, v.</p></div> + +<div class="footnote"><p><a name="Footnote_317_317" id="Footnote_317_317"></a><a href="#FNanchor_317_317"><span class="label">[317]</span></a> A scholar of Bronzino.</p></div> + +<div class="footnote"><p><a name="Footnote_318_318" id="Footnote_318_318"></a><a href="#FNanchor_318_318"><span class="label">[318]</span></a> See Vasari, vol. vii.</p></div> + +<div class="footnote"><p><a name="Footnote_319_319" id="Footnote_319_319"></a><a href="#FNanchor_319_319"><span class="label">[319]</span></a> It is interesting to observe that the same vision was +seen under the same circumstances in other periods of history. +</p><p> +"So the Lord sent pestilence upon Israel, and there fell of Israel +seventy thousand men. And God sent an angel to Jerusalem to destroy it +... and David lifted up his eyes, and saw the angel of the Lord stand +between the earth and the heaven, having a drawn sword in his hand +stretched out over Jerusalem."—1 Chron. xxi. 14—16. +</p><p> +"Before the plague of London had begun (otherwise than in St. Giles's), +seeing a crowd of people in the street, I joined them to satisfy my +curiosity, and found them all staring up into the air, to see what a +woman told them appeared plain to her. This was an angel clothed in +white, with a fiery sword in his hand, waving it, or brandishing it over +his head: she described every part of the figure to the life, and showed +them the motion and the form."—<i>Defoe, Hist. of the Plague.</i></p></div> + +<div class="footnote"><p><a name="Footnote_320_320" id="Footnote_320_320"></a><a href="#FNanchor_320_320"><span class="label">[320]</span></a> The pictures at Ara Cœli and Sta. Maria Maggiore both +claim to be that carried by St. Gregory in this procession. The song of +the angels is annually commemorated on St. Mark's Day, when the clergy +pass by in procession to St. Peter's; and the Franciscans of Ara Cœli +and the canons of Sta. Maria Maggiore, halting here, chaunt the +antiphon, <i>Regina cœli, lætare</i>.</p></div> + +<div class="footnote"><p><a name="Footnote_321_321" id="Footnote_321_321"></a><a href="#FNanchor_321_321"><span class="label">[321]</span></a> Hemans' Story of Monuments in Rome.</p></div> + +<div class="footnote"><p><a name="Footnote_322_322" id="Footnote_322_322"></a><a href="#FNanchor_322_322"><span class="label">[322]</span></a> "Deus, qui apostolo tuo Petro collatis clavibus regni +celestis ligandi et solvendi pontificium tradidisti; concede ut +intercessionis ejus auxilio, a peccatorum nostrorum legibus liberemur: +et hanc civitatem, quam te adjuvante fundavimus, fac ab ira tua in +perpetuum permanere securam, et de hostibus, quorum causa constructa +est, novos et multiplicatos habere triumphos, per Dominum nostrum," &c.</p></div> + +<div class="footnote"><p><a name="Footnote_323_323" id="Footnote_323_323"></a><a href="#FNanchor_323_323"><span class="label">[323]</span></a> The same whom Alexander VI. had intended to poison, when +he poisoned himself instead.</p></div> + +<div class="footnote"><p><a name="Footnote_324_324" id="Footnote_324_324"></a><a href="#FNanchor_324_324"><span class="label">[324]</span></a> At the time of its erection Sixtus V. conceded an +indulgence of ten years to all who, passing beneath the obelisk, should +adore the cross on its summit, repeating a pater-noster.</p></div> + +<div class="footnote"><p><a name="Footnote_325_325" id="Footnote_325_325"></a><a href="#FNanchor_325_325"><span class="label">[325]</span></a> The inscription is from Isaiah iv. 6, "A tabernacle for a +shadow in the daytime from the heat, and for a place of refuge, and for +a covert from storm and from rain."</p></div> + +<div class="footnote"><p><a name="Footnote_326_326" id="Footnote_326_326"></a><a href="#FNanchor_326_326"><span class="label">[326]</span></a> It may not be uninteresting to give the actual words of +the benediction:— +</p><p> +"May the holy apostles Peter and Paul, in whose power and dominion we +trust, pray for us to the Lord! Amen. +</p><p> +"Through the prayers and merits of the blessed, eternal Virgin Mary, of +the blessed archangel Michael, the blessed John the Baptist, the holy +apostles Peter and Paul, and all saints—may the Almighty God have mercy +upon you, may your sins be forgiven you, and may Jesus Christ lead you +to eternal life. Amen. +</p><p> +"Indulgence, absolution, and forgiveness of all sins—time for true +repentance, a continual penitent heart and amendment of life,—may the +Almighty and merciful God grant you these! Amen. +</p><p> +"And may the blessing of Almighty God, Father, Son, and Holy Spirit, +descend upon you, and remain with you for ever. Amen."</p></div> + +<div class="footnote"><p><a name="Footnote_327_327" id="Footnote_327_327"></a><a href="#FNanchor_327_327"><span class="label">[327]</span></a> "Exuens se chlamyde, et accipiens bidentem, ipse primus +terram aperuit ad fundamenta basilicæ Sancti Petri continendam; deinde +in numero duodecim apostolorum duodecim cophinos plenos in humeris +superimpositos bajulano, de eo loco ubi fundamenta Basilicæ Apostoli +erant jacenda."—<i>Cod. Vat. 7. Sancta Cæcil.</i> 2.</p></div> + +<div class="footnote"><p><a name="Footnote_328_328" id="Footnote_328_328"></a><a href="#FNanchor_328_328"><span class="label">[328]</span></a> The façade of the old basilica is seen in Raphael's +fresco of the Incendio del Borgo, and its interior in that of the +Coronation of Charlemagne.</p></div> + +<div class="footnote"><p><a name="Footnote_329_329" id="Footnote_329_329"></a><a href="#FNanchor_329_329"><span class="label">[329]</span></a> See Fergusson's Handbook of Architecture, vol. ii.</p></div> + +<div class="footnote"><p><a name="Footnote_330_330" id="Footnote_330_330"></a><a href="#FNanchor_330_330"><span class="label">[330]</span></a> As in the portico of the temple of Mars were preserved +the verses of the poet Attius upon Junius Brutus.</p></div> + +<div class="footnote"><p><a name="Footnote_331_331" id="Footnote_331_331"></a><a href="#FNanchor_331_331"><span class="label">[331]</span></a> These letters are in real mosaic. Those in the nave and +transepts are in paper—to complete them in mosaic would have been too +expensive.</p></div> + +<div class="footnote"><p><a name="Footnote_332_332" id="Footnote_332_332"></a><a href="#FNanchor_332_332"><span class="label">[332]</span></a> Innocent sent two bishops to receive it at Ancona, two +cardinals to receive it at Narni, and went himself, with all his court, +to meet it at the Porto del Popolo.</p></div> + +<div class="footnote"><p><a name="Footnote_333_333" id="Footnote_333_333"></a><a href="#FNanchor_333_333"><span class="label">[333]</span></a> Eaton's Rome.</p></div> + +<div class="footnote"><p><a name="Footnote_334_334" id="Footnote_334_334"></a><a href="#FNanchor_334_334"><span class="label">[334]</span></a> Gregorovius, Grabmäler der Päpste.</p></div> + +<div class="footnote"><p><a name="Footnote_335_335" id="Footnote_335_335"></a><a href="#FNanchor_335_335"><span class="label">[335]</span></a> There is a fine portrait of Urban VIII. by Pietro da +Cortona, in the Capitol gallery.</p></div> + +<div class="footnote"><p><a name="Footnote_336_336" id="Footnote_336_336"></a><a href="#FNanchor_336_336"><span class="label">[336]</span></a> See Vasari, vi. 265.</p></div> + +<div class="footnote"><p><a name="Footnote_337_337" id="Footnote_337_337"></a><a href="#FNanchor_337_337"><span class="label">[337]</span></a> This mosaic occupied ten men constantly for nine years, +and cost 60,000 francs.</p></div> + +<div class="footnote"><p><a name="Footnote_338_338" id="Footnote_338_338"></a><a href="#FNanchor_338_338"><span class="label">[338]</span></a> Gregorovius.</p></div> + +<div class="footnote"><p><a name="Footnote_339_339" id="Footnote_339_339"></a><a href="#FNanchor_339_339"><span class="label">[339]</span></a> He had been bishop of St. Alban's, and a missionary for +the conversion of Norway.</p></div> + +<div class="footnote"><p><a name="Footnote_340_340" id="Footnote_340_340"></a><a href="#FNanchor_340_340"><span class="label">[340]</span></a> The principal authorities for the fact of St. Peter's +being at Rome—so often denied by ultra-protestants—are: St. Jerome, +Catalogus scriptorum ecclesiasticorum, in Petro; Tertullian, de +Prescriptionibus, c. xxxvi.; and Eusebius, Historia Ecclesiastica, lib. +ii. cap. xxiv.</p></div> + +<div class="footnote"><p><a name="Footnote_341_341" id="Footnote_341_341"></a><a href="#FNanchor_341_341"><span class="label">[341]</span></a> See Hemans' Catholic Italy, vol. i.</p></div> + +<div class="footnote"><p><a name="Footnote_342_342" id="Footnote_342_342"></a><a href="#FNanchor_342_342"><span class="label">[342]</span></a> See Dyer's Hist. of the City of Rome, p. 358.</p></div> + +<div class="footnote"><p><a name="Footnote_343_343" id="Footnote_343_343"></a><a href="#FNanchor_343_343"><span class="label">[343]</span></a> Pliny, xxxv. 15.</p></div> + +<div class="footnote"><p><a name="Footnote_344_344" id="Footnote_344_344"></a><a href="#FNanchor_344_344"><span class="label">[344]</span></a> Tac. Ann. xv. 44.</p></div> + +<div class="footnote"><p><a name="Footnote_345_345" id="Footnote_345_345"></a><a href="#FNanchor_345_345"><span class="label">[345]</span></a> In the Campo-Santo of Pisa.</p></div> + +<div class="footnote"><p><a name="Footnote_346_346" id="Footnote_346_346"></a><a href="#FNanchor_346_346"><span class="label">[346]</span></a> Fifteen Psalms are sung before the Miserere begins, and +one light is extinguished for each—the Psalms being represented by +fifteen candles.</p></div> + +<div class="footnote"><p><a name="Footnote_347_347" id="Footnote_347_347"></a><a href="#FNanchor_347_347"><span class="label">[347]</span></a> See the account of the "Tombs of the Scipios" in Chapter +IX.</p></div> + +<div class="footnote"><p><a name="Footnote_348_348" id="Footnote_348_348"></a><a href="#FNanchor_348_348"><span class="label">[348]</span></a> Who is buried by the altar of S. Pietro in Vincoli.</p></div> + +<div class="footnote"><p><a name="Footnote_349_349" id="Footnote_349_349"></a><a href="#FNanchor_349_349"><span class="label">[349]</span></a> Gournerie, Rome Chrétienne, ii. 62.</p></div> + +<div class="footnote"><p><a name="Footnote_350_350" id="Footnote_350_350"></a><a href="#FNanchor_350_350"><span class="label">[350]</span></a> For a detailed account of this collection, see Dennis' +"Cities and Cemeteries of Etruria," whence many of the quotations above +are taken; also Mrs. Hamilton Gray's "Sepulchres of Etruria."</p></div> + +<div class="footnote"><p><a name="Footnote_351_351" id="Footnote_351_351"></a><a href="#FNanchor_351_351"><span class="label">[351]</span></a> Vasari calls it Palazzo nel Bosco del Belvedere.</p></div> + +<div class="footnote"><p><a name="Footnote_352_352" id="Footnote_352_352"></a><a href="#FNanchor_352_352"><span class="label">[352]</span></a> "This is perhaps the grandest of the whole series. Here +the Almighty is seen rending like a thunderbolt the thick shroud of +fiery clouds, letting in that light under which his works were to spring +into life."—<i>Lady Eastlake.</i></p></div> + +<div class="footnote"><p><a name="Footnote_353_353" id="Footnote_353_353"></a><a href="#FNanchor_353_353"><span class="label">[353]</span></a> The candle is ingeniously made crooked in the socket, not +to interfere with the lines of the architecture, while the flame is +straight.</p></div> + +<div class="footnote"><p><a name="Footnote_354_354" id="Footnote_354_354"></a><a href="#FNanchor_354_354"><span class="label">[354]</span></a> "According to the 'Spiritual Meadow' of John Moschus, who +died <small>A.D.</small> 620, the lion is said to have pined away after Jerome's death, +and to have died at last on his grave."</p></div> + +<div class="footnote"><p><a name="Footnote_355_355" id="Footnote_355_355"></a><a href="#FNanchor_355_355"><span class="label">[355]</span></a> See Stefano Infessura, Rev. Ital. Script, tom. iii.</p></div> + +<div class="footnote"><p><a name="Footnote_356_356" id="Footnote_356_356"></a><a href="#FNanchor_356_356"><span class="label">[356]</span></a> Corio, 1st mil. p. 876.</p></div> + +<div class="footnote"><p><a name="Footnote_357_357" id="Footnote_357_357"></a><a href="#FNanchor_357_357"><span class="label">[357]</span></a> <i>Ampère</i>, i. 436.</p></div> + +<div class="footnote"><p><a name="Footnote_358_358" id="Footnote_358_358"></a><a href="#FNanchor_358_358"><span class="label">[358]</span></a> See Hemans' Monuments in Rome.</p></div> + +<div class="footnote"><p><a name="Footnote_359_359" id="Footnote_359_359"></a><a href="#FNanchor_359_359"><span class="label">[359]</span></a> Piranesi's engraving shows that a hundred years ago there +existed, in addition, a colossal bust, and a hand holding the +serpent-twined rod of Æsculapius.</p></div> + +<div class="footnote"><p><a name="Footnote_360_360" id="Footnote_360_360"></a><a href="#FNanchor_360_360"><span class="label">[360]</span></a> Wordsworth.</p></div> + +<div class="footnote"><p><a name="Footnote_361_361" id="Footnote_361_361"></a><a href="#FNanchor_361_361"><span class="label">[361]</span></a> Hemans' Monuments in Rome.</p></div> + +<div class="footnote"><p><a name="Footnote_362_362" id="Footnote_362_362"></a><a href="#FNanchor_362_362"><span class="label">[362]</span></a> See the Acts of the Martyrs St. Hippolytus and St. +Adrian, and the Acts of St. Calepodius, quoted by Canina, R. Aut. p. +584.</p></div> + +<div class="footnote"><p><a name="Footnote_363_363" id="Footnote_363_363"></a><a href="#FNanchor_363_363"><span class="label">[363]</span></a> Plautus, Capt. i. <small>I</small>, 22.</p></div> + +<div class="footnote"><p><a name="Footnote_364_364" id="Footnote_364_364"></a><a href="#FNanchor_364_364"><span class="label">[364]</span></a> See the Epistle of St Denis, the Areopagite, to Timothy.</p></div> + +<div class="footnote"><p><a name="Footnote_365_365" id="Footnote_365_365"></a><a href="#FNanchor_365_365"><span class="label">[365]</span></a> The accounts of the apostle's death vary greatly: "St. +Prudentius says that both St. Peter and St. Paul suffered together in +the same field, near a swampy ground, on the banks of the Tiber. Some +say St. Peter suffered on the same day of the month, but a year before +St. Paul. But Eusebius, St. Epiphanius, and most others, affirm that +they suffered the same year, and on the 29th of June."—<i>Alban Butler.</i></p></div> + +<div class="footnote"><p><a name="Footnote_366_366" id="Footnote_366_366"></a><a href="#FNanchor_366_366"><span class="label">[366]</span></a> It is under the shadow of S. Paolo that Cervantes +("Wanderings of Persiles and Sigismunda") places the scene of the death +of Periander.</p></div> + +<div class="footnote"><p><a name="Footnote_367_367" id="Footnote_367_367"></a><a href="#FNanchor_367_367"><span class="label">[367]</span></a> Mrs. Jameson.</p></div> + +<div class="footnote"><p><a name="Footnote_368_368" id="Footnote_368_368"></a><a href="#FNanchor_368_368"><span class="label">[368]</span></a> Among the most interesting of the objects lost in the +fire were the bronze gates ordered by Hildebrand (afterwards Gregory +VII.) when legate at Constantinople, for Pantaleone Castelli, in 1070, +and adorned with fifty-four scriptural compositions, wrought in silver +thread.</p></div> + +<div class="footnote"><p><a name="Footnote_369_369" id="Footnote_369_369"></a><a href="#FNanchor_369_369"><span class="label">[369]</span></a> This picture is now called the Nuptials of Vertumnus and +Pomona.</p></div> + +<div class="footnote"><p><a name="Footnote_370_370" id="Footnote_370_370"></a><a href="#FNanchor_370_370"><span class="label">[370]</span></a> Turrigeræ Antemnæ.—<i>Virg. Æn.</i> vii. 631.</p></div> + +<div class="footnote"><p><a name="Footnote_371_371" id="Footnote_371_371"></a><a href="#FNanchor_371_371"><span class="label">[371]</span></a> +</p> + +<div class="poem"><div class="stanza"> +<span class="i4">—— Antemnaque prisco<br /></span> +<span class="i0">Crustumio prior.<br /></span> +</div></div> + +</div> + +<div class="footnote"><p><a name="Footnote_372_372" id="Footnote_372_372"></a><a href="#FNanchor_372_372"><span class="label">[372]</span></a> The other two were Cæcina and Crustumium.</p></div> + +<div class="footnote"><p><a name="Footnote_373_373" id="Footnote_373_373"></a><a href="#FNanchor_373_373"><span class="label">[373]</span></a> See Dyer's Hist. of the City of Rome.</p></div> + +<div class="footnote"><p><a name="Footnote_374_374" id="Footnote_374_374"></a><a href="#FNanchor_374_374"><span class="label">[374]</span></a> Masses of reddish rock of volcanic tufa are still to be +seen here, breaking through the soil of the Campagna.</p></div> + +<div class="footnote"><p><a name="Footnote_375_375" id="Footnote_375_375"></a><a href="#FNanchor_375_375"><span class="label">[375]</span></a> Built by Mario Mellini in the fifteenth century.</p></div> + +<div class="footnote"><p><a name="Footnote_376_376" id="Footnote_376_376"></a><a href="#FNanchor_376_376"><span class="label">[376]</span></a> Martial, Ep. x. 45, 5.</p></div> + +<div class="footnote"><p><a name="Footnote_377_377" id="Footnote_377_377"></a><a href="#FNanchor_377_377"><span class="label">[377]</span></a> Martial, Ep. vi. 92, 3.</p></div> + +<div class="footnote"><p><a name="Footnote_378_378" id="Footnote_378_378"></a><a href="#FNanchor_378_378"><span class="label">[378]</span></a> Fast. i. 246.</p></div> + +<div class="footnote"><p><a name="Footnote_379_379" id="Footnote_379_379"></a><a href="#FNanchor_379_379"><span class="label">[379]</span></a> Ampère, Hist. Rom. i. 227.</p></div> + +<div class="footnote"><p><a name="Footnote_380_380" id="Footnote_380_380"></a><a href="#FNanchor_380_380"><span class="label">[380]</span></a> Niebuhr, i. 240.</p></div> + +<div class="footnote"><p><a name="Footnote_381_381" id="Footnote_381_381"></a><a href="#FNanchor_381_381"><span class="label">[381]</span></a> Arnold, Hist. vol. i.</p></div> + +<div class="footnote"><p><a name="Footnote_382_382" id="Footnote_382_382"></a><a href="#FNanchor_382_382"><span class="label">[382]</span></a> Ampère, Hist. Rom. i. 389.</p></div> + +<div class="footnote"><p><a name="Footnote_383_383" id="Footnote_383_383"></a><a href="#FNanchor_383_383"><span class="label">[383]</span></a> Niebuhr, i. 353.</p></div> + +<div class="footnote"><p><a name="Footnote_384_384" id="Footnote_384_384"></a><a href="#FNanchor_384_384"><span class="label">[384]</span></a> Hemans.</p></div> + +<div class="footnote"><p><a name="Footnote_385_385" id="Footnote_385_385"></a><a href="#FNanchor_385_385"><span class="label">[385]</span></a> See Thiers' History of the French Revolution.</p></div> + +<div class="footnote"><p><a name="Footnote_386_386" id="Footnote_386_386"></a><a href="#FNanchor_386_386"><span class="label">[386]</span></a> It has been supposed that the beautiful silver vase which +is shown in the Corsini Palace, and which was picked up in the Tiber, +belonged to this plate.</p></div> + +</div> + +<hr class="full" /> + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Walks in Rome, by Augustus J.C. 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