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diff --git a/43416.txt b/43416.txt deleted file mode 100644 index 85b9a8e..0000000 --- a/43416.txt +++ /dev/null @@ -1,18889 +0,0 @@ -The Project Gutenberg EBook of Rambles in Rome, by S. Russell Forbes - -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 - - -Title: Rambles in Rome - An Archaeological and Historical Guide to the Museums, - Galleries, Villas, Churches, and Antiquities of Rome and - the Campagna - -Author: S. Russell Forbes - -Release Date: August 7, 2013 [EBook #43416] - -Language: English - -Character set encoding: ASCII - -*** START OF THIS PROJECT GUTENBERG EBOOK RAMBLES IN ROME *** - - - - -Produced by Melissa McDaniel and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - - - - - - - -Transcriber's Note: - - Inconsistent hyphenation and spelling in the original document have - been preserved. Obvious typographical errors have been corrected. - - Italic text is denoted by _underscores_ and bold text by =equal - signs=. - - On page 10, Simononetti was changed to Simonetti. - On page 20, Attus Naviu was changed to Attus Navius. - On page 28, SERVUS was changed to SEVERUS. - On page 54, Praetextate was changed to Praetextata. - On page 104 Cagliastro was changed to Cagliostro. - On page 126 AEmon and Antigones was changed to Haemon and Antigone. - - - - -RAMBLES IN ROME. - - - - - "If you are visiting Rome, you will find in this book a - high-class companion and guide. Try it, and see the - difference between the mere guide-book produced by the - trade to sell, and the chatty, masterly production of a - writer of ability and taste."--_C. H. Spurgeon._ - - - - - RAMBLES IN ROME - - An Archaeological and Historical Guide - TO THE - MUSEUMS, GALLERIES, VILLAS, CHURCHES, - AND ANTIQUITIES OF ROME AND - THE CAMPAGNA. - - By - S. RUSSELL FORBES, - Archaeological and Historical Lecturer on Roman Antiquities. - - Fifth Edition, - Revised and Enlarged; embracing all the Recent - Excavations and Discoveries. - - WITH MAPS, PLANS, AND ILLUSTRATIONS. - - LONDON: THOMAS NELSON AND SONS. - EDINBURGH; AND NEW YORK. - - ROME: S. RUSSELL FORBES, 93 VIA BABUINO. - 1887. - - - - -RAMBLES IN ROME. - -CORRECTIONS, ALTERATIONS, AND DISCOVERIES TO SEPTEMBER 1889. - - -Page 9. Some of the columns of the Temple of Neptune have been -isolated. - -Page 45. PLAN.--A is the Shrine of Janus. B, Inscription to -Constantinus II., 357 A.D. C, Pedestal to Statue of Constantine -(Eusebius, E. H., ix. 9, "Life of Constantine I.," 40 and 48). D, -Inscription to Arcadius, Honorius, and Theodosius. - -Page 56, sixth line from bottom, _for_ at the same time _read_ in -1503. - -Page 60, sixth line from bottom, _for_ S. Bonaventura _read_ the AEdem -Larum. - -Page 72, line 19, _for_ inside _read_ outside. - -Page 76, line 23, _for_ Scipio _read_ Regulus. - -Page 77, sixth line from bottom, _for_ second _read_ third, 299-296. - -Page 103. The Apollo Theatre is pulled down. - -Page 118, line 21, _for_ Monsignor Macchi _read_ the Maggiordomo; also -at page 124, third line from bottom. - -Page 121. VATICAN GALLERIES.--Second line, _for_ 3rd and 4th objects -_read_--3. S. Giovanni della Salle, founder of the Christian Brothers -Schools, by C. Manani, 1888. 4. Jesuits Martyred in Japan, by Peter -Gagliardi. - -_Second Room._--No. 12, _read_ S. Grata of Bergamo, with the head of -her lover, S. Alexander of the Theban legion, by Peter Loverini, 1887. - -Page 126. _Hall of Busts._--_For_ 280 _read_ 273, the young Augustus. -_For_ 282 _read_ 272, and _for_ 285 _read_ 292. - -Page 127. _Cabinet of Masks._--_For_ 427 _read_ 425. _For_ 428 _read_ -427. After Alcamenes, line 10, _read_ 436, Venus of Cnidos, by -Praxiteles. _For_ 436 _read_ 441. _Omit_ 441, Ganymedes, and _for_ 442 -_read_ 443. - -Page 129. _Chiaramonti Corridor._--_For_ 635 _read_ 636. _Omit_ 416, -Augustus as a Youth. _Insert_ 372_a_, A Fragment from the Parthenon, by -Phidias. _Omit_ 112, Venus of Cnidos. _For_ 484 _read_ 483, Cupid. 639 -_read_ Soemia. - -Page 130. _Braccio Nuovo._--_For_ 92 _read_ 38B. _For_ 96A _read_ 97A. -_Insert_ 112, a fine bust of Juno as queen of heaven. - -Page 136. Torlonia Museum closed to the public. - -Page 140, line 19, _for_ by the new road _read_ Via Luciano Manara. - -Page 147. BORGHESE GALLERY.--Permission necessary. To be obtained at -the palace, on the days the gallery is opened, before 1 P.M. - -Page 160. KIRCHERIAN MUSEUM.--The objects have been arranged in cases -on the walls instead of down the centre of the rooms. _Third -Room._--_For_ at end on left _read_ in front of the window. - -Page 175. CAPITOLINE MUSEUM.--36. _Omit_ whose bust it now supports; -_insert_ a porphyry fragment. 41. _For_ Antoninus Pius _read_ -Claudius. 49, 50. _After_ Pius _read_ destroyed in 1665 by Alexander -VI. - -Page 179. _Omit_ 23. Mercury. - -Page 180. _Terra-cotta Room._--_Omit_ a large jar, _down to_ urn. - -Page 181. _Omit_ the case, line 21, _down to_ Pia. - -Page 183. _Courtyard._--_For_ 2 and 3 _read_ 4 and 6; _for_ 3 and 18 -_read_ 5 and 7; _for_ 7 _read_ 9; _for_ 8 and 13 _read_ 18 and 10. - -_Lower Corridor._--_For_ 3 _read_ 4; _for_ 5 _read_ 8; _for_ 7 _read_ -18; _for_ 8 _read_ 21; _for_ 10 _read_ 23; _for_ 14 _read_ 35; _for_ -15 _read_ 36; _for_ 16 _read_ 37; _for_ 17 _read_ 38; _for_ 18. -Porphyry _read_ 39. Original. - -No. 3. A votive altar dedicated to the imperial house, on the left -side of which is a personification of the Via Appia reclining on a -wheel, similar to Trajan's Relief on the Arch of Constantine. - -No. 6. Egyptian statuette, with the cartouch of Rameses II., found on -Via Nazionale. The base upon which it stands is inscribed to Fabius -Cilone, prefect of Rome under Septimius Severus, who had performed the -annual sacrifice to Hercules at the Ara Maxima, at the entrance to the -Circus Maximus. No. 13 is a companion inscription, a circular vase -offered by Catius Sabinus, prefect of Rome, who performed the annual -sacrifice at the great altar of Hercules. It was found at the back of -S. Maria in Cosmedin. - -No. 17. Inscription to Hercules the leader of the Muses by the Consul -M. F. Nobilior, 189 B.C., from the temple which stood in the Portico -of Philip, now S. Ambrogio. - -Nos. 2 and 3 in the courtyard are the two Egyptian lions from the -Temple of Isis, which in the sixteenth century were placed at the foot -of the ascent to the Capitol, and removed here in 1885. - -Nos. 13 and 14. Two columns from the same temple found in 1883. - -No. 32. Sphinx in red granite. 33. Vase in basalt, Villa Hadrian. -Altar sacred to Isis. On the left side is Harpocrates, the god of -silence; on the right, Anubis, the Egyptian Mercury. 34. Sphinx in -basalt, with the cartouch of Amasi II., 550 B.C. 44 and 51. -Monkey-gods of Pharaoh Nectanebus I., 370 B.C. 49. Crocodile in red -granite. With the exception of the vase, all these objects came from -the Temple of Isis and Serapis on the Campus Martius, founded, B.C. -100, by Apuleius II., and rebuilt by Domitian (Suetonius, "Dom." v.). - -_Hall of Mosaics._--On right in entering, inscription to Nerva, by -Septimius Severus, A.D. 194, used in 1676 by the city Conservatori to -record their privileges. - -8. Mosaic Head of an Athlete. 9. The Sea with fish, and a border of -foliage and birds, from the Baths of Olympia, Viminal Hill. 10. The -Rape of Proserpina (the names of the horses are written in Greek), -from a tomb on the Via Portuense. 12. Representation of a Bath, from -the Praetorian Camp. 14. Hercules conquered by Love. 18. A veiled woman -presenting a statuette to a seated nude figure, probably Mercury: a -beautiful work. 24. Personification of the Month of May. 27. An -Inundation of the Nile. 28. A Ship entering a Port. In the centre of -the room, - - -ALTAR OF THE LARES. - -In the month of August 1888, on the Via Arenula, the new street -leading to the new Ponte Garibaldi, at the corner of the Via di S. -Bartolomeo dei Vaccinari, the last street on the right which leads up -to the reputed House and School of S. Paul, at the depth of -twenty-seven feet (which shows how the soil has accumulated here), -another of the Lares Compitales of the time of Augustus was -discovered. It is a square marble altar with a beautiful cornice, -which is, unfortunately, broken. On the front is a relief representing -four men at a sacrifice, with bay crowns upon their veiled heads. A -bull and a pig are by assistants being led up to sacrifice--the bull -to the Genius Caesarum, and the pig to the Lares. On each side of the -altar is the figure of a youth, the titular deities; and at the back a -crown. - -Above the relief in front is the inscription,-- - - LARIBVS . AVGVSTIS - CIVS . C. M - MANIVS C. _l. iu_STVS - MAG. VICI ANNI . NONI - -It was dedicated to the Lares of Augustus by four officials of a -street nine years after Augustus had restored the street shrines. That -was in 6 B.C. (Dion Cassius, lv. 8); so this altar was erected in A.D. -3. - -On the right side under the cornice is inscribed,-- - - P . CLODIVS . P - -and on the left side,-- - - S . L . L . SALVIVS . - -evidently the names of two of the officials. - -The altar stands on a travertine base, on which is written,-- - - _ma_GISTRI . VICI . AESCLETI . ANNI . VIIII - -which is valuable as giving us the name of the street Vicus AEscletus, -Beech Street. - - "Nec rigida mollior aesculo." - HORACE, _Odes_, iii. 10. - - "Altior ac penitus terrae defigitur arbos, - AEsculus in primis." - VIRGIL, _Georgics_, ii. 290. - -This is the first mention we have of this street. The victors of the -Pythian games were crowned with a chaplet made of beech leaves before -the bay (laurel) was used; hence Ovid,-- - - "AEsculeae capiebat frondis honorem." - _Met._ i. 449. - -Suetonius ("Augustus," xxx.) says, "He divided the city into regions -and streets, ordaining that the annual magistrates should take by lot -the charge of the former, and that the latter should be superintended -by wardens chosen out of the people of each neighbourhood." Pliny ("N. -H.," iii. 9) says, "The city is divided into fourteen regions, with -two hundred and sixty-five cross streets under the guardianship of the -Lares." - -The pedestal of the Apollo, leader of the Muses (No. 516), in the -Vatican Museum, is an altar dedicated to the Laribus Augustis, Genius -Caesarum, by four street officials; on the left of which is the Genius -of Augustus, similar to the statue, 555, in the Sala Rotonda. - -If the Jewish tradition is correct, that the House of S. Paul was at -the angle of the Via S. Bartolomeo dei Vaccinari and the Via degli -Strengari; and if the Romish Church tradition is true, that he had a -school (room shown) at the Church of S. Paola alla Regola, on the Via -S. Paola alla Regola, a continuation of the Via S. Bartolomeo dei -Vaccinari; then we have at last arrived at the name of the street -where the apostle dwelt for two whole years in his own hired house, 62 -to 64,--namely, the Vicus AEscletus, probably so called because it led -to a grove of beech trees, AEsculus being corrupted into AEscletus. - -Pliny (xvi. 15) speaks of this grove: "Q. Hortensius, the dictator, on -the secession of the plebeians to the Janiculum (A.U.C. 466), passed a -law in the AEsculetum, that what the plebeians had enacted should be -binding on every Roman citizen." - - * * * * * - -_Second Room._--The walls are encased with inscriptions. _On the left_ -is a fragment of a Roman calendar, found in 1888 near S. Martino di -Monti. It represents the 1st to 3rd, 18th to 29th of April, and 1st to -4th of May. _On the door_ is part of a Lex Horreorum of the time of -Hadrian. These magazines were situated near Monte Testaccio. _On the -right_ of window inscription of Lucius Aquilinus Modestus, master of -the guild of timber merchants at Ostia. _On the door opposite_, -inscription dedicated to the imperial house by a college of health -found near Monte Testaccio. - -_Third Room._--_In the centre_ is the pedestal of the statue of -Cornelia, the mother of the Gracchi, which Pliny (xxxiv. 14) tells us -was erected in the Portico of Octavia, where it was found in 1879. _On -right of door_, fragment of the inscription recording Hadrian burning -the bonds in Trajan's Forum in 118; a part of the inscription is in -Trajan's Forum. _By the window_, inscription to Aulus Septicius -Alexander, a seller of floral wreaths on the Via Sacra. _By the next -window_, a dedication to Concord by Marcus Artorius Geminus, prefect -of the military treasury, from the Temple of Concord in the Forum. -Inscription to Nero and Poppaea, wishing them good health, on behalf of -the governor of the Balearic Islands, A.D. 60. Fragment of a Fasti, -A.D. 220. A fragment of the Maffeiano Calendar. _On the next wall_, -inscription of Lucius Considius Gallus, praetor for the strangers, etc. - -Page 184. _Hall of Inscriptions: First Room._--No. 11. Sarcophagus -representing hunting of wild animals. 18. Cippus to Faustina the -elder, erected by an official of the treasury, found near the Temple -of Saturn in the Forum. 19. Head of Giuba II., King of Numidia. 26. -Base dedicated to Hercules Victorious. 28. Sarcophagus of a boar and -stag hunt. 30. Sarcophagus, Hunt of the Calydonian Boar, from third -room. (See at foot of page 183.) - -_Near the door_, inscription of a monument to Marcus Calpurnius Piso -Frugi, B.C. 88, restored by Trajan. _Over the door_, inscription of -the guild of bargemen of Ostia, A.D. 193. - -Page 185, line 2, _for_ 2 _read_ 3; _for_ 6 _read_ 4; _for_ 12, 13 -_read_ 15, 17; _for_ 15 _read_ 19. - -Page 186, line 7, _for_ 5 _read_ 20. - -Page 187. _Hall of Emperors._--A fine head of Augustus, found, 1889, -on Via Merulana, represents him crowned with a wreath of myrtle in -commemoration of the ovation celebrated by him (Pliny, xv. 38). - -Page 192. GHETTO.--The Via Rua and other streets of the Jews' Quarter -have been demolished. - -Page 194. The new bridge, Ponte Garibaldi, is approached by the new -Via Arenula. - -Page 196. The Spada Palace is closed to the public. - -Page 199. The Pons Cestius is being rebuilt. - -Page 201. The Ponte Rotto has been destroyed by the municipality, and -a new bridge, Ponte Palatino, has been built alongside the site of the -old one. - -Page 208. THE WALL OF THE LATINS.--This is now best seen from the new -road, Via di Porta S. Paolo. - -Page 212. THE CLOACA MAXIMA.--_For_ 530 _read_ 615. The exit is now -covered by the new embankment of the Tiber. - -Page 222, line 14, _for_ by entering the stonemason's yard, _read_ in -the new excavations. - -Page 248. MUSEO URBINO.--Not yet opened to the public. - -Page 254, line 11, _for_ close by _read_ in the Via Urbana. - -Page 255, tenth line from bottom, _for_ we come to where _read_ at the -junction of the new Via Cavour, the Via Giovanni Lanza; and - -Page 258, line 21, _for_ Paul _read_ Pius. - - -NEW NATIONAL MUSEUM--Page 265. - -The Government is forming in the old monastery, amidst the ruins of -the Baths of Diocletian, a museum, composed of the objects found on -Government property since 1870. It promises to be one of the most -interesting collections in Rome. Amongst the objects of primary -importance we may mention the Ceres, found in the Stadium of Domitian -on the Palatine, 1878. The Apollo AEgioclus from Hadrian's Villa. The -bronze Meleager by Lysippus, found in February 1885 amidst the ruins -of the Thermae of Constantine on the Quirinal Hill. The Boxer, also in -bronze, found in the same place in April of the same year. This is the -most realistic statue preserved from ancient days. The youth Bacchus, -in bronze, found in the Tiber, September 1885; probably by Praxiteles, -or of his school. - -Page 269. Ludovisi Museum closed to the public. - -Page 284, last line but 13, _for_ palace _read_ Praetorian Camp. - -Page 299. Sixth line. At the tenth mile carriages _cannot now_ pass -into the Via Appia Nuova. From the eighth to the eleventh mile it is -now practicable to walkers only. - - -NEW ETRUSCAN MUSEUM--Page 305. - -The Government have formed in the Villa of Papa Julio a museum of the -objects recently discovered at Civita Castellana, the ancient Etruscan -city of Falerii. Our young friends will remember the Schoolmaster and -his Pupils. The objects are arranged in cases round the rooms, and are -of great interest; but they are considerably mixed as regards their -epochs. Three periods are represented--Native, Etruscan, and Greek. -Instead of these being arranged in distinct cases, they are mixed up -in nearly every case. Some of the vases are fine works of art, whilst -all are interesting. The wooden coffins, hollowed out of trees, should -be examined; also the skull with the gold band, which formerly -supported four false teeth. - - * * * * * - -Page 315. Dr. Forbes's excursion is on Friday. - - -ROMAN DIRECTORY. - - Page 352. The fare for a course is now half a lira. - - Page 355. _For_ Monsignor Macchi _read_ the Maggiordomo. - Villa Ludovisi destroyed, Museum closed. - - Page 356. Father Gavazzi is dead. - - Page 357. Vansittart's bank is closed. - British Ambassador, the Marquis of Dufferin and Ava. - United States Minister, the Hon. Albert G. Porter. - United States Consul-General, Mr. Augustus Bourne. - Mosaics--Gallant's is closed. - - Page 358. Chapman's Pension is 76 Via S. Niccolo da Tolentino. - Tallinback's Pension is at 66 Via due Macelli. - Population to June 30, 1889, was 408,000. - Protection of Animals--Office, Via S. Giacomo. - Theatres--Apollo destroyed; Umberto closed. - - - - -Preface. - - -The object of our work is to describe in a practical manner the points -of interest in and around the Eternal City. One half of our life has -been spent in studying Rome on the spot. For our guides we have had -the classic authorities and recent excavations; and it has been with -us a labour of love to work out from our authors the meaning of the -ruins uncovered, and impart the information thus obtained to others. - -The excavations of the last few years have thrown an entirely new -flood of light upon the existing remains and Roman history, and have -proved beyond doubt that there is a great deal more truth in the early -history of Rome than has generally been supposed. It has been our -privilege to watch the excavations year after year, and elucidate the -remains found; and our labours have been rewarded with some not -unimportant discoveries. We state nothing without citing classic -authority to bear us witness, and the authority so cited agrees in a -marvellous way with the ruins discovered. We feel that our efforts -have been appreciated by the many hundreds whom we have guided to -these classic spots, and we hope our book may be likewise valued by -those who cannot come to Rome. - -These Rambles will enable the visitor who is making a brief stay in -Rome to see the principal objects of interest in a short time. - -By following the instructions given much time will be saved, and the -Rambler will not have to go over the same ground unnecessarily. - -Visitors whose stay is limited to a few days should select the -subjects they are most interested in; whilst others, who have "plenty -of time," are advised to divide the Rambles according to the time at -their disposal. - - S. R. F. - ROME, _December 1886_. - - - - -List of Illustrations. - - - PLAN OF ANCIENT ROME, xxviii - - PIAZZA DEL POPOLO, 3 - - COLUMN OF MARCUS AURELIUS, 7 - - TEMPLE OF NEPTUNE, 9 - - PLAN OF THE ROMAN FORUM, 17 - - THE ROMAN FORUM, LOOKING TOWARDS THE CAPITOLINE - HILL, 19 - - THE ROMAN FORUM FROM THE CAPITOL, 23 - - DUILIAN COLUMN, 25 - - TEMPLE OF VESPASIAN, TABULARIUM, AND PORTICO OF - THE TWELVE GODS, 29 - - DEATH OF VIRGINIA, 34 - - PLAN OF THE ROSTRA, AND TEMPLE-TOMB OF CAESAR, 37 - - HADRIAN ADDRESSING THE PEOPLE FROM THE ROSTRA - JULIA, 37 - - MARCUS CURTIUS LEAPING INTO THE GULF, 39 - - THE ROSTRA, 42 - - PLAN OF THE ROSTRA AD PALMAM, 45 - - RELIEF FROM THE ARCH OF CONSTANTINE, 47 - - DEDICATION OF THE TEMPLE, 51 - - PLAN OF THE ATRIUM VESTAE, 53 - - PLAN OF THE NORTH SIDE OF THE SACRA VIA, 57 - - PLAN OF THE HOUSE OF CAESAR AND PORTICO OF - PEARL-DEALERS, 61 - - PLAN OF THE PALATINE HILL, AND PALACE OF THE - CAESARS, 68 - - PLAN OF THE PALACE OF DOMITIAN, 80 - - PLAN OF THE HOUSE OF GERMANICUS, 81 - - PLAN OF THE BASILICA ON THE PALATINE, 82 - - ARCH OF TITUS, BEFORE RECENT EXCAVATIONS, 87 - - BAS-RELIEF ON THE ARCH OF TITUS, 88 - - ARCH OF TITUS, WITH THE META SUDANS, AND - BASILICAE OF THE FORUM OF CUPID, 90 - - ARCH OF CONSTANTINE, 93 - - THE COLOSSEUM, 97 - - EXCAVATIONS ON THE ARENA OF COLOSSEUM, 99 - - SECTION OF SEATS AND ARCHES OF THE COLOSSEUM, 102 - - S. PETER'S AND THE VATICAN, 107 - - INTERIOR OF S. PETER'S, 111 - - THE FARNESE PALACE, 133 - - THE PAULINE FOUNTAIN, 139 - - THE PANTHEON, 151 - - INTERIOR OF THE PANTHEON, 153 - - BATHS OF AGRIPPA, 157 - - VIEW OF THE CAPITOL, 165 - - TEMPLE OF JUPITER CAPITOLINUS, 167 - - TARPEIAN ROCK, 168 - - PLAN OF THE PALAZZO DEI CONSERVATORI, 176 - - ROUND TEMPLE OF HERCULES AND TEMPLE OF PATRICIAN - CHASTITY, 203 - - FOUNTAIN OF TREVI, 215 - - PLAN OF THE FORUM OF TRAJAN, 219 - - TRAJAN'S FORUM, 221 - - BATHS OF HADRIAN AND GOLDEN HOUSE OF NERO, 225 - - THE SCALA SANTA, 242 - - BASILICA OF S. MARIA MAGGIORE, 257 - - BATHS OF CARACALLA, 277 - - CIRCUS OF MAXENTIUS, 295 - - TOMB OF CECILIA METELLA, 297 - - MAP OF THE ROMAN CAMPAGNA, 300 - - PLAN OF TIVOLI, 316 - - GROTTO OF THE SIBYL, TIVOLI, 319 - - TEMPLE OF VESTA AND GROTTO OF NEPTUNE, 320 - - PLAN OF HADRIAN'S VILLA AT TIVOLI, 322 - - VILLA OF HADRIAN, 323 - - PORTA MAGGIORE, 325 - - CLAUDIAN AQUEDUCT, 329 - - SKETCH PLAN OF THE EXCAVATIONS AT OSTIA, 345 - - - - -CONTENTS. - - - FIRST IMPRESSIONS. - - THE TOPOGRAPHY OF ROME -- THE PLAN OF OUR RAMBLES -- - HEALTH AND CLIMATE -- USEFUL HINTS -- THE TIBER -- HOW - ROME BECAME RUINS -- THE WALLS OF ROME -- THE GATES -- - ROMAN CONSTRUCTION xi-xxvii - - - RAMBLE I. - - THE CENTRE OF ROME. - - PIAZZA DEL POPOLO -- THE OBELISK -- S. MARIA DEL POPOLO -- - THE CORSO -- S. LORENZO IN LUCINA -- POST OFFICE -- - ENGLISH CHURCH -- COLUMN OF MARCUS AURELIUS -- MONTE - CITORIO -- PARLIAMENT HOUSE -- OBELISK -- TEMPLE OF - NEPTUNE -- S. MARIA IN VIA LATA -- THE SEPTA -- THE DORIA - GALLERY -- TOMBS OF ATTIA CLAUDIA AND BIBULUS -- THE - MAMERTINE PRISON -- THE FORUM OF JULIUS CAESAR -- THE ROMAN - FORUM AND ITS RUINS -- THE VIA SACRA -- TEMPLES OF - ROMULUS, VENUS AND ROMA -- TEMPLE OF THE PENATES -- HOUSE - OF JULIUS CAESAR -- BASILICA OF CONSTANTINE -- S. FRANCISCA - ROMANA -- THE PALATINE HILL AND THE PALACE OF THE CAESARS - -- ARCH OF TITUS -- THE TEMPLE OF THE SUN -- THE FORUM OF - CUPID -- PEDESTAL OF NERO'S COLOSSUS -- META SUDANS -- - ARCH OF CONSTANTINE -- THE COLOSSEUM 1-102 - - - RAMBLE II. - - IN TRASTEVERE. - - THE BRIDGE AND CASTLE OF S. ANGELO -- THE TOMB OF HADRIAN - -- S. PETER'S -- THE SACRISTY -- THE CRYPT -- THE DOME -- - THE VATICAN -- SCALA REGIA -- SISTINE AND PAULINE CHAPELS - -- STANZE AND LOGGIE OF RAPHAEL -- THE PICTURE GALLERY -- - THE MOSAIC MANUFACTORY -- THE MUSEUM OF SCULPTURE -- THE - INQUISITION -- PORTA S. SPIRITO -- S. ONOFRIO AND TASSO'S - TOMB -- MUSEUM TIBERINO -- THE CORSINI AND FARNESINA - PALACES -- PORTA SETTIMIANA -- VIA GARIBALDI -- S. PIETRO - IN MONTORIO -- PAULINE FOUNTAIN -- VILLA PAMPHILI DORIA -- - S. CECILIA IN TRASTEVERE -- CHURCH OF S. CRISOGONO -- - STAZIONE VII COHORTI DEI VIGILI -- CHURCH OF S. MARIA IN - TRASTEVERE -- PONTE SISTO -- FARNESE AND CANCELLERIA - PALACES -- STATUE OF PASQUINO -- CHIESA NUOVA -- CIRCO - AGONALE -- OBELISK -- S. AGNESE -- S. MARIA DELLA PACE -- - S. AGOSTINO 103-145 - - - RAMBLE III. - - BY THE TIBER. - - VIA RIPETTA -- MAUSOLEUM OF AUGUSTUS -- THE CAMPUS MARTIUS - -- THE BORGHESE GALLERY -- HILDA'S TOWER -- THE PANTHEON - -- BATHS OF AGRIPPA -- S. MARIA SOPRA MINERVA -- COLLEGIO - ROMANO -- KIRCHERIAN AND PRE-HISTORIC MUSEUMS -- "THE - GESU" -- TEMPLE OF HERCULES -- THE CAPITOLINE HILL -- ARA - COELI CHURCH -- TEMPLES OF JUPITER CAPITOLINUS AND - JUPITER FERETRIUS -- THE TARPEIAN ROCK -- TEMPLES OF - CONCORD AND JUNO -- THE TABULARIUM -- ROME FROM THE TOWER - -- THE SEVEN HILLS -- MUSEUMS AND PICTURE GALLERY OF THE - CAPITOL -- THEATRE OF MARCELLUS -- DECEMVIRAL PRISONS -- - PORTICO OF OCTAVIA -- THE GHETTO -- CENCI PALACE -- - THEATRE OF BALBUS -- POMPEY'S THEATRE -- CAESAR'S DEATH -- - STATUE OF POMPEY -- SPADA PALACE -- S. PAUL'S HIRED HOUSE - -- FABRICIAN BRIDGE -- ISLAND OF THE TIBER -- PONS CESTIUS - -- TEMPLES OF JUNO, PIETY, AND HOPE -- HOUSE OF RIENZI -- - PONTE ROTTO -- HORATIUS'S BRIDGE -- TEMPLE OF PATRICIAN - CHASTITY -- ROUND TEMPLE OF HERCULES -- S. MARIA IN - COSMEDIN -- EMPORIUM -- MONS TESTACCIO -- PROTESTANT - CEMETERY -- THE AVENTINE HILL -- CHURCHES OF IL PRIORATO, - SS. ALEXIUS, SABINA, PRISCA, SABA -- THE CIRCUS MAXIMUS -- - S. ANASTASIA -- ARCH OF JANUS (?) -- ARCH OF THE - SILVERSMITHS AND CATTLE-DEALERS -- S. GIORGIO IN VELABRO - -- CLOACA MAXIMA -- S. TEODORO 146-213 - - - RAMBLE IV. - - UNDER THE EASTERN HILLS. - - VIA BABUINO -- PIAZZA DI SPAGNA -- TREVI FOUNTAIN -- - PIAZZA SS. APOSTOLI -- COLONNA GALLERY -- FORUM AND COLUMN - OF TRAJAN -- FORUM OF AUGUSTUS -- TEMPLE OF MARS ULTOR -- - ACADEMIA DI S. LUCA -- FORUM OF NERVA -- ALTAR OF MINERVA - -- SITE OF THE HOUSE OF POMPEY -- TORRE DI CONTI -- HOUSE - OF LUCREZIA BORGIA -- S. PIETRO IN VINCOLI -- THE GOLDEN - HOUSE OF NERO AND THE BATHS OF HADRIAN -- THE BASILICAE OF - S. CLEMENT -- TEMPLE OF MITHRAS -- EGYPTIAN OBELISK -- THE - BAPTISTERY -- THE LATERAN MUSEUM AND GALLERY -- S. JOHN - LATERAN -- SCALA SANTA -- VILLA WOLKONSKY -- THE - AMPHITHEATRE -- S. CROCE IN GERUSALEMME -- THE SESSORIUM - PALACE -- S. STEFANO ROTONDO -- NERO'S MEAT-MARKET -- S. - MARIA DELLA NAVICELLA -- ARCH OF DOLABELLA -- VILLA - COELIMONTANA -- SS. GIOVANNI AND PAOLO -- TEMPLE OF - CLAUDIUS -- THE VIVARIUM AND SPOLIARIUM -- RESERVOIR OF - NERO -- CHURCH OF S. GREGORIO 214-248 - - - RAMBLE V. - - ON THE HILLS, EAST. - - THE PINCIO -- THE FRENCH ACADEMY -- CHURCH OF TRINITA DEI - MONTI -- VIA SISTINA -- PIAZZA BARBERINI -- BARBERINI - GALLERY -- MONTE CAVALLO -- THE QUIRINAL PALACE -- THE - ROSPIGLIOSI PALACE -- COLONNA GARDENS -- CAPITOLIUM VETUS - -- TORRE DELLE MILIZIE -- VIA MAGNANAPOLI -- S. AGATA -- - S. LORENZO IN PANE E PERNA -- THE HOUSE OF PUDENS, THE - BATHS OF NOVATUS, AND THE CHURCH OF S. PUDENZIANA -- SCENE - OF TULLIA'S IMPIETY -- BASILICA OF S. MARIA MAGGIORE -- - CHURCH OF S. MARTINO -- SETTE SALE -- THE AUDITORIUM AND - GARDENS OF MAECENAS -- ARCH OF GALLIENUS -- S. ANTONIO -- - NYMPHAEUM OF ALEXANDER SEVERUS -- TOMBS OF MAECENAS AND - HORACE -- BATHS OF GALLIENUS -- S. BIBIANA -- THE AGGER OF - SERVIUS TULLIUS -- THE PRAETORIAN CAMP -- TEMPLE OF FORTUNA - PRIMIGENIA -- PIAZZA DI TERMINI -- BATHS OF DIOCLETIAN, - AND CHURCH OF S. MARIA DEGLI ANGELI -- VIA NAZIONALE -- S. - PAUL'S WITHIN THE WALLS -- FELICE FOUNTAIN -- THE NEW - MINISTRY OF FINANCE -- FLAVIAN TEMPLE -- THE UNFAITHFUL - VESTAL'S TOMB -- SALLUST'S VILLA -- VILLA LUDOVISI -- - CHURCH AND CEMETERY OF THE CAPPUCCINI -- TABLE OF EGYPTIAN - OBELISKS IN ROME 249-271 - - - RAMBLE VI. - - THE APPIAN WAY. - - THE PORTA CAPENA -- THE VALLEY OF THE MUSES -- BATHS OF - CARACALLA -- S. BALBINA -- SS. NEREO AND ACHILLEO, SISTO, - CESAREO -- VIA LATINA -- S. JOHN'S AND THE LATIN GATE -- - COLUMBARIA OF HYLAS AND VITALINE -- TOMBS OF THE SCIPIOS - AND CORNELIUS TACITUS -- THE COLUMBARIA OF THE HOUSEHOLD - OF CAESAR -- ARCH OF DRUSUS -- PORTA APPIA -- TOMBS OF GETA - AND PRISCILLA -- CHURCH OF DOMINE QUO VADIS -- TOMB OF - ANNIA REGILLA -- CATACOMBS OF S. CALIXTUS AND HEBREWS -- - TEMPLE OF CERES AND FAUSTINA -- VILLA OF HERODES ATTICUS - -- CATACOMBS OF DOMITILLA, SS. NEREUS AND ACHILLEUS -- - BASILICA OF PETRONILLA -- CHURCH AND CATACOMBS OF S. - SEBASTIANO -- TOMB OF ROMULUS -- CIRCUS OF MAXENTIUS -- - TOMB OF CECILIA METELLA -- TOMBS, TEMPLES, AND VILLAS ON - THE VIA APPIA -- THE THREE TAVERNS -- APPII FORUM 273-299 - - - RAMBLES IN THE CAMPAGNA. - - PORTA DEL POPOLO: -- Villa Borghese -- Villa di Papa - Giulio -- Acqua Acetosa -- Ponte Molle -- Villa of Livia - -- Veii -- Monte Mario -- Villas Mellini and Madama. PORTA - SALARA: -- Villa Albani -- Catacomb of S. Priscilla -- - Antemnae -- Ponte Salara -- The Anio -- Fidenae. PORTA PIA: - -- Porta Nomentana -- Villa Torlonia -- Church and - Catacomb of S. Agnese -- S. Costanza -- Ponte Nomentana -- - Mons Sacer -- Tomb of Virginia -- Basilica and Catacomb - of S. Alexander. PORTA S. LORENZO: -- The Roman Cemetery - -- Basilica of S. Lorenzo -- Ponte Mammolo -- Hannibal's - Camp -- Castel Arcione -- Aquae Albulae -- Ponte Lucano -- - Tomb of the Plautii. TIVOLI: -- Villa D'Este -- Temples of - Sibyl and Vesta -- The Glen and Falls -- Pons Vopisci -- - Villa of Quintilius Varus -- The Cascades -- Ponte - dell'Acquoria -- Villa of Maecenas -- Temple of Hercules -- - Hadrian's Villa. PORTA MAGGIORE: -- The Baker's Tomb -- - The Aqueducts -- Tomb of Helena (?) -- Gabii -- Ponte di - Nona -- Villa of the Gordian Emperors -- Tomb of Quintus - Atta. PORTA S. GIOVANNI. _First Excursion_: -- Via Appia - Nova -- Painted tombs -- S. Stephen's -- The Aqueducts -- - Pompey's Tomb -- Albano -- Ariccia -- Genzano -- Lake and - Village of Nemi -- Palazzolo -- Lake Albano -- Castel - Gandolfo -- Site of Alba Longa (?) -- Vallis Ferentina -- - Marino -- Grotta Ferrata -- Cicero's Villa. _Second - Excursion_: -- Frascati -- Tusculum -- Rocca di Papa -- - Monte Cavo. PORTA S. SEBASTIANO: -- Via Appia. (See page - 258.) PORTA S. PAOLO: -- Pyramid of Caius Cestius -- S. - Paul's outside the walls -- Remuria Hill -- Tre Fontane -- - The Viaduct of Ancus Martius. OSTIA: -- Street of Tombs -- - Houses -- Warehouses -- Temples -- Docks -- Palace -- - Walls of Ancus Martius -- Museum -- View from Tower of the - Castle -- Castel Fusano -- Pliny's Villa 302-349 - - - VISITOR'S ROMAN DIRECTORY. - - ARTISTS IN ROME, ENGLISH AND AMERICAN -- ARTISTS, NATIVE - AND FOREIGN -- CARRIAGE TARIFF -- GALLERIES, MUSEUMS, AND - VILLAS OF ROME -- HOTELS RECOMMENDED -- PUBLIC LIBRARIES - -- MASONIC -- ORDERS REQUIRED, AND WHERE OBTAINABLE -- - OMNIBUS ROUTES IN ROME -- PROTESTANT CHURCHES IN ROME -- - POSTAL NOTICES -- LIST OF EMPERORS -- LIST OF KINGS OF - ROME 350-358 - - - - -FIRST IMPRESSIONS. - - -To get a good idea of Rome and its topographical situation, take a -carriage and drive for three hours through the principal streets; more -can be learned in this way than in any other. - -_Start from the_ Piazza di Spagna; drive down the Via Babuino to the -Piazza del Popolo, up to the Pincio, for a view of Rome, looking west; -then along the Via Sistina, up the Quattro Fontane, to the right, down -the Via Quirinale; stop in the square for the view. Proceeding to the -Via Nazionale, turn up it to the left as far as the Quattro Fontane; -then turn to the right past S. Maria Maggiore direct to the Lateran, -from the front of which see the view eastwards; then follow the Via S. -Giovanni down to the Colosseum, passing by the most perfect part. By -the Via del Colosseo, Tor di Conti, Via Croce Bianca, Arco dei -Pantani, Forum of Augustus, and Via Bonella, you reach the Forum, -under the Capitoline Hill. Continuing by the Via Consolazione and -Piazza Campitelli, follow the line of streets to the Ponte Sisto; -crossing this, proceed up the Via Garibaldi to S. Peter in Montorio. -Grand view of Rome and the Campagna, looking north, east, and south. - -_Return_ to the foot of the hill; turn to the left down the Lungara to -S. Peter's; drive round the square; then down the Borgo Nuovo to the -Castle of S. Angelo. Crossing the bridge, take the Via Coronari to the -Circo Agonale; then on to the Pantheon, and by the Minerva to the -Piazza di Venezia; thence up the Corso as far as the Via Condotti, up -which street you return to the Piazza di Spagna, after having thus -made the most interesting drive in the world. - - -THE TOPOGRAPHY OF ROME. - -Rome commences at a point--Piazza del Popolo--and spreads out -southwards like a fan, the western extremity being occupied by the -Vatican, and the eastern by the Lateran; both these head-quarters of -the Papacy are isolated from the rest of the city. Modern Rome -occupies the valley of the Campus Martius, which was outside ancient -Rome, and the hills that abut it. Rome is divided into two unequal -parts by the river Tiber, which enters the line of the walls, with the -Popolo on its left. For a short distance it flows southwards; then it -makes a great bend to the west; then again takes a southerly -direction; and at the island again turns westerly. One mile south of -the Popolo Gate is the Capitoline Hill, the Arx of ancient Rome, -dividing, as it were, Old from New Rome. It rises two hundred yards -east of the Tiber, and from it in an eastern direction lie the other -six hills, curving in a horse-shoe form round the Palatine till the -Aventine abuts the river. Of the hills, the Palatine, Capitoline, -Coelian, and Aventine were only isolated mounts, the Quirinal, -Viminal, and Esquiline being three spurs jutting out from the high -tableland on the east side of Rome. These hills can easily be -distinguished from the Tower of the Capitol; but the best way to -understand them is to walk round them. Then it will be seen that they -are hills indeed; and if we take into consideration that the valleys -have been filled in from thirty to forty feet, and that the tops of -the hills have been cut down, we may get some idea of their original -height. Rome still occupies four of them; but the Aventine, Coelian, -and Palatine are left to ruins, gardens, and monks. - -The original Rome was on the Palatine, and as the other hills were -added they were fortified; but it was not till the time of Servius -Tullius that the seven were united by one system of fortifications -into one city. The plan was simple. From the Tiber a wall went to the -Capitoline, and from that to the Quirinal; across the necks of the -three tongues the great agger was built, then across the valleys from -hill to hill till the wall again reached the river under the Aventine. -The aggers across the valleys were built right up towards the city, so -that the hills on either side protected the walls and gates commanding -the approach. Of all the maps of Rome that have been published, the -new one accompanying this work is the only one which correctly shows -the line of the Servian fortifications. - - -THE PLAN OF OUR RAMBLES. - -From the Piazza del Popolo four great lines of thoroughfare intersect -the city, and passing up one of these for a few hundred yards we may -count five lines. First we take the centre thoroughfare; then the two -lines on its right; then the two upon its left: in this way, by -dividing Rome up into five Rambles, pointing out as we go along every -place of interest to the right and left, we mark out for a day's work -no more than can be thoroughly done. Having thus seen the city, we -take the environs outside each gate, commencing at the Porta del -Popolo and working round by the east, with the exception of the Porta -Appia, which leads out on to the Appian Way. As this Way presents so -many points of interest, and as no visitor should think of leaving -Rome without "doing it," we have made it a special Ramble for their -benefit. - - -HEALTH AND CLIMATE. - -Perhaps the health of no city in the world is so much talked about by -people who know nothing whatever of the subject, as Rome. We meet with -many visitors entertaining all sorts of curious ideas of the health of -Rome--what they may and may not do; and when we ask them their -authority they cannot give any, but "they have heard so." There seem -to be mysterious ideas and impressions floating about that get lodged -in some minds no one knows how. People get ill in Rome, of course, -just as in any other place; but more than half the sickness is caused -through their own imprudence, such as getting hot and going into cold -places, and going "from early morn till dewy eve" without rest and -refreshment. In all hot climates certain precautions should be -observed, and then there is no fear. - -We ourselves have lived many years in this much-abused climate, never -knowing any illness, and enjoying far better health than when residing -in London. O ye rain, mud, and fog! - -The well-known Roman physician, Dr. C. Liberali, M.D., in his -"Hygienic Medical Hand-book for Travellers in Italy," says:--"The -climate of Rome is in the highest degree salubrious and favourable to -all, but especially to delicate persons; but they should follow the -advice of a skilful physician of the country." - -People rush through Europe at express rate, eat all sorts of things -that they are unused to at unusual hours, over-exert themselves, -change the whole course of the living to which they have been -accustomed, get ill, and then say, "It's the climate of Rome." - -There is no doubt that malaria fever does exist in the neighbourhood -of Rome, but only during the three hot months; and as there are no -visitors at Rome then, they are not likely to get it. It does not walk -about the streets seeking whom it may devour, as some people suppose. - -The fever visitors get is ague fever, like that known in the Fen -districts, and this is invariably taken through imprudence. - - -USEFUL HINTS. - -Avoid bad odours. - -Do not ride in an open carriage at night. - -Take lunch in the middle of the day. This is essential. It is better -to take a light breakfast and lunch, than a heavy breakfast and no -lunch. - -No city in the world is so well supplied with good drinking water as -Rome. The best is the Trevi water. Do _not_ drink Aqua Marcia; it is -too cold. - -If out about sunset, throw an extra wrap or coat on, to avoid the -sudden change in the atmosphere. There is no danger beyond being apt -to take a cold. Colds are the root of all evil at Rome. - -Do not sit about the ruins at night. It may be very romantic, but it -is very unwise. There is no harm in walking. - -Close your windows at night. - -If you get into a heat, do not go into the shade or into a building -till you have cooled down. - -Do not over-fatigue yourself. - -Follow these hints, and you will avoid that great bugbear, Roman -fever. - - "A hint on the spot is worth a cart-load of - recollections."--GRAY. - - -THE TIBER. - -The work of clearing the bed of the Tiber has at last commenced. It is -proposed to clear away the accumulation of the mud at different parts, -remove some of the old masonry that stands in the bed of the river, -and widen it at certain points. We very much doubt if this will have -any effect upon the floods, as during the republic and empire, when -there was not all this accumulation, Rome was flooded several times. -The valley of the Tiber, in which Rome stands, is very low, forming, -as it were, a basin which is easily overflowed. It would be advisable -if the authorities were to clean out the old drains, and put swing -trap-doors over their mouths, so that the drainage might flow out, and -the river prevented from flowing in. Every winter some part of the -city is under water, which is caused by the river rushing up the -drains into the city, and not by the overflow of the Tiber. This -inpouring might easily be stopped. - -Some people think that treasures will be found in the bed of the -Tiber, but this is a delusion. Nothing of any value has ever been -found in the river, and it is not likely that anything of value was -thrown there. Small objects only have been found in the recent -dredging. The story of the seven-branched candlestick being thrown -into the river is a delusion, for we have direct evidence to the -contrary. (See p. 89.) - -The piers of the bridges show that the actual bed of the river has not -been much raised; indeed the stream flows so fast that everything is -carried down to the sea. - -_Punch_ says anticipations may be entertained of finding the footstool -of Tullia, the jewels of Cornelia, the ivory-headed sceptre of the -senator Papirius, and the golden manger of the horse of Caligula. - -The length of the Tiber is 250 miles. It rises due east of Florence, -in the same hills as the Arno. Its bed at the Ripetta in Rome is 5.20 -metres above the sea, and it discharges at the rate of 280 cubic -metres a second. The fall from Rome to the sea is 4.20 metres, or -about thirteen feet, and it flows about five miles an hour. - - "'Behold the Tiber!' the vain Roman cried, - Viewing the ample Tay from Baiglie's side; - But where's the Scot that would the vaunt repay, - And hail the puny Tiber for the Tay?" - SIR WALTER SCOTT. - -The river was originally called the Albula, from its colour, and it -was named Tiberis, from King Tiberinus of Alba Longa, who was drowned -in it, and became the river-god (Dionysius, i. 71). - -The ancient Romans looked upon their river with veneration; their -poets sang its praises, its banks were lined with the villas of the -wealthy, and its waters brought the produce of the world to Rome. - - -HOW ROME BECAME RUINS. - - "The Goth, the Christian, time, war, flood, and fire, - Have dealt upon the seven-hilled city's pride." - -Rome was founded in the year 753 B.C., and it gradually increased, as -we all know, till it became the capital of the world. By a summary of -dates we will endeavour to give an idea of the manner in which Rome -became ruins. - -In July 390 B.C. it was devastated by fire. Up to 120 B.C. it was -subject to numerous raids by the Northerners, who, with the help of -civil war, and a devouring fire in 50 B.C., caused the destruction of -several of its most splendid buildings. In 64 A.D., during the reign -of Nero, a terrible fire ravaged the city for six days; and again in -89 A.D. another fire took place, lasting three days. In the reign of -Commodus a third fire occurred, which consumed a large portion of the -city. In 330 A.D. Constantine took from Rome a number of monuments and -works of art to embellish Constantinople. From 408 to 410 A.D. Rome -was three times besieged by the Goths, under Alaric, who plundered and -fired the city; and in 455 A.D. the Vandals took possession of Rome -and plundered it. On June the 11th, 472 A.D., the city was captured by -the Germans, under Ricimer, and in 476 A.D. the Roman Empire was -broken up. - -About 590 A.D. continual wars with the Lombardians devastated the -Campagna. In 607 A.D. the Bishop of Rome was made Pope. In 755 A.D. -the Lombards again desolated Rome; and up to 950 A.D. it was held -successively by the Emperor Louis II., Lambert Duke of Spoleto, the -Saracens, the German king Armilph, and the Hungarians. In 1083 it was -taken by Henry IV. of Germany; and in 1084 it was burned, from the -Lateran to the Capitol, by Robert Guiscard. From the eleventh to the -sixteenth century many of its buildings were turned into fortresses by -the nobles, who made continual war upon each other; and during the -"dark ages" the Romans themselves destroyed many monuments, in order -to make lime for building their new palaces and houses. - -Thus we see that when, in 55 B.C., Julius Caesar, with his "_Veni, -vidi, vici_," conquered the little island now called Great Britain, -Rome contained in ruins many evidences of past splendour, and whilst -the Romans were overrunning the rest of Europe, their empire was -hastening to decay. We, the savages of those days, have ever since -been growing in strength and wisdom, laying the foundations of future -empires, overturning others, but not with the idea of "universal -conquest," but simply for a "balance of power." Ancient Rome, by the -help of invaders, flood, fire, the Popes, and its inhabitants, was -reduced to ruins, which have been in considerable part preserved by an -immense accumulation of soil, which, again, caused them to be -forgotten till recent explorations once more brought them to light. - -Modern Rome stands thirty feet above the level of Ancient Rome, and is -a strange mixture of narrow streets, open squares, churches, -fountains, ruins, new palaces, and dirt. Built during the seventeenth -century, the city is situated in a valley which formed part of the -ancient city, and lies to the north of it, being divided from it by -the Capitoline Hill, and offering to the visitor attractions which no -other city can boast. The germ of the old Roman race which civilized -the world is still alive, and is quickly rising to a new life--lifting -itself, after twenty centuries of burial, from the tomb of ignorance -and oppression. Here is the centre of art and of the world's past -recollections; here is spoken in its purity the most beautiful of -languages; here are a fine climate and a fine country; and here are -being strengthened the power and the splendour of united Italy. - - -THE WALLS OF ROME. - -FIRST WALL--ROMA QUADRATA. - -The city of Romulus, upon the Palatine Hill, was called from its shape -Roma Quadrata. It occupied the half of what we know as the Palatine, -and was surrounded by a wall built up from the base of the hill, and -on the top of the scarped cliff: this wall can be still traced in -part. It was formed of large blocks of tufa, hard stone, and must not -be confounded with the remains of the Arcadian period, on the -Palatine, composed of soft tufa. - -"Romulus called the people to a place appointed, and described a -quadrangular figure about the hill, tracing with a plough, drawn by a -bull and a cow yoked together, one continued furrow" (Dionysius, i. -88). - -"He began to mark out the limits of his city from the Forum Boarium, -so as to comprise within its limits the Great Altar of Hercules. The -wall was built with Etruscan rites, being marked out by a furrow, made -by a plough drawn by a cow and a bull, the clods being carefully -thrown inwards, the plough being lifted over the profane places -necessary for the gates" (Tacitus, xii. 24). - -When the Sabines were approaching to attack the Romans, in revenge for -carrying off their women, Romulus strengthened the wall of Roma -Quadrata, and the Capitoline Hill was occupied as an outpost. - -"He raised the wall of the Palatine Hill by building higher works upon -it, as a farther security to the inhabitants, and surrounded the -adjacent hills--the Aventine, and that now called the Capitoline -Hill--with ditches and strong palisades" (Dionysius, ii. 37). - -"The city was difficult of access, having a strong garrison on the -hill where the Capitol now stands" (Plutarch, "Romulus," 18). - -This hill was taken by treachery, and was not previously occupied by -the Sabines. It was called the Hill of Saturn, but after its capture -the Tarpeian Hill. - -"While the Sabines were passing at the foot of the Capitoline Hill, to -view the place, and see whether any part of the hill could be taken by -surprise or force, they were observed from the eminence by a -virgin"--"Tarpeia, in execution of her promise, opened the gate agreed -upon to the enemy, and calling up the garrison, desired they would -save themselves"--"After the retreat of the garrison, the Sabines, -finding the gates open and the place deserted, possessed themselves of -it" (Dionysius, ii. 38, 39). - -After peace was agreed upon, the two kings, Romulus and Titus Tatius, -reigned jointly, and surrounded the Palatine and Capitoline Hills with -a wall. The other hills, at this period, were not walled. - - -SECOND WALL--THE WALL OF THE KINGS. - -We give it this title because it was built by the two kings jointly; -considerable portions still remain on the Palatine, under S. -Anastasia, and near the Forum of Augustus. The walls of Romulus and -Tatius would naturally be of similar construction to the original wall -of Romulus; there was but little difference in this short time. - -"Romulus and Tatius immediately enlarged the city.... Romulus chose -the Palatine and Coelian Hills, and Tatius the Capitoline, which he -had at first possessed himself of, and the Quirinal Hills" (Dionysius, -ii. 50). - -Numa erected the Temple of Vesta "between the Capitoline and Palatine -Hills; for both these hills had already been encompassed with one -wall; the Forum, in which this temple was built, lying between them" -(Dionysius, ii. 66). - -The other hills were inhabited, and surrounded at different times with -walls, forming fortresses outside the city for the defence of the city -proper. - -Numa "enlarged the circuit of the city by the addition of the Quirinal -Hill, for till that time it was not enclosed with a wall" (Dionysius, -ii. 62). - -Ancus Martius "made no small addition to the city by enclosing Mount -Aventine within its walls, and encompassing it with a wall and a -ditch. He also surrounded Mount Janiculum with a wall" (Dionysius, -iii. 44). - -Florus says: "He [Ancus Martius] encompassed the city with a wall." -Again: "What kind of a king was the architect Ancus? how fitted to -extend the city by means of a colony [Ostia], to unite it by a bridge -[the Sublicius], and secure it by a wall?" - -"The Quiritian trench also--no inconsiderable defence to those parts, -which from their situation are of easy access--is a work of King -Ancus" (Livy, i. 33). - - -THIRD WALL--AGGERS OF SERVIUS TULLIUS. - -These seem to have been commenced by Tarquinius Priscus, and completed -by Servius Tullius, and so called by his name. - -"He [Tarquinius Priscus] was the first who built the walls of the city -[of which the structure was extemporary and mean] with stones, -regularly squared, each being a ton weight" (Dionysius, iii. 68). - -Tarquinius (616 B.C.) "intended also to have surrounded the city with -a stone wall, but a war with the Sabines interrupted his designs" -(Livy, i. 36). - -"He set about surrounding with a wall of stone those parts of the city -which he had not already fortified, which work had been interrupted at -the beginning by a war with the Sabines" (Livy, i. 38). - -"He [Servius] surrounded the city with a rampart, trenches, and a -wall, and thus extended the Pomoerium," 578 B.C. (Livy, i. 44). - -"As the Esquiline and Viminal Hills were both of easy access from -without, a deep trench was dug outside them, and the earth thrown up -on the inside, thus forming a terrace of six stadia in length along -the inner side of the trench. This terrace Servius faced with a wall, -flanked with towers, extending from the Colline to the Esquiline gate. -Midway along the terrace is a third gate, named after the Viminal -Hill" (Strabo, v. 3). - -"Tullius had surrounded the seven hills with one wall" (Dionysius, iv. -14). - -The seven hills were not surrounded, strictly speaking. Each hill -formed a bastion, and aggers, or curtains of earth faced with stone, -were built across the valleys, uniting these bastions. The Esquiline, -Viminal, and Quirinal, being ridges jutting out of the table-land and -not isolated hills, had one long agger built across their necks. - -"Some parts of these walls, standing on hills, and being fortified by -nature itself with steep rocks, required but few men to defend them, -and others were defended by the Tiber.... The weakest part of the city -is from the gate called Esquilina to that named Collina, which -interval is rendered strong by art; for there is a ditch sunk before -it, one hundred feet in breadth where it is narrowest, and thirty in -depth. On the edge of this ditch stands a wall, supported on the -inside with so high and broad a rampart that it can neither be shaken -by battering-rams nor thrown down by undermining the foundations. This -rampart is about seven stadia in length and fifty feet in breadth" -(Dionysius, ix. 68). - -This grand agger can be traced almost in its entire extent, as also -the smaller aggers. There seems to have been no wall--that is, stone -or earth fortification--between the Aventine and Capitoline, the Tiber -being considered a sufficient defence. - -"The city, having no walls in that part next the river, was very near -being taken by storm" (Dionysius, v. 23) when Lars Porsena advanced to -attack the city, after having taken the Janiculum, intending to cross -the river by the only bridge, which, as we know, was defended by -Horatius Cocles, and broken down by the Romans in his rear. - -The walls of Servius Tullius were strengthened at the time of the war -with Gabii. - -"Tarquinius Superbus was particularly active in taking these -precautions, and employed a great number of workmen in strengthening -those parts of the city walls that lay next to the town of Gabii, by -widening the ditch, raising the walls, and increasing the number of -the towers" (Dionysius, iv. 54). - -"On the eastern side it is bounded by the Agger of Tarquinius -Superbus, a work of surpassing grandeur; for he raised it so high as -to be on a level with the walls on the side on which the city lay most -exposed to attack from the neighbouring plains. On all the other sides -it has been fortified either with lofty walls or steep or precipitous -hills; but so it is that its buildings, increasing and extending -beyond all bounds, have now united many other cities to it" (Pliny, -iii. 9). - -"After Camillus had driven out the Gauls, both the walls of the city -and the streets were rebuilt within a year" (Plutarch, "Cam." 32). - -"The legions being brought to Rome, the remainder of the year was -spent in repairing the walls and the towers," 350 B.C. (Livy, vii. -20). - -"They received a charge from the senate to strengthen the walls and -towers of the city," 217 B.C. (Livy, xxii. 8). - -After the republic was firmly established, and the boundaries of the -state enlarged, the walls of the city became obsolete, and it was to -all intents and purposes an open city until the time of Aurelian. - -"All the inhabited parts around it [the city], which are many and -large, are open, and without walls, and very much exposed to the -invasion of an enemy. And whoever considers these buildings, and -desires to examine the extent of Rome, will necessarily be misled, for -want of a certain boundary that might distinguish the spot to which -the city extends, and where it ends. So connected are the buildings -within the walls to those without, that they appear to a spectator -like a city of an immense extent" (Dionysius, iv. 13). - - -FOURTH WALL--THE WALL OF AURELIAN. - -From the time of Servius to Aurelian the city, though much enlarged, -had no new wall, though the boundaries had been extended. To continue -our last quotation from Dionysius, who died 7 B.C., this is evident. - -"But if any one is desirous to measure the circumference of it by the -wall--which, though hard to be discovered, by reason of the buildings -that surround it in many places, yet preserves in several parts of it -some traces of the ancient structure--and to compare it with the -circumference of the city of Athens, the circuit of Rome will not -appear much greater than that of the other" (Dionysius, iv. 13). - -The Pomoerium, or city bounds, was enlarged, as we know, by several -emperors, some of their _cippi_, or boundary-stones, being still _in -situ_; but there was no wall. Where the roads crossed the line of the -Pomoerium, gates were built, between which there were no walls. The -Romans considered the rivers Tigris, Euphrates, and Danube, the desert -and the ocean, as the walls of Rome. - -"When he [Aurelian] saw that it might happen what had occurred under -Gallienus, having obtained the concurrence of the senate, he extended -the walls of the city of Rome" (Vopiscus, in "Aur.," 21). - -"Thus also Rome was surrounded by walls which it _had not before_, and -the wall begun by Aurelian was finished by Probus" (Zosimus, i. 49). - -Other quotations might be given to show that Aurelian surrounded the -Rome of the empire with walls which it had not before his time. He -incorporated with his wall everything that stood in his way,--tombs, -aqueducts, palaces, camps, and amphitheatre. It was commenced and -finished in nine years, and had twenty-two gates, nineteen of which -still remain. - -These present walls have been in part rebuilt, repaired, and -strengthened at different intervals, as occasion might require, from -the time of Honorius, who improved and added to the existing gates, to -that of Totila, who "resolved to raze Rome to the ground. So, of the -circuit of the walls he threw down as much in different places as -would amount to about a third part of the whole" (Procopius, "Bello -Gothico," iii. 22). - -Belisarius "made hasty repairs," after which the Popes stepped in and -took up the tale, and put up inscriptions, so that there should be no -mistake about it. Leo IV. built the walls of the Leonine city, to -protect it from the Saracens, besides repairing the Aurelian walls. -The Leonine walls can still be traced, the ruins standing boldly out -in the landscape at the back of the Vatican. - -The present wall on the Trastevere side was built by Innocent X. and -Urban VIII. The complete circuit of the present walls is between -twelve and thirteen miles; they contain twenty gates, ancient and -modern, nine of which are closed. - -Whilst the Romans considered the defences of the city to be the -Tigris, Euphrates, Danube, desert, and ocean, their power was at its -zenith; but when for the defence of their capital it was necessary to -surround it with a wall, "the decline and fall of the Roman empire" -had already begun. - - -THE GATES. - -In the third wall of Rome we learn from different authorities that -there were in all eighteen gates, commencing from the northern point -at the river bank,--Flumentana, Carmentalis or Scelerata, Catularia -(afterwards Ratumena), Fontinalis, Sangualis, Salularis or Salutaris, -Collina or Agonalis or Quirinalis, Viminalis, Esquilina, Maecia or -Metia, Querquetulana, Coelimontana, Firentina, Capena, Lavernalis, -Randuscula, Naevia, Trigeminia. The sites of most of these have been -identified. These names are culled from various authors, no one author -having given us a list of them. - -Pliny gives us an account of the number of the gates in his -time--thirty-seven in all--which has puzzled a great many writers; -but, studying them on the spot, the description of Pliny is very plain -and easily to be understood. He says (iii. 9):-- - -"When the Vespasians were emperors and censors, in the year from its -building 827, the circumference of the Moenia 'boundary' reckoned -thirteen miles and two fifths. Surrounding as it does the seven hills, -the city is divided into fourteen districts, with two hundred and -sixty-five cross-roads, under the guardianship of the Lares. The space -is such that if a line is drawn from the mile column placed at the -head of the Forum to each of the gates, which are at present -thirty-seven in number, so that by that way enumerating only once -twelve gates, and to omit the seven old ones, which no longer exist, -the result will be a straight line of twenty miles and seven hundred -and sixty-five paces. But if we draw a straight line from the same -mile column to the very last of the houses, including therein the -Praetorian encampment, and follow throughout the line of all the -streets, the result will then be something more than seventy miles." - -The gates may thus be analyzed:-- - - 3 in Roma Quadrata } - 4 in City of Two Hills } the 7 old ones to be omitted. - - 18 in the Agger of Servius Tullius. - - 12 double--that is, 12 in the outer boundary built over the - roads where they crossed the Pomoerium, corresponding - with twelve in the line of Servius, thus making in all,-- - - 37, as mentioned by Pliny. - -Of the twelve gates in the outer boundary, eight still remaining are -composed of work of an earlier date than the Wall of Aurelian. The -twelve may thus be named: the four gates of the Praetorian camp (two of -these partially remain, showing brick-work of Tiberius), Porta Chiusa -or Viminalis, Tiburtina, Esquilina now Maggiore, Lateranensis, Latina, -Appia, Ardeatina, Ostiensis. - -Pliny (iii. 9) tells us that Tarquinius Superbus raised an outer agger -on the eastern side of Rome. Traces of this still remain, and the tufa -stones have been reused in Aurelian's work, whilst the Porta Chiusa is -partly formed on the inside of these blocks, and was probably the work -of the last of the Tarquins. The Porta S. Lorenzo, or Tiburtina, bears -inscriptions of Augustus and Vespasian; Porta Maggiore, of Claudius, -Vespasian, and Titus; whilst Porta Lateranensis and Porta Ardeatina -were undoubtedly built, as the construction shows, by Nero; and the -inner arch of the Porta S. Paolo, or Ostiensis, is of the time of -Claudius. - -Tacitus (xii. 23) says: "The limits of the city were enlarged by -Claudius. The right of directing that business was, by ancient usage, -vested in all such as extended the boundaries of the empire. The -right, however, had not been exercised by any of the Roman commanders -(Sylla and Augustus excepted), though remote and powerful nations had -been subdued by their victorious arms." - -"With regard to the enlargement made by Claudius, the curious may be -easily satisfied, as the public records contain an exact description" -(xii. 24). - - -ROMAN CONSTRUCTION. - -When we speak of construction, we mean the material used in building -and the way it is put together. The different historical periods of -building are now classed into distinct dates, which have been arrived -at by observing the material used, and the way it is used, in -buildings of which there is no doubt as to the date of erection, and -comparing it with others. The early Greek Period in Italy is marked by -massive walls of masonry--walls built from the stone of the vicinity, -the blocks being rough as hewn out of the quarry,--polygonal. The -later Greek Period and the Etruscan are identical, being formed of -square blocks of stone, headers, and stretchers. In the time of the -kings of Rome the stones were squared, and were of tufa, lapis ruber, -tophus. In the earliest walls they are close jointed; in the second -period the edges are bevelled. - -During the Republic the stones were also squared, but the material was -of peperino. Lapis Albanus and other forms of working up the material -were introduced. Pieces of stone, fixed together with cement, gave a -new kind of wall called _opus incertum_. This was improved upon by -facing the outside of the small pieces of stone and making them of one -uniform size--small polygonal. Then the stones were cut into wedge -shapes: the point being inwards, and being laid in regular rows it has -the appearance of network, and is called _opus reticulatum_. This -work, introduced in the last years of the Republic, went out of -fashion after the time of Tiberius, but was revived by Hadrian, who -always set his reticulated work in bands of brick like a picture -frame, thus distinguishing his from the earlier work, the inside of -the walls in those cases being concrete. The earliest brick building -which we have is the Pantheon. Thus it was under Augustus that brick -was first used by the Romans. It was his boast that he found Rome of -brick, and left it marble; which is only true in a certain sense, for -he did not build of solid marble, but cased veneering marble on to the -brickwork. - -One period of Roman brickwork can easily be distinguished from the -others by measuring the number of bricks in a foot, and noticing their -uniformity of size. This, of course, does not refer to ornamental -brickwork. The brickwork of Nero is the best in the world--thin narrow -bricks, tiles, with very little mortar between them. Before his time -it was not quite so good; but after, it gradually declined till the -cement is as thick as the bricks. - -The stone used during the Empire was travertine, _lapis Tiburtinus_, -but brick was the material generally used then. They are of two -colours, red and yellow, according to the clay from which they were -made. The walls were not of solid brick all through; but the interior -was made of pieces--rubble-work--the outside course being entire -brick, whilst at every four or five feet all through the construction -were laid the great tie-bricks to keep the rubble-work from shifting. -The brickwork was called _opus lateritium_. The great tie-bricks are -usually stamped with the names of the consul or emperor and the maker, -and these date the walls by measuring the number of bricks there are -in a foot. In the fourth century another system--_opera -decadence_--came into vogue, and walls were built with layers of brick -and pieces of tufa-stone a little larger than our English bricks. This -work continued down to the thirteenth century, when _opera -Saracenesca_--tufa-stones without the bricks between--came into use. -In the stone walls no cement was used; one stone was simply placed -upon another, its weight keeping it in its place, and clamps were -inserted to keep it from shifting. In the walls of Roma Quadrata we -know of no clamps having been found; but in the wall of the two kings -wooden clamps were found. In the walls of Servius Tullius iron clamps -were found; and in the Colosseum clamps can still be seen in several -places where pieces of the facing of the stone have been split off. - -Tufa is found all over the Campagna, and is of volcanic origin. When -the Alban Hills were active volcanoes, the ashes and scoriae thrown up -fell into the sea, now the Campagna. The pressure of water on it -formed it into stone: where there has been a great pressure, it is -very hard; where little pressure, it is softer; and where there was no -pressure, it still remains a sort of sand--this mixed with live lime -is the celebrated Roman cement. The softer tufa was used by the Greek -colonists, and the hard stone by the kings of Rome. Some tufa from the -neighbourhood of Gabii is dark gray, the other is brown and reddish. -Peperino is also volcanic. It was ejected in the shape of hot mud from -the volcano, and on cooling formed a good stone: this comes from the -Alban hills, and was used in the time of the Republic. - -Travertine comes from Tivoli, and is a petrifaction formed by the -action of lime and sulphur on vegetable decay. This was not used as a -building material to any great extent before the time of Caesar. It is -white, and becomes yellow on exposure. Silex is another volcanic stone -very little used for building, but entirely for paving the roads both -ancient and modern. This came out of the volcano as a red-hot stream -of lava, and on cooling down became a capital paving material. The bed -of the road was first properly prepared, and then it was paved with -polygonal blocks of blue basalt called silex. The stones fitted close -to one another. Many of the roads are in a good condition to this day; -the best specimen is opposite the Temple of Saturn in the Forum, B.C. -175. This stone is used for _opus reticulatum_ in some of the tombs on -the Appian Way and at the Temple of Hercules; also for concrete. - - -TABLE OF CONSTRUCTION. - -_TUFA OF THE KINGS._ - - STYLE. SPECIMEN. DATE. - - Polygonal Tusculum ---- - { Veii ---- - Opus quadratum. First period, { Gabii ---- - squared edges { Palatine Hill 753 B.C. - - { Second Wall of Rome 746 B.C. - Second period, bevelled edges { Aventine Hill 600 B.C. - { Ostia 600 B.C. - - -_PEPERINO OF THE REPUBLIC._ - - { Tomb of Scipio 298 B.C. - Opus quadratum { Temple of Hope 240 B.C. - Opus incertum Temple of Cybele 191 B.C. - Opus incertum, polygonal Emporium 190 B.C. - Opus quadratum Tabularium 78 B.C. - - -_TRAVERTINE AND BRICK OF THE EMPIRE._ - - { Tomb of Cecilia Metella 78 B.C. - { Theatre of Marcellus 13 B.C. - Opus quadratum { Arch of Dolabella 10 A.D. - { Colosseum 80 A.D. - - { Muro Morto 80 B.C. - { Tomb of Augustus 10 B.C. - Opus reticulatum { Palatine Tiberius' House ---- - { Palatine Germanicus' House ---- - { Hadrian's Villa ---- - { Hadrian's Ostia ---- - - Opus lateritium-- - { Pantheon Augustus. - Bricks, 6 to foot { Praetorian Camp Tiberius. - { Palace Caligula. - Bricks, 8 to foot Aqueduct Nero. - Bricks, 7 to foot Palace Domitian. - Bricks, 6 to foot Temple of Venus and Rome Hadrian. - Bricks, 7 to foot Nymphaeum, on Palatine M. Aurelius. - { Baths Caracalla. - { Nymphaeum Alexander - { Severus. - Bricks, 5 to foot { Walls of Rome Aurelian. - { Thermae Diocletian. - { Basilica Constantine. - - Bricks and tufa { Circus of Maxentius 300 A.D. - { House of Gregory 590 A.D. - Opera Saracenesca S. Sisto Vecchio 1200 A.D. - Opus Spicatum Herring-bone pavement. - Opus Signinum Cement for reservoirs, etc. - - [Illustration: PLAN OF ANCIENT ROME] - - - - -RAMBLE I. - - PIAZZA DEL POPOLO -- THE OBELISK -- S. MARIA DEL POPOLO -- - THE CORSO -- S. LORENZO IN LUCINA -- POST OFFICE -- - ENGLISH CHURCH -- COLUMN OF MARCUS AURELIUS -- MONTE - CITORIO -- PARLIAMENT HOUSE -- OBELISK -- TEMPLE OF - NEPTUNE -- S. MARIA IN VIA LATA -- THE SEPTA -- THE DORIA - GALLERY -- TOMBS OF ATTIA CLAUDIA AND BIBULUS -- THE - MAMERTINE PRISON -- THE FORUM OF JULIUS CAESAR -- THE ROMAN - FORUM AND ITS RUINS -- THE VIA SACRA -- TEMPLES OF - ROMULUS, VENUS AND ROMA -- TEMPLE OF THE PENATES -- HOUSE - OF JULIUS CAESAR -- BASILICA OF CONSTANTINE -- S. FRANCISCA - ROMANA -- THE PALATINE HILL AND THE PALACE OF THE CAESARS - -- ARCH OF TITUS -- THE TEMPLE OF THE SUN -- THE FORUM OF - CUPID -- PEDESTAL OF NERO'S COLOSSUS -- META SUDANS -- - ARCH OF CONSTANTINE -- THE COLOSSEUM. - -THE CENTRE OF ROME. - - -THE PIAZZA DEL POPOLO - -is a circular open space, adorned with fountains, and surrounded with -foliage. From this circle Rome spreads itself out like a fan -southwards. The four principal lines of thoroughfare diverge from this -spot--the Pincio, the Via Sistina, and the Via Quattro Fontane, -leading to the Esquiline, on the extreme left, along the hills; the -Via Babuino, leading into the Piazza di Spagna, on the left; the -Corso, leading into the Forum, in the centre; and the Via Ripetta, -leading into the oldest part of the present city, on the right: at the -corners of the three latter are the twin churches S. MARIA IN MONTE -SANTO, and S. MARIA DEI MIRACOLI, with domes and vestibules designed -by Rinaldi, and completed by Bernini and Fontana. In the centre of the -Piazza is an Egyptian obelisk, supported by a fountain with four -lionesses at the corners spouting water. _On the right_, under the -Terraces of the Pincio, are the statue of Rome by Ceccarini, of -Neptune between two Tritons, and statues of Spring and Summer, by -Laboureur. _On the left_ are the statues of Autumn, by Stocchi, and -Winter, by Baini. - - -THE EGYPTIAN OBELISK - -of the Piazza del Popolo was brought to Rome by Augustus, and erected -in the Circus Maximus. It is 78 feet 6 inches high, and was erected on -its present site by Pope Sixtus V. in 1589. This was the first obelisk -erected in Rome, having been brought by Augustus after the death of -Antony and Cleopatra. Pliny (xxxvi. 16) says:-- - -"But the most difficult enterprise of all was the carriage of these -obelisks by sea to Rome, in vessels which excited the greatest -admiration. Indeed, the late Emperor Augustus consecrated the one -which brought over the first obelisk, as a lasting memorial of this -marvellous undertaking, in the docks at Puteoli; but it was destroyed -by fire. - -"And then, besides, there was the necessity of constructing other -vessels to carry these obelisks up the Tiber; by which it became -practically ascertained that the depth of water in that river is not -less than that of the river Nile. - -"The one that he erected in the Campus Martius is nine feet less in -height, and was originally made by order of Sesothis. They are both of -them covered with inscriptions which interpret the operations of -Nature according to the philosophy of the Egyptians." - -This has the name of two kings upon it: Seti, who went blind, and his -son Rameses, who succeeded him. It stood before the Temple of the Sun -at Heliopolis, and was placed by Augustus on the Spina of the Circus -Maximus, and re-dedicated, 10 B.C., to the Sun, as the inscription -informs us: IMP. CAES. DIVI. F.--AUGUSTUS--PONTIFEX MAXIMUS--IMP. XII. -COS. XI. TRIB. POT.--POPULI ROMANI REDACTA.--SOLI DONUM DEDIT. - - [Illustration: PIAZZA DEL POPOLO.] - -Ammianus Marcellinus (xvii. 4) supplies us with the following -information relative to obelisks:-- - -"In this city of Thebes, among many works of art and different -structures recording the tales relating to the Egyptian deities, we -saw several obelisks in their places, and others which had been -thrown down and broken, which the ancient kings, when elated at some -victory or at the general prosperity of their affairs, had caused to -be hewn out of mountains in distant parts of the world, and erected in -honour of the gods, to whom they solemnly consecrated them. - -"Now, an obelisk is a rough stone, rising to a great height, shaped -like a pillar in the stadium; and it tapers upwards in imitation of a -sunbeam, keeping its quadrilateral shape, till it rises almost to a -point, being made smooth by the hand of a sculptor. - -"On these obelisks the ancient authority of elementary wisdom has -caused innumerable marks of strange forms all over them, which are -called hieroglyphics. - -"For the workmen, carving many kinds of birds and beasts, some even -such as must belong to another world, in order that the recollection -of the exploits which the obelisk was designed to commemorate might -reach to subsequent ages, showed by them the accomplishment of vows -which the kings had made. - -"For it was not the case then, as it is now, that the established -number of letters can distinctly express whatever the human mind -conceives; nor did the ancient Egyptians write in such a manner, but -each separate character served for a separate noun or verb, and -sometimes even for an entire sentence. - -"Of which fact the two following may for the present be sufficient -instances:--By the figure of a vulture they indicate the name of -nature; because naturalists declare that no males are found in this -class of bird. And by the figure of a bee making honey they indicate a -king; showing by such a sign that stings as well as sweetness are the -characteristics of a ruler. And there are many similar emblems." - -_To the right of the Porta del Popolo is the_ - - -CHURCH OF S. MARIA DEL POPOLO, - -founded by Paschal II. in 1099. Its interior consists of nave, aisles, -transept, and octagonal dome lavishly decorated by Bernini. - -In the first chapel, to the right, the picture over the altar, the -Nativity of Jesus Christ, and the frescoes of the lunettes are by -Pinturicchio. The second chapel is that of the Cibo family--rich in -marbles, and adorned with forty-six columns of Sicilian jasper. The -picture of the Conception is by Maratta. The third chapel is painted -by Pinturicchio. In the fourth chapel is an interesting bas-relief of -the fifteenth century. The painting of the Virgin, on the high altar, -is one of those attributed to S. Luke; the paintings of the vault in -the choir are by Pinturicchio. The two monuments in marble ornamented -by statues are by Contucci da S. Savino. The last chapel but one, in -the small nave, is that of the Chigi family, and is one of the most -celebrated in Rome. Raphael gave the design for the dome, for the -paintings of the frieze, and for the picture of the altar, which was -commenced by Sebastiano del Piombo, and terminated by Francesco -Salviati. The statues of Daniel and Habakkuk were executed by Bernini. -The front of the altar and the statues of Elias and Jonah are by -Lorenzetti; but the design of the last is by Raphael. - - -THE CORSO (Il Corso). - -Starting on our first ramble, we will take the line of the principal -street, the Corso, which takes its name from the races held during the -Carnival. It is on the line of the old Via Flaminia, the great -highroad which ran through the Campus Martius to the north. Many -handsome churches and palaces face the street, which is rather narrow -compared with our modern requirements. The Corso is the principal -promenade of the Romans, and possesses many points of interest. At No. -18, _on the left_, lived Goethe; just beyond, _on the right_, in the -short Via S. Giacomo, was Canova's studio. _On the right_, further -down, is the Church of S. Carlo; passing by which, crossing the line -of the Via Condotti, _on our right_ opens out the small square of S. -Lorenzo, in which is the - - -CHURCH OF S. LORENZO IN LUCINA, - -containing the grand work of Guido Reni, "The Crucifixion." It is said -that, being absorbed in his subject, he crucified his model. The -church contains a monument to Poussin, the relief being a copy of his -landscape of the tomb of Sappho in Arcadia. Opposite this church is -the English Baptist Chapel, under the Rev. James Wall, founded for -Romans. - -_Turning to the right, down the Corso, on the left, the Via Convertite -leads to_ - - -THE GENERAL POST OFFICE (La Posta), - -in the Piazza S. Silvestro, _on the left_. It is a new building, -recently opened, and is fitted up with every modern appliance. The -garden in the centre, and the surrounding arcade with its frescoes, -present a refreshing appearance, and give a good idea of what the -court of a palace should be. - -_Opposite_, in the right corner of the square, is - - -THE ENGLISH CHURCH OF THE HOLY TRINITY, - -being the first Protestant church erected in Rome. It is in the form -of a basilica without aisles, and was designed by the late architect -Cipolla. - -_Regaining the Corso_, we soon arrive at the Piazza Colonna, in which -is - - -THE COLUMN OF MARCUS AURELIUS. - -On the spot where the Palazzo Chigi now stands (_on our right_) a -temple was erected to M. Aurelius, in front of which was placed a -splendid pillar, with a spiral frieze winding up the shaft, and -representing the chief incidents of the war against the Marcomanni -(A.D. 174). - - [Illustration: COLUMN OF MARCUS AURELIUS.] - -The shaft of this pillar is of precisely the same height as that of -the Pillar of Trajan. The pedestal, on the other hand, is much higher, -and rises considerably above the level of the modern pavement. The -present marble facing of this pedestal has been employed to strengthen -the foundations of the monument, which had been much injured. The -pillar, after having been frequently struck and much damaged by -lightning, was restored, at the command of Sixtus V., by Fontana and -his nephew Carlo Maderno. Looking up, we perceive the iron cramps used -to keep together the blocks of marble, which had slipped out of their -original position. But for this support, this fine monument would long -since have sunk beneath the pressure of its own weight. - -The sculptures are very interesting, but can no more be enjoyed on the -spot than those on the Pillar of Trajan. They represent scenes from -the battles fought in Germany. The column is formed of 28 blocks of -white marble, is 137 feet high, and is crowned with a statue of S. -Paul. Sixtus V., in restoring the Column of Marcus Aurelius, in error -inscribed it to Antoninus Pius. - -_Facing_ the Piazza Colonna is a large palace. The columns which form -the portico were found in the ruins of Veii. _Our attention is next -attracted by_ - - -THE PARLIAMENT HOUSE, - -_situated in the Piazza Monte Citorio, behind_ the Palace. Orders for -admission to special seats may be obtained from any deputy, but there -is a compartment in the gallery open to the public. - -_Opposite the Parliament House is an_ - - -EGYPTIAN OBELISK. - -It was erected originally at Heliopolis to Psammeticus I., of the -twenty-fourth dynasty, more than six centuries B.C. It is 72 feet -high. Its first site in Rome was in the Campus Martius, where is now -the Piazza dell'Impresa, where it was found and taken to its present -site. The Roman pedestal with inscription is in the Church of S. -Lorenzo in Lucina. The obelisk was repaired, and its present pedestal -formed of fragments of the Antonine Column, which stood near by. The -obelisk was brought to Rome by Augustus at the same time as the one in -the Piazza del Popolo, and was put up, according to Pliny (xxxvi. 15), -as a sun-dial:-- - -"The one that has been erected in the Campus Martius has been applied -to a singular purpose by the late Emperor Augustus--that of marking -the shadows projected by the sun, and so measuring the length of the -days and nights. With this object, a stone pavement was laid, the -extreme length of which corresponded exactly with the length of the -shadow thrown by the obelisk at the sixth hour on the day of the -winter solstice. After this period the shadow would go on day by day -gradually decreasing, and then again would as gradually increase, -correspondingly with certain lines of brass that were inserted in the -stone--a device well deserving to be known, and due to the ingenuity -of Facundus Novus, the mathematician. Upon the apex of the obelisk he -placed a gilded ball, in order that the shadow of the summit might be -condensed and agglomerated, and so prevent the shadow of the apex -itself from running to a fine point of enormous extent, the plan being -first suggested to him, it is said, by the shadow that is projected by -the human head. For nearly the last thirty years, however, the -observations derived from this dial have been found not to -agree,--whether it is that the sun itself has changed its course, in -consequence of some derangement of the heavenly system; or whether -that the whole earth has been in some degree displaced from its -centre--a thing that, I have heard say, has been remarked in other -places as well; or whether that some earthquake, confined to this city -only, has wrenched the dial from its original position; or whether it -is that, in consequence of the inundations of the Tiber, the -foundations of the mass have subsided, in spite of the general -assertion that they are sunk as deep into the earth as the obelisk -erected upon them is high." - -_Regaining the Corso, the first turning on the right, Via Pietra, -leads into the_ PIAZZA DI PIETRA, in which are the ruins of - - -THE TEMPLE OF NEPTUNE. - -Eleven Corinthian columns, which formed a part of one side of the -temple, still stand, forming the entrance into a building once used as -a custom-house. They are 421/2 feet high and 41/2 feet in diameter, -supporting an architrave of marble which has been recently restored. -In the interior are some immense blocks of marble which formed part of -the vaulting. The temple, with the Portico of the Argonauts which -surrounded it, was erected by Agrippa. It is now used as a chamber of -commerce. - - [Illustration: TEMPLE OF NEPTUNE.] - -_Continuing our ramble along the Corso, on the right_ is the PALAZZO -SIMONETTI, on the left the PALAZZO SCIARRA. The pictures here have not -been shown to the public for some years. Beyond, _standing back_, is -the CHURCH OF S. MARCELLO, containing the celebrated cherubs of -Pierino del Vaga, the most exquisite things ever done in fresco. The -tomb of Cardinal Weld is also here. - -Rienzi's body was hung up by the feet for two days in front of this -church. - - -THE CHURCH OF S. MARIA IN VIA LATA - -was founded in the eighth century, but was rebuilt in 1485, when the -tradition arose that it was on the site of the hired house of S. Paul -in Rome. Dodwell, the English explorer in Greece, was buried here. -There are also tombs of several members of the Bonaparte family. _A -door on the left of_ the portico, built in 1662 from the designs of -Pietro da Cortona, leads down into the subterranean chambers, where a -well is shown said to have been used by S. Paul to baptize his -converts. In an adjoining chamber S. Luke is said to have painted his -Madonna. Here are some remains of the materials of the Arch of -Claudius, which spanned the Via Flaminia at this point; and an old -piece of fresco, said to be by S. Luke. These remains below the church -formed part of - - -THE SEPTA. - -Cicero Ad Atticum (iv. 15) informs us that Julius Caesar commenced a -septa in the Campus Martius for the Comitia Centuriata and Tributa. It -consisted of a beautiful building of marble, surrounded with a portico -a mile square. It adjoined the Villa Publica. It was completed by -Lepidus the triumvir, and dedicated by Agrippa (Dion Cassius, liii. -23). Frontinus (Aq. xxii.) says the arches of the Aqua Virgo ended in -the Campus Martius, in front of the Septa. - -The Comitia Centuriata, when the people assembled in their military -order, to elect their highest magistrates, to pass their laws, and to -vote upon peace or war, always met outside the walls in the Campus -Martius. - -Comitia Tributa, for less important magistrates, tribunes, and aediles, -met sometimes in the Campus Martius. - -The Septa consisted of pens (hence the name), into which the tribes -passed to record their votes, which were given by ballot. Every voter -received a _tabella_ (tablet), on which he wrote the name of the -candidate for whom he voted. He then dropped it into an urn. - -Near by, Agrippa built the Diribitorium, a large building used for -distributing and counting the ballot tickets. It was dedicated by -Augustus (Dion Cassius, lv. 8; Pliny, xvi. 40). During a fire Claudius -passed two nights here (Suetonius, "Claudius," xviii.). - -These ruins extend under the Doria Palace, and have nothing to do with -any house. There were no houses on the Campus Martius in Paul's time. -(See page 197.) - -_Just beyond, on the same side of the way, is_ - - -THE DORIA PALACE GALLERY (Palazzo Doria), - -_open on Tuesday and Friday from 10 till 2. Catalogues in each room. -Fee, half-franc._ - -FIRST ROOM contains four sarcophagi. A picture of the Deluge, by -Scarsellino. - -SECOND ROOM.--4. Caritas Romana, by Valentin. (See page 191.) 24. -Madonna and Child, by F. Francia. 28. Annunciation, by Lippi. 33. S. -Agnese, by Guercino. - -FOURTH ROOM.--Bust of Leo X., Doria. - -FIFTH ROOM.--17. Money-Changers, by Quentin Matsys. 25. S. Joseph, by -Guercino. - -SIXTH ROOM.--13. Madonna, by Carlo Maratta. 30. Sketch of a Boy. - -SEVENTH ROOM.--8. Belisarius in the Desert, by Salvator Rosa. 19. -Slaughter of the Innocents, by Mazzolini. - -FIRST GALLERY.--3. Magdalen, by Annibale Caracci. 9. Holy Family, by -Sassoferrato. 14. A Titian. 20. Three Ages of Man, by Titian. 25. -Flight into Egypt, by Claude Lorraine. 45. Madonna, by Guido Reni. 50. -Holy Family, by Giulio Romano. - -SECOND GALLERY.--6. Madonna, by Francia. 14. Bartolo and Baldo, by -Raphael. 24. Calvin, Luther, and Catherine, by Giorgione. 40. -Herodias, by Pordenone. 50. Confessor, by Rubens. 53. Joanna of -Arragon, School of Leonardo da Vinci. Bust of Andrea Doria. 80. Wife -and Self, by Titian. - -THIRD GALLERY.--5. Landscape, by Claude Lorraine. 12. The Mill, by -same, a most extraordinary complication. 18. Pieta, by Caracci. - -CABINET OF GEMS.--1. Portrait of a Letterato, by Lucas van Leyden. 2. -Andrea Doria, by Sebastiano del Piombo. 3. Giannetto Doria, by -Bronzino. 4. S. Philip Neri, by Barocci. 5. Innocent X., by Velasquez. -6. Entombment, by John Emelingk. Bust of Lady Mary Talbot. - -_Proceeding down the Corso, we reach the Piazza di Venezia. On the -left_ is the Tolonia Palace, and _on the right_ the Venetian Palace -(now the Austrian Embassy), a building of the middle ages. _On the -right-hand side of the narrow street, in a line with the Corso, Via -Morforio, is the_ - - -TOMB OF ATTIA CLAUDIA, - -converted into a house, the lower part being shops. By descending into -the vault, it will be seen that it is hewn out of the natural rock. -The Claudii family "received, from the state, lands beyond the Anio -for their followers, and a burying-place for themselves near the -Capitol" (Suetonius, "Claudius," i. 1). - -Adjoining is the house where Giulio Romano was born. - -_A few steps beyond, on the left-hand side of the same street, is the_ - - -TOMB OF BIBULUS. - -The inscription records the virtue and public honour of a Roman -magistrate of the time of the republic. It is supposed to be two -thousand years old. - - C. PUBLICO . L. Q. F. BIBULO . AED . PL. HONORIS - VIRTUTISQUE . CAUSSA . SENATUS - CONSULTO . POPULIQUE . IUSSU . LOCUS. - MONUMENTO . QUO . IPSE . POSTEREIQUE - EIUS . INFERRENTUR . PUBLICE . DATUS . EST. - -It is of travertine stone and plain Doric architecture. There is some -talk of pulling the house down, so that this interesting monument may -be better seen. - -_Continuing our ramble down the street, we arrive, on the right, at -the Church of S. Giuseppe dei Falegnami. It is built over part of_ - - -THE MAMERTINE PRISON, - -erected, according to Livy (i. 33) by Ancus Martius. "In order to -suppress the terror, the boldness which the vicious assumed from hence -(A.U.C. 121),[1] and which gained ground continually, a prison was -built in the middle of the city, adjoining the Forum." Servius Tullius -added a lower cell, called the TULLIANUM, 61/2 feet high and 19 feet by -9. Prisoners who were condemned to be strangled or to die of hunger -were thrust down the aperture; hence the phrase, "to cast into -prison." Sallust ("Catiline," lv.) thus describes it:-- - -"There is a place in the prison which is called the Tullianum Dungeon. -It is about 12 feet deep in the ground when you have ascended a little -to the left.[2] It is secured round the sides by walls, and over it is -a vaulted roof, connected with stone arches; but its appearance is -disgusting and horrible, by reason of the filth, the obscurity, and -the stench. When Lentulus had been let down into this place, certain -men, to whom orders had been given, strangled him with a cord." - -The upper part of the Mamertine Prison was partly rebuilt in the time -of Tiberius, as we know from an inscription remaining in the cornice -over the flight of steps under the church. - -C. VIBIUS . C. F. RUFINUS . M. COCCEIUS . NERVA . COS . EX . S. C. -Consuls A.D. 23. - -It seems to have been used exclusively for state prisoners. We have -records of the following, amongst others, who were confined here:-- - -Manlius, who had defended the Capitol against the Gauls.--B.C. 382. - -Quintus Pleminius, a prisoner for sedition.--B.C. 194. - -Jugurtha, King of Numidia, who was starved to death B.C. 104. He -exclaimed, when cast in, "By Hercules! how cold is this bath of -yours!" (Plutarch, in "Caius Marius"), evidently speaking of the -spring as existing in those days. - -Catiline conspirators, strangled by order of the Consul Cicero.--B.C. -55. - -Vercingetorix, King of the Gauls, by order of Julius Caesar. - -Sejanus, the minister of Tiberius.--A.D. 31. - -Simon, the son of Giora, the defender of Jerusalem against -Vespasian.--A.D. 69. - -In the centre of the upper chamber is the round aperture, covered by a -grate, down which the prisoners were cast. - -Juvenal says: "Happy ages of the just, happy centuries, it may be -said, those which saw, formerly under the kings, as under the -tribunes, Rome content with one prison." - -One prison may have been enough in those times when it was against the -law to confine a Roman citizen before he was tried. We have records of -other prisons. Appius Claudius constructed a prison for common -offenders near the Forum Olitorium, the scene of "Roman Charity." (See -page 190.) Pliny mentions "_Stationes Municipiorum_"--barracks of the -municipal soldiers--near the Forum of Julius Caesar. These may likewise -have been prisons. In addition to these, there was the _Lautumiae_. - -_Below_ the church, the Chapel of the Crucifixion occupies part of the -buildings of the prison, and from the sacristy a flight of modern -steps leads down into a lower cell, the Chapel of SS. Peter and Paul. -The entrance and steps from the street are also modern. In this -chamber, to the right of the altar, is a closed-up passage; it -evidently communicated with other chambers. On the tufa, carefully -guarded by iron bars, an indentation is shown which, they say, was -caused by the jailers beating Peter's face against the rock. (He must -have had rather a hard head!) - -Another flight of modern stairs leads down into the Tullianum: the -opening down which the prisoners were cast can still be seen. The iron -door is the opening of a sewer leading into the Cloaca Maxima, by -which means the dead bodies, &c., were taken away. This drain is of -the same construction as the Cloaca Maxima, and comes from beyond the -other chambers, mentioned below, with which it also communicates. - -The Roman Catholic tradition is, that SS. Peter and Paul were confined -here, and they show the pillar to which they are said to have been -chained, though there are no marks of a staple having been fixed in -the stone, as represented in the bronze bas-relief; and a fountain -which miraculously sprang up when they had converted their keepers, -and they wished to be baptized: this was evidently alluded to by -Jugurtha. - -The name Mamertine Prison is medieval. By the ancients it was called -_the Prison_, or the Tullian Prison.[3] The two chambers are only a -small part of the ancient prison, which extended up the left side of -the Clivus Argentarius, the modern Via Marforio, and evidences of its -extent can be seen in the cellars of the houses. It evidently extended -up as far as No. 68, for under that wine shop we found two chambers -corresponding with the two under the church. The prison was approached -from the Forum by a flight of stairs called - - -THE SCALAE GEMONIAE, - -or Stairs of Wailing. Criminals were often put to death on them, and -others were exposed there after death. "Those who were put to death -were exposed on the Scalae Gemoniae, and then dragged into the Tiber" -(Suetonius, "Tiberius," lxi.). - -_At a short distance from the church in the little lane opposite, Via -Marmorelle, 29_, are some more remains of the Prison, which eventually -became the - - -"STATIONES MUNICIPIORUM" AND FORUM OF JULIUS CAESAR. - -"Julius Caesar, with money raised from the spoils of war, began to -construct a new Forum" (Suetonius, "Caesar," xxvi.)--the site costing -about L807,291. This new Forum was necessary, on account of the old -Forum becoming too small for the public business. Pliny (xvi. 86) -mentions the barracks of the municipal guards as being between the -Vulcanal and the Forum of Julius Caesar. These remains consist of a -series of five large chambers; one is forty feet long and fourteen -wide, divided by modern walls and partitions in various ways, and not -easy of access. The walls are of tufa. The vaults are of brick, with -openings for letting down prisoners. These are of later date than the -tufa walls, and one of them is supported by a fine arch of travertine. - - -THE ROMAN FORUM (Il Foro). - -_The new excavations are open to the public every day without fee._ - -To understand the Roman Forum and its surroundings, visitors should -attend the lectures given on the spot by the author of these Rambles, -descend with him to its level, and examine each remaining object in -detail; thus they may learn something of the buildings and the history -that crowded on its space. For particulars, apply at 93 Via Babuino, -Rome. - -Mutilated fragments still speak of the former grandeur of the spot, -dead men of its fame, and living authors of its past and present -history. - -In these Rambles we shall only treat of the most important and present -remains, which are classed in the order in which they should be -visited, and not chronologically. - -The real foundation of the ancient city has long been covered over by -the heaping up, during ages, of earth, stones, rubbish, &c., to the -depth of thirty feet. The thick crust had lain untouched by shovel -during the long series of popes; especially was this, until recently, -the condition of the Roman Forum. The latter is to be entirely -excavated, and the removal of the superincumbent earth is at this -present moment being made with a vigour never before attempted. - -In short, the Forum is dressed up in quite a new attire, and many old -visitors would scarcely recognize it in its modern garb. Crowds of -spectators lean against the barriers every day, anxiously reviewing -the carting of the earth, and awaiting for artistic valuables to "turn -up." - -The picturesqueness of the crowds, of the costumes and scenery, the -variety of language and nationality, the past associations, all go to -make up a spectacle quite unique. - -_We will follow the modern road, which crosses the Forum, and turning -to the left, proceed along the side of the Basilica Julia to the -Temple of Castor and Pollux, where a flight of steps gives access to -the Forum._ - -Standing upon the platform of the temple, we propose to explain the -various buildings that surrounded the Forum, and then to descend to -its ancient level to examine the chief points of interest. - -The word _forum_, in its simple signification, means market-place; and -the Roman Forum was the market-place when Rome consisted of but two -hills, the Palatine and Capitoline. It soon lost its primitive use, -and became the centre of the religious, civil, and political life of -the Romans. Then other market-places were formed, and called after the -principal commodity sold therein. In the time of Caesar the Forum was -found too small, and then was commenced the first of the Imperial -Fora. The Forum, from the time of Constantine, gradually fell into -decay, and was finally ruined in the year 1084, when Robert Guiscard, -the Norman chief, burned all Rome from the Lateran to the Capitol. - - -HOW THE SOIL ACCUMULATED. - -We may learn from the erection of the Column of Phocas, in A.D. 608, -that the Forum was then unencumbered with soil. Rome having been at -that time deserted for a long period by its emperors, its principal -monuments began to fall into decay, the Romans themselves hastening on -the work for the sake of the marble; the steady hand of time, allied -with the luxuriant vegetation, working slowly but surely, added to the -_debris_; whilst deposits from the Tiber floods, the wind, and the -wash of the rain-shed, helped still more to fill in the valleys. -During a long course of years Rome was almost abandoned; the streets -remained unswept, and the rubbish of the city collected upon them. At -length a new life sprang up, and to the dust of ages was added the -refuse of building materials for the new city, till in the year 1650 -we have the Forum presented to us on a level with the modern streets, -under the name of the Campo Vaccino (the Cow-field); and thus was the -Forum filled up. Such are the fluctuations of worldly splendour! - - - [Illustration: PLAN OF THE ROMAN FORUM] - -EXTENT OF THE FORUM. - -The Forum was not, as many have supposed, a building, but an open -space surrounded with buildings, the whole forming the Forum. It was -260 yards long, and 55 yards wide at the bottom. The top, under the -Capitol, was 140 yards wide. The temples were built on lofty platforms -(_podia_), to give them a more commanding appearance. - - [Illustration: THE ROMAN FORUM, LOOKING TOWARDS THE CAPITOLINE HILL. - - 1. The Temple of Castor and Pollux. - 2. The Basilica Julia. - 3. Shrine of Venus. - 4. Temple of Saturn. - 5. Tabularium. - 6. Arch of Severus. - 7. Mamertine Prison. - 8. Column of Phocas. - 9. Temple of Vespasian. - 10. Temple-tomb of Caesar. - 11. Senate House. - 12. Shop. - 13. Via Sacra. - 14. Bases. - 15. Pedestal of Domitian's Statue. - 16. Puteal. - 17. Marsyas. - 18. Attus Navius. - 19. Old Rostra. - 20. Reliefs of M. Aurelius. - 21. Site of Statue. - 22. Portico of the 12 Gods. - 23. Clivus Capitolinus. - 24. Tarpeian Rock. - 25. Tower of Capitol. - 26. Vicus Tuscus. - 27. Street of Ox Heads. - 28. Curtian Lake.] - - -TEMPLE OF CASTOR AND POLLUX. - -Founded by Aulus Posthumius, A.U.C. 268-74, in commemoration of the -battle of Lake Regillus. It was afterwards rebuilt by Lucius Metellus. -"Tiberius dedicated the Temple of Castor and Pollux, which had been -rebuilt out of the spoils of the German war, in his own and his -brother's name" (Suetonius, "Tiberius," xx.). "Caligula converted it -into a kind of vestibule to his house" (_Ibid._, "Caligula," xxii.). - -The three magnificent pillars still standing belonged to the side -facing the Palatine. They indicate approximately the south-east -boundary of the Forum. The narrower front looked down from a terrace -of considerable elevation upon the Forum, and was connected with it by -means of a double flight of stairs, the remains of which were -discovered during excavations made some time ago. These pillars, as -well as the fragments of the architrave and cornice supported by them, -are among the most beautiful architectural remains of ancient Rome. -The ornaments of the capitals and of the entablature are as rich and -splendid as they are pure and simple. It is therefore probable that -they belong to the time of Tiberius. - -Pliny (x. 60) tells us of "a raven that was hatched upon the roof of -the Temple of Castor and Pollux, and flew into a bootmaker's shop -_opposite_. Every morning it used to fly to the Rostra which looked -towards the Forum (the Rostra Julia), where he would salute the -Emperor Tiberius, Germanicus, Drusus, and others, as they passed; -after which he returned to the shop. This the bird did for several -years, till the owner of an opposition shop, through jealousy, killed -him, for which the man was put to death; and such a favourite had the -bird become that he had a public funeral, and was buried in the -field of Rediculus, on the right-hand side of the Via Appia, at the -second milestone. No such crowds had ever escorted the funeral of any -one out of the whole number of Rome's distinguished men." - -_The Church of S. Maria Liberatrice, on our right, occupies the site -of_ - - -THE REGIA NUMAE. - -"Numa erected a palace near the Temple of Vesta, called to this day -Regia" (Plutarch, "Numa"). Horace (O. i. 2) says: "We see the tawny -Tiber, its waves violently forced back from the Tuscan shore, proceed -to demolish the monumental Regia (Numae) and the Temple of Vesta." It -was the residence of the Pontifex Maximus, or chief priest, down to -the time of Augustus. "Augustus presented the Regia to the Vestal -Virgins, because it adjoined their residence" (Dion Cassius, lxv. 27). -In the sixteenth century twelve inscriptions relative to the Virgins -were found near the church. - -_Opposite the church_, on the level of the Forum, is the round podium -of - - -THE TEMPLE OF VESTA. - -"Numa erected the Temple of Vesta (A.U.C. 37) between the Capitoline -and Palatine Hills; the Forum in which this temple was built lying -between them" (Dionysius, ii. 66). "It was made round, as a symbol of -the earth" (Ovid, "Fasti," vi. 265). "The roof was covered with bronze -of Syracuse" (Pliny, xxxiv. 7). It was destroyed by fire under Nero -and Commodus, and rebuilt by Vespasian and Septimius Severus. It was -the conservatory of the Palladium and holy fire. The number of Virgins -was originally four, afterwards increased to six. They were bound to -their ministry for thirty years. If they broke their vow they were -buried alive: they took their vows for thirty years. "Ten years they -were being instructed in their duties, ten years they practised them, -and ten years they passed in instructing others" (Plutarch). - -_On the opposite corner of the Forum_ ten columns and the side walls -remain of - - -THE TEMPLE OF ANTONINUS AND FAUSTINA. - -Erected by Antoninus Pius, A.D. 160; and dedicated by the Senate on -his death to himself and wife, who were deified, as we learn from the -inscription,-- - - DIVO . ANTONINO . ET . DIVAE . FAUSTINAE . EX . S. C. - -The vestibule of this edifice, composed of ten Corinthian pillars of -variegated green marble (cipollino) supporting an architrave and part -of the cellae, built of square blocks of peperino, still remain. The -architrave is adorned at each side with arabesque candelabra guarded, -as it were, by griffins. - -The portico was excavated in 1876: the ascent to the Temple from the -Via Sacra was found to be by a flight of twenty-one steps, fifteen -feet in height. The portico now fulfils the same office to the Church -of S. Lorenzo in Miranda, which we understand is to be pulled down. - -_Between this temple and our vantage point_ a mass of rubble work -marks the site of - - -THE TEMPLE-TOMB OF JULIUS CAESAR. - -Ovid ("Met." xv., "Let." ii. 2), describes it as "close to Castor and -Pollux, having its aspect towards the Forum and the Capitol." "They -[the Triumvirs] likewise built a tomb to Julius Caesar in the middle of -the Forum, with an asylum, that should be for ever inviolable" (Dion -Cassius, "Aug."). Before the temple was built, "a column of Numidian -marble, formed of one stone twenty feet high, was erected to Caesar in -the Forum, inscribed--TO THE FATHER OF HIS COUNTRY" (Suetonius, -"Caesar," lxxxv.). This gave place to the temple, which had four -columns in front, as we learn from a relief and a coin. It was -decorated with the statues of the Julian line. "About the time of the -death of Nero, the Temple of Caesar being struck with lightning, the -heads of all the statues in it fell off at once; and Augustus's -sceptre was dashed from his hand" (Suetonius, "Galba"). - -_We must now call attention to the buildings between the Temple of -Antoninus and the Church of S. Adriano on the line of the houses -shortly to be pulled down; but till the excavations are made, we -cannot be certain of the details. Next to the temple stood_ - - -THE BASILICA AEMILIA. - -In B.C. 180, "Marcus Fulvius made contracts for a court of justice -behind the new bankers' shops" (Livy, xl. 51). It was destroyed by -fire, and rebuilt by Paullus AEmilius, B.C. 53. - -Plutarch says that Paullus expended on it the large sum of money he -had received from Caesar as a bribe. - -Pliny (xxxvi. 24) tells us it was celebrated for its columns of -Phrygian marble. - -_For explanation of the word Basilica, see page 82._ - -_Between this and the Church of S. Adriano stood_ - - -THE BASILICA PORCIA. - -In B.C. 185, "Cato purchased for the use of the people the two houses, -Maenius and Titius, in the Lautumiae, and four shops, erecting on that -ground a court of justice, which was called the Porcian" (Livy, xxxix. -44). "The tribunes likewise opposed him very much in his building, at -the public charge, a hall below the Senate House, by the Forum, which -he finished notwithstanding, and called it the Porcian Basilica" -(Plutarch, in "Cato"). - -This is where the tribunes of the people used to hold their courts. It -was destroyed by fire at the same time as the Curia. - -_Behind was_ - - -THE FORUM PISCATORIUM, - -or Fish-Market. Plautus ("Capteivei," Act iv., Scene 2) says "that the -stench of the fish frequently drove the frequenters of the Basilica -Porcia into the Forum Romanum." - -The Market was destroyed by fire B.C. 212 (Livy, xxvi. 27), and -rebuilt B.C. 180 (Livy, xl. 51). "Marcus Fulvius contracted for the -rebuilding of the Fish-Market." - -_In this district_ was also - - -THE LAUTUMIAE. - -It was not only a district near the Forum, but a prison, as the name -signifies, made out of stone quarries. It is first mentioned (B.C. -212) by Livy (xxvi. 27) in his account of the fire. Livy (xxxii. 26; -xxxvii. 3) says it was a place for the custody of hostages and -prisoners of war. When Q. M. Celer the consul was imprisoned there by -the tribune L. Flavius, Celer attempted to assemble the Senate in it -(Dion Cassius, xxxvii. 50); so we may infer that it was a large -building. The _Lautumiae_ was _entirely distinct_ from the Mamertine -Prison. - -_The church with the plain front, S. Adriano, and the house with the -green shutters, occupy the site of_ - - -THE SENATE HOUSE, - -originally built by Tullus Hostilius one hundred years after the -foundation of Rome, and called the Curia Hostilia. "He built a Senate -House, which retained the name Hostilia even within the memory of our -fathers" (Livy, i. 30). - - [Illustration: THE ROMAN FORUM, FROM THE CAPITOL. - - 1. Senate House. - 2. Arch of Septimius Severus. - 3. Monument of Marcus Aurelius. - 4. Rostra ad Palmam. - 5. Comitium. - 6. Column of Phocas. - 7. Temple of Vespasian. - 8. Temple of Saturn. - 9. Basilica Julia. - 10. Sacred Way. - 11. Vicus Tuscus. - 12. Temple of Castor and Pollux. - 13. Palace of Caligula. - 14. Temple of Vesta. - 15. Palatine Hill. - 16. Arch of Titus. - 17. House of Caesar. - 18. Arcade of the Pearl-Dealers. - 19. S. Francisca, Forum of Cupid. - 20. Colosseum. - 21. Basilica of Constantine. - 22. Temple of Venus and Roma. - 23. Temple of the Penates. - 24. Temple of Romulus. - 25. Temple of Antoninus Pius. - 26. Temple-Tomb of Caesar. - 27. Site of the Arch of Fabius. - 28. Curtian Lake. - 29. Site of Basilica AEmilia. - 30. Site of Basilica Porcia. - 31. The Janus or Exchange. - 32. Site of Original Rostra.] - -It was destroyed by fire when the body of the tribune Clodius was -burned, A.U.C. 702. Rebuilt by Faustus, the son of Sylla. Destroyed a -second time, to do away with the name of Sylla, on pretence of -erecting the Temple of Felicity; rebuilt by Julius Caesar, A.U.C. 711, -completed by the Triumvirs, and consecrated by Augustus, who named it -the Curia Julia. Again destroyed by fire under Titus, and rebuilt by -Domitian, and called Senatus. - -It was approached by a flight of steps; for "Tarquin carried old -Servius out of the Curia, and threw him down the steps to the bottom" -(Livy, i. 48). - -This was the proper Senate House; and when we read of the senators -meeting in other places, there was always some special reason for -their so doing. The tradition of the church, S. Adriano, is, that it -was erected out of the remains of the Senate House, the bronze doors -of which were carried off to the Lateran by Alexander VII., where they -still remain. - -An anonymous writer, quoted by Eckhard, states that in A.D. 283, under -Carinus, a fire destroyed the Curia Julia, the Graecostasis, the -Basilica Julia, and the Forum of Caesar, all of which were restored by -Diocletian, 290. The Senate House seems to have been again destroyed, -and rebuilt by Flavianus, prefect of the city, in 399, under the title -of "Secretarium Senatus;" another prefect, Eucharius, restored it in -407. - -_The Church of S. Martino occupies the site of_ - - -THE GRAECOSTASIS AND SENACULUM. - -Varro ("Ling. Lat.," v. 155) says: "The Graecostasis was on the right -of the Curia, and projected in front of it; and here the Senate -received the foreign ambassadors in audience. The Senaculum lay above -the Graecostasis, and towards the Temple of Concord, and the senators -deliberated in this building with the magistrates who were not -entitled to enter the Senate House." - -Between S. Martino and S. Adriano the Via Bonella runs out of the -Forum on the line of - - -THE ARGILETUM, - -which passed through the Fora of Caesar and Augustus to the Suburra. It -was the Paternoster Row of ancient Rome. "Thou preferrest, little -book, to dwell in the shops in the Argiletum" (Martial, i. 3). - -_At its entrance stood_ - - -THE BRONZE SHRINE OF JANUS. - -In A.U.C. 39, "Numa built a shrine to Janus, near the foot of the hill -Argiletum, which was to notify a state either of war or peace" (Livy, -i. 19). Ovid ("Fasti," i. 259) says, "Thou hast a shrine adjoining two -Fora" (the Forum of Caesar and the Roman Forum). "There was a Janus in -the Forum before the Curia. This temple was made entirely of bronze, -and of a square form; it was hardly large enough to hold the figure of -Janus. The bronze image was four cubits high; in other respects like a -man, except that it had two faces, one looking towards the east and -the other towards the west. There were bronze doors in each front" -(Procopius, "Bel. Got." i. 25). A brick podium under the right end -column of the Arch of Severus marks its site. - -_Somewhat in the foreground is_ - - -THE ARCH OF SEPTIMIUS SEVERUS, - -erected, A.D. 205, in honour of the emperor and his two sons, -Caracalla and Geta, by the senate and people of Rome.[4] The -sculptures adorning it are interesting, and represent his victories -over the Parthians, Arabians, and Adiabenes. - -A chariot, containing the statues of the emperor and his sons, drawn -by six horses (now in S. Mark's, Venice), stood on the summit. The -sculptures represent details of the Roman military harangues, sieges, -camps, assaults with battering-rams, and the submission of prisoners. -The front towards the Forum represents the emperor addressing his -troops, the taking of Carrha, the siege of Nisibis. The front facing -the Capitol represents another harangue, the siege of Atra, and the -passage of the Euphrates and Tigris. - -_In front of the arch are the bases of_ - - -THE DUILIAN COLUMN, - - [Illustration: DUILIAN COLUMN.] - -erected A.U.C. 493. "Caius Duilius was the first to gain a naval -triumph over the Carthaginians: his column still remains in the -Forum" (Pliny, xxxiv. 11). It was of bronze, made out of the rostra of -the captured ships. Being struck by lightning, it was restored by -Germanicus, under Tiberius, and part of his inscription is still to be -seen in the column made to receive it by Michael Angelo in the Palazzo -dei Conservatori, on the Capitol. - - -THE MAENIA COLUMN - -"was erected in honour of C. Maenius, who conquered the ancient Latins, -A.U.C. 416, and to whom the Romans gave a third of the spoil" (Pliny, -xxxiv. 11). - -_Immediately behind the Arch of Severus are the remains of_ - - -OPIMIUS'S TEMPLE OF CONCORD. - -Here was originally a shrine erected by Flavius. Livy (ix. 46) says, -"In A.U.C. 449, to the great displeasure of the nobles, Caius Flavius -performed the dedication of the Temple of Concord, in the area of -Vulcan." - -Pliny (xxxiii. 6) gives us further particulars, and points out the -exact site:--"Flavius made a vow that he would consecrate a temple to -Concord, if he should succeed in reconciling the privileged orders -with the plebeians; and as no part of the public funds could be voted -for the purpose, he accordingly built a small shrine of bronze near -the Graecostasis, then situated above the Comitium, with the fines -which had been exacted for usury. - -"Here, too, he had an inscription engraved upon a tablet of brass, to -the effect that the shrine was dedicated 203 years after the -consecration of the Capitoline Jupiter." - -The third temple, Livy (xxii. 33) says, "was erected in the Citadel, -A.U.C. 538, the Temple of Concord vowed by the Praetor Lucius Manlius, -on occasion of the mutiny of some soldiers in Gaul, A.U.C. 536." - -The fourth temple was dedicated to Concord by the Consul Lucius -Opimius, after the death of Gracchus, A.U.C. 632. Appianus (i. 26) -says "it was in the Forum." Varro ("L.L." v.) says, "The Senaculum was -above the Graecostasis, towards the Temple of Concord and Basilica -Opimia." Festus says it was "between the Capitoline Hill and the -Forum." - -The Senaculum was distinct from the Curia. Thus Livy (li. 27) says, -"The censors constructed a portico from the Temple of Saturn on the -Capitol to the Senaculum, which was above the Curia." The inscription -has been preserved to us:-- - - S. P. Q. R. AEDEM CONCORDIAE VETVSTATE COLLAPSAM IN - MELIOREM FACEM OPERE ET CVLTV SPLENDIDIORE RESTITVERVNT. - - -THE BASILICA OPIMIA. - -At the back of the ruins of the temple are the remains of the Basilica -Opimia. Part of the ground-plan is shown on a fragment of the marble -map of Rome, with a fragment of a basilica behind. On examination of -the ruins, the two buildings can be distinctly made out. - -In front are the ruins of the steps and portico, with the cella -behind. There seems to have been at the back of the cella an entrance -into the basilica, both being closed with independent doors. The -marble threshold of the temple is _in situ_, and upon it is cut a -_caduceus_, the emblem of Concord, which was once filled in with -bronze; parallel to this, but distinct, is the marble threshold of the -basilica, with the holes where the pivots of the doors turned. Under -the podium of the basilica is a long narrow vault of _opus incertum_, -but it does _not_ lead into the Tabularium, that being built long -afterwards, A.U.C. 675, as the old inscription records, B.C. 78. It -was probably the place where the utensils for the temple were -deposited. Some of the marble decorations of the basilica still -remain; and this was no doubt the hall used when the Senate are spoken -of as having sat in the Temple of Concord. "The Senate assembled in -the building near the Temple of Concord" (Dion Cassius, lviii. 2). "In -this temple, in which, whilst I was advising the Senate, you placed -around it armed men" (Cicero, "2 Phil." vii. and viii.). "Here, in -this Cella of Concord, on the slope of the Capitol." - -It may be that this is the basilica spoken of in later times as the -Basilica Argentaria, probably taking that name from being frequented -by the silversmiths. It was restored, after a fire, by Septimius -Severus, and the inscription quoted is probably of his date. In A.D. -731-741, Pope Gregory III. turned the remains into a Christian church, -which exists no longer. In 1817, three inscriptions were found here, -referring to the temple and basilica. Cicero ("Per Sest." lxvii.) tell -us "that the monuments of L. Opimius in the Forum were very much -frequented." - -A Temple of Concord seems to have been decorated with many statues, -but there is nothing to show whether it was that of Camillus on the -Capitol, or Opimius's. - -"Piston also made the statues of Mars and Mercury, which are in the -Temple of Concord at Rome." "Sthenius made the statues of Ceres, -Jupiter, and Minerva, which are now in the Temple of Concord." -"Augustus consecrated in the Temple of Concord, as something -marvellous, four figures of elephants made of obsidian stone." "Also, -a picture of Marsyas bound by Leuxis" (Pliny, xxxiv. 19, xxxv. 36, -xxxvi. 67). - -"Vitellius left the palace to lay down the ensigns of sovereignty in -the Temple of Concord" (Tacitus, "H." iii. 68). - -_To the left is_ - - -THE TEMPLE OF VESPASIAN. - -Vespasian having rendered such services by restoring the Capitol, and -collecting the records in the Tabularium, no more suitable site could -be found for the erection of a temple to the deified emperor than in -front of an old entrance to this latter building. The three pillars, -which are all that remain of the building, stand upon a lofty terrace; -and the skill of the architect in concealing the limited depth of the -space allotted to the temple is shown in his having placed the columns -of the flank nearer to each other than those of the front. - -The beauty of this ruin excites universal admiration. It approaches -that of the Temple of Castor and Pollux in the Forum. The inscription -on the architrave, copied, whilst still entire, by a monk of the -monastery of Einsiedeln, in the eighth century, refers to the -restoration of the building by Septimius Severus and Caracalla, who -appear to have also restored other sanctuaries in the same -neighbourhood. - - DIVO. VESPASIANO. S. P. Q. R. IMP. CAES. SEVERUS. ET. - ANTONINUS. PII. FELIC. AUG. RESTITUERUNT. - -_Looking across the front of this temple is_ - - -THE TEMPLE OF SATURN. - -"The temple was consecrated to Saturn, upon the ascent leading from -the Forum to the Capitol. Before this, the altar erected by the -followers of Hercules stood there" (Dionysius, vi. 1. See _ibid._, i. -34). - -Only eight Ionic columns, with their capitals and architraves, remain. -It was on the steps of this temple that the generals took the oath -that they had given a correct account of their spoil and prisoners. It -contained the public treasury, and, according to Solinus, was called -the Treasury of Saturn. Livy (ii. 21) says, "In the consulate of Aulus -Sempronius and Marcus Minucius, A.U.C. 257, the Temple of Saturn was -dedicated." Plutarch says, "Publicola appointed the Temple of Saturn -to be the treasury, which they still make use of for that purpose, and -empowered the people to choose two young men as quaestors or -treasurers." The inscription is still _in situ_. - - SENATUS . POPULUSQUE . ROMANUS . INCENDIO . CONSUMPTUM . - RESTITUIT. - - [Illustration: TEMPLE OF VESPASIAN, TABULARIUM, AND PORTICO OF THE - TWELVE GODS.] - - -THE MILLIARIUM AUREUM, - -or Golden Milestone, set up by Augustus (Dion Cassius, liv. 5), the -site of which is at the angle of the temple on the side of the old -Clivus Capitolinus, the ancient road leading up from the Forum. It was -a gilded stone, on which the distance of all the principal towns was -recorded, the distance being always measured from the city gates. -Suetonius ("Otho," vi.) tells that "Otho gave his accomplices notice -to wait for him in the Forum near the Temple of Saturn, at the Golden -Milestone." Tacitus ("H." i. 27) relates the same; and Plutarch (in -"Galba") agrees with them both, adding, "There terminate all the great -roads in Italy." - -_Behind the Temple of Saturn, in the corner, is_ - - -THE PORTICO OF THE TWELVE GODS, - -the Schola Xantha, and the portico of the Dii Consentes, restored by -Visconti in 1858, marked by eight Corinthian columns, partly modern, -but with antique capitals and architraves; and the cellae arranged in -compact masonry behind them. It was called the Schola Xantha, from -Fabius Xanthus, a curator of the monuments, who placed here the images -of the household gods of Rome--Dii Consentes, because admitted to the -council of Jove--Juno, Vesta, Minerva, Ceres, Diana, Venus, Mars, -Mercurius, Jovi', Neptunus, Vulcanus, Apollo (Ennius). The inscription -tells us they were reinstated under Vettius Pretextatus, A.D. 367. - -_Facing towards the Forum, at the back of the line of buildings at its -top, is_ - - -THE TABULARIUM. - -(See page 170.) - -_In front of the Senate House, S. Adriano, is_ - - -THE COLUMN OF PHOCAS, - -which formerly supported the statue of that emperor. It faced the -Senate House; and is placed upon a pedestal rising from a pyramidal -basement of steps, the whole evidently the plunder of other edifices. - -It was erected by Smaragdus, the Exarch of Italy, in A.D. 608, and -was excavated by the Countess of Devonshire in 1816. - -It is thus mentioned by Byron,-- - - "Tully was not so eloquent as thou, - Thou nameless column with the buried base!" - _Childe Harold_, iv. 90. - -_Between the Temples of Saturn and Castor are the remains of_ - - -THE BASILICA JULIA, - -on the site of the Basilica Sempronia, erected by Sempronius Gracchus, -B.C. 169 (Livy, xliv. 16). This was burned down, and rebuilt by Julius -Caesar, and called Julia, after his daughter. It was destroyed by fire, -and rebuilt by Augustus (Dion Cassius, "Augustus"). It was again -destroyed by fire, and rebuilt A.D. 283. Suetonius tells us that -Caligula, "during three days successively, scattered money to a -prodigious amount among the people, from the top of the Julian -Basilica" ("Caligula," xxxvii.). It is shown on two pieces of the -marble plan. - -In the "Mon. Ancyr.," Augustus says, "He rebuilt the Basilica Julia -between the Temples of Castor and Saturn." Thus we see that the Will -of Augustus, the marble plan, and the ruins, all three exactly agree. -The portico was dedicated to his grandsons, Lucius and Caius -(Suetonius, "Augustus," xxix.). It was the great court of appeal. (See -Pliny, Jr., "Letters," v. 21, vi. 33.) - -The old pavement has been well exposed, and put in proper condition -for preservation; the remnants of frieze, and cornices, and columns -found in the diggings have been set up on brick pedestals,--an -innovation of Signor Rossa's. The old bits of pavement have been very -smoothly linked together by the laying of Venetian mosaic cement, and -the contrast between the modern and the antique is very apparent. - -The principal streets that ran into the Forum were:-- - - -THE VIA SACRA. - -It commenced on the Palatine Hill at the AEdem Larium. Passing by the -Arch of Titus, it turned to the left: thus far it was called the -Clivus Palatinus and Summa Sacra Via; the slope down to the Forum was -called the Clivus Sacer. It entered the Forum at the Temple of -Antoninus, past which it turned again to the left, passing in front of -the Temple of Caesar; then turning to the right, passed through the -centre of the Forum to the foot of the Capitol. The ascent here was -called the Clivus Capitolinus. It was paved B.C. 174 (Livy, xli. 27). - -Its windings are easily accounted for when we remember that it had to -come from the top of the Palatine to the top of the Capitoline, -passing through a narrow valley. It was called the Sacred Way from the -sacred processions that passed along it, and from the sacred buildings -that lined it. - -_Between the Basilica Julia and the Temple of Castor_ - - -THE VICUS TUSCUS - -ran to the forum of the cattle-dealers and Circus Maximus. "They had -ground allotted to them for building houses, which was afterwards -called the Vicus Tuscus" (Livy, ii. 14). "Verres had caused it to be -paved so badly, that he made a point of never going along the street -that he had taken the contract for paving" (Cicero, "Ver." i. 59). It -was the route for the festal processions to the Circus and Aventine. -Where it entered the Forum was a statue of the Tuscan god Vertumnus, -the base of which statue was found near where the street first touched -the Basilica Julia. This street was sometimes called the Vicus -Thurarius, from the perfumers' shops. - - -THE VICUS JUGARIUS - -went out of the Via Sacra between the Temple of Saturn and the -Basilica Julia, running under the Capitol to the Porta Carmentalis, -the gate in the wall from the Capitol to the river that led into the -forum of the vegetable-dealers. Where it left the Via Sacra it was -spanned by the Arch of Tiberius, erected A.D. 16 in commemoration of -the lost eagles of Varus being recovered by Germanicus (Tacitus, -"Annals," ii. 41). In this street was the Lacus Servilius. - -Under our (right) side of the Temple of Castor are some remains of - - -THE STREET OF THE OX-HEADS. - -From the Porta Romana on the Palatine, a short street went to the -right out of the Via Nova into the Forum, ending between the Temples -of Castor and Vesta. "It chanced that I was returning from the -festival of Vesta by that way by which the Nova Via is _now_ joined to -the Roman Forum" (Ovid, "Fasti," vi. 389.) We wish Mr. Naso had been a -little more explicit, and had given us the name of this short street; -but we will endeavour to demonstrate what the name of this street was. -We know from Suetonius that under the Palatine was the temple to the -deified Augustus, and over it Caligula built his bridge, connecting -the Palatine with the Capitol. Now, at the corner of the Palatine we -have the ascent to this bridge remaining, so that it will not be -difficult to find the probable site of the Temple of Augustus. Horace -(O. iii. 3) implies that it was between the Temples of Castor and -Hercules. Servius says it was near the Tuscan colony. Suetonius tells -us it was on the site of the house in which he was born, and gives us -the name of the street: "In the quarter of the Palatine Hill, and the -street called the Ox-heads, where _now_ stands a temple dedicated to -him, and built a little after his death" ("Aug." v.). We conclude from -the above that the probable name of this short street was AD CAPITA -BUBULA, and in confirmation of this, ox-heads may still be seen -sculptured on the fragments found at the end of this street, between -the Temples of Castor and Vesta. - - -MINOR STREETS. - -We must call attention to a cross street that ran from the Clivus -Capitolinus to the Prison and the Clivus Argentarius, the name of -which we cannot determine, unless it was reckoned part of the -Argentarius. When the triumphal processions arrived at this point, the -general and prisoners separated. He went up the Capitol to sacrifice, -they to the Prison to death. - -The road passing under the Arch of Severus is of very late date, and -artificially formed. It ran from the cross street down the north side -of the Forum for a short distance, when it turns to the left, -apparently passing out of the Forum between the Curia and the Basilica -Porcia. The roads, as a rule, did not pass under the triumphal arches, -as they are represented on reliefs and coins, with the archways -occupied with statues. - -_The open paved space, which was very much larger in the time of the -Republic, was called_ - - -THE COMITIUM. - -Varro says it was so called "from _coire_, to meet,--the place of the -ratification of the treaty between the Romans and Sabines." Livy tells -us "it was an open space marked out in the Forum, where the assemblies -called Comitia Curiata took place for the purpose of electing -ministers of religious rites, making laws of a certain description, -and deciding some suits, and inflicting punishment on criminals." - -Domitian ordered the gallants of Cornelia, the president of the -Vestal Virgins, to be whipped to death with rods in the Comitium. - -A line of seven brick bases for honorary statues occupies one side; -the edge of the paved area marks the top; the remains of a row of -shops, destroyed by Signor Rossa in 1872, the bottom. The line of the -modern road on the right was called - - -THE JANUS. - -This was the Roman Exchange, where the money-changers transacted their -business, and must not be confounded with the Temple of Janus already -mentioned; nor must it be thought that there were a series of arches -here, as some authors have supposed. Horace says (Sat. ii. 3), "Since -all my fortunes were dissipated at the middle exchange" (Janus). Again -(Ep. i. 1), "O citizens, money is to be sought first; virtue after -riches. This is inculcated from the top to the bottom of 'change." He -here distinguishes the _summus_, _medius_, and _imus_, or the top, -middle, and bottom of the exchange. - - -SHRINE OF VENUS. - -Having thus pointed out the principal buildings of the Forum, we will -descend to its level, and identify some of its historical sites. - -_At the left-hand corner_ of the Vicus Tuscus and the Via Sacra, a -brick pedestal marks the site of the Shrine of Venus Cloacina, erected -in commemoration of Tarquin making the Cloaca Maxima. _Cloacina_ comes -from _cluere_ = _purgare_, to purge. - - -THE DEATH OF VIRGINIA. - - [Illustration: DEATH OF VIRGINIA.] - -_Opposite_ this shrine, facing up the Vicus Tuscus, is some -brickwork--remains of a line of shops that faced towards the Temple of -Caesar, and which were destroyed by Signor Rossa in making the -excavations. The end shop only was saved. This was the site of the -butcher's stall from which Virginius snatched the knife that saved his -daughter's honour. - -"Virginius demanded to speak with Virginia; and permission being -granted, he drew the maiden and her nurse aside to the shops near the -shrine of Cloacina, now called the new shops, and there, snatching a -knife from a butcher's stall, plunged it into his daughter's breast" -(Livy, iii. 48). - - -THE FOUNTAIN OF JUTURNA. - -_At the left-hand corner_, facing the Temple of Castor, the oval basin -of this fountain has been cleared, and the spring which supplied it is -covered with an iron grating, and has been turned into the Cloaca. It -is no doubt the same at which the twin-gods, Castor and Pollux, washed -their horses after fighting for Rome in the battle of Lake Regillus, -when they announced to the people that the battle was won. Similar -stories are told by Florus. When the Romans conquered Perses, king of -Macedonia, the twin-gods washed themselves at the Lake of Juturna; and -when they defeated the Tigurini, the gods were seen to deliver a -letter to the praetor in front of their temple. - -Juturna was the sister of Turnus, immortalized by Jupiter, and turned -into a fountain, whose waters were used in Vesta's sacrifices, and had -curative powers. - - -THE FORNIX FABIUS - -stood between the Temples of Caesar and Castor; some slight remains can -still be seen. It was erected to Fabius Maximus, the conqueror of the -Allobroges, now Savoy. It was erected B.C. 121, being the first -triumphal arch in the Forum. The Romans originally called their -triumphal arch _fornix_, not _arcus_. - -The pseudo-Ascon says it stood before the Temple of Castor. The -inscription was found in the sixteenth century, and is given by -Gruter, ccccvi. 5-- - - Q . FABIO . ALLOBROGICINO - MAXIMO. - -Another fragment is given in the Vatican Codex, 3368, 4-- - - Q . FABIUS . Q . F . MAXIMUS . AED . CVR . REST. - -Cicero is the first author who speaks of this arch, and he alludes to -it several times. In "Verres" (i. 7) he says: "He (Caius Curio) sees -Verres in the crowd by the Fornix Fabius. He speaks to the man, and -with a loud voice congratulates him on his victory." Asconius, -commenting on this passage, says: "Fornix Fabius arcus est juxta -Regiam in Sacra Via a Fabio censore constructus, qui a devictis -Allobrogibus Allobrox cognominatus est, ibique statua ejus posita -propterea est." - -In "Pro Plancio" (vii.) Cicero says: "When I am hustled in a crowd, -and pushed against the Arch of Fabius, I do not complain to the man -who is at the top of the Sacra Via, but to him who pushes me." Again -("De Orat." ii. 66) he says: "Crassus said in a speech to the people -that Memnius, though himself so great a man, as he came into the -Forum, stooped his head at the Arch of Fabius." - -Seneca ("De Constantia Sapientis," i.) says: "Cato was dragged from -the (old) Rostra to the Arch of Fabius"--that is, nearly the whole -length of the Forum. Trebellius Pollio ("Saloninus Gallienus," i. 10) -says: "There was at this time at the foot of the hill Romulus -(Palatine) a statue, that is before the Sacred Way, between the -Temples of Faustina and Vesta, near to the Arch of Fabius." This -exactly describes the site. - -We have two views of this arch preserved to us on ancient reliefs. The -first, from the Arch of Marcus Aurelius, now on the stairway of the -Palazzo dei Conservatori on the Capitol, represents the arch on the -left of the Temple-Tomb of the deified Caesar. The second, a relief on -the monument of Marcus Aurelius on the Comitium, nearest the Arch of -Septimius Severus, depicts the Arch of Fabius to the right of the -Temple of Castor and Pollux. - -_Under the bank of earth to the right of Caesar's Temple-Tomb stood_ - - -THE ARCH OF AUGUSTUS. - -Dion Cassius records (liv. 8) that Augustus built an arch in -commemoration of the Parthian treaty near the Temple-Tomb of Caesar. -This is borne out by Maii, an interpreter of Virgil ("AEn." viii. 606), -who says the Arch of Augustus was near to the temple of the deified -Julius. The "Mirabilia" mentions it, and gives the same site: "Templum -Minervae cum arcu conjunctum est ei, nunc autem vocatur Sanctus -Laurentius de Mirandi;" that is, the Temple of Antoninus Pius and -Faustina, now the Church of San Lorenzo in Miranda. Accordingly, it -was on the right of the Temple of Caesar. Between it and the Temple of -Antoninus the following inscription on marble was found in 1540-46:-- - - SENATVS . POPVLVSQVE . ROMANVS - IMP . CAESARI . DIVI . IVLI . F . COS . QVINCT - COS . DESIGN . SEX . IMP . SEPT - REPVBLICA CONSERVATA. - (Gruter, ccxxvi. 5.) - -It is doubtful whether this refers to the Arch of Augustus or to the -Temple of Caesar, both having been built by Augustus. A coin of -Augustus represents this arch, with the legend, CIVIB . ET . SIGN . -MILIT . A . PART . RECVP. In the early part of 1884, on the Via Sacra, -near the Temple of Antoninus, some thirty travertine _voussoirs_--which -formed part of an arch, the diameter of which was 12 feet 17 -inches--were brought to light. So far, the excavations do not show -where this arch stood; but when the road between the Temples of Caesar -and Antoninus is cut away, we may hope to find the site. - - -THE ROSTRA JULIA. - - [Illustration: PLAN OF THE ROSTRA, AND TEMPLE-TOMB OF CAESAR.] - -We know from Dion Cassius that Caesar encouraged the popular business -to be carried on at the lower end of the Forum, and that he turned the -steps of the Temple of Castor into a temporary rostra. On this -becoming popular he built a new rostra, which was called the plebeian -rostra or Rostra Julia. We learn from Suetonius that it was before the -Temple of Caesar. Cicero, speaking from it against Mark Antony, bids -his audience look to the (_their_) left at the gilt equestrian statue -of Antony which stood before the Temple of Castor. - - [Illustration: HADRIAN ADDRESSING THE PEOPLE FROM THE ROSTRA JULIA.] - -This is one of the most interesting spots in the Forum. Caesar built -the second rostra with its rear towards the Forum, represented by the -darker lines in the above plan. In front, towards the curved edge, -Antony spoke, Caesar's body being on the level below. The body was -burnt and buried "in the Forum in that place visible from the old -monumental Regia of the Romans. On the spot was placed an altar _where -now_ is the Temple of Caesar" (Appian, ii. 42). "The same men were -erecting a tomb in the Forum who had performed that irregular funeral" -(Cicero, "First Phil." ii.). - -It was decorated with the rams of the captured ships of Antony and -Cleopatra. It was the custom to speak from the circular edge; but when -the Temple of Caesar was built, it was erected close up to his rostra, -on the site where the people had previously stood, and so they had to -turn about and address the people from the flat edge. "As he was -seated on the rostra at the festival of Pan, Mark Antony placed upon -his brow a royal diadem" (Velleius Paterculus, ii. 56). - - -MARK ANTONY'S SPEECH. - -When Caesar was killed, it was not in the Capitol, as Shakespeare makes -it, nor in the Senate House upon the Forum, but in Pompey's Senate -House (see page 195). From there the body was carried to his house, -and next day into the Forum, on its way to the Campus Martius, and was -placed in front of the Rostra Julia for some friend to make the -funeral oration over it. Mark Antony mounted the rostra, and there -made his famous speech, "which moved the people to that degree that -they immediately burned the body in that very place, and afterwards -interred his ashes" (Dion Cassius, "Caesar"). - -Livy ("Epit." xcvi.) says that "Caesar's body was burned before the -plebeian rostra." Dion Cassius says his temple-tomb was built on the -very spot where his body was burned. - -Unfortunately Antony's address has not come down to us, so we must -accept Shakespeare's immortal version. - - -THE CURTIAN LAKE. - -Crossing the Sacred Way, which passes along the front of Caesar's Tomb, -we arrive at the space occupied by the shops destroyed in excavating. -The construction remaining shows that they were rebuilt at a late -date. It will be noticed that the soil is damp and sandy. This spot -was once marshy, and took its name from Mettius Curtius, a leader of -the Sabines, getting mired here in the battle which took place about -the carrying off of the women. Plutarch, Livy, Dionysius, and Ovid -agree in this; and not from the fable related by Livy (vii. 16) of the -Forum opening, and Marcus Curtius jumping in, horse, armour, and all. -The former event is commemorated in a relief in stone now in the -Capitol; whilst the latter fable is depicted in the marble relief now -in the Borghese Museum. - - -THE PEDESTAL OF THE STATUE OF DOMITIAN. - -The Statue was destroyed by the people after his death, and the base -of the pedestal is all we have left, standing upon the travertine -pavement of the Forum. It is interesting to archaeologists as putting -to rest the arguments in reference to the names and positions of the -different buildings in the Forum. The poet Statius ("Silvae," i. 1, 22) -describes the relative position of the different buildings and this -statue. He tells us that the statue was situated in the middle of the -Forum, near the Curtian Lake. In front of it was the temple of the -deified Julius; behind it were the Temples of Vespasian and Concord; -on one side the Basilica Julia, and on the other the Basilica AEmilia; -whilst the rider looked towards the Temple of Vesta and the Imperial -Palace. - - [Illustration: MARCUS CURTIUS LEAPING INTO THE GULF. - (_Relief in the Villa Borghese._)] - -Suetonius tells us that the tablet inscribed upon the base of -Domitian's triumphal statue was carried away by the violence of a -storm, and fell upon a neighbouring monument. - -_A little beyond this pedestal, to the right_, are the remains of -another pedestal, a deep round hole recently closed, and beyond it a -third pedestal. - -_Upon the first we will place_ - - -THE STATUE OF MARSYAS. - -Servius informs us that this statue was put up in the principal forum -of every city as an emblem of civic liberty and even-handed justice. -It stood in front of the old rostra. Horace and Martial both refer to -it as being near the judge's seat. It had a pig-skin of wine on one -shoulder, denoting the plentiful supply to the city, and had the other -arm extended with the hand open, showing that every one should have -equal justice. - -_Over the round hole stood_ - - -THE PUTEAL SCRIBONIUS LIBO, - -or well altar. This is shown on a coin as being round. - -"At a small distance from the statue of Attus, both the hone and the -razor are said to be buried under a certain altar; the place is called -_Puteus_ by the Romans" (Dionysius, iii. 72). Cicero ("De Div." i. 17) -says, "It was on the Comitium, and was erected over the spot where the -hone and razor were buried." (See also Horace, Ep. i. 19.) - -_Upon the other base we will place_ - - -THE STATUE OF ATTUS NAVIUS. - -"Tarquin erected a brazen statue of him in the Forum to eternalize his -memory with posterity. This statue is still remaining, and stands -before the Senate House, near to the holy fig-tree. It is less than a -middle-sized man, and has a veil over the head" (Dionysius, iii. 72). -"The statue of Attus Navius was erected before the Senate House, the -pedestal of which was consumed when the Senate House itself was burned -at the funeral of Publius Clodius" (Pliny, xxxiv. 11). "There was a -statue of Attus, with a fillet on his head, in the place where Tarquin -had the whetstone cut in two with a razor, on the Comitium, or place -of assembly, just by the steps, at the left-hand side of the Senate -House" (Livy, i. 36). - - -THE FICUS NAVIA - -was a fig-tree that, according to Festus, was planted by Tarquin in -commemoration of his having had the whetstone cut in two with a razor, -according to the augury of Attus Navius. It should not be confounded -with the Ruminal fig-tree which grew upon the Palatine, as has been -done by some writers. It is rather a curious incident that since the -excavations were made, a fig-tree sprang up near the pedestal of -Marsyas. This is the tree shown on the reliefs of the monument of -Marcus Aurelius. - -_Just beyond these three objects_, a semicircular mark on the pavement -points to the site of - - -THE ROSTRA. - -The original Rostra was first called the Suggestum or Pulpit, but in -A.U.C. 416 the name was changed into Rostra (beaks). - -"The prows from the six ships captured from the Antiates were ordered -to be placed as decorations on the Suggestum in the Forum, which was -hence called Rostra" (Livy, viii. 14; Florus, i. 11; Pliny, xxiv. 11). - -"The Rostra stood on the Comitium in front of the Curia" (Varro), from -which the orators harangued the people assembled in the open air; and -it was evidently only a temporary structure, probably of wood, and not -a building like the other two Rostra. It stood upon a circular -basement, but the top was square; on the outside were fixed the brazen -beaks which belonged to the captive vessels of the Antiates. About the -Rostra were placed the statues of the ambassadors put to death by Lar -Tolumnius, king of Veii, and others who suffered on similar occasions; -the three Fates, Horatius Cocles, Camillus, Hercules, the father of -Vitellius, and others who deserved well of their country. - -"When Caius Gracchus brought in his bill to regulate the courts of -judicature, there was one thing very remarkable: whereas the orators -before him, in all addresses to the people, stood with their faces -towards the Senate House and the Comitium, he then, for the first -time, turned the other way,--that is to say, towards the Forum,--and -continued to speak in that position ever after. By this he intimated -that the people ought to be addressed, and not the senate" (Plutarch). - -Suetonius tells us that on the death of Augustus "two funeral orations -were pronounced in his praise, one before the Temple of Julius by -Tiberius, and the other before the Rostra, under the old shops, by -Drusus." Some read this passage, "from the old Rostra;" but our -rendering is more correct, though in either case he is referring to -the Rostra that stood in front of the Curia. - -The first time Cicero spoke from the Rostra was when he delivered his -oration for the Manilian Law, A.U.C. 687, when in his forty-first -year. After his assassination, the head and hands of Cicero were -placed upon this Rostra, from where he had so often addressed the -Romans--"that very Rostra, which he had made his own; nor was there a -less concourse to see him there than had formerly been to hear him" -(Florus, iv. 6). "That everybody might see them in the very place -where he had formerly harangued with so much vehemence" (Dion Cassius, -"Augustus"). - -The form of this Rostra is preserved to us, being represented on a -coin. - -There is an important passage in Pliny which shows the exact site of -the Rostra, as it was used to mark the hour of noon. When the summoner -caught sight of the sun passing the edge of the Rostra, he declared -the hour of noon. A man standing on this site will roughly represent -the Rostra, and as the gun fires at mid-day the edge of the sun can be -seen coming past him by a person standing by the pedestal at the bank -in front of S. Adriano, who will roughly represent the summoner. We -have tried this numerous times with our audience, and it is the only -spot on the Forum where it answers. - - [Illustration: THE ROSTRA.] - -"The _accensus_ of the consuls proclaiming mid-day aloud, as soon as, -from the Senate House, he caught sight of the sun between the Rostra -and the Graecostasis: he also proclaimed the last hour, when the sun -had gone off the Maenian Column to the Prison" (Pliny, vii. 60). - - -THE MONUMENT OF MARCUS AURELIUS.[5] - - [Illustration] - -In excavating the open space of the Comitium upon the Forum in the -summer of 1872, an interesting discovery was made of two marble -screens or balustrades sculptured on each side, the one being some -historic scene, the other representing animals. At the time, and since -their discovery, many suggestions have been offered as to their -signification and use, but none seemed satisfactory, at least to us. -After considerable thought, examination of the ground, and putting -this and that together, we have arrived at an estimate of their use -and meaning entirely different from the hitherto received opinion; in -which we are supported by their construction and the classic passages -relating to them. They are _in situ_ as found, but a new piece of -marble has been put under them. - -From this it will be seen that we have made an important discovery -bearing upon the topography of the Forum, which will be of interest -not only to classical students, but to every one interested in the -word Rome. - -We have discovered that the reliefs on the screens upon the Comitium -in the Forum portray scenes from the life of Marcus Aurelius, showing -in their backgrounds the buildings occupying two sides of the -Forum--from the Temple of Concord to the Arch of Fabius--and that -these marble balustrades led up to the statue of that emperor. The -space where it stood can be plainly traced upon the pavement; and that -is why these pictures refer to epochs of his life. The statue is still -existing, and now stands in the square of the Capitol, where it was -erected by Michael Angelo, who brought it from the Lateran in 1538, -where it had been placed about 1187, when it was removed from the -Forum, near the Column of Phocas, where it had long been looked upon -as a statue of Constantine, and is so called in the Regiona Catalogue; -hence its preservation. - -The whole group was evidently erected in honour of Marcus Aurelius, -and in commemoration of the important events in his life depicted on -the screens, as recorded by Dion Cassius. - -The first relief represents a scene upon the Forum between the old -Rostra Marsyas and the fig-tree--burning the forty-six years' arrears -of debts which Marcus Aurelius had forgiven the people. - -"After that he remitted all that had been due to the Public and -Imperial Treasuries for the course of forty-six years, without -including therein Hadrian's reign, and ordered all the papers of -claims to be burned in the Forum" (Dion Cassius, "Marcus Aurelius"). - -This was on the marriage of his son Commodus with Crispina. - -It will be noticed that the relief is to the right of the fig-tree and -Marsyas. Now, if we go round to the other relief, we have the same -tree and Marsyas in the same relative positions; but the relief is to -the left, and the scenes are taking place between the Rostra Julia, -the fig-tree, and Marsyas:-- - -Giving the donation of eight pieces of gold. - -Roma, or perhaps Faustina, thanking him for the Puellae Faustinianae. - -"After he had come back to Rome, as he was one day haranguing the -people, and speaking of the number of years he had spent abroad in his -expeditions, the citizens with a loud voice cried out, 'Eight,' at the -same time extending their hands to receive as many pieces of gold. The -emperor, smiling, repeated, 'Eight,' and ordered every Roman eight -pieces, which was so considerable a sum, that so great a one was never -given before by any emperor" (Dion Cassius, "Marcus Aurelius"). - -It will be noticed that two men are holding up their hands with -fingers extended, one five, the other three--eight. - -The other scene on this relief represents a female figure advancing to -the seated figure of the Emperor Marcus Aurelius, leading a child and -carrying another, to thank him for the orphan schools he founded in -Rome in memory of his wife after her death, and which he named after -her. "New Faustinian schools he instituted in honour of his dead wife" -(Julius Capitolinus, "M. Antoninus," xxvi.). - - -THE SUOVETAURILIA. - -Upon the inner sides of the Avenue are represented on each balustrade -a boar, a ram, and a bull--the animals offered at the triple -sacrifice, or _suovetaurilia_ (from _sus_, _ovis_, _taurus_), which -was performed once every five years, or _lustrum_, for the -purification of the city. - -It was an institution of Servius Tullius, the ceremony consisting in -leading the boar, ram, and bull thrice round the assembly of the -people, and then offering them to Mars. There is a similar -representation upon a relief of Trajan on the Arch of Constantine, and -upon a pedestal found near the Arch of Septimius Severus. - -_To our left of the Arch of Severus is_ - - -THE ROSTRA AD PALMAM. - -Neither the position nor the construction of this Rostra answers to -that of the original Suggestum, which took the name of Rostra from -having fixed on it the _six_ bronze beaks of the Antiates' ships. The -original Rostra, shown on a coin of Palikanus, the orator mentioned by -Cicero ("Brutus," lxii.)--see page 42--was a wooden pulpit. Its exact -site we have already identified. The last historical notice that we -have of it is in Spartianus's "Life of Didius Julianus" (iv.), A.D. -193. After saying that the emperor addressed the Senate, he adds, "but -the people expressly in the Rostra before the Curia." - - [Illustration] - -Under the Empire the Rostra had lost its use, and only served -occasionally for the emperor to address the people from, or for -reading out edicts and proclamations. The western end of the Forum saw -many changes after the fire under Commodus, and was rearranged under -Septimius Severus, who restored the old edifices, retaining the names -of the founders, and erected others (Spartianus, "Severus," xxiii.). -In 203 an arch was erected to Severus and his two sons, and a new -Rostra was made on the south side of this arch. By cutting away a -piece of the slope of the Capitoline Hill, he formed an escarpment 11 -feet high, which was faced with a curved brick wall, and cased with -Porta Santa marble, in panels 3 feet 1 inch wide. Between each pair of -panels there is a space 61/2 inches wide, from which a piece of marble -jutted out 31/2 inches. Only one of these exists. On it there was fixed -a bronze beak, probably made in imitation of the old ones, for in that -day they had no naval foes from whom to capture ships. If there was -one row only, there were eighteen in all; if two rows, thirty-six. -This in itself is sufficient to show the ridiculousness of calling -this the original Rostra, which had six beaks only. The peculiar -marble casing also shows late work. At the north end of this platform -was erected the Umbilicus (E), and on the south end was placed the -Milliarium Aureum (F). From the level space on the top of this -escarpment the orator would speak; whilst at a short distance in his -rear was the street Clivus Argentarius, leading from the Via Sacra to -the Porta Rutuminia. This Rostra was popularly known as the People's -Rostra, because from it they were addressed--"Deinde ad Rostra Populum -convocarunt" (Capitolinus, "Maximus et Balbinus," iii.). The -narrowness of the level space on the top of this Rostra caused great -inconvenience; and as room could not be gained in the rear, it had to -be taken in front, encroaching on the Comitium. Forty-three and a half -feet in front of the curved wall of Porta Santa a straight wall was -built of travertine and tufa, 78 feet long, with side walls from it -back to the extreme ends of the Rostra, and this was cased with -Carrara white marble, the space between the two walls being filled -with earth, thus making a large platform with a square instead of a -curved front. The blocks of tufa and marble were tied together by iron -clamps, of which fragments remain, of a shape not used in the earlier -days, but used now. [Illustration] That the curved wall and the -straight wall are not contemporary is shown by the construction, as -well as by the fact that the curved wall is faced with coloured -marble, which would not have been the case if it had not at one time -been open to the Forum. The curved wall is on a line with the Arch of -Severus; but the tufa wall comes out 251/2 feet beyond the arch, and is -not parallel with the curved wall behind it. The tufa and travertine -wall is erected on the travertine pavement of the Comitium. - - [Illustration] - -We believe these changes on this Rostra were made in the time of -Aurelian (270), after the death of Claudius II., whose statue was -erected on this Rostra. "Illi totius orbis judicio in rostris posita -est columna palmata statua superfixa" (Pollio, "Claudius," iii.). Upon -this Rostra also Aurelian erected a statue of the Genius of the Roman -People. Aurelianus--"Genium Populi Romani in rostra posuit" ("E -Chronicis antiquis excerpta Aurelianus"). The fourth century guides, -"Curiosum Urbis" and "De Regionibus" (in Regio viii.), mention the -Genium Populi Romani, the latter adding "aureum." They both mention -three Rostra in the Forum. The statue of Claudius was not represented -as wearing the Roman toga, but the Greek pallium, from which this -Rostra became known as the Rostra ad Palmam; and this part of the -Forum in later times was called ad Palmam. - -Theodoric--"Deinde veniens ingressus urbem venit ad Senatum, et ad -Palmam populo adlocutus" ("Excerpta Valesiana," lxvi.). - -"Ligaverunt ei manus a tergo et decollaverunt extra Capitolium et -extrahentes jactaverunt eum juxta arcum triumphi ad Palmam" ("Acta -SS., Mai." vii.). - -Ammianus Marcellinus (xvi. x. 13) describes Constantius's visit in 356 -to this Rostra: "When he arrived at the Rostra, he gazed with amazed -awe on the Forum, the most renowned monument of ancient power; and -being bewildered with the number of wonders on every side to which he -turned his eyes, having addressed the nobles in the Senate House and -harangued the populace from the Rostra, he retired." This expresses -the feelings of many visitors in our day. The site commands a good -view of the Forum. - - [Illustration: RELIEF FROM THE ARCH OF CONSTANTINE REPRESENTING THE - ROSTRA AD PALMAM, ETC.] - -The remains of this Rostra are best illustrated by the representation -of it in the relief on the Arch of Constantine; and by no possible -imagination can it be made to agree with the coin of Palikanus. - -In the centre is a platform with a straight front, having a lattice -balustrade; on the right is a statue of Claudius II., and on the left -the statue of the Genius of Rome. A group of people stand behind the -railing and surround Constantine, who is addressing the people. Behind -are five Corinthian columns surmounted with statues. The balustrade -stood on the top of the tufa wall, and some of the fallen gray granite -columns still exist. To our right, clear of the Rostra, is the Arch of -Severus, a group of people being in front, looking up to the Rostra. -On the left, in the background, are the Arch of Tiberius, spanning the -Vicus Jugarius, and four of the arches of the Basilica Julia--the -foreground being occupied by a crowd of people facing towards the -Rostra. - -The scene here depicted was no doubt that which took place on the -entry of Constantine into Rome: "And with a loud voice and by -inscriptions he made known to all men the salutary standard" -(Eusebius, "Life of Constantine," xl.). - -In the relief the head of Constantine is unfortunately missing; but it -seems very appropriate that he should be represented addressing the -Roman people from that Rostra, which was decorated with the statue of -his ancestor Claudius II. - -There are no beaks shown on the relief; but along the tufa wall, at -regular intervals of 3 feet 4 inches, are cut grooves 61/2 inches wide -and 11/2 inch deep: in these grooves are holes which, if they were to -sustain beaks, would give thirty-six for a single row, and seventy-two -for a double row. - -We doubt if these grooves and holes were for beaks. They were more -probably for the supports of the marble casing; they do not go -completely through the wall. - -Some authorities call these remains on the Clivus the Rostra Vetera, -or the original Rostra. But it does not answer classic description, -and the construction shows it to be of late date. It does not stand -_on_ the Comitium, or _before_ the Curia, nor _under_ the old shops. -Besides, it looks down the Forum; so from here how could Gracchus have -_turned_ from the Senate House and Comitium towards the Forum? - - -THE UMBILICUS - -was a monument marking the centre of the Roman world. The ruin of the -Umbilicus is at the side of the Arch of Septimius Severus, at the end -of the Rostra ad Palmam. Its pyramidal shape upon a round base can -easily be distinguished. - - -THE ASYLUM OF ROMULUS. - -This was between the Clivus Capitolinus and the Pass of the Two Groves -(Via Arco di Septimo Severo), under the Capitoline Hill, and served -afterwards as an advanced fort to the citadel. "He opened a sanctuary, -in the place where the enclosure now is, on the road down from the -Capitoline [Temple], called the Pass of the Two Groves" (Livy, i. 8). -"He surrounded it with a high stone wall" (Ovid, "Fasti," iii. 231). -The gate leading into it was called the Porta Pandana--"ever-open -gate" (Solinus, i. 13. See Plutarch, in "Romulus;" Dionysius, ii. 15; -Florus, i. 1; Varro and Festus). The remains of the tufa wall exist on -the left of the Clivus, in front of the Temple of Saturn. - - -THE CLOACA MAXIMA, - -or great drain, begun by Tarquin the Great, containing a large stream -of water rushing along, as it did over two thousand years ago, is -exposed to view at the east end of the Basilica Julia. - -It was finished by Tarquin the Proud, B.C. 556 (Livy, i. 38, 55). - -"Men spoke in admiration of the public sewers, too, a work more -stupendous than any, as mountains had to be pierced for their -construction, and navigation might be carried on beneath Rome; an -event which happened in the aedileship of M. Agrippa, after he had -filled the office of consul." (See Dion Cassius, "Augustus," A.U.C. -721.) - -"For this purpose there are seven streams turned into the artificial -channels, and flowing beneath the city. Rushing onward, like so many -impetuous torrents, they are compelled to carry off and sweep away all -the sewerage" (Pliny, xxxvi. 24). - - -FRAGMENTS - -of different buildings lie scattered about; to what edifices they -belonged "pronounce who can." More than two hundred columns, and fifty -capitals of exquisite workmanship, have been discovered in the -excavations of the Forum. Near the reliefs on the Comitium is a -pedestal with the following inscription:-- - - TO THE ANNIHILATOR OF TYRANTS, - AND THE AUTHOR OF PUBLIC SAFETY, - TO OUR CONSTANT AND FELICITOUS LORD, - ARCADIUS AUGUSTUS. - ALBINUS, PREFECT OF THE CITY, ETC., - HAS ERECTED THIS. - -_Having now made the circuit of the Forum, we will proceed to_ - - -THE SCALAE ANNULARIAE. - -Beyond the Temple of Castor, to the right of the Temple of Vesta, are -remains of these stairs. - -"Augustus lived at first near the Roman Forum, above the Ringmaker's -Stairs, in a house which had once been occupied by Calvus the orator" -(Suetonius, "Augustus," lxxii.). Calvus the orator, a friend of -Cicero, lived on the Palatine; and the Scalae Annulariae was a flight of -stairs that led from the east end of the Forum up the north side of -the Palatine to the Clivus Victoriae. - -On the 12th of April 1882, a piece of the marble plan was found here -which, curiously enough, represents this part of the Forum, showing -the side of the Temple of Castor and the Ringmaker's Stairs. - - -HOUSE OF THE VIRGINS. - -Between the Temple of Vesta and the Sacra Via was the original -dwelling-place of the Vestals, of which little remains beyond tufa -walls beneath the more recent level. These walls were again exposed to -view in some excavations made in the spring of 1886. They are marked -in black on our Plan (page 61), being now again covered up. - -Martial (i. 70), in addressing his book which he sends to Proculus, -says, "You will pass by the Temple of Castor, near that of ancient -Vesta, and that goddess's virgin home." - -Dionysius (ii. 67) says: "They live near by the temple of the -goddess." - - -VESTA'S DUST-BIN. - -By the side of the temple is a pit four feet square, where the ashes -and sweepings of the temple were deposited; which were cleared out on -the 15th of June, and thrown down the Porta Stercoraria, on the Clivus -Capitolinus, into the Cloaca. (Ovid, "F." vi. 237, 712; Varro, "L. L." -v.; Festus.) - - -THE SHRINE OF MERCURY. - -Beyond the Temple of Vesta, on the right, is a small brick shrine. The -base of the statue of this shrine was fortunately found telling us the -name. - - DIO - MERCVRIO - -On the flank of the base is another inscription, giving us the date of -its erection, April 26, 275 A.D. - -The brick podium of the shrine was cased with marble, one piece, one -foot four inches high, being _in situ_ on the side towards the steps. -It supported an entablature of Carrara marble formed by two -half-columns at the rear and two columns in front, of the fluted -composite order. On the frieze is the inscription, in beautifully cut -letters five inches high, recording its erection by the Roman senate -and people-- - - SENATVS . POPVLVSQVE . ROMANVS - PECVNIA . PVBLICA . FACIENDAM . CVRAVIT. - -The podium is 4 feet 7 inches high, 9 feet 9 inches wide, 8 feet 2 -inches deep. The fragments found are to be built up in their original -sites, and so the shrine will be preserved. It was originally erected -by Antoninus Pius, and is represented on a bronze coin of his--the -pediment being supported by four Hermes (the Greek name for Mercury) -busts. In the tympanum are the tortoise, cock, ram, winged cap, -caduceus, and the magic purse. When it was restored in the consulship -of Aurelian and Marcellino, columns and composite capitals took the -place of the Hermes busts. - -_The travertine steps by the side of the Shrine of Mercury led into_ - - -THE ATRIUM VESTAE. - -After the destructive fire of 192, the Forum and edifices on the Sacra -Clivus were rebuilt by Septimius Severus and Julia Domna (Spartianus, -Dion Cassius, Eutropius), the empress taking upon herself the special -work of rebuilding the temple and residence of the Vestal Virgins; and -although the original podium of the temple was used, it was -considerably raised by rubble being placed on the top of the ancient -tufa platform. This was necessary owing to the raising of the level -from _debris_. - -For the Atrium Vestae a different site was selected, more to the south -under the Palatine; in fact the whole disposition of the edifices -about here was changed, as proved by comparing the earlier with the -later classical notices, and the excavations of 1883-4. - - [Illustration: DEDICATION OF THE TEMPLE.] - -To commemorate this rebuilding a silver coin was struck by the -empress, bearing her head on the obverse; and on the reverse is the -Temple of Vesta in the background, in front of which stands an altar, -and on either side are three virgins, two of whom are pouring an -oblation over the altar. - -This new arrangement of the buildings is thus exactly described by -Servius (in "AEn." vii. 153): "By the Temple of Vesta was the Regia of -Numa Pompilius, but near to the Atrium of Vesta, which was distinct -from the temple." - -Standing just inside, at the top of the steps, we have the whole -Atrium Vestae, as their residence was named, uncovered before us--a -large peristylium paved with black and white mosaic, 222 feet long by -76 feet wide. Standing out thirteen feet from the boundary wall of the -Atrium, and extending all round the court, were forty-four columns of -various marbles, whilst under the colonnade were the pedestals bearing -honorary inscriptions and statues of High Vestals: sixteen on each -side, six at the top, and six at the bottom. Of these, thirteen -honorary inscriptions have been found dedicated to six different High -Vestal Virgins, the Lady Superiors of the nunnery. Four slight -fragments of other inscriptions were also found, making seventeen in -all. Twelve of the statues, more or less perfect, have also been -found: likewise an honorary pedestal to Caracalla; and a statue to -Vettius Agorius Praetextatus, erected to this champion of paganism, 367 -A.D., by Coelia Concordia, the last of the High Vestal Virgins. - -At the east end of the Atrium is the fountain, beyond which is a step -up on to a tesselated pavement, and from that four steps lead into the -tabularium, or reception-room, having on each side three chambers, in -which most probably the Vestals deposited those objects intrusted to -their sacred keeping. - -On each side of the Atrium were the residential chambers of the High -Vestals, the simple Virgins, and their domestics, two stories high. -Those on the south side are best preserved. - -From the tesselated pavement a door gives access into a corridor, once -paved with white and black mosaic; at the end, on the left, is a -bath-chamber; and opening out from the corridor are several chambers -showing traces of marble pavements, frescoed and marble-cased walls. -In the second chamber are the remains of the mill for grinding the -salt used in sacrifice. (See Virgil, "Buc." viii. 82; Horace, "O." -iii. 23; Festus.) Pliny (xxxi. 41) says, "It is in our sacred rites -more particularly that the high importance of salt is to be -recognized, no offering ever being made unaccompanied by crushed -salt." - -This corridor does not run the whole length of the Atrium, but turns -off to a flight of stairs leading to the upper chambers. The remainder -of the chambers on this side were reached direct from the Atrium by -steps. The first one contains a hexagonal pedestal to Flavia Publicia. -From the marble and fresco decorations found here, these rooms were -most probably the apartment of the High Vestal Virgin. - - [Illustration] - -The inscriptions to the High Vestals found, date between 180 and 364 -A.D., and were erected in return for some advantage derived from the -patronage of the High Vestal. Historically they are of no great -importance, giving us only names of Vestals that were already known. -The most important inscriptions are those found here which do not -refer to the Virgins. Commencing with the first pedestal at the top of -the entry steps, they read as follows:-- - -Flavia Publicia. Erected July 9, 283 A.D. - -Concordiae. Dedicated June 9, 364. She was the last High Vestal, and -her name was erased because she became a Christian. - -Coelia Claudiana. 253-7 A.D. - -Caracalla pedestal. July 2, 114 A.D. - -Praetextata Crassi. 180-200 A.D. - -Flavia Publicia. 257-284. - -Numisia Maximilla. 201-216. - -Statue of an unknown Vestal; no head. - -Flavia Publicia. 257-84. - -Another pedestal to her, with statue adjoining. - -Pedestal to Trentia Flavola. About 350. - -Blank pedestal, with statue of Ceres adjoining. - -Pedestal to Flavia Publicia. September 30, 257. - -Statue of Vettius Agorius Praetextatus. 380. - -Fragment of a seated statue. - -Statue unknown. - -Statue and pedestal to Flavia Publicia. - -This part of the city was finally destroyed by the great fire, when -Robert Guiscard burned Rome from the Lateran to the Capitol, in 1084. -During this long period of nearly seven hundred years the Atrium Vestae -underwent many changes and received other tenants, for the new -excavations show that it had been inhabited after the Vestals were -abolished. - -At the rear of the first pedestal a terra-cotta jar was discovered, -containing a brooch bearing the name of Pope Martin III., 943-46; a -gold coin of the Eastern Emperor Theophilus (827-42); and eight -hundred and thirty Anglo-Saxon silver coins of Alfred the Great -(871-900), Edward (900-24), Edgar Athelstan (925-41), and Edmund I. -(941-48)--four kings of Northumbria--and of Plegmund, Archbishop of -Canterbury (889-923). We may presume that this money was brought to -Rome by some English tourist, who left his all and fled when the -building was finally destroyed by fire; or that it formed part of a -donation of "Peter's Pence." Ethelwulf, the English king during the -time of Leo IV. (845-57), was the first English prince who gave -tribute to the See of Rome; and as such his portrait is to be seen in -_chiaro-oscuro_, by Caravaggio, in the Stanze of the Incendio del -Borgo in the Vatican. - -After running a course of one thousand and eighty years, Gratian in -367 "refused the office of Pontifex Maximus, and abolished the -functions of the Vestal Virgins" (Zosimus, iv.), which were finally -suppressed by Theodosius in 392. "Theodosius directed his attention -towards the suppression of idolatry, and issued a law commanding the -demolition of idolatrous temples." "The faithful emperor Theodosius -interdicted these rites and consigned them to disuse" (Theodoret, v. -21). - -The Bishop of Rome and his clergy came by right, as heads of the -established religion, into the possessions of the defunct faiths, and -inhabited the quarters of the Vestals, assuming the title of the head -of the ancient religion, Pontifex Maximus, a title held to the present -day--a dignity two thousand six hundred and forty years old, the -oldest title in the world. - - -THE PALLADIUM. - -In the centre of the peristylium, just coming to the surface and -occupying the whole of the width of the open court, are the -foundations of an octagonal edifice in brick, with ribs running from -the angles to a central circle. Here, doubtless, was the shrine in -which was kept the Sacred Palladium, or fatal token of the empire of -the Romans. "Fatale pignus imperii Romani" (Livy, xxvi. 27). "Kept -under the safeguard of Vesta's temple" (_ibid._ v. 52). This was a -statuette of "Minerva, by no male beheld" (Lucan, ix. 994). "The -Vestals alone were permitted to behold the Trojan Minerva" (_ibid._ i. -598). "That fell from heaven" (Dionysius, ii. 67). It seems it was -originally kept in the Temple of Vesta itself (Pliny, vii. 45; Ovid, -"T." iii. 1, 39). - -"The sacred image of Minerva, to which the Romans pay uncommon -veneration, and which, as they say, was brought from Troy, was exposed -to public view (during the fire of 192), so that the men of our age -beheld the Palladium, never seen by any before since the time it came -from Ilium into Italy. For the Vestal Virgins laid hold on it in the -hurry and confusion, and carried it openly through the Sacred Way into -the Imperial Palace" (Herodian, in "Commodus"). - -"Elagabalus, wanting a wife for his sun-god, sent for the sacred image -of Pallas, which the Romans worship in secret from human eyes, and had -it brought into his own bed-room. Thus he dared to displace the -Palladium, that had never been moved since the time it came from -Ilium, except when the temple was destroyed by fire, and they conveyed -the goddess into the Imperial Palace" (_ibid._ in "Antoninus;" -Lampridius, in "Elagabalus," iii.). - -Fragments of a statuette of Minerva were found in the excavations. - - -THE VICUS VESTAE. - -From the Via Sacra, above the Arch of Titus, a street, passing along a -ledge on the northern side of the Palatine, runs into the Vicus Tuscus -at the back of the Temple of Castor. This was the street of the -Vestals, separating their house from the Imperial Palace. Asconius -("ad Ciceronem pro Scauro,") speaks of it. - -We now cross over to the Sacred Way. - -_The first object that attracts our attention is the_ - - -CHURCH OF SS. COSMO AND DAMIANO, - -_on the left_, occupying the site and built out of the remains of two -temples by Felix IV., 527 A.D. The subterranean church contains a -spring said to have been called forth by S. Felix. Upon the apse of -the upper church is a mosaic of the time of Felix. - - -THE TEMPLE OF ROMULUS, - -son of Maxentius, forms the vestibule of the present church. It was a -circular building, and fronted towards the Via Sacra. The second -temple Felix made into the nave of the church; it was quadrangular, -and built of brick, but the western wall was of blocks of Gabii stone, -forming part of the second wall of Rome, which was here utilized for -the temple. It is thirty feet in diameter, and was erected in 302 A.D. -Ligorio ("Vatican Codex," 3439) has preserved the inscription:-- - - IMP . CAES . AUGUSTUS . MAXIMUS . TRIUMPH - PIUS . FELIX . AUGUSTUS. - -The two porphyry columns and the cornice belong to the temple; but the -bronze doors are Etruscan, having been sent from Perugia by Urban -VIII. in 1630. The wings on either side of the doorway were added in -772-95 by Hadrian I.; the niches, which still show traces of -frescoing, being for relics of the saints. At the same time the -present flooring of the church was inserted some feet above the -ancient level. - -_On the left are slight remains of_ - - -THE TEMPLE OF VICAPORTA, VICTORY. - -Remains of this temple have been discovered in the recent excavations -on the Sacra Via, between the Temple of Antoninus Pius and the Temple -of Romulus. From the slight remains found, it seems that three of its -sides were formed by deep apses, the fourth side fronting towards the -Via Sacra, and entered by a portico. - - [Illustration] - -Dionysius (v. 19), Plutarch in "Publicola," and Livy (ii. 7) record -that Publius Valerius, surnamed Publicola, built a house on the Velia -overlooking the Forum; but owing to the invidious remarks made he -pulled the house down, and re-erected it at the foot of the Velia. -Plutarch adds, "upon the spot where the Temple of Victory now stands." -Livy also says, "The house was built at the foot of the hill where the -Temple of Victory now stands." Dionysius (v. 48) says, after speaking -of the poverty of Publicola, "The senate decreed that he should be -buried at the expense of the public, and appointed a place in the -city, under the hill called Velia, near the Forum, where his body was -burnt and buried." - - [Illustration: PLAN OF THE NORTH SIDE OF THE SACRA VIA. - - A Temple of Antoninus Pius. - B Temple of Victory. - C Temple of Romulus. - D Temple of Venus and Roma. - E Temple of the Penates. - F Mediaeval Portico. - G Arch of Titus.] - -This Temple of Victory was dedicated, B.C. 295, by the consul Lucius -Postumus. "He dedicated the Temple of Victory, for the building of -which he had provided, when curule aedile, out of the money arising -from fines" (Livy, x. 33). - -This temple is represented on a coin of Gordianus III., 240 A.D., who -restored it after his Persian victories. - - -TEMPLE OF VENUS AND ROMA, - -erected by Hadrian in 134 A.D. It was the largest and most sumptuous -in Rome. It was designed by Hadrian himself, who sent the drawings to -the celebrated architect Apollodorus, whom he had banished, to ask his -opinion. He replied, "That Hadrian ought to have made it more lofty, -and with subterraneous accommodation for receiving, as occasion might -require, the machinery of the theatre, and for giving it a more -imposing aspect towards the Via Sacra. That as to the statues, they -were so disproportionate, that if the goddesses desired to get up and -walk out, they would not be able" (Dion Cassius; Xiphilinus, -"Hadrian"). - -For this criticism Apollodorus lost his head; and we learn that the -temple was _not_ on a lofty platform, that there were _no_ -subterranean chambers, and that it was _not_ imposing towards the Via -Sacra. The front was towards the Forum of Peace. What is now the back -of the church, in a stone-cutter's yard, was originally the front of -the temple. It is mentioned by Prudentius as being in the vicinity of -the Via Sacra. - -"The Sacred Way resounded (_they say_) with lowings before the shrine -of Rome; for she also herself is worshipped with blood after the -fashion of a goddess, and the name of the place (_Rome_) is regarded -as a divinity. The temples also of the city and of Venus rise with a -like roof; and at one and the same time frankincense is consumed to -the twin-gods." - -It could not have faced the Via Sacra, or Maxentius would not have -built the temple of his son against it, 311 A.D. - -The bronze doors of the Round Temple were found at Perugia by Urban -VIII. The two columns of porphyry, with the cornice, are supposed to -have been found amongst the ruins when it was turned into a church. On -the right side of the present church is a piece of wall of Gabii tufa -stone of _opus quadratum_. At the back of the church is the brick -front wall of the temple, on which the celebrated _Pianta Capitolina_ -was originally attached (see page 185) by means of cement and cramps, -and which was found below the soil under the wall, having been thrown -down by an earthquake. - -Suetonius tells us that Nero's colossus stood in the vestibule of his -palace. - -Martial says, "It was removed by Vespasian, when he built the Temple -of Peace, to where the atrium (a more inward part) was." - -It was a second time removed, for Spartianus informs us that "Hadrian -removed it with twenty-four elephants _from_ the place where now -stands the Temple of the City." - -Thus we learn that the spot where the Temple of Rome is, was formerly -the atrium of Nero's Golden House, and that the Temple of Peace -occupied the vestibule. - -"Maxentius restored the Temple of Venus and Rome, which had been -damaged by fire" (Aur. Victor, "Caes." xl.). - -The Emperor Heraclius gave permission to Pope Honorius I. to remove -the bronze tiles of this temple in order to use them for the roof of -S. Peter's; whence they were stolen by the Saracens in 846. - -Dion Cassius (lxxi. 31) tells us that "Cleopatra's statue in gold is -to be seen in the Temple of Venus to this day." Also that "the senate -ordered two statues of silver to be erected in the Temple of Venus; -one in honour of Faustina, and the other in honour of the Emperor -Marcus Aurelius. They likewise ordered an altar to be set up before -it, on which every contracted couple were to sacrifice before -marriage." - -Mr. J. H. Parker, C.B., made some excavations under the wall of Gabii -stone in 1868-9, and found that a street ran from the Sacred Way along -the side of the wall, in which was a small doorway into the temple. -This has now been re-excavated by the Government (1880), who have -taken possession of the Round Temple. - -The government have recently pulled down the chapel of the burial -society adjoining the Temple of Romulus, and on the two thousand six -hundred and thirty-third anniversary of the foundation of Rome, April -21st, 1880, the two cipollino columns were found to have belonged to -the - - -TEMPLE OF THE PENATES. - -As the Lares were the departed spirits of the ancestors of each family -who watched over their descendants, so the Penates were the gods -selected by each family as its special protectors. And as there were -the Lares of the city, so there were the Penates, whose chapel was -termed AEdes Deum Penatium, and the gods were called Penates Populi -Romani. These Penates were supposed to have been the gods brought from -Troy by AEneas. - -We learn from the "Monumentum Ancyranum," that Augustus rebuilt the -AEdem Deum Penatium in Velia; and Solinus (i.) tells us that Tullus -Hostilius lived on the Velia, where afterwards was the Chapel of the -Penates. Dionysius thus describes it:--"For the things which I myself -know, by having seen them, and concerning which no scruple forbids me -to write, are as follows. They show you a temple at Rome, not far from -the Forum, in the street that leads the nearest way to the Carinae, -which is small, and darkened by the height of the adjacent buildings. -This place is called by the Romans, in their own language, _Veliae_; in -this temple are the images of the Trojan gods exposed to public view, -with this inscription, [Greek: DEMAS], which signifies Penates. For, -in my opinion, the letter [Greek: Th] not being yet found out, the -ancients expressed its power by the letter [Greek: D]. These are two -youths, in a sitting posture, each of them holding a spear; they are -pieces of ancient workmanship" (Dionysius, i. 68). - - -THE RECENT EXCAVATIONS. - -In the new excavations upon the line of the Via Sacra a monumental -cippus has been found, with the following inscription,--FABIUS. -TITIANUS.--V. C. CONSUL.--PRAEF. URBI.--CURAVIT. - -He was consul and prefect of the city, A.D. 339 to 341, under the -Emperor Constans I. This was one of three bases recorded as having -stood in front of the Temple of Romulus in the sixteenth century, one -of which is in the Museum of the Villa Borghese, and the other is in -the Naples Museum. - -Another base was found, dedicated to the Emperor Constantius II. by -Flavius Leontius, prefect of Rome in 356 A.D. This is similar to the -one in the Capitoline Museum. - -The inscription reads,--TOTO. ORBE. VICTORI.--DN. CONSTANTIO. -MAX.--TRIUMFATORI.--SEMPER. AUG.--FL. LEONTIUS. V. C.--PRAEF. URBI. -ITERUM.--VICE. SACRA. INDICANS.--D. N. M. Q. EIUS. - -Remains of Roman and medieval buildings and a fountain have been -uncovered in the course of excavating, also some architectural -fragments. The whole length of the Via Sacra has been now uncovered as -far as the steps leading up to S. Bonaventura. - - -THE HOUSE OF JULIUS CAESAR. - -The recent excavations along the line of the Via Sacra brought to -light some unimportant remains of shops and houses facing towards the -street. These buildings are of the time of Constantine, and agree in -their construction with his Basilica on the opposite side of the -street. This part of Rome was destroyed by fire in the reign of -Commodus, and again under Maxentius (Dion Cassius, Herodian, Galen, -Capitolinus). In this rebuilding they did not clear away the remains -of the older houses, but built on and over them--a not unusual custom -in Rome. Let us carefully examine the older remains. Our attention is -first attracted by different fragments of beautiful mosaic pavements -of the best period of the art, and evidently the flooring of no mean -house. The first piece that we come across is composed of a pattern -made up of several cubes in different colours; in the rebuilding this -was hid by a pavement of herring-bone brickwork. Beyond is a beautiful -black and white octangular and diamond mosaic pavement, which also did -duty to the rebuilt house. In a small room adjoining we notice a -travertine base of a column, which stands near a piece of black mosaic -pavement, in which are inserted small squares of white marble; in -another chamber close by is a white mosaic with a black border, and -near this another, of white and black sexangular and diamond shape. -Near the cube mosaic are two more bases of columns of travertine, and -a travertine well head: travertine stone, from Tivoli, was not used in -Rome as a building material till about 50 B.C. Amongst the -constructions of the older period we notice six distinct pieces of -walls composed of tufa blocks, perhaps old material re-used, some -blocks of peperino, and a small piece of _opus reticulatum_. Tufa was -used during the kingly period, peperino during the republic, and _opus -reticulatum_--net-work wedges of tufa--by the late republic and early -empire. Amidst the later construction, which is of brickwork, we -notice terra-cotta hot-air pipes, and one piece of a lead pipe, and -remains of flights of stairs leading to upper floors. The brick stamps -found were of the second, third, and fourth centuries. Amongst these -remains was found a small altar. On the scroll at the top is a Roman -eagle, and beneath,-- - - LARIBUS AUG. SACRUM. - -From the line of the bases of the columns we see that the front of the -older house sloped back diagonally from the Via Sacra, the point -farthest from the Forum being nearest to the Via Sacra; whilst the -more recent construction was on a line parallel with, and abutting on -to, the Sacred Way. - - [Illustration] - -This early house, appearing beneath the building of later date, is in -all probability the house in which Julius Caesar lived. The -construction agrees with that of earlier and contemporary date. It is -the first house on the Via Sacra, and the site coincides with the -notices which we have of Caesar's house:-- - -"He first inhabited a small house in the Suburra; but after his -advancement to the pontificate, he occupied a palace belonging to the -state in the Via Sacra. Many writers say that he liked his residence -to be elegant ... and that he carried about in his expeditions -tesselated and marble slabs for the floor of his tent" (Suetonius, -"Caesar," xlvi.). - -"As a mark of distinction he was allowed to have a pediment on his -house" (Florus, iv. 3). - -"Julius Caesar once shaded the whole Forum and Via Sacra from his -house, as far as the Clivus Capitolinus" (Pliny, xix. 6). - -"The night before his murder, as he was in bed with his wife, the -doors and windows of the room flew open at once.... Calpurnia dreamed -that the pediment was fallen, which, as Livy tells us (in the lost -books), the senate had ordered to be erected upon Caesar's house by way -of ornament and distinction; and that it was the fall of it which she -lamented and wept for" (Plutarch, in "Caesar"). - -"He lay for some little time after he expired, until three of his -slaves laid the body on a litter and carried it home, with one arm -hanging down over the side" (Suetonius, "Caesar," lxxxii.). - -The house of Caesar was under the Palatine, on which, above Caesar's, -stood the house of Cicero. "He (Vettius) did not name me, but -mentioned that a certain speaker, of consular rank (Cicero), and -neighbour to the consul (Caesar), had suggested to him that some Ahala -Servilius, or Brutus, must be found" (Cicero, "Ad Att." ii. 24). - -In Caesar's fourth consulship, the year before he was killed, for some -reason or other the defence of King Deiotarus by Cicero was heard by -Caesar in his own house. Cicero says to Caesar: "I am affected also by -the unusual circumstance of the trial in this place, because I am -pleading so important a cause--one the fellow of which has never been -brought under discussion--within the walls of a private house. I am -pleading it out of the hearing of any court or body of auditors, which -are a great support and encouragement to an orator. I rest on nothing -but your eyes, your person, your countenance. I behold you alone; the -whole of my speech is necessarily confined to you alone.... But since -the walls of a house narrow all these topics, and since the pleading -of the cause is greatly crippled by the place, it behoves you, O -Caesar," &c. ("Pro Deiot." ii.). - -It was in the year of his praetorship (62 B.C.) that the scandal of -Clodius being found in the house whilst they were about to celebrate -the rites of the Bona Dea happened. "When the anniversary of the -festival comes, the consul or praetor (for it is at the house of one of -them that it is kept) goes out, and not a male is left in it" -(Plutarch, "Caesar"). The trial that such a scene gave rise to caused -Caesar's celebrated words on being asked why he had divorced his wife: -"Because I would have the chastity of my wife clear even of suspicion" -(Plutarch, "Caesar"). - -Plutarch speaks of it as "a great house." Ovid says the house of Numa, -the Regia, was "small," showing that the house of Caesar and the Regia -were two distinct edifices. - -This old house of which we have been speaking fronted towards the -Temple of Vesta, whilst the portico and shops, built at a late period -over its ruins, ran parallel with the Via Sacra. The house side of the -atrium is plainly marked by the fragments of columns, composed of -travertine coated with stucco, and frescoed. There is the base of an -isolated column near what must have been the middle of the house side; -and to its right there is a half column of the same workmanship, and -between these two bases runs a travertine gutter which drained the -atrium. Amidst the shops built over the atrium are remains of -beautiful black and white mosaic pavement, the fragments of the -borders showing that they once belonged to the older edifice. On the -right of the atrium, towards the Via Sacra, was an area-vestibulum, -giving access to the house from the Via Sacra, and, like it, paved -with polygonal blocks of silex. - -There was another entrance to the house at the point where it nearly -touched, at its north-eastern corner, the Via Sacra. The bases of two -columns mark the ingress into a small vestibule which has a mosaic -pavement, on the right of which was the entrance to the house, the -threshold of travertine stone being _in situ_. There are the two holes -at the ends where the doors turned on their pivots, and the bolt-hole -in the middle. - - -THE PORTICUS MARGARITARIA. - -After the fire, the site of Caesar's house was occupied by shops and -dwellings, along the front of which was an arcade. As these shops were -mostly kept by pearl-dealers, the arcade was known as the Porticus -Margaritaria. It is mentioned in the "Curiosum" and the "Notitia" of -the fourth century as in the eighth region, Forum Romanum Magnum. - -In the recent excavations along the line of the Via Sacra, the -remains of an arcade 201 feet long by 24 feet wide, and consisting of -two rows of piers, have been found running parallel with the street, -and having shops on either side. This no doubt is the Porticum -Margaritarium of the catalogues. Beneath the arcade and the shops are -the remains of Caesar's house. Judging from the monumental stones, the -pearl trade was an extensive one in Rome; and from the same authority -we learn that the shops were on the Sacra Via. This is mentioned on -the tomb of Ateilius Evhodus at the sixth mile on the Via Appia. - - -THE SACRA CLIVUS. - -Horace was wont to come down the Sacred Way ("S." i. 9), and talks of -Britons descending it in chains ("Ep." vii.). Now we are free to -ascend it. Where the Sacred Way ascends the Velia ridge it will be -noticed that the road is extraordinarily wide (45 feet). This was no -doubt made after the great fire under Commodus, for four feet below -the pavement was found the original and narrower street, and beneath -that the drain in the reticulated work of the republic. - -The right-hand side of the ascent was bordered with honorary monuments -and inscriptions to Trajan, Hadrian, Titus, Septimius Severus, -Caracalla, and Constantine; but the most interesting, perhaps, was the -monument with Greek inscription of Gordianus, erected to him by the -citizens of Tarsus, St. Paul's city, and interesting as showing that -the close friendship between Rome and Tarsus continued to this late -period. Four columns of Porta Santa marble stood on a podium, 7 feet -by 4 feet, and supported a canopy, under which was the emperor's -statue. On the cornice was the inscription, [Greek: TARSEoN], filled -in with bronze. - - -THE VICUS SANDALIARIUS. - -This was the street mentioned by Dionysius as leading into the Carinae. - -In the "Curiosum" and "Notitia" is mentioned the Apollinem -Sandaliarium. This was a statue of Apollo, which gave name to a street -of the fourth region. Suetonius ("Aug." lvii.) says: "With which -donations Augustus purchased some costly images of the gods, which he -erected in several of the streets of the city, as that of Apollo -Sandaliarius." It is mentioned by Aulus Gellius (xviii. 4): "In -Sandaliario forte apud librarios fuimus." Also by Galen ("De Libris -suis," iv. 361). - -The marble plan of Rome shows this street by the letters DLARIVS. - -This was the street, recently excavated, between the Temple of the -Penates and the Basilica Constantine, and which led into the Suburra. - -At the entrance from the Via Sacra there still exists a brick pedestal -on which the statue may have stood. For engraving of this, see Gruter, -cvi. 7, and Dcxxi. 3. - -In this street the remains of the Temple of Venus and Rome can be -distinctly seen. A short distance up it is tunnelled over to allow the -Basilica of Constantine to square; but the tunnel is closed about half -way through. From the level of the street the western tribunal of the -Basilica has been built up. The tunnel, called Arco d'Ladroni, and the -street itself, have been used as a burial-place by the monks of the -church; and there is a ninth century fresco of the dead body of the -Saviour over a shrine on the left. - -_Beyond is the_ - - -BASILICA OF CONSTANTINE, - -the colossal arches of which have served as models to architects for -building all the larger churches in Rome. This splendid ruin usually -bears the name of the Temple of Peace, erected by Vespasian in this -neighbourhood and partly on this site, and which was destroyed by fire -as early as the time of Commodus, A.D. 191. Herodianus, who saw the -fire, says: "By the slight earthquake and the thunderbolt which -followed it, the whole of the sacred enclosure was consumed." Claudius -Galenus, the celebrated physician, says that the whole edifice was -consumed, as also most of his writings, which were in his shop in the -Via Sacra. - -This is one of the most imposing ruins in Rome; the three noble arches -which formed the northern side being almost perfect, rising to the -height of 95 feet, and having a span of 80 feet. The southern side was -similar; whilst a noble vaulted roof, supported from the side piers -and arches, covered the centre. Thus, entering from the Vicus Eros, on -the east, the spectator saw a magnificent hall 333 feet long by 84 -feet wide, with aisles 60 feet in width. To the central hall the -tribunal at the west end was added in the rebuilding of Constantine, -when he made the main entry from the Sacra Via, the ruins of which -exist in the porphyry columns. By this entry the nave is 227 feet -long, the tribunal being 24 feet deep, and the aisles 80 feet wide. - -Nibby has the merit of having been the first to prove that these ruins -are the last remains of the Basilica erected by Maxentius, and -completed and partially rebuilt by Constantine the Great. In 1828 a -medal of Maxentius was found amongst the ruins of a piece of the -vault which fell down. The principal entrance was originally intended -to have been on the side facing the Colosseum, towards a street that -ran out from the left of the Via Sacra, which, turning to the right, -reached the Colosseum. - -At a later period it may have been found more suitable to add a -splendid portal on the side facing the Via Sacra; opposite to which, -in the central side arch, a tribune was erected. So whichever way you -enter it, it is a nave with two aisles. Of the vast vaulted arches -spanning the middle space, only the supports from which the arches -sprang still exist. These, however, suffice to indicate what they must -have been. The Basilica contained many works of art, and the roof was -supported by eight columns. The Via Sacra here passed along the front -of the present Church of S. Francis of the Romans, and the Arch of -Titus, to the Palatine. - -_By applying at No. 61 Via del Colosseo, at the back of the Basilica, -permission will be given to ascend to the top, from which a -magnificent view is obtained._ - -_On our right is the_ - - -CHURCH OF S. FRANCISCA ROMANA. - -Built in the ninth century, and called S. Maria Nuova. The mosaic on -the apse dates from 862. There is a monument to Gregory XI., and a -relief representing the return of the Papal court to Rome from -Avignon. In the transept are the two stones marked with depressions, -said to have been where Peter knelt when he prayed that Simon Magus -might fall. (See picture in S. Peter's, page 115.) The church contains -a beautiful marble _ciborium_, and monuments to Cardinal Vulcani, -1322, and General Rido, 1475. - -_In the Via S. Teodoro is the entrance to_ - - -THE PALATINE HILL AND THE PALACE OF THE CAESARS. - -_Open every day. Admission, one lira. Sunday, free. In order to fully -understand these ruins, it is advisable to attend the lectures given -on the spot by the author of these Rambles, Mr. S. Russell Forbes, who -conducts visitors over, describing fully the remains of the Arcadian, -Kingly, Republican, and Imperial Periods. Particulars to be had at 93 -Via Babuino._ - - [Illustration: PLAN OF THE PALATINE HILL AND PALACE OF THE CAESARS] - - -Itinerary for Visiting the Palatine. - -_Turn to the left when through Entrance Gate._ - - _Follow - the - Nos._ _Subject._ _Page._ - - 1. ENTRANCE. - - 2. Palace of Caligula. 79 - - 3. Palace of Tiberius. 79 - - 4. Temple of Cybele. 76 - - 5. Altar of Apollo. 75 - - 6. Temple of Roma Quadrata. 75 - - 7. Arches of Romulus. 72 - - 8. Porta Carmenta. 73 - - 9. Temple of Victory. 77 - - 9 A. Shrine of Maiden Victory. 77 - - 10. House of Germanicus. 78 - - 11. Crypto-Portico. 78 - - 12. Site of the Murder of Caligula. 78 - - 13. Temple of Jupiter Stator. 76 - - 14. Porta Mugonia. 73 - - 15. Lararium. 71 - - 16. Basilica. 82 - - 17. Palace of Domitian. 81 - - 18. House of Augustus. 78 - - 19. Curiae Veteres. 76 - - 20. Auditorium. 81 - - 21. Temple of Jupiter Victor. 77 - - 22. _Path_, down. - - 23. _Path_, left. - - 24. Buildings of Domitian. 80 - - 25. Palace of Commodus. 84 - - 26. Stadium. 83 - - 27. Odeum. 83 - - 28. _Path_, up, turn right. - - 29. Palace of Septimius Severus. 84 - - 30. Nymphaeum of Marcus Aurelius. 83 - - 31. _Path_, down through garden. - - 32. Gelotiana. 79 - - 33. Piece of the Second Wall of Rome. xviii. - - 34. _Path_, round base of hill. - - 35. Altar to Aius Loquens. 77 - - 36. Walls of Romulus. 72 - - 37. Reservoir. - - 38, 39. Walls of Romulus. 71 - - 40. Porta Romana. 73 - - 41. Walls of Romulus, cliff. 71 - -The foundations of most magnificent buildings of the imperial times -lie buried in the gardens. The paintings on the walls are in -themselves sufficient to give us an idea of the splendour of the -internal decorations of the Roman palaces. The streets, temples, -palaces, &c., are full of interest. Some beautiful views may be had -from various parts of the gardens, from the height near the entrance, -as well as looking over the site of the CIRCUS MAXIMUS, which occupied -the valley between the Palatine and Aventine Hills. - -_In our description of the Palatine we have classed the remains in -chronological order. In the accompanying plan they are numbered in the -order in which they are best visited. The numbers correspond with -those placed by the title of the different ruins in the Guide; so that -the visitor can follow the numbers consecutively in his ramble, and -turn to the corresponding number for the description. We only treat of -the actual remains._ - - -THE TOPOGRAPHY OF THE PALATINE. - -In studying the Palatine Hill, the topography presents the first -difficulty. It must be borne in mind that the form of the hill has -undergone many important changes since the days of Romulus, and, as -seen by us, is very different from what it was when Romulus built his -city. Now it presents a lozenge-shaped form; then it was oblong and -smaller. Our theory is, that if a line be drawn from about the Arch of -Titus across the hill, that part to the right or west was the extent -of the hill in the time of Romulus; and that to the left or east, -formerly "the pastures round the old town" (Varro), now presenting the -form of a hill, was no hill then. From a careful survey of the part to -the left of our line, we find it to be artificially formed of imperial -ruins upon the top of ruins, rubbish, and accumulation of soil, and -not of rock or solid earth. This new light does away with innumerable -difficulties in studying the form of Roma Quadrata, and presents to us -instead a very simple story. - -If the hill had been of the same form then as now, Romulus would have -occupied the whole of it: this he certainly did not do, as his walls -are to the right of our line; and it is not likely that he would have -left part of the hill outside his boundary to command his city or to -be occupied by foes. - -Our view agrees with classic authority. Tacitus (xii. 24) describing -the pomoerium or boundary of Roma Quadrata, which went round the -base of the hill on the level below, thus showing its shape, says: -"The first outline began at the Ox-Market, where still is to be seen -the brazen statue of a bull, that animal being commonly employed at -the plough. From that place a furrow was carried on of sufficient -dimensions to include the great Altar of Hercules. By boundary stones, -fixed at proper distances, the circuit was continued along the foot of -Mount Palatine to the Altar of Consus, extending thence to the Old -Curiae; next, to the Chapel of the Lares." These buildings were built -after Roma Quadrata, with the exception of the Altar of Hercules, and -are mentioned by Tacitus to mark the line; they existed when he wrote. -Ovid ("Fasti," iv. 825) says: "Pressing the tail of the plough, he -traces out the walls with a furrow; a white cow with a snow-white bull -bears the yoke." Dionysius (i. 88) says: "Romulus called the people to -a place appointed, and described a quadrangular figure about the hill, -tracing with a plough, drawn by a bull and a cow yoked together, one -_continued_ furrow." Taking these authors for our guides, we can -easily trace the line of the pomoerium. Commencing at the Forum -Boarium, which site is well known, it went down to the Altar of -Hercules, which must have also been in the Forum Boarium, "in the spot -where a part of the city has its name derived from an ox" (Ovid, -"Fasti," i. 581). Taking in this altar, it passed under the Palatine's -southern side to the Ara Consi, which Tertullian ("De Spec." v.) tells -us was buried in the circus at the first meta. It here turned to the -east, passing along the valley which then existed, along our imaginary -line; for it is ridiculous to suppose that it would have passed right -across the Palatine had the hill been then what it is now. From the -Altar of Consus it extended past the Old Curiae, which we think may be -seen in the tufa walls under the south end of the Palace of Domitian -(19), then to the Chapel of the Lares, which stands at the head of the -Sacra Via below the Palace of Domitian (17). - -"AEdem Larum in Summa Sacra Via" ("Mon. Ancyr."). "Ancus Martius -(habitavit) in Summa Sacra Via, ubi aedes Larum est" (Solinus, i. 24). -"Romulus built a temple to Jupiter, near the gate called Mugonia, -which leads to the Palatine Hill from the Sacra Via" (Dionysius, ii. -30). The Sacred Way did not pass through the Arch of Titus, as is -generally supposed, but passing by it led up to the Palatine--this can -be seen by examining the stones--and was then called Clivus Palatinus. -A large piece of the pavement still exists on the Palatine, leading up -to the AEdem Larum, and which road is miscalled Nova Via. The road -leading from the Arch of Titus to that of Constantine was called the -Clivus Triumphalis. - -Hence the furrow must have passed under the north side of the -Palatine, and down the west side to where it began; for Tacitus's -account says, "Hence to the Forum which was added by Tatius." This -furrow marked the bounds of the city, within which were the walls, the -city itself occupying the hill above. - -The remains of the walls of Roma Quadrata existing are sufficient to -show us their exact line, for we have remains on four different sides, -and, curious enough, at three of the angles. On the west and east -sides it appears to have been built up to support the scarped cliff -and above it; but on the south it ran along the edge on the top of the -cliff--the valley below, beyond the pomoerium, being then the -Murzian Lake. Along the southern cliff it was not a solid wall, but -had embrasures, through which a _balista_ or _catapult_ might be fired -upon an enemy below--the remains of which are still existing. These -are the oldest Roman arches, being older than the Cloaca of Tarquin or -the arches of Ancus Martius. - -"But Romulus had formed the _idea_ of a city rather than a _real_ -city; for inhabitants were wanting" (Florus, i. 1). - -The principal roadway upon the Palatine was the Nova Via, a new way, -evidently made after the Via Sacra, and simply called Nova Via without -any distinguishing name being given to it. It commenced at the Porta -Mugonia on the east, inside Roma Quadrata, and was here called Summa -Nova Via. "Tarquinius Priscus ad Mugoniam Portam supra Summam Novam -Viam" [habitabat] (Solinus, i. 24). From this point it went along the -north and down the west side past the gate--there being steps down -from the gate to the road. The descent off the hill was called the -Hill of Victory. "Sed Porta Romana instituta est a Romulo infimo Clivo -Victoriae" (Festus). "Quae habet gradus in Nova Via" (Varro). Passing by -the Porta Romana it turned to the left, or west, under the Palatine to -the Velabrum, where it ended. This part was called Infima Nova Via. -"Aius Loquens in Infima Nova Via" (Varro, "Ap. Gell." xvi. 17). This -altar still exists at the south-west corner under the Palatine. "Hoc -Sacrificium [to Larentia] fit in Velabro, qua in novam Viam exitur" -(Varro, "Ling. Lat." vi.). - - -ROMA QUADRATA. - -5, 6, 7, 8, 13, 19, 36, 37, 38, 39, 40, 41. - -Romulus, the son of Rhea Silvia and Mars, founded Rome on the Palatine -Hill, above the Tiber, 753 B.C., on the site of the Arcadian city of -Evander, near the Lupercal, where the wolf had given him suckle. The -city was built after the Etruscan rites, and surrounded by a massive -wall, in a quadrangular form, whence it was called Roma Quadrata. See -"Walls of Rome," page xvii. - - -THE THREE GATES OF ROMA QUADRATA. - -Pliny (iii. 9) informs us that the city was entered by three gates. - - -PORTA MUGONIA (14), - -situated on the east of the hill, the site of which has been -identified by Varro ("L. L." 164):-- - -"Moreover, I observe that the gates within the walls are thus named; -that at the Palatine 'Mucionis' (from 'mugitus,' lowing), because -through it they used to drive out the cattle into the pastures around -the old town." - - -PORTA ROMANA (40). - -At the middle of the western side, at the commencement of the ascent -on the Via Nova, called the Clivus Victoriae in commemoration of the -victory of Romulus over Acron. The remains were discovered March 1886. -Varro says:-- - -"The other, called Romulana, was so called from Rome, the same which -has steps into the Nova Via at the shrine of Volupiae." - -Festus, speaking of the same gate, says:-- - -"But the Porta Romana was set up by Romulus above the foot of the Hill -of Victory, and this place is formed of tiers of steps disposed in a -square. It is called Romana by the Sabines in particular, because it -is the nearest entrance to Rome from the side of the Sabines." - - -PORTA CARMENTA (8). - -Authorities on the subject say that the name and position of the third -gate are lost. - -Now we contend that the mass of ruins called the Scali Caci are the -remains of the third gate, and that that gate was the Porta Carmenta, -as distinctly stated by Virgil in his description of the meeting of -AEneas and Evander, "without the gates." "Thus, walking on, he spoke, -and showed the gate, _since_ called Carmental by the Roman state; then -stopping, through the narrow gate they pressed" (Virgil, "AEn.," -viii.). The position corresponds with his description, and is just the -spot where a gate would be required. The remains consist of two -different early periods--immense blocks of soft tufa of the Arcadian -period, and blocks of hard brown tufa of the time of Romulus, -corresponding with the material of which his wall is built. - -The Porta Carmenta was to the south, and is thus mentioned by -Propertius (iv. 1):-- - -"Where rose that house of Remus upon tiers of steps, a single hearth -was once the brothers' modest reign." - -We suppose he uses the name of Remus here instead of Romulus on -account of the rhythm. - -Solinus gives this description of it:-- - -"It [Roma Quadrata] begins at the wood which is in the area of Apollo, -and ends at the top of the stairs of Caius, where was [once] the -cottage of Faustulus." - -Plutarch says ("Romulus," xx.):-- - -"Romulus dwelt close by the steps, as they call them, of the fair -shore, near the descent from the Mount Palatine to the Circus Maximus. -There, they say, grew the holy blackthorn tree, of which they report -that Romulus once, to try his strength, threw a dart from Mount -Aventine, which struck so deep that no one could pluck it up, and grew -into a trunk of considerable size, which posterity preserved and -worshipped as one of the most sacred things, and therefore walled it -about. - -"But, they say, when Caius Caesar was repairing the steps about it, -some of the labourers digging too close, the root corrupted, and the -tree quite withered." - -Now, in this passage, we think we have an explanation of why it is -called the Stairs of Caius, _not_ Cacus. This name does not refer to -Cacus, the shepherd robber, who had his cave on the Aventine, but, as -we learn from the above passage from Plutarch, to Caius the emperor, -who was nicknamed Caligula from his having worn the sandals so-called -of the Roman troops--he having been brought up in the camp on the -banks of the Rhine, Caius being his proper name. He, as we have seen, -repaired these steps, and so they were called after him; but that was -not their previous name. The question arises, What was that name? Why, -none other than the Porta Carmenta, the missing third gate of Roma -Quadrata, "the gate _since_ called Carmental by the Roman state." - -It was up this gateway that the Romans brought the Sabine women when -they ran off with them in the Circus Maximus. Valerius Antias says -they were five hundred and forty-seven in number; Plutarch says there -were six hundred and eighty-three, and that the event took place on -the 18th of August. - -But before this the gate had another name, the original name in the -Arcadian period. We know from Virgil and Diodorus Siculus that it -existed before the time of Romulus, and was incorporated by him into -his city. Let us see what that name was. - -"Hercules, after he had gone through Liguria and Tuscany, encamped on -the banks of the Tiber, where Rome now stands, built many ages after -by Romulus, the son of Mars. The natural inhabitants at that time -inhabited a little town upon a hill, now called Mount Palatine. Here -Potitius and Pinarius, the most eminent persons of quality among them, -entertained Hercules. There are now at Rome ancient monuments of these -men; for the most noble family, called the Pinarii, remains still -among the Romans, and is accounted the most ancient at this day. And -there are Potitius's stone stairs to go down from Mount Palatine -(called after his name), adjoining to that which was anciently his -house" (Diodorus Siculus, iv. 1). Thus we see that the spot was -originally called the Stairs of Potitius. - -Virgil ("AEn.," viii.) informs us that Potitius, the Arcadian high -priest, instituted the worship of Hercules; and that the priests were -selected from the Pinarian house. - -"When the new walls were built by Servius Tullius, one of his gates -was named Carmentalis after the above tradition; the original Porta -Carmenta having become obsolete." - -The valley between the Palatine and Aventine, the site of the Circus -Maximus, was formerly the Murzian Lake or bay, formed by an arm of the -Tiber, and these stairs led down to the fair shore (Pulcrum Littus, -[Greek: Kale Akte])--that is, to the shore of the lake, where AEneas -landed--and this had nothing to do with the banks of the Tiber, which -would hardly be called a fair shore by Plutarch. Virgil calls it "the -strand." - -_The above name was also given to one of the temples._ - - -THE TEMPLE OF ROMA QUADRATA (6). - -"A certain hallowed place on the Palatine before the Altar of Apollo -Rhamnusii (5), which every city built with Etruscan rites contained, -and in which were placed those things considered of good omen in -founding a city" (Festus). This hallowed place, as well as the city, -was called by Romulus Roma Quadrata. - - -ALTAR OF APOLLO RHAMNUSII (5), - -called the Altar of Apollo of the Blackthorn. Erected in commemoration -of the blackthorn tree that sprang from the staff of Romulus. The -large tufa blocks of the altar, and in front of it the Temple of Roma -Quadrata, still remain, and by their side the Porta Carmenta. - - -THE CURIAE VETERES (19). - -Romulus divided the people into three tribes, and each tribe into ten -curiae (Dionysius, ii. 8), thus making thirty curiae in all. Each curia -had its own priests and separate dining-room and chapel, which were -also called curiae (_Ibid._, ii. 23). The only one of these which we -have mentioned as existing at a late period is the one connected with -the Palatine: as we have seen, it is one of the objects Tacitus gives -us for the line of the plough. Now, on the Palatine, on that line, we -have a ruin below the present surface agreeing with the time of -Romulus in its construction, to which no name has been given by the -topographers, but which we consider as the Curiae Veteres mentioned by -Tacitus. It now supports the Auditorium of Domitian. - - -THE HOUSE OF ROMULUS - -"was where the Roma Quadrata ended, at the corner as you turn from the -Palatine Hill to the Circus" (Dionysius). It was upon that part of the -hill called Germalus from the twins being left there when the flood -went down. This would be the shelf at the south-west corner of the -Palatine. - - -THE TEMPLE OF JUPITER STATOR (13), - -vowed by Romulus when his army was fleeing before the Sabines, if -Jupiter would stay their flight; hence the name. "Romulus built a -temple to Jupiter near the Porta Mugonia" (Dionysius, ii. 30). It was -restored by Scipio, A.U.C. 459 (Livy, x. 37). It was in this temple -that Cicero made his first oration against Catiline (Plutarch). Cicero -says that here the goods of Pompey were offered for sale. - - -UNDER THE REPUBLIC. - -It was not till the glories of the republic outshone the memory of the -kings that the Palatine became the favourite residence of the wealthy. -We have record of the houses inhabited by Vaccus, Catulus, Crassus, -the Gracchi, Ceneus, Cicero, Scaurus, Mark Antony, and other notorious -republicans. Some slight remains of republican walls can be seen at -various points. - - -THE TEMPLE OF CYBELE (4). - -Dedicated by M. J. Brutus, B.C. 191, under the name of Mater Idaea, -Mother of the Gods (Livy, xxxvi. 36). "Cybele was not worshipped in -Rome till A.U.C. 550, when the goddess, a stone, was brought from -Pessinus, a city of Phrygia, by Scipio Nasica" (Strabo). The vessel -containing it having grounded at the mouth of the Tiber, remained -immovable till Claudia Quinta, to prove her chastity, after calling -upon the goddess, drew the ship with slight effort to Rome (Ovid, -"Fasti," vi. 300). This event is commemorated upon an altar in the -Capitoline Museum. The form of the temple remains, and part of the -seated statue of the goddess, a beautiful fragment, corresponding with -her figure as represented on coins. The remains are of _opus -incertum_. - - -THE TEMPLE OF VICTORY (9). - -The remains of this are just inside the Porta Carmenta. It was founded -originally by the Greek settlers, and restored under the republic; the -construction agrees with this supposition, for here we have the two -different stones used in these periods, soft tufa and peperino. - -"Upon the top of the hill they set apart a piece of ground, which they -dedicated to Victory, and instituted annual sacrifices to be offered -up to her also, which the Romans perform even in my time" (Dionysius, -i. 32), A.U.C. 458. "They carried the statue of Cybele into the Temple -of Victory on the Palatine Hill" (Livy, xxix. 14). - -_Near this ruin, on the other side of the road, are the remains of_ - - -THE SHRINE OF MAIDEN VICTORY (9A). - -In A.U.C. 560, "Marcus Portius Cato dedicated a chapel to Maiden -Victory, near the Temple of Victory, two years after he had vowed it" -(Livy, xxxv. 9). - - -ALTAR TO AIUS LOQUENS (35). - -Still standing; was erected 124 B.C., on the site where Camillus had -erected the original, in the undetermined state, to the unknown voice -that warned Marcus Cedicius of the approaching Gauls, 391 B.C. - -"In the Via Nova, where now is the shrine, above the Temple of Vesta" -(Livy, v. 23). "A voice was heard in the Grove of Vesta, which skirts -the Nova Via at the foot of the Palatine" (Cicero, "Div." i. 45). - - -TEMPLE OF JUPITER VICTOR (21). - -Founded during the second Samnite war by Fabius Maximus (Livy, x. -29)--326-304 B.C.--overlooking the Circus Maximus. The remains consist -of tufa substructions, steps leading up to the temple, and some -peperino fragments. - -The circular altar on the steps, found close by, bears an inscription -to Calvinus, consul B.C. 53-40. - - -THE HOUSE OF GERMANICUS (10), - -(_See plan, page 81_) - -called erroneously by various authorities the House of Claudius Nero, -of Livia, of Augustus. It was incorporated into the Imperial Palace by -Tiberius, though for very many years it preserved its distinctive -title. Josephus tells us that "Caligula was killed in a private narrow -passage within the palace as he was going to the bath, having turned -from the direct road along which his servants had gone. The passages -also were narrow wherein the work was done, and crowded with Caius's -attendants, whence it was that they went by other ways, and came to -the house of Germanicus, which house adjoined to the palace." A -crypto-portico still connects this house with the Palace of Caligula, -another going off at right angles to the House of Augustus. - -We have here a good specimen of a Roman house. In the vestibulum are -remains of the mosaic floor and frescoed walls. The atrium still shows -the pattern of its pavement. The tricliniarium is ornamented with -frescoes of arabesque work, animals and fountains, also with mosaic -pavement. The tablinium, in three parallel halls, painted with -beautiful arabesque groups; wreaths of flowers and fruit; a group of -Galatea and Polyhymnia; another of Mercury, Io, and Argus; a view of a -Roman house; a lady at her toilet, &c. Behind these is the -peristylium, out of which open the bedrooms, bath, kitchen, &c. In the -centre tablinium are some leaden pipes, found in the excavations, -stamped with the names of Julia, Domitian, and Niger,--the daughter of -Augustus, the emperor, and the insurgent. - - -THE PALACES OF THE CAESARS - -gradually incorporated the whole of the Palatine buildings; and when -we speak of the Palace of the Caeesars, it is not meant that it was -one, but different palaces, built by different emperors, called after -them, and connected with those previously erected by crypto-porticoes. - - -THE HOUSE OF AUGUSTUS (18). - -"He resided in a small house formerly belonging to Hortensius. This -was destroyed by fire, and rebuilt by contributions of the public" -(Suetonius). The palace was destroyed by fire, under Titus, A.D. 72; -the ruins were filled in by Domitian in the second year of his reign, -and upon the top he built his celebrated palace. The remains of the -Palace of Augustus--not now accessible, being under the convent--were -explored and partly excavated some years ago. - -From the PALACE OF DOMITIAN (17) we can descend into some of the -small chambers, the vault of one being adorned with a fresco -representing Victory. - - -THE GELOTIANA (32), - -mentioned by Suetonius as the place from which Caligula viewed the -games in the Circus Maximus, is supposed to have been a house occupied -by the guard and servants of the palace. Its ruin consists of chambers -at the base of the hill, under the convent. It was here that the skit -of the Crucifixion, now in the Museum of the Collegio Romano, was -found. (See page 160.) The walls are still covered with names, &c., -scratched by the soldiers. - - -THE HOUSE OF TIBERIUS (3). - -We learn from Suetonius and Tacitus that it was situated on the -western side of the Palatine, overlooking and communicating with the -Velabrum. The remains consist of vast halls and substructions, and a -row of arches supposed to have been the guard's quarters. This palace -has yet to be excavated. - - -THE PALACE OF CALIGULA AND HADRIAN (2). - -"Having continued part of the Palatine as far as the Forum, he -converted the Temple of Castor and Pollux into the vestibule of his -house." "He built a bridge over the temple of the deified Augustus, by -which he joined the Palatine to the Capitol" (Suetonius). He connected -his palace with that of Tiberius by means of porticoes. The remains -consist of a suite of rooms, portions built over the Clivus Victoriae, -chambers with fresco and stucco decorations, and mosaic pavements, -also a portion of the beautiful marble balustrade of the solarium. -Suetonius tells us that this palace was destroyed by fire; in fact, -most of the remains show the construction of Hadrian, who must have -rebuilt it and used it as his palace. - -The remains of this palace have been recently uncovered at the -northern side of the Palatine. It appears that the palace was built in -a series of terraces against the Palatine Hill, the construction -showing work of Caligula, Trajan, and Septimius Severus. There are -some chambers which were warmed with hot air in terra-cotta pipes, and -containing fragments of statuary on the lowest level excavated. Then, -on the terrace above, there is an arcade paved with blocks of silex, -and on one side shops. A flight of travertine steps conducts to some -small chambers above, with mosaic pavements and frescoes, which were -built by Hadrian against a wall of Caligula having frescoes on yellow -and white grounds. The side walls and vaults are decorated with -frescoes of the time of Hadrian. - - [Illustration: PLAN OF THE PALACE OF DOMITIAN, A.D. 81-96. - - A, Tablinium. - B, Lararium. - C, Basilica. - D, Vestibule. - E, Tricliniarium. - F, Nymphaeum. - G, Temple Jupiter Victor. - H, Vometarium. - K, Cubiculum.] - - [Illustration: PLAN OF HOUSE OF GERMANICUS, A.D. 1] - - -THE PALACE OF DOMITIAN (17). - -He used the remains of Augustus's palace, destroyed by fire in the -second year of the reign of Titus, filling in the chambers of the -earlier buildings with earth, so that they formed a solid foundation. -"He embellished the portico, in which he took his airing, with -polished stone, so that he might observe if any one approached him" -(Suetonius). The remains consist of the tablinium, or summer-parlour; -the lararium, or chapel of the household gods; the bed-chamber where -he was assassinated; the tricliniarium, or dining-room; the -peristylium, or open court; nymphaeum, or aquarium; the vometarium; -auditorium; and the crypto-porticoes connecting it with the other -palaces. - - -THE BASILICA (16). - -When the Palace of Augustus and the other edifices were burned down, -Domitian filled them in with earth, and on the top of the platform -built his palace. But some of the destroyed edifices were consecrated: -as he could not do away with them, he rebuilt them upon the higher -level, over their old sites. The basilica and chapel of the household -gods were both treated in this way. As this was the only basilica on -the Palatine, we may presume that it was the court of appeal unto -Caesar himself. If so, on this site S. Paul appeared before Nero; but -not in this identical building, which was erected by Domitian, A.D. -81-96, after Paul's death, A.D. 64. - - [Illustration: PLAN OF THE BASILICA ON THE PALATINE.] - -The Basilica was the hall of justice, coming from a Greek word -signifying "the regal hall." It consisted of a tribunal, nave, and -aisles. The form was oblong; the middle was an open space, called -_testudo_, and which we now call the nave. On each side of this were -rows of pillars, which formed what we should call the aisles, and -which the ancients called _porticus_. The end of the testudo was -curved, and was called the _tribunal_, from causes being heard there. -A rail separating the tribunal from the body of the hall was called -_cancelli_, because it was of open work. Not far from the entrance was -a round stone in the pavement, on which the prisoner stood to be -tried. Between the judge's seat on the tribunal and the rails stood -the altar of Apollo. These halls were likewise used as places of -exchange by business men. Being the largest halls the Romans had, the -form of them was copied by the early Christians for their churches. -The tribunal was called the apse; in some churches it is still called -the tribunal. The judge's seat gave place to the bishop's throne; the -altar of Apollo to the communion table; the cancelli to the chancel; -and the fountain in the court in front to the holy-water basins; and -so the name was handed down and given to Christian churches, though -there is not a single church in Rome that was once a pagan basilica, -or hall of justice. Many of the so-called basilicas are not true -basilicas, for they have introduced the transept to give them the form -of a cross. - - -THE STADIUM (26). - -On the east side of the Palatine, built by Domitian, and only partly -excavated. Used for races both for men and women. "Young girls ran -races in the Stadium, at which Domitian presided in his sandals, -dressed in a purple robe made after the Grecian fashion, and wearing -upon his head a golden crown bearing the effigies of Jupiter, Juno, -and Minerva; with the flamen of Jupiter and the college of priests -sitting at his side in the same dress, excepting only that their -crowns had also his own image on them" (Suetonius). - -The work of excavating the Stadium is not yet completed. It appears -that the portico surrounding it originally consisted of cipollino -columns, with composite capitals. This was rebuilt in the third -century in two tiers, supported with half-columns of brick, coated -with slabs of marble, having Ionic bases and Doric capitals. A brick -stamp informs us that the Imperial tribune was built in the third -consulship of Ursus Servianus, under Hadrian, 134. At the edge of the -foot-course, below the portico, was a marble channel to carry off the -rain-water. Traces of the spina still remain. The Stadium seems to -have been altered into a hippodrome in the time of Diocletian by -building elliptical walls upon its surface. The following stamp was -found on some of the bricks,--A.D. 500 OFFS R. F. MARCI HIPPODROME -THEODORIC REGNANTE DN THEODERICO FELIX ROMA,--evidently some of the -repairs ordered by the great king during his six months' visit to -Rome. - - -THE EXEDRA, OR ODEUM (27). - -On the right of the Stadium, for musical performances, with three -chambers underneath decorated with fresco work. - - -THE NYMPHAEUM OF MARCUS AURELIUS (30). - -We claim the honour of having discovered the use of these imposing -ruins, whose summit is climbed by many visitors to enjoy the fine view -over the Campagna. It was built by the best of the Roman emperors as a -large reservoir for the supply of water to the Palatine Hill, acting -as the Trevi Fountain does at present. We have traced the specus of -the aqueduct to it; and the top is covered with _opus signinum_, the -peculiar cement used by the Romans whenever they conducted water. - -The brickwork shows signs of careful construction; the courses of -cement carefully laid between the bricks being of the same thickness -as the bricks themselves, seven of which measure a foot. The Nymphaeum -probably took its name from the female statues which decorated it, -handing down the custom of the ancient Romans in peopling the springs -with nymphs. - -It is thus mentioned by Marcellinus (xv. vii. 3):--"The Emperor Marcus -built the Nymphaeum, an edifice of great magnificence, near the -well-known Septemzodium," which was built by Septimius Severus at the -corner of the Palatine, where slight traces of it remain; it having -been destroyed by Pope Sixtus V. - -The spot now forms a pleasant terrace, from which a splendid prospect -of the southern part of ancient Rome, the Campagna, and the distant -Alban Hills may be enjoyed. In fact, a vast study is spread, like a -map, before the visitor. - - -THE PALACE OF COMMODUS (25, 29) - -stood on the south-east side of the hill. He constructed a passage -from the Palatine to the arena of the Colosseum. He was strangled in -his chamber; and his successor, Pertinax, was stabbed in the same -palace. This was destroyed by fire, and on the top of the ruins was -erected the Palace of Septimius Severus, Caracalla, and Alexander -Severus. The remains consist of numerous chambers, corridors, and -vaults, still retaining some of their mosaic pavements and stucco -roofs, with walls built into them in a very confused manner, showing -different alterations. The palace is to be cleared out. - - -THE PALACE OF THE CAESARS. - -After the death of Alexander Severus, A.D. 235, we have little or no -history of buildings upon the Palatine, and there are no remains the -construction of which shows a later date. Indeed the emperors reigned -but a short time down to Diocletian, except Gallienus, who, we know, -had a palace and gardens on the Esquiline. Fifty years after Alexander -Severus died a great blow was struck at the grandeur of Rome; for the -colleagues in empire, Diocletian and Maximian, made new capitals at -Milan and Nicomedia, and thus divided the seat of power and empire. In -A.D. 302, eighteen years after his declaration, Diocletian came to -Rome for the first time, to celebrate his triumph, making a short stay -of two months. The year 312 witnessed a great change. On October 28 -the great Constantine, the first Christian emperor, and a Briton, made -his entry into the imperial city, which for years had ceased to give -rulers to the empire, and was now to be the seat of government no -longer. Constantine did not make a long stay in the city; and, after -he had secured his power, removed in 330 the capital of the empire to -Byzantium, which was named Constantinople, to decorate which Rome was -stripped of statues, marbles, and works of art. In 356 Constantius -visited Rome, which had been abandoned by her rulers and denied the -splendours of the imperial court. "After his entry he retired into the -imperial palace, where he enjoyed the luxury he had wished for." "He -quitted Rome on the thirtieth day after his entry (29th May)" -(Marcellinus). The same historian informs us that, "on the night of -the 18th of March 362, the Temple of Apollo, on the Palatine, was -burned down." Theodosius, in 394, entered Rome in triumph. Honorius, -his son, in 403 celebrated the grandest triumph since that of -Diocletian, one hundred years before. Indeed, during this long period -but four emperors had paid flying visits only to their ancient -capital, and the Palace of the Caesars was falling into decay, as -Claudian, the last of the Roman poets, sings. Honorius for a short -time revived the glories and memories of the past; the curule chairs -once more surrounded the rostra, and their emperor's voice was once -more heard by the _plebs_, whilst they gazed with awe at the lictors -with their gilt fasces. After Honorius's departure, Alaric, and the -barbarians that were with him, in 410, "took Rome itself, which they -pillaged, burning the greatest part of the magnificent structures and -other admirable works of art it contained" (Socrates, "E. H." v. 10). -In 417 Honorius again entered Rome in triumph, and endeavoured to -restore the city, and invited fugitives from all parts to people it. -This benefactor of the city was buried near the supposed remains of S. -Peter in the Vatican basilica. In 425 Valentinian III., whilst still a -boy, received the imperial purple in the ancient Palace of the Caesars, -at the hands of an ambassador of Theodosius; and, although Ravenna was -the seat of his government, he frequently visited Rome and inhabited -the imperial palace. During one of these visits, in 454, Aetius, the -general, fell in the imperial palace, stabbed by the hand of the -licentious emperor, who drew his sword for the first time to kill the -general who had saved his empire. In the following year, March 27, he -was himself assassinated in the Campus Martius during a review; and -Petronius Maximus was declared emperor, but was in his turn soon after -murdered. The third day thereafter, Genseric and his Vandals entered -Rome, and plundered it of everything they could carry off, from the -seven-branched candlestick to the common utensils of Caesar's Palace, -which they completely stripped. Avitus, a Gaul, the successor of -Petronius, visited Rome for a short time, and was murdered on his -return to Auvergne. After the throne had been vacant for ten months, -Majorianus was made emperor by Ricimer, 457. He published an edict -from Ravenna against destroying the ancient monuments of Rome and -using the materials for building. Severus Libius was his successor, -and he was poisoned within the walls of the Palatine, August 465. -Anthemius entered Rome in a triumphal procession in April 467, and -revived the Lupercalia games; he was put to death in the palace by -Ricimer, who captured Rome, July 11, 472. From 472 to 476 there were -four emperors, the last of whom, Romulus Augustus, abdicated in -presence of the senate, who proclaimed the extinction of the Western -Empire. - - [Illustration: ARCH OF TITUS, BEFORE RECENT EXCAVATIONS.] - -In A.D. 500 King Theodoric paid a visit of six months to Rome. After -addressing the people from the Rostra ad Palmam, which stands at the -head of the Forum, he took up his residence at the Palace of the -Caesars, and appointed officers to take care of the ancient monuments. -After his death, Athalaric and his mother governed till the former's -death in 534. Theodatus, his successor, was murdered on the Flaminian -Way, as he was retreating before Belisarius, the general of the -Eastern emperor Justinian, who fixed his quarters at the Pincian -Palace. In 549 Totila captured the city, and resided in the Palace of -the Caesars, exhibiting games in the Circus Maximus for the last time. -During the winter of 552-553 Narses, the Eastern general, took Rome, -and resided there, Rome being again united to the Eastern Empire, -governed by an exarch, who generally resided at Ravenna. The history -of the Palatine is a blank till the time of Heraclius I. Though not -present himself, a coronation ceremony was held with great pomp in the -Palace of the Caesars, 610. A great event for Rome took place in 663. -Then, for the last time, she received within her walls her emperor, -Constans II., who contemplated again making her the capital of the -empire. He was received by Pope Vitalianus at the Porta Appia with a -procession of priests with tapers, banners, and crosses,--a curious -contrast with former usages. Constans was the last emperor who resided -in the Palace of the Caesars, which was even then in a dilapidated -condition; and his time seems to have been occupied with church -ceremonies. His visit lasted twelve days, when he carried off what -plunder he could, besides the gilt bronze tiles of the roof of the -Pantheon. A blank again occurs till Justinian II., in 709, created the -first Duke of Rome, who was afterwards elected by Pope and people, and -resided in the Palace of the Caesars. For many years the power of the -Church of Rome had been increasing, and in 772 Pope Adrian I. threw -off the nominal sovereignty of the Eastern Empire, and, calling upon -Charlemagne to free him from the Lombard kings, he entered Rome on -Saturday, April 2, Easter eve. Charlemagne confirmed Pepin's gifts to -the Holy See. He again visited it, and on Christmas day A.D. 800 Pope -Leo III. crowned him emperor in S. Peter's, with the title of Emperor -of the Romans. From thence commenced the Holy Roman Empire. - - * * * * * - -_Leaving the Palatine, we turn to the right, and by the -newly-excavated Vicus Vestae, on the north side of the hill, reach_ - - -THE ARCH OF TITUS. - -On the ridge of the Velia hill, which forms a continuation of the -Palatine, and separates the hollow of the Forum from that of the -Colosseum, a triumphal arch was erected (though not till after his -death and deification) to Titus, the conqueror of Jerusalem. The -reliefs, still preserved within the arch, are among the most -remarkable of the kind existing in Rome as to the position they occupy -in the history of art and of the world. We find here not only the -emperor standing in the triumphal chariot in which he advanced to the -Temple of Jupiter Capitolinus, but also the table of the shewbread, -and the seven-branched candlestick, borne in this triumphal procession -as the most precious spoils of the Jewish temple. - - [Illustration: BAS-RELIEF ON THE ARCH OF TITUS.] - -"There was a golden table, which weighed many talents; also a golden -candlestick, which was constructed upon a different principle from -anything in use amongst us now. In the middle was the main stem, -which rose out of the base; from this proceeded smaller branches, very -much resembling the form of a trident; and on the top of them was a -lamp, worked in brass. There were seven such in all, emblematic of the -seven days of the Jewish week. The Law of the Jews was the last of -those spoils in the procession" (Josephus, "Wars of the Jews," viii. -v. 5). "The legs of the table were perfectly finished in the lower -half, like those the Dorians put upon their couches, but the upper -half of them was worked square" (Josephus, "Antiquities of the Jews," -iii. vi. 6). - -Two censers were placed upon the table; in front of the table are two -trumpets crossed. (See Exodus xxv. 26). - -These spoils were deposited by Vespasian in the Temple of Peace. After -the sack of Rome, A.D. 455, the Vandal king Genseric carried them to -Carthage. Belisarius recovered them, A.D. 535, and took them to -Constantinople; and they were transferred from there to the Christian -Church in Jerusalem (Procopius, "De Bell. Vand.," i. 5 and ii. 4). - -Evagrius (iv. 17) relates that when Khosroes, king of Persia, took -Jerusalem in 614, they passed into his hands; and all trace of them -has been lost since then. It is altogether erroneous to suppose they -were thrown into the Tiber. - -_On the opposite side_ is the Emperor Titus in a chariot drawn by four -horses, preceded by Romans wearing laurel wreaths and carrying the -fasces. Behind the chariot, Victory is in the act of placing a crown -on the emperor's head. The vault is ornamented with square coffers and -roses, and in the centre the apotheosis of Titus, in square relief. - -At this point the Via Sacra was sometimes called the Clivus Palatinus, -as it led up to the Palatine, _on the right_. - -"Cloelia had her statue in the Via Sacra, as you go up to the -Palatine" (Plutarch, in "Publicola"). - -_Passing through the Arch of Titus,_ - -_On our right_ are some remains of the Frangipani fortress, a tower of -the middle ages; a piece of the second wall of Rome; some -substructions and walls, as it were supporting the Palatine Hill; and -remains of the Baths and - - -TEMPLE OF THE SUN, - -"built by Elagabalus, on the slopes of the Palatine, for the worship -of the Syro-Phoenician sun-god, which was represented by a black -conical stone, set with gems. Elagabalus broke into the Temple of -Vesta, intending to remove the Palladium to his Temple of the Sun, but -the virgins, by a pious fraud, defeated his object, on discovering -which he broke into their sanctuary, and carried off one of the -virgins to add to his list of wives" (Lampridius). - - [Illustration: ARCH OF TITUS, WITH THE META SUDANS, AND BASILICAE OF - THE FORUM OF CUPID.] - -The temple was built for the worship of the Sun. Around it was the -Lavacrum, or gratuitous baths, A.D. 218-222. The temple was converted -in A.D. 800 into the Church of S. Maria, by Pope Leo III. The remains -of the altar can be seen at the east end; at the west end is the -baptistery, in the form of a Greek cross, with an apse at the top -containing the raised platform with the depressed basin of the font in -which the person about to be baptized stood, whilst the minister -occupied the platform above it and poured the water over his head. - -_On our left is_ - - -THE FORUM OF CUPID AND ITS BASILICAE, - -miscalled the Temple of Venus and Rome. The platform upon which it -stands is partly the Velia ridge and partly artificial. - -When a building was inaugurated after consecration it was called a -_templum_. A _delubrum_ was an isolated building, surrounded with an -area, dedicated to religious purposes. This--because it was double, -having two aspects, two distinct apses or tribunals--we call, in the -plural number, _delubra_, or the double basilica. - -The remains consist of two large tribunals, back to back, with a -portion of the lateral walls and vaults. The wall in the monastery -gardens is apsidal, the other is rectangular. - -The name of this building is entirely lost. All we know about it is, -that it is of the time of Maxentius and Constantine, A.D. 306-337, the -construction showing it to be of that time; besides, Nibby found in -the walls bricks stamped with the name of Maxentius. - -Nearly all late authorities have called this ruin the Temple of Venus -and Rome. Now, it could not possibly be that temple, for we are told -distinctly, as we have related, by Apollodorus, that the Temple of -Rome was NOT built on a platform. Again, the Temple of Rome was built -by Hadrian, A.D. 118-138, and these remains are of the time of -Maxentius and Constantine, A.D. 306-337; besides, Roman temples had no -tribunals or apses. - -These basilicas were surrounded by a colonnade of gray granite, -numerous fragments of which still lie about, and there was probably -originally a forum or market-place for the sale of fruit and toys. - -Varro (L. L. 532, R. R. i. 2), Ovid (A. A. ii. 265), Propertius (iii. -xvii. 11), Terence, Eunuchus, contemporary writers, all speak of a -macellum and forum of Cupid upon the Via Sacra. - -Festus, who lived in the fourth century, speaks of them under the same -name; so we may conclude that the ruins before us are the basilicas of -the Forum of Cupid, restored by Maxentius, and dedicated by -Constantine. - -The front of this platform, towards the Colosseum, was discovered in -1828 to have been used during the middle ages as a cemetery, several -coffins of terra cotta being exhumed. - -At the corners are the remains of steps which led from below up to the -delubra. Near the left-hand steps, in descending, are the remains of -the - - -PEDESTAL OF NERO'S COLOSSUS, - -which, as we have seen, first stood in the vestibule of his house; -then where the atrium was; thence it was removed by Hadrian with -twenty-four elephants to this spot, as is shown on a coin of Alexander -Severus. It was 120 feet high. Vespasian radiated the head to make it -represent the sun; Commodus took off Nero's head, and replaced it with -his own. The popular quotation from Bede refers to this Colossus, not -to the Colosseum. - -_In a line with Nero's Pedestal is the_ - - -META SUDANS, - -the remains of a fountain, erected by Titus, and repaired by Domitian -and Gordianus, which stood in the centre of a large circular basin. -Popular tradition narrates that the gladiators used to wash here after -combat: it is certainly possible, but not very probable, that they -would come outside to wash at an open fountain. The epithet Meta -Sudans, or "sweating-goal," is supposed to be taken from the perpetual -issue of foaming water, or because it contributed to satisfy the -thirst of the audience at the Colosseum; or _meta_, because it was -built in the form of a goal, and _sudans_, because the water trickled -out. - -_To the right is_ - - -THE ARCH OF CONSTANTINE, - -dedicated by the senate and people of Rome to commemorate the -victories of the first Christian emperor, to do which they took -reliefs from the Arch of Trajan, and built them into an attic which -they erected upon the top of the Arch of Isis, re-dedicating the -conglomeration as the Triumphal Arch of Constantine. The reliefs -which refer to Trajan can be easily distinguished from those of -Constantine (which are very bad) owing to their superior style and the -subjects represented. - - [Illustration: ARCH OF CONSTANTINE.] - -The designs commence, _on the left side_, with the triumphal entrance -of Trajan by the Porta Capena, after the first Dacian war; then, -secondly, commemorate his services in carrying the Appian Way through -the Pontine Marshes; thirdly, founding an asylum for orphan children; -fourthly, his relations with Parthamasiris, king of Armenia. _On the -opposite side_, dedication of the aqueduct built by Trajan (_seen on -the left_); secondly, audience with the Dacian king Decebalus, whose -hired assassins are brought before him; thirdly, with a representation -of the emperor haranguing his soldiers; and, fourthly, the emperor -offering the _suovetaurilia_ sacrifice of a boar, ram, and bull. - -Corresponding with these reliefs, two medallions, representing the -private life of the emperor in simple and graceful compositions, are -introduced over each of the side arches. The first represents his -starting for the chase; the second, a sacrifice to Silvanus, the -patron of silvan sports; the third displays the emperor on horseback -at a bear-hunt; and the fourth a thank-offering to the goddess of -hunting. On the side facing the Colosseum, a bear-hunt, a sacrifice to -Apollo, a group contemplating a dead lion, and lastly a consultation -of an oracle. Most of these refer to Trajan; we think some refer to -Hadrian, because on one of them Antinoues is represented. On the inside -of the arch is a battle-piece, assigned to Constantine by the -inscriptions, "To the founder of peace," "To the deliverer of the -city." They are older than his time. Over the side arches are some -narrow reliefs referring to Constantine, one of which is peculiarly -interesting, as it represents that emperor addressing the people from -the Rostra ad Palmam, with some of the principal monuments in the -Forum in the background. - - -THE COLOSSEUM. - - "A noble wreck in ruinous perfection."--BYRON. - -The vast amphitheatre erected in the centre of ancient Rome by -Vespasian was known to the ancient Romans as the Flavian Amphitheatre. -It was begun by the Flavian emperors A.D. 72, and dedicated A.D. 80. -It is 157 feet high, and is 1900 feet in circumference, and was built -by the captive Jews after the fall of Jerusalem. Originally the upper -story was of wood, but this was burned down, and it was rebuilt with -travertine stone like the rest of the edifice. Martial tells us that -its site was formerly occupied by the artificial lakes of Nero; and -Marcellinus (xvi. x. 14) says, "The vast masses of the amphitheatre so -solidly erected of Tiburtine stone, to the top of which human vision -can scarcely reach." All the brickwork we now see are repairs at -various dates after the dedication; but there is enough travertine -left at different points to show that it was originally built of this -stone, as recorded by the historian. For nearly five hundred years it -was the popular resort of the Roman populace and their betters. There -were eighty arches of entrance, and it held one hundred thousand -people, and could be emptied in ten minutes; such were the order kept -and regulations observed that there was no confusion. It was devoted -to the exhibition of wild beasts, their fighting together, gladiators -fighting together, or with beasts, and naval fights. On these latter -displays the stage or arena was moved, water let in, and naval fights -represented in real earnest. - -Suetonius ("Vespasian," vii.), says, "He began an amphitheatre in the -middle of the city, upon finding that Augustus had projected such a -work." _Ibid._ ("Titus," vi.): "He entertained the people with most -magnificent spectacles, and in one day brought into the amphitheatre -five thousand wild beasts of all kinds." - -The last display was given by Theodoric in 523; and in 555 the lower -part was destroyed by a flood from the Tiber, when the whole of Rome -was under water for seven days. From then we must date the ruin of the -Flavian Amphitheatre--the Romans themselves hastening on the work, -using the material for building purposes. - - "Which on its public shows unpeopled Rome, - And held uncrowded nations in its womb."--JUVENAL. - -It is held by the Roman Church, on the authority of an inscription -found in the Catacombs, that the architect of the Colosseum was one -Gaudentius; but that inscription only says that he was employed there. -We believe the architect to have been Aterius, whose monument is now -in the Lateran, and upon which several buildings are represented of -which he was no doubt the architect, also the machine used to raise -the stones into their places. He flourished at the end of the first -century, and, no doubt, these buildings shown in relief upon his tomb -were erected by him, the dates agreeing; for if not, why should they -be there represented? - -First, we have an arch which says on it, "Arcus ad Isis." Now if we -compare this with the Arch of Constantine, we find it is the same -without the attic. Then we have the amphitheatre without the upper -story; then an arch (query, Arch of Domitian?). Then another arch with -the words, "Arcus in Sacra Via Summa:" compare this with the Arch of -Titus, and, minus the restorations, it will be found to be the same. -Then there is a temple agreeing with the descriptions of that of -Jupiter Stator upon the Palatine. All these buildings were erected or -rebuilt about this time, and from being recorded on this monument of -the Aterii, tend to show that Aterius was the architect of them. - -When perfect, the Colosseum consisted of four stories--the lowest, of -the Doric order, 30 feet high; the second, Ionic, 38 feet high; the -third, Corinthian, about the same height; and the fourth, also -Corinthian, 44 feet high. The holes in the cornice with the corbels -below them were to receive the masts that supported the _velaria_ on -the outside. - -The numerous holes in the stone were made in the middle ages for the -purpose of extracting the iron cramps that kept the stones from -shifting. The long diameter is 658 feet, the shorter 558 feet; the -arena is 298 feet by 177 in its widest part. - -The last performance was a bull-fight, held at the expense of the -Roman nobles, in the year 1332. Many martyrs are said to have perished -in the Colosseum during the persecutions of the early Christians, and -among others S. Ignatius, who was brought from Antioch to be devoured -by wild beasts. Benedict XIV. consecrated the building to the -Christian martyrs, A.D. 1750. - -In excavating the Basilica of S. Clement, the Rev. Father Mullooly -found (1870) the remains of S. Ignatius, and had them carried with -great ceremony over the scene on the anniversary of his martyrdom. - -At the present day there remains sufficient to indicate the -construction of the building, though but a small portion of the -immense outer shell, which originally both adorned and formed an -impenetrable girdle round the whole, has been preserved. In the -interior, a great deal of rebuilding has been necessary for its -preservation. - -Vast as the building is, its construction is easily understood; a -simple segment of the whole serving to show how all the others succeed -one another like the cells of a bee-hive. - - [Illustration: THE COLOSSEUM.] - -The upper part was originally of wood only, and was burned, having -been set on fire by lightning. The three lower stories only are of the -time of the Flavian emperors; the upper story was rebuilt and added in -the third century, and only finished in the time of the Gordiani, as -is shown by the coins representing it. The imperial entrance was from -the Esquiline side, between the arches Nos. 38, 39, which is without -number. Commodus constructed an underground passage from the arena to -the Palatine, which has not yet been discovered, his so-called passage -(_on the right in entering_) being that by which the dead bodies were -carried from the arena. Dion Cassius says: "Upon the last day of the -sports his helmet was taken off and fell through the door where the -dead used to be carried out." - -The area, basement, or ground-floor, was flooded for the naval fights. -Surrounding this were the dens, in front of which was a channel for -fresh water for supplying the animals with drink--a spring still -supplies it; about ten feet above was the movable stage, sprinkled -with sand for the combats, and hence called the arena. A few feet -above the arena was the podium, or seat of the emperor, vestal -virgins, &c., protected from the arena by iron bars. Behind the podium -was a double portico, which ran round the whole building. Fragments of -the marble chimeras, with long wings, that ornamented the seats of the -podium have been found. - -The three successive tiers were called _cavea_. Above these was a tier -for the people; above this one for the "gods;" thus making six in all. -The amphitheatre seated eighty-seven thousand people, and there was -standing room for thirteen thousand more. - -The walls standing upon the area, composed of tufa, travertine, and -brick, old material re-used, were built at a period long after the -building was dedicated, when the naval fights being abandoned there -was no longer any occasion for a movable stage or arena as before. -They contained the machinery for the stage above, and for the lifts or -_pegmata_ to send men or beasts from the area to the arena. Probably -these are the walls thus alluded to by Dion Cassius: "He [Commodus] -divided the theatre into four parts by two partitions that cut through -diametrically, and by right angles, to the end that from the galleries -that were round about he might with greater ease single out the beasts -he aimed at." - - [Illustration: PLAN OF THE EXCAVATIONS BELOW THE ARENA OF THE - COLOSSEUM.] - -"The emperor having employed himself in shooting from above ... -descended afterwards to the bottom of the theatre, and there slew some -other private beasts, whereof some made toward him, others were -brought to him, and others were shut up in dens. Returning after -dinner, he used the exercises of a gladiator, with a shield in his -right hand, and in his left a wooden sword. After him fought those -whom he had chosen in the morning at the bottom of the theatre." -Also, in his life of Septimius Severus, he says: "There was a kind of -cloister made in the amphitheatre, in the form of a ship, to receive -them [the wild beasts]. On a sudden there issued out bears, lions, -ostriches, wild asses, and foreign bulls." - -The walls before us are of very bad construction, evidently repairs of -a late date: they are the work of either Lampridius, prefect of Rome -under Valentinian III., 425-455, who repaired the steps and renewed -the arena; or of Basilius, who restored the podium and arena after -their destruction by an earthquake in 486--this we learn from two -inscriptions standing at the entrance. Half way, on each side, two -large passages have been discovered choked up with mud: they were the -aqueducts to bring the water for the _naumachiae_ from the reservoirs -upon the Esquiline and Caelian Hills respectively; from the small -openings in the blind arches the water also poured out over the top of -the dens, thus forming cascades all round. At the end opposite the -present entrance a long passage has been opened, above the level of -the area floor; below this passage is the great drain, with the -remains of the iron grating[6] to prevent large objects going down: -this and the passage were closed by flood-gates on naval -representations, which can be clearly seen in the construction. On the -right and left of this passage, connected with it, but at a lower -level, two dens have been cleared out, 27 yards long by 5 wide, -containing six holes in the floor, in the centre of square blocks of -stone, and these holes are faced with bronze, evidently the sockets -into which metal posts were fixed to which the beasts were chained. On -the fragments depicting scenes from the arena, the animals are shown -with a long piece of rope or chain dangling from their necks, which -seems to bear out our idea that they were attached to posts fixed in -these sockets, and that as they were wanted the chain or rope was cut, -and they were free to rush upon the arena. - -The corbels round the front of the line of arches under the podium are -in pairs, and between them the masts were inserted to support the -awning on the inside, as the holes and corbels supported the masts on -the outside; for we find on examination that those inside are exactly -in a line with those outside at the top of the building. These corbels -are 29 inches deep, and from them to the level of the area is 10 feet, -and to the present surface 11 feet; between each pair of corbels are -chases 191/2 inches wide, ending on a block of travertine for the masts -to rest on, the chases coming down 11/2 yards below the corbels, which -are 15 feet apart. They probably helped to support the arena, and -show what the height of this wooden arena must have been, and that -from its vast size it must have had a framework and supports: the -numerous holes on the area, in travertine, were for the heels of the -supports; one of these, a square one, has remains of the decayed -timber in it. - -In the central passage, resting on the area and extending as far as -the excavations, is an ancient wooden framework in a decomposed state. -Various suggestions have been made as to its use,--we suppose it to be -the framework and joists of the flooring covering the central passage; -others, a sort of tramway for running the cages along,--but till the -whole space has been cleared out it is impossible to arrive at a -correct estimate of its use. - -Honorius, A.D. 404, having abolished the gladiatorial combats, -probably the last display of wild beasts was that given by King -Theodoric at the beginning of the sixth century. - -The soil cleared out in the passage, dens, galleries, and area was -found to be composed of mud deposited during a flood or floods by the -Tiber, the composition of which may still be seen in parts of the long -passage not yet cleared. The most remarkable of these floods, which -lasted some days and did immense damage to the city, were those of -A.D. 555, 590, 725, 778, 1476, 1530, 1557, and 1598. - -We may presume, from the nature of the soil, that at some early date, -probably A.D. 555, one of those terrible floods reached the Colosseum, -and on the waters retiring a great deposit of mud was left, covering -the old area floor and filling up the various passages and galleries, -and that the authorities, instead of clearing out this deposit, added -to it to make a solid floor, and used the arena above; for after that -date we have no record of its being used, with the exception of the -bull-fight. - -_By applying to the custodian, the visitor can ascend to the top_, -where a most magnificent view is enjoyed, the only way to get a good -idea of its size and oval shape, and where the construction of the -upper galleries can be studied. It will be seen that the arches -forming the tiers of seats have at some date been filled in with -brickwork, of the time of Alexander Severus and the Gordiani. The -water-courses for keeping the building cool in hot weather can also be -traced. The highest wall of all, the inside brick casing of which is -partly gone, is built of fragments evidently not originally intended -for the purpose for which they are used, corresponding to a great -extent with the construction of the walls upon the area. - -The Colosseum was for a long time used as a quarry, from which several -of the palaces in Rome were built. - -Should the visitor be fortunate enough to see the ruin under -moonlight, or when it is illuminated with Bengal lights, he will see -it in its grandeur, for "it will not bear the brightness of the day." - - [Illustration: _SECTION OF SEATS AND ARCHES OF THE COLOSSEUM._] - -FOOTNOTES: - -[1] _Ab urbe condita_, From the foundation of the city (B.C. 753). - -[2] From the Forum. - -[3] Diodorus Siculus, lib. xxxi., calls it the jail Albinus. - -[4] S. P. Q. R., Senatus Populusque Romanus. - -[5] For a full detailed account of this important discovery see our -photograph, a panoramic view of the Forum from ancient reliefs, with -descriptive letterpress. - -[6] Recently removed to clean out the drain. - - - - -RAMBLE II. - - THE BRIDGE AND CASTLE OF S. ANGELO -- THE TOMB OF HADRIAN - -- S. PETER'S -- THE SACRISTY -- THE CRYPT -- THE DOME -- - THE VATICAN -- SCALA REGIA -- SISTINE AND PAULINE CHAPELS - -- STANZE AND LOGGIE OF RAPHAEL -- THE PICTURE GALLERY -- - THE MOSAIC MANUFACTORY -- THE MUSEUM OF SCULPTURE -- THE - INQUISITION -- PORTA S. SPIRITO -- S. ONOFRIO AND TASSO'S - TOMB -- MUSEUM TIBERINO -- THE CORSINI AND FARNESINA - PALACES -- PORTA SETTIMIANA -- VIA GARIBALDI -- S. PIETRO - IN MONTORIO -- PAULINE FOUNTAIN -- VILLA PAMPHILI DORIA -- - S. CECILIA IN TRASTEVERE -- CHURCH OF S. CRISOGONO -- - STAZIONE VII COHORTI DEI VIGILI -- CHURCH OF S. MARIA IN - TRASTEVERE -- PONTE SISTO -- FARNESE AND CANCELLERIA - PALACES -- STATUE OF PASQUINO -- CHIESA NUOVA -- CIRCO - AGONALE -- OBELISK -- S. AGNESE -- S. MARIA DELLA PACE -- - S. AGOSTINO. - -IN TRASTEVERE. - -(_Over the Tiber._) - - -THE ROUTE. - -_From the Piazza del Popolo the Via Ripetta leads towards S. Peter's, -turning off to the right, past the bridge, by the Via Monte Brianzo._ - -_From the Piazza di Spagna we take the Via Condotti to the Via Monte -Brianzo and Tor di Nona._ - -At the right-hand end of the latter street is the Apollo Theatre, -built on the site of the Tor di Nona prison, where Beatrice Cenci was -confined. Passing into the Piazza Ponte S. Angelo, on our left, is the -Italian Free Church of Gavazzi, and in the Palazzo Altoviti, in front, -lived Visconti. - -_We turn to the right over_ - - -THE BRIDGE OF S. ANGELO, - -(_Ponte S. Angelo_,) - -which is decorated with ten angels standing on the parapet, bearing -the instruments of our Lord's passion; and SS. Peter and Paul, an -addition made in 1668 by Clement IX. It is the finest bridge in Rome, -and was built by Hadrian. - - -TOMB OF HADRIAN, NOW THE CASTLE OF S. ANGELO. - -(_Castel S. Angelo. Permissions required: see page 353._) - -It was covered with white Paros marble, and decorated with statues of -the gods and heroes, the works of Praxiteles and Lysippus, which were -hurled upon the heads of the Goths. Erected by Hadrian, A.D. 130. The -porphyry sarcophagus, which is supposed to have contained his remains, -is now used as the font in the chapel on the left in S. Peter's. - -Procopius thus describes it: "The tomb of the Emperor Hadrian is -situated outside the Porta Aurelia. It is built of Parian marble, and -the blocks fit close to one another without anything to bind them. It -has four equal sides, about a stone-throw in length; its altitude -rises above the city walls; on the top are statues of the same kind of -marble, admirable figures of men and horses." - -Lucius Verus, Antoninus Pius, Marcus Aurelius, Commodus, were all -buried here. It was first turned into a fortress A.D. 423. Popes John -XXIII. and Urban VIII. built the covered way connecting it with the -Vatican. One of the barrack-rooms contains frescoes by Pierino del -Vaga and Sicciolante, another by Giulio Romano. A circular room, -surrounded with carved wood cases, once contained the archives of the -Vatican. A large iron-bound chest contained the treasury. Some dark -cells built in the thickness of the walls are shown as the prisons of -Beatrice Cenci (?), Cellini, Cagliostro, and others. Tradition asserts -that Gregory the Great saw S. Michael standing over the fortress -sheathing his sword as a sign that a pestilence was stayed; to -commemorate which the castle is now surmounted by a figure of the -archangel in the act of sheathing his sword. This old castle served -for a fortress during several ages, and its first cannon were cast out -of part of the bronze taken from the roof of the Pantheon. - -_The Borgo Nuovo leads to_ the Cathedral, passing, _on the right_, the -Church of S. Maria, built on the site of a pyramid to Honorius, 423 -A.D., which is represented on the doors of S. Peter's. - - -S. PETER'S. - -(_S. Pietro._) - -EXTERIOR. - -Before the era of railways, the traveller in approaching Rome, across -the Campagna, was generally electrified by the first glimpse of S. -Peter's dome looming in the distance. Then he had full time, in -advance of entering the gates of the city, to ponder over all the -recollections which the magical word "Roma" might suggest to him. At -present he is rapidly borne into the city, and sometimes before he is -aware of having arrived even in its neighbourhood; yet the dome is -plainly visible from afar by the railway approach of to-day. Now, as -then, the first sight of Rome is always her unequalled cathedral; now, -as then, the latter is the great object which the tourist eagerly -hastens to visit. The present Church of S. Peter is relatively modern, -having been first conceived by Pope Nicholas V. about the year 1450. -It is built upon the site of the religious edifice erected in the time -of Constantine, and consecrated as the "Basilica of S. Peter." The old -basilica stood on part of the Circus of Nero, and occupies the spot -consecrated by the blood of the martyrs slaughtered by order of that -tyrant. Tradition supposes that the basilica held possession of the -body of the apostle after his crucifixion,--a circumstance which -reflected high credit upon it, and dignified its entrance with the -appellation of the "limina apostolorum" (threshold of the apostles). -After enjoying the veneration and tributes of all Christendom during -eleven centuries, the walls of the old basilica began to give way, and -its approaching ruin becoming visible about the year above stated, -Nicholas V. conceived the project of taking down the old church, and -erecting in its stead a new and more expensive structure. The project -was begun, and resulted, after a long series of experiments made by -various architects, in the splendid fabric which is now regarded by -the world as the chief glory of modern Rome. The work made slight -progress until the epoch of Julius II., who resumed the great task, -and found in Bramante an architect capable of comprehending and -executing his grandest conceptions. The walls of the ancient basilica -were then wholly removed, and on the 18th of April 1508 the foundation -stone of one of the vast pillars supporting the dome, as we now see -it, was laid by Julius with great pomp and ceremony. From that period -the work, though carried on with ardour and perseverance, continued -during one hundred years to occupy the attention and absorb much of -the incomes of eighteen pontiffs. The most celebrated architects of -the times displayed their talents in its erection--namely, Bramante, -Raphael, San Gallo, Michael Angelo, Vignola, Carlo Maderno, and last, -though not least, Bernini, who gave it the finishing touches of -ornamentation, and who built the enclosing colonnade. It is estimated -that its cost, after completion, was no less than L12,000,000 -sterling--a sum representing a far greater value than it does in our -day. Colossal statues of Peter and Paul, erected by Pius IX., guard -the approach at the foot of the steps on either side. - -Eustace says: "Entering the piazza, the visitor views four rows of -lofty pillars, 70 feet high, sweeping off to the right and left in a -bold semicircle. ('A tabernacle for a shadow in the day-time from the -heat, and for a place of refuge, and for a covert from storm and from -rain,' Isa. iv. 6.) In the centre of the area formed by this immense -colonnade, an Egyptian obelisk, of one solid piece of granite, ascends -to the height of 130 feet; two perpetual fountains, one on each side, -play in the air, and fall in sheets round the basins of porphyry that -receive them. Raised on three successive flights of marble steps, -extending 379 feet in length, and towering to the elevation of 148, -you see the majestic front of the basilica itself. This front is -supported by a single row of Corinthian pillars and pilasters, and -adorned with an attic, a balustrade, and thirteen colossal statues. -Far behind and above it rises the matchless dome. Two smaller cupolas, -one on each side, add not a little to the majesty of the principal -dome." - -Five lofty portals open into the vestibule; it is 468 feet in length, -66 in height, and 50 in breadth, paved with variegated marble, covered -with a gilt vault, adorned with pillars, pilasters, mosaic, and -bas-reliefs, and terminated at both ends by equestrian statues, one of -Constantine, the other of Charlemagne. - - -THE OBELISK - -is the only one near its original site, the _Spina_ of Nero's Circus, -which was near the Sacristy, on the left of S. Peter's. An inscription -in the pavement marks the place. Pliny (xxxvi. 14), says: "The third -obelisk at Rome is in the Vatican Circus, which was constructed by the -emperors Caius [Caligula] and Nero; this being the only one of them -all that has been broken in the carriage. Nuncorcus, the son of -Sesoses, made it [_the original, this is probably a copy_], and there -remains [in Egypt] another by him, 100 cubits in height, which, by -order of an oracle, he consecrated to the sun, after having lost his -sight and recovered it." Herodotus says: "It was dedicated by Phero, -son of Sesostris, in gratitude for his recovery from blindness." It -has no hieroglyphics, so if this was the original how could they know -who erected it? but it bears this inscription of Caligula-- - - DIVO. CAES. DIVI. JULII. F. AUGUSTO.--TI. CAESARI. - DIVI. AUG. F.--AUGUSTO. SACRUM. - -[To the divine Augustus, son of the divine Julius, and to the divine -Tiberius, son of the divine Augustus.] - - [Illustration: S. PETER'S AND THE VATICAN.] - -The Nuncorcus of Pliny is supposed to stand for Menophtheus, the king -Meneph-Pthah. - -Pliny (xvi. 76) gives the following particulars of how it was brought -over:-- - -"A fir tree of prodigious size was used in the vessel which, by the -command of Caligula, brought the obelisk from Egypt, which stands in -the Vatican Circus, and four blocks of the same sort of stone to -support it. Nothing certainly ever appeared on the sea more -astonishing than this vessel; 120,000 bushels of lentils served for -its ballast; the length of it nearly equalled all the left side of the -port of Ostia--for it was sent there by the Emperor Claudius. The -thickness of the tree was as much as four men could embrace with their -arms." - -Suetonius ("Claudius," xx.) says: "He sank the vessel in which the -great obelisk had been brought from Egypt, to secure the foundation of -the mole at Ostia." - -Pliny (xvi. 76), says: "As to the one in which, by order of the -Emperor Caius, the other obelisk had been transported to Rome, it was -brought to Ostia, by order of the late Emperor Claudius, and sunk for -the construction of his harbour." - -Marcellinus says: "Subsequent ages to Augustus brought also other -obelisks, one of which is in the Vatican." - - -VESTIBULE. - -Over the entrance _outside_ is a relief of Christ giving the keys to -Peter; _inside_ the vestibule is Giotto's (1298) celebrated mosaic, -representing our Lord sustaining Peter when he was about to sink -whilst walking on the sea. Opposite are the great bronze doors, opened -only on special occasions, the work of Antonio Filareto and Simone -Donatello in the fifteenth century. The upper panels represent in -relief our Saviour and the Virgin, below whom are SS. Peter and Paul; -Peter is giving the keys to Pope Eugenius IV. Beneath are the -martyrdoms of Peter and Paul: in the former is represented the -pyramidal tomb which stood in the Borgo Nuovo, and which was destroyed -by Alexander VI. The smaller reliefs represent scenes from the life of -the Emperor Sigismund--his coronation, the council of Florence, and -his entry into Rome. The framework represents satyrs, nymphs, fauns, -Leda and the Swan, Ganymede, the Fox and the Stork, with reliefs of -fruit and flowers, and medallions of Roman emperors. The walled-up -side door, on the right, is the Porta Santa, which was formerly opened -on Christmas-eve of the years of jubilee--every twenty-fifth year. - -_The first_ inscription relates the gift of olive-yards to provide oil -for the lamps given by Gregory II. - -_The second_, the Bull of Boniface VIII., of the indulgence granted at -jubilee. - -_The third_, Panegyric of Charlemagne on Pope Adrian I. - - -INTERIOR. - -Five portals give access to the edifice, which faces east. - - "Enter, its grandeur overwhelms thee not."--BYRON. - -"The most extensive hall ever constructed by human art expands in -magnificent perspective before you. Advancing up the nave, you admire -the beauty of the variegated marble under your feet, and the splendour -of the golden vault overhead, the lofty Corinthian pilasters with -their bold entablature, the intermediate niches with their statues, -the arcades with the graceful figures that recline on the curves of -their arches. But how great your astonishment when you reach the foot -of the altar, and, standing in the centre of the church, contemplate -the four superb vistas that open around you; and then raise your eyes -to the dome, at the prodigious elevation of 440 feet, extended like a -firmament over your head, and presenting, in glowing mosaic, the -companies of the just and the choirs of celestial spirits.... - -"Around the dome rise four other cupolas, small, indeed, when compared -with its stupendous magnitude, but of great boldness when considered -separately; six more, three on either side, cover the different -divisions of the aisles; and six more of greater dimensions canopy as -many chapels. All these inferior cupolas are, like the grand dome -itself, lined with mosaics. Many, indeed, of the masterpieces of -painting which formerly graced this edifice have been removed [to the -Church of S. Maria degli Angeli, see page 265], and replaced by -mosaics, which retain all the tints and beauties of the originals, -impressed on a more solid and durable substance. The aisles and altars -are adorned with numberless antique pillars that border the churches -all around, and form a secondary order" (Eustace). - -The variegated walls are in many places ornamented with festoons, -wreaths, crosses, and medallions representing the effigies of -different pontiffs. Various monuments rise in different parts of the -church, of exquisite sculpture, and form very conspicuous features in -the ornament of this grand temple. - -Below the steps of the altar, and, of course, some distance from it, -at the corners, on four massive pedestals, four twisted pillars, 50 -feet in height, rise and support an entablature, which bears the -canopy itself, topped with a cross. The whole is 951/4 feet from the -pavement. This brazen edifice--for so it may be called--was -constructed of bronze stripped from the dome of the Pantheon, and is -so disposed as not to obstruct the view by concealing the chancel and -veiling the chair of S. Peter. This ornament is also of bronze, and -consists of a group of four gigantic figures, representing the four -principal doctors of the Greek and Latin Churches, supporting the -chair at an elevation of 70 feet. Under the high altar of S. Peter's -is the tomb of that apostle, the descent to which is in front, where a -large open space leaves room for a double flight of steps. The rails -that surround this space above are adorned with one hundred and twelve -bronze cornucopiae, which support as many silver lamps, burning during -the day in honour of the apostle. Upon the pavement of the small area -enclosed by the balustrade is the kneeling statue of Pius VI., by -Canova. - - -DIMENSIONS. - - _Interior._ - - 6131/2 feet long. - 1521/2 feet, height of Nave. - 871/2 feet, width of Nave. - 333/4 feet, width of Aisles. - 1973/4 feet, width of Basilica. - 4461/2 feet, length of Transepts. - 951/4 feet, height of Baldacchino complete. - 139 feet Cupola, interior diameter. - 179 feet Cupola high. - 277 feet above Floor. - 440 feet from Pavement to Base of Lantern. - - _Area._ - - 240,000 square feet. - - [Illustration: INTERIOR OF S. PETER'S.] - - -A PROMENADE IN S. PETER'S. - -On entering, the size of objects may be judged by noticing the cherubs -that support the holy water basins; they present no extraordinary -appearance, but stand by them and their immense size will be -appreciated. The first chapel, on the right, contains Michael Angelo's -Mary with the Dead Christ; hence it is called the Chapel of La Pieta. -It was executed by the great master when only twenty-four, and bears -his name across Mary's girdle. This work of art is unfortunately very -badly placed for proper observation. Opening out of this chapel are -two side chapels, kept closed: in that of the left are kept the relics -belonging to the basilica; and in the right, a column, ornamented with -flutings and reliefs, and said to be the column against which Jesus -leaned when disputing with the doctors. - -Proceeding up the aisle, on the right, is Fabris's statue of Leo XII.; -and opposite, Carlo Fontana's monument to Christina, Queen of Sweden, -who died in Rome in 1689, after her abjuration of Protestantism. The -chapel beyond contains a beautiful mosaic copy of the Martyrdom of S. -Sebastian; the original was by Domenichino. Next is the monument to -Innocent XII., supported by Charity and Justice, by Filippo Valle; and -opposite is one to the Countess Matilda, by Bernini; the relief is -Gregory VII. giving absolution to Henry IV. - -The Chapel of the Sacrament contains, above the altar, a fresco by -Cortona; over the side-altar is a mosaic copy of Caravaggio's -Entombment. The principal altar is formed with a model in lapis lazuli -and gilt bronze of Bramante's chapel; the original is erected over the -spot pointed out as the scene of Peter's martyrdom. Before the -side-altar is the bronze tomb of Sixtus IV., with reliefs by Antonio -del Pollajuolo; near by is interred Julius II., whose monument, now in -S. Pietro in Vincoli, was to have been the grand masterpiece of -Michael Angelo. - -Beyond, on the right, is the monument to Gregory XIII., supported by -Religion and Power, with a relief representing the correction of the -calendar, the work of Rusconi. Opposite is Gregory the Fourteenth's -simple marble urn. - -The next chapel is named Madonna del Soccorso, containing the monument -to Gregory XVI., erected by the cardinals he had made. On the left is -a mosaic copy of Domenichino's Last Communion of S. Jerome. In the -aisle, proceeding on the right, is the monument to Benedict XIV. -(with figures of Science and Charity), by Pietro Bracci. Opposite is a -mosaic copy of S. Basil Celebrating Mass before the Emperor Valens, -after Subleyra's picture. - -In the transept are mosaic copies of S. Wenceslaus, king of Bohemia, -by Caroselli; Martyrdom of SS. Processus and Martinianus, after -Valentin; and that of Erasmus, after Poussin. In the aisle, leading -out, is Canova's celebrated tomb of Clement XIII. It took eight years -to execute. The pope is represented praying: on one side is the genius -of Death with inverted torch (the finest piece of sculpture in S. -Peter's), and on the other Religion with the cross; at the angles are -a wakeful and a sleeping lion. Opposite is a mosaic of S. Peter -Walking on the Sea, after Lanfranco. In the next chapel is a mosaic of -Guido's S. Michael and Guercino's S. Petronilla. On the left, coming -towards the apse, S. Peter Resuscitating Tabitha, from Costanzi's -painting; and opposite is the tomb of Clement X., by Ferrata. - -In the centre of the apse is S. Peter's chair. January 18th is the -feast of the chair of S. Peter in Rome. Some remarks on the chair -which does duty for S. Peter's may be of interest to our readers. A -photograph of this famous object was taken in 1867, when it was last -exposed to view, and can be had at any of the shops in Rome. Visitors -must be content with looking at the photograph, for the chair itself -is not to be seen. At present it is enclosed in the bronze covering -which is supported by the four colossal figures of the doctors of the -Church--SS. Gregory, Jerome, Ambrose, and Augustin. - -It is encased in a framework, in which are the rings through which the -poles were inserted in order to carry the person seated. This casing, -consisting of four posts and sides, is made of oak, and is very much -decayed. The straight vertical joints are easily distinguished where -the frame is attached to the chair itself, which is composed of dark -acacia wood. The front panel is ornamented with three rows of square -plates of ivory, six in a row, eighteen in all, upon twelve of which -are engraved the labours of Hercules, and on the other six, -constellations, with thin _laminae_ of gold let into the engraved -lines. Some of the ivories are put on upside down, and had evidently -nothing to do with the original chair: they are Byzantine in style, of -the eleventh century. The ivory band decorations of the back and sides -evidently belonged to the chair, and correspond with its architecture -and fit into the woodwork. They are sculptured in relief, -representing combats of men, wild beasts, and centaurs. The centre -point of the horizontal bars has a portrait of Charlemagne crowned as -emperor. In his right hand is a sceptre (broken), and in his left a -globe; two angels on either side offer him crowns and palms, they -having combatants on each side. The chair is 4 feet 83/4 inches high at -back, 2 feet 101/2 inches wide, 2 feet 2-1/3 inches deep, and 2 feet 11/2 -inch high in front. Fancy Peter using such a chair as this! - -It is asserted by the Roman Church that this chair was used by S. -Peter as his episcopal throne during his rule over the Church at Rome. -Even if we grant, for argument's sake, that he was bishop in Rome, -there is no evidence to prove that this was his chair; in fact, every -evidence to the contrary. All the primitive episcopal chairs are of -marble, and as unlike this one in construction as possible; for it is -not an episcopal throne, but a _sella gestatoria_ or cathedra, similar -to the chairs introduced into Rome in the time of the Emperor -Claudius, mentioned by Suetonius ("Nero," xxvi.), and Juvenal (i. 64, -vi. 90). It is not unlike in shape the one used to carry the Pope in -grand ceremonies in S. Peter's. Some early authors speak of a _sella -gestatoria_ which was placed in the baptistery of old S. Peter's by -Damasus, and which, formerly on the 22nd of February, was carried -hence to the high altar, where the Pope, with much ceremony, was -enthroned upon it. - -The chair which was originally assigned as that of S. Peter was -eventually passed on from one chapel to another, till, it is said, -that, when Rome was sacked by the imperialists in 1527, they stripped -it of its ornaments and covering, for the sake of their value; and -that beneath they found an old carved wooden chair, with the -inscription, "_There is only one God, and Mohammed is his -prophet_"--which same formula is engraved upon the back of the marble -episcopal chair in the Church of S. Pietro in Castello at Venice. In -1558, the feast of the chair of S. Peter was fixed in Rome for the -18th of January, and in Antioch for February 22nd; and in 1655 Pope -Alexander VII. placed this chair where it now stands. The present -chair is medieval, ninth century, and is unlike early representations -in art of the chair used by the Apostle Paul, which we may look upon -as episcopal. - -The ivory diptych of St. Paul (A.D. 400), the property of Mr. Carrand -of Lyons, engraved by the Arundel Society, represents Paul seated on a -chair, holding in his left hand a roll, the symbol of apostleship, -whilst the right hand is raised in the act of blessing Linus, who -carries a book in his hand. At the back of the chair is S. Mark, -holding a roll in his left hand. The chair is light, and not unlike a -modern library one in shape. Later art agrees with the present chair. -A fresco at S. Clement's, Rome (1050), represents Peter installing -Clement into the Papal chair--a chair, so far as can be seen, not -unlike the present one of S. Peter, which was made after the -coronation of Charlemagne as Emperor of the Holy Roman Empire (A.D. -800). - -Upon our right is the tomb of Urban VIII. His bronze statue is by -Bernini, with Justice and Charity in marble. On our left is Della -Porta's monument to Paul III.; likewise a bronze figure, with Prudence -(the Pope's mother, Giovanna Gaetani) and Justice (his sister, Giulia -Farnese). Justice is a beautiful figure, but the tin drapery put on to -cover its nakedness by Bernini destroys its beauty. It is necessary to -re-paint the tin every now and then. There is a deal of this mock -modesty in S. Peter's. - -Turning into the south aisle, on our right, is the tomb of Alexander -VIII. The bronze statue is by Arrigo, and the figures of Religion and -Prudence by Rossi. The relief represents the Pope canonizing five -saints. Opposite is the mosaic of S. Peter at the Gate of the Temple. -It is said that this scene, here represented, gave to President -Lincoln the idea for his proposed motto for the greenbacks. When the -commission applied to him for a motto to put upon the notes, he said, -"I can think of nothing better than what Peter said to the sick man at -the gate of the temple--'Silver and gold have I none, but what I have -that give I unto thee.'" - -Beyond, upon the right, is a splendid alto-relief by Algardi, -representing Leo threatening Attila with the vengeance of Peter and -Paul if he should attack the holy city of Rome. It is the largest -relief ever executed. A circular marble slab below it marks the tomb -of Leo XII. Upon the right, coming down the aisle, is the tomb of -Alexander VII., by Bernini. Justice, Prudence, Charity, and Truth -surround the kneeling pontiff. A bronze gilt figure of Death supports -the marble canopy. The naked Truth was clothed in tin by Innocent XI. -Opposite is Vanni's oil-painting, the Fall of Simon Magus. The south -transept contains mosaics of S. Thomas by Camuccini, the Crucifixion -by Guido, and S. Francis by Domenichino. On the left is the chair of -the Grand Penitentiary, where great princes have to make their public -confession as pilgrims. Returning to the aisle, on the right is the -tomb of Pius VIII., by Tenerani. Our Saviour is blessing the Pope; -Peter and Paul are on either side; Justice and Mercy are represented -in relief below. Opposite is a mosaic of Ananias and Sapphira after -Roncalli. Beyond is the Miracle of Gregory the Great, by Sacchi. -Facing us is the tomb of Pius VII., by Thorwaldsen. History and Time -support him on either side, with Power and Wisdom below. On the left, -nearly opposite, is a mosaic copy of Raphael's Transfiguration. -Proceeding down the aisle, on our right, is the tomb of Leo XI., with -a relief, by Algardi, representing the abjuration of Henry IV. of -France. Opposite is the tomb of Innocent XI., with relief of the -raising of the siege of Vienna by John Sobieski, with figures of -Religion and Justice, by Monot. - -On our right is the Chapel of the Choir, decorated by Giacomo della -Porta. The mosaic altar-piece of the Conception is after Pietro -Bianchi. Over the door, in the pier on the left of the chapel, is a -niche closed with a wooden sarcophagus; here the body of the Pope is -placed till his tomb is prepared. Opposite is the bronze memorial to -Innocent VIII. by the brothers Pollaiolo. The spear-head held in the -hand of the Pope refers to the spear which pierced our Saviour's side, -it being presented to this Pope by the Emperor Bajazet II. On our -right is a fine mosaic by Romanelli, the Presentation of the Virgin in -the Temple. Beyond, on the left, is Canova's memorial to the "last of -the Stuarts," who died in Rome, and are buried in the crypt below. It -takes the form of an entrance to a tomb, which is guarded by beautiful -genii. Over the door are the words--"BLESSED ARE THE DEAD THAT DIE IN -THE LORD." Above are medallions of the Chevalier S. George, Prince -Charlie, and the Cardinal York, the whole being surmounted by the -British coat-of-arms, in which is quartered that of France. This -monument was erected by George IV. Opposite, over the door leading to -the dome, is the monument to Maria Clementina, wife of the Chevalier -S. George, whose portrait in mosaic is by Barigioni. Beyond is the -baptistery. The font is of red porphyry, which was once the top of the -tomb of Otho II., and originally, it is said, of Hadrian. In front is -Carlo Maratta's Baptism of Christ in mosaic; upon the left Peter -baptizing the jailers in the Mamertine prison, a fiction from Passeri; -and opposite is Procaccini's Baptism of the Centurion. This baptistery -is said to be on the site of a temple to Apollo, upon what authority -we cannot say. - -The nave has marked in the centre of its pavement the measurement of -all the principal churches in the world, whereby it can be seen that -S. Peter's is 93 feet longer than S. Paul's, London. The large -porphyry circular slab is that upon which the holy Roman emperors were -crowned, and where the priest who is made judge of ecclesiastical -matters in the Roman Church is ordained. In a niche in each of the -piers supporting the vault are colossal statues, 16 feet high, of the -founders of the various religious orders; and in the piers of the dome -are S. Longinus, the soldier who pierced our Saviour's side, S. -Helena, who found the cross, S. Veronica, who wiped his face, and S. -Andrew. Above are kept the relics of these saints, which are only -shown to those who hold the title of a canon of the church. On the -spandrels of the arches of the dome are four large mosaics, -representing Matthew, Mark, Luke, and John, with their emblems. S. -Luke's pen is 7 feet long, and the letters on the frieze are 6 feet -high. - -The great piers are 253 feet in circumference; which space is exactly -occupied by the church and house of S. Carlo, in the Via Quattro -Fontane. Near the first pier of the right side is the celebrated -bronze seated statue of S. Peter, with the keys in one hand, the other -raised in the act of blessing, under a canopy erected by Pius IX., -whose portrait in mosaic surmounts it. It is asserted by some that -this was a statue of Jupiter, supremely good and great, that stood in -the Capitoline temple, and that it was altered into S. Peter; others -say they recast Jupiter into the "Jew Peter." - - -THE SACRISTY - -is connected with S. Peter's by a long gallery, and is adorned with -pillars, statues, paintings, and mosaics. It is entered by passing -through a door under the monument to Pius VIII., in the left aisle. -There is a very rich collection of church plate and vestments kept in -the _guardaroba_, which visitors should not fail to see. - - -THE CRYPT. - -_Orders must be obtained of Cardinal Ledockowski, Palazzo Cancelleria. -It must be visited before 11 A.M._ The entrance is at the side of the -statue of S. Veronica. It contains the tombs of the early Popes, and -also some old bas-reliefs, and some very ancient statues of S. Peter. -Adrian IV., the only English Pope, is buried here, and also several -distinguished historical characters, including "the last of the -Stuarts." - - -THE DOME. - -_Orders must be obtained of Monsignor Fiorani, in the Sacristy, for -visiting the dome, which is only open without an order on Thursdays, -between 8 and 10 A.M._ - -It is reached by a winding ascent, the entrance being opposite the -Stuart monument. On the platform of the roof the cupolas, domes, and -pinnacles are seen to advantage; and hence, by different staircases -between the walls of the cupola, the ball is reached. During the -ascent, a fine view may be obtained of the lower parts of the church, -as well as of the mosaics and stuccoes which embellish the interior of -the dome. - -On reaching the summit, a panoramic view of Rome and the Campagna is -had, quite repaying the labour of the ascent. - - -THE VATICAN. - -From the vestibule of S. Peter's we see, to the fullest advantage, the -fine piazza, with the Vatican on our left, which presents very much -the appearance of a large factory. Having been erected by different -architects in various eras, it has no systematic design, and is, in -fact, a collection of palaces built by different Popes. The entrance -is at the bend of the colonnade. _Permission to visit the_ MUSEUM, -GALLERIES, LIBRARY, _&c., must be obtained from Monsignor Macchi, at -his office, between the hours of 10 and 1, thus enabling a party of -five to pay a visit any day, except Saturdays, Sundays, and festas, -between 9 and 3, except the Museum of Statues, which is closed every -Thursday, when the Egyptian and Etruscan Museums and the Gallery of -Tapestries are only open_. The galleries are gained by - - -THE SCALA REGIA, - -built in the pontificate of Urban VIII., from the design of Bernini. -The first flight is composed of Ionic columns, the second of -pilasters. The ornamental stucco work is from the designs of Algardi. -The equestrian statue of Constantine is by Bernini. On the first -landing, a passage leads to a small flight of steps. _At the top, on -the right, through a small red baize door, is the entrance to_ - - -THE SISTINE CHAPEL, - -built by Sixtus IV. in 1473. It is celebrated for its paintings in -fresco by Michael Angelo; the roof alone occupied twenty months in the -painting. - -THE ROOF.--On the flat part are nine compartments illustrative of--(1) -The Separation of Light from Darkness; (2) Creation of the Sun and -Moon; (3) Land and Sea; (4) Adam; (5) Eve; (6) the Fall and Expulsion -(the figure of Eve is considered to be the most perfect painting of -the female form in existence); (7) the Sacrifice of Noah; (8) the -Deluge; (9) Noah inebriated. These are bordered by sitting figures of -prophets and sibyls: _over the altar_, Jonah; _on the left_, Joel, the -Sibyl Erithraea, Ezekiel, the Sibyl Persica, Jeremiah and Zechariah; -_on the right_, the Sibyl Lybica, Daniel, the Sibyl Cumaea, Isaiah, and -the Sibyl Delphica. In the four corners are--Moses lifting up the -Brazen Serpent, King Artaxerxes, Esther and Haman, David and Goliath, -Judith and Holofernes. In the arches over the windows, and in the -recesses, Genealogy of Christ from Abraham to Joseph. - -THE WALLS.--Behind the altar is the great fresco of Michael Angelo, -representing the Last Judgment, designed by him when in his sixtieth -year, and completed in eight years (1540). _At the top_ is our -Saviour, with the Virgin seated on his right, above angels bearing the -instruments of the passion. _On one side_ of our Lord are saints and -patriarchs, and on the other martyrs. _Below_, a group of angels -sounding the last trump and bearing the books of judgment. _On the -right_ is represented the fall of the condemned; Charon ferrying some -of them across the river Styx, striking the tumultuous with his oar. -The figure in the right-hand corner, representing Midas with ass's -ears, is Messer Biagio of Casena, the Pope's master of the ceremonies, -who said the nude figures were indecent; on which account the Pope -ordered Daniele da Volterra to cover them with drapery, which obtained -for him the cognomen of _Braghettone_ (breeches-maker). Michael Angelo -said, "Let the Pope reform the world, and the pictures will reform -themselves." And to spite Biagio, he represented him in hell, whereat -he complained to the Pope in order to have his figure removed. The -Pope replied that as he was in hell he must stop there, as he had no -power to release from hell, but from purgatory! _On the left_, the -blessed are ascending to heaven assisted by angels and saints. - -_Between the windows_, portraits of the Popes of the time, by the -artist of the subject below. The lower part of the walls is painted in -imitation of drapery, over which were hung on grand ceremonies -tapestries from Raphael's cartoons. - -_On the side walls_ are scenes from the life of Moses typical of the -life of our Lord. _On entering, to the right_-- - - TYPE. FULFILMENT. - - Moses and Zipporah going down Baptism of Christ in Jordan. - into Egypt. By Luca Signorelli. By Perugino. - - Moses slaying the Egyptian. Our Lord being tempted. By - Driving away the shepherds. Sandro Botticelli. - The Lord appearing in the - burning bush. By Sandro - Botticelli. - - Pharaoh overwhelmed in the Red Christ calling Peter and - Sea. By Cosimo Rosselli. Andrew. By Dom Ghirlandajo. - - Moses receiving the tables of The Sermon on the Mount. By - the law. Destruction of the Cosimo Rosselli. - Golden Calf. By Cosimo Rosselli. - - Destruction of Korah, Dathan, Christ giving unto Peter "the - and Abiram, and the sons keys of the kingdom of heaven" - of Aaron. By Sandro Botticelli. (Matt. xvi. 19). By Perugino. - - Death of Moses. Reading of the The Last Supper. By Cosimo - law. By Luca Signorelli. Rosselli. - - The Archangel contending about Christ's Resurrection. By Dom - the body of Moses.[7] By Ghirlandajo. - Francesco Salviati. - -_Apply to the custodi of the Sistine Chapel to visit the Pauline -Chapel, which is entered from the_ - - -SALA REGIA, - -built as an audience hall for the ambassadors to the Papal Court. It -is decorated with frescoes representing different important events in -Papal history. - - -THE PAULINE CHAPEL - -was erected by Paul III. Its walls are painted in fresco, the -conversion of S. Paul and the execution of S. Peter being by Michael -Angelo. The painted roof and the portraits of twenty-eight Popes are -by Lorenzo Sabatini and Frederigo Zucchero. - -_Retracing our steps through the Sistine Chapel, and going up a narrow -stair, we enter, through a small white door, two rooms containing_ - - -GALLERY OF MODERN PAINTINGS. - -(_First Room, right._) - -1. Beatitude of Benedict of Urbino (Capuchin).--Guido Guidi, 1865. He -is being presented, with other missionaries, to Clement VIII. - -2. Beatitude of John Sarcander, who is led to the torture by the Dutch -Calvinists.--By F. Grandi. 3. S. Chiara of Mount Falconi visits -Cardinal Colonna, who is kneeling.--Raffaele Gagliardi. 4. Alfonso -Rodosko's Vision of the Virgin.--By G. Sereni. 5. John Berchmans' -Vision of the Virgin.--Gagliardi. 6. Peter of Arbues, Grand Inquisitor -of Spain, murdered at the altar.--G. Mauretta. _At the end_ of this -hall is a piece of tapestry designed by Raphael. It represents S. Paul -striking Bar-jesus (Elymas) blind before the pro-consul Sergius Paulus -at Paphos in Cyprus.--Acts xiii. 6. _Returning up the hall._ 7. Paul -of the Cross, founder of the Passionist Order.--Coghetti. 8. -Declaration of the Dogma of Immaculate Conception by C. de Paris. 9. -The Virgin with the Infant Jesus appearing to Maria degli Angeli, a -Carmelite nun.--De Rohden. - -The entry and the connection between the first and second hall were -once the chapel of Pius V. The richly-painted window, by Ludovic Gesta -of Toulouse, represents Germana Cousin, the Shepherdess of Pibrac, -crossing a stream, and portraits of Pius IX. and French ecclesiastics. -The cupola is the work of Federico Zuccheri; the subjects are the Fall -of Satan and scenes from the Life of Tobit. In the lunettes below are -the four doctors of the Latin Church, by Paoletti. - -(_Second Room, left._) 10. Saints Martyred in Gorcum in the -Netherlands.--Caesar Fracassini. His masterpiece; a very fine work of -art. 11. A fine large painting, the gift of the Polish Roman -Catholics. It represents John Sobieski, King of Poland, relieving -Vienna from the Turks: the work of Matejko, 1883. 12. S. Lorenzo da -Brindisi leading the Imperial troops against the Turks at the Battle -of Alba-Reale in Hungary.--By F. Grandi. 13. S. Michael de' -Sanctis.--Jojetti. 14. Beatitude of the Canon John de' Rossi.--Dies. -_Passing from these we go into the_ SALOON OF PODESTI, containing -frescoes relating to the Dogma of the Immaculate Conception. _On the -end wall_ is represented the supposed Vision of the Virgin to Pius -IX.; _opposite_, the Discussion of the Dogma; _on the right wall_, -Proclamation of the Dogma. They were done in 1870, in commemoration of -the Vatican Decrees. _Thence we pass into the_ - - -STANZE OR CAMERE OF RAPHAEL, - -consisting of four rooms designed by Raphael, and completed by his -pupils after his death, to illustrate the triumphs and establishment -of the Catholic Church. The principal frescoes are:-- - -IN THE FIRST ROOM.--_On the right_, the Incendio del Borgo, A.D. 847; -_over the window_, Justification of Leo III.; _in front_, Victory of -Leo IV. over the Saracens at Ostia; and _opposite_, Coronation of -Charlemagne. The chiaro-oscuro portraits, _below_, by Caravaggio, -represent the princes who first gave tribute to the Church. The roof -is by Perugino, Raphael's master. - -SECOND ROOM.--Illustrative of Theology, _on the entry wall_; Poetry, -_over the window_; Philosophy, _in front_; and Jurisprudence, _on the -right_. Representations of the Fall of Man, the Flaying of Marsyas, -the Study of the Globe, the Judgment of Solomon, _on the ceiling_. _On -the walls_ corresponding--the Dispute on the Sacrament, Mount -Parnassus, the School of Athens (a portico crowded with philosophers, -which gives its name to the room), Prudence, Fortitude, and -Temperance. - -THIRD ROOM.--_In front_, the Miraculous Expulsion of Heliodorus from -the Temple; _on the right_, the Mass of Bolsena; _on the entry wall_, -Attila driven back from Rome by Leo I.; _over the left window_, S. -Peter's Release from Prison (notice the four different lights here). -_The ceiling_ represents subjects from the Old Testament. - -FOURTH ROOM.--_On the right_, Battle between Constantine and Maxentius -at the Ponte Molle; _entry wall_, Baptism of Constantine; _left wall_, -Rome presented by Constantine to Silvester; _in front_, the Cross -appearing to Constantine (the dwarf is Gradasso da Norcia, from -Berni's Poetry); _on the vault_, the pagan statue thrown down -represents the Triumph of Faith, by Lauretti (notice the wonderful bit -of perspective here); _on the right-hand corner, a door leads into -the_ ANTICAMERA OF THE STANZE, originally painted by Raphael, restored -by Carlo Maratta. _Out of this room is_ - - -THE CHAPEL OF S. LORENZO. - -The frescoes are by Fra Angelico, representing events in the lives of -SS. Stephen and Laurence. _On the ceiling_ are the four Evangelists. -It was built as the private chapel of Nicholas V., and is the oldest -decorated portion of the Vatican. _We now pass into_ - - -THE LOGGIE OF RAPHAEL, - -_to the right on entering_. - -"It is impossible either to execute or imagine a more beautiful work" -(Vasari). It is called Raphael's Bible. It is divided into thirteen -arcades, each containing four subjects of Scripture history--1. The -Creation of the World, by Raphael; 2. History of Adam and Eve; 3. The -History of Noah, by Giulio Romano; 4. Abraham and Lot; 5. History of -Isaac, by Penni; 6. Jacob, by Pellegrino; 7. Joseph; 8. Moses, by -Giulio Romano; 9. Moses, by Raffaello del Colle; 10. Joshua; 11. -David, by Pierino del Vaga; 12. Solomon, by Pellegrino; 13. From the -New Testament, by Giulio Romano. The stucco ornaments and arabesque -work are by Giovanni da Udine, from Raphael's designs, who took the -idea from the Golden House of Nero. The weather has very much damaged -them. Pius IX. put the glass windows in. - -_The other sides_ were built by Gregory XIII., and executed by -Giovanni da Udine; they have recently been restored by Mantovani. _The -farther one_, parallel with the Papal apartments, is where his -holiness gives audience. - -_A flight of stairs on the left leads to the_ Upper Loggia, painted -with maps and landscapes. _Entrance to the Picture Gallery--ring the -bell at the second door on the left of the Central Loggia._ - - -THE PICTURE GALLERY. - -(_The Pinacotheca._) - -Formed by Pius VII. As the artist's name and the subject are painted -on the frame of each picture (a hint some of the other galleries might -adopt), it will be only necessary to mention the most important. - -FIRST ROOM.--The Christian Mysteries, one of Raphael's earliest -paintings; Faith, Hope, and Charity, three medallions, by Raphael; -Doubting Thomas, by Guercino; Marriage of S. Catherine of Alexandria -with the Infant Christ, by Murillo; Adoration of the Shepherds, by -Murillo. - -SECOND ROOM.--The Last Communion of S. Jerome, by Domenichino; Madonna -di Foligno, by Raphael; The Transfiguration, Raphael's masterpiece. - -THIRD ROOM.--S. Sebastian, by Titian; The Assumption of the Virgin, in -two parts--the Crowning, by Giulio Romano, and the Apostles round the -Tomb, by Francesco Penni; Virgin and Child, by Sassoferrato; The -Entombment, by Caravaggio. - -FOURTH ROOM.--S. Peter's Crucifixion, by Guido; Annunciation, by -Baroccio; Christ Enthroned, by Correggio. - - -THE MOSAIC MANUFACTORY. - -_Orders must be obtained from the Rev. Monsignor Fiorani, at the -Sacristy._ - -_It is entered by a corridor from the ground floor at the left-hand -corner of the Court of S. Damaso._ The mosaics in S. Peter's, S. -Paul's, and other churches, were manufactured here. Some mosaics take -a long time to execute, as great patience and art are required in -blending the shades, &c., upwards of 27,000 different shades of the -coloured _vetri_ being kept in stock. - -A plate, generally of metal, of the required size, is first surrounded -by a margin rising about three-quarters of an inch above the surface. -A mastic cement, composed of powdered stone, lime, and linseed oil, is -then spread over as a coating, perhaps a quarter of an inch in -thickness. When set, this is again covered with plaster-of-Paris -rising to a level with the margin, upon which is traced a very careful -outline of the picture to be copied, and just so much as will admit of -the insertion of the small pieces of smalto or glass is removed from -time to time with a fine chisel. The workman then selects from the -trays, in which are kept thousands of varieties of colour, a piece of -the tint which he wants, and carefully brings it to the necessary -shape. The piece is then moistened with a little cement, and bedded in -a proper situation, the process being repeated until the picture is -finished, when the whole, being ground down to an even face and -polished, becomes an imperishable work of art. The process is the same -for making the small mosaics so much employed at the present day for -boxes, covers, or articles of jewellery, and this work is sometimes -upon almost a microscopic scale. The Florentine mosaic, which is -chiefly used for the decoration of altars and tombs, or for cabinets, -tops of tables, coffers, and the like, is composed of precious -materials, in small slices or veneers, and by taking advantage of the -natural tints which characterize the marble, the agate, or the jasper, -very admirable effects may be produced in imitation of fruits, -flowers, or ornaments. The use of this kind of mosaic is extremely -restricted, on account of the great value and expense, not only of the -materials, but of the labour employed upon them. None but the hardest -stones are used; every separate piece must be backed by thicker slices -of slate or marble to obtain additional strength; and every minute -portion must be ground until it exactly corresponds with the pattern -previously cut. - - -THE VATICAN MUSEUM. - -_Open every day from 9 till 3, except on Thursday and Saturday, when -it is closed. Permission must be obtained of Monsignor Macchi, at his -office in the Vatican, from 10 till 1. Each permit admits a party of -five, and can only be used once._ - -_Entrance_ is obtained by going round to the back of S. Peter's, thus -enabling us on our way to admire the vast proportions of the latter. -The Vatican Museum was founded by Julius II., and consists of those -objects of art that have been discovered, and which once graced the -principal buildings of ancient Rome. At the entrance the new official -English catalogue by Signor Massi, the conservator of the galleries, -can be purchased; it gives a full account of the objects of art. In so -vast a collection, we call attention to the principal works only. - -_Entering on the left by the iron gates, filled in with glass, and -ascending the marble stairs, we enter_ - - -THE HALL OF THE GREEK CROSS. - -In the centre of the floor is a splendid mosaic, found at the Villa of -Cicero. A bust of Minerva forms the centre, around which are twelve -planets and various phases of the moon. The outer circle (modern) is -composed of masks and figures. The principal statues are 559 and 597, -Augustus; 564, Lucius Verus; 565, Hercules; 574, Venus of Cnidos; 566, -_left_, red porphyry Sarcophagus, which contained the remains of -Constantia, the daughter of Constantine the Great; 589, _opposite_, -generally attributed to Helena, the mother of the Christian emperor. -(See page 327.) Before the door is a fine mosaic representing a faun -watering a flower. At the foot of the stairs, by two sphinxes, is a -beautiful basket of flowers in mosaic. _We now enter_ - - -THE ROTUNDA. - -Erected by Simonetti, by order of Pius VI. In the centre is a -magnificent vase of red porphyry, 46 feet in circumference, found in -the House of Nero. The large mosaic represents combats between -Centaurs and Lapithae, and nymphs carried on the backs of monsters; in -the centre, under the vase, is the head of Medusa. The border -represents the adventures of Ulysses, Neptune, and monsters. The -principal statues are 537, 538, Tragedy and Comedy; 539, Bust of -Jupiter; 540, Colossal statue of Antinoues; 546, Statue of Ceres; 545, -Bust of Antinoues; 544, Hercules, in gilt bronze, found in 1864 during -the restoration of the foundations of the Biscioni Palace, which -occupies the site of the Theatre of Pompey, in the middle of which -stood the Temple of Venus Victrix, which this statue adorned; 542, -Colossal Juno; 547, Bust of Ocean; 548, Nerva, a seated statue crowned -with bronze oak wreath; 550, The Emperor Claudius; 552, Juno; 553, The -Genius of Augustus. _We now pass into_ - - -THE HALL OF THE MUSES. - -It contains statues of muses, busts of Greek philosophers, poets, and -statesmen, all of which deserve special attention. _Left._ 525, Bust -of Pericles; 524, Seated Statue of Sappho; 523, Bust of Aspasia. -_Right._ 535, Mnemosyne, the mother of the muses; 511, Erato, muse of -love song; 514, Bust of Socrates; 515, Calliope, muse of epic poetry; -516, Apollo, as leader of the muses; 517, Terpsichore, muse of -dancing; 520, Euterpe, muse of melody. _Left._ 508, Polyhymnia, muse -of sacred poetry; 505, Clio, muse of history; 506, Bust of -Demosthenes; 504, Urania, muse of astronomy; 503, Thalia, comic and -pastoral muse; 499, Melpomene, muse of tragedy. _Beyond, left._ 492, -Sophocles; 491, Silenus; 490, Diogenes. _Right._ 498, Epicurus; 496, -Homer. _Now pass into_ - - -THE HALL OF THE ANIMALS. - -The principal objects of interest are--124, Mithraic Sacrifice found -at Ostia, in the temple dedicated to the worship of the Persian deity; -139, Commodus on Horseback; 143, Sleeping Shepherd; 228, Triton -carrying off a Nereid. _We next enter_ - - -THE GALLERY OF STATUES. - -In the centre of the gallery is a magnificent bath of the finest -Oriental alabaster. _Right-hand side on entering._ 248, Clodius -Albinus, governor of Britain under Commodus; 250, Cupid, by -Praxiteles, the "Genius of the Vatican;" 255, Paris; 259, Minerva as -the Peace-bearer; 261, Penelope; 262, Caligula; 264, Apollo with the -Lizard; 267, Drunken Faun; 270, Urania; 271, Posidippus, the master of -Greek comedy. _Entrance to Hall of Busts_ (_see below_). 390, -Menander; 391, Nero as Apollo; 392, Septimius Severus; 393, Dido; 394, -Neptune; 396, Narcissus; 398, Macrinus; 399, AEsculapius and Hygeia; -401, Fragment of Haemon and Antigone; 402, Seneca; 405, One of the -fifty daughters of Danaus drawing water from Lethe; 406, Faun, -repetition of Praxiteles. _Entrance on left to Cabinet of Masks._ 414, -Sleeping Ariadne; 417, Mercury, by Ingenui; 420, Lucius Verus. - - -THE HALL OF BUSTS. - -280, Augustus; 282, Caesar; 285, Caracalla; 307, Saturn, colossal -veiled head; 311, Menelaus; 326, Jupiter seated; 333, Crispina; 352, -Livia as Piety, or Diana, or Surprise; 366, Scipio. - - -CABINET OF MASKS. - -So called from the mosaic pavement found in Hadrian's Villa. The -ceiling is by Domenico de Angelis, representing the marriage of -Bacchus and Ariadne, Diana contemplating Endymion, Paris refusing -Minerva the apple, Adonis and Venus. 427, Replica of the Venus of Cos, -by Praxiteles. The head does not belong to this statue. 428, the -Crouching Venus, a copy after Heliodorus, by Bupalus; 429, the Empress -Sabina, Hadrian's wife, as Venus Genetrix, after Arcesilaus. The head -and arms have been inserted in an older statue; 432, Faun in _rosso -antico_; 433, Venus rising from the Sea, after Alcamenes; 436, Venus -anointing herself, after Polycharmes; 441, Ganymedes; 442, Adonis. - -_We now proceed to the Court of the Belvedere_, which is supported by -sixteen columns, having a fountain in the centre. The court is adorned -with baths, urns, sarcophagi, statues, columns, bas-reliefs, and -medallions. The four corners of the court are occupied by cabinets _in -the following order, commencing on the left_:-- - - -MERCURY OF THE BELVEDERE. - -A most valuable piece of antique Greek sculpture, found near the Baths -of Titus in 1779. On the walls are bas-reliefs representing a combat -between Amazons and Athenians, and a sacred procession; 56, Priapus, -the god of orchards; 57, Hercules. - - -CANOVA'S CABINET. - -It contains three splendid works by this great modern master: Perseus -with the Head of Medusa; the Two Boxers, Kreugas (defence), Damoxenus -(attack). - - -APOLLO BELVEDERE. - -One of the finest masterpieces of ancient Greek sculpture, discovered -at Porto d'Anzio towards the close of the fifteenth century--Apollo in -the attitude of turning the army of the Gauls into stone, with the -head of Medusa, B.C. 278, as we are informed by the inscription in -bronze; it was restored erroneously. It is beautifully described by -Byron in "Childe Harold." - - -CABINET OF THE LAOCOON. - -Found in the Baths of Titus in 1506. Pliny (xxxvi. 4) thus describes -it:--"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 by -Agesander, Polydorus, and Athenodorus, natives of Rhodes. Michael -Angelo said, however, and it has since been proved, that it is in -three pieces." - - "Two serpents ... their destined way they take, - And to Laocoon and his children make: - And first around the tender boys they wind, - Then with their sharpened fangs their limbs and bodies grind. - The wretched father, running to their aid - With pious haste, but vain, they next invade; - Twice round his waist their winding volumes rolled, - And twice about his gasping throat they fold. - The priest thus doubly choked, their crests divide, - And towering o'er his head in triumph ride." - VIRGIL, "AEn.," ii. 209: DRYDEN. - -_We now enter the_ - - -ROOM OF THE MELEAGER, - -the hero sung of by Greek and Latin poets. Found in the year 1500 -outside the Porta Portese. 20, The Loves of AEneas and Dido; 17, -Inscription relating to the foundation of the temple of Hercules -Victor by the consul Mummius. - - -THE ROUND VESTIBULE. - -In the centre is a basin of pavonazzetto; on the balcony a very rare -ancient sun-dial, found in 1770 near the Colosseum. The view from here -has given to this balcony the name - - -BELVEDERE. - -It commands a beautiful panoramic scene of Rome and the Campagna, -bounded by the distant Alban and Sabine Hills. - - -VESTIBULE. - -The gray peperino sarcophagus was discovered in the tomb of the -Scipios on the Via Appia in 1780. It contained the remains of Scipio -Barbatus. When it was opened, two thousand years after his death, the -skeleton was found entire, with a ring upon one of the fingers. The -ring passed into the hands of the Earl of Beverley, and the bones were -removed to Padua by the Venetian senator, Angelo Quirini. On the wall -are inscriptions found in the tomb. A bust of the poet Ennius -surmounts the sarcophagus. - - -THE TORSO - -of Hercules. The work of Apollonius, son of Nestor of Athens. Found -near the Theatre of Pompey. It is considered to be the most perfect -resemblance to human flesh, and was greatly admired by Raphael and -Michael Angelo, the latter declaring that he was its pupil. -_Descending the stairs we reach_ - - -THE CHIARAMONTI CORRIDOR, - -containing numerous monuments of Greek and Roman art. _On the left -going down._ 733, Recumbent Statue of Hercules; 683, Hygeia; 682, -Antoninus Pius; 681, Minerva; 635, Hercules with Ajax, found near -Pompey's Theatre; 589, Mercury; 588, Group of Bacchus and Ampelus; -544, Silenus; 495, A Cupid, by Praxiteles; 494, Tiberius; 493, -Diadumenianus; 450, Mercury; 422, Bust of Demosthenes; 419-417, Busts -of Caius and Lucius, nephews of Augustus; 418, Julia, his daughter; -416, Augustus as a Youth; 401, Colossal Head of Augustus; 400, -Tiberius; 399, Head of Tiberius; 353, Nymph on a Rock; 294, Hercules -Resting; 262, A Smiling Child; 242, Apollo Citharoedus; 241, Juno -suckling Mars; 240, Britannicus; 197, Minerva, with modern helmet and -enamelled eyes; 177, Polyhymnia; 175, Niobe in Flight from Diana; 122, -Diana; 121, Clio, the historical muse and guardian of truth; 120, -Priestess of Vesta; 85, The God of Sleep; 62, Hygeia, the goddess of -health; 61, Urania; 15, A consular statue; 6, Autumn.--_Gates to -Corridor of Inscriptions._--_Returning._ 13, Winter; 19, Paris; 18, -Apollo; 17, A Faun. _Entrance to the Nuovo Braccio._ 112, Venus of -Cnidos; 124, Drusus; 181, Hecate; 179, Myth of Alcestis; 245, -Polyhymnia; 244, Ocean; 287, Sleeping Fisher Boy; 298, Bacchus; 297, -Athlete; 343_a_, Brutus who stabbed Caesar; 355-357, Figures found at -Tusculum; 358, Captive; 453, Meleager; 498, Clotho; 497, Sarcophagus, -with Corn-mills; 484, Diana; 547, Isis; 548, a Vestal; 580, Praefica; -591, Claudius; 627, Venus and Mars; 639, Julia Loemia; 686, Tuccia, -the vestal virgin, carrying water in a sieve from the Tiber to the -Forum. (See Dionysius, ii. 69.) On the border is S. K. Pello, "By this -proof a sepulchre and a calumny are removed from me." 685, -Sarcophagus, representing the manufacture of oil; 684, AEsculapius. - - -THE NUOVO BRACCIO. - -Built by Pius VII., in 1817, from the designs of Stern. The floor is -composed of ancient mosaics, and is worthy of notice. The chief -objects of interest are--5, Caryatide, supposed to be one of those -which supported the portico of the Pandrosium at Athens, by Phidias; -8, Commodus; 9, Captive Dacian King; 11, Silenus; 14, Augustus, found -in 1863 in the ruins of the Villa of Livia at Prima Porta; 17, -AEsculapius; 20, Nerva; 23, Pudicitia, the goddess of modesty; 26, -Titus; 92, Ganymedes, the cup-bearer of Jupiter; 44, Wounded Amazon; -47, Caryatide; 50, Diana; 53, Euripides; 56, Julia, daughter of Titus; -59, Plenty; 62, Demosthenes; 67, Athlete in the act of cleaning his -arm with a strigil--the die, which he holds in his other hand, is an -erroneous modern addition; 71, Amazon; 74, Clemency; 77, Antonia, the -wife of Drusus the elder; 80, Plotina, wife of Trajan; 83, Ceres; 86, -Fortune; 96, A. Marcus Antonius; 109, The Nile--the sixteen children -are allegorical of the sixteen cubits at which the rise of the river -begins to irrigate the land--one of the finest works of art in the -Vatican, found near the Church of Minerva; 111, Julia, daughter of -Titus; 114, Minerva; 117, Claudius; 120, Faun; 123, Lucius Verus; 126, -Athlete; 129, Domitian; 132, Mercury. _Passing through the iron gates, -we enter_ - - -THE CORRIDOR OF INSCRIPTIONS, - -the walls of which are adorned with three thousand pagan and eleven -hundred Christian inscriptions brought from various catacombs and -cemeteries. _Retracing our way through the Museum, a glass door on the -right at the entrance of the Museum conducts us to_ - - -THE LIBRARY. - -_Ask the Custodian; fee, 50 cents each._ - -It was founded by Sixtus V., and contains 120,000 volumes, of which -25,000 are manuscripts. The magnificent great hall is 220 feet long, -and contains many objects of interest, notably two fine candelabra of -Sevres china presented to Pius VII. by Napoleon I.; a vase of -malachite and another of immense size, presented by Prince Demidoff; -two vases of Meissen porcelain, presented by the Emperor of Germany; a -large vase of porcelain china, presented by Napoleon III. to Pius IX. -after it had been used as the font in the baptism of the Prince -Imperial; a beautiful basin of Aberdeen granite, presented by the Duke -of Northumberland. - - -THE CHRISTIAN MUSEUM. - -The contents comprise a collection of lamps, glass vessels, gems, &c., -found in the Catacombs. In the room beyond is a very interesting -collection of Byzantine and medieval Italian paintings, a Russian -calendar, and other interesting objects. At the end of this vista of -rooms is a full-length seated portrait of Pius IX., painted on glass -at Aix-la-Chapelle. - -_N.B.--The following collections at the Vatican are open only on -Thursdays from nine till three; special permission is required._ - - -THE EGYPTIAN MUSEUM. - -Formed by Gregory XVI. from Egypt, and from Egyptian remains dispersed -in the several museums of Rome. It comprises a hall of monuments, hall -of the imitations executed by Roman and Greek artists, and several -cabinets containing many interesting objects. - -_Ascending the stairs we reach, on the right_, - - -THE HALL OF THE BIGA, - -adorned with several beautiful works of ancient art, the principal of -which is the Biga or chariot, only the body of which is ancient. The -Biga for a long time served as an episcopal throne in the Church of S. -Mark in Rome. The torso of the right horse was a gift of Prince -Borghese; the additions and restorations are by Franzoni. No. 611, -Alcibiades, after Nycerates; 615, Discobolus, after Naukides; 616, -Phocion; 618, Discobolus, after Myron. _The long corridor is called_ - - -THE GALLERY OF THE CANDELABRA, - -and is divided into six compartments, containing cups, vases, -sarcophagi, statues, candelabra, &c. It has recently been restored by -Leo XIII., the floors and ceilings being masterpieces of modern art. -The most important objects of interest are: 19, a Child Playing at -_Capita et Navim_ (heads or tails); 74, Faun Extracting a Thorn from a -Satyr's Foot; 81, Diana of Ephesus--her sixteen breasts signify the -sixteen cubits at which the Nile overflows; the various half figures -of sphinxes, lions, bulls, stags, bees, and flowers are her attributes -as the nurse of all things living; the disk ornament refers to the -sun; the four seasons, the signs of the zodiac, and a necklace of -acorns adorn her neck: the statue was found at Hadrian's Villa. 88, -Mercury seated amidst his Symbols; 134_a_, a Well Head; 134_c_, statue -of the Sabine God Semoni Sanco, found in 1879 on the slopes of the -Quirinal Hill, presented by Leo XIII.; 134_b_, Well Head; 135, seated -statuette of Sophocles; 177, an Old Fisherman; 183, Saturn (rare); -184, Personification of Antioch on the Orontes, by Eutychides; 222, a -Spartan Virgin Racer, earlier art than that of Phidias; 231, Actor, -with mask; 257, Ganymede and the Eagle. _Returning_--269, a Warrior; -194, Child and Swan; 204, sarcophagus representing Diana and Apollo -Shooting at the Niobides; 149_a_, Somnus (Sleep); 148, a Faun Carrying -the Infant Bacchus; 118_a_, the Eagle carrying off Ganymede, a -replica of the bronze original, by Leochares; 112, sarcophagus -illustrating the Story of Protesilaus and Laodamia. This should be -compared with the relief, No. 269, in the Gallery of Statues. On the -sides are the myths of Ixion, Sisiphus, and Tantalus. 52, a Drunken -Faun, in green basalt. - - -THE GALLERY OF TAPESTRIES - -contains copies of Raphael's cartoons which are at the South -Kensington Museum: they were woven in Flanders by order of Leo X. to -adorn the Sixtine Chapel. _Right side going down._ Our Saviour giving -the Keys to Peter--_the border_ represents the Medici fleeing from -Florence; Peter healing the Man at the Beautiful Gate of the -Temple--_border_, Cardinal Medici at the Battle of Ravenna; Conversion -of Saul--_border_, the Taking of Prato in 1512; in three pieces, -Slaughter of the Innocents; The Resurrection; Stoning of -Stephen--_border_, Cardinal Medici entering Florence, allegorical of -the Papal power; the Earthquake during Paul's imprisonment at -Philippi. _Right in returning._ Descent of the Holy Ghost; Adoration -of the Wise Men; Our Lord's Ascension; Adoration of the Shepherds; The -Presentation in the Temple; Christ as the Gardener; Scenes from our -Lord's Passion; _small_, Paul on Mars' Hill--_border_, Scenes from the -Acts; Paul and Barnabas at Lystra--_border_, Scenes from the Life of -Paul; Miraculous Draught of Fishes; Death of Ananias--_border_, Faith, -Hope, and Charity. - -_Retracing our way through the Gallery of the Candelabra, a small -flight of steps at the end leads to a balcony where there is a good -view of the lower halls. On the right is the entrance to_ - - -THE ETRUSCAN MUSEUM, - -which contains various works of art brought from the ancient towns of -Etruria and Magna Graecia. These works are generally mixed up in the -Roman museums. - -FIRST ROOM.--Three terra-cotta sarcophagi, with reclining figures on -the covers; two horses' heads in tufa from Vulci. - -SECOND ROOM.--Cinerary urns from Volterra, in Volterra alabaster. - -THIRD ROOM.--A large peperino sarcophagus, found at Corneto, the -ancient Tarquinii: an Etruscan king-priest, _Lucumo_, reclines upon -it, and on its sides are Greek myths. A travertine slab, with a Latin -and Umbrian inscription, from Todi; frieze of terra-cotta from -Cervetri. In the corners of the room cinerary urns, found beneath a -volcanic stratum between Albano and Marino: they are in the form of -huts, and still contain ashes. - -FOURTH ROOM.--A Roman Mercury in terra-cotta, found at Tivoli; a -wounded youth reclining on a couch, generally called Adonis. - -FIFTH, SIXTH, SEVENTH, and EIGHTH ROOMS contain terra-cotta vases, -glass beads, and ornaments. - -NINTH ROOM (_entered from Sixth Room_).--Hall of bronzes and -jewellery; a bronze statue of a warrior, found at Todi in 1835; -shields, arrows, helmets, spurs, mirrors, &c.; a funeral bier from -Caere; a bronze child with a bulla, supposed to represent Tages, the -boy-god who sprang from a clod of earth at Tarquinii; a Roman -war-chariot, found at the Villa of the Quintilii on the Appian Way; -bronze toilet-cases (_cista mistica_); brazier with tongs on wheels; a -rake with a hand for its handle; shovel--two swans bearing a boy and a -girl form the handle. _In the centre of the hall_, Jewel-case of -objects found in the tomb of _Mi Larthial_ ("I, the great lady") and -of an Etruscan priest at Cervetri (Caere), from which town and its -customs we get the word "ceremony." - -TENTH ROOM.--Bronze figure of a boy; and Roman lead pipes. - -ELEVENTH ROOM.--Copies of the frescoes found in the tombs at Vulci and -Tarquinii; Etruscan vases. - -TWELFTH ROOM.--Imitation Tomb, with genuine peperino lions. - - -THE INQUISITION. - -Returning from the Museum, on reaching the colonnade of S. Peter's, -_turn off to the right_, through the middle of the colonnade. Opposite -is the Palazzo del S. Uffizio,--the Inquisition, which was established -here in 1536, and abolished by the Roman Republic in 1849. It is now -used as a barrack, and the Inquisition holds its meetings in the -Vatican. - -Passing at the back of the columns into the Borgo S. Michaele, and -_turning to the right_, we enter the Borgo S. Spirito. _On the left_ -is the fine tower of the Church of S. Michaele in Sassia, in which -Raphael Mengs is buried. This name, Sassia, commemorates the Saxon -settlement founded in 727, and the word "borgo" comes from the Saxon -"burgh." _Beyond is_ - - -THE PORTA S. SPIRITO, - -a massive gateway built by San Gallo in the walls erected by Leo IV. -round S. Peter's and the Vatican, whence the district inside is called -the Leonine City. _Outside the gate a steep ascent leads up to_ - - -S. ONOFRIO--TASSO'S TOMB. - -This convent is for ever memorable in the history of Italian -literature as the place where Tasso died. The adjoining church, called -Girolmini, or Brothers of S. Jerome, built for the use of the monks, -was erected in 1429 A.D., during the reign of Eugene IV. Tasso, -summoned to the Capitol to be crowned there as king of bards, died in -1595, a short time after his arrival in Rome. He was buried in the -church without much ceremony, and his remains lay undisturbed in a -simple tomb on the left of the entrance until the year 1857, when they -were transferred to a chapel in the church expressly built for their -reception at the public expense. A fine statue of the poet by Fabris -is shown. In the convent garden is a tree called Tasso's Oak, under -which the author of "Jerusalem Delivered" used to sit in pious -meditation. The view of Rome and of the Sabine and Alban Hills, with -Soracte in the distance, is magnificent. The fresco of the Virgin and -Child over the door of the church, and three paintings under the -portico illustrating the life of S. Jerome, are the work of -Domenichino. In the convent is a Virgin and Child by Leonardo da -Vinci; and in the same building are preserved several relics of Tasso, -in the room where he died--his crucifix, his inkstand, and the leaden -coffin in which his bones reposed for two hundred and sixty-two -years--namely, till the time of his second burial. Two other -distinguished men were buried in S. Onofrio--Guidi, the poet, and -Cardinal Mezzofanti, the famous linguist. - -_At the bottom of the ascent, turn to the right, down the Via Lungara. -Some little distance down on the right is the_ - - -PALAZZO DEI LINCEI. - -(_Formerly Corsini._) - -_Open Monday, Thursday, and Saturday, from 9 to 3._ - -As this palace, now the home of the Academy of the Lincei, is again -open to the public, and as the paintings were generously presented by -Prince Corsini to the city of Rome, it may be of advantage to visitors -in Rome if we enumerate the paintings most worth inspection. At the -same time we would inform our readers that there are full catalogues, -on cards, in Italian and French in each room. - -FIRST ROOM.--_In glass case on stand at window_, Birth of Christ, by -Batoni; 6, Sacred Family, by Barocci; 23, S. Catherine of Sienna, by -Zobole. - -SECOND ROOM.--_In glass case on stand at first window_, Mater -Dolorosa, by Guido Reni. _In second window_, Madonna and Infant Jesus, -by Carlo Dolci; 11 and 27, Fruit, by Mario di Fiori; 15, a Landscape, -by Poussin; 20, Pieta, by Caracci; 41, Andrea Corsini, by Gessi, -copied in mosaic in the Corsini Chapel in S. John's Lateran. - -THIRD ROOM.--89, Ecce Homo, by Guido Reni; 1, Ecce Homo, by Guercino; -9, Madonna, by Sarto; 10, Birth of the Virgin, by Caracci; 15, -Madonna, by Sarto; 17, Madonna, by Caravaggio; 21, Virgin and Child, -by Vandyck; 22, The Players, by Rubens; 23, Sunset, by Botti; 26, -Sacred Family, by Fra Bartolomeo; 27, Peter Paying the Tribute Money, -by Caravaggio; 33, Flight into Egypt, by Perugino; 36, Holy Family, by -Garofalo; 40, The Sleep of Jacob, by Massow; 44, Julius II., by -Raphael; 45, Birth of the Virgin, by Berettini of Cortone. _Under -glass in last window_, a Hare, by Albert Durer; 55, Butcher's Shop, by -Teniers; 82, John the Baptist, by Carlo Maratta; 88, Ecce Homo, by -Carlo Dolci. - -FOURTH ROOM.--_In the centre_, an ancient marble chair, with low -reliefs, found at the Lateran. 1, Ancient mosaic, a Man Binding Bulls; -4, Cupid Asleep, by Guido; 11, The Daughter of Herodias, by Guido; 16, -Madonna, by Guido; 20, The Baptist, by Guercino; 31, Peter and Agata, -by Lanfranco; 33, Death of S. Stephen, by Domenichino; 40, Faustina -Maratta, by Carlo Maratta; 41, the Fornarina, by Giulio Romano, after -Raphael; 42, an Old Man, by Guido; 43, Holy Family, by Carlo Maratta; -45, Magdalen, by Carlo Dolci. - -FIFTH ROOM.--8, The Annunciation, by Michael Angelo--one of his few -easel pictures; 12, S. Agnese, by Carlo Dolci; 16, The Sacred Family, -by Schidone; 21, Madonna, by Carlo Maratta; 22, Marriage of S. -Caterina, by Domenichino; 24, Christ at the Well, by Guercino; 26, -Madonna, by Sassoferrato; 29, Madonna and Infant, by Guercino; 32-40, -Annunciation, by Guercino; 34, The Forum Romanum, by Pannini; 38, Ecce -Homo, by Guido; 39, S. John, by Guido. - -SIXTH ROOM.--21, The Children of Charles V., by Titian; 22, a Woman, -by Rembrandt; 37, Mrs. Martin Luther, by Holbein; 31, Martin Luther, -by Holbein; 47, Rubens's Portrait, by himself; 50, Cardinal Farnese, -by Titian. - -SEVENTH ROOM.--11, Landscape, by Poussin; 15, S. Sebastian, by Rubens; -19-27, Annunciation, by Carlo Maratta; 21, The Dispute, by Giordano; -23, 24, Last Judgment and Ascension, by Fra Angelico; 30, "Let him who -is without sin cast the first stone," by Titian; 42, Magdalen, by -Franceschini. - -EIGHTH ROOM.--2, Sacred Family, by Francia; 8, Christ before Pilate, -by Vandyck; 9, The Baptist, by Caravaggio; 12, St. George and the -Dragon, by Grandi; 13, Contemplation, by Guido; 15, Landscape, by -Poussin; 16, a Sea Piece, by Salvator Rosa; 18, Susanna, by -Domenichino; 19, Seneca Dying in the Bath, by Caravaggio; 24, S. -Jerome, by Guercino; 29, Christ in the Garden, by Correggio; 32, Peter -Raising Tabitha, by Placide Costanzi, copied in mosaic in S. Peter's; -37, Woman and Child, by Murillo. - -NINTH ROOM.--2, Village Interior, by Teniers; 9, Triumph of Ovid, by -Velasquez; 10, an Old Man Reading, by Guido; 12, Prometheus, by -Salvator Rosa; 58, Death of S. Joseph, by Giuseppe del Sole. _Opposite -is_ - - -THE FARNESINA PALACE. - -_Open on the 1st and 15th of the month._ - -It contains the famous frescoes of Raphael. On the ceiling of the -first room that of the fable of Cupid and Psyche, designed by Raphael, -and painted by Giulio Romano. This charming fable is described by -Kugler in his "Handbook on the Italian Painters." - -_Commencing on the left_, the first is Venus ordering Cupid to punish -Psyche; second, Cupid showing Psyche to the Three Graces; third, Juno -and Ceres pleading for Psyche; fourth, Venus in her Car going to claim -the interference of Jupiter; fifth, Venus pleading before Jupiter; -sixth, Mercury flying to execute the Order of Jupiter; seventh, Psyche -with the Vase of Beauty-Paint given by Proserpine to appease Venus; -eighth, Psyche giving the Vase to Venus; ninth, Cupid complaining to -Jupiter; tenth, Mercury taking Psyche to Olympus. _On the vault_, -Council of the Gods, by Giulio Romano; Banquet of the Gods, on the -Marriage of Cupid, by Francesco Penni. _On the wall of the second -room_, Raphael's Galatea; on the ceiling, Diana in her Car drawn by -Oxen, by Peruzzi, and the fable of Medusa, by D. Volterra. The -landscapes are by Poussin. - -On the opposite side of the street, just beyond the Corsini Palace -entrance, in the Vicolo Stalle d'Corsini, is the - - -TORLONIA MUSEUM. - -(_Museo Torlonia._) - -_Permission must be obtained from Prince Torlonia. Written application -should be made to the prince at his palace in the Piazza di Venezia._ - -A full catalogue of the Torlonia Museum has been written and printed -by Signor P. E. Visconti. Copies are lent for the use of visitors. -This grand collection of sculptures has been in course of formation by -Prince Torlonia during many years. Some of the objects were found on -his own property, others have been purchased by him, and many of the -most valuable works formerly belonged to the Mosca, Cambral, -Giustiniani, Ruspoli, and Randanini collections. As containing works -of art, it ranks next to the Vatican collection, and is the finest -private gallery in the world. - -Amongst so many valuable and beautiful works of art it is almost -impossible to say what the casual observer should more particularly -notice. A day may be well and profitably spent amongst this admirable -collection. The lover of art will gain every information from -Visconti's excellent catalogue, whilst ordinary visitors can stroll -through and consult it for those objects which strike them most. -Venuses, the Muses, gods and goddesses, heroes and tales of mythology, -the emperors and their wives,--all are amply illustrated here. Many of -the objects are unique, and as there is such a good printed catalogue -lent, it is unnecessary for us to enumerate the different objects. - -_Continuing down the Via Lungara, at a short distance is_ - - -THE PORTA SETTIMIANA, - -said to have been an archway leading into a villa of Septimius -Severus. It was incorporated by Aurelian into the line of his walls, -and fortified by Honorius. Passing under the arch, the VIA GARIBALDI -_on the right_ leads to the garden-crowned height of - - -S. PIETRO IN MONTORIO, - -which commands a magnificent view of Rome, its surroundings, and the -windings of the Tiber. The church was erected by Ferdinand and -Isabella of Spain, and is still under the protection of the crowned -head of Spain. In the court of the monastery is a small temple formed -of sixteen Doric columns, said to be erected over the spot where the -cross on which S. Peter was executed stood. Raphael's Transfiguration -was painted for this church, whence it was taken by the French to -adorn the Louvre. On its restoration to the Papal authorities it was -placed in the Vatican. The tomb of Beatrice Cenci is to our left of -the high altar, but no name is recorded on the stone. The new Spanish -Academy adjoins the church. - - -MARTIAL'S VILLA. - -The Government has recently acquired and thrown open to the public -these grounds, known as the Corsini Villa, which for its view is one -of the most charming sites in Europe, formerly the villa of Julius -Martialis described by his nephew ("Ep." iv. 64):-- - - "The few acres of Julius Martial, - More blest than the Hesperides' gardens, - Lie on the long ridge of the Janiculum. - - * * * * * - - It is possible hence to see the seven ruling mounts,[8] - And to estimate all Rome,-- - The Alban hills, and those of Tusculum; - And whatsoever cool shade lies under the city; - Old Fidenae,[9] and little Ruba;[10] - And, that which delights in virgins' blood, - The apple-bearing grove of Anna Perenna.[11] - From thence, on the Flaminian and Salarian ways,[12] - The rider is manifest, his chariot-wheels being silent, - Whose gentle sleep may not be molested, - Neither to break it by nautical shouts, - Nor the clamour of the vigorous bargee, - Although the Mulvian bridge[13] may be so near, - And keels glide swiftly on the Sacred Tiber." - - -THE JANICULUM. - -The long narrow ridge which commands Rome on its western side took its -name from Janus (Virgil, "AEn." vii. 358), but, although fortified by -Ancus Martius, was not reckoned in the city. It was sometimes called -Mons Aureus, from the golden colour of its sandy soil. From the fort -on the summit a flag flying denoted that all was well; but if the flag -was hauled down, the enemy were in view. It was this fort that Lars -Porsena seized when Horatius defended the bridge below. - - [Illustration: THE PAULINE FOUNTAIN.] - -_Above the church of S. Pietro in Montorio is_ - - -THE PAULINE FOUNTAIN, - -(_Fontana Paolina_,) - -supplied by the ancient Aqua Trajana, which has its source in the Lago -di Bracciano, thirty-five miles from Rome. The fountain was built out -of the remains of the Temple of Minerva which stood in the Forum of -Domitian. _The road through the_ PORTA S. PANCRAZIO _leads to the_ - - -VILLA PAMPHILI DORIA. - -_Open on Monday and Friday afternoons; one-horse carriages not -admitted._ - -The villa--the most extensive and delightful of the Roman villas, -abounding in avenues and woods, fountains and cascades--is situated on -the summit of the Janiculum, it is supposed upon the site of a villa -of Galba. From the ilex-fringed terrace there is one of the best views -of S. Peter's; a lake supporting swans; a temple to the slain amongst -the besiegers of Rome in 1849--all of which must be seen to be -appreciated. "Galba was buried in his gardens, which are situated on -the Aurelian Way, not far from the city" (Eutropius, vii. 16). - -_Re-entering the city, and descending the hill by the new road, thence -by the Via delle Fratte, we reach the_ - - -CHURCH OF S. CECILIA, - -originally the house of the saint. To the right, on entering, is the -tomb of Adam Hereford, Bishop of London, who died in 1398. The second -chapel on the right is said to have been the bath-room, and pipes may -still be seen in the wall. Beneath the high altar is the statue of S. -Cecilia, representing her body as found in the Catacombs of S. -Calixtus, "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." A golden -circlet conceals the wound in her throat that caused her death. The -inscription is as follows: "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.--Stefano Maderno." Thus, when Cardinal Sfondrati restored the -church, in 1599, was the body found in her tomb just as it had been -deposited there eight hundred years before, after being found in the -Catacombs by Paschal I. (See page 290.) - -_By the Via de Vascellari and Via Lungaretta we reach the_ - - -CHURCH OF S. CHRISOGONO. - -Founded by Pope Sylvester, and rebuilt 1623. It has a fine old _opus -Alexandrinum_ pavement, and the aisles are formed by twenty-two -columns, two in porphyry supporting the arch. A mosaic in the tribune -represents the Madonna and Child enthroned between SS. James and -Chrisogono. The ceiling was painted by Arpino. _On the left of the -piazza is the small street_, MONTE DI FIORE, _in which is the_ - - -STAZIONE VII COHORTI DEI VIGILI - -(Roman firemen), remodelled and formed into seven watches by Augustus. -The building was discovered in 1866. _The custodian conducts the -visitor over, fee half a franc._ Descending the stairs we enter a -mosaic paved courtyard, with a well in the centre, and on the right a -small altar with mural paintings. There are several other chambers, -and a bath, with numerous inscriptions on the walls scratched by the -firemen during their idle moments. - -_Going down the_ VIA LUNGARETTA, _we enter the_ PIAZZA OF S. MARIA, in -which are a fine fountain and the - - -CHURCH OF S. MARIA. - -The facade is covered with mosaics representing the Virgin and Child -enthroned, surrounded by ten virgins, and on either side the figure of -a bishop (Innocent II. and Eugenius III.); above this are palms, the -twelve sheep, and the mystic cities, and our Lord enthroned between -angels. The interior contains twenty-two columns. The Assumption, on -the ceiling, is by Domenichino. Beneath the high altar are the remains -of five early popes. In the upper part of the tribune are mosaics of -the Saviour and a female figure (representing the Church, the bride of -Christ, and not the Virgin, as is generally said) seated on thrones; -beneath are lambs, and representations from the life of the Virgin. - -_Leaving the church, and going down the_ VIA DELLA SCALA, _hence -turning to the right into the Via di Ponte Sisto_, the house on the -left, a baker's shop, with Gothic upper windows, was the HOUSE OF -RAPHAEL'S FORNARINA. RAPHAEL'S HOUSE was at No. 124 Via dei Coronari, -near the S. Angelo Bridge. _A short distance, and we reach_ - - -THE PONTE SISTO. - -The present bridge was built by Pope Sixtus IV., who laid the -foundation stone, April 29, 1473, on the site of an older bridge -which was destroyed in the flood of A.D. 792, it having been built by -Symmachus, prefect of Rome under Valentinian (A.D. 365), "under whose -government the most sacred city enjoyed peace and plenty in an unusual -degree; being also adorned with a magnificent and solid bridge which -he constructed, and opened amid the great joy of his ungrateful -fellow-citizens" (Ammianus Marcellinus, xxvii. iii. 3). In 1878, in -making the new embankment for the Tiber, the remains of the left arch -were found at the bottom of the river, upon which was part of the -inscription, one foot seven inches high--VALENTINIAN. Pedestals which -formed part of the decorations were also found, and part of an -inscription--VALENTINIANI AU COSTI. At the Campus Martius end was a -triumphal arch dedicated to Valens and Valentiniani-- - - DEDICANDI . OPERIS . HONORE . DELATO . INDICIO . PRINCIPUM . - MAXIMORUM . LUCIO . AURELIO . AVIANIO . SYMMACHO . VIRO . - CLARISSIMO . EX . PREFECTIS . URBI. - -Remains of a bronze statue were also found. - -The Via Giulia, _on the left_, and the Via Mascherone, _on the right, -lead to_ - - -THE FARNESE PALACE. - -In the piazza are two fountains, the granite basins of which were -found in the baths of Caracalla. The palace is not now to be visited, -as it is occupied by the French Embassy. Its architecture is more -admired than that of any other palace in Rome; it was built by Pope -Paul III. with materials taken from the Colosseum. Its rooms are -adorned with frescoes of Annibale Caracci, his finest works, -consisting of mythological subjects. The centre piece represents the -Triumph of Bacchus and Ariadne. - -Opening out of the square is the PIAZZA CAMPO DI FIORE. Here every -Wednesday is held a fair of curiosities, &c. _At the left corner is_ - - -THE CANCELLERIA PALACE, - -(_Palazzo della Cancelleria_,) - -one of the finest palaces in Rome, built out of the travertine taken -from the Colosseum: the forty-four red granite columns which support -the portico came from Pompey's Theatre. At the foot of the staircase -Count Rossi was assassinated in November 1848. - - [Illustration: THE FARNESE PALACE.] - -Adjoining the palace is the CHURCH OF SS. LORENZO E DAMASO, lately -restored. _A short lane, Vicolo Regis, leads to the Braschi Palace, at -the side of which is_ - - -THE STATUE OF PASQUINO, - -a mutilated torso found here in the sixteenth century. It took its -name from Pasquino, a tailor, who lived opposite, and whose shop was -the rendezvous of the wits of the city, who wrote their jokes and -stuck them on the statue: these were replied to by the statue of -Marforio, now in the Capitol Museum. - -Some of Pasquino's sayings were very witty, and have been published. -Now, under a free government, he seldom speaks. - - PASQUINO'S REPLIES IN REFERENCE TO THE - - What the barbarians did Barberini family having - not, the Barberini have done. destroyed the antiquities. - - Public, thou liest; they Inscription put up over - were not public vows, but the door of the Sacristy - were vows of thy vain of S. Peter's. - despotism. - - Canova has this time made Statue of Italy by Canova - a mistake: he has clothed exhibited during the French - Italy, and she is stripped. invasion. - - The Most High above sends Some decrees of Napoleon's, - us the tempest; the most and a severe storm which - high below takes from us visited the city. - that which remains; and - between the two most highs - we are very badly off. - - The French are all rogues; French occupation of Rome. - not all--but a good part of - them (Buona parte). - - _Pasquino._ Beware, Caesar, Marriage of a man named - lest thy Rome become a Caesar to a girl named Roma. - republic. - - _Caesar._ Caesar governs. - - _Pasquino._ Therefore he - will be crowned. - - A heretic had the Appointment of the - preference; after him, a librarians of the Vatican. - schismatic; but now there - is a Turk. Good-bye, Peter's - Library! - -_The Via del Governo Vecchio leads to the_ - - -CHURCH OF S. MARIA IN VALLICELLA, - -(_La Chiesa Nuova_,) - -containing three paintings by Rubens; they are at the high altar. - -_From the Statue of Pasquino, by the side of the Braschi Palace, we -enter the_ - - -CIRCO AGONALE, - -one of the finest squares in Rome, sometimes called Piazza Navona. It -takes its name from being the site of the Circus Agonalis. _Fetes_ are -held here during Carnival, and a fair at the Epiphany. - -Notice the three fountains--the centre one by Bernini: four figures, -representing four rivers, recline on a craggy rock; on its top stands -an Egyptian obelisk, at its base a lion and a sea-horse. - - -THE OBELISK. - -This, from the inscription, was either made for, or the inscription -was added to and imitated by, Domitian:--"Sun god. Son of the Sun god. -Supporter of the world. Giver of life to the world. The man-god Horus. -The son of the woman Isis, who is come to avenge the death of his -ancestor Osiris. The king living for ever, Domitianus." From his Alban -Villa, where it originally stood, it was transported, in A.D. 311, to -the spina of the Circus of Maxentius on the Via Appia, thence to its -present site. - -_On the left is_ - - -THE CHURCH OF S. AGNESE, - -said to have been built on the site where S. Agnes was exposed after -her torture; the high altar in the subterranean chapel is said to -stand on the very spot. In another part is shown her prison, and where -she was beheaded and burned, the church occupying the side vaults of -the circus. The upper church contains eight columns of red Cortanella -marble; it is ornamented with stuccoes, statues, alto-reliefs, and -pictures. Behind the high altar is the sepulchral chapel of Princess -Mary Talbot, wife of Prince Doria, who died in 1857. - -_A street on the left leads to the_ - - -CHURCH OF S. MARIA DELLA PACE, - -containing Raphael's Sibyls--the Cumaean, Persian, Phrygian, -Tiburtine--on the face of the arch in the first chapel on the right. - -Some statues in the Cesi Chapel were worked from pilasters found -behind the Palace dei Conservatori, on the Capitol, from the Temple of -Juno. - -_From the right of the Circo Agonale a street leads to the_ - - -CHURCH OF S. AGOSTINO. - -It contains a fresco by Raphael, on the third pilaster to the left in -entering,--Isaiah and two angels holding a tablet; also a favourite -statue of the Virgin and Child, by Andrea Sansavino. - -FOOTNOTES: - -[7] "And he buried him in a valley in the land of Moab, over against -Beth-peor: but no man knoweth of his sepulchre unto this day" (Deut. -xxxiv. 6). "Yet Michael the archangel, _when_ contending with the -devil he _disputed about_ the body of Moses" (Jude 9). - -[8] The hills of Rome. She ruled the world. - -[9] Five miles on the Salarian Way. - -[10] Sax Ruba, eight miles on the Flaminian Way. - -[11] On the Ides of May a popular carousal was held to this goddess, -on the fields of Aqua Acetosa, by the banks of the Tiber, whereat many -were espoused. (See Ovid, "F." iii. 523.) - -[12] Northern roads, one on either side of the Tiber. - -[13] Now Ponte Molle. - - - - -RAMBLE III. - - VIA RIPETTA -- MAUSOLEUM OF AUGUSTUS -- THE CAMPUS MARTIUS - -- THE BORGHESE GALLERY -- HILDA'S TOWER -- THE PANTHEON - -- BATHS OF AGRIPPA -- S. MARIA SOPRA MINERVA -- COLLEGIO - ROMANO -- KIRCHERIAN AND PRE-HISTORIC MUSEUMS -- "THE - GESU" -- TEMPLE OF HERCULES -- THE CAPITOLINE HILL -- ARA - COELI CHURCH -- TEMPLES OF JUPITER CAPITOLINUS AND - JUPITER FERETRIUS -- THE TARPEIAN ROCK -- TEMPLES OF - CONCORD AND JUNO -- THE TABULARIUM -- ROME FROM THE TOWER - -- THE SEVEN HILLS -- MUSEUMS AND PICTURE GALLERY OF THE - CAPITOL -- THEATRE OF MARCELLUS -- DECEMVIRAL PRISONS -- - PORTICO OF OCTAVIA -- THE GHETTO -- CENCI PALACE -- - THEATRE OF BALBUS -- POMPEY'S THEATRE -- CAESAR'S DEATH -- - STATUE OF POMPEY -- SPADA PALACE -- S. PAUL'S HIRED HOUSE - -- FABRICIAN BRIDGE -- ISLAND OF THE TIBER -- PONS CESTIUS - -- TEMPLES OF JUNO, PIETY, AND HOPE -- HOUSE OF RIENZI -- - PONTE ROTTO -- HORATIUS'S BRIDGE -- TEMPLE OF PATRICIAN - CHASTITY -- ROUND TEMPLE OF HERCULES -- S. MARIA IN - COSMEDIN -- EMPORIUM -- MONS TESTACCIO -- PROTESTANT - CEMETERY -- THE AVENTINE HILL -- CHURCHES OF IL PRIORATO, - SS. ALEXIUS, SABINA, PRISCA, SABA -- THE CIRCUS MAXIMUS -- - S. ANASTASIA -- ARCH OF JANUS (?) -- ARCH OF THE - SILVERSMITHS AND CATTLE-DEALERS -- S. GIORGIO IN VELABRO - -- CLOACA MAXIMA -- S. TEODORO. - -BY THE TIBER. - - -THE VIA RIPETTA. - -From the Piazza del Popolo the line of the Ripetta runs between the -Corso and the Tiber. In the house at the corner lived Ciceruacchio. A -short way down is the Quay of the Ripetta, built in 1707 by Clement -XI., and partly destroyed by the modern iron bridge, over which is a -direct walk to S. Peter's, the site of the fields which formerly -belonged to Cincinnatus (Livy, iii. 26). - - -THE MAUSOLEUM OF AUGUSTUS. - -_Turning out of the Ripetta on the left into the Via de' Pontefici, -through a gateway on the right_, are the remains of this once handsome -tomb; only the double reticulated wall, on which the tumulus with its -trees formerly stood, remains. This ruin has been converted into a -modern theatre, and thus the original finely-proportioned arrangements -can no longer be traced. A part of the enclosure wall may be best seen -from the court of the Palazzo Valdambrini, _102 Via Ripetta_. The -mausoleum was built by Augustus, B.C. 27. Marcellus, Agrippa, Drusus, -and Germanicus were buried there. Strabo describes it as standing upon -a lofty substruction of white stone, and shaded up to the top with -trees. The summit was crowned with the statue of Augustus in bronze, -and there were two Egyptian obelisks at the entrance, brought over by -Claudius. They are mentioned likewise by Marcellinus. - -_It stood in_ - - -THE CAMPUS MARTIUS, - -which Strabo thus describes: "The plain, adorned by nature and art, is -of wonderful extent, and affords an ample and a clear space for the -running of chariots, and other equestrian and gymnastic exercises. It -is in verdant bloom throughout the year, and is crowned by hills which -rise above the Tiber and slope down to its very banks. The whole -affords a picturesque and beautiful landscape, which you would linger -to behold. Near to this plain is another of less magnitude; and all -around it are innumerable porticoes and shady groves, besides three -theatres, an amphitheatre, and various temples contiguous to each -other, so that the rest of the city appears only an appendage to it." -This lesser plain occupied the space between the Mausoleum of Augustus -and the Theatre of Marcellus--the plain from the tomb to the modern -Ponte Molle. "Sylla's monument stood in the Campus Martius" -(Plutarch). - -_Just past the bridge, a street on the left, by the side of the -Borghese Palace, leads to the entrance of_ - - -THE BORGHESE GALLERY, - -_situated in the Piazza Borghese, which is connected with the Corso by -the Via Fontanella Borghese. Catalogues for the use of visitors in -each room. Open on Monday, Wednesday, and Friday, from 10 till 3._ The -following are the principal objects of interest:-- - -FIRST ROOM: SCHOOLS OF MILAN AND PERUGIA.--3. Holy Family, by -Perugino; 5. Vanity; 27, 28. Petrarch and Laura; 35. Raphael as a -Boy, by himself; 43. Madonna, by Francia; 49, 57. History of Joseph, -by Pinturicchio; 61. S. Antonio, by Francia; 68. Doubting Thomas, by -Mazzolini. - -SECOND ROOM: SCHOOL OF GAROFALO.--6. Madonna; 9. Mourners over Christ, -both by Garofalo; 22. Portrait of a Cardinal, by Bronzino; 23. -"Madonna col divin' amore," school of Raphael; 26. Caesar Borgia (?), -by Bronzino; 38. Entombment, by Raphael; 51. S. Stephen, by Francia. - -THIRD ROOM.--5. "Noli me tangere," by Bronzino; 24, 28. Madonna, by -Andrea del Sarto; 40. Danae, by Correggio (notice the cupids -sharpening an arrow); 48. The Flagellation, by Sebastiano del Piombo; -46. Reading Magdalene, by Correggio. - -FOURTH ROOM: BOLOGNESE SCHOOL.--2. Cumaean Sibyl, by Domenichino; 20. -S. Joseph, by Guido; 36. Madonna, by Carlo Dolci; 42. Head of Christ, -by Carlo Dolci; 43. Madonna, by Sassoferrato. - -FIFTH ROOM.--11-14. The Four Seasons, by Albani; 15. The Hunt of -Diana, by Domenichino; 25. The Deposition, by Zuccari. - -SIXTH ROOM.--10. S. Stanislaus, by Ribera; 13. The Three Ages of Man, -copied by Sassoferrato from Titian. - -SEVENTH ROOM.--Mirrors painted with Cupids and flowers; marble tables. - -EIGHTH ROOM.--Mosaic portrait of Pope Paul V. - -NINTH ROOM.--1. Fresco, Nuptials of Alexander and Roxana; 2. Fresco, -Nuptials of Vertumnus and Pomona; 3. Fresco, Archers Shooting at a -Target,--all by Raphael or his school. - -TENTH ROOM.--13. David with the Head of Goliath, by Giorgione; 21. -Sacred and Profane Love, by Titian. - -ELEVENTH ROOM.--11. Venus and Cupid on Dolphins, by Cambiaso; 15. -Christ and the Mother of Zebedee's Children, by Bonifazio; 16. Return -of the Prodigal, by Bonifazio; 17. Samson, by Titian. - -TWELFTH ROOM: DUTCH SCHOOL.--1. Crucifixion, by Vandyck; 7. -Entombment, by Vandyck; 8. Tavern Scene, Teniers; 22. Cattle-Piece, by -Paul Potter. - -_On leaving the gallery, turn to the right, and take the continuation -of the Via Ripetta on the left. Keeping straight on down the Via della -Scrofa, in the third turning on the right, at Via Portoghesi, is the -Torre della Scimmia_, better known to Hawthorne's readers as - - -HILDA'S TOWER. - -It is one of those medieval watch-towers that come upon one so -unexpectedly in all sorts of out-of-the-way places in Rome. The -Romans call it the Tower of the Monkey, from a legend that years ago -the proprietor kept a monkey. This monkey one day seized upon a baby -in the street below, and carried it to the top of the tower, to the -agony of the parents, who vowed a shrine to the Virgin if the child -were safely restored. No sooner was the vow uttered than the monkey -brought down the baby by means of the water-pipe. The shrine was -forthwith erected, and every evening the lamp is lighted at _Ave -Maria_, and shines like a bright star till dawn. - -_A little beyond, on the left, is the_ NEW WESLEYAN CHURCH FOR -ITALIANS; _beyond which the Via Giustiniani, on the left, leads to the -Piazza Rotonda_. - - -THE OBELISK - -surmounts a fountain. This obelisk and the one in the Piazza Minerva -were erected as pairs in Rome. They stood before the Temple of Isis -and Serapis in the Campus Martius. There is a small relief in the -Villa Ludovisi, representing in its background a temple with four -Ionic columns, and to the left an Egyptian obelisk. In the foreground, -to the left, is the figure of Minerva, fronting a reclining female -figure holding a vessel full of ears of corn (Isis?). By her side is -Cupid, and at their back a figure holding something in a spread-out -cloth. May not the temple in the background represent the Temple of -Isis and Serapis? - - -THE PANTHEON. - -This incomparable circular edifice, originally intended by Agrippa to -form the conclusion of his thermae,[14] with which it is intimately -connected, is one of the noblest and most perfect productions of that -style of architecture specifically denominated Roman. When the first -wonderful creation of this species came into existence, the founder of -this glorious dome appears to have himself shrunk back from it, and to -have felt that it was not adapted to be the every-day residence of -men, but to be a habitation for the gods. - -The Church of S. Maria ad Martyres was originally the sudatorium, or -sweating-room, of the baths of Agrippa, being similar in construction -to all the sweating-rooms now existing, notably one in the Villa of -Hadrian at Tivoli. It exactly answers Vetruvius's description of this -department of the baths. It seems afterwards to have been dedicated as -a temple of the gods, or Pantheon of the Julian line, according to -Dion Cassius (liii. 27), when the portico was added in the third -consulship of Agrippa. - - M. AGRIPPA . L. F. COS . TERTIUM . FECIT. - -The straight vertical joint where the Greek portico has been built up -to the Roman body can be distinctly seen, and the pediment and -entablature can be observed behind the portico. It was burned in the -fire under Titus; and was restored, as the inscription on the -architrave tells us, by Septimius Severus and Caracalla-- - - PANTHEUM VETUSTATE CORRUPTUM CUM OMNI CULTU RESTITVERUNT. - -Recent explorations have shown that in front of the Pantheon was a -large enclosure surrounded by a covered arcade, somewhat after the -manner of the colonnade at S. Peter's, and entered by an arch of -triumph. Remains of this arch exist under the houses in front of the -Pantheon, which are to be pulled down. - - [Illustration] - -When Agrippa dedicated the Pantheon as a temple, it was consecrated to -Jupiter the Avenger. "Some of the finest works that the world has ever -beheld ... the roofing of the Pantheon of Jupiter Ultor that was built -by Agrippa" (Pliny, "N. H." xxxvi. 24). The repairs commenced by -Septimius Severus and Caracalla were completed by Alexander Severus, -who built his baths close by. We call attention to a coin of this -emperor, which represents the temple and its enclosure on the reverse; -on the obverse is the emperor's portrait, and the legend IMP . C . M . -AVR . SEV . ALEXANDER . AUG. On the coin the columns are placed close -on either flank, and two are omitted, to show the seated statue of -Jupiter in the temple, which statue is now in the Hall of Busts in the -Vatican Museum, and is a copy of the celebrated Jupiter of Phidias. - -The fact that the Pantheon was originally built as a sudatorium has -been proved to a certainty by the excavations made in the sudatorium -of the Baths of Caracalla. There we have, as it were, the Pantheon in -ruins. It is slightly smaller, the diameter being 125 feet--17 less -than the Pantheon. Opposite to the entrance is an apse, and on each -side there are three recesses, as at the Pantheon, which were used as -caldaria, but are now, in the Pantheon, chapels of the saints. - - [Illustration: THE PANTHEON. - (_From a Coin._)] - -The portico is 110 feet long, and 44 feet deep. Sixteen Corinthian -columns, 461/2 feet high and 5 feet in diameter, support the roof. The -Pantheon was converted into a church by Boniface IV. in 609, by -permission of the Emperor Phocas, and it was dedicated to the martyrs -on November 1st (All Saints' Day), 830. The doors and grating above, -of ancient bronze, with the rim round the circular opening in the -vault of the interior, are all that is left of the ancient metal work. -The interior is 142 feet in diameter, and 143 feet high, and is -lighted by an open space of 28 feet in diameter. It is the -burial-place of Raphael and of Victor Emanuel II.--_right of high -altar_. - -Pliny says ("Nat. Hist." xxxvi. 4): "The Pantheon of Agrippa has been -decorated by Diogenes of Athens, and the caryatides by him, which form -the columns of that temple, are looked upon as masterpieces of -excellence. The same, too, with the statues that are placed upon the -roof, though, in consequence of the height, they have not had an -opportunity of being so well appreciated." "The capitals, too, of the -pillars which were placed by M. Agrippa in the Pantheon, were made of -Syracusan metal" (_ibid._, xxxiv. 7). Marcellinus (xvi. x. 14) says: -"The Pantheon, with its vast extent, its imposing height, and the -solid magnificence of its arches, and the lofty niches rising one -above the other like stairs, is adorned with the images of former -emperors." - -"It is as difficult to reconcile the statements of different authors -respecting the original idea of Agrippa, as it is hazardous to attempt -to prove the successive metamorphoses which the plan sketched by the -artist has undergone. This much, however, is certain, that with -respect to the modern transformation of the whole, the consequences -have been most melancholy and injurious. The combination of the -circular edifice with the rectilinear masses of the vestibule, -notwithstanding all the pains bestowed, and the endless expenditure -of the most costly materials, has been unsuccessful; and the original -design of the Roman architect has lost much of its significance, or, -at all events, of its phrenological expression, by being united with -ordinary Grecian forms of architecture, which in this place lose great -part of their value. No one previously unacquainted with the edifice -could form an idea, from the aspect of the portico, of that wondrous -structure behind, which must ever be considered as one of the noblest -triumphs of the human mind over matter in connection with the law of -gravity. - -"Conflagrations, earthquakes, sacrilegious human hands, and all the -injuries of time, have striven together in vain for the destruction of -this unique structure. It has come off victorious in every trial; and -even now, when it has not only been stripped of its noblest -decorations, but, what is still worse, been decked out with idle and -unsuitable ornaments, it still stands in all its pristine glory and -beauty. - -"In order to obtain a notion of the size and solid excellence of the -work, it will be well first to make the circuit of the entire edifice. -We shall thus have an opportunity of admiring the fine distribution of -the different masses. After the first circular wall or belt, which -rests upon a base of travertine, has attained a height of nearly forty -feet, it is finished off with a simple cornice, serving as a solid -foundation for the second belt. As a preservative against sinking, -this is, moreover, provided with a series of larger and smaller -construction arches, alternating symmetrically with one another. After -rising some thirty feet, further solidity is given to the wall by a -girdle suitably decorated with consoles, and on this the third belt -(which is but a few feet lower) is supported. A similar number of the -arches already mentioned, introduced as frequently as possible, -enables this wall to support the weight pressing upon it, and to raise -the harmoniously rounded cupola boldly aloft. - -"In ancient times the whole building, which is composed of brick, was -covered and embellished with a coating of stucco. On the upper -cornice, at the back, between the consoles, portions of terra-cotta -decorations still remain, seeming to have formed part of this -ornamental facing. - -"In our examination of the interior, we are, unfortunately, much -hindered in our attempt to investigate the constructive connection of -the whole by the unmeaning ornamental additions, and the thoughtless -transformation of the different organic masses. - - [Illustration: INTERIOR OF THE PANTHEON.] - -"So much, however, may be discovered even on a superficial -survey--namely, that the architect has everywhere endeavoured, not -merely to diminish the pressure on the walls of the lower belt (which -is nearly twenty feet thick) by inserting hollow chambers, but has -given them additional strength by means of the vaulted constructions -thus introduced. A hall, supported on pillars, lies between each of -the eight modern altars, and behind each of them, on the outside, are -niches, reached through the different doors, recurring at regular -distances throughout. - -"The slabs of coloured marble belonging to the attica were carried off -some hundred years ago, under Benedict XIV., and their place supplied -by the present coulisse paintings. This polychrome system would have -greatly facilitated our researches into the coloured architecture of -the ancients, and its loss is therefore much to be regretted. - -"For, although this portion of the edifice was thus transformed at a -comparatively late period, still the effect of those finely harmonized -masses must have been a remarkable one. - -"To judge from the combination of coloured stones still remaining in -this edifice, the effect must have been very rich and beautiful. The -elaborate capitals and bases of white marble must have formed a fine -contrast to the yellow shafts of the pillars and the stripe of -porphyry inserted in the architrave. The largest specimen of this -coloured mode of decoration has been preserved in the pavement; -although here also we must take it for granted that the original -arrangement has been disturbed, the sunken bases of the columns -sufficing to prove that the pavement has been raised in course of -time. This circumstance is not without optical reaction on the -proportions of the different masses. The horse-shoe arch over the -entrance-door is remarkable. It forms a striking contrast to that of -the tribune, where the projecting cornice rests upon two pillars, -whereas the architrave, broken through by the doorway, is supported -only by pilasters. - -"The aediculae, now converted into altars, are covered in, partly with -gables, partly with arches, the former resting upon fluted pillars of -yellow marble, the latter upon porphyry pillars. The walls behind are -likewise faced with slabs of coloured marble, which, in their original -splendour, must have reflected the magnificence of the pillars. - -"The facing of the door is the only considerable portion still -remaining of the rich bronze-work with which this edifice was -formerly fitted up. Simple as the decoration of these massive doors -now appears, it is yet imposing for such persons as are capable of -appreciating pure symmetry and a judicious distribution of the parts -in surfaces so extensive. The nails, with heads in the form of -rosettes, separating the different panels, are the only ornament. The -window above the door is closed by a grating composed of curves placed -one above the other, thus admitting both light and air. The -destruction of the bronze cross-beams which formed the roof of the -vestibule till the time of Urban VIII., is most to be regretted. This -was composed of bronze tubes, on precisely the same principle as that -on which Stephenson, a few years ago, constructed the bridge over the -Menai Straits. - -"The cupola is nearly seventy feet in height, and rests on the attica, -corresponding to the second outer belt. This attica has suffered most -severely from modern alterations. The walls behind this afford space -for a series of chambers. The massive wall of the third belt, on the -other hand, surrounding the cupola to a third of its height, is -rendered accessible by a passage running round the whole; and this -again is spanned by frequently recurring arches, and lighted by the -windows visible on the outside. - -"The diameter of the cupola is nearly equal to its height. The round -aperture at the top, by means of which the interior is lighted with a -magical effect, measures about twenty-eight feet in diameter. Here is -still to be seen the last and only remnant of the rich bronze -decorations of which this edifice formerly boasted. It consists of a -ring, adorned with eggs and foliage, encircling the aperture, and not -merely strengthening the edge of the wall, but constituting a graceful -and at the same time a simple and judicious ornament. - -"It is certain that the five converging rows of gradually diminishing -cassettoni have been decorated in a similar manner, and it is stated -that vestiges of metal were discovered during the process of -whitewashing. - -"The six niches between the altars are each supported by two fluted -pillars and a corresponding number of pilasters, the greater portion -of them being composed of monoliths of that costly yellow marble -frequently employed by the ancients. They are more than thirty-two -feet in height, and, as regards size, are unique of their kind. It has -been impossible, even for the ancients, to erect, of this rare -material, all the pillars required for the embellishment of this -splendid edifice, for which reason they were obliged to substitute six -of pavonazzetto. These, however, they stained, without injuring the -brilliancy of the marble or the transparency of the grain, in such a -manner as to bring them into harmony with the other yellow masses, and -to deceive even the most practised eye. This circumstance is of great -importance in forming an opinion on the coloured architecture of the -Greeks, as it shows how they contrived to harmonize the white marble -masses without concealing the texture of the noble material. - -"It is stated by Pliny that caryatides were placed here by a certain -Diogenes of Athens, corresponding to the pillars which support the -architrave. - -"Apparently they were a free repetition of the caryatides of the -Pandrosium; and probably the statue in the Braccio Nuovo, which was -brought from the Palazzo Paganica, in the immediate neighbourhood of -the Pantheon, was one of these, the scale being precisely adapted to -this situation. - -"Some of the large nails used in riveting the bronze plates together -are still preserved in the different museums. We are indebted to -Serlio, an architect of the sixteenth century, who preserved a drawing -of it, for the only information we possess concerning this ingenious -piece of mechanism. The Pope mentioned above, a member of the -Barberini family, had the barbarity to carry off and melt down these -important remains. An inscription on the left of the principal door -celebrates the judicious transformation of these masses of bronze into -cannons, and ornaments for churches" (Braun). - -Urban VIII. "That the useless and almost forgotten decorations might -become ornaments of the apostle's tomb in the Vatican temple, and -engines of public safety in the fortress of S. Angelo, he moulded the -ancient relics of the bronze roof into columns and cannons, in the -twelfth year of his pontificate" (Inscription). - -"What the barbarians did not the Barberini have done" (Pasquino). - -"On each side of the entrance to the Rotunda are two immense niches, -constructed of brick, in which the colossal statues of Augustus and -Agrippa are supposed to have been placed. This opinion seems to me too -hazardous, and contrary to the spirit of these two eminent statesmen. - -"Standing among the sixteen granite pillars supporting the vestibule, -we feel that there is something overpowering in the impression it -produces. This, however, diminishes when we step out upon the piazza, -which lies too high. At its original level, a flight of five steps led -up to the building; and the effect when viewed from a distance must -have been essentially different, as we may judge from the portion of -pavement which has been excavated to the right of the Rotunda" -(Braun). - -Raphael's tomb is in the third chapel on the left. - - "Living, great Nature feared he might outvie - Her works; and, dying, fears herself to die." - CARDINAL BEMBO: _translated by_ POPE. - -A bust, by Nardini, of Raphael was originally placed near here, but -was removed in 1820, in consequence of people offering their devotions -to it. - - -THE BATHS OF AGRIPPA. - - [Illustration: BATHS OF AGRIPPA.] - -The houses built amidst the ruins of the Baths of Agrippa at the back -of the Pantheon have been demolished, and part of a large hall has -been exposed to view. Nothing that has been discovered is new to those -who have studied the subject. It has long been known that these houses -were built on the old walls and vaults of the Thermae. In fact, the -sacristy of the Pantheon was made out of a vaulted chamber, a floor -being inserted about half-way above its base. Besides the vaults and -walls now cleared, pavements, pipes, and fragments of pavonazzetto -columns have been found; also an earthenware jar containing 1,200 -debased silver coins--provincial money of the thirteenth century, with -the motto, _Roma caput mundi_. Portions of a beautiful frieze, formed -with tridents, shells, dolphins, and acanthus leaves, blended -harmoniously together, were found, and skilfully replaced in their -ancient position. It is almost impossible to say for what purpose this -hall was used, as nearly the whole of these baths are buried under the -surrounding houses; but judging from its relative position to the -circular hall, and from the plans of other thermae, it was most -probably the tepidarium. The hall was 150 feet long by 70 feet wide. -Oriental marbles decorated the floor and walls, the latter being -relieved with niches containing statues. Through the central apse was -the original entry into the circular hall behind. The wall now -exposed to view has a large apse in the centre, with the platform, on -which stood a statue; and on either side are three niches for statues. -Agrippa served his first consulship in A.U.C. 717. He was aedile in -719-20. In this service he built his baths. (Dion Cassius, in -"Augustus;" Pliny, xxxvi. 24.) In 726 he was consul for the second -time. In 727 he was consul for the third time, when the circular hall -of his baths was turned into a temple, as we are informed by the -inscription _in situ_. - -These were the first large baths erected in Rome. Only small fragments -of them remain, built into the houses at the back of the Pantheon, and -so difficult to see. In the VIA DELL' ARCO DELLA CIAMBELLA, some -little distance back, are the remains of a circular hall. - -_The Via Minerva, to the left of the Pantheon, leads to the Piazza -Minerva._ - - -THE OBELISK, - -standing upon an elephant, stood, with the one in the square of the -Pantheon, in front of the Temple of Isis. The elephant upon which it -stands is the work of Ercole Perrata, and of course had nothing to do -originally with the obelisk. _On the left is the_ - - -CHURCH OF S. MARIA SOPRA MINERVA, - -so named from being on the site of the Temple of Minerva dedicated by -Pompey. It is one of the few Gothic churches in Rome. - -The interior is highly decorated in the Gothic style. Second chapel on -right, tomb of Princess Colonna. Fourth, the Chapel of the -Annunciation. Fifth, Aldobrandini Chapel. The Caraffa Chapel contains -a slab to a son of the late Bishop of Winchester, who joined the Roman -Catholic Church, and died at Albano in 1857. The pictures of the -Annunciation over the altar, the S. Thomas, and the Assumption are -fine. - -The roof represents four sibyls surrounded by angels, by Raffaelino -del Garbo. The Altieri Chapel contains an altar-piece by C. Maratta. -Next is the tomb of Guillaume Durand, with a very fine mosaic. -Interesting to English visitors is the tomb of Cardinal Howard, Great -Almoner of England, who died at Rome in 1694. The body of S. Catherine -of Sienna reposes beneath the high altar. _On the right_ is Obicci's -statue of S. John; and _on the left_ Michael Angelo's celebrated -statue of the Saviour (the bronze drapery is an addition). In the -sacristy is a chapel formed from the walls of the room in which S. -Catherine died (1380). The festivals of S. Thomas Aquinas (March 7th) -and of the Annunciation (March 25th) are celebrated here with great -ceremony. - -_On the left of the high altar_ is the tomb of Fra Angelico, a -monumental slab of the artist-monk, standing, with clasped hands, -within an arch, in low relief. - - HIC . JACET . VENELIS . PICTO . TR . JO . ORDIS . PREDICATO . 1455. - -The monument was executed by Nicholas V., who is said to have written -the inscription-- - - "Let me not gain praise because I was a second Apelles, - But because, O Christ, I gave all my gains to the poor. - Seeing some of my works are extant on earth, others in heaven, - The City of Flowers of Etruria reared me." - -The MONASTERY attached was the headquarters of the Dominicans, and in -it Galileo was tried "for asserting that the world revolved round the -sun, in opposition to Holy Writ." - -The LIBRARY is open every day from 7.30 to 11 A.M., and from 3 to 5 -P.M. - -On the facade are some curious inscriptions, referring to the height -of the floods caused by the Tiber from 1422. - - -THE TEMPLE OF MINERVA CAMPENSIS - -was erected by Pompey the Great in celebration of his Eastern -victories. The cella was destroyed in the sixteenth century. In making -some alterations, in April 1874, in the houses to the right of the -church above, some remains of walls six feet thick, and having stamps -of repairs A.D. 123, were found. Remains can be seen _in the court of -the shop at the corner of the Piazzetta della Minerva and Via del Pie -de Marmo_. - -_Passing along the Via del Pie de Marmo, we reach_ the piazza in which -is situated the COLLEGIO ROMANO, till recently the head-quarters of -the Jesuits. It has been sequestered by the Italian Government, and -the College is now carried on under the Government. - -_In the street to the right of the College is the entrance to_ the -LIBRARY VITTOR EMANUELE and Reading-room, open every day to the -public, after the model of the British Museum. _On the floor above is_ - - -THE KIRCHERIAN MUSEUM. - -_This museum is in a chronic state of being "arranged." The entrance -fee is one lira, and the old custodians follow the visitor about as -though the latter wished to eat the bronzes. On Sundays and Government -festas the entry is free._ - -ENTRY HALL.--In a case down the centre are many highly interesting -objects, mostly in bronze--early money, gems, styli, etc. The _Glandes -Missiles_, or lead sling-bullets, are unique; many of them have -messages cut upon them. In the cases against the wall are many objects -of interest. The second on the left contains _Silver Cups_ found at -the Aquae Aureliae on Lake Bracciano, three of which have itineraries -from Cadiz to Rome engraved upon them. They are of the times of -Augustus, Vespasian, and Nerva, and are supposed to have been thrown -in by people who had made the journey and were cured by the waters, as -an offering to the _genii loci_. - -An ancient mosaic forms the floor of the hall, and in a semicircle at -the end statuettes are grouped. - -FIRST ROOM, on the left of entry hall, is devoted to bronzes used for -domestic purposes, and to Lares and Penates. In the centre of the room -is the _Bisellium_, or chair of state, formed of bronze inlaid with -silver. It was found at Otimo. The _Cista Mistica_ was a prize given -to gladiators to contain the requisites for their toilets. Three -eagles' claws pressing on toads form the feet. Upon the cylindrical -vase are engravings,--a gladiator stepping out of a galley with the -_cista_ in his hand; Amycus being killed by Pollux, the Argonauts -looking on. It was found at Palestrina, where several similar ones -have recently been found. The handle is formed by three figures with -their arms entwined. - -The THIRD ROOM, at end on left, contains the caricature found cut in -the plaster of the Domus Gelotiana of the Palatine--_the Skit of the -Crucifixion_. It represents the body of a man with an ass's head being -crucified. Below, on the left, is the figure of a man in adoration; -beneath, in Greek, "Alexamenos adores his God." The Romans mixed up -the Jews and the Christians; and believing that the former worshipped -a white donkey (Tacitus, "H." v. 3), they applied it to the -Christians, and in this way, because they knew the Christian's God was -crucified. Tertullian ("Apol." xvi.) says it was a common caricature -against the Christians. The date is about 200. - -The inscriptions and reliefs are early Christian; also the objects in -the glass case. To the right, at the end of the entry hall, is the -entry to the Natural History and Pre-historic Museums. Passing through -these, or better, returning and passing by the entrance, we enter the -rooms of - - -TREASURE TROVE AT PALESTRINA. - -Whilst some peasants were recently digging up their plot of ground -near the Church of S. Rocco they came upon a subterranean tomb, -which, upon examination, was found to contain arms, shields, -sacrificial implements, jewellery, utensils, and other objects of -value and interest. We may remind our readers that Praeneste was -destroyed by Sulla,--that is, the ancient city founded by the Greeks, -and surrounded by the Pelasgic wall. This tomb is of that period, and -measures five metres by three, and is composed of large blocks of -tufa, without cement. The vault had fallen in, and thus damaged some -of the objects, the principal of which are:-- - -_Personal Ornaments._--1. An object which might be called a huge -fibula, as without doubt it was sewn on a dress. It is made of a -rectangular piece of solid gold, 0.17 m. long, 0.10 m. wide. The borders -and the central line are ornamented with bands, worked "a meandro," -ending with lions' heads. On the flat surface _one hundred and -thirty-one_ animals, such as lions, sphinxes, and sirens, stand or -crouch. The skill with which the gold is worked in the most -microscopic details is quite wonderful. 2. A fibula of gold, 0.12 m. -long, not different from the Etrusco-Roman shape. 3. A few yards of a -golden fringe or _fimbria_, which trimmed the edge of the dress, and -in which the movable strings are attached to a band or heading, -ornamented with swallows and crows. 4. A stick of silver, which seems -to have ended with a hand, and might be considered as a sceptre. 5. -Many clasps of gold, on which are fixed couples of lions and sirens of -the same material. - -_Utensils: Familiar or Sacred Supellex._--1. The funeral-bed, with the -framework of oak-wood and the ornamentation of bronze. On the junction -of the four poles of the frame are groups of _telamones_, whose heads -are dressed with huge feathers, not unlike South American caciques; -chimeras carrying away human bodies; dogs persecuting lions, &c. 2. A -kind of strong-box, inlaid with exquisite bas-reliefs of ivory, coated -in gold, and representing heads of monsters, lions eating up bodies -dressed in Eastern fashion, Egyptian boats, females in priestly -attire, battle-scenes between horsemen and infantry, &c. 3. Three -cylinders, 0.19 m. long, 0.027 m. in diameter, inside of which are -concealed sticks of palm-wood. 4. Two tripods, with their basins or -_lebetes_, round the lips of which are human figures and monsters -looking inside. 5. Tazza of gold and silver, 0.18 m. in diameter, with -reliefs representing an Eastern king hunting cynocephali, or some -other kind of monkey. 6. Tazza of pure gold, 0.12 m. high, in the shape -of a Greek "skyphos," with handles ending with winged male figures. 7. -Several other cups of blue Phoenician glass, of gold and silver, and -pure silver, one of which is exceedingly interesting, as it bears the -signature of the artist. The paleography of the letters resembles -that of the stones of _Mesa_ and _Esmunazar_; and the text, taken as a -whole, recalls to mind the signatures of the cuneiform contracts -discovered in Assyria, which belong to the seventh century before -Christ. And such is certainly the date of the signature found at -Palestrina, which has been interpreted by Professor Fabiani, "Esmunie -'ar ben 'asta." The same philologist thinks that the artist must be -contemporary with, if not anterior to, Euchyros and Eugrammos; and if -so, Esmunie 'ar would be the earliest goldsmith whose name is -historically known, with the exception of Bezaleel (Ex. xxxi.), B.C. -1491. - - -THE PRE-HISTORIC MUSEUM - -contains many objects of interest. In it are arranged different -articles from various parts of the world, demonstrating how the same -implements, weapons, and customs were once universally used. The -collection of flints is one of the finest in the world, and to those -interested in this branch of archaeology is of special value. Each case -is labelled with the names of the object and the country. - -_Thence passing into the Piazza del Gesu_, we can visit the - - -CHURCH OF THE JESUITS (Il Gesu), - -one of the finest in Rome. Its interior is rich in stuccoes, -paintings, and sculptures. The frescoes of the tribune, the dome, and -the roof are by Baciccio. The Chapel of S. Ignatius is very fine; the -columns and ball over the altar are composed of lapis-lazuli. Beneath -the altar, in an urn of gilt bronze, is the body of the saint. The -small circular chapel close by is rich in paintings and stained-glass -windows. - -It is well worth a visit there to hear mass, vespers, or one of the -fathers preaching. - -The wind generally blows in the piazza, which is thus accounted for. -One day the wind and the devil were out for a ramble; and, on arriving -at this square, the old gentleman asked the wind to stop a moment -while he went into the church. The wind is still stopping for the -devil, who has not yet come out. - -_The_ VIA CESARINI, down the new Corso Vittorio Emanuele, leads to the -Piazza of S. Nicola a Cesarini. In the court of No. 56 is - - -THE TEMPLE OF CASTOR. - -The remains show that it was a circular building. It stood near the -Flaminian Circus. (Vitruvius, iv. 7.) Four fluted tufa columns exist. - -_From Piazza del Gesu we proceed up_ VIA ARA COELI. _Before us is_ - - -THE CAPITOLINE HILL. - -It was originally called the Hill of Saturn (Dionysius, ii. 1), being -occupied by Romulus as a defence for the Palatine Hill (Plutarch, in -"Rom."), and was betrayed to the Sabines by Tarpeia, the daughter of -the commandant of the fortress (Livy, i. 11). When the Palatine and -Capitoline Hills were united into one city, and the two kings reigned -together, the name of the hill was changed and called the Tarpeian -Hill. In the 138th year after the foundation of Rome, when Tarquin the -Great was making the foundations for the great Temple of Jupiter, they -found a human head; and the oracle told them that the spot where the -head was found should become the head of the world; and so they -changed the name of the hill again, and called it the Capitoline -Hill,--from _caput_, a head (Livy, i. 55; Pliny, xxviii. 4). The whole -hill was the Arx or Citadel of Rome, just the same as at Athens, Veii, -Tusculum, &c. Several ancient authors agree in this. The shape of the -hill is a saddle-back,--the centre being depressed, with an eminence -at each end. The one on our left is known as the Ara Coeli height, -and the one on our right as the Caffarella height. On the Ara Coeli -height stood the great Temple of Jupiter, facing south, and approached -from the Area Capitolina (Piazza del Campidoglio) by a flight of -steps. On the opposite or Caffarella height stood the Temple of Juno -Moneta or the Mint, and the Temple of Concord, both built by Camillus; -and the Temple of Jupiter Feretrius, founded by Romulus. Many other -temples, altars, and shrines occupied the space inside the citadel, -which was approached by three ascents upon its eastern side,--the -Clivus Capitolinus, the Pass of the Two Groves, and the Hundred Steps. -The ascents upon its western side date from 1348, when the marble -stairs on our left, leading up to the Ara Coeli, were erected out of -the stairs that led up to the Temple of Quirinus (Romulus) upon the -Quirinal Hill. The ascent to the Square was made in 1536 for the entry -of Charles V. The roadway on its right is quite recent. In forming it -some remains of the tufa walls that protected the arx on this side -were found, and can still be seen inside the iron gate. - -On the balustrade at the bottom of the ascent to the Capitol are two -Egyptian lionesses. At the top of the ascent are two colossal statues -of Castor and Pollux, found in the Ghetto, and by their side are the -miscalled Trophies of Marius. They belonged to the decorations of the -Nymphaeum of Alexander Severus, the picturesque ruins of which are on -the Esquiline Hill, and which are represented on a coin. They were -placed upon the balustrade of the Capitol, their present site, by Pope -Sixtus V. Originally they formed part of the ornamentation of the -Basilica Ulpia, and were erected in honour of Trajan by the -Apollinarian and Valerian legions. Next to the trophies are two -statues of Caesar and Augustus Constantine; and in the same row, on the -left, the stone that marked the seventh and, on the right, the stone -that marked the first mile on the Via Appia. - -_In the centre of the Square is_ - - -THE EQUESTRIAN STATUE OF MARCUS AURELIUS, - -the finest piece of bronze work of ancient times. It now stands upon -the Square of the Capitol, where it was erected by Michael Angelo in -1538. Before that, it stood at the Lateran, where it had been placed -in 1187, having been taken from near the Column of Phocas in the -Forum. It belongs to the canons of the Lateran, who receive yearly, in -the shape of a bouquet of flowers, a peppercorn rent for it from the -mayor of Rome. It is said that Michael Angelo on passing by used to -say, "Gee up, _cammina_;" and that the horse had only to plant the -raised hoof upon the ground to complete the illusion that it was a -living creature. - -In front of us is the mayor's residence; on the left the Museum of the -Capitol; and on the right the halls of the town council. These -buildings were erected by Michael Angelo in 1544-1550. The residence -for the senator was first erected on the top of the ruins of the -Tabularium in 1389-1394 by Pope Boniface IX., but this gave place to -the present edifice. - -The ascent from the Arch of Severus to the Square of the Capitol was -anciently the Pass of the Two Groves. At the top of the pass was the -Gate of Janus, the gate of the citadel, betrayed by Tarpeia. The -ascent from the Forum, on our right, was the Clivus Capitolinus, a -continuation of the Via Sacra. It is only at its termination that the -present road is on the site of the ancient slope, where some of the -pavement may still be seen. The gate which here gave access to the arx -was called the Gate of Saturn. - -_On the right_ of the old museum some steps lead up to - - -THE CHURCH OF ARA COELI. - -The nave is formed by twenty-two columns, the spoils of ancient -buildings. The third one on the left has engraved upon it-- - - A CVBICVLO AVGVSTORVM, - -showing that it came from the Palatine Hill. At the end of the nave -are two Gothic ambones with mosaic work. The altar urn of red porphyry -formerly, it is said, contained the body of Constantine's mother. This -church is rendered famous as being the place where, on the 15th of -October 1764, Gibbon "sat musing amidst the ruins of the Capitol, and -conceived the idea of writing the 'Decline and Fall of the Roman -Empire.'" - - [Illustration: VIEW OF THE CAPITOL.] - -The church is the residence of the celebrated Santissimo Bambino, -carved out of a tree from the Mount of Olives, and painted by S. Luke. -This image is highly decorated with jewellery, and has a two-horse -carriage at its disposal, with coachmen and footmen, when it pays a -visit to the sick. "As thy faith, so be it unto thee." Apply at the -sacristy to see it. The floor of the church is of the kind called -_opus-Alexandrinum_, tesselated mosaic, and slab tombs of medieval -period. A grand ceremony is held here on Christmas day, and at the -Epiphany children recite the story of Christ. - -In the left transept an isolated octagonal chapel, dedicated to S. -Helena, is said by the church authorities to stand on the site of an -altar erected by Augustus--_Ara primogeniti Dei_--to commemorate the -Cumaean sibyl's prophecy of the coming of the Saviour. Its present name -is traceable to this altar. Some traces of Gothic can be seen in the -walls and windows of this church, which stands on the site of - - -THE TEMPLE OF JUPITER CAPITOLINUS. - -"It stood upon a high rock, and was 800 feet in circuit, each side -containing near 200; the length does not exceed the width by quite 15 -feet. For the temple that was built in the time of our fathers, upon -the same foundations with the first, which was consumed by fire, is -found to differ from the ancient temple in nothing but in magnificence -and the richness of the materials, having three rows of columns in the -south front, and two on each side. The body is divided into three -temples, parallel to one another, the partition walls forming their -common sides. The middle temple is dedicated to Jupiter; and on one -side stands that of Juno, and on the other that of Minerva. And all -three have but one pediment and one roof." (Dionysius, iv. 61. See -also Tacitus, "Hist." iii. 72; Livy, i. 55; Plutarch, in "Publicola;" -Tacitus, "Hist." iv. 53.) - -Four different temples have been erected on this site, and now it is -occupied by a Christian church. The first, built by Tarquinius -Superbus, and consecrated by Horatius the consul, was burned in the -civil war. The second, erected by Sylla, and consecrated by Catulus, -was destroyed under Vitellius. The third, erected by Vespasian, was -burned before it was consecrated. The fourth was built by Domitian. - -Access is now to be had to some curious vaults below the convent, -which were formerly closed by the monks. Supporting these vaults are -some remains of massive tufa walls--one piece in particular being -about 36 feet long and 8 feet high--consisting of single blocks of -stone, of which the other fragments seem to be continuations. These -appear to have been built originally as substructions, and run -parallel with the Via Marforio, and could not have been part of the -city wall, for that is within the city of the two hills. Nibby records -that tufa walls remain under the stairs leading up to the Ara Coeli -Church. We think them to be part of the foundations of the celebrated -Temple of Jupiter Capitolinus. - -We may mention that among the rubbish contained in the vaults of the -convent are two slender columns of Pentelic marble. May not these have -belonged to the temple? - - [Illustration: TEMPLE OF JUPITER CAPITOLINUS.] - -The strongest evidence of the position of the Temple of Jupiter -"supremely good and great" is pictorial. We have it represented on the -relief in the Palazzo dei Conservatori which formed part of the Arch -of Marcus Aurelius. That emperor is there, after a victory, offering -sacrifice upon the Capitoline Hill; and in the background is a -representation of the Temple of Jupiter Capitolinus: it has three -doors, and the figures of Minerva, Jupiter, and Juno. This is to the -spectator's left, and faces south, as we are told the temple faced. -This relief is further corroborated by another in the Louvre, in the -background of which is likewise a representation of a temple of the -Corinthian order, facing the same way and to the left of the -spectator, and having over the door the words IOVI CAPITOLINUS. Upon a -relief in the Capitol Museum, another building appears upon a lower -level, ornamented with pilasters, having Doric capitals. This building -corresponds with the front of the Tabularium towards the Capitol. - -To the right of the Palazzo dei Conservatori (New Museum) a road, -through a gate, leads to the German Embassy. In the garden Bunsen -found the remains of the Temple of Jupiter Feretrius, which have -lately been covered in; but a fine piece of the wall of the Temple of -Juno may yet be seen. _By applying at the Embassy, permission will be -given to enter the garden._ - - -TEMPLE OF JUPITER FERETRIUS (The Trophy-Bearer). - -The first temple built in Rome by Romulus, to receive the spoils -captured from Acron, King of Caenina. - -"After the procession and sacrifice, Romulus built a small temple, on -the top of the Capitoline Hill, to Jupiter, whom the Romans call -Feretrius. For the ancient traces of it still remain, of which the -longest sides are less than fifteen feet" (Dionysius, ii. 34. See -Livy, i. 10). - -It was enlarged A.U.C. 121 (Livy, i. 33); and was repaired by Augustus -on the advice of Atticus (Nepos. See Livy, iv. 20). - -_Opposite the gate leading into the garden_ we can look over the -parapet, down the scarped rock, to the base beneath, which is reached -from below by _taking the Via Tor dei Specchi on the right, looking -towards the Capitol, and the Vicolo Rupe Tarpeia on the left_. It was -here that the terrible scene described in Hawthorne's "Transformation" -took place. - -The road leads to the New German Archaeological Institute. It was about -here that the messenger from Veii got into the citadel, and where the -Gauls tried to do the same, when the sacred geese in Juno's temple -awoke the garrison. The two bronze "geese" shown in the Hall of the -Conservators are ducks. - -_Passing on under the archway, turn to the left; at a little distance -the Via Monte Tarpeia turns off to the right--follow this; at the end, -the house facing us is built up_ against the point of the hill used -for the public executions. - - -THE TARPEIAN ROCK. - - [Illustration: TARPEIAN ROCK.] - -After the name of the hill was changed for the last time, one part, we -are told, retained the name of the Tarpeian Rock, from being the -burial-place of Tarpeia, and the spot from which the traitors were -hurled off in sight of the people assembled in the Forum. The house in -front of us is built upon a ledge of the rock below, and has upon it -the following inscription:-- - - "Hinc ad Tarpeiam sedem, et Capitolia ducit, - Aurea nunc, olim, silvestribus horrida dumis." - VIRGIL, _AEn._ viii. 347. - - GREGORIUS XIII. PONT. MAX. VIAM TARPEIAM APERINT - HIER. ALTERIUS AEDILIS SECUNDO } CURABANT - PAULUS BUBALUS AEDILIS SEXTO } - ANNO DOMINI MDLXXXI. - -"The quaestors led the man [Spurius Cassius] to the top of the -precipice that commands the Forum, and in the presence of all the -citizens threw him down from the rock. For this was the established -punishment at that time among the Romans for those who were condemned -to die"--A.U.C. 269--(Dionysius, viii. 78). - -_If we look back up_ the street we came down, the height will be seen -in the garden above us. It must be remembered that the top of the hill -has been levelled, and the valley below filled in thirty feet; -allowing for this there would have been a fall of upwards of 160 feet. -The steps on our left formed the third ancient approach to the arx, -the _Centum Gradus_, up which the Vitellians climbed when they took -the citadel. On the site of the garden above stood - - -CAMILLUS'S TEMPLES TO CONCORD AND JUNO. - -The first Temple of Concord of which we have any notice was that -dedicated by Camillus, A.U.C. 388. - -"When the dictator was one day sitting on the tribunal in the Forum, -the people called out to drag him from his seat; but he led off the -patricians to the senate house. Previous to his entering it he turned -towards the Capitol [this shows that the senate house was not on the -Capitol, as some would have us believe; for if so, he would not have -turned towards the Capitol before entering the senate house--he would -have already faced it], and besought the gods to put a happy end to -the present disturbances, vowing to build a temple to Concord when the -tumult should be appeased.... Next day they assembled and voted that -the temple which Camillus had vowed to Concord should, on account of -this great event, be built upon a spot viewing from a height the Forum -and place of assembly" (Plutarch, in "Camillus"). Ovid, speaking of -the same temple ("Fasti," i. 640), says: "Fair Concord, the succeeding -day places thee in a snow-white shrine, near where elevated Moneta -raises her steps on high: now with ease wilt thou look down upon the -Latin crowd. Now have the august hands of Caesar restored -thee,"--referring to its rebuilding by Tiberius, A.D. 11. From both -these authors we learn that it had a commanding prospect, and Ovid -adds that it was near the Temple of Moneta, which was likewise founded -by Camillus, A.U.C. 411, as we learn from Livy (vii. 28, and vi. 20. -See Plutarch). "The site chosen was that spot in the Citadel where the -house of Manlius had stood." The site of the Temple of Concord was on -the Tarpeian Rock, at the top of the Centum Gradus, and Camillus's -Temple of Moneta was near it. - -Livy (xxvi. 23) says: "In A.U.C. 542, at the Temple of Concord, a -statue of Victory, which stood on the summit of the roof, being struck -by lightning, and shaken at its base, fell and stuck among the ensigns -of the goddess which were on the pediment." This temple, with a statue -of Victory upon the summit, is represented on a coin of Tiberius, who -restored it. - -_Under the_ wall, on our left, which supports the garden, some blocks -of tufa, _in situ_, are the remains of the Temple of Concord, and the -wall in the garden of the German Embassy is part of the Temple of -Juno. - -_Passing down the street on our right, a left half-turn will bring us -to the old entrance of_ - - -THE TABULARIUM. - -(_Public Record Office._) - -_Open every day from 10 till 3; fee, half lira._ - -We have now to speak of a building, the vast remains of which impress -us with the grandeur of the later republic. In the year of the city -675 (B.C. 78) a building was erected against the Capitoline Hill, -and facing the Forum, to contain the public records, which were -engraved on bronze plates. Before that time they had been kept in -various temples. - -"A decree was made by the senate that the records should be kept in -the Temple of Ceres with the public aediles"--A.U.C. 306--(Livy, iii. -55). - -"Treaties (such as between Pyrrhus and Rome) were then usual, and the -aediles had them in their keeping in the Temple of Jupiter Capitolinus, -engraved on plates of copper" (Polybius, iii.). - -That this was the usual way of keeping the records we learn from the -same author, who saw and copied those which "Hannibal left at -Lacinium--engraved tablets or records on copper of the events of his -stay in Italy." - -"The censors went up immediately to the Temple of Liberty, where they -sealed the books of the public records, shut up the office, and -dismissed the clerks, affirming that they should do no kind of public -business until the judgment of the people was passed on them"--A.U.C. -686--(Livy, xliii. 16). - -We have no mention in classic history as to when this building was -erected, but fortunately an inscription has been handed down to us, in -which Quintus Lutatius Catulus (who dedicated the temple to Jupiter -Capitolinus) is expressly named, not only as the founder of the -Tabularium, but also of the substructions, the most difficult portion -of the whole, and which claim our fullest admiration. - - Q . LVTATIVS . Q. F. Q. N. CATVLVS . COS . SVBSTRVCTIONEM . ET . - TABVLARIVM . EX . SEN . SENT . FACIENDVM . COERAVIT . EADEMQVE . - PROBAVIT . - -The remains form the substructions of the present Capitol, or -senator's residence, consisting of a massive wall of Gabii stone 240 -feet long and 37 feet high, supporting the portico on the side of the -Forum, which consisted of a series of arches, 23 feet by 15 feet, -ornamented with sixteen Doric columns. Below this portico or arcade -are a series of small chambers, with windows looking into the Forum, -opening out of one another, approached by a short flight of steps, and -probably used to store the records. At the back of the arcade are a -series of large vaulted rooms or offices. At one end a grand flight of -steps (repaired) leads up into what has been a grand arcade on the -side of the Area Capitolina: its piers now partly sustain the modern -building. At the farther end of this arcade is a flight of steep -travertine steps, sixty-seven in number, leading down into the Forum, -the exit to which has been blocked up by the Temple of Vespasian being -built against the entrance. - -This building must have presented a grand front to the Forum in the -olden time, though now it only sustains the buildings of Michael -Angelo. In 1389-1394, Pope Boniface IX. first erected on the -Capitoline Hill, on the ruins of the Tabularium, a residence for the -senator and his assessors. The prospect was altered so that what was -the front became the back, and it faced on to what was anciently the -Area Capitolina, now the Piazza del Campidoglio, instead of the Forum. - -The north side wall seems to have been cut down when the present -edifice was erected, as outside the present wall are the remains of -the ancient one; thus it was somewhat longer than we now see it. In -the sort of vestibule which gives admittance to the chambers under the -portico are remains of stairs, evidently leading up to some chambers -above the portico. These were probably not very lofty, so that the -view of the temples on the hill was not shut out from the Forum, or -perhaps they only led up to the flat roof above the arcade. - -These old remains have been used as a prison and as a salt store, -which latter has eaten the stone away in a curious manner. It is now -used as a museum of fragments. The arches of the portico were filled -in when the great master utilized it. Although we know an arch is as -strong as a wall, it is feared to open them, and one only has been so -treated. - -Suetonius tells us: "Vespasian undertook to restore the three thousand -tablets of brass which had been destroyed in the fire which consumed -the Capitol; searching in all quarters for copies of those curious and -ancient records, in which were contained the decrees of the senate -almost from the building of the city, as well as the acts of the -people relative to alliances, treaties, and privileges granted to any -person" (Vespasian, viii.). - -Pliny (xxxiv. 21) says: "It is upon tablets of brass that our public -enactments are engraved." - -_From the Tabularium a new iron stair leads up to_ - - -THE TOWER OF THE CAPITOL, - -whence a fine view of Rome and its environs can be enjoyed, standing, -as it were, between ancient and medieval Rome. It is the best position -for study in the world. - -From this height the huge mass of the Colosseum appears elegant and -light. The famous Seven Hills may be made out, notwithstanding the -alteration in the soil: on the left is the QUIRINAL, beyond that the -VIMINAL, and beyond that the ESQUILINE; to the extreme right is the -AVENTINE; before us is the PALATINE, with the COELIAN beyond it; -whilst we occupy the CAPITOLINE. The contemplation of the city, -however, produces the effect of a vast and solid reading of history. -Each of the great representations of the city, always and differently -mistress of the world, seems to have chosen its respective -quarter--the Rome of the kings and emperors is spread out on the -Palatine, Esquiline, and Quirinal; republican Rome occupies the -Capitol and Aventine; whilst Christian Rome, isolated and solitary, -reigns on the Coelian and Vatican eminences. - - -THE SEVEN HILLS OF ROME. - -The PALATINE, which has ever had the preference, whether so-called -from the people Palantes, or Palatini, or from the bleating and -strolling of cattle, in Latin, _balare_ and _palare_, or from Pales, -the pastoral goddess, or from the burying-place of Pallas, is disputed -amongst authors. It was on this hill that Romulus, according to -popular tradition, laid the foundations of the city, in a quadrangular -form. Here Romulus and Tullus Hostilius kept their courts, as did -afterwards Augustus, and all the succeeding emperors, on which account -the word Palatium came to signify a royal seat (Rosin, "Antiq." i. 4). - -The AVENTINE derives its name from Aventinus, an Alban king (Varro, -"De Ling. Lat." iv.), or from the river Avens (_ibid._), or from -Avibus, from the birds which used to fly thither in great flocks from -the Tiber (_ibid._). It was also called Murcius, from Murcia, the -goddess of sleep, who had a temple here (Sextus Pompeius, Festus). -Also Collis Dianae, from the Temple of Diana (Martial). Likewise -Remonius, from Remus, who wished the city to be commenced here, and -who was buried here (Plutarch, in "Romulus"). This hill was added by -Ancus Martius ("Eutropius," i.). - -The CAPITOLINE, formerly Saturn, then Tarpeian, took its name from -Tarpeia, a Roman virgin, who betrayed the city to the Sabines at this -point (Plutarch, in "Romulus"). It was also called Mons Saturni and -Saturnius, in honour of Saturn, who is reported to have lived here, -and was the titular deity of this part of the city. It was afterwards -called Capitoline, from the head of a man found here when digging the -foundations of the famous Temple of Jupiter. It was added to the city -when the Sabines were permitted by Romulus to incorporate themselves -with the Romans (Dionysius). - -The QUIRINAL was either so called from the Temple of Quirinus, another -name of Romulus, or from the Curetes, a people that removed hither -with Tatius from Cures, a Sabine city (Sextus Pompeius, Festus). It -afterwards changed its name to Caballus, from two marble horses, each -having a man holding it, which are still standing, and were the works -of Phidias and Praxiteles ("Fabricii Roma," iii.), made to represent -Alexander the Great and Bucephalus, and presented to Nero by -Tiridates, king of Armenia. Numa added this hill to the city -(Dionysius, ii.). - -The ESQUILINE was anciently called Cispius and Oppius ("Fabricii -Roma," 3). The name Esquilinus was varied for the easier pronunciation -from Exquilinus, a corruption of Excubinus, ab Excubiis, from the -watch that Romulus kept there ("Propert." ii. 8). It was taken in by -Servius Tullius, who had his palace here (Livy, i. 44). - -The VIMINAL derives its name from Vimina, signifying osiers, which -grew here in large quantities. This hill was added by Servius Tullius -(Dionysius, iv.). - -The COELIAN owes its name to Coelius or Coeles, a famous Tuscan -general, who encamped here when he came to assist the Romans against -the Sabines (Varro, "De Ling. Lat." iv.). The other names by which it -was sometimes known were Querculanus or Querquetulanus, and Augustus: -the first, on account of its growth of oaks; and the second, because -the Emperor Tiberius built on it after a fire (Tacit. "Ann." iv.; -Suet. in "Tib." xlviii.). One part was called Coeliolus, and Minor -Coeliolus ("Fabricii Roma," 3). Livy (i. 30) and Dionysius (iii.) -attribute the taking of it into the city to Tullus Hostilius, but -Strabo ("Georg." v.) to Ancus Martius. - -Whilst on the subject of the hills of Rome, three others are equally -famous. - -The JANICULUM, or Janicularis, so called either from an old town of -the same name, said to have been built by Janus, or because Janus -dwelt and was buried here (Ovid, "F." i. 246), or because it was a -_janua_, a sort of gate to the Romans, whence they issued out upon the -Tuscans (Festus). Its yellow sand gave it the name of Mons Aureus, -corrupted into Montorius ("Fabricii Roma," i. 3). From an epigram of -Martial, we may observe that it is the fittest place to take one's -standing for a full prospect of the city (Martial, "Epig." iv. 64). It -is famous for the sepulchres of Numa and Statius the poet ("Fabricii -Roma," i. 3), and in more recent times as the grave of Tasso, and the -spot where tradition holds that S. Peter was executed. - -The VATICAN owes its name to the _vates_, or prophets, who used to -give their answers here, or from the god Vaticanus or Vagitanus -(Festus). Formerly celebrated for the Gardens and Circus of Nero, the -scene of the Christian martyrdoms, and in our time for S. Peter's and -the Vatican. It was enclosed in the time of Aurelian, but was -considered as very unhealthy (Tacitus, "H." ii. 93). - -The PINCIO (Collis Hortulorum, or Hortorum) took its name from the -gardens of Sallust adjoining it (Rosin, i. 2). It was afterwards -called Pincius, from the Pincii, a noble family who had their seat -here (_ibid._). Aurelian first enclosed it (_ibid._). - -The Capitol tower is crowned by a statue of Roma; and the great bell -formerly announced, by a strange contrast, the death of the Pope and -the opening of the Carnival. - -_Passing up into the square, in facing the Capitol, on the right, is -the_ - - -PALAZZO DEI CONSERVATORI. - -(_New Capitoline Museum._) - -_Open every day. Fee, half lira. The principal objects in the_ -COURTYARD _are, right_:-- - -1. Statue of Julius Caesar; the only authentic portrait of him. - -2, 4, 9. Colossal fragments, found near the Basilica of Constantine. -Supposed to have belonged to the statue of Apollo brought from Pontus -by Lucullus. Square base, which contained the bones of Agrippina the -elder. - -11. Lion attacking a horse. Found in the river Almo, outside Porta S. -Paolo. - -12, 14. Captive Kings. - -13. Large seated statue of Roma. - -15. Colossal bronze head of a colossal statue of Apollo, found near -the Colosseum. Reliefs of figures representing provinces; and reliefs -of military trophies, recently found in the Piazza di Pietra. - -28. Statue of the Emperor Augustus. - -30. Modern rostral column, with ancient inscription. (See page 26.) - - -STAIRCASE AND LANDING. - -36. Base Capitolina, an altar dedicated to Hadrian, whose bust it now -supports, by the inspectors of the streets. On the sides are engraved -the names of the magistrates who presided over the streets, which are -named, of five of the fourteen regions into which Rome was divided. It -has afforded much useful information to archaeologists. - -41. Alto-relief which formed part of the Arch of Antoninus Pius, found -in the Piazza Sciarra, which spanned the Corso, and was destroyed in -1527. - -42, 43, 44. Alto-reliefs, part of the Arch of Marcus Aurelius, which -stood at the Via della Vita, in the Corso, and was pulled down in -1665. - -45. Curious bas-relief, representing Mettus Curtius, on horseback, -floundering in the marsh where is now the Forum. Found near the Church -of S. Maria Liberatrice. - -49, 50. Alto-reliefs from an arch which stood in the Corso in honour -of Antoninus Pius. - -_At the top of the stairs on this floor are several rooms._ On passing -the turnstile keep straight on. The authorities number these rooms in -the reverse way to ours. - - [Illustration: PLAN OF THE PALAZZO DEI CONSERVATORI. - NEW CAPITOLINE MUSEUM.] - -FIRST ROOM contains a collection of majolica from the Cini family. - -SECOND ROOM.--The vault is by Caracci. On the right of the door are S. -Luke; S. Alexio, by Romanelli; the Virgin, by Andrea Allovisi, called -L'Ingegno, pupil of Perugino; S. Cecilia, by Romanelli; S. Mark. On -the left are S. John, S. Albertorn, and S. Eustachio, by Romanelli; S. -Matthew. - -THIRD ROOM, _turn left_.--Frescoes of the Punic wars by Bonfigli. - -FOURTH ROOM.--Frescoes from the wars of Scipio, and tapestries from -the hospital of S. Michael. _Right_, the Boys of Falerii scourging -their Schoolmaster, B.C. 392 (Livy, v. 27); the Vestal Tuccia, B.C. -144 (Dionysius, ii. 69); Romulus and Remus; busts of Italian patriots. - -FIFTH ROOM.--Garibaldi Museum. Frescoes of the school of Zuccari, -representing games in the Circus Maximus, etc. There is a bust in -_rosso-antico_ called Appius Claudius, a bronze bust of Michael -Angelo, and other busts. Two ducks in bronze are pointed out as the -geese which saved the Capitol. Between them is a curious bronze vase, -evidently a female portrait. Copy of Raphael's Holy Family. - -SIXTH ROOM.--On the wall of this room are preserved the Fasti -Consulares, dating from B.C. 481 to the end of the Republic. These -fragments were found in the Forum, and faced the podium of the -Temple-Tomb of Caesar. The frescoes are by Benedetto Bonfigli. - -SEVENTH ROOM.--Frescoes: Triumph of Marius, and Defeat of the Cimbri, -by Daniele da Volterra. Near the door is a relief, representing the -Temple at Jerusalem; and in front of it a team of oxen drawing on a -car the molten sea (1 Kings vii. 23; 2 Chron. iv. 2). - -EIGHTH ROOM.--Scenes of the Roman Republic, by Lauretti. - -NINTH ROOM.--Frescoes from the history of the kings, by Arpino. - -_Passing through the rooms of the Fasti, from 1540 A.D., we enter the_ -HALL OF BUSTS, comprising statesmen, poets, painters, authors, -sculptors, all noted in Italian history. At the end is a monument to -Canova. - -_A door on the right opens into the_ - - -FIRST HALL OF BRONZES. - -(_For numbers, see plan._) - -1, 2. Cases of small bronze articles found at various times. 3. A -bronze biga, or two-horse chariot, with reliefs depicting scenes from -the circus; restored upon a wooden frame, and given by Signor A. -Castellani. 4. A bisellium, or chair of state. 8. Lectica, or sedan -chair. "These infirmities caused him [Claudius] to be carried in a -close chair, which no Roman had ever used before; and from thence have -the emperors and the rest of us consular men taken the custom of -using chairs of that sort, for neither Augustus nor Tiberius used -anything but small litters, which are still in fashion for the women" -(Dion Cassius). 9, 10. Shelves containing household utensils, &c. 11. -Fragments of columns of Bigio marble. - - -ROOM OF COINS. - -The beautiful alabaster pavement of this room was found, as now fixed, -upon the Esquiline Hill, on Christmas eve, 1874. It formed part of the -House of the Larmae, where the statues were found. The coins formed -part of the Campana Collection, and are of great value. The small case -of gems is worth looking into; it contains some fragments not unlike -the Portland vase, white reliefs on a blue ground. - -_We now enter the new_ - - -OCTAGONAL HALL. - -(_The order is liable to alteration, as objects are constantly being -added._) - -This museum is formed of the remains found in the excavations of the -municipality since Rome was made the capital of united Italy. The new -circular hall, designed by Signor Vespignani, presents a light and -elegant effect. Amongst the most important subjects placed in the new -hall, we may mention No. 2, the monument of Quintus Sulpicius Maximus, -found in 1870 in the Old Porta Salaria. The inscription states that he -died at the early age of thirteen years, five months, and twelve days. -He carried off the honours for composing Greek verse against fifty-two -competitors. The poem is engraved on the pilasters. The subject -is--The arguments used by Jove in reproving Phoebus for intrusting -his chariot to Phaeton. Africa's deserts and the negroes' black skins -are ascribed to the careless driving of Phaeton on that occasion. No. -5. Venus. 23. Mercury. 11. A bust of Faustina the elder. 13. A youth -anointing himself. 14 and 16. Tritons. 15. A half statue of the -Emperor Commodus as Hercules, beautifully executed in fine marble, -with the lion's skin over his head and knotted upon his chest: in his -right hand is the club. A bracket of marble, ornamented at its end -with a celestial globe, rested on the pedestal, which formed a shield, -a band running round the centre with the signs of the zodiac. This -bracket is supported by two kneeling figures, holding cornucopias -containing fruit. One is in good preservation; the fragments of the -other were also found. 17. Plotina, wife of Trajan. 18. Apollo. 19. -Bacchus, with a satyr on a leopard at his side. 21. Sarcophagus of the -Calydonian boar hunt. Polyhymnia. 24. Terpsichore. 26. A beautiful -nude statue of a young girl or nymph leaving the bath, of Parian -marble, standing with sandalled feet by a pedestal, which supports -her robe, the left hand fastening up the hair. 28, 29. Two magistrates -about to start the racers by dropping a handkerchief. They represent -L. A. A. Symmachus, prefect of Rome, A.D. 365, and his son; and are -unique. The father was found in one hundred and eighty pieces, and the -son in ninety pieces, which have been carefully put together. 31. -Colossal statue. 33. Fortune. Apollo with the Lyre. Relief, forging -the Shield of Minerva. 38, 42. Athletes starting for the Race. 40_a_. -A Cow. 44. Manlia Scantilla. Marsyas bound to the tree; the finest -statue in the collection, found in 1879. 48. Didia Clara. 49_a_. A -Roman General; a striking statue. 8. The Earth; a sitting statuette in -a niche found in the Roman Cemetery. 9. A Baccante. - -_In the inner circle._--A magnificent marble vase, found upon the -Esquiline, called by the Greeks a Rhyton: it is the work of Pontios, -an Athenian sculptor. A vase with figures in relief. The infant -Hercules found at the Cemetery of S. Lorenzo. Another vase. The Muse -of Astronomy. _Exit._ 74, 75. Hercules taming the Horses: part of a -group found in many fragments, and very skilfully put together. Seated -statue of a girl. 133. Minerva. 130. A statue of Silenus, which was -formerly a fountain. A youth carrying a pig for sacrifice. Cupid -playing with a tortoise. 123. Boy with a puppy. 81. Statuette of -Venus. 81_a_. A Sleeping Cupid. 124. A large stone shield sculptured -with the acanthus leaf. 90. Mithras slaying the Bull. 117, 105, 106. -Reliefs relating to the worship of the Persian sun-god Mithras, -recently found on the Esquiline Hill. - -_Crossing the Hall of Busts, by Canova's Monument, we enter the_ - - -TERRA-COTTA ROOM, - -composed of remains found chiefly in the excavations in building the -new quarter of Rome upon the Esquiline Hill. _The principal objects -are_:--A coffin containing skulls; a large jar containing a leaden -case, in which is enclosed a beautiful alabaster urn; a large and -varied collection of Roman lamps, glass, and terra-cotta; also glass -in various forms, and for windows, pieces of fresco, &c. _A door on -the left leads into the_ - - -SECOND HALL OF BRONZES. - -In the centre of the first room is the celebrated bronze wolf of the -Capitol (1), thus alluded to by Virgil ("AEn." viii. 630):-- - - "By the wolf were laid the martial twins, - Intrepid on her swelling dugs they hung: - The foster-dam lolled out her fawning tongue: - They sucked secure, while, bending back her head, - She licked their tender limbs, and formed them as they fed." - -Cicero (in "Catiline" iii. 8), mentions this object as a small gilt -figure of Romulus sucking the teat of a wolf, which was struck by -lightning, and which his hearers remembered to have seen in the -Capitol. - -Dionysius, quoting from an older historian, Quintus Fabius Pictor, -speaks of a temple in which a statue is placed representing the above -incident. It is a wolf suckling two children; they are in brass, and -of ancient workmanship. This latter must not be confounded with the -statue mentioned by Cicero, which is generally believed to be the one -before us. The fracture on the hind leg may have been caused by -lightning, and traces of gilt may still be observed. It is not known -where it was found, but in Cicero's time (B.C. 106-43) it was to be -"seen in the Capitol." The workmanship of the wolf is of an early -period, Etruscan; the twins are Roman. - -10. A bull, found in Trastevere in 1849. 4. "Thou seest the faces of -Hecate turned in three directions, that she may watch the cross-roads -cut into three pathways." She was the patroness of magic, and was also -set up before houses to ward off evil. This goddess is often -confounded with Diana. 8. The shepherd Martius, a bronze statue of a -boy extracting a thorn from his foot. 14. Horse found in Trastevere. -13. Foot found near the Colosseum. - -The case on the left contains, amongst other objects, a bronze -inscription, with heads in alto-relief, of Septimius Severus, -Caracalla, and Julia Pia. 9. Gilt bronze statue of Hercules, found -amongst the remains of a temple of Hercules, behind the Church of S. -Maria in Cosmedin. 2, 3. Bronze globes, one of which was held in the -hand of Trajan's statue on his column. 15. Diana of the Ephesians in -bronze and marble. 6. A Camillus, one of the twelve youths who -assisted at the sacrifices. 7. Bust of Lucius Junius Brutus, who -expelled the Tarquins. 5. A fluted vase, found in the sea at Porto -d'Anzio; a gift of Mithridates, King of Pontus, to a gymnasium of the -Eupatorists. - -_From the Hall of Bronzes we enter the_ - - -ITALO-GRECO AND ETRUSCAN MUSEUM. - -Formed by Signor A. Castellani, and presented by him to the senate and -people of Rome. The objects were mostly found at Cervetri, Tarquinii, -and Veii. - -_Passing out into the Hall of Busts, a door on the right leads to the_ - - -PINACOTHECA, OR PICTURE GALLERY. - -_Open every day from 10 till 3._ - -Founded by Benedict XIV., and composed of several rooms. The -following are the most celebrated pictures, but each picture has the -names of the artist and the subject printed under the frame:-- - -FIRST ROOM.--_Right_: Romulus and Remus, by Rubens; Holy Family, by -Giorgione; S. Cecilia, by Romanelli; Baptism, by Guercino; Magdalen, -by Guido; Cumaean Sibyl, by Domenichino; Persian Sibyl, by Guercino; -Madonna, by Botticelli; Assumption, by Cola dell'Amatrice; The -Redeemed Spirit, by Guido; Madonna, by Francia. - -The frescoes on the walls are from the deserted palace Magliana, the -hunting-seat of Leo X., which has long been utilized as a farm by a -community of nuns, and only inhabited by labourers. The frescoes are -all more or less injured, and the feet of each figure, together with -the lower part of the pictures, are quite obliterated. They represent -the Muses, with Apollo as Musagetes, each figure distinguished by a -motto in verse descriptive of the individual character, from the -epigrams of Ausonius, and consist of the figures of Polyhymnia; -Urania, with a distant view of Florence in the background (perhaps -allusive to the pre-eminence of that city in astronomical science); -Thalia, with the motto, "Comica lasciva gaudet sermone Thalia;" Clio, -who is playing on the double flute; and Apollo, as leader of the Nine, -who is seated, and playing on the violin: in the background of this -picture is introduced a small group of Perseus slaying Medusa, while -Pegasus springs from the blood of the decapitated gorgon. All these -frescoes are ascribed to Giovanni lo Spagna, and there is much in -their conception and sentiment which reminds us of the far superior -works by that pupil of Pietro Perugino. - -The CORRIDOR contains views of Rome by Vanvitelli. - -SECOND ROOM.--Annunciation, by Garofalo; Madonna, by P. Veronese. -Portraits by Vandyck, etc. - -THIRD ROOM.--Baptism, by Titian; Sebastian, by Bellini; S. Barbara, by -Domenichino; Innocence, by Romanelli. - -FOURTH ROOM.--_Left_: S. Lucia, by Spagna; Europa, by P. Veronese; -Burial and Assumption of Petronella, by Guercino; Sebastian, by -Caracci; Cleopatra and Augustus, by Guercino; Sebastian, by Guido; -Baptism, by Tintoretto. - -_Leaving the Palazzo dei Conservatori, and crossing the Piazza, we -enter_ - - -THE MUSEUM OF THE CAPITOL. - -_Open every day from 10 till 3. Entrance half a lira each person._ - - -THE COURTYARD. - -1. Marforio, a recumbent statue of the Ocean, celebrated as having -been made the medium of replying to Pasquino. It stood near the Arch -of Septimius Severus. 2, 4. Antique columns surmounted by a bust of -Juno (2) and an unknown bust (4). 3, 18. Satyrs. 7. Colossal bust of -Trajan. 8, 13. Sarcophagi found in the Catacombs of S. Sebastian. The -walls are adorned with inscriptions and fragments; also some fragments -from the Temple of Concord in the Forum. - - -LOWER CORRIDOR. - -1. Endymion and his dog, found outside Porta S. Giovanni. 3. Minerva. -5. Livia Augusta, standing on a pedestal, found near the pyramid of -Caius Cestius, and relating to him. 7. Head of Cybele. _Entrance to -Hall of Mosaics._ 8. Captive Dacian King, from the Arch of -Constantine. 10. Faustina, Sr., standing on a relief of the arms of -Alba Longa. 14. Polyphemus. 15. Hadrian in sacerdotal costume. 16. -Porphyry fragment. 17. Hercules killing the Hydra. 18. Porphyry -fragment. 19. Colossal statue of a Roman warrior found on the -Aventine, supposed to represent Mars; a very fine work. _Entrance to -Hall of Inscriptions._ - - -HALL OF MOSAICS. - -(_Left-hand end of Corridor._) - -FIRST ROOM.--In the centre is a vase of black basalt sculptured in -relief after the Egyptian style. Along the right wall are three panels -of peperino stone representing two dogs and a stag in an archaic -style. - -Several mosaics have been recently placed here, found in the recent -excavations:--A standing male figure spinning. Hercules conquered by -Love, represented in Cupids playing with a bound lion. A group of -figures and fragments from the house of Avidius Quietus, found in -making the new Via Nazionale, notably a galley with sails set and -colours flying approaching a port which is well represented with its -lighthouse. - -SECOND ROOM.--The walls are covered with inscriptions, and round the -room are sarcophagi, cippi, bases, and urns. Amongst others a -beautiful alabaster cinerary urn (5), which stands on a base inscribed -to Fabius Cilone, prefect of Rome under Septimius Severus, who had -performed the annual sacrifice to Hercules at the Ara Maxima, at the -entrance to the Circus Maximus. 7. Base to Faustina, found near the -Temple of Saturn. 9. Base erected by Nobilior, B.C. 189, to Hercules -Musarum. - -THIRD ROOM.--This is decorated in a similar manner to the second. 2. -Sarcophagus, with the hunt of the Calydonian boar; on the lid are -Cupids hunting. Diana sent a boar to ravage the country of Calydon, -for the King Oeneus neglecting her divinity. All the princes of the -time assembled to hunt the boar, which was killed by Meleager, the -king's son. This sarcophagus was found on the Via Appia. 4. -Sarcophagus representing deer and boar hunts, found on Via Appia. 9. -Circular base with inscription to the prefect Catius Sabinus, who had -performed the sacrifice to Hercules: interesting, with the one in the -other room, as showing that the rite instituted by Evander was kept up -till a late period. To the right of the door is the fragment recording -the cancelling of the debts of the people throughout Italy in 118 by -Hadrian. Near by is one to Aulus Septicius Alexander, a seller of -floral wreaths on the Sacred Way. At the end of the room an -inscription to S. Severus, 196. It was used by the city Conservatori -in 1676 (see rear) to record their privileges. Placed here in 1886. - - -HALL OF INSCRIPTIONS. - -(_Right-hand end of Corridor._) - -FIRST ROOM.--1. Square altar representing the labours of Hercules; -also busts of no importance. - -SECOND ROOM.--3, 4, 6, 11. Monumental cippi, with working tools in -bas-relief; likewise the same emblems on 10, fragment of a column. 6. -Inscription to Marcus AEbutius. 4. Lapis Capponianus. 3. Cossutius. 11. -T. Statilius Aper, and to his wife Orcivia Antides; found on the -Janiculum. He was a surveyor; the verse stating that he died at the -age of twenty-two years, eight months, and fifteen days. - -5. Sarcophagus found on the Via Appia, representing a fight between -Roman and Gallic cavalry, when, in 223 B.C., Marcus Marcellus killed -Virdomarus, the chief of the Insubrian Gauls, and so carried off the -third Spolia Opima (Livy, "Ep." xx.; Florus, ii. 4; Eutropius, iii. 6; -Plutarch, in "Marcellus"). The central figure is strikingly like the -figure of the wounded Gaul miscalled the dying gladiator. - -12. Inscription to Vettius Agorius Praetextatus, prefect 367, and his -wife, Paolina. 14. Bust of Crispina, wife of Commodus. 13. Inscription -from villa of Herodes Atticus, Via Appia, used afterwards as a -milestone under Maxentius. - -2. Monument to Bathyllus, an actor of the time of Augustus, afterwards -custodian of the Temple of the Deified Augustus. - -THIRD ROOM.--1. Sarcophagus found in a mound on the road to Frascati, -called Monte del Grano. Inside the sarcophagus was found the Portland -vase now in the British Museum, which contained the ashes. The -sarcophagus is surmounted by the figures of a man and woman in repose. -The reliefs illustrate the life of Achilles. 2. Relief of Priests of -Cybele. 6. Cosimati mosaic, with reliefs from life of Achilles. 12, -13. Portraits in relief of Nero and Poppaea. 15. Pluto and Cerberus, -found in the Baths of Titus, 1812. - - -STAIRCASE. - -On the walls are encased the fragments of the marble plan of Rome -found in 1534-50, 1867, behind the Church of SS. Cosmo and Damiano. -They had originally served for the panelling of the wall that formed -part of the Temple of Rome built by Hadrian. The plan was made in the -third century, in the time of the Emperor Septimius Severus (193-211). -It is called the "Pianta Capitolina," and is of great use to -archaeologists in studying the ground plan of the different buildings -marked upon it, though not as showing their relative positions. - -After many years of study we have succeeded in putting this puzzle -together, and have published the marble plan, systematically arranged -in ten sheets, price six shillings, with descriptive letterpress. - -_The doors at the top of the stairs lead us into the_ - - -HALL OF THE DYING GAUL. - - "He leans upon his hand; his manly brow - Consents to death, but conquers agony; - And his drooped head sinks gradually low; - And through his side the last drops, ebbing slow - From the red gash, fall heavily one by one." - -This perfect statue of "a wounded man dying, who perfectly expressed -how much life was remaining in him," has for many years been miscalled -"The Dying Gladiator;" but it has of late years been more correctly -described as a wounded Gaul. It was found, together with the Gallic -group in the Ludovisi Villa, amongst the ruins of the gardens of -Sallust, and with that formed part of a large group representing the -death of Aneroestus, the Gallic chief, who with other leaders killed -themselves after their defeat by the Romans in 226 B.C., near -Orbitello--Attilius, the Roman consul, having been previously killed -in the fight (Polybius, ii. 2). 7. Lycian Apollo, found near the Aquae -Albulae on the road to Tivoli. 6. Female carrying a vase, standing on -an altar dedicated to Hercules by C. Ulpius Fronto, A.D. 126; found in -the Forum Boarium. 5. Bust of Bacchus. 4. Amazon, the finest of its -class in existence. 3. Alexander, by Lysippus. 2. Juno. 16. Bust of -_Et tu, Brute_. 15. Isis. 14. Flora (?), found at Hadrian's Villa, -thought to be Sabina, the wife of Hadrian. 12. Antinoues, found at -Hadrian's Villa. 10. The Faun of Praxiteles, found at Civita Lavinia, -amongst the ruins of the Villa of Antoninus Pius. This is the Marble -Faun of Hawthorne. 9. Girl protecting a dove. 8. Zeno, the Stoic -philosopher. - - -HALL OF THE FAUN. - -1. The celebrated and beautiful faun in rosso-antico, found at -Hadrian's Villa, Tivoli. 5. Tydeus, the father of Diomedes--a hollow -mask. 3. The Endymion sarcophagus, found under the high altar of the -Church of S. Eustacio; the cover belongs to another sarcophagus. 8. -Boy with a scenic mask. 16. Boy with a goose, found near S. John's -Lateran. 18. Sarcophagus representing the battle between Amazons and -Athenians. On the wall above is the bronze table on which is engraved -a portion of the Lex Regia conferring the imperial power on Vespasian, -and from which Rienzi demonstrated to the people their political -rights. It was discovered near the Lateran about 1300, and was kept in -the Basilica. - - -HALL OF THE CENTAURS. - -1. Jupiter, in black marble. 2, 4. Cloud-born Centaurs, found at -Hadrian's Villa, the joint work of Aristeas and Papias, sculptors of -Aphrodisium, in bigio-morato marble. Pliny says he saw a Centaur that -had been embalmed in honey, which had been brought from Egypt to Rome -in the time of Claudius. 3. The infant Hercules, in green basalt, -found on the Aventine. 5. AEsculapius, in black marble. _On left of -entry._ 29. Hygeia. 31. Young Apollo. 33. Wounded Amazon. 34. Venus -and Mars, found in the Isola Sacra near Ostia. 36. Minerva. 6. Faun. -7. Apollo. 9. Trajan. 10. Augustus. Two columns of Porta Santa. 17. -Minerva, an archaic statue, B.C. 450. 21. A teacher imparting -instruction, found in Hadrian's Villa. 22. Praefica: a hired mourner at -funerals; a tear-bottle will be noticed in her hand. 28. Harpocrates, -found at Hadrian's Villa. 27. A hunter, by Polytimus. - - -HALL OF ILLUSTRIOUS MEN, - -containing busts of great men arranged round the room on shelves, many -of doubtful identity. The most important are,-- - -1. Virgil. 4, 5, 6. Socrates. 7, 35. Alcibiades. 10. Seneca. 16. -Marcus Agrippa. 20. Marcus Aurelius. 21. Diogenes. 22. Archimedes. 27. -Pythagoras. 28. Alexander the Great. 30. Aristophanes. 31, 32. -Demosthenes. 33, 34. Sophocles. 37. Hippocrates. 41 to 43. Euripides. -44 to 47. Homer. 48. Domitius Corbulo. 49. Scipio Africanus the elder. -Pompey the Great. 60. Thucydides. 63. Double Hermes of Epicurus and -Metrodorus, friends and philosophers. 72. Julian. 74. Ahenobarbus, -father of Nero. 75. Cicero (?). 76. Terence. - -The walls are adorned with bas-reliefs. The seated figure in the -centre of the room is supposed to be Marcus Claudius Marcellus, the -great general of the republic, who died B.C. 208. - - -HALL OF THE EMPERORS. - -and their wives, whose ancient authentic busts are arranged round the -room in chronological order:-- - - 1. Julius Caesar. - 2. Augustus. - 4. Tiberius. - 6. Drusus, sen. - 7. Drusus, jun. - 8. Antonia. - 9. Germanicus. - 10. Agrippina, sen. - 11. Caligula. - 12. Claudius. - 13. Messalina. - 14. Agrippina, jun. - 16. Nero. - 17. Poppaea Sabina. - 18. Galba. - 19. Otho. - 20. Vitellius. - 21. Vespasian. - 22. Titus. - 23. Julia. - 24. Domitian. - 25. Domitia Longina. - 27. Trajan. - 28. Plotina. - 31. Hadrian. - 33. Julia Sabina. - 35. Antoninus Pius. - 36. Faustina, sen. - 38. Marcus Aurelius. - 39. Faustina, jun. - 43. Commodus. - 44. Crispina. - 45. Pertinax. - 46. Didius Julianus. - 47. Manlia Scantilla. - 50. Septimius Severus. - 52. Julia Pia. - 53. Caracalla. - 54. Geta. - 55. Macrinus. - 57. Elagabalus. - 60. Alexander Severus. - 62. Maximinus. - 64. Gordianus I. - 65. Gordianus II. - 66. Pupienus. - 67. Balbinus. - 68. Gordianus III. - 69. Philip. - 70. Decius. - 72. Hostilianus. - 73. Gallus. - 76. Gallienus. - 77. Salonina. - 80. Diocletian. - 81. Chlorus. - 82. Julian, the philosopher. - 83. Magnus Decentius. - -There are several bas-reliefs round the room. Seated in the centre is -Agrippina, "the glory of the Roman matrons;" daughter of M. V. Agrippa -and Julia, daughter of Augustus; wife of Germanicus, and mother of -Caligula. "It is a statue combining an expression of moral dignity and -of intellectual force, with as much beauty and poetical grace as the -genius of sculpture ever borrowed from breathing nature to work out -its own miracles of art. This statue--a history and an epic in -itself--represents a woman in the prime of life seated in a chair of -state, and in the deep repose of meditative thought. The statue is -lofty, her brow of high capacity, her mouth expressive of love and -wit, and all her features are harmonized by that regularity which is -ever denied to defective organizations. Over the whole of this -simply-draped and noble figure there is an air of tranquil majesty, -which, in its solemn influence, likens it to the statues of the gods" -(Lady Morgan). It may have originally stood on the cinerary base in -the courtyard of the Palazzo dei Conservatori. - - -UPPER CORRIDOR. - -_In our order of visiting the Museum the subjects in this Corridor -commence at the highest number._ - -Vase of white marble, found near the tomb of Cecilia Metella; it is -decorated with vine leaves and fruit. The pedestal is a very -interesting Grecian marble well head; on it are the twelve principal -deities. 29. Minerva. 28. Bust of Marcus Aurelius. 25. Jupiter -standing on the altar of Cybele, dedicated in memory of Claudia -drawing the galley up to Rome, which is shown in relief. _Entrance to -Cabinet of Venus._ 20. Psyche. 46. Sarcophagus illustrating the birth -of Bacchus. 47. Jupiter. 49. Juno. 30. Gladiator restored from a -Discobolus. 52. Euterpe. 10. Cinerary urn. 54. Sarcophagus -representing the Rape of Proserpine. 54_a._ Infant Hercules strangling -a serpent. 56. Female statue. 8. Drunken Baccante. _Entrance to Hall -of Doves._ 5. Cupid. 3. A lion. 63. Marcus Aurelius. - - -CABINET OF VENUS. - -The celebrated Venus of the Capitol, found in a walled-up chamber on -the Viminal, is rather the statue of a beautiful woman in full -maturity than of Venus as a goddess. Cupid and Psyche, found on the -Aventine--a beautiful little group. Leda and the Swan. - - -HALL OF THE DOVES. - -So called from the beautiful mosaic set _in the wall on the right in -entering_, mentioned by Pliny as the work of Sosus existing at -Pergamos,--"There is a dove greatly admired in the act of drinking, -and throwing the shadow of its head upon the water, while other birds -are to be seen sunning and pluming themselves on the margin of a -drinking bowl." It was found in Hadrian's Villa. Beyond is also a -mosaic representing two scenic masks, found on the Aventine. In the -windows are glass cases containing styli, coins, and lamps. 83. Fixed -on the side of the farther window, the Iliac Table representing the -Fall of Troy as described by Virgil; to each group is attached an -explanatory inscription in Greek: found at Bovillae. 49. Diana of -Ephesus. 37. Sarcophagus of Gerontia, representing the fable of -Endymion. 13. The Prometheus sarcophagus. On shelves round the room -are placed numerous busts, but these are not of much interest. - -_On coming out of the Museum_ cross the square and turn to the left, -by the side of the Tabularium (note the paving-stones at the end of -the Sacra Via), then turn to the right, Via Monte Tarpeia, proceed -along this street, and keep straight on down the steps. - - -THE TRAITORS' LEAP. - -By descending the _Centum Gradus_, and turning to the left, we see the -rock, within the space closed off by the rails. The house on the top -will roughly represent the original height of the rock. If we then add -forty feet to the depth, we shall have some idea of the traitors' -leap, which cured all ambition. - - -THE TEMPLE OF OPS. - -The municipal authorities have lately pulled down a house on the Vicus -Jugarius which obstructed the view of the far end of the Tarpeian Rock -from the Forum. We use the title Tarpeian Rock as applied to the place -of execution and not to the whole hill. They have exposed to view not -only the rock, but likewise one side of the Temple of Ops, composed of -large blocks of tufa stone surmounted by later brick structures. The -earliest mention we have of this temple is in B.C. 183, when Livy says -(xxxix. 22): "By order of the pontiffs a supplication, of one day's -continuance, was added on account of the Temple of Ops, near the -Capitol, having been struck by lightning." This temple is also -mentioned by Cicero, from whom we learn that it was where the clerks -kept the accounts of the treasury: "Would that the money remained in -the Temple of Ops! Bloodstained, indeed, it may be, but still needful -at these times, since it is not restored to those to whom it really -belongs" (First "Philippic," 7). "Who delivered yourself from an -enormous burden of debt at the Temple of Ops; who, by your dealings -with the account-books there, squandered a countless sum of money" -(Second, 14). "Where are the seven hundred millions of sesterces -which were entered in the account-books which are in the Temple of -Ops? A sum lamentable indeed as to the means by which it was procured, -but still one which, if it were not restored to those to whom it -belonged, might save us from taxes" (Second, 37). "And that accounts -of the money in the Temple of Ops are not to be meddled with. That is -to say, that those seven hundred millions of sesterces are not to be -recovered from him; that the Septemviri are to be exempt from blame or -from prosecution for what they have done" (Eighth, 9). - -Ops was the daughter of Coelus and Terra, and the wife of Saturn; -hence her connection with the treasury. The temple was turned into a -church, and called S. Salvatore in AErario, or in Statera (the Saviour -in the Treasury), which lapsed into S. Maria in Portico. It has now -become a fruit shop; and a small fresco of the Crucifixion, very much -obliterated, marks its former use. The west wall of the temple has -been exposed in the recent changes, and part of the eastern wall can -be seen by entering the court-yard by the flight of steps through the -wall, No. 57, opposite the end of S. Maria di Consolazione. - -_The Via Consolazione and the Via Montanara to the right bring us to_ - - -THE THEATRE OF MARCELLUS. - -The design of erecting a stone theatre in this quarter had been -entertained by Julius Caesar (Suetonius, "Caesar," xliv.), but the -carrying out of his adopted father's plan was reserved for Augustus -(_ibid._, "Aug." xxix.). He did not, however, appropriate the honour -of so great a work to himself, but transferred it to his beloved -son-in-law, Marcellus. Great part of the outer walls of this large and -splendid building still exists. Against these leaned the arches, -supporting the tier of seats destined for the spectators. The greater -portion of the vast halls have also been preserved; but being now -converted into offices belonging to the Palace of the Orsini, which -has insinuated itself into these ruins, they are not accessible to -strangers. The lower story is in the Doric, the second in the Ionic, -and the third was probably in the Corinthian order. It held 20,000 -people. - - -THE DECEMVIRAL PRISONS. - -Built by Appius Claudius for common offenders, _near_ the Forum -Olitorium, and which site was afterwards occupied by the Theatre of -Marcellus (Pliny, vii. 37). We have identified this prison, remains of -which can still be seen under the theatre, consisting of chambers -constructed in _opus reticulatum_. There are two splendid open -archways of the same material leading into two large chambers, in the -vaults of which are holes for letting the prisoners down. This we -believe to have been the Decemviral Prisons and the scene of _Caritas -Romana_. - - "Here youth offered to old age the food, - The milk of his own gift." - -Byron visited the chambers under S. Nicola in Carcere, when he was -moved to compose his beautiful lines. He had before him the scene, -though not the site; his words are more applicable to these dungeons, -and we may say with him,-- - - "There is a dungeon, in whose dim, drear light - What do I gaze on?--Nothing." - -_Passing the Theatre, a narrow lane on the left leads to the remains -of_ - - -THE PORTICO OF OCTAVIA. - -Dedicated to Octavia by her brother Augustus (Suetonius, "Aug." -xxix.). The principal portion still existing belonged to the great -portal leading to the open space surrounded by corridors which gave -the people shelter during rain. In this stood two temples, the one -dedicated to Jupiter, the other to Juno. Pillars belonging to the -latter may be seen in a house in the Via Pescheria, and remains of the -Portico of Octavia at No. 12 Via Teatro di Marcello. The inscription -on the architrave states that the building was restored by Septimius -Severus and Caracalla. - -On the removal of two of the columns on which the pediment rested, -their place was supplied by an arch of brickwork, thus preventing the -building from falling in. - -Four columns and two piers are still standing of the inner row; of the -outside only two columns remain, in addition to the two piers. The -capitals are ornamented with eagles bearing thunderbolts. A flight of -steps led up to this vestibule. - -The stumps of columns built into the walls of several houses in the -vicinity in all probability belonged to the same edifice, which must -originally have presented a most magnificent appearance. - -The Portico was ornamented with many statues; and besides the two -temples, there were libraries. It was originally erected by Metellus, -B.C. 146 (Paterculus, i. 11). The temples were built by Mr. Lizard and -Mr. Frog; but the senate would not allow them to put their names on -the buildings, and so to hand down their work they sculptured on the -spirals of the columns lizards and frogs (Pliny, xxxvi. 4). This can -still be seen in the Church of S. Lorenzo on the road to Tivoli, the -columns being taken there from here. The same authority (xxxiv. 15) -gives particulars of the many statues; and amongst others one to -Cornelia, the mother of the Gracchi, the base of which was found here -in 1878, and is now in the courtyard of the new Museum of the Capitol. -Pliny also tells us that when they dedicated the temples they by -mistake carried the god into the goddess's temple, and so they let -them remain as the will of the gods. - -_On the right_ is the CHURCH OF S. ANGELO IN PESCHERIA. Here Rienzi, -on May 20, 1347, held his meeting for the re-establishment of "the -good estate;" and here he exhibited his allegorical picture, and -thence marched to the Church of S. George to fix up the proclamation. - -_From the right-hand corner of this square a little alley leads to the -Via Rua, the principal street of_ - - -THE GHETTO, - -or Jews' Quarter. The word "Ghetto" comes from the Hebrew word _chat_, -broken or dispersed. The Jews first settled here in the time of Pompey -the Great; but it was not till 1556 that the Ghetto was enclosed by -Pope Paul IV. putting gates across the streets. The Jews were not -allowed to be out after sunset or before sunrise, and he compelled the -men to wear yellow hats and the women yellow veils. The old -inhabitants, who were not Jews, were turned out, and obliged to give -up their houses to the Jews on perpetual copy-hold leases, which are -handed down in the families to the present day. Pius IX. abolished the -gates, but it was not till the Italian troops entered Rome that the -Jews obtained full liberty like their fellow-citizens. The lower part -of the houses in the Ghetto are of Roman construction, and there is -very little accumulation of soil there. There are about four thousand -Jews in Rome, and notwithstanding the closeness with which they are -packed and the dirt in which they live, the district is entirely free -from fever. - -_Proceeding along_ the Via Rua, we enter the Piazza di S. Maria del -Pianto, the Square of Tears. On the right are several old Roman -houses, with the upper part rebuilt, and the following medieval -inscription, put up in the two thousand two hundred and twenty-first -year of Rome, recording that here was the Forum Judaeorum:-- - - VRBE . ROMA . INPRISTINAM . FORMA ENASCENTE . - LAVR . MANLIVS . RARITAE . ERC . A . PATRI EDIS - SV . NOMNE . MAN II AN . AS . PRO PORT AR . - MEDIOCRITAE . AD . FOR . IVDEOR SIBI . POSTERISQ . - AB . VRB . CON . M. M. CCXXI . L. AN . M. III . D. - PRI . CAL. AVG. - -_A short alley on the left leads to the Piazza Scuole. On the right -is_ - - -THE CENCI PALACE, - -(_Palazzo Cenci_,) - -the scene of the persecution of Beatrice, which led to her execution -through the murder of her father at Petrella. - -"The story is, that an old man having spent his life in debauchery and -wickedness, conceived at length an implacable hatred towards his -children, which showed itself towards one daughter under the form of -an incestuous passion, aggravated by every circumstance of cruelty and -violence. This daughter, after long and vain attempts to escape from -what she considered a perpetual contamination both of body and mind, -at length plotted with her mother-in-law and brother to murder their -common tyrant" (Shelley). - -"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 are the subject of -this tragedy--'The Cenci.' 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 beneath the -profuse undergrowth of trees. There is a court in one part of the -palace (perhaps that in which Cenci built the chapel to S. Thomas) -supported by granite columns, and adorned with antique friezes of fine -workmanship, and built up, according to the ancient 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" (Shelley). - -From an old manuscript recently brought to light, and the reports of -the trial which have been recently published, the story of Beatrice -Cenci appears divested of the fiction of a historical novel; and these -papers prove her to have been anything but the innocent victim she is -represented in the romantic stories we have all read. - -_On the left of the Piazza_ is the Jewish Synagogue, once a Christian -church, dedicated to S. Lorenzo in Damaso, and sold to the Jews by -Pope Sixtus V. when he was in need of money. - -The Cenci Palace stands upon the substructions of - - -THE THEATRE OF BALBUS. - -Erected B.C. 12, as a compliment to Augustus, by L. Cornelius Balbus -(Suetonius, "Aug." xxix.), being the third permanent theatre erected -in Rome. It held twelve thousand spectators. Pliny (xxxiv. 12) says: -"Cornelius Balbus erected four small pillars of onyx in his theatre as -something marvellous." At No. 23 Via Calderari, _to the right of the -Cenci Palace_, some remains can be seen of the PORTICO of the Theatre -of Balbus, which was two stories high. Built into the house are two -Doric columns of travertine stone, supporting an architrave, which is -interspersed with brickwork repairs, by Septimius Severus, after a -fire. Opposite are three pilasters supporting a vault. - -In the lane opposite, the Palace of the Cenci can best be seen; this -part has not been restored. _Passing under the archway_, on our left, -is the gateway spoken of by Shelley. - -_The first turning on the right, in the Via Calderari, leads to the -Via Catinari; turn to the left, follow the second street on the right -past the church, then take the first turning on the left._ It will be -noticed that the fronts of the houses and the street are circular; -they are built on the ruins of the circular part of - - -THE THEATRE OF POMPEY. - -"Pompey also built that magnificent theatre, which is standing at this -day, at whose dedication five hundred lions were killed in five days, -and eighteen elephants having fought against armed men, part of them -died upon the place, and the rest soon after" (Dion Cassius, "Caesar"). -Plutarch relates the same. The same author, in his "Life of Nero," -speaking of the reception of Tiridates, says: "There was a great -assembly in the Theatre of Pompey by order of the senate. Not only the -scene, but all the inside of the theatre, and everybody that came into -it, were covered with gold, which made that day be named Golden Day. -The covering which was spread over it to defend the spectators from -the heat of the sun, was of rich stuff, the colour of purple, -representing the heavens, in the midst of which was Nero driving a -chariot." (See Pliny, xxxiii. 16.) "Tiberius undertook to restore the -Theatre of Pompey" (Suetonius, "Tiberius," xlvii.). "Tiberius -undertook to rebuild the Theatre of Pompey, which was accidentally -burned, because none of the family was equal to the charge; still, -however, to be called by the name of Pompey" (Tacitus, "Ann." iii. -72). "Caligula completed it" (Suetonius, "Caligula," xxi.). It was -burned; and again rebuilt by Caracalla, as we learn from an -inscription found at Ostia in 1881. "In the games which Claudius -presented at the dedication of Pompey's theatre, which had been burned -down, and was rebuilt by him, he presided upon a tribunal erected for -him in the orchestra; having first paid his devotions in the temple -above, and then coming down through the centre of the circle, while -all the people kept their seats in profound silence" (Suetonius, -"Claudius," xxi.). It accommodated forty thousand (Pliny, xxxvi. 24). -It was built B.C. 55, "in his second consulship" (Vel. Paterculus, ii. -48); but afraid of the criticism of the people, he erected at the top -of the seats a temple to Venus. - - -THE SPOT WHERE CAESAR FELL. - -In the neighbourhood of his theatre Pompey built a house for himself -(Plutarch); and from the back of the stage a portico (Vitruvius), -which, according to Propertius (ii. 32), must have been a beautiful -place. - -"Pompey's portico, I suppose, with its shady columns, and -magnificently ornamented with purple curtains, palls upon you; and the -thickly-planted, even line of plane-trees, and the waters that fall -from a sleeping Maro, and in streams lightly bubbling all over." In -the centre of this portico Pompey erected a large hall, which he -presented to the Roman people for the use of the senate. At the time -of Caesar's assassination the senate house on the Forum was being -rebuilt. Suetonius ("Caesar," lxxx.), says: "Public notice had been -given, by proclamation, for the senate to assemble upon the ides of -March (15th) in the senate house built by Pompey: the conspirators -approved both time and place as most fitting for their purpose." "They -killed him in the hall of Pompey, giving him twenty-three wounds" -(Livy, "Ep." cxvi.). "The conspirators having surrounded him in -Pompey's senate house, fell upon him all together, and killed him with -several strokes" (Dion Cassius, "Caesar." See Suetonius, "Caesar," -lxxxii.). - -"The place, too, where the senate was to meet seemed providentially -favourable for their purpose. It was a portico adjoining the theatre; -and in the midst of a saloon, furnished with benches, stood a statue -of Pompey, which had been erected to him by the commonwealth when he -adorned that part of the city with those buildings. The senate being -assembled, and Caesar entering, the conspirators got close about -Caesar's chair. Cassius turned his face to Pompey's statue, and invoked -it, as if it had been sensible of his prayers" (Plutarch. See Florus, -iv. 2). - -"The senate house in which he was slain was ordered to be shut up, and -a decree was made that the ides of March should be called parricidal, -and that the senate should never more assemble on that day" -(Suetonius, "Caesar," lxxxviii.). - -_After making the circuit of the seats of the theatre, the Via -Chiavari leads to the_ CHURCH OF S. ANDREA DELLE VALLE, built on the -site of Pompey's senate house. - -On the marble plan of Rome, in the Capitoline Museum, a fragment shows -Pompey's theatre, portico, and senate house. With the given remains of -the theatre and the plan it is easy to find the site of the Curia, -which is shown on the plan in the form of a basilica: this will bring -the curve exactly at the apse of the Church of S. Andrew. Now, we are -told that Caesar was seated in the chair where in the morning Brutus -dispensed justice, so he was, no doubt, seated on the tribunal; and as -the tribunal of the church and curia exactly correspond, - -HERE CAESAR FELL! - -The cupola of the church is one of the finest in Rome; the four -evangelists, at the angles, are by Domenichino. - -_From here we retrace our steps down the Via Chiavari, crossing the -Via Giubbonari, passing, on our left, the_ MONTE DI PIETA (Uncle to -Rome); _turn to left Via Pettinari; the first turning on the right -leads to the Piazza Capo di Ferri._ On the left, decorated with -statues, is the Spada Palace. In the vestibule of the law court, -upstairs, is - - -THE STATUE OF POMPEY, - -at whose feet great Caesar fell. - -"There was a statue of Pompey, and it was a work which Pompey had -consecrated for an ornament to his theatre." - -"Either by accident, or pushed hither by the conspirators, he expired -at the pedestal of Pompey's statue, and dyed it with his blood" -(Plutarch). - -"Augustus removed the statue of Pompey from the senate house, in which -Julius Caesar had been killed, and placed it under a marble arch, -fronting the curia attached to Pompey's theatre" (Suetonius, "Aug." -xxxi.). - -The statue is eleven feet high, and was found in 1553 in the Vicolo di -Lentari; it was under two houses, and the proprietors could not agree -as to whom it should belong, when Pope Julius II. gave them five -hundred gold dollars for it, and presented it to Cardinal Capodifero. -In 1798-99 the French carried this statue to the Colosseum, where they -performed Voltaire's "Tragedy of Brutus" to the original statue. To -facilitate moving it, they cut off the extended arm; hence the join. - - -THE SPADA PALACE GALLERY. - -_Open every Tuesday, Thursday, and Saturday; fee, half lira each to -Museum and Gallery._ - -_N.B._--The vestibule where the statue of Pompey stands is public, and -is open all day. Resist the demands of the porter, who is generally -very rude. - -The MUSEUM on the ground-floor contains a good seated statue of -Aristotle, and nine reliefs formerly used, reversed, as the pavement -of S. Agnese outside the walls. 1. Paris on Mount Ida; 2. Bellerophon -watering Pegasus; 3. Amphion and Zethus; 4. Ulysses and Diomedes -robbing the Temple of Minerva; 5. Paris and Oenone; 6. Perseus and -Andromeda; 7. Adonis; 8. Adrastus and Hypsipyla finding the body of -Archemorus; 9. Pasiphae and Daedalus. - -The GALLERY upstairs contains few good pictures. Catalogues in each -room. - -FIRST ROOM.--32. Lanfranco's Cain and Abel; 45. Guercino's David. - -SECOND ROOM.--9. Guido's Judith; 19. Poussin's Joseph and Brethren; -17. Leonardo da Vinci's Dispute with the Doctors; 32. S. John; 33. S. -Lucia, by Guercino. - -THIRD ROOM.--20. Rape of Helen, by Guido; 33. Vandyck; 48. Death of -Dido, by Guercino. - -COURT ROOM.--Frescoes by Luzio Romano. - -_In coming out of the Palace, turn to the right, keep straight on down -the_ VIA S. PAOLA ALLA REGOLA. Some little way down is the church of -that name, on the right, said to have been built on the site where S. -Paul had a school. _Just beyond_, on the right, is the Via degli -Strengari; the house on the left, No. 2, is pointed out by Jewish -tradition as - - -THE HIRED HOUSE OF S. PAUL. - - "Paul was suffered to dwell by himself with a soldier that - kept him." - - "Paul dwelt two whole years in his own hired house, and - received all that came in unto him." - - Here, "Paul called the chief of the Jews together." - - "When they had appointed him a day, there came many to him - into _his_ lodging." - -The construction of the lower part of the house is brick-work of the -early empire. This agrees with the Jewish tradition, and we can well -understand that S. Paul would lodge somewhere near his kinsmen the -Jews. The doorway has one of its columns still; but it has been turned -from a round headway into a square one. One of the windows on the left -has still a round head; above this the house is medieval. The lower -part of the other houses here are Roman. - -_To the left_ of the house, take the VIA DI S. BARTOLOMEO DEI -VACCINARI. On the right, some remains of the columns of the Theatre of -Balbus have been built into a house, and remains exist under the -houses all round. In this street Rienzi was born; the exact house is -not known. - -_Keeping straight on, the_ VIA DELLA FIUMARA is one of the dirtiest in -the Ghetto. _At its extremity, on the right, is the_ - - -PONS FABRICIUS, - -now called Ponte dei Quattro Capi, from the four-headed Janus upon its -balustrades. From the inscription, and from Dion Cassius (xxxvii. 45), -we learn that it was erected, B.C. 61, by L. Fabricius, Curator -Viarum. Horace (S. ii. 3) says that "Stertinius advised the would-be -suicide Damasippus to return cheerfully from the Fabrician Bridge." It -has two arches. The bridge leads to - - -THE ISLAND OF THE TIBER. - -"The Tarquins had sacrilegiously converted the best part of the Campus -Martius to their own use. When they were expelled, it happened to be -harvest time, and the sheaves then lay upon the ground; but as it was -consecrated, the people could not make use of it. A great number of -hands, therefore, took it up in baskets and threw it into the river. -The trees were also cut down and thrown in after it, and the ground -left entirely without fruit or produce for the service of the god. A -great quantity of different sorts of things being thus thrown in -together, they were not carried far by the current, but only to the -shallows, where the first heaps had stopped. Finding no further -passage, everything settled there, and the whole was bound still -firmer by the river; for that washed down to it a deal of mud, which -not only added to the mass, but served as a cement to it, and the -current, far from dissolving it, by its gentle pressure gave it the -greater firmness. The bulk and solidity of this mass received -continual additions, most of what was brought down by the Tiber -settling there. It was now an island sacred to religious uses. Several -temples and porticoes have been built upon it; and it is called in -Latin _inter duos pontes_--the island between the two bridges" -(Plutarch, in "Publicola"). - -The island in the Tiber is an alluvial formation, and thus far the -legend is correct in ascribing its origin to the accumulation of -rubbish and drifted sand. In remembrance of the vessel which bore the -statue of AEsculapius from Epidaurus to Rome, the entire island was -faced with stone, and made to assume the form of a ship, in which was -placed the temple of the god. - -Some of the immense blocks of travertine composing the facing, and -representing the hull of the ship, may still be seen in the monastery -garden of the Church of S. Bartolomeo in Isola. _Ladies are not -admitted to the monastery._ - -"In the island of the Tiber, just prior to the death of Otho, the -statue of Julius Caesar turned from west to east, a circumstance said -likewise to have happened when Vespasian took on him the empire" -(Plutarch). - -In the Piazza is a monument to SS. John, Francis, Bartholomew, and -Paulinus. The interior of the church is embellished with fourteen -ancient columns, and in the choir are the remains of an early mosaic. - -The island on the farther side is connected with the mainland by - - -THE PONS CESTIUS, - -now called Ponte S. Bartolomeo. It was erected, B.C. 45, by the Praetor -Lucius Cestius; the inscription records its restoration, A.D. 367, by -the Emperors Valentinian, Valens, and Gratian. It consists of a single -arch. Over the bridge is TRASTEVERE, the inhabitants of which claim to -be descended from the ancient Romans: their manners and customs are -somewhat distinct from those of the inhabitants of the other side of -the river. - -_From the bridge_ (_retracing our steps_) _a street leads into the -Piazza Montanara; turn to the right up the Via Montanara; on the right -is the_ CHURCH OF S. NICOLO IN CARCERE, built over three temples. - -_Entrance to see the substructions through the sacristy._ - - -THE TEMPLES OF JUNO SOSPITA, PIETY, AND HOPE. - -Three temples of the time of the republic, situated in one front, and -forming a group. Not only many columns, but also considerable remains -of the substructions have been preserved. The latter have been -rendered accessible by the recent excavations. - -The largest of these temples, Piety, situated in the middle, is of -Ionic architecture. It is surrounded by a corridor, and is probably -the same erected to Piety by the son of M. Acilius Glabrio ten years -after the event, in fulfilment of a vow made by his father at the -battle of Thermopylae, A.U.C. 562, erected 572 (Livy, xl. 34). The -_left hand_ temple is that of Juno Sospita (to keep in health), -founded by Cethaegus, B.C. 195 (Livy, xxxii. 30, xxxiv. 53). The Temple -of Hope is _on the right_. It was erected by Atilius Calatinus during -the first Punic War, B.C. 248 (Livy xxi. 62, xxv. 7). - -These temples were situated in the Forum Olitorium, the great -vegetable market of Rome, and outside the Servian wall. The custodian -shows a cell which he points out as the scene of the "Caritas Romana." -Visitor! "beware, beware! he's fooling thee." This is not that Temple -of Piety erected on the site of the house of the Roman matron, or, -according to some authorities, on the site of the Decemviral Prisons; -for Pliny and Solinus tell us that the sites of the temple and prison -were occupied by the Theatre of Marcellus. According to Valerius -Maximus (v. 4) and Pliny ("Natural History," vii. 36), it was a -daughter who thus saved her mother's life, and "they were henceforth -provided for by the state." Festus says it was her father. - -_Turn to the right, in coming out of the temple; a short distance on -the right the Via di Ponte Rotto turns out to the right. A little way -up on the right is_ - - -THE HOUSE OF RIENZI. - - "The Roman of Rome's least mortal mind;" - The friend of Petrarch and liberty, - Who died for Rome and Italy. - Rienzi! the patriotic Roman, - Close by whose house doth wind - The Tiber, subservient to the will of no man. - -It was built from the remains of one of those medieval towers used by -the Romans as fortresses, and, as such, bore the name of the Torre di -Monzone. It was demolished by Arlotto degli Stefaneschi, in the year -1313, in order to diminish the power of the Orsini, in whose -possession it was. An inscription on the ruin states the founder to -have been a certain Nicolas, the son of Crescentius and Theodora. -Hence it has been supposed that the Crescentius here mentioned is -identical with the celebrated consul who ruled over Rome A.D. 998; an -opinion strengthened by the fact of his wife having really borne the -name of Theodora. Rienzi is said to have been descended from them. -Pope Leo XIII. was descended through his mother from Rienzi. - -OLD RHYMING VERSE ON THE HOUSE OF RIENZI. - - "First of the foremost, Nicolas, great from a low estate, - Raised (_this_) to revive the glory of his fathers. - There is placed the name of his father and mother, Crescentius - and Theodora. - This renowned roof, bore from (_a_) dear pledge: - The father who displayed it assigned it to David." - -Another line says,-- - - "In fair places ever remember the grave." - -The neighbouring people call this ruin the Casa di Pilato, and the -appellation of the Casa di Cola di Rienzi has been added since the -last century. Rienzi died in 1354 A.D. _A step or two lead to_ - - -THE PONTE ROTTO, - -anciently the Pons AEmilius. This bridge, intended to unite the nearer -bank of the river with Trastevere, but rendered impassable by the fall -of several arches in 1598, whence its name of the Ponte Rotto, was -commenced in the censorship of M. AEmilius Lepidus and M. Fulvius -Nobilior, in the year of the city 573, and was completed by P. Scipio -Africanus and L. Mummius. From the first of these it took its name. -"Marcus Fulvius made contracts for piers for a bridge over the Tiber; -on which piers Publius Scipio Africanus and Lucius Mummius, censors -many years afterwards, caused the arches to be raised" (Livy, xl. 51). -It is the same from which the body of Elagabalus was thrown with a -stone attached to it, after having been dragged through the Circus. - -In January 1886, to the eternal disgrace of the acting mayor, Duke -Torlonia, and the municipal authorities of Rome, the remaining half of -the oldest bridge over the Tiber was wantonly and unnecessarily -destroyed in the works going on for the embankment of the river, the -city fathers leaving one arch in the centre of the river as a monument -of their folly. From this arch a suspension bridge is to be thrown to -the Trastevere side. The Cloaca Maxima has been diverted into the -Tiber below S. Paul's, in order to prevent the back-wash into the -city. _A little lower down was_ - - -THE SUBLICIAN BRIDGE, - -in front of which Horatius displayed his valour. It was first erected, -A.U.C. 114, by Ancus Martius. By appointment of the oracle it was -built only of timber fastened with wooden pins; "for the Romans -considered it as an execrable impiety to demolish the wooden bridge, -which, we are told, was built without iron, and put together with pins -of wood only, by the direction of some oracle. The stone bridge was -built many ages after, when AEmilius was quaestor. Some, however, inform -us that the wooden bridge was not constructed in the time of Numa, -having the last hand put to it by Ancus Martius" (Plutarch, in -"Numa"). - -"Rome was in great danger of being taken, when Horatius Cocles, and -with him two others of the first rank--Herminius and Spurius -Lartius--stopped them at the bridge.... This man [Horatius], standing -at the head of the bridge, defended it against the enemy till the -Romans broke it down behind him. Then he plunged into the Tiber, armed -as he was, and swam to the other side, but was wounded in the hip with -a Tuscan spear" (Plutarch, in "Publicola"). Livy (ii. 10) gives his -prayer before plunging in: "Holy father Tiber, I beseech thee to -receive these arms, and this thy soldier, into thy propitious stream." -And - - "Still is the story told - How well Horatius kept the bridge - In the brave days of old." - -Near this spot Cloelia swam across the Tiber on horseback, when -escaping from Lars Porsena. - - "While Cocles kept the bridge and stemmed the flood, - The captive maids there tempt the raging tide, - 'Scaped from their chains, with Cloelia for their guide."--VIRGIL. - -_Returning from the bridge, turn to the right. On our left is_ - - -THE TEMPLE OF PUDICITIA PATRICIA. - -The Temple of Patrician Chastity stood inside the wall of Servius in -the Forum of the Cattle-dealers. Livy (x. 23) says: "In the year -A.U.C. 456, a quarrel broke out among the matrons in the Temple of -Patrician Chastity, which stands in the cattle-market, near the Round -Temple of Hercules." - -It was converted in 880 into the Church of S. MARIA EGIZIACA. It has -four Ionic columns at the front, with four apparent columns at the -end, and seven on one side. A frieze of stucco, representing heads of -oxen, candelabra, and wreaths of flowers borne by children, is on the -entablature; it is 100 feet long by 50 wide. When it was turned into a -church the wall dividing the portico from the cella was pulled down, -and the columns of the portico were filled in to make it longer for a -church. It is the best specimen we have of a republican temple. - -_Going down by the side of the temple, we come to_ - - -THE ROUND TEMPLE OF HERCULES. - -This is the temple mentioned above by Livy, and we see the positions -agree with his statements. It is formed of twenty beautiful Corinthian -columns, only one of which, on the right side, is missing. Its -circumference is only 156 feet, and that of the cella 26 feet, and -the height of the columns 32 feet. The walls within the portico are -of white marble (much of which still remains), and the pieces of it -were put together so as to have the appearance of one mass. The temple -stands on a base of tufa, showing early construction, but is a -restoration of the time of Vespasian. - - [Illustration: ROUND TEMPLE OF HERCULES AND TEMPLE OF PATRICIAN - CHASTITY.] - -This was probably the Temple of Hercules which Vitruvius (iii. 3) says -was erected by Pompey. Pliny (xxxiv. 19) says Myron made the statue of -Hercules which is in the AEdes Herculis, built by Pompey the Great, -near the Circus Maximus. Again (xxxv. 7) he speaks of "the paintings -of the poet Pacuvius, in the Temple of Hercules, situated in the -cattle-market." - - -THE GRAND TEMPLE OF HERCULES. - -There were other temples to Hercules in the Forum Boarium, of which we -have some travertine remains behind the Church of S. Maria in Cosmedin -opposite. "The Romans afterwards built a magnificent temple near the -river Tiber, in honour of Hercules, and instituted sacrifices to him -out of the tenths" (Diodorus, iv. 1). "In A.U.C. 534 a supplication -was ordered to be performed by individuals at the Temple of Hercules" -(Livy, xxi. 62). This was destroyed by Pope Adrian I., A.D. 772-795. -"By the infinite labour of the people, employed during a whole year, -Adrian threw down an immense structure of Tiburtine stone to enlarge -the Church of S. Maria in Cosmedin" (Anastasias). - - -THE CHURCH OF S. MARIA IN COSMEDIN - -is on the site of a temple to Ceres and Proserpine. "Spurius Cassius -consecrated the Temple of Ceres, Bacchus, and Proserpine, which stands -at the end of the great circus, and is built over the starting-places, -and which Aulus Postumius, the dictator, had vowed when upon the point -of engaging the Latins," A.U.C. 258 (Dionysius, vi. 94). "It was -restored by Augustus, and consecrated by Tiberius" (Tacitus, "Annals," -ii. 49). The temple fronted north, and in the left-hand aisle of the -church are three of the columns of the portico _in situ_; three of the -side columns are in the portico of the church, and three others in the -sacristy, where there is part of a mosaic from old S. Peter's, A.D. -705. - -In the portico is a large mask of stone called the Bocca della Verita -(Mouth of Truth). A suspected person, on making an affirmation, was -required to put his hand in the mouth of this mask, in the belief that -if he told an untruth the mouth would close upon his hand. Several -columns of the old temple are immured in the walls, and the aisles are -formed by twenty ancient marble columns; the pavement is of beautiful -_opus Alexandrinum_. _Behind_ the altar is a fine bishop's chair, and -a Greek picture of the Virgin and Child, also some old frescoing -behind a panel on the left. _Opposite_ the church is a beautiful -fountain of Tritons supporting a basin. - -_Resuming our ramble down the_ VIA MARMORATA, _turn left coming out of -the church, passing under_ an archway, the remains of the Porta -Trigemina in the Servian Wall. _The road runs for a short distance by -the Tiber, on the opposite side of which is the_ RIPA GRANDE, _or -quay. Taking the road to the right, past a stone-yard, Marmorata, by -the river, brings us to_ - - -THE EMPORIUM, - -another important building of the time of the Republic, of which we -have considerable remains. The exact date of its foundation is not -recorded, but a porticus, or arcade, was made to it, and it was paved -about the year 560 of Rome, or 193 B.C. It was the great warehouse for -the port of Rome for merchandise brought by vessels coming from the -sea. There was another port at the Ripetta for provisions brought -_down_ the river in boats. - -The Emporium was to ancient Rome what the docks are to London and -Liverpool. This great building formed three sides of a quadrangle, the -fourth being open to the quay on the bank of the Tiber, with a zigzag -path down the face of the cliff and surface of the quay. This was -excavated by the Pontifical Government, under the direction of Baron -Visconti. It was remarkably perfect; the walls against the cliff were -faced with _opus reticulatum_ of the time of Hadrian, and a large -number of blocks of valuable marbles were found here. A little further -up the river an _amphora_ is cut in the wall of the quay, to indicate -the place for landing wine and oil. The portion of the Emporium now -remaining belongs to the portico or arcade. There are said to be -extensive cellars under the other remains, forming a lower story of -the buildings. A new quarter is in course of erection here. - -The Emporium, and the quay by the side of it, called the MARMORATA, or -Marble Wharf, are situated at the lower end of the great Port of Rome -for sea-going vessels, which port extended about half a mile up the -river, with the Salaria, or Salt Wharf, near the middle of it. Above -this, and nearly opposite the point where the Almo falls into the -Tiber, a little below the Temple of Hercules, are several large stone -corbels with holes through them, through which a pole was passed for -the purpose of fastening a chain across the river for holding vessels -against the force of the stream. There are similar corbels in the wall -of the Marmorata for the same purpose, only these corbels are left -plain; those at the upper end of the port are carved in the form of -lions' heads of the early character called Etruscan. These corbels at -the two ends mark the extent of the Port of Rome, made originally in -the year 577 of Rome, and were discovered by Mr. J. H. Parker, C.B. - -_Regaining the main road, at a little distance we pass under an arch -of the aqueduct which supplied the Emporium with water. It is called -the_ ARCO DI S. LAZARO. _We next turn off to the right, and ascend_ - - -MONS TESTACCIO, - -formed of fragments of earthenware, chiefly of amphorae. We know from -those remaining at Pompeii that the amphorae which formed that branch -of commerce were often six feet high. Great numbers of these got -broken in landing, and all were thrown on this heap, as they were not -allowed to be thrown into the Tiber. There is also said to have been a -manufactory of amphorae and other earthenware at this spot, many of the -fragments found here being the refuse of a great manufactory. This is -supposed to have been the great manufactory of earthenware for the -city of Rome for several centuries; and this supposition may account -for the enormous quantity of such refuse that has accumulated on the -spot, so as to form a hill. Tombs proving its comparatively recent -origin were discovered beneath it in the year 1696. It is 110 feet -high, and surmounted by a cross. The view from the top is very fine. -_Close by is the_ - - -PROTESTANT CEMETERY. - - "The spirit of the spot shall lead - Thy footsteps to a slope of green access." - -The cemetery is an open space among the ruins, covered in winter with -violets and daisies. "It might make one in love with death, to think -that one should be buried in so sweet a place." So wrote Shelley, -whose heart is contained in a tomb at the top left-hand corner of the -new ground, his body having been burned upon the shore at Lerici, -where it was thrown up by the sea. _Passing into the old ground_, "in -the romantic and lovely cemetery under the pyramid which is the tomb -of Cestius, and the mossy walls and towers, now mouldering and -desolate, which formed the circuit of ancient Rome" (Shelley), here, -on the right of the entrance, "lies one whose name was writ in water," -Keats desiring this to be engraved upon his tomb. A fellow-poet says, -"You feel an interest here, a sympathy you were not prepared for; you -are yourself in a foreign land, and they are for the most part your -countrymen, Englishmen." - -_In returning from the Cemetery, nearly opposite the exit, a lane, Via -S. Maria, leads up to the_ AVENTINE HILL. The square at the top is -decorated with military trophies of the Knights of Malta. _A door on -the left leads to_ their Priory; it contains a key-hole;--look through -it, 'tis worth your while. - - -IL PRIORATO. - -(_Open Wednesday and Saturday._) - -Built upon the site of the Temple of the Bona Dea, and where, -according to some accounts, Remus took up his position to consult the -flight of birds. On the right in entering is the tomb of Bishop -Spinelli, an antique sarcophagus representing Minerva and the Muses. -The church contains several tombs of the Knights of Malta, to whom it -belonged, and who still exist and hold property in Rome, their -encampment being in the Via Condotti; amongst others, there is a tomb -erected to Brother Bartholomew Caraffa, Grand Master, died 1450. - -_Beyond, on the left, is the_ - - -CHURCH OF S. ALEXIUS, - -on the site of the Armilustrum, where the Sabine king, Titus Tatius, -was buried. In the left aisle are a well and staircase belonging to -the house of S. Alexius's parents, which formerly stood by the side of -the church, where, after his return from his pilgrimage, he was -allowed to live unrecognized by them. There is a very interesting -fresco of S. Alexius's life on the walls of the underground Church of -S. Clemente. (See page 228.) - -_A little further, on the left, is the_ - - -CHURCH OF S. SABINA, - -on the site of the saint's house, and formerly of the Temple of Juno -Regina founded by Camillus. The church has been much restored at -different times. - -In the chapel on the right of the high altar is Sassoferrato's Virgin, -with the rosary. The Chapel of S. Catherine, painted by Odazzi, is -worthy of note. In the convent garden is an orange-tree planted by S. -Dominic. - -_Following on the road, we take the first turning to the right; some -little way down, on the left, is the_ - - -CHURCH OF S. PRISCA, - -supposed to occupy the site of the house, some remains of which can be -seen in the crypt, in which she was baptized by S. Peter. Only open on -January 18. Supposed to have been formerly the site of the Temple of -Diana founded by Servius Tullius. - -_Down the hill, and up the opposite one, leads to the_ - - -CHURCH OF S. SABA, - -built on the site of the house of Silvia, the mother of Gregory the -Great, who used to send every day to her son on the Coelian a silver -basin containing soup. Uninteresting, and only open on the saint's -day, December 5. - -_At the foot of the hill, on the left corner of the two roads, is the_ - - -CAVE OF AQUEDUCTS, - -a large stone quarry, intersected in all directions by aqueducts. Some -of them are cut out of the solid tufa, others built in passages cut -through the tufa; some are blocked up with mud deposit, others with -stalactite; some run for a considerable distance, others being broken -in, in extracting the tufa. They present altogether a curious and -interesting study. - -_Opposite S. Prisca, in the vineyard of Prince Torlonia, are remains -of the_ - - -WALL OF THE LATINS, - -built by the Latins under Ancus Martius, when he added the Aventine to -the city. - -The cliff has been scarped to the depth of 60 feet, and a terrace made -on the ledge on which the wall stands, consisting of blocks of tufa. -It was originally 12 feet thick, and in one part an arch is introduced -for catapults, similar to those we have seen in ruins on the Palatine. -The back of this part of the wall is a mass of concrete backing. At -the foot of the wall was a trench, afterwards filled up, in which deep -wells have been made for interments. Under the hill of S. Saba, below -the cottage opposite, are traces of another early fortification formed -of masses of concrete, originally faced with large blocks of tufa. -The road here ran through the Porta Randusculana, in the -fortifications of the seven hills. - -_In this vineyard are also some remains of_ - - -THE BATHS OF SURA, - -cousin of Trajan. These remains have only been partly explored, and -are of great extent. - -_On the opposite side of the road, in another vineyard_, are some -massive remains of the aqueduct and reservoir of these baths, from the -top of which there is a most enjoyable view of the city in general and -the Palatine in particular. "Sura, the neighbour of the Aventine -Diana, beholds at less distance than others the contests of the great -circus" (Martial, vi. 64). - -_In this vineyard are also some remains called the_ - - -HOUSE OF AQUILA AND PRISCILLA. - -It consists of some chambers of reticulated work and a well of the -early empire; the latter extends under S. Prisca. "Greet Priscilla and -Aquila my helpers in Christ Jesus.... Likewise greet the church that -is in their house" (Rom. xvi. 3, 5). - -_From the vineyard turn to the right. Some little way down on the -right is the_ entrance to the Jewish Cemetery. This hill was the -ancient Clivus Publicus, a continuation of the Vicus Tuscus, and up -which the sacred processions used to come to the Aventine. - -_In the valley below us was_ - - -THE CIRCUS MAXIMUS. - -"Tarquinius also built the great circus which lies between the -Aventine and Palatine Hills. He was the first who erected covered -seats round it; for till then the spectators stood on scaffolds -supported by poles. And he divided the places between the thirty -curiae. He assigned to each curia a particular part, so that every -spectator was seated in the place that belonged to him. This work also -became in time one of the most beautiful and most admirable structures -in Rome. The circus is 31/2 stadia in length, and 400 feet in breadth. -Round the two greater sides, and one of the lesser, runs a canal, 10 -feet deep and as many broad, to receive the water; behind the canal, -porticoes are erected three stories high, of which the lowest has -stone seats, as in the theatres, raised a little above the level of -the ground, and the two upper porticoes have wooden seats. The two -larger porticoes are connected into one, and joined together by means -of the lesser, and, meeting, form a semicircular figure; so that all -three constitute one amphitheatral portico of 8 stadia, capable of -receiving one hundred and fifty thousand persons. The other lesser -side is left uncovered, and contains several arched starting-places -for the horses, which are all opened at one signal. On the outside of -the circus runs another portico of one story, which has shops in it, -and habitations over them. In this portico are entrances and ascents -for the spectators at every shop, contrived in such a manner that so -many thousand persons may go in and out without any molestation" -(Dionysius, iii. 69). - -This description is evidently of the building as it stood in the days -of Augustus. Founded by Tarquin, it was extended by Caesar, and kept in -repair and embellished by Augustus, Claudius, Domitian, Trajan, -Constantine, and Theodoric. (See Suetonius, "Caesar," xxxix.; Pliny, -xxxv. 24, xxxvi. 15; Livy, vii. 20, i. 35.) - -The valley in which it stood was originally called the Murzian Valley. -Here Romulus gave the games when the Romans ran off with the Sabine -women. The stream of the Almo runs through it: this branch of the Almo -was taken from the main stream, about six miles from Rome, and made to -pass through the Circus to supply with water the canal made by Caesar -which separated the spectators from the arena. - -Remains of the curve can be seen at the Coelian end, and some -fragments of seats exist under the Palatine. - -_Crossing the site of the Circus, on our right, standing back, is the_ - - -CHURCH OF S. ANASTASIA, - -underneath which is part of two massive tufa towers of the wall of the -kings that surrounded the two hills; and part of the old street called -after Julius Caesar which passed by the side of the Circus, facing on -to which are a row of shops, behind which are some remains of the -seats of the Circus Maximus. - - -THE LUPERCAL - -"was a grotto consecrated to Pan, the most ancient and the most -honoured of all the Arcadian gods. It was surrounded by a wood, and is -contiguous to the Palatine buildings, and is to be seen in the way -that leads to the Circus. Near it stands a temple in which a statue is -placed representing a wolf suckling two children,--they are in brass, -and of ancient workmanship" (Dionysius, i. 76). This grotto, with the -water still flowing out of the rock, still exists under the street at -the corner of the Via de Cerchi, but it is not at present accessible. -It was discovered by Mr. J. H. Parker, C.B., in 1869; and he found -remains of the work of Augustus, who says, in the "Mon. Ancyr.," -"_Lupercal ... feci._" We have been into it, and it exactly answers -the description of Dionysius. - -_From the church we follow the_ VIA DI S. TEODORO. _A decline on the -left leads to_ - - -THE ARCH OF JANUS (?), - -a double arch of considerable magnitude, believed to be that of the -four-headed Janus, the appearance of the structure involuntarily -recalling the celebrated sanctuary of that god in the Forum, with -which, however, it must not be confounded. There is no authority for -calling it the Arch of Janus; we do not know what it was called by the -Romans. In the sides of the piers which support the arch are twelve -niches, apparently intended for the reception of statues. In one of -these is a doorway leading up a narrow staircase to a chamber in the -interior of the building, probably used as a place for business. - -This singular building, which in its present condition has a somewhat -quaint appearance, has evidently been intended for a place of sale. -Being erected over the spot where the two roads intersecting the -cattle-market met, it seems to have marked the central point of the -traffic carried on in this space. - -It is of white marble, old material re-used, and probably of the time -of Constantine. Domitian erected several arches to Janus, but this is -not good enough for his time. - -_By its side is_ - - -THE ARCH OF THE SILVERSMITHS AND CATTLE-DEALERS. - -We are indebted to this inconsiderable little monument--stated in the -inscription to have been raised by the silversmiths and cattle-dealers -to the imperial family of Septimius Severus--for the important -information that the Forum Boarium, mentioned in the legends of the -foundation of Rome, was situated on this spot. The sculptures with -which the arch is ornamented are much defaced, and hidden from view on -one side by the Church of S. Giorgio. Those in the interior represent -sacrifices offered by the emperor and his sons. On one of the side -piers is the figure of Hercules, evidently having reference to this -locality, which was consecrated to him, and in the neighbourhood of -which he had actually erected the Ara Maxima. At the back is a -representation of a ploughman with a yoke of oxen, also in allusion -to the myths, the different threads of which all unite at this point. - -On the inside _right_ are the effigies of Septimius and his wife -Julia; and opposite them were Caracalla and Geta, but the latter has -been cut out, leaving only his brother. On the pilasters, the capitals -of which are Roman, we discover among various field-badges the -portraits of the emperor, his wife, and one of his sons; that of Geta -having been obliterated after his murder, by the order of Caracalla. - -It is rather a misnomer to call this an arch, as it has a flat top. - -_Adjoining is the_ - - -CHURCH OF S. GIORGIO IN VELABRO, - -founded in the fourth century. The architrave above the portico (of -the thirteenth century) is where Rienzi affixed his proclamation -announcing, "In a short time the Romans will return to their ancient -good estate." It is seldom opened, except on its festival, January -20th. The aisles are formed by sixteen different columns, no doubt the -plunder of some other building. It is dedicated to the patron saint of -England, a piece of whose banner is preserved beneath the altar. - -_Proceeding down the low brick archway opposite brings us to_ - - -THE CLOACA MAXIMA, - -originally made by Tarquinius Superbus in the year 138 of Rome, or 530 -years before Christ: part of the actual construction appears to be -original and of that time. It is built of the larger blocks of tufa, -and has a round-headed vault. The German theory is, that this great -drain was originally open at the top, and not vaulted over till the -time of Camillus, after the capture of Veii in the war with the -Etruscans; but the construction does not agree with this. The -additional branch of the Cloaca made by Agrippa to carry off the water -from his thermae near the Pantheon (to supply which the Aqua Virgo was -made), is of brick, after the fashion of his time. This can be seen at -the junction near the Church of S. Giorgio in Velabro or the Janus -Quadrifrons. Several natural streams of water are collected in this -great drain, and still run through it. One, from the Quirinal, runs -straight between the Palatine and the Capitol; a second comes from the -eastern side of the Palatine and the Arch of Titus; a third runs from -the Capitol, the spring being in the lower chamber of the Prison of S. -Peter. All these met near the Forum Romanum, and formed the Lake of -Curtius, which was drained by the great Cloaca. But this drain is not -so low down as the lake is deep; consequently there is always a swamp -there, even now, after much rain. Two other streams fall into it near -the Janus,--one from the direction of the Pantheon; the other from the -western side of the Palatine, coming out of the cave called the -Lupercal, where the water gushes out from under the arch with great -force. This is called the Aqua Argentina, or the Silvery Water, either -from its beautiful clearness, or because it went through the -silversmiths' quarter. - -_Regaining the_ VIA S. TEODORO, _turn left, under the Palatine. On the -right is the_ - - -CHURCH OF S. TEODORO, - -founded by Adrian I., 772-795, and rebuilt, A.D. 1451, by Nicholas V. -This church, from being round, has been called after all sorts of -temples, but there is nothing whatever to show that it was once a -pagan temple. It belongs to a burial fraternity. Over the altar is a -mosaic, of the time of Adrian I., of our Saviour between SS. Peter and -Paul. The Roman women bring their children here every Thursday morning -to be blessed, after their recovery from sickness. It is a very -ancient custom, and may have originated from the sick people who used -to resort to the Fountain of Juturna to drink the waters. - -FOOTNOTE: - -[14] Warm baths which were destined for public use only. - - - - -RAMBLE IV. - - VIA BABUINO -- PIAZZA DI SPAGNA -- TREVI FOUNTAIN -- - PIAZZA SS. APOSTOLI -- COLONNA GALLERY -- FORUM AND COLUMN - OF TRAJAN -- FORUM OF AUGUSTUS -- TEMPLE OF MARS ULTOR -- - ACADEMIA DI S. LUCA -- FORUM OF NERVA -- ALTAR OF MINERVA - -- SITE OF THE HOUSE OF POMPEY -- TORRE DI CONTI -- HOUSE - OF LUCREZIA BORGIA -- S. PIETRO IN VINCOLI -- THE GOLDEN - HOUSE OF NERO AND THE BATHS OF HADRIAN -- THE BASILICAE OF - S. CLEMENT -- TEMPLE OF MITHRAS -- EGYPTIAN OBELISK -- THE - BAPTISTERY -- THE LATERAN MUSEUM AND GALLERY -- S. JOHN - LATERAN -- SCALA SANTA -- VILLA WOLKONSKY -- THE - AMPHITHEATRE -- S. CROCE IN GERUSALEMME -- THE SESSORIUM - PALACE -- S. STEFANO ROTONDO -- NERO'S MEAT-MARKET -- S. - MARIA DELLA NAVICELLA -- ARCH OF DOLABELLA -- VILLA - COELIMONTANA -- SS. GIOVANNI AND PAOLO -- TEMPLE OF - CLAUDIUS -- THE VIVARIUM AND SPOLIARIUM -- RESERVOIR OF - NERO -- CHURCH OF S. GREGORIO. - -UNDER THE EASTERN HILLS. - - -THE ROUTE. - -_From the Piazza del Popolo we take the left-hand street, the Via -Babuino._ The new English church of All Saints is on the right side. -At No. 89, _on the left_, lived Valadier. - -_We now reach_ - - -THE PIAZZA DI SPAGNA. - -This square may be considered as the centre of the English and -Americans in Rome. Here they come for most of their requirements, and -here a great many live. At No. 1, _the corner_, is the well-known -Piale's library and reading-room, the most extensive in Rome, where -one may find any information that he requires as to what is going on -in the city, and, through the newspapers, what is passing at home. -Monti, the poet, lived at No. 9. Mr. Hooker's American Bank is No. 20. -Shelley lived at No. 25; and Keats at No. 26, the right-hand corner -house, by the steps, where an inscription has lately been put up. This -square once formed part of "an artificial lake made by Domitian for -the representation of naval fights. The fleets were as numerous as -those employed in real engagements" (Suetonius, "Dom." 4). - - [Illustration: FOUNTAIN OF TREVI.] - -The principal objects are the fountain LA BARCACCIA, by Bernini, at -the foot of the Spanish Stairs. It is here that the model and flower -girls most do congregate. The column of the IMMACULATE CONCEPTION, -found in the Campo Marzo, is supported by statues of Moses, David, -Isaiah, and Ezekiel. Its summit is crowned by a statue of the Virgin, -in bronze, designed by Poletti. It was erected in 1854. _Beyond_ is -the Collegio di Propaganda Fide, founded in 1662 by Gregory XV. -_Taking the streets on the right of the Propaganda_, VIAS PROPAGANDA -_and_ S. ANDREA DELLE FRATTE, _then the_ VIA DEL BUFALO _on the right, -turning into the_ VIA POLI _on the left, brings us to_ - - -THE FOUNTAIN OF TREVI, - -"which 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-spring by her father's door. 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 its base -appears Neptune with his floundering steeds, and Tritons blowing their -horns, and other artificial fantasies. At the foot of the palatial -facade is strewn, with careful art and ordered irregularity, a broad -and broken heap of massive rock. Over the central precipice the water -falls 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; while other rivulets that had run wild -come leaping from one rude step to another, over stones that are mossy -and ferns planted by nature. Finally, the water, tumbling, sparkling, -and dashing, with never-ceasing murmur, pours itself into a great -marble-brimmed reservoir. The tradition is, that by taking a parting -draught, and throwing a sou in, the traveller will return to Rome, -whatever obstacles seem to beset his path." Such is Hawthorne's -description of this beautiful fountain. - -_Turn to the right_, Via Muratte, the first on the left, Via della -Vergine, brings us into the Piazza SS. Apostoli. _On the right_ is the -Balestra Palace, where Prince Charlie died in 1788. _On the left is_ - - -THE CHURCH OF THE APOSTLES (SS. Apostoli). - -Several fragments are built into the portico, the most interesting of -which is the bas-relief of the eagle which once decorated Caesar's -Forum. The church has been entirely redecorated, and is now reopened. -In the course of the alterations, in 1873, the bodies of SS. Philip -and James the Less were found enclosed in a marble sarcophagus. A new -extensive crypt, decorated after the style of the catacombs, has been -made to receive these remains. - -The heart of Maria Clementina Sobieski is preserved here. - -_Just beyond is_ - - -THE COLONNA PALACE. - -_Open Tuesday, Thursday, Saturday, from 11 till 3. Entry, 17 Via Archi -della Pilotta._ - -The pictures have the names of the artists on them. In the first room -we enter, the collection consists of Colonna portraits; then three -rooms of tapestries, and some ancient draped statues, and a pretty -statue of a dancing girl, "Niobe." - -FIRST ROOM.--Early schools. Holy Family, by Luca Longhi; Boy in a Red -Cap, by Giovanni Sanzio, Raphael's father; Crucifixion, by Giacomo di -Avanzi; Moses, by Guercino. - -SECOND ROOM.--Throne room. - -THIRD ROOM.--Guardian Angel, by Guercino; Peasant Eating, by Annibale -Carraci,--true to life; S. Jerome, by Lo Spagna; Portrait, by Paul -Veronese. _Ceiling_, Apotheosis of Martin V., by Lutti and Battoni. - -FOURTH ROOM.--Landscapes, by Poussin; Battle-pieces, by Wouvermans; -Sea-shore, by Rosa; Cabinet, with reliefs in ivory; Subjects from the -Sistine Chapel. - -THE GREAT HALL.--Ornamented with statues and mirrors. Assumption, by -Rubens; Roman Charity, by Subtermans; Ecce Homo, by Albano; Narcissus, -by Tintoretto; Venus, by Vasari; Rape of the Sabines, by Ghirlandajo; -S. Peter, Madonna, and Child, by Palma Vecchio; Venus and Cupid, by -Bronzino; another, by Salviati; Madonna Liberating a Child from the -Demon, by Nicolo da Poligno. - -SIXTH ROOM.--The _Colonna Bellica_, surmounted by a statue of Mars, -with low reliefs round the column. - -In the Via dei Fornari, _on the right_, at No. 21, lived Michael -Angelo. - -_Crossing the new Via Nazionale, either of the streets on the sides of -the Prefettura leads into_ - - -THE FORUM OF TRAJAN. - -This was the largest and grandest of all the fora, being built to one -design by the celebrated architect Apollodorus of Damascus (Dion -Cassius). No author has given us any detailed account of the beautiful -group of buildings that formed this forum, but what passages there are -tend to show its magnificence. There was first of all an open space, -or the forum proper, surrounded by a double row of shops, one above -the other. In the centre of this space was the colossal equestrian -statue of the emperor (Marcellinus, xvi. 10). Beyond this, crossing -the whole width of the forum, was the basilica called, after the -family name of the emperor, Ulpia. Beyond this was the celebrated -pillar, behind which stood the Temple of Trajan, with the libraries on -either side. The portion excavated is only a small piece of the whole, -which extends under the houses all round. The size of the basilica can -be made out from the gray granite pillars which once supported the -roof. It was sometimes called the Hall of Liberty, from the slaves -receiving their freedom here. - - -THE COLUMN OF TRAJAN. - -A magnificent marble pillar, the pedestal of which concealed the -chamber where the ashes of the emperor were deposited. The bas-reliefs -on the basement are among the most beautiful decorations of ancient or -modern times; they represent the arms taken from the Dacians, against -whom Trajan had made several campaigns. It marks the height of the -Quirinal Hill, cut away to make the open space for the Forum of Trajan -in which it stands. A series of bas-reliefs, representing the Dacian -war, forms a spiral round the shaft of the pillar. Erected A.D. 114. -It is 127 feet high, including the base, and is surmounted by a statue -of S. Peter, 11 feet high, placed there by Sixtus V. in the sixteenth -century. - -The pillar is composed of thirty-four blocks of white marble. The -reliefs are two feet high at the bottom, and gradually increase in -size as they go upwards, thus making the figures at the top and bottom -seem of equal size. There are two thousand five hundred figures, -besides animals and other details. - -Dion Cassius (Xiphilin, Trajan) says: "He erected in the forum that -bears his name a vast pillar, as well to serve as a receptacle for his -bones as to be a monument of his magnificence to posterity. In good -earnest, it was a piece of work that could not be finished without -extraordinary expense, because it was necessary to cut through a -mountain as high as the pillar, to make the level for the forum." - - [Illustration: PLAN OF THE FORUM OF TRAJAN.] - -"The bones of Trajan were put into the pillar we have mentioned; and, -to reverence his memory, sports were celebrated for several years -after, which were called Parthica" (Dion Cassius, "Hadrian"). - -"Trajan, of all the emperors, was buried within the city. His bones, -being put up in a golden urn, lie in the forum which he built, under a -pillar, whose height is 144 feet, Roman" (Eutropius). - -_Going down the_ VIA ALESSANDRINA, _which commences at the left-hand -corner of the above forum, as we come into it, take the first turning -on the left_, VIA CAMPO CARLEO. _The gate on the left leads to the_ -double row of shops that surrounded the Forum of Trajan. _Custodi at -the Forum. Following this street, we pass the_ medieval Torre del -Grillo _on our left. On our right_ are massive remains of the SECOND -WALL OF ROME. (See page xviii.) _Turning to the right under the arch, -we are within_ - - -THE FORUM OF AUGUSTUS. - -"The reason of his building a new forum was the vast increase in the -population, and the number of cases to be tried in the courts; for -which the two already existing not affording sufficient space, it was -thought necessary to have a third. He placed statues of the great -Roman generals in both the porticoes of his forum. In building his -forum, he restricted himself in the site, not presuming to compel the -owners of the neighbouring houses to give up their property" -(Suetonius, "Augustus," lvi.). - -It was restored by the Emperor Hadrian (Spartianus). - - -THE TEMPLE OF MARS ULTOR, - -the Avenger. Vowed by Augustus at the battle of Philippi, B.C. 42, and -erected by him in the centre of his new forum. - -Three beautiful pillars, and part of the wall of the cella and of the -roof of the vestibule, still exist near the Arco dei Pantani, which -owes its medieval name to the marshes caused by the water collecting -in this neighbourhood. They stand upon a substruction only excavated a -few years ago, and present one of the finest specimens extant of a -temple, all the essential parts of which have been preserved. The -gigantic walls of rectangular blocks of tufa, into which the -travertine arch already mentioned was introduced for the purpose of -forming a communication with the other part of the city, are most -imposing, and formed part of the second wall of Rome and the boundary -of the Forum of Augustus. - - [Illustration: TRAJAN'S FORUM.] - -"The Temple of Mars was built in fulfilment of a vow made during the -war of Philippi, undertaken by him to avenge his (adopted) father's -murder. He ordained that the senate should always assemble there when -they met to deliberate respecting wars and triumphs; that thence -should be despatched all those who were sent into the provinces in the -command of armies; and that in it those who returned victorious from -the wars should lodge the trophies of their triumphs" (Suetonius, -"Augustus," xxix.). - -"The Emperor Augustus, being consul with Caninius Gallus, gratified -the eyes and minds of the Roman people, on the occasion of dedicating -the Temple to Mars, with the most magnificent spectacles of gladiators -and a sea-fight" (Velleius Paterculus, ii. 100). - -By entering the stonemason's yard, _opposite_ the temple, we can see -the travertine niches built by Augustus up against the wall of the -kings, to receive the statues which he put up in the porticoes. - -_Passing down this street, Via Bonella, in the direction of the Roman -Forum, on our right, No. 44, green door, is_ - - -THE ACADEMY OF S. LUCA. - -_Open every day from 9 till 3. Fee, half a franc._ The principal -pictures are:-- - -_In the Large Hall._--11. Bacchus and Ariadne, by Poussin. 13. Virgin -and Child, by Vandyck. S. Jerome, a sketch, by Titian. 22. Thirty-five -sea-pieces, by Vernet. 40. Vanity, by P. Veronese. 49. Vanity, by -Titian. 54. A Seaport, by Claude. - -_Room of Portraits._--A portrait of Virginie Le Brun, by herself; -Iris, by Head; and a portrait of H.R.H. the late Duke of Sussex, in -the costume of an officer of a Highland Regiment. 238. The skull shown -in S. Luca belonged to Don Desiderio de Adintorlo, founder, in 1542, -of the Society of the Virtuosi. - -_Saloon of Raphael._--Bacchus and Ariadne, by Guido Reni. 28. Susanna, -by P. Veronese. 29. Calista and Nymphs, by Titian. 22. Venus and -Cupid, by Guercino. 25. Tarquin and Lucretia, by Guido Cagnacci. 26. -The Galatea, copied by Giulio Romano. 27. Fortune, by Guido Reni. 15. -S. Luke Painting the Virgin, by Raphael. A Boy, fresco, by Raphael -(very beautiful and life-like), formerly in a room of the Vatican. - -_Resuming our ramble up the Via Bonella, we take the_ VIA -ALESSANDRINA, _on the right; and the_ VIA CROCE BIANCA, _on the left._ -This was the site of - - -THE FORUM OF NERVA. - -"Domitian erected a forum, which is now called Nerva's" (Suetonius, -"Domitian," v.). It was known by several names, being called after -Domitian, because he commenced it; Nerva, because he finished it; -Pervium, because it was a thoroughfare; Pallas and Minerva, from the -temple that stood in it, and which was destroyed by Pope Paul V. to -build the fountain on the Janiculum; it was also called Transitorium, -because a street passed through it for traffic. The only remains left -are, _on the right_, - - -THE ALTAR OF MINERVA, - -the prettiest bit of ruin in Rome, consisting of Corinthian columns, -which support an architrave adorned with a frieze, and divided by -ressauts, and an attic above. On the attic is a colossal figure of -Minerva, represented in relief as the patroness of labour; on the -architrave the goddess appears engaged in instructing young girls in -various female occupations, and in punishing the insolence of Arachne, -who had ventured to compete with her in the labours of the loom. - -The wall upon which this altar stands was also a piece of the wall of -the kings: in it was evidently a gateway, which was filled in when the -wall was utilized for the altar. In the yard of the large new house -opposite remains of a tower can be seen, probably the tower called -Turris Mamilia. (See Festus.) - -_Leaving this ruin on our right, we proceed up the Via Croce Bianca, -into the_ VIA MADONNA DEI MONTI, _the district of the Suburra._ -(_Carriages must proceed straight on down the Via di Torre di Conti, -and turn up the first street to the left._) - - -SITE OF THE HOUSE OF POMPEY. - -The TORRE DI CONTI, _on the right_, is a massive tower of the middle -ages, built as a fortress, and supposed to stand on the site of the -Temple of the Earth. "Lenaeus, the grammarian, opened a school in the -Carinae, near the Temple of the Earth, where stood the house of the -Pompeys" (Suetonius, "Grammarians," xv.). "Tiberius removed from -Pompey's house in the Carinae" (Suetonius, "Tiberius," xv.). "The house -of Cassius was demolished; and to this day the place remains void, -except that part on which they afterwards built the Temple of the -Earth, which stands in the street leading to the Carinae" (Dionysius, -viii. 79). - -_Going up that street_, we come to some old steps, _on our right_, at -the top of which is the lane that led down from the Carinae to the -Vicus Cyprius, across which was the Sister's Yoke (Dionysius, iii. -22). - -The house at the top of the steps was the - - -HOUSE OF LUCREZIA BORGIA. - -Here Caesar Borgia, Francesco, Duke of Gandia, and Lucrezia, supped with -their mother Vanozza, on the evening that Caesar assassinated the duke, -and had his body thrown into the Tiber, where it was afterwards found -by a fisherman, pierced with nine wounds. _The dark archway leads to -the_ - - -CHURCH OF S. PETER IN VINCOLI. - -(_The Chains of Peter._) - -It has three aisles, with twenty Doric columns of Greek marble, and -two of granite, which support the middle arch. On the first altar, to -the right, there is S. Augustin, by Guercino. On the right of the high -altar is the famous statue of MOSES, by MICHAEL ANGELO, rendered -hideous by two horns sticking out from the forehead. Although we read -that Moses was a horny man, it does not follow that he had horns, but -that his flesh was hard like horn. The S. Margherita, in the adjacent -chapel, is by Guercino; the tribune of the high altar was painted by -I. Coppi. The new confessional, built by Pius IX., contains the tomb -of the seven Maccabees. Here also are preserved the chains of S. -Peter. The last altar but one of the other aisle has a S. Sebastian, a -mosaic of the seventh century. In the sacristy there are the -Liberation of S. Peter, by Domenichino; a Holy Family and Faith, of -the school of G. Romano. Guido Reni's Hope was in this church, but it -has been replaced by a copy, the original having been sold to an Irish -gentleman. - -_From the front of the church a lane on our left_, VIA DELLA -POLVERIERA, _leads, left_ (_carriage right_), _to the_ VIA LABICANE, -_a short distance up which is the entrance to_ - - -NERO'S GOLDEN HOUSE. - -_Entrance through a gate on the left; one of the custodi speaks -English. Fee, one lira; Sundays, free._ - -"He completed his palace by continuing it from the Palatine to the -Esquiline, calling the building at first only 'The Passage;' but after -it was burned down and rebuilt, 'The Golden House.' Of its -dimensions and furniture it may be sufficient to say this much:--The -porch was so high that there stood in it a colossal statue of himself -120 feet in height; and the space included in it was so ample that it -had triple porticoes a mile in length, and a lake like a sea, -surrounded with buildings which had the appearance of a city. Within -its area were corn-fields, vineyards, pastures, and woods, containing -a vast number of animals of various kinds, both wild and tame. In -other parts it was entirely overlaid with gold, and adorned with -jewels and mother-of-pearl. The supper-rooms were vaulted, and -compartments of the ceilings, inlaid with ivory, were made to revolve -and scatter flowers, while they contained pipes which shed scents upon -the guests. The chief banqueting room was circular, and revolved -perpetually, night and day, in imitation of the motion of the -celestial bodies. Upon the dedication of this magnificent house Nero -said, in approval of it, 'that he had now a dwelling fit for a man'" -(Suetonius, "Nero"). - - [Illustration: BATHS OF HADRIAN AND GOLDEN HOUSE OF NERO.] - -"Nero, dressed like a harper, was at the top of a tower in his palace, -from whence he diverted himself with the sight of the fire" (Dion -Cassius). - -On the left of the entrance are the remains of the ORATORIO OF S. -FELICITA, a Christian church of the sixth century. The rooms on the -left of the PASSAGE, substructions formed by Hadrian, are supposed to -have been used as private habitations in the middle ages. On one of -the piers are two snakes (_see below_). At the end of this Passage a -part of the pavement of the HOUSE OF NERO can be seen. LONG CORRIDOR, -penetrated into by Raphael and Giovanni da Udine, who copied the -frescoes for the Vatican. On the vault are some beautiful arabesque -paintings of flowers, birds, and animals; and on the walls two snakes, -with a basin placed between them. Above them is an inscription, now -almost obliterated, telling us that it was the notice equal to our -"Commit no nuisance." - - DVODECIm DEOS IIT DEANAm ET IOVEM - OPTVMVm MAXIMVm HABEAT IRATOS - QUISQUIS HIC MIXERIT AUT CACARIT. - -_Retracing our steps_ down the corridor, and crossing some chambers, -we come to the TRICLINIARIUM, or summer banqueting room, with the -winter rooms on each side, having a southern aspect. At the end of -this room there was originally a garden; and in the basin of the -fountain was the porphyry vase now in the circular hall of the Vatican -Museum. Beyond this is the CAVAEDIUM, an open court or garden, from -which the surrounding apartments received their light. It was -surrounded on three sides with columns, and in the centre was a -fountain: it was subsequently occupied by the substruction arches of -the baths. Adjoining is the CORRIDOR OF RHEA SYLVIA, so called from -the fresco representing the conception of Romulus and Remus. In -another room is a representation of Venus and the Doves. - - -THE BATHS OF HADRIAN. - -On the Plan, the dark lines show the remains of Nero's Palace, which -was nearly destroyed by the Flavian emperors. The remains left were -used by Hadrian for the underground part of his thermae; and by -building walls over the courts and gardens he formed a large platform. -The light lines show his work. The circular wall in front supported -the seats for the stadium attached to the baths above. Remains of some -of the large halls of the baths can be seen in the vineyards above the -House of Nero. Some remains of these baths exist under the Church of -S. Martino. These baths are generally ascribed to Titus; but the -construction, _opus reticulatum_, within bands of brick, shows that -they are of the time of Hadrian. - -_Turn to the left on coming out. A short way up the road, on the -right, is the entrance to the_ - - -CHURCH OF S. CLEMENT, - -belonging to the Irish Dominicans, of which the late Father Mullooly -was prior, to whose instrumentality we are indebted for the discovery -of the ancient church, and the Temple of Mithras beneath it, under the -present edifice. On some occasions (November 23rd, February 2nd, and -the second Monday in Lent) they are illuminated. Father Mullooly has -written a book on his discoveries; it can be purchased of the -sacristan, and will be found very interesting. - -The excavations have been carried out by voluntary subscriptions, and -visitors are expected to make a donation in furtherance of this -object. A book for the names and amounts will be found in the -sacristy. - - -UPPER CHURCH. - -The usual entrance from the street is by a side door, but the proper -entrance is by a gate with a Gothic canopy of the thirteenth century, -which originally formed part of the earlier basilica, thence through -the atrium and quadriporticus, the only perfect ones of Rome. The -aisles are formed by sixteen ancient pillars of different materials -and orders. In the middle of the nave is the choir (514-22) from the -earlier basilica; on each side are the ambones. The walls are adorned -with Christian emblems, and a monogram of Agios--Holy. The nave is -separated from the high altar by an ancient marble screen. Behind is -the presbytery, which contains an ancient episcopal chair, with the -name of Anastasius, who was titular cardinal of the church in 1108, -engraved upon it. Upon the vault is a mosaic of 1297, representing -Christ on the Cross, from the foot of which issue the four rivers of -Paradise, with shepherds and their flocks, and peacocks. On the face -of the arch is a mosaic of the time of Paschal II.--our Saviour; on -either side two angels, and the emblems of the four evangelists; below -are S. Peter, S. Clement, Jeremiah, S. Paul, S. Lawrence, and Isaiah; -at the bottom, Bethlehem and Jerusalem, with the mystic lamb and -sheep. In the chapel, on the right, the statue of S. John is by -Simone; on the left, the picture of the Virgin is by Conca. The -monument composed of two half-columns, with basket-work capitals and -foliage reliefs, is to Cardinal Venerio, who died in 1479. _To the -left on entering_, in the Chapel of the Passion, are the interesting -frescoes by Masaccio (much spoilt by restoration), representing the -Crucifixion, &c., and events from the lives of SS. Clement and -Catherine. _Outside_ the arch, the Annunciation, and S. Christopher -carrying the infant Christ over a stream; _within_, S. Catherine -forced to Idolatry, Instruction of the King's Daughter in Prison, -Dispute with the Doctors, Miracle of her Deliverance, Martyrdom. -Opposite is the history of S. Clement. _Proceeding into the sacristy_, -which is adorned with paintings of various interesting parts of the -more ancient buildings, _a wide stair conducts to the_ - - -LOWER CHURCH, - -founded on the site of S. Clement's house, it is supposed, in the time -of Constantine. S. Jerome says: "The church built to S. Clement keeps -the memory of his name to this day." So that it must have been erected -before A.D. 400. - -An inscription found in the excavations, bearing the name of Pope -Nicholas II., shows that this basilica was perfect in 1061, when -Nicholas died, so that it could not have been destroyed, as some -think, by the earthquake of 896; but it was ruined in 1084, when -Robert Guiscard burned all the public buildings from the Lateran to -the Capitol, when he came to the rescue of Pope Gregory VII. - -The ruin seems to have been purposely filled in by the builders of the -upper church, and all the fittings possible removed into the latter, -which, from the nature of its walls, was evidently constructed in -haste, and before 1099, as Paschal II. was elected pope there on -August 13th of that year. The lower church was discovered in 1857, -when Father Mullooly was making some repairs in the church above. It -consists of a nave and two aisles, formed by a line of ancient columns -of various marbles: the space between each column has been built up to -support the foundations of the church above. - -In descending, the walls are covered with ancient fragments, and a -small statue of the Good Pastor, found in making the excavations; as -also the two sarcophagi and other fragments in the portico of the -ancient basilica. At the entrance, on the left hand, is a painting of -an ancient female figure, and a male head on the opposite wall; a -little further, on the left, Christ surrounded with Saints, giving his -benediction in the Greek manner; opposite, the Miracle at the Tomb of -S. Clement at Cherson.[15] - - THE ANGEL IS PREPARING THAT TOMB SUBMERGED IN THE SEA. - BEHOLD UNHURT HE LIES WHOM HIS RETURNING MOTHER SEEKS AGAIN. - - IN THE NAME OF THE - Portrait of S. Clement. LORD, I, BENO DE RAPIZA,[16] - FOR THE LOVE OF BLESSED - SEEKING ME IN PRAYER, CLEMENT AND THE - BEWARE OF HURTFUL THINGS. SALVATION OF MY SOUL, - HAD IT PAINTED. - -Further along, translation of the relics of S. Clement from the -Vatican to this basilica:-- - - FOR ALL AGES: MAY THE PEACE - OF THE LORD BE EVER WITH YOU. - - --HITHER FROM THE VATICAN IS BORNE (NICHOLAS BEING POPE) WITH - DIVINE HYMNS WHAT WITH AROMATICS HE BURIED. - - --I, MARIA MACELLARIA, FOR THE LOVE OF GOD AND REDEMPTION OF MY - SOUL, HAD IT PAINTED. - -_Right, north aisle_, right hand wall, painting of S. Catherine; -further on, in a niche, Virgin and Child, with two females, SS. -Catherine and Euphemia; below, Abraham and Isaac; at the top, Head of -our Lord; beyond, a Council; the next, above the steps of the tribune, -Christ in the act of giving the Benediction; just beyond, an -inscription:-- - - WHOEVER READS THESE LETTERS OF MY NAME, LET HIM SAY, GOD HAVE - MERCY ON UNWORTHY JOHN. - -Passing into the _nave_, in the right-hand corner, is a fresco of our -Saviour releasing Adam from Limbo. On the left wall, looking towards -the modern altar (erected beneath the one in the church above, under -which are placed the remains of S. Ignatius and S. Clement. Behind -this a door leads to a space, recently excavated, where a portion of -the first church, once covered with marble slabs, may be seen), -Installation of S. Clement by S. Peter; Clement performing Mass; the -Miracle of Sisinius; and Men drawing a Column--all on one pier. - - THE LORD BE WITH YOU THE PEACE OF THE LORD BE EVER - WITH YOU. - - --I, BENO DE RAPIZA, WITH MARY, MY WIFE, FOR THE LOVE OF GOD AND - BLESSED CLEMENT, HAD IT PAINTED FOR A FAVOUR RECEIVED. - - CARVONCELLE. ALBERTEL. COSMARIS. SISINIUS. - - GET BEHIND THE ALBERTEL, FOR THE HARDNESS - COLUMN CARVONCELLE COSMARIS, OF YOUR HEARTS SONS OF - WITH A DRAW IT UP. YOU DESERVE TO _Pute_ DRAW - LEVER. DRAW STONES. IT UP. - -On the inside of this pier are S. Antoninus, and Daniel in the Lions' -Den. On the same wall, higher up, Life, Death, and Recognition of S. -Alexius; above which is our Lord seated, attended by Gabriel, Michael, -Clement, and Nicholas, holding a book. - - STRONG AS THE BONDS OF DEATH. - - THAT IS MY RESIDENCE IN IT; COME UNTO ME, ALL YE THAT LABOUR - YOU SHALL FIND AN ASYLUM. AND ARE HEAVY LADEN, AND I WILL - GIVE YOU REST. - - THE FATHER DOES NOT RECOGNIZE WHO ASKS HIS PITY. - -The arabesque ornament at the bottom is very beautiful. Beyond this, -at the side of the pier, are S. Giles and S. Blasius; at the end of -the wall, S. Prosperius, the Maries at the Sepulchre, Christ releasing -Adam and Eve from Hades, the Supper at Cana, the Crucifixion; and just -beyond, the Assumption (eighth century). - - MOST HOLY SANCTUS VITUS - LORD LEO, POPE - OF ROME. - - THAT THIS PICTURE MAY OUTSHINE THE REST IN BEAUTY, BEHOLD THE - PRIEST LEO STUDIED TO COMPOSE IT. - -Passing into the _south or left aisle_, on the wall, at this end, is a -painting representing the Miracle of S. Libertinus, and one -representing - - WHERE THE ABBOT BEGS PARDON OF LIBERTINUS. - -At the west end of this aisle, over the stairs, are the remains of a -painting of the Crucifixion of S. Peter; and in the right-hand -corner, S. Cyril's parting audience with Michael III. In the opposite -corner is a baptism of some barbarian by S. Cyril, beyond which the -projecting brickwork marks the site of the tomb of S. Cyril. - -The nave is formed by a line of seven columns in their original -places, in a wall of _debris_ built to support the church above. These -columns are of beautiful marbles, and stand upon a wall of the -imperial period, which has been traced for 98 feet. - -At the west end of the north aisle a flight of narrow steps leads down -to a passage, 25 inches wide, formed between massive walls: that on -the right is brick of the imperial period, forming the wall of S. -Clement's house; that on the left, tufa, of the kingly period, being -part of the walls of Servius Tullius. This has been heightened by a -travertine wall of the republican period. The tufa wall has been -traced for 500 feet, and the travertine wall upon it for 410 feet. -About 20 feet is still buried, showing how low ancient Rome was in -this valley. At the end of this passage another flight of steps leads -up into the south aisle. In the centre of the passage is an entrance -through the imperial wall (now blocked up on account of the water) -into - - -THE ORATORY OF S. CLEMENT, - -reached from the south aisle by a broad flight of twenty steps. The -Roman Catholic Church has faithfully handed down the tradition that S. -Clement erected an oratory in his own house, between the Coelian and -Esquiline Hills, which must have been built, as we have seen, close to -the walls of the city--a not unusual thing as the city grew. Several -chambers remain to be excavated at some future time. A long passage -has been cleared out, in which was found a doorway bricked up. This -was broken through, and found to be a - - -TEMPLE OF MITHRAS, - -the Persian sun-god, whose mysteries, Plutarch tells us, were first -brought to Rome by the soldiers of Pompey the Great. "They celebrated -certain secret mysteries, among which those of Mithras continue to -this day, being originally instituted by them B.C. 67." This worship -was finally extirpated in A.D. 394. The temple was found filled up -with earth as though done purposely. It is 30 by 20 feet, and has a -vaulted roof, covered with mosaics, in which are several windows. The -continual dripping of water has destroyed the colour, but the mosaics -can still be distinctly seen. The altar on which the sacrifices were -made was found near the two square pilasters in the passage outside, -and a statue of Mithras was found in three pieces. The altar has been -placed within the temple. It represents an allegorical picture of the -sun's influence upon the earth: A bull represents the earth; Mithras -is plunging a sword into the bull's right shoulder; a dog and a -serpent are emblems of animals nourished by the earth through the -influence of the sun; a scorpion gnawing the scrotum is autumn -bringing decay; youths with torches, erect and depressed on either -side, represent the rising and the setting of the sun. Under -Elagabalus (218-22) and Aurelian (270-75) the worship of the sun was -the national religion of the Romans, and its votaries tried in vain to -establish it, to resist the rapid spread of the worship of the only -true God through Jesus Christ his Son. - -_From S. Clement's we proceed up the hill Via di S. Giovanni in -Laterano._ Near the top, on the right, is the villa of Mr. Warrington -Wood, the English sculptor, in whose grounds there is a tomb of the -republic. Beyond is the square of the Lateran, in which is the highest - - -EGYPTIAN OBELISK - -in Rome, which the inscription informs us was thirty-six years in -cutting. - -From Marcellinus (xvii. 4), we get many interesting details of its -voyage and erection:-- - -"And because the flatterers, who were continually whispering into the -ear of Constantine, kept always affirming that when Augustus -Octavianus had brought two obelisks from Heliopolis, a city of Egypt, -one of which was placed in the Circus Maximus, and the other in the -Campus Martius, he yet did not venture to touch or move this one, -which has just been brought to Rome, being alarmed at the greatness of -such a task,--I would have those who do not know the truth learn that -the ancient emperor, though he moved several obelisks, left this one -untouched because it was especially dedicated to the sun-god, and was -set up within the precincts of his magnificent temple, which it was -impious to profane, and of which it was the most conspicuous ornament. - -"But Constantine deeming that a consideration of no importance, had it -torn up from its place, and thinking rightly that he should not be -offering any insult to religion if he removed a splendid work from -some other temple to dedicate it to the gods at Rome, which is the -temple of the whole world, he let it lie on the ground for some time -while arrangements for its removal were being prepared. And when it -had been carried down the Nile, and landed at Alexandria, a ship of -burden hitherto unexampled, requiring three hundred rowers to propel -it, was built to receive it. - -"And when these preparations were made, and after the aforenamed -emperor had died, the enterprise began to cool. However, after a time -it was at last put on board ship, and conveyed over sea and up the -stream of the Tiber, which seemed as it were frightened lest its own -winding waters should hardly be equal to conveying a present from the -almost unknown Nile to the walls which itself cherished. At last the -obelisk reached the village of Alexandria, three miles from the city, -and then it was placed in a cradle, and drawn slowly on, and brought -through the Ostia gate and the public fish-market to the Circus -Maximus. - -"The only work remaining to be done was to raise it, which was -generally believed to be hardly if at all practicable. And vast beams -having been raised on end in a most dangerous manner, so that they -looked like a grove of machines, long ropes of huge size were fastened -to them, darkening the very sky with their density, as they formed a -web of innumerable threads; and into them the great stone itself, -covered over as it was with elements of writing, was bound, and -gradually raised into the empty air, and long suspended, many -thousands of men turning it round and round like a millstone, till it -was at last placed in the middle of the square. On it was placed a -brazen sphere, made brighter with plates of gold; and as that was -immediately afterwards struck by lightning and destroyed, a brazen -figure like a torch was placed on it, also plated with gold, to look -as if the torch were fully lighted. - -"But the writing which is engraven on the old obelisk in the Circus we -have set forth below in Greek characters, following in this the work -of Hermapion:-- - - [Greek: ARCHEN APO TON NOTION DIERMENEUMENA - ECHEI - STICHOS PROTOS TADE]. - -"The first line, beginning on the south side, bears this -interpretation:--'The Sun to Ramestes the King--I have given to thee -to reign with joy over the whole earth; to thee whom the Sun and -Apollo love; to thee, the mighty truth-loving son of Heron, the -god-born ruler of the habitable earth, whom the Sun has chosen above -all men, the valiant, warlike King Ramestes, under whose power, by -his valour and might, the whole world is placed. The King Ramestes, -the immortal son of the Sun.' - -"The second line is:--'The mighty Apollo, who takes his stand upon -truth, the lord of the diadem, he who has honoured Egypt by becoming -its master, adorning Heliopolis, and having created the rest of the -world, and having greatly honoured the gods who have their shrines in -the city of the Sun, whom the Sun loves.' - -"The third line:--'The mighty Apollo, the all-brilliant son of the -Sun, whom the Sun chose above all others, and to whom the valiant Mars -gave gifts. Thou whose good fortune abideth for ever; thou whom Ammon -loves; thou who hast filled the temple of the Phoenix with good -things; thou to whom the gods have given long life. Apollo, the mighty -son of Heron; Ramestes, the king of the world, who has defended Egypt, -having subdued the foreign enemy; whom the Sun loves; to whom the gods -have given long life--the master of the world--the immortal Ramestes.' - -"Another second line:--'The Sun, the great God, the master of heaven. -I have given unto thee a life free from satiety. Apollo, the mighty -master of the diadem; to whom nothing is comparable; to whom the lord -of Egypt has erected many statues in this kingdom, and has made the -city of Heliopolis as brilliant as the Sun himself, the master of -heaven,--the son of the Sun, the king living for ever, has co-operated -in the completion of this work.' - -"A third line:--'I, the Sun, the god, the master of heaven, have given -to Ramestes the king might and authority over all; whom Apollo, the -truth-lover, the master of time, and Vulcan, the father of the gods, -hath chosen above others by reason of his courage; the all-rejoicing -king, the son of the Sun, and beloved by the Sun.' - -"The first line looking towards the east:--'The great god of -Heliopolis, the mighty Apollo, who dwelleth in Heaven, the son of -Heron, whom the Sun hath guided, whom the gods have honoured. He who -ruleth over all the earth, whom the Sun hath chosen before all others. -The king, valiant by the favour of Mars, whom Ammon loveth, and the -all-shining god, who hath chosen him as a king for everlasting.'" - -_On our right of the obelisk is_ - - -THE BAPTISTERY, - -said to have been erected by Constantine. Eight columns of porphyry -support a cornice, upon which are eight smaller columns; these sustain -the cupola. The font is of green basalt. A tradition says Constantine -was baptized here, though Socrates says he received Christian baptism -at Nicomedia just before his death. Gibbon says Rienzi bathed in the -font on the night before he was made a knight. The two side chapels, -dedicated respectively to John the Baptist and John the Evangelist, -are said to have been made out of the house of Constantine. The -mosaics are of the fifth century, after the arabesque paintings in the -Baths of Titus. _Adjoining_ is the Oratory of S. Venantius, in which -is a mosaic of the seventh century--our Saviour in the act of giving -his blessing. Two grand porphyry columns, supporting an entablature, -formed the portico of the baptistery, opposite side to where we -entered. There is a mosaic vault of the sixteenth century in the left -chapel of this portico, and in the opposite one a good S. Philip Neri -by Guido. - -_On our left of the obelisk is_ - - -THE LATERAN PALACE. - -From the time of Constantine to 1377 this was the palace of the popes. -In 1843 Gregory XVI. founded the museum. The original palace was -destroyed by fire in the time of Clement V., and the present pile was -built from the designs of Fontana in the pontificate of Sixtus V. It -was subsequently used for many years as an hospital. - -_On our left is the entrance to_ - - -THE LATERAN MUSEUM. - -_Ring the bell on the right in the passage, if the custodian is not at -the door. The custodian will conduct you over, if desired; and he can -give a good account of the objects of interest. It is open every day -from 9 till 3, and is comprised in sixteen rooms. Fee, half a franc -each person. The principal objects are as follows_:-- - -FIRST ROOM.--Bas-reliefs: Procession of Lictors and Senators, with -figure of Trajan, found in his forum; Dares and Entellus, boxers, a -fragment, found near the Arch of Gallienus; part of a sarcophagus, -with the history of Mars and Rhea Sylvia, Diana and Endymion; a Circus -Race; Helen and Paris; Soldier and Wife Parting; Leucothea feeding the -Infant Bacchus. Bust of Marcus Aurelius; pavement mosaic of Boxers, -from Baths of Caracalla. - -SECOND ROOM.--Portions brought from the Forum of Trajan, representing -arabesques, children, chimeras, griffins. - -FOURTH ROOM.--Faun of Praxiteles, copy; bust of the Young Tiberius; -bas-reliefs, Medea and Pelias's Daughters; statue of Mars; Germanicus; -sepulchral cippi and bas-reliefs, found on the Via Appia. - -FIFTH ROOM.--Stag in gray marble; a Cow; Mithraic group; mutilated -figure of a lynx; bust of Scipio; an altar with bas-reliefs, one -representing cock-fighting. - -SIXTH ROOM.--Statues of members of the family of Augustus, found at -Cervetri, 1839: Drusus, Agrippina the elder, and Livia, full figures; -Tiberius and Claudius, sitting; Germanicus and Britannicus, in armour; -Head of Augustus. Inscriptions to the members of the family; a -bas-relief of an altar; recumbent statues of Silenus. - -SEVENTH ROOM.--Statue of Sophocles, the best object in the museum; a -Dancing Faun; female draped figure; Apollino; sepulchral inscriptions, -from the Columbaria of the Vigna Codini (see page 283), to Musicus -Scuranus of Lyons, a tourist to Rome, who died there, with the names -of the persons of his suite, on jamb of door. - -EIGHTH ROOM.--Statue of Neptune; curious bas-reliefs, a man surrounded -with masks; Cupid and Mars. - -NINTH ROOM.--Fragments from the Forum. - -TENTH ROOM.--Bas-reliefs from the tomb of the Aterii, representing a -temple, with a crane moved by a tread-wheel for hoisting stones. -_Opposite_, monuments in Rome, the Arch of Isis, Colosseum, Arch of -Titus, and the Temple of Jupiter Stator. (See page 95.) Cupid and -Dolphin. - -ELEVENTH ROOM.--Bas-reliefs of Boxers; Diana Multimammae. - -TWELFTH ROOM.--Three large sarcophagi; Niobe and her Children; Orestes -and the Furies; festoons and masks. A very interesting well-head, not -unlike that represented on a denarius of Scribonus Lebo, and which -stood in the Forum Romanum. - -THIRTEENTH ROOM.--Busts of the Furia family, found on the Via Appia; -statue by Dogmatius; alto-relief of Ulpia Epigoni; fragments of a -colossal porphyry statue; two fluted spiral columns of pavonazzetto -marble. - -FOURTEENTH ROOM.--Unfinished statue of a captive barbarian, with the -measuring points still in; mosaic masks, with the name of the artist, -HERACLITUS, in Greek. On each side is a distinct mosaic representing -an unswept floor after a banquet, such as Pliny (xxxvi. 60) ascribes -to Sosus, "who laid, at Pergamus, the mosaic pavement known as the -'Asarotos Oecos,' from the fact that he there represented, in small -squares of different colours, the remnants of a banquet lying upon the -pavement, and other things which are usually swept away with the -broom, they having all the appearance of being left there by -accident." In a corner of this room is a terra-cotta siphon. - -FIFTEENTH ROOM.--Objects found at Ostia, in the window-cases, between -a mosaic niche of Silvanus and his dog. _Opposite_ are, Agrippina; -Head of Atys; Woman, unknown. - -SIXTEENTH ROOM.--Fragments found at Ostia, in case in window; -sepulchral urns; recumbent statue of Atys; leaden water-pipes. On the -walls are frescoes: a pagan funeral banquet, time of Hadrian; Pluto -carrying off Proserpine; Orpheus; Ops giving Saturn stones to swallow -instead of his sons; a guinea-fowl and fruit. There is also a very -beautiful bronze statuette of one of the Three Fates. - - -THE CHRISTIAN MUSEUM. - -_Entrance to the right in the court. Fee, half a franc._ - -Founded by Pius IX., and composed of Christian antiquities. There are -many bas-reliefs, fragments, inscriptions, mosaics, &c., worthy of -admiration. - -The CORRIDOR, _upstairs_, is decorated with Christian inscriptions -from the Catacombs. The oldest is A.D. 238. They relate to persons, -dogmas, rites, and ranks of the clergy of the early Christians. - -From the end of the corridor on the left two rooms open out, -ornamented with copies of frescoes found in the Catacombs. - -_Sometimes the entrance is made from the court through the_ - -LONG HALL.--Sitting statue of S. Hippolitus, found near S. Lorenzo -fuori le mura. On the chair is the Paschal Calendar in Greek, composed -A.D. 223, and a list of Hippolitus's writings. - -LANDING OF THE STAIRS.--Bas-relief of Elijah ascending to heaven. This -hall is decorated with a number of sarcophagi of the early Christians, -found in the early churches and catacombs. They are placed so as to -illustrate how the tombs were situated in the vestibules of the -catacombs. - -_From the Loggia upstairs we enter the_ - - -PICTURE GALLERY. - -FIRST ROOM, or Mosaic Hall.--This beautiful mosaic was found in the -Baths of Caracalla, and represents full length figures and busts of -boxers, each occupying a separate panel, some having the names upon -them. The walls are decorated with scenes from the life of Constantine -the Great. - -SECOND ROOM.--Early medieval frescoes from old churches. Frescoes cut -from the walls of the Church of S. Agnese fuori le mura. Paintings of -prophets and birds, from the crypt of the Church of S. Nicolo in -Carcere. - -THIRD ROOM.--_We commence with the left-hand wall immediately on -entering the different rooms._ Crowning the Madonna, by Lippi; S. -Thomas receiving the Belt from the Virgin, by Benezoto Gozzoli; Scenes -from Life of the Virgin, by the same; S. Antonio, by Antonio di -Murano; Madonna, by Carlo Crivelli, 1482; Virgin and four Saints, by -Bartolo di Murano, 1481; Assumption, SS. Lawrence and Benedict, -Catherine and Gertrude--all three by Cola di Amatrice, 1515; S. -Jerome, by Santis, _in tempera_; mosaic flooring from the Palazzo -Sorra on the Via Nazionale. - -FOURTH ROOM.--Holy Family, by Andrea del Sarto; Annunciation, by -Francia; Virgin and Saints in fresco, by Botticelli; Crucifixion, a -fresco; Baptism of Christ, by Caesar da Sesto; a panel, by Perugino; -copy of the Transfiguration; copy of Giulio Romano's Coronation; -Deposition, by Luca Signorelli; S. Stephen, a sketch, by Giulio -Romano. - -_From here we enter into two off-rooms containing_ statues, busts, and -reliefs, representing North American Indian life, by Pettrich. - -FIFTH ROOM.--Madonna of the Belt, by Spagna; the Virgin with S. John -and S. Jerome, by Marko Palmezzano, 1500; three tapestries; S. Peter, -by Fra Bartolomeo; Sixtus V., by Domenichino; S. Paul, by Bartolomeo; -Madonna and Saints, by Palmezzano; Sixtus V. as Cardinal Peretti, by -Sassoferrato; mythological subject, by Paul Veronese; a Pagan -Sacrifice, by Caravaggio. - -SIXTH ROOM.--Cartoons of Volterra; Annunciation, by Arpino; Christ and -the Tribute Money, by Caravaggio; the Supper at Emmaus, by Caravaggio; -copy of Guercino's Assumption, original in Russia; copy of -Domenichino's S. Andrew; "The First Gentleman in Europe," by Lawrence; -S. Thomas, by Cammuccini; a Head, by Vandyck. - -SEVENTH ROOM.--Cartoons of Maratta's, for S. Peter's dome; a Greek -Baptism, by Nocchi, 1840. The last room contains plaster casts of -ancient statues. - -_On the left coming out of the Museum is the back entrance to the -Church of S. John. Enter here, and pass out to the front._ The bronze -statue on the left of the back portico is that of Henry of Navarre. - - -S. GIOVANNI IN LATERANO. - - "The mother and head of the churches of the city and of the - world." - -This church was founded by Constantine, and took the name of _Lateran_ -from its occupying the site of the Palace of Plautus Lateranus, the -senator, who suffered under Nero. After having existed for ten -centuries, it was almost entirely destroyed by fire in 1308. It was -rebuilt by Clement V., and embellished by other popes. Clement XII. -had the facade executed from the design of Galilei. It is of -travertine, with four large columns and six pilasters of the -Composite order, which support a cornice surmounted by a balustrade, -on which are placed colossal statues of Jesus and several saints. -Between the columns and the pilasters there are five balconies; that -in the middle was used for the papal benedictions. Beneath the -balconies are as many entrances, which lead into the magnificent -covered portico (_loggiato_), decorated with twenty-four pilasters of -the Composite order. In this portico is placed the colossal statue of -Constantine found in his baths. Notice the beautiful bronze doors -which came from the Senate House in the Forum. - -_The interior_ is divided into a nave and two aisles by four ranges of -pilasters. The architect was Borromini, who covered the ancient -columns which divide the middle aisles from the side ones with -pilasters, forming five arches, corresponding to an equal number of -chapels. Each of these pilasters is decorated, on the side of the -middle aisle, by two fluted pilasters, supporting a cornice which goes -round the church. Between these there are twelve niches, each -ornamented by two columns of verd-antique, containing the statues of -the apostles. The Corsini chapel, _first chapel on left of front -entry_, is one of the richest in Rome. It was executed by Clement XII. -from the design of Galilei, in honour of S. Andrew Corsini. The -porphyry sarcophagus of Clement XII. was brought from the portico of -the Pantheon, and is supposed to have contained the remains of -Agrippa. The subterranean chapel contains the remains of the Corsini -family. On the altar is the beautiful statue "Piety," said to be by -Bernini or Montanti. - -This splendid church contains many chapels, decorated with paintings -and statues worthy of attention. On the second pier of the right aisle -is Giotto's Boniface VIII. - -The Gothic Tabernacle above the high altar, containing the heads of -Paul and Peter, is a fine piece of workmanship of the fourteenth -century, restored by Pius IX. In front of the Confession is a bronze -tomb of Martin V., by Simone, Donatello's brother. Since 1876 the -transepts and the apse have been closed to the public; but on -Ascension day 1886, with grand religious ceremonies, they were again -thrown open to public view, _having been restored_. The frescoes in -the transept, representing scenes in the life of Constantine by -artists of the seventeenth century, have been touched up; the gold -work has been regilded, and the appearance of newness has been -imparted to the whole. At the end of the right transept, looking -towards the tribunal, is the grand organ and a banner captured from -the Saracens. The left transept contains the altar of the Sacrament -by Paolo Olivieri, the four gilt bronze columns being, it is said, -from the Temple of Jupiter Capitolinus, made by Augustus out of the -beaks of the fleet of Mark Antony and Cleopatra. Above the altar is -the finest fresco in the basilica, the Ascension by Arpino, 1600. To -the right is the Colonna chapel. The altar-piece is by Arpino, the -roof by Croce, whilst the portrait of Martin V. is by S. Gaetano. In -the recent restorations the old choir, tribunal, and the corridor of -Leo I., 440-61, which surrounded it, have been destroyed, and a new -one erected sixty-seven feet longer than the old one--a very -unnecessary piece of work and vandalism. The church was quite large -enough for any ceremonies that take place in it. The whole praise of -_this restoration_ is claimed by Leo XIII.; but it is only just to -Pius IX. to record that he initiated and left money to continue the -work, although he is ignored in the laudations. In the four corners, -above the spring of the arches, are doctors of the Eastern and Roman -Churches--Ambrose, Augustine, Chrysostom, and Anastasius. On the left, -above organ, the Commission submitting the Plans to Leo XIII.; on the -right, Innocent III. approving the Doctrine of Transubstantiation -(1215)--both the work of Francesco Grandi. The mosaic on the vault of -the apse belonged to the old apse, and has been considerably -_restored_ in moving it from one to the other. It is the work of -Jacopo da Turrita and Gaddo Gaddi (1292). At the top is the Almighty's -head surrounded by angels; from the Father proceeds the Holy Spirit (a -dove) to the Cross (which represents the Son) erected on the mountain -from which flow the four rivers of paradise round the heavenly -Jerusalem, the gates of which are guarded by an angel. Two harts and -sheep drink of the waters; saints are on either side; the Virgin has -her hand on the head of Nicholas IV., who had the mosaic done. The -apostles below, between the windows, are by Jacopo di Camerino, of the -same period. The base of the tribunal is inlaid marble imitation -cosimati work of the thirteenth century, as is also the Bishop's -Throne, reached by a flight of steps. The Bishop of Rome takes his -title from S. John's Lateran, hence this church has precedence over -all others. The Bishop of Rome is by right thereof Papa, Pope, or -Father of the Roman Church. Since the death of the last bishop, Pius -IX., February 20, 1878, the chair has been vacant; for some fanciful -reason Leo XIII. has never taken possession of his bishopric. - -_The Cloisters_ of the twelfth century are interesting, and contain -many curious architectural remains. - -Pope Leo XIII. intends to establish in the Lateran Palace a -university, under Cardinal Mazzella, for the scientific and literary -study of the clergy. - -_Passing out into the piazza at the front, on the right are_ - - -THE GATES, - -PORTA S. GIOVANNI, opening on to the Via Nova Appia, _and near by, to -the right_, the walled-up ancient PORTA ASINARIA, _best seen from the -outside_, through which Belisarius entered Rome, and which the -Isaurian guard betrayed to Totila, December 17, 546. The open we are -now rambling over was anciently called the Mirror. _On the left_ is -the end wall of the dining-hall of the ancient Palace of the Lateran, -on which is a copy of an ancient mosaic of the time of Leo III. _In a -building behind this is the_ SCALA SANTA. - - -BARRACKS OF THE EQUITES SINGULARES. - -On the right of the Scala Santa, parallel with the Via Tasso, the -Barracks of the Equites Singulares, or Horse Guards of the Emperors, -of the time of Hadrian, were discovered in March 1886. A noble hall 90 -feet long, containing many inscriptions, raised by the discharged -veterans, was discovered; also fragments of statues, and one nearly -perfect of the youthful Bacchus, a work that we may class with the -school of Praxiteles. - - -THE SCALA SANTA - -consists of twenty-eight marble steps, which, it is supposed, our Lord -came down after his mock coronation in the judgment-hall of Pilate. -The blood from his bleeding brow marked certain of the steps, and -these are kissed by the ascending faithful, the knees of whom so wore -away the marble that it is now covered with a wooden staircase, in -which through slits the marble is seen. They are said to have been -brought from Jerusalem (where it formed the stairs to Pilate's house) -by the mother of Constantine. By ascending these stairs on the knees, -a thousand years' indulgence is secured to those who believe it. -Dickens said, "The sight was ridiculous in the absurd incidents -inseparable from it--to see one man with an umbrella unlawfully hoist -himself with it from stair to stair, and a demure old lady of -fifty-five, looking back every now and then to assure herself that her -legs were properly disposed." On the feast of the Assumption, the -sacred picture "Acheirotopeton" (made without hands) is exposed to -view. This picture is said to have been drawn in outline by S. Luke, -and before he commenced to fill the colours in, it was found finished -by invisible hands. - - [Illustration: THE SCALA SANTA.] - -From the front of the church a charming prospect of the Campagna is -obtained. - -To the right of the stairs is the Kiss of Judas; on the left, Ecce -Homo, by Giacometti. At the left of the hall, Christ Bound to the -Pillar, _opposite_ Pius IX. - -Martin Luther had made the ascent half-way, when he suddenly stood up, -turned about, and walked down. He said that a voice had whispered to -him, "The just shall live by faith." The Sancta Sanctorum at the top -is only open to the Pope, who alone can officiate, and on the day -before Palm Sunday to the canons of the Lateran for adoration. The -stairs can only be ascended on the knees. _Behind is_ - - -THE VILLA WOLKONSKY. - -_Open on Wednesdays and Saturdays. Permission to be had at the Russian -Consulate, Piazza Feoli Corso._ - -The grounds are tastefully laid out, and are intersected by the arches -of Nero's aqueduct. From the roof of the casino, to which the gardener -will conduct you (fee, half a franc), a beautiful view may be enjoyed -at sunset, looking far away over the Campagna. In the grounds is the -columbaria of the family of T. Claudius Vitalis, an architect. - -_Returning, first turning on the left_, passing over the open space -skirting under the walls, the curve is part of - - -THE AMPHITHEATRUM CASTRENSE, - -(_Amphitheatre of the Camp_,) - -of the time of Caligula, A.D. 39, and incorporated by Aurelian into -his wall. It is of beautiful brickwork; the columns, of the Corinthian -order, are best seen from outside the wall. It was built near the -camp, that the soldiers might have their games without going into the -city and mixing with the people. - -Suetonius ("Caligula," xxxi.) says, "He began an amphitheatre near the -septa or barracks of the soldiers." Dion Cassius records, "That on one -occasion, when the Emperor Caligula was in want of criminals for -combats, he seized a number of citizens, and after tearing out their -tongues that they might not complain, he had them brought into the -arena, where they were compelled to fight." - -_Adjoining is the_ - - -CHURCH OF S. CROCE IN GERUSALEMME, - -erected by S. Helena. The interior has three aisles divided by -pilasters, and with eight columns of Egyptian granite. The high altar -is adorned by four columns of breccia-corallina, which support the -canopy. Under the altar is an ancient urn, which contains the bodies -of the holy martyrs Anastasio and Cesario. The frescoes of the vault -of the tribune are by Pinturicchio. The subterranean chapel of S. -Helena is decorated with paintings by Pomarancio, and with mosaics by -B. Peruzzi. Ladies are not allowed to enter this chapel, except on the -saint's day. The church was erected in - - -THE SESSORIUM PALACE, - -which was built by Sextus Varius, father of Elagabalus. This was -afterwards turned into the Palace of Helena, near which were her -baths, remains of which exist in the adjoining vineyards; also of the -reservoir; which remains are called by some the TEMPLE OF VENUS AND -CUPID, from a statue found there. A Venus with Cupid at her feet, -supposed to be the likeness of Salustia Barbia Orbiana, the wife of -Alexander Severus, from an inscription on the pedestal saying that it -was dedicated to Venus by one Salustia. - -In the "Excerpta Valesiana de Odac" (lxix.) it is mentioned as "the -palace called Sessorium." In the buildings at the _back_ of the church -remains of a large palace can be traced. It is said by tradition that -it took its name from a basilica which stood here where the cases of -the slaves were tried. Another is, that here was the Praetorium or -headquarters of the Praetorian prefect of the city. "It is said that -Maximin, the prefect, had a small cord always suspended from a remote -window of the Praetorium, the end of which had a loop which was easily -drawn tight, by means of which he received secret information" -(Marcellinus, xxviii. 7). The ruin to the left of the church has all -the appearance of a basilica. - -_Returning past the Lateran, a lane by the side of Mr. Warrington -Wood's, via_ S. STEFANO ROTONDO, following the aqueduct, leads to the -remarkable - - -CHURCH OF S. STEFANO ROTONDO, - -supposed to be formed from the remains of - - -NERO'S MEAT-MARKET. - -A coin representing this market agrees with the architecture of the -church. "Then Nero celebrated a feast by way of thanksgiving for his -preservation, and dedicated the market-place where meat is sold" (Dion -Cassius). - -The church is open all day on the 26th of December, being the saint's -day. _On other days, ring the bell at the door on the right._ It is -133 feet in diameter. The outer circle consists of thirty-six columns, -and the inner of twenty. There was originally another outer circle: -this was destroyed, and the space between the columns of the second -circle, present outer, filled in to make the walls of the church. In -the centre two Corinthian columns support a cross wall. The tabernacle -contains the relics of S. Stephen. The frescoes by Pomarancio on the -walls, representing martyrdoms, are simply disgusting. In the -vestibule is an ancient episcopal chair, from which S. Gregory read -his fourth homily. - -_Left from the church, and left again, we enter the_ PIAZZA DI -NAVICELLA. - -_In the piazza_ is a small marble ship, placed here by Leo X., near -where it was found, this place having been the camp of the sailors. -_The church opposite is that of_ - - -S. MARIA DELLA NAVICELLA, - -or S. Maria in Dominica, only open on the second Sunday in Lent. It -was restored by Leo X. from designs by Raphael. The Doric portico is -by Michael Angelo. It has eighteen fine columns of gray granite. The -mosaics in the tribune are of the ninth century. The frieze over the -windows of the nave is by Giulio Romano and Pierino. - -_To the right of the church_ are remains of the Monastery of - - -S. TOMMASO IN FORMIS, - -founded by Innocent III. as the headquarters of the Trinitarians or -Redemptorists, whose mission was to rescue blacks and whites from -slavery. The mosaic by Cosmati, A.D. 1260, is the coat of arms of the -order. Just beyond is a Gothic arch, part of their buildings. _Beyond -this_ the arch spanning the road is the - - -ARCH OF DOLABELLA AND SILANUS. - -Built of travertine, and erected, as the inscription informs us, by -the above consuls, A.D. 10. It was used by Nero to support the -aqueduct to his reservoir. Here is the hermitage of S. Giovanni di -Matha, 1213, who founded the Redemptorists. - -_Through the arch on the left is the entrance to_ - - -THE VILLA COELIMONTANA, - -the residence of Baron Hoffmann, who kindly admits visitors on their -leaving their cards at the iron gate. Many fragments of antiquity are -spread about the grounds, from which there are some fine views. -Remains have been found of a Roman fire-station of the fifth cohort of -Vigili, whose names are on the pedestals dedicated by them to Marcus -Aurelius. - - -THE OBELISK - -was erected by Duke Mattei, but only a very small part of it is -Egyptian. The fragment was found in making the present sloping way up -to the Capitol, and presented by the magistrates to the duke. It is -the only one not re-erected by a pope. It is said that when the -architect was directing its elevation, he forgot to take his hand off -the pedestal, and that the block was lowered on his hand, which was -amputated, the hand being left between the blocks. - -At the corner of the grounds, towards the Baths of Caracalla, under a -medieval building, is the FOUNTAIN OF EGERIA. (See page 275.) - -_Opposite the entrance to the villa is the_ - - -CHURCH OF SS. GIOVANNI E PAOLO, - -whence Cardinal Howard takes his title. It was erected in the fourth -century on the site where the martyrdom of the above saints took -place, by Pammachus, the friend of S. Jerome. They were officers of -Constantine's household, and were put to death by Julian. The medieval -portico is formed by eight marble and granite pillars. The aisles are -formed by sixteen ancient columns; the pavement is of _opus -Alexandrinum_; the stone surrounded by a railing is said to be that on -which the martyrs suffered death. The outside of the medieval apse is -rare. - -_To the left of the church, and beneath the adjoining Passionist -Convent_ (_ring at the door on the right_), are the remains of some -solid unfinished stone arches, supposed to be - - -THE TEMPLE OF CLAUDIUS. - -Seutonius tells us that Vespasian erected the Temple "of Claudius on -the Coelian Mount which had been begun by Agrippina, but almost -entirely demolished by Nero." - -Frontinus (xx. 76) tells us that the arches of Nero ended at the -Temple of Claudius. Now we have been following these arches for some -distance, and they end here. - -_Below the temple was_ - - -THE VIVARIUM, - -or menagerie for the Colosseum. The arches have been laterally closed, -leaving small apertures of communication. The vivarium consists of -eight immense arches two stories high, formed from blocks of -travertine. The substructions occupy a large extent of the convent -gardens. A massive portion supports the elegant medieval campanile, of -the thirteenth century, one of the best preserved in Rome. _Beneath -this_ are some subterranean chambers hewn out of the tufa, supposed to -be - - -THE SPOLIARIUM, - -a prison for condemned gladiators. The younger Pliny says "it was a -cruel receptacle for those adjudged worthy of torture." - -The gardens of the convent are built upon the top of - - -THE RESERVOIR OF NERO. - -Suetonius tells us "he made a reservoir like unto a sea," which no -doubt was afterwards used to supply the Colosseum with water for the -naval combats. The quadrata of the Coelian is artificially formed, -and was evidently the great nymphaeum connected with the Golden House. -The water was brought from the Claudian Aqueduct at the Porta Maggiore -upon arches, known as Nero's Arches, which ended near the Temple of -Claudius, and these arches end in the gardens now supported by the -walls forming the quadrata. The niches and hemicyclia on the east -side, with their channels of supply behind, were evidently fountains, -and the west side was probably similar in character, some of the -specuses still existing. The front towards the Colosseum formed a -grand cascade, the water falling into the reservoirs, the ruins of -which we see in advance of the north wall of the quadrata, and at a -lower level; from these it poured into the great stagnum or lake -below, now occupied by the Colosseum. Signor Alberto Cassio found -specuses all around the top, and a euripus or channel at the base; and -stalactites and _opus signinum_ can still be seen there. - -_Turning to the right_ we pass under some medieval arches--flying -buttresses--to support the church. _On the left_ are some remains of -the house of Gregory; and, _on the right_, the wood of the Coelian. -_This hill was the ancient Clivus Scauri. To the left_ the steps lead -up to - - -THE CHURCH OF S. GREGORIO, - -whence Cardinal Manning takes his title. It is built on the site of -the house of Gregory the Great, and was erected in the seventh -century. Its interior is embellished with sixteen granite columns. The -painting above the altar is by Sacchi, and the _predella_ beneath by -Luca Signorelli. In a small side-chapel on the right is an ancient -marble chair, and in a glass case numerous relics of various saints -_Crossing the atrium_, in which is a monument to Sir Edward Carne, -envoy from Henry VIII., _we come to_ the three detached chapels of-- - -S. SILVIA, which contains a beautiful fresco of the Father, with -angels playing on instruments, by Guido Reni. It is built on the site -of the house of S. Gregory, remains of which can be seen behind the -chapel. - -S. ANDREW, containing the rival frescoes of Guido Reni and -Domenichino--S. Andrew adoring the cross on his way to execution, and -the Flagellation of S. Andrew. - -S. BARBARA, containing the marble table on which S. Gregory feasted -every morning twelve poor pilgrims. On one occasion an angel is said -to have honoured them with his presence. The statue of the saint was -begun by Michael Angelo, and finished by his pupil, Niccolo Cordieri. - -Between the church and the chapels is a massive piece of tufa wall, -supposed to have been part of the fortifications of the Coelian Hill -when it was a separate fortress. - - -MUSEO URBINO. - -In the wood in front of S. Gregorio, on the right going towards the -Arch of Constantine, is the new City Museum, containing many objects -of high historical interest arranged in chronological order. - -FOOTNOTES: - -[15] The inscriptions are translated and placed on the page to show -their relative positions on the frescoes. - -[16] See page 282. - - - - -RAMBLE V. - - THE PINCIO -- THE FRENCH ACADEMY -- CHURCH OF TRINITA DEI - MONTI -- VIA SISTINA -- PIAZZA BARBERINI -- BARBERINI - GALLERY -- MONTE CAVALLO -- THE QUIRINAL PALACE -- THE - ROSPIGLIOSI PALACE -- COLONNA GARDENS -- CAPITOLIUM VETUS - -- TORRE DELLE MILIZIE -- VIA MAGNANAPOLI -- S. AGATA -- - S. LORENZO IN PANE E PERNA -- THE HOUSE OF PUDENS, THE - BATHS OF NOVATUS, AND THE CHURCH OF S. PUDENZIANA -- SCENE - OF TULLIA'S IMPIETY -- BASILICA OF S. MARIA MAGGIORE -- - CHURCH OF S. MARTINO -- SETTE SALE -- THE AUDITORIUM AND - GARDENS OF MAECENAS -- ARCH OF GALLIENUS -- S. ANTONIO -- - NYMPHAEUM OF ALEXANDER SEVERUS -- TOMBS OF MAECENAS AND - HORACE -- BATHS OF GALLIENUS -- S. BIBIANA -- THE AGGER OF - SERVIUS TULLIUS -- THE PRAETORIAN CAMP -- TEMPLE OF FORTUNA - PRIMIGENIA -- PIAZZA DI TERMINI -- BATHS OF DIOCLETIAN, - AND CHURCH OF S. MARIA DEGLI ANGELI -- VIA NAZIONALE -- S. - PAUL'S WITHIN THE WALLS -- FELICE FOUNTAIN -- THE NEW - MINISTRY OF FINANCE -- FLAVIAN TEMPLE -- THE UNFAITHFUL - VESTAL'S TOMB -- SALLUST'S VILLA -- VILLA LUDOVISI -- - CHURCH AND CEMETERY OF THE CAPPUCCINI -- TABLE OF EGYPTIAN - OBELISKS IN ROME. - -ON THE HILLS, EAST. - - -THE PINCIO. - -_From the Piazza del Popolo, a sloping, winding road leads up to_ the -favourite promenade of the Romans and Forestieri, who stroll and drive -here every day, and listen to a military band by which the place is -enlivened in the afternoons. _Ascending_, its terraces are -interspersed with fountains and statues, and there is a fine large -bas-relief on the wall opposite the two columnae rostratae adorned with -the prows of ships. The name of the hill is derived from the Pincii -family, whose estates were upon it towards the close of the empire. It -was formerly known as the Hill of Gardens, from those of Lucullus, -which passed to Valerius Asiaticus, and were coveted by Messalina. It -abounds in walks and shady nooks, interspersed with fountains and the -busts of Italia's great men. The side farthest from the city -overlooks the Villa Borghese. At the extreme corner is a fragment of -the old wall of Sylla--Muro Torto. From the terrace the scene below, -in the piazza, is quite a study:--beyond is the winding Tiber and its -round fortress of S. Angelo, the roof of the Pantheon, the columns of -Aurelius and Trajan, the Capitol and Milizie Towers, and the Quirinal -Palace; whilst between Monti Mario and the Janiculum is the world's -cathedral, with its vast dome towering high above all: this dome is -best seen at a distance, where the eye can embrace its full -proportions, for immediate proximity dwarfs its immensity. - -_In the centre of the grounds is_ - - -THE EGYPTIAN OBELISK, - -which has on it the inscription ANTONINUS OSIRIS ORACLE (Utterer of -truth). It was brought by Hadrian from Egypt, and erected by himself -and his wife Sabina to his favourite Antinoues, in the Varianus Circus, -amidst which ruins, near S. Croce in Gerusalemme, outside the walls, -it was found. - -_Passing out of the grounds by the road that runs parallel to the -city, on our left is_ - - -THE FRENCH ACADEMY, - -or Villa Medici, _open every day from 8 till 12, and from 3 till -dusk_. The gardens are tastefully laid out, and several fine views may -be obtained from them. The MUSEUM OF CASTS (of statues not in Rome) -will repay a visit. - -_Proceeding up the avenue, just beyond, on the left, is the_ - - -CHURCH OF TRINITA DEI MONTI, - -erected by Charles VIII. of France. Visitors should attend vespers -here, the nuns singing choral service; it commences half an hour -before Ave Maria. Over the altar of the side-chapel, in entering, is a -beautiful Descent from the Cross, the masterpiece of Daniele da -Volterra. - - -THE EGYPTIAN OBELISK - -was found in the gardens of Sallust, and placed here by Pius VI. in -1789. It is 48 feet high without the pedestal, and is supposed to have -been brought to Rome by Hadrian. It is thought by some to be only a -copy of the original in Egypt. Marcellinus says it stood in the -gardens of Sallust. - -At No. 9 Piazza Trinita dei Monti, Poussin lived; and Zuccari lived at -64 Via Sistina, close by. Beyond, the Via Cappo la Casa runs out to -the right: adjoining the Church of S. Giuseppe is the New Museum of -Industrial Art. Open every day from 9 till 3; fee, 50 centesimi. _By -the Via Sistina we reach the_ - - -PIAZZA BARBERINI. - -It has in the centre a beautiful fountain, by Bernini, with four -dolphins supporting a shell, in which is a Triton; it throws water to -a great height. _Proceeding up the Via delle Quattro Fontane, on the -left is the_ - - -BARBERINI GALLERY. - -(_Palazzo Barberini._) - -_Open every day from 12 till 4. Catalogues are lent for the use of -visitors._ - -It contains paintings by the first masters. The statue to Thorwaldsen, -in the garden, was lately erected by Mr. Wolff, Thorwaldsen's pupil. -The library is open from 9 till 2 on Thursdays. - -FIRST ROOM.--Fresco on vault, Triumph of Glory, by Cortona; 16. Joseph -and Potiphar's Wife, by Beliverti; 21. S. Cecilia, by Lanfranco. - -SECOND ROOM.--48. Madonna, by Francia; 63. His Daughter, by Raphael -Mengs; 74. Adam and Eve, by Domenichino. - -THIRD ROOM.--73. The Slave, by Palma Vecchio; 81. Portrait, called the -Stepmother of Beatrice Cenci (?) by Caravaggio; 82. The Fornarina, by -Raphael; 83. Lucrezia Cenci, the mother of Beatrice Cenci (?), by -Scipione Gaetani; 85. The so-called Beatrice Cenci, by Guido. This is -nothing more or less than Guido's model, and the same face can be seen -in the Aurora, and in the fresco at S. Gregory's. It could not -possibly be Beatrice, for Guido did not come to Rome till sixteen -years after her death. 86. Death of Germanicus, by Poussin; 90. Holy -Family, by Sarto. - -The inscription on the right side of the palace records the campaign -of Claudius in Britain. - -_Proceeding up the_ QUATTRO FONTANE, at the top of the hill are four -river gods acting as fountains. The church at the left corner of Via -del Quirinale is S. Carlo, its space being equal to the area of one of -the piers which supports the dome of S. Peter's. _Turning down this -street_, the church on the left is - - -S. ANDREW'S, - -on the site of the Temple of Quirinus (Romulus). It contains the tomb -of Emanuele IV. of Sardinia, who abdicated in 1802, and died a monk in -1818. The church is a little gem. - -_At the end of the street is the square_ - - -MONTE CAVALLO. - -In the centre is a fountain, with granite basin 26 feet in diameter, -which formerly stood in the Forum; also two beautiful colossal -horse-tamers in marble, supposed to be Castor and Pollux by some, by -others, Alexander and Bucephalus. The Latin inscriptions state one of -these colossi to be the work of Phidias, the other of Praxiteles. Both -were presented to Nero by Tiridates, king of Armenia. They once -ornamented the Baths of Constantine, and have never been buried. The -whole is surmounted by an Egyptian obelisk found near the Mausoleum of -Augustus. _On the left_ is the king's - - -QUIRINAL PALACE. - -It numbers some splendid apartments, containing many works of art; and -the gardens are of considerable extent. It is the residence of King -Humbert, and is accessible to the public; but should the royal family -be at home, the private apartments are not shown; otherwise it may be -readily viewed on presenting your card at the entrance. Guido Reni's -beautiful picture of the Annunciation is in the small private chapel, -as also the frescoes of the life of the Virgin, by Albani. The casino -in the gardens is decorated with frescoes by Oritonti, Battoni, and -Paolini. The palace was founded by Gregory XIII. in the year 1574, and -completed by Clement X., several intermediate popes having done much -for its extension and embellishment, notably Clement VIII. Urban VIII. -enclosed and added the present garden, and Gregory XVI. and Pius IX. -made the palace what it is--that is to say, one of the most sumptuous -and attractive palaces in Italy. Few of our readers will require to be -informed that the Quirinal was the place appointed for the conclave -when the new Pope was elected, and that Pope Pius IX. was the last -successor of S. Peter who was proclaimed from the balcony overhanging -the principal entrance. - -_On the left, beyond the fountain, within the high wall, is the_ - - -ROSPIGLIOSI PALACE. - -_Open on Wednesdays and Saturdays from 9 till 3; entrance upstairs to -left of gate._ - -It is celebrated for its casino, containing Guido Reni's Aurora; it -also contains many pictures, ancient sculptures, and fragments of -frescoes, from the Baths of Constantine, on a portion of the site of -which it is built. The principal paintings in the palace are:-- - -CENTRE ROOM.--Head of Christ, by Jesse; Vanity, by Titian; Mater -Doloroso, by Sassoferrato. - -LEFT ROOM.--Our Saviour Bearing the Cross, by Daniele da Volterra; -Head of Goliath, by Domenichino; the Deposition, a sketch by Rubens; -Perseus Rescuing Andromeda, by Guido Reni. - -RIGHT ROOM.--Diana and Venus, by Lawrence Lotto; Adam and Eve, by -Domenichino; Samson's Death, by Caracci. - -_Opposite is the entrance to_ - - -THE COLONNA GARDENS. - -They contain several antiques and remains of the cornice of Aurelian's -Temple of the Sun. Looking down a chasm, we see remains of the Baths -of Constantine. Under the cypress trees are several sarcophagi, and -the stem of the pine tree planted on the day Rienzi died. There is -also a fine piece of the tufa wall that made the seven hills one city. - - -THE CAPITOLIUM VETUS. - -_To the right from the gardens, the_ VIA QUIRINALE brings us to the -new Via Nazionale. Where this winds round is a piece of a wall of the -kings. Plutarch ("Numa," xiv.) and Solinus (i. 21) tell us that Numa -lived upon the Quirinal, where he built an arx (Hieron. i. 298), -called, after the Capitoline Hill was so named, CAPITOLIUM VETUS. In -it was a temple to Jupiter (Varro, "L. L." v.; Martial, v. 22). In -those days a tongue jutted out here towards the Capitoline Hill, and -this piece of wall bars the way to it, so it is probably a piece of -the arx that defended the tongue. - -The lofty brick tower is - - -THE TORRE DELLE MILIZIE, - -within the precincts of the Convent of S. Catherina di Sienna, -supposed to have been built upon a cella formerly occupied by Trajan's -soldiers. This tower is called by the Roman _valets de place_ "Nero's -Tower," from his having sat there and fiddled whilst Rome was burning. -Now, as this tower was built in 1210 by Pandolfo della Suburra, the -senator, it could not have been the tower Nero fiddled on. Besides, -Suetonius says, "This fire he [Nero] beheld from a tower in the house -of Maecenas," which was on the Esquiline, where remains have been -recently found. - -The VIA PANISPERNA, to the left, descends into the valley between the -Quirinal and Viminal hills. In the valley _to the left_ of the street -is - - -THE CHURCH OF S. AGATA IN SUBURRA, - -where the heart of O'Connell is deposited. _Keeping straight on, up -the slope of the Viminal_, VIA PANISPERNA, at the top of the hill is - - -THE CHURCH OF S. LORENZO, - -who is said to have been martyred under Claudius II., A.D. 269, having -been cooked to death on a gridiron. Here are also the relics of S. -Crispin and S. Crispinian. The church is on the site of the baths of -the daughter-in-law of Constantine, Olympia. The two seated statues, -Menander and Posidippus, in the Vatican, were found here, and were for -a long time worshipped as saints. - -_Close by is the Church of_ S. LORENZO IN FONTE, said to be over the -site of the prison of S. Lawrence, and a fountain is shown where he -baptized his converts. - -_Descending_ the slope of the Viminal, we strike the VIA URBANA, on -the line of the ancient VICUS PATRICIUS. - -_Proceeding up the Via Urbana, on the left is the_ - - -HOUSE OF PUDENS. - -(_S. Pudenziana._) - -The church stands back from the street, with a handsome new front, -restored by Cardinal Buonaparte. Cardinal Wiseman was titular cardinal -of this church. _It is only open at a very early hour--on May 19th all -day, and on the third Tuesday in Lent. The custodian is to be found at -161, next door to the church._ A flight of steps leads down to the -church. The door is formed with ancient spiral columns, and eighth -century Christian reliefs; above are some modern frescoes of Peter, -Pudens, Pudentiana, and Praxedes. There is a picturesque campanile. - -The present church was formed out of the great hall of the Baths of -Novatus after A.D. 108; the baths being erected in the time of -Domitian adjoining the house of Pudens, who founded in his house a -Christian oratory before A.D. 96. This oratory exists below the -present church, which was formed by Bishop Pius, who died in A.D. 157. -The church below is the oldest Christian church in the world, and -existed in the time of S. Paul, who, writing to the Romans (xvi. 13), -says, "Salute Rufus chosen in the Lord, and his mother and mine." This -Rufus was Aulus Rufus Pudens, who held an official position in the -southern province of Britain, and married Gladys (Claudia), the -daughter of Caractacus, the British chief. He was likewise -half-brother of S. Paul, and the friend of Martial the poet. The -apostle, writing to Timothy from Rome (2 Tim. iv. 21), says, "Eubulus -greeteth thee, and Pudens, and Linus, and Claudia, and all the -brethren." Linus was the second son of Caractacus, and was the first -bishop of the Church of Rome ordained by Paul. - -From Cyllinus, the eldest son of Caractacus, descended Constantine the -Great, born and bred, and proclaimed emperor, in Britain. Thus the -first Bishop of Rome and the first Christian emperor were undoubtedly -Britons of royal British blood. - -In the tribune of the church is a beautiful mosaic of the time of -Adrian I., A.D. 772-795, who built the apse inside the wall of the -large hall. The old wall can be seen on the outside, the mosaic -representing our Saviour on a throne, with four of the apostles on -each side, and Pudentia and Praxedes behind; the paintings above are -by Pomarancio. In the left aisle is a well, containing, it is said, -remains of the martyrs--some remains are shown. At the end of this -aisle is the chapel of S. Peter; the mosaic pavement belonged to the -baths. On the left is a copy of the inscription from the catacomb of -S. Priscilla: "BENE MERENTI CORNELIAE PUDENZIANAE." Under the altar is a -sponge said to have been used by the two sisters to collect the blood -of the martyrs. Above is a relief, by Giacomo della Porta, of Peter -receiving the keys from Christ. On the left of this aisle opens the -Chapel of the Gaetani--rich in marbles. The roof is in mosaic, -representing the four Evangelists, and over the door are -representations of the sisters Pudentia and Praxedes collecting the -blood of martyrs. They are by Rossetto, designed by F. Zuccari (1600). -The altar-piece, by Paolo Olivieri, is the Adoration of the Magi. _For -a more detailed account of this interesting church, see our_ -"Footsteps of S. Paul in Rome." - -Retracing our way down the Via Urbana, we come to where the Via di S. -Lucia in Selci goes off at an angle to the left. Here was - - -THE SCENE OF TULLIA'S IMPIETY. - -With our face towards the angle, it will be noticed that the Via S. -Lucia divides the Esquiline Hill into two spurs: that on our _left_ -was called the CISPIUS, that on our _right_ the OPPIUS. The Via -Leonina Suburra, at our back, was the ancient Vicus Cyprius; the point -of the angle being its summit; the Via S. Lucia was the Clivus Urbius. -Up this latter street, on the right, an ascent, the ancient Clivus -Pullius, leads to S. Martino a Monti. "Tarquinius Superbus lived on -the Esquiline, above the Clivus Pullius, at the Fagutal Grove." -"Servius Tullius lived above the Clivus Urbius" (Solinus, i. 25). - -Having thus fixed the topography, we shall see how Livy's account of -the murder and impiety (i. 48) agrees with it. "Servius Tullius had -arrived at the top of the Vicus Cyprius, when he was overtaken and -slain by some sent after him by Tarquinius. Tullia, in returning home -from the Forum, had arrived at the top of the Vicus Cyprius, where the -Temple of Diana lately stood. She was just _turning to the right_ to -ascend the Clivus Urbius, which led to the top of the Esquiline Hill, -when the charioteer stopped and showed her her father's dead body -lying across the street; but she bade him drive over the dead body, -and arrived home bespattered with her father's blood. From this -unnatural deed the name of the street was changed to Vicus Sceleratus, -the wicked street." (See Dionysius iv. 39.) - -_From here follow the Via Urbana, turn to the right up the_ VIA S. -MARIA MAGGIORE _to the church, which we enter at the back, and pass -through_ - - -THE CHURCH OF S. MARIA MAGGIORE. - -In the foreground is an Egyptian obelisk 63 feet high. The church was -founded A.D. 352. It is 120 yards long by 50 wide. Its columns are of -the Ionic and Corinthian orders. The interior is of three aisles, and -has thirty-six Ionian columns of white marble, from the Villa of -Hadrian at Tivoli. The high altar is formed of a large urn of -porphyry, covered by a slab of marble, which is supported by four -angels in gilt bronze. The canopy, erected by Benedict XIV., is -supported by four columns of porphyry, surrounded by gilt palms. The -four angels in marble were sculptured by P. Bracci. Under the high -altar is the beautiful Confession, done by Vespignani, by order of -Pius IX., in 1863, in which is preserved the relic of the cradle of -the Saviour, and the bodies of S. Matthew and other saints. Here the -late Pope was to be buried; but he would not allow his successor to -ask leave of the Italian government, burial inside the walls being -prohibited, and in his will he directed that his body should be -interred in S. Lorenzo outside the walls. The monument is by -Jacometti. - -The mosaic pictures over the arches on each side are of the fifth -century--a long series of panels of Scripture subjects, the historical -books of the Old Testament. - - [Illustration: BASILICA OF S. MARIA MAGGIORE.] - -The Arch of Triumph over the altar is of the same period. Those on the -vault of the tribune are of the thirteenth century. On the loggia, -over the front entrance, is another very fine mosaic picture of the -fourteenth century. _On the left of the high altar is the_ - - -BORGHESE CHAPEL. - -The altar-piece is of jasper; the painting of the Virgin and Child is -said to be by S. Luke. Above is the bronze bas-relief representing the -miracle of the snow which fell in August A.D. 352 upon the exact space -occupied by the basilica. The frescoes are by Guido, Lanfranco, -Arpino, and Cigoli. - -The monuments of Paul V. and Clement VIII. are composed of beautiful -bas-reliefs representing scenes in their lives. - -_Opposite is the_ - - -SIXTINE CHAPEL, - -erected by, and containing the tomb of, Sixtus V. It was lately -restored by Pius IX., who was to have had his temporary resting-place -here, behind the altar. The altar is a representation of the tomb of -our Saviour at Jerusalem, and is a splendid piece of workmanship. -Beneath it is preserved part of the manger. Opposite the lower altar -is a statue of S. Gaetano, by Bernini. The frescoes of the dome, -representing the hosts of heaven, are beautifully executed by Podesti. -The monument to Sixtus V. is by Valsoldo; that to Paul V. by L. de -Sarzana. The bas-reliefs represent historical subjects of the two -pontificates. - -_Leaving the church by the end opposite to that by which we entered_, -we find ourselves in the piazza, which contains a handsome column, -taken from the Basilica of Constantine by Paul V. It is surmounted by -a figure in bronze representing the Virgin. The column is forty-seven -feet high, without the base and capital. _On the left of the church is -the_ - - -COLUMN OF HENRY IV. - -In 1873 the column of an inverted cannon, which stood in front of the -Church of S. Antonio Abate, erected in 1596 to commemorate the -reconciliation of Henry IV. of France to Clement VIII., was removed in -altering the level of the road. At the time of its removal, a majolica -vase was discovered under the base, which on being lately opened was -found to contain a large brass medal, bearing the following -inscription:-- - - IN HONOREM PASSIONIS D. N. JESU CHRISTI ET B. V. MARIAE AC - S. ANTOINI ET OMNIUM SANCTORUM, REVERENDUS DOMINUS. - -Carolus Anison Galeus, preceptor generalis preceptoriae ejusdem S. -Antoini prope Albam, terram Petragoricensis Dioceseos et Vicarius in -Prioratu S. Antoini de urbe suis propriis expensis posuit. Sedente -Smo domino nostro Clemente VIII. Pont. Opt. Max. anno domini -MDXCVI. - -The column has now been re-erected, but not inverted, on the east side -of S. Maria Maggiore, and the vase and its coin re-interred beneath -it. - -It appears that Louis XIV. caused the original inscription on the base -of the column to be removed, and this has lately been found in the -convent of S. Antony, recording that the column was erected in memory -of the Christian absolution of Henry the Fourth of France and Navarre. - -_In front of S. Maria Maggiore, on the right, Via S. Prassede, is_ - - -THE CHURCH OF S. PRAXEDES, - -erected in 823 by Paschal I., and restored by Nicholas V. in 1450, and -more lately by Carlo Borromeo. The main entry from the Via di S. -Martino, consisting of the original portico, sustained by two granite -Ionic columns, is seldom open. The entrance in use is on the side from -the Via S. Praxedes. Sixteen granite columns, with composite capitals, -divide the nave from the aisles. Double flights of steps of _rosso -antico_ lead up to the tribune. On each side of the altar, over choir -gallery, are remarkable columns of white marble, with foliage -ornaments. In the middle of the nave is a so-called well, in which -Praxedes is said to have collected the remains of martyrs. - -The MOSAICS are a striking feature of this church. They belong to the -time of Pope Paschal I., and, like those in S. Cecilia and S. Maria in -Navicella, are interesting as illustrating the low depth to which this -art had sunk in Rome at that period. - -On the tribunal, our Lord stands on a mound, from which issues the -river of life, JORDANES. On his left are S. Paul, S. Pudentiana, and -S. Zeno; on his right S. Peter, S. Praxedes, and Paschal, the last -carrying a model of the church which he built. He has a square nimbus, -which shows that he was alive when the mosaic was executed. Beneath is -a lamb with a nimbus, and with six sheep on either side, representing -Christ and his apostles; at the extremities, Bethlehem and Jerusalem. -Below is the inscription:-- - -"_This holy fabric shines decorated with varied metals in honour of -Praxedes, pleasing to our Lord above the heavens, by the care of the -Sovereign Pontiff Paschal, nursling of the apostolic chair; who, -burying many bodies of saints, puts them under these walls, that by -the benefit of their prayers he may merit to enter the gates of -heaven._" - -The oil painting of Praxedes is by Maria Dominico Muratori of Bologna. -On the vault of the arch are flowers growing from two pots, and in the -centre the monogram of Paschal. On the face of the tribunal are, in -the centre of the arch, the Lamb, with three candlesticks on one side -and four on the other, allegorical of the seven mysteries; on either -side angels and the emblematical figures of the four apostles; then -the four and twenty elders casting down their golden crowns, as at St. -Paul's. These mosaics are evidently copied from those at SS. Cosmo and -Damiano. On the face of the Arch of Triumph is the vision of S. -John--our Saviour, with angels, Pudentiana, Praxedes, and the -apostles, within the walls of the heavenly Jerusalem, the gates of -which are guarded by angels. Other angels approach leading groups of -the faithful, below whom are the martyrs with their palms. On the -vault of this arch are mosaics similar to those of the tribunal. - -The sacristy in the right aisle contains a Crucifixion by the -Florentine artist Augustino Campelli, 1581, and a Flagellation by -Giulio Romano. The second chapel contains Christ Bearing the Cross, by -F. Zucchero, and on the roof the Ascension, Prophets and Sibyls, by -D'Arpino. The next chapel has pictures from the life of Carlo -Borromeo, and his chair and table. By the main door is a slab of -_nero-bianco_ granite, on which S. Praxedes is said to have slept. The -second chapel on the right, coming up, contains the Eternal Father, by -Borgognone, and a Deposition, by Vecchi. The next is the - -CHAPEL OF S. ZENO. Two columns of rare gray porphyry support the -sculptured frieze of the doorway, above which are mosaics of heads in -two rows: top row, Christ and the Apostles; second row, Virgin and -Child, with members of the family of Pudens. Over the altar is a piece -of a column, in black and white marble, said to be that to which Jesus -was tied at his flagellation. The mosaic on the roof represents the -Saviour supported by four angels. Over the altar is a Virgin and -Infant, with Pudentiana and Praxedes. Opposite is the Lamb on a Rock, -from which flows a stream, with four harts drinking. Opposite the -entrance is S. John the Baptist and the Virgin. On the left are SS. -Agnes, Pudentiana, and Praxedes, and over the door the throne of God, -with SS. Peter and Paul. On the right are James, Andrew, and John. -Ladies are forbidden to enter this chapel, under pain of -excommunication, except on the first Sunday in Lent, and on Palm -Sunday. - -The adjoining chapel contains the tomb of Cardinal Cetivej, 1474, on -which is his recumbent statue, with reliefs of Paul, Peter, -Pudentiana, and Praxedes. The Flagellation is by Francesco Guidi. The -chapel at the end contains the reclining figure of the French Cardinal -Anchera, 1286; signed _Christianus Magister fecit_. - -In the crypt, beneath the high altar, are some fourth century -Christian sarcophagi, said to contain Pudentiana, Praxedes, and -others; also a beautiful cosimati altar and a ninth century fresco of -the Madonna and Child. - -The custodian will here tell you that there is a subterranean -communication between this crypt and the Catacombs, but that it is now -walled up. This passage exists only in his fertile imagination; the -Catacombs _do not_ communicate with any of the churches in Rome. - -The first floor of the tower contains remains of a fresco, time of -Paschal, illustrating the life of S. Anne. - -_The Via dello Statuto, on the right of the Via Merulana, contains_ - - -A ROMAN VILLA, - -discovered on the right in forming this street in 1884-5. Considerable -remains of a nymphaeum were found, and a beautiful aedicula, with its -statues _in situ_; from this some steps led down into a Mithraic cave. -As soon as the building going on here is finished, these remains will -be opened to the public. - - -PRIMITIVE TOMBS. - -Not the least interesting discovery in this neighbourhood was that of -a number of primitive tombs formed with local stone, shaped like the -Campagna huts. It is curious that after upwards of two thousand five -hundred years of burial, the remains of the early inhabitants of the -Palatine, Coelian, and Quirinal hills, should be brought to light on -the Esquiline, which was the burial-ground till the days of Maecenas, -and be another confirmation of the truth of early Roman history. - - -THE CHURCH OF S. MARTINO - -was erected by Symmachus, A.D. 500, on the site of the Church of S. -Silvester, in the time of Constantine. The nave is formed by -twenty-four ancient columns, said to have come from Hadrian's Villa. -The Confession, beneath the high altar, leads to the more ancient -church formed out of part of the Baths of Hadrian. It was here that -the Councils of A.D. 352-356 were held, when the acts of the Council -of Nicaea were condemned and burned. The landscape frescoes in the -upper church are by the brothers Poussin. - -_From here we can best visit (No. 10 up the lane, turn round to the -left)_ - - -THE SETTE SALE, - -which was a reservoir for the Colosseum. It consists of nine parallel -chambers, communicating with each other by arches placed obliquely, to -prevent the pressure of the water on the walls. Between this and S. -Maria Maggiore was found the Laocoon, now in the Vatican, by Felix de -Freddis, as we are informed by the inscription on his tomb in the -Church of Ara Coeli. It was found in 1506, in the same niche where -Pliny tells us it was admired in his time. - -_Returning down the lane into the Via Merulana, turn right. Upon our -left were_ - - -THE GARDENS OF MAECENAS, - -which, we learn from various ancient authors, were situated on the -Esquiline. Horace, speaking of them, says: "Now it is possible to live -on the Esquiline, for it is a healthy spot, especially to wander on -the sunny agger." Suetonius, speaking of the great fire in Nero's -time: "This fire he [Nero] beheld from a tower in the house of Maecenas -on the Esquiline." "Here was a common burying-place for wretched -paupers" (Horace). Hence it must have been outside the Wall or agger -of Servius Tullius, remains of which have been found on the left-hand -side of the road leading from S. Maria Maggiore to S. Giovanni in -Laterano. Close to this part, and inside the agger, a chamber has been -excavated, evidently - - -THE AUDITORIUM, - -or lecture-hall of Maecenas, the entrance being formed through the -agger. It is 24 metres 40 centimetres long, by 10 metres 60 -centimetres broad. The wall supporting the roof, in which was the -window, is nearly eight metres high. On each side of the hall the -walls contain six niches decorated in the Pompeian style. At the -farther end of the hall is a sort of tribune composed of seven -circular steps in tiers, once faced with marble. From here the author -recited. In the circular wall behind these, which forms the end of the -hall, are five more niches. The floor is below the surrounding level, -probably to keep the building cool during the summer months. Its -height was about forty feet. - -It may be that in this auditorium Virgil read his "Georgics" to -Maecenas, as he says,-- - - "I sing, Maecenas, and I sing to thee.... - O thou! the better part of my renown, - Inspire thy poet, and thy poem crown; - Without thee, nothing lofty can I sing." - -Or Horace, his Odes recited to Maecenas' praise,-- - - "You that are both my shield and glory dear." - -The auditorium now serves as a local museum. It is open every Thursday -from 9 till 11 and 3 till 5. _Permissions_ must be obtained at the -Archaeological Office at the Capitol. - -_N.B._--Owing to the new quarter of Rome being built here, the roads -are very much cut up and changed in this neighbourhood. - -_Retracing our steps towards the Basilica, turn to the right up the_ -VIA S. VITO. _At the corner_ is the Gothic Church of the Holy -Redeemer, built by a Mr. Douglas, who went over to the Roman Church. -_Up the street is_ - - -THE ARCH OF GALLIENUS, - -erected in 262 in honour of the emperor, by Marcus Aurelius Victor. It -is plain and unadorned, and only the central arch is preserved. - -_Passing under the arch, turn to the left_, there are some remains of -the agger. _Beyond, on the opposite side of the street, is the_ - - -CHURCH OF S. ANTONIO ABBATE, - -where the animals are blessed on January 17th. The round doorway is -the only one of its sort in Rome. - -_To the right we reach the new Piazza Vittorio Emanuele. On our left -is_ - - -THE NYMPHAEUM - -of Alexander Severus, called the Trophies of Marius. It derives this -appellation from the marble trophies formerly placed in the two side -niches, and thence transferred to the parapet of the flight of steps -leading up to the Capitol. This splendidly decorated reservoir was the -nymphaeum of the Emperor Alexander Severus, and is represented on a -coin. It was to the Aqua Julia what the Trevi Fountain was to the Aqua -Virgo. A portion of the aqueduct which supplied the water is still -standing. _Just beyond are_ - - -THE TOMBS OF MAECENAS AND HORACE. - -The first consists of a sepulchre of rubble work in a circular form, -now surmounted by a cottage; the second, near it, is a stable, with -two columns in front. Horace was buried near Maecenas. Suetonius tells -us: "He was interred, and lies buried on the skirts of the Esquiline -Hill, near the Tomb of Maecenas." - -These tombs were ruthlessly destroyed by the municipality in 1884. -_From the square the road leads to some remains of_ - - -THE BATHS OF GALLIENUS, - -miscalled the Temple of Minerva Medica, from a statue of the goddess -discovered here. It is a circular building, 80 feet in diameter, and -its walls contain numerous niches for statues; it was surmounted by a -lofty cupola, which fell in a short time ago. This building was no -doubt the sudatorium of the baths of Gallienus, which stood in his -gardens and occupied this ground. In the fragments of chambers -adjoining, terra-cotta pipes for the supply of hot water may still be -seen. - -_The road from here leads to_ - - -THE CHURCH OF S. BIBIANA, - -built in commemoration of her martyrdom. At the early age of eighteen, -during the prefecture of Apronianus, she was first scourged, and then -stoned to death. The church contains eight antique columns, and -frescoes from the saint's life by Cortona and Ciampelli. Her statue at -the high altar is the work of Bernini, and is considered to be his -masterpiece. The _fete_ of S. Bibiana is the S. Swithin's day of the -Romans, who have a saying that "if it rain on this day it will -continue to do so for the next forty." We are not superstitious, but -we cannot help wishing that the saint will smile upon us. The Church -of S. Bibiana was built in the fifth century, on the site of the house -where the virgin-martyr is believed to have lived. It was in a great -measure rebuilt by Pope Urban VII., and is only open on the Friday -after the fourth Sunday in Lent, and on the 2nd of December, the -anniversary of the saint. - -_Passing by the church, the road leads us through the new quarter of -the town. Passing the remains of a tower in the Agger, we turn to the -right, and pass the railway station through another section of the new -quarter. Behind the custom-house is a fine piece of the Agger and the -Porta Viminalis. Beyond, the barracks occupy the site of_ - - -THE PRAETORIAN CAMP, - -founded by Sejanus, the minister of Tiberius Caesar, and destroyed by -Constantine. The walls consist of brickwork, and have corridors on the -inside, decorated with stucco and paintings. The camp was between the -Portae Viminalis and Nomentana, and forms a square projection in the -present wall. It was outside the agger of Servius Tullius. The north -wall is of the time of Tiberius; the east was rebuilt in the fourth -century; the south has been reconstructed out of old square stones, -probably material taken from the west or city wall (which has never -been found), or from fragments of the Agger of Servius Tullius. To -write the history of the Praetorian Camp would be equivalent to writing -the history of Rome from Tiberius to Constantine. Here murderers were -made emperors, and the empire put up to auction. Hence the Praetorians -sallied out to attack the citizens, who in their turn assailed the -camp. Here the guilty found asylum, and the innocent death. - -_Near the camp stood_ - - -THE TEMPLE OF FORTUNA PRIMIGENIA. - -Its site is now occupied by the Piazza del Macao. Fragments of the -temple were found in August 1873, and an inscription to the goddess; -also the statue of a female member of the Claudian family. - -"Quintus Marcius Ralla, constituted commissioner for the purpose, -dedicated the Temple of Fortuna Primigenia on the Quirinal Hill. -Publius Sempronius Sophus had vowed this temple ten years before, in -the Punic War, and, being afterwards censor, had employed persons to -build it," A.U.C. 558 (Livy, xxxiv. 53). - -_Returning past the station, we come to the open space of the_ - - -PIAZZA DI TERMINI, - -a rather pleasant garden square, surrounded with trees, in the midst -of which spouts up the Aqua Marcia. - -_Passing along our right, we come to the_ - - -BATHS OF DIOCLETIAN, AND CHURCH OF S. MARIA DEGLI ANGELI. - -The magnificent bathing establishments, called Thermae, to distinguish -them from the ordinary baths, consisted of a long series of halls, -chambers, and courts, all lying on the same level, so that the extent -of surface required for laying out had to be artificially formed -either by the removal or the elevation of the soil. The thermae founded -by Diocletian and Maximian, and completed by Constantius and -Maximinus, constituted the largest edifice of this kind. At present, -only the great hall, 350 feet by 80 feet, and 96 feet high, converted -into a church by Michael Angelo, exists in a state of tolerable -preservation. The original massive granite pillars, 40 feet high, and -5 feet in diameter, though so sunk into the ground (imitation -pedestals have been put to them) that their full height is nowhere -visible, are still standing; the antique vaulted roof has also been -preserved entire. This circumstance is of great importance for the -lighting up of this vast space--the masses of light falling upon it -at so favourable an angle, that the mind receives the same pleasing -impression at all hours of the day and at all seasons of the year. - -Several considerable portions of the adjoining hall are still to be -seen, but, being included within the buildings of the neighbouring -schools and asylums, and partly converted into hay magazines, a clear -and complete survey of them cannot easily be obtained. - -The pictures in the church were brought from S. Peter's, and the court -of the monastery, formed with one hundred columns, was designed by -Michael Angelo. Salvator Rosa and Carlo Maratta were both buried here. -The Government is forming a new museum in these buildings. On the -right of the high altar is Domenichino's S. Sebastian. _Opposite to -it_, Maratta's Baptism of our Lord. The Presentation in the Temple is -by Romanelli; the Death of Ananias by Roncalli. In the transept are -copies of Guido's Crucifixion of S. Peter, and Vanni's Fall of Simon -Magus; S. Peter resuscitating Tabitha, by Mancini; S. Jerome and S. -Francis, by Musciano; Assumption, by Bianchini; Resuscitation of -Tabitha, by Costanzi; Fall of Simon Magus, by Battoni; S. Basil -celebrating Mass before the Emperor Valens, by Subleyras. - -_On leaving the church, opposite_ are the remains of the THEATRIDIUM -belonging to the baths, the space in front being the Stadium. - - -THE VIA NAZIONALE - -commences here, and runs down to the south end of the Corso. The -street is traversed by a line of tram-cars, which run down to the -Piazza di Venezia. It is the handsomest street in Rome, and is lined -by several fine blocks of buildings. It is on the line of the ancient -Vicus Longus. Upon the _right_ is the Quirinal Hill; and on the -_left_, the Viminal; the street, artificially raised, occupying the -valley between the two hills. A short distance down on the left is the -Quirinal Hotel, the largest in Rome, fitted up with every modern -comfort, and on one of the healthiest sites in the city. Behind is -Costanzi's new theatre. - -_Just below is the_ - - -CHURCH OF S. PAUL'S WITHIN THE WALLS, - -the new American Episcopal Church under Dr. Nevin; designed by Mr. -George Street in the Gothic style. It has a fine campanile, and a -beautiful peal of bells. - -The vault of the tribunal in mosaic was designed by Mr. Burne Jones, -and represents Christ surrounded by the celestial company, as -described in Holy Writ. - - -THE EXHIBITION OF FINE ARTS. - -The new Palace of Fine Arts is on the right, about half-way down. In -it is held an annual exhibition of modern works of art of every -description. Admission, one lira; Sundays, fifty centesimi. It -occupies a space of 22,030 square metres--the permanent building being -5,280 square metres; the Crystal Hall, 1,250 square metres; the -gardens, 5,000 square metres; and the temporary galleries, 10,500 -square metres. The palace comprises two floors, and may be entered -from the Via Nazionale, Via Genova, and Via del Quirinale. The main -front is 25 metres high and 60 long. Sixteen statues decorate the top -of the facade, the work of Roman artists. - -On the top of the pediment is a group, Italy crowning Art, by -Adalberto Cencetti, the groups in relief on the face being the Finding -of the Laocoon Group, by Filippo Ferrari, and Carrying Cimabue's -Madonna in Triumph, by Puntoni. - -Signor Pio Piacentini designed the edifice; and the works have been -carried out with the assistance of the architect Augusto Fallani, at a -cost of two and a half million lire. - -On the facade of the entrance is the inscription:-- - - ESPOSIZIONE - DI BELLE ARTI - NEL' ANNO MDCCCLXXXII - QUINTO DEL REGNO - DI - UMBERTO I. - IL COMUNE DI ROMA - EDIFICIO - CONTRIBUENDO - STATO E PROVINCIA. - -_From Santa Maria degli Angeli we turn to the right. At the corner of -the Piazza S. Bernardo is the_ - - -NEW MUSEUM OF AGRICULTURE. - -_Open free to the public, Tuesday, Thursday, and Sunday, from 10 to 3. -Opposite is_ - - -THE FELICE FOUNTAIN. - -The Acqua Felice aqueduct was made, A.D. 1587, by Sixtus V. (Felice -Peretti), from whom it took its name. The fountain was designed by -Bresciano. - -_In the centre_ of the group is seen Moses striking the rock, and the -water issuing forth; _on the left_, Aaron leading the Jews; and _on -the right_, Gideon bringing them to the brink of the stream. Four -lions guard the basins below. It is said that the work of the artist -was so criticised that he put an end to his life. - -_Turning down the Via Venti Settembre, on our right_ is the NEW -MINISTRY OF FINANCE, in erecting which remains of the Porta Collina in -the Servian walls were found. Also remains of - - -THE FLAVIAN TEMPLE, - -erected by Domitian on the site of his parents' house near the PORTA -COLLINA. A marble head of Titus was found in the excavations. - -"Whatever Domitian's unconquered hand has erected is imperishable as -heaven" (Martial, ix. 1). "What of the Flavian Temple which towers to -the Roman sky?" (_Ibid._, ix. 3). The following is amusing:-- - -"TO CAESAR, ON THE TEMPLE OF THE FLAVIAN FAMILY.--Jupiter, when he saw -the Flavian temple rising under the sky of Rome, laughed at the -fabulous tomb erected to himself on Mount Ida; and, having drunk -abundantly of nectar at table, exclaimed, as he was handing the cup to -his son Mars, and addressing himself at the same time to Apollo and -Diana, with whom were seated Hercules and the pious Arcos: 'You gave -me a monument in Crete; see how much better a thing it is to be a -father of Caesar!'" (Martial, ix. 34). - - -THE UNFAITHFUL VESTAL'S TOMB. - -Livy (xxii. 57) tells us that this was "near the Colline Gate." We -learn from Pliny's "Letters" (iv. 11) that it was "a subterranean -cavern." Plutarch, in "Numa," gives the following interesting -details:-- - -"She that broke her vows of chastity was buried alive at the Colline -Gate. There, within the walls, is raised a little mound of earth, -called in Latin _agger_; near which is prepared a small cell, with -steps to descend into it. In this cell are placed a bed, a lighted -lamp, and some slight provisions, such as bread, water, milk, and -oil, as they thought it impious to take off a person consecrated with -the most awful ceremonies by such a death as that of famine. The -criminal is carried to punishment through the Forum in a litter well -covered without, and bound up in such a manner that her cries cannot -be heard. The people silently make way for the litter, and follow it -with marks of extreme sorrow and dejection. There is no spectacle more -dreadful than this, nor any day which the city passes in a more -melancholy manner. When the litter comes to the place appointed, the -officers loose the cords; the high priest, with hands lifted toward -heaven, offers up some private prayers just before the fatal minute, -then takes out the prisoner, who is covered with a veil, and places -her on the steps which lead down to the cell. After this, he retires -with the rest of the priests; and when she has gone down, the steps -are taken away, and the cell is covered with earth, so that the place -is made level with the rest of the mound. Thus were the vestals -punished who preserved not their chastity." - -The remains of the Colline Gate were found in building the present -Ministry of Finance in the Via Venti Settembre. _The Via Servio -Tullio, on the left, leads to the site of_ - - -THE VILLA SALLUSTIANA, - -upon the site of which a new quarter is being erected. Clear of the -houses is an interesting ruin miscalled the Temple of Venus Erycina. - -This ruin is octagonal in form, with a domed roof. The interior is -divided into halls, and a vestibule leads into the central hall. The -walls have recesses for sculpture. The building was probably a -nymphaeum. - -Besides the palace, baths, and gardens, there was a portico, called -Milliarensis, from its thousand columns, in which the Emperor Aurelian -used to take exercise on horseback. The buildings were fired by the -soldiers of Alaric, who entered the city at the Salarian gate. - -_From the Piazza S. Bernardo we take the_ VIA SUSANNA _into the_ VIA -S. NICCOLO DA TOLENTINO. _The first turning on the right_, VICOLO -FIAMME, _leads into the_ VIA DI S. BASILIO, _which leads to the_ - - -LUDOVISI MUSEUM. - -_Open every day from 12 till 4, with permission to be had at the -consuls or bankers._ - -The beautiful villa has been cut up into building plots, and a new -quarter now occupies its site. - -On the left of the entry is the Museum. The principal objects are--1. -Hercules. 4. Pan and Olympus. 11. Venus. 14. The Labours of Hercules. -34. A fine mask. - -SECOND ROOM.--Group of Mars and Cupid, found in the portico of -Octavia. 7. Theseus and AEthra, by Menelaos. 9. Satyr. 17. Julius -Caesar. 28. Gallic group, of which the wounded Gaul in the Capitol -Museum formed a part. 41. Juno, the finest head of the goddess known. -43. Pluto carrying off Proserpine. - -Towards the Porta Pinciana is the casino containing Guercino's -beautiful fresco of Aurora driving away Night. A beautiful view is to -be had here. - -_Leaving the Museum, we pass down the Basilio into the Piazza -Barberini. On the right, up under the trees, are_ - - -THE CHURCH AND CEMETERY OF THE CAPPUCCINI. - -In the first chapel on the right in the church is Guido Reni's -beautiful picture of S. Michael, and in the third chapel two pictures -by Domenichino. But the most interesting part, the cemetery, is -beneath the church, though entirely above ground, and lighted by a row -of iron-grated windows without glass. "A corridor runs along beside -these windows, and gives access to three or four vaulted recesses, or -chapels, of considerable breadth and height, the floor of which -consists of consecrated earth from Jerusalem. It is smoothed -decorously over the deceased brethren of the convent, and is kept -quite free from grass or weeds, such as would grow even in these -gloomy recesses if pains were not bestowed to root them up. But as the -cemetery is small, and it is a precious privilege to sleep in holy -ground, the brotherhood are immemorially accustomed, when one of their -number dies, to take the longest-buried skeleton out of the oldest -grave, and lay the new slumberer there instead. Thus each of the good -friars, in his turn, enjoys the luxury of a consecrated bed, attended -with the slight drawback of being forced to get up long before -daybreak, as it were, and make room for another lodger. The -arrangement of the unearthed skeletons is what makes the special -interest of the cemetery. The arched and vaulted walls of the burial -recesses are supported by massive pillars and pilasters made of -thigh-bones and skulls; the whole material of the structure appears to -be of a similar kind, and the knobs and embossed ornaments of this -strange architecture are represented by the joints of the spine, and -the more delicate tracery of the smaller bones of the human frame. The -summits of the arches are adorned with entire skeletons, looking as if -they were wrought most skilfully in bas-relief. There is no -possibility of describing how ugly and grotesque is the effect, -combined with a certain artistic merit, nor how much perverted -ingenuity has been shown in this queer way; nor what a multitude of -dead monks, through how many hundred years, must have contributed -their bony framework to build up these great arches of mortality. On -some of the skulls there are inscriptions, purporting that such a -monk, who formerly made use of that particular head-piece, died on -such a day and year; but vastly the greater number are piled up -undistinguishably into the architectural design like the many deaths -that make up the one glory of a victory. In the side walls of the -vaults are niches where skeleton monks sit or stand, clad in the brown -habits that they wore in life, and labelled with their names and the -dates of their decease. Their skulls (some quite bare, and others -still covered with yellow skin and the hair that has known the -earth-damps) look out from beneath their hoods, grinning hideously -repulsive. One reverend father has his mouth wide open, as if he had -died in the midst of a howl of terror and remorse, which perhaps is -even now screeching through eternity. As a general thing, however, -these frocked and hooded skeletons seem to take a more cheerful view -of their position, and try with ghastly smiles to turn it into a jest. -There is no disagreeable scent, such as might be expected from the -decay of so many holy persons, in whatever odour of sanctity they may -have taken their departure. The same number of living monks would not -smell half so unexceptionably." Hawthorne gives this graphic -description. - - -TABLE OF EGYPTIAN OBELISKS IN ROME. - - +------------+------------+---------+-----------+----------+--------+ - | Date of | | | | | | - | Erection | Date, and | | Brought | First | Height | - | on Present | Erector, |Original | to Rome | Roman | of | - | Site. | in Egypt. | Site. | by | Site. | Shaft. | - +------------+------------+---------+-----------+----------+--------+ - | 1. 1786: | B.C. 2074 | .... | Claudius: | Tomb of | 45 ft. | - | Piazza | to 1975: | | A.D. 50. | Augus- | | - | Monte | Moeris. | | | tus. | | - | Cavallo. | | | | | | - | | | | | | | - | 2. 1587: | .... | .... | " | " | 48 ft. | - | Piazza | | | | | 5 in. | - | Esquilino. | | | | | | - | | | | | | | - | 3. 1588: | B.C. 1655 | Thebes. | Constan- | Circus |105 ft. | - | Piazza | to 1600: | | tius: | Maximus. | 7 in. | - | Laterano. | Thothmes | | A.D. 357. | | | - | | III. and | | | | | - | | IV. | | | | | - | | | | | | | - | 4. 1589: | B.C. 1487: | Helio- | Augustus: | " | 78 ft. | - | Piazza | Seti and | polis. | B.C. 10. | | 6 in. | - | del Popolo.| Rameses | | | | | - | | II. | | | | | - | | | | | | | - | 5. 1789: | B.C. 1486 | .... | Hadrian | Gardens | 84 ft. | - | Trinita | to 1420: | | (?) | of | | - | dei Monti. | Rameses | | | Sallust. | | - | | II. | | | | | - | | | | | | | - | 6. 1711: | " " | .... | .... | Temple | 15 ft. | - | Pantheon. | | | | of Isis | | - | | | | | and | | - | | | | | Serapis. | | - | | | | | | | - | 7. 1563: | " " | .... | .... | Capito- | .... | - | Villa | | | | line | | - | Coeli- | | | | Hill. | | - | montana. | | | | | | - | | | | | | | - | 8. 1586: | B.C. 1420 | Copy of | Caligula: | Circus | 82 ft. | - | Piazza di | to 1400: | one at | A.D. 40. | Vatica- | 6 in. | - | S. Pietro. | Mene- | Helio- | | nus. | | - | | phpthah. | polis. | | | | - | | | | | | | - | 9. 1792: | B.C. 594 | Helio- | Augustus: | Campus | 72 ft. | - | Monte | to 588: | polis. | B.C. 10. | Martius. | | - | Citorio. | Psammeti- | | | | | - | | cus II. | | | | | - | | | | | | | - | 10. 1667: | B.C. 588 | .... | .... | Temple | 17 ft. | - | Piazza | to 569: | | | of Isis | | - | Minerva. | Pharaoh | | | and | | - | | Hophra. | | | Serapis. | | - | | | | | | | - | 11. 1651: | .... | .... | Domitian. | Villa at | 51 ft. | - | Circo | | | | Albano. | | - | Agonale. | | | | | | - | | | | | | | - | 12. 1822: | .... | .... | Hadrian: | Circus | 30 ft. | - | Pincian | | | A.D. 112. | Varia- | | - | Hill. | | | | nus. | | - +------------+------------+---------+-----------+----------+--------+ - - - - -RAMBLE VI. - - THE PORTA CAPENA -- THE VALLEY OF THE MUSES -- BATHS OF - CARACALLA -- S. BALBINA -- SS. NEREO AND ACHILLEO, SISTO, - CESAREO -- VIA LATINA -- S. JOHN'S AND THE LATIN GATE -- - COLUMBARIA OF HYLAS AND VITALINE -- TOMBS OF THE SCIPIOS - AND CORNELIUS TACITUS -- THE COLUMBARIA OF THE HOUSEHOLD - OF CAESAR -- ARCH OF DRUSUS -- PORTA APPIA -- TOMBS OF GETA - AND PRISCILLA -- CHURCH OF DOMINE QUO VADIS -- TOMB OF - ANNIA REGILLA -- CATACOMBS OF S. CALIXTUS AND HEBREWS -- - TEMPLE OF CERES AND FAUSTINA -- VILLA OF HERODES ATTICUS - -- CATACOMBS OF DOMITILLA, SS. NEREUS AND ACHILLEUS -- - BASILICA OF PETRONILLA -- CHURCH AND CATACOMBS OF S. - SEBASTIANO -- TOMB OF ROMULUS -- CIRCUS OF MAXENTIUS -- - TOMB OF CECILIA METELLA -- TOMBS, TEMPLES, AND VILLAS ON - THE VIA APPIA -- THE THREE TAVERNS -- APPII FORUM. - -THE APPIAN WAY.[17] - -"The Queen of Roads."--_Statius._ - - -The Appian Way was the great southern road from Rome. It led through -Capua to Brundusium, which then as now was the port for the East. It -was first made as a regular roadway in B.C. 312. "The censorship of -Appius Claudius and Caius Plautius for this year (A.U.C. 441) was -remarkable; but the name of Appius has been handed down with more -celebrity to posterity on account of his having made the road, called -after him the Appian" (Livy, ix. 28). But a road existed here before -this, for at least part of the way, evidently to Capua (A.U.C. 414). -"They came in hostile array to the eighth stone on the road which is -now the Appian" (Livy, vii. 39). - -Statius gives some particulars as to how it was made. "First they cut -two parallel furrows to indicate the width of the road, and then they -cut down between those until they came to the hard bottom, and then -began the levelling. As the construction proceeded, the road assumed a -slightly convex shape. The middle or top was called the _dorsum_, or -back-bone of the way; or, as it is called in Virgil, "in aggere viae." -Roads that were left in the rough material were said to be _munitae_, -but when covered with cut polygonal blocks they were called _stratae -viae_." - -Procopius, the secretary of Belisarius in the sixth century, thus -describes the Appian Way:--"To traverse the Appian Way is a distance -of five days' journey for a good walker; it leads from Rome to Capua. -Its breadth is such that two chariots may meet upon it and pass each -other without interruption; and its magnificence surpasses that of all -other roads. In constructing this great work, Appius caused the -materials to be brought from a great distance, so as to have all the -stones hard, and of the nature of mill-stones, such as are not to be -found in this part of the country. Having ordered this material to be -smoothed and polished, the stones were cut in corresponding angles, so -as to bite together in jointures without the intervention of copper or -any other material to bind them; and in this manner they were so -firmly united, that on looking at them we would say they had not been -put together by art, but had grown so upon the spot. And, -notwithstanding the wearing of so many ages, being traversed daily by -a multitude of vehicles and all sorts of cattle, they still remain -unmoved; nor can the least trace of ruin or waste be observed upon -these stones, neither do they appear to have lost any of their -beautiful polish. And such is the Appian Way." - -The road was lined with temples, villas, and tombs; for it was the -custom of the Romans to bury their dead on either side of the -principal roads leading from the city. It was against the law to bury -inside the walls, which was seldom permitted, and then only as a great -honour. - -"When thou hast gone out of the Capena Gate, and beholdest the -sepulchres of the Colatini, of the Scipios, of the Servilii, and of -the Metelli, canst thou deem the buried inmates wretched?" (Cicero). - -_Passing under the_ Arch of Constantine, _down the_ Via Triumphalis -(Via d' S. Gregorio), _we turn to the left_; passing a rope walk, _the -first gate on the left admits to a vineyard_. The cottage is erected -on the site of - - -THE PORTA CAPENA. - -For a long number of years the present Porta S. Sebastiano (Porta -Appia) was considered to be the Porta Capena. This error was -rectified after the stone which marked the first mile was found (1584) -in the Vigna Naro outside the present gate. From it one mile (one -thousand paces) was measured backwards, and the result was the -discovery of the exact site of the Porta Capena by Mr. J. H. Parker in -1868; but the excavations have been filled in. The remains consist of -the sill of the gate, with fragments of the jambs, and the pavement of -the Via Appia with the raised footpath on each side of it. The west -flanking tower of the gate is under the gardener's cottage. This was -reopened in 1877. The gate was crossed by the Aqua Appia (Frontinus), -which Juvenal mentions as dripping, and Martial as showering down -drops. - -The Porta Capena is represented twice in the reliefs of Trajan built -on to the Arch of Constantine. In the days of Tullus Hostilius, B.C. -668, Horatius killed his sister outside this gate. "A tomb of squared -stone was raised for Horatia, on the spot where she fell" (Livy, i. -26). - -We now arrive at the river Almo (Marrana), which flows through - - -THE VALLEY OF THE MUSES, - -under the Coelian Hill, in which is the Fountain of Egeria, whence -flowed the perennial fountain by whose waters Numa caught inspiration -from the lips of his lovable nymph. Juvenal describes the spot in his -description of the parting of Umbricius and himself: "This is the -place where Numa consulted his nocturnal friend the nymph: now the -grove of the sacred font is occupied by the remains of Jews." "In the -valley of Egeria we descended into caves unlike the true." They -strolled from the Porta Capena whilst the waggon was loading. At -length Umbricius says: "The sun is getting low--I must depart; for -long ago the muleteer gave me a hint by cracking his whip." - -"Numa was commanded by the nymph Egeria to consecrate that place and -the fields about it to the Muses, where he had often entertained a -free intercourse and communication with them; and that the fountain -which watered that place should be made sacred and hallowed for the -use of the vestal virgins, who were to wash and clean the penetralia -of their sanctuary with those holy waters" (Plutarch). - -Livy (i. 21) thus describes it: "There was a grove, in the midst of -which, from a dark cavern, gushed a fountain of flowing water, whither -often, because without witness, Numa went to have an interview with -the goddess, and which grove he consecrated to the muses, that their -councils might be held there with Egeria." The fountain may still be -seen under the Coelian, over the wall on the left;--there is a -bath-house of the middle ages built over it. It is in the grounds of -the villa of Baron Hoffmann, _to whom application must be made to -visit it_. - -_Crossing the_ Marrana, _we take the first turning on the right_, VIA -ANTONINA. _This lane leads to the_ - - -BATHS OF CARACALLA. - -_Admission one lira; Sundays free._ - -A favourite spot of Shelley's--"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." So the poet wrote of this spot. But now it is all changed: -the hand of the explorer has ruthlessly pulled up the trees, and -scraped the wild flowers and weeds from the ruined walls, exposing -beautiful mosaic pavements, it is true, but which hardly repay for the -loss of nature's verdure. - -The magnificent Thermae of Caracalla display in the clearest and most -complete manner the skeleton of an edifice of this kind--these -glorious ruins standing, as it were, intact before us. - -They were begun by Caracalla in the year 212, enlarged by -Heliogabalus, and completed by Alexander Severus; their area being -140,000 square yards--length, 1840 yards by 1476. As many as 1600 -persons could, it is said, bathe in them at the same time. The baths, -properly so called, were 1720 feet in length and 375 in width, and -they were surrounded by pleasure-gardens, porticoes, a stadium, &c. -The reservoir was supplied by the Antonine aqueduct, which carried the -water from the Claudian over the Arch of Drusus. The principal -entrance to the baths was from the Via Nova, one of the favourite -promenades of the ancient Romans, made by Caracalla. Among the works -of art discovered in the thermae may be mentioned the Farnese Hercules, -the Colossal Flora, the Farnese Bull, the Atreus and Thyestes, the Two -Gladiators, and the Venus Callipyge. The bronzes, cameos, bas-reliefs, -medals, &c., found in the thermae are too numerous to mention. The urns -in green basalt now in the Vatican Museum, and the granite basins of -the Piazza Farnese, formerly belonged to the Baths of Caracalla. The -baths remained entire, both as regards their architecture and their -internal decoration, until the middle of the sixth century, when the -aqueducts were destroyed by Vitiges. - - [Illustration: BATHS OF CARACALLA.] - -The portion of this series of main chambers, with which all the others -are connected, like the limbs of an organic body, was a rotunda. The -open space at the foot of the Aventine was intended for a stadium. The -games held in it could be viewed from the tiers of seats, which rose, -as in a theatre, above the reservoir, still in existence, on the -declivity of the hill. From this the building was supplied with water, -conveyed to the different points by means of an aqueduct. - -In order to attain a correct idea of the ground-plan, we must proceed -to the space in the centre, enclosed on the side towards the road by a -high wall furnished with window niches for the reception of statues. -This was the great swimming-bath, as is proved by the excavations, -which have revealed the deep level of the original floor. Beyond this -are small rooms where the bathers were oiled and shampooed; beyond -these again is the GRAND PERISTYLIUM, enclosed with pillars and a -portico, in which were performed the athletic exercises; adjoining -were the Women's Baths. Returning through the HEMICYCLIA, we enter the -PINACOTHECA, or Fine Art Gallery. This brings us to the TEPIDARIUM, or -Warm Bath, with four hot baths, CALDARIA, at the corners, from which -the SUDATORIUM, or Sweating Room, was entered. This was called the -CELLA SOLEARIS. The roof was supported by bars of brass interwoven -like the straps of a sandal. Vitruvius tells us that the Sudatorium -ought to be circular, with a circular window in the centre of the -dome, with a shutter to be opened or shut,--thus controlling the -atmosphere as required. The Solearis was considered a great -architectural feat, and inimitable. Of this grand rotunda only four -piers are left, but these are sufficient to give an idea of its size; -and it was to the Baths of Caracalla what the Pantheon was to the -Baths of Agrippa: that is the only perfect part of those baths left; -this is the only part of these baths wanting. - -The mosaics of the pavement have sunk down, as it were, in the form of -troughs, in consequence of the piers on which the arches rested, as on -a sort of grating, having been broken when the latter fell in, and not -being properly shored up when excavated. - -The remainder of the building recently excavated corresponds with the -parts we have described. - -Some of the beautiful mosaic pavements may be seen in the Lateran and -Borghese Villa Palaces. - -_Above the baths, on an eminence of the Aventine, is the_ - - -CHURCH OF S. BALBINA, - -supposed to date from the sixth century. There is nothing of interest -in the church itself, but from the tower a fine prospect is enjoyed of -the surrounding district. The convent and church have been turned into -a penitentiary and a barrack. - -_Resuming our ramble along the main road, on the right is the_ - - -CHURCH OF SS. NEREO E ACHILLEO, - -founded by Leo III. (795-816). It contains an enclosed choir with -reading-desks. The tribune mosaic is of the founder's time, and -represents the Transfiguration and Annunciation. The episcopal chair -is that from which S. Gregory read his Twenty-eighth Homily. - -The church is on the site of the - - -TEMPLE OF MARS, - -erected during the Gallic war, B.C. 387 (Livy, vi. 5). "The same day -is a festival of Mars, whom the Capenian Gate beholds, outside the -walls, situated close to the covered way" (Ovid, "Fasti," vi. 191). -"They paved with square stones the road from the Capenian Gate to the -Temple of Mars," A.U.C. 456 (Livy, x. 23). Repaired A.U.C. 563 -(_Ibid._, xxxviii. 28). "The Curule AEdiles completed the paving of the -road from the Temple of Mars to Bovillae," A.U.C. 459 (_Ibid._, xi. -47). Mr. Parker found some remains of this temple in excavating at the -back of the church. From here the Roman knights used to ride to the -Temple of Castor in the Forum, on the anniversary of the battle of -Lake Regillus (Dionysius, xi. 13). - -_Nearly opposite is the_ CHURCH OF S. SISTO, belonging to the Irish -Dominican friars of S. Clement, on the site of the - - -TEMPLE OF HONOUR AND VIRTUE. - -"Marcellus was desirous to dedicate to Honour and Virtue the temple -which he had built out of the Sicilian spoils, but was opposed by the -priests, who would not consent that two deities should be contained in -one temple. Taking this opposition ill, he began another temple" -(Plutarch. See Livy, xxvii. 25; xxix. 11). - -"M. Marcellus, the grandson of the conqueror of Syracuse, erected -statues to his father, himself, and grandfather near the Temple of -Honour and Virtue, with this inscription--III. MARCELLI NOVIES COSS" -(Cicero, Asconius). - -This temple must not be confounded with the temple erected by Marius -on the Capitoline, and restored by Vespasian. The Temple of Honour -could not be reached without passing through the Temple of Virtue. - -_Opposite, in the Vigna Guidi, No. 19_, are the remains of - - -THE HOUSE OF HADRIAN. - -The chambers occupy three sides of a square peristylium, the walls of -which are painted with frescoes, the pavements being black and white -mosaics forming hippocampi, with rams' heads, Tritons, and nymphs. - -Opening out from the peristylium is the Lararium, or room of the -household gods. Here was probably the site of the Villa of Asinius -Pollio, the orator in the time of Augustus; for Pliny mentions that in -his gardens stood the statue now at Naples, called the Farnese Bull, -which was actually found amidst these ruins in 1554. Hence it became -the private house of Hadrian, and was destroyed to build the Baths of -Caracalla. - -Continuing our ramble, _on the left_, the Via della Ferratella leads -to the Lateran. It has a fourth century SHRINE OF THE LARES, with -niches for statues. - -_Beyond, on the right, is_ S. CESAREO, containing a raised presbytery, -surrounded by a marble screen, a marble pulpit, and an ancient -episcopal chair. Adjoining is part of the titular-cardinal's house, of -the twelfth century. _It is on the site of_ - - -THE TEMPLE OF TEMPESTAS, - -erected by Cornelius Scipio, A.U.C. 495. - -"Thee too, O Tempest, we acknowledge to have deserved a shrine, at the -time when our fleet was almost overwhelmed by the waves of Corsica" -(Ovid, "Fasti," vi. 193). - -_To the left is_ - - -THE VIA LATINA, - -so called because it led through the Latin states. It branched out of -the Via Appia on the left, outside the Porta Capena and within the -Porta S. Sebastiano. A short distance up the Via Latina is the - - -PORTA LATINA. - -(_Closed._) - -On the keystone is a Greek cross within a circle. The outside of the -arch is reached by passing through the Porta S. Sebastiano and turning -to the left. It is formed of two round brick towers and a travertine -stone arch, with grooves for a portcullis; on the outside keystone are -the early Christian emblems of the _labarum_. The Roman Catholic -tradition is that S. John the Evangelist was thrown into a caldron of -boiling oil inside this gate, where the circular church now stands. - -Opposite is the Church of S. John, Port Latin. - -The little round church is called - - -S. GIOVANNI IN OLEO. - -Mr. G. G. Scott lately discovered, at the Chapter House, Westminster, -some frescoes representing the Visions of S. John, fourteenth century, -which are described in the following inscriptions, translated by Canon -Wordsworth:-- - -"To the most pious Caesar, always Augustus, Domitian, the Proconsul of -the Ephesians sends greeting:--We notify to your majesty that a -certain man named John, of the nation of the Hebrews, coming into -Asia, and preaching Jesus crucified, has affirmed him to be the true -God and the Son of God; and he is abolishing the worship of our -invincible deities, and is hastening to destroy the temples erected by -your ancestors. This man, being contrariant--as a magician and a -sacrilegious person--to your imperial edict, is converting almost all -the people of the Ephesian city, by his magical arts and by his -preaching, to the worship of a man who has been crucified and is dead. -But we, having a zeal for the worship of the immortal gods, -endeavoured to prevail upon him by fair words and blandishments, and -also by threats, according to your imperial edict, to deny his Christ, -and to make offerings to the immortal gods. And since we have not been -able to induce him by any methods to do this, we address this letter -to your majesty, in order that you may signify to us what it is your -royal pleasure to be done with him." - -"As soon as Domitian had read this letter, being enraged, he sent a -rescript to the proconsul, that he should put the holy John in chains -and bring him with him from Ephesus to Rome, and there assume to -himself the judgment according to the imperial command." - -"Then the proconsul, according to the imperial command, bound the -blessed John the Apostle with chains, and brought him with him to -Rome, and announced his arrival to Domitian, who, being indignant, -gave command to the proconsul that the holy John should be placed in a -boiling caldron, in presence of the senate, in front of the gate which -is called the Latin Gate, when he had been scourged, which was done. -But, by the grace of God protecting him, he came forth uninjured and -exempt from corruption of the flesh. And the proconsul, being -astonished that he had come forth from the caldron anointed but not -scorched, was desirous of restoring him to liberty, and would have -done so if he had not feared to contravene the royal command. And when -tidings of these things had been brought to Domitian, he ordered the -holy Apostle John to be banished to the island called Patmos, in which -he saw and wrote the Apocalypse, which bears his name, and is read by -us." - - -THE TOMB OF LUTATIUS CATULUS - -is a lofty concrete tomb of the time of the republic, on the left, -near the Church of S. John. This may be the general who ended the -First Punic War, 242 B.C., or his descendant consul, 102 B.C., -proscribed by Marius, and who suffocated himself with charcoal fumes. - -_Behind the round chapel is_ - - -THE COLUMBARIA OF HYLAS AND VITALINE. - -The columbaria were underground chambers, containing niches in the -walls, in which were placed the urns containing the ashes of those who -were burned. As the niche was like a dove's nest in shape, it was -called a "columbarium," the whole tomb a "columbaria." This one was -discovered by the Marchese Campana, and is carefully preserved. Here -were buried the freedmen of Augustus while Hylas and Vitaline were the -custodians. - -_Returning to the Via Appia_, the second gate on the left admits to -the - - -CHAPEL OF THE SEVEN SLEEPERS, - -dedicated to S. Gabriel and the Sleepers of Ephesus. It was decorated -in fresco by the same Beno and Maria de Rapiza who did the frescoes in -S. Clement's towards the end of the eleventh century. - -Beyond, a tall cypress tree marks the entrance to the (No. 13) - - -TOMB OF THE SCIPIOS. - -The vaults, hewn in the tufa, with the traces of a cornice over the -entrance arch, and the stump of a Doric column, are all that now -remain. The tomb was discovered in 1780; and the bones of the consul, -found in good preservation, were carried to Padua, where they were -interred by Senator Quirini. Six sarcophagi were found, and several -recesses for more bodies; the original inscriptions were removed to -the Vatican and placed in the vestibule of the Belvedere. - -Lucius Scipio Barbatus, his son; Aula Cornelia, wife of Cneius Scipio -Hispanus, a son of Scipio Africanus, senior; Lucius Cornelius, son of -Asiaticus; Cornelius Scipio Hispanus and his son Lucius, were buried -here. Africanus senior was buried at Liternum. - -From this tomb we can ascend into a brick tomb of the second century. - - -TOMB OF CORNELIUS TACITUS. - -This is probably the tomb of the historian, who died about A.D. 130. -The following inscription was found here:-- - - CORNELIO TACITO - QUI VIXIT ANNIS DUOBUS - MENSIBUS X DIEBUS - II HORIS X FECIT - LUCRETIA TACITA - MATER FILIO B.M. - ET SIBI ET SUIS. POS - TERISQUE EORUM - -_Just beyond, in the_ VIGNA CODINI (No. 14), _are the Columbaria of_ - - -THE OFFICERS OF CAESAR'S HOUSEHOLD. - -(_Memorials of those mentioned by S. Paul._) - -Two columbaria lie upon the right of the pathway, and possess -considerable interest, not only as good specimens of the chambers -where the ashes of those who were cremated were deposited, but special -interest is attached to some of the names found therein--names that -are mentioned in the New Testament. The question arises, Are these the -remains of those there mentioned? Can we still look upon the ashes of -those early Christians? Let us see. - -In the first columbaria we find this inscription-- - - D.M. TRYPHAENAE . VALERIAS . TRYPHAENAE . MATRI. B. M. F. ET . - VALERIAS . FUTIANUS. - - [Tryphaenae Valeria and Valerius Futianus to the memory of - the mother Tryphaena.] - -Just beyond is-- - - DOMITIAE.) . L. FAUSTILLAE . PETRONIO . ARISTONIS . L. EPAPHRAE. - -On the stair wall is a Greek inscription to Onesimus. - -On the outside of the second columbaria, built into the wall, is-- - - D.M. VARIA . TRYPHOSA . PATRONA . ET . M . EPPIUS . CLEMENS . - CONIUGI . BENE . MERYTI . FEI . VARIAE . PRIMAE . F. VIXIT . - ANN . XXX. - - [Varia Tryphosa, patron, and M. Eppius Clemens erected this - to his well-beloved wife, who lived thirty years.] - -Close by is-- - - D.M.S. LIBERTI . LIBER . TAL . C. JULIUS . PHILAETUSC . - JULIUS . PRYPHO) . C. JULIUS . ONESI . MUS . TULIA . EUTHI - . CIA . JULIA . HELPIS . JULIA . CLAPHURA . FECERUNT. - -Inside the second, _in situ_, is the inscription-- - - ONESIMUS . A . PORTICU. - -The first columbaria was for the servants or officers of the imperial -family, and dates from Augustus to Nero, both inclusive. The second -dates from Julius Caesar to Tiberius. The historic notices of some of -those names are valuable. - -S. Paul, writing to the Romans from Corinth, A.D. 60, says, "Salute -Tryphena and Tryphosa, who labour in the Lord" (Rom. xvi. 12). - -Writing from Rome to the Colossians, A.D. 64, he says, "With Onesimus, -a faithful and beloved brother" (Col. iv. 9); and to Philemon: "I -beseech thee for my son Onesimus, whom I have begotten in my bonds" -(Phil. 10). In Colossians i. 7: "As ye also learned of Epaphras our -dear fellowservant;" and in iv. 12 we have: "Epaphras, who is one of -you, a servant of Christ"--who is again mentioned in Philemon: "There -salute thee Epaphras, my fellow-prisoner in Christ Jesus" (Phil. 23). - -Now, these names are uncommon, and we only have them mentioned by S. -Paul, and engraved on these marble slabs, which slabs are in the -columbaria of the freedmen of the Caesars, agreeing in date with the -time of S. Paul's letters; who himself preached to, and had converts -amongst, the household of Caesar, in the imperial palace upon the -Palatine Hill. He says, writing to the Philippians, "So that my bonds -in Christ are manifest in all the palace, and in all other places" -(Phil. i. 13). And (iv. 22), "All the saints salute you, chiefly they -that are of Caesar's household." - -The name Valeria was taken, when she obtained her freedom, from her -mistress, the Empress Messalina (whose name was Valeria). These names -do not cover their own ashes--with the exception of that to Onesimus -and Epaphras--but are memorial-stones erected to fellow-servants, who, -if we may judge from the "D.M." over the inscriptions, were not -Christians. - -They record a work of charity and love to fellow-servants, though not -co-religionists; and the names mentioned may well be those likewise -named by S. Paul, with the exception of Onesimus, who was sent back to -his master. - -The names Tryphena and Tryphosa occur before the coming of Paul to -Rome, and these, with some others mentioned by him (Rom. xvi.), were -found on slabs in another columbaria, about a mile further on, on the -Via Appia, discovered in 1726, and known as the Columbaria of the -servants of Livia Augusta. It is now a complete ruin--one wall only -remaining--and some of the inscriptions are in the Capitol Museum. - -The following names, according to Gruter, p. 1070, No. 1, and p. 656, -No. 1, were there, but they are now lost:-- - - AMPLIAS . URBANUS . APELLES . TRYPHANE . TRYPHOSA . RUFUS . - HERMES . PATROBAS . HERMAS . PHILOLOGUS . JULIA . NEREUS. - -These are the names probably of some members of the church founded by -Priscilla and Aquila, whom Paul greets in writing to Rome, but who are -not mentioned again by him after his arrival in Rome. They possibly -were no longer living, and the church was dispersed under Claudius, -Aquila and Priscilla, whom Paul salutes in his second letter to -Timothy (iv. 19), going to Corinth (Acts xviii. 2). - -Another columbaria, well preserved, lies on the left of the path at -the entrance. - - -THE ARCH OF DRUSUS - -next draws our attention. - -The aqueduct which supplied the Thermae of Caracalla crossed the road a -few steps before the Aurelian Gate of the city, the Porta Appia (now -called the Porta S. Sebastiano), where an arch of travertine, adorned -with white marble and pillars of various colours (still standing) was -employed to convey the aqueduct over the road. The arch itself is -evidently much older than the aqueduct, and has, consequently, been -pronounced by antiquaries to be the triumphal arch awarded to Drusus -by a decree of the senate, and said to have been erected to him on the -Appian Way. It was supported by four columns of African marble, -relieved by four niches and an attic above a small pediment; the whole -was surmounted by an equestrian statue between two trophies, as shown -upon a coin. "The senate likewise decreed for Drusus a triumphal arch -of marble, with trophies, over the Appian Way, and gave him the -cognomen of Germanicus" (Suetonius, "Claudius," i.). - -_Passing under, we come to_ - - -THE PORTA APPIA - -(now Sebastiano), opening on the great highway of ancient Rome, the -VIA APPIA. This gate is the finest in the Aurelian walls, and, in its -splendid decorations, regard has evidently been paid to the road over -which it was built. All the rectangular stones of the substruction are -of white marble. It is curious, too, that considerable projections -have been left on most of the stones on the right side, whilst the -others present a smoothly hewn surface, evidently old material -re-used. - -A fresco painting of the Madonna, said to be of the sixth century, -probably the work of a Greek soldier under Belisarius (as the -character of the painting is Byzantine), remains in the corridor of -Aurelian near this gate. It was over the head of the sentinels in the -path and near the third tower on the right side of the gate. The -existence of this painting was not known until it was discovered -accidentally by Mr. J. H. Parker, C.B., in 1870. _Entrance, first gate -on the left, inside the Arch of Drusus._ The gate-house is said to -have been built, in the time of King Theodoric, out of the ruins of -the Temple of Mars, which stood outside this gate. It was necessary -for the Temple of Mars to be outside the gate, and this one was -erected when the one outside the Porta Capena became obsolete, being -within the Aurelian walls. - -Behind the right hand wooden gate are a figure of S. Michael and a -Gothic inscription cut in the marble, recording the repulse of Louis -of Bavaria in 1327. - -_Descending_ the Hill of Mars, on the left, built into a house, is an -unknown tomb. Beyond, we cross the other branch of the Almo. _Upon the -left is_ - - -THE SEPTIZONIA OF GETA, - -the murdered brother of Caracalla. The tomb now only shows a huge mass -of concrete. It was named after its shape, and was like the portico -erected by Septimius Severus to the Palace of the Caesars (Spartianus). - -_On the right, behind the osteria, is the_ - - -TOMB OF PRISCILLA. - -Statius sang of the conjugal love of Abascantius, who interred his -wife Priscilla before the city, where the Appian Way branches out, and -where Cybele haunts the stream of the Almo. - -To the mouth of the Almo the priests of Cybele brought the statue of -the goddess once a year and washed it in the waters, together with the -sacred utensils used in her worship. - -The tower is medieval, showing it to have been turned into a fortress. - -_On the left is the_ - - -CHURCH OF DOMINE QUO VADIS. - -So called from the legend that S. Peter, when escaping from Rome, was -met by our Saviour at this spot. Peter asked of him, "Domine, quo -vadis?" to which Jesus replied, "Venio iterum crucifigi," which caused -the apostle to return to his doom. They show on a small piece of -marble two footprints, which they say is where the Lord stood--he -having left the imprint of his feet on a piece of white marble in a -road paved with silex. We don't believe it; but our readers may, if -they like. The original is in the Church of S. Sebastiano. _The Via -Ardeatina goes off to the right._ Just beyond, where the lane turns -off to the left, Cardinal Pole erected the little round shrine as the -exact spot where Jesus stood. - - -THE TOMB OF ANNIA REGILLA. - -_From the Via Appia, just beyond the "Domine quo Vadis," a lane leads -into the valley of the Caffarella. At the end of the lane, upon the -left_, is a beautiful brick tomb of the time of the Antonines. This is -popularly known as the Temple of the Dio Rediculo. We have raised -objections to this: first, because Pliny ("Nat. Hist.," x. 43) says -the Campus Rediculi was at the second mile on the _right_ of the Via -Appia, whilst this ruin is upon the _left_; and secondly, from its -construction, which shows it to have been a tomb. We have always -considered this as the tomb of Annia Regilla, the wife of Herodes -Atticus, consul A.D. 143. It stands upon his estate, where we know he -erected a sepulchre to his wife, consecrating the surrounding land to -Minerva and Nemesis. He was of Greek origin, and the ornaments are of -Greek design; they are beautifully executed and well preserved, -particularly the zigzag border. This view of ours has been recently -confirmed: in digging up the soil at the base of the tomb, the -following portion of the inscription has been found,--it is cut on a -piece of _rosso-antico_:-- - - ANNIA REGILLA - HERODIS VXOR - LVMEN DOMVS - CVIVS HAEC - PRAEDIA FVERV - - Annia Regilla, - the wife of Herodes, - light of the house, - whose this - estate was - -In an inscription in the Louvre she is called "the light of the house, -the lady of the land,"--these estates came to Herodes through -Annia,--and in the newly found inscription she is called light of the -house. Thus they both refer to the same lady whose tomb is here -recognized. - -The word _rediculo_ is supposed by some to come from _redeo_, I -return, as applied to the spot where Hannibal turned back from Rome; -but from Pliny we know there was a place called Campus Rediculi, and -that it was to the right of the Via Appia in coming out of the city, -so it could have nothing to do with this field. Pompeius Festus, a -Latin critic of the fourth century, ascribes it to the above meaning, -but he would be no authority. Hannibal's camp was on the road to -Tivoli, and from there he returned. "Hannibal moved his camp forward -to the river Anio, three miles from the city. Posting there his -troops, he himself, with two thousand horsemen, proceeded from the -Colline Gate as far as the Temple of Hercules, riding about, and -taking as near a view as possible of the situation and fortifications -of the city" (Livy, xxvi. 10). "Discouraged by all circumstances, he -moved his camp to the river Tutia, six miles from the city" (_Ibid._, -xi.). - -The tomb is built of yellow bricks, with red brick basement, -pilasters, and ornaments: on one side is the pediment of the portico, -which was formed with peperino columns. Over the square doorway is a -decorated niche for the statue. The tomb contained originally two -chambers, but the flooring of the upper one has been destroyed--thus -making one--the vault of which was decorated with stucco ornaments. In -construction it is like the painted tombs on the Via Latina, the -bricks being carefully baked and laid with very little mortar between -them, not unlike the entrance to some of the warehouses at Ostia, and -of the same date--time of Hadrian; for being a tomb, and not cased -with marble, it shows more careful construction than the ordinary -brickwork of the time of that emperor. - -Proceeding on our ramble along the Via Appia, _upon the left_ is an -unknown tomb; _on the right_, beyond, another. This is exactly at the -second mile from the Porta Capena. Here was the Campus Rediculi. Was -this the raven's tomb? (See page 18.) The vineyard on the left -contained the Columbaria of Livia, now destroyed. _Beyond_, entrance -to the Catacomb of Praetextatus. _Upon the right_, - - -TOMB OF THE CAECILII, - -a shapeless mass of rubble. Several epitaphs to this family have been -found here. - -_Just beyond is the entrance to the_ - - -CATACOMBS OF S. CALIXTUS. - -_Fee, one lira each, which includes guides and lights._ - -Catacomb is a medieval word, and is said by some authorities to be -derived from the Greek words [Greek: kata], under, and [Greek: -kumbos], a hollow. The Romans called these burial-places cemeteries. -They generally consist of three strata of tufa: _litoide_, of a red -conglomeration, hard, used for building; _pozzolana pura_, a friable -sand, for mortar; and _granolare_, harder, but easily cut, of which -the catacombs were almost exclusively made. - -A catacomb consists of passages or long narrow galleries cut with -regularity, so that the roof and floor are at right angles to the -sides, running quite straight, but crossed by others, and these again -by others, forming a complete labyrinth of subterranean -corridors,--the sides are honeycombed with graves. Their narrowness -was to economize space, and to make the most of the limited area. -These corridors, themselves the cemetery, lead into different -chambers. Rome is surrounded by about sixty of these catacombs, each -taking its name from the saint that reposed there. - -The catacombs began to be formed at the beginning of the third century -A.D., and originated from a pagan tomb. We find no exception to this -in the early catacombs. Just inside the gate is a pagan tomb, second -century, from which a flight of steps leads into the catacomb. This -tomb belonged to the family, and when it was filled, instead of -building a new tomb or buying another site, they dug down and made -another chamber in the tufa rock below, and so on. In the course of -time the proprietor became a Christian, and probably left his property -to the Church. The tomb became popular, and it was enlarged gradually; -the passages serving for the poor, and the chambers for the family -tombs, which were paid for. They were lighted by means of shafts, -which still exist; and there was no concealment--they were the public -recognized burial-places, and when Christianity was the nominal -religion of the state, pagans and Christians were both buried here. We -find pagan inscriptions, emblems (other than those adopted by the -Christians), and pagan family tombs. The pagan frescoes are much -better works of art than the Christian; for the Christians had to be -educated, whilst the pagans already knew. Early Christian frescoes are -very rude daubs (see those of Jonah), and they gradually advanced till -the ninth century, when we have the Byzantine school (see S. Cecilia). -This latter style was used for the pilgrims after the bodies, all -looked upon as martyrs, were removed to the churches in Rome; which -gave rise to the story that the catacombs lead to Rome, which is not -true. Neither is it correct that the catacombs were old quarries used -up by the Christians, though there was often an entrance into them -from a quarry. Most of the inscriptions are in the Vatican and -Lateran: they would be far more interesting where they were found. - -_N.B._--The air is pure; the vaults are dry, and they are not cold. - -The entrance is near the ancient church in which Pope Damasus, who -died A.D. 384, was buried. Descending the steps we enter the -vestibule, the walls of which are covered with the names of pilgrims; -a narrow gallery conducts us to the Chapel of the Bishops--Lucius, -A.D. 232; Anterus, A.D. 235; Fabianus, A.D. 236; Eutychianus, A.D. -275. Following the names of Lucius and Fabianus are the words, "Epis, -martyr." Urbanus, A.D. 223, and Sixtus, A.D. 258, were both buried -here. In front of the grave of the latter is the inscription put up by -Damasus, engraved in beautiful characters:-- - -INSCRIPTION OF POPE DAMASUS IN THE CHAPEL OF THE BISHOPS. - - HERE, IF YOU WOULD KNOW, LIE HEAPED TOGETHER A NUMBER OF THE HOLY, - THESE HONOURED SEPULCHRES ENCLOSE THE BODIES OF THE SAINTS, - THEIR LOFTY SOULS THE PALACE OF HEAVEN HAS RECEIVED. - HERE LIE THE COMPANIONS OF XYSTUS, WHO BEAR AWAY THE TROPHIES FROM - THE ENEMY; - HERE A TRIBE OF THE ELDERS WHICH GUARDS THE ALTARS OF CHRIST; - HERE IS BURIED THE PRIEST WHO LIVED LONG IN PEACE;[18] - HERE THE HOLY CONFESSORS WHO CAME FROM GREECE;[19] - HERE LIE YOUTHS AND BOYS, OLD MEN AND THEIR CHASTE DESCENDANTS, - WHO KEPT THEIR VIRGINITY UNDEFILED. - HERE I, DAMASUS, WISHED TO HAVE LAID MY LIMBS, - BUT FEARED TO DISTURB THE HOLY ASHES OF THE SAINTS. - -In front was the altar. From here a gallery leads to the Crypt of S. -Cecilia, where her body was placed after martyrdom by Priest Urban, -A.D. 203. From this resting-place it was removed in 820 by Paschal I. -(See p. 140.) The body was found "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." On the -wall is a fresco of S. Cecilia attired in a dress of Byzantine -character. Below are two others--on the left, Christ, with a nimbus; -on the right, Urban in full pontifical dress: they are of the ninth -century. After traversing some passages, we enter the cubicula of a -family. On the walls are roughly executed frescoes of the Baptism of -Christ in Jordan by John, the story of Jonah and the Large Fish, Moses -striking the Rock, the Woman at the Well of Samaria, the Paralytic Man -walking with his Bed--doves, emblems of immortality, on the sides. At -the end are two fossori, or grave-diggers, between whom are three -subjects in fresco, representing two men, one on either side of a -tripod on which something is cooking; and next it, seven people seated -at a table, beyond which are two figures and some sheep or lambs. -These frescoes seem to us to represent the scenes at the Lake of -Tiberias, after the resurrection of our Lord, as recorded in the -twenty-first chapter of S. John. They certainly agree with the story: -"There were together Simon Peter, and Thomas called Didymus, and -Nathanael of Cana in Galilee, and the sons of Zebedee, and two other -of his disciples" (ver. 2)--"But when the morning was now come, Jesus -stood on the shore: but the disciples knew not that it was Jesus" -(ver. 4)--"As soon as they were come to land, they saw a fire of coals -there, and fish laid thereon, and bread" (ver. 9)--"Jesus saith unto -them, Come and dine. And none of the disciples durst ask him, Who art -thou? knowing that it was the Lord" (ver. 12)--"Jesus then cometh, and -taketh bread, and giveth them, and fish likewise" (ver. 13)--"So when -they had dined, Jesus saith to Simon Peter, Simon, son of Jonas, -lovest thou me more than these? He saith unto him, Yea, Lord; thou -knowest that I love thee. He saith unto him, Feed my lambs" (ver. 15; -see also ver. 16, 17). In another sepulchre have been found two -sarcophagi containing remains; the tops are now covered with glass. -Opening out of this sepulchre is another, in which was found a -sarcophagus (fourth century) representing Lazarus being raised from -the dead, the multiplication of the loaves and fishes, Daniel in the -lions' den. Near this is a crypt containing an inscription having -reference to the heresy of Heraclius, on account of which Eusebius -became a voluntary exile. The names of the person who engraved -it--Furius Dionysius Filocalus--and of Bishop Damasus are cut in two -vertical lines down the sides. It had served previously for an -inscription to Caracalla, made by M. Asinius Sabinianus. It was a very -usual thing for the early Christians to re-use the marble of other -times, on account of its cheapness, they being mostly poor. - -COPY OF INSCRIPTION OF DAMASUS ON AN INSCRIPTION TO CARACALLA. - - 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 WERE BANISHED BY THE - CRUELTY OF THE TYRANT, ALTHOUGH THE BISHOP 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. - -The Chapel of S. Cornelius was originally distinct from these -catacombs. His tomb is marked "Cornelius Martyr. Ep." on the side-wall -fresco of Cornelius and Cyprian; in front is a pillar on which stood -the lamp burning before the shrine. - -INSCRIPTIONS NEAR THE GRAVE OF BISHOP CORNELIUS. - - 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. - - AT THE TIME WHEN THE SWORD PIERCED THE HEART OF OUR MOTHER, - 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. - 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, RECOGNIZES - THE MERIT OF THE PASTOR; HE HIMSELF IS PRESERVING THE - NUMBER OF HIS FLOCK. - -Beyond are two crypts, with a fresco of the Good Shepherd, in good -preservation, on the ceiling, and other Christian emblems. We emerge -into daylight by means of the original stairs, of an early -construction. - -_A little lower down the road, on the left, are the_ JEWISH CATACOMBS, -which, perhaps more than any other, would illustrate that these -catacombs were formerly quarries, because they are rather wide. - -_A little further on we turn down a rough road on the left_, leading -to what has been called the "antiquary's despair," the - - -TEMPLE OF CERES AND FAUSTINA, - -the site of which is now occupied by the deserted CHURCH OF S. URBANO. -The church was built of brick, and the vestibule is supported by -marble Corinthian pillars. Piranesi saw the name of Faustina stamped -on one of the bricks. The basin in the vestibule containing the holy -water was found near here, and was an altar consecrated to Bacchus. -The inscription says that it was made under the priesthood of -Apronianus. The grove of ilex trees is termed the Sacred Grove of -Bacchus. Tradition says S. Urban, in 222-30, had an oratory here under -the present altar; and that Urban VIII. (1633) turned the oratory into -a church;--the paintings and iron bars are of that date. Below the -altar, entered from its side, is a cell, on the end wall of which is -a fresco, of the eighth century, of the Virgin with Christ, and SS. -John and Urban. The plan of the building is rectangular, and it is of -the time of Antoninus Pius. At the foot of this hill is the valley of -the Almo, or Caffarella, in which is the mossy entrance to a grotto, -for a long time called the Grotto of Egeria, owing to the -misapprehension of the site of the Porta Capena. It is now known to -have been a nymphaeum in the - - -VILLA OF HERODES ATTICUS. - -This was proved from finding two pedestals, on which are two Greek -inscriptions, copies of which have been placed on the top of the hill, -close by the artificial ruin in the Villa Borghese; the originals are -in the Louvre. This villa formed part of the dowry of Annia Regilla, -wife of Atticus, as we learn from a column, No. 10 in the second Hall -of Inscriptions in the Capitol Museum, which afterwards marked the -eighth mile on one of the roads. After Regilla's death, he consecrated -a statue to Regilla in the above temple. This is denoted by the above -inscriptions, which speak of her as "the light of the house, the lady -of the land." The wall at the back of the vaulted chamber was -primarily intended to support the declivity of the hill, at the foot -of which this elegant little building stands. The niches in the walls -were for the reception of statues. One of these only, a recumbent -figure of a river god, has been preserved, and is supposed to be a -personification of the Almo, which flows past the spot. - -Several channels for pipes, concealed in the wall, justify the -supposition that the water poured forth in numerous streams. The -romantic appearance of this spot has been greatly changed by the -stream being turned into an aqueduct in the summer of 1873. A path -leads to the tomb of Annia Regilla. - -_Visitors whose time is limited should continue along the Appian Way -as far as the Tomb of Cecilia Metella, and then retrace their steps to -this road, which leads into the Via Appia Nova (page 328), and so -return to Rome._ - -_Regaining the Via Appia, at a short distance on the right is the Via -Sette Chiesa. Some distance down, near the Tor Marancia farm, are the_ - - -CATACOMBS OF DOMITILLA. - -The tomb at the entrance dates from the reign of Trajan, and contained -the remains of SS. Nereus and Achilleus; also of Petronilla, a member -of the Aurelii family. The saints were the servants of Domitilla, a -daughter or niece of Flavius Clemens, the first of imperial blood who -suffered martyrdom. Domitilla opened this tomb, which afterwards -became a general catacomb, for the remains of her servants. This is -the most ancient Christian catacomb, as may be seen from the paintings -and brickwork of the vestibule. The present entrance is modern; the -catacomb is interesting for its paintings. In 1874 the - - -BASILICA OF S. PETRONILLA, - -supposed to have been built about A.D. 400, was discovered, the top -being only a few feet below the ground. It is supposed to have been -originally built for the devotees who resorted to the tombs of the -martyrs, and was destroyed by the Lombardians. On the wall of the -tribune is a _graffito_ of a priest preaching, probably S. Gregory, -whose chair was removed from here to the church of SS. Nereo e -Achilleo. (See page 279.) - -Beneath the floor were discovered many tombs covered over when the -basilica was built. It is being restored as a monument to Monsieur -Merodi. - -A fresco was found representing S. Petronilla receiving Veneranda. -Several inscriptions have been found; also the columns which supported -the baldachino, on which are represented the martyrdoms of SS. -Achilleus and Nereus. - -The Romans built an altar at the springs of the river Numicius to -Anna, the sister of Dido, who became the wife of the god of the river -Numicius, and was called Anna Perenna. (See Ovid, "Fasti," iii. 542.) -The Roman Church erected a chapel to her on the same spot, under the -title of Santa Petronilla, said, without scriptural authority, to have -been S. Peter's daughter, and to have died in Rome, May 30th, A.D. 98, -in the reign of Domitian. This could not be the case, for Domitian -died A.D. 96, and Trajan was emperor before the last of May A.D. 98, -Nerva having reigned between. _Straight on leads to S. Paul's outside -the walls._ - -_Returning to the Via Appia, on the right is the_ - - -CHURCH OF S. SEBASTIANO, - -founded by Constantine, and rebuilt in 1611 from the design of Ponzio. -The front and portico of six granite columns were designed by -Vasanzio. Below the church are the catacombs, open free. A monk acts -as guide. An altar on the right contains Bernini's statue of -Sebastian, and one on the right the famous footprints. - -_Opposite the church_ are the extensive remains of the - - -TOMB OF ROMULUS, SON OF MAXENTIUS. - -In front of the Circus of Maxentius, on the Via Appia, stands a square -portico, of which only the high enclosure walls remain. These, -however, are in a state of excellent preservation. - -_At the back of_ the modern premises, in the middle of this enclosure, -are the remains of a considerable circular tomb, in front of which was -a colonnade facing the Via Appia. In all probability this is the -identical building erected by Maxentius in honour of his son Romulus, -who died in the year 300. Representations of this tomb are to be met -with on coins. _At the side is the_ - - -CIRCUS OF MAXENTIUS, - -erected A.D. 310, the enclosure walls of which have been preserved -almost entire. These display the interesting phenomenon of pots of -earthenware built into them, which not merely expedited the progress -of the work, but allowed of its being more easily repaired than was -possible in any other mode of construction. Its length was 1574 feet, -and breadth 269, and 18,000 spectators could be accommodated within -its vast walls, yet it was a small building compared with the Circus -Maximus (see page 209). In 1825 three inscriptions were found proving -this to be the circus consecrated to Romulus, son of Maxentius. Two -towers flank the entrance, supposed to have been the seats for the -judges. It is the most perfect specimen of a Roman circus remaining. -_On the top of the hill_ is the "stern round fortress of other days," -known as - - -THE TOMB OF CECILIA METELLA, - - [Illustration: CIRCUS OF MAXENTIUS.] - -wife of Lucius Cornelius Sylla, and daughter of Quintus Caecilius -Metellus (Plutarch). The building consists of a circular tower, -seventy feet in diameter, resting on a quadrangular basement made -chiefly of lava and stone, cemented together by lime and pozzuolana, -and strengthened with key-stones of travertine. This ruin, so long -respected as a tomb, was converted into a fortress by Boniface VIII., -and used as such by the Gaetani, his near relatives. It now belongs to -archaeology. Learned men have made it one of their most sacred -resting-places, and it is a favourite resort of tourists and artists. -The inscription on the side facing the road runs as follows: -"Caeciliae--Q. Cretici. F.--Metellae. Crassi." _To the right_ there are -bas-reliefs, well preserved--one representing a trophy of victory, -another a slave or a prisoner; both were brought from a tomb about a -mile further on. The tower was built seventy-nine years before Christ. -The construction is very remarkable, on account of the enormous -thickness of the walls, which are of concrete faced with travertine -and lined with brick in the interior. The enormous massiveness of the -structure indicates a rude and semi-barbarous period. Plutarch speaks -of the extravagance of Sylla in funeral ceremonies. Cecilia Metella -had been previously married to the elder Scaurus (Pliny, xxxvi. 24; -xxxvii. 5). "Sylla dreamed, shortly before his death, that his son -Cornelius, who died before his wife, Cecilia Metella, appeared to him, -and summoned him away to join his mother" (Plutarch). - -The inner chamber of the ruin is fifteen feet in diameter, and was at -one time supposed to contain great treasures both of art and coinage. -But the sarcophagus of white marble now in the court of the Farnese -Palace, and _believed_ to have been discovered in or near the Tomb of -Cecilia Metella, is the only treasure it has produced. - - "What was this tower of strength? within its cave - What treasure lay so locked, so hid?--a woman's grave." - -_Opposite are_ the ruins of a Gothic church,-- - - -S. NICHOLAS OF BARI. - -Built by the Gaetani. Considerable remains of this fortress exist, -showing the strength of the hold by means of which they levied "black -mail" on the passers-by. - - [Illustration: TOMB OF CECILIA METELLA.] - -From this point the Via Appia continues in a straight line to -Albano. Considerable remains of tombs exist on each side of the way, -connected with which are many anecdotes and tragedies. Along the Via -Appia a most magnificent prospect of the Campagna is enjoyed, with its -ruined tombs and aqueducts, and the Sabine and Alban Hills in the -distance. - - -TOMBS ON THE VIA APPIA. - -From just beyond the tomb of Metella the Via Appia was lost till -excavated by Canina, under Pius IX. (1850-53), when many of the tombs -were restored, as far as possible, with the fragments. - - LEFT. | RIGHT. - | - _Fourth Mile._ | _Fourth Mile._ - | - Servilius Quartus. | New fortifications. - Seneca (relief, uncertainty of | Plinius Eutychius. - life). | Caius Licinius, B.C. 367. - Granius, son of Lucius (round | Doric tomb. - tomb). | Hilarius Fuscus, cos. A.D. 160. - Inscription to Sextus Pompeius | Scondi and Scondini, A.D. 100. - Justus. | A. Pamphilius. - Over the wall, remains of Temple | Rabirius, Hermodorus, Demaris, - of Jupiter. | and Usia Prima. - Brick tomb, containing fragments. | Sextus Pompeius Justus, cos. - | A.D. 14. - | Doric tomb. - | - _Fifth Mile._ | _Fifth Mile._ - | - Tomb of the Quintilii, with | Marcus C. Cerdonus. - undercourse of stone taken out. | First tumulus of the Curiatii, - Villa of the Quintilii, off the | with medieval tower. - road, usurped by Commodus, and | Second and third tumuli of the - where he was assassinated; with | Curiatii. - medieval Church of S. Maria | "The sepulchres still remain - della Gloria. | in the several spots where the - | combatants fell: those of the - | two Romans in one place - | near to Alba; those of the three - | Albans on the side next to Rome; - | but in different - | places, as they fought" (Livy, - | i. 25). - | - _Sixth Mile._ | - | - Round tomb of Cotta, consul | - A.D. 20. | - [There is a private road here | - into the Via Appia Nova. If | - the man at the tomb is surly, | - and will not let you pass, | - half a franc will pave the | - way.] | - Tumuli of the Horatii, Tor di | - Selce, with a medieval tower, | - the place where they fought. | - | - _Seventh Mile._ | _Seventh Mile._ - | - Brick tomb of the second century, | Unknown tomb, with medieval - with fragments of three female | tower, off the road on the - statues. | right. - Semicircular concrete ruin, | - supposed resting-place. | - Brick tomb of Persius. | - Road to Via Appia Nova. | - Return to Rome. | - - _Eighth Mile._ | _Eighth Mile._ - | - Brick tomb of Persius, "who died | Area of Silvanus, and Temple of - Nov. 24th, 61, at his villa at | Hercules (Martial, ix. 64, - the 8th mile on the Via Appia" | 101). - (Suetonius). | - | - | _Ninth Mile._ - | - | Tomb of Gallienus and Flavius - | Severus. - -_The railway to Naples crosses at the tenth mile. Carriages cannot -pass, but can turn into the Via Appia Nova._ (See page 328.) - - -APPII FORUM AND THE THREE TAVERNS. - -TRES TABERNAE was a _mutatio_, or halting-place, 11 miles from the -Porta Capena on the Via Appia, at the place now called Frattocchie. It -is 10 miles from the Porta S. Sebastiano and 11 from the Porta S. -Giovanni on the Via Appia Nova, or 9 English miles 326 yards from the -Porta Appia. Here the four roads from Rome, Tusculum, Alba Longa, and -Antium met and continued southwards as one road. It is still a -halting-place, and taverns necessarily grace it. Its exact location is -explicitly pointed out by Cicero. He says to Atticus (ii. 10), "I had -come out of the Antian way into the Appian way at the Tres Tabernae, on -the Festival of Ceres. When my Curio, coming from Rome, met me, at the -same place came your servant with letters from you [from Tusculum]. -Written at the 10th hour (4 p.m.), Apl. 12th," B.C. 58. Continuing his -journey to Formiae, Cicero again writes to Atticus: "From Appii Forum, -at the 4th hour (10 p.m.). I wrote a little while before from the Tres -Tabernae" (ii. 11). So it took him six hours to do the 32 miles between -Tres Tabernae and Appii Forum. Cicero knew the spot well, for it was -the scene of the murder of Clodius. "Severus was detained a prisoner -at a state villa at the 13th mile on the Appian way, where he was -strangled, and then brought back to the 8th mile [from the Porta -Appia] and buried in the tomb of Gallienus" ("Excerpta Valesiana," iv. -10). "Severus was murdered near to the Tres Tabernae of Rome by -Maximianus; and his body was placed in the sepulchre of Gallienus, -which is 9 miles from the city [Porta Capena] on the Appian way" -(Aurelius Victor, "Ep." xl. 3). Some have located Tres Tabernae at -Sermoneta, 23 miles, others at Cisterna, 30 miles from Rome. In the -first case Cicero would have taken five hours to do the 20 miles, and -in the second case five hours to do 13 miles; besides, the Antian -joins the Appian way 11 miles from Rome. These writers were evidently -misled by the medieval forgery known as the Tabula Peutingeriana, -which is in the Vienna Library. - -APPII FORUM was a town of the Volsci, 43 miles from Rome, where -travellers embarked or disembarked, passing the Pontine marshes by -means of the canal. Horace ("Sat." i. 5) describes it as "stuffed with -sailors and surly landlords." These places are interesting, being the -meeting-places of the Roman Christians with St. Paul. "And from Rome, -when the brethren heard of us, they came to meet us as far as Appii -Forum and Tres Tabernae" (Acts xxviii. 15). - - [Illustration: MAP OF THE ROMAN CAMPAGNA.] - -FOOTNOTES: - -[17] Mr. Forbes's Carriage Excursion Lecture every Tuesday. - -[18] St. Melchiades. - -[19] Paulina, Neo, Marca, &c. - - - - -RAMBLES IN THE CAMPAGNA. - -(_Any of these Excursions can be made in one day._) - - PORTA DEL POPOLO: -- Villa Borghese -- Villa di Papa - Giulio -- Acqua Acetosa -- Ponte Molle -- Villa of Livia - -- Veii -- Monte Mario -- Villas Mellini and Madama. PORTA - SALARA: -- Villa Albani -- Catacomb of S. Priscilla -- - Antemnae -- Ponte Salara -- The Anio -- Fidenae. PORTA PIA: - -- Porta Nomentana -- Villa Torlonia -- Church and - Catacomb of S. Agnese -- S. Costanza -- Ponte Nomentana -- - Mons Sacer -- Tomb of Virginia -- Basilica and Catacomb of - S. Alexander. PORTA S. LORENZO: -- The Roman Cemetery -- - Basilica of S. Lorenzo -- Ponte Mammolo -- Hannibal's Camp - -- Castel Arcione -- Aquae Albulae -- Ponte Lucano -- Tomb - of the Plautii. TIVOLI: -- Villa D'Este -- Temples of - Sibyl and Vesta -- The Glen and Falls -- Pons Vopisci -- - Villa of Quintilius Varus -- The Cascades -- Ponte - dell'Acquoria -- Villa of Maecenas -- Temple of Hercules -- - Hadrian's Villa. PORTA MAGGIORE: -- The Baker's Tomb -- - The Aqueducts -- Tomb of Helena (?) -- Gabii -- Ponte di - Nona -- Villa of the Gordian Emperors -- Tomb of Quintus - Atta. PORTA S. GIOVANNI. _First Excursion_: -- Via Appia - Nova -- Painted tombs -- S. Stephen's -- The Aqueducts -- - Pompey's Tomb -- Albano -- Ariccia -- Genzano -- Lake and - Village of Nemi -- Palazzolo -- Lake Albano -- Castel - Gandolfo -- Site of Alba Longa (?) -- Vallis Ferentina -- - Marino -- Grotta Ferrata -- Cicero's Villa. _Second - Excursion_: -- Frascati -- Tusculum -- Rocca di Papa -- - Monte Cavo. PORTA S. SEBASTIANO: -- Via Appia. (See page - 285.) PORTA S. PAOLO: -- Pyramid of Caius Cestius -- S. - Paul's outside the walls -- Remuria Hill -- Tre Fontane -- - The Viaduct of Ancus Martius. OSTIA: -- Street of Tombs -- - Houses -- Warehouses -- Temples -- Docks -- Palace -- - Walls of Ancus Martius -- Museum -- View from Tower of the - Castle -- Castel Fusano -- Pliny's Villa. - -THE ROMAN CAMPAGNA - - -extends from Mount Soracte (S. Oreste) southwards to the Alban Hills, -and from the Apennines westwards to the sea. It is watered by the -Tiber and numerous smaller streams; but there are no marshes except -the salt ones by the sea. The soil is mostly composed of tufa rock, -covered with a few feet of soil--decayed vegetable matter. This causes -the malaria: for the first rains, after the heat of summer, which has -burned up all the vegetation, pass through the soil and rest upon the -rock; then the hot sun after the rains draws up the noxious gas, which -being dispersed through the air, if inhaled during sleep, or upon an -empty stomach, produces fever. - -If the soil, which for many ages has been allowed to lie fallow, were -properly irrigated and cultivated, all this could be obviated. In the -last few years more has been brought under the plough; and if the -government would only plant trees by the road-sides and in the waste -places, the Campagna would soon become as healthy as in the days of -Pliny, who thus describes it:--"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; its fertile plains, sunny hills, healthy woods, -thick groves, rich varieties of trees, breezy mountains, fertility in -fruits, vines, and olives; its noble flocks of sheep and abundant -herds of cattle; its 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." - -The surface is by no means flat, but undulating, like the rolling -prairies of America, and presents many points of interest and study to -the artist and the rambler. - - * * * * * - -PORTA FLAMINIA. - -(_Porta del Popolo._) - -_Passing through the Porta del Popolo_, built in 1561 by Vignola, a -short walk under the walls, to the right, brings us to the Muro Torto, -a piece of masonry of the time of Sylla, and held to be under the -special protection of S. Peter (Procopius, "B. G." i. 13). - - -VILLA BORGHESE. - -_Closed on Mondays, Wednesdays, and Fridays._ - -_Turning to the right_, just outside the Porta del Popolo, is situated -this the handsomest park in Rome, founded by Cardinal Scipio Borghese. -The grounds are open to all visitors; they cover a wide extent, and -their walks, meadows, and groves are superb and unique in their -general attractions. As a promenade for horsemen, pedestrians, and -carriages, it shares the honours with its neighbour the Pincio. After -an airing on the latter, a turn through the Porta del Popolo into this -splendid villa generally completes the evening drive of Romans and -tourists. The clatter of hoofs in winter begins at 4 P.M., and in -summer at 7 P.M. On Sundays a large crowd is collected within its -limits from all quarters of the city, composed of all classes, from -the _minente_ and Albanian nurses bearing babies, to the duchesses -gliding along in landaus. On those days it becomes the paradise of -children, who flock thither with their guardians, and enjoy a rare -frolic in gathering wild flowers, rolling on the grass, and breathing -a far fresher air than the city affords. In the centre of the villa is -the Museum. _Open on Saturdays only, from 1 till 4 in the winter, and -4 till 7 in the summer. Catalogues are provided for visitors._ - -GRAND HALL.--1. Diana; 5. Bust of Juno; 9. Augustus. Relief, Curtius -leaping into the Gulf. Mosaics of gladiators. - -RIGHT SALOON OF JUNO.--_Centre._ Juno Pronuba. 3. Urania; 4. Ceres; 5. -Venus Genitrix; 20. Relief, Birth of Telephus. - -HALL OF HERCULES.--_Centre._ Fighting Amazon on Horseback. 21. Venus. - -ROOM OF APOLLO.--_Centre._ Apollo. 3. Scipio Africanus; 4. Daphne -turned into a Laurel; 13. Anacreon; 14. Lucilla. - -GREEK GALLERY.--The twelve porphyry Caesars are modern. Porphyry urn -from Tomb of Hadrian. 32. Bronze statue of Geta. - -CABINET.--7. The Hermaphrodite; 11. Martius. Mosaics of fishing -scenes. _Centre._ Alcaeus. - -CABINET OF TYRTAEUS.--The Greek poet _in the centre_. 2. Minerva; 4. -Apollo. - -ROOM NINE.--_Centre._ Boy on a Dolphin. 4. Paris; 8. Ceres; 10. A -Gipsy, _modern_; 20. Venus. - -ROOM OF THE FAUN.--_In the centre._ 2. Ceres; 8. Faun; 14. Periander; -6. Seneca. - -_Stairs from the great gallery lead to the second floor._ - -ROOM ONE.--David, Apollo and Daphne, AEneas and Anchises, all by -Bernini. - -ROOM FIVE.--Pauline Borghese, sister of the great Napoleon, as Venus -Victrix, by Canova. Pictures--Story of Helen, by Gavin Hamilton. - -_Passing out of the villa, and proceeding along the ancient_ VIA -FLAMINIA, _now_ VIA PONTE MOLLE (_which is traversed by a tramway_), -_turning up the lane on the right, at the top we come to the_ - - -VILLA OF PAPA GIULIO. - -_On the left-hand side, at the corner of the lane_, is the Casino, -with sculptured cornices and a fountain. Beyond the Casino, and -formerly connected with it by a corridor, is the villa where Pope -Julius III. best loved to dwell, coming from the Vatican in his barge -upon the Tiber. There remain two rooms with richly decorated ceilings -by Zucchero, and a fine court with a fountain. - -_As the road is very dusty and uninteresting, we will take the lane, -which conducts us, after a pleasant stroll, to the_ - - -ACQUA ACETOSA, - -a mineral spring, enclosed in a fountain by Bernini, and surrounded by -a small grove. The view of the Tiber here is very fine, particularly -when the river has risen. On the opposite bank rises the picturesque -ruin, Tor di Quinto, the tomb of Ovid's family. The hill _to the -right_ was the site of Antemnae. (See page 309.) _Below, on the left_, - - -THE PONTE MOLLE - -bursts on our sight. It was built by Pius VII. in 1815, on the -foundations of the Pons Milvius, "which the elder Scaurus is said to -have built" (Marcellinus, xxvii. iii. 9), and near which Constantine -defeated Maxentius, October 27th, 312, a victory so graphically -depicted by Raphael on the Vatican walls. "Maxentius endeavouring to -cross the bridge of boats constructed for the use of his army, a -little below the Ponte Molle, was thrown by his frightened horse into -the waters, and eaten up by the quicksands on account of the weight of -his cuirass. Constantine had great difficulty in finding his corpse" -(Aurelius Victor). - -_Crossing the bridge, the road_ _Via Flaminia_, _to the right, leads -us to_ PRIMA PORTA, the SAXA RUBRA of the ancient Romans, the first -halting-place from Rome. _On the right, above the Osteria_, was -situated the Veientina - - -VILLA OF LIVIA, - -(_custodian next door to the church_), _about four miles from the -bridge_, discovered in 1863. When first excavated, the frescoes and -arabesques were found in a good state of preservation, but they have -since been greatly damaged by atmospheric influences. Livia was the -wife of Augustus, and mother of Tiberius. - -"Formerly, when Livia, after her marriage with Augustus, was making a -visit to her villa at Veii, an eagle flying by let drop in her lap a -hen, with a sprig of laurel (bay) in its mouth, just as it had been -seized. Livia gave orders to have the hen taken care of, and the sprig -of laurel set; and the hen reared such a numerous brood of chickens, -that the villa to this day is called THE VILLA OF THE HENS. The laurel -grove flourished so much, that the Caesars procured thence the boughs -and crowns they bore at their triumphs. It was also their constant -custom to plant others in the same spot, immediately after a triumph; -and it was observed that, a little before the death of each prince, -the tree which had been set by him died away. But in the last year of -Nero, the whole plantation of laurels perished to the very roots, and -the hens all died" (Suetonius, "Galba," i.). - -Cavaliere Piacentini has discovered (1879), on his farm at Prima -Porta, the remains of some baths, which probably were connected with -Livia's Villa of the Hens. In the centre is a hemicycle, 29 feet in -diameter, the mosaic of which represents circus races, the victor -receiving the palm of victory for his horse Liber; and the three -chariots racing, Romano, Ilarinus, and Olympio. Surrounding this hall -are twelve others, with mosaic pavements of festoons and geometrical -patterns in _chiaro-oscuro_. One pavement, 26 feet by 20 feet, -represents the sea, in which are numerous fish; while upon the sea -three-winged figures gambol with marine monsters. The boilers for hot -water, furnaces for hot air, and pipes for cold water are in a capital -state of preservation. Brick stamps show that the building was -restored as late as the time of King Theodoric. - -Near the bridge over the Fosso di Prima Porta has been found the -circular tomb of Gellius, the freedman of the Emperor Tiberius. - -_The road straight on from the Ponte Molle_, VIA CASSIA, _leads to_ - - -VEII. - -(_Mr. Forbes's carriage excursion-lecture at frequent intervals._) - -_Turn off to the right beyond_ LA STORTA, _at the tenth mile_, FOR -CARRIAGES; _pedestrians turn off at the fifth mile, near the_ TOMB OF -VIBIUS MARIANUS, VIA VEIENTINA. The site of Veii is surrounded by two -streams, the Cremera and the Fosso de'due Fossi, and is about twelve -miles from Rome. The place was captured after a ten years' siege by -the Romans under Camillus, B.C. 393. - -_Descend from the village of_ ISOLA, by the side of the brook, to the -mill; here the torrent forms a picturesque cascade, 80 feet high, -crossed by the ancient Ponte dell' Isola, with a single arch spanning -22 feet. Here was one of the ancient gates, called Porta de' Sette -Pagi. _Opposite_ Isola, down the stream, is the Porta dell' Arce. -Under the rock of Isola are some mineral springs, and another gate, -Porta Campana. In the ravine _beyond_ was the Porta Fidenate. _The -gates on the other side of the city_ may be traced by _ascending_ the -valley of the Cremera, Porta di Pietra Pertusa; _beyond which_, on the -ancient road outside, is a large tumulus, La Vaccareccia. Porta -Spezzeria is higher up, with the remains of a tufa bridge; near by are -the remains of an Etruscan columbaria.[20] Beyond is Porta Capenate, -under which is Ponte Sodo, a tunnel, 240 feet long, 15 feet broad, and -20 feet high, cut in tufa for the brook to pass through. Further on is -Porta del Colombario, near a ruined columbaria. _Beyond_ is the Ponte -di Formello, a Roman bridge upon Etruscan piers; _close by_ is the -last gate, Porta Sutrina. - -The so-called Piazza d'Armi, the ancient citadel, stands at the -junction of the two streams. - -Under Julius Caesar, within the walls of the ancient city, an IMPERIAL -MUNICIPIUM was founded. Part of a road, some traces of tombs, and a -columbaria mark the site. It seems to have been founded to occupy the -commanding situation, as Florus the historian, A.D. 116, asks, "Who -now knows the site of Veii?" In the middle ages, for the same reason, -the isolated rock was surmounted by a castle. Caesar Borgia besieged it -for twelve days, and destroyed it. Isola is considered to have been -the necropolis of Veii, from the sepulchral caves and niches hollowed -in the rock. - -A pleasant ramble may be had by _following the Cremera down to the -Tiber, between the sixth and seventh mile on the Via Flaminia, thence -to Rome_. - -_Returning beyond_ LA STORTA, _the_ VIA TRIUMPHALIS _leads over_ MONTE -MARIO. On the height overlooking Rome is - - -MONTE MARIO. - -This hill is supposed to take its name from the celebrated Marius, and -the slope down to Rome was called the Clivus Cinnae, from Cinna -(Gruter, mlxxxi. 1). In 998, from the victory of Otto III. over the -Romans, it was called Monte Malus, hence the bridge over the Tiber was -called Ponte Male; by Evelyn, 1650, Mela; now Ponte Molle. The hill -took its present name from the proprietor in 1409. It is now -Government property, and a fort has been erected on the height. In -making the fort the tomb of Minicia Marcella was found. Pliny, jr. (v. -16), speaks of the sweetness and early death of the daughter of -Fundanus, consul 107. The inscription says she lived twelve years, -eleven months, and seven days. From the height a most glorious -panorama of the Tiber valley is enjoyed. - -_A path through the woods leads down to_ - - -THE VILLA MADAMA. - -The villa was built by Giulio Romano, and it contains some of his -frescoes, representing satyrs and loves, Juno and her peacocks, -Jupiter and Ganymede, and other subjects of mythology. There is a fine -fresco upon a ceiling, representing Phoebus driving his heavenly -steeds, by Giovanni da Udine. - -_Passing out into the_ VIA TRIUMPHALIS by the oak avenue, pausing a -while at the top of the hill to admire "the vast and wondrous dome," -and continuing our ramble, we descend the slopes of Monte Mario, the -ancient CLIVUS CINNAE. - - * * * * * - -PORTA SALARA. - -The present gate was built in 1873; outside are some slight remains of -the old one. A short distance down the VIA SALARA, on the _left_, -Cavalier Bertoni has discovered the tomb of Lucilius and his sister -Polla, with their portraits. It is a grand circular tomb, 117 feet in -diameter. Paterculus (ii. 9) speaks of "Lucilius, who in the Numantine -War served in the cavalry under Publius Africanus," B.C. 103. -_Opposite is the_ - - -VILLA ALBANI. - -_Open on Tuesdays from 12 till 4. Permission to be obtained of the -bankers_ Messrs. Spada and Co., 11 Via Condotti. The museum contains a -fine collection of statues, busts, sarcophagi, &c. The grounds are -splendid, and numerous antique statues are dispersed through them. -_Catalogues can be obtained of the custodian._ - -GRAND PORTICO.--51. Augustus; 79. Agrippina; 61. Faustina (?); 72. -Marcus Aurelius; 82. Hadrian. - -VESTIBULE.--19. Caryatid, by Criton and Nicholaus of Athens. - -LEFT GALLERY.--48. Alexander; 45. Scipio; 40. Hannibal; 46. Brutus -(?); 110. Faun. - -RIGHT GALLERY.--93. Juno; 106. Faun and Bacchus; 120. Son of Augustus; -118. Seneca; 112. Numa; 143. Livia sacrificing. Vase, with the -labours of Hercules, found at his temple on the Via Appia. 222. -Relief--the Nile. - -_Staircase from Vestibule._--891. Rome Triumphant; 885. Relief--the -Death of the Children of Niobe; 893. Antoninus Pius Distributing Corn -(?); 894. Orphan Children of Faustina (?). (See page 44.) - -UPPER FLOOR, FIRST ROOM.--905. Apollo; 906. An Athlete; 915. Cupid. - -NOBLE GALLERY.--Reliefs; 1008. Hercules and the Hesperides; 1009. -Daedalus and Icarus; 1010. A Sacrifice; 1013. Antonius holding a Horse; -1018. Marcus Aurelius, Antoninus, Faustina, and Rome; 1014. Venus, -Diana, Apollo, and Victory sacrificing. - -LEFT ROOM.--1013. Relief--Antinoues Crowned with the Lotus Flower, -_very beautiful_. - -SECOND ROOM.--952. Apollo Sauroctonos, by Praxiteles. - -_Beyond the villa is the_ - - -CATACOMB OF S. PRISCILLA. - -Priscilla _is said_ to be the Christian name of the mother of Pudens. -Anastasius (xxxi. 31) says this cemetery was made by Bishop Marcellus, -A.D. 307. There is a burial vault here said to be the tomb of the -family of Pudens; it has some rude frescoes--a woman coming out of a -house; an orante in act of prayer, called a Madonna; a woman between -two men, twice over. Other frescoes, in different chambers, are the -Three Jews in the Fiery Furnace; Good Shepherd; four orantes and -doves; seven men carrying a barrel, whilst two others lie on the -ground. Scratched on the wall is ORATIUS D. NOBILIBUS ANTONIUS BOSIUS; -and underneath was a marble slab--BONAVIAE CONJUGI SANCTISSIMAE; a Good -Shepherd; a female figure seated, with a child in her lap, looking -towards a male figure with hands extended, called the Virgin and -Isaiah (query, Joseph)--between them is a star. This is the earliest -painting of the Virgin known. - -_Leaving the catacomb, the hill on the left, beyond, was the site of_ - - -ANTEMNAE, - -one of the most ancient cities of the Latin land. It was captured by -the Romans under Romulus, and destroyed by Alaric A.D. 409, who -encamped here when attacking Rome. Near by, the Anio flows into the -Tiber,--"with whirlpools dimpled, and with downward force." A -beautiful prospect of the surrounding country may be enjoyed. The -Tiber rolling his yellow billows to the sea, serpent like, through -green meadows; the blue Apennines, with snow-covered summits, looking -patronizingly down upon the village-crowned hills at their base; the -slopes of Monte Mario, dark with cork-wood foliage, _on our left_. Sir -W. Gell says that the high point nearest the road was the citadel, -below which is a cave that was once a sepulchre. One gate looked -towards Fidenae, up the Tiber; another towards Rome; perhaps also one -toward Acqua Acetosa; and another in the direction of the meeting -waters. - -_Beyond, the road crosses the Anio by_ - - -THE PONTE SALARA, - -rebuilt in 1878. Upon the old bridge Titus Manlius, in A.U.C. 395, -killed the Gaulish giant, and on account of putting the giant's chain -on his own neck took the title of Torquatus (Livy, vii. 10). - -_Beyond_ the bridge is an unknown tomb. Five miles from Rome is Castel -Giubeleo, the site of - - -FIDENAE, - -"a large and populous city, forty stadia from Rome" (Dionysius, ii. -53; xiii. 28); founded by the Albans, and made a Roman colony by -Romulus, but soon revolted. It was whilst Servius Tullius was fighting -the citizens that he sent and destroyed Alba Longa (Livy). The place -was ultimately taken by Lartius Flavus, the consul, by means of a mine -(Dionysius, v. 70). - -There are no remains of the city, but the site is undoubted. The arx -was to the right of the road on the high hill before arriving at -Castel Giubeleo. It is not known when this city was destroyed, but in -A.D. 27, in the time of Tiberius, the temporary amphitheatre fell and -killed a large number of people. (See Suetonius, "Tiberius," xl.; -"Caligula," xxxi.; Tacitus, "Annals," iv. 62.) - - * * * * * - -PORTA PIA. - -This gate was built by Michael Angelo in 1564. It was nearly destroyed -by the Italian troops in 1870, but is now restored. - -A fine view of the Villa Albani and the Sabine Hills may be had from -this spot. - -_To the left_ of the gate a tablet marks where the Italian army -entered Rome on the 20th September 1870. - -_To the right_ is the ancient - - -PORTA NOMENTANA, - -Porta Pia taking its place. The former is flanked by two round towers. -_Opposite_ is the Villa Patrizi, in which is the small catacomb of S. -Nicomedus. _Beyond, on the right_, is the Villa Lezzani and the Chapel -of S. Giustina. - -_Proceeding down the Via Nomentana a little way, on the right_ is the - - -VILLA TORLONIA, - -_open on Thursdays, from 11 till 4, with permission to be obtained of -Messrs. Spada and Co._ The gallery has many fine paintings and -sculptures, and the gardens are adorned with fountains, statues, and -mock ruins. - -_About a mile further on is the_ - - -CHURCH OF S. AGNESE, - -founded by Constantine, on the site where the body of the saint was -found. The aisles are formed by thirty-two columns of fine marble, and -the altar canopy is supported by four columns of porphyry. In the -second chapel on the right is a beautiful altar inlaid with mosaic -work. Pio Nono's escape when the floor fell in, April 15, 1855, is -commemorated by a fresco by Tojetti. The feast of the saint is on the -21st January, when the lambs are blessed with great ceremony. Here we -have the best idea of a basilica. - - -THE CATACOMB OF S. AGNESE. - -_Entrance in the church. Open on Sunday, Tuesday, and Thursday._ - -Part of this catacomb under the garden of the monks is well worth a -visit. The entrance to it is through the church, and the exit through -S. Costanza. The original stairs at the entrance were excavated in -1873, and four pagan tombs were found and two openings from them into -the catacomb, showing that the Catacombs were general cemeteries, and -not _exclusively_ Christian. This catacomb is interesting, as it is -left just as it was found in 1871, many of the graves being -unopened.--The neighbouring - - -CHURCH OF S. COSTANZA - -was erected to the memory of Constantine's daughter, Constantina, who -was anything but a saint according to Marcellinus. It is worth -visiting on account of its dome, supported by twenty-four clustered -columns in granite, and covered with mosaics. The sarcophagus is now -in the Vatican Museum. - -S. Costanza is a mausoleum and a baptistery, not properly a church. -The mosaic pictures of the fourth century are the finest known of that -period. Those over the doors are of the eighth century. - -"At this time [A.D. 360] Julian sent the body of his wife Helen, -recently deceased, to Rome, to be buried in the suburb on the road to -Nomentum, where also Constantina, his sister-in-law, the wife of -Gallus, had been buried" (Marcellinus, xxi. i. 5). - -_A quarter of a mile beyond the church, on the left, is the entrance -to_ - - -THE OSTORIAN CATACOMB. - -(_Custodian, Valentino._) - -Signor Armellini has, it is reported, succeeded in deciphering an -inscription in this catacomb, in which the name of S. Peter occurs. -The supposed inscription is in an archway and on the stucco, the -letters being in red colour. This _cubiculum_ is lighted from the top -by an old _luminarium_, and in shape is not unlike a basilica without -aisles. At a short distance in front of the apse, jutting out from the -right wall, is a chair of tufa, which looks across the chamber; -opposite is a column, coming out in the same manner, above which is a -niche for a lamp. The apse itself is filled up about four feet above -the floor of the chamber, the filling up forming a tomb, the top of -which was probably used as an altar (_arcosolium_). The vault of the -apse is covered with scroll-worked stucco in very low relief, coloured -red; this has fallen off, only some slight traces of it remaining, -presenting in one or two instances the _appearance_ of letters, which, -we should say, it was impossible to make out. This is the inscription -in which Signor Armellini reads the name of Peter. But even supposing -that it is an inscription, and that Peter's name is there, it does not -prove that Peter baptized there; for, in fact, the catacomb was made -long after S. Peter's death. In the acts of the martyrs Liberius and -Damasus, it is mentioned that in this catacomb S. Peter baptized -(query, not the apostle). This is followed by Bosio, Aringhi, and De -Rossi. This catacomb is supposed to have belonged to the descendants -of Ostorius, the pro-praetor in Britain who sent Caractacus and his -wife prisoners to Claudius. Of course the simple mention of S. Peter -in the inscription does not prove that he ever was in Rome, for we -have every evidence to the contrary. This catacomb is about two miles -outside the Porta Pia, on the Via Nomentana, and adjoins that of S. -Agnese, and is also known by the name of "Peter's Fountain," though -there is no water there. Boldetti informs us that a vial of blood -found in the Ostorian Cemetery bore these words: "_Primitius in pace -post multas angustias fortissimus martyr._" This catacomb is also -mentioned by Tertullian. - -_Resuming our ramble_ along the Via Nomentana, after a short walk we -reach the railway bridge, from which we obtain a beautiful view of the -Campagna and the distant hills, whilst at our feet is the Anio, -spanned by the - - -PONTE NOMENTANA, - -a Roman bridge, very picturesque, rebuilt, A.D. 565, by Narses, the -eunuch, and conqueror of Italy. Its present upper part is, however, -medieval. _Just beyond is the ridge of_ - - -MONS SACER, - -where the plebeians retired when they made their secession, B.C. 492, -and where Menenius Agrippa addressed to them the famous fable of the -"Belly and its Members" (Livy, ii. 32; Dionysius, vi. 86), so -beautifully illustrated by S. Paul: "As the members of a natural body -all tend to the mutual decency, service, and succour of the same body; -so we should do one for another, to make up the mystical body of -Christ" (see 1 Cor. xii.). "They erected an altar upon the summit of -the hill, where they had encamped, which they named the altar of -Jupiter Terribilis" (Dionysius, vi. 90). A second secession here took -place after the death of Virginia, B.C. 449 (Livy, iii. 52). - -_Beyond the osteria_ (_inn_), _on the left, is the so-called_ - - -TOMB OF VIRGINIA. - -The shepherds have handed down this tradition, but we have no historic -record of where she was buried. Dionysius (xi. 39) gives this account -of her funeral:-- - -"The relatives of the virgin still increased the disaffection of the -citizens by bringing her bier into the forum, by adorning her body -with all possible magnificence, and carrying it through the most -remarkable and most conspicuous streets of the city: for the matrons -and virgins ran out of their houses lamenting her misfortune, and some -threw flowers upon the bier, some their girdles or ribbons others -their virgin toys, and others even cut off their curls and cast them -upon it. And many of the men, either purchasing ornaments in the -neighbouring shops, or receiving them by the favour of the owners, -contributed to the pomp by presents proper to the occasion: so that -the funeral was celebrated through the whole city." - - "And close around the body gathered a little train - Of them that were the nearest and dearest to the slain. - They brought a bier, and hung it with many a cypress crown, - And gently they uplifted her, and gently laid her down."--MACAULAY. - -_About three miles from the bridge are the_ - - -ORATORY AND CATACOMB OF S. ALEXANDER, - -discovered in 1853. S. Alexander suffered under Trajan, A.D. 117. In -the fourth century a church was built over the oratory and catacomb. -In 1867 Pius IX. laid the foundations of a church to be erected over -these remains. _To visit them a permit is necessary from the cardinal -vicar, 70 Via della Scrofa._ - - * * * * * - -PORTA TIBURTINA. - -(_Porta S. Lorenzo._) - -This gate was built by Augustus, B.C. 3, over the line of the -Pomoerium, being one of the arches of the Marcian Aqueduct, B.C. -145. The Aquae Tepula and Julia likewise passed over it. The -inscriptions refer to Augustus, and to repairs by Vespasian, -Caracalla, and Honorius, who added the picturesque brick towers in -402. - -_A new road has now been made to the_ CEMETERY, _which is passed by -the tramway to Tivoli. Three quarters of a mile on the road is the_ - - -CHURCH OF S. LORENZO, - -founded in 308 by Constantine, in the place where was the cemetery of -S. Cyriaca, which contained the body of S. Lorenzo. It was enlarged -and restored at different periods. Finally, in 1864, Pius IX. caused -the architect Vespignani to make great improvements, and it was then -that the column of red granite with the statue of the martyr was -placed in the adjacent square. - -The poet Bishop Vida describes the martyrdom of S. Lawrence, and thus -foretells his monument:-- - - "As circling years revolve, the day shall come - When Troy's great progeny, imperial Rome, - To the blest youth, who, filled with holy pride, - Tyrants, and flames, and bitter death defied, - Shall build full many an altar, many a shrine, - And grace his sepulchre with rites divine." - -Under the colonnade, supported by six Ionic columns, and adorned with -frescoes, are two sarcophagi with bas-reliefs; also some curious -frescoes relating to the soul of the Saxon count Henry. The interior -is divided into three aisles by twenty-two columns, the greater part -in Oriental granite. The paving recalls the style of the basilicae of -the primitive times. The great aisle was painted, by order of Pius -IX., by Cesare Fracassini; in it are two pulpits of marble. A double -staircase of marble conducts to that part of the Basilica -Constantiniana which by Honorius III. was converted into the -presbytery. It is decorated at the upper end by twelve columns of -violet marble, which rise from the level of the primitive basilica -beneath it. At the end is the ancient pontifical seat, adorned with -mosaic and precious marbles. The papal altar is under a canopy in the -Byzantine style. The pavement of the presbytery is worthy of -attention. Descending to the confessional, which is under the high -altar, we find the tomb of the martyred saints--Lawrence, Stephen, and -Justin. Pius IX. is interred here. Returning to the church by the -staircase on the left, we enter the sacristy, where is the altar of -the Holy Sacrament, with a picture by E. Savonanzio, representing S. -Cyriaca, who is having the martyrs buried. Close by is the ROMAN -CEMETERY, opened in 1834. The frescoes here are worth seeing, as well -as the different monuments. - - -THE VIA TIBURTINA. - -_Mr. Forbes's steam-tramway excursion-lecture to Tivoli and Hadrian's -Villa, every Thursday._ - -This road is the worst kept, the least interesting, and the most -frequented out of Rome. The new tramway is now open, so it is more -come-at-able than hitherto. Leaving the cemetery, we soon pass the -Florence railway; then a bridge over the Ulmanus stream. The farm on -the right, inside the gateway, is upon the site of the Villa of -Regulus (Martial, i. 13). At the first mile was the monument of Pallas -(Pliny younger, vii. 29; viii. 6). We soon cross the Anio by the -modern bridge: the old one, Ponte Mammolo, can be seen to the right; -it took its name from Mammaea, the mother of Alexander Severus, who -repaired it. In these meadows Hannibal had his first camp (see page -288). Beyond, we pass along the modern causeway over the meadows where -his second camp was, by the Tutia, which stream we cross. We now pass -some of the old pavement, and upon the left CASTEL ARCIONE, a medieval -castle belonging to a family of that name; destroyed by the S. P. Q. -T., it having become a stronghold for brigands. - -The calciferous lake of Tartarus formerly existed, just beyond, but -is now dried up. Near by a sulphurous odour indicates the proximity of -the AQUAE ALBULAE, baths often frequented in ancient times. A channel, -constructed by Cardinal Este, draws off the water from these -sulphurous lakes to the Tiber. The bath-house was erected in 1880, and -the water is beneficial for skin diseases. - - [Illustration: PLAN OF TIVOLI. - 1 _Via della Sibilla_ - 2 _Ponte Gregoriano_ - 3 _Porta St. Angelo_ - 4 _Grand Falls_ - 5 _Glen & Falls_ - 6 _Temples of Vesta & Sibyl_ - 7 _Temple of Hercules_ - 8 _Cascade_ - 9 _Cascades_ - 10 _Villa S. Antonio_] - -In the vicinity are the quarries of travertine--so called from the -stone taking the ancient name _Tiburtians_--which have yielded the -materials for building both ancient and modern Rome, the Colosseum, -and S. Peter's. - -_Three miles from Tivoli we cross the picturesque_ - - -PONTE LUCANO, - -which spans the Anio. Near by is the solid and magnificent Tomb of the -Plautii, similar to that of Cecilia Metella. The upper part has been -repaired in medieval times, that it might serve as a fortress. -Erected, 1 B.C., by M. Plautius Silvanus for himself, Lartia his wife, -and Urgularicus his child. The inscription tells us that one of his -descendants served in Britain, and died A.D. 76. - -_A little beyond, a road turns off to the right, leading to Hadrian's -Villa, which had better be visited in returning._ - -_First visit the glen at Tivoli, then take the road round to see the -small falls passing over the Ponte dell' Acquoria. Turn to the right. -This brings us into the main road below the town. A short distance -down we turn off to Hadrian's Villa; or, instead of turning to the -right after passing the bridge, the road to the left leads past the -Tempio della Tosse up to the Villa d'Este._ - - -TIVOLI. - -_Donkey for excursion to the Falls, one and a half lira; guide_ (_not -necessary_), _one franc._ - -The ALBERGO REGINA is the best in the town; everything clean, good -cookery, and comfortable apartments for those spending a few days upon -the spot. The SIBILLA not so clean or comfortable, but a fair lunch -can be provided in the Temple of Vesta attached to the inn. _Pension -at both houses._ - - -THE VILLA D'ESTE, - -_near the entrance of the town from Rome, first turning left_. It is -ornamented with fountains, ilexes, cypresses, formal plantations and -clipped hedges--all very stiff amidst so much natural beauty. The -casino is decorated with frescoes by F. Zucchero and Muziano. - -The villa has been neglected and deserted by its present proprietor, -Cardinal Baroli, and is fast going to ruin and decay: this rather adds -to its picturesque and haunted appearance. If Scott or Dickens had -only made it the scene of one of their tales, it might have become -historical. - -_If your time be limited, omit this villa._ - - [Illustration: GROTTO OF THE SIBYL, TIVOLI.] - - -THE ANCIENT TIBUR - -was delightfully situated on the Sabine Hills. The modern town, of -7000 inhabitants, has few attractions except its charming situation -and past recollections. It bore the name of Tibur in antiquity, and -during the Augustan age the Roman nobles founded splendid villas -there, among which were those of Augustus himself, Maecenas, and the -Emperor Hadrian. The beauties of Tivoli and the surrounding country -were recorded in undying verse by Horace, whose Sabine farm was not -far distant, and who seems to have delighted to dwell in retirement in -the neighbourhood rather than in noisy, bustling Rome. The old town -held in high reverence Hercules, the Sibyl, and Vesta, and the remains -of temples dedicated to the latter are still visible immediately above -the cascades on the edge of the present city limits. It is generally -in Vesta's temple that tourists to the locality spread out and partake -of the provisions brought with them from Rome; this is only advisable -in warm weather. This circular Temple of Vesta is surrounded by an -open corridor of Corinthian columns, ten of which still remain. It was -destroyed by Lord Bristol, who wanted to carry it off to his estate -in Norfolk. - - [Illustration: TEMPLE OF VESTA AND GROTTO OF NEPTUNE.] - -The terrace of the temple commands a good view of the falls, which are -formed by the waters of the Anio. A swift torrent, proceeding from the -mountain heights, and leaping down a precipice at the village, -constitutes the celebrated cascades of Tivoli, one of which is three -hundred and forty feet in height. Visitors are conducted to various -spots (on donkeys or on foot) whence they may be able to catch the -finest glimpses of the rising spray, and also in order to visit the -grottoes of Neptune and the Sibyl. The path is often precipitous, -rough, and narrow, but the sight well repays the trouble of parading -over so much ground. Le Cascatelle, or small falls, are formed by a -branch of the Anio. The tunnels through MONTE CATILLO were cut in -1834, to divert the river, as when it followed the old course the town -was frequently flooded; in fact, the inundation of 1826 rendered these -new channels necessary. This flood exposed the remains of two ancient -bridges and several tombs--the one higher up the river, PONS VALERIUS, -and the other near the mouth of the tunnels, PONS VOPISCI, after the -owner of the adjoining ancient villa. The VILLA OF MAECENAS and TEMPLE -OF HERCULES are now occupied by iron-works; in the garden are remains -of a Doric portico. Below the iron-works is the so-called TEMPIO DELLA -TOSSE, a circular building like the Pantheon, probably the tomb of the -Turcia family. - -_Having seen the glen at Tivoli, take a donkey round the bank of the -glen over the Ponte Acquoria to the Villa of Hadrian. Man and donkey, -4 lire._ - - -HADRIAN'S VILLA - -(_Entrance, one lira_) - -stands on the slope of the heights of Tivoli, from which it is only -thirty minutes' walk. It once covered an area of several square miles; -and its magnificent grounds, unequalled in the Roman Empire, were laid -out by Hadrian in order to assemble within them models of everything -that had struck him during his travels, and accordingly they were -filled with the finest statuary, palaces, temples, theatres, circuses, -and academies. Some of the finest antique statues were found here -under the popes. All this sumptuousness was destroyed in the sixth -century by the Goths. Extensive ruins still exist. It is thus -described by Pope Pius II.:-- - -"About the third of a mile from the city of Tivoli, the Emperor -Hadrian built a very splendid villa, like a great village. The lofty -and vast roofs of the temples still remain; the columns of the -peristyles and sublime porticoes may yet be gazed at with admiration. -There are still the remains of the piscinas and baths, where a canal -derived from the Anio once cooled the summer heats. - -"Age deforms all things: the ivy now drapes those walls once covered -with painted hangings and cloths woven with gold; thorns and brambles -have grown where purple-clothed tribunes sat; and snakes inhabit the -chambers of queens. Thus perishable is the nature of all things -mortal." - - [Illustration: PLAN OF HADRIAN'S VILLA AT TIVOLI] - - [Illustration: VILLA OF HADRIAN.] - -_Entering_ through an avenue of cypresses, we arrive at the ODEUM, the -skeleton of which only remains; this was for musical performances. -_Following the path beyond the modern Casino, to the left_, by the -NYMPHAEUM, then along the brink of the valley, we mount up to some -chambers, formerly a reservoir from which the water poured in a -cascade to the stream Peneas below. _From the edge_ of this ruin we -look down upon a valley, made in imitation of the VALE OF TEMPE. A -stream runs through it, named, after the river in Thessaly, PENEAS. -_On the opposite_ slope of the valley was the LATIN THEATRE. We now -enter the IMPERIAL PALACE, with the ruins of the Temples of Diana and -Venus adjoining; _passing through which_, at the farthest extremity, -is the TEMPLE OF CASTOR AND POLLUX. _Near this_ are some subterranean -passages, called the TARTARUS. _Beyond_ were the ELYSIAN FIELDS. -Elysium, or the Elysian Fields, was the region where the souls of the -dead were supposed to go to if they had been good. There, happiness -was complete, and the pleasures were innocent and refined; the air was -serene and temperate, the bowers ever green, and the meadows watered -with perennial streams, and the birds continually warbled in the -groves. - -Tartarus was the region of punishment in the nether world of the -ancients. _On the farther side_ of Tartarus is the ROMAN THEATRE; -_beyond_ was the LYCEUM. _Returning_, we come upon the ACADEMY. The -Academy at Athens was an open meadow, given to the city by Academus, -from whom it took its name. It was afterwards formed into a grove. It -was the resort of Plato, and hence his disciples took the name of -_academic_ philosophers. - -_Beyond is the_ SERAPEON of CANOPUS, with the SACRARIUM of JUPITER -SERAPIS at the end, built in imitation of the canal connecting -Alexandria with Canopus, a city of Lower Egypt, twelve miles east of -Alexandria, at the west or Canopic mouth of the Nile. - -_On the right_ are some remains of the HIPPODROME; _and towards the_ -entrance of the Serapeon, the BATHS. _From here we reach_ the STADIUM, -where the foot races were held. _We now come upon_ a lofty wall of -_opus reticulatum_, nearly six hundred feet long. This was one of the -walls of the POECILE STOA, in imitation of the grand portico at Athens -of that name, famed for its fresco-paintings of the battle of Marathon -by Polygnotus, and as the seat of the school of Zeno the philosopher, -who took the name Stoic from frequenting this portico. This portico -was built on an artificial platform, and the wall can be traced all -round; _underneath_ are the HUNDRED CHAMBERS of the GUARDS. _From our -right_ of the wall, we enter the PRYTANEUM, in imitation of the -council hall of that name at Athens, where the fifty deputies of the -republic lived and held office, each five weeks in turn. _Through this -we reach_ the AQUARIUM, a circular edifice with an octagonal platform -in the centre, with openings for fountains and statues; to the left of -this were the GREEK and LATIN LIBRARIES. - -Having now rambled over the extent of this famous villa, and picked up -a memento of our visit, we may truly exclaim--"_Sic transit gloria -mundi._" - -_The tramway back to Rome is taken from the end of the road leading -from the villa._ - - * * * * * - -PORTA ESQUILINAE. - -(_Porta Maggiore._) - -Here the Via Praenestina diverged from the Labicana; and Claudius, who -was obliged to convey two new streams--the Aqua Claudia and the Anio -Novus--over these roads, erected for this purpose a massive gateway, -which spanned both roads at once with a double arch. This is the -splendid monument afterwards taken into the Aurelian Wall, in the time -of Honorius and Arcadius, and converted, by the erection of a mound -in front, into a kind of bulwark. It now forms one of the city gates, -under the name of the Porta Maggiore. - -In each of the three piers supporting the attics with the channels -concealed in the interior is a small gateway, over which a window, -with a gable roof resting on rustic pillars, is introduced. By this -arrangement, not only is a saving of materials effected, but the six -construction arches thus acquired impart a greater degree of stability -to the structure. - - [Illustration: PORTA MAGGIORE.] - -The first inscription on the aqueduct of Claudius mentions the streams -conveyed into the city by the emperor upon these arches. From it we -learn that the water in the channel which bore his name was taken from -two sources,--the Caeruleus and the Curtius, forty-five miles off; and -that the Anio Novus, which flows above the Aqua Claudia, was brought -hither from a distance of sixty-two miles. The second inscription -relates to the restorations of Vespasian; the third to those of Titus. - -This gateway is the earliest specimen of the rustic style. It was -named, by those going out, by which arch they passed through on their -way either to Labicum or to Praeneste. Coming in, they called it by the -hill to which they were going. "After I had said that he entered by -the Coelimontane Gate, like a man of mettle he offered to lay a -wager with me that he entered at the Esquiline Gate" (Cicero _v._ -Piso). - -Directly in front of the middle pier of the Porta Maggiore lies a -monument, discovered in the year 1838, on the removal of the mound -referred to. It is - - -THE BAKER'S TOMB. - -The man who erected his own monument on this spot was a baker, who -seems to have made a considerable fortune as a purveyor. According to -the good old custom, he was not ashamed of his calling, but built a -species of trophy for himself out of the utensils of the trade by -means of which he had attained to wealth and respectability. The -hollow drums of pillars, for instance, let into the superstructure, -which rests upon double columns, seem to represent vessels for -measuring fruit; and the inscription found beside them agrees with -this opinion, as it states that the mortal remains of Atistia, the -wife of Eurysaces, were deposited in a bread-basket. In fact, -everything was represented that appertained to a baker's trade. - -This is rendered the more interesting from the circumstance of several -of these representations seeming to belong to the present time--people -in this sphere in Italy usually adhering to the customs transmitted to -them by their forefathers. - -The inscription on the architrave, stating this monument to be that of -M. Virgilius Eurysaces, purveyor of bread, is repeated three times. A -relief of the baker and his wife, also the remains of the Gate of -Honorius, are to be seen on the right of the road. - -To the north of the tomb three old aqueducts, Marcia, Tepula, and -Julia, can be seen passing through the walls of Rome. - - -VIA LABICANA - -is an interesting excursion. _Leaving Rome by the Porta Maggiore, we -take the road on the right_, VIA LABICANA, _as we can return by the -other_, VIA GABINA, or PRAENESTINA. For the first mile the road runs -parallel with the Claudian Aqueduct; then, bending to the left, there -are some very picturesque remains of the AQUA HADRIANA, A.D. 120, -restored by Alexander Severus, A.D. 225, as recorded by Spartianus. At -the second mile is TOR PIGNATTARA, the so-called - - -TOMB OF HELENA (?). - -This ascription is altogether a mistake. Helena was buried in the city -of New Rome (Constantinople), and not outside ancient Rome. "Her -remains were conveyed to New Rome, and deposited in the imperial -sepulchres" (Socrates, E. H., i. 17). The sarcophagus found here is -more likely, from its reliefs, to have been that of a soldier than a -woman. The sarcophagus, of red porphyry, is now in the Hall of the -Greek Cross in the Vatican. The remains of the tomb consist of a -circular hall with eight circular recesses. A church, dedicated to SS. -Peter and Marcellinus, stands within it, beneath which are the -catacombs of these saints. At the sixth mile is TORRE NUOVA, -surrounded by pine and mulberry trees. At the Osteria di Finacchio -(ninth mile) a by-road leads to the Osteria dell'Osa, on the Via -Gabina (two miles). _Visitors leave their carriage here, and order it -to go two miles further on, to_ (_opposite_) _Castiglione, on the Via -Praenestina, where they meet it after visiting_ - - -GABII, - -founded by the kings of Alba, and taken by the Romans, under Tarquin, -through the artifice of his son Sextus. It was deserted in the time of -the republic, but recovered under the empire, to fall once more before -the time of Constantine. At the end of the ridge are remains of the -Roman Municipium and Temple of Juno of the time of Hadrian. The -buildings of CASTIGLIONE occupy the site of the ancient city. The -principal ruin is the TEMPLE OF JUNO GABINA. Virgil tells us "it was -situated amidst rugged rocks, on the banks of the cold Anienes." The -cella is composed of blocks of stone four feet by two feet; the -interior is 50 feet long; the pavement is of white mosaic. _Close by -are_ the ruins of the THEATRE, and some Ionic columns. Considerable -remains of the ancient walls can be traced. The fresh, green basin -below the ridge was once a lake, and was drained about twenty-five -years since by Prince Borghese. It is curious that there is no mention -of the lake by classical authors. It is first mentioned in reference -to the martyrdom of S. Primitivus, who was beheaded at Gabii, and -whose head was thrown into the lake. This was in the fifth century. -Perhaps the lake did not exist in Tarquin's time, and was formed by -some freak of nature after the desertion of the city. - -_Returning to Rome by the Via Gabina, after passing the stream Osa_, -about two miles, we come to a fine Roman viaduct, PONTE DI NONA, -consisting of seven lofty arches, built of rectangular blocks of -_lapis gabinus_ of the time of the kings. At the eighth mile is the -medieval TOR TRE TESTE, so called from the three heads built in its -walls. Here Camillus overtook the Gauls (Livy, v. 49). _About two and -a half miles from Rome, at the_ Tor dei Schiavi, are extensive ruins -of the VILLA OF THE GORDIAN EMPERORS, consisting of a large reservoir, -the circular hall of the baths, and a circular temple, 43 feet in -diameter, called Apollo. The inside is relieved by alternate round and -square niches; the crypt beneath is supported by one pier. _Between -this and_ Tor dei Schiavi, three rooms at the base of a circular -edifice have been opened; the floors are composed of black and white -mosaic. - -_On the right, about a mile further on_, is the circular tomb, 50 -yards in diameter, of QUINTUS ATTA, the comic poet (B.C. 55); the -interior is in the form of a Greek cross. - - * * * * * - -PORTA S. GIOVANNI. - -(_Mr. Forbes's carriage excursion-lecture at frequent intervals._) - - -FIRST EXCURSION. - - -VIA APPIA NOVA. - -This road was made in the time of the Antonines, to relieve the -traffic on the Via Appia, and was called simply a New Way. Several -tombs of the time of the Antonines line it, but none of earlier date. -At the right of the gate is the ancient Porta Asinara, the best -preserved of the brick gates. At the second mile the road is crossed -by the VIA LATINA, _turning up which, on the left, we can visit_ - - -THE PAINTED TOMBS. - -One, discovered in 1859, is covered with beautiful paintings and -stucco reliefs--eight landscapes, with groups of men and animals, with -small arabesque borders, beautifully finished. The reliefs on the -vault represent the Trojan War, and figures of Hercules, Chitaredes, -Jupiter, with the eagle and centaurs hunting lions, &c. - -_Near by_, discovered at the same time, is - - -THE BASILICA OF S. STEPHEN, - -founded about A.D. 450 by Demetria, a member of the Anician family. It -was rebuilt by Leo III., A.D. 800. A bell tower was erected by Lupus -Grigarius about thirty years afterwards. The ground plan can be easily -made out, as also the remains of the altar and baptistery. In front of -the tribune is a vault, entered by stairs, similar to those in most of -the Roman Catholic basilicae, where the martyrs were buried. The -basilica stands amidst the ruins of a large Roman villa of the -Servilii and Asinii, discovered by Signor Fortunati. - -_Returning to the main road_, we soon pass the Tor Fiscali, a medieval -tower, and then the Osteria Tovolato; then we get some fine views of -the ruined aqueducts. - - -THE AQUEDUCTS. - - [Illustration: CLAUDIAN AQUEDUCT.] - -Sixteen aqueducts supplied the city with water and irrigated the -Campagna. The principal streams were the AQUA APPIA, B.C. 312; ANIO -VETUS, B.C. 272; MARCIA, B.C. 145,--on the top of its arches, near -Rome, were carried the AQUAE TEPULA and JULIA; VIRGO, B.C. 21; CLAUDIA, -with ANIO NOVUS above, A.D. 38-52. The Romans, finding the water from -the Tiber and the wells sunk in the city unwholesome, built these -aqueducts, to bring the water from the hills that surround the -Campagna; but their situation and purpose rendered them exposed to -attack during war, which partly accounts for their destruction. Four -of them still supply the city with water:--The _Aqua Marcia_, which -has its source near Subiaco. From Tivoli it passes through pipes to -Rome, which it enters at the Porta Pia. It was brought in by a -company, and opened by Pius IX. on the 10th of September 1870. The -_Aqua Virgo_, built by Agrippa, B.C. 21, has its source near the -eighth milestone on the Via Collatina, restored by Nicholas V. It -supplies the Trevi Fountain. The _Aqua Alseatina_, built by Augustus, -A.D. 10, on the other side of the Tiber, has its source thirty-five -miles from Rome, at the Lago Baccano. It was restored by Paul V., and -supplies the Pauline Fountain. _Acqua Felice_, made by Sixtus V., A.D. -1587. Its source is near La Colonna, formerly the source of Hadrian's -Aqueduct. It runs parallel with the Claudian and the Marcian, near -Rome, in some places being built out of their remains and on their -piers. Pliny says: "If any one will diligently estimate the abundance -of water supplied to the public baths, fountains, fish-ponds, -artificial lakes, and galley-fights, to pleasure-gardens, and to -almost every private house in Rome, and then consider the difficulties -that were to be surmounted, and the distance from which these streams -were brought, he will confess that nothing so wonderful as these -aqueducts can be found in the whole world." - - -THE ROUTE. - -We now pass, on the left, a tomb of the Antonines; then an osteria, on -the site of the Temple of Fortuna Muliebris, where Coriolanus was -over-persuaded by his wife and mother. On our right is a ruined -aqueduct, which supplied the Villa of the Quintilii, whose picturesque -ruins we have previously passed. - -We now soon reach the ascent to Albano, and strike the old Appian Way -at Frattocchie, where Clodius was murdered by Milo. (See Cicero _pro_ -Milo.) At the twelfth mile, _on the right_, are the ruins of Bovillae. -Several unknown tombs line the road. At the intersection of the Via -Appia with the town limits stands an ancient tomb, formerly considered -to be that of the Horatii and Curiatii, those champions of their age. -Now it is more correctly held to be - - -THE TOMB OF POMPEY THE GREAT. - -For we know from Plutarch that his ashes were carried to Cornelia, who -buried them in his land near Alba, though Lucan (viii. 835) complains -that he had no tomb-- - - "And thou, O Rome, by whose forgetful hand - Altars and temples, reared to tyrants, stand, - Canst thou neglect to call thy hero home, - And leave his ghost in banishment to roam?" - -The town occupies the site of the ruins of the Villa of Pompey, and -the Albanum of Domitian. The best view of the Mediterranean is to be -had at - - -ALBANO, - -_reached by rail in one hour from Rome_. It is a favourite resort in -summer, on account of its pure air, elevated position, and the -delightful rambles that can be made in its neighbourhood. In winter it -is frequented by all the Forestieri, who are to be seen there daily in -carriages and on donkeys, doing all the attractions of the locality. -From this point the tour of the Alban Hills, taking in all places of -interest, can be most conveniently made. The peasants' costumes are -very attractive. The town itself is not a centre of interest; a few -ruins are shown in some of its streets, but they are neither very -visible nor authentic. - - -VALE OF ARICCIA. - -In the ascent to the town from the station, on the right is a -beautiful valley, once a lake, but now drained, called the Vale of -Ariccia. It is not known when it was drained. It is thus alluded to by -Ovid ("Fasti," iii. 263):-- - - "Deep in Ariccia's vale, and girt around - With shady trees, a sacred lake is found; - Here Theseus' son in safe concealment lay, - When hurried by the violent steeds away." - -_Passing through the town_, we come to the Viaduct of Pius IX. -(1846-1863). - -Just before reaching the viaduct, the old Appian Way branches off to -the right, descending the side of the Vale of Ariccia. Several remains -of tombs exist at this point, notably that of Aruns, the son of -Porsena of Clusium. - - -TOMB OF ARUNS. - -This ruin agrees exactly with the lower part of the Tomb of Porsena at -Clusium, described by Pliny (xxxvi. 19). He says: "But as the -fabulousness of the story connected with it quite exceeds all bounds, -I shall employ the words given by M. Varro himself in his account of -it. 'Porsena was buried,' says he, 'beneath the city of Clusium, in -the spot where he had constructed a square monument, built of squared -stones. Each side of this monument was 300 feet long and 50 feet high, -and beneath the base, which was also square, was an inextricable -labyrinth.... Above this square building there stood five -pyramids--one at each corner and one in the middle--75 feet broad at -the base and 150 feet in height,'" &c. - -The present ruin is 49 feet long on each side and 24 feet high, -surmounted at the angles with four cones, and one larger, in the -centre, 26 feet in diameter, in which the urn was found in the last -century. - - -ARICCIA. - -The ancient ascent to Ariccia was the Clivus Virbii, so called from -Hippolytus, who, on being restored to life by Diana, took the name of -Virbius. - - "But Trivia kept in secret shades alone - Her care, Hippolytus, to fate unknown; - And called him Virbius in the Egerian Grove, - Where then he lived obscure, but safe from Jove." - VIRGIL, _AEneid_, vii. 774. - -The ascent was a noted place for beggars, as recorded by Persius (Sat. -vi. 55) and Juvenal (Sat. iv.). - -The village is three-quarters of a mile west from Albano, surrounded -by beautiful woods. At its entrance is the Palazzo Chigi, built by -Bernini, in the midst of a fine park; fee, half-franc. The ancient -town lay lower down the hill, where some of its remains can still be -traced. Horace (Lib. i. Sat. 5) tells us that for slow travellers it -was the first halting-place from Rome. - - "Leaving imperial Rome, my course I steer - To poor Ariccia and its moderate cheer." - FRANCIS. - -In the vale, just under the town, was the - - -TEMPLE OF DIANA ARICINA, - -which Vitruvius (iv. 7) says was circular. The story of this temple is -given by several classic writers. "Hippolytus came into Italy and -dedicated the Temple of Aricina Diana. In this place, even at present, -those who are victors in a single contest have the office of priest to -the goddess given to them as a reward. This contest, however, is not -offered to any free person, but only to slaves who have fled from -their masters" (Pausanias, ii. 27). In 1791 a relief representing the -scene was found at the circular ruin, and is now at Palma in Majorca. -The temple was near a little stream from a source under the second -viaduct, known as the - - -FOUNTAIN OF EGERIA, - -which supplies the lake. The nymph was overcome by the death of Numa, -as Ovid tells us: "Other woes, however, did not avail to diminish -Egeria's grief; and, lying down at the very foot of the mountain, she -melted into tears, until the sister of Apollo (Diana), moved to -compassion, made a cool fountain of her body, changed into perennial -waters." - - "His wife the town forsook, - And in the woods that clothe Ariccia's vale lies hid." - _Met._ xv. 487. - - "There, at the mountain's base, all drowned in tears, - She lay, till chaste Diana on her woe - Compassion took: her altered form became - A limpid fount; her beauteous limbs dissolved, - And in perennial waters melt away." - _Met._ xv. 548. - - "O'er their rough bed hoarse-murmuring waters move; - A pure but scanty draught is there supplied; - Egeria's fount, whom all the muses love, - Sage Numa's counsellor, his friend, and bride." - _Fasti_, iii. 273. - -After two miles of a picturesque and shady road, crossing four -viaducts, and commanding beautiful views, we arrive at - - -GENZANO. - -Its excellent wine is renowned, and this, together with its flowers -and beautiful situation, are its sole attractions. The flower -festival, held the eighth day after Corpus Christi, is fully described -in "The Improvisatore." _Up a path_ by the side of the Palazzo -Cesarini we obtain a fine view of the - - -LAKE NEMI, - -which occupies an extinct crater. The lake is three miles in -circumference, and 300 feet deep, and passes out by an artificial -_emissarium_, made by Trajan. The water is calm and marvellously -clear. - -Trajan erected on this lake a floating palace, 500 feet in length, 270 -feet in breadth, and 60 feet deep. It was of wood, joined with bronze -nails, and lead plated outside; the inside was lined with marble, and -the ceilings were of bronze. The water for use and ornament was -supplied from the Fount Juturna by means of pipes. Signor Marchi, a -Roman, in 1535 descended in a diving-bell and explored this curious -palace, which had sunk beneath the waters. He left an account of his -discoveries. (See Brotier's "Tacitus," Sup. Ap., and Notes on Trajan.) -A large fragment of the wood-work is preserved in the Kircherian -Museum. - -_On the opposite side_ is the small medieval town of - - -NEMI, - -picturesquely situated upon a hill above the lake. On the sides of the -lake are the remains of villas built of _opus reticulatum_; and in the -sixteenth century some of the wood-work, tiles, &c., of Caesar's -Villa--begun, but afterwards pulled down because it did not suit his -taste--were found, and are preserved in the Library of the Vatican. - - "Lo, Nemi! navelled in thy woody hills - So far, that the uprooting wind which tears - The oak from his foundations, and which spills - The ocean o'er its boundary, and bears - Its foam against the skies, reluctant spares - The oval mirror of thy glassy lake; - And, calm as cherished hate, its surface wears - A deep, cold, settled aspect naught can shake, - All coiled into itself and round, as sleeps the snake."--BYRON. - - -THE TEMPLE OF DIANA NEMORENSE. - -On the plateau at the east end of the lake, to our left of Nemi, his -excellency Sir John Savile Lumley, the British ambassador, has -recently made some most interesting excavations--uncovering the vast -area of the Temple of Diana at Nemi, and at the same time discovering -numerous objects of interest, which proved without doubt to whom the -shrine was dedicated. - -The front of the temple was formed with a portico of fluted columns, -and its rear was towards the lake, so the temple faced east. The whole -Artemisium shows traces of many restorations, not the least -interesting being that made by Marcus Servilius Quartus, consul A.D. -3, whose tomb is on the Via Appia (Tacitus, "A." ii. 48; iii. 22). - -When Iphigenia, priestess of the Temple of Diana at Tauris in the -Crimea, fled with her brother Orestes, they carried off the statue of -Diana, to whom all strangers cast on the coast were sacrificed, and -founded a temple near the Lake of Diana, now Nemi, on the Alban Hills -(Ovid, "Ep." iii. 2; "Met." xv. 485). "The temple is in a grove, and -before it is a lake of considerable size. The temple and water are -surrounded by abrupt and lofty precipices, so that they seem to be -situated in a deep and lofty ravine" (Strabo, v. 3, 12). - - -THE FOUNTAIN OF JUTURNA. - -This issues from the hill under the village, and serves the mill on -the border of the lake. "Tell me, nymph Juturna, thou that wast wont -to minister to the grove and looking-glass of Diana" (Ovid, "F." iii. -260). "The springs by which the lake is filled are visible. One of -them is denominated Juturna, after the name of a certain divinity" -(Strabo v. 3, 12). - -_A ramble through the woods brings us to the adjoining lake at -Palazzolo_, which is generally seen in the distance from the opposite -side of the lake. - - -PALAZZOLO. - - "And near, Albano's scarce divided waves - Shine from a sister valley." - -_Situated on Lake Albano, or it may be reached from Albano or Marino -by other roads passing round the Lake Albano._ It is a Franciscan -monastery. In its gardens is a tomb supposed to be that of Cneius -Cornelius Scipio Hispanus, B.C. 176. - -_A path through the woods leads up to Monte Cavo._ - - -THE ALBAN LAKE - -is 150 feet below Lake Nemi. Its outlet conducts its waters to the -Tiber. This lake also occupies the crater of an extinct volcano; it is -six miles round, and of unknown depth. The outlet was made at the time -the Romans were besieging Veii, B.C. 394, to lower the waters which -threatened to flood the Campagna. It is 1509 yards in length. - -_Situated on the bluff overlooking the lake is_ - - -CASTEL GANDOLFO, - -formerly the summer residence of the popes. Its palace was erected by -Urban VIII. This palace, and the charming situation, are its only -features of attraction. - -_On the opposite shore, which can be reached either from Palazzolo, or -by a path from the Albano or the Marino end of the lake, is the -supposed site of_ - - -ALBA LONGA. - -Built by Ascanius 1152 B.C., destroyed by Tullus Hostilius 666 B.C. - -Virgil tells us that on AEneas consulting the oracle at Delos, the -oracle replied,-- - - "Now mark the signs of future ease and rest, - And bear them safely treasured in thy breast: - When, in the shady shelter of a wood, - And near the margin of a gentle flood, - Thou shalt behold a sow upon the ground, - With thirty sucking young encompassed round, - The dam and offspring white as falling snow,-- - These on thy city shall their name bestow, - And there shall end thy labours and thy woe." - _AEneid_, iii. 388. - -Again, when Father Tiber appeared to him, he says,-- - - "And that this mighty vision may not seem - Th' effect of fancy, or an idle dream, - A sow beneath an oak shall lie along, - All white herself, and white her thirty young. - When thirty rolling years have run their race, - Thy son Ascanius, on _this_ empty space, - Shall build a royal town, of lasting fame, - Which from this omen shall receive the name." - _AEneid_, viii. 70. - -Again, after Father Tiber had disappeared, and AEneas, having invoked -the god, fitted out two galleys to go up the Tiber to Evander: - - "Now on the shore the fatal swine is found. - Wondrous to tell, she lay along the ground; - Her well-fed offspring at her udders hung-- - She white herself, and white her thirty young!" - _AEneid_, viii. 120. - -Thus, according to Virgil's own showing, the sow was found on the -banks of the Tiber; how then could the shores of the Alban Lake be the -site of Alba Longa? Ought we not rather to look for that site on the -banks of the Tiber below Rome, where the sow was found, according to -the voices of the oracle and the river-god, and the record handed down -by Virgil? On the other hand, we are told Alba Longa was "built by -Ascanius, the son of AEneas, thirty years after the building of -Lavinium. Alba stood between a mountain and a lake: the mountain is -extremely strong and high, and the lake deep and large. When one part -of the lake is low upon the retreat of the water, and the bottom -clear, the ruins of porticoes and other traces of habitation appear, -being the remains of the palace of King Alladius, which was destroyed -by the lake rising. Alba Longa was demolished by Marcus Horatius, by -command of Tullus Hostilius" (Dionysius, i. 66. See Livy, i. 29). - -From Castel Gandolfo a pleasant road by the lake leads to Marino, -_passing through a wood_ after leaving the lake. _Just before -entering_ the town we come to a wooded glen, the ancient - - -VALLIS FERENTINA, - -where the diet of the Latin states assembled to discuss the interests -of peace and war. A stream runs through the valley, and in the spring -which feeds the stream, at the head of the valley, Turnus Herdonius, -Lord of Ariccia, was drowned by the command of Tarquinius Superbus. - - -MARINO, - -celebrated for its wine, is perched on an eminence 1730 feet high. It -was a great stronghold of the Orsini, and afterwards of the Colonnas, -whose towers and palace still stand. The principal street is the -Corso. At the top, on the right hand side, is a house decorated with -curious mosaics and bas-reliefs, surmounted with a Madonna. At the -bottom of the Corso is the Cathedral of S. Barnabas, in which is a -picture of S. Bartholomew, by Guercino. The fountain close by is -picturesque, composed of half female figures supporting the basin, out -of which four figures rise supporting a column. - -_Over a beautiful route of four miles we reach_ - - -GROTTA FERATTA, AND CICERO'S TUSCULAN VILLA, - -which is now a Greek monastery, founded in 1002 by S. Ninus. In one of -its chapels are frescoes from the life of the saint, by Domenichino, -restored by Camuccini in 1819. Fairs are held here on the 28th of -March and 8th of September, drawing large crowds from the -neighbourhood as well as from Rome. - -The villa stands on the site and is built out of the remains of -Cicero's Villa, which he purchased of Sylla the dictator at a great -price. To the south of the hill upon which the villa stands is a deep -dell, falling into which is the stream of the Aqua Craba, mentioned by -Cicero, now called the Maranna or running stream; and the plane-tree -still flourishes here as it did in his day. Cicero likewise mentions -that he had statues of the muses in his library, and a hermathena in -his academy, and these statues were actually found here. The scenes of -his "De Divinatione" and "Tusculan Disputations" were laid here. They -were not addressed to any public assembly, but he used to retire after -dinner to his so-called academy, and invited his guests to call for -the subject they wished explained, which became the argument of the -debate. These five discussions or conferences he collected and -published as the "Tusculan Disputations" after the name of his villa, -which was in the Tusculan territory, but not at the city itself. The -subjects were,--Contempt of Death; On Bearing Pain; Grief of Mind; -Other Perturbations of the Mind; Whether Virtue be Sufficient for a -Happy Life. It was here that he received news of his proscription. - -A pleasant drive soon brings us to the foot of the hills, passing on -our way several tombs, and the ruined castle of the Savellis, a -medieval stronghold of the tenth century, called BORGHETTO, of which -only the outer walls are standing. Two miles below, _on our right_, -are the ruins of an immense reservoir of the aqueducts coming from the -Alban Hills, the TEPULA, 126 B.C.; the JULIA, 34 B.C.; and the -SEVERIANA, 190 A.D. It is known by the name of the CENTRONI. Just -below the bluff on which it stands, the stream of the Aqua Craba, -coming from Rocca di Papa, falls into the Almo coming from Marino; -united, they flow through an old tunnel under the road beyond the -bridge. - -_We now strike the Via Tusculana or Frascati Road._ - -_On the left_ are the picturesque ruins of the VILLA OF SEPTIMIUS -BASSUS, consul 317 A.D. It is known by the name of Sette Bassi, or -Roma Vecchia. Part of the villa is of the time of Hadrian. About two -miles further on, _on our right_, is a tumulus, Monte del Grano, in -which was found the splendid sarcophagus now in the Capitoline Museum, -which contained the Portland Vase. It is not known to whom it -belonged. We next cross the Naples railway, and pass under PORTA FURBA -(Thieves' Arch), supporting the Acqua Felice. Looking back through the -arch, there is a beautiful view. Here we can see the arches of the -aqueducts distinctly: _on the left_, under the arch by the fountain, -the Claudia and Anio Novus; and _on the right_ the Marcia, Tepula, and -Julia. The stream in sight is the Maranna. From here the lane to the -right, a pleasant drive, leads to the Porta Maggiore, whilst that -straight on strikes the Via Appia Nova, near the Porta S. Giovanni. - - -SECOND EXCURSION. - -(_Mr. Forbes's excursion by rail and donkeys at frequent intervals._) - -To return, we take the road above, to the point where the Grotta -Feratta road strikes off to the right; then the road ascends to -Frascati; but there is nothing of interest _en route_. Much time is -saved by taking the rail to Frascati, which brings us into the town, -near the Piazza and Cathedral. - - -FRASCATI, - -of all the Alban towns, is most frequented, on account of its -proximity to Rome, from which it can be reached by rail in -half-an-hour. The town itself is uninteresting. In the cathedral is a -monument to Prince Charles Edward, erected by his brother, the -Cardinal York, who was bishop of this diocese. - -The beautiful villas in the vicinity are well worth visiting, -affording cool retreats in summer. These are, Villa Montalto; Villa -Pallavicini; Villa Conti; Villa Borghese; Villa Ruffinella; Villa -Muti, long the residence of Cardinal York; Villa Sora; Villa -Falconieri; Villa Angelotti; and Villa Mondragone. - -_On the road to_ Monte Porzio, _via_ Manara, under the town, is the -pretty little Villa Sansoni, once the residence of the Chevalier S. -George, the would-be King James III. of England and VIII. of Scotland. - -The antiquities of Frascati are few. _In walking up from_ the station, -opposite the hospital, in a garden, is a grotto called the NYMPHAEUM OF -LUCULLUS; and in a piazza, where the donkeys are usually mounted for -Tusculum, is a circular tomb called the Sepulchre of Lucullus. -Lucullus distinguished himself in the Social War. He was consul 74 -B.C., and for seven years conducted the war against Mithridates. He -died 56 B.C., and was buried by his brother on his estate at -Tusculum,--the offer of a public funeral in the Campus Martius being -declined. "Lucullus had the most superb pleasure house in the country -near Tusculum; adorned with grand galleries and open saloons, as well -for the prospect as for walks" (Plutarch). _Opposite_ the house of the -Chevalier S. George are some remains of a villa of the time of -Augustus. - -_In ascending the hill from_ Frascati, we pass along by a shady road, -passing through the Villa Ruffinella (the property of Prince -Angelotti, who has made a new road up to it). Under the porch are some -remains brought from Tusculum. - - -TUSCULUM. - -A city of great antiquity, now in ruins, founded by the son of -Ulysses. The remains of the forum, reservoir, and walls can still be -traced. The ancient citadel stood on the artificial rock, which is now -surmounted by a cross, 212 feet above the city. The view is -magnificent. The height is 2400 feet above the sea. Tusculum was -destroyed in 1191, after repeated attacks by the Romans, who razed it -to the ground. It was the birthplace of Cato. Ascending by the old -road, still paved with the blocks of lava stone, passing by an old -tomb, we arrive at the amphitheatre of reticulated work, 225 feet by -167 feet broad. The construction shows it to be of the time of -Hadrian. Above, some massive remains of the same construction have -been dignified by some as the site of Cicero's Villa. We have -thoroughly explored these remains, and proved them to form a large -reservoir for water, of the time of Hadrian. Beyond was the Forum, the -Diurnal Theatre, the Reservoir, and the Citadel. To the left, before -entering the theatre, a short distance down the old road, is a -fountain erected by the aediles Q. C. Latinus and Marcus Decimus, by -order of the senate. Near it is a reservoir with a roof like a Gothic -arch, formed in the primitive style of one stone resting against -another. From here a specus runs back into the hill to the spring. -Here also can be examined the walls of the city, formed of square -blocks of sperone, evidently rebuilt at a later date, as the walls to -the left in the ditch are polygonal, agreeing with the date of the -city. The hill of Tusculum is formed of volcanic matter, which has in -some parts been so hardened as to form a stone, _sperone lapis -Tusculanus_, and which, from the condition of the ruins, must have -been largely used in the buildings of the city. - -The visitor who has come up from Frascati, and wishes to return there, -had better do so by another path through the woods, by the Camaldoli -Monastery, to the Villa Mondragone, then by the Villa Borghese to -Frascati, a pleasant route. From Tusculum, a charming path through the -chestnut groves leads up to Monte Cavo, avoiding Rocca di Papa, the -ancient Fabia, which can be seen on the return. - - -ROCCA DI PAPA - -is situated on the brink of the great crater which, the natives say, -was formerly occupied by the camp of Hannibal. Fabius kept the hills, -and Hannibal the plain. It takes its name from the proprietors, -Annibile, and had nothing to do with Hannibal. It is a small town, but -well suited for a summer residence. _From here we ascend to_ - - -MONTE CAVO. - -The ascent is made in three-quarters of an hour. There is a wooded -ascent along the Via Triumphalis, by which the Roman generals ascended -in order to celebrate at the Temple of Jupiter Latialis. The ruins of -this temple were converted partly into a monastery by the Cardinal -York, and partly into the Church of S. Peter's at Frascati. The -ancient name of this mountain was Monte Latialis, and the ancient road -that went over it, Via Numinis, the initials V. N. in the pavement -telling us the name. It is 3200 feet above the sea. About three parts -of the way up, from a ledge off the road, a beautiful view of the -Alban Lakes can be had--forming, as it were, a pair of eyes. The view -obtained is unequalled, comprising the sea and coast from Terracina -and Civita Vecchia, Rome and the Campagna, and, immediately beneath -us, the Alban Mountains--one of the most interesting views in the -world, every spot around being full of historical associations. Here, -as it were, we can take in the whole panoramic view of the history of -Rome. The surface of the mountain, on which stood the shrine of the -god, extends to three thousand square yards. Besides its religious and -architectural purposes, this area was used as a collector for rain -water, which first ran into a _piscina limaria_ to be purified, and -then through a subterranean channel to a reservoir, the capacity of -which amounts to one thousand cubic yards, having still some hydraulic -regulators of lead, with their keys and pipes, on which the names of -Maximus and Tubero, consuls in 11 B.C., are engraved. - -The return journey is made down the direct road from Rocca di Papa to -Frascati, passing the PONTE DEGLI SQUARCIARELLI, over the Aqua Craba, -at the point where the roads turn off to Marino, Grotta Feratta, and -Frascati. - - * * * * * - -PORTA OSTIENSIS. - -(_Porta S. Paolo._) - -This is the most picturesque of the gates of Rome. It consists of a -double gateway, the outer (of the time of Theodoric) with one, the -inner (of the time of Claudius) with two arches, flanked with towers. - -_On the right is the_ - - -PYRAMID OF CAIUS CESTIUS, - -erected by his heir, Pontius Mela, and his freedman Pothus. This -imposing structure was faced with smoothly hewn slabs of marble, and -stands on a basement of travertine measuring 95 feet in diameter. It -is 115 feet high. - -This monument, erected some twenty or thirty years before the -Christian era, was indebted for its preservation to the circumstance -of its having been incorporated by Aurelian with the line of his -fortifications. The confined burial chamber (the paintings on the roof -and walls of which are now almost obliterated) is reached through the -doorway, introduced at some height on the north side. As is usually -the case with tombs, in order to prevent spoliation, there were no -steps leading up to the door. The west entrance is of more modern -origin, dating from the time of Alexander VII., who caused it to be -broken through the wall, although the ancient original doorway already -afforded the means of ingress. The lower portion of the monument was -cleared from the rubbish, which had accumulated to the height of -twenty feet, at the same time; and the two fluted columns, resting -upon travertine bases, were also dug up. Still more remarkable is the -discovery of the remains of the colossal statue of C. Cestius, -consisting of the foot and arm, now in the Hall of Bronzes in the -Capitol Museum. - -_Keeping the straight road, we come, on the left, to_ - - -THE CHAPEL OF SS. PETER AND PAUL. - -A relief over the door represents their parting, where this chapel now -stands. The inscription says:-- - - IN THIS PLACE SS. PETER AND PAUL SEPARATED ON THEIR WAY TO MARTYRDOM. - AND PAUL SAID TO PETER, "PEACE BE WITH THEE, FOUNDATION OF THE CHURCH, - SHEPHERD OF THE FLOCK OF CHRIST." - AND PETER SAID TO PAUL, "GO IN PEACE, PREACHER OF GOOD TIDINGS, AND - GUIDE OF THE SALVATION OF THE JUST." - - -THE CHURCH OF S. PAOLO. - -The first church built, in the time of Constantine, to commemorate the -martyrdom of S. Paul. It was destroyed by fire on July 15, 1823; its -restoration was immediately commenced, and it was reopened in 1854 by -Pio Nono. The festa days are January 25th, June 30th, and December -28th. The principal entrance towards the Tiber is still unfinished. -Before the Reformation it was under the protection of the kings of -England. It is the finest of Roman churches, and the visitor cannot -fail to be charmed with its beauty; it is one vast hall of marble, -with eighty Corinthian pillars forming the nave, reflected in the -marble pavement. The grand triumphal arch which separates the nave -from the transept is a relic of the old basilica; and the mosaic, -Christ blessing in the Greek manner, with the twenty-four elders, is -of the fifth century, given by Placidia, sister of Honorius, in 440. -The mosaic of the tribune was erected by Pope Honorius III., 1216-27; -it has been restored since the fire. On either side are statues of S. -Peter and S. Paul; around the church, above the columns, are portraits -of the popes, from S. Peter, in mosaics. The altar canopy is supported -by four pillars of Oriental alabaster, given by Mehemet Ali, Pasha of -Egypt. A marble staircase leads to the subterranean chapel, where are -preserved the relics of the martyrs Paul and Timothy. The altars at -each end of the transept are of malachite, given by the Czar of -Russia. The painted windows are worthy of attention, as also a -beautiful alabaster candelabrum saved from the fire. The walls and -numerous chapels are adorned with paintings and statues of the present -day, giving a good idea of the actual state of art in Rome. By -applying for the key in the sacristy, visitors can see the beautiful -court of the thirteenth century, which will fully repay inspection. - -Prudentius, who saw the original basilica in its glory, thus describes -it:-- - - "Imperial splendour all the roof adorns; - Whose vaults a monarch built to God. and graced - With golden pomp the vast circumference. - With gold the beams he covered, that within - The light might emulate the beams of morn. - Beneath the glittering ceiling pillars stood - Of Parian stone, in fourfold ranks disposed: - Each curving arch with glass of various dye - Was decked; so shines with flowers the painted mead - In spring's prolific day." - _Passio Beat. Apost._ - -This description will apply equally well to the present basilica. The -church is 396 feet long from the steps of the tribune; width of aisle -and nave, 222 feet. - -The facade of the basilica, the upper part of which has lately been -uncovered, is toward the Tiber; it consists of a beautiful mosaic -which has taken thirteen years to complete, and is the finest -production of the Vatican manufactory. The whole is surmounted by a -cross, under which are the words _Spes Unica_; below it is our Lord -enthroned, with SS. Peter and Paul on either side below the steps of -his throne. A scene symbolic of the New Testament is below. A rock -occupies the centre, from which flow the four rivers of the -Apocalypse; on the summit is the Lamb supporting the cross. The cities -of Jerusalem and Bethlehem are on each side, whilst flocks of sheep -between the palm-trees are symbolic of the apostolic college. Below, -Isaiah, Jeremiah, Ezekiel, and Daniel typify the Old Testament. The -whole, a triangle, is bordered with a mosaic of fruit and foliage. - -_At the back of the church is_ - - -THE REMURIA HILL. - -It is altogether a mistake to suppose that Remus took his stand upon -the Aventine and Romulus upon the Palatine; if so, they would both -have commanded nearly the same horizon, and messengers need not have -been sent from one to the other to tell the number of birds seen. -Romulus stood on the Aventine, and Remus on the hill before us, the -Remuria. - -"Remus pitched upon the ground now called from him Remuria. This place -is very proper for a city, being a hill not far from the Tiber, -distant from Rome about thirty stadia" (Dionysius, i. 85). - -"Romulus buried Remus at Remuria, since, when alive, he had been fond -of building there" (_Ibid._, i. 87). - -This hill is called to the present day _La Remuria_. - -_The road straight on past S. Paolo leads to the_ - - -TRE FONTANE, - -or Three Springs, which are said to have sprung forth when S. Paul was -executed on this spot, his head rebounding three times after it was -cut off. Three churches have been built here, but they are not of much -interest. - -_The rambler can return to the city from S. Paul's by tramway, fare -six sous, to the Piazza Montanara._ - -_To the left the_ STRADA DELLE SETTE CHISSE _leads to the_ VIA APPIA, -_near the Church of S. Sebastiano._ - - -THE VIA OSTIENSIS. - -(_Mr. Forbes's carriage excursion at frequent intervals._) - -_Instead of turning to the left to the Three Fountains, keep straight -on._ This is the pleasantest and prettiest road out of Rome, but the -views are not so commanding as on some others. On the hill to the left -was the Vicus Alexandrinus, where the Lateran obelisk was landed; at -Tor di Valle we cross the stream that comes from the Vallis -Ferentina,--the bridge is of the time of the kings; then the Rivus -Albanus, the outlet of Lake Albano; we next cross the Decima stream; -beyond, the Via Laurentina, at the Osteria of Malafede, turns off to -the _left_. We descend to the valley of the Malafede, which is still -crossed by the - - -VIADUCT OF ANCUS MARTIUS, - -called _Ponte della Refolta_. It is worth while to get out of the -carriage here and turn into the field at the gate on the left, over -the bridge, to see this piece of ancient work, formed of great blocks -of tufa stone of the time of the kings, having some repairs in _opus -reticulatum_ of the republic. The paved arch over the stream is in -good preservation, and is older than the Cloaca Maxima, but not so -well known. It is evidently the work of Ancus Martius, who made the -port of Ostia, and consequently the road to get there. At the top of -the hill above we get the first view of the sea and the last of S. -Peter's. We now pass through the woods and along an ancient causeway -through the salt marshes to the modern village of - - -OSTIA, - -fourteen miles from Rome. The ancient remains are beyond. Founded by -Ancus Martius, it was the great port and arsenal of ancient Rome, with -which it rose and fell. _Ascending_ the tower of the castle in the -village, an extensive view of the Latin coast and the surrounding -ancient forests may be had. Several rooms in the castle have been -turned into a museum of fragments found in the excavations. The castle -was built by Julius II., 1503-13; and besides this there is nothing of -interest in the miserable village. The Street of Tombs leads to the -ancient city. The principal objects of interest are the Porta Romana -and Guardhouse, houses in the city, tombs and columbaria, Temple of -Cybele, the Temple of Vulcan, street with portico and warehouses, the -Horrea with the Dolia, the Imperial Palace, baths containing many -beautiful specimens of mosaic pavement, Temple of Mithras, in which -the altar is still standing, the Arsenal, &c. - - [Illustration: SKETCH PLAN OF THE EXCAVATIONS AT OSTIA] - -The recent excavations were commenced at Ostia at the close of 1870 -upon a system more in accordance with the requirements of -archaeological science and the tendencies of topographical discoveries -than had up to that time been practised. All idea of speculating--as -had been until then the chief aim of the popes--in the statues and -precious objects that might be found, was renounced, and instead it -was proposed to uncover, by steady and continued effort, the ruins of -the buried edifices; especial attention was bestowed upon those along -the banks of the Tiber, as they had played an important part in the -career of the city. The earth was first removed round the large -edifice known as the "Imperial Palace," bordering on the Tiber; its -principal entry, upon the bank of the river, although decorated with a -more elegant front, constituted only a common doorway. Three spots, -which bore the aspect of stairs leading down to the river, have been -excavated: firstly, upon the line from the Temple of Vulcan to the -river; secondly, at a basin to the right side of this line; thirdly, -at the other extremity of the basin, adjoining the Imperial Palace. At -the first point was found the street which terminated at the banks of -the river with a flight of steps. Upon removing the soil, a street was -discovered paved with immense flagstones, fifteen yards wide, -including the porticoes that flanked it on both sides. The porticoes -are six yards wide, and are built with pillars of arched brick, -decorated at the lower extremity with bas-reliefs, and at the upper -with cornices of terra-cotta, lace design. In their interior are large -compartments for warehouses, with a depth of six yards below the level -of the pavement. This street leading from the river to the Temple of -Vulcan is one hundred and fifty yards long. The lateral walls subsist -up to the height of seven yards, and the rooms of the porticoes still -preserve their ceilings, the pavement of the first floor being mosaic. -Another street, parallel to the above, was struck at the second -point, also running from the river, and paved with large flagstones; -it has a width of five yards, and on each side large warehouses. On -the left side are a series of pillars adorned with cornices, having a -height of seven yards, and a lateral width of two yards. As the street -advances into the city, along the entire course are shops and -warehouses, conveying the grandest idea of the life, activity, and -commercial traffic that must have prevailed in the city. At the third -spot were found the traces of a large stairway, leading to a terrace -reared above the level of the river. To this stairway two streets -lead, the first six yards wide, and proceeding from the interior of -the city; the second, ten yards, running parallel to the Tiber, each -side being occupied with warehouses. These are the three main streets -lately thoroughly uncovered and examined, and which, while affording -an accurate plan to modern eyes of the time-honoured city, unite, with -its other ruins, tombs, and mosaic pavements, to make Ostia one of the -wonders of the day. - - -CASTEL FUSANO - -is a seat of Prince Chigi, two miles to the left of modern Ostia, just -inside the pine-forest. There is nothing further to see. There is a -pleasant ramble of about two miles down to the sea. - -N.B.--_Permission must be obtained of the prince, before leaving Rome, -to enter the woods._ - -Seven miles beyond Castel Fusano is Tor Paterno, the site of the -younger - - -PLINY'S VILLA. - -"Seventeen miles from Rome; so that, having finished my affairs in -town, I can pass my evenings here without breaking in upon the -business of the day. There are two different roads to it: if you go by -that of Laurentum, you must turn off at the fourteenth mile; if by -Ostia, at the eleventh." (See Letter to Gallus, ii. 17.) Three miles -inland is Capocotta, the site of Laurentum, the capital of Latium. -Five miles off is Pratica, the ancient Lavinium, founded by AEneas. - -FOOTNOTE: - -[20] The painted tomb, discovered in 1842, is kept locked by the -miller at Isola. _Apply for the key, but resist his demands._ It is -the most ancient Etruscan tomb yet discovered; the furniture has been -left exactly as it was found. - - - - -HISTORICAL DATES. - - -LIST OF EMPERORS. - - REIGNED. - _Years._ B.C. A.D. - =Augustus= 40 27-14 - A.D. - =Tiberius= 23 14-37 - =Caligula= 4 37-41 - =Claudius= 13 41-54 - =Nero= 14 54-68 - =Galba= 68-69 - =Otho= 69 - =Vitellius= 69 - =Vespasian= 10 69-79 - =Titus= 2 79-81 - =Domitian= 15 81-96 - =Nerva= 2 96-98 - =Trajan= 19 98-117 - =Hadrian= 21 117-138 - =Antoninus Pius= 23 138-161 - { =M. Aurelius= 19 161-180 - { =L. Verus= 8 161-169 - =Commodus= 12 180-192 - =Pertinax= 193 - =Julianus= 193 - =Niger= 194 - =Septimius Severus= 18 193-211 - =Albinus= 4 193-197 - { =Caracalla= 6 211-217 - { =Geta= 1 211-212 - =Macrinus= 1 217-218 - =Elagabalus= 4 218-222 - =Alexander Severus= 13 222-235 - =Uranius= 223 - =Maximinus= 3 235-238 - { =Gordianus I.= } 238 - { =Gordianus II.= } - { =Pupienus Maximus= } 238 - { =Balbinus= } - =Gordianus III.= 6 238-244 - =Philippus= 5 244-249 - =Marinus= 249 - =Jotapinus= 249 - =Decius= 2 249-251 - =Trebonianus Gallus= 3 251-254 - =AEmilianus= 253 - =Volusianus= 254 - { =Valerian= 7 253-260 - { =Gallienus= 15 253-268 - =Macrianus= 2 260-262 - =Regillianus= 2 261-263 - =Postumus= 9 258-267 - =Laelianus= 267 - =Victorinus= 2 265-267 - =Marius= 268 - =Claudius II.= 2 268-270 - =Quintillus= 270 - =Aurelian= 5 270-275 - =Vabalathus= 5 266-271 - =Tetricus= 5 268-273 - =Tacitus= 1 275-276 - =Florianus= 276 - =Probus= 6 276-282 - =Bonosus= 280 - =Carus= 1 282-283 - { =Carinus= } 1 283-284 - { =Numerianus= } - =Julianus= 284 - { =Diocletian= 21 284-305 - { =Maximianus= 19 286-305 - =Carausius= 6 287-293 - =Allectus= 4 293-297 - =Constantius I. Chlorus= 1 305-306 - =Galerius= 6 305-311 - =Severus= 1 306-307 - =Maximinus= 5 308-313 - =Maxentius= 6 306-312 - =Alexander= 311 - =Constantinus I. (the Great)= 31 306-337 - =Licinius= 16 307-323 - { =Constantinus II.= 3 337-340 - { =Constantius II.= 24 337-361 - { =Constans I.= 13 337-350 - =Nepotianus= 350 - =Vetranio= 1 350-351 - =Magnentius= 3 350-353 - =Decentius= 2 351-353 - =Constantius Gallus= 3 351-354 - =Julianus II.= 2 361-363 - =Jovianus= 1 363-364 - -WESTERN EMPIRE. - - =Valentinianus I.= 11 364-375 - =Valens= 14 364-378 - =Procopius= 1 365-366 - =Gratian= 16 367-383 - =Valentinianus II.= 17 375-392 - =Theodosius I.= (Emperor - of the West as well as - of the East) 3 392-395 - =Maximus= 5 383-388 - =Eugenius= 2 392-394 - =Honorius= 28 395-423 - =Constantius III.= 421 - =Constantinus III.= 4 407-411 - =Constans= 3 408-411 - =Maximus= 2 409-411 - =Jovinus= 2 411-413 - =Sebastianus= 1 412-413 - =Priscus Attalus= 7 409-416 - =Johannes= 2 423-425 - =Theodosius II.= (Emperor - of the West as well as of - the East) 2 423-425 - =Valentinian III.= 30 425-455 - =Petronius Maximus= 455 - =Avitus= 1 455-456 - =Majorianus= 4 457-461 - =Libius Severus III.= 4 461-465 - =Anthemius= 5 467-472 - =Olybrius= 472 - =Glycerius= 1 473-474 - =Julius Nepos= 1 474-475 - =Romulus Augustulus= 1 475-476 - -EASTERN EMPIRE. - - =Valens= 14 364-378 - =Theodosius I.= 17 378-395 - =Arcadius= 13 395-408 - =Theodosius II.= 42 408-450 - =Marcian= 7 450-457 - =Leo I. (Thrax)= 17 457-474 - =Leo II.= 474 - =Zeno= 17 474-491 - - -LIST OF KINGS OF ROME. - - A.U.C. B.C. - =Romulus= 1 753 - =Numa Pompilius= 716 - =Tullus Hostilius= 673 - =Ancus Martius= 640 - =Tarquinius I.= 616 - =Servius Tullius= 578 - =Tarquinius II.= 534 - - -HISTORICAL PERIODS. - - B.C. - =Foundation of Rome= April 21, 753 - =Rome ruled by kings= 753-510 - =Republican period--consuls= 510-27 - =Dictatorship instituted= 501 - =Decemvirs governed= 540 - =Gauls take Rome= 398 - =Consuls re-established= 366 - =Rome governs the whole of Italy= 266 - =Carthage destroyed= 146 - =First Triumvirate= 60 - =Caesar assassinated= 44 - =The Empire ruled from Rome= 27 B.C.-306 A.D. - =Empire divided= 337 - =Fall of Western Empire= 476 - =Rome the capital of United Italy= 1870 - - - - -VISITOR'S ROMAN DIRECTORY - -ALPHABETICALLY ARRANGED. - - -_GUIDE TO USEFUL INFORMATION._ - - -Owing to constant changes in the information desired by Visitors, Mr. -S. RUSSELL FORBES publishes _The Directory and Bulletin_ fortnightly, -in which will be found all the latest information required--church -ceremonies, city news, and recent discoveries, etc. - -The editor cannot hold himself responsible for any changes, hours of -entry, or arrangements of contents of Museums. The shops recommended -are from personal experience; their prices are fixed. The following -are correct to the moment of going to press:-- - - =Archaeological Association=--93 Via Babuino, 2º pº - =Archaeological Society (British and American)=--76 Via della Croce. - =Arts, British Academy=--22A Via S. Nicolo da Tolentino. - =Artists' Colourman=--DOVIZIELLI, 136 Via Babuino. - =Articles of Religion=--VALENZI, 76 Piazza di Spagna. - - -ARTISTS IN ROME, ENGLISH AND AMERICAN. - -_Artists are invited to send their names and addresses for insertion; -also notice as to change of studio, etc._ - -PAINTERS. - - E. BENSON American 21 Via Quirinale. - D. BENTON American 33 Via Margutta. - C. C. COLEMAN American 33 Via Margutta. - HENRY COLEMAN English 33 Via Margutta. - F. R. COLEMAN English 33 Via Margutta. - MRS. CARSON American 107B Quattro Fontane. - W. LANE CONOLLY English 17 Via Margutta. - GLENNIE English 17 Via Margana. - W. S. HASELTINE American Palazzo Altieri. - C. POINGDESTRE English 32 Via dei Greci. - W. A. SHADE American 123 Via Sistina. - A. STRUTT English 81 Via della Croce. - L. TERRY American Vicolo degl' Incurabili. - J. R. TILTON American 20 Via S. Basilio. - E. VEDDER American { Villa Fern, outside Porta del - { Popolo. - P. WILLIAMS English 65 Via Babuino. - - -SCULPTORS. - - E. BATTERSBY English 10 Via dei Greci. - H. CARDWELL English 52 Via Margutta. - J. DONOGHU American 19 Via Palestro. - M. EZEKIEL American 17 Piazza Termini. - Mrs. FREEMAN American 30 Angelo Custodi. - R. S. GREENOUGH American 54 Via Margutta. - A. E. HARNISCH American 58B Via Sistina. - C. B. IVES American 53B Via Margutta. - E. KEYSER American 83 Via Margutta. - Miss LEWIS American 70 Via Babuino. - L. MACDONALD English 2 Piazza Barberini. - R. ROGERS American 53 Via Margutta. - F. SIMMONS American 73 Via S. Nicolo da Tolentino. - W. W. STORY American 2 Via S. Martino. - C. SUMMERS English 53 Via Margutta. - I. SWINERTON Isle of Man Palazzo Swinerton, 2 Via - Montebello. - Miss VARNEY American 51 Via Margutta. - - -ARTISTS, NATIVE AND FOREIGN. - - ALDI Painter 13 Via S. Nicolo da Tolentino. - ALT Painter 72 Via S. Nicolo da Tolentino. - ALTINI Sculptor 92 Via 20 Settembre. - AMICI Sculptor 20 Passeggiata di Ripetta. - ANDERLINI Sculptor 33 Vicolo Barberini. - BENZONI Sculptor 91 Via dei Bastioni. - BERTACCINI Painter 72 Via Sistina. - BIGI Sculptor 42 Via Flaminia. - BOMPIANI Painter 14 Passeggiata Ripetta. - BUZZI Painter 5 Via Margutta. - CORRODI Painter 8 Via Incurabili. - CURION Painter 75A Via Quattro Fontani. - COSTA Painter 33 Via Margutta. - ETHOFER Painter 16 Passeggiata Ripetta. - FAUSTINI Painter Villa Fern. - FERRARI Sculptor 38 Piazza Barberini. - FRANZ Painter 96 Piazza S. Claudio. - GALLORI Sculptor 113 Via Margutta. - GRANDI Painter 37 Via Porta Pinciana. - GUGLIELMI Sculptor 155 Via Babuino. - LEONARDI Painter Via Quattro-Fontane. - MACCAGNANI Sculptor 44 Via Flaminia. - MACCARI Painter 222 Via Ripetta. - MANTOVANI Painter 39 Via dell' Anima. - MARTENS Painter 72 Via Sistina. - MASINI Sculptor 37 Passeggiata Ripetta. - MAZZOLINI Painter Via S. Nicolo da Tolentino. - MOLINARI Painter 13 Vicolo S. Nicolo da Tolentino. - MONTEVERDI Sculptor 8 Piazza Indipendenza. - REGIS EMMA Painter 33 Via Margutta. - SCIFONI Painter 37 Via Tritoni. - SIMONETTI Painter 8 Via S. Apollinare. - TADOLINI Sculptor 150A Via Babuino. - VERTUNI Painter 53 Via Margutta. - - -CARRIAGE TARIFF. - - +------------------------------+-----------------------+-----------+ - | | ONE HORSE. | TWO | - | | | HORSES. | - | +-----------+-----------+-----------+ - | | OPEN. | COUPE. | LANDAU. | - | +----+------+----+------+----+------+ - | |Day.|Night.|Day.|Night.|Day.|Night.| - | |l.c.| l.c. |l.c.| l.c. |l.c.| l.c. | - |Course or ride inside walls |1 0|1 20 |1 20|1 30 |2 0|2 50 | - |In the one-horse carriages | | | | | | | - | more than two Persons pay | | | | | | | - | extra. |0 20|0 40 |0 20|0 40 | | | - |Course to Tramway outside | | | | | | | - | Porta S. Lorenzo. |1 20|1 60 |1 40|2 0 |2 50|2 80 | - |Calling off the Stand to take | | | | | | | - | up, one quarter of a course | | | | | | | - | extra. | | | | | | | - |Calling and not engaging, | | | | | | | - | half a course must be paid. | | | | | | | - |The hour, inside the walls. |2 0|2 20 |2 25|2 50 |3 0|3 50 | - |Every quarter over the hours |0 45|0 50 |0 55|0 60 |0 70|0 85 | - |Outside the walls up to the | | | | | | | - | second milestone |2 50| |3 0| |4 0| | - |Every quarter over the hours |0 50| |0 60| |0 80| | - |To the Cemetery of S. Lorenzo |2 20|2 70 |2 50|3 0 |3 50|4 0 | - |Every quarter over the hours |0 50|0 65 |0 60|0 70 |0 85|0 95 | - +------------------------------+----+------+----+------+----+------+ - - -GALLERIES, MUSEUMS, AND VILLAS OF ROME. - - -GALLERIES. - -_OPEN EVERY DAY._ - - =Barberini= 12 till 4 - =Capitol=* (entrance, 1/2 lira) 10 " 3 - =Lateran= 10 " 3 - =S. Luke= 10 " 3 - =Vatican= (permission) 9 " 3 - (_Closed on Saturday._) - =Monte di Pieta= 8 " 3 - -_MONDAY._ - - =Borghese= 9 till 3 - =Corsini= (at Easter every day) 9 " 3 - -_TUESDAY._ - - =Doria= (on festivals the day - following) 10 till 2 - =Spada= 10 " 1 - =Colonna= 11 " 3 - -_WEDNESDAY._ - - =Borghese= 9 till 3 - =Rospigliosi= 9 " 3 - -_THURSDAY._ - - =Colonna= 11 till 3 - =Corsini= (at Easter every day) 9 " 3 - =Spada= 10 " 1 - -_FRIDAY._ - - =Borghese= 9 till 3 - =Doria= (on festivals the day - following) 10 " 2 - -_SATURDAY._ - - =Colonna= 11 till 3 - =Rospigliosi= 9 " 3 - =Corsini= (at Easter every day) 9 " 3 - =Spada= (entrance, 1/2 lira) 10 " 1 - =Farnese= (by special permission - of the French Ambassador). - - -MUSEUMS. - -_OPEN EVERY DAY._ - - =Capitol=* (entrance, 1/2 lira) 10 till 3 - =Lateran= 10 " 3 - =Vatican= (permission) 9 " 3 - (_Closed on Thursday and - Saturday._) - =Museo Urbino= 10 " 3 - =Kircherian=* (entrance, 1 lira) 9 " 3 - =Tabularium= (entrance, 1/2 lira) 10 " 3 - -_THURSDAY._ - - =Auditorium of Maecenas= (permission). - =Instruction and Education=, - Via Capo le Case (ent., 50 c.) 9 till 3 - =Egyptian and Etruscan= (of - the Vatican) 9 " 3 - =Ludovisi= (permission) 12 " 4 - -_SATURDAY._ - - =Borghese= (Winter) 1 till 4 - " (Summer) 4 " 7 - -_On Sundays and Festivals the Private Galleries and Museums are -closed; those (*) under the Municipality are opened free._ - - -VILLAS. - -_OPEN EVERY DAY._ - - =Medici= 9 till 12, 2 till dusk. - =Pincio= Sunrise till sunset. - -_MONDAY._ - - =Pamphili Doria= 2 till dusk. - -_TUESDAY._ - - =Borghese= 12 till dusk. - =Albani= (permission) 12 " 4. - -_WEDNESDAY._ - - =Wolkonsky= (permission) 2 till dusk. - -_THURSDAY._ - - =Borghese= 12 till dusk. - =Torlonia= (permission) 1 " 5. - -_FRIDAY._ - - =Pamphili Doria= 2 till dusk. - -_SATURDAY._ - - =Borghese= 12 till dusk. - =Wolkonsky= (permission) 2 " dusk. - -_SUNDAY._ - - =Borghese= 12 till dusk. - -=Farnesina Villa=--Open on the 1st and 15th of each month. - - -HOTELS RECOMMENDED. - - =Allemagna=, Via Condotti. Second class; central. - =Bristol=, Piazza Barberini. First class; central. - =Capitol=, Corso. Second class; very handy. - =Centrale=, Piazza Rosa. Third class; central. - =Continental=, opposite Station exit. First class. - =Europa=, Piazza di Spagna. First class; central. - =Inghilterra=, Bocca di Leone. First class; central. - =Londra=, Piazza di Spagna. First class; central. - =Molaro=, Via Capo le Case. Very good; central. - =Paris=, Nicolo da Tolentino. First class; central. - =Pace=, Via Sistina. Second class; good position. - =Quirinale=, Via Nazionale. First class; good position. - =Russie=, Piazza del Popolo. First class; good position. - =Vittoria=, Via due Macelli. Second class; central. - -_Terms--8, 10, and 12 lire, and upwards, per day, according to class -and rooms._ - - -PUBLIC LIBRARIES. - - =S. Augustine= open from 9 to 2 - =Barberini= (Thursday) " 9 to 2 - =Capitoline= " 9 to 3 - =Chigiana= (Thursday) " 10 to 12 - =Corsini= " 1 to 4 - =Lancisiana= (_Medical_) " 8 to 2 - =Minerva= " 8 to 3 - =S. Cecilia= (_Musical_) " 9 to 3 - =University= " 8 to 2 - and 6 to 9 - =Vallicelliana= (Tuesday, Thursday, & Saturday) " 8 to 12 - =Vatican= " 9 to 3 - =Vittor Emanuele= " 9 to 3 - and 7 to 10 - =Frankliana= (circulating), 41 Via dei Ginbonari. " 9 to 4 - - -MASONIC. - -The =Masonic Hall= is in the Via Campo Marzio, No. 48. The Most -Worshipful the Grand Master of the Order in Italy is Brother Signor -LEMINI ADRIANO; Grand Secretary, Brother LUIGI CASTELLAZZO. - -The =Universo= Lodge meets every Wednesday at 9 p.m. The =Rienzi= and -=Spartico= Lodges meet occasionally. - - -ORDERS REQUIRED, AND WHERE OBTAINABLE. - -GRATIS. - -_The Bankers and Hotel Porters supply these without the Visitor losing -time by going to the proper quarters._ - -For an interview with =His Holiness the Pope=. Of Monsignor MACCHI, at -the Vatican. - -=S. Peter's Dome.= Of Monsignor FIORANI, in the Sacristy. - -=S. Peter's Crypt.= Of Cardinal LEDOCKOWSKI, Palazzo Cancelleria. - -=Vatican Mosaic Manufactory.= Of Monsignor FIORANI, in the Sacristy. - -=Vatican Gallery=, =Loggie=, and =Stanze of Raphael=, =Sistine -Chapel=, =Vatican Museum=, etc. Of Monsignor MACCHI, at the Vatican, -from 10 till 1. - -=Borgia Apartment.= Cardinal LEDOCKOWSKI, Palazzo Cancelleria. - -=Villa Albani= and =Villa Torlonia=. At the Palazzo Torlonia, Piazza -di Venezia. - -=Villa Wolkonsky.= At the Russian Consulate, Palazzo Feoli, Corso. - -=House of the Deputies.= From any member. - -=Villa Ludovisi.= At the Palazzo Piombino, Piazza Colonna. - -=Castle of S. Angelo.= At the Commandant's Office, Via de' Burro. - -=Auditorium of Maecenas.= At the Capitol. - - -OMNIBUS ROUTES IN ROME. - - FROM (_and vice versa_) TO - - {=St. Peter's.= - =Piazza di Spagna.= {=Pantheon and Piazza Montanara.= - =Piazza in Lucina.= =Railway Station.= - =Piazza San Silvestro.= =Colosseum and Vaile Manzoni.= - {=Corso and Piazza Venezia.= - =Piazza del Popolo.= {=Ripetta and S. Pantaleo.= - {=Babuino, Via Cavour, Station.= - {=Porta Angelica, Prati Castello.= - =Outside Porta del Popolo.= =Ponte Molle= (Tramway). - =Piazza S. Eustacchio.= =Piazza Indipendenza.= - =Piazza Montanara.= {=S. Peter's.= - {=S. Paul's= (Tramway). - =Piazza Cavour.= =Porta Pia.= - =Piazza Apollinare.= =Piazza S. Maria Maggiore.= - {=Corso Vittorio Emanuele, Vatican.= - {=Colosseum, Lateran.= - =Piazza Venezia.= {=Via Nazionale, Station= (Tramway). - {=Ponte Sisto, S. Francesco a Ripa.= - {=Via Urbina, Piazza Vittorio - Emanuele.= - =Piazza Ara Coeli.= =Porta Angelica.= - =Trajan's Forum.= =Barracks, Prati Castello.= - =Circo Agonale.= { =Ponte Sisto, S. Peter's.= - { =Piazza Indipendenza.= - =Piazza Consolazione.= =Porta S. Lorenzo.= - =The Station.= =S. John's Lateran= (Tramway). - =Piazza Termini.= =Cemetery of S. Lorenzo= (Tramway). - =Piazza del Quirinale.= =Agnese=, outside Porta Pia. - - -PROTESTANT CHURCHES IN ROME. - - =The English Church= (All Saints'), Via Babuino--Rev. H. W. WASSE. - =Trinity Church= (Church of England), Piazza S. Silvestro. - =American Church=, Via Nazionale--Rev. Dr. NEVIN. - =Free Presbyterian Church=, Via Venti Settembre--Rev. GORDON GRAY. - =Apostolic Church of Rome=, 35 Piazza S. Lorenzo in Lucina--Mr. - WALL. - =Baptist Church=, 27 Via del Teatro Valle--Rev. EAGER. - =Chiesa Libera=, 43 Via di Panico, Piazza Ponte S. Angelo-- - Father GAVAZZI. - =English Methodist=, 64 Via della Scrofa--Rev. H. PIGGOTT. - =American Methodist=, Piazza Poli--Dr. VERNON. - =Waldensian Church=, Via Nazionale. - - -POSTAL NOTICES. - -_Post Office_--Piazza S. Silvestro. - -The English and American Mail is closed at 8 P.M. Letters not -exceeding 1/2 oz. to England or America, 25 cent. - -Postal Cards to any European country in the Postal Union, or to -America, 10 cent. Newspapers to any European country in the Postal -Union, or to America, 5 cent. Registration, 25 cent. in addition to -postage. - -The English and American Mail is distributed at 9 A.M. and 5.30 P.M. -There are two despatches from England daily, except Sunday. - -Letters for Italy not exceeding 1/2 oz., 20 cent.; one part of a town to -another, 5 cent.; Newspapers for Italy, 2 cent.; Postal Cards, 10 -cent. - -Money Orders are issued to and from all the principal towns of England -and America. - -Telegrams not exceeding 15 words (address included), in Italy, 1 -franc. Telegrams for England and America at a word rate. - -Packages not weighing more than 3 kilos can be sent to Dover or London -for lire 3.75; to any other part of England, for lire 4.85; and to -Scotland and Ireland, for lire 5.70. - - -=Booksellers=--PIALE, 1 Piazza di Spagna; ALINARI & COOK, 90 Corso; -SPITHOEVER, 85 Piazza di Spagna; LOESCHER, 307 Corso; BOCCA, 216 -Corso. - -=Boot-maker=--BALDELLI, 102 Corso. - -=Bronzes=--NELLI, 139 Via Babuino; GUTTKORN, 47 Piazza di Spagna; -MORELLI, 91 Via Babuino. - -=Bankers= (English and American)--MACQUAY HOOKER, 20 Piazza di Spagna; -M'BEAN, Piazza S. Silvestro; PLOWDEN, 50 Via Mercede; HANDLEY, 81 -Piazza di Spagna; VANSITTART, 10 Piazza di Spagna. - -=Baths=--151 Via Corso; 96 Via Babuino; 1 Vicolo d'Alibert. - -=Bookbinder=--OLIVERI, 87 Piazza di Spagna, and 67 Via Nazionale; -SARROCCHI, 94 Via Babuino, and at the Accademia dei Lincei (Corsini) -Via Lungara. - -=Baker=--VALAN, 118 Via Babuino; COLALUCCI, 88 Via della Croce. Good -tea. - -=Cigars=--240 Corso. - -=Chemists= (English)--BAKER, 41 Piazza di Spagna; SININBERGHI & EVANS, -65 Via Condotti; BORIONI, 98 Via Babuino; BERRETTI, 117 Via Frattina; -ROBERTS, 36 Piazza in Lucina. - -=Homoeopathic Chemist=--ALLEORI, Via S. Claudio. - -=Catholic Colleges, English=--Via di Monserrato. =Scotch=--Via Quattro -Fontane. =Irish=--Via del Quirinale. =United States=--Via Umilta. - -=Cook's Tourist Office=--1A Piazza di Spagna. - -=Consulate, British=--Mr. FRANZ, Piazza S. Claudio. - -=Consulate General, United States, America=--Mr. W. L. ALDEN, 13 Via -Nazionale. - -=Embassy, United States, America=--Hon. JOHN B. STALLO, 13 Via -Nazionale. - -=Embassy, British=--Sir JOHN SAVILE LUMLEY, Via Venti Settembre, near -the Porta Pia. - -=Cameos, Stone=--DE FELICI, 3 Piazza di Spagna; NERI, 87 Via Babuino. - -=Cameos, Shell=--VERGE, 52 Piazza di Spagna. - -=Doctors=--Dr. CHARLES, 72 San Niccolo da Tolentino; Dr. YOUNG, 20 -Piazza di Spagna; Dr. DRUMMOND, 3 Piazza di Spagna; Dr. THOMSON, 60 -Via di Macelli; Dr. SPURWAY, 22 Bocca di Leone; Dr. PIO BLASI (highly -recommended, specially for children), 48 Piazza Rondassini. - -=Dentists= (American)--Dr. CHAMBERLAIN, 51 Piazza di Spagna; Dr. VAN -MARTER, 172 Via Nazionale. - -=Draper=--TODROSS, 417 Corso. - -=Drawing Masters=--DE BONIS, 48 Via del Governo Vecchio; MARCHETTI, 63 -Via Fontanella Borghese; MOLINARI, 13 Vicolo Nicolo da Tolentino. - -=Forwarding Agents=--PITT & SCOTT, FRANZ, 6A Via Condotti. - -=Fox-hounds=--Meet twice a week in the neighbourhood of the city. The -appointments are posted at the libraries. Throw off at 11 o'clock. - -=Grocer=--PARENTI, 45 Piazza di Spagna; CASONI, 32 Piazza di Spagna. - -=Hairdresser=--PASQUALI, 12 Via Condotti. - -=Hatter=--MILLER, 16 Via Condotti. - -=House Agent=--CONTINI, 6 Via Condotti. - -=Jewellery=--AGOSTINO BONI, 444 Corso; FIORENTINI, 91 Piazza di -Spagna; TOMBINI, 74 Piazza di Spagna; SUSCIPJ, 257 Corso. - -=Libraries, Subscription=--_Piale_, Piazza di Spagna (the best in -Rome). - -=Mosaics=--ROCCHEGIANI, 13 Via Condotti; GALLANT, 5 Piazza di Spagna. - -=Money-changer=--CORBUCCI, 91 Piazza di Spagna. - -=Marbles=--RAINALDI, 51A Via Babuino. - -=Music Masters=--GAMBALE, 2 Via della Croce; Dr. ESTE, 4 Via della -Leoncino; Miss LIEBREICHI, 118 Via Sistina; TAMBURINI (harp), 22 -Quattro Fontane. - -=Nurses for the Sick=--The Little Company of Mary, English nuns, 44 -Via Sforza. _Highly recommended._ S. Paul's Home, 62 Via Palestro: -Miss MARTIN, Superintendent. - -=Pensions=--SMITH, 93 Piazza di Spagna; CHAPMAN, 76 Via Nazionale; -TALLINBACK, 4 Via S. Martino; MITCHEL, 72 Via Sistina; SKED, 57 Via -Sistina. - -=Population=--350,000. - -=Police-Office, chief=--Palazzo della Prefettura, S. Apostoli. - -=Portrait Photographs=--SUSCIPJ, 48 Via Condotti. - -=Photographic Views=, etc.--ALINARI & COOK, 90 Corso; ANDERSON, at -Spithoever's, 85 Piazza di Spagna; PARKER, at Piale's, 1 Piazza di -Spagna; TUMINELLO, 21 Via Condotti; MOLENS, 28 Via Condotti. - -=Railway Agency=--8 Via Propaganda. - -=Roman Pearls=--REY, 121 Via Babuino. - -=Roman Silks=--FONTANA, 116 Via Babuino. - -=Saddler=--BARFOOT, 152 Via Babuino. - -=Stationer=--CALZONE, 346 Corso; COOK, 90 Corso. - -=Singing Masters=--BARTOLINI, 109 Via Marforio; NANNI, 50 Via Ripetta. - -=Saddle Horses=--JARETT, 3 Piazza del Popolo; CAIROLI, 23 Vicolo -Incurabili. - -=Society for the Protection of Animals in Rome=--78 Via della Vite. - -=Theatres=--_Apollo_, Via Tordinona. _Costanzi_, Via Nazionale. -_Argentina_, Via Torre Argentina. _Nazionale_ for drama, Via -Nazionale. _Umberto_, Via dei Pontefici. _Metastasio_, Via Pallacorda. -_Manzoni_, Via Urbana. _Quirino_, Via delle Vergini. _Valle_, Via -Teatro Valle. _Rossini_, Via di Santa Chiara. Tickets can be bought -and seats secured in the morning. The only way of knowing what will be -performed in the evening is to consult the daily papers and the -posters. - -=Terra-Cotta=--EUGENIO DELL' ORTO, 309 Piazza S. Apostoli. - -=Teachers of Languages=--MENDEL, 75 Via della Croce; MONACHESE, 8 Via -Sebastiano; NALLI, 63 Via Purificazione. - -=Tobacco=--_Bring it with you, the Italian is bad._ CORBUCCI, 91 -Piazza di Spagna. - -=Tailors=--Old England, 114 Via Nazionale. - -=Travelling Articles=--BARFOOT, 152 Via Babuino. - - - - -Index. - - - Academy, British, 350; - French, 250; - S. Luca, 222; - Spanish, 137. - - Acqua Acetosa, 305. - - Alba Longa, 335. - - Albano, 330. - - Altar of Aius Loquens, 77; - Apollo, 75; - Minerva, 223. - - Amphitheatrum, Castrense, 243; - Flavian, 94. - - Antemnae, Site of, 309. - - Appii Forum, 299. - - Aqueduct of Hadrian, 326; - Julia, 329; - Virgo Springs, 329. - - Archaeological Association, 350; - Society, 350. - - Arch of Augustus, 36; - Claudius, 10; - Constantine, 92; - Dolabella, 245; - Drusus, 285; - Fabius, 35; - Gallienus, 263; - Janus, 211; - S. Lazaro, 206; - Septimius Severus, 25; - Silversmiths, 211; - Tiberius, 32; - Titus, 88. - - Argiletum, 24. - - Ariccia, 332. - - Artists, English and American, 350; - Italian and Foreign, 351. - - Asylum, 48. - - Atrium Vesta, 51. - - Auditorium, 262. - - - Bankers, 357. - - Baptisteries, 91, 234. - - Barberini Gallery, 251. - - Basilica AEmilia, 21; - Constantine, 66; - Cupid, 91; - Julia, 31; - Opimia, 27; - Palatine, 82; - Porcia, 22. - - Baths of Agrippa, 157; - Caracalla, 277; - Constantine, 253; - Diocletian, 265; - Gallienus, 264; - Hadrian, 227, 261; - Novatus, 254; - Sura, 209; - Titus, 235. - - Borghese Gallery, 147; - Museum, 304. - - Bridge of AEmilius, 201; - S. Angelo, 104; - Cestius, 199; - di Nona, 327; - Fabricius, 198; - Lucano, 318; - Molle, 305; - Nomentana, 313; - Quattro Capi, 198; - Rotto, 201; - Salara, 310; - Sisto, 141; - Sublician (Horatius's), 201. - - - Cab Tariff, 352. - - Camere of Raphael, 121. - - Campagna, 302. - - Campus Martius, 147. - - Cancelleria Palace, 142. - - Canova's Studio, 5. - - Capitoline Hill, 163. - - Capitoline Museum, 175. - - Capitolium Vetus, 253. - - Casino di Papa Giulio, 305. - - Castel Arcione, 315. - - Castel Fusano, 347. - - Castel Gandolfo, 335. - - Castle of S. Angelo, 104. - - Catacombs of Domitilla, 293; - Jewish, 292; - Nereus and Achilleus, 294; - Ostorian, 312; - Praetextatus, 288; - Priscilla, 309; - S. Agnese, 309; - S. Alexander, 314; - S. Calixtus, 289; - S. Sebastiano, 294. - - Cave of Aqueducts, 208. - - Cemetery, Capuccini, 270; - Protestant, 206; - S. Lorenzo, 314. - - Cenci Palace, 193. - - Chapels--Borghese, 258; - Pauline, 120; - S. Lorenzo, 122; - SS. Peter and Paul, 342; - Seven Sleepers, 282; - Sistine, 118; - Sixtine, 258. - - Chemists, English, 357. - - Churches--Protestant, 6; - S. Paul's (American), 266. - - Churches--S. Abbate, 263; - S. Adriano, 22; - S. Agata, 254; - S. Agnese, 145; - S. Agnese fuori le mura, 311; - S. Agostino, 145; - S. Alexander, 314; - S. Alexius, 207; - S. Anastasia, 210; - S. Andrea della Valle, 196; - S. Andrew, 251; - S. Antonio, 263; - SS. Apostoli, 217; - Ara Coeli, 164; - S. Balbina, 279; - S. Bartolomeo, 199; - S. Bibiana, 264; - S. Capuccini, 270; - S. Cecilia, 140; - S. Chrisogono, 141; - S. Clemente, 227; - S. Constanza, 311; - SS. Cosmo e Damiano, 56; - S. Croce in Gerusalemme, 244; - "Domine quo vadis," 287; - S. Francisca Romana, 67; - S. Giorgio in Velabro, 212; - SS. Giovanni e Paolo, 246; - S. Giovanni in Oleo, 281; - S. Gregorio, 248; - S. Giuseppe dei Falegnami, 12; - Il Gesu, 158; - S. John's, Lateran, 238; - S. Lorenzo fuori le mura, 314; - S. Lorenzo in Fonte, 254; - S. Lorenzo in Lucina, 5; - S. Lorenzo in Miranda, 21; - S. Lorenzo in Panisperna, 254; - S. Maria degli Angeli, 265; - S. Maria dei Miracoli, 2; - S. Maria della Navicella, 245; - S. Maria della Pace, 145; - S. Maria del Popolo, 4; - S. Maria in Cosmedin, 204; - S. Maria in Monte Santo, 1; - S. Maria in Trastevere, 141; - S. Maria in Vallicella, 144; - S. Maria in Via Lata, 10; - S. Maria Maggiore, 256; - S. Maria Nuova, 67; - S. Maria sopra Minerva, 158; - S. Martino, 24, 261; - SS. Nereo e Achilleo, 279; - S. Nicholas of Bari, 294; - S. Onofrio, 134; - S. Paolo fuori le mura, 342; - S. Peter in Vincoli, 224; - S. Peter's, 105; - S. Petronilla, 294; - S. Pietro in Montorio, 137; - S. Praxedes, 259; - Il Priorato, 207; - S. Prisca, 208; - S. Pudenziana, 254; - S. Saba, 208; - S. Sabina, 207; - S. Sebastiano, 294; - S. Stefano Rotondo, 244; - S. Stephen in Via Latina, 328; - S. Teodoro, 213; - S. Tommaso in Formis, 245; - Trinita dei Monti, 250; - S. Urbano, 292. - - Circo Agonale, 144. - - Circus Agonalis, 144; - of Maxentius, 295; - Maximus, 209. - - Climate, xiii. - - Clivus Argentarius, 33; - Argiletus, 24; - Capitolinus, 31; - Cyprius, 255; - Pullius, 255; - Sacra, 65; - Urbius, 256. - - Cloaca Maxima, 49, 212. - - Collegio Romano, 159. - - Colonna Gallery, 217; - Gardens, 253. - - Colosseum, 94. - - Columbaria, 282, 283. - - Column of Duilius, 25; - Immaculate Conception, 216; - Maenius, 26; - Marcus Aurelius, 6; - Phocas, 30; - Trajan, 218. - - Comitium, the, 33. - - Consulates, 357. - - Contents, vii. - - Corsini Gallery, 134. - - Corso, 5. - - Curiae Veteres, 76. - - Curtian Lake, 38. - - - Dates, 348. - - Death of Caesar, 195. - - Death of Virginia, 34. - - Decemviral Prisons, 190. - - Dentists, 357. - - Directory for Rome, 350. - - Doctors, English and American, 357. - - Doria Gallery, 11. - - - Embassies, 357. - - Emperors, list of, 348. - - Emporium, 205. - - English College, 357. - - Environs, 273. - - Exedra, 83. - - Exhibition of Fine Arts, 267. - - Extent of the Forum, 18. - - - Farnese Palace, 142. - - Farnesina Palace, 136. - - Ficus Navia, 40. - - Fidenae, 310. - - First Impressions, xi. - - Fornix. _See Arch._ - - Forum of Augustus, 220; - Boarium, 211; - Cupid, 91; - Domitian, 223; - Julius Caesar, 15; - Nerva, 223; - Olitorium, 190; - Piscatorium, 22; - Romanum, 15; - Trajan, 218; - Transitorium, 223. - - Fountains--Acqua Acetosa, 305; - Barcaccia, 216; - Egeria, 275; - Felice, 268; - Juturna, 35; - Meta Sudans, 92; - Pauline, 140; - Termini, 265; - Trevi, 216. - - Fragments, 49. - - Frascati, 338. - - - Gabii, 327. - - Galleries, list of, 353. - - Gardens of Maecenas, 262. - - Gates, xxii. _See Porta._ - - Gelotiana, 79. - - Genzano, 333. - - Ghetto, 192. - - Graecostasis, 24. - - Grotta Ferrata, 337. - - Grotto of Egeria, 275, 332. - - - Health and Climate, xiii. - - Hilda's Tower, 148. - - Hills, the Seven, 172. - - Horace's Sabine Farm, 319. - - House Agent, 357. - - House of Aquila and Priscilla, 209; - Augustus, 78; - Caesar, 60; - Caligula, 79; - Ciceruacchio, 146; - Commodus, 84; - Domitian, 81; - Fornarina, 141; - Gelotianus, 79; - Germanicus, 78; - Giulio Romano, 12; - Goethe, 5; - Hadrian, 79, 280; - Keats, 216; - Lucrezia Borgia, 224; - Maecenas, 262; - Michael Angelo, 217; - Monti, 216; - Nero, 224; - Parliament, 6; - Paul, 197; - Pompey, 223; - Poussin, 250; - Pudens, 254; - Raphael, 141; - Republicans, 76; - Rienzi, 200; - Romulus, 76; - Servius Tullius, 256; - Shelley, 216; - Tarquinius I., 72; - Tarquinius II., 255; - Tiberius, 79; - Visconti, 103; - Zuccari, 250. - - How Rome became Ruins, xv.; - how the soil accumulated, 16. - - - Imperial Palace at Ostia, 346. - - Industrial Art Museum, 251. - - Information Guide, 350. - - Inquisition, the, 133. - - Irish College, 357. - - Island in the Tiber, 198. - - - Janiculum Hill, 138. - - Janus, the, 33. - - - Kings of Rome, 349. - - Kircherian Museum, 159. - - - Lake of Albano, 335; - Nemi, 333; - Tartarus, 315. - - Lateran Museum, 235; - Palace, 235. - - Laurentum, 347. - - Lautumiae, 22. - - Lavinium, 347. - - Lincei dei Palazzo, 134. - - Loggie of Raphael, 122. - - Ludovisi Museum, 269. - - Lupercal, 210. - - - Marino, 336. - - Mark Antony's speech, 38. - - Market of Nero, 244. - - Mamertine Prison, 12. - - Marmorata, 205. - - Masonic, 354. - - Mausoleum of Augustus, 147. - - Mausoleum of Hadrian, 104. - - Meta Sudans, 92. - - Milliarium Aureum, 30. - - Ministry of Finance, 268. - - Mons Sacer, 313. - - Mons Testaccio, 206. - - Monte Cavo, 340. - - Monte Citorio, 6. - - Monte Mario, 307. - - Monument of Marcus Aurelius, 42. - - Mosaic Manufactory, Vatican, 123. - - Mosaic of Lateran, 237. - - Muro Torto, 250. - - Museo Urbino, 248. - - Museums, list of, 353. - - - Nations, Statues of, 175. - - Nemi, 333. - - Nero's Colossus, 92; - Golden House, 224; - Reservoir, 247. - - Nymphaeum of Marcus Aurelius, 83; - of Alexander Severus, 263. - - - Obelisks--Circo Agonale, 144; - Coelimontana, 246; - Lateran, 232; - Minerva, 158; - Monte Cavallo, 252; - Monte Citorio, 6; - Pantheon, 149; - Piazza dell' Esquilino, 256; - Pincio, 250; - Popolo, 2; - S. Peter's, 105; - Table of, 272; - Trinita dei Monti, 250. - - Odeum, 83. - - Omnibuses, 355. - - Orders wanted, and where obtainable, 355. - - Ostia, 344. - - - Painters, English and American, 350; - Italian and Foreign, 351. - - Palace of the Caesars, 67, 78, 84. - - Palaces. _See under respective title._ - - Palatine Hill, 67. - - Palazzolo, 335. - - Palladium, 55. - - Pantheon, 149. - - Parliament House, 6. - - Pasquino, 144. - - Pauline Chapel, 120. - - Piazza Barberini, 251; - Bernardo, 267; - Bocca della Verita, 204; - Campo di Fiore, 142; - Circo Agonale, 144; - Colonna, 6; - Farnese, 142; - Monte Cavallo, 252; - Monte Citorio, 6; - Navona, 144; - Popolo, 1; - S. Peter's, 105; - di Spagna, 214; - di Termini, 265. - - Pincio, 249. - - Plan of Rambles, xiii. - - Porta Appia, 285; - Asinaria, 328; - Capena, 274; - Carmenta, 73; - Esquilina (Maggiore), 324; - Flaminia, 303; - S. Giovanni, 241; - Latina, 280; - Mugonia, 72; - Nomentana, 311; - Ostiensis, 341; - S. Pancrazio, 140; - S. Paolo, 324; - Pia, 310; - del Popolo, 303; - Romana, 72; - Salara, 308; - S. Sebastiano, 285; - Settimiana, 137; - S. Spirito, 133; - Tiburtina, 314; - Trigeminia, xxii.; - Viminalis, xxii. - - Portico Margaritaria, 64; - of Octavia, 191; - the Twelve Gods, 30. - - Port of Claudius, xxiii. - - Post Office, 5. - - Postal Notices, 356. - - Praetorian Camp, 264. - - Propaganda, 216. - - Protection of animals, 358. - - Puteal Scribonius Libo, 40. - - Pyramid of Caius Cestius, 341. - - Pyramid of Honorius, 104. - - - Quirinal Hill, 173; - Palace, 252. - - - Recent excavations, 60. - - Regia Numae, 20. - - Remuria Hill, 343. - - Reservoir of Nero, 247. - - Rocca di Papa, 340. - - Roman construction, xxiv. - - Roma Quadrata, 70. - - Rospigliosi Palace, 252. - - Rostra, 37, 41, 44. - - - Sala Regia, 120. - - Scalae Annulariae, 49; - Gemoniae, 15; - Regia, 118; - Santa, 241. - - School of Xantha, 30. - - Scotch College, 357. - - Sculptors, English and American, 351. - - Senaculum, 24. - - Senate House, 22. - - Septa, 10. - - Sessorium Palace, 244. - - Sette Sale, 262. - - Seven Hills, 172. - - Shops in the Forum, 34. - - Shrine of Janus, 25; - Maiden Victory, 77; - Mercury, 50; - Venus, 34. - - Sistine Chapel, 118. - - Spada Gallery, 197. - - Spanish Stairs, 216. - - Spoliarium, 247. - - Stadium, 83. - - Stanze of Raphael, 121. - - Stationes Municipiorum, 15. - - Station of Firemen, 141. - - Statue of Attus Navius, 40; - Domitian, 38; - Marcus Aurelius, 42, 164; - Mark Antony, 37; - Marsyas, 39; - Nero, 92; - Pasquino, 144; - Pompey, 196. - - Suovetaurilia, 44. - - - Tabularium, 170. - - Tarpeian Rock, 168. - - Temple of Antoninus and Faustina, 20; - Castor, 162; - Castor and Pollux, 18; - Ceres and Faustina, 292; - Claudius, 246; - Concord of Camillus, 169; - Concord of Opimius, 26; - Cybele, 76; - Diana Aricina, 332; - Diana of Aventine, 208; - Diana Nemorense, 334; - Flavian Family, 268; - Fortuna Primigenia, 265; - Hercules, 202, 204; - Honour and Virtue, 279; - Hope, 199; - Isis and Serapis, 149; - Julius Caesar, 21; - Juno Moneta, 169; - Juno Sospita, 199; - Jupiter Capitolinus, 166; - Jupiter Feretrius, 168; - Jupiter Stator, 76; - Jupiter Victor, 77; - Mars, 279; - Mars Ultor, 220; - Minerva Campensis, 159; - Mithras, 231; - Mithras at Ostia, 346; - Neptune, 9; - Ops, 189; - Peace, 66; - Penates, 59; - Piety, 199; - Pudicitia Patricia, 202; - Roma Quadrata, 75; - Romulus Maxentius, 56; - Saturn, 28; - Sun, 89; - Tempestas, 280; - Venus and Roma, 58; - Vespasian, 28; - Vesta, 20; - Vicaporta, 56; - Victory, 77; - Vulcan at Ostia, 346. - - Theatre of Balbus, 193; - Marcellus, 190; - Pompey, 194. - - Theatres, modern, in Rome, 358. - - Thermae at Ostia, 346. - - The Tiber, xiv. - - Three Taverns, 299. - - Tivoli, 318. - - Tomb of Aterii, 236; - Annia Regilla, 287; - Appian Way, 298; - Aruns, 331; - Atta, Quintus, 328; - Attia Claudia, 12; - Augustus, 147; - Baker, 326; - Bibulus, 12; - Caecilii, 288; - Caesar, 21; - Cecilia Metella, 296; - Cestius, 341; - Geta, 286; - Hadrian, 104; - Helena, 327; - Horace, 263; - Lucilius, 308; - Lutatius Catulus, 282; - Maecenas, 263; - Ovid, 305; - Painted, 328; - Pompey, 330; - Primitive, 261; - Priscilla, 286; - Romulus Maxentius, 295; - Scipios, 282; - Tacitus, 283; - Tasso, 134; - Vestals, 268; - Via Latina, 328; - Virginia, 313. - - Topography of the Palatine Hill, 70; - of Rome, xii. - - Tor di Quinto, 305. - - Torlonia Museum, 136. - - Torre dei Conti, 223; - delle Milizie, 253; - della Scimmia, 148. - - Tower of Capitol, 172. - - Tramways, 355. - - Trastevere, 103. - - Tre Fontane, 344. - - Tres Tabernae, 299. - - Tullia's Impiety, 255. - - Tusculum, 339. - - - Umbilicus, 48. - - United States College, 319. - - Useful Hints, xiv., 350. - - - Vale of Ariccia, 331. - - Valley of the Muses, 275. - - Vallis Ferentina, 336. - - Vatican Galleries, 118, 123. - - Vatican Library, 130. - - Vatican Museums, 124, 131. - - Veii, 306. - - Vesta's Dust-Bin, 50. - - Viaducts, 327, 344. - - Via Appia, 273; - Appia Nova, 330; - Babuino, 214; - Corso, 5; - Flaminia, 305; - Gabina, 326; - Labicana, 326; - Latina, 280; - Nazionale, 266; - Nomentana, 311; - Numinis, 340; - Ostiensis, 341; - Praenestina, 326; - Ripetta, 146; - Sacra, 31; - Tiburtina, 315; - Triumphalis, 308; - Tusculana, 338; - Urbana, 254. - - Vicus ad Capita Bubula, 33; - Cyprius, 255; - Jugarius, 32; - Sandaliarius, 65; - Vesta, 56; - Tuscus, 32. - - Vigili dei VII. Cohorti, 141. - - Villas, list of, 353. - - Villas--Albani, 308; - Borghese, 303; - Cicero, 337; - Coelimontana, 246; - D'Este, 318; - Doria, 140; - Gordian Emperors, 328; - Hadrian, 321; - Hens, 306; - Herodes Atticus, 293; - Livia, 305; - Madama, 308; - Martial, 138; - Medici, 250; - Papa Giulio, 305; - Pliny, 347; - Roman, 261; - Torlonia, 311; - Sallust, 269; - Volkonsky, 243. - - Visitor's Directory, 350. - - Vivarium, 247. - - - Wall of Ancus Martius at Ostia, 346. - - Wall of the Latins, 208. - - Walls of Rome, xvii. - - Way, the Appian, 273. - - Where Caesar fell, 195. - - - - -MR. S. RUSSELL FORBES'S EXCURSIONS. - -ARCHAEOLOGICAL AND HISTORICAL - -PROMENADE LECTURES - -ON THE ROMAN ANTIQUITIES, - -_BY MR. S. RUSSELL FORBES, 93 VIA BABUINO_. - - -It is acknowledged by the _elite_ of the British and American visitors -to Rome, that the only way to understand and enjoy the Antiquities of -the Eternal City is to attend the interesting and instructive -Archaeological and Historical Lectures delivered on the spot by Mr. -Forbes, whose long residence and close study have qualified him to be -an authority on the subject. - - -OPINIONS OF THE PRESS. - -"Mr. Forbes's long personal acquaintance with Rome gives him access to -sources of information which are beyond the reach of ordinary -tourists, and confer special value on his oral as well as printed -explanations of the antiquities of the city."--_Swiss Times._ - -"Mr. Forbes has been a close student of Roman history, and for a -period of some sixteen years has been familiar with all the -excavations and the developments they have made. To be in his company -and to hear his explanations is therefore to reap many advantages -which even the best informed student of written history could not gain -if left to himself."--_Boston Journal._ - -"Mr. Russell Forbes is endowed with a thorough classical education and -great ability of research, and it is most delightful to be privileged -to hear his learned lectures, and while here to be conducted by -him."--_Cleveland Herald._ - -"His explanations are remarkably clear and concise."--_Hartford -Evening Post._ - -"Mr. Forbes has done most excellent and scholarly work upon the recent -excavations in demonstrating by the classics the exact location of -ground famous in the history of Rome; and though he often dissipates -beyond hope of revival popular conceptions, he always supplies a clear -historical view."--_Boston Transcript._ - -"Mr. Russell Forbes's lectures are not merely dry, pedantic expounds -of history and art, but are truly most admirable, entertaining, and -instructive interpretations. Englishmen and Americans have always -found Mr. Russell Forbes's lectures one of the great pleasures in -going to see our monuments, and of special and uncommon advantage on -their trips."--_Roman News._ - -"And what an explanation it was! No mere guide-book chatter, no -parrot-like repetition of an oft-told and wearisome story, but an -intelligent conveying of historical facts, evincing a genuine love for -research, a profound admiration for the work of the ancient days when -Rome ruled the world, and a deep regard for those trophies which the -hand of time and the vandalism of man have left to teach us the -history of the past."--_Tourist Chronicle._ - - - - -Mr. RUSSELL FORBES'S - -PUBLICATIONS. - - -=RAMBLES IN ROME.= 12mo, limp cloth. Illustrated with Maps and Plans. -The best and cheapest Guide-Book on Rome down to date. _Price 5 lire._ - -=THE FOOTSTEPS OF S. PAUL IN ROME.= 12mo, limp cloth. Illustrated. "It -is as true an account as probably will be written of S. Paul's stay in -Rome." _Price 2 lire._ - -=THIRTY-SIX PHOTOGRAPHS= illustrating the above, all connected with S. -Paul. _Price 20 lire the Set._ - -Bound in Roman vellum and illustrated with photographs. _Price 32 -lire._ - -=RAMBLES IN NAPLES AND ITS NEIGHBOURHOOD.= 12mo, limp cloth. -Illustrated, and with Maps and Plans. An excellent practical Guide up -to date. _Price 31/2 lire._ _New edition now ready._ - -=THE ROMAN AQUEDUCTS AND FOUNTAINS.= An interesting Manual of the -Ancient Water Supply. _Price 1 lira._ - -=BEATRICE CENCI.= The True History. _Price 1 lira._ - -=THE FORUM RESTORED.= Two large Photographs of Mr. Forbes's -interesting Discovery of the Forum depicted on Ancient Reliefs. With -Descriptive Letterpress. _Price 6 lire._ - -=THE SEVEN-BRANCHED CANDLESTICK=, and Spoil from the Temple. Large -Photograph, with Letterpress of their History traced down to A.D. 614. -_Price 4 lire._ - -=ANCIENT ROME.= A Photographic Souvenir of the Principal Antiquities -grouped in One View. With Descriptive Letterpress. _Price 3 lire._ - -=THE ROMAN CATACOMBS.= Their True History; and Records of Early -Christian Art. Illustrated. _Price 21/2 lire._ - -=NEW MAP OF ROME=, showing the Corrected Line of the Early Walls and -their Gates, with all the Principal Places of Interest in Colour. -Mounted on Linen for the Pocket. _Price 2 lire._ - -=THE ANCIENT MARBLE PLAN OF ROME=, with Descriptive Letterpress. -_Price 6 lire._ "Mr. Forbes is the first archaeologist who has mastered -this puzzle." - -=EIGHT MASONIC PHOTOGRAPHS=, with Descriptive Letterpress. _Price 6 -lire._ - -=PLAN OF THE PALATINE HILL.= _Price 1 lira._ - -=FORBES'S DIRECTORY AND BULLETIN.= Published Fortnightly during the -Season. _Price 20 centesimi._ "No visitor to Rome should be without -it." - -_N.B._--One lira = 10d. or 20 cents. - - - - -RAMBLES IN ROME. - - -OPINIONS OF THE PRESS. - -"All who mean to stay in the Eternal City should be provided with Mr. -S. Russell Forbes's 'Rambles in Rome.'"--_The Critic, New York._ - -"If you are visiting Rome you will find in this book a high-class -companion and guide. Try it, and see the difference between the mere -guide-book produced by the trade to sell, and the chatty, masterly -production of a writer of ability and taste."--_Sword and Trowel._ - -"It combines a great deal of out-of-the-way historical and -archaeological knowledge, with a minute acquaintanceship with the ruins -and other remains of Rome."--_Glasgow News._ - -"An intelligently-written and well-arranged guide-book."--_Spectator._ - -"Copiously illustrated and well provided with maps and -plans."--_Chelmsford Chronicle._ - -"A compact and instructive book, which will be a most useful adjunct -to the traveller's knapsack."--_Life._ - -"Will undoubtedly prove a valuable hand-book to all who desire to see -and study the Rome of to-day in a systematic fashion."--_Glasgow -Herald._ - -"It is more than a guide-book; it is a book of reference, and should -be in every library."--_Newport (R. I.) News._ - -"It would be difficult to recommend a more serviceable volume."--_The -Italian Times._ - -"The guide is pleasant reading even by the fireside."--_American -Register._ - -"Best, newest, and cheapest guide to Rome."--_The News._ - -"One great merit of Mr. Forbes's book is that he deals with his -subject in a business-like way. He briefly states what he knows about -it, without indulging in any rhapsodies or gushes of sentiment, or -suggesting to his readers what thoughts ought to surge up in their -mind as they gaze upon any given scenes or monuments."--_Saturday -Review._ - -"The volume is profusely illustrated, and is incomparably the most -valuable guide to Rome and its antiquities."--_Christian Union._ - -"With its limp cover and pictures, it will be found a very handy -pocket volume to walk about with."--_The Guardian._ - -"It deserves commendation for two very conspicuous merits. It is the -work of an author who thoroughly understands his subject, and it is -remarkably direct and simple in style."--_Scotsman._ - -"The traveller or resident in the city will find the book of solid and -constant value."--_Boston Congregationalist._ - -"This is a very interesting work, by the well-known archaeologist and -lecturer, Mr. Forbes, who gives the reader the benefit of his thorough -knowledge and familiarity with the subjects on which he writes. A -stranger visiting Rome, who desires to see, if not all, at least as -many wonderful sights as his time will permit, cannot do better than -peruse Mr. Forbes's book, which will enable him to see much more in a -less time and with greater benefit to himself than if he trusted to -the guidance of some of the numerous cicerones with which the Eternal -City is infested."--_Travel._ - -"'Rambles in Rome' will prove a friend in need and indeed to all who -contemplate visiting the Eternal City."--_Musical Herald._ - - -The FOOTSTEPS of S. PAUL in ROME. - -OPINIONS OF THE PRESS. - -The Rev. Dr. James Macgregor, writing from Edinburgh, says, "I read -last night for the first time, and have now lying before me, 'The -Footsteps of S. Paul in Rome.' Few books of late have given me more -pleasure." - -"We have also received a copy of 'Footsteps of S. Paul in Rome,' by -the same author, and can only speak of it in terms of the highest -commendation."--_Travel._ - -"The work is very valuable. It is as true an account as probably will -be written of S. Paul's stay in Rome."--_Newport (R. I.) News._ - -Professor Francis W. Upham of New York says, "The essay is evidently a -labour of love--a model of patient thought and accurate investigation, -and of great interest and value." - -"Full of interest, as being connected with Paul's everyday life, of -which but very little is known to the great mass of Christendom."-- -_Chelsea Telegraph._ - - -THE ROMAN CATACOMBS. - -OPINIONS OF THE PRESS. - -"Mr. Russell Forbes has at last supplied a concise, practical, and -original illustrated handbook for the small price of two shillings. -The object of his historical manual is to tell the facts from personal -study and exploration--biased only for the truth."--_Roman News._ - -"Full of useful antiquarian lore, and suitably -illustrated."--_Literary World._ - -"It is compact, well printed, and copiously illustrated with clear -woodcuts."--_Saturday Review._ - -"A great amount of lucid and well-arranged information about these -curious and interesting early Christian cemeteries."--_Scotsman._ - -"The book is well illustrated, and is the only one that has ever -appeared in the English language giving facts drawn from a direct -study on the spot."--_Travel._ - -"Very interesting and valuable. It has the decided advantage of being -written by one thoroughly conversant with the subjects he -treats."--_American Register._ - - -RAMBLES IN NAPLES. - -OPINIONS OF THE PRESS. - -"This is another excellent guide by the author of 'Rambles in Rome;' -and is by far the most practical guide to Naples and its environs that -has been issued. Visitors will find in it all they want to -know."--_Continental News._ - -"An indispensable _vade mecum_."--_Swiss Times._ - -"Described in a popular manner."--_Continental Gazette._ - -"Useful and practical."--_American Register._ - -"Amply illustrated, and with good maps and plans, the new edition -(third) of 'Rambles in Naples,' by Mr. Russell Forbes, promises to be -as popular as his well-known work on Rome."--_The News._ - -"Concise, interesting, and reliable."--_The Roman Times._ - -"Will be found a most useful guide."--_Saturday Review._ - - - - -PIALE'S - -CIRCULATING LIBRARY, - -No. 1 PIAZZA DI SPAGNA. - -_ESTABLISHED 1826._ - - -The LEADING ROMAN LIBRARY, Containing - -15,000 VOLUMES - -In English, French, Italian, and German. - -Comprising all the Latest Works on Rome. - - -READING ROOMS. - - -GRAND ASSORTMENT OF PHOTOGRAPHS. - - -_BOOKSELLER AND STATIONER._ - - - - - - -End of the Project Gutenberg EBook of Rambles in Rome, by S. 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