WALKS IN ROME

TWO VOLS.

WALKS IN ROME

BY AUGUSTUS J. C. HARE
AUTHOR OF "MEMORIALS OF A QUIET LIFE," "WANDERINGS IN SPAIN," ETC.




TWO VOLUMES.—I.



FIFTH EDITION



LONDON
DALDY, ISBISTER & CO.
56, LUDGATE HILL
1875

[All rights reserved]

JOHN CHILDS AND SON, PRINTERS.

TO
HIS DEAR MOTHER

THE CONSTANT COMPANION OF MANY ROMAN WINTERS

These pages are Dedicated

BY THE AUTHOR.

CONTENTS VOLUME I.

INTRODUCTORY.

THE ARRIVAL IN ROME.

"AGAIN this date of Rome; the most solemn and interesting that my hand can ever write, and even now more interesting than when I saw it last," wrote Dr. Arnold to his wife in 1840—and how many thousands before and since have experienced the same feeling, who have looked forward to a visit to Rome as one of the great events of their lives, as the realization of the dreams and longings of many years.

An arrival in Rome is very different to that in any other town of Europe. It is coming to a place new and yet most familiar, strange and yet so well known. When travellers arrive at Verona, for instance, or at Arles, they generally go to the amphitheatres with a curiosity to know what they are like; but when they arrive at Rome and go to the Coliseum, it is to visit an object whose appearance has been familiar to them from childhood, and, long ere it is reached, from the heights of the distant Capitol, they can recognize the well-known form;—and as regards St. Peter's, who is not familiar with the aspect of the dome, of the wide-spreading piazza, and the foaming fountains, for long years before they come to gaze upon the reality?

"My presentiment of the emotions with which I should behold the Roman ruins, has proved quite correct," wrote Niebuhr. "Nothing about them is new to me; as a child I lay so often, for hours together, before their pictures, that their images were, even at that early age, as distinctly impressed upon my mind, as if I had actually seen them."

Yet, in spite of the presence of old friends and landmarks, travellers who pay a hurried visit to Rome, are bewildered by the vast mass of interest before them, by the endless labyrinth of minor objects, which they desire, or, still oftener, feel it a duty, to visit. Their Murray, their Baedeker, and their Bradshaw indicate appalling lists of churches, temples, and villas which ought to be seen, but do not distribute them in a manner which will render their inspection more easy. The promised pleasure seems rapidly to change into an endless vista of labour to be fulfilled and of fatigue to be gone through; henceforward the hours spent at Rome are rather hours of endurance than of pleasure—his cicerone drags the traveller in one direction,—his antiquarian friend, his artistic acquaintance, would fain drag him in others,—he is confused by accumulated misty glimmerings from historical facts once learnt at school, but long since forgotten,—of artistic information, which he feels that he ought to have gleaned from years of society, but which, from want of use, has never made any depth of impression,—by shadowy ideas as to the story of this king and that emperor, of this pope and that saint, which, from insufficient time, and the absence of books of reference, he has no opportunity of clearing up. It is therefore in the hope of aiding some of these bewildered ones, and of rendering their walks in Rome more easy and more interesting, that the following chapters are written. They aim at nothing original, and are only a gathering up of the information of others, and a gleaning from what has been already given to the world in a far better and fuller, but less portable form; while, in their plan, they attempt to guide the traveller in his daily wanderings through the city and its suburbs.

It must not, however, be supposed, that one short residence at Rome will be sufficient to make a foreigner acquainted with all its varied treasures; or even, in most cases, that its attractions will become apparent to the passing stranger. The squalid appearance of its modern streets, the filth of its beggars, the inconveniences of its daily life, will leave an impression which will go far to neutralize the effect of its ancient buildings, and the grandeur of its historic recollections. It is only by returning again and again, by allowing the feeling of Rome to gain upon you, when you have constantly revisited the same view, the same temple, the same picture, that Rome engraves itself upon your heart, and changes from a disagreeable, unwholesome acquaintance, into a dear and intimate friend, seldom long absent from your thoughts. "Whoever," said Chateaubriand, "has nothing else left in life, should come to live in Rome; there he will find for society a land which will nourish his reflections, walks which will always tell him something new. The stone which crumbles under his feet will speak to him, and even the dust which the wind raises under his footsteps will seem to bear with it something of human grandeur."

"When we have once known Rome," wrote Hawthorne, "and left her where she lies, like a long-decaying corpse, retaining a trace of the noble shape it was, but with accumulated dust and a fungous growth overspreading all its more admirable features—left her in utter weariness, no doubt, of her narrow, crooked, intricate streets, so uncomfortably paved with little squares of lava that to tread over them is a penitential pilgrimage; so indescribably ugly, moreover, so cold, so alley-like, into which the sun never falls, and where a chill wind forces its deadly breath into our lungs—left her, tired of the sight of those immense seven-storied, yellow-washed hovels, or call them palaces, where all that is dreary in domestic life seems magnified and multiplied, and weary of climbing those staircases which ascend from a ground-floor of cook-shops, cobblers'-stalls, stables, and regiments of cavalry, to a middle region of princes, cardinals, and ambassadors, and an upper tier of artists, just beneath the unattainable sky,—left her, worn out with shivering at the cheerless and smoky fireside by day, and feasting with our own substance the ravenous population of a Roman bed at night, left her sick at heart of Italian trickery, which has uprooted whatever faith in man's integrity had endured till now, and sick at stomach of sour bread, sour wine, rancid butter, and bad cookery, needlessly bestowed on evil meats,—left her, disgusted with the pretence of holiness and the reality of nastiness, each equally omnipresent,—left her, half lifeless from the languid atmosphere, the vital principle of which has been used up long ago or corrupted by myriads of slaughters,—left her, crushed down in spirit by the desolation of her ruin, and the hopelessness of her future,—left her, in short, hating her with all our might, and adding our individual curse to the infinite anathema which her old crimes have unmistakeably brought down:—when we have left Rome in such mood as this, we are astonished by the discovery, by-and-by, that our heartstrings have mysteriously attached themselves to the Eternal City, and are drawing us thitherward again, as if it were more familiar, more intimately our home, than even the spot where we were born."

This is the attractive and sympathetic power of Rome which Byron so fully appreciated—

The impressiveness of an arrival at the Eternal City was formerly enhanced by the solemn singularity of the country through which it was slowly approached. "Those who arrive at Rome now by the railway," says Mrs. Craven in her 'Anne Severin,' "and rush like a whirlwind into a station, which has nothing in its first aspect to distinguish it from that of one of the most obscure places in the world, cannot imagine the effect which the words 'Ecco Roma' formerly produced, when on arriving at the point in the road from which the Eternal City could be descried for the first time, the postillion stopped his horses, and pointing it out to the traveller in the distance, pronounced them with that Roman accent which is grave and sonorous, as the name of Rome itself."

"How pleasing," says Cardinal Wiseman, "was the usual indication to early travellers, by voice and outstretched whip, embodied in the well-known exclamation of every vetturino, 'Ecco Roma.' To one 'lasso maris et viarum,' like Horace, these words brought the first promise of approaching rest. A few more miles of weary hills, every one of which, from its summit, gave a more swelling and majestic outline to what so far constituted 'Roma,' that is, the great cupola, not of the church, but of the city, its only discernible part, cutting, like a huge peak, into the dear winter sky, and the long journey was ended, and ended by the full realization of well-cherished hopes."

Most travellers, perhaps, in the old days came by sea from Marseilles and arrived from Civita Vecchia, by the dreary road which leads through Palo, and near the base of the hills upon which stands Cervetri, the ancient Cære, from the junction of whose name and customs the word "ceremony" has arisen,—so especially useful in the great neighbouring city. "This road from Civita Vecchia," writes Miss Edwards, the talented authoress of 'Barbara's History,' "lies among shapeless hillocks, shaggy with bush and briar. Far away on one side gleams a line of soft blue sea—on the other lie mountains as blue, but not more distant. Not a sound stirs the stagnant air. Not a tree, not a housetop, breaks the wide monotony. The dust lies beneath the wheels like a carpet, and follows like a cloud. The grass is yellow, the weeds are parched; and where there have been wayside pools, the ground is cracked and dry. Now we pass a crumbling fragment of something that may have been a tomb or temple, centuries ago. Now we come upon a little wide-eyed peasant boy, keeping goats among the ruins, like Giotto of old. Presently a buffalo lifts his black mane above the neighbouring hillock, and rushes away before we can do more than point to the spot on which we saw it. Thus the day attains its noon, and the sun hangs overhead like a brazen shield, brilliant, but cold. Thus, too, we reach the brow of a long and steep ascent, where our driver pulls up to rest his weary beasts. The sea has now faded almost out of sight; the mountains look larger and nearer, with streaks of snow upon their summits, the Campagna reaches on and on and shows no sign of limit or of verdure,—while, in the midst of the clear air, half way, so it would seem, between you and the purple Sabine range, rises one solemn solitary dome. Can it be the dome of St. Peter's?"

The great feature of the Civita Vecchia route was that after all the utter desolation and dreariness of many miles of the least interesting part of the Campagna, the traveller was almost stunned by the transition, when on suddenly passing the Porta Cavalleggieri, he found himself in the Piazza, of St. Peter's, with its wide-spreading colonnades, and high-springing fountains; indeed the first building he saw was St. Peter's, the first house that of the Pope, the palace of the Vatican. But the more gradual approach by land from Viterbo and Tuscany possessed equal if not superior interest.

"When we turned the summit above Viterbo," wrote Dr. Arnold, "and opened on the view on the other side, it might be called the first approach to Rome. At the distance of more than forty miles, it was of course impossible to see the town, and besides the distance was hazy; but we were looking on the scene of the Roman history; we were standing on the outward edge of the frame of the great picture, and though the features of it were not to be traced distinctly, yet we had the consciousness that they were before us. Here, too, we first saw the Mediterranean, the Alban hills, I think, in the remote distance, and just beneath us, on the left, Soracte, an outlier of the Apennines, which has got to the right bank of the Tiber, and stands out by itself most magnificently. Close under us in front, was the Ciminian lake, the crater of an extinct volcano, surrounded as they all are, with their basin of wooded hills, and lying like a beautiful mirror stretched out before us. Then there was the grand beauty of Italian scenery, the depth of the valleys, the endless variety of the mountain outline, and the towns perched upon the mountain summits, and this now seen under a mottled sky, which threw an ever-varying light and shadow over the valley beneath, and all the freshness of the young spring. We descended along one of the rims of this lake to Ronciglione, and from thence, still descending on the whole, to Monterosi. Here the famous Campagna begins, and it certainly is one of the most striking tracts of country I ever beheld. It is by no means a perfect flat, except between Rome and the sea; but rather like the Bagshot Heath country, ridges of hills with intermediate valleys, and the road often running between high steep banks, and sometimes crossing sluggish streams sunk in a deep bed. All these banks are overgrown with broom, now in full flower; and the same plant was luxuriant everywhere. There seemed no apparent reason why the country should be so desolate; the grass was growing richly everywhere. There was no marsh anywhere visible, but all looked as fresh and healthy as any of our chalk downs in England. But it is a wide wilderness; no villages, scarcely any houses, and here and there a lonely ruin of a single square tower, which I suppose used to serve as strongholds for men and cattle in the plundering warfare in the middle ages. It was after crowning the top of one of these lines of hills, a little on the Roman side of Baccano, at five minutes after six, according to my watch, that we had the first view of Rome itself. I expected to see St. Peter's rising above the line of the horizon, as York Minster does, but instead of that, it was within the horizon, and so was much less conspicuous, and from the nature of the ground, it looked mean and stumpy. Nothing else marked the site of the city, but the trees of the gardens and a number of white villas specking the opposite bank of the Tiber for some little distance above the town, and then suddenly ceasing. But the whole scene that burst upon our view, when taken in all its parts, was most interesting. Full in front rose the Alban hills, the white villas on their sides distinctly visible, even at that distance, which was more than thirty miles. On the left were the Apennines, and Tivoli was distinctly to be seen on the summit of its mountain, on one of the lowest and nearest parts of the chain. On the right and all before us lay the Campagna, whose perfectly level outline was succeeded by that of the sea, which was scarcely more so. It began now to get dark, and as there is hardly any twilight, it was dark soon after we left La Storta, the last post before you enter Rome. The air blew fresh and cool, and we had a pleasant drive over the remaining part of the Campagna, till we descended into the valley of the Tiber, and crossed it by the Milvian bridge. About two miles further on we reached the walls of Rome, and entered it by the Porta del Popolo."

Niebuhr coming the same way says:—"It was with solemn feelings that this morning from the barren heights of the moory Campagna, I first caught sight of the cupola of St. Peter's, and then of the city from the bridge, where all the majesty of her buildings and her history seems to lie spread out before the eye of the stranger; and afterwards entered by the Porta del Popolo."

Madame de Staël gives us the impression which the same subject would produce on a different type of character:—

"Le comte d'Erfeuil faisait de comiques lamentations sur les environs de Rome. Quoi, disait-il, point de maison de campagne, point de voiture, rien qui annonce le voisinage d'une grande ville! Ah! bon Dieu, quelle tristesse! En approchant de Rome, les postillons s'écrièrent avec transport: Voyez, voyez, c'est la coupole de Saint-Pierre! Les Napolitains montrent aussi le Vésuve; et la mer fait de même l'orgueil des habitans des côtes. On croirait voir le dôme des Invalides, s'écria le comte d'Erfeuil."

It was by this approach that most of its distinguished pilgrims have entered the capital of the Catholic world: monks, who came hither to obtain the foundation of their Orders; saints, who thirsted to worship at the shrines of their predecessors, or who came to receive the crown of martyrdom; priests and bishops from distant lands,—many coming in turn to receive here the highest dignity which Christendom could offer; kings and emperors, to ask coronation at the hands of the reigning pontiff; and among all these, came by this road, in the full fervour of Catholic enthusiasm, Martin Luther, the future enemy of Rome, then its devoted adherent. "When Luther came to Rome," says Ampère, in his 'Portraits de Rome à Divers Ages,' "the future reformer was a young monk, obscure and fervent; he had no presentiment, when he set foot in the great Babylon, that ten years later he would burn the bull of the Pope in the public square of Wittenberg. His heart experienced nothing but pious emotions; he addressed to Rome in salutation the ancient hymn of the pilgrims; he cried, 'I salute thee, O holy Rome, Rome venerable through the blood and the tombs of the martyrs.' But after having prostrated on the threshold, he raised himself, he entered into the temple, he did not find the God he looked for; the city of the saints and martyrs was a city of murderers and prostitutes. The arts which marked this corruption were powerless over the stolid senses, and scandalised the austere spirit of the German monk; he scarcely gave a passing glance at the ruins of pagan Rome;—and inwardly horrified by all that he saw, he quitted Rome in a frame of mind very different from that which he brought with him; he knelt then with the devotion of the pilgrims, now he returned in a disposition like that of the frondeurs of the Middle Ages, but more serious than theirs. This Rome of which he had been the dupe, and concerning which he was disabused, should hear of him again; the day would come when, amid the merry toasts at his table, he would cry three times, 'I would not have missed going to Rome for a thousand florins, for I should always have been uneasy lest I should have been rendering injustice to the Pope.'"

When one is in Rome life seems to be free from many of the petty troubles which beset it in other places; there is no foreign town which offers so many comforts and advantages to its English visitors. The hotels, indeed, are enormously expensive, and the rent of apartments is high; but when the latter is once paid, living is rather cheap than otherwise, especially for those who do not object to dine from a trattoria, and to drive in hackney carriages.

The climate of Rome is very variable. If the sirocco blows, it is mild and very relaxing; but the winters are more apt to be subject to the severe cold of the tramontana, which requires even greater precaution and care than that of an English winter. Nothing can be more mistaken than the impression that those who go to Italy are sure to find there a mild and congenial temperature. The climate of Rome has been subject to severity, even from the earliest times of its history. Dionysius speaks of one year in the time of the republic when the snow at Rome lay seven feet deep, and many men and cattle died of the cold.[1] Another year, the snow lay for forty days, trees perished, and cattle died of hunger.[2] Present times are a great improvement on these: snow seldom lies upon the ground for many hours together, and the beautiful fountains of the city are only hung with icicles long enough to allow the photographers to represent them thus; but still the climate is not to be trifled with, and violent transitions from the hot sunshine to the cold shade of the streets often prove fatal. "No one but dogs and Englishmen," say the Romans, "ever walk in the sun."

The malaria, which is so much dreaded by the natives, lies dormant during the winter months, and seldom affects strangers, unless they are inordinately imprudent in sitting out in the sunset. With the heats of the late summer this insidious ague-fever is apt to follow on the slightest exertion, and particularly to overwhelm those who are employed in field labour. From June to November the Villa Borghese and the Villa Doria are uninhabitable, and the more deserted hills—the Cœlian, the Aventine, and the greater part of the Esquiline,—are a constant prey to fever. The malaria, however, flies before a crowd of human life, and the Ghetto, which teems with inhabitants, is perfectly free from it. In the Campagna,—with the exception of Porto d'Anzio, which has always been healthy,—no town or village is safe after the month of August, and to this cause the utter desolation of so many formerly populous sites (especially those of Veii and Galera) may be attributed:—

Thus wrote Peter Damian in the 10th century, and those who refuse to be on their guard will find it so still.

The greatest risk at Rome is incurred by those who, coming out of the hot sunshine, spend long hours in the Vatican and the other galleries, which are filled with a deadly chill during the winter months. As March comes on this chill wears away, and in April and May the temperature of the galleries is delightful, and it is impossible to find a more agreeable retreat. It is in the hope of inducing strangers to spend more time in the study of these wonderful museums, and of giving additional interest to the hours which are passed there, that so much is said about their contents in these volumes. As far as possible it has been desired to evade any mere catalogue of their collections,—so that no mention has been made of objects which possess inferior artistic or historical interest; while by introducing anecdotes connected with those to which attention is drawn, or by quoting the opinion of some good authority concerning them, an endeavour has been made to fix them in the recollection.

So much has been written about Rome, that in quoting from the remarks of others the great difficulty has been selection,—and the rule has been followed that the most learned books are not always the most instructive or the most interesting. No endeavour has been made to enter into deep archæological questions,—to define the exact limits of the Walls of Servius Tullius,—or to hazard a fresh opinion as to how the earth accumulated in the Roman Forum, or whence the pottery came, out of which the Monte Testaccio has arisen; but it has rather been sought to gather up and present to the reader such a succession of word pictures from various authors, as may not only make the scenes of Rome more interesting at the time, but may deepen their impression afterwards. This was the work which the late illustrious M. Ampère intended to carry out, and which he would have done so much better and more fully.

From the experience of many years the writer can truly say that the more intimately these scenes become known, the more deeply they become engraven upon the inmost affections. Rome, as Goethe truly says, "is a world, and it takes years to find oneself at home in it." It is not a hurried visit to the Coliseum, with guide book and cicerone, which will enable one to drink in the fulness of its beauty; but a long and familiar friendship with its solemn walls, in the ever-varying grandeur of golden sunlight and grey shadow—till, after many days' companionship, its stones become dear as those of no other building ever can be;—and it is not a rapid inspection of the huge cheerless basilicas and churches, with their gaudy marbles and gilded ceilings and ill-suited monuments, which arouses your sympathy; but the long investigation of their precious fragments of ancient cloister, and sculptured fountain,—of mouldering fresco, and mediæval tomb,—of mosaic-crowned gateway, and palm-shadowed garden;—and the gradually-acquired knowledge of the wondrous story which clings around each of these ancient things, and which tells how each has a motive and meaning entirely unsuspected and unseen by the passing eye.

The immense extent of Rome, and the wide distances to be traversed between its different ruins and churches, is in itself a sufficient reason for devoting more time to it than to the other cities of Italy. Surprise will doubtless be felt that so few pagan ruins remain, considering the enormous number which are known to have existed even down to a comparatively late period. A monumental record of A.D. 540, published by Cardinal Mai, mentions 324 streets, 2 capitols—the Tarpeian and that on the Quirinal,—80 gilt statues of the gods (only the Hercules remains), 66 ivory statues of the gods, 46,608 houses, 17,097 palaces, 13,052 fountains, 3785 statues of emperors and generals in bronze, 22 great equestrian statues of bronze (only Marcus Aurelius remains), 2 colossi (Marcus Aurelius and Trajan), 9026 baths, 31 theatres, and 8 amphitheatres!

It is impossible to speak too highly of the facilities afforded to strangers for seeing and enjoying everything, especially by the Roman nobility. The beautiful grounds of the Villa Borghese and the Villa Doria appear to be kept up at an enormous expense, solely for the use and pleasure of the public, and almost all the palaces and collections are thrown open on fixed days with unequalled liberality. In almost all these galleries, museums, and gardens the stranger is permitted to wander about and linger as he pleases, entirely unmolested by officious servants and ignorant ciceroni.

Those will enjoy Rome most who have studied it thoroughly before leaving their own homes. In the multiplicity of engagements in which a foreigner is soon involved, there is little time for historical research, and few are able to do more than "read up their Murray," so that half the pleasure and all the advantage of a visit to Rome are thrown away: while those who arrive with the foundation already prepared, easily and naturally acquire, amid the scenes around which the history of the world revolved, an amount of information which will be astonishing even to themselves. "People out of Rome," says Goethe, "have no idea how one is schooled there;" but then, as the author of 'Vera' remarks, "that is true of Rome, which Madame Swetchine said of life, viz. that you find exactly what you put into it."

The pagan monuments of Rome have been written of and discussed ever since they were built, and the catacombs have lately found historians and guides both able and willing,—about the later Christian monuments far less has hitherto been said. In English, except in the immense collection of interest which is imbedded in the works of Hemans, and in the few beautiful notices of some of the early martyrs by Mrs. Jameson, very little has been written; in French there is far more. There is a natural shrinking in the English Protestant mind from all that is connected with the story of the saints,—especially the later saints of the Roman Catholic Church. Many believe, with Addison, "that the Christian antiquities are so embroiled in fable and legend, that one derives but little satisfaction from searching into them." And yet, as Mrs. Jameson observes, when all that the controversialist can desire is taken away from the reminiscences of those, who to the Roman Catholic mind have consecrated the homes of their earthly life, how much remains!—"so much to awaken, to elevate, to touch the heart;—so much that will not fade from the memory, so much that may make a part of our after-life."

No attempt has been made in these pages to describe the country round Rome, beyond a few of the most ordinary drives and excursions outside the walls. The opening of the railways to Naples and Civita Vecchia have now brought a vast variety of new excursions within the range of a day's expedition—and the papal citadel of Anagni, the temples of Cori, the cyclopean remains of Segni, Alatri, Norba, Cervetri, and Corneto, and the wild heights of Soracte, will probably ere long become as well known as the oft-visited Tivoli, Ostia, and Albano. It is intended to supplement these "Walks in Rome" by a similar volume of "Excursions round Rome."

CHAPTER I.

DULL-USEFUL INFORMATION.

English House Agent.—Shea, 11 Piazza di Spagna.

English Livery Stables.—Jarrett, 3 Piazza del Popolo; Ranucci, Vicolo Aliberti.

Circulating Library.—Piale, 1, 2, Piazza di Spagna.

Booksellers.—Monaldini, Piazza di Spagna; Spithover, Piazza di Spagna; Bocca, 216 Corso; Loesther, 346 Corso.

Italian Masters.—Vannini, 31 Via Condotti (in the summer at the Bagni di Lucca); Monachesi (a Roman), 8 Via S. Sebastianello; Gordini, 374 Corso; N. Lucantini, 17 Via della Stamperia.

Photographers.—For views of Rome.—Watson, Via Babuino; Macpherson, 12 Vicolo Aliberti; Mang, 104 Via Felice; Anderson (his photographs sold at Spithover's); Joseph Phelps, 169 Via Babuino; Maggi, 329 Corso. For Artistic Bits, very much to be recommended, De Bonis, 11 Via Felice. For Portraits.—Suscipi, 48 Via Condotti (the best for medallions); Alessandri, 12 Corso (excellent for Cartes de Visite); Lais, 57 Via del Campo-Marzo; Ferretti, 50 Via Sta. Maria in Via.

Drawing Materials.—Dovizelli, 136 Via Babuino; Corteselli, 150 Via Felice. For commoner articles and stationery, the "Cartoleria," 214 Corso, opposite the Piazza Colonna.

Engravings.—At the Stamperia Nazionale (fixed prices), 6 Via della Stamperia, near the fountain of Trevi.

Antiquities.—Depoletti, 31 Via Fontanella Borghese; Innocenti, 118 Via Frattina; Santelli, 141 Via Frattina; Capobianchi, 152 Via Babuino.

Bronzes.—Röhrich, 104 Via Sistina; Chiapanelli, 92 Via Babuino; Dressler, 17 Via Due Macelli.

Cameos.—Saulini, 96 Via Babuino; Neri, 72 Via Babuino.

Mosaics.—Rinaldi, 125 Via Babuino; Boschetti, 74 Via Condotti.

Jewellers.—Castellani, 88 Via Poli (closed from 12 to 1), very beautiful, but very expensive; Pierret, 20 Piazza di Spagna; Innocenti, 33 Piazza Trinità de' Monti.

Roman Pearls.—Rey, 122 Via Babuino; Lacchini, 70 Via Condotti.

Bookbinder.—Olivieri, 1 Via Frattina.

Engraver.—(For visiting cards, &c.), Martelli, 139 Via Frattina.

Tailors.—Mattina (the "Poole" of Rome), Corso, opposite S. Carlo, entrance 2 Via delle Carozze; Vai, 60 Piazza di Spagna; Reanda, 61 Piazza. S. Apostoli; Evert, 77 Piazza Borghese.

Shoemakers.—Rubini, 223 Corso (none good).

Dressmaker.—Clarisse, 166 Corso.

Shops for Ladies' Dress.—Massoni, Palazzo Simonetti; the Ville de Lyon, 48 Via dei Prefetti (behind S. Lorenzo in Lucina); Sebastiani, 8 Via del Campo-Marzo; Giovannetti, 50 to 53 Campo-Marzo.

Roman Ribbons and Shawls.—Arvotti, 66 Piazza Madama (fixed prices); Bianchi, 82 Via della Minerva.

Gloves.—Cremonesi, 420 Corso; 4 Piazza S. Lorenzo in Lucina.

Carpets and small Household Articles.—Cagiati, 250 Corso.

German Baker.—Colalucci, 88 Via della Croce (excellent).

English Grocer.—Lowe, 76 Piazza di Spagna.

Italian Grocer and Wine Merchant.—Giacosa, Via della Maddalena.

Oil, Candles and Wood, &c.—Luigioni, 70 Piazza di Spagna.

English Dairy.—Palmegiani, 66 Piazza di Spagna.

Artists' Studios.—

Benonville, 61 Via Babuino,—landscapes.
Brennan, 76 Via Borghetto.
Coleman, 16 Via dei Zucchelli,—very good for animals.
Corrodi, 25 Angelo-Custode,—water-colour landscapes, very highly finished.
Desoulavy, 33 Via Margutta,—landscapes.
Fattorini, Via Margutta,—a very beautiful copyist.
Flatz, 3 Mario di Fiori,—sacred subjects.
Haseltine, J. H., 59 Via Babuino.
*Joris, 33 Via Margutta,—quite first-rate for figure subjects in water-colour.
Garelli, 217 Ripetta,—an admirable copyist, generally to be found in the Capitoline Gallery.
*Glennie, 17 Piazza Margana,—water-colour, first-rate.
Knebel, 33 Via Margutta,—oil landscapes.
Maes, 33 Via Margutta.
*Marianecci, 53 Via Margutta,—the prince of copyists.
Muller, 60 Piazza Barberini,—water-colour landscapes.
Podesti, 55 Via Margutta,—oil: large historical and sacred subjects.
Poingdestre, 36 Vicolo dei Greci—oil: landscapes.
Buchanan Read, 55 Via Margutta.
*Rivière, 36 Vicolo dei Greci,—water-colour.
De Sanctis, 33 Via Margutta.
Strutt (Arthur), 81 Via della Croce,—landscapes and figures, both oil and water-colour.
Tapiro (Spanish), 72 Sistina,—admirable for figures.
Tilton, 20 Via S. Basilio,—remarkable for his drawings of the Nile.
Vertunni, 53 Via Margutta.
Wedder, 55A Via Margutta.
*Penry Williams, 12 Piazza Mignanelli.

Sculptors' Studios.—

D'Epinay, 57 Via Sistina.
Fabj-Altini, 4 S. Nicolo in Tolentino.
Miss Foley, 53 Via Margutta,—admirable for medallion portraits and
busts, also the author of a beautiful fountain.
*Miss Hosmer, 118 Via Margutta—(Gibson's studio).
Miss Lewis, 8 Via S. Nicolo in Tolentino.
Macdonald, 7 Piazza Barberini.
Rosetti, 55 Via Margutta.
Story, 2 Via S. Nicolo in Tolentino.
Tadolini, 150A Via Babuino.
Wood (Shakspeare), 504 Corso,—excels in medallion portraits.
Wood (Warrington), 7 Piazza Trinità de' Monti.

It is impossible for a traveller who spends only a week or ten days in Rome to see a tenth part of the sights which it contains. Perhaps the most important objects are:

It is desirable for the traveller who is pressed for time to apply at once to his Banker for orders for any of the villas for which they are necessary. The following scheme will give a good general idea of Rome and its neighbourhood in a few days. The sights printed in italics can only be seen on the days to which they are ascribed:—

The following list may be useful as a guide to some of the best subjects for artists who wish to draw at Rome, and have not much time to search for themselves:—

Morning Light:
Temple of Vesta with the fountain.
Arch of Constantine from the Coliseum (early).
Coliseum from behind Sta. Francesca Romana (early).
Temples in the Forum from the School of Xanthus.
View from the Garden of the Rupe Tarpeia.
In the Garden of S. Giovanni e Paolo.
In the Garden of S. Buonaventura.
In the Garden of the S. Bartolomeo in Isola.
In the Garden of S. Onofrio.
On the Tiber from Poussin's Walk.
From the door of the Villa Medici.
At S. Cosimato.
At the back entrance of Ara Cœli.
At the Portico of Octavia.
Looking to the Arch of Titus up the Via Sacra.
In the Cloister of the Lateran.
In the Cloister of the Certosa.
Near the Temple of Bacchus.
On the Via Appia, beyond Cecilia Metella.
Torre Mezza Strada on the Via Appia.
Torre Nomentana, looking to the mountains.
Ponte Nomentana, looking to the Mons Sacer.
Torre dei Schiavi, looking towards Tivoli.
Aqueducts at Tavolato.

Evening Light:
From St. John Lateran.
From the Ponte Rotto.
From the Terrace of the Villa Doria (St. Peter's).
Palace of the Cæsars—Roman side—looking to Sta. Balbina.
Palace of the Cæsars—French side—looking to the Coliseum.
Apse of S. Giovanni e Paolo.
Near the Navicella.
Garden of the Villa Mattei.
Garden of the Villa Wolkonski.
Garden of the Priorato.
Porta S. Lorenzo.
Torre dei Schiavi, looking towards Rome.
Via Latina, looking towards the Aqueducts.
Via Latina, looking towards Rome.

The months of November and December are the best for drawing. The colouring is then magnificent; it is enhanced by the tints of the decaying vegetation, and the shadows are strong and clear. January is generally cold for sitting out, and February wet; and before the end of March the vegetation is often so far advanced that the Alban Hills, which have retained glorious sapphire and amethyst tints all winter, change into commonplace green English downs; while the Campagna, from the crimson and gold of its dying thistles and fenochii, becomes a lovely green plain waving with flowers.

Foreigners are much too apt to follow the native custom of driving constantly in the Villa Borghese, the Villa Doria, and on the Pincio, and getting out to walk there during their drives. For those who do not care always to see the human world, a delightful variety of drives can be found; and it is a most agreeable plan for invalids, without carriages of their own, to take a "course to the Parco di San Gregorio," or to the sunny avenues near the Lateran, and walk there instead of on the Pincio. A carriage for the return may almost always be found in the Forum or at the Lateran.

CHAPTER II.

THE CORSO AND ITS NEIGHBOURHOOD.

THE first object of every traveller will naturally be to reach the Capitol, and look down thence upon ancient Rome; but as he will go down to the Corso to do this, and must daily pass most of its surrounding buildings, we will first speak of those objects which will, ere long, become the most familiar.

A stranger's first lesson in Roman geography should be learnt standing in the Piazza del Popolo, whence three streets branch off—the Corso, in the centre, leading towards the Capitol, beyond which lies ancient Rome; the Babuino, on the left, leading to the Piazza di Spagna and the English quarter; the Ripetta, on the right, leading to the Castle of St. Angelo and St. Peter's. The scene is one well known from pictures and engravings. The space between the streets is occupied by twin churches, erected by Cardinal Gastaldi.

It is in the church on the left that sermons are preached every winter on Sunday afternoons by some of the best Roman Catholic controversialists, just at the right moment for catching the Protestant congregations as they emerge from their chapels outside the Porta del Popolo.

These churches are believed to occupy the site of the magnificent tomb of Sylla, who died at Puteoli B.C. 82, but was honoured at Rome with a public funeral, at which the patrician ladies burnt masses of incense and perfumes on his funeral pyre.

The Obelisk of the Piazza del Popolo was placed on this site by Sixtus V. in 1589, but was originally brought to Rome and erected in honour of Apollo by the Emperor Augustus.

It was on the left of the Piazza, at the foot of what was even then called "the Hill of Gardens," that Nero was buried (A.D. 68).

Church tradition tells that from the tomb of Nero afterwards grew a gigantic walnut-tree, which became the resort of innumerable crows,—so numerous as to become quite a pest to the neighbourhood. In the eleventh century, Pope Paschal II. dreamt that these crows were demons, and that the Blessed Virgin commanded him to cut down and burn the tree ("albero malnato"), and build a sanctuary to her honour in its place. A church was then built by means of a collection amongst the common people; hence the name which it still retains of "St. Mary of the People."

Sta. Maria del Popolo was rebuilt by Bacio Pintelli for Sixtus IV. in 1480, and very richly adorned. It was modernized by Bernini for Alexander VII. (Fabio Chigi, 1655-67), of whom it was the family burial-place, but it still retains many fragments of beautiful fifteenth century work (the principal door of the nave is a fine example of this); and its interior is a perfect museum of sculpture and art.

Entering the church by the west door, and following the right aisle, the first chapel (Venuti, formerly Della Rovere[3]) is adorned with exquisite paintings by Pinturicchio. Over the altar is the Nativity—one of the most beautiful frescoes in the city; in the lunettes are scenes from the life of St. Jerome. Cardinal Christoforo della Rovere, who built this chapel and dedicated it to "the Virgin and St. Jerome," is buried on the left, in a grand fifteenth century tomb; on the right is the monument of Cardinal di Castro. Both of these tombs and many others in this church have interesting and greatly varied lunettes of the Virgin and Child.

The second chapel, of the Cibo family, rich in pillars of nero-antico and jasper, has an altarpiece representing the Assumption of the Virgin, by Carlo Maratta. In the cupola is the Almighty, surrounded by the heavenly host.[4]

The third chapel is also painted by Pinturicchio. Over the altar, the Madonna and four saints; above, God the Father, surrounded by angels. In the other lunettes, scenes in the life of the Virgin;—that of the Virgin studying in the Temple, a very rare subject, is especially beautiful. In a frieze round the lower part of the wall, a series of martyrdoms in grisaille. On the right is the tomb of Giovanni della Rovere, ob. 1483. On the left is a fine sleeping bronze figure of a bishop, unknown.

The fourth chapel has a fine fifteenth century altar-relief of St. Catherine between St. Anthony of Padua and St. Vincent. On the right is the tomb of Marc-Antonio Albertoni, ob. 1485; on the left, that of Cardinal Costa, of Lisbon, ob. 1508, erected in his lifetime. In this tomb is an especially beautiful lunette of the Virgin adored by Angels.

Entering the right transept, on the right is the tomb of Cardinal Podocanthorus of Cyprus, a very fine specimen of fifteenth century work. A door near this leads into a cloister, where is preserved, over a door, the Gothic altar-piece of the church of Sixtus IV, representing the Coronation of the Virgin, and two fine tombs—Archbishop Rocca, ob. 1482, and Bishop Gomiel.

The choir (shown when there is no service) has a ceiling by Pinturicchio. In the centre, the Virgin and Saviour, surrounded by the Evangelists and Sibyls; in the corners, the Fathers of the Church—Gregory, Ambrose, Jerome, and Augustine. Beneath are the tombs of Cardinal Ascanio Sforza, and Cardinal Girolamo Basso, nephews of Sixtus IV. (Francesco della Rovere), beautiful works of Andrea di Sansovino. These tombs were erected at the expense of Julius II., himself a Della Rovere, who also gave the windows, painted by Claude and Guillaume de Marseilles, the only good specimens of stained glass in Rome.

The high-altar is surmounted by a miraculous image of the Virgin, inscribed, "In honorificentia populi nostri," which was placed in this church by Gregory IX., and which, having been "successfully invoked" by Gregory XIII., in the great plague of 1578, has ever since been annually adored by the pope of the period, who prostrates himself before it upon the 8th of September. The chapel on the left of this has an Assumption, by Annibale Caracci.

In the left transept is the tomb of Cardinal Bernardino Lonati, with a fine fifteenth century relief of the Resurrection.

Returning by the left aisle, the last chapel but one is that of the Chigi family, in which the famous banker, Agostino Chigi (who built the Farnesina) is buried, and in which Raphael is represented at once as a painter, a sculptor, and an architect. He planned the chapel itself; he drew the strange design of the Mosaic on the ceiling (carried out by Aloisio della Pace), which represents an extraordinary mixture of Paganism and Christianity, Mercury, Venus, Mars, Jupiter, and Saturn (as the planets), conducted by angels, being represented with and surrounding Jehovah; and he modelled the beautiful statue of Jonah seated on the whale, which was sculptured in the marble by Lorenzetto. The same artist sculptured the figure of Elijah,—those of Daniel and Habakkuk being by Bernini. The altarpiece, representing the Nativity of the Virgin, is a fine work of Sebastian del Piombo. On the pier adjoining this chapel is the strange monument by Posi (1771) of a Princess Odescalchi Chigi, who died in childbirth, at the age of twenty, erected by her husband, who describes himself, "In solitudine et luctu superstes."

The last chapel contains two fine fifteenth century ciboria, and the tomb of Cardinal Antonio Pallavicini, 1507.

On the left of the principal entrance is the remarkable monument of Gio. Batt. Gislenus, the companion and friend of Casimir I. of Poland (ob. 1670). At the top is his portrait while living, inscribed, "Neque hic vivus"; then a medallion of a chrysalis, "In nidulo meo moriar"; opposite to which is a medallion of a butterfly emerging, "Ut Phœnix multiplicabo dies": below is a hideous skeleton of giallo antico in a white marble winding-sheet, "Neque hic mortuus."

The Augustine Convent adjoining this church was the residence of Luther while he was in Rome. Here he celebrated mass immediately on his arrival, after he had prostrated himself upon the earth, saying, "Hail sacred Rome! thrice sacred for the blood of the martyrs shed here!" Here, also, he celebrated mass for the last time before he departed from Rome to become the most terrible of her enemies.

It was in front of this church that the cardinals and magnates of Rome met to receive the apostate Christina of Sweden upon her entrance into the city.

On the left side of the piazza rise the terraces of the Pincio, adorned with rostral-columns, statues, and marble bas-reliefs, interspersed with cypresses and pines. A winding road, lined with mimosas and other flowering shrubs, leads to the upper platform, now laid out in public drives and gardens, but, till twenty years ago, a deserted waste, where the ghost of Nero was believed to wander in the middle ages.

Hence the Eternal City is seen spread at our feet, and beyond it the wide-spreading Campagna, till a silver line marks the sea melting into the horizon beyond Ostia. All these churches and tall palace roofs become more than mere names in the course of the winter, but at first all is bewilderment Two great buildings alone arrest the attention:

Here the band plays under the great palm-tree every afternoon except Friday. On Sunday afternoons the Pincio is in what Miss Thackeray describes as "a fashionable halo of sunset and pink parasols"—when immense crowds collect, showing every phase of Roman life; and disperse again as the Ave-Maria bell rings from the churches, either to descend into the city, or to hear benediction sung by the nuns in the Trinità de' Monti.

The garden of the Pincio is very small, but beautifully laid out. At a crossroads is placed an Obelisk, brought from Egypt, and which the late discoveries in hieroglyphics show to have been erected there, in the joint names of Hadrian and his empress Sabina, to their beloved Antinous, who was drowned in the Nile A.D. 131.

From the furthest angle of the garden we look down upon the strange fragment of wall known as the Muro-Torto.

In early imperial times the site of the Pincio garden was occupied by the famous villa of Lucullus, who had gained his enormous wealth as general of the Roman armies in Asia.

Here, in his Pincian villa, Lucullus gave his celebrated feast to Cicero and Pompey, merely mentioning to a slave beforehand that he should sup in the hall of Apollo, which was understood as a command to prepare all that was most sumptuous.

From the garden of the Pincio a terraced road (beneath which are the long-closed catacombs of St. Felix) leads to the Villa Medici, built for Cardinal Ricci da Montepulciano by Annibale Lippi in 1540. Shortly afterwards it passed into the hands of the Medici family, and was greatly enlarged by Cardinal Alessandro de Medici, afterwards Leo XI. In 1801 the Academy for French Art-Students, founded by Louis XIV., was established here. The villa contains a fine collection of casts, open every day except Sunday.

Behind the villa is a beautiful Garden (which can be visited on application to the porter). The terrace, which looks down upon the Villa Borghese, is bordered by ancient sarcophagi, and has a colossal statue of Rome. The garden side of the villa has sometimes been ascribed to Michael Angelo.

A second door will admit to the higher terrace of the Boschetto; a tiny wood of ancient ilexes, from which a steep flight of steps leads to the "Belvidere," whence there is a beautiful view.

From the door of the Villa Medici is the scene familiar to artists, of a fountain shaded by ilexes, which frame a distant view of St Peter's.

The terrace ("La Passeggiata") ends at the Obelisk of the Trinità de' Monti, erected here in 1822 by Pius VII., who found it near the Church of Sta. Croce in Gerusalemme.

The Church of the Trinità de' Monti was built in 1495 by Charles VIII. of France, at the request of S. Francesco di Paola. At the time of the French revolution it was plundered, but was restored by Louis XVIII. in 1817. It contains several interesting paintings.

In the second chapel on the left is the Descent from the Cross, the masterpiece of Daniele da Volterra, declared by Nicholas Poussin to be the third picture in the world, but terribly injured by the French in their attempts to remove it.

The third chapel on the right contains an Assumption of the Virgin, another work of Daniele da Volterra. The fifth chapel is adorned with frescoes of his school. The sixth has frescoes of the school of Perugino. The frescoes in the right transept are by F. Zuccaro and Pierino del Vaga; in that of the Procession of St. Gregory the mausoleum of Hadrian is represented as it appeared in the time of Leo X.

The adjoining Convent of the Sacré Cœur is much frequented as a place of education. The nuns are all persons of rank. When a lady takes the veil, her nearest relations inherit her property, except about 1000l., which goes to the convent. The nuns are allowed to retain no personal property, but if they wish still to have the use of their books, they give them to the convent library. They receive visitors every afternoon, and quantities of people go to them from curiosity, on the plea of seeking advice.

From the Trinità the two popular streets—Sistina and Gregoriana—branch off; the former leading in a direct line (though the name changes) to Sta. Maria Maggiore, and thence to St. John Lateran and Sta. Croce in Gerusalemme. The house adjoining the Trinità was that of Nicholas Poussin; that at the angle of the two streets, called the Tempietto, was once inhabited by Claude Lorraine. The adjoining house (64 Sistina)—formerly known as Palazzo della Regina di Polonia, from Maria Casimira, Queen of Poland, who resided there for some years—was inhabited by the Zuccari family, and has paintings on the ground-floor by Federigo Zuccaro. One of the rooms on the first-floor was adorned with frescoes by modern German artists at the expense of the Prussian consul Bartholdy, viz.:—

The Selling of Joseph: Overbeck.
Joseph and Potiphar's Wife: Veit.
Meeting of Joseph and his Brethren: Cornelius.
The Seven Lean Years: Overbeck.
Joseph interprets the Dreams in Prison: Schadow.
The Brethren bring Joseph's Coat to Jacob: Schadow.
Joseph interprets the Dreams of Pharaoh: Cornelius.
The Seven Plentiful Years: Veit.

On the left of the Piazza del Popolo, the Via Babuino branches off, deriving its name from the mutilated figure on a fountain halfway down. On the right is the Greek Church of S. Atanasio, attached to a college founded by Gregory XIII. in 1580.

Behind this street is the Via Margutta, almost entirely inhabited by artists and sculptors.

In this street also is situated the Costume Academy.

The Babuino ends in the ugly but central square of the Piazza di Spagna, where many of the best hotels and shops are situated. Hence the Trinità is reached by a magnificent flight of steps (disgracefully ill kept), which was built by Alessandro Specchi at the expense of a private individual, M. Gueffier, secretary to the French embassy at Rome, under Innocent XIII.

The Barcaccia, the fountain at the foot of the steps, executed by Bernini, is a stone boat commemorating the naumachia of Domitian,—naval battles which took place in an artificial lake surrounded by a kind of theatre, which once occupied the site of this piazza. In front of the Palazzo di Spagna (the residence of the Spanish ambassador), which gives its name to the square, stands a Column of cipollino, supporting a statue of the Virgin, erected by Pius IX. in 1854, in honour of his new dogma of the Immaculate Conception. At the base are figures of Moses, David, Isaiah, and Ezekiel.

The Piazza di Spagna may be considered as the centre of the English quarter, of which the Corso forms the boundary.

The Piazza is closed by the Collegio di Propaganda Fede, founded in 1622 by Gregory XV., but enlarged by Urban VIII., who built the present edifice from plans of Bernini. Like all the buildings erected by this pope, its chief decorations are the bees of the Barberini. The object of the college is the education of youths of all nations as missionaries.

In January a festival is held here, when speeches are recited by the pupils in all their different languages. The public is admitted by tickets.

The Via Ripetta leaves the Piazza del Popolo on the right. Passing, on the right, a large building belonging to the Academy of St. Luke, we reach, on the right, the Quay of the Ripetta, a pretty architectural construction of Clement XI. in 1707.

Hence, a clumsy ferry-boat gives access to a walk which leads to St. Peter's (by Porta Angelica) through the fields at the back of S. Angelo. These fields are of historic interest, being the Prata Quinctia of Cincinnatus.

The churches on the left of the Ripetta are, first, SS. Rocco e Martino, built 1657, by Antonio de Rossi, with a hospital adjoining it.

Then, opposite the quay, S. Girolamo degli Schiavoni, built for Sixtus V. by Fontana. It contains, near the altar, a striking figure of St. Jerome, seated, with a book upon his knees.

We will now follow the Corso, which, in spite of its narrowness and bad side-pavements, is the finest street in Rome. It is greatly to be regretted that this street, which is nearly a mile long, should lead to nothing, instead of ending at the steps of the Capitol, which would have produced a striking effect. It follows the line of the ancient Via Flaminia, and in consequence was once spanned by four triumphal arches—of Marcus Aurelius, Domitian, Claudius, and Gordian—but all these have disappeared. The Corso is perfectly lined with balconies, which, during the carnival, are filled with gay groups of maskers flinging confetti. These balconies are a relic of imperial times, having been invented at Rome, where they were originally called "Mœniana," from the tribune Mœnius, who designed them to accommodate spectators of processions in the streets below.

On the left of the Corso is the Augustine Church of Gesù e Maria, with a façade by Rinaldi. Almost opposite, is the Church of S. Giacomo degli Incurabili, by Carlo Maderno. It is attached to a surgical hospital for 350 patients. In the adjoining Strada S. Giacomo was the studio of Canova, recognizable by fragments of bas-reliefs engrafted in its walls.

Three streets beyond this (on right) is the Via de' Pontefici (so called from a series of papal portraits, now destroyed, which formerly existed on the walls of one of its houses), where (No. 57R) is the entrance to the remains of the Mausoleum of Augustus.

The first funeral here was that of Marcellus, son of Octavia, the sister of Augustus, and first husband of his daughter Julia, who died of malaria at Baiæ, B.C. 23.

The next member of the family buried here was Agrippa, the second husband of Julia, ob. 12 B.C. Then came Octavia, sister of the emperor and widow of Antony, honoured by a public funeral, at which orations were delivered by Augustus himself, and Drusus, son of the empress Livia. Her body was carried to the tomb by Tiberius (afterwards emperor) and Drusus, the two sons of the empress. Drusus (B.C. 9) died in a German campaign by a fall from his horse, and was brought back hither for interment. In A.D. 14 the great Augustus died at Nola, and his body was burnt here on a funeral pile so gigantic, that the widowed Livia, dishevelled and ungirt, with bare feet, attended by the principal Roman senators, had to watch it for five days and nights, before it cooled sufficiently for them to collect the ashes of the emperor. At the moment of its being lighted an eagle was let loose from the summit of the pyre, under which form a senator, named Numerius Atticus, was induced, by a gift from Livia equivalent to 250,000 francs, to swear that he saw the spirit of Augustus fly away to heaven. Then came Germanicus, son of the first Drusus, and nephew of Tiberius, ob. A.D. 19, at Antioch, where he was believed to have been poisoned by Piso and his wife Plancina. Then, in A.D. 23, Drusus, son of Tiberius, poisoned by his wife, Livilla, and her lover, Sejanus: then the empress, Livia, who died A.D. 29, at the age of 86. Agrippina, widow of Germanicus (ob. A.D. 33), starved to death, and her two sons, Nero and Drusus, also murdered by Tiberius, were long excluded from the family sepulchre, but were eventually brought hither by the youngest brother Caius, afterwards the emperor Caligula. Tiberius, who died A.D. 37, at the villa of Lucullus at Misenum, was brought here for burial. The ashes of Caligula, murdered A.D. 41, and first buried in the Horti Lamiani on the Esquiline, were transferred here by his sisters. In his reign, Antonia, the widow of Drusus, and mother of Germanicus, had died, and her ashes were laid up here. The Emperor Claudius, A.D. 54, murdered by Agrippina; his son, Britannicus, A.D. 55, murdered by Nero; and the Emperor Nerva, A.D. 98, were the latest inmates of the mausoleum.

The last cremation which occurred here was long after the mausoleum had fallen into ruin, when the body of the tribune Rienzi, after having hung for two days at S. Marcello, was ordered to be burnt here by Jugurta and Sciaretta, and was consumed by a vast multitude of Jews (out of flattery to the Colonna, their neighbours at the Ghetto), "in a fire of dry thistles, till it was reduced to ashes, and no fibre of it remained."

There is nothing now remaining to testify to the former magnificence of this building. The area is used in summer as an open-air theatre, where very amusing little plays are very well acted. Among its massive cells a poor washerwoman, known as "Sister Rose," established, some ten years ago, a kind of hospital for aged women (several of them centagenarians), whom she supported entirely by her own exertions, having originally begun by taking care of one old woman, and gradually adding another and another. The English church service was first performed in Rome in the Palazzo Correa, adjoining this building.

Opposite the Via de' Pontefici, the Via Vittoria leaves the Corso. To the Ursuline convent in this street (founded by Camilla Borghese in the seventeenth century) Madame Victoire and Madame Adelaide ("tantes du Roi") fled in the beginning of the great French revolution, and here they died.

The Church of S. Carlo in Corso (on right) is the national church of the Lombards. It is a handsome building with a fine dome. The interior was commenced by Lunghi in 1614, and finished by Pietro da Cortona. It contains no objects of interest, unless a picture of the Apotheosis of S. Carlo Borromeo (the patron of the church), over the high altar, by Carlo Maratta, can be called so. The heart of the saint is preserved under the altar.

Just beyond this on the left, the Via Condotti—almost lined with jewellers'-shops—branches off to the Piazza di Spagna. The Trinità de' Monti is seen beyond it. The opposite street, Via Fontanella, leads to St. Peter's, and in five minutes to the magnificent—

Palazzo Borghese, begun in 1590 by Cardinal Deza, from designs of Martino Lunghi, and finished by Paul V. (Camillo Borghese, 1605-21), from those of Flaminio Ponzio. The apartments inhabited by the family are handsome, but contain few objects of interest.

The Borghese Picture Gallery is the best private collection in Rome, and is open to the public daily from 9 to 2, except on Saturdays and Sundays. The gallery is entered from the side of the palace towards the Piazza Borghese. It contains several gems, which are here marked with an asterisk; noticeable pictures are:—

3rd Room.—Chiefly of the school of Andrea del Sarto. (The works of this painter are often confounded with those of his disciple, Domenico Puligo.)

1. Christ bearing the Cross: Andrea Solario.
2. Portrait: Parmigianino.
5. 'Noli me tangere': Bronzino?
11. The Sorceress Circe: Dosso Dossi.
13. Mater Dolorosa: Solario?
22. Holy Family: School of Raphael.
24. Madonna and Child with three children: A. del Sarto.
28. Madonna, Child, and St. John: A. del Sarto.
29. Madonna, Child, St. John, and St. Elizabeth: Pierino del
Vaga.
33. Holy Family: Pierino del Vaga.
35. Venus and Cupids: A. del Sarto.
40. Danae: Correggio.*

In the corner of this picture are the celebrated Cupids sharpening an arrow.

42. Cosmo de' Medici: Bronzino.
46. The Reading Magdalene: School of Correggio.
47. Holy Family: Pomarancio.
48. The Flagellation: Sebastian del Piombo.*
49. St. M. Magdalene: A. del Sarto.

4th Room.—Bolognese school.

1. Entombment: Ann. Carracci.
2. Cumæan Sibyl: Domenichino.*
18. St. Francis: Cigoli.
20. St. Joseph: Guido Reni.
23. St. Francis: Ann. Carracci.
29. St. Domenic: Ann. Carracci.
36. Madonna: Carlo Dolce.
37. Mater Dolorosa: Carlo Dolce.
38, 41. Two heads for an Annunciation: Furino.
42. Head of Christ: Carlo Dolce.
43. Madonna: Sassoferrato.

5th Room.—
11, 12, 13, 14. The Four Seasons: Fr. Albani.

15. La Caccia di Diana: Domenichino.
25. The Deposition, with Angels: F. Zuccari.

6th Room.—
5. Return of the Prodigal Son: Guercino.
7. Portrait of G. Ghislieri: Pietro da Cortona.
10. St Stanislaus with the Child Jesus: Ribera.*
12. Joseph Interpreting the Dreams in Prison: Valentin.
13. The Three Ages of Man. Copy from Titian by Sassoferrato.[6]
18. Madonna: Sassoferrato.
22. Flight of Æneas from Troy: Baroccio.

7th Room.—Richly decorated with mirrors, painted with Cupids by Girofiri, and wreaths of flowers by Mario di Fiori.

8th Room.—Contains nothing of importance, except a mosaic portrait of Paul V. by Marcello Provenzali.

9th Room.—Containing several interesting frescoes.

1. The Nuptials of Alexander and Roxana.
2. The Nuptials of Vertumnus and Pomona.
3. 'Il Bersaglio dei Dei.'

10th Room.—
2. Cupid blindfolded by Venus: Titian.
4. Judith: School of Titian.
9. Portrait: Pordenone.
13. David with the head of Goliath: Giorgione.*
14. St. John the Baptist preaching (unfinished): Paul Veronese.
16. St. Domenic: Titian.
19. Portrait: Giac. Bassano.
21. 'Sacred and Profane Love': Titian.*

30. Madonna: Giov. Bellini.
34. St. Cosmo and Damian: Venetian School.

11th Room.—Veronese school.
1. Madonna with Adam (?) and St. Augustine: Lorenzo Lotto, MDVIII.
2. St. Anthony preaching to the Fishes: P. Veronese?
3. Madonna: Titian?
11. Venus and Cupid on Dolphins: Luc. Cambiaso.
14. Last Supper: And. Schiavone.
15. Christ and the Mother of Zebedee's Children: Bonifazio.*
16. Return of the Prodigal Son: Bonifazio.*
17. Samson: Titian.
18. Christ and the Woman taken in Adultery: Bonifazio.
19. Madonna and Saints: Palma Vecchio.

25. Portrait of Himself: Titian?
27. Portrait: Giov. Bellini.
31. Madonna and St. Peter: Giov. Bellini.
32. Holy Family: Palma Vecchio.
33. Portrait of the Family of Licini da Pordenone: Bart. Licini da Pordenone.

12th Room.—Dutch and German school.
1. Crucifixion: Vandyke.
7. Entombment: Vandyke.
8. Tavern Scene: Teniers.
9. Interior: Brouerer.
19. Louis VI. of Bavaria: Albert Dürer?
21. Portrait: Holbein.
21. Landscape and Horses: Wouvermann.
22. Cattle-piece: Paul Potter.
24. Portrait: Holbein.
26. Skating (in brown): Berghem.
27. Portrait: Vandyke.
35. Portrait: Lucas von Leyden?
44. Venus and Cupid: Lucas Cranach.

The Palazzetto Borghese on the opposite side of the piazza, originally intended as a dower-house for the family, is now let in apartments. It is this house which is described as the "Palazzo Clementi," in Mademoiselle Mori.

At the corner of the Via Fontanella and the Corso is the handsome Palazzo Ruspoli, built by Ammanati in 1586. It has a grand white marble staircase erected by Lunghi in 1750. Beyond this are the palaces Fiano, Verospi, and Teodoli.

The Palazzo Bernini (151 Corso), on the left, has, inside its entrance, a curious statue of "Calumny" by Bernini, with an inscription relative to his own sufferings from slander.

On the right, the small piazza of S. Lorenzo opens out of the Corso. Here is the Church of S. Lorenzo in Lucina, founded in the fifth century, but rebuilt in its present form by Paul V. in 1606. The campanile is of an older date, and so are the lions in the portico.

No one should omit seeing the grand picture of Guido Reni, over the high altar of this church,—the Crucifixion, seen against a wild, stormy sky. Niccolas Poussin, ob. 1660, is buried here, and one of his best known Arcadian landscapes is reproduced in a bas-relief upon his tomb, which was erected by Chateaubriand, with the epitaph,—

In "The Ring and the Book" of Browning, this church is the scene of Pompilia's baptism and marriage. She is made to say:—

Here the bodies of her parents are represented as being exposed after the murder:

On the left, where the Via della Vite turns out of the Corso, an inscription in the wall records the destruction, in 1665, of the triumphal arch of Marcus Aurelius, which existed here till that time. The magnificence of this arch is attested by the bas-reliefs representing the history of the emperor, which were removed from it, and are preserved on the staircase of the palace of the Conservators.

A little further down the Corso, on the left, the Via delle Convertite leads to S. Sylvestro in Capite, one of three churches in Rome dedicated to the sainted pope of the time of Constantine. This, like S. Lorenzo, has a fine mediæval campanile. The day of St. Sylvester's death, December 31 (A.D. 335), is kept here with great solemnity, and is celebrated by magnificent musical services. This pope was buried in the cemetery of Priscilla, whence his remains were removed to S. Martino al Monte. The title "In Capite" is given to this church on account of the head of St John Baptist, which it professes to possess, as is narrated by an inscription engrafted into its walls.

The convent attached to this church was founded in 1318, especially for noble sisters of the house of Colonna who dedicated themselves to God. Here it was that the celebrated Vittoria Colonna, Marchesa di Pescara, came to reside in 1525, when widowed in her thirty-sixth year, and here she began to write her sonnets, a kind of "In Memoriam," to her husband. It is a curious proof of the value placed upon her remaining in the world, that Pope Clement VII. was persuaded to send a brief to the abbess and nuns, desiring them to offer her "all spiritual and temporal consolations," but forbidding them, under pain of the greater excommunication, to permit her to take the veil in her affliction.[8]

At the end of this street, continued under the name of Via de Mercede (No. 11 was the residence of Bernini), and behind the Propaganda, is the Church of S. Andrea delle Fratte, whose brick cupola by Borromini is so picturesque a feature. The bell-tower beside it swings when the bells are rung. In the second chapel on the right is the beautiful modern tomb of Mademoiselle Julie Falconnet, by Miss Hosmer. The opposite chapel is remarkable for a modern miracle (?) annually commemorated here.

M. de la Ferronays, whose character is now so well known from the beautiful family memoirs of Mrs. Augustus Craven, is buried beneath the altar where this vision occurred. In the third chapel on the left is the tomb of Angelica Kauffmann; in the right aisle that of the Prussian artist, Schadow. The two angels in front of the choir are by Bernini, who intended them for the bridge of S. Angelo.

Returning to the Corso, the Via S. Claudio (left) leads to the pretty little church of that name, adjoining the Palazzo Parisani. Behind, is the Church of Sta. Maria in Via.

At the corner of the Piazza Colonna is the Palazzo Chigi, begun in 1526 by Giacomo della Porta, and finished by Carlo Maderno. It contains several good pictures and a fine library, but is seldom shown.[10]

The most remarkable members of the great family of Chigi have been the famous banker Agostino Chigi, who lived so sumptuously at the Farnesina (see chap. 20), and Fabio Chigi, who mounted the papal throne as Alexander VII., and who long refused to have anything to do with the aggrandisement of his family, saying that the poor were the only relations he would acknowledge, and, like Christ, he did not wish for any nearer ones. To keep himself in mind of the shortness of earthly grandeur, this pope always kept a coffin in his room, and drank out of a cup shaped like a skull.

The side of the Piazza Colonna, which faces the Corso, is occupied by the Post-Office. On its other sides are the Piombino and Ferrajuoli palaces, of no interest. In the centre is placed the fine Column, which was found on the Monte Citorio in 1709, having been originally erected by the senate and people A.D. 174, to the Emperor Marcus Aurelius Antoninus (adopted son of the Emperor Hadrian,—husband of his niece, Annia Faustina,—father of the Emperor Commodus). It is surrounded by bas-reliefs, representing the conquest of the Marcomanni. One of these has long been an especial object of interest, from being supposed to represent a divinity (Jupiter?) sending rain to the troops, in answer to the prayers of a Christian legion from Mitylene. Eusebius gives the story, stating that the piety of these Christians induced the emperor to ask their prayers in his necessity, and a letter in Justin Martyr (of which the authenticity is much doubted), in which Aurelius allows the fact, is produced in proof. The statue of St. Paul on the top of the column was erected by Sixtus V.; the pedestal also is modern.

Behind the Piazza Colonna is the Piazza Monte Citorio, containing an Obelisk which was discovered in broken fragments near the Church of S. Lorenzo in Lucina. It was repaired with pieces of the column of Antoninus Pius, the pedestal of which may still be seen in the Vatican garden. Its hieroglyphics are very perfect and valuable, and show that it was erected more than 600 years before Christ, in honour of Psammeticus I. It was brought from Heliopolis by Augustus, and erected by him in the Campus Martius, where it received the name of Obeliscus Solaris, from being made to act as a sun-dial.

The Palace of the Monte Citorio (designed by Bernini) contains public offices connected with police, passports, &c. On the opposite side of the piazza are the Railway and Telegraph Offices.

Proceeding up the Corso, the Via di Pietra (right) leads into the small Piazza di Pietra, one side of which is occupied by the eleven remaining columns of the Temple of Neptune, built up by Innocent XII. into the walls of the modern Custom-house. It is worth while to enter the courtyard in order to look back and observe the immense masses of stone above the entrance, part of the ancient temple,—which are here uncovered.

Close to this, behind the Palazzo Cini, in the Piazza Orfanelli, is the Teatro Capranica, occupying part of a palace of c. 1350, with gothic windows. The opposite church, Sta. Maria in Aquiro, recalls by its name the column of the Equiria, celebrated in ancient annals as the place where certain games and horse-races, instituted by Romulus, were celebrated. Ovid describes them in his Fasti. The church was founded c. 400, but was re-built under Francesco da Volterra in 1590.

A small increase of width in the Corso is now dignified by the name of the Piazza Sciarra. The street which turns off hence, under an arch (Via de Muratte, on the left), leads to the Fountain of Trevi, erected in 1735 by Niccolo Salvi for Clement XII. The statue of Neptune is by Pietro Bracci.

In this piazza is the rather handsome front of Sta. Maria in Trivia, formerly Sta. Maria in Fornica, erected by Cardinal Mazarin, on the site of an older church built by Belisarius—as is told by an inscription:—

The fault which Belisarius wished to expiate, was the exile of Pope Sylverius (A.D. 536), who was starved to death in the island of Ponza. The crypt of the present building, being the parish church of the Quirinal, contains the entrails of twenty popes (removed for embalmment)—from Sixtus V. to Pius VIII.—who died in the Quirinal Palace!

The little church near the opposite corner of the piazza is that of The Crociferi, and is still (1870) served by the Venerable Don Giovanni Merlini, Father General of the Order of the Precious Blood, and the personal friend of its founder, Gaspare del Buffalo.

The Fountain of Trevi occupies one end of the gigantic Palazzo Poli, which contains the English consulate. At the other end is the shop of the famous jeweller, Castellani, well worth visiting, for the sake of its beautiful collection of Etruscan designs, both in jewellery and in larger works of art.

The Palazzo Sciarra (on left of the Corso), built in 1603 by Labacco, contains a gallery of pictures. Its six celebrated gems are marked with an asterisk. We may notice:—

1st Room.—
5. Death of St. John Baptist: Valentin.
13. Holy Family: Innocenza da Imola.
15. Rome Triumphant: Valentin.
20. Madonna: Titian.
23. Sta. Francesca Romana: Carlo Veneziano.

2nd Room.—
17. Flight into Egypt: Claude Lorrain.
18. Sunset: Claude Lorrain.

3rd Room.—
6. Holy Family: Francia.
9. Boar Hunt: Garofalo.
11. Holy Family: Andrea del Sarto.
17. A Monk led by an Angel to the Heavenly Spheres: Gaudenzio
Ferrari.
26. The Vestal Claudia drawing a boat with the statue of Ceres up
the Tiber: Garofalo.
29. Tavern Scene: Teniers.
33. The Fornarina: Copy of Raphael by Giulio Romano.
36. Holy Family with Angels: Lucas Cranach, 1504.

4th Room.—
1. Holy Family: Fra Bartolomeo.*

5. St. John the Evangelist: Guercino.
6. The Violin Player (Andrea Marone?): Raphael.*

7. St. Mark: Guercino.
8. Daughter of Herodias: Guercino.
12. Conjugal Love: Agostino Caracci.
16. The Gamblers: Caravaggio.*

17. Modesty and Vanity: Leonardo da Vinci.*

19. Magdalen: Guido Reni.
24. Family Portrait: Titian.
25. Portrait: Bronzino.
26. St. Sebastian: Perugino.
29. Bella Donna: Titian.*

31. Death of the Virgin: Albert Durer.
32. Maddalena della Radice: Guido Reni.*

Near the Piazza Sciarra, the Corso (as Via Flaminia) was formerly spanned by the Arch of Claudius, removed in 1527. Some reliefs from this arch are preserved in the portico of the Villa Borghese, and though much mutilated are of fine workmanship. The inscription, which commemorated the erection of the arch in honour of the conquest of Britain, is preserved in the courtyard of the Barberini Palace.

On the right of the Piazza Sciarra is the Via della Caravita, containing the small but popular Church of the Caravita,[12] used for the peculiar religious exercises of the Jesuits, especially for their terrible Lenten "flagellation" services, which are one of the most extraordinary sights afforded by Catholic Rome.

Beyond the Caravita is the Church of S. Ignazio, built by Cardinal Ludovisi. The façade, of 1685, is by Algardi. It contains the tomb of Gregory XIV. (Nicolo Sfondrati, 1590—91), and that of S. Ludovico Gonzaga, both sculptured by Le Gros.

The frescoes on the roof and tribune are by the Padre Pozzi.

On the left of the Corso—opposite the handsome Palazzo Simonetti—is the Church of S. Marcello (Pope, 308—10), containing some interesting modern monuments. Among them are those of Pierre Gilles, the traveller (ob. 1555), and of the English Cardinal Weld. Here, also, Cardinal Gonsalvi, the famous and liberal minister of Pius VII., is buried in the same tomb with his beloved younger brother, the Marchese Andrea Gonsalvi. Their monument, by Rinaldi, tells that here repose the bodies of two brothers—

Here are the masterpieces which made the reputation of Pierino del Vaga (1501—1547). In the chapel of the Virgin are the cherubs, whose graceful movements and exquisite flesh-tints Vasari declares to have been unsurpassed by any artist in fresco. In the chapel of the Crucifix is the Creation of Eve, which is even more beautiful.

This church is said to occupy the site of a house of the Christian matron Lucina, in which Marcellus died of wounds incurred in attempting to settle a quarrel among his Christian followers. It was in front of it that the body of the tribune Rienzi, after his murder on the Capitol steps, was hung up by the feet for two days as a mark for the rabble to throw stones at.

The next street to the right leads to the Collegio Romano, founded by St. Francis Borgia, Duke of Gandia (a descendant of Pope Alexander VI.), who, after a youth spent amid the splendours of the court of Madrid, retired to Rome in 1550, in the time of Julius III., and became the successor of Ignatius Loyola as general of the Jesuits. The buildings were erected, as we now see them, by Ammanati, in 1582, for Gregory XIII. The college is entirely under the superintendence of the Jesuits. The library is large and valuable. The Kircherian Museum (shown to gentlemen from ten to eleven on Sundays) is worth visiting. It contains a number of antiquities, illustrative of Roman and Etruscan customs, and many beautiful ancient bronzes and vases. The most important object is the "Cista Mistica," a bronze vase and cover, which was given as a prize to successful gladiators, and which was originally fitted up with everything useful for their profession.

The Observatory of the Collegio Romano has obtained a European reputation from the important astronomical researches of its director, the Padre Secchi.

The Collegio Romano has produced eight popes—Urban VIII., Innocent X., Clement IX., Clement X., Innocent XII., Clement XI., Innocent XIII., and Clement XII. Among its other pupils have been S. Camillo de Lellis, the Blessed Leonardo di Porto-Maurizio, the Venerable Pietro Berna, and others.

We now reach (on right) the Church of Sta. Maria in Via Lata, which was founded by Sergius I., in the eighth century, but twice rebuilt, the second time under Alexander VII., in 1662, when the façade was added by Pietro da Cortona.

The subterranean church is shown as the actual house in which St. Paul lodged when he was in Rome.

A fountain in the crypt is shown, as having miraculously sprung up in answer to the prayers of St. Paul, that he might have wherewithal to baptize his disciples. At the end of the crypt are some large blocks of peperino, said to be remains of the arch erected by the senate in honour of the Emperor Gordian III., and destroyed by Innocent VIII.

Far along the right side of the Corso now extends the façade of the immense Palazzo Doria, built by Valvasori (the front towards the Collegio Romano being by Pietro da Cortona, and that towards the Piazza Venezia by Amati). Entering the courtyard, one must turn left to reach the Picture Gallery (which is open on Tuesdays and Fridays, from ten till two)—a vast collection, which contains some grand portraits and a few other fine paintings.

The 1st Room entered is a great hall—to which pictures are removed for copying. It contains four fine sarcophagi, with reliefs of the Hunt of Meleager, the Story of Marsyas, Endymion and Diana, and a Bacchic procession. Of two ancient circular altars, one serves as the pedestal of a bearded Dionysus. The pictures are chiefly landscapes, of the school of Poussin and Salvator Rosa,—that of the Deluge is by Ippolito Scarsellino.

2nd Room.—In the centre a Centaur (restored), of basalt and rosso-antico. On either side groups of boys playing.

From this room we enter a small cabinet, hung with pictures of Breughel and Fiammingo, and containing a bust by Algardi, of Olympia Maldacchini-Pamfili, who built the Villa Doria Pamfili for her son.

We now enter the Galleries—which begin towards the left—

At the end of this gallery is a small cabinet, containing the gems of the collection:—

Here, also, is the bust of the late beloved Princess Doria (Lady Mary Talbot), which has always been veiled in crape since her death.

The 4th Gallery is decorated with mirrors, and with statues of no especial merit.

Opposite the Palazzo Doria is the Palazzo Salviati. The next two streets on the left lead into the long narrow square called Piazza Santi Apostoli, containing several handsome palaces. That on the right is the Palazzo Odescalchi, built by Bernini, in 1660, for Cardinal Fabio Chigi, to whose family it formerly belonged. It has some fine painted and carved wooden ceilings. This palace is supposed to be the scene of the latest miracle of the Roman Catholic Church. The present Princess Odescalchi had long been bedridden, and was apparently dying of a hopeless disease, when, while her family were watching what they considered her last moments, the pope (Pius IX.) sent, by the hands of a nun, a little loaf (panetello), which he desired her to swallow. With terrible effort, the sick woman obeyed, and was immediately healed, and on the following day the astonished Romans saw her go in person to the pope, at the Vatican, to return thanks for her restoration!

The building at the end of the square is the Palazzo Valentini, which once contained a collection of antiquities.

Near this, on the left, but separated from the piazza by a courtyard, is the vast Palazzo Colonna, begun, in the fifteenth century, by Martin V., and continued at various later periods. Julius II. at one time made it his residence, and also Cardinal (afterwards San Carlo) Borromeo. Part of it is now the residence of the French ambassadors. The palace is built very near the site of the ancient fortress of the Colonna family—so celebrated in times of mediæval warfare with the Orsini—of which one lofty tower still remains, in a street leading up to the Quirinal.

The Gallery is shown every day, except Sundays and holidays, from 11 to 3. It is entered by the left wing. The first room is a fine, gloomy old hall, containing the family dais, and hung with decaying Colonna portraits. Then come three rooms covered with tapestries, the last containing a pretty statue of a girl, sometimes called Niobe. Hence we reach the pictures. The 1st Room has an interesting collection of the early schools, including Madonnas of Filippo Lippi; Luca Longhi; Botticelli; Gentile da Fabriano; Innocenza da Imola; a curious Crucifixion, by Jacopo d'Avanzo; and a portrait by Giovanni Sanzio, father of Raphael.

The ceiling of the 3rd Room has a fresco, by Battoni and Luti, of the apotheosis of Martin V. (Oddone Colonna, 1417—24). Among its pictures, are St. Bernard, Giovanni Bellini; Onuphrius Pavinius, Titian; Holy Family, Bronzino; Peasant dining, Annibale Caracci; St. Jerome, Spagna; Portrait, Paul Veronese; Holy Family, Bonifazio.

Hence we enter the Great Hall, a truly grand room, hung with mirrors and painted with flowers by Mario de' Fiori, and with genii by Maratta. The statues here are unimportant. The ceiling is adorned with paintings, by Coli and Gherardi, of the battle of Lepanto, Oct. 8, 1571, which Marc-Antonio Colonna assisted in gaining. The best pictures are the family portraits:—Federigo Colonna, Sustermanns; Don Carlo Colonna, Vandyke; Card. Pompeio Colonna, Lorenzo Lotto; Vittoria Colonna, Muziano; Lucrezia Colonna, Vandyke; Pompeio Colonna, Agostino Caracci; Giacomo Sciarra Colonna, Giorgione. We may also notice an extraordinary picture of the Madonna rescuing a child from a demon, by Niccolo d'Alunno, with a double portrait, by Tintoret, on the right wall, and a Holy Family of Palma Vecchio at the end of the gallery. Near the entrance are some glorious old cabinets, inlaid with ivory and lapis-lazuli. On the steps leading to the upper end of the hall is a bomb left on the spot where it fell during the siege of Rome in 1848.

(Through the palace access may be obtained to the beautiful Colonna Gardens; but as they are generally visited from the Quirinal, they will be noticed in the description of that hill.)

Adjoining the Palazzo Colonna is the fine Church of the Santi Apostoli, founded in the sixth century, rebuilt by Martin V., in 1420, and modernized, c. 1602, by Fontana. The portico contains a magnificent bas-relief of an eagle and an oak-wreath (frequently copied and introduced in architectural designs).

Also in the portico, is a monument, by Canova, to Volpato, the engraver. Over the sacristy door is the tomb of Pope Clement XIV. (Giov. Antonio Ganganelli, 1769-74), also by Canova, executed in his twenty-fifth year.

In 1873 the traditional grave of St. Philip and St. James, the "Apostoli" to whom this church is dedicated, was opened during its restoration. Two bodies were found, enclosed in a sarcophagus of beautiful transparent marble, and have been duly enshrined. In the choir are monuments of the fifteenth century, to two relations of Pope Sixtus IV., Pietro Riario, and Cardinal Raffaelo Riario. To the right is the tomb of the Chevalier Girard, brother-in-law of Pope Julius II., and maître d'hôtel to Charles VIII. and Louis XII. of France. The tomb of Cardinal Bessarion was removed from the church, in 1702, to the cloisters of the adjoining Convent, which is the residence of the General of the Order of "Minori Conventuali" (Black Friars). The altar-piece represents the martyrdom of SS. Philip and James, by Muratori.

The heart of Maria Clementina Sobieski (buried in St. Peter's), wife of James III., called the First Pretender, is also preserved here, as is shown by a Latin inscription.

In 1552 this church was remarkable for the sermons of the monk Felix Peretti, afterwards Sixtus V.

In this church is buried the young Countess Savorelli, the story of whose love, misfortunes, and death, has been celebrated by About, under the name of Tolla (the Lello of the story having been one of the Doria-Pamfili family).

Just beyond the church is the Palazzo Muto-Savorelli (the home of Tolla, "Palazzo Feraldi") long the residence of Prince Charles Edward ("the last Pretender"), who died here in 1788. Hence the Via delle Vergini, with its dismal lines of latticed convent-windows, leads to the Fountain of Trevi.

Returning to the Corso, we pass (right) Palazzo Buonaparte, built by Giovanni dei Rossi in 1660. Here Lætitia Buonaparte—"Madame Mère"—the mother of Napoleon I., died February 2nd, 1836. The present head of the family is Cardinal Lucien-Louis Buonaparte, son of Prince Charles (son of Lucien) and of Princess Zénaïde, daughter of King Joseph of Spain. His only surviving brother is Prince Napoleon Buonaparte.

This palace forms one corner of the Piazza di Venezia, which contains the ancient castellated Palace of the Republic of Venice, built in 1468 by Giuliano da Majano (with materials plundered from the Coliseum) for Paul II., who was of Venetian birth. On the ruin of the republic the palace fell into the hands of Austria, and is still the residence of the Austrian ambassador, to whom it was specially reserved on the cession of Venice to Italy.

Opposite this, on a line with the Corso, is the Palazzo Torlonia, built by Fontana in 1650, for the Bolognetti family.

The most interesting of the antiquities preserved in this palace is a bas-relief, representing a combat between men and animals, brought hither from the Palazzo Orsini, and probably pourtraying the famous dedication of the theatre of Marcellus on that site, celebrated by the slaughter of six hundred animals.

The end of the Corso—narrowed by a projecting wing of the Venetian Palace—is known as the Ripresa dei Barberi, because there the horses, which run in the races during the Carnival, are caught in large folds of drapery let down across the street to prevent their dashing themselves to pieces against the opposite wall.

Close to the end of this street, built into the wall of a house in the Via di Marforio, is one of the few relics of republican times in the city,—a Doric Tomb, bearing an inscription which states that it was erected by order of the people on land granted by the Senate to Caius Publicius Bibulus, the plebeian ædile, and his posterity. Petrarch mentions in one of his letters that he wrote one of his sonnets leaning against the tomb of Bibulus.

This tomb has a secondary interest as marking the commencement of the Via Flaminia, as it stood just outside the Porta Ratumena from whence that road issued. There are some obscure remains of another tomb on the other side of the street. The Via Flaminia, like the Via Appia, was once fringed with tombs.

From the Ripresa dei Barberi, a street passing under an arch on the right, leads to the back of the Venetian Palace, where is the Church of S. Marco, originally founded in the time of Constantine, but rebuilt in 833, and modernized by Cardinal Quirini in 1744. Its portico, which is lined with early Christian inscriptions, contains a fine fifteenth century doorway, surmounted by a figure of St. Mark. The interior is in the form of a basilica, its naves and aisles separated by twenty columns, and ending in an apse. The best pictures are S. Marco, "a pope enthroned, by Carlo Crivelli, resembling in sharpness of finish and individuality the works of Bartolomeo Viviani,"[18] and a Resurrection by Palma Giovane.

This church is said to have been originally founded in honour of the Evangelist in 337 by Pope Marco, but this pope, being himself canonized, is also honoured here, and is buried under the high altar. On April 25th, St. Mark's Day, a grand procession of clergy starts from this church. It was for the most part rebuilt under Gregory IV. in 838.

Behind the Palazzo Venezia is the vast Church of Il Gesù, begun in 1568 by the celebrated Vignola, but the cupola and façade completed in 1575 by his scholar Giacomo della Porta. In the interior is the monument of Cardinal Bellarmin, and various pictures representing events in the lives or deaths of the Jesuit saints,—that of the death of St. Francis Xavier is by Carlo Maratta. The high altar, by Giacomo della Porta, has fine columns of giallo-antico. The altar of St. Ignatius at the end of the left transept is of gaudy magnificence. It was designed by Padre Pozzi, the group of the Trinity being by Bernardino Ludovisi; the globe in the hand of the Almighty is said to be the largest piece of lapis-lazuli in existence. Beneath this altar, and his silver statue, lies the body of St. Ignatius Loyola, in an urn of gilt bronze, adorned with precious stones. A great ceremony takes place in this church on July 31st, the feast of St. Ignatius, and on December 31st a Te Deum is sung here for the mercies of the past year, in the presence of the pope, cardinals, and the people of Rome,—a really solemn and impressive service.

The Convent of the Gesù is the residence of the General of the Jesuits ("His Paternity"), and the centre of religious life in their Order. The rooms in which St. Ignatius lived and died are of the deepest historic interest. They consist of four chambers. The first, now a chapel, is that in which he wrote his "Constitutions." The second, also a chapel, is that in which he died. It contains the altar at which he daily celebrated mass, and the autograph engagement to live under the same laws of obedience, poverty, and chastity, signed by Laynez, Francis Xavier, and Ignatius Loyola. On its walls are two portraits of Ignatius Loyola, one as a young knight, the other as a Jesuit father, and portraits of S. Carlo Borromeo and S. Filippo Neri. It was in this chamber also that St. Francis Borgia died. The third room was that of the attendant monk of St. Ignatius; the fourth is now a kind of museum of relics containing portions of his robes and small articles which belonged to him and to other saints of the Order.

Facing the Church of the Gesù is the Palazzo Altieri, built by Cardinal Altieri in 1670, from designs of Giov. Antonio Rossi.

This palace was the residence of the late noble-hearted vicar-general, Cardinal Altieri, who died a martyr to his devotion to his flock (as Bishop of Albano) during the terrible visitation of cholera at Albano in 1867.

The Piazza del Gesù is considered to be the most draughty place in Rome. The legend runs that the devil and the wind were one day taking a walk together. When they came to this square, the devil, who seemed to be very devout, said to the wind, "Just wait a minute, mio caro, while I go into this church." So the wind promised, and the devil went into the Gesù, and has never come out again—and the wind is blowing about in the Piazza del Gesù to this day.

CHAPTER III.

THE CAPITOLINE.

THE Capitoline was the hill of the kings and the republic, as the Palatine was of the empire.

Entirely composed of tufa, its sides, now concealed by buildings or by the accumulated rubbish of ages, were abrupt and precipitous, as are still the sides of the neighbouring citadels of Corneto and Cervetri. It was united to the Quirinal by an isthmus of land cut away by Trajan, but in every other direction was isolated by its perpendicular cliffs:—

Up to the time of the Tarquins, it bore the name of Mons Saturnus,[19] from the mythical king Saturn, who is reported to have come to Italy in the reign of Janus, and to have made a settlement here. His name was derived from sowing, and he was looked upon as the introducer of civilization and social order, both of which are inseparably connected with agriculture. His reign here was thus considered to be the golden age of Italy. His wife was Ops, the representative of plenty.[20]

Virgil represents Evander, the mythical king of the Palatine, as exhibiting Saturnia, already in ruins, to Æneas.

When Romulus had fixed his settlement upon the Palatine, he opened an asylum for fugitive slaves upon the then deserted Saturnus, and here, at a sacred oak, he is said to have offered up the spoils of the Cæcinenses, and their king Acron, who had made a war of reprisal upon him, after the rape of their women in the Campus Martius; here also he vowed to build a temple to Jupiter Feretrius, where spoils should always be offered. But in the mean time, the Sabines, under Titius Tatus, besieged and took the hill, having a gate of its fortress (said to have been on the ascent above the spot where the arch of Severus now stands) opened to them by Tarpeia, who gazed with longing upon the golden bracelets of the warriors, and, obtaining a promise to receive that which they wore upon their arms, was crushed by their shields as they entered. Some authorities, however, maintain that she asked and obtained the hand of king Tatius. From this time the hill was completely occupied by the Sabines, and its name became partially merged in that of Mons Tarpeia, which its southern side has always retained. Niebuhr states that it is a popular superstition that the beautiful Tarpeia still sits, sparkling with gold and jewels, enchanted and motionless, in a cave in the centre of the hill.

After the death of Tatius, the Capitoline again fell under the government of Romulus, and his successor, Numa Pompilius, founded here a Temple of Fides Publica, in which the flamens were always to sacrifice with a fillet on their right hands, in sign of fidelity. To Numa also is attributed the worship of the god Terminus, who had a temple here in very early ages.

Under Tarquinius Superbus, B.C. 535, the magnificent Temple of Jupiter Capitolinus, which had been vowed by his father, was built with money taken from the Volscians in war. In digging its foundations, the head of a man was found, still bloody, an omen which was interpreted by an Etruscan augur to portend that Rome would become the head of Italy. In consequence of this, the name of the hill was once more changed, and has ever since been Mons Capitolinus, or Capitolium.

The site of this temple has always been one of the vexed questions of history. At the time it was built, as now, the hill consisted of two peaks, with a level space between them. Niebuhr and Gregorovius place the temple on the south-eastern height, but Canina and other authorities, with more probability, incline to the north-eastern eminence, the present site of Ara-Cœli, because, among many other reasons, the temple faced the south, and also the Forum, which it could not have done upon the south-eastern summit; and also because the citadel is always represented as having been nearer to the Tiber than the temple: for when Herdonius, and the Gauls, arriving by the river, scaled the heights of the Capitol, it was the citadel which barred their path, and in which, in the latter case, Manlius was awakened by the noise of the sacred geese of Juno.

The temple of Jupiter occupied a lofty platform, the summit of the rock being levelled to receive it. Its façade was decorated with three ranges of columns, and its sides by a single colonnade. It was nearly square, being 200 Roman feet in length, and 185 in width.[21] The interior was divided into three cells; the figure of Jupiter occupied that in the centre, Minerva was on his right, and Juno on his left. The figure of Jupiter was the work of an artist of the Volscian city of Fregellæ,[22] and was formed of terra-cotta, painted like the statues which we may still see in the Etruscan museum at the Vatican, and clothed with the tunica palmata, and the toga picta, the costume of victorious generals. In his right hand was a thunder-bolt, and in his left a spear.

At a later period the statue was formed of gold, but this figure had ceased to exist in the time of Pliny.[23] When Martial wrote, the statues of Jupiter, Juno, and Minerva, were all gilt.

In the wall adjoining the cella of Minerva, a nail was fastened every year, to mark the lapse of time.[24] In the centre of the temple was the statue of Terminus.

The gates of the temple were of gilt bronze, and its pavement of mosaic;[25] in a vault beneath were preserved the Sibylline books placed there by Tarquin. The building of Tarquin lasted 400 years, and was burnt down in the civil wars, B.C. 83. It was rebuilt very soon afterwards by Sylla, and adorned with columns of Pentelic marble, which he had brought from the temple of Jupiter Olympus at Athens.[26] Sylla, however, did not live to rededicate it, and it was finished by Q. Lutatius Catulus, B.C. 62. This temple lasted till it was burnt to the ground by the soldiers of Vitellius, who set fire to it by throwing torches upon the portico, A.D. 69, and dragging forth Sabinus, the brother of Vespasian, murdered him at the foot of the Capitol, near the Mamertine Prisons.[27] Domitian, the younger son of Vespasian, was, at that time, in the temple with his uncle, and escaped in the dress of a priest; in commemoration of which, he erected a chapel to Jupiter Conservator, close to the temple, with an altar upon which his adventure was sculptured. The temple was rebuilt by Vespasian, who took so great an interest in the work, that he carried away some of the rubbish on his own shoulders; but his temple was the exact likeness of its predecessor, only higher, as the aruspices said that the gods would not allow it to be altered.[28] In this building Titus and Vespasian celebrated their triumph for the fall of Jerusalem. The ruin of the temple began in A.D. 404, during the short visit of the youthful Emperor Honorius to Rome, when the plates of gold which lined its doors were stripped off by Stilicho.[29] It was finally plundered by the Vandals, in A.D. 455, when its statues were carried off to adorn the African palace of Genseric, and half its roof was stripped of the gilt bronze tiles which covered it; but it is not known precisely when it ceased to exist,—the early fathers of the Christian Church speak of having seen it. The story that the bronze statue of Jupiter, belonging to this temple, was transformed by Leo I. into the famous image of St. Peter, is very doubtful.

Close beside this, the queen of Roman temples, stood the Temple of Fides, said to have been founded by Numa, where the senate were assembled at the time of the murder of Tiberius Gracchus, B.C. 133, who fell in front of the temple of Jupiter, at the foot of the statues of the kings: his blood being the first spilt in Rome in a civil war.[30] Near this, also, were the twin Temples of Mars and Venus Erycina, vowed after the battle of Thrasymene, and consecrated, B.C. 215, by the consuls Q. Fabius Maximus and T. Otacilius Crassus. Near the top of the Clivus was the Temple of Jupiter Tonans, built by Augustus, in consequence of a vow which he made in an expedition against the Cantabri when his litter was struck, and the slave who preceded him was killed by lightning. This temple was so near, that it was considered as a porch to that of Jupiter Capitolinus, and in token of that character, Augustus hung some bells upon its pediment.

On the Arx, or opposite height of the Capitol, was the Temple of Honour and Virtue, built B.C. 103, by Marius, with the spoils taken in the Cimbric wars. This temple was of sufficient size to allow of the senate meeting there, to pass the decree for Cicero's recall.[31] Here Nardini places the ancient Temple of Jupiter Feretrius, in which Romulus dedicated the first spolia opima. Here, on the site of the house of Manlius, was built the Temple of Juno Moneta, B.C. 345, in accordance with a vow of L. Furius Camillus.[32] On this height, also, was the Altar of Jupiter Pistor, which commemorated the stratagem of the Romans, who threw down loaves into the camp of the besieging Gauls, to deceive them as to the state of their supplies.[33]

It was probably also on this side of the hill that the gigantic Statue of Jupiter stood, which was formed out of the armour taken from the Samnites, B.C. 293, and which is stated by Pliny to have been of such a size that it was visible from the top of Monte Cavo.

Two cliffs are now rival claimants to be considered as the Tarpeian Rock; but it is most probable that the whole of the hill on this side of the Intermontium was called the Mons Tarpeia, and was celebrated under that name by the poets.

Among the buildings upon the Intermontium, or space between the two heights, were the Tabularium, or Record Office, part of which still remains; a portico, built by Scipio Nasica,[34] and an arch which Nero built here to his own honour, the erection of which upon the sacred hill, hitherto devoted to the gods, was regarded even by the subservient senate as an unparalleled act of presumption.[35]

In mediæval times the revolutionary government of Arnold of Brescia established itself on this hill (1144), and Pope Lucius II., in attempting to regain his temporal power, was slain with a stone in attacking it. Here Petrarch received his laurel crown (1341); and here the tribune Rienzi promulgated the laws of the "good estate." At this time nothing existed on the Capitol but the church and convent of Ara-Cœli, and a few ruins. Yet the cry of the people at the coronation of Petrarch, "Long life to the Capitol and the poet!" shows that the scene itself was then still more present to their minds than the principal actor upon it. But, when the popes returned from Avignon, the very memory of the Capitol seemed effaced, and the spot was only known as the Goat's Hill,—Monte Caprino. Pope Boniface IX. (1389—94) was the first to erect on the Capitol, on the ruins of the Tabularium, a residence for the senator and his assessors, Paul III. (1544—50) employed Michael Angelo to lay out the Piazza del Campidoglio; when he designed the Capitoline Museum and the Palace of the Conservators. Pius IV., Gregory XIII., and Sixtus V. added the sculptures and other monuments which now adorn the steps and balustrade.[36]

Just beyond the end of the Corso, the Via della Pedacchia turns to the right, under a quaint archway in the secret passage constructed as a means of escape for the Franciscan Generals of Ara-Cœli to the Palazzo Venezia, as that in the Borgo is for the escape of the popes to S. Angelo. In this street is a house decorated with simple but elegant Doric details, and bearing an inscription over the door which shows that it was that of Pietro da Cortona.

The street ends in the sunny open space at the foot of the Capitol, with Ara-Cœli on its left, approached by an immense flight of steps, removed hither from the Temple of the Sun, on the Quirinal, but marking the site of the famous staircase to the temple of Jupiter Capitolinus, which Julius Cæsar descended on his knees, after his triumph for his Gallic victories.[37]

The grand staircase, "La Cordonnata," was opened in its present form on the occasion of the entry of Charles V., in 1536.[38] At its foot are two lions of Egyptian porphyry, which were removed hither from the Church of S. Stefano in Cacco, by Pius IV. It was down the staircase which originally existed on this site, that Rienzi the tribune fled in his last moments, and close to the spot where the left-hand lion stands, that he fell, covered with wounds, his wife witnessing his death from a window of the burning palace above. A small space between the two staircases has lately been transformed into a garden, through which access may be obtained to four vaulted brick chambers, remnants of the substructions of the temple of Jupiter Capitolinus. A living wolf is kept here in commemoration of the nurse of Romulus and Remus.

At the head of the stairs are colossal statues of the twin heroes, Castor and Pollux (brought hither from the Ghetto), commemorating the victory of the Lake Regillus, after which they rode before the army to Rome, to announce the joyful news, watered their horses at the Aqua Argentina, and then passed away from the gaze of the multitude into celestial spheres. Beyond these, on either side, are two trophies of imperial times discovered in the ruin on the Esquiline, misnamed the Trophies of Marius. Next come statues of Constantine the Great and his son Constantine II., from their baths on the Quirinal. The two ends of the parapet are occupied by ancient Milliaria, being the first and seventh milestones of the Appian Way. The first milestone was found in situ, and showed that the miles counted from the gates of Rome, and not, as was formerly supposed, from the Milliarium Aureum, at the foot of the Capitol.

We now find ourselves in the Piazza del Campidoglio, occupying the Intermontium, where Brutus harangued the people after the murder of Julius Cæsar. In the centre of the square is the famous Statue of Marcus Aurelius, the only perfect ancient equestrian statue in existence. It was originally gilt, as may still be seen from marks of gilding upon the figure, and stood in front of the arch of Septimius-Severus. Hence it was removed by Sergius III. to the front of the Lateran, where, not long after, it was put to a singular use by John XIII., who hung a refractory prefect of the city from it by his hair.[39] During the rejoicings consequent upon the elevation of Rienzi to the tribuneship in 1347, one of its nostrils was made to flow with water and the other with wine. From its vicinity to the Lateran, so intimately connected with the history of Constantine, it was supposed during the middle ages to represent that Christian emperor, and this fortunate error alone preserved it from the destruction which befell so many other ancient imperial statues. Michael Angelo, when he designed the buildings of the Capitoline Piazza, wished to remove the statue to its present site, but the canons of the Lateran were unwilling to part with their treasure, and only consented to its removal upon an annual acknowledgment of their proprietorship, for which a bunch of flowers is still presented once a year by the senators to the chapter of the Lateran. Michael Angelo, standing in fixed admiration before this statue, is said to have bidden the horse "Cammina." Even until late years an especial guardian has been appointed to take care of it, with an annual stipend of ten scudi a year, and the title of "Il custode del Cavallo."

The building at the back of the piazza is The Palace of the Senator, originally built by Boniface IX. (1389), but altered by Michael Angelo to correspond with his buildings on either side. The fountain at the foot of the double staircase was erected by Sixtus V., and is adorned with statues of river gods found in the Colonna Gardens, and a curious porphyry figure of Minerva—adapted as Rome. The body of this statue was found at Cori, but the head and arms are modern additions.

In the interior of this building the Hall of the Senators contains some papal statues, and that of Charles of Anjou, who was made senator of Rome in the thirteenth century.

The Tower of the Capitol contains the great bell of Viterbo, carried off from that town during the wars of the middle ages, which is never rung except to announce the death of a pope, or the opening of the carnival. During the closing years of the temporal power of the popes, it has been difficult to obtain admission to the tower, but the ascent is well repaid by the view from the summit, which embraces not only the seven hills of Rome, but the various towns and villages of the neighbouring plain and mountains which successively fell under its dominion.

Beneath the Palace of the Senator (entered by a door in the street on the right), are the gigantic remains of the Tabularium, consisting of huge rectangular blocks of peperino supporting a Doric colonnade, which is shown by an inscription still preserved to have been that of the public Record Office, where the Tabulæ, engraved plates bearing important decrees of the Senate, were preserved, having been placed there by Q. Lutatius Catulus in B.C. 79. A gallery in the interior of the Tabularium has been fitted up as a museum of architectural antiquities collected from the neighbouring temples. This building is as it were the boundary between inhabited Rome and that Rome which is a city of ruins.

The traces of an ancient staircase still exist, which led down from the Tabularium to the Forum. This is believed by many to have been the path by which the besiegers under Vitellius, A.D. 69, attacked the Capitol.

The east side of the piazza—on the left as one stands at the head of the steps—is the Museo Capitolino (open daily from 9 to 4, for a fee; and on Mondays and Thursdays gratis, from 2½ to 4½).

Above the fountain in the court, opposite the entrance, reclines the colossal statue of a river-god, called Marforio, removed hither from the end of the Via di Marforio (Forum Martis?) near the arch of Severus. This figure, according to Roman fancy, was the friend and gossip of Pasquin (at the Palazzo Braschi), and lively dialogues, merciless to the follies of the government and the times, used to appear with early morning, placarded on their respective pedestals, as passing between the two. Thus, when Clement XI. mulcted Rome of numerous sums to send to his native Urbino, Marforio asked, "What is Pasquino doing?" The next morning Pasquin answered, "I am taking care of Rome, that it does not go away to Urbino." In the desire of putting an end to such inconvenient remarks, the government ordered the removal of one of the statues to the Capitol, and, since Marforio has been shut up, Pasquino has lost his spirits.

From the corridor on the ground floor open several rooms devoted to ancient inscriptions and sarcophagi with bas-reliefs. The first room on the left has some bronzes—in the centre a mutilated horse, found, 1849, in the Trastevere.

At the foot of the staircase is a colossal statue of the Emperor Hadrian, found on the Cœlian.

The Staircase is lined with the fragments of the Pianta Capitolina, a series of marble slabs of imperial date (found in the sixteenth century under SS. Cosmo and Damian), inscribed with ground plans of Rome, and exceedingly important from the light they throw upon the ancient topography of the city.

The upper Corridor is lined with statues and busts. Here and elsewhere we will only notice those especially remarkable for beauty or historic interest.[40]

From the right of this corridor open two chambers. The first is named the Room of the Doves, from the famous mosaic found in the ruins of Hadrian's villa near Tivoli, and generally called Pliny's Doves, because Pliny, when speaking of the perfection to which the mosaic art had attained, describes a wonderful mosaic of Sosus of Pergamos, in which one dove is seen drinking and casting her shadow on the water, while others are pluming themselves on the edge of the vase. As a pendant to this is another Mosaic, of a Tragic and Comic Mask. In the farther window is the Iliac Tablet, an interesting relief in the soft marble called palombino, relating to the story of the destruction of Troy, and the flight of Æneas, and found at Bovillæ.

In the centre of the room is a pretty statuette of a girl shielding a dove.

The second chamber, known as The Reserved Cabinet, contains the famous Venus of the Capitol—a Greek statue, found immured in a wall upon the Quirinal.

The two smaller sculptures of Leda and the Swan, and Cupid and Psyche—two lovely children embracing (most needlessly secluded here), were found on the Aventine.

From the end of the gallery we enter

The Hall of the Emperors. In the centre is the beautiful seated statue of Agrippina (grand-daughter of Augustus—wife of Germanicus—and mother of Caligula).

Round the room are ranged 83 busts of Roman emperors, empresses, and their near relations, forming perhaps the most interesting portrait gallery in the world. Even viewed as works of art, many of them are of the utmost importance. They are—

Among the reliefs round the upper walls of this room are two,—of Endymion sleeping, and of Perseus delivering Andromeda, which belong to the set in the Palazzo Spada, and are exceedingly beautiful.

The Hall of Illustrious Men contains a seated statue of M. Claudius Marcellus (?), the conqueror of Syracuse, B.C. 212. Round the room are ranged 93 busts of ancient philosophers, statesmen, and warriors. Among the more important are:—

Among the interesting bas-reliefs in this room is one of a Roman interior with a lady trying to persuade her cat to dance to a lyre—the cat, meanwhile, snapping, on its hind legs, at two ducks; the detail of the room is given—even to the slippers under the bed.

The Saloon contains, down the centre,

Among the statues and busts round the room the more important are:—

The Hall of the Faun derives its name from the famous Faun of rosso-antico, holding a bunch of grapes to his mouth, found in Hadrian's Villa. It stands on an altar dedicated to Serapis. Against the right wall is a magnificent sarcophagus, whose reliefs (much studied by Flaxman) represent the battle of Theseus and the Amazons. The opposite sarcophagus has a relief of Diana and Endymion. We should also notice—

The Hall of the Dying Gladiator contains the three gems of the collection—"the Gladiator," "the Antinous of the Capitol," and the "Faun of Praxiteles." Besides these, we should notice—2. Apollo with the lyre, and 9. a bust of M. Junius Brutus, the assassin of Julius Cæsar.

In the centre of the room is the grand statue of the wounded Gaul, generally known as the Dying Gladiator.

It is delightful to read in this room the description in Transformation:—

The west or right side of the Capitoline Piazza is occupied by the Palace of the Conservators, which contains the Protomoteca, the Picture Gallery, and various other treasures.

The little court at the entrance is full of historical relics, including remains of two gigantic statues of Apollo; a colossal head of Domitian; and the marble pedestal, which once in the mausoleum of Augustus supported the cinerary urn of Agrippina, wife of Germanicus, with a very perfect inscription. In the opposite loggia are a statue of Rome Triumphant, and a group of a lion attacking a horse, found in the bed of the Almo. In the portico on the right is the only authentic statue of Julius Cæsar; on the left, a statue of Augustus, leaning against the rostrum of a galley, in allusion to the battle of Actium.

The Protomoteca, a suite of eight rooms on the ground floor, contains a collection of busts of eminent Italians, with a few foreigners considered as naturalised by a long residence in Rome. Those in the second room, representing artists of the thirteenth, fourteenth, and fifteenth centuries, were entirely executed at the expense of Canova.

At the foot of the staircase is a restoration by Michael Angelo of the column of Caius Duilius. On the upper flight of the staircase is a bas-relief of Curtius leaping into the gulf, here represented as a marsh.

On the first and second landings are magnificent reliefs, representing events in the life of Marcus Aurelius, Imp., belonging to the arch dedicated to him, which was wantonly destroyed, in order to widen the Corso, by Alexander VII.

The Halls of the Conservators consist of eight rooms. The 1st, painted in fresco from the history of the Roman kings, by the Cavaliere d'Arpino, contains statues of Urban VIII., by Bernini; Leo X., by the Sicilian Giacomo della Duca;[41] and Innocent X., in bronze, by Algardi. The 2nd room, adorned with subjects from republican history by Lauretti, has statues of modern Roman generals—Marc Antonio Colonna, Tommaso Rospigliosi, Francesco Aldobrandini, Carlo Barberini, brother of Urban VIII., and Alessandro Farnese, Duke of Parma. The 3rd room, painted by Daniele di Volterra, with subjects from the wars with the Cimbri, contains the famous Bronze Wolf of the Capitol, one of the most interesting relics in the city. The figure of the wolf is of unknown antiquity; those of Romulus and Remus are modern. It has been doubted whether this is the wolf described by Dionysius as "an ancient work of brass" standing in the temple of Romulus under the Palatine, or the wolf described by Cicero, who speaks of a little gilt figure of the founder of the city sucking the teats of a wolf. The Ciceronian wolf was struck by lightning in the time of the great orator, and a fracture in the existing figure, attributed to lightning, is adduced in proof of its identity with it.

Standing near the wolf is the well-known and beautiful figure of a boy extracting a thorn from his foot, called the Shepherd Martius.

Forming part of the decorations of this room are two fine pictures, a dead Christ with a monk praying, and Sta. Francesca Romana, by Romanelli. Near the door of exit is a bust said to be that of Junius Brutus.

The 4th Room contains the Fasti Consulares, tables found near the temple of Minerva Chalcidica, and inscribed with the names of public officers from Romulus to Augustus. The 5th Room contains two bronze ducks (formerly shown as the sacred geese of the Capitol) and a female head—found in the gardens of Sallust, a bust of Medusa, by Bernini, and many others. The 6th, or Throne Room, hung with faded tapestry, has a frieze in fresco, by Annibale Caracci, representing the triumphs of Scipio Africanus. The 7th Room is painted by Daniele da Volterra(?) with the history of the Punic Wars. The 8th Room (now used as a passage) is a chapel, containing a lovely fresco, by Pinturicchio, of the Madonna and Child with Angels.

The four Evangelists are by Caravaggio; the pictures of Roman saints (Cecilia, Alexis, Eustachio, Francesca-Romana), by Romanelli.

By the same staircase, passing on the left a wonderful relief of the apotheosis of the wicked Faustina, we may arrive at the Picture Gallery of the Capitol (which can also be approached by a separate staircase, entered from an alley at the back of the building), reached by two rooms inscribed with the names of the Roman Conservators from the middle of the sixteenth century. This gallery contains very few first-rate pictures, but has a beautiful St. Sebastian, by Guido, and several fine works of Guercino. The most noticeable pictures are—

At the head of the Capitol steps, to the right of the terrace, is the entrance to the Palazzo Caffarelli, the residence of the Prussian minister. It has a small but beautiful garden, and the view from the windows is magnificent.

From the further end of the courtyard of the Caffarelli Palace one can look down upon part of the bare cliff of the Rupe Tarpeia. Here there existed till 1868 a small court, which is represented as the scene of the murder in Hawthorne's Marble Faun, or "Transformation." The door, the niche in the wall, and all other details mentioned in the novel, were realities. The character of the place is now changed by the removal of the boundary-wall. The part of the rock seen from here is that usually visited from below by the Via Tor de' Specchi.

To reach the principal portion of the south-eastern height of the Capitol, we must ascend the staircase beyond the Palace of the Conservators, on the right. Here we shall find ourselves upon the highest part of

The dirty lane, with its shabby houses, and grass-grown spaces, and filthy children, has little to remind one of the appearance of the hill as seen by Virgil and Propertius, who speak of the change in their time from an earlier aspect.

It was on this side that the different attacks were made upon the Capitol. The first was by the Sabine Herdonius at the head of a band of slaves, who scaled the heights and surprised the garrison, in B.C. 460, and from the heights of the citadel proclaimed freedom to all slaves who should join him, with abolition of debts, and defence of the plebs from their oppressors; but his offers were disregarded, and on the fourth day the Capitol was re-taken, and he was slain with nearly all his followers. The second attack was by the Gauls, who, according to the well-known story, climbed the rock near the Porta Carmentale, and had nearly reached the summit unobserved—for the dogs neglected to bark—when the cries of the sacred geese of Juno aroused an officer named Manlius, who rushed to the defence, and hurled over the precipice the first assailant, who dragged down others in his fall, and thus the Capitol was saved. In remembrance of this incident, a goose was annually carried in triumph, and a dog annually crucified upon the Capitol, between the temple of Summanus and that of Youth.[42] This was the same Manlius, the friend of the people, who was afterwards condemned by the patricians on pretext that he wished to make himself king, and thrown from the Tarpeian rock, on the same spot, in sight of the Forum, where Spurius Cassius, an ex-consul, had been thrown down before. To visit the part of the rock from which these executions must have taken place, it is necessary to enter a little garden near the German Hospital, whence there is a beautiful view of the river and the Aventine.

This side of the Intermontium is now generally known as Monte Caprino, a name which Ampère derives from the fact that Vejovis, the Etruscan ideal of Jupiter, was always represented with a goat.[43] On this side of the hill, the viaduct from the Palatine, built by Caligula (who affected to require it to facilitate communication with his friend Jupiter), joined the Capitoline.

We have still to examine the north-eastern height, the site of the most interesting of pagan temples, now occupied by one of the most interesting of Christian churches. The name of the famous Church of Ara-Cœli is generally attributed to an altar erected by Augustus to commemorate the Delphic oracle respecting the coming of our Saviour, which is still recognised in the well-known hymn of the Church:

Teste David cum Sibylla.[44]

The altar bore the inscription "Ara Primogeniti Dei." Those who seek a more humble origin for the church, say that the name merely dates from mediæval times, when it was called "Sta, Maria in Aurocœlio." It originally belonged to the Benedictine Order, but was transferred to the Franciscans by Innocent IV. in 1252, since which time its convent has occupied an important position as the residence of the General of the Minor Franciscans (Grey-friars), and is the centre of religious life in that Order.

The staircase on the left of the Senators' palace, which leads to the side entrance of Ara-Cœli, is in itself full of historical associations. It was at its head that Valerius the consul was killed in the conflict with Herdonius for the possession of the Capitol. It was down the ancient steps on this site that Annius, the envoy of the Latins, fell (B.C. 340), and was nearly killed, after his audacious proposition in the temple of Jupiter, that the Latins and Romans should become one nation, and have a common senate and consuls. Here also,[45] in B.C. 133, Tiberius Gracchus was knocked down with the leg of a chair, and killed in front of the temple of Jupiter.

It is at the top of these steps, that the monks of Ara-Cœli, who are celebrated as dentists, perform their hideous, but useful and gratuitous operations, which may be witnessed here every morning!

Over the side entrance of Ara-Cœli is a beautiful mosaic of the Virgin and Child. This, with the ancient brick arches above, framing fragments of deep blue sky—and the worn steps below—forms a subject dear to Roman artists, and is often introduced as a background to groups of monks and peasants. The interior of the church is vast, solemn, and highly picturesque. It was here, as Gibbon himself tells us, that on the 15th of October, 1764, as he sat musing amidst the ruins of the Capitol, while the bare-footed friars were singing vespers, the idea of writing the "Decline and Fall" of the city first started to his mind.

The floor of the church is of the ancient mosaic known as Opus Alexandrinum. The nave is separated from the aisles by twenty-two ancient columns, of which two are of cipollino, two of white marble, and eighteen of Egyptian granite. They are of very different forms and sizes, and have probably been collected from various pagan edifices. The inscription "A Cubiculo Augustorum" upon the third column on the left of the nave, shows that it was brought from the Palace of the Cæsars. The windows in this church are amongst the few in Rome which show traces of gothic. At the end of the nave, on either side, are two ambones, marking the position of the choir before it was extended to its present site in the sixteenth century.

The transepts are full of interesting monuments. That on the right is the burial-place of the great family of Savelli, and contains—on the left, the monument of Luca Savelli, 1266 (father of Pope Honorius IV.) and his son Pandolfo,—an ancient and richly sculptured sarcophagus, to which a gothic canopy was added by Agostino and Agnolo da Siena from designs of Giotto. Opposite, is the tomb of the mother of Honorius, Vana Aldobrandesca, upon which is the statue of the pope himself, removed from his monument in the old St. Peter's by Paul III.

On the left of the high altar is the tomb of Cardinal Gianbattista Savelli, ob. 1498, and near it—in the pavement, the half-effaced gravestone of Sigismondo Conti, whose features are so familiar to us from his portrait introduced into the famous picture of the Madonna di Foligno, which was painted by Raphael at his order, and presented by him to this church, where it remained over the high altar, till 1565, when his great niece Anna became a nun at the convent of the Contesse at Foligno, and was allowed to carry it away with her. In the east transept is another fine gothic tomb, that of Cardinal Matteo di Acquasparta (1302), a General of the Franciscans mentioned by Dante for his wise and moderate rule.[46] The quaint chapel in the middle of this transept, now dedicated to St. Helena, is supposed to occupy the site of the "Ara Primogeniti Dei."

Upon the pier near the ambone of the gospel is the monument of Queen Catherine of Bosnia, who died at Rome in 1478, bequeathing her states to the Roman Church on condition of their reversion to her son, who had embraced Mahommedanism, if he should return to the Catholic faith. Near this, upon the transept wall, is the tomb of Felice de Fredis, ob. 1529, upon which it is recorded that he was the finder of the Laocoon. The Chapel of the Annunciation, opening from the west isle, has a tomb to G. Crivelli, by Donatello, bearing his signature, "Opus Donatelli Florentini." The Chapel of Santa Croce is the burial-place of the Ponziani family, and was the scene of the celebrated ecstasy of the favourite Roman saint Francesca Romana.

There are several good pictures over the altars in the aisles of Ara-Cœli. In the Chapel of St Margaret of Cortona are frescoes illustrative of her life by Filippo Evangelisti,—in that of S. Antonio, frescoes by Nicola da Pesaro;—but no one should omit visiting the first chapel on the right of the west door, dedicated to S. Bernardino of Siena, and painted by Bernardino Pinturicchio, who has put forth his best powers to do honour to his patron saint with a series of exquisite frescoes, representing his assuming the monastic habit, his preaching, his vision of the Saviour, his penitence, death, and burial.

Almost opposite this—closed except during Epiphany—is the Chapel of the Presepio, where the famous image of the Santissimo Bambino d'Ara Cœli is shown at that season lying in a manger.

At other times the Bambino dwells in the inner Sacristy, where it can be visited by admiring pilgrims. It is a fresh-coloured doll, tightly swathed in gold and silver tissue, crowned, and sparkling with jewels. It has servants of its own, and a carriage in which it drives out with its attendants, and goes to visit the sick. Devout peasants always kneel as the blessed infant passes. Formerly it was taken to sick persons and left on their beds for some hours, in the hope that it would work a miracle. Now it is never left alone. In explanation of this, it is said that an audacious woman formed the design of appropriating to herself the holy image and its benefits. She had another doll prepared of the same size and appearance as the "Santissimo," and having feigned sickness, and obtained permission to have it left with her, she dressed the false image in its clothes, and sent it back to Ara-Cœli. The fraud was not discovered till night, when the Franciscan monks were awakened by the most furious ringing of bells and by thundering knocks at the west door of the church, and hastening thither could see nothing but a wee naked pink foot peeping in from under the door; but when they opened the door, without stood the little naked figure of the true Bambino of Ara-Cœli, shivering in the wind and the rain,—so the false baby was sent back in disgrace, and the real baby restored to its home, never to be trusted away alone any more.

In the sacristy is the following inscription relating to the Bambino:—

The outer Sacristy contains a fine picture of the Holy Family by Giulio Romano.

The scene on the long flight of steps which leads to the west door of Ara-Cœli is very curious during Epiphany.

The Convent of Ara-Cœli contains much that is picturesque and interesting. S. Giovanni Capistrano was abbot here in the reign of Eugenius IV.

Let us now descend from the Capitoline Piazza towards the Forum, by the staircase on the left of the Palace of the Senator. Close to the foot of this staircase is a church, very obscure-looking, with some rude frescoes on the exterior. Yet every one must enter this building, for here are the famous Mamertine Prisons, excavated from the solid rock under the Capitol.

The prisons are entered through the low Church of S. Pietro in Carcere, hung round with votive offerings and blazing with lamps.

Enclosed in the church, near the entrance, may be observed the outer frieze of the prison wall, with the inscription C. TIBIUS. C. F. RUFINUS. M.. COCCEIUS. NERVA. COS. EX. S. C., recording the names of two consuls of A.D. 22, who are supposed to have repaired the prison. Juvenal's description of the time when one prison was sufficient for all the criminals in Rome naturally refers to this building:

A modern staircase leads to the horrible dungeon of Ancus Martius, sixteen feet in height, thirty in length, and twenty-two in breadth. Originally there was no staircase, and the prisoners were let down there, and thence into the lower dungeon, through a hole in the middle of the ceiling. The large door at the side is a modern innovation, having been opened to admit the vast mass of pilgrims during the festa. The whole prison is constructed of huge blocks of tufa without cement. Some remains are shown of the Scalæ Gemoniæ, so called from the groans of the prisoners—by which the bodies were dragged forth to be exposed to the insults of the populace or to be thrown into the Tiber. It was by this staircase that Cicero came forth and announced the execution of the Catiline conspirators to the people in the Forum, by the single word Vixerunt, "they have ceased to live." Close to the exit of these stairs the Emperor Vitellius was murdered. On the wall by which you descend to the lower dungeon is a mark, kissed by the faithful, as the spot against which St. Peter's head rested. The lower prison, called Robur, is constructed of huge blocks of tufa, fastened together by cramps of iron and approaching horizontally to a common centre in the roof. It has been attributed from early times to Servius Tullius; but Ampère[47] argues against the idea that the lower prison was of later origin than the upper, and suggests that it is Pelasgic, and older than any other building in Rome. It is described by Livy, and by Sallust, who depicts its horrors in his account of the execution of the Catiline conspirators.[48] The spot is shown to which these victims were attached and strangled in turn. In this dungeon, at an earlier period, Appius Claudius and Oppius the decemvirs committed suicide (B.C. 449). Here Jugurtha, king of Mauritania, was starved to death by Marius. Here Julius Cæsar, during his triumph for the conquest of Gaul, caused his gallant enemy Vercingetorix to be put to death. Here Sejanus, the friend and minister of Tiberius, disgraced too late, was executed for the murder of Drusus, son of the emperor, and for an intrigue with his daughter-in-law, Livilla. Here, also, Simon Bar-Gioras, the last defender of Jerusalem, suffered during the triumph of Titus.

The spot is more interesting to the Christian world as the prison of SS. Peter and Paul, who are said to have been bound for nine months to a pillar, which is shown here. A fountain of excellent water, beneath the floor of the prison, is attributed to the prayers of St. Peter, that he might have wherewith to baptize his gaolers, Processus and Martinianus; but, unfortunately for this ecclesiastical tradition, the fountain is described by Plutarch as having existed at the time of Jugurtha's imprisonment This fountain probably gave the dungeon the name of Tullianum, by which it was sometimes known, tullius meaning a spring.[49] This name probably gave rise to the idea of its connection with Servius Tullius.

It is hence that the Roman Catholic Church believes that St. Peter and St Paul addressed their farewells to the Christian world.

On July 4, the prisons are the scene of a picturesque solemnity, when they are visited at night by the religious confraternities, who first kneel and then prostrate themselves in silent devotion.

Above the Church of S. Pietro in Carcere, is that of S. Giuseppe del Falegnami, St. Joseph of the Carpenters.

CHAPTER IV.

THE FORUMS AND THE COLISEUM.

FOLLOWING the Corso to its end at the Ripresa dei Barberi, and turning to the left, we find ourselves at once amid the remains of the Forum of Trajan, erected by the architect Apollodorus for the Emperor Trajan on his return from the wars of the Danube. This forum now presents the appearance of a ravine between the Capitoline and Quirinal, but is an artificial hollow, excavated to facilitate the circulation of life within the city. An inscription over the door of the column, which overtops the other ruins, shows that it was raised in order to mark the depth of earth which was removed to construct the forum. The earth was formerly as high as the top of the column, which reaches, 100 Roman feet, to the level of the Palatine Hill. The forum was sometimes called the "Ulpian," from one of the names of the emperor.

The beautiful Column of Trajan was erected by the senate and people of Rome, A.D. 114. It is composed of thirty-four blocks of marble, and is covered with a spiral band of bas-reliefs illustrative of the Dacian wars, and increasing in size as it nears the top, so that it preserves throughout the same proportion when seen from below. It was formerly crowned by a statue of Trajan, holding a gilt globe, which latter is still preserved in the Hall of Bronzes in the Capitol. This statue had fallen from its pedestal long before Sixtus V. replaced it by the existing figure of St. Peter. At the foot of the column was a sepulchral chamber, intended to receive the imperial ashes, which were however preserved in a golden urn, upon an altar in front of it.

It was while walking in this forum, that Gregory the Great, observing one of the marble groups which told of a good and great action of Trajan, lamented bitterly that the soul of so noble a man should be lost, and prayed earnestly for the salvation of the heathen emperor. He was told that the soul of Trajan should be saved, but that to ensure this he must either himself undergo the pains of purgatory for three days, or suffer earthly pain and sickness for the rest of his life. He chose the latter, and never after was in health. This incident is narrated by his three biographers, John and Paul Diaconus, and John of Salisbury.[50]

The forum of Trajan was partly uncovered by Pope Paul III. in the sixteenth century, but excavated in its present form by the French in 1812. There is much still buried under the streets and neighbouring houses.

On the north of this forum are two churches: that nearest to the Corso is Sta. Maria di Loreto (founded by the corporation of bakers in 1500), with a dome surmounted by a picturesque lantern by Giuliano di Sangallo, c. 1506. It contains a statue of Sta. Susanna (not the Susanna of the Elders) by Fiammingo (François de Quesnoy), which is justly considered the chef-d'œuvre of the Bernini School. The companion church is called Sta. Maria di Vienna, and (like Sta. Maria della Vittoria) commemorates the liberation of Vienna from the Turks in 1683, by Sobieski, king of Poland. It was built by Innocent XI.

Leaving the forum at the opposite corner by the Via Alessandrina, and passing under the high wall of the Convent of the Nunziatina, a street, opening on the left, discloses several beautiful pillars, which, after having borne various names, are now declared to be the remains of the Temple of Mars Ultor, built by Augustus in his new forum, which was erected in order to provide accommodation for the crowds which overflowed the Forum Romanum and Forum Julium.

The temple of Mars stands at the north-eastern corner of the magnificent Forum of Augustus, which extended from here as far as the present Via Alessandrina, surpassing in size the forum of Julius Cæsar, to which it was adjoining. It was of sufficient size to be frequently used for fights of animals (venationes). Among its ornaments were statues of Augustus triumphant and of the subdued provinces—with inscriptions illustrative of the great deeds he had accomplished there; also a picture by Apelles representing War with her hands bound behind her, seated upon a pile of arms. Part of the boundary wall exists, enclosing on two sides the remains of the temple of Mars Ultor, and is constructed of huge masses of peperino. The arch, in the wall close to the temple, is known as Arco dei Pantani. The sudden turn in the wall here is interesting as commemorating a concession made to the wish of some proprietors, who were unwilling to part with their houses for the sake of the forum.

(The street on the left—passing the Arco dei Pantani—the Via della Salita del Grillo, commemorates the approach to the castle of the great mediæval family Del Grillo; the street on the right leads through the ancient Suburra.)

At the corner of the next street (Via della Croce Bianca)—on the left of the Via Alessandrina—is the ruin called the "Colonnace," being part of the Portico of Pallas Minerva, which decorated the Forum Transitorium, begun by Domitian, but dedicated in the short reign of Nerva, and hence generally called the Forum of Nerva, on account of the execration with which the memory of Domitian was regarded. Up to the seventeenth century seven magnificent columns of the temple of Minerva were still standing, but they were destroyed by Paul V., who used part of them in building the Fontana Paolina. The existing remains consist of two half-buried Corinthian columns with a figure of Minerva, and a frieze of bas-reliefs.

It was in this forum that Nerva caused Vetronius Turinus, who had trafficked with his court interest, to be suffocated with smoke, a herald proclaiming at the time, "Fumo punitur qui vendidit fumum."

Returning a short distance down the Via Alessandrina, and turning (left) down the Via Bonella, we traverse the site of the Forum of Julius Cæsar, upon which 4000 sestertia (800,000 l.) were expended, and which is described by Dion-Cassius as having been more beautiful than the Forum Romanum. It was ornamented with a Temple of Venus Genetrix—from whom Julius Cæsar claimed to be descended—which contained a statue of the goddess by Archesilaus, a statue of Cæsar himself, and a group of Ajax and Medea by Timomacus. Here, also, Cæsar had the effrontery to place the statue of his mistress, Cleopatra, by the side of that of the goddess. In front of the temple stood a bronze figure of a horse—supposed to be the famous Bucephalus—the work of Lysippus.

The only visible remains of this forum are some courses of huge square blocks of stone (Lapis Gabinus), in a dirty court.

Part of the site of the forum of Julius Cæsar is now occupied—on the right near the end of the Via Bonella—by the Accademia di San Luca, founded in 1595, Federigo Zuccaro being its first director. The collections are open from 9 to 5 daily. A ceiling representing Bacchus and Ariadne, is by Guido. The best pictures are:—

A skull preserved here was long supposed to be that of Raphael, but his true skull has since been found in his grave in the Pantheon.

Just beyond St. Luca, we enter the Forum Romanum.

The interest of Rome comes to its climax in the Forum. In spite of all that is destroyed, and all that is buried, so much still remains to be seen, and every stone has its story. Even without entering into all the vexed archæological questions which have filled the volumes of Canina, Bunsen, Niebuhr, and many others, the occupation which a traveller interested in history will find here is all but inexhaustible; and, after the disputes of centuries, the different sites seem now to be verified with tolerable certainty. The study of the Roman Forum is complicated by the succession of public edifices by which it has been occupied, each period of Roman history having a different set of buildings, and each in a great measure supplanting that which went before. Another difficulty has naturally arisen from the exceedingly circumscribed space in which all these buildings have to be arranged, and which shows that many of the ancient temples must have been mere chapels, and the so-called "lakes" little more than fountains.

The excavations which were made in the Forum before 1871 are for the most part due to the generosity of Georgiana, Duchess of Devonshire. The papal government always displayed the most extraordinary apathy about extending them, and, when a large excavation was made in the winter of 1869—70, by the British Archæological Society, in front of the Church of Sta. Martina, insisted on its being immediately filled up again, instead of extending it, as might easily have been done, to join the excavation which had long existed on the Clivus Capitolinus. Lately the excavations have been considerably increased, but were the roads leading to the Forum to be closed, and a large body of efficient labourers set to work, the whole of the Roman Forum and its surroundings might be laid bare in a month, without any injury to the interesting churches in its neighbourhood. At present, even that part which is disinterred is cut up by a number of raised causeways, which distract the eye and mar the general effect, and the excavations, recommenced by the Italian government, are slowly and inadequately carried on.

If we stand on the causeway in front of the arch of Septimius Severus, and turn towards the Capitol, we look upon the Clivus Capitolinus, which is perfectly crowded with historical sites and fragments, viz.:—

1. The modern Capitol, resting on the Tabularium. This is one of the earliest architectural relics in Rome. It is built in the Etruscan style, of huge blocks of tufa or peperino placed long-and cross-ways alternately. It was formerly composed of two stages called Camellaria. Only the lower now remains. It contained the tables of the laws. The corridor which remains in the interior is used as a museum of architectural fragments. The Tabularium probably communicated with the Ærarium in the temple of Saturn.

2. On the right of the excavated space, and nearest the Tabularium, the site of the Tribune, in front of which were the Rostra, to which the head of Octavius was affixed by Marius, and the head and hand of Cicero by Antony, and where Fulvia, the widow of Clodius, spat in his dead face, and pierced his inanimate tongue with the pin which she wore in her hair. In front of the rostrum were the statues of the three Sibyls called Tria Fata.

3. Below, a little(**typo? little?) more to the right, is the site of the Comitium, where the survivor of the Horatii was condemned to death, and saved by the voice of the people. Here, also, was the trophied pillar which bore the arms of the Curiatii. In the area of the Comitium grew the famous fig-tree which was always preserved here in commemoration of the tree under which Romulus and Remus were suckled by the wolf, and beneath which was a bronze representation of the wolf and the children.

4. A little more to the left, is the site of the Vulcanal, so called from an altar dedicated to Vulcan, a platform (still defined) where, in the earliest times, Romulus and Tatius used to meet on intermediate ground and transact affairs common to both; and where Brutus was seated, when, without any change of countenance, he saw his two sons beaten and beheaded. Adjoining the Vulcanal was the Græcostasis, where foreign ambassadors waited before they were admitted to an audience of the senate.

5. Below the Vulcanal, and just behind the Arch of Severus, is the site of the Temple of Concord, dedicated, with blasphemous inappropriateness, B.C. 121, by the consul Opimius, immediately after the murder of Caius Gracchus. Here Cicero pronounced his orations against Catiline before the senate. A pavement of coloured marbles remains. At its base are still to be seen some small remains of the Colonna Mænia, which was surmounted by the statue of C. Mænius, who decorated the rostra with the iron beaks of vessels taken in war.

6. The three beautiful columns which are still standing were attributed to a temple of Jupiter Tonans, but are now decided to belong to the Temple of Vespasian. The engravings of Piranesi represent them as buried almost to their capitals, and they remained in this state until they were disinterred during the first French occupation. The space was so limited in this part of Rome, that in order to prevent encroaching upon the street Clivus Capitolinus, which descends the hill between this temple and that of Saturn, the temple of Vespasian was raised on a kind of terrace, and the staircase which led to it was thrust in between the columns. This temple was restored by Septimius Severus, and to this the letters on the entablature refer, being part of the word Restituere. Instruments of sacrifice are sculptured on the frieze.

7. On the left of the excavated space, close beneath the Tabularium, a low range of columns recently re-erected represents the building called the School of Xanthus, chambers, for the use of the scribes and persons in the service of the curule ædiles, which derived their name from Xanthus, a freedman, by whom they were rebuilt.

8. The eight Ionic columns still standing, part of the Temple of Saturn, the ancient god of the Capitol. Before this temple Pompey sate surrounded by soldiers, listening to the orations which Cicero was delivering from the rostrum, when he received the personal address, "Te enim jam appello, et ea voce ut me exaudire possis." Here the tribune Metellus flung himself before the door and vainly attempted to defend the treasure of the Ærarium in this temple against Julius Cæsar. The present remains are those of an indifferent and late renovation of an earlier temple, being composed of columns which differ in diameter, and a frieze put together from fragments which do not belong to one another. The original temple was built by Tarquin, and was supposed to mark the site of the ancient Sabine altar of the god and the limit of the wood of refuge mentioned by Virgil.

9. Just below the Temple of Saturn is the site of the Arch of Tiberius, erected, according to Tacitus, upon the recovery by Germanicus of the standards which Varus had lost.

10. The remains of the Milliarium Aureum, which formed the upper extremity of a wall faced with marbles, ending near the arch of Severus in a small conical pyramid. Distances without the walls were inscribed upon the Milliarium Aureum, as distances within the walls were upon the pyramid (from which in this case they were also measured) which bore the name of Umbilicus Romæ. The Via Sacra, which is still visible, descended from the Capitol between the temples of Saturn and Vespasian,—being known here as the Clivus Capitolinus, and passed to the left of—

11. The Arch of Septimius Severus, which was erected by the senate A.D. 205, in honour of that emperor and his two sons, Caracalla and Geta. It is adorned with bas-reliefs relating his victories in the east,—his entry into Babylon and the tower of the temple of Belus are represented. A curious memorial of imperial history may be observed in the inscription, where we may still discern the erasure made by Caracalla after he had put his brother Geta to death in A.D. 213, for the sake of obliterating his memory. The added words are OPTIMIS FORTISSIMISQVE PRINCIPIBUS—but the ancient inscription P. SEPT. LVC. FIL. GETÆ. NOBILISS. CÆSARI, has been made out by painstaking decipherers. In one of the piers is a staircase leading to the top of the arch which was formerly (as seen from coins of Severus and Caracalla) adorned by a car drawn by six horses abreast, and containing figures of Severus and his sons. It was in front of this arch that the statue of Marcus Aurelius stood, which is now at the Capitol.

(The excavations in thé Forum are open to the public on the same days as the Palace of the Cæsars—Thursdays and Sundays.)

The platform on which we have been standing leads to the Via della Consolazione, occupying the site of the ancient Vicus Jugarius, where Augustus erected an altar to Ceres, and another to Ops Augusta, the goddess of wealth. (In this street, on the left, is a good cinque-cento doorway.) Where this street leaves the Forum was the so-called Lacus Servilius, a basin which probably derived its name from Servilius Ahala (who slew the philanthropist Sp. Mælius with a dagger near this very spot), and which was encircled with a ghastly row of heads in the massacres under Sylla. This fountain was adorned by M. Aggrippa with a figure of a hydra. The right side of the Forum is now occupied for a considerable distance by the disinterred remains of the Basilica Julia, begun by Julius Cæsar, and finished by Augustus, who dedicated it in honour of his daughter. A basilica of this description was intended partly as a Law Court and partly as an Exchange. In this basilica the judges called Centumviri held their courts, which were four in number:

Beyond the basilica are three beautiful columns which belong to a restoration of the Temple of Castor and Pollux, dedicated by Postumius, B.C. 484. Here costly sacrifices were always offered in the ides of July, at the anniversary of the battle of the Lake Regillus, after which the Roman knights, richly clothed, crowned with olive, and bearing their trophies, rode past it in military procession, starting from the temple of Mars outside the Porta Capena. The entablature which the three columns support is of great richness, and the whole fragment is considered to be one of the finest existing specimens of the Corinthian order. None of the Roman ruins have given rise to more discussion than this. It has perpetually changed its name. Bunsen and many other authorities considered it to belong to the temple of Minerva Chalcidica; but as it is known that the position of the now discovered Basilica Julia was exactly between the temple of Saturn and that of Castor, and a passage of Ovid describes the latter as being close to the site of the temple of Vesta, which is also ascertained, it seems almost certain now that it belonged to the temple of the Dioscuri. Dion-Cassius mentions that Caligula made this temple a vestibule to his house on the Palatine.

Here, on the right, branches off the Via dei Fienili, once the Vicus Tuscus, or Etruscan quarter (see Chap. V.), leading to the Circus Maximus. At its entrance was the bronze statue of Vertumnus, the god of Etruria, and patron of the quarter. The long trough-shaped fountain here, at which such picturesque groups of oxen and buffaloes are constantly standing, is a memorial of the Lake of Juturna the sister of Turnus, or as she was sometimes described, the wife of Janus the Sabine war-god. This fountain, for such it must have been, was dried up by Paul V.

Here, close under the Palatine, is the site of the famous Temple of Vesta, in which the sacred fire was preserved, with the palladium saved from Troy. On the altar of this temple, blood was sprinkled annually from the tail of the horse which was sacrificed to Mars in the Campus-Martius. The foundation of the temple was attributed to Numa, but the worship must have existed in Pelasgic times, as the mother of Romulus was a vestal. It was burnt down in the fire of Nero, rebuilt and again burnt down under Commodus, and probably restored for the last time by Heliogabalus. Here, during the consulate of the young Marius, the high priest Scævola was murdered, splashing the image of Vesta with his blood,—and here (A.D. 68) Piso, the adopted son of Galba, was murdered in the sanctuary whither he had fled for refuge, and his head, being cut off, was affixed to the rostra. Behind the temple, along the lower ridge of the Palatine, stretched the sacred grove of Vesta, and the site of the Church of Sta. Maria Liberatrice was occupied by the Atrium Vestæ, a kind of convent for the vestal virgins. Here Numa Pompilius fixed his residence, hoping to conciliate both the Latins of the Palatine and the Sabines of the Capitoline by occupying a neutral ground between them.

Close to the temple of Vesta was the Regia, where Julius Cæsar lived (as pontifex maximus)—where Pompeia his second wife admitted her lover Clodius in the disguise of a woman to the mysteries of the Bona Dea—whence Cæsar went forth to his death—and from which his last wife Calpurnia rushed forth with loud outcries to receive his dead body.

Somewhere in this part of the Forum was the famous Curtian Lake, so called from Mettus Curtius, a Sabine warrior, who with difficulty escaped from its quagmires to the Capitol after a battle between Romulus and Tatius.[52] Tradition declares that the quagmire afterwards became a gulf, which an oracle declared would never close until that which was most important to the Roman people was sacrificed to it. Then the young Marcus Curtius, equipped in full armour, leapt his horse into the abyss, exclaiming that nothing was more important to the Roman people than arms and courage; and the gulf was closed.[53] Two altars were afterwards erected on the site to the two heroes, and a vine and an olive tree grew there.[54]

Some fountain, like those of Servilius and Juturna, bearing the name of Lacus Curtius must have existed on this site to imperial times, for the Emperor Galba was murdered there.

At the foot of the Clivus Capitolinus, on the left (looking towards the Arch of Titus) stood the Temple of Janus Quirinus, between the great Forum and the Forum of Julius Cæsar, and near the ascent to the Porta Janualis, by which Tarpeia admitted the Sabines to the Capitol. Procopius, in the sixth century, saw the little bronze temple of Janus still standing. This was one of many temples of the great Sabine god.

This was the temple which was the famous index of peace and war, closed by Augustus for the third time from its foundation after the victory of Actium.[55]

Besides this temple there were three arches, whose sites are unknown, dedicated to Janus in different parts of the Forum.

The central arch was the resort of brokers and money-lenders.[56]

Along this side of the Forum stood the Tabernæ Argentariæ, the silversmiths' shops, and beyond them—probably in front of S. Adriano—were the Tabernæ Novæ, where Virginia was stabbed by her father with a butcher's knife, which he had seized from one of the stalls, saying, "This, my child, is the only way to keep thee free," as he plunged it into her heart.[57] Near this also was the statue of Venus Cloacina.[58]

The front of the Church of S. Adriano is a fragment of the Basilica of Æmilius Paulus, built with part of 1500 talents which Cæsar had sent from Gaul to win him over to his party. This basilica occupied the site of the famous Curia of Tullus Hostilius.

The Curia was capable of containing six hundred senators, their number in the time of the Gracchi. It had no tribune,—each speaker rose in turn and spoke in his place. Here was "the hall of assembly in which the fate of the world was decided." The Curia was destroyed by fire, which it caught from the funeral pyre of Clodius. Around the Curia stood many statues of Romans who had rendered especial service to the state. The Curia Julia occupied the site of the Curia Hostilia in the early part of the reign of Augustus. Close by the old Curia was the Basilica Porcia, built by Cato the Censor, which was likewise burnt down at the funeral of Clodius. Near this, the base of the rostral column, Colonna Duilia, has been found.

Opposite the Basilica Julia, in the depth of the Forum, is the Column of Phocas, raised to that emperor by the exarch Smaragdus in 608. This is—

"The nameless column with a buried base,"

of Byron, but is now neither nameless nor buried, its pedestal having been laid bare by the Duchess of Devonshire in 1813, and bearing an inscription which shows an origin that no one ever anticipated.

A little behind the Column of Phocas are the marble slabs commemorating the sacrifices called Suovetaurilia, consisting of a pig, a sheep, and an ox, animals which are sculptured here in bold relief. On the side towards the Capitol a number of figures are represented, amongst them a woman presenting a child to the emperor, in reference to Trajan's asylum for orphans, or for those who were too poor to bring up their children. On the other side is a burning of deeds in reference to the famous remission of debts by Trajan.

Beyond this, on the left, the base of the famous statue of Domitian has been discovered as described by Statius:

Here the Via Sacra turns, almost continuing the Vicus Tuscus. On its right, on a line with the Temple of the Dioscuri, has been discovered the base of the small Temple of Julius Cæsar (Ædes Divi Julii),[59] which was surrounded with a colonnade of closely-placed columns and surmounted by a statue of the deified triumvir. This was the first temple in Rome which was dedicated to a mortal.

Dion Cassius narrates that this temple was erected on the spot where the body of Julius was burnt. It was adorned by Augustus with the beaks of the vessels taken in the battle of Actium, and hence obtained the name of Rostra Julia. He also placed here the statue of Venus Anadyomene of Apelles, because Cæsar had claimed descent from that goddess. Here, in A.D. 14, the body of Augustus, being brought from Nola, where he died, was placed upon a bier, while Tiberius pronounced a funeral oration over it, before it was carried to the Campus Martius.

The road turns again in front of the remains of the Temple of Antoninus and Faustina, erected by the flattery of the senate to the memory of the licentious Empress Faustina, the faithless wife of Antoninus Pius, whom they elevated to the rank of a goddess. Her husband, dying before its completion, was associated in her honours, and the inscription, which still remains on the portico, is "Divo antonino et divæ faustinæ. ex. s. c." The front of the temple is adorned with eight columns of cipolino, forty-three feet high, supporting a frieze ornamented with griffins and candelabra. The effect of these remains would be magnificent if the modern road were removed, and the temple were laid bare in its full height, with the twenty-one steps which formerly led to it. It is also greatly injured by the hideous Church of S. Lorenzo in Miranda, which encloses the cella of the temple, and whose name, says Ampère, naively expresses the admiration in which its builders held these remains.[60]

On the left we now reach the Church of SS. Cosmo and Damian, considered by Nibby and others to occupy the site of a temple of Remus. Ampère has since proved that this temple never existed, and that the remains are those of a Temple of the Penates, rebuilt by Augustus. Here Valerius Publicola had a house, to which he removed from the Velia, in deference to the wishes of the Roman people.

A little further on are three gigantic arches, being all that remains of the magnificent Basilica of Constantine, which was 320 feet in length and 235 feet in width. The existing ruins are those of one of the aisles of the basilica. There are traces of an entrance towards the Coliseum. The roof was supported by eight Corinthian columns, of which one, remaining here till the time of Paul V., was removed by him to the piazza of Sta. Maria Maggiore, where it still stands. This site was previously occupied by the Temple of Peace, burnt down in the time of Commodus. This temple was the great museum of Rome under the empire, and contained the seven-branched candlestick and other treasures brought from Jerusalem,[61] as well as all the works of art which had been collected in the palace of Nero and which were removed hither by Vespasian. A statue of the Nile, with children playing around it, is mentioned by Pliny as among the sights in the temple of Peace.[62]

It was near this that the Via Sacra was crossed by the Arch of Fabius, erected B.C. 121, in honour of the conqueror of the Allobroges,—the then inhabitants of Savoy. Close to this portion of the Via Sacra also stood a statue of Valeria, daughter of Publicola, by whom the honours of the virgin Clœlia were disputed.

Besides those which we have noticed, there is mention in classical authors of many other buildings and statues which were once crowded into this narrow space; but all trace of many even of those enumerated is still buried many feet below the soil.

The modern name of Campo Vaccino, by which the Forum is now known, is supposed by some antiquaries to be derived from Vitruvius Vacco, who once had a house there.

But the name will seem singularly appropriate to those who are familiar with the groups of meek-faced oxen of the Campagna, which are always to be seen lying in the shade under the trees of the Forum, or drinking at its water-troughs.

Before leaving the Forum we must turn from its classical to its mediæval remains, and examine the very interesting group of churches which have sprung up amid its ruins.

Almost opposite the Mamertine Prisons, surmounted by a handsome dome, is the Church of Sta. Martina, which contains the original model, bequeathed by the sculptor Thorwaldsen, of his Copenhagen statue of Christ in the act of benediction. The opposite transept contains a very inferior statue of Religion by Canova. The figure of Sta. Martina by Guerini reposes beneath the high altar. The subterranean church is well worth visiting. An ante-chapel adorned with statues of four virgin martyrs leads to a chapel erected at the cost and from the designs of Pietro da Cortona, whose tomb stands near its entrance, with a fine bust by Bernini. In the centre of the inner chapel lamps are burning round the magnificent bronze altar which covers the shrine of Sta. Martina, and beneath it, you can discover the martyr's tomb by the light of a torch which a monk lets down through a hole. In the tribune is an ancient throne. A side chapel contains the grave in which the body of the virgin saint, with three other martyrs, her companions, was found in 1634: it is adorned with a fine bas-relief by Algardi.

The feast of the saint is observed here on Jan. 30, with much solemnity. Then in all the Roman churches is sung the Hymn of Sta. Martina—

There is nothing especial to notice in S. Adriano, which is built in the ruins of the basilica of Emilius Paulus, or in S. Lorenzo in Miranda, which occupies the temple of Antoninus and Faustina, but Sta. Maria Liberatrice, built on the site of the house of Numa and the convent of the Vestals, commemorates by its name a curious legend of the fourth century. On this site, it is said, dwelt in a cave, a terrible dragon who had slain three hundred persons with the poison of his breath. Into this cave, instructed thereto by St. Peter, and entrusting himself to the care of the Virgin, descended St. Silvester the Pope, attended by two acolytes bearing torches, and here, having pronounced the name of Christ, he was miraculously enabled to bind the dragon, and to shut him up till the day of Judgment. But when he ascended in safety, he found at the mouth of the cave two magicians who had followed him in the hope of discovering some imposture, dying from the poison of the dragon's breath,—and these also he saved alive.

We now reach the circular building which has been so long known as the temple of Remus. To the right of the entrance are two pillars of cipolino, almost buried in the soil. The porphyry pillars at the entrance, supporting a richly sculptured cornice, were probably set up in their present position when the temple was turned into a church. The bronze doors were brought from Perugia. If, as is now supposed, the temple on this site was that of the Penates, the protectors against all kinds of illness and misfortune, the modern dedication to the protecting physicians Cosmo and Damian may have had some reference to that which went before.

The Church of SS. Cosmo and Damiano was founded within the ancient temple by Pope Felix IV. in 527, and restored by Adrian I. in 780. In 1633 the whole building was modernized by Urban VIII., who, in order to raise it to the present level of the soil, cut the ancient church in half by the vaulting which now divides the upper and lower churches. To visit the lower church a monk must be summoned, who will bring a torch. This is well worth while. It is of great size, and contains a curious well into which Christian martyrs in the time of Nero are said to have been precipitated. The tomb of the martyrs Cosmo and Damian is beneath the altar, which is formed of beautiful transparent marble. Under a side altar is the grave of Felix IV. The third and lowest church (the original crypt) which is very small, is said to have been a place of refuge during the early Christian persecutions. Here is shown the altar at which Felix IV. celebrated mass while his converts were hiding here—the grave in which the body of the pope was afterwards discovered—and a miraculous spring, still flowing, which is said to have burst forth in answer to his prayers that he might have wherewithal to baptize his disciples. A passage which formerly led from hence to the Catacombs of St. Sebastian, was walled up, twenty years ago, by the paternal government, because twenty persons were lost in it. In this crypt were found the famous "Pianta Capitolina," now preserved in the Capitol. In the upper church, on the right of the entrance from the circular vestibule into the body of the building is this inscription—

Another inscription narrates—

Among the many relics preserved in this church are, "Una ampulla lactis Beatæ Mariæ Virginis"; "De Domo Sanctæ Mariæ Magdalenæ"; "De Domo Sancti Zachariæ profeta!"

Deserving of the most minute attention is the grand mosaic of Christ—coming on the clouds of sunset.

SS. Cosmo and Damian, to whom this church is dedicated, were two Arabian physicians who exercised their art from charity. They suffered under Diocletian. "First they were thrown into the sea, but an angel saved them; and then into the fire, but the fire refused to burn them; then they were bound to crosses and stoned, but the stones either fell harmless or rebounded on their executioners and killed them, so then the pro-consul Lycias, believing them to be sorcerers, commanded that they should be beheaded, and thus they died." SS. Cosmo and Damian were the patron saints of the Medici, and their gilt statues were carried in state at the coronation of Leo X. (Giovanni de' Medici). Their fame is general in many parts of France, where their fête is celebrated by a village fair—children who ask for their fairing of a toy or gingerbread calling it their "St. Côme."

Just beyond the basilica of Constantine, stands the Church of Sta. Francesca Romana, which is full of interest. It was first built by St. Sylvester on the site of the temple of Venus and dedicated to the Virgin, under the title of Sta. Maria Antica. It was rebuilt in A.D. 872 by John VIII., who resided in the adjoining monastery during his pontificate. An ancient picture attributed to St. Luke, brought from Troy in 1100, was the only object in this church which was preserved when the building was totally destroyed by fire in 1216, after which the church, then called Sta. Maria Nuova, was restored by Honorius III. During the restoration, the picture was kept at S. Adriano, and its being brought back led to a contest amongst the people, which was ended by a child exclaiming—"What are you doing? the Madonna is already in her own church." She had betaken herself thither none knew how.

In the twelfth century the church was given to the Lateran Canons, in the fourteenth to the Olivetan monks; under Eugenius IV., the latter extended their boundaries so far that they included the Coliseum, but their walls were forced down in the succeeding pontificate. Gregory XI., Paul II., and Cæsar Borgia, were cardinals of Sta. Maria Novella. In 1440 the name was changed to that of Sta. Francesca Romana, when that saint, Francesca de' Ponziani, foundress of the Order of Oblates, was buried here. Her tomb was erected in 1640 by Donna Agata Pamfili, sister of Innocent X., herself an Oblate. It is from the designs of Bernini, and is rich in marbles. The figure was not added till 1868.

A chapel on the right of the church contains the monument of Cardinal Vulcani, 1322, supporting his figure, with Faith, Hope, and Charity sculptured in high relief below. Near the door is that of Cardinal Adimari, 1432, who died here after an ineffectual mission to the anti-pope Pedro da' Luna. In the left transept was a fine Perugino (removed 1867); in the right transept is the tomb of Pope Gregory XI., by Pietro Paolo Olivieri, erected by the senate in gratitude for his having restored the papal court to Rome from Avignon. A bas-relief represents his triumphal entry, with St. Catherine of Siena, by whose entreaties he was induced to return, walking before his mule. A breach in the walls indicates the ruinous state into which Rome had fallen, the chair of St. Peter is represented as floating back through the air, while an angel carries the papal tiara and keys; a metaphorical figure of Rome is coming forth to welcome the pope.

Near Pope Gregory's tomb some blackened marks in the wall are shown as holes made by the (gigantic) knees of St. Peter, when he knelt to pray that Simon Magus might be dropped by the demons he had invoked to support him in the air, which he is said to have done to show his power on this spot.

The vault of the tribune is covered with mosaics.

The convent attached to this church was the abode of Tasso during his first visit to Rome.

Behind Sta. Francesca Romana, and facing the Coliseum, are the remains generally known as the Temple of Venus and Rome, also called Templum Urbis (now sometimes called by objectors the "Portico of Livia"), which, if this name is the correct one, was originally planned by the Emperor Hadrian to rival the Forum of Trajan, erected by the architect Apollodorus. It was built upon a site previously occupied by the atrium of Nero's Golden House. Little remains standing except a cella facing the Coliseum, and another in the cloisters of the adjoining convent (these, perhaps, being restorations by Maxentius, c. 307, after a fire had destroyed most of the building of Hadrian), but the surrounding grassy height is positively littered with fragments of the grey granite columns which once formed the grand portico (400 by 200 feet) of the building. A large mass of Corinthian cornice remains near the cella facing the Coliseum. This was the last pagan temple which remained in use in Rome.[65] It was only closed by Theodosius in 391, and remained entire till 625, when Pope Honorius carried off the bronze tiles of its roof to St. Peter's.

In front of this temple stood the bronze statue of Clœlia, mentioned by Livy and Seneca, and (till the sixth century) the bronze elephants mentioned by Cassiodorus. Nearer the Coliseum may still be seen the remains of the foundation prepared by Hadrian for the Colossal Statue of Nero, executed in bronze by Zenodorus. This statue was twice moved, first by Vespasian, in A.D. 75, that it might face the chief entrance of his amphitheatre,[66] whose plan had been already laid out. At the same time—though it was a striking likeness of Nero—its head was surrounded with rays that it might represent Apollo. In its second position it is described by Martial:

It was again moved (with the aid of forty-two elephants), a few yards further north, by Hadrian, when he built his temple of Venus and Rome. Pliny describes the colossus as 110, Dion Cassius as 100 feet high.

Near the Church of Sta. Francesca the Via Sacra passes under the Arch of Titus, which, even in its restored condition, is the most beautiful monument of the kind remaining in Rome. Its Christian interest is unrivalled, from its having been erected by the senate to commemorate the taking of Jerusalem, and from its bas-reliefs of the seven-branched candlestick and other treasures of the Jewish Temple. In mediæval times it was called the Arch of the Seven Candlesticks (septem lucernarum) from the bas-relief of the candlestick, concerning which Gregorovius remarks, that the fantastic figures carved upon it prove that it was not an exact likeness of that which came from Jerusalem. The bas-reliefs are now greatly mutilated, but they are shown in their perfect state in a drawing of Giuliano di Sangallo. On the frieze is the sacred river Jordan, as an aged man, borne on a bier. The arch, which was in a very ruinous condition, had been engrafted in the middle ages into a fortress tower called Turris Cartularia, and so it remained till the present century. This tower originally formed the entrance to the vast fortress of the powerful Frangipani family, which included the Coliseum and a great part of the Palatine and Cœlian hills; and here, above the gate, Pope Urban II. dwelt in 1093, under the protection of Giovanni Frangipani. The arch was repaired by Pius VII., who replaced in travertine the lost marble portions at the top and sides.

The processions of the popes going to the Lateran for their solemn installation, used to halt beside the arch of Titus while a Jew presented a copy of the Pentateuch, with a humble oath of fealty. This humiliating ceremony was omitted for the first time at the installation of Pius IX.

At this point it may not be inappropriate to notice two other buildings, which, though situated on the Palatine, are totally disconnected with the other objects occupying that hill.

A lane runs up to the right from the arch of Titus. On the left is a gateway, surmounted by a faded fresco of St. Sebastian. Here is the entrance to a wild and beautiful garden, possessing most lovely views of the various ruins, occupying the site of the gardens of Adonis. This is the place where St. Sebastian underwent his (so-called) martyrdom, and will call to mind the many fine pictures, scattered over Europe, of the youthful and beautiful saint, bound to a tree, and pierced with arrows. The finest of these are the Domenichino, in Sta. Maria degli Angeli, and the Sodoma at Florence. He is sometimes represented as bound to an orange tree, and sometimes, as in the Guido at Bologna, to a cypress, like those we still see on this spot. Here was an important Benedictine Convent, where Pope Boniface IV. was a monk before his election to the papacy, and where the famous abbots of Monte Casino had their Roman residence. Here, in 1118, fifty-one cardinals took refuge, and elected Gelasius II. as Pope. The only building remaining is the Church of Sta. Maria Pallara or S. Sebastiano, containing some curious inscriptions relating to events which have occurred here, and—in the tribune, frescoes, of the Saviour in benediction with four saints, and below, two other groups representing the Virgin with saints and angels, placed, as we learn by the inscription beneath, by one Benedict—probably an abbot.

Further up the lane a "Via Crucis" leads to the Church of S. Buonaventura, "the seraphic doctor" (Cardinal and Bishop of Albano, ob. July 14, 1274), who in childhood was raised from the point of death (1221) by the prayers of St. Francis, who was so surprised when he came to life, that he involuntarily exclaimed, "O buona ventura"—("what a happy chance")—whence the name by which he was afterwards known.[67]

The little church contains several good modern monuments. Beneath the altar is shown the body of the Blessed Leonardo of Porto-Maurizio (ob. 1751), who arranged the Via Crucis in the Coliseum, and who is much revered by the ultra-Romanists for having prophesied the proclamation of the dogma of the Immaculate Conception. The crucifix and the picture of the Madonna which he carried with him in his missions, are preserved in niches on either side of the tribune, and many other relics of him are shown in his cell in the adjoining convent of Minor Franciscans. Entered through the convent is a lovely little garden, whence there is a grand view of the Coliseum, and where a little fountain is shaded by two tall palm trees.

The arch of Titus is spoken of as being "in summa Via Sacra," as the street was called which led from the southern gate of Rome to the Capitol, and by which the victorious generals passed in their triumphant processions to the temple of Jupiter. Between the arch of Titus and the Coliseum, the ancient pavement of this famous road, composed of huge polygonal blocks of lava, has been allowed to remain. Here we may imagine Horace taking his favourite walk.

It appears to have been the favourite resort of the flaneurs of the day:

The Via Sacra was originally bordered with shops, some of which, together with some baths, have been unearthed on the right of the road. Ovid alludes frequently to the purchases which might be made there in his time. In this especial part of the Via was the market for fruit and honey.[68]

At the foot of the hill are the remains of the bason and the brick cone of a fountain called Meta Sudans, where the gladiators used to wash. Seneca, who lived in this neighbourhood, complains (Epist. lvi.) of the noise which was made by a showman who blew his trumpet close to this fountain.

On the right the Via Triumphalis leads to the Via Appia, passing under the Arch of Constantine. The lower bas-reliefs upon this arch, which are crude and ill-designed, refer to the deeds of Constantine; but the upper, of fine workmanship, illustrate the life of Trajan, which has led some to imagine that the arch was originally erected in honour of Trajan, and afterwards appropriated by Constantine. They were, however, removed from an arch of Trajan (whose ruins existed in 1430[69]), and were appropriated by Constantine for his own arch.

The arch was further plundered by Clement VIII., who carried off one of its eight Corinthian columns to finish a chapel at the Lateran. They were formerly all of giallo-antico. But it is still the most striking and beautiful of the Roman arches.

We now turn to the Coliseum, originally called The Flavian Amphitheatre. This vast building was begun in A.D. 72, upon the site of the reservoir of Nero, by the Emperor Vespasian, who built as far as the third row of arches, the last two rows being finished by Titus after his return from the conquest of Jerusalem. It is said that 12,000 captive Jews were employed in this work, as the Hebrews in building the Pyramids of Egypt, and that the external walls alone cost a sum equal to 17,000,000 francs. It consists of four stories, the first Doric, the second Ionic, the third and fourth Corinthian. Its circumference is 1641 feet, its length is 287, its width 182, its height 157. The entrance for the emperor was between two arches facing the Esquiline, where there is no cornice. Here there are remains of stucco decoration. On the opposite side was a similar entrance from the Palatine. Towards S. Gregorio has been discovered the subterranean passage in which the Emperor Commodus was near being assassinated. The numerous holes visible all over the exterior of the building were made in the middle ages, to extract the iron cramps, at that time of great value. The arena was surrounded by a wall sufficiently high to protect the spectators from the wild beasts, who were introduced by subterranean passages closed by huge gates, from the side towards the Cœlian. The podium contained the places of honour reserved for the Emperor and his family, the Senate, and the Vestal virgins. The places for the other spectators who entered by openings called vomitoria, were arranged in three stages (caveæ), separated by a gallery (præcinctio). The first stage for knights and tribunes, had 24 steps, the second (for the common people) 16, the third (for the soldiery) 10. The women, by order of the emperor, sate apart from the men, and married and unmarried men were also divided. The whole building was probably capable of containing 100,000 persons. At the top, on the exterior, may be seen the remains of the consoles which sustained the velarium which was drawn over the arena to shelter the spectators from the sun or rain. The arena could on occasions be filled with water for the sake of naval combats.

Nothing is known with certainty as to the architect of the Coliseum, though a tradition of the Church (founded on an inscription in the crypt of S. Martino al Monte), ascribes it to Gaudentius, a Christian martyr, who afterwards suffered on the spot.[70]

The Emperor Commodus (A.D. 180-182), frequently fought in the Coliseum himself, and killed both gladiators and wild beasts, calling himself Hercules, dressed in a lion's-skin, with his hair sprinkled with gold-dust.

The gladiatorial combats came to an end, when, in A.D. 403, an oriental monk named Telemachus, was so horrified at them, that he rushed into the midst of the arena and besought the spectators to renounce them: instead of listening to him, they stoned him to death. The first martyrdom here was that of St Ignatius, said to have been the child especially blessed by our Saviour—the disciple of John—and the companion of Polycarp—who was sent here from Antioch, where he was bishop. When brought into the arena, he knelt down, and exclaimed, "Romans who are present, know that I have not been brought into this place for any crime, but in order that by this means I may merit the fruition of the glory of God, for love of whom I have been made prisoner. I am as the grain of the field, and must be ground by the teeth of the lions, that I may become bread fit for His table." The lions were then let loose, and devoured him, except the larger bones, which the Christians collected during the night.

Soon after the death of Ignatius, 115 Christians were shot down here with arrows. Under Hadrian, A.D. 218, a patrician named Placidus, his wife Theophista, and his two sons, were first exposed here to the wild beasts, but when these refused to touch them were shut up in a brazen bull, and roasted by a fire lighted beneath. In 253, Abdon and Sennen, two rich citizens of Babylon, were exposed here to two lions and four bears, but on their refusing to attack them, were killed by the swords of the gladiators. In A.D. 259, Sempronius, Olympius, Theodulus, and Exuperia, were burnt at the entrance of the Coliseum, before the statue of the Sun. In A.D. 272, Sta. Prisca was vainly exposed here to a lion, then starved for three days, then stretched on a rack to have her flesh torn by iron hooks, then put into a furnace, and—having survived all these torments—was finally beheaded. In A.D. 277, Sta. Martina, another noble Roman lady, was exposed in vain to the beasts and afterwards beheaded in the Coliseum. St. Alexander under Antoninus; St. Potitus, 168; St. Eleutherius, bishop of Illyria, under Hadrian; St Maximus, son of a senator, 284; and Vitus, Crescentia, and Modesta, under Domitian, were also martyred here.[71]

The spot where the Christian martyrs suffered is now marked by a tall cross, devoutly kissed by the faithful,—and all round the arena of the Coliseum, are the small chapels or "stations," used in the Via Crucis, which is observed here at 4 P.M. every Friday, when a confraternity clothed in grey, with only the eyes visible, is followed by a crowd of worshippers who chaunt and pray at each station in turn,—after which a Capuchin monk preaches from a pulpit on the left of the arena. These sermons are often very striking, being delivered in a familiar style, and upon popular subjects of the day, but they also often border on the burlesque.

The pulpit of the Coliseum was used for the stormy sermons of Gavazzi, who called the people to arms from thence in the revolution of March, 1848.

It is well worth while to ascend to the upper galleries (a man who lives near the entrance from the Forum will open a locked door for the purpose), as then only is it possible to realize the vast size and grandeur of the building.

The upper arches frame a series of views of the Aventine, the Capitoline, the Cœlian, and the Campagna, like a succession of beautiful pictures.

Those who visit the Coliseum by moonlight will realize the truthfulness of the following descriptions:—

It is believed that the building of the Coliseum remained entire until the eighth century, and that its ruin dates from the invasion of Robert Guiscard, who destroyed it to prevent its being used as a stronghold by the Romans. During the middle ages it served as a fortress, and became the castle of the great family of Frangipani, who here gave refuge to Pope Innocent II. (Papareschi) and his family, against the anti-pope Anacletus II., and afterwards in the same way protected Innocent III. (Conti) and his brothers against the anti-pope Paschal II. Constantly at war with the Frangipani were the Annibaldi, who possessed a neighbouring fortress, and obtained from Gregory IX. a grant of half the Coliseum, which was rescinded by Innocent IV. During the absence of the popes at Avignon the Annibaldi got possession of the whole of the Coliseum, but it was taken away again in 1312, and placed in the hands of the municipality, after which it was used for bull-fights, in which (as described by Monaldeschi) nobles of high rank took part and lost their lives. In 1381 the senate made over part of the ruins to the Canons of the Lateran, to be used as a hospital, and their occupation is still commemorated by the arms of the Chapter (our Saviour's head between two candelabra) sculptured in various parts of the building. From the fourteenth century it began to be looked upon as a stone-quarry, and the Palazzos Farnese, Barberini, S. Marco, and the Cancellaria, were built with materials plundered from its walls. It is said that the first of these destroyers, Cardinal Farnese, only extorted permission from his reluctant uncle, Paul III., to quarry as much stone as he could remove in twelve hours, and that he availed himself of this permission to let loose four thousand workmen upon the building. Sixtus V. endeavoured to utilize it by turning the arcades into shops, and establishing a woollen manufactory, and Clement XI. (1700—1721) by a manufactory of saltpetre, but both happily failed. In the last century the tide of restoration began to set in. A Carmelite monk, Angelo Paoli, represented the iniquity of allowing a spot consecrated by such holy memories to be desecrated, and Clement XI. consecrated the arena to the memory of the martyrs who had suffered there, and erected in one of the archways the still existing chapel of Sta. Maria della Pietà. The hermit appointed to take care of this chapel was stabbed in 1742, which caused Benedict XIV. to shut in the Coliseum with bars and gates. After this time destruction became sacrilege, and the five last popes all contributed to strengthen and preserve the walls which remain. Even so late as thirty years ago, however, the interior was (like that of an English abbey) an uneven grassy space littered with masses of ruin, amid which large trees grew and flourished, and the clearing out of the arena, though exhibiting more perfectly the ancient form of the building, is much to be regretted by lovers of the picturesque.[72]

Among the ecclesiastical legends connected with the Coliseum, it is said that Gregory the Great presented some foreign ambassadors with a handful of earth from the arena as a relic for their sovereigns, and upon their receiving the gift with disrespect, he pressed it, when blood flowed from the soil. Pius V, urged those who wished for relics to gather up the dust of the Coliseum, wet with the blood of the martyrs.

In 1744 "the blessed Leonardo di Porto Maurizio," who is buried in S. Buonaventura, drew immense crowds to the Coliseum by his preaching, and obtained permission from Benedict XIV. to found the confraternity of "Amanti di Gesù e Maria," for whom the Via Crucis was established here. Recently the ruins have been associated with the holy beggar, Benoit Joseph Labré (beatified by Pius IX. in 1860), who died at Rome in 1783, after a life spent in devotion. He was accustomed to beg in the Coliseum, to sleep at night under its arcades, and to pray for hours at its various shrines.

The name Coliseum is first found in the writings of the Venerable Bede, who quotes a prophecy of Anglo-Saxon pilgrims.

The name was probably derived from its size; the amphitheatre of Capua was also called Colossus.

Once or twice in the course of every Roman winter the Coliseum is illuminated with Bengal lights.

CHAPTER V.

THE VELABRUM AND THE GHETTO.

THE second turn on the right of the Roman Forum is the Via dei Fienili, formerly the Vicus Tuscus, so called from the Etruscan colony established there after the drying up of the marsh which occupied that site in the earliest periods of Roman history. During the empire, this street, leading from the Forum to the Circus Maximus, was one of the most important. Martial speaks of its silk-mercers; from an inscription on a tomb we know that the fashionable tailors were to be found there; and the perfumers' shops were of such abundance as to give to part of the street the name of Vicus Thurarius. At its entrance was the statue of the Etruscan god, Vertumnus, the patron of the quarter.[74] This was the street by which the processions of the Circensian games passed from the Forum to the Circus Maximus. In one of the Verrine Orations, an accusation brought by Cicero against the patrician Verres, was that from avaricious motives he had paved even this street—used for processions of the Circus—in such a manner that he would not venture to use it himself.[75]

All this valley was once a stagnant marsh, left by inundations of the Tiber, for in early times the river often overflowed the whole valley between the Palatine and the Capitoline hills, and even reached as far as the foot of the Quirinal, where the Goat's Pool, at which Romulus disappeared, is supposed to have formed part of the same swamp. Ovid, in describing the processions of the games, speaks of the willows and rushes which once covered this ground, and the marshy places which one could not pass over except with bare feet:

We even know the price which was paid for being ferried across the Velabrum: "it was a quadrans, three times as much as one pays now for the boat at the Ripetta."[76] The creation of the Cloaca Maxima had probably done much towards draining, but some fragments of the marsh remained to a late period.

According to Varro the name of the Velabrum was derived from vehere, because of the boats which were employed to convey passengers from one hill to the other.[77] Others derive the name from vela, also in reference to the mode of transit, or, according to another idea, in reference to the awnings which were stretched across the street to shelter the processions,—though the name was in existence long before any processions were thought of.

It was the waters of the Velabrum which bore the cradle of Romulus and Remus from the Tiber, and deposited it under the famous fig-tree of the Palatine.

On the left of the Via dei Fienili (shut in by a railing, generally closed, but which will be opened on appealing to the sacristan next door) is the round Church of S. Teodoro. The origin of this building is unknown. It used to be called the temple of Romulus, on the very slight foundation that the famous bronze wolf, mentioned by Dionysius as existing in the temple of Romulus, was found near this spot. Dyer supposes that it may have been the Temple of Cybele; this, however, was upon, and not under, the Palatine. Be they what they may, the remains were dedicated as a Christian church by Adrian I., in the eighth century, and some well preserved mosaics in the tribune are of that time.

Further on the left, still under the shadow of the Palatine Hill, is the large Church of Sta. Anastasia, containing, beneath the altar, a beautiful statue of the martyred saint reclining on a faggot.

It was the custom for the mediæval popes to celebrate their second mass of Christmas night in this church, for which reason Sta. Anastasia is still especially commemorated in that mass.

To the left of the high altar is the tomb of the learned Cardinal Mai, by the sculptor Benzoni, who owed everything to the kind interest with which this cardinal regarded him from childhood. The epitaph is remarkable. It is thus translated by Cardinal Wiseman:

Through this church, also, we may enter some of the subterraneous chambers of the Palace of the Cæsars.

The valley near this, between the Palatine and the Aventine, was the site of the Circus Maximus, of which the last vestiges were destroyed in the time of Paul V. Its ground plan can, however, be identified, with the assistance of the small circus of Maxentius on the Via Appia, which still partially exists. It was intended for chariot-races and horse-races, and is said to have been first instituted by Tarquinius Priscus after his conquest of the Latin town of Apiolæ. It was a vast oblong, ending in a semicircle, and surrounded by three rows of seats, termed collectively cavea. In the centre of the area was the low wall called the spina, at each end of which were the metæ, or goals. Between the metæ were columns supporting the ova, egg-shaped balls, and Delphinæ, or dolphins, each seven in number, one of which was put up for each circuit made in the race. At the extremity of the Circus were the stalls for the horses and chariots called Carceres. This, the square end of the Circus, was termed oppidum, from its external resemblance to a town, with walls and towers. In the Circus Maximus, which was used for hunting wild beasts, Julius Cæsar made a canal, called Euripus,[79] ten feet wide, between the seats and the racecourse, to protect the spectators. The Ludi Circenses were first established by Romulus, to attract his Sabine neighbours, in order that he might supply his city with wives. The games were generally at the expense of the ædiles, and their cost was so great, that Cæsar was obliged to sell his Tiburtine villa, to defray those given during his ædileship. Perhaps the most magnificent games known were those in the reign of Carinus (Imp. A.D. 283), when the Circus was transformed into an artificial forest, in which hundreds of wild beasts and birds were slaughtered. At one time this Circus was capable of containing 385,000 persons.

At the western extremity of the Circus Maximus stood the Temple of Ceres, Liber, and Libera (said to have been vowed by the Dictator Albus Postumius, at the battle of the Lake Regillus), dedicated by the Consul Sp. Cassius, B.C. 492.

We must now retrace our steps for a short distance, and descend into a hollow on the left, which we have passed, between the churches of S. Teodoro and Sta. Anastasia.

Here an interesting group of buildings still stands to mark the site of the famous ox-market, Forum Boarium. In its centre a brazen bull, brought from Egina,[80] once commemorated the story of the oxen of Geryon, which Hercules left to pasture on this marshy site, and which were stolen hence by Cacus,—and is said by Ovid to have given a name to the locality:

The fact of this place being used as a market for oxen is mentioned by Livy.[81]

The Forum Boarium is associated with several deeds of cruelty. After the battle of Cannæ, a male and female Greek and a male and female Gaul were buried alive here;[82] and here the first fight of gladiators took place, being introduced by M. and D. Brutus, at the funeral of their father in B.C. 264.[83] Here the Vestal virgins buried the sacred utensils of their worship, at the spot called Doliola, when they fled from Rome after the battle of the Allia.[84]

Amongst the buildings which once existed in the Forum Boarium, but of which no trace remains, were the Temple of the Sabine deity Matuta, and the Temple of Fortune, both ascribed to Servius Tullius.

The Temple of Fortune was rebuilt by Lucullus, and Dion Cassius mentions that the axle of Julius Cæsar's car broke down in front of it on occasion of one of his triumphs.[85] Another temple in this neighbourhood was that of Pudicitia Patricia, into which the noble ladies refused to admit Virginia, because she had espoused a plebeian consul[86] (see Chap. X.). Here, also, was the Temple of Hercules Victor, erected by Pompey.[87] The two earliest triumphal arches were built in this forum, being in honour of L. Stertinius, erected B.C. 196, after his victories in Spain.

The building which first attracts attention, among those now standing, is the Arch of Janus, the Sabine god. It has four equal sides and arches, turned to the four points of the compass, and forty-eight niches, probably intended for the reception of small statues. Bas-reliefs on the inverted blocks employed in the lower part of this edifice, show that they must have been removed from earlier buildings. This was probably used as a portico for shelter or business for those who trafficked in the Forum; there were many similar porticoes in ancient Rome.

On the left of the arch of Janus is a narrow alley, spanned by low brick arches, which leads first to the beautiful clear spring of the Aqua Argentina, which, according to some authorities, is the place where Castor and Pollux watered their horses after the battle of the Lake Regillus.

The alley is closed by an arch of the celebrated Cloaca Maxima, the famous drain formed by Tarquinius Priscus, fifth king of Rome, to dry the marshy land of the Velabrum.

The Cloaca extended from the Forum to the Tiber, and is still, after 2,400 years, used, during the latter part of its course, for the purpose for which it was originally intended, though Pliny was filled with wonder that, in his time, it had already withstood the earthquakes, inundations, and accidents of seven hundred years. Strabo tells that the tunnel of the Cloaca was of sufficient height to admit a waggon laden with hay, but this probably supposes the water at its lowest. Agrippa, who cleaned out the Cloaca, navigated its whole length in a boat. The mouth of the Cloaca, composed of three concentric courses of blocks of peperino, without cement, is visible on the river a little to the right of the temple of Vesta.

The church with the picturesque campanile near the arch of Janus, is S. Giorgio in Velabro, founded in the fourth century, as the Basilica Sempronia, but repeatedly rebuilt. The architrave above its portico was that where Rienzi affixed his famous inscription, announcing the return to the Good Estate: "In breve tempo gli Romani torneranno al loro antico buono stato." The church is seldom open, except on its festival (Jan. 20), and during its station in Lent. The interior is in the basilica form, the long nave being lined by sixteen columns, of various sizes, and with strangely different capitals, showing that they have been plundered from ancient temples. The carving on some of the capitals is sharp and delicate. There is a rather handsome ancient baldacchino, with an old Greek picture let into its front, over the high altar. Beneath is preserved a fragment of the banner of St George. Some injured frescoes in the tribune replace mosaics which once existed here, and which were attributed to Giotto. In the centre is the Saviour, between the Virgin and St. Peter; on one side, St. George with the martyr's palm and the warrior's banner,—on the other, St. Sebastian, with an arrow. Several fragments of carving and inscriptions are built into the side walls. The pictures are poor and ugly which relate to the saint of the church, St. George (the patron of England and Germany), the knight of Cappadocia, who delivered the Princess Cleodolinda from the dragon.

Partly hidden by the portico of this church, is the beautiful miniature Arch of Septimius Severus, erected to the emperor, his wife Julia Pia, and his sons Caracalla and Geta, by the silversmiths (argentarii) who had their shops in the Forum Boarium on this very spot ("cujus loci qui invehent"). The part of the dedication relating to Geta (as in the larger arch of Septimius) was obliterated after his murder, and the words Fortissimo felicissimoque principi engraved in its place. The architecture and sculpture, part of which represents a sacrifice by the imperial family, prove the decadence of art at this period.

Proceeding in a direct line from the Arch of Janus, we reach the Church of Sta. Maria in Cosmedin, on the site of a Temple of Ceres, dedicated by the consul Spurius Cassius, B.C. 493, and afterwards re-dedicated to Ceres and Proserpine, probably by Augustus, who had been initiated into the Eleusinian mysteries in Greece. The church was built in the basilica form, in 782, by Adrian I., when the name Cosmedin, from the Greek κοσμος, is supposed to have been given, from the ornaments with which he adorned it It was intended for the use of the Greek exiles expelled from the East by the iconoclasts under Constantine Copronimus, and derived the epithet of Sta. Maria in Scuola Greca, from a "Schola" attached to it for their benefit. Another relic of the Greek colony which existed here is to be found in the name of the adjoining street, Via della Greca. In the middle ages the whole bank of the river near this was called Ripa Greca.

The interior of this church is of great interest. The nave is divided from the aisles by twelve ancient marble columns, of which two have especially curious antique capitals, and are evidently remains of the temple which once existed here. The choir is raised, as at S. Clemente. The pavement is of splendid Opus Alexandrinum (1120); the ambones are perfect; there is a curious crypt; the altar covers an ancient bason of red granite, and is shaded by a gothic canopy, supported by four Egyptian granite pillars; behind it is a fine episcopal throne, with lions, said to have been used by St. Augustine, an ancient Greek picture of the Virgin, and a graceful tabernacle of marble inlaid with mosaic, by Deodato Cosmati. In the sacristy is a very curious mosaic, one of the few relics preserved from the old St Peter's, A.D. 705. (There is another in S. Marco at Florence.) Crescimbeni, the founder and historian of the Arcadian Academy (d. 1728), is buried in this church, of which he was a canon. On St. Valentine's Day the skull of St. Valentine, crowned with roses, is exhibited here.

In the portico is the strange and huge mask of stone, which gives the name of Bocca della Verita to the neighbouring piazza. It was believed that if a witness, whose truthfulness was doubtful, were desired to place his hand in the mouth of this mask, he would be unable to withdraw it, if he were guilty of perjury.

On the other side of the portico is the tomb of Cardinal Alfanus, ob. 1150.

Close to this church stood the Palace of Pope Gelasius II. (1118).

Opposite the church is a beautiful fountain, erected by one of the Medici, and beyond it the graceful round temple now called the Temple of Vesta, supposed by Canina to have been that of Mater Matuta, and by others to have been that of Hercules founded by Pompey. It is known to have existed in the time of Vespasian. It is very small, the circumference of the peristyle being only 156 feet, and that of the cella 26 feet,—the height of the surrounding Corinthian columns (originally twenty in number) 32 feet This temple was first dedicated as a church under the name of S. Stefano delle Carrozze; it is now called Sta. Maria del Sole.

This is not the Temple of Vesta (which was situated near the Church of Sta. Maria Liberatrice in the Forum) of which Horace wrote:—

The modern overhanging roof of the temple has been much objected to, as it replaces an entablature like that on the temple of the Sibyl at Tivoli; but artists admire the exquisite play of light and shade caused by its rugged tiles, and, finding it a perfect "subject," wish for no change.

Close to this—overhanging a little hollow way—is the Temple of Fortuna Virilis, built originally by Servius Tullius, but rebuilt during the republic, and, if the existing building is really republican, the most ancient temple remaining in Rome. It is surrounded by Ionic columns (one side being enclosed in other buildings), 28 feet high, clothed with hard stucco, and supporting an entablature adorned with figures of children, oxen, candelabra, &c. The Roman matrons had a great regard for this goddess, who was supposed to have the power of concealing their personal imperfections from the eyes of men. At the close of the tenth century this temple was consecrated to the Virgin, but has since been bestowed upon St. Mary of Egypt.

Hard by, is a picturesque end of building, laden with rich but incongruous sculpture, at one time called "The House of Pilate," but now known as the House of Rienzi. It derives its present name from a long inscription over a doorway, which tallies with the bombastic epithets assumed by "The Last of the Tribunes" in his pompous letter of Aug. 1, 1347, when, in his semi-madness, he summoned kings and emperors to appear before his judgment-seat. The inscription closes:—

It is believed, from the inscription, that the house was fortified by Nicholas, son of Crescentius and Theodora, who gave it to David, his son; that the Crescentius alluded to was son of the famous patrician who headed the populace against Otho III.; and that, three centuries later, the house may have belonged to Cola di Rienzi, a name which is, in fact, only popular language for Niccola Crescenzo. It is, however, known that Rienzi was not born in this house, but in a narrow street behind S. Tommaso, in the Rione alla Regola, where his father Lorenzo kept an inn, and his mother, Maddalena, gained her daily bread as a washerwoman and water-carrier—so were the Crescenzi fallen!

Here is the entrance to a suspension-bridge, which joins the remaining arches of the Ponte Rotto, and leads to the Trastevere. On this site was the Pons Æmilius, begun, B.C. 180, by M. Æmilius Lepidus and Marcus Fulvius Nobilior, and finished by P. Scipio Africanus and L. Mummius, the censors, in B.C. 142. Hence the body of the Emperor Heliogabalus was thrown into the Tiber. The bridge has been three times rebuilt by different popes, but two of its arches were finally carried away in an inundation of 1598, and have never since been replaced. The existing remains, which only date from the time of Julius III., are highly picturesque.

From this bridge is the best view of the Isola Tiberina and its bridges, and hence, also, the Temple of Vesta is seen to great advantage. Just below is the mouth of the Cloaca Maxima.

In the bed of the river a little lower down may be seen, at low water, some massive fragments of masonry. Here stood the Pons Sublicius, the oldest bridge in Rome, built by Ancus Martius (B.C. 639), on which Horatius Cocles and his two companions "kept the bridge" against the Etruscan army of Lars Porsenna, till—

The name "Sublicius" came from the wooden beams of its construction, which enabled the Romans to cut it away. The bridge was rebuilt by Tiberius and again by Antoninus Pius, each time of beams, but upon stone piers, of which the present remains are fragments, the rest having been destroyed by an inundation in the time of Adrian I.

On the Trastevere bank, between these two bridges, half hidden in shrubs and ivy (but worth examination in a boat), are two gigantic Heads of Lions, to which in ancient times chains were fastened, and drawn across the river to prevent hostile vessels from passing.

Near this we enter the Via S. Giovanni Decollato, decorated with numerous heads of John the Baptist in the dish, let into the walls over the doors of the houses. The "Confraternità della Misericordia di S. Giovanni Decollato," founded in 1488, devote themselves to criminals condemned to death. They visit them in prison, accompany them to execution, receive their bodies, and offer masses for their souls in their little chapel. Vasari gives the highest praise to two pictures of Francesco Salviati in the Church of S. Giov. Decollato, "before which all Rome stood still in admiration,"—representing the appearance of the angel to Zacharias, and the meeting of the Virgin and Elizabeth.

On the left is the Hospital of Sta. Galla, commemorating the pious foundation of a Roman matron in the time of John I. (523—526), who attained such celebrity, that she is still commemorated in the Roman mass by the prayer—

On, or very near this site, stood the Porta Carmentalis, which, with the temple beside it, commemorated Carmenta, the supposed mother of Evander, a Sabine prophetess, who is made by Ovid to predict the future grandeur of Rome.[88] Carmenta was especially invoked by women in childbirth. The Porta Carmentalis was reached from the Forum by the Vicus Jugarius. It was by this route that the Fabii went forth to meet their doom in the valley of the Crimera. The Porta had two gates—one for those who entered, the other for those who left it, so that in each case the passenger passed through the "Janus," as it was called, upon his right. After the massacre of the Fabii, the road by which they left the city was avoided, and the Janus Carmentalis on the right was closed, and called the Porta Scelerata.

Just beyond the Porta Carmentalis was the district called Tarentum, where there was a subterranean "Ara Ditis Patris et Proserpinæ."

We now reach (left) the Church of S. Nicolo in Carcere. It has a mean front, with an inscription in honour of one of the Aldobrandini family, and is only interesting as occupying the site of the three Temples of Juno Matuta, Piety(?), and Hope, which are believed to mark the site of the Forum Olitorium. The vaults beneath the church contain the massive substructions of these temples, and fragments of their columns.

The central temple is believed to be that of Piety, built by M. Acilius Glabrio, the duumvir, in B.C. 165 (though Pliny says that this temple was on the site afterwards occupied by the theatre of Marcellus), in fulfilment of a vow made by his father, a consul of the same name, on the day of his defeating the forces of Antiochus the Great, king of Syria, at Thermopylæ. Others endeavour to identify it with the temple built on the site of the Decemviral prisons, to keep up the recollection of the famous story, called the "Caritas Romana,"—of a woman condemned to die of hunger in prison being nourished by the milk of her own daughter. Pliny and Valerius Maximus tell the story as of a mother; Festus only speaks of a father;[89]—yet art and poetry have always followed the latter legend. A cell is shown, by torchlight, as the scene of this touching incident.

A memorial of this story of a prison is preserved in the name of the church—S. Nicolo in Carcere. It was probably owing to this legend that, in front of the Temple of Piety, was placed the Columna Lactaria, where infants were exposed, in the hope that some one would take pity upon and nurse them out of charity.

A wide opening out of the street near this, with a pretty fountain, is called the Piazza Montanara, and is one of the places where the country people collect and wait for hire.

An opening on the left discloses the vast substructions of the Theatre of Marcellus. This huge edifice seems to have been projected by Julius Caesar, but he probably made little progress in it. It was actually erected by Augustus, and dedicated (c. 13 B.C.) in memory of the young nephew whom he married to his daughter Julia, and intended as his successor, but who was cut off by an early death. The theatre was capable of containing 20,000 spectators, and consisted of three tiers of arches, but the upper range has disappeared, and the lower is very imperfect. Still it is a grand remnant, and rises magnificently above the paltry houses which surround it. The perfect proportions of its Doric and Ionic columns served as models to Palladio.

In the middle ages this theatre was the fortress of the great family of Pierleoni, the rivals of the Frangipani, who occupied the Coliseum; their name is commemorated by the neighbouring street, Via Porta Leone. The constant warfare in which they were engaged with their neighbours did much to destroy the building, whose interior became reduced to a mass of ruins, forming a hill, upon which Baldassare Peruzzi (1526) built the Palazzo Savelli, of which the entrance, flanked by the two armorial bears of the family, may be seen in the street (Via Savelli) which leads to the Ponte Quattro Capi.

The palace has now passed to the family of Orsini-Gravina, who descended from a senator of A.D. 1200. The princes of Orsini and Colonna, in their quality as attendants on the throne (principi assistenti al soglio), take precedence of all other Roman nobles.

Following the wall of the theatre, down a filthy street, we arrive at the picturesque group of ruins of the "Porticus Octaviæ," erected by Augustus, in honour of his sister (the unhappy wife of Antony), close to the theatre to which he had given the name of her son. The exact form of the building is known from the Pianta Capitolina,—that it was a parallelogram, surrounded by a double arcade of 270 columns, and enclosing the temples of Jupiter and Juno, built by the Greek architects, Batracus and Saurus.[91]

With regard to these temples, Pliny narrates a fact which reminds one of the story of the Madonna of Sta. Maria Nuova.[92] The porters having carelessly carried the statues of the gods to the wrong temples, it was imagined that they had done so from divine inspiration, and the people would not venture to remove them, so that the statues always remained where they had been placed, though their surroundings were utterly unsuitable.

The Portico of Octavia built by Augustus, occupied the site of an earlier portico—the Porticus Metelli—built by A. Cæcilius Metellus, after his triumph over Andriscus in Macedonia, in B.C. 146. Temples of Jupiter Stator and Juno existed also in this portico, one of them being the earliest temple built of marble in Rome. Before these temples Metellus placed the famous group of twenty-five bronze statues, which he had brought from Greece, executed by Lysippus for Alexander the Great, and representing that conqueror himself and twenty-four horsemen of his troop who had fallen at the Granicus.[93]

The existing fragment of the portico is the original entrance to the whole. The building had suffered from fire in the reign of Titus, and was restored by Septimius Severus, and of this time is the large brick arch on one side of the ruin.

Within the portico is the Church of S. Angelo in Pescheria. Here it was that Cola Rienzi summoned, at midnight—May 20, 1347—all good citizens to hold a meeting for the re-establishment of "the good estate;" here he kept the vigil of the Holy Ghost; and hence he went forth, bareheaded, in complete armour, accompanied by the papal legate, and attended by a vast multitude, to the Capitol, where he called upon the populace to ratify the Good Estate.

It is said that one of the causes which most incited the indignation of Rienzi against the assumption and pride of the Roman families, was the fact of their painting their arms on the ancient Roman buildings, and thus in a manner appropriating them to their own glory. Remains of coats of arms thus painted may be seen on the front wall of the Portico of Octavia. It was also on this very wall that Rienzi painted his famous allegorical picture. In this painting kings and men of the people were seen burning in a furnace, with a woman half consumed, who personified Rome,—and on the right was a church, whence issued a white-robed angel, bearing in one hand a naked sword, while with the other he plucked the woman from the flames. On the church tower were SS. Peter and Paul, crying to the angel, "Aquilo, aquilo, succurri a l'albergatrice nostra,"—and beyond this were represented falcons (typical of the Roman barons) falling from heaven into the flames, and a white dove bearing a wreath of olive, which it gave to a little bird (Rienzi), which was chased by the falcons. Beneath was inscribed: "I see the time of great justice, do thou await that time."

Through the brick arch of the Portico we enter upon the ancient Pescheria, with the marble fish-slabs of imperial times still remaining in use. It is a striking scene—the dark, many-storied houses almost meeting overhead and framing a narrow strip of deep blue sky,—below, the bright groups of figures and rich colouring of hanging cloths and drapery.

Here we are in the centre of the Jews' quarter—the famous Ghetto.

The name "Ghetto" is derived from the Hebrew word chat, broken, destroyed, shaven, cut down, cast off, abandoned (see the Hebrew in Isaiah xiv. 12; xv. 2; Jer. xlviii. 25, 27; Zech. xi. 10—14; &c.). The first Jewish slaves were brought to Rome by Pompey the Great, after he had taken Jerusalem, and forcibly entered the Holy of Holies. But for centuries after this they lived in Rome in wealth and honour, their princes Herod and Agrippa being received with royal distinction, and finding a home in the Palace of the Cæsars,—in which Berenice (or Veronica), the daughter of Agrippa, presided as the acknowledged mistress of Titus, who would willingly have made her empress of Rome. The chief Jewish settlement in imperial times was nearly on the site of their present abode, but they were not compelled to live here, and also had a large colony in the Trastevere; and when St. Peter was at Rome (if the Church tradition be true), he dwelt, with Aquila and Priscilla, on the slopes of the Aventine. Julius, Augustus, and Tiberius Cæsar treated the Jews with kindness, but under Caligula they already met with ill-treatment and contempt,—that emperor being especially irritated against them as the only nation which refused to yield him divine honours, and because they had successfully resisted the placing of his statue in the Holy of Holies at Jerusalem. On the destruction of Jerusalem by Titus, thousands of Jewish slaves were brought to Rome, and were employed on the building of the Coliseum. At the same time Vespasian, while allowing the Hebrews in Rome the free exercise of their religion, obliged them to pay the tax of half a skekel, formerly paid into the Temple treasury, to Jupiter Capitolinus,—and this custom is still kept up in the annual tribute paid by the Jews in the Camera Capitolina.

Under Domitian the Jews were banished from the city to the valley of Egeria, where they lived in a state of poverty and outlawry, which is described by Juvenal,[94] and occupied themselves with soothsaying, love-charms, magic-potions, and mysterious cures.[95]

During the reigns of the earlier popes, the Jews at Rome enjoyed a great amount of liberty, and the anti-pope Anacletus II. (ob. 1138) was even the grandson of a baptized Jew, whose family bore a leading part in Rome, as one of the great patrician houses. The clemency with which the Jews were regarded was, however, partly due to their skill as physicians,—and long after their persecutions had begun (as late as Martin V., 1417—31), the physician of the Vatican was a Jew. The first really bitter enemy of the Jews was Eugenius IV. (Gabriele Condolmiere, 1431—39), who forbade Christians to trade, to eat, or to dwell with them, and prohibited them from walking in the streets, from building new synagogues, or from occupying any public post. Paul II. (1468) increased their humiliation by compelling them to run races during the Carnival, as the horses run now, amidst the hoots of the populace. This custom continued for two hundred years. Sprenger's "Roma Nuova" of 1667, mentions that "the asses ran first, then the Jews—naked, with only a band round their loins—then the buffaloes, then the Barbary horses." It was Clement IX. (Rospigliosi), in 1668, who first permitted the Jews to pay a sum equivalent to 1500 francs annually instead of racing.

The Jews were first shut up within the walls of the Ghetto by the fanatical Dominican pope, Paul IV. (Gio. Pietro Caraffa, 1555—59), and commanded never to appear outside it, unless the men were in yellow hats, or the women in yellow veils. "For," says the Bull Cum Nimis,

The Ghetto, or Vicus Judæorum, as it was at first called, was shut in by walls which reached from the Ponte Quattro Capi to the Piazza del Pianto, or "Place of Weeping," whose name bears witness to the grief of the people on the 26th July, 1556, when they were first forced into their prison-house.

The Jews were kindly treated by Sixtus V. on the plea that they were "the family from whom Christ came," and he allowed them to practise many kinds of trades, and to have intercourse with Christians, and to build houses, libraries, and synagogues, but his mild laws were all repealed by Clement VIII. (Aldobrandini, 1592—1605), and under Clement XI. and Innocent XIII. all trade was forbidden them, except that in old-clothes, rags, and iron, "stracci feracci." To these Benedict XIV. (Lambertini) added trade in drapery, with which they are still largely occupied. Under Gregory XIII. (Buoncompagni, 1572—85) the Jews were forced to hear a sermon every week in the church, first of S. Benedetto alla Regola, then in S. Angelo in Peschiera, and every Sabbath police-agents were sent into the Ghetto to drive men, women, and children into the church with scourges, and to lash them while there if they appeared to be inattentive.

Though what the Jews really said, on thus being driven to church, was rather to this effect:—

This custom of compelling Jews to listen to Christian sermons was renewed by Leo XII., and was only abolished in the early years of Pius IX. The walls of the Ghetto also remained, and its gates were closed at night until the reign of the present pope, who removed the limits of the Ghetto, and revoked all the oppressive laws against the Jews. The humane feeling with which he regarded this hitherto oppressed race is said to have been first evinced,—when, on the occasion of his placing a liberal alms in the hand of a beggar, one of his attendants interposed, saying, "It is a Jew!" and the pope replied, "What does that matter, it is a man?"

Opposite the gate of the Ghetto near the Ponte Quattro Capi a converted Jew erected a church, which is still to be seen, with a painting of the Crucifixion on its outside wall (upon which every Jew must look as he comes out of the Ghetto), and underneath an inscription in large letters of Hebrew and Latin from Isaiah, lxv. 2:—"All day long I have stretched out my hands to a disobedient and gainsaying people." The lower streets of the Ghetto, especially the Fiumara, which is nearest to the banks of the Tiber, are annually overflowed during the spring rains and melting of the mountain snows, which is productive of great misery and distress. Yet in spite of this, and of the teeming population crowded into its narrow alleys, the mortality was less here during the cholera than in any other part of Rome, and malaria is unknown here, a freedom from disease which may perhaps be attributed to the Jewish custom of whitewashing their dwellings at every festival. There is no Jewish hospital, and if the Jews go to an ordinary hospital, they must submit to a crucifix being hung over their beds. It is remarkable that the very centre of the Jewish settlement should be the Portico of Octavia, in which Vespasian and Titus celebrated their triumph after the fall of Jerusalem. Here and there in the narrow alleys the seven-branched candlestick may be seen carved on the house walls, a "yet living symbol of the Jewish religion."

Everything may be obtained in the Ghetto: precious stones, lace, furniture of all kinds, rich embroidery from Algiers and Constantinople, striped stuffs from Spain,—but all is concealed and under cover. "Cosa cercate," the Jew shopkeepers hiss at you as you thread their narrow alleys, and try to entice you into a bargain with them. The same article is often passed on by a mutual arrangement from shop to shop, and meets you wherever you go. On Friday evening all shops are shut, and bread is baked for the Sabbath, all merchandise is removed, and the men go to the synagogue, and wish each other "a good Sabbath," on their return.[96]

In the Piazza della Scuola are five schools under one roof—the Scuola del Tempio, Catilana, Castigliana, Siciliana, and the Scuola Nuova, "which show that the Roman Ghetto is divided into five districts or parishes, each of which represents a particular race, according to the prevailing nationality of the Jews, whose fathers have been either Roman-Jewish from ancient times, or have been brought hither from Spain and Sicily; the Temple-district is said above all others to assert its descent from the Jews of Titus." In the same piazza, is the chief synagogue, richly adorned with sculpture and gilding. On the external frieze are represented in stucco the seven-branched candlestick, David's harp, and Miriam's timbrel. The interior is highly picturesque and quaint, and is hung with curious tapestries on festas. The frieze which surrounds it represents the temple of Solomon with all its sacred vessels. A round window in the north wall, divided into twelve panes of coloured glass, is symbolical of the twelve tribes of Israel, and a type of the Urim and Thummim. "To the west is the round choir, a wooden desk for singers and precentors. Opposite, in the eastern wall, is the Holy of Holies, with projecting staves (as if for the carrying of the ark) resting on Corinthian columns. It is covered by a curtain, on which texts and various devices of roses and tasteful arabesques in the style of Solomon's temple are embroidered in gold. The seven-branched candlestick crowns the whole. In this Holy of Holies lies the sealed Pentateuch, a large parchment roll. This is borne in procession through the hall and exhibited from the desk towards all the points of the compass, whereat the Jews raise their arms and utter a cry."

The narrow street which is a continuation of the Pescheria, emerges upon the small square called Piazza della Giudecca. In the houses on the left may be seen some columns and part of an architrave, being the only visible remains of the Theatre of Balbus, erected by C. Cornelius Balbus, a general who triumphed in the time of Augustus, with the spoils taken from the Garamantes, a people of Africa. It was opened in the same year as the Theatre of Marcellus, and though very much smaller, was capable of containing as many as 11,600 spectators.

To the right, still partly on the site of the ancient theatre, and extending along one side of the Piazza delle Scuole, is the vast Palazzo Cenci, the ancient residence of the famous Cenci family (now represented by Count Cenci-Bolognetti), and the scene of many of the terrible crimes and tragedies which stain its annals.

Opposite the further entrance of the Palace, is the tiny Church of S. Tommaso del Cenci, founded 1113 by Cencio, bishop of Sabina; granted by Julius II. to Rocco Cenci;—and rebuilt in 1575 by the wicked Count Cenci.

Retracing our steps to the Piazza della Giudecca and turning left down a narrow alley, which is always busy with Jewish traffic, we reach the Piazza delle Tartarughe, so called from the tortoises which form part of the adornments of its lovely little fountain,—designed by Giacomo della Porta, the four figures of boys being by Taddeo Landini.

At this point we leave the Ghetto.

Forming one side of the Piazza delle Tartarughe is the Palazzo Costaguti, celebrated for its six splendid ceilings by great artists, viz.:—

In a corner of the piazza, is a well-known Lace-Shop, much frequented by English ladies, but great powers of bargaining are called for. Almost immediately behind this is one of the most picturesque mediæval courtyards in the city.

On the same line, at the end of the street, is the Palazzo Mattei, built by Carlo Maderno (1615) for Duke Asdrubal Mattei, on the site of the Circus of Flaminius. The small courtyard of this palace is well worth examining, and is one of the handsomest in Rome, being quite encrusted, as well as the staircase, with ancient bas-reliefs, busts, and other sculptures. It contained a gallery of pictures, the greater part of which have been dispersed. The rooms have frescoes by Pomerancio, Lanfranco, Pietro da Cortona, Domenichino, and Albani.

Behind this, facing the Via delle Botteghe Oscure, is the vast Palazzo Caëtani, now inhabited by the learned Don Michael-Angelo Caëtani (Duke of Sermoneta and Prince of Teano), whose family is one of the most distinguished in the mediæval history of Rome, and which gave Boniface VIII. to the church:

It claims descent from Anatolius, created Count of Gaieta by Pope Gregory II. in 730.

Close to the Palazzo Mattei is the Church of Sta. Caterina de' Funari, built by Giacomo della Porta, in 1563, adjoining a convent of Augustinian nuns. The streets in this quarter are interesting as bearing witness in their names to the existence of the Circus Flaminius, the especial circus of the plebs, which once occupied all the ground near this. The Via delle Botteghe Oscure, commemorates the dark shops which in mediæval times occupied the lower part of the circus, as they do now that of the Theatre of Marcellus. The Via dei Funari, the ropemakers who took advantage for their work of the light and open space which the interior of the deserted circus afforded. The remains of the circus existed to the sixteenth century.

Near this, turning right, is the Piazza di Campitelli, which contains the Church of S. Maria in Campitelli, built by Rinaldi for Alexander VII. in 1659, upon the site of an oratory erected by Sta. Galla in the time of John I. (523-6), in honour of an image of the Virgin, which one day miraculously appeared imploring her charity, in company with the twelve poor women to whom she was daily in the habit of giving alms. The oratory of Sta. Galla was called Sta. Maria in Portico, from the neighbouring portico of Octavia, a name which is sometimes applied to the present church. The miraculous mendicant image is now enshrined in gold and lapis-lazuli over the high altar. Other relics supposed to be preserved here are the bodies of Sta. Cyrica, Sta. Victoria, and Sta. Vincenza, and half that of Sta. Barbara! The second chapel on the right has a picture of the Descent of the Holy Ghost by Luca Giordano; in the first chapel on the left is the tomb of Prince Altieri, inscribed "Umbra," and that of his wife, Donna Laura di Carpegna, inscribed "Nihil;" they rest on lions of rosso-antico. In the right transept is the tomb, by Pettrich, of Cardinal Pacca, who lived in the Palazzo Pacca, on the opposite side of the square, and was the faithful friend of Pius VII. in his exile. The bas-relief on the tomb, of St. Peter delivered by the angel, is in allusion to the deliverance from the French captivity.

The name Campitelli is probably derived from Campusteli, because in this neighbourhood (see Ch. XIV.) was the Columna Bellica, from which when war was declared a dart was thrown into a plot of ground, representing the hostile territory,—perhaps the very site of this church.

In the street behind this, leading into the Via di Ara Cœli, are the remains of the ancient Palazzo Margana, with a very richly-sculptured gateway of c. 1350.

Opening from hence upon the left is the Via Tor de' Specchi, whose name commemorates the legend of Virgil as a necromancer, and of his magic tower lined with mirrors, in which all the secrets of the city were reflected and brought to light.

Here is the famous Convent of the Tor de' Specchi, founded by Sta. Francesca Romana, and open to the public during the octave of the anniversary of her death (following the 9th of March). At this time the pavements are strewn with box, the halls and galleries are bright with fresh flowers, and Swiss guards are posted at the different turnings, to facilitate the circulation of visitors. It is a beautiful specimen of a Roman convent. The first hall is painted with ancient frescoes, representing scenes in the life of the saint. Here, on a table, is the large bowl in which Sta. Francesca prepared ointment for the poor. Other relics are her veil, shoes, &c. Passing a number of open cloisters, cheerful with flowers and orange-trees, we reach the chapel, where sermons or rather lectures are delivered at the anniversary upon the story of Sta. Francesca's life, and where her embalmed body may be seen beneath the altar. A staircase seldom seen, but especially used by Francesca, is only ascended by the nuns upon their knees. It leads to her cell and a small chapel, black with age, and preserved as when she used them. The picturesque dress of the Oblate sisters who are everywhere visible, adds to the interest of the scene.

Almost opposite the convent is the Via del Monte Tarpeio, a narrow alley, leading up to the foot of the Tarpeian rock, beneath the Palazzo Caffarelli, and one of the points at which the rock is best seen. This spot is believed to have been the site of the house of Spurius Mælius, who tried to ingratiate himself with the people, by buying up corn and distributing it in a year of scarcity (B.C. 440), but who was in consequence put to death by the patricians. His house was razed to the ground, and its site, being always kept vacant, went by the name of Æquimælium.[98]

CHAPTER VI.

THE PALATINE.

"THE Palatine formed a trapezium of solid rock, two sides of which were about 300 yards in length, the others about 400: the area of its summit, to compare it with a familiar object, was nearly equal to the space between Pall-Mall and Piccadilly in London."[99]

The history of the Palatine is the history of the City of Rome. Here was the Roma Quadrata, the "oppidum," or fortress of the Pelasgi, of which the only remaining trace is the name Roma, signifying force. This is the fortress where the shepherd-king Evander is represented by Virgil as welcoming Æneas.

The Pelasgic fortress was enclosed by Romulus within the limits of this new city, which, "after the Etruscan fashion, he traced round the foot of the hill with a plough drawn by a bull and a heifer, the furrow being carefully made to fall inwards, and the heifer yoked to the near-side, to signify that strength and courage were required without, obedience and fertility within the city.... The locality thus enclosed was reserved for the temples of the gods and the residence of the ruling class, the class of patricians or burghers, as Niebuhr has taught us to entitle them, which predominated over the dependent commons, and only suffered them to crouch for security under the walls of Romulus. The Palatine was never occupied by the plebs. In the last age of the republic, long after the removal of this partition, or of the civil distinction between the great classes of the state, here was still the chosen site of the mansions of the highest nobility."[100]

In the time of the early kings the City of Rome was represented by the Palatine only. It was at first divided into two parts, one inhabited, and the other called Velia, and left for the grazing of cattle. It had two gates, the Porta Romana to the north, and the Porta Mugonia—so called from the lowing of the cattle—to the south, on the side of the Velia.

Augustus was born on the Palatine, and dwelt there in common with other patrician citizens in his youth. After he became emperor he still lived there, but simply, and in the house of Hortensius, till, on its destruction by fire, the people of Rome insisted upon building him a palace more worthy of their ruler. This building was the foundation-stone of "the Palace of the Cæsars," which in time overran the whole hill, and, under Nero, two of the neighbouring hills besides, and whose ruins are daily being disinterred and recognised, though much confusion still remains regarding their respective sites. In A.D. 663, part of the palace remained sufficiently perfect to be inhabited by the Emperor Constans, and its plan is believed to have been entire for a century after, but it never really recovered its sack by Genseric in A.D. 455, in which it was completely gutted, even of the commonest furniture; and as years passed on it became imbedded in the soil which has so marvellously enshrouded all the ancient buildings of Rome, so that till within the last ten years, only a few broken nameless walls were visible above ground.

How different is this description to that of Claudian (de Sexto Consulat. Honorii).

After the middle of the sixteenth century a great part of the Palatine became the property of the Farnese family, latterly represented by the Neapolitan Bourbons, who sold the "Orti Farnesiani," in 1861, to the Emperor Napoleon III., for £10,000. Up to that time this part of the Palatine was a vast kitchen-garden, broken here and there by picturesque groups of ilex trees and fragments of mouldering wall. In one corner was a casino of the Farnese (still standing) adorned in fresco by some of the pupils of Raphael. This and all the later buildings in the "Orti," are marked with the Farnese fleur-de-lis, and on the principal staircase of the garden is some really grand distemper ornament of their time. Since 1861 extensive excavations have been carried on here under the superintendence of Signor Rosa, which have resulted in the discovery of the palaces of some of the earlier emperors, and the substructions of several temples. After the revolution of 1870 the French portion of the Palatine was sold by the Ex-Emperor Napoleon to the Roman municipal government.

In visiting the Palace of the Cæsars, it will naturally be asked how it is known that the different buildings are what they are described to be. In a great measure this has been ascertained from the descriptions of Tacitus and other historians,—but the greatest assistance of all has been obtained from the Tristia of Ovid, who, while in exile, consoles himself by recalling the different buildings of his native city, which he mentions in describing the route taken by his book, which he had persuaded a friend to convey to the imperial library. He supposes the book to enter the Palatine by the Clivus Victoriæ behind the Temple of Vesta, and follows its course, remarking the different objects it passed on the right or the left.

If we enter the palace by the Farnese gateway, on the right of the Campo-Vaccino, opposite SS. Cosmo e Damiano, we had better only ascend the first division of the staircase and then turn to the left. Passing along the lower ridge of the Palatine, afterwards occupied by many of the great patrician houses, whose sites we shall return to and examine in detail, we reach that corner of the garden which is nearest to the Arch of Titus. Here a paved road of large blocks of lava has lately been laid bare, and is identified beyond a doubt as part of the Via Nova, which led from the Porta Mugonia of the Palatine along the base of the hill to the Velabrum. In the reign of Augustus it appears to have been made to communicate also with the Forum.

At this point the road was called Summa Via Nova.

Near this spot must have been the site of the house where Octavius lived with his wife Afra, the niece of Julius Cæsar (daughter of his eldest sister Julia), and where their son, Octavius, afterwards the Emperor Augustus, was born. This house afterwards passed into the possession of C. Lætorius, a patrician; but after the death of Augustus, part of it was turned into a chapel, and consecrated to him. It was situated at the top of a staircase—"supra scalas annularias"[101]—which probably led to the Forum, and is spoken of as "ad capita bubula," perhaps from bulls' heads, with which it may have been decorated.

Here we find ourselves, owing to the excavations, in a deep hollow between the two divisions of the hill. On the left is the Velia, upon which, near the Porta Mugonia, the Sabine king, Ancus Martius, had his palace. When Ancus died, he was succeeded by an Etruscan stranger, Lucius Tarquinius, who took the name of Tarquinius Priscus. This king also lived upon the Velia,[102] with Tanaquil his queen, and here he was murdered in a popular rising, caused by the sons of his predecessor. Here his brave wife Tanaquil closed the doors, concealed the death of the king, harangued the people from the windows,[103] and so gained time till Servius Tullius was prepared to take the dead king's place and avenge his murder.[104]

Keeping to the valley, on our right are now some huge blocks of tufa, of great interest as part of the ancient Roma Quadrata, anterior to Romulus. Beyond this, also on the right, are foundations of the Temple of Jupiter Stator, built by Romulus, who vowed that he would found a temple to Jupiter under that name, if he would arrest the flight of his Roman followers in their conflict with the superior forces of the Sabines.[105]

The temple of Jupiter Stator has an especial interest from its connection with the story of Cicero and Catiline.

Nearly opposite the foundations of Jupiter Stator, on the left,—are some remains considered to be those of the Porta Palatii.

The valley is now blocked by a vast mass of building which entirely closes it. This is the palace of Augustus, built in the valley between the Velia and the other eminence of the Palatine, which Rosa, contrary to other opinions, identifies with the Germale. The division of the Palatine thus named, was reckoned as one of "the seven hills" of ancient Rome. Its name was thought to be derived from Germani, owing to Romulus and Remus being found in its vicinity.[106]

The Palace of Augustus was begun soon after the battle of Actium, and gradually increased in size, till the whole valley was blocked up by it, and its roofs became level with the hill-sides. Part of the ground which it covered had previously been occupied by the villa of Catiline.[107] Here Suetonius says that Augustus occupied the same bed-room for forty years. Before the entrance of the palace it was ordained by the Senate, B.C. 26, that two bay-trees should be planted, in remembrance of the citizens he had preserved, while an oak wreath was placed above the gate in commemoration of his victories.

It was before the gate of this palace that Augustus upon one day in every year sate as a beggar, receiving alms from the passers-by, in obedience to a vision that he should thus appease Nemesis.

Upon the top of this building of Augustus, Vespasian built his palace in A.D. 70, not only using the walls of the older palace as a support for his own, but filling the chambers of the earlier building entirely up with earth, so that they became a solid massive foundation. The ruins which we visit are thus for the most part those of the palace of Vespasian, but from one of its halls we can descend into rooms underneath excavated from the palace of Augustus. The three projecting rostra which we now see in front of the palace are restorations by Signor Rosa.

The palace on the Palatine was not the place where the emperors generally lived. They resided at their villas, and came into the town to the Palace of the Cæsars for the transaction of public business. Thus this palace was, as it were, the St. James's of Rome. The fatigue and annoyance of a public arrival every morning, amid the crowd of clients who always waited upon the imperial footsteps, was naturally very great, and to obviate this the emperors made use of a subterranean passage which ran round the whole building, and by which they were enabled to arrive unobserved, and not to present themselves in public till their appearance upon the rostra in front of the building to receive the morning salutations of their people.

If we ascend a winding path to the right, to the garden which now covers the greater part of the hill Germale, we shall find a staircase which descends on the left to join this passage, following which, we will ascend, with the emperor, into his palace.

The passage, called Crypto-Porticus, is still quite perfect, and retains a great part of its mosaic pavements and much of its inlaid ceilings, from which the gilt mosaic has been picked out, but the pattern is still traceable. The passage was lighted from above. It was by this route that St. Laurence was led up for trial in the basilica, of the palace. Turning to the left, we again emerge upon the upper level.

The emperor here reached the palace, but as he did not yet wish to appear in public, he turned to the left by the private passage called Fauces, which still remains, running behind the main halls of the building. Here he was received by the different members of the imperial family, much as Napoleon III. was received by Princesses Mathilde, Clotilde, and the Murats, in a private apartment at the Tuileries, before entering the ball-room. Hence, passing across the end of the basilica, the emperor reached the portico in front of the palace, looking down upon the hollow space where were the Temple of Jupiter Stator and the other buildings connected with the early history of the Roman state. Here the whole Court received him and escorted him to the central rostra, where he had his public reception from the people assembled below, and whence perhaps he addressed to them a few words of morning salutation in return. The attendants meanwhile defiled on either side to the lower terraced elevation, which still remains.

This ceremony being gone through, the emperor returned as he came, to the basilica, for the transaction of business.

The name Basilica means "King's House." It was the ancient Law Court. It usually had a portico, was oblong in form, and ended in an apse for ornament. The Christians adopted it for their places of worship because it was the largest type of building then known. They also adopted the names of the different parts of the pagan basilica, as the Confessional, from the Confession, the bar of justice at which the criminal was placed,—the Tribune, from the Tribunal of the Judge, &c. A chapel and sacristy added on either side produced the form of the cross. The Basilica here is of great width. A leg of the emperor's chair actually remains in situ upon the tribunal, and part of the richly wrought bar of the Confession still exists. This was the bar at which St. Laurence and many other Christian martyrs were judged. The basilica in the palace of the Cæsars was also the scene of the trial of Valerius Asiaticus in the time of Claudius (see Chap. II.), when the Empress Messalina, who was seated near the emperor upon the tribunal, was so overcome by the touching eloquence of the innocent man, that she was obliged to leave the hall to conceal her emotion,—but characteristically whispered as she went out, that the accused must nevertheless on no account be suffered to escape with his life,[108]—that she might take possession of his Pincian Garden, which was as Naboth's Vineyard in her eyes. An account is extant which describes how it was necessary to increase the width of the seat upon the tribunal at this period, in consequence of a change in the fashion of dress among the Roman ladies.

This basilica, though perhaps not then itself in existence, will always have peculiar interest as showing the form and character of that earlier basilica in the Palace of the Cæsars, in which St. Paul was tried before Nero. But it is quite possible that it may be the same actual basilica itself,—and that the palace of Nero which overran the whole of the hill, may have had its basilica on this site, where it was preserved by Vespasian in his later and more contracted palace.

Beyond the basilica is the Tablinum, the great hall of the palace, which served as a kind of commemorative domestic museum, where family statues and pictures were preserved. This vast room was lighted from above, on the plan which may still be seen at Sta. Maria degli Angeli, which was in fact a great hall of a Roman house. The roof of this hall was one vast arch, unsupported except by the side walls. We have record of a period when these walls were supposed insufficient for the great weight, and had to be strengthened, in interesting confirmation of which we can still see how the second wall was added and united to the first.

Appropriately opening from the family picture gallery of the Tablinum, was the Lararium, a private chapel for the worship of such members of the family—Livia and many others—as were deified after death. An altar, on the original site, has been erected here by Signor Rosa, from bits which have been found.

Hitherto the chambers which we have visited were open to the public; beyond this, none but his immediate family and attendants could follow the emperor. We now enter the Peristyle, a courtyard, which was open to the sky, but surrounded with arcades ornamented with statues, where we may imagine that the empresses amused themselves with their birds and flowers. Hence, by a narrow staircase, we can descend into what is perhaps the most interesting portion of the whole, the one unearthed fragment of the actual Palace of Augustus, which still retains remains of gilding and fresco, and an artistic group in stucco. An original window remains, and it will be recollected on looking at it, that when this was built it was not subterranean, but merely in the hollow of the valley, afterwards filled up. In these actual rooms may have lived Livia, who in turn inhabited three houses on the Palatine, first that of her first husband Nero Drusus, whom Augustus compelled her to divorce; then the imperial house of Augustus; and lastly that of Tiberius, the son by her first husband, whom she was the means of raising to the throne.

We now reach the Triclinium or dining-room, surrounded by a skirting of pavonazzetto with a cornice of giallo. Tacitus describes a scene in the imperial triclinium, in which the Emperor Tiberius is represented as reclining at dinner, having on one side his aged mother, the Empress Livia, and on the other his niece Agrippina, widow of Germanicus and granddaughter of the great Augustus.[110] It was while the imperial family were seated at a banquet in the triclinium, in the time of Nero, that his young step-brother Britannicus (son of Claudius and Messalina) swallowed the cup of poison which the emperor had caused Locusta to prepare and sank back dead upon his couch, his wretched sisters Antonia and Octavia, also seated at the ghastly feast, not daring to give expression to their grief and horror,—and Nero merely desiring the attendants to carry the boy out, and saying that it was a fit to which he was subject.[111] Here it was that Marcia the concubine presented the cup of drugged wine to the wicked Commodus, on his return from a wild beast hunt, and produced the heavy slumber during which he was strangled by the wrestler Narcissus. In this very room also his successor Pertinax, who had spent his short reign of three months in trying to reform the State, resuscitate the finances, and to heal, as far as possible, 'the wounds inflicted by the hand of tyranny,' received the news that the guard, impatient of unwonted discipline, had risen against him, and going forth to meet his assassins, fell, covered with wounds, just in front of the palace.[112]

Vitruvius says that every well-arranged Roman house has a dining-room opening into a nymphæum, and accordingly here, on the right, is a Nymphæum, with a beautiful fountain surrounded by miniature niches, once filled with bronzes and statues. Water was conveyed hither by the Neronian aqueduct. The pavement of this room was of oriental alabaster, of which fragments remain.

Beyond the Triclinium is a disgusting memorial of Roman imperial life, in the Vomitorium, with its bason, whither the feasters retired to tickle their throats with feathers, and come back with renewed appetite to the banquet.

We now reach the portico which closed the principal apartments of the palace on the south-west. Some of its Corinthian pillars have been re-erected on the sites where they were found. From hence we can look down upon some grand walls of republican times, formed of huge tufa blocks.

Passing a space of ground, called, without much authority, Bibliotheca, we reach a small Theatre on the edge of the hill, interesting as described by Pliny, and because the Emperor Vespasian, who is known to have been especially fond of reciting his own compositions, probably did so here. Hence we may look down upon the valley between the Palatine and Aventine, where the rape of the Sabines took place, and upon the site of the Circus Maximus. From hence, we may imagine, that the later emperors surveyed the hunts and games in that circus, when they did not care to descend into the amphitheatre itself.

Beyond this, on the right, is (partially restored) the grand staircase leading to the platform once occupied by the Temple of Jupiter-Victor, vowed by Fabius Maximus during the Samnite war, in the assurance that he would gain the victory. On the steps is a sacrificial altar, which retains its grooves for the blood of the victims, with an inscription stating that it was erected by "Cnæus Domitius C. Calvinus, Pontifex,"—who was a general under Julius Cæsar, and consul B.C. 53 and B.C. 40.

Now, for some distance, there are no remains, because this space was always kept clear, for here, constantly renewed, stood the Hut of Faustulus and the Sacred Fig-tree.

In the cliff of the Palatine, below the fig-tree, was shown for many centuries the cavern Lupercal, sacred from the earliest times to the Pelasgic god Pan.

In the hut of Romulus were preserved several objects venerated as relics of him.

Turning along the terrace which overhangs the Velabrum we reach the ruins of the Palace of Tiberius,[113] in which he resided during the earlier part of his reign, when he was under the influence of his aged and imperious mother Livia. Here he had to mourn for Drusus, his only son, who fell a victim (A.D. 23) to poison administered to him by his wife Livilla and her lover the favourite Sejanus. Here also, in A.D. 29, died Livia, widow of Augustus, at the age of eighty-six, "a memorable example of successful artifice, having attained in succession, by craft if not by crime, every object she could desire in the career of female ambition."[114]

The row of arches remaining are those of the soldiers' quarters. In the fourth arch is a curious graffite of a ship. In another the three pavements in use at different times may be seen in situ, one above another. On the terrace above these arches has recently been discovered a large piscina, or fish-pond, and the painted chambers of a building, which is supposed to have been the House of Drusus (elder brother of Tiberius) and Antonia. Several of the rooms in this building are richly decorated in fresco, one has a picture of a street with figures of females going to a sacrifice, and of ladies at their toilette; another of Mercury, Io, and Argus; and a third of Galatea and Polyphemus. From the names of the characters in these pictures represented being affixed to them in Greek, we may naturally conclude that they are the work of Greek artists.

The north-eastern corner of the area is entirely occupied by the vast ruins of the Palace of Caligula, built against the side of the hill above the Clivus Victoriœ, which still remains, and consisting of ranges of small rooms, communicating with open galleries, edged by marble balustrades, of which a portion exists. In these rooms the half-mad Caius Caligula rushed about, sometimes dressed as a charioteer, sometimes as a warrior, and delighted in astonishing his courtiers by his extraordinary pranks, or shocking them by trying to enforce a belief in his own divinity.[115]

After the murder of Caligula (Jan. 24, 794) by the tribune Cheræa, in the vaulted passage which led from the palace to the theatre, a singular chance which occurred in this part of the palace led to the elevation of Claudius to the throne.

In this same palace Claudius was feasting when he was told that his hitherto idolised wife Messalina was dead, without being told whether she died by her own hand or another's,—and asked no questions, merely desiring a servant to pour him out some more wine, and went on eating his supper.[117] Here also Claudius, who so dearly loved eating, devoured his last and fatal supper of poisoned mushrooms which his next loving wife (and niece) Agrippina prepared for him, to make way for her son Nero upon the throne.[118]

The Clivus Victoriæ commemorates by its name the Temple of Victory,[119] said to have been founded by the Sabine aborigines before the time of Romulus, and to be the earliest temple at Rome of which there is any mention except that of Saturnus. This temple was rebuilt by the consul L. Posthumius.

Chief of a group of small temples, the famous Temple of Cybele, "Mother of the Gods," stood at this corner of the Palatine. Thirteen years before it was built, the "Sacred Stone," the form under which the "Idæan Mother" was worshipped, had been brought from Pessinus in Phrygia, because, according to the Sibylline books, frequent showers of stones which had occurred could only be expiated by its being transported to Rome. It was given up to the Romans by their ally Attalus, king of Pergamus, and P. Cornelius Scipio, the young brother of Africanus—accounted the worthiest and most virtuous of the Romans—was sent to receive it. As the vessel bearing the holy stone came up the Tiber it grounded at the foot of the Aventine, when the aruspices declared that only chaste hands would be able to move it. Then the Vestal Claudia drew the vessel up the river by a rope.

In her temple, which was round and surmounted by a cupola, Cybele was represented by a statue with its face to the east; the building was adorned with a painting of Corybantes, and plays were acted in front of it.[120]

This temple, after its second destruction by fire, was entirely rebuilt by Augustus in A.D. 2.

We have the authority of Martial[121] that in the immediate neighbourhood of the temple of Cybele, stood the Temple of Apollo, though Signor Rosa places it on the other side of the hill in the gardens of S. Buonaventura. Its remains have yet to be discovered.

The temple of Apollo was built by Augustus to commemorate the battle of Actium. He appropriated to it part of the land covered with houses which he had purchased upon the Palatine;—another part he gave to the Vestals; the third he used for his own palace.

Thus Apollo and Vesta became as it were the household gods of Augustus:

Other temples on the Palatine were that of Juno Sospita:

of Minerva:

a temple of Moonlight mentioned by Varro (iv. 10) and a shrine of Vesta.

From the Torretta del Palatino which is near the house of Caligula, there is a magnificent view over the seven hills of Rome;—the Palatine, Aventine, Capitoline, Cœlian, Quirinal, Viminal, and Esquiline. From this point also it is very interesting to remember that these were not the heights considered as "the Seven Hills" in the ancient history of Rome, when the sacrifices of the Septimontium were offered upon the Palatine, Velia, and Germale, the three divisions of the Palatine—of which one can no longer be traced; upon the Fagutal, Oppius, and Cispius, the secondary heights of the Esquiline; and upon the Suburra, which perhaps comprehended the Viminal.[122] Hence also we see the ground we have traversed on the Palatine spread before us like a map.

If we descend the staircase in the Palace of Caligula, we may trace as far as the Porta Romana the piers of the Bridge of Caligula, which, half in vanity, half in madness, he threw across the valley, that he might, as he said, the more easily hold intercourse with his friend and comrade Jupiter upon the Capitol. One of the piers which he used for his bridge, beyond the limits of the palace, was formed by the temple of Augustus built by Tiberius.[123] This bridge, with all other works of Caligula, was of very short duration, being destroyed immediately after his death by Claudius.

Returning by the Clivus Victoriæ, we shall find ourselves again on the eastern slope of the hill from which we started, the site once occupied by so many of the great patrician families. Here at one time lived Caius Gracchus, who to gratify the populace, gave up his house on the side of the Palatine, and made his home in the gloomy Suburra. Here also lived his coadjutor in the consulship, Fulvius Flaccus, who shared his fate, and whose house was razed to the ground by the people after his murder. At this corner of the hill also was the house of Q. Lutatius Catulus, poet and historian, who was consul B.C. 102, and together with Marius was conqueror of the Cimbri in a great battle near Vercelli. In memory of this he founded a temple of the "Fortuna hujusce diei," and decorated the portico of his house with Cimbrian trophies. Varro mentions that his house had also a domed roof.[124] Here also the consul Octavius, murdered on the Janiculum by the partisans of Marius, had a house, which was rebuilt with great magnificence by Emilius Scaurus, who adorned it with columns of marble thirty-eight feet high.[125] These two last-named houses were bought by the wealthy Clodius, who gave 14,800,000 sesterces, or about 130,000l., for that of Scaurus, and throwing down the Porticus Catuli, included its site, and the house of E. Scaurus, in his own magnificent dwelling. Clodius was a member of the great house of the Claudii, and was the favoured lover of Pompeia, wife of Julius Cæsar, by whose connivance, disguised as a female musician, he attempted to be present at the orgies of the Bona Dea, which were celebrated in the house of the Pontifex Maximus close to the temple of Vesta, and from which men were so carefully excluded, that even a male mouse, says Juvenal, dared not show himself there. The position of his own dwelling, and that of the pontifex, close to the foot of the Clivus Victoriæ, afforded every facility for this adventure, but it was discovered by his losing himself in the passages of the Regia. A terrible scandal was the result—Cæsar divorced Pompeia, and the senate referred the matter to the pontifices, who declared that Clodius was guilty of sacrilege. Clodius attempted to prove an alibi, but Cicero's evidence showed that he was with him in Rome only three hours before he pretended to have been at Interamna. Bribery and intimidation secured his acquittal by a majority of thirty-one to twenty-five,[126] but from this time a deadly enmity ensued between him and Cicero.

The house of Clodius naturally leads us to that of Cicero, which was also situated at this corner of the Palatine, whence he could see his clients in the Forum and go to and fro to his duties there. This house had been built for M. Livius Drusus, who, when his architect proposed a plan to prevent its being overlooked, answered, "Rather build it so that all my fellow-citizens may behold everything that I do." In his acts Drusus seemed to imitate the Gracchi; but he sought popularity for its own sake, and after being the object of a series of conspiracies was finally murdered in the presence of his mother Cornelia, in his own hall, where the image of his father was sprinkled with his blood. When dying he turned to those around him and asked, with characteristic arrogance, based perhaps upon conscious honesty of purpose, "when will the commonwealth have a citizen like me again?" After the death of Drusus the house was inhabited by L. Licinius Crassus the orator, who lived here in great elegance and luxury. His house was called from its beauty "the Venus of the Palatine," and was remarkable for its size, the taste of its furniture, and the beauty of its grounds. "It was adorned with pillars of Hymettian marble, with expensive vases, and triclinia inlaid with brass. His gardens were provided with fishponds, and some noble lotus-trees shaded his walks. Ahenobarbus, his colleague in the censorship, found fault with such corruption of manners,[127] estimated his house at a hundred million, or, according to Valerius Maximus,[128] six million sesterces, and complained of his crying for the loss of a lamprey as if it had been a daughter. It was a tame lamprey which used to come at the call of Crassus, and feed out of his hand. Crassus retorted by a public speech against his colleague, and by his great powers of ridicule, turned him into derision; jested upon his name,[129] and to the accusation of weeping for a lamprey, replied, that it was more than Ahenobarbus had done for the loss of any of his three wives."[130] Cicero purchased the house of Crassus a year or two after his consulate for a sum equal to about 30,000l., and removed thither from the Carinæ with his wife Terentia. His house was close to that of Clodius, but a little lower down the hill, which enabled him to threaten to increase the height, so as to shut out his neighbour's view of the city. Upon his accession to the tribuneship Clodius procured the disgrace of Cicero, and after his flight to Greece, obtained a decree of banishment against him. He then pillaged and destroyed his house upon the Palatine, as well as his villas at Tusculum and Formia, and obliged Terentia to take refuge with the Vestals, whose Superior was fortunately her sister. But in the following year, a change of consuls and revulsion of the popular favour led to the recall of Cicero, who found part of his house appropriated by Clodius, who had erected a shrine to Libertas (with a statue which was that of a Greek courtezan carried off from the tomb)[131] on the site of the remainder, which he had razed to the ground.[132]

The indemnity which Cicero received from the state in order to rebuild his house on the Palatine, amounted to about 16,000l. The house of Quintus Cicero was rebuilt close to his brother's at the same time by Cyrus, the fashionable architect of the day.[133]

Among other noble householders on this part of the Palatine was Mark Antony,[134] whose house was afterwards given by Augustus to Agrippa and Messala, soon after which it was burnt down.

A small Museum in this part of the garden contains some of the smaller objects which have been found in the excavations, and specimens of the different marbles and alabasters. There is nothing of any great importance. The fragments of statues and some busts which have been found (including Flavia Domitilla, wife of Vespasian, and Julia, daughter of Titus), have been sent to Paris, but casts have been left here.

We have now made the round of the French division of the Palatine.

It has been decided that some remains which exist in the garden of the Villa Mills (now a Convent of Visitandine Nuns) are those of the House of Hortensius, an orator, "who was second only to Cicero in eloquence, and who, in the early part at least of their lives, was his chief opponent."[135] Cicero himself describes the extraordinary gifts of his rival[136] as well as the integrity with which he fulfilled the duties of a quæstor.[137] In the latter portion of his public career Hortensius was frequently engaged on the same side with Cicero, and then always recognised his superiority by allowing him to speak last. Hortensius died B.C. 50, to the great grief of his ancient rival.[138] The splendid villas of Hortensius were celebrated. He was accustomed to water his trees with wine at regular intervals,[139] and had huge fishponds at Bauli, into which the salt-water fish came to be fed from his hand, and he became so fond of them, that he wept for the death of a favourite muræna.[140] But the house on the Palatine was exceedingly simple and had no decorations but plain columns of Alban stone.[141] This was the chosen residence of Augustus, until, upon its destruction by fire, the citizens insisted upon raising the more sumptuous residence in the hollow of the Palatine by public subscription. The subterranean chambers which have been discovered have some interesting remains of stucco ornament.

The villa, which is now turned into a convent, possessed some frescoes painted by Giulio Romano from designs of Raphael, but these have been destroyed or removed in deference to the modesty of the present inhabitants. The neighbouring church and garden of S. Sebastiano occupy the site of the Gardens of Adonis. (See Chap. IV.)

A large, and by far the most picturesque portion of the Palace of the Cæsars (the only part which was not imbedded in soil ten years ago), is now accessible either from the end of the lane of S. Buenaventura, or from a gate on the left of the Via dei Fienili just before reaching Sta. Anastasia. The excavations in the last-named quarter were begun by the Emperor of Russia, who purchased the site, but afterwards presented it to the city.

Behind Sta. Maria Liberatrice, in some farm buildings, are remains which probably belong to the Regia of Julius Cæsar.

Beyond this, against the escarpment of the Palatine, a part of the Walls of Romulus has been discovered, built in large oblong blocks. Here also are fragments of bases of towers of republican times. Behind S. Teodoro are remains of an early concrete wall, behind which the tufa rock is visible. The wall is only built where the tufa is of a soft character.

Close under this, the northern side of the walls of Romulus, ran the Via Nova, down which Marcus Cædicius was returning to the city in the gloaming, when, at this spot, between the sacred grove and the temple of Vesta, he heard a supernatural voice, bidding him to warn the senate of the approach of the Gauls. After the Gauls had invaded Rome, and departed again, an altar and sanctuary recorded the miracle on this site.[145]

At the corner near Sta. Anastasia, are remains of a private house of early times built against the cliff. Near this were the steps called the Stairs of Cacus, leading up to the hut of Faustulus. On the other side the Gradus Pulchri Littoris, the κλη Ακτη of Plutarch, led to the river.[146]

Here a remarkable altar of republican times has been discovered, and remains in situ. It is inscribed SEI DEO SEI DIVAE SAC.—C SEXTIVS C T CALVINUS TR—DE SENATI SENTENTIA RESTITVIT. Some suppose this to be the actual altar mentioned above as erected to the Genius Loci, in consequence of the mysterious warning of the Gallic invasion. The father of the tribune, C. S. Calvinus, mentioned in the inscription, was consul with C. Cassius Longinus, B.C. 124, and is described by Cicero as an elegant orator of a sickly constitution.[147]

Beyond this a number of chambers have been discovered under the steep bank of the Palatine, and retain a quantity of graffiti scratched upon their walls. The most interesting of these, found in the fourth chamber, has been removed to the museum of the Collegio Romano. It is generally believed to have been executed during the reign of Septimius Severus, and to have been done in an idle moment by one of the soldiers occupying these rooms, supposed to have been used as guard-chambers under that emperor. If so, it is perhaps the earliest existing pictorial allusion to the manner of our Saviour's death. It is a caricature evidently executed in ridicule of a Christian fellow-soldier. The figure on the cross has an ass's head, and by the worshipping figure is inscribed in Greek characters, Alexamenos worships his God.

These chambers acquire a great additional interest from the belief which many entertain that they are those once occupied by the Prætorian Guard, in which St. Paul was confined.

Hence, we may ascend through some gardens beneath the Villa Mills, to the terrace which surmounts the grand ruins at the end of the Palace of the Cæsars, supposed to be remains of the Palace of Nero, but as no inscriptions have been discovered, no part of it can be identified.[149] These are by far the most picturesque portions of the ruins, and few compositions can be finer than those formed by the huge masses of stately brick arches, laden with a wealth of laurustinus, cytizus, and other flowering shrubs, standing out against the soft hues and delicate blue and pink shadows of the distant Campagna. Beneath the terrace is a fine range of lofty chambers, with a broken statue at the end, through which there is a striking view. One of these ruined halls has been converted into a kind of museum of architectural fragments found in this part of the palace, many of them of great beauty. This was the portion of the palace which longest remained entire, and which was inhabited by Heraclius in the seventh century. Some consider that these ruins were incorporated into the

Septizonium of Severus, so called from its seven stories of building, erected A.D. 198, and finally destroyed by Sixtus V., who carried off its materials for the building of St Peter's. It was erected by Severus at the southern corner of the palace, in order that it might at once strike the eyes of his African compatriots,[150] on their arrival in Rome. He built two other edifices which he called Septizonium, one on the Esquiline near the baths of Titus, and the other on the Via Appia, which he intended as the burial-place of his family, and where his son Geta was actually interred.

The remaining ruins on this division of the hill, supposed to be those of a theatre, a library, &c., have not yet been historically identified. They probably belong to the Palace of Domitian (Imp. A.D. 81—96), who added largely to the buildings on the Palatine. The magnificence of his palace is extolled in the inflated verses of Statius, who describes the imperial dwelling as exciting the jealousy of the abode of Jupiter—as losing itself amongst the stars by its height, and rising above the clouds into the full splendour of the sunshine! Such was the extravagance displayed by Domitian in these buildings, that Plutarch compares him to Midas, who wished everything to be made of gold. This was the scene of many of the tyrannical vagaries of Domitian.

It was in this palace that the murder of Domitian took place:

Trajan stripped the palace of his predecessors of all its ornaments to adorn the temple of Jupiter Capitolinus,[151] but it was restored by Commodus, after a fire which occurred in his reign,[152] and enriched by Heliogabalus,[153] and almost every succeeding emperor, till the time of Theodoric.[154]

CHAPTER VII.

THE CŒLIAN.

The Cœlian Hill extends from St. John Lateran to the Vigna of the Porta Capena, and from the Fountain of Egeria to the Convent of S. Gregorio. It is now entirely uninhabited, except by monks of the Camaldolese, Passionist, and Redemptorist Orders, and by the Augustinian Nuns of the Incoronati.

IN the earliest times the name of this hill was Mons Querquetulanus, "The Hill of Oaks," and it was clothed with forest, part of which long remained as the sacred wood of the Camenæ. It first received its name of Cœlius from Cœlius Vibenna, an Etruscan Lucumo of Ardea, who is said to have come to the assistance of Romulus in his war against the Sabine king Tatius, and to have afterwards established himself here. In the reign of Tullus Hostilius the Cœlian assumed some importance, as that king fixed his residence here, and transported hither the Latin population of Alba.

As the Cœlian had a less prominent share in the history of Rome than any of the other hills, it preserves scarcely any historical monuments of pagan times. All those which existed under the republic were destroyed by a great fire which ravaged this hill in the reign of Tiberius,[155] except the Temple of the Nymphs, which once stood in the grove of the Camenæ, and which had been already burnt by Clodius, in order to destroy the records of his falsehoods and debts which it contained.[156] Some small remains in the garden of the Passionist convent are attributed to the temple which Agrippina raised to her husband the Emperor Claudius, and in S. Stefano Rotondo some antiquaries recognize the Macellum of Nero. There are no remains of the palace of the Emperor Tetricus, who lived here, "between the two sacred groves,"[157] in a magnificent captivity under Aurelian, whom he received here at a banquet, at which he exhibited an allegorical picture representing his reception of the empire of Gaul, and his subsequent resignation of it for the simple insignia of a Roman senator.[158]

To the Christian visitor, however, the Cœlian will always prove of the deepest interest—and the slight thread of connection which runs between all its principal objects, as well as their nearness to one another, brings them pleasantly within the limits of a single day's excursion. Many of those who are not mere passing visitors at Rome, will probably find that their chief pleasure lies not amid the well-known sights of the great basilicas and palaces, but in quiet walks through the silent lanes and amid the decaying buildings of these more distant hills.

We may pass under the Arch of Constantine, or through the pleasant sunny walks known as the Parco di San Gregorio,—planted by the French during their first occupation of Rome, but which may almost be regarded as a remnant of the sacred grove of the Camenæ which once occupied this site.

The further gate of the Parco opens on a small triangular piazza, whence a broad flight of steps lead up to the Church of S. Gregorio, to the English pilgrim one of the most interesting spots in Rome, for it was at the head of these steps that St. Augustine took his last farewell of Gregory the Great, and, kneeling on this green-sward below, the first missionaries of England received the parting blessing of the great pontiff, as he stood on the height in the gateway. As we enter the portico (built 1633, by Card. Scipio Borghese,) we see on either side two world-famous inscriptions.

On the right:

Adsta hospes
et lege.
Hic olim fuit M. Gregori domus
Ipse in monasterium convertit,
Ubi monasticen professus est
Et diu abbas præfuit.
Monachi primum Benedictini
Mox Græci tenuere
Dein Benedictini iterum
Post varios casos
Quum jamdiu
Esset commendatum
Et poene desertum.
Anno MDLXXIII
Camaldulenses inducti
Qui et industria sua
Et ope plurium
R. E. Cardinalium
Quorum hic monumenta exstant,
Favente etiam Clemente XI. P. M.
Templum et adjacentes ædes
In hanc quam cernis formam
Restituerunt.

On the left:

Hard by was the house of Sta. Silvia, mother of St. Gregory, of which the ruins still remain, opposite to the church of S. Giovanni e Paolo, and in the little garden which still exists, we may believe that he played as a child under his mother's care. Close to his mother's home he founded the monastery of St. Andrew, where he dwelt for many years as a monk, employed in writing homilies, and in the enjoyment of visionary conversation with the Virgin, whom he believed to answer him in person from her picture before which he knelt. "To this monastery he presented his own portrait, with those of his father and mother, which were probably in existence 300 years after his death; and this portrait of himself probably furnished that peculiar type of physiognomy which we trace in all the best representations of him."[160] During the life of penance and poverty which was led here by St. Gregory, he sold all his goods for the benefit of the poor, retaining nothing but a silver bason given him by his mother. One day a poor shipwrecked sailor came several times to beg in the cell where he was writing, and as he had no money, he gave him instead this one remaining treasure. A long time after, St. Gregory saw the same shipwrecked sailor reappear in the form of his guardian angel, who told him that God had henceforth destined him to rule his church, and become the successor of St. Peter, whose charity he had imitated.[161]

The church of St. Gregory is approached by a cloistered court filled with monuments. On the left is that of Sir Edward Carne, one of the commissioners to obtain the opinion of foreign universities respecting the divorce of Henry VIII. from Catherine of Arragon, ambassador to Charles V., and afterwards to the court of Rome. He was recalled when the embassy was suppressed by Elizabeth, but was kept at Rome by Paul IV., who had conceived a great affection for him, and he died here in 1561. Another monument, of an exile for the catholic faith, is that of Robert Pecham, who died 1567, inscribed:

The Church, rebuilt in 1734, under Francesco Ferrari, has sixteen ancient granite columns and a fine Opus-Alexandrinum pavement. Among its monuments we may observe that of Cardinal Zurla, a learned writer on geographical subjects, who was abbot of the adjoining convent. It was a curious characteristic of the laxity of morals in the time of Julius II. (1503-13), that her friends did not hesitate to bury the famous Aspasia of that age in this church, and to inscribe upon her tomb: "Imperia, cortisana Romana, quæ digna tanto nomine, raræ inter homines formæ specimen dedit. Vixit annos xxvi. dies xii. obiit 1511, die 15 Augusti,"—but this monument has now been removed.

At the end of the right aisle is a picture by Badalocchi, commemorating a miracle on this spot, when, at the moment of elevation, the Host is said to have bled in the hands of St. Gregory, to convince an unbeliever of the truth of transubstantiation. It will be observed that in this and in most other representations of St. Gregory, a dove is perched upon his shoulder, and whispering into his ear. This is commemorative of the impression that every word and act of the saint was directly inspired by the Holy Ghost; a belief first engendered by the happy promptitude of Peter, his arch-deacon, who invented the story to save the beloved library of his master which was about to be destroyed after his death by the people, in a pitiful spirit of revenge, because they fancied that a famine which was decimating them, had been brought about by the extravagance of Gregory.[162] An altar beneath this picture is decorated with marble reliefs, representing the same miracle, and also the story of the soul of the Emperor Trajan being freed from purgatory by the intercession of Gregory. (Chap. IV.)

A low door near this leads into the monastic cell of St. Gregory, containing his marble chair, and the spot where his bed lay, inscribed:

Here also an immense collection of minute relics of saints are exposed to the veneration of the credulous.

On the opposite side of the church is the Salviati Chapel, the burial-place of that noble family, modernized in 1690 by Carlo Maderno. Over the altar is a copy of Annibale Caracci's picture of St. Gregory, which once existed here, but is now in England. On the right is the picture of the Madonna, "which spoke to St. Gregory," and which is said to have become suddenly impressed upon the wall after a vision in which she appeared to him;—on the left is a beautiful marble ciborium.

Hence a sacristan will admit the visitor into the Garden of Sta. Silvia, whence there is a grand view over the opposite Palatine.

Here are three Chapels, restored by the historian Cardinal Baronius, in the sixteenth century. The first, of Sta. Silvia, contains a fresco of the Almighty with a choir of angels, by Guido, and beneath it a beautiful statue of the venerable saint (especially invoked against convulsions), by Niccolo Cordieri—one of the best statues of saints in Rome. The second chapel, of St. Andrew, contains the two famous rival frescoes of Guido and Domenichino. Guido has represented St. Andrew kneeling in reverent thankfulness at first sight of the cross on which he was to suffer; Domenichino—a more painful subject—the flagellation of the saint. Of these paintings Annibale Caracci observed that "Guido's was the painting of the Master; but Domenichino's the painting of the scholar who knew more than the master." The beautiful group of figures in the corner, where a terrified child is hiding its face in its mother's dress, is introduced in several other pictures of Domenichino.

The third chapel, of Sta. Barbara, contains a grand statue of St. Gregory by Niccolo Cordieri[163] (where the whispering dove is again represented), and the table at which he daily fed twelve poor pilgrims after washing their feet. The Roman breviary tells how on one occasion an angel appeared at the feast as the thirteenth guest. This story,—the sending forth of St. Augustine,—and other events of St. Gregory's life, are represented in rude frescoes upon the walls by Viviani.

The adjoining Convent (modern) is of vast size, and is now occupied by Camaldolese monks, though in the time of St. Gregory it belonged to the Benedictines. In its situation it is beautiful and quiet, and must have been so even in the time of St. Gregory, who often regretted the seclusion which he was compelled to quit.

Pope Gregory XVI. was for some years abbot of this convent, to which he was afterwards a generous benefactor;—regretting always, like his great predecessor, the peace of his monastic life. His last words to his cardinals, who were imploring him, for political purposes, to conceal his danger, were singularly expressive of this—"Per Dio lasciatemi!—voglio morire da frate, non da sovrano." The last great ceremony enacted at S. Gregorio was when Cardinal Wiseman consecrated the mitred abbot of English Cistercians,—Dr. Manning preaching at the same time on the prospects of English Catholicism.

Ascending the steep paved lane between S. Gregorio and the Parco, the picturesque church on the left with the arcaded apse and tall campanile (c. A.D. 1206), inlaid with coloured tiles and marbles, is that of SS. Giovanni e Paolo, two officers in the household of the Christian princess Constantia, daughter of the Emperor Constantine, in whose time they occupied a position of great influence and trust. When Julian the Apostate came to the throne, he attempted to persuade them to sacrifice to idols, but they refused, saying, "Our lives are at the disposal of the emperor, but our souls and our faith belong to our God." Then Julian, fearing to bring them to public martyrdom, lest their popularity should cause a rebellion and the example of their well-known fortitude be an encouragement to others, sent off soldiers to behead them privately in their own house. Hence the inscription on the spot, "Locus martyrii SS. Joannis et Paoli in ædibus propriis." The church was built by Pammachus, the friend of St. Jerome, on the site of the house of the saints. It is entered by a portico adorned with eight ancient granite columns, interesting as having been erected by the English pope, Nicholas Breakspear, A.D. 1158. The interior, in the basilica form, has sixteen ancient columns and a beautiful Opus-Alexandrinum pavement. In the centre of the floor is a stone, railed off, upon which it is said that the saints were beheaded. Their bodies are contained in a porphyry urn under the high altar. In early times these were the only bodies of saints preserved within the walls of Rome (the rest being in the catacombs). In the Sacramentary of St. Leo, in the Preface of SS. John and Paul, it is said, "Of Thy merciful providence Thou hast vouchsafed to crown not only the circuit of the city with the glorious passions of the martyrs, but also to hide in the very heart of the city itself the victorious limbs of St. John and St. Paul."[164]

Above the tribune are frescoes by Pomerancio. A splendid chapel on the right was built 1868;—two of its alabaster pillars were the gift of Pius IX. Beneath the altar on the left of the tribune is preserved the embalmed body of St. Paul of the Cross (who died 1776), founder of the Order of Passionists, who inhabit the adjoining convent. The aged face bears a beautiful expression of repose;—the body is dressed in the robe which clothed it when living.[165]

Male visitors are admitted through the convent to its large and beautiful Garden, which overhangs the steep side of the Cœlian towards the Coliseum, of which there is a fine view between its ancient cypresses. Here, on a site near the monastery, are some remains believed to be those of the temple built by Agrippina (c. A.D. 57), daughter of Germanicus, to the honour of her deified husband (and uncle) Claudius, after she had sent him to Olympus by feeding him with poisonous mushrooms. This temple was pulled down by Nero, who wished to efface the memory of his predecessor, on the pretext that it interfered with his Golden House; but was rebuilt under Vespasian. In this garden also is the entrance to the vast substructions known as the Vivarium, whence the wild beasts who devoured the early Christian martyrs were frightened by burning tow down a subterranean passage into the arena.

The famous Church of SS. Giovanni e Paolo at Venice was founded by emigrants from this convent. The memory of these saints was so much honoured up to the time of Pope Gregory the Great, that the eve of their festival was an obligatory fast. Their fête (June 26) is still kept with great solemnities on the Cœlian, when the railing round their place of execution is wreathed and laden with flowers. When the "station" is held at their church, the apse is illuminated.

Continuing to follow the lane up the Cœlian, we reach the richly tinted brick Arch of Dolabella, erected, A.D. 10, by the consuls P. Cornelius Dolabella and Caius Julius Silanus. Nero, building his aqueduct to the palace of the Cæsars, made use of this, which already existed, and included it in his line of arches.

Above the arch is a Hermitage, revered as that where S. Giovanni di Matha lived, and where he died in 1213. Before he came to reside here he had been miraculously brought from Tunis (whither he had gone on a mission) to Ostia, in a boat without helm or sail, in which he knelt without ceasing before the crucifix throughout the whole of his voyage!

Passing beneath the gateway, we emerge upon the picturesque irregular Piazza of the Navicella, the central point of the Cœlian, which is surrounded by a most interesting group of buildings, and which contains an isolated fragment of the aqueduct of Nero, dear to artists from its colour. Behind this, under the trees, is the little marble Navicella, which is supposed to have been originally a votive offering of a sailor to Jupiter Redux, whose temple stood near this; but which was adapted by Leo X. as a Christian emblem of the Church,—the boat of St. Peter.

On the right is (first) the gateway of the deserted convent of Redemptorists, called S. Tommaso in Formis, which was founded by S. Giovanni de Matha, who, when celebrating his first mass at Paris, beheld in a vision, an angel robed in white, with a red and blue cross upon his breast, and his hands resting in benediction upon the heads of two captives,—a white and a black man. The bishop of Paris sent him to Rome to seek explanation from Innocent III., who was celebrated as an interpreter of dreams,—his foundation of the Franciscan order having resulted from one which befell him. S. Giovanni was accompanied to the pope by another hermit, Felix de Valois. They found that Innocent had himself seen the same vision of the angel between the two captives while celebrating mass at the Lateran, and he interpreted it as inculcating the duty of charity towards Christian slaves, for which purpose he founded the Trinitarians, since called Redemptorists. The story of the double vision is commemorated in a Mosaic, erected above the door, A.D. 1260, and bearing the name of the artist, Jacobus Cosmati.

The next gate beyond the church is that of the Villa Mattei, the garden of the Redemptorists. (The villa is now the property of Baron Richard Hoffmann: visitors are generally admitted upon writing down their names at the gate.)

These grounds are well worth visiting—quite the ideal of a deserted Roman garden, a wealth of large Roman daisies, roses, and periwinkle spreading at will amid remains of ancient statues and columns. A grand little avenue of ilexes leads to a terrace whence there is a most beautiful view towards the aqueducts and the Alban Hills, with a noble sarcophagus and a quantity of fine aloes and prickly-pears in the foreground. There is an obelisk, of which only the top is Egyptian. It is said that there is a man's hand underneath;—when the obelisk was lowered it fell suddenly, and one of the workmen had not time to take his hand away. In the grounds annexed to the lower part of the villa is the Fountain of Egeria (p. 375).

Almost standing in the garden of the villa, and occupying the site of the house of Sta. Cyriaca, is the Church of Sta. Maria in Domenica or della Navicella. (If no one is here, the hermit at S. Stefano Rotondo will unlock it.) The portico is due to Raphael (his design is at Windsor). The damp interior (rebuilt by Leo X. from designs of Raphael) is solemn and striking. It is in the basilica form, the nave separated from the aisles by eighteen columns of granite and one (smaller, near the tribune) of porphyry. The frieze, in chiaroscuro, was painted by Giulio Romano and Pierino del Vaga. Beneath the confessional are the bones of Sta. Balbina, whose fortress-like church stands on the Pseudo-Aventine. In the tribune are curious mosaics, in which the figure of Pope Paschal I. is introduced, the square nimbus round his head being an evidence of its portrait character, i. e., that it was done during his lifetime.[166]

A tradition of the Church narrates that St. Lorenzo, deacon and martyr, daily distributed alms to the poor in front of this church—then the house of Sta. Cyriaca—with whom he had taken refuge.

Opposite, is the round Church of S. Stefano Rotondo, dedicated by St. Simplicius in 467. It appears to have been built on the site of an ancient circular building, and to have belonged to the great victual market—Macellum Magnum—erected by Nero in this quarter.[167] It is seldom used for service, except on St. Stephen's Day (December 26), but visitors are admitted through a little cloister, in which stands a well of beautiful proportions, of temp. Leo X.—attributed to Michael Angelo. The interior is exceedingly curious architecturally. It is one hundred and thirty-three feet in diameter, with a double circle of granite columns, thirty-six in the outer and twenty in the inner series, enclosing two tall Corinthian columns, with two pilasters supporting a cross wall. In the centre is a kind of temple in which are relics of St. Stephen (his body is said to be at S. Lorenzo). In the entrance of the church is an ancient marble seat from which St. Gregory is said to have read his fourth homily.

The walls are lined with frescoes by Pomerancio and Tempesta. They begin with the Crucifixion, but as the Holy Innocents really suffered before our Saviour, one of them is represented lying on each side of the cross. Next comes the stoning of St. Stephen, and the frescoes continue to pourtray every phase of human agony in the most revolting detail, but are interesting as showing a historical series of what the Roman Catholic Church considers as the best authenticated martyrdoms, viz.:

The last picture represents the reunion of eminent martyrs (in which the Roman Church includes English sufferers under Elizabeth), and above is inscribed this verse from Isaiah xxv., "Laudabit populus fortis, civitas gentium robustarum."

The first chapel on the left, dedicated to SS. Primus and Felicianus, contains some delicate small mosaics.

In the next chapel is a very beautiful tomb of Bernardino Capella, Canon of St. Peter's, who died 1524.

In a small house, which formerly stood among the gardens in this neighbourhood, Palestrina lived and wrote.

Following the lane of S. Stefano Rotondo—skirted by broken fragments of Nero's aqueduct—almost to its debouchment near St. J. Lateran, and then turning to the left, we reach the quaint fortress like church and convent of the Santi Quattro Incoronati crowned by a stumpy campanile of 1112. The full title of this church is "I Santi quattro Pittori Incoronati e i cinque Scultori Martiri," the names which the Church attributes to the painters being Severus, Severianus, Carpoforus, and Vittorinus; and those of the sculptors Claudius, Nicostratus, Sinforianus, Castorius, and Simplicius,—who all suffered for refusing to carve and paint idols for Diocletian. Their festa is kept on Nov. 8.

This church was founded on the site of a temple of Diana by Honorius I., A.D. 622; rebuilt by Leo IV. A.D. 850; and again rebuilt in its present form by Paschal II., who consecrated it afresh in A.D. 1111. It is approached through a double court, in which are many ancient columns,—perhaps remains of the temple. Some antiquaries suppose that the church itself was once of larger size, and that the pillars which now form its atrium were once included in the nave. The interior is arranged on the English plan with a triforium and a clerestory, the triforium being occupied by the nuns of the adjoining convent. The aisles are groined, but the nave has a wooden ceiling. Behind the tribune is a vaulted passage, partly subterranean. The tribune contains a marble throne, and is adorned with frescoes by Giovanni di San Giovanni.[168] In the right aisle are preserved some of the verses of Pope Damasus. Another inscription tells of the restoration of the church in the fifteenth century, and describes the state of desolation into which it had fallen.

Opening out of the court in front of the church is the little Chapel of S. Sylvestro, built by Innocent II. in 1140. It contains a series of very curious frescoes.

In the fresco of the Crucifixion in this chapel an angel is represented taking off the crown of thorns and putting on a real crown, an incident nowhere else introduced in art.

The castellated Convent of the Santi Quattro was built by Paschal II. at the same time as the church, and was used as a papal palace while the Lateran was in ruins, hence its defensive aspect, suited to the troublous times of the anti-popes. It is now inhabited by Augustinian Nuns.

At the foot of the Cœlian beneath the Incoronati, and in the street leading from the Coliseum to the Lateran, is the Church of S. Clemente, to which recent discoveries, have given an extraordinary interest.

The upper church, in spite of modernizations under Clement XI. in the last century, retains more of the details belonging to primitive ecclesiastical architecture than any other building in Rome. It was consecrated in memory of Clement, the fellow-labourer of St Paul, and the third bishop of Rome, upon the site of his family house. It was already important in the time of Gregory the Great, who here read his thirty-third and thirty-eighth homilies. It was altered by Adrian I. in A.D. 772, and by John VIII. in A.D. 800, and again restored in A.D. 1099 by Paschal II., who had been cardinal of the church, and who was elected to the papacy within its walls. The greater part of the existing building is thus either of the ninth or the twelfth century.

At the west end a porch supported by two columns, and attributed to the eighth century, leads into the quadriporticus, from which is the entrance to the nave, separated from its aisles by sixteen columns evidently plundered from pagan buildings. Raised above the nave and protected by a low marble wall is the cancellum, preserving its ancient pavement, ambones, altar, and episcopal throne.

On the left of the side entrance is the Chapel of the Passion, clothed with frescoes of Masaccio, which, though restored, are very beautiful—over the altar is the Crucifixion, on the side walls the stories of St. Clement and St Catherine.

At the end of the right aisle is the beautiful tomb of Cardinal Rovarella, ob. 1476. A statue of St. John the Baptist is by Simone, brother of Donatello. Beneath the altar repose the relics of St. Clement, St. Ignatius of Antioch—martyred in the Coliseum, St. Cyril, and St. Servulus.

The mosaics in the tribune are well worth examination.

From the sacristy a staircase leads to the Lower Church (occasionally illuminated for the public) first discovered in 1857. Here, there are several pillars of the rarest marbles in perfect preservation, and a very curious series of frescoes of the eighth and ninth centuries, parts of which are still clear and almost uninjured. These include—the Crucifixion, with the Virgin and St. John standing by the cross,—the earliest example in Rome of this well-known subject; the Ascension, sometimes called by Romanists (in preparation for their dogma of 1870), "the Assumption of the Virgin," because the figure of the Virgin is elevated above the other apostles, though she is evidently intent on watching the retreating figure of her divine Son—in this fresco the figure of a pope is introduced (with the square nimbus, showing that it was painted in his lifetime), and the inscription "Sanctissimus dominus, Leo Papa Romanus," probably Leo III. or Leo IV.; the Maries at the sepulchre; the descent into Hades; the Marriage of Cana; the Funeral of St. Cyril with Pope Nicholas I. (858—67) walking in the procession; and, the most interesting of all—probably of somewhat later date, the story of S. Clemente, and that of S. Alexis, whose adventures are described in the account of his church on the Aventine. An altar of Mithras was discovered during the excavations here. Beneath this crypt is still a third structure, discovered 1867,—probably the very house of St. Clement,—(decorated with rich stucco ornament)—sometimes supposed to be the 'cavern near S. Clemente' to which the Emperor Otho III., who died at the age of twenty-two, retired in A.D. 999 with his confessor, and where he spent fourteen days in penitential retirement.

According to the Acts of the Martyrs, the Prefect Mamertinus ordered the arrest of Pope Clement, and intended to put him to death, but was deterred by a tumult of the people, who cried with one voice, "What evil has he done, or rather what good has he not done?" Clement was then condemned to exile in the Chersonese, and Mamertinus, touched by his submission and courage, dismissed him with the words—"May the God you worship bring you relief in the place of your banishment."

In his exile Clement received into the Church more than two hundred Christians who had been waiting for baptism, and miraculously discovered water for their support in a barren rock, to which he was directed by a Lamb, in whose form he recognised the guidance of the Son of God. The enthusiasm which these marvels excited led Trajan to send executioners, by whom he was tied to an anchor and thrown into the sea. But his disciples, kneeling on the shore, prayed that his relics might be given up to them, when the waves retired, and disclosed a marble chapel, built by unearthly hands—over the tomb of the saint. From the Chersonese the remains of St. Clement were brought back to Rome by St. Cyril, the Apostle of the Slavonians, who, dying here himself, was buried by his side.

CHAPTER VIII.

THE AVENTINE.

THE Aventine, which is perhaps the highest, and now—from its coronet of convents—the most picturesque of all the Roman hills, is of irregular form, and is divided into two parts by a valley; one side, the higher, is crowned by the churches of Sta. Sabina, S. Alessio, and the Priorato, which together form "the Capitol of the Aventine;" the other, known as the Pseudo-Aventine, is marked by the churches of S. Sabba and Sta. Balbina.

Virgil and Ovid allude repeatedly to the thick woods which once clothed the Aventine.[169] Dionysius speaks of the laurels or bays, an indigenous tree of ancient Rome, which grew there in abundance. Only one side of the hill, that towards the Tiber, now shows any of the natural cliff, but it was once remarkable for its rocks, and the Pseudo-Aventine obtained the name of Saxum from a huge solitary mass of stone which surmounted it.

The upper portion of the hill is of volcanic formation, and it is supposed that the legend of Cacus vomiting forth flames from his cave on the side of the Aventine had its origin in noxious sulphuric vapours emitted by the soil, as is still the case at the Solfatara on the way to Tivoli. The demi-god Faunus, who had an oracle at the Solfatara, had also an oracle on this hill.[171]

Some derive the name of Aventine from Aventinus-Silvius, king of Alba, who was buried here;[172] others from Avens, a Sabine river; while others say that the name simply means "the hill of birds," and connect it with the story of the foundation of the city. For when it became necessary to decide whether Romulus or Remus was to rule over the newly-built Rome, Romulus seated himself upon the Palatine to watch the auspices, but Remus upon the rock of the Pseudo-Aventine. Here Remus saw only six vultures, while Romulus saw twelve, but each interpreted the augury in his own favour, and Remus leapt across the boundary of the Palatine, whether in derision or war, and was slain by his brother, or by Celer, one of his followers. He was brought back and buried upon the Aventine, and the stone whence he had watched the vultures was thenceforth called the Sacred Rock. Ancient tradition places the tomb of Remus on the Pseudo-Aventine, but in the middle ages the tomb of Caius Cestus was believed—even by Petrarch—to be the monument of Remus.

Some authorities consider that when Remus was watching the vultures on the Pseudo-Aventine, that part of the hill was already occupied by a Pelasgic fortress called Romoria, but at this time and for long afterwards, the higher part of the Aventine was held by the Sabines. Here the Sabine king Numa dedicated an altar to Jupiter Elicius,[173] and the Sabine god Consus had also an altar here. Hither Numa came to visit the forest-gods Faunus and Picus at their sacred fountain:

By mingling wine and honey with the waters of their spring, Numa snared the gods, and compelled them to tell him how he might learn from Jupiter the knowledge of his will, and to reveal to him a charm against thunder and lightning.[175]

The Sabine king Tatius, the rival of Romulus, was buried on the Aventine "in a great grove of laurels," and, at his tomb, then called Armilustrum, it was the custom, every year, in the month of October, to hold a feast for the purification of arms, accompanied by martial dances. A horse was at the same time sacrificed to Janus, the Sabine war-god.[176]

Ancus Martius surrounded the Aventine by a wall,[177] and settled there many thousands of the inhabitants of Latin towns which he had subdued. This was the origin of the plebs, who were soon to become such formidable opponents of the first colonists of the Palatine, who took rank as patricians, and who at first found in them an important counterpoise to the power of the original Sabine inhabitants, against whom the little Latin colony of Romulus had hitherto been standing alone. The Aventine continued always to be the especial property and sanctuary of the plebs, the patricians avoiding it—in the first instance, it is supposed, from an impression that the hill was of evil omen, owing to the story of Remus. In B.C. 416, the tribune Icilius proposed and carried a law by which all the public lands of the Aventine were officially conferred upon the plebs, who forthwith began to cover its heights with houses, in which each family of the people had a right in one floor,—a custom which still prevails at Rome. At this time, also, the Aventine was included for the first time within the pomœrium or religious boundary of the city. Owing to its being the "hill of the people," the commons henceforth held their comitia and elected their tribunes here; and here, after the murder of Virginia, to whom the tribune Icilius had been betrothed, the army assembled against Appius Claudius.

Very little remains of the numerous temples which once adorned the hill, but their sites are tolerably well ascertained. We still ascend the Aventine by the ancient Clivus Publicius, originally paved by two brothers Publicii, who were ædiles at the same time, and had embezzled a public sum of money, which they were compelled to expend thus—

At the foot of this road was the temple of Luna, or Jana, in which Tatius had also erected an altar to Janus or the Sun.

It was up this road that Caius Gracchus, a few hours before his death, fled to take refuge in a small Temple of Diana, which stood somewhere near the present site of S. Alessio, where, kneeling before the statue of the goddess, he implored that the people who had betrayed him might never be free. Close by, singularly enough, rose the Temple of Liberty, which his grandfather Sempronius Gracchus had built. Adjoining this temple was a hall where the archives of the censors were kept, and where they transacted business; this was rebuilt by Asinius Pollio, who added to it the first public library established in Rome.

In the same group stood the famous sanctuary of Juno Regina, vowed by Camillus during the siege of Veii, and to which the Juno of the captured city was removed after she had given a verbal consent when asked whether she wished to go to Rome and inhabit a new temple, much as the modern queen of heaven is apt to do in modern times at Rome.[181] The Temples of Liberty and Juno were both rebuilt under Augustus; some imagine that they were under a common roof. If they were distinct buildings, nothing of the former remains; some beautiful columns built into the church of Sta. Sabina are all that remain of the temple of Juno, though Livy thought that her reign here would be eternal—

... in Aventinum, æternam sedem suam.[182]

Also belonging to this group was a Temple of Minerva.

Here the dramatist Livius Andronicus, who lived upon the Aventine, was honoured after his death by a company of scribes and actors. Another poet who lived upon the Aventine was Ennius, who is described as inhabiting a humble dwelling, and being attended by a single female slave. The poet Gallus also lived here.

On the other side of the Aventine (above the Circus Maximus), which was originally covered with myrtle—a shrub now almost extinct at Rome—on the site now occupied by Sta. Prisca, was a more important Temple of Diana, sometimes called by the Sabine name of Murcia,—built in imitation of the temple of Diana at Ephesus. Propertius writes—

and Martial—

Here till the time of Dionysius was preserved the pillar of brass on which was engraved the law of Icilius.

Near this were the groves of Simila, the retreat of the infamous association discovered and terribly punished at the time of the Greek wars; and—in the time of the empire—the gardens of Servilia, where she received the devotion of Julius Cæsar, and in which her son Brutus is said to have conspired his murder, and to have been interrogated by his wife Portia as to the mystery, which he refused to reveal to her, fearing her weakness under torture, until, by the concealment of a terrible wound which she had given to herself, she had proved to him that the daughter of Cato could suffer and be silent.

The Aventine continued to be inhabited, and even populous, until the sixth century, from which period its prosperity began to decline. In the eleventh century it was occupied by the camp of Henry IV. of Germany, when he came in war against Gregory VII. In the thirteenth century Honorius III. made a final effort to re-establish its popularity; but with each succeeding generation it has become—partly owing to the ravages of malaria—more and more deserted, till now its sole inhabitants are monks, and the few ague-stricken contadini who look after the monastic vineyards. In wandering along its desolate lanes, hemmed in by hedges of elder, or by walls covered with parasitical plants, it is difficult to realize the time when it was so thickly populated; and except in the quantities of coloured marbles with which its fields and vineyards are strewn, there is nothing to remind one of the 16 ædiculæ, 64 baths, 25 granaries, 88 fountains, 130 of the larger houses called domus, and 2487 of the poorer houses called insulæ, which occupied this site.

The present interest of the hill is almost wholly ecclesiastical, and centres around the story of St. Dominic, and the legends of the saints and martyrs connected with its different churches.

The best approach to the Aventine is behind the Church of Sta. Maria in Cosmedin, where the Via Sta. Sabina, once the Clivus Publicius (available for carriages), turns up the hill.

A lane on the left leads to the Jewish burial-ground, used as a place of sepulture for the Ghetto for many centuries. A curious instance of the cupidity attributed to the Jewish race may be seen in the fact, that they have, for a remuneration of four baiocchi, habitually given leave to their neighbours to discharge the contents of a rubbish cart into their cemetery, a permission of which the Romans have so abundantly availed themselves, that the level of the soil has been raised by many yards, and whole sets of older monuments have been completely swallowed up, and new ones erected over their heads.

After we turn the corner at the hill top, with its fine view over the Palatine, and cross the trench of fortification formed during the fear of a Garibaldian invasion in 1867, we skirt what appears to be part of a city wall. This is in fact the wall of the Honorian city, built by Pope Honorius III., of the great family of Savelli, whose idea was to render the Aventine once more the populous and favourite portion of the city, and who began great works for this purpose. Before his arrangements were completed St. Dominic arrived in Rome, and was appointed master of the papal household, and abbot of the convent of Sta. Sabina, where his ministrations and popularity soon formed such an attraction, that the pope wisely abandoned his design of founding a new city which should commemorate himself, and left the field to St. Dominic,—to whom he made over the land on this side of the hill. Henceforward the convent of Sta. Sabina and its surroundings have become, more than any other spot, connected with the history of the Dominican Order,—there, all the great saints of the Order have received their first inspiration,—have resided,—or are buried; there St. Dominic himself received in a beatific vision the institution of the rosary; there he was ordered to plant the famous orange-tree, which, being then unknown in Rome, he brought from his native Spain as the only present which it was suitable for the gratitude of a poor monk to offer to his patron Honorius, who was himself one of the great botanists of his time,—an orange-tree which still lives, and which is firmly believed by the monks to flourish or fail with the fortunes of the Order, so that it has lately been greatly the worse for the suppression of the convents in Northern Italy, though the residence of Père Lacordaire within the convent proved exceedingly beneficial to it, and his visit even caused a new sucker to sprout.

The Church of Sta. Sabina was built on the site of the house of the saint—in which she suffered martyrdom under the Emperor Hadrian,[187] in A.D. 423—by Peter, a priest of Illyria, "rich for the poor, and poor for himself" (pauperibus locuples, sibi pauper), as we read by the mosaic inscription inside the principal entrance. St. Gregory the Great read two of his homilies here. The church was rebuilt in 824, and restored and reconsecrated by Gregory IX. in 1238. Much of its interest,—ancient pavements, mosaics, &c.,—was destroyed in 1587 by Sixtus V., who took the credit of discovering the relics of the martyrs who are buried beneath the altar.

On the west is a covered corridor containing several ancient inscriptions. It is supported on one side by ancient spiral columns of pavonazzetto, on the other these have been plundered and replaced by granite. Hence, through a window, ladies are allowed to gaze upon the celebrated orange-tree, 665 years old, which they cannot approach; a rude figure of St. Dominic is sculptured upon the low wall which surrounds it. The west door, of the twelfth century, in a richly sculptured frame, is cited by Kugler as an instance of the extinction of the Byzantine influence upon art. Its panels are covered with carvings from the Old and New Testament, referred by Mamachi to the seventh, by Agincourt to the thirteenth century. Some of the subjects have been destroyed; among those which remain are the Annunciation, the Angels appearing to the Shepherds, the Angel and Zachariah in the Temple, the Magi, Moses turning the rods into serpents, the ascent of Elijah, Christ before Pilate, the denial of Peter, and the Ascension. Within the entrance are the only remains of the magnificent mosaic, erected in 431, under Celestine I., which entirely covered the west wall till the time of Sixtus V., consisting of an inscription in large letters, with a female figure on either side, that on the left bearing the name "Ecclesia cum circumcisione," that on the right, "Ecclesia ex gentibus." Among the parts destroyed were the four beasts typical of the Evangelists, and St. Peter and St. Paul. The church was thus gorgeously decorated, because in the time of the Savelli popes, it was what the Sistine is now, the Chiesa Apostolica.

The nave is lined by twenty-four Corinthian columns of white marble, relics of the temple of Juno Regina, which once stood here. Above, is an inlaid frieze of pietradura, of A.D. 431, which once extended up to the windows, but was destroyed by Sixtus V., who at the same time built up the windows which till then existed over each pier. In the middle of the pavement near the altar, is a very curious mosaic figure over the grave of Munoz de Zamora, a General of the Dominican Order, who died in 1300. Nearer the west door are interesting incised slabs representing a German bishop and a lady, benefactors of this church, and (on the left) a slab with arms in mosaic, to a lady of the Savelli family. In the left aisle is another monument of 1312, commemorating a warrior of the imperial house of Germany. The high altar covers the remains of Sabina and Seraphia, Alexander the Pope, Eventius and Theodulus, all martyrs. In the chapel beneath St. Dominic is said to have flagellated himself three times nightly, "perché uno colpo solo non abbastava per mortificare la carne."

At the end of the right aisle is the Chapel of the Rosary, where a beautiful picture of Sassoferrato, called "La Madonna del Rosario," commemorates the vision of St. Dominic on that spot, in which he received the rosary from the hands of the Virgin.

Few Roman Catholic practices have excited more animadversion than the "vain repetition" of the worship of the Rosary. The Père Lacordaire (a Dominican) defended it, saying—

Grouped around this chapel are three beautiful tombs,—a cardinal, a bishop, and a priest of the end of the fifteenth century. That of the cardinal (which is of the well-known Roman type of the time), is inscribed "Ut moriens viveret, vixit est moriturus;" the others are incised slabs. At the other end of this aisle is a marble slab, on which St. Dominic is said to have been wont to lie prostrate in prayer. One day while he was lying thus, the Devil in his rage is said to have hurled a huge stone (a round black marble, pietra di paragone,) at him, which missed the saint, who left the attack entirely unnoticed. The devil was frantic with disappointment, and the stone, remaining as a relic, is preserved on a low pillar in the nave. A small gothic ciborium, richly inlaid with mosaic, remains on the left of the tribune.

Opening from the left aisle is a chapel built by Elic of Tuscany—very rich in precious marbles. The frame of the panel on the left is said to be unique.

It was in this church, in 1218, that St. Hyacinth, struck by the preaching of St. Dominic, and by the recollection of the barbarism, heathenism, and ignorance which prevailed in many parts of his native land of Silesia, offered himself as its missionary, and took the vows of the Dominican Order, together with his cousin St. Ceslas. Hither fled to the monastic life St. Thomas Aquinas, pursued to the very door of the convent by the tears and outcries of his mother, who vainly implored him to return to her. One evening, a pilgrim, worn out with travel and fatigue, arrived at the door of this convent mounted upon a wretched mule, and implored admittance. The prior in mockery asked, "What are you come for, my father? are you come to see if the college of cardinals is disposed to elect you as pope?" "I come to Rome," replied the pilgrim Michele Ghislieri, "because the interests of the Church require it, and I shall leave as soon as my task is accomplished; meanwhile I implore you to give me a brief hospitality and a little hay for my mule." Sixteen years afterwards Ghislieri mounted the papal throne as Pius V., and proved, during a troubled reign, the most rigid follower and eager defender of the institutions of St. Dominic. One day as Ghislieri was about to kiss his crucifix in the eagerness of prayer, "the image of Christ," says the legend, retired of its own accord from his touch, for it had been poisoned by an enemy, and a kiss would have been death. This crucifix is now preserved as a precious relic in the convent, where the cells both of St. Dominic and of St. Pius V. are preserved, though, like most historical chambers of Roman saints, their interest is lessened by their having been beautified and changed into chapels. In the cell of St. Dominic is a portrait by Bazzani, founded on the records of his personal appearance; the lily lies by his side,—the glory hovers over his head,—he is, as the chronicler describes him, "of amazing beauty." In this cell he is said frequently to have passed the night in prayer with his rival St. Francis of Assisi. The refectory is connected with another story of St. Dominic:—

Other saints who sojourned for a time in this convent were St. Norbert, founder of the Premonstratensians (ob. 1134), and St. Raymond de Penaforte (ob. 1275), who left his labours in Barcelona for a time in 1230 to act as chaplain to Gregory IX.

In 1287 a conclave was held at Sta. Sabina for the election of a successor to Pope Martin IV., but was broken up by the malaria, six cardinals dying at once within the convent, and all the rest taking flight except Cardinal Savelli, who would not desert his paternal home, and survived by keeping large fires constantly burning in his chamber. Ten months afterwards his perseverance was rewarded by his own election to the throne as Honorius IV.

In the garden of the convent are some small remains of the palace of the Savelli pope, Honorius III. Here, on the declivity of the Aventine, many important excavations were made in 1856—57, by the French Prior Besson, a person of great intelligence, and he was rewarded by the discovery of an ancient Roman house—its chambers paved with black and white mosaic, and some fine fragments of the wall of Servius Tullius, formed of gigantic blocks of peperino. In the chambers which were found decorated in stucco with remnants of painting in figures and arabesque ornaments, "one little group represented a sacrifice before the statue of a god, in an ædicula. Some rudely scratched Latin lines on this surface led to the inference that this chamber, after becoming subterranean and otherwise uninhabitable, had served for a prison; one unfortunate inmate having inscribed curses against those who caused his loss of liberty; and another, more devout, left record of his vows to sacrifice to Bacchus in case of recovering that blessing."[188]

Since the death of Prior Besson[189] the works have been abandoned, and the remains already discovered have been for the most part earthed up again. A nympheum, a well, and several subterranean passages, are still visible on the hillside.

Just beyond Sta. Sabina is the Hieronymite Church and Convent of S. Alessio, the only monastery of Hieronymites in Italy where meat was allowed to be eaten,—in consideration of the malaria. The first church erected here was built in A.D. 305 in honour of St. Boniface, martyr, by Aglae, a noble Roman lady, whose servant (and lover) he had been. It was reconsecrated in A.D. 401 by Innocent I., in honour of St. Alexis, whose paternal mansion was on this site. This saint, young and beautiful, took a vow of virginity, and being forced by his parents into marriage, fled on the same evening from his home, and was given up as lost. Worn out and utterly changed he returned many years afterwards to be near those who were dear to him, and remained, unrecognised, as a poor beggar, under the stairs which led to his father's house. Seventeen years passed away, when a mysterious voice suddenly echoed through the Roman churches, crying, "Seek ye out the man of God, that he may pray for Rome." The crowd was stricken with amazement,—when the same voice continued, "Seek in the house of Euphemian." Then, pope, emperor, and senators rushed together to the Aventine, where they found the despised beggar dying beneath the doorstep, with his countenance beaming with celestial light, a crucifix in one hand, and a sealed paper in the other. Vainly the people strove to draw the paper from the fingers which were closing in the gripe of death, but when Innocent I. bade the dying man in God's name to give it up, they opened, and the pope read aloud to the astonished multitude the secret of Alexis; and his father Euphemian and his widowed bride, regained in death the son and the husband they had lost.

S. Alessio is entered through a courtyard.

In the portico of the church is a statue of Benedict XIII. (Pietro Orsini, 1724). The west door has a rich border of mosaic. The church has been so much modernised as to retain no appearance of antiquity. The fine Opus-Alexandrinum pavement is preserved. In the floor is the incised gothic monument of Lupi di Olmeto, General of the Hieronymites (ob. 1433). Left of the entrance is a shrine of S. Alessio, with his figure sleeping under the staircase—part of the actual wooden stairs being enclosed in a glass case over his head. Not far from this is the ancient well of his father's house. In a chapel which opens out of a passage leading to the sacristy is the fine tomb of Cardinal Guido di Balneo, of the time of Leo X. He is represented sitting, with one hand resting on the ground—the delicate execution of his lace in marble is much admired. The mosaic roof of this chapel was burst open by a cannon-ball during the French bombardment of 1849, but the figure was uninjured. The baldacchino (well known from Macpherson's photographs) is remarkable for its perfect proportions. Behind, in the tribune, are the inlaid mosaic pillars of a gothic tabernacle. No one should omit to descend into the Crypt of S. Alessio, which is an early church, supported on stunted pillars, and containing a marble episcopal chair, green with age. Here the pope used to meet the early conclaves of the Church in times of persecution. The pillar under the altar is shown as that to which St. Sebastian was bound when he was shot with the arrows.

The cloister of the convent, from which ladies are excluded, blooms with orange and lemon trees. There are only six Hieronymite brethren here now. The convent was at one time purchased by the ex-king Ferdinand of Spain, who intended turning it into a villa for himself.

A short distance beyond S. Alessio is a sort of little square, adorned with trophied memorials of the knights of Malta, and occupying the site of the laurel grove (Armilustrum) which contained the tomb of Tatius. Here is the entrance of the Priorato garden, where is the famous View of St. Peter's through the Keyhole, admired by crowds of people on Ash-Wednesday, when the "stazione" is held at the neighbouring churches. Entering the garden (which can always be visited) we find ourselves in a beautiful avenue of old bay-trees framing the distant St. Peter's. A terrace overhanging the Tiber has an enchanting view over the river and town. In the garden is an old pepper-tree, and in a little court a picturesque palm-tree and well. From hence we can enter the church, sometimes called S. Basilio, sometimes Sta. Maria Aventina, an ancient building modernized by Cardinal Rezzonico in 1765, from the very indifferent designs of Piranesi. It contains an interesting collection of tombs, most of them belonging to the Knights of Malta; that of Bishop Spinelli is an ancient marble sarcophagus, with a relief of Minerva and the Muses. A richly sculptured ancient altar contains relics of saints found beneath the pavement of the church.

The Priorato garden, so beautiful and attractive in itself, has an additional interest as that in which the famous Hildebrand (Gregory VII., 1073—80) was brought up as a boy, under the care of his uncle, who was abbot of the adjoining monastery. A massive cornice in these grounds is one of the few architectural fragments of ancient Rome existing on the Aventine. It may perhaps have belonged to the smaller temple of Diana in which Caius Gracchus took refuge, and in escaping from which, down the steep hillside, he sprained his ankle, and so was taken by his pursuers. Some buried houses were discovered and some precious vases brought to light, when Urban VIII. built the stately buttress walls which now support the hillside beyond the Priorato.

The cliff below these convents is the supposed site of the cave of the giant Cacus, described by Virgil.

Hercules brought the oxen of Geryon to pasture in the valley between the Aventine and Palatine. Cacus issuing from his cave while their owner was asleep, carried off four of the bulls, dragging them up the steep side of the hill by their tails, that Hercules might be deceived by their foot-prints being reversed. Then he concealed them in his cavern, and barred the entrance with a rock. Hercules sought the stolen oxen everywhere, and when he could not find them, he was going away with the remainder. But as he drove them along the valley near the Tiber one of his oxen lowed, and when the stolen oxen in the cave heard that, they answered; and Hercules, after rushing three times round the Aventine boiling with fury, shattered the stone which guarded the entrance of the cave with a mass of rock, and, though the giant vomited forth smoke and flames against him, he strangled him in his arms. Thus runs the legend, which is explained by Ampère.

We must retrace our steps, as far as the summit of the hill towards the Palatine, and then turn to the right in order to reach the ugly obscure-looking Church of Sta. Prisca, founded by Pope Eutychianus in A.D. 280, but entirely modernised by Cardinal Giustiniani from designs of Carlo Lombardi, who encased its fine granite columns in miserable stucco pilasters. Over the high altar is a picture by Passignano of the baptism of the saint, which is said to have taken place in the ancient crypt beneath the church, where an inverted Corinthian capital,—a relic of the temple of Diana which once occupied this site,—is shown as the font in which Sta. Prisca was baptized by St. Peter.

Opening from the right aisle is a kind of terraced loggia with a peculiar and beautiful view. In the adjoining vineyard are three arches of an aqueduct.

Opposite the door of this church is the entrance of the Vigna dei Gesuiti, a wild and beautiful vineyard occupying the greater part of this deserted hill, and extending as far as the Porta S. Paolo and the pyramid of Caius Cestius. Several farm-houses are scattered amongst the vines and fruit trees. There are beautiful views towards the Alban mountains, and to the Pseudo-Aventine with its fortress-like convents. The ground is littered with fragments of marbles and alabaster, which lie unheeded among the vegetables, relics of unknown edifices which once existed here. Just where the path in the vineyard descends a slight declivity towards S. Paolo, are the finest existing remains of the Walls of Servius Tullius,[190] formed of large quadrilateral blocks of tufa, laid alternately long and cross-ways, as in the Etruscan buildings. The spot is beautiful, and overgrown by a luxuriance of wild mignonette and other flowers in the late spring.

Descending to the valley beneath Sta. Prisca, and crossing the lane which leads from the Via Appia to the Porta S. Paolo, we reach, on the side of the Pseudo-Aventine, the Church of S. Sabba, which is supposed to mark the site of the Porta Randusculana of the walls of Servius Tullius. Its position is very striking, and its portico, built in A.D. 1200, is picturesque and curious.

This church is of unknown origin, but is known to have existed in the time of St. Gregory the Great, and to have been one of the fourteen privileged abbacies of Rome. Its patron saint was St. Sabbas, an abbot of Cappadocia, who died at Jerusalem in A.D. 532.

The interior of St. Sabba is in the basilica form. It retains some fragments of inlaid pavements, some handsome inlaid marble panels on either side of the high altar, and an ancient sarcophagus. The tribune has rude paintings of the fourteenth century—the Saviour between St. Andrew and St. Sabbas the Abbot; and below the Crucifixion, the Madonna and the twelve Apostles. Beneath the tribune is a crypt,—and over its altar a beautifully ornamented disk with a Greek cross in the centre.

Behind St. Sabbas is another delightful vineyard, but it is difficult to gain admittance. Here Flaminius Vacca describes the discovery of a mysterious chamber without door or window, whose pavement was of agate and cornelian, and whose walls were plated with gilt copper; but of this nothing remains.[191]

To reach the remaining church of the Aventine, we have to turn to the Via Appia, and then follow the lane which leads up the hillside from the Baths of Caracalla to the Church of Sta. Balbina, whose picturesque red brick tower forms so conspicuous a feature, as seen against the long soft lines of the flat Campagna, in so many Roman views. It was erected in memory of Sta. Balbina, a virgin martyr (buried in Sta. Maria in Domenica), who suffered under Hadrian, A.D. 132. It contains the remains of an altar erected by Cardinal Barbo, in the old basilica of St. Peter's, a splendid ancient throne of marble inlaid with mosaics, and a fine tomb of Stefano Sordi, supporting a recumbent figure, and adorned with mosaics by one of the Cosmati.

Adjoining this church Monsignor de Mérode established a house of correction for youthful offenders, to avert the moral result of exposing them to communication with other prisoners.

CHAPTER IX.

THE VIA APPIA.

THE Via Appia, called Regina Viarum by Statius, was begun B.C. 312, by the Censor Appius Claudius the Blind, "the most illustrious of the great Sabine and Patrician race, of whom he was the most remarkable representative." It was paved throughout, and during the first part of its course served as a kind of patrician cemetery, being bordered by a magnificent avenue of family tombs. It began at the Porta Capena, itself crossed by the Claudian aqueduct, which was due to the same great benefactor,—

"Substitit ad veteres arcus madidamque Capenam,"

and was carried by Claudius across the Pontine Marshes as far as Capua, but afterwards extended to Brundusium.

The site of the Porta Capena, so important as marking the commencement of the Appian Way, was long a disputed subject. The Roman antiquaries maintained that it was outside the present Walls, basing their opinion on the statement of St. Gregory, that the river Almo was in that Regio, and considering the Almo identical with a small stream which is crossed in the hollow about half a mile beyond the Porta S. Sebastiano, and which passes through the Valle Caffarelle, and falls into the Tiber near S. Paolo. This stream, however, which rises at the foot of the Alban Hills below the lake, divides into two parts about six miles from Rome, and its smaller division, after flowing close to the Porta San Giovanni, recedes again into the country, enters Rome near the Porta Metronia, a little behind the Church of S. Sisto, and passing through the Circus Maximus, falls into the Tiber at the Pulchrum Littus, below the temple of Vesta. Close to the point where this, the smaller branch of the Almo, crosses the Via San Sebastiano, Mr. J. H. Parker, in 1868—69, discovered some remains, on the original line of walls, which he has identified, beyond doubt, as those of the Porta Capena, whose position had been already proved by Ampère and other authorities.

Close to the Porta Capena stood a large group of historical buildings, of which no trace remains. On the right of the gate was the temple of Mars:

It is probably in allusion to this temple that Propertius says:

Martial alludes to a little temple of Hercules near this:

Near the gate also stood the tomb of the murdered sister of the Horatii,[192] with the temples of Honour and Virtue, vowed by Marcellus and dedicated by his son,[193] and a fountain, dedicated to Mercury:

It was at the Porta Capena that the survivor of the Horatii met his sister.

Among the many other historical scenes with which the Porta Capena is connected, we may remember that it was here that Cicero was received in triumph by the senate and people of Rome, upon his return from banishment B.C. 57.

Two roads lead to the Via S. Sebastiano, one the Via S. Gregorio, which comes from the Coliseum beneath the arch of Constantine; the other, the street which comes from the Ghetto, through the Circus Maximus, between the Palatine and Aventine.

The first gate on the left, after the junction of these roads, is that of the vineyard of the monks of S. Gregorio, in which the site of the Porta Capena was found. The remains discovered have been reburied, owing to the indifference or jealousy of the government; but the vineyard is worth entering on account of the picturesque view it possesses of the Palace of the Cæsars.

On the right, a lane leads up the Pseudo-Aventine to the Church of Sta. Balbina, described Chap. VIII.

On the left, where the Via Appia crosses the brook of the Almo, now called Maranna, the Via di San Sisto Vecchio leads to the back of the Cœlian behind S. Stefano Rotondo. Here, in the hollow, in the grounds of the Villa Mattei, under some picturesque farm-buildings, is a spring which modern archæology has determined to be the true Fountain of Egeria, where Numa Pompilius is described as having his mysterious meetings with the nymph Egeria. The locality of this fountain was verified when that of the Porta Capena was ascertained, as it was certain that it was in the immediate neighbourhood of that gate, from a passage in the 3d Satire of Juvenal, which describes, that when he was waiting at the Porta Capena with Umbritius while the waggon was loading for his departure to Cumæ, they rambled into the valley of Egeria, and Umbritius said, after speaking of his motives for leaving Rome, "I could add other reasons to these, but my beasts summon me to move on, and the sun is setting. I must be going, for the muleteer has long been summoning me by the cracking of his whip."

To this valley the oppressed race of the Jews was confined by Domitian, their furniture consisting of a basket and a wisp of hay:

On the right, are the Baths of Caracalla, the largest mass of ruins in Rome, except the Coliseum; consisting for the most part of huge shapeless walls of red and orange-coloured brickwork, framing vast strips of blue sky, and tufted with shrubs and flowers. These baths, which could accommodate 1600 bathers at once, were begun in A.D. 212, by Caracalla, continued by Heliogabalus, and finished under Alexander Severus. They covered a space of 2,625,000 square yards—a size which made Ammianus Marcellinus say that the Roman baths were like provinces—and they were supplied with water by the Antonine Aqueduct, which was brought hither for that especial purpose from the Claudian, over the Arch of Drusus.

Antiquaries have amused themselves by identifying different chambers, to which, with considerable uncertainty, the names of Calidarium, Laconicum, Tepidarium, Frigidarium, &c., have been affixed.

The habits of luxury and inertion which were introduced with the magnificent baths of the emperors were among the principal causes of the decline and fall of Rome. Thousands of the Roman youth frittered away their hours in these magnificent halls, which were provided with everything which could gratify the senses. Poets were wont to recite their verses to those who were reclining in the baths.

In the first great hall was found, in 1824, the immense mosaic pavement of the pugilists, now in the Lateran museum. Endless works of art have been discovered here from time to time, among them the best of the Farnese collection of statues,—the Bull, the Hercules, and the Flora,—which were dug up in 1534, when Paul III. carried off all the still remaining marble decorations of the baths to use for the Farnese Palace. The last of the pillars to be removed from hence is that which supports the statue of Justice in the Piazza Sta. Trinità at Florence.

A winding stair leads to the top of the walls, which are worth ascending, as well for the idea which you there receive of the vast size of the ruins, as for the lovely views of the Campagna, which are obtained between the bushes of lentiscus and phillyrea with which they are fringed. It was seated on these walls that Shelley wrote his "Prometheus Unbound."

The name of the lane which leads to the baths (Via all' Antoniana) recalls the fact that, "with a vanity which seems like mockery, Caracalla dared to bear the name of Antoninus," which was always dear to the Roman people.

Passing under the wall of the government-garden for raising shrubs for the public walks, a door on the left of the Via Appia, with a sculptured marble frieze above it, is that of Guidi, the antiquity vendor, who has a small museum here of splendid fragments of marble and alabaster for sale. Opposite is the Vigna of Signor Guidi, who has unearthed a splendid mosaic pavement of Tritons riding on dolphins, and who has here also a collection of antique fragments to be disposed of.

On the right, is SS. Nereo ed Achilleo, a most interesting little church. The tradition runs that St. Peter, going to execution, let drop here one of the bandages of his wounds, and that the spot was marked by the early Christians with an oratory, which bore the name of Fasciola. Nereus and Achilles, eunuchs in the service of Clemens Flavius and Flavia Domitilla (members of the imperial family exiled to Pontia under Diocletian), having suffered martyrdom at Terracina, their bodies were transported here in 524 by John I., when the oratory was enlarged into a church, which was restored under Leo III., in 795. The church was rebuilt in the sixteenth century, by Cardinal Baronius, who took his title from hence. In his work he desired that the ancient basilica character should be carefully carried out, and all the ancient ornaments of the church were preserved and re-erected. His anxiety that his successors should not meddle with or injure these objects of antiquity is shown by, the inscription on a marble slab in the tribune:

The chancel is raised and surrounded by an inlaid marble screen. Instead of ambones there are two plain marble reading-desks for the epistle and gospel. The altar is inlaid, and has "transennæ," or a marble grating, through which the tomb of the saints Nereus and Achilles may be seen, and through which the faithful might pass their handkerchiefs to touch it. Behind, in the semicircular choir, is an ancient episcopal throne, supported by lions, and ending in a gothic gable. Upon it part of the twenty-eighth homily of St. Gregory was engraved by Baronius, under the impression that it was delivered thence,—though it was really first read in the catacomb, whence the bodies of the saints were not yet removed. All these decorations are of the restoration under Leo III., in the eighth century. Of the same period are the mosaics on the arch of the tribune (partly painted over in later times), representing, in the centre, the Transfiguration (the earliest instance of the subject being treated in art), with the Annunciation on one side, and the Madonna and Child attended by angels on the other.

It is worth while remarking that when the relics of Flavia Domitilla (who was niece of Vespasian) and of Nereus and Achilles were brought hither from the catacomb on the Via Ardeatina, which bears the name of the latter, they were first escorted in triumph to the Capitol, and made to pass under the imperial arches which bore as inscriptions: "The senate and the Roman people to Sta. Flavia Domitilla, for having brought more honour to Rome by her death than her illustrious relations by their works." ... "To Sta. Flavia Domitilla, and to the Saints Nereus and Achilles, the excellent citizens who gained peace for the Christian republic at the price of their blood."

Opposite, on the left, is a courtyard leading to the Church of S. Sisto, with its celebrated convent, long deserted on account of malaria.

It was here that St. Dominic first resided in Rome, and collected one hundred monks under his rule, before he was removed to Sta. Sabina by Honorius III. After he went to the Aventine, it was decided to utilize this convent by collecting here the various Dominican nuns, who had been living hitherto under very lax discipline, and allowed to leave their convents, and reside in their own families. The nuns of Sta. Maria in Trastevere resisted the order, and only consented to remove on condition of bringing with them a Madonna picture attributed to St. Luke, hoping that the Trasteverini would refuse to part with their most cherished treasure. St. Dominic obviated the difficulty by going to fetch the picture himself at night, attended by two cardinals, and a bare-footed, torch-bearing multitude.

After being convinced by this miracle of the divine mission of St. Dominic, forty nuns settled at S. Sisto, promising never more to cross its threshold.[194]

There is very little remaining of the ancient S. Sisto, except the campanile, which is of 1500. But the vaulted Chapter-House, now dedicated to St. Dominic, is well worth visiting. It has recently been covered with frescoes by the Padre Besson,—himself a Dominican monk,—who received his commission from Father Mullooly, Prior of S. Clemente, the Irish Dominican convent, to which S. Sisto is now annexed. The three principal frescoes represent three miracles of St. Dominic—in each case of raising from the dead. One represents the resuscitation of a mason of the new monastery, who had fallen from a scaffold; another, that of a child in a wild and beautiful Italian landscape; the third, the restoration of Napoleone Orsini on this spot,—the mesmeric upspringing of the lifeless youth being most powerfully represented. The whole chapel is highly picturesque, and effective in colour. Of two inscriptions, one commemorates the raising of Orsini; the other, a prophecy of St. Dominic, as to the evil end of two monks who deserted their convent.

Just beyond S. Sisto, where the Via della Ferratella branches off on the left to the Lateran, stands a small ædiculum, or Shrine of the Lares, with brick niches for statues.

Further, on the right, standing back from a kind of piazza, adorned with an ancient granite column, is the Church of S. Cesareo, which already existed in the time of St. Gregory the Great, but was modernized under Clement VII. (1523—34). Its interior retains many of its ancient features. The pulpit is one of the most exquisite specimens of church decoration in Rome, and is covered with the most delicate sculpture, interspersed with mosaic; the emblems of the Evangelists are introduced in the carving of the panels. The high altar is richly encrusted with mosaics, probably by the Cosmati family; tiny owls form part of the decorations of the capitals of its pillars. Beneath is a "confession," where two angels are drawing curtains over the tomb of the saint. The chancel has an inlaid marble screen. In the tribune is an ancient episcopal throne, once richly ornamented with mosaics.

In this church St. Sergius was elected to the papal throne, in 687; and here, also, an Abbot of SS. Vincenzo ed Anastasio was elected in 1145, as Eugenius III., and was immediately afterwards forced by the opposing senate to fly to Montecelli, and then to the Abbey of Farfa, where his consecration took place.

Part of the palace of the titular cardinal of S. Cesareo remains in the adjoining garden, with an interesting loggia of c. 1200.

In this neighbourhood was the Piscina Publica, which gave a name to the twelfth Region of the city. It was used for learning to swim, but all trace of it had disappeared before the time of Festus, whose date is uncertain, but who lived before the end of the fourth century—

Here a lane turns on the left, towards the ancient Porta Latina (through which the Via Latina led to Capua), now closed.

In front of the gate is a little chapel, of the sixteenth century, called S. Giovanni in Oleo, decorated with indifferent frescoes, on the spot where St. John is said to have been thrown into a cauldron of boiling oil (under Domitian), from which "he came forth as from a refreshing bath." It is the suffering in the burning oil which gave St. John the palm of a martyr, with which he is often represented in art. The festival of "St. John ante Port. Lat." (May 6) is preserved in the English Church Calendar.

On the left, is the Church of S. Giovanni a Porta Latina, built in 1190 by Celestine III.

In spite of many modernizations, the last by Cardinal Rasponi in 1685, this building retains externally more of its ancient character than most Roman churches, in its fine campanile and the old brick walls of the nave and apse, decorated with terra-cotta friezes. The portico is entered by a narrow arch resting on two granite columns. The entrance-door and the altar have the peculiar mosaic ribbon decoration of the Cosmati, of 1190. The frescoes are all modern; in the tribune, are the deluge and the baptism of Christ,—the type and antitype. Of the ten columns, eight are simple and of granite, two are fluted and of porta-santa, showing that they were not made for the church, but removed from some pagan building—probably from the temple of Ceres and Proserpine. Near the entrance is a very picturesque marble Well, like those so common at Venice and Padua, decorated with an intricate pattern of rich carving.

In the opposite vineyard, behind the chapel of the Oleo, very picturesquely situated under the Aurelian Wall, is the Columbarium of the Freedmen of Octavia. A columbarium was a tomb containing a number of cinerary urns in niches like pigeon-holes, whence the name. Many columbaria were held in common by a great number of persons, and the niches could be obtained by purchase or inheritance; in other cases, the heads of the great houses possessed whole columbaria for their families and their slaves. In the present instance the columbarium is more than usually decorated, and, though much smaller, it is far more worth seeing than the columbaria which it is the custom to visit immediately upon the Appian Way. One of the cippi, above the staircase, is beautifully decorated with shells and mosaic. Below, is a chamber, whose vault is delicately painted with vines and little Bacchi gathering in the vintage. Round the walls are arranged the urns, some of them in the form of temples, and very beautifully designed, others merely pots sunk into the wall, with conical lids, like pipkins let into a kitchen-range. A beautiful vase of lapis-lazuli found here has been transferred to the Vatican.

Proceeding along the Via Appia, on the left by a tall cypress (No. 13) is the entrance to the Tomb of the Scipios, a small catacomb in the tufa rock, discovered in 1780, from which the famous sarcophagus of L. Scipio Barbatus, and a bust of the poet Ennius,[195] were removed to the Vatican by Pius VII.

The contadino at the neighbouring farmhouse provides lights, with which one can visit a labyrinth of steep narrow passages, some of which still retain inscribed sepulchral slabs. Among the Scipios whose tombs have been discovered here were Lucius Scipio Barbatus and his son, the conqueror of Corsica; Aula Cornelia wife of Cneius Scipio Hispanis; a son of Scipio Africanus; Lucius Cornelius son of Scipio Asiaticus; Cornelius Scipio Hispanis and his son Lucius Cornelius. At the further end of these passages, and now, like them, subterranean, may be seen the pediment and arched entrance of the tomb towards the Via Latina. "It is uncertain whether Scipio Africanus was buried at Liternum or in the family tomb. In the time of Livy monuments to him were extant in both places."[196]

There is a beautiful view towards Rome from the vineyard above the tomb.

A little further on, left (No. 14), is the entrance of the Vigna Codini (a private garden with an extortionate custode), containing three interesting Columbaria. Two of these are large square vaults, supported by a central pillar, which, as well as the walls, is perforated by niches for urns. The third has three vaulted passages.

We now reach the Arch of Drusus. On its summit are the remains of the aqueduct by which Caracalla carried water to his baths. The arch once supported an equestrian statue of Drusus, two trophies, and a seated female figure representing Germany.

The Arch of Drusus was decreed by the senate in honour of the second son of the empress Livia, by her first husband, Tiberius Nero. He was father of Germanicus and the emperor Claudius, and brother of Tiberius. He died during a campaign on the Rhine, B.C. 9, and was brought back to be buried by his step-father Augustus in his own mausoleum. His virtues are attested in a poem ascribed to Pedo Albinovanus.

The Porta San Sebastiano has two fine semicircular towers of the Aurelian wall, resting on a basement of marble blocks, probably plundered from the tombs on the Via Appia. Under the arch is a gothic inscription relating to the repulse of some unknown invaders.

It was here that the senate and people of Rome received in state the last triumphant procession which has entered the city by the Via Appia, that of Marc-Antonio Colonna, after the victory of Lepanto in 1571. As in the processions of the old Roman generals, the children of the conquered prince were forced to adorn the triumph of the victor, who rode into Rome attended by all the Roman nobles, "in abito di grande formalità,"[197] preceded by the standard of the fleet.

From the gate, the Clivus Martis (crossed by the railway to Civita Vecchia) descends into the valley of the Almo, where antiquaries formerly placed the Porta Capena. On the hillside stood a Temple of Mars, vowed in the Gallic war, and dedicated by T. Quinctius the "duumvir sacris faciundis," in B.C. 387. No remains exist of this temple. It was "approached from the Via Capena by a portico, which must have rivalled in length the celebrated portico at Bologna extending to the church of the Madonna di S. Luca."[198] Near this, a temple was erected to Tempestas in B.C. 260, by L. Cornelius Scipio, to commemorate the narrow escape of his fleet from shipwreck off the coast of Sardinia.[199] Near this, also, the poet Terence owned a small estate of twenty acres, presented to him by his friend Scipio Emilianus.[200] After crossing the brook, we pass between two conspicuous tombs. That on the left is the Tomb of Geta, son of Septimius Severus, the murdered brother of Caracalla; that on the right is the Tomb of Priscilla, wife of Abascantius, a favourite freedman of Domitian.

Just beyond this, the Via Ardeatina branches off on the right, passing, after about two miles, the picturesque Vigna Marancia, a pleasant spot, with fine old pines and cypresses.

Where the roads divide, is the Church of Domine Quo Vadis, containing a copy of the celebrated footprint said to have been left here by Our Saviour: the original being removed to S. Sebastiano.

Beyond the church is a second "Bivium," or cross-ways, where a lane on the left leads up the Valle Caffarelle. Here, feeling an uncertainty which was the crossing where Our Saviour appeared to St. Peter, the English Cardinal Pole erected a second tiny chapel of "Domine Quo Vadis," which remains to this day.

On the left, is the Columbarium of the Freedmen of Augustus and Livia, divided into three chambers, but despoiled of its adornments. Other Columbaria near this are assigned to the Volusii, and the Cæcilii.

Over the wall on the left of the Via Appia now hangs in profusion the rare yellow-berried ivy. Many curious plants are to be found on these old Roman walls. Their commonest parasite, the Pellitory—"herba parietina," calls to mind the nickname given to the Emperor Trajan in derision of his passion for inscribing his name upon the walls of Roman buildings which he had merely restored, as if he were their founder;[203] a passion in which the popes have since largely participated.

We now reach (on the right) the entrance of the Catacombs of St. Calixtus.

All descriptions of dangers attending a visit to the Catacombs, if accompanied by a guide, and provided with "cerini," are quite imaginary. Neither does the visitor ever suffer from cold; the temperature of the Catacombs is mild and warm; the vaults are almost always dry, and the air pure.

The name Catacombs is modern, having originally been only applied to S. Sebastiano "ad catacumbas." The early Christians called their burial-places by the Greek name Cœmeteria, sleeping-places. Almost all the catacombs are between the first and third mile-stones from the Aurelian wall, to which point the city extended before the wall itself was built. This was in obedience to the Roman law which forbade burial within the precincts of the city.

The fact that the Christians were always anxious not to burn their dead, but to bury them, in these rock-hewn sepulchres, was probably owing to the remembrance that our Lord was himself laid "in a new tomb hewn out of the rock," and perhaps also for this reason the bodies were wrapt in fine linen cloths, and buried with precious spices, of which remains have been found in the tombs.

The Catacomb which is known as St. Calixtus, is composed of a number of catacombs, once distinct, but now joined together. Such were those of Sta. Lucina; of Anatolia, daughter of the consul Æmilianus; and of Sta. Soteris, "a virgin of the family to which St. Ambrose belonged in a later generation," and who was buried "in cœmeterio suo," A.D. 304. The passages of these catacombs were gradually united with those which originally belonged to the cemetery of Calixtus.

The high mass of ruin which meets our eyes on first entering the vineyard of St. Calixtus, is a remnant of the tomb of the Cæcilii, of which family a number of epitaphs have been found. Beyond this is another ruin, supposed by Marangoni to have been the basilica which St. Damasus provided for his own burial and that of his mother and sister; which Padre Marchi believed to be the church of St. Mark and St. Marcellinus;—but which De Rossi identifies with the cella memoriæ, sometimes called of St. Sistus, sometimes of St. Cecilia (because built immediately over the graves of those martyrs), by St. Fabian in the third century.[204]

Descending into the Catacomb by an ancient staircase restored, we reach (passing a sepulchral cubiculum on the right) the Chapel of the Popes, a place of burial and of worship of the third or fourth century, (as it was restored after its discovery in 1854) but still retaining remains of the marble slabs with which it was faced by Sixtus III. in the fifth century, and of marble columns, &c. with which it was adorned by St. Leo III. (795—816). The walls are lined with graves of the earliest popes, many of them martyrs—viz. St. Zephyrinus, (202—211); St Pontianus, who died in banishment in Sardinia, (231—236); St. Anteros, martyred under Maximian in the second month of his pontificate, (236); St. Fabian, martyred under Decius, (236—250); St. Lucius, martyred under Valerian, (253—255); St. Stephen I., martyred in his episcopal chair under Valerian, (255—257); St. Sixtus II., martyred in the catacombs of St. Pretextatus, (257—260); St. Dionysius, (260—271); St. Eutychianus, martyr, (275—283); and St. Caius, (284—296). Of these, the gravestones of Anteros, Fabian, Lucius, and Eutychianus, have been discovered, with inscriptions in Greek, which is acknowledged to have been the earliest language of the Church,—in which St. Paul and St. James wrote, and in which the proceedings of the first twelve Councils were carried on.[205] Though no inscriptions have been found relating to the other popes mentioned, they are known to have been buried here from the earliest authorities.

Over the site of the altar is one of the beautifully-cut inscriptions of Pope St. Damasus (366—384), "whose labour of love it was to rediscover the tombs which had been blocked up for concealment under Diocletian, to remove the earth, widen the passages, adorn the sepulchral chambers with marble, and support the friable tufa walls with arches of brick and stone."[206]

From this chapel we enter the Cubiculum of Sta. Cecilia, where the body of the saint was buried by her friend Urban after her martyrdom in her own house in the Trastevere (see Chap. XVII.) A.D. 224, and where it was discovered in 820 by Pope Paschal I. (to whom its resting-place had been revealed in a dream), "fresh and perfect as when it was first laid in the tomb, and clad in rich garments mixed with gold, with linen cloths stained with blood rolled up at her feet, lying in a cypress coffin."[210]

Close to the entrance of the cubiculum, upon the wall, is a painting of Cecilia, "a woman richly attired, and adorned with bracelets and necklaces." Near it is a niche for the lamp which burnt before the shrine, at the back of which is a large head of Our Saviour, "of the Byzantine type, and with rays of glory behind it in the form of a Greek cross. Side by side with this, but on the flat surface of the wall, is a figure of St. Urban (the friend of Cecilia, who laid her body here) in full pontifical robes, with his name inscribed." Higher on the wall are figures of three saints, "executed apparently in the fourth, or perhaps even the fifth century"—Polycamus, an unknown martyr, with a palm branch; Sebastianus; and Curinus, a bishop (Quirinus bishop of Siscia—buried at St. Sebastian). In the pavement is a gravestone of Septimus Pretextatus Cæcilianus, "a servant of God, who lived worthy for three-and-thirty years;"—considered important as suggesting a connection between the family of Cecilia and that of St. Prætextatus, in whose catacomb on the other side of the Appian Way her husband and brother-in-law were buried, and where her friend St. Urban was concealed.

These two chapels are the only ones which it is necessary to dwell upon here in detail. The rest of the catacomb is shown in varying order, and explained in different ways. Three points are of historic interest. 1. The roof-shaped tomb of Pope St. Melchiades, who lived long in peace and died A.D. 313. 2. The Cubiculum of Pope St. Eusebius, in the middle of which is placed an inscription, pagan on one side, on the other a restoration of the fifth century of one of the beautiful inscriptions of Pope Damasus, which is thus translated:—

At the top and bottom of the tablet is the following title:—

and on either side a single file of letters which hands down to us the name of the sculptor who executed the Damasine inscriptions.

3. Near the exit, properly in the catacomb of Sta. Lucina, connected with that of Calixtus by a labyrinth of galleries, is the tomb of Pope St. Cornelius (251, 252) the only Roman bishop down to the time of St. Sylvester (314) who bore the name of any noble Roman family, and whose epitaph, (perhaps in consequence) is in Latin, while those of the other popes are in Greek. The tomb has no chapel of its own, but is a mere grave in a gallery, with a rectangular instead of a circular space above, as in the cubicula. Near the tomb are fragments of one of the commemorative inscriptions of St. Damasus, which has been ingeniously restored by De Rossi thus:—

St. Cornelius was banished under Gallus to Centumcellæ—now Civita Vecchia, and was brought back thence to Rome for martyrdom Sept. 14, A.D. 252. On the same day of the month, in 258, died his friend and correspondent St. Cyprian, archbishop of Carthage,[212] who is consequently commemorated by the Church on the same day with St. Cornelius. Therefore also, on the right of the grave, are two figures of bishops with inscriptions declaring them to be St. Cornelius and St. Cyprian. Each holds the book of the Gospels in his hands and is clothed in pontifical robes, "including the pallium, which had not yet been confined as a mark of distinction to metropolitans."[213] Beneath the picture stands a pillar which held one of the vases of oil which were always kept burning before the shrines of the martyr. Beyond the tomb, at the end of the gallery, is another painting of two bishops, St. Sistus II., martyred in the catacomb of Pretextatus, and St. Optatus who was buried near him.

In going round this catacomb, and in most of the others, the visitor will be shown a number of rude paintings, which will be explained to him in various ways, according to the tendencies of his guide. The paintings may be considered to consist of three classes, symbolical; allegorical and biblical; and liturgical. There is little variety of subject,—the same are introduced over and over again.

The symbols most frequently introduced on and over the graves are:—

Allegorical and Biblical Representations.

Of these The Good Shepherd requires an especial notice from the importance which is given to it and its frequent introduction in catacomb art, both in sculpture and painting.

Other biblical subjects are:—from the Old Testament (those of Noah, Moses, Daniel, and Jonah being the only ones at all common)—

Subjects from the New Testament are:

The class of paintings shown as Liturgical are less definite than these. In the Catacombs of Calixtus several obscure paintings are shown (in cubicula anterior to the middle of the third century), which are said to have reference to the sacrament of baptism. Pictures of the paralytic carrying his bed are identified by some Roman Catholic authorities with the sacrament of penance. (!) Bosio believed that in the Catacomb of Sta. Priscilla he had found paintings which illustrated the sacrament of ordination. Representations undoubtedly exist which illustrate the agape or love-feast of the primitive Church.

On the opposite side of the Via Appia from St. Calixtus (generally entered from the road leading to S. Urbano) is the Catacomb of St. Pretextatus, interesting as being the known burial-place of several martyrs. A large crypt was discovered here in 1857, built with solid masonry and lined with Greek marble.

The St. Januarius buried here was the eldest of the seven sons of St. Felicitas, martyred July 10, A.D. 162. St. Agapitus and St. Felicissimus were deacons of Pope Sixtus II., who were martyred together with him and St. Pretextatus[217] in this very catacomb, because Sixtus II. "had set at nought the commands of the Emperor Valerian."[218]

A mutilated inscription of St. Damasus, in the Catacomb of Calixtus, near the tomb of Cornelius, thus records the death of this pope:

An adjoining crypt, considered to date from A.D. 130, is believed to be the burial-place of St. Quirinus.

Above this catacomb are ruins of two basilicas, erected in honour of St. Zeno; and of Tiburtius, Valerian, and Maximus, companions of Sta. Cecilia in martyrdom.

In the road leading to S. Urbano is the entrance to the Jewish Catacomb. It is entered by a chamber open to the sky, floored with black and white mosaic, which is supposed to have formed part of a pagan dwelling. The following chamber has remains of a well. Hence a low door forms the entrance of a gallery out of which open six cubicula, one of them containing a fine while marble sarcophagus, and decorated with a painting of the seven-branched candlestick. A side passage leads to other cubicula, and to an open space which seems to have been an actual arenarium. A winding passage at the end of the larger gallery leads to the graves in the floor divided into different cells for corpses, and called Cocim by Rabbinical writers. A cubiculum at the end of the catacomb has paintings of figures—Plenty, with a cornucopia; Victory, with a palm leaf, &c. The inscriptions found show that this cemetery was exclusively Jewish. They refer to officers of the synagogue, rulers (αρχοντες), and scribes (γραμματεις), &c. The inscriptions are in great part in Greek letters, expressing Latin words.

Another small Jewish catacomb has been discovered behind the basilica of St. Sebastian. Behind the Catacomb of St. Calixtus, on the right of the Via Ardeatina, is the Catacomb of SS. Nereo ed Achilleo. Close to its entrance is the farm of Tor Marancia, where are some ruins, believed to be remains of the villa of Flavia Domitilla. This celebrated member of the early Christian Church was daughter of the Flavia Domitilla who was sister of the Emperor Domitian,—and wife of Titus Flavius Clemens, son of the Titus Flavius Sabinus who was brother of the Emperor Vespasian. Her two sons were, Vespasian Junior and Domitian Junior, who were intended to succeed to the throne, and to whom Quinctilian was appointed as tutor by the emperor. Dion Cassius narrates that "Domitian put to death several persons, and amongst them Flavius Clemens the consul, although he was his nephew, and although he had Flavia Domitilla for his wife, who was also related to the emperor. They were both accused of atheism, on which charge many others also had been condemned, going after the manners and customs of the Jew; and some of them were put to death, and others had their goods confiscated; but Domitilla was only banished to Pandataria."[219] This Flavia Domitilla is frequently confused with her niece of the same name,[220] whose banishment is mentioned by Eusebius, when he says:—"The teaching of our faith had by this time shone so far and wide, that even pagan historians did not refuse to insert in their narratives some account of the persecution and the martyrdoms that were suffered in it. Some, too, have marked the time accurately, mentioning, amongst many others, in the fifteenth year of Domitian (A.D. 97), Flavia Domitilla, the daughter of a sister of Flavius Clemens, one of the Roman consuls of those days, who, for her testimony for Christ, was punished by exile to the island of Pontia." It was this younger Domitilla who was accompanied in her exile by her two Christian servants, Nereus and Achilles; whose banishment is spoken of by St. Jerome as "a life-long martyrdom,"—whose cell was afterwards visited by Sta. Paula,[221] and who, according to the Acts of SS. Nereus and Achilles, was brought back to the mainland to be burnt alive at Terracina, because she refused to sacrifice to idols. The relics of Domitilla, with those of her servants, were preserved in the catacomb under the villa which had belonged to her Christian aunt.

Receiving as evidence the story of Sta. Domitilla, this catacomb must be looked upon as the oldest Christian cemetery in existence. Its galleries were widened and strengthened by John I. (523—526). A chamber near the entrance is pointed out as the burial-place of Sta. Petronilla.

Among the most remarkable paintings in this catacomb are, Orpheus with his lyre, surrounded by birds and beasts who are charmed with his music; Elijah ascending to heaven in a chariot drawn by four horses; and the portrait of Our Lord.

Approached by a separate entrance on the slope of the hill-side is a sepulchral chamber, which De Rossi considers to have been the Burial-place of Sta. Domitilla.

A road to the left now leads to the Via Appia Nuova, passing about a quarter of a mile hence, a turn on the left to the ruin generally known as the Temple of Bacchus, from an altar dedicated to Bacchus which was found there, but considered by modern antiquaries as a temple of Ceres and Proserpine. This building has been comparatively saved from the destruction which has befallen its neighbours by having been consecrated as a church in A.D. 820 by Pope Pascal I., in honour of his sainted predecessor Urban I., A.D. 226—whose pontificate was chiefly passed in refuge in the neighbouring Catacomb of St. Calixtus—because of a belief that he was wont to resort hither.

A chapel at a great depth below the church, is shown as that in which St. Urban baptized and celebrated mass. A curious fresco here represents the Virgin between St. Urban and St. John.

Around the upper part of the interior are a much injured series of frescoes, comprising—the life of Christ from the Annunciation to the descent into Hades,—and the life of St. Cecilia and her husband Valerian, ending in the burial of Cecilia by Pope Urban in the Catacombs of Calixtus, and the story of the martyred Urban I. In the picture of the Crucifixion, the thieves have their names, "Calpurnius and Longinus." The frescoes were altered in the seventeenth century to suit the views of the Roman Church, keys being placed in the hand of Peter, &c. Sets of drawings taken before and after the alterations, are preserved in the Barberini Library, and curiously show the difference.

A winding path leads from S. Urbano into the valley. Here, beside the Almo rivulet, is a ruined Nymphæum containing a mutilated statue of a river-god, which was called "the Grotto of Egeria," till a few years ago, when the discovery of the true site of the Porta Capena fixed that of the grotto within the walls. The fine grove of old ilex-trees on the hillside, was at the same time pointed out as the sacred grove of Egeria.

It is now known that this nymphæum and the valley in which it stands belonged to the suburban villa called Triopio, of Herodes Atticus, whose romantic story is handed down to us through two Greek inscriptions in the possession of the Borghese family, and is further illustrated by the writings of Filostratus and Pausanias.

The inscriptions in which this story is related (one of them containing thirty-nine Greek verses) are engraved on slabs of Pentelic marble—and Philostratus and Pausanias narrate that the quarries of this marble were the property of Herodes, and that in his magnificent buildings he almost exhausted them.[222]

The field path from hence leads back to the Church of Domine Quo Vadis, passing on the right a beautifully-finished tomb (of the time of Septimius Severus) known as the Temple of Divus Rediculus, and formerly described as having been built to commemorate the retreat of Hannibal, who came thus far in his intended attack upon Rome. The temple erected in memory of this event was really on the right of the Via Appia. It was dedicated to Rediculus, the god of Return. The folly of ciceroni often cites this name as "Ridiculous."

Returning to the Via Appia, we reach, on the right, the Basilica of S. Sebastiano, rebuilt in 1611 by Flaminio Ponzio for Cardinal Scipio Borghese on the site of a church which had been founded by Constantine, where once existed the house and garden of the matron Lucina, in which she had buried the body of Sebastian, after his (second) martyrdom under Diocletian. The basilica contains nothing ancient, but the six granite columns in the portico. The altar covers the relics of the saint (a Gaul, a native of Narbonne, a Christian soldier under Diocletian) and the chapel of St. Sebastian has a statue of him in his youth, designed by Bernini and executed by Antonio Giorgetti.

The original of the footprint in the Domine Quo Vadis is said to be preserved here.

On the left of the entrance is the descent into the catacombs, with the inscription:

These are the catacombs which are most frequently visited by strangers, because they can always be seen on application to the monks attached to the church,—though they are of greatly inferior interest to those of St Calixtus.

Owing to the desire in the early Christian Church of saving the graves of their first confessors and martyrs from desecration, almost all the catacombs were gradually blocked up, and by lapse of time their very entrances were forgotten. In the fourteenth century very few were still open. In the fifteenth century none remained except this of St. Sebastian, which continued to be frequented by pilgrims, and was called in all ancient documents "cœmeterium ad catacumbas."

At the back of the high-altar is an interesting half-subterranean building, attributed to Pope Liberius (352—355), and afterwards adorned by Pope Damasus, who briefly tells its history in one of his inscriptions, which may still be seen here:

In the passages of this catacomb are misguiding inscriptions placed here in 1409 by William, Archbishop of Bourges, calling upon the faithful to venerate here the tombs of Sta. Cecilia and of many of the martyred popes, who are buried elsewhere. The martyr St. Cyrinus is known to have been buried here from very early itineraries, but his grave has not been discovered.

In the valley beneath S. Sebastiano are the ruins of the Circus of Maxentius, near those of a villa of that emperor. The circus was 1482 feet long, 244 feet broad, and was capable of containing 15,000 spectators, yet it is a miniature compared with the Circus Maximus, though very interesting as retaining in tolerable preservation all the different parts which composed a circus. The circular ruin near it was a Temple dedicated by Maxentius to his son Romulus.

These ruins are very picturesque, backed by the peaks of the Sabine range, which in winter are generally covered with snow.

The opposite hill is crowned by the Tomb of Cecilia Metella, daughter of Quintus Metellus Creticus, and wife of Crassus. It is a round tower, seventy feet in diameter. The bulls' heads on the frieze gave it the popular name of Capo di Bove. The marble coating of the basement was carried off by Urban VIII. to make the fountain of Trevi. The battlements were added when the tomb was turned into a fortress by the Caëtani in the thirteenth century.

Close to the tomb are the ruins of a Gothic church of the Caëtani.

It is at Cecilia Metella's tomb that the beauties of the Via Appia really begin. A very short distance further, we emerge from the walls which have hitherto shut in the road on either side, and enjoy uninterrupted views over the Latin plain, strewn with its ruined castles and villages—and the long lines of aqueducts, to the Sabine and Alban mountains.

Near the fourth milestone, is the tomb of Marcus Servilius Quartus (with an inscription), restored by Canova in 1808. A bas-relief of the death of Atys, killed by Adrastus, a short distance beyond this, has been suggested as part of the tomb of Seneca, who was put to death "near the fourth milestone" by order of Nero. An inscribed tomb beyond this is that of Sextus Pompeius Justus.

Near this, in the Campagna on the left, are some small remains, supposed to be those of a Temple of Juno.

Beyond this a number of tombs can be identified, but none of any importance. Such are the tombs of Plinius Eutychius, erected by Plinius Zosimus, a freedman of Pliny the younger; of Caius Licinius; the Doric tomb of the tax-gatherer Claudius Philippanus, inscribed "Tito. Claudio. Secundo. Philippiano. Coactori. Flavia. Irene. Vxori Indulgentissimo;" of Rabinius, with three busts in relief; of Hermodorus; of Elsia Prima, priestess of Isis; of Marcus C. Cerdonus, with the bas-relief of an elephant bearing a burning altar.

Beyond the fifth milestone, two circular mounds with basements of peperino, were considered by Canina to be the tombs of the Horatii and Curiatii.

On the opposite side of the road is the exceedingly picturesque mediæval fortress, known as Torre Mezza Strada, into which are incorporated the remains of the Church of Sta. Maria Nuova, or della Gloria. Behind this extend a vast assemblage of ruins, which form a splendid foreground to the distant mountain view, and whose size has led to their receiving the popular epithet of Roma Vecchia. Here was the favourite villa of the Emperor Commodus, where he was residing, when the people, excited by a sudden impulse during the games of the Circus, rose and poured out of Rome against him—as the inhabitants of Paris to Versailles—and refused to depart, till, terrified into action by the entreaties of his concubine Marcia, he tossed the head of the unpopular Cleander to them out of the window, and had the brains of that minister's child dashed out against the stones. This villa is proved by the discovery of a number of pipes bearing their names to have been that of the brothers Condianus and Maximus, of the great family of the Quintilii, which was confiscated by Commodus.

On the left of the Via Appia, appears a huge monument, on a narrow base, called the Tomb of the Metelli. Beyond this, after the fifth milestone, are the tombs of Sergius Demetrius, a wine merchant; of Lucius Arrius; of Septimia Gallia; and of one of the Cæcilii, in whose sepulchre, according to Eutropius, was buried Pomponius Atticus, the friend of Cicero, whose daughter Vipsania was the first wife of Agrippa, and whose granddaughter Vipsania Agrippina was the first wife of Tiberius.

Close to the sixth milestone is the mass of masonry sometimes called "Casale Rotondo," or "Cotta's Tomb," from that name being found there inscribed on a stone, but generally attributed to Messala Corvinus, the poet, and friend of Horace, and believed to have been raised to him by his son Valerius Maximus Cotta, mentioned in Ovid.

This tomb was even larger than that of Cecilia Metella, and was turned into a fortress by the Orsini in the fifteenth century.

Beyond this are tombs identified as those of P. Quintius, tribune of the sixteenth legion; Marcus Julius, steward of Claudius; Publius Decumius Philomusus (with appropriate bas-reliefs of two mice nibbling a cake); and of Cedritius Flaccianius.

Passing on the left the Tor di Selce, erected upon a huge unknown tomb, are the tombs of Titia Eucharis, and of Atilius Evodus, jeweller (margaritarius) on the Via Sacra, with the inscription, "Hospes resiste—aspice ubi continentur ossa hominis boni misericordis amantis pauperis." Near the eighth milestone are ruins attributed to the temples of Silvanus and of Hercules,—of which the latter is mentioned in Martial's Epigrams, beyond which were the villas of Bassus and of Persius. The last tomb identified is that of Quintus Verranius. Near the ninth milestone is a tomb supposed to be that of Gallienus (Imp. 268), who lived close by in a villa, amid the ruins of which "the Discobolus" was discovered.

From the stream called Pontecello, near the tenth milestone, the road gradually ascends to Albano, passing several large but unnamed tombs. At the Osteria delle Frattocchie it joins the Via Appia Nuova. Close to the gate of Albano, it passes on the left the tall tomb attributed to Pompey the Great, in accordance with the statement of Plutarch, and in spite of the epigram of Varro Atacinus, which says:—

Among the many processions which have passed along this road, perhaps the most remarkable have been that bearing back to Rome the dead body of Sylla, who died at Pozzuoli, "in a gilt litter, with royal ornaments, trumpets before him, and horsemen behind;"[223] and the funeral of Augustus, who dying at Nola (A.D. 14), was brought to Bovillæ, and remained there a month in the sanctuary of the Julian family, after which the knights brought the body in solemn procession to his palace on the Palatine.

But throughout a walk along the Appian Way, the one great Christian interest of this world-famous road, will, to the Christian visitor, overpower all others.

CHAPTER X.

THE QUIRINAL AND VIMINAL.

IT is difficult to determine the exact limits of what in ancient times were regarded as the Quirinal and Viminal hills. They, like the Esquiline and Cœlian, are "in fact merely spurs or tongues of hill, projecting inwards from a common base, the broad table-land, which slopes on the other side almost imperceptibly into the Campagna."[224] That, which is described in this chapter as belonging to these two hills, is chiefly the district to the right of the Via Quattro Fontane, and its continuations—which extend in a straight line to Sta. Maria Maggiore.

The Quirinal, like all the other hills, except the Palatine and the Cœlian, belonged to the Sabines in the early period of Roman history, and is full of records of their occupation. They had a Capitol here which is believed to have been long anterior to that on the Capitoline, and which was crowned by a temple of Jupiter, Juno, and Minerva. This Sabine capitol occupied the site of the present Palazzo Rospigliosi.

The name Quirinal is derived from the Sabine word Quiris—signifying a lance, which gave the Sabines their name of Quirites, or lance-bearers, and to their god the name Quirinus.[225] After his death Romulus received this title, and an important temple was raised to him on the Quirinal by Numa,[226] under this name, thus identifying him with Janus Quirinus, the national god. This temple was surrounded by a sacred grove mentioned by Ovid.[227] It was rebuilt by the consul L. Papirius Cursor, to commemorate his triumph after the third Samnite war, B.C. 293, when he adorned it with a sun-dial (solarium horologium), the first set up in Rome, which, however, not being constructed for the right latitude, did not show the time correctly. This defect was not remedied till nearly a century afterwards, when Q. Marcius Philippus set up a correct dial.[228] In front of this temple grew two celebrated myrtle-trees, one called Patricia, the other Plebeia, which shared the fortunes of their respective orders, as the orange-tree at Sta. Sabina now does that of the Dominicans. Thus, up to the fifth century, Patricia flourished gloriously, and Plebeia pined; but from the time when the plebeians completely gained the upper hand, Patricia withered away.[229] The temple was rebuilt by Augustus, and Dion Cassius states that the number of pillars by which it was surrounded accorded with that of the years of his life.[230]

Adjoining the temple was a portico:

Hard by was a temple of Fortuna Publica,

also an altar to Mamurius, an ancient Sabine divinity, probably identical with Mars, and a temple of Salus, or Health, which gave a name to the Porta Salutaria, which must have stood nearly on the site of the present Quattro Fontane, and near which, not inappropriately, was a temple of Fever, in the Via S. Vitale, where fever is still prevalent.

The site of the temple of Quirinus is ascertained to have been nearly that now occupied by S. Andrea a Monte Cavallo. On the opposite side of the street, where part of the papal palace now stands, was the temple of Semo-Sanctus, the reputed father of Sabinus. Between these two temples was the House of Pomponius Atticus (the friend and correspondent of Cicero), a situation which gave an opportunity for the witticism of Cicero when he said that Caesar would rather dwell with Quirinus than with Salus, meaning that he would rather be at war than be in good health.[231]

In the same neighbourhood lived Martial the epigrammatist, "on the third floor, in a narrow street," whence he had a view as far as the portico of Agrippa, near the Flaminian Way. Below, probably on the site now occupied by the Piazza Barberini, was a Circus of Flora.

Among the great families who lived on the Quirinal were the Cornelii, who had a street of their own, Vicus Corneliorum, probably on the slopes behind the present Colonna Palace; and the Flavii, who were of Sabine origin.[232] Domitian was born here in the house of the Flavii, afterwards consecrated by him as a temple, in which Vespasian, Titus, and Domitian himself were buried, and Julia the ugly daughter of Titus—well known from her statues in the Vatican.

As some fragments remain of the two buildings erected on the Quirinal during the later empire, Aurelian's Temple of the Sun, and the Baths of Constantine, they will be noticed in the regular course.

On the ascent of the hill, just above the Piazza del Tritone, is the noble Barberini Palace, built by Urban VIII. from designs of Carlo Maderno, continued by Borromini, and finished by Bernini, in 1640. It is screened from the street by a magnificent railing between columns, erected 1865—67, and if this railing could be continued, and the block of houses towards the piazza removed, it would be far the most splendid private palace in Rome.

This immense building is a memorial of the magnificence and ambition of Urban VIII. Its size is enormous, the smallest apartment in the palace containing forty rooms. The Prince at present inhabits the right wing; with him lives his elder brother the Duke, who abdicated the family honours in his favour. In the left wing—occupied in the beginning of this century by the ex-king (Charles VII.) and queen of Spain, and the "Prince of Peace"—is the huge apartment of the late Cardinal Barberini, now uninhabited. On this side is the grand staircase, upon which is placed a lion in high relief, found on the family property at Palestrina. It is before this lion that Canova is said to have lain for hours upon the pavement, studying for his tomb of Clement XIII. in St. Peter's. The guarda-roba, badly kept, contains many curious relics of family grandeur; amongst them is a sedan-chair, painted by Titian.

The Library (open on Thursdays from nine to two) contains a most valuable collection of MSS., about 7000 in number, brought together by Cardinal Francesco Barberini, nephew of Urban VIII. They include collections of letters of Galileo, Bembo, and Bellarmine; the official reports to Urban VIII., relating to the state of Catholicism in England in the time of Charles I.; a copy of the Bible in the Samaritan character; a Bible of the fourth century; several MSS. copies of Dante; a missal illuminated by Ghirlandajo; and a book of sketches of ancient Roman edifices, of 1465, by Giuliano de Sangallo,—most interesting to the antiquarian and architect, as preserving the forms of many public buildings which have disappeared since that date. Among the 50,000 printed books is a Hebrew Bible of 1788, one of the twelve known copies of the complete edition of Soncino; a Latin Plato, by Ficino, with marginal notes by Tasso and his father Bernardo; a Dante of 1477, with notes by Bembo, &c.

In the right wing is a huge Hall (adorned with second-rate statues), with a grand ceiling by Pietro da Cortona (1596—1669), representing "Il Trionfo della Gloria," the Forge of Vulcan, Minerva annihilating the Titans, and other mythological subjects—much admired by Lanzi, and considered by Kugler to be the most important work of the artist. Four vast frescoes of the Fathers of the Church are preserved here, having been removed from the dome of St. Peter's, where they were replaced with mosaics by Urban VIII. Below are other frescoes by Pietro da Cortona, a portrait of Urban VIII., and some tapestries illustrative of the events of his reign and of his own intense self-esteem—thus the Virgin and Angels are represented bringing in the ornaments of the papacy at his coronation, &c. But the conceit of Pope Urban reaches its climax in a room at the top of the house, which exhibits a number of the Barberini bees (the family crest) flocking against the sun, and eclipsing it—to typify the splendour of the family. The Will of Pope Urban VIII. is a very curious document, providing against the extinction of the family in every apparent contingency; this, however, now seems likely to take place; the heir is a Sciarra. The pillars in front of the palace, and all the surrounding buildings, teem with the bees of the Barberini, which may also be seen on the Propaganda and many other great Roman edifices, and which are creeping up the robe of Urban VIII. in St. Peter's.

On the right, on entering the palace, is the small Collection of Pictures (open when the custode chooses to be there), indifferently lodged for a building so magnificent. We may notice:—

But the interest of this collection centres entirely around two portraits—that (81) of Lucrezia, the unhappy wife of Francesco Cenci, by Scipione Gaetani, and that (85) of Beatrice Cenci, by Guido Reni.

There is a pretty old-fashioned garden belonging to this palace, at one corner of which—overhanging an old statue—was the celebrated Barberini Pine, often drawn by artists from the Via Sterrata at the back of the garden, where statue and pine combined well with the Church of S. Caio; but, alas, this magnificent tree was cut down in 1872.

At the back of the palace-court, behind the arched bridge leading to the garden, is—let into the wall—an inscription which formed part of the dedication of an arch erected to Claudius by the senate and people, in honour of the conquest of Britain. The letters were inlaid with bronze. It was found near the Palazzo Sciarra, where the arch is supposed to have stood.

Ascending to the summit of the hill, we find four ugly statues of river-gods, lying over the Quattro Fontane, from which the street takes its name.

On the left is the Palazzo Albani, recently restored by Queen Christina of Spain.

The opposite church, S. Carlo a Quattro Fontane, is worth observing from the fact that the whole building, church and convent, corresponds with one of the four piers supporting the cupola of St. Peter's. Here was formed the point of attack against the Quirinal Palace, November 16, 1848, which caused the flight of Pius IX., and the downfall of his government. From a window of this convent the shot was fired which killed Monsignor Palma, one of the pontifical secretaries, and a writer on ecclesiastical history—who had unfortunately exposed himself at one of the windows opposite. The church contains two pictures by Mignard relating to the history of S. Carlo.

Turning down Via del Quirinale, on the left is S. Andrea a Monte Cavallo (on the supposed site of the temple of Quirinus), erected, as it is told by an inscription inside, by Camillo Pamphili, nephew of Innocent X., from designs of Bernini. It has a Corinthian façade and a projecting semicircular portico with Ionic columns. The interior is oval. It is exceedingly rich, being almost entirely lined with red marble streaked with white (Sicilian jasper), divided by white marble pillars supporting a gilt cupola. The high altar—supposed to cover the body of St. Zeno—between really magnificent pillars, is surmounted by a fine picture, by Borgognone, of the crucifixion of St. Andrew. Near this is the tomb, by Festa, of Emmanuel IV., king of Sardinia, who abdicated his throne in 1802, to become a Jesuit monk in the adjoining convent, where he died in 1818. On the right is the chapel of Santa Croce, with three pictures of the passion and death of Christ by Brandini; and that of St. Francis Xavier, with three pictures by Baciccio, representing the saint preaching,—baptizing an Indian queen,—and lying dead in the island of Sancian in China. On the left is the chapel of the Virgin, with pictures, by David, of the three great Jesuit saints—St. Ignatius Loyola, St. Francis Borgia, and St. Luigi Gonzaga—adoring the Virgin, and, by Gerard de la Nuit, of the Adoration of the Shepherds and of the Magi; and lastly the chapel of S. Stanislas Kostka, containing his shrine of gold and lapis-lazuli, under an exceedingly rich altar, which is adorned with a beautiful picture by Carlo Maratta, representing the saint receiving the Infant Jesus from the arms of his mother. At the sides of the chapel are two other pictures by Maratta, one of which represents S. Stanislas "bathing with water his breast inflamed with divine love," the other his receiving the host from the hands of an angel. These are the three principal incidents in the story of the young S. Stanislas, who belonged to a noble Polish family and abandoned the world to shut himself up here, saying, "I am not born for the good things of this world; that which my heart desires is the good things of eternity."

The adjoining Convent of the Noviciate of the Order of Jesus contains the room in which S. Stanislas Kostka died, at the age of eighteen, with his reclining statue by Le Gros, the body in white, his dress (that of a novice) in black, and the couch upon which he lies in yellow marble. Behind his statue is a picture of a celestial vision which consoled him in his last moments. On the day of his death, November 13, the convent is thrown open, and mass is said without ceasing in this chamber, which is visited by thousands.

In the convent garden is shown the fountain where "the angels used to bathe the breast of S. Stanislas burning with the love of Christ."

Passing the Benedictine convent, with a courtyard containing an old sarcophagus as a fountain, and a humble church decorated with rude frescoes of St. Benedict and Sta. Scholastica, we reach a small and popular church, rich in marbles, belonging to the Perpetua Adoratrice del Divin Sacramento del Altare, founded by sister Maddalena of the Incarnation, who died 1829, and is buried on the right of the entrance. Here the low monotonous chant of the perpetual adoration may be constantly heard.

The Piazza of the Monte Cavallo has in its centre the red granite obelisk (ninety-five feet high with its base) erected here by Antinori in 1781, for Pius VI. It was originally brought from Egypt by Claudius, A.D. 57, together with the obelisk now in front of Sta. Maria Maggiore, and they were both first placed at the entrance of the mausoleum of Augustus. At its base are the colossal statues found in the baths of Constantine, of the Dioscuri Castor and Pollux reining in their horses. These statues give a name to the district. Their bases bear the names of Phidias and Praxiteles, and though their claim to be the work of such distinguished sculptors is doubtful, they are certainly of Greek origin. Copies of these statues at Berlin have received the nicknames of Gehemmter Fortschritt, and Beförderter Rückschritt,—Progress checked and Retrogression encouraged.

Close by is a fountain playing into a fine bason of Egyptian granite, brought hither by Pius VII. from the Forum, where it had long been used for watering cattle.

On the left, is the Palace of the Consulta, built in 1730 by Clement XII. (Corsini), from designs of Fuga. Before its gates, under the old regime, some of the Papal Guardia Nobile were always to be seen sunning themselves in a uniform so resplendent that it could scarcely be believed that the pay of this "noble guard" of the Pope amounted only to £5 6s. 3d. a month!

On the right, is the immense Palace of the Quirinal, which also extends along one whole side of the street we have been pursuing.

It was from this same palace that Pius IX.—who has never inhabited it since—made his escape to Gaeta during the revolution of 1848, when the siege of the Quirinal by the insurgents had succeeded in extorting the appointment of a democratic ministry.

It is in the Quirinal Palace that the later conclaves have always met for the election of the popes.

Under the rule of the Popes the palace was shown from 12 A.M. to 4 P.M. on presentation of a ticket, which could easily be obtained through a banker. It was stripped of all historical memorials and contained very few fine pictures, so was little worth visiting. Since the winter of 1870—71 the palace has been appropriated as the residence of the Sardinian Royal Family.

On the landing of the principal staircase, in a bad light, is a very important fresco by Melozzo da Forli, a rare master of the Paduan school.[235]

Passing through a great hall, one hundred and ninety feet long, we are shown a number of rooms fitted up by Pius VII. and Gregory XVI. for the papal summer residence. They contain few objects of interest. In one chamber is a Last Supper by Baroccio;—in the next a fine tapestry representing the marriage of Louis XIV. The following rooms contain some good Gobelin tapestries.

Several apartments have mosaic pavements, brought hither from pagan edifices. The chamber is shown in which Pius VII. died,—the bed has been changed. In the next room—an audience chamber—he was taken prisoner. Here is a curious ancient pietra-dura of the Annunciation,—the ceiling is painted by Overbeck. In one of the following rooms are some pictures, including—

S. Giorgio: Pordenone.

Marriage of S. Catherine: Battoni.
St. Peter and St. Paul: Fra Bartolomeo.

The room which is decorated with a fine modern tapestry of the martyrdom of St. Stephen, has a plaster frieze, being the original cast of the Triumph of Alexander the Great, modelled for Napoleon by Thorwaldsen. One of the last rooms shown is a kind of picture gallery. Among the best works here are:—

Saul and David: Guercino.
Ecce Homo: Domenichino.
St. Jerome: Spagnoletto.
The Flight into Egypt: Baroccio.

Here also is a worthless picture of the Battle of Mentana, presented to Pius IX. by the English Catholic ladies.

The Private Chapel of the Pope, opening from this gallery, contains a magnificent picture of the Annunciation by Guido, and frescoes of the life of the Virgin by Albani. The great hall of the Consistory, a bare room with benches, has a fresco of the Virgin and Child by Carlo Maratta, over an altar.

The Gardens of the Quirinal can be visited with an order from 8 to 12 A.M. They are in the stiff style of box hedges and clipped avenues, which seems to belong especially to Rome, and which we know to have been popular here even in imperial times. Pliny, in his account of his Tusculan villa, describes his gardens decorated with "figures of different animals, cut in box: evergreens clipped into a thousand different shapes; sometimes into letters forming different names; walls and hedges of cut box, and trees twisted into a variety of forms." But the Quirinal gardens are also worth visiting, on account of the many pretty glimpses they afford of St. Peter's and other distant buildings, and the oddity of some of the devices—an organ played by water, &c. The Casino, built by Fuga, has frescoes by Orizonti, Pompeo Battoni, and Pannini.

If we turn to the left on issuing from the palace, we reach—on the left—the entrance to the courtyard of the vast Palazzo Rospigliosi, built by Flaminio Ponzio, in 1603, for Cardinal Scipio Borghese, on a portion of the site of the Baths of Constantine. It was inhabited by Cardinal Bentivoglio, and sold by him to Cardinal Mazarin, who enlarged it from designs of Carlo Maderno. From his time to 1704 it was inhabited by French ambassadors, and it then passed to the Rospigliosi family. The present Prince Rospigliosi inhabits the second floor, his brother, Prince Pallavicini, the first.

The palace itself (well known from its hospitalities) is not shown, but the Casino is open on Wednesdays and Saturdays. It is situated at the end of a very small but pretty garden planted with magnolias, and consists of three chambers. On the roof of the central room is the famous Aurora of Guido.

The frescoes of the frieze are by Tempesta; the landscapes by Paul Brill. In the hall are busts, statues, and a bronze horse found in the ruins of the Baths.

There is a small collection of pictures—the only work of real importance being the beautiful Daniele di Volterra of our Saviour bearing his cross, in the room on the left. In the same room are two large pictures, David triumphing with the head of Goliath, Domenichino; and Perseus rescuing Andromeda, Guido. In the room on the right are, Adam gathering fig-leaves for Eve, in a Paradise which is crowded with animals like a menagerie, Domenichino; and Samson pulling down the pillars upon the Philistines, Ludovico Caracci.

A second small garden belonging to this palace is well worth seeing in May from the wealth of camellias, azaleas, and roses, with which it is filled.

Opposite the Rospigliosi Palace, by ringing at a gate in the wall, we gain admission to the Colonna Gardens (connected with the palace in the Piazza SS. Apostoli, by a series of bridges across the intervening street). Here, on a lofty terrace which has a fine view towards the Capitol, and overshadowed by grand cypresses, are the colossal remains of the Temple of the Sun (huge fragments of cornice) built by Aurelian (A.D. 270—75). At the other end of the terrace, looking down through two barns into a kind of pit, we can see some remains of the Baths of Constantine—built A.D. 326—and of the great staircase which led up to them from the valley below. The portico of these baths remained erect till the time of Clement XII. (1730—40), and was adorned with four marble statues, of which two—those of the two Constantines—may now be seen on the terrace of the Capitol.

Beneath the magnificent cypress-trees on the slope of the hill are several fine sarcophagi. Only the stem is preserved of the grand historical pine-tree, which was planted on the day on which Cola di Rienzi died, and which was one of the great ornaments of the city till 1848, when it was broken in a storm.

Just beyond the end of the garden, are the great Convent and Church of S. Silvestro a Monte Cavallo—belonging to the Missionaries of St. Vincent de Paul—in which the Cardinals meet before going in procession to the Conclave. It contains a few rather good pictures. The cupola of the second chapel has frescoes by Domenichino, of David dancing before the Ark,—the Queen of Sheba and Solomon,—Judith with the head of Holofernes,—and Esther fainting before Ahasueras. These are considered by Lanzi as some of the finest frescoes of the master. In the left transept is a chapel containing a picture of the Assumption, painted on slate, considered the masterpiece of Scipione Gaetani. The last chapel but one on the left has a ceiling by Cav. d'Arpino, and frescoes on the walls by Polidoro da Caravaggio. The picture over the altar, representing St. Dominic and St. Catherine of Siena, is by Mariotto Albertinelli. Cardinal Bentivoglio—who wrote the history of the wars in Flanders, and lived in the Rospigliosi Palace—is buried here.

We now reach the height of Maganaopoli, from which the isthmus which joined the Quirinal to the Capitoline was cut away by Trajan. Here is a cross-ways. On the right is a descent to the Forum of Trajan, at the side of which is the villa of Cardinal Antonelli, and beyond it, the handsome modern palace of Count Trapani, cousin to the King of Naples.

Opposite, is the Church of Sta. Caterina di Siena, possessing some frescoes attributed, on doubtful grounds, to the rare master Timoteo della Vite. Adjoining, is a large convent, enclosed within the precincts of which is the tall brick mediæval tower, sometimes called the Tower of Nero, but generally known as the Torre delle Milizie, i.e. the Roman Militia. It was erected by the sons of Peter Alexius, a baron attached to the party of the Senator Pandolfo de Suburra. The lower part is said to have been built in 1210, the upper in 1294 and 1330.

The Convent of Sta. Caterina was built by the celebrated Vittoria Colonna, who requested the advice of Michael Angelo on the subject, and was told that she had better make the ancient "Torre" into a belfry. A very curious account of the interview in which this subject was discussed, and which took place in the Church of S. Silvestro a Monte Cavallo, is left us in the memoirs of Francesco d'Olanda, a Portuguese painter, who was himself present at the conversation.

Near this point are two other fine mediæval towers. One is to the right of the descent to the Forum of Trajan, being that of the Colonnas, now called Tor di Babele, ornamented with three beautiful fragments of sculptured frieze, one of them bearing the device of the Colonna, a crowned column rising from a wreath. The other tower, immediately facing us, is called Torre del Grillo, from the ancient family of that name.

Opposite Sta. Caterina is the handsome Church of SS. Domenico e Sisto, approached by a good double twisted staircase. Over the second altar on the left is a picture of the marriage of St. Catherine by Allegrani, and, on the anniversary of her (visionary) marriage (July 19), the dried hand of the saint is exhibited here to the unspeakable comfort of the faithful.

Turning by this church into the Via Maganaopoli (formerly Baganaopoli, a corruption of Balnea Pauli—Baths of Emilius Paulus), we pass on the left the Palazzo Aldobrandini, with a bright pleasant-looking court and handsome fountain. The present Prince Aldobrandini is brother of Prince Borghese. Of this family was S. Pietro Aldobrandini, generally known as S. Pietro Igneo, who was canonized because, in 1067, he walked unhurt, crucifix in hand, through a burning fiery furnace ten feet long before the church door of Settimo, near Florence, to prove an accusation of simony which he had brought against Pietro di Pavia, bishop of that city.

In the Via di Mazzarini, in the hollow between the Quirinal and Viminal, is the Convent of Sta. Agata in Suburra, through the courtyard of which we enter the Church of Sta. Agata dei Goti. A tradition declares that this (like S. Sabba on the Aventine) is on the site of a house of Sta. Silvia, mother of St. Gregory the Great, who consecrated the church after it had been plundered by the Goths, and dedicated it to Sta. Agata. It was rebuilt by Ricimer, the king-maker, in A.D. 472. Twelve ancient granite columns and a handsome opus-alexandrinum pavement are its only signs of antiquity. The church now belongs to the Irish Seminary. In the left aisle is the monument of Daniel O'Connell, with bas-reliefs by Benzoni, inscribed:—

At the end of the left aisle is a chapel, which Cardinal Antonelli (who has his palace near this) decorated, 1863, with frescoes and arabesques as a burial-place for his family. In the opposite chapel is a gilt figure of Sta. Agata carrying her breasts—showing the manner in which she suffered.

Agatha (patroness of Catania) is one of the saints most reverenced by the Roman people. On the 5th of February her vespers are sung here, which contain the antiphons:—

The tomb of John Lascaris (a refugee from Constantinople when taken by the Turks) has—in Greek—the inscription:—

Passing the great Convent of S. Bernardino Senensis, we reach the Via dei Serpenti, interesting as occupying the supposed site of the Vallis Quirinalis, where Julius Proculus, returning from Alba Longa, encountered the ghost of Romulus:

Turning to the right down the Via dei Serpenti, we reach the Piazza Sta. Maria in Monti, containing a fountain, and a church dedicated to SS. Sergius and Bacchus, two martyrs who suffered under Maximian at Rasapha in Syria.

One side of this piazza is occupied by the Church of Sta. Maria in Monti, in which is deposited a figure of the beggar Labre (canonized by Pius IX. in 1860), dressed in the gown of a mendicant-pilgrim, which he wore when living. Over the altar is a picture of him in the Coliseum, distributing to his fellow-beggars the alms which he had obtained. His fête is observed here on April 16. (At No. 3 Via dei Serpenti, one may visit the chamber in which Labre died—and in the Via dei Crociferi, near the fountain of Trevi, a chapel containing many of his relics,—the bed on which he died, the crucifix which he wore in his bosom, &c.)

Almost opposite this church, a narrow alley, which appears to be a cul-de-sac ending in a picture of the Crucifixion, is in reality the approach to the carefully concealed Convent of the Farnesiani Nuns, generally known as the Sepolte Vive. The only means of communicating with them is by rapping on a barrel which projects from a wall on a platform above the roofs of the houses,—when a muffled voice is heard from the interior,—and if your references are satisfactory, the barrel turns round and eventually discloses a key by which the initiated can admit themselves to a small chamber in the interior of the convent. Over its door is an inscription, bidding those who enter that chamber to leave all worldly thoughts behind them. Round the walls are inscribed,—"Qui non diligit, manet in morti."—"Militia est vita hominis super terram."—"Alter alterius onera portate"; and, on the other side, opposite the door,

In one of the walls is an opening with a double grille, beyond which is a metal plate, pierced with holes like the rose of a watering-pot. It is beyond this grille and behind this plate, that the abbess of the Sepolte Vive receives her visitors, but she is even then veiled from head to foot in heavy folds of thick bure. Gregory XVI., who of course could penetrate within the convent and who wished to try her, said, "Sorella mia, levate il velo." "No, mio padre," she replied, "E vietato dalla nostra regola."

The nuns of the Sepolte Vive are never seen again after they once assume the black veil, though they are allowed double the ordinary noviciate. They never hear anything of the outer world, even of the deaths of their nearest relations. Daily, they are said to dig their own graves and lie down in them, and their remaining hours are occupied in perpetual and monotonous adoration of the Blessed Sacrament.

Returning as far as the Via Pane e Perna (a continuation of the Via Maganaopoli) we ascend the slope of the Viminal Hill, now with difficulty to be distinguished from the Quirinal. It derives its name from vimina, osiers, and was once probably covered with woods, since a temple of Sylvanus or Pan was one of several which adorned its principal street—the Vicus Longus—the site of which is now marked by the countrified lane called Via S. Vitale. This end of the hill is crowned by the Church of S. Lorenzo Pane e Perna, built on the site of the martyrdom of the deacon St. Laurence, who suffered under Claudius II., in A.D. 264, for refusing to give up the goods of the Church. Over the altar is a huge fresco, representing the saint extended upon a red-hot gridiron, and below—entered from the exterior of the church—a crypt is shown as the scene of his cruel sufferings.[236]

The funeral of St. Bridget of Sweden took place in this church, July 1373, but after resting here for a year, her body was removed by her son to the monastery of Wastein in Sweden.

Under the second altar on the right are shown the relics of St. Crispin and St. Crispinian, "two holy brothers, who departed from Rome with St. Denis to preach the Gospel in France, where, after the example of St. Paul, they laboured with their hands, being by trade shoemakers. And these good saints made shoes for the poor without fee or reward (for which the angels supplied them with leather), until, denounced as Christians, they suffered martyrdom at Soissons, being, after many tortures, beheaded by the sword (A.D. 300)."[237] The festival of St. Crispin and St. Crispinian is held on October 25, the anniversary of the battle of Agincourt.

Throughout the middle ages the statues of Posidippus and Menander, now in the gallery of statues at the Vatican, were kissed and worshipped in this church under the impression that they represented saints (see Ch. XV.). They were found on this site, which was once occupied by the baths of Olympias, daughter-in-law of Constantine.

The strange name of the church, Pane e Perna, is supposed to have had its origin in a dole of bread and ham once given at the door of the adjacent convent. In the garden belonging to the convent is a mediæval house of c. 1200. The campanile is of 1450.

The small neighbouring Church of S. Lorenzo in Fonte covers the site of the prison of St. Lawrence, and a fountain is shown there as that in which he baptized Vicus Patricius and his daughter Lucilla, whom he miraculously raised from the dead.

Descending the hill below the church—in the valley between the Esquiline and Viminal—we reach at the corner of the street a spot of preëminent historical interest, as that where Servius Tullius was killed, and where Tullia (B.C. 535) drove in her chariot over the dead body of her father. The Vicus Urbius by which the old king had reached the spot is now represented by the Via Urbana; the Vicus Cyprius, by which he was about to ascend to the palace on the hill Cispius, by the Via di Sta. Maria Maggiore.

Turning to the left, at the foot of the Esquiline, we find the interesting Church of Sta. Pudenziana, supposed to be the most ancient of all the Roman churches ("omnium ecclesiaram urbis vetustissima"). Cardinal Wiseman, who took his title from this church, considers it was the principal place of worship in Rome after apostolic times, being founded on the site of the house where St. Paul lodged, A.D. 41 to 50, with the senator Pudens, whose family were his first converts, and who is said to have himself suffered martyrdom under Nero. On this ancient place of worship an oratory was engrafted by Pius I. (c. A.D. 145), in memory of the younger daughter of Pudens, Pudenziana, perhaps at the request of her sister Prassede, who is believed to have survived till that time. In very early times two small churches existed here, known as "Titulus Pudentis" and "Titulus Pastoris," the latter in memory of a brother of Pius I.

The church, which has been successively altered by Adrian I. in the eighth century, by Gregory VII., and by Innocent II., was finally modernised by Cardinal Caetani in 1597. Little remains of ancient external work except the graceful brick campanile (c. 1130) with triple arcades of open arches on every side separated by bands of terra-cotta moulding,—and the door adorned with low reliefs of the Lamb bearing a cross, and of Sta. Prassede and Sta. Pudenziana with the vases in which they collected the blood of the martyrs, and two other figures, probably St. Pudens and St. Pastor.

The chapel on the left of the tribune, which is regarded as the "Titulus Pudentis," has an old mosaic pavement, said to have belonged to the house of Pudens. Here is a bas-relief by Giacomo della Porta, representing our Saviour delivering the keys to St. Peter; and here is preserved part of the altar at which St. Peter is said to have celebrated mass (the rest is at the Lateran), and which was used by all the early popes till the time of Sylvester. Among early Christian inscriptions let into the walls, is one to a Cornelia, of the family of the Pudenziani, with a rude portrait.

Opening from the left aisle is the chapel of the Caetani family, with tombs of the seventeenth century. Over the altar is a bas-relief of the Adoration of the Magi, by Paolo Olivieri. On each side are fine columns of Lunachella marble. Over the entrance from the nave are ancient mosaics,—of the Evangelists and of Sta. Pudenziana collecting the blood of the martyrs. Beneath, is a gloomy and neglected vault, in which all the sarcophagi and coffins of the dead Caetani are shown by torchlight.

In the tribune are magnificent mosaics, ascribed by some to the eighth, by others to the fourth century, and considered by De Rossi,[238] as the best of all ancient Christian mosaics.

Besides Sta. Pudenziana and St. Pudens,—St. Novatus and St. Siricius are said to be buried here. Those who visit this sanctuary every day obtain an indulgence of 3000 years, with remission of a third part of their sins! Excavations made by Mr. J. H. Parker, in 1865, have laid bare some interesting constructions beneath the church,—supposed to be those of the house of Pudens—a part of the public baths of Novatus, the son of Pudens, which were in use for some centuries after his time, and a chamber in which is supposed to have been the oratory dedicated by Pius I. in a.d. 145.

The following account of the family of Pudens is received as the legacy of Pastor to the Christian Church.

Returning by the main line of streets to the Quattro Fontane, we skirt on the right the wall of the Villa Negroni (see Ch. XI). Beyond this, on the left, is the Church of S. Paolo Primo Eremita. The strange-looking palm-tree over the door, with a raven perched upon it and two lions below, commemorates the story of the saint, who, retiring to the desert at the age of 22, lived there till he was 112, eating nothing but the dates of his tree for twenty-two years, after which bread was daily brought to him by a raven. In his last hours St. Anthony came to visit him and was present at his burial, when two lions his companions came to dig his grave. The sustaining palm-tree and the three animals who loved S. Paolo are again represented over the altar. Further on the left, we pass the Via S. Vitale, occupying the site of the Vicus Longus, considered by Dyer to have been the longest street in the ancient city. Here stood the temples of Sylvanus, and of Fever, with that of Pudicitia Plebeia, founded c. B.C. 297, by Virginia the patrician, wife of Volumnius, when excluded from the patrician temple of Pudicitia in the Forum Boarium, on account of her plebeian marriage. "At its altar none but plebeian matrons of unimpeachable chastity, and who had been married to only one husband, were allowed to sacrifice."[239]

The Church of S. Vitale on the Viminal, which now stands here, was founded by Innocent I. in A.D. 416. The interior is covered with frescoes of martyrdoms. It is seldom open except early on Sunday mornings. S. Vitale, father of S. Gervasius and S. Protasius, was the martyr and patron saint of Ravenna who was buried alive under Nero.

Beyond this, on the left of the Via delle Quattro Fontane, is the Church of S. Dionisio, belonging to the Basilian nuns, called Apostoline di S. Basilio. It contains an Ecce Homo of Luca Giordano, and the gaudy shrine of the virgin martyr Sta. Coraola.

END OF VOL. I.

WALKS IN ROME

TWO VOLS. —II.

WALKS IN ROME

BY AUGUSTUS J. C. HARE
AUTHOR OF "MEMORIALS OF A QUIET LIFE," "WANDERINGS IN SPAIN," ETC.




TWO VOLUMES.—II.



FIFTH EDITION



LONDON
DALDY, ISBISTER & CO.
56, LUDGATE HILL
1875

[All rights reserved]

JOHN CHILDS AND SON, PRINTERS.

CONTENTS VOLUME II.