THE CLOISTERS OF THE LATERAN, AS NOW RESTOREDTHE CLOISTERS OF THE LATERAN, AS NOW RESTORED
Inscription of Vassalectus.Inscription of Vassalectus.
Candelabrum in the Church of S. Paolo fuori le Mura.Candelabrum in the Church of S. Paolo fuori le Mura.
There are three or four details regarding it which deserve notice. The design of this exquisite structure has been attributed, as usual, to one of the Cosmatis; but it belongs to Pietro Vassalletto and his son. In demolishing one of the clumsy buttresses, which were built two centuries ago against the colonnade of the south side, count Vespignani discovered (1887) the authentic signatures of both artists,in the inscription which is here reproduced. It is thus translated: "I, Vassalectus, a noble and skilful master in my profession, have finished alone this work which I began in company with my father."[114]Their school lasted for four generations, from 1153 to the middle of the following century, and ranks next in importance to that of the Cosmatis. Many of their productions are signed, as for example the episcopal chair in the church of S. Andrea at Anagni, dated 1263; a screen in the cathedral of Segni, dated 1185; the candelabra in S. Paolo fuori le Mura; the lion in the porch of SS. Apostoli; the canopy in SS. Cosma e Damiano, dated 1153; fragments of an inlaid screen in the studio of the illustrious artist, Señor Villegas, etc. We are in the habit of asserting that only the Renaissance masters studied and were inspired by the antique; but the fascination of ancient art was equally felt by their early precursors of the twelfth century. The archway in the middle of the south side of these cloisters (opposite the one represented in our illustration) rests on sphinxes, one of which isbearded. The human-headed monsters, wearing theclaftornemes, images of Egyptian Pharaohs, were obviously modelled in imitation of ancient originals. Nor is this the only case. The gate of S. Antonio on the Esquiline is also supported by crouching sphinxes (a. d.1269). It has been suggested that such works were inspired by crusaders who had seen the wonders of Egypt. But if the reader remembers what I said about the Temple of Isis in the Campus Martius, in chapter ii., p. 92, he will at once perceive how the Vassalletti were able to draw their Egyptian models from a much nearer source. A fact mentioned by Winckelmann[115]proves that one of them owned and studied a statue of Æsculapius, in the plinth of which he actually engraved his own name, [V]ASSALECTVS. The statue was seen by Winckelmann in the Verospi palace, but I have not been able to ascertain its present location. In these same cloisters are some delightful figures of saints, in high relief, from an old ciborium. One of them, representing S. John the Baptist, is obviously modelled on the type of an Antinous, with the same abundance of curly hair, the same profile and characteristic eyebrows. In October, 1886, I actually saw a mediæval stonecutter's shop, dating perhaps from the eleventh or twelfth century, in which the place of honor was given to a statue of Antinous. The fact is so remarkable for an age in which statues were sought, not as models, but as material for the limekiln, that I beg leave to describe it.
The Antinous of the Banca Nazionale.The Antinous of the Banca Nazionale.
The site of the Palazzo della Banca Nazionale, in thestreet of the same name, was occupied in old times by the house of Tiberius Julius Frugi, a member of the college of the Arvales. This house shared the fate of all ancient buildings: it was allowed to fall to ruin, and later became the property of whoever chose to occupy it. Among these mediæval occupants was a stonecutter who collected in the half-ruined halls fragments, blocks of columns, and marbles of various kinds, some of which had already been re-cut for new uses. There was also a deposit of the fine sand which is even now employed for sawing stones. We can judge of the approximate age in which the stonecutter lived, by the fact that in his time the pavements of the Roman house were already covered with a stratum of rubbish six feet thick.
A statue of Antinous, the favorite of Hadrian, deified after his death and worshipped in the form of a Bacchus, was found standing against the rear wall of the workshop. It is cut in Greek marble, and the style of sculpture is excellent. None of the prominent portions of the body have been separated from the trunk, so that the only injuries wrought by timeare slight, and confined to the nose and hands. A patient study of this figure has enabled me to reconstruct its story. First of all, we are sure that, from the knees down, the statue had been immersed in a stream of water for a very long period, because the surface of the marble is corroded and full of small holes, caused by the action of running water. It also bears visible traces of having been scraped with a piece of iron and scoured to get rid of the mud and calcareous carbonates with which it must have been incrusted when taken out of the stream. These facts concur to prove that the Antinous, having been thrown into the water, or having fallen in by accident, was found or bought after the lapse of centuries, by our stonecutter. An attempt was then made to clean the statue, and, with the intention of preserving it as a work of art and a model, it was placed in the best room of the workshop. Both were buried for a second time, to be brought to light again in 1886. The statue can now be seen in the vestibule of the Banca Nazionale.
As representative specimens of later art and later glories I venture to suggest the tombs of Innocent VIII. (1484-1492) by Antonio Pollaiuolo, of Paul III. (1524-1549) by Guglielmo della Porta, and of Clement XIII. (1758-1769) by Antonio Canova.
TOMB OF INNOCENT VIIITOMB OF INNOCENT VIII
The Tomb of Innocent VIII. This noble work, by Antonio Pollaiuolo, is set against the second pilaster of the nave of S. Peter's on the left side, opposite the "Porta dei Musici." If we reflect that, besides its importance in the history of art, this monument brings back to our memory the fall of Constantinople and Granada, the discovery of the new world, the figures of Bayazid, Ferdinand, and ChristopherColumbus, we have a subject for meditation, as well as æsthetic enjoyment. Innocent VIII., Giovanni Battista Cibo, of Genoa, is represented on his sarcophagus sleeping the sleep of the just, while above it he appears again in the full power of life, seated on the pontifical throne, with the right hand raised in the act of blessing the multitude, and the left holding the lance with which Longinus had pierced the side of the Saviour on the cross. This holy relic was a gift from the infidels, who had just taken possession of the capital of the Greek empire, and had raised the crescent on the pinnacles of S. Sophia. It seems that while Bayazid II. was besieging Broussa, his rebellious brother Zem or Zizim, who had already been defeated in the battle of June 20, 1481, succeeded in making his escape to Egypt, and ultimately to the island of Rhodes. The grand master of the Knights of S. John, d'Aubusson, received him cordially and sent him first to France, and later to Rome. Here he was received with royal honors; he rode through the streets on a charger, escorted by Francesco Cibo, a relative of the Pope, and count d'Aubusson, brother of the grand master. He is described as a man fond of sight-seeing, about forty years old, of a fierce and cruel countenance, tall, erect, well proportioned, with shaggy eyebrows, and aquiline nose. His brother Bayazid, fearing that he might be induced to try another rebellion with the help of the knights, the Pope, and the Venetians, treated him generously with a yearly allowance of forty thousand scudi; and secured the good grace of Innocent VIII. with the present of the holy lance.[116]
To this extraordinary gift of Bayazid we owe one of the masterpieces of the Renaissance, theciborio della santalancia, begun by Innocent VIII. and finished by the executors of his will, Lorenzo Cibo and Antoniotto Pallavicino, in 1495. Unfortunately we have now only a drawing of it by the unskilful hand of Giacomo Grimaldi;[117]it was taken to pieces in 1606, and a few of its panels, medallions, and statues, which were of the school of Mino da Fiesole, were removed to the Sacred Grottos, where no one is allowed to see them. Grimaldi, who wrote the procès-verbal of the demolition of the ciborium, says that the desecration and the removal of the relics took place on Septuagesima Sunday, January 22, about seven in the evening; at nine o'clock lightning struck the unfinished roof of the basilica; heavy pieces of masonry fell with a crash; mosaics were wrenched from their sockets, and fissures and rents produced in various parts of the building. In the same night the Tiber overflowed its banks, and the turbulent waters rushed as far as the palace of Cardinal Rusticucci in the direction of the Vatican.
The inscription on the tomb of Innocent VIII. mentions, among the glories of his pontificate, the discovery of a new world. Thirty years before his election Constantinople had been taken by the infidels; but the conquests made in the West brought a compensation for the losses sustained on the shores of the Bosphorus. Innocent lived to hear of the capture of Granada and of the conquest of Ferdinand of Aragon, in the Moorish provinces of southern Spain; and just at that time the Hispano-Portuguese branch of the great Latin family seems to have burst forth with renewed vitality and religious enthusiasm, destined to give Rome new victories and new worlds. Bartolomeo Diaz had already doubled the Cape of Good Hope; the sea route toIndia was opened. The Pope could once again consider himself the master of the world, and was able to present John II. of Portugal with "the lands of Africa, whether known or unknown." Death overtook the gentle and peaceful pontiff on July 26, 1492. Eight days after his demise another Genoese,[118]another worthy representative of the strong Ligurian race, set sail from the harbor of Palos to discover another continent, and begin a third era in the history of mankind.
The Tomb of Paul III. Historians and artists alike agree in placing the monument of Paul III. at the head of this class of artistic creations. In a niche on the left of the high altar of S. Peter's the figure of the noble old pontiff is seated on a bronze throne. With his head bent upon his breast, he seems absorbed in thought. Great events, to be sure, had taken place during his administration, which were more or less connected with the affairs of his own family: such as the foundation of the duchy of Parma in favor of his son, Pierluigi, the marriage of his grandson Ottavio to Marguerite, daughter of Charles V., and the creation of the order of the Jesuits; and as some of these events had resulted differently from what he had expected, no wonder his countenance betrays a feeling of disappointment. Two female figures of marble are seen reclining against the sarcophagus: one old, representing Prudence, the other young, representing Justice; the one holds a mirror, the other a bundle of rods. It seems that Guglielmo della Porta modelled them according to a sketch proposed by Michelangelo; in fact, they bear a strong resemblance to the figures ofNight and Day on the tomb of Lorenzo de' Medici, at Florence. The Prudence is said to be a portrait of Giovannella Caetani da Sermoneta, the mother of the Pope, while Justice represents his sister-in-law, Giulia Farnese, according to Martinelli, or his daughter Constance, the wife of Bosio Sforza, according to Rotti. The elder woman's profile is exactly that of Dante,—so much so that Maes speaks of her as the "Dantessa di S. Pietro." Her younger companion is, or rather was, of marvellous beauty, before Bernini draped her form with a leaden tunic. During my lifetime, this has been removed once, for the benefit of a Frenchman who was collecting materials for the life of della Porta; but I have not been able to obtain a copy of the photograph taken at the time. Formerly the statue was miscalled Truth, which gave rise to the saying that, although Truth as a rule is not pleasing, this pleased too much. The strange infatuation of a Spanish gentleman for her is described by Sprenger, Caylus, and Cancellieri.[119]
The original design of the monument required four statues, because it was intended to stand alone in the middle of the church, and not half concealed in a niche. The other two statues were actually modelled, one as Abundance, the other Tenderness; they are now preserved in one of the halls of the Farnese palace.
TOMB OF PAUL IIITOMB OF PAUL III
Paul III., Alessandro Farnese, was the first Roman elevated to the supreme pontificate after Martin V., Colonna (1417-1424). Pomponio Leto, his preceptor, had imbued him with the spirit of the humanists. His conversation was gay and spirituelle; he seemed to bring back with him the fine old times of Leo III. He died beloved and worshippedby his subjects. We may well share a little of these sentiments, if we remember how much art is indebted to him.
The Palazzo Madama, now used as the Senate-house, and the Villa Madama, on the eastern slope of Monte Mario, still belonging to the descendants of the Farnese family, were given by him to Marguerite of Spain, after her marriage with his grandson Ottavio. The Farnesina, which he bought at auction in 1586, associates his memory with that of the Chigis, of Raphael, Michelangelo, and Baldassarre Peruzzi. Then comes his share in the construction of S. Peter's; in the painting of the "Last Judgment," and in the finishing of the "Sala Regia," the richest hall in the Vatican. But no other work, in my estimation, gives us as true an idea of his taste and delicate sentiment as the apartments which he caused to be built and decorated, on the summit of Hadrian's Mole. I am writing these lines in the loggia or vestibule which opens from the great hall. Paul himself placed on the lintel a record of his work, of which Raffaello da Montelupo and Antonio da Sangallo were the architects; Marco da Siena, Pierin del Vaga, and Giulio Romano, the decorators. The ceilings of the bedroom and dining-hall, carved in wood, and those of the reception-room, in gilt and painted stucco, are things of beauty which no visitor to Rome should fail to see. The bath-room, a work of his predecessor, Clement VII., is copied from the antique. In 1538, while the building of this artistic gem was in progress, Benvenuto Cellini was thrown into one of the dungeons below, as a prisoner of state. He was accused of having stolen jewels belonging to the apostolic treasury; but the true reason seems to have been an offence against the Pope, which he had committed in 1527, while the hosts of the constable de Bourbon were besieging the castle. The offence is described by Benvenuto himself in the following words:—
"While I was performing this duty [of keeping guard on the ramparts] some of the cardinals who were in the castle used to come up to see me, and most of all cardinal Ravenna and cardinal de' Gaddi, to whom I often said that I wished they would not come any more, because their red caps could be seen a long way off, and made it mighty dangerous for both them and me from those palaces which were near by, like the Torre de' Bini; so that, finally, I shut them out altogether, and gained thereby their ill-will quite decidedly. Signor Orazio Baglioni, who was my very good friend, also used to come and chat with me. While he was talking with me one day, he noticed a kind of a demonstration in a certain tavern, which was outside the Porta di Castello, at a place called Baccanello. This tavern had for a sign a red sun, painted between two windows. The windows being closed, Signor Orazio guessed that just behind the sun between them, there was a company of soldiers having a good time. So he said to me, 'Benvenuto, if you had a mind to fire your cannon near that sun, I believe you would do a good piece of work, because there is a good deal of noise there, and they must be men of importance.' I replied to the gentleman, 'It is enough for me to see that sun to be able to fire into the middle of it; but if I do, the noise of the gun and the shock it will make will knock over that barrel of stones which is standing near its mouth.' To which the gentleman answered, 'Don't wait to talk about it, Benvenuto, for, in the first place, in the way in which the barrel is standing, the shock of the cannon could not knock it over; but even if it did, and the Pope himself were under it, it would not be as bad as you think; so shoot, shoot!' So I, thinking no more about it, fired right into the middle of the sun, exactly as I had promised I would. The barrel fell, just as I said, and struck the ground betweencardinal Farnese and messer Jacopo Salviati. It would have crushed both of them had it not happened that they were quarrelling, because the cardinal had just accused messer Jacopo of being the cause of the sacking of Rome, and had separated to give more room to the insults they were flinging at each other."[120]The cardinal never forgot his narrow escape.
From the point of view of archæological interests Paul III. will always be remembered as long as the Museo Nazionale of Naples and the Baths of Caracalla of Rome continue to hold the admiration of students. In reading the account of his excavation of the Baths, we seem to be transported to dreamland. No one before him had laid hands on the immeasurable treasures which the building contained. Statues were found in their niches or lying in front of them; the columns were standing on their pedestals; the walls were still incrusted with rare marbles and richly carved panels; the swimming-basins were still ready for use. Pietro Sante Bartoli says: "The excavation of the Baths of Caracalla, which took place in the time of Paul III. (1546) is the most successful ever accomplished. It yielded such a mass of statues, columns, bas-reliefs, marbles, cameos, intaglios, bronze figures, medals, and lamps, that no more room could be found for them in the Farnese palace." The collection comprises the Farnese Bull, the two statues of Herakles, the Flora, the Athletes, the Venus Callipyge, the Diana, the "Atreus and Thyestes," the so-called "Tuccia," and a hundred more masterpieces, which were, unfortunately, removed to Naples towards the end of the last century.
The Tomb of Clement XIII. From the golden age of Guglielmo della Porta to the barocco art of the eighteenthcentury; from the tomb of Alessandro Farnese to that of Prospero Lambertini (Benedict XIV., 1740-1758), we can follow, stage by stage, the pernicious influence exercised on Roman art by the school of Bernini. The richness and magnificence of papal mausolea increased in proportion to the decline in taste. The sculptors seem to have had but one ambition, to produce a theatrical effect; their abuse of polychromy is incredible; the grouping of their figures conventional; the contortions to which they submit their Hopes and Charities, their Liberalities and Benevolences, their Justices and Prudences are simply absurd.
Pietro Bracci, the artist of the monument of Benedict XIV., by pushing mannerism to the extreme point, caused a wholesome reaction in art. The tomb of Clement XIII., Carlo Rezzonico of Venice (1758-1769), was intrusted to Canova. There is the difference of a few years only between the two, but it seems as if there were centuries. This monument, which marks a prodigious reaction towards the pure ideals of classical art, was uncovered on April 4, 1795, before an immense assembly of people. The whole of Rome was there, and the defeat of the partisans of Bernini's style could not have been more complete.
FIGURE FROM THE TOMB OF CLEMENT XIIIFIGURE FROM THE TOMB OF CLEMENT XIII
Disguised in ecclesiastical robes, Canova mixed with the crowd, and was able to hear for himself that the reign of a false taste in art was once more over, so unanimous was the admiration and approval of the multitudes for his bold attempt. The tomb of Clement XIII. rests on a high basement of grayish marble, in the middle of which opens a door of the Doric style, giving access to the vault. The two world-renowned marble lions crouch upon the steps, watching the sarcophagus; Religion stands on the left, holding a cross in the right hand; while the Genius of Death, with an inverted torch, is seen reclining on the opposite side. It isa graceful, but slightly conventional figure. One can easily perceive the influence of the study of the antique in the head of this Genius, which Canova considered one of his best productions. It is the Apollo Belvedere of modern times, the "Catholic Apollo," as Forsyth calls the archangel of Guido in the church of the Capuchins. The Pope is represented kneeling and praying, with hands clasped, and a face full of sentiment and thought. When, seated before this monument, we turn our eyes towards the tombs of Clement X. and Benedict XIV., and other similar productions of the eighteenth century, we can hardly realize that Canova was a contemporary of Pietro Bracci and Carlo Monaldi.
The tomb is also historically interesting. It was under Clement XIII. that the order of the Jesuits was tried before the tribunal of Europe. The kingdom of Portugal, where they had made their first advance towards greatness and fame, was the first to attack them. The marquess of Pombal, prime minister of Joseph I., taking advantage of the uneasiness caused by the earthquake of 1755 and by a murderous attempt against the king, expelled the order from the country and the colonies (January 9-September 3, 1759). One hundred and twenty-four were put in irons; one, named Malagrida, executed; thirty-seven allowed to die in prison; and the rest were embarked on seven ships and transported to foreign lands. Charles III. of Spain, and his minister, count d'Aranda, followed the example of Portugal. The Jesuits were banished from Spain, February 28, 1767; and in the night between April 2 and 3, they were put, five thousand in number, on transport vessels, and sent to Rome. King Louis XV. and the duc de Choiseul used the same process in France. The attempt of Damiens, January 5, 1757, and an alleged scandal in the administrationof the property of the order at la Martinique were taken up as pretexts for punishment, and the order was banished in 1764. King Ferdinand IV. of Naples, the grand master of Malta, the duke of Parma, and other potentates took their share also in the crusade. Whatever may be the sentiment which we personally feel towards this brotherhood, the figures of Lorenzo Ricci, the general who so bravely contested every inch of the battlefield, and of Clement XIII., who died before signing the decree of suppression so loudly demanded by Portugal, Spain, France, Parma, Naples and Malta, will always be remembered with respect. The pressure brought on the old Pope by half the kingdoms of Europe, which were governed directly or indirectly by the Bourbons, was not merely that of diplomacy. He was deprived of Avignon and the comté Venoisin in France, of Benevento in southern Italy; but to no purpose. The decree suppressing the order was only signed by his successor Clement XIV., Ganganelli, on July 21, 1773. Lorenzo Ricci died the following year, a state prisoner in the castle of S. Angelo.
CHAPTER VI.PAGAN CEMETERIES.
Various modes of burial in Rome.—Inhumation and cremation.—Gradual predominance of the latter.—Columbaria.—Inscription describing the organization of one of these, on the Via Latina.—The extent of the pagan cemeteries outside of Rome, and the number of graves they contained.—Curiosities of the epitaphs.—The excavations in the garden of La Farnesina.—The Roman house discovered there.—The tomb of Sulpicius Platorinus.—Its interesting contents.—The "divine crows."—The cemetery in the Villa Pamfili.—Tombs on the Via Triumphalis.—That of Helius, the shoemaker.—The tombs of the Via Salaria.—That of the Licinii Calpurnii.—The unhappy history of this family.—The tomb of the precocious boy.—Improvvisatori of later times.—The tomb of Lucilia Polla and her brother.—Its history.—The Valle della Caffarella.—Its associations with Herodes Atticus.—His fortune and its origin.—His monuments to his wife.—The remarkable discovery of the corpse of a young woman, in 1485.—Various contemporary accounts of it.—Its ultimate fate.—Discovery of a similar nature in 1889.
Various modes of burial in Rome.—Inhumation and cremation.—Gradual predominance of the latter.—Columbaria.—Inscription describing the organization of one of these, on the Via Latina.—The extent of the pagan cemeteries outside of Rome, and the number of graves they contained.—Curiosities of the epitaphs.—The excavations in the garden of La Farnesina.—The Roman house discovered there.—The tomb of Sulpicius Platorinus.—Its interesting contents.—The "divine crows."—The cemetery in the Villa Pamfili.—Tombs on the Via Triumphalis.—That of Helius, the shoemaker.—The tombs of the Via Salaria.—That of the Licinii Calpurnii.—The unhappy history of this family.—The tomb of the precocious boy.—Improvvisatori of later times.—The tomb of Lucilia Polla and her brother.—Its history.—The Valle della Caffarella.—Its associations with Herodes Atticus.—His fortune and its origin.—His monuments to his wife.—The remarkable discovery of the corpse of a young woman, in 1485.—Various contemporary accounts of it.—Its ultimate fate.—Discovery of a similar nature in 1889.
Inhumation seems to have been more common than cremation in prehistoric Rome; hence, certain families, to give material evidence of their ancient lineage, would never submit to cremation. Such were the Cornelii Scipiones, whose sarcophagi were discovered during the last century in the Vigna Sassi. Sulla is the first Cornelius whose body was burned; but this he ordered done to avoid retaliation, that is to say, for fear of its being treated as he had treated the corpse of Marius. Both systems are mentioned in the law of the twelve tables:hominem mortuum in urbe ne sepelitoneve urito, a statement which shows that each had an equal number of partisans, at the time of the promulgation of the law.
This theory is confirmed by discoveries in the prehistoric cemeteries of the Viminal and Esquiline hills, which contain coffins as well as cineraria, or ash-urns. The discoveries have been published only in a fragmentary way, so that we cannot yet follow their development stage by stage, and determine at what periods and within what limits the influence of more civilized neighbors was felt by the primitive dwellers upon the Seven Hills. One thing is certain; the race that first colonized the Campagna was buried in trunks of trees, hollowed inside and cut to measure, as is the custom among some Indian tribes of the present day. In March, 1889, the engineers who were attending to the drainage of the Lago di Castiglione—the ancient Regillus—discovered a trunk ofquercus robur, sawn lengthways into two halves, with a human skeleton inside, and fragments of objects in amber and ivory lying by it. The coffin, roughly cut and shaped, was buried at a depth of fourteen feet, in a trench a trifle longer and larger than itself, and the space between the coffin and the sides of the trench was filled with archaic pottery, of the type found in our own Roman necropolis of the Via dello Statuto. There were also specimens of imported pottery, and a bronze cup. The tomb and its contents are now exhibited in the Villa di Papa Giulio, outside the Porta del Popolo.
When Rome was founded, this semi-barbaric fashion of burial was by no means forgotten or abandoned by its inhabitants. We have not yet discovered coffins actually dug out of a tree, but we have found rude imitations of them in clay. These belong to the interval of time between the foundation of the city and the fortifications of ServiusTullius, having been found at the considerable depth of forty-two feet below the embankment of the Servian wall, in the Vigna Spithoever. They are now exhibited in the Capitoline Museum (Palazzo dei Conservatori), together with the skeletons, pottery, and bronzesuppellexthey contained.
Nearly every type of tomb known in Etruria, Magna Græcia, and the prehistoric Italic stations has a representative in the old cemeteries of the Viminal and the Esquiline. There are caves hewn out of the natural rock, with the entrance sealed by a block of the same material; in these are skeletons lying on the funeral beds on either side of the cave, or even on the floor between them, with the feet turned towards the door, and Italo-Greek pottery, together with objects in bronze, amber, and gold. There are also artificial caves, formed by horizontal courses of stones which project one beyond another, from both sides, till they meet at the top. Then there are bodies protected by a circle of uncut stones; others lying at the bottom of wells, and finally regular sarcophagi in the shape of square huts, and cineraria like those described on page 29 of my "Ancient Rome."
Comparing these data we reach the conclusion that inhumation was abandoned, with a few exceptions, towards the end of the fifth century of Rome, to be resumed only towards the middle of the second century after Christ, under the influence of Eastern doctrines and customs. For the student of Roman archæology these facts have not merely a speculative interest; a knowledge of them is necessary for the chronological classification of the material found in cemeteries and represented so abundantly in public and private collections.
The acceptance of cremation as a national, exclusive system brought as a consequence the institution of theustrina,the sacred enclosures in which pyres were built to convert the corpses into ashes. Several specimens ofustrinahave been found near the city, and one of them is still to be seen in good preservation. It is built in the shape of a military camp, on the right of the Appian Way, five and a half miles from the gate. When Fabretti first saw it in 1699, it was intact, save a breach or gap on the north side. He describes it as a rectangle three hundred and forty feet long, and two hundred feet wide, enclosed by a wall thirteen feet high. Its masonry is irregular both in the shape and size of the blocks of stone, and may well be assigned to the fifth century of Rome, when the necessity for popularustrinawas first felt. When Nibby and Gell visited the spot in 1822 they found that the noble owner of the farm had just destroyed the western side and a portion of the eastern, to build with their materials amaceria, or dry wall.
Theustrinawhich were connected with the Mausoleum of Augustus and the ara of the Antonines have already been described in chapter iv. Another institution, that ofcolumbaria, orossaria, as they would more properly be called, owes its origin to the same cause. Columbaria are a specialty of Rome and the Campagna, and are found nowhere else, not even in the colonies or settlements originating directly from the city. They begin to appear some twenty years before Christ, under the rule of Augustus and the premiership of Mæcenas. Inasmuch as the Campus Esquilinus, which, up to their time, had been used for the burial of artisans, laborers, servants, slaves, and freedmen, was suppressed in consequence of the sanitary reforms described by Horace,[121]and was buried under an embankment of pure earth, and converted into a public park; as, moreover, the disappearance of the said cemetery was followed closelyby the appearance of columbaria, I believe one fact to be a consequence of the other, and both to be part of the same hygienic reform. No cleaner, healthier, or more respectable substitute for the oldputicolicould have been contrived by those enlightened statesmen. Any one, no matter how low in social position, could secure a decent place of rest for a paltry sum of money. The following inscription, still to be seen in the columbarium discovered in 1838, in the Villa Pamfili,—
Inscription columbarium of Villa Pamfili
has been interpreted by Hülsen to mean that Paciæcus Isargyros had sold to Pinaria Murtinis a place for oneas. Tombstones often mention transactions of this kind, and state the cost of purchase for one or more loculi, or for the whole tomb. Friedländer, in a Königsberg Programm for October, 1881,[122]has collected thirty-eight documents concerning the cost of tombs; they vary from a minimum of two hundred sestertii ($8.25) to a maximum of one hundred and ninety-two thousand ($8,000).
There were three kinds of columbaria: first, those built by one man or one family either for their own private use, or for their servants and freedmen; second, those built by one or more individuals for speculation, in which any one could secure a place by purchase; third, those built by a company for the personal use of shareholders and contributors.
As a good specimen of the columbaria of the second kind we can cite one built on the Via Latina, by a companyof thirty-six shareholders. It was discovered in 1599, not far from the gate, and its records were scattered all over the city. As a proof of the negligence with which excavations were conducted in former times, we may state that, the same place having been searched again in 1854 by a man named Luigi Arduini, other inscriptions of great value were discovered, from which we learn how these burial companies were organized and operated. The first document, a marble inscription above the door of the crypt, states that in the year 6b. c.thirty-six citizens formed a company for the building of a columbarium, each subscribing for an equal number of shares, and that they selected two of the stockholders to act as administrators. Their names are Marcus Æmilius, and Marcus Fabius Felix, and their official title iscuratores ædificii xxxvi. sociorum. They collected the contributions, bought the land, built the columbarium, approved and paid the contractors' bills, and having thus fulfilled their duty convened a general meeting for September 30. Their report was approved, and a deed was drawn up and duly signed by all present, declaring that the administrators had discharged their duty according to the statute. They then proceeded to the distribution of the loculi in equal lots, the loculi representing, as it were, the dividend of the company. The tomb contained one hundred and eighty loculi for cinerary urns, and each of the shareholders was consequently entitled to five. The distribution, however, was not so easy a matter as the number would make it appear. We know that it was made by drawing lots,per sortitionem ollarum, and we know also that in some cases the shareholders, as a remuneration to their chairmen, administrators, and auditors of accounts, voted them exemption from the rule, by giving them the right of selecting their loculi without drawing (sine sorte). Evidently some placeswere more desirable than others, and if we remember how columbaria are built, it is not difficult to see which loculi must have been most in demand.
The pious devotion of the Romans towards the dead caused them to pay frequent visits to their tombs, especially on anniversaries, when the urns were decorated with flowers, libations were offered, and other ceremonies performed. Theseinferiæ, or rites, could be celebrated easily if the loculus and the cinerary urn were near the ground, while ladders were required to reach the upper tiers. The same difficulty was experienced when cinerary urns had to be placed in their niches; and the funeral tablets and memorials containing the name, age, condition, etc., of the deceased, which were either written in ink or charcoal, or else engraved on marble, could not be read if too high above the pavement. For these reasons, and to avoid any suspicion of partiality in the distribution of lots, the shareholders trusted to chance. The crypt discovered in the Via Latina contained five rows of niches of thirty-six each. The rows were calledsortes, the nichesloci. Now, as each shareholder was entitled to fiveloci, one on each row, lots were drawn only in regard to thelocus, not to the row. The inscriptions discovered in 1599 and 1854 are therefore all worded with the formula:—"Of Caius Rabirius Faustus, second tier, twenty-eighth locus;" "Of Caius Julius Æschinus, fourth tier, thirty-fourth locus;" "Of Lucius Scribonius Sosus, first tier, twenty-third locus;"—in all, nine names out of thirty-six. The allotment of Rabirius Faustus is the only one known entirely. He had drawn No. 30 in the first row, No. 28 in the second, No. 6 in the third, No. 8 in the fourth, No. 31 in the fifth.
It took at least thirty-one years for the members of the company to gain the full benefit of their investment; thelast interment mentioned in the tablets having taken placea. d.25. This late comer is not an obscure man; he is the famous charioteer, orauriga circensis, Scirtus, who began his careera. d.13, enlisting in the white squadron. In the lapse of thirteen years he won the first prize seven times, the second thirty-nine times, the third forty times, besides other honors minutely specified on his tombstone.[123]
The theory that Roman tombs were built along the high roads in two or three rows only, so that they could all be seen by those passing, has been shown by modern excavations to be unfounded. The space allotted for burial purposes was more extensive than that. Sometimes it extended over the whole stretch of land from one high-road to the next. Such is the case with the spaces between the Via Appia and the Via Latina, the Labicana and Prænestina, and the Salaria and Nomentana, each of which contains hundreds of acres densely packed with tombs. In the triangle formed by the Via Appia, the Via Latina, and the walls of Aurelian, one thousand five hundred and fifty-nine tombs have been discovered in modern times, not including the family vault of the Scipios.[124]Nine hundred and ninety-four have been found on the Via Labicana, near the Porta Maggiore, in a space sixty yards long by fifty wide. The number of pagan tombstones registered in volume vi. of the "Corpus" is 28,180, exclusive of theadditamenta, which will bring the grand total to thirty thousand. As hardly one tombstone out of ten has escaped destruction, we may assume as a certainty that Rome was surrounded by a belt of at least three hundred thousand tombs.
INTERIOR OF A COLUMBARIUM IN THE VIGNA CODINIINTERIOR OF A COLUMBARIUM IN THE VIGNA CODINI
The reader may easily imagine what a mass of informationis to be gathered from this source. In this respect, the perusal of parts II., III., and IV. of the sixth volume of the "Corpus" is more useful to the student than all the handbooks and "Sittengeschichten" in the world; and besides, the reading is not dry and tiresome, as one might suppose. Many epitaphs give an account of the life of the deceased; of his rank in the army, and the campaigns in which he fought; of the name of the man-of-war to which he belonged, if he had served in the navy; of the branch of trade he was engaged in; the address of his place of business; his success in the equestrian or senatorial career, or in the circus or the theatre; his "état civil," his age, place of birth, and so on. Sometimes tombstones display a remarkable eloquence, and even a sense of humor.
Here is an expression of overpowering grief, written on a sarcophagus between the images of a boy and a girl: "O cruel, impious mother that I am: to the memory of my sweetest children. Publilius who lived 13 years 55 days, and Æria Theodora who lived 27 years 12 days. Oh, miserable mother, who hast seen the most cruel end of thy children! If God had been merciful, thou hadst been buried by them." Another woman writes on the urn of her son Marius Exoriens: "The preposterous laws of death have torn him from my arms! As I have the advantage of years, so ought death to have reaped me first."
The following words were dictated by a young widow for the grave of her departed companion: "To the adorable, blessed soul of L. Sempronius Firmus. We knew, we loved each other from childhood: married, an impious hand separated us at once. Oh, infernal Gods, do be kind and merciful to him, and let him appear to me in the silent hours of the night. And also let me share his fate, that we may be reuniteddulcius et celerius." I have left the two adverbsin their original form; their exquisite feeling defies translation.
The following sentence is copied from the grave of a freedman: "Erected to the memory of Memmius Clarus by his co-servant Memmius Urbanus. I know that there never was the shade of a disagreement between thee and me: never a cloud passed over our common happiness. I swear to the gods of Heaven and Hell, that we worked faithfully and lovingly together, that we were set free from servitude on the same day and in the same house: nothing would ever have separated us, except this fatal hour."
A remarkable feature of ancient funeral eloquence is found in the imprecations addressed to the passer, to insure the safety of the tomb and its contents:[125]—
"Any one who injures my tomb or steals its ornaments, may he see the death of all his relatives."
"Whoever steals the nails from this structure, may he thrust them into his eyes."
A grumbler wrote on a gravestone found in the Vigna Codini:—
"Lawyers and the evil-eyed keep away from my tomb."
It is manifestly impossible to make the reader acquainted with all the discoveries in this department of Roman archæology since 1870. The following specimens from the viæ Aurelia, Triumphalis, Salaria, and Appia seem to me to represent fairly well what is of average interest in this class of monuments.
Via Aurelia. Under this head I record the tomb of Platorinus, which was found in 1880 on the banks of the Tiber, near La Farnesina, although, strictly speaking, itbelongs to a side road running from the Via Aurelia to the Vatican quarters, parallel with the stream. The discovery was made in the following circumstances:—
Ancient house in the Farnesina Gardens.Ancient house in the Farnesina Gardens.
A strip of land four hundred metres long by eighty broad was bought by the state in 1876 and cut away from the gardens of la Farnesina, to widen the bed of the Tiber. It was found to contain several ancient edifices, which have since become famous in topographical books. I refer more particularly to the patrician house discovered near the church of S. Giacomo in Settimiana, the paintings of which are now exhibited in Michelangelo's cloisters, adjoining the Baths of Diocletian.
These paintings have been admirably reproduced in color and outline by the German Archæological Institute,[126]but they have not yet been illustrated from the point of view of the subjects they represent. They are divided into panels by pilasters and colored columns, each half being distinguished by a different color: white (Nos. 1, 5, 6, of the plan), red (Nos. 2, 4), or black (No. 3). The frieze of the "black" series represents the trying of a criminal case by a magistrate, very likely the owner of the palace, with curious details concerning the evidence asked and freely given to him.
Near the frieze, the artist has drawn pictures as thoughhung to the wall, with folding shutters, some wide open, some half-closed. They are genre subjects, such as a school of declamation, a wedding, a banquet; and though the figures are not five inches long, they are so wonderfully executed that even the eyebrows are discernible.
The pictures in the centre of the panels are of larger size. Those of the "white" room are painted in the style of the Attic lekythoi, or oil-jugs. The figures are drawn in outline with a dark, subtle color, each space within the outline being filled in with the proper tint; though a few only are drawn without the colors. One of these remarkable pictures represents two women,—one sitting, the other standing, and both looking at a winged Cupid. Another represents a lady playing on the seven-stringed lyre, each of the strings being marked by a sign which, perhaps, corresponds to the notes of the scale. In one of the panels from room No. 4 is still visible what we suppose to be the signature of the artist:CΕΛΕΥΚΟC ΕΠΟΕΙ(sic). It seems as if Baldassarre Peruzzi, Raphael, Giulio Romano, il Sodoma, il Fattore, and Gaudenzio Ferrari, to whom we owe the wonders of the Farnesina dei Chigi, must have unconsciously felt the influence of the wonders of this Roman house which was buried under their feet. It is a great pity that the two could not have been left standing together. What a subject for study and comparison these two sets of masterpieces of the golden ages of Augustus and Leo X. would have offered to the lover of art!