Q . LVTATIVS . Q. F. Q. N. CATVLVS . COS . SVBSTRVCTIONEM . ET . TABVLARIVM . EX . SEN . SENT . FACIENDVM . COERAVIT . EADEMQVE . PROBAVIT .
Q . LVTATIVS . Q. F. Q. N. CATVLVS . COS . SVBSTRVCTIONEM . ET . TABVLARIVM . EX . SEN . SENT . FACIENDVM . COERAVIT . EADEMQVE . PROBAVIT .
The remains form the substructions of the present Capitol, or senator's residence, consisting of a massive wall of Gabii stone 240 feet long and 37 feet high, supporting the portico on the side of the Forum, which consisted of a series of arches, 23 feet by 15 feet, ornamented with sixteen Doric columns. Below this portico or arcade are a series of small chambers, with windows looking into the Forum, opening out of one another, approached by a short flight of steps, and probably used to store the records. At the back of the arcade are a series of large vaulted rooms or offices. At one end a grand flight of steps (repaired) leads up into what has been a grand arcade on the side of the Area Capitolina: its piers now partly sustain the modern building. At the farther end of this arcade is a flight of steep travertine steps, sixty-seven in number, leading down into the Forum, the exit to which has been blocked up by the Temple of Vespasian being built against the entrance.
This building must have presented a grand front to the Forum in the olden time, though now it only sustains the buildings of Michael Angelo. In 1389–1394, Pope Boniface IX. first erected on the Capitoline Hill, on the ruins of the Tabularium, a residence for the senator and his assessors. The prospect was altered so that what was the front became the back, and it faced on to what was anciently the Area Capitolina, now the Piazza del Campidoglio, instead of the Forum.
The north side wall seems to have been cut down when the present edifice was erected, as outside the present wall are the remains of the ancient one; thus it was somewhat longer than we now see it. In the sort of vestibule which gives admittance to the chambers under the portico are remains of stairs, evidently leading up to some chambers above the portico. These were probably not very lofty,so that the view of the temples on the hill was not shut out from the Forum, or perhaps they only led up to the flat roof above the arcade.
These old remains have been used as a prison and as a salt store, which latter has eaten the stone away in a curious manner. It is now used as a museum of fragments. The arches of the portico were filled in when the great master utilized it. Although we know an arch is as strong as a wall, it is feared to open them, and one only has been so treated.
Suetonius tells us: "Vespasian undertook to restore the three thousand tablets of brass which had been destroyed in the fire which consumed the Capitol; searching in all quarters for copies of those curious and ancient records, in which were contained the decrees of the senate almost from the building of the city, as well as the acts of the people relative to alliances, treaties, and privileges granted to any person" (Vespasian, viii.).
Pliny (xxxiv. 21) says: "It is upon tablets of brass that our public enactments are engraved."
From the Tabularium a new iron stair leads up to
whence a fine view of Rome and its environs can be enjoyed, standing, as it were, between ancient and medieval Rome. It is the best position for study in the world.
From this height the huge mass of the Colosseum appears elegant and light. The famous Seven Hills may be made out, notwithstanding the alteration in the soil: on the left is theQuirinal, beyond that theViminal, and beyond that theEsquiline; to the extreme right is theAventine; before us is thePalatine, with theCœlianbeyond it; whilst we occupy theCapitoline. The contemplation of the city, however, produces the effect of a vast and solid reading of history. Each of the great representations of the city, always and differently mistress of the world, seems to have chosen its respective quarter—the Rome of the kings and emperors is spread out on the Palatine, Esquiline, and Quirinal; republican Rome occupies the Capitol and Aventine; whilst Christian Rome, isolated and solitary, reigns on the Cœlian and Vatican eminences.
ThePalatine, which has ever had the preference, whether so-called from the people Palantes, or Palatini, or from the bleating andstrolling of cattle, in Latin,balareandpalare, or from Pales, the pastoral goddess, or from the burying-place of Pallas, is disputed amongst authors. It was on this hill that Romulus, according to popular tradition, laid the foundations of the city, in a quadrangular form. Here Romulus and Tullus Hostilius kept their courts, as did afterwards Augustus, and all the succeeding emperors, on which account the word Palatium came to signify a royal seat (Rosin, "Antiq." i. 4).
TheAventinederives its name from Aventinus, an Alban king (Varro, "De Ling. Lat." iv.), or from the river Avens (ibid.), or from Avibus, from the birds which used to fly thither in great flocks from the Tiber (ibid.). It was also called Murcius, from Murcia, the goddess of sleep, who had a temple here (Sextus Pompeius, Festus). Also Collis Dianæ, from the Temple of Diana (Martial). Likewise Remonius, from Remus, who wished the city to be commenced here, and who was buried here (Plutarch, in "Romulus"). This hill was added by Ancus Martius ("Eutropius," i.).
TheCapitoline, formerly Saturn, then Tarpeian, took its name from Tarpeia, a Roman virgin, who betrayed the city to the Sabines at this point (Plutarch, in "Romulus"). It was also called Mons Saturni and Saturnius, in honour of Saturn, who is reported to have lived here, and was the titular deity of this part of the city. It was afterwards called Capitoline, from the head of a man found here when digging the foundations of the famous Temple of Jupiter. It was added to the city when the Sabines were permitted by Romulus to incorporate themselves with the Romans (Dionysius).
TheQuirinalwas either so called from the Temple of Quirinus, another name of Romulus, or from the Curetes, a people that removed hither with Tatius from Cures, a Sabine city (Sextus Pompeius, Festus). It afterwards changed its name to Caballus, from two marble horses, each having a man holding it, which are still standing, and were the works of Phidias and Praxiteles ("Fabricii Roma," iii.), made to represent Alexander the Great and Bucephalus, and presented to Nero by Tiridates, king of Armenia. Numa added this hill to the city (Dionysius, ii.).
TheEsquilinewas anciently called Cispius and Oppius ("Fabricii Roma," 3). The name Esquilinus was varied for the easier pronunciation from Exquilinus, a corruption of Excubinus, ab Excubiis, from the watch that Romulus kept there ("Propert." ii. 8). It was taken in by Servius Tullius, who had his palace here (Livy, i. 44).
TheViminalderives its name from Vimina, signifying osiers,which grew here in large quantities. This hill was added by Servius Tullius (Dionysius, iv.).
TheCœlianowes its name to Cœlius or Cœles, a famous Tuscan general, who encamped here when he came to assist the Romans against the Sabines (Varro, "De Ling. Lat." iv.). The other names by which it was sometimes known were Querculanus or Querquetulanus, and Augustus: the first, on account of its growth of oaks; and the second, because the Emperor Tiberius built on it after a fire (Tacit. "Ann." iv.; Suet. in "Tib." xlviii.). One part was called Cœliolus, and Minor Cœliolus ("Fabricii Roma," 3). Livy (i. 30) and Dionysius (iii.) attribute the taking of it into the city to Tullus Hostilius, but Strabo ("Georg." v.) to Ancus Martius.
Whilst on the subject of the hills of Rome, three others are equally famous.
TheJaniculum, or Janicularis, so called either from an old town of the same name, said to have been built by Janus, or because Janus dwelt and was buried here (Ovid, "F." i. 246), or because it was ajanua, a sort of gate to the Romans, whence they issued out upon the Tuscans (Festus). Its yellow sand gave it the name of Mons Aureus, corrupted into Montorius ("Fabricii Roma," i. 3). From an epigram of Martial, we may observe that it is the fittest place to take one's standing for a full prospect of the city (Martial, "Epig." iv. 64). It is famous for the sepulchres of Numa and Statius the poet ("Fabricii Roma," i. 3), and in more recent times as the grave of Tasso, and the spot where tradition holds that S. Peter was executed.
TheVaticanowes its name to thevates, or prophets, who used to give their answers here, or from the god Vaticanus or Vagitanus (Festus). Formerly celebrated for the Gardens and Circus of Nero, the scene of the Christian martyrdoms, and in our time for S. Peter's and the Vatican. It was enclosed in the time of Aurelian, but was considered as very unhealthy (Tacitus, "H." ii. 93).
ThePincio(Collis Hortulorum, or Hortorum) took its name from the gardens of Sallust adjoining it (Rosin, i. 2). It was afterwards called Pincius, from the Pincii, a noble family who had their seat here (ibid.). Aurelian first enclosed it (ibid.).
The Capitol tower is crowned by a statue of Roma; and the great bell formerly announced, by a strange contrast, the death of the Pope and the opening of the Carnival.
Passing up into the square, in facing the Capitol, on the right, is the
(New Capitoline Museum.)
Open every day. Fee, half lira. The principal objects in theCourtyardare, right:—
1. Statue of Julius Cæsar; the only authentic portrait of him.
2, 4, 9. Colossal fragments, found near the Basilica of Constantine. Supposed to have belonged to the statue of Apollo brought from Pontus by Lucullus. Square base, which contained the bones of Agrippina the elder.
11. Lion attacking a horse. Found in the river Almo, outside Porta S. Paolo.
12, 14. Captive Kings.
13. Large seated statue of Roma.
15. Colossal bronze head of a colossal statue of Apollo, found near the Colosseum. Reliefs of figures representing provinces; and reliefs of military trophies, recently found in the Piazza di Pietra.
28. Statue of the Emperor Augustus.
30. Modern rostral column, with ancient inscription. (See page 26.)
36. Base Capitolina, an altar dedicated to Hadrian, whose bust it now supports, by the inspectors of the streets. On the sides are engraved the names of the magistrates who presided over the streets, which are named, of five of the fourteen regions into which Rome was divided. It has afforded much useful information to archæologists.
41. Alto-relief which formed part of the Arch of Antoninus Pius, found in the Piazza Sciarra, which spanned the Corso, and was destroyed in 1527.
42, 43, 44. Alto-reliefs, part of the Arch of Marcus Aurelius, which stood at the Via della Vita, in the Corso, and was pulled down in 1665.
45. Curious bas-relief, representing Mettus Curtius, on horseback, floundering in the marsh where is now the Forum. Found near the Church of S. Maria Liberatrice.
49, 50. Alto-reliefs from an arch which stood in the Corso in honour of Antoninus Pius.
At the top of the stairs on this floor are several rooms.On passing the turnstile keep straight on. The authorities number these rooms in the reverse way to ours.
View larger image.
PLAN OF THE PALAZZO DEI CONSERVATORI.NEW CAPITOLINE MUSEUM.View larger image.
PLAN OF THE PALAZZO DEI CONSERVATORI.NEW CAPITOLINE MUSEUM.View larger image.
First Roomcontains a collection of majolica from the Cini family.
Second Room.—The vault is by Caracci. On the right of the door are S. Luke; S. Alexio, by Romanelli; the Virgin, by Andrea Allovisi, called L'Ingegno, pupil of Perugino; S. Cecilia, by Romanelli; S. Mark. On the left are S. John, S. Albertorn, and S. Eustachio, by Romanelli; S. Matthew.
Third Room,turn left.—Frescoes of the Punic wars by Bonfigli.
Fourth Room.—Frescoes from the wars of Scipio, and tapestries from the hospital of S. Michael.Right, the Boys of Falerii scourging their Schoolmaster,B.C.392 (Livy, v. 27); the Vestal Tuccia,B.C.144 (Dionysius, ii. 69); Romulus and Remus; busts of Italian patriots.
Fifth Room.—Garibaldi Museum. Frescoes of the school of Zuccari, representing games in the Circus Maximus, etc. There is a bust inrosso-anticocalled Appius Claudius, a bronze bust of Michael Angelo, and other busts. Two ducks in bronze are pointed out as the geese which saved the Capitol. Between them is a curious bronze vase, evidently a female portrait. Copy of Raphael's Holy Family.
Sixth Room.—On the wall of this room are preserved the Fasti Consulares, dating fromB.C.481 to the end of the Republic. These fragments were found in the Forum, and faced the podium of the Temple-Tomb of Cæsar. The frescoes are by Benedetto Bonfigli.
Seventh Room.—Frescoes: Triumph of Marius, and Defeat of the Cimbri, by Daniele da Volterra. Near the door is a relief, representing the Temple at Jerusalem; and in front of it a team of oxen drawing on a car the molten sea (1 Kings vii. 23; 2 Chron. iv. 2).
Eighth Room.—Scenes of the Roman Republic, by Lauretti.
Ninth Room.—Frescoes from the history of the kings, by Arpino.
Passing through the rooms of the Fasti, from 1540A.D., we enter theHall of Busts, comprising statesmen, poets, painters, authors, sculptors, all noted in Italian history. At the end is a monument to Canova.
A door on the right opens into the
(For numbers, see plan.)
1, 2. Cases of small bronze articles found at various times. 3. A bronze biga, or two-horse chariot, with reliefs depicting scenes from the circus; restored upon a wooden frame, and given by Signor A. Castellani. 4. A bisellium, or chair of state. 8. Lectica, or sedan chair. "These infirmities caused him [Claudius] to be carried in a close chair, which no Roman had ever used before; and from thence have the emperors and the rest of us consular men taken thecustom of using chairs of that sort, for neither Augustus nor Tiberius used anything but small litters, which are still in fashion for the women" (Dion Cassius). 9, 10. Shelves containing household utensils, &c. 11. Fragments of columns of Bigio marble.
The beautiful alabaster pavement of this room was found, as now fixed, upon the Esquiline Hill, on Christmas eve, 1874. It formed part of the House of the Larmæ, where the statues were found. The coins formed part of the Campana Collection, and are of great value. The small case of gems is worth looking into; it contains some fragments not unlike the Portland vase, white reliefs on a blue ground.
We now enter the new
(The order is liable to alteration, as objects are constantly being added.)
This museum is formed of the remains found in the excavations of the municipality since Rome was made the capital of united Italy. The new circular hall, designed by Signor Vespignani, presents a light and elegant effect. Amongst the most important subjects placed in the new hall, we may mention No. 2, the monument of Quintus Sulpicius Maximus, found in 1870 in the Old Porta Salaria. The inscription states that he died at the early age of thirteen years, five months, and twelve days. He carried off the honours for composing Greek verse against fifty-two competitors. The poem is engraved on the pilasters. The subject is—The arguments used by Jove in reproving Phœbus for intrusting his chariot to Phaeton. Africa's deserts and the negroes' black skins are ascribed to the careless driving of Phaeton on that occasion. No. 5. Venus. 23. Mercury. 11. A bust of Faustina the elder. 13. A youth anointing himself. 14 and 16. Tritons. 15. A half statue of the Emperor Commodus as Hercules, beautifully executed in fine marble, with the lion's skin over his head and knotted upon his chest: in his right hand is the club. A bracket of marble, ornamented at its end with a celestial globe, rested on the pedestal, which formed a shield, a band running round the centre with the signs of the zodiac. This bracket is supported by two kneeling figures, holding cornucopias containing fruit. One is in good preservation; the fragments of the other were also found. 17. Plotina, wife of Trajan. 18. Apollo. 19. Bacchus, with a satyr on a leopard at his side. 21. Sarcophagus of the Calydonian boar hunt. Polyhymnia. 24. Terpsichore. 26. A beautiful nude statue of a young girl or nymph leaving the bath, of Parian marble, standing with sandalled feet by a pedestal, which supportsher robe, the left hand fastening up the hair. 28, 29. Two magistrates about to start the racers by dropping a handkerchief. They represent L. A. A. Symmachus, prefect of Rome,A.D.365, and his son; and are unique. The father was found in one hundred and eighty pieces, and the son in ninety pieces, which have been carefully put together. 31. Colossal statue. 33. Fortune. Apollo with the Lyre. Relief, forging the Shield of Minerva. 38, 42. Athletes starting for the Race. 40a. A Cow. 44. Manlia Scantilla. Marsyas bound to the tree; the finest statue in the collection, found in 1879. 48. Didia Clara. 49a. A Roman General; a striking statue. 8. The Earth; a sitting statuette in a niche found in the Roman Cemetery. 9. A Baccante.
In the inner circle.—A magnificent marble vase, found upon the Esquiline, called by the Greeks a Rhyton: it is the work of Pontios, an Athenian sculptor. A vase with figures in relief. The infant Hercules found at the Cemetery of S. Lorenzo. Another vase. The Muse of Astronomy.Exit.74, 75. Hercules taming the Horses: part of a group found in many fragments, and very skilfully put together. Seated statue of a girl. 133. Minerva. 130. A statue of Silenus, which was formerly a fountain. A youth carrying a pig for sacrifice. Cupid playing with a tortoise. 123. Boy with a puppy. 81. Statuette of Venus. 81a. A Sleeping Cupid. 124. A large stone shield sculptured with the acanthus leaf. 90. Mithras slaying the Bull. 117, 105, 106. Reliefs relating to the worship of the Persian sun-god Mithras, recently found on the Esquiline Hill.
Crossing the Hall of Busts, by Canova's Monument, we enter the
composed of remains found chiefly in the excavations in building the new quarter of Rome upon the Esquiline Hill.The principal objects are:—A coffin containing skulls; a large jar containing a leaden case, in which is enclosed a beautiful alabaster urn; a large and varied collection of Roman lamps, glass, and terra-cotta; also glass in various forms, and for windows, pieces of fresco, &c.A door on the left leads into the
In the centre of the first room is the celebrated bronze wolf of the Capitol (1), thus alluded to by Virgil ("Æn." viii. 630):—
"By the wolf were laid the martial twins,Intrepid on her swelling dugs they hung:The foster-dam lolled out her fawning tongue:They sucked secure, while, bending back her head,She licked their tender limbs, and formed them as they fed."
"By the wolf were laid the martial twins,Intrepid on her swelling dugs they hung:The foster-dam lolled out her fawning tongue:They sucked secure, while, bending back her head,She licked their tender limbs, and formed them as they fed."
"By the wolf were laid the martial twins,
Intrepid on her swelling dugs they hung:
The foster-dam lolled out her fawning tongue:
They sucked secure, while, bending back her head,
She licked their tender limbs, and formed them as they fed."
Cicero (in "Catiline" iii. 8), mentions this object as a small gilt figure of Romulus sucking the teat of a wolf, which was struck by lightning, and which his hearers remembered to have seen in the Capitol.
Dionysius, quoting from an older historian, Quintus Fabius Pictor, speaks of a temple in which a statue is placed representing the above incident. It is a wolf suckling two children; they are in brass, and of ancient workmanship. This latter must not be confounded with the statue mentioned by Cicero, which is generally believed to be the one before us. The fracture on the hind leg may have been caused by lightning, and traces of gilt may still be observed. It is not known where it was found, but in Cicero's time (B.C.106–43) it was to be "seen in the Capitol." The workmanship of the wolf is of an early period, Etruscan; the twins are Roman.
10. A bull, found in Trastevere in 1849. 4. "Thou seest the faces of Hecate turned in three directions, that she may watch the cross-roads cut into three pathways." She was the patroness of magic, and was also set up before houses to ward off evil. This goddess is often confounded with Diana. 8. The shepherd Martius, a bronze statue of a boy extracting a thorn from his foot. 14. Horse found in Trastevere. 13. Foot found near the Colosseum.
The case on the left contains, amongst other objects, a bronze inscription, with heads in alto-relief, of Septimius Severus, Caracalla, and Julia Pia. 9. Gilt bronze statue of Hercules, found amongst the remains of a temple of Hercules, behind the Church of S. Maria in Cosmedin. 2, 3. Bronze globes, one of which was held in the hand of Trajan's statue on his column. 15. Diana of the Ephesians in bronze and marble. 6. A Camillus, one of the twelve youths who assisted at the sacrifices. 7. Bust of Lucius Junius Brutus, who expelled the Tarquins. 5. A fluted vase, found in the sea at Porto d'Anzio; a gift of Mithridates, King of Pontus, to a gymnasium of the Eupatorists.
From the Hall of Bronzes we enter the
Formed by Signor A. Castellani, and presented by him to the senate and people of Rome. The objects were mostly found at Cervetri, Tarquinii, and Veii.
Passing out into the Hall of Busts, a door on the right leads to the
Open every day from 10 till 3.
Founded by Benedict XIV., and composed of several rooms. Thefollowing are the most celebrated pictures, but each picture has the names of the artist and the subject printed under the frame:—
First Room.—Right: Romulus and Remus, by Rubens; Holy Family, by Giorgione; S. Cecilia, by Romanelli; Baptism, by Guercino; Magdalen, by Guido; Cumæan Sibyl, by Domenichino; Persian Sibyl, by Guercino; Madonna, by Botticelli; Assumption, by Cola dell'Amatrice; The Redeemed Spirit, by Guido; Madonna, by Francia.
The frescoes on the walls are from the deserted palace Magliana, the hunting-seat of Leo X., which has long been utilized as a farm by a community of nuns, and only inhabited by labourers. The frescoes are all more or less injured, and the feet of each figure, together with the lower part of the pictures, are quite obliterated. They represent the Muses, with Apollo as Musagetes, each figure distinguished by a motto in verse descriptive of the individual character, from the epigrams of Ausonius, and consist of the figures of Polyhymnia; Urania, with a distant view of Florence in the background (perhaps allusive to the pre-eminence of that city in astronomical science); Thalia, with the motto, "Comica lasciva gaudet sermone Thalia;" Clio, who is playing on the double flute; and Apollo, as leader of the Nine, who is seated, and playing on the violin: in the background of this picture is introduced a small group of Perseus slaying Medusa, while Pegasus springs from the blood of the decapitated gorgon. All these frescoes are ascribed to Giovanni lo Spagna, and there is much in their conception and sentiment which reminds us of the far superior works by that pupil of Pietro Perugino.
TheCorridorcontains views of Rome by Vanvitelli.
Second Room.—Annunciation, by Garofalo; Madonna, by P. Veronese. Portraits by Vandyck, etc.
Third Room.—Baptism, by Titian; Sebastian, by Bellini; S. Barbara, by Domenichino; Innocence, by Romanelli.
Fourth Room.—Left: S. Lucia, by Spagna; Europa, by P. Veronese; Burial and Assumption of Petronella, by Guercino; Sebastian, by Caracci; Cleopatra and Augustus, by Guercino; Sebastian, by Guido; Baptism, by Tintoretto.
Leaving the Palazzo dei Conservatori, and crossing the Piazza, we enter
Open every day from 10 till 3. Entrance half a lira each person.
1. Marforio, a recumbent statue of the Ocean, celebrated as havingbeen made the medium of replying to Pasquino. It stood near the Arch of Septimius Severus. 2, 4. Antique columns surmounted by a bust of Juno (2) and an unknown bust (4). 3, 18. Satyrs. 7. Colossal bust of Trajan. 8, 13. Sarcophagi found in the Catacombs of S. Sebastian. The walls are adorned with inscriptions and fragments; also some fragments from the Temple of Concord in the Forum.
1. Endymion and his dog, found outside Porta S. Giovanni. 3. Minerva. 5. Livia Augusta, standing on a pedestal, found near the pyramid of Caius Cestius, and relating to him. 7. Head of Cybele.Entrance to Hall of Mosaics.8. Captive Dacian King, from the Arch of Constantine. 10. Faustina, Sr., standing on a relief of the arms of Alba Longa. 14. Polyphemus. 15. Hadrian in sacerdotal costume. 16. Porphyry fragment. 17. Hercules killing the Hydra. 18. Porphyry fragment. 19. Colossal statue of a Roman warrior found on the Aventine, supposed to represent Mars; a very fine work.Entrance to Hall of Inscriptions.
(Left-hand end of Corridor.)
First Room.—In the centre is a vase of black basalt sculptured in relief after the Egyptian style. Along the right wall are three panels of peperino stone representing two dogs and a stag in an archaic style.
Several mosaics have been recently placed here, found in the recent excavations:—A standing male figure spinning. Hercules conquered by Love, represented in Cupids playing with a bound lion. A group of figures and fragments from the house of Avidius Quietus, found in making the new Via Nazionale, notably a galley with sails set and colours flying approaching a port which is well represented with its lighthouse.
Second Room.—The walls are covered with inscriptions, and round the room are sarcophagi, cippi, bases, and urns. Amongst others a beautiful alabaster cinerary urn (5), which stands on a base inscribed to Fabius Cilone, prefect of Rome under Septimius Severus, who had performed the annual sacrifice to Hercules at the Ara Maxima, at the entrance to the Circus Maximus. 7. Base to Faustina, found near the Temple of Saturn. 9. Base erected by Nobilior,B.C.189, to Hercules Musarum.
Third Room.—This is decorated in a similar manner to the second. 2. Sarcophagus, with the hunt of the Calydonian boar; on the lid areCupids hunting. Diana sent a boar to ravage the country of Calydon, for the King Œneus neglecting her divinity. All the princes of the time assembled to hunt the boar, which was killed by Meleager, the king's son. This sarcophagus was found on the Via Appia. 4. Sarcophagus representing deer and boar hunts, found on Via Appia. 9. Circular base with inscription to the prefect Catius Sabinus, who had performed the sacrifice to Hercules: interesting, with the one in the other room, as showing that the rite instituted by Evander was kept up till a late period. To the right of the door is the fragment recording the cancelling of the debts of the people throughout Italy in 118 by Hadrian. Near by is one to Aulus Septicius Alexander, a seller of floral wreaths on the Sacred Way. At the end of the room an inscription to S. Severus, 196. It was used by the city Conservatori in 1676 (see rear) to record their privileges. Placed here in 1886.
(Right-hand end of Corridor.)
First Room.—1. Square altar representing the labours of Hercules; also busts of no importance.
Second Room.—3, 4, 6, 11. Monumental cippi, with working tools in bas-relief; likewise the same emblems on 10, fragment of a column. 6. Inscription to Marcus Æbutius. 4. Lapis Capponianus. 3. Cossutius. 11. T. Statilius Aper, and to his wife Orcivia Antides; found on the Janiculum. He was a surveyor; the verse stating that he died at the age of twenty-two years, eight months, and fifteen days.
5. Sarcophagus found on the Via Appia, representing a fight between Roman and Gallic cavalry, when, in 223B.C., Marcus Marcellus killed Virdomarus, the chief of the Insubrian Gauls, and so carried off the third Spolia Opima (Livy, "Ep." xx.; Florus, ii. 4; Eutropius, iii. 6; Plutarch, in "Marcellus"). The central figure is strikingly like the figure of the wounded Gaul miscalled the dying gladiator.
12. Inscription to Vettius Agorius Prætextatus, prefect 367, and his wife, Paolina. 14. Bust of Crispina, wife of Commodus. 13. Inscription from villa of Herodes Atticus, Via Appia, used afterwards as a milestone under Maxentius.
2. Monument to Bathyllus, an actor of the time of Augustus, afterwards custodian of the Temple of the Deified Augustus.
Third Room.—1. Sarcophagus found in a mound on the road to Frascati, called Monte del Grano. Inside the sarcophagus was found the Portland vase now in the British Museum, which contained theashes. The sarcophagus is surmounted by the figures of a man and woman in repose. The reliefs illustrate the life of Achilles. 2. Relief of Priests of Cybele. 6. Cosimati mosaic, with reliefs from life of Achilles. 12, 13. Portraits in relief of Nero and Poppæa. 15. Pluto and Cerberus, found in the Baths of Titus, 1812.
On the walls are encased the fragments of the marble plan of Rome found in 1534–50, 1867, behind the Church of SS. Cosmo and Damiano. They had originally served for the panelling of the wall that formed part of the Temple of Rome built by Hadrian. The plan was made in the third century, in the time of the Emperor Septimius Severus (193–211). It is called the "Pianta Capitolina," and is of great use to archæologists in studying the ground plan of the different buildings marked upon it, though not as showing their relative positions.
After many years of study we have succeeded in putting this puzzle together, and have published the marble plan, systematically arranged in ten sheets, price six shillings, with descriptive letterpress.
The doors at the top of the stairs lead us into the
"He leans upon his hand; his manly browConsents to death, but conquers agony;And his drooped head sinks gradually low;And through his side the last drops, ebbing slowFrom the red gash, fall heavily one by one."
"He leans upon his hand; his manly browConsents to death, but conquers agony;And his drooped head sinks gradually low;And through his side the last drops, ebbing slowFrom the red gash, fall heavily one by one."
"He leans upon his hand; his manly brow
Consents to death, but conquers agony;
And his drooped head sinks gradually low;
And through his side the last drops, ebbing slow
From the red gash, fall heavily one by one."
This perfect statue of "a wounded man dying, who perfectly expressed how much life was remaining in him," has for many years been miscalled "The Dying Gladiator;" but it has of late years been more correctly described as a wounded Gaul. It was found, together with the Gallic group in the Ludovisi Villa, amongst the ruins of the gardens of Sallust, and with that formed part of a large group representing the death of Anerœstus, the Gallic chief, who with other leaders killed themselves after their defeat by the Romans in 226B.C., near Orbitello—Attilius, the Roman consul, having been previously killed in the fight (Polybius, ii. 2). 7. Lycian Apollo, found near the Aquæ Albulæ on the road to Tivoli. 6. Female carrying a vase, standing on an altar dedicated to Hercules by C. Ulpius Fronto,A.D.126; found in the Forum Boarium. 5. Bust of Bacchus. 4. Amazon, the finest of its class in existence. 3. Alexander, by Lysippus. 2. Juno. 16. Bust ofEt tu, Brute. 15. Isis. 14. Flora (?), found at Hadrian's Villa, thought to be Sabina, the wife of Hadrian. 12.Antinoüs, found at Hadrian's Villa. 10. The Faun of Praxiteles, found at Civita Lavinia, amongst the ruins of the Villa of Antoninus Pius. This is the Marble Faun of Hawthorne. 9. Girl protecting a dove. 8. Zeno, the Stoic philosopher.
1. The celebrated and beautiful faun in rosso-antico, found at Hadrian's Villa, Tivoli. 5. Tydeus, the father of Diomedes—a hollow mask. 3. The Endymion sarcophagus, found under the high altar of the Church of S. Eustacio; the cover belongs to another sarcophagus. 8. Boy with a scenic mask. 16. Boy with a goose, found near S. John's Lateran. 18. Sarcophagus representing the battle between Amazons and Athenians. On the wall above is the bronze table on which is engraved a portion of the Lex Regia conferring the imperial power on Vespasian, and from which Rienzi demonstrated to the people their political rights. It was discovered near the Lateran about 1300, and was kept in the Basilica.
1. Jupiter, in black marble. 2, 4. Cloud-born Centaurs, found at Hadrian's Villa, the joint work of Aristeas and Papias, sculptors of Aphrodisium, in bigio-morato marble. Pliny says he saw a Centaur that had been embalmed in honey, which had been brought from Egypt to Rome in the time of Claudius. 3. The infant Hercules, in green basalt, found on the Aventine. 5. Æsculapius, in black marble.On left of entry.29. Hygeia. 31. Young Apollo. 33. Wounded Amazon. 34. Venus and Mars, found in the Isola Sacra near Ostia. 36. Minerva. 6. Faun. 7. Apollo. 9. Trajan. 10. Augustus. Two columns of Porta Santa. 17. Minerva, an archaic statue,B.C.450. 21. A teacher imparting instruction, found in Hadrian's Villa. 22. Præfica: a hired mourner at funerals; a tear-bottle will be noticed in her hand. 28. Harpocrates, found at Hadrian's Villa. 27. A hunter, by Polytimus.
containing busts of great men arranged round the room on shelves, many of doubtful identity. The most important are,—
1. Virgil. 4, 5, 6. Socrates. 7, 35. Alcibiades. 10. Seneca. 16. Marcus Agrippa. 20. Marcus Aurelius. 21. Diogenes. 22. Archimedes. 27. Pythagoras. 28. Alexander the Great. 30. Aristophanes. 31, 32. Demosthenes. 33, 34. Sophocles. 37. Hippocrates.41 to 43. Euripides. 44 to 47. Homer. 48. Domitius Corbulo. 49. Scipio Africanus the elder. Pompey the Great. 60. Thucydides. 63. Double Hermes of Epicurus and Metrodorus, friends and philosophers. 72. Julian. 74. Ahenobarbus, father of Nero. 75. Cicero (?). 76. Terence.
The walls are adorned with bas-reliefs. The seated figure in the centre of the room is supposed to be Marcus Claudius Marcellus, the great general of the republic, who diedB.C.208.
and their wives, whose ancient authentic busts are arranged round the room in chronological order:—
There are several bas-reliefs round the room. Seated in the centre is Agrippina, "the glory of the Roman matrons;" daughter of M. V. Agrippa and Julia, daughter of Augustus; wife of Germanicus,and mother of Caligula. "It is a statue combining an expression of moral dignity and of intellectual force, with as much beauty and poetical grace as the genius of sculpture ever borrowed from breathing nature to work out its own miracles of art. This statue—a history and an epic in itself—represents a woman in the prime of life seated in a chair of state, and in the deep repose of meditative thought. The statue is lofty, her brow of high capacity, her mouth expressive of love and wit, and all her features are harmonized by that regularity which is ever denied to defective organizations. Over the whole of this simply-draped and noble figure there is an air of tranquil majesty, which, in its solemn influence, likens it to the statues of the gods" (Lady Morgan). It may have originally stood on the cinerary base in the courtyard of the Palazzo dei Conservatori.
In our order of visiting the Museum the subjects in this Corridor commence at the highest number.
Vase of white marble, found near the tomb of Cecilia Metella; it is decorated with vine leaves and fruit. The pedestal is a very interesting Grecian marble well head; on it are the twelve principal deities. 29. Minerva. 28. Bust of Marcus Aurelius. 25. Jupiter standing on the altar of Cybele, dedicated in memory of Claudia drawing the galley up to Rome, which is shown in relief.Entrance to Cabinet of Venus.20. Psyche. 46. Sarcophagus illustrating the birth of Bacchus. 47. Jupiter. 49. Juno. 30. Gladiator restored from a Discobolus. 52. Euterpe. 10. Cinerary urn. 54. Sarcophagus representing the Rape of Proserpine. 54a.Infant Hercules strangling a serpent. 56. Female statue. 8. Drunken Baccante.Entrance to Hall of Doves.5. Cupid. 3. A lion. 63. Marcus Aurelius.
The celebrated Venus of the Capitol, found in a walled-up chamber on the Viminal, is rather the statue of a beautiful woman in full maturity than of Venus as a goddess. Cupid and Psyche, found on the Aventine—a beautiful little group. Leda and the Swan.
So called from the beautiful mosaic setin the wall on the right in entering, mentioned by Pliny as the work of Sosus existing at Pergamos,—"There is a dove greatly admired in the act of drinking, and throwing the shadow of its head upon the water, while otherbirds are to be seen sunning and pluming themselves on the margin of a drinking bowl." It was found in Hadrian's Villa. Beyond is also a mosaic representing two scenic masks, found on the Aventine. In the windows are glass cases containing styli, coins, and lamps. 83. Fixed on the side of the farther window, the Iliac Table representing the Fall of Troy as described by Virgil; to each group is attached an explanatory inscription in Greek: found at Bovillæ. 49. Diana of Ephesus. 37. Sarcophagus of Gerontia, representing the fable of Endymion. 13. The Prometheus sarcophagus. On shelves round the room are placed numerous busts, but these are not of much interest.
On coming out of the Museumcross the square and turn to the left, by the side of the Tabularium (note the paving-stones at the end of the Sacra Via), then turn to the right, Via Monte Tarpeia, proceed along this street, and keep straight on down the steps.
By descending theCentum Gradus, and turning to the left, we see the rock, within the space closed off by the rails. The house on the top will roughly represent the original height of the rock. If we then add forty feet to the depth, we shall have some idea of the traitors' leap, which cured all ambition.
The municipal authorities have lately pulled down a house on the Vicus Jugarius which obstructed the view of the far end of the Tarpeian Rock from the Forum. We use the title Tarpeian Rock as applied to the place of execution and not to the whole hill. They have exposed to view not only the rock, but likewise one side of the Temple of Ops, composed of large blocks of tufa stone surmounted by later brick structures. The earliest mention we have of this temple is inB.C.183, when Livy says (xxxix. 22): "By order of the pontiffs a supplication, of one day's continuance, was added on account of the Temple of Ops, near the Capitol, having been struck by lightning." This temple is also mentioned by Cicero, from whom we learn that it was where the clerks kept the accounts of the treasury: "Would that the money remained in the Temple of Ops! Bloodstained, indeed, it may be, but still needful at these times, since it is not restored to those to whom it really belongs" (First "Philippic," 7). "Who delivered yourself from an enormous burden of debt at the Temple of Ops; who, by your dealings with the account-books there, squandered a countless sum of money" (Second, 14). "Where are the seven hundredmillions of sesterces which were entered in the account-books which are in the Temple of Ops? A sum lamentable indeed as to the means by which it was procured, but still one which, if it were not restored to those to whom it belonged, might save us from taxes" (Second, 37). "And that accounts of the money in the Temple of Ops are not to be meddled with. That is to say, that those seven hundred millions of sesterces are not to be recovered from him; that the Septemviri are to be exempt from blame or from prosecution for what they have done" (Eighth, 9).
Ops was the daughter of Cœlus and Terra, and the wife of Saturn; hence her connection with the treasury. The temple was turned into a church, and called S. Salvatore in Ærario, or in Statera (the Saviour in the Treasury), which lapsed into S. Maria in Portico. It has now become a fruit shop; and a small fresco of the Crucifixion, very much obliterated, marks its former use. The west wall of the temple has been exposed in the recent changes, and part of the eastern wall can be seen by entering the court-yard by the flight of steps through the wall, No. 57, opposite the end of S. Maria di Consolazione.
The Via Consolazione and the Via Montanara to the right bring us to
The design of erecting a stone theatre in this quarter had been entertained by Julius Cæsar (Suetonius, "Cæsar," xliv.), but the carrying out of his adopted father's plan was reserved for Augustus (ibid., "Aug." xxix.). He did not, however, appropriate the honour of so great a work to himself, but transferred it to his beloved son-in-law, Marcellus. Great part of the outer walls of this large and splendid building still exists. Against these leaned the arches, supporting the tier of seats destined for the spectators. The greater portion of the vast halls have also been preserved; but being now converted into offices belonging to the Palace of the Orsini, which has insinuated itself into these ruins, they are not accessible to strangers. The lower story is in the Doric, the second in the Ionic, and the third was probably in the Corinthian order. It held 20,000 people.
Built by Appius Claudius for common offenders,nearthe Forum Olitorium, and which site was afterwards occupied by the Theatre of Marcellus (Pliny, vii. 37). We have identified this prison, remains of which can still be seen under the theatre, consisting of chambers constructed inopus reticulatum. There are two splendid open archways of thesame material leading into two large chambers, in the vaults of which are holes for letting the prisoners down. This we believe to have been the Decemviral Prisons and the scene ofCaritas Romana.