RAMBLES IN THE CAMPAGNA.

CORNELIO TACITOQUI VIXIT ANNIS DUOBUSMENSIBUS X DIEBUSII HORIS X FECITLUCRETIA TACITAMATER FILIO B.M.ET SIBI ET SUIS. POSTERISQUE EORUM

Just beyond, in theVigna Codini(No. 14),are the Columbaria of

(Memorials of those mentioned by S. Paul.)

Two columbaria lie upon the right of the pathway, and possess considerable interest, not only as good specimens of the chambers where the ashes of those who were cremated were deposited, but special interest is attached to some of the names found therein—names that are mentioned in the New Testament. The question arises, Are these the remains of those there mentioned? Can we still look upon the ashes of those early Christians? Let us see.

In the first columbaria we find this inscription—

D.M. TRYPHAENAE . VALERIAS . TRYPHAENAE . MATRI. B. M. F. ET .VALERIAS . FUTIANUS.[Tryphænæ Valeria and Valerius Futianus to the memory of the mother Tryphæna.]

Just beyond is—

DOMITIAE.) . L. FAUSTILLAE . PETRONIO . ARISTONIS . L. EPAPHRAE.

On the stair wall is a Greek inscription to Onesimus.

On the outside of the second columbaria, built into the wall, is—

D.M. VARIA . TRYPHOSA . PATRONA . ET . M . EPPIUS . CLEMENS . CONIUGI .BENE . MERYTI . FEI . VARIAE . PRIMAE . F. VIXIT . ANN . XXX.[Varia Tryphosa, patron, and M. Eppius Clemens erected this to his well-beloved wife, who lived thirty years.]

Close by is—

D.M.S. LIBERTI . LIBER . TAL . C. JULIUS . PHILAETUSC . JULIUS . PRYPHO) . C. JULIUS . ONESI . MUS . TULIA . EUTHI . CIA . JULIA . HELPIS . JULIA . CLAPHURA . FECERUNT.

Inside the second,in situ, is the inscription—

ONESIMUS . A . PORTICU.

The first columbaria was for the servants or officers of the imperial family, and dates from Augustus to Nero, both inclusive. The second dates from Julius Cæsar to Tiberius. The historic notices of some of those names are valuable.

S. Paul, writing to the Romans from Corinth,A.D.60, says, "Salute Tryphena and Tryphosa, who labour in the Lord" (Rom. xvi. 12).

Writing from Rome to the Colossians,A.D.64, he says, "With Onesimus, a faithful and beloved brother" (Col. iv. 9); and to Philemon: "I beseech thee for my son Onesimus, whom I have begotten in my bonds" (Phil. 10). In Colossians i. 7: "As ye also learned of Epaphras our dear fellowservant;" and in iv. 12 we have: "Epaphras, who is one of you, a servant of Christ"—who is again mentioned in Philemon: "There salute thee Epaphras, my fellow-prisoner in Christ Jesus" (Phil. 23).

Now, these names are uncommon, and we only have them mentioned by S. Paul, and engraved on these marble slabs, which slabs are in the columbaria of the freedmen of the Cæsars, agreeing in date with the time of S. Paul's letters; who himself preached to, and had converts amongst, the household of Cæsar, in the imperial palace upon the Palatine Hill. He says, writing to the Philippians, "So that my bonds in Christ are manifest in all the palace, and in all other places" (Phil. i. 13). And (iv. 22), "All the saints salute you, chiefly they that are of Cæsar's household."

The name Valeria was taken, when she obtained her freedom, from her mistress, the Empress Messalina (whose name was Valeria). These names do not cover their own ashes—with the exception of that to Onesimus and Epaphras—but are memorial-stones erected to fellow-servants, who, if we may judge from the "D.M." over the inscriptions, were not Christians.

They record a work of charity and love to fellow-servants, though not co-religionists; and the names mentioned may well be those likewise named by S. Paul, with the exception of Onesimus, who was sent back to his master.

The names Tryphena and Tryphosa occur before the coming ofPaul to Rome, and these, with some others mentioned by him (Rom. xvi.), were found on slabs in another columbaria, about a mile further on, on the Via Appia, discovered in 1726, and known as the Columbaria of the servants of Livia Augusta. It is now a complete ruin—one wall only remaining—and some of the inscriptions are in the Capitol Museum.

The following names, according to Gruter, p. 1070, No. 1, and p. 656, No. 1, were there, but they are now lost:—

AMPLIAS . URBANUS . APELLES . TRYPHANE . TRYPHOSA . RUFUS . HERMES . PATROBAS . HERMAS . PHILOLOGUS . JULIA . NEREUS.

These are the names probably of some members of the church founded by Priscilla and Aquila, whom Paul greets in writing to Rome, but who are not mentioned again by him after his arrival in Rome. They possibly were no longer living, and the church was dispersed under Claudius, Aquila and Priscilla, whom Paul salutes in his second letter to Timothy (iv. 19), going to Corinth (Acts xviii. 2).

Another columbaria, well preserved, lies on the left of the path at the entrance.

next draws our attention.

The aqueduct which supplied the Thermæ of Caracalla crossed the road a few steps before the Aurelian Gate of the city, the Porta Appia (now called the Porta S. Sebastiano), where an arch of travertine, adorned with white marble and pillars of various colours (still standing) was employed to convey the aqueduct over the road. The arch itself is evidently much older than the aqueduct, and has, consequently, been pronounced by antiquaries to be the triumphal arch awarded to Drusus by a decree of the senate, and said to have been erected to him on the Appian Way. It was supported by four columns of African marble, relieved by four niches and an attic above a small pediment; the whole was surmounted by an equestrian statue between two trophies, as shown upon a coin. "The senate likewise decreed for Drusus a triumphal arch of marble, with trophies, over the Appian Way, and gave him the cognomen of Germanicus" (Suetonius, "Claudius," i.).

Passing under, we come to

(now Sebastiano), opening on the great highway of ancient Rome, theVia Appia. This gate is the finest in the Aurelian walls, and, in itssplendid decorations, regard has evidently been paid to the road over which it was built. All the rectangular stones of the substruction are of white marble. It is curious, too, that considerable projections have been left on most of the stones on the right side, whilst the others present a smoothly hewn surface, evidently old material re-used.

A fresco painting of the Madonna, said to be of the sixth century, probably the work of a Greek soldier under Belisarius (as the character of the painting is Byzantine), remains in the corridor of Aurelian near this gate. It was over the head of the sentinels in the path and near the third tower on the right side of the gate. The existence of this painting was not known until it was discovered accidentally by Mr. J. H. Parker, C.B., in 1870.Entrance, first gate on the left, inside the Arch of Drusus.The gate-house is said to have been built, in the time of King Theodoric, out of the ruins of the Temple of Mars, which stood outside this gate. It was necessary for the Temple of Mars to be outside the gate, and this one was erected when the one outside the Porta Capena became obsolete, being within the Aurelian walls.

Behind the right hand wooden gate are a figure of S. Michael and a Gothic inscription cut in the marble, recording the repulse of Louis of Bavaria in 1327.

Descendingthe Hill of Mars, on the left, built into a house, is an unknown tomb. Beyond, we cross the other branch of the Almo.Upon the left is

the murdered brother of Caracalla. The tomb now only shows a huge mass of concrete. It was named after its shape, and was like the portico erected by Septimius Severus to the Palace of the Cæsars (Spartianus).

On the right, behind the osteria, is the

Statius sang of the conjugal love of Abascantius, who interred his wife Priscilla before the city, where the Appian Way branches out, and where Cybele haunts the stream of the Almo.

To the mouth of the Almo the priests of Cybele brought the statue of the goddess once a year and washed it in the waters, together with the sacred utensils used in her worship.

The tower is medieval, showing it to have been turned into a fortress.

On the left is the

So called from the legend that S. Peter, when escaping from Rome, was met by our Saviour at this spot. Peter asked of him, "Domine, quo vadis?" to which Jesus replied, "Venio iterum crucifigi," which caused the apostle to return to his doom. They show on a small piece of marble two footprints, which they say is where the Lord stood—he having left the imprint of his feet on a piece of white marble in a road paved with silex. We don't believe it; but our readers may, if they like. The original is in the Church of S. Sebastiano.The Via Ardeatina goes off to the right.Just beyond, where the lane turns off to the left, Cardinal Pole erected the little round shrine as the exact spot where Jesus stood.

From the Via Appia, just beyond the "Domine quo Vadis," a lane leads into the valley of the Caffarella. At the end of the lane, upon the left, is a beautiful brick tomb of the time of the Antonines. This is popularly known as the Temple of the Dio Rediculo. We have raised objections to this: first, because Pliny ("Nat. Hist.," x. 43) says the Campus Rediculi was at the second mile on therightof the Via Appia, whilst this ruin is upon theleft; and secondly, from its construction, which shows it to have been a tomb. We have always considered this as the tomb of Annia Regilla, the wife of Herodes Atticus, consulA.D.143. It stands upon his estate, where we know he erected a sepulchre to his wife, consecrating the surrounding land to Minerva and Nemesis. He was of Greek origin, and the ornaments are of Greek design; they are beautifully executed and well preserved, particularly the zigzag border. This view of ours has been recently confirmed: in digging up the soil at the base of the tomb, the following portion of the inscription has been found,—it is cut on a piece ofrosso-antico:—

In an inscription in the Louvre she is called "the light of the house, the lady of the land,"—these estates came to Herodes throughAnnia,—and in the newly found inscription she is called light of the house. Thus they both refer to the same lady whose tomb is here recognized.

The wordrediculois supposed by some to come fromredeo, I return, as applied to the spot where Hannibal turned back from Rome; but from Pliny we know there was a place called Campus Rediculi, and that it was to the right of the Via Appia in coming out of the city, so it could have nothing to do with this field. Pompeius Festus, a Latin critic of the fourth century, ascribes it to the above meaning, but he would be no authority. Hannibal's camp was on the road to Tivoli, and from there he returned. "Hannibal moved his camp forward to the river Anio, three miles from the city. Posting there his troops, he himself, with two thousand horsemen, proceeded from the Colline Gate as far as the Temple of Hercules, riding about, and taking as near a view as possible of the situation and fortifications of the city" (Livy, xxvi. 10). "Discouraged by all circumstances, he moved his camp to the river Tutia, six miles from the city" (Ibid., xi.).

The tomb is built of yellow bricks, with red brick basement, pilasters, and ornaments: on one side is the pediment of the portico, which was formed with peperino columns. Over the square doorway is a decorated niche for the statue. The tomb contained originally two chambers, but the flooring of the upper one has been destroyed—thus making one—the vault of which was decorated with stucco ornaments. In construction it is like the painted tombs on the Via Latina, the bricks being carefully baked and laid with very little mortar between them, not unlike the entrance to some of the warehouses at Ostia, and of the same date—time of Hadrian; for being a tomb, and not cased with marble, it shows more careful construction than the ordinary brickwork of the time of that emperor.

Proceeding on our ramble along the Via Appia,upon the leftis an unknown tomb;on the right, beyond, another. This is exactly at the second mile from the Porta Capena. Here was the Campus Rediculi. Was this the raven's tomb? (Seepage 18.) The vineyard on the left contained the Columbaria of Livia, now destroyed.Beyond, entrance to the Catacomb of Prætextatus.Upon the right,

a shapeless mass of rubble. Several epitaphs to this family have been found here.

Just beyond is the entrance to the

Fee, one lira each, which includes guides and lights.

Catacomb is a medieval word, and is said by some authorities to be derived from the Greek words κατὰ , under, and κύμβος, a hollow. The Romans called these burial-places cemeteries. They generally consist of three strata of tufa:litoide, of a red conglomeration, hard, used for building;pozzolana pura, a friable sand, for mortar; andgranolare, harder, but easily cut, of which the catacombs were almost exclusively made.

A catacomb consists of passages or long narrow galleries cut with regularity, so that the roof and floor are at right angles to the sides, running quite straight, but crossed by others, and these again by others, forming a complete labyrinth of subterranean corridors,—the sides are honeycombed with graves. Their narrowness was to economize space, and to make the most of the limited area. These corridors, themselves the cemetery, lead into different chambers. Rome is surrounded by about sixty of these catacombs, each taking its name from the saint that reposed there.

The catacombs began to be formed at the beginning of the third centuryA.D., and originated from a pagan tomb. We find no exception to this in the early catacombs. Just inside the gate is a pagan tomb, second century, from which a flight of steps leads into the catacomb. This tomb belonged to the family, and when it was filled, instead of building a new tomb or buying another site, they dug down and made another chamber in the tufa rock below, and so on. In the course of time the proprietor became a Christian, and probably left his property to the Church. The tomb became popular, and it was enlarged gradually; the passages serving for the poor, and the chambers for the family tombs, which were paid for. They were lighted by means of shafts, which still exist; and there was no concealment—they were the public recognized burial-places, and when Christianity was the nominal religion of the state, pagans and Christians were both buried here. We find pagan inscriptions, emblems (other than those adopted by the Christians), and pagan family tombs. The pagan frescoes are much better works of art than the Christian; for the Christians had to be educated, whilst the pagans already knew. Early Christian frescoes are very rude daubs (see those of Jonah), and they gradually advanced till the ninth century, when we have the Byzantine school (see S. Cecilia). This latter style was used for the pilgrims after the bodies, all looked upon asmartyrs, were removed to the churches in Rome; which gave rise to the story that the catacombs lead to Rome, which is not true. Neither is it correct that the catacombs were old quarries used up by the Christians, though there was often an entrance into them from a quarry. Most of the inscriptions are in the Vatican and Lateran: they would be far more interesting where they were found.

N.B.—The air is pure; the vaults are dry, and they are not cold.

The entrance is near the ancient church in which Pope Damasus, who diedA.D.384, was buried. Descending the steps we enter the vestibule, the walls of which are covered with the names of pilgrims; a narrow gallery conducts us to the Chapel of the Bishops—Lucius,A.D.232; Anterus,A.D.235; Fabianus,A.D.236; Eutychianus,A.D.275. Following the names of Lucius and Fabianus are the words, "Epis, martyr." Urbanus,A.D.223, and Sixtus,A.D.258, were both buried here. In front of the grave of the latter is the inscription put up by Damasus, engraved in beautiful characters:—

INSCRIPTION OF POPE DAMASUS IN THE CHAPEL OF THE BISHOPS.

HERE, IF YOU WOULD KNOW, LIE HEAPED TOGETHER A NUMBER OF THE HOLY,THESE HONOURED SEPULCHRES ENCLOSE THE BODIES OF THE SAINTS,THEIR LOFTY SOULS THE PALACE OF HEAVEN HAS RECEIVED.HERE LIE THE COMPANIONS OF XYSTUS, WHO BEAR AWAY THE TROPHIES FROMTHE ENEMY;HERE A TRIBE OF THE ELDERS WHICH GUARDS THE ALTARS OF CHRIST;HERE IS BURIED THE PRIEST WHO LIVED LONG IN PEACE;[18]HERE THE HOLY CONFESSORS WHO CAME FROM GREECE;[19]HERE LIE YOUTHS AND BOYS, OLD MEN AND THEIR CHASTE DESCENDANTS,WHO KEPT THEIR VIRGINITY UNDEFILED.HERE I, DAMASUS, WISHED TO HAVE LAID MY LIMBS,BUT FEARED TO DISTURB THE HOLY ASHES OF THE SAINTS.

In front was the altar. From here a gallery leads to the Crypt of S. Cecilia, where her body was placed after martyrdom by Priest Urban,A.D.203. From this resting-place it was removed in 820 by Paschal I. (Seep. 140.) The body was found "fresh and perfect as when it was first laid in the tomb, and clad in rich garments mixed with gold, with linen cloths stained with blood rolled up at her feet." On the wall is a fresco of S. Cecilia attired in a dress of Byzantine character. Below are two others—on the left, Christ, with a nimbus; on the right, Urban in full pontifical dress: they are of the ninth century. After traversing some passages, we enter the cubicula of a family. On the walls are roughly executed frescoes of the Baptism of Christ in Jordan by John, the story of Jonah and the Large Fish, Moses striking the Rock, the Woman at the Well of Samaria, the Paralytic Man walking with hisBed—doves, emblems of immortality, on the sides. At the end are two fossori, or grave-diggers, between whom are three subjects in fresco, representing two men, one on either side of a tripod on which something is cooking; and next it, seven people seated at a table, beyond which are two figures and some sheep or lambs. These frescoes seem to us to represent the scenes at the Lake of Tiberias, after the resurrection of our Lord, as recorded in the twenty-first chapter of S. John. They certainly agree with the story: "There were together Simon Peter, and Thomas called Didymus, and Nathanael of Cana in Galilee, and the sons of Zebedee, and two other of his disciples" (ver. 2)—"But when the morning was now come, Jesus stood on the shore: but the disciples knew not that it was Jesus" (ver. 4)—"As soon as they were come to land, they saw a fire of coals there, and fish laid thereon, and bread" (ver. 9)—"Jesus saith unto them, Come and dine. And none of the disciples durst ask him, Who art thou? knowing that it was the Lord" (ver. 12)—"Jesus then cometh, and taketh bread, and giveth them, and fish likewise" (ver. 13)—"So when they had dined, Jesus saith to Simon Peter, Simon, son of Jonas, lovest thou me more than these? He saith unto him, Yea, Lord; thou knowest that I love thee. He saith unto him, Feed my lambs" (ver. 15; see also ver. 16, 17). In another sepulchre have been found two sarcophagi containing remains; the tops are now covered with glass. Opening out of this sepulchre is another, in which was found a sarcophagus (fourth century) representing Lazarus being raised from the dead, the multiplication of the loaves and fishes, Daniel in the lions' den. Near this is a crypt containing an inscription having reference to the heresy of Heraclius, on account of which Eusebius became a voluntary exile. The names of the person who engraved it—Furius Dionysius Filocalus—and of Bishop Damasus are cut in two vertical lines down the sides. It had served previously for an inscription to Caracalla, made by M. Asinius Sabinianus. It was a very usual thing for the early Christians to re-use the marble of other times, on account of its cheapness, they being mostly poor.

COPY OF INSCRIPTION OF DAMASUS ON AN INSCRIPTION TO CARACALLA.

HERACLIUS FORBADE THE LAPSED TO GRIEVE FOR THEIR SINS; EUSEBIUS TAUGHT THOSE UNHAPPY ONES TO WEEP FOR THEIR CRIMES. THE PEOPLE WERE RENT INTO PARTIES, AND WITH INCREASING FURY BEGAN SEDITION, SLAUGHTER, FIGHTING, DISCORD, AND STRIFE. STRAIGHTWAY BOTH WERE BANISHED BY THE CRUELTY OF THE TYRANT, ALTHOUGH THE BISHOP WAS PRESERVING THE BONDS OF PEACE INVIOLATE. HE BORE HIS EXILE WITH JOY, LOOKING TO THE LORD AS HIS JUDGE, AND ON THE SHORE OF SICILY GAVE UP THE WORLD AND HIS LIFE.

The Chapel of S. Cornelius was originally distinct from these catacombs. His tomb is marked "Cornelius Martyr. Ep." on the side-wall fresco of Cornelius and Cyprian; in front is a pillar on which stood the lamp burning before the shrine.

INSCRIPTIONS NEAR THE GRAVE OF BISHOP CORNELIUS.

BEHOLD! A WAY DOWN HAS BEEN CONSTRUCTED, AND THE DARKNESS DISPELLED: YOU SEE THE MONUMENTS OF CORNELIUS, AND HIS SACRED TOMB. THIS WORK THE ZEAL OF DAMASUS HAS ACCOMPLISHED, SICK AS HE IS, IN ORDER THAT THE APPROACH MIGHT BE BETTER, AND THE AID OF THE SAINT MIGHT BE MADE CONVENIENT FOR THE PEOPLE; AND THAT, IF YOU WILL POUR FORTH YOUR PRAYERS FROM A PURE HEART, DAMASUS MAY RISE UP BETTER IN HEALTH, THOUGH IT HAS NOT BEEN LOVE OF LIFE, BUT CARE FOR WORK, THAT HAS KEPT HIM HERE BELOW.AT THE TIME WHEN THE SWORD PIERCED THE HEART OF OUR MOTHER, I, ITS RULER, BURIED HERE, WAS TEACHING THE THINGS OF HEAVEN. SUDDENLY THEY CAME, THEY SEIZED ME SEATED AS I WAS. THE SOLDIERS BEING SENT IN, THE PEOPLE GAVE THEIR NECKS. SOON THE OLD MAN SAW WHO WAS WILLING TO BEAR AWAY THE PALM FROM HIMSELF, AND WAS THE FIRST TO OFFER HIMSELF AND HIS OWN HEAD, FEARING LEST THE BLOW SHOULD FALL ON ANY ONE ELSE. CHRIST, WHO AWARDS THE REWARDS OF LIFE, RECOGNIZES THE MERIT OF THE PASTOR; HE HIMSELF IS PRESERVING THE NUMBER OF HIS FLOCK.

AT THE TIME WHEN THE SWORD PIERCED THE HEART OF OUR MOTHER, I, ITS RULER, BURIED HERE, WAS TEACHING THE THINGS OF HEAVEN. SUDDENLY THEY CAME, THEY SEIZED ME SEATED AS I WAS. THE SOLDIERS BEING SENT IN, THE PEOPLE GAVE THEIR NECKS. SOON THE OLD MAN SAW WHO WAS WILLING TO BEAR AWAY THE PALM FROM HIMSELF, AND WAS THE FIRST TO OFFER HIMSELF AND HIS OWN HEAD, FEARING LEST THE BLOW SHOULD FALL ON ANY ONE ELSE. CHRIST, WHO AWARDS THE REWARDS OF LIFE, RECOGNIZES THE MERIT OF THE PASTOR; HE HIMSELF IS PRESERVING THE NUMBER OF HIS FLOCK.

Beyond are two crypts, with a fresco of the Good Shepherd, in good preservation, on the ceiling, and other Christian emblems. We emerge into daylight by means of the original stairs, of an early construction.

A little lower down the road, on the left, are theJewish Catacombs, which, perhaps more than any other, would illustrate that these catacombs were formerly quarries, because they are rather wide.

A little further on we turn down a rough road on the left, leading to what has been called the "antiquary's despair," the

the site of which is now occupied by the desertedChurch of S. Urbano. The church was built of brick, and the vestibule is supported by marble Corinthian pillars. Piranesi saw the name of Faustina stamped on one of the bricks. The basin in the vestibule containing the holy water was found near here, and was an altar consecrated to Bacchus. The inscription says that it was made under the priesthood of Apronianus. The grove of ilex trees is termed the Sacred Grove of Bacchus. Tradition says S. Urban, in 222–30, had an oratory here under the present altar; and that Urban VIII. (1633) turned the oratory into a church;—the paintings and iron bars are of that date. Below the altar, entered from its side, is a cell, on the end wall ofwhich is a fresco, of the eighth century, of the Virgin with Christ, and SS. John and Urban. The plan of the building is rectangular, and it is of the time of Antoninus Pius. At the foot of this hill is the valley of the Almo, or Caffarella, in which is the mossy entrance to a grotto, for a long time called the Grotto of Egeria, owing to the misapprehension of the site of the Porta Capena. It is now known to have been a nymphæum in the

This was proved from finding two pedestals, on which are two Greek inscriptions, copies of which have been placed on the top of the hill, close by the artificial ruin in the Villa Borghese; the originals are in the Louvre. This villa formed part of the dowry of Annia Regilla, wife of Atticus, as we learn from a column, No. 10 in the second Hall of Inscriptions in the Capitol Museum, which afterwards marked the eighth mile on one of the roads. After Regilla's death, he consecrated a statue to Regilla in the above temple. This is denoted by the above inscriptions, which speak of her as "the light of the house, the lady of the land." The wall at the back of the vaulted chamber was primarily intended to support the declivity of the hill, at the foot of which this elegant little building stands. The niches in the walls were for the reception of statues. One of these only, a recumbent figure of a river god, has been preserved, and is supposed to be a personification of the Almo, which flows past the spot.

Several channels for pipes, concealed in the wall, justify the supposition that the water poured forth in numerous streams. The romantic appearance of this spot has been greatly changed by the stream being turned into an aqueduct in the summer of 1873. A path leads to the tomb of Annia Regilla.

Visitors whose time is limited should continue along the Appian Way as far as the Tomb of Cecilia Metella, and then retrace their steps to this road, which leads into the Via Appia Nova (page 328), and so return to Rome.

Regaining the Via Appia, at a short distance on the right is the Via Sette Chiesa. Some distance down, near the Tor Marancia farm, are the

The tomb at the entrance dates from the reign of Trajan, and contained the remains of SS. Nereus and Achilleus; also of Petronilla, a member of the Aurelii family. The saints were the servantsof Domitilla, a daughter or niece of Flavius Clemens, the first of imperial blood who suffered martyrdom. Domitilla opened this tomb, which afterwards became a general catacomb, for the remains of her servants. This is the most ancient Christian catacomb, as may be seen from the paintings and brickwork of the vestibule. The present entrance is modern; the catacomb is interesting for its paintings. In 1874 the

supposed to have been built aboutA.D.400, was discovered, the top being only a few feet below the ground. It is supposed to have been originally built for the devotees who resorted to the tombs of the martyrs, and was destroyed by the Lombardians. On the wall of the tribune is agraffitoof a priest preaching, probably S. Gregory, whose chair was removed from here to the church of SS. Nereo e Achilleo. (Seepage 279.)

Beneath the floor were discovered many tombs covered over when the basilica was built. It is being restored as a monument to Monsieur Merodi.

A fresco was found representing S. Petronilla receiving Veneranda. Several inscriptions have been found; also the columns which supported the baldachino, on which are represented the martyrdoms of SS. Achilleus and Nereus.

The Romans built an altar at the springs of the river Numicius to Anna, the sister of Dido, who became the wife of the god of the river Numicius, and was called Anna Perenna. (See Ovid, "Fasti," iii. 542.) The Roman Church erected a chapel to her on the same spot, under the title of Santa Petronilla, said, without scriptural authority, to have been S. Peter's daughter, and to have died in Rome, May 30th,A.D.98, in the reign of Domitian. This could not be the case, for Domitian diedA.D.96, and Trajan was emperor before the last of MayA.D.98, Nerva having reigned between.Straight on leads to S. Paul's outside the walls.

Returning to the Via Appia, on the right is the

founded by Constantine, and rebuilt in 1611 from the design of Ponzio. The front and portico of six granite columns were designed by Vasanzio. Below the church are the catacombs, open free. A monk acts as guide. An altar on the right contains Bernini's statue of Sebastian, and one on the right the famous footprints.

Opposite the churchare the extensive remains of the

In front of the Circus of Maxentius, on the Via Appia, stands a square portico, of which only the high enclosure walls remain. These, however, are in a state of excellent preservation.

CIRCUS OF MAXENTIUS.View larger image.

At the back ofthe modern premises, in the middle of this enclosure, are the remains of a considerable circular tomb, in front of which was a colonnade facing the Via Appia. In all probability this is the identical building erected by Maxentius in honour of his son Romulus, who died in the year 300. Representations of this tomb are to be met with on coins.At the side is the

erectedA.D.310, the enclosure walls of which have been preserved almost entire. These display the interesting phenomenon of pots of earthenware built into them, which not merely expedited the progress of the work, but allowed of its being more easily repaired than was possible in any other mode of construction. Its length was 1574 feet, and breadth 269, and 18,000 spectators could be accommodated within its vast walls, yet it was a small building compared with the Circus Maximus (seepage 209). In 1825 three inscriptions were found proving this to be the circus consecrated to Romulus, son of Maxentius. Two towers flank the entrance, supposed to have been the seats for the judges. It is the most perfect specimen of a Roman circus remaining.On the top of the hillis the "stern round fortress of other days," known as

wife of Lucius Cornelius Sylla, and daughter of Quintus Cæcilius Metellus (Plutarch). The building consists of a circular tower, seventy feet in diameter, resting on a quadrangular basement made chiefly of lava and stone, cemented together by lime and pozzuolana, and strengthened with key-stones of travertine. This ruin, so long respected as a tomb, was converted into a fortress by Boniface VIII., and used as such by the Gaetani, his near relatives. It now belongs to archæology. Learned men have made it one of their most sacred resting-places, and it is a favourite resort of tourists and artists. The inscription on the side facing the road runs as follows: "Cæciliæ—Q. Cretici. F.—Metellæ. Crassi."To the rightthere are bas-reliefs, well preserved—one representing a trophy of victory, another a slave or a prisoner; both were brought from a tomb about a mile further on. The tower was built seventy-nine years before Christ. The construction is very remarkable, on account of the enormous thickness of the walls, which are of concrete faced with travertine and lined with brick in the interior. The enormous massiveness of the structure indicates a rude and semi-barbarous period. Plutarch speaks of the extravagance of Sylla in funeral ceremonies. Cecilia Metella had been previously married to the elder Scaurus (Pliny, xxxvi. 24; xxxvii. 5). "Sylla dreamed, shortly before his death, that his son Cornelius, who died before his wife, Cecilia Metella, appeared to him, and summoned him away to join his mother" (Plutarch).

The inner chamber of the ruin is fifteen feet in diameter, and was at one time supposed to contain great treasures both of art and coinage. But the sarcophagus of white marble now in the court of the Farnese Palace, andbelievedto have been discovered in or near the Tomb of Cecilia Metella, is the only treasure it has produced.

"What was this tower of strength? within its caveWhat treasure lay so locked, so hid?—a woman's grave."

"What was this tower of strength? within its cave

What treasure lay so locked, so hid?—a woman's grave."

Opposite arethe ruins of a Gothic church,—

Built by the Gaetani. Considerable remains of this fortress exist, showing the strength of the hold by means of which they levied "black mail" on the passers-by.

TOMB OF CECILIA METELLA.View larger image.

From this point the Via Appia continues in a straight line toAlbano. Considerable remains of tombs exist on each side of the way, connected with which are many anecdotes and tragedies. Along the Via Appia a most magnificent prospect of the Campagna is enjoyed, with its ruined tombs and aqueducts, and the Sabine and Alban Hills in the distance.

From just beyond the tomb of Metella the Via Appia was lost till excavated by Canina, under Pius IX. (1850–53), when many of the tombs were restored, as far as possible, with the fragments.

The railway to Naples crosses at the tenth mile. Carriages cannot pass, but can turn into the Via Appia Nova.(Seepage 328.)

Tres Tabernæwas amutatio, or halting-place, 11 miles from the Porta Capena on the Via Appia, at the place now called Frattocchie. It is 10 miles from the Porta S. Sebastiano and 11 from the Porta S. Giovanni on the Via Appia Nova, or 9 English miles 326 yards from the Porta Appia. Here the four roads from Rome, Tusculum, Alba Longa, and Antium met and continued southwards as one road. It is still a halting-place, and taverns necessarily grace it. Its exact location is explicitly pointed out by Cicero. He says to Atticus (ii. 10), "I had come out of the Antian way into the Appian way at the Tres Tabernæ, on the Festival of Ceres. When my Curio, coming from Rome, met me, at the same place came your servant with letters from you [from Tusculum]. Written at the 10th hour (4 p.m.), Apl. 12th,"B.C.58. Continuing his journey to Formiæ, Cicero again writes to Atticus: "From Appii Forum, at the 4th hour (10 p.m.). I wrote a little while before from the Tres Tabernæ" (ii. 11). So it took him six hours to do the 32 miles between Tres Tabernæ and Appii Forum. Cicero knew the spot well, for it was the scene of the murder of Clodius. "Severus was detained a prisoner at a state villa at the 13th mile on the Appian way, where he was strangled, and then brought back to the 8th mile [from the Porta Appia] and buried in the tomb of Gallienus" ("Excerpta Valesiana," iv. 10). "Severus was murdered near to the Tres Tabernæ of Rome by Maximianus; and his body was placed in the sepulchre of Gallienus, which is 9 miles from the city [Porta Capena] on the Appian way" (Aurelius Victor, "Ep." xl. 3). Some have located Tres Tabernæ at Sermoneta, 23 miles, others at Cisterna, 30 miles from Rome. In the first case Cicero would have taken five hours to do the 20 miles, and in the second case five hours to do 13 miles; besides, the Antian joins the Appian way 11 miles from Rome. These writers were evidently misled by the medieval forgery known as the Tabula Peutingeriana, which is in the Vienna Library.

Appii Forumwas a town of the Volsci, 43 miles from Rome, where travellers embarked or disembarked, passing the Pontine marshes by means of the canal. Horace ("Sat." i. 5) describes it as "stuffed with sailors and surly landlords." These places are interesting, being the meeting-places of the Roman Christians with St. Paul. "And from Rome, when the brethren heard of us, they came to meet us as far as Appii Forum and Tres Tabernæ" (Acts xxviii. 15).

View larger image.

MAP OF THE ROMAN CAMPAGNA.View larger image.

(Any of these Excursions can be made in one day.)

Porta del Popolo:—Villa Borghese—Villa di Papa Giulio—Acqua Acetosa—Ponte Molle—Villa of Livia—Veii—Monte Mario—Villas Mellini and Madama.Porta Salara:—Villa Albani—Catacomb of S. Priscilla—Antemnæ—Ponte Salara—The Anio—Fidenæ.Porta Pia:—Porta Nomentana—Villa Torlonia—Church and Catacomb of S. Agnese—S. Costanza—Ponte Nomentana—Mons Sacer—Tomb of Virginia—Basilica and Catacomb of S. Alexander.Porta S. Lorenzo:—The Roman Cemetery—Basilica of S. Lorenzo—Ponte Mammolo—Hannibal's Camp—Castel Arcione—Aquæ Albulæ—Ponte Lucano—Tomb of the Plautii.Tivoli:—Villa D'Este—Temples of Sibyl and Vesta—The Glen and Falls—Pons Vopisci—Villa of Quintilius Varus—The Cascades—Ponte dell'Acquoria—Villa of Mæcenas—Temple of Hercules—Hadrian's Villa.Porta Maggiore:—The Baker's Tomb—The Aqueducts—Tomb of Helena (?)—Gabii—Ponte di Nona—Villa of the Gordian Emperors—Tomb of Quintus Atta.Porta S. Giovanni.First Excursion:—Via Appia Nova—Painted tombs—S. Stephen's—The Aqueducts—Pompey's Tomb—Albano—Ariccia—Genzano—Lake and Village of Nemi—Palazzolo—Lake Albano—Castel Gandolfo—Site of Alba Longa (?)—Vallis Ferentina—Marino—Grotta Ferrata—Cicero's Villa.Second Excursion:—Frascati—Tusculum—Rocca di Papa—Monte Cavo.Porta S. Sebastiano:—Via Appia. (Seepage 285.)Porta S. Paolo:—Pyramid of Caius Cestius—S. Paul's outside the walls—Remuria Hill—Tre Fontane—The Viaduct of Ancus Martius.Ostia:—Street of Tombs—Houses—Warehouses—Temples—Docks—Palace—Walls of Ancus Martius—Museum—View from Tower of the Castle—Castel Fusano—Pliny's Villa.

THE ROMAN CAMPAGNA

extends from Mount Soracte (S. Oreste) southwards to the Alban Hills, and from the Apennines westwards to the sea. It is watered by the Tiber and numerous smaller streams; but there are no marshes except the salt ones by the sea. The soil is mostly composed of tufarock, covered with a few feet of soil—decayed vegetable matter. This causes the malaria: for the first rains, after the heat of summer, which has burned up all the vegetation, pass through the soil and rest upon the rock; then the hot sun after the rains draws up the noxious gas, which being dispersed through the air, if inhaled during sleep, or upon an empty stomach, produces fever.

If the soil, which for many ages has been allowed to lie fallow, were properly irrigated and cultivated, all this could be obviated. In the last few years more has been brought under the plough; and if the government would only plant trees by the road-sides and in the waste places, the Campagna would soon become as healthy as in the days of Pliny, who thus describes it:—"Such is the happy and beautiful amenity of the Campagna that it seems to be the work of a rejoicing nature. For, truly, so it appears in the vital and perennial salubrity of its atmosphere; its fertile plains, sunny hills, healthy woods, thick groves, rich varieties of trees, breezy mountains, fertility in fruits, vines, and olives; its noble flocks of sheep and abundant herds of cattle; its numerous lakes, and wealth of rivers and streams pouring in upon its many seaports, in whose lap the commerce of the world lies, and which run largely into the sea, as it were to help mortals."

The surface is by no means flat, but undulating, like the rolling prairies of America, and presents many points of interest and study to the artist and the rambler.

(Porta del Popolo.)

Passing through the Porta del Popolo, built in 1561 by Vignola, a short walk under the walls, to the right, brings us to the Muro Torto, a piece of masonry of the time of Sylla, and held to be under the special protection of S. Peter (Procopius, "B. G." i. 13).

Closed on Mondays, Wednesdays, and Fridays.

Turning to the right, just outside the Porta del Popolo, is situated this the handsomest park in Rome, founded by Cardinal Scipio Borghese. The grounds are open to all visitors; they cover a wide extent, and their walks, meadows, and groves are superb and unique in their general attractions. As a promenade for horsemen, pedestrians, and carriages, it shares the honours with its neighbour the Pincio.After an airing on the latter, a turn through the Porta del Popolo into this splendid villa generally completes the evening drive of Romans and tourists. The clatter of hoofs in winter begins at 4p.m., and in summer at 7P.M.On Sundays a large crowd is collected within its limits from all quarters of the city, composed of all classes, from theminenteand Albanian nurses bearing babies, to the duchesses gliding along in landaus. On those days it becomes the paradise of children, who flock thither with their guardians, and enjoy a rare frolic in gathering wild flowers, rolling on the grass, and breathing a far fresher air than the city affords. In the centre of the villa is the Museum.Open on Saturdays only, from 1 till 4 in the winter, and 4 till 7 in the summer. Catalogues are provided for visitors.

Grand Hall.—1. Diana; 5. Bust of Juno; 9. Augustus. Relief, Curtius leaping into the Gulf. Mosaics of gladiators.

Right Saloon of Juno.—Centre.Juno Pronuba. 3. Urania; 4. Ceres; 5. Venus Genitrix; 20. Relief, Birth of Telephus.

Hall of Hercules.—Centre.Fighting Amazon on Horseback. 21. Venus.

Room of Apollo.—Centre.Apollo. 3. Scipio Africanus; 4. Daphne turned into a Laurel; 13. Anacreon; 14. Lucilla.

Greek Gallery.—The twelve porphyry Cæsars are modern. Porphyry urn from Tomb of Hadrian. 32. Bronze statue of Geta.

Cabinet.—7. The Hermaphrodite; 11. Martius. Mosaics of fishing scenes.Centre.Alcæus.

Cabinet of Tyrtæus.—The Greek poetin the centre. 2. Minerva; 4. Apollo.

Room Nine.—Centre.Boy on a Dolphin. 4. Paris; 8. Ceres; 10. A Gipsy,modern; 20. Venus.

Room of the Faun.—In the centre.2. Ceres; 8. Faun; 14. Periander; 6. Seneca.

Stairs from the great gallery lead to the second floor.

Room One.—David, Apollo and Daphne, Æneas and Anchises, all by Bernini.

Room Five.—Pauline Borghese, sister of the great Napoleon, as Venus Victrix, by Canova. Pictures—Story of Helen, by Gavin Hamilton.

Passing out of the villa, and proceeding along the ancientVia Flaminia,nowVia Ponte Molle(which is traversed by a tramway),turning up the lane on the right, at the top we come to the

On the left-hand side, at the corner of the lane, is the Casino, with sculptured cornices and a fountain. Beyond the Casino, and formerly connected with it by a corridor, is the villa where Pope Julius III. best loved to dwell, coming from the Vatican in his barge upon the Tiber. There remain two rooms with richly decorated ceilings by Zucchero, and a fine court with a fountain.

As the road is very dusty and uninteresting, we will take the lane, which conducts us, after a pleasant stroll, to the

a mineral spring, enclosed in a fountain by Bernini, and surrounded by a small grove. The view of the Tiber here is very fine, particularly when the river has risen. On the opposite bank rises the picturesque ruin, Tor di Quinto, the tomb of Ovid's family. The hillto the rightwas the site of Antemnæ. (Seepage 309.)Below, on the left,

bursts on our sight. It was built by Pius VII. in 1815, on the foundations of the Pons Milvius, "which the elder Scaurus is said to have built" (Marcellinus, xxvii. iii. 9), and near which Constantine defeated Maxentius, October 27th, 312, a victory so graphically depicted by Raphael on the Vatican walls. "Maxentius endeavouring to cross the bridge of boats constructed for the use of his army, a little below the Ponte Molle, was thrown by his frightened horse into the waters, and eaten up by the quicksands on account of the weight of his cuirass. Constantine had great difficulty in finding his corpse" (Aurelius Victor).

Crossing the bridge, the roadVia Flaminia,to the right, leads us toPrima Porta, theSaxa Rubraof the ancient Romans, the first halting-place from Rome.On the right, above the Osteria, was situated the Veientina

(custodian next door to the church),about four miles from the bridge, discovered in 1863. When first excavated, the frescoes and arabesques were found in a good state of preservation, but they have since been greatly damaged by atmospheric influences. Livia was the wife of Augustus, and mother of Tiberius.

"Formerly, when Livia, after her marriage with Augustus, wasmaking a visit to her villa at Veii, an eagle flying by let drop in her lap a hen, with a sprig of laurel (bay) in its mouth, just as it had been seized. Livia gave orders to have the hen taken care of, and the sprig of laurel set; and the hen reared such a numerous brood of chickens, that the villa to this day is calledThe Villa of the Hens. The laurel grove flourished so much, that the Cæsars procured thence the boughs and crowns they bore at their triumphs. It was also their constant custom to plant others in the same spot, immediately after a triumph; and it was observed that, a little before the death of each prince, the tree which had been set by him died away. But in the last year of Nero, the whole plantation of laurels perished to the very roots, and the hens all died" (Suetonius, "Galba," i.).

Cavaliere Piacentini has discovered (1879), on his farm at Prima Porta, the remains of some baths, which probably were connected with Livia's Villa of the Hens. In the centre is a hemicycle, 29 feet in diameter, the mosaic of which represents circus races, the victor receiving the palm of victory for his horse Liber; and the three chariots racing, Romano, Ilarinus, and Olympio. Surrounding this hall are twelve others, with mosaic pavements of festoons and geometrical patterns inchiaro-oscuro. One pavement, 26 feet by 20 feet, represents the sea, in which are numerous fish; while upon the sea three-winged figures gambol with marine monsters. The boilers for hot water, furnaces for hot air, and pipes for cold water are in a capital state of preservation. Brick stamps show that the building was restored as late as the time of King Theodoric.

Near the bridge over the Fosso di Prima Porta has been found the circular tomb of Gellius, the freedman of the Emperor Tiberius.

The road straight on from the Ponte Molle,Via Cassia,leads to

(Mr. Forbes's carriage excursion-lecture at frequent intervals.)

Turn off to the right beyondLa Storta,at the tenth mile,for Carriages;pedestrians turn off at the fifth mile, near theTomb of Vibius Marianus, Via Veientina. The site of Veii is surrounded by two streams, the Cremera and the Fosso de'due Fossi, and is about twelve miles from Rome. The place was captured after a ten years' siege by the Romans under Camillus,B.C.393.

Descend from the village ofIsola, by the side of the brook, to the mill; here the torrent forms a picturesque cascade, 80 feet high, crossed by the ancient Ponte dell' Isola, with a single arch spanning 22 feet. Here was one of the ancient gates, called Porta de' SettePagi.OppositeIsola, down the stream, is the Porta dell' Arce. Under the rock of Isola are some mineral springs, and another gate, Porta Campana. In the ravinebeyondwas the Porta Fidenate.The gates on the other side of the citymay be traced byascendingthe valley of the Cremera, Porta di Pietra Pertusa;beyond which, on the ancient road outside, is a large tumulus, La Vaccareccia. Porta Spezzeria is higher up, with the remains of a tufa bridge; near by are the remains of an Etruscan columbaria.[20]Beyond is Porta Capenate, under which is Ponte Sodo, a tunnel, 240 feet long, 15 feet broad, and 20 feet high, cut in tufa for the brook to pass through. Further on is Porta del Colombario, near a ruined columbaria.Beyondis the Ponte di Formello, a Roman bridge upon Etruscan piers;close byis the last gate, Porta Sutrina.

The so-called Piazza d'Armi, the ancient citadel, stands at the junction of the two streams.

Under Julius Cæsar, within the walls of the ancient city, anImperial Municipiumwas founded. Part of a road, some traces of tombs, and a columbaria mark the site. It seems to have been founded to occupy the commanding situation, as Florus the historian,A.D.116, asks, "Who now knows the site of Veii?" In the middle ages, for the same reason, the isolated rock was surmounted by a castle. Cæsar Borgia besieged it for twelve days, and destroyed it. Isola is considered to have been the necropolis of Veii, from the sepulchral caves and niches hollowed in the rock.

A pleasant ramble may be had byfollowing the Cremera down to the Tiber, between the sixth and seventh mile on the Via Flaminia, thence to Rome.

Returning beyondLa Storta,theVia Triumphalisleads overMonte Mario. On the height overlooking Rome is

This hill is supposed to take its name from the celebrated Marius, and the slope down to Rome was called the Clivus Cinnæ, from Cinna (Gruter, mlxxxi. 1). In 998, from the victory of Otto III. over the Romans, it was called Monte Malus, hence the bridge over the Tiber was called Ponte Male; by Evelyn, 1650, Mela; now Ponte Molle. The hill took its present name from the proprietor in 1409. It is now Government property, and a fort has been erected on theheight. In making the fort the tomb of Minicia Marcella was found. Pliny, jr. (v. 16), speaks of the sweetness and early death of the daughter of Fundanus, consul 107. The inscription says she lived twelve years, eleven months, and seven days. From the height a most glorious panorama of the Tiber valley is enjoyed.

A path through the woods leads down to

The villa was built by Giulio Romano, and it contains some of his frescoes, representing satyrs and loves, Juno and her peacocks, Jupiter and Ganymede, and other subjects of mythology. There is a fine fresco upon a ceiling, representing Phœbus driving his heavenly steeds, by Giovanni da Udine.

Passing out into theVia Triumphalisby the oak avenue, pausing a while at the top of the hill to admire "the vast and wondrous dome," and continuing our ramble, we descend the slopes of Monte Mario, the ancientClivus Cinnæ.

The present gate was built in 1873; outside are some slight remains of the old one. A short distance down theVia Salara, on theleft, Cavalier Bertoni has discovered the tomb of Lucilius and his sister Polla, with their portraits. It is a grand circular tomb, 117 feet in diameter. Paterculus (ii. 9) speaks of "Lucilius, who in the Numantine War served in the cavalry under Publius Africanus,"B.C.103.Opposite is the

Open on Tuesdays from 12 till 4. Permission to be obtained of the bankersMessrs. Spada and Co., 11 Via Condotti. The museum contains a fine collection of statues, busts, sarcophagi, &c. The grounds are splendid, and numerous antique statues are dispersed through them.Catalogues can be obtained of the custodian.

Grand Portico.—51. Augustus; 79. Agrippina; 61. Faustina (?); 72. Marcus Aurelius; 82. Hadrian.

Vestibule.—19. Caryatid, by Criton and Nicholaus of Athens.

Left Gallery.—48. Alexander; 45. Scipio; 40. Hannibal; 46. Brutus (?); 110. Faun.

Right Gallery.—93. Juno; 106. Faun and Bacchus; 120. Son of Augustus; 118. Seneca; 112. Numa; 143. Livia sacrificing. Vase,with the labours of Hercules, found at his temple on the Via Appia. 222. Relief—the Nile.

Staircase from Vestibule.—891. Rome Triumphant; 885. Relief—the Death of the Children of Niobe; 893. Antoninus Pius Distributing Corn (?); 894. Orphan Children of Faustina (?). (Seepage 44.)

Upper Floor, First Room.—905. Apollo; 906. An Athlete; 915. Cupid.

Noble Gallery.—Reliefs; 1008. Hercules and the Hesperides; 1009. Dædalus and Icarus; 1010. A Sacrifice; 1013. Antonius holding a Horse; 1018. Marcus Aurelius, Antoninus, Faustina, and Rome; 1014. Venus, Diana, Apollo, and Victory sacrificing.

Left Room.—1013. Relief—Antinoüs Crowned with the Lotus Flower,very beautiful.

Second Room.—952. Apollo Sauroctonos, by Praxiteles.

Beyond the villa is the

Priscillais saidto be the Christian name of the mother of Pudens. Anastasius (xxxi. 31) says this cemetery was made by Bishop Marcellus,A.D.307. There is a burial vault here said to be the tomb of the family of Pudens; it has some rude frescoes—a woman coming out of a house; an orante in act of prayer, called a Madonna; a woman between two men, twice over. Other frescoes, in different chambers, are the Three Jews in the Fiery Furnace; Good Shepherd; four orantes and doves; seven men carrying a barrel, whilst two others lie on the ground. Scratched on the wall isOratius D. Nobilibus Antonius Bosius; and underneath was a marble slab—Bonaviæ Conjugi Sanctissimae; a Good Shepherd; a female figure seated, with a child in her lap, looking towards a male figure with hands extended, called the Virgin and Isaiah (query, Joseph)—between them is a star. This is the earliest painting of the Virgin known.

Leaving the catacomb, the hill on the left, beyond, was the site of

one of the most ancient cities of the Latin land. It was captured by the Romans under Romulus, and destroyed by AlaricA.D.409, who encamped here when attacking Rome. Near by, the Anio flows into the Tiber,—"with whirlpools dimpled, and with downward force." A beautiful prospect of the surrounding country may be enjoyed.The Tiber rolling his yellow billows to the sea, serpent like, through green meadows; the blue Apennines, with snow-covered summits, looking patronizingly down upon the village-crowned hills at their base; the slopes of Monte Mario, dark with cork-wood foliage,on our left. Sir W. Gell says that the high point nearest the road was the citadel, below which is a cave that was once a sepulchre. One gate looked towards Fidenæ, up the Tiber; another towards Rome; perhaps also one toward Acqua Acetosa; and another in the direction of the meeting waters.

Beyond, the road crosses the Anio by

rebuilt in 1878. Upon the old bridge Titus Manlius, inA.U.C.395, killed the Gaulish giant, and on account of putting the giant's chain on his own neck took the title of Torquatus (Livy, vii. 10).

Beyondthe bridge is an unknown tomb. Five miles from Rome is Castel Giubeleo, the site of

"a large and populous city, forty stadia from Rome" (Dionysius, ii. 53; xiii. 28); founded by the Albans, and made a Roman colony by Romulus, but soon revolted. It was whilst Servius Tullius was fighting the citizens that he sent and destroyed Alba Longa (Livy). The place was ultimately taken by Lartius Flavus, the consul, by means of a mine (Dionysius, v. 70).

There are no remains of the city, but the site is undoubted. The arx was to the right of the road on the high hill before arriving at Castel Giubeleo. It is not known when this city was destroyed, but inA.D.27, in the time of Tiberius, the temporary amphitheatre fell and killed a large number of people. (See Suetonius, "Tiberius," xl.; "Caligula," xxxi.; Tacitus, "Annals," iv. 62.)

This gate was built by Michael Angelo in 1564. It was nearly destroyed by the Italian troops in 1870, but is now restored.

A fine view of the Villa Albani and the Sabine Hills may be had from this spot.

To the leftof the gate a tablet marks where the Italian army entered Rome on the 20th September 1870.

To the rightis the ancient

Porta Pia taking its place. The former is flanked by two round towers.Oppositeis the Villa Patrizi, in which is the small catacomb of S. Nicomedus.Beyond, on the right, is the Villa Lezzani and the Chapel of S. Giustina.

Proceeding down the Via Nomentana a little way, on the rightis the

open on Thursdays, from 11 till 4, with permission to be obtained of Messrs. Spada and Co.The gallery has many fine paintings and sculptures, and the gardens are adorned with fountains, statues, and mock ruins.

About a mile further on is the

founded by Constantine, on the site where the body of the saint was found. The aisles are formed by thirty-two columns of fine marble, and the altar canopy is supported by four columns of porphyry. In the second chapel on the right is a beautiful altar inlaid with mosaic work. Pio Nono's escape when the floor fell in, April 15, 1855, is commemorated by a fresco by Tojetti. The feast of the saint is on the 21st January, when the lambs are blessed with great ceremony. Here we have the best idea of a basilica.

Entrance in the church. Open on Sunday, Tuesday, and Thursday.

Part of this catacomb under the garden of the monks is well worth a visit. The entrance to it is through the church, and the exit through S. Costanza. The original stairs at the entrance were excavated in 1873, and four pagan tombs were found and two openings from them into the catacomb, showing that the Catacombs were general cemeteries, and notexclusivelyChristian. This catacomb is interesting, as it is left just as it was found in 1871, many of the graves being unopened.—The neighbouring

was erected to the memory of Constantine's daughter, Constantina, who was anything but a saint according to Marcellinus. It is worth visiting on account of its dome, supported by twenty-four clusteredcolumns in granite, and covered with mosaics. The sarcophagus is now in the Vatican Museum.

S. Costanza is a mausoleum and a baptistery, not properly a church. The mosaic pictures of the fourth century are the finest known of that period. Those over the doors are of the eighth century.

"At this time [A.D.360] Julian sent the body of his wife Helen, recently deceased, to Rome, to be buried in the suburb on the road to Nomentum, where also Constantina, his sister-in-law, the wife of Gallus, had been buried" (Marcellinus, xxi. i. 5).

A quarter of a mile beyond the church, on the left, is the entrance to

(Custodian, Valentino.)

Signor Armellini has, it is reported, succeeded in deciphering an inscription in this catacomb, in which the name of S. Peter occurs. The supposed inscription is in an archway and on the stucco, the letters being in red colour. Thiscubiculumis lighted from the top by an oldluminarium, and in shape is not unlike a basilica without aisles. At a short distance in front of the apse, jutting out from the right wall, is a chair of tufa, which looks across the chamber; opposite is a column, coming out in the same manner, above which is a niche for a lamp. The apse itself is filled up about four feet above the floor of the chamber, the filling up forming a tomb, the top of which was probably used as an altar (arcosolium). The vault of the apse is covered with scroll-worked stucco in very low relief, coloured red; this has fallen off, only some slight traces of it remaining, presenting in one or two instances theappearanceof letters, which, we should say, it was impossible to make out. This is the inscription in which Signor Armellini reads the name of Peter. But even supposing that it is an inscription, and that Peter's name is there, it does not prove that Peter baptized there; for, in fact, the catacomb was made long after S. Peter's death. In the acts of the martyrs Liberius and Damasus, it is mentioned that in this catacomb S. Peter baptized (query, not the apostle). This is followed by Bosio, Aringhi, and De Rossi. This catacomb is supposed to have belonged to the descendants of Ostorius, the pro-prætor in Britain who sent Caractacus and his wife prisoners to Claudius. Of course the simple mention of S. Peter in the inscription does not prove that he ever was in Rome, for we have every evidence to the contrary. This catacomb is about two miles outside the Porta Pia, on the Via Nomentana, and adjoins that of S. Agnese, and isalso known by the name of "Peter's Fountain," though there is no water there. Boldetti informs us that a vial of blood found in the Ostorian Cemetery bore these words: "Primitius in pace post multas angustias fortissimus martyr." This catacomb is also mentioned by Tertullian.

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