"The mother and head of the churches of the city and of the world."
"The mother and head of the churches of the city and of the world."
This church was founded by Constantine, and took the name ofLateranfrom its occupying the site of the Palace of Plautus Lateranus, the senator, who suffered under Nero. After having existed for ten centuries, it was almost entirely destroyed by fire in 1308. It was rebuilt by Clement V., and embellished by other popes. Clement XII. had the façade executed from the design of Galilei. It is of travertine,with four large columns and six pilasters of the Composite order, which support a cornice surmounted by a balustrade, on which are placed colossal statues of Jesus and several saints. Between the columns and the pilasters there are five balconies; that in the middle was used for the papal benedictions. Beneath the balconies are as many entrances, which lead into the magnificent covered portico (loggiato), decorated with twenty-four pilasters of the Composite order. In this portico is placed the colossal statue of Constantine found in his baths. Notice the beautiful bronze doors which came from the Senate House in the Forum.
The interioris divided into a nave and two aisles by four ranges of pilasters. The architect was Borromini, who covered the ancient columns which divide the middle aisles from the side ones with pilasters, forming five arches, corresponding to an equal number of chapels. Each of these pilasters is decorated, on the side of the middle aisle, by two fluted pilasters, supporting a cornice which goes round the church. Between these there are twelve niches, each ornamented by two columns of verd-antique, containing the statues of the apostles. The Corsini chapel,first chapel on left of front entry, is one of the richest in Rome. It was executed by Clement XII. from the design of Galilei, in honour of S. Andrew Corsini. The porphyry sarcophagus of Clement XII. was brought from the portico of the Pantheon, and is supposed to have contained the remains of Agrippa. The subterranean chapel contains the remains of the Corsini family. On the altar is the beautiful statue "Piety," said to be by Bernini or Montanti.
This splendid church contains many chapels, decorated with paintings and statues worthy of attention. On the second pier of the right aisle is Giotto's Boniface VIII.
The Gothic Tabernacle above the high altar, containing the heads of Paul and Peter, is a fine piece of workmanship of the fourteenth century, restored by Pius IX. In front of the Confession is a bronze tomb of Martin V., by Simone, Donatello's brother. Since 1876 the transepts and the apse have been closed to the public; but on Ascension day 1886, with grand religious ceremonies, they were again thrown open to public view,having been restored. The frescoes in the transept, representing scenes in the life of Constantine by artists of the seventeenth century, have been touched up; the gold work has been regilded, and the appearance of newness has been imparted to the whole. At the end of the right transept, looking towards the tribunal, is the grand organ and a banner captured from the Saracens.The left transept contains the altar of the Sacrament by Paolo Olivieri, the four gilt bronze columns being, it is said, from the Temple of Jupiter Capitolinus, made by Augustus out of the beaks of the fleet of Mark Antony and Cleopatra. Above the altar is the finest fresco in the basilica, the Ascension by Arpino, 1600. To the right is the Colonna chapel. The altar-piece is by Arpino, the roof by Croce, whilst the portrait of Martin V. is by S. Gaetano. In the recent restorations the old choir, tribunal, and the corridor of Leo I., 440–61, which surrounded it, have been destroyed, and a new one erected sixty-seven feet longer than the old one—a very unnecessary piece of work and vandalism. The church was quite large enough for any ceremonies that take place in it. The whole praise ofthis restorationis claimed by Leo XIII.; but it is only just to Pius IX. to record that he initiated and left money to continue the work, although he is ignored in the laudations. In the four corners, above the spring of the arches, are doctors of the Eastern and Roman Churches—Ambrose, Augustine, Chrysostom, and Anastasius. On the left, above organ, the Commission submitting the Plans to Leo XIII.; on the right, Innocent III. approving the Doctrine of Transubstantiation (1215)—both the work of Francesco Grandi. The mosaic on the vault of the apse belonged to the old apse, and has been considerablyrestoredin moving it from one to the other. It is the work of Jacopo da Turrita and Gaddo Gaddi (1292). At the top is the Almighty's head surrounded by angels; from the Father proceeds the Holy Spirit (a dove) to the Cross (which represents the Son) erected on the mountain from which flow the four rivers of paradise round the heavenly Jerusalem, the gates of which are guarded by an angel. Two harts and sheep drink of the waters; saints are on either side; the Virgin has her hand on the head of Nicholas IV., who had the mosaic done. The apostles below, between the windows, are by Jacopo di Camerino, of the same period. The base of the tribunal is inlaid marble imitation cosimati work of the thirteenth century, as is also the Bishop's Throne, reached by a flight of steps. The Bishop of Rome takes his title from S. John's Lateran, hence this church has precedence over all others. The Bishop of Rome is by right thereof Papa, Pope, or Father of the Roman Church. Since the death of the last bishop, Pius IX., February 20, 1878, the chair has been vacant; for some fanciful reason Leo XIII. has never taken possession of his bishopric.
The Cloistersof the twelfth century are interesting, and contain many curious architectural remains.
Pope Leo XIII. intends to establish in the Lateran Palace a university, under Cardinal Mazzella, for the scientific and literary study of the clergy.
Passing out into the piazza at the front, on the right are
Porta S. Giovanni, opening on to the Via Nova Appia,and near by, to the right, the walled-up ancientPorta Asinaria,best seen from the outside, through which Belisarius entered Rome, and which the Isaurian guard betrayed to Totila, December 17, 546. The open we are now rambling over was anciently called the Mirror.On the leftis the end wall of the dining-hall of the ancient Palace of the Lateran, on which is a copy of an ancient mosaic of the time of Leo III.In a building behind this is theScala Santa.
On the right of the Scala Santa, parallel with the Via Tasso, the Barracks of the Equites Singulares, or Horse Guards of the Emperors, of the time of Hadrian, were discovered in March 1886. A noble hall 90 feet long, containing many inscriptions, raised by the discharged veterans, was discovered; also fragments of statues, and one nearly perfect of the youthful Bacchus, a work that we may class with the school of Praxiteles.
consists of twenty-eight marble steps, which, it is supposed, our Lord came down after his mock coronation in the judgment-hall of Pilate. The blood from his bleeding brow marked certain of the steps, and these are kissed by the ascending faithful, the knees of whom so wore away the marble that it is now covered with a wooden staircase, in which through slits the marble is seen. They are said to have been brought from Jerusalem (where it formed the stairs to Pilate's house) by the mother of Constantine. By ascending these stairs on the knees, a thousand years' indulgence is secured to those who believe it. Dickens said, "The sight was ridiculous in the absurd incidents inseparable from it—to see one man with an umbrella unlawfully hoist himself with it from stair to stair, and a demure old lady of fifty-five, looking back every now and then to assure herself that her legs were properly disposed." On the feast of the Assumption, the sacred picture "Acheirotopeton" (made without hands) is exposed to view. This picture is said to have been drawn in outlineby S. Luke, and before he commenced to fill the colours in, it was found finished by invisible hands.
THE SCALA SANTAView larger image.
THE SCALA SANTAView larger image.
From the front of the church a charming prospect of the Campagna is obtained.
To the right of the stairs is the Kiss of Judas; on the left, Ecce Homo, by Giacometti. At the left of the hall, Christ Bound to the Pillar,oppositePius IX.
Martin Luther had made the ascent half-way, when he suddenly stood up, turned about, and walked down. He said that a voice had whispered to him, "The just shall live by faith." The Sancta Sanctorum at the top is only open to the Pope, who alone can officiate, and on the day before Palm Sunday to the canons of the Lateran for adoration. The stairs can only be ascended on the knees.Behind is
Open on Wednesdays and Saturdays. Permission to be had at the Russian Consulate, Piazza Feoli Corso.
The grounds are tastefully laid out, and are intersected by the arches of Nero's aqueduct. From the roof of the casino, to which the gardener will conduct you (fee, half a franc), a beautiful view may be enjoyed at sunset, looking far away over the Campagna. In the grounds is the columbaria of the family of T. Claudius Vitalis, an architect.
Returning, first turning on the left, passing over the open space skirting under the walls, the curve is part of
(Amphitheatre of the Camp,)
of the time of Caligula,A.D.39, and incorporated by Aurelian into his wall. It is of beautiful brickwork; the columns, of the Corinthian order, are best seen from outside the wall. It was built near the camp, that the soldiers might have their games without going into the city and mixing with the people.
Suetonius ("Caligula," xxxi.) says, "He began an amphitheatre near the septa or barracks of the soldiers." Dion Cassius records, "That on one occasion, when the Emperor Caligula was in want of criminals for combats, he seized a number of citizens, and after tearing out their tongues that they might not complain, he had them brought into the arena, where they were compelled to fight."
Adjoining is the
erected by S. Helena. The interior has three aisles divided by pilasters, and with eight columns of Egyptian granite. The high altar is adorned by four columns of breccia-corallina, which support the canopy. Under the altar is an ancient urn, which contains the bodies of the holy martyrs Anastasio and Cesario. The frescoes of the vault of the tribune are by Pinturicchio. The subterranean chapel of S. Helena is decorated with paintings by Pomarancio, and with mosaics by B. Peruzzi. Ladies are not allowed to enter this chapel, except on the saint's day. The church was erected in
which was built by Sextus Varius, father of Elagabalus. This was afterwards turned into the Palace of Helena, near which were her baths, remains of which exist in the adjoining vineyards; also of the reservoir; which remains are called by some theTemple of Venus and Cupid, from a statue found there. A Venus with Cupid at her feet, supposed to be the likeness of Salustia Barbia Orbiana, the wife of Alexander Severus, from an inscription on the pedestal saying that it was dedicated to Venus by one Salustia.
In the "Excerpta Valesiana de Odac" (lxix.) it is mentioned as "the palace called Sessorium." In the buildings at thebackof the church remains of a large palace can be traced. It is said by tradition that it took its name from a basilica which stood here where the cases of the slaves were tried. Another is, that here was the Prætorium or headquarters of the Prætorian prefect of the city. "It is said that Maximin, the prefect, had a small cord always suspended from a remote window of the Prætorium, the end of which had a loop which was easily drawn tight, by means of which he received secret information" (Marcellinus, xxviii. 7). The ruin to the left of the church has all the appearance of a basilica.
Returning past the Lateran, a lane by the side of Mr. Warrington Wood's, viaS. Stefano Rotondo, following the aqueduct, leads to the remarkable
supposed to be formed from the remains of
A coin representing this market agrees with the architecture of the church. "Then Nero celebrated a feast by way of thanksgivingfor his preservation, and dedicated the market-place where meat is sold" (Dion Cassius).
The church is open all day on the 26th of December, being the saint's day.On other days, ring the bell at the door on the right.It is 133 feet in diameter. The outer circle consists of thirty-six columns, and the inner of twenty. There was originally another outer circle: this was destroyed, and the space between the columns of the second circle, present outer, filled in to make the walls of the church. In the centre two Corinthian columns support a cross wall. The tabernacle contains the relics of S. Stephen. The frescoes by Pomarancio on the walls, representing martyrdoms, are simply disgusting. In the vestibule is an ancient episcopal chair, from which S. Gregory read his fourth homily.
Left from the church, and left again, we enter thePiazza di Navicella.
In the piazzais a small marble ship, placed here by Leo X., near where it was found, this place having been the camp of the sailors.The church opposite is that of
or S. Maria in Dominica, only open on the second Sunday in Lent. It was restored by Leo X. from designs by Raphael. The Doric portico is by Michael Angelo. It has eighteen fine columns of gray granite. The mosaics in the tribune are of the ninth century. The frieze over the windows of the nave is by Giulio Romano and Pierino.
To the right of the churchare remains of the Monastery of
founded by Innocent III. as the headquarters of the Trinitarians or Redemptorists, whose mission was to rescue blacks and whites from slavery. The mosaic by Cosmati,A.D.1260, is the coat of arms of the order. Just beyond is a Gothic arch, part of their buildings.Beyond thisthe arch spanning the road is the
Built of travertine, and erected, as the inscription informs us, by the above consuls,A.D.10. It was used by Nero to support the aqueduct to his reservoir. Here is the hermitage of S. Giovanni di Matha, 1213, who founded the Redemptorists.
Through the arch on the left is the entrance to
the residence of Baron Hoffmann, who kindly admits visitors on their leaving their cards at the iron gate. Many fragments of antiquity are spread about the grounds, from which there are some fine views. Remains have been found of a Roman fire-station of the fifth cohort of Vigili, whose names are on the pedestals dedicated by them to Marcus Aurelius.
was erected by Duke Mattei, but only a very small part of it is Egyptian. The fragment was found in making the present sloping way up to the Capitol, and presented by the magistrates to the duke. It is the only one not re-erected by a pope. It is said that when the architect was directing its elevation, he forgot to take his hand off the pedestal, and that the block was lowered on his hand, which was amputated, the hand being left between the blocks.
At the corner of the grounds, towards the Baths of Caracalla, under a medieval building, is theFountain of Egeria. (Seepage 275.)
Opposite the entrance to the villa is the
whence Cardinal Howard takes his title. It was erected in the fourth century on the site where the martyrdom of the above saints took place, by Pammachus, the friend of S. Jerome. They were officers of Constantine's household, and were put to death by Julian. The medieval portico is formed by eight marble and granite pillars. The aisles are formed by sixteen ancient columns; the pavement is ofopus Alexandrinum; the stone surrounded by a railing is said to be that on which the martyrs suffered death. The outside of the medieval apse is rare.
To the left of the church, and beneath the adjoining Passionist Convent(ring at the door on the right), are the remains of some solid unfinished stone arches, supposed to be
Seutonius tells us that Vespasian erected the Temple "of Claudius on the Cœlian Mount which had been begun by Agrippina, but almost entirely demolished by Nero."
Frontinus (xx. 76) tells us that the arches of Nero ended at the Temple of Claudius. Now we have been following these arches for some distance, and they end here.
Below the temple was
or menagerie for the Colosseum. The arches have been laterally closed, leaving small apertures of communication. The vivarium consists of eight immense arches two stories high, formed from blocks of travertine. The substructions occupy a large extent of the convent gardens. A massive portion supports the elegant medieval campanile, of the thirteenth century, one of the best preserved in Rome.Beneath thisare some subterranean chambers hewn out of the tufa, supposed to be
a prison for condemned gladiators. The younger Pliny says "it was a cruel receptacle for those adjudged worthy of torture."
The gardens of the convent are built upon the top of
Suetonius tells us "he made a reservoir like unto a sea," which no doubt was afterwards used to supply the Colosseum with water for the naval combats. The quadrata of the Cœlian is artificially formed, and was evidently the great nymphæum connected with the Golden House. The water was brought from the Claudian Aqueduct at the Porta Maggiore upon arches, known as Nero's Arches, which ended near the Temple of Claudius, and these arches end in the gardens now supported by the walls forming the quadrata. The niches and hemicyclia on the east side, with their channels of supply behind, were evidently fountains, and the west side was probably similar in character, some of the specuses still existing. The front towards the Colosseum formed a grand cascade, the water falling into the reservoirs, the ruins of which we see in advance of the north wall of the quadrata, and at a lower level; from these it poured into the great stagnum or lake below, now occupied by the Colosseum. Signor Alberto Cassio found specuses all around the top, and a euripus or channel at the base; and stalactites andopus signinumcan still be seen there.
Turning to the rightwe pass under some medieval arches—flying buttresses—to support the church.On the leftare some remains of the house of Gregory; and,on the right, the wood of the Cœlian.This hill was the ancient Clivus Scauri. To the leftthe steps lead up to
whence Cardinal Manning takes his title. It is built on the site of the house of Gregory the Great, and was erected in the seventh century. Its interior is embellished with sixteen granite columns. The painting above the altar is by Sacchi, and thepredellabeneath by Luca Signorelli. In a small side-chapel on the right is an ancient marble chair, and in a glass case numerous relics of various saintsCrossing the atrium, in which is a monument to Sir Edward Carne, envoy from Henry VIII.,we come tothe three detached chapels of—
S. Silvia, which contains a beautiful fresco of the Father, with angels playing on instruments, by Guido Reni. It is built on the site of the house of S. Gregory, remains of which can be seen behind the chapel.
S. Andrew, containing the rival frescoes of Guido Reni and Domenichino—S. Andrew adoring the cross on his way to execution, and the Flagellation of S. Andrew.
S. Barbara, containing the marble table on which S. Gregory feasted every morning twelve poor pilgrims. On one occasion an angel is said to have honoured them with his presence. The statue of the saint was begun by Michael Angelo, and finished by his pupil, Niccolo Cordieri.
Between the church and the chapels is a massive piece of tufa wall, supposed to have been part of the fortifications of the Cœlian Hill when it was a separate fortress.
In the wood in front of S. Gregorio, on the right going towards the Arch of Constantine, is the new City Museum, containing many objects of high historical interest arranged in chronological order.
THE PINCIO—THE FRENCH ACADEMY—CHURCH OF TRINITA DEI MONTI—VIA SISTINA—PIAZZA BARBERINI—BARBERINI GALLERY—MONTE CAVALLO—THE QUIRINAL PALACE—THE ROSPIGLIOSI PALACE—COLONNA GARDENS—CAPITOLIUM VETUS—TORRE DELLE MILIZIE—VIA MAGNANAPOLI—S. AGATA—S. LORENZO IN PANE E PERNA—THE HOUSE OF PUDENS, THE BATHS OF NOVATUS, AND THE CHURCH OF S. PUDENZIANA—SCENE OF TULLIA'S IMPIETY—BASILICA OF S. MARIA MAGGIORE—CHURCH OF S. MARTINO—SETTE SALE—THE AUDITORIUM AND GARDENS OF MÆCENAS—ARCH OF GALLIENUS—S. ANTONIO—NYMPHÆUM OF ALEXANDER SEVERUS—TOMBS OF MÆCENAS AND HORACE—BATHS OF GALLIENUS—S. BIBIANA—THE AGGER OF SERVIUS TULLIUS—THE PRÆTORIAN CAMP—TEMPLE OF FORTUNA PRIMIGENIA—PIAZZA DI TERMINI—BATHS OF DIOCLETIAN, AND CHURCH OF S. MARIA DEGLI ANGELI—VIA NAZIONALE—S. PAUL'S WITHIN THE WALLS—FELICE FOUNTAIN—THE NEW MINISTRY OF FINANCE—FLAVIAN TEMPLE—THE UNFAITHFUL VESTAL'S TOMB—SALLUST'S VILLA—VILLA LUDOVISI—CHURCH AND CEMETERY OF THE CAPPUCCINI—TABLE OF EGYPTIAN OBELISKS IN ROME.
ON THE HILLS, EAST.
From the Piazza del Popolo, a sloping, winding road leads up tothe favourite promenade of the Romans and Forestieri, who stroll and drive here every day, and listen to a military band by which the place is enlivened in the afternoons.Ascending, its terraces are interspersed with fountains and statues, and there is a fine large bas-relief on the wall opposite the two columnæ rostratæ adorned with the prows of ships. The name of the hill is derived from the Pincii family, whose estates were upon it towards the close of the empire. It was formerly known as the Hill of Gardens, from those of Lucullus, which passed to Valerius Asiaticus, and were coveted by Messalina. It abounds in walks and shady nooks, interspersed with fountains and the busts of Italia's great men. The side farthest from the cityoverlooks the Villa Borghese. At the extreme corner is a fragment of the old wall of Sylla—Muro Torto. From the terrace the scene below, in the piazza, is quite a study:—beyond is the winding Tiber and its round fortress of S. Angelo, the roof of the Pantheon, the columns of Aurelius and Trajan, the Capitol and Milizie Towers, and the Quirinal Palace; whilst between Monti Mario and the Janiculum is the world's cathedral, with its vast dome towering high above all: this dome is best seen at a distance, where the eye can embrace its full proportions, for immediate proximity dwarfs its immensity.
In the centre of the grounds is
which has on it the inscriptionAntoninus Osiris Oracle(Utterer of truth). It was brought by Hadrian from Egypt, and erected by himself and his wife Sabina to his favourite Antinoüs, in the Varianus Circus, amidst which ruins, near S. Croce in Gerusalemme, outside the walls, it was found.
Passing out of the grounds by the road that runs parallel to the city, on our left is
or Villa Medici,open every day from 8 till 12, and from 3 till dusk. The gardens are tastefully laid out, and several fine views may be obtained from them. TheMuseum of Casts(of statues not in Rome) will repay a visit.
Proceeding up the avenue, just beyond, on the left, is the
erected by Charles VIII. of France. Visitors should attend vespers here, the nuns singing choral service; it commences half an hour before Ave Maria. Over the altar of the side-chapel, in entering, is a beautiful Descent from the Cross, the masterpiece of Daniele da Volterra.
was found in the gardens of Sallust, and placed here by Pius VI. in 1789. It is 48 feet high without the pedestal, and is supposed to have been brought to Rome by Hadrian. It is thought by some to be only a copy of the original in Egypt. Marcellinus says it stood in the gardens of Sallust.
At No. 9 Piazza Trinità dei Monti, Poussin lived; and Zuccari lived at 64 Via Sistina, close by. Beyond, the Via Cappo la Casa runs out to the right: adjoining the Church of S. Giuseppe is theNew Museum of Industrial Art. Open every day from 9 till 3; fee, 50 centesimi.By the Via Sistina we reach the
It has in the centre a beautiful fountain, by Bernini, with four dolphins supporting a shell, in which is a Triton; it throws water to a great height.Proceeding up the Via delle Quattro Fontane, on the left is the
(Palazzo Barberini.)
Open every day from 12 till 4. Catalogues are lent for the use of visitors.
It contains paintings by the first masters. The statue to Thorwaldsen, in the garden, was lately erected by Mr. Wolff, Thorwaldsen's pupil. The library is open from 9 till 2 on Thursdays.
First Room.—Fresco on vault, Triumph of Glory, by Cortona; 16. Joseph and Potiphar's Wife, by Beliverti; 21. S. Cecilia, by Lanfranco.
Second Room.—48. Madonna, by Francia; 63. His Daughter, by Raphael Mengs; 74. Adam and Eve, by Domenichino.
Third Room.—73. The Slave, by Palma Vecchio; 81. Portrait, called the Stepmother of Beatrice Cenci (?) by Caravaggio; 82. The Fornarina, by Raphael; 83. Lucrezia Cenci, the mother of Beatrice Cenci (?), by Scipione Gaetani; 85. The so-called Beatrice Cenci, by Guido. This is nothing more or less than Guido's model, and the same face can be seen in the Aurora, and in the fresco at S. Gregory's. It could not possibly be Beatrice, for Guido did not come to Rome till sixteen years after her death. 86. Death of Germanicus, by Poussin; 90. Holy Family, by Sarto.
The inscription on the right side of the palace records the campaign of Claudius in Britain.
Proceeding up theQuattro Fontane, at the top of the hill are four river gods acting as fountains. The church at the left corner of Via del Quirinale is S. Carlo, its space being equal to the area of one of the piers which supports the dome of S. Peter's.Turning down this street, the church on the left is
on the site of the Temple of Quirinus (Romulus). It contains the tomb of Emanuele IV. of Sardinia, who abdicated in 1802, and died a monk in 1818. The church is a little gem.
At the end of the street is the square
In the centre is a fountain, with granite basin 26 feet in diameter, which formerly stood in the Forum; also two beautiful colossal horse-tamers in marble, supposed to be Castor and Pollux by some, by others, Alexander and Bucephalus. The Latin inscriptions state one of these colossi to be the work of Phidias, the other of Praxiteles. Both were presented to Nero by Tiridates, king of Armenia. They once ornamented the Baths of Constantine, and have never been buried. The whole is surmounted by an Egyptian obelisk found near the Mausoleum of Augustus.On the leftis the king's
It numbers some splendid apartments, containing many works of art; and the gardens are of considerable extent. It is the residence of King Humbert, and is accessible to the public; but should the royal family be at home, the private apartments are not shown; otherwise it may be readily viewed on presenting your card at the entrance. Guido Reni's beautiful picture of the Annunciation is in the small private chapel, as also the frescoes of the life of the Virgin, by Albani. The casino in the gardens is decorated with frescoes by Oritonti, Battoni, and Paolini. The palace was founded by Gregory XIII. in the year 1574, and completed by Clement X., several intermediate popes having done much for its extension and embellishment, notably Clement VIII. Urban VIII. enclosed and added the present garden, and Gregory XVI. and Pius IX. made the palace what it is—that is to say, one of the most sumptuous and attractive palaces in Italy. Few of our readers will require to be informed that the Quirinal was the place appointed for the conclave when the new Pope was elected, and that Pope Pius IX. was the last successor of S. Peter who was proclaimed from the balcony overhanging the principal entrance.
On the left, beyond the fountain, within the high wall, is the
Open on Wednesdays and Saturdays from 9 till 3; entrance upstairs to left of gate.
It is celebrated for its casino, containing Guido Reni's Aurora; it also contains many pictures, ancient sculptures, and fragments of frescoes, from the Baths of Constantine, on a portion of the site of which it is built. The principal paintings in the palace are:—
Centre Room.—Head of Christ, by Jesse; Vanity, by Titian; Mater Doloroso, by Sassoferrato.
Left Room.—Our Saviour Bearing the Cross, by Daniele da Volterra; Head of Goliath, by Domenichino; the Deposition, a sketch by Rubens; Perseus Rescuing Andromeda, by Guido Reni.
Right Room.—Diana and Venus, by Lawrence Lotto; Adam and Eve, by Domenichino; Samson's Death, by Caracci.
Opposite is the entrance to
They contain several antiques and remains of the cornice of Aurelian's Temple of the Sun. Looking down a chasm, we see remains of the Baths of Constantine. Under the cypress trees are several sarcophagi, and the stem of the pine tree planted on the day Rienzi died. There is also a fine piece of the tufa wall that made the seven hills one city.
To the right from the gardens, theVia Quirinalebrings us to the new Via Nazionale. Where this winds round is a piece of a wall of the kings. Plutarch ("Numa," xiv.) and Solinus (i. 21) tell us that Numa lived upon the Quirinal, where he built an arx (Hieron. i. 298), called, after the Capitoline Hill was so named,Capitolium Vetus. In it was a temple to Jupiter (Varro, "L. L." v.; Martial, v. 22). In those days a tongue jutted out here towards the Capitoline Hill, and this piece of wall bars the way to it, so it is probably a piece of the arx that defended the tongue.
The lofty brick tower is
within the precincts of the Convent of S. Catherina di Sienna, supposed to have been built upon a cella formerly occupied by Trajan's soldiers. This tower is called by the Romanvalets de place"Nero's Tower," from his having sat there and fiddled whilst Rome was burning. Now, as this tower was built in 1210 by Pandolfo della Suburra, the senator, it could not have been the tower Nero fiddled on. Besides, Suetonius says, "This fire he [Nero] beheld from a tower in the house of Mæcenas," which was on the Esquiline, where remains have been recently found.
TheVia Panisperna, to the left, descends into the valley between the Quirinal and Viminal hills. In the valleyto the leftof the street is
where the heart of O'Connell is deposited.Keeping straight on, up the slope of the Viminal,Via Panisperna, at the top of the hill is
who is said to have been martyred under Claudius II.,A.D.269, having been cooked to death on a gridiron. Here are also the relics of S. Crispin and S. Crispinian. The church is on the site of the baths of the daughter-in-law of Constantine, Olympia. The two seated statues, Menander and Posidippus, in the Vatican, were found here, and were for a long time worshipped as saints.
Close by is the Church ofS. Lorenzo in Fonte, said to be over the site of the prison of S. Lawrence, and a fountain is shown where he baptized his converts.
Descendingthe slope of the Viminal, we strike theVia Urbana, on the line of the ancientVicus Patricius.
Proceeding up the Via Urbana, on the left is the
(S. Pudenziana.)
The church stands back from the street, with a handsome new front, restored by Cardinal Buonaparte. Cardinal Wiseman was titular cardinal of this church.It is only open at a very early hour—on May 19th all day, and on the third Tuesday in Lent. The custodian is to be found at 161, next door to the church.A flight of steps leads down to the church. The door is formed with ancient spiral columns, and eighth century Christian reliefs; above are some modern frescoes of Peter, Pudens, Pudentiana, and Praxedes. There is a picturesque campanile.
The present church was formed out of the great hall of the Baths of Novatus afterA.D.108; the baths being erected in the time of Domitian adjoining the house of Pudens, who founded in his house a Christian oratory beforeA.D.96. This oratory exists below the present church, which was formed by Bishop Pius, who died inA.D.157. The church below is the oldest Christian church in the world, and existed in the time of S. Paul, who, writing to the Romans (xvi. 13), says, "Salute Rufus chosen in the Lord, and his mother and mine." This Rufus was Aulus Rufus Pudens, who held an official position in the southern province of Britain, and married Gladys (Claudia), the daughter of Caractacus, the British chief. Hewas likewise half-brother of S. Paul, and the friend of Martial the poet. The apostle, writing to Timothy from Rome (2 Tim. iv. 21), says, "Eubulus greeteth thee, and Pudens, and Linus, and Claudia, and all the brethren." Linus was the second son of Caractacus, and was the first bishop of the Church of Rome ordained by Paul.
From Cyllinus, the eldest son of Caractacus, descended Constantine the Great, born and bred, and proclaimed emperor, in Britain. Thus the first Bishop of Rome and the first Christian emperor were undoubtedly Britons of royal British blood.
In the tribune of the church is a beautiful mosaic of the time of Adrian I.,A.D.772–795, who built the apse inside the wall of the large hall. The old wall can be seen on the outside, the mosaic representing our Saviour on a throne, with four of the apostles on each side, and Pudentia and Praxedes behind; the paintings above are by Pomarancio. In the left aisle is a well, containing, it is said, remains of the martyrs—some remains are shown. At the end of this aisle is the chapel of S. Peter; the mosaic pavement belonged to the baths. On the left is a copy of the inscription from the catacomb of S. Priscilla: "Bene Merenti Corneliæ Pudenzianæ." Under the altar is a sponge said to have been used by the two sisters to collect the blood of the martyrs. Above is a relief, by Giacomo della Porta, of Peter receiving the keys from Christ. On the left of this aisle opens the Chapel of the Gaetani—rich in marbles. The roof is in mosaic, representing the four Evangelists, and over the door are representations of the sisters Pudentia and Praxedes collecting the blood of martyrs. They are by Rossetto, designed by F. Zuccari (1600). The altar-piece, by Paolo Olivieri, is the Adoration of the Magi.For a more detailed account of this interesting church, see our"Footsteps of S. Paul in Rome."
Retracing our way down the Via Urbana, we come to where the Via di S. Lucia in Selci goes off at an angle to the left. Here was
With our face towards the angle, it will be noticed that the Via S. Lucia divides the Esquiline Hill into two spurs: that on ourleftwas called theCispius, that on ourrighttheOppius. The Via Leonina Suburra, at our back, was the ancient Vicus Cyprius; the point of the angle being its summit; the Via S. Lucia was the Clivus Urbius. Up this latter street, on the right, an ascent, the ancient Clivus Pullius, leads to S. Martino a Monti. "Tarquinius Superbuslived on the Esquiline, above the Clivus Pullius, at the Fagutal Grove." "Servius Tullius lived above the Clivus Urbius" (Solinus, i. 25).
Having thus fixed the topography, we shall see how Livy's account of the murder and impiety (i. 48) agrees with it. "Servius Tullius had arrived at the top of the Vicus Cyprius, when he was overtaken and slain by some sent after him by Tarquinius. Tullia, in returning home from the Forum, had arrived at the top of the Vicus Cyprius, where the Temple of Diana lately stood. She was justturning to the rightto ascend the Clivus Urbius, which led to the top of the Esquiline Hill, when the charioteer stopped and showed her her father's dead body lying across the street; but she bade him drive over the dead body, and arrived home bespattered with her father's blood. From this unnatural deed the name of the street was changed to Vicus Sceleratus, the wicked street." (See Dionysius iv. 39.)
From here follow the Via Urbana, turn to the right up theVia S. Maria Maggioreto the church, which we enter at the back, and pass through
In the foreground is an Egyptian obelisk 63 feet high. The church was foundedA.D.352. It is 120 yards long by 50 wide. Its columns are of the Ionic and Corinthian orders. The interior is of three aisles, and has thirty-six Ionian columns of white marble, from the Villa of Hadrian at Tivoli. The high altar is formed of a large urn of porphyry, covered by a slab of marble, which is supported by four angels in gilt bronze. The canopy, erected by Benedict XIV., is supported by four columns of porphyry, surrounded by gilt palms. The four angels in marble were sculptured by P. Bracci. Under the high altar is the beautiful Confession, done by Vespignani, by order of Pius IX., in 1863, in which is preserved the relic of the cradle of the Saviour, and the bodies of S. Matthew and other saints. Here the late Pope was to be buried; but he would not allow his successor to ask leave of the Italian government, burial inside the walls being prohibited, and in his will he directed that his body should be interred in S. Lorenzo outside the walls. The monument is by Jacometti.
The mosaic pictures over the arches on each side are of the fifth century—a long series of panels of Scripture subjects, the historical books of the Old Testament.
BASILICA OF S. MARIA MAGGIORE.View larger image.
BASILICA OF S. MARIA MAGGIORE.View larger image.
The Arch of Triumph over the altar is of the same period. Those on the vault of the tribune are of the thirteenth century. On theloggia, over the front entrance, is another very fine mosaic picture of the fourteenth century.On the left of the high altar is the
The altar-piece is of jasper; the painting of the Virgin and Child is said to be by S. Luke. Above is the bronze bas-relief representing the miracle of the snow which fell in AugustA.D.352 upon the exact space occupied by the basilica. The frescoes are by Guido, Lanfranco, Arpino, and Cigoli.
The monuments of Paul V. and Clement VIII. are composed of beautiful bas-reliefs representing scenes in their lives.
Opposite is the
erected by, and containing the tomb of, Sixtus V. It was lately restored by Pius IX., who was to have had his temporary resting-place here, behind the altar. The altar is a representation of the tomb of our Saviour at Jerusalem, and is a splendid piece of workmanship. Beneath it is preserved part of the manger. Opposite the lower altar is a statue of S. Gaetano, by Bernini. The frescoes of the dome, representing the hosts of heaven, are beautifully executed by Podesti. The monument to Sixtus V. is by Valsoldo; that to Paul V. by L. de Sarzana. The bas-reliefs represent historical subjects of the two pontificates.
Leaving the church by the end opposite to that by which we entered, we find ourselves in the piazza, which contains a handsome column, taken from the Basilica of Constantine by Paul V. It is surmounted by a figure in bronze representing the Virgin. The column is forty-seven feet high, without the base and capital.On the left of the church is the
In 1873 the column of an inverted cannon, which stood in front of the Church of S. Antonio Abate, erected in 1596 to commemorate the reconciliation of Henry IV. of France to Clement VIII., was removed in altering the level of the road. At the time of its removal, a majolica vase was discovered under the base, which on being lately opened was found to contain a large brass medal, bearing the following inscription:—