There is a stern, round tower of other days,Firm as a fortress, with its fence of stone,Such as an army’s baffled strength decays,Standing with half its battlements alone.And with two thousand years of ivy grown,The garland of eternity, where waveThe green leaves over all by Time o’erthrown;What was this tower of strength? within its caveWhat treasure lay so hid?—a Woman’s grave.
There is a stern, round tower of other days,Firm as a fortress, with its fence of stone,Such as an army’s baffled strength decays,Standing with half its battlements alone.And with two thousand years of ivy grown,The garland of eternity, where waveThe green leaves over all by Time o’erthrown;What was this tower of strength? within its caveWhat treasure lay so hid?—a Woman’s grave.
A little beyond the Circus of Caracalla159rises the mausoleum of Cecilia Metella, a beautiful edifice, built by Crassus, in honour of his wife. It is of considerable height and great thickness: in the centre is a hollow space reaching from the pavement to the top of the building. In the concavity was deposited the body in a marble sarcophagus, which in the time of Paul III. was removed to the court of the Farnesian palace. The solidity and simplicity of this monument are worthy of the republican era in which it was erected, and have enabled it to resist the incidents and survive the lapse of two thousand years.
“At the end of the Velabrum,” says Dupaty, “I found myself on the Appian way, and walked along it for some time. I there found the tomb of CeciliaMetella, the daughter of that Crassus whose wealth was a counterpoise to the name of Pompey and the fortune of Cæsar. I entered the tomb, and set myself down on the grass. The flowers which displayed their brilliant colours in the corner of the tomb, and as I may say amid the shades of death; the noise of a swarm of bees who were depositing their honey between two rows of bricks, while the surrounding silence rendered their pleasing humming more audible; the azure of the sky forming over my head a magnificent dome, decorated alternately by flying clouds of silver and of purple; the name Cecilia Metella, who perhaps was beautiful, and possessed of the tenderest sensibility, and who most certainly was unfortunate; the memory of Crassus; the image of a distracted father who strives by piling up stones to immortalize his sorrow; the soldiers, whom my imagination still behold combating from the height of this tower;—all these and a thousand other impressions gradually plunged my soul into a delicious reverie, and it was with difficulty I could leave the place.”
The portico of Octavia stood upon the Flaminian Circus and the theatre of Marcellus; it was erected by Augustus, in honour of his sister Octavia. This portico formed a parallelogram, composed of a double row of two hundred and seventy Corinthian columns of white marble, adorned with statues, enclosing a court, in which were two temples, dedicated to Jupiter and Juno, a library, and a large hall for the exhibition of paintings. A small portion of the portico, being one of the entrances, is all that now remains. Many of the pillars are, however, supposed to be built up in the neighbouring houses.
The general use, porticoes were put to, was the pleasure of walking or riding in them; in the shade in summer, and in winter in the day; like the presentpiazzas in Italy. Velleius Paterculus, when he deplores the extreme corruption of manners that had crept into Rome upon the conclusion of the Carthaginian war, mentions particularly the vanity of the noblemen, in endeavouring to outshine one another in the magnificence of their porticoes, as a great instance of their extraordinary luxury. Juvenal thus alludes to them:—
On sumptuous baths the rich their wealth bestow,Or some expensive airy portico;Where safe from showers they may be borne in state;And, free from tempests, for fair weather wait:Or rather not expect the clearing sun;Through thick and thin their equipage must run:Or staying, ‘tis not for their servants’ sake,But that their mules no prejudice may take.
On sumptuous baths the rich their wealth bestow,Or some expensive airy portico;Where safe from showers they may be borne in state;And, free from tempests, for fair weather wait:Or rather not expect the clearing sun;Through thick and thin their equipage must run:Or staying, ‘tis not for their servants’ sake,But that their mules no prejudice may take.
TheNaumachiæ, or places for the shows of sea engagements160, are nowhere particularly described; but we may suppose them to be very little different from the circus or amphitheatres; since those sort of shows, for which they were designed, were often exhibited. TheNaumachiæowed their original to the time of the first Punic war, when the Romans first initiated their men in the knowledge of sea-affairs. After the improvement of many years, they were designed as well for gratifying the sight, as for increasing their naval experience and discipline; and therefore composed one of the solemn shows by which the magistrates or emperors, or any affecters of popularity, so often made their court to the people.
The usual accounts we have of these exercises seem to represent them as nothing else but the image of a naval fight. But it is probable that sometimes they did not engage in any hostile manner, but only rowed fairly for the victory. This conjecture may be confirmed by the authority of Virgil, who is acknowledged by all the critics, in his descriptions of thegames and exercises to have had an eye always to his own country, and to have drawn them after the manner of the Roman sports. Now the sea contention, which he presents us with, is barely a trial of swiftness in the vessels, and of skill in managing the oars, as is most admirably delivered in his fifth book161.
Warm baths were first introduced into Rome by Mæcenas. There cannot be a greater instance of the magnificence of the Romans than their bagnios. Ammianus Marcellinus observes, that they were built “in modum provinciarum,” as large as provinces; but the great Valesius judges the word provinciarum to be a corruption of piscinarum. And though this emendation does in some measure extenuate one part of the vanity which has been so often alleged against them, from the authority of that passage of the historian, yet the prodigious accounts we have of their ornaments and furniture, will bring them, perhaps, under a censure no more favourable than the former. Seneca, speaking of the luxury of his countrymen in this respect, complains that they were arrived to such a pitch of niceness and delicacy, as to scorn to set their feet on any thing but precious stones. And Pliny wishes good old Fabricius were but alive to see the degeneracy of his posterity, when the very women must have their seats in the baths of solid silver. Of the luxury and magnificence of the Roman bath, we have an interesting account in Seneca; we borrow the old translation, it being somewhat of a curiosity:—
“Of the countrie-house of Africanus, and bath:
“Lying in the verie towne (villa) of Scipio Africanus, I write these things unto thee, having adored the spirit of him and the altar, which I suppose to be the sepulcher of so great a man. * * I sawthat towne builded of four-square stone, a wall compassing about a wood, towers also set under both sides of the towne for a defence. A cisterne laid under the buildings, and green places, which was able to serve even an armie of men. A little narrow bathe, somewhat darke, as the olde fashion was. None seemed warme for our ancestors except it were obscure. Great pleasure entered into me, beholding the manners of Scipio and of us. In this corner that horrour of Carthage, to whom Rome is in debt that it was taken but once, washed his bodie, wearied with the labours of the countrie: for he exercised himselfe in worke, and he himself tilled the earth, as the fashion of the ancients was. He stood upon this so base a roofe,—this so mean a floore sustained him. But now who is he that can sustaine to be bathed thus? Poore and base seemeth he to himself, except the walls have shined with great and precious rounds, except Alexandrian marbles be distinguished with Numidian roofe-caste, except the chamber be covered over with glasse, except stone of the Ile Thassus, once a rare gazing-stocke in some church (temple), have compassed about our ponds into which we let down our bodies exhausted by much labour; except silver cocks have poured out water unto us. And as yet I speake of the conduits of the common sort; what when I shall come to the bathes of freedmen? What profusion of statues is there; what profusion of columns holding nothing up, but placed for ornament, merely on account of the expense? What quantity of waters sliding downe upon staires with a great noise? To that delicacie are we come, that men will not tread but upon precious stones. In this bathe of Scipio, there be verie small chinckes, rather than windowes, cut out in the stone wall, that without hurt of the fense they should let the light in. But now they arecalled the bathes of moths, if any be not framed so as to receive, with most large windows, the sunne all the day long, except they be bathed and coloured (sunburnt) at the same time, except from the bathing vessel they look upon both land and sea. But in old time there were few bathes, neither were they adorned with any trimming up. For why should a thing of a farthing worth be adorned, and which is invented for use, and not for delight? Water was not poured in, neither did it alwaies, as from a warm fountain, runne fresh. But, O the good gods! how delightful it was to enter into those bathes, somewhat darke and covered with plaster of the common sort, which thou diddest know that Cato, the overseer of the buildings (ædile), or Fabius Maximus, or some one of the Cornelii, had tempered for you with his own hand! For the most noble ædiles performed this duty also of going into those places which received the people, and of exacting cleanliness, and an useful and healthie temperature; not this which is lately found out, like unto a setting on fire, so that it is meet indeed to be washed alive, as a slave convicted of some crime. It seemeth to me now to be of no difference, whether the bathe be scalding hot or be but warme. Of how great rusticity do some now condemn Scipio, because into his warm bathe he did not with large windowes (of transparent stone) let in the light? O miserable man! He knew not how to live; he was not washed in strained water, but oftentimes in turbid, and, when more vehemently it did rain, in almost muddy water.”
The more extensive and best-preserved baths now remaining in Rome are those of Titus, Antoninus, Caracalla, and Dioclesian. In the time of Ammianus Marcellinus there were sixteen public baths. These were surrounded by extensive gardens; and the main buildings were used, some for bathing and swimming;some for athletic exercises; and others for lectures, recitation, and conversation. They were splendidly fitted up, and furnished with considerable libraries.
The ruins of what are called the baths of Titus extend to a great area. The site is, to a considerable extent, occupied by gardens; in various parts of which are to be seen fragments, all once belonging to the same edifice. This building seems to have consisted of two stories. Of the upper one little remains; but of the lower there are more than thirty rooms accessible.
“We passed,” says the author of ‘Rome in the Nineteenth Century,’ describing a visit to the baths, “the mouths of nine long corridors, converging together like the radii of the segment of a circle, divided from each other by dead walls, covered at the top, and closed at the end. They must always have been dark. Having passed these corridors, we entered the portal of what is called the house of Mæcenas. It is known that the house and gardens of Mæcenas stood in this part of the Esquiline-hill, which, before it was given him by Augustus, was the charnel-ground of the common people. The conflagration in Nero’s reign did not reach to them; and it is believed, that a part of them was taken by Nero into his buildings, and by Titus into his baths. Antiquaries think they can trace a difference in the brick-work and style of building, between what they consider as the erection of Augustus’s and that of Titus’s age: and on these grounds, the parts they point out as vestiges of the house of Mæcenas, are the entrance, which leads into a range of square and roofless chambers (called, on supposition, the public baths), and the wall on the right in passing through them, which is partially formed of reticulated building in patches. From these real or imaginary classic remains, weentered a damp and dark corridor, the ceiling of which is still adorned with some of the most beautiful specimens, that now remain, of the paintings of antiquity. Their colouring is fast fading away, and their very outline, I should fear, must be obliterated at no very distant period; so extreme is the humidity of the place, and so incessantly does the water-drop fall. By the light of a few trembling tapers elevated on the top of a long bending cane, we saw, at least twenty feet above our heads, paintings in arabesque, executed with a grace, a freedom, a correctness of design, and a masterly command of pencil, that awakened our highest admiration, in spite of all the disadvantages under which they were viewed. * * * Leaving the painted corridor, which is adorned with these beautiful specimens of ancient art, we entered halls, which, like it, must always have been dark, but are still magnificent. The bright colouring of the crimson stucco, the alcove still adorned with gilding, and the ceilings beautifully painted with fantastic designs, still remain in many parts of them; but how chill, how damp, how desolate are now these gloomy halls of imperial luxury! No sound is to be heard through them, but that of the slow water-drop. In one of these splendid dungeons, we saw the remains of a bath, supposed to have been for the private use of the emperor. In another we were shown the crimson-painted alcove, where the Laocöon was found in the reign of Leo the Tenth. The French, who cleared out a great many of these chambers, found nothing but the Pluto and Cerberus, now in the Capitol, a work of very indifferent sculpture.”
Another critic (Knight) has estimated these paintings rather differently. “The paintings on the walls,” says he, “consist chiefly of what we now call arabesques; the figures are all very small, and arranged inpatterns and borders. They consist of birds and beasts; among which some green parrots may be seen very distinctly; the ground is generally a rich dark red. At the end of one of these rooms is a large painting of some building, in which the perspective is said to be correctly given. This seems to disprove the charge which has been brought against the ancient painters, of not understanding the rules of perspective; none of these paintings can, however, be justly regarded as specimens of ancient art; they were intended solely as decorations to the apartments, and were doubtless the work of ordinary house-painters. To judge of the proficiency of the ancient painters from such remains as these would be as unfair, to use Dr. Burton’s remark, as to estimate the state of the arts in England from the sign-posts. Where the walls of the rooms are bare, the brick-work has a most singular appearance of freshness; the stucco also is very perfect in many parts; but the marble, of which there are evident traces on the walls of the floors, is gone.”
The ruins of the baths of Caracalla are so extensive, that they occupy a surface equal to one-sixteenth of a square mile. Next to the Coliseum, they present the greatest mass of ancient building in Rome. “At each end,” says Mr. Eustace, “were two temples; one dedicated to Apollo, and the other to Æsculapius, as the tutelary deities of the place, sacred to the improvement of the mind, and the care of the body: the two other temples were dedicated to the two protecting divinities of the Antonine family; Hercules and Bacchus. In the principal building were, in the first place, a grand circular vestibule, with four baths on each side, for cold, tepid, warm, and sea baths; in the centre was an immense square for exercise, when the weather was unfavourable for it in the open air: beyond it is a marble hall, wheresixteen hundred marble seats were placed for the convenience of the bathers; at each end of this hall were libraries. This building terminated on both sides with a court, surrounded with porticoes, with an odeum for music, and in the middle a spacious basin for swimming. Round this edifice were walks shaded by rows of trees, particularly the plane; and in its front extended a gymnasium, for running, wrestling, &c., in fine weather. The whole was surrounded by a vast portico, opening into spacious halls, where the poets declaimed, and philosophers gave lectures to their auditors.”
The following account is from the author of Rome in the Nineteenth Century. “We passed through a long succession of immense halls, open to the sky, whose pavements of costly marbles, and rich mosaics, long since torn away, have been supplied by the soft green turf, that forms a carpet more in unison with their deserted state. The wind sighing through the branches of the aged trees, that have taken root in them, without rivalling their loftiness, was the only sound we heard; and the bird of prey, which burst through the thick ivy of the broken wall far above us, was the only living object we beheld. These immense halls formed part of the internal division of the Thermæ, which was entirely devoted to purposes of amusement. The first of the halls, or walled enclosures, that you enter, and several of the others, have been open in the centre. These were surrounded by covered porticos, supported by immense columns of granite, which have long since been carried away; chiefly by the popes, and princes of the Farnese family. In consequence of their loss the roofs fell with a concussion so tremendous, that it is said to have been felt even in Rome, like the distant shock of an earthquake. Fragments of this vaulted roof are still lying at the corners of the porticoes.The open part, in the centre, was probably designed for athletic sports. Many have been the doubts and disputes among the antiquaries, which of these halls have the best claims to be considered as the once wonderful Cella Solearis. All are roofless now; but the most eastern of them, that which is farthest to the left on entering, and which evidently had windows, seems generally to enjoy the reputation. Besides these enormous halls, there are, on the western side of these ruins, the remains of a large circular building, and a great number of small divisions, of all sizes and forms, in their purpose wholly incomprehensible; except that they belonged to that part of the Thermæ destined for purposes of amusement. Nothing can now be known; and though the immense extent of the baths may be traced, far from hence, by the wide-spreading ruins, it is equally difficult and unprofitable to explore them any further.”
In these baths were discovered (A. D.1540), the celebrated Farnese Hercules; also the famous Flora (1540); and the Farnese Bull, in 1544. In those of Titus, the Belvidere Meleager; and the wonderful group, entitled the Laocöon; and not far from them the exquisite figure of Antinous.
Columns, or pillars,162were none of the meanest beauties of the city. They were at least converted to the same design as the arches; for the honourable memorial of some noble victory or exploit; after they had been a long time in use for the chief ornament of the sepulchres of great men.
There are three columns more celebrated than the rest. These are, the pillars of Trajan, of Antoninus, and of Phocas. The first of these was set up in the middle of Trajan’s Forum; being composed of twenty-four great stones of marble;163but so curiouslycemented, as to seem one entire natural stone. The height was one hundred and forty-four feet, according to Eutropius; though Marlian seems to make them but one hundred and twenty-eight: yet they are easily reconciled, if we suppose one of them to have begun the measure from the pillar itself, and the other from the basis. It is ascertained on the inside by one hundred and eighty-five winding stairs, and has forty little windows for the admission of light. The noblest ornament of this pillar was the statue of Trajan at the top, of a gigantic height; being no less than twenty-five feet high. He was represented in a coat of armour, proper to the general, holding in his left hand a sceptre; in his right a hollow globe of gold, in which his ashes were deposited after his death.
The subjects of the bas-reliefs, as we have already stated, are the victories of Trajan, in his Dacian campaign164. The whole number of figures sculptured is about 2,500; and the figure of Trajan himself is repeated more than fifty times. At the lower part of the column, the human figures are about two feet high; as they ascend, and thus become further removed from the eye, their size is increased, till, at the top of the column, they have nearly double the height that they have below. These bas-reliefs are executed with great delicacy and spirit; but they possess a higher value of a different kind. “The Roman dress and manners,” says Dr. Burton, “may receive a considerable light from them. We find the soldiers constantly carrying their swords on the right side. On a march they are generally bare-headed; some have no helmets at all; others wear them suspended to their right shoulder; each of them carries a stick over the left shoulder, which seems to have been for thepurpose of carrying their provisions. We may observe also a wallet, a vessel for wine, and a machine for dressing meat.”
Their shields165were oblong, with different devices upon them; their standards of various kinds; pictures also were used; which were portraits of gods, or heroes. The soldiers wear upon their legs a kind of light pantaloons, reaching a little below the knee, and not buttoned. The Dacians have loose pantaloons, reaching to the ankle, and shoes; they also carry curved swords. The Sarmatian cavalry, allies of Decabalus (the Dacian king) wear plated armour, covering the men and horses. Their armour was a covering of thin circular plates, which were adapted to the movements of the body, and drawn over all their limbs; so that in whatever direction they wished to move, their clothing allowed them free play, by the close fitting of its joints. Some Roman soldiers have also plate-armour; but they are archers. The horses have saddles, or rather cloths, which are fastened by cords round the breast, and under the tail. The Dacian horses are without this covering; and the Germans, or some other allies, have neither saddles nor bridles to their horses. We might observe several other particulars, such as a bridge of boats over a river, and that the boats everywhere are without a rudder, but are guided by an oar, fastened with a thong on one side of the stern. The wall of the camp has battlements, and the heads of the Dacians are stuck to it. The Dacian women are represented burning the Roman prisoners. We may also see the testudo, formed by soldiers putting their shields together in a compact mass over their backs. Victory is represented as writing with a pen on a shield166.
The column of Antoninus was raised in imitation of this, which it exceeded in one respect; that it was one hundred and seventy-six feet high. The work was much inferior to that of Trajan’s, as being undertaken in the declining age of the empire. The ascent on the inside was by one hundred and six stairs, and the windows in the sides fifty-six. The sculpture and the other monuments were of the same nature as those of the first; and on the top stood a colossus of the emperor, naked, as appears from some of his coins. Both these columns are still standing; the former most entire. But Pope Sixtus V., instead of the statues of the emperors, set up St. Peter’s, on the column of Trajan, and St. Paul’s, on that of Antoninus.
The historical columns167are true to no order of architecture. Trajan’s has a Tuscan base and capital, and a pedestal with Corinthian mouldings. That of M. Aurelius repeats the same mixture; but its pedestal is restored: and though higher, both in proportion and in place, than Trajan’s, does not associate so well with its shaft. These are the only regular pedestals that are observed in Roman antiquity.
Next to these may be classed the column of Phocas168. So recently as twenty-four years ago, the whole of its base, and part of the shaft, were buried in the soil; and up to that time, the ingenuity of the learned was severely tried, in the attempt to find for it a name. One thought it a fragment of the Græcostasis; another adjudged it to a temple of Jupiter Custos; and a third urged the claim of Caligula’s bridge. At length, it was thought that, possibly, the column might originally have been isolated, and thus in itself a complete monument; that, consequently, if the earth at its foot were removed, apedestal might be uncovered with some inscriptions thereon. The Duchess of Devonshire had recourse to this simple expedient, in the year 1813; the base of the column was laid open, and upon it an inscription was found, recording the fact, that a gilt statue was placed on the top of it in the year 608, in honour of the emperor Phocas, by Smaragdus, exarch of Italy.
The material of the column is Greek marble, the capital is Corinthian, and the shaft is fluted. The height is forty-six feet, but as it stands upon a pyramid of eleven steps, its elevation is increased about eleven feet.
The seventh Basilica stands about two miles from the walls; the church itself is a fine building, restored in 1611; but the portico, of antique marble columns, is of the time of Constantine. Under the church are the openings to very extensive catacombs, originally formed no doubt by the ancient Romans, to procure pozzolana for their buildings; and enlarged by the early Christians, who used them as places of refuge during their persecutions, and ascemeteries, one hundred and seventy thousand of them having, it is said, been interred there. The passages are from two to three feet in width, and extend several miles in different directions.
A hall of immense size169was discovered about the beginning of the last century, concealed under the ruins of its own massive roof. The pillars ofverde anticothat supported its vaults, the statues that ornamented its niches, and the rich marbles that formed its pavements, were found buried in rubbish, and were immediately carried away by the Farnesian family, the proprietors of the soil, to adorn their palaces and furnish their galleries. This hall is now cleared of its encumbrances, and presents to the eyea vast length of naked wall, and an area covered with weeds. “As we stood contemplating its extent and proportion,” continues Mr. Eustace, “a fox started from an aperture, once a window, at one end, and crossing the open space, scrambled up the ruins at the other, and disappeared in the rubbish. This scene of desolation reminded me of Ossian’s beautiful description:—‘The thistle shook there its lonely head; the moss whistled to the gale; the fox looked out from the windows; the rank grass waved round his head.’”
There are twelve obelisks at Rome still standing erect, the oldest of which is that brought by Augustus, which is eighty feet in height, decorating the fine square called Piazza del Popolo.
Roman conquerors had successively enriched the capital of the world with the monuments of subdued nations, and with the spirit of art from Sicily, Greece, and Egypt. Among these, the emperor Augustus ordered two Egyptian obelisks to be carried to Rome. To this end, an immense vessel of a peculiar structure was built, and when, after a tedious and difficult voyage, it reached the Tiber with its freight, one of the columns was placed in the Grand Circus, and the other in the Campus Martius. Caligula adorned Rome with a third Egyptian obelisk, obtained in the like manner.
A fourth was added afterwards. The emperor Constantine, equally ambitious of these costly foreign ornaments, resolved to decorate his newly-founded capital of Constantinople with the largest of all the obelisks that stood on the ruins of Thebes. He succeeded in having it conveyed as far as Alexandria, but, dying at the time, its destination was changed, and an enormous raft, managed by three hundred rowers, transported the granite obelisk from Alexandria to Rome.
The Circi were places set apart for the celebration of several sorts of games. They were generally oblong, or almost in the shape of a bow, having a wall quite round, with ranges of seats for the convenience of the spectators. At the entrance of the circus stood the Carceres, or lists, whence they started, and just by them one of the Metæ, or marks, the other standing at the further end to conclude the race. “There were several of these Circi at Rome, as those of Flaminius, Nero, Caracalla, and Severus; but the most remarkable, as the very name imports, was Circus Maximus, first built by Tarquinius Priscus. The length of it was four furlongs, the breadth the like number of acres, with a trench of ten feet deep, and as many broad, to receive the water; and seats enough for one hundred and fifty thousand men. It was beautified and adorned by succeeding princes, particularly by Julius Cæsar, Augustus, Caligula, Domitian, Trajan, and Heliogabalus; and enlarged to such a prodigious extent as to be able to contain, in their proper seats, two hundred and sixty thousand spectators. In the time of Constantine it would hold three hundred and eighty-five thousand persons to view the combats, chariot races, &c.170” The Circus Maximus stands on the spot where the games were celebrated when the Romans seized the Sabine women; and it was here also that the interesting scene took place between Androcles and the lion.
The number of beasts exhibited in the circus is wonderful; and were it not well attested, would be incredible. In the days of imperial splendour, nearly every rare animal that Western Asia or Northern Africa could produce, was commonly exhibited to the Roman people. In the year 252B. C.one hundred and forty-two elephants, brought fromSicily, were exhibited in the circus. Cæsar, in his third dictatorship, showed a vast number of wild beasts, among which were four hundred lions, and a camelopard. The emperor Gordian devised a novel kind of spectacle; he converted the Circus into a temporary kind of wood, and turned into it two hundred stags, thirty wild horses, one hundred wild sheep, ten elks, one hundred Cyprian bulls, three hundred ostriches, thirty wild asses, one hundred and fifty wild boars, two hundred ibices, and two hundred deer. He then allowed the people to enter the wood, and to take what they pleased. Forty years afterwards the emperor Probus171imitated his example. “Large trees were pulled up by the roots,” says an ancient writer, “and fastened to beams, which were laid down crossing each other. Soil was then thrown upon them, and the whole Circus planted like a wood. One thousand ostriches, one thousand stags, one thousand ibices, wild sheep, and other grazing animals, as many as could be fed or found, were turned in, and the people admitted as before.”
Of the trouble which was taken in the republican times to procure rare animals for exhibition in Rome, we have a curious illustration in the letters of Cicero. The orator went out in the year 52B. C., as governor of a province of Asia Minor; and while there, he was thus addressed by his friend Cœlius:—“I have spoken to you, in almost all my letters, about the panthers. It will be disgraceful to you, that Patiscus has sent ten panthers to Curio, while you have scarcely sent a greater number to me. Curio has made me a present of these, and ten others from Africa. If you will only keep it in mind, and employ the people of Cybira, and also send letters into Pamphylia (for I understand thatthe greatest number are taken there), you will gain your object.” To this the proconsul replies:—“I have given particular orders about the panthers to those who are in the habit of hunting them; but they are surprisingly scarce; and it is said, that those which are there, make a great complaint that there are no snares laid against any one in my province but themselves. It is accordingly supposed, that they are determined to quit my province. I go into Caria. However, I shall use all diligence.”
The avidity172with which the amusements of the Circus were sought, increased with the decline of the empire and the corruption of morals. Ammianus Marcellinus, who wrote in the fourth century of the Christian era, gives us the following description:—“The people spend all their evenings in drinking and gaming, in spectacles, amusements, and shows. The Circus Maximus is their temple, their dwelling-house, their public meeting, and all their hopes. In the Forum, the streets, and squares, multitudes assemble together, and dispute, some defending one thing, and some another. The oldest take the privilege of age, and cry out in the temples and Forum, that the republic must fall, if in the approaching games the person whom they support does not win the prize and first pass the goal. When the wished-for day of the equestrian games arrives, before sunrise all run headlong to the spot, passing in swiftness the chariots that are to run; upon the success of which their wishes are so divided, that many pass the night without sleep.” Lactantius confirms this account, and says that the people, from their great eagerness, often quarrelled and fought.
Fortunately there still exists, about two miles from the walls of Rome, an ancient circus in a high state of preservation; and from this we are enabledto acquire a very good notion of the form and arrangement of such structures. The chief entrance was an opening at the straight end; and on each side of it were six carceres, or starting-places. At the rounded end, or that opposite to the carceres, was the Porta Triumphalis, or Triumphal Gate, by which the victor left the circus; the rest of the enclosed space were the seats for the spectators, raised in rows one above the other. Down the middle of the area, or more properly speaking, rather nearer to one side than the other, ran a raised division,—a sort of thick dwarf wall, called the Spina; equal in length to about two-thirds of the area itself. At each end of this spina was a small meta, or goal, formed of three cones. The meta which approached the triumphal gate was much nearer to it than the other meta was to the carceres. The course which the chariots ran was by the side of the spina, and round the metæ. All these different parts of the circus were variously ornamented; the spina especially was highly decorated, having sometimes in the middle one of those lofty Egyptian obelisks, of which there are more to be seen at this day in Rome, than are assembled anywhere else173.
Besides the Mamertine prisons and the Cloaca Maxima, there are other antiquities at Rome which belong to the early period. Among these are the foundations and great fragments of the ancient buildings of theCapitol. The Capitol-hill is said to form a link between the ancient city and the modern one.—“From an elevated station, about two hundred and fifty feet above the Forum,” says Simond, “the voice of Cicero might have been heard, revealing to the people, assembled before the Temple of Concord, (to which the ruins nearest to us probably belonged,) Catiline’s conspiracy. He might even have been heardin the Tribune of Harangues, situated on the other side of the Forum, and next to the Temple of Jupiter Stator,—of which there are three columns still standing,—taking the oaththat he had saved his country, and all the people taking the same oath after him. But the gory head and hand of this saviour of his country might have been seen from our station soon after, nailed to the side of this same tribune, and the same people tamely looking on! Instead of the contending crowds of patriots, conspirators, orators, heroes, and fools, each acting his part, we now saw only a few cows quietly picking up blades of grass among the ruins; beggars, and monks, and asses loaded with bags of puzzolana, and a gang of galley-slaves lazily digging away for antiquities, under the lash of their taskmasters.”
The hill of the Capitol derived its name from the head of Tolus174, and the prediction of universal empire to those who held it. It was famous for a temple of Jupiter Capitolinus, which was the effect of a vow made by Tarquinius Priscus in the Sabine war. But he had scarcely laid the foundations before his death. His nephew, Tarquinius the Proud, finished it with the spoils taken from the neighbouring nations. But upon the expulsion of the kings, the consecration was performed by Horatius the consul. The structure stood on a high ridge, taking in four acres of ground. The front was adorned with three rows of pillars, the other side with two. Its ascent from the ground was by one hundred steps. The prodigious gifts and ornaments, with which it was several times endowed, almost exceed belief. Suetonius tells us that Augustus gave at one time two thousand pounds weight of gold; and a precious stone to the value of five hundred sestertia. Livy and Pliny surprise us with accounts of the brazen thresholds, thenoble pillars, that Sylla removed hither from Athens out of the temple of Jupiter Olympius; the gilded roof, the gilded shields, and those of solid silver; the huge vessels of silver, holding three measures; the golden chariot, &c. This temple was first consumed by fire in the Marian war, and then rebuilt by Sylla, who, dying before the dedication, left that honour to Quintus Catulus. This too was demolished in the Vitellian sedition. Vespasian undertook a third, which was burnt down about the time of his death. Domitian raised the last and most glorious of all; in which the very gilding amounted to twelve thousand talents (£2,250,000). He adorned it with some columns of Pentelic marble brought from Athens. Indeed, his extravagance in this and other public works led to that exceeding severity which accompanied the exaction of the capitation tax from the Jewish people. It was the opinion of contemporaries of the emperor, that if he were to reclaim from the gods the sums which he now expended upon them, even Jupiter himself, though he were to hold a general auction in Olympus, would be unable to pay a twelfth of his debts, or, as we should say, one shilling and eightpence in the pound.
If, Cæsar, all thou to the powers hast lent,Thou should’st reclaim, a creditor content,Should a fair auction vend Olympus’ hall,And the just gods be fain to sell their all;The bankrupt Atlas not a twelfth could sound:—Who bade the Sire of Gods with man compound?For Capitolian fanes what to the chief?What can he pay for the Tarpeian leaf?What for her double towers the Thunderer’s queen?Pallas I pass, thy manager serene.Alcides why, or Phœbus, should I name,Or the twin Lacons, of fraternal fame?Or the substructure (who can sum the whole?)Of Flavian temples to the Latian pole?Augustus, pious, then, and patient stay:The chest of Jove possesses not to pay.
If, Cæsar, all thou to the powers hast lent,Thou should’st reclaim, a creditor content,Should a fair auction vend Olympus’ hall,And the just gods be fain to sell their all;The bankrupt Atlas not a twelfth could sound:—Who bade the Sire of Gods with man compound?For Capitolian fanes what to the chief?What can he pay for the Tarpeian leaf?What for her double towers the Thunderer’s queen?Pallas I pass, thy manager serene.Alcides why, or Phœbus, should I name,Or the twin Lacons, of fraternal fame?Or the substructure (who can sum the whole?)Of Flavian temples to the Latian pole?Augustus, pious, then, and patient stay:The chest of Jove possesses not to pay.
Of all the ancient glory of the Capitol,175nothing now remains but the solid foundation and vast substructions raised on the rock. Not only is the Capitol fallen, but its very name, expressive of dominion, and once fondly considered as an omen of empire, is now almost lost in the semi-barbarous appellation of Campi-doglio. “This place,” says a celebrated French traveller, “which gave law to the universe, where Jupiter had his temple and Rome her senate; from whence of old the Roman eagles were continually flying into every quarter of the globe, and from every quarter of the globe continually winging their way back with victories; whence a single word from the mouth of Scipio, of Pompey, or of Cæsar, quickly reached the most distant nations, menacing their liberty, and deciding on the fate of kings; where the greatest men of the republic, in short, still continued to live after their death in statues, and still to govern the world with the authority of Romans: this place so renowned has lost its statues, its senate, its citadel, its temples; it has retained nothing but its name, so cemented by the blood and tears of nations, that time has not yet been able to disjoin the immortal syllables of which it is composed. It is still called the Capitol. At the Capitol we perceive, in the strongest light, the insignificance of all human things, and the power of fortune.”
The Pantheon is the most perfect of all the remains of ancient Rome, and the only one of the Pagan temples that retains any thing of its original appearance. It was dedicated176either to Jupiter Ultor, or to Mars and Venus, or, more probably, to all the gods in general. The structure, according to Fabricius, is one hundred and forty feet high, and about the same in breadth; but a later author has increased thenumber to one hundred and fifty-eight. The roof is curiously vaulted, void places being left here and there for the greater strength.
The statues of all the gods were in this temple; and these, according to their degrees, were of gold, silver, bronze, or marble. The portico is one hundred and ten feet long177, by forty-four in depth, and is supported by sixteen columns of the Corinthian order. Each of the shafts of these columns is of one piece of oriental granite, and forty-two feet in height; the bases and capitals are of white marble. The whole height of the columns is forty-six feet five inches; the diameter, just above the base, is four feet ten inches; and, just beneath the capital, four feet three inches. The interior of the rotunda has a diameter of nearly one hundred and fifty feet.
This building has been generally attributed wholly to Agrippa; but from careful research, Desgodetz asserts that the body of the edifice is of much earlier origin; and that Agrippa only newly modelled and embellished the inside, and added the magnificent portico. The building is circular, with a noble dome, and a fine portico of sixteen pillars of oriental granite. There are no windows, the light being admitted by a circular aperture in the dome. The fine marble with which the walls were encrusted, and the brass which covered the roof, have long since disappeared; the bare bricks alone are left.
As St. Peter’s affords the best sample of modern art in Rome178, so does the Pantheon exhibit the most satisfactory and best-preserved specimen of ancient art; for, notwithstanding the injuries it has sustained by the hands of barbarians of all ages, no signs of natural decay are yet visible; and with this magnificent model before their eyes, it appears strange, that the architects of St. Peter’s should not have accomplishedtheir task more worthily. The Pantheon seems to be the hemispherical summit of a modern temple, taken off and placed on the ground; so it appears to us, at least, accustomed to see cupolas in the former situation only.
“It is built in the dirtiest part of modern Rome,” says the author of Rome in the Nineteenth Century; “and the unfortunate spectator, who comes with a mind filled with enthusiasm, to gaze upon this monument of the taste and magnificence of antiquity, finds himself surrounded by all that is most revolting to the senses, distracted by incessant uproar, pestered by the crowd of clamorous beggars, and stuck fast in the congregated filth of every description that covers the slippery pavement; so that the time he forces himself to spend in admiring its noble portico, generally proves a penance from which he is glad to be liberated, instead of an enjoyment he wishes to protract. We escaped none of these nuisances, except the mud, by sitting in an open carriage to survey it. The smells of the beggars were equally annoying. You may perhaps form some idea of the situation of the Pantheon at Rome, by imagining what Westminster Abbey would be in Covent Garden Market.”
This does not appear, however, to have damped the enthusiasm of Dupaty:—“I first directed my steps,” says he, “towards the Pantheon, dedicated by Agrippa to all the gods, and since, I know not by what pope, to all the saints179. This consecration has preserved the Pantheon from the general pillage and destruction which the other temples have undergone. It has been despoiled of every thing that made it rich; but they have left all that made it great. Ithas lost its marbles, its porphyry, its alabaster, but it has preserved its dome, its peristyle, and its columns. How magnificent is this peristyle! The eyes are just attracted by eight Corinthian columns, on which rests the pediment of this immortal monument. These columns are beautiful from the harmony of the most perfect workmanship, and the lapse of twenty centuries, which adds to their grandeur, and the awe they inspire. The eye can never tire with mounting with them in the air, and following their descent. They present I know not what appearance of animated life, that creates a pleasing illusion, an elegant shape, a noble stature, and a majestic head, round which the acanthus, with leaves at once so flexible and so superb, forms a crown; which, like that of kings, serves the double purpose of decorating the august head to which it gives a splendour, and disguising the immense weight that loads it. How richly does architecture, which creates such monuments, merit a place among the fine arts!”
The light, as we have before observed, is admitted only by a circular opening in the dome, which is twenty-eight feet in diameter180. Through this aperture a flood of light diffuses itself over the whole edifice, producing a sublime effect, but only showing all its beauties by permitting every passing shower to deluge its gorgeous pavement. The rain is carried off by a drain to the Tiber; but from the low situation of the building in the Campus Martius, the waters of the Tiber, when it is swollen, find their way up the drain, and flood the interior. Myriads of beetles, scorpions, worms, rats and mice, may then be seen retreating before the waters, as they gradually rise from the circumference to the centre ofthe area, which is a little elevated above the rest of it. “A beautiful effect,” says Dr. Burton, “is produced by visiting the building on these occasions at night, when the moon is reflected upon the water, through the aperture of the dome.”
“The Pantheon retains its majestic portico,” says Mr. Eustace, “and presents its graceful dome uninjured; the pavement, laid by Agrippa, and trodden by Augustus, still forms its floor; the compartments and fluted pillars of the richest marble, that originally lined its walls, still adorn its inward circumference; the deep tints that age has thrown over it, only contribute to raise its dignity, and augment our veneration; and the traveller enters its portal, through which twice twenty generations have flowed in succession, with a mixture of awe and religious veneration. Yet the Pantheon itself has been ‘shorn of its beams,’ and looks eclipsed through the ‘disastrous twilight of eighteen centuries.’”
Augustus dwelt at first181near the Roman Forum, in a house which had belonged to the orator Calvus; afterwards on the Palatine, but in the moderate house of Hortensius, which was not conspicuous, either for extent or ornament; it had some porticoes of Alban columns, and rooms without any marble or remarkable pavement. For more than forty years he occupied the same chamber, in winter and in summer; and although he found the city by no means favourable to his health in the winter, yet he constantly passed the winter in it. After the palace had been accidentally destroyed by fire, Augustus had it rebuilt, as we are told, and ordered it to be entirely opened to the public. This edifice was called Palatium, from the name of the hill on which it stood; and that being afterwards applied to the residenceof the Roman emperors, it has passed into most of the languages of Europe, as the common appellation of a princely mansion.
It was under the immediate successors of Augustus that the Palatine rose in splendour, till it eclipsed all that we read of magnificence in the history of the ancient world. The imperial possessors of this proud eminence seem to have regarded it as a theatre for their amusement; and upon it their “gorgeous tyranny” was amply displayed, in the vast and costly structures which they erected for the gratification of their personal pleasure or caprice.
This palace received many additions by Tiberius, Caligula, and Domitian; and, finally, by Nero; from whom it was called “the golden house of Nero.” It is thus described by Salmon, from Suetonius, Tacitus, and other writers:—“From the remains in the back part of the Palatine-hill, the ancient palace of Nero, from its great extent and vast size, was no less difficult to be inhabited than it is for us to believe its magnificence. It was built by the famous architects Severus and Cererus. In the vestibule or principal entrance was the colossal statue of Nero, of bronze. It was one hundred and twenty feet high, of excellent workmanship, by Zenodorus, who was sent for from Gaul for the purpose. It was restored by Vespasian, and dedicated to the sun. The emperor added the rays, which were twenty-two feet and a half in length. In the porticos were three galleries supported by large columns, which extended a mile in length. This palace enclosed all the Palatine-hill, together with the plain between the Palatine and the Cælius, and part of the Esquiline mount near to the garden of Mæcenas. It was raised on large columns of marble carried on a level from the Palatine to the Esquiline. The superb entrance was facing the Via Sacra. Nero, in order to execute thisdesign, destroyed the houses of many of the citizens, which occasioned the saying, that Rome consisted of one house. Tacitus writes, that when Rome was in flames seven days and nights, it was not to be extinguished till all the buildings about the Palatine were burnt. Where the amphitheatre now stands, Nero formed a lake to resemble the sea, with edifices around it similar to a city, together with extensive gardens and walks, and places for wild beasts, vineyards, &c. In the palace were a great number of halls, and an innumerable quantity of rooms, galleries, and statues, resplendent in every part with gold, gems, and precious stones; from which circumstance it acquired the name of the golden house. Many of the rooms destined for public feasts were very spacious, with most beautiful ceilings, which turned round in such a manner that from various parts there fell flowers and exquisite odours. The principal hall where Nero supped was circular, and of such art, that the ceiling was ornamented with stars to resemble the heavens, in conformity to which it continually revolved night and day. Birds of silver were carved in the other ceilings with surprising art. Amulius, a celebrated artist, was employed during the whole of his life to paint this palace. The tables were of ivory, the floors of the rooms were intersected with works in gold compartments of gems and mother-of-pearl: the marble, the bronze, the statues, and the richest of the tapestry, were beyond all description. When Nero went to inhabit it, he said, full of pride, ‘I now begin to be lodged like a man.’ Here, particularly, was a temple of Fortune, consecrated by Servius Tullius, and constructed by Nero, of a fine transparent alabaster, called fingites. This stone was brought from Cappadocia, and was so clear, that every object might be seen when the doors were shut, as if it were noon-day. In the gardens weredelightful baths, numerous fish-ponds and pastures, with all sorts of animals. Here were also baths of fresh and sea water. To erect these wonderful edifices Italy was ruined with impositions and burdens, and its temples spoiled of their precious ornaments, statues of gold and silver, as likewise great part of the empire. Tacitus writes in his Annals, that it was twice burned and rebuilt; that is, in the fire under Nero, and in the sixth year of Trajan. According to Dion, it was burnt the third time under the emperor Commodus; and, as he rebuilt it, it was called from him Colonia Commodiana. Various emperors, abhorring the excess of so much riches and luxury, removed the most valuable part, and employed it for the greater ornament of the temple of Jupiter Capitolinus. Antoninus Pius, detesting the extent of the palace, contented himself with the part called Tiberiana, and shut up the rest. All this magnificence, time, and especially the malignity of man, have destroyed, and cypresses, symbols of death and desolation, triumph on the ruins.”
Its present condition has been thus described by the poet:—