  VIA RIPETTA—MAUSOLEUM OF AUGUSTUS—THE CAMPUS MARTIUS—THE BORGHESE GALLERY—HILDA'S TOWER—THE PANTHEON—BATHS OF AGRIPPA—S. MARIA SOPRA MINERVA—COLLEGIO ROMANO—KIRCHERIAN AND PRE-HISTORIC MUSEUMS—"THE GESU"—TEMPLE OF HERCULES—THE CAPITOLINE HILL—ARA CŒLI CHURCH—TEMPLES OF JUPITER CAPITOLINUS AND JUPITER FERETRIUS—THE TARPEIAN ROCK—TEMPLES OF CONCORD AND JUNO—THE TABULARIUM—ROME FROM THE TOWER—THE SEVEN HILLS—MUSEUMS AND PICTURE GALLERY OF THE CAPITOL—THEATRE OF MARCELLUS—DECEMVIRAL PRISONS—PORTICO OF OCTAVIA—THE GHETTO—CENCI PALACE—THEATRE OF BALBUS—POMPEY'S THEATRE—CÆSAR'S DEATH—STATUE OF POMPEY—SPADA PALACE—S. PAUL'S HIRED HOUSE—FABRICIAN BRIDGE—ISLAND OF THE TIBER—PONS CESTIUS—TEMPLES OF JUNO, PIETY, AND HOPE—HOUSE OF RIENZI—PONTE ROTTO—HORATIUS'S BRIDGE—TEMPLE OF PATRICIAN CHASTITY—ROUND TEMPLE OF HERCULES—S. MARIA IN COSMEDIN—EMPORIUM—MONS TESTACCIO—PROTESTANT CEMETERY—THE AVENTINE HILL—CHURCHES OF IL PRIORATO, SS. ALEXIUS, SABINA, PRISCA, SABA—THE CIRCUS MAXIMUS—S. ANASTASIA—ARCH OF JANUS (?)—ARCH OF THE SILVERSMITHS AND CATTLE-DEALERS—S. GIORGIO IN VELABRO—CLOACA MAXIMA—S. TEODORO. BY THE TIBER. THE VIA RIPETTA.From the Piazza del Popolo the line of the Ripetta runs between the Corso and the Tiber. In the house at the corner lived Ciceruacchio. A short way down is the Quay of the Ripetta, built in 1707 by Clement XI., and partly destroyed by the modern iron bridge, over which is a direct walk to S. Peter's, the site of the fields which formerly belonged to Cincinnatus (Livy, iii. 26). THE MAUSOLEUM OF AUGUSTUS.Turning out of the Ripetta on the left into the Via de' Pontefici, through a gateway on the right, are the remains of this once handsome tomb; only the double reticulated wall, on which the tumulus with its trees formerly stood, remains. This ruin has been converted into a modern theatre, and thus the original finely-proportioned arrangements can no longer be traced. A part of the enclosure wall may be best seen from the court of the Palazzo Valdambrini, 102 Via Ripetta. The mausoleum was built by Augustus, B.C. 27. Marcellus, Agrippa, Drusus, and Germanicus were buried there. Strabo describes it as standing upon a lofty substruction of white stone, and shaded up to the top with trees. The summit was crowned with the statue of Augustus in bronze, and there were two Egyptian obelisks at the entrance, brought over by Claudius. They are mentioned likewise by Marcellinus. It stood in THE CAMPUS MARTIUS,which Strabo thus describes: "The plain, adorned by nature and art, is of wonderful extent, and affords an ample and a clear space for the running of chariots, and other equestrian and gymnastic exercises. It is in verdant bloom throughout the year, and is crowned by hills which rise above the Tiber and slope down to its very banks. The whole affords a picturesque and beautiful landscape, which you would linger to behold. Near to this plain is another of less magnitude; and all around it are innumerable porticoes and shady groves, besides three theatres, an amphitheatre, and various temples contiguous to each other, so that the rest of the city appears only an appendage to it." This lesser plain occupied the space between the Mausoleum of Augustus and the Theatre of Marcellus—the plain from the tomb to the modern Ponte Molle. "Sylla's monument stood in the Campus Martius" (Plutarch). Just past the bridge, a street on the left, by the side of the Borghese Palace, leads to the entrance of THE BORGHESE GALLERY,situated in the Piazza Borghese, which is connected with the Corso by the Via Fontanella Borghese. Catalogues for the use of visitors in each room. Open on Monday, Wednesday, and Friday, from 10 till 3. The following are the principal objects of interest:— First Room: Schools of Milan and Perugia.—3. Holy Family, by Perugino; 5. Vanity; 27, 28. Petrarch and Laura; 35. Raphael Second Room: School of Garofalo.—6. Madonna; 9. Mourners over Christ, both by Garofalo; 22. Portrait of a Cardinal, by Bronzino; 23. "Madonna col divin' amore," school of Raphael; 26. CÆsar Borgia (?), by Bronzino; 38. Entombment, by Raphael; 51. S. Stephen, by Francia. Third Room.—5. "Noli me tangere," by Bronzino; 24, 28. Madonna, by Andrea del Sarto; 40. Danae, by Correggio (notice the cupids sharpening an arrow); 48. The Flagellation, by Sebastiano del Piombo; 46. Reading Magdalene, by Correggio. Fourth Room: Bolognese School.—2. CumÆan Sibyl, by Domenichino; 20. S. Joseph, by Guido; 36. Madonna, by Carlo Dolci; 42. Head of Christ, by Carlo Dolci; 43. Madonna, by Sassoferrato. Fifth Room.—11–14. The Four Seasons, by Albani; 15. The Hunt of Diana, by Domenichino; 25. The Deposition, by Zuccari. Sixth Room.—10. S. Stanislaus, by Ribera; 13. The Three Ages of Man, copied by Sassoferrato from Titian. Seventh Room.—Mirrors painted with Cupids and flowers; marble tables. Eighth Room.—Mosaic portrait of Pope Paul V. Ninth Room.—1. Fresco, Nuptials of Alexander and Roxana; 2. Fresco, Nuptials of Vertumnus and Pomona; 3. Fresco, Archers Shooting at a Target,—all by Raphael or his school. Tenth Room.—13. David with the Head of Goliath, by Giorgione; 21. Sacred and Profane Love, by Titian. Eleventh Room.—11. Venus and Cupid on Dolphins, by Cambiaso; 15. Christ and the Mother of Zebedee's Children, by Bonifazio; 16. Return of the Prodigal, by Bonifazio; 17. Samson, by Titian. Twelfth Room: Dutch School.—1. Crucifixion, by Vandyck; 7. Entombment, by Vandyck; 8. Tavern Scene, Teniers; 22. Cattle-Piece, by Paul Potter. On leaving the gallery, turn to the right, and take the continuation of the Via Ripetta on the left. Keeping straight on down the Via della Scrofa, in the third turning on the right, at Via Portoghesi, is the Torre della Scimmia, better known to Hawthorne's readers as HILDA'S TOWER.It is one of those medieval watch-towers that come upon one so unexpectedly in all sorts of out-of-the-way places in Rome. The A little beyond, on the left, is the New Wesleyan Church for Italians; beyond which the Via Giustiniani, on the left, leads to the Piazza Rotonda. THE OBELISKsurmounts a fountain. This obelisk and the one in the Piazza Minerva were erected as pairs in Rome. They stood before the Temple of Isis and Serapis in the Campus Martius. There is a small relief in the Villa Ludovisi, representing in its background a temple with four Ionic columns, and to the left an Egyptian obelisk. In the foreground, to the left, is the figure of Minerva, fronting a reclining female figure holding a vessel full of ears of corn (Isis?). By her side is Cupid, and at their back a figure holding something in a spread-out cloth. May not the temple in the background represent the Temple of Isis and Serapis? THE PANTHEON.This incomparable circular edifice, originally intended by Agrippa to form the conclusion of his thermÆ,[14] with which it is intimately connected, is one of the noblest and most perfect productions of that style of architecture specifically denominated Roman. When the first wonderful creation of this species came into existence, the founder of this glorious dome appears to have himself shrunk back from it, and to have felt that it was not adapted to be the every-day residence of men, but to be a habitation for the gods. The Church of S. Maria ad Martyres was originally the sudatorium, or sweating-room, of the baths of Agrippa, being similar in construction to all the sweating-rooms now existing, notably one in the Villa of Hadrian at Tivoli. It exactly answers Vetruvius's description of this department of the baths. It seems afterwards to have been dedicated as a temple of the gods, or Pantheon of the M. AGRIPPA . L. F. COS . TERTIUM . FECIT. The straight vertical joint where the Greek portico has been built up to the Roman body can be distinctly seen, and the pediment and entablature can be observed behind the portico. It was burned in the fire under Titus; and was restored, as the inscription on the architrave tells us, by Septimius Severus and Caracalla— PANTHEUM VETUSTATE CORRUPTUM CUM OMNI CULTU RESTITVERUNT. Recent explorations have shown that in front of the Pantheon was a large enclosure surrounded by a covered arcade, somewhat after the manner of the colonnade at S. Peter's, and entered by an arch of triumph. Remains of this arch exist under the houses in front of the Pantheon, which are to be pulled down. When Agrippa dedicated the Pantheon as a temple, it was consecrated to Jupiter the Avenger. "Some of the finest works that the world has ever beheld ... the roofing of the Pantheon of Jupiter Ultor that was built by Agrippa" (Pliny, "N. H." xxxvi. 24). The repairs commenced by Septimius Severus and Caracalla were completed by Alexander Severus, who built his baths close by. We call attention to a coin of this emperor, which represents the temple and its enclosure on the reverse; on the obverse is the emperor's portrait, and the legend IMP . C . M . AVR . SEV . ALEXANDER . AUG. On the coin the columns are placed close on either flank, and two are omitted, to show the seated statue of Jupiter in the temple, which statue is now in the Hall of Busts in the Vatican Museum, and is a copy of the celebrated Jupiter of Phidias. The fact that the Pantheon was originally built as a sudatorium has been proved to a certainty by the excavations made in the sudatorium of the Baths of Caracalla. There we have, as it were, the Pantheon in ruins. It is slightly smaller, the diameter being 125 THE PANTHEON. The portico is 110 feet long, and 44 feet deep. Sixteen Corinthian columns, 46½ feet high and 5 feet in diameter, support the roof. The Pantheon was converted into a church by Boniface IV. in 609, by permission of the Emperor Phocas, and it was dedicated to the martyrs on November 1st (All Saints' Day), 830. The doors and grating above, of ancient bronze, with the rim round the circular opening in the vault of the interior, are all that is left of the ancient metal work. The interior is 142 feet in diameter, and 143 feet high, and is lighted by an open space of 28 feet in diameter. It is the burial-place of Raphael and of Victor Emanuel II.—right of high altar. Pliny says ("Nat. Hist." xxxvi. 4): "The Pantheon of Agrippa has been decorated by Diogenes of Athens, and the caryatides by him, which form the columns of that temple, are looked upon as masterpieces of excellence. The same, too, with the statues that are placed upon the roof, though, in consequence of the height, they have not had an opportunity of being so well appreciated." "The capitals, too, of the pillars which were placed by M. Agrippa in the Pantheon, were made of Syracusan metal" (ibid., xxxiv. 7). Marcellinus (xvi. x. 14) says: "The Pantheon, with its vast extent, its imposing height, and the solid magnificence of its arches, and the lofty niches rising one above the other like stairs, is adorned with the images of former emperors." "It is as difficult to reconcile the statements of different authors respecting the original idea of Agrippa, as it is hazardous to attempt to prove the successive metamorphoses which the plan sketched by the artist has undergone. This much, however, is certain, that with respect to the modern transformation of the whole, the consequences have been most melancholy and injurious. The combination of the circular edifice with the rectilinear masses of the vestibule, notwithstanding "Conflagrations, earthquakes, sacrilegious human hands, and all the injuries of time, have striven together in vain for the destruction of this unique structure. It has come off victorious in every trial; and even now, when it has not only been stripped of its noblest decorations, but, what is still worse, been decked out with idle and unsuitable ornaments, it still stands in all its pristine glory and beauty. "In order to obtain a notion of the size and solid excellence of the work, it will be well first to make the circuit of the entire edifice. We shall thus have an opportunity of admiring the fine distribution of the different masses. After the first circular wall or belt, which rests upon a base of travertine, has attained a height of nearly forty feet, it is finished off with a simple cornice, serving as a solid foundation for the second belt. As a preservative against sinking, this is, moreover, provided with a series of larger and smaller construction arches, alternating symmetrically with one another. After rising some thirty feet, further solidity is given to the wall by a girdle suitably decorated with consoles, and on this the third belt (which is but a few feet lower) is supported. A similar number of the arches already mentioned, introduced as frequently as possible, enables this wall to support the weight pressing upon it, and to raise the harmoniously rounded cupola boldly aloft. "In ancient times the whole building, which is composed of brick, was covered and embellished with a coating of stucco. On the upper cornice, at the back, between the consoles, portions of terra-cotta decorations still remain, seeming to have formed part of this ornamental facing. "In our examination of the interior, we are, unfortunately, much hindered in our attempt to investigate the constructive connection of the whole by the unmeaning ornamental additions, and the thoughtless transformation of the different organic masses. INTERIOR OF THE PANTHEON. "So much, however, may be discovered even on a superficial survey—namely, that the architect has everywhere endeavoured, not merely to diminish the pressure on the walls of the lower belt (which is nearly twenty feet thick) by inserting hollow chambers, but has given them additional strength by means of the vaulted constructions thus introduced. A hall, supported on pillars, lies between each of the eight modern altars, and behind each of them, on the outside, are niches, reached through the different doors, recurring at regular distances throughout. "The slabs of coloured marble belonging to the attica were carried off some hundred years ago, under Benedict XIV., and their place supplied by the present coulisse paintings. This polychrome system would have greatly facilitated our researches into the coloured architecture of the ancients, and its loss is therefore much to be regretted. "For, although this portion of the edifice was thus transformed at a comparatively late period, still the effect of those finely harmonized masses must have been a remarkable one. "To judge from the combination of coloured stones still remaining in this edifice, the effect must have been very rich and beautiful. The elaborate capitals and bases of white marble must have formed a fine contrast to the yellow shafts of the pillars and the stripe of porphyry inserted in the architrave. The largest specimen of this coloured mode of decoration has been preserved in the pavement; although here also we must take it for granted that the original arrangement has been disturbed, the sunken bases of the columns sufficing to prove that the pavement has been raised in course of time. This circumstance is not without optical reaction on the proportions of the different masses. The horse-shoe arch over the entrance-door is remarkable. It forms a striking contrast to that of the tribune, where the projecting cornice rests upon two pillars, whereas the architrave, broken through by the doorway, is supported only by pilasters. "The ÆdiculÆ, now converted into altars, are covered in, partly with gables, partly with arches, the former resting upon fluted pillars of yellow marble, the latter upon porphyry pillars. The walls behind are likewise faced with slabs of coloured marble, which, in their original splendour, must have reflected the magnificence of the pillars. "The facing of the door is the only considerable portion still remaining of the rich bronze-work with which this edifice was "The cupola is nearly seventy feet in height, and rests on the attica, corresponding to the second outer belt. This attica has suffered most severely from modern alterations. The walls behind this afford space for a series of chambers. The massive wall of the third belt, on the other hand, surrounding the cupola to a third of its height, is rendered accessible by a passage running round the whole; and this again is spanned by frequently recurring arches, and lighted by the windows visible on the outside. "The diameter of the cupola is nearly equal to its height. The round aperture at the top, by means of which the interior is lighted with a magical effect, measures about twenty-eight feet in diameter. Here is still to be seen the last and only remnant of the rich bronze decorations of which this edifice formerly boasted. It consists of a ring, adorned with eggs and foliage, encircling the aperture, and not merely strengthening the edge of the wall, but constituting a graceful and at the same time a simple and judicious ornament. "It is certain that the five converging rows of gradually diminishing cassettoni have been decorated in a similar manner, and it is stated that vestiges of metal were discovered during the process of whitewashing. "The six niches between the altars are each supported by two fluted pillars and a corresponding number of pilasters, the greater portion of them being composed of monoliths of that costly yellow marble frequently employed by the ancients. They are more than thirty-two feet in height, and, as regards size, are unique of their kind. It has been impossible, even for the ancients, to erect, of this rare material, all the pillars required for the embellishment of this splendid edifice, for which reason they were obliged to substitute six of pavonazzetto. These, however, they stained, without injuring the brilliancy of the "It is stated by Pliny that caryatides were placed here by a certain Diogenes of Athens, corresponding to the pillars which support the architrave. "Apparently they were a free repetition of the caryatides of the Pandrosium; and probably the statue in the Braccio Nuovo, which was brought from the Palazzo Paganica, in the immediate neighbourhood of the Pantheon, was one of these, the scale being precisely adapted to this situation. "Some of the large nails used in riveting the bronze plates together are still preserved in the different museums. We are indebted to Serlio, an architect of the sixteenth century, who preserved a drawing of it, for the only information we possess concerning this ingenious piece of mechanism. The Pope mentioned above, a member of the Barberini family, had the barbarity to carry off and melt down these important remains. An inscription on the left of the principal door celebrates the judicious transformation of these masses of bronze into cannons, and ornaments for churches" (Braun). Urban VIII. "That the useless and almost forgotten decorations might become ornaments of the apostle's tomb in the Vatican temple, and engines of public safety in the fortress of S. Angelo, he moulded the ancient relics of the bronze roof into columns and cannons, in the twelfth year of his pontificate" (Inscription). "What the barbarians did not the Barberini have done" (Pasquino). "On each side of the entrance to the Rotunda are two immense niches, constructed of brick, in which the colossal statues of Augustus and Agrippa are supposed to have been placed. This opinion seems to me too hazardous, and contrary to the spirit of these two eminent statesmen. "Standing among the sixteen granite pillars supporting the vestibule, we feel that there is something overpowering in the impression it produces. This, however, diminishes when we step out upon the piazza, which lies too high. At its original level, a flight of five steps led up to the building; and the effect when viewed from a distance must have been essentially different, as we may judge from Raphael's tomb is in the third chapel on the left. "Living, great Nature feared he might outvie Her works; and, dying, fears herself to die." Cardinal Bembo: translated by Pope. A bust, by Nardini, of Raphael was originally placed near here, but was removed in 1820, in consequence of people offering their devotions to it. THE BATHS OF AGRIPPA.BATHS OF AGRIPPA. The houses built amidst the ruins of the Baths of Agrippa at the back of the Pantheon have been demolished, and part of a large hall has been exposed to view. Nothing that has been discovered is new to those who have studied the subject. It has long been known that these houses were built on the old walls and vaults of the ThermÆ. In fact, the sacristy of the Pantheon was made out of a vaulted chamber, a floor being inserted about half-way above its base. Besides the vaults and walls now cleared, pavements, pipes, and fragments of pavonazzetto columns have been found; also an earthenware jar containing 1,200 debased silver coins—provincial money of the thirteenth century, with the motto, Roma caput mundi. Portions of a beautiful frieze, formed with tridents, shells, dolphins, and acanthus leaves, blended harmoniously together, were found, and skilfully replaced in their ancient position. It is almost impossible to say for what purpose this hall was used, as nearly the whole of these baths are buried under the surrounding houses; but judging from its relative position to the circular hall, and from the plans of other thermÆ, it was most probably the tepidarium. The hall was 150 feet long by 70 feet wide. Oriental marbles decorated the floor and walls, the latter being relieved with niches containing statues. Through the central apse was the original These were the first large baths erected in Rome. Only small fragments of them remain, built into the houses at the back of the Pantheon, and so difficult to see. In the Via dell' Arco della Ciambella, some little distance back, are the remains of a circular hall. The Via Minerva, to the left of the Pantheon, leads to the Piazza Minerva. THE OBELISK,standing upon an elephant, stood, with the one in the square of the Pantheon, in front of the Temple of Isis. The elephant upon which it stands is the work of Ercole Perrata, and of course had nothing to do originally with the obelisk. On the left is the CHURCH OF S. MARIA SOPRA MINERVA,so named from being on the site of the Temple of Minerva dedicated by Pompey. It is one of the few Gothic churches in Rome. The interior is highly decorated in the Gothic style. Second chapel on right, tomb of Princess Colonna. Fourth, the Chapel of the Annunciation. Fifth, Aldobrandini Chapel. The Caraffa Chapel contains a slab to a son of the late Bishop of Winchester, who joined the Roman Catholic Church, and died at Albano in 1857. The pictures of the Annunciation over the altar, the S. Thomas, and the Assumption are fine. The roof represents four sibyls surrounded by angels, by Raffaelino del Garbo. The Altieri Chapel contains an altar-piece by C. Maratta. Next is the tomb of Guillaume Durand, with a very fine mosaic. Interesting to English visitors is the tomb of Cardinal Howard, Great Almoner of England, who died at Rome in 1694. The body of S. Catherine of Sienna reposes beneath the high altar. On the right is Obicci's statue of S. John; and on the left Michael Angelo's celebrated statue of the Saviour (the bronze drapery is an addition). In the sacristy is a chapel formed from the walls of the room in which S. Catherine died (1380). The festivals of S. Thomas On the left of the high altar is the tomb of Fra Angelico, a monumental slab of the artist-monk, standing, with clasped hands, within an arch, in low relief. HIC . JACET . VENELIS . PICTO . TR . JO . ORDIS . PREDICATO . 1455. The monument was executed by Nicholas V., who is said to have written the inscription— "Let me not gain praise because I was a second Apelles, But because, O Christ, I gave all my gains to the poor. Seeing some of my works are extant on earth, others in heaven, The City of Flowers of Etruria reared me." The Monastery attached was the headquarters of the Dominicans, and in it Galileo was tried "for asserting that the world revolved round the sun, in opposition to Holy Writ." The Library is open every day from 7.30 to 11 A.M., and from 3 to 5 P.M. On the faÇade are some curious inscriptions, referring to the height of the floods caused by the Tiber from 1422. THE TEMPLE OF MINERVA CAMPENSISwas erected by Pompey the Great in celebration of his Eastern victories. The cella was destroyed in the sixteenth century. In making some alterations, in April 1874, in the houses to the right of the church above, some remains of walls six feet thick, and having stamps of repairs A.D. 123, were found. Remains can be seen in the court of the shop at the corner of the Piazzetta della Minerva and Via del PiÈ de Marmo. Passing along the Via del PiÈ de Marmo, we reach the piazza in which is situated the Collegio Romano, till recently the head-quarters of the Jesuits. It has been sequestered by the Italian Government, and the College is now carried on under the Government. In the street to the right of the College is the entrance to the Library Vittor Emanuele and Reading-room, open every day to the public, after the model of the British Museum. On the floor above is THE KIRCHERIAN MUSEUM.This museum is in a chronic state of being "arranged." The entrance fee is one lira, and the old custodians follow the visitor about as though the latter wished to eat the bronzes. On Sundays and Government festas the entry is free. Entry Hall.—In a case down the centre are many highly interesting objects, mostly in bronze—early money, gems, styli, etc. The Glandes Missiles, or lead sling-bullets, are unique; many of them have messages cut upon them. In the cases against the wall are many objects of interest. The second on the left contains Silver Cups found at the AquÆ AureliÆ on Lake Bracciano, three of which have itineraries from Cadiz to Rome engraved upon them. They are of the times of Augustus, Vespasian, and Nerva, and are supposed to have been thrown in by people who had made the journey and were cured by the waters, as an offering to the genii loci. An ancient mosaic forms the floor of the hall, and in a semicircle at the end statuettes are grouped. First Room, on the left of entry hall, is devoted to bronzes used for domestic purposes, and to Lares and Penates. In the centre of the room is the Bisellium, or chair of state, formed of bronze inlaid with silver. It was found at Otimo. The Cista Mistica was a prize given to gladiators to contain the requisites for their toilets. Three eagles' claws pressing on toads form the feet. Upon the cylindrical vase are engravings,—a gladiator stepping out of a galley with the cista in his hand; Amycus being killed by Pollux, the Argonauts looking on. It was found at Palestrina, where several similar ones have recently been found. The handle is formed by three figures with their arms entwined. The Third Room, at end on left, contains the caricature found cut in the plaster of the Domus Gelotiana of the Palatine—the Skit of the Crucifixion. It represents the body of a man with an ass's head being crucified. Below, on the left, is the figure of a man in adoration; beneath, in Greek, "Alexamenos adores his God." The Romans mixed up the Jews and the Christians; and believing that the former worshipped a white donkey (Tacitus, "H." v. 3), they applied it to the Christians, and in this way, because they knew the Christian's God was crucified. Tertullian ("Apol." xvi.) says it was a common caricature against the Christians. The date is about 200. The inscriptions and reliefs are early Christian; also the objects in the glass case. To the right, at the end of the entry hall, is the entry to the Natural History and Pre-historic Museums. Passing through these, or better, returning and passing by the entrance, we enter the rooms of TREASURE TROVE AT PALESTRINA.Whilst some peasants were recently digging up their plot of ground near the Church of S. Rocco they came upon a subterranean tomb, Personal Ornaments.—1. An object which might be called a huge fibula, as without doubt it was sewn on a dress. It is made of a rectangular piece of solid gold, 0m.17 long, 0m.10 wide. The borders and the central line are ornamented with bands, worked "a meandro," ending with lions' heads. On the flat surface one hundred and thirty-one animals, such as lions, sphinxes, and sirens, stand or crouch. The skill with which the gold is worked in the most microscopic details is quite wonderful. 2. A fibula of gold, 0m.12 long, not different from the Etrusco-Roman shape. 3. A few yards of a golden fringe or fimbria, which trimmed the edge of the dress, and in which the movable strings are attached to a band or heading, ornamented with swallows and crows. 4. A stick of silver, which seems to have ended with a hand, and might be considered as a sceptre. 5. Many clasps of gold, on which are fixed couples of lions and sirens of the same material. Utensils: Familiar or Sacred Supellex.—1. The funeral-bed, with the framework of oak-wood and the ornamentation of bronze. On the junction of the four poles of the frame are groups of telamones, whose heads are dressed with huge feathers, not unlike South American caciques; chimeras carrying away human bodies; dogs persecuting lions, &c. 2. A kind of strong-box, inlaid with exquisite bas-reliefs of ivory, coated in gold, and representing heads of monsters, lions eating up bodies dressed in Eastern fashion, Egyptian boats, females in priestly attire, battle-scenes between horsemen and infantry, &c. 3. Three cylinders, 0m.19 long, 0m.027 in diameter, inside of which are concealed sticks of palm-wood. 4. Two tripods, with their basins or lebetes, round the lips of which are human figures and monsters looking inside. 5. Tazza of gold and silver, 0m.18 in diameter, with reliefs representing an Eastern king hunting cynocephali, or some other kind of monkey. 6. Tazza of pure gold, 0m.12 high, in the shape of a Greek "skyphos," with handles ending with winged male figures. 7. Several other cups of blue Phoenician glass, of gold and silver, and pure silver, one of which is exceedingly interesting, as it bears the signature of the artist. The paleography THE PRE-HISTORIC MUSEUMcontains many objects of interest. In it are arranged different articles from various parts of the world, demonstrating how the same implements, weapons, and customs were once universally used. The collection of flints is one of the finest in the world, and to those interested in this branch of archÆology is of special value. Each case is labelled with the names of the object and the country. Thence passing into the Piazza del GesÙ, we can visit the CHURCH OF THE JESUITS (Il Gesu),one of the finest in Rome. Its interior is rich in stuccoes, paintings, and sculptures. The frescoes of the tribune, the dome, and the roof are by Baciccio. The Chapel of S. Ignatius is very fine; the columns and ball over the altar are composed of lapis-lazuli. Beneath the altar, in an urn of gilt bronze, is the body of the saint. The small circular chapel close by is rich in paintings and stained-glass windows. It is well worth a visit there to hear mass, vespers, or one of the fathers preaching. The wind generally blows in the piazza, which is thus accounted for. One day the wind and the devil were out for a ramble; and, on arriving at this square, the old gentleman asked the wind to stop a moment while he went into the church. The wind is still stopping for the devil, who has not yet come out. The Via Cesarini, down the new Corso Vittorio Emanuele, leads to the Piazza of S. Nicola a Cesarini. In the court of No. 56 is THE TEMPLE OF CASTOR.The remains show that it was a circular building. It stood near the Flaminian Circus. (Vitruvius, iv. 7.) Four fluted tufa columns exist. From Piazza del GesÙ we proceed up Via Ara Coeli. Before us is THE CAPITOLINE HILL.It was originally called the Hill of Saturn (Dionysius, ii. 1), being occupied by Romulus as a defence for the Palatine Hill (Plutarch, in "Rom."), and was betrayed to the Sabines by Tarpeia, the daughter of the commandant of the fortress (Livy, i. 11). When the Palatine and Capitoline Hills were united into one city, and the two kings reigned together, the name of the hill was changed and called the Tarpeian Hill. In the 138th year after the foundation of Rome, when Tarquin the Great was making the foundations for the great Temple of Jupiter, they found a human head; and the oracle told them that the spot where the head was found should become the head of the world; and so they changed the name of the hill again, and called it the Capitoline Hill,—from caput, a head (Livy, i. 55; Pliny, xxviii. 4). The whole hill was the Arx or Citadel of Rome, just the same as at Athens, Veii, Tusculum, &c. Several ancient authors agree in this. The shape of the hill is a saddle-back,—the centre being depressed, with an eminence at each end. The one on our left is known as the Ara Coeli height, and the one on our right as the Caffarella height. On the Ara Coeli height stood the great Temple of Jupiter, facing south, and approached from the Area Capitolina (Piazza del Campidoglio) by a flight of steps. On the opposite or Caffarella height stood the Temple of Juno Moneta or the Mint, and the Temple of Concord, both built by Camillus; and the Temple of Jupiter Feretrius, founded by Romulus. Many other temples, altars, and shrines occupied the space inside the citadel, which was approached by three ascents upon its eastern side,—the Clivus Capitolinus, the Pass of the Two Groves, and the Hundred Steps. The ascents upon its western side date from 1348, when the marble stairs on our left, leading up to the Ara Coeli, were erected out of the stairs that led up to the Temple of Quirinus (Romulus) upon the Quirinal Hill. The ascent to the Square was made in 1536 for the entry of Charles V. The roadway on its right is quite recent. In forming it some remains of the tufa walls that protected the arx on this side were found, and can still be seen inside the iron gate. On the balustrade at the bottom of the ascent to the Capitol are two Egyptian lionesses. At the top of the ascent are two colossal statues of Castor and Pollux, found in the Ghetto, and by their side are the miscalled Trophies of Marius. They belonged to the decorations of the NymphÆum of Alexander Severus, the picturesque ruins of which are on the Esquiline Hill, and which are represented on a coin. In the centre of the Square is THE EQUESTRIAN STATUE OF MARCUS AURELIUS,the finest piece of bronze work of ancient times. It now stands upon the Square of the Capitol, where it was erected by Michael Angelo in 1538. Before that, it stood at the Lateran, where it had been placed in 1187, having been taken from near the Column of Phocas in the Forum. It belongs to the canons of the Lateran, who receive yearly, in the shape of a bouquet of flowers, a peppercorn rent for it from the mayor of Rome. It is said that Michael Angelo on passing by used to say, "Gee up, cammina;" and that the horse had only to plant the raised hoof upon the ground to complete the illusion that it was a living creature. In front of us is the mayor's residence; on the left the Museum of the Capitol; and on the right the halls of the town council. These buildings were erected by Michael Angelo in 1544–1550. The residence for the senator was first erected on the top of the ruins of the Tabularium in 1389–1394 by Pope Boniface IX., but this gave place to the present edifice. The ascent from the Arch of Severus to the Square of the Capitol was anciently the Pass of the Two Groves. At the top of the pass was the Gate of Janus, the gate of the citadel, betrayed by Tarpeia. The ascent from the Forum, on our right, was the Clivus Capitolinus, a continuation of the Via Sacra. It is only at its termination that the present road is on the site of the ancient slope, where some of the pavement may still be seen. The gate which here gave access to the arx was called the Gate of Saturn. On the right of the old museum some steps lead up to THE CHURCH OF ARA CŒLI.The nave is formed by twenty-two columns, the spoils of ancient buildings. The third one on the left has engraved upon it— A CVBICVLO AVGVSTORVM, showing that it came from the Palatine Hill. At the end of the VIEW OF THE CAPITOL. The church is the residence of the celebrated Santissimo Bambino, carved out of a tree from the Mount of Olives, and painted by S. Luke. This image is highly decorated with jewellery, and has a two-horse carriage at its disposal, with coachmen and footmen, when it pays a visit to the sick. "As thy faith, so be it unto thee." Apply at the sacristy to see it. The floor of the church is of the kind called opus-Alexandrinum, tesselated mosaic, and slab tombs of medieval period. A grand ceremony is held here on Christmas day, and at the Epiphany children recite the story of Christ. In the left transept an isolated octagonal chapel, dedicated to S. Helena, is said by the church authorities to stand on the site of an altar erected by Augustus—Ara primogeniti Dei—to commemorate the CumÆan sibyl's prophecy of the coming of the Saviour. Its present name is traceable to this altar. Some traces of Gothic can be seen in the walls and windows of this church, which stands on the site of THE TEMPLE OF JUPITER CAPITOLINUS."It stood upon a high rock, and was 800 feet in circuit, each side containing near 200; the length does not exceed the width by quite 15 feet. For the temple that was built in the time of our fathers, upon the same foundations with the first, which was consumed by fire, is found to differ from the ancient temple in nothing but in magnificence and the richness of the materials, having three rows of columns in the south front, and two on each side. The body is divided into three temples, parallel to one another, the partition walls forming their common sides. The middle temple is dedicated to Jupiter; and on one side stands that of Juno, and on the other that of Minerva. And all three have but one pediment and one roof." (Dionysius, iv. 61. See also Tacitus, "Hist." iii. 72; Livy, i. 55; Plutarch, in "Publicola;" Tacitus, "Hist." iv. 53.) Four different temples have been erected on this site, and now it is occupied by a Christian church. The first, built by Tarquinius Superbus, and consecrated by Horatius the consul, was burned in Access is now to be had to some curious vaults below the convent, which were formerly closed by the monks. Supporting these vaults are some remains of massive tufa walls—one piece in particular being about 36 feet long and 8 feet high—consisting of single blocks of stone, of which the other fragments seem to be continuations. These appear to have been built originally as substructions, and run parallel with the Via Marforio, and could not have been part of the city wall, for that is within the city of the two hills. Nibby records that tufa walls remain under the stairs leading up to the Ara Coeli Church. We think them to be part of the foundations of the celebrated Temple of Jupiter Capitolinus. We may mention that among the rubbish contained in the vaults of the convent are two slender columns of Pentelic marble. May not these have belonged to the temple? TEMPLE OF JUPITER CAPITOLINUS. The strongest evidence of the position of the Temple of Jupiter "supremely good and great" is pictorial. We have it represented on the relief in the Palazzo dei Conservatori which formed part of the Arch of Marcus Aurelius. That emperor is there, after a victory, offering sacrifice upon the Capitoline Hill; and in the background is a representation of the Temple of Jupiter Capitolinus: it has three doors, and the figures of Minerva, Jupiter, and Juno. This is to the spectator's left, and faces south, as we are told the temple faced. This relief is further corroborated by another in the Louvre, in the background of which is likewise a representation of a temple of the Corinthian order, facing the same way and to the left of the spectator, and having over the door the words Iovi Capitolinus. Upon a relief in the Capitol Museum, another building appears upon a lower level, ornamented with pilasters, having Doric capitals. This building corresponds with the front of the Tabularium towards the Capitol. To the right of the Palazzo dei Conservatori (New Museum) a road, through a gate, leads to the German Embassy. In the garden Bunsen found the remains of the Temple of Jupiter Feretrius, which TEMPLE OF JUPITER FERETRIUS (The Trophy-Bearer).The first temple built in Rome by Romulus, to receive the spoils captured from Acron, King of CÆnina. "After the procession and sacrifice, Romulus built a small temple, on the top of the Capitoline Hill, to Jupiter, whom the Romans call Feretrius. For the ancient traces of it still remain, of which the longest sides are less than fifteen feet" (Dionysius, ii. 34. See Livy, i. 10). It was enlarged A.U.C. 121 (Livy, i. 33); and was repaired by Augustus on the advice of Atticus (Nepos. See Livy, iv. 20). Opposite the gate leading into the garden we can look over the parapet, down the scarped rock, to the base beneath, which is reached from below by taking the Via Tor dei Specchi on the right, looking towards the Capitol, and the Vicolo Rupe Tarpeia on the left. It was here that the terrible scene described in Hawthorne's "Transformation" took place. The road leads to the New German ArchÆological Institute. It was about here that the messenger from Veii got into the citadel, and where the Gauls tried to do the same, when the sacred geese in Juno's temple awoke the garrison. The two bronze "geese" shown in the Hall of the Conservators are ducks. Passing on under the archway, turn to the left; at a little distance the Via Monte Tarpeia turns off to the right—follow this; at the end, the house facing us is built up against the point of the hill used for the public executions. THE TARPEIAN ROCK.TARPEIAN ROCK. After the name of the hill was changed for the last time, one part, we are told, retained the name of the Tarpeian Rock, from being the burial-place of Tarpeia, and the spot from which the traitors were hurled off in sight of the people assembled in the Forum. The house in front of us is built upon a ledge of the rock below, and has upon it the following inscription:— "Hinc ad Tarpeiam sedem, et Capitolia ducit, Aurea nunc, olim, silvestribus horrida dumis." Virgil, Æn. viii. 347. GREGORIUS XIII. PONT. MAX. VIAM TARPEIAM APERINT HIER. ALTERIUS AEDILIS SECUNDO } CURABANT PAULUS BUBALUS AEDILIS SEXTO } ANNO DOMINI MDLXXXI. "The quÆstors led the man [Spurius Cassius] to the top of the precipice that commands the Forum, and in the presence of all the citizens threw him down from the rock. For this was the established punishment at that time among the Romans for those who were condemned to die"—A.U.C. 269—(Dionysius, viii. 78). If we look back up the street we came down, the height will be seen in the garden above us. It must be remembered that the top of the hill has been levelled, and the valley below filled in thirty feet; allowing for this there would have been a fall of upwards of 160 feet. The steps on our left formed the third ancient approach to the arx, the Centum Gradus, up which the Vitellians climbed when they took the citadel. On the site of the garden above stood CAMILLUS'S TEMPLES TO CONCORD AND JUNO.The first Temple of Concord of which we have any notice was that dedicated by Camillus, A.U.C. 388. "When the dictator was one day sitting on the tribunal in the Forum, the people called out to drag him from his seat; but he led off the patricians to the senate house. Previous to his entering it he turned towards the Capitol [this shows that the senate house was not on the Capitol, as some would have us believe; for if so, he would not have turned towards the Capitol before entering the senate house—he would have already faced it], and besought the gods to put a happy end to the present disturbances, vowing to build a temple to Concord when the tumult should be appeased.... Next day they assembled and voted that the temple which Camillus had vowed to Concord should, on account of this great event, be built upon a spot viewing from a height the Forum and place of assembly" (Plutarch, in "Camillus"). Ovid, speaking of the same temple ("Fasti," i. 640), says: "Fair Concord, the succeeding day places thee in a snow-white shrine, near where elevated Moneta raises her steps on high: now with ease wilt thou look down upon the Latin crowd. Now have the august hands of CÆsar restored thee,"—referring to its rebuilding by Tiberius, A.D. 11. From both these Livy (xxvi. 23) says: "In A.U.C. 542, at the Temple of Concord, a statue of Victory, which stood on the summit of the roof, being struck by lightning, and shaken at its base, fell and stuck among the ensigns of the goddess which were on the pediment." This temple, with a statue of Victory upon the summit, is represented on a coin of Tiberius, who restored it. Under the wall, on our left, which supports the garden, some blocks of tufa, in situ, are the remains of the Temple of Concord, and the wall in the garden of the German Embassy is part of the Temple of Juno. Passing down the street on our right, a left half-turn will bring us to the old entrance of THE TABULARIUM.(Public Record Office.) Open every day from 10 till 3; fee, half lira. We have now to speak of a building, the vast remains of which impress us with the grandeur of the later republic. In the year of the city 675 (B.C. 78) a building was erected against the Capitoline Hill, and facing the Forum, to contain the public records, which were engraved on bronze plates. Before that time they had been kept in various temples. "A decree was made by the senate that the records should be kept in the Temple of Ceres with the public Ædiles"—A.U.C. 306—(Livy, iii. 55). "Treaties (such as between Pyrrhus and Rome) were then usual, and the Ædiles had them in their keeping in the Temple of Jupiter Capitolinus, engraved on plates of copper" (Polybius, iii.). That this was the usual way of keeping the records we learn from the same author, who saw and copied those which "Hannibal left at Lacinium—engraved tablets or records on copper of the events of his stay in Italy." "The censors went up immediately to the Temple of Liberty, where they sealed the books of the public records, shut up the office, and dismissed the clerks, affirming that they should do no kind of We have no mention in classic history as to when this building was erected, but fortunately an inscription has been handed down to us, in which Quintus Lutatius Catulus (who dedicated the temple to Jupiter Capitolinus) is expressly named, not only as the founder of the Tabularium, but also of the substructions, the most difficult portion of the whole, and which claim our fullest admiration. Q . LVTATIVS . Q. F. Q. N. CATVLVS . COS . SVBSTRVCTIONEM . ET . TABVLARIVM . EX . SEN . SENT . FACIENDVM . COERAVIT . EADEMQVE . PROBAVIT . The remains form the substructions of the present Capitol, or senator's residence, consisting of a massive wall of Gabii stone 240 feet long and 37 feet high, supporting the portico on the side of the Forum, which consisted of a series of arches, 23 feet by 15 feet, ornamented with sixteen Doric columns. Below this portico or arcade are a series of small chambers, with windows looking into the Forum, opening out of one another, approached by a short flight of steps, and probably used to store the records. At the back of the arcade are a series of large vaulted rooms or offices. At one end a grand flight of steps (repaired) leads up into what has been a grand arcade on the side of the Area Capitolina: its piers now partly sustain the modern building. At the farther end of this arcade is a flight of steep travertine steps, sixty-seven in number, leading down into the Forum, the exit to which has been blocked up by the Temple of Vespasian being built against the entrance. This building must have presented a grand front to the Forum in the olden time, though now it only sustains the buildings of Michael Angelo. In 1389–1394, Pope Boniface IX. first erected on the Capitoline Hill, on the ruins of the Tabularium, a residence for the senator and his assessors. The prospect was altered so that what was the front became the back, and it faced on to what was anciently the Area Capitolina, now the Piazza del Campidoglio, instead of the Forum. The north side wall seems to have been cut down when the present edifice was erected, as outside the present wall are the remains of the ancient one; thus it was somewhat longer than we now see it. In the sort of vestibule which gives admittance to the chambers under the portico are remains of stairs, evidently leading up to some chambers above the portico. These were probably not very lofty, These old remains have been used as a prison and as a salt store, which latter has eaten the stone away in a curious manner. It is now used as a museum of fragments. The arches of the portico were filled in when the great master utilized it. Although we know an arch is as strong as a wall, it is feared to open them, and one only has been so treated. Suetonius tells us: "Vespasian undertook to restore the three thousand tablets of brass which had been destroyed in the fire which consumed the Capitol; searching in all quarters for copies of those curious and ancient records, in which were contained the decrees of the senate almost from the building of the city, as well as the acts of the people relative to alliances, treaties, and privileges granted to any person" (Vespasian, viii.). Pliny (xxxiv. 21) says: "It is upon tablets of brass that our public enactments are engraved." From the Tabularium a new iron stair leads up to THE TOWER OF THE CAPITOL,whence a fine view of Rome and its environs can be enjoyed, standing, as it were, between ancient and medieval Rome. It is the best position for study in the world. From this height the huge mass of the Colosseum appears elegant and light. The famous Seven Hills may be made out, notwithstanding the alteration in the soil: on the left is the Quirinal, beyond that the Viminal, and beyond that the Esquiline; to the extreme right is the Aventine; before us is the Palatine, with the Coelian beyond it; whilst we occupy the Capitoline. The contemplation of the city, however, produces the effect of a vast and solid reading of history. Each of the great representations of the city, always and differently mistress of the world, seems to have chosen its respective quarter—the Rome of the kings and emperors is spread out on the Palatine, Esquiline, and Quirinal; republican Rome occupies the Capitol and Aventine; whilst Christian Rome, isolated and solitary, reigns on the Coelian and Vatican eminences. THE SEVEN HILLS OF ROME.The Palatine, which has ever had the preference, whether so-called from the people Palantes, or Palatini, or from the bleating and The Aventine derives its name from Aventinus, an Alban king (Varro, "De Ling. Lat." iv.), or from the river Avens (ibid.), or from Avibus, from the birds which used to fly thither in great flocks from the Tiber (ibid.). It was also called Murcius, from Murcia, the goddess of sleep, who had a temple here (Sextus Pompeius, Festus). Also Collis DianÆ, from the Temple of Diana (Martial). Likewise Remonius, from Remus, who wished the city to be commenced here, and who was buried here (Plutarch, in "Romulus"). This hill was added by Ancus Martius ("Eutropius," i.). The Capitoline, formerly Saturn, then Tarpeian, took its name from Tarpeia, a Roman virgin, who betrayed the city to the Sabines at this point (Plutarch, in "Romulus"). It was also called Mons Saturni and Saturnius, in honour of Saturn, who is reported to have lived here, and was the titular deity of this part of the city. It was afterwards called Capitoline, from the head of a man found here when digging the foundations of the famous Temple of Jupiter. It was added to the city when the Sabines were permitted by Romulus to incorporate themselves with the Romans (Dionysius). The Quirinal was either so called from the Temple of Quirinus, another name of Romulus, or from the Curetes, a people that removed hither with Tatius from Cures, a Sabine city (Sextus Pompeius, Festus). It afterwards changed its name to Caballus, from two marble horses, each having a man holding it, which are still standing, and were the works of Phidias and Praxiteles ("Fabricii Roma," iii.), made to represent Alexander the Great and Bucephalus, and presented to Nero by Tiridates, king of Armenia. Numa added this hill to the city (Dionysius, ii.). The Esquiline was anciently called Cispius and Oppius ("Fabricii Roma," 3). The name Esquilinus was varied for the easier pronunciation from Exquilinus, a corruption of Excubinus, ab Excubiis, from the watch that Romulus kept there ("Propert." ii. 8). It was taken in by Servius Tullius, who had his palace here (Livy, i. 44). The Viminal derives its name from Vimina, signifying osiers, The Coelian owes its name to Coelius or Coeles, a famous Tuscan general, who encamped here when he came to assist the Romans against the Sabines (Varro, "De Ling. Lat." iv.). The other names by which it was sometimes known were Querculanus or Querquetulanus, and Augustus: the first, on account of its growth of oaks; and the second, because the Emperor Tiberius built on it after a fire (Tacit. "Ann." iv.; Suet. in "Tib." xlviii.). One part was called Coeliolus, and Minor Coeliolus ("Fabricii Roma," 3). Livy (i. 30) and Dionysius (iii.) attribute the taking of it into the city to Tullus Hostilius, but Strabo ("Georg." v.) to Ancus Martius. Whilst on the subject of the hills of Rome, three others are equally famous. The Janiculum, or Janicularis, so called either from an old town of the same name, said to have been built by Janus, or because Janus dwelt and was buried here (Ovid, "F." i. 246), or because it was a janua, a sort of gate to the Romans, whence they issued out upon the Tuscans (Festus). Its yellow sand gave it the name of Mons Aureus, corrupted into Montorius ("Fabricii Roma," i. 3). From an epigram of Martial, we may observe that it is the fittest place to take one's standing for a full prospect of the city (Martial, "Epig." iv. 64). It is famous for the sepulchres of Numa and Statius the poet ("Fabricii Roma," i. 3), and in more recent times as the grave of Tasso, and the spot where tradition holds that S. Peter was executed. The Vatican owes its name to the vates, or prophets, who used to give their answers here, or from the god Vaticanus or Vagitanus (Festus). Formerly celebrated for the Gardens and Circus of Nero, the scene of the Christian martyrdoms, and in our time for S. Peter's and the Vatican. It was enclosed in the time of Aurelian, but was considered as very unhealthy (Tacitus, "H." ii. 93). The Pincio (Collis Hortulorum, or Hortorum) took its name from the gardens of Sallust adjoining it (Rosin, i. 2). It was afterwards called Pincius, from the Pincii, a noble family who had their seat here (ibid.). Aurelian first enclosed it (ibid.). The Capitol tower is crowned by a statue of Roma; and the great bell formerly announced, by a strange contrast, the death of the Pope and the opening of the Carnival. Passing up into the square, in facing the Capitol, on the right, is the PALAZZO DEI CONSERVATORI.(New Capitoline Museum.) Open every day. Fee, half lira. The principal objects in the Courtyard are, right:— 1. Statue of Julius CÆsar; the only authentic portrait of him. 2, 4, 9. Colossal fragments, found near the Basilica of Constantine. Supposed to have belonged to the statue of Apollo brought from Pontus by Lucullus. Square base, which contained the bones of Agrippina the elder. 11. Lion attacking a horse. Found in the river Almo, outside Porta S. Paolo. 12, 14. Captive Kings. 13. Large seated statue of Roma. 15. Colossal bronze head of a colossal statue of Apollo, found near the Colosseum. Reliefs of figures representing provinces; and reliefs of military trophies, recently found in the Piazza di Pietra. 28. Statue of the Emperor Augustus. 30. Modern rostral column, with ancient inscription. (See page 26.) STAIRCASE AND LANDING.36. Base Capitolina, an altar dedicated to Hadrian, whose bust it now supports, by the inspectors of the streets. On the sides are engraved the names of the magistrates who presided over the streets, which are named, of five of the fourteen regions into which Rome was divided. It has afforded much useful information to archÆologists. 41. Alto-relief which formed part of the Arch of Antoninus Pius, found in the Piazza Sciarra, which spanned the Corso, and was destroyed in 1527. 42, 43, 44. Alto-reliefs, part of the Arch of Marcus Aurelius, which stood at the Via della Vita, in the Corso, and was pulled down in 1665. 45. Curious bas-relief, representing Mettus Curtius, on horseback, floundering in the marsh where is now the Forum. Found near the Church of S. Maria Liberatrice. 49, 50. Alto-reliefs from an arch which stood in the Corso in honour of Antoninus Pius. At the top of the stairs on this floor are several rooms. On passing the turnstile keep straight on. The authorities number these rooms in the reverse way to ours. PLAN OF THE PALAZZO DEI CONSERVATORI. First Room contains a collection of majolica from the Cini family. Second Room.—The vault is by Caracci. On the right of the door are S. Luke; S. Alexio, by Romanelli; the Virgin, by Andrea Allovisi, called L'Ingegno, pupil of Perugino; S. Cecilia, by Romanelli; S. Mark. On the left are S. John, S. Albertorn, and S. Eustachio, by Romanelli; S. Matthew. Third Room, turn left.—Frescoes of the Punic wars by Bonfigli. Fourth Room.—Frescoes from the wars of Scipio, and tapestries from the hospital of S. Michael. Right, the Boys of Falerii scourging their Schoolmaster, B.C. 392 (Livy, v. 27); the Vestal Tuccia, B.C. 144 (Dionysius, ii. 69); Romulus and Remus; busts of Italian patriots. Fifth Room.—Garibaldi Museum. Frescoes of the school of Zuccari, representing games in the Circus Maximus, etc. There is a bust in rosso-antico called Appius Claudius, a bronze bust of Michael Angelo, and other busts. Two ducks in bronze are pointed out as the geese which saved the Capitol. Between them is a curious bronze vase, evidently a female portrait. Copy of Raphael's Holy Family. Sixth Room.—On the wall of this room are preserved the Fasti Consulares, dating from B.C. 481 to the end of the Republic. These fragments were found in the Forum, and faced the podium of the Temple-Tomb of CÆsar. The frescoes are by Benedetto Bonfigli. Seventh Room.—Frescoes: Triumph of Marius, and Defeat of the Cimbri, by Daniele da Volterra. Near the door is a relief, representing the Temple at Jerusalem; and in front of it a team of oxen drawing on a car the molten sea (1 Kings vii. 23; 2 Chron. iv. 2). Eighth Room.—Scenes of the Roman Republic, by Lauretti. Ninth Room.—Frescoes from the history of the kings, by Arpino. Passing through the rooms of the Fasti, from 1540 A.D., we enter the Hall of Busts, comprising statesmen, poets, painters, authors, sculptors, all noted in Italian history. At the end is a monument to Canova. A door on the right opens into the FIRST HALL OF BRONZES.(For numbers, see plan.) 1, 2. Cases of small bronze articles found at various times. 3. A bronze biga, or two-horse chariot, with reliefs depicting scenes from the circus; restored upon a wooden frame, and given by Signor A. Castellani. 4. A bisellium, or chair of state. 8. Lectica, or sedan chair. "These infirmities caused him [Claudius] to be carried in a close chair, which no Roman had ever used before; and from thence have the emperors and the rest of us consular men taken the ROOM OF COINS.The beautiful alabaster pavement of this room was found, as now fixed, upon the Esquiline Hill, on Christmas eve, 1874. It formed part of the House of the LarmÆ, where the statues were found. The coins formed part of the Campana Collection, and are of great value. The small case of gems is worth looking into; it contains some fragments not unlike the Portland vase, white reliefs on a blue ground. We now enter the new OCTAGONAL HALL.(The order is liable to alteration, as objects are constantly being added.) This museum is formed of the remains found in the excavations of the municipality since Rome was made the capital of united Italy. The new circular hall, designed by Signor Vespignani, presents a light and elegant effect. Amongst the most important subjects placed in the new hall, we may mention No. 2, the monument of Quintus Sulpicius Maximus, found in 1870 in the Old Porta Salaria. The inscription states that he died at the early age of thirteen years, five months, and twelve days. He carried off the honours for composing Greek verse against fifty-two competitors. The poem is engraved on the pilasters. The subject is—The arguments used by Jove in reproving Phoebus for intrusting his chariot to Phaeton. Africa's deserts and the negroes' black skins are ascribed to the careless driving of Phaeton on that occasion. No. 5. Venus. 23. Mercury. 11. A bust of Faustina the elder. 13. A youth anointing himself. 14 and 16. Tritons. 15. A half statue of the Emperor Commodus as Hercules, beautifully executed in fine marble, with the lion's skin over his head and knotted upon his chest: in his right hand is the club. A bracket of marble, ornamented at its end with a celestial globe, rested on the pedestal, which formed a shield, a band running round the centre with the signs of the zodiac. This bracket is supported by two kneeling figures, holding cornucopias containing fruit. One is in good preservation; the fragments of the other were also found. 17. Plotina, wife of Trajan. 18. Apollo. 19. Bacchus, with a satyr on a leopard at his side. 21. Sarcophagus of the Calydonian boar hunt. Polyhymnia. 24. Terpsichore. 26. A beautiful nude statue of a young girl or nymph leaving the bath, of Parian marble, standing with sandalled feet by a pedestal, which supports In the inner circle.—A magnificent marble vase, found upon the Esquiline, called by the Greeks a Rhyton: it is the work of Pontios, an Athenian sculptor. A vase with figures in relief. The infant Hercules found at the Cemetery of S. Lorenzo. Another vase. The Muse of Astronomy. Exit. 74, 75. Hercules taming the Horses: part of a group found in many fragments, and very skilfully put together. Seated statue of a girl. 133. Minerva. 130. A statue of Silenus, which was formerly a fountain. A youth carrying a pig for sacrifice. Cupid playing with a tortoise. 123. Boy with a puppy. 81. Statuette of Venus. 81a. A Sleeping Cupid. 124. A large stone shield sculptured with the acanthus leaf. 90. Mithras slaying the Bull. 117, 105, 106. Reliefs relating to the worship of the Persian sun-god Mithras, recently found on the Esquiline Hill. Crossing the Hall of Busts, by Canova's Monument, we enter the TERRA-COTTA ROOM,composed of remains found chiefly in the excavations in building the new quarter of Rome upon the Esquiline Hill. The principal objects are:—A coffin containing skulls; a large jar containing a leaden case, in which is enclosed a beautiful alabaster urn; a large and varied collection of Roman lamps, glass, and terra-cotta; also glass in various forms, and for windows, pieces of fresco, &c. A door on the left leads into the SECOND HALL OF BRONZES.In the centre of the first room is the celebrated bronze wolf of the Capitol (1), thus alluded to by Virgil ("Æn." viii. 630):— "By the wolf were laid the martial twins, Intrepid on her swelling dugs they hung: The foster-dam lolled out her fawning tongue: They sucked secure, while, bending back her head, She licked their tender limbs, and formed them as they fed." Cicero (in "Catiline" iii. 8), mentions this object as a small gilt figure of Romulus sucking the teat of a wolf, which was struck by lightning, and which his hearers remembered to have seen in the Capitol. Dionysius, quoting from an older historian, Quintus Fabius Pictor, speaks of a temple in which a statue is placed representing the above incident. It is a wolf suckling two children; they are in brass, and of ancient workmanship. This latter must not be confounded with the statue mentioned by Cicero, which is generally believed to be the one before us. The fracture on the hind leg may have been caused by lightning, and traces of gilt may still be observed. It is not known where it was found, but in Cicero's time (B.C. 106–43) it was to be "seen in the Capitol." The workmanship of the wolf is of an early period, Etruscan; the twins are Roman. 10. A bull, found in Trastevere in 1849. 4. "Thou seest the faces of Hecate turned in three directions, that she may watch the cross-roads cut into three pathways." She was the patroness of magic, and was also set up before houses to ward off evil. This goddess is often confounded with Diana. 8. The shepherd Martius, a bronze statue of a boy extracting a thorn from his foot. 14. Horse found in Trastevere. 13. Foot found near the Colosseum. The case on the left contains, amongst other objects, a bronze inscription, with heads in alto-relief, of Septimius Severus, Caracalla, and Julia Pia. 9. Gilt bronze statue of Hercules, found amongst the remains of a temple of Hercules, behind the Church of S. Maria in Cosmedin. 2, 3. Bronze globes, one of which was held in the hand of Trajan's statue on his column. 15. Diana of the Ephesians in bronze and marble. 6. A Camillus, one of the twelve youths who assisted at the sacrifices. 7. Bust of Lucius Junius Brutus, who expelled the Tarquins. 5. A fluted vase, found in the sea at Porto d'Anzio; a gift of Mithridates, King of Pontus, to a gymnasium of the Eupatorists. From the Hall of Bronzes we enter the ITALO-GRECO AND ETRUSCAN MUSEUM.Formed by Signor A. Castellani, and presented by him to the senate and people of Rome. The objects were mostly found at Cervetri, Tarquinii, and Veii. Passing out into the Hall of Busts, a door on the right leads to the PINACOTHECA, OR PICTURE GALLERY.Open every day from 10 till 3. Founded by Benedict XIV., and composed of several rooms. The First Room.—Right: Romulus and Remus, by Rubens; Holy Family, by Giorgione; S. Cecilia, by Romanelli; Baptism, by Guercino; Magdalen, by Guido; CumÆan Sibyl, by Domenichino; Persian Sibyl, by Guercino; Madonna, by Botticelli; Assumption, by Cola dell'Amatrice; The Redeemed Spirit, by Guido; Madonna, by Francia. The frescoes on the walls are from the deserted palace Magliana, the hunting-seat of Leo X., which has long been utilized as a farm by a community of nuns, and only inhabited by labourers. The frescoes are all more or less injured, and the feet of each figure, together with the lower part of the pictures, are quite obliterated. They represent the Muses, with Apollo as Musagetes, each figure distinguished by a motto in verse descriptive of the individual character, from the epigrams of Ausonius, and consist of the figures of Polyhymnia; Urania, with a distant view of Florence in the background (perhaps allusive to the pre-eminence of that city in astronomical science); Thalia, with the motto, "Comica lasciva gaudet sermone Thalia;" Clio, who is playing on the double flute; and Apollo, as leader of the Nine, who is seated, and playing on the violin: in the background of this picture is introduced a small group of Perseus slaying Medusa, while Pegasus springs from the blood of the decapitated gorgon. All these frescoes are ascribed to Giovanni lo Spagna, and there is much in their conception and sentiment which reminds us of the far superior works by that pupil of Pietro Perugino. The Corridor contains views of Rome by Vanvitelli. Second Room.—Annunciation, by Garofalo; Madonna, by P. Veronese. Portraits by Vandyck, etc. Third Room.—Baptism, by Titian; Sebastian, by Bellini; S. Barbara, by Domenichino; Innocence, by Romanelli. Fourth Room.—Left: S. Lucia, by Spagna; Europa, by P. Veronese; Burial and Assumption of Petronella, by Guercino; Sebastian, by Caracci; Cleopatra and Augustus, by Guercino; Sebastian, by Guido; Baptism, by Tintoretto. Leaving the Palazzo dei Conservatori, and crossing the Piazza, we enter THE MUSEUM OF THE CAPITOL.Open every day from 10 till 3. Entrance half a lira each person. THE COURTYARD.1. Marforio, a recumbent statue of the Ocean, celebrated as having LOWER CORRIDOR.1. Endymion and his dog, found outside Porta S. Giovanni. 3. Minerva. 5. Livia Augusta, standing on a pedestal, found near the pyramid of Caius Cestius, and relating to him. 7. Head of Cybele. Entrance to Hall of Mosaics. 8. Captive Dacian King, from the Arch of Constantine. 10. Faustina, Sr., standing on a relief of the arms of Alba Longa. 14. Polyphemus. 15. Hadrian in sacerdotal costume. 16. Porphyry fragment. 17. Hercules killing the Hydra. 18. Porphyry fragment. 19. Colossal statue of a Roman warrior found on the Aventine, supposed to represent Mars; a very fine work. Entrance to Hall of Inscriptions. HALL OF MOSAICS.(Left-hand end of Corridor.) First Room.—In the centre is a vase of black basalt sculptured in relief after the Egyptian style. Along the right wall are three panels of peperino stone representing two dogs and a stag in an archaic style. Several mosaics have been recently placed here, found in the recent excavations:—A standing male figure spinning. Hercules conquered by Love, represented in Cupids playing with a bound lion. A group of figures and fragments from the house of Avidius Quietus, found in making the new Via Nazionale, notably a galley with sails set and colours flying approaching a port which is well represented with its lighthouse. Second Room.—The walls are covered with inscriptions, and round the room are sarcophagi, cippi, bases, and urns. Amongst others a beautiful alabaster cinerary urn (5), which stands on a base inscribed to Fabius Cilone, prefect of Rome under Septimius Severus, who had performed the annual sacrifice to Hercules at the Ara Maxima, at the entrance to the Circus Maximus. 7. Base to Faustina, found near the Temple of Saturn. 9. Base erected by Nobilior, B.C. 189, to Hercules Musarum. Third Room.—This is decorated in a similar manner to the second. 2. Sarcophagus, with the hunt of the Calydonian boar; on the lid are HALL OF INSCRIPTIONS.(Right-hand end of Corridor.) First Room.—1. Square altar representing the labours of Hercules; also busts of no importance. Second Room.—3, 4, 6, 11. Monumental cippi, with working tools in bas-relief; likewise the same emblems on 10, fragment of a column. 6. Inscription to Marcus Æbutius. 4. Lapis Capponianus. 3. Cossutius. 11. T. Statilius Aper, and to his wife Orcivia Antides; found on the Janiculum. He was a surveyor; the verse stating that he died at the age of twenty-two years, eight months, and fifteen days. 5. Sarcophagus found on the Via Appia, representing a fight between Roman and Gallic cavalry, when, in 223 B.C., Marcus Marcellus killed Virdomarus, the chief of the Insubrian Gauls, and so carried off the third Spolia Opima (Livy, "Ep." xx.; Florus, ii. 4; Eutropius, iii. 6; Plutarch, in "Marcellus"). The central figure is strikingly like the figure of the wounded Gaul miscalled the dying gladiator. 12. Inscription to Vettius Agorius PrÆtextatus, prefect 367, and his wife, Paolina. 14. Bust of Crispina, wife of Commodus. 13. Inscription from villa of Herodes Atticus, Via Appia, used afterwards as a milestone under Maxentius. 2. Monument to Bathyllus, an actor of the time of Augustus, afterwards custodian of the Temple of the Deified Augustus. Third Room.—1. Sarcophagus found in a mound on the road to Frascati, called Monte del Grano. Inside the sarcophagus was found the Portland vase now in the British Museum, which contained the STAIRCASE.On the walls are encased the fragments of the marble plan of Rome found in 1534–50, 1867, behind the Church of SS. Cosmo and Damiano. They had originally served for the panelling of the wall that formed part of the Temple of Rome built by Hadrian. The plan was made in the third century, in the time of the Emperor Septimius Severus (193–211). It is called the "Pianta Capitolina," and is of great use to archÆologists in studying the ground plan of the different buildings marked upon it, though not as showing their relative positions. After many years of study we have succeeded in putting this puzzle together, and have published the marble plan, systematically arranged in ten sheets, price six shillings, with descriptive letterpress. The doors at the top of the stairs lead us into the HALL OF THE DYING GAUL."He leans upon his hand; his manly brow Consents to death, but conquers agony; And his drooped head sinks gradually low; And through his side the last drops, ebbing slow From the red gash, fall heavily one by one." This perfect statue of "a wounded man dying, who perfectly expressed how much life was remaining in him," has for many years been miscalled "The Dying Gladiator;" but it has of late years been more correctly described as a wounded Gaul. It was found, together with the Gallic group in the Ludovisi Villa, amongst the ruins of the gardens of Sallust, and with that formed part of a large group representing the death of Aneroestus, the Gallic chief, who with other leaders killed themselves after their defeat by the Romans in 226 B.C., near Orbitello—Attilius, the Roman consul, having been previously killed in the fight (Polybius, ii. 2). 7. Lycian Apollo, found near the AquÆ AlbulÆ on the road to Tivoli. 6. Female carrying a vase, standing on an altar dedicated to Hercules by C. Ulpius Fronto, A.D. 126; found in the Forum Boarium. 5. Bust of Bacchus. 4. Amazon, the finest of its class in existence. 3. Alexander, by Lysippus. 2. Juno. 16. Bust of Et tu, Brute. 15. Isis. 14. Flora (?), found at Hadrian's Villa, thought to be Sabina, the wife of Hadrian. 12. HALL OF THE FAUN.1. The celebrated and beautiful faun in rosso-antico, found at Hadrian's Villa, Tivoli. 5. Tydeus, the father of Diomedes—a hollow mask. 3. The Endymion sarcophagus, found under the high altar of the Church of S. Eustacio; the cover belongs to another sarcophagus. 8. Boy with a scenic mask. 16. Boy with a goose, found near S. John's Lateran. 18. Sarcophagus representing the battle between Amazons and Athenians. On the wall above is the bronze table on which is engraved a portion of the Lex Regia conferring the imperial power on Vespasian, and from which Rienzi demonstrated to the people their political rights. It was discovered near the Lateran about 1300, and was kept in the Basilica. HALL OF THE CENTAURS.1. Jupiter, in black marble. 2, 4. Cloud-born Centaurs, found at Hadrian's Villa, the joint work of Aristeas and Papias, sculptors of Aphrodisium, in bigio-morato marble. Pliny says he saw a Centaur that had been embalmed in honey, which had been brought from Egypt to Rome in the time of Claudius. 3. The infant Hercules, in green basalt, found on the Aventine. 5. Æsculapius, in black marble. On left of entry. 29. Hygeia. 31. Young Apollo. 33. Wounded Amazon. 34. Venus and Mars, found in the Isola Sacra near Ostia. 36. Minerva. 6. Faun. 7. Apollo. 9. Trajan. 10. Augustus. Two columns of Porta Santa. 17. Minerva, an archaic statue, B.C. 450. 21. A teacher imparting instruction, found in Hadrian's Villa. 22. PrÆfica: a hired mourner at funerals; a tear-bottle will be noticed in her hand. 28. Harpocrates, found at Hadrian's Villa. 27. A hunter, by Polytimus. HALL OF ILLUSTRIOUS MEN,containing busts of great men arranged round the room on shelves, many of doubtful identity. The most important are,— 1. Virgil. 4, 5, 6. Socrates. 7, 35. Alcibiades. 10. Seneca. 16. Marcus Agrippa. 20. Marcus Aurelius. 21. Diogenes. 22. Archimedes. 27. Pythagoras. 28. Alexander the Great. 30. Aristophanes. 31, 32. Demosthenes. 33, 34. Sophocles. 37. Hippocrates. The walls are adorned with bas-reliefs. The seated figure in the centre of the room is supposed to be Marcus Claudius Marcellus, the great general of the republic, who died B.C. 208. HALL OF THE EMPERORS.and their wives, whose ancient authentic busts are arranged round the room in chronological order:—
There are several bas-reliefs round the room. Seated in the centre is Agrippina, "the glory of the Roman matrons;" daughter of M. V. Agrippa and Julia, daughter of Augustus; wife of Germanicus, UPPER CORRIDOR.In our order of visiting the Museum the subjects in this Corridor commence at the highest number. Vase of white marble, found near the tomb of Cecilia Metella; it is decorated with vine leaves and fruit. The pedestal is a very interesting Grecian marble well head; on it are the twelve principal deities. 29. Minerva. 28. Bust of Marcus Aurelius. 25. Jupiter standing on the altar of Cybele, dedicated in memory of Claudia drawing the galley up to Rome, which is shown in relief. Entrance to Cabinet of Venus. 20. Psyche. 46. Sarcophagus illustrating the birth of Bacchus. 47. Jupiter. 49. Juno. 30. Gladiator restored from a Discobolus. 52. Euterpe. 10. Cinerary urn. 54. Sarcophagus representing the Rape of Proserpine. 54a. Infant Hercules strangling a serpent. 56. Female statue. 8. Drunken Baccante. Entrance to Hall of Doves. 5. Cupid. 3. A lion. 63. Marcus Aurelius. CABINET OF VENUS.The celebrated Venus of the Capitol, found in a walled-up chamber on the Viminal, is rather the statue of a beautiful woman in full maturity than of Venus as a goddess. Cupid and Psyche, found on the Aventine—a beautiful little group. Leda and the Swan. HALL OF THE DOVES.So called from the beautiful mosaic set in the wall on the right in entering, mentioned by Pliny as the work of Sosus existing at Pergamos,—"There is a dove greatly admired in the act of drinking, and throwing the shadow of its head upon the water, while other On coming out of the Museum cross the square and turn to the left, by the side of the Tabularium (note the paving-stones at the end of the Sacra Via), then turn to the right, Via Monte Tarpeia, proceed along this street, and keep straight on down the steps. THE TRAITORS' LEAP.By descending the Centum Gradus, and turning to the left, we see the rock, within the space closed off by the rails. The house on the top will roughly represent the original height of the rock. If we then add forty feet to the depth, we shall have some idea of the traitors' leap, which cured all ambition. THE TEMPLE OF OPS.The municipal authorities have lately pulled down a house on the Vicus Jugarius which obstructed the view of the far end of the Tarpeian Rock from the Forum. We use the title Tarpeian Rock as applied to the place of execution and not to the whole hill. They have exposed to view not only the rock, but likewise one side of the Temple of Ops, composed of large blocks of tufa stone surmounted by later brick structures. The earliest mention we have of this temple is in B.C. 183, when Livy says (xxxix. 22): "By order of the pontiffs a supplication, of one day's continuance, was added on account of the Temple of Ops, near the Capitol, having been struck by lightning." This temple is also mentioned by Cicero, from whom we learn that it was where the clerks kept the accounts of the treasury: "Would that the money remained in the Temple of Ops! Bloodstained, indeed, it may be, but still needful at these times, since it is not restored to those to whom it really belongs" (First "Philippic," 7). "Who delivered yourself from an enormous burden of debt at the Temple of Ops; who, by your dealings with the account-books there, squandered a countless sum of money" (Second, 14). "Where are the seven hundred Ops was the daughter of Coelus and Terra, and the wife of Saturn; hence her connection with the treasury. The temple was turned into a church, and called S. Salvatore in Ærario, or in Statera (the Saviour in the Treasury), which lapsed into S. Maria in Portico. It has now become a fruit shop; and a small fresco of the Crucifixion, very much obliterated, marks its former use. The west wall of the temple has been exposed in the recent changes, and part of the eastern wall can be seen by entering the court-yard by the flight of steps through the wall, No. 57, opposite the end of S. Maria di Consolazione. The Via Consolazione and the Via Montanara to the right bring us to THE THEATRE OF MARCELLUS.The design of erecting a stone theatre in this quarter had been entertained by Julius CÆsar (Suetonius, "CÆsar," xliv.), but the carrying out of his adopted father's plan was reserved for Augustus (ibid., "Aug." xxix.). He did not, however, appropriate the honour of so great a work to himself, but transferred it to his beloved son-in-law, Marcellus. Great part of the outer walls of this large and splendid building still exists. Against these leaned the arches, supporting the tier of seats destined for the spectators. The greater portion of the vast halls have also been preserved; but being now converted into offices belonging to the Palace of the Orsini, which has insinuated itself into these ruins, they are not accessible to strangers. The lower story is in the Doric, the second in the Ionic, and the third was probably in the Corinthian order. It held 20,000 people. THE DECEMVIRAL PRISONS.Built by Appius Claudius for common offenders, near the Forum Olitorium, and which site was afterwards occupied by the Theatre of Marcellus (Pliny, vii. 37). We have identified this prison, remains of which can still be seen under the theatre, consisting of chambers constructed in opus reticulatum. There are two splendid open archways of the Here youth offered to old age the food, The milk of his own gift." Byron visited the chambers under S. Nicola in Carcere, when he was moved to compose his beautiful lines. He had before him the scene, though not the site; his words are more applicable to these dungeons, and we may say with him,— There is a dungeon, in whose dim, drear light What do I gaze on?—Nothing." Passing the Theatre, a narrow lane on the left leads to the remains of THE PORTICO OF OCTAVIA.Dedicated to Octavia by her brother Augustus (Suetonius, "Aug." xxix.). The principal portion still existing belonged to the great portal leading to the open space surrounded by corridors which gave the people shelter during rain. In this stood two temples, the one dedicated to Jupiter, the other to Juno. Pillars belonging to the latter may be seen in a house in the Via Pescheria, and remains of the Portico of Octavia at No. 12 Via Teatro di Marcello. The inscription on the architrave states that the building was restored by Septimius Severus and Caracalla. On the removal of two of the columns on which the pediment rested, their place was supplied by an arch of brickwork, thus preventing the building from falling in. Four columns and two piers are still standing of the inner row; of the outside only two columns remain, in addition to the two piers. The capitals are ornamented with eagles bearing thunderbolts. A flight of steps led up to this vestibule. The stumps of columns built into the walls of several houses in the vicinity in all probability belonged to the same edifice, which must originally have presented a most magnificent appearance. The Portico was ornamented with many statues; and besides the two temples, there were libraries. It was originally erected by Metellus, B.C. 146 (Paterculus, i. 11). The temples were built by Mr. Lizard and Mr. Frog; but the senate would not allow them to put their names on the buildings, and so to hand down their work they sculptured on the spirals of the columns lizards and frogs (Pliny, xxxvi. 4). This can still be seen in the Church of S. Lorenzo on the On the right is the Church of S. Angelo in Pescheria. Here Rienzi, on May 20, 1347, held his meeting for the re-establishment of "the good estate;" and here he exhibited his allegorical picture, and thence marched to the Church of S. George to fix up the proclamation. From the right-hand corner of this square a little alley leads to the Via Rua, the principal street of THE GHETTO,or Jews' Quarter. The word "Ghetto" comes from the Hebrew word chat, broken or dispersed. The Jews first settled here in the time of Pompey the Great; but it was not till 1556 that the Ghetto was enclosed by Pope Paul IV. putting gates across the streets. The Jews were not allowed to be out after sunset or before sunrise, and he compelled the men to wear yellow hats and the women yellow veils. The old inhabitants, who were not Jews, were turned out, and obliged to give up their houses to the Jews on perpetual copy-hold leases, which are handed down in the families to the present day. Pius IX. abolished the gates, but it was not till the Italian troops entered Rome that the Jews obtained full liberty like their fellow-citizens. The lower part of the houses in the Ghetto are of Roman construction, and there is very little accumulation of soil there. There are about four thousand Jews in Rome, and notwithstanding the closeness with which they are packed and the dirt in which they live, the district is entirely free from fever. Proceeding along the Via Rua, we enter the Piazza di S. Maria del Pianto, the Square of Tears. On the right are several old Roman houses, with the upper part rebuilt, and the following medieval inscription, put up in the two thousand two hundred and twenty-first year of Rome, recording that here was the Forum JudÆorum:— VRBE . ROMA . INPRISTINAM . FORMA ENASCENTE . LAVR . MANLIVS . RARITAE . ERC . A . PATRI EDIS SV . NOMNE . MAN II AN . AS . PRO PORT AR . MEDIOCRITAE . AD . FOR . IVDEOR SIBI . POSTERISQ . AB . VRB . CON . M. M. CCXXI . L. AN . M. III . D. PRI . CAL. AVG. A short alley on the left leads to the Piazza Scuole. On the right is THE CENCI PALACE,(Palazzo Cenci,) the scene of the persecution of Beatrice, which led to her execution through the murder of her father at Petrella. "The story is, that an old man having spent his life in debauchery and wickedness, conceived at length an implacable hatred towards his children, which showed itself towards one daughter under the form of an incestuous passion, aggravated by every circumstance of cruelty and violence. This daughter, after long and vain attempts to escape from what she considered a perpetual contamination both of body and mind, at length plotted with her mother-in-law and brother to murder their common tyrant" (Shelley). "The Cenci Palace is of great extent; and though in part modernized, there yet remains a vast and gloomy pile of feudal architecture, in the same state as during the dreadful scenes which are the subject of this tragedy—'The Cenci.' The palace is situated in an obscure corner of Rome, near the quarter of the Jews, and from the upper windows you see the immense ruins of Mount Palatine, half hidden beneath the profuse undergrowth of trees. There is a court in one part of the palace (perhaps that in which Cenci built the chapel to S. Thomas) supported by granite columns, and adorned with antique friezes of fine workmanship, and built up, according to the ancient Italian fashion, with balcony over balcony of open work. One of the gates of the palace, formed of immense stones, and leading through a passage dark and lofty, and opening into gloomy subterranean chambers, struck me particularly" (Shelley). From an old manuscript recently brought to light, and the reports of the trial which have been recently published, the story of Beatrice Cenci appears divested of the fiction of a historical novel; and these papers prove her to have been anything but the innocent victim she is represented in the romantic stories we have all read. On the left of the Piazza is the Jewish Synagogue, once a Christian church, dedicated to S. Lorenzo in Damaso, and sold to the Jews by Pope Sixtus V. when he was in need of money. The Cenci Palace stands upon the substructions of THE THEATRE OF BALBUS.Erected B.C. 12, as a compliment to Augustus, by L. Cornelius Balbus (Suetonius, "Aug." xxix.), being the third permanent theatre erected in Rome. It held twelve thousand spectators. Pliny In the lane opposite, the Palace of the Cenci can best be seen; this part has not been restored. Passing under the archway, on our left, is the gateway spoken of by Shelley. The first turning on the right, in the Via Calderari, leads to the Via Catinari; turn to the left, follow the second street on the right past the church, then take the first turning on the left. It will be noticed that the fronts of the houses and the street are circular; they are built on the ruins of the circular part of THE THEATRE OF POMPEY."Pompey also built that magnificent theatre, which is standing at this day, at whose dedication five hundred lions were killed in five days, and eighteen elephants having fought against armed men, part of them died upon the place, and the rest soon after" (Dion Cassius, "CÆsar"). Plutarch relates the same. The same author, in his "Life of Nero," speaking of the reception of Tiridates, says: "There was a great assembly in the Theatre of Pompey by order of the senate. Not only the scene, but all the inside of the theatre, and everybody that came into it, were covered with gold, which made that day be named Golden Day. The covering which was spread over it to defend the spectators from the heat of the sun, was of rich stuff, the colour of purple, representing the heavens, in the midst of which was Nero driving a chariot." (See Pliny, xxxiii. 16.) "Tiberius undertook to restore the Theatre of Pompey" (Suetonius, "Tiberius," xlvii.). "Tiberius undertook to rebuild the Theatre of Pompey, which was accidentally burned, because none of the family was equal to the charge; still, however, to be called by the name of Pompey" (Tacitus, "Ann." iii. 72). "Caligula completed it" (Suetonius, "Caligula," xxi.). It was burned; and again rebuilt by Caracalla, as we learn from an inscription found at Ostia in 1881. "In the games which Claudius presented at the dedication of Pompey's theatre, which had been burned down, and was rebuilt by him, he presided upon a tribunal erected for him in the orchestra; having first paid THE SPOT WHERE CÆSAR FELL.In the neighbourhood of his theatre Pompey built a house for himself (Plutarch); and from the back of the stage a portico (Vitruvius), which, according to Propertius (ii. 32), must have been a beautiful place. "Pompey's portico, I suppose, with its shady columns, and magnificently ornamented with purple curtains, palls upon you; and the thickly-planted, even line of plane-trees, and the waters that fall from a sleeping Maro, and in streams lightly bubbling all over." In the centre of this portico Pompey erected a large hall, which he presented to the Roman people for the use of the senate. At the time of CÆsar's assassination the senate house on the Forum was being rebuilt. Suetonius ("CÆsar," lxxx.), says: "Public notice had been given, by proclamation, for the senate to assemble upon the ides of March (15th) in the senate house built by Pompey: the conspirators approved both time and place as most fitting for their purpose." "They killed him in the hall of Pompey, giving him twenty-three wounds" (Livy, "Ep." cxvi.). "The conspirators having surrounded him in Pompey's senate house, fell upon him all together, and killed him with several strokes" (Dion Cassius, "CÆsar." See Suetonius, "CÆsar," lxxxii.). "The place, too, where the senate was to meet seemed providentially favourable for their purpose. It was a portico adjoining the theatre; and in the midst of a saloon, furnished with benches, stood a statue of Pompey, which had been erected to him by the commonwealth when he adorned that part of the city with those buildings. The senate being assembled, and CÆsar entering, the conspirators got close about CÆsar's chair. Cassius turned his face to Pompey's statue, and invoked it, as if it had been sensible of his prayers" (Plutarch. See Florus, iv. 2). "The senate house in which he was slain was ordered to be shut up, and a decree was made that the ides of March should be called parricidal, and that the senate should never more assemble on that day" (Suetonius, "CÆsar," lxxxviii.). After making the circuit of the seats of the theatre, the Via Chiavari leads to the Church of S. Andrea delle Valle, built on the site of Pompey's senate house. On the marble plan of Rome, in the Capitoline Museum, a fragment shows Pompey's theatre, portico, and senate house. With the given remains of the theatre and the plan it is easy to find the site of the Curia, which is shown on the plan in the form of a basilica: this will bring the curve exactly at the apse of the Church of S. Andrew. Now, we are told that CÆsar was seated in the chair where in the morning Brutus dispensed justice, so he was, no doubt, seated on the tribunal; and as the tribunal of the church and curia exactly correspond, HERE CÆSAR FELL! The cupola of the church is one of the finest in Rome; the four evangelists, at the angles, are by Domenichino. From here we retrace our steps down the Via Chiavari, crossing the Via Giubbonari, passing, on our left, the Monte di PietÀ (Uncle to Rome); turn to left Via Pettinari; the first turning on the right leads to the Piazza Capo di Ferri. On the left, decorated with statues, is the Spada Palace. In the vestibule of the law court, upstairs, is THE STATUE OF POMPEY,at whose feet great CÆsar fell. "There was a statue of Pompey, and it was a work which Pompey had consecrated for an ornament to his theatre." "Either by accident, or pushed hither by the conspirators, he expired at the pedestal of Pompey's statue, and dyed it with his blood" (Plutarch). "Augustus removed the statue of Pompey from the senate house, in which Julius CÆsar had been killed, and placed it under a marble arch, fronting the curia attached to Pompey's theatre" (Suetonius, "Aug." xxxi.). The statue is eleven feet high, and was found in 1553 in the Vicolo di Lentari; it was under two houses, and the proprietors could not agree as to whom it should belong, when Pope Julius II. gave them five hundred gold dollars for it, and presented it to Cardinal Capodifero. In 1798–99 the French carried this statue to the Colosseum, where they performed Voltaire's "Tragedy of Brutus" to the original statue. To facilitate moving it, they cut off the extended arm; hence the join. THE SPADA PALACE GALLERY.Open every Tuesday, Thursday, and Saturday; fee, half lira each to Museum and Gallery. N.B.—The vestibule where the statue of Pompey stands is public, and is open all day. Resist the demands of the porter, who is generally very rude. The Museum on the ground-floor contains a good seated statue of Aristotle, and nine reliefs formerly used, reversed, as the pavement of S. Agnese outside the walls. 1. Paris on Mount Ida; 2. Bellerophon watering Pegasus; 3. Amphion and Zethus; 4. Ulysses and Diomedes robbing the Temple of Minerva; 5. Paris and Œnone; 6. Perseus and Andromeda; 7. Adonis; 8. Adrastus and Hypsipyla finding the body of Archemorus; 9. PasiphÆ and DÆdalus. The Gallery upstairs contains few good pictures. Catalogues in each room. First Room.—32. Lanfranco's Cain and Abel; 45. Guercino's David. Second Room.—9. Guido's Judith; 19. Poussin's Joseph and Brethren; 17. Leonardo da Vinci's Dispute with the Doctors; 32. S. John; 33. S. Lucia, by Guercino. Third Room.—20. Rape of Helen, by Guido; 33. Vandyck; 48. Death of Dido, by Guercino. Court Room.—Frescoes by Luzio Romano. In coming out of the Palace, turn to the right, keep straight on down the Via S. Paola alla Regola. Some little way down is the church of that name, on the right, said to have been built on the site where S. Paul had a school. Just beyond, on the right, is the Via degli Strengari; the house on the left, No. 2, is pointed out by Jewish tradition as THE HIRED HOUSE OF S. PAUL."Paul was suffered to dwell by himself with a soldier that kept him." "Paul dwelt two whole years in his own hired house, and received all that came in unto him." Here, "Paul called the chief of the Jews together." "When they had appointed him a day, there came many to him into his lodging." The construction of the lower part of the house is brick-work of the early empire. This agrees with the Jewish tradition, and we can well understand that S. Paul would lodge somewhere near his kinsmen the Jews. The doorway has one of its columns still; but it has been turned from a round headway into a square one. One of the windows on the left has still a round head; above this the house is medieval. The lower part of the other houses here are Roman. To the left of the house, take the Via di S. Bartolomeo dei Vaccinari. On the right, some remains of the columns of the Theatre of Balbus have been built into a house, and remains exist under the houses all round. In this street Rienzi was born; the exact house is not known. Keeping straight on, the Via della Fiumara is one of the dirtiest in the Ghetto. At its extremity, on the right, is the PONS FABRICIUS,now called Ponte dei Quattro Capi, from the four-headed Janus upon its balustrades. From the inscription, and from Dion Cassius (xxxvii. 45), we learn that it was erected, B.C. 61, by L. Fabricius, Curator Viarum. Horace (S. ii. 3) says that "Stertinius advised the would-be suicide Damasippus to return cheerfully from the Fabrician Bridge." It has two arches. The bridge leads to THE ISLAND OF THE TIBER."The Tarquins had sacrilegiously converted the best part of the Campus Martius to their own use. When they were expelled, it happened to be harvest time, and the sheaves then lay upon the ground; but as it was consecrated, the people could not make use of it. A great number of hands, therefore, took it up in baskets and threw it into the river. The trees were also cut down and thrown in after it, and the ground left entirely without fruit or produce for the service of the god. A great quantity of different sorts of things being thus thrown in together, they were not carried far by the current, but only to the shallows, where the first heaps had stopped. Finding no further passage, everything settled there, and the whole was bound still firmer by the river; for that washed down to it a deal of mud, which not only added to the mass, but served as a cement to it, and the current, far from dissolving it, by its gentle pressure gave it the greater firmness. The bulk and solidity of this mass received continual additions, most of what was brought down by the Tiber settling there. It was now an island sacred to religious uses. Several temples and porticoes have been built upon it; and it is called in Latin inter duos pontes—the island between the two bridges" (Plutarch, in "Publicola"). The island in the Tiber is an alluvial formation, and thus far the legend is correct in ascribing its origin to the accumulation of rubbish and drifted sand. In remembrance of the vessel which bore the statue of Æsculapius from Epidaurus to Rome, the entire island was Some of the immense blocks of travertine composing the facing, and representing the hull of the ship, may still be seen in the monastery garden of the Church of S. Bartolomeo in Isola. Ladies are not admitted to the monastery. "In the island of the Tiber, just prior to the death of Otho, the statue of Julius CÆsar turned from west to east, a circumstance said likewise to have happened when Vespasian took on him the empire" (Plutarch). In the Piazza is a monument to SS. John, Francis, Bartholomew, and Paulinus. The interior of the church is embellished with fourteen ancient columns, and in the choir are the remains of an early mosaic. The island on the farther side is connected with the mainland by THE PONS CESTIUS,now called Ponte S. Bartolomeo. It was erected, B.C. 45, by the PrÆtor Lucius Cestius; the inscription records its restoration, A.D. 367, by the Emperors Valentinian, Valens, and Gratian. It consists of a single arch. Over the bridge is Trastevere, the inhabitants of which claim to be descended from the ancient Romans: their manners and customs are somewhat distinct from those of the inhabitants of the other side of the river. From the bridge (retracing our steps) a street leads into the Piazza Montanara; turn to the right up the Via Montanara; on the right is the Church of S. Nicolo in Carcere, built over three temples. Entrance to see the substructions through the sacristy. THE TEMPLES OF JUNO SOSPITA, PIETY, AND HOPE.Three temples of the time of the republic, situated in one front, and forming a group. Not only many columns, but also considerable remains of the substructions have been preserved. The latter have been rendered accessible by the recent excavations. The largest of these temples, Piety, situated in the middle, is of Ionic architecture. It is surrounded by a corridor, and is probably the same erected to Piety by the son of M. Acilius Glabrio ten years after the event, in fulfilment of a vow made by his father at the battle of ThermopylÆ, A.U.C. 562, erected 572 (Livy, xl. 34). The left hand temple is that of Juno Sospita (to keep in health), founded by CethÆgus, B.C. 195 (Livy, xxxii. 30, xxxiv. 53). The Temple of These temples were situated in the Forum Olitorium, the great vegetable market of Rome, and outside the Servian wall. The custodian shows a cell which he points out as the scene of the "Caritas Romana." Visitor! "beware, beware! he's fooling thee." This is not that Temple of Piety erected on the site of the house of the Roman matron, or, according to some authorities, on the site of the Decemviral Prisons; for Pliny and Solinus tell us that the sites of the temple and prison were occupied by the Theatre of Marcellus. According to Valerius Maximus (v. 4) and Pliny ("Natural History," vii. 36), it was a daughter who thus saved her mother's life, and "they were henceforth provided for by the state." Festus says it was her father. Turn to the right, in coming out of the temple; a short distance on the right the Via di Ponte Rotto turns out to the right. A little way up on the right is THE HOUSE OF RIENZI.""The Roman of Rome's least mortal mind;" The friend of Petrarch and liberty, Who died for Rome and Italy. Rienzi! the patriotic Roman, Close by whose house doth wind The Tiber, subservient to the will of no man. It was built from the remains of one of those medieval towers used by the Romans as fortresses, and, as such, bore the name of the Torre di Monzone. It was demolished by Arlotto degli Stefaneschi, in the year 1313, in order to diminish the power of the Orsini, in whose possession it was. An inscription on the ruin states the founder to have been a certain Nicolas, the son of Crescentius and Theodora. Hence it has been supposed that the Crescentius here mentioned is identical with the celebrated consul who ruled over Rome A.D. 998; an opinion strengthened by the fact of his wife having really borne the name of Theodora. Rienzi is said to have been descended from them. Pope Leo XIII. was descended through his mother from Rienzi. OLD RHYMING VERSE ON THE HOUSE OF RIENZI. "First of the foremost, Nicolas, great from a low estate, Raised (this) to revive the glory of his fathers. There is placed the name of his father and mother, Crescentius and Theodora. This renowned roof, bore from (a) dear pledge: The father who displayed it assigned it to David." Another line says,— "In fair places ever remember the grave." The neighbouring people call this ruin the Casa di Pilato, and the appellation of the Casa di Cola di Rienzi has been added since the last century. Rienzi died in 1354 A.D. A step or two lead to THE PONTE ROTTO,anciently the Pons Æmilius. This bridge, intended to unite the nearer bank of the river with Trastevere, but rendered impassable by the fall of several arches in 1598, whence its name of the Ponte Rotto, was commenced in the censorship of M. Æmilius Lepidus and M. Fulvius Nobilior, in the year of the city 573, and was completed by P. Scipio Africanus and L. Mummius. From the first of these it took its name. "Marcus Fulvius made contracts for piers for a bridge over the Tiber; on which piers Publius Scipio Africanus and Lucius Mummius, censors many years afterwards, caused the arches to be raised" (Livy, xl. 51). It is the same from which the body of Elagabalus was thrown with a stone attached to it, after having been dragged through the Circus. In January 1886, to the eternal disgrace of the acting mayor, Duke Torlonia, and the municipal authorities of Rome, the remaining half of the oldest bridge over the Tiber was wantonly and unnecessarily destroyed in the works going on for the embankment of the river, the city fathers leaving one arch in the centre of the river as a monument of their folly. From this arch a suspension bridge is to be thrown to the Trastevere side. The Cloaca Maxima has been diverted into the Tiber below S. Paul's, in order to prevent the back-wash into the city. A little lower down was THE SUBLICIAN BRIDGE,in front of which Horatius displayed his valour. It was first erected, A.U.C. 114, by Ancus Martius. By appointment of the oracle it was built only of timber fastened with wooden pins; "for the Romans considered it as an execrable impiety to demolish the wooden bridge, which, we are told, was built without iron, and put together with pins of wood only, by the direction of some oracle. The stone bridge was built many ages after, when Æmilius was quÆstor. Some, however, inform us that the wooden bridge was not constructed in the time of Numa, having the last hand put to it by Ancus Martius" (Plutarch, in "Numa"). "Rome was in great danger of being taken, when Horatius Cocles, "Still is the story told How well Horatius kept the bridge In the brave days of old." Near this spot Cloelia swam across the Tiber on horseback, when escaping from Lars Porsena. "While Cocles kept the bridge and stemmed the flood, The captive maids there tempt the raging tide, 'Scaped from their chains, with Cloelia for their guide."—Virgil. Returning from the bridge, turn to the right. On our left is THE TEMPLE OF PUDICITIA PATRICIA.The Temple of Patrician Chastity stood inside the wall of Servius in the Forum of the Cattle-dealers. Livy (x. 23) says: "In the year A.U.C. 456, a quarrel broke out among the matrons in the Temple of Patrician Chastity, which stands in the cattle-market, near the Round Temple of Hercules." It was converted in 880 into the Church of S. Maria Egiziaca. It has four Ionic columns at the front, with four apparent columns at the end, and seven on one side. A frieze of stucco, representing heads of oxen, candelabra, and wreaths of flowers borne by children, is on the entablature; it is 100 feet long by 50 wide. When it was turned into a church the wall dividing the portico from the cella was pulled down, and the columns of the portico were filled in to make it longer for a church. It is the best specimen we have of a republican temple. Going down by the side of the temple, we come to THE ROUND TEMPLE OF HERCULES.This is the temple mentioned above by Livy, and we see the positions agree with his statements. It is formed of twenty beautiful Corinthian columns, only one of which, on the right side, is missing. Its circumference is only 156 feet, and that of the cella 26 feet, and the ROUND TEMPLE OF HERCULES AND TEMPLE OF PATRICIAN CHASTITY. This was probably the Temple of Hercules which Vitruvius (iii. 3) says was erected by Pompey. Pliny (xxxiv. 19) says Myron made the statue of Hercules which is in the Ædes Herculis, built by Pompey the Great, near the Circus Maximus. Again (xxxv. 7) he speaks of "the paintings of the poet Pacuvius, in the Temple of Hercules, situated in the cattle-market." THE GRAND TEMPLE OF HERCULES.There were other temples to Hercules in the Forum Boarium, of which we have some travertine remains behind the Church of S. Maria in Cosmedin opposite. "The Romans afterwards built a magnificent temple near the river Tiber, in honour of Hercules, and instituted sacrifices to him out of the tenths" (Diodorus, iv. 1). "In A.U.C. 534 a supplication was ordered to be performed by individuals at the Temple of Hercules" (Livy, xxi. 62). This was destroyed by Pope Adrian I., A.D. 772–795. "By the infinite labour of the people, employed during a whole year, Adrian threw down an immense structure of Tiburtine stone to enlarge the Church of S. Maria in Cosmedin" (Anastasias). THE CHURCH OF S. MARIA IN COSMEDINis on the site of a temple to Ceres and Proserpine. "Spurius Cassius consecrated the Temple of Ceres, Bacchus, and Proserpine, which stands at the end of the great circus, and is built over the starting-places, and which Aulus Postumius, the dictator, had vowed when upon the point of engaging the Latins," A.U.C. 258 (Dionysius, vi. 94). "It was restored by Augustus, and consecrated by Tiberius" (Tacitus, "Annals," ii. 49). The temple fronted north, and in the left-hand aisle of the church are three of the columns of the portico in situ; three of the side columns are in the portico of the church, and three others in the sacristy, where there is part of a mosaic from old S. Peter's, A.D. 705. In the portico is a large mask of stone called the Bocca della VeritÀ (Mouth of Truth). A suspected person, on making an affirmation, was required to put his hand in the mouth of this mask, in the belief that if he told an untruth the mouth would close upon his Resuming our ramble down the Via Marmorata, turn left coming out of the church, passing under an archway, the remains of the Porta Trigemina in the Servian Wall. The road runs for a short distance by the Tiber, on the opposite side of which is the Ripa Grande, or quay. Taking the road to the right, past a stone-yard, Marmorata, by the river, brings us to THE EMPORIUM,another important building of the time of the Republic, of which we have considerable remains. The exact date of its foundation is not recorded, but a porticus, or arcade, was made to it, and it was paved about the year 560 of Rome, or 193 B.C. It was the great warehouse for the port of Rome for merchandise brought by vessels coming from the sea. There was another port at the Ripetta for provisions brought down the river in boats. The Emporium was to ancient Rome what the docks are to London and Liverpool. This great building formed three sides of a quadrangle, the fourth being open to the quay on the bank of the Tiber, with a zigzag path down the face of the cliff and surface of the quay. This was excavated by the Pontifical Government, under the direction of Baron Visconti. It was remarkably perfect; the walls against the cliff were faced with opus reticulatum of the time of Hadrian, and a large number of blocks of valuable marbles were found here. A little further up the river an amphora is cut in the wall of the quay, to indicate the place for landing wine and oil. The portion of the Emporium now remaining belongs to the portico or arcade. There are said to be extensive cellars under the other remains, forming a lower story of the buildings. A new quarter is in course of erection here. The Emporium, and the quay by the side of it, called the Marmorata, or Marble Wharf, are situated at the lower end of the great Port of Rome for sea-going vessels, which port extended about half a mile up the river, with the Salaria, or Salt Wharf, near the middle of it. Above this, and nearly opposite the point where the Almo falls into the Tiber, a little below the Temple of Hercules, are Regaining the main road, at a little distance we pass under an arch of the aqueduct which supplied the Emporium with water. It is called the Arco di S. Lazaro. We next turn off to the right, and ascend MONS TESTACCIO,formed of fragments of earthenware, chiefly of amphorÆ. We know from those remaining at Pompeii that the amphorÆ which formed that branch of commerce were often six feet high. Great numbers of these got broken in landing, and all were thrown on this heap, as they were not allowed to be thrown into the Tiber. There is also said to have been a manufactory of amphorÆ and other earthenware at this spot, many of the fragments found here being the refuse of a great manufactory. This is supposed to have been the great manufactory of earthenware for the city of Rome for several centuries; and this supposition may account for the enormous quantity of such refuse that has accumulated on the spot, so as to form a hill. Tombs proving its comparatively recent origin were discovered beneath it in the year 1696. It is 110 feet high, and surmounted by a cross. The view from the top is very fine. Close by is the PROTESTANT CEMETERY."The spirit of the spot shall lead Thy footsteps to a slope of green access." The cemetery is an open space among the ruins, covered in winter with violets and daisies. "It might make one in love with death, to think that one should be buried in so sweet a place." So wrote Shelley, whose heart is contained in a tomb at the top left-hand corner of the new ground, his body having been burned upon the shore at Lerici, where it was thrown up by the sea. Passing into the old ground, "in the romantic and lovely cemetery under the pyramid which is the tomb of Cestius, and the mossy walls and In returning from the Cemetery, nearly opposite the exit, a lane, Via S. Maria, leads up to the Aventine Hill. The square at the top is decorated with military trophies of the Knights of Malta. A door on the left leads to their Priory; it contains a key-hole;—look through it, 'tis worth your while. IL PRIORATO.(Open Wednesday and Saturday.) Built upon the site of the Temple of the Bona Dea, and where, according to some accounts, Remus took up his position to consult the flight of birds. On the right in entering is the tomb of Bishop Spinelli, an antique sarcophagus representing Minerva and the Muses. The church contains several tombs of the Knights of Malta, to whom it belonged, and who still exist and hold property in Rome, their encampment being in the Via Condotti; amongst others, there is a tomb erected to Brother Bartholomew Caraffa, Grand Master, died 1450. Beyond, on the left, is the CHURCH OF S. ALEXIUS,on the site of the Armilustrum, where the Sabine king, Titus Tatius, was buried. In the left aisle are a well and staircase belonging to the house of S. Alexius's parents, which formerly stood by the side of the church, where, after his return from his pilgrimage, he was allowed to live unrecognized by them. There is a very interesting fresco of S. Alexius's life on the walls of the underground Church of S. Clemente. (See page 228.) A little further, on the left, is the CHURCH OF S. SABINA,on the site of the saint's house, and formerly of the Temple of Juno Regina founded by Camillus. The church has been much restored at different times. In the chapel on the right of the high altar is Sassoferrato's Virgin, with the rosary. The Chapel of S. Catherine, painted by Following on the road, we take the first turning to the right; some little way down, on the left, is the CHURCH OF S. PRISCA,supposed to occupy the site of the house, some remains of which can be seen in the crypt, in which she was baptized by S. Peter. Only open on January 18. Supposed to have been formerly the site of the Temple of Diana founded by Servius Tullius. Down the hill, and up the opposite one, leads to the CHURCH OF S. SABA,built on the site of the house of Silvia, the mother of Gregory the Great, who used to send every day to her son on the Coelian a silver basin containing soup. Uninteresting, and only open on the saint's day, December 5. At the foot of the hill, on the left corner of the two roads, is the CAVE OF AQUEDUCTS,a large stone quarry, intersected in all directions by aqueducts. Some of them are cut out of the solid tufa, others built in passages cut through the tufa; some are blocked up with mud deposit, others with stalactite; some run for a considerable distance, others being broken in, in extracting the tufa. They present altogether a curious and interesting study. Opposite S. Prisca, in the vineyard of Prince Torlonia, are remains of the WALL OF THE LATINS,built by the Latins under Ancus Martius, when he added the Aventine to the city. The cliff has been scarped to the depth of 60 feet, and a terrace made on the ledge on which the wall stands, consisting of blocks of tufa. It was originally 12 feet thick, and in one part an arch is introduced for catapults, similar to those we have seen in ruins on the Palatine. The back of this part of the wall is a mass of concrete backing. At the foot of the wall was a trench, afterwards filled up, in which deep wells have been made for interments. Under the hill of S. Saba, below the cottage opposite, are traces of another early fortification formed of masses of concrete, originally faced with large In this vineyard are also some remains of THE BATHS OF SURA,cousin of Trajan. These remains have only been partly explored, and are of great extent. On the opposite side of the road, in another vineyard, are some massive remains of the aqueduct and reservoir of these baths, from the top of which there is a most enjoyable view of the city in general and the Palatine in particular. "Sura, the neighbour of the Aventine Diana, beholds at less distance than others the contests of the great circus" (Martial, vi. 64). In this vineyard are also some remains called the HOUSE OF AQUILA AND PRISCILLA.It consists of some chambers of reticulated work and a well of the early empire; the latter extends under S. Prisca. "Greet Priscilla and Aquila my helpers in Christ Jesus.... Likewise greet the church that is in their house" (Rom. xvi. 3, 5). From the vineyard turn to the right. Some little way down on the right is the entrance to the Jewish Cemetery. This hill was the ancient Clivus Publicus, a continuation of the Vicus Tuscus, and up which the sacred processions used to come to the Aventine. In the valley below us was THE CIRCUS MAXIMUS."Tarquinius also built the great circus which lies between the Aventine and Palatine Hills. He was the first who erected covered seats round it; for till then the spectators stood on scaffolds supported by poles. And he divided the places between the thirty curiÆ. He assigned to each curia a particular part, so that every spectator was seated in the place that belonged to him. This work also became in time one of the most beautiful and most admirable structures in Rome. The circus is 3½ stadia in length, and 400 feet in breadth. Round the two greater sides, and one of the lesser, runs a canal, 10 feet deep and as many broad, to receive the water; behind the canal, porticoes are erected three stories high, of which the lowest has stone seats, as in the theatres, raised a little above the level of the ground, and the two upper porticoes have wooden seats. The two larger porticoes are connected into one, and joined together by means of the lesser, This description is evidently of the building as it stood in the days of Augustus. Founded by Tarquin, it was extended by CÆsar, and kept in repair and embellished by Augustus, Claudius, Domitian, Trajan, Constantine, and Theodoric. (See Suetonius, "CÆsar," xxxix.; Pliny, xxxv. 24, xxxvi. 15; Livy, vii. 20, i. 35.) The valley in which it stood was originally called the Murzian Valley. Here Romulus gave the games when the Romans ran off with the Sabine women. The stream of the Almo runs through it: this branch of the Almo was taken from the main stream, about six miles from Rome, and made to pass through the Circus to supply with water the canal made by CÆsar which separated the spectators from the arena. Remains of the curve can be seen at the Coelian end, and some fragments of seats exist under the Palatine. Crossing the site of the Circus, on our right, standing back, is the CHURCH OF S. ANASTASIA,underneath which is part of two massive tufa towers of the wall of the kings that surrounded the two hills; and part of the old street called after Julius CÆsar which passed by the side of the Circus, facing on to which are a row of shops, behind which are some remains of the seats of the Circus Maximus. THE LUPERCAL"was a grotto consecrated to Pan, the most ancient and the most honoured of all the Arcadian gods. It was surrounded by a wood, and is contiguous to the Palatine buildings, and is to be seen in the way that leads to the Circus. Near it stands a temple in which a statue is placed representing a wolf suckling two children,—they are in brass, and of ancient workmanship" (Dionysius, i. 76). This grotto, with the water still flowing out of the rock, still exists under From the church we follow the Via di S. Teodoro. A decline on the left leads to THE ARCH OF JANUS (?),a double arch of considerable magnitude, believed to be that of the four-headed Janus, the appearance of the structure involuntarily recalling the celebrated sanctuary of that god in the Forum, with which, however, it must not be confounded. There is no authority for calling it the Arch of Janus; we do not know what it was called by the Romans. In the sides of the piers which support the arch are twelve niches, apparently intended for the reception of statues. In one of these is a doorway leading up a narrow staircase to a chamber in the interior of the building, probably used as a place for business. This singular building, which in its present condition has a somewhat quaint appearance, has evidently been intended for a place of sale. Being erected over the spot where the two roads intersecting the cattle-market met, it seems to have marked the central point of the traffic carried on in this space. It is of white marble, old material re-used, and probably of the time of Constantine. Domitian erected several arches to Janus, but this is not good enough for his time. By its side is THE ARCH OF THE SILVERSMITHS AND CATTLE-DEALERS.We are indebted to this inconsiderable little monument—stated in the inscription to have been raised by the silversmiths and cattle-dealers to the imperial family of Septimius Severus—for the important information that the Forum Boarium, mentioned in the legends of the foundation of Rome, was situated on this spot. The sculptures with which the arch is ornamented are much defaced, and hidden from view on one side by the Church of S. Giorgio. Those in the interior represent sacrifices offered by the emperor and his sons. On one of the side piers is the figure of Hercules, evidently having reference to this locality, which was consecrated to him, and in the neighbourhood of which he had actually erected the Ara Maxima. At the back is a representation of a ploughman with a yoke of oxen, also On the inside right are the effigies of Septimius and his wife Julia; and opposite them were Caracalla and Geta, but the latter has been cut out, leaving only his brother. On the pilasters, the capitals of which are Roman, we discover among various field-badges the portraits of the emperor, his wife, and one of his sons; that of Geta having been obliterated after his murder, by the order of Caracalla. It is rather a misnomer to call this an arch, as it has a flat top. Adjoining is the CHURCH OF S. GIORGIO IN VELABRO,founded in the fourth century. The architrave above the portico (of the thirteenth century) is where Rienzi affixed his proclamation announcing, "In a short time the Romans will return to their ancient good estate." It is seldom opened, except on its festival, January 20th. The aisles are formed by sixteen different columns, no doubt the plunder of some other building. It is dedicated to the patron saint of England, a piece of whose banner is preserved beneath the altar. Proceeding down the low brick archway opposite brings us to THE CLOACA MAXIMA,originally made by Tarquinius Superbus in the year 138 of Rome, or 530 years before Christ: part of the actual construction appears to be original and of that time. It is built of the larger blocks of tufa, and has a round-headed vault. The German theory is, that this great drain was originally open at the top, and not vaulted over till the time of Camillus, after the capture of Veii in the war with the Etruscans; but the construction does not agree with this. The additional branch of the Cloaca made by Agrippa to carry off the water from his thermÆ near the Pantheon (to supply which the Aqua Virgo was made), is of brick, after the fashion of his time. This can be seen at the junction near the Church of S. Giorgio in Velabro or the Janus Quadrifrons. Several natural streams of water are collected in this great drain, and still run through it. One, from the Quirinal, runs straight between the Palatine and the Capitol; a second comes from the eastern side of the Palatine and the Arch of Titus; a third runs from the Capitol, the spring being in the lower chamber of the Prison of S. Peter. All these met near the Forum Romanum, and formed the Lake of Curtius, which was drained by the great Cloaca. But this drain is not so low down as the lake is Regaining the Via S. Teodoro, turn left, under the Palatine. On the right is the CHURCH OF S. TEODORO,founded by Adrian I., 772–795, and rebuilt, A.D. 1451, by Nicholas V. This church, from being round, has been called after all sorts of temples, but there is nothing whatever to show that it was once a pagan temple. It belongs to a burial fraternity. Over the altar is a mosaic, of the time of Adrian I., of our Saviour between SS. Peter and Paul. The Roman women bring their children here every Thursday morning to be blessed, after their recovery from sickness. It is a very ancient custom, and may have originated from the sick people who used to resort to the Fountain of Juturna to drink the waters. |
|
