Chapter M: Agrippa . L. F. Cos . Tertium . Fecit (2)

The VIMINAL derives its name from Vimina, signifying osiers, which grew here in large quantities. This hill was added by Servius Tullius (Dionysius, iv.).

The CŒLIAN owes its name to Cœlius or Cœles, a famous Tuscan general, who encamped here when he came to assist the Romans against the Sabines (Varro, "De Ling. Lat." iv.). The other names by which it was sometimes known were Querculanus or Querquetulanus, and Augustus: the first, on account of its growth of oaks; and the second, because the Emperor Tiberius built on it after a fire (Tacit. "Ann." iv.; Suet. in "Tib." xlviii.). One part was called Cœliolus, and Minor Cœliolus ("Fabricii Roma," 3). Livy (i. 30) and Dionysius (iii.) attribute the taking of it into the city to Tullus Hostilius, but Strabo ("Georg." v.) to Ancus Martius.

Whilst on the subject of the hills of Rome, three others are equally famous.

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.

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 custom of using chairs of that sort, for neither Augustus nor Tiberius used anything but small litters, which are still in fashion for the women" (Dion Cassius). 9, 10. Shelves containing household utensils, &c. 11. Fragments of columns of Bigio marble.

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 Phœbus for intrusting his chariot to Phaeton. Africa's deserts and the negroes' black skins are ascribed to the careless driving of Phaeton on that occasion. No. 5. Venus. 23. Mercury. 11. A bust of Faustina the elder. 13. A youth anointing himself. 14 and 16. Tritons. 15. A half statue of the Emperor Commodus as Hercules, beautifully executed in fine marble, with the lion's skin over his head and knotted upon his chest: in his right hand is the club. A bracket of marble, ornamented at its end with a celestial globe, rested on the pedestal, which formed a shield, a band running round the centre with the signs of the zodiac. This bracket is supported by two kneeling figures, holding cornucopias containing fruit. One is in good preservation; the fragments of the other were also found. 17. Plotina, wife of Trajan. 18. Apollo. 19. Bacchus, with a satyr on a leopard at his side. 21. Sarcophagus of the Calydonian boar hunt. Polyhymnia. 24. Terpsichore. 26. A beautiful nude statue of a young girl or nymph leaving the bath, of Parian marble, standing with sandalled feet by a pedestal, which supports her robe, the left hand fastening up the hair. 28, 29. Two magistrates about to start the racers by dropping a handkerchief. They represent L. A. A. Symmachus, prefect of Rome, A.D. 365, and his son; and are unique. The father was found in one hundred and eighty pieces, and the son in ninety pieces, which have been carefully put together. 31. Colossal statue. 33. Fortune. Apollo with the Lyre. Relief, forging the Shield of Minerva. 38, 42. Athletes starting for the Race. 40_a_. A Cow. 44. Manlia Scantilla. Marsyas bound to the tree; the finest statue in the collection, found in 1879. 48. Didia Clara. 49_a_. A Roman General; a striking statue. 8. The Earth; a sitting statuette in a niche found in the Roman Cemetery. 9. A Baccante.

_In the inner circle._--A magnificent marble vase, found upon the Esquiline, called by the Greeks a Rhyton: it is the work of Pontios, an Athenian sculptor. A vase with figures in relief. The infant Hercules found at the Cemetery of S. Lorenzo. Another vase. The Muse of Astronomy. _Exit._ 74, 75. Hercules taming the Horses: part of a group found in many fragments, and very skilfully put together. Seated statue of a girl. 133. Minerva. 130. A statue of Silenus, which was formerly a fountain. A youth carrying a pig for sacrifice. Cupid playing with a tortoise. 123. Boy with a puppy. 81. Statuette of Venus. 81_a_. 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 following are the most celebrated pictures, but each picture has the names of the artist and the subject printed under the frame:--

FIRST ROOM.--_Right_: Romulus and Remus, by Rubens; Holy Family, by Giorgione; S. Cecilia, by Romanelli; Baptism, by Guercino; Magdalen, by Guido; Cumæan Sibyl, by Domenichino; Persian Sibyl, by Guercino; Madonna, by Botticelli; Assumption, by Cola dell'Amatrice; The Redeemed Spirit, by Guido; Madonna, by Francia.

The frescoes on the walls are from the deserted palace Magliana, the hunting-seat of Leo X., which has long been utilized as a farm by a community of nuns, and only inhabited by labourers. The frescoes are all more or less injured, and the feet of each figure, together with the lower part of the pictures, are quite obliterated. They represent the Muses, with Apollo as Musagetes, each figure distinguished by a motto in verse descriptive of the individual character, from the epigrams of Ausonius, and consist of the figures of Polyhymnia; Urania, with a distant view of Florence in the background (perhaps allusive to the pre-eminence of that city in astronomical science); Thalia, with the motto, "Comica lasciva gaudet sermone Thalia;" Clio, who is playing on the double flute; and Apollo, as leader of the Nine, who is seated, and playing on the violin: in the background of this picture is introduced a small group of Perseus slaying Medusa, while Pegasus springs from the blood of the decapitated gorgon. All these frescoes are ascribed to Giovanni lo Spagna, and there is much in their conception and sentiment which reminds us of the far superior works by that pupil of Pietro Perugino.

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 been made the medium of replying to Pasquino. It stood near the Arch of Septimius Severus. 2, 4. Antique columns surmounted by a bust of Juno (2) and an unknown bust (4). 3, 18. Satyrs. 7. Colossal bust of Trajan. 8, 13. Sarcophagi found in the Catacombs of S. Sebastian. The walls are adorned with inscriptions and fragments; also some fragments from the Temple of Concord in the Forum.

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 Cupids hunting. Diana sent a boar to ravage the country of Calydon, for the King Œneus neglecting her divinity. All the princes of the time assembled to hunt the boar, which was killed by Meleager, the king's son. This sarcophagus was found on the Via Appia. 4. Sarcophagus representing deer and boar hunts, found on Via Appia. 9. Circular base with inscription to the prefect Catius Sabinus, who had performed the sacrifice to Hercules: interesting, with the one in the other room, as showing that the rite instituted by Evander was kept up till a late period. To the right of the door is the fragment recording the cancelling of the debts of the people throughout Italy in 118 by Hadrian. Near by is one to Aulus Septicius Alexander, a seller of floral wreaths on the Sacred Way. At the end of the room an inscription to S. Severus, 196. It was used by the city Conservatori in 1676 (see rear) to record their privileges. Placed here in 1886.

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 ashes. The sarcophagus is surmounted by the figures of a man and woman in repose. The reliefs illustrate the life of Achilles. 2. Relief of Priests of Cybele. 6. Cosimati mosaic, with reliefs from life of Achilles. 12, 13. Portraits in relief of Nero and Poppæa. 15. Pluto and Cerberus, found in the Baths of Titus, 1812.

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 Anerœstus, 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. Antinoüs, found at Hadrian's Villa. 10. The Faun of Praxiteles, found at Civita Lavinia, amongst the ruins of the Villa of Antoninus Pius. This is the Marble Faun of Hawthorne. 9. Girl protecting a dove. 8. Zeno, the Stoic philosopher.

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. 41 to 43. Euripides. 44 to 47. Homer. 48. Domitius Corbulo. 49. Scipio Africanus the elder. Pompey the Great. 60. Thucydides. 63. Double Hermes of Epicurus and Metrodorus, friends and philosophers. 72. Julian. 74. Ahenobarbus, father of Nero. 75. Cicero (?). 76. Terence.

The walls are adorned with bas-reliefs. The seated figure in the centre of the room is supposed to be Marcus Claudius Marcellus, the great general of the republic, who died B.C. 208.

HALL OF THE EMPERORS.

and their wives, whose ancient authentic busts are arranged round the room in chronological order:--

1. Julius Cæsar.
2. Augustus.
4. Tiberius.
6. Drusus, sen.
7. Drusus, jun.
8. Antonia.
9. Germanicus.
10. Agrippina, sen.
11. Caligula.
12. Claudius.
13. Messalina.
14. Agrippina, jun.
16. Nero.
17. Poppæa Sabina.
18. Galba.
19. Otho.
20. Vitellius.
21. Vespasian.
22. Titus.
23. Julia.
24. Domitian.
25. Domitia Longina.
27. Trajan.
28. Plotina.
31. Hadrian.
33. Julia Sabina.
35. Antoninus Pius.
36. Faustina, sen.
38. Marcus Aurelius.
39. Faustina, jun.
43. Commodus.
44. Crispina.
45. Pertinax.
46. Didius Julianus.
47. Manlia Scantilla.
50. Septimius Severus.
52. Julia Pia.
53. Caracalla.
54. Geta.
55. Macrinus.
57. Elagabalus.
60. Alexander Severus.
62. Maximinus.
64. Gordianus I.
65. Gordianus II.
66. Pupienus.
67. Balbinus.
68. Gordianus III.
69. Philip.
70. Decius.
72. Hostilianus.
73. Gallus.
76. Gallienus.
77. Salonina.
80. Diocletian.
81. Chlorus.
82. Julian, the philosopher.
83. Magnus Decentius.

There are several bas-reliefs round the room. Seated in the centre is Agrippina, "the glory of the Roman matrons;" daughter of M. V. Agrippa and Julia, daughter of Augustus; wife of Germanicus, and mother of Caligula. "It is a statue combining an expression of moral dignity and of intellectual force, with as much beauty and poetical grace as the genius of sculpture ever borrowed from breathing nature to work out its own miracles of art. This statue--a history and an epic in itself--represents a woman in the prime of life seated in a chair of state, and in the deep repose of meditative thought. The statue is lofty, her brow of high capacity, her mouth expressive of love and wit, and all her features are harmonized by that regularity which is ever denied to defective organizations. Over the whole of this simply-draped and noble figure there is an air of tranquil majesty, which, in its solemn influence, likens it to the statues of the gods" (Lady Morgan). It may have originally stood on the cinerary base in the courtyard of the Palazzo dei Conservatori.

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. 54_a._ 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 birds are to be seen sunning and pluming themselves on the margin of a drinking bowl." It was found in Hadrian's Villa. Beyond is also a mosaic representing two scenic masks, found on the Aventine. In the windows are glass cases containing styli, coins, and lamps. 83. Fixed on the side of the farther window, the Iliac Table representing the Fall of Troy as described by Virgil; to each group is attached an explanatory inscription in Greek: found at Bovillæ. 49. Diana of Ephesus. 37. Sarcophagus of Gerontia, representing the fable of Endymion. 13. The Prometheus sarcophagus. On shelves round the room are placed numerous busts, but these are not of much interest.

_On coming out of the 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 millions of sesterces which were entered in the account-books which are in the Temple of Ops? A sum lamentable indeed as to the means by which it was procured, but still one which, if it were not restored to those to whom it belonged, might save us from taxes" (Second, 37). "And that accounts of the money in the Temple of Ops are not to be meddled with. That is to say, that those seven hundred millions of sesterces are not to be recovered from him; that the Septemviri are to be exempt from blame or from prosecution for what they have done" (Eighth, 9).

Ops was the daughter of Cœlus and Terra, and the wife of Saturn; hence her connection with the treasury. The temple was turned into a church, and called S. Salvatore in Ærario, or in Statera (the Saviour in the Treasury), which lapsed into S. Maria in Portico. It has now become a fruit shop; and a small fresco of the Crucifixion, very much obliterated, marks its former use. The west wall of the temple has been exposed in the recent changes, and part of the eastern wall can be seen by entering the court-yard by the flight of steps through the wall, No. 57, opposite the end of S. Maria di Consolazione.

_The Via Consolazione and the Via Montanara to the right bring us to_

THE 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 same material leading into two large chambers, in the vaults of which are holes for letting the prisoners down. This we believe to have been the Decemviral Prisons and the scene of _Caritas Romana_.

"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 road to Tivoli, the columns being taken there from here. The same authority (xxxiv. 15) gives particulars of the many statues; and amongst others one to Cornelia, the mother of the Gracchi, the base of which was found here in 1878, and is now in the courtyard of the new Museum of the Capitol. Pliny also tells us that when they dedicated the temples they by mistake carried the god into the goddess's temple, and so they let them remain as the will of the gods.

_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 (xxxiv. 12) says: "Cornelius Balbus erected four small pillars of onyx in his theatre as something marvellous." At No. 23 Via Calderari, _to the right of the Cenci Palace_, some remains can be seen of the PORTICO of the Theatre of Balbus, which was two stories high. Built into the house are two Doric columns of travertine stone, supporting an architrave, which is interspersed with brickwork repairs, by Septimius Severus, after a fire. Opposite are three pilasters supporting a vault.

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 his devotions in the temple above, and then coming down through the centre of the circle, while all the people kept their seats in profound silence" (Suetonius, "Claudius," xxi.). It accommodated forty thousand (Pliny, xxxvi. 24). It was built B.C. 55, "in his second consulship" (Vel. Paterculus, ii. 48); but afraid of the criticism of the people, he erected at the top of the seats a temple to Venus.

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 PIETA (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,