Chapter M: Agrippa . L. F. Cos . Tertium . Fecit (4)

"He completed his palace by continuing it from the Palatine to the Esquiline, calling the building at first only 'The Passage;' but after it was burned down and rebuilt, 'The Golden House.' Of its dimensions and furniture it may be sufficient to say this much:--The porch was so high that there stood in it a colossal statue of himself 120 feet in height; and the space included in it was so ample that it had triple porticoes a mile in length, and a lake like a sea, surrounded with buildings which had the appearance of a city. Within its area were corn-fields, vineyards, pastures, and woods, containing a vast number of animals of various kinds, both wild and tame. In other parts it was entirely overlaid with gold, and adorned with jewels and mother-of-pearl. The supper-rooms were vaulted, and compartments of the ceilings, inlaid with ivory, were made to revolve and scatter flowers, while they contained pipes which shed scents upon the guests. The chief banqueting room was circular, and revolved perpetually, night and day, in imitation of the motion of the celestial bodies. Upon the dedication of this magnificent house Nero said, in approval of it, 'that he had now a dwelling fit for a man'" (Suetonius, "Nero").

"Nero, dressed like a harper, was at the top of a tower in his palace, from whence he diverted himself with the sight of the fire" (Dion Cassius).

On the left of the entrance are the remains of the ORATORIO OF S. FELICITA, a Christian church of the sixth century. The rooms on the left of the PASSAGE, substructions formed by Hadrian, are supposed to have been used as private habitations in the middle ages. On one of the piers are two snakes (_see below_). At the end of this Passage a part of the pavement of the HOUSE OF NERO can be seen. LONG CORRIDOR, penetrated into by Raphael and Giovanni da Udine, who copied the frescoes for the Vatican. On the vault are some beautiful arabesque paintings of flowers, birds, and animals; and on the walls two snakes, with a basin placed between them. Above them is an inscription, now almost obliterated, telling us that it was the notice equal to our "Commit no nuisance."

DVODECIm DEOS IIT DEANAm ET IOVEM
OPTVMVm MAXIMVm HABEAT IRATOS
QUISQUIS HIC MIXERIT AUT CACARIT.

_Retracing our steps_ down the corridor, and crossing some chambers, we come to the TRICLINIARIUM, or summer banqueting room, with the winter rooms on each side, having a southern aspect. At the end of this room there was originally a garden; and in the basin of the fountain was the porphyry vase now in the circular hall of the Vatican Museum. Beyond this is the CAVÆDIUM, an open court or garden, from which the surrounding apartments received their light. It was surrounded on three sides with columns, and in the centre was a fountain: it was subsequently occupied by the substruction arches of the baths. Adjoining is the CORRIDOR OF RHEA SYLVIA, so called from the fresco representing the conception of Romulus and Remus. In another room is a representation of Venus and the Doves.

THE BATHS OF HADRIAN.

On the Plan, the dark lines show the remains of Nero's Palace, which was nearly destroyed by the Flavian emperors. The remains left were used by Hadrian for the underground part of his thermæ; and by building walls over the courts and gardens he formed a large platform. The light lines show his work. The circular wall in front supported the seats for the stadium attached to the baths above. Remains of some of the large halls of the baths can be seen in the vineyards above the House of Nero. Some remains of these baths exist under the Church of S. Martino. These baths are generally ascribed to Titus; but the construction, _opus reticulatum_, within bands of brick, shows that they are of the time of Hadrian.

_Turn to the left on coming out. A short way up the road, on the right, is the entrance to the_

CHURCH OF S. CLEMENT,

belonging to the Irish Dominicans, of which the late Father Mullooly was prior, to whose instrumentality we are indebted for the discovery of the ancient church, and the Temple of Mithras beneath it, under the present edifice. On some occasions (November 23rd, February 2nd, and the second Monday in Lent) they are illuminated. Father Mullooly has written a book on his discoveries; it can be purchased of the sacristan, and will be found very interesting.

The excavations have been carried out by voluntary subscriptions, and visitors are expected to make a donation in furtherance of this object. A book for the names and amounts will be found in the sacristy.

UPPER CHURCH.

The usual entrance from the street is by a side door, but the proper entrance is by a gate with a Gothic canopy of the thirteenth century, which originally formed part of the earlier basilica, thence through the atrium and quadriporticus, the only perfect ones of Rome. The aisles are formed by sixteen ancient pillars of different materials and orders. In the middle of the nave is the choir (514-22) from the earlier basilica; on each side are the ambones. The walls are adorned with Christian emblems, and a monogram of Agios--Holy. The nave is separated from the high altar by an ancient marble screen. Behind is the presbytery, which contains an ancient episcopal chair, with the name of Anastasius, who was titular cardinal of the church in 1108, engraved upon it. Upon the vault is a mosaic of 1297, representing Christ on the Cross, from the foot of which issue the four rivers of Paradise, with shepherds and their flocks, and peacocks. On the face of the arch is a mosaic of the time of Paschal II.--our Saviour; on either side two angels, and the emblems of the four evangelists; below are S. Peter, S. Clement, Jeremiah, S. Paul, S. Lawrence, and Isaiah; at the bottom, Bethlehem and Jerusalem, with the mystic lamb and sheep. In the chapel, on the right, the statue of S. John is by Simone; on the left, the picture of the Virgin is by Conca. The monument composed of two half-columns, with basket-work capitals and foliage reliefs, is to Cardinal Venerio, who died in 1479. _To the left on entering_, in the Chapel of the Passion, are the interesting frescoes by Masaccio (much spoilt by restoration), representing the Crucifixion, &c., and events from the lives of SS. Clement and Catherine. _Outside_ the arch, the Annunciation, and S. Christopher carrying the infant Christ over a stream; _within_, S. Catherine forced to Idolatry, Instruction of the King's Daughter in Prison, Dispute with the Doctors, Miracle of her Deliverance, Martyrdom. Opposite is the history of S. Clement. _Proceeding into the sacristy_, which is adorned with paintings of various interesting parts of the more ancient buildings, _a wide stair conducts to the_

LOWER CHURCH,

founded on the site of S. Clement's house, it is supposed, in the time of Constantine. S. Jerome says: "The church built to S. Clement keeps the memory of his name to this day." So that it must have been erected before A.D. 400.

An inscription found in the excavations, bearing the name of Pope Nicholas II., shows that this basilica was perfect in 1061, when Nicholas died, so that it could not have been destroyed, as some think, by the earthquake of 896; but it was ruined in 1084, when Robert Guiscard burned all the public buildings from the Lateran to the Capitol, when he came to the rescue of Pope Gregory VII.

The ruin seems to have been purposely filled in by the builders of the upper church, and all the fittings possible removed into the latter, which, from the nature of its walls, was evidently constructed in haste, and before 1099, as Paschal II. was elected pope there on August 13th of that year. The lower church was discovered in 1857, when Father Mullooly was making some repairs in the church above. It consists of a nave and two aisles, formed by a line of ancient columns of various marbles: the space between each column has been built up to support the foundations of the church above.

In descending, the walls are covered with ancient fragments, and a small statue of the Good Pastor, found in making the excavations; as also the two sarcophagi and other fragments in the portico of the ancient basilica. At the entrance, on the left hand, is a painting of an ancient female figure, and a male head on the opposite wall; a little further, on the left, Christ surrounded with Saints, giving his benediction in the Greek manner; opposite, the Miracle at the Tomb of S. Clement at Cherson.[15]

THE ANGEL IS PREPARING THAT TOMB SUBMERGED IN THE SEA.
BEHOLD UNHURT HE LIES WHOM HIS RETURNING MOTHER SEEKS AGAIN.

IN THE NAME OF THE
Portrait of S. Clement. LORD, I, BENO DE RAPIZA,[16]
FOR THE LOVE OF BLESSED
SEEKING ME IN PRAYER, CLEMENT AND THE
BEWARE OF HURTFUL THINGS. SALVATION OF MY SOUL,
HAD IT PAINTED.

Further along, translation of the relics of S. Clement from the Vatican to this basilica:--

FOR ALL AGES: MAY THE PEACE
OF THE LORD BE EVER WITH YOU.

--HITHER FROM THE VATICAN IS BORNE (NICHOLAS BEING POPE) WITH
DIVINE HYMNS WHAT WITH AROMATICS HE BURIED.

--I, MARIA MACELLARIA, FOR THE LOVE OF GOD AND REDEMPTION OF MY
SOUL, HAD IT PAINTED.

_Right, north aisle_, right hand wall, painting of S. Catherine; further on, in a niche, Virgin and Child, with two females, SS. Catherine and Euphemia; below, Abraham and Isaac; at the top, Head of our Lord; beyond, a Council; the next, above the steps of the tribune, Christ in the act of giving the Benediction; just beyond, an inscription:--

WHOEVER READS THESE LETTERS OF MY NAME, LET HIM SAY, GOD HAVE
MERCY ON UNWORTHY JOHN.

Passing into the _nave_, in the right-hand corner, is a fresco of our Saviour releasing Adam from Limbo. On the left wall, looking towards the modern altar (erected beneath the one in the church above, under which are placed the remains of S. Ignatius and S. Clement. Behind this a door leads to a space, recently excavated, where a portion of the first church, once covered with marble slabs, may be seen), Installation of S. Clement by S. Peter; Clement performing Mass; the Miracle of Sisinius; and Men drawing a Column--all on one pier.

THE LORD BE WITH YOU THE PEACE OF THE LORD BE EVER
WITH YOU.

--I, BENO DE RAPIZA, WITH MARY, MY WIFE, FOR THE LOVE OF GOD AND
BLESSED CLEMENT, HAD IT PAINTED FOR A FAVOUR RECEIVED.

CARVONCELLE. ALBERTEL. COSMARIS. SISINIUS.

GET BEHIND THE ALBERTEL, FOR THE HARDNESS
COLUMN CARVONCELLE COSMARIS, OF YOUR HEARTS SONS OF
WITH A DRAW IT UP. YOU DESERVE TO _Pute_ DRAW
LEVER. DRAW STONES. IT UP.

On the inside of this pier are S. Antoninus, and Daniel in the Lions' Den. On the same wall, higher up, Life, Death, and Recognition of S. Alexius; above which is our Lord seated, attended by Gabriel, Michael, Clement, and Nicholas, holding a book.

STRONG AS THE BONDS OF DEATH.

THAT IS MY RESIDENCE IN IT; COME UNTO ME, ALL YE THAT LABOUR
YOU SHALL FIND AN ASYLUM. AND ARE HEAVY LADEN, AND I WILL
GIVE YOU REST.

THE FATHER DOES NOT RECOGNIZE WHO ASKS HIS PITY.

The arabesque ornament at the bottom is very beautiful. Beyond this, at the side of the pier, are S. Giles and S. Blasius; at the end of the wall, S. Prosperius, the Maries at the Sepulchre, Christ releasing Adam and Eve from Hades, the Supper at Cana, the Crucifixion; and just beyond, the Assumption (eighth century).

MOST HOLY SANCTUS VITUS
LORD LEO, POPE
OF ROME.

THAT THIS PICTURE MAY OUTSHINE THE REST IN BEAUTY, BEHOLD THE
PRIEST LEO STUDIED TO COMPOSE IT.

Passing into the _south or left aisle_, on the wall, at this end, is a painting representing the Miracle of S. Libertinus, and one representing

WHERE THE ABBOT BEGS PARDON OF LIBERTINUS.

At the west end of this aisle, over the stairs, are the remains of a painting of the Crucifixion of S. Peter; and in the right-hand corner, S. Cyril's parting audience with Michael III. In the opposite corner is a baptism of some barbarian by S. Cyril, beyond which the projecting brickwork marks the site of the tomb of S. Cyril.

The nave is formed by a line of seven columns in their original places, in a wall of _débris_ built to support the church above. These columns are of beautiful marbles, and stand upon a wall of the imperial period, which has been traced for 98 feet.

At the west end of the north aisle a flight of narrow steps leads down to a passage, 25 inches wide, formed between massive walls: that on the right is brick of the imperial period, forming the wall of S. Clement's house; that on the left, tufa, of the kingly period, being part of the walls of Servius Tullius. This has been heightened by a travertine wall of the republican period. The tufa wall has been traced for 500 feet, and the travertine wall upon it for 410 feet. About 20 feet is still buried, showing how low ancient Rome was in this valley. At the end of this passage another flight of steps leads up into the south aisle. In the centre of the passage is an entrance through the imperial wall (now blocked up on account of the water) into

THE ORATORY OF S. CLEMENT,

reached from the south aisle by a broad flight of twenty steps. The Roman Catholic Church has faithfully handed down the tradition that S. Clement erected an oratory in his own house, between the Cœlian and Esquiline Hills, which must have been built, as we have seen, close to the walls of the city--a not unusual thing as the city grew. Several chambers remain to be excavated at some future time. A long passage has been cleared out, in which was found a doorway bricked up. This was broken through, and found to be a

TEMPLE OF MITHRAS,

the Persian sun-god, whose mysteries, Plutarch tells us, were first brought to Rome by the soldiers of Pompey the Great. "They celebrated certain secret mysteries, among which those of Mithras continue to this day, being originally instituted by them B.C. 67." This worship was finally extirpated in A.D. 394. The temple was found filled up with earth as though done purposely. It is 30 by 20 feet, and has a vaulted roof, covered with mosaics, in which are several windows. The continual dripping of water has destroyed the colour, but the mosaics can still be distinctly seen. The altar on which the sacrifices were made was found near the two square pilasters in the passage outside, and a statue of Mithras was found in three pieces. The altar has been placed within the temple. It represents an allegorical picture of the sun's influence upon the earth: A bull represents the earth; Mithras is plunging a sword into the bull's right shoulder; a dog and a serpent are emblems of animals nourished by the earth through the influence of the sun; a scorpion gnawing the scrotum is autumn bringing decay; youths with torches, erect and depressed on either side, represent the rising and the setting of the sun. Under Elagabalus (218-22) and Aurelian (270-75) the worship of the sun was the national religion of the Romans, and its votaries tried in vain to establish it, to resist the rapid spread of the worship of the only true God through Jesus Christ his Son.

_From S. Clement's we proceed up the hill Via di S. Giovanni in Laterano._ Near the top, on the right, is the villa of Mr. Warrington Wood, the English sculptor, in whose grounds there is a tomb of the republic. Beyond is the square of the Lateran, in which is the highest

EGYPTIAN OBELISK

in Rome, which the inscription informs us was thirty-six years in cutting.

From Marcellinus (xvii. 4), we get many interesting details of its voyage and erection:--

"And because the flatterers, who were continually whispering into the ear of Constantine, kept always affirming that when Augustus Octavianus had brought two obelisks from Heliopolis, a city of Egypt, one of which was placed in the Circus Maximus, and the other in the Campus Martius, he yet did not venture to touch or move this one, which has just been brought to Rome, being alarmed at the greatness of such a task,--I would have those who do not know the truth learn that the ancient emperor, though he moved several obelisks, left this one untouched because it was especially dedicated to the sun-god, and was set up within the precincts of his magnificent temple, which it was impious to profane, and of which it was the most conspicuous ornament.

"But Constantine deeming that a consideration of no importance, had it torn up from its place, and thinking rightly that he should not be offering any insult to religion if he removed a splendid work from some other temple to dedicate it to the gods at Rome, which is the temple of the whole world, he let it lie on the ground for some time while arrangements for its removal were being prepared. And when it had been carried down the Nile, and landed at Alexandria, a ship of burden hitherto unexampled, requiring three hundred rowers to propel it, was built to receive it.

"And when these preparations were made, and after the aforenamed emperor had died, the enterprise began to cool. However, after a time it was at last put on board ship, and conveyed over sea and up the stream of the Tiber, which seemed as it were frightened lest its own winding waters should hardly be equal to conveying a present from the almost unknown Nile to the walls which itself cherished. At last the obelisk reached the village of Alexandria, three miles from the city, and then it was placed in a cradle, and drawn slowly on, and brought through the Ostia gate and the public fish-market to the Circus Maximus.

"The only work remaining to be done was to raise it, which was generally believed to be hardly if at all practicable. And vast beams having been raised on end in a most dangerous manner, so that they looked like a grove of machines, long ropes of huge size were fastened to them, darkening the very sky with their density, as they formed a web of innumerable threads; and into them the great stone itself, covered over as it was with elements of writing, was bound, and gradually raised into the empty air, and long suspended, many thousands of men turning it round and round like a millstone, till it was at last placed in the middle of the square. On it was placed a brazen sphere, made brighter with plates of gold; and as that was immediately afterwards struck by lightning and destroyed, a brazen figure like a torch was placed on it, also plated with gold, to look as if the torch were fully lighted.

"But the writing which is engraven on the old obelisk in the Circus we have set forth below in Greek characters, following in this the work of Hermapion:--

ΑΡΧΗΝ ΑΠΟ ΤΟΝ ΝΟΤΙΟΝ ΔΙΕΡΜΗΝΕΥΜΕΝΑ
ΕΧΕΙ
ΣΤΙΧΟΣ ΠΡΩΤΟΣ ΤΑΔΕ.

"The first line, beginning on the south side, bears this interpretation:--'The Sun to Ramestes the King--I have given to thee to reign with joy over the whole earth; to thee whom the Sun and Apollo love; to thee, the mighty truth-loving son of Heron, the god-born ruler of the habitable earth, whom the Sun has chosen above all men, the valiant, warlike King Ramestes, under whose power, by his valour and might, the whole world is placed. The King Ramestes, the immortal son of the Sun.'

"The second line is:--'The mighty Apollo, who takes his stand upon truth, the lord of the diadem, he who has honoured Egypt by becoming its master, adorning Heliopolis, and having created the rest of the world, and having greatly honoured the gods who have their shrines in the city of the Sun, whom the Sun loves.'

"The third line:--'The mighty Apollo, the all-brilliant son of the Sun, whom the Sun chose above all others, and to whom the valiant Mars gave gifts. Thou whose good fortune abideth for ever; thou whom Ammon loves; thou who hast filled the temple of the Phœnix with good things; thou to whom the gods have given long life. Apollo, the mighty son of Heron; Ramestes, the king of the world, who has defended Egypt, having subdued the foreign enemy; whom the Sun loves; to whom the gods have given long life--the master of the world--the immortal Ramestes.'

"Another second line:--'The Sun, the great God, the master of heaven. I have given unto thee a life free from satiety. Apollo, the mighty master of the diadem; to whom nothing is comparable; to whom the lord of Egypt has erected many statues in this kingdom, and has made the city of Heliopolis as brilliant as the Sun himself, the master of heaven,--the son of the Sun, the king living for ever, has co-operated in the completion of this work.'

"A third line:--'I, the Sun, the god, the master of heaven, have given to Ramestes the king might and authority over all; whom Apollo, the truth-lover, the master of time, and Vulcan, the father of the gods, hath chosen above others by reason of his courage; the all-rejoicing king, the son of the Sun, and beloved by the Sun.'

"The first line looking towards the east:--'The great god of Heliopolis, the mighty Apollo, who dwelleth in Heaven, the son of Heron, whom the Sun hath guided, whom the gods have honoured. He who ruleth over all the earth, whom the Sun hath chosen before all others. The king, valiant by the favour of Mars, whom Ammon loveth, and the all-shining god, who hath chosen him as a king for everlasting.'"

_On our right of the obelisk is_

THE BAPTISTERY,

said to have been erected by Constantine. Eight columns of porphyry support a cornice, upon which are eight smaller columns; these sustain the cupola. The font is of green basalt. A tradition says Constantine was baptized here, though Socrates says he received Christian baptism at Nicomedia just before his death. Gibbon says Rienzi bathed in the font on the night before he was made a knight. The two side chapels, dedicated respectively to John the Baptist and John the Evangelist, are said to have been made out of the house of Constantine. The mosaics are of the fifth century, after the arabesque paintings in the Baths of Titus. _Adjoining_ is the Oratory of S. Venantius, in which is a mosaic of the seventh century--our Saviour in the act of giving his blessing. Two grand porphyry columns, supporting an entablature, formed the portico of the baptistery, opposite side to where we entered. There is a mosaic vault of the sixteenth century in the left chapel of this portico, and in the opposite one a good S. Philip Neri by Guido.

_On our left of the obelisk is_

THE LATERAN PALACE.

From the time of Constantine to 1377 this was the palace of the popes. In 1843 Gregory XVI. founded the museum. The original palace was destroyed by fire in the time of Clement V., and the present pile was built from the designs of Fontana in the pontificate of Sixtus V. It was subsequently used for many years as an hospital.

_On our left is the entrance to_

THE LATERAN MUSEUM.

_Ring the bell on the right in the passage, if the custodian is not at the door. The custodian will conduct you over, if desired; and he can give a good account of the objects of interest. It is open every day from 9 till 3, and is comprised in sixteen rooms. Fee, half a franc each person. The principal objects are as follows_:--

FIRST ROOM.--Bas-reliefs: Procession of Lictors and Senators, with figure of Trajan, found in his forum; Dares and Entellus, boxers, a fragment, found near the Arch of Gallienus; part of a sarcophagus, with the history of Mars and Rhea Sylvia, Diana and Endymion; a Circus Race; Helen and Paris; Soldier and Wife Parting; Leucothea feeding the Infant Bacchus. Bust of Marcus Aurelius; pavement mosaic of Boxers, from Baths of Caracalla.

SECOND ROOM.--Portions brought from the Forum of Trajan, representing arabesques, children, chimeras, griffins.

FOURTH ROOM.--Faun of Praxiteles, copy; bust of the Young Tiberius; bas-reliefs, Medea and Pelias's Daughters; statue of Mars; Germanicus; sepulchral cippi and bas-reliefs, found on the Via Appia.

FIFTH ROOM.--Stag in gray marble; a Cow; Mithraic group; mutilated figure of a lynx; bust of Scipio; an altar with bas-reliefs, one representing cock-fighting.

SIXTH ROOM.--Statues of members of the family of Augustus, found at Cervetri, 1839: Drusus, Agrippina the elder, and Livia, full figures; Tiberius and Claudius, sitting; Germanicus and Britannicus, in armour; Head of Augustus. Inscriptions to the members of the family; a bas-relief of an altar; recumbent statues of Silenus.

SEVENTH ROOM.--Statue of Sophocles, the best object in the museum; a Dancing Faun; female draped figure; Apollino; sepulchral inscriptions, from the Columbaria of the Vigna Codini (see page 283), to Musicus Scuranus of Lyons, a tourist to Rome, who died there, with the names of the persons of his suite, on jamb of door.

EIGHTH ROOM.--Statue of Neptune; curious bas-reliefs, a man surrounded with masks; Cupid and Mars.

NINTH ROOM.--Fragments from the Forum.

TENTH ROOM.--Bas-reliefs from the tomb of the Aterii, representing a temple, with a crane moved by a tread-wheel for hoisting stones. _Opposite_, monuments in Rome, the Arch of Isis, Colosseum, Arch of Titus, and the Temple of Jupiter Stator. (See page 95.) Cupid and Dolphin.

ELEVENTH ROOM.--Bas-reliefs of Boxers; Diana Multimammæ.

TWELFTH ROOM.--Three large sarcophagi; Niobe and her Children; Orestes and the Furies; festoons and masks. A very interesting well-head, not unlike that represented on a denarius of Scribonus Lebo, and which stood in the Forum Romanum.

THIRTEENTH ROOM.--Busts of the Furia family, found on the Via Appia; statue by Dogmatius; alto-relief of Ulpia Epigoni; fragments of a colossal porphyry statue; two fluted spiral columns of pavonazzetto marble.

FOURTEENTH ROOM.--Unfinished statue of a captive barbarian, with the measuring points still in; mosaic masks, with the name of the artist, HERACLITUS, in Greek. On each side is a distinct mosaic representing an unswept floor after a banquet, such as Pliny (xxxvi. 60) ascribes to Sosus, "who laid, at Pergamus, the mosaic pavement known as the 'Asarotos Œcos,' from the fact that he there represented, in small squares of different colours, the remnants of a banquet lying upon the pavement, and other things which are usually swept away with the broom, they having all the appearance of being left there by accident." In a corner of this room is a terra-cotta siphon.

FIFTEENTH ROOM.--Objects found at Ostia, in the window-cases, between a mosaic niche of Silvanus and his dog. _Opposite_ are, Agrippina; Head of Atys; Woman, unknown.

SIXTEENTH ROOM.--Fragments found at Ostia, in case in window; sepulchral urns; recumbent statue of Atys; leaden water-pipes. On the walls are frescoes: a pagan funeral banquet, time of Hadrian; Pluto carrying off Proserpine; Orpheus; Ops giving Saturn stones to swallow instead of his sons; a guinea-fowl and fruit. There is also a very beautiful bronze statuette of one of the Three Fates.

THE CHRISTIAN MUSEUM.

_Entrance to the right in the court. Fee, half a franc._

Founded by Pius IX., and composed of Christian antiquities. There are many bas-reliefs, fragments, inscriptions, mosaics, &c., worthy of admiration.

The CORRIDOR, _upstairs_, is decorated with Christian inscriptions from the Catacombs. The oldest is A.D. 238. They relate to persons, dogmas, rites, and ranks of the clergy of the early Christians.

From the end of the corridor on the left two rooms open out, ornamented with copies of frescoes found in the Catacombs.

_Sometimes the entrance is made from the court through the_

LONG HALL.--Sitting statue of S. Hippolitus, found near S. Lorenzo fuori le mura. On the chair is the Paschal Calendar in Greek, composed A.D. 223, and a list of Hippolitus's writings.

LANDING OF THE STAIRS.--Bas-relief of Elijah ascending to heaven. This hall is decorated with a number of sarcophagi of the early Christians, found in the early churches and catacombs. They are placed so as to illustrate how the tombs were situated in the vestibules of the catacombs.

_From the Loggia upstairs we enter the_

PICTURE GALLERY.

FIRST ROOM, or Mosaic Hall.--This beautiful mosaic was found in the Baths of Caracalla, and represents full length figures and busts of boxers, each occupying a separate panel, some having the names upon them. The walls are decorated with scenes from the life of Constantine the Great.

SECOND ROOM.--Early medieval frescoes from old churches. Frescoes cut from the walls of the Church of S. Agnese fuori le mura. Paintings of prophets and birds, from the crypt of the Church of S. Nicolò in Carcere.

THIRD ROOM.--_We commence with the left-hand wall immediately on entering the different rooms._ Crowning the Madonna, by Lippi; S. Thomas receiving the Belt from the Virgin, by Benezoto Gozzoli; Scenes from Life of the Virgin, by the same; S. Antonio, by Antonio di Murano; Madonna, by Carlo Crivelli, 1482; Virgin and four Saints, by Bartolo di Murano, 1481; Assumption, SS. Lawrence and Benedict, Catherine and Gertrude--all three by Cola di Amatrice, 1515; S. Jerome, by Santis, _in tempera_; mosaic flooring from the Palazzo Sorra on the Via Nazionale.

FOURTH ROOM.--Holy Family, by Andrea del Sarto; Annunciation, by Francia; Virgin and Saints in fresco, by Botticelli; Crucifixion, a fresco; Baptism of Christ, by Cæsar da Sesto; a panel, by Perugino; copy of the Transfiguration; copy of Giulio Romano's Coronation; Deposition, by Luca Signorelli; S. Stephen, a sketch, by Giulio Romano.

_From here we enter into two off-rooms containing_ statues, busts, and reliefs, representing North American Indian life, by Pettrich.

FIFTH ROOM.--Madonna of the Belt, by Spagna; the Virgin with S. John and S. Jerome, by Marko Palmezzano, 1500; three tapestries; S. Peter, by Fra Bartolomeo; Sixtus V., by Domenichino; S. Paul, by Bartolomeo; Madonna and Saints, by Palmezzano; Sixtus V. as Cardinal Peretti, by Sassoferrato; mythological subject, by Paul Veronese; a Pagan Sacrifice, by Caravaggio.

SIXTH ROOM.--Cartoons of Volterra; Annunciation, by Arpino; Christ and the Tribute Money, by Caravaggio; the Supper at Emmaus, by Caravaggio; copy of Guercino's Assumption, original in Russia; copy of Domenichino's S. Andrew; "The First Gentleman in Europe," by Lawrence; S. Thomas, by Cammuccini; a Head, by Vandyck.

SEVENTH ROOM.--Cartoons of Maratta's, for S. Peter's dome; a Greek Baptism, by Nocchi, 1840. The last room contains plaster casts of ancient statues.

_On the left coming out of the Museum is the back entrance to the Church of S. John. Enter here, and pass out to the front._ The bronze statue on the left of the back portico is that of Henry of Navarre.

S. GIOVANNI IN LATERANO.

"The mother and head of the churches of the city and of the
world."

This church was founded by Constantine, and took the name of _Lateran_ from its occupying the site of the Palace of Plautus Lateranus, the senator, who suffered under Nero. After having existed for ten centuries, it was almost entirely destroyed by fire in 1308. It was rebuilt by Clement V., and embellished by other popes. Clement XII. had the façade executed from the design of Galilei. It is of travertine, with four large columns and six pilasters of the Composite order, which support a cornice surmounted by a balustrade, on which are placed colossal statues of Jesus and several saints. Between the columns and the pilasters there are five balconies; that in the middle was used for the papal benedictions. Beneath the balconies are as many entrances, which lead into the magnificent covered portico (_loggiato_), decorated with twenty-four pilasters of the Composite order. In this portico is placed the colossal statue of Constantine found in his baths. Notice the beautiful bronze doors which came from the Senate House in the Forum.

_The interior_ is divided into a nave and two aisles by four ranges of pilasters. The architect was Borromini, who covered the ancient columns which divide the middle aisles from the side ones with pilasters, forming five arches, corresponding to an equal number of chapels. Each of these pilasters is decorated, on the side of the middle aisle, by two fluted pilasters, supporting a cornice which goes round the church. Between these there are twelve niches, each ornamented by two columns of verd-antique, containing the statues of the apostles. The Corsini chapel, _first chapel on left of front entry_, is one of the richest in Rome. It was executed by Clement XII. from the design of Galilei, in honour of S. Andrew Corsini. The porphyry sarcophagus of Clement XII. was brought from the portico of the Pantheon, and is supposed to have contained the remains of Agrippa. The subterranean chapel contains the remains of the Corsini family. On the altar is the beautiful statue "Piety," said to be by Bernini or Montanti.

This splendid church contains many chapels, decorated with paintings and statues worthy of attention. On the second pier of the right aisle is Giotto's Boniface VIII.

The Gothic Tabernacle above the high altar, containing the heads of Paul and Peter, is a fine piece of workmanship of the fourteenth century, restored by Pius IX. In front of the Confession is a bronze tomb of Martin V., by Simone, Donatello's brother. Since 1876 the transepts and the apse have been closed to the public; but on Ascension day 1886, with grand religious ceremonies, they were again thrown open to public view, _having been restored_. The frescoes in the transept, representing scenes in the life of Constantine by artists of the seventeenth century, have been touched up; the gold work has been regilded, and the appearance of newness has been imparted to the whole. At the end of the right transept, looking towards the tribunal, is the grand organ and a banner captured from the Saracens. The left transept contains the altar of the Sacrament by Paolo Olivieri, the four gilt bronze columns being, it is said, from the Temple of Jupiter Capitolinus, made by Augustus out of the beaks of the fleet of Mark Antony and Cleopatra. Above the altar is the finest fresco in the basilica, the Ascension by Arpino, 1600. To the right is the Colonna chapel. The altar-piece is by Arpino, the roof by Croce, whilst the portrait of Martin V. is by S. Gaetano. In the recent restorations the old choir, tribunal, and the corridor of Leo I., 440-61, which surrounded it, have been destroyed, and a new one erected sixty-seven feet longer than the old one--a very unnecessary piece of work and vandalism. The church was quite large enough for any ceremonies that take place in it. The whole praise of _this restoration_ is claimed by Leo XIII.; but it is only just to Pius IX. to record that he initiated and left money to continue the work, although he is ignored in the laudations. In the four corners, above the spring of the arches, are doctors of the Eastern and Roman Churches--Ambrose, Augustine, Chrysostom, and Anastasius. On the left, above organ, the Commission submitting the Plans to Leo XIII.; on the right, Innocent III. approving the Doctrine of Transubstantiation (1215)--both the work of Francesco Grandi. The mosaic on the vault of the apse belonged to the old apse, and has been considerably _restored_ in moving it from one to the other. It is the work of Jacopo da Turrita and Gaddo Gaddi (1292). At the top is the Almighty's head surrounded by angels; from the Father proceeds the Holy Spirit (a dove) to the Cross (which represents the Son) erected on the mountain from which flow the four rivers of paradise round the heavenly Jerusalem, the gates of which are guarded by an angel. Two harts and sheep drink of the waters; saints are on either side; the Virgin has her hand on the head of Nicholas IV., who had the mosaic done. The apostles below, between the windows, are by Jacopo di Camerino, of the same period. The base of the tribunal is inlaid marble imitation cosimati work of the thirteenth century, as is also the Bishop's Throne, reached by a flight of steps. The Bishop of Rome takes his title from S. John's Lateran, hence this church has precedence over all others. The Bishop of Rome is by right thereof Papa, Pope, or Father of the Roman Church. Since the death of the last bishop, Pius IX., February 20, 1878, the chair has been vacant; for some fanciful reason Leo XIII. has never taken possession of his bishopric.

_The Cloisters_ of the twelfth century are interesting, and contain many curious architectural remains.

Pope Leo XIII. intends to establish in the Lateran Palace a university, under Cardinal Mazzella, for the scientific and literary study of the clergy.

_Passing out into the piazza at the front, on the right are_

THE GATES,

PORTA S. GIOVANNI, opening on to the Via Nova Appia, _and near by, to the right_, the walled-up ancient PORTA ASINARIA, _best seen from the outside_, through which Belisarius entered Rome, and which the Isaurian guard betrayed to Totila, December 17, 546. The open we are now rambling over was anciently called the Mirror. _On the left_ is the end wall of the dining-hall of the ancient Palace of the Lateran, on which is a copy of an ancient mosaic of the time of Leo III. _In a building behind this is the_ SCALA SANTA.

BARRACKS OF THE EQUITES SINGULARES.

On the right of the Scala Santa, parallel with the Via Tasso, the Barracks of the Equites Singulares, or Horse Guards of the Emperors, of the time of Hadrian, were discovered in March 1886. A noble hall 90 feet long, containing many inscriptions, raised by the discharged veterans, was discovered; also fragments of statues, and one nearly perfect of the youthful Bacchus, a work that we may class with the school of Praxiteles.

THE SCALA SANTA

consists of twenty-eight marble steps, which, it is supposed, our Lord came down after his mock coronation in the judgment-hall of Pilate. The blood from his bleeding brow marked certain of the steps, and these are kissed by the ascending faithful, the knees of whom so wore away the marble that it is now covered with a wooden staircase, in which through slits the marble is seen. They are said to have been brought from Jerusalem (where it formed the stairs to Pilate's house) by the mother of Constantine. By ascending these stairs on the knees, a thousand years' indulgence is secured to those who believe it. Dickens said, "The sight was ridiculous in the absurd incidents inseparable from it--to see one man with an umbrella unlawfully hoist himself with it from stair to stair, and a demure old lady of fifty-five, looking back every now and then to assure herself that her legs were properly disposed." On the feast of the Assumption, the sacred picture "Acheirotopeton" (made without hands) is exposed to view. This picture is said to have been drawn in outline by S. Luke, and before he commenced to fill the colours in, it was found finished by invisible hands.

From the front of the church a charming prospect of the Campagna is obtained.

To the right of the stairs is the Kiss of Judas; on the left, Ecce Homo, by Giacometti. At the left of the hall, Christ Bound to the Pillar, _opposite_ Pius IX.

Martin Luther had made the ascent half-way, when he suddenly stood up, turned about, and walked down. He said that a voice had whispered to him, "The just shall live by faith." The Sancta Sanctorum at the top is only open to the Pope, who alone can officiate, and on the day before Palm Sunday to the canons of the Lateran for adoration. The stairs can only be ascended on the knees. _Behind is_

THE VILLA WOLKONSKY.

_Open on Wednesdays and Saturdays. Permission to be had at the Russian Consulate, Piazza Feoli Corso._

The grounds are tastefully laid out, and are intersected by the arches of Nero's aqueduct. From the roof of the casino, to which the gardener will conduct you (fee, half a franc), a beautiful view may be enjoyed at sunset, looking far away over the Campagna. In the grounds is the columbaria of the family of T. Claudius Vitalis, an architect.

_Returning, first turning on the left_, passing over the open space skirting under the walls, the curve is part of

THE AMPHITHEATRUM CASTRENSE,

(_Amphitheatre of the Camp_,)

of the time of Caligula, A.D. 39, and incorporated by Aurelian into his wall. It is of beautiful brickwork; the columns, of the Corinthian order, are best seen from outside the wall. It was built near the camp, that the soldiers might have their games without going into the city and mixing with the people.

Suetonius ("Caligula," xxxi.) says, "He began an amphitheatre near the septa or barracks of the soldiers." Dion Cassius records, "That on one occasion, when the Emperor Caligula was in want of criminals for combats, he seized a number of citizens, and after tearing out their tongues that they might not complain, he had them brought into the arena, where they were compelled to fight."

_Adjoining is the_

CHURCH OF S. CROCE IN GERUSALEMME,

erected by S. Helena. The interior has three aisles divided by pilasters, and with eight columns of Egyptian granite. The high altar is adorned by four columns of breccia-corallina, which support the canopy. Under the altar is an ancient urn, which contains the bodies of the holy martyrs Anastasio and Cesario. The frescoes of the vault of the tribune are by Pinturicchio. The subterranean chapel of S. Helena is decorated with paintings by Pomarancio, and with mosaics by B. Peruzzi. Ladies are not allowed to enter this chapel, except on the saint's day. The church was erected in

THE SESSORIUM PALACE,

which was built by Sextus Varius, father of Elagabalus. This was afterwards turned into the Palace of Helena, near which were her baths, remains of which exist in the adjoining vineyards; also of the reservoir; which remains are called by some the TEMPLE OF VENUS AND CUPID, from a statue found there. A Venus with Cupid at her feet, supposed to be the likeness of Salustia Barbia Orbiana, the wife of Alexander Severus, from an inscription on the pedestal saying that it was dedicated to Venus by one Salustia.

In the "Excerpta Valesiana de Odac" (lxix.) it is mentioned as "the palace called Sessorium." In the buildings at the _back_ of the church remains of a large palace can be traced. It is said by tradition that it took its name from a basilica which stood here where the cases of the slaves were tried. Another is, that here was the Prætorium or headquarters of the Prætorian prefect of the city. "It is said that Maximin, the prefect, had a small cord always suspended from a remote window of the Prætorium, the end of which had a loop which was easily drawn tight, by means of which he received secret information" (Marcellinus, xxviii. 7). The ruin to the left of the church has all the appearance of a basilica.

_Returning past the Lateran, a lane by the side of Mr. Warrington Wood's, via_ S. STEFANO ROTONDO, following the aqueduct, leads to the remarkable

CHURCH OF S. STEFANO ROTONDO,

supposed to be formed from the remains of

NERO'S MEAT-MARKET.

A coin representing this market agrees with the architecture of the church. "Then Nero celebrated a feast by way of thanksgiving for his preservation, and dedicated the market-place where meat is sold" (Dion Cassius).

The church is open all day on the 26th of December, being the saint's day. _On other days, ring the bell at the door on the right._ It is 133 feet in diameter. The outer circle consists of thirty-six columns, and the inner of twenty. There was originally another outer circle: this was destroyed, and the space between the columns of the second circle, present outer, filled in to make the walls of the church. In the centre two Corinthian columns support a cross wall. The tabernacle contains the relics of S. Stephen. The frescoes by Pomarancio on the walls, representing martyrdoms, are simply disgusting. In the vestibule is an ancient episcopal chair, from which S. Gregory read his fourth homily.

_Left from the church, and left again, we enter the_ PIAZZA DI NAVICELLA.

_In the piazza_ is a small marble ship, placed here by Leo X., near where it was found, this place having been the camp of the sailors. _The church opposite is that of_

S. MARIA DELLA NAVICELLA,

or S. Maria in Dominica, only open on the second Sunday in Lent. It was restored by Leo X. from designs by Raphael. The Doric portico is by Michael Angelo. It has eighteen fine columns of gray granite. The mosaics in the tribune are of the ninth century. The frieze over the windows of the nave is by Giulio Romano and Pierino.

_To the right of the church_ are remains of the Monastery of

S. TOMMASO IN FORMIS,

founded by Innocent III. as the headquarters of the Trinitarians or Redemptorists, whose mission was to rescue blacks and whites from slavery. The mosaic by Cosmati, A.D. 1260, is the coat of arms of the order. Just beyond is a Gothic arch, part of their buildings. _Beyond this_ the arch spanning the road is the

ARCH OF DOLABELLA AND SILANUS.

Built of travertine, and erected, as the inscription informs us, by the above consuls, A.D. 10. It was used by Nero to support the aqueduct to his reservoir. Here is the hermitage of S. Giovanni di Matha, 1213, who founded the Redemptorists.

_Through the arch on the left is the entrance to_

THE VILLA CŒLIMONTANA,

the residence of Baron Hoffmann, who kindly admits visitors on their leaving their cards at the iron gate. Many fragments of antiquity are spread about the grounds, from which there are some fine views. Remains have been found of a Roman fire-station of the fifth cohort of Vigili, whose names are on the pedestals dedicated by them to Marcus Aurelius.

THE OBELISK

was erected by Duke Mattei, but only a very small part of it is Egyptian. The fragment was found in making the present sloping way up to the Capitol, and presented by the magistrates to the duke. It is the only one not re-erected by a pope. It is said that when the architect was directing its elevation, he forgot to take his hand off the pedestal, and that the block was lowered on his hand, which was amputated, the hand being left between the blocks.

At the corner of the grounds, towards the Baths of Caracalla, under a medieval building, is the FOUNTAIN OF EGERIA. (See page 275.)

_Opposite the entrance to the villa is the_

CHURCH OF SS. GIOVANNI E PAOLO,

whence Cardinal Howard takes his title. It was erected in the fourth century on the site where the martyrdom of the above saints took place, by Pammachus, the friend of S. Jerome. They were officers of Constantine's household, and were put to death by Julian. The medieval portico is formed by eight marble and granite pillars. The aisles are formed by sixteen ancient columns; the pavement is of _opus Alexandrinum_; the stone surrounded by a railing is said to be that on which the martyrs suffered death. The outside of the medieval apse is rare.

_To the left of the church, and beneath the adjoining Passionist Convent_ (_ring at the door on the right_), are the remains of some solid unfinished stone arches, supposed to be

THE TEMPLE OF CLAUDIUS.

Seutonius tells us that Vespasian erected the Temple "of Claudius on the Cœlian Mount which had been begun by Agrippina, but almost entirely demolished by Nero."

Frontinus (xx. 76) tells us that the arches of Nero ended at the Temple of Claudius. Now we have been following these arches for some distance, and they end here.

_Below the temple was_

THE VIVARIUM,

or menagerie for the Colosseum. The arches have been laterally closed, leaving small apertures of communication. The vivarium consists of eight immense arches two stories high, formed from blocks of travertine. The substructions occupy a large extent of the convent gardens. A massive portion supports the elegant medieval campanile, of the thirteenth century, one of the best preserved in Rome. _Beneath this_ are some subterranean chambers hewn out of the tufa, supposed to be

THE SPOLIARIUM,

a prison for condemned gladiators. The younger Pliny says "it was a cruel receptacle for those adjudged worthy of torture."

The gardens of the convent are built upon the top of

THE RESERVOIR OF NERO.

Suetonius tells us "he made a reservoir like unto a sea," which no doubt was afterwards used to supply the Colosseum with water for the naval combats. The quadrata of the Cœlian is artificially formed, and was evidently the great nymphæum connected with the Golden House. The water was brought from the Claudian Aqueduct at the Porta Maggiore upon arches, known as Nero's Arches, which ended near the Temple of Claudius, and these arches end in the gardens now supported by the walls forming the quadrata. The niches and hemicyclia on the east side, with their channels of supply behind, were evidently fountains, and the west side was probably similar in character, some of the specuses still existing. The front towards the Colosseum formed a grand cascade, the water falling into the reservoirs, the ruins of which we see in advance of the north wall of the quadrata, and at a lower level; from these it poured into the great stagnum or lake below, now occupied by the Colosseum. Signor Alberto Cassio found specuses all around the top, and a euripus or channel at the base; and stalactites and _opus signinum_ can still be seen there.

_Turning to the right_ we pass under some medieval arches--flying buttresses--to support the church. _On the left_ are some remains of the house of Gregory; and, _on the right_, the wood of the Cœlian. _This hill was the ancient Clivus Scauri. To the left_ the steps lead up to

THE CHURCH OF S. GREGORIO,

whence Cardinal Manning takes his title. It is built on the site of the house of Gregory the Great, and was erected in the seventh century. Its interior is embellished with sixteen granite columns. The painting above the altar is by Sacchi, and the _predella_ beneath by Luca Signorelli. In a small side-chapel on the right is an ancient marble chair, and in a glass case numerous relics of various saints _Crossing the atrium_, in which is a monument to Sir Edward Carne, envoy from Henry VIII., _we come to_ the three detached chapels of--

S. SILVIA, which contains a beautiful fresco of the Father, with angels playing on instruments, by Guido Reni. It is built on the site of the house of S. Gregory, remains of which can be seen behind the chapel.

S. ANDREW, containing the rival frescoes of Guido Reni and Domenichino--S. Andrew adoring the cross on his way to execution, and the Flagellation of S. Andrew.

S. BARBARA, containing the marble table on which S. Gregory feasted every morning twelve poor pilgrims. On one occasion an angel is said to have honoured them with his presence. The statue of the saint was begun by Michael Angelo, and finished by his pupil, Niccolo Cordieri.

Between the church and the chapels is a massive piece of tufa wall, supposed to have been part of the fortifications of the Cœlian Hill when it was a separate fortress.

MUSEO URBINO.

In the wood in front of S. Gregorio, on the right going towards the Arch of Constantine, is the new City Museum, containing many objects of high historical interest arranged in chronological order.

FOOTNOTES:

[15] The inscriptions are translated and placed on the page to show their relative positions on the frescoes.

[16] See page 282.

RAMBLE V.

THE PINCIO -- THE FRENCH ACADEMY -- CHURCH OF TRINITA DEI
MONTI -- VIA SISTINA -- PIAZZA BARBERINI -- BARBERINI
GALLERY -- MONTE CAVALLO -- THE QUIRINAL PALACE -- THE
ROSPIGLIOSI PALACE -- COLONNA GARDENS -- CAPITOLIUM VETUS
-- TORRE DELLE MILIZIE -- VIA MAGNANAPOLI -- S. AGATA --
S. LORENZO IN PANE E PERNA -- THE HOUSE OF PUDENS, THE
BATHS OF NOVATUS, AND THE CHURCH OF S. PUDENZIANA -- SCENE
OF TULLIA'S IMPIETY -- BASILICA OF S. MARIA MAGGIORE --
CHURCH OF S. MARTINO -- SETTE SALE -- THE AUDITORIUM AND
GARDENS OF MÆCENAS -- ARCH OF GALLIENUS -- S. ANTONIO --
NYMPHÆUM OF ALEXANDER SEVERUS -- TOMBS OF MÆCENAS AND
HORACE -- BATHS OF GALLIENUS -- S. BIBIANA -- THE AGGER OF
SERVIUS TULLIUS -- THE PRÆTORIAN CAMP -- TEMPLE OF FORTUNA
PRIMIGENIA -- PIAZZA DI TERMINI -- BATHS OF DIOCLETIAN,
AND CHURCH OF S. MARIA DEGLI ANGELI -- VIA NAZIONALE -- S.
PAUL'S WITHIN THE WALLS -- FELICE FOUNTAIN -- THE NEW
MINISTRY OF FINANCE -- FLAVIAN TEMPLE -- THE UNFAITHFUL
VESTAL'S TOMB -- SALLUST'S VILLA -- VILLA LUDOVISI --
CHURCH AND CEMETERY OF THE CAPPUCCINI -- TABLE OF EGYPTIAN
OBELISKS IN ROME.

ON THE HILLS, EAST.

THE PINCIO.