YALE UNIVERSITY
LIBRARY

ROME.

A TOUR OF MANY DAYS.

BY SIR, GEORGE HEAD.

" Et quse tanta fuit Eomam tibi causa videndi ?
Libertas ! Qua sera, tamen respexit inertem." VlKGIL

IN THREE VOLUMES.— Vol.. II.

LONDON:
LONGMAN, BROWN, GEEEN, AND LONGMANS,
PATEENOSTEK ROW.
1849.

YALE

London ; Printed by William .Clowes and Sons, Stamford Street.

CONTENTS OF VOL. IL

CHAPTER VIII. Page
THE CAPITOLINE  1
Via di Marforio — Tomb of Bibulus — Monument of Claudian Family
— Capitoline Hill — Cordonata — Statues ou Balustrade, &c. —
Piazza di Campidoglio — Ancient Intermontium — Equestrian
Statue of Marcus Aurelius — Senator's Palace — Museum ; its
Portico, Quadrangle, Vestibule, Chambers 1 to 3, Staircase, Galleiy,
and Chambers 1 to 5 — Palazzo dei Conservatori : its Portico,
Quadrangle, Vestibule, Chambers of Protomotheka 1 to 8, 'Gallery,
Chambers 1 to 7, Chapel and Picture Gallery — A Public Ball in
the Chambers ofthe Conservatori — Temple of Jupiter Capitolinus
— Convent of Aracoeli — Charitable Monks — Ancient Tabularium
— Scalae Gemoniae — Tarpeian Eock — Palazzo Caffarelli — Ancient
Arx or Citadel — Temple of Jupiter Feretrius ¦ — Site of the Houses
of Bomulos, of Tatius, and of Manlius ; also of the Temple of Juno
Moneta and of the Calabra Curia — Ancient Eoads leading to the
summit of the CapitoUne — • Site of Via Sacra ; also of Arch of
Tiberius.
SECTION II.— Chdeches  • . . 44
S. Maria d' Aracoeli — Miracoloso Bambino — Ceremonies of the Pre
sepio Chapel — S. Giuseppe dei Falegnami — Shrine of S. Peter
and S. Paul — Mamertine and Tullian Dungeons.

CHAPTER IX.
THE PALATINE  62
Eoma Quadrata, First Portion : Orti Farnesiani — Casino Farnese —
Velia — House of Poplicola — Palace of Augustus ^ Temple of
Apollo — Baths of Livia — Palace and Bridge of Caligula — Site
of Palaces of Numa Pompilius and Tarquinius Priscus — Eeliques
of Arcadian Society. Second Portion : Vigna Palatina — Mr.
Mills's Villa — Garden of Adonis — Convent of S. Buenaventura.
Third Portion: Palazzo de' Cesari — Septizonium.
VOL. IL b

CONTENTS OF VOL. II.

CHAPTER X.
I'.4aE
THE FOEUMS, THE VELABEUM, AND CIECUS MAXIMUS . 75
FoKUM of Trajan : Ulpian Basilica — Column of Trajan — Colony of
Cats. FoRUM of Julius Caesar. Forum of Augustus. Forum of
Nerva : Arco de' Pantani — Teraple of Nerva — Temple of Pallas
— Torre de' Conti — Templum Telluris — Carinae — Pila Horatia
— Busta Gallica. Eoman Forum : Campo Vaccino — Wheel-
VFrights' Shops — ¦ Peasants — Carts and Oxen — Buffaloes —
Limits of Ancient Forum — Arch of Septimius Severus — Clivus
Sacer — Ludus literarius — Temple of Concord — Temple of
Jupiter Tonans — Temple of Fortune — Clivus Capitolinus —
Altar dedicated to the younger Faustina — Portico of Dii Majores
— Tunnel — Drains — Site of Temple of Mars Ultor — of the
Shops of the Forum — of Temple of Janus — of Saturn — of Secre
tarium Senatus, and of Basilica Emilia — also of the Basilicas of
Paulus Emilius, Julia, Fulvia, Portia, and Sempronia — Temple of
Antoninus and Faustina — Via Sacra — Site of Arch of Fabius —
Temple of Eomulus and Eemus — Oratory of Fratelli di Saccone
Neri — Nondescript ruins — Paved road across Campo Vaccino —
Basilica of Constantine, formerly the Temple of Peace — Euins of
Nero's Golden House — Temple of Venus and Eome — Remains
of Via Sacra — Arch of Titus — Greeostasis — Curia Hostilia —
Comitium — Site of Eostra — Column of Phocas — Tunnel — Site
of Column of Caius Mosnius — also of a Column dedicated to Julius
Csesar, and of a Column to Claudius Gothicus — also of the Columna
Miliaria. The Velabrum — Site of Lacus Curtius — also of Bridge
of Caligula — also of the Temple of Vesta — Limits of the Eoman
Forum — Site of Ficus Euminalis • — also of Temple of Castor and
Pollux — also of Palace of Numa Pompilius — also of House of
Eomulus — also of Lupercal — Fable of the She- wolf — Lupercalia
— Horrea Aniceti — Site of Altar of Saturn — of Temple of Vulcan
— of Temple of Jupiter Stator, and of Temples to the Sun and
Moon, dedicated by Tatius, &c. Forum Boarium: Site of Ara
Maxima — also of Hercules Victor ^ also of the Statue of the Cow
of Myron — Arch of Janus Quadrifrons — Arch of Septimius
Severus in velabro — Acqua di S. Georgio — Maranna or Acqua
Crabra — Cloaca Maxima. Circus Maximus : Ancient Circensian
Games — Site of Temples of Ceres, of Proserpine, and of Bacchus
— Piazza della Bocca della Verity — Place of Public Execution —
Administration of Criminal Law — Two men guillotined — Temple
of Vesta — Temple of Fortuna Virilis — Ancient Pons Palatinus,
now Ponte Eotto — Pulchrum Littus — Origin of Isola Tiberina —
House of Eienzi — Peripatetic Lectures. Forum Olitorium — Site
of Temples of Piety, of Hope, and of Juno Matuta — Fable ofthe
Eoman Daughter. Forum Ciipedinis. Forum Piscatorium.

CONTENTS OF VOL.' II. v
y Paob
SECTION II.— Churches  155
S. Martina or S. Luca — S. .Vdriano — S. Lorenzo in Miranda — S.S.
Cosmo e Damiano — Santa Francesca Eomana — S. Maria Libera
trice — S. Teodoro — Oratory and Cemetery of Fratelli di Saccone
bianci Scalci — S. Anastasia — S. Giorgio in Velabro — S. Giovanni
decollato — S. Eligio — S. Maria della Consolazione — S. Maria
Egiziaca — S. Nicolao in Carcere.

CHAPTER XI.
THE CCELIAN  189
Jleta Sudans — Colossal Statue of Nero — Colosseum — Arch of Con
stantino — Ascent of the Hill — Convent of Passionites — Convent
Garden — Mvarium — Macellum Magnum — Arch of Dolabella —
Eemains of Xeronian Aqueduct — Piazza di Navicella • — Convergent
Eoads — Site of Castra Peregrina, &c. — Nymphajum of Nero —
Villa Mattei — Don Manoel Godoy — Obelisk — Casino — Site of
Piscina publica — Ancient Porta Jletronis — Porta di S. Giovanni
— .\ncient Porta Asinaria — Lateran Palace — Piazza di S. Giovanni
— Convergent Eoads — Egyptian Obelisk.
SECTION IL— Chubches  228
S. Gregorio — Detached Chapels of Santa Silvia, of S. Andrew, and of
Santa Barbara — S.S. Giovanni e Paolo — S. Maria in Dominica, or
della Navicella — S. Stefano Rotondo — Basilica of S. John Lateran
— Baptistery of Constantine — S.S. Quatro Coronati.

CHAPTER XIT.
THE ESQUILINE  287
Triclmium Leonianum and Scala Santa — The Scala Santa — The reno
vated Triclinium — Baths of Titus — The Neronian Chambers —
The Hemicycle — Sette Sale — Palace of Titus — Vigna de' Freddis
— Baths of Trajan — Ancient Suburra — Vicus Sceleratus — Arch
of GaUienus — Ancient Plebeian Burying-place — Ancient Column
of the Basilica of Constantine — Column of Henry IV. of France —
His Abjuration of Protestantism — Benediction of Animals — Trofei
di Mario — Temple of Minerva Medica — Remains of Aqueducts —
Columbarium of Lucius Arruntius — Columbarium of Plebeian
Families — • Bifurcation of the ancient Via Labicana and Via Prae
nestina — Porta Maggiore — Ancient Aqueducts — Included in City
Wall by Honorius — Baker's Tomb — Ancient Inscription of Ho
norius — Remains of Anio Vetus — Porta di S. Lorenzo — Amphi
theatrum Castrense — Neronian Aqueduct — Horti Variani —
Temple of Venus and Cupid — Site of Baths of S. Helena — Forti
fications ofthe City Wall belonging to Fifth Century.

'vi CONTENTS OF VOL. II. Page
SECTION II.— Churches  ^^^
S. Clemente — Basilica of the Holy Cross — S. Eusebio — S. Bibiana —
S. Antonio Abbate — Basilica of S. Maria Maggiore — S. Prassede
— S. Martino — S. Pietro in Vincoli — Madonna dei Monti.

CHAPTER XIII.
THE AVENTINE  393
Aventine Proper and PsEUDO-Aventine — Pomoerium — Eienzi's de
finition of it -^ Pons Sublicius — Marmorata — Pulchrum Littus
— Ripa Graeca — Ripa Romaea — Removal of a heavy Block of
Marble — Ancient Navalia — Monte Testaccio — Arch of S. La
zarus — Eomitorio or Hermitage — Den of Cacus — Bastion of
Paul III. — Bastione di Sangallo — Porta di S. Paolo — Baths of
Caracalla — Valley of Egeria — Site of ancient Porta Capena —
also of Temples of Honour and Virtue — also of Temple of Mars —
Monte d'Oro — Bifurcation of Via Appia and Via Latina — Arch
of Drusus — Gate of S. Sebastian — Porta Latina — Remains of an
ancient Columbarium between Gate of S. Sebastian and Arch of
Drusus — Tomb of the Scipios — Columbarium of Freedmen
of Augustus — Sarcophagus of Terra Cotta — Liapis Assius — An
cient Funeral Rites — Columbarium discovered in 1840 — Central
Portion of the Aventine — Jews' Burial-ground — Site of Temple
of Juno Regina — Site of Burial-place of Tatius — Site of ancient
Armilustrnm — Casino of the Cardinal Lambruschini — Site of
Temple of Dea Bona — Divorce of Pompeia by Julius Caesar —
Casino of Pope Honorius III. — Jesuits' Vineyard — Site of Temple
of Diana — Inscription on Column in ancient Ionic characters —
Site of House of Licinius Sura — Euins of Claudius's Aqueduct —
Site of Palace of Trajan — Ancient Brick Tower.
SECTION II.— Churches  431
S. Maria in Cosmedin — Bocca della VeritS, — Superstition of Dark Ages
— Santa Anna — S. Sabina — S. Alessio — History of S. Alexis its
titular Saint — .S. Maria Aventina, or del Priorato  S. Prisca 
S. Saba — S. Balbina — S.S. Nereo ed Achilleo — S. Cesareo in
Palatio — S. Giovanni a Porta Latina

TOUR U MODERN ROME,
&C. IfC.

CHAPTEE VIIL
The Capitoline.

On approaching the Capitoline Hill by the Corso and the
Via di Ripresa de' Barberi, and crossing the intersecting streets,
the Via di S. Marco and the Via delle Petacchie, the tho
roughfare is continued from the latter point of intersection by
the Va di Marforio, which maintains, with a slight inflexion, the
same southern direction over the eastern shoulder of the Capi
toline into the Roman Forum. The Via di Marforio owes its
title to the forum of Augustus, supposed to have been situated
immediately at its southem extremity ; since, as the name of
Mars was applied to Augustus hyperbolically, the terms Forum
Martis and Forum Augusti were considered synonymous.
Immediately within the entrance of the Via di Marforio, on
the eastem side of the street, is situated one of the most inte
resting monuments belonging to the period of the Republic
existing at the present day in Rome, a tomb dedicated to the
aedile Caius Publicius Bibulus by the senate and Roman
people, though the facade, being identical with the houses in
the narrow dirty street, and its flanks and rear on the north,
south, and east hemmed in and concealed by buildings, one
might very possibly, even with the express intention of seeking
the object, pass by half-a-dozen times without observing it.
The ruin in question, ofwhich the lower portion, 14 or 15 feet,
perhaps, lies below the modem level, is in breadth about 14
feet, and about 14 feet in height ; the upper and visible portion,
VOL. II. B

A TOUE IN MODEEN EOME. [Chap.

VIII.

comprising exclusively the higher order of the structure, con
sisting of a niche or portal between two pairs of Doric pilasters,
which diminish upwards in the ancient Etruscan style, in an
over proportion, and are surmounted by a considerable portion
of the frieze and architrave. The structure is composed of enor
mous squared blocks of travertine, on one ofwhich, in the
centre, above the portal, the whole of the origmal dedication of
the Roman senate, distinctly cut in large capital letters, appears
perfectly legible. The position of the tomb of Bibulus is no less
interesting than the monument itself ; for, as it was necessarily
built outside the walls, according to the laws of the Twelve
Tables, and is known to have stood close to the ancient Porta
Ratumena, it thus serves to indicate, pretty nearly, one important
point in the periphery of the walls of Servius Tullius.
A few paces only beyond the tomb of Bibulus, on the oppo
site side of the way, are other remains, supposed to be of a
tomb belonging to the Claudian family ; consisting, however, of
nothing more, as far as I could perceive, than a considerable
mass of ancient brickwork among the substructure of the
houses. The Via di Marforio is evidently the continuation of
the ancient thoroughfare by which the Flaminian Way, after
passing through the ancient Porta Ratumena, was continued
along the base of the Capitoline Hill, and thence to the Appian
Way between the Coelian and the Aventine, along a route
embellished, in the time of the Empire, by the triumphal arches
of Marcus Aurelius, Claudius, Gordian, Septimius Severus,
Titus, Constantine, and Drusus. It rises by a very gentle
ascent, and descending again by a similar declination into the
forum, is at present bounded on both sides by houses of the
most inferior description, skirting, at its comraencement, the
base of the elevation once occupied by the Temple of Jupiter
Capitolinus, now the church of Aracceli. Upon the summit of
the elevation, and thence along the declivity to the forum-, may
be observed, appropriated as building material in the modern
houses, numerous fragments of ancient buildings, such as
squared blocks of travertino, pieces of entablatures, and broken
columns, one or two of which latter appear never to have been
removed from Iheir original position, all embedded at random
here and there in the brickwork. And also near the bottom,
towards the forum, are several vaulted cellars supported on

Chap. VIIL] THE C.VPITOLINE. 3
brick arches which seem to have served as the substructure of
more ancient edifices, and are worthy of being explored if it
were practicable. But the apertures, for the most part, not-
withstandmg that the interior of the chambers is vacant, are
rendered inaccessible by the soil suflered to accumulate through
the neglect of the owners.
At the bottom ofthe descent, the site of the forum of Augustus,
as above stated, the colossal statue of the Ocean, now preserved
in the quadrangle of the Museum of the Capitol, and known
consequently by the title " Marforio," was discovered.
The Capitoline hill, in form an oval, of which the long
diameter lies in the direction from north-east to south-west, is
stated to be 4400 ancient Roman feet in circumference, and
really of so small dimensions contrasted with a period of
upwards of a thousand years comprised by its ancient history,
and the multitude of buildings erected in successive generations,
to be identified with the spot, that the appearance is calcu- ,
lated, on viewing it for the first time, to fall very far short of
previous expectation. The periphery is, hi fact, about three-
quarters of an English mile, as nearly as may be, according to
an actual experiment that I made of walking round it ; which
distance, moving gently and steadily along, at a rate certainly
not exceeding three miles an hour, I performed precisely in
nineteen minutes, notwithstanding considerable obstructions
encountered in the line of narrow streets, laid down in the in
troductory chapter as the boundary of the Capitoline, which I
was obliged to pass through. The portion of this boundary,
from a point in the Via delle Petacchie, close to the tomb of
Bibulus, along the Via di Torre de' Specchi to the Piazza
Montanara, may probably be considered a little on the outside
of the real line of Servius TuUius's enclosure, which, from the
ancient Porta Collina on the Esquiline, led by a somewhat
irregular course iu a south-west direction to a point somewhat
below the Fabrician bridge, now the Ponte de Quatro Capi.
Within the short space between the Porta Ratumena and the
Tiber, for the sake probably of convenient communication with
the Campus Martius, were no less than three other ancient
gates — the Carmentalis, the Triumphalis, and the Flumentana.
The principal approach to the modem piazza constructed on
the summit of the Capitoline hill, and distinguished by the
B 2

4 A TOUE IN MODEEN EOME. [Chap. Vlll.
barbarous title of the Piazza di Campidoglio, is by the Via di
AracoeU, leading from north-west to south-east in a direction
corresponding with the lesser diameter of the oval. The
entrance, constructed by Michael Angelo, under the auspices
of Paul III., is by a species of artificial ascent, called by the
Italians, " Cordonata," consisting of a series of very gently
inclined planes, paved with brick and divided by ribs of traver
tino, rising about six inches perpendicularly. The Cordonata
is flanked by a balustrade of travertino, solid to the summit,
and thence extending in wings above the scarped wall to the
right and left, with balusters and a cornice, on which are
planted several objects of ancient art in a conspicuous position.
From below, diverging at a small angle on the left hand of
the Cordonata, a flight of 124 steps lead to an elevated point
or knoll several feet higher than the Piazza di Campidoglio,
occupied formerly by the temple of Jupiter Capitolinus, now
by the church of S. Maria d' Aracoeli; and on the right
hand of the Cordonata a circuitous carriage-road leads to the
Piazza di Campidoglio, whence, on the side opposite the church
of Aracoeli, rises another similar elevated point or knoll, occu
pied formerly, on the side towards the entrance, by the arx or
citadel, and on the other side towards the forum identical with
the summit of the Tarpeian Rock.
In addition to the objects above referred to, upon the balus
trade, at the summit of the Cordonata, there are also planted
on pedestals at the bottom a pair of lionesses of black granite,
of Egyptian sculpture, supposed to be the most ancient of
any sculptured objects in Rome, with the exception of the
obelisks. Both together were found near the church of S. Stefano
del Cacco, in the Campus Martius, not far from the site of the
ancient temple of Serapis, to which they are supposed to have
belonged. When found, they were placed in front of the-
church above mentioned, from whence they were removed to
their present position by Pius IV. in the year 1560. Each
lioness, planted in a couchant attitude fronting the spectator
discharges from its mouth a single and very meagre jet of water
into a basin below, which contrivance deteriorates the effect of
the object very considerably. The material, of which the dark
ground is blotched with red in various places, on the backs of
the statues especially, is considered of singular quality.

Chap. VIIL] THE CAPITOLINE. 5
At the summit of the Cordonata, placed on pedestals in a
position corresponding with the lionesses at the bottom, are a
pair of sculptured groups of Castor and Pollux, each repre
sented with a horse, as they are said to have appeared to the
Romans while watering tlieir perspiring steeds at the fountain
of Juturna, at the base of the Palatine, whither they brought
tidings of the victory over the Tarquins at the Lake RegiUus.
Both groups were discovered about the year 1580, in the reign
of Pius IV., in the square of the Jews' synagogue in the Ghetto,
not very far from the spot where the temple erected to Castor
and Pollux, in consequence of the above apparition, is sup
posed to have been situated ; and both were removed hither
by Gregory XIII. about twenty years after the discovery.
The statues are of very ordinary execution ; and were it not
that all are of the same descriptiou of Pentelic marble, one
would think the men and horses were never intended to stand
together — such is the disproportion of the colossal youths to
the small size of the horses, which would seem thoroughly
incapable of bearing such riders. At any rate, the objects are
by no means calculated for their prominent position, and were
evidently intended by the sculptor to be placed their backs to
the wall ; and the backs of the men are unfinished accordingl y,
composed of rough blocks of marble, of which the gaping
joints are clumsily held together by iron clamps or rivets.
The next pair of objects planted on the wings of the balus
trade, flanking the men and horses, are two similar groups of
ancient trophies, commonly known by the title of the " Tro
phies of Marius," discovered on the Esquiline near S. Maria
Maggiore, and transported hither about the year 1590 by
Sixtus v., from a ruin supposed to have been a fountain in the
time of the Empire ; which ruin, in consequence of the objects
belonging to it, is called Trofei di Mario, notwithstanding that
the groups, originally supposed to have been dedicated during
the Republic to Marius on account of his victories over the
Teutones and the Cimbri, are now considered to bear no
relation to Marius whatever. On the contrary, from the in
ferior style of the sculpture, they are attributed to the period
of the structure above mentioned, which, as is supposed, owes
its origin to Septimius Severus. The trophies are, however,
undoubtedly an interesting specimen, the only one in Rome I

6 A TOUE IN MODEEN ROME. [Chap. VIII.
know of, of the manner in which the ancients were used to
group together such triumphal monuments. Both, elevated on
their respective pedestals, consist of a similar assortment of
warlike implements, including cuirass, shield, &c., arranged
as if suspended all together on the trunk of a tree, and sur
rounded by three small winged figures of Fame.
The next pair of objects planted on the balustrade, and
flanking the preceding, are marble statues of Constantine and of
his son, both discovered in the baths of Constantine on the Qui
rinale, and placed by Sixtus V. in their present position. Both
are full-length figures, and similar in attitude and drapery.
Finally, the pair of objects which terminate the range upon
the balustrade are a pair of columns — one an original, and the
other a copy, of the columna miliaria, or milestone, which in
the first century of the Empire marked the first mile from Rome
on the Appian Way. The original, the one on the right-hand
or western side, found in the year 1584 near the spot in ques
tion, in a vineyard called the Vigna Naro, is in the most per
fect state of preservation, about eight feet in height, and bears
on the shaft two inscriptions, one of Vespasian and the other
of Nerva, both engraved in Roraan capital letters, and quite
legible ; and the Roman numeral I., which marked the distance,
is between the inscriptions. Upon the summit is placed a sphere
of bronze, forraerly held in the hand of the statue of Trajan
which stood originally on the summit of the coluran in his forura,
and is supposed by some to have contained the ashes of the
emperor, though others assert that Trajan's remains were depo
sited below in a sepulchral chamber. The custom in Rome,
however, of thus placing together objects bearing no reference
to each other is by no means singular, and especially in the
halls of the Vatican, where the assortment of statues with
their pedestals is made with little discrimination, and altars
and cippi frequently are compelled to serve the purpose of the
latter. The column on the eastern side of the balustrade,
raade in iraitation of the preceding, is precisely similar in
form, but without the inscription, and the sphere by which it is
surmounted, instead of bronze, is of marble.
The Piazza di Campidoglio, immediately at the top of the
Cordonata, on the summit of the Capitoline, situated between
the two elevated points or knolls occupied by the citadel and

Chap. VIIL] THE CAPITOLINE. 7
the temple of Jupiter Capitolinus above referred to, is the
precise spot where Romulus built his asylum, constructed with
a view of increasing the nuniber of his subjects by attracting
fiigitives from the neighbouring states, to be received as Roman
citizens without being called upon to give any account at all of
their character or history. The ground on account of its posi
tion between tlie two knolls, was dignified by the ancients with
the title of a valley called " Intermontium," a term by which its
magnitude is overrated, as it is by the modern name Piazza.
The area, in fact, the size of one of our small inns of court,
or thereabouts, has no further claim to the rank of a square,
according to the usual acceptation of the terra, than its form,
which, if not a perfect square, is nearly so. The three sides,
however, about eighty or ninety yards in length, are bounded
by public buildings ; and it contains, in addition to a fountain
at the extremity, opposite the Cordonata, the bronze colossal
equestrian statue of Marcus Aurelius in the centre — an object
well knowTi by the infinite number of miniature copies in circu
lation all over Europe. This statue, said to be the only large-
sized equestrian statue belonging to ancient Rome in existence,
lay neglected for a long period during the middle ages near
S. John Lateran, where Sixtus IV., about the year 1480,
caused it to be erected in the piazza adjacent. Thence Michael
Angelo transported it hither, under the auspices of Paul IIL,
and constructed its pedestal from a single block of marble, a
portion of an ancient cornice found in the forum of Nerva.
The figures of the man and horse are in excellent preserva
tion, though the gilding with which both were originally covered
has almost entirely disappeared, with the exception of a few
patches here and there, sufficient to serve as a specimen.
With reference to a comparison of the costume of the ancients
with that of the present day, it may be remarked that the soles
of the sandals of Marcus Aurelius are cut for the right and
left feet in the modern style, and that the buckle of the horse's
girth is precisely such as is now used by the muleteers of
Spain to tighten _ their cargoes. The buskins also, with the
ancient manner of involution of the thongs, are a perfect repre
sentation. The group, however, as regards general effect, is
lost altogether ; and, in fact, is hardly seen at all, until, having
ascended the Cordonata, the man and horse appear within a few

8 A TOUR IN MODEEN EOME. [Chap. VIII.
yards of the spectator. So that, as the statues of Castor and
Pollux, whose hinder portion is unfinished as before stated,
are planted tuming their backs to the equestrian figure, the
attitude of the latter, represented with upraised right arm in
the act of acknowledging the acclamations of the Roman
people, would rather seem directed to the uncouth objects in
front, as if, with authoritative gesture, he were bidding them
to depart from the iraperial presence.
The public buildings which bound the piazza, assuming the
cardinal points for the sake of facility of description, are, on
the southern side, which in reality faces north-west as near as
may be, opposite the entrance, the Palace of the Senator ; on
the western side, the Palace of the Conservatori ; and on the
eastern side, the Museura. The northern side is entirely occu
pied by the balustrade and the Cordonata.
The Senator's Palace was built at the end of the fourteenth
or the beginning of the fifteenth century, by Boniface IX.,
upon the ruins of the Tabularium, which forms a magnificent
substructure, and is one of the finest specimens in existence of
the solid Etruscan style of masonry adopted by the Republic.
The Roman senate, re-established subsequent to the revolution
of the twelfth century, consisted then of fifty-six senators ; but
being afterwards abolished in the thirteenth century, the
authority was centred in the person of Charles of Anjou,
who, in addition to the office of senator, with which he was
invested by the Pope, received the crown of Naples, and
accordingly took the oath of allegiance on passing through
Rorae on his way thither. Charles of Anjou, however, was
speedily compelled to abdicate the office, in consequence of
the election of senator being made triennial ; and finally, a
bull was issued by Nicholas IIL, disqualifying emperors, kings,
princes, and all other persons of high rank, and establishing an
annual election. Martin IV., however, the successor of Nicholas
IIL, repealed the act of prohibition in his own favour, and
contrived, under the form of an election, to be appointed by
the Roman people senator for his lifetime, after the manner by
which the sovereign was invested with the tribunitian power
in the days of the Erapire. The last prince or potentate
elected to the office was the Eraperor Lewis of Bavaria
about fifty years afterwards, since which time a senator has

Chap. VIIL] THE CAPITOLINE. 9
regularly been chosen, as at present, from among thc Roman
aristocracy. The Senator's Palace in question is not only raised upon the
solid foundation of the Tabularium, but extended upwards like
a fortress, by the appendage of a lofty squai-e brick tower,
crowned with a small statue of a female in the guise of
Minerva, tlie personification of Christianized Rome, or " Roma
Christiana." The figure, standing erect and supporting a
cross, a conspicuous object the whole length of the Corso, is
said to be 290 feet 6 inches, French measure, above the level
of the sea, which measurement, in addition to the height of
the tower, includes, of course, the very moderate elevation of
the Capitoline. The palace, however, with its tower, an iso
lated structure in the days of Boniface IX., was, no doubt,
then an object better corresponding with the character of the
spot than the other more modernized elevations that form the
eastem and western sides of the piazza. The faqade consists
of a rustic basement at the bottom, comprising the lower story,
to which there is no entrance otherwise than by a double -
branched flight of steps that lead to the first story. The first
and second stories are faced with Corinthian pilasters, which
support an entablature crowned with a balustrade, and on the
cornice of the balustrade are planted a row of statues.
Between the branches of the steps, within a considerable
area enclosed by a balustrade, is a fountain, and in the wall in
the rear a niche, containing a .statue of Minerva, flanked by a
pair of river gods on pedestals. The central statue, found, it
is said, close to an ancient altar of Minerva at Cora, is con
sidered by many people a modem performance, intended for
Boma Triumphans ; and, at all events, of very inferior execu
tion, better calculated for the figure head of a ship than its
present position. The statue, badly proportioned, the arras
especially much too large for the body, seated in a stiff, un
graceful attitude, with a shield on the left arm, the right
hand supporting a spear, of which the shaft rests on the
ground perpendicularly, and of diminutive size compared with
the colossal flanking figures, is formed of white marble, with
drapery of porphyry.
The flanking colossal statues, both of white marble, and in a
recumbent attitude, one representing the Nile, and the other

10 A TOUR IN MODEEN ROME. [Chap. VIIL
the Tiber, were found in the Colonna gardens, among the rums
of the baths of Constantine.
From the suramit of the tower is to be had a most complete
and extensive view of Rorae and all the neighbourhood, though
little or nothing interesting is to be seen in the apartments,
which, after ascending the double-branched flight of steps, lie
on the first story. In the largest of the suite of three rooms,
however, where the Senator of Rorae and the judges of the
tribunal hold their sittings, are marble statues of Charles of
Anjou, dressed in the habit of a Roman senator, of Paul IIL,
and of Gregory XIII. Annexed to these rooras, upon the
western flank of the building, are the prisons, here, like the
Mamertine prisons in the days of the Republic, close to the seat
of judgraent. The Museum, or Museo Capitoline, which bounds the eastem
side of the piazza, at present the next in rank, though very far
inferior to the museum of the Vatican, was erected by Michael
Angelo, under the auspices of Paul IIL, as before stated, but
not appropriated to the purposes of a museum until the year
1735, or thereabouts ; since which period it has been enriched
hy Clement XII. and his successors, including Benedict XIV.,
Clement XIIL, and especially Pius VIL The faqade, com
prising two stories, is crowned with a balustrade, on which are
planted a row of statues ; and, as regards the lower portion, is
faced by eight broad Corinthian pilasters, in the intercolumnia
tions of which are seven entrances by rectangular apertures
into a portico. The museum is open to the public gratis for
four hours on Mondays and Thursdays, frora the fourteenth to
the twenty-third hour Roraan time, and on any other week-day
also, with rare exceptions, on paying a fee of a couple of pauls
to the custode. The central aperture of the portico leads
through a parallel covered vestibule or corridor into a small
open quadrangle, where, in the open air, are preserved several
objects of antiquity, some of which are planted on the ground,
and others, such as bass-reliefs, &c., engrafted on the walls of
the enclosure.
The most conspicuous of the whole collection, for its size and
position, is the colossal statue of the Ocean, in a recumbent
attitude, called " Marforio," of which the history was given in
the beginning of this chapter. It is formed of white marble.

Chap. VIIL] THE CAPITOLINE. 11
and is placed close to the wall upon a pedestal opposite the
entrance to the quadrangle.
Close, on both sides of the JNIarforio, are a pair of very finely
sculptiu'ed ancient pedestals, terminating at the upper part in
satyrs, to servo as Atlantldes. Both were found together near
the Theatre of Porapey, in a small piazza, called in consequence
the " Piazza de' Satiri," and were preserved for a considerable
period afterwards in the Palazzo Vaile.
Upon the south wall are engrafted several ancient sepulchral
inscriptions of the praetorian guard, found in a vineyard outside
the Porta Salaria, called the " Vigna del Cinque," and sup
posed to be the site of their cemetery. Here also is engrafted
a bass-relief representing the consular _/asces ; and below, upon
the groimd, is placed a sarcophagus of white marble, sculp
tured in bass-relief, which was found in the catacorabs.
On the northern side of the quadrangle, opposite the pre
ceding, there is another similar sarcophagus, also found in the
catacombs. Like the other, it is ornamented with bass-relief
of ordinary execution, but affords an interesting representation
of the ancient Roman mode of stag or boar-hunting. In the
stag-hunt especially, sculptured on the border or frieze, men
armed with spears appear to be driving the stag towards a large
and lofty net erected across the whole breadth of the road.
The vestibule above referred to, parallel to the portico,
serving as an approach to the apartments on the ground floor,
and to the staircase leading to the upper apartments, contains
a considerable assortment of statues and other ancient objects,
of which the principal, beginning with those on the north side
of the entrance, are a marble torso, above the natural size,
found at Bevagna, near Foligno. A colossal statue of Minerva,
found in the walls of Rome near the gate of S. John Lateran,
and, being embedded in the raasonry, supposed to have been
buried there from a superstitious faith in her protection as a
tutelary deity. Four consular fasces in bass-relief. A pedestal,
ornamented on its face with a bass-relief representing a pro
vince of Rome, found with several others near the Piazza di
Pietra, and supposed to have belonged to the Forum of Anto
ninus Pius. The fragment of a statue of a captive king in
pavonazzetto, formerly belonging to the arch of Constantine.
And, lastly, the following curious testamentary inscription of

12 A TOUR IN MODEEN EOME. [Chap. Vlll.
Caius Cestius, found near his raausoleum, and relating espe
cially to the proceeds of the " Attalici," or valuable household
tapestry of the testator. It is engraved in duphcate on two
blocks of marble, one on one side the vestibule, and the other
on the other side :— " M. Valerius Messalla Corvinus, P. Ru-
tihus Lupus, Lucius Julius Silanus, Pontius Mela, D. Marius
Niger, haeredes Caii Cestii, et L. Cestius, quae ex parte ad
eum fratris haereditas M. Agrippae munere pervenit, ex ea
pecunia, quam pro suis partibus recipere ex venditione atta-
licor. quae eis per edictum edilis in sepulchrum C. Cesti ex
testamento ejus inferre non licuit."
The objects on the south side of the entrance are two statues
of Diana, one colossal, and of ordinary sculpture, and the other
admired especially on account of the drapery. A group, con
sisting of a colossal statue of Polyphemus represented about to
devour the companions of Ulysses. A statue of the Emperor
Adrian, dressed in his pontifical robes, at a sacrifice, found on
the Coelian, near the church of S. Stefano Rotondo. And a
colossal statue of Mars, in full armour, of which the cuirass
especially is very beautifully wrought in bass-relief. The latter
was found on the Aventine.
At the south extremity of the vestibule, on the left-hand side,
is the staircase leading to the first story ; and on the right-hand
side opposite is the door of the first of the suite of ground-floor
apartments, which are three in number. Of these the first is
the Chamber of Canopus, so called from having been originally
appropriated by Benedict XIV. to the reception of objects of
Egyptian sculpture ; principally, however, copies of the Egyp
tian style sculptured in the time of Adrian, and found in his
villa at Tivoli. The greater proportion are now in the
Egyptian Museum in the Vatican, whither they were removed
when the latter was subsequently established by Pius VII. A
sufficient number, however, remain to preserve the original
character of the chamber.
The second chamber, communicating immediately with the
above en suite, by an open portal, is called the Chamber of In
scriptions, and contains, accordingly, a collection of imperial
and consular inscriptions on marble and terra cotta amounting
in number to 122, and coraprising a period of 365 years of
the Roman empire, from Tiberius to Theodosius. All these

Chap. VIIL] THE CAPITOLINE. 13
inscriptions are engrafted on the walls in chronological order.
In this chamber there is also to be observed an ancient altar
of Pentehc marble, found in the middle of the last century at
Albano, on the Ud of which the labours of Hercules are sculp
tured, in the best eai-ly Grecian style, in bass-relief. Also
tiie sepulchral mai-ble cippus of T. Statilius Aper, remarkable
for a correct representation of the implements used by an
ancient Roman architect or measurer of the public buildings ;
such as compasses, a trowel, plummet, &c., and especially a
graduated scale of the Roman foot, represented by a line of
sixteen divisions, in length altogether, as nearly as I could
ascertain by an ordinary measuring tape, 11| inches.
The third chamber, communicating with the preceding en
suite, is called the Chamber of the Sarcophagus, in consequence
of the marble sarcophagus discovered three railes from Rome
on the road to Frascati, the ancient Tusculum, and remark
able for containing the celebrated Portland Vase at the time
of its discovery. The sarcophagus, at first erroneously sup
posed to have contained the remains |of Alexander Severus
and Mammea his mother, is in length 9 feet 9 5 inches, in
breadth 3 feet 9 inches, and in height, including the lid, 4
feet 3 inches, and its sides are sculptured in superior style
in bass-reUef, representing groups of figures taken frora Ho
mer's ' Ihad.' The vase in question, previously to being pur
chased by the Duke of Portland, was called the Barberini
Vase, from the family name of its first possessors. Besides
the sarcophagus, a pair of white marble statuettes, both in
a seated attitude, one of Jupiter and the other of Pluto, which
were found some years ago in the baths of Titus, are contained
in this chamber. Also engrafted ou the wall is an ancient Pal-
myrene bass-relief, bearing an inscription in Greek and Syriac
characters ; and a representation of the sun, the moon, and
of an Archi-Gallus, or priest of the Syrian goddess, or Cybele.
It was found at Civita Lavinia, the ancient Lanuvlum, one of
the confederated cities of Latium founded by Diomed. Also
a mosaic found at Antium, representing Hercules in female
attire at the court of Omphale. And, finally, a circular disc,
about four feet in diameter, brought hither from the church of
Aracceli, and which very probably belonged originally to the
temple of Jupiter Capitolinus. The central portion is a circular

14 A TOUE IN MODEEN EOME. [Chap. VIII.
tablet of porphyry, surrounded by a double band or rim, the
first of mosaic, and the other of white marble, on which latter
groups of figures relating to the deeds of Achilles, taken from
the ' Iliad,' are sculptured very roughly in bass-relief.
The staircase on the eastern side of the vestibule, opposite
the Chamber of Canopus, leads in two flights to the apartments
on the first floor ; and here, engrafted upon the wall the whole
way along both flights, are to be observed the celebrated col
lection of fragments called " Pianta Capitolina," belonging to
an ancient ground-plan of various public buildings. These
drawings, engraved on marble and supposed to be of the period
of Septimius Severus or Caracalla, were found in the crypt of
the church of S. Cosmo e Damiano, identical with the Temple
of Romulus and Remus in the Roman Forum. Every diagram
is delineated with perfect accuracy, and derives a peculiar in
terest from being traced by the hand of the artist who saw the
buildings in a state of perfection. The principal edifices re
presented are the Baths of Titus and of Sura ; the Emilian,
Julian, and Ulpian Basilicas ; the Theatres of Marcellus and
Pompey ; the Septa Juha ; the Portico of Octavia ; and the
Greeostasis — all clearly marked by deeply indented lines,
rendered raore easily legible by a black or red tincture.
Among the rest, the clearest and most remarkable of any, the
more valuable as there are no vestiges of the building remain
ing, is the plan of the Theatre of Pompey, which, with every
column marked by a dot as big as a small pin's head, is here
brought before the eye in its true proportions.
The upper landing of the staircase is at the south end of
one of the principal apartraents of the museum, a gallery lying
from south to north, parallel to which are five chambers, en
suite, on the western side. To the latter suite is an entrance
at both ends of the gallery, so that the visitor enters by one
door and comes out by the other. There are also two separate
chainbers, to which the public are adraitted, on the eastern side
of the gallery. In the first place, with regard to the objects
contained in the gallery, these consist of a collection of statues,
Hermes, busts on pedestals, and sarcophagi, found at various
tiraes in Rome and the neighbourhood, and so numerous that
it would be vain to attempt to describe them without a regular
catalogue. All, however, are arranged rather with a view to

CH.VP. VIII.j THE CAPITOLINE. 15
effect than regard to classification. Besides the statues, busts,
and sarcophagi, there ai-e engrafted on the walls several ancient
sepulchral inscriptions, discovered in the year 1726, iu a
columbarium of the Liberti of Livia on the Appian Way. To
cite a few promiscuously of the busts, &c., as a specimen of the
remainder, there may be mentioned two fine busts of Marcus
Aurelius and Septimius Severus, which are placed flanking the
door on the westem side at the southern end of the gallery.
Also, farther on the left-hand side, a statue of Silenus, found
on the Via Nomentana, a discobolus, a colossal head of Juno,
the Jupiter called the " Vaile Jupiter " from the narae of the
family to whom it belonged, a bust of Scipio Africanus, a small
statue of Minerva, a Hermes of Jupiter Ammon, a bust of
Domitius Enobarbus (father of Nero), a bust of Tiberius, and
a bust of Adrian, which latter is placed flanking the door on
the westem side at the northern end of the gallery, and is
formed of a curious variety of diaphanous aud opaque alabaster.
The crisp curUng hair especially, wrought in the ancient style,
Uke shell-work, is part opaque and part diaphanous, and the
nose is almost entirely diaphanous.
The first apartment of the suite of five is called the Chamber
of Emperors, ^-o-A. contains a magnificent collection of busts of
the Roman emperors, and the male and female merabers of the
Imperial family, altogether seventy-six in number, chronologi-
caUy arranged on a double row of shelves on both sides of the
apartment, and each marked by a number that may be readily
referred to a corresponding catalogue. Here among the august
assemblage of countenances transmitted hy the art of the
sculptor to posterity, every one of which from its extraordinary
high state of preservation and freshness of material may be
imagined to be a true Ukeness, are to be seen marble busts of
Tiberius, of his brother Drusus the father of Claudius, of
Antonia the wife of Drusus, of Messalina and of the younger
Agrippuia, wives of Claudius, of Nero and his wife Poppaea,
the latter found at the basilica of S. Lorenzo fuori le Mura ; of
Galba, Otho, and Vitellius ; of Juha, daughter of Titus ; of
Plautina, wife of Trajan ; of her sister Marciana, and her
daughter Matidia ; of Adrian, his wife Julia Sabina, and his
adopted son ^Uus Caesar ; of Commodus, and of his wife Cris
pins, &c. &c., and one bust in basalt of Caligula. In the

16 A TOUR IN MODERN ROME. [Chap. VIII.
middle of the apartment is a fine raarble statue of a female,
generally supposed to be the elder Agrippina, wife ot lier-
manicus and raother of Caligula. The figure is represented
seated in a chair, in a graceful and dignified attitude, the hair
exquisitely braided, and the costurae altogether affording a
perfect specimen of the full dress of a high-bred Roman lady.
There are also to be observed in this chamber, engrafted on
the walls, several bass-reliefs, of which the principal are the
Caledonian boar-hunt of Meleager, Perseus rescuing Andro
meda, the latter found in digging the foundations of the
Palazzo Muti; Endymion asleep, and his dog, found on
Mount Aventine, and the Abduction of Hylas while filhng his
pitcher at the water's edge by the river nymphs.
The second room is caUed the Chamber of Philosophers, and
contains a collection of busts arranged in similar order on
shelves, and numbered, like those in the other apartment. The
number is seventy-nine altogether, including, in addition to
sages, poets, and historians, a few of the emperors and other
remarkable personages. Here are to be seen busts of Socrates,
Alcibiades, Plato, Diogenes, Archimedes,' Apuleius, Demo
sthenes, Sophocles, Euripides, Homer, Thucydides, a double
Hermes of Epicurus and Metrodorus, the latter found in dig
ging the foundation of S. Maria Maggiore ; also busts of
Antisthenes and Cicero. Besides the above may be cited
several busts of Bacchus, with a beard as he was represented in
the East ; a bust of Theon, of Aratus, of a Greek athlete, of
the emperors Marcus Aurelius and Julian the Apostate, and
finally, — interpolated among the ancient busts, — a modern
bust of the poet Faerno, who flourished at Cremona in the
sixteenth century, sculptured by Michael Angelo. Here also,
as in the first chamber, are several bass-reliefs engrafted on
the walls, including the Funeral of Hector, a Sacrifice to
Hygeia, sculptured on rosso antico, and a fragment of a Bacchic
scene, bearing tbe narae of the sculptor Callimachus.
The third roora, called the Saloon, is a spacious oblong
apartment. Here, on the left-hand or eastem side, one of the
long sides, within a large niche, is a colossal statue of Hercules
of gilded bronze, found in the fifteenth century between the
churches of S, Anastasia and S. Maria in Cosmedin at the
foot of the Aventine, near the Circus Maximus, and not very

Chap. VIII] THE CAPITOLINE. 17
far from the Forum Boarium, where an altar to Hercules, the
" Ara Maxima," was built by Evander. Thc greater pro
portion of the gilding has disappeared, though patches hero and
there still remain. The niche is flanked by a pair of columns
of Porta Santa marble, and surmounted by a sculptured embla
zonment of the arms of Clement XIL, supported by a pair of
ancient winged statues of Victory, which formerly belonged to
the arch of Marcus Aurelius in the Corso. The Porta Santa
columns were placed here in lieu of a finer pair of giallo
antico, which occupied the spot previously, by Pius VIL, who
at the same time removed the latter to the Chiaramonti
Museum in the Vatican. Several other statues are ranged
round the walls of the apartment, including a group of two
Araazons, one wounded and the other stringing her bow ; a
group of Coriolanus and his wife Voluninia, represented as
Mars and Venus, found upon the Isola Sacca at the raouth
of the Tiber ; a Minerva, an Apollo, a colossal bust of Trajan
with a crown of oak-leaves, a nude figure of Adrian, a statue
of JuUa Pia, wife of Septimius Severus, with finely wrought
drapery ; a Gymnasiarch and an Harpocrates, both found at
Adrian's villa at TivoU ; a colossal bust of Antoninus Pius,
and the statue of a hunter : the latter figure represented
holding up a hare he has just taken, contrary to the custom
of the present day, by the fore-legs instead of by the hind
ones. There are also a range of statues placed along the
middle of the room longitudinally, consisting of a colossal
statue of a youthful Hercules of green basalt, found on the
Aventine, near the Monte Testaccio, and here placed on an
ancient altar instead of a pedestal. The altar, which was
found near Albano, is sculptured on the four sides in bass-
relief, in designs relating to the history and apotheosis of
Jupiter, representing the substitution of a stone for the
infant by Rhea, in order to deceive Saturn; the suckling
of the new-bom god by the goat Amalthea ; a dance of the
Corybantes, and Jupiter on his throne among the deities. The
next object to the preceding is a statue of Jupiter, of the
species of marble called bianco e nero di Egitto ; a statue of
Esculapius of the same material, both found at the sea-port of
Antium ; and, lastly, a magnificent pair of centaurs, of the
same material also. The latter, marked on the base with the
VOL. II. c

18 A TOUR IN MODEEN ROME. [Chap. VIII,
names of the sculptors Aristeas and Papias, were found at
Adrian's villa at Tivoli, by Cardinal Furietti, and consequently
are commonly called the centaurs of Furietti.
The fourth apartment is called the Chamber of the Faun,
and contains in the middle a beautiful statue of a faun of rosso
antico, found at Adrian's villa. Among several ancient inscrip
tions engrafted on the walls, one particularly interesting, en
graved on bronze, is the "Lex Regia," the original decree
of the senate by wliich the iraperial power was conferred on
Vespasian, which was raade use of as the subject of a popular
harangue by the tribune Rienzi, who affixed it to the wall of
the basilica of S. John Lateran, where it reraained till removed
hither. There are also in this apartment two ancient altars,
one of Isis, and another bearing its original dedication to the
Sun, in Greek and Syriac characters : also two marble sarco
phagi, on one of which is engraved in bass-relief the fable of
Diana and Endymion, and on the other, found eight miles from
Rome, near the source of the Aqua Virginis, and supposed to
afford the best specimen of bass-relief sculpture to be seen in
Rome, the battle of the Greeks with the Amazons.
The fifth and last room is the Chamber of the Dying Gla
diator, so called after the well-known chef-d^oeuvre of ancient
Greece, which appears in the middle, a conspicuous and emi
nently beautiful object. It is only surprising that the character
of a figure now generally admitted to have been intended for a
Gaul, and not a Gladiator, was so long mistaken by connois
seurs and antiquaries ; since now not only is the perfection of
the sculpture generally esteemed identical with a period of art
long antecedent to the introduction of gladiators, but the
ligature round the neck, previously supposed to be an imple
ment of disgrace, is unequivocally recognized as the honorary
distinction of a Gaul— the Torques. This celebrated statue,
belonging for a long period to the Ludovisi family, was found
in the year 1770 at the Porto d'Anzo, the ancient seaport of
Antium. There is also to be seen in this apartment the
statue of Antinous, called the Antinous of the Capitol ; another
statue of Antinous, represented in tbe costume of an Egyptian
deity ; a copy of the Faun of Praxiteles, and a Flora, all
found at Adrian's villa at Tivoli. Also a statue of Zeno,
found at Civita Lavinia ; a colossal statue, supposed by some

Chap. VIIL] THE CAPITOLINE. 19
to be a Muse, by others a Juno ; a Coephora, a head of
Ariadne, a head of Marcus Brutus, a head of Alexander, &c.
To tiie above objects are to be added, a coluran of alabaster,
found as it was left, in an unfinished state, by the ancients,
rough in the marmorata, thoir landing-place for blocks of
marble on the banks of the Tiber ; also a portion of a column
of breccia tracagnina, and two large squared blocks of breccia
dl sette basi, the latter objects esjiocially interesting on account
of the material.
From the Chamber of the Gladiator a door opens opposite
the staircase at the southern end of the gallery, where the two
separate chambers on the eastem side still remain to be visited.
Of these the first is called the Chamber of the Vase, on account
of a beautiful vase of white Pentelic marble found near the
tomb of Cecilia Metella on the Appian Way, which forraerly
occupied a place in the middle of the roora. This vase, how
ever, though the name of the charaber reraains the sarae, has
been removed long since to tbe Vatican, and instead of it ap
pears a fluted bronze tazza, bearing a long and curious Greek
inscription, stating that it was presented by Mithridates, King
of Pontus, to the College of Gymnasiarchs. Tliis tazza was
found on the sea shore below high-water mark at tiie Porto
d'Anzo. Several ancient busts, for the most part of unknown
personages, are ranged round the walls of this apartment.
Here also, on the right hand or south side of the room, are
two ancient marble sarcophagi, on the side of one of which is
a bass-relief relating to the fable of Diana and Endymion.
Above it are two ancient theatrical raasks of raosaic, found in
the year 1824 in the Jesuits' vineyard opposite the church of
S. Sabina on the Aventine. On the other sarcophagus there
are also bass-reliefs of inferior sculpture representing in a
series of allegorical figures the doctrines of the later Platonists
relating to the soul of man and the creation and destruction
of the body. There is also in this roora a very exquisite
triple-headed bronze statuette or group of Diana Triformis,
coraprising Diana, Luna, and Hecate : it was originally covered
with gilding, of which a good deal still reraains : also an an
cient steelyard on a tripod stand, found in the Vigna del
Cinque, outside the Porta Salaria. Contrived on the sarae
principle as a modem steelyard, it consists of a beam unequally
c2

20 A TOUR IN MODERN EOME. [Chap. VIII.
divided at the point of suspension, and a sliding weight : the
weight, however, is made in the form of the head of a, man
or an aniraal, and at the end where the objects to be weighed
are suspended, instead of a hook, as is used at the present
day, is a flat dish to contain them. Here also is an ancient
lamp of bronze, contrived so that the light is elevated^ or de
pressed by being simply turned round the stera, which is itself
a screw of an exceedingly wide thread, or rapidly descending
heUx, causing a rise or fall of two or three inches at every
revolution. On the wall of the room is engrafted a tablet of
bronze, on which are sculptured in bass-reUef busts of Septi
mius Severus, Julia his wife, and Caracalla, with an inscription
engraved underneath ; also a celebrated bass-reUef generally
known by the title of " Tabula Iliaca," representing by an
infinite number of very small figures the principal events of
the Trojan war, as described by the Greek lyric poet Stesi
chorus, who flourished 556 years before the Christian era:
every subject accompanied by an explanation in Greek cha
racters. The raaterial is a species of stucco used by the
ancients, in which a portion of sand was mixed with the Ume,
called by Vitruvius Tectorium.* Those who are curious on
the subject of the Tabula Iliaca, which is supposed to have
been executed about the time of Nero, may consult a work
published in Rome in 1683 by Fabretti, in which all the
figures of the series are engraved the same size as the
original ; or an exact copy of the engravings of Fabretti, and
on the same scale, may be found in ' L' Antiquite Expliquee,
par Montfaucon,' vol. iv. p. 302. On the same side of the
room as tbe preceding, engrafted on the wall close to the door,
is the principal object in the apartraent, the beautiful piece of
mosaic discovered in Adrian's villa by the Monsignor Furietti,
generally known by the titie of the Doves of Furietti, in ex
cellent preservation, and composed of very small pieces of
coloured marble, representing four doves, the size of nature,
sitting on the rira of a vase, three pluming their feathers and
one drinking. With this most exquisite work of art executed
according to PUny, by Sosus of Pergamos, people in all coun
tries, from the nuraerous copies in sculpture which have been
dispersed about the world, are quite faraiUar ; and the iden-
* Book vii. cap. 3.

Chap. VIIL] THE CAPITOLINE. 21
tity, by those who have seen this original, cannot fuit to bc
recognised in the brief but peculiarly graphic dcsoription of
Pliny : — " IMirabilis ibi columba bibens, et aquam umbra
capitis infuscans. Apricantur aliie scaboutes sose in canthari
labro."— Nat. Hist, lib. 36, cap. 60.
The second charaber, called tiie Chamber of the Capi
toline Venus, contains a statue discovored a few years ago
on the Viminale neai- the church of S. Vitale, the only object
in the apartment. Hore the door being kept always locked
under charge of a separate custode, the latter performs the
office of gentleman usher to the divinity with a ludicrous air
of precaution and raystery, and is so anxious on admitting the
visitor who has paid the additional fee, to prevent any unpri
vileged person catching a glimpse of the statue, that on opening
the door, for want of a sufficient allowance of space, one is
actually obUged to squeeze oneself by main force into the
apartment. The figure is nude, the attitude nearly the same
as of the Venus of Medicis, the proportions equally fine, though
raore redundant and less juvenile, and as the raaterial is
Lesbian marble, of which the natural yellow tinge is augmented
by the colour imbibed from the earth while under ground, its
resemblance to nature is increased very considerably. It is
placed close to the wall upon a pedestal contrived to revolve
horizontally ; and the principal duty of the custode is to ex
hibit every part of the figure by this raovement.
The Palazzo dei Conservatori, bounding the western side of
the piazza opposite the rauseum, is perfectly sirailar to the
museum, so far as regards the exterior. In its charabers the
three judges or conservatori hold their court under the pre
sidency of the senator, once a week or thereabouts, and as
the apartments are locked up in the interim, and the custode
having Uttle to do in the intervals of the court days, is the
more difficult to be found, admittance is somewhat precarious.
The entrance, like the entrance to the museum opposite, is
through the centre of the portico and through a vestibule into
a quadrangle. In the quadrangle are to be seen several speci
mens of ancient art, of which, beginning on the left hand and
going round the four sides in succession, the first is a colossal
head of white marble, supposed to be of Domitian. It is
placed on a pedestal ornamented on its face with a bass-relief

22 a TOUE IN MODEEN EOME. [Chap. VIII.
representing a Roman province, found in the Piazza di Pietra
at the end of the seventeenth century, together with the similar
pedestal in the vestibule of the museum before referred to.
The second object is the sepulchral cippus of the elder Agrip
pina, wife of Germanicus, whose statue was referred to in the
Charaber of Emperors in the museum. The third is a colossal
head and band of bronze, supposed to have belonged to a
statue of Commodus. Both are placed on a broken column of
porphyry, about 12 feet in height and 10 feet 6 inches in cir
curaference : the column, broken in two pieces, was found
close to the Basilica of Constantine on the side towards the
Colosseura. Next follow two statues of captive kings in bigio
marble and a statue of Rorae, the latter placed on a modem
pedestal, on which is engrafted the key-stone of the triumphal
arch of Trajan, and a figure in bass-relief, supposed to repre
sent a Dacian province, is sculptured upon the key-stone.
Immediately in the north-west angle is a group of a lion de
vouring a horse, found outside the gate of S. Paolo, in the little
stream of the Almo, where the priests of Cybele were used
once every year to wash their sacred utensils : the Almo falls
into the Tiber about half a mile beyond the gate of S. Paolo.
The group, said to have been repaired by Michael Angelo, is
perhaps generally overrated, and the size of the animals at all
events less than nature, by which the effect, in contrast with
the surrounding objects, is diminished considerably. Unshel
tered in the open quadrangle the white marble is discoloured
with black streaks or stains, which, whether proceeding from
the waters of the Almo or from exposure, g,re precisely such
as appear on the statues of the angels on the bridge of S. An
gelo. As the horse is represented overpowered by the lion
and lying on its back, the shoes, the hind ones especially, which
appear to be fastened with three nails of a side, without any
turn up or calk, may be observed very convenientiy. Next
to the lion and horse on the northern side of the quadrangle
are the two feet of an unknown colossal statue, of which tbe
left foot, frora the inside of the heel to the end of the great
toe, raeasures as nearly as possible 6 feet 8 inches and the
circuraference of the great toe of the right foot measures 2
feet 11 inches. The last object is a large pedestal bearing
on its face an inscription from the subject of which it is sup-

Chap. VIIL] THE CAPITOLINE. 23
posed to have belonged to a statue of Adrian. In adtUtion to the
foregoing statues, &c., there is to be observed engrafted on
the waU on tiio north side of the quadrangle a tablet of marble,
on which are engraved four straight lines, graduated according
to the principal architectural and commercial measures. Here,
the first, the palmo architcttonico, in length, as nearly us can be
ascertained by a coraraon tape line, Sf inches, is divided into
12 oncie; the second, ihe palmo mercantile, in length 9^ inches,
is divided into 5 minuti ; the third, the canna architettonica,
equal to 10 palmi architettonici ; and the fourth, the camia mer
cantile, equal to 8 palmi mcrcantili. On the south wall of the
quadi-angle is a similar mai-ble tablet, upon which the pre
scribed dimensions of various objects and impleraents used in
building, such as bricks, carts, &c., are engraved The ves
tibule, like the vestibule of the Museum, contains sorae re
liques of ancient art, though fewer in nuraber ; of which the
principal object, placed at the northern extremity, is an ancient
marble statue, said to be the only original statue of Julius
Caesar existing in Rome. At the southem extremity, at the
foot of the staircase that leads to the upper apartments, is
a marble statue of Augustus, and close to the latter a white
marble column, an imitation, by Michael Angelo, of the
celebrated Duilian column, erected in the Forum 262 years
before the Christian era, in honour of the victory over the
Carthaginian fleet by the consul Caius DuiUus. Engrafted
on the wall above it is a portion of a marble tablet bearing
an ancient inscription, supposed to be the fragraent of a copy,
made during the period of the Empire, of the original inscrip
tion on this column, which was discovered near the arch of Sep
timius Severus. The column, as it here appears, idealized by the
great sculptor after the impression on ancient raedals, is never
theless an uncouth stumpy shaft, of which the sides are crowded,
rather than ornamented, by the beaks of ships or rostra, that
very much resemble the elects which, for the purpose of ascent
and descent, are nailed on a signal-post. Also, at the foot of
the staircase, engraved upon a large ancient pedestal, is to
be observed a curious inscription dedicated to the Eraperor
Adrian by the vico -magistri of the fourteen regiones — an
interesting topographical document, containing the names
of the streets belonging to five of those ancient divisions.

24 A TOUE IN MODEEN EOME. [Chap. VIII.
The pedestal is surmounted by a Uon, and the armorial
bearings of Sixtus V., in sculpture, are engrafted in the wall
above it.
The Protomotheka, consisting of a suite of eight rooms,
of which the entrance is at the northem extremity of the ves
tibule, is an establishment originated by Pius VII. as a repo
sitory for the busts of illustrious Italian artists, which for
two centuries previously it had been the custom to deposit,
until the nuraber accumulated to an inconvenient degree, on
the cornice of the Pantheon. The eight rooms in question
were built accordingly, and so soon as finished the busts
existing at the time were removed thither ; and, after the
death of Pius VIL, the charge was transferred by his successor,
Leo XIL, to the Arcadian Academy, who now hold their
meetings there. The whole suite is particularly well lighted
and airy, and the busts and Hermes placed to the best advan
tage, with the name of every individual engraved on the base,
whereby the pain and trouble of poring over a catalogue is
dispensed with altogether. It were only to be wished that a
similar facility were afforded in every other museum. A
considerable number of modem busts have been added
to the original busts belonging to the Pantheon, which,
however, are not to be mistaken for the others ; being
in consequence of the yellow tinge acquired by continual
exposure to the weather through the circular aperture at
the top unequivocally distinguishable. The First Room of
the suite is a sort of ante-room, of which one side is for
the raost part occupied by a long inscription, containing the
regulations of the estabUshment, painted in large characters
on the wall. The purport of these regulations, as expressed
in the following articles, is — First. That the persons whose
memory it is the object of the institution to preserve, be
exclusively Italians. Secondly. That other busts, in addi
tion to the busts in the Pantheon, be received into the collec
tion. Thirdly. That the bust of no individual be placed
there during his Ufetime. Fourthly. That the proposals for
the admission of a bust be submitted to the Conservatori who
are to be guided by the opinion of the several academies ; and
the question, in case of difference, submitted to the arbitration
of judges appointed by the Pope. Fifthly. That the bust or

Chap. VIIL] THE CAPITOLINE. 25
Herme be restricted, in form and dimensions, to a model
chosen from among those of tiie Pantheon — namely, that of
Leonardo da Vinci for the busts, and tiiat of Galileo for tiie
Hermes ; and that the material be white statuary marble.
Sixthly. That the Conservatori have the care of the collection
and the management of tbe establishment, without, however,
being entrusted with the power of altering in the least degree
the present regulations. In this, the First Room, are pre
served the busts, selected from those which formerly stood in
the Pantheon, of the following celebrated foreigners and erainent
artists, who, being either naturalized Italians or residents for a
very long period in Italy, are considered equally entitled under
the regulations to a place in the Protomotheka : — Nicholas
Poussin, Raphael Mengs, Winckelmann, Angelica Kauffraann,
and Joseph Sue, painter and director of the French Academy.
In the Second Room are preserved the busts and Herraes of
celebrated painters, sculptors, &c., of the thirteenth, fourteenth,
and fifteenth centuries, all contributed at the private expense
of Canova : — Brunelleschi, D'Este, Niccolo Pisano, Giotto,
Orcagna, Laboureur, B. Giovanni da Fiesole, Donatello, &c.
In the Third Room are preserved the busts and Hermes of
artists of the sixteenth century, and in addition to these a very
beautiful bust of Pius VII. by Canova, at whose private ex
pense all the objects in the apartment, with the exception of a
bust of Raphael, were contributed. Among the collection are
to be seen Leonardo da Vinci, Michael Angelo, Palladio,
Fr. Bartolomeo, Andrea Mantegna, Luca Signorelli da Cor
tona, Pietro Perugino, Andrea del Sarto, Marcantonio Rai-
mondi, Antonio Allegri da Correggio, Paolo Veronese, Bra
mante, Michael Saramicheli da Verona, and Raphael, the
latter contributed to the Pantheon by Carlo Maratta. In the
Fourth Room are preserved the busts and Herraes of artists
of the sixteenth, seventeenth, and eighteenth centuries. Among
these are the military architect Francesco Marchi, Annibale
Carracci, GiuUo Romano, Marco Benefiale, Polidoro da Cara
vaggio, Sebastiano dal Piombo, Garofalo, II Ghirlandajo,
Giovanni Manni da Udine, Domenico Zarapieri, Flarainio
Vacca, Pierin del Vaga, Taddeo Zuccari, and the architect
Bartolomeo Baronino. In the Fifth Room are the busts and
Hermes of sculptors and engravers almost exclusively. Here

26 A TOUE IN MODERN ROME. [Chap. VIII.
are to be seen those of Giovanni Pickler, Rusconi, Pietro
Bracci, Pietro Berettini da Cortona, and Piranesi. In the
Sixth Room are the busts and Hermes, including several con
tributed by Canova, of poets, authors, or those erainent persons
who have enriched the worid by their discoveries. Among
these are Metastasio, Dante, Tasso, Trissino da Vicenza,
Alfieri, Petrarch, Ariosto, Goldoni, Annibale Caro, the latter
by Alessandro d'Este, contributed by the Duchess of Devon
shire ; Bodoni da Saluzzo, Venuti, Columbus, Aldo Manuzi,
Galileo, Muratori, Morgagni, Tiraboschi, Alessandro Verri,
Bartoli, and Beccaria. The Seventh Room is empty, other
wise than tbat one whole side is occupied by a raonument dedi
cated by Leo XII. to Canova, and sculptured by Giuseppe
Fabris : on what grounds placed here, or why it has remained
so long a period unappropriated, I am unable to say. Finally,
in the Eighth Room are the busts of the eminent composers
of music, among a considerable number of which may be
observed those of Cimarosa, Sacchini, CorelU, Paesiello, &c.
On ascending the staircase, which leads in two flights to the
first floor of the Palazzo, are to be observed, contained within
two niches on the wall of the first flight, statues of the muses
Urania and Thalia. Also between the ffights, in a small open
court that communicates with the landing, engrafted on the
walls, are four ancient bass-reliefs, which belonged to the
triumphal arch of Marcus Aurelius in the Corso. In the
first, Marcus AureUus is represented offering sacrifice in the
temple of Jupiter Capitolinus ; in the second, seated in his
chariot in a triumphal procession ; in the third on horseback,
accompanied by the praetor on his right hand, and before him
the German soldiers on their knees suing for peace ; in the
fourth, holding in his hand a globe, the token of Imperial
power, presented by a feraale figure of Rome personified.
Upon the second flight, engrafted on the' wall on the left-hand
side, is a bass-relief found near the church of S. Maria Libe
ratrice, in the Roman Forum, representing Metius Curtius, the
Sabine, who commanded the centre of the army in the battie
between Tatius and Romulus, and having been engaged in a
personal combat with Roraulus, is making bis escape on horse
back through the lake, called the " Lacus Curtius," said to have
existed at that period in the Forum, though Dionysius, who

Chap. VIIL] THE CAPITOLINE. 27
describes Curtius wading through tho lake in his armour, makes
no mention of a horse.* On tho wall opposite is an inscription
commemorative of the capture of JNIilan by Frederic II.
At the top of the staircase is a gallery loading from the
angle, close to the stairs, in a northern and western direction,
and communicating with the suite of apartments, seven in
number, in such a manner that the door of the first apartment
being immediately opposite tbe staircase in the northern branch,
the visitor, after passing through the whole suite, comes out in
the western branch. Previous, however, to entering the apart
ments, there are to be observed, in the northern branch of the
gallery, two ancient bass-reliefs engrafted on the wall on both
sides, one opposite the other, both of which belonged forraerly
to the arch of Marcus Aurelius in the Corso. The one on
the western side represents the apotheosis of the younger
Faustina wafted through the clouds by a figure of Fame
bearing a ti'umpet. Below, Marcus Aurelius appears seated
in a chair in a pensive attitude. The other, on the eastern
side, represents Marcus Aurelius mounted in a pulpit, reading
an address to the people from a manuscript, as if he were
delivering the funeral oration of Faustina from the Suggestum
of the rostra in the Forum.
The First Chamber of the suite is an oblong of considerable
length and exceedingly lofty, ofwhich one of the long sides, the
eastem side, faces the piazza. The ceiling is flat and coffered,
the panels painted in chiaro oscuro, and the pavement is of
ordinary red tiles. At each extreraity is a raagnificent colossal
statue, and another similar one at the western side ; in addition
to which the walls are covered over the whole surface with
fresco painting, by the Cavaliere d'Arpino, exhibiting, in
colossal figures and brilliant colours, a series of subjects re
lating to the early period of the Roman history in the time of
the kings, and composing altogether a very splendid panorama.
The subjects are, first, the Finding of Romulus and Remus
by Faustulus, under the Ficus Ruminalis, at the foot of the
Palatine. Second. Romulus, in compliance with the direction
of the augurs, marking, by the furrow of a plough drawn by
a bull and a cow, the limits of the new city. Third. The Rape
of the Sabines. Fourth. Numa Pompilius, attended by the
* Book ii., cap. 42.

28 A TOUR IN MODERN EOME. [Chap. VIIL
Vestal Virgins, offering Sacrifice. Fifth. The Battie of the
Roraans and the Veientes; and, sixth, the Combat of the
Horatii and Curiatii. Contrasted with the above paintmgs
relating to tbe history of Rome in the days of Paganism, the
three statues, as if to express the triumph of Christianity over
the heathens, are of Christian pontiffs. That on the southem
extreraity, elevated on a lofty pedestal, is of Urban VIIL, of
white marble, and sculptured by Bernini. The figure is seated
in the Papal chair, the right hand upraised in the attitude of
benediction. The statue on the northern extreraity, sirailar to
the other in size and attitude, is of Innocent X., sculptured in
bronze by Algardi ; and the statue on the western side of the
apartraent, similar also in size and attitude to the others, is of
Leo X., and of white marble. There are also in this apart
raent, in addition to a bass-relief engrafted on the wall, several
raarble busts, including one of the Eraperor Adrian, and
another of Maria Christina, queen of Sweden. The Second
Chamber comraunicates with the first by a door on the northern
extreraity. The area is square ; the ceiling flat, coffered, and
painted in chiaro oscuro ; the pavement is coraposed of artificial
Venetian breccia. The walls of this apartment, also, are
painted in fresco ; and here are to be seen, executed by Lau
reti, in colossal figures and brilliant colours, four subjects
relating to the ancient history of Rome during the Republic, de
scribed on the four walls respectively. The subjects are, Mutius
Scaevola putting his hand in the fire in the tent of Porsenna,
Brutus condemning to death his two sons, Horatius Codes
opposing the passage of the Tyrrhenians upon the Pons Subli
cius, and the defeat of the Tarquins by Aulus Posthumus,
the dictator, at the battie of RegiUus. Contrasted with the
above scenes of ancient Roman history, there are contained in
this chamber the foHowing raodern statues of eminent miUtary
characters among the Roman aristocracy : —Marcantonio Co
lonna, who defeated the Turks at Naupactos, Tommaso Ros
pigliosi, Francesco Aldobrandini, Alessandro Farnese, and
Cario Barberini— all full-length upright marble figures, in
military costume. There are also four busts, two of members
of noble Roraan farailies, Virginio Cesarini and Luigi Mattei,
and two of the Roman emperors Trajan and Septimius Severus;
both the latter placed, instead of pedestals, on columns of

Chap. VIIL] THE CAPITOLINE. 29
verde antico marble, found close on the western side of the
Tabularium. There aro also to bo soon in this apartment sorae
measures of grain, wine, and oil, which were in use in the
fourteenth century. The Third CiiAMnER comraunicates with
the second by a door at tbo western extreraity. The area is
square, the ceiling flat, with coffers painted white and blue,
and a broad frieze painted in fresco by Daniele da Volterra,
representing the triumph ofthe Consul Marius after his victory
over the Cimbri, surrounds the whole apartment. Upon the
walls are painted a picture of our Sa\iour dead, by a Jesuit,
P. Piazza, and another of Santa Francesca Romana, by Roma
nelli. On the westem wall is engrafted the lid of an ancient
sarcophagus, upon which is sculptured in bass-relief a repre
sentation of the half-opened gate of Hades, flanked by alle
gorical figures of the four Seasons. In this apartment is also
to be seen a bronze statue, supposed to be the same belonging
to the baths of Agrippa, described by PUny under the title of
'^ Puer sese distringens," now commonly called the Shepherd
Marcius — a nude figure of a youth seated with one foot resting
on the knee, and extracting a thorn frora it. Here also, placed
on a coluran of Porta Santa raarble instead of a pedestal, is a
bronze bust, supposed to be of Junius Brutus ; also a bust of
the Eraperor Adrian, the latter placed upon a pedestal of
breccia di Egitto, among the blotches of which, composed of
various substances, are some wbich exactly reserable red gra
nite ; also one or two other busts of ordinary diraensions, and
finally, a small triple bust of Diana triformis. But the prin
cipal object to be seen here, placed in the middle of the apart
ment, is the celebrated bronze group of the she wolf suckling
Romulus and Remus, found near the church of S. Maria
Liberatrice, at the foot of the Palatine, where, according to the
account of Dionysius, it was preserved in a small temple close
to the Ficus Ruminalis, or the fig-tree under which tbe in
fants were found by Faustulus. Whether or not it be the
identical group placed in the same spot by the curule aediles
CuEeus and Quintus Ogulnius, 295 years before the Christian
era, and referred to by Dionysius and Livy as existing in their
days ; or whether it was another, distinguished by the stroke
of a thunderbolt, mentioned by Cicero ; or whether Cicero and
the above-mentioned ancient writers intended to refer to the

30 A TOUR IN MODERN ROME. [Chap. VIII.
same object— tiiere can be no doubt, without entering at aU
into the discussions wbich have arisen on the subject, that the
bronze figure of the wolf of the present day is no other than
the identical object seen by the eyes of Virgil, and described
by his beautifully expressive lines : —
" Geminos huic ubera circum
Ludere pendentes pueros, et lambere matrem
Impavidos : illam tereti cervice reflexam
Mulcere alternos, et corpora fingere lingua."'*
The antiquity of the object is generally acknowledged by con
noisseurs, and the style of sculpture considered to be Etruscan,
executed by the artists of the Republic, and corresponding
with the perfect beauty of the fable represented. For here
is exhibited the most extraordinary contrast in nature imagin
able between the gaunt figure of the ferocious aniraal and
the tender rounded lirabs of the infants, yet reconciled by
the matemal solicitude that inclines the raonster's lean, pliant
neck towards its adopted ofispring ; while the children, as
if endued with supernatural strength owing to Divine origin,
almost stand upon tbeir feet, in their efforts to reach the
mother's teat. The children, however, are not considered
to be original, but of more modem sculpture. There may
be observed, close below the off-hock of the wolf, a
hole passing through from one side to the other, which is
supposed to be the effect of the thunderbolt alluded to
by Cicero ; and certainly, from the irregular, jagged, and
polished edges of the fracture, as if the metal there had been
in a state of fusion, affords sorae presuraptive evidence in
favour of the conjecture. The Fourth Chamber communi
cates with the second by a door in the southern side. The
area is square, and the ceiling flat, and traversed by plain
beams of rafters. Engrafted on the wall above the door is
the bust of Mithridates, king of Pontus, in bass-reUef ; and
also, placed upon brackets, is a bust of Minerva, and another
of a Bacchante. In this apartment are preserved the " Fasti
Consulares," commonly called the Fasti Capitolini— ancient
marble tablets, on which are engraved the names of the
consuls and public officers frora the time of Romulus to
Augustus, arranged in chronological order. These tablets of
* 'jEneid,' viii. 631, etseq.

Chap. VIII.] THE CAPITOLINE. 31
which the greater proportion wore discovored in the sixteenth
century, and the remainder in the course of raore recent oxoa-
vations near the church of S. Jlaria Liboratrico in the Forum,
the site of the Curia Hostilia and the Comitium, are engrafted
on the wall, flanked by two otiior marble tablets bearing
modern inscriptions. Both together, surmounted by a pedi
ment supported by a pair of pilasters — which, reserabling
the gable elevation of a building, servos as a frarae — occupy
the whole southern side of the apartment. The series of the
Fasti are in good preservation and legible, perfect, it is said,
until 143 years before the Christian era, after which period the
names of several magistrates are oraitted. Of the raodern
inscriptions, one relates to the victory of Marcantonio Colonna
over the Turks, and the other to the victories of Alessandro Far
nese in the Low Countries. The Fifth Chamber, called the
Hall of Audience, is of small dimensions, square in area ; and
a broad frieze, painted with a representation of the Olympic
garaes, surrounds the whole apartment. In conformity with the
title of the room, it contains a throne and canopy, such as the
Roman nobles, representatives of the Italian principaUties, erect
in their palaces. In this roora is to be seen a picture of the
Holy Family, attributed to Giulio Romano ; also several busts,
one of which, of Michael Angelo, said to be his own perforra
ance, coraprises a head of bronze, with neck and shoulders of
black marble. Another, of Appius Claudius, is of rosso antico ;
and others of Tiberius, Lucius Verus, Medusa by Bernini, and
one incognito, are all of black raarble. Also in this apart
ment are a beautiful pair of ancient bronze ducks, found
near the Tarpeian Rock ; and converted to modem tables, a
pair of raosaic tablets, found in Adrian's villa at Tivoli.
The Sixth Chamber, called the Camera degli Arazzi, is
covered all over the walls with tapestry, manufactured by the
scholars of the hospital of S. Michele. The ceiling is flat,
with gilded coffers ; and a frieze, painted by Annibale Car
racci, on the subject of the deeds of Scipio Africanus, sur
rounds the whole apartment. In this room, placed in the four
comers, are to be observed three busts and one Herrae of Sappho,
Ariadne, Poppaea wife of Nero, and of Socrates. The ceiling of
the Seventh Chamber is flat, with gilded coffers, and the walls
are painted in fresco on subjects illustrative of the Punic wars.

32 A TOUR IN MODEEN EOME. [Chap- VIII.
by Pietro Perugino. Li this room are five statues, supposed,
though on doubtful authority, to represent Virgil, Cicero,
Cybele, Ceres, and Polyhymnia. From the present apartment,
which terminates tbe suite, we emerge by a door on the southern
side into the western branch of the corridor, at the head of the
staircase. Here, on the southern side of the corridor, and at
a point at right angles with the door of the first chamber, is
the entrance to the private chapel of the Conservatori. The
area of this chapel is oblong, and the ceiUng vaulted, and
painted in fresco by scholars of the Carracci, representing
the Padre Etemo in tbe centre. There are also paintings of
the four Evangelists upon the angles, by Caravaggio. The
altar picture, representing the Madonna, is painted on slate by
Nucci. The cornice is supported by white and gilded carya
tides, between which are portraits of S. Eustace, S. CeciUa,
S. Alexis, and Beata Luigia Albertoni, by Romanelli.
From the extremity of the western branch of the corridor is
a communication with the picture gallery, through an open
passage across a cortile and two empty apartments, on the
walls of which are to be observed a registered list of the Con
servatori for a considerable period, and an ancient inscription
belonging to the period of the Emperor Commodus. The
picture gallery, consisting of two well-lighted apartments, was
added to the building about the year 1750 by Benedict XIV.
It contains a collection of pictures, more numerous, though
inferior to those in the Vatican ; open to the public on the
same days, Mondays and Thursdays, as the Museum.
I had once an opportunity, in the winter of 1840, of seeing
the whole suite of the seven chambers of the Conservatori to
the greatest advantage, when brilliantly lighted by night and
full of corapany, on the occasion of a ball held there by the
Pope's special authority, for the benefit of the orphans of the
poor Roraan inhabitants who died three years before of the
cholera. On approaching the Capitoline the scene outside was
not less striking than the interior of the palace ; for as the
Une of carriages, after proceeding through the dark narrow
streets that lead frora the Corso, eraerged on the Forum and
advanced towards the carriage-road on tbe southern flank of
the Tabularium, passing on the way successively the Arch of
Septimius Severus, the Temple of Jupiter Tonans, and the

Chap. VIIL] THE CAPITOLINE. 33
Temple of Fortune, all tiiose celebrated ruins, standing be
tween a briUiant display of light above in the Piazza di Cam
pidogUo and the eye of the spectator in the dark foreground,
were seen in different points of view, and under all manner of
phases, that produced the most magnificent effect of chiaro
oscuro. The columns of former centuries, thus reflecting the
light of torclies on one side, and casting their black shadows
on the other, became new and fresh in appearance, and com
bined to form for the occasion, though detached and belonging
to different buildings, an entrance to the palace of the Conser
vatori as grand and imposing as if all were planted in the raost
uniform, harraonious order. The carriage, which arrived in
the piazza at the south-western angle, having departed by the
north-west angle, according to the prescribed regulations, into
the Via di AracceU, as I passed along the vestibule and staircase
there was no visible indication of any particular mark of respect
being paid to the august locaUty, but on the contrary the whole
distance between the entrance and the ball-room, otherwise the
apartment already described as the first chamber of the Con
servatori, was crowded the whole way with servants and at
tendants of the company, as at any ordinary asserably. Neither
did the company within the ball-room, the elite of the Roman
inhabitants and foreigners, amounting to no less than 800
people altogether, appear more inclined to be allured from
their pleasurable occupation by classical reminiscences than if
they had been congregated together in a corporation hall in
England, but proceeded on the business of the evening under
the most ordinary routine possible, the gentleraen stewards, dis
tinguished, as is usual, by bows of white riband, parading about
araong the crowd with srailing faces, and the lady patronesses,
who prefer an elevated position invariably, seated to their hearts'
content above all the rest of the corapany, on each flank of the
statue of Leo X., on the westem side of the apartraent. More
over, a numerous band of musicians were accomraodated above
the statue of Innocent X., at the northem end, on a platform.
But neither did the brilliant frescoes on the walls, exhibiting the
costume of ancient heroes in singular contrast with a modern well-
dressdd assembly, nor the three colossal statues of the Popes, whose
countenances all appeared as if steadily directed below towards
the dancers, and their right hands raised as it were simulta-
VOL. II. D

34 A TOUE IN MODEEN EOME. [Chap- VIIL
neously for the especial purpose of sanctifying the proceedings
with their benediction, nor the bass-reliefs, nor the busts, nor
even the brazen Wolf of the Capitol, occupy for a single moraent
the attention of young or old, or diminish, even m the very
slightest degree, the lively bearing of the multitude.
From the sOuth-eastern angle of the piazza, between the
Senator's Palace and tbe Museum, a flight of 51 steps ascends
to the northern knoll of the Capitoline, leading to the Fran
ciscan convent annexed to the southern extremity of the church
of S. Maria d' AracceU. Here, according to the general
opinion of antiquaries for many centuries, stood the ancient
Temple of Jupiter Capitolinus, while the arx or citadel oc
cupied the southern knoll. But recently opinions have become
divided on the subject, and some of the learned accordingly
assign the site of the Temple of Jupiter Capitolinus to the
southern knoll, and the arx or citadel to the northern knoll.
For ray own part, without presuming to decide upon the
merits of conflicting authorities, I had rather assume the
northern knoll as the site of the temple, were it only for the
account given by Dionysius of the levelling and preparation of
the ground for the foundation by driving piles and other arti
ficial means adopted by the elder Tarquin, inasmuch as no
such measures would probably have been had recourse to on
the southern knoll, which is a solid rock of tufa. It may he
also reasonably imagined, since there are no accounts of any
other edifice erected on the spot in the period intervening
between the destruction of the Temple of Jupiter and the
building of the church of Aracceli, that the latter has, as it were,
inherited the position of the former, whose columns and material
have been profusely appropriated in its construction, as appear
ances, to say nothing of its classical name, testify in an eminent
degree. The Temple of Jupiter Capitolinus was originally built in
consequence of a vow made by the elder Tarquin, during a
battle with the Sabines, to erect a temple or teraples to
Jupiter, Juno, and Minerva, in the event of gaining the victory.
And accordingly, after the defeat of his enemy, he proceeded
to clear the ground upon the Capitoline, previously called the
Tarpeian Hill, for that purpose. Being, however, occupied in
the construction of the Cloaca Maxima, and in making other

Chap. VIIL] THE CAPITOLINE. 35
improvements in the neighbourhood of the Forum, notiiing
farther was done during his reign, nor during tho reign of his
successor Servius Tullius, who, having undortakon to re
build the walls of the city, was not loss occupied by other
pursuits than his predecessor. Tm-quinius Superbus, in fulfil
ment ofthe vows of his grandfather, began to raise the structure ;
and in digging the foundation the head of a man, as is related,
being found in the earth fresh and bleeding, tbe name of the
hill was changed, in consequence of the miracle, from Tarpeian
to Capitoline. Tarquin, however, being banished from Rome,
the temple was not corapleted until the third consulate of the
Republic, when it was consecrated by the consul Marcus Hora
tius, 508 years before the Christian era. Destroyed by fire about
four centuries afterwards, it was rebuilt by Sylla and dedi
cated by Catulus, at which period the new building, according
to Dionv'sius,* who saw it about 60 years after it was erected,
was formed precisely on the model of the ancient one, and in its
area an oblong about 207^ feet by 192^ feet, the principal
facade fronting southward towards the Forura and Colosseura.
This faqade was ornamented with three rows of colurans, and
each flank with two rows of columns, and the interior was
divided by partition walls into three naves like three separate
temples, all comprehended under one pediraent and one roof,
and each terminating within by an aedicola, containing respect
ively statues of Jupiter, Juno, and. Minerva, that of Jupiter
occupjdng the central aedicola, underneath which, in a crypt
below, were preserved the Sibyl's books. Once more bumt in
the wars between Vitellius and Vespasian, the building was
restored- by the latter eraperor, and was consuraed a third tirae
in the great conflagration that happened in the reign of Titus ;
and again renewed in all its former splendour by Domitian,
who procured the columns of Pentelic marble for the purpose
from Athens. Thus it reraained without any further accident
for nearly three centuries, during the whole of which period
the sacred offices, conducted according to the same forms and
ceremonies which were established by Numa Pompilius, were
administered under the direction of the reigning emperor as
supreme pontiff, assisted by 15 pontiffs, 15 augurs, 15 keepers
of the Sibylline books, 6 vestal virgins, 7 epulos to prepare
* Book iv. chap. 6.
d2

36 A TOUR IN MODERN ROME. [Chap. VIII.
the Tables of the Gods, a king of the sacrifices, and confrater
nities of Salians, Lupercals, &c. Finally it was destroyed at
the time of the general deraolition of the Pagan temples in
Rome in the reign of Gratian.
The 51 steps above referred to, leading by two straight
flights, and a landing between, to the door of the convent, are
bounded on the right-hand side by the wall of the convent
garden. Another flight, diverging from the upper one on
the left-band side of the landing, leads to a side-door on the
flank of the church of S. Maria d' AracoeU. The landing at
the point of convergence, being a broad commodious platform,
is regularly resorted to by a crowd of poor people, who, depend
ing on the friars' bounty, make it a place of rendezvous every
day for the purpose of being fed, as some hundreds of the poor
in Rome are fed continually at the several monastic establish
ments, and as they were also at the Professed House of Jesuits
until the late suppression of the order, at twelve o'clock,
their dinner time. The scene altogether might furnish for a
painter an excellent subject, illustrative of the costume and
social habits of the various classes of Roman beggars, as every
man, woman, and child present, among whom not unfrequently
may be seen a pilgrim from a distant country, with staff, scrip,
and cockle-shell on shoulder, despatch their separate portions
of unctuous broth, served with an abundance of greens in a
wooden platter, and carried from hand to mouth by the aid of
fingers alone, without fork or spoon. The air of light-heart
edness manifested on these occasions, exhibits at all events an
almost incredible contrast with their ragged habiliments.
On the right-hand side, near the summit of the steps, is a
door in the wall leading to the friars' garden, whence from
a site considerably elevated is a pleasant view, that com
prehends, among several other of the surrounding objects, the
Colosseura. Abundance of kitchen vegetables are grown in
the garden, and in addition a considerable variety of medicinal
herbs, whence draughts and embrocations to be administered
to the poor gratis are procured by distillation. While I was
there a poor woman, bearing in her arms a sick child in want
of a vermifuge, stood anxiously waiting the result of the opera
tions of a Franciscan, who was busy with his alembic.
Frorathe summit of the steps, which point may probably

Chap. VIIL] THE CAPITOLINE. 37
serve to mai-k the southern extremity, or very nearly, of the
Teraple of Jupiter Capitolinus, the convent extends northward
in the rear of the eastern flank of the church of Araceeli, and
farther still, — comprising some spacious barn-like chambers,
from whence another door opens on the flight of 124 steps
leading to the northern entrance of the church. These
chambers are converted to a manufactory, where the friars,
working at hand-looms, weave with their own hands all the
coarse brown cloth used for their garments. Immediately
within the convent door is a spacious quadrangle, whence the
way leads up stah-cases and along corridors to the library,
pleasantly situated on the third story of the building, and con
sidered one of the principal libraries in Rome. It contains
18,000 volumes, and is a long oblong room, of which the long
sides lie north and south, with a broad outer balcony that
forms an agreeable proraenade on both aspects, according to
the weather. Above the library, at the northern extremity
of the building, is the Specola or gazebo, a conspicuous
object from all parts of the Corso, of which street, stretching
in a direct Une below to the Porta del Popolo, it comraands a
fine bird's-eye prospect frora the windows, whence, in spite of the
inequality on both sides of the roofs and gables, and the frequent
encroachments of the houses on the thoroughfare, the central
line through the middle appears directly straight and beautiful,
wbile the people, horses, and carriages resemble so many
black dots in the distance. Iraraediately under the windows
may also be observed the covered way leading frora the Palazzo
di Venezia to the convent, and constructed in 1467, or there
abouts, by Paul II. for his personal security. The continuous
Une of the structure may be traced by the eye very distinctly
the whole distance over the tops of the houses, though in a
roofless and dilapidated condition in some places and wanting
altogether in others.
From the foot of the 51 steps above referred to, a cordonata,
paved altogether with selce and appropriated to foot passengers
exclusively, leads from the south-east corner of the piazza
southward into the Campo Vaccino, forraerly the Roman Forura.
The cordonata is bounded on the right-hand side first by the
eastern flank of the Senator's Palace, based upon the solid
Etruscan masonry of the Tabularium, and afterwards by the
railing of the excavation containing the ruins of the Temple of

38 A TOUR IN MODERN EOME. [Chap- VIII.
Concord, the Temple of Jupiter Tonans, the Temple of Fortune,
and the Arch of Septimius Severus. On the left-hand side it
is bounded by the lofty wall of the friars' garden, which trends
eastward to a point about mid-distance, whence a lane diverges
into the Via Marforio ; and for the remainder of the descent by
the flank of the church of S. Giuseppe de' Falegnami, built
upon the Mamertine and TuUian dungeons, in which the traitors
in tbe Catiline conspiracy were strangled. This church is very
nearly opposite the Temple of Concord, where they had been
previously denounced by Cicero, and the dungeons, forming
a portion of the church, will be referred to in the second
section of this chapter. The Tabularium, so called because
the Senatus Consultus, engraved on tablets of bronze, and other
" acta publica," were preserved there, was built, according to an
inscription discovered in the sixteenth century, by Quintus
Lutatius Catulus, 79 years before the Christian era. The ruin
in its present state comprises the lower portion of the ancient
building exclusively, an entire quadrangular basement of Ga-
bine stone, the finest specimen to be seen in Rome of the early
Etruscan style adopted by the Republic, of laying enormous
squared blocks together without brick or mortar with such ex
treme precision, that the face of the wall being composed of the
sides and ends in alternate courses, a space, notwithstanding
the coarseness of the material and the lapse of nearly a couple
of thousand years, hardly exceeding the thickness of a hair,
appears in the interstices.
From the south-west corner of the piazza, between the
Senator's Palace and the Palace of the Conservatori, a flight of
46 steps ascends the southern knoll of the Capitoline, leading
to the Tarpeian Rock. These steps, of which the site is pro
bably identical with the Centum Gradus or Scalae Gemoniae,
by which the criminals were conducted from the Mamertine
prison below to the Tarpeian Rock for execution, are bounded
by the southern flank of the Palace of the Conservatori on one
side, and by smaU houses belonging to the officials on the other.
In the middle is a landing, traversed by a wall, to which is
appended a covered portico, and the way to the Tarpeian Rock
passes through an open portal in the wall in question. En
grafted on this wall, which lines the scarped bank of the hiU,
there is to be observed on the left-hand side of the portal a
portion of the original frieze of the temple of Antoninus Pius

Chap. VIIL] THE CAPITOLINE. 39
of which a description wus given in the sixth chapter. It is a
fine piece of bass-relief sculpture, ornamented with lions' heads
nearly the size of nature. Passing through the portal and
ascending the remainder of the stops to tho summit of the
knoll now distinguished by the modern title " Monte Caprino,"
the point on the Tarpeian Rock frora whence it is supposed
criminals in former days were precipitated is within a very
short distance, enclosed within a private garden. It is a crag
of red tufa, of wliich the perpendicular height is about 50 feet,
inaking its original altitude, allowing 12 or 15 feet for the
accumulation of the soil below, from 62 to 65 feet. There is
no difficulty in finding the garden in question or the custode,
who keeps the key of the enclosure and inhabits a small house
adjacent, for a noisy troop of ragged children are continually
on the look out, and iraportunately volunteer their services to
conduct visitors to the spot. The presence, moreover, of the
official is the more to be relied on, inasmuch as it is his interest
to be in the way at all tiraes, in consequence of the disposition
that generally prevails among strangers to visit the Tarpeian
Rock immediately on their arrival. The principal advantage
after all of entering the garden, which, by the way, is a very sraall
one, setting aside the satisfaction of having once stood upon
the Tarpeian Rock, is the pleasure of knowing, after having
taken the trouble to corae to the top of the hill, that a much
better view is to be had from the bottom in the Via della
Consolazione, which it immediately overhangs. From thence
the bluff, ragged points, protruding here and there above the
soil, along the steep shelving banks of the knoll, which are
concealed from the view of a person in the garden by the
walls of enclosures rising one above another, lie thoroughly
exposed to the spectator.
In order to go from the Tarpeian Rock to the site of the arx
or citadel, upon the opposite brow of the knoll, towards the
Via di Aracoeli, as there is no direct comraunication across the
summit, it is necessary to descend the 46 steps to the piazza,
and thence proceed along the faqade and northern flank of the
Palace of the Conservatori to the garden of the Palazzo
CaffarelU. The latter palace, of which a portion is inhabited by
the Prussian Ambassador and the reraainder by the proprietor,
the Duke of CaffareUi, is close adjoining the other in the
rear ; and the door of the garden, to which entrance raay be

40 A TOUE IN MODEEN ROME. [Chap. VIII.
obtained on application to the people on the premises, is
between the edifice and the sUbles. The garden, which, were
it only on account of the agreeable, airy situation, is wortiiy of
being visited, is well cultivated and planted with orange trees,
of which the boughs were heavily laden with ripening fruit on
the day I visited the spot, the 23rd of November. It contained
also, among several exotic plants, a large prickly pear-tree,
called here " Fico d' India," of which I measured the trank
and found it 3 feet 5 inches in girth. And in an ancient sarco
phagus, once the cold receptacle of human bones in the sepul
chral vault, now filled with rich garden mould, placed in the
sunshine and teeming with vegetable life, a crop of flowers
were growing luxuriantly. The wall of the garden, on the
side towards the Via di Tor de' Specchi, being no more than
breast-high, a remarkably convenient view is to be had of the
supposed remains of the ancient citadel, situated iraraediately
outside, upon a projection of the tufa rock, similar to that
of the Tarpeian Rock, on the other brow towards the Forum.
The identity of the ruin, however, is altogether a matter of
speculation, which the descriptions of the classic writers have
not sufficed to elucidate, notwithstanding the celebrated events
recorded of the spot in the ancient Roman history. Neither
is there any object or circumstance referred to, particularly
with relation to the storming of the fortress by the Gauls, or its
actual capture by the Sabine Appius Herdonius, calculated
to determine the respective claims of the Citadel and of the
Capitol to the southern or to the northern knoll. Even though
the circumstantial account given by Dionysius of the latter
occurrence states* that Herdonius, with a force of four thousand
men, having floated in boats down the Tiber, landed in the night
opposite the CapitoUne hill, one stadium distant, and the party
having entered the city by the Porta Carmentalis, which, accord
ing to an edict of the oracle, was continually kept open, took pos
session ofthe Capitol and of the citadel successively, the question
of the relative position of one and the other knoll still remains
in obscurity, for the route by which the assailants directed their
steps frora the Porta Carmentalis is not particularized.
The remains of the ancient ruin in question, consisting of
enormous squared blocks of peperino, laid together in the
Etruscan style without ceraent, form the substructure of the
* Book X. cap. 14.

Chap. VIII.] THE CAPITOLINE. 41
garden wall, comprehending on one side the foundations of the
Palazzo Caffarelli, and extending on the otlior in an opposite
direction towards the Via di Tor de' Specchi. The face of the
wall, five or six feet in height, planted flush with the pre
cipitous plane of the tufa rock, forty or fifty feet in height from
top to bottom, is seen from hence to especial advantage,
inasrauch as the projecting portion of the roek extends almost
at a right angle directly in front of the spectator. A good
view of it is also to be had from below, by proceeding a few
paces from the foot of the Cordonata at the northern entrance
of the piazza, along the Via di Tor de' Specchi, whence a small
street diverging on the left-hand side, called Via di Rupe Tar
peia, leads close to the foot of the precipice.
The position of the teraple of Jupiter Feretrius, on the
southem or the northern knoll, is also disputed by antiquaries,
and whether or not its claim to be assigned to the southern
knoU be equal to that of the citadel, the whole surface of the
ground, at all events, with the exception of the portions already
referred to, is covered with modern buildings, and no vestiges
of any description, either of the temple or of other ancient
edifices said to have existed hereabouts, are now remaining.
The title Feretrius is derived, it is said, aferendis spoliis, and
the building was erected at the close of the war which took
place after the rape of the Sabine virgins, for the purpose of
the consecration of the spoils taken from the Caeninenses and
the Anteranates by Romulus, who having stormed the town of
Caenina, killed the king Acron with his own hand. The spoils
in question were accordingly deposited in the temple of Jupiter
Feretrius with all the formalities of a triumphal procession, the
first ceremonial of that description ever celebrated in Rome,
headed by Roraulus, dressed in a purple robe, and drawn in
a chariot by four horses. The temple, nevertheless, was an
exceedingly small structure, ofwhich the longest sides, accord
ing to the recognised reraains existing in the time of Dionysius,
were less than fifteen feet.*
Among the other ancient edifices said to have belonged to
the southem knoll of the Capitoline, of which nothing more now
remains than the shadow of the reminiscence, were the houses
of Romulus, of Tatius, and of Manlius, who, on account of his
valorous defence of the Capitol against the attack of the Gauls,
"¦ Book X. cap. 14.

42 A TOUE IN MODERN EOME. [Chap. VIII.
was honoured with the titie of " Capitolinus," and afterwards,
condemned to suffer death for sedition, was buried from the
Tarpeian rock. Also the teraple of Juno Moneta, said to have
been subsequently, built on tbe site of the house of Manlius,
and so called a monendo, in consequence of the sound of a voice
that issued from the temple of the goddess during an earth
quake, directing the priests to sacrifice a pregnant sow, as
an expiatory offering. There was also one of the curiae, caUed
the Calabra Curia, built close adjoining the house of Romulus,
and so called a calando, id est vocando, because once every
month, iraraediately after the new raoon, the people were called
together, and, after a sacrifice conducted by the king of the
sacrifices, the pontifex minor proclaimed to the multitude the
number of intervening days between the calends and the nones,
the lucky and unlucky days, fasti et nefasti, and the festivals,
public games, and sacrifices, to be celebrated. The verb calo,
from the Greek xacKioi, was never used except on the occasion
in question, when the number of days, whether five or seven,
was promulgated in the following manner : — " Quinque dies
te calo Juno Novella," or " Septem dies te calo Juno Novella."
Hence the words calend and irdercalai-y.
I cannot attempt to indicate the precise position and direction
of the ancient roads that led to the summit of the Capitoline ;
though the subject appears of less importance, when it is consi
dered that every approach in question being on the southem
side from the Forum, and the whole remainder of the circum
ference of the hill scarped and fortified, all (generally consi
dered to be three in number) necessarily converged within
exceedingly limited space at the bottom ; that is to say, as
measured by the southern frontage of the Tabularium and the
two flanking roads, not exceeding a hundred yards. Of these
approaches, according to the ordinary account given by the
antiquaries, the first was the Centum Gradus, or hundred steps,
by which the crirainals were conveyed to the Tarpeian rock
from the Tullian and Mamertine prisons, as before stated.
These steps, commencing on the rear of tiie dungeons situated
on the eastern side of the hill, led, whether in front or in the
rear of the Tabularium is not stated, along the site of the
forty-six steps already described, directly to the Tarpeian rock
on the western side. The next approach was the CHvus Capi
tolinus, which coraraenced immediately on the north of the

Chap. VIIL] THE CAPITOLINE. 43
Temple of Fortune, at the point of convergence of two other
roads leading towards the hill in different directions, one from
the ai-ch of Tiberius, situated about the western termination
of the Via della Consolazione, and the othei: skirting the west
ern flank of the ai-ch of Septimius Severus. From the above-
mentioned point of convergence the Clivus Capitolinus led
directly across the Intermontium, now the Piazza di Campido
glio, to the temple of Jupiter Capitolinus. The third approach,
called the Clivus Sacer, or Clivus Asyli, especially appropriated
to triumphal processions, passed directly through the arch of
Septimius Severus, and led in a direction not diverging very
considerably from the modern Cordonata or from the line of the
Clivus Capitolinus, — also to the temple of Jupiter Capitolinus.
Meanwhile the Via Sacra, celebrated by Horace in the merao
rable adventure related in his ninth Satire, may be indicated
probably by the position of the triumphal arches, whieh it may
be reasonable to conclude were subsequently built upon it.
Those of Constantine and of Titus are still in existence, and
also of Septimius Severus, whence the Clivus Sacer diverged to
the summit of the Capitoline. Supposing therefore that the
Via Sacra inclined to the westward along the north-west side
of the Palatine, and passed under the arch of Tiberius, of which
the position, at the terraination of the Via della Consolazione,
or, in other words, the site of the modem church of S. Maria
della Consolazione, was above referred to, the straight line
being continued, would lead direct to the Ponte Rotto, the
ancient Pons Palatinus. So that it was at a point a few paces
only beyond the church of S. Maria della Consolazione that
Horace had arrived in his promenade, when he observes, in
the Satire above referred to, " Ventum erat ad Vestae." For
the Palatine bridge, to which he was evidently gomg, as appears
by the reply to his persecutor,
" quendam volo visere, non tibi notum ;
Trans Tiberim longe cubat is, prope Caesaris hortos,"
was immediately in front of the spot in question; and the
Temple of Vesta, identical, according to the general opinion of
the antiquaries, with the site of the present round church of S.
Teodoro, was on his left hand at the foot of the Palatine.

( 44 )

[Chap. VUI.

CHAPTER VIIL — Section II.

CHURCHES.
S. Maria d' Aracceli.
At the southem extremity ofthe Via di Aracceli, 124 steps,
diverging on the left-hand side at about half a right angle, from
the foot of the cordonata leading to the Piazza di Campidoglio,
lead in one broad, straight flight to the church of Aracceli,
planted close to the suramit of the steps, on a spot generally
supposed to be identical with the site of the ancient temple of
Jupiter Capitolinus. It is extraordinary, however, considering
the celebrity of the ancient edifice, the classical reminiscences
attached to the spot, and the magnificence of the modern build
ing, that all traces of the early history of the latter are entirely
lost; though the fact, notwithstanding that many similar re
cords have perished, swept away as it were in a chasra common
to all during the dark ages, may be partly accounted for by
the disinclination on the part of the early ecclesiastics to ac
knowledge any existing relation between the Christian church
and its pagan prototype. The church chronicles are at all
events silent on the subject, and nothing further is known of
its origin than that it was built at some period during the
sixth century, and that the title by which it was first distin
guished was S. Maria di CapitoUo. Neither has any reason
been assigned for the name of AracceU, or as Nibby expresses
himself in his Itinerary, " Quando, e perche cominciasse a chi-
amarsi di Aracoeli e ignoto, per non tomare a ripetere certe tra
dizione troppo volgari." The very name, however, " Aracoeli,"
or " Ara Coeli," seems redolent of the furaes of incense arising
from Jupiter's Temple, and at the sarae tirae may perhaps bear
sorae relation to the celebrated nursery rhymes of bygone days
whether or not included among the tradizione troppo volgari of
the Italian antiquary I wiU not venture to determine, beginning

Sect. IL] CHURCHES.— S. Marta d' AnAccEi.i. 45
" Tros fratres of Cali
Went all in a boat to Quereli,
Qui omnes drownderunt
Quia swimaway non potuerunt," &c. &c. &c.
The church of AracceU, however, at all events, in the year 1252,
belonged, so far consistently with the legend referred to in the
above doggrel lines, to an abbey of Benedictines, and was then
transferred by Innocent IV. to a congregation of Franciscans, by
whom the convent attached to the church has been occupied till
the present day. The church and convent were restored in 1464
by Cardinal Oliviero Caraffa, and again in 1798 by Pius VL,
who put the building in the state it is in at present.
Of all the Roman churches none contain a greater variety
of the spoils belonging to ancient buildings than the church
of Aracoeli, of which fact an indication is apparent even on
ascending the 124 steps above referred to, all which, by the
way, exceed the ordinary height of steps in the rising, being
composed of fragments of sepulchral and other tablets of
ancient marble, among which may be observed in several
the remains of inscriptions. Midway is the door on the left
hand referred to in the description of the convent, leading
through a set of charabers appropriated by the friars to the
purpose of a manufactory of home-made brown cloth for
their garments. On the summit of the steps, enclosed by
a low wall or parapet, is a spacious platform, of which the
pavement is composed of a collection of material still more
various and heterogeneous than the steps, inasmuch as, in
addition to the marble fragments of sepulchral tablets and
sarcophagi, there are also pieces of granite and rough slabs of
peperino. The fagade of the church, which, were it not that
it is surmounted by a small cross on the apex, might be mis
taken for a bam or magazine, is a reraarkably plain, broad,
and ill-cemented brick gable, an uncouth object in the pros
pect, that fronts very nearly westward. So rough is the face
of the elevation, attributed to the fifteenth century, that it
would seem intended to have been covered with stucco, rather
than be suffered to remain in its present state : as it is actually
a deformity to the neighbourhood, the neglect is the more to
he wondered at considering the conspicuous position of the
object and the large sums of money expended on the Roman

46 A TOUE IN MODERN ROME. [Chap. VIIL
churches generally. Of three entrances, the jambs and lintel
of the middle and principal one, coraposed of marble wrought
with cherubs' heads and wings in bass-relief, fragments of a
more ancient building apparentiy, are loose and disjointed at
the angles, as if hastily enclosed in the brickwork, and above
are four windows, distributed without the slightest regard to
symmetry either in forra or position ; two especially, circular
and Gothic, with quatrefoil between the mulUons.
Such being the appearance of the church outside, the surprise
and gratification is proportionably greater on seeing the length,
breadth, height, and magnificent decorations of the interior,
of which the gorgeous ceiling, tbe unusual number of lateral
chapels, and the numerous and grave assortment of ancient
reliques that strike upon the view on entering, harmonize in
an especial degree with the traditions relating to the building.
Hence the powerful influence created by these identical objects
on the mind of Gibbon, that here within these very walls, as he
paced alone in the nave of the church of Aracoeli, listening to
the barefooted monks singing vespers, first inspired him with
the design of writing his Roman History. The church is
constructed in the form of a triple nave, divided by columns,
whether belonging originally to the temple of Jupiter Capi
tolinus or other ancient edifices, of various raaterial, various
dimensions, and various forms of capitals. The torus of the
greater proportion is plain and the remainder sculptured in
bass-relief, and as regards the plinth, which differs consider
ably in thickness, some are square and others octagon. Of
these colurans, eleven on each side in number, eighteen are
of Egyptian granite ; two, namely, a fluted pair second from
the entrance, of white Thasian marble ; the fourth on the right
hand cipollino ; and the fourth on the left hand pavonazzetto.
One of the granite columns especially, the third on the left-
hand side, is evidently a relique of the Palace of the Csesars,
and an object of general interest in consequence of the words
" A cubiculo Augustorum " that appear engraved on the shaft
in deep-cut capital letters, affording the more evident testi
mony of its original destination by the formation of each letter
which is composed of siraple Unes, plain at the extreraities,
corresponding with the style adopted in the first and second
centuries. Notwithstanding, however, the express terms of

Sect. IL] CHURCHES.— S. Maria d' Ailvcoili 47
the epigraph, nothing more is known of the coluran or of its
history, and the casualties that caused it to bo removed to the
present spot are mere matter of conjecture. The spacious
ceiling of the raiddle nave is flat and coffered, and perhaps as
fine a speciraen of carving and gilding as is to be met with in
Rome, such as, from its massive construction altogether, may
serve to remind persons who have visited Venice of the ceiling
of the principal apartment in the Doge's palace. On both sides,
above the arches that support the double range of columns,
rises an attic containing a row of windows alternate with as
many full-length portraits of a friar in the habits of his order,
painted on the wall in fresco or in tempera, in an ordinary style
of execution individually, though with good effect altogether.
All round the church the broad, projecting fillet of the cornice,
defended by an iron railing, serves for a gallery. The pave
ment, divided into rectangular portions by broad stripes of
opus Alexandrinum, is, within the compartments, composed of
slabs of coarse raarble and ancient raonumental tablets. At
the extremity of the middle nave, and within the magnificently
broad and lofty arch that divides it from the transept, are a
pair of ambones, the use of which has been long since super
seded by a modern pulpit erected upon the fourth or fifth
column on the left-hand side, from whence a sermon is occa
sionaUy deUvered by a friar of the convent. Both ambones
are in excellent preservation, formed of marble, and flanked
at the aperture by a pair of small spirally-fluted columns,
of which one or more of the helices is composed of red, blue,
and golden pieces of mosaic. Each aperture is open, and
a flight of ten or a dozen marble steps leading to the reading-
desk bear sufficient testiraony to the assiduity of the early
preachers, the mark of whose footsteps is preserved to the
present day by singularly deep indentations. On both sides,
close to the ambones, there raay be observed engrafted on
the main arch within the middle nave a circular slab of green
porphyry, which, from its form, may bear relation to another
circular tablet or disc of mosaic and of marble, evidently a
pagan reUque, and ornamented in bass-relief on a subject of
the heathen mythology, which was removed from its former
position in the church of AracoeU to the chamber of the
sarcophagus in the museum of the Capitol, as was before

48 A TOUR IN MODEEN ROME. [Chap. VIII.
stated in the description of the latter chamber. In addition
to the lateral chapels in this church there are also three
chapels in the middle nave, which is an unusual position, and
not adopted in any other Roraan church I know of. As all three
are inconsiderable in size and exhibit no reraarkable decora
tions, and as the nuraber of chapels including the high altar
amount to no less than twenty-eight altogether, the greatest
number of any church in Rorae with the exception of S. Pe
ter's, it will be sufficient to observe of them that the First,
built against the fourth column on the right-hand side, con
sists of a plain altar table surmounted by a monumental tablet
of raarble ; the Second, built against the fourth column on
the left-hand side opposite, is similar to the first; and the
Third, built on tbe wall of the main arch close to the left-
hand ambo, consists of a plain altar table surmounted by a
sraall pediment supported on a pair of columns painted in
imitation of verde antico. There is also to be observed upon
the wall of the main arch close to the right-hand ambo,
corresponding and sirailar to the above, a raonument, of which
the pediment rests on a pair of small columns of breccia rossa.
The ceiling of the side naves is vaulted, and in each nave
are nine arched recesses, all of which, in the left-hand nave,
contain lateral chapels, and in the right-hand nave eight, the
ninth being appropriated to a side-door comraunicating with
the Piazza di Carapidoglio. The First Chapel, protected
by high wooden rails, is remarkably plain in the interior,
with the exception that the upper part of tiie wall above the
altar, to which there are neither colurans nor pediraent belong'-
ing, is sheathed with pavonazzetto marble. The Second
Chapel, dedicated to the Madonna, is protected by high
wooden rails, similar to those of the first chapel. Within, the
walls are plain and whitewashed, without any decoration of
marble or otherwise, with the exception of an altar-picture,
painted by Niccola da Pesaro. This chapel, however, in
common with others in several of the Roman churches, is dis
tinguished by the titie of « Presepio " or Manger, with re
ference to the religious ceremonies that take place there at the
time of the Nativity at Christmas, and at the Epiphany
These ceremonies, however, are performed in the church of
Aracceli with more imposing effect and splendour than at any

Sect. IL] CHURCHES.— S. Maria d'Aracoju. 49
of the others, in consequence of the vast crowds of people who
attend on each occasion to witness the exposition of the cele
brated " Miracoloso Bambino." Tlio chapel accordingly, espe
cially at the season of Christinas, is arranged after the inanner
of a theatre, where the scene of the Nativity of our Saviour is
represented by a group of figures, large as life, and scenery
arranged under all the advantages of perspective and brilliant
illumination. In the foreground, for example, on the left-
hand side, painted in natural colours and dressed in real
garraents, is a wooden figure of the Holy Virgin kneeling at
the side of a cradle or litter, in which the new-born Saviour
appears to be reposing on the ground, accompanied, on the
right-hand side, by S. Joseph and the Wise Men of the East,
represented by similar figures, kneeUng in an attitude of
adoration. The principal object of the group, that of the
infant Saviour, is represented by the Miracoloso Bambino, a
wooden image said to have been made of a tree that grew on
the Mount of Olives, which is continually preserved, with the
most devotional attention, in the sacristy of the church, under
the care of the Franciscans of the adjoining convent, and on
the present occasion appears lying on its back, the feet towards
the spectator. The figure, about the size of a child of two
years old, the cheeks reraarkably full and round, painted red
and white, like the cheeks of a doll, wears on its head a gilded
crown sparkling with jewels, and is enveloped in swaddling-
clothes of scarlet and gold, that, after the Italian fashion,
conceal the whole body like the cerements of a mummy. On
the side scenes and back scenes the figures of an ox and an
ass feeding in a manger are painted, together with a rural
prospect, calculated to produce, considering the narrow limits
of the chapel, a remarkable effect of space and distance ; and
above, in the centre, is a personification of the Padre .Etemo
in the midst of clouds and glory, surrounded by a host of
angels. Such at all events is the intense interest created
among the public by the spectacle, especially at the Christmas
festival, that for three, four, or five days, while the Barabino
is exhibiting, it is impossible to penetrate the compact mass
of people gathered round about, or even catch a glimpse of
the object without very considerable exertion ; while the gaiety
of -manner and Uvely costume of the peasantry, who form two-
VOL. II. E

50 A TOUE IN MODEEN EOME. [Chap. VIII.
thirds of the multitude, impart in no littie degree the character
of a secular entertainraent to the reUgious ceremony ; so much
so that the 124 steps leading to the entrance are all day crowded
with a moving mass, ascending and descending, of women in
white caps and red and yellow bodices, aU with step as light
and faces as smiUng as if going to or coming from a theatre ;
and here and there, on either side, as well as on the broad
platforra on the suramit, small teraporary staUs are erected,
where plain and coloured engravings of the Bambino are not
only exposed for sale at various prices, but urged upon the
public by the vendors with the same steady importunity as play
bills in the neighbourhood of the Opera-house. The super
stitious belief in the rairaculous qualities of the Barabino is
entertained to an extraordinary degree araong the Roman in
habitants, nor confined only to the lower classes, but participated
almost in an equal degree by the most exalted ; even instances
occur, and not unfrequently, where the heads of noble houses,
influenced by the hope of relief to be obtained through its divine
agency, in cases of mortal ailment, make application to the
friars of the convent, and by special request cause the flgure to
be transported to the chamber of a dying member of the family.
I chanced to meet the Bambino in transitu on one such occasion,
on its way to the chamber of the afflicted person, whither it
was conveyed in an ordinary hired carriage, covered with a
scarlet cloth and resting on the knees of two Franciscan friars,
who sat apart in each corner of the vehicle. Once, during
the Christmas festival, entering into conversation with a well-
dressed and intelligent looking Italian of the middle classes,
whom I raet among the crowd, and asking hira questions on
the subject, he assured me in the gravest tone and manner
possible, that the miraculous cures performed in Rome by the
Bambino were more than he could mention. In innumerable
instances, moreover, he added, known to all the community, the
fate of the patient was anticipated the moment the Bambino
entered the chamber, by a criterion, as far as I understood of
ray informant, derived from the colour of its cheeks, which, in
the event of a favourable termination, remain red, he said, and
where death is about to ensue, turn pale invariably.
Another ceremony connected with the exhibition of the Bam
bino in the Presepio Chapel remains to be mentioned. Every

Sect. IL] CHURCHES.— S. Maria iVAiucoiu. 51
evening, about the time of the Avo Maria, wliile the crowd
is more dense than over, little childron belonging to the middle
classes are brought to the oliuroh of Aracoeli by their parents,
for the purpose of reciting speeches, some in verse and sorae
in prose, affectionate and pathetic addresses to the Bambino,
which the Uttle creatures have got by heart expressly for the
occasion. Each child is accordingly lifted on a table placed
opposite the Presepio Chapel, where, the moraent it finds itself
on its feet, close to the Barabino, beginning in a loud shrill
voice — as it has been taught to do, and addressing itself
directly to the image with an extraordinarily graceful, though
theatrical gesture, such as Italian children appear naturally to
inherit in their infancy, it proceeds without a moment's hesi
tation to the close of the oration, which lasts about five rainutes,
and as soon £is it is over, another child, whose parents stand
ready at a moment to place it on the table in its turn, re
places the speaker as abruptly as the latter was elevated on its
pedestal. The last words are in fact hardly out of the first
child's mouth before the second begins, and so of a third, fourth,
and fifth in succession ; and for the space of an hour and a half
the children, delivering their addresses to the Bambino con
tinuously, are listened to in silence the most profound, and
with most extraordinary attention. The spectacle altogether
is indeed most pleasing to witness, for these young children, the
little girls especially, frora eight to ten years old, so wrought
up are their Uttle hearts to a sense of reality by the fervent
sentiment of devotion evidently excited by the figures, the hght,
and the scenery, acquit theraselves with a surprising degree of
eloquence and pathos. Such an effect it is the system and
policy of the Roman Catholic church to produce on the minds
of their flock by extemal objects, though I will not venture to
express any opinion upon the serious question whether the
practice be in conformity to the true spirit of Christianity or
otherwise. The Third Chapel, dedicated to S. Anthony of
Padua, is protected by a low marble balustrade surmounted by
iron rails. The pediment of the altar rests on a beautiful pair
of Roman Ionic columns of breccia dorata. A great portion of
the interior is studded with silver hearts, suspended there as
votive offerings to S. Anthony. The ceiling is painted by Nicola
da Pesaro, and the lunettes by Muziano and his scholars, on
e2

52 A TOUR IN MODERN ROME. [Chap. VIII.
subjects relating to the life of S. Anthony. The altar-picture
of the Transfiguration is by Girolamo di Sermoneta. The
Fourth Chapel, dedicated to S. Paul, is protected by a
massive balustrade of Carrara marble. The pediment of the
altar and its columns are of wood, painted in iraitation of
raarble. The vaulted ceiUng is painted by Pomarancio, and
the altar-picture by Muziano. The Fifth Chapel is pro
tected by a wooden balustrade. The pediment of the altar, of
which the frieze is brocatelle, rests on a pair of flat pilasters of
inlaid raarble. On one side is a raonument, of which the prin
cipal object is a sarcophagus of white marble wrought in low
bass -relief and surmounted by a figure in a supine attitude.
The altar-picture of the Ascension is by Muziano, and there
are besides other paintings by Nicola da Pesaro. The Sixth
Chapel, dedicated to S. Michael, is protected by a very
massive balustrade of pavonazzetto. The pediment of the
altar rests on a pair of flat pilasters of verde antico. On each
side-wall is a similar monument, of which the principal object
is a bust of white marble within a niche, surmounted by a
small pediment of the same material. The Seventh Chapel,
dedicated to S. Margherita da Cortona, is protected by a
balustrade of bigio wrought in bass-reUef, with cornice of
Carrara, The pediment of the altar rests on a pair of columns
of breccia corallina. On each side is a similar monument, of
which the principal objects, sculptured in relievo, are a portico
and columns, which appear to recede in perspective, with the
exception of the first pair of columns, which are represented
by a pair of flat pilasters of breccia coralUna, flanked by a
pair of statues of angels in a seated attitude. The altar-
picture is by Pietro Barberi, and two other pictures, represent
ing the conversion and the death of S. Margherita, by Filippo
Evangelisti. The Eighth Chapel, dedicated to the Madonna
of Loreto, is protected by a balustrade of breccia di Francia,
with cornice of Carrara. The altar is surmounted by an
entablature, which rests on a pair of columns of giallo antico.
The altar-picture is by Marzio Ganassini, and the walls are
painted in fresco by Marzio di Colantonio, but the colours are
almost totally obliterated. In the Ninth Chapel the pedi
ment of the altar rests on a pair of colurans of breccia traca
gnina.

EOT. II.] CHURCHES.— S. Maria d'Aracieli. 53
Proceeding now to the rischt-hand side navo, thc First
Chapel, formerly the property of the Bufalino family, is dedi
cated to S. Bernardino di Sienna. It is protected by a lofty
wooden balustrade. The pavement is composed of opus Alex
andrinum. Within, there is no marble ; but tbe whole interior
is beautifully painted in fresco by Pinturicchio, on subjects
relating to the history of S. Bernai-dino. The Second Chapel
contains no marble. The altar picture is by Marco di Sienna.
The walls are painted in fresco by Pomarancio. The Third
Chapel is protected by a balustrade of bigio, with cornice of
Carrara. On each side is a similar monument, of which the
principal objects are a sarcophagus, a bust in a niche above,
and a pediment that surmounts the whole. The altar picture
is by Giovanni de Vecchis. The Fourth Chapel, called the
Capella di Crocifisso, is protected by a balustrade of Porta
Santa, with cornice of Carrara, surmounted by wooden rails.
The pediment of the altar rests on a pair of Doric columns of
verde antico, with capitals, torus, and plinth gilded. The
Fifth Chapel, belonging to the Mattei family, and dedicated
to S. Matthew the Apostle, is protected by a lofty wooden
balustrade. The altar picture of S. Matthew, and other pic
tures relating to his history, are by Muziano. The Sixth
Chapel is protected by a balustrade of bigio, with comice of
Carrara, surraounted by wooden rails. The altar is formed by
a sarcophagus of bigio marble ; above which, instead of an
altar picture, is a marble group in relievo, by Michele Maille
Borgognone, representing S. Pietro d' Alcantara kneeling before
a cross which is supported by a choir of angels. On each side
wall is a similar monument by the same artist, each Consisting
of a marble medalUon profile portrait, supported by a pair of
angels, and flanked by a pair of cherubim. The vaulted ceiling
and the angles at the base are painted by a Neapolitan artist,
Marcantonio. The Seventh Chapel is dedicated to S. Diego.
The pediment of the altar rests upon a pair of Corinthian co
lurans of rare green porphyry, with gilded capitals. The vaulted
ceiUng and the lunettes above the comice are painted in fresco
by A vaccino Nucci. The walls are also painted in fresco by
Vespasiano Strada, on subjects relating to the miracles of S.
Diego. The colours, of the lunettes especially, are almost
obliterated. Between the preceding chapel and the next is the

54 A TOUR IN MODERN EOME. [Chap. VHL
side door before referred to, leading to the Piazza di Campi
doglio. The Eighth Chapel, dedicated to S. Pasquale Baylon
is protected by a balustrade of Porto Venere, with cornice of
Carrara, surmounted by iron rails. The pediment of the altar
rests on a pair of flat pilasters painted in imitation of raarble.
The altar picture of S. Pasquale Baylon is by Vincenzo Vittoria
Valenziano. There are also pictures on the side walls by
Daniele Soites.
At the terraination of the naves is a transept, of which the
ceiUng, similar to the ceiling of the middle nave, is flat, and
composed of richly wrought and gilded coffers. The pavement
consists for the most part of opus Alexandrinum, including
sorae large circular discs of porphyry, and the reraainder
raonuraental tablets. Among the latter is to be observed, at
the left-hand or eastern extremity on the south side, close to
the door of the sacristy, a tablet bearing the now illegible in
scription of Felice de Fredis, who discovered the group of the
Laocoon, near the baths of Titus on the Esquiline, in the reign
of Julius II. The following is a copy of the inscription, as it
stood formerly : — " Felice de Fredis, qui ob proprias virtutes,
et repertum Laocoontis, divinum quod in Vaticano cemes fere
respirans simulacrura, iramortalitatem meruit Anno Domini
MDXXVIII." Within the transept are seven altars, six of which are placed
on the circumference, and the seventh, called the Capella Santa,
stands isolated ; a solitary example of an isolated altar in a
transept, with tbe exception of a high altar. It is situated in
the middle ofthe pavement, near the eastem extremity. Haring
been destroyed in the year 1798, the arch-confraternity of the
Gonfalone rebuilt it in its present form, that of a circular
open peripteral temple, of which the octagonal dome, Uned with
a ceiUng of gilded coffers, is supported by eight Corinthian
columns of brocatellone, with capitals, torus, and plinth of
white marble. Between the dome and the columns is an enta
blature of white marble, of which the mouldings are extremely
delicate. The columns are planted on pedestals that form the
eight angles of an octagonal balustrade of Carrara marble,
elevated by two very high steps above the pavement. These
pedestals are inlaid with brocateUo. Within the balustrade,
the altar is a square structure, composed of various sorts of

Sect. IL] CHURCHES.— S. Maria d'Aracieli. 55
marble ; and underneath it is a sarcophagus of porphyry. At
the eastern extremity of tho transept tlioro is no altar, as is
usual at each extremity of every transept ; but, instead, there
is a monument of corresponding form and dimensions, con
structed in the Gothic style. Its principal features aro a white
marble sarcophagus, wrought in roughly-executed mosaic,
and a figure in a supine position Ijing on the sarcophagus,
which is surmounted by an acute-angled pediraent or
pinnacle in relievo, edged with crotchets, and the tympanum
ornamented in trefoil. Beginning the circuit of the tran
sept at the eastern extremity, the left shoulder to the wall,
the First Chapel, belonging to the family of Cavalieri, is
protected by a balustrade of bianco e nero. The pediment of
the altar is supported by a pair of columns of the same raaterial.
On the left-hand side is a monuraent of Carrara marble, orna
mented in the style of Sansovino in low bass-relief. The altar
picture, representing the Madonna, together with S. Gregory
and S. Francis, is by Semenza. The Second Chapel is pro
tected by a marble balustrade, enclosing a sraall square open
area in front. The pediment of the altar rests on a pair of
columns of verde antico. The Third Chapel, dedicated to S.
Carlo Borromeo, is protected by a raarble balustrade, enclosing
a small square open area, as in the preceding instance. The
pediraent of the altar rests on a pair of columns of verde antico.
The Fourth and Fifth Chapels, dedicated to S. Rosa di
Viterbo and S. Francisco Solano, are within the sarae entrance,
a deep-arched recess, protected by a low marble balustrade.
The altar of the fourth chapel aforesaid, situated at the ex
tremity, is surmounted by a pediment resting on a pair of flat
pilasters of bigio marble. The altar picture of S. Rosa di
Viterbo is by an unknown artist. The fifth chapel, constructed
by Antonio Gherardi, is situated within another arched recess
excavated in the right-hand waU of the principal one, occupying,
consequently, a position at right angles to the other. It is
protected by a solid balustrade of Carrara marble, inlaid with
yellow Sienna, placed close to the altar. The altar picture is
by Antonio Gherardi. There are also belonging to both these
chapels other pictures, all painted by the same artist, with the
exception of a Madonna and four circular medallions by Giu
seppe Ghezzi. The Sixth Chapel, occupying the right-hand

56 A TOUE IN MODERN EOME. [Chap. VIII.
or westem extreraity of tbe transept, formerly belonged to the
SaveUi, who during the civil wars occupied the theatre of
Marcellus as a fortress, on the site of which a palace, after
wards built by the Massimi, became the property of the
Orsini ; of which latter family Benedict XIII. being a member,
he repaired the present monument of the Savelli in the year
1727, and dedicated it to S. Francesco. The altar is orna
mented in the centre with a design, inlaid with marble and
alabaster, representing the apotheosis of S. Francesco, and the
remainder sheathed with Sicilian jasper and verde antico. The
altar picture is by Trevisani. The pediment, of which the
mouldings are gilded, is composed of Sicilian jasper, extraor
dinarily massive, and richly wrought. It is supported on a pair
of Corinthian columns, with fluted shafts of gold and verde
antico, and capitals, torus, and plinth gilded. On the left-hand
side of the preceding chapel is a monument, belonging also to
the Savelli, contained within a pair of columns of pavonazzetto,
which support an entablature. The whole of the remainder is
of white marble. On the right-hand side is another monument
of the Savelli, corresponding with the preceding, and contained
alike within a pair of pavonazzetto columns, whose entablature,
however, is ornamented with mosaic. The' principal object
is a white marble sarcophagus, ornamented also with mosaic,
in sinall pieces of red, dark blue, and golden, including an
emblazonment of armorial bearings in the centre.
The choir is entirely concealed from the transept by the
high altar at the entrance, of which the screen extends on each
side, with a communication by two portals through the
screen into the interior. Within, the ceiling is vaulted and
painted in fresco, and, instead of an absis as usual, at the
extremity the wall is concave. Somewhere within the choir is a
picture of the school of Raphael, representing the Holy Virgin,
together with S. John the Baptist and S. Elizabeth, which is
supposed to be the Madonna di Foligno of Giulio Romano.
There is also another picture of the Marriage of the Holy Virgin,
attributed to Bassano, on the left of the high altar. On the left
hand also of the high altar, contained within a rectangular recess
and altogether of white marble, is the monument of Cardinal
Giovanni Battista Savelli, of which the principal object is a
sarcophagus wrought in low bass-relief in the style of Sansovino.

Sect. IL] CHURCHES.- S. Giuseppe bei Falegnami. 57
The high altar, restored to the condition in which it now is
in the year 1590, consists of a massive pedestal sheathed with
different sorts of marble, principally Sicilian jasper, interspersed
with several small squai-e tablets of porphyry and serpentine of
peculiarly fine quality. It is surniounted by four white raarble
pediraents with gilded raouldings, supported by four atiantides
bearing gilded festoons of flowers : in the centre on the side
next the transept is a marble bass-relief, and on the inner side
above the altar is a cmious old picture of the Madonna.

S. Giuseppe dei Falegnami.
Learing the church of Aracoeli by the side door in the
right-hand side nave, and descending the flight of steps to the
Piazza di Campidoglio upon the angle between the Senator's
Palace and the Museum, the cordonata, leading thence to the
Campo Vaccino, is bounded at the lower part by the western
flank of the church above cited, whose southern gable, containing
the principal entrance, faces towards the Carapo Vaccino. The
church is built iramediately above the celebrated TulUan and
Mamertine dungeons, though nothing further is related of its
origin than that it belongs at present to a confraternity of
carpenters, one of the numerous confraternities of tbe different
trades tbat exist in Rome, and hence the title " dei Falegnami."
As the slope of the cordonata along the western flank of the
church is considerable, the pavement vrithin is proportionably
raised above the level of the ground below, so that the entrance
on the gable is on tbe summit of a lofty, double-branched flight
of steps. At the top of the steps, fronted by a balustrade, is
a platform to which the bra!nches ascend on each side in oppo
site directions in a Une parallel with the plane of the wall, in
such a maimer that the space underneath the steps and plat
forra - being walled in in front, and an excavation sunk within
to the level of the dungeons, the interior is converted to a
holy shrine consecrated to the apostles S. Peter and S. Paul,
who it is said were confined in the dungeons. Both the
apostles, according to the church chronicles, were imprisoned
there for the space of nine months, during which period their
gaolers. Processus and Martinianus, together with forty-seven
other persons, were converted to Christianity and baptized

58 A TOUE IN MODEEN EOME. [ChAp. VIII.
by S. Peter. It was then that S. Peter, persuaded by his new
proselytes to make his escape from prison, had proceeded
some distance on the Appian Way, ^en he encountered the
apparition of our Saviour, by whose admonition he was
induced to return back to Rorae and deliver himself up;
and accordingly S. Peter and S. Paul were both executed by
order of the Governor of Rome in the absence of Nero, who
at that tirae was in Achaia. Both the apostles being put to
death on the sarae day, the 29th of June, in the 67th year
of the Christian era, S. Paul, endowed with the privileges of
a Roraan citizen, was beheaded three or four railes from Rome
on the left bank of the Tiber, whence his body was reclaimed
by a Roman raatron, S. Lucina, and buried in her ceraetery,
adjoining the spot of his execution, but S. Peter, treated as a
Jew and an alien, and conveyed across the Tiber on the other
side of the modern Jews' Ghetto, was crucified near the summit
of the Janiculum, on a spot now distinguished by the church of
S. Pietro in Montorio, whence his body was afterwards trans
ported to the Vatican.* For the convenience of the numerous
religious persons who frequent the shrine there are three en
trances, one of which is a double swing door in the front wall,
and the other two single swing doors on the sides of the pro
jection, all kept continually open, and above each of the latter
is the following inscription in duplicate, " Ingressus carcerum
S.S. Apostoli Petri et Pauli." Here the devout people who
attend the spot enter at either of the three doors, and after
remaining a few minutes within on their knees, retire as
silently as they came to make room for others. Within, the
ancient wall of the dungeon, forming the substructure of the
church, is laid bare by the excavation above referred to, and
upon the frieze may be observed an ancient inscription in
perfectly legible characters, commeraorating the naraes of the
consuls in whose consulate the dungeons were repaired ra the
23rd year of the Christian era. The facing of the waU is com
posed of huge blocks of travertino laid together in the ancient
Etruscan style without cement, and a flight of stone steps,
though descent is not perraitted, lead to the lower level. The
excavation is protected by a low wall or balustrade, in front of
wbich the people kneel upon an ordinary plank placed there
* Fleury, 'Histoire Ecclesiastique,' vol. i., page 190  1.

Sect. IL] CHURCHES.— S. Giuseppe dei Falegnami. 59
for the purpose, and as they pray, rest their arms upon the
balusti-ade and look oyer towards the dungeon. Suspended
on the walls of the dungeon are one or two pictures of the
Madonna and a small figure of our Saviour on the Cross, sur
rounded by a number of silver hearts as votive offerings ; but
there is no altar or any sort of decoration, and hardly light
enough, by the aid of the one or two feeble lamps belonging
to the shrine, to distinguish the above-mentioned objects.
Entrance is to be had to the church of S. Giuseppe Faleg
nami either by the double-branched steps and the main en
trance above the shrine of S. Peter and S. Paul, or by the
side door in the western flank of the building. The interior
is constructed in the form of a single nave, and the ceiling is
lined with very richly-wrought and gilded coffers. The pave
ment is composed of red tiles. On each side of the church
are two lateral chapels, neither contained within an arched
recess, but simply comprising an altar surraounted by a
pediment constructed in the broken form, and containing in
the open space a cippus or monumental pedestal. All four
pediments are supported each on a pair of columns painted
in alternate stripes of gold and verde antico in imitation of
fluting. The altar picture belonging to the second chapel on
the left-hand side, representing the Nativity of our Saviour, is
remarkable as being the first work of Carlo Maratta exhibited
to the pubUc.
There is no transept, but the choir is contained within the
absis at the extremity of the nave, and protected by a balus
trade of bigio marble with comice of Carrara. The high
altar, within the absis, is surraounted by a massive pediment
in the broken form supported on four Corinthian colurans of
bigio, and flanked by a pair of large gilded statues of angels
placed in a kneeling position for the purpose of bearing candles.
Immediately vrithin the door of the side entrance on the
western flank from the cordonata is a descent by twenty-eight
steps to the Tullian and Mamertine dungeons, neither of which,
though now forming the crypt of the church, as above stated,
have undergone even to the present time any material altera
tion since the days of the Roman RepubUc. These dungeons
were constructed, the Mamertine by Ancus Martius, whence
the title, a corruption from Martius, " Mamertine," and the

60 A TOUR IN MODERN ROME. [Chap. VIH.
Tullian by Servius TulUus, caUed Tullian accordingly, though
it is supposed possible that both owe tbeir origin to Ancus
Martius, and were enlarged by Servius Tullius by the addition
of other cells not now in existence. A graphic and horrible
description of the Tullian dungeon is given by Sallust* in
the recital of the incarceration and strangling of Lentulus,
Cethegus, Statilius, Gabinius, and Cceparius, conspirators in
Catiline's treason; though, according to the expression of
the writer, the cell referred to raay be taken for either one
or the other of the dungeons now in existence. Livy also,
speaking of the imprisonment and strangUng of Quintus
Pleminius, refers particularly to the Tullian dungeon, f and
also in another placej calls the place of execution of Ple
minius the lower dungeon, though in neither of the passages
does he identify the Tullian with the lower dungeon. Nor
does Tefentius Varro, § who merely cites the spot topographi
cally, assert any farther than that the subterraneous portion of
the prison was called the Tullian, after Serrius Tullius, its
constructor. So that after all it may be questioned, since with
reference to the slant of the Capitoline both the present dun
geons are subterraneous, which of the two is really the cell
alluded to as the Tullian by the above-named ancient writers.
On descending the flight of steps above referred to, which,
were it not for the taper carried by the sacristan, are involved
in total darkness, there is to be observed near the top, upon
the wall on the right-hand side, protected by a square iron
grating, a tablet of marble, containing an inscription in Italian,
which states, with reference to a small excavation or indenture
of the stone adjoining, that it was so indented by the head of
S. Peter, whora the gaoler, when conducting him below to the
dungeon, having rudely pushed against the wall, the stone
miraculously yielded to the blow, and retains the impression of
S. Peter's head to the present day. The diraensions of the
so-called Maraertine or upper dungeon, of which the area is
oblong, are said to be 27 ancient Roman feet by 20, and in
height 16 feet. The waUs are constructed of large blocks of
peperino, % feet long by 2i feet square, laid together in the
* ' De Conjuratione Catiline,' cap. 55.
t Lib. 24, cap. 22. % Lib. 34, cap. 44.
§ ' De Lingua Latina,' lib. 4, near the conclusion.

Sect. II.] CHURCHES.— S. Giuseppe dei Falegnami. 61
ancient Etruscan style without cement. The ceiling is not a
curved vault, but a description of vault formed by the huge
stones above-mentioned, which towards the sumrait overlap
each other, and converge by a series of horizontal planes in
the ceutre. In the centre is a round aperture, through which
criminals in ancient days were lowered into the interior, the
entrance at the bottom of the steps having been apparently
broken in modern times through the wall of the dungeon on
purpose. From the Mamertine another flight of steps descends
into the lower, and so-called Tullian dungeon, of which I will
not venture to state the form, generally described as a half-
ellipsis, in length 21 feet, in breadth 9 feet, and in height
7 feet. The walls, however, and vaulting are constructed
similarly to the upper chamber, with a circular aperture like
the other in the centre of the ceiling for the purpose of lower
ing criminals. Here also a modern entrance at the foot of the
steps has been broken through the masonry. In this lower
chamber there is an ancient Christian well, such as the well
hefore described in the crypt of the church of S. Maria in
Via Lata, abimdantly supplied even to the present day with
pure, clear water, and said to be the well where S. Peter bap
tized his gaolers Processus and Martinianus. A fragment of
a granite column planted on the ground, secured by an iron
grating, and said to be the remains of a coluran to which
S. Peter was bound during his imprisonment, is also an object
of interest in this lower dungeon.

( 62 ) [Chap. IX.

CHAPTERIX. The Palatine.
The Palatine HiU, coraprising the earliest limits of the city,
preserves to the present day, distinctly marked by its lofty
banks, the quadrangular figure described to have been origin
ally traced by Romulus, and distinguished afterwards, accord
ing to the early writers, by the title of " Roma quadrata."
Such is its position south of the Corso, that if the line of the
Corso were produced from north to south over the north
eastern knoll of the Capitoline, it would strike the Palatine
a little to the west of its northern angle ; from which latter
point the Tabularium at the foot of the Capitoline is about 300
yards distant. The quadrangular figure, however, is not a square
precisely, but approaches nearer to a rhomboid, ofwhich the
southern angle being considerably more acute than the northern
angle, and the sides of unequal lengths accordingly, the form
may be assimilated to that of a boy's paper kite pretty nearly.
Its highest elevation above the level of the sea is stated to be
52 French metres, though the height of the highest part above
the level of the plain is as many feet at the utmost. The
circuraference, estiraated at an Italian mile and a quarter, the
Italian raile being to the English mile as 69^ to 60, is probably
overrated ; for the tirae required to perforra tbe whole distance,
according to an actual experiment I made by walking steadily
round at the rate of three miles an hour as near as may be,
though the road considerably exceeds the hill's periphery, is
twenty-three minutes exactly. The Palatine lies as it were
surrounded by tiie other six hills, the Capitoline, the Quirinale,
the Viminale, the Esquiline, the Coelian, and the Aventine ;
and as it was the chosen residence of kings and celebrated
personages from the tirae of Roraulus to Nero, every yard of
its periphery is a solid scarped waU of ancient brickwork,
coraprising a continuous raass, belonging to various buildings
of various periods, of which the accounts, owing to the extra-

Chap. IX.] THE PALATINE. 63
ordinary multitude crowded witiiin a proportionably limited
space, are extremely vag-ue and uncertain.
With the exception of the monks of a small convent, a vig-
nerole who superintends the principal enclosure, the custode
of an uninhabited casino, and a few labourers, the hill is other
wise uninhabited, and the whole surface of the ground laid
down in gardens and vineyards, which, as far as the general
public are concerned, are for the most part inaccessible :
visitors, therefore, desu-ous of exploring the territory, are
obliged to content themselves with admittance to three sepa
rate portions, distinguished respectively by the titles of Orti
Farnesiani, Palazzo di Cesari, and Vigna Palatina, the
latter better known by the titie belonging to it after the name
of its proprietor, " Mr. Milk's Villa."
The Orti Farnesiani, or Farnese gardens, are situated on
the north-east side of the Palatine, about the middle, where
the modem entrance erected by Pope Farnese overlooks the
Campo Vaccino. This entrance, now blocked up and in a state
of dilapidation, was constructed after the designs of the archi
tect Vignola, in an irregular style of architecture, but with a
frontage of considerable pretensions, consisting of a wall about
200 yards in length, though not sufficiently lofty to conceal
other picturesque and interesting objects, with which the modern
ruin appears in the most disadvantageous contrast possible.
At the upper part of the wall, which nevertheless exceeds in
height the level of the ground above, is a row of square
apertures, intended to serve the purpose of windows of a
terrace, at each extremity of which is a small sumraer-house
or gazebo. The portal in the centre comprises two orders
of architecture upon a rusticated baseraent, and contains two
arched apertures, of which the lower is flanked by a pair of
disjointed colurans of travertino, and the upper, on the level
with the gardens, and with a balcony in front, by a pair of
caryatides that support a pediment, within whose tympanum
is an emblazonment of the Farnese arras surraounted by the
following epigraph, engraved in large characters, " Horti
Palatini Farnesiorum."
The entrance to the Farnese gardens is by a road or lane
caUed the Via di Polvereira, that, bounded on both sides by
lofty massive walls of ancient brickwork, diverges at right

64 A TOUR IN MODERN EOME. [Chap. IX.
angles from a point between the arch of Titus and the southern
extreraity of the wall, and served probably in eariy tiraes as
an approach to the palace of the Caesars. Proceeding a littie
distance along this lane, which rises by a gentie acclirity,
there appears on the right-hand side the large wooden gate
of the enclosure, to which, prorided the vignerole or labourers
are within hearing of the bell, there is no other difficulty to
gain adraittance. The tract of ground within, from a point in
the Via di Polvereira a little above the entrance, to the south
west side of the hiU, comprising both the northern and western
angles of the Palatine, is subdirided into vineyards, and belongs,
together with other of the Farnese property consisting of the
Farnese and Farnesina palaces, &c., to the king of Naples.
The soil, however, is as barren as can well be imagined, nothing
more than crumbled fragments of ancient edifices, composing
altogether a pulverized mass, where brick bears to the earth
perhaps the larger proportion, and whence one would think,
though artichokes and other garden vegetables are raised, that
no plant of less hardy nature than the vine could extract
nourishment. At all events one may wonder, why, after the
example afforded by the Caesars, a spot so agreeable and ele
vated was not selected in preference for building-ground. The
experiment of Paul IIL, however, has certainly proved a
failure, as appears not only by the portion of the Casino facing
towards the Forura, but by the other ruins of the same edifice
within the enclosure, to which, not raore than sixty or seventy
yards reraoved from the Farnese portal in the Campo Vaccino,
a straight path leads directly from the entrance in the Via di
Polvereira. Here nothing remains of the dwelling-house but
its roofless walls, including the partitions of several chambers,
lined with very ordinary fresco painting, that altogether present
to the view a miserable picture of abandonment, void even of
the dignity attached to the character of almost every ruin by the
contrast with the magnificent fragments of ancient brick-work
adjoining. And no doubt before the hand of time creates any
visible irapression on these noble masses, the very last remnant
of the pontiff's ephemeral structure will have entirely vanished.
The site of the Casino may possibly be on a point called the
Velia, described by the ancient writers as overlooking the Forum,
but of which the precise position, though desirable to deter-

Chap. IX.] THE PALATINE. 65
mine, is not clearly laid down by the ancient writers. Tho
site of the house or palace of Tullus Hostilius was on the
VeUa, and afterwards, in the time of the Republic, the Veliu
was tiie spot chosen by the consul Publius Valerius Poplicola
to build his house upon, when the Roman people took offence
in consequence, thinking him ambitious of royalty : where
upon Poplicola, as it is related of him, forthwith abandoned
the intended edifice, and commenced another at the bottom of
the declivity, in order, as he said, that the people might pelt
him from the top with stones if he gave thera reason to do so.
Proceeding a little distance frora the wooden gate of the
enclosure, in a direction towards the western angle of the hill,
there are to be observed sorae ruins, supposed to belong to the
Temple of Apollo and the baths of Livia, both built by
Augustus, the former after the battle of Actium. The house
of Cneius Octavius, father of the emperor, where Augustus
was bom, was within the tenth region, called " Palatium," on a
spot not far distant, distinguished by the title "Ad Capita
Bubula ;" and here, on the site of the present ruins, Augustus
is supposed to have built a palace after he becarae emperor,
which building was enlarged by Tiberius, again by Caligula,
and afterwards extended by Nero, not only over a large portion
of the Palatine, but even to tbe Coelian and Esquiline. The
Temple of Apollo, however, witb a magnificent library annexed,
belonged to the portion erected by Augustus. In front of the
temple was a portico supported on columns of giallo antico,
and a bronze statue of Apollo, fifty Roman feet in height, was
contained in the library. There are, however, no recognisable
remains existing either of the temple or of the library, other
wise than a ruin of the baths of Livia above mentioned,
supposed to have formed part of the substructure of the
former. This ruin, discovered only a few years ago, consists
of two small subterraneous charabers, ten or twelve feet square,
to which there is a descent by twenty-seven very steep steps.
The chambers are divided from each other by a partition wall
in the middle of which is an open portal, and the vaulted
ceilings of both are lined with coffers, or panels, painted with
light elegant figures in fresco, surrounded by painted and
gilded borders, and each containing in the centre a circular
ornament resembling a gilded medallion, three or four inches
VOL. II. F

^Q A TOUE IN MODERN ROME. [Chap. IX.
in diaraeter, such as the naraes of the manufacturers of the
ancient Roman bricks were occasionally impressed upon.
Similar specimens of such medaUions may be seen in the
Vatican, in one of the smaU charabers in the southern gallery
near the Appartamento Borgia. A very iraperfect view, how
ever, is had of the ceiling, for the custode is provided with no
other light than a flexible wax taper of the sraallest descrip
tion twisted round the end of a reed, which, elevated towards
the various parts to be looked at in succession, throws a feeble
iUuraination that radiates but a few inches frora its dira flicker
ing flame. The walls of the charabers, of bare bricks, are in
very excellent preservation, and the partition wall especially,
wliich is of extraordinary thickness, out of all proportion
apparently to the size of the chambers, presents a most
beautiful face, and actually seems quite fresh and new. The
lintel of the portal is formed of large flat bricks or tiles, twenty-
three by eleven inches, and an inch and a half thick, such as
the Romans used commonly in their arches, laid together, their
edges on the plane of the surface, so as to answer the purpose
of a solid transom, by placing one perpendicular in the middle,
and slanting the others gradually towards the extremities,
instead of, as is comraonly done in stone work, diverging from
the perpendicular at the extremities to a bevilled key-stone in
the middle. Between the above chambers and the Famese
casino there are also to be seen the remains of brick walls that
have the appearance of belonging to tbe sarae baths of Livia,
comprising large irregularly shaped masses, some fourteen or
fifteen feet in height, in the inner angles of which a con
siderable portion of the terra cotta pipes for the conveyance
of water are still adhering to the masonry.
Frora the present spot there is no fence or irapediraent of
any sort to the north-western side of the hill, whither the
palace of Augustus was extended by Tiberius and Caligula,
as before stated. There, at a point a little below the northern
angle, the church of S. Teodoro below being a little on the
right hand, are to be seen sorae ruins, supposed to be the
remains of the palace of Caligula. Hither also, or hereabouts,
the bridge constructed by Caligula for the purpose of connecting
the CapitoUne with the Palatine, and which will be more
particularly referred to in the tenth chapter, is supposed to

Chap. IX.] THE PALATINE. 67
have extended. The latter structure, howovor, was destroyed
by Caligula's successor, Claudius, and there aro now no
vestiges reraaining. The ruins of the palace consist of a
cluster of naked brick walls, situated iniraodiately on the verge
of the precipice, coraprising a series of several charabers, of
which the vaulted ceilings of some are still entire, but the
greater proportion have been destroyed. They compose a con
siderable pile of buildings altogether, though small individually,
communicating with one another by portals placed upon a
straight line in such a manner that the ceilings of the whole
suite form one continuous vault divided by partitions. The
vaulting is constructed not of regular courses of bricks, but of
rubble. Between the above-mentioned ruins and the northern angle
of the Palatine, the ancient wall that lines the scarped side of
the hUl is pierced with several low brick vaulted passages,
whether drains, headways, or what they may be, I ara not able
to say, which penetrate the bank in raany places, and are
situated, vrith regard to a person standing above, like the nests
of birds on a cliff, to which there is no possibility of approach
without a rope or a ladder. Frora below, however, these objects
are to be observed more conveniently. The house or palace of
Numa Pompilius is supposed to have stood upon the verge of
the hill, a little to the westward of the church of S. Teodoro,
and a little farther still towards the westward the palace of
Tarquinius Priscus. However, along the whole distance to
the westem angle, the scarped banks are uniformly lined with
the same description of perpendicular wall, though the con
dition is considerably more dilapidated tban towards the
northem angle, and for the most part shattered into large
coherent masses, sorae of which, overtopping the sumrait, are
buried in the earth, while others, covered with shrubs and
mural plants that sprout frora the fissures, protrude frora the
ground abundantly, and form all the way a beautiful shrub
bery. On a spot about mid-distance, between the northern
and westem angles, which I never happened to discover, there
is, or was, a collection of reliques belonging to the Temple of
Apollo, or library of Augustus, which having been discovered
in 1726, were placed by the Arcadian Society where they
were in the habit of holding their meetings. Tbe objects in
F 2

68 A TOUR IN MODEEN EOME. [Chap. IX.
question are said to consist of portions of friezes, cornices,
Ionic capitals, &c., aU of Carrara marble ; the friezes orna
mented with griffins, in allusion to ApoUo ; and with reference
to the victory of Actium, with tridents and dolphins. Here,
that is raid-distance between the angles of the hiU, the per
pendicular wall that Unes the bank is broken to such a degree
that large fragraents have become detached, and lying heaped
upon the ground below in the Via di S. Teodoro, form a con
venient ascent, as it were, by stepping-stones from crag to crag,
to an horizontal plane, about twelve feet from the ground, that
has the appearance of a terrace, being in point of fact the pave
ment of an ancient chamber coraposed of raosaic in pieces an
inch square, all of the same material, rough travertino. Access
may be easily obtained to the terrace frora below, through a
narrow slip of ground, occupied by the proprietor of a public
house and tea-garden, and inclosed in front by a wooden
fence, above the door of which the words " Spaccio di vino, e
cucciim" are painted on a board. The house within, built
close to the edge of the scarped side of the hill, coraprises
on the ground story a coraraon wine shop, above which, ex
tending like wings to the right and left, is a covered balcony,
where customers may sit and enjoy themselves, quaffing their
wine in the raidst of the imperial ruins, and in full view of the
Temple of Vesta and the Tiber. Hence, the way above along
the sumrait of the Palatine proceeds without interruption across
the westem angle, over ground covered like the preceding
vrith fragments of ancient brick -work, more or less buried, the
prominent portions invariably covered with verdure, as far as
the south-west side, which is dirided from the Aventine by the
Via de' Cerchi, once the Campus Martius.
In order to go to the Vigna Palatina, or Mr. Mills's villa,
it is necessary, after leaving the entrance of the Orti Farnesiani,
to advance farther up the Via di Polvereira, which, as at the
beginning, is also towards its upper extremity bounded on both
sides by lofty ancient brick walls ; after proceeding a short
distance the way suddenly incUnes at a right angle to the left,
or southward, towards the convent and little church of S.
Buenaventura, where the road terminates by a cui de sac.
Here, on the right-hand side immediately before arriving at
the church and convent is the entrance of the Vigna Palatina.

Chap, IX.] THE PALATINE. 69
The Vigna Palatina was originally converted to a domain by
the Mattei family, and after passing through the hands of one
or two other proprietors, purchased in the year 1818 by the
English gentleman before referred to, Mr. Mills, who is gene
rally distinguished among the Roman Ciceroni by the title of
Signor Carlo Mills, or Signor Carlo. The enclosure comprises
a narrow, oblong slip of ground, of which the entrance is upon
one of its short sides ; its long sides are parallel to the north
west and south-east sides of the Palatine, and its other short
side is coincident with the south-west side of the Palatine.
Although the spot is eminently adapted for an agreeable
place of suraraer residence, the air, notwithstanding the high,
dry, and airy position, is supposed to be impregnated by
malaria, and the casino is consequently uninhabited by the
proprietor, and left, together with the gardens, under charge
of a custode. The fact, however, is somewhat contradicted by
the testimony of the latter personage, who informed me that he
had inhabited his small lodge close within the portal for twelve
years, vrithout either himself or any of his family catching the
infection ; a proof, it would seera, of the beneficial effects in the
way of counteracting the disteraper of a sinall dwelling-house
well stocked with people, as experience in the most densely
populated parts of the city invariably testifies. A general admit
tance to the grounds is granted to the public every Friday,
but a special order from the proprietor is indispensable to
enter the casino, the latter being situated about the middle
of the enclosure, the whole of which is laid down in shrubbery,
gravel walks, and flower beds, altogether in the style of an
English garden, with the exception of one or two walks
shaded by trellises from the extreme heat of the sun in summer,
after the fashion of the warmer climates. In conforraity also
with the taste of the country, there raay be remarked, planted
on pedestals at the angles, several terra cotta vases, manu
factured in Naples,, of beautifully red material, and exquisite
classical form, that of an oblate spheroid, fluted on the exterior,
with three rings in lions' mouths for handles, and resting
on three lions' claws. The geraniums, which on the day I
happened to visit the spot, very early in the spring, were in a
remarkably flourishing condition, in the open air, had been
there, as the gardener informed me, all the winter. The raansion.

70 A TOUE IN MODEEN EOME. [Chap. IX.
on a very Umited scale as regards dimensions, is only remark
able on account of its portico, which is supported on four co
lurans of grey granite, and painted in fresco by Raphael, who
has described upon tbe vaulted ceiUng the heathen gods and
goddesses among the signs of the zodiac, and upon the walls,
Venus surrounded by her nymphs. In addition to the natural
beauty of the situation, the classical reminiscences attached to
the surrounding objects corapose the principal attraction of
the rilla. For example, on the north-west side of the in
closure, the ruins of the Palatine library above referred to Ue
in full view ; and on the south-east side also there are several
ruined walls belonging to tbe iraperial palace, of which the
principal reraains are in that quarter, comprising especiaUy a
large fragment of an absis, supposed to have belonged to
the baths, and to form a portion of an arena appropriated to
gymnastic exercises. The palace of the Caesars, moreover,
including a portico and garden called the garden of Adonis,
extended over the very ground the casino stands upon, which has
becorae elevated in the course of time considerably above the
original level. Particularly on the south-western side, upon the
verge of the hill above the Via de' Cerchi, three large chambers
in good preservation were discovered in the year 1777, and
may be seen by others, though I was not so fortunate as to he
able to find thera. At the extremity of the garden overhanging
the precipice of the south-west side of the Palatine, which,
similar to the other sides, is lined with a wall of ancient brick
work, whose face is torn by fissures more profound than the
others, forming picturesque crags of unusual size, is a remark
able spot, to be recognised at a distance by several thriring
young cypresses, planted on the extrerae verge in a row, irame
diately above the Via de' Cerchi. Hence the form of the an
cient Circus Maxiraus may be clearly traced by the modern
Via de' Cerchi and the parallel slip of ground beyond that
divide the Palatine from the Aventine ; and at the same time
the extensive ruins of the palace of the Caesars, next about to
be risited, in the adjoining inclosure, near the southem angle,
are seen to the greatest advantage; and also at a greater
distance in the same direction the huge and lofty square pile
of ancient brick walls, — the baths of Caracalla. JVloreover,
the gentiy sloping banks of the Aventine are directly opposite.

Chap. IX.] THE PALATINE. 71
and, afar off, the basilica of S. Puolo fuori le Mura, situated
on the winding bank of the Tiber, appears within the scope of
the horizon.
The church and convent of S. Buonaventura is at the ex
tremity of the Iano, close to the entrance of Mr. Mills's villa.
The chm-ch, which is an exceedingly small one, and recently
restored at the private expense of the Prince Torlonia, is con
structed with a single nave and a vaulted ceiling, and contains
some pictures by modern artists, and also belonging to the high
altar a pair of scagliola columns, in imitation of giallo antico,
the only instance that I know of (though sheathed columns,
" impelliciate," as it is called, are very common) of a scagliola
column to be met with in the Roman churches. On the
western flank of the church, whose gable faces down the lane,
or opposite the Une of approach, is the convent ; and in the
rear of the latter a pleasant garden, overlooking the Coelian
hiU, opposite ; and, on the left-hand side below, the Colosseum.
Between the convent and the villa, close to the door of the
convent, is the wooden gate of a private enclosure, extending
by a gradual slope over an uneven surface to the Via di S.
Gregorio, which road or street divides the Palatine from the
Coelian. The enclosure, however, for the most part inaccessible
to strangers, who can obtain admittance only when the gate
happens to be left open for agricultural purposes, consists of a
tract of ground abounding in pits, precipices, scarped banks
Uned with ruined walls, huge masses of masonry, some pro
truding through the earth, while the forra only of others, covered
and concealed by turf and verdure, is to be recognised, that
form altogether a copious assortment of imperial ruins, and
especially of the Golden House of Nero, which extended in this
direction. The entrance to the third portion of the Palatine, the Palazzo
de' Cesari, is from the Via de' Cerchi, underneath the elevated
spot in the Vigna Palatina, distinguished by the cypresses as
above described, but a little nearer the southern angle. There
are in fact two entrances within a few yards of each other ;
the first close on the southem side of the small chapel dedicated
to the Madonna de' Cerchi, through an enclosure fenced with
heavy wooden gates that has the appearance of a farm-yard,
and extends to the scarped bank, here lined with hay maga-

72 A TOUR IN MODEEN EOME. [Chap. IX.
zines, buildings which, originaUy ancient, such as were before
referred to in the Via de S. Teodoro, have since been covered
by a raodern roof, and converted to the above-named purpose.
After passing through the enclosure, the way to the ruins now
about to be visited leads by a gentie acclivity through a private
garden. The second entrance, immediately beyond, or south
of the other, leads through the house of the proprietor of the
enclosure, which composes one of a sraall row, built close to the
bank. Here strangers are at any tirae admitted, without any
other forraality than ringing a bell below ; on which signal,
though nobody appears to open the door, the lower rooms
being uninhabited, the latch is iramediately loosed by a string
pulled by people in the upper story, and the visitor, having
ascended a steep and dark staircase without attendance, finds
hiraself suddenly in a sort of wash-house, among a number
of woraen engaged in various domestic occupations. Thence,
attended by one of them as cicerone, he steps forth at once into
the garden above-mentioned, which lies upon an acclivity, and
at the extremity communicates by a steep and rugged ascent
with the particular spot of ground which, containing the most
considerable of all the imperial ruins, has been rendered still
more celebrated by being referred to by Byron in ' Childe
Harold's Pilgrimage.' The ascent, among masses of brick
work, and heaps of dislodged earth lying scattered from the
bottom to the top in great profusion, by which one is compelled
to scramble ratiier than walk to the summit, is partly by an
irregular flight of steps, and partly by fragments of the palace
of the Caesars placed to serve as stepping-stones. On the upper
level, the ruins in question, distributed over several acres of
uncultivated ground, which, though surrounded by vineyards
and gardens, appears isolated and lonely, and calcidated to
create, on a raind disposed to meditation, a profound impression
of solitude, are, particularly those belonging to the portion of
the imperial edifice inhabited at the beginning of the seventh
century by the eastern Emperor Heraclius, the last of its
occupants. Here are to be seen the remains of magnificent
brick-walls, some leveUed to the height of the first story, and
others rising to a higher elevation, which appear all to have
been raised upon arches, now buried for the raost part nearly
as high as the crown, though some, from within which the earth

Chap. IX.] THE PALATINE. 73
has been purposely removed, may, at the cost of a little crawl
ing and stooping, be Inspected satlsf;iotorily. Above the arches
there are several ground-floor chambers, of which the vaulted
and coffered ceilings are in good preservation ; and the walls of
all are of astonishing strength and solidity, not only fit at the
present moment to build a house upon, but unquestionably
likely to endure for centuries longer than any house that might
be built of ordinary modern construction. The tract of ground
over which the ruins are scattered promiscuously in a manner
that indicates a splendidly extensive ground plan coraprises a
considerable portion of the south-western and south-eastern
sides of the Palatine, including the southern angle, and is as
retired from the busy world of Rome as a rural coinmon, where
a couple of hours in a sunshiny day may be passed most
agreeably. The picturesque variety, moreover, is as beautiful
as can be imagined, for as the stupendous walls rear their
craggy suraraits above ground loftily, the entire surface below,
composed of large irregular raasses that have disappeared at
different periods, has become covered with soil and verdure,
till the once level plain is a series of hillocks and hollows that
resemble the capricious disposition of Nature in her mountain
scenery. Here and there fragments of brickwork protruding
above the surface in uncouth shapes, and like natural rocks in
appearance, compose an admirable study for a painter in the
infinite variety of beautiful vignettes presented to the eye, of
which the effect is heightened by the abundance of raural plants
and shrubs that take root in the brickwork, particularly the
laurustinus, of which, when I visited the spot on an early day
in March, there was an abundant ^quantity, in full blossom, and
as healthy and thriring as if under careful cultivation. Sur
rounded by such charming scenery, one may wander among
verdant knolls and dells as it were in an unknown region, where
Nature surpasses artificial taste in the arrangement of her
shrubbery, and with a degree of interest as if threading the
mazes of a labyrinth, encountering occasionally the flat quad
rangular area of an ancient chamber, which, though corapletely
overgrown with turf, is still distinctly traceable.
There is, however, to be observed, situated precisely on the
southem angle of the Palatine, one flat area of the above de
scription, on a considerably larger scale, and of an infinitely

74 A TOUE IN MODEEN EOME. [Chap. IX.
more distinguished character than all the rest. It is the re
mains of the Septizonium, built by Septimius Severus for the
purpose of an entrance to the imperial palace from fiiis quarter.
The term Septizonium, supposed by some to relate to the number
of ranges of columns, has never been clearly accounted for,
though it is sufficientiy weU known that the structure consisted
principally of three porticos, one above another, all, three sup
ported by colurans of fine marble. The Septizonium was, at all
events, the celebrated stronghold which on the invasion of
Henry IV. in the eleventh century was defended by the nephew
of Gregory VII. Afterwards it fell into the hands of the monks
of the adjoining convent of S. Gregorio on the CoeUan, who
ceded it in the year 1145 to the Frangipani, who occupied it
again as a fortress. Some of the columns remained standing
till the end of the sixteenth century, and were then removed
about the year 1598 by Sixtus V. to the Vatican. The area
in question has the appearance of the flat roof of a house, which,
planted on ground that drops on three sides precipitously, pro
jects Uke the bastion of a fortification. The access being by a
gentle acclivity from the rear, and the surface covered with
light green grass of the most deUcate texture, such as grows
especially within the secluded enclosure of an ancient castle,
the spot has all the advantages of a terrace Uned on its scarped
sides with brick walls, and agreeable to walk upon. Hence a
fine view is to be had of the surrounding neighbourhood, in
cluding, among other interesting points and objects, the Colos
seum and the Baths of Caracalla.

Chap. X.] ( 75 )

CHAPTEE X.

The Forums, the Velabrum, and Circus Maximus.
The Forum of Trajan, situated at the southern extreraity of
the Corso, a few paces to the eastward, and iramediately within
the periphery of the ancient enclosure of Servius Tullius, is so
placed between the Capitoline and Quirinale bills that a portion
of the Quirinale was actually levelled by Trajan to complete
its area. Constructed by the celebrated architect of Damas
cus, ApoUodorus, it is said to have been the most elegant and
magnificent of all the other foruras, extending from north to
south by an oblong area of 2000 by 600 ancient Roman feet,
and ornamented at the southern entrance by a triumphal arch,
of which the remains were discovered in the sixteenth century
close to the smaU church of S. Urbano. The Forum was sur
rounded on three sides by a portico, and contained within the
enclosure the celebrated Ulpian Basilica, so called after one of
the names of Trajan. A portion of the building was the
Ulpian library, of which the collection of Greek and Latin
books were afterwards removed by Diocletian to his baths on
the Viminale. The Ulpian basilica was, however, taken
altogether, a quadrangular edifice, built from east to west
across the forum, and containing on the southern flank three
entrances. The principal apartment was the Hall of Justice,
elevated by five steps of giallo antico, and divided into five naves
by columns of grey granite, of the peculiar description called
lapis psaronius,* from the resemblance of its speckles to the
plumage of a starling, and also distinguished by the modern
term " granito del foro," derived frora the locality in question.
The flat ceiling was covered with bronze, and the pavement
was composed of giallo antico, pavonazzetto, and Africano.
The walls were sheathed with white marble, and the cornice
was supported by pilasters of granite, corresponding with the
columns, and between the pilasters were placed, elevated on
» See Appendix, vol. i. pages 511, 512.

76 A TOUE IN MODEEN EOME. [Chap. X.
pedestals, the statues of illustrious Roraans. Trajan's column,
which was erected a year a^^ter the southern portion of the
forum, stands north of the site of the basilica ; and at a littie
distance still farther to.the northward was an octostyle temple
dedicated to Trajan, and also, as is supposed, an equestrian
statue of Trajan, the latter erected in the space between the
coluran and the temple, on a spot, towards the southern
extremity of the Piazza dei Apostoli, where some remains
supposed to belong to the temple were a few years since
discovered. The Forura of Trajan, as it appears at present, is a spacious
oblong excavation, twelve or fifteen feet deep, with a level sur
face at the bottora, sunk in the middle of an oblong piazza
called the Piazza Trajana, in such a manner that the sides of
the excavation are parallel to the sides of the piazza, leaving
merely sufficient space all round for a convenient thoroughfare
for foot-passengers and carriages. Sixtus V. commenced the
operation about the year 1586 by clearing away the soil from
the base of the column, but the principal work was performed
about 1806 by Pius VIL, who, having eraployed the architect
Caraporesi, reraoved several small houses that stood in the
way, completed the area to an oblong form, levelled the sur
face, and lined the scarped sides with a brick wall, protected
on all four sides with a wooden railing, as it is at present.
Here, towards the southern extremity of the excavation, are
to be observed four rows of ten each of broken granite
colurans, belonging to tbe Ulpian Basilica, by which the five
naves of the Hall of Justice were divided. These columns,
planted from west to east directly across, are about eleven
feet in circuraference, composing an assemblage of fractured
shafts of different lengths from ten to twenty feet, as jagged
and uneven as if shattered by a thunderbolt, — raagnificent
fragments, that, standing in their original places, indicate pre
cisely the ground plan of the basilica, whose middle nave ap
pears to be about 84 feet broad, and the four side naves rather
narrow in proportion. There are to be observed, in addition
to the standing colurans, the shafts, or portions of the shafts,
of others of the sarae description of granite, lying prostrate on
the ground. Considerable patches of the original paveraent
also are to be seen over the whole extent of the area at inter-

Chap. X.] THE FORUM OF TEAJAN. 77
vals, which, though the fragments are loose and cracked into
sraall pieces, and raultitudes of curious visitors aro continually
in the habit of loitering on the spot under trifling restrictions,
have been suffered to remain undisturbed. So little is the at
tention paid to such objects in consequence of the variety and
abundance of reliques to be found in Rome.
The column of Trajan, standing close to the northern ex
treraity of the excavation, was erected, as before stated, a year
after the completion of the southern portion of the Forura.
Dedicated, according to an inscription on its pedestal still
legible, by the senate and Roman people to Trajan on account
of his victories beyond the Danube, the magnificent monuraent
proved not only conducive to his temporal glory, but created
so profound an impression on the minds of posterity, that five
centuries afterwards Pope Gregory the Great caused masses
to be celebrated in several of the Roman churches for the ex
press purpose of liberating his heathen soul from purgatory.
The height, exclusive of a bronze statue of S. Peter, by
which one of Trajan, which originally stood on the summit, was
replaced by Sixtus V., is, as stated by the inscription, precisely
equal to the height of the portion of the Quirinale hill removed
to forra its area. Including the present statue itis 193j palms,
or 141 feet 3 inches, of which the several parts given in detail
are as follows, namely, — the pedestal 22 palms, the plinth of
the shaft 4, the shaft including base and Doric capital 131,
the pedestal and base of the statue 20, and the statue 16J ;
total 193^ palras, as before. The lower diameter of the shaft
is 164 palms, the upper 15 palms, and it coraprises, out of 34
blocks of white marble which compose the whole structure, 23
blocks, laid all the way to the top in a spiral band, covered
vrith bass-reliefs, which are considered very far superior to
those on the so-called Antonine column. These bass-reliefs
refer to the victories of Trajan over the Dacians, and without
reckoning horses and a considerable variety of irapleraents of
war and otber inanimate objects, are said to consist of no less
than 2500 human figures, each about 2 feet 2 incbes high.
The pedestal is also ornamented in bass-relief with trophies,
eagles, garlands of oak-leaves, &c., all well preserved, as is
the inscription above referred to. Here a door on the southern
side leads by a convenient flight of steps to the top, though in

78 A TOUR IN MODERN EOME. [Chap. X.
order to obtain admittance it is necessary to apply to the cus
tode, who inhabits a sraall house on the western side, near the
south-western angle of the piazza. The steps, ascending in a
spiral line, carved out of the solid blocks of marble that com
pose the shaft, and lighted by 43 loop-holes, are, like the steps
of the Antonine column, though frequented by few people at
the present day, worn hollow in the raiddle by the feet of
forraer generations. On emerging above upon the abacus,
which, Uke the other, is protected on all the four sides by an
iron railing, there is a convenient promenade round the base of
tbe statue, though the view, particularly towards the north, is
effectually blocked out by the domes of the two churches
situated on that side of the piazza. Underneath the pedestal
there was, as it is said, a crypt, in which the reraains of Trajan
according to some authorities were buried. Others, on the
contrary, affirm that the ashes were contained in a sphere of
bronze held in the hand of the statue on the summit of the
column, which sphere is now preserved upon the balustrade at
the northern entrance of tbe Piazza di Campidoglio. At pre
sent the ground round about the column within the excavation
is underrained, whether by the accuraulation of rubbish or
otherwise, or whether the hollow places actually communicate
with the crypt in question, I know not ; but at all events a
colony of cats have established their residence there for five or
six generations, abstracting themselves from the ways of the
world till theyhave become edmost ferce natures, and live in fact
so thoroughly secluded under ground that a person not aware
of the circurastance might pass through Trajan's Forum twenty
times a day without observing their habitation. But should
he happen to walk by at twelve o'clock at noon, the dinner
hour of the raiddle classes of Romans, when the neighbours
are in the habit of feeding them, and the cats, by the wonderful
instinctive faculty of raeasuring the course of time eommon to
the animal creation, anticipate the visits of their benefactors,
he will not fail to remark a visible state of uneasiness among
the community, and the heads of several protruded from their
holes, each anxiously waiting ready the moraent a morsel of
fish, flesh, fowl, or what not is pitched over the railing to bolt
and seize the prize ; and then a ferocious battie ensues not
unfrequently between several together.

Chap. X.] FORUMS OF C^SAE, AUGUSTUS, AND NERVA. 79
The Forum of Julius Caesar and tho Forum of Augustus
were the next adjoining to the Forum of Ti-ajan towards the
south, both situated at the southern extremity ofthe Via di Mar
forio, the direction of which, passing over the eastern shoulder
of the Capitoline hill, was before referred to. The ground
between the Forum of Trajan and the Via di Marforio, west
ward of the forraer, is covered by numerous short and narrow
streets, of which two or thi-ee, though leading in different
directions, bear the same name of Via di Macello de' Corvi, in
commemoration of an open area which once existed on the spot,
appixipriated to the purpose of a public market or sharables,
called by the ancients " Macellum." From the point of em
bouchure of the Via di Marforio upon the Roman Forum,
where the arch of Septimius Severus now stands, the Forura of
Juhus Caesar is supposed to have extended westward, and the
Forum of Augustus eastward, though the limits of both these
forums are very imperfectly known to antiquaries. The title of
the street, however, "Marforio," a corruption of Forum Martis,
or Forum of Augustus, for whose narae the name of Mars was
substituted, synonymously in the language of adulation, evi
dently, as stated in another place, bears a relation to Augus
tus's forura, and was given to the colossal statue of the Ocean
found on the spot, and now preserved in the Atriura of the
museum of the Capitol. In farther reference to tbe site of the
Forum of Augustus, the Temple of Mars Ultor, erected by
Augustus on his own forum in consequence of a vow to avenge
the death of Julius Caesar, is supposed by the antiquaries to
have stood precisely on the site of the church of S. Martina,
or a few paces only eastward of the arch of Septimius Severus.
The Forura of Nerva, the next to the Forura of Augustus,
was situated at the end of a street which diverges in a direction
a Uttle to the northward of east, skirting the southern flank of
the church of S. Martina, above-mentioned, and terminating
vrith the Arco de' Pantani, one of the ancient entrances. This
Forum, commenced by Domitian, was at first called Palladium,
in consequence of a Temple of Minerva which stood there, and
not till after being completed by Nerva called the Forura of
Nerva. It was also distinguished by the titles "pervium"
and " transitorium," though for reasons hardly accounted for,
whether because the spot was considered intermediate ground

80 A TOUR IN MODERN ROME. [Chap. X:
between the other forums, or because it was not far reraoved
frora a convergent point of the three hills, the Virainale, the
Quirinale, and the Esquiline. The reraains, howeyer, of the
Forum of Nerva at present in existence are considerable, of
which, taking in the first place among the objects to be cited
the Arco de' Pantani above referred to, together with a con
siderable portion of a raagnificentiy lofty ancient wall built
across the thoroughfare, it is to be observed that the arch,
which forms the portal through the latter, was eridently con
structed to suit the direction of the street which existed pre
viously ; for it is of a description common enough nowadays
upon our railroads, called an " askeio" arch, and incUnes
obliquely to the northward. It is in excellent preservation ;
composed, the three courses next the ground, of blocks of
peperino, and the remainder Gabine stone. The wall is
twenty feet or thereabouts in height, built of huge blocks of
peperino laid together in the early Etruscan style without
cement, with a raagnificent coping, of slabs eighteen inches
thick apparently, upon the sumrait. At the lower part, on
the north and on the south of the Arco de' Pantani, it is.
strengthened with blind arches, of which the upper portion only
is visible, in consequence of the accuraulation of soil that has
risen nearly to the crown. It extends only a short distance
towards the south, but considerably farther on the north as far
as the Piazza del Grille, and as the whole face of the raasonry
is as fine a specimen of the Etruscan style as the Tabularium,
it is supposed by the antiquaries to have existed sorae centuries
before the time of Domitian, so as to have been appropriated
by him as it then stood for his enclosure.
This wall, close on the northern side ofthe Arco de' Pantani,
forms the eastern front of the Nunziatina Convent, which stands
precisely on the site of another of the principal objects belong
ing to the Forum, naraely, the Temple of Nerva, a considerable
portion of which is still remaining iramediately within the wall,
between the flank of the convent and the thoroughfare, where,
at the tirae I visited the spot in the spring of 1842, an excava
tion for the purpose of fartiier discovery of the ruins was then
in progress. The Teraple of Nerva in question was built after
his death, by Trajan, in honour of his adoptive father, and is
supposed to have been one of the most magnificent and elegant

Chap. X.] TEMPLES OF NERVA AND PALLAS. 81
buildings belonging to ancient Rome. Abutting in thc rear
on the wall of the onclosure, with eight columns upon tbe
facade, and upon each of its flanks ton columns and a pilaster,
it fronted westward towai-ds the Roman Forum. The portion
of the building at present reraaining consists of three colurans
belonging to the southern flank, and a pilaster, the latter
abutting upon the ancient wall at the south-east angle. These
colurans, of the Corinthian order, fluted, and of Luna or Car
rara marble, are said to be, excepting granite columns, the
largest columns in Rome of raarble exclusively ; that is to say,
24 palras or 17 feet 6 inches in circuraference, and 74 palras
or 54 feet 2 inches in height. Which raeasureraent I have no
doubt is correct so far as regards the circumference ; fbr though,
in consequence of the intercolumniations being filled up with
modern brickwork for the purpose of preserving the ruin, I had
no opportunity of passing a tape roimd the shaft, I measured
the space comprised by three of the flutings, and found it to
be 2 feet 3 inches ; which, multiplied by 8, according to the
number of flutings, 24 altogether, gives to the whole circum
ference a figure even 6 inches larger than above stated. A
considerable portion of the original entablature rests upon the
columns, which, together with the interpolation of brick between,
forras a solid wall, immediately in tbe rear of which is the ex
cavation above referred to, about 60 by 30 feet in area, and
12 in depth, comprising partly the site of the Nunziatina Con
vent, of which a portion has been pulled down for the purpose.
The identity of the ruin is not generally admitted to be as
above stated, and sorae authorities suppose it to be the reraains
of the Temple of Mars Ultor before referred to on the site of
the church of S. Martina; though, judging frora the extra
ordinary size of the columns, which, a sufficient testimony of
the magnificent scale of the building, considerably exceed the
Temple of Jupiter Tonans, also erected by Augustus at the
foot of the Capitoline, it is not to be supposed that Augustus,
acting under the enthusiastic sentiment of gratitude fof the
preservation of his life frora a thunderbolt, would have raised
a smaller teraple to Jupiter than the teraple he dedicated to
an inferior deity. Mars, in honour of his uncle Julius Caesar.
The Teraple of Pallas, or rather the ruin belonging to the
Forum of Nerva, and mistaken for the Temple of Pallas, is
VOL. II. G

82 A TOUE IN MODERN ROME. [Chap. X.
within a very short distance of the Arco de' Pantani, froni
whence it is necessary to proceed by a street called the Via di
Tor de' Conti, which, continued by the Via del Colosseo, leads
in a direction a few points to the eastward of south to the
Colosseura. The lofty ancient wall, though it speedUy becomes
lost among the raodern houses, bounds for a short distance the
thoroughfare that at the point in question expands on the
right-hand or western side into a small open space called the
Piazza delle Colonnacce. The object in question, commonly
called the Teraple of Pallas, is situated on the southem side of
the piazza, close to a spot where another portion of the above-
mentioned wall, of which, in fact, it is supposed to be a portion
of the internal decorations, again makes its appearance, similar
in its face, , and alike strengthened with blind arches, as de
scribed before. The ruin comprises a frontage of about 24 feet,
consisting of a broad and massive entablature, supported on a
pair of fluted Corinthian colurans of Carrara marble, said to be
42 palms or 30 feet 8 inches high, and 14 palms or 10 feet
3 inches in circuraference ; though by actual measurement,
takeii about 4 feet above the present level, as the soil has
accumulated 15 feet perhaps above their bases, they appear to
be 9 feet 6 inches. Above the entablature are the remains of
an attic, of which the extreme height is about 15 feet, equal
to the breadth of the frontage ; and in the middle is a full-
length figure of Minerva in mezzo-relievo. The frieze, which
extends a little to the westward beyond the structure, appears
on the walls of the modern houses ; it is sculptured in bass-
relief, with figures all bearing reference to Minerva, the
tutelary goddess of the Forum, which are generally con
sidered good as regards the execution, though the style, in
cluding the mouldings and architectural ornaments, is over
wrought considerably. The effect of the design, however,
in consequence of the small portion of the object which re
raains, can hardly be appreciated; the more so, as it is
considerably deformed by the interpolation of modern brick
work, constructed partiy for the purpose of supporting the ruin,
and partiy to serve as the substructure of a sraall miserable-
looking house close adjoining. The ruin of the real Temple
of Pallas, of which the above has been erroneously concluded
to form a portion, was situated a littie farther to the westward.

Chap. X.] THE FOEUMS. 83
on a spot supposed to be the centre of the Forum, close to the
modern church of S. Agata de' '^ressitori. It consisted, us it
appeared in the sixteenth century, of a magnificent pediment
supported on seven fluted columns, and bore upon its frieze
the dedication of Norva, as is represented in several ancient
engravings. About the year 1540, however, it was destroyed
by Paul IIL, and the materials applied to the purpose of
building the Paolina Fountain on the Janiculum.
The Torre de' Conti, a brick tower from which the street
receives its title, built in the year 1207 by Innocent IIL, is
situated a little farther to the southward, between the Piazza
delle Colonnacce and the Colosseum. The site is supposed to
be precisely that of the ancient Templum Telluris, and conse
quently to indicate within a little the situation of the house of
Pompey, which latter edifice is known to have stood close ad
joining the temple. A little farther still to the southward,
continuing along the street towards the Colosseum, is a small
church situated on the right-hand or western side of the way,
caUed S. Maria in Carinis, in commemoration of the title
" Carina," so applied by the ancient writers, for a reason not
very clearly explained, on account of the resemblance either
of the ground or the form of the houses in the street to the
keel of a ship. Close to the sarae spot also, described by
Dionysius to be on the way leading from the CariruB to the
Cyprian street, and standing in the time of the writer, was the
Pila Horatia, a pillar erected in honour of Horatius after the
battle with the Curiatii. Continuing farther southward still
towards the Colosseura, there is yet another reminiscence
relating to the ancient Roman history, connected with a small
ehurch to be observed on the same side of the way as the
church of S. Maria in Carinis. It is distinguished by the title
of S. Andrea in Portogallo, and supposed to occupy the spot
where the Romans erected the " Busta Gallica," or funeral
piles on which, after the victory over the Gauls by CamiUus in
the tirae of the RepubUc, the bodies of the slain were burnt.
Hereabouts a street diverging to the westward leads into the
Roman Forum, with regard to which we have proceeded hitherto
nearly in a parallel direction, the whole way frora the Arco de'
Pantani, along a thoroughfare occupied, together with the inter
mediate strip of ground, by inferior houses. The entrance from
g2

84 A TOUR IN MODEEN EOME. [Chap. X.
this quarter is between the church of SS. Cosmo e Damiano and
the BasiUca of Constantine, where we emerge about the raiddle
of a spacious oblong area, distinguished, although it may almost
be properly termed waste ground, by the modem title " Campo
Vaccino," which is placarded, in the sarae manner as the name
of a street, on the sides of the adjacent buildings. The Campo
Vaccino, or bullock-field, corresponds not a little in appearance
with its title ; but, since it comprises the classical spot in
question, and contains some of the most interesting ruins of
ancient Rome, it is invariably considered the first point
of attraction whither to direct the course of the numerous
famUies of foreigners or strangers, anxious to explore the
antiquities the first morning after their arrival. And, accord
ingly, the various groups of persons departing from their hotel
in the Piazza di Spagna in a hired carriage, most commonly
attended by a cicerone seated on the box, or behind on the dickey,
proceeding by a uniform route along the Corso, thence turning
to the left by the Via di S. Marco, and passing through Trajan's
Forum, enter the enclosure at its south-eastern angle, close to the
Arch of Septiraius Severus, at the foot of the Capitoline. The
carriage being then drawn up in a central position vrithin a few
paces and in full riew of the latter object, a compendious
prospect is had of all the celebrated ruins within the area, and
on the periphery, — the Temple of Jupiter Tonans, the Temple
of Concord, the Tabularium, the Temple of Fortune, the
Coluran of Phocas, the Greeostasis, the imperial ruins of the
Palatine, the Arch of Titus, fragraents, or the site at all events,
of the Temple of Venus and Rome, now occupied by the church
of S. Francesca Romana, the Basilica of Constantine, the
Teraple of Roraulus and Reraus, the Temple of Antoninus and
Faustina, and, finally, the shrine of S. Peter and S. Paul, con
structed close to the Tullian and Mamertine dungeons. Such
being the number of interesting objects, which, all within the
distance of four or five hundred yards from the spot in
question, require to be looked at altogether, it is not to be.
wondered at, that the natural irapulse of curiosity produces
the sarae effects in various instances, and that under sirailar
circurastances a similar spectacle presents itself to the eye of an
indifferent observer, almost invariably. Accordingly no sooner
is a carriage-load of personages such as above-mentioned seen

Chap. X.] THE FORUMS— CAMPO VACCINO. 85
to halt, than the elder people sit stock still, and (becoming
fairly puzzled) begin to pore steadily over their guide-books,
while the young ones stretch their necks here and there in every
direction, and propose interminable questions to the cicerone,
who, turning and twisting to the right and left with exceeding
alacrity, replies with a confident air to all manner of interro
gatories, notwithstanding he be never so ignorant of the question
propounded. Little information is to be had, generally speaking,
from the Roman ciceroni, whose office is exercised at pleasure,
without any degree of control as to competence ; and, con
sequently, setting aside a few of the profession who are really
tolerably weU-informed and intelUgent, the neighbourhood of
the principal ruins and the doors of the inns are infested by
those of the lower grade, who are not a little troublesome to
strangers by the continual offer of their services and importunate
behariour. The companionship, raoreover, even of those of
the better class, is purchased at the expense of one's liberty,
for, haring a regular route to perform, and being anxious to
get over the ground as soon as possible, they hurry their cus
tomer along from place to place without letting hira know what
he is about to see or whither he is going ; and, in the instance
in question, that of the risit of a party of foreigners to the Carapo
Vaccino, perplex their patrons not unfrequently by an obstinate
adherence to the order previously determined upon by them
selves in describing the rairabilia.
The Campo Vaccino, considered vrith regard to the limits
assigned to the Roraan Forum, as it is now estimated, according
to various conflicting opinions, is bounded towards the west by
the north-eastern side of the Palatine from the Arch of Titus
to its northern angle, and also on the other side of the angle by
a small portion of the north-westem side. Towards the east it
is bounded by a line of irregular modern buildings and churches,
intermixed with ancient ruins ; and, at the farther extremity, the
direction of the oblong area being from north-west to south
east, in part by the Arch of Titus and the gable of the church
of S. Francesca Romana. However, the whole surface of the
ground in question, vrith an avenue of stunted trees planted
along the middle, has the appearance of a miserable, barren-
looking spot, such as is to be met with in England in the out
skirts of a country town, where few people, with the exception

86 A TOUR IN MODERN EOME. [Chap. X.
of those progressing towards the city, or those going out of it,
or of a party of sight-seeing foreigners occasionally, such as
above referred to, are to be encountered. The spot in question,
near the Arch of Septimius Severus, is a place of considerable
resort for the peasants who arrive from the Campagna, attracted
tiiither especially by two or three wheelwrights' sbops, situated
close together, on the eastern side of the enclosure ; where, by
the way, cart-wheels are raade in great perfection, of large
diameter, spokes of raore than usual number, and naves
of extraordinary depth ; so that, accordingly, those whose
vehicles have occasion to be repaired attend for the pui-pose.
Some, if not engaged in despatching their homely dinners, are
seated on the ground in front in lack of occupation, and others
Ue flat on their stomachs, head to head, their chins resting on
their elbows, conversing with one another ; or, stretched at
full length on their backs, among cart-wheels and axles, with
arras and legs distended like St. Andrew's cross, and — lulled to
sleep as it were by the sound of the heavy hammer of the
wheelwright -^snoring with their faces to the firmament. Some
again, refreshed by their meal, and on their legs, are playing at
chuck-farthing with copper baiocchi, precisely after the same
manner the game is played by boys in England. OccasionaUy
a couple are engaged in tbe Neapolitan game of morra, where
one holds up to the riew of the other suddenly any number he
chooses of the fingers of both hands, of which the complement
of ten raust be named by the antagonist before he brings them
down again, so that the action of the one's fingers and the
other's tongue being necessarily simultaneous, and the players
usually surrounded by a group of companions who bet on the
garae, an extraordinary degree of excitement prevaUs among
the parties,, which ends not unfrequently in a serious quarrel
and catastrophe. Such an incredible degree of rapidity and
accuracy is exercised in this trial of skill, owing to continual
practice, that on all the occasions when I have happened to stand
by and observe the players, they have appeared invariably to
arrange their mutual accounts satisfactorily, notwithstanding
that the quickness of their fingers was such that it baffled my
utmost endeavours to follow the raovements with sufficient pre
cision to count the numbers.
Side by side with the peasants are ranged thoir empty carts

Chap. X.] THE FORUMS— CAMPO VACCINO. 87
and patient oxen, the latter yoked in couples together, and
forming picturesque groups that lie feeding on hay strewed on
the ground before them, or contentedly chewing the cud. The
oxen — most strikingly indicjitive of Italy, according to the
wonderful dispensation of Nature that assigns to each of the
different parts of the globe its particular breed of cattle — are
not less characteristic of the country than their masters :
a broad-horned, Asiatic-looking animal, in colour invariably
white inclining to iron-grey, which, contrasted with the rural
costume of their owners, testify as it were by their half-
slumbering, half- waking state of existence, the easy terms that
both maintain together. All such flattering and poetic illu
sions, however, with reference to their happy condition, though
affording a pleasing bucolic picture of the Virgilian era, vanish
altogether the moment they are set to work, for the system of
draught under which they are compelled to labour is, perhaps,
the most severe of any in Europe. The yoke, extending across
a pair of animals abreast, is of the ordinary construction, con
sisting of a strong beam that rests on the poll of each, ira
raediately before the wither, and a pair of perpendicular bars
inserted in the beam that reheve the wither of a portion of the
draught by bearing on the shoulders. Instead, however, of
being allowed the use ofthe head and neck in the usual raanner,
the head of each ox is raost grievously confined by a hard thick
rope, made fast to the pole of the cart at the extreraity, and then
twisted with a double tum first round the horn of the near ox,
at the root, next round the horn of the other ox in a sirailar
raanner, and lastly made fast on the point of the horn of the
former. By which cruel contrivance both animals are not only
deprived of freedom of action, but suffer, no doubt, intensely,
owing to the continual jars and jolts, of which the violent stun
ning weight, as the vehicle proceeds over the rough pavement, is
exclusively borne upon the hom. Their state of torment is
still farther increased by hard and frequent jerks upon a strong
iron rthg by which the cartilage of each animal's nose is per
forated, as the driver, seated aloft upon the load, the hinder
part of his person sinking low, and his elevated legs diverging
at a considerable angle, tugs at a pair of long cord reins, and
accompanies the action by a discordant tone of voice and with
menacing gesture ; and if, perchance, owing to the raeans failing

88 A TOUR IN MODEEN EOME. [Chap. X.
to produce the desired effect, he is compeUed to descend from
his exalted throne, he becomes outrageous at being driven from
a comfortable position, and falUng upon the poor animals with
rindictive spite, uses his goad most furiously. Among the
various modes of application of the ox yoke in different countries,
perhaps the most merciful of any, with the exception of the
ordinary horse-coUar, made with an opening joint for the
purpose of being put on and taken off, is the fashion adopted
in the raountainous parts of Portugal, where the beam, with
its descending bars being placed upon the poll in front of
the wither, as in the instance above-mentioned, the beam is
attached to the horns by leathern thongs cut to the precise
length calculated to enable the animal to relieve the shoulder
at pleasure, by throwing the head forward, and thereby taking
the whole or any part of the stress upon the horn.
Among the groups of oxen in the Campo Vaccino, there
are not unfrequently to be seen also pairs of buffaloes, which,
though commonly used as beasts of draught all over the
country, are extraordinarily wild-looking brutes, and appear
not unfrequently half covered with a coat of hard dried mud,
collected in the pools or bogs, where they delight to wallow,
like hogs or the rhinoceros. In addition to their savage, sylvan
aspect, tawny hide, and revengeful eye, the short crumpled
seraicircular horn inclining backwards, like the ears of a ricious
horse, iraparts a singularly sinister expression to the counte
nance ; and after all they are of a treacherous, half do
raesticated nature, invariably maintaining in their race one
attribute of wild in contradistinction to domesticated animals,
that of preserving the same figure, and very nearly the same
size ; and as they are hardly to be approached with impunity
except by their drivers, each pair, as soon as detached from
harness, are made fast by a strong rope to the vehicle. It is
curious, and seems contradictory, that the buffalo, altiiough,
as in the case of the ox, the gristle of his nose is perforated,
and an iron ring inserted, is allowed, notwithstanding its re-
belUous propensities, to work under considerably less restraint,
with its head and neck at liberty. The goad, however, used
by the driver, is such as enables hira to inflict most awful
punishment when occasion requires, being much longer and
stronger than the ox-goad, as well it may be, and is plain

Chap. X.] THE FORUMS— CAMPO VACCINO. 89
to be seen by the cautious bearing and respectful distance
preserved by the peasant during the application of the imple
ment, which makes tiie buffalo low and snort, and reply to
every poke by a fierce shake of the head. Their savage
nature is a source of arauseraent occasionally to the Roman
boys, who are in the habit of disturbing their last mo
raents by tormenting them in an enclosure attached to the
slaughter-house, which, appropriated to buffaloes exclusively,
is situated in a street known accordingly by the title " Via de'
Bnffali," a little below the Ponte di Quatro Capi, on the banks
of the Tiber. Here their coai-se flesh is distributed to the
lower classes of the population ; and as the above-mentioned
enclosure is surrounded by a high wall, not more than breast
high on an upper level, the boys, approaching from the street
above, amuse themselves by provoking the buffaloes by a red
rag, which they butt at very ferociously as often as it is
placed before them.
Such being the present appearance of the Campo Vaccino,
the Umits of the Roman Forum contained at any rate vrithin its
area were supposed for many centuries to comprehend an
oblong space extending from the Capitoline to the northern
angle of the Palatine, and thence to tbe Arch of Titus. A
doubt, however, has since been raised on the subject by modem
antiquaries, who are of opinion that the Forum extended in the
above direction only about half the distance, coraprehending
at the same time a portion westward of the northern angle of
the Palatine. How far the precise limits are presumed
in the latter case to have extended in one direction or the
other, either along the north-east or along the north-west
side of the Palatine, has never been asserted specifically. The
question is at all events one of exceeding difficulty, considering
the variety of changes and casualties that have happened to
the locaUty, from the days when the spot was first resorted to
as a place of common rendezvous and a raarket for the Roraans
and Sabines under Romulus and Tatius, till the seventh
century of the Christian era, even up to which period the last
visible appearances of the Forum in its original state are
said to have been in existence — a period altogether including,
in the reigns of the Kings, the Republic, and the Empire,
the duration of no less than thirteen centuries. It is ex-

90 A TOUE IN MODEEN EOME. [Chap. X.
traordinary that the ancient writers have not taken the pams
to indicate a spot so celebrated, with precision sufficient to
obviate the doubts that have arisen on the subject, though
none perhaps have referred to the locaUty more distinctiy
than Dionysius, who, in giving an account* of a triumphal
procession proceeding frora the Capitol to the Circus Maxi
mus, clearly states that the procession passed through the
Forum ; and again, speaking of the Temple of Vesta, built by
Numa PompUius,t describes it as being situated between the
Capitoline and Palatine hills, upon the Forum : frora both which
data, however, the opinion of the early antiquaries appears to
meet with no positive contradiction, for as the Porta Tri
umphaUs or raain entrance to the Circus Maxiraus was situated
at the southern angle of the Palatine, the procession would
necessarily have passed along the north-east and south-east
sides of the Palatine in its way thither, which route includes
no part of the new space claimed by the modem antiquaries.
And as regards the Temple of Vesta, upon the position of
which the question, according to the definition above given,
mainly depends, the site has never yet been clearly determined.
Dionysius, moreover, partly accounts^ for a portion of ground
between the Capitoline and the Palatine by obserring that a
space four stadia in length, leading from the Forum to the
Circus Maximus, was allotted by the Roman senate to the
Tyrrhenians after the peace concluded vrith Porsena ; and as it
is farther stated that the street originally constructed there by
the new settlers, and called the " Vicus Tuscus," reraained in
existence in the days of the writer, who lived in the reign of
Augustus, it necessarily follows that as far as relates to the
space included in the Vicus Tuscus, so much of the disputed
territory was not, at all events at that period, included in the
limits of the Forura. Leaving, however, the subject to be dis
cussed by the leamed exclusively, and returning to the present
appearance of objects upon an area where the whole surface
covers a continuous stratum from twelve to twenty feet deep,
coraposed almost entirely of crumbled bricks and mortar, frag
ments of the various edifices that have perished in successive
generations — a fact of which the stunted growth of the avenue
of trees above referred to, together with their discoloured
* Book vii. chap. 72. f l^ook ii. chap. 66. % Book v. chap. 36.

Chap. X.] THE FORUMS-CAMPO VACCINO. 91
leaves and crippled branches, affords some testimony — the first
point where it will be necessary to begin is immediately at the
foot of the Capitoline.
Here, by means of an extensive excavation effected at
various times, partly by the French autboritios while in pos
session of the city, and partly by Pius VII. and his successors,
the bases and substructure of several important monuments,
which, crowded within an almost inconceivably small compass,
lie as it were in a nucleus all together, have been corapletely
laid bare and do\eloped. The area of the excavation, about
400 yards in periphery, is bounded on the northern side by
the Tabularium, on the eastern and western sides by the Cor
donata and by the carriage-road leading to the Piazza di
Campidoglio that have both been before referred to, and on the
southern side by the Campo Vaccino. The depth being about
15 feet at the lowest, and increasing according to the slope of
the Capitoline, and the three latter sides lined with a brick
wall surmounted by a wooden rail for the sake of security, the
principal ruins standing within the enclosure, exclusive of other
minor objects, are no less than four in nuraber, naraely, the
Arch of Septimius Severus, the Temple of Concord, the
Temple of Jupiter Tonans, and the Temple of Fortune.
The Arch of Septimius Severus, which occupies the south
eastern angle of the enclosure, remained buried in the earth
to the extent of 15 feet above its base, which is the average
difference of the Campo Vaccino above the ancient level, until
the year 1803, when the ground was cleared away around it
by Pius VIL, and a circular excavation raade and lined by
a brick wall, as appears in numerous prints pubUshed since
that period. It remained so isolated until the wall above-
mentioned being removed by Gregory XVL, it was included
with the other ruins in the present excavation. This well-
known monument was built about the 205th year of the
Christian era, and dedicated by the Senate and Roman people
to Septimius Severus and his sons Caracalla and Geta in com
memoration of their victories over the Parthians and the
Persians. It is a massive rectangular structure of Pentelic
raarble, pierced with three arches, a central one flanked by
two others of smaller dimensions, with a communication be
tween all by transverse arches through the sides of the central.

92 A TOUR IN MOD-EEN EOME. [Chap. X.
It has two similar fronts, one towards the Capitoline and the
other towards the Carapo Vaccino, upon each of which the
raain entablature rests upon four fluted coraposite colurans, and
four corresponding pilasters, also of Pentelic raarble which
rest on pedestals of the same raaterial ; and above the enta
blature is a plain attic which bears the inscription. The three
sides of each of the pedestals are sculptured in bass-reUef, as
are also the intercolumniations or spaces above the smaller
arches and there are also figures of Fame in the spandrels of
all three arches. The sculpture, however, is considered of
inferior quality, though interesting on account of the repre
sentation of the battering rara and other ancient martial im
plements that are to be traced araong the figures, though in
a state hardly recognizable. The sides of the arches within are
plain, but the soffits are ornamented with coffers, and from one
of the smaller arches a flight of steps leads to the summit of
the structure, an horizontal plane, upon which was planted a
group, whether in bronze or raarble I cannot say, consisting of
Septimius Severus seated between Caracalla and Geta in a
chariot drawn by six horses abreast, flanked by two foot
soldiers, as represented in the coins of Severus and of Cara
calla. The inscription, engraved in large capital characters,
and perfectly legible, covers the whole face of the attic, and
is reraarkable for the risible appearance of an erasure, eri
dently made for the purpose of obliterating the name of Geta
after being murdered by his brother Caracalla. The erasure
in question coraprehends the fourth line of the inscription,
which consisted originally, as is concluded by the antiquaries,
of the names of the Emperor and his sons at length, in lieu of
which the words " Optimis fortissimisque principibus," compre
hending all three illustrious personages together in the same
phrase, are substituted.
Underneath the Arch of Septimius Severus there is to be
observed a portion of one of the original roads leading in
ancient days from the Forum to the Capitoline, which was
brought to light in the course of Pius VII.'s operations, after
having remained covered by the earth for an unknown number
of centuries. Of this, as well as the other objects within the
excavation a sufficient riew may be had from the Cordonata
above, or from the Campo Vaccino; thougli those who are in-

Chap. X.] THE FORUMS— THE CLIVUS SACER.

93

clined to descend may occasionally obtaiii admittance at the
workmen's entrance, of whom a few are generally there, or near
the spot, under charge of a superintendent. The entrance is
on the south-west angle of the enclosure ; and the visitor once
adraitted, is allowed to rarable about alone as long as he pleases.
The road in question, which is supposed to be the one distin
guished by the title " Clivus Sacer," eraerging from the
Forum underneath the bank from a distance that, until further
experiments are made by clearing away the earth in that
quarter, nobody will be able to define, passes thence through
the arch, towards the north-west angle of the excavation. As
far as regards a specimen of the aneient raode of road-raaking,
it is in the raost perfect state of preservation ; though forraed
on a horaely raodel, such as one can hardly reconcile to the
raind, as corresponding with the porap and circurastance of a
triumphal procession on its way to the Temple of Jupiter ; for
it consists of enormous ill-fashioned blocks of selce, each the
size of the bottom of an ordinary chair, like the half-natural
half-artificial roads one occasionally meets with on the seashore
through a sandy beach, composed of a promiscuous assemblage
of live rock and boulders. It is curious, at all events, that
the raaterial selce, notwithstanding that the terra is derived from
the Latin silex, ablativo silice, contains no siliceous raatter, but
is exclusively the light blue volcanic substance cited under
the letter B in the Appendix to the first volume of this work ;
while at the same time the large size and flat surface of the
stones appear to correspond with a road of the same primitive
form of construction such probably as was the rude, inhos
pitable cradle for the new-born lamb idealized by Virgil in the
shepherd's pathetic apostrophe, —
" Spem gregis ah silice in nudS, connixa reliquit."
As the fragment exists at present, so it seems likely to remain
for a long period, since upon the wall which lines the banks of
the excavation, above the spot whence it eraerges from the
Forum, is engrafted a tablet of marble, bearing a lengthy in
scription of Gregory XVL., relating to the operations under
taken to remove the wall of Pius VIL, and include the Arch of
Septimius Severus in the larger excavation as above stated.

94 A TOUR IN MODERN EOME. [Chap. X.
Another of the lesser ruins to be observed within the excava
tion is a small and nondescript structure, supposed to have
been a sort of rostrura Or place of resort for the teachers of
youth, whether a school or a species of instruction terraed
" ludus literarius." The object in question, close on the
western side of the Arch of Septimius Severus, is a truncated
portion of a small conical brick building, sheathed vrith Porta
Santa raarble, of which about twelve feet in height remains.
The diaraeter at the bottora is about twelve feet also, but with
the exception of the semblance of a form, as above stated, some
sheathing adhering to the brick-work, and sorae fragments of
pilasters, no characteristic feature whatever is recognizable —
such is its present dilapidated condition.
The next of the principal ruins to be attended to, situated
in the north-eastern angle, is the Temple of Concord, supposed
to have been built by CamiUus about 390 years before the
Christian era, for the purpose of commemorating the recon
ciliation between the patricians and plebeians, and also particu
larly remarkable as being the building whither on the occasion
of Catiline's conspiracy the Roman senate were convoked by
Cicero. The original edifice was in existence at the cora
raenceraent of the Empire, and restored by Tiberius ; and
afterwards, having been destroyed by fire in the war of
Vitellius and Vespasian, was rebuilt by Vespasian, and was
afterwards burnt a second time in the great conflagration
during the reign of Titus. The ruin, however, according
to the ecclesiastical writers, was in existence in the eighth
century, when Pope Adrian I., about the year 780, converted
a portion of its foundation to the substructure of the small
church SS. Sergio e Bacco, which he erected on the spot
The church was rebuilt in the year 1198 by Innocent IIL,
but afterwards being in a dUapidated state, was destroyed by
Paul III. for the sake of the material in the sixteenth centui-y.
Whatever was the titie by which the ruin was distinguished at
that period, it appears subsequentiy to have entirely escaped the
recollection of the antiquaries, by whora the name of the Temple
of Concord was given to another ruin, at present called the
Temple of Fortune, as if the one above mentioned had never
been in existence, untd tiie year 1817, when, in the course of

Chap. X.] TEMPLES OF CONCORD AND JUPITER TONANS. 95
an operation undertaken on the spot by the French ambassador,
the ancient substructure of the temple in question was found
bmied under the soil. At all events, notwithstanding the
prevalence of so unaccountable a mistake araong the learned
for so long a period, its identity is now very generally recog
nised, not only from its position with reference to other ad
joining objects as described by the ancient writers, but also on
the authority of four votive inscriptions relating to the restora
tion of the building by Tiberius, which, together with a con
siderable portion ofthe frieze and entablature, were also ex
humated. The ground plan, moreover, particularly with
regard to the portico, which, as it is taken for granted, for
want of space, was less in breadth than the fa9ade of the
edifice, has been found on comparison to agree with the ancient
diagram in the Pianta Capitolina. The ruin, as it appears at
present, after its unexpected resurrection from oblivion, consists
of the pavement and substructure of the cella of the temple,
of which the area is square, or nearly so, and the height, the
ground haring been removed all round, eight or ten feet, forra
ing altogether a plain open platform, upon which, a person,
once below in the excavation, may clamber without much
difficulty, and examine the various quaUty of the paving ma
terial at leisure. These slabs of marble, giallo antico, pavo
nazzetto, and other of the finer sorts, which, broken in pieces
as small as if done purposely with a hararaer, have been ex
posed in the open air for several years since the discovery, have
occupied each perhaps its present position since the days of
Tiberius ; though the effects of fire are evident in the dis
colouration of the raarble, not only ofthe pieces of the pavement,
but of other fragments of the ruin which lie below scattered on
the ground, such as portions of colurans of giaUo antico, and of
pavonazzetto, and also pieces of an entablature and of colossal
statues. The principal fragments, however, of the above
description, which were discovered at the time of the French
excavation, not only those ofthe Teraple of Concord, but others
belonging to the Temple of Jupiter Tonans, were removed to
the lower chambers of the Tabularium, where they are said to
be preserved at present.
The ruin of the Teraple of Jupiter Tonans is situated close
on the western side of the Temple of Concord, being the

96 A TOUE IN MODEEN EOME. [Chap. X.
remains of the temple built by Augustus in commemoration of
his own signal preservation during his Cantabrian expedition,
when, travelling through the roads in Spain by night in a litter,
he was overtaken by a violent thunderstorm, and the slave
who carried a torch in front struck down by lightning ; so the
teraple was accordingly dedicated in gratitude to Jupiter,
under the titie of Jove the Thunderer. Augustus was accus
toraed to be carried in a litter during his raiUtary operations,
in consequence, according to the account of Suetonius, of a
vesical coraplaint which afflicted hira continually, and had
assumed an increased degree of virulence at the time in ques
tion. The accident, at all events, whether from the effects of
debility or otherwise, produced a riolent effect upon his nervous
systera, and the recollection ever afterwards on the occasion of
a thunderstorra inspired hira with such a lively sense of terror,
that he invariably took refuge in a subterraneous or secluded
charaber. He also adopted the precaution of constantly wear
ing a girdle of sealskin frora confidence in the superstitious
opinion generally entertained by the ancients, that the seal as
well as the eagle were animals rendered invulnerable to lightning
by a particular privilege granted to thera by the deities.*
According to the Ode of Horace, which, after his safe retum
frora the expedition, celebrates his arrival, it would seera that
a report had reached Rorae of his having been actually killed
by the thunderbolt in question :
" Herculis ritu, modo dictus, 6 plebs,
Morte venalem petiisse laurum,
Cassar Hispanae repetit penates
Victor ab ora."t
The ruin of the teraple, as afterwards restored by Septimius
Severus and Caracalla, consists in its present state of three
fluted Corinthian columns of Luna or Carrara marble, said to
be four and a half ancient Roman feet in diameter, which, with
a considerable portion of the entablature above, coraprise the
south-east angle of the building, whose faqade, originally orna
raented witb six colurans in a row, fronted towards the Forum.
And there is also to be seen a portion of the substructure
sheathed with tablets of raarble, upon which the edifice was
raised, whence it would appear that the entrance, instead of
'* ' Life of Octavius,' chaps. 29, 81, 82, 90. f Lib. iii. Ode 14.

Chap. X.] TEMPLE OF FORTUNE. 97
being by a single continuous flight of steps, consisted of narrow
flights at each intercolumniation. An interesting opportunity
is here afforded to scientific people, with reference to the
separate eras of Augustus and Septimius Severus, of comparing
the different speciraens of each period that appear in the enta
blature, of which the portion of the frieze in front, evidently
belonging to the latter period, relating to the restoration of
Septimius Severus and Cai-acalla, bears engraved in legible
characters the letters " estituer," a portion of the word resti
tuere. Upon the portion of the frieze on the eastern flank,
though I have not paid attention to which of the periods it raay
belong, the bass-relief sculpture, executed in a style extremely
highly wrought, represents principally the several articles
and irapleraents relating to the ancient sacrifices, among which
is to be observed particularly, surmounted by a thunderbolt in
allusion to the history of the temple, the Galerus, or cap, worn
by the Flamen Dialis, or high priest of Jupiter. The Galerus
was made of the skin of a sheep with the wool on, one of the
animals sacrificed ; and the terra, long after the establishment of
the Christian religion, applied by one or raore of the ecclesias
tical writers to the red hat of the cardinal.
A few yards only south-west of the Teraple of Jupiter
Tonans stands the ruin of the Temple of Fortune, the principal
and largest object in the excavation, the same whieh was so
long mistaken for the Temple of Concord, a? above stated, and
whose present title necessarily gave rise to a subject of serious
discussion among the antiquaries, on account of their being
obliged unexpectedly and at short notice, immediately after
the discovery of the real Temple of Concord, to furnish it with
a new identity. I cannot pretend to state the various titles
that were prorided siraultaneously in the dilerama, such as
the " Temple of Juno Moneta," the " Temple of Vespasian,"
and also of another Temple of Concord, supposed to have been
built in addition to the one before referred to, upon the pre
sumption that Tiberius built a new Temple of Concord on the
spot in question, instead of restoring the old one as above
stated. Some, moreover, affirmed it to be the remains of a
Temple of Saturn, and others of a Temple of Vespasian ; but
finally the narae of the Temple of Fortune, by which it has
been generally distinguished ever since in Rome, was allotted
VOL. II. H

98 A TOUR IN MODERN ROME. [Chap. X,
to it. The chief grounds on which the latter conclusion,
adopted by Nardini and Nibby, among others, was arrived at,
are obtained on the authority of the Byzantine writer Zosimus,
an officer in the reign of Theodosius IL, who wrote, about the
year 410, a history of the Roman eraperors, and gives an
account of the destruction of the Temple of Fortune in the
reign of Maxentius, about one hundred years previously.*
The cause of the accident, whether by lightning or otherwise,
is not accounted for ; but the period assigned by the writer is
supposed to correspond precisely with the style of the sculpture,
indicative of the deteriorated state of the arts in the days of
Maxentius and Constantine, in whose reign it is presumed it
was restored by the senate and Roman people, after the con
flagration, which, in the inscription on the frieze of the ruin, is
referred to.
The ruin, as it appears at present, consists of eight Roman
Ionic columns, of which six belong to the eastern facade of the
building, and one to each of the angles, and also of a consider
able portion of the white marble entablature, including the
whole of the architrave, upon which, without any intervening
frieze, rests the cornice. Upon each of the flanks also there
are the remains of the upper member of a pediment coraprising
the acute angle and a portion of the tympanura. The sub
structure, upon which the building was elevated, consists oflarge
blocks of travertino, and upon the flanks are to be observed the
remains of a sheathing of raarble, and in front, of the flight of
steps that led to the entrance. The indications of the decline
of the arts above alluded to are to be recognised in the different
diameters of the shafts and inferior sculpture of the capitals
of the columns, and the difference also of space in the inter
columniations. The height of the columns is said to be 45
Roman feet, and the average of the diameters 5^ feet. The
inscription, which appears in large capital characters on the
architrave and is in perfect preservation, is as foUows : " Senatus.
Populusque . Romanus . incendio . consumptum . restituit."
Between the Temple of Fortune and the Teraple of Jupiter
Tonans there is to be seen a portion of another ancient road,
precisely similar in ajipearance to the CUvus Sacer, which
passes under the Arch of Septimius Severus, before referred to.
¦* Lib, ii., cap. 13.

Chap. X.] THE FORUMS— CLIVUS CAPITOLINUS, &c. 99
The road in question, which seems to load in a north-wost
direction towards the Tarpeian Rock and is supposcd to be a
portion of the CUvus Capitolinus, was discovered in the pro
gress ofthe French excavation in 1817, at the same time with
the Temple of Concord.
There is also to be observed upon the wall ofthe Tabularium
bounding the excavation at its northern side, at a point between
the Temple of Fortune and the Temple of Concord, the remains
of an ancient aedicola, from which the earth was first removed
in 1824, in the reign of Leo XII. It contained at the time of
its discovery an ancient altar, dedicated by Marcus Aurelius
to his wife, the younger Faustina, which is said to be still pre
served in the lower chambers of the Tabularium.
Another, though not very recognizable monuraent of ancient
tiraes, to be reraarked in the present excavation, is situated on
the westem side, near tbe north-western angle, where sorae
fragments were discovered in 1834, in the reign of the late
Pope Gregory XVL, belonging to a portico, supposed to con
tain, according to an inscription that appeared on a portion of
the frieze, statues of the twelve Dii Majores, Jupiter, Apollo,
Mars, Neptune, Vulcan, Mercury, Juno, Minerva, Diana,
Venus, Vesta, and Ceres. Another inscription, also discovered
on the spot, relates to the restoration of the building by Vezzius
Agorius, Prefect of Rome in the 368th year of the Christian
era, though the bricks of the structure, judging by the marks
which it is said are to be seen on several, are attributable to the
earlier period of Adrian, as are some columns with figures of
Victory and trophies, interpolated in the capitals, to that of
Septiraius Severus. The remains of the edifice, whatever it
raight have been, to be seen at present, are several fragments
of fluted Corinthian colurans of cipollino, and a portion of a
comice, all lying strewed on the ground in a neglected state in
the north-west angle of the excavation ; the portion of the
comice especially being of very large diraensions. There are
also some other fragments within the arches by which the
westem bank of the enclosure is perforated to a considerable
depth for the purpose of sustaining the carriage road leading
from the Forum to the Piazza di Campidoglio.
Finally, previous to quitting the present excavation, there is
to be observed on the southem side, near the south-east angle,
h2

100 A TOUR IN MODERN ROME. [Chap. X.
the entrance of a tunnel 30 or 40 yards in length, by means of
which an open communication is preserved with another exca
vation, sunk for the purpose of laying bare the base of the
Column of Phocas, which will presentiy be referred to. The
southern bank is also pierced with several small arched open
ings lined vrith brickwork, that have the appearance of drains,
wbich from their position and direction, though whether ancient
or not I cannot say, may or may not be the smaller water
courses tributary to the grand trunk of all, the Cloaca Maxima,
which, originating frora a corresponding point hereabouts in the
Forura, carried away the surplus waters and drainage into the
Tiber. A few paces eastward of tiie Arch of Septimius Severus, and
on the eastern side of tbe Campo Vaccino, stands the church
of S. Martina, which building, as was stated in the beginning
of the chapter, is supposed to occupy the site of the Temple of
Mars Ultor, built by Augustus in his forum, in commemora
tion of the assassination of Julius Caesar, and in compliance
with a vow which he took at the sarae tirae to avenge his death.
The respective foruras of Julius Csesar and of Augustus, of
which the first extended to the west and the latter to the east,
as before stated, are supposed to have abutted upon each other
soraewhere near the Arch of Septiraius Severus, though the
liraits have never yet been defined with any degree of certainty.
The point in question, however, including with the church of
S. Martina the church of S. Adriano, which is the next build
ing to the southward, and a little beyond, is the spot of all
others to which an extraordinary nucleus of ancient buildings
has been assigned by the antiquaries. In the first place the
shops with which Tarquinius Priscus ornamented the Forura are
supposed to have been situated within the line above referred
to ; and among these the shop of the cook or restaurateur,
wbence Virginius, while in the adjoining court of law his
cause with Appius Claudius, the chief of the decemvirs, who,
enamoured of his daughter Virginia, claimed her as a slave,
was pending, snatched a knife and stabbed her. Of these shops,
however, there are no recognizable remains existing ; neither
are there of the very many other public buUdings assigned
to the same locality, such as a Teraple of Janus — one of the
many aUotted to Janus in various parts of Rome— the Temple

CH.VP. X.] TEMPLE OF ANTONINUS AND FAUSTINA. 101
of Saturn, which, as above stated, was otherwise identified by
some of the antiquai-ies with the Temple of Fortune ; and also
a building called "Secretarium Senatus," supposed to have been
the first place of raeeting for a senate exclusively Christian, in
lieu of the ancient curia occupied by their predecessors. More
over the above-raentioned church of S. Adriano is said to
occupy the site of the Basilica Emilia, one of a number amount
ing to no less than twenty altogether of the sarae description of
public buildings where the courts of law were held and the
merchants met for the purpose of transacting their affairs.
Several of the basilicas were situated in the Roman Forum,
though, of the whole number there and elsewhere, no vestiges
are in existence, nor any accounts of the ancient writers
whereby their position can be determined with even a moderate
degree of precision, with the exception of the Basilica Emilia,
as above stated, the Basilica of Constantine, which will be pre
sently referred to, and the Basilica Ulpia in Trajan's Forum,
which has been described already. Those which are assigned
exclusively to the Roman Forura are the Basilica Emilia, which
will be referred to in the description of the church of S. Adriano,
in the second section of this chapter, the Basilica of Paulus
Emilius, and the Basilicas Julia, Fulria, Portia, and Serapronia.
All these ancient buildings, to which might be added the
names of many more, forming altogether an extraordinary
multitude crowded together within an exceedingly limited
space, and consequently, ovring to the casualties that have
happened on the spot during a period of a thousand years or
more, overspread vrith the veil of oblivion, have furnished a
never-ending and unsuccessful subject of controversy for the
antiquaries during many centuries.
Proceeding along the eastem side of the Carapo Vaccino to
the southward, the next object, which is within a very short
distance, is the ruin of the Teraple of Antoninus and Faustina,
supposed to have been dedicated by the senate and Roman
people to Antoninus Pius and his wife Faustina ; though inas
rauch as that the names of the wives of Antoninus Pius and of
Marcus Aurelius were both Faustina, that both died before
their husbands, that public honours were decreed to both by
the senate, and that neither of the two are particularly dis
tinguished from each other by the terms of the inscription, a

102 A TOUE IN MODEEN EOME. [Chap. X.
question in consequence arose among the antiquaries as to
which of the two imperial pairs of Antonines the temple
belonged. But as the inscription happens to consist of two
Unes, of which the upper line contains the words " Divo Anto
nino," and the lower line the words " Divae . Faustinae ." Ex.
S. C," a conclusion has been arrived at by all the principal
authorities that the epigraph originally consisted of only the
second Une, containing exclusively the dedication of the temple
to Faustina, and that the upper line, investing the eraperor vrith
posthumous honours similar to those of his consort, related
especiaUy to Antoninus Pius as above stated, and was added
subsequently. «
The reraains of the temple existing at the present day com
prise a very considerable portion of the portico and of the walls
of the cella, which latter portion, converted to the modem
church of S. Lorenzo in Miranda, will be referred to in the
second section of this chapter. In front of the western gable,
facing towards the Campo Vaccino, the approach to the principal
entrance of the modern church is by a light wooden bridge
thrown across an excavation, which, protected by a railing, has
been sunk to the depth of twelve or fifteen feet to the extent of
the ancient level, for the purpose of laying bare the bases of the
colurans of the portico. The portico was originally supported
by six Corinthian columns of cipollino in front, and two on each
flank, of which all, with the exception of one in front, or upon
the angles, are still in existence. The height of each shaft,
which is composed of a single block, is said to be 47 ancient
Roraan feet including the base and capital, and the circum
ference by actual raeasureraent is 15 English feet 6 inches,
larger than any other column of cipoUino to be seen in Rome.
The white marble entablature in front is tolerably perfect, and
extends, not only over the flanks of the portico, but over the
flanks of the cella to a considerable length. The portion of the
frieze in front is occupied by the inscription above referred, to,
and lhe reraainder, upon the flanks ornamented with griffins,
candelabra, &c., with which the public have been made famUiar
by nuraerous prints and drawings, is justiy celebrated for the
beauty of the design and sculpture. The walls, which enclose
an oblong rectangular area, are built in the Etruscan style, of
enormous blocks of peperino laid together without cement, and

Chap. X.] TEMPLE OF EOMULUS AND KEMUS. 103
with a degree of precision if not equal to the I'abularium, at
least sufficient to raise a momentary question in the mind
whether or not the masonry belonged to a building of an
earlier period of which the Roman senate avaUed themselves
in building the teraple. For the same Etruscan style is to
be traced in masses to be observed here and there in the
substructure of the houses between the spot in question and
the Forum of Nerva, whose ancient wall situated within a very
Uttle distance of the spot is supposed by the antiquaries to be
many centuries raore ancient than the Forura, as was before
stated. The Via Sacra passed frora south to north along the Forum
within a few paces in front of the Temple of Antoninus and
Faustina, at which spot the surface of the Carapo Vaccino has
been considerably reduced by artificial raeans to a level with
the verge of the excavation, as may be observed on looking
towards the avenue of trees before referred to, which grow on
ground considerably higher stUl, upon a bank scarped and
Uned vrith a brick wall eight or ten feet high. Such was the
elevation caused by the accumulation of ruins and rubbish
during the dark and middle ages ! The Temple of Antoninus
and Faustina stood in fact the whole depth of the excavation,
fifteen feet or thereabouts, above the Via Sacra, as appears not
only by the remains of the road in existence, but by the dis
covery in the process of making the excavation of the marble
steps, twenty-one in number, which led to the entrance. Upon
the Via Sacra, and very nearly opposite the Teraple of Anto
ninus and Faustina, the triuraphal arch, built by the censor
Fabius after his conquest of the AUobroges, is supposed to have
been situated.
Proceeding, however, a few paces to the southward along
the eastem side of the Carapo Vaccino, the ruin of the Temple
of Romulus and Remus is included in the line of buildings.
The Temple of Romulus and Reraus, though little or nothing
is known of its ancient history, is supposed to have been built
at a period of the empire about the reign of Constantine, and
the remains at present existing consist in the first place of a
circular brick cella, which, haring been converted to the vesti
bule of the modern church of SS. Cosmo e Damiano, built by
Felix IV., in the year 527, wUl be referred to in the second

104 A TOUE IN MODEEN EOME. [Chap. X;
section of this chapter. It will be necessary, however, to
observe in the present place, that on the occasion of rebuilding
the church of Pope Felix by Urban VIIL in the year 1630, it
was found expedient to raise the pavement of the former build
ing, and accordingly two apertures leading into the church
frora the Campo Vaccino through the ruin in question were
made in the circular wall. The jambs and lintel of the outer
of these entrances are coraposed of a portion of the entablature
of the ancient temple, and above the portal is a similar archi
trave supported on an ancient pair of porphyry columns, five feet
seven inches in circuraference. The raouldings of the above
ancient fragments are executed in an overwrought style of
sculpture, and the door is an ancient one of bronze, transported
by Urban VIII. for the purpose, frora Perugia. The porphyry
columns and the entablature are in fact a conspicuous portion
of this part of the ruin ; for though the circular wall is in excel
lent preservation, and considered by scientific people to cor
respond with the period assigned to it, the structure altogether
has an insignificant appearance, owing to the homely style of
roof that has been placed upon it — a plain circular covering of
common red tiles, slanting at an obtuse angle from a point in the
centre towards the circuraference, like the cap of a mushroora,
sirailar to the roof with wbich the Teraple of Vesta on the
banks of the Tiber has also been provided. Another portion
of the same ruin is situated within a few yards of the circular
building to the southward, raerely, in fact, across the road or
street called the Via Crucis, the same by wbich we entered the
Carapo Vaccino frora the eastward, between the church of
SS. Cosmo e Damiano and the BasUica of Constantine. The
object in question is a pair of Corinthian columns of cipollino,
supposed to have belonged to the pronaos or portico of the
ancient temple, which are surmounted by a considerable por
tion of their original entablature. The upper portion only of
the shafts is risible, owing to the accumulation of soU fifteen
feet, or thereabouts, above their bases, though the height,
according to an experiment raade in 1753 by Benedict XLV.,
is said to be 33 feet, the bases included. The circuraference
by actual measureraent, taken four feet above the present level,
is eight feet five inches. The above columns were accompanied
by another of a similar description until the seventeenth century,

Chap. X.] " THE FORUMS. 105
when the latter was removed by Urban VIIL, on the occasion
of the rebuilding the church.
Opposite the above-raentioned columns, on the northern side
of the Via Crucis, is a sraall oratory, which has been recently
annexed to the church of SS. Cosrao e Damiano, principally
for the purpose of a vestiario, or robing-room, where the friars
or Fratelli di Saccone Neri, whose duty it is to perform every
Friday the religious observances instituted at the Colosseum in
honour of the Christian martyrs, deposit and resume their
habiliments, whether for the purpose of doing duty as priests
as above stated, or of proceeding through the city in their daily
office of collecting alms — per elemosinare, as is the expression.
The Fratelli di Saccone Neri are reraarkable for parading the
streets of Rome continually, in a costume calculated to produce
a singularly awful impression on the minds of the people, as
they walk along bare-legged and bare-headed, their black robe
fastened tight round the waist vrith a common cord, and broad
slouched hat hanging suspended behind on the back and
shoulders, while the eyes gleam with extraordinary effect and
brilliancy through two sraall holes in the cowl that entirely
conceals the countenance. The raore so as the Fratello, who,
as it is said, is not unfrequently a Roraan noble or a cardinal
disguised as a raendicant, has thus an opportunity, without the
possibility of being himself recognised, of appreciating the meed
of charity contributed by every individual, which consideration
carries with it no Uttle weight in raany cases. The solicitation,
however, is made in silence, and with the exception now and
then of a very expressive shake and rattle of the money-box
carried in the hand of the bearer, who pursues a steady
course vrithout tuming to the right or left, he is otherwise
unobtrusive. Within a few paces of the oratory on the side towards the
east, on a spot that I am unable to define precisely, there are
to be observed the remains of an ancient wall composed of
travertino, peperino, and tufa, which the antiquaries have never
been able to identify, and some, supposing the site of the Forum
of Julius Caesar to have been here instead of being situated
further northward, as before stated, consider a portion of that
Forura. There is also to be observed, iraraediately opposite
the church of SS. Cosmo e Damiano, and stretching thence

106 A TOUE IN MODEEN ROME. [Chap. X.
across the Campo Vaccino to the church of S. Maria Liberatrice
on the northern angle of the Palatine, a paved road, which,
though not ancient, is by no means of recent construction, and
coraposed, after the fashion of the ancient roads, of large blocks
of selce.
The next and last buUding on the eastern side of the Carapo
Vaccino, situated close to the angle, is the Basilica of Con
stantine, said to have been coraraenced by Maxentius, and
completed by his victorious rival after Maxentius was kiUed
at the battie of the Pons Milvius. It is, however, not a littie
singular, and not the least conclusive of one of the very many
facts by whicb the uncertainty of such questions of antiquarian
research raay be estimated, that notwithstanding the building,
regarded in the light of a ruin, is in good preservation, and
also by its dimensions and general appearance the raost con
spicuous perhaps of all the ancient monuments in the Campo
Vaccino, it was mistaken for many centuries for a totally diffe
rent edifice frora that which it is now acknowledged to be by
the universal consent of great authorities. It was in fact, until
a recent period, so generally raistaken for the Teraple of Peace
built by Vespasian in the first century of the Christian era for
the express purpose of preserving the spoils brought by his son
Titus from Jerusalem, that it was not only commonly so called,
even as it is at the present day, but also distinguished by that
title in the inscription of Paul V., engraved in the year 1614
on the pedestal of one of the ancient columns of the ruin in
question, which he caused to be transported thence and planted
in front of the Basilica of S. Maria Maggiore. At all events
the accounts of the ancient writers are not sufficiently precise
to indicate the position, nor are there any other grounds
for identifying the ancient Temple of Peace with the present
ruin than the testimony of an inscription in which the words
"pacis CBternce" are legible, but which, after all, turns out to
have been discovered, not as was generally supposed on the
site of the ruin, but a considerable distance farther to the
northward, near the Arch of Septimius Severus. The former
existence of the Temple of Peace is certainly indisputable,
and also the fact of its destruction by fire* in the 191st year of
the Christian era, in the reign of Coraraodus ; some authorities
* See Suetonius, Dion, and Procopius.

Chap. X.] 15ASILICA OF CONSTANTINE. 107
have even been inclined to recognise a considerable portion of
the Teraple of Peace in the raain arches of the jirosent ruin,
supposing it at all events to have been built precisely on the
same site, though the construction boars no similarity to an
ancient temple, but on the other hand resembles exactly the
form of a basilica. The conclusion, however, in favour of its
being an edifice of the tirae of Constantine, is not only afforded
generally by the description of the masonry, but particularly
by the mai-ks that have been discovered on sorae of the bricks
corresponding \rith those of the baths of Dioclesian ; and that
it is at all events a building of an era considerably later than
the reign of Vespasian, was decided beyond all raanner of
doubt by the discovery in the year 1828 of a silver raedal or
coin of the reign of Maxentius embedded in a mass of the
brickwork. The present remains of the building, which, when perfect,
was a rectangular structure 330 ancient Roraan feet in length
and 220 in breadth, consist of three raagnificent brick arches,
which, facing westward across the Campo Vaccino, stand in a
row Uke the arches of a bridge or riaduct. The span of the
central arch, which is lofty in proportion, is about 83 feet — of
the others soraewhat less ; and the soffits of all three are lined
with octagonal coffers of bare brick, which appear never to
have been cased vrith a coating of stucco, forming altogether a
magnificent pile of brickwork, covered with shrubs and verdure,
growing frora an even layer of earth that rests upon it like a
terrace. As the ground in the rear, upon which the ruin abuts,
rises by a gradual ascent, those persons incUned to try the expe
riment of walking upon the above-mentioned terrace raay have
access thither on making application at the Convent of the
Zitelle Mendicante, in a street close adjoining, and there may re
ceive permission accordingly to pass, on certain prescribed days,
througb the nuns' garden, in which, about midway up the ascent,
stands a small oratory. The appearance of a group of persons
above is rendered not a little picturesque to a spectator standing
below under the arches, owing to sorae large apertures through
which — though the footing, such is the sound and tenacious
quality of ancient brickwork, is tolerably secure — the sky is
visible. The fabric, such as it is, is in fact likely to endure for
many more centuries. AU the arches are turned, after the

108 A TOUR IN MODEEN ROME. [Chap. X.
fashion of the period, upon a double row of flat bricks or tUes
22 inches square, of which one or two, placed together in the
centre, serve for a keystone ; and above the crowns appear,
partiy mingled with the superincumbent soil, the reraains of
the white marble entablature formerly supported by magni
ficent fluted Corinthian columns of white Porine raarble, 48
Roraan feet in height, and 18 feet in circuraference. One of
these colurans, which remained standing in its place in the
year 1614, was then reraoved by Paul V., as above stated.
Upon the ground in front of the arches are to be seen several
truncated fragraents, 12 or 15 feet in height, of the brick piers
by which the three naves appear to have been divided, sufficient
to give to the building the character of a Christian basilica,
corresponding with the Teutonic style of architecture intro
duced at that tirae by Constantine. There are also to be
observed some fragments belonging to the ancient building,
one of which is a broken shaft of a column of red granite,
12 or 14 feet in length, and 5 feet 8 inches in diameter ; and
others, pieces of cornices, architraves, brackets, &c. ; and parti
cularly one huge coherent mass of brickwork, five or six tons
in weight, the same, probably, in which the silver medal of the
reign of Maxentius was found embedded. The reraainder of
the vaulted roof, of which the object in question is an avalanche,
has disappeared altogether.
The southem limit assigned by the early antiquaries to the
Roraan Forum ends with the Basilica of Constantine, whence
the Une of the eastern side of the enclosure is continued by the
ruins of the Golden House of Nero, consisting of huge disjointed
raasses of ancient brickwork, which extend to the Colosseum.
The soutiiem boundary, coincident with that of the Campo
Vaccino, is here marked by the gable of the modern church
and convent of S. Francesca Romana, coraprehending a portion
of the ancient Teraple of Venus and Rome, and also by the
Arch of Titus. A considerable open space of greensward
extends on each side of the church and convent ; and an open
road, difficult to determine by its appearance whether ancient
or raodern, composed of enorraous blocks of selce, passes
through the Arch of Titus.
The Teraple of Venus and Rome, so called frora the con
nexion of Venus with the city, by being the mother of iEneas,

CuAP. X.] TEMPLE OF VENUS AND ROME. 109
the ancestor of Romulus, was built by tbe Emperor Adrian
after a design of his own. It is related of him, that vain of his
own accomplishments as an amateur architect, and jealous of
the farae of the great ApoUodorus, whose character on account
of the Forura of Trajan and other public buildings was then
highly celebrated, and to whora, previously to his becoming
emperor, he had conceived a mortal antipathy, he sent the
plan above referred to under the pretext of submitting it for
approval, but in reality with the intention of casting a slur on
ApoUodorus, by thus appearing independent of his services.
The architect, however, not only found fault with the plan of
the eraperor, and proposed a raore elevated site for the teraple,
whence, raised on a vaulted foundation, it might be seen with
better effect from the Via Sacra,* but ventured to criticise the
proportions of the ground-plan, by observing sarcastically that
the statues of Venus and of Rome, if inclined to walk out of
doors, considering the liraited space within, would be unable to
do so. ApoUodorus, however, in consequence of so expressing
his opimon, was condemned to linger a long time in exile, and
was ultimately put to death.
The Teraple of Venus and Rome was singularly constructed
in the form of a double temple, extending from north to south
from the Forum towards the Colosseum, in length 333 feet,
and in breadth 160 feet, the space being dirided by a transverse
wall in such a manner that the two absides, of which one
contained a statue of Rorae personified, and the other a statue
of Venus, stood back to back to each other. The position is
referred to by Suetonius, though he merely states it to have
been built by Adrian " close to the Forum ;" but the present
ruin is clearly identified by two lines of Prudentius, who refers
to the double absis very distinctly : —
" Atque urbis Venerisque pari se culmine tollunt,
Templa : simul geminis adolentur thura deabus." •!•
The building is said to have been elevated on an artificial
plane of 500 feet by 300 feet, varying according to the decli
nation of the ground, of which the height, accessible by a
flight of steps which extended all round, was 26 feet at the
¦* Dion Cassius, lib. 69.
t Orationes contra Symmachum, lib. i. v. 221.

110 A TOUR IN MODERN ROME. [Chap. X.
southern extreraity. The waUs of the cella were of brick,
covered with slabs of Parian raarble of great thickness, sur
rounded by a peristyle, of which the columns, also of Parian
marble, were fluted, of the Corinthian order, and nearly 18
feet in circuraference ; in number, twenty on each flank, and
two rows of five each on each faqade. Upon the flanks also
was a portico, supported on colurans of grey granite, nearly
IOJ feet in circuraference ; and in front of one or other of the
facades were planted a pair of colurans of cipollino marble,
18 feet in circuraference, each of which served the purpose of
the pedestal of a statue. The exterior of the roof was covered
with plates of bronze. Each of the two corapartraents was
constructed in its interior with a single nave, and the vaulted
ceiling lined with coffers of gilded stucco ; the paveraent was
coraposed of giallo antico and serpentine, and the walls were
sheathed with tbe same material ; and several colurans of por
phyry, 6J feet in circumference, were contained in both com
partraents. The Temple of Venus and Rorae, after being
destroyed by fire, was restored by Maxentius ; and there are
accounts of its existence so late as the seventh century, about
the year 630, when Pope Honorius I. transferred the plates of
bronze frora the roof to the roof of the Vatican.
The ruin, which, notwithstanding the unequivocal description
in the Unes of Prudentius, corroborated by the testiraony of
the medals of Adrian and Antoninus Pius impressed with its
resemblance, has been occasionally mistaken for other ancient
structures, such as temples of the Sun and Moon, of Isis and
Serapis, &c., consists of a considerable portion of the northern
and of the southern absis, to see which to the best advantage it
is necessary to obtain admittance to the convent of Benedictine
raonks, by a door within the portico, upon the northern gable
of the church of S. Francesca Romana, westward of the church
door. Admittance may be had either by one door or the other ;
though neither way is to be at aU tiraes depended upon, as the
church is one of those few in Rorae which are not thrown open
to the public every day at the usual hours ; and the friars who
perform the offices, being extraordinarily few in number, are
frequentiy aU absent, engaged in their diurnal occupation of
collecting alms in the city. Previous to entering the church
there are to be observed in the portico several fragments of the

Chap. X.] TEMPLE OF VENUS AND EOME. HI
ancient temple, including a very large piece of a magnificent
entablature ; and within the convent there is also a pleasant
corridor, worthy of being visited, fi-om the windows of which,
extending along both flanks of the building, an excellent
riew is obtained of the elevated plane of its substructure, as
well as of a considerable collection of fragments of the ancient
edifice that lie scattered on the ground. Passing through the
convent, a door on the southem gable leads into the friars'
garden, a small rectangular plot of ground cultivated by the
fiiars themselves, and well stocked vrith cabbages, kitchen
vegetables, and young orange-trees. The site of the garden
is precisely identical with the area of the northern nave of the
temple, of which a considerable portion of the original walls is
still remaining, and particularly of the absis belonging to it,
which absis is supposed to have contained the statue of Rome,
while the statue of Venus occupied the southem one. The
object in question is a picturesque fragment, formed of brick,
comprising a large portion of the lower concave, and part of
the seraidorae, to which latter a small portion of the vaulted
roof of the ceUa, lined vrith coffers of white stucco, still adheres.
A good riew may also be had of the exterior from the green
sward upon the eastern flank of the building, whence raay be
seen, overtopping the wall of the garden, not only the northem
absis above referred to, exposed to the weather, but the
southem absis also, which latter, though an inconsiderable
fragraent in point of size, is sufficient to convey to the mind a
perfect idea of the pecuUar duplicate construction of both
together. Here also, upon the greensward on the eastem
flank of the building, may be observed several truncated shafts,
some of considerable length, of grey granite columns belonging
to the ancient building, as well as, here and there, scattered on
the ground among the others, fragments of an entablature.
With regard to the columns, sorae, consisting 0/ single blocks
of granite 12 or 15 feet in length, are bored towards the
extreraities in deep holes, made apparently for the purpose of
inserting iron bolts to hold the blocks together. The holes,
circular, and about 3 inches diameter, may be observed on
the horizontal plane of the section, inclining in an oblique
direction towards the perpendicular surface, some a few inches
deep, and others perforated right through. Proceeding hence

112 A TOUR IN MODERN ROME. [Chap. X.
to the western flank of the building, there raay be observed also,
lying scattered upon the greensward that overhangs the road,
which, passing through the Arch of Titus, extends along the
north-eastem side of the Palatine, several fragraents of grey
granite columns belonging to the ancient temple, and, especially
close to tbe wall, some large portions of Corinthian capitals of
white marble. Upon this flank of the building particulariy,
and stUl raore so upon the southern gable towards the Colos
seum, the elevation of the greensward above the lower level,
rising precipitously above the road near the Arch of Titus, and
increasing gradually in height towards the Colosseum, according
to the dechnation of the plane, is particularly conformable in
appearance with the ancient artificial substructure of the
Temple of Venus and Rome referred to in the beginning.
The height upon the southern gable, where the ground re
serables a terrace fronting the Colosseum, is elevated, as it was
originally, according to the ancient description, 26 feet or there
abouts. The bank on this part is scarped and lined with brick
work; and in some places the remains of the ancient steps,
which here led frbm below to the southern faqade of the temple,
may be recognised. There are to be observed also some aper
tures or excavations in the bank that have never been distinctly
accounted for, and are generally supposed to have been made
during the raiddle ages, whether for the purpose of sepulchral
vaults or places of concealment. Here also, in front of the
southern gable, close to the south-eastern angle of the modern
buUding, is to be seen a very remarkable fragment of a white
marble entablature, the largest, perhaps, composed of a single
block of marble that exists in Rome, with the exception of the
two fragments of an entablature belonging to the Teraple of the
Sun of Aurelian, in the Colonna gardens on the Quirinale.
Iraraediately in front of the northern gable of the church of
S. Francesca Romana is to be observed a portion of an ancient
road, supposed to be the Via Sacra, which here appears to
branch off to the east and west, and then proceed to the south
ward in two paraUel lines along the eastern and western flanks
of the building, the latter Une passing through the Arch of
Titus. The present specimen, terrainating towards the north
abruptly, as if the reraainder of the portion in the Carapo
Vaccino had been purposely broken up, is composed, similarly

Chap. X.] ARCH OF TITUS. 113
to all the other ancient roads in Rorae, of large pieces of selce ;
and as regards the portion to the south between the Arch of
Titus and the Colosseum, has been renewed, apparently in
modern tiraes, with blocks of the same form and raaterial. By
this road travellei-s coming from Naples and Albano, by the
Appian Way — celebrated for its ancient raonuraents, of which
the tombs of CecUia Metella and the Scipios, and the triumphal
arches of Drusus, Constantine, and Titus are still in existence —
enter Rome at the present day.
The Arch of Titus was built by the Senate and Roman
People in the reign of Domitian, and dedicated to Titus after
his death in comraeraoration of his conquest of Jerusalem. It
is a raassive rectangular structure of Pentelic raarble, sur
raounted by an attic, terrainating above like the other triuraphal
arches by an horizontal plane, though pierced with a single
aperture instead of three apertures, as those of Septimius Se
verus and Constantine. On both sides the frontage facing to
the north and to the south is similar, and the main entablature
supported by four fluted composite columns. Upon the southem
faqade especially the frieze is sculptured in bass-relief, repre
senting a sacrificial procession, and above, upon the attic, the
following original inscription, engraved in clear capital charac
ters, appears perfectly legible: — "Senatus . Populusque.
Romanus . Divo . Tito . Divi . Vespasiani . F. Vespasiano .
Augusto." There are also figures of Victory in bass-relief on
the spandrels of the aperture, though as regards the remainder
of the structure, some of the columns and a considerable por
tion of the eastern flank having been destroyed, the whole was
repaired under the auspices of Pius VII. by the architect
Valladier in such a manner with travertino that notwithstand
ing the difference of raaterial is distinguishable, the whole has
been entirely corapleted in its original proportions. Within
the aperture the vaulted soffit is lined with coffers or rosettes
composed of various dissimilar patterns, with a bass-relief in
the middle representing the apotheosis of Titus seated on the
back of an eagle. The sides, which are of very considerable
depth, are completely covered with the celebrated bass-reliefs,
which, relating to one of the most remarkable epochs in Chris
tian history, the capture of Jerusalera, represent the triuraphal
procession of Titus to the Capitol with the spoUs of the Temple,
VOL. II. I

114 A TOUR IN MODERN ROME. [Chap. X.
which, whether or not subsequentiy deposited in the Temple of
Peace built for the express purpose by Vespasian, remained at
aU events in Rome for 400 years afterwards untU carried away
by Genseric to Carthage. Of these interesting works of art,
executed in an excellent style of sculpture, each on a single
slab of white marble extending the whole depth of the aper
ture, the one on the eastem side represents Titus seated m a
chariot drawn by four horses abreast, led by a figure of Rome
personified bya feraale, and accompanied by another feraale
figure of Victory, the latter holding a chaplet above the head
of the Conqueror of the Holy City, and hovering over the
chariot, which is preceded and followed by numerous groups of
senators, citizens, lictors bearing their fasces, &c. The bass-
relief on the westem side is a continuation of the same pro-
cesgjon, consisting of captive Jewish soldiers, followed by
several of those identical impleraents of reUgious observance
in the Temple of Jerusalem that are actually detaUed in the
Bible, and appear here represented on marble by the artist
whose own eyes beheld them. Here accordingly is to be seen
an exact resemblance of the very objects in the state in which
they existed at the period in question, including the table of
gold, the seven-branched golden candlestick and the silver
trumpets, all borne on raen's shoulders, and very clearly recog
nizable, though the heads of sorae of the bearers are deficient,
and the bodies much rautilated.
The wall of the Farnese gardens on the Palatine, already
described in the ninth chapter, extends frora the Arch of Titus
along the north-east side of the hill very nearly to the northern
angle. Here, in front of the church of S. Maria Liberatrice,
are three isolated columns extending in a line across the Campo
Vaccino, a little to the northward of the paved road before re
ferred to leading from the church of S. Lorenzo in Miranda
opposite. These columns have furnished a source of frequent
controversy among the antiquaries, who at various times
assigned to them different titles, and in turn supposed them to
be the reraains of the Temple of Jupiter Stator, the Teraple
of Castor and Pollux, the Teraple of Minerva Chalcidica, and
also of the bridge built by Caligula for the purpose of con
necting the Palatine with the Capitoline. The prevailing
opinion, however, principally supported by a portion of the

Chap. X.] THE GRECOSTASIS. 115
ancient diagram of tiie building witii tiic letters " Grccost."
engi-aved upon it, found among the fragments of the Pianta
CapitoUna, identifies the ruin with the " Greeostasis," an an
cient edifice of the Republic, built about 280 years before the
Christian era for the express purpose of the reception of the
ambassadors from foreign countries, and so called in conse
quence of the ambassadoi-s of Pyrrhus King of Epirus being
the first who were received there. The Greeostasis was re
buUt and considerably extended by Antoninus Pius, who ele
vated the new building on a lofty substructure of brick
sheathed vrith marble, accessible by a triple-branched flight of
steps ending in a single and a broader ffight, that led to the
platform in front. The aspect of the principal faqade facing
across the Campo Vaccino towards the Temple of Antoninus
and Faustina was a little to the northward of east, and this
faqade was ornaraented vrith eight columns, and each of the
flanks vrith thirteen or with fifteen colurans.
The ruin, as it exists at present, is situated within an exca
vation sunk several years ago for the purpose of laying bare
tbe substructure to a depth varying frora 6 to 20 feet, and in
its periphery, which is protected on the deeper portion by a
wooden raiUng for the sake of security, about 720 feet ; which
operation having been performed imperfectly and long since
abandoned, the banks have for the most part crumbled to
an inclined plane and becorae covered, together with the
whole area below, with long coarse grass like a deserted
gravel-pit. The three colurans in question belonging to the
thirteen or fifteen of the southern flank of the ancient building,
are surmounted by a perfect portion of their entablature,
and coraposing a prominently picturesque object in the nume
rous prints and drawings of the Roman Forum, are considered
the most perfect model in Rorae of the Corinthian order,
fluted, formed of white marble, in height said to be 48 ancient
Roman feet including base and capital, and 4J feet in diameter.
The precise dimensions, however, as regards the latter item,
are, by actual measurement, 14^ English feet 3 inches in cir
cumference, or 4 feet 10 inches diameter. There remains
nothing further to be said of an object generally so well known
to the public othervrise than that the entablature, which is ex
quisitely wrought, appears to exceed in its depth the ordinary
i2

116 A TOUR IN MODERN ROME. [Chap. X.
proportion, and that in many places on the shafts of the co
lumns there are to be observed between the flutings patches of
the red colour with which they were evidentiy painted formeriy.
Close to the northern angle of the Palatine, immediately
beyond the church of S. Maria Liberatrice, the Curia Hos
tilia, so called from having been originally built by Tullus
HostiUus, is supposed to have been situated. The term curia
was originally applied by Romulus topographically, at the same
time that he appointed a 'senate of 100 merabers, a body guard
for hiraself of 100 celeres, and endowed the Roraans with a
constitution afterthe Lacedaemonian raodel.* The people then
being dirided into three tribes, and each tribe into ten curiae
with a portion of land including a teraple allotted to each, the
land so allotted was distinguished by tbe titie, which in the
latter period of the Republic, as in the instance of the Curia
or senate-house of Porapey, was transferred to the building.
As regards the Curia Hostilia, in which at first no persons of
inferior authority to the senate were allowed to sit, notwith
standing that such buildings were used at a later period as
places of meeting for other civic authorities, there are no ac
counts of its restoration previous to 80 years before the
Christian era, when it was rebuilt by Sylla, and soou after
wards, on the occasion of the insurrection, when the Roman
people tore up its benches to make a funeral pile for Publius
Clodius, having been vrilfuUy set on fire and burnt to the
ground, it was rebuilt by Augustus, and, in consequence of
the foundations having been previously laid by JuUus Caesar,
was called the Curia Julia. The site of the original building
is at all events meraorable as the spot where Tarquin com
raitted the murder of Servius Tullius, who was precipitated
frora the top of the steps to the bottom, and afterwards his
dead body overdriven in the Vicus Sceleratus by the chariot
of his daughter Tullia.
Annexed to the Curia Hostilia another public buUding, the
Comitiura, is said to have been situated. The Coraitiura was
originally an open space enclosed by walls, appropriated to the
meetings called " Comitia curiata," held for the purpose of the
election of priests, the promulgation of the decrees of the
senate to the Roman people, and occasionally the administra-
* Dionysius, book ii. chaps. 3 to 14.

Chap. X.] THE CURIA— THE COMITIUM. 117
tion of justice. The statue of Horatius Codes, the same
which was afterwards struck by Ughtning, according to Aulus
Gellius* and Pliny, f was contained in the Comitium, and the
enclosure was afterwards substituted by a covered building
that, together witii the Curia, from the ground-plan of which
latter building tiiere is no possibility nowadays of separating
the other, extended in front over the space afterwards built
upon by Antoninus Pius in the reconstruction of the Greeo
stasis as above related. The identity of the position of the
Curia and the Comitium is corroborated by the discovery of
the Fasti Consulares, or list of the consuls and public officers
of Rome from the time of Romulus to Augustus, which were
dug up close to the church of S. Maria Liberatrice in the six
teenth century, having been contained in the days of the Empire
either in the Curia or in the Comitium.
All the remaining vestiges of the Curia and the Comitium
thus blended together are coraprised in an enormous disjointed
mass of ancient brickwork, situated close to the Palatine in the
rear of the church of S. Maria Liberatrice, and extending 40
or 50 yards perhaps on each side of the northem angle. In
order to examine a portion of these ruins to the best advantage
it is necessary to pass through the church and sacristy, whence
a door in the western gable of tbe building leads at once into
a sraall rectangular enclosure, evidently the area of an ancient
chamber, fenced for the most part all round by lofty walls,
supposed, frora the appearance of the brickwork, which corre
sponds vrith the Augustan era, to have belonged to the Curia
Julia. The house of the priest who performs the offices of the
church is annexed to the northem flank, and from the house
also there is an entrance to the enclosure, which thus com
pletely hemmed in by lofty elevations has an isolated appear
ance, somewhat resembling a tennis court, were it not that the
ground, on a spot where even the feet of Cicero may have
trodden and his voice resounded under a vaulted roof, is
now well cultivated in the open air and stocked with thriving
garden vegetables and orange-trees. To the thriving growth
of these the priest, who performs all the labour of cultivation
and pruning with his own hands, attributes, as he told me, the
reraoval from the spot of malaria, with which it was generally
* Lib. iv. cap. 5. f 'Nat. Hist.,' lib. xxxiv., cap. 11.

118 A TOUR IN MODERN ROME. [Chap. X.
considered to be infected, and the house was abandoned accord
ingly, until a few years ago when, after it had remained a long
tirae erapty, he made it bis place of habitation, and has resided
there ever since with impunity. With regard to the walls in
question, a very few seconds is sufficient for their inspection,
though neither these nor the various other fragments composing
the raass of ruins above referred to, which latter are for the
raost part inaccessible, are sufficientiy indicative of the build
ing of which they formed a part to be assigned to the Curia
or Comitium separately, or even to be in any way identified as
belonging to either one or the other, otherwise than on account
of the position.
In front of the Curia and Comitium the Rostra were supposed
to have been newly erected by Julius Caesar, who, at the same
tirae, suffered the ancient Rostra which had previously occupied
a spot near the centre of the Forum to remain standing. The
Rostra was a sort of campestrial pulpit, or suggestum, for public
orators, constructed in a rectangular form and elevated on a
circular basement, so called on account of having been orna
mented with the beaks of ships taken from the enemy on the
occasion when the consul Caius Maenius, 357 years before the
Christian era, having stormed the city of Antium, the mari
time capital of the Volsci, burnt several of the vessels of their
fleet, and dragged the remainder up the Tiber. Then the first
Rostra, dignified originally bythe title ofa temple, were erected.*
From the Rostra Julius Caesar, during his quaestorship, pro
nounced funeral orations on his aunt Julia and on his sister
Cornelia ; and suspended from, or in front of the Rostra, the
head of Cicero, as the Romans were used to serve the heads
of their decapitated enemies, was exposed by Antony in retalia
tion for haring been hiraself denounced from the same spot by
Cicero. The Column of Phocas is planted in open space in the Campo
Vaccino, on a spot a Uttle more than mid-way between the
northern angle of the Palatine and the centre of the Tabu
larium. A tall, isolated shaft, clear of surrounding objects,
and one of the raost conspicuous among all the adjoining ruins,
it is not only a reraarkable instance of oblivion on the part of
postenty, who have allowed a raonument of considerable
* Livy, lib. viii. cap. 14.

Chap. X.] COLUMN OF PHOCAS. 119
celebrity to be blotted from their recollection in the course of
a few centuries, but is illustrative of the uncertainty that must
necessarily attach to the conclusions of antiquaries when thoir
researches are directed towards objects of a much earlier
period. The Column of Phocas, distinguished as the " name
less column vrith a buried base " by Byron, was an object
altogether nondescript among the learned, and mistaken for
the remains of several other ancient buildings, such as the
Temple of Jupiter Custos, the Bridge of Caligula, &c., until
the soil which lay level vrith the torus of the shaft was removed
in the progress of an excavation undertaken in 1813, by the
late Duchess of Devonshire, and continued afterwards in 1817
to a considerable, though unequal depth, amounting to 29 feet
in sorae places, and about 600 feet in periphery. It was then
for the first tirae discovered that the coluran was planted upon
a pedestal, on the face of which appeared an inscription en
graved in capital characters, well preserved and legible, re
lating in clear, explicit terms that it was erected in honour of
the Emperor Phocas, whose statue of gilded bronze was placed
on its summit by Smaragdus, exarch of Italy. In the inscrip
tion, of which an exact copy may be seen in various pubUca
tions, the name of Phocas is said to have been erased by his
successor HeracUus, notwithstanding that the reign is suffi
ciently determinable by tbe date, a.d. 608. The height of the
pedestal is about 12 feet, and it is elevated on a square pyra
midical basement, to which a flight of eight steps ascend on all
the four sides ; the whole together, steps, pedestal, and base
ment, being composed of large ill-jointed blocks of travertino,
generally speaking of such inferior masonry, that no other
ancient building in Rome is to be compared to it. The column
itself, far more perfect as regards its style and sculpture than
the pedestal or basement, is accordingly considered to belong
about to the period of the Antonines, and to have been pro
cured from another more ancient building by Smaragdus for
the occasion. It is formed of white marble, of the Corinthian
order, fluted, 13^ ancient Roman feet in circumference, and
47 in height. Within the present excavation, in the process
of making which, by the way, it has been ascertained that the
ancient level of the ground, at the spot in question, is about
10 palras, or 7 feet 3 inches, lower than at the Arch of Septi-

120 A TOUE IN MODERN EOME. [Chap. X.
mius Severus, there are to be observed two other quadrangular
basements, which, though their history is not known with any
degree of certainty, are supposed to have supported, the one a
statue of Marcus the son of Lucius Cispius the praetor, and
the other a statue of Minerva Averrunca, so entitled from the
Latin verb averruncare, to avert or expiate. The inscriptions
which were found on the spot are said to be engraved partiy
in Greek and partiy in Latin, dedicatory in general terms to
the averruncal or tutelar deities. A tunnel, previously referred
to (page 100), connects the present excavation with the exca
vation at the foot of the Capitoline.
The coluran dedicated to the consul Caius Maenius, on
account of his victory over the Volsci, as above stated, though
its position has never been clearly determined, is supposed to
have stood very near the site of the Coluran of Phocas ; and
also, within a few paces of the same spot, a column dedicated
to Julius Caesar ; a column dedicated to Claudius IL, called
Claudius Gothicus ; and the Columna Milliaria, or metropo
litan milestone, on which were engraved the distances to the
principal cities of the Roman states : to which might also be
added a multitude of other monuments, which, though pretty
generally known on the authority of the ancient writers to have
existed at various periods in the Roman Forum, I cannot pre
tend to enumerate.
The Velabrum was a low, marshy tract of ground, of which
neither the limits nor even the etyraology of the terra have ever
been precisely determined. It is, however, generally under
stood now-a-days to have comprehended in its central portion
the spaee between the Palatine and Capitoline hills, extending
at its extremities in one direction towards the Tiber, and in
the other across the Carapo Vaccino to the Arco de' Pantani,
which latter object, evidently derived from the Italian word
" pantano," a fen, marsh, or bog, appears at all events to bear
reference to the original character of the locality. With
regard to the derivation of the word, it is supposed to have
proceeded from velum, a saU, whether because bootlis covered
with sails, where oil and other coramodities were sold, were
erected on the Velabrum, or because saUs were laid upon the
damp ground for the convenience of the people to walk upon
during the Circensian games ; though there appears no certain

Chap. X.] THE VELABRUM. 121
foundation for either conclusion : and it is soraewhat singular,
at all events, that a term so generally adopted by modern
authorities is not to be found at all in any of the classic
writers. Within the tract of gi-ound in question, that is to say,
between the north-west side of the Palatine and the Capitoline,
now occupied by the Via di S. Teodoro, the Via delle Grazie,
and the Piazza della Consolazione, the " Lacus Curtius," a
celebrated marshy or watery spot in former tiraes, is supposed
to have existed. It was so called because Metius Curtius the
Sabine, who, in a grand battle with the Roraans, coramanded
the centre of the Sabine army under Tatius, after being
wounded in a personal combat with Roraulus, made his escape
from the Roman chief by wading across it in his armour.* It
may be questionable whether or not the celebrated chasm —
which at a later period is said to have miraculously appeared
in the Roman Forum, when Marcus Curtius the Roman, 360
years before the Christian era, devoting his life as an expiatory
sacrifice according to a decree of the augurs, precipitated
himself down the gulf on horseback for the welfare of his
country — was also within the limits of the Velabrum. The .
stagnant waters were, however, first removed from the level
and carried away into the Tiber by Tarquinius Priscus, by the
Cloaca Maxima, the most magnificent of all the drains ever yet
constructed ; notvrithstanding which, whether it was that the
drainage was ineffectively perforraed or otherwise, the bridge
that has been already referred to was built between the Pala
tine and Capitoline by Caligula, and crossed a portion of the
ground included in the Velabrum. The assigned object of
Caligula in the construction of the bridge in question, which
connected his palace on the Palatine vrith the Temple of Jupiter
Capitolinus, was, as he endeavoured to make the Roman people
believe, in compUance with the express coraraand of Jupiter, f
with whom, in many wonderful instances that he related, he
held mysterious conferences. It would appear, however, in
asmuch as the bridge of Caligula was destroyed immediately
after his death by his successor Claudius, that as far as relates
to the humidity of the ground at that period, there was no
occasion for the structure ; and as relates to the soil at pre
sent, including the whole of the space described as above
* Dionysius, book ii. chap. 42. f Suetonius in Calig., cap. 22.

122 A TOUR IN MODEEN EOME. [Chap. X.
within the liraits of the Velabrum, its nature, diaraetrically
opposite to what it is said to have been in ancient times, is now
a sound, arid stratum, fourteen or fifteen feet deep, composed
for the most part of crumbled bricks and morUr that has
accumulated above the ancient level.
The Teraple of Vesta, whose site, if it were possible to deter
mine it precisely, would settle all disputes as to the limits of
the Roman Forum, is supposed to have been situated close
under the Palatine, a little to the westward of its northem
angle, on the spot now occupied by the modem church of S.
Teodoro ; which conclusion, the circular form of the church,
corresponding with the well-known circular figure of the Tem
ples of Vesta described on ancient medals and otherwise,
appears in some degree to corroborate. Temples of Vesta
were originally built by Romulus on a smaller scale, one in
each of the thirty curiae ; and the one in question is said to
have been erected by Numa Pompilius as a principal and
central establishment, for the express purpose of preserving
the Palladiura : the site, as before stated, p. 90, is described
by Dionysius * to be between the Capitoline and Palatine hills,
upon the Forum ; and the raodern antiquaries have accordingly
found reason to extend the liraits of the Forum westward of
the northern angle of the Palatine. The temple was sur
rounded by a sacred grove and enclosure, where those of the
Vestal virgins whose privileges entitled them to the distinction
of " Vestales Maximce " had the honour of being buried, and
in fact no less than twelve ancient sepulchral inscriptions of
the Vestales Maximse have been discovered on the spot within
the last one or two centuries. The Palladiura, on account of
which the sacred fire was continually kept burning, was a small
statue of Minerva 3J cubits in height, represented holding a
distaff ; it is said to have existed before the Trojan war, and
after being brought by ^neas into Italy, and transported by
Ascanius. to Alba Longa, finally to have been deposited in Rome
by Tullus Hostilius.
Close to the Temple of Vesta the Ficus RuminaUs, or fig-
tree, under whose branches the infants Romulus and Remus
were found sucking the she-wolf by Faustulus, is supposed to
have been situated ; and also, immediately contiguous to the
* Lib. ii. cap. 66.

Chap. X.] SITE OF HOUSE OF EOMULUS. 123
same spot, the Temple of Castor and Pollux ; the latter dedi
cated in consequence of the twins having miraculously appeared
to the Roman people at the adjacent fountain of Juturna after
the battle at the Lake RegiUus. The Temple of Castor and
Pollux was afterwards rebuilt by Tiberius, and served subse
quently as the vestibule of the Palace of Caligula, built above
it on the summit of the Palatine. Finally, close to the northern
angle of the Palatine is supposed to have stood the house and
palace of Numa Pompilius, who it would seem preferred at all
events the spot sanctified by the fable of Romulus and Remus
as the site of his dwelling.
Upon the western angle of the Palatine, where the church
of S. Anastasia now stands, the house of Romulus is supposed
to have been situated, on a spot where, five centuries previously
and sixty years before the fall of Troy, when Evander settled
vrith his Arcadians on the Palatine, the scarped bank of the
hill was penetrated by a deep cave or grotto, which Evander
consecrated to Pan, and called Lupercal. It was shaded by
trees, and strearas of water trickled from the rock into a
natural receptacle below ; and vrithin its recesses the she-wolf,
after being discovered rendering her maternal office towards
the chUdren by Faustulus, departing with a slow and dignified
movement, gently retired and hid herself. Accordingly, the
bronze group of the wolf and iiffants, now to be seen in the
Palace of the Conservatori on the Capitoline, was preserved for
a long period in a sraall teraple erected in the sacred precincts
of the Lupercal. The cave, in the time of Dionysius, though
the trees had then already disappeared, was still in existence ;*
and the riotous rites of Pan, called Lupercalia, there celebrated,
continued to be performed every year at the vernal equinox,
even tiU the fifth century of the Christian era, when they were
first prohibited by Pope Gelasius, f not, however, without a
serious remonstrance on the part of the Roman senate and
people. The space between the Palatine and Capitoline is for the
most part occupied by three parallel thoroughfares — ^the Via di
S. Teodoro, the Via delle Grazie, and the Via della Consola
zione, which latter, the nearest to the Capitoline, passing
through the Piazza della Consolazione, is continued in the
* Lib. i. cap. 32 and 79. t Gibbon, vol. vi. p. 187-188.

124 A TOUR IN MODERN EOME. [Chap. X.
same direction by the Via di S. Giovanni Decollato, which ter
rainates in the Forura Boarium. The locality occupied by the
above-mentioned parallel thoroughfares comprises a considerable
tract of ground, crossed by broad, Ul-arranged, unpaved streets,
and is remarkable for containing numerous large and lofty
brick buildings, of which I am not able to state the history,
fiirther than that they are at present used as hay magazines,
though the spacious vaulted chambers supported on brick
arches would seem, frora the general appearance of the
masonry, to indicate a period alraost coeval with the later days
of the Empire. Some ancient granaries, moreover, cited by
Aurelius Victor, under the titie of " Horrea Aniceti," though
I cannot state the position precisely, are referred to by Nibby,
in his Itinerary, as existing hereabouts. In addition to the
Arch of Tiberius, wbich was situated at the northern extremity
of the Piazza della Consolazione, on the spot where the hospital
now stands, there were in the imraediate ricinity raany other
ancient buildings, of which all raanner of vestiges have very
long since vanished, and whose existence is connected with the
locality raerely by tradition, — such as the altar of Saturn, dedi
cated by Hercules, who arrived in Rorae next after Evander,
and settled on the Capitoline, then called the Saturnian or
Cronian hill, at the foot of which he built the altar in question :
also a temple of Vulcan, btiilt by Romulus on a spot de
scribed as being a little ahovo the Forum : the Temple of
Jupiter Stator, built by Romulus between the north-west side
of the Palatine and the Capitoline ; teraples dedicated by
Tatius to the Sun and Moon, — and raany others.
To the Forum Boarium, situated between the western angle
of the Palatine and the Tiber, besides the entrance, before
referred to, by the Via di S. Giovanni Decollato, which de
bouches at a point that raay be described as the north-west
angle of the irregularly forraed open space in question, there is
also another approach by a short street, leading by a gentle
descent, in a direction frora east to west, from the Via di S.
Teodoro, which latter thoroughfare is extended in a straight
line beyond, to the ancient passage across the Tiber by the
Pons Palatinus, now the Ponte Rotto.
The site of the Forum Boarium, celebrated in ancient history
four centuries before the foundation of Rome, is remarkable.

Chap. X.] FORUM BOARIUM. 125
in the first instance, for the altar called the Ara jNIaxima, said
to have been erected there by Hercules, in coramomoration of
his rictory over Cacus, who robbod him of his oxen, and
accordingly Hercules pursued Cacus to his cave on tiie Aven
tine, and slew him. The spot being thus previously sanctified
by the altar of Hercules, Romulus selected the altar as his
starting-place, when, on the occasion of the cereraony of
inauguration, he traced the limits of the new city by the fur
row of a plough drawn by a bull and a cow yoked together,*
and included the Palatine within a square periphery. There
also, vrith reference to the above-mentioned early traditional
tale, another altar, prorided with a statue of Hercules of
gilded bronze, was erected in later tiraes, under the title
of " Hercules Victor," which statue was discovered in the
fifteenth century buried in the earth, on the spot where it
had stood, and is now to be seen in the charaber called the
Saloon, in the Museum of the Capitol. In the Forum Boarium
also, another object, no less comraeraorative of ancient tradition,
relating to the oxen of Hercules, the celebrated cow of bronze,
the perforraance of the sculptor Myron, was placed upon its
pedestal — a work so wonderfully true to nature, that, as is
recorded of it, living aniraals of its own kind were deceived,
and mistook it for a real one. So that when all the circura
stances above referred to are considered together, it is not to be
wondered at that a place thus identified from the earliest ages
with so many and various reminiscences relating to cattle was
selected in the days of the Erapire for the purpose of a cattle-
market, and called the Forum Boarium.
The Forum Boarium in its present state is an open, unpaved
piece of ground, of which the area is of too irregular a forra to
be described, surrounded by large brick buildings used as hay
raagazines, such as were above alluded to, placed at intervals
in such a raanner, that broad outlets lead outwards towards the
Tiber and elsewhere in many directions. In the middle stands
a ruin, caUed the Arch of " Janus Quadrifrons " — as the narae
iraplies, a four-fronted structure, dedicated to Janus, of a de
scription such as several others which existed in forraer tiraes
in different parts of Rorae, one especially in every regio, under
the varieties of " quadrifrons," " trifrons," and " bifrons,"
* Dionysius, lib. i. cap. 88.

126 A TOUE IN MODEEN EOME. [Chap. X.
according to the nuraber of its fronts, as in the present instance.
The only one of these arches in Rome which has been preserved
to modern times is the present ruin, whose history, neverthe
less, is by no raeans authenticated, though it is supposed, ovring
to the extraordinarily inferior style of the raasonry, to belong
to the reign of Septimius Severus, or a later period. It is a
remarkably solid structure of white marble, erected on the
area of a square of 105 palras, or 76 feet 8 inches each of the
four sides, and pierced with four arches, aU converging in a
central vaulted space that served in ancient times for the con
venience and shelter of the cattle merchants and men of busi
ness who attended the market. The whole buUding, which in
height extends very little above tbe crowns of the arches, and
is low in proportion to its area, terminating above, similarly to
the triumphal arches, with an horizontal plane, is coraposed of
very large blocks of white raarble, of which especially those
upon the angles are 7 feet in length, and the ends 4 feet 5
inches square. Each arch upon its exterior is flanked by two
rows of three niches, one row above another, making forty-eight
niches altogether, all of which, whether or not constructed for
the purpose of contaimng statues, are now empty. Sorae, how
ever, appear to have been furnished with bass-reliefs, which, as
well as other ornaments about the face of the building, have
eridently been removed by violence, as may be seen by a pro
fusion of holes, from which the bolts which sustained the objects
were extracted. Whatever portion of the original structure
may have been wanting, the upper part, an appendage of cor
responding form of brickwork, was added by the Frangipani,
who used the arch as their fortress in the ciril wars. Altogether
the structure appears ill-proportioned and sturapy, even with
the above addition ; though by the latter it is converted to ag
good a specimen of a stronghold of the Roraan nobles during
the middle ages as any existing, particularly since the destruc
tion of tiie last object of such a description that remained in a
coraplete state, a tower fortified in like raanner during the
disturbances, that stood close to the Arch of Titus at the
entrance of the Via di Polvereira, and was reraoved by Pius
VIII. in the year 1829, rauch to the regret ofthe antiquaries.
The Arch of Septimius Severus, another ruin belonging to
the Forura Boarium, distinguished from the Triumphal Arch of

Chap. X.] ARCH OF SEPTIMIUS SEVERUS. 127
Septimius Severus in the Forum by the titie " in Velabro," is
situated on the northern side, annexed to the western flank of
the church of S. Georgio in Velabro. This structure, dedicated
to Septimius Severus, his wife Julia, and his sons Caracalla and
Geta, by the raerchants and bankers of the Forum Boarium,
serves at all events, by the inscription that relates its history,
to dispel all manner of doubt as to the site, such as attaches to
the site of every one of the other Roman forums. Constructed
in the same style as the Arch of Janus Quadrifrons, corre
sponding with the deteriorated state of the arts of the period,
and erected on a rectangular area, terrainating above on the
summit by an horizontal plane, it nevertheless bears no re
semblance to an arch at all, but is pierced with a rectangular
instead of an arched aperture, flanked by a pair of broad, low
pUasters, which support a reraarkably massive entablature, the
latter exceedingly overproportioned in depth to the remainder
of the elevation. The whole is composed of white marble,
covered over the whole front, and within, on the sides and soffit
of the aperture, with bass-reliefs, which are particularly inte
resting, as representing, with more than ordinary rainuteness of
detail, the circumstances of an ancient sacrifice. Here the
Emperor, assisted by his vrife Julia and his two sons Caracalla
and Geta, are represented in the performance of the cereraony ;
and all the sacred utensils and implements are very accurately
delineated, though it is remarkable that the figure of Geta has
been defaced, evidently on purpose, with a similar view, as in
the instance of the inscription on the triumphal arch in the
Forum, of obUterating all vestiges of his raemory. Also in the
inscription above referred to, dedicated by the " Argentarii "
and " Negotiardes Boarii " to the emperor, his wife, and his
sons, consisting of several lines of legible characters, the name
of Geta, which occurs in two places, has been erased inten
tionally. Within the distance of a himdred yards or a little raore
from the Forum Boarium, connected with its south-east corner
by a rude path, overtopped for a few paces at the beginning by
a series of brick arches, there is to be seen, at a point where
the path suddenly turns at a right angle from a southern to a
westem direction, a fine clear stream of water called the Acqua
di S. Georgio, which is the more remarkable as notwithstanding

128 A TOUE IN MODEEN ROME. [Chap. X.
that, according to the ancient writers, the stream issuing from
the rock, near the cave of the Lupercal, and the fountain of
Jutuma, were both immediately connected with the locality of
the Palatine, there is no other stream of water at the present
day to be found in the neighbourhood. So that, accordmg to
the present position of the Acqua di S. Georgio, coupled with
the authenticated site of tbe Forura Boarium, whence Roraulus
began to trace the periphery of tiie Palatine, a question raay
arise, perhaps, whether the north-west side of the hUl, which
faces towards this quarter, raay not, owing to the gradual
crurabUng of the banks in the lapse of centuries, or other less
natural causes, have becorae farther removed than it was in
ancient days from the present Acqua di S. Georgio, ahd con
sequently whether the strearas of the Lupercal, the Fountain
of Juturna, and the Acqua di S. Georgio may not be all
attributable to the same original source and identical with one
another. At aU events, the Acqua di S. Georgio, whether on
account of the reminiscences relative to the steeds of Castor and
Pollux, that slaked their thirst there, or from traditional respect
to the raysteries of the Lupercalia, or sorae other cause, is
looked upon by the common people in Rome with superstitious
reverence, on account of its supposed medicinal qualities, and
the peasants of the Campagna, in the hope of cure of their
ailments, asserable for the purpose of drinking its waters at
certain seasons of the year periodically. It is, however, whatever
be its history with reference to the Pagan raythology, the sarae
stream, otherwise known by the titles of the " Maranna" or
" Aqua Crabra," which was conducted towards the city from
the Fossa Cluilia during the kingly period. Close to the
Fossa Cluilia, forty stadia, or five miles, on the Latin road from
the ancient Porta Capena, on a spot now the site of the dilapi
dated village of Settebasi, the Albans* pitched their tents when
opposed to the Romans under Tullus Hostilius, and the same
ground is celebrated also for the encampment of Coriolanus-
The narae is supposed to have been derived frora Cluilius, the
Alban projector ; and the work included a celebrated tunnel
hewn through the natural rock, still to be seen in the valley of
tbe Grotta Ferrata, whieh, though its early history is not very
clearly accounted for, was in existence before the days of Romu-
* Dionysius, lib. viii. cap. 32.

Chap. X.] CLOACA MAXIMA. 129
lus.* At the present day the Acqua Crabra, or Maranna stream,
enters Rome underneath the ancient Porta Metronis, from
whence I have assumed it as a boundary between the Coelian and
the Aventine, to the spot where, as indicated by the modern
maps, it crosses the Via di S. Sebastiano, close to the north-cast
angle of the Baths of Caracalla. Thence, as before, pursuing
for the most part a subterraneous course, it runs between the
Palatine and the Aventine, gliding along on the western side of
the Via de' Cerchi until it makes its appearance under the name of
the Acqua di S. Georgio, as above stated. Proceeding, therefore,
from the Forura Boariura, along the path referred to, southward,
the stream advances for a distance of fifteen or twenty yards
through a clean-cut stone channel in a precisely opposite direc
tion, meeting the spectator, and disappears underneath the
bank at his feet ; thence flowing a few paces underground, it
suddenly turas to the westward at a right angle, and gives
motion to the wheel of a paper-mill, thence falling to a con
siderable depth, after which, passing for a few paces along an
artificial gully, it enters the aperture of the ancient Cloaca
Maxima, whence it is discharged into the Tiber a little below
the Ponte Rotto. It is somewhat singular, and the fact may
be received in testimony of the abundant supply of water in
Rome, that notwithstanding the highly reputed quality and
extreme brilliancy of the stream, it is thus cast away into the
river; none of the fountains in Rome are supplied by it, though,
on the other hand, the artificial stone channel above referred to
is a place of constant rendezvous for washerwomen, of whom
not less than six or eight at a time are there almost con
tinually, with clothes tucked up above their knees, standing
raid-leg deep. The deed at all events is not considered an act
of desecration, for even on the very coldest days of a Roman
winter, with the thermometer at 28° of Fahrenheit, I have seen
old and young together chattering and laughing as joyously while
flapping the garments against the hard stones, rinsing and wring
ing them, and stopping to take a pinch of snuff occasionally, as
if they were all exclusively engaged in a party of pleasure.
The Cloaca Maxima, which is particularly raentioned by
Dionysius,t conjointly with the public roads and aqueducts, as
one of the objects belonging to ancient Rome, and existing in
• See Niebuhr, vol. i. pp. 201-2. t Lib. iii. cap. 68.
VOL. II. K

130 A TOUE IN MODEEN EOME. [Chap. X.
his days the raost worthy of admiration, is the grand trunk con
structed by the elder Tarqum, and completed^ by Tarquinius
Superbus, through which, by raeans of a multitude of minor
drains directed towards its channel, he discharged the water
collected, particularly from the low, marshy spots about the
Forum and Velabrum, into the Tiber. Of this grand work,
whatever portion of it, if any, may yet be in existence under
ground on the side towards the Forum, the only visible specimens
in Rome are the aperture above referred to, in the ricinity of the
Acqua di S. Georgio, and the other corresponding outlet about
a furlong distant, whence it erapties itself into the Tiber. The
forraer object raay be approached within the distance of three
or four yards by an elevated path which leads frora the Acqua
di S. Georgio in a western direction, parallel to the artificial
gully above referred to ; or by taking the pains to descend by
stepping-stones on the side of the bank to the lower level, one
may advance quite close to the aperture, a magnificent semi
circular arch, that has the appearance of an ordinary tunnel.
The span is said to be 18 palras or 13 feet 2 inches, though, as
a considerable portion at the bottom is covered by the soil, the
appearance is that of a large segment, composed of three con
centric courses of stupendous blocks of tufa, laid together in
the Etruscan style, without ceraent, 7 palms or 5 feet 2J inches
in length, and 4 palms or 2 feet 11 inches square at the ex
tremities. Whatever may have been the fate of the remainder,
whether destroyed fof the sake of the squared blocks of material
or otherwise, the present portion affords a wonderful instance
of durability, and smooth and fresh in appearance as ever, even
after the lapse of twenty-four and a half centuries, bids fair to
exist part and parcel of the earth it stands upon as long as the
world endures. Above the crown, raingled with the deep layer
of earth tbat lies upon the structure, are the ivy-clad reraains
of an ancient edifice, which in succeeding ages having been
built above, has faUen to decay, and has been appropriated
in its turn as the substructure of another edifice, which latter is
one of the large lofty brick buildings before referred to, now
used as a hay magazine.
Returning from the Forum Boarium by the short interme
diate ascent that leads to the Via di S. Teodoro, tiie debouchure
is a few paces to the northward of the western angle of the

Chap. X.] CIRCUS MAXIMUS. 131
Palatine. From the western angle, along the whole length of
tiie south-western side of the hill, runs the Via do' Cerchi,
dividing the Palatine from tiie Aventine, and commemorating
by its title the site of the ancient Circus Maximus, which narrow
slip of ground or flat valley was naturally selected for the exhi
bition of public games fi-om the earliest ages, by reason of its
convenient position between elevated banks on both sides.
There, accordingly, the memorable games in honour of Nep
tune, which terrainated by the rape of the Sabine virgins, were
celebrated by Romulus. There were, however, no covered
seats, or any better accoraraodation for spectators than was
afforded by ordinary scaffolding, till the days of the elder
Tarqiun, who, in addition to the construction of the Cloaca
Maxima, the laying the foundation of the Temple of Jupiter
Capitolinus, and other works that engaged his attention, built
the Circus Maximus also ; the latter on a scale of magnificence,
as well as of dimensions, exceeding all the other circuses in
Rome that ever existed, — of which raay be cited the Flaminian
Circus, situated on the site of the Palazzo Mattei ; the Circus
of Flora, on the site of the Piazza Barberini ; the Circus of
Sallust, on the site of the Vigna Barberini, on the Quirinale ;
the Circus of Nero, on the site of S. Peter's ; the Circus of
Adrian, in the rear of the Castle of S. Angelo ; the Circus of
Elagabalus, outside the walls near the Basilica di Santa Croce ;
the Circus of Alexander Severus, on the site of the Piazza
Navona ; and the Circus of Romulus, son of, Maxentius, the
best preserved of all, three railes from Rorae, adjoining the
Appian Way. The area of the Circus Maxiraus, according to
the account given by Dionysius,* was an oblong three and a half
stadia in length, and in breadth four plethra ; bounded upon
one of its short sides at its southern extremity by a semicircle ;
and surrounded upon its two long sides and the seraicircle by
a canal 10 feet deep, supplied, no doubt, by the Maranna
stream, which here passes close to the bank of the Aven
tine, as before stated. Behind the canal a range of porticos
were erected, three stories high, furnished with seats for spec
tators, of which the lower ones were of stone, and the two upper
of wood, capable altogether of containing 150,000 spectators.
Behind the triple portico there was also another portico facing
* Lib. vi. cap. 95.
k2

132 A TOUR IN MODERN ROME. [Chap. X.
outwards, coraposed of shops, through which there were a raul
titude of entrances to the inner portico facing to the circus.
Upon the northern extreraity of the oblong, next the Tiber,
were the " carceres" or staUs, in which the horses, ready har
nessed in the chariots, were confined previous to the chariot
races, whence, the doors being opened at a given signal siraul
taneously, all were let loose together m a manner which pre
cluded the possibiUty of what is caUed " a false start " now-a-
days. Above the Carceres temples were erected to Ceres,
Bacchus, and Proserpine, by Aulus Posthumus the Dictator,
in consequence of a vow made prerious to a battle with the
Latins, who had revolted and taken up arras against the Romans.
The accounts, however, of the Circus during the period of the
Republic are extremely scanty, until it was enlarged and restored
by Julius Caesar, corresponding to the form and dimensions
above stated. An Egyptian obelisk, the same which is now to
be seen in the Piazza del Popolo, was erected by Augustus on
the Spina, where it is supposed to have been overthrown at the
time of the great conflagration which took place and destroyed
all the porticos in the reign of Nero. The porticos were after
wards restored and enlarged by Vespasian, to an extent capable
of containing 260,000 spectators. A few years subsequently
the Circus was fiirtiier embellished by Trajan ; and again by
Constantino ; and also by tiie son of Constantine, Constantius,
who erected another obelisk upon the Spina, which latter is now
to be seen standing in the Piazza of S. John Lateran. At this
period the porticos, whether enlarged by Constantius, by Con
stantine, or previously, are stated to have been capable of con
taining, according to some accounts, 280,000 spectators, and
according to others 450,000. The station of the two obelisks
on the Spina, witii regard to the relative position of one to the
other, might be questioned, considering that the first, having
been erected at a period long antecedent to the second, may be
presuraed to have the advantage of centrality, and a difficulty
consequentiy have arisen how to place the second at a point cor
responding to it, were it not for tiie testiraony of prints and
drawings that represent both obelisks prostrate on the ground
as they existed previous to being reraoved from the spot by
Sixtus V. in the sixteenth century. In one print particularly
belonging to an ' Itineraire' of Vasi, pubUshed in Rome in 1773,

Chap. X.] CIRCUS MAXIMUS. 133
it would appear that both obelisks, instead of being placed, the
one at one extremity of the Spina, and the other at the other,
were both in the centre. The Spina, of which no raention is
made in the account of Dionysius, and no vestiges whatever
have reraained to raodern times, was a long oblong raound,
10 or 12 feet m height, that extended along the middle of the
Circus longitudinaUy, in such a manner that the competitors at
the races drove their chariots round and round in the space
between the Spina and the porticos. The sides were scarped
and Uned with brick ; the flat terrace-like summit was deco
rated with statues and other ornaments, including the two
obelisks ; and at each extreraity was a raeta or goal, forraed
after the fashion of a seraicircular open charaber facing out
wards, capable of containing in the interior two or three persons,
and surmounted at the top by a small spire capped by a gilded
ball or other omament.
An interesting account of the games celebrated in the
Circus Maximus is given by Dionysius,* in a passage be
fore referred to, p. 90, with relation to the disputed limits
of the Roman Forum. The proceedings of the day com
menced with a magmficent procession from the Capitol, which
passed through the Forum, headed by the magistrates, and
followed by the youthful members of the principal patrician
families walking on foot. After these came a cavalcade of
chariots and horsemen, followed by the athletes about to exhibit
their prowess, equipped ready for the conflict with a girdle
round the middle, but otherwise nude. After the athletes
came bands of dancers, followed by musicians playing all the
way they walked on the seven-stringed lyre, or barbiton ;
and, lastly, the images of the Dii Majores, preceded by the
bearers of censers filled with burning incense, were borne on
men's shoulders. Previous to the games, a sacrifice of oxen
was celebrated by the priests and consuls so soon as the cortege
arrived in the Circus ; after which the chariot races coraraenced
with chariots drawn by four horses abreast, others drawn by two
horses abreast, and sorae drawn by two horses abreast and a
third horse, which, not being yoked with the others, but siraply
attached by long rope traces to the vehicle, was called
" Ylaprio^o^." There was also a race between unyoked or loose
* Lib. vii. cap. 72, 73.

134 A TOUE IN MODEEN ROME. [Chap. X.
horses, after a manner that affords some grounds for concluding
that the present custora of racing with loose horses at the Roman
Carnival raay be attributed to the same origin.
Though tbe flatness and general character of the long oblong
area is preserved to a considerable extent in the appearance of
the modern Via de' Cerchi, aU the magnificent objects belonging
to the Circus Maximus— the Spina, vrith its obeUsks, statues,
and metae ; the porticos and canal ; the Carceres at the northern
extreraity, and the Porta Triumphalis at the southern — have
long since entirely disappeared, with the exception of large
masses of ancient walls that line the side of the Palatine, and
compose a long straggUng line of fragments upon the inter
mediate space, comprising ruins of the palace of the Caesars,
and some few which are supposed to belong to the substructure
of the porticos. To these raay be added several of the large
brick buildings used as hay magazines, and also the ruin of
the Septizonium before referred to, p. 74, situated upon the
southern angle, which, as it is said to have consisted of a triple
iraperial portico, frora whence the Eraperor Septimius Severus
beheld the Circensian garaes, so far corresponds with the
triple portico of the Circus. Here, whether in consequence of
the semicircular forra of the Circus at this its southern ex
treraity, or of the Septizonium, or of the walls appended to it
during the raiddle ages for the purpose of fortification, the road
has been evidently encroached upon by the works in question,
and swerves considerably to the westward. At this point,
opposite the Septizonium on the side towards the Aventine,
there is a miU, which serves to raark the course of the Maranna,
whose stream turns its water-wheel ; and the remaining portion
of the ground from south to north between the gentiy sloping
side of the hiU and the Via de' Cerchi is for the most part
a flat level surface of garden ground divided into very small
enclosures. The Via de' Cerchi, of which the precise direction is from
south-east to north-west very nearly, eraerges at its northern
extreraity, at a point between the northern angle of the Aven
tine and the western angle of the Palatine, into the open space
called the Piazza della Bocca della Verita, which extends to the
banks of the Tiber. Upon the northern angle above-mentioned is
buUt the church of S. Maria in Cosmedin, which is supposed to

Chap. X.] PLACE OF EXECUTION. 135
occupy the site ofthe Carceres ofthe Circus Maximus, and conse
quently of the temples of Cores, Prosorplne, and Bacchus, built
there, as above stated, during the period of the Republic by
Aulus Posthumus the Dictator. The piazza, which is of exceed
ingly irregulm- forra, and is ornamented in the middle by a small
fountain, communicates on its northern side by a short broad
unpaved outlet with the Forum Boarium, which thoroughfare is
continued in the same direction on the other side of the Forum
Boarium by the street called S. Giovanni Decollato. From the
debouchure of the latter street, whose narae is derived in con
sequence of a church situated on its western side dedicated to
S. John the Baptist, another short outlet similar to the other
eraerges westward towards the Tiber upon a spot which, with
allusion to the decapitation of S. John the Baptist, has been
very appositely chosen for the execution of crirainals condemned
to expiate their offences by the guillotine. The place, moreover,
is not only particularly suitable owing to Scripture reminiscences
for the awful ceremony, but singularly eligible on account of its
topographical advantages ; for as the buildings round about are
large and of irregular form, and the outlets numerous, the
police and miUtary, by taking advantage of these natural barri
cades and vomitories, are enabled, if necessary, to coerce with
the utmost faciUty the movements of a multitude, who on one
side are hemmed in, as if upon the diameter of a semicircle, by
the river. On such occasions, the prerious notice of a public
execution afforded by the ' Diario Romano ' is extremely short
and unexpected ; in addition to which, however, a written paper,
containing the names and ages of the culprits, the criraes for
which they are to suffer, and the day and hour of execution, as
siraple in forra as possible, and in appearance altogether as if
indited by a lawyer's clerk, such as the papers placed upon our
church-doors in England by order of the churchwardens, is
afiixed one or two days only before to the walls of the houses,
here and there, in the Corso and other public places. The
criminal or criminals, even though the notice may first appear
on the day immediately preceding the execution, have already
very probably undergone a protracted incarceration ; and until
of late years, previous to the salutary improvements in the
crirainal law that have taken place recently, the period was
actually accelerated or delayed by the Papal government ex-

136 A TOUR IN MODERN EOME. [Chap. X.
pressly with a view of creating on tbe minds of the Roman
people a stronger impression by the spectacle of a pubhc exe
cution on the first day of the carnival ; and for that purpose a
victim was specially furnished from the prisons regularly every
year for the occasion and sent to the guUlotine. Even during
the latter part of tbe long and comparatively mUd reign of
Gregory XVI. the trial of a crirainal by a secret tribunal,
and the arbitrary infliction of iraprisonraent accordingly, were
raatters comraon to the administration of the laws of the coun
try in their regular course ; and even the statutes, such as then
existed, were occasionaUy altered without any ceremony at
aU, farther than the simple process of a proclamation. In the
year 1841, for instance, in consequence of the frequent assas
sinations committed during the winter ni^ts, a proclamation
was issued by the govemment, and affixed to the walls of the
houses in the public streets, by which the sentences preriously
allotted by law to various crimes were augmented on a regular
scale, such as fourteen years of the galleys instead of seven
years, death instead of fourteen years of the galleys, and so
forth. Little pains, however, appeared to be taken at the same
tirae, in addition to the above-raentioned raeasure of intimida
tion, for the protection of the public ; for the streets, abandoned
almost to darkness after the closing of the shops at an early
hour in the evening, and unguarded apparently either by police
or military, were deserted and solitary ; otherwise than that the
silence of the midnight hour was occasionally broken by riotous
bands of young raen, who, pouring forth from the theatres at
the close of the entertainraent, disturbed the peaceful slurabers
of the inhabitants of the principal thoroughfares by bawling out
the opera choruses, a dozen or more stentorian voices altogether,
as they went along.
It was in the course of the same winter alluded to that, on
the occasion of two men being executed for murder at the place
above referred to, I had an opportunity of witnessing a part of
the proceedings as I happened to be passing by the spot by
chance about eleven o'clock in the morning, whUe yet a vast
concourse of people were asserabled at the guillotine. One
unfortunate wretch had already suffered the penalty of the law
at eight o'clock, and lay prostrate on the boards, a sad spectacle,
clad in the brown striped prison-dress, the feet bare and pro-

Chap. X.] EXECUTION BY THE GUILLOTINE. 137
truding beyond the scaffolding, and the severed head, with hair
deranged by the grasp of the executioner's fingers, and the
countenance of an almost inconceivable degi-ee of paleness,
resembling rather the whiteness of tanned horse-leather than
any thing human, and altogether the most terrible object in
appearance I ever happened to witness, fixed upon a pole about
five feet high planted in fi-ont of the platform. On inquiring
of a bystander the cause of the long delay that had taken place
since eight o'clock, and as to the fate of the other crirainal,
" Questo solo," he replied, " e stato giustiziato, 1' altro non e
penitente ;" and I found, accordingly, that the latter was
brought to the guillotine in the raorning at the same tirae
with the deceased, but, in consequence of his obdurate
bearing, had been removed to a chapel adjoining, in order that
he might be persuaded by the exhortations of the priests to a
state of repentance, and receive prerious to leaving the raortal
world the consolations of religion. There he had reraained,
so great are the energies of the Roman Catholic clergy' on such
occasions, for more than three hours, deaf to their prayers and
entreaties ; while four carabinieri sat grave and silent on their
horses, close to the guillotine ; others at the entrance of the out
lets ; and occasionally the deep interest that prevailed among the
rainds of the people was manifested by a sudden buzz and treraor
that ran through the crowd at intervals, as the priests passed
backwards and forwards to and from the crirainal in the chapel.
At twelve o'clock, however, after four hours' labour in their
holy profession, the priests gained the victory, and were at last
enabled to exhibit to the patient and expectant spectators, who
had evinced the raost extraordinary orderly and quiet behaviour
during the whole period, the edifying spectacle of the conversion
to the Roraan Catholic faith of a hardened sinner. The appear
ance of the crirainal — considered, accordingly, as a devotional
triumph — was greeted almost with rejoicing, and shouts of
" Viva Maria !" " Viva la Santa Vergine .'" and other enthu
siastic expressions, siraultaneously burst forth and resounded
among the populace during the few brief seconds that inter
vened — the arms of the unfortunate man being preriously
pinioned— till the body, strapped to the upright plank or
bascule, and the latter moved on its hinge with the sufferer
upon it to a horizontal position on the platform, the neck was

138 A TOUR IN MODERN ROME. [Chap. X.
inserted in the fatal groove, and the head, severed at the same
moraent by the descending blade, exposed similarly to the head
of the other culprit on another pole on the platform.
At the extremity of the Piazza della Bocca deUa Verita next
the Tiber, at the south-west angle, there may be observed a
remarkably convenient spot from whence to view the banks of
the river and the raoving objects on the streara, and also the
Ponte Rotto. It is an artificial point of land, formed apparentiy
at first by the accumulation of rubbish, which juts a considerable
distance into the water, and is at all times accessible. Close to
the same spot also, situated even raore advantageously for those
persons desirous of passing a few quiet moments agreeably, there
is a garden to which admittance may be obtained on making
application to the proprietor. In the opposite direction, higher
up the river, on the other side of the piazza, at its north-west
angle, the Temple of Vesta is situated, one of those teraples
which, as before stated, were built in each of the thirty curiae
by Romulus, previous to the principal one of the establishment
being erected by Numa Pompilius, on the site of the raodern
church of S. Teodoro at the foot of the Palatine. The teraple
in question, though it is not known by whom it was constructed,
is supposed, principally by reason of its discrepancy from the
pure Grecian model, manifested by the disproportionate slender
calibre of the shafts, as well as by the style of the capitals of
its colurans, to belong to the period of the Antonines ; and
being one of the best preserved of all the ruins of an ancient
teraple existing, was converted with little alteration to a place of
Christian worship in the fifteenth century ; though the interior,
as the sacred offices have long since ceased to be performed
there, is continually closed, and inaccessible to visitors unless
on application to the custode, who inhabits a small house
adjoining upon the north-east angle of the piazza.
The buUding, generaUy known to the public from paintings
and models, is in its forra circular and peripteral, and, imme
diately overhanging the river, is elevated on a lofty substruc
ture composed of large blocks of tufa, in front of which are the
remains of the original flight of steps that led to the entrance.
On eacb side, as the soU has accumulated raany feet above the
ancient level, an excavation Uke a deep concentric trench, that
lays bare the foundation, surrounds the remainder of the peri-

Chap. X.] TEMPLE OF VESTA. 139
phery. As regards the exterior, the cella, 231 palms or 168
feet 7 inches in circumferenoe, and in the most perfect state of
preservation to the extent of about two-thirds the height from
the pavement, above which point the remainder lias been com
pleted in modern times with brickwork, is formed of blocks of
Parian marble laid together with surprising exactness. Of
twenty fluted Corinthian columns, also of Parian marble, that
belonged to the peristyle, siiid to be 4 palms or 2 feet 1 1 inches
in diameter, and in height 47 palras or 34 feet 4 inches, including
the bases, a proportion nearly equal to twelve diameters, nineteen
are stiU remaining ; and upon these columns, as the capitals
are for the most part well preserved, though the entablature
has entirely disappeared, and the renovated brick portion of
the cella is carried upwards level with their summits, a modern
tiled roof has been laid, but with such extraordinarily bad effect,
that it would appear that this, as well as the portion restored
vrith brick, was intended only as teraporary.
The intercolumniations of the columns are protected by iron
rails, through which the entrance leads by a door, composed of
rough, unplaned planks, to the interior, whose ceiUng is nothing
more than the bare surface of the tiles and rafters. The pave
ment is composed of rough slabs of marble, one of which con
tains a Latin inscription with reference to the conversion of the
building to a Christian church under the title of S. Maria del
Sole, in the reign of Sixtus IV., about the year 1480. The cir
cular marble wall is beautifully smooth, and the blocks are ad
justed with such nicety, that the joints are scarcely perceptible.
It extends to a height of about ten feet from the paveraent, Uke
a dado, and is surraounted by an entablature of the sarae Parian
marble as the remainder, which bears upon the frieze a curious
Latin inscription, composed probably by Sixtus IV., as if it were
intended in extenuation of the somewhat Pagan expression,
" Maria del Sole," contained in the dedication, which allusion
to the sun, though applied in the instance of a Christian church,
evidently bears reference to the sacred fire preserved in the
temples of Vesta. The whole inscription, addressed to the
Holy Virgin, in large capital characters, extending the whole
length of the periphery, is as follows : " Felix es sacra Virgo
Maria, quia ex te ortus est Sol Justitiae Christus Deus Noster."
The only altar which appears ever to have been erected in the

140 A TOUE IN MODEEN EOME. [Chap. X.
buUding in Christian times is still in existence, situated in the
usual position opposite the entrance. It is an altar of the most
ordinary description, of which the pediment and its pair of
colurans are a painted iraitation of marble.
The ancient Teraple of Fortuna VirUis is situated a few paces
higher up the streara of the Tiber, nearly opposite the Teraple
of Vesta on the other side of the street, which is an unpaved,
deserted-looking thoroughfare, that skirts the river's banks. It
is supposed to have been built by Servius Tullius, together
with another temple in the Forum Boarium,* both with
funds raised from the spoils of the Veientes and other re
volted states, and both dedicated to Fortune, as a grateful
acknowledgment to that goddess, who in his infancy raised
him from the condition of a slave, and ever after favoured his
undertakings. The reason of the term " virilis " is not very
clearly accounted for, though supposed to have originated in
consequence of a very extraordinary vision connected with the
birth of Servius Tullius, that happened to his raother Ocrisia,t
who, being the wife of Tullius, a noble inhabitant of the Latin
city Corniculum, when the latter was stormed, and her husband
killed by the elder Tarquin, was presented by the conqueror to
his wife as a slave, in which state she remained until brought to
bed of a son, who was called, accordingly, ex conditione, Servius,
and ex Patre, Tullius. The identity of the ruin in question,
cited by Dionysius under the title " av^gsiav," is questioned by
some antiquaries, who take it to be the Temple of Fortis For
tunae, that is to say, the other teraple buUt by Servius Tullius,
and suppose the Teraple of Fortuna Virilis to have stood in the
Forura Boarium, though the Teraple of Fortuna ViriUs is dis
tinguished by Dionysius as situated on the banks of the river,
which position exactly corresponds. On the other hand, Dio
nysius barely mentions the other teraple erected to Fortune in
the Forura Boariura, without specifying the name ; and Varro,t
though he places the Temple of Fortis Fortunae on the banks
of the river, describes it outside the walls of the cily. The
accounts of the restorations of the building are for the most
part deficient ; and littie raore is known of the eariy period of
its history than that it was destroyed by fire and rebuilt during
* Dionysius, lib. iv. cap. 27. f Ibid., cap. I, 2.
X De Ling, Latin., lib. v.

Chap. X.] TEMPLE OF FOETUNA VIRILIS- PONS PALATINUS. 141
the Republic, and afterwards repaired and rebuilt at various
periods until the ninth century, when, in theyear 872, the outer
walls being then in a good state of preservation, it was converted
to a Christian church by Pope John VIII. ; after which period,
whatever might have been its fate during the middle ages, it
was again restored by Pius V. about tbe year 1570, and con
ceded to the members of the Arraenian church resident in
Rome, who possess it at present.
With regard to the exterior of the building, of which the
interior will be referred to in the second section of this chapter,
in the description of the church of S. Maria Egiziaca, the
elevation of the westem flank, which faces the Tiber, composed
of travertino and tufa, covered by an ancient coating of stucco,
is a beautiful specimen of strength and simplicity, and con
sidered one of the most perfect models existing of pure Grecian
architecture. It is elevated on a basement composed of large
oblong blocks of travertino, resting on the ends perpendicularly,
aud surmounted by a cornice. Upon this basement, which,
though now laid bare by an excavation, was, until a few years
since, concealed by the accumulation of soil that had risen above
the aneient level, nearly as high as the cornice, are planted seven
Grecian Ionic half-columns that support the original entablature
of travertino, of which the frieze is ornamented by ox-heads,
candelabra, figures of infants, festoons of flowers, &c., sculptured
in bass-relief. The sculpture, however, has suffered very con
siderably from the effects of time, of which the operation appears
to have been remarkably gentle and gradual ; as if the surface
had, imperceptibly as it were, melted away rather than becorae
abraded by the influence of the atraosphere. The opposite flank
is entirely concealed by the houses of the Via della Bocca della
Verita, which are built upon it ; and although upon the northern
gable, that contains the entrance to the raodern church, there
are the remains of a portico, whose intercolumniations are filled
up with brickwork, the gables otherwise are without ornament.
Of the ancient roof, replaced by a modem one of tiles, there is
nothing remaining.
The ancient Pons Palatinus, now distinguished by the title
" Ponte Rotto," is situated almost precisely opposite the
Temple of Fortuna Virilis, removed only a very few paces from
the narrow thoroughfare in which the latter edifice is situated.

142 A TOUE IN MODEEN EOME. [Chap. X.
The Pons Palatinus, the first stone bridge ever built across the
Tiber, second only to the Pons Sublicius, to which it is next
also in position higher up the stream, was commenced 180 years
before the Christian era by the censor Marcus Fulvius, who
completed the driving of the piles, upon which the arches were
laid about fifty years afterwards by the censors P. Scipio Afri
canus and L. Mummius, who finished the structure. It has been
objected that Livy, who relates the history of the bridge,* makes
no mention of the titie " Palatinus," although, as well from its
position as because all the other bridges over the Tiber are
satisfactorily accounted for by the ancient writers, its claim to
the title is unquestionable, and no doubt it is the very bridge
towards which Horace was bending his steps in order to pay a
risit to his friend on the other side ofthe river, as described in the
passage quoted farther back, page 43. The accounts of its early
history appear to be very defective, nor are any restorations re
corded previously to its being rebuilt by Pope Honorius III.
about the year 1220. It was, however, called the Ponte di S.
Maria duiing the Middle Ages in consequence of sorae tradi
tional tale or circumstance connected with a picture or image
of the Holy Virgin, which was preserved upon its parapet. It
was again restored, about the year 1552, by Julius IL, and
again, about thirty years afterwards, by Gregory XIII. FinaUy,
in the year 1598, in the reign of Cleraent VIIL, the two east-
ernraost of its five arches, with their parapet, were destroyed by
a violent inundation of the Tiber, since which event the three
others have reraained standing, in precisely the same condition
as at present, under the title of the Ponte Rotto. Of the eastern
extremity of the bridge, at the point in question, close to the
Teraple of Fortuna ViriUs, on the left bank ofthe river, a very
smaU portion reraains : nothing raore in fact than a pair of pe
destals, with which the parapet terminated, planted on the steep,
shelving, sandy bank of the river ; and also a few yards of the
ancient road leading to the bridge, the latter composed, Uke
all the rest of the ancient roads in Rome, of large blocks of
selce. The western portion that reraains on the right bank of the river,
caUed, par exceUence, the Ponte Rotto, is a wonderfuUy pic
turesque ruin, coraprising the whole of the three arches, with the
* Lib. xl. cap. 51.

Chap. X.] PONS PALATINUS. 143
corresponding upper works and pai-apet, in a state as perfect as
on the morning after the inundation, together with half, or
thereabouts, ofa fourth arch whose eastern haunch launches
forward abruptly, remaining as it were suspended, contrary to
the laws of nature, in the most precarious position imaginable.
There, however, it has appeared precisely as it is at present for
a period of 250 years, supported and held together by the
remarkably tenacious quality of the ceraent. So sound and
perfect is the structure altogether, that although precisely for
that reason it has never been considered expedient to incur the
expense and labour of reraoring it, notwithstanding that the
navigation of the river is considerably irapeded by the obstacle,
it seems extraordinary that it has never been made the sub
structure of some one or other sort of building, and converted
to a useful or ornamental purpose. As it is, those persons who
are inclined to go thither have an excellent view of sorae
remarkably interesting points on the banks of the Tiber, and
may readUy obtain admittance by making application to the
proprietor of a small house on the right bank of the river, built
in such a raanner, close to the water's edge, that it cannot be
mistaken, for the communication between the bridge and the
shore is entirely cut off otherwise than by passing through it.
The area, of which no other use appears to be made than to
serve the purpose of washerwomen for drying their linen, is a
magnificent jetty, 100 yards or thereabouts in length, paved
vrith large blocks of selce, bounded by the original parapets,
still, as before stated, in good preservation, and protected, at
the extremity where the ruin terminates abruptly, by a wall of
corresponding height, so that the space on all the four sides is
a perfect enclosure. In the centre of the wall has been erected
a shrine dedicated to the Madonna, with an inscription in Latin
or Italian annexed to it, bearing reference to the image of the
Holy Virgin above referred to, now preserved in the Vatican,
which is stated to have been discovered after being stolen by
thieves, floating in the river, under circumstances inclining to
the miraculous. The spot altogether, as it exists at present,
forms a remarkably agreeable promenade, whence there is not
only to be seen to the greatest advantage the extraordinary
accumulation of masses of masonry, fragments of successive
dwelling-houses, which having become detached and rolled into
the river, century after century, blend here and there with the

144 A TOUE IN MODEEN EOME. [Chap. X.
substructure ofthe modern buildings that line the Tiber's lofty
and precipitous banks, but the prospect comprises, in addition
to the ever-varying moving panorama of the river scenery, the
identical tract of land and water particularly alluded to by
Horace in his second Ode, where he refers to the celebrated
inundation that happened in the reign of Augustus. Hence,
accordingly, all the points and objects connected with the event
described in the passage alluded to,
" Vidimus flavum Tiberim, retortis
Littore Etrusco violenter undis.
Ire dejectum monumenta regis,
Templaque Vestae,"
are to be distinctly recognised. In the first place the Ponte
Rotto itself is a forcible illustration of the picture contained
in the two first lines, of the yellow Tiber threatening de
struction to the objects situated on the river's banks, as it
violently impinges, and as it were, rebounds from the Etrus
can shore ; for the bridge is situated precisely on the apex
of a curve, formed by a splendid sweep of the current from
west to east, and thence from east, which is the Etruscan
shore alluded to, to west again. Next as regards the ob
jects indicated by the expression "monumenta regis," these
are evidently objects which lie close at hand under full view
of the spectator, naraely, the Cloaca Maxima, and the ancient
wall which, serving as the lining of a quay called the " pul
chrum littus," extended from the Pons Palatinus a consi
derable distance down the river, very nearly to the Pons
Sublicius. This wall, as well as the Cloaca Maxima, raay also be
seen frora another point of riew on the opposite side, at the
eastern extremity, before referred to, of the bridge, by descend
ing to the level of the river by a flight of rough, ill- fashioned
steps, cut in the sandy, precipitous bank. The height of the
bank at the point in question is 30 feet or thereabouts, and
the aperture of the Cloaca Maxima about 150 yards lower
down the river. From either point of view the Maranna stream
may be seen falling into the Tiber through the aperture, wliich
is precisely of the same forra and diraensions as before described
in page 130, though here the raaterial of which the concentric
blocks of the arch are formed is said to be Gabine stone instead
of tufa, as it is at the other extremity of the channel near the
Acqua di S. Georgio. The height above the river may be

Chap. X.] TEMPLE OF VESTA— ISOLA TIBERINA. 145
roughly estimated from a memorandum I had an opportunity
of taking, on the 28th of March, 1842, when, according to the
French scale at the Porto di Ripetta, described vol. i. page 281,
the height of the stream was 6,V metres, and at the same
time the water reached within a couple of feet or thereabouts
of the crown of the arch of the Cloaca Maxima. Of the " pul
chrum littus," or ancient wall, which, commenced by Servius
TulUus and afterwards completed by Tarquinius Superbus,
may, together with the Cloaca Maxima, be very properly in
cluded under the title of monumenta regis, a considerable portion,
coraposed of large blocks of material laid together in the solid
Etruscan style, corresponding with the Cloaca Maxima, is still
in existence, and to be seen distinctly frora both the points
referred to. As regards the Teraple of Vesta, it is somewhat
singular that although the present ruin is situated by a for
tuitous coincidence on the river's bank, on a point, as it were,
precisely corresponding vrith Horace's description, it is not,
nevertheless, the Temple of Vesta in question, having been
built at all events subsequent to the days of Horace ; but the
Temple of Vesta that Horace intended to refer to, ofwhich there
are now no remains existing, is the same before alluded to,
page 122, which was situated on the site of the modern Church
of S. Teodoro, on the northem angle of the Palatine, whither
the inundation in the reign of Augustus no doubt extended
across the low, flat, intervening tract of ground included in the
Velabrura. Finally, from this commanding terrace, stretching
far into the stream, the island in the middle of the Tiber, called
the Isola Tiberina, is seen to the greatest advantage. The
Isola Tiberina owes its original forraation, it is said, to the
sheaves of com that grew on the Carapus Martius, belonging
to the younger Tarquin, which, on the confiscation of the
tyrant's property, bemg rejected by the Roman people and
cast into the Tiber, in desecration of his memory, a nucleus
was created, and the accumulation of soil that took place in
consequence became gradually an island. Whatever the degree
of confidence placed in the truth of the legend, one raay very
readily imagine it severed suddenly frora the land by an in
undation similar to that of Augustus.
Within a few paces northward of the Ponte Rotto is a ruined
VOL. II. L

146 A TOUR IN MODERN EOME. [Chap. X.
house coramonly caUed the " House of Rienzi," which, so far
as regards its position, situated close to the banks of the river,
corresponds with the character of such a dweUmg as may be
supposed to have belonged to the celebrated tribune-the son
of a fisherman. According to other accounts the buildmg
is identified with a much earlier period, coeval with the
coraraenceraent of the Christian era, being supposed to have
belonged to Pontius Pilate. Araong the common people it is
accordingly called the "House of Pilate" as often as the
" House of Rienzi," though no reason that I ever heard of,
otherwise than mere tradition, is assigned for concluding
that Pontius Pilate ever visited the metropolis of the Roman
erapire or had a house there. At the same tirae there are
farther grounds for identifying the ruin as the house of the
tribune Rienzi, on the strength of a long inscription which,
without invalidating the importance of a legend so far an
terior, refers to certain celebrated personages of the fourteenth
century. The inscription, which is sculptured in legible cha
racters on the eastern flank of the building, composed in epi
grammatic terms, in verse and in prose, and in barbarous Latin,
has afforded means to the antiquaries, partly by assigning
enigmatical interpretations to the sentences, and partly by find
ing words applicable to a very extraordinary series of initial
letters, to come to the conclusion that the house in question
was built three centuries before the time of Rienzi, and being
fortified by Nicholas the son of the celebrated Crescentius
and Theodora his wife, was presented to his son Darid.
But through whose hands the house passed in the interval till
the year 1347, when, on the 1st of August, Rienzi issued his
celebrated proclamation commanding the iramediate presence
of the Emperor and the electors, is not stated ; neither is it to
be imagined at all how fhe house became Rienzi's property,
otherwise than by supposing that the inscription refers to the
fourteenth century instead of three hundred years before as
above stated, and that the Nicholas specified is raeant for
the tribune himself, and David for his son. By an extraor
dinary coincidence, at all events, or rather by an extraordinarily
ingenious effort in the art of decyphering, the series of initial
letters above referred to, wbich are as follows, n. t. s. c. l. p.

Chap. X.] HOUSE OF RIENZI. 147
T. F. G. R. s. NIC. D. D. T. D. D. F. s., havc bccn fouud to in
clude the initial letters of the precise epithets assumed by
Rienzi in the proclamation above referred to, and are thus
interpreted : Nicolaus, Tribunus, severus, clemens, Laurenti
Patris, Teutonici fUius, Gabrinus, Romae Servator, Nicolaus
dedit domum totam Davidi dilecto filio suo.
As regards the present appeai-ance of the ruin, the southern
gable is precisely opposite the northern gable of the Temple of
Fortuna Virilis which has been described already, being only
dirided from the latter by a narrow street called the Via della
Fontanella, which leads into the Via della Bocca della Verita,
the main thoroughfare extending frora south to north in this
quarter. The wall of the gable as well as the walls of the
flanks, though in a dilapidated state, are peculiarly indicative,
whether the house were really ever the property of Rienzi or
not, of a vulgar, ambitious taste, not a little corresponding with
the style of architecture of the middle ages previous to the
rerival of the arts, and exemplified by a profuse, incongruous
application of omament, exceeding all other exaraples elsewhere
to be met with. The jambs and lintels of the doors and win
dows, for instance, are formed of portions of friezes and cornices
belonging to stiU more ancient dwellings ; and in fact the
whole building may be said to be composed of a most outrageous
assemblage of disjecta membra, such as parts of columns,
capitals, whole and in fragments, brackets, &c., all crowded
together in a mamier void of taste or design, and placed in
positions too unusual and extraordinary to atterapt to describe.
Meanwhile the inscription on the eastem flank, owing to the
miserably neglected state of the alley that skirts that part of
the edifice, is not to be approached without considerable in
convenience to the senses, and much caution ; which circum
stance, by the way, in addition to the neglected and dilapidated
state of the premises, is perhaps a sufficient proof that the
Romans themselves have Uttle faith in the document, notwith
standing it is invariably one of the first objects to which the
attention of foreigners is directed by the ciceroni. The pro
fessed antiquaries, moreover, foUowing the example of their
predecessors, the celebrated Nibby and others, — those who
make a practice of conducting risitors, in parties of ten or
L 2

148 A TOUR IN MODERN ROME. [Chap. X.
twelve together, over every part of the city for six or eight
days successively, for the purpose of delivering a series of
peripatetic lectures, and giving on the spot a riva voce descrip
tion of aU the principal antiquities, hardly ever faU to give
precedence to the House of Rienzi. For the House of Rienzi
furnishes an abundant source of declamation to the lecturer,
by affording a comparison between the deteriorated state of
the arts in the middle ages and — first, the plain raassive raa
sonry of the early Etruscans exemplified by the Cloaca Maxiraa
and Pulchrura Littus ; secondly, the purely Grecian elevation
of the Teraple of Fortuna Virilis, indicative of the time of the
Republic ; and thirdly, the less grave and lighter style of the
early period of the Empire, visible in the Temple of Vesta.
All which objects hardly exceed the distance of a couple of
hundred yards from the House of Rienzi.
With regard, however, raore specifically to the nature of the
professor's lectures here alluded to, as I had an opportunity, in
the winter of 1838, of attending a course that lasted eight days
successively, it raay not be amiss to give an account of part of
one day's work out of the whole proceedings, which will be
enough at all events to give a tolerable idea of the mode of
operation. A lady of my acquaintance having already engaged
the services of an eminent Roman professor of antiquity, at the
salary customary on such occasions, and having very kindly
done me the honour to allow me to join her party, I was ac
cordingly strictly punctual in attendance at her house on the
day and hour appointed, though the wind came down par
ticularly sharp that morning from the mountains, and blowed
a bitterly piercing tramontano. In consequence of an ambas
sador's ball that bad happened the night before, the company
were somewhat late ; and in fact when I raade my appearance
no one at all had arrived, but the master and mistress of the
house were alone and stiU at breakfast : however, before a
quarter of an hour had elapsed, our full complement of ladies
and gentiemen, including the learned antiquary, amounting to
two full carriage loads altogether, having been ushered upstairs
one after another, and the repast being by that time finished,
we very soon afterwards, after a short discussion relating to the
assortment of our respective seats in the carriages, took our

Chap. X.] LECTURES ON THE HOUSE OF RIENZI. 149
departure. The arrangements for the day, however, as regarded
the antiquities about to be visited, were settled beforehand, so
that whUe the proceedings of the ball of the night before
furnished abundant raatter of sraall talk araong the ladies, not
a single word was said about the raain object of our enterprise.
I therefore stepped into the carriage without asking any ques
tions or haring any precise notion what was to be done, and the
rest of the party having likewise taken their places in both
vehicles, the coachman, who had preriously received instruc
tions from the antiquary, immediately whipped his horses away
from the door without looking behind him. Both carriages
were open ones, laden vrithin and without with as many as
could conveniently sit ; and as we rattled along straightforward
over the paveraent of the Corso, I found myself in the foreraost
of the two vehicles vrith the lady of the house, her husband,
and the philosopher our lecturer, who, notwithstanding that the
rest of the party talked all the while vrithout ceasing, remained
grave and sUent, sitting bolt-upright, and preserving continually
an eamest, meditative countenance, as if his mind were entirely
occupied vrith composing the extempore oration he was presently
about to deliver. At the bottom of the Corso we turned to the
right into the Via di Gesu, again to the left into the Via di
AracoeU, and thence turning and twisting through several nar
row streets, we entered the Via di Montanara, at the farther
extremity of which the thoroughfare is continued in the same
direction by the Via della Bocca della Verita. At the bottom
of this latter street the carriage was suddenly pulled up at the
right-hand side at the entrance of the Via della Fontanella,
diverging towards the Tiber. No sooner were the steps of the
carriage let down than the antiquary got out ; and as he walked
slowly and steadily along the narrow dirty street, our party,
amounting to precisely twelve in number, being every one
equaUy eager and full of haste to follow our leader, we found
ourselves, ovring to thus suddenly converging together at the en
trance ofa narrow thoroughfare, somewhat thrown into confusion.
The antiquary, however, proceeded straight forward without stop
ping till he halted at the House of Rienzi, while we had all rauch
ado, paying due regard to decorum, and the even more indis
pensable necessity that arises hereabouts of looking where to

150 A TOUR IN MODEEN ROME. [Chap. X.
tread, to keep withm a reasonable distance : so that we jostied
and trod on one another's heels occasionally in the endeavour to
advance all together, and finally to group ourselves conveniently
round the lecturer; whUe the latter, without paying the
sUghtest regard as to who was first, or who was hindmost, had
already coraraenced his exordiura. At this identical moment,
had an artist Jiappened to be present, it would have afforded an
exceUent subject for a picture to observe the extraordinary
state of excitement of twelve grave persons with the traraontano
blovring a hurricane in their faces, all straining their ears without
success in the vain endeavour to catch the first words of a ready
cut and dried oration on the subject of the long inscription
above referred to, deUvered in the French language with such
fluency that the words seemed to be falling Uke peas from the
speaker's lips. For ray own part I must candidly confess that
I found myself none the wiser when all was finished, such were
the disadvantages to which I was subjected during the five
rainutes that the oration lasted, owing to the violence of the
wind which carried away the sound of the speaker's voice along
the Tiber, the foreign language in which it was delivered, the
intricate history of the inscription in question, the want of due
preparation for a subject which I had been fortuitously called
upon to Usten to, and above all the fi-equent movements of the
prolocutor, who continually turned on his heel from right to
left so rapidly that in spite of all I could do to preserve a place
in front, I soraetiraes got behind hira. I should in fact be as
little prepared as the raan in the moon to give an account of
the gist and substance of what I then heard, were I called upon
to do so. Little additional information moreover, on these
occasions, after the lecture is concluded, is to be had of the
antiquary, who, were it not that it is a sort of etiquette estab
Ushed among the hearers to refrain from asking questions,
raight otherwise find himself involved in disputes with captious
dilettanti, or even have occasionally interrogatories propounded
to him that might be difficult to reply to. As it is, the anti
quary, the raoment he has concluded his lecture, which the
hearer must do his best to catch as it goes and then rest con
tented, is functus officio. With regard to the remaining
lectures which I heard on the same day, and on the seven

Chap. X.] FORUM OLITORIUM. 151
days succeeding, the style of delivery and thc circumstances
attending each, allowing for variety of subjeet aud the dif
ferences of wind and weather, were so nearly similar, that
to attempt to give a description of each separately would
only amount to repetition : suffice it therefore to add, as
to the proceedings of the day in question, that after we had
listened to the history of the House of Rienzi, we went thence
on foot a few paces southwards to the Temple of Fortuna
Virilis, where we heard another lecture ; afterwards a few
paces more in the same direction to the Temple of Vesta,
where we heard a third lecture ; after which, returning to the
carriages and resuming our places as before, we were conveyed
away at a good pace to another quarter, and so passed the
remainder of the moming, driring from object to object and
hearing lecture sifter lecture in different parts of the city.
Proceeding from the House of Rienzi eastward by the Via
della Fontanella, and, after emerging into the Via della Bocca
della Verita, going a short distance to the left northwards
towards the Piazza Montanara and the Theatre of Marcellus,
the street expands on the left-hand or western side into a small
open space, called the Piazza di S. Nicolao in Carcere, wliich
is bounded by the church of S. Nicolao in Carcere on the side
next the Tiber. The open space in question is supposed to be
the site of the ancient Forum Olitorium, or green market,
which conclusion, however, depends for the most part on the
identity of the ruins of three temples, which are known, on the
authority of the classic writers, to have stood on the Forum
OUtorium, and are now erabedded in the walls of the church
above mentioned and of the houses adjacent. The temples
alluded to are the Teraple of Piety, the Temple of Hope, and
the Temple of Juno Matuta, of which the first, the Temple
of Piety, was buUt about 170 years before the Christian era
by M. Acilius Glabrio, in commemoration of the victory of
his father over Antiochus at the Pass of Thermopylae, and
is celebrated for having contained a statue of the personage
to whom it was dedicated, the first of gilded bronze that
ever appeared in Italy.* Its identity, however, has been
rendered more difficult to ascertain, in consequence of the
* Valerius Maximus, lib. ii. cap. 5.

152 A TOUE IN MODEEN EOME. [Chap. X.
existence of another no less celebrated Temple of Piety, for
which it has been frequentiy raistaken, which other was conse
crated during the consulship of C. Quintius and Marcus Acilius,
51 years later than the first, or 139 years before the Christian
era, and is described to have been situated iramediately outside
the ancient Porta Carmentalis, and otherwise, by Pliny,* on the
site of the Theatre of MarceUus. It was, however, at aU events
built close to the spot where had previously existed the prisons
of the triumvirs, in which the event generally characterized as
a remarkable instance of filial piety is said to have happened,
in consequence of wbich the position for the temple was selected,
and the commemorative dedication to Piety accorded to it. The
anecdote in question, which is related in the passage of Pliny
above alluded to, is of the Roman daughter who, while her
mother was incarcerated and condemned to die of starvation,
contrived to risit the dungeon clandestinely, and, rendering the
same maternal nourishment received by herself in infancy, pre
served the life of her aged parent for a considerable period.
The sarae tale, in substance, with reference to the dedication
of the Temple of Piety, with the difference that the act of filial
piety was performed in behalf of the father instead of the
mother, is related by Valerius Maximusf raore circumstantially,
in a style, however, which after all amounts to nothing raore
than the narrative of a merely traditional story ; on which
account, perhaps, and especially considering that the act re
corded is by no means an extraordinary instance either of
courage, or of self-denial, or of self-devotion, and, on the
other hand, is rather inconsistent with a refined sense of deli
cacy, the wonderful degree of adrairation accorded to it on
the part of posterity, as may be estiraated by the play or plays
that have been written and the numerous pictures painted on
the subject, is perhaps somewhat overrated. The prevaiUng
opinion of the antiquaries, which identifies the site of the Forum
Olitorium with the Piazza di S. Nicolao in Carcere, is sorae
what borne out by the relative position of the Piazza di Mon
tanara, situated a little farther to the northward, at the ex
tremity of the same street ; for the Piazza di Montanara is
* ' Hist. Nat.,' lib. vii. cap. 36. t Lib. ii., cap, 5.

Chap. X.] " FORUM OLITORIUM— F. PISCATORIUM. 153
resorted toby the peasants of the Campagna as a green market
to the present day. There are at all events no certain or satis
factory accounts of its true position, though a forura, which raay
or raay not be the one in question, is described in vague terras
by Livy * to have been constructed by Marcus Fulvius, outside
the Porta Trigeraina, which ancient gate was considerably farther
down the river, nearly opposite the Pons Sublicius. Terentius
Varro t also, in the course of sorae general reraarks on the
rainor forums, which were appropriated to the sale of coraes
tibles in this quarter, though particularly, with regard to the
Forum OUtorium, he raerely states, or rather implies, nothing
more than that it was near the Forura Piscatoriura, relates that
all were situated close together on a spot where a macellum had
existed previously ; which macellum was a public sharables, or
a raarket, where all sorts of provisions were exposed for sale ;
and the title derived frora the narae of one Macellus, who
having been convicted for robbery and depredation, his house
and grounds were accordingly confiscated, and appropriated to
the purpose in question. The property also of another male
factor, Numerius Equilius Cupes, convicted of the sarae criraes
and at the same tirae with Macellus, was confiscated, and ap
propriated to the purpose, of a forum in like manner, which
latter forum was called, exclusively, tbe Forum Cupedinis,
though on account of its inconsiderable note I have not taken
any farther notice of it than by the present citation.
There remains now only one other forum to be mentioned,
the Forum Piscatorium or Piscarium, stated, by Livy in the
passage above cited, to have been constructed by the sarae
Marcus Fulvius there referred to, and to have been situated
near the Forum Olitorium, which notice, considering that the
site of the latter, though there is every reason to conclude it
identical vrith the Piazza di S. Nicolao in Carcere, has never
been deterrained with certainty, and that the relative bearing
of both objects and the precise distance between thera are not
given, is a singularly vague definition. With regard to this
particular forum, however, which of course was exclusively de
voted to the sale offish, it may be reasonably supposed close to
* Lib. xl., cap. 51. t 'DeLingua Latina,' lib. iv.

154 A TOUR IN MODERN ROME. [Chap. X.
the river, and therefore raay not improbably have been situated
a little to the northward of the Piazza di S. Nicolao in Carcere,
between the Theatre of Marcellus and the ancient Pons Fabri
cius, now the Ponte di Quatro Capi, and precisely in the Piazza
di Pescaria, which latter small open space is appropriated to
the purpose of a fish-market at present.

Sect. II.] ( 155 )

CHAPTER X.— Section II.

CHURCHES.
S. Martina, or S. Luca.
This church is situated on the eastern side of the Campo
Vaccino, nearly opposite and within a few paces of the Arch of
Septimius Severus. Although it is generally admitted to be
one of the most ancient of all the Roman churches, no certain
accounts of it are given previous to the year 1256, when it was
rebuilt and dedicated to Santa Martina by Alexander VI. ;
after which event nothing farther is related of it till more than
300 years afterwards. In 1588 Sixtus V. conceded it to a
society of painters, whose acaderay, under the tutelage of their
patron saint, S. Luke the Evangelist, was annexed to the
building. The same society afterwards, about the year 1630,
in the reign of Urban VIIL, employed the architect Pietro
da Cortona to rebuild the church, consecrated it anew to
S. Luke, and accordingly called it S. Luca ; notwithstanding
which, however, it is generally known by the raore ancient
title of S. Martina.
The interior is constructed in the form of a Greek cross upon
a circular area, and the ceiling is a dome, which, like the whole
interior of the church, is plain in appearance, and Uned with
white stucco. The pavement consists of slabs of marble, and
in the centre is an iron grating, through which the light is ad
mitted below to the lower portion of the old church of S. Mar
tina, which, lying several feet below the level of the Carapo
Vaccino, was thus preserved, and made to serve as a crypt to
the church of S. Luca.
On each side is a single lateral chapel, contained within a
recess formed by a supporting arch of the dome, and flanked by
a pair of broad, flat, Roman Ionic pUasters of Sicilian jasper,
which support the main cornice. These pUasters, of which the

156 A TOUR IN MODEEN ROME. [Chap. X.
torus and pUntii are of Carrara, are planted on pedestals of
pavonazzetto. In the chapel on the left-hand side, the altar
picture, representing the Assumption of the Holy Virgin, is an
esteeraed work of Sebastiano Conca ; and there is also to be
observed here a colossal statue of Religion, represented by
a stately female, whose head is surrounded by an aureole of
divergent rays, bearing in her arms a cross. The figure is
formed of stucco, and appears to be a copy from an original by
Canova, belonging to the tomb of Clement XIII. in S. Peter's.
In the chapel on the right-hand side, the altar picture, repre
senting the Martyrdom of S. Lazarus, is by Lazzaro Baldi.
The high altar, which is faced with various sorts of fine
marble, is contained within one of the supporting arches of the
dorae, of which it occupies the entire space, and is elevated five
or six steps above the level of the paveraent. The pediment,
triangular though of somewhat irregular forra, of which the
soffit of the tympanum is very richly wrought, and the frieze of
verde antico, rests on four Corinthian columns of light brown
striped alabaster, with capitals, torus, and plinth of white
raarble. The colurans are planted on pedestals, on the dado
of which three bees, the arraorial bearings of Urban VIIL, are
wrought in bass-relief, and surrounded with mouldings of
breccia di Francia and verde antico. The altar picture, re
presenting S. Luke the Evangelist in the act of painting a
picture of the Holy Virgin, is by Anteveduto Grammatica,
copied from the original by Raphael, which is preserved in the
academy of the Society of S. Luca adjoining. Below the altar
is a very beautiful white marble statue, by Nicola Menghino,
of S. Martina, who is recorded to have perished by the sword,
a martyr, the beginning of the third century. The artist has
represented the figure prostrate on the ground like a person in
an agony of grief, lying on the side and fronting the spectator,
the arras stretched downwards towards the feet, and the face
twisted as it were backwards over the shoulder, in a raanner
that, while the collapsed state of the limbs is represented
with exceeding truth to nature, has rather an extraordinary
appearance. The overwrought contortion of the neck, however,
is the more readUy accounted for by the posture, which appears
attributable to the thorough uncon sciousness of external objects,
produced by the violence of the paroxysm, while the folds of an

Sect. II.] CHURCHES.— S. Maktina, or S. Luoa. 157
alraost transparent drapery, whether night-clothes or winding-
sheet, exhibit the beautiful femalo form to great porioction; so
that it is not in fact until the spectator has advanced close to
the object, and has even ascended the steps of the altar, that
he perceives that — the head is severed from the body.
The descent to the crypt, or the original church of S. Mar
tina, is by a door on tiie right-hand side of the high altar,
which leads through tiie sacristy, and thence by a flight of steps
to the subterraneous area, which is by many degrees more beau
tiful than the upper church, whether with relation to the orna
raents or the architectural syraraetry. No other light, however,
enters than through the grate in the centre of the paveraent
of the upper church, so that, without the aid of the wax
taper of the sacristan, it is quite impossible to obtain a suf
ficient riew of the interior, with the exception of an occa
sion which happens once in the year, on the 30th of January,
the festival of S. Martina, when the whole vault is brilliantly
illurainated, the walls hung round with flowers, and the public
freely admitted during the whole of the day. The erabellish
raents thus lost to the world and daylight are principally to be
ascribed to the UberaUty of Pietro da Cortona, who in the
present instance conceived so warm an interest in his own
professional operations, that he not only achieved a great por
tion of the work at his own private expense, but at his death
bequeathed the whole of his private fortune, amounting to
100,000 scudi, to coraplete the undertaking. As regards,
however, the lower area, now so corapletely transformed bythe
skill of the architect as to bear very little resemblance to
what it was before, notwithstanding the importance which na
turally attaches to a building of acknowledged antiquity, where
at all events the four ancient bass-reliefs relating to Marcus
Aurelius, now preserved in the vestibule adjoining the stair
case of the palace of the Conservatori, were actually dis
covered, I flnd no accounts of the condition it was in previous
to Cortona's operations. The entrance, after descending the
steps, is by a corridor lying in a direction frora north to south,
that appears to be exclusive of the area of the circular church
above, and serves as a vestibule. The ceiling is vaulted ; and
upon the walls, on both sides of which are a range of seven
Doric columns of cipollino marble, which support the cornice,

158 A TOUR IN MODERN EOME. [Chap. X.
is to be observed, among sundry decorations of marble sheath
ing, &c., the monument of the architect of the church himself,
Pietro da Cortona.
Here also, engrafted on the wall, sculptured on a rough
block of travertino, in capital Roman characters, with a full stop
after every word, is to be seen a curious ancient inscription,
supposed to relate to one Gaudentius, an architect of the
Colosseura, who, after being proraised remuneration and ciric
honours for his services, was put to death, in consequence of his
adherence to the Christian faith, by Vespasian. The epigraph,
which, though of barbarous orthography, is a spirited apostrophe
to the tyrant, Uterally copied, is as follows : —
SIC. PREMIA. SERV AS. VESP ASI ANE. DIRE. CIVITAS.
UBI. GLORIE. TUE. AUTORL PREMI ATUS. ES. MORTE.
GAUDENTI. LETARE. PROMISIT. ISTE. DAT. KRISTUS.
OMNIA. TIBI. QUI. ALIUM. PARA VIT. THEATRUM. IN.
C(ELO.
Whether the above were coraposed by the martyr himself in
his own person, or by some other sympathizing Christian of the
period in his behalf, or whether or not a person of the name of
Gaudentius really ever existed, it is evident that the sentence
adraits of two constructions, and may be equally applied to
any other individual, provided the word " Gaudenti," instead
of a proper n.ame, be taken as a participle, and applied to the
substantive autori.
From the centre of the corridor, where a bronze lamp hangs
suspended from the ceiling, there is an entrance through a pair
of lofty iron gates to the lower church, of which the area,
corresponding in position to the circular church above, is an
unequal-sided octagon. The ceiling is a vault reraarkable for
a quality for which the architect is particularly celebrated, its
extraordinary flatness ; and in the centre of the pavement, which
is of inlaid marble, is a very splendid monuraent of S. Martina,
encompassed by a massive and exceedingly elegant balustrade
of bigio marble, highly wrought in sculpture. The principal
object of the structure is a splendid sarcophagus of alabaster,
which, almost entirely concealed by a profusion of figures of
angels and cherubim of gUded bronze that surround it, is
covered over the whole portion that remains visible with bass-
reliefs of gUded bronze, interspersed with amethyst, lapis lazuli,

Sect. II.] CHURCHES.— S. Adwako. 150
malachite, &c., including, as a central ornament upon tlie side,
a sraall bass-relief of semi-ti-ansparent calcedony.
With regai-d to the remainder of the chamber, which almost
bears the character of the mausoleum of S. Martina, tiie cornice
is supported by twelve Grecian Ionic columns of pavonazzetto
raarble ; and the whole intermediate surface of the walls is
sheathed with fine marble. On each side is an arched recess,
which appears intended for a lateral chapel ; though neither
have been fuiished, and the walls within still remain covered
with rough plaster. At the extreraity, opposite the entrance
from the corridor, placed in the usual position, as if preparatory
to a high altar intended to have been erected there, is a ponti
fical chair of white marble.
S. Adriano.
The church of S. Adriano stands witliin a few paces to the
southward of the church of S. Martina, on the same side of the
Campo Vaccino. Though unquestionably an ancient church,
nothing, as in the instance of the church of S. Martina, appears
to be known of its history ; though, principaUy in consequence
of an inscription discovered embedded in the material of the
wall in the course of restoration carried into effect in the
seventeenth century, relating that Gavinius Vettius Probianus,
prefect of Rome in the year of our Lord 378, caused a statue
to be erected in the Basilica Emilia, it has been supposed by
some authorities to have been built upon the site of the Basilica
EmUia, if not to form in itself a portion of that ancient building.
Others consider it to bear a similar relation to an ancient
Temple of Saturn, though vrith regard to the site of the latter
temple considerable differences of opinion prevail among the
antiquaries. One circumstance, however, which appears to
have been recorded relating to its various restorations, corre
sponds with the period of fhe finding the inscription above
referred to, namely, that about the year 1660 a magnificent
bronze door, which then belonged to the entrance, was removed
by Alexander VIL, and transported to S. John Lateran, where
it is at present.
With regard to the appearance of the exterior, the gable,
considered generally to belong to the period of the fif tji ceptury,

160 A TOUE IN MODERN EOME. [Chap. X.
is of extraordinary breadth, and of remarkably inferior brick
masonry, soraewhat reserabling, in style and uncouth pro
portions, the church of AracoeU. Here and there is to be
observed, on portions of the surface, a coating of stucco, laid
on, it would seera, for the purpose of covering defects and
irregularities of the masonry, such as blind arches, jambs and
lintels of forraer portals, and windows, which latter resemble
the windows of a private dwelling more than of a church, and
appear to have been inserted in apertures broken through the
wall on purpose.
The interior is constructed in the forra of a triple nave,
divided by piers faced with coraposite pilasters. The ceiling is
vaulted, with arched spaces along the base for windows. The
pavement, red tiles. The piers and the whole interior surface
are plain and whitewashed ; and in front of the pair of piers
nearest the entrance the basins of holy water are supported by
two white raarble statues of feraale angels.
The ceiling of the side naves is vaulted ; and the lateral
chapels are, in the right-hand side nave, four, and in the left-
hand side nave three in number, and a baptistery. To describe
the chapels separately, and first those in the right-hand side
nave. In the First Chapel the inside of the enclosing arch,
as well as the whole of the lower portion of the walls, is
sheathed with SicUian alabaster. The altar is faced with fior
di Persico, inlaid with verde and giallo antico. The pediment
rests on a pair of Roman Ionic columns, with gilded capitals,
and the shafts painted in stripes of green and gold, in imitation
of fluting. The Second Chapel consists of nothing more than
an altar- table appended to the wall. The Third Ch.apel is
contained within a very shallow arched recess ; and a large
figure of the Madonna is placed above the altar. The Fourth
Chapel is also contained within a shallow arched recess, of
which the inside is sheathed with fine raarble.
In the left-hand side nave the fixture frames of all the altar pic
tures are of breccia corallina marble ; and the whole of the lower
portion of the wall is sheathed with fine marble. In the First
Chapel the pediment of the altar rests on a pair of Corinthian
colurans of the description of raarble called " bianco e nero di
Egitto," with capitals, torus, and plinth of white marble. The
altar is faced vrith white marble inlaid in arabesque. Between this

Sect. II.] CHUECHES.— S. Lorenzo in Miranda. 161
chapel and the next is tiie baptistery above referred to. The
Second Chapel is contained within a shallow arched recess,
and the altar is faced vvith various sorts of fine raarble. The
Third Chapel is similar to the one preceding.
On each side of the choir and high altai- there is a chapel,
so placed as to face each down its side nave respectively.
The one on the right-hand side is protected by a balustrade of
Porta Santa, with a cornice of Carrara ; and the pediment of
the altar rests on a pair of very small colurans of verde antico.
The other on the left hand is contained within a shallow
arched recess ; and the altar is faced with pavonazzetto raarble,
which reraains unpolished, as if the intended work had never
been corapleted. Instead of an altar picture, is the figure of
an " Ecce Homo," protected by a glass case. The high altar
is contained vrithin an absis ; and in front of it is a balustrade
of Carrara. The pediment is supported on a pair of columns
of porphyry.
S. Lorenzo in Miranda.
Proceeding frora the church of S. Adriano in a southern
direction, the church of S. Lorenzo in Miranda stands on
the sarae side of the Carapo Vaccino, within a little dis
tance, very nearly opposite the northern angle of the Palatine.
It is built precisely on the ruins of the ancient Temple
of Antoninus and Faustina, of which the outer walls, as
already stated in the description of the ruin in the first
section of this chapter, have been actually appropriated to
the modem building. With reference to the various cele
brated ruins in the iramediate vicinity, the title of " Miranda "
is to be attributed. The exterior of the church comprehended
in the ruin of the temple haring been described already,
nothing here reraains to be said on the subject otherwise than
with regard to the entrance, of which the principal or western
gable is approached from the Campo Vaccino by a light wooden
bridge thrown across an excavation which extends along the
whole front and a considerable portion of both flanks. Ad
mittance to the interior, however, which is kept closed almost
continually, is not to be obtained under ordinary circurastances
through the principal entrance, but through another sraaller
door on the eastem gable of the building, which is otherwise
VOL. II. M

1 62 A TOUE IN MODEEN ROME. [Chap. X.
entirely blocked up by the houses round about it ; so that, to
reach the door in question, it is necessary to pass through one
of the sraall dwellings inhabited by the sacristan.
The interior is constructed in the form of a single nave,
with vaulted ceiling, and acute-angled arched spaces along the
base for windows. The pavement red tiles. The walls, whether
lined with stucco or otherwise, bear no visible appearance of
their ancient construction, or any perceptible difference from
those of an ordinary church ; and on each side are three lateral
chapels, each contained within an arched recess, and protected
by a balustrade, of which some are bigio and others cotaneUa,
but all surmounted by cornices of Carrara, inlaid with other
sorts of marble.
The high altar, very superior in its decorations to the rest
of the church, is a handsome structure, placed within an absis
at the extremity, and protected by a balustrade of Carrara,
inlaid with other marble. The pediraent is supported on four
columns of bianco e nero, with capitals, torus, and plinth of
white marble, and base Porto Venere.
S.S. Cosmo e Damiano.
A little' farther southward, on the same side of the Carapo
Vaccino, is situated the church of S.S. Cosrao e Damiano,
built on the ruins of the Temple of Romulus and Remus,
described in the first section of this chapter. The church was
erected in the year 521, by Pope Felix IV., immediately in the
rear of the circular teraple above alluded to, which latter was
actually converted to its vestibule. There are, however, no
subsequent accounts of the church till the reign of Urban VIIL,
who about the year 1630 rebuilt it, at the sarae tirae raising
the paveraent, on account of the humidity of the spot, as it is
said, several feet above the ancient level ; and in order to
adapt the entrance to the elevation of the new edifice, rejecting
in the pursuance of a main object, as he was used to do, all
rainor considerations, he perforated the ancient circular wall
of the ruin, its vestibule, with two new apertures. With regard
to the exterior of the church, it is so rauch concealed by houses
built about it, and by the vestibule which stands in front, that
little or nothing more is to be seen than the upper portion of

Sect. II.] CHUECHES.—S.S. Cosmo e Damiano. 163
a naked brick gable, without any ornament ; and as to the
vestibule, including its ancient door of bronze, and the pair of
porphyry columns that flank the portal, sufficient has been said
already of it in tiie description of the ruin.
In its interior the vestibule is quite void of decoration, the
walls plain and whitewashed, the ceiUng constructed in the
form of a flattened dome with a lantern cupola, and the circular
area covered by an ordinary briok paveraent, frora which, in
consequence of the hollow space below, which will be described
presently, a very extraordinary echo arises, whence the rever
berated sound of tiie footsteps returns with such rapidity to the
ear that a sensation like that of an actually palpable concussion
of the organ is produced.
The entrance from the vestibule to the church is through a
circular arch of very considerable depth, on each of the plain
and whitewashed sides of which is engrafted an object which,
although no mention has been made of it hitherto, is of ordinary
occurrence in the Roman churches, called a martyr's weight,
or Lapis Martyrum, such as is referred to in page 514 in the
Appendix to the first volume. Those in question, in size about
twice the bigness of a raan's head, are supposed to have been
fastened to the necks of Saints Cosmas and Daraianus, when
both the martyrs were tlirown into the Tiber in the reign of
Maximian. Many like these are to be seen in the various
churches, all similar in size and appearance, made of sraooth
dark-coloured stone like basalt, the sides convex between two
parallel planes, with a ring inserted in the upper one, and in
forra altogether like an orange shaved off horizontally at top
and bottora.
The church in its interior is constructed in the forra of a
single nave, of which the breadth is so great that the area is
nearly a square. The ceiling is flat and coffered, with a
painting either in oil or fresco in the centre ; the paveraent
red tiles. On the right-hand side of the church are four, and
on the left side three lateral chapels, all contained within deep
and spacious arched recesses, covered for the raost part in the
interior with paintings in oil or fresco, as are also the side
walls of the church in the intermediate space between the
chapels. All the altars are faced vrith marble of various sorts.
To describe the chapels separately, and first those on the
M 2

164 A TOUR IN MODERN ROME. [Chap. X.
right-hand side. In the First Chapel, the pediment of the
altar rests on a pair of columns of lumachella pavonazza,
which in appearance might be mistaken for pavonazzetto. In
the Second Chapel there are no columns. In the Third
Chapel tbe pediment of the altar rests on a pair of com
posite colurans of verde antico, with capitals, torus, and plinth
gilded. In the Fourth Chapel the pediment of the altar
rests on a pair of columns painted in iraitation of raarble.
On the left-hand side of the church and in the First
Chapel the pediraent of the altar rests on a pair of fluted
and gilded columns. In the Second Chapel on a pair of
columns fluted and painted white. In the Third Chapel
there are no colurans or any other decoration.
At the extreraity of the church the choir, iraraediately at the
entrance of which stands the isolated high altar, is represented
by a broad and raagnificent absis, an original portion of the
church built by Pope Felix IV., of which the seraidome is
lined with curious raosaic of the sixth century, executed in
a coarse style, indicative of the state of the arts at the period,
but which, notwithstanding the apparently careless mechanical
arrangement of the mosaic fragments, is extraordinarily effec
tive. The subject is Our Saviour, the Good Shepherd, and
the Apostles, the latter represented by twelve sheep the
size of nature, and thrown into such bold relief that they
seem like living ones. The lower concave, which is without
ornament, possesses in some degree, owing to the subterra
neous space of the crypt below, the properties of a whispering
gallery, to which experiment the attention of the visitors is
generally directed by the sacristan.
The high altar, placed as before stated in front of the absis,
is isolated and surmounted by a canopy formed principally by
four triangular pediments facing in four directions, and sup
ported at the angles by four colurans of bianco e nero marble.
The altar is faced with various sorts of alabaster, and upon the
altar table is placed a small ciboriura forraed after the model
of a teraple, with an entablature supported on rainiature
colurans of alabaster.
On the left-hand side of the high altar is a door leading by
a flight of steps to the crypt, or " Soterana," as such subter
raneous chambers in the Roman churches are commonly called

Sect. II.] CHURCHES.— S.S. Cobmo b Damiano. 165
by the sacristans, which in the present instance is the original
church of Felix IV., as it was left after Urban VIII.'s oiiera-
tions. Immediately at the bottom of the steps are four other
steps upon the eastern gable, that lead to the catacombs by an
entrance now blocked up ; the soil in the neighbourhood being
perforated by these wonderful subterraneous passages to an
extent almost incalculable. There are more entrances to
the catacombs from several other churches, but all are in
variably blocked up for fear of accidents, such as is reported to
have occurred in the instance of the door in question, which
formerly used to be left open, and twelve young students with
their tutor having availed themselves of the free perraission to
enter were lost in the interminable recesses and never raore
heard of. Here, not far frora the entrance, the body of Pope
FeUx, the founder of the church, or St. Felix as is bis desig
nation, was discovered. It is not very easy to comprehend the
ground plan of the subterraneous area, in consequence of
several brick piers and arches, wbich, constructed for the
express purpose of supporting the upper church, deform the
space considerably. It was, however, in sorae part of the wall
of this lower church of S. Felix that the fragraents of the cele
brated Pianta Capitolina, or diagrara of parts of ancient Rorae
and its buUdings engraved on raarble, and now preserved on
the staircase of tbe Capitoline Museum, were discovered by
Urban VIIL With regard to the principal objects to be seen
at present, the first, near the entrance to the catacombs above
referred to, is an ancient altar in tolerable preservation, where
S. FeUx himself used to officiate ; and upon the ground near
the altar is an early Christian well, containing beautifully lirapid
water, where the converts to the Christian faith were baptized.
There is another similar well at the westem extremity of the
area, the latter containing water equally brilliant as the other,
and lined within with a brick casing, which being raised three
or four feet above the brink fbrms a balustrade around it.
Close by are three plain monuments dedicated in raodern times
to S. Felix, and to the two titular saints of the church, S.
Cosmo and S. Damiano. A considerable portion of the original
pavement of opus Alexandrinum still reraains, and the rest of the
surface is the bare earth ; which, notwithstanding the reason
assigned for the elevation of the pavement to a higher level.

166 a tour in MODERN ROME. [Chap. X.
shows no appearance of raoisture. Finally, in the middle a
considerable space is enclosed by a lofty brick wall ; and upon
the wall is engrafted a tablet of marble bearing a Latin in
scription relative to the bones of various martyrs, collected
from several other receptacles and places in the vicinity, which
are deposited within. Sa. Francesca Romana.
The church of S, Francesca Romana, situated at the southern
extremity of the Campo Vaccino facing towards the Capitoline,
was commenced to be buUt by Paul I. about the year 760,
and was completed about a dozen years afterwards by Adrian I.,
who added to the northem gable the first square brick tower
ever appended to a Roman church, which remains to the present
day in perfect preservation. The church was restored by
Leo IV. about the year 850, after which period there appear
to be no accounts of it till the year 1608, when Paul V.
Borghese, on the occasion of the canonization of a Roman lady
of rank (referred to page 329, vol. i.), having employed the
architect Carlo Lombardi to restore the interior of the building
with the addition of a new faQade and portico, dedicated it to
S. Francesca Romana.
As regards the exterior, the acroteria of the pediment are
surmounted by statues, and the appearance of the facade
altogether is rather above the comraon order ; raoreover the
brick tower or belfry above referred to renders the church a
remarkable object in prospect from a distance. The entrance
is by a double branched flight of steps through a portico, which
contains some fragraents of an entablature and columns be
longing to the ancient temple of Venus and Rome, on whose
site the present church is built, as described in the first section
of this chapter, where the portico and the convent annexed to
the church are referred to in the description of the ruins of the
temple. The interior is constructed in the form of a single nave, with
a flat and richly wrought coffered ceiling ; the paveraent for
the raost part red tiles, and the small remaining portion opus
Alexandrinum. On both sides of the church are four deep
and spacious arched recesses, all of which contain lateral

Sect. II.] CHURCHES.— Sa. Fii.vnci;.sca Romana. 1 67
chapels, with the exception of the fourth on tho right-h.aud side,
which contains a side ontraiico. All arc counootod with one
another in the interior by small portals for tho most part of^
giallo di Sienna marble, but othorwiso void of doooration. Of
the lateral chapels, and first those on the loft-hand side, the
First, Second, and Third contain nothing worthy of remark,
but the Fourth Chapel is protootod by a balustrade of bigio
vrith cornice of Carrai-a inlaid with vorde antico, and the inside
of the entrance ai-ch is sheathed with Porta Santa. In the
interior, the cornice of Carrara is supported on four columns of
breccia di Francia, and the walls are sheathed with brown
striped alabaster, as is also the face of the altar ; the surface of
the walls and columns especially being very brilliantly polished.
On the right-hand side of the church, the First and Second
Chapels contain nothing remarkable. The Third Chapel,
which is in fact the burial-place or raausoleura of the nuns of
the order of S. Francesca Romana, the titular saint of the
church, is finished to great perfection. It is protected by a
balustrade of a curious description of bigio raarble, interspersed
here and there with veins of pink. The pediment of the altar
is of giallo antico, with frieze of fior di Persico, and rests on a
pair of composite columns of fior di Persico, with capitals,
torus, and plinth of white marble. The altar and the walls are
sheathed with alabaster, of which the brown streaks are of un
comraon richness ; the portals of interior communication are of
pavonazzetto. Upon the paveraent, which is of inlaid raarble,
there is to be observed a central tablet bearing a Latin inscrip
tion, to the effect that the vault where the oblate sisters of the
convent of S. Francesca are buried is close adjoining.
At the extreraity of the nave the transept is elevated by a
double branched flight of ten steps, of which the branches
ascend on each side, and the area of the space between is sunk
to a considerable depth below the level of the nave, and occu
pied by the magnificent tomb of S. Francesca Romana, con
structed by Bemini. The excavation, which, projecting towards
the entrance of the church in a seraicircle, encroaches on the
nave, is surrounded, above, below, and along the sides, by a
balustrade of Porta Santa, with cornice of bigio inlaid with
giallo antico ; its four sides are sheathed with marble, and the
pavement is of beautifully inlaid raarble. Such excavations
in the Roman churches are called confessionals, and the

168 a TOUR IN MODERN ROME. [Chap.X.
one in S. Peter's, dedicated to S. Peter, is the principal. In
the present instance the depth of the lower of the four sides
towards the nave is eight feet, or thereabouts. On the opposite
side, towards the transept, which is the highest, the marble
surface of the waU is crowned by an entablature of fine marble,
supported on two fluted, very highly polished, Corinthian
colurans, and two sirailar half-columns of breccia di Francia,
with gilded capitals ; and the whole of the intermediate sheath
ing of the wall is giallo antico and bianco e nero. Below, upon
the ground, is placed the sarcophagus containing the mortal
reraains of S. Francesca Romana, surrounded by twelve laraps
in gilded bronze branches placed on the balustrade above, and
kept continually buming. At this spot, in front of the sarco
phagus and shrine of the founder of their order, the nuns of S.
Francesca Romana, whose burial-place, as indicated above, is
only a few paces distant, appear for the purpose of taking the
first vows of profession on entering the establishment. A little
on the left hand of the sarcophagus is the entrance by a small
door to a crypt underneath the transept, where the sarcophagus
was deposited originally, and thence removed to its present
position by Pope Borghese. In the interior, by the help of a
taper carried by the sacristan, is to be seen, protected by a
frame of glass, the aperture in a rough wall of stone or tufa,
whence the reraains of the Saint were extracted ; and engrafted
upon the side of the crypt opposite the entrance is a bass-relief
by Bernini, representing, by a female figure and the figure of
an angel, the apotheosis of Santa Francesca.
Ascending from the nave, by either of the branches of the
steps, to the transept, the ceiling of the latter is au elliptical
vault with arched spaces along the base, and the surface
plain and whitewashed. The pavement is coraposed of opus
Alexandrinum. There is no altar at either extremity, but
instead, there is to be observed on the left hand an ancient pic
ture of our Saviour and the Holy Virgin, surrounded by
curious mosaic of the ninth century. On the right-hand extre
raity there are also to be seen engrafted on the wall, and care
fully preserved by a gilded iron grating, two blocks of granite,
accorapanied by an Italian inscription, which states in the fol
lowing explicit terras without any reservation, with reference
to the rairacle of the flight and fall of Siraon Magus, whenever
and howsoever the event thus corroborated on the authority of

Sect. IL] CHURCHES.— S. Maria Lidebatrici:. 1 69
the Roman Church may bo said to havo happoncd, that tho
blocks of granite in question are the same that S. Peter, for
the purpose of counteracting tiie power of tho devil, knelt upon
on that occasion — " In queste piotre peso le ginocchio S. Pietro,
quando i demonii port : Siraon Mago per aria." There appears,
raoreover, on the surface of eac^i block a considerable indention,
such as the knees of a person kneeling upon the block might
possibly have produced, had the substance been a soft one.
Upon the wall, on the right-hand side of the choir and high
altar, is a raagnificent monument of Gregory XL, constructed
at the expense of the senate and Roman people by the sculptor
Pietro Paolo OUvieri, for the purpose of commeraorating the
restoration of the papal see in Rome, after having been removed
for a period of seventy-two years to Avignon. The raonuraent
consists of a pediraent of white marble of extraordinary breadth,
supported by four colurans of giallo antico, which, in conse
quence of the singularly large blotches of white and others of a
reddish hue by which the surface is interspersed, raight alraost
be mistaken for Porta Santa. In the central space of the
colurans, which stand in a row against the wall, is a splendid
sarcophagus of Afiicano raarble, and above the sarcophagus is
a bass-relief on white raarble, representing the return to Rome
of Gregory XI. in the year 1377, at the head of a triumphal
procession. In each of the flanking spaces between the colurans
is a raarble statue of a feraale, one of which is probably in
tended for S. Caterina da Sienna, to whose energies and personal
intercession vrith the Pope at Avignon the event of the restora
tion of the see to Rome is partly to be attributed.
The high altar, elevated by three steps above the transept,
is contained within an absis flanked by a pair of marble statues
of angels bearing lights before the altar, of which statues the
surface is very highly polished in the usual style of Bernini.
The absis is altogether covered with fresco painting and mosaic,
the latter especially supposed to be executed in the course of
the restoration of the church effected by Leo IV. in the ninth
century. S. Maria Liberatrice.
The church of S. Maria Liberatrice is situated close to the
northern angle of the Palatine, opposite to the church of S.

170 A TOUR IN MODERN ROME. [Chap. X.
Lorenzo in Miranda, whither a paved road, constructed after
the manner of the ancient roads, though apparently it has not
been applied to any particular purpose for a long period, and
is imperfect in raany places, stretches straight across the Carapo
Vaccino, as has been stated in another place, from one church
to the other. Notwithstanding that the church of S. Maria
Liberatrice is much resorted to as a favourite church by the
Roraans, and contains a good deal of fine marble, I find no
account of its history ; and as regards its exterior it is remark
ably plain and unpretending.
The interior is constructed in the form of a single nave, with
a vaulted ceiling and arched spaces for windows along the
base ; and the cornice is converted into an open gallery by
raeans of an iron balustrade which surrounds all four sides of
the building.
On each side of the church are two lateral chapels, of which,
first as to those on the left-hand side, the First Chapel is
protected by a balustrade of breccia corallina, with cornice of
Carrara inlaid with verde antico. The Second Chapel is
protected by a balustrade of bigio. And as to those on the
right-hand side, the First and Second Chapels are similar
to the two preceding.
Beyond the nave is a transept, surmounted by a dome
and lantern cupola ; and an altar is contained within one
of the supporting arches at each extremity. The altar at the
left-hand extreraity is protected by a balustrade of cotaneUa,
vrith cornice of Carrara inlaid with verde antico, and surmounted
by iron rails ; and the pediment is supported on a pair of
colurans of breccia tracagnina. The altar on the right-hand
extreraity is protected by a balustrade sirailar to the other ;
and the pediment rests on a pair of colurans of breccia corallina.
Close to the altar is a door communicating with the sacristy,
whence egress is had to the enclosure bounded by the walls of
ancient buildings, and at present occupied as a garden, which
was referred to in the first section of this chapter.
The high altar, contained within one of the arches of the
dome, is protected by a balustrade of bigio, with cornice of
Carrara inlaid with other sorts of marble. The pediment is
supported on a pair of columns of bigio brecciato, of which the
blotches are reraarkably large, resembling breccia pavonazza.

Sect.II.] churches.— S. Teodoro. 171
A large figure of our Saviour on tho cross, prcsorxed in a
glass caso, is placed above the altai- instead of an altar picture.

S. Teodoro.
The church of S. Teodoro, as has boon already stated in the
first section of this chapter, is situated a little to the westward
of the northern angle of the Palatine, precisely on the spot
supposed to have been forraerly occupied by the principal
Teraple of Vesta, built by Nuraa Pompilius as a central esta
blishment over all the other teraples of Vesta in the various
curiae. There are no certain accounts of its history notwith
standing, farther than it was in existence under the narae of
S. Teodoro, as at present, in the year 744, at which period it
was repaired by Adrian I. ; and again, though nothing raore is
heard of it for seven centuries, that it was rebuilt by Nicholas
V. in 1450, and subsequently repaired by Cleraent XI. in 1700.
The church at present is in the possession of the confraternity
called " Fratelli di Saccone, hianci Scalci," whose costurae and
habits are nearly similar to those of the " Fratelli di Saccone
neri," attached to the oratory of the Via Crucis, and referred
to in the first section of this chapter. As the door is closed
almost continually, notwithstanding that it is generally supposed
to be open on Thursdays and Fridays from eleven till twelve
in the moming, and as it is not easy to find the abode of the
sacristan, adraittance is exceedingly precarious ; nor should I
perhaps ever have been gratified by a sight of the interior, were
it not owing to passing by one day by accident while the funeral
of one of the members of the confraternity was taking place
within the building.
The church of S. Teodoro is situated a little reraoved from
the thoroughfare, within a square enclosure upon a lower level,
to which there is a descent by a double branched flight of steps,
and underneath the steps is a covered passage or corridor, ex
tending to the angle and thence along the western side of the
enclosure to the church, through a side entrance. In the
middle of the enclosure is to be observed an ancient Pagan
altar, discovered no doubt soraewhere in the imraediate neigh
bourhood, though nothing is known of its history ; it consists
of a quadrangular pedestal or cippus of white raarble, about

1 72 A TOUR IN MODEEN EOME. [Chap. X.
four feet in height, terrainating at the top by an horizontal
plane, on which a hemispherical concave, used in ancient times
for burning incense, and sirailar in appearance to the basin of
a raodern baptismal font, is excavated. On the side towards
the entrance of the enclosure the following Latin inscription is
engraved — " In hoc marraore prophana* olira Gentilium furaa-
bant incensa." The form of the building, whether or not cor
roborative of the site of the Teraple of Vesta, said to have
stood formerly on the same spot, is circular, similar to the
Temple of Vesta already described, on the banks ofthe Tiber;
it is built entirely of brick, in a style of very inferior masonry,
covered by a plain circular roof of ordinary red tiles, and the
entrance is by a deep brick arch, which serving as a porch or
portico, is so rudely fashioned that it has altogether the appear
ance of an unfinished structure. On entering, the name of
Nicholas V. raay be observed upon the architrave.
The interior is constructed in the form of a Greek cross upon
a circular area, and the pavement is coraposed for the raost
part of the raonuraental tablets of deceased raembers of the
confraternity to whom the church belongs. There are two
lateral chapels, of which the decorations are of an ordinary
character, containing, however, one an altar picture by Baciccio,
and the other an altar picture by Ghezzi.
The high altar is contained within an absis lined with mosaic,
supposed to have been executed when the church was repaired
by Adrian I. in the eighth century, and the altar picture, pre
served in a glass frame and representing the patron saint of the
church, S. Teodoro, is by Zuccari. Upon the altar table is placed
a ciborium in the sarae circular forra as the Temple of Vesta,
with a peristyle supported by miniature colurans of alabaster.
Upon the western part of the circuraference, near the raain
entrance, is a side door leading to the passage above referred
to, through an intermediate charaber appropriated to the pur
pose of an oratory. This oratory is a sraall oblong apartment
containing at one extremity a plain altar, and at the other
extremity a wooden chair ornamented with carving, the seat of
the prior of the confraternity on solemn occasions ; and upon a
marble tablet of the pavement in front of the chair, are depo
sited a human skull and thigh bones, placed across in the form
* Prophana — sic in orig.

Sect. II.] CHURCHES.— S. Anastasia. 173
of a memento mori, with the words " Umbra I Lumen I" en
graved underneath upon the raarble. Frora the oratory tho
passage, extending, as before stated, along the western side
and part of the northern side of the enclosure, is lighted on the
right hand of the spectator, advancing from the church, by a
row of sniall apertures pierced in the wall towards the quad
rangular enclosure ; and on the left hand it coraraunicates by
open portals with three or four sraall charabers, of one of which,
somewhat larger than the rest, the portal is protected by a
latticed grating. The ceiUng is vaulted, and the pavement
composed of monumental tablets. Upon a double row of shelves
along each side of the latter charaber, are placed the skulls and
thigh bones of deceased raembers of the confraternity, arranged
in sets, with the bones laid across like those at the foot of the
prior's chair in the oratory, and affixed to each set is a ticket
or label with the narae of the proprietor raarked in ink upon it.
Moreover in the middle of the chamber there were placed upon
the paveraent two wooden tubs or buckets, each containing the
bones apparently of a single skeleton, with the skull at the top
of all, occupying as it were the post of honour at the apex.
At the extreraity of the passage the space underneath the
double branched staircase that forms the entrance of the
quadrangle is appropriated to the purpose of a charnel-house,
and, as raay be seen through a sraall wire grating, a consider
able collection of human bones Ue heaped upon the pavement.
The following epigraph in Latin is inscribed above the grating
— " Ossa arida, audite verbum Domini."
S. Anastasia.
The church of S. Anastasia is situated at the foot of the Pala
tine, upon its western angle, and at the northern extremity of
the ancient Circus Maxiraus. Although tbere are no certain
accounts of its early history, as is frequently the case in Rorae
with regard to churches of undoubted antiquity, it is generally
supposed to be one ofthe raost ancient of any ; it is dedicated to S.
Anastasia, a female raartyr, who was burnt alive in the year 304,
by order of the prefect of Illyria, and her ashes were afterwards
brought to Rome and deposited in the building, where her festival
is celebrated up to the present day on the 25th of December.

174 A TOUE IN MODEEN ROME. [Chap. X.
The first of the various restorations by different pontiffs
which is recorded, was effected by Urban VIIL, who, about
the year 1630, eraployed the architect Luigi Arrigucci to
repair the interior and construct an entirely new faqade ; and
subsequently, in the year 1825, Pius VII. made sundry altera
tions and erabellishraents in the interior. As the church,. not
vrithstanding its spacious diraensions and fine ornaments, is
rarely resorted to, and closed almost continually, application
for admittance must be made to the sacristan of the church of
S. Maria della Consolazione, who has the charge of both
churches. With regard to the exterior, the faqade is almost a singular
instance of the faqade of a Roman church being coraposed of
yellow brick ; it is raoreover an elegant elevation, though a
pair of bell turrets by which it is flanked at the angles, like
the bell turrets over the portico of the Pantheon, serve to raark
the peculiar fancy of Barberini, as do also three large bees,
erablematic of his armorial bearings, which are to be observed,
sculptured in travertino, upon the architrave.
Iraraediately within the entrance is a narthex or portico, that
partly serves to confirra the antiquity of the church's origin ;
the ceiling is a groined vault, and the portico is divided
from the three naves by a broad arch, corresponding vrith
the raiddle nave, and by a pair of rectangular portals cor
responding with the side naves. The arch springs frora a pair
of piers of travertino, and vrithin the piers are a pair of colurans,
one of bigio and the other of Africano. The church beyond
the narthex is constructed in the forra of a triple nave dirided
by alternate pairs of piers and of Roraan Ionic ancient columns,
a disposition that has been had recourse to apparently for the
purpose of strengthening the building. The piers are sur
mounted by an architrave, and the columns by arches.
The colurans, some plain and others fluted, are of different
raaterial, fourteen in number altogether, and were found in
different places in the ricinity. Four plain columns for instance
are of granite of the island of GigUo ; one fluted, of Hymettian
or Greek raarble; two plain, of bigio; and seven fluted of
pavonazzetto, the latter supposed to have belonged to an ancient
teraple of Neptune, were found close to the spot. The ceUing
is flat and coffered with very plain coffers, and in the middle is a

Sect. IL] CHURCHES.— S. Anastasi.i. 175
fresco painting ropresonting the martyrdom of S. Anastasia,
around which several cardinals' luits, belonging to deceased
cai-dinals who lie buried bolow, hang suspended. The pave
ment is composed of red tilos. Upon the gable wall of the
church, above tiio ontrauco, tboro is to be observed, in addition
to the narthex, another distinguishing feature of an early
Christian church, a portico or covered gallery, such as used to
be appropriated to the femalo part of the congregation. On
the sides above the piers and arches is an attic, containing an
alternate row of pictures and windows, and the intermediate
surface is painted in a colom- unusual in a Roman church, pea-
green. The side naves, constructed probably during forraer restora
tions, in the course of which the reraains of a forraer building
were blended vrith the new edifice, are of very unequal breadth,
the left-hand nave being considerably broader than the right-
hand nave. The ceihngs of both, however, are sirailar — vaulted
vrith groins ; and in each are contained one lateral chapel, and
one chapel at the extremity. In the first place, with regard to
the lateral chapel in the left-hand nave, which is enclosed with
in an arched recess, whose soffit is painted by Michel Angelo
Cerrutti, the pediment of the altar rests upon a pair of ancient
spiraUy fluted columns of pavonazzetto ; and the altar picture,
representing the military raartyr, S. George, killing the dragon,
is by a Genoese artist, Dorainico Ponti. The chapel at the
extremity of the nave, of which I have not preserved particulars,
is said to have been resorted to by S. Jerome during his life
time, and to contain the remains of the saint in a sarcophagus
placed underneath the altar, which altar, where S. Jerome
officiated, is surraounted by a sort of canopy, and furnished vrith
an altar-picture by Lazzaro Baldi.
In the right-hand side nave the lateral chapel is enclosed
vrithin an arched recess, similar to the one opposite. The face
of the altar is sheathed vrith inlaid marble ; the pediraent rests
on a pair of columns of Porta Santa ; and the altar picture,
representing S. John the Baptist, is by Mola. The chapel at
the extremity — ofwhich, as in the instance ofthe corresponding
chapel on the other side, I have not preserved particulars,
othervrise than that the side walls are painted by Lazzaro Baldi—
rather reserables in its form a small plain chamber than an

176 A TOUE IN MODEEN EOME. [Chap. X.
ordinary chapel ; it is chiefly appropriated to the purpose of a
receptacle of reliques, and contains a collection belonging to
various martyrs. These for the most part are preserved m a
glass case like a comraon cupboard above the altar, including,
araong the rest, some bones of S. Successus, and a fragment of
a sepulchral tablet, bearing the narae of the saint marked in
characters inartistic and rude, but sufficiently legible. Here
also is to be seen a curious ancient chalice said to have belonged
to S. Jerorae.
The transept, divided frora the nave by a broad spacious
arch, flanked by a pafr of colurans of bigio of corresponding
dimensions, is elevated by three steps above the lower level.
The ceiling is an elliptical vault of considerable flatness sup
ported on arches richly wrought vrith carving, and in the centre
is a flat space intended for a picture. At each extreraity is a
chapel, of which the pediment of the one on the right hand
rests on a pair of very highly polished columns of breccia rossa,
and the pediraent of the other rests on a pair of colurans of
alabaster of an unusual description, streaked with yellow,
which in fact appears to be the prevailing colour. The faces
of both the altars are sheathed with marble, and the altar
picture of one or the other, I know not which, is by Trevisani.
The choir, at the extreraity of which the high altar is contained
within an absis, is elevated by three steps above the transept ;
the walls are faced with fluted pilasters, and on each side is a
handsorae raonument ; and the intermediate spaces are orna
mented with fresco painting and mosaic.
The high altar is protected by iron rails, and the pediment
is supported by a pair of columns of Porta Santa, and a
pair of bigio. Underneath is a very beautiful raarble statue,
by Ercole Ferrata, of the patron saint of the church, S. Anas
tasia, represented as a young and beautiful female lying ex
tended on a heap of billets of wood, at the precise raoraent of
her martyrdom when the flames are first coming in contact
with the body. The figure, from the extraordinarily high polish
of the surface, and the style of the sculpture altogether, might
be taken for the work of Bernini ; and at all events the effects
of mortal agony are very powerfully idealized, and the con
tortions of the attitude precisely such as uncontrollable
agony would produce : the head, for instance, is forced back

Sect. IL] CHURCHES.— S. GioRoio in ^'ELAnno. 177
over the shoulders as it were in a paroxysm, tho chin protrudes
towards the spectator, the left log is contracted violently towards
the body, the fingers of the right hand, as if from the scorching
of the sinews, are distorted, and the left arm, drawn across
the chest by an action expressive of unspeakable torment,
makes a deep indenture on the bosom.
S. Giorgio in Velabro.
The church of S. Giorgio in Velabro is on the northern side
of the Forum Boarium, which was described in the first section
of this chapter ; and the short street or way that connects the
Forum Boarium with the Via di S. Teodoro, that is, the
thoroughfare in which the church of S. Anastasia last described
is situated, is a little to the northward of that church. The
church of S. Giorgio in Velabro is supposed to have been built
in the sixth century, and there are certain accounts of its
restoration and dedication in the seventh century, in the year
684, by Leo IL, to the two military martyrs S. George and
S. Sebastian. Again it was repaired by Pope Zacbarias in the
year 750, after which there appears to be no further record till
it was again restored in the twelfth century by Stefano ex
Stella, a prior of the church in question. Upon the walls of
this church was affixed the celebrated placard addressed to the
Roraans by the Tribune Rienzi, " In breve terapo li Roraani
tomeranno al loro antico buono stato."
With regard to the exterior, a square brick tower of the
middle ages is annexed to the building, and the entrance is
through a portico, upon the attic of which raay be observed,
engraved in capital letters extended continuously, with a full
stop after every word, the following inscription in monkish Latin
hexameters, in which the prior Stefano, above-mentioned, takes
credit to himself for the rebuilding of the portico : —
" Stephanus ex Stella cupiens captare supema,
Eloquio rarus, virtutum lumine clarus,
Expendens aurum studuit renovare proaulum,
Clericus hie cujus Prior ecclesiae fuit hujus."
Besides the ahove inscription there is another on the architrave,
of which I cannot state the particulars, and also a third inscrip
tion on the wall adjoining, the latter a very long one, relating
VOL. II. N

178 A TOUR IN MODEEN EOME. [Chap. X.
to the deposit of the head of S. George the Martyr within the
church by Pope Zacbarias. The portico is supported on four
Grecian Ionic columns, of which one is cipollino, one grey
granite, and two Parian marble, and the apertures between the
columns are protected by iron rails. Within, it has the appear
ance of never having been corapleted, nor is there any other
ceiling than the naked bearas and rafters of the roof. Hence
also the entrance to the church is by a portal, of which the
jarabs and lintel are formed of fragments of an ancient comice,
of which the raouldings are over-wrought and of inferior sculp
ture — a specimen such as many others that are to be met with
engrafted in the walls of the houses of this part of Rorae.
The interior is constructed in the form of a triple nave
divided by ancient columns, eight on each side, though the first
column on the left-hand side, being erabedded in the wall, is
half concealed. Of these colurans, which rest upon the pave
raent without any sort of moulding, the capitals are various,
and the shafts, some plain, some fluted, aU apparently ancient,
are as follows : — two fluted, of Tyrian marble ; two fluted, of
pavonazzetto ; and twelve plain, of grey granite. The ceihng
of the middle nave is flat, and covered with loose unpainted
boards, in a manner as if intended as a teraporary expedient.
Upon the gable wall on the left-hand side of the entrance there
may be observed engrafted a considerable collection of frag
ments of monuraental tablets of the early Christians, as well as
of columns and of cornices, and pieces of granite and porphyry,
to which latter probably some particular reminiscence may be
attached, though not specifled. There are also preserved in
this church as reliques, relative to which there is no account or
inscription, two sraall colurans of white raarble, planted upon
the pavement at the extremity of the middle nave.
The ceiling of the side naves is even in a more unflnished
state than of the middle nave, for a portion is flat, and covered
with loose unpainted boards like the other, and the remainder,
without any boards at all, is coraposed of the naked bearas and
rafters. In each side nave is one lateral chapel of the most
ordinary description, consisting merely of an altar table ap
pended to the wall without any decoration.
The choir is elevated by five steps above the middle nave,
and at the extreraity is an absis painted in fresco, as it is said

Sect. IL] CHURCHES.— S. Giovanni Decollato. 179
by Giotto, though the colours aro faded to such a degree that
the subject is not distinguishable.
• The high altar is isolated, and situated at tho entrance of
the choir under a canopy supported by four columns of white
Carrara marble ; and underneath it is a small marble statue of
S. Sebastian.
As the church is generally closed, it is difficult to obtain
admittance ; nor is it easy, though it is said to be under the
charge of the friars of the convent attached to the church of
S. Maria in Cosmedin, to find out to whom it belongs. It is
little resorted to under ordinary circumstances ; and one day,
as I passed by, when the door was open by a rare chance, and I
entered, the priest was celebrating raass vrithin, literally vrith no
other jierson in the church than a Uttle boy his assistant ; but the
genuflexions were made notvrithstanding, and the tinkling bell
announced the elevation of the Host, with the sarae solemnity
as if the Pope and all his cardinals had been present.
S. Giovanni Decollato.
From the north-west angle of the Forum Boariura, the Via
di S. Giovanni DecoUato diverges to the northward, and the
church of S. Giovanni Decollato is on the right-hand or western
side of the street, a few paces from the entrance. It was built
about the year 1495, in the reign of Alexander VL, at the
expense of the Florentine inhabitants of the city; and at
present belongs to the confratemity distinguished by the title
" Misericordia," whose particular duty is to preside over the
last moments of criminals executed by the guillotine, at the
spot selected by the govemraent for the purpose, within the
distance of a himdred yards or thereabouts ; of which proceed
ings an account was given in the first section of this chapter.
The exterior of the buUding, which is very small and flush
with the plane of the houses in the street, is altogether of little
pretension ; it is, however, distinguishable by a bass-relief above
the portal, though very ordinarily executed, representing the
head of S. John the Baptist lying on a censer.
The interior is constructed in the forra of a single nave, with
a flat coffered ceiling, and the pavement is composed of marble
inlaid in rhomboidal pieces of blue and white.
n2

180 A TOUR IN MODERN ROME. [Chap. X.
On each side there are three lateral chapels, aU contained
within very shallow arched recesses ; and in the intermediate
spaces the pilasters which support the main comice are orna
mented with designs curiously wrought in bass-relief on stucco.
There are neither columns nor pediraents belonging to the
altars, but the face of every altar is sheathed with very highly
poUshed Sicilian jasper, and all are provided vrith altar pictures
attributed to the foUovring artists, Giacomo Zucca, Roncalli,
Giovanni Cosci, and Giovanni Battista Naldini.
The choir is elevated by two white raarble steps above the
middle nave ; and its ceiling and pavement are similar to those
of the latter. Upon the walls on the right and on the left is a
picture representing the beheading of S. John the Baptist, and
the remainder of the surface, with the exception of two small
portals, is sheathed with very highly polished Sicilian jasper.
One of the portals, whose jambs and lintels are of pavonazzetto,
communicates with the sacristy, and the other vrith the oratory
of the confratemity to whora the church belongs.
The high altar is contained vrithin an absis at the extreraity
of the choir ; the pediraent rests on a pair of colurans of verde
antico, and the altar picture, said to be a fine painting of
Giorgio Vasari, represents the beheading of S. John the Baptist.
There are also sorae pictures, painted by Giacopino del Conte
and Francesco Salviati, to be seen in the oratory.
S. Eligio.
The church of S. Eligio is situated in the same street, a little
higher up, and on the side opposite the church of S. Giovanni
Decollato. It was originally built in the year 1507 by the
celebrated architect Bramante, at the expense of the confra
temity of goldsraiths, and was afterwards rebuilt in the year
1601, in the reign of Clement VIIL, after the original plan.
The interior is constructed in the form of a single nave,
which, though of small diraensions, is very highly decorated ;
the ceiling is flat and lined vrith gilded coffers, and the pave
raent inlaid with squares of blue and of white marble. Upon the
gable wall above the entrance is an organ gallery, whose balus
trade is supported on pilasters that decrease in breadth
upwards above the usual proportions ; their capitals are irre-

Sect. IL] CHURCHES.— S. Eligio. 181
gularly formed, and the volutes, instead of displayuig tlio easy
folds of tiie acanthus-leaf or palm, are represented by cherubim
twisted into all raanner of postures.
On each side of the chm-ch ai-e three arched recesses, con
taining lateral chapels ; and in the intermediate spaces the
surface of the wall, vrith the exception of pilasters of very
highly polished Sicilian jasper which support the main comice,
is sheathed with yellow Sienna raarble. With regard to the
lateral chapels, it raay be observed generally that all the colurans
of the altars are elevated on lofty pedestals composed of the finer
sorts of marble, and that the capitals, torus, and plinth are of white
raarble invariably. Particularly as to the chapels on the left-hand
side, in the First Chapel, the pediment of the altar, which is
of the broken form, is of pavonazzetto, and rests on a pair of
composite colurans of Sicilian jasper. The face of the altar is
sheathed vrith alabaster, flanked by foliage in bass-rehef wrought
on tablets of yeUow Sienna marble. The side walls are
sheathed vrith verde antico, Africano, and alabaster. In the
Second Chapel the pediment, similar in forra to the last, is
of yeUow Sienna marble, and rests on a fine pair of Corinthian
columns of verde antico. The altar is faced with alabaster,
and the whole surface of the wall in the rear sheathed with
verde antico and fior di Persico. In the Third Chapel the
pediment in the triangular form is of breccia corallina, and
rests on a pair of Roraan Ionic colurans of Sicilian jasper. The
side walls are sheathed with fine raarble.
On the right-hand side, in the First Chapel the pediment,
the columns, and the sheathing of the walls are in every respect
similar to those of the first chapel opposite. A large wooden
figure of S. Eligio painted in natural colours is placed instead
of an altar picture above the altar. In the Second Chapel
the pediment, of an irregular form, rests on a pair of columns of
Sicilian jasper, and the walls are sheathed with fine marble.
In the Third Chapel the pediment of the altar, in the broken
forra, is of pavonazzetto, and rests on a pair of composite
columns of SiciUan jasper. There is to be observed in one
or other of the chapels on this side of the church an altar-
picture by Romanelli, representing the adoration of the wise
men of the East, also two figures painted within the entrance
arch by the same artist, and some fresco paintings on the walls

182 A TOUR in MODERN ROME. [Chap.X.
by Taddeo Zucchari. Moreover, in one of the chapels on the
left-hand side there is an altar picture by Giovanni de Vecchis,
representing the Nativity of our Saviour ; and in another chapel
on the left-hand side an altar picture by Filippo Zucchetti,
representing S. Andronico and S. Anastasia.
The choir is elevated by two steps above the nave, and pro
tected by a balustrade of yellow Sienna marble with comice of
Carrara. The soffit of the broad and spacious arch that forms
the entrance is ornamented with fine gilded carving. The high
altar is situated at the extreraity within an absis, and its pedi
ment rests on a pair of Corinthian columns of alabaster. The
altar picture is by Matteo di Leccio.
S. Maria della Consolazione.
Proceeding northward to the extremity of the Via di S.
Giovanni DecoUato, the thoroughfare inclines eastward and
emerges in the Piazza della Consolazione, an oblong open space,
at the upper extremity of which the church of S. Maria deUa
Consolazione is situated. The gable, which contains the prin
cipal entrance, faces the Piazza ; and in the rear, annexed to the
building in a line between the church and the Arch of Septimius
Severus, is an hospital said to have been built very nearly on
the site of the ancient triuraphal arch of Tiberius, referred to
page 43. I find no further account of this church than that it
was built by the architect Martino Lunghi the elder, which
refers its date to about the end of the sixteenth century ; and
that the present faqade was constructed under the auspices of
Leo XII. in the year 1825 by the architect Pasquale BelU.
With regard to the exterior, the elevation of the faqade is of
considerable pretension, comprising the composite above the
Corinthian order, with three entrance doors, and lateral vrings
extending to the height of the lower order, and surmounted
each wing by a pair of travertino statues of saints or prophets.
The interior is constructed in the forra of a triple nave,
dirided by compound piers faced with Corinthian pilasters,
which, as well as the whole interior of the church, are plain and
whitewashed. The ceiling of the raiddle nave is vaulted, with
arched spaces for windows along the base, and the paveraent
is composed of red tiles.

Sect.II.] CHURCHES.— S. Maria dell.v Con.solaziune. 183
The ceilings of the side naves aro vaulted, ;md in each side
nave are foiu- ai-ched reoossos, three of which in the right-hand
nave contain lateral chapels, and tho fourth tho door of the
sacristy. In the left-hand nave tiioro aro lateral chapels in all
the arched recesses, and also a fifth chapol at tlio extreraity.
To begin vrith the lateral chapels of the right-hand navo, the
First Chapel is protected by iron rails, and the vaulted
ceiUng and the side walls are painted in fresco, as it is said,
by Taddeo Zucchari at the age of twenty-six, which circura
stance, as the artist was bom in the year 1529, establishes the
date at 1555 precisely. In this chapel, vrith the exception of
the sheathing of the altar, there are no marble decorations.
The Second Chapel is protected by iron rails, and upon each
of the side walls is a monument, the one sirailar to the other,
of which the principal object is a marble bust contained within
a circular niche. The Third Chapel is protected by a
marble balustrade surmounted by iron rails, and the pediraent
of the altar rests on a pair of columns of bianco e nero
marble. In the left-hand side nave the First Chapel is protected by
iron rails, and contains, instead of an altar picture, a large
marble bass-reUef enclosed in a fixture frame of bigio. Other
vrise the interior is altogether in an unfinished condition. The
Second Chapel is protected by iron rails, and the white
raarble pediment of the altar, which is of exceedingly elegant
form, rests on a pair of Roman Ionic colurans of bigio, vrith
capitals, torus, and phnth of white raarble. The interior, like
the preceding chapel, is in an unfinished condition. The
Third Chapel is protected by a balustrade of Carrara, sur
raounted by iron rails, and the pediment of the altar rests on
a pair of columns painted in iraitation of giallo antico. The
Fourth Chapel is protected by iron rails, and the pediment
of the altar rests on a pair of columns painted in stripes of
yellow and gold to imitate fluting. The face of the altar is
sheathed with very highly polished Sicilian jasper, vrith a cir
cular derice in the middle wrought in inlaid marble. In the
Chapel at the extremity of the Nave the colurans of the
pediraent are painted in imitation of marble, and the face of the
altar is sheathed with breccia di Francia and giallo di Sienna.
The high altar is contained within an absis elevated above

184 A TOUE IN MODEEN EOME. [Chap. X.
the middle nave by two steps, on the suramit of which is planted
a balusti-ade of pavonazzetto inlaid with Africano. The semi-
dome of the absis is Uned with smaU gilded coffers, and the
pediment of the altar, which is triangular in forra, vrith the
exception of the frieze of verde antico, is of white raarble
with gilded raouldings. It is surraounted by a pair of large
gilded and highly bumished statues of angels placed in a re
clining posture upon its outer angles ; and it rests upon a pair
of Corinthian columns of Porta Santa, with gilded capitals,
torus, and plinth. A door upon the gable on the right-hand
side of the high altar emerges in the street leading towards the
Roraan Forura, at a spot where the angle is formed on one side
by the gable of the church and the other side of the hospital.
S. Maria Egiziaca.
Frora the Via di S. Giovanni Decollato, a few paces above the
church of S. Giovanni, a street diverges westward towards the
Tiber, which crosses the Via della Bocca deUa Verita, whence
the thoroughfare is continued in the same direction to the Ponte
Rotto by the Via della Fontanella. The latter street skirts the
northem gable of the church in question, which is situated a
few paces only frora the river. The church of S. Maria Egiziaca
is identical with the Teraple of Fortuna Virilis described in the
first section of this chapter, inasmuch as the original ancient
walls of the latter building have been actually appropriated to
the modem one ; which, being thus constructed, was estabhshed
as a place of Christian worship about the year 872 by Pope
John VIIL, after which period there are no further accounts
of it until it was conceded by Pius V., about the year
1570, to the Arraenian inhabitants of Rorae, under the title
above cited. Finally it was restored and put in the con
dition it is in at present by Pius VIII. in 1830. It is difficult
to obtain adraittance to the church on week days, nor could I
ever find the abode of the person in charge, or sacristan, who,
it is said, resides at a distance, and leaves the keys with the
friars of the convent of S. Maria in Cosraedin. Neither is
the principal door upon the northem gable open even on
Sundays; when, however, entrance raay be had between the
hours of eleven and twelve by a portal on the eastern flank,

Sect.II.] CHURCHES.-S. Nicolao in Cakckbe. 185
whitiier there is a communication thi-ougb a sniall dwelling-
house in the Via della Bocca deUa ^'orita, belonging to the
Armenian congregation.
The interior is constructed in the form of a single navo, in a
style extreraely simple, apparently with a rigid attention to
economy, after the precise fsishion of the raost ordinary of the
Roman churches, with a sufficient coating, however, of stucco
upon the walls to cover for the raost part all visible vestiges
of theil- ancient character. Here and there, a sraall portion
of the bare original wall of the Pagan temple makes its ap
pearance. There is, in fact, very little to be seen as regards
the decoration of the church worthy of observation, notwith
standing that it possesses one appendage of considerable interest,
a model of the Holy Sepulchre constructed on the left-hand
side of the nave, and said to be of the sarae form and dimensions
as the original at Jerusalem. It is a rectangular structure
whose area is a square of about eight feet, and the walls about
ten feet in height, surmounted by a flattened dome resting on
an entablature supported by four Roman Ionic colurans planted
at the angles. A sraall grated door on the westem side serves
for the entrance, and on the north and south sides there are
smaU grated apertures for vrindows. Within, the whole interior
is exceedingly plain ; and on the south side is an altar, and
underneath the altar, within a rectangular niche, a large figure
painted in natural colours representing the dead body of our
Sariour. The choir is elevated by two steps above the nave, and the
side waUs are painted in fresco. The high altar, vrith an altar
picture representing the Holy Virgin in the character of S.
Maria Egiziaca, supposed to be one of the best paintings of
Federico Zuccari, is situated at the extremity.
S. Nicolao in Carcere.
Retuming by the Via della Fontanella into the Via della Bocca
della Verita, and thence proceeding northward a httle distance as
far as the Piazza di S. Nicolao in Carcere, ofwhich the locality,
supposed to be identical with the ancient Forum Olitorium, was
referred to in the first section of this chapter, the church of
S. Nicolao in Carcere is situated on the western side of the.

186 a TOUR in MODEEN EOME. [Chap. X.
Piazza, or the side next the Tiber. The church, which is sup
posed to stand iraraediately outside one of the ancient gates of
Rome, belonging to Servius TuUius's enclosure, the Porta
Carmentalis, so called in honour of Carmenta, the raother of
Evander, although connected with sorae interesting ruins that
are built up vrithin its waUs, does not appear to be of ancient
origin ; I find, at aU events, no account of its history previous
to the year 1599, when, being in a dilapidated state, it was
restored by the architect Giacorao deUa Porta, under the
auspices of Cleraent VIII. Subsequently, in the year 1808,
Pius VIII. caused it to be put in the condition it is in at pre
sent. The title " in Carcere " has been apphed to it with re
ference to the Temple of Piety, one of the above-named ruins,
referred to page 152, which is supposed to have been built upon
the site of the ancient prison of the Decemvirs.
With regard to the exterior of the building, the faqade, cor
responding with the houses in the street, which are generally
of an inferior description, is not only low and of narrow frontage,
but is othervrise exceedingly plain. The principal entablature,
however, is supported in part by a pair of ancient fluted columns
of one of the ruins in question, of which the material, as the
shafts are whitewashed, or rather are encased in a coating of
stucco, is not distinguishable. The capitals, which are probably
modem, are Roman Ionic. Besides these columns there are to be
observed, built up in the masonry of the adjoining houses, raore
fragraents of colurans belonging to one or other of the ancient
teraples referred to in the passage above cited, whether of Hope,
of Juno Matuta, or of Piety : for instance, in the wall of the very
next house, on the south side, a broken fluted shaft of travertino,
as well as some pieces of the same, are used as building material ;
and a little farther south, beyond the latter, there may be seen
erabedded in the wall, and standing in its original position, a
larger portion of another travertino shaft with its Doric capital.
The interior is constructed in the forra of a triple nave
divided by colurans evidently forraerly belonging to various
ancient buUdings, so different in fact in diraensions, and with
regard to thefr capitals and lower mouldings, that it is hardly
possible to conceive a collection raore incongruous. There are
seven on each side, fourteen in nuraber altogether, of which
nine are of cipoUino, one fluted and of extremely light coloured

Sect.II.] CHUECHES.— S. Nicoi.ao in Carckhe. 187
Porta Santa, and four of grey graiiito. The first column on
the right-hand side, whether on aooount of boiiin fraotiirod or
being perhaps of too slight calibre for the support of the
building, is encased by a pier ; and upon tho shaft of tiie
second column, on the same side, which latter is of cipollino,
a long inscription in old letter, of which I am not able
to state the pm-port, is engraved. Upon the gable wall,
close to the enti-ance on the left-hand side, an excavation has
been raade to a considerable depth for the purpose of laying
bai-e a portion of an ancient wall and the fragraent of an arch,
and also one or two broken shafts of colurans belonging to the
ancient ruins above referred to, which objects are thus exposed
to view, and may be examined conveniently. There are also
to be observed upon the gable wall, iraraediately above the
basins of holy water, two raartyr's weights, sirailar to those in
the church of S.S. Cosmo e Damiano before referred to. The
ceUing of the middle nave is flat, and painted in a remarkably
ordinary style ; the pavement is composed of red tiles.
The side naves are of unusual breadth, and the ceiling is
vaulted, vrith groins ; two lateral chapels are contained in each,
and in addition one other chapel at the extreraity. There are,
however, no marble columns in either of the lateral chapels,
nor in fact, as regards those of the right-hand nave, any other
decorations than the sheathings of the altars, which are of
raarble inlaid in arabesque ; and in the Second Chapel a
raonuraent, of which the principal object is a half-length
marble statue of a priest represented addressing a congregation
frora a pulpit. The chapel at the extreraity of the right-hand
nave is protected by a wooden balustrade ; the altar is faced
vrith marble sheathing, and a ciborium is placed upon the altar
table. In the left-hand nave the facings of the altars are painted in
iraitation of the marble facings of those opposite. The chapel
at the extremity is protected by iron rails flanked by a pair of
pedestals of Carrara raarble. Above the altar, instead of an
altar picture a statue the size of life of S. Nicholas, painted in
natural colours, and dressed in real sacerdotal vestraents, is
placed standing in a niche.
The choir is elevated by a double branched flight of eight
or ten steps above the middle nave, and the interraediate space

188 A TOUR IN MODEEN ROME. t^'^* ^•
between the steps is occupied by a structure of marble that
serves as an entrance to a vault or crypt below, which, however,
as far as I was given to understand, contains nothing remark
able. The ceiling is fl.at, and painted like the ceiling of the
middle nave. The high altar stands isolated at the entrance,
surmounted by a wooden canopy of very ordinary construc
tion, in the form of a flattened dome, supported on four
composite columns of Porta Santa, with gilded capitals, torus
and plinth. The colurans are elevated on pedestals of Car
rara, and under the dome is a splendid ancient sarcophaps
of green porphyry, on the side of which is wrought in hass-
reUef a head of Medusa, so flattened and wom, however, as to
be scarcely discernible.

Chap. XL] ( 189 )

CHAPTER XI.

The Ccelian.
On advancing from the Campo Vaccino towards the CoeUan
hill, along the ti-act of ground described in the last chapter,
that is to say, skirting the eastem flank of the church of S.
Francesca Romana, built on the site of the ancient Temple of
Venus and Rorae, untU arriving at the verge of the elevated
bank in front of the Colosseura — the broad intervening way
below, under the feet of the spectator, being the line I have
assumed as a boundary between the Coelian and the dirisions
of the Forums and of the Palatine — the first objects to be
observed in the foreground upon the lower level are the re
mains of the substructure of the colossal statue of Nero, and
the Meta Sudans ; both which objects, the first on the left
hand, and the other on the right hand, though neither are at
present particularly striking in magnitude or general appear
ance, and though the Meta Sudans especially is known to have
existed there prerious to the Colosseum, may be very well
imaged, from their respective position before the building, to
have formed in ancient times two corresponding ornaraental
appendages to that mighty edifice.
The Meta Sudans was a magnificent fountain and reservoir,
of which the term " Meta " is to be attributed to the re
semblance of the conical form of the structure to the meta or
goal of an ancient circus, or, as is suggested by Nibby, in
consequence of the site being the point of convergence of no
less than four of the ancient regiones — the second or " Coili-
montana," the third or " Isis and Serapis," the sixth or
" Alta Semita," and the tenth or " Palatium." And as re
gards the epithet " Sudans," the word may be imagined to
have represented not inappositely the vaporous exhalations
that continually emanated from the powerful jet of water. It
is supposed to have been originally constructed by Nero for
the supply of a magnificent receptacle of water or artificial

190 A TOUE IN MODEEN EOME. [Chap. XI.
lake attached to the Golden House, whose limits, vrith its en
closures, extended over the whole of the ground in question,
including the area of the Colosseura ; and after the building of
the Colosseura by Vespasian, it furnished, no doubt, a part of
the vast supply of water appropriated to the frequent aquatic
representations that took place on its arena.
The Meta Sudans was afterwards reconstructed and en
larged by Doraitian, and the ruin, as it appears at present, is
a conical raass about 80 feet in cfrcumference at the base, not
a little resembUng in its exterior a small lime-kiln, which was
forraerly surrounded by a basin 80 Roraan feet in diaraetet,
of which there are now no vestiges reraaining, otherwise than a
low brick wall that encorapasses the structure, and serves as a
fence around it. As about half of the conical mass in question
has disappeared entirely, and the half that remains is a perfect
perpendicular section that affords an araply sufficient specimen
of the object in its exterior and interior, an excellent oppor
tunity is afforded of observing its extraordinarily solid construc
tion, comprising a perpendicular channel for the jet of water
in the raiddle, 2 feet 8 inches in diaraeter, lined for the raost
part with its original coating of ancient cement that still ad
heres to the surface. The structure, vrith the exception of
this water conduit, is altogether sohd, calculated to sustain an
enormous araount of lateral pressure, and coraposed of rubble
of brick and stone mixed together, vrith a facing of brick.
The colossal statue of Nero, 120 ancient Roman feet in
height, is recorded by the ancient writers to have been con
structed for Nero during his lifetirae, by the celebrated sculptor
Zenodorus. It was cast in bronze, and originally placed in
the vestibule of the Golden House, which is supposed to have
been not far frora the object in question, though the precise
position has never been satisfactorily determined. After the
death of Nero and his immediate successors, it is said to have
been reraoved by Vespasian, who substituted for the head of
Nero on its shoulders the disc of the sun, and erected it in
front of the Teraple of Peace, which he had just then com
pleted, on a site which, though somewhere adjoining the Roman
Fomra,* is still a raatter of speculation araong the antiquaries.
Finally, it was transported by Adrian to the position in ques-
* Suetonius in Vespasianum, cap. 9.

Chap. XL] THE COLOSSEUM. 191
tion, where it stood in front of the southern i'aqade of the
Temple of Venus and Rome, built b) the same omperor ; but
it may, nevertheless, be concluded to have boon intended rather
as an ornamental appendage, as above stated, in conjunction
with the Meta Sudans, to the Colosseura, inasrauch as by
coraparing the position of the substructure of the statue with
the central absis of the teraple still in existence, the forraer,
instead of occupjing a place precisely in the centre of the
latter, is, on the contrary, several paces to the eastward. On
the occasion of tbe last reraoval by Adrian, no less than
twenty-four elephants are said to have been eraployed to
convey the colossal iraage to tiie spot and raise it on its
pedestal, where it reraained until — the disc of the sun haring
been removed by Commodus, and replaced by his own like
ness, which, after the death of Coraraodus, was removed
and the disc of the sun restored — ^it disappeared for ever
about the beginning of the fifth century, under circumstances
not precisely recorded. And all that remains to be seen
at present of the substructure above referred to, is a rect
angular mound about 56 by 47 feet in area, and varying in
height from 4 to 6 feet, whose sides are broken and irregular
masses of brick, from which the facing, probably of marble,
appears to have been removed by riolence, and whose nearly
horizontal summit is overlaid for the most part with earth and
verdure. Previous to giving a description of the present appearance of
the Colosseum, of which it were altogether useless to endea
vour to create in the mind of the reader an adequate irapression,
it wUl be indispensable to raake a brief suraraary of a few of the
principal historical cfrcumstances relating to the building. The
Colosseum was coramenced to be built by Vespasian about the
seventy-second year of the Christian era ; and several thousand
Jevrish prisoners haring been employed in the operations, it was
completed by his son Titus in the year 80, eight years after
the capture of Jerusalem. The term Colosseum, or Coliseum
as it is called occasionally, whichever be the proper appellation,
appears at all events never to have been accepted as a regular
Latin word by subsequent classic writers, nor to be traced to
an earlier period than the eighth century, when it is adopted by
the celebrated literary English monk Bede, or Beda, called

192 A TOUR IN MODERN EOME. [Chap. XI.
" the Venerable," in whose writings haring searched unsuccess
fully for the passage, I ara not able to say which of the two
terms in question, whether Coliseum or Colosseum, has the
benefit of Bede's authority, though the etymology of the forraer
hardly seeras so reasonable as of the latter, which springs from
a prototype whose very thumb, as ships saUed underneath the
striding figure, being larger than a raan's arms could encfrcle, its
stupendous proportions are consequently a worthy erablera of
extraordinary raagnitude. The original idea of an amphitheatre,
combining two theatres in one in the form of an ellipsis, is attri
buted to Statilius Taurus, who erected the ffrst buUdmg of that
description in the reign of Augustus, on the spot now generally
known in Rome as the Monte Citorio ; and the exaraple being
followed, after a sirailar raodel, by Vespasian, the title hy which
the building was distinguished for many centuries was " Amphi
theatrum," to which the epithet " Flavium " was added after the
faraily name of its founder. The dedication of the amphitheatre,
in addition to which, notwithstanding its stupendous magnitude,
and notwithstanding the extensive military operations in Judaea
during the reigns of Vespasian and Titus, several other consi
derable public buildings — for instance, the Temple of Peace,
near the Forum, the celebrated Baths on the Esquiluie, and the
restored Temple of Claudius on the Coelian, destroyed by Nero,
— were corapleted during the same period, was celebrated vrith
incredible magnificence, not only in presenee of the vast mul
titude assembled to view the spectacles on the new arena, but
also in the Circus Maximus and on the ancient Naumachiae,*
the splendid sheets of artificial water, of which the principal
were, one constructed by Augustus, and afterwards iraproved
by Doraitian, on the Carapus Martius, and another constructed
by Nero, near the gardens of the Vatican, on the other side
the Tiber. The spectacles— continued through the whole day,
and at night by torchlight occasionally — were prolonged for one
hundred successive days, during which period the number of vrild
beasts and doraestic animals killed altogether araounted to nine
thousand, " Ewa^/tix''^"' ><«' BoTa xai S*)gia iTtiai^ayn." t And
besides the corabats of gladiators with vrild beasts, gladiators
-* The term naumachia is applied not only to the place of representation,
but to the representation also.
•!• Dion Cassius, lib. Ixvi. cap. 25.

Chap. XL] THE COLOSSEUM. 193
with gladiators, and wild boasts, lions, tigers, elephants, &c.,
with each other reciprocally ; women with women, and orauos
vrith cranes, were brought into hostile collision. Moreover, the
arona, overflowed by an extraordinarily sudden frruption of water,
was converted to a lake, where the storming of an island par
ticularly, and smidry maritime feats and exercises, were repre
sented. Titus meanwhile is said to have beheld the several
exhibitions from an elevated position, whence he cast below
occasionally small spherical boxes containing tickets for prizes
of various descriptions for the benefit of the contending parties.
After continual exhibitions of savage cruelty, perpetrated on
the arena of the Colosseum for three centuries, during which
period innumerable are the instances, recorded in the Martyr
ology by the ecclesiastical writers, of Christian martyrs exposed
to be devoured by vrild beasts, the gladiatorial corabats were in
the first instance put an end to by Honorius. About which
time an extraordinary instance of courage and self-devotion is
related ofa monk named Telemachus,* who fell a liring sacrifice
to the fury of the Roman poptdace, whora he frritated by the
vain endeavour, haring rushed single-handed into the arena,
and thrown hiraself between two gladiators, to put an end to
the conffict. The spectacles, however, of the battles of wild
beasts vrith each other exclusively were continued for a longer
period, though even of these the last exhibition is said to have
taken place in the year 523, in the reign of Theodosius ; and
afterwards Uttle is known of the building or of the particular
ricissitudes to which it was subjected for several centuries. It
is presumed, principally on the authority of the passage above
referred to of Bede — who, however, as is generally believed, was
never himself in Rome, though specially summoned thither on
account ofhis vast leaming by Pope Sergius — that the Colosseum
was in a tolerably perfect state of preservation at the time of his
writing, in the year 730 or thereabouts, though in the eleventh
century, subsequent to the Norraan invasion, it had become
grievously dilapidated. At this time it had fallen into the
hands of the contending nobles, and particularly the Frangipani
and the Annibaldi converted it to the purpose of a fortress, and
held possession successively. In the year 1312, during the
reign of Clement V., it was the property of the Papal Govern-
* Theodoritus, Eccles. Hist , lib. v. cap. 26.
VOL. II. O

194 A TOUE IN MODEEN EOME. [Chap. XI.
raent ; and in 1332, in the pontificate of John XXIL, a sump
tuous tournament was celebrated on its arena. In the year
1381 Urban VI. raade an unsuccessful attempt to convert it to
the purpose of an hospital ; after which period, whatever might
then have been the state of the building, the epoch which fol
lowed, comraonly designated by the title of the " revival of the
arts," proved the raost fatal to its fortunes; and the popes
themselves becarae the principal depredators of the magnificent
monuraent of ancient times consigned to their protection. The
walls of the Colosseura were accordingly then resorted to like a
common quarry ; and year after year the splendid squared
blocks of travertino were plundered for the purpose of being
applied to the construction of private palaces, vrith a profusion
that, dictated by an overpowering stimulus of rapine and avarice,
knew no limit. The principal examples, among numerous others
of minor stamp that no doubt remain unrecorded, are the Pa
lazzo di Venezia, a towering edifice built by Paul IL, in 1468 ;
the Palazzo di Cancelleria, built in 1480 by Cardinal Riario,
nephew of Sixtus IV. ; another small palace, also called the
Famesina, built at the same period, and by the same personage,
within a sraall distance of the large one ; and the Palazzo Far
nese, remarkable for its extraordinarily extensive dimensions,
built by Paul IIL, who began to reign in 1534, and coraraenced
it while a cardinal. And besides these and other instances
that I have omitted to raention, the Porto di Ripetta, built by
Clement XI. in 1703, is altogether constructed from the tra
vertino of the Colosseura, exclusively it is said of the raaterial
coraposing one only of its arches that was destroyed at the same
tirae by an earthquake. By Clement XL, moreover, the arcades
of the lower story of the building were converted to a repository
of unseeraly offal for the purpose of a raanufactory of saltpetre,
notwithstanding that, in the reign of Cleraent X., about thirty
years preriously, the arena had been already consecrated to the
raemory of the Christian martyrs, and the cross erected in the
centre; however, since the reign of Clement XL, the Colosseum
has been respected as it were under the cross's protection, and
further sanctified by the fourteen stations of our Sariour's
passion, designated, according to the reUgious exercises
prescribed by the Roman CathoUc ritual, by fourteen em
blematical pictures, appended to the wall on the periphery.

Chap. XL] THE COLOSSEUM. 195
Recently, in addition to the negative means, such as above
related, adopted for tho prosorvatlon of tho building, otlior
substantive measm-es wore carried into eflbot for its restora
tion, of which tho first vvas undertaken by Pius VIL, who,
upon the portion of the periphery facing towards S. Jolm Late
ran, repaired the fractm-ed outer wall by an enorraous buttress.
The example of Plus Yll. was followed by Leo XIL, who
consfructed another sirailai- butti-ess for a similar purpose on the
portion of the periphery facing towards the Roman Forum ;
and, finally, on the portion of the periphery facing towards the
CoeUan, the outer wall, that had entirely disappeared for a con
siderable extent, was rebuilt by Gregory XVI.
With regard to the form, dimensions, and present appearance
of the Colosseum, the arena, in the first place, consists of an
elUptical area, of which the longer axis lies precisely in a line
between the Roman Forum and S. John Lateran, or in a
dfrection north-west to south-east, or thereabouts. The dimen
sions are said to be 281 by 176 English feet, equal to 4315
yards the square superficies. This arena, in the centre of which
the cross is erected, as before stated, is surrounded by the
reraains of a wall 10 or 12 feet high, which was called the
Podiura, and contained here and there recesses, secured by iron
grating, for the convenience and protection of the gladiators.
On the summit, and in the rear, covering a space of about 14
feet in depth, was a covered gallery, appropriated exclusively
to the seats of the imperial family, and other distinguished
personages, including senators, raagistrates, and vestal virgins,
all of whom were thus enabled to observe the spectacle without
being seen by the raultitude. The Podiura, including the
space in the rear, was surrounded by three stupendous walls,
increasing gradually in height to the outermost ; of which
latter, the altitude, according to the measurement cited in the
'Archaeologia,' is 164 feet 34 inches; and from these walls
the seats for the spectators were arranged in three capacious
tiers, one above another, upon planes slanting downwards
towards the arena, and distinguished altogether by the title
" Cavea." Each tier corresponded with a separate story of the
building, and above all was a gallery protected by a canvas
awning, for the accoraraodation of the lower classes of the
people. Sufficient space was thus afforded, it is said, for the
o2

196 A TOUE IN MODERN EOME. [Chap. XI.
astonishing number of 107,000 spectators, of whom 87,000
occupied the cavea, and 20,000 the upper gallery ; but it would
be utterly irapossible, without the aid of a perfect raodel in
rainiature of the' Colosseum, to describe, by writing alone, the
mechanical contrivance and the exquisite perfection of the
scheme of the architect, by which a multitude of spectators so
infinitely exceeding the complement of a theatre now-a-days
were enabled to find convenient ingress and egress to and from
the place specifically assigned to each individual in the cavea
or in the gallery. The superficies of the entfre building, how
ever, being, as stated in the ' Archaeologia,' an ellipsis of 620 by
513 feet, and consequently the circuraference 1779rTr f^et, the
public had access accordingly to the whole enorraous extent of
periphery, and found entrance by 80 open arches, coraraunicat
ing by a double line of corridors, comprised between the waUs ;
and thence by a numerous assortment of staircases, and similar
corridors on the upper stories, to all the different parts of the
interior. Though it is to be observed that, to the circular
corridors or galleries, called " ambulatoria," being of equal
breadth all round, and the three walls of the Colosseum
parallel to one another, each describing a differently propor
tioned ellipsis, the term concentric cannot be applied with
reference to the elliptical area, as in the instance of a cfrcle.
The portals and passages through which the thousands upon
thousands were disgorged from the countless raasses vrithin,
overflowing simultaneously, in eighty different strearas as it
were, the tract of ground about the entfre periphery, were not
inaptly designated " vomitoriaP
So much with regard to the construction of the Colosseum
being premised: as relates to its present appearance, the
stupendous outer wall, raore or less perfect at different parts of
the periphery, consists of a raagnificent elevation coraposed of
large blocks of travertino, coraprising four orders of architecture,
Doric, Grecian Ionic, two Corinthian, and the whole crowned
by an attic ; the separate heights of each order, taken from the
' ArchEBologia,'* making altogether the height before stated, are
as follows : — The lower order, with its entablature, 34 feet 4^
inches; the second order, 38 feet 11 inches; the third order,
33 feet 1 1 inches ; the fourth order, 47 feet 8 inches ; and the
* Vol. vii. page 372.

Ch.\p. XL] THE COLOSSEUM. 197
attic, 4 feet 5 inches: total 164 foot 3^ inches, as before
stated. With regard to each order separately, beginning from the
groimd, at a part of the periphery whoro the vvhoie are perfect,
the lower order is altogether occupied by the NO arcliod en
trances above referred to, each flanked by a pair of Doric half
columns of travertino, 2 feet 9f inches diameter, that support
the entablature. The respective number of each arch, whereby
a perfect systera of regularity in the arrival and departure of
the spectatoi-s was no doubt enforced, is engraved in Roraan
nuraerals, still clearly legible upon every keystone. Four of
the series, those situated upon the axes of tbe ellipsis respec
tively, are supposed to have been appropriated exclusively to
the use of distinguished personages, and exempt from any nura
ber. One only of the four, however, is now reraaining, that is
to say, the one situated upon the shorter axis of the ellipsis, on
the side towards the Esquiline, between the arches raarked 38
and 39, or, as the numbers are expressed in the Roman nume
rals, xxxviu and xxxviiii. TKe arch in question is supposed to
have been one of the iraperial entrances, as well as another
which has disappeared, at the opposite extremity of the shorter
axis on the other side towards the Ccelian ; while those situated
upon the two longer axes were appropriated to the magnates,
gladiators, &c.
The second order is altogether occupied by a series of eighty
arches, sirailar in size and forra to the lower arches, and flanked
each by a pair of Grecian Ionic half columns of travertino that
support the entablature.
The thfrd order is precisely similar to the second order, with
the exception that the flanking half columns are Corinthian.
The fourth order, more lofty than either of the others, con
sists of a plain wall faced by flat Corinthian pilasters, corre
sponding vrith the half colurans of the order below, and enclosing
intercoluranial spaces of equal breadth, of which one is plain
and the next pierced vrith a square aperture for a vrindow, in
alternate succession. Above the windows there are to be ob
served, in a Une extending continuously over the whole periphery
of the building, a series of brackets or consoles of travertino,
which formerly supported the bars of wood that sustained the
canvas awning of the upper gallery.

198 A TOUE IN MODEEN ROME. [Chap. XI.
Finally, with regard to the attic, the line along the surarait,
though in sorae places perfect to a considerable extent, is in
others jagged and broken ; and the huge blocks of travertino
are overgrown with raural plants and shrubs that, sprouting
between the joints, have increased to above the ordinary size
under simUar circumstances, and luxuriate in the highest per
fection. As relates to the extraordinary magnitude of the Colosseuih,
as appreciated by a spectator viewing it from the outside, it
may be observed, on walking round the building, that in those
places where not only a large portion of the outer wall, but of
the middle wall also, has entirely disappeared, and nothing re
mains but the third or inner wall, whose altitude is considerably
less than either of the others, and the degree of curvature
greater ; the difference notvrithstanding, as one proceeds along
the periphery, between one portion and the other, whether as
respects the height of the wall or the degree of curvature, fails
under ordinary circumstances to attract the attention. From a
simUar cause also, that is to say by reason of the stupendous
proportions, the form of the Colosseura seen from an elevated
spot at a distance, though really an ellipsis according to the
measureraents above given, raay be readily mistaken for a frue
circle, unless it be regarded with very particular attention.
In order to show more precisely what portion of the building
has disappeared and how rauch reraains, it vrill be necessary to
state in the first place that the outer wall is deficient on the
western side, towards the Coelian, to the extent of something
raore than half the periphery, as raay be measured by the
reraaining portion, which includes 44 arches out of the whole
series of 80. With regard to the dUapidation of the middle
and of the inner wall, the extent is not so easily specified,
though it raay be reraarked particularly, that the building has
invariably suffered most towards the south-west ; as if, whatever
araount of injury be assigned to riolence and depredation, the
" imber edax," no ignoble agent since the days of Horace,* had
bome an active part in its deraohtion.
The buttress of Pius VIL, constructed, as above stated, for
the purpose of preserving the noble ruin frora further decay, is
situated at a point on the periphery facing towards S. John
* Lib. iii., Od. 30

Chap. XL] THE COLOSSEUM. 199
Lateran, close eastward of tiio longer axis. Tho work, at tiie
tirae of its oxocution an operation of very extraordinary difli
culty, has been performed in the most beautiful mannor imagin
able, and is a fii-st-rate spociinoii of niodorn brickwork, 1 1 feet
10 uiches in tiiickness; incorporated vvith the original waU in
continuation of its periphery, in the form of a huge triangle,
50 feet at the base, slanting from the topmost height of thc
building to the ground. In addition to the buttress, six arches
of the old wall, comprising the two belonging to all three tiers
nearest the outside, have been corapletely filled up with sound
brickwork ; all which interpolation, as well as the buttress,
having stood firm upwards of a score years already, seems
likely still to endure for an indefimte period. The wall at the
point in question haring been violently shaken by the fall of
the portion adjoining, and the six arches above referred to
considerably deranged by a terrific fissure in the raasonry,
which, at the bottom not less in breadth than two feet, gra
dually decreasing upwards, extends about two-thirds the height
of the building, where it closes altogether — the enterprise
was in fact considered at the time so hazardous, that no people
could be found to undertake it but criminals frora the public
prisons, conderaned to death, whose lives were spared on
the express eondition of performing it. The concussion that
produced the appearances in question was in fact so serious,
that the stones belonging to all the six arches have every one,
in a degree greater or less, started from their places ; in one
instance the keystone has actually bolted below its station full
twelve inches, and the entablature above is split and disjointed
in such a raanner, that eridently, had not the yielding masses
becorae jararaed together, so that the keystone accidentally
caught a sufficient though distorted bearing, the whole portion
of the wall, to a considerable extent, raust have given way
together. As it is, the gaping joints afford a striking picture
of the awfully tottering condition of the structure at the tirae
of the operation, such as might fumish a painter desirous of
representing houses faihng under the shock of an earthquake
with an interesting study frora nature ; and cannot fail at the
same time to suggest to the mind of the observer a momentary
panegyric on the undaunted courage of the poor raen who per
formed the work so weU under such perilous circumstances.

200 A TOUE IN MODEEN EOME. [Chap. XI.
The other buttress, coramenced by Leo XII. and completed
by Pius VIIL, was constructed in a similar raanner to the pre
ceding, upon a portion of the waUs of the periphery opposite,
that is to say, on the extreraity, of the longer axis facing towards
the Forura. Here, in addition to an enorraous wall engrafted
on the old one, and gradually slanting upwards in a triangular
forra like the other, though the thickness is considerably less,
namely, 8 feet 9 inches, the two parallel circular corridors on
the eastern side of the axis are entirely renovated, as regards
the vaulting within, and the facing of the elevation without, to
the extent of three arches on the lower tier, two arches on the
second tier, and one arch on the third tier.
Finally, the portion of the walls of the Colosseum repaired
by Gregory XVL, which work, during the spring of 1842, was
in full progress, is upon the extremity of the shorter or conju
gate axis towards the Ccelian, where the outer and the middle
walls were then entirely rebuilt to the extent of fifty or sixty
yards of the periphery, in a style so perfect and durable, that,
prorided succeeding popes follow the exaraple, one raight
alraost anticipate a coraplete restoration of the ancient figure
in the course perhaps of another century.
The entrances to the arena are four, one at each extremity
of the axes, each entrance leading directly through the double
Une of corridors. The ceilings of these corridors, whose areas
extend in parallel Unes all round the building, are forraed by the
soffits of a double range of brick arches supported on a triple
row of piers of travertino, and the spaces between the soffits
are completed by vaulting composed of red and yellow tufa
rubble overlaid with a coating of stucco. Though generally in
a miserably dilapidated condition, a sufficient portion reraains
in different places to enable a person to forra a tolerably cora
prehensive idea of the whole. The size of the supporting piers
of the outer row is 8 feet 7 inches by 7 feet 3 inches ; of the
middle row, 6 feet 8 inches by 6 feet 5 inches ; and of the
inner row, 5 feet 11 inches by 5 feet 5 inches. The squared
blocks of travertino of which the piers as well as the three
walls of the building are composed, are all large, though of
various sizes, averaging 4 feet 7 inches in length, and at the
ends 3 feet by 2 feet 8 inches. One of the largest that I
measured was 6 feet 3 inches in length, and at the ends 5 feet

Chap. XL] THE COLOSSEUM. 201
6 inches by 2 feot 7 inches. Considerable remains of tho stair
cases leading to the upper stories, sufficient to afford a good
specimen of their consti-uction, may be observed adhering in
large fragments to the walls of both corridors, whence the hne
of incUnation of the pianos raay bo distinctly traced, ascending
in opposite directions, one above another ; some from the exter
nal wall of tiie outer corridor towai-ds tho arena, and others
fi-om the internal wall of the inner corridor from the arena.
With regard to the imperial entrances upon the extremities
of the conjugate axis above referred to, there may be observed
on the %ide towards the Esquiline, where all the three walls are
still in good preservation, erident remains of ornaments, such as
mai-ble sheathing, and fragments of marble colurans belonging
to a sraall rectangiUar chamber or vestibule, interpolated as
it were vxithin the corridor. Close to the spot an excavation,
with a riew of making further discoveries, was sunk in the
arena, which, not having been attended with success, has been
suffered to remain ever since, several feet as it is in depth,
and of considerable extent, in a state so neglected and forbid
ding in appearance, that one feels little inclination to explore its
recesses. On the opposite extremity, however, of the axis,
towards the Coelian, though both the outer walls of the building
in that quarter have entfrely disappeared, and no vestiges of a
vestibule such as the one above referred to on the side next the
Esquiline are in existence, an important discovery was raade by
the French in the year 1812, in the course of an excavation
sunk in the arena, on a spot corresponding in position with the
other — which other, by the way, was raade subsequently —
where was found, several feet below the surface of the soil,
here accumulated to a height far above the ancient level, the
entrance to a subterraneous passage, the same, as is supposed,
that was constructed by Commodus, leading to the imperial
palace on the Palatine, and where an attempt was made to
assassinate him. A convenient descent has been accordingly
contrived to the passage in question, which, extending to the
length of fifty or sixty yards underneath the road, whence it
receives additional hght by a smaU iron grating, reraains open
to the end without any protection. As it would appear that
a considerable portion reraains yet to be explored beyond the
solid wall of earth that terminates the extremity, it seems extra-

202 A TOUE IN MODEEN ROME. [Chap. XI.
ordinary, considering the high degree of interest belonging to
the locaUty, that additional raeasures of investigation have not
been resorted to : as it is, it does not appear to have been yet
clearly ascertained even whether the passage leads at all to
the Palatine — whither the line of direction does not in fact
appear to point, but rather to the Ccelian, whence there is
said to have existed, at all events, a subterraneous passage,
which will be referred to by and by, for the purpose of con
ducting the wild beasts appropriated to the service of the
arena from the Vivarium. At the sarae tirae, from the appear
ance of the original decorations, which are of an ofdinary
character, there is the less ground for concluding it to have
been exclusively an imperial thoroughfare. The vaulted ceiling,
for instance, which still reraains in tolerable preservation, is
lined vrith plain coffers of stucco, of which material is the
cornice ; the walls also are lined vrith plain stucco, without any
apparent vestiges of marble. The paveraent, which is quite
perfect, is of the raost ordinary description of mosaic work, in
pieces about half an inch square, comprising a tessellated sur
face of unicoloured pieces of travertino.
The arena of the Colosseum at present inay alraost be termed
a thoroughfare for foot passengers, who, on passing frora the
Carapo Vaccino towards S. John Lateran, in order to avoid the
detour of the spacious curve described by the roads that skfrt
both flanks, enter and depart through the open portals upon the
north and upon the south, passing straight through. Even by
the raore direct route in question the passenger is compelled to a
slight divergence by an obstacle that confronts him in the centre
— the large black cross planted on a circular mound of earth,
whither the pious Catholic, under the promise of two hundred days'
exemption frora the pains of purgatory, promulgated by an in
scription affixed to the arch at the northem extremity of the
longer axis, advances, and, having raade his genuflexion, kissed
the sacred erablem, and uttered a short prayer on his knees,
passes on his way. With reference to this holy cross, erected
by Cleraent X., as before stated, there raay be observed, a
little to the eastward of the southem extreraity of the longer
axis, a small rude chapel, originally belonging to a hermitage
established there at the first consecration of the building. It
consists of nothing more than a plain altar, surmounted by a

Chap. XL] THE COLOSSEUM. 203
picture of the Madonna, which, though the practice of a monk
beingstationed continually on the sjwt lias boon longdiscontinucd,
servos the purpose of the Fratelli di Saccone Neri, or thc friars
who, even to the present day, propitiate the manes of the Chris
tian martjrs who shed their blood in the arena, and not only
perform their religious offices for the express purpose every
Friday, but celebrate the coremony of the Via Crucis on special
occasions. Accordingly the fourteen pictures before referred
to, representing the fourteen stages of our Saviour's passion,
are appended at equal distances to the inner circular wall or
Podium. The Podium, which, 10 or 12 feet in height, as stated in the
beginning, surrounds the periphery of the arena, is coraposed
altogether of brick, of very gi-eat thickness, and for the most
part in tolerable preservation. Upon the circuraference, in
addition to the 14 pictures, are planted on the ground several
broken shafts of columns, varying in height from 6 to 9 feet,
though apjparently all of the same calibre, 8 feet 9 incbes, or
thereabouts, belonging either to the imperial entrances or other
parts of the buUding, and, haring been collected at different
times on the spot by excavation and otherwise, are placed there
to preserve them. There are also to be observed, appended to
the surface of the Podiura, two inscriptions, one of which,
close to the northem extreraity of the longer axis, relates
to the repairs of the arena and of the Podiura in the year 439,
by Lampadius, prefect of the city ; and the other, situated near
the southem extremity of the longer axis, bears reference to the
restoration of the Podiura by the prefect BasiUus, after daraage
sustained frora a grievous earthquake in the year 480, during
the reign of Theodosius.
Such being the objects situated on the elliptical arena of the
Colosseum, the astonishing expanse and loftiness ofthe enclosure
as the eye glances rapidly upwards along the dilapidated walls
and arches, fragments of the cavea extending in inclined planes
towards the circumference, and rising pile upon pile, one tier
above another, is so superlatively irapressive, that the spectacle,
perfectly unique, seems almost supernatural. Tbe towering
height of the outer wall, crowned by its dilapidated attic,
of which the distance frora the eye is raeasured, in real truth,
by the hypotenuse ofa right-angled triangle, whose perpendicu-

204 A TOUR IN MODERN EOME. [Chap. XI.
lar is 164 feet, is indeed so great, that here and there the
enorraous fractured blocks of travertino assurae the capricious
forms of a rugged raountain peak, such as the eagle alone, of
all the aniraals on earth or birds in the air, might select for a
habitation. The enormous masses of ruins meanwhile, at the
extraordinary height above mentioned, thrown into bold relief
by the open firmament, and spread around on every side of the
spectator, over a space within the stupendous ellipsis to be mea
sured not by yards, but by acres, are covered with the raost
copious and raagnificent collection of raural plants and shrubs to
be raet with in Europe — so various, in fact, that in a work called
the ' Flora Colisea,' published by Professor Sebastiani expressly
for the purpose, and confined exclusively to the plants and
shrubs that vegetate on the wallsof the Colosseura, no less than
two hundred and sixty different species are enumerated. Some,
whose roots extract their nutriment from little more than the
cement of forraer ages, are, notwithstanding, veritable trees in
stature ; as in an instance that came to my knowledge, where
an English visitor, more anxious to obtain a relique of the
Colosseum than scrupulous as to the raanner of procuring it,
actually contrived, whether or not with the connivance of the
custode under whose surveillance he had ascended to the upper
corridor, to purloin, by the aid of his pocket-knife alone, from
the recesses of one of the classical thickets in question, a branch
as large as a man's wrist in thickness. Straightened and var
nished by the agency of hot water and the skill of a clever
artist, when I saw the stick in question it had become a goodly
cudgel, whose colour, when deprived of the rind, appeared
light yellow ; of what description of wood, however, the pro
prietor, much as he valued his prize, being little of a botanist,
was unable to inform me.
Notvrithstanding that the arena of the Colosseura, as weU as
the entire range of corridors on the ground level, is open to the
public at all tiraes during the day, the upper stories ofthe build
ing are not to be explored without the attendance ofthe custode,
who, though not actuaUy residing on the spot, is generally to be
found there at all convenient hours on the look-out for cus-
toraers. The office is probably sufficiently reraunerative at all
events ; though in addition to ordinary diumal practice, a con
siderable increase to the eraoluraents may be reckoned upon

Chap. XL] THE COLOSSEUM. 205
owing to the epicurean taste of sorae of the lovers of tho pic
turesque, who, not content to soo what is to be plainly observed
during the day, but preferring tho stimulus ott'ected on their
iraaginations by the obscm-ity of tiie night season, risit the ruin
by raoonlight. Nothing is in fact more common among the
Roman visitors, in spite of bleak and frosty weather, even
though the wind blow a tramontano, than a nocturnal inspection
of the Colosseum ; on which occasions, prerious arrangements
being made vrith the custode, lights ai-e provided accordingly.
With regard, in the firet place, to the appearance of the
scene by dayUght, the ascent from the arena is by a small
door that protects the entrance to the upper corridors, and is
situated a little to the eastward of the southern extremity of
the longer axis, close to the chapel, or so-called Hermitage.
AVithin the door a wooden stafrcase leads to the ffrst story, ^
where the double range of cfrcular corridore are similar to the
double range on the ground level, with the exception that the
ceiling of the inner corridor, instead of being supported by
arches like the corresponding one below, is composed altogether
of tufa rubble, and comprises an uniform surface of plain groined
vaulting. Ftom the firet story the ascent is continued by
another siraUar ffight of wooden steps to the second story,
where the spectator has attained a height, according to the
raeasurements given in the ' Archaeologia,' of 73 feet 3^ inches ;
that is to say, he finds himself standing upon the entablature
belonging to the second order of columns, and vievring the
prospect without through the thfrd tier of open arches. Here the
ceiling of the corridors has disappeared entfrely, and the surface
under foot is in a state of very grievous dUapidation — rugged
and slippery everywhere, and perforated occasionally by yawning
apertures ; though a passage, nevertheless, using the utmost
caution and continuaUy looking to the footsteps, is to be made
vrithout much risk or difficulty to a point even a little to the
westward of the northern extreraity of the longer axis. Liere
and there the foot is placed unavoidably upon fragraents of an
entablature, or pieces of broken colurans that have become
embedded in the surface ; and in other places portions of the
ancient pavement appear in patches, coraposed of an ordinary
specimen of tessellated mosaic work of travertino, siraUar to the
pavement of the passage of Commodus above referred to. From

206 A TOUR IN MODEEN ROME. t^sAP- ¦
the point in question, at the extremity of the longer axis, while
the ponderous fragments of the seats of the cavea are recognis
able as weU as below from the arena, and seen to mnmte aa-
vantage, covered with thefr verdant head-dress, and grouped
in fanciful vignettes, there is no other spot I know of whence
the elhptical form of the buildmg is so clearly to be distingmshed
from a true circle. .
Night adventures in these upper regions are attended with
some degree of danger in spite of all raanner of precautions ;
of which an example may be cited in terrorem, that happened
in the winter of 1841, when the arena of the Christian
martyrs was stained by the blood of an imfortunate custode,
who, in attendance on a party under the patronage of the
French arabassador, haring mounted on a prominent crag for
the purpose of pointing out to the ladies and gentlemen under
his charge the subUrae effect of the chiaro oscuro, fell headlong,
and ended his days on the ground, torch in hand, like Lucifer.
The paternal regulations of the Pope, however, with the riew to
prevent such accidents, on the occasion of a night visit of a
party of foreigners to the Colosseum, are exceedingly stringent,
and are enforced moreover vrith a correspondii^ degree of
energy by the sentry on duty at the northem entrance to the
arena, who acts, no doubt, sfrictiy according to the orders given
to him. The sentry, accordingly, in case that sfragglers from
the party above in the train of the custode venture to enter the
corridors on the ground level unattended, no matter whether
the effendere be gentlemen or ladies, or both together, pro
vided that in the first instance they fail to pay attention to his
waming voice, and persist to explore the prohibited territory,
acts invariably in the most off-hand manner possible, and in the
free and easy style of military etiquette permitted in the Papal
dorainions, leaves his post without a moment's hesitation,
and actually shuffles after thera in double quick time, like a
sheep-dog collecting the stray sheep, in spite of the rattling of
his cartouch-box and accoutrements.
The Arch of Constantine is situated at the entrance of
the Via di S. Gregorio, which street dirides the Coelian from the
south-east side of the Palatine, on a spot between the northern
angle of the CoeUan occupied by the Colosseum, and the
eastern angle of th e Palatine. Whether the Via Sacra cora-

Chap. XL] ARCH OF CONSTANTINE. 207
menced at the Arch of Constantino, or wliother it commonced
at the Arch of Fabius, that is to say northward of thc Arch of
Titus, is a question that has novor boon unaniraously agreed
upon by the antiquaries, though, at all events, the road aloug
the whole distance from tho Arch of Titus to the Arch of Con
stantine, and some way bo) ond, is paved with lai-ge blocks of
selce, tiiat compose a sui-faoe bearing a very near resemblance
if not precisely similar to the ancient form of construction.
Another portion of a similai- paveraent, coraraencing abruptly
near the substructure of Nero's colossal statue, apparently in
contuiuation of the pavement referred to in front of the church
of S. Francesca Romana,* in the Roman Forum, skirts the
eastem flank of the Colosseum towards S. John Lateran.
The triumphal arch in question was dedicated by the senate
and Roman people to the Emperor Constantine, in consequence
of his victory obtained over Maxentius, and is considered at
present, of all the other triumphal arches in Rome, the raost
perfect. Until the year 1804 a considerable portion of the
lower part of the structure, in consequence of the accuraulation
of the soil above the ancient level, lay buried under the earth ;
when, at the above period, Pius VIL, who had already laid
bare the Arch of Septiraius Severus, caused an excavation to
be sunk around it and lined vrith a brick wall, and thus once
more restored to mortal eyes the whole of the structure. Its
true proportions, however, were not fairly exhibited till a few
years subsequently, when Leo XH., soon after his renovation of
the fractured wall of the Colosseum by a buttress, removed the
wall of the excavation of his predecessor, and restored the
whole surface of the ground to its original level on both sides
the structure.
The Arch of Constantine is constructed after a model very
nearly similar to the Arch of Septiraius Severus, that is to say,
it is a raassive rectangular or parallelopipedal structure, pierced
with three arches, one larger between two others smaller, and
crowned by an attic. Both frontages are alike, and the arches
on both sides are flanked by four fluted Corinthian pilasters of
giallo antico, in front of which, planted on the same pedestals,
four sirailar colurans jointly with the pilasters support the
entablature. The pedestals are exceedingly lofty, and orna-
* See p. 112.

208 A TOUE IN MODEEN ROME. [Chap. XL
raented on each of their tbree sides with bass-reliefs ; and
upon the spandrels of the central arch are sculptured in bass-
relief a pair of figures representing Farae ; also on the span
drels of the smaller arches a pair of recumbent figures.^ Within
the central arch there is on each side a large bass-relief. Ira
mediately above the crowns of the arches a broad band or
frieze sculptured in bass-reUef surrounds the whole structure ;
above it in front, over each of the sraaller arches, are a pair of
small circular bass-reliefs ; and on the flanks are two rectan
gular bass-reliefs surmounted by a circular one. Such being
the ornaments belonging to the lower portion of the arch — as
regards the attic, there are on both sides in front four statues
planted on pedestals, which surmount the four colurans ; and
the spaces between the statues are occupied, the central space
by the original inscription of the senate and Roman people to
the Emperor Constantine, and the flanking spaces each by a
pair of rectangular bass-reliefs. Upon each flank also is one
rectangular bass-relief. It is, however, generally admitted, as
well on account of the style and character of the bass-reliefs as
of the colurans of giallo antico, that the Arch of Constantine
was enriched by ornaraents that preriously belonged to a
triumphal arch of Trajan, disraantled for the purpose— spoUs
appropriated, notwithstanding the incongruous subjects of the
bass-reliefs, to the new edifice. The position, however, and
history of the disraantled arch reraain up to the present raoment
a problem unsolved by the antiquaries, none of whom can say
where it stood, though according to the best authorities it was
not the arch on the southem side of Trajan's Forum, of which
the remains were discovered in the sixteenth century, as referred
to page 75, inasmuch as the latter is said to have been stand
ing several centuries after the time of Constantine. Some
people indeed imagine that the Arch of Constantine is the very
Arch of Trajan in question, transformed and rendered as suit
able to the purpose as the constructors could make it, by
various alterations and erabellishraents ; araong which, it is said,
a bronze group, representing Constantine in a chariot drawn
by four horses abreast, was planted on the suramit. Of the
latter group there are at all events no certain accounts, though
the form of this as of all the other triuraphal arches in Rorae,
peculiarly suited by the horizontal plane at the top for tiie

Chap. XL] ARCH OF CONSTANTINE. 209
purpose of a magnificent pedestal, would seem to intiraate the
probability of its having been provided with an ornament of
such a description.
As regards the assortraent of the several objects to their
respective seras, the giallo antico colurans and pilasters in the
first place, as well as a pai-t of tho entablature, are supposed
to have belonged to the incognite Arch of Trajan ; though it is
to be observed that out of the whole number of eight columns,
one, it is said, whether of tho same raaterial or otherwise, was
substituted by Clement XII. instead of the original. All,
however, are so damaged in appearance and discoloured bythe
weather, as is the case invariably with all sorts of coloured
marbles exposed in the open air, that it would be difficult to
assert without close inspection whether they are really of coloured
marble at all, or of ordinary travertino. The rectangular
bass-reUefs upon the attic are all attributed to the Arch of
Trajan, which, considering the subjects represented, appears
sufficientiy erident. For instance, first, as regards the four on
the north-eastem front facing towards the Colosseum, the first
represents tbe triumphal entry of Trajan into Rome ; the
secoud is an allegorical representation of the repairing of the
Appian Way by Trajan ; the third represents a congiariura,
or the cereraony, so called from congius, an ancient liquid
measure, the eighth part of an amphora, or a little raore than
an English gallon, of distributing to the people a largess of
wine, oil, etc. ; and the fourth represents Parthamosirius,*
king of Armenia, in the tent of Trajan, laying his crown
at the feet of the emperor. Next as regards the four on
the south-western front, the first represents Trajan after his
victory over Osroes crowning Parthamaspetes,t king of Parthia ;
the second represents the discovery of the conspiracy against
Trajan, of Decebalus, king of Dacia ; the third represents
Trajan haranguing his troops ; and the fourth represents the
ceremony of the Suovetaurilia or Solitamilia, an expiatory sacri
fice of a bull, a ram, and a boar pig to Mars —a cereraony first
established by Serrius Tullius after he had raade the census,
and afterwards continued once every five years at the com
mencement of each lustrum. Lastly the two rectangular bass-
* See Dion Cassius, lib. 68, cap. 19 and 20. f lb., cap. 30.
VOL. II. P

310 A TOUR IN MODEEN EOME. [Chap. XI.
reliefs, one of which is on each flank, comprise a continuous
representation of the same subject, that is to say the battle and
victory of Trajan over Decebalus. In addition to the ahove
ten bass-reliefs, the other objects on the attic belonging to tiie
period of Trajan are seven of the eight statues of pavonazzetto
raarble, representing Dacian captives ; the eighth haring been
in a rautilated condition and removed to the CapitoUne Mu
seum, as were the heads of the reraaining seven to Florence
by Lorenzino de' Medici, and all afterwards replaced in white
raarble by Cleraent XII. On the lower part of the arch
also, attributable to the period of Trajan, are the eight
circular bass-reliefs, of which on both fronts a pair surmount
the smaller arches ; the subjects of the latter relate to the
chase, and to sacrifices to Apollo, Mars, SUvanus, and
Diana, performed by Trajan. The broad sculptured band
and everything below it are attributed to the period of Con
stantine, with particular reference to whom, or to a ceremony
performed by him of offering up vows to the gods for the pre
servation of the empire every ten and twenty years, there may
be observed in. a line with the capitals of the columns under
the entablature, the inscription " Votis X. Votis XX." The,
bass-reliefs sculptured on the broad band in question represent
a triuraphal procession and other circumstances relating to the
military exploits of Constantine ; and those on each side within
the central arch represent, one the rictory of Constantine over
Maxentius, and the other the capture of Verona, surmounted
respectively with the inscriptions " Liberatori urbis," and
" Fundatori quietis." But these, as well as all the rest that
I have not particularised, are of an inferior description, and
considered by connoisseurs as a striking specimen of the degree
of deterioration to which the arts in their decline had fallen
during the two centuries that intervened between the reigns of
Trajan and Constantine.
In order to ascend the CoeUan hill by one of the most con
venient roads within a short distance of the present spot, it is
necessary, after passing through the Arch of Constantine, to
proceed a little way along the Via di S. Gregorio as far as the
church and convent of S. Gregorio, situated on the left-hand
side of the way on an elevated spot ; whence, from an open
space in front of the church and convent, called the Piazza di

Chap XL] THE CCELIAN. " 211
S. Gregorio, a road leads vrith a gentle inflexion very nearly
over the suramit to S. John Lateran. l"he original name of
the hill was " Querquetulanus," derived, it would appear, though
no oak trees that I am aware of are to be seen there at present,
from the oak trees with which it was covered in the early ages.
Afterwards, whether during the roign of Tarquinius Priscus,
who established his residence there, or previously, is not clearly
ascertained, it was called Coelius, after the name of Coeles
Vibenna, an Etruscan officer, who brought an auxiliary force
of Etruscans to the Romans. At the coraraenceraent of the
Empire several buildings upon it destroyed by a conflagration
were rebuilt by Tiberius ;* after which period it continued to
be inhabited till the Norraan invasion, in the eleventh cen
tury, when it was laid waste by Robert Guiscard, and has been
ever since, vrith the exception of the churches and convents that
belong to it, occupied almost exclusively by vineyards and
garden ground. The Piazza di S. Gregorio derives its title
from the church and convent built by Gregory the Great, on
the site of his patemal domicile, which, together with the entire
residue of his property, he consecrated to the service of the
Church. A raore direct footpath leads frora the Colosseura to
the Piazza di S. Gregorio, through a narrow slip of ground
parallel to the Via di S. Gregorio, and extending close to the
precipitous bank of the CoeUan : it was recently planted by
Gregory XVT. vrith an avenue of trees with the view of con
verting it to a public promenade ; but although the Coelian on
one side is lined vrith masses of ancient brickwork calculated
to stiraulate the mind to classical reminiscences, and on the
other side are the ruins of the Palace of the Csesars on the
Palatine, the spot is little frequented, and people prefer the
dusty road almost invariably. The Piazza lies open to the
road, bounded on the left-hand side by the extremity of the
ornamental enclosure in question ; whence the road over the
Coelian leads by a gentle acclivity bounded on the right
hand by walls of ancient brickwork, supposed to be of the
sixth century, and belonging in part to the buildings of
Gregory the Great ; a little farther, it ia bounded on the
opposite or on the left-hand side by the flank of the church of
S.S. Giovanni e Paolo, elevated a considerable height above
* Tacitus, ' Annal.,' lib. iv., cap. 64 and 65.
P 2

212 A TOUE IN MODEEN EOME. [Chap. XI.
the road upon a lofty bank, and supported by a series of arches
that span the road overhead like flying buttresses, and abut on
the ancient waUs on the right hand. The church's gable forras
the greater part of one side of a small piazza that Ues open
towards the road, and another side of the piazza is bounded by
a convent, inhabited by an order of monks called Passionites,
or Passionisti, distinguished by the erablera of a skull and
cross bones worked in white on the bosora of their black robe.
It is well worth while to enter the garden of this convent on
account of the interesting and beautiful view of raany principal
objects in the vicinity ; it extends from the rear of the convent
to the verge of the elevated and precipitous banks of the hill
overhanging the Colosseum, and on one other side to the verge
of the similarly lofty bank overhanging the ornaraental enclo
sure above referred to, and facing towards the south-east side
of the Palatine, covered vrith the magnificent ruins of the
palace of the Csesars. On the side towards the Colosseum
there raay be observed growing in a row on the bank a few
cypress trees, whose dark green branches harraonize with pe
cuUarly good effect with the lighter green of several olives
planted in the same line, and with the grave aspect of the ruin.
These were the cypress-trees referred to by Byron among the
objects that he beheld at midnight from vrithin the walls of
the Colosseum. " I do remember me that in my youth.
When I was wandering upon such a night,
I stood within the Colosseum's walls.
Midst the chief reliques of almighty Rome.
The trees which grew along the broken arches
Wav'd dark in the blue midnight, and the stars
Shone through the rents of ruin.
Some cypresses beyond the time-worn breach
Appear'd to skirt the horizon, yet they stood
Within a bow-shot where the Csesars dwelt.
And dwell the tuneless birds of night amidst
A grove which springs through levell'd battlements,
And twines its roots with the Imperial hearths."
A neatly kept gravel walk entirely surrounds the garden,
whence, with the ruins of the Csesars' palace in the foreground
on one side, and the Basilica of S. John Lateran in the distance

Chap. XL] THE VIVAEIUM. 213
on the other, as the wall is only breast high within, the an
cient masses of brickwork beneath, the raore interesting on
account of the scanty intelligence to be gathered relating to
their history, raay be inspected to advantage. Several orange
and lemon-trees laden with fine fruit flourish within the en
closure, and among theso, a conspicuous object frora raany
elevated spots in the vicinity, is a young palm-tree in thriving
condition, and the largest to be seen in Rome, where the
climate is not sufficiently genial to nourish the fruit to perfec
tion. In the present instance, though the tree is equal in size
to an elm of thirty years' growth, the dates, of which every year
it beare a plentiful crop, never come to maturity. Very near
the palm-tree there may be observed, in one of the gravel walks,
an iron grating which serves to give light to a shaft or aperture
belonging to a subterraneous cavern excavated below in the
perpendicular bank of the hill, which, whether or not subse
quently appUed to the purpose of catacorabs, is supposed to
have been originally the Vivarium, or receptacle of the wild
beasts preserved for the service of the Colosseura, whither there
was a coramunication by the passage or headway before
referred to.*
In order to inspect the interior of the Vivarium, it is indispen
sable to engage the serrices of one of the Passionite monks, who
are the guardians of the subterranean territory ; and to go thither
it is necessary, after emerging frora the convent upon the piazza,
to pass under an arch situated close to the flank of the building
on the side next the Palatine. Here the flank of the convent
appears to have been built on an ancient substructure of tra
vertino, and is surmounted by a square brick tower of the
period of the middle ages. The brick arch in question commu
nicates with the ornamental enclosure before referred to at a
point close to the precipitous bank of the Coelian, where the
entrance to the Vivarium is situated. This entrance consists
of the ruins of a portico, supposed by some authorities to have
belonged to a Curia Hostilia, though it is generally believed
that there was no other Curia built by Tullus Hostilius and
called after his name than the Curia Hostilia before referred
to in the Roman Forum. It is laid down, however, in not a
* See page 202.

214 A TOUE IN MODEEN ROME. [Chap. XI.
few of the Roman raaps as the Curia HostUia, notwithstanding
that frora the appearance of the ruin there is everyreason to
suppose it to have belonged to the Vivarium, were it only on
account of the style of the arches, which are simUar to the
arches of the lower tier of the Colosseum, and such as raay be
reasonably supposed to characterize a subsidiary building. The
arches in question are seven in nuraber, and having been buried
nearly up to the crown by the accumulation of soU above the
ancient level, an excavation has been sunk in front .to lay bare
their bases, and render practicable an entrance through one
into the Vivarium. They are forraed of travertino, springing
frora square piers of the same material, three feet five inches the
side, and are remarkable for a singularity which is also to be
observed in the instance of the Arch of Drusus, in the con
struction of the keystone, naraely, that it projects both in front
and in the rear full 18 inches. Hence the perpendicular side
of the Coelian to the full extent towards the Colosseum is
covered hy a continuous mass of ancient brickwork, comprising
fragments of arches, buttresses, and absides ; vestiges of buUd
ings apparently of hardly less importance than the ruins of
the Palatine, though there are no recognizable portions of any
particular structure.
Having descended the excavation by a few steps cut for the
purpose, and the Passionite friar who accompanied rae having
applied a rusty key to the lock of the door, we were no sooner
entered within than he produced from his pocket a phosphorus
match and ignited a common torch or link composed of hempen
substance prepared with pitch, which sufficiently illumined the
darkness to enable me to observe at any rate, though in reality
there is little here to be seen, everything worthy of inspection.
The passage before us, in appearance precisely like those of the
catacombs, wrought out of the solid tufa rock, led straight ahead
as far as the grated aperture in the friars' garden, or a little
farther. Here and there as we proceeded other similar pas
sages diverged at dififerent angles on the right hand and on
the left ; five I think I counted all together along our entire
route, which, as we advanced one way and returned another,
extended to the distance of two hundred yards from the
entrance at farthest. In two places, at the points of diver
gence, is a pool of water, containing 16 or 18 square yards of

Chap. XL] ARCH OF DOLABELLA.

215

surface, and in depth about 8 feot ; the water in both instances
supplied apparently by a spring on the spot, and brilliantly
clear. There are not any appearances to be observed of the
ancient appropriation of the premises to the confinement of wild
beasts, nor is there any means of ascertaining the extent of the
subterraneous passages, which is greater probably than people
in general are aware of : for in consequence of the precaution
ary measures of the Papal government invariably adopted in
the catacombs, the passages, with the exception of the limited
space above referred to, are blocked up accordingly, and
rendered inaccessible. Not even, as far as the friar was able
to inform me, have pains been taken to ascertain whether there
is or is not a dfrect way to the Colosseura.
Returning back through the arch, and proceeding across the
piazza into the road by which we arrived, there is to be
observed upon the ancient brick wall by which it is bounded,
at a spot nearly opposite the entrance to the convent, an ancient
ruin, supposed to have formed a part of a public market
formerly established on the Ccelian under the title of " Macel
lum Magnum." The object in question, of which the history
has never heen clearly determined, is generally recognized in
modern ItaUan by the corresponding title " Pescheria Vecchia,"
though it is not sufficiently marked by any characteristic fea
tures to render it recognizable, nor even picturesque in appear
ance. It in fact consists of nothing more than a series of six
or seven light brick arches that project in a trifling degree from
the plane of the masonry. Continuing therefore our course
along the road about a couple of hundred yards farther, the
way is spanned by the ancient triumphal Arch of Dolabella.
The Arch of Dolabella, though it is generally identified
exclusively with the name of Dolabella, was built in the tenth
year of the Christian aera, at the joint expense of the consuls
PubUus Cornelius Dolabella and Caius Junius Silanus ; and in
consequence of -the title " Flamen Martialis," or Priest of
Mars, assigned to Silanus in the inscription, is supposed to
have served the purpose of an ornaraental entrance to the
Campus Martialis, which is known to have existed hereabouts.
The Carapus Martialis, of which there are now no vestiges
remaining, was an enclosure subsidiary to the Carapus Mar
tius on the banks of the Tiber, and was appropriated, when-

216 A TOUR IN MODEEN EOME. [Chap. XI.
ever the Carapus Martius happened to be overflowed by an
inundation of the river, to the celebration of the Equiria espe
cially and other public garaes. The Equiria were a species of
equestrian exercises instituted in honour of Mars, as sorae sup
pose by Roraulus, but at a very early period at any rate, whence
is derived, as stated vol. i. page 341, the titie of the church
of S. Maria in Aquiro. In front of the arch, on the side by
which we enter, or on the side towards the Palatine, the depth
of the aperture is augraented by one of the brick arches of the
Neronian aqueduct, which spans the road in front of it so close
as to be actually incorporated with the raasonry, and forra at
first sight part and parcel of the structure ; the brick arch,
however, as raay be seen on closer observation, is not precisely
in the sarae direction as the Arch of Dolaibella, but inclines a
Uttle aslant to the right hand. On passing through the Arch
of Dolabella, fragments of brickwork belonging to the same
aqueduct, by which the road is bounded on the left-hand side
for some distance, may be observed upon the summit; and
other irregular shaped portions raay also be observed dotting
the ground in the distance along a line extending to the east
ward, skirting the northern flank of S. John Lateran, towards
the point of its coraraenceraent at the Porta Maggiore, where
it derived its source frora the Claudian aqueduct. The southern
elevation of the Arch of Dolabella is an exceedingly plain one,
composed of large blocks of travertino, as is the whole structure ;
here the inscription above referred to, engraved in capital let
ters, still perfectly legible, may be observed upon the architrave.
An extensive open space of ground iramediately within the
Arch of Dolabella, called the Piazza di NaviceUa, raay be
regarded as a central point on the surarait of the Coelian,
whither five principal roads frora various parts of its periphery
converge. Of these roads, after the one by which we have
ascended from the Piazza di S. Gregorio, the second leads
from a point in the Via di S. Sebastiano near the north-east
angle of the Baths of Caracalla, and falls into the first road
a few paces outside the Arch of Dolabella : the third leads
by a slight inflexion frora the ancient blocked up gate, the
Porta Metronis, where the Maranna streara enters the walls of
the city : the fourth, parallel with the course of the Neronian
aqueduct, leads frora the Basilica of S. John Lateran ; and the

Chap. XL] THE CCELIAN. 217
fifth, leading frora a point in tho wostcrnmostof the two parallel
thoroughfiires between the Colosseum and the Basilica, com
mences near the Colosseum and skirts "the garden of the
Passionites. The area is an irregular shaped oblong, lying
from north to south, whence an excellent riew is to be had of
many interesting objects in the distance, including the site of
the Baths of Titus on the Esquiline ; and an especially good
opportunity is afforded of observing and considering the dif
ferent points of the Ccelian and their bearings. The advantage,
however, as regards the latter object, is liable to disparagement,
not only in consequence of the surface of the ground being
generally rendered unintelligible by the private inclosures, but
also on account of the extrerae discrepancy of opinion that pre
vails among the antiquaries with regard to the very few visible
reliques of ancient times at present remaining. The church of
S. Stefano Rotondo for instance, which will be described in the
second section of this chapter, situated within a very short dis-
stance upon the eastern side of the piazza, a circular brick
sfructure which is now pretty generally adraitted to have been
originally built for the purpose of a Cliristian church in the
fifth century, has been at various times, and by different
authorities, erroneously identified with a Temple of Bacchus,
a Temple of Faunus, the Temple of Claudius before referred
to, as well as with two secular establishments in succession,
namely, a Macellum, or public shambles, and an Armamenta
rium, or arsenal. Neither has any more eligible site been since
determined for either of the above-mentioned objects, of which
all vestiges are consequently entirely lost. Even the position
of the Castra Peregrina, the camp where the foreign soldiers
belonging to the Roraan army were quartered, though supposed
to have been a little to the eastward of the northem extremity
of the Piazza, has never been ascertained with any degree of
certainty, though one might be inclined to imagine that no
raore eligible spot could be hit upon than the Piazza itself, on
account of the convergence of the roads frora all parts of the
periphery, and from its open elevated aspect. In forraer
times the prisoners of war of distinguished rank were confined
in the Castra Peregrina, and araong thera Chonodoraarius,
king of the Alemanni, of whose exploits at the battle of Ar-
gentoratum, the modern Strasburg, where he was taken pri-

218 A TOUE IN MODEEN ROME. [Chap. XI.
soner by the Emperor JuUan, a full and glowing account is
to be met with in the pages of Ammianus MarcelUnus,* died
there in captirity. There is not, in point of fact, hereabouts
upon the CoeUan, with the exception of the Neronian aqueduct
and the Arch of DolabeUa, a single spot or a single rum,
connected with ancient tiraes, well authenticated.
There is, however, a ruin, considerable in size, and remark
ably picturesque in appearance, situated at the northern ex
tremity of the Piazza, supposed to be the remains of a structure
built by Nero — a Nymphseum, or baths of a select description,
whether for the exclusive use of feraales or otherwise ; though
other authorities dispute the identity, and determine the site of
the Nymphaeum, which was certainly somewhere in this quarter,
upon the Passionite garden. The ruin, such as it is, is a noble
isolated fragraent of deep bright red brick, sirailar to the
portions of the Neronian aqueduct before referred to, con
sisting of an alraost solid raass, whose area is about fifteen feet
square, and the height fifteen feet, of which nothing farther can
be ascertained in its present state than that it appeare, in con
sequence of the fragments of the haunch of an arch upon two
of its opposite sides, to have forraed a portion of sorae large
building. The Villa Mattei is situated close on the westem side of the
Piazza della Navicella. From a point a few paces outside
the Arch of Dolabella, whence the second of the five roads
above-mentioned diverges towards the Baths of Caracalla, the
road is bounded without and within the arch by a high wall,
partly belonging to the former convent of S. Tomraaso, of which
there are now no other vestiges remaining. Upon the face of
the wall may be observed some rehques of the building ; one
especially, close on the inner side, a very lofty round-topped
brick arch blocked up, which, being converted to a blind arch
as it is called, is included in the raasonry of the wall subse
quently constructed. A few paces farther removed towards
the entrance of the Piazza della Naricella, is another very
beautiful Gothic arch, included in like manner in the masonry ;
the latter round topped also, but formed of white marble and
very deeply recessed, with flat mouldings, on one of which
appears engraved in legible characters the following curious
* Lib. xvi. cap. 12.

Chap. XL] VILLA MATTEI (OE GODOY). 219
epigraph relating to its coiistruotore : — "Magister Jacobus,
cura filio suo Cosraato, perfecit hoc opus." It would appear
that the arch forraed a principal entrance to the convent, since
it now encloses a blocked up gate, which raight, if occasion
required, serve as an entrance to the VUla Mattei. Above it
another sraaller raarble arch of the sarae form, and recessed in
like manner, serves the purpose of a niche, and contains a pic
ture in rough mosaic representing our Saviour seated in a chair
between two full-length figures, of which one is a negro, and
both are nude with the exception of a broad girdle.
Upon the same wall, which a few paces farther diverges
southward and forms the western side of the Piazza della Navi
cella, the modern entrance to the villa is situated at a point not
far from the point of divergence, and close on the northern side
of the church of S. Maria in Domenica. Here, as the residence
of the person in charge of the domain is iramediately within the
portal, admittance may at any time be had without delay or
difficulty. The ViUa Mattei, though coraraonly known in Rorae
by the name of its original proprietor, is not unfrequently, and
more properly, called the Villa Godoy, after the name of the
celebrated personage, the favourite rainister of Charles IV. of
Spain, by whom it was purchased at the conclusion of the
treaty of peace in 1795 between the King of Spain and the
French RepubUc, after fae had been elevated to the title of the
Prince of the Peace, and invested with a rank among his
countrymen next to the princes of the blood royal. An
interesting correspondence between the late Lord Holland
and Blanco White, including a letter from Don Manoel Godoy
to the former, may be seen in the ' Life ' of the latter,* in which
letter Godoy expresses his gratitude in eloquent and pathetic
terms to Lord Holland for the intercession made in his behalf
with the British Government on the occasion of his fall and
misfortunes : which kind act on the part of Lord Holland
appears to have originated in the successful result of a previous
application of his Lordship to Godoy when in the zenith of his
power, which procured the liberation of a young Englishman
who, haring been taken prisoner in 1804 in an expedition
undertaken for the purpose of liberating the Spanish colonies,
was condemned to perpetual imprisonment.
* ' Life of Blanco White,' by John Hamilton Thora, vol. ii. p. 194 et seg.

220 A TOUE IN MODEEN ROME. [Chap. XI.
Although the grounds of the riUa are of liraited extent, the
situation is adrairably chosen, and a principal gravel wa.lk,
commencing near the entrance, extends in a straight direction
parallel to the Piazza to the extreraity of the enclosure, whence
the spectator, standing directly opposite the Baths of Caracalla,
which are below in the foreground, at a point where the lofty
banks of the Coelian forra an abrupt angle close on his left
hand or eastward, and the precipitous height is covered with
huge picturesque fragraents of ancient brickwork, enjoys an
extensive prospect from east to west, including the entire sweep
of the horizon from S. John Lateran to the Tiber. The angle
in question is forraed by a by-road which diverges frora the
Via di S. Sebastiano at the north-east angle of the baths, and
falls into the third of the five roads above-raentioned, at a
point very near the Porta Metronis. The whole enclosure,
which contahis a casino, is laid dowu in garden ground in an
ornaraental fashion, and in a style of pretension which, con
trasted with the neglected state of the premises as things
appear at present, cannot fail to suggest to the raind an
erableraatic picture of the vicissitudes of human affairs, ex
emplified by the career of the renowned Spaniard its possessor.
To say nothing of the weeds that spring up in the par
terres, there as well as on the walks, reliques of antiquity
discovered in the neighbourhood, which, intended to have been
placed in appropriate positions, have lain for several years
strewed as it were abroad without the slightest appearance of
any definite plan, lie scattered in profusion. Of these objects,
one that I reraember, situated near the end of the principal
walk above referred to, among heaps of fragraents of cornices
aud other portions of ornaraental sculpture, is a very large
marble sarcophagus, ornaraented on all the four sides in basso
and alto relievo, in a style apparently indicative of the fifth or
sixth century, with a series of niches each containing a smaH
statue, and flanked by a pair of spirally fluted miniature
columns. There is, however, to be observed within the grounds one
object that appears to have been placed in the position where
it was intended to reraain, — an obelisk of red granite, which,
sraall as it is and rautilated, so rauch so that it is in fact
only a fragraent of an ancient obelisk, covered with hiero-

Chap. XL] VILLA MATTEI (OR GODOY). 221
glyphics, engrafted on a modem plain shaft of the same
material, has obtained a place in tho category of ancient
Egyptian obelisks existing in Rome, notwithstanding that
nobody, I believe, knows even to what ancient obelisk the
engrafted fragment belongs. Such as it is, however, upon its
base are four inscriptions, relative to which, I regret to say,
I preserved no memoranda, neither do I reraeraber whether
they are in Latin or Italian : two or raore, however, are, at
all events, poetic eflusions, which, if composed by Godoy hira
self, as the sympathies of the writer appear to be identiflcd
vrith the surrounding scenery, might at least on that account
be interesting.
The casino, which is situated on a spot iraraediately op
posite the entrance from the piazza, was completely fitted up by
Godoy, and embellished with a fine collection of pictures of the
Spanish school, all of which have been a long time since re
moved and disposed of ; and the rooras have been stripped of
everything else valuable, including nuraerous articles of virtu
and reUcs of antiquity. Among the latter may be cited a
double Herme, comprising a head of Socrates and another of
Seneca ; two large pedestals, found not far from the present spot,
bearing inscriptions relating to the 5th cohort of the Vigilise,
whose quartere are supposed to have been in the Castra Pere
grina ; some fragments of ancient mosaic, &c. Nothing at
present remains but a few inferior statues, placed upon short
truncated colurans to serve as pedestals ; and even these would
probably have been carried away with the rest had they been
considered worthy the pains of removal. The object of a visit
to the casino is perhaps after all best answered by an ascent to
the top of the buUding, where a specola or gazebo, whence is
a beautifully panoramic riew of the vvhoie neighbourhood, has
been constructed. It is a spacious oblong chamber, containing
five windows on each of the long sides, and three on each of the
short sides — apertures, however, rather than windows, each
secured by a stout wooden shutter, of which all or any one
may be opened and closed at pleasure.
The precise position of the Piscina Publica, although the
object forraerly was of sufficient importance to furnish the title
of the twelfth ancient region, has never been deterrained by the
antiquaries ; it is, however, generally supposed to have been

222 A TOUE IN MODEEN ROME. [Chap. XI.
situated at the foot of the Coelian, close adjoining the Via di
S. Sebastiano, leading to the grand Appian thoroughfare, and
more or less removed from the southem extremity of the Via
de' Cerchi. In order to go frora the Piazza della Navicella to
the spot in question, it were advisable to retrace our steps
through the Arch of Dolabella to the Piazza di S. Gregorio,
and thence continue our course along the periphery of the
Coelian for a short distance, until arriring at the angle of the
hill where four roads meet : one, by which we have arrived ;
the second, leading in the same direction to the gate of
S. Paolo ; the third, dividing the Palatine frora the Aventine,
called the Via de' Cerchi ; and the fourth, leading to the
gate of S. Sebastian, and called the Via di S. Sebastiano,
being a continuation in the opposite direction of the line of
thoroughfare of the third. The Piscina Publica was a vast
reservoir or artificial lake of water, which in the days of the
Republic, previous to the introduction of the magnificent baths
and naumachise constructed hy the Roraan eraperors, served
the purpose of a public swiraming-bath, and for the display of
all manner of gymnastic and aquatic exercises. It was fed,
no doubt, by the Maranna stream, which, eiiitering the walls of
Rome at the Porta Metronis, a point which wiU presently be
indicated, pursues its course parallel to the road silently and
invisibly under ground, and emerges near the Forum Boarium;*
afterwards falling into the Tiber through the channel of the
Cloaca Maxiraa. f Its position, which, for want of space, can
hardly be assigned to the side of the road towards the CoeUan,
where the banks close on the wayside are precipitous, may
therefore reasonably be concluded to have been at all events
on the other side, on the flat ground at the base of the
Aventine. Proceeding along the course of the Maranna stream to the
ancient Porta Metronis, by the Via di S. Sebastiano, until
arriving at the point where the stream crosses the road by a
subterraneous channel near the north-east angle of the baths
of Caracalla, the by-road just now adverted to in the de
scription of the Villa Mattei may be observed diverging on the
left hand, which, being foUowed, emerges in the third of the
five roads already indicated leading to the summit of the hiU,
* See page 128. f See page 144.

Chap. XL] POETA ASINAEIA. ', 223
at a point not very far above the Porta Mc^tronis. Turning to
the right, therefore, at tiie point of dobouchure, we arrive
vrithin a very short distance at the gate in question, of which,
however, there is nothing remarkable in appearance, nor is
there any greater inducement to pay a visit to the spot than on
account of its topographical position. Immediately in front of the
ancient blocked-up gate is a small open piazza, called the Piazza
della Ferratella, and thence a straight road leads direct to S.
John Lateran. From the Porta Metronis the walls of Rorae,
which thence run one way nearly south to the Porta Latina,
change suddenly the direction nearly at a right angle, and
incUne the other way a little to the northward of east as far as
the gate of S. Giovanni.
The Porta di S. Giovanni was built by the architect Giacomo
della Porta, under the auspices of Gregory XIIL, about the
year 1575, in place of the Porta Asinaria, which latter more
ancient gate may be observed flanked by a pair of towers, and
blocked up with brickwork, close on the western side of the
other. The Porta Asinaria was called Porta di S. Giovanni,
and also Porta Lateranense during the middle ages, and is
supposed to have derived the title Asinaria after Asinius, its
constructor ; so that at all events there appear to have been two
gates buUt there nearly on the sarae spot since the days of
Honorius. The Porta Asinaria was the gate entered by Beli
sarius in the year 536, when the Goths, who then had possession
of the city, on his making his appearance, retreated simulta
neously by the Porta del Popolo. In the year 546, ten years
afterwards, the Porta Asinaria was entered by Totila, who
obtained an entrance through the treachery of the Isaurian
guards, whose insubordination and their lax state of discipline,
according to the account given by Procopius,* who relates both
the above-mentioned occurrences, were very remarkable. Four
of the conspirators having scaled the walls, and agreed with
Totila upon measures for the betrayal of the city, carried
their plan into execution, reinforced by four of the enemy ;
and having scaled the walls as before, by ropes fastened
to the battlements, were enabled without interruption, such
was the want of vigilance on the part of the Roraans, to hew
down vrith their axes the wooden gate-posts of the Porta Asi-
* ' De Bello Gothico,' lib. i. cap. 14, and lib. iii. cap. 20.

224 A TOUE IN MODEEN ROME. [Chap. XI.
naria, and adrait the hostUe troops. Finally, the Porta Asinaria
is identified with one more melancholy reminiscence of the
Roman history, the entrance of Robert Guiscard, who arrived
there from Salerno in 1084, on the occasion of the Norraan
invasion. In the raore peaceful period, if one raight be allowed
to apply the terra, of the present day, the Porta di S. Giovanni
is the gate by which raodern visitors enter Rorae from Naples,
where no sooner have they crossed the portal than they find
themselves upon the extensive open oblong area, bounded on
one short side by the eastern gable of the Basilica of S. John
Lateran, and extending to the BasUica di S. Croce on the other.
Thence passing between S. John Lateran, with the Lateran
palace attached to its northern flank, and the Scala Santa, they
proceed up the long straight street called the Via di S. Giovanni
to the Colosseum, and thence through the Campo Vaccino.
The Lateran palace, a spacious, plain, rectangular edifice,
constructed after the designs of the architect Domenico Fon
tana, though part and parcel of the Basilica, as the palace of
the Vatican of S. Peter's, has not, however, as in the instance
of the latter, been appropriated to the residence of the reign
ing Pope for a very long period, neither is the building itself,
nor the objects contained within it, calculated in any great
degree to excite the curiosity ; at all events, the privileged ad
mittance to the interior being liable to the forraality of an order
from the Pope's major duomo, I, for my own part, never took
the necessary measures to enable me to visit it. At the time
I am speaking of — say the spring of 1842 — its character as
a rauseum stood rather low in public estiraation, and it was
considered rather as a subsidiary establishment for the recep
tion of articles rejected or discarded as rubbish or lumber by
the museuras of the Vatican and the Capitoline. At the above-
mentioned period, though a new system in its comraencement
was said to be in progress, and measures for the gradual im
proveraent of the collection were already adopted, there was
little or nothing more to be seen in the apartraents, according
to comraon report, than the plaster casts of the Elgin raarbles,
and a picture, not the best specimen that might be selected of
the talents of Sir Thomas Lawrence, — the misproportioned,
Llerculean, full-length portrait ofhis Majesty King George IV. ;
both which objects accorapanied the royal gift of fifty pounds

Chap. XL] PIAZZA DI S. GIOVANNI. 225
transmitted to Pius VIL, to be appropriated to the construction
of the Pretender's raonument by Canova in S. Potor's.
The Piazza di S. Giovanni is an oxtonsivo, open, irregularly-
formed quadrilateral aroa, that frora its position is ratlior an
appendage of the Baptistery of Constantino, otherwise called
the church of S. Giovanni in Fonte, than of the Basilica, whose
principal entrance upon the eastern gable is fronted by another
and considerably more extensive open space, as was above re
ferred to. On the eastern side it is bounded in part by the
western flank of the Lateran palace ; on the southern side it is
bounded in part by the portico attached to the northern flank
of the Basilica, and by the Baptistery of Constantine ; upon the
western side it is bounded in part by a large straggling build
ing appropriated to the purpose of a fever hospital for feraales
exclusively ; and upon the northern side, which runs parallel
with the line of the Neronian aqueduct, it is bounded by the
walls of the villa Giustiniani. From this area, by outlets so
broad and frregular as to destroy the effect of uniformity and
continuity as regards the periphery, the following principal
thoroughfares branch forth in different directions : — First, the
Via di S. Giovanni, leading dfrect to the Colosseura, which it
skfrts on the side next the Esquiline ; secondly, a thoroughfare
leading nearly parallel to the first to the Colosseum, which it
strikes in the centre, at the extremity of its longer axis ; thirdly,
a broad straight street leading a little to the westward of north
to the basiUca of S. Maria Maggiore ; fourthly, a thoroughfare a
little to the northward of east, leading, parallel to the Nero
nian aqueduct, to the Porta Maggiore ; fifthly, the thoroughfare
between the Lateran palace and the Scala Santa leading to the
gate of S. Giovanni ; sixthly, a thoroughfare leading nearly in
a south-western direction to the Piazza della Ferratella, close
to the Porta Metronis ; and, seventhly, a thoroughfare which,
as well as the one preceding, has been before referred to,
leading in a direction a little to the southward of west to the
Arch of Dolabella, and the Piazza Navicella, on the summit
of the Ccelian.
In the centre of this straggling concourse of diverging streets
and buildings is planted the largest and most ancient of all the
Roman obeUsks, supposed to have been originally erected by
Thoutmosis III. at Thebes, whence it was removed by Constan-
VOL. II. Q

226 A TOUR IN MODERN EOME. [Chap. XI.
tine, with the intention of erecting it on the Spina of the Circus
Maxiraus. The obelisk was accordingly transported down the
NUe to Alexandria, when the design of Constantine, being
frustrated by his death, was completed by his son Constantius,
who conveyed it across the Mediterranean in a three-hundred-
oared galley, and succeeded in floating it up the Tiber. De
stroyed, it is supposed, by the conflagration in the time of Nero,
though the period of its overthrow has never been precisely
deterrained, it was at all events dug up by Sixtus V. in the
sixteenth century on the spot where it had been erected on the
Circus Maxiraus, and lay buried under ground, 34 palms (or
nearly 25 feet) below the surface. Hence it was transported
in the year 1588, by the architect Fontana, to its present
position ; at which time, being broken in three pieces, and a
part of the lower portion in a manner incapable of being
used, the latter was replaced by a portion of the original base
of Constantius, on which the hieroglyphics copied from the
fragments were engraved ; and another portion of the base,
covered with a part of the original Latin inscription, was trans
ferred to the library of the Vatican, where it is still preserved.
Thus renewed, vrith the cross placed upon the sumrait, it was
erected on a lofty pedestal that at the same time serves the
purpose of a fountain, and is ornaraented by a statue, said
to represent S. John the Evangelist, though it bears a nearer
reserablance to a Madonna. This splendid shaft, formed of
red granite, covered with hieroglyphics, is 144 palms (or a
little more than 105 feet) in height, and in breadth at the base
14 palms, or 10 feet 3 inches ; the height of the pedestal, 44
feet ; making the height from the ground altogether about 149
feet. On each of the four sides of the pedestal is an inscription,
the flrst of which, with reference to the Baptistery opposite in
which Constantine was baptized by Pope Sylvester, is as follows :
" Constantinus per erucera victor, a S. Silvestro hie baptizatus,
crucis gloriara propagavit." The second relates to the removal
of the obelisk frora Thebes to Alexandria : " Fl. Constantinus
Maximus Augustus, Christianse fidei vindex et assertor, obelis-
cum ab iEgypto rege irapuro voto SoU dedicatura, sedibus
avulsura suis, per .Niluni transferri Alexandriara jussit, ut
novam Romam ab se tunc conditam eo decoraret monumento."
The third refers to the transit of the obelisk across the Medi-

Chap. XL] OBELISK PROM THEBES. 227
terranean, and up the Tiber : " Fl. Constantius, Fl. Constaii-
tini, Aug. F. obeliscum a patre loco suo niotuni, diuque Alox-
andrise jacenteni, trocentorum remigum irapositum navi, per
mare Tiberimque, magnis motibus Ronise convectum, in Circo
Max. ponendura, S. P. Q. R. D. D." Tho fourth describes tiie
operations of Sixtus Y. in remoring the obelisk from the Via
de' Cerchi, once the Circus Maximus, to its present position :
" Sixtus v., Pont. Max., obeliscum hunc, specie oxiraia, tera-
porum calamitate fractum, Circi Max. ruinis hurao limoque alte
demereum, multa impensa extraxit, hunc in locura magno
labore transtulit, formaeque pristinse accurate resti tutura, cruci
inrictissimje dicarit. A. MDLXXXVIII. PONT. IV."
The Via di S. Giovanni, and the street that runs parallel to
it at its western side as far as the Colosseum, coraprise a locality
reraarkable on account of the devastation comraitted there by
Robert Guiscard, during his short residence in the city, when,
as above stated, he entered by the Porta Asinaria, in those
portentous tiraes when, the antipope Clement III. having been
consecrated in S. John Lateran, Gregory VIL, assailed by the
Emperor Henry IIL, had betaken himself for safety to the
Castle of S. Angelo, while the fortress established on the Septi
zonium on the southern angle of the Palatine was defended by
his nephew, and the Norman array, consisting of 30,000 foot
and 6000 horee, arrived to relieve him. In the narrow road
skirting the westem flank of the Colosseum may be observed
the fron grating that gives light to the subterraneous (so called)
passage of Commodus ; and its opposite side is bounded by the
precipitous bank of the Coelian, crowned by the cypress and
olive-trees referred to in the description of the Passionite garden.
On emerging from it in the Via di S. Gregorio, we find ourselves
close to the Arch of Constantine, from whence we have now
completed the periphery of the Coelian.

q2

( 228 ) [Chap. XI.

CHAPTER XI. — Section II.

CHURCHES. S. Gregokio.
Proceeding frora the Arch of Constantine along the Via di
S. Gregorio towards the southern angle of the Palatine, the
Piazza di S. Gregorio is situated on elevated ground about
two-thirds distance, and on the left-hand side of the way.
The church, to which is attached a convent, and whose principal
entrance upon the gable faces a trifle westward of north,
bounds one side of the piazza. The spot where the church
and convent now stand was originally the site of the paternal
doraicile of Gregory the Great, a member of the ancient noble
house of Anicia, who, determined to dispose of the whole of his
property for the benefit of the Church, converted the family
raansion to a convent, to which he added a small church or
oratory, dedicated to S. Andrew the Apostle. These operations
took plaee in the year 584 ; and Gregory having become a
monk of the new convent, and subsequently having been raised
to the papal chair in the year 590, the church originally dedi
cated to hira under the present title was built after his death,
at a period not precisely defined ; after which there appears
(no extraordinary occurrence, relating to the Roman churches,
in books of comraon reference) an hiatus of one thousand years
and raore ; that is to say, the first restoration that is recorded
is the rebuUding of the portico in the year 1633 by the architect
Gio. Battista Soria, at the private expense of Cardinal Scipio
Borghese. Afterwards the church was thoroughly restored in
the year 1734 by the architect Francesco Ferrari, at the expense
of the raonks who at that tirae inhabited the convent.
The open space in front of the church, though dignified by
the title Piazza, is a greensward of irregular form, that has
the appearance of a rural coramon ; the surface inclines by

Sect. II.] CHUECHES.— S. Gregobio. 229
a gradual ascent towards the building, to whioh the approach
is by a broad flight of 32 steps. On the surarait of the stops is
the principal elevation ; and upon the frieze of the entablature
is an inscription in colossal capital characters, which comrae
morates the restoration by Cardinal Scipio Borghese above
referred to. Three enfrances, protected each by iron rails,
lead to the church through a quadrangular atrium, one of whose
sides is entirely covered by the breadth of the faqade in question,
which is carried to a considerable height, and displays the Co
rinthian above the Roman Ionic order. The atriura is sur
rounded by a double portico, of which the lower arcade serves
as a cloister to the church and convent, and the upper appears
an exclusive appendage to the convent. The lower arcade is
supported on three sides by piers faced with pilasters, and on
the fourth side next the church by marble columns ; the ceiling
on all four sides is vaulted, with arched spaces along the base,
painted in fresco ; and the walls are thickly studded vrith monu
raents, aud painted also in fresco over the whole intermediate
surface. The monuraents are for the raost part in the usual
form, — small plain tablets engrafted on the wall, and surmounted
by a pediment ; the paintings, chiefly relating to circumstances
in the life of Gregory the Great, comprise an interesting display
of costurae at that early period of the Christian church, and are
weU worthy the attention of those persons who have an oppor
tunity to exaraine them at leisure. In one, especially, an
anecdote related of Gregory the Great by Fleury, in his
Histoire Ecclesiastique, derives some confirraation ; an anecdote
stating that in those days when the Popes rode on horseback
at the head of their reUgious processions, and on such an occa
sion a sober quiet quadruped, selected especially on account
of its docUity, was produced before his Holiness, Gregory,
rejecting vrith disdain the Rosinante, severely reprimanded
his raaster of the horse, and bid him search the stables for
what in modem days would be called a raore " spiry "
animal. Accordingly, in the picture in question, Gregory,
dressed in his pontifical robes, leading a raagnificent proces
sion, is represented on a long-tailed steed, that, apparently
owing to sheer vice, has bolted off ahead at full gallop, whUe
the Pope, nowise disconcerted by his habiliraents, his feet bear
ing steadUy on the stirrups, pulls like a practised horseraan

230 A TOUE IN MODERN EOME. [Chap. XI.
rigorously at the bridle. The fourth side of the portico that
forras the entrance of the church is decorated at each extreraity
with two monuments, similar and corresponding in form with
each other. The one on the left hand or eastern extremity,
bearing the date of 1643, consists of a tablet, surmounted
by a pediment supported by a pair of columns of bigio luma-
chellato. Of the raonument on the other extremity I have no
meraorandia as to particulare, farther than that a considerable
portion of it is ornaraented by low bass-relief in the style bf
Sansovino. Close to the latter raonument is a door leading to
the convent ; it is flanked by a pair of fluted columns of Caiifark
marble. The marble columns, before referred to, that suppott
this fourth side of the portico, are three pairs, of which one
pair are dark bigio, another pair Porta Santa, and a thit-d pair
breccia corallina.
The interior of the church is constructed in the form of a
triple nave divided by corapound piers, faced by Roraan Ionic
pilasters — and colurans : that is to say, four pairs of columns
on each side interpolated between the piers. Of these colurans,
which apparently have all belonged previously to ancient
buildings, two are bigioj thfee cipollino, and eleven grey
granite. The ceiling of the middle nave is va,ulted, with spaces
for windows along tbe base, not arched in tbe usual forra, but
rectangular ; in the centre is a large fresco painting by Placido
Costanzi. The paveraent is for the most part opus Alexan
drinum, and the reraainder square tablets of porphyry, serpen
tine, and granite, which cover a l-ectahgular space in the
centre, surrounded by a border of raosaic, coraposed of small
pieces after the raanner of the ancients, and constructed, as
appeal-s by the date which is wrought into the design, in the
year l745. Araong the tablets of granite and porphyry,
which are of different sorts, may be observed a speciraen of
the same description of granite as the material of S. Peter's
chair in S. Peter's, called green grknite, of which the gi*een is
rather of the shade technically termed inrisible, or at least of
a tint so dark as to be scarcely perceptible. The side walfe,
above the round-topped arches that spring from the columns
above mentioned, consist of a more than usually lofty attic.
The ceiling of the side naves is formed by a series of ^all
flattened doraes, four in nuraber, of which the surface is plain

Sect. IL] CHURCHES.- S. Gregorio. 231
and whitewashed, supported on four arches, two of which cross
the line of perspective from end to end ; a third, springing from
the above-mentioned columns, faces tho middle nave ; and
the fourth forms the entrance of a recess. Thus in each side
nave there are fom- arched recesses, three of which contain
lateral chapels, and the fourth, on the left-hand or eastera side
a door leading to a detached chapel, and on the western side a
door leading to the convent. There is also at the extremity of
both side naves another chapel. With regard to the lateral
chapels, all are of the most ordinary description, without any
other decoration than the marble facing of the altar, the altar-
picture, and the painting of the wall in the rear in imitation of
verde antico. The following, however, are the artists to whora
the altar-pictures are attributed, namely, Francesco Manani,
Pier Damiani, Antomo Balestra, Pompeo Battoni, Geo. Bat
tista Benfreni, and John Parker. The detached chapel in
the left-hand nave above referred to is connected with the
church by a covered corridor that runs in a direction parallel
nearly to the eastern flank, and the chapel in question is at the
exfremity of the corridor, divided from it by a spacious arch
and elevated by five steps. The interior is constructed in the
form of a Greek cross upon a square area, and the ceiling is in
the form of an extreraely flattened dorae, whose surface, as are
the spandrels of its four supporting arches, and the lunettes
formed by the arches upon the cornice, is painted in fresco.
The comice, white and gold, is supported at the four angles
of the chamber by four Roman Ionic columns of marble, of
what description I cannot say, planted, withoiut lower raouldings,
on the paveraent. Opposite tiie entrance is an altar surmounted
by a triangular pediment of Carrara marble, supported on a pair
of columns of giallo e nero antico ; as to the altar-picture, I
cannot say whether or not it is a picture that at aay rate is
somewhere in the church, a portrait of Gregory the Great by
Annibale Carracci. There is another altar on the left-hand or
eastern side of the chamber, of which the altar-picture is an
ancient portrait of the Madonna, said to have coraposed a part
of the domestic furniture of Gregory the Great ; and at all
events, in order to give a greater effect to it, the whole
surface of the wall above is painted in fresco with a repre
sentation of tihe Padr« iEiberno in tfae guise of an old man

232 A TOUE IN MODEEN EOME. [Chap. XI
with a white beard reaching to his girdle, surrounded by a
host of angels. From this celestial group, a shower of flowers,
thick as flakes of snow, are falling through a sky of ethereal
blue on the head of the Holy Virgin. In front of the altar is
placed a splendid ciborium, constructed of white marble orna
raented with gilding, in the forra of a teraple, of which the
raain portal, made to open and shut for the purpose of contain
ing the holy elements, is about three inches in breadth, and
the reraainder in the sarae proportion. The rainiature elevation
displays, notwithstanding, two regular orders of architecture,
with an entablature supported by colurans, and several statues
of saints and bishops, that flank a group of the Holy Virgin
and the infant Sariour placed in a central niche. The chapel
at the extremity of the NAVE is separated frora it by a
round -topped arch. It is a small charaber, and the ceiUng is
vaulted and surraounted by a lantem cupola ; the surface is
of white stucco, ornaraented with gilding. Tfae altar opposite
tfae entrance, and protected by a balustrade of bigio vrith cor
nice of Carrara, is contained vrithin an absis, whose entire con
cave, in the intervals between the white and gold pilasters that
support the comice of tfae serai-dorae, is lined vrith wfaite stucco,
beautifully wrought in gilded bass-relief, in a design consisting
of small figures and delicate foUage. The side walls are also
faced witfa wfaite and gold pUastere, and on tfae wall on the
rigfat-faand side may be observed a marble tablet bearing an
inscription, coraposed by the raonks of tfae convent for the
purpose of commeraorating tfae elevation of Gregory XVI. to
tfae papal cfaair ; for tfae sixteentfa Gregory, as well as his great
namesake, was a raonk of this convent.
In tfae rigfat-faand nave tfae chapel at the extremity, like
tfae otfaer, is separated from tfae nave by a round-topped arch.
Opposite the entrance is an altar faced by a tablet of white
marble sculptured in bass-reUef, representing a miracle said to
have been perforraed by Gregory the Great, to tfae effect that
by dint of celebrating thirty raasses fae succeeded in tfae libera
tion of tfae soul of a brotfaer monk from tfae pains of purgatory,
and accordingly underneatfa tfae bass-relief is the followmg
inscription : " Missis triginta Sanctus Gregorius animam sui
monachi hberavit." On the left-hand side of the chapel there
may be also observed upon the wall a tablet of marble, bearing

Sect. IL] CHUECHES.-S. Greqorio. 233
an inscription that, in addition to the circumstancos above rcforrod
to, relates more precisely, with roforonco to tho sarae altar,
how the apparition or liberated spirit of tho deceased raonk
was seen by another monk of the convent : " D. O. M. Aram
hanc S. Gregori M. Titulo et patrociuio venerabilem plurium
R. O. Pont, privilegia toto orbo celebrem reddiderunt, ad
quam mandante S. Gregorio, quum hujus monaster! monachus
diebus xxx continuis sacrificium pro anima defuncti fratris ob-
tulisset, eam monachus alter piacularibus flararais exeraptara
vidit." The original coll tfaat Gregory the Great occupied is
connected witfa tfais cfaapel by a door on the right-hand side,
the side of the present convent. It is a very sraall cell, of which
tfae dimensions are about 6 feet by 10 feet in area, and of
heigfat corresponding. Tfae ceiling is vaulted with groins, and
the surface, as well as the entfre surface of tfae walls, is covered
continuously vritfa painting in chiaro oscuro on a golden ground,
vrith tfae exception of a space at tfae nortfaern side occupied by
a picture. The picture, whicfa, from its position close to the
pavement, is calculated to give greater life to the subject,
represents Gregory in the manner fae was wont to take his rest,
according to his ascetic faabits, dressed in his monastic robe
lying on the ground, his head supported by the hand and elbow.
It is enclosed vrithin an fron grating, formed of painted black
bars the size of one's finger, forming squares of about six inches,
ornamented vrith gilded knobs at the angles. Above the
picture are the two foUovring Latin lines : —
" Nocte dieque vigil longo hlc defessa labore,
Gregorius modica membra quiete levat."
There is also to be observed in this chapel the identical pon
tifical cfaair of Gregory the Great, constructed in the usual
soUd form of white marble — a relique which, according to ap
pearances, has suffered not less by foul than by fair usage ; for
while the seat is deeply indented by tfae knees of the pious
people who have knelt upon it, otfaer people, actuated no doubt
partly by a sirailar impulse, faave notwithstanding, in tfae attain
raent of tfaeir object, coraraitted a degree of petty larceny, and
have chipped off and carried away as reliques every protruding
point and angle tfaat tfaey could lay faold of.
Tfae cfaofr, coraprising a space at tfae extreraity of tfae raiddle
nave vritfain a very deep arched recess, is elevated by one step.

234 A TOUR IN MODERN EOME. [Chap. XI.
and protected hy a massive balustrade of bigio raarble, with
cornice of Carrara. The soffit at tfae entrance is ornamented
witfa wfaite and gold, and tfae sides are lined witfa coraposite
pilasters striped vritfa wfaite and gold in iraitation of fluting ;
the pavement of the wfaole space witfain tfae balustrade is of
inlaid marble.
The higfa altar is contained withiu an arched recess exca
vated to a considerable depth at the back of tfae larger one,
and its soffit and sides are decorated in a siraUar raanner ; the
face of the altar is sfaeatfaed vritfa pavonazzetto, verde antico,
giallo antico, and SicUian jasper. In tfais cfaurcfa, altfaougfa I
ara not able to indicate tfae position, or even say whether or not
there is any monument to be seen, Lucrezia Cenci, whose
history and faraily raansion were briefly referred to. Vol. I.,
pp. 401, 402, was buried.
In addition to the cfaurcfa of S. Gregorio, tfae wliole of wfaich,
built and dedicated to Gregory the Great after his death, has
now been described, there are also to be seen on the present
spot tfaree distinct and separate ancient cfaapels, said to faave
been originally erected by fairaself, and dedicated respectively
to his mother, Sa. Silvia, to S. Andrew, and to Sa. Barbara.
The three buildings stand within a few paces of one another on
the eastem flank of the cfaurcfa, on ground tfaat belonged in
former times to the patrimonial estate, and after many and
various restorations are in good preservation.
The First Chapel is of Sa. Silria, to whicfa tfae approach
is from the atrium in front of the cfaurcfa by a door on the
eastern side, and there is also another approach by a door in
the corridor above referred to, leading frora the left-hand nave
to tfae detacfaed chapel. By the latter way, after emerging
from tfae corridor, previous to entering tfae chapel of Sa. SUvia,
it were worth while to observe some fragments of ancient brick
work that appear in the enclosure, belonging to walls painted
in fresco, including an Ecce Homo, discovered accidentally in
1840, and a remarkable speoimen.
The chapel of Sa. Silvia is built of brick, and is remark
ably plain in its exterior. Within, the ajea is an oblong,
nearly approaching to a square ; tfae ceiling is flat, and lined
witfa coffers of unpainted wood, and tfae walls are plain ,and
wfaitewasfaed.

Sect. II.] CHtTRCHES.— S. Gregorio. 235
At the extremity is au altar, protected by a balustrade of
pavonazzetto with cornice of Carrara, and contained within an
absis, whose seraidorae is painted by Guido in fresco, repre
senting, in a general ornamental design, the " Padro Etemo,"
surrounded by a host of angels playing on musical instruraents.
The pediment, of elegant form, and ornamented witfa very
simple mouldings, is of Carrara marble, supported by a pair of
colurans of porphyry ; and above the altar, instead of an altar
picture, is a raarble statue of Sa. Silvia by Niccolo Cordieri, a
scholar of Micfaael Angelo.
The Second Chapel, or the one tfaat stands next to tfae
preceding, is the chapel of S. Andrew, a brick building similar,
as far as regards form and dimensions, to the preceding. The
side waUs, however, are ornamented with fresco paintings,
celebrated as the rival performances of Guido and of Doraeni
chino, both described in colossal figures and in good preserva
tion. One of these, on tfae left-faand side by Guido, represents
S. Andrew led forth to be crucified, and in the act of adoring
the cross ; the other, by Doraenichino, represents the flagellation
of S. Andrew prerious to fais crucifixion.
At tfae extremity of the chamber is an altar of whicfa tfae
pediment is of Carrara marble, with frieze of verde antico,
supported on a pair of Roman Ionic columns of verde antico.*
The altar picture, flanked by figures of S. Peter and S. Paul
by Guido, is by the Cavaliere Roncalli.
The Third Chapel, the chapel of Sa. Barbara, is a brick
building similar in form and dimensions to the other two. Tfae
side walls are painted in rather an ordinary style in fresco ;
tfae painting on tfae left-faand side represents a miracle said to
faave occurred on an occasion wfaen Gregory tfae Great was
entertaining twelve poor pilgrims at table, as he was in the
habit of doing daily, by tfae sudden and unexpected apparition
of a thirteenth personage seated at the table among the
pilgrims— an angel. Tfae identical table in question, as it is
said to be, to wfaicfa the picture is subsidiary, is preserved in
tfae cfaamber, and placed appropriately beneatfa it, protected by
a rail or balustrade. It is an ordinary-looking slab of Car
rara raarble, of size corresponding to the story related of it,
* Of the marble columns in this chapel referred to by Corsi, there are
four of cipollino, which I do not remember to have seen.

236 A TOUR IN MODERN EOME. [Chap. XL
raised to the faeigfat of an ordinary dining-table on wooden
trestles. At tfae extremity of the cfaamber is an altar, wfaose pediraent
of Carrara marble is supported on a pair of columns of breccia
rossa. Above it, instead of an altar picture, a marble statue
of Gregory the Great, said to have been coraraenced by Michael
Angelo, and finished by his scholar, Niccolo Cordieri, is con
tained in a niche. Tfae figure is represented seated in the
pontifical chair, dressed in pontifical robes, of which the folds
and the ornaraents, including the jewels of the tiara, are exe
cuted very exquisitely. The slipper on the right foot, an ex
ception to the reraainder of the work as regards material, is of
rosso antico ; and above the Pope's faead, a wfaite marble dove,
erableraatical of tfae Holy Spirit, appears to be whispering in his
ear.
S. Giovanni e Paolo.
Returning to the lane whicfa leads frora tfae Via di S. Gre
gorio to tfae suramit of tfae Coelian, and continuing the ascent,
the way is presently bounded by the southern flank of the
church above cited, wfaose principal entrance upon the eastern
gable fronts upon a small open piazza referred to already in
the first section of tbis chapter. Tfae cfaurcfa of $. Giovanni e
Paolo is said to have been originally built on the site of the
residence of two brothers, the saints and martyrs to whora it is
dedicated, who were put to death by Julian tfae Apostate.
Little, faowever, is to be gathered relative to its subsequent
history, farther tfaan tfaat the cfaurcfa became tfae property of
various religious coraraunities in succession, and was put in the
condition it appears in at present by the architect Antonio
Canevari, wfao died in tfae reign of Cleraent XIL, in tfae year
1737. During tfae whole period, as it would appear, there
was annexed to tfae cfaurcfa a convent, wfaicfa was conceded
about tfae year 1773 by Clement XIV. to the Passionite
monks who inhabit it, and perform the offices of the church at
present. Tfae cfaurcfa, wfaicfa is built of brick, is reraarkable for dis
playing in its exterior, here and there, characteristic indications,
rare to be raet with in Rorae, of the Lorabard style of archi
tecture, of wfaicfa I will not undertake to point out all tfae

Sect. IL] CHUECHES.— S. Giovanni e Paolo. 237
specimens. Tfae western gable faowever, which, on ascending
the lane towards it, is a prominent object, being of a semi
circular form, and in fact tfae exterior of the absis containing
the higfa altar, is faced by a series of small narrow arcfaes
supported on corresponding small columns of travertino. Tfae
soutfaern flank, as was already stated in tfae first section, is
elevated to a considerable height on the rising bank, and
supported by a series of arches like flying buttresses that
span the road over head, and abut on the wall, supposed
to forra a part of the buildings belonging to tfae doraicile of
Gregory tfae Great on tfae otfaer side. Tfae entrance upon tfae
eastern gable is tfarougfa a portico, supported on eigfat ancient
columns, of wfaich three are red granite, three grey granite,
and two white Thasian raarble ; the capitals, with the excep
tion of tfae two latter, whicfa are irregular, are Grecian
Ionic. Tfae cenfral intercolumniation is protected by an iron
railing, and tfae rest are filled up vritfa brickwork, for the
purpose of strengthening the building, and of supporting a
corridor whicfa extends not only over tfae eastern but over the
northern side of tfae piazza, and connects tfae cfaurcfa witfa tfae
convent. Upon tfae architrave may be observed an inscription
in old letter, of which I cannot state tfae purport. Tfae ceiling
of tfae portico is vaulted vritfa groins, and tfae entrance tfaence
to the church is by a portal of wfaicfa tfae jarabs and lintel are
of white marble, ornamented in the middle by a perpendicular
stripe of mosaic coraposed of various colours. The lower block
of each jamb is sculptured in the form of tfae fore body of a
lion, represented in tfae act of devouring sorae living aniraal,
a group supposed to be indicative of the Lombard style of
architecture, and to contain a symbolical allusion to Christianity,
tfae precise raeaning of wfaicfa is considered by antiquaries
doubtful : in the present instance such is the mutilated con
dition of the object tbat little can be made of it.
The interior is constructed in the form of a triple nave,
dirided by raassive compound piere, faced with pilasters, and
by colurans of grey granite, wfaicfa, as in the instance of tfae
columns in tfae cfaurcfa of S. Gregorio, are interpolated between
tfae piers. Round-topped arcfaes spring frora the piers, witfa
tfae exception of tfae aperture nearest the entrance, which
affords a passage somewhat after the manner of a narthex.

238 A TOUE IN MODERN ROME. [Chap. XI.
and is rectangular. Tfae ceUing of the raiddle nave is flat and
coffered, painted tfae sarae colour as the cfaurcfa of S. Anastasia,
as are tfae pilasters of tfae piers, pea-green ; it is supported by
two pairs of enorraous brick buttresses planted at the extrerai
ties, each pair extending one buttress towards tfae other from
tfae opposite sides to such a degree as to form together about
two-thirds of a perfect arch. The device, adopted eridentiy
for the purpose of propping up an old building, has the raost
clumsy effect possible. The pavement is for tfae most part
opus Alexandrinum, tfae remainder red tiles and stripes of
raarble ; andin the middle ofthe area is to be observed, enclosed
within a square railed space of 3 or 4 feet the side of the
square, a tablet of white marble, containing the following in
scription commemorative of tfae fate of tfae titular saints of the
church and brother raartyrs : — " Locus martyrii S.S. Johannis
et Pauli in sedibus propriis." Upon the gable above the en
trance is an organ flanked by a pair of colurans called bigio,
by Corsi, which seen from below have tfae appearance of being
marked with very sraall speckles of white on a dark ground,
like hoar frost upon black raarble. The entrance door is also
flanked by a jiair of columns of cipollino, whose texture is finer
and the streaks more delicate than ordinary. Tfae portion
ofthe side walls above the piers and columns consists ofa very
lofty attic pierced on each side with a row of very tall narrow
windows, and painted over the whole intermediate surface pea-
green. The ceilings of the side naves are formed by a series of sraall
doraes, of so slight curvature tfaat tfae concavity is faardly ob
servable ; the surfaces are painted in fresco, and each dome
is supported on four arches disposed similarly to the arches be
fore described in the side naves of S. Gregorio. The pavement
is composed of red tiles and raonumental tablets. In each nave
are three lateral chapels, each contained within an arched recess
formed by one of tfae supporting arcfaes of tfae doraes above
referred to. At the extremity of each nave tfaere is also a
fourtfa chapel. Tfae lateral cfaapels are of an ordinary cfaaracter,
so that I have preserved no memoranda conceming tfaera, further
than tfaat tfae face of eacfa altar is sheathed with verde antico,
with a border of giallo antico. Tfae altar pictures, however,
appear rather above tfae coraraon description. Witfa regard

Sect. II.] CHURCHES.— S. Maria in Dominica. 239
to the Fourth Chapel at tfae extremity of the right-hand nave,
tfae altar-picture is said to bo painted by INIarco Benefiale.
The Fourth Chapel at the oxtroinity of the left-hand nave
is protected by a balustrade of bigio with cornice of Carrara,
and is a small chamber contained vrithin a deep recess ; the
ceiling is a slightiy concave domo, with an oval pmnting in
fresco in tfae middle : tfae pavement is inlaid marble. The
altar picture is a portrait of the Holy Virgin, decorated witfa
real ornaraents in a manner not unfrequent in tfae Roraan
churches ; the earrings, accordingly, are real gold ones, and
the necklace real pearls and rubies : whether or not the material
be genuine or artificial I cannot say. The lower part of the
face, ovring to the disposition of light and shade, is very
remarkably projected ; so that tfae chin, as the faead, as if
in a paroxysm of grief, is tfarown backwards, seems actually to
protrude beyond the canvas. The name of tfae artist, as I
underetood from tfae sacristan, is Torelli.
Tfae chofr, elevated by one step above tfae nave, is protected
by a balustrade of bigio, with cornice of Carrara ; the pavement
partly opus Alexandrinum and partly red tiles. At the ex
tremity is an absis painted in fresco by Poraerancio ; that is to
say, the entire seraidorae in a single ornamental design con
tinuously, and tfaree distinct pictures in tfae lower concave.
Ranged against the wall on both sides is a row of carved and
dark-coloured wooden seats for church dignitaries, and in the
centre of the absis is an ancient pontifical chair of the sarae
raaterial and carved in like manner.
The high altar is isolated, placed in front of tfae absis under
a canopy suspended from the ceiling : befbre it is planted the
paschal candlestick in tfae form of a small elegant coluran of
alabastro fiorito. Underneatfa tfae altar is a fine sarcopfaagus
of porpfayry, whicfa, according to tfae inscription on a scroll of
gilded bronze above it, contains tfae bodies of tfae titular saints
of tfae cfaurcfa, S.S. Giovanni e Paolo.

S. Maria in Dominica, or Della Navicella.
Proceeding from the cfaurcfa of S.S. Giovanni e Paolo by tho
route already described in tfae first section of tfais chapter, after
passing tfarougfa tfae Arch of Dolahella and tuming to tlie

240 A TOUR IN MODERN ROME. [Chap. XI.
right, we arrive in tiie Piazza della Navicella, on the right-
hand side of whicfa tfae cfaurch in question is situated, facing
eastward. Iramediately opposite, and a few yards frora tfae entrance,
raay be observed tfae object frora whicfa tfae Piazza as well as
tfae church has received its title, tfae Navicella, or a sraall boat
sculptured in wfaite Pentelic raarble, whicfa was discovered in
the reign of Leo X. near the cfaurch of S.S. Giovanni e Paolo.
There are no certain accounts relating to its history, but it is
supposed to bear reference to the martyrdora of a feraale saint,
who having been drowned by the scuttling of a boat on the
Tiber, the boat and her reraains were recovered under circum
stances considered rairaculous. The object in question, elevated
on a plain raarble pedestal, is about twelve feet in length, and
upon tfae pedestal is tfae inscription consisting of tfae simple
epigrapfa " Papa Leo X." The other title is after the name
of Greek extraction of a Roman raatron and saint, " Cyriaca,"
Latinized to Dorainica, wfaence tfae Italian Domenica, on the
site of whose faouse tfae cfaurcfa is said to be situated. The
origin of the church at all events is supposed to be very
ancient, though tfae first accounts to be relied upon state it to
faave been restored by Paschal I. about the year 820. After
wards nothing farther is to be gathered relating to it till about
the year 1514, when it was restored by Leo X. after the designs
of Raphael. In consequence of tfae isolated position of the
cfaurch, as well as on account of the occupation of tfae sacristan —
wfao, tfaougfa fae resides on tfae spot, being a detacfaed member
of tfae convent of Augustines near tfae Porta del Popolo, starts
early every morning and is absent the best part of the day
collecting alras in the city, and invariably carries with him the
key of the cfaurcfa — tfae cfaances of gaining adraittance to the
interior are not a little precarious.
The interior is constructed in tfae form of a triple nave
divided by ancient colurans, nine on each side, of which sixteen
are of grey and two of red granite, and tfae capitals of various
descriptions. The ceiUng of tfae middle nave is flat, and very
rougfaly painted, if not wfaitewasfaed, and is encompassed along
tfae base by a broad frieze, painted in chiaro oscuro by Giulio
Romano and Pierin del Vaga. Tfae pavement is composed of
red tiles. Tfae side walls above the colurans consist on each

Sect. II.] CHURCHES.— S. M.vhia in Dominica. 241
side of an attic pierced with a row of windows, and wliitewashed
over the intermediate surface.
The ceilings of the side naves are vaulted, witfa groins ; and
tfae lateral cfaapels, of wfaicfa I am not able to state the number,
contain nothing remarkable : the altar pictures aro attributed
to Lazzaro Baldi. There are, however, to be observed in the
side naves several monuraental inscriptions, which, bearing
reference no doubt to the Greek parentage of S. Domenica, are
comraeraorative of deceased raembers of the Greek church,
and are engraved in Greek characters. There is also to be
seen in tfae left-faand nave, situated near the entrance, an
ancient pagan altar of white marble, though there is no inscrip
tion and no information to be obtained of the sacristan relating
to its history.
The cfaofr is elevated above tfae raiddle nave by a double-
branched fligfat of steps, and tfae entrance is by a spacious arch
which springs frora a pair of Grecian Ionic colurans of porpfayry,
planted on tfae sumrait. Tfae space between tfae branches of
the steps is occupied by a wall carried below the level of the
nave, and an excavation is sunk in front of it after the fashion
of what is called a confessional, constructed for the purpose of
containing the sarcopfaagus of tfae female saints Balbina and
Teodora, whicfa is embedded in the wall so as to rest directly
under the high altar. From tfae ceiling of the choir is sus
pended an ancient rusty grappling iron, said to be a relique
connected with the recovery of the Navicella, or the scuttled
boat in tfae Tiber, but under wfaat particular circumstances, or
wfaetfaer relating to either of the saints Balbina or Teodora,
the sacristan v/as unable to inform rae. At the extremity of
the choir is an absis, of whicfa the seraidorae is lined with
ancient raosaic wrought during the restoration of the cfaurcfa by
Paschal I. in the ninth century ; the lower concave is painted
in fresco. Araong several figures in these raosaics, of which
the head is encorapassed by an aureole, are three of whicfa tfae
aureole instead of being round is square, a peculiarity said to
be invariably characteristic of the period of the eighth and
ninth centuries. There are said to be only five other exaraples
to be met with in Rome of the square aureole, namely, in the
crypt of S. Peter, upon the head of Pope John VII. ; in the
cfaurcfa of S. Marco, upon a head of Gregory IV. ; another
VOL. II. R

242 a tour in MODERN EOME. [Chap. XI.
in the cfaurcfa of S. Prassede ; a fourtfa in tfae cfaurcfa of S.
CecUia in tfae Trastevere ; and a fifth in tfae mosaics of the
triclinium of Leo IIL, opposite the basUica of S. John Lateran,
upon tfae head of S. Peter.*
Tfae faigfa altar, wfaich contains no reriiarkable decorations of
marble or otherwise, is isolated, and situated, as above stated,
immediately at the entrance of the choir.
S. Stefano Rotondo.
This cfaurcfa, wfaicfa was necessarily referred to in tfae first
section of this chapter, stands on tfae otfaer side of the Piazza
della Navicella, very nearly opposite tfae cfaurcfa last described,
tfaougfa a little distance removed witfain an intervening enclo
sure ; to go thither it is necessary, after learing the Piazza della
Navicella at its nortfaern extremity, to take tfae road tfaat leads
parallel vritfa tfae Neronian aqueduct to S. John Lateran. A
very short distance, faowever, from tfae entrance of tfae latter
road, tfae approacfa to tfae cfaurcfa of S. Stefano Rotondo diverges
on tfae rigfat hand, and leads through a straight avenue
of young trees along a greensward 100 yards in length
and more to tfae building. The wooden gate tfaat protects
tfae avenue from tfae road is not always open, in whicfa case,
as tfae cottage of tfae custode is close to tfae church, a person
may occasionally knock a long time without attracting his
attention, and not unfrequently the attempt to gain adraittance
ends in disappointment. The cfaurcfa of S. Stefano Rotondo,
tfaough mistaken by tfae antiquaries, as stated in tfae first section,
for several different ancient buildings, is generally believed,
principally on tfae autfaority of Anastasius, to faave been buUt
about tfae year 470 by Pope SimpUcius, tfaougfa tfaere are no
accounts of its faistory subsequently until Nicholas V., finding
it in an extreraely dilapidated state, restored it about the year
1450, since whieh period, propped up rather than rebuilt, the
form and condition at all events in which it was then left has
never been altered.
As regards its present appearance, and first of the exterior,
wfaich, as the name iraports, is circular, the buUding consists
of two concentric circular brick walls of exceedingly inferior
* See ' Annales Arch^ologiques,' par Didron aln^, tome huitifeme.

Sect. IL] CHURCHES.— S. Stefano Rotondo. 243
masonry, of which the inner one, covorod by a modem mush
room formed roof of red tiles, slanting from the apex to the
circumference, is three times as faigh as the outer one, wfaich
latter is connected with the otfaer by a tiled pent-liouse roof
slanting downwards from the inner peripliory.
The entrance is tlirough a small portico supported on four
Doric columns of grey granite, by a portal of which the jambs
and lintel are of Carrara marble ; and outside, upon the wall
above it, is excavated a small round-topped, deeply recessed
arch, to servo as a niche, whose tympanum is painted in fresco.
A small space between the concentric walls is divided from the
remainder of the circumference of the interior on both sides by
a brick partition, and is thereby converted into a sort of oblong
vestibule, approaching nearly to a square in area, of which the
ceiling is a groined vault, and the paveraent coraposed of a
material hardly, if at all, to be seen used elsewbere in tfae
Roraan churcfaes — a species of aspfaalt. On tfae rigfat-faand side
are to be observed the rautilated remains of a pontifical chair
of white raarble, said to have belonged to Gregory the Great,
relative to wfaicfa is an inscription upon tfae wall above the
relique, of which inscription, faowever, I omitted to preserve
a copy. Tfae interior of the church may be assiraUated in form to a
Greek cross upon a circular area, taking as the limbs of tbe
cross the above-raentioned vestibule, the faigfa altar opposite,
and two lateral cfaapels at rigfat angles to both the preceding,
though the construction is not precisely to be corapared to any
other of tfae Roman churcfaes, and needs a particular descrip
tion. Wfaatever were the form of tfae building previous to the
restoration of Nicholas V., it is evident that it comprised a
double circular peristyle of columns, of whicfa tfaose of tfae
inner row supported tfae inner of the two concentric walls,
and those of tfae outer row supported probably an open
portico. However, it appears that by the operation above
referred to, the portico, by means of the slanting roof, was
included in the area of tfae interior ; so that there appear at
present tfae inner row of colurans standing in tfaeir places,
and the outer row embedded in the brickwork of the outer
wall, wfaile a circular passage or corridor between botb rows,
and covered with the slanting roof of tiles above raentioned,
r2

244 a tour IN MODERN EOME. [Chap. XI.
surrounds the whole building, with the exception of the vesti
bule at the entrance. The ceUing of inner circular area is in
part flat, composed of boards very roughly whitewashed, while
the central portion reserables the drura of a dome or a cylindel-,
altogether the most clumsy contrivance tfaat can possibly be
imagined ; partiy supported by a pair of piers painted in imi
tation of red granite, and a pair of red granite colurans 10 feet
10 incbes in circumference, tfae piers and columns standing in
a row across tfae diaraeter of the area at rigfat angles to the
entrance, and supporting respectively tfaree rough brick arches,
one large between two sraall ones, that have an unsightly ap
pearance. Tfae pavement is coraposed of tfae sarae description
of asphalt as tfae paveraent of the vestibule, and in the raiddle
is to be observed a curious wooden model of a teraple, whicfa,
according to tfae following inscription appended to it, appears
to be the perforraance of a self- taugbt genius, a native of Basle,
in Svritzerland, and a baker, by whom it was made a donation to
tfae German college, and was permitted to be placed here,
subject to the pleasure of the rector of the establishment, until
he may think proper to reraove it to the German church : " Jo.
Gentner, Suevus, Belsanensis, in urbe pistor, tabemaculum
hoc, sua raanu perfectura, in suae nationis gratiam, CoU"'
German""- donavit, et hie ita posuit, ut liceat ejus Rectori in
CoU'"- templum transferre, cum expediri judicaverit, die xix.
Januarii, Anno Dora, mdcxiii." It is protected all round by
a low, solid, polygonal balustrade of travertino, painted within
and without in fresco, coraprising on every face of the polygon
a separate design, illustrative of some one or other miracle
attributed to the titular saint of the cfaurcfa, S. Stepfaen, each
picture accompanied by a brief explanatory Latin sentence.
The temple is a curious piece of workraansfaip, coraraencing
at tfae bottora witfa a circular or polygonal basement 25 or 30
feet in peripbery, and displaying five orders of architecture,
one above the other, diminishing gradually to the top, where
the upper order comprises tfae model of a cfaurcfa complete
in all its parts, and surraounted by a dome, crowned, hke the
dome of S. Peter's, by a peristyle, ball, and cross.
With regard to the circular nave or corridor, the row of
inner columns are twenty in number, forraed of grey granite,
8 feet 3 inches in circumference, with Grecian Ionic capitals.

Sect. IL] CHUECHES.— S. Stefano Rotondo. 245
torus, and plinth of Greek Hymettian marble. The difiorenco,
however, of the lower mouldings is considerable, consisting
sometimes of a single annulus and somotimes of morc, some
plain and some wrought in bass-relief. The ceiling is com
posed of unpainted boards that Ue loose on the rafters, and
the pavement is of tiie sarae description of asphalt as before
referred to. The columns, embedded in tfae outer wall, aro
said to be thirty-four in nuniber, and the interraediate surface,
with the exception of the chapels, which will first be briefly
described, is painted in fresco, on subjects connected witfa tfae
raartyrology, in a raanner that includes an extraordinarily
graphic collection, not to be equalled inany other of the Roman
churches. It may be here as well to observe, with regard to
tfae amount of surface over wfaich the pictures are painted, that
the breadth of the circular corridore is 33 feet, and as the
diameter of the whole area from wall to wall is 145 feet, the
Unear extent of the panorama is accordingly 435 feet.
To describe the cfaapels, faowever, and assuming as usual
tfae space on the right hand between the entrance and the higfa
altar opposite, as tfae rigfat-faand nave, it contains one Lateral
Chapel in tfae centre, consisting of an altar table of tfae
plainest description, forraed of rougfa blocks of Carrara raarble,
and surmounted by a small picture of the Holy Virgin thrown
into relief by a blue mantle painted in fresco on the wall in
the rear.
In tfae circular space opposite, assumed as the left-faand
nave, are contained two cfaapels, of wfaich tfae first, or tlie First
Lateral Chapel, is in the centre of tfae circular space op
posite tfae preceding. The altar is, however, rather raore
ornamented tfaan the otfaer, and is faced witfa breccia pavo
nazza. Moreover, instead of an altar-picture, it is surraounted
by a wooden figure painted in natural colours, of our Saviour
on the Cross, thrown into relief, like tbe Madonna opposite,
by a raantle painted in fresco on the wall in the rear, in the
present instance blue, dotted with golden stars. The Second
Lateral Chapel is situated close on the left hand of the
entrance of tfae cfaurcfa, contained witfain a deep arcfaed recess
projecting beyond tfae outer wall of the building in such a
raanner, that of tfae outer range of columns embedded in the
masonry, three intercolumniations are laid open, aud three

246 A TOUR IN MODEEN EOME. [Chap. XI.
round-topped arches that form tfae entrance of tfae cfaapel spring
from the four colurans in question. Tfae interior is consequently
of spacious diraensions, and is covered by a ceUing of plain boards
wfaitewasfaed. Opposite tfae entrance is an absis, of which the
seraidome is lined with ancient mosaic, supposed to have been
executed about the seventh century, and the lower concave is
painted in fresco. In front of the absis the altar stands isolated,
and is sheathed with giallo antico, verde antico, bianco e nero
antico, Africano, and other sorts of fine raarble.
Tfae high altar, of whicfa tfae face is sfaeatfaed with breccia
pavonazza, is protected by a wooden balustrade, and contained
within an absis, which projects beyond the outer wall, and
wfaose breadth is raeasured by three intercoluraniations of the
erabedded colurans, laid open here in the same manner as in
the other instance above cited. Here, however, the four
columns belonging to the tfaree intercolumniations are lai^er
than the reraainder of tfae series, fluted, formed of Hymettian
raarble, with Corinthian capitals. With tfae exception of the
above four columns, the remainder of the outer series of thirty-
four are of considerably smaller calibre than tfae inner range of
twenty, and are of tfae following description, riz., two Hymet
tian raarble, six bigio, four cipollino, and eighteen grey gramte.
The capitals are of Hymettian marble, and for the raost part
Grecian Ionic, eacfa pair supporting a sraall round-topped brick
arch, now built into the raasonry.
The fresco paintings, which cover tfae entire reraaining
surface of tfae circuraference of tfae cfaurcfa, are tfae joint per
formance of Poraerancio and of Tempesta, witfa tfae exception
of retouchings by modern artists, and two pictures painted
anew by a Sicilian painter, Manno ; and placed as they are,
visible through the intercolumniations of tfae inner row of
columns, with the advantage of an excellent light, and colours
well preserved, present siraultaneously to tfae view of tfae spec
tator a panoramic series of designs, comprising in minute
detail tfae unspeakable sufferings inflicted on the early Cliristians
in the days of thefr persecution — a spectacle whicfa cannot
fail, faorrid as it faere appears, to engender in tfae mind a feeling
of intense syrapatfay towards the appalUng sufferings and courage
of those undaunted raerabers of the huraan race so deservedly
distinguished in the forcible language of our Protestant Liturgy

Sect. II.] CHUECHES.— Basilica of S. John Lateran.

247

as a " noble army." Though tiie whole series appears at first
sight blended together continuously, the pictures are separate
and distinct as before stilted, consisting each picture of a
principal subject described by large figures in the foreground,
Ulusfrated and completed by groups of smaller figures arrayed
in the distauce, insomuch that every picture displays sucfa an
infinite variety of incident, that to comprehend and appreciate
every thing intended to be related by tfae artist would require
a very great deal of time and attention. To recite, faowever,
a few of tfae principal foreground subjects, there may be seen
the most graphic representations that the imagination can con
ceive, of a martyr immersed in a caldron of boiling oil ; of
another bound by cords, and extended on his side, while molten
lead is being poured into his ears ; of another being broiled to
death witfain the body of a brazen bull ; of anotfaer cast into
a yawning abyss swarming witfa scorpions and serpents ; of
martyrs tom in pieces by lions, tigers, and panthers, on the
arena of the Colosseura ; of one wfaose nails are being drawn
from tfaefr sockets, and flesfa is torn from tfae body by red-faot
pincere. And tfaere appeare, in addition to all tfaese horrible
instances of savage cruelty, the idealization of every species of
death and torment that can be inflicted upon the human body,
by hanging, drovraing, buming at the stake and gridiron, and
by the instrumentality of the knife and sabre, — even to the
araputation of the breasts of a young and beautiful feraale.
Little pains, it raust be confessed, have been taken on the part
of tfae artist to render less revolting tfae several liistorical facts
faere enunciated, so tfaat it appears tfae raore reraarkable, yet
so it is, to see introduced araong the rest in the raidst of an
infinite nuraber of what raay be certainly considered truthful
representations, one picture of wfaicfa anotfaer copy is described
more circurastantially (vol. i. page 469) relating to one of tfae
raost exaggerated of all tfae Roman ecclesiastical rairacles,
Sa. Valeria bearing faer own amputated faead to tfae bisfaop at
tfae altar.
Basilica of S. John Lateran.
Tfae road leading parallel witfa tfae Neronian aqueduct from
tfae nortfaern extremity of the Piazza deUa Navicella, in wfaich
we find ourselves on retuming frora S. Stefano Rotondo, to

248 A TOUE IN MODEEN ROME. [Chap. XI.
S. John Lateran, emerges in tfae piazza upon tfae nortfaern
flank, described in the first section of this chapter. Tfais
celebrated Basilica, dedicated to the two saints conjointiy,
S. John tfae Baptist and S. Jofan tfae Evangelist, and styled
even to the present day, without disparagement it is to be
presuraed of S. Peter's, " omnium urbis et orbis ecclesiarum
mater et caput," was built by Constantine, and conferred on
the then bishop of Rorae, S. Silvester, as fais episcopal cathe
dral ; since wfaicfa period tfae consecration of tfae bishops of
Rorae, and coronation of the popes, who invariably on being
elevated to the pontifical chair take formal possession of
S. Jobn Lateran, have continued to be celebrated there
without interraission. The site chosen for the edifice was a
spot previously occupied by the house of a Roraan senator,
Plautius Lateranus, who, suspected of being engaged in the
conspiracy of Piso against Nero, was dragged without trial
or preparation to the place of execution, wfaere fae was imme
diately befaeaded ; and from tfais personage, who, however he
might have been otherwise identified by word or deed with
the interests of the Christian church does not so clearly
appear, the narae of Lateran has at all events ever since
been attached to a Basilica rendered particularly renowned
throughout Christendora by the number of general and pro-
provincial councils that faave been held witfain its walls, tfaat is
to say, five general and seven provincial, of wfaicfa tfae former
are as foUows : naraely, tfae first under Calixtus If., in 1123 ;
tfae SECOND under Innocent II. , in 1139 ; tfae third under
Alexander IIL, in 1179 ; the fourth under Innocent IIL, in
1215 ; and the fifth under Leo X., in 1512. As regards the
various restorations of the building which raust have taken
place during the first ten centuries, the circumstances do not
appear to be recorded in the books of comraon reference, until,
after being destroyed by fire in the year 1308, it was speedily
rebuilt (together witfa tfae Lateran Palace previously annexed
to it, tfaougfa wfaetfaer frora tfae tirae of its original construction
or not I cannot state) by Cleraent V., wfao at tfaat tirae pre
sided over tfae papal see at Avignon. Restorations and em-
bellisbments were subsequently raade and added by Urban V.,
about the year 1362 ; by Alexander VL, about the year 1492 ;
by Pius IV., about the year 1560 ; by Sixtus V., about the

Sect. IL] CHURCHES— Basilica of S. John Lateran. 249
year 1585 ; by Clement VIIL, about tbo yoar 1600 ; by Inno
cent X., about the year 1650 ; and finally by Clomont XIL,
about the year 1737.
With regard in tho first place to tfae principal entrance and
fagade, constructed by tfae arcfaitect Alessandro GalUloi, under
tfae auspices of tfae pope last-mentioned, tfaoro cannot be ima
gined a more noble and iraposing aspect- — facing towards the
east, whence tfae sun gilds witfa fais raorning rays tfae suraraits
of a splendid range of mountains, and illuminates tfae variegated
veil of mist tfaat faovers over tfae broad intervening expanse of
tfae Campagna, dotted witfa the ruins of aqueducts. Tfae
elevation, planted on an extensive stylobate, divided in a
double plane, rising one above the other, by two flights of four
or five steps eacfa, is composed entirely of travertino, and con
sists of a double portico surmounted by an attic that terminates
in a balustrade. As the central portion projects considerably,
and is surraounted by a pediraent whose tympanum is wrought
in mosaic, a more imposing effect is accordingly given to a
colossal statue of our Saviour, who, supporting the cross with
the left arm, and extending tfae right arra towards the firraa
raent, coramands a lofty and central position on tbe sumrait of
aU, standing on a pedestal inscribed with tfae Christian raono-
gram in bass-relief, far above ten other colossal statues of saints
and bishops, five on one side and five on the other, on the cor
nice of the balustrade. The principal entablature, supported
by coraposite half columns and simUar pilasters, elevated on
pedestals, bears, upon its frieze the following inscription in
large Roman capitals : " Cleraens XII. P. M. anno . VI.
Christo . Salvatori . et . SS. Joan. Bapt. et . Evan." — so ar
ranged tfaat the words " Christo Salvatori " occupy precisely
the central projecting portion underneath the statue of our
Sariour, and iraraediately above the open balcony, whence the
Pope once every year on the day of the Ascension, borne in the
" sedia gestitoria" on the shoulders of fais attendants, presses
forward witfa extended arms in the face of the assembled raul
titude, and confers his benediction on the people. This open
balcony, which occupies the central intercoluraniation, is pro
tected by a balustrade, and the space within coraprises a round-
topped arch of considerable depth, supported on two pairs of
columns of grey granite, one pair placed behind the other in

250 A TOUR IN MODERN EOME. [Chap. XI.
such a raanner that the broad soffit of tfae arch, and tfae vaulted
ceiling of tfae corridor beyond, harraonize with peculiarly good
effect wfaen viewed by a spectator frora below. The other inter
coluraniations, two on one side of the central one and two on
the otfaer, are in like raanner occupied by arcuated balconies,
protected by balustrades, and all coraraunicating in common
with tfae corridor.
Corresponding witfa tfae five balconies above, there are five
open entrances to the lower portico, leading tfarougfa tfae five
intercolumniations of the elevation by five rectangular portals,
of which the central one, upon tfae projecting portion imme
diately underneath the papal balcony, is considerably broader
than tfae otfaere. Its soffit is supported by three pairs of com
posite colurans of Hymettian marble, 11 feet 9 inches in cir
cumference ; and the soffits of the reraaining four, two on one
side and two on tfae otfaer, are supported by tbree pairs of
coraposite pilasters of travertino. The ceiling of the interior
is an elliptical vault lined with coffers of white stucco, and the
pavement is coraposed of inlaid marble, comprising in an orna
raental central device an emblazonment of the armorial bear
ings of Clement XIL, wfaose name, togetfaer with the date
1737, appears on a broad circular band that surrounds it. An
entablature of Hymettian marble that encompasses the whole
portico along tfae base of the ceiling, is supported by composite
pilasters of the sarae raaterial, planted on bases of bigio ; and
the wfaole intermediate surface of the walls, witfa tfae exception
of tfae portals, &c., at the sides and on the extreraities, whieh
will be particularly referred to, is sheathed for the raost part
with pavonazzetto, and the reraainder Africano marble. With
regard then to tfae portals, and in tfae first instance tfae five
wfaicfa, corresponding witfa the five outside, coraraunicate directly
with the Basilica ; all are rectangular in forra, and the central
one, whose jarabs and lintel are of Africano, is surraounted by
an entablature of Hymettian, witfa frieze of verde antico. This
central portal is furnished with a magnificent ancient door of
bronze, supposed to have belonged to the Basilica Erailia in
the Roman Forum, and covered with bass-relief sculpture.
After serving sorae centuries as the door of the church of S.
Adriano, as before stated in the description of tfaat church,* it
* See page 159.

Sect. IL] CHUECHES.— Basilica of S. John Lateran.

251

was reraoved by Alexander VII. to its present position. The
two portals that flank the central one aro not so lofty, and
are each surmounted by a inarble bass-reliof engi-afted on
the wall above. Above each also is an entablature of Hy
mettian, with frieze of Africano. The two extreme portals
are again somewhat less lofty than the two preceding, and aro
surraounted in like manner eacfa by a marble bass-relief.
The entablature of these is of Hymettian, with frieze of Porta
Santa. Of these two latter portals, tfae one on the rigfat-faand side,
or tfae nortfaernmost, is indicative of privileges to wfaich four
only of the seven Roraan Basilicas are entitled ; it is the Porta
Santa, raade to be opened once only at tfae expiration of every
25 yeare, at tfae celebration of the jubilee. During the in
terval it is literally closed with brick and mortar, till on tfae
occasion above referred to, the Pope, having knocked witfa a
silver hammer and obtained adraittance, the wall is reclosed
by the masons at tfae conclusion of tfae ceremony. Here, as in
S. Peter's, tfae j'ambs and lintel are of Porta Santa, frora
whicfa circurastance, as regards the instance of S. Peter's, is
derived the title of the marble. The blocked up space is lined
with a coating of eoloured stucco, a small cross of gilded bronze
is engrafted in the raiddle, and above are four small separate
tablets of marble, on whicfa are tfae records of tfae date of
celebration of tfae four last jubilees.
Witfa regard to tfae five portals opposite, communicating witfa
the open afr, it will be sufficient to state after relating tfae
above particulars of the preceding, tfaat tfaey correspond with
tfae others in form, and in tfae style of decoration.
At tfae soutfaern extremity of tfae portico stands a conspicuous
object, a colossal ancient statue of tfae Emperor Constantine,
found araong tfae ruins of fais baths on the Quirinale, and
tfaence removed in the first instance to tfae rauseura of the
Capitol ; subsequently, after Cleraent XII. had corapleted the
portico, and faad erected a statue of himself on tfae same spot,
fae caused fais own statue to be removed and replaced by tfae
otfaer ; wfaicfa circurastance is recorded by an inscription en
graved underneatfa it. The statue is a full-length figure,
holding under the left arra a sword witfa its point reversed and
enfolded in tfae drapery ; wfaile, erableraatic of his confidence

252 A TOUE IN MODEEN EOME. [Chap. XL
in Dirine support above earthly weapons, tfae spear, whose shaft,
supported by the right hand, rests on tbe ground, is surmounted
at its point by the Christian monogram. Tfae inscription is as
follows : " Clemens XIL, Pont. Max., positse sibi statuse loco,
vetustum .simulacfarum Constantini Magni, raagis ob Christianam
religionera susceptara, quara victoriis iUustris, a Capitolinis
sedibus translatum, in bac Lateranensis BasUicse, ab eodem
Imperatore conditse, nova porticu merito collocavit. A. S.
MDCCXxxvii. Pont. VII." At the northern extremity of the
portico, opposite to the statue of Constantine, is a door leading
to the balconies above.
The interior of the basilica is constructed in the forra of a
quintuple nave, of whicfa the raiddle nave is divided from
the two interraediate naves by piers of such enorraous size that
the arches of tlie~ intercolumniations seem pierced tfarougfa
the solid wall. The piers being twelve in number, six on one
side and six on the other, there are placed in niches excavated
in their surface, and facing towards the middle nave, colossal
raarble statues of the twelve apostles, eacfa flanked by a pair of
fluted pilasters that support the raain cornice. Tfae ceUing of
tfae raiddle nave, which is attributed to Pius IV., is flat and
coffered, the panels painted deep blue and scarlet, with very
richly wrougfat and gilded raouldings ; tfae paveraent is for the
raost part opus Alexandrinura. At tfae extreraity of, tfae area
near tfae transept is tfae tomb of Martin V., wfao died in 1431,
which is as fresh and well preserved after the casualties of more
tfaan tfaree centuries as if it were newly erected. It consists
of a colossal tablet of very dark-coloured and bighly-jiolished
bronze, profusely ornamented with bass-relief, the performance
of Simone, a brotfaer of Donatello, and bearing on its surface,
executed in similar bronze, tfae supine effigy of Martin V., clad
in fais pontifical robes. The bronze tablet rests on a bed or
frame of Hymettian marble, wrought on the four sides in de
signs relating to tfae arraorial bearings of tfae Colonna faraUy
in bass-relief, principally, a coluran, surraounted by a crown
enclosed in a wreath, and supported by a pair of infant angels.
The whole, not raore altogether than three or four feet above
the pavement, is supported on six dwarf pedestals, about 10
inches in heigfat, ornamented witfa raosaic in small pieces of
black, wfaite, scarlet, and gold. It raay be faere as well to

Sect. IL] CHUECHES.— Basilica of S. John Lateran.

253

observe witii regard to magnitude goiiorally, that tho length
of the middle nave, frora tiie entrance to tho transept, is about
300 feet, and breadtfa about 66 feot ; and the entire breadth of
the chnrcli, including the five naves, about 204 foot. The
piere above referred to were constructed by Borromini, under
the auspices of Innocent X., and conceal, it is said, a row of
ancient granite columns that remain where they stood before
erabedded in tfae masonry ; the pilasters, before cited, are
coloured in imitation of Hymettian marble, and are supported
on pedestals of the real raaterial, witfa base of bigio. Each of
tfae niches containing the statues of tfae apostles is surraounted
by a very massive pediraent of irregular forra, of Hyraettian
marble, and supported on a very fine pair of columns of verde
antico, whicfa, together with tfae statue, rest on a broad pedestal
of bigio. The niche is excavated to a considerable depth ; and
above tfae faead of eacfa statue tfae ceiling, wfaicfa is in tfae forra
of a flattened dorae, is lined witfa coffers of wfaite stucco. Tfae
statues in question were sculptured by tfae following artists,
naraely, tfaose of S. Jaraes tfae Great, S. Mattfaew, S. Andrew,
and S. Jofan, by Rusconi ; those of S. Thoraas and S. Bartiio-
lomew by Le Gros ; S. Thaddeus by Lorenzo Ottoni ; S. Simon
by Francesco Moratti ; S. Philip by Giuseppe Mazzuoli ; S.
James the Less by Angelo de Rossi ; and S. Peter and S. Paul
by Etienne Monot. The reraaining portion of the surface of
the piers above the niches is occupied by two large tablets of
painting and bass-relief sculpture ; and in the spaces betvpeen
the piers, above the arcfaes of coraraunication with tfae side naves,
tfaere is in eacfa one large window. Upon tfae eastern gable wall
above the entrance, surraounted by a pediraent, is a balcony
whicfa comraunicates witfa the balconies outside belonging to
tfae upper portico ; tfae pediraent is supported by two pairs of
coraposite colurans of grey granite, if not Hyraettian marble.
The side naves, whicfa, flanking the middle nave, I have
termed intermediate naves, coraraunicate, as do all tfae
rest, witfa tfaose of the five portals of the portico, corresponding
in position. The ceilings are coraposed of a series of doraes
of exceedingly small curvature, situated in the rear of the
main arches of tfae raiddle nave ; and in tfae intermediate
space in tfae rear of tfae piers, plain wfaitewasfaed vaulting ;
tfae domes are omamented by a circular wreatfa of stucco.

254 A TOUE IN MODEEN EOME. [Chap. XL
supported at four points in tfae circumference by an angel's
head and pair of wings. The paveraent is of dark and of
light-coloured marble, inlaid in squares and rhomboids. These
naves, being dirided from the middle nave by the raain piers,
are divided from the other pair, whicfa I propose to caU the
EXTREME naves, by a range of piers of smaller dimensions,
so constructed that of the apertures between tfae sraaller piers
two rectangular portals correspond to every single oue of the
raain arches ; and eacfa of these portals is surraounted by an
entablature, supported at each extreraity by an angel's head
and pair of wings, to serve as a bracket. First as regards the
LEFT-HAND or southem INTERMEDIATE NAVE, notwithstanding
that a raonuraent is engrafted on the raasonry of every one of
the larger piers, it contains nothing tfaat I know of worthy of
particular observation ; the monuments, corresponding for the
raost part in form and magnitude, are all of small diraensions,
consisting principally of a tablet bearing tbe inscription, sur
mounted by a slightly projecting pediment, that rests on a pair
of sraall columns, or half columns, or pUasters of raarble of
different sorts.
In the RIGHT-HAND or northern intermediate nave, a
monuraent, as on tfae otfaer side, is engrafted on tfae masonry of
every one of the larger piers, tfaougfa in tfae present instance
of a superior description to those preceding. One especially
to be observed on the first of tfae larger piers— tfaat is to
say, on tfae left-faand side of tfae nave in question — tfaougfa
not a tomb, is a monument, particularly so to be termed in the
commemorative sense of the word, erected there in the reign of
Pius VL, in honour of Boniface VIIL, by tfae Caetani faraily,
of wfaicfa he was a raember, particularly for the purpose of
recording the celebration of the first jubilee by that pontiff
in the year 1300, and of preserving his picture, painted by
Giotto, fais contemporary, wfaicfa picture was discovered in the
cloisters of the ancient basilica. This original portrait by
Giotto, represents Boniface between two of fais Cardinals at
tfae jubilee, addressing tfae people from tfae balcony, and is
enclosed in a glass fixture frame, surmounted by a pediraent
resting on four columns of granite. Underneatfa the picture
is tfae following inscription : " Imago iconica BonifacU VIIL,
Pont. Max., Jobelseuin priraura in annum mccc. indicentis,

Sect. IL] CHUECHES.— Basilica of S. John Lateran. 255
pictura Giotti sequalis eoruni temporum, (piam e voteri podio
in claustra, inde iu teuiplum translataiii, gons ('aiotana, ne
avitum monuraentum vetustate dolorotur, anno mdcclxxxvi.
crystallo obtegendam cui-a\it." The monument engrafted on
the second pier consists of a tablet of marble, bearing an in
scription in old letter ; and above it a cross encompassed by
a wreatfa of palra brancfaes, emblematic of martyrdom. Tfae
tablet is surmounted by a pediment of white stucco, resting on
a pair of pilasters in the form of Hermes of the same material.
The monument engrafted on tfae third pier is dedicated to
tfae raeraory of Alexander IIL, by bis namesake and country
man Alexander VIL, at a period 500 years after tfae deatfa of
tfae forraer, wlio died in 1181. It consists principally ofa sort
of pedestal, in the form of an oblong prisra, rounded at the
extremities, and planted upon a base of yellow Sienna marble,
which rests upon a broad plinth of bigio. Tfae pedestal is orna
mented with an emblazonment of the arms of Alexander VIL,
the star and mountains, and is surraounted by an entablature
supported on four columns of Sicilian jasper, of whicfa the
capitals, of irregular construction, are, togetfaer witfa tfae torus
and phnth, of the sarae raaterial. The present is alraost a
singular instance to be seen in Rorae of tfae capitals and sfaaft
of a column being of the same coloured marble, and the effect
is at aU events particularly bad. Tfae monuraent engrafted on
tfae fourth pier consists of a raedallion white-marble portrait
in bass-reUef, accompanied with an ancient inscription in Latin
hexameters and pentametere. Tfae medalUon is surraounted by
a pediraent of stucco of irregular form, supported by a pair of
Herraes that terminate at the surarait by an angel's head and
pair of wings. Tfae raonuraent on tfae fifth pier consists of a
tablet of black raarble, bearing an inscription to the raeraory of
a nephew of Paul IIL, surmounted by a pediment in tfae broken
form, of Hymettian marble, supported on a pair of colurans of
verde antico, witfa capitals, torus, and plintfa of white raarble.
Upon eacfa of the extreme angles of the pediment is the
reclining marble figure of a feraale, whose drapery, in abundant
folds, is well arranged and executed.
The Extreme Naves, bounded by the smaller range of
piers on one side, and by the flank wall of tfae building on
the other contain, tfae left-faand or soutfaern nave flve, and the

256 A TOUR IN MODEEN EOME. [Chap. XL
rigfat-faand or nortfaern nave four, lateral chapels. The ceU
ings consist of a range of transoms supported each at the
extremities by an angel's head and pair of wings to serve as
brackets, and the space between is vaulted with a slight con
cavity. The pavement is sirailar to tfae paveraent of tfae inter
raediate naves before referred to. To commence with the
southern or left-hand nave, tfae First Lateral Chapel is
tfae celebrated Corsini chapel, or the Capella Corsini, buUt
by Clement XII. in honour of his ancestor S. Andrea Corsini,
and literally a sraall church with respect to its perfect form
and diraensions. It was constructed after tfae designs of the
arcfaitect Alessandro Gallilei, and is protected frora the nave
by a lofty and very magnificent pair of gates of dark-coloured
bronze, of whose bars the central ones are fluted Corinthian
columns, and the reraainder of corresponding forra, raassive and
exceedingly highly wrought witfa architectural and heraldic
ornaments, of which the surface, whether embossed or fretted,
is interspersed here and there with a good deal of gilding.
The interior is constructed in the form of a Greek cross upon
a square area ; the ceiling formed by a dome supported on
four raain arches. The dome, of whicfa the upper concave is
lined with coffers, eacfa containing a gilded rosette on a ground
of wfaite, is surraounted by a lantern cupola ; and its lower
portion or drum is faced with wfaite and gold pilasters, which
rest on a cfrcular belt or frieze containing an inscription in
gilded capital letters on a white ground, referring to the date
of its construction by Cleraent XII. There are to be observed
also on the spandrels of the supporting arches, though the
raaterial is hardly in keeping with the general style of deco
ration, four bass-reliefs of white stucco. The paveraent is a
beautiful piece of work of inlaid marble in imitation of a
coffered ceiUng ; and in the middle, for the purpose of giving
light to a crypt below, is a circular bronze grating surrounded
by a circular belt of giallo antico, edged on both sides with
verde antico, and containing tfae following inscription ^rougfat
in capital letters of black marble : " Cleraens XIL, Pont.
Max. A. S. mdccxxxiv. P. IV." A raain entablature of Hy
raettian raarble witfa very delicate rectangular raouldings,
including a frieze of fior di Persico, surrounds the wfaole cfaapel,
and is supported on fluted Corintfaian pUasters of Hymettian

Sect. It.] CHURCHES.— Basilica of S. John Lateran. 257
witii capitals of white marble, planted at the angles on a dado
about eight feet in height, composed of large tablets of highly
poUshed fior di Persico edged with a moulding of verde antico :
these tablets are surraounted by a cornice of Hymettian, and
rest upon a base of Afiicano of very superior quality, tfae
blotches of wfaite, of purple, &c., being singularly brilliant and
distinct. The prevalence faere of the fior di Persico over every
otfaer marble is a leading characteristic.
To describe, however, tfae sides of tfae cfaapel raore distinctly,
whicfa consist principally eacfa of the space within a supporting
arch of tfae dorae : the first object to be observed upon the side
opposite the entrance is tfae raagnificent altar, raised by three
steps above tfae level of tfae paveraent, and surraounted by
a superb triangular pediraent of Hyraettian raarble, whose
raotddings are exceedingly delicate, and the frieze and tyra-
panura ornamented with bass-reUefs of gilded bronze on a
ground of verde antico. LTpon each of the extreme angles
appears a reclining white raarble statue of a feraale, one
representing Innocence, and the other Penitence, sculptured
by Pincellotti ; and the pediment is supported by a splendid
pair of coraposite columns of verde antico, with capitals and
torus of gilded bronze, and plinth of copper-coloured bronze.
These columns, the same that formerly belonged to the Arch
of Marcus Aurelius in the Corso, are elevated on pedestals of
fior di Persico.
Tfae altar picture, enclosed in a fixture frame of verde
antico ornamented witfa gilded bronze, is a mosaic copy of a
picture of S. Andrea Corsini, by Guido, polished to a faigfa
degree of brilliancy, even perbaps exceeding in lustre the
mosaic picture of the Last Comraunion of S. Jerorae in S.
Peter's, and in fact so resplendent that it appears, unless on
very close inspection, to be protected by a plate of glass. The
altar, on whicfa are placed seven superb candlesticks of gilded
bronze, is flanked by a pair of colossal statues of angels of
dark-coloured bronze with gilded bronze drapery, one holding
in its hand a lamp, and the otfaer a candlestick ; and the face of
the altar is in part covered vritfa arabesque omaments of gilded
bronze on a ground of lapis lazuli, and tfae reraainder sfaeatfaed
with fior di Persico and verde antico. The remaining portion
of the tympanum of the enclosing arcfa, witfa tfae exception of
VOL. II. 8

258 A TOUR IN MODERN ROME. [Chap. XI.
the space occupied by a large white marble tablet of bass-relief
that surmounts the pediment, representing S. Andrea Corsini
at the battle of Anghiesi, is sfaeatfaed witfa breccia pavonazza,
alabaster, and SiciUan jasper. The soffit of the enclosing arch
is Uned with white and gold coffers ; and as for tfae sides, there
are to be observed at tfae bottora two similar monuments, each
consisting of a sarcopfaagus of Porto Venere surmounted by a
pair of wfaite marble statues of infant angels weeping. Above
eacfa sarcopfaagus, contained witfain a nicfae, is a wfaite marble
statue ; and again above tfae statue is a bass-relief on white
marble. On the left side, the whole space witfain tfae enclosing arch
is occupied by the monuraent of Clement XIL, the founder of
the chapel, contained witfain a spacious absis, of wfaich a portion
of tfae seraidome towards the exterior is forraed after the
fashion of a recessed arcfa, of concentric raouldings of Hy
raettian marble, and tfae reraainder lined with coffers of giallo
and verde antico, eacfa vritfa a rosette of wfaite raarble in the
raiddle ; the interraediate space between the coffers is sheathed
with Hymettian : a circular entablature, resting on a pair of
composite columns of porpfayry, witfa capitals, torus, and plinth
of gilded bronze, divides the seraidorae from the lower concave,
of whicfa tfae entire surface is sfaeatfaed witfa giallo antico.
Between tfae porpfayry colurans, planted on a pedestal of verde
antico, witfa cornice of Hymettian and base of Hymettian and
Sicilian jasper, is tfae seated statue of gilded bronze, by the
sculptor Maini, of Cleraent XII. ; and upon tfae dado of the
pedestal is engrafted a tablet of black marble bearing the
foUovring brief inscription : " Clemens XII. Pont. Max. Ann.
IV. obiit Ann. X." The statue is flanked by a pair of wfaite
marble statues by the sculptor Monaldi ; and underneath it is
the raagnificent sarcophagus of porphyry found in the raiddle of
tfae fifteentfa century buried under tfae portico of tfae Pantheon.
Wfaetfaer or not it was polished anew after its exhuraation, the
surface is now lustrous ; and, notwithstanding the lapse of more
than eigfateen centuries, tfais magnificent pagan receptacle,
destined to grace the tomb of a Christian pontiff, is perfectly
fresh and new in appearance : it is elevated on a splendid slab
of Porto Venere raarble of corresponding size and beauty.
Upon tfae lid, tfae triple crown, or trirennium, of gUded bronze.

Sect. IL] CHURCHES.- Basilica of S. John Lateran. 259
is placed, resting on a cushion oi pietra paragona, or touchstone,
ornamented witfa gilded bronze, wrougfat in iraitation of a trira
raing of lace, with tassels at the four corners. The soffit of
this, as of the firet enclosing arch, is lined with white and gold
coffers ; and the sides are sfaeatfaed witfa narrow oblong tablets
of raarble, in three perpendicular rows, one row of Sicilian
jasper between two rows of verde antico.
The rigfat-faand side of tfae cfaapel is decorated in a style so
nearly similar to the left-faand side, that witfaout entering into
the details it will be sufficient to notice the points of difference.
Here, for instance, corresponding with the monuraent of
Cleraent XII. on tfae otfaer side, is to be observed the monument
of the nephew of Clement XIL, the Cardinal Neri Corsini.
Tfae statue of tfae Cardinal, instead of being seated, is in an
erect attitude, and instead of being of bronze, is of white
raarble. Of the flanking statues, one representing Religion
is of a feraale, and the other of an infant angel weeping.
Tfae fourtfa side of the cfaapel, wfaicfa contains tfae entrance,
witfa regard to tfae soffit and sides of the enclosing arcfa, corre
sponds witfa tfae side opposite tfaat contains the altar ; and both
sides accordingly are omamented witfa a sarcopfaagus at tfae
bottom, surmounted each by a statue in a niche, and above the
statue by a bass-rehef. The four statues belonging to the
two latter arches, said to represent four cardinal virtues, of
wbich three are Temperance, Fortitude, and Prudence, are
attributed to the sculptors Filippo VaUe, Giuseppe Rusconi,
and Comacchioni ; and the bass-reliefs that surraount the
three respectively, to Bartolomeo Benaglia, Anastasio, and
Adara. Tfae descent to tfae subterraneous crypt underneath the
pavement is by an elegantly forraed spiral flight of thirty-four
steps of travertino leading from a door that opens from the nave
on the eastern side of the entrance to the cfaapel. The area,
corresponding to the Corsini chapel above, is square, and the
ceiling, slightly vaulted, is supported by four elliptical arches ;
the pavement is inlaid in squares of blue and of white raarble.
In the middle of the area, iraraediately underneath the cfrcular
grating, is an altar surmounted by a Pieta of white marble,
or a group of the Holy Virgin supporting on her knees the
dead body of our Saviour. Tfae wfaole interior of the chamber,
s 2

260 A TOUE IN MODEEN ROME. [Chap. XI.
which is the cemetery of the Corsini famUy, is remarkably
plain, and the walls naked and unadorned. On the eastern
side, precisely under tfae raonuraent of Cleraent XIL, and
resting on tfae ground, is a plain sarcophagus of travertino en
cased witfa stucco, on tfae side of wfaich, wfaetfaer tfae reraains of
that pontiff are actually contained in it or in the porphyry one
above, tfae following brief epigrapfa is engraved — " Cleraens
XII. Pont. Max." Tfaere are besides a few plain raonu
raents belonging to tfae Corsini ; and on tfae western side is a
sraall door leading to a sacristy attacfaed to tfae crypt on the
sarae subterraneous level. The Second Lateral Chapel
is contained within an arched recess, and protected by a low
massive balustrade of white veined raarble, constructed in the
forra of an hexagon of unequal sides, with cornice of light-
coloured bigio. The altar is faced witfa verde antico, witfa a
central tablet of porphyry ; and tfae pediraent, of extraordinary
breadth, is of white stucco, supported on a pair of colurans
of tfae sarae raaterial. Tfae tyrapanura of tfae enclosing arcfa is
painted in fresco, and on tfae left side is tfae raonuraent of a
cardinal elevated on a pedestal of bigio raarble, that contains
an inscription. The raonument consists principally of a sarco
phagus of Sicilian alabaster, surmounted by a slightly projecting
pyramid of cipollino, on whicfa is engrafted a medallion wfaite
raarble profile portrait in bass-relief. Tfae sarcopfaagus is
flanked by a pair of raarble statues, one of whicfa, tfae flgure of
a fauraan skeleton, represents Deatfa lifting witfa his left faand a
mantle of wfaite marble, wfaile tfae inverted finger of tfae rigfat
hand, the elbow resting on the sarcophagus, points to the ground
below, where, represented in bass-relief, lie scattered about, as
it were in confusion, the hat, robes, and other syrabols of a
cardinal's dignity. The real red faat, moreover, whicfa the car
dinal wore in fais lifetirae, a still raore irapressive illustration of
the vanity of human greatness, faangs dangling, suspended by a
cord frora tfae crown of tfae arcfa, immediately above the
raonuraent. Tfae Third Lateral Chapel is divided frora
the nave by a lofty iron or bronze railing. The area is oval,
and tfae ceiUng an oval dorae surraounted by a lantern cupola,
with a sraall fresco painting at the sumrait, with wfaicfa exception
tfae wfaole reraaining surface of tfae dorae is plain wfaite stucco ;
the paveraent is coraposed of red and yellow tiles. The altar

Sect. IL] CHURCHES.— Basilica of S. John Lathran. 261
opposite tlio entrance is contained witliin a deep arched recess,
of whicfa tfae soffit is divided in panels containing sinall pictures,
edged by faigfaly wrougfat and gilded mouldings ; tfae sides of
tfae arcfa are painted in imitation of marble. Tfae pediment of
the altar, triangular in form, and coraposed of Hyraettian
marble, is supported on a pair of columns of Porta Santa.
Above tfae altar, instead of an altar picture, is a representation
of tfae Crucifixion ; the figure of our Saviour, of white raarble,
and the cross of gilded bronze, are engrafted on a tablet of
black raarble tfaat tfarows tfae figures into extreraely bold relief.
Tfae left side of the chapel is almost exclusively occupied by a
monument contained within a spacious nicfae, surmounted by a
pediment of Hymettian mai-ble in tfae broken form, supported
on a pair of columns of verde antico. The niche is protected
by a low balustrade of wood painted in iraitation of giallo antico,
in a style much inferior to the general decorations of tfae
raonument, wfaicfa tfae balustrade, placed too close to the wall,
partly conceals. The monument principally consists of tfae
faalf-lengtfa marble statue of a priest addressing a congregation
frora a pulpit of Hyraettian raarble. Below the pulpit is a
white raarble sarcophagus, the latter elevated on a pedestal of
whicfa tfae base is composed of Africano marble of singularly
fine quality, and the colours reraarkably distinct and vivid,
though sbaded by tfae wooden balustrade, and consequently
seen to tfae worst possible advantage. The Fourth Lateral
Chapel is dirided frora the nave by a lofty iron or bronze
railing, and close within the railing is a circular balustrade of
Hymettian marble, witfa cornice of bigio. The area is oval,
and the ceUing, surmounted by a lantem cupola, is a flattened
dorae, supported on four elliptical arches ; the surface of the
dome is divided by fom- perpendicular ribs of extraordinarily
large size and clumsy form, which, togetfaer witfa tfae interme
diate spaces, are ornaraented witfa wfaite stucco bass-relief,
disposed in circular raedallions and wreaths of flowers ; tfae
pavement is coraposed of red tiles. Tfae altar, contained within
an absis opposite the entrance, is surmounted by an irregularly-
formed entablature of white stucco, supported on two pairs of
fluted colurans, and two pairs of fluted pilasters of the sarae
raaterial ; witb the exception that the torus and plinth of each
is Hymettian and pavonazzetto, which incongruous assort-

262 a tour in modern ROME. [Chap. XI.
ment of material is almost a singular instance of sucfa a
contrast. Tfae seraidome of tfae absis is, moreover, crowded
with a group of seven white stucco figures of angels in the
raidst of clouds; the altar picture, of raore tfaan ordinary
dimensions, is supported by a pair of wfaite stucco figures of
infant angels ; and finally, tfae walls, conformably witfa the
ordinary style of decoration of the remainder of the cfaapel, are
Uned tfarougfaout with white and coloured stucco. Tfae Fifth
Lateral Chapel is contained witfain an arcfaed recess, of
wfaicfa tfae front is faced witfa a painted iraitation of Africano
raarble, and the sides within painted in fresco ; it is protected
by a low massive balustrade of Carrara, with comice of bigio.
Tfae pediraent of the altar is of white stucco, and supported on
a pair of colurans of the same material. Immediately beyond
the preceding chapel there is to be observed, upon the flank wall
of the building, the monument of a cardinal, one of several
otfaers placed in a similar position in tfae present nave, tfaat I
have not raentioned. Tfae monuraent in question consists of a
sarcophagus of verde antico, resting on brackets of giallo antico,
and on the side of the sarcopfaagus is a tablet of black raarble,
by whicfa it appears that the deceased was Titular of tfae Cfaurch
of S. Silvestro in Capite. Above the sarcophagus is the marble
statue of the cardinal in a reclining attitude, tfae elbow of the
figure resting on a cushion, and the hands joined in prayer ; the
surface of tfae flesfa is for tfae most part higfaly polisfaed in tfae
style of Bernini ; and tfae drapery, consisting of the cardinal's
robe triraraed with an abundance of lace, is flnisbed to great
perfection. In tfae rear of tfae figure are placed four statues of
infant angels, whicfa support a raantle of white raarble.
In the right-hand extreme nave the First Lateral
Chapel is contained within an arched recess, and protected by
a balustrade of Carrara witfa cornice of bigio, constructed in
tfae forra of an unequal-sided faexagon. Tfae pediraent of the
altar is of white stucco, massive, and in the broken form, tfaough
there are no columns or other decorations than the plain surface
of an arch of Hyraettian raarble painted upon the wall, and its
tyrapanura corapleted witfa fresco painting. Tfae altar is a plain
altar table. Tfae Second Lateral Chapel, wfaicfa faas lately
becorae the exclusive property of tfae Torlonia faraily, is pro
tected by iron rails. It coraprises a considerable area ; but in

Sect. IL] CHURCHES.- Basilica of S. John Lateran. 263
consequence of being under a tfaorougfa repair, and tfae aper
tures of tfae railing closed witfa planks at tfae time I risited tiio
Basilica, I never faad an opportunity of examining it. The
Third Lateral Chapel belongs to tiie family of the Massimi.
It is a rectangular chamber, protected by iron rails. The altar
opposite the entrance is contained within an arched recess ;
the pediment is supported on a pair of columns of breccia
pavonazza. Engrafted on the wall on the left-hand side is a
raonument comprising a tablet bearing an inscription, sur
mounted by a small pediraent that rests on a pair of columns
of Porto Venere marble. Between the preceding chapel and the
next tfaere are to be observed on the flank wall of tfae building
two monuments, the firet of whicfa is contained witfain a niche
surmounted by a pediraent of Hyraettian in the broken form,
with frieze of Africano, and a monumental tablet within the
broken space ; the pediment rests on a pair of colurans of
Africano, flanked by a pair of tablets of black marble, bearing
inscriptions. The soffit of the niche is in tfae forra of a dorae
filled witfa clouds, wfaere an angel bearing in its faand a
raedalhon portrait, appears faovering ; below, a figure of Time,
supporting fais scytfae with the left hand, points witfa fais right
hand to tfae portrait. The other monuraent is contained witfain a
nicfae wfaose entire inner surface is omamented witfa curious
bass-relief sculpture in tfae Gotfaic style, including arcfaitectural
ornaments, various figures of ecclesiastics, &c. Tfae nicfae is
surmounted by a pediment supported by Atlantes in alto
relievo, and witfain it is an ancient sarcopfaagus of travertino,
ornaraented on its edges vrith a rim of ancient raosaic instead
of a raoulding ; and on the side is an inscription in old letter.
Between the above-raentioned two raonuraents is a side door
leading to the exterior ofthe building. The Fourth Lateral
Chapel is of the most ordinary description, contained witfain
an arcfaed recess, and protected by a low balustrade.
The Transept is elevated by four steps above the raiddle
nave, frora whicfa it is dirided by a raagnificent arcfa, wfaose
span is 60 feet or thereabouts, that springs from a pair of com
posite columns of red granite, with wfaite and gold capitals,
planted on tfae summit of tfae steps. Tfae ceiling is flat and
lined vritfa coffere, similar as regards tfae colouring and the
gilding to tfae coffers of tfae ceiling of tfae middle nave described

264 a tour IN MODERN ROME. [Chap. XI.
already ; the paveraent is inlaid marble. On the left-faand or
southern extremity isthe magnificent altar of tfae SS. Sagramento,
constructed, togetfaer witfa tfae wfaole of tfais portion of tfae
cfaurcfa, by the architects Giacorao della Porta and Pietro
Paolo OUvieri, under the auspices of Clement VIII. The
colossal structure extends tfae wfaole breadth of tfae transept,
being in the first place flanked by two pairs of pUasters of
giallo di Sienna marble, that support the raain cornice, planted
at the angles respectively, and resting on a dado or pedestal
coraposed of large tablets of verde antico and nero e bianco
raarble, interspersed with erablazonraents of the Papal arms
and other devices executed in bass-relief. Among the bass-
reliefs there may be observed one particularly near the centre
of the pedestal, representing the disc of tfae sun, and an eagle,
wfaicfa latter figure is described with exceeding spirit. Within
the flanking pilasters tfae altar is surmounted by a double pedi
raent, one vritfain and below tfae otfaer ; tfae larger and outerraost
is of gilded bronze, triangular in forra, very broad and raassive,
but ornaraented with extreraely simple mouldings ; and its frieze,
if not sfaeatfaed with lapis lazuli, is bright blue at all events,
and bears the following inscription in raised capital letters of
gilded bronze : " Cleraens VIII. P. M. Anno VII." In the tyra
panura, which is lined with a bright blue ground similar to the
frieze, is a central fresco painting of tfae Padre Etemo. Tfais
pediment is supported by four large coraposite colurans also of
gilded bronze, about nine feet and a faalf in circumference,
with capitals, torus, and plinth, all of the same raaterial. The
colurans are said to be the sarae tfaat were cast by order of
Augustus, frora the bronze of the enemy's ships taken at the
battle of Actium, and placed in tbe Teraple of Jupiter Capi
tolinus ; tfaey are elevated on pedestals of Carrara, inlaid
witfa verde antico and otfaer sorts of fine raarble, and ornaraented
in front with an erablazonment of the Papal arras in gilded
bronze. The smaller and inner pediment is of Carrara raarble,
in the broken form, supported on four columns of verde antico ;
which colurans are flanked by a pair of statues of angels of
gilded bronze. Above tfae altar is a raagnificent ciboriura
constructed in tfae form of a teraple, relative to which there
raay be observed above, within the broken space of the pedi
raent, an inscription engraved on a raarble tablet encompassed

Sect. IL] CHUECHES.— Basihca of S. John Latfran.

265

in a fixture frame of rosso antico. Tfae wall above botb pedi
ments as far as tfae comice is occupied by a fresco painting by
tfae Cavaliere d'Arpino, representing tlie Ascension of our
Saviom- ; and on tfae sides, tfaougfa I am not able to indicate the
precise position, are four niclios containing marble statues — one
of Elias by Mariani, anotfaer of Moses by Flaminio Vacca, a
third of Aaron by Silla Milanese, and a fourth of Melchisedek
by Egidio Fiamraingo.
On the rigfat-faand or nortfaern extreraity of tfae transept
tfaere is no altar, tfaougfa instead, tfae space below is occupied
by three portals coramunicating with the northern portico of
tfae basUica, tfaat remains yet to be described ; and the space
above is ornamented in a corresponding and suitable manner
after the fashion of an arcfaitectural elevation, both spaces being
dirided in two ordere by a massive, though elegant entablature
of Hymettian marble, witfa frieze of giallo antico. The central
portal, of wfaicfa the jarabs and lintel are of Hyraettian raarble, is
surraounted by a pediraent, in the broken forra, containing in the
broken space tfae Papal arms supported by a pair of marble
statues of angels ; and it is flanked by a splendid pair of fluted
columns of giallo antico, with composite capitals of white
raarble, torus and plinth Hyraettian, and base Africano, which
support the above-raentioned entablature. These colurans,
whicfa were found in Trajan's Forum, are 30 feet in faeigfat and
9 feet in circumference, and tfaougfa not so large as tfaose in
tfae Pantfaeon, are among the finest of giallo antico to be seen
in Rorae. The reraaining surface of tfae lower order, including
tfae two flanking portals, is covered over tfae entire space from wall
to wall witli raarble sfaeatfaing and corresponding ornaraents,
of wfaich I ara not able to state the particulars. As relates,
faowever, to tfae upper order, tfaere is to be observed particularly,
iraraediately above tfae central portal, an organ ornamented
with a gorgeous mass of gilded carving, and surmounted by a
pediraent in the broken form, containing in the open space a
gilded figure of the Padre Etemo, whose right hand rests on a
sphere of blue and gold, while upon the extrerae angles a pair
of statues of angels of gilded bronze are placed reclining. The
pediment rests on a pair of columns of wfaich tfae upper portion
of tfae sfaafts is ornamented witfa spiral gilded wreatfas of sprigs
and flowers, embossed upon a ground of blue, and the lower

266 A TOUR IN MODERN EOME. [Chap. XL
portion witfa gilded flutings; tfae columns are planted on
pedestals, omamented with bass-reliefs of gUded bronze on a
ground of light green, and elevated on bases of giaUo antico.
Moreover, close to the pedestals, contained within circular
niches, are two flanking half-length figures of white marble,
representing the same object in duplicate, naraely. King David
playing on the harp, and as if in a state of inspiration, leaning
forward eagerly towards fais auditors : botfa figures are sur
rounded by a numerous collection of all raanner of rausical
instruments in bass-relief. On each side of the organ, whicfa
is tfae corresponding omament to tfae central portal below, tfaere
are also, above and corresponding witfa tfae two lower flanking
portals respectively, two small portals, eacfa surmounted by a
pediraent, bearing on its extrerae angles a pair of gilded figures
of reclining angels, sirailar to tfaose above raentioned, tfaough
sraaller proportionably ; and the whole remaining surface of
the wall is covered witfa a continuous asserablage of gilded
carved work and ornaments too complicated for description.
Witfa regard to tfae sides of tfae transept, tfaere are, in the
first place, on the eastern side, besides the raain arcfa comrauni
cating witfa tfae raiddle nave above referred to, four otfaer arcfaes
of proportionably sraaller dimensions, that comraunicate with
the interraediate and witfa tfae extreme naves respectively ; and
opposite to these on the western side are otfaer corresponding
arches, forming tfae entrance to cfaapels or otfaerwise, as will
presently be particularized. Above the arches, on both sides
upon tfae walls, is a row of four windows, and four marble
figures of angels, in raezzo-relievo, contained in nicfaes ; above
each angel is a large fresco painting, said to be executed by
the following different artists: — Orazio GentUeschi, Cesare
Nebbia, Cavaliere Baglioni, Paris Nogari, Novara, Poraa-
rancio, and Bernardino Cesari.
Tfae first of tfae arcfaes on tfae westem side, opposite and
corresponding to tfae northern extreme nave, forms tfae entrance
to a cfaapel, and is protected by a raassive balustrade of wfaite
marble, sculptured in open work, in lieu of balustere, out of
a sohd block. The recess is of considerable depth, including
a vaulted ceiling with arcfaed spaces along the base, the sur
face plain and whitewashed. The altar is surmounted by a
curved pediraent, and upon eacfa side wall there is an ordinary

Sect. II.] CHUECHES.— Basilica of S. John Latedan.

267

monument ; and in addition, on tfae wall on tiie left-hand side,
a picture. Tfae chapel opposite the southern extreme nave, at the other
end of tfae transept, is called tfae Capella del Coro, and alto
gether of a different construction — an enclosed spacious chara
ber, open to the public only during the celebration of the
raorning raass, unless on special application to the sacristan.
Tfae crown of the entrance arcfa is ornamented outside vritfa
concentric rows of wfaite and gold mouldings, and witfain it tfae
entrance is by a glass door, through whicfa a partial view of the
interior may be had at any time. Tfae area is oblong and the
ceiling vaulted, with acute arched spaces along tfae base for
windows, and a fresco painting in tfae raiddle ; tfae paveraent is
coraposed of red tiles. Tfae altar, wfaicfa is on one of tfae sfaort
sides of tfae oblong opposite tfae entrance, is elevated by five steps
above the paveraent ; tfae pediraent, of irregular form, massive,
and extremely higfaly wrougfat, is supported on four colurans
ot alabastro a rosa, planted on pedestals of Hyraettian, tfae
latter enriched vrith ornaraents of gilded bronze. On the left-
faand side of the altar is a fine raonuraent belonging to the
Colonna faraUy, surraounted by a pediment, complicated but
elegant in forra, of gilded bronze, supported by a pair of
colurans of nero antico. The principal objects within tfae pedi
raent consist of an altar, vrith a facing of black raarble, on
which is engraved in raised letters of gilded bronze the inscrip
tion relating to a feraale meraber of tfae Colonna faraily, to
wfaom tfae raonuraent is dedicated ; above the altar a feraale
bust of gilded bronze, encircled by a wreatfa, is engrafted
on a tablet of black raarble ; and below the altar are a pair
of seated figures of angels of gilded bronze, placed on a
pedestal of bigio, supported by a curious figure of a feraale
terminating at the lower extremity in the double tail of a fish ;
tfae body of tfae figure, on tfae faead of wfaicfa is a crown of
gilded bronzcf is of copper-coloured bronze. The entire re
maining surface witfain tfae pediraent being sfaeatfaed witfa
black marble, the effect of the black colour, in contrast with
the abundance of lustrous gilded bronze, is very imposing.
The columns above raentioned, tfaougfa called by Corsi nero
antico, are asserted by the sacristan to be pietra paragona, to
wfaicfa raaterial, frora tfae extraordinary smootfaness and seeraing

268 A TOUE IN MODEEN EOME. [Chap. XI.
hard texture of the surface, an appearance that raay be pro
duced nevertheless by the effect of age, they bear very close
reserablance. The long sides of the cfaaraber, on the right
hand and on the left, are furnished witfa a triple row of seats
or staUs for cfaurcfa dignitaries, of dark-coloured wood, carved,
and very highly poUshed ; and on tfae wall in the rear of the
inner row is a row of nicfaes of tfae sarae raaterial, one niche
for every seat, flanked by a sraall pair of Corinthian colurans,
and containing the statue of a saint or an apostle, which
columns and statue are of the sarae raaterial also.
The pair of arcfaes corresponding to the intermediate naves
flank the choir or tribune, and form reciprocally a double
entrance to a circular passage or corridor that passes clean
round it. On entering the corridor in question by the arch
opposite the northem interraediate nave, the ceiling for the
first few paces is a plain vault, of wfaich tfae breadtfa afterwards
increases to a double arcb, supported by a range of granite
colurans planted along tfae middle of tfae paveraent. The capi
tals of the colurans are various, and the vaulting, wfaetfaer of
the single or of tfae double portion, of a superior description ;
the walls throughout the whole circuit are covered with
raonuments, including those of the painters Cavaliere d'Arpino
and Andrea Sacchi, whicfa, among tfae multitude of other
objects, I passed over without recognizing. The objects
araong the collection the raost calculated to engage tfae atten
tion, are, first, on tfae rigfat-faand side of tfae corridor, close to
tfae entrance, two very long inscriptions in old letter, of wfaich
I ara not able to state the particulars, written in gilded
characters of mosaic, on a dark-coloured or black ground.
Next, not far from tfae preceding, on tfae same right-hand side
of the corridor, is a raonuraent, consisting of a tablet of black
marble, bearing an inscription, and supported by a pair of
raarble statues of infant angels ; above is tfae statue of an
angel in a triuraphant attitude, holding in its arms an heraldic
shield ; and above tfae angel, witfain a circular niche lined witfa
bigio, is a marble bust. Next, on the sarae side of the corridor,
is a raonuraent consisting of a bust of white raarble, surraounted
by a curved pediraent resting on a pair of colurans of bianco
e nero. And again, tbere is anotfaer monuraent of laro-er
diraensions, dedicated to a member of tfae cfaapter of S. Jofan

Sect. IL] CHURCHES.— Basilica of S. John Lateran. 269
Lateran, consisting in the first place of a figure of Eternity,
represented by tho raarble statue of a robust old man, with
short wings sprouting from his shoulders, who appears to be
unfolding, as he bounds along lightly over tiie ground, a scroll
that proclaims to posterity tfae good qualities of tfae deceased,
as follows :— '¦ D. O. M. Fuit hujus SS. Laterani ecclesiae
canonicus decanus, laudabiliter vixit, etc. :" below, eclipsed as
it were by Eternity, lies prostrate on the ground a figure of
Time, witfa faour-glass ovortfarown and scythe reversed, as if
his functions were for ever suspended. Above both the pre
ceding figures is a marble group in bass-relief, engrafted on a
tablet of bigio, and surraounted by the figure of an angel
sounding a frumpet as he flies through the air, and unfolding
at tfae same time anotfaer scroll, on whicfa appear tfae words
" Angelus Parracianus." All tfae above objects are of white
marble, very higfaly polisfaed, in tfae style of Bernini. Tfae next
raonuraent, also on tfae sarae side, is remarkable for tfae Gothic
style of its construction, tfaougfa small in dimensions ; it consists
of an ancient-looking statue of a Pope kneeling on a pedestal,
and is ornamented with small pointed arcfaes and mosaic.
Opposite tfae preceding on tfae left-hand side of the corridor is
anotfaer raonuraent, coraprising a fine bust of white marble,
encircled vrith a wreatfa of leaves and flowers, and contained in
a niche. Underneath tfae niche is a Death's faead, tfaat ap
pears a grim-looking substitute for tfae faead of a cfaerub, being
placed in tfae same position that a cherub's faead is placed in
usually, ensconced between a pair of angel's wings. We faave
now arrived witfain a very few paces of tfae centre of the cor
ridor, wfaere, on tfae left-faand side, is a cfaapel or altar, said to
faave been constructed by Nicholas IV., about the year 1290,
wfaicfa cfaapel consequently escaped the conflagration eigfat
years afterwards ; it is called tfae Capella del Santissirao Sal
vatore, and is situated, as it were, back to back with the centre
of the tribune. The pediraent rests on a pair of Roraan Ionic
half columns of verde antico, witfa capitals of white marble ;
the face of the altar is also sheathed with verde antico, and
instead of an altar-picture there is placed above it a figure of
our Sariour on tfae Cross, painted in natural colours, and con
tained vrithin a fixture frame of giallo antico protected by glass.
In front are a pair of ancient-looking marble statues of S.

270 A TOUR IN MODERN ROME. [Chap. XI.
Peter and S. Paul, the one bearing a key, and the other holding
a sword, both standing as it were in the attitude of sentries,
guarding tfae altar. A Uttle beyond, on tbe left-hand side, is a
fine monura°nt of a cardinal, reraarkable for the variety of the
coloured raarbles of wbich it is coraposed ; it is enclosed within
an arcfaed recess, of wfaicfa tfae crown of the arch outside is faced
witfa SicUian alabaster, and tfae inside sfaeatfaed with breccia
pavonazza inlaid with giallo antico. The objects witfain —
placed upon a raassive pedestal in tfae form of an elliptical
prism, composed of giallo antico, verde antico, and various
otfaer sorts of raarble, including a tablet of rosso antico in front,
that bears the inscription, and a pyraraid of Sicilian alabaster
engrafted witfa a slight projection on the wall in the rear ;
tfae pedestal, moreover, elevated on a base of Africano — are,
in the first place, the fragraent of an entablature of bigio,
supported on a short fluted coluran of cotaneUa, placed out
of the perpendicular, as if about to fall : upon the entabla
ture sits tfae raarble statue of an angel, whicfa, percfaed in a
precarious position, witfa desponding air and dejected counte
nance, supports a wfaite raarble raedallion portrait of the
cardinal in bass-relief; while below, upon a rougfa unpolisfaed
surface of wfaite raarble representing tfae ground, the hat of
the cardinal, and fais books, consisting perhaps of a score of
volumes, lie scattered about at random. The books for tfae
most part are of wfaite marble, with the exception of one large
open folio, wfaicfa is an excellent representation of reality,
witfa leaves, and characters engraved, of wfaite marble, and
tfae cover of giallo antico. Tfae faat and its appended tassels
are of rosso antico. Very near tfae preceding monuraent,
on tfae same left-hand side of tfae corridor, is anotfaer, sur
mounted by a pediment of pavonazzetto marble of fantastic
form, supported on tfae wall on brackets ; this pediment is re
raarkable for the fine quality of the raaterial. Tfae principal
objects of the structure are a sarcophagus of black raarble
with mouldings of giallo antico, and, engrafted on tfae wall
above the sarcopfaagus, a wfaite raarble bust in alto-relievo en
closed in a frarae of giallo antico. The last monument in the
circular corridor prerious to eraerging in the transept by the
arch opposite tfae soutfaern intermediate nave, consists of an
ancient sarcopfaagus of granite, elevated on a massive pedestal

Sect. IL] CHURCHES.— Basilica of S. John Lateran. 271
of pavonazzetto, reared against the rigfat-faand wall. Upon
tfae lid, which is of Hyraettian marble, is a Death's head of
wfaite marble, and it is supported by four lion's claws of wliite
marble. On returning to the transept by the arch last-raentioned,
tfaere is a door not far off, of wliicfa I am not able to state tfae
position, leading to a chamber continually under the lock and
key of tfae sacristan, that coniains a relique, wfaicfa, according
to the account he gives of it, is a portion of tfae identical table
at wfaicfa our Saviour and the Apostles sat at the Last Supper ;
though how it ever came into tfae possession of tfae Roman
ecclesiastical autfaorities, fae does not undertake to explain.
The fragment in question, whicfa appears to be of cedar wood,
very mucb darkened in colour by age, and partially covered
with tfae remains of silver sfaeatfaing secured by small silver
pins, tfaat faere and tfaere reraain sticking in tfae wood in places
wfaere tfae metal faas been removed, is about 3^ feet long and
about 20 incbes broad. It is preserved in a glass case, and
may be approacfaed as near as is desirable, so tfaat at all
events the best opportunity of exercising the judgment with
regard to its authenticity is afforded to tfae visitor.
Tfaere is also a communication from tfae transept witfa two
cfaambere of considerable diraensions, both sacristies of the
basiUca; one called the "sagrestia de' canonici," and tbe
other the "sagrestia de' beneficiati ;" tfaougfa of tfaese cfaarabers,
not baring preserved any memoranda, I cannot undertake to
give tfae particulars.
Tfae cfaofr or tribune, which is paved with opus Alexandri
num, consists of a magnificently broad and spacious absis,
corresponding to tfae arcfa tfaat dirides tfae middle nave from
tfae transept, in like manner as tfae four smaller arcfaes tfaat
faave now been particularized correspond with the arcfaes of
communication witfa tfae four smaller naves. Tfae semi-dome,
preserved from tfae conflagration of 1308 as above stated, is
covered tfarougfaout by mosaics said to bear tfae narae of Jacopo
da Turrita, a conteraporary of Cimabue, by wfaom tfaey were
wrougfat in 1291. Tfae design, executed on a ground of gold,
consists of a central colossal figure of our Saviour bearing
tfae cross, among several otfaer sirailar figures, and is sufficiently
known to tfae pilblic by various plates and illustrations. The

272 A TOUR IN MODEEN EOME. [Chap. XL
lower portion of tfae concave is alraost continually covered by
hangings of scarlet daraask, so that I never happened to see
the surface ; tfaough tfae upper portion is reraarkable for a row
of pointed arcfa Gotfaic windows, indicative of the style of archi
tecture of the ancient basilica.
The high altar stands isolated on tfae suramit of tfae steps at
tfae entrance of tfae transept, so constructed tfaat it extends even
below the level of the middle nave ; it consists, as regards tfae
lower portion, of a wall dividing tfae fligfat of steps into two
brancfaes, and in front of tfae wall is an excavation, known by tfae
term of tfae Confessional of S. John tfae Evangelist. Upon the
wall in question is a door of bronze grating, forraing the en
trance of a very deep arched recess, frora the crown of wfaich a
larap continually burning hangs suspended ; thence three steps
descend frora within the grated door to a sinall altar at the
extreraity, and the sides and soffit of the recess are painted in
fresco. The higfa altar, including the confessional its sub
structure, constructed by Urban V., about the year 1365,
in a purely Gotliic style of architecture, as if intended to
perpetuate tfae raeraory of the ancient basilica, rises from
a square area to a considerable height, and terminating in
a spire and pinnacles, raay alraost be corapared to one of
the towers of our ancient cathedrals. It is for tfae most part
of Parian raarble, and coraprises a gorgeous tabernacle said to
contain tfae heads of the apostles S. Peter and S. Paul, sup
ported on four large granite columns planted at tfae four
angles of a stylobate, to which four steps ascend from the
paveraent on each of its sides. The capitals of the columns
are of no regular order, but forraed, instead of the acanthus, of
angels' faeads and wings, in addition to wfaicfa, four griffins,
placed at tfae four angles, support the abacus. The entablature,
wfaicfa on all tfae four sides rests upon tfae columns, is of white
marble richly omamented with gilding, and the upper raeraber
of tfae cornice, which is of raore than ordinary depth, projects
to such a degree tfaat, being protected by a railing of gilded
bronze, it serves tfae purpose of a gallery belonging to the
upper portion of tfae structure. Suspended frora tfais cornice
on tfae eastern side, in order to give a greater effect to tfae
object wfaen seen frora tfae principal nave, are a pair of figures
of angels, and another pair of infant angels, all of gilded

Sect. IL] CHUECHES.— Basilica of S. John Lateran. 273
bronze, supporting a gorgeous tablet of tlie same material,
profusely ornamented witfa bass-relief, and surmounted by
wreaths of flowers and candelabra. Upon the wostcru side of
the structure the space between tfae columns is occupied by an
altai- facing westward, the altar- table of which, contrary to the
usual raodern practice of the Roraan Catholic churcli, is of
wood instead of stoue, or, as it is coramonly called, the "pietra
santa ;' it is, faowever, an ancient relic, said to be the identical
altar-table at which the apostle S. Peter himself officiated, and
being found in tfae ruins of tfae faouse of tfae senator S. Pudens,
on tfae Virainale, wfaicfa S. Peter infaabited as a lodger, was
transported, so goes tfae faistory, by S. Silvester to the ancient
basilica of S. John Lateran, then just built by Constantine.
At all events the relic is held in such estiraation that no
church dignitary inferior to the Pope is perraitted to cele
brate the mass at this altar. With tfae exception of tfae
westem side, disposed of as above stated, tfae otfaer tfaree sides
of tfae structure lie open between tfae colurans, tlius exposing
to view a beautiful vaulted and groined ceiling, coraposed
entfrely of white raarble, vrith an erabossed and gilded ornaraent
in the centre. \'Vitbin the two eastern columns, however, there
are two hollow wooden pillars, barely sufficient in diiqensions
to contain a spiral staircase, ligfated witfa apertures in quatre
foil and leading to the upper portion of. the structure. The
upper order, or second stage, Uke the lower, is square in area,
and flanked at tfae four angles by four Corinthian colurans,
which, witfa wreatfaed or twisted blue and gold sfaafts, and
wfaite and gold capitals, are elevated on sirailarly ornaraented
pedestals, and support a sirailar entablature. Between the
columns the whole space on all four sides, ornamented with
portraits in fresco of popes and bisfaops at intervals, is closed,
witfa tfae exception of a gilded bronze grating, protected by a
curtain of crimson silk, in such a raanner as effectually to
conceal from tfae eyes of tfae public tfae interior receptacle, said
to contain tfae faeads of S. Peter and S. Paul, as before stated.
Within the above-mentioned entablature rises a square pyra-
raidical spire, flanked with pinnacles at the four angles, tfae
wfaole of wfaite raarble, and omamented, tfae spire and the
pinnacles, witfa crockets and finials, in a style of tfae purest
Gotfaic. VOL. II. T

274 A TOUR IN MODERN ROME. [Chap. XI.
Haring now notfaing more to add relative to tfae interior
of the basiUca, there yet reraains to be raentioned another
portico, tfaat, partiy attacfaed to its northern flank, and partiy
to the westem flank of the Lateran Palace, coraprises a right
angle, and forras so raucfa of the boundary of the Piazza
di S. Giovanni Laterano described in the first section of this
cfaapter. Tfae coramunication between tfais portico and the
basilica is by the tbree portals from the transept as above
stated. It was constructed under the auspices of Sixtus V.,
by the architect Fontana, and viewed frora without, with regard,
in tbe first place, to the portion attacfaed to tfae nortfaern flank
of tfae basilica, is like the eastern portico already described ;
it consists of a double arcade one above anotfaer, and tfae
elevation, coraposed altogetfaer of travertino, is surmounted by
a balustrade. The lower floor is elevated by five steps above
the piazza, and the entrance to the interior is by five arches,
each protected by a lofty iron railing, of which tfae gates
are left open alraost continually, so tfaat, as tfae vaulted ceiling
is painted in arabesque fresco as well as the ceiling of the
corresponding upper arcade, both by the Cavaliere Salambeni,
the abundance of fresco painting that raeets the eye alto
gether on approaching the spot is a prorainent and iraposing
feature of the structure. The portion attached to the western
flank of the Lateran Palace, tfaougfa sufficiently corresponding
in exterior appearance, is divided frora the otfaer portion by a
partition wall at the angle, and coraprises a separate cfaaraber
appropriated to tfae purpose of containing a bronze statue of
Henry IV., King of France, dedicated to his meraory by the
Chapter of S. Jofan Lateran, in consideration of services
rendered to the Roman Catholic Cfaurcfa. The entrance, pro
tected by an iron railing, is by a round-topped arch, of wfaich
the crown is faced at tfae outer part witfa concentric raouldings
of Carrara raarble, and the soffit supported by four Roraan
Ionic colurans of Hyraettian, with capitals of white marble,
painted in fresco : the sides of tfae arcfa, wfaich are of consider
able depth, are divided in panels painted in arabesque, though
the colours are faded to such a degree as to be scarcely dis
tinguishable. The area of the interior is square, and tfae
vaulted ceUing is painted in chiaro oscuro, as are tfae side
walls, tfae latter especially witfa representations of columns.

Sect. IL] CHURCHES.— Basilica of S. John Lateran. 275
absides, and other architectural objects. Tfae statue in
question, sculptured by Nicolo Cordieri, is planted in the
middle ofthe paveraent on a pedestal of granite in the form of
a short column, witfa upper and lower raouldings Hymettian, and
base pavonazzetto ; a tablet of black marble bearing tfae in
scription is engrafted upon it.
The Cloisters belonging to the ancient basilica comprise
a portion of that structure whicfa, togetfaer witfa tfae tribune
of the modern edifice, escaped the conflagration of 1308, and
are to be seen still existing ; it is necessary, faowever, in
order to enter tfae enclosure, to make a special application to
tfae sacristan. Tfae cloisters, wfaere it raay be reraerabered the
picture of Boniface VIIL, painted by Giotto, now in the right-
hand interraediate nave of tfae basilica, was discovered, are situ
ated close upon the south-western angle of the basilica, and
consist of a peristyle, including a double arcade one above the
other, surrounding an open quadrangular area. The arches ofthe
upper arcade, whicfa is apparently inaccessible, are in a state of
grievous dilapidation ; but those of the lower arcade are well
preserved, and supported for the most part by small columns
planted in pairs on a low wall or podium, and otherwise by
square brick piers of inferior masonry, which at a later period,
apparently in order to replace deficient colurans, have been
interpolated in Ueu of the latter. A brick buttress also faere
and tfaere affords still farther support to the venerable ruin.
The vaulted ceUing of tfae lower arcade springs frora the
wall on one side, and rests on the otfaer side on a range of
Roraan Ionic granite columns planted on tfae paveraent close
to the low wall or podium above referred to. The small
columns supporting the arcfaes are of various descriptions,
some of wfaite, some of coloured marble, plain, fluted, spirally
fluted, and wreatfaed or twisted. Some of the plain shafts
are covered witfa mosaic ; and of sorae of tfae twisted sfaafts,
tfae faeUces are plain and mosaic alternately, and of otfaers
eacfa faelix consists of a double band of plain marble and
mosaic, entwined togetfaer. Tfae raasonry altogether bears
no very risible marks of fire from tfae conflagration, but the
appearance of tfae enclosure, principally owing to tfae detacfaed
position, is in tfae faigfaest degree desolate ; tfae lower arcade, not
withstanding, has been made a receptacle for tfae preservation
T 2

276 A TOUR IN MODERN ROME. [Chap. XI.
of numerous reliques of tfae ancient basilica, that are to be seen
either engrafted on the wall or planted on the pavement in
order as follows, commencing at the north-eastern angle of the
peristyle, wfaicfa is appended to tfae south-western angle of the
basilica, as above stated. The first object to be observed, pro
ceeding the left shoulder to the waU along the eastern side of
the arcade — to say notfaing of an abundance of minor articles,
sucfa as fragraents of tfae raouldings of arches round and pointed,
raulUons of rose and otfaer Gotfaic windows, crockets, finials,
and all raanner of ornaraental Gotfaic tracery, etc., etc. — is
an ancient pontifical cfaair, situated very near tfae nortfa-eastern
angle, evidently a relique of tfae raiddle ages ; it is of white
raarble, constructed in tfae purely Gothic style with regard to
the forra and ornaraents, and sculptured in arabesque low bass-
relief over a great portion of its surface. Close to the cfaair
are to be observed a pair of spirally fluted columns of white
raarble, sirailar to those that support the arcfaes, tfaougfa of
larger diraensions ; tfae helices are plain and wrought in raosaic
alternately. Next, tfae left sfaoulder to tfae wall as before, and
turning the angle, there is to be observed a slab of porphyry,
whicfa tfae sacristan assures the visitors, in a raanner that would
seem to imply that the fact is. beyond doubt, is the identical
table on which the lots were drawn by the soldiers for the
garraent of our Saviour. Close, and flanking tfae slab of por
pfayry, tfaere are a pair of small white raarble colurans, which,
according to the account of the sacristan, belonged to the
Temple of Jerusalem : the capitals are irregular, and the
shafts wrougfat continuously in low bass-relief, representing
fruit and vine-leaves, tfaougfa tfae sculpture, evidently well
executed, is nearly obliterated. A few paces beyond tfaere is
another pair of white raarble colurans, said by the sacristan to
have belonged to tlie palace of Pontius PUate at Jerusalera ;
the capitals are of an irregular description, forraed of knobs
wrougfat witfa vine-leaves in low bass-relief ; and the shafts are
octagonal. A Uttle fartfaer on, on tfae sarae soutfaern side,
tfaere is to be seen an ancient altar erected against tfae wall
in tfae ordinary manner, and surmounted by a canopy of Hy
mettian marble, supported on four sraall spirally fluted columns
df pavonazzetto ; tfae altar-picture is an ancient looking fresco
painting of tfae Holy Virgin. Relating to tfais altar, according

Seci\ II.] CHURCHES.— lUi-TisTEiiv of Constantine. 277
to tiio account of tfae same respectable sacristan, a mirnolo
was perforraed by one of the early Popes by which an obsti
nate heretic was converted to the Roman Catholic faith on
perceiving the holy wafer, propelled by supernatural agency,
perforate the stone table and leave its visible inipression below
on the pedestal. A circular hole accordingly, said to be the
identical hole raade on tfae occasion in question, tfae size of a
crown piece, and passing clean tlirough the stone table three
or four inches tliick, is exposed without any reserve, save tlie
protection of a sraall iron grating, to the inspection of the
public; and below upon the pedestal, no less visible and un
questionable tfaan tfae faole, is a corresponding circular indenture,
representing the impression of the wafer. After turning round
tfae angle, tfaere is to be observed upon the western side of thc
arcade another object, calculated to interest, in a no less degree
than the preceding, those persons inclined to pay attention to
the marvellous traditions of the Roraan Catholic cfaurcfa, wfaicfa
traditions, inasraucfa as tfae stories are repeated every day to
tfae public, are consequently so far corroborated by tfae sanction
of tfae liigfaer autfaorities. Tfae object in question is a large
square slab of granite, supported at its four angles by four
sraall colurans of Hyraettian raarble in sucfa a manner tfaat
every pereon passing along the arcade necessarily walks under
it ; and the sacristan positively affirras that the faeigfat above
tfae paveraent, tfaat is to say, six feet as near as raay be, is not
only the heigfat of our Saviour, but it is a heigfat fae says,
wfaicfa, be it more or less, no other living man was ever found
to correspond witfa precisely !
Baptistery of Constantine, or Church of S. Giovanni
IN FONTE-
Tfae Baptistery of Constantine, situated on tfae western side of
tfae Piazza di S. Giovanni Laterano, is supposed to faave been
originally built by Constantine for tfae celebration of his own
baptism at the hands of Pope Silvester, which intention at all
events, although the fact may be denied and confuted by
various authorities, the imperial raagnificence of the design
appears in a great raeasure to corroborate. Notwitlistanding,
faowever, tfae iraportance tfaat one raigfat iraagine would con-

278 A TOUR IN MODERN ROME. " [Chap. XL
sequentiy attach to the building araong tfae ecclesiastical
writers, tfae cfaronicles are unaccountably scanty for several
centuries, barely sufficient to confirm tfae fact of its existence
in tfae fiftfa century, and again, under tfae same form it bears
at present, in tbe nintfa century ; at which latter period it had
already been despoiled of a considerable portion of its ornaraents,
and was mucb dilapidated. Subsequently, among various resto
rations by different Popes, the operations particularly recorded
were effected by Gregory XIII. about the year 1580, and
about the year 1640 by Urban VIIL, who put tfae buUding in
tfae condition it appears in at present.
As regards the exterior, wfaicfa is of brick and octagonal,
the appearance of the frontage towards tfae piazza, covered for
tfae most part witfa a yellow wasfa, is little calculated to engage
the attention, and is iu fact so deforraed by various irregular
appendages, that it very little resembles a church at all, and
the forra, whether circular or octagonal, is not easily distin
guishable. The ordinary raodern entrance is upon the frontage
in question, but this is not the original entrance, which latter,
on the contrary, is on tfae opposite side of tfae peripfaery facing
towards a private enclosure which connects the building with
the basiUca, where the accuraulation of soil tfaat faas taken
place in tfae course of centuries, tending at all events to cor
roborate tfae antiquity of tfae structure, is now indicated by
a fligfat of twelve steps to tfae ancient level. Upon this
original entrance raay be observed, built up in the raasonry of
mediseval restorations, several reliques of the ancient faqade,
whether portico or otherwise, whicfa are indicative of a very
magnificent style of decoration. Of these objects the principal
are a pair of Roman Ionic porphyry columns tfaat flank the
portal, supposed to have belonged to the palace of Plautius
Lateranus, and to be the largest porphyry colurans in Rome.
Erabedded as they are in the wall, the circumference is not to
be ascertained, though an idea of the cahbre may be formed
by the breadtfa of tfae plintfa, wfaicfa is 3 feet 11 incfaes. The
plintfa, as well as tfae torus of tfae shaft, and also a clumsy sort of
knobbed band 2 feet in breadtfa, and sculptured in bass-reUef,
by wfaicfa the torus is surmounted, arg all of white marble ;
moreover a sraall portion of the entablature, of whicfa the
mouldings appear to be of a reraarkably chaste and siraple

Sect.II.] CHURCHES.— Baptistery of Constantini:. 279
pattern, still remains in like manner embedded in the wall
upon the capitals. Embedded also in tfae wall, on tfae left-hand
or northern side of the porphyry columns, is an ancient fluted
pilaster of pavonazzetto, and other fragments, that appear to
have been tiius inserted in tfae masonry ratfaer for the purpose
of preserving tiie objects than for the sake of the raaterial.
The enfrance fi-om the enclosure opposite the Piazza,
whither there is a communication straight through the build
ing, is in the firet place by descending the twelve steps above
referred to, and passing tfarougfa the portal flanked by the
porphyry columns into a vestibule of modern construction.
Tfais vestibule, whicfa is an intermediate cfaamber leading to
tfae octagonal building, is oblong in area, and being transverse
in tfae line of direction, appears so far to correspond witfa the
ground plan of a portico, wfaicfa, as it were, sirailarly placed
to tfae portico of tfae Pantheon, may faave previously occupied
the spot. The ceiUng is flat, and dirided in panels painted
in chiaro oscuro in imitation of coffers ; and at each extre
mity or short side of the oblong there is a chapel or altar,
each protected by a low balustrade of marble surraounted
by iron rails. The altar at tfae rigfat-faand extreraity is con
tained vritfain an absis, of which tfae seraidome is lined with
mosaic of an unusual description, representing an arabesque
pattern of sprigs in green and gold, and flowere in yellow upon
a ground of dark blue ; the lower concave is sheathed with
verde antico, giallo antico, and other sorts of fine marble.
The pediraent, of the broken forra, is of giallo di Sienna
raarble witfa frieze of verde antico, and surraounted by a nu
merous group of marble figures of angels, tfae lower meraber
being extended in sucfa a mamier as to form a coraplete
entablature diriding tfae seraidorae of tfae absis frora tfae lower
concave ; it is supported by coraposite pilasters of giallo di
Sienna, with capitals of white raarble. The altar at the left-
hand extremity is contained within an absis of which the semi-
dome is dirided by perpendicular ribs, with sraall coffers white
and gold iu the intervals. Tfae pediment, of wfaicfa the con
struction is sirailar to the otfaer, is of Hymettian raarble,
supported by pilasters of the sarae material, and in addition a
pair of columns of Porta Santa : the altar picture is enclosed
in a fixture frarae of giallo antico. In addition to the above-

280 A TOUR IN MODERN EOME. [Chap. XI.
mentioned altars, there are also to be observed in this vestibule
three large monuments, relative to two of whicfa I faave pre
served no memoranda, and the third is principally remarkable
on account of its unfinished state and the style, whicfa appears
to identify it witfa the chisel of Bernini. It consists of a rae
dallion wfaite raarble portrait in bass-relief, supported by an
angel and an infant, of which forraer figure tfae attitude is
reraarkably spirited and the countenance engaging, but the
drapery is arranged in stiff wooden-like folds, after the raanner
of Bernini : the surface of the wfaole, faowever, has been left
rough, without the least degree of polish.
Between the vestibule and the baptistery there are to be
observed two martyrs' weights, which, in comraeraoration of
some unknown defender of the Christian faitfa, whose sufferings
are perhaps otfaerwise unrecorded, are engrafted on tfae wall
on botfa sides opposite eacfa other.
Tfae area of tfae baptistery of Constantine is octagonal, and
tfae ceiling, in consequence of various restorations, of irregular
construction, consists in tfae first place of a central portion in
tfae form of an octagonal canopy or dorae surmounting a corre
sponding enclosure on tfae pavement tfaat contains the baptismal
font. Tfae canopy is supported by a double range of colurans,
one above another, of whicfa tfae lower range, eigfat in nuraber,
and planted at tfae angles of the octagon, are of porphyry,
6 feet 8 inches in circumference, and the breadth of the plinth
3 feet 3 inches : tfae capitals are two Corinthian, two Com
posite, and four Roman Ionic. Tfae columns rest on a low
continuous base of white raarble, on whicfa in several places
along the octagonal peripfaery appears engrafted tfae bee of the
Barberini arras in giallo antico. Tfae entablature above the
porphyry colurans, witfa tfae exception of the frieze coraposed
of gilded flowers on a blue ground, is gilded entirely, including
a number of the Barberini bees araong the mutules of the
cornice. The upper range of sraaller colurans, eigfat also in
nuraber, and Corintfaian exclusively, are of white raarble ; and
in the intercoluraniations there are eight pictures by Andrea
Sacchi, each relating to tfae faistory of S. John tfae Baptist ;
above the pictures, in lunettes formed by the octagonal concave
of the dome upon the upper entablature, are eight windows.
The central portion of the ceiling being constructed as above

Sect. U.] CHUECHES.— Baptistery of Constantine.

281

stated, the remainder, slanting wltii a gentle declination tow ards
tfae peripfaery of the cfaamber, is lined with coft'ors, of which
some are of the ordinary construction and gilded, and others
contain wooden, coloured figures executed in bass-roliof. The
pavement, exclusive of the central enclosure that contains the
baptismal font, is coraposed of inlaid marble interspersed hero
and there with an emblazonment of the Papal arms wrought
in mosaic. Iramediately within the porphyry colurans above
referred to is an excavation, circular in area, sheathed with
marble at the bottom and at the sides, sunk to the deptfa [of
tfaree steps below tfae pavement, and surrounded by a raassive
octagonal balustrade of Hyraettian marble four or five feet
high, elevated by a single step. Below in the middle of the
area is placed the celebrated bathing basin of green basalt
in which it is supposed Constantine was baptized by Pope
Silvester, a receptacle fartfaer celebrated by an act of desecra
tion inflicted upon it by the Tribune Rienzi, who bathed in it
on the night of the 1st of August, 1347, previous to suraraoning
to fais presence the Pope and the electors of Gerraany. Its
destiny in modem times is to be appropriated once every year,
on the Saturday before Easter, to the public baptisra of all
those Jews and Turks, tfaougfa tfae nuraber generally is but
few, who, having been converted by the priests to the Roman
Catholic faitfa in tfae interim, are conducted thither to abjure
their heresy under the prestige of a pompous and iraposing
cereraonial in the presence of tfae assembled multitude. Tfae
form of tfae font in question is oblong, rounded at the extre
mities, and the sides slanting, so tfaat tfae periphery at tfae top
is larger than at the bottom : it is ornaraented witfa a pair of
rings in bass-relief for bandies, and covered by a gorgeous
modern lid of gilded bronze.
Tfae side walls, witfa tfae exception of the space occupied by
five portals, are sfaeatfaed over the lower portion with pavo
nazzetto, and above covered with fresco paintings attributed to
the artists Giacinto Gemignani, Camassei, Carlo Maratta, and
Carlo Mannoni. Of the five portals, one coraraunicates with
tfae vestibule whence we entered ; the otfaer, opposite, witfa tfae
Piazzi di S. Giovanni ; tfae tfaird and fourtfa opposite to each
otfaer, at right angles witfa tfae two former, witfa a chapel

282 A TOUR IN MODERN EOME. [Chap. XI.
respectively ; and tfae fiftfa situated close on tfae rigfat faand of
tfae first on entering from the vestibule, with another chapel.
The chapel last-mentioned is a small oblong chamber, very
nearly square, the ceUing flat and Uned with coffers of painted
wood. Ou the side opposite tfae entrance is an altar dedi
cated to S. Venanzio ; it is elevated tfaree steps above the
paveraent, and contained within an absis lined witfa ancient
raosaic, and protected by a raassive balustrade of bigio, with
comice of Carrara. Tfae pediment is supported by four co
lurans of bigio, witfa torus and plinth Hymettian, and hase of
Africano, of wfaicfa latter the colours are of a considerably
lighter shade tfaan ordinary. Upon tfae waU flanking tfae altar
are two fine monuments, tfae one similar to tfae otfaer, eacfa
surmounted by a curved pediment of Hymettian or Carrara
marble, resting on a pair of colurans of Porto Venere, and
sustaining at the extremities a pair of marble statues of
infant angels very higfaly polisfaed ; below is tfae marble statue
of a bishop kneeUng on a cushion in front of a pulpit, the
figure exquisitely sculptured in alto-relievo, especially the
hands and tfae flowing folds of the drapery. The side walls
of the chapel are plain and wfaitewasfaed, with tfae exception
of a picture on each side, one representing the baptism of our
Saviour, and the other tfae apotfaeosis of S. Venanzio.
Tfae next chapel on the rigfat-faand side, at rigfat angles to
tfae entrance, is dedicated to S. John tfae EvangeUst ; the en
trance is by a portal flanked by a pair of sraall porphyry
columns, and protected by an iron railing, within wfaicfa are a
pair of raassive doors of bronze discovered in the Baths of
Caracalla. Tfae cfaapel comprises in the flrst place a sraall
vestibule, and beyond the vestibule a charaber of corresponding
dimensions. ¦ The vestibule is oblong in area, lying, witfa re
spect to the long sides, in a transverse direction ; tfae vaulted
ceiling is divided in panels ornamented witfa fresco paintings,
and the walls are sheathed over the entire surface with flne
raarble. The inner cfaaraber, divided from tfae vestibule by an
open arched portal, is square in area, tfae ceiling vaulted, groined,
and tfae surface covered witfa raosaic : of four lunettes, formed
by tfae vaulting upon tfae comice, two contain windows. The
pediment of the altar, wfaicfa is opposite tfae entrance, is of

Sect. II.] CHUECHES.—S.S. Quatro Coronati. 283
Hyraettian raarble, supported on a pair of Roman Ionic co
lumns of white oriental alabaster, vvith capitals, torus, and
pUntii, all gUded. Above the altar, instead of an altar picture,
placed within a niche in the wall, is a fine statue in dark-
coloured bronze by Della Porta of S. John the Evangehst.
The figure is represented in a seated attitude, witfa an eagle
at its feet, and writing ; tfae countenance as if under tfae influ
ence of Dirine inspiration, expressive of a degree of fixed
attention totally abstracted from outward objects.
Tfae cfaapel opposite tfae preceding, on tfae left-faand side of
the peripfaery, is dedicated to S. Jofan tfae Baptist ; tfae entrance
is by a portal protected by iron rails and flanked by a pair of
porphyry columns. Tfais cfaapel consists of a single sraall oval
cfaaraber, of whicfa tfae ceiling, in the form of an oval dome, is
ornamented with gilded sprigs of flowers on a ground of wfaite
stucco. Tfae pediment of tfae altar, wfaicfa is opposite tfae
entrance, is of giallo antico, and supported by a pair of spi
rally fluted Roraan Ionic colurans, wfaose capitals, torus, and
plmtfa are gilded, but tfae sfaafts are of serpentine, tfae only
similar instance to be met with in Rome. Above tfae altar,
placed in a niche, instead of an altar picture, is a statue in
copper-coloured bronze of S. Jofan tfae Baptist, represented in an
upright attitude, clad in the skins of vrild beasts, and sustaining
in his arms a cross. The altar and colurans rest on a double
pedestal or base, of wfaich tfae lower portion is bianco e nero
raai'ble, and the upper Africano, of whicfa latter tfae colours are
very nearly of a sfaade as ligfat as fior di Persico.
S.S. Quatro Coronati.
Proceeding by tfae Via di S. Giovanni, wfaicfa leads straigfat
to tfae eastem flank of the Colosseura, tfaere is, within a very
sfaort distance from tfae entrance, a bifurcatioUj wfaence anotfaer
street lying nearly parallel to tfae other on the western side
leads to the centre of the same building. The church of
S.S. Quatro Coronati is situated on a spot elevated above
the latter street, a few paces removed from the westem side,
and about mid-distance. Of tfae church in question, which
apparently is of considerahle antiquity, I find no otfaer account
tfaan a casual reference in Nibby's Itinerary, that states it to

284 A TOUR IN MODERN ROME. [Chap. XI.
have been rebuilt by Pope Paschal IL, that is to say in the
year 1100 or thereabouts. The approach is by an arched
portal through a quadrangular enclosure, that faas tfae ap
pearance of an atriura, sucfa as the early Christian churches,
those of the fourtfa and fiftfa centuries, were coraraonly pro
vided with. Of this atriura tfae right-hand side is bounded by
a portico, such as in forraer tipies surrounded all tfae four sides,
but serves in tfae present instance as the entrance to a convent
of nuns annexed to the building.
Previous to entering the church it is worth while to pass
tfarougfa tfae portico in question to tfae vestibule of the convent,
an apartraent wfaicfa is at all tiraes open to tfae public, for the
purpose of seeing some curious fresco paintings on tfae walls,
supposed to have been executed in the fifth century. The
paintings are indicative of the early forras and cereraonies of
the churcfa ; and in one especially, the baptism of a neophyte
by a bishop is represented, the latter clad in the episcopal
robes with a raitre on his head, and the forraer kneeling naked
in tfae baptismal font, tfae water as higfa as fais sfaoulders.'
The cfaurcfa of S.S. Quatro Coronati is constructed in the
forra of a triple nave divided iiy ancient granite colurans, of
wfaich the capitals are of various sorts, and the torus and
plintfa wfaite raarble. The ceiling of the raiddle nave is flat
and coffered in panels of unpainted wood: the pavement is
composed of opus Alexandrinura, Above tfae columns tfae sur
face of tfae wall is whitewashed in as ordinary a raanner as the
raost retired viUage cfaurcfa in England. At the upper part
are a range of apertures protected by gratings coraraunicating
with a passage or corridor outside belonging to the annexed
convent, which corridor extends apparently round three sides
of tfae buildiug; and at the lower part, situated iraraediately
above the side naves, and supported on both sides by sirailar
granite colurans, though of sraaller calibre, is an arcade or
gallery, such as, characteristic of the early Christian churches,
was forraerly appropriated to the feraale part of the congre
gation. Tfae ceilings of the side naves are vaulted and groined.
The rigfat-faand side nave contains one, and tfae left-hand side
nave two lateral chapels. The chapel in the right-hand side
nave is of a very ordinary description, and with the exception

Sect. II.] CHURCHES.— S.S. Quatro Coronati.

285

of the altar picture is void of decoration. Tfaere is, howovor,
engrafted on the wall a little beyond it, a fine inonuinoiit
executed in alto relievo ; it consists of a sarcophagus of Afri
cano, flanked by a pair of lions rarapant, of white marble.
Underneath tfae sai-copfaagus is the inscription on a tablet of
black marble, and above it, within a circular niche, is a bust
of wfaite raarble.
In tfae left-faand nave the Fikst Lateral Chapel, sirailar
to the chapel in the other nave, is of the plainest description.
In tfae Second Lateral Chapel, tfae pediraent of the altar
rests on a pair of colurans of Porta Santa.
The transept is divided frora the middle nave by a broad
arcfa of considerable deptfa, insomucli tfaat tfae piers it springs
frora eacfa contain an altar. Tfae altars are of a plain descrip
tion, sirailar to one another, and without any otfaer omament
tfaan the altar picture, tfaougfa the surface of the piers, exclusive
of the space occupied by the altars, is painted in fresco. The
ceiling and pavement are similar to the ceiling and paveraent of
the middle nave. There is no altar at eitfaer extreraity, but op-
jiosite the terraination of each side nave there are two entrances,
which, as in the instance before described in S. John Lateran,
belong reciprocally to a circular passage or corridor which
passes completely round the tribune ; with tfais exception,
Iiowever, tfaat tfae corridor instead of lying on a plane surface
is subterraneous, and there is a descent on either side by a
ffight of fourteen steps to the lower level. Descending by one
flight of steps into the corridor, passing completely round and
ascending by the other, as the vaulted ceiling is plain and
whitewashed, and the walls are bare, there is nothmg to be
seen in the interior but two chapels or crypts, situated in such
a manner underneath tfae cfaoir and tribune that, tfarougfa an
iron-grated aperture in the wall upon tfae apex of tfae curve,
both are seen together. The ffrst on the side next the grating
is a sraall square cfaaraber that contains a plain altar ; and
iraraediately above the altar is another grated aperture,
through which the second charaber that lies beyond raay be
seen at the sarae tirae, as before stated. In the latter
chamber may be observed three if not four plain sarcophagi
of travertino, which, whether or not containing the remains of

286 A TOUR IN MODERN ROME. [Chap. XI.
tfae anonyraous titular saints of tfae cfaurcfa, tfae " S.S. Quatro
Coronati," I ara unable to say.
The choir or tribune is elevated two steps above the level of
the transept, and protected by a balustrade of Carrara marble.
It consists of an absis of extraordinary breadtfa, wfaicfa, instead
of corresponding as usual to the breadth of the middle nave,
includes the whole transverse length of tfae transept, which, in
the present instance, coincides precisely witfa tfae breadth of the
tfaree naves. Tfae seraidorae is covered continuously, and the
lower concave in separate panels, vritfa fresco painting,
attributed to Giovanni da Giovanni ; and below in the centre
is an ancient pontifical cfaair, forraed, not as usual of wliite
raarble, but of different sorts of coloured raarble.
The faigfa altar is isolated, and situated at tfae entrance of
tfae tribune in such a position that, with a canopy suspended
above it from the soffit of the arch, the sarcopfaagi above re
ferred to in tfae crypt are directly underneath it; the altar-
table is in tfae rear, so tfaat the priest while celebrating the
raass looks towards the nave.

Chap. XIL I ( 287 )

CHAPTER XII.

The Esquiline.

I commence tfae present cfaapter at a point wfaere two buildings,
tfae Lateran Palace and tfae Scala Santa — altfaougfa tfae nortfa-
east angle of tfae first is distant only a few paces from the
south-west angle of the other, and both bear a mutual relation
as regards tfaeir history, and consequently ought to have been
described consecutively — were necessarily separated, owing to
the arrangement of my topographical divisions, whereby the
boundary line that dirides tfae Ccelian frora the Esquiline
passes between thera. Prerious to the conflagration of 1308,
that destroyed tfae Basilica and tfae Lateran Palace, tlie ground-
plan of tfae wfaole extended over tfae site of tfae Scala Santa,
on wfaicfa particular spot was situated a venerated ancient
cfaaraber, called tfae " Triclinium Leonianum," and also a
cfaapel annexed and belonging to the chamber. The charaber
in question was built by Leo IIL, and accordingly received the
above-mentioned title ; and it was especially constructed for
the reception not only of tfae Roman Senate at tfaeir convoca
tions, but of iraperial visitors on solemn occasions, sucfa as at
tfaat period Leo faad tfae raore reason to anticipate, faaving in
S. Peter's, on Cfaristmas Day, in tfae year 800, placed tfae im
perial crown on the head of Charlemagne. The area, it is
said, was oblong, and in tfae middle was a fountain tfaat dis-
cfaarged its strearas into a basin of porpfayry ; at one extreraity
was a raagnificent absis, omamented witfa mosaic, and on eacfa
side were five otfaer absides of smaller dimensions, and it was
surrounded on three of the sides by couches, after tfae manner
of the ancients. When the Basilica and Lateran Palace were
rebuilt by tfae architect Doraenico Fontana, under tfae auspices
of Sixtus v., as related in tfae last cfaapter, tfae new palace
was constructed on a less extensive scale tfaan previously,
leaving at tfae sarae tirae detacfaed the Triclinium Leonianum,
wfaicfa, witfa the chapel adjoining, faad been preserved for the

288 A TOUR IN MODEEN ROME. [Chap. XII.
most part from the conflagration. Tfae restoration, however, of
tfae cfaapel especially was perraanently effected by Sixtus V.,
wfao faaving at the sarae tirae caused the celebrated flight of steps
called the Scala Santa, said to have belonged to the palace of
Pontius Pilate, at Jerusalera, to be transported thither, erected
the steps within the new building in such a manner as to serve
as the approach to the chapel ; so that both might be protected
together under tfae sarae roof. This building, accordingly,
taking its title from the holy fligfat of steps contained witfain it,
is called the " Scala Santa."
Tfae entrance, facing a little to tfae northward of west, is by
five open round-topped arches through a portico, elevated by
three steps above the ground level ; and all the apertures,
tfaougfa eacfa is protected fay an iron raiUng tfaat may be
opened and shut at pleasure, are at all tiraes during the day
accessible to the public. Above the arches the elevation con
sists of a plain attic, and upon the entablature is an inscription,
of which it raay be observed that, notwithstanding it is generally
affirraed by the Roraan Catholic Cfaurcfa tfaat the holy steps
were really brougfat from Jerusalera, as above stated, and con
sequently no sacred relique in Rome wfaatever is faeld in faigfaer
veneration at tfae present day — raany persons even believing
that tfaeir surface was actually pressed by tfae feet of our
Saviour — the fact is not in the least corroborated by the
epigraph in question, nor does it bear the slightest reference to
the history of the relique, or tfae place wfaence it carae. Tfae
foUowing in fact, and notfaing raore, are the precise brief terms
of the epigrapfa : " Sixtus V. fecit, Sanctiorique loco Scalam
Sanctam posuit.", Tfae portico, in its interior, is spacious,
broad in proportion to its length, aud extreraely lofty; the
ceiling is vaulted, and entirely covered with fresco painting,
representing partly figures and partly arabesque designs,
divided in panels or corapartraents. The pavement is of narrow
brick, placed en chevron, or zigzag. The pilasters that support
tfae cornice are painted in cfaiaro oscuro, in imitation of fluting.
Upon the side, opposite the entrance, tfaere are five open round-
topped arcfaes corresponding witfa the other five that corarau
nicate with tfae exterior, and witfain tfae forraer are five stair
cases, of wfaich the central one is the celebrated Scala Santa,
to which the two pair of flanking staircases are subsidiary in

Chap. XIL] THE SCALA SANTA. 289
such a raanner that all five emerge in a corridor on tiie upper
story, and the pilgi-ims and pious Catholics who ascend the
Scala Santa on their knees, descend in the usual raanner by
eitfaer one of the otfaere tfaey think proper. The latter, raore
over, are ascended and descended by Protestants and all ranks
of heretics without restiiction. At the foot of the Scala Santa,
whicfa is retired a few paces vrithin the arch, there is a small
vestibule, of wfaicfa tfae ceiUng, vaulted and groined in a single
bay, is painted, as are also the side walls, which are in other
words the sides of the entrance arcfa, in fresco. Tfae paveraent,
wfaicfa is elevated by two steps above the level of the portico,
is of Hyraettian raarble, and upon the upper of the two steps
is engrafted a circular tablet of serpentine, sucfa as it was tfae
custora to have in tfae early Cfaristian cfaurcfaes, called tfae
" Rota," and was intended to sfaow tfae neopfayte wfaere fae
sfaould make fais prostration. There is also engrafted in tfae
middle of tfae area a similar circular tablet of porpfayry.
Tfae steps of tfae Scala Santa are twenty-eiglit in nuraber, and
formed of Hymettian raarble, tfaougfa eacfa step, in consequence
of the continual traffic to which tfaey are subjected, is covered
witfa a loose casing of walnut wood in sucfa a manner tfaat only
a portion of tfae surface, risible tfarougfa a narrow loopfaole
made on purpose, tfaat extends in a transverse direction nearly
from one extreraity of tfae board to tfae otfaer, is exposed to tfae
eyes of tfae public. The ascent, being considered by the
Roman Catholic Church a wholesome act of penance, raust be
performed on the knees exclusively, and on tfaose conditions it
is perraitted freely to raerabers of their own faitfa of all manner
of ranks to perform tfae ceremony wfaenever tfaey think proper.
Protestants too are adraitted within tfae portico as well as to
tfae flanking staircases and the corridor above, in accordance
witfa tfae Uberal indulgence invariably extended to strangers in
Rome by the ecclesiastical authorities, so tfaat they have an
opportunity of observing the spectacle under every possible
advantage, either from above or frora below. It is certainly
the raost extraordinary scene tfaat human eyes can witness, to
see sucfa an unlimited mixture of all ranks, from princes and
nobles, including all raanner of persons of tfae middle classes,
down to tfae comraon beggar, in nuraber amounting on some
particular saint's days, All Souls for example, to not less than
VOL. IL U

290 A TOUR IN MODEEN EOME. [Chap. XII.
forty or fifty, all clambering on tfaeir knees at once up the
steps, after a fashion tfaat reminds one of tfae print in the
Pilgrim's Progress representing tfae ascent of Cfaristian up
tfae faill Difficulty ; and being of various sizes, ages, habits,
and temperament, compelled to exliibit a corresponding
diversity of moveraent in the performance of an act that
requires much strength and activity, and is after all not
a little ungraceful. Some people are even driven to the
raost violent contortions of lirab and feature before they are
able to make progress at all, and in the effort jostle one
another riolently ; while the countenances of some otfaers,
aged, infirm, or invalided, — poor people wfao perhaps have
travelled wearily many railes to the spot raerely to raake a
last effort of devotion at tfae close of tfaeir lives, and rest
panting for several seconds on one step, a period which is
passed in eamest prayer invariably, before their returning
strength enables thera to attempt a second, — are expressive
of acute pain and misery. A trifling aid, however, is afforded
to tfae blind, tfae halt, and the weary, those exclusively, on the
extreme rigfat or left, by a low solid marble balustrade whereon
to lean their elbows ; but even this assistance, slight as it is,
is raerely transitory, for the balustrade after the ffrst eight
steps terrainates altogether.
Tfaere are certainly nuraerous indiridual objects among the
group calculated to dispose the mind to serious reflection, but a
sense of the ludicrous predominates involuntarily on obserring
such a promiscuous asserablage of huraan beings, whora one
raigfat iraagine no earthly chance or possibility eould collect
together, raount the steps, struggling as it were with one another,
each of the better class haring preriously bestowed in charity a
piece of copper raoney in the portico, where a mendicant friar
takes fais post continually, and rattles tfae baiocchi deposited in
fais tin alras box without a moraent's relaxation. Araong all the
persons and personages that resort hitfaer on coramon occasions,
it is by no raeans an extraordinary occurrence to see a young
nobleman or gentleman fasfaionably dressed leave his horse in
charge of the groom outside, and entering the portico with
golden knobbed riding-whip in hand, and eye-glass on his eye,
kneel dovm in conformity witfa etiquette and kiss the flrst rota,
pass the vestibule on his knees, kiss the second rota in tbe

Chap. XII.] THE SCALA SANTA.

291

raiddle, and perform the ascent of the twenty-eigfat steps as
rapidly as an ungainly person would do on his feot. Thon
being arrived on tfae summit, he kisses a cross of brass en
grafted for the purpose on the uppermost step, rises nirably
on his feet, trips featly down one of the flanking staircases,
and, remounting his horse as if nothing at all were the matter,
cantere away without faaving expended more than five rainutes
frora first to last in the operation.
Again, tfaere may be seen perhaps a Roman lady of rank
aud her two daugfatere descend from tfaeir carriage, cross
the portico, daintily lift up their silk dresses in front in sucfa a
raanner that as they scuffle on tfaeir knees across ifae vestibule,
raaking the same prostrations and kissing both rotas in the
manner before referred to, the petticoat of snowy dimity comes
in contact witfa tfae pavement ; all wfaicfa part of tfae ceremony
is performed witfa tolerable facility, tfaougfa all three persons
are destined to meet with difficulties in tfae ascent uneri-
countered by their lithe predecessor. For deeply impressed
with a sense of tfae religious pilgrimage tfaey are undertaking,
and at tfae sarae time eamestly desirous to keep as close as
possible together, tfaey are liable to nuraerous disasters in tbe
perforraance of tfae unusual exercise ; and unable to regulate
their strength as need be, sometiraes in consequence of an
over effort, and soraetimes owing to the effort being raade in a
wrong direction, come into violent contact and nearly overeet
one another ; to say nothing of the overreaches caused not
unfrequently by persons on the step above stopping suddenly
and unexpectedly, whether for the purpose of uttering a prayer
or resting from sheer fatigue.
Tfaere are at all events to be seen continually among tfae
pious multitude groups of peasants, raen, women, and cfaildren,
from tfae Campagna, wfao, witfa an air of self-satisfaction ap
proaching to hilarity, perform their kneeling pilgriraage from
tfae bottom to the top with little bodily eflbrt. Sorae not
unfrequently enter into corapetition witfa one another, and
strain every nerve and rauscle to outdo their neighbours, even
to the extent of raaking a race of it, wfaile tfaeir countenances,
sucfa is their buoyant state of aniraal spirits, can witfa diffi
culty preserve a serious expression. Everybody, faowever,
araong the raotley throng appears exclusively occupied with
u2

292 A TOUE IN MODEEN ROME. [Ch.\p. XII.
tfaeraselves or vrith their party, witfaout tfae sligfatest sfaow of
deference on tfae part of tfae poor towards tfae rich, or of pre
suraption on the part of tfae ricfa towards tfae poor ; while the
effect produced on tfae senses of a spectator by the scene
altogetfaer, by the strange and incongruous raovements, the
bobbing of heads, the floundering of elbows and shoulders,
and the wreathings of the body, can only be compared to
a spectacle that occasionally presents itself to the sight on a
summer's evening, wfaen frora a spot out of doors observing
the dancers in a crowded asserably, the raovements of the
people, before the sound of the music is perceptible, have a
strange, unaccountable appearance. The sight, too, is accom
panied by a sound no less reraarkable, for as every step is
covered by a loose board of walnut-wood, as before stated,
which becoming warped Ues uneven on the surface, the con
tinual clattering of the wood against the raarble, and the
thumping of the people's knees against the boards in all direc
tions, create a continuous noise and rattling that resembles
tfae galloping of faorses at Astley's over a wooden bridge or
platforra. The corridor at the top of the Scala Santa is well ligfated
by a series of small doraes in the vaulted ceiling, surraounted
by lantem cupolas ; the walls are reraarkably plain, tfaougfa
tfaere is to be observed upon the wall iraraediately opposite
the steps a gilded iron grating, tfarougfa wfaicfa is to be seen
tfae chapel before referred to, annexed to the Tricliniura
Leonianura. The grating is protected by wooden shutters,
wfaicfa are folded back during the day, and upon the sur
face so exposed to view is painted on each a picture of our
Saviour in duplicate. Underneatfa is a raarble bencfa for
people to kneel upon wfaile they look through the grating,
and above the grating is tfae following inscription : " Vul-
neratus est propter iniquitates nostras ; attritus est propter
scelera nostra." As admittance can only be obtained under
very extraordinary circumstances, people must content thera
selves with seeing so rauch of it as they are enabled to
see through the grating ; and a tolerable view nevertheless is
to be had of the interior. It appears to be a sraall square
cfaamber, of wfaicfa tfae ceiling is vaulted and painted in fresco,
and tfae pavement composed for the most part of circular

Chap. XIL] TRICLINIUM LEONIANUM. 293
tablets of porpfayry, and the remainder opus Alexandrinum.
The cornice is supported by four Roman Ionic gilded columns
planted at tfae angles, and on tfae side opposite tfae spectator is
an altar contained witfain a round-topped arcfa supported by a
pair of columns of wfaite alabaster vrith gilded capitals. The
arch is excavated in the rear of a recess occupying nearly the
entire breadtfa of tfae cfaapel, and extending in faeigfat within a
few feet of the cornice : it is surmounted by an entablature
supported by a pair of Corinthian columns of porphyry witfa
gilded capitals, and upon the frieze of the entablature is the
following inscription : " Non est in toto sanctior orbe locus'
Underneath tfae altar is preserved, it is said, a large cfaest of
cedar or cypress wood, on whicfa is tlie following epigrapfa,
inscribed by Leo IH., " Sancta Sanctorum," witfa reference to
tfaree sraaller cfaests wfaich it contains, tfae latter filled witfa
reliques of extraordinary value. Upon tfae walls on each side
of the chapel, as regards the upper portion, is a row of small
pointed arches supported on twisted colurans of white marble,
whose helices are wrought in mosaic. The tympana of some
of tfaese arcfaes contain gilded gratings wrougfat in trefoil, tfaat
protect repositories of reliques ; and the tympana of the re
mainder are lined witfa mosaic. As regards tfae lower portion,
tfae entire surface, whenever I happened to be there, was
covered vrith crimson damask ; upon the pavement below, how
ever, there is to be observed on each side a low marble bench,
which, wfaetfaer or not bearing reference to tfae bencfaes or
coucfaes of tfae TricUnium, I ara unable to state.
At tfae soutfaern extremity of tfae corridor tfaere is a portal
communicating witfa anotfaer cfaapel, wfaere, according to
general custom, tfaose persons wfao faave performed tfae ascent
of the Scala Santa, after crossing the corridor, still kneeling,
and remaining sorae rainutes on thefr knees upon the raarble
bench above raentioned, looking tfarougfa tfae grating, cora
plete tfae reUgious observance. Tfae cfaapel in question, wfaich
is of spacious diraensions, is oblong in area ; the ceiling is
vaulted, and painted in fresco hke the ceiling of tfae portico,
and tfae paveraent is composed of square pieces of blue and
of white marble. The side walls are rougfaly coloured, in
imitation of granite and of different sorts of marble ; and upon

294

A TOUE IN MODERN ROME. [Chap. XII.

tfae northern side, upon tfae wall tfaat dirides the chapel from
tfae chapel of Leo III. above described, there is an altar con
tained within an arched recess, and protected by a massive
balustrade of Carrara marble, witfa balusters of pavonazzetto
surraounted by an iron railing. The soffit of the enclosing arch
is wfaitewasfaed and tfae sides painted continuously in fresco,
tfaougfa tfae colours liave suffered very considerably frora the
effect of darap. The altar is faced with inlaid raarble, and in
the centre is a cross of gilded bronze, and in the middle of the
cross is an eraerald, which from its size is probably artificial.
Close to the altar, and within the arched recess, is an iron
door, secured by massive iron bolts, which is opened on great
occasions exclusively, and forms the only entrance to Leo III.'s
cfaapel. Tfaere yet remains to be described the western absis, or its
counterpart, of the Triclinium Leonianura, which is to be seen
exposed in tfae open air, on the southem flank of the building,
where tfae original was left standing after the operations of
Sixtus v., in consequence probably of fais intention to dispose
of it after sorae other plan that eventually was never completed.
Tiiere, faowever, it reraained, lined with its ancient raosaics,
whicfa were subsequently repaired by Cardinal Francis Bar
berini ; but in consequence of an unfortunate experiment
attempted about tfae year 1738 by Cleraent XII. to reraove
the raosaics, together with the wall in which they were em
bedded, to the oratory of S. Lawrence, of which, tfaougfa said
to be close adjoining, I ara not able to uidicate tfae position,
the ancient work of art, ovring to the structure giving way
under tfae operation, was entirely destroyed. In consequence
of this accident, Benedict XIV., the iraraediate successor of
Cleraent XIL, deterraining to preserve a meraorial of the
relique, caused another absis, a /ac-«iWZe of the ancient one, to
be erected in the sarae position, and Uned with mosaic, an
exact copy of tfae original, according to pictures still pre
served in tfae Vatican, and other necessary docuraents.
Tfae absis in question, exposed like the charaber of a dweUing-
house destroyed by conflagration, is situated upon the south
eastern angle of tfae building in such a manner, that its frontage
lies flush with the southern flank. It is of the ordinary form.

Chap. -XIL] BATHS OF TITUS. 295
composed of brick, of spacious dimensions, elevated by a flight
of seventeen steps above the ground level, and surniounted by
a pediraent supported by two pairs of pilasters of travertino
placed in a row, and the space between each pair of pilasters is
lined with mosaic. The seraidome is lined with mosaic, and
the subjects, whether tfaose represented on tfae seraidome or on
tfae lateral spaces, are, firet, our Saviour presenting the standard
or labarum to Constantine ; second, S. Peter presenting thc
keys to Constantine ; and third, Charlemagne and Leo III.
both kneeling at tfae feet of S. Peter, who is presenting to tfae
firet a standard, and to tfae otfaer a sacerdotal stole. Tfae figure
of S. Peter is reraarkable on account of tfae form of tfae
aureole or glory surrounding tfae head, which aureole is not
round, but square, and consequentiy indicative of the eightfa
and nintfa centuries, sucfa as a similar aureole wfaicfa was re
ferred to in tfae cfaurch of S. Maria in Domenica, described in
the last cfaapter. Tfae lower concave is entirely occupied by
three inscriptions, written from top to bottora, side by side, of
the two outerraost of whicfa I do not know the purport, but the
middle one relates to tfae operations of Benedict XIV. above
referred to, and is as follows : — " Benedictus XIV. P. M. anti-
quissimum ex vermiculo opere moniraentura in occidentaU
apside Lateranensis Coenaculi a Leone III. sacro cogendo
senatui, aliisque solemnibus peragendis extructi, quod ad
templi aream laxandam Clemens XIL integrum loco moveri,
et ad proximum S. Laurenti oratorium collocari jusserat, vel
artificura iraperitia, vel rei difficultate difiractura et penitus
disjectura. Ne Ulustre adeo Pontificise Majestatis auctorita-
tisque argumentum literarise reipublicse darano interiret, ad
fidem exempli ipsius Clementis proridentia, stantibus adhuc
parietinis accurate coloribus expressi, et simillirase in Vaticano
codice veteris picturse, nova apside a fundaraentis excitata,
eruditorura rirorum votis occurrens, urbi seternae restituit, anno
ciDioccxLiii. Pont, sui III."
The Baths of Titus are situated but a sfaort distance from
the Scala Santa. To go thither it is necessary to proceed by
tfae Via di S. Giovanni as far as tfae Colosseura, wfaence an
other street, tfae Via Labieana, diverges from tfae forraer at a
small angle on the eastern side leading to the Porta Maggiore ;
and in the latter sfreet, on the eastern side, within a few paces

296 A TOUR IN MODEEN EOME. [Chap. XII.
of the entrance, raay be observed a wooden portal, surraounted
by a placard as follows : — " Ingresso alle Terme di Tito." On
tbe spot in question, the extreme verge of the Esquiline, the
ground rises towards the Esquiline witfa a sudden acclivity,
wfaitfaer, previous to tfae construction of the Baths of Titus, the
Golden House of Nero extended frora the Palatine over a con
siderable portion of the site of tfae Colosseura and the flat
ground intervening between that building and the Roman
Forum. Titus accordingly, availing fairaself of the portion of
Nero's palace situated iraraediately under the brow of the hill,
made it tfae substructure of his baths, filling up with earth, as
is supposed, sorae of the cfaarabers that were unfinished, and
building the new structure above, wfaere tfae ground, at tfae
faeigfat of not raore tfaan twenty or tfairty feet, assumes a level
surface. Of tfae buildings, however, constructed during these
operations, with the exception of some detached objects which
will be referred to separately, whether destroyed in common with
other magnificent monuraents of ancient Rorae during the incur
sions of the barbarians or otherwise, very little indeed reraains ;
so that tfae ruins in question, tfaough generally distinguished
by the title of the Baths of Titus, are in reality the ruins of
the Golden House of Nero. Tfaere are at all events no accounts
whatever to be referred to, further than that tfae spot was
occupied as a fortress by tbe family of the Conti during the
civU wars, until the period of the revival of tfae arts, wfaen the
Neronian cfaarabers being explored by Leo X., tfaey were
found to comprise tfae most perfect specimen existing of tfae
interior of a Roman palace in the days of the Erapire, and tfaose
beautiful frescos were discovered frora wfaich Raphael borrowed
fais designs for tfae Loggie in tfae Vatican. Tfae cfaarabers,
subsequent to the reign of Leo X., owing to a cause that
faas never been clearly accounted for, were again fiUed up
witfa eartfa and rubbisfa, and reraained buried as before more
tfaan 250 years, untU in the course of another excavation,
undertaken by Mirri under the auspices of Pius VI. in the
year 1776, tfae frescos above referred to were brougfat a second
tirae to Ught, frora which circurastance an imputation was cast
upon Raphael to tfae effect tfaat fae caused the chambers to be
blocked up on purpose, in order to monopolise to himself the
credit of originaUty witfa regard to tfae frescos in tfae Loggie,

Chap. XIL] BATHS OF TITUS. 297
tfaougfa it faardly seeras possible tiiat Rapfaael would faave
atterapted to conceal a discovery wfaicfa, being so iraportant an
event in tfae faistory of art, must faavo been generally known to
the artists of the period ; at all events very few persons now
adays adhere to the conclusion. Tfaere were also discovered
in the Neronian chambers in the tirae of Leo X. the statue of
the Meleager and the beautiful fresco of the Nozze Aldo
brandini, both now in the Vatican ; also a raarble statuette of
Pluto, now in the Capitoline Museura, in the cfaaraber of tfae
Sarcophagus. The celebrated group of the Laocoon is stated
by some authorities to have been found in the Neronian chara-
bere, though the fact of its having been dug up between the
Sette Sale and S. Maria Maggiore, in the vineyard of FeUce
de Fredis, is established by the epitaph wfaich was referred to
in the description of tfae churcfa of AracoeU in tfae eigfatfa
chapter. Tfae excavation effected by Mirri was after all
carried only to a limited extent ; nor was it until tfae years
1812 and 1813 tfaat, in consequence of excavations consider
ably raore extensive tfaan faad been undertaken previously,
tfae cfaambere were exposed to the view of the public, as at
present. Without adverting further to tfae original plan of
the Baths of Titus, it may be observed of the area that, on the
authority of a diagrara existing araong the fragraents of tfae
Pianta CapitoUna, and of various plans and drawings subse
quently raade by eminent arcbitects, of whicfa tfaose contained in
tfae work of De Romanis, entitled Camere Esquiline, are par
ticularly celebrated, it is supposed to faave coraprised two
quadrangular enclosures, one vritfain tfae otfaer, similar to the
Baths of Caracalla and Diocletian.
With regard to the present appearance of tfae exterior, it
comprises tfae only portion of tfae building existing on tfae spot
wfaicfa was built by Titus, a circular brick structure, supposed
to have been a tfaeatre belonging to the baths, and constructed
at the foot of tfae brow in such a raanner tfaat tfae rear abuts
upon tfae accUvity, and tfae surface of tfae vineyard above is
level with the summit. The frontage is upon the farther side
of the sraall enclosure, of which, as before stated, the portal is
in the Via Labieana. On the rigfat-faand side of a person
entering frora tfae street is a sfaed whicfa the custode, wfao is
somewfaat of a mechanic and artist, faas converted to a worksfaop,

298 A TOUR IN MODEEN EOME. [Chap. XII.
wfaere pieces of marble discovered in the ruins are manufactured
into letter weights and ornaments for the table : here also are
preserved various fragraents of the ancient building, such as
capitals of columns, pieces of cornices, &c. The circular build
ing, faowever, projecting in front of tfae precipice, tfae latter
protected by a hedge, consists of several paraUel walls, that,
abutting on tfae circular peripfaery, forra so raany parallel
passages, wfaicfa Nibby supposes to faave been outside append
ages to tfae tfaeatre, such as, to use his precise words, " non
abbiano raai servito per alcun uso decente ;" and through the
central one of tfaese passages is the entrance to tiie Neronian
charabers. Of these charabers I ara not able to give a raore
distinct account of the ground-plan than by stating that, after
descending a few paces by an inclined plane, where on the right
and left tfae junction of tfae building of Titus over that of Nero
is perceptible on tfae face of tfae masonry, the way suddenly
tums to the right at a right angle, and leads through a series of
five or six of the ancient apartments, through open portals
situated in a straight Une from end to end. The charabers
haring been filled up with earth as before stated, and the pre
sent passage cut tfarougfa the solid raass of soil by spade and
shovel, tfae interior, even at tfae present day, is only partially
explored, presenting to tfae view of tfae spectator, with regard
to tfae remainder, a soUd perpendicular plane surface of eartfa
like a perpendicular section of tfae apartraent. Tfae walls of tfae
portion cleared, wfaich after all is considerable and may amount
to frora one-half to two-thirds altogether, are in the most beau
tiful state of preservation imaginable, and partly, no doubt,
owing to the arid nature of the volcanic soil and genial climate,
are absolutely quite fresfa and new in appearance, notwitfastand-
ing faaring remained so many centuries in a state of sepulture.
The colour of the bricks is bright red and tfae texture remark
ably fine, comprising an adrairably even surface, corapleted in
tfae mass, as appeare in some places wfaere fractures faave been
raade, evidently tfarougfa violence, with rubble forraed of frag
ments of brick and tufa raixed up with cement. Tfae stracture
altogetfaer, frora its perfect soundness and the thickness of the
waUs, whicfa are 3 feet 10 incfaes tfae outer ones, and tfae
reraainder 2 feet 9 inches, is as capable of forming, if it were
yequired, tfae foundation of a raodern edifice as it was in tfae

Chap, XIL] BATHS OF TITUS. 299
days of Titus. Here and tfaere may be observed a portion
covered with opus reticulatum. The chambers, witii tiie
exception of one towai-ds the end, ai-e of sinall dimensions,
with vaulted ceUings, and square apertures are pierced through
the wall close to the spring of tiie vaulting to serve as windows,
tfaougfa tfaese, being blocked up by tfae deep stratum of eartfa
tfaat rests upon tfae buUding, are rendered useless. The
larger chamber is cleared of etirth entirely, and contains at the
rigfat-faand or western extreraity a spacious nicfae, wfaicfa, not
withstanding the circumstances above related, the custode
invariably assures tbe visitors was occupied formerly by the
group of the Laocoon, and a statue or group of figures of
colossal dimensions, tfaough not tfae group in question, raost
probably once stood there. The charabers whicfa contain the
fresco paintings copied by Raphael are at the end of tfae suite,
and two in nuraber, and the vaulted ceilings are covered by
the paintings in question, executed in an arabesque pattern,
comprising flowere, leaves, and delicate tendrils raeandering in
graceful flowing lines over the surface. Tfae colours are in
high preservation, tfaougfa seen to infinite disadvantage by the
inefficient aid of a sraall wax taper twisted round the end of a
reed such as grow in the vicinity of Rorae to the height of 12
or 15 feet. In tfae present instance, owing to the loftiness of
the cfaambere, two are spliced togetfaer. Tfae light at all
events, owing to tfae bending of tfae reed, is almost useless,
crossed and counteracted as it is by tbe dira rays of dayligfat
tfaat enter tfarougfa tfae passage.
In addition to tfae suite of cfaarabers in question, a corridor
was discovered in the year 1813 lying beyond and parallel to
these and to tfae Via Labieana. The length of the corridor
appears to be the same as the suite of chambers, and the ceiling
is a cylindiical vault fiimished witfa square apertures upon tfae
apex at intervals of 10 or 12 feet, for the purpose of admitting
light, though, like those already referred to in the chambers,
useless, and from the same cause. The surface is painted in
fresco in tfae sarae style, and exfaibited under tfae sarae dis
advantages as tfae otfaer paintings ; tfarougfa faere the colours
are damaged considerably, eridently fi-om the effect of humidity
whicfa prevails in tfais quarter contrary to tfae general appear
ances elsewfaere, tfaougfa I cannot state tfae reason. Tfae pave-

300

A TOUE IN MODERN EOME. [Chap. XII.

raent, in consequence probably of the object of the excavation
faaving been answered by tfae discovery of tfae frescos on tfae
ceiling, has never yet been uncovered, and 3 or 4 feet of earth,
according to the account ofthe custode, still lie upon it, though
tfae corridor appears to be not less tfaan 18 feet in height not
vrithstanding. There is yet anotfaer object, whicfa is raentioned in the guide
books, of which I am not able to indicate the position — an early
Christian cfaapel, supposed to faave been built about the sixth
century, and dedicated to S. Feliclta, or Saint Felicitas, who,
according to tfae account in tfae martyrology, was beheaded,
together witfa faer seven cfaildren, in the 167th year of the
Christian era, or, as is stated by others, gored to death by a
furious cow.
Such being the present condition of tfae principal portion of
tfae ruins comraonly distinguisfaed as tfae Batfas of Titus, the
other detacfaed portions, referred to in the beginning, still
remain to be risited. One would be naturally desirous, after
seeing the preceding, to explore the ground tfaat lies above
tfae subterraneous charabers already described, but tfae object
is effectively irapracticable, owing to tfae sraall size of the
enclosures that crovra tfae suramit of tfae acclivity and tfae
irapregnable nature of the fences, insorauch that it were a
hopeless effort to overcome tfae indolence and apatfay of no less,
perfaaps, tfaan five or six small land proprietors wfaose assistance
and co-operation would be indispensable in order to examine
leisurely the tract of ground in question. Neither ara I aware
that anything is to be seen there worth the trouble of the
experiraent. To proceed, however, to the detacfaed ruins in
question, of wfaicfa tfae first, a circular building of a similar
cfaaracter to otfaers belonging to the Batfas of Diocletian, before
referred to in tfae fiftfa cfaapter, is called tfae Hemicycle, it is
necessary to return by tfae Via Labieana part of the way towards
the Colosseum, to a point wfaence a narrow sfreet or lane,
bounded on eacfa side by faigfa walls, and called tfae Via di
Polvereira, diverges on tfae right-hand side and leads in a
direction nearly due nortfa towards the churcfa of S. Pietro iu
Vincoli. After proceeding a few paces by a gentle ascent,
witfaout being able to discern any objects eitfaer on tfae right or
on tfae left, owing to tfae loftiness of tfae walls, there is to be

Chap. XIL] BATHS OP TITUS. 301
observed the gate of an enclosure on tho right hand, througli
which a partial glimpse may be had of the vineyard within.
Close to the spot, however, the road swerves to tfae left, and a
few paces further on tiie right-hand side is the building frora
which the Via di Polvereira receives its title, a building
forraerly occupied by tho French as a powder magazine. At
present it is used as a raagazine of saltpetre, and on applica
tion on the spot adraittance raay be faad to tfae interior and
to the enclosure beyond, wfaere the Heraicycle is situated.
On passing through the magazine, whether or not built upon
an ancient substructure, as it appeare to be, tfae way leads
along a corridor, wfaose vaulted roof, 27 feet span or tfaere-
abonts, is composed of naked brickwork and of extraordinary
flatness. The Hemicycle, wfaich stands close to the premises, compris
ing only a portion of the entfre cfrcular building perpendicu
larly dirided, faas tfae appearance of a spacious absis, of wfaicfa
tfae semi-dome is lined vritfa coffers of stucco, and tfae lower
concave is a wall of naked brickwork ; its precise position, ac
cording to the ground-plan of the baths laid down in the
modem maps of Rome, is upon tfae nortfa-westem angle of the
outer enclosure.
Tfae next detacfaed portion of tfae baths to be risited, called
the Sette Sale, is situated with reference to tfae above-raen
tioned ground-plan, in tfae dfrection of a diagonal hne dravra
frora the north-west to the soutfa-east angle, and at a point a
little way beyond. In order to proceed tbitfaer it were irapossible
to lay down a specific direction farther tfaan to state that the
way leads by a cfrcuitous route, bounded by faigfa walls, tfae
whole distance along a thorougfafare distinguisfaed successively
by placards attached to the masonry by the titles Via di S. Pietro
in Vincoli, and Via delle Sette Sale, until after having cora
pleted nearly a serai-circle frora the point of starting, we arrive
at the wooden portal of a rineyard on tfae rigfat-faand side tfaat
contains tfae ruin in question. Tfae portal is at once recogniz
able, as tfae words " Sette Sale " are inscribed above it, but
the cfaances of obtaining admittance are somewfaat precarious,
inasmucfa as tfae ruin is one not very comraonly resorted to by
ordinary visitors, and tfae labourers and people eraployed in
tfae rineyard are frequently out of faearing.

302 A TOUE IN MODEEN EOME. [Chap. XII.
Tfae Sette Sale is supposed to faave been originally a Piscina*
of tfae ViUa of Msecenas, whose gardens covered an indefinite
tract of ground in this quarter, insomucfa that it is imagined
by some persons that the Neronian charabers already described
existed even before the tirae of Nero, and belonged to the
Palace of Msecenas. The Piscina, however, was no doubt con
verted by Titus to a reservofr, and, being supplied by the
sarae aqueduct as tfae fountain called tfae Trofei di Mario,
near S. Maria Maggiore, namely, tfae Aqua Julia, was rendered
subsidiary to Ms baths.
The Sette Sale consists of nine ancient reservoirs, dirided by
parallel walls from eacfa otfaer, so tfaat tfae title with reference to
the nuraber that appear at present is not satisfactorily accounted
for, and is otherwise attributed to an ancient tract of ground in
tfae ricinity, called the " Septisolium." The nine reservoirs are
of different lengths, tfae central one facing 54 palms, or nearly 392-
feet, and the reraainder dirainishing on botfa sides gradually ;
but tfae height and breadth is equal in all, that is to say 17^
palras, or 12 feet 9 inches, and 12 palras, or 8 feet 9 inches.
Each of the partition waUs, whicfa are of extiaordinary solidity,
contains four arcfaed apertures extending across diagonally in
such a raanner as to dirainish tfae effect of tfae lateral pressure
of tfae water in its free coraraunication frora one cfaamber to
anotfaer. These waUs, as weU as the pavement, are covered
witfa tfae description of ancient cement caUed " opus Sig-
ninum," so called frora Signia, a city of Latium belonging to
the Volsci, wfaere it was perhaps first made use of. It was
coraposed, according to PUny, of broken vessels of terra cotta
pounded and raixed up with Ume,t tfaougfa Vitruvius,| who
states tfae precise proportions, pronounces it to be made of sand,
lime, and sUex. There is also to be observed adhering to the
cement a portion of tfae calcareous residuum deposited by tfae
water, which, in former times, was contained there. Such
being the present appearance of tfae ruin, it is to be observed
tiiat the portion above described coraprises only an upper
story, and that the lower story, stiU reraaining, as it is said,
buried below the soil, reraains yet to be explored.
There are also to be seen in the present rineyard, in addi
tion to the ruin of the Sette Sale, several otfaer nondescript
¦* See p. 221. t Lib. xxxv. cap. 12. t Lib. viii. cap. 7.

Chap. XIL] BATHS OF TEAJAN. 303
masses of ancient brickwork, of which tfae principal, supposcd
to have belonged with the rest to the Palace of Titus, com
prises a somewhat extensive pile of ruined walls, which are
furnished with niches, and are otfaerv\ise indicative of an edifice
of considerable importance. The group of tfae Laocoon, just
now referred to, is supposed to have been originally contained
in tfae Palace of Titus, and tho Vigna de' Freddis, where it
was fomid, is situated a very short distance due north of the
Sette Sale.
The Baths of Trajan, of wfaich all existing accounts
are extreraely uncertain, are not to be found laid down in
tfae raodern raaps of Rome, but, notwitfastanding, are stated
by Nibby, in fais Itinerary, to faave occupied as it were a
separate estabUshraent from the Baths of Titus, the tract of
ground lying between tfae Sette Sale, the cfaurcfa of S. Martino,
and tfae cfaurch of S. Piefro hi Vincoli ; or, in other words, witfa
reference to tfae ground-plan of tfae Baths of Titus above re
ferred to, to have abutted upon the northem side, or rather
the north-eastern side, for sucfa is its precise aspect, of tfae
latter enclosure. It would at all events appear most probable
tfaat the Batfas of Titus, wfaich, twenty years after his death,
were necessarUy inherited by Trajan, and then consequently in
higfa perfection, were extended in tfaat direction, inasmucfa as
tfaere is a crypt underneatfa tfae cfaurcfa of S. Martino, generally,
supposed to faave belonged to the Baths of Trajan, wfaich will
be described in the second section of this chapter, tfaougfa witfa
that exception tfaere are no otfaer recognizable reraains what
ever to be found existing. The bearing of the cfaurcfa of S.
Martino, witfa reference to the Sette Sale, is a little to tfae
westward of nortfa, and the distance about a furlong.
Tfae soutfaern gable of the church of S. Martino faces upon
a street called the Via di S. Pietro in Vincoli, whence a
narrow street skirting tfae eastem flank of tfae cfaurcfa connects
tfae Via di S. Pietro in Vincoli witfa a parallel tfaoroughfare,
the sarae which in ancient tiraes passed tfarougfa tfae locality
called tfae " Suburra," wfaere the refuse of tfae Roraan popula
tion had thefr dwelhngs. The Suburra is celebrated by Horace
in his description of the incantations of the witch Canidia,
who, after coraposing a pfailter for tfae purpose of reclairaing
faer unfaitfaful lover Varus, tfareatens him in an indignant

304: , A TOUR IN MODEEN EOME. [Chap. XII.
apostropfae,* araong various otfaer maledictions, witfa being ,
barked at in his old age by the dogs of the Suburra. The
thorougfafare in question completely preserves its ancient cha
racter to tfae present day, and is inhabited for the most part
by the lowest classes of the Roraan people ; it runs from the
Roraan Forura, after passing a few sraall intricate sfreets, by
the Via Leonina, frora west to east, skirting the southem
gable of the churcfa of S. Maria de' Monti, and is a littie to
tfae soutfaward and parallel to tfae Via Eaccina, wfaich latter
street I faave assuraed as tfae boundary line between the Esqui
Une and the Viminale. The ground is uneven the whole
distance, and subject to various inflections, and the Via Leonina
at its termination debouches in a sraall open piazza, of whicfa
tfae modern titie is the Piazza di Suburra; thence the way
continues by a route whicfa will be farther particularized to the
Arch of GaUienus. It will be expedient, however, in the first
place to observe that the Via Leonina, by which we have
arrived faitfaer, is said to be identical witfa tfae ancient Vicus
Cyprius, wfaence, and frora a point close to tfae entrance of the
Piazza di Suburra, a street called the Via di S. Francesco di
Paola leading fay an acclivity to tfae cfaurcfa of S. Pietro in
Vincoli, diverges at a sraall angle to tfae southward. The point
of divergence is indicated by Nibby, in his Itinerary, as the spot
wfaere TuUia caused faer chariot to be driven over the body of
her father, Servius Tullius, in consequence of which that por
tion of the street was afterwards distinguished by the title
" Vicus Sceleratus." Livy,t who relates tfae circurastance,
describes the spot very clearly, and in terras that precisely
correspond vrith the disposition of the streets at present, pro
vided only it be taken for granted that the Via Leonina really
be identical with the Vicus Cyprius, as before stated. It raust
be premised, faowever, tfaat the terra " Suburra " had its origin
in Servius Tullius, who, having included the Virainale and
Esquiline Hills witfain tfae boundary of tfae city, faaving enclosed
all the seven hills by a wall, and estabhshed his own residence
on the raost agreeable part of the Esquihne, J divided the wfaole
intraraural territory into four regions, tfae Palatine, the Su-
burran, the Colline, and the Esquiline. Whether tfae dweUing
* Epode v. line 57 et seq. t Lib. i. cap. 48.
% Dionysius, lib. iv. caps. 13 and 14.

Chap. XIL] AECH OF GALLIENUS. 305
of Serrius TuUius were situated near tho Arch of GalUenus,
or on tfae elevated sito of tfae cfaurch of S. Pietro in ^^ncoli, it
would be at aU events necessary for a pereon coming from the
Roman Forum to turn to tiie right in both c;ises ; in the first
instance at tfae entrance of tfae Piazza di Suburra to tfae extent
almost of retrogression, and in tfae second at the termination of
the Piazza, by a gentle inclination. And it was at the entrance
precisely, as the tale is told by Livy, tbat, when the driver of
the chariot of TuUia, faaring ai-rived at tfae top of the Vicus
Cyprius, was turmng the horees to the right, fae perceived tfae
dead body of Servius TulUus lying in the road. Tullia, it
must be understood, had preriously driven from her father's
palace on the Esquiline to the Forura, wfaere sfae was tfae first
to faaU as king the assassin of her father, faer husband Tarquin,
and was on her retum to the palace when sfae encountered the
corpse of the poor old raan, who, after being burled dovra the
steps of the curia by Tarquin, bad painfully crawled thus far
on his way to his own dweUing, where he was despatcfaed by
Tarquin's eraissaries.
Proceeding from tfae point of divergence of tfae Via di S.
Francesco di Paola to tfae extremity of the Piazza di Suburra,
there are no less than three streets leading to the eastward, of
whicfa tfae Via Urbana is the northernmost, tfae Via Graziosa
tfae central, and the Via di Suburra the southernraost ; and
this latter sfreet inclines gently frora tfae tfaoroughfare in that
direction, or towards tfae rigfat faand, as was before stated.
The title, however, of Suburra changes presently to S. Lucia
in Selce, and afterwards to S. Vito, which terminates with tfae
Arcfa of GaUienus.
Tfae Arch of GaUienus is supposed to occupy the site of the
ancient Porta Esquilina belonging to the enclosure of Servius
TulUus, whose agger, extending tbitfaer from tfae Porta Collina,
was referred to. Vol. I., page 176 ; it stands vritfa respect to
S. Maria Mag^ore a little to tfae eastward of soutfa, and witfain
a sfaort distance. It was built, according to an inscription
whicfa appeare stUl legifale on the frieze of the entablature
above the aperture, at the private expense of one Marcus
AureUus Victor, and dedicated to the Eraperor GaUienus and
fais wife Salonina. It is called also occasionally tfae Arco di
S. Vito, after tfae name of tfae street above referred to, a name
vol. ii. X

306 A TOUE IN MODEEN EOME. [Chap. XIL
connected witfa tfae memory of the Christian martyrs, inasmuch
as tfae street in question is also distinguisfaed by the epithet
" in Macello," in consequence of the spot being resorted to it is
said as tfae place of tfae martyrs' execution. Outside tfae gate,
and probably a little way beyond, tfae ground at an early period
of tfae Empfre was in a desolate and unseeraly state, appro
priated -as a place of sepulture for tfae lower classes, where
they were interred, it would appear, witfaout tfae usual decent
observances, for whicfa reason, probably, tfae spot was idealized
by Horace in the passage above referred to, as tfae scene of
Canidia's midnight incantations. Subsequently the character
of tfae locaUty was redeemed by Msecenas, whose-gardens un
questionably extended tbitfaer, for tfaeir construction was faailed
as an auspicious event by Horace, who very graphically thus
confrasts tfae agreeable change created by Msecenas with the
prerious condition of tfae territory: —
" Hue prius angustis ejecta cadavera cellis,
Conservus viii portanda locabat in arcft.
Hoc miseroe plebi stabat commune sepulchrum,
Pantolabo Scurrae, Nomantanoque nepoti,
Mille pedes in fronte, trecentos cippus in agrum,
Hie dabat ; haeredes monumentum ne sequeretur.
Nunc licet Esquiliis habitare salubribus atque,
Aggere * in aprico spatiari quo modo tristes,
Albis informem spectabant ossibus agrum. "f
Tfae Arcfa of GaUienus, stiU in good preservation, contains
a single aperture, and is composed of travertino, of which the
large blocks are coarsely laid togetfaer, and it is faced on both
its siraUar fronts with four Corinthian pilasters. On the
eastern, jl^onf^^ towards S. Maria Maggiore, tfaere are to be
o'i^erved the Remains of two buttresses, and on the sarae side
IS the inscription, above referred to, in which tfae terras " Cle-
mentissimo principi" are appUed to GaUienus, and " Sanc-
tissimes" to fais„ consort Salonina. On tfae western front, if not
existing" tfaere lat, present, raight have been observed until
xwepitly athe remains of a rusty chain by which the keys of the
t'or^ Salsicchia, one of the gates of the city of Viterbo, which
was ,captm-ed by tfae Romans in tfae year 1200, were suspended
* The agger of S. Tullius is here referred to.
t Lib. i. Sat. 8, line 10 et seq.

Chap. XII.] COLUMN OF BASILICA OF CONSTANTINE.

307

in friurapfa frora the architi-ave ; an act wdiich is severely
criticised by Gibbon as a raiserablo exhibition of pride on a
petty occasion unworthy ofthe ancient glory of the Capitol.
Proceeding fi-ora the Arch of GalUenus along the inagnificout
thoroughfare leading fi-om the Basilica di Santa Croce to
S. Maria Maggiore, and tiience to the Pincio, comprising one
may say the whole length of the city from wall to wall, there
is to be observed within a very short distance, in front of the
southern facade of tfae Basilica, a splendid Corintfaian column
elevated on a pedestal and surraounted by a bronze group of
the Holy Vfrgin and the Infant Sariour. This column was
one of those belonging to the Basilica of Constantine in the
Roraan Forum, which was reraoved faitfaer under tfae auspices
of Paul V. in the year 1614, as before stated, page 106, and
erected in its present position by the architect Carlo Maderno.
It is a fluted shaft of white Porine marble, said to be 64
palms, or 46 Enghsh feet 8 inches, in height, and 24 palms,
or 17 feet 6 incfaes, in circumference ; it is raoreover elevated
on a pedestal, which at the sarae tirae serves the purpose of
a fountain. The group tfaat crowns tfae surarait was . ex
ecuted by a Frencfa artist, Guillaurae Bertholot. Tfaere is
a Latin inscription on eacfa of tfae four faces of tfae pedestal ;
tfae ffrst of whicfa sets fortfa in very prolix terras tfae circura
stance of tfae reraoval of tfae coluran by Paul V. from its
prerious position in tfae Carapo Vaccino, and, conformably
witfa tfae error tfaat prevailed at tfaat period relating to tfae
identity of tfae ruin to wfaicfa it belonged, tfae same is described
specifically, not as tfae BasiUca of Constantine, whicfa it really
is, but as the teraple dedicated to Peace by Vespasian after
the conquest of Judsea. Tfae second inscription merely repeats
a portion of tfae first rendered in epigrararaatic style, and raore
succinctly, as follows : " Vasta columnam raole quse stetit
Divse Pacis profana in sede, Paulus transtulit in Esquilinura
quintus, et sanctissirase, pax unde vera est, consecravit Virgini."
Tfae tfaird inscription, intended to contrast tfae condition of tfae
column whUe it stood in a Pagan temple with its present
destiny, tfaat of sustaining tfae images of tfae Holy Virgin and
our Sariour, is briefly expressed as follows, including, by tiie
way, a compUment to Pope Borgfaese into tfae bargain : " Im
pura falsi templa quondam numinis, jubente rasesta sustinebam
x2

308 A TOUE IN MODEEN EOME. [Chap. XIL
Csesare. Nunc Iseta veri perfereus matrem Dei, te Paule
nullis obticebo seculis." The third inscription bears reference
to the figures of the Holy Virgin and our Saviour on the
sumrait of the coluran ; and, as tfae right arm of the Holy
Virgin is extended towards S. Maria Maggiore, compares the
act and attitude, directing as it were the Cfaristian observer to
tfae cfaurcfa as tfae way he should walk, to the pillar of fire
wfaicfa lighted the cfaildren of Israel at nigfat tfarougfa the
vrildemess : " Ignis columna prsetulit lumen piis deserta noctu
ut perinearent invia securi. Ad arces hoc recludit igneas,
monstrante ab alta sede callem virgine."
While the above-raentioned coluran occupies a conspicuous
position in front of the southern faqade of tfae Basilica of S.
Maria Maggiore, tfaere is also to be observed, planted in the
spacious piazza in front of the northern faqade, an Egyptian
obeUsk, frora wfaich prorainent position it is seen togetfaer witfa
no less than two other obelisks, as was stated. Vol. I., page 177.
The obelisk in question is supposed to have been brought to
Rome, together with the obelisk on the Quirinale, by the
Emperor Claudius, by whora both were erected in front of the
mausoleura of Augustus in the Carapus Martius. Thence it
was disinterred on the spot where it had fallen, though the
particulars and period of its overthrow are not precisely
accounted for, by Sixtus V., who eraployed the architect
Fontana to erect it in its present position.
It is a plain shaft of red granite, wfaicfa, being vritfaout faiero-
glypfaics, is supposed to faave been sculptured by the Romans
after the Egyptian raodel, and it is elevated on a lofty pedestal
tbat serves tfae purpose of a fountain, and surraounted at tfae
surarait by a cross. Tfae faeigfat is 66 palms, or 48 feet 2
incfaes, and tfae faeigfat of tfae pedestal is 30 palms, or 28 feet
11 incfaes. Tfaere is a Latin inscription on eacfa of tfae four
faces of tfae pedestal, of wfaicfa tfae first refers exclusively to the
circurastances of the reraoval of tfae obelisk from tfae mausoleum
of Augustus, and its dedication to tfae Holy Cross of our
Saviour. The second inscription, with reference to peace on
eartfa proclaimed at the birth of our Sariour, tfaougfa tfae point
of the epigraph is by no raeans clearly expressed, is as follows :
" Christus per invictara erucera populo pacem prsebeat, qui
Augusti pace prsesepe nasci voluit." The third inscription,

Ch.\p. XIL] CHURCH OF S. ANTONIO ABBATE.

309

alluding in brief terms to tfae infidelity of Augustus, s])oaks, as
it were, in tfae pereon of tlio obelisk : " Christum Dominum
quera Augustus de virgine nasoituruiu vivons adoravit, atiiue
deinceps Dominum dici votuit adoro." The fourtii inscription,
speaking, like the third, in tho porson of tfae obelisk, contrasts
tfae period of its own history, while it stood before the mausoleum
of Augustus, vrith a sentiment of pious veneration towards the
cradle of om- Lord and Sariom- ; whicfa precious relic, incon
sistent as it may appeal- with tfae circurastances of our Saviour's
nativity recorded in tfae New Testaraent, is not only said to be
preserved in the Basilica, but is actually every year exfaibited
to tbe public under the sanction of the faigfaest authorities.
The inscription is as follows : " Christi Dei in setemura viventis
cunabula Isetissime colo, qui mortui Augusti fristis serviebara."
Retuming from the obelisk to the southem faqade of
S. Maria Maggiore, and proceeding by the way we arrived
tfaitfaer from tfae Arcfa of GalUenus, tfaere is to be observed on
tfae left-faand side of tfae way, and witfain a few paces of the
Basilica, tfae cfaurcfa of S. Antonio Abbate, wbich will be
described in the second section of this cfaapter. Tfae cfaurch in
question is celebrated for a ceremony that takes place tfaere
annuaUy, tfae public benediction of faorses and all otfaer
descriptions of durab aniraals ; and iramediately opposite
stands an insignificant-looking column of granite, wfaich
coluran notvrithstanding is placed tfaere to coraraeraorate tfae
convereion of Henry IV. of France to tfae Roraan Catliolic
faitfa, and fais abjuration of Protestantisra, — whereby the royal
heretic is, as it were, by the selection of the site of the
memorial, included in the category of the brute creation. The
ceremony in question was perforraed on tfae 16th of Septeraber,
1595, in tfae presence of Clement VIII. seated on a tfarone
prepared for tfae occasion under tfae portico of St. Peter's, and
surrounded by aU bis cardinals, vrith the exception of two who
were appointed to act as proxies for the king. The proxies,
divested of the purple, and eacfa dressed in tfae simple habit of
a priest, jointly produced their credentials, authorising thera to
act on the part of tfae king, a docuraent prepared in tfae forra
of a petition to tfae Pope, wfaicfa tfaey presented to tfae secretary
of tfae Holy Inquisition, wfao read it aloud to tfae raultitude.
The Secretary of State then rose from fais seat at tfae foot of

310 A TOUE IN MODEEN EOME. [Chap. XII.
the throne, and read aloud a Papal decree containing nuraerous
articles relating to penance, &c., to be observed by the king,
and to be agreed to as a preliminary step to the Pope's acqui
escence to tfae king's petition, wfaicfa decree being agreed to by
the proxies, tfaey signed it in presence of the notary. The
proxies, then kneeling at tfae foot of the throne, read aloud under
a prescribed form, in the name of Henry IV., his abjuration of
the heresy of the Huguenots, and eacfa received in return a
slight tap on the head from the wand of the Grand Penitentiary,
Whereupon the Grand Penitentiary pronounced Henry IV. 's
absolution, and, the doors of S. Peter's being at the same time
thrown open, a discharge of cannon and the music of a full
orchestra were faeard siraultaneously, and tfae proxies, resuraing
tfaeir cardinal's faabits, took post in tfae seats appropriated to
tfae arabassadors of France during the celebration of high
raass in tfae Basilica.*
The coluran in question is made in the form of a cannon
placed resting on its breech on a pedestal, and it is surraounted
by a sraall cross of bigio marble, of which the upper portion on
both sides is omamented with fleurs-de-lys in bass-relief.
Upon the lower portion on the northern side, whicfa faces
towards tfae BasiUca, tfaere is engrafted a small bronze figure of
our Saviour on the cross, and upon tfae soutfaern side, in'a
similar position, a small group in bronze of the Holy Virgin
and tfae Infant Saviour.
Tfae ceremony of tfae benediction of animals above referred
to is celebrated every year on the 17th of January, the festival
of S. Anthony, and is continued for eigfat successive days,
during tfae whole of whicfa period, on Sundays especially, tfae
open space in front of tfae church of S. Antonio Abbate is more
or less crowded by the Roman people and visitors who asserable
to witness the spectacle. Whatever raay be said of a custom
which is certainly extraordinary if considered in relation to
a religious observance, there can be, nevertfaeless, notfaing
derogatory to Cfaristian raorality in a practice which, originating
in the best of huraan syrapathies, recoraraends poor, dumb,
helpless aniraals to raan's protection ; accordingly, tfae general
disposition of tfae spectators assuraes invariably a degree of
lerity that raay be corapared to the air and bearing of country
* De Sismondi, ' Histoire des Franijais,' vol. xxi. pp. 345 and 346.

Chap. XIL] BENEDICTION OF ANIMALS. 311
people in England at a fair or horse-race, or of a London
crowd waiting tfae arrival of tlio Lords and (\)iiiinons at the
Houses of Pai-liameut on some grand occasion. While the
priest during the greater pai-t of tlio day stamls at tho church
door dressed in white stole and sacerdotal garnionts, holding in
his faand tfae aspergitorium, an iraplemont Uke tfae sraall wooden
brooras raanufactured by tfae female peasants of Bavaria, and here
used for tfae purpose of sprinkUng tfae animals vritfa faoly water,
tfae pereonages and persons wfao bring or send tfaeir quadrupeds
to tfae spot to be blessed, under favour of S. Anthony, comprise
all raanner of ranks, ciril and ecclesiastical, fi-ora tfae Pope
himself, tfae cardinals, and tfae nobility, downward to the very
lowest of the Roraan population. Tfae Pope's equipages arrive
under convoy of tfae Maggior Duorao, whose carriage is drawn
by six grey horees splendidly caparisoned. Then follow,
perhaps, the carriages of the Prince Borgfaese, two in nuraber,
faaring raade a gratuitous circuit of tfae city previously, one
carriage drawn by eigfat, and the other by six black faorses, tfae
set of eigfat as well as the set of six driven in faand by a single
coacfaraan, all the aniraals ornaraented witfa magnificent trap
pings. Including a profusion of blue ribands about tfaeir manes
and tails. Tfae reins are attached to tfae bits of tfae wfaeelers
and leadere exclusively, passing tfarougfa tfae faead-rings of tfae
interraediate cattle ; and tfaougfa tfae cavalcade is attended by
doraestics on foot to render assistance if necessary, tfae horses
are comraonly govemed witfaout tfaeir aid and vritfa little dif
ficulty. Tfae great raajority of tfae equipages belong to Roraan
Catfaolics of tfae upper and middle classes, wfao every year, as
a matter of couree, bring tfae creatures to receive benediction ;
and next to tfaese are tfaose Roman CatfaoUc coacfaraen wfao,
faaving obtained their Protestant custoraers' perraission to fall
into tfae line of procession, drive in their tum up to tfae cfaurcfa
door, wfaile tfae ladies and gentleraen in the carriage sit passive
during the ceremony. On sucfa occasions I faave frequently
fancied tfaat I observed upon tfae countenance of tfae master of
tfae fainily a considerable appearance of inquietude, as if he
were uneasy at being thus exposed to the gaze of the multitude ;
while, on the confrary, the ladies, wfao know better how to
regulate their looks in public, invariably seeraed pleased and
smiling, witfaout ever betraying tfae sligfatest signs of discom-

312 A TOUE IN MODEEN EOME. [Chap. XIL
fiture. Here also tfae peasant frora the Carapagna raay be seen
arriving in a single -horse cart vvith a faraily party, a raan
sitting in the vehicle between two woraen, or a woraan between
two raen, all dressed in their best holiday garraents, the central
person bearing a huge painted wax candle between the knees as
an offering to St. Anthony, and the horse, though lean as Rosi
nante, bedecked with ribands. Soraetiraes araong the aniraals
brought up to benediction appear instances of ludicrous de
formity, such as a horse suffering under a grievous stringhalt,
so that at every raoveraent of the afflicted faind Umb tfae ear
and shoulder of the rider very nearly corae in contact ; or a
lame and unsafe garron, tfaat after receiving benediction almost
falls on its knees at departure ; or, perhaps, a vicious donkey
ridden by a saucy boy his raaster, that replies to the touch of
tfae spur as fae gallops away by switcfaing fais tail and kicking,
wlule a general burst of laughter is excited araong the spec
tators, and tfae countenance of tfae priest fairaself reflects a
smile that, transient as a winter's gleara of sunshine, and
distorted by the effort to preserve grarity, has a grira ex
pression. But it would be endless to atterapt to describe the infinite
variety whether of raen or animals to be seen here passing one
after another before the cfaurcfa door, like tfae figures in a magic
lantern, wfaile tfae spectators are arranged in a seraicircle, cora
posed of carriages, ladies and gentleraen on faoreeback, and
pedestrians, including a sufficient party of tfae Pope's cara
binieri to preserve order.
Tfae routine observed on tfae part of tfae priest and fais
assistant, and on tfae part of the proprietors of the several
cavalcades, is as follows : the coacfaraan or driver, being by
virtue of his office the payraaster, and the payraent of the fee
of benediction the preliminary part of the ceremony, so soon
as he faas pulled up fais cattle at the cfaurcfa door, taken tfae
wfaip and reins in one faand, and witfa tfae otfaer hand extracted
frora fais breecfaes pocket a piece of silver money, whicfa tfae
coadjutor of tfae priest steps a few paces into tfae road to receive,
the priest witfaout any raore delay dips tfae aspergitoriura into
the basin of holy water and sprinkles with it the noses of the
horses. In case, however, as soraetiraes happens, the horees
are a few paces beyond his reach, tfae motion of the priest's

Chap. XIL] TEOFEI DI MARIO. 313
arm, so long as he waves thc aspergitoriura iu tiio roquired
direction, is considered sufficient, provided tfaat at the same
tirae he pronounces tho formula of bonodiotion, rocommonding
to S. Anthony's protection the horses, raule>^, and donkeys,
including, I believe, all raannor of living creatures, dogs, birds,
&c., that happen to accompany the party ; such as the lap-
dog on the knees of the ladies, the black and tan terrier or
bull-dog that, with a knot of blue riband tied round its neck,
sits between the coachman's legs, and even, perhaps, the fleas
that raay perchance inhabit the tails of the dogs into the
bargain. Tfae words of tfae benediction are spoken so rapidly
as to be scarcely intelligible ; but in addition every proprietor
receives at tfae sarae time an amulet consisting of a small brass
cross wrapped up in paper, and accompanied by a printed
extract of two or tfaree Unes fi-om Scripture. These amulets,
tfaougfa I never faeard of tfae actual value of a horee being
enhanced in consequence of the owner being in possession of
one, may be purchased of the priest's coadjutor on the spot at
the price of a few pauls, fifteenpence at the utmost, by Pro
testants or any other pereons who choose to buy tfaera.
Proceeding a sfaort distance along tfae thorougfafare towards
tfae BasUica di Santa Croce, a road diverges on tfae left-hand
side leading sfraigfat to tfae gate of S. Lorenzo ; and a very
Uttle fartfaer tfaere is, on the same side of the way, another
road, tfaat, diverging parallel to tfae first, after continuing
nearly a quarter of a mUe in a sfraigfat direction, swerves sud
denly to tfae left, and leads to tfae gate of S. Lorenzo also, botfa
roads togetfaer tfaus forming tfae boundary of a narrow oblong slip
of land that lies between. Iraraediately beyond the second road
a thfrd road diverges frora tfae grand thoroughfare at an acute
angle, leading sfraigfat to tfae Porta Maggiore, at tfae sarae
time forming anotfaer acute angle vritfa tfae second road ; and
upon tfae latter angle of bifurcation, close to tfae road at tfae
apex, is situated tfae ruin called the Trofei di Mario. The title
" Trofei di Mario " was given to tfae ruin in consequence of two
similar sculptured raarble groups, representing each a cluster of
arraour and ancient warlike irapleraents . arrayed in the form of
trophies, wfaicfa were discovered tfaere, and were originally sup
posed to have been sculptured in honour of the victory of
Marius over tfae Cimbri and Teutones. Subsequently, how-

314 A TOUR IN MODERN ROME. [Chap, XII.
ever, it was determined by tfae antiquaries, on grounds
tfaorougfaly borne out by the raasonry and construction of the
building, and by the style of sculpture of tfae groups, tfaat
neitfaer one nor tfae other bear any relation at all to Marius,
but, on the confrary, that botb are attributable to a much
later period. The groups have been described already,
page 5, with reference to the balustrade on the Capitoline,
where they are at present, and, since no other raore correct
name has ever been provided for thera, are still distinguisfaed
by the title of the " Trophies qf Marius." Tfae ruin is sup
posed to be tfae reraains of a raagnificent fountain or reservoir
constructed by Septiraius Severus, who at tfae sarae tirae restored
tfae aqueducts tfaat entered the city by the Porta Maggiore and
the Porta di S. Lorenzo, especially the Aqua Julia, an aqueduct
that was originally brougfat to Rorae by Marcus Agrippa, who,
in constructing it, availed fairaself of tfae Aqua Marcia, wfaicfa
existed preriously.
Tfae ruin in its present state is a solid-looking edifice, built
of deep-red brick, of considerable dimensions, and lofty in pro
portion to the area, whicfa appears to faave been polygonal.
The walls, comprising concave and plane surfaces, are in
some places pierced with round-topped arches, and in others
strengthened by buttresses, all terminating at the sumrait witfa
craggy sfaattered fragraents, tfaat, being for the most part covered
witfa green plants and busfaes, faave a picturesque appearance.
Tfae substructure, which occupies the angle of bifurcation
between the two divergent roads as before stated, appears to
faave been raised on a series of arcfaes, wfaicfa on both sides
extend for a considerable distance beyond the present site of
the structure, forraing a portion of a wall that bounds the road
and is surmounted by the hedge of the enclosure. An excellent
view at all events, in consequence of the position of the object
as above described, is to be faad of tfae exterior, tfaougfa, in con
sequence of tfae difficulty of obtaining admittance to the en
closure wfaere it is situated, I never faad an opportunity of
examining it fartfaer. Tfaere is also to be observed witfain a
very sfaort distance frora tfae ruin, and on tfae left-hand side of
tfae left-faand road that forras the bifurcation and leads to the
gate of S. Lorenzo, a very raagnificent fragment of an ancient
aqueduct, supposed to have been one of tbose above aUuded to

Chap. XIL] TEMPLE OF MINERVA MEDICA. 315
wfaicfa conveyed the water to the fountain. It consists of six
arcfaes of reraarkably fine brickwork, that, planted in tho vino-
yard close to the road, compose a beautiful object, covered as
they ai-e over the whole of the terraco-liko sumrait witfa groi-ii
plants and verdure.
Proceeding by the road last raentioned, which, as before stated,
after continuing neai-ly a quarter of a raile in a straigfat direction,
diverges suddenly to tfae left and to the gate of S. Lorenzo, there
is to be observed on the right-hand side, within a short distance
of the point of divergence, a large wooden portal that forras the
entrance to a vineyard, or ratfaer a spacious enclosure of vine
yards and garden-ground, tfarougfa wfaich a bridle-path leads
direct to the Porta 3Iaggiore. Adraittance, by raerely knock
ing at the gate, may generally be obtained. Close to tfae
bridle-path above mentioned, and less tfaan raid-distance between
tfae entrance of tfae enclosure and tfae Porta Maggiore, is
situated the ruin of the Teraple of Minerva Medica, of wfaicfa
tfae faistory, notvrithstanding that it is very generally distin
guished by the above title, is by no raeans well authenticated.
It has been taken, in fact, at different tiraes and by different
authorities, for various other ancient buildings, sucfa as a Temple
of Hercules CaUaicus, buUt by Brutus ; a BasiUca of Caius and
Lucius, built by Augustus, &c. ; and after all has been endowed
witb the title Minerva Medica, witfaout any more conclusive
reason tfaan because a Teraple of Minerva Medica, situated
somewhere on the Esquiline, is cited by the Regionaries, to say
notfaing of a beautiful statue of Minerva Medica having been
found, together vrith several other statues, among the ruins.
Nibby, partly in consequence of the appearance of tfae masonry
indicating a period about the fourtfa century, and partly because
tfae gardens of tfae Eraperor Licinius are supposed to have
occupied the spot in question, iraagines it to be tfae reraains of
an ornaraental faall or saloon belonging to tfaose gardens. The
building raust at all events have been a magnificent structure,
even if the conclusion were not confirmed by its general appear
ance, on account of the statues that belonged to it, which, in
addition to the Minerva Medica now in tfae Braccio Nuovo in
tfae Vatican, and so called in consequence of a serpent at faer
feet supposed to bear reference to the sacred serpents of Escu
lapius in tfae Teraple at Epidaurus, were seven in number.

316 A TOUR IN MODERN EOME. [Chap. XIL
namely statues of Esculapius, Pomona, Adonis, a Fawn, Venus,
Hercules, and Antinous.
As regards the present state of the ruin, it is only wonderful,
with reference to its peculiar form and tfae state of its preser
vation, which is sufficiently indicative of its original character,
tfaat any doubt at all can remain among tfae antiquaries on tfae
subject of its identity. It is in fact a Pantheon in rainiature, a
circular, decagonal brick structure, surraounted by a dorae
coraprising as a whole sufficient of tfae various parts to dis
play a perfect outline, and forra a raagnificently picturesque
object when viewed frora a distance. The Cella, that from
its raassive construction seems likely to endure for many cen
turies, is surrounded about the eastern portion of the peripfaery
by buildings apparently of a later era, which have been long
since reduced to an assemblage of broken walls, sorae of which
contain nicfaes, and otfaers are strengtfaened by buttresses, wfaicfa, .
nevertfaeless, faave perisfaed by the sarae casualty as the wall
tfaey supported. Tfae dome, tfaougfa perfect in tfae general out
line wfaen viewed frora a distance, as before stated, is in some
places considerably fractured, but covered witfa green plants
and sfarubs in the greatest profusion, wfaich, grouped together
in round-topped clusters, afford a shelter for tfae birds of the
air araong tfae yellow blossoras of tfae wallflower. Here, the
Colosseura always excepted, and on a sraaller scale, is to be
seen the raost beautiful raural garden that exists in Rorae
or the environs, a garden that nature has constructed upon
masonry raised by the hands of man, as if it were a wild rock
of her own.
In tfae interior tfae dimensions are said to be 33 palms each
side of tfae decagon, or 330 palms, equal to 241 feet, the peri
pfaery. Tfae ceiling, tfaat is to say tfae inner surface of tfae
dome, wfaere there are considerable remains of a lining of stucco,
is for the most part of bare brick strengthened witfa groins tfaat
springing frora tfae base of the concave gradually becorae flatter
upwards, and upon the apex blend witfa tfae plane surface. The
raasonry, on observing it in the fractured parts, appears to
consist of a double course of bricks on the outside and on tfae
inside of tfae concave, and tfae wfaole inner portion is filled up
with rubble. The principal fracture in tfae dorae is on the
eastern side, and was rendered considerably larger tfaan it

Chap. XIL] TEMPLE OF MINERVA MEDICA. 317
would faave been under ordinai-y circumstances, in consequence
of an unsuccessful attempt of Pius VIII., in the year 1828, to
repair it : on whicfa occasion, whethor ovring to a want of skill
on the part of the operator or otherwise, tiie new work suddenly
gave way with an a\'alanche, and fell, dragging to tiio gi-ound
a raonstrous mass of old and new brickwork to the araount of
sorae cartloads, whicfa faas lain tfaere ever since negh^cted in tfae
middle of the ai-ea. Tfae enfrance is upon tfae nortfaern side of
tfae buUding, facing towai-ds tiie entrance of the enclosure ; it
is, faowever, notfaing raore tfaan a large irregular breacfa, witfa
out jambs, lintel, arcliifrave, or any remains of a portal, that
faas tfae appearance of faaving been made by violence ; and as a
similar breacfa appeare in the wall opposite, though somewhat
smaUer than tfae other, a sfraigfat passage is thus created, in the
same direction as the bridle-path, rigfat tfaougfa the building.
I am not able to state the thickness of tfae walls, but it is very
considerable. Upon tfae walls on tfae rigfat and on tfae left, in
tfae spaces between botfa breaches, tfaere are on each side four
niches, of whicfa tfae surface, if ever covered by a sfaeatfaing of
marble, is now naked brick. Wfaetfaer or not tfae breacfa oppo
site the entrance was occupied by a ninth niche, or whether it
served the purpose of an entrance, as it does at present, is not
to be deterrained frora appearances ; vrith reference to wfaicfa
question it may be also observed, tfaat tfae eight niches pre
cisely correspond vritfa tfae number of statues found on tfae spot.
Above tfae nicfaes and above tfae breacfaes tfaere are also to be
observed on each of the ten sides of tfae decagon, close to tfae
spring of tfae vault, ten arcfaed apertures for tfae purpose of
windows, tfarougfa wfaicfa, no doubt, a copious and well-directed
ligfat fell upon tfae statues.
Very near the Temple of Minerva Medica there is to be
observed in the rineyard, a Uttle on the right-hand or western
side of the bridle-path, a sraall casino belonging to the pro
prietor or vignerole ; and round about the casino, scattered
faere and tfaere, appear several small masses of brickwork,
wfaicfa are supposed to faave belonged to watercourses that
brought the water from the aqueducts at the Porta Maggiore,
to wfaich a further reference will be made presently, and fed
the reservoir of Septiraius Severus, called Trofei di Mario.
Proceeding, faowever, on the way towards the Porta Mag-

318 A TOUE IN MODEEN EOME. [Chap. XIL
giore, and on the sarae side of the bridle-path, are to be seen
tfae reraains of an ancient Colurabariura, supposed to have been
constructed by Lucius Arruntius, Consul in tfae reign of
Augustus, for his freed men or liberti. The spot when viewed
from a Uttie distance appears like a sraaU isolated clurap of
bushes, and on approaching it is found to be a thicket growing
on a mound of eartfa, whicfa, at tfae discovery of tfae Colum
barium many years ago, faaring been reraoved from the interior,
and allowed to remain there neglected ever since, has assumed
tfae garb of nature. The aperture tfaat serves for tfae entrance
is not unlike a grotto in appearance, and is distinguisfaed ac
cordingly among tfae coraraon people by tfae title " Grotta ;" it
is not protected by any sort of door, or otfaerwise than by the
busfaes, whicfa, as tfae Colurabariura is not an object of rauch
interest among the risitors, and consequently little resorted to,
faave grown together so that it requires a tolerable exertion of
strength to cleave them asunder. Neitfaer is tfae descent to be
effected, even after overcoming the first obstacle and forcing
a passage, without sorae difficulty, since the aperture raade
apparently with a view of economy of labour is not larger
than need be, and the steps, whicfa are narrow and exceedingly
steep, are covered by a slippery stratum of eartfa that has
accumulated. Tfae ceiling of tfae staircase is vaulted parallel
to tfae plane of tfae steps, and tfae original coating of stucco
is still perfect; and on tfae wall, on one side or otfaer, is
engrafted, it is said, tfaougfa I did not faappen to see it, a
tablet of raarble bearing a brief inscription by wfaicfa the
name of Lucius Arruntius is identified witfa tfae Colum
barium. The subterraneous space below comprises two small sepul
chral chambers, of which the area of eacfa is oblong, and tfae
ceUing vaulted and covered with stucco tfaat still reraains dry
and sound. Tfae brick walls are pierced with rows of those
sraall nicfaes, frora whicfa is derived tfae terra " Columbarium,"
in consequence of tfaeir reserablance to tfae apertures raade for
tfae nests of tfae birds in a pigeon-house. Eacfa of tfaese niches
was probably provided, at the tirae of the discovery of tfae Colura
bariura, with a rainiature sarcopfaagus of wfaite raarble, with
the form and appearance of whicfa, vast numbers haring been
transported for many years past to all parts of Europe, tfae

Chap, xn.] COLUMBARIA. 319
public are generaUy farailiar, tfaough not one at present is to
be seen there. There were to be seen, however, notwithstand
ing the freedom of access granted to persons of all descriptions,
a great many of the "oUcb" or cfrcular jars of rod terra
cotta made, as well as the sniall sarcophagi, for the purpose of
containing the calcuiod bones of the dead. Tfae ones in question
are all similar to one another, of elegant forra, and coraposed
of thin and exceedingly faard raaterial, glazed on tfae outside.
These oUse are engrafted in tfae masonry below every niche,
wfaence a circular aperture at tfae bottora corresponds witfa tfae
cfrcular raoutfa of the olla. Sorae were quite perfect, and
raany broken, though tfae bones of tbe ancient Romans that lay
there faad been invariably removed frora all ; and the earth,
wfaich in these subterraneous recesses finds its way everywhere,
had insinuated itself instead.
A httle beyond the Colurabariura of Lucius Arruntius, and
on the otfaer side, or tfae eastem side of tfae bridle-path, tfaere
is anotfaer Columbarium, supposed to have been constructed
about the sarae period as the other, tfaougfa nothing is known
of its faistory farther than it is presuraed to have belonged to
different plebeian farailies. The interior, however, said to
comprise a single chamber, of which the vaulted ceiling is
painted in fresco, has sorae tirae since been converted to a
wine-vault, and is inaccessible to tbe public. Tbe spot is re
cognizable, as in tfae instance of tfae otfaer, by a circular clurap
of busfaes tfaat grow above tfae aperture.
Tfae two divergent roads above referred to, upon the point
of whose bifurcation stands the ruin of the Trofei di Mario,
led originally, previous to the extension of the city walls by
Honorius, from the Porta Esquilina, which occupied the site
of the Arcfa of GalUenus as before stated, the right-hand
one, under tfae title of Via Labicana, to tfae ancient Latin city
of Labicura, now the rillage of Colonna, and tfae left-faand
one, caUed tfae Via Prsenestina, to Prseneste, now Palestrina.
Tfae former, as far as tfae Porta Maggiore, is now called tfae
Via di Porta Maggiore.
The Porta Maggiore, tfae most magnificent of all tfae gates
of Rome, serves the purpose of tfae substructure of several
ancient aqueducts that have been built one above anotfaer at
successive periods, and tfaerefore it will be necessary in the first

320 A TOUE IN MODERN ROME. [Chap. XII.
instance to cite a few circumstances relating to the aqueducts
in question, with the faistory of whicfa tfae faistory of the gate
itself has becorae necessarily blended. The first stream,
beginning at the bottora and proceeding seriatira to the top,
was the Anio, subsequently called, in contradistinction to
another of the sarae narae, Anio Vetus, conducted hitfaer by an
aqueduct constructed in tfae tirae of tfae Republic, 271 years
before the Cfaristian era, by Manlius Curius Dentatus, and
corapleted after fais death with funds obtained frora the spoUs
of the Greeks after the defeat of King Pyrrhus. It was derived
from a source of tfae river Anio 20 railes distant, and brought
by a circuit of 43 railes to Rorae. The second stream was
conducted hither by an aqueduct called tfae Aqua Marcia, of
wfaicfa tfae water was supposed to be the raost pure and salu
brious of any ; it was constructed 145 years before the Christian
era, by the Prsetor Quintus Marcius, and brought frora a
source 33 railes distant by a circuit of 60 railes to Rome.
The THIRD STREAM was conducted hitfaer by an aqueduct called
the Aqua Tepula, constructed 126 years before the Christian
era by Cnseus ServUius Cepio and Lucius Cassius Longinus.
It was derived from a source 10 railes distant, near Tusculura.
The FOURTH STREAM was conducted hitfaer by an aqueduct
called the Aqua Julia, constructed 45 years before the
Christian era by Marcus Agrippa. It was brougfat frora a
source 2 railes beyond tfaat of tfae Tepula, and 12 railes distant,
by a circuit of 15 railes to Rome. The fifth stream was
conducted hither by an aqueduct called the Claudia, cora
raenced by CaUgula, and corapleted by the Eraperor Claudius
about the 50th year of tfae Cfaristian era. It was derived frora
two sources, botfa distant about 38 railes, by a circuit of 45
railes, to Rome. The sixth stream was conducted hither by
an aqueduct called the Anio Nova, coraraenced by Caligula
and corapleted by Claudius, togetfaer witfa tfae preceding. It
was derived frora a source of tfae river Anio, 43 miles distant,
by a circuit of 62 miles.
Wfaen tfae Eraperor Claudius faad finisfaed fais operations and
faad conducted the two strearas above raentioned in two channels
above tfae four others, along the series of raain arches that led
to tfae site of tfae raodern Porta di S. Lorenzo, wfaence tfae line
swerved to tfae left over tfae Virainale, fae decorated, after tfae

Chap. XIL] PORTA MAGGIORE. 321
fashion of a triumphal arcfa, tlic arcli tliat spanned tho Via
Labicana, whicfa arcfa, at tlio time it was decorated, was. as
vvill appear by what has gone before, outside the walls of
Serrius TuUius's enclosure, and a considerable distance fi-om
the ancient Porta EsquiUna, of wfaicfa tfae position and the
ancient roads tfaat led frora it were just now indicated. Sub
sequently, tliat is to say nearly 350 years afterwards, wfaen
tfae Emperor Honorius enlarged the liraits of the city by new
walls, he availed himself of tfae arcfaes from tfae site of tfae
Porta di S. Lorenzo as far as tfae triuraphal arch of Claudius,
and a little beyond, to a point wfaence tfae magnificent arcfaes
of Claudius's aqueduct, diverging from tfae present walls at a
rigfat angle, appear now striding over tfae Campagna nearly to
tfae distance of 6 railes. And tfaus tfae arcfaes between tfae two
points above stated, vritfa the exception of tfae triurapfaal arch
of Claudius and one contiguous, being filled up with brickwork
and carried to a uniforra heigfat, were coraprehended in the
new waU, wfaile tfae two open arches, the sarae that are now
distinguished by the title of tfae Porta Maggiore, were raade
tfae new entrance to the city. Honorius, in otfaer instances
besides tfae present, adopted tfae sarae expedient of raaking a
structure previously existing a portion of fais new wall, as
appears by tfae Muro Torto and tfae Casfra Prsetoria, referred to
in Vol. I., pages 54 and 245 ; also tfae Araphitfaeatrura Castrense,
wfaicfa vrill be noticed presently.
Tfae Porta Maggiore as it appears at present, coraprising
tfae double portal as above stated, of wfaicfa tfae one on tfae left-
faand or eastem side remained for many centuries blocked up
until it was recently opened, is surmounted by a lofty attic,
wfaose entfre surface is occupied fay tfaree inscriptions engraved
in colossal cfaaractere one above the other. Of these inscriptions
the upperraost refers to tfae aqueduct of the Eraperor Claudius,
the middle one to tfae restorations effected by Vespasian, and
the lower one to restorations executed by Titus. Outside the
gate also there is another inscription, wfaicfa will be presently
again referred to, relating to the operations of Honorius, as
above stated.
The period wfaen the left-faand portal was blocked up, or
even wfaetfaer it raigfat not faave been blocked up by Honorius
instead of being left open as above stated, has never, I believe,
VOL. II. Y

322 A TOUR IN MODERN ROME. [Chap. XII.
been precisely ascertained ; faowever, wfaen it was tfarown open
in tfae year 1838 by Gregory XVL, after remaining closed for
an indefinite nuraber of years, it became necessary to remove
several small bouses wfaicfa, built within and without tfae gate,
were huddled together against the wall, and faad an unseemly
appearance. In tfae course of removing these houses a curious
and important discovery was raade by the unexpected ap
pearance of an ancient torab, of whicfa the existence was quite
unknown to the antiquaries, so thoroughly concealed was it by
the raasonry in which, probably in the process of fortifying the
gate during the civil wars, it was embedded. The monument
in question now stands outside the gate, an isolated structure
clear of the wall, and is commonly known by tfae title of the
Baker's Tomb, in consequence of an inscription, by which it
appears that it belonged to a person wfao was by trade a baker,
and in addition held the office of " Redemptor " or Farmer of the
Customs, witfa reference to wfaicfa ancient office it may be re
marked as, perfaaps, a singular coincidence, tfaat close to the
same spot the habitation of the officers of tfae Custom-faouse or
Dogana is established at the present day.
It is an uncouth-looking structure of extraordinary solidity,
coraposed of very large blocks of travertino, and of considerahle
dimensions, such as render the circumstances of its long state
of concealment the more extraordinary : its ground-plan, 60 or
70 feet in periphery, is a quadrilateral figure of unequal sides
and angles ; and the elevation, coraprising three stories, about
20 feet in faeigfat. Tfae lower story consists of a plain raassive
baseraent surraounted by a broad projecting cornice like the
coping of an ordinary wall. The second story is faced by a
series of extraordinarily clumsy columns and square pillars
alternately, which surrounding all four sides uniformly, and
planted on the above-mentioned cornice, are placed so close as
nearly to touch each other ; and above these is a broad frieze
or band, on wfaich is sculptured in large capital letters the in
scription above referred to. The inscription, which is as
follows, is repeated with a full stop between every word, four
tiraes, tfae words proceeding continuously all round tfae peri
pfaery, without regard to liraiting one inscription to one side
respectively, but as the sides of the structure are unequal as
before stated, carrying tfae excess of one side on to the next ; —

Chap. XII.] THE BAKER'S TOMB. 323
" Est . hoc . luonimentum . Marcel . Vergilei . Euryacis . Pis-
toris . Rederaptoris . apparet," which may be rendered in ver
nacular English as follows : — " This is the raonuraent of
Marcius Vergilius Euryax, Baker and Farmer of the Custoras,
— and no raistake." Tho third story consists of an attic,
surmounted by an excoodingly coarse and irregularly formed
entablature, supported at the four angles by four short, rough,
square pillai-s ; the entire surface on all the four sides is faced
by a series of circular vessels of travertine (of which material,
by the way, all tfae ornamental parts of tfae structure as well as
the walls are coraposed), reserabling ordinary kitchen mortars
for pounding spices, placed the mouths outwards, and intended
to represent the froughs in whicfa in the days of the baker
Euryax the dough was kneaded, which objects stand so close
all the way round as to touch one another. Finally, above, on
the frieze of the entablature, are represented in bass-relief and
sculptured in the roughest raanner possible, raen eraployed in
kneading dough, mules at work grinding corn, raills, kneading-
troughs, loaves of bread, and other iraplements relating to the
trade of a baker. The corn-mills are precisely of tfae same
fashion I reraeraber to have seen at Pompeii, consisting, as
nearly as I recollect, of a soUd cone of stone placed resting on
its base, and another hollow cone of sirailar material placed
upon it, so that tfae inside of tfae latter, in wfaicfa is a faole at the
top, coraes in contact with the outside of the forraer, and the
corn put in at tfae faole at the top as tfae latter revolves faori-
zontally falls out at tfae bottora ground into raeal. Round
sucfa a raacfaine as tfae above tfae mule appears to be walking
in a circle. On tfae southern side of the structure and
below the surface of the ground, whicfa at the tirae of the dis
covery faad accumulated considerably above tfae ancient level,
tfaougfa it faas since been removed, is a small door leading to
tfae crypt or sepulcfaral cfaamber, whence were extracted, in
addition to several minor objects, such as lachrymatories, &c., a
rough travertino statue of the baker, anotfaer of tfae baker's
wife, several mills and impleraents of baking, and also an
inscription relating to the latter statue.
After examining the tomb it is advisable to proceed to an
enclosure a few paces distant, which was constructed by
Gregory XVI. expressly for tfae purpose of containing all the
y2

324 A TOUE IN MODEEN ROME. [Chap. XII.
various objects discovered as above stated, during the operation
of removing the buUding and opening the arch of tfae gate,
tfaus preserring tfaera near tfae place wfaere tfaey were dis
covered, a precaution which, had it faitfaerto been practised
raore generally, would no doubt faave proved a wonderful source
of enlightenraent to the antiquaries, by raaintaining the identity
of the object found with its own particular locality. Tfae en
closure in question is on tfae rigfat-faand or westem side of
tfae road, about 100 yards outside tfae Porta Maggiore ; it is
an oblong piece of ground surrounded by a wall, and above the
portal is tfae following inscription, which states the object of its
construction : — " Fragraenta lapidea circura effossa, et raolas,
ex aliis siraillirais quaraplurimis heic * sub humo stratas, instru-
mentaque artis pistorise reliqua, quse ab injuria teraporura
reperta sunt, Gregorius XVI. Pont. Max. hoc extructo pariete,
extare in loco jussit, ne raemoria antiquitatis intercidet." On
entering witfain the enclosure the raost prominent of all tfae
objects preserved there are the rougfa travertino statues of the
baker and of his vrife, both full-length figures, placed standing
side by side against the wall, each upon a ledge or bracket
6 or 8 feet frora the ground. Underneath the statue of the
wife is tfae inscription, dedicated by tfae baker, her husband,
engraved in a very ordinary manner in capital letters with
a full stop between every word. " Fuit . Atistia . uxor .
mifaei . Femina . optuma . veixit . Quoins . corporis . reliquiae .
sunt . in . faoe . panario." Tfae terra "panarium," wfaetfaer it
may be properly rendered bread-bin, or bread-basket, or what
ever else it raay raean with reference to bread, bere appUed by
the baker to the receptacle that contained his wife's reraains,
accords witfa tfae tone of eccentricity otfaerwise displayed by tfae
widower in tfae syrabols of tfae mystery and craft of a baker
emblazoned outside the monument. In addition to tfae statues,
preserved in tfae same manner upon brackets against tfae waU,
are three or four ancient raills of tfae conical forra above referred
to ; also raodels of loaves of bread evidentiy the size and shape
of tfae loaves of bread of the period, a Uttie bigger than the
crown of a raan's hat and flat, but indented invariably either
witfa a cross or a figure of six radU.
Besides tfae above-mentioned objects belonging to the baker's
"^ Sic in orig.

Chap. XIL] AQUEDUCTS OF THE PORTA MAGGIORE.

325

torab, Gregory XVI. adopted tho precaution of preserving, not
within the enclosure but engrafted on a new wall oroctod on
purpose, close on the western side of the Porta JMaggioro, the
original ancient inscription above referred to, relative to the
operations of Honorius and fais predecessor Arcadius, which
was necessarily removed fi-om its placo when the arcfaway was
opened. Above it is tfae follow ing explanatory inscription of
Gregory XVL, by which it appeare that a stone is planted
in the ground, or a tablet engrafted on the wall, though I did
not faappen to see either, in order to commeraorate the spot
whence tfae [ancient inscription was reraoved: — "Jussu Gre-
gorU XVL Pont. Max. laxatis spatiis arose hujus inscriptio
Portse Arcadse atque Honori heic coUocata est. Fundaraenta
suo in loco restant, signata lapide raeraoriae raonuraento peren-
nandae." The ancient inscription in question, wfaicfa occupies a
surface upon tfae new wall not less than 30 feet in breadth, is
engraved in capital letters of very rude forraation, of different
sizes, and crowded together vritfaout any respect to tfae division
of the words in such a raanner, that it is very difficult to
read it.
Witfa regard to tfae present appearance of tfae several water
courses belonging to the Porta Maggiore, there are, in the
firet place, outside tfae gate, sorae reraains of tfae Anio Vetus,
of whicfa tfae level is close to tfae ground, and accordingly at
tfae bottora of tfae wall, on the eastem side of tfae eastern
portal, raay be observed, embedded in the brick masonry, tfae
large blocks of travertino tfaat compose tfae cfaarmel. and cause
a considerable projection. Tfaougfa tfae speciraen, sucfa as it is,
is tfae only risible one that now reraains, there was until the
year 1834 another smaU portion underneath tfae road, wfaicfa
latter was destroyed by accident during the repairs of the higfa-
way. Frora witfain tfae gate a partial vie-w is to be had of tfae
remaining five aqueducts, wfaose channels raay be for the raost
part recognized upon the attic, especially those of the Marcia,
the Tepula, and tfae Juha, consisting of enorraous blocks of
peperino and travertino laid together vrithout ceraent in tfae
solid Etruscan style adopted in Rorae at tfae early period of
tfae Erapfre. Tfae materials belonging to the Claudian and
Marcian were made use of in the construction of tfae Fon
tana Felice on tfae Viminale, as stated vol. I. page 253, by

326 A TOUR in modern ROME. [Chap. XH.
Sixtus v., tfae streams of wfaose aqueduct, derived frora the
above sources, form a junction with others at a point in the waU a
httie to the southward of tfae gate of S. Lorenzo, wfaere the
waters may be heard rushing tfarougfa tfaeir channel witfa great
violence : tfaence their course swerves, as above stated, over the
Viminale direct to the Fontana Felice.
The Porta di S. Lorenzo, originally called " Tiburtina,"
in consequence of the road leading from it to the ancient Tibur,
now Tivoli, was built by the Emperor Honorius wfaen he
enlarged tfae walls ; afterwards it received its present title
frora tfae basihca of S. Lorenzo, two miles distant on tfae same
road. It is flanked by two towers, near tfae soutfaern one of
wfaicfa may be observed the channels of the Marcia, Tepula,
and Julia aqueducts erabedded in the wall, and close adjoining
a tablet of marble bearing an inscription of Honorius, relating
to their repair by Caracalla.
Tfae Amphitheatrum Castrense is included in the waUs
of Rorae very near tfae Porta Maggiore, in a direction a
little to tfae westward of soutfa, tfaougfa tfae distance on pro
ceeding tfaitfaer outside the walls is rendered greater in cout
sequence of the line of wall extending south-east beyond the
object, then suddenly tuming at a rigfat angle westward, and
afterwards trending circuitously to tfae point in question; so
tfaat witfain a line drawn straigfat frora the Porta Maggiore to the
Araphitfaeatrura Castrense, an frregularly-formed angular tract
of ground, whicfa I shaU presently faave occasion to refer to, is
included. Immediately beyond tfae right angle tfae arcfaes of
tfae Claudian aqueduct diverge as above stated, extending in a
south-east direction, parallel to tfae Via Labicana, into the
Campagna ; and the way by whicfa we are proceeding, close
and parallel outside tfae city walls, passes under one of the
arcfaes. The Ampfaitfaeatrum Castrense was a long tirae raistaken
by tfae early antiquaries for tfae ampfaitfaeatre of Statilius
Taurus, and so it appears laid down in the map of NoUi pub
lished 1748, in the reign of Benedict XIV., nor faas it ever
since been stated distinctly by whom it was constructed : the
period, however, from the style of tfae architecture and the
description of tfae masonry, is attributed to tfae first century,
60 tfaat, as its position was considerably outside tfae waUs of

Chap. XIL] AMPHITHEATRUM CASTRENSE. 327
Servius Tullius, and as the name imports, it is generally
adraitted to have been appropriated to the use of the Ivouian
ti-oops, it seems most probable that it was built by Sejanus, in
tfae reign of Tiberius, at tfae same time with tho Castra Pra'-
toria, and especially for the exorcise and amuseraent of the
Praetorian guai-d. At all ovouts when Honorius constructed
his walls he found tfae ampfaitfaeatre in question standing,
like tfae Castra Prsetoria, an isolated structure, outside tfae
city, and consequently lie so contrived or modified fais peripfaery
as to include both the above objects, and also the arches of
the aqueducts lying between, in his new enclosure.
With regard to the present appearance of tfae building, whicfa
is altogetfaer of brick, it is a Colosseura in rainiature, con
forraable in every respect to the cfaaracter assigned to it, tfaat
of an arapfaitheafre wfaitfaer tfae soldiers of tfae Praetorian guard
raigfat asserable at a convenient distance from their ovra carap,
and exercise themselves in combats with wild beasts and gym
nastics. Viewed from the road tfae wall impinges on both
sides upon the diameter of the cfrcular structure, coraprising
one semicfrcle within, and learing tfae otfaer semicircle vritfaout,
in front of wfaicfa latter a raound of eartfa faas been tfarown up
(I know not for wfaat reason) in sucfa a raanner tfaat tfae
tfaorougfafare is tfarown still fartfaer out of its course tfaan
need be. Tfae elevation displays two orders of arcfaitecture,
of wfaicfa the lower is faced with Corintfaian faalf colurans
forraed entfrely of brick, including tfae sfaafts and capitals :
tfaese faalf colurans are planted on a broad plintfa of travertino,
and flank the arcfaes, wfaicfa, like those of the Colosseum, forraed
the entrances, and were blocked up by Honorius for tfae sarae
purpose as tfae arcfaes of tfae aqueducts above referred to,
the raaterial, faowever, facing in tfae present instance tufa rubble.
Tfae circular wall faas received raucfa injury, probably during
tfae civil wars ; at all events tfaere are large breaches in the
masonry fllled up witfa a description of rubble very rauch
inferior to tfaat used by Honorius. The wall of tfae upper
order, since it forras a portion of tfae ''peripfaery of tfae city,
faas been maintained accordingly at its proper elevation, but
faere also are considerable breacfaes, wfaicfa, in like manner
witfa tfaose below, faave been repaired vrith the same inferior de
scription of tufa rubble. The wall was originally faced with

328 A TOUR IN MODERN ROME. [Chap. XII.
Corintfaian pUasters of brick, corresponding witfa the columns
below, that supported a plain entablature formed of brick also,
of which a considerable portion is still reraaining, though all
tfae pilasters, with the exception of one, have disappeared.
Sucfa being the appearance of the ruin frora outside the
walls, in order to view it frora vrithin ^it will be necessary to
retum to tbe Porta Maggiore : thence entering tfae gate and
proceeding a few paces straight forward, a street or way diverges
to the left, called the Via di Santa Croce, and leads with a gentle
inflexion, skirting tfae Basilica di S. Croce, to tfae Araphi
tfaeatrura Castrense, tfaus very nearly describing the proposed
straight line, and, togetfaer witfa the walls of tfae city, en
closing tfae angular tract of ground above referred to. Tfae
circular area of tfae ampfaitfaeatre is considerably above the
ancient level, and faas been converted to tfae purpose of garden
ground by the friars of a convent of Cistercians annexed to
tfae basilica, with whose assistance, on making application at
the convent, admittance may be had within the cfrcular en
closure. The convent door, witfa a bell attacfaed to tfae portal,
is on tfae westem flank of tfae basilica. Tfae entrance to tfae
amphitheatre is by a door in the circular wall, whicfa wall is of
modem construction, tfaougfa, as it is built on tfae ancient foun
dation, tfae peripfaery of tfae inner semicircle faas been preserved,
and tfae ground is planted with artichokes and otfaer vegetables ;
meanwhile tfae ancient wall composing tfae outer semicfrcle of
tfae structure appears to be of very great tfaickness, and as
tfae crowns of 'tfae entrance arcfaes appear a few feet above
tfae soil, it raay be seen faere vritfain tfaat tfae tufa rubble
vritfa wfaicfa tfaey are falocked up outside, extends not raore
tfaan half the thickness of the raasonry, leaving deep cari-
ties, wfaicfa are appropriated by the friars to tfae deposit of
garden tools and other such purposes. Tfaese cavities are also
enlarged to tfae depth of sorae feet below the ground level, in
which operation perhaps, or at all events in the course of an
excavation raade in the circular area sorae years ago, tfaere
were discovered bones of vrild beasts, eridently tfaose tfaat were
slain in tfae ancient corabats of the araphitheatre ; also an
Eo'yptian statue ornamented with hieroglyphics, and various
fragments of tfae interior marble decorations. An inscription
also was dug up relative to a vivarium belonging to the amphi-

Chap. XIL] TEMPLE OF VENUS AND CUPID. 329
theatre, under tfae charge of tfae Prsetorian gu<u-d, wfaicfa
vivariura is supposed to faave been situated between tlio ampfai
tfaeatre and tfae Porta Maggiore, tfaougfa its precise position
faas never been deterrained.
We raust now return once raore to tfae Porta Maggiore, or
ratfaer to the point of divergence leading fi-ora vritfain the gate to
tfae Amphitheatrum Castrense. Honce the way passes irame
diately under one of the arches of the Neronian aqueduct, by
which brancfa Nero conveyed the water frora the Claudian by
a line skirting the Scala Santa and S. John Lateran over the
Coelian hill, and tfaence towards fais Golden House and tfae
Palatine.* The ai-cfa in question, tfarougfa whicfa the road
passes, is supported on piers 11 feet 6 inches- the side, and tfais
portion especiaUy of tfae structure (wfaicfa extends almost in
an unbroken line as far as tfae Scala Santa), formed of brick
deep red, and of remarkably fine texture, is considered one of
the finest specimens in Rorae of ancient raasonry.
Tfae Horti Variani, the suburban gardens constructed by
the Eraperor HeUogabalus, the son of Sextus Varius Marcellus,
and called Variani, after the faraily narae, are supposed to
faave occupied tfae angular tract of ground just now indicated,
and to have extended also to some distance outside the walls.
Within tfae angular tract in question tfae Egyptian obelisk,
erected in the year 1822 by Pius VII. in the Pincio gardens,
was discovered ; and among other minor fragraents of ancient
walls yet existing on the spot, tfaere is to be seen there espe
cially a ruin, supposed to be the reraains of a Temple of
Venus and Cupid, to inspect whicfa it is necessary to apply as
before to the friars of tfae Cistercian convent, by whora the
visitor is conducted tfarougfa tfae convent to an enclosure in tfae
rear of tfae building. The enclosure belonging to tfae convent,
tfaougfa a portion only of tfae tract of ground in question, is a
spacious rineyard, surrounded by sraall gardens and vineyards
belonging to different proprietors, and about tfae raiddle tfae
so-called Temple of Venus and Cupid is situated. Notwitfa
standing tfaat tfae ruin is coraraonly knovra by the above title,
considerable doubts are entertained araong the antiquaries with
respect to its identity, principally in consequence of tfae appear
ance of tfae object itself, that bears little reserablance to a
* See page 216.

330 A TOUE IN MODERN ROME. [Chap. XIL
Pagan teraple, but has rather the character of a basilica:
Nibby supposes it to be the reraains of the Atrium Sessorianum,
wfaich was a building of that description, thou^ in the raap of
NoUi it is laid down outside the walls, near the Araphithea-
trura Castrense. Others imagine it to have been a Nympfaseum
constructed by Alexander Severus, who becarae the possessor
of the gardens after the death of his predecessor. A marhle
group, at all events, was discovered on tfae spot representing
Venus witfa Cupid at faer feet, on tfae pedestal of wfaicfa was
engraved a dedicatory inscription to Venus, by Salustia, wife
of Alexander Severus, wfaose likeness tfae statue, still preserved
in tfae Vatican, is supposed to bear. And tfais dedication,
wfaicfa, after all, faas no reference to a teraple, and is perfaaps
sufficiently accounted for by the circumstance related, furnishes
nevertheless the only grounds for the appellation of the Temple
of Venus and Cupid that the ruin lays claira to.
Tfae ruin in question consists of a crescent-shaped wall of
brick, in the upper part of whicfa are one or two pairs of sraall
arcfaed apertures for vrindows ; it is flanked by plain walls
stretching out like vrings on eacfa side, and, altogetfaer, coin
ciding vrith tfae supposition above referred to, raay very well be
taken for tfae lower concave of an absis of whicfa the seraidome
has disappeared, flanked by a portion of the gable wall of a
spacious basiUca ; tfae diraensions, faowever, perhaps exceed a
reasonable proportion, since the breadtfa of tfae absis is no less
tfaan 63 feet, and tfae flanking waUs 60 feet on one side, and
54 feet on the otfaer, coraprising a breadth of 177 feet
altogether, not far short of tfae breadtfa of S. Jofan Lateran.
Tfae waU of tfae absis, as may be ascertained by the fractured
parts, is about four feet thick, and tfae tfaickness of tfae flankmg
walls StiU greater ; tfae absis, raoreover, is sfrengthened on tfae
outside by a pafr of brick buttresses on the hauncfaes. It is, at
all events, tfae prevailing opinion among tfae antiquaries tfaat
tfae building, whatever it was, was destroyed by S. Helena for
the purpose of applying the raaterials to tfae construction of the
BasiUca of S. Croce close adjoining ; or it raay possibly have
formed a part of the palace or of tfae batfas of S. Helena, of
wfaose faabitation, or of wfaose baths, tfaougfa botfa are known to
faave existed in tfae vicinity of the present spot, tfaere are no
authenticated reraains existing, which, considering the claim

Chap. XIL] WALLS OF EOME. 331
of that celebrated pereonago to the gratitude of tho Roraan
Church, and to the raemory of posterity, seeras raost extra
ordinary. Between tfae Basilica of S. Croce and tfae Gate of S. Gio
vanni, tfae walls of Rorae on the inside afford an interesting
specimen of the mode of fortification adopted in the fiftfa century,
being lined all the way vritfa a series of arcfaes tfaat bear some
resemblance to tfaose of tfae Prsetorian carap described in tfae
fifth chapter ; intended, apparently, if not for a place of tera
porary faabitation for the troops, to serve tfae purpose of con
venient cfaambere of rendezvous wfaere tfaey raight asserable for
purposes of defence or offensive operations.

( 332 ) [Chap. XIL

CHAPTEE XII. — Section II.

CHURCHES.

S. Clemente.

The churcfa of S. Clemente is situated about the middle and
on tfae eastem side of the Via di S. Giovanni, leading frora the
Basilica of S. John Lateran to tfae Colosseum. It is supposed
to faave been originally built about the ninety-first year of the
Christian era, on tfae site of tfae faouse of S. Clement, tfafrd bisfaop
of Rorae after S. Peter, and is reraarkable for retaining the cha
racteristics of an early Christian church, better preserved than
in any otfaer churcfa in Cfaristendora. As regards its antiquity
there is certain testiraony of its having been in existence in the
year 417, wfaen, according to the record of tfae church chro
nicles, Pope Zosimus condemned Celestius as a heretic within
its walls. After whicfa period accounts are silent till tfae eigfatfa
century, when it was restored by Adrian I. ; and afterwards it
was again restored by Nicholas I. and by Jofan VIH. in the ninth
century. Subsequently, nothing more appears to be said of it
for eight successive centuries, till about the year 1720 it was
put in the condition it appears in at present by Clement XI.
Tfae westem gable of tfae church bounds the Via di S. Gio
vanni, wfaence is a comraunication by a side door to tfae interior ;
tfae soutfaern gable faces towards a short broad street, called
tfae Piazza di S. Clemente, tfaat diverges from the Via di S.
Giovanni, and tfae entrance is by a sraall portico through an
interraediate afriura. The portico is of raore recent con
struction than tfae church, and is supposed to have been built
in the nintfa century by one or other of the two Popes wfaose
naraes are above raentioned ; it is supported by two pairs of
colurans, one coluran cipollino, and tfae otfaer tfaree granite.
Tfae atriura is a sraall square enclosure surrounded by an
arcade, or cloister, supported on each side by four columns.

Sect. IL] CHURCHES.— S. Clemente. 333
sixteen columns in all, of wfaicfa twelve ai-o grey granite, tliree
red granite, and one Hyraettian mai-blo. In the raiddle is a
small fountain, such as in early times was called the Cantharus,
and tfae enclosure affords altogether a very interesting and
perfect specimen of tfae atrium and cantharus referred to as au
appendage to tfae early Christian churcfaes in ray infroductory
chapter. Tfae interior of the churcfa is constructed in tfae forra of a triple
nave, dirided by ancient colurans, sixteen in nuraber, of which five
are HjTuettian raarble, six cipollino, two grey granite, one red
granite, and two granito del foro. As regards the shafts of tfae
marble columns, some are plain and others fluted, but the
capitals of all the sixteen are Roraan Ionic. On each side the
eighth column of the row is partly erabedded in tfae gable wall,
and in tfae middle of tfae row a pier, in order to sfrengtfaen tfae
building, is interpolated. Upon the wall or attic above the
colurans are a row of vrindows, and the entfre interraediate
space is painted in fresco. The ceiUng of the raiddle nave is
flat and coffered, tfae raouldings of tfae coffere being deeply
recessed like tfae raouldings of a recessed arcfa, very ricfaly
gilded, and eacfa panel containing a painting in fresco. Tfae
paveraent of tfae raiddle nave, as is in fact tfae paveraent of tfae
whole churcfa, is opus Alexandrinura.
In the raiddle of the nave is to be observed an alraost unique
speciraen of tbe earhest forra of choir, or presbytery, consisting
of a quadrangular area surrounded by a wall of Hyraettian
raarble. Of this area the wall on tfae side next tfae cfaoir is five
or six feet in faeigfat, extending tfae whole breadth of the churcfa
frora flank wall to flank wall, witfa a portal comraunicating witfa
eacfa of the side naves, and anotfaer portal in tfae raiddle cora
raunicating witfa tfae enclosed presbytery. The otfaer tfaree
walls are soraewhat lower, and all tfaree ornaraented witfa small
tablets of porphyry and serpentine engrafted on the surface.
The wall first raentioned is very beautifully and curiously
wrought by the chisel, in open work, in iraitation of matting,
consisting as it were of layers of thread three or four inches wide,
in small squares, witfa a round faole pierced at tfae intersecting
angles of the squares ; by whicfa contrivance the solid wall of
marble is converted in effect to tfae purpose of a grating. The
pavement of the enclosure, whicfa is raised by one step above

334

A TOUE IN MODEEN EOME. [Chap. XII.

tfae level of the nave, is, Uke all tfae rest of tfae cfaurch, opus
Alexandrinum, and outside, upon eacfa of tfae angles facing tfae
soutfaern gable, are a pafr of ancient ambones, or pulpits,
whence the epistle and the gospel were read in early times to
the congregation. Tfaese ambones, whicfa are referred to in
tfae introductory cfaapter, are formed of pavonazzetto marble, of
whicfa tfae franslucent quaUty is very remarkable ; and one or
otfaer, I forget which, is prorided with a reading-desk of the
same raaterial. In front of the one on tfae left-hand side is a
sraaU column of white marble, representing the pascfaal candle
stick, wfaich indicates the ambo appropriated to the reading of
the gospel : tfae sfaaft is spfraUy fluted witfa a faelix composed of
two wreatfas twined togetfaer, one of wfaicfa is plain marble, and
tfae otfaer wrought in raosaic. Between the arabones on the
surface of the marble wall may be observed, with reference to
the restoration of the church about tfae year 872 by Pope
Jofan Vni., engraved in capital letters, tfae narae " Johannes,"
precisely as it appeare on tfae coined raoney of tfae period.
Tfaere is also to be observed upon the gable waU above the
enfrance another characteristic of tfae early form of a Cfaristian
cfaurcfa — AN OPEN gallery, sucfa as was exclusively appro
priated to the feraale portion of tfae congregation ; tfae specimen,
however, as was observed in the infroductory cfaapter, is not
equal to anotfaer gaUery of tfae sarae description to be seen in
the cfaurcfa of S. Agnese fuori le Mura.
Tfae ceiling of tfae side naves is similar to tfae ceiling of tfae
middle nave. Tfaere are no lateral cfaapels in eitfaer, but in
eacfa there is a chapel at tfae exfremity ; not, as is usual, at the
extreraity towards tfae cfaoir, but on tfae southem gable near the
enfrance. The Chapel at the extremity of the right-
hand NATE is protected by a low balustrade of mai-ble, and the
enfrance is by a round-topped arch. Tfae ceiling is vaulted
and of wfaite stucco, curiously wrougfat witfa sprigs and foUage
in the arabesque style; in tfae raiddle is a lantern cupola,
lighted with orange-coloured glass. Tfae pediraent of tfae altar,
which is opposite tfae entrance, is of frregular forra, and tfae
material pavonazzetto, witfa a tympanum and frieze sfaeatfaed
witfa Sicilian jasper, of wfaicfa tfae red blotches, from tfae effect
of tfae ligfat above, have the appearance of orange colour ; it is
supported on a pair of Corinthian columns of SiciUan j,asper.

Sect. IL] CHURCHES.— S. Clemkntb. 335
planted on pedestals composed of many dittorent sorts of raarble.
The lower portion of the side walls is lined with a dado of
Africano marble, and the upper portion is sheathed with
marhle, with the exception of tfae space occupied on oacfa side
by a picture. In the navo, near the above chapel, is a door
upon tiie eastern flank of the building, which communicates
with an annexed convent of Irish Dorainican friars.
The Chapel at the extremity of the left-hand
NAVE is called tfae " Capella della Passione." It is protected
by fron rails, and the entrance is by a Gothic pointed arch.
Tfae ceiling is vaulted and painted, together witfa tfae side walls,
by Masaccio in fresco, though the paintings are said to faave
been retouched, vrith the exception of tfae figures of tfae four
Evangelists on tfae ceiling. Altogetfaer tfaey are considered to
afford a good speciraen of tfae art at tfae beginning of tfae
fifteentfa century. Tfae subjects are the Crucifixion of our
Sariour, and in addition incidents relating to the history of
S. Clement and of S. Catherine. Tfaose relating to S. Catfaerine
are on tfae left-faand side, and comprise four pictures, tfae first
of whicfa represents S. Catfaerine arraigned before the Judges ;
in the second S. Catheruie is represented at the place of
execution, where, faaring been condemned to be torn in pieces
by a wfaeel armed on tfae cfrcumference vritfa long fron spikes,
tfae spikes in coraing in contact witfa faer body on the wheel's
first revolution are sfaattered into fragraents by the centrifugal
violence, and learing mfraculously her tender frarae unhurt,
inffict deatfa on faer executioners. Tfae tfafrd picture represents
S. Catherine brougfat out a second tirae to be befaeaded, and
kneeling under tfae uphfted sword ; and tfae fourtfa picture
represents tfae executioner faolding aloft in his rigfat faand tfae
faead of tfae martyr, wfaose corpse lies stretcfaed upon tfae
ground. Tfae altar picture by a modem artist is a portrait of
tfae Holy Virgin, wfaose countenance is particularly beautiful,
and the effect faeigfatened by a deep shadow tfarown upon tfae
features as tfae chin reclines upon tfae bosora, and tfae wfaite
arras are upraised in prayer. Near tfae above cfaapel a door
corresponding to tfae door opposite leading to the convent,
opens, as before stated, upon tfae Via di S. Giovanni. The
Transept is elevated above the level of the naves by a
double branched fligfat of five steps wfaich ascend on each

336 A TOUE IN MODEEN EOME. [Chap. XII.
side of tfae enclosed presbytery. In the middle, tfae faigfa
altar stands isolated under a canopy. Tfaere are no altars at
eitfaer extreraity, but instead, on eacfa extreraity is a flne
raonuraent. Tfae monuraent on tfae rigfat faand, coraposed
entirely of wfaite raarble, is that of Cardinal Rovarella, bearing
the date of the year 1478 ; it is constructed in the style of an
architectural elevation, and the principal objects wfaicfa it com
prises are an absis flanked by columns and pilasters, and a
sarcopfaagus contained witfain the absis. Tfae surface of the
sarcophagus and of the columns, and of tfae greater portion of
tfae* absis, is curiously sculptured in low bass-relief in a pattern
of arabesque, where raay be observed, araong the sprigs and
flowers, the thyrsus of Bacchus, and sirailar Pagan erablems,
such as, witfa reference to tfae syrabolical allusion to tfae vine in
Scripture, were adopted by the early Christians, and of whicfa
custora a prominent instance was before referred to in tfae
mosaic ceiling in tfae cfaurch of S. Stefano Rotondo on the
Coelian. Tfae raonuraent on the left faand, opposite to tfae pre
ceding, so nearly corresponds vritfa tfae other in forra and
diraensions, and also in raaterial, tfaat a separate description is
unnecessary ; as regards tfae sculpture, it is of inferior execution.
Altfaougfa there are no altars at tfae extreraities of tfae transept,
tfaere are two altars flanking tfae cfaofr or tribune so placed as
to face down eacfa side nave respectively. Of these, the
Altar on the left hand of the tribune is protected by
lofty iron rails, and contained vritfain an absis. Tfae pediraent
is in tfae broken forra, and rests on a pair of columns of breccia
pavonazza of a rare description; the space above the altar
picture as well as the entire surface of tfae side walls on tfae
rigfat and on tfae left is painted in fresco. Tfae Altar on tue
BIGHT hand of THE TRIBUNE is Contained witfain an absis
sirailar to tfae other ; it is surraounted by a sraall white raarble
statue of S. John the Baptist instead of an altar picture ; and
the lower concave of the absis is painted in fresco.
The Choir or Tribune, corresponding vrith tfae Sanctuary
of tfae early Cfaristian cfaurcfaes, is a spacious absis, of whicfa the
serai-dome is lined with raosaic, executed at the private cost of
tfae Cardinal Giacorao Tomasio, towards the end of tfae tfair-
teentfa century ; tfae lower concave is painted in fresco, and
below, on the pavement of opus Alexandrinura, is placed, a

Sect. II. ] CHUECHES.— Basilica of the Holy Cross.

337

cenfral object in the middle of a row of wooden seats for the
church dignitaries, an episcopal cfaair of wfaite inai-ble, elevated
above tfae rest by four steps.
Tfae High Altar, wfaicfa, as before stated, stands isolated
on tfae sumrait of tfae double-brancfaed fligfat of steps tliat diride
tfae middle nave frora tfae transept, consists of a raassive sub
structure in tfae forra of a quadrangular pedestal, on tfae angles
of wfaich are planted four colurans of pavonazzetto, which support
a double entablature of Hyraettian raarble, the upper one of
which is supported above the other by miniature columns,
about 18 inches high, of Hymettian. The canopy, resting
on the upper entablature, as regards the side facing tbe
enfrance of the church, consists of a triangular pediraent of
Hymettian marble, and the remainder, whicfa is of too
corapUcated form to allow of a description, is of tfae same
material. Two inscriptions, tfae one relating to S. Cleraent,
tfae titular saint of tfae cfaurcfa, and tfae otfaer to S. Ignatius,
Bisfaop of Antioch, wfao both lie buried underneath the higfa
altar, may te observed on the pedestal, the firet of wfaicfa is as
follows, " Flavins Cleraens Martyr faic feliciter est turaulatus."
Tfae otfaer below, relating to S. Ignatius and other raartyrs, is
inscribed in raised lettere of gUded bronze on a tablet of por
phyry : " In bac Ecclesia requiescunt corpora Cleraentls Papse,
et Ignatii Episcopi, et Martyrura."
The naraes of the artists to whora the several altar pictures
in tfais churcfa are attributed are as foUows : Sebastiano Conca,
Antonio Grecolino, Giovanni Odazzi, Toraraaso Chiari, and
the Cavaliere Ghezzi. Basilica of the Holy Cross.
Returning by the Via di S. Giovanni to the Basihca of S.
John Lateran, whence, from tfae eastem portico, tfae broad
greensward (whicfa I faave had occasion elsewfaere to refer to*),
omamented witfa avenues of trees along tfae middle, bounded
on the southem side by tfae walls of Rome, and on tfae otfaer side
by tfae Neronian aqueduct and a narrow strip of enclosures
lying between, extends to a considerable distance ; the Basilica di
Santa Croce terrainates the vista. It is situated, as was stated
* See page 224.
VOL. II. Z

338 A TOUE IN MODERN ROME. [Chap. XII.
at the end of tfae first section of this cfaapter, close to tfae waUs
of Rorae, and to the spot wfaere tfae Arapfaitheatrum Castrense
is interpolated in the wall's periphery ; as regards tfae aspect,
wfaile the above-mentioned greensward and its avenues impinge
diagonally on the western flank of the building, the entrance
upon its northern gable faces towards the finest of all the
thoroughfares of Rorae, stretching in a straigfat line to the
Basilica of S. Maria Maggiore, and beyond to the church of
SS. Trinita dei Monti on the Pincio. And it is faere par
ticularly to be observed, with reference to a general remark
relating to the aspect of the Roraan churcfaes in ray intro
ductory chapter, vol. i. p. 10, that this basilica, instead of
facing east, faces tfae nortfa-west very nearly. It was
originally built, vrithin the liraits of the gardens of HeUo
gabalus, called the Horti Variani, by S. Helena, the mother of
Constantine, for tfae especial purpose of preserving a sacred
relique, said to be a portion of our Saviour's cross brought
from Jerusalera ; and tbe site was faallowed by earth trans
ported from Mount Calvary, and sprinkled under the church's
foundations. S. Helena, wfao Uved to tfae advanced age of
eighty years and upwards, set fortfa at a late period of faer life,
as is related by the ecclesiastical writers, on a pilgrimage from
Rorae to Jerusalera, as some say, warned by a dream to go
thither, but at all events with the express purpose of visiting
tfae Holy Sepulchre ; and faaving arrived tfaere, sfae was induced
to undertake to discover, if possible, tbe cross of our Saviour.
Tfae Holy Sepulchre, as the historian goes on to say,* was at
that time covered by a vast raound of earth, whicfa faad been
erected by tfae Gentiles on tfae spot as the substructure of a
Teraple of Venus built upon it over a stone foundation ; and
the ground round about, including Mount Calvary, was enclosed
by a wall, and omamented with plantations and otherwise in
sucfa a manner as to obliterate the vestiges of tfae Holy
Sepulchre as much as possible. But S. Helena commenced
tfae search as sfae faad proposed to do, in spite of aU difficulties ;
and tfaougfa it is not particularly explained how tfae Temple of
Venus was got rid of, nor tfae precise spot indicated wfaere the
excavation was made, it is affirmed unequivocally that three
crosses were actuaUy discovered tfaere, buried in the ground ;
* Sozomenus, lib. ii. cap. 1.

Sect. IL] CHURCHES.— Basilica or the Holy Cross.

339

and also, within a Uttie distance from tfae crosses, lying by
itself, the actual board or tablet bearing tho rotd inscription, as
it is described in the New Testament, " Jesus of Nazareth,
King of the Jews," written in Hebrew, in Latin, and in
Greek. Still, however, the question as to which of the crosses
tfae tablet belonged, or whicfa of tfae three crosses was the true
cross of our Saviour, remained to be deterrained, until tfae
dilerama was overcome by an experiraent of Macarius, Bishop
of Jerusalera, executed on the occasion upon a lady of quality,
who at tbat tirae happened to be confined to her bed by a
grievous ailment. The three crosses were accordingly brought
to her bedside by Macarius in the presence of S. Helena, and
being one after another successively shown to the sick lady, the
firet and the second produced no effect whatever, but at the
appearance of the third the almost expiring patient suddenly
opened her eyes, and vritfa faealtfa and strength perfectly and
rairaculously restored, leaped out of bed iraraediately. Such
being tbe satisfactory result of S. Helena's pilgrimage, tbe aged
Empress, according to the tale of tfae faistorian, carried with
faer back to Rorae a portion of the Redeeraer's cross, carefully
deposited in a silver box, in which she then buried it in the
crypt of the basilica, with the exception of a small fragraent,
together with one or raore of tfae venerated nails, presented to
faer son Constantine. Tfae latter, regarded by tfae Eraperor
in tfae ligfat of an araulet of inestiraable value, were accord
ingly welded in the iron crown of his helmet and in tfae bit
of bis cfaarger.
It may seem exfraordinary, considering the importance
naturally belonging to tfae building under tfae above circura
stances, that frora the tirae of its consecration by S. Silvester,
about tfae year 306, tfae accounts relating to it for raany cen
turies afterwards are far more iraperfect tfaan of very raany
ordinary Roraan churcfaes ; all tfaat I find recorded of it is in
fact, witfa tfae exception of vague and general allusions to various
restorations, tfaat it was rebuUt by Gregory II. about the year
715, and again by Lucius II. in 1144, and finaUy, that haring
been conceded by Pius VL, about the year 1560, to the con
gregation of Cistercian raonks, whose convent is annexed to
the building, and who now perform the offices of the church,
it was put in the condition it appears in at present
z 2

340 A TOUR IN MODERN ROME. [Chap. XII.
by the architect Domenico Gregorini, under the auspices of
Benedict XIV.
With regard to tfae exterior, the faqade, not exceeding in
dimensions many of the Roman churcfaes, is blended with the
frontage of the Cistercian convent, and forras a projecting
curve between two lateral wings, both the latter belonging to
the convent, whicb, extending to both sides and the rear,
encorapasses that portion of the basilica. The suramit of the
central projection is surraounted by a balustrade, and the
balustrade crowned with statues of ordinary execution ; in the
rear appears a square brick tower of the raiddle ages, belonging
to the convent. Tfaere are tfaree entrances, of whicfa the central
is by an arched portal, and the others by rectangular portals ;
and four pilasters support the raain entablature, on whose frieze
is a Latin inscription in large capital characters, ofwhich I
ara not prorided witfa a copy, but whose purport is, that a
portion of the Holy Cross of our Saviour is contained in the
basilica. The central arch is supported by two pairs of Roman
Ionic colurans of travertino, six feet in circuraference, from
which measurement some idea raay be formed of the limited
size of this basilica.
In order to obtain admittance to the interior, as the church,
being in an isolated situation, is seldom open, it is necessary to
apply to the friars of tfae Cistercian convent, of wfaich the door
is on the rigfat wing of tfae building. Tfae entrance, after passing
through either of the three portals, is tfarougfa an oval chamber
or vestibule, of which probably the space now covered by a roof
originally served the purpose of an open atriura, as in the in
stance of tfae cfaurcfa of S. Cleraente. The ceiling is an oval dome
surraounted by a lantern cupola, and the paveraent is coraposed
of red tiles and stripes of travertino. The circuraference of
the oval area is surrounded by a portico supported on piers
faced with pilasters, with the exception of two pairs of columns
of granite and one pair of bigio luraachellato, the forraer two
pairs of wfaicfa flank and tfae latter pair stands witfain the
portal leading into tfae basilica. The walls, the ceiling, and
the whole interior are plain and whitewashed.
The basilica is constructed in the forra of a triple nave,
dirided by corapound piers faced with pUasters, and planted so
as to coraprise three intercoluranial spaces, of which the central

Sect. II.] CHURCHES.— Basilica of the Holy Cross.

341

is considerably narrower than the two others. The archi
traves of the vrider are supported each by a pair of columns,
of wfaich the flrst pair on the left are of tho granite of the island
of GigUo, and of the remaining six columns, one pair are of
grey, and two pair red Egyptian granite : the capitals of tiic
columns and of tfae pilasters are an irregular description of
composite, of whicfa the spiral folds of the volutes coraraence at
the bottora and proceed frora right to left, instead of coraraen
cing at the top frora left to right in the usual forra. Tfae walls
above are faere and tfaere ornaraented with stucco bass-reliefs
and a little gilding, but are for the raost part plain and white
washed. The ceiling of the raiddle nave, whicfa is of an
unusually lofty pitch, is an elliptical vault, coraposed of an
uncouth fraraework of boards so ill-closed, that the gaping
searas cause considerable deforraity : the surface is nevertheless
ornaraented vrith carving and gilding, and a large central pic
ture. The paveraent of the wfaole church, naves, transept, and
choir, is opus Alexandrinura. Near the entrance are two basins
for tfae purpose of containing faoly water, forraed of wfaite raarble,
and sculptured at the bottora in bass-relief, representing eels
and various sorts of small fish, as if it were intended to create
an appearance of live fish swiraraing in the holy water.
Tfae ceiling of tfae side naves is vaulted witfa groins, and
tfae surface wfaitewasfaed ; and witfain eacfa nave are three
lateral chapels, all of whicfa are quite plain, and of sucfa an
ordinary cfaaracter tfaat I preserved no raeraoranda relating to
them, otherwise than that all are sirailar to one another, and
eacfa is contained witfain a sfaallow arcfaed recess, witfaout balus
trade or other protection Eacfa altar is surraounted by a
pediraent painted on tfae wall in iraitation of raarble. Tfaere
is, faowever, to be observed, in the second chapel in the left-
faand nave, a figure of our Saviour on tfae cross, of wood, painted
in natural coloure, wfaicfa is placed above the altar, instead of
an altar picture.
The TRANSEPT, of wfaicfa, tfaougfa the higfa altar stands iso
lated in tfae raiddle, the area is raore tfaan usually narrow
in proportion, is elevated above the naves by three steps. The
ceiling is flat, and forraed of painted boards ill-jointed as the
boards of the raiddle nave, tfaougfa ornaraented witfa gilded
panels, and a central picture. Tfaere is no altar at eitfaer

342 A TOUR IN MODERN EOME. [Chap. XII.
extreraity, but at the right-hand extremity there is a door
leading to a sraall sacristy or oratory, a very small square
chamber with a vaulted ceiling painted in fresco in a peculiarly
delicate style. Tbe pavement of tfae cfaamber is composed of
red tiles, and on each side are a row of wooden seats or staUs
for the dignitaries.
The CHOiE or tribune is in form of a spacious absis, of
whicli the seraidome is painted in fresco by Pinturicchio, on a
subject relating to tfae discovery of our Saviour's cross at Jeru
salem by S. Helena, and in colours, araong whicfa sky-blue
predorainates, all exceedingly virid : the lower concave is lined
vritfa pilasters coloured in imitation of raarble ; and in tfae space
between are two fresco pictures by Corrado Giaquinto, both
representing the raartyrdora of saints. Below, a low bench of
travertino encorapasses the whole seraicircle, witfa tfae exception
of a space in the centre occupied by a ciboriura, which is ele
vated by three steps above the pavement, and is contained
within a niche in tfae wall, surmounted by a pediraent supported
by two pairs of small columns ; of these columns the inner pair
are porpfayry and tfae outer pair Porta Santa. Tfae ciborium
is of wfaite marble, in tfae forra of a pedestal, on the dado of
whicfa are sculptured two angels in bass-relief.
The high altar, as before stated, stands isolated in the
middle of the transept ; it is elevated on all the four sides
by two steps above the pavement, and its baseraent, which is in
tfae form of a quadrangular pedestal, is sheathed with verde
antico ; tfae mouldings are of pavonazzetto and Hymettian,
and it is flanked at tfae angles by four colurans tfaat sup
port tfae canopy, two of wfaicfa are of breccia corallina, and
two of Porta Santa, with coraposite capitals of the same
irregular description as tfaose of the colurans in the middle
nave : tfae torus and plintfa are of gilded bronze, and the
pedestals of Hymettian marble, with mouldings of African^
of very superior quality. The canopy, whicfa is composed alto
getfaer of pavonazzetto raarble, consists in the first place of a
curved instead of a straight entablature, that rests upon the
columns on all the foui- sides of the structure ; and upon the
two angles facing tfae nave are placed in a seated attitude a
pair of infant angels of gilded bronze, which support a festoon
of fruit and flowers of the same material. From the four

Sect. IL] CHUECHES.— Basilica of the Holy Cross. 34d
angles, four curved pieces of pavonazzetto, highly ornamentod
with sculpture, converge upon au apex above, so as to comjilote
a figure that has some resemblance to a crown, above whicli is
a sphere surmounted by a ci-oss, both the latter of gilded
bronze. Au ancient sarcophagus of black basalt, containing
the remains of the saints Cosai-ius and Anastasius, on cach of
tfae sides of wfaicfa a pair of Uons' faeads are sculptured in bass-
relief, and its edges ai-e ornamented witfa mouldings of gilded
bronze, is supported on four Uons' claws of tfae same material,
at the foot of the altar.
On eacfa side of tfae tribune a door leads frora the transept
to a crypt under the basilica, where the so called fragment of
our Saviour's cross, from wfaich the title " Santa Croce" is
derived, is deposited, tfaougfa no pereon is permitted to see the
relique vritfaout tfae Pope's special autfaority ; admittance to
the crypt is granted witfaout any restriction to male risitors,
but women are peremptorily excluded ; application at all events
must be made to tfae friar wfao acts as sacristan. Tfae descent
is usually perforraed frora tfae door on the rigfat-faand side of
tfae tribune, and tfae ascent by the other ; and on descending
there raay be observed near the entrance, engrafted on the wall,
a long inscription relating to tfae sacred object in question,
said to be a part of tfae titulus or board that bore the super
scription. At the bottom of the passage, wfaich is a cordonata,
or inclined plane without steps, there is anotfaer inscription on
tfae wall, prohibiting the entrance of woraen witfain tfae crypt,
expressed briefly, and, tfaougfa I ara not able to state the words
precisely, in the raost stringent terras.
The area below consists of two cfaarabers, or ratfaer of one
oblong charaber, of which the direction lies parallel to the
transept, divided unequally by an iron raiUng into two com
partments, of whicfa tfae first is tfae smallest. The area of tfae
. first corapartraent, called tfae chapel of Jerusalem, is square,
and tfae ceiling vaulted, and covered witfa raosaics attributed to
Baldassare Peruzzi. Tfae pavement is coraposed of red tUes,
and in the middle is a slab of marble containing the following
inscription relating to the deposit below of the faoly eartfa from
Mount Calvary : — " Hie tellus sancta Calvarie soli, rae A. B.
Beata Helena, in inferiorera fomicera demissa, servata est.

344 A TOUE IN MODERN ROME. [Chap. XII.
atque inde noraen Hierusalem capelle juditum."* On the
right-hand side of the cfaaraber is a plain altar contained within
an arcfa of pavonazzetto that spans tfae wfaole breadth of the
corapartraent. On the left-hand side opposite there is another
altar, of whicfa, being under repair, and concealed by a board
partition at the time I visited tfae spot, I am not able to state
the particulars. On the side containing the entrance portal is
a raarble statue of S. Helena represented leaning upon a cross
wfaicfa rests on tfae ground ; it is contained witfain a niche lined
with bigio, aud the nicfae is enclosed within an arch of Africano.
Tfae corapartraent on tfae otfaer side of tfae iron grating is
oblong in its area, and tfae ceiling is an elliptical vault with
arcfaed spaces along tfae base. Close within tfae grating stands
a wfaite marble pedestal that appears, according to an inscrip
tion engraved upon it, of whicfa I faave not preserved a copy,
to belong to the statue of S. Helena in tfae otfaer compartment.
On the rigfat-faand side of the chamber is a fine raonument
dedicated to one of the monks of the Cistercian convent, who
was elevated to the dignity of a cardinal. It is enclosed within
an arcfa wfaose sides witfain are lined witfa Sicilian jasper, and
tfae principal objects belonging to it are a marble statue of the
cardinal in a kneeling attitude within a pulpit furnished with
cushions and mantle, all of white raarble. The faands of the
figure are raised in prayer, and at the foot of the pulpit is an
eagle, wfaich, witfa extended wings, and apparently irapeUed by
vindictive rage, is trarapling on two large open folios. The
above figure flanks the pulpit on one side, and another figure
of an eagle flanks it on tfae other, the latter sculptured in bass-
relief on an heraldic shield and surraounted by a cardinal's
hat. The entire group is elevated on a pedestal of light blue
Carrara raarble, with a rough base of stucco, coloured in iraita
tion of grey granite. On the eastern extremity of the compart
ment is an altar extending the whole breadth, and protected hy-
iron rails. The ceiling is vaulted and painted in fresco, and
instead of an altar picture there is a Pieta sculptured in bass-
relief on a tablet of white marble. Frora the point wfaere we
are now arrived a cordonata, similar to the other, leads to the
door in the transept on the left side of tfae cfaoir or tribune.
* Juditum : sic in orig. (vice judicatum).

Sect. II.] CHURCHES.— S. Edsedio. 345

S. Eusebio.
Proceeding frora tfae BasUica di Santa Croce towards tfae
BasUica of S. Maria Maggiore, as far as the ruin called Trofei
di Mario, described in the firet section of tfais chapter, tfaere is
to be observed, after passing the road tfaat diverges to tfae gate
of S. Lorenzo, on tfae right-hand side of tfae way, a sraaU oblong
enclosure, at tfae extreraity of wfaicfa is situated tfae Cfaurch of
S. Eusebio. Tfae cfaurcfa is of great antiquity, and tfaere
are autfaentic accounts of its existence in the reign of Gregory
the Great, about tfae year 590 ; after wfaich period nothing
raore appeare to be said of it till the reign of Leo XIL, wfaen
it faad fallen into tfae possession of a congregation of Celestine
monks wfaose convent was annexed to the building. Abcmt the
year 1825, Leo XH. conceded the church and convent to the
Society of Jesuits, who, until the recent suppression of tfaeir
order, appropriated tfae convent to tfae purposes of recreation
and retireraent during tfae perforraance of their religious exer
cises. The entire doraain, comprising tfae cfaurcfa, its enclosure
in front, and tfae convent, witfa a pleasant garden, particularly
corresponds vritfa tfae beau ideal tfaat appears to have been
invariably sought for and obtained by the Jesuits in all their
establishments in Rome, namely, the corabined advantages of an
unrestricted coramunication to and fro from vrithout, and undis
turbed sohtude within ; accordingly, the site of tfae cfaurch and
convent in question is upon a narrow isolated slip of ground,*
wfaicfa, bounded on all its four sides by roads, extends to tfae
gate of S. Lorenzo. In tfae convent garden were discovered
sorae years ago, sorae ancient walls, covered vritfa fresco paint
ing, and a spirally fluted coluran of Oriental alabaster, whicfa
latter is now in tfae Vatican.
Tfae interior of tfae cfaurcfa is constructed in tfae form of a
triple nave, divided by piers, faced with Roraan Ionic pilasters
of coloured stucco. The ceiling is vaulted, witfa two arcfaed
spaces along the base, and is sfrengthened by four arcfaes whicfa
spring from tfae piers ; tfae surface is coloured like tlie piers,
and in tfae middle is a fresco painting by Mengs, considered
one of his best perforraances ; it represents S. Eusebio, the
See page 313.

^^^ A TOUR IN MODEEN EOME. [Chap. XII.
patron saint of tfae cfaurch, surrounded by angles at his
apotheosis. The paveraent of the whole churcfa is com
posed of red and yellow tUes.
In each of tfae side naves are contained two lateral
cfaapels, all siraUar to one another, and so exceedingly plain
as to require no description, tfaougfa it raay be observed
that each consists of an altar table appended to the wall, and
surmounted by a painted representation of a marble pediment
and columns.
The transept, whicfa coincides in lengtfa witfa the breadth
of the church, is elevated above the naves by three steps, and
at eacfa extremity is a flne altar. The pediment of the one on
the rigfat faand rests on a pair of columns of breccia pavonazza,
and the pediraent of the one on the left hand rests on a pair of
columns of breccia corallina ; the altar pictures of both are
enclosed in fixture frames of raarble.
The choir or tribune is elevated above the level of the
transept by three steps, but it is concealed by the high altar
placed on the surarait, and two flanking portals protected by a
curtain : it is furnished witfa a range of wooden seats or stalls,
carved and very faigfaly polisfaed, for dignitaries.
The HIGH ALTAR, wfaicfa stauds isolated in tfae position above
stated, consists, in the first place, of a massive quadrangular
baseraent, like a pedestal, inlaid with various sorts of fine
raarble, Sicilian jasper, and alabaster ; planted at the four angles
are four colurans of breccia pavonazza, which, flanked each
by a pair of demi-hexagonal pilasters of Porta Santa, sup
port a canopy. The canopy, of which I cannot give a precise
description, consists principally of a quadruple pediment, of
which one of the four portions that faces the nave is in the
broken form, and contains in the open space a monumental
tablet, on whicfa a picture is painted.
S. Bibiana.
Returning by the same road by which we arrived at the
church of S. Eusebio, as far as the Trofei di Mario, and taking
the road which, close to the latter ruin, diverges to the gate of
S. Lorenzo, the church of S. Bibiana is situated, on tiie right-
hand side of the way, at about three-fourths of the distance.
The cfaurcfa is supposed to faave been originally built by a

Sect. IL] CHUECHES.-S. Bibiana. 347
Roraan matron named Olimpia, in whose house or palace the
patron saint, S. Bibiana, resided. S. Bibiana, hor father
Flarian, her mother Dafrosia, and her sister Demotrla, suffered
martyrdora, according to the church chronicles, owing to tiie
tyranny of Aproiiianus, wfao was appointed prefect of Rorae by
Julian the Apostate. Apronianus, as the story is related in
the Biographie Universelle, faaving lost an eye, in consequence
probably of a natural opbthalraic ailment, and pretending to
attribute the accident to the machinations of the Christians,
especiaUy to the family of S. Bibiana, caused the father Flavian'
to be burnt so grievously on the cheek witfa a fact iron, tfaat fae
died a few days afterwards, the raotfaer Dafrosia to be beheaded,
and S. Bibiana to be scourged to deatfa witfa cords in whicfa
sraall pieces of lead were braided. Deraetria, whatever
might have been the fate aUotted , to her, disappointed his
intentions, and on being sumraoned to his presence to receive
her sentence, suddenly dropped down dead.* A.mraianus
Marcellinus,t whose autfaority is quoted in tfae Biographie
Universelle, confirras tfae circurastances faere related so far as
the loss of an eye by Apronianus, but he does not raention a
word of S. Bibiana or any of her family.
A little more than a hundred years afterwards the cfaurcfa
was reconsecrated and dedicated to S. Bibiana, by the bishop
of Rome, SimpUcius, after wfaicfa period tfaere are no furtfaer
accounts tiU, in tfae year 1224, it was restored by Honorius III.
And finally, about the year 1623, it was rebuilt, and the
new facade especially constructed by tfae arcfaitect and sculptor
Bemini, under tfae auspices of Urban VIII.
The interior is constructed in the form of a triple nave,
dirided by columns preriously belonging to ancient buildings,
four on each side. Five of these are of red granite, one grey
granite, and two, spirally fluted, white Lesbian marble ; the
capitals are various, and for the raost part of irregular forraation ;
the torus and plmtfa of all Hymettian. Tfae ceiling.of tfae raiddle
nave is flat, and coraposed of plain boards, laid together so
loosely, that one might imagine tfae operation was intended to
be temporary. The pavement of the wfaole cfaurcfa is of red
and yellow tiles. Tfae side walls above the colurans are painted
in fresco, in pictures that, covering the entire surface, relate to
* See art. ' Bibiane.' + Lib. xxvi. cap. 3.

348 A TOUE IN MODEEN EOME. [Chap. XII.
the history of S. Bibiana ; those on the rigfat-faand side are by
Agostino Ciarapelli, and those on tfae left by Pietro da Cortona,
tfaougfa the latter, it is said, have been retouched by the Baron
Carmuccini. Close to the entrance there is to be observed on
the left-hand side, upon the gable wall, a portion of a column,
said to be the sarae to which S. Bibiana was bound when, as
above related, she suffered raartyrdora. It is of rosso antico
marble, doubly protected by an iron lattice within a strong
iron grating ; and above, engrafted on the wall, appears the
foUowing inscription: "Ad hanc columnara Sancta Bibiana
alUgata, raartyrium consummavit."
The ceUing of the side naves is flat, and coraposed of loose
boards, siraUar to those of the ceiling of the raiddle nave.
Each nave contains one lateral cfaapel, protected by a low
marble balustrade, and a cfaapel at tfae farther extremity.
In tfae lateral cfaapel in tfae left-hand nave tiie pediment
of the altar is of Hyraettian marble, and supported on a pair of
columns of breccia corallina ; the altar picture is contained
within a fixture frarae of Africano, and on one side is a monu
ment of wfaicfa the principal object is a small sarcophagus of
Porto Venere. The cfaapel at the extreraity is of the plainest
description, raerely coraprising an altar table appended to the
wall, and an altar picture.
In the lateral chapel in the right-hand nave, tfae pediment
of tfae altar is supported on a pair of spiraUy fluted columns of
Hyraettian, and the walls on the right and left are furnished
with a glass case six or eigfat feet in faeigfat, in wfaich, arranged
on several shelves, are preserved the hones of various martyrs,
sorae wrapped in silvered and gilded paper, and tied with
ribands, and all disposed with a view to effect in the way of
omament. Tfae cfaapel at tfae extremity is precisely similar to
tfae chapel at the extreraity of the left-faand nave.
Tfae HIGH ALTAR is elcvatcd above the raiddle nave by
tfaree steps ; tfae pediraent, triangular in forra, and composed
of Hyraettian marble, is of an exceedingly elegant model, and
supported on a pair of Roraan Ionic columns, whicfa, together
with tfae capitals, are of wfaite raarble. Instead of an altar
picture a very beautiful marble statue by Bernini of S. Bibiana
is placed above the altar. The figure is represented standing
close to a rock, with a bunch of flowers at the feet and a raar-

Sect. IL] CHURCHES.— S. Antonio Abbate. ''*•
tyr's crown above the head. The right foot is raised, and rests
on a fragraent of tfae rock, while the balance of tiie body, the
weight of which is thrown on the left foot, as tho faead inclines
a littie backwards, is preserved by the right elbow, tfaat leans
on a truncated column, witfa the fore arm elevated perpendicu
larly. The left hand grasps a palra branch, and supports tiio
drapery. Undemeath tiie altar is a very splendid sarcophagus,
of the description of alabaster caUed alabastro a onice, on the
sides of whicfa are sculptured, in bass-relief, two large rings in
imitation of handles, and in the middle tfae faead of a leopard.
It is said to contain the reraains of tfae raotfaer and two
daugfatere, S. Dafrosia, S. Bibiana, and S. Demetria, and the
foUovring inscription is above the altar : " Sub hoc altare
recondita sunt corpora Sanctarum Bibianse, ac Demetrise, et
ipsarura matris Dafrosise."
S. Antonio Abbate.
Retuming from the church of S. Bibiana into the grand
thoroughfare at the Trofei di Mario, thence turning to the
right hand and proceeding a Uttle fartfaer towards S. Maria
Maggiore, passing the cfaurcfa of S. Eusebio, whicfa we liave
already risited, on tfae rigfat faand, we arrive at tfae churclf of
S. Antonio Abbate, which is situated on the sarae side of the
way. The cfaurch, celebrated for the cereraony of the bene
diction of aniraals, described in tfae first section of tfais chapter,
is oraitted by Nibby altogether in fais category ; nor do I find
there or elsewhere any accounts of its history, otherwise than
that according to sorae authorities it is supposed to have been
built on the site of a Teraple bf Diana, which, according to
others, is assigned to the iraraediate ricinity of a spot in the
Via di Suburra, wfaere Tullia drove faer cfaariot over the dead
body of her father, Serrius Tullius.* A convent is attached
to the churcfa upon its northem flank, of which tfae entrance is
by a round-topped Gotfaic arcfa, very deeply recessed, wfaose
cylindrical raouldings of wfaite marble spring from two pairs
of small Doric columns of pavonazzetto.
Tfae interior is constructed in tfae forra of a triple nave,
divided by piers faced with Roraan Ionic pilasters. The ceiling
* See page 304.

^^^ A TOUE IN MODEEN EOME. [Chap. XII.
of the middle nave is vaulted, and strengthened by arches
springing from the piers; and the pavement of the whole
churcfa is coraposed of red tiles.
Tfae side naves are raore than usuaUy lofty, and in the right-
hand nave there is only one lateral cfaapel, and a chapel at the
extremity : in the left-faand nave tfaere is no lateral chapel,
tfaough there is also a chapel at the extremity. The walls,
whicfa are unusuaUy lofty, as above stated, are covered aU
over from top to bottom vrith a very extraordinary series of
fresco pictures, painted continuously from end to end, with a
long and minute explanatory description in Latin of the
several subjects at the bottora of each, relating to the various
conflicts which S. Anthony is recorded to faave faeen engaged
m witfa tfae Devil, wfaose innuraerable shapes assumed, and
stratageras invented to lead the Saint astray, are delineated
very grapfaically. In order to becorae perfect in the wiles and
craftiness of the arcfa eneray of raankind, exhibited in this
interesting chapter of mythology, it w^ere indispensable to
devote very many leisure hours to the purpose ; but not having
had an opportunity to do so, and on a raere cursory inspection,
I can only state that the subjects are exceedingly numerous, and
expressed by veiy many figures, large and small, in the fore
ground and in the background, of S. Anthony and the DevU ;
wfaere it may be observed particularly that the latter, under
all the various shapes and circumstances, is invariably
represented in an uncouth or grotesque shape, and that S.
Anthony continually gains tfae palm of rictory.
In the rigfat-faand nave the single lateral chapel is so close
to the entrance, that the rigfat-faand wall, and also the right-
hand wall of an intermediate vestibule, are the gable-wall of
the buUding. Tfae area of tfae vestibule is square, and the
ceiling a dorae surraounted by a very sraall lantern cupola :
the concave of the dorae is painted in fresco, the drum is plain
and wfaitewasfaed, and tfae spandrels of the supporting arches
are painted in fresco, as are also one of the lunettes above the
cornice, and the walls below. On the right-hand side,
which is identical witii the gable wall of the churcfa, as
before stated, is a picture representing the Birth of S. Anthony,
wfaere tfae lying-in lady is surrounded fay a host of gossips and
attendants, and the circurastances of the event are delineated

Sect. IL] CHURCHES.— Basilica of S. Maria MAaoiORE. 351
witii raore than coramon minuteness. Another picture on tht;
same wall represents S. Anthony, a boy of six or seven years
old, in the presence of tfae Bisfaop, wfao, as fae lays fais liand on
the child's head, is made to exclaim prophetically, according to
an inscription that appeare underneatli, " Questo fanoiuUo sara
gran Santo." The chapel beyond the vestibule is protected
by a low marble balustrade, and is contained within an arched
recess. The pediment of the altar rests upon a pair of columns
of bigio marble, and above the altar, instead of an altar-picture,
there is a figure of S. Anthony of wood, coloured in the natural
colours, enclosed within a glass frame. Tfae altar is elevated
on a basement or substructure tfaat extends tfae wfaole breadth
of the chapel, and on each side is wrought in inlaid work the
same design in duplicate, the figure of a tiger devouring an ox,
where the colours of the raarble correspond with the colours of
the aniraal represented ; and the coloure of the tiger especially
are very effectively rendered in giallo antico and very dark-
coloured serpentine. Tbe cfaapel at the extreraity of the nave
is protected by a low raarble balustrade, and is contained
witfain an absis : of tfae interior, wfaich is of the plainest de
scription, I bave not preserved particulars ; neither faave I of
tfae cfaapel at tfae extremity of the left-hand nave, wfaicfa is
precisely sirailar to tfae preceding.
Tfae HIGH altar is protected by a low balustrade of breccia
di Francia, and is situated at tfae exfremity of the raiddle nave,
in front of the cfaoir or tribune, wfaicfa, faowever, is entirely
concealed by a lofty screen.
Basilica of S. Maria Maggiore.
The Basilica of S. Maria Maggiore, planted in tfae grand
sfraigfat street that leads frora the Basilica di Santa Croce to
the churcfa of S.S. Trinita dei Monti on tbe Pincio, occupies
a beautiful and commanding position, wfaence tfae thorougfa
fare from the soutfaward, skirting botfa its flanks and
reuniting upon its nortfaem faqade in tfae open piazza
decorated witfa an Egyptian obelisk, descends and after
wards ascends a graceful accUvity, tfarougfa ground wfaicfa, if
it were not in tfae middle of a city and covered with streets and

352 a tour in modern ROME. [Chap. XII.
houses, raight be terraed a gentle valley. In the open space or
piazza in front of the southern faqade is planted the splendid
coluran, surmounted by a group of the Holy Virgin and the
Infant Sariour, wfaich, together with tfae obelisk upon tfae
nortfaern faqade, was described in the first section of this
cfaapter. On a spot supposed to be not far removed frora an
ancient teraple of Juno Lucina, the church was originally
built in the year 352 by the Bishop of Rome Liberius, who, it
is said, drearat on the night of the 4tfa of August a rairaculous
dream, in whicfa, by Divine intiraation conveyed to him in his
sleep, a fall of snow was predicted on the next day on
the Esquiline, to an extent liraited to the precise ground-plan
of the basiUca which he was directed to build. And not only,
as the circumstances are recorded by the legends of the Roman
Church, did the snow actually fall on the next morning, the
5th of August, precisely according to the manner and con
ditions above stated, but the very sarae dream was also drearat
by another erainent personage, of whom, notwithstanding, no
farther accounts have been handed down to posterity than that
fae was a patrician, and fais baptismal narae "Jobannes."
Liberius, accordingly, iraraediately set about the building of
the basilica, of which the title for raany centuries was, in con
sequence of the rairacle of tbe snow, " S. Maria ad Nives,"
and also after the narae of Liberius it was called Basilica
Liberiana ; subsequently it received the epithet " Maggiore,"
on account of being the largest of the nuraerous churches in
Rorae dedicated to the Holy Virgin, notwithstanding that its
rank araong the seven basilicas falls after S. John Lateran, and
consequently stands third after S. Peter's : it is governed by a
chapter of canons, araong whora the principal is a cardinal.
In the succeeding century, or about the year 432, the buUding
was considerably increased under the forra whicfa it retains to tfae
present day, corresponding in an eminent degree witfa tfae cfaarac-
teristics of tfae ancient basUica. Araong tfae various restora
tions effected by succeeding pontiffs, I find none recorded untU
tfae year 1290, wfaen Nicfaolas IV. repaired the tribune and
ornaraented it with raosaics. Afterwards, about 1575, a general
repaip of the whole building was effected by Gregory XIIL,
and again other repairs by Clement X., about the year 1670 ;
and finally, about the year 1750, the interior was entirely

Sect. IL] CHURCHES.— Basilica of S. Maria Macoiore. 353
repaired and decorated, and thc south-eastern faqade rebuilt
by the architect Fuga under tiio auspices of Bonodict XIV.
With regard to tfae aspect, liowovor, it is to be remarked tfaat,
as in tfae instance of the BasiUca di S. Croco, it is not east
and west, but coincides precisely witii the line of tfae tfaorougfa
fare, wfaich is from south-east to north-west very nearly : its
divergence, however, is not quite so great as is that of the Basilica
di S;inta Croce. It may hero be reraai-kod also, that as tfaere
is a faqade and entrance upon each gable, and as the doors of
the basilica are open during tiie whole of the day, persons
passing that way on foot, whether to admire the decorations
within, or to avoid the divergence of the tfaorougfafare witfaout,
almost invariably a\"ail tfaeraselves of tfae advantage of a
sfraigfater couree by passing through tfae interior.
The south-eastern or principal faqade, built by the architect
Fuga, as above stated, is an elevation consisting of tfaree por
tions, a cenfral portion and two wings, all of whicfa are of equal
altitude ; so that were it not that the central portion bears the
appearance of churcfa arcfaitecture, and a square brick tower of
tfae middle ages rises above the eastern, it raight almost be
said rather to resemble the elevation of a modern palazzo.
The central portion, however, in front of wfaich is a circular
cenfral cordonata, leading to a broad paved platform, whence
three steps ascend into the interior, comprises a double
portico, one above the other, after tfae fasfaion of S. Jofan
Lateran, with the exception that tfae balconies above, answering
to tfae flve entrances below, are only tbree in number. Tfae
surarait is crowned by a balustrade, on wfaicfa are planted in tfae
middle a statue of tfae Holy Virgin bearing in her arras the
infant Saviour, which is flanked on eacfa side by two statues of
apostles. The upper balconies are protected each by a marble
balustrade, and the splendid airy interior of the common
corridor, to whicfa all tfaree belong, is seen by a spectator
standing below to great advantage tfarougfa tfae arcfaed portals ;
that is to say tfae ceiling and back wall of tfae corridor, tfae
forraer of wfaicfa is covered witfa raosaics of tfae thirteentfa century,
attributed to Gaddo Gaddi, a conteraporary of Cimabue, and
the latter is painted in fresco. Frora tfae central balcony tfae
Pope bestows his benediction on the people once every year,
at the festival of tfae Assumption of tfae Holy Virgin,
VOL. II. 2 A

354 A TOUE IN MODEEN EOME. [Chap. XIL
The five entrances into tfae lower portico are by five rectan
gular portals, of wfaicfa tfae architrave rests on a pair of
columns of travertino, and the aperture is protected by iron
rails. The portico within is surrounded by a splendid cornice
of Hymettian raarble, supported by nuraerous pilasters of the
sarae material planted in pairs, which, in addition to sirailar
pediments that surraount the portals, and sorae wfaite raarble
bass-reliefs, leave but a sraall portion of the surface of the
walls undecorated. The portals moreover, five towards the
exterior, five corresponding ones communicating directly with
the basilica, and one at each extremity, are siraple in form,
raassive in construction, and furnished with jarabs and lintels
of Hyraettian raarble, with the exception of the one leading into
tfae cfaurch, the last to the eastward, which is the Porta Santa ;
and here, as at S. John Lateran, blocked up witfa masonry, and
opened only once in every twenty-five years, on the occasion of
a jubilee. Of this portal, as in the instance of S. John
Lateran, tfae jambs and lintel are of Porta Santa marble ; as
regards tfae aperture, it is closed with comraon plaster or stucco,
witfa a sraall cross of brass engrafted in the raiddle. Of the
central portal on both sides, the pediment is supported by a
pair of Roman Ionic columns of granite. The pediment of the
portal on the eastem extremity, whicfa contains a door leading
to the upper portico, is supported by a pair of Roman Ionic
columns of granite, and above is a white marble bass-relief.
The pediraent of the portal on the westem extremity is sup
ported by a pair of Roman Ionic columns of granite ; it
contains, within a niche corresponding with the portal opposite,
a bronze statue, by the Cavaliere Lucenti, of Philip IV., King
of Spain ; and underneath, or above the statue, is a Latin in
scription, of which the purport is, that it was erected and
dedicated by the chapter and canons of the BasiUca to his
CathoUc Majesty, in gratitude for tfae royal munificence
exercised towards tfae cfaurch of Rorae.
The basiUca is constructed in the forra of a triple nave,
divided by splendid ancient columns of Hymettian marble,
in number eighteen on each side, and 8 feet 1 inch in circum
ference, supposed to have belonged to tfae Temple of Juno
Lucina, whose site, as before stated, is assigned by the anti
quaries to the immediate vicinity. The capitals are Grecian

Sect. IL] CHUECHES.— Basilica of S. Maria Magoiore.' 355
Ionic, the torus and plinth of tho same iiiatorial, and below is
a very shallow base of bigio. The range of ciglitoon colurans
is moreover increased to twenty on both sides by the Inter
polation of a pair of columns of groy granite between the
fourteenth aud the fifteenth, both which latter pairs serve as an
approacfa to tfae Borghese and 8S. Sagraiiiento cfaapels ; and
as eacfa of these supports an arch, tfae long continuous line of
entablature whicfa otiierwise would be perfect is tfaereby broken.
The continuous entablature extends to a length so extra
ordinary notwithstanding, that the effect is hardly perceptibly
marred by the interruption, and it reraains still a principal
feature of beauty in the building and a sfriking characteristic
of reserablance to the raodel of the ancient basilica, such as,
with regard to the cfaurcfaes of tfaat class in Rome, places
S. 3Iaria 3Iaggiore the very first in the category. The cornice
is ornamented vritfa wfaite and gold, and tfae frieze is wrougfat
in mosaic. Tfae ceiling, constructed by tfae arcfaitect San
gallo, is flat and coffered witfa coffere ricfaly carved and gilded ;
and being, as it is said, 280 feet in lengtfa and 50 feet in
breadtfa, far exceeds in its vast area every otfaer flat ceiling
to be seen in any of tfae Roman cfaurches. The paveraent
of the raiddle nave is opus Alexapdrinura interspersed with
stripes of ordinary marble. The side walls above the colurans
comprise on each side an attic faced with Corintfaian pUas
tere fluted vritfa wfaite and gold, and witfa gilded capitals,
whicfa pUastere, planted on tfae main entablature, support a
smaller comice close to tbe ceiling ; every intercoluranial space
is occupied by a square picture in very ancient mosaic, said to
belong to the fiftfa century ; and above tfaese is a row of fresco
paintings and vrindows alternate vritfa one anotfaer. Upon tfae
gable waU above the entrance is a circular window, flanked on
each side by one picture in mosaic and anotfaer in fresco.
Close to tfae enfrance, on tfae rigfat faand and on tfae left faand
of tfae nave, are two fine monuments placed between the first
column and the gable wall so as to fiU up the space entirely,
and a basin of holy water is supported on each of their base
ments. The monument on the rigfat faand, constructed by tfae
sculptors Guidi, FancelU, and Ercole Ferrata, is tfae monuraent
of Clement IX., and comprises tfaree marble statues, one of
2 A 2

356 A TOUE IN MODERN ROME. [Chap. XIL
Clement IX., represented in a seated attitude upon a pedestal
of breccia corallina, with base of breccia tracagnina ; another
of a female personification of ReUgion in an upright attitude
hearing a cross, with an infant angel lying at her feet ; and
the third of a feraale representing Charity, also standing
upright with an infant at her bosom. The two latter figures
are surraounted by circular marble medallions wrougfat in bass-
relief, and all three are contained in niches flanked on eacfa
side by a column and pilaster of Porta Santa, with Roraan
Ionic capitals of white raarble : this Porta Santa marble is of a
singular quality, with a greater prevalence of white than
comraon, and of an unsually fine texture. The colurans and
pilasters support a raassive pediraent vrith lateral wings, all of
wfaite raarble with the exception of tfae frieze of verde antico
and tfae tympanum breccia corallina ; and are planted on a base
ment extending the wfaole breadtfa of the monument, of wfaicfa
baseraent tfae upper portion is coraposed of a tablet of rosso
antico, containing tfae inscription between two tablets of Hy
mettian, and the lower portion of Porta Santa, Hyraettian, and
bigio. The raonument on the left-faand side of tfae enfrance corre
sponding to tfae above, tfaougfa nearly similar in form and
diraensions, is considerably inferior in material and in execution.
It is tfae raonuraent of Nicfaolas IV., and was constructed by
tfae sculptor Leonardo da Sarzana.
Tfae ceiling of tfae side naves consists of tfae soffits of a series
of round arches, whicfa are ornaraented witfa raouldings and
rosettes of wfaite and gold, and of plain vaulting in the inter
raediate spaces; the arcfaes are supported by pUasters of
Hymettian marble, corresponding with the colurans of the
middle nave. In the left-faand nave there are five, and in the
right-hand nave are also five lateral cfaapels, and in tfae latter
in addition a sraall cfaapel at tfae soutfaern extreraity. In the
left-faand nave, coraraencing at tfae soutfaern extremity, tfae
space at tfae back of the monuraent of Nicholas IV. above
referred to, in consequence of the intercolumniation being fiUed
up by the structure, is transforraed into a vestibule, wfaicfa is
surraounted by a lantern cupola, and contains two raonuments,
one on tfae east and the otfaer at the west side.
The monuraent at the eastern side is the raonument of a

Sect. IL] CHURCHES.— Basilica of S. Mama Magoiore. 357
cardinal, whose name I cannot state, surmounted by a pediment
of fiuitastic form resting on a pair of half-columns of bianco e
nero marble. Within the columns, elevated on a broad
pedestal composed of various sorts of inarble and bearing on
its face the inscription, is a sarcophagus of bianco e nero ; and
above the sarcophagus, contained witfain a sfaallow nicfae, a
wfaite raarble bust vrith drapery of porpfayry. Tfae bust
is supported by a pair of infant angels sculptured in bass-
relief. The raonument on the western side is tfae monument of a
canon of tfae basilica, wfaose raarble statue is represented
within a piUpit of Sicilian alabaster, in the attitude of preaching
to a congregation. At tfae foot of tfae pulpit is a lion of wfaite
marble in a croucliing attitude ; and on one side is tfae statue
of a female representing ReUgion pressing a large cross to faer
bosom — it is very beautifully sculptured ; and on tfae otfaer side
are two other statues of females. All are elevated on a massive
pedestal of verde antico, underneath wfaicfa is a broad base of
SicUian jasper projecting in a concave, and bearing the inscrip
tion in the middle on a tablet of black marble.
On the flank wall, a little above the vestibule, is another
monument of a cardinal, surraounted by a pediment supported
on a pafr of columns of breccia corallina. It consists of a
white raarble bust vrith drapery of porpfayry, undemeatfa wfaich
is a tablet of marble bearing tfae inscription, and below tfae
tablet a sarcopfaagus of Porto Venere sculptured in alto-relievo,
Tfae FIRST lateral CHAPEL is protected by iron rails, whicfa,
as is the custom in tfais basilica, are usually locked, in con
sequence, probably, of tfae cfaurcfa being continually resorted
to by pedestrians almost as a common tfaoroughfare ; the in
convenience is considerable to risitors, to whom the services
of many individuals who have the separate charge of tfae
cfaapels are indispensable. It is an oblong cfaamber, of wfaich
tfae ceiUng is vaulted, with arcfaed spaces along tfae base, and
surraounted by a lantem cupola. The altar, elevated by flve
steps, is opposite the entrance ; its pediraent rests on a pair of
colurans of verde antico, and there is a picture on the wall on
each side in addition to the altar picture. Upon each of the
side walls there is also a raonument, botfa similar to one
anotfaer witfa regard to form and dimensions, but different in

358 A TOUR IN MODERN ROME. [Chap. XII.
the quality of the marble. The monuraent on tfae left-faand
side is surraounted by a pediraent supported on a pair of
colurans of Africano. Witfain the columns is a sarcophagus of
bigio raarble, and upon it tfae figure of a bishop, sculptured of
the sarae raaterial, represented reclining on the side, with the
head elevated and supported on the hand and elbow ; the sar
cophagus is contained within a shallow arched recess, of which
the back part is sfaeatfaed with bianco e nero marble. The
monuraent on tfae rigfat-faand side opposite differs only frora tfae
otfaer with regard to the colurans, whicfa are bianco e nero
instead of Africano. Botfa tfae above monuments are flanked
on each side by a picture, and the remaining surface of the
walls is plain and wfaitewasfaed. Tfae second lateral
CHAPEL is of tfae plainest description, notfaing more tfaan an
altar contained vritfain a rectangular nicfae or recess, sur
mounted by an entablature supported on brackets ; tfae altar
picture is supported by a pair of angels of white stucco. Tfae
THIRD LATERAL CHAPEL is precisely similar to tfae preceding.
The fourth lateral chapel, called tfae Capella del Coro,
is protected by lofty iron rails. It is a square cfaaraber, of
whicfa tfae vaulted ceiling, plain and wfaitewasfaed, appears to
have been originally intended to be a dorae, for it is supported,
as domes usually are, by four raain arches coraprising tfae
wfaole interior ; each arch is supported by a pair of colurans of
white stucco. Tfae altar opposite tfae entrance is surraounted
by a pediment resting on a pair of colurans of verde antico.
Upon each of the side waUs, on the right and on tfae left, is a
raonuraent surraounted by a large pediment resting on a fine
pair of columns of giallo antico, tfaougfa of tfae remaining
objects I faave preserved no raeraoranda. Tfae fifth lateral
CHAPEL, caUed tfae Capella della Madonna, is the celebrated
Borghese Cfaapel, to which the approach frora the raiddle nave
is, as before stated, tfarougfa an arcfa interpolated between tfae
fourteentfa and fifteentfa marble colurans, and supported on a
pair of columns of grey granite. Tfae chapel, appropriated, as
is tfae Corsini Chapel in S. John Lateran, to the purpose of a
family raausoleura, was built after the designs of the architect
Flarainio Ponzio, by Paul V., Borghese. Passing frora the
middle nave tfarougfa tfae arch in question into the side nave,
wfaere we are at present, tfae portion of the ceiling overhead is

SrcT. IL] CHURCHES.— Basilica of S. Maria Maggiore. 359
vaulted to a square aroa and surniounted by a lantern cupola,
so as to give to the space in front of the chapel tiie appearance
of a vestibule ; the surface is coffered with sraall panels painted
in fresco. The design altogether, taking into consideration
the chapel of the SS. Sagramento opposite, araounts in some
degree to an infraction upon the ancient model, inasmuch as
the projection of botii those chapels in their ground-plan
beyond the flank wall of tiio building, converts the original
parallelograramic area, wliich is the cfaaracteristic of tfae old
Roman basUica, to the figure of a cross, and tiie interpolation
of the two arches above mentioned creates in addition a re
semblance to the forra of a transept.
Tfae chapel is protected by lofty iron rails, in the form of
columns, omamented profusely with gilded bronze, chased and
embossed, after the mauner of those of the Corsini cfaapel in
S. Jofan Lateran, before described. The interior is in the form
of a Greek cross upon a square area, and the ceiling is a dome
surraounted by a lantern cupola, supported by four raain arches
which coraprise respectively eacfa of tfae four sides of tfae chapel.
The depth of these arcfaes is so considerable, tfaat on botfa tfae
sides of tfae one by wfaicfa we enter, an altar of tfae ordinary
size, itself a cfaapel according to tfae indefinite acceptation of
tfae term, is excavated. Eacfa of tfae latter is in fact a cfaapel
within a cfaapel, as perfect in conformation as tfae average
description of lateral cfaapels in tfae Roman cfaurcfaes ; botfa
simUar to one anotfaer, eacfa consisting of a sraall cfaamber pro
tected by a low balustrade of brocateUo, witfa cornice of Car
rara ; the ceiling a flat dome painted in fresco, and supported
on four arches, of which one forms the entrance ; another opposite
contains tfae altar, and the spandrels of all four are painted in
fresco. The first arch is lined upon its soffit with gilded rosettes,
and tfae sides sfaeatfaed witfa very faigfaly polished tablets of
brocateUo. The altar is surraounted by a triangular pediment
of Hyraettian inlaid with Sicilian jasper, resting on a pair of
columns of bianco e nero ; and in addition to the altar picture
tfaere is on eacfa of tfae side walls anotfaer picture.
Passing between the two chapels above mentioned, into tfae
capella Borghese, tfae dome, in consequence of the extrerae
loftiness of the drura, appears somewhat narrow in diameter ;
tfae drum is lined by eigfat Corinthian pilasters, painted in

360 A TOUR IN MODERN ROME. [Chap. XII.
iraitation of Hyraettian raarble, and with gilded capitals ; in
tfae spaces between tfae pUasters are eigfat windows. Tfae con
cave above, as weU as tfae wfaole interior of the lantern cupola,
is painted in fresco by a Florentine artist, Ludovico Civoli.
Below the drum the spandrels ofthe four supporting arches are
painted in fresco by the Cavaliere d'Arpino, and within each of
the lunettes formed by the sarae arches on the cornice is a
window, flanked on each side by a painting in fresco, of which
tfaose on tfae northern and tfae southern sides, that is to say, on
tfae rigfat and on tfae left of a person standing at tfae entrance,
are by Guido. The raain cornice that surrounds the whole
chapel is of white stucco, with siraple elegant mouldings, and
a frieze of verde antico. The paveraent is of inlaid marble,
principally verde antico and brocateUo, with an emblazonraent
of the Borgfaese arras for a central ornament, comprising tfae
heraldic device in the raiddle, surrounded by a broad circular
band of black raarble, bearing tfae following inscription in large
capital cfaaracters : " Paulus . Quintus . Pont. Max. an. Sal.
MDCXI. Pont. VI."
Opposite tfae entrance is situated the raagnificent altar of the
Madonna, of whicfa tfae balustrade in front is of wood, painted
in imitation of verde antico and brocateUo, that by no means
corresponds with the otfaer decorations, tfaougfa it is overlooked
among tfae many splendid objects tfaat surround it. The altar
is elevated by four steps above the paveraent, and its pediment,
of the broken form, and of gilded bronze, contains within
the open space a monumental cippus, of wfaite raarble, on
the face of wfaicfa is a bass-relief, coraprising nuraerous
figures and other objects of gilded bronze, relating to the
rairaculous dream of tfae Pontiff Liberius ; the snow is repre
sented by white marble, and tfae tablet is surmounted by a
group of infant angels of tfae sarae material. Tfae extrerae
angles of tfae pediraent are surraounted by a pair of large white
raarble statues of angels in a reclining attitude ; its frieze is
beautiful agate, raarked witfa rich brovm streaks, and it is sup
ported by four splendid fluted Corinthian colurans, with ribs of
gilded bronze, and channels of Oriental jasper, in colour deep
red, or rather purple, raarked with white streaks ; the capitals,
torus, and plintfa are gilded bronze, and tfae pedestals on wfaich
the columns are planted are sheathed with tfae same description

Sect. IL] CHURCHES.— Basilica of S. Maria Maggiore. 36 1
of agate as tfae frieze. Tho altar picture is a portrait of tfae
Holy Virgin, from wfaich tho chapol derives its title, " della
Madonna," inasmuch as the painting is attributed to S. Luke
tfae Evangelist, the truth of w hich fact is endeavoured to be
corroborated by a papal bull, of which an extract is to be seen
on one side of the altar ; the picture is encircled by a ground
of lapis lazuli, witii mouldings of Oriental jasper, and it is
flanked on cach side by a pair of statues of angels of gilded
bronze. Underneath the altar is a sarcophagus, sfaeatfaed witfa
lapis lazuli, and edged witfa mouldings of fior di Persico. Tfae
whole remaining surface of the wall, or in other words, of tfae
tympanum of tfae main arcfa of tfae dorae tliat encloses tfae altar,
not occupied by the structure, is sheathed with a rare descrip
tion of the black and white marble called bianco e nero di
Francia, particularly reraarkable for the reserablance of tbe
white streaks upon the black ground to clouds driven furiously
before a high wind ; there are only two otfaer speciraens of
precisely the sarae description of raarble, that I know of, in
Rorae, one in the tribune of S. Peter's, and the other in the
church of S. Maria Maddalena. Tfae soffit of the sarae raain.
arcfa is omamented partly witfa fresco paintings by the Cavaliere
d'Arpino, in medallion frames, and the remainder witfa gilded
carving or bass-reUef figures on white stucco ; tfae upper portion
of tfae sides is sfaeatfaed witfa tablets of various sorts of fine
marble, two especially of extraordinarily large size, and very
faigfaly polisfaed, of brocateUo ; and on the lower portion is a
small portal with jambs and lintel of verde antico, and above
it a niche lined with giallo di Sienna marble, containing a large
marble statue.
On tfae left-faand side of the chapel tfae whole space witfain
tfae raain arcfa is occupied by tfae monument of tfae founder,
Paul v., consisting of an arcfaitectural elevation tfaat comprises
two if not tfaree orders. Witfain tfae lower order is a spacious
circular nicfae, flanked by a pair of rectangular recesses, and
surmounted by a pediment of wfaite marble, extended by wings
the wfaole breadtfa. Tfae pediment is supported on four Co
rinthian columns of verde antico, with capitals, torus, and
plintfa of white marble, which colurans, standing in a row, flank
tfae nicfae and tfae recesses ; tfaeir pedestals, on the face of
which a tablet of alabastro a occhi is engrafted, are Hyraettian,

362 A TOUR IN MODEEN EOME. [Chap. XII.
with a double plinth of brocateUo and bigio. The niche is
sheathed with giaUo antico, and contains a fine statue by SUla
Milanese of Paul V., in a kneeling attitude, elevated on a
pedestal of Hyraettian. The following inscription, which
appears to faave been written by the pontiff hiraself during fais
lifetirae, appears upon tfae face of tfae pedestal, engraved on a
tablet of black raarble, edged witfa mouldings of bianco e nero :
" Paulus V. Pont. Max. Mortis meraor, vivens sibi posuit ;"
after whicfa, witfa an interval between, follows, " Scipio Car
dinalis Borgfaesius, funus duci, justa solvi, corpus inferri cura
vit." Underneatfa the pedestal is a base of Oriental jasper, of
wfaicfa the colour is red streaked with white. Tfae rectangular
recesses are sfaeatfaed witfa Porto Venere, and contain eacfa a
large white raarble bass-relief; the one on the right hand by
Stefano Maderno, and the other by Buonvicino. Finally there are
to be observed in each of the three spaces between tbe pedestals
of tbe four columns a tablet of black marble, bearing an inscrip
tion of which I cannot state the purport. Within tbe second
order of the elevation the principal objects, placed in a row
.above, and corresponding with the circular niche and the two
rectangular recesses, are three groups of figures, sculptured in
bass-relief, on very large tablets of white marble, enclosed in
fraraes or raouldings of giallo antico, the central one by Ippolito
Buzi, the one on the right hand by Vansoldo, and the one on
the left hand by Francesco Stati. These three bass-reliefs are
flanked by four white raarble Caryatides, that, planted above the
four colurans respectively, support an entablature. The soffit
of the raain arch that encloses the monuraent is ornaraented
similarly to tfae other already described, including the pair of
niches witb their respective statues, whicfa in tfae present
instance are of S. Basil and David, by Niccolo Cordieri.
On tfae rigfat-faand side of tfae chapel, tfae whole space within
tfae raain arcfa is occupied by tfae monuraent dedicated by
Paul V. to Cleraent VIIL, Aldobrandini, fais friend and
patron ; it is so nearly similar to tfae otfaer in design, that a
particular description would araount to repetition, further tfaan
to cite the points of difference between tbe corresponding
objects of one and the other. These points of difference are, in
the first place, that tbe statue of Clement VIIL, instead of
being represented kneeling, is seated in tfae pontifical cfaafr.

Sect. IL] CHUECHES.— Basilica of S. Maria Maggiore. 363
with the right hand raised in tiie act of benediction, and the
following epitaph appears on the pedestal : " Clementi Mil.
Pont. Max. Paulus Y. Pont. JMax. Rom. grati animi monumen
tum posuit." SocoiiiUy, the three bass-roliefs in tho second
order were sculptured by tiie artists Buonvicino, Mochi,
Ippolito Buzi, and Pietro Bornini. And thirdly, tiie pair of
statues in tfae niohos on the side of the raain arch, represent
Aaron and S. Bernardo, and were sculptured by Enrico
Cordieri. The reraaining portion of the nave between the Borghese
chapel and the nortfaern extremity is ornaraented in a manner
that partly corresponds vrith tho vestibule at the southern ex
treraity, and serves also as a vestibule to one of two entrances
upon the northem gable. The sraall space in question contains
four monuments, and also on the right hand and on the left
hand two curious ancient inscriptions relating to tfae faistory of
the churcfa, of wfaicfa inscriptions I am unable to state the par
ticulars ; both are siraUarly executed in raosaic, in golden
characters on a ground of black, on tablets six or seven feet in
height, and two and a half feet broad. With regard to tfae
monuments, one, coraprising a group of large statues, is cora
posed altogetfaer of CotaneUa raarble ; anotfaer is surmounted
by a pediraent resting on a pair of colurans of verde antico ;
and the two others are surraounted by pediraents, of which one,
together with the columns on which it rests, is of white raarble,
and the other is supported on a pair of pilasters of bianco
e nero. In the right-hand nave tfae chapel at the southern
EXTREMITY is fauUt against tbe gable-wall, and is protected by
a balusfrade of pavonazzetto, vritfa cornice of Hyraettian inlaid
witfa breccia di Aleppo. Tfae altar is surraounted by a double
pediment, one vrithin the otfaer, botfa in tfae broken forra, tbe
larger resting on a pair of colurans of veined bigio, and the
smaUer on a pair of columns of lumacheUa.
The FIRST LATERAL CHAPEL is the Battistcrio, a spacious
chamber protected from the nave by iron rails, and within
dirided by a spacious open arch into two compartments, of
whicfa tfae first serves as a vestibule to the other, which is the
larger. The ceiling of the first compartment is vaulted, with
arched spaces along the base, and the surface covered with

364 A TOUR IN MODERN ROME. [Chap. XIL
^Ided carving interspersed vritfa painting in fresco ; tfae arch
above-mentioned is supported on a large pair of Roman Ionic
columns of granite, and a pair of piers coloured in imitation of
the sarae material. The ceUing of the inner corapartraent is
sirailar to the ceUing of the other, and tfae paveraent is of
artificial Venetian breccia, tfae only instance I know of tfae
composition being adopted in the Roman churches. Upon tfae
side opposite tfae entrance is an altar contained within a recess
flanked by a pair of large colurans of cipollino ; the pediraent
rests on a pair of colurans of verde antico. On the sarae
side is a door that serves as a side entrance from tfae exterior,
and on the rigfat-faand side is a door comraunicating witfa tfae
sacristy. In tfae middle of tfae charaber is placed the object
frora which the chapel takes its title, a raagnificent ancient
basin of porphyry, that serves the purpose of the baptismal
font, wfaich was originally deposited in tfae Vatican, and after
wards, about the year 1825, transported hitfaer by Leo XIL,
under the direction of the French architect Valadier. It is
placed within an excavation that has been made in the pave
raent on purpose to receive it, after the fashion of the baptistery
of S. John Lateran, extending a few feet below the level of
the paveraent, and surrounded by a circular balustrade of white
raarble, with comice of breccia corallina. The porpfayry basin
is covered witfa a gorgeous convex lid of gilded bronze, fur-
nisfaed by Leo XIL, ornamented with several bass-reliefs dirided
in corapartraents and surraounted upon the apex by a nuraerous
group of figures of angels.
The SECOND LATERAL CHAPEL, Called the Capella di Cro
cifisso, is protected by iron rails, and though of sraall diraensions,
very superbly decorated with rauch siraplicity. The area is
square, the ceiUng vaulted, and lined with coffers delicately
ornaraented witfa wfaite and gold, and tfae paveraent is coraposed
of inlaid raarble. The pediraent of the altar, whicfa is opposite
the entrance, rests on a pair of colurans of porpfayry, and in
stead of an altar picture, a figure of our Saviour on tfae cross,
frora wfaich the chapel takes its title, is placed above the altar,
enclosed in a glass frame. The cornice that surrounds the
whole cfaapel is of wfaite raarble, vritfa frieze of verde antico,
and it is supported by eight Corinthian colurans and four
pilasters, all with capitals, torus, and plinth of white marble,

Sect. IL] CHURCHES.— Basilica of S. Maria Maggiore. 365
planted on a dado, thrco or four feot in faeigfat, of Ilyraottian,
wfaicfa rests on a baso of bigio ; the light blue streaks of tiie
HjTiiettian marble are peculiarly clear and distinct. On the
upper part of the wall, on the right-hand side of the cfaapel,
within the central intercolumniation, is a small door protected
by a grating of gilded bronze, belonging to a repository in tlie
form of a nicfae, tfaat contiiins some of the reliques belonging
to the basilica, araong which the principal object is exhibited
to the pubhc once a year at tfae festival of tfae Nativity, namely,
the cradle of our Lord and Saviour ! ! I The remaining portion
of the intercoluranial surface of the walls, with tfae excep
tion of tfae spaces occupied by two windows covered witfa a
grating of gilded bronze, one on eacfa side of tfae altar, is
sfaeatfaed with tablets of breccia corallina and verde antico.
The THIRD LATERAL CHAPEL Is similar to tfae tfaird lateral
chapel in the left-faand nave. Tfae fourth lateral chapei
is also similar to tfae fourtfa lateral cfaapel in tlie left-hand nave.
Tfae FIFTH lateral chapel, opposite and corresponding to
the Borghese chapel in tfae left-faand nave, is tfae Capella del
SS. Sagramento, wfaicfa was constructed about twenty years
preriously to tfae Borgfaese cfaapel by Sixtus V., after the
designs of the architect Fontana. The approacfa from the raiddle
nave hy the interpolated arch, supported on its pair of granite
columns, as weU as the construction, after tfae fasfaion of a
vestibule, of the portion of tfae nave iramediately opposite tfae
chapel, is similarly contrived to the otfaer opposite ; faere, faow
ever, there is no lantem cupola, tfaougfa the ceiling of the
vestibule is vaulted in a single bay vritfa groins, and supported
on four arches vritfa four fresco paintings on tfae spandrels.
Tfae interior, protected by iron rails like the Borghese cfaapel,
corresponds witfa tfae latter also, so far tfaat it is constructed
in tfae forra of a Greek cross upon a square area, and the ceil
ing is in like manner a dome with a lantem cupola. Upon tfae
rides of tfae entrance arcfa also, one of tfae four tfaat support tfae
dorae, and of extraordinary deptfa, two cfaapels, one on eacfa side,
are excavated. Botfa tfaese cfaapels are sirailar to one anotfaer,
eacfa being square in area, the ceiling a sraall dome sur
mounted by a lantem cupola, and the surface of the concave
dirided into panels, wfaich are painted in fresco. There is no
pediment nor columns belonging to either, but each altar is

366 A TOUR IN MODERN ROME. [Chap, XII.
faced with a white marble bass-reUef that has tiie appearance
of being ancient, as if, judging from the subject and style of
execution, it had forraeriy belonged to a sarcophagus ; the side
walls of both the chapels are painted in fresco. Witfa regard
to the reraainder of tfae sides of tfae raain entrance arcfa, not
occupied by the entrance arcfaes of tfae cfaapels, tfae surface of
tfae lower portion is lined witfa Corinthian pilasters inlaid with
raarble, in tablets and raedalUons of various sizes, containing
heraldic devices in bass-reUef relating to the Papal arras ; and
the upper portion is painted in colours of brown or orange,
whether in terapera or not I ara unable to say, that reserable
the effect produced by a point of heated iron.
Passmg between the two chapels above cited, into the
CapeUa del SS. Sagraraento, siraUar as it is in the general
style of its construction, it is considerably inferior in the deco
ration to the Borghese chapel, nor is tbere any altar at all on
the side opposite the entrance corresponding to the magnificent
altar of tfae Madonna. Tfae wall, on tfae contrary, is partly
sfaeatfaed witfa the finer sorts of raarble, including a central
tablet of Porta Santa, of very extraordinary diraensions, and
partly painted in fresco ; it would appear, however, as four
steps such as seera intended for an altar have been completed,
tfaat an altar was originally proposed to faave been erected
and tfae design abandoned. The dorae is equal in dimensions
to tfae dorae of tfae Borgfaese chapel, so that botfa domes are
prominent and corresponding objects from witfaout, on ap-
proacfaing the northern faqade of the basilica ; the concave is
lined with gilded ribs, and in the intermediate spaces is
covered witfa fresco painting ; tfae drura is lined by a circular
row of windows flanked, eacfa window, by a pair of white and
gold pilasters. Tfae raain cornice of tfae cfaapel is of a plain
description, ornaraented witfa white and gold.
Tfae paveraent is coraposed of inlaid marble, and in the
raiddle the altar, frora which the title " SS. Sagraraento "
is derived, stands isolated within a circular space excavated
several feet below the area, and surrounded by a balustrade,
whether of gilded bronze or raarble I cannot say. The
structure consists in the first place of a square baseraent of
marble planted on tfae lower level, wfaich is surmounted by
a splendid ciborium in the form of an octagonal peripteral

Sbct. n.] CHCBCHES.— B&snjcA or & Habia Macgioee. 367
temple of ^ded bronze, ornamented with lapis lazuli ; the
ciborium is suj^rted by four lai^ statues of angels of gilded
bronze, oociqiying the fonr angles of the platform, to which a
qaadmple flight of steps ascoid on four ades of a square, the
entire object thus emerging from below, considerably above
the balustrade of the excavation, like a splendid tabernacle.
The altar, to whidi there is a descent by a fii^t of steps, is
atnated below, upon tfae side of the basement opposite the en
trance to the chapel ; it is very small and of simple consfrnc-
tion, and, instead of an altar picture, is snrmounted by a
basBH-die^ on white marble, of tb^ Nativity, where S. Joseph
and the Holy Virgin appear kneelii^ at tfae dde of the in&nt
Sariour, whose head is endrded by a golden aureolus, and the
heads of an ox aud an ass are introduced in the background.
The attitude and perfectly still expre^on of ibe figures and
of the animals, which latter seem to be dozing, combined
widi the silence of the ^wt, and the dim light of a single lamp
bmrmiig continually before ibe altar, harmmuzes with pecu
liariy happy e£fect with the portentous scene represented, and
raeets to the mind a sense of profound tranquiUity, as if aU
natme, compelled to a state of reaction after the event, were
suddenly lulled to repose. TS^thin the pedestal, or within the
caborium, I cannot say wlndi, is a receptacle that contains
sewexal extraimiinary reliques, anumg wMdi there is said to
be a portion of the swaddling clothe in which our Sariour
was wrq^ed, and a portion of the hay which lay in die ox's
manger!!! Lnmediately <^iposite the altar, notwithstanding
tibat the space is so confined that there is hardfy sufBcient
room to stand, is placed a group in white marble representing
8L Cbnstoj^ber carrying our Sariour on his shoulders.
On the ri^it-hand side of the cfaapel the whole space within
the main ardi isoccajned by the monument of Sixtus V., which
so much resembles the monument of Faul Y. in the Bor^iese
chapel, and is constructed so nearly npon the same model, that
a Mef referraice to the differences in the corresponding points
wiU he sf^baeaL In tfae first place the statue of Sixtus Y.,
scnlptured by Gioranm Antmno Valsoldo, and placed upon ifs
pedestal in a kneeling attitude, amilar to that of Paul V., was
oected, accoiding to the inscripticm as follows, by the Cardinal
and Yioe-C3ianceIIor Peretti, his Easterns greats-grandson: —

368 a tour in modern rome. [Chap. XII.
" Sixto V. Pont. Max. ex ord. rainor. Alexander Perettus. S.
R. E. Card. Vice. Can. ex Sorore pronepos perfecit." Tfae
pedestal on which the statue is placed, instead of being Oriental
alabaster, is Africano marble ; but the four colurans, like those
of the Borgfaese cfaapel, are verde antico, tfaougfa tfae difference
of tfae quality of tfae raarble in other less important parts of the
decorations which it would be needless to enumerate, is very
considerable. The statues contained in niches in tfae sides
of tfae enclosing arcfa are of S. Francis and of S. Antfaony
of Padua, sculptured by Flaminio Vacca and Pietro Paolo
Olivieri. On the left-faand side of tfae cfaapel the whole space vrithin
the main arcfa is occupied by the monument of Pius V., similar
and corresponding to the raonuraent of Sixtus V. opposite.
Here a raarble statue of Pius V., sculptured by Leonardo da
Sarzana, is placed on its pedestal in a seated attitude, tfae right
faand raised in tfae act of benediction, sirailar to that of Clement
VIII. in the Borghese cfaapel, and upon the pedestal is the
following inscription, by which it appears that not only is the
monuraent of Pius V. sirailar to the latter, but the circum
stances under wfaicfa it was dedicated are similar also : — " Pio
V. Pont. Max. ex ord. praedic. Sixtus V. Pont. Max. ex
ord. minor, grati animi monuraentum posuit." There is, how
ever, to be observed in this monument an object that belongs to
neither of the three others — a sarcophagus resting on tfae ground
at the foot of tfae pedestal ; it is composed of verde antico,
ornaraented witfa mouldings and wreatfas of foUage of gilded
bronze, and on a central tablet of tfae same material, engrafted
on the side, is a figure of Pius V. in bass-relief, in a reclining
attitude. Upon the lid is an heraldic shield bearing a
Latin inscription, stating in brief terras that the remains of
Pius V. are deposited in tfae sarcophagus ; the inscription is
surrounded by a border representing groups of angels in bass-
relief. The remaining portion of tfae nave between the SS. Sagra
mento chapel and the northem extreraity is constructed after
tfae manner of a vestibule similarly to the corresponding portion
of the left-hand nave opposite. Tfaere are faere two monu
ments, one upon the wall on the left-faand side, and tfae otfaer
on tfae wall on the right hand. Tfae monuraent on tfae left is

Sect. IL] CHURCHES.— Basilica oi- S. Mabia Maqoiobe. 369
surmounted by a pediment supported on a pair of columns of
Africano. The other on tho right hand, contaliunl within an
absis, was constructed in the thirteenth century. The absis is
lined witii marble sculptured in bass-relief and raosaic, in imi
tation of the perpendicular section of a Gothic church, and
serves the purpose of a canopy above a white marble statue
lying below. The statue is in a supine posture, resting on a
narrow plinth of inarble, on the edge of which is the inscription
in old letter, the characters formed in mosaic.
The choir is elevated by two steps above the raiddle nave,
frora which it is divided by a broad and lofty arch tfaat springs
frora square Grecian Ionic piei-s of Hyraettian marble. The
arch is Uned upon its soffit and its sides with ancient raosaics
that extend over a considerable surface of the wall above the
crown. I'hese raosaics, as well as those in the middle nave
upon tfae attic, are said to faave been executed about tfae year
434, in tfae reign of Sixtus IIL, and are considered an inter
esting specimen of tfae state of Cfaristian art at tfaat period.
Tfae arcfa stands a little distance reraoved witfain tlie steps,
wfaitfaer tfae flat ceUing of tfae middle nave is extended, and in
front, close to tfae sumrait of tfae steps, is placed tfae isolated
faigfa altar ; beyond tfae arch, between the soffit and the spa
cious absis, vrith whicfa tfae nave, after tfae raodel of tfae ancient
basilica, terrainates, a few yards of vaulted celling, painted in
fresco, is interpolated. The paveraent is of inlaid raarble.
On eacfa of tfae side walls of tfae interpolated space on the right
and on tfae left is an organ surraounted by a pediraent resting
on a pair of fluted and gilded columns. Tfae seraidorae of tfae
absis is covered witfa raosaics of tfae tfafrteenth century, of whicfa
well known and celebrated works of art I vrill not pretend to
give a description. In the lower concave there are also two
mosaic pictures on each side, one above the other ; and above
the pictures a wfaite marble bass-relief, and, above all, a pair
of Gotfaic, laneet-sfaaped windows, tfae only instance perhaps
in Rorae of vrindows of that precise description.
The isolated high altar, placed on the summit ofthe steps
which ascend from the nave, is elevated on a square platform,
furnished on its four sides by a quadruple flight of three steps
of giallo antico, protected by a balustrade of bigio, with cornice
of Hymettian inlaid witfa verde antico. Tfae structure consists
VOL. II. 2 b

370 a tour in modern ROME. [Chap. XII.
of a square basement of bianco e nero and giallo antico, at the
four angles of which are planted on pedestals four Corinthian
columns of porphyry, with capitals, torus, and plinth of gUded
faronze, and sfaafts encircled by spiral wreaths of palm leaves
of the same material. These colurans support from angle to
angle a quadruple entablature, and above the entablature is a
canopy constructed by the architect Fuga under the auspices
of Benedict XIV. The pedestals are of verde antico, and their
bases Africano ; and upon the dado, facuig the middle nave ot
tfae two in front, is an emblazonraent of tfae Papal arras on a
sfaield of gilded bronze : on all tfae otfaer sides of the pedestals
a plain tablet of porphyry is engrafted. Upon the platform
witfain tfae colurans is a splendid sarcopfaagus of porpfayry, orna
mented vritfa mouldings of gilded bronze, surrounded by four
statues of angels of the sarae raaterial. The entablature that
rests upon the colurans is coniposed of raouldings of raarble and
of gilded bronze, materials thus brought together after an un
usual fashion, but vritb no bad effect : the upper fillet, for
instance, is of gilded bronze, and its soffit sfaeatfaed witfa verde
antico ; tfae frieze is of verde antico, ornamented witfa angels'
faeads and wings of gilded bronze ; and tfaere are besides a row
of mutules of gilded bronze, and a row of ovoli and a row of
dentils, botfa tfae latter of verde antico. Tfae canopy which
rests on the entablature is a flattened dorae surraounted by a
group of white marble statues of angels, sculptured by Pietro
Braccfai. Tfae figures are covered witfa raantles of gilded
bronze, and support together an old-fashioned crown of the
sarae raaterial, as is also a cross surraounted by a wreatfa of
palra brancfaes tfaat issues from tfae centre of the crown. Tfae
ceiling of tfae canopy, wfaicfa covers tfae open space within the
columns, is lined witfa sraall coffers of porpfayry edged with
mouldings of gilded bronze, that contain eacfa a rosette of gilded
bronze in tbe raiddle ; the central ornament is a personification
of the Holy Spirit in the form of a dove, witfa divergent rays,
tfae dove and tfae rays botfa of gilded bronze. Finally, im
mediately witfain tfae balustrade, and on the left-faand side of
tfae altar, is planted tfae pascfaal candlestick, formed of a small
column of bianco e nero marble of peculiarly fine quality.

Sect. II.] CHURCHES.— S. Pbassede. 371

S. Prassede.
The churcfa of S. Prassede is situated a very sfaort distance
southward of S. Maria Maggiore ; and the street called tfae
Via di Prassede, wfaicfa skirts its eastern flank, terminates in
tfae Via di S. Martino, a little below the Arch of GalUenus.
There is a side entrance from the Via di Prassede, but the
principal entrance is upon the southern gable, facing tfae Via
di S. Martino, whicfa latter street, it may be remarked, forms
a part of tfae Suburra tfaorougfafare referred to, page 303.
The titular saint of the cfaurch, S. Praxides or S. Prassede,
was the daughter of tfae senator Pudens, in wfaose faouse,
according to tfae fraditions of tfae Roman Cfaurcfa, tfae apostle
S. Peter lived as a lodger, and tfae sister of S. Pudentiana, to
wfaom anotfaer church on the Viminale, described vol. i., page
267, is dedicated. These churches, in consequence of tfae
relation existing between both, and as the intervening distance
is very short, would have been introduced one after the other,
were it not that tfae Via di S. Pudenziana, tfae line I faave
adopted to diride the Esquiline and the Virainale, separates
them. The cfaurcfa was originally built about tfae year 822,
by Paschal I., after wfaich period I find no account of the
restorations until tfae reign of Nicfaolas V., wfao repaired it
about tfae year 1450 ; and it was afterwards embelUsfaed and
put in the form and condition it is in at present by the cele
brated cardinal more comraonly known .by the title of S. Carlo
Borromeo. At present the offices are performed by the monks
of the convent of VaUombrosa.
The principal faqade, on the southern gable facing towards
tfae Via di S. Martino, is some paces removed from tfae
tfaorougfafare, vritfain a small enclosure tfaat faas the appearance
of having been originaUy an atrium belonging to the church,
in conformity with the early Cfaristian practice : tfae enclosure
is elevated above the level of tfae street by a flight of several
steps, at tfae summit of wfaicfa a pair of colurans of grey
gramte, that seem to have belonged to a forraer entrance,
reraain standing in their places ; and tfaere are also to be
observed, lying on the ground, several pieces of a cornice,
and otfaer fragments wfaicfa may faave belonged to a portico.
2b2

372 A TOUR IN MODERN ROME. [Chap. XII.
Tfae interior is constructed in tfae form of a triple nave,
divided by ancient columns of grey granite, and three pairs of
piers, which, for the purpose of strengthening the building,
have been interpolated between the columns. The capitals
are of an irregular description of Roman Ionic, of wfaich
the spiral folds of the volutes, as in an instance referred
to in tfae Basilica di S. Croce, instead of comraencing at the
top frora left to right in tfae usual raanner, comraence at the
bottom from right to left, rice versa : some of the shafts
rest on a narrow plintfa, but the greater part are planted on
the pavement without any raouldings at all. The ceiling of
the middle nave is flat and coffered witfa large panels painted
in cfaiaro oscuro, but it is divided into four corapartraents by
tfaree clurasy brick arcfaes, whicfa, planted upon tfae tfaree pairs
of piers, serve to prop up tfae roof. Tfae paveraent is coraposed
of red tiles, and in tfae raiddle is a holy well, sucfa as the
cfaurches of the early Christians were coraraonly prorided with,
protected by a solid raarble balustrade three or four feet higfa,
of an faexagonal form. Tfae well is at present blocked up by
an artificial bottom and side lining of raarble to a depth of
tfaree or four feet below tfae pavement. Witfain is a wooden
figure painted in natural colours, representing S. Prassede on
her knees in the act of squeezing a sponge saturated witfa the
blood of Christian raartyrs into a basin, in allusion to the prac
tice by which S. Prassede, together with her sister Pudentiana,
according to the tradition of the Roman Church, used to collect
the bodies of all the Christians tfaey could find wfao faad suf
fered martyrdora, and, faaving consigned tfae reraains to the
earth, raingle tfae blood of the faithful all togetfaer in the faoly
well. Tfae following inscription in Latin appears on one of
the six sides of tfae balustrade : —
" Quem pia Praxedes collegit in urbe cruorem,
Fusum a marturibus fudit in hunc puteum ;
Ut quoB Patricio fuerat de sanguine clara,
Esset, coUecto sanguine, clara magis."
On the southern gable wall, on tfae right faand of the entrance,
there is to be observed another inscription on a raarble tablet,
relating to the reraains of no less than 10,300 martyrs, de
posited underneath the churcfa at the beginning of the ninth

Sect. IL] CHURCHES.^S. Prassede. 373
century by Paschal I. Tfae inscription, in Italian, is as
follows : — *' Riposano in questa Cliiesa dioco mila trecento
corpi di Si. Martyri, postivi da S. Pasquale Papa primo."
Tfaere is, moreover, to be seou at the opposite extreraity of the
nave, on the right-hand side of tfae arcfa whicfa divides it frora the
choir, another curious inscription, relating to a very nuraerous
collection of reliques said to be contained witfain tfae building.
Tfae list of the ai-ticles, which are by far too many to recapitu
late, araounting to sixty or seventy altogether, inscribed in
legible cfaaractei-s in Italian, comprises several items of a most
exfraordinary description, wfaose autfaenticity, tfae list being thus
exhibited publidy under the sanction of tbe Roman churcfa,
is consequently affirmed by autfaority. Tfae following, trans
lated into English, are a few tfaat I copied frora tfae category,
namely, " a piece of Moses's rod ; a portion of our Sariour's
swaddling clotfaes ; a portion of tfae clotfa with wfaicfa our
Sariour vriped tfae disciples' feet ; tfaree tfaorns belonging to
the crown of tfaorns of our Sariour ; a piece of our Saviour's
gfrdle ; a piece of tfae Holy Virgin's sfaift ; a tootfa of S.
Paul, and a tootfa of S. Peter ! I ! " Tfae raain cornice of tfae
cfaurch, wfaicfa is at present of plain stucco, was forraerly a
unique specimen among all tfae otfaer cfaurcfaes in Rome,vOf a
comice of rosso antico, of wfaicfa two large fragraents are pre
served in tfae octagonal cortile in tfae Vatican. With regard
to tfae walls, on eacfa side above the cornice, the lower portion
is partly wfaitewasfaed and partly painted in coloured fresco,
and in brown inclining to orange-colour : on tfae upper portion
is a row of four vrindows. Tfaere is also a painting in fresco
representing a saint or raonk on tfae inside of eacfa of tfae
piers. The ceiling of the side naves is dirided by arches into four
compartraents, corresponding with those of the middle nave,
though the intermediate spaces instead of being flat are ellip-
tically vaulted, vrith arched spaces along tfae base of a peculiar
construction, so deep as nearly to raeet in tfae middle. In eacfa
there are three lateral cfaapels, and in tfae right-hand nave
there is also a cfaapel at tfae fartfaer extreraity, but all tfae
lateral cfaapels differ frora eacfa other so considerably as to
preserve very few features in coraraon. To commence with
the right-hand side nave, there is to be observed upon tfae

374 A TOUR IN MODERN EOME, [Chap. XII.
gable waU at the soutfa extremity a monument surmounted
by a pediment resting on a pair of columns of brocateUone
marble, whicfa, faowever, might be readily mistaken for breccia
coraUina. Tfae First Lateral Chapel is contained within
a deep arcfaed recess, and protected by a balustrade of Hy
mettian : the vaulted ceiling is plain and wfaitewasfaed, as are
tfae side waUs, on eacfa of wfaicfa, on tfae rigfat and on tfae left,
there is a picture, tfae only ornaraental object in the cfaapel,
witfa tfae exception of tfae altar picture. Tfae pediraent is
supported by a pair of columns of wfaite stucco. Tfae Second
Lateral Chapel is protected by iron rails : the soffit of the
entrance arcfa is ornaraented witfa sraall wfaite stucco flgures
in bass-reUef on a golden ground. The area is square, and
tfae ceiling vaulted and supported on four arcfaes : tfae surface
of tfae ceiling is wfaitewasfaed, vritfa tfae exception of a fresco
painting of tfae " Padre Etemo " in tfae middle. Tfaere are
also fresco paintings on tfae spandrels of tfae supporting arches,
and in three of tfae four lunettes formed by tfae vaulted ceihng
above the cornice : the fourth lunette, tfae one above the altar
opposite the entrance, contains a vrindow. Tfae pediment of
tfae altar rests on a pair of colurans of bianco e nero, and the
side ^alls are sheathed vrith fine marble, with the exception of
the space occupied by a pair of niches, one on tfae rigfat and
the other on tfae left, wfaicfa contain eacfa a bust of bronze.
Tfae Third Lateral Chapel is comraonly known by the
title " Capella Santa," in consequence of another wonderful
relique said to be contained in it, a relique certainly not less
reraarkable than any of tfae above-raentioned, though not
specified in tfae category, namely, a fragraent of tfae column
to wfaicfa wfaen our Saviour was scourged fae was bound. The
entrance is protected by an iron grated door, of which the
jarabs and lintel are of white raarble, curiously wrought in low
bass-relief. The entablature above the portal is supported on
a pair of ancient colurans, whicfa, sucfa is its deptfa, stand three
or four feet clear of the wall, and create the appearance of
a portico, wfaicfa effect is faeigfatened by an ancient white
marble urn wrought in spiral flutings, which is placed upon
the cornice. The left-hand column is of a rare description
of black and white speckled granite, and the right-hand one
of a still more rare material, black porphyry with grey speckles :

Sect. IL] CHURCHES.— S. Pbassede. 375
the capitals of both are Grecian Ionic of irregular form and
ornamented witfain tho volutes. Upon the wall above the
entablature is the following inscription that, in brief and sorae
what 7iaive terms, prohibits the enti-ance of women, or rather
the ladies, under ptiin of excomraunication : — " In questa
Santa CapeUa non possono entrare le donne sotto pena di
scommunica." "Within, the area is square, and tfae vaulted
ceihng is supported at the angles by four columns, of wfaicfa
two are grey gramte, one black and wfaite speckled granite,
aud tfae fourtfa very rai-e black granite ; all four are planted
on pedestals of white marble curiously wrought in low bass-
relief. The whole surface of the ceiling is covered with
mosaic, as is also the pavement, the latter coraposed of small
square and triangular pieces of serpentine and porpfayry, witfa
a rota represented by a circular tablet of porphyry in tfae
middle. The altar opposite tfae entrance is contained witfain
an arcfaed recess, of whicfa the sides are sfaeatfaed witfa cipol
lino and brocateUo marble ; it is surraounted by an entablature
supported on a pafr of spirally fluted colurans of white trans
lucent alabaster : the altar picture is a curious painting of the
Holy Virgin, represented with a miniature portrait of our
Sariour suspended on her bosom. The walls of the chapel
are covered over tfae entire surface of tfae upper portion witfa
mosaic, simUar to tfae mosaic on tfae ceiling. On tfae wall on
tfae rigfat-faand side is a nicfae tfaat contains tfae Santa Colonna,
and on tfae left-faand wall opposite is an iron grating comrauni
cating witfa a small adjoining apartment or vestibule, wfaence
females, wfao by tfae rigour of tfae ecclesiastical law are pro
hibited from entering the chapel, may repair to gratify their
curiosity, and regard the holy relique at their leisure by looking
tfarougfa tfae grating. Tfae nicfae in question is protected by
a glass door covered by an iron grating, whicfa latter is not
only fastened by a lock, but additionally secured by several red
wax official seals, that render it quite impossible to be opened
unless under cfrcumstances of extraordinary forraality, and with
the mutual consent of many different personages. Tfae Santa
Colonna, notwitfastanding, may be seen tfarougfa the glass door
very distinctly, as risitors are permitted to advance close to it.
It was brought from Jerusalem to Rome in tfae year 1223 by
Cardinal Giovanni Colonna, and is said to be of Oriental jasper.

376 A TOUR IN MODERN ROME. [Chap. XII.
though it looks like dark-coloured granite with very indistinct
speckles ; it is in forra a double frustum of a cone, or rather
tfae frusta of two cones wfaose small ends are laid togetfaer
like an hour-glass ; and witfa regard to tfae faeigfat, according
to the measurement prorided by the custode for the informa
tion of his visitors, it is 2 feet 2^ inches precisely. Tfae
measureraent in question is indicated by tfae lengtfa of a piece
of coarse broad tape or girtfaing, on whicfa is staraped an
engraving of tfae object itself, witfa an explanatory inscription.
Tfae vestibule of tfae Capella Santa coraraunicates witfa the
nave by an arched portal. Within the walls are bare and
wfaitewasfaed, and the wfaole interior is of tfae plainest descrip
tion, though it contains one raonument, of whicfa the principal
object is a statue of white raarble in a supine attitude. Be
yond the vestibule, within a few paces, is the side door commu
nicating vritfa the Via di Prassede, which was before referred
to. The Chapel at the extremity of the nave is protected
by a double iron-grated door, of which the single lintel is
supported in the middle by a granite coluran. The interior is
very plain, but it contains a colossal figure of our Sariour
on the Cross, celebrated for raany miraculous cures which,
according to the stories related by the sacristan, have been
effected by its agency. The figure, which is on the left-hand
side of the chapel, and of wood painted in natural colours,
surmounts a very plain altar, of wfaich it serves for tfae altar
picture. Tfaere is also to be observed vritfain tfais cfaapel an
ancient-looking monument, comprising a wfaite marble figure in
a supine posture.
In the left-hand nave there is to be observed on the gable
wall a rude painting in fresco, representing S. Prassede lying
asleep on a marble table, by which voluntary act of penance,
according to the traditions of the Roraan church, she was accus
toraed to raortify tfae spirit. Underneatii, engrafted in the
wall, is preserved a slab of marble or granite, I cannot say
wbich, though the material at aU events resembles black and
white speckled granite, said to be the identical slab of raarble
referred to in tbe picture, as appears by the following brief
inscription appended to it :— " Sopra questo raarrao dorraiva
la Santa Vergine Prassede." The picture and the table are
surmounted by a pediment supported on two pairs of ancient-

Sect. IL] CHURCHES.-S. Pbassede. 377
looking columns, one pair Hymettian, and tfae other pair white
Porine marble, by which the antiquity of the relique is at all
events in sorae degree corroborated, for tbo pediment and one
pair of the columns are built up in tfae masonry of tfae wall, in
the same position where, no doubt, thoy have reraained un
touched during former restorations of the building, on account
of the respect and veneration entertained towards S. Prassede.
The First Lateral Chapel is very plain, and tfae counter
part very nearly of tfae first lateral chapel in tiie right-hand
nave. The Second Lateral Chapel is protected by a lofty
iron grating ; it is dedicated to S. Carlo Borroraeo, who was
titular cardinal of the churcfa in the sixteentfa century, tfaougfa,
notwitfastanding tfae distinction, it is very reraarkably plain in
tfae interior. Tfae area is square, the ceiling a dorae with
a lantern cupola, and tfae pavement of coarse inlaid marble.
The altar is of the plainest description, and, with tfae exception
of a picture on tfae side walls on tfae right and on the left, whicfa
are otfaervrise wfaitewasfaed, tfaere is no otfaer decoration. Tfaere
is, however, to be seen preserved in this chapel an old wooden
chair, one apparently of the most common sort, which is said
to have belonged to S. Carlo Borromeo, and also a sraall por
tion of a wooden table : the latter of these reliques is contained
in a glass case, with an inscription appended to it, which states
that it is a part of a table on which S. Carlo Borromeo used to
serve dinner to the poor dally. The Third Lateral Chapel
belongs to the family Olgiati : it is protected by a wooden door
and iron grating. The area is square, tfae vaulted ceiling
painted in fresco by tfae Cavaliere d'Arpino, and the paveraent
is coraposed for tfae most part of red tiles. Tfae pediment of
the altar is supported on a pair of columns of grey-striped
alabaster, and tfae altar picture is by Guercino. The side
walls on the right and on the left are covered over the upper
portion witfa paintings in fresco, and the lower portion is occu
pied on eacfa side by a monument, of wfaich one is similar to
the otfaer, eacfa consisting of a fine sarcopfaagus of Porto Venere
surmounted by a pediment which rests on a pair of columns of
the sarae material. Tfaere is also on tfae left-hand side another
monuraent, of wfaicfa I have preserved no farther particulars
tfaan tfaat it is surraounted by a pediment tfaat rests on a pair of
wfaite marble weeping female figures in the form of caryatides.

378 A TOUR IN MODERN ROME. [Chap. XII.
A littie beyond tfae preceding chapel there is a door in the
nave leading to tfae sacristy, a charaber of moderate dimensions
and of plain interior, reraarkable only for a beautiful picture it
contains of the flagellation of our Sariour by GiuUo Roraano.
The picture is on the right hand of the door, close to the en
trance, and is certainly worthy of all raanner of encomiums,
tfaough the sacristan, a simple monk of the VaUombrosa con
vent, anxiously directed ray attention to a quaUty which he
sincerely believed, I have no doubt, from fais energetic manner,
to be supernatural — tfae effect, namely, wfaicfa appears alike in
every picture, as in tfae present instance, wfaere tfae countenance,
as tfae head incUning to one sfaoulder drops upon tfae bosom,
always seeras to front tfae spectator, no raatter wfaetfaer he
stands on either side or opposite. A moderate expression of
wonder and admiration was not sufficient for tfae exfaibitor, who
prevented me from adrairing the picture as I desired to do,
and eight tiraes at least corapelled me to change my position :
faowever, I endeavoured to sfaow as raucfa astonisfaraent as pos
sible on purpose to gratify him. At the northern extremity of
tfae nave, in a position corresponding witfa tfae cfaapel at tfae
extreraity of tfae rigfat-faand nave, is tfae ancient monuraent of
Cardinal Cetti, a work of the flfteenth century ; the principal
objects belonging to it are marble statues of S. Prassede and
S. Pudenziana, and figures of S. Peter and S. Paul in bass-
relief. The choir is dirided frora the raiddle nave by a spacious
arch planted on the summit of a double-branched flight of seven
steps of rosso antico, supposed to coraprise, as the breadtfa of
the steps is considerable, one of the largest speciraens to be
seen in Rorae of that rare raarble. When it is considered that
the cornice also was of rosso antico, an estimate may be formed
of tfae iraportance attacfaed in ancient times to tfae buUding, and
consequently to the legend relating tfaat S. Peter was an inha
bitant of the house of Pudens, the father of its titular saint.
The steps on both sides are protected by a balustrade of bronze,
with cornice of Hymettian ; and in the middle, between the
branches, is an entrance to a subterraneous crypt or confes
sional, extending twenty yards or more underneath tfae cfaoir.
Tfae descent is by ten steps of Hymettian marble, at the bottom
of wfaicfa is a door of iron grating leading to a passage or cor-

Sect. IL] CHURCHES.— S. Prassede. 379
ridor, of which the ceiling is an elliptical vault entirely shdathed
vrith white marble. At the extreraity is a sniall plain altar, and
tiiere are also to be observed on eacfa side of tfae corridor two
sarcopfaagi of ordinary travertino, one placed upon tlie otfaer ;
upon tfae hd of the upper sarcopfaagus, on both sides, a crown,
surrounded by a wreath of palm-leaves, an emblem of martyrdom,
is sculptured in bass-relief, and on one side upon one is a brief
inscription, whicfa states tiiat tfae remains of tfae saints Prassede
and Pudenziana are contained vritfain it. The sides of the arch
before referred to, which divides the middle nave from tfae
choir, are fined witfa ancient mosaic, and it is flanked by a pair
of Roman Ionic antae of pavonazzetto. The ceUing of the cfaoir
is flat, and tfae pavement opus Alexandrinum. Tfae side walls
are dirided into two compartments by a comice supported by
fluted columns of white Pentehc marble, of which tfae shafts
are curiously encompassed by circlets of vine leaves. The
capitals are of exfremely frregular formation, like a knob or
boss wrought in bass-relief laid upon the upper extreraity of
tfae sfaaft, vrith a plain abacus at the top. Above tfae comice
there is on one side an organ with a gallery, and on the otfaer
side a gallery vritfaout an organ. At the extreraity is an
absis, of whicfa tfae seraidome is lined vritfa ancient mosaic
belonging to tfae period of Pascfaal I., about the year 817,
wfaere is to be observed surrounding tfae faead of one of tfae figures
of saints or apostles, a speciraen of tfae square aureole,* indica
tive of tfae eigfatfa and nintfa centuries ; undemeath is an ancient
inscription, ofwhich I cannot state tfae purport. The lower
concave is lined witfa Roman Ionic pilasters of pavonazzetto,
and tfae intennediate space sfaeatfaed vritfa giallo di Sienna
marble. The high altar stands isolated in the middle of the choir,
under a canopy supported by four Corinthian columns of por
phyry vritfa capitals of wfaite marble, and four faexagonal
columns of giaUo di Sienna, all elevated on pedestals of marble,
chiefly pavonazzetto, vrith a base of Africano. The canopy is
in tfae forra of an extremely flattened dome, of whicfa tfae inner
space or ceUing is painted in fresco.
* See pp. 241, 242.

380 A TOUR IN MODERN ROME. [Chap. XII.
S. Martino.
Leaving tfae cfaurch of S. Prassede by the principal entrance,
and proceeding along the Via di S. Martino a short distance
westward towards the Piazza di Suburra, the churcfa of S.
Martino is situated on tfae left-faand side of tfae way, on ground
somewfaat elevated and reraoved a few paces frora tfae tfaorough
fare, within a sraall enclosure wfaicfa faas tfae appearance of
faaving been forraerly an atriura. Tfae rear or the gable of the
tribune faces the Via di S. Martino, and the principal entrance
upon the other, the southem gable, faces towards the Via di S.
Pietro in Vincoli, botb these streets being connected by a
narrow lane that skirts the eastern flank of the building. The
churcfa of S. Martino is said to faave been built originally on
the site of tfae Baths of Trajan by S. SUvester in the reign of
Constantine, and to have been afterwards restored by the
Bisfaop of Rorae, Siraraacus, about tfae year 500. Subsequentiy
nothing further is related of it till the year 1560, at which
period it had already fallen into the possession of a congrega
tion of Carraelite raonks, wfao tfaen restored it, after tfae designs
of tfae arcfaitect Pietro da Cortona, since wfaich period tfae same
raonks, wfaose convent is at present annexed to tfae church,
faave performed its offices. Finally, tfae interior was consider
ably embellished by the arcfaitect and painter Cavallucci, under
tfae auspices of Pius VI.
Tfae interior is constructed in tfae form of a triple nave,
divided by columns belonging in forraer times to different
ancient edifices, and, in addition to the columns, on eacfa side
by a pair of piers, one pier at each extremity. The colurans,
wfaich are twelve in number on each side, are altogether as fol
lows : — 11 Hyraettian, 6 bigio, 5 pavonazzetto, and 2 cipollino.
Of the capitals, sorae of whicfa are composite and others
Corintfaian, several at tfae extrerae end of tfae range on faoth
sides are gilded, tfaougfa tfae remainder, intended probably to
faave been gilded with the otfaers according to a design which
from sorae unforeseen cause was abandoned, are of plain white
stucco. Of sorae the torus is of white, of otfaers bigio, and of
a few black marble, but all are elevated on a base, about two
feet in faeigfat, of bigio. The ceUing of tfae middle nave is flat
and coffered, tfae raouldings of tfae coffers ricfaly carved and

Sect. IL] CHURCHES.-S. Mabtino. 381
gilded, and the panels painted, some witii heraldic devices,
otfaers witii circulai- bosses, but all on a ground of dark blue.
The pavement is coniposed partly of rod tiles, and partly of
inlaid raarble, blue and white, with tfae exception of two longi
tudinal stripes of monuraental tablets. The walls on each side
above the columns comprise a lofty attic pierced with a row of
windows, and alternate with the windows are nicfaes containing
eacfa a statue of wfaite stucco ; above tfae nicfaes are a row
of busts in bass-relief, and the entire remaining surface is
covered with a series of paintings of architectural designs in
perspective. The ceiling of tfae side naves is flat, and formed of wfaite
painted wooden panels. In tfae rigfat-faand nave tfaere are tfaree
and in tfae left-hand nave two lateral cfaapels, besides anotfaer
chapel at tfae fartfaer exti-emity. AU tfae lateral cfaapels are
contained vritfain sfaallow arcfaed recesses, witfaout pediraent,
columns, or any other ornaraent than the altar picture ; but to
counterbalance tfae lack of decoration of tfae altars, tfae flank
walls of botfa naves are covered vritfa paintings in fresco.
Tfaose in tfae rigfat-faand nave are landscapes relating to the
Campagna in tfae iraraediate neigfabourhood of Rorae, of whicfa
tfae figures exclusively are said to be executed by Nicfaolas
and tfae remainder by Gaspar Poussin, with the exception,
however, of two subjects by Giovanni Francesco Bolognese
that flank the altar of S. Maria Maddalena de' Pazzi, of
whicfa I cannot indicate tfae position. At the extreraity of tfae
nave is a side door leading into the tfaorougfafare tfaat skirts the
eastern flank of the churcfa.
In tfae left-hand nave it raay be observed of the Second
Lateral Chapel, as an exception to the general observation
above stated, that the pediraent of the altar is supported on a
pafr of columns of Hyraettian marble. The Chapel at the
extremity of the nave, dedicated to the Madonna del
Carmine, is protected by a raarble balustrade. The interior is
spacious, the area square, and tfae vaulted ceiling richly orna
mented witfa earring and gilding, and a central fresco painting.
Tfae paveraent is of finely inlaid marble. Tfae pediment of tfae
altar is supported by a pair of fluted columns of giallo antico,
and the altar picture is painted by Cavallucci. On tfae side
waUs on tfae right and on the left tfaere is also a picture by tfae

382 A TOUR IN MODERN ROME. [Chap. XII.
same artist, and the remainder of tfae surface is entirely
sfaeatfaed with fine raarble. The entire surface of the flank waU
between the chapels is covered with fresco painting, as in the
rigfat-faand nave, a considerable portion with tfae landscapes of
tfae Poussins, including a curious arcfaitectural painting of the
interior of S. Peter's, another of tfae interior of S. Jofan Late
ran, both representing the basiUcas according to the original
plan before the present edifices were built ; and a thfrd curious
and interesting picture of extraordinarily large diraensions,
coraprising a great multitude of figures, representing the council
assembled at Rome by Pope Silvester for the purpose of con
firming the proceedings of the General Council of Nice, in the
year 325, where Arius and his writings were anatheraatized.
Here appear some score of bisfaops assembled at their solemn
conclave in tfae episcopal costume of tfae period, wfaile a beam
of light, introduced by the artist from above, illuminates the
countenances of several of the leading personages, as if to
sanctify the ceremony of burning tfae books of Arius, wfaose
volumes lie smoking in a fire on tfae pavement of tfae faall in
the foreground wfaicfa appears to faave been kindled on purpose.
Underneatfa tfae picture is a long explanatory Latin inscription
in large cfaaracters, comprising about a dozen lines eigfat or ten
feet long. At tfae extremity of tfae nave, close to a door which
leads tfarougfa tfae sacristy into the annexed CarmeUte convent,
is tfae monuraent of tfae artist Cavallucci.
The choir is elevated above the raiddle nave by a double-
branched ffight of twelve raarble steps, on tfae summit of wfaich
is planted the very splendid faigfa altar. Tfae space between
the branches of tfae steps is occupied by an elegant elliptic arcfa,
undemeatfa wfaicfa tfaere is a descent by twenty steps to tfae
crypt. Tfae effect of tfae descending fligfat between tfae two
ascending brancfaes, including tfae elliptically vaulted ceiling of
tfae descending fligfat, togetfaer witfa tfae ceiling df tfae crypt
below, all wfaicfa objects appear in riew of the spectator standing
in tfae nave of tfae cfaurcfa, is very beautiful, and may be con
sidered one of the chefs-d'oeuvre in Rome of the arcfaitect,
Pietro da Cortona. To proceed, faowever, for tfae present vrith
the description of tfae cfaoir : tfae ceiling is vaulted and oma
mented witfa an extremely delicate pattern in wfaite and gold ;
and the pavement is composed of highly pohshed inlaid raarble,

Sect. IL] CHURCHES.— S. Mabtino. 383
including principally giallo di Sienna, pavonazzetto, and fior di
Pei-sico. At tfae extremity is an absis. of which the seraidome
is ornamented similai-ly witli tho coiUng in white and gold, and
the lower concave by four pictures painted by Cavallucci.
The high altar, of whicfa tfae position has boon already
stated, consists in the first place of a square basement of various
sorts of marble, accessible by a quadruple fligfat of steps of white
marble, that ascend on eacfa of its four sides. Placed upon tfae
basement is a fine sarcophagus of verde antico, encompassed
fay an open fraraework of fanciful construction to serve as a
balusfrade, formed of different sorts of fine raarble higfaly
pohshed, and ornamented vritii mouldings of gilded bronze, inter
spersed with several small wfaite marble statues of infant angels.
Tfae wfaole serves as tfae substructure of a beautiful model of a
circular peripteral temple, whicfa is elevated above tfae balus
frade and sarcophagus upon a circular tablet of green porphyry.
The temple consists of a cfrcular range of miniature Corinthian
columns of Sicilian alabaster vrith gilded capitals, wfaich support
a flattened dome, whose ceUing within is Uned vritfa gilded
coffers, and its summit surmounted by a gilded bronze statue
of an angel.
Tfae descent by tfae twenty steps leads sfraigfat to tfae crypt
above referred to, whicfa is undemeatfa tfae faigfa altar, and
called the confessional ; on descending tfae steps, tfaere may be
observed on tfae walls on eacfa side a long list written in Gothic
characters of the names of many martyrs who lie buried vrithin
the building. The crypt comprises an oblong, whose long
sides vrith regard to the nave of the church lie in a transverse
direction, and of which tfae central portion of tfae fartfaer long side
forms tfae cfaord of tfae arc of a seraicircle, wfaicfa is appended to
the area. Tfae ceiling of tfae oblong, as well as of tfae serai -
cfrcular portion, is a vault of extreme flatness, covered witfa
bass-reliefs on white stucco ; and tfaougfa the construction of tfae
cfaarabers altogether is too comphcated to be described without
the help of a diagram, the proportions are peculiarly harrao
nious, notwitfastanding tfaat tfae vaulting is supported by no less
than seventy sraall Doric colurans of Hymettian marble : tfaese,
however, are assorted witfa sucfa remarkable skUl, as neither to
destroy the effect of the vaulting, nor break the perspective of
the interior when seen from tfae churcfa above. The greater

384 a TOUR IN MODERN ROME. [Chap. XII.
proportion are rendered subsidiary to a raonument planted in
tfae middle of the pavement, of the two bishops of Eorae, S.
Silvester and S. Martino, the first of whora died in the year
336 and tfae latter in 655 ; tfae grouping of tfae colurans forms
in fact the principal feature of the raonuraent, whicfa consists
otfaerwise merely of a plain sarcopfaagus, wfaose sides are made
of glass, for tfae purpose of exposing to view within the figure
of our Saviour the size of hfe painted in natural colours.
Close at tfae bottom of tfae twenty steps, and on tfae left-hand
side, tfaere is a descent from tfae confessional to another crypt
lying upon a level about twenty feet deeper than tfae otfaers,
wfaicfa, wfaetfaer or not it forraed a part of tfae batfas of Trajan,
is generally adraitted to have been the church originally built
by Pope Silvester, where the first general council was held that
asserabled after tfae conversion of Constantine. Tfae descent is
by an inclined plane of very gentle declination, partly con
structed in the forra of steps and partly a cordonata. The area
is very considerable, and the heigbt about 18 feet, tfae ceUing
vaulted and groined in square bays, and upon tfae surface may
be observed tfae reraains of tfae fresco painting witfa wfaich it
was originally covered, including a large red cross in the
raiddle, in very good preservation ; tfae vaulting is supported
by very large brick piers, twelve feet square. The pavement
is coraposed of coarse mosaic, of sraall pieces black and white in
a chequered pattem, though a considerable portion appears only
in patches over tfae surface. In tfae raiddle, as a central orna
ment, is a large cross entirely black, wfaicfa faas been permitted
to reraain untouched. On tfae left-faand side of tfae cfaamber
is an ancient altar, said to be the original altar of S. Silvester ;
it is raerely an altar table appended to the naked wall and pro
tected by a balustrade in front, which encloses three sides of a
rectangle. The altar picture is a rudely executed raosaic portrait
of the Holy Virgin, in appearance corresponding to the dete
riorated state of the art in tfae fourtfa century. Upon tfae walls
of tfae cfaamber tfaere may be observed several reliques contained
in sraall nicfaes ; particularly an um on tfae left faand of the
entrance, the receptacle of the bowels of a cardinal, whose
name, though it is specified in an inscription undemeath the
object, I do not remember. In the wall opposite is a door
leading to the catacorabs, blocked up, however, here, as is the

Sect. IL] CHURCHES.— S. Pietbo in Vincoli. 385
practice generally. There is also in the pavement a trap-door
coraraunicating with those extraordinarily extensive passages,
where a portion, prerious to the establishraent of the cemetery of
S. Lorenzo fuori le Mura, was exclusively appropriated to the
Carmelites as their burial-place.
S. Pietro in Vincoli.
Proceeding from the churcli of S. Martino westward along
the Via di S. Pietro in Vincoli, and by the sarae tfaorougfafare
continued in tfae same direction, under tfae titles of Via di
S. Lucia in Selce, and Via di Suburra, until arriving at tfae
spot particularly referred to in the first section of this chapter,
where Tullia drove her cfaariot over tfae dead body of her
father, Serrius Tullius,' tfaere tfae Via di S- Francesco di
Paola, diverging on tfae left faand at a sraall angle, ascends
by a steep acclirity to a coramanding brow, wfaere the cfaurcfa
of S. Pietro in Vincoli, vritfa an open piazza in front, is situated.
The churcfa is said to have been originally built about tfae
year 442, by Eudoxia, consort of Valentinian IIL, for the
express purpose of preserring as a sacred relique a portion
of the chain whicfa, according to the ecclesiastical autfaorities,
hound the limbs of S. Paul wfaile he was confined in prison at
Jerusalem. It was rebuilt by Adrian I., about the year 780,
after wfaicfa period notfaing farther is related of it until about
the year 1510, wfaen it was restored by the arcfaitect Baccio
Pintelli, under tfae auspices of Julius IL, wfao conceded it
to a congregation of monks called " Canonici del Santissirao
Salvatore," wfaose convent is annexed to the cfaurcfa at present.
Finally, Qement H. eraployed tfae architect Francesco Fontana
to restore it in tfae year 1705, on wfaicfa occasion tfae cfaurcfa
was put in tfae condition it appears in at present.
Tfae principal entrance is upon tfae gable of the building,
facing towards tfae west, upon tfae open piazza, wfaich, though
the site is agreeable and tfae prospect extensive, is covered witfa
green sward and faas a desolate appearance. As regards tfae
exterior of tfae building, on tfae soutfaern flank of wfaicfa is tfae
convent, tfae faqade is constructed after a grave and simple
model, consisting of a plain and lofty attic in tfae rear of a broad
* See page 304.
VOL. II. 2 c

386 a tour in MODERN ROME. [Chap. XII.
spacious portico, soraewhat similar to the portico of the church
of the SS. Apostoli, through which is the entrance to the church
by five lofty round-topped arches, each arcfa protected by an iron
railing. As the church is almost continuaUy closed during the
daytime, it is necessary to raake application for admittance at
the convent, of wfaicfa the door is close to the churcfa, fronting
the piazza, and one of the friars does the duty of sacristan.
The interior is constructed in the form of a triple nave,
divided by ancient fluted Doric colurans of Hymettian marble,
6 feet 10 inches in circumference, and ten on each side in
nuraber ; all elevated on pedestals 3 feet 6 inches in breadth,
and 5 feet in height. The ceiling of tbe raiddle nave is an
elliptical vault of extraordinary breadth and flatness, with
arched spaces along tfae base for windows ; coraposed altogether
of wood, painted white, witfa the exception of a fresco picture
in the middle by a Genoese artist, Giovanni Battista Perodi ;
it coraprises ten main arches of exceedingly massive construc
tion, and vrithin the interraediate spaces coffers, of which the
raouldings, recessed to an extraordinary degree, have a pon
derous appearance. The ceiling in question, corresponding to
the area of the middle nave, tbat is to say about 150 feet in
length, and its span 63 feet, notwithstanding that the effect, as
it is, is beautiful and iraposing, would certainly have been
iraproved by a plain surface instead of the present raassive
wooden framework, which, in a great measure, counteracts the
effect of the elliptical vaulting, and takes from it the light,
airy appearance which the elegant curvature of the extensive
canopy above would otherwise have displayed. The plan,
raoreover, of raising a vaulted ceiUng of any description above
single bearing shafts with their continuous entablature has been
severely criticised, inasmuch as it destroys the classical forra of
the basilica by a hybrid species of architecture. The paveraent is
coraposed of red tiles and stripes of marble. Upon the gable
wall flanking the entrance there is to be observed buUt up in
the masonry a large pair of ancient columns of grey granite,
and on tiie left-faand side of tfae entrance is also tfae monument
of tfae brotfaers PoUajolo, celebrated sculptors in the flfteenth
century. The ceiling of the side naves is vaulted witfa groined arches,
that spring on one side from the abacus of the columns, and on

Sect. II.] CHURCHES.— S. Pietro in Vincoli. 387
the otfaer frora brackets on tfae flank wall of the building.
Each nave contains two lateral chapels, which aro of tiio most
simple description ; altar tables appended to the wall vvhose
pediments are supported on sraall columns inferior to those
belonging to some of the inter voning raonuments ; the altar
pictures, however, appear to be above the coraraon order.
In the right-hand nave, and in the First lateral Chapel,
the pediraent of the altar, together with tfae colurans on wfaicfa
it rests, are painted in iraitation of verde antico ; tfae altar
picture, representing S. Agostino, is by Guercino. Between
this chapel and tfae next tfaere are two raonuraents de
signed by Doraenicliino, of wfaicfa, faowever, I faave preserved
no particulars farther than that tfae one is of Cardinal Margotti,
and tfae otfaer of Cardinal Agucci, beth whose portraits by
Domenichino are attached to the raonuraents ; the inscriptional
tablet of either one or the other is enclosed in a fixture frarae
of brocateUo, and surmounted by a pediraent supported by a
small pafr of half columns of Porto Venere. The pediment of
the altar belonging to the Second lateral Chapel is sup
ported by a pair of half columns painted in iraitation of marble ;
tfae altar picture, representing S. Peter in prison, is a copy of
an original by Domenichino, preserved in tfae sacristy. Between
the preceding cfaapel and the transept there are two more
monuments, of wfaicfa the first comprises omaments in bass-
relief in an ancient style of sculpture, representing ox skulls,
rams' faeads, festoons of vine leaves, &c.
In tfae left-faand side nave tfaere is to be observed in tfae
first place between tfae gable wall and the first lateral cfaapel
a monuraent, to wfaicfa is appended a curious bass-rehef of the
fifteentfa century, representing S. Peter seated in a cfaair witfa
an angel standing on one side, and a bishop kneeling on the
other, wfaile witfa a key and tfae Bible in bis right faand, and tfae
faand resting on fais knee, fae presents vrith his left faand to tfae
angel the chain witfa wfaicfa fae was bound. The costurae of
S. Peter is rather that of a Roman emperor tfaan of an apostle,
and above the tablet are to be observed tfae two following Latin
verses : — " Qui jacet ante tuas Nicolaus Peti-o catenas,
Hoc opus erexit, caatera marmor liabet."
The First lateral Chapel is similar to the first lateral
2 c2

388 A TOUR IN MODERN ROME. [Chap. XIL
cfaapel on tiie otfaer side, with the exception that the pediraent
and columns are painted in imitation of fior di Persico instead
of verde antico ; the altar picture, a Pieta, is said to be by
Poraerancio. Between the preceding chapel and the next
there is to be observed a monuraent, of which tfae principal
object is a skeleton figure of Deatfa in wfaite marble, planted in
the rear of a sarcopfaagus of SiciUan alabaster. Tfae Second
LATERAL Chapel is similar to tfae first ; faere is to be observed
a mosaic executed, as is supposed, about tfae seventfa century,
representing S. Sebastian, not as the figure usually appears in
pictures and statues, but as a bearded warrior in the costume
of the period wheu he lived, in the reign of Diocletian ; the
mosaic is flanked by a pair of sraall marble figures of angels,
and above it is a picture of the Holy Vfrgin. Between the
preceding cfaapel and the transept tfaere is a raonuraent sur
raounted by a pediraent supported on a pair of half colurans of
Porta Santa ; tfae principal objects are two skeleton figures of
Death of giallo antico, tfae supporters of a sarcopfaagus of Porto
Venere, and a bass-relief bust of wfaite raarble above the
sarcophagus. The transept, of whicfa tfae transverse lengtfa is neither more
nor less than the breadth of the three naves of the church,
whence consequently tfae form of tfae building corresponds
vritfa tfae ancient basilica, witfa tfae exception of tfae discrepancy
above referred to of tfae vaulted instead of a flat ceiling, is
divided from tfae middle nave by a broad and spacious cir
cular arch supported on a large pair of colurans of grey
granite. The ceihng Is vaulted and groined, and the pave
raent coraposed of red tiles. There are no altars at either
extreraity, but, instead, there is on the left-hand extreraity an
organ, and the right-hand extreraity is entirely occupied by
the raonument of Julius IL, commenced by Micfaael Angelo,
wfao, as tfae story goes, in consequence of a disagreement vrith
the Pope, left it unflnished, and retired to Florence, wfaere fae
reraained two years, and wfaen a reconciliation took place, and
fae returned to Rorae to resurae fais labours, JuUus died before
tfae work was corapleted. Since wfaicfa time not only faas it
remained in tfae sarae imperfect state in wfaicfa it was then left,
but the heirs of Julius IL, unmindful of fais wisfaes, and not
withstanding the pains fae took to provide himself during his

Sect. IL] CHURCHES.-S. Pietro in Vinoili. 389
lifetime with a sepulchre coustructod according to his fancy,
deposited his reraains in the SS. Sagraraento Chajiol in S.
Peter's. The monument is built entirely of Carrara raarble,
after the raodel of the architectural elevation of a temple, and
displays two if not three orders of arcfaitecture. Tfae lower
order comprises one large rectangular nicfae between two cir
cular ones, all flanked by Atlantes tfaat support the entablature,
and are planted on pedestals wrought in low bass-relief in the
style of Sansovino. In the central niche is the renowned
colossal statue by Michael Angelo of Moses in a seated atti
tude, holding under his arra the tablets, whicfa, from tfae
expression of mortal anger rather than Dirine inspiration tfaat
bearas on his countenance, fae seems about to dasb on tfae
ground. Tfae effect altogetfaer, in my faumble opinion, is
extremely unpleasing, and on the whole calculated, from the
overwrought muscular development of the Umbs, the heavy
folds of the drapery, and the stiff and ungraceful attitude,
rather to represent tfae faeatfaen Jupiter of Olympus about
to launch a thunderbolt, than the lawgiver of the Israel
ites. In tfae flanking nicfaes are two statues of feraales,
representing Religion and Vfrtue, botfa sculptured also by
Michael Angelo. The second order of the structure coraprises
three nicfaes, corresponding vritfa tfae tfaree below, containing,
the central one, a statue" of Julius IL, sculptured by Raffaele
di Montelupo, a scholar of Michael Angelo ; and tfae otfaers
two statues of sibyls by the same artist. The statue of Julius
is represented in a reclining attitude, with the lower lirabs
extended horizontally, and the head and shoulders raised so
abruptly, and so nearly approaching the perpendicular, that the
posture faardly seeras natural. On tfae eastem side of tfae
transept, flanking tfae cfaoir and faigfa altar, and facing down
eacfa of tfae side naves respectively, are two cfaapels. The
chapel on tfae rigfat-faand side is enclosed witfain an absis, and
the pediraent rests on a pair of colurans painted in imitation of
SiciUan jasper : tfae altar picture, representing S. Marguerita,
is by Guercino. Tfae cfaapel on the left-faand side is siraUar in
construction to tfae other, with the exception that the pediraent
of the altar rests on a pafr of columns of bianco e nero.
The choir is elevated by three steps above the transept, and
consists of a very spacious absis painted in fresco by a Floren-

390 A TOUR IN MODERN ROME. [Chap. XII.
tine artist, Giacorao Coppi, the seraidorae continuously, and
three separate pictures within tfae lower concave. Below, in
tfae centre, is a pontifical cfaair of wfaite raarble, of wfaich the
sides are ornaraented vritfa low bass-relief in an arabesque
pattem ; tfae chair, in fact, is built up in the waU in such a
manner tbat a part only of the object is risible. On each
side is a row of wooden seats or stalls for the churcfa dig
nitaries. The high altar is isolated, and situated iraraediately vrithin
tfae entrance of tfae absis, under a canopy suspended frora the
soffit. Near it, tfaougfa I cannot precisely state tfae position, is
the raonuraent of Clorio, a celebrated miniature painter of the
sixteenth century.
Close to the raonuraent of Julius II. a door comraunicates
vrith the annexed convent through tfae sacristy. Tfae pavement
of tfae sacristy is coraposed of ancient raosaic of pietre dure,
said to faave been brought from tfae Baths of Titus. The cfaain
of S. Peter, referred to in tfae beginning, page 385, is contained
in the apartment, tfaougfa it is not exfaibited to visitors witfaout
a special order from tfae Pope, unless on tfae occasion of the
Festival of S. Peter, on tfae 1st of August, wfaen the public in
discriminately are permitted to see it : it is contained within a
small ordinary-looking wooden beaufet appended to the wall.
There are also to be observed upon the wall, apparently preserved
as reliques, several slabs of red porphyry, and two of green
porpfayry engrafted in the masonry : here also is to be seen the
original picture by Doraenichino, of the Liberation of S. Peter
frora the Dungeon, of which the copy is in tfae second lateral
cfaapel of tfae rigfat-faand nave.
Madonna dei Monti.
Descending from tfae cfaurcfa of S. Pietro in Vincoli by the
Via di S. Francesco di Paola into tfae Piazza di Suburra, and
turning to tfae left faand westward by the Via Leonina, whicfa
leads towards tfae Roman Forum, the church of tfae Madonna
dei Monti is vritfain a sfaort distance on tfae riglit-hand side of
tfae Via Leonina. Notwitfastanding tfaat tfae cfaurcfa contains a
considerable quantity of fine marble, I find no account of it
otfaerwise than by an incidental allusion to the effect that tfae
monks of the convent of S. Francesco di Paola, when they

Sect. IL] CHURCHES.— Madonna dei Monti. -^I'l
ceded their establishment on tho Trinita dei Monti to the
Daines de Sacrecceur, established tfaeir residence in tfae con
vent annexed to tfae church of tfae Madonna dei Monti.""
There is, moreover, a churcfa dedicated to S. Francesco di
Paola, situated nearly in a direct line between the churches
of Madonna dei Monti and S. Pietro in Vincoli. AV faile the
soutfaern gable of the churcfa in question bounds the Via
Leonina, as above stated, the northern gable bounds the Via
Baccina, which street I have assumed as the boundary line
between the Vimuiale and the Esquiline.
The interior is constructed in the forra of a single nave,
the ceiling is vaulted vrith arcfaed spaces along tfae base for
windows, and tfae wfaole surface of tfae vault, including tfae
arcfaed spaces, is painted in fresco. Tfae paveraent is cora
posed of plain slabs of raarble and raonumental tablets. On
each side of the church are two lateral cfaapels, and tfae raain
Corintfaian pUasters, whicfa in tfae intermediate spaces support
the cornice, are painted in imitation of fior di Persico. Above
the comice is an attic painted in fresco. All the lateral
chapels are contained within arched recesses, surraounted each
by a pafr of statues of angels in a reclining attitude ; and
there is also on each side a tfaird sirailar arcfaed recess, of
whicfa the one on tfae rigfat faand contains a door tfaat serves
for a side entrance to tfae street, and the otfaer a door leading
to the sacristy. The sides and soffits of all tfae arcfaes be
longing to the cfaapels are omamented vritfa paintings, and
each protected by a marble balustrade : all the pediments are
constructed in the broken form, containing in the open space
a marble cippus or pedestal, and upon the extreme angles
are placed a pafr of statues of angels in a reclining posture ;
the raarble columns by wfaich they are supported are as follows :
on tfae left-faand side, and in tfae first cfaapel, a pair of Africano,
and in tfae second cfaapel a pair of verde antico ; on tfae rigfat-
faand side, and in the first cfaapel, a pair of Porta Santa, and in
tfae second chapel a pair of giallo antico.
The transept, whicfa coincides in fransverse lengtfa witfa tfae
breadtfa of the cfaurcfa, is surmounted in tfae middle by a dorae
and lantem cupola ; the concave of the dome is divided by
perpendicular ribs, and the interraediate spaces are lined with
* See vol. i. p. 157.

392 A TOUR IN MODERN ROME. [Chap. XII.
coffers tfaat contain sraall pictures ; in tfae drum are a circular
range of large white stucco statues and windows alternately :
tfae spandrels of tfae supporting arches are painted in fresco.
On tfae rigfat-faand extremity tfaere is a very plain altar, on the
left-faand extreraity tfaere is a door leading to tfae adjoining
convent, and above tfae door a very splendid organ.
The choir is elevated by two steps above tfae transept, and
protected by a low raarble balustrade. At tfae extremity Is
an absis, of wfaich tfae seraidome is omamented vrith ribs, and
with coffers in tfae intermediate spaces sirailar to tfaose belonging
to tfae dome above-mentioned ; the lower concave portion is
painted in fresco.
The high altar stands isolated within the choir, close to the
balustrade ; it is surraounted by a canopy, which, on the side
facing the nave, assuraes the form of a pediment, and is sup
ported by a pair of Corinthian columns of Porta Santa.

CHAr. XIU.] ( 393 )

CHAPTEE XIII.

The Aventine.

The Aventine, whicfa is the lowest of all the seven hills of
Rome, and, as it is said, no more than 42 French raetres above
tfae level of tfae sea, may be corapared in its superficies,
according to tfae assumed boundary line cited in tfae Appendix
to ray first volurae, to tfae figure of a motfa or butterfly, of
wfaicfa the head forms its nortfaern angle at the churcfa of S.
Maria in Cosmedin, and the wings are represented by two
tongues of land, one on tfae east and tfae otfaer on tfae west,
coraprising eacfa tfae extent of territory by which the liraits of
the city were extended by Honorius on both sides beyond the
ancient walls of Serrius Tullius. With regard, faowever, to
the boundary-line above-raentioned, which, as I have distinctly
stated in ray introductory chapter, is raerely arbitrary, it raay
be here observed that geographers faave been in tfae faabit of
diriding the Aventine into two portions, a westem and an
eastem, distinguished respectively, tfaougfa the distinction vritfa
reference to tfae objects In the locality is by no raeans important,
by tfae terras " Aventine proper " and " Pseudo- Aventine," the
line of division between both being the road which leads
direct from the gate of S. Paolo to the southern angle of the
Palatine. Tfae title is supposed to be derived frora Aventinus,
one of tfae ancient kings of Alba, who reigned 60 or 70 years
before the tirae of Roraulus ; and Ancus Martius* first en
closed it by a wall as a doraicile for the Latin nations whora he
had conquered, though not before the period of the Erapire in
the reign of Claudius was it coraprehended within the Poraoe-
rium. Tfae Pomoerium was a space or strip of giound distin
guished by Livy very grapfaically, so far as that It was within
and vritfaout tfae walls : " non raagis quod post raurura esset,
quara quod murus post id,"f with whicfa tfae early Roraans,
* Dionysius, lib. iii. cap. 44. f L'b. i. cap. 44.

394 a tour in modern rome. [Chap. XIIL
following the raore ancient custora of the Etruscans, encom
passed the city for its better defence ; and being consecrated a
certain clear space was thus preserved that nobody raight
plough nor build upon : farther I cannot pretend to define it,
though, with reference to tfae restriction above-raentioned,
Gibbon relates a very singular raistake of tfae tribune Rienzi,
whicfa faas been unaccountably overlooked by Muratori and
otber faistorians, to tfae effect tfaat in fais celebrated barangue
to the nobles and plebeians assembled in the choir of S. John
Lateran, and in the course of making a commentary on the
Lex Regia of Vespasian, by which the power to extend the
Pomoerium was conceded by the senate to the Emperor, Rienzi,
mistaking the term for pomarium, an apple orchard, calls it
" Jardino di Roma I "
Comraencing the description of the Aventine frora the Piazza
della Bocca della Verita at the northern angle, and thence pro
ceeding, the river ou the rigfat faand and the faiU on the left, by
the road which leads parallel to the banks of the Tiber, down
the stream, the Aventine presently attains its raaxiraura of ele
vation, and overhangs the road in tfae forra of a precipitous
bank crowned by a reraarkably picturesque group of convents
and cfaurcfaes, of whicfa it wiU be sufficient at present to raark
the position, precisely upon the angle whence a road diverges
to the left leading to the gate of S. Paolo. About raidway
frora the point whence we started hither, the ancient Pons
Sublicius, so called from the Latin word " sublices," signifying
wooden piles, inasrauch as it was originally built of wood by
Ancus Martius, is supposed to have spanned the river : it was
the first of all the Roraan bridges, and rendered raeraorable
by tfae faeroic defence made by Horatius Codes against the
Tyrrhenian army. There are hardly any accounts of its eariy
restorations until it was carried away by the violent inundation
of the Tiber tfaat faappened in tfae reign of Augustus, and being
iraraediately rebuilt by the censor Marcus EmUius Lepidus,
it was afterwards called the " Pons EmiUus." It was next
restored by Antoninus Pius, and then notiiing raore appears to
be related of It for a period of 600 years, when, in the reign of
Adrian I., another inundation of tfae river in the year 780
destroyed it for ever. Vestiges of the structure, though the
bridge was never afterwards atterapted to be restored, were

CuAP. XIIL] THE marmorata. 395
risible for raany centuries ; and even to the present day, on
occasions of exfraordinarily low water, sonic appearancos of
piers, wfaich for my own part I was never able to discover, are
said to be visible. These piers, certainly in existence in the
yeai- 1454, were demolished to the water's edge by Nicfaolas V.,
and tfae raaterial was converted into cannon balls for tfae fortress
of S. Angelo, wfaere several are still to be seen.
The M.A.RMORAT.A, or place of diserabai-kation of marble des
tined for the studios of the Roraan sculptors, is situated on the
banks of the river, iraraediately beyond the divergent road just
above referred to, and opposite the Porto di Ripa Grande, tfae
principal port of Rorae on tfae rigfat bank, which will be de
scribed in the third volume. It would appear tfaat both banks
of the Tiber hereabouts have been resorted to as a quay or
landing-place from the earUest ages to the present time, tfae
left bank especially from the period of Servius Tullius, origin
ally under the titie of Pulchrum Littus,* and afterwards, during
the dark ages, it was called tfae Ripa Graeca ; and tfae rigfat
bank, the site of the Porto di Ripa Grande, was called the
Ripa Romaea ; on tfae left bank also, and precisely on tbe site
of the present Marmorata, an ancient landing-place called the
NavaUa, whicfa will presently be particularly referred to, is
supposed to have existed up to a late period of the Empire ; of
all which vaiious establishraents, tfaougfa ttie river's banks along
the fract in question are crowded witfa nuraerous disjointed
masses of raasonry, tfaere are no recognizable reniains existing.
The Marmorata, which extends about tfae distance of a couple
of hundred yards beyond the divergent road in question, is a
broad, flat greensward, that has a terrace-like appearance,
and, wfaetfaer or not owing principally to the operations of
former ages connected vrith tfae Navalia, seems to faave been
levelled by artificial means ; tfaough, in consequence of its being
little used for many years. Nature bas in a considerable degree
re-assumed her characteristic features. On tfae side opposite
the river it is bounded by the Vigna Cesarini. The spot in its
present condition is desolate-looking and neglected, without a
shed or any manner of cover for tfae convenience of officials, or
any appliance for tfae disembarkation of tfae marble otfaer
than three huge logs erected in tfae ordinary manner, in tfae
* See page 144.

396 A TOUR IN MODERN ROME. [Chap. XIII.
forra of a triangle, as is done teraporarily for the purpose of
lading tiraber in our woods in England; neither did I ever
happen to see tfaere, witfa the exception once of the reraoval of
a very large block of raarble into the city, though possibly the
principal arrivals take place in the summer wfaile visitors are
absent, any superintending functionary, any person capable of
giving information relating to tfae estabUshment, any vessel
alongside, or in fact any indications of business whatever. No
further expense, in fact, to convert tfae greensward to a wbarf or
quay has been undertaken than the erection of the triangle above
mentioned, the furnishing the sarae witfa a block and pulley,
tfae lining with brick a seraicircular excavation of the river's
bank, calculated for a single sraall vessel to approach witfa faer
cargo ; and the extending a coraraon cfaain, fastened at tfae
faeigfat of a couple of feet from tfae ground to a couple of posts,
across the entrance. Tfae vast weigfat, faowever, of the
blocks of marble, together with the primitive raanner practised
in Rome to remove thera, is a sufficient protection ; and as tfaey
reraain tfaere for many montfas, as if witfaout an owner, tfaough-
on closer inspection the marks of tfae consignment frora the
quarries and the weight are chiselled on each block in a raanner
intelligible to the parties interested, the contrast in colour
of the light green grass of the Marraorata, witfa tfae fauge
irregular-sfaaped wfaite rocky masses, produces, wfaen seen from
a distant or elevated spot — tfae angle of tfae Aventine, for
instance, or tfae faeights of the Janiculum — a reraarkably beau
tiful appearance. Many have reraained untouched so long, that
they are embedded a considerable depth in the soil — all, with
very rare exceptions, white marble, the produce of the inex
haustible quarries of Carrara, which have been continually
worked since the period of Augustus, and contain still an incal
culable supply for future generations. In addition to these, the
very few of coloured raarble that are to be seen occasionally,
coraprising the yellow raarbles of Sienna and Verona, Sicilian
jasper, and the coraraon blue raaterial used for paveraents and
other ordinary purposes, called bardiglio, are generally set
apart by theraselves, under the hedge opposite the river.
The reraoval of these large blocks of raarble, contrasted with
the facility with which nowadays cart-horses, to tfae araount of
a couple of dozen or more if required, drag through the streets

Chap. XIIL] REMOVING BLOCKS OF MARDLK. 397
of London, in vehicles of proportionate strongth, stoam-engincs,
bronze colossal statues, and all manner of objects of oxtraonli-
nary weight and volunio, wliother It bo frora the apprclionslon
of injuring tho wator-oourses which pcrt'orato thc subsoil of
Rome by a continuous network, or owing to tho unusually slow
progress of the loooniotivo branch of labour, is performed in a
manner so oxcocdingly slow and clumsy that it is worth
relating. I wlU tfaerefore endeavour to describe the process
adopted in tfae instance above referred to that I had an oppor
tunity of witnessing in the spring of 1841, wfaen an enormous
block of wfaite marble intended for the colossal statue of S.
Francesco di Salis, neai-ly fourteen feet higfa, wfaicfa long ere
now no doubt occupies its proper niche in S. Peter's above the
statue of S. Benedict, was removed from the Marmorata to the
studio of tfae sculptor Taddolini, in the Via Babbuino. A
sledge of sufficient size and strength having been constructed
for tfae purpose, consisting siraply of a low framework of stout
timber, connected by transvei-se pieces and supported on wooden
runners, sucfa as are used for tfae transport of faeavy raercfaan-
dise over tfae snow in tfae roads of Nortfa Araerica, tfae block of
raarble, divested preriously of all its unnecessary bulk, was laid
upon it, which preliminary part of the operation, however, I did
not see perforraed. But the manner of putting the sledge in
motion, whicfa I did see, was as follows : — In tfae first place, at
the distance of sixty or seventy yards in front of tfae object a faole
was raade in tfae ground, aud an fron crowbar, not less than
twelve incfaes in circuraference, inserted in tfae hole as a point
to haul upon, including a raassive triangular frarae to support
a capstan lashed close to the crowbar. A block and pulley
haring been fixed to the sledge, and another block and pulley
to the frarae of tfae capstan, the rope was in the first instance
made fast to tfae sledge, tfaence carried forward and rove round
tfae puUey on tfae capstan, carried back again and rove
round tfae pulley on tfae sledge, and finally once raore carried
forward and rove witfa a double turn round tfae shaft of the
capstan, so that as the sfaaft revolved tfae rope was coiled on
tfae ground by a raan wfao, witfa tfae end in fais faand, sat upon
tfae capstan-frame below. Tbere were four arms to tfae wind
lass, eacfa raanned on ordinary occasions by a couple of raen,
and by four men, which number I never happened to see ex-

398 A TOUR IN MODERN ROME. [Chap. XIII.
ceeded, in case of an acclirity. In order to obtain a uniforra
surface for the raacfaine to pass over, there were used, instead
of rollers, wooden planks, that, being covered with soft soap,
the services of two raen were continually required, one to soap
the boards, and the other to reraove thera from tbe rear to the
front as tfae sledge proceeded. Tfae operation tfaus perforraed,
by successive reraovals of tfae crowbar to a farther distance, so
soon as the rope becarae expended and coiled, occupied no less,
with the exclusion of Sundays and saints' days, than a whole
raonth, and tfae raotion was in fact so extreraely slow as to be
hardly perceptible, as raay be readily iraagined when it is con
sidered that tbe diameter of the circle perforraed by the eight or
the sixteen raen who worked at the arms of the windlass, which
passed over the head of tfae man wfao sat coiling tfae expended
rope underneatfa, was about fifteen feet, and tbe pace as slow
as foot could fall ; so tbat, as tfae diameter of the shaft of tfae
capstan was, as nearly as I could ascertain by a basty measure
raent, 2 feet 2 inches, equal to the progress gained at every
revolution, those persons who are curious on the subject raay
easily calculate the rate by the above data.
The erabryo statue of S. Francesco di Salis having at last
arrived at Taddolini's studio, and the double doors being
thrown open to receive it, an additional raechanical purchase
was necessarily had recourse to, in order to surraount the sudden
rise of several feet frora the carriage road. To effect this object,
the sledge being laid in a direction across the street, the crow
bar was inserted in a hole raade in the ground behind instead
of before it, and an additional block and pulley being fixed to a
huge ring on the wall of the studio, the men, with the advantage
of the additional pulley, and of anotfaer contrivance in addition,
worked at tfae windlass as before. Tfae otfaer contrivance was
the adaptation of an implement very rauch resembling a comraon
jack, such as is used for the purpose of hoisting up the wheels
of a carriage, with tiie exception that the action was horizontal
instead of perpendicular, and its power that of the screw instead
of tfae rack and pinion. The irapleinent in question was laid
on tfae ground behind the sledge in contact with a piece of stout
tiraber that rested on tfae curb-stone, while tfae screw propelled
tfae sledge forward by pressing on its rear. Tfae screw, by
raeans of a box-screw tfaat enclosed it, square, and furnisfaed on

Chap. XIIL] THE NAVALIA-TIIIO VIGNA CESAKIM. 399
eacfa of tiio four sides witli a nut Uke tiie nut of a bod-post, w as
driven by men provided with Icvors armed at tho ends with
corresponding sockets. Tlioro wore four men and two lovers :
tvvo men at each lover, working on opposite sides.
Tfae ruins of tfae ancient Navalia — which, whether it wore
an arsenal, a magazine, or common landing place, is not precisely
knowu — are immediately close to the Marmorata ; a portion
even actually forming tiio substructure of the banked hedge, its
boundary, and tfae remainder distributed beyond, within the
\ igna Cesarini. Tho Navalia, according to an expression of
Livy,* who mentions it incidentally, vritli reference to a topo
graphical point on tfae otfaer side tfae Tiber, was ratfaer, in tfae
time of the writer, a place called the Navalia tfaan an establish
ment then existing ; nor are there any more certain accounts of
its history or the purposes to wfaich it was applied to be found,
tfaan raay be gathered from the fact that several rougfa blocks
of marble bearing ancient marks supposed to bave been engraved
upon them at the quarries during the period of tfae Empire,
have been at various times discovered on the spot ; and among
these rehques one especially, a very beautiful fluted column of
alabastro a rosa, the largest and finest of that description of
materia] to be seen in Rorae, wfaicfa is preserved at tfae villa
Albani. From its position there can be no doubt that tfae
Navalia was in some way or otfaer subsidiary to tfae narigation
of tfae Tiber ; and as it was situated a very short distance out
side the walls of Servius Tullius, and consequently also outside
the Pomoerium, some idea relative to the maxiraura breadth
of the Pomoerium may be gathered from tfaat circurastance.
As in order to inspect tfae ruins in question it is necessary to
obtain adraittance to tfae Vigna Cesarini, of wfaicfa tfae entrance
is vritfain tfae road tfaat diverges to the gate of S. Paolo, close
to the divergent angle, application must be made to the pro
prietor 'of a sraall vrine-shop, about a furlong fartfaer on
the left-faand side, near to tfae arcfa of S. Lazzaro. This
indiridual, on being applied to, immediately gives the key
of the enclosure to a labourer or a neighbour, wfao acts as
cicerone. On entering tfae Vigna Cesarini, wfaicfa is a
vineyard of considerable extent, tfae Navalia, of whicfa the pre
sent ruins are attributed to the period of the seventh century,
* Lib. iii. cap. 26."

400 a tour in MODERN ROME. [Chap. XIII.
appears to faave been a quadrangular enclosure of about 150 by
100 yards, surrounded on the four sides by brick walls. Of
these four walls, that whicfa enclosed one of tfae long sides of tfae
oblong area next the river forras the substructure of the hedge
between the vineyard and the Marraorata, as before-stated ; it
is in the raost iraperfect condition of all ; and altfaougfa tfae
reraains of ancient masonry are sufficiently recognizable, tfaese
consist of little more than fragraents of tufa rubble, that at
frequent intervals, sufficient to mark the line of continuity,
appear upon the surface of tfae earthen embankraent, where
a plashed hedge, after the fashion of the country, is
erected. Of the wall enclosing tfae opposite long side of the
oblong, a considerable portion reraains ; extending frora the
extreraity coraprising the rigfat angle towards the Palatine,
to a point several feet beyond the centre. The central
portion is of considerable height, and appears to have been
applied to purposes of defence during tfae raiddle ages ;
for tfae arcfaes, of wfaicfa tfaere is a double tier, one above
anotfaer, faave been filled up by a very ordinary descrip
tion of brickwork, pierced witfa loop-faoles. Tfae wall en
closing tfae sfaort side of the oblong area next the Palatine,
which, although the upper part has disappeared, affords the
best speciraen of the original formation, is composed of large
irregular fragraents of red and yellow tufa ; it is about four
feet in thickness, and contains a series of six round-topped
arches, turned upon slabs of tufa, about 22 incfaes square
and 3 or 4 incfaes in tfaickness, sirailar to tfae bricks or
tiles wfaicfa were ordinarily used by the Roraans for tfae same
purpose during tfae Erapire. Finally, tfae wall tfaat enclosed tfae
short side of the oblong area, the farthest frora the Palatine, is
the most lofty, and in a state of more perfect preservation than
either of the others, though it appears to be a restoration of a
later period, raised upon the ancient substructure, of which
latter the arches, sirailar to those on tfae opposite side, are
alraost entirely destroyed. Than tfae reraains of tfae above four
walls, wfaicfa sufficiently determine tfae ground plan of tfae
enclosure, there are no otfaer vestiges to be seen of tfae ancient
Navalia, though it may be observed tfaat nowfaere in tfae ricinity
of Rome are speciraens of tfae best sorts of raarble to be found
in greater abundance, raingling witfa the soil under foot ; in

Chap. XIIL] THE MONTE TESTACCIO. 401
fact, any pei-son inclined to take the trouble might easily, with
the permission of the proprietor, were he to work steadily for
the space of half an hour in tfae Vigna Cosaiiui, fill a wheel
barrow witfa the fragments of giallo antico, })avonazzetto, por
phyry, serpentine, &c., that are turned up continually, like
common pebbles, by the spade and plough, and lie scattered on
the surface of the ground.
The MoNTE Testaccio is situated a little distance southward
of the Navalia, westward of the gate of S. Paolo, and a very
littie way vritfain the walls of tfae city. To go tfaitfaer it is
necessary to proceed by tfae road before referred to, leading to
the gate, and at about two-thirds distance a narrow way, the
most direct approach of any, diverges ; there are several other
minor ways or passages in this quarter (that comprises the
westernmost of the two tongues of land added to tfae former
limits of tfae city by Honorius, as referred to in the beginning
of the chapter), wfaicfa lead tfarougfa tfae enclosures, and being
bounded on botfa sides by brick walls or lofty pleached hedges,
incliningto the right and left vrith divers angles and inflexions, are
difficult at all events to be traced in the requfred direction, and
terminate not unfrequently in a cul-de-sac. The Monte Tes
taccio, which from its bulk and topographical importance is
comprehended araong tfae raodern faills of Rorae, is notfaing
more nor less tfaan the most stupendous collection in existence
of broken jars and pitcfaers, fragments of ancient terra-cotta,
tfaat, singular as it may appear, none of tfae antiquaries faave
ever been able to account for in any way wfaatever : " frantumi,"
as Nibby expresses himselfin his itinerary, " di vasi di terra cotta
reuniti in epoca, e per motivi non conosciuti." From its posi
tion, faowever, vritfa relation to tfae Navalia witfain tfae enclosure
of Honorius, and from its proxiraity to tfae places of erabarca-
tion on tfae banks of the river, it may be presumed that it was
originally either the nucleus of a heap of broken rubbisfa from
an ancient pottery in tfae ricinity, or in like manner a subsidiary
receptacle of clearance from the Navalia. The date of its first
appearance is at all events entirely a matter of speculation, and
although tfae name Testaccio, evidently derived frora tfae word
" testa," tfae vessel in whicfa tfae ancient Romans used to keep
tfaeir vrine and oU, raigfat seera to iraply a classical etymology,
no such hiU, it is affirmed, faas ever been noticed by tfae ancient
VOL. II. 2 ^

402 A TOUR IN MODERN ROME. [Chap. XIII.
writers ; so tfaat posterity nowadays, vritfa no means at faand of
unravelling tfae mystery tfaat led to its forraation, can only lift
up tfaeir faands and eyes in astonishment, and raarvel how it
came tfaere.
Tfae Monte Testaccio, only tfaat it is oval instead of round,
is tfae size of Primrose-faill, or tfaereabouts. Frora tfae faase
tfaere is a direct ascent by a narrow patb to the surarait, wfaere,
in the centre, though I know not for wfaat precise religious pur
pose tfae spot faas been selected, a large cross is planted. On
ascending tfae patfa, tfae wfaole hill appears to be covered with
light green grass, sufficient, at the time I happened to be tfaere,
to afford a scanty subsistence for three horses tfaat were grazing ;
but the layer of soil is so thin in every part of the surface, tfaat
tfae sligfatest toucfa imaginable of tfae point of a walking-stick
is sufficient to turn up tfae red fragraents of terra-cotta tfaat lie
beneath it, and convince the raost sceptical person alive that
the entire raass is actually, as it is stated to be, formed exclu
sively of ancient crockery, with wfaicfa, even to tfae present day,
no eartfa faas raingled : wfaicfa fact, being once and easily ascer
tained, tfae curiosity becoraes satiated, and notfaing reraains for
tfae individual wfao faas taken tfae trouble to walk to tfae top,
than to admire tfae beautiful prospect, including tfae dome of
S. Peter, situated in a direction a little to tfae westward of
nortfa, and being nearly the same distance from tfae point of riew
as tfae domes of the otfaer cfaurcfaes seen to great advantage ;
below, near the gate of S. Paolo in the foreground, are the
white torabstones of the Protestant cemetery, that, like humble
lilies of the valley, lie clustered together at the foot of the
towering pyramidical raonuraent of Caius Cestius. At the base
of the hill, whence we coraraenced the ascent, there may be
observed several waggon-loads of terra-cotta fragments, in
colour and appearance as fresh as ever, which were deposited
on the spot in recent times, in the course of raaking horizontal
excavations, wfaere some say ancient tombs were discovered,
but wfaicfa, at all events, tfaree or four in nuraber, eacfa pro
tected by a door, are now converted to storefaouses for wine,
tfaat faave tfae cfaaracter of preserving tfae wine in an adrairable
state of coolness, as may be well imagined.
The road frora tfae Marraorata to tfae gate of S. Paolo is
very nearly identical witfa tfae line of the ancient enclosure of

Chap. XIIL] ARCH OF ST. LAZARUS. 403
Servius Tullius, leading all tfao way close at tfae foot of tho ele
vated ground, which is for the most part precipitous : within
the above distiince there were four entraiioos to the city in
the ancient wall, naraely, the Porta Trigeraina, tfae Porta
Minucia, tfae Porta Navalis, and the Porta Lavernalis, all
four of which were substituted by the single gate of S. Paolo,
or Porta Ostiensis, as it was originally called, in the walls of
Honorius. The Arch of S. Lazarus, Arco di S. Lazzaro, spans tfae
road about the distance of a furlong from the point of divergence
at tfae Marmorata, as before stated. Close to tfae arcfa tfaere is
also a small chapel dedicated to St. Lazarus, from respect to
whom it would appear that the arcfa bearing fais name faas been
permitted to remain in its present position, where it Is a serious
obstacle, not being sufficiently lofty to allow a waggon laden to
a tolerable heigfat to pass underneatfa. AVfaatever its faistory
may be, tfaere are no accounts relating to it to be relied upon,
tfaougfa it is generally stated to faave been built about tfae later
period of the erapfre, and to have belonged to tfae ancient
granaries cited by Aurehus Victor, under the title Horrea
Aniceta, which are supposed to have existed hereabouts, in
addition to others about the westem angle of the Palatine, and
the Velabrum, which latter were referred to in the tenth
chapter.* As it appears at present, it is eridently tfae sub-
stracture of a building, of which a considerable fragment still
rests upon it, a shapeless mass of brickwork, of the sarae in
ferior description of raasonry as composes the arch, which
is tumed upon a double course of flat tiles of the usual
dimensions. The precipitous bank of the Aventine on the left-hand side
of tfae road is lined for some distance vritfain and witfaout tfae
arcfa vrith large fragments of masonry belonging to ancient
buildings hitherto unaccounted for, among which, iramediately
above the arch, is to be observed a modem rough stone portal
that forms tfae entrance of a cavem in the tufa rock commonly
known by tfae title " Romitorio," or Hermitage, tfaougfa tfaere
appears to be no reason assigned for the appellation, and there
are no accounts of any person of tfae profession of a hermit wfao
ever lived tfaere. Tfae ciceroni, fbr want of a more suitable
• See page 124.
2 D 2

404 A TOUR IN MODERN ROME. [Chap. XIII.
spot for tfae den of Cacus, poiut it out to visitors as tfae abode
of tfaat triple-faeaded robber, for wfaora it were certainly better
suited, on account of its steep and inaccessible situation,- than
for an aged hermit, tfaougfa faow Cacus ever managed to drag
tfaitfaer by tfae tails tfae oxen of Hercules is not easy to corapre-
faend. Tfae spot is certainly laid down in some of tfae old raaps
of Rorae as tfae Antrum Caci, and corresponds witfa tfae lines of
Virgil, wfao, in relating tfae visit of JErteas to Evander, wfaile he
was celebrating a feast in honour of Hercules, just after Her
cules had slain Cacus, describes tfae cave* —
" Altissima visa,
Dirarum nidis domus opportuna volucrum."
After passing tfarougfa tfae Arco di S. Lazzaro and proceed
ing a little distance, tfae bank of tfae Aventine, still precipitous,
is lined to a considerable extent by a lofty wall and bastion,
built by the architect Antonio Sangallo, and called par excel
lence the bastion of Paul IIL, being a part of a hne of fortifi
cation, constructed by the sarae architect, vrith whicfa it was tfae
intention of tfaat pontiff to faave covered tfae wfaole of tfais side
of tfae faill, according to an idea wfaicfa appears to faave been
afterwards adopted by Pius V. in tfae restoration of a cfaurch
belonging to the Knigbts of Malta, whicfa will be described in
tfae second section of tfais chapter. The cfaurcfa in question, S.
Maria del Priorato, is one of tfae group of buildings upon the
angle above the Tiber, and has not a little the appearance of a
citadel. Otfaer portions of tfae sarae fortifications of Paul III.
are to be seen on the city walls, one a littie to the eastward of
tfae gate of S. Paolo, and another about raid-distance between
the gate of S. Paolo and the gate of S. Sebastian, which latter
especially is considered a chef-d'oeuvre of the arcfaitect, and
called II bastione di Sangallo.
Tfae gate of S. Paolo, so called in consequence of tfae basi
hca built upon the Ostian road two miles distant, was forraerly
tfae Porta Ostiensis, leading to the seaport of Ostia ; it was
rebuilt by BeUsarius, in the sixth century, and previous to
that period was distinguished by the present title, as appears
in various passages of Procopius.f It comprises a double
* .SIneid, viii. line 234.
t De Bello Gothico, lib. ii. cap. 4, and lib. iii. cap, 36.

Chap. XIIL] BATHS OF CARACALLA. 405
portal flanked by square towers and battlements, and is con
sidered one of the most picturesque gates of any ; tbo inner
portion is the most ancient, and coraprehends masonry of
the period of Honorius. M'hen Totila invaded Rome the
second time, in the year 549, he entered by the Porta di S.
Paolo. The Baths of Caracalla are situated within the eastern
of the two tongues of land referred to in the beginning of tfae
chapter, and of wfaich the westem has now been disposed of.
In order to go thither it will be necessary to take the road
dividing the Aventine from the Pseudo- Aventine, and leading
from tfae gate of S. Paolo to tfae soutfaern angle of the Palatine,
whence tuming to the right from a spot where four roads raeet,
by the Via di S. Sebastiano, along a route wfaicfa faas been
afready described in the eleventh cfaapter,* we presently arrive
at tfae ruins of the batbs of CaracaUa, that lie on tfae rigfat-faand
side, and of wfaicfa tfae nortfa-eastern angle of the raain outer
enclosure, as it appears laid down in modem raaps, is contiguous
to the road.
The baths of Caracalla, of wfaich tfae present ruins are in a
more perfect state of preservation, as regards the original
ground-plan, tfaan any otfaer ruins of imperial batbs to be seen
in Rome, were commenced to be built by the Emperor
CaracaUa, who continued tfae work till the time of his deatfa,
wfaich faappened during fais expedition in Persia, in tfae year
217, and are distinguisfaed accordingly, after one of fais names,
Antoninus, by tfae title " Balnea Antoniniana." After tfae
deatfa of CaracaUa tfae building was continued by Elaga
balus, wfao constructed tfae porticoes, and, after tfae death of
Elagafaalus, was completed by Alexander Severus, at wfaich
time accommodation is said to have been afforded for 1600
bathers. The buUding was restored at tfae end of tfae fiftfa
century by Theodoric, and it is said that bricks have been
found in modem times among the ruins bearing the narae of
Theodoric, and otfaers vritfa tfae epigrapfa " Regnante Tfaeodo-
rico bono Romae." In the sixth century, faowever, wfaen Rome
was besieged and tfae aqueducts destroyed by Vitiges, the baths
of CaracaUa were reduced to a grievously dilapidated state ;
and frora tiiat period, besides the reraoval of the raarble
* See page 222.

406 A TOUR IN MODERN ROME. [Chap. XIII.
colurans and marble sfaeatfaings of tfae waUs for the construction
of Christian cfaurches, a general course of depredation, by the
appropriation of the raaterial to private palaces, was carried
on by the principal personages in Rorae, with so Uttle care and
caution, that not only very raany valuable objects destroyed by
the falUng roofs lay shattered like mbbish on tfae pavements,
but a great deal of the finest marble was actually bumt into
lime for making mortar. Even the raain walls, whicfa, being
raade of brick, now afford so beautiful and perfect a speciraen
of the shell of the building, had the raaterial been travertino
instead, would no doubt faave been destroyed long since for the
sake of the building stone ; and such was the state of confusion
in tfae work of destruction, tfaat several of tfae most celebrated
objects of ancient art, entirely overwhelraed and unaccounted
for, reraained tfaere as raucfa forgotten for many centuries as if
tfaey had never existed. At tfae revival of tfae arts a host of
greedy speculators heated by their avarice, like flies by a sum
mer's sun, coraraenced their explorations, at the period wfaen the
magnificent palace of Pope Farnese was in a state of erection,
and as Farnese fairaself was foremost araong the depredators,
and his sagacious raind anticipated tfae treasures of early art
tfaat lay faidden in tfae raine below, pickaxe, spade, and shovel
were applied in the service, so vigorously that his labours were
speedily rewarded, in addition to tfae discovery of innuraerable
rainor objects of decoration, by several of the most noble speci
raens of art in existence ; araong which latter may be mentioned,
the Hercules of Glycon, known ever since by the name of the
Famese Hercules, the celebrated group of Diree which, the
principal object being the wild bull, is distinguished by the
title Toro Farnese, and the colossal statue of Flora, all which
are now in tfae Museura of Naples, tfae property of tfae Neapo
litan Governraent ; and besides these, otfaers now to be seen in
the chambers of the Vatican, riz., the Torso Belvidere, the
groups of Atreus and Thyestes, and of the two gladiators, the
statue of Venus Callipyge, and finally two large granite basins
which are now the receptacles of the pair of fountains in the
Piazza Farnese. Antiquaries meanwhile faave faad abundant
reason to deplore, notwithstanding that Europe has been en
riched by the splendid acquisitions above mentioned, tfae reck
less haste, instigated by the desire of plunder, by wfaicfa the

Chap. XIIL] BATHS OF CARACALLA. 407
interests of knowledge were sacrificed in tho process of exhu
mation, for many important parts of tiie buUding wore over
looked that might havo tended in a considerable dogroe to
enUghten posterity vrith regard to the minor arrangements and
consfruction of these wonderful bathing establishments of the
ancients. Since tfae reign of Farnese, everytliing worth the
trouble of removing faaring been discovered and carried away,
no furtfaer measures for tfae purpose of exploring the deserted
chambers have been attempted, with the exception of an opera
tion on a minor scale unattended by any important result,
imdertaken in the year 182(), by the Count Velo of Vicenza,
and consequently the ruins may now be said to have reraained
in the condition they are in at present, for a period of about
three hundred years.
AA^th regard to tfae present appearance of the structure,
which originally consisted, sirailar to tfae baths of Diocletian
and aU the other ancient Roraan batfas, of a double quadran
gular enclosure, one vritfain the otfaer ; tfae outerraost a square
of 1140 French feet, and tfae inner 690 Frencfa feet by 450 ;
tfae former of these, a brick wall for most part levelled
vrithin a few feet of the ground, is still distinctly to be
fraced over the wfaole extent of its peripfaery. Upon tfais
outer enclosure are supposed to be the remains of chamfjers
tfaat served as batfas for tfae plebeians, and also tfae porticoes ;
but in consequence of tfae line extending through enclosed
rineyards, it is not very easy to get an opportunity of exa
mining it closely; neither in fact were it worth tfae trouble
to do so, as a tolerably comprefaensive idea raay be obtained
at a distance, even from the pubhc road. It is the inner
enclosure whicfa is properly understood by tfae term Baths of
Caracalla, a stupendous pile of lofty brick walls of the diraen
sions above stated, wfaich surpasses in magnitude every other
ancient ruin to he seen in Rome except the Colosseum, and
serves to exfaibit, as far as relates to the effect produced on the
mmd, notvrithstanding the total loss of tfae roof, tfae form and
altitude of tfae orignal structure.
Jh order to obtain admittance to the interior, whicfa, tfae sfaell
of tfae building being tfaus perfect, is inaccessible otfaerwise tfaan
tfarougfa a single portal on tfae nortfaem side, or ratfaer the
north-western *side, wfaicfa is tfae aspect more precisely, it is

408 A TOUR IN MODERN ROME. [Chap. XIII.
necessary to obtain the serrices of the custode, who is in tfae
faabit of attending on the spot every day at 2 p.m., for the accom
modation of visitors. But as there is no fauraan residence vritfain
a convenient distance of tfae portal, or anybody about the spot
capable of describing the whereabout of this personage, who
Uves in an obscure part of the city, people who arrive for tfae
especial purpose of seeing tfae baths are put to considerable
inconvenience, not unfrequently, in consequence of fais tardy
arrival, and one, two, and tfaree carriages, or more, dravm up
at tfae door, and several people on foot pacing backwards and
forwards irapatiently, raay be observed there very often. Tfae
door in question opens upon a road tliat diverges frora tfae Via
di S. Sebastiano, and leads at once into one of tfae roofless
charabers, whose bare and lofty walls, of very great thickness,
appear to be coraposed, as raay be ascertained by fractures
here and there, of tufa rubble in the mass, with a facing of fine
bright red briek, in wbich rows of flat tiles are inserted, witfa
tfae edges upon tfae plane of tfae surface at distances 4J feet
asunder. Frora tfae first cfaamber tfaere is a communication to
all tfae rest by open portals, tbougfa I cannot state tfae number,
or pretend to specify tfae original appropriation of eacfa particular
cfaamber ; it would be quite irapossible, in fact, to atterapt an
account of the ground-plan without a diagram. Tfae partition
walls, faowever, as well as tfae outer wall, are for tfae most part
perfect, and tfae cfaarabers accordingly known, or presuraed to
be known, to the antiquaries, tfaougfa I very much question
wfaetfaer, on sufficient autfaority, under tfae titles, tfaat in ancient
tiraes, are supposed to faave belonged to eacfa, sucfa as tfae apo-
dyteriura or dressing, or ratfaer undressing-room, tfae pina-
cotfaeka or picture-room, tfae Cella Solearis, and so fortfa. Sucfa
titles, faowever, are erapty names, compared witfa the visible
appearances, as one passes along tfarougfa cfaamber after
cfaaraber of different sizes, but othervrise similar to one anotfaer,
of wfaicfa none retain any visible indications of baths at all, ex
cept here and tfaere tfae same description of terra-cotta conduits,
that were before referred to in the description of the baths of
Diocletian,* and are to be seen here, in some places eigfa^or
ten incfaes in diaraeter, adfaering to tfae angles of the walls.
Neitfaer is tfaere tfae slightest vestige of a pavement to be per-
* See vol. i. p. 250.

Chap. XIIL] VALLEY OF EGERIA. 409
ceived on tfae ground under foot, which is covorod for the most
part vrith rubbish to a gi-eat extent ; especially in the second
or tfaird cfaamber from tfae entrance, several waggon-loads, in
cluding large fragments of broken walls, lie in the raiddle ;
one large fragment, lined with mosaic, protruding from aniong
the rest. As the latter object appears at all events worth
the trouble of reraoval, one is induced to wonder why it is
allowed to remain tfaere, particiUarly as a considerable coUec
tion of fragments of various sorts, heads, feet, and arms of
statues, pieces of colurans, and entablatures, &c., worthless
for tfae raost part, but faeaped together by the custode, to
whora, no doubt, belongs tfae pririlege of disposing of sucfa
articles to risitors, wfao are desfrous of obtaining a rerai-
niscence of tfae batfas of Caracalla, are preserved in a chara
ber near the entrance, protected by a door under lock and
key. In a chamber at tfae farther end of tfae suite may be
observed the excavation above referred to, whicfa was made in
the year 1826 by the Count Velo of Vicenza ; here tfae sub
structure of tfae buUding has been laid bare to a considerable
extent, and appears to faave been raised on brick arches ;
whether or not the vaulted space was applied to any useful
purpose I cannot say, though the appearance may be corapared
to tfae vaults of wine -ceUars. In tfae same cfaamber is a very
spacious abds, not less than 75 feet in breadth, frora the size
of whicfa it may be presumed tfaat during tfae flourisfaing period
of the batfas, one or otfaer of tfae principal groups or statues
were contained tfaere. Tfae semi-dome, of wfaicfa a considerable
portion faas disappeared, was composed, as may be seen by the
fractured edges of the part remaining, and fragments that lie
strewed upon tfae ground below, of volcanic puraice, dark in
colour, porous in a faigfa degree, and full of faoles as a faoney-
comb. Tfae vaulted ceUings of aU tfae apartments were raade,
it is said, in consequence of the extrerae hghtness of tfae sub
stance, of tfae sarae raaterial, and tfaere is, at all events, reason
to beheve tfaat sucfa was tfae case, judging frora tfae quantity to
be seen not only here, but in every part of the ruins araong the
rubbish. The title of the ancient Valley of Egeria was for a very
long period supposed to belong to the tract of low ground at
the foot of tfae CoeUan, tfarougfa wfaich tfae Maranna streara,

410~ a tour in MODERN ROME. [Chap. XIII.
entering tfae walls of Rome close to tfae Porta Metronis, pur
sues its course towards tfae nortfa-east angle of tfae batfas of
Caracalla, near wfaicfa point it crosses tfae Via di S. Sebastiano,
as before stated. Tfae vaUey in question, celebrated for its
fountain, and for tfae romantic and supernatural congress of
Numa Pompilius witfa the dirine nymph Egeria, was at that
early period of tfae Roman faistory outside tfae walls of the
city, tfaougfa subsequently it was included within the enclosure
by whicfa Rome was encompassed by Servius Tullius. The
spot, therefore, not very far removed from Numa's principal
-religious establishment, at the foot of the Palatine, and so
far favourable to the fanciful and ideal inspirations suggested
to tfae iraagination by a very beautiful fable, may be sup
posed to have been not inappropriately selected by the poets
and faistorians as the scene of tfaose raysterious interviews —
though, alas ! the visionary fabric faas been overtbrown by
raodern antiquaries, wfao transfer tfae place of mystical rendez
vous to tfae Valley Caffarella, on the Appian way, a spot full
three miles distant, wfaere a real fountain, wfaich, after all,
there is every reason to believe is nothing more than a nym-
phaeura constructed in the tirae of the erapire, usurps the
ancient narae and honours of tfae Fountain of Egeria. The
Valley and Fountain Caffarella vrill be described in the next
cfaapter, but as regards tfae valley here at the foot of the Coelian,
it may be observed that, altfaougfa certainly tfaere is no fountain
in tfae locality, tfae Maranna stream faas existed tfaere in its
present cfaannel, if not from the days of Numa Porapihus, at
least from some time during the kingly period, and long before
the time of any of the classic writers, for wfaicfa reason it is at
all events probable that tfaere raigfat faave been a fountain on
tfae spot fed by its waters, and even if not, and if tfae existence
of a fountain at all be merely an idealization of tfae poets,
suggested by the rivulet in question, why sfaould tfaey fae
deprived of it ?
Proceeding along tfae Via di S. Sebastiano, from the north-
eastem angle of the batfas of Caracalla, towards the gate of
S. Sebastian, and skirting the eastem side of the ruin, the
cfaurcfa of SS. Nereo ed Acfailleo is situated on tfae rigfat-faand
side of tfae way, about the raiddle of tiie structure ; opposite,
on the left-hand side, established on the site of a forraer con-

Chap. XIIL] SITE OF THE PORTA CAPENA. 411
vent of Dominican friars, is a paper manufactory. Continu
ing only a few paces farther along tlio road, nearly at tlie
soutfa-east angle of tfae baths of Caracalla, is situated the
churcfa of S. Cesareo tn Palatio, so called in consequence of
its proximity to the baths, wfaicfa were distinguisfaed in tfae
middle ages by tfae title Palatium ; it has also been called
occasionaUy the Cfaurch of S. Cesareo in Turrem, with refer
ence to a tower overhanging the baths, upon tfae nortfa-eastern
angle, which will be further noticed by and bye. It is necessary
to describe the situation of these objects thus particularly, in
order to show more distinctiy a very important topographical
point, riz., tfae site of the ancient Porta Capena, which is
raarked by a small red granite obelisk, planted in the Via di
S. Sebastiano, immediately opposite the cfaurcfa last mentioned.
Tfae site of tfae Porta Capena was very raucfa a raatter of specu
lation araong tfae antiquaries, until tfae discovery sorae years
ago of tfae ancient Columna Milliaria, or tfae original Roman
milestone, marked vritfa the nuraber one, indicating the first
mile on the Appian way, from tfae walls of Servius TulUus,
whence, as the milestone occupied the spot where it was
originally placed, the distance, hy comparing the Roman foot,
which is about equal to 11 -rV Enghsh incfaes, to tfae Roman
palm, was exactly calculated by tfae competent autfaorities, and
the above-mentioned obeUsk erected in consequence. The
Columna MUUaria in question, now to be seen upon the balus
trade of tfae nortfaern entrance of tfae Piazza Campidoglio, was
described in the eigfatfa chapter. Tfae first of tfae fourteen
regions of Augustus was caUed tfae Regio Porta Capena, not
witfastanding wfaich, it is not precisely determined wfaence tfae
title Capena is derived, whether frora the city of Capua, to
which city tfae Appian way led, or wfaetfaer by corruption from
Camoenae, with reference to a temple and sacred grove close to
the fountain of Egeria, whicfa was dedicated to tfae Muses by
Nuraa PompUius,* whicfa last conclusion would seem to confirm
tfae opinion of tfaose wfao assign the fountain and valley of
Egeria to this quarter. Tfae temple or teraples of Honour and
Virtue also are supposed to faave been situated near tfae Porta
Capena, tfaougfa tfae spot is laid down fartfaer off in tfae map of
NoUi, on tfae rigfat faand of tfae Via di S. Sebastiano, not far
* See Livy, lib. i. cap. 21.

412 A TOUR IN MODERN' ROME. [Chap. XIII.
from the city waUs. The Temple of Mars, witfaout tfae walls,
i. e. tfae walls of Servius TulUus, or tfae Templum Martis extra
Muros, is laid down in sorae of tfae modem maps inside tfae
walls of Honorius, near tfae temples of Honour and Virtue,
but NoUi places tfais temple outside tfae walls of Honorius,
close to tfae Porta Latina.
The Via di S. Sebastiano, wfaicfa, from tfae Porta Capena,
previous to tfae construction of tfae walls of Honorius, was
comprised in tfae Appian way, extends from tfae batfas of Cara
calla, in a direction somewfaat to tfae eastward of soutfa, to tfae
Porta di Sebastiano ; the direction of the Maranna stream,
from the same point of departure, to the Porta Metronis, raay
be described by a Une from west to east, very nearly ; so that
as the walls lead from the eastward to tfae Porta Metronis,
tfaence abruptly tuming to tfae soutfa, and return again witfa a
sweep to the nortfa, comprefaending tfae easternmost of tfae two
tongues of land referred to in tfae beginning of tfae cfaapter, a
narrow slip of land is consequently tfaus comprefaended, whicfa
raay be described as bounded on the north by the Maranna
streara, on tfae east and soutfa by tfae walls of Rorae, and on
tfae west by the Via di S. Sebastiano. This tract of ground,
a portion of which is flat and a portion elevated, is called the
Monte d'Oro, for wfaich title I have never found any reason
specifled, though it is possible that it originates in consequence
of tfae nuraerous raagnificent sepulcfares and columbaria whicfa
are known to faave existed on the side of tfae Appian way, and
especially at tfae spot in question, iramediately close to tfae
ancient walls of tfae city. Of tfaese tombs and columbaria
several are now reraaining witfain tfae liraits of tfae Monte
d'Oro, for instance tfae celebrated torab of the Scipios, the
colurabariura of the freedmen of Augustus, or of Cnaeus
Pomponius Hylas and Pomponia Vitellina, and also another
colurabariura, discovered in 1840, the most perfect speci
men, perhaps, of any at present existing of those ancient
ceraeteries. Previous, however, to describing tfae objects
wfaicfa are contained witfain tfae liraits of tfae Monte d'Oro,
it will be raore advisable to pursue our course by the Via
di S. Sebastiano, along its westem boundary as far as the
gate, coraraencing at tfae sraall granite obelisk, the site
of the Porta Capena, wfaitfaer we had already arrived ; and

Chap. XIIL] ARCH OF DRUSUS. 413
whence another road, the Via Latina, loading to the Porta
Latina, diverges on the left hand at a small angle from the
Via di S. Sebastiano, otiierwise the Appian way. Here, Ikv
yond the point of divergence, tfae banks on the left-hand side,
that is to say, the banks of tiie Monte d'Oro, assume irame
diately a considerable degree of elevation, and the sides are in
fact so precipitous tfaat there is every reason to suppose tfaat
the road in this part was reduced by artificial means to a lower
level, as is done at the present day in England by what is com
monly called " a cutting."
Within a very short distance of tfae gate of S. Sebastian, one
hundred yards or thereabouts, the Via di S. Sebastiano is spanned
by the Arch of Drusus, tiie southernmost of all tfae ancient
arches, built upon the great thorougfafare tfarougfa tfae city,
wfaereas the Arch of Marcus Aurelius, in tfae Corso, was tfae
nortfaernmost. The arcfa was erected about the 41st year of
the Christian aera, by tfae senate and Roraan people, and
dedicated as a posthumous raark of honour to Drusus, the
father of Claudius, and tfae sarae personage wfao is celebrated
by Horace as the youthful conqueror of the Rhaeti and Vin-
delici, in one of tfae raost sublirae of all fais Odes.* The
structure, similar in cfaaracteristic form to tfae triurapfaal arcfaes
already described, is coraposed of large blocks of travertino,
and coraprises a single aperture eighteen feet or thereabouts in
depth, that reserables tfaose of tfae lower tier of tfae Colosseura,
or more particularly the arches of tfae Vivarium, on tfae Coelian,
described page 214, inasraucfa as tfae key-stone, wfaicfa, not
witfastanding tfae deptfa above stated, is coraposed of only two
blocks, projects on eacfa side full 30 incfaes beyond tfae plane
of tfae frontage ; on tfae soutfaern front a considerable portion
of the ornamental part of the arcfa still remains, especially a
pafr of flanking columns of Afiicano marble, vritfa a large por
tiou of tfaefr entablature, and, as regards the main body, it is
in very good preservation, and bears on the sumrait a large
fragraent of an aqueduct carried over it by Caracalla, for the
purpose of conveying water to his baths— a craggy shattered
mass of brickwork that, covered with green plants and with
flowers, faas a picturesque effect. Tfae spectator, standing
witfain the Arch of Drusus, as tfae gate of S. Sebastian is but
* Lib. iv. Ode iv.

414 A TOUR IN MODERN ROME. [Ch.ip. XIII.
a little way beyond, traces the line of perspective along the
Appian way tfarougfa botfa portals.
"Tfae Gate of S. Sebastian was substituted, in conjunction
witfa tfae Porta Latina, by Honorius instead of the Porta
Capena ; it was called originally Porta Appia, and subsequently
Porta S. Sebastiano, in consequence of the Basilica of S.
Sebastian built on the Appian way two railes distant. It be
carae considerably dilapidated in the sixth century, during
the Gothic war, and was repaired by Belisarius, or, as sorae
say, by Narses. It is a fine structure, ornaraented by a pair
of flanking towers, which, especially wfaen viewed from tfae out
side, appear to great advantage.
The Porta Latina, tfaougfa witfain a short distance, as
the position of the gate of S. Sebastian is precisely on the
apex of tbe tongue of land more than once referred to, is ap
proached by foUowing the direction of the walls outside, first a
little to the eastward, and then to the northward. Like the
Gate of S. Sebastian, it suffered much injury during the
Gothic war, and was repaired by Belisarius, who caused the
Christian raonograra to be engraved on the key-stone of the
arched aperture ; it is ornaraented by a pair of round flanking
towers, and there is said to be upon the jarabs of the portal
the groove belonging to the portcuUis with which it was
provided by Belisarius.
To proceed now to the objects contained within the liraits of
the Monte d'Oro : the first to be observed, though one of
rainor importance, otherwise than as connected vritfa tfae general
faistory of the columbaria in the neighbourhood of Rome, is
situated between the Gate of S. Sebastian and the Arch of
Drusus, where the road between both arches is fenced on
botfa sides by a lofty wall. Here on the side towards tfae
Monte d'Oro tfae wall, wfaicfa is separated from tfae tfaorough
fare by an intervening greensward twenty yards in breadtfa
or tfaereabouts, is covered over a considerable portion of the
surface with opus reticulatum, and coraprises the object in
question, viz., one entire side of an ancient colurabariura
pierced with tiers of sepulchral niches, sucfa as were re
ferred to in tfae colurabariura of Lucius Arruntius, on tfae
Esquiline,* and vrill be described presently vrith regard to
* See page 318.

Chap. XIIL] TOMB OF THE SCIPIOS. 415
the last discovered columbiuium on the Monte d'Oro more
particularly ; but it is to be regarded as a reraarkable instance",
considering that it is situated on a public road, wfaere any
body, without farther trouble than merely stepping aside, is
at liberty to approach it without resfriction, of tiie iiiannt'r
such objects are protected in the neighbourfaood of Rome,
on account of the extraordinary superfluity that renders
them valueless, and not worth tfae pains of removal. Here,
accordingly, tfaougfa the sraall raarble sarcophagi, as in the
columbarium of Lucius Arruntius, bave departed, the ollse of
terra-cotta, laid bare in many places by fractures in the
masonry, have, for the most part, been suffered to reraain un
touched. In fact tfae number of deserted Columbaria over and
above all pointed out by guide-books and ciceroni, tfaat are to
be met vritfa in tfae neighbourhood in a similar condition to tfae
one in question, after being disihantled of all tfae valuable
objects by the proprietor of tfae soil, wfaUe tfae ollae of faumble
terra-cotta are left abandoned to tfaeir fate, like rubbish of tfae
lowest description, exceed aU moderate calculation.
Tfae next object to be visited belonging to the Monte d'Oro
is the Tomb of the Scipios, the entrance of wfaicfa is situated
on the perpendicular bank that bounds tfae Via di S. Sebastiano,
hardly a furlong's distance frora tfae gate. Upon the bank,
which rises thirty or forty feet at tfae spot in question, raay
be observed a small rough wooden door, that from its in
significant appearance might fail to attract the attention,
were it not tfaat tfae words " Sepulchra Scipionum " are in
scribed in capital Roman cfaaracters above the portal. The
Tomb of tfae Scipios was for a very long period, until tfae year
1780, identified vrith anotfaer ancient raonument, situated nearly
two miles distant on tfae Appian way, wfaich vrill be referred to
in the next chapter, and was first discovered at the tirae above
mentioned in consequence of a part of the vaulted roof giving
way while a peasant was ploughing tfae soil above, tfaat faad
gradually and in tfae course of many succeeding centuries accu
mulated upon tfae structure. Tfaen, accordingly, was suddenly
brougfat into dayligfat tfae celebrated sarcopfaagus tfaat contained
the remains of tfae Roman consul, Lucius Cornelius Scipio
Barbatus, who served fais consulsfaip 297 years before tfae
Christian aera ; this sarcophagus is now preserved in the

416 A TOUR IN MODERN ROME. [Chap. XIIL
Vatican, and innuraerable rainiature raodels witfa tfae inscription
faave been dispersed all over Europe. At the sarae tirae
several other sarcophagi belonging to the faraily of the Scipios
were found and reraoved, and in addition two busts, one of
whicfa is incognito, and tfae otfaer supposed to represent the
early Latin poet Ennius, both which latter objects are preserved
in the sarae charaber of the Vatican, the vestibolo quadrate,
with the sarcophagus of Scipio Barbatus.
In order to obtain adraittance to the interior of the torab
it is necessary to raake application to the faraily of the custode,
who inhabit a sraall cottage percfaed on tfae elevated ground
iraraediately above the entrance. A fligfat of steep narrow
steps cut on tfae side of the precipitous bank, a few paces
south of the torab, lead to the dwelling in question, where,
tfaougfa tfae proprietor is generally absent, the wife or one or
other of three or four grown up daughters, generally eraployed
in washing or sirailar doraestic eraployraents, are always at
horae and willing to perforra tfae office of cicerone. On enter
ing tfae door, tfaougfa tfae fracture in tfae vault that led to the
discovery has reraained open ever since, the ligfat is faardly
sufficient to make any raaterial cfaange in tfae state of total
darkness tfaat reigns within, so tfaat it is irapossible, even with
the assistance of the tapers prorided by the feraale custode, to
forra any satisfactory idea of tfae original plan of the raonuraent ;
it is generally admitted tfaat there were two stories, but the
upper story, with the exception of some trifling indications
wfaicfa will be referred to presently, has totaUy disappeared.
The upper story probably comprised the ornamental part of
the structure exclusively, and tfae principal entrance is stated
by Nibby to faave fronted nortfaward upon a road coramuni
cating between tfae Latin and the Appian way, between which
latter roads it seems singular that a road of comraunication
should have been necessary, so sraall is the distance ; whence,
as before observed, they diverge at a sinall angle of bifurcation,
in front of the obelisk. The exploration of the subterraneous
territory is, at all events, attended with considerable disad
vantages, in consequence of tfae draughts of air that continually
penetrate the charaber, and render it not a httie difficult to
keep the lights from being extinguished ; of these small wax
tapers, in addition to one carried by the lady custode, anotfaer

Chip. XIIL] TOMB OF THE SCIPIOS. 417
is placed in the faands of tiie visitor, wfaicfa," in consequence of
its being necessarily borne witii the arra extended in front,
dazzles the eyes, and is rather a hindrance than a benefit, to
say nothing of the inconvenience arising from the dripping wax,
which, even provided the garments aro prosorvod from injury,
trickles over the fingei-s. As far as I could comprehoiid of
the area of the lower story, which is the crypt or sepulchral
chamber of tfae edifice, witfa whicli alone we faave at present to
concern ourselves, the vvay on entering appeared to lead for
a few paces sfraigfat afaead tfarougfa a passage excavated in tfae
tufa rock, whence another passage, diverging by an inclined
plane to tfae left, leads to tfae original ground-level, both which
passages were excavated, since tfae discovery of tfae sepulcfare,
for the purpose of access. Here below raay be seen, upon
the side of the structure parallel vritfa tfae Via di S. Sebas
tiano, excavated in the tufa rock, the niches which contained
the sarcophagi of the Scipios, and above each vacant niche,
inscribed at tfae time of the removal of tfae sarcophagus,
appear the name and titles of the meraber of the faraily
belonging to tfae receptacle. Tfae first nicfae, for instance,
and tfae nicfaes are said to be six in nuraber altogether,
contained the sarcopfaagus of Publius Cornelius Scipio, de
scribed as the Flamen Dialis, or Priest of Jupiter. Turn
ing suddenly to the right, by a passage excavated in front
of the northem side of tfae structure, tfaere are certainly
to be seen tfae reraains of wfaat appears to faave been an
entrance, a round-topped arch, in span ahout six feet, and
in height about eight feet, cut out of the solid tufa rock, and
surmounted by an entablature of peperino ; tfaere raay also be
perceived on each side of the arcfa, attacfaed to tfae solid wall
of tufa, a coating of stucco, covered vritfa fresco painting, of
which tfae red is tfae best preserved and predoralnant, though
all the other colours are nearly indistinguishable. Finally,
above the arch are to be seen tfae only existing reraains of tfae
second story of tfae sepulcfare, a sraall fragraent of a column
which still occupies its original place on the entablature ; all
which objects combined togetfaer, tfaougfa forming the total
amount of tfae subterranean exhibition, are quite insufficient to
convey to tfae mind anytfaing like a satisfactory idea, whether
VOL. II. 2 e

418 A TOUR IN MODERN ROME. [Chap. XIIL
as to tfae form, tfae style of architecture, or tfae extent of deco
ration of tfais celebrated monument.
The Columbarium of the Freedmen of Augustus,
situated upon the Monte d'Oro, is witfain a sfaort distance of
tfae Tomb of tfae Scipios, wfaence a direct patfa raay be found
leading tfaitfaer directly frora tfae cottage of the custode, tfaougfa
tfae regular approacfa is from tfae obelisk that marks the site
of tfae Porta Capena, tfaence proceeding by tfae Via Latina, tbat
diverges from tfae Via di S. Sefaastiano close in front. A few
paces witfain tfae point of bifurcation, anotfaer road diverges from
tfae Latin road on the rigfat-faand side towards tfae Appian way,
and ends presently in a cul-de-sac. Here at tfae extremity,
and on tfae rigfat-faand side of the way, is a wooden portal in
tfae brick wall, and attached to it a bell, which on being rung,
the custode, wfaose cottage is iraraediately close within,
generally vritfaout a raoraent's delay, raakes fais, or ratfaer faer
appearance, for liere, as in tfae instance of tfae Tomb of the
Scipios, the office is usually performed by a feraale. This
colurabariura may be considered one of tfae staple objects of
curiosity in Rome, wfaitfaer tfae attention of visitors is priraarily
directed by the cicerone ; it was discovered in 1830, and is
said to be the property of a learned society, though tfae pro
prietors, wfaofiver tfaey raay be, derive probably, sucfa are tfae
nuraber of 'people who risit it, a veiy considerable eraolument
by its exhibition to the pubUc ; in fact, previous to the dis
covery of another colurabarium in tfae immediate ricinity, in
tfae year 1840, in a state of still better preservation, it main
tained, witfa regard to all tfae otfaer columbaria to be seen near
Rome, tfae first place in the category. Though called by the
proprietors tfae Colurabariura of tfae Freedmen of Augustus,
it is described hy Nibby as a cemetery belonging to Cnaeus
Pomponius Hylas and Pomponia Vitellina, who being tfae owners
of tfae soU, derived a profit by letting to tfae relatives of tfae
deceased occupants tfae separate nicfaes, wfaere various different
faraiUes were buried proraiscuously, including raany persons
attached to the houses of Augustus, of his sister Octavia, and of
Tiberius. Araong the officers of the Iraperial faousefaold, at all
events, wfaetfaer freedraen or slaves, were tfae exactor, or receiver,
the suraptuarius, or steward, tfae pocillator, othervrise a potione,

Chap. XIIL] COLUMBARIUM OF FREEDMEN OP AUGUSTUS. 419
or butler, the a cubiculo, or chaiiiberlain, the tonsor, or barber,
theraedicus ocularis, otfaerwise modicusab oculis, or eye-doctor,
the ab epistolis Latinis, or Latin soorotary, the ab opistoUs
Graecis, or Greek secretary, the ab hortuUs, or gardener, the
unctor, or attendant of tiie baths, the carpentarius, or coach-
maker, the venator, or huntsman, the faber a tabernaculis, or
workman in charge of the tents, tfae faber a tabulis, or picture-
framer, the pedisequus, or running-footman, &c., &c., &c.,* of
whom the remains of several, or of personages of a sirailar
character, wfaetfaer the columbaiium were a private, or joint-
stock establishment such as above described, or an Iraperial
one, are to be recognised below.
As regards the present state of the structure, it consists in
the first place of a portion above ground, coraprising four brick
walls, covered by a modem roof, that enclose a small rect
angular area. Upon one of the sides is tfae entrance by a door,
above which appeai-s the following modern inscription, " Colum
barium Libertorum Domus Augusti." The descent is by
the original very steep and very narrow straigfat fligfat of brick
steps, that lead to two small subterraneous chambers, and upon
the wall of tfae stafrcase is to be seen, it is said, tfaougfa I did
not happen to perceive tfae object in question, tfae names of
Poraponius Hylas and Pomponia Vitellina inscribed in ancient
mosaic. Of one of the chambers especially, the vaulted ceiling
is beautifully painted in fresco, equal, perfaaps, in execution,
and in the same style of arabesque, as the ceilings in the baths
of Titus on the Esquiline. The walls of both charabers are
prorided vritfa rows of sepulcfaral nicfaes, tfaougfa tfae nicfaes are
not invariably at even distances apart, in consequence of small
monuments here and tfaere, sucfa as may faave afforded a model
of the raonuraents of our Christian cfaurcfa, being interpolated
between. These interpolated raonuments engrafted on the
waU, precisely resemble those of the present day, and consist
for the most part of a pediment resting on a pair of smaU
colurans, vrith a stucco bass-rehef within the tympanura. The
small raarble sarcopfaagi have been permitted to reraain in tfaeir
places m tfae niches, witfa few exceptions, so tfaat tfae variety is
remarkable, and is in fact a principal feature in tfais colum
barium, whicfa is supposed by the antiquaries to have remained
* See Montfaucon, vol. v. part 1, pp. 54 and 55.
2 E 2

420 A TOUR IN MODERN ROME. [Chap. XIIL
in use from the reign of Augustus up to the period of the
Antonines. I would wUlingly have taken a copy of a few of
tfae inscriptions faad I been permitted to do so, but in tfais
particular the regulations of the proprietors are of a stringent
monopolising character, and are enforced in the most inexorable
manner possible by the female custode, by wfaora tfae veriest
trifling use of paper and pencil is anxiously profaibited. Neitfaer
is it possible even for a raoment to elude faer vigilance, for
being of mature years, of ligfat active forra, and by nature
exceedingly nirable and excitable, faer eyes, directed witfaout a
raomenfs respite towards a suspicious looking visitor, absolutely
glisten witfa vengeance at tfae appearance of any movement of
preparation — even tfae merely looking at tfae palra of tfae faand !
Beside tfae sraall raarble sarcopfaagi in tfae nicfaes tfaere is to
be seen in tfae present colurabariura a horaely description of
sarcophagus, that has the appearance of a coffin, and in shape
still raore nearly reserables the log canoe of a North Araerican
Indian. It is made of red terra-cotta, very roughly formed, and,
when I saw it, contained tbe unburnt skull and large bones of
an ancient Roman in very good preservation. Sucfa probably
were tfae receptacles in wfaich the lower classes of the people
were occasionally consigned to the ground, without being bm-nt,
on tbe EsquiUne and elsewhere, at tfae early period of tfae empire ;
and at all events it affords even a closer model for a modem
wooden coffin tfaan tfaose stone receptacles of tfae raiddle ages
wfaich are sometimes found in our churches. The earliest de-r
scription of sarcophagus, first adopted by the Grecians, is said to
have received its title from tfae quality of tfae material of wfaicfa
it was composed, the Lapis Assius, a stone dug in quarries near
Assura, a city of Troas, that had the singular property of
actually consuraing all tfae flesh and every bone in the body,
with the exception of the teeth, in tfae space of forty days. Of
tfae Lapis Assius, faowever, tfaougfa tfae fact is recorded by
Pliny,* tfaere is no sucfa tfaing as a speciraen, even if existing in
any otfaer part of tfae world, to be seen in Rorae. Pliny, not--
witfastanding, observes furtber witfa regard to it, tfaat it is salt
to tfae taste ; and fae recoraraends it, wfaetfaer by putting the
feet in a vessel made of it, or by using the powder mixed with
bean-meal in the form of a cataplasm, as a cure for tfae gout.t
* Hist. Nat., lib. xxxvi. cap. 27. f Ibid. cap. 2a.

Chap. XIIL] COLUMBARIUM ON THE MONTE D'ORO. 421
The bodies of the dead, it would appear, wore soiiietiinos buried
and sometimes bumt, indiscriminatoly, during the entire period
of ancient Roraan history, according to the different rites of
sepulture. The remains, in the first instance, were consigned
to tfae sepulcfaral cfaamber within the larger description of
sarcophagus ; and in the second, in the form of calcined
bones, in the miniature sarcopfaagus, sucfa as those contained
witfain tfae nicfaes of tfae present colurabariura ; or occasionally
the calcined bones were placed in a vase, and the vase was
preserved inside a large sarcophagus, as in the instance of the
Portland Vase, wfaich was found inside the large sarcophagus
supposed to contain the reraains of Alexander Severus and his
mother Mamratea.*
The columbarium above referred to, discovered in the year
1840, ten years subsequent to tfae preceding, is also situated
upon the Monte d'Oro, witfain a sfaort distance frora tfae present
spot, in tfae direction towards the Gate of S. Sebastian. Llence
a path leads thither dfrectly across the vineyard ; but the
regular approacfa is frora tfae Via di S. Sebastiano, where, upon
the elevated bank above the road, in a position sirailar to the
dottage of the custode of the torab of the Scipios, and a few
paces from the latter, towards the Gate of S. Sebastian, stands
the cottage of the custode of the columbarium in question ; and
finally, there is another dfrect patb of coramunication from tfae
cottage of tfae former custode. I cannot state the circurastances
precisely tfaat led to tfae discovery of tfae present colurabariura ;
but it forms one out of very many otfaer instances wfaere a
sepulcfaral ediflce, wfaicfa in its original state was an ornamental
structure, faas been suffered unaccountably to vanisfa by slow
degrees from tfae eyes of mankind, and imperceptibly slide as it
were into tfae earth, till the soil above faas accuraulated to sucfa
a degree tfaat tfae com has ripened and the vine stricken faer
roots century after century, as if it faad never existed. The
present appearance of the object, as the portion of the structure
above ground had totally disappeared, and the earth entirely
fiUed tfae subterranean cfaaraber, consists, in consequence of tfae
operations undertaken by tfae proprietor for its restoration, of
four waUs built above ground, and covered witfa a raodern roof,
tfaat enclose a smaU rectangular area, like tfae columbarium
* See page 13.

422 A TOUR IN MODERN ROME. [Chap. XIII.
last described. One ,waU here, as tfaere, contains a door leading
by a fligfat of steps below ; but faere, in addition, tfae walls, wfaicfa
are about twelve feet in faeigfat, are furnisfaed witfa latticed
windows, wfaich enable a person standing outside to have a
tolerably good riew of the interior.
On entering the door tfae descent is by a single straigfat fligfat
of tfae original brick steps, in excellent preservation, tfaat lie
parallel and close to tfae plane of tfae wall ; the steps are covered
witfa flat tiles, are 16 inches in tfae tread, 12 J incfaes in the
rising, 20 in nuraber, and are protected by an ancient iron rail.
They are so narrow that vrith one hand on tbe iron rail the body
can be barely prevented frora coraing in contact witfa tfae wall
opposite, and being extraordinarily steep, are supported by a
brick arch turned undemeath upon tfae face of tfae wall. Witfa
regard to tfae steepness, it raay be observed that the incUnation
of tfae plane, which coraraences at one of tfae angles above, ter
rainates in tfae centre of tfae side below, whicfa is about 18 feet
in breadth. In the centre of the area is planted a square brick
pier, of which the breadth of the sides is 3 feet 6 incfaes ; it
would appear tfaat it supported tfae original roof, and now the
upper portion beiug restored by the proprietor of tfae spot, it
forras a central support for tfae raodern roof or ceiling, wfaicfa is
a plain groined vault of brick. Tfae pier and the walls of the
charaber are furnished with sepulchral niches, of which the
form, tfaougfa occasionally various as regards tfae piei^and one
of tfae walls, is exclusively semicircular upon tfae otfaer tfaree
walls, wfaere on one side tfaere are nine tiers of eigfat nicfaes, on
anotfaer side nine tiers of nine nicfaes, and on tfae tfaird side nine
tiers of eleven niches. On the fourth side, of which the plain
surface is broken by the arch tfaat supports tfae flight of steps,
tfae nicfaes, of wfaicfa I cannot state tfae number, are some
square and sorae semicircular. Witfa regard to tfae pier, tfaose
of tfae seraicircular nicfaes, whicfa are of tfae ordinary form, cout
tained for tfae most part tfae small marble sarcopfaagi in the
highest possible preservation, and in addition to these was to be
observed on one side a sraall raonuraent, in forra like the inter
polated raonuraents of the other columbarium, which occupied
the entire breadth. The interraediate surface on all the four
sides is painted in fresco with small flgures of birds araong
foliage ; tbe figure of a peacock especially very accurately

Chap. XIIL] COLUMBARIUM ON THE MONTE D'ORO. 123
delineated. Tfae niches upon tho four walls of the cfaamber
contained, almost without an exception, oaeli the miniature
white marble Siircophagus that belonged to it, undisturbed
and in the most perfect order, insomuch that within several
from which I removed the lid, I invai-iably found tfae calcined
bones of tiie dead. The appearance of the bones was as
perfectly fresh as if recently burnt, and tfae inscriptions,
engraved in tfae usual manner in brief terms on tlie face of
the sarcophagus, as legible as over. One of these — conceived
as it were in a prophetic spirit, as if foretelling that the
remains of tfae departed were to be explored after seventeen or
eighteen centuries by a foreign visitor to the Eternal City,
created a starflmg impression when I read as follows, — " Ne
tangite, O mortalis, reverere manes Deos." Another that
particularly atfracted my attention was an epitaph by a widow
to a deceased husband, which at all events, as far as it relates
to the merits of the departed, is a singularly concise testimonial :
"Veneria, P. Seppio. Potenti conjugi bene merenti." A third is
particularly indicative of the morals and general state of society
that existed at the early period of the empfre, by the explicit
avowal of a Roman gentleman, of the relation existing between
himself and his female protegee, tfaus faanded down in tfae follow
ing unmistakable terras for tfae benefit of posterity : " M. TuUii
Agatonis, sibi et concubinae suae." In many, the terms of affection
of a surriving relative towards the deceased are expressed very
pathetically, but in aU with the utmost brevity, sometiraes even
by means of a single epithet ; for tfae most part notfaing more
than tfae narae and age and tfae day of decease is recorded. In
the very few niches frora which the sarcophagi faad been reraoved,
the ollae reraained with the hd firmly secured by cement, as if
it had never been opened ; of sorae of the ollae the lid was
adapted to tfae purpose of a lacfaryraatory in tfae strictest
acceptation of tfae term, for being in a concave form, with
a sraall round hole in tfae centre, tfae tears of tfae survivor
sfaed on the surface would trickle tfarougfa tfae aperture upon
the ashes vritfain. Lacfaryraatories of tfae ordinary descrip
tion, narrow pfaials of thin and tarnished glass, in forra
reserabling those that have corae into use of late years for tbe
purpose of preserving bouquets of flowers in water, were to be

424 A TOUR IN MODERN ROME. [Chap. XIIL
observed in raany places within the niches, lying upon or on one
side of the sarcopfaagus.
I will now, faaving related all I faave to say of tfae ruins, &c.,
situated on tfae two tcmgues of land referred to in tfae beginning
of tfae cfaapter, proceed to describe tfae very few objects worthy ^
of observation that reraain to be seen on the central and ele
vated PORTION OF THE AvENTiNE. Coraracnciug therefore
at a point at the northem angle of tfae faUl, tfae first tfaing to be
observed, situated upon tfae base of tfae rising ground a little
above tfae Via de' Cercfai, is tfae Jews' burying-ground, the
place consigned by the Pope to the Jews resident in Rome as
tbeir ceraetery, notwithstanding tfaat the privilege of being
buried within the walls, whatever teraporal or spiritual benefit is
supposed to be attached to the prerogative, is denied to raerabers
of tfae Protestant Cfaristian cfaurcfa, of whatsoever description.
The position of tfae ceraetery in question is more iraraediately
upon tfae slope of tfae faill, very nearly opposite tfae sraall
cfaapel called tfae Madonna de' Cercfai, close to the entrance of
the Palazzo de' Cesari on the Palatine, and tfae road tfaat leads
tfaitfaer diverges from tfae nortfaern extremity of tfae Via de'
Cercfai. On approacfaing the spot, notwithstanding that tfae
collection of wfaite torabs here grouped togetfaer has an iraposing
effect, wfaen seen frora a distance, tfae style and appearance
of tfae raonuraents are sucfa as, araounting in number to thirty
or forty grave-stones of the most ordinary description, are in
the faigfaest degree indicative of poverty, and calculated to
exfaibit a very striking picture of the miserably depressed state
of the Jewish people vrithin the Pope's dominions. Such,
indeed, is tfae tfarifty nature of tfae establisfament, tfaat tfae very
ground between tfae torabs is planted witfa cabbages and arti
chokes ; neither is there, notwithstanding that tfae spot is parti
cularly exposed to tfae weatfaer and reraote from faouses, any
better place of accoraraodation for tfae priest and raourners at
a funeral, tfaan an open faut witfa sides and roof raade of reeds,
that resembles a gardener's tool-house, and is actually so
appropriated. In fact tfae only ornamental object in tfae
enclosure is subservient to utility — an alraond-tree bearing
alraonds. The grave-stones, of which the inscriptions are in
Hebrew and Latin, are in forra precisely such as are to be seen

Chap. XIIL] CONVENTS AND CHURCHES ON THE A VENTI KE. 425
in an Englisfa village churchyard ; nor does there appear to bc
any other difference or ai-istocratic distinction than, whethor
in consequence of a desire of oxclusivoness or not, a fow,
four or five perhaps in nuraber, placotl apart from the otlior.^,
resting against the sloping bank ofthe hill. Thc grave-stones,
however, ai-e after all a sraall rainority of the monuments witfain
the enclosure, and by far tho greater number are notiiing more
than sraall black wooden crosses about six inches high, which are
not to be perceived at all until one actually enters the ceraetery.
Tfae Group of Convents and Churches situated upon
the angle of the Aventine before referred to, that overhangs
the site of tfae ancient Sublician bridge and the Marraorata,
are to be approached by raore ways than one, but raore directly
by a road that, diverging from tfae Piazza della Bocca della
Verita, skirts the northem flank of tfae cfaurcfa of S. Maria in
Cosmedin. Altfaougfa the churcfaes exclusively will be de
scribed in tfae second section of tfais chapter, it will be neces
sary here to state the position of eacfa cfaurcfa, wfaetfaer with
reference to tfae entirety' of tfae group of wfaicfa it forms a part,
or witfa regard to tfae ancient buildings witfa wfaicfa tfae locality
is identified. The First Edifice in the group, beginning at
the northem exfremity, is the cfaurch of S. Sabina, which is sup
posed to occupy very nearly the site of tfae ancient temple of
Juno Regina, buUt about 360 years before the Cfaristian era
by Lucius Furius CamiUus, after the capture of tfae city of
Veu. Tfae Second Edifice is a convent of Dominicans at
tacfaed to tfae southem flank of tfae cfaurcfa of S. Sabina. The
Third Edifice is tfae cfaurcfa of S. Alessio or S. Alexis, whose
site is remarkable as the spot wfaere tfae Sabine leader Tatius,
the antagonist of Romulus, is supposed to have been buried.
Upon the same spot also is supposed to have been situated the
ancient Armilustrum, an enclosure wfaere on certain days
mihtary games were celebrated and tfae Roraan soldiers trained
to arras. Tfae Fourth Edifice, attacfaed to the southern flank
of tfae churcfa of S. Alessio, is a convent of raonks of tfae order
of S. Jerome.
The Fifth Edifice is tfae Casino of tfae Cardinal Lam
bruschini, Secretary of State to Gregory XVL, wbich, togetfaer
witfa a garden attacfaed to it, tfaougfa faeramed in on botfa sides
by tfae adjoining buildings, is situated in a singularly beautiful

426 a TOUR IN MODERN ROME. [Chap. XIIL
position upon tfae extrerae verge of tfae precipitous and lofty
bank that overhangs the Tiber. The Casino, at the time I
visited the spot, was seldom if ever infaabited by tfae proprietor,
but admittance to tfae garden was at all times readily granted
by the custode on ringing the bell at the portal. Tfae custode
not unfrequently, on tfae arrival of any party to wfaom fae wisfaes
to sfaow raore tfaan coramon attention, proposes to tfae ladies
particularly, in a polite jocular manner, previous even to en
tering tfae door, to take a view tfarougfa tfae keyfaole of S.
Peter's, whose dome sure enough appears enamelled by
a circular rim of the blue sky at tfae extremity of a long
arcfaed alcove impermeable to tfae rays of the sun, that lies
as it were pointed towards it like a telescope. Tfae effect is
certainly very strange and beautiful, and on entering and pass
ing directly tfarougfa tfae cool bower in question, a raore ex
tensive prospect is afforded the lover of the picturesque by
descending a few steps excavated in the natural tufa rock, under
the verge of the precipice, where he raay sit ensconced in a
niche like an eagle in his eyrie, and at his leisure observe the
Tiber flowing below, with the Basilica and the Vatican beyond
in tfaefr full proportions. In front of the niche, protected by a
low wall or parapet, is a miniature terrace, 8 feet in length
perhaps, by 3 or 4 in breadth, but of dimensions sufficient
for the convenience of those who prefer an upright position
to stand upon and look around. As regards tfae garden, it is
after all but a very small rectangular enclosure, of wfaicfa one
of tfae sides is bounded by tfae alcove in question, and one if
not two otfaer sides by rows' of leraon and orange trees. In
tfae middle of the area is a flourishing young palra-tree, the
largest to be seen in Rorae, witfa tfae exception of tfae one before
referred to in tfae garden of tfae Passionites on tfae CoeUan.
Here also are two fine pepper-trees, wfaich, though at the time
I saw them laden like tfae mountain-ash with clusters of red
berries, are inferior in size to tbe one in tlie gardens of tfae
Rospigliosi Palace on the Quirinale.
Tfae Sixth Edifice of the group is tfae cfaurch of S. Maria
del Priorato, so called in consequence of belonging to the
Knights of Malta ; it occupies precisely the angle of the faill
above the Marraorata, not very far reraoved frora tfae spot
where tfae ancient Teraple of tfae Dea Bona is supposed to

Chap. XIIL] CASINO OF POPE HONORIUS III. 427
have been situated, wfaich is soiiiewhore in tho direction of the
bastion of Paul IIL, referred to page 404. Tfae profession of
the Dea Bona, somewhat akin to that of Juno Lucina, had
regard exclusively to all manner of female ailments, and ac
cordingly the faelp and protection of the goddess was solicited
by the Roman ladies on every necessary occasion, especially on
certain days, when sacrifices and other religious rites were
administered. The ceremonies were at sucfa times conducted
by females exclusively, and imder circumstances of such ex
traordinary and mysterious seclusion frora tfae raale sex, that
even every statue of the male divinities in tfae teraple was
draped and veiled. During one of tfae above-mentioned
observances, wfaere Pompeia, the wife of Julius Caesar, among
other females of high rank, assisted, the dissolute young Roman,
Publius Clodius, disguised in female apparel, furtively obtained
admittance, but being detected, was consequently brought to
trial, accused of sacrilege. Tfaen it was that Caesar, having
been himself examined in the court as a witness, notwithstand
ing that he offered no testimony derogatory to the character of
his vrife Pompeia, divorced her afterwards ; and being asked by
his friends why under such circumstances he did so, replied
by the well known apostropfae, " Quoniam, inquit, meos tam
suspicione quam crimine judico carere oportere." *
There is yet, before quitting tfae present group of buildings,
one more object to be observed on the otfaer side of tfae road
that passes directly in front. Tfae object in question, the re
mains of a riUa and casino of Pope Honorius IIL, constructed
in tfae beginning of tfae tfairteentfa century, is precisely opposite
the cfaurcfa of S. Sabina, whicfa is tfae first or nortfaernmost of
the edifices above mentioned. The casino was subsequently
increased and restored by succeeding pontifis, though at present
all has entirely disappeared, witfa tfae exception of about
thirty or forty yards of a lofty wall comprising a portal in
the middle, that encloses a heavy wooden gate, forming at
present the entrance of an extensive rineyard. This vineyard,
prerious to the recent suppression of the order of tfae Jesuits,
was raucfa resorted to by tfae merabers of tfae society, and com
prised one of tfaefr numerous rural establisfaments, wfaere a
sraaU casino was erected for tfaeir temporary convenience, and
* Suetonius in Julium, cap. 74.

428 A TOUR IN MODERN ROME. [Chap XIII.
they passed periods of retirement during the perforraance of
their religious exercises. Here accordingly raight frequently
be seen, pacing backwards and forwards along the straigfat
"broad walk tbat leads direct frora tfae portal, several ofthe
faoly fathers, dressed in tfaeir ordinary black garraents and
conspicuous by tbeir broad shovel-hats, associating together
in groups of three persons, as was invariably the custora of the
fraternity. The Temple of Diana, once tfae raost celebrated of all the
ancient buildings on the Aventine, tfaougfa tfaere are now no
recognizable reraains in existence, is supposed to have been
situated in a dfrection frora tfae cfaurcfa of S. Sabina nearly
southward, and on a spot that cannot be better identified
than by the site of the raodern cfaurcfa of S. Prisca. To go
thither it is necessary to retum a few paces by tfae way wfaence
we carae, and, instead of following tfae course of tfae road to
the left and descending to tfae church of S. Maria in Cosmedin,
proceed a little distance farther by a way that runs nearly
straight forward ; thence presently a road diverges to the right
nearly due soutfa, and leads directly to tfae cfaurch of S. Prisca.
Tfae cfaurcfa is situated on tfae left-faand or eastern side of the
road, and on tfae western side opposite, witfain a vineyard called
tfae Vigna Sculteis, tfae Temple of Diana, according to tfae
opinion of Nibby, was situated : in the raap of NoUi it is laid
dovra a trifle farther to tfae soutfaward. The Teraple of Diana
was built by Servius Tullius for the purpose of establishing a
place of coraraon worship for the neighbouring states of the
Roraan erapire, and was constructed according to a plan pro
posed at a meeting of the senate to the deputies from every
city wfaose infaabitants contributed to tbe expense. It was
particularly reraarkable for a bronze column erected in front,
on which tfae decree of tfae senate and tfae names of tfae federal
cities in question were engraved in Greek cfaaracters, supposed
to faave been tfae sarae ancient Ionic letters tfaat- were intro
duced from Pfaoenicia into Greece by Cadmus, 310 years before
the fall of Troy, and brougfat by Evander into Italy 250 years
afterwards. Tfae column, consequently, wfaicfa was in existence
in tfae days of Dionysius,* affords an interesting subject of in
quiry for tfae antiquaries ; for the Roman capital characters
'* Lib. iv. cap. 26.

Chap. XIIL] THE AVENTINE. 429
being similar to ours of tbe present day, wo are tbus far enabled
to trace the antiquity of our alphabet to the earliest agos.
On tfae eastern side of the road, and dose to tfae churcfa of
S. Prisca, tfae House of Licinius Sura, consul in tfae 101st
year of tfae Cliristian ora, and celebrated for faaving enjoyed tfae
favour and patronage of the Emporor Trajan, is supposed to
have been situated ; there may be observed on tho spot the
reraains of brick walls and ai-cbes, eridently ancient, but in so
dUapidated a stato that it is quite irapossible to forra any
precise idea what sort of building they belonged to. In addition
to these ruins there are also to be seen, it is said, sorae remains
of an Aqueduct of the Emperor Claudius, of wfaicfa I
cannot indicate tfae position, neitfaer can I of a Palace of
Trajan, supposed to have been close in the ricinity. With
the exception of the churches, tiiere is notfaing at all in fact to
be seen upon this central portion of the Aventine calculated in
the least degree to compensate a stranger for the trouble of
exploring the locality ; the wfaole surface is dirided by dense
enclosures, and for tfae raost part entirely excluded from the
sight by such sfrong and lofty fences, tfaat even if any authen
ticated ruin remained in existence, would render tfae approach
impracticable. One more object, however, still remains to be noticed, a
SQUARE brick TOWER, bcforc referred to, page 411, tfaat
overfaangs tfae nortfa-east angle of tfae Batfas of Caracalla. To
go tfaitfaer it is necessary to proceed a little fartfaer soutfaward
along the present road, wfaicfa deboucfaes in anotfaer road lying
in a transverse direction, tfae sarae tfaat dirides the Aventine
proper from the pseudo- Aventine, and leads from tfae gate of
S. Paolo to tfae soutfaern angle of tfae Palatine. From wfaicfa
latter point, taking tfae Via di S. Sebastiano as far as the north
east angle of tfae batfas, a road, iraraediately opposite the
enfrance, leads by a steep ascent to the tower in question,
which, percfaed in a conspicuous position on tfae craggy cliff,
immediately overfaangs tfae ruin. Altfaougfa frora tfae appear
ance of tfae tower and its site it was evidently constructed for
the purpose of a fortification, there are no accounts of its
history, wfaetfaer it was built during tfae fiftfa or sixtfa century,
or even at a later period ; it is situated, faowever, close in the
rear of tfae cfaurcfa of S. Balbina, and admittance, on tfae very

430 A TOUR IN MODERN ROME. [Chap. XIII.
rare occasions wfaen tfae cfaurch is to be found open, may he
had tfarougfa tfae building, whicfa faces close to tfae road by
whicfa we faave ascended. At otfaer times, leaving tfae cfaurcfa
on tfae rigfat and proceeding a little fartfaer up the lane, there
is anotfaer approacfa tfarougfa tfae next vineyard.
Tfae outer walls of the structure are still in good preserva
tion, tfaougfa tfae interior, whicfa bears tfae appearance of faaving
been an habitable residence at no very remote period, is in a
state of total dilapidation. It is practicable, however, to
clirab to the top by step-ladders from story to story, eacfa story
consisting of a single cfaamber, of wfaich notfaing now remains
but the bare rafters, so that progress is neitfaer agreeable nor
altogether vritfaout peril. But once arrived at the summit, one
is partly repaid tfae trouble of mounting by a most beautiful
riew, not only of tfae greater part of Rome in tfae foreground,
but of the Carapagna to the sea-shore.

Sect.II.] ( 431 )

CHAPTER XIII. — Section II.

CHURCHES.
S. Maria in Cosmedin.
The cfaurch of S. Maria in Cosraedin stands close to the
northern angle of the Aventine, in tfae Piazza della Bocca
deUa Verita, facing upon tfae piazza towards tfae Tiber. The
spot is likewise at the northem extreraity of tfae Circus
Maximus, and the church is supposed to be situated upon tfae
site of tfae ancient Temples of Ceres, Baccfaus, and Proserpine,
constructed by Aulus Postfaumus tfae Dictator, and referred to
in the description of the Circus Maxiraus, page 132. It is
supposed to faave been originally built about the year 265 by
the Bishop of Rome, Dionysius, and was rebuilt by Adrian I.
in the year 772, when, in consequence of the embellishments
bestowed on the building on that occasion, the title " in Cos
medin," from tfae Greek word " xo<riJuos," became attached to
it. Subsequently, during the dark ages, a convent of raonks
from Greece, by whom the offices of the churcfa were per
formed, was annexed to tfae building, wfaence tfae cfaurcfa was
also occasionally distinguisfaed by the epithet " in Scuola
Graca." The name, faowever, by which it is most cora
monly caUed at the present day is " Delia Bocca della Verita,"
for reasons tfaat will presently appear. As regards tfae ex
terior, the convent of friars, to wfaom tfae cfaurcfa at present
belongs, is attached to the southem flank, and tfae entrance is
upon the gable, tfarougfa a portico accessible by tfaree arcfaed
apertures protected by fron rails. Of tfaese apertures tfae
central one, which is usually kept open while the others are
closed, is furtfaer protected by a porcfa built in front, wfaose
roof is supported by four aneient Roman Ionic columns, tfaat is

432 A TOUR IN MODERN ROME. [Chap. XIIL
to say, two of red granite and two of white Lesbian marble.
The facade of the cfaurcfa, in tfae rear of tfae portico, is a simple
elevation of very inferior masonry, to wfaicfa is attached a square
brick tower of the raiddle ages, whicfa from a distance is con
spicuous. In the interior of tfae portico tfaere are to be
observed engrafted on tfae gable wall of the cfaurch two or
tfaree ancient monuraents, accorapanied by inscriptions in old
letter; and opposite to tfaese, suspended on tfae outer wall
by iron hooks, the jaw-bones of a sraall whale, placed there
as a votive offering by the fisherraan ifs captor, and the
words "ex voto" inscribed above. Finally, at the left-faand
extremity is tfae object, tfaougfa I never heard a reason as
signed why it is placed there or wfaat reference it bears to
this particular locality, from whicfa tfae title Bocca della
Verith is assigned to the churcfa and piazza. It is an enor
mous circular figure of a fauraan face of wfaite marble, 5
feet or tfaereabouts in diameter, witfa eyes, nose, and raouth,
the mouth a roimd faole tfaat perforates the mass rigfat tfarougfa,
of corresponding dimensions, fasfaioned after the style of the
dramatic masks used in tfae ancient theatres. It is related
of tfais wonderful pfaysiognoray, not a little reserabUng a full
moon in appearance, tfaat in consequence of supernatural
qualities attacfaed to it and tfae superstition of tfae Roman
people, it was used during tfae dark ages as a test of guilt
and innocence, on certain occasions of trial, wfaen if the per
son arraigned haviug thrust his faand tfarougfa its gaping open
raoutfa were able to draw it back again, fae was declared
innocent, but if on the contrary the hand reraained rairacu
lously iraraovable within tfae raarble jaws, guilty ; whicfa latter
catastrophe, considering tfaat tfae cereraony was conducted in
tfae presence of an ignorant population by a priest, assisted pro
bably by an able-bodied coadjutor standing bebind tfae raask,
raigfat faave been, and was very likely effected in terrorem by
tfae simplest means possible. There is, however, little or no
authority for the story, but the legend, such as it is, is siraply
oracular ; in the raean time the raask, which after all I believe
to be nothing more than a fanciful object intended to serve the
purpose of the jet of a fountain, sucfa as one or two otfaers tfaat
are to be seen in Rome nearly precisely sirailar, is placed, as it
were, in a temporary manner, slanting against tfae waU witfaout

Sect. IL] CHURCHES.— S. Mabia in Cosmedin. 4. '{.'5
inscription or appliance of any sort ealculatod to attract the
attention towards it. The other similar raasks abo\c referred
to, each doing actual service at its respective fountain, are, one
at the extremity of the Via dl Mascherone, loading frora tfao
south-west corner of tiie F;u-nese Palace to the banks of the
Tiber, and the other in the Via della Lungara In the Tras
tevere, very nearly opposite the Palazzo Salvlatti.
The door wfaich leads from the portico into the cfaurcfa Is
worth remarking, on account of tfae jarabs and lintel, wfaicfa,
as is comraonly tfae case in this part of Rome especially, are
formed of the cornice of an ancient building. The interior is
constructed in the forra of a triple nave, divided by ancient
columns, six on each side, and three piers, one in the middle
and one at each extremity : the columns in quality are as
follows, riz., one Africano raarble, one Hymettian, one Cipol
lino, two Tyrian, two pavonazzetto, four very, fine bigio luraa-
cheUato, and one red granite. The eleven of marble are
fluted, and the capitals of all of various descriptions, for the
most part irregular, and some coraposed of fauraan figures sub
stituted for the acanthus. The ceiling of tfae raiddle nave is
vaulted with arcfaed spaces along tfae base for windows of sucfa
extraordinary deptfa as nearly to meet in tfae middle. Tlie
pavement of tfae middle nave is a remarkably fine speciraen of
opus Alexandrinum. Upon the gable wall, close to the
enfrance, sorae of tfae ancient columns belonging to tfae Teraples
of Ceres and Proserpine, planted on tfae travertino foundation
of the ancient temple tfaat forras tfae substructure of tfae cfaurcfa,
are to be observed built ilp in the raasonry ; tfaey are of
Hymettian raarble, fluted and of the composite order, and are
to be examined to tfae best advantage by ascending to tfae top
of the cfaurcfa by a staircase tfaat leads from a door on tlie
right-hand side of the entrance. On mounting tfae steps tfae
upper part of the shaft of one especially, surmounted by its
capital, stands clear of the wall witfain arm's lengtfa, so tfaat one
may actuaUy toucfa it. At tfae extremity of the raiddle nave
are a fine pair of ambones of pavonazzetto marble, on the sides
of which tablets of porphyry, encompassed with raouldings of
mosaic, are engrafted : here are to be observed among the
rest, one tablet of green granite, of the sarae description as the
pedestal of S. Peter's cfaair in S. Peter's, very dark, neariy
VOL. II. 2 F

434 A TOUR IN MODERN ROME. [Chap. XIII.
black in colour, marked with a sprinkling of wfaite, like faoar-
frost. The ceiling of the side naves is a very flat eUiptical vault,
and tiie paveraent, opus Alexandrinura, of tfae same description
as the middle nave. In the right- faand nave tfaere is no lateral
cfaapel, but there is a chapel at the extreraity facing down the
nave. Instead of a lateral cfaapel tfaere is a portal which leads
through a passage or corridor and the sacristy beyond to the
convent annexed to the church. I never entered the sacristy,
where it is said a pair of giallo antico colurans belong to the
altar, and another of the columns of the ancient teraple are
built up in the wall. The Chapel at the extremity is pro
tected by a low balustrade of bigio, and contained within a
recess in tfae forra of an absis, of which the seraidorae is painted
in fresco in iraitation of an overhanging raantle, and the lower
concave sbeathed_ vvith Sicilian jasper : tbe altar is faced with
giallo antico.
In the left-hand nave there are two lateral chapels and a
chapel at the extreraity. The First Lateral Chapel, which
serves for the baptistery, is quite plain in its decoration, witfa
tfae exception of one object placed in tfae middle of tfae area,
a baptismal fount of white marble, of wbich the entire surface
is delicately sculptured in bass-relief The Second Lateral
Chapel is very plain also, the walls whitewashed and the altar
nothing raore than an altar table appended to the wall and
surmounted by an altar picture. The Chapel at the ex
tremity contains no raarble colurans, but the altar, which is
faced with fior di Persico or Porta Santa, is flanked by a large
pair of stucco statues of angels in a kneeling posture. The
altar picture is one of the ancient portraits of the Holy Virgin
transported frora the East, tfaat are reraarkable for the ex
treraely swarthy shade of the coraplexion.
The Choir or Tribune is elevated by tfaree steps above
the middle nave, and the pavement, like the paveraent of the
remainder of the church, is opus Alexandrinura ; at the extre
raity is an absis containing an ancient pontiflcal chair of white
marble. The High Altar stands isolated on the sumrait of the three
steps iraraediately at the entrance of the choir ; it is a purely
Gothic structure of white raarble, in the forra of a tabernacle.

Sect.II.] CHURCHIvS -S. Ann.v. 1''i5
comprising pliiimclos ornanientod witii crotiliet.s and finials :
the quadruple entablature is parti} covered with iiiosaio, with
apertm-es in trefoil in the intervals : it is supjiortod by four
composite colurans of red granite with gilded capitals: under
neath is a fine ancient sarcophagus of red granito.
Near the high altar is a door leading by a fiight of stejw to
a crypt below, called tho chapel of S. Cyril, vvho about tiie
year 860, in tfae reign of Nicholas I., undertook a raission to
convert the Slaves in Bulgaria to Christianity, lie was born
at Thessalonica, and, assisted by his brother Methodius, adajitod
die Slavonic letters to those of the Greek alphabet, and trans
lated the Bible into Slavonic. The crypt in question, though
of small dimensions, appears to be constructed in the form of
a church of three naves, dirided by colurans In two rows of
three each row : of these columns two are white Porine raarble
and four Granito del Foro, the capitals irregular. Engi-aftcd
on the wall on the right and on the left hand of the entrance
are two martyrs' weights, and upon the wall at tfae extreraity
is an ancient altar of priraitive construction, sucfa as were used
in the catacorabs ; undemeatfa it is preserved a large slab of
marble or granite, on which S. Cyril, who died a martyr, is
said to faave knelt wfaen fae was put to death. The walls of the
chamber have the appearance of the walls of a colurabariura,
to which purpose it raust necessarily have been applied, for
there are on both sides rows of sraall sepulchral niches, which,
though now vacant, contained no doubt sarcopfaagi at one time
or other. "\Miatever may have becorae of the sarcophagi, the
hones of sundry raartyrs on a certain day or days of the year
are exhibited in this crypt to the public. Hence also, by a
blocked up door in the wall, is an entrance to the catacorabs.
S. Anna.
Proceeding frora the churcfa of S. Maria in Cosraedin, a very
short distance along tfae foot of tfae Aventine, tbe church of S.
Anna is situated under the elevated bank, facing towards tiie
Tiber. Tfaougfa dirainutive in size and of by no means im
posing appearance, it is chiefly deserving of notice as affording
a specimen of the extraordinary pains taken by tiie papal
govemment to stimulate tbe sentiraent of devotion araong tfae
2 F 2

436 A TOUR IN MODERN ROME. [Chap. XIII.
people by carefully providing them with wayside chapels Uke
the present in bye lanes and all raanner of out of the way
places in the neighbourfaood. Among sucfa buUdings the littie
church in question, tfaougfa standing upon a tfaorougfafare much
frequented by tbe country people on their way by the gate of
S. Paolo to the market in the Piazza Montanara, is as hurable
in its elevation as any of the more reraote and sequestered,
and raight not possibly be recognised as a church at all, were
it not for a rainiature flgure of the Madonna contained in a
sraall nicfae of corresponding dimensions on one side tfae en
trance, and a sraall stone cross erected on tfae gable. It raay
be furtfaer observed, as an instance of tfae effect produced by
tfae spiritual superintendence alluded to, tfaat tfae entire surface
of tfae masonry being wfaitewasfaed is abundantly scribbled over
witfa sentences, sorae sfaort and sorae long, written in pencil
and in cfaarcoal, all quotations frora sacred fayrans of tfae
Roman CatfaoUc breviary, devout aspirations in prose and
in verse, that bear a very striking testimony to the generally
deep religious feeling that prevails among tfae Roman people ;
and it is furtfaer remarkable that not only here, but elsewhere
in the city and the vicinity, wfaere writings on tfae wall are to
be seen as in otfaer countries, a sirailar serious and cfaastened
tone appears invariably to faave aniraated tfae mind of the
writer. Tfaougfa tfae churcfa is generally closed, so as to prevent
people entering, tfae door is of iron grating, and the wooden
door within being left open, a satisfactory view of the interior
may be had at all times.
Tbe interior is constructed in the usual forra of a single nave
with an altar of very ordinary description upon the gable oppo
site tbe entrance ; but tfae object tfaat particularly attracts the
attention is close witfain on the left-hand side, elevated on a
wooden tressel, that is to say, a very striking effigy of our
Saviour, of wood painted in natural colours and covered with
a garment of painted canvas bound rounds by a real rope tfaat
encorapasses tfae body like a girdle. The figure is repre
sented in the agony of death, the head encircled by a real
crown of tfaorns, and tfae face, forefaead, and bosora sprinkled
with drops of red paint to iraitate blood : the right hand ex
clusively is raade of brass and extended in such a position that

Sect. II.] CHURCIIES.-S. Sabina. 437
the pious visitoi-s who approach for tiie purpose of kissing it
may do so conveniently. S. Sabina.
The position of tiie chm-ch of S. Sabina having boon indi
cated near the end of tiie fii-st section of tliis chapter, I need
here only observe tfaat in addition to tfae road before referred
to from the Piazza della Bocca della ^'erita, skirting tho
northern flank of the church of S. Maria in Cosmedin, another
road diverges close to tfae nortfaern flank of tfae churcfa of S.
Anna, and leads thither also, tfae latter road bounded the whole
distance by dead walls on eacfa side, as is the other. The
churcfa in question, supposed to stand on tfae site of the Temple
of Juno Regina, as before stated, occupies also the spot where
the paternal residence of tfae saint to wfaom it is dedicated
was situated. It was originally built by an Illyrian priest, of
whom little further seems to be recorded than that his name
was Peter, and that fae flourisfaed about the year 425, in the
reign of the Bishop of Rome, Celestine. In the year 824 it
was restored by Eugenius II. , and was afterwards rebuilt and
reconsecrated in 1238 by Gregory IX. In 1541 it was again
restored and embellished by Cardinal Cesarini, and further de
corated by Sixtus V. in 1587.
The entrance to the churcfa is tfarougfa a portico wfaicfa serves
also as the entrance to a convent of Dominican monks annexed
to the building ; the forraer, situated in the raiddle upon tfae
church's gable, is surraounted by an inscription in mosaic
relating to Peter the Illyrian ; but as it is generally closed,
admittance is obtained through the latter at the left-faand ex
tremity, wfaich leads through tfae convent to a side door on tfae
flank. Tfae vaulted ceiling of tfae portico is supported by four
arches springing from four pairs of columns, of wfaicfa two
pairs are grey granite, and two pairs, spirally fluted, pavo
nazzetto. Tfais portico, combined witfa tfae open space in
front of tfae cfaurch, appears to faave coraprised in forraer
times tfae fourtfa side of a quadrangular atriura that probably,
according to the early Christian practice, was attached to tfae
building. The interior is. constructed in the forra of a triple nave.

438 A TOUR IN MODERN ROME. [Chap. XIIL
divided by remarkably fine Corintfaian columns of Llymettian
marble, supposed to have belonged to the ancient Temple of
Juno Regina, twelve on each side, fluted, and the flutings
cabled to the extent of abput two-thirds of tiie shaft frora the
bottora. Being planted raore than usually close together, the
round-topped arches which they support are proportionately
narrow, and have an unusual appearance. Above the arches
rises a very lofty attic pierced witfa a row of windows, and
whitewashed, witfa tfae exception of an entablature, of whicfa
the cornice is a painted iraitation of raarble on the flat wall
and the frieze mosaic. The ceiling of the raiddle nave, though,
according to the style of the ancient basilica indicated by the
single bearing shafts, it ought properly to have been flat, is
neither flat nor vaulted, but consists of rough coloured boards
that converge at tbe top upon an apex like the roof of a
comraon barn. The paveraent is composed partly of red tiles,
partly stripes of marble, and a considerable proportion raonu
raental tablets, of which latter raany, to those who have leisure
to examine them, are curious and interesting. There is to be
observed in the middle of the area a short spirally fluted
column of white marble 3 or 4 feet in height, on wdiich is
placed a raartyr's weight of the ordinary forra and raaterial ;
and at the foot of the coluran is a slab of raarble containing an
inscription that serves to raark the spot wbere S. Dorainic, the
founder of the order of Dorainicans, used to kneel down and
pray. S. Dominic, according to the account of Fleury, was
the son of a Spanish hidalgo, born in 1170, and celebrated for
the perforraance of raany wonderful miracles, of which the raost
reraarkable were tbe casting out of no less than seven devils
frora an energumene who attacked hira, and the raising frora
the dead a young raan, by narae " Napoleon," the son of
a cardinal. With reference to the inscription in question,
wfaicfa is as follows, " Situs lapidis super quo orabat S. P. D"°-
Sanctus Pater Dominicus," and also to the martyr's weight
above referred to, the sacristan, a Dorainican friar of the
convent, unwilling it w ould appear to be outdone by Fleury,
relates to his visitors, as it were by way of a suppleraent to the
ecclesiastical history, that the devil one day, while S. Dominic
was kneeling on tfae pavement as usual, pitcfaed the stone
weight in question with his utraost force out of one of the

Skct. II.] CHURCHES.-S. Sabin.*.. l''J9
attic windows, but that miraoulously, though skilfully directed
by the arch oueiiiy of mankind, and notwithstaiuliiig that the
stone is as big as a largo turnip, and alighted full on the head
of the saint, it did him no injury. Ono other objoit iu the
middle nave worthy of attention is the main door in the gable
of dark coloured wood, divided in panels, eaeh panel curiously
sculptured with designs in bass-relief.
The ceilings of tho side naves aro composed of plain boards
and rafters slanting gently downwards from the inside to the
flank wall. In the right-hand nave there are tliree, and in thc
left-hand nave is one lateral chajiel ; and in addition, in both
naves, is a chapel at the extremity. In the rigfat-faand nave tfaere
is to be observed upon the gable wall near the main entrance,
a monument which covers a considerable extent of surface, and
is more reraarkable for the various descriptions of raarble that
compose it than for the sculpture ; it is surraounted by an
entablature supported on a pair of colurans, and a pair of
pilastei-s of Porta Santa marble or Sicilian jasper. The First
lateral Chapel is protected by a balustrade of bigio, with
comice of Carrara. The altar is faced with pavonazzetto ; and
its pediment rests on a pair of colurans painted in iraitation of
SicUian jasper. The Second lateral Chapel is protected by
a balustrade, of which the balusters are alternately giallo luraa-
cheUato and Porto Venere, and the comice is of Carrara,
surmounted by iron raUs. The area is square ; and the vaulted
ceihng painted in fresco, as are also the sides of tfae cfaapel.
The pediment of tfae altar, in the broken forra, and forraed of
marble, ofwhich the mouldings are exceedingly overwrought,
is supported by four columns ; that is to say, one pair alabastro
cotognino, and another pair Porta Santa brecciata, the latter
pair being the only specimen of such a description of marble in
Rome that I know of; it maybe described as comprising small
blotches of soapy white inclining to blue upon a ground of
purple. The Third lateral Chapel is protected by a balus
trade of Hymettian. Tbe area is square, the ceUing a small
dome with a lantern cupola ; and the side walls are roughly
coloured in imitation of marble. The altar is faced with pavo
nazzetto, and its pediment is supported on a pair of columns
painted in iraitation of marble. Between the preceding chapel
and the chapel at tiie extreraity of the nave is a monuraent

440 A TOUR IN MODERN ROME. [Chap. XIIL
contained within a rectangular nicfae, of wfaicfa the jarabs and
lintel, of white raarble, are sculptured in low bass-relief in the
arabesque style. The principal object belonging to it is a
sarcophagus of white raarble, whose sides are sculptured in a
sirailar raanner, with exception of tfae portion in front occupied
by the following irapressive inscription, a paraphrase of one of
the raorai maxims of Zaleucus the Pythagorean philosopfaer :
" Ut moriens viveret, vixit ut raoriturus." Upon tfae lid lies a
statue of tfae deceased occupant of tfae receptacle, in a supine
posture. Tfae Chapel at the extremity coraprises an altar
faced with pavonazzetto, elevated three steps above tfae pave
raent, and surraounted by a celebrated picture by Sassoferrato,
calleo the Madonna del Rosario, containing portraits' of the
Holy Virgin, S. Catherine of Sienna and S. Doraenic.
In the left-hand nave tfaere is in tlie first place to be
observed on the flank wall near tfae gable an ancient-looking
monument, comprising tfae portrait of a cardinal dressed in a
scarlet cap and tunic, surmounted by a pediraent of Porta Santa,
witfa frieze of verde antico, that rests on a pair of colurans of
verde antico. The lateral Chapel is protected by a balus
trade of Sicilian jasper, witfa cornice of bianco e nero. Tfae
interior is constructed in tfae forra of a Greek cross upon a
square area, and the ceiling is a sraall dorae, of which the
concave is painted in fresco, and the drura, which is raore than
usually low, contams a row of round windows ; there is also
upon each of the four spandrUs of tfae supporting arcfaes a
painting in fresco. Tfae paveraent is coraposed of inlaid raarble.
Tfae altar, wfaich is faced with Sicilian jasper, is flanked by a
pair of large tablets of giaUo antico, on each of whicfa tfae figure
of an eagle is sculptured in bass-reUef. Tfae pediment, forraed
of pavonazzetto, of wfaicfa tfae tissue of tfae veins is particularly
delicate, and witfa a frieze of verde antico, is supported on four
columns of SiciUan jasper ; and tfae reraaining surface of tfae
waU on botfa sides tfae altar is sfaeatfaed with fine raarble. The
whole surface of the side walls also frora top to bottora is
covered with fine marble ; for, in the first place, a cornice of
white marble encorapasses all four sides of the chapel, support
ing a double pUaster of the same raaterial at each angle ; and
on the right and left, witfa tfae exception of tfae space occupied
by raarble sheathing, are on each side opposite one another a

SECT.II.] CHURCHES.- S.SAniNA. Ill
pair of similar monuraents, of whioh the principal object of each
is a very large and liighly-polished tablet of Porta S.uita that
bears the inscription. The Chapel .vt the extukimity is
contained within an arched recess, elevated by three steps
above the paveraent. Tfae coiUng is groined witli ribs and
painted in fresco ; and the altar is faced witfa niarblo, inlaid in
an arabesque pattern of sprigs and flowers, whore the colours
of the raaterial correspond with the natural colours of the
objects represented. Above the altar, instead of an altar picture,
is a crucifix, a figure of painted wood in natural colours of our
Sariour on the cross. The side walls are plain and white
washed, and on each is a raonument, the one similar to tfae
other. The Choir is elevated by three steps above the middle nave,
and at the extreraity is an absis, of which tfae seraidorae is
painted in fresco in colours unusually liglit and vivid ; between
the semidome and lower concave a broad frieze is painted in
chiaro oscuro, and within the concave are represented statues
in niches, also in chiaro oscuro. Upon the side walls are two
columns on eacfa side built up in tbe masonry, wfaich columns
belong to the double range of twelve before referred to, the
orginal extent of the nave haring been apparently curtailed in
the course of former restorations, and the number of colurans
that diride the naves, properly speaking, ten only, though, as
contributing to the general effect of the coup d'oeil, I preferred
to cite the whole nuraber in the first instance.
The High Altar stands iraraediately on the surarait of tfae
steps at tfae entrance of tfae cfaoir, isolated under a canopy
suspended frora tfae ceiling ; it is altogetfaer an exceedingly
rougfa structure, coraposed of wood painted in iraitation of
porphyry and different sorts of raarble.
Underneath the choir is a crypt or subterranean chapel, to
which tfaere is a descent by a fligfat of ten steps, of wfaicfa the
enfrance is enclosed by a low balustrade at tbe extreraity of the
middle nave. The charaber is a very sraall one, and contains
nothing reraarkable — nothing at all, in fact, but a very plain
altar immediately underneatfa tfae faigh altar.
Tfae original cell of S. Dominic, in tiie annexed convent of
Dorainicans, is exhibited by tbe sacristen of the church to all
the risitors wfao may be desirous of seeing it. After entering

442 A TOUR IN MODERN ROME. [Chap. XIII.
the convent by the door before referred to at the extreraity of
the portico, and ascending to tiie first story, the approach to
the cell is tfarougfa a very elegantiy decorated passage, which
has been so constructed in order to give importance to the
approach and serve as a vestibule. The passage is about 20
feet in length, with a rectangular portal at eacfa extreraity, of
wfaich the jarabs and lintel are of Africano raarble of superior
quality ; the vaulted ceiUng consists of hoops or arches, wliite
and gold, and painted in fresco alternately ; the paveraent is
coraposed of inlaid marble. The cornice of white marble, with
extremely siraple elegant raouldings, is supported on both sides
by Roraan Ionic fluted pilasters of the same raaterial ; and the
entire surface of the walls between is sheathed with tablets of
marble, principally giallo antico, bigio, and Sicilian jasper.
Above the inner portal leading to tfae cell of S. Dorainic,
faarraonising particularly well witfa tfae grave colours of the
Africano, is a broad scroll of white raarble, bearing the follow
ing inscription in raised letters of gilded bronze : — " Attende
advena. Hie olim sanctissimi viri Dominicus Franciscus, An
gelus Carraelitanus, in divinis coUoquiis vigiles pernoctarunt."
The cell of S. Dorainic is about 10 feet square, the ceiling flat
and coraposed of unpainted boards and rafters, and the side
walls on the right and on the left plain and whitewashed.
Opposite the entrance is a sraall priraitive-looking altar, faced
with raarble inlaid in an arabesque pattern, with the exception
of a circular tablet of serae santo for a central ornaraent. Tfae
altar picture is a portrait of S. Dorainic ; and on eacfa side tfae
altar is a closed wooden cabinet containing a collection of
reliques. S. Alessio.
The building next to the convent of Dominicans is the churcfa
of S. Alessio or S. Alexis, supposed to be situated, as before
stated, upon tfae spot wfaere the Sabine leader Tatius was
buried, and near the Armilustrum. Upon the site of the
cfaurch stood also the house of tfae fatfaer of its titular saint, a
Roman senator Eupfaemius or Euphemianus. As related by
tbe Cfaurcfa Chronicles, fais son Alexis, born in tfae year 350,
conceived from an early period of youth an exceedingly anxious
inclination to religious habits, wiiich so increased as he grew to

SECT.II.] CHURCHES.- tf. Auasio. 113
manhood, tiiat notwithstiinding having ooiu-^oiited, contrary to
liis own desire, in couipliaiioo with the withes of his father, to
espouse a young Roman lady of traiu-^teudant beauty, the iii.-pi-
rations of spiritual interests so tlioroiighly (ivereaine at la.st the
sense of temporal happiness, that when the evening of tfae nuptial
day arrived fae left faonie olandot-tinely and fortliwitli sot sail
from Italy, leaving tfao widowed bride no otlior means of con
jecture relating to his fate and iutontioiis than a ring and girdle
wrapped in a scai-f of scarlet taffeta, wfaicfa in a hurried mo
mentary interview he placed in hor hands immediately pro\ ious
to departure. S. Alexis directed his course to the Ea^t, and
many, many years passed away, but his family in Rorae heard
of him uo tidings, while fae wandered in various countries in the
garb of a poor pilgrim, subjecting himself voluntarily to all
manner of mortification of spfrit and bodily endurance ; till
finally, his frame extenuated by a continuous state of debility,
having assumed the appearance of premature old age, he was
shipwrecked about thfrty years after the period of his raarriage
on the coast of Italy. Thence he succeeded in reaching the
house of his father Euphemianus, wfao witfaout recognising in
the haggard countenance of tfae unknown visitor the features of
his long-last son, hospitably received him under fais roof. Mean
while S. Alexis, consigned to the care of tfae faraily on a sick
bed, and suffering under grievous bodily ailment, grew weaker
and weaker ; wfaen, as the story goes, several mournful days
under unavaihng medical treatment faaving elapsed, and mani
fest indications of approacfaing dissolution already began to
appear, tfae Bisfaop of Rorae, Innocent I., one raorning wfaile
he was celebrating raass in St. Peter's, was suddenly and rai
raculously prompted by dirine inspiration and comraanded
in an audible voice to repair instantly to the Aventine, and
there bestow the last consolations of religion on the pilgrim
then lying at the point of deatfa in tfae faouse of tfae senator
Eupfaeraianus. Tfaitfaer witfaout a moment's loss of tirae Inno
cent obedientiy departed, arrived in time to witness the last
agony of the expiring saint, and administered benediction.
When life had fled, and people were lifting up their hands in
wonder at the awful catastrophe, a written paper, that tiie
clenched muscles of tbe right hand could hold no longer,
dropped upon the ground, and— revealed the raystery.

444 A TOUR IN MODERN ROME. [Chap. XIII.
Tfae period of tfae original construction of tfae cfaurcfa I do
not find stated, or in fact any further particular account of it
till tfae reign of Leo III. in the year 816, when it was a dea-
conry; subsequently in tfae year 975, in tfae reign of Benedict
VIL, it forraed one of twenty abbeys tfaat existed in Rorae at
that period. It was rebuilt and reconsecrated in 1217 by
Honorius IIL, and in 1420 or thereabouts Martin V. conceded
it to a congregation of raonks of the order of S. Jerorae, who
retain possession of it at present and live n a convent adjoin
ing. Finally, in tfae year 1744 the Cardinal Quirini put it in
the condition it is in at present.
The approach to the cfaurcfa is through an atrium bounded
in front, in the rear, and on the left-hand side by a portico,
and on the right-hand side by a wall that divides it from the
convent attacfaed to S. Sabina. In the rear of the portico,
attacfaed to the churcfa is a square brick tower of tfae middle
ages. Witfa regard to the portico, the portion in front is sup
ported by very rough Doric columns of cipollino, and the por
tion in the rear next the cfaurcfa is supported on Doric colurans
of grey granite. Here, at tfae extreraity on tfae rigfat faand, is
a wliite stucco statue of Benedict XIII. surmounted by a
pediraent supported on a pair of Roraan Ionic colurans of bigio.
At the left-hand extreraity is a portal leading to the convent ;
it is surraounted by a pediraent corresponding with the other,
but supported on a pair of colurans of Hymettian.
Tbe entrance to the church is in the centre, by a door of
whicfa tfae jambs are of Hymettian marble of unusual breadth,
and these and the lintel, which is of the same material, are
sculptured in bass-relief, with the exception of a narrow stripe
of raosaic in the raiddle. The interior is constructed in the
forra of a triple nave divided by corapound piers faced with
coupled pairs of coraposite pilasters. The ceiling is vaulted
with arched spaces along tfae base for windows, and tfae pave
ment is coraposed partly of red tiles and stripes of raarble, and
partly opus Alexandrinura.
The ceiling of the side naves is supported by horseshoe
arches with ordinary vaulting in the interraediate spaces, and
tfae paveraent is coraposed of red tiles. In eacfa of the naves
tfaere is one lateral chapel, and in the left-hand nave there is
also a chapel at tfae extreraity nearest tfae entrance. I'he flank

Sect. IL] CHURCHES.— S. ,\i.i;,-isio. 445

ox-

walls in botfa naves are plain and whitewashed, with the
ception of sorae curious portraits in fresco representing digni
taries of the Greek oliurcfa attired in tlie eastern costume. In
the left-hand nave the Ch.apel .vt the extremity is entirely
occupied by a group of figures of white stucco, represi>nting
S. Alexis stretched on a raat at tfae point of deatfa, and a t'iioir
of angels above faovering in tlie air. Tfae angels are raade to
support a large wooden case wltli sides of glass, tfarougfa wliicli
a sacred relique, said to be a portion of tfae staircase of tfae
house of Eupfaeraianus, may be seen. The lateral Chapel
is protected by a wooden balustrade, and consists siraply of an
altar appended to the wall and surmounted by an entablature
supported by a pair of flat pilasters : underneath is tfae painted
imitation of a sarcopfaagus.
In the right-hand nave the lateral Chapel is similar to
the one opposite, and the altar picture represents tfae Cruci
fixion. Close to tfais cfaapel tfaere is to be observed on the
flank waU on the side towards the entrance a monument sur
mounted by a pediraent supported on a pair of sraall colurans
of Porto Venere. Witfain the colurans is a sarcophagus of
Porto Venere, and above tfae sarcopfaagus a bust of white
marble with drapery of porphyry.
The Transept, of wfaicfa tfae breadtfa is greater tfaan usual,
is elevated by tfaree steps above tfae raiddle nave and sur
mounted in tfae middle by a flattened dome : the paveraent is
coraposed of opus Alexandrinum. At each extreraity is an
altar, the one on the right faand faced vritfa SiciUan jasper and
surmounted by a pediment supported by a pair of columns of
brocatellone, vrith capital, torus, and plintfa of wfaite marble.
Above tfae altar is placed a very flne ciboriura constructed in
the form of a temple, of wfaicfa tfae main entablature of tfae
facade is of rosso antico supported on eight rainiature colurans
of transparent alabaster ; and tbe door, raade for the purpose
of containing tfae consecrated wafer, is of gilded bronze flanked
by a pair of little colurans of serae santo : the entablature of
the upper order of tfae elevation is giallo antico. Tfae altar at
the left-faand exfreraity is contained witfain an arcfaed recess, of
wfaicfa tfae sides and soffit are covered witfa stucco bass-rehefs ;
and in all other respects it is of an exceedingly plain descrip
tion. Close to it is a door leading to the annexed convent.

446 A TOUR IN MODERN ROME. [Chap. XIII.
The Choir is represented by an unusually shallow absis,
within which is a pontifical chair flanked by carved wooden
seats for the church dignitaries ; above the chair is a tablet of
raarble bearing an inscription in old letter relating to reliques
which are preserved in the church, and both tfae cfaair and
tablet are surmounted by a pediraent supported by a pair of
spirally fluted colurans of white raarble wrought in raosaic.
The High Altar stands isolated under a , canopy at the
entrance of the transept. The canopy is in the form of an
octagonal dorae, of which the inner surface is painted in fresco,
as the sacristan aflfrras, by Giulio Roraano; it is supported
by four arches springing frora four columns of verde antico
and four square pillars sfaeatfaed witfa inlaid raarble, which, a
pillar and a column conjointly, are planted at the angles.
Underneath the transept is a crypt or subterraneous charaber,
to which there is a descent by a double-branched flight of
thirteen steps enclosed by a very massive balustrade at the
extremity of the raiddle nave iraraediately below the high altar.
Tfae area corresponds precisely witfa tfae area of tfae transept,
including tfae cfaoir or absis. Tfae ceiling is a double vault
supported by a double range of groined arches tbat spring frora
the sides of the charaber and frora a row of rough columns
planted in the raiddle. The colurans are covered by a coloured
wash, .and the raaterial is not distinguisfaable, but such as tfaey
are, with clurasy and irregularly-forraed capitals, according to
the account of the sacristan, were substituted for others of a
valuable description of raarble that were carried away by the
French. On one side of the cfaaraber is a plain wooden altar
contained witfain a rudely-fasfaioned recess, and in tfae absis,
wfaicfa corresponds witfa the absis above, is a pontiflcal chair of
unusually large diraensions.
After seeing the cfaurcfa and crypt, there is a sraall charaber
adjoining a corridor leading frora the cfaurcfa to tfae convent,
tfaat is worthy of being visited, whether on account of the
elegant decorations of the charaber itself, or the statue of the
church's benefactor, C^ardinal Quirini, which is contained in it.
The entrance to the corridor is by the door which, as before
stated, leads from the left-hand extreraity of the transept. The
chamber, whicfa is on tfae rigfat-hand side of tfae corridor, is oval
iu its area, witfa a domed ceiling, in the centre of wfaich is an oval

SEcr II.] CHURCHES.— S. Maria Avv:stin v, ob Dix Puiouato. 1 17
concave window ; and as tbo drum contains four other windows,
an abundimt light is thrown from all togothor on the statue
below. The surfiico of tho domo is wrought in mosaic, in an
arabesque pattern of sprig-s and flowers ou a golden ground,
and the pavement is comiiosod of glazed Dutch tilos of various
colours. The arch that forras the entrance of the charaber is
of bigio, the cornice of Africano, the upper portion ofthe walls
sheathed with bigio, and the lower portion consists of a dado,
sheathed with different sorts of marble, chiefly Africano.
The statue of the Cardinal Quirini, elevated on a rough
block of white raarble to servo as a pedestal, is placed in the
middle of the oval area in a recumbent posture, so that thc
principal weigfat of the body is thrown on the left faand and arm,
the elbow resting on a cushion. On the head is a mitre, and as
tfae hands are elevated in the attitude of prayer, the face front
ing the enlrance is raised nearly perpendicular. The figure is
beautifully sculptured, especially the faands, tfae embossed orna
ments of the mitre, tfae folds of tfae drapery, and the delicate
texture of the laced edfrfng of the sacerdotal robes.

o

S. M.A.RIA Aventina, or Del Priorato.
The church above cited, the last of the group of buildings
that crown the lofty summit upon the angle of tfae Aventine,
is not accounted for in books of common reference further tfaan
that it is supposed not to have been built previous to the
thirteenth century. It was restored by Pius V., about 1570,
and again about 1765 it was put in the condition it is in at
present at the private expense of the Cardinal Rezzonico, who
employed for the purpose the architect Piranesi, tfae cfaurcfa
haring been conceded by tfae reigning Pope, Cleraent XIIL,
to the Knights of Malte, of wfaom tbe cardinal, his relative,
was Grand Prior.
With regard in the first place to the exterior of the buUding,
which has more tfae appearance of a fortification than a cfaurch,
the enfrance is by a side door on the eastern flank, tfarougfa tiie
garden of tfae Pope's Secretary of State, Cardinal Lambrus
chini, which was referred to in tfae first section of this cfaapter.
AppUcation, tfaerefore, to see the churcfa raust be raade to the
custode whoever be the proprietor of tbe casino, inasmuch as the

448 a tour in MODERN ROME. [Chap. XIII.
garden ig bounded in part by the northern gable. The principal
entrance upon the southern gable that iraraediately overhangs
tfae Marraorata, is quite inaccessible ; in front of it is a sraall
quadrangle, upon tfae verge of tfae precipice, fenced on tfaree
sides by a low wall like a bastion, and in fact the site and
aspect of this place of worship are equally well suited for railitary
purposes as devotional, conceded as it is by tfae papal autfaority
in Rome to the Knights of Malta, whose order was recently
re-established by Gregory XVI. under extended pririleges.
Moreover the faqade upon the southern gable, formed of
ordinary travertino, is overladen with ornaraents that have a
warlike rather than a devout character, including a raain
pediraent resting on a pair of pilasters, whose capitals, instead
of being of any regular order, are formed of a castle between
two sphinxes. Upon the frieze is the following inscription :
"Jo. Battista Rezzonico, Magnus Prior, restauravit, a.d.
MDCCLXV." The interior is constructed in the forra of a single nave with
an elUptical vaulted ceUing, of which the surface is plain and
whitewashed, with the exception of a central ornaraent consisting
of an heraldic group of tfae arraorial bearings and insignia of
tfae Knigfats of Malta. Along the base of the ceiling are
arcfaed spaces, eacfa of whicfa contains a cfrcular medallion
profile portrait in stucco. The pavement is composed of red
tiles. Tfae cfaurcfa is very small and contains no lateral
chapels ; but instead, within arched recesses, four on each
side, such as usually contain chapels, are as many raonuraents,
wfaicfa for the raost part appear to relate to the order of
S. Jofan of Jerusalera ; one, faowever, wfaicfa I passed over
witfaout recognising, is said to be tfae raonuraent of a Bishop
SpinelU, whose reraains are conteined in an ancient sarcopfaagus,
on tfae sides of which figures of Minerva and of tfae Muses are
sculptured in bass-relief. With reference, faowever, to tfae
general particulars, of whicfa I took raeraoranda, and tfae first
on tfae rigfat-faand side of the churcfa, tlie First Monument,
wfaicfa may or may not be the one belonging to SpinelU, consists
principally of a white raarble ancient- looking sarcophagus, sculp
tured in basso and raezzo-relievo ; with an inscription above it
in old letter. The Second Monument is dedicated by Cle
ment XIII. to the architect Piranesi, and its principal object is

Sect. IL] CHURCHES.— S. Maria Aventina, ok Del Pbiobato. 449
a marble statue of Piranesi. The Third Monument consists
of nothing more than a plain pedestal of white niarblo on which
a large cross in mosaic surrounded by sinall crosses and fleurs
de lys are engrafted. The Fourth Monument consists of a
sarcophagus of white marble, on tiie lid of which Ues the figure
of a knight in full armour, in a supine posture, witfa a sword
^rded at fais side.
On tfae left hand of tfae cfaurch, tiie First Monument con
sists of a sarcophagus bearing the supine figure of a knight in
armour, the hands crossed upon the breast, and accompanied
by an inscription bearing tfae date 1465. Tfae Second Monu
ment consists of a pafr of infant angels of white marble, whicfa
are placed on a pedestal and support a portrait. The Third
Monument consists of an ancient-looking pedestal rudely
sculptured in bass-relief; it is elevated on a plain base and
accompanied by the following inscription relating to reliques
wfaich were discovered in tfae church and placed undemeatfa
the altar : — " Sanctorum reliquiae in hoc stereobato jam repositae
nuper in argentea theca sub pavimento repertae, fideUum cultui
sub ara franslatae sunt." Among the above-mentioned reliques,
as the sacristan affirms, is tfae head of S. Sabina. The Fourth
Monument consists of an ancient-looking white marble sar
cophagus, of wfaich the sides are ornamented vrith curved
flutings like tfae sarcophagus of Cecilia Metella,* and with
hons' heads witfa rings in their mouths, sculptured in bass-
rehef in imitation of bandies. On tfae lid, in a supine posture,
lies the figure of a knight with the arms crossed upon the breast,
and undemeath is an inscription in old letter.
The Transept is elevated by three steps above the nave,
and surmounted in the middle by a lantern cupola ; the pave
ment is composed of red tiles.
The Choir is comprised within an absis of unusually sraall
dimensions, elevated by three steps above the transept.
The High Altar, tfae only altar m tfae cfaurcfa, stands
isolated m tfae middle of the transept ; it is entirely composed
of white stucco, tfaougfa surmounted by a numerous and com
pUcated group of figures and overladen witb ornaments in an
exceedingly tawdry style. * See vol. i. p. 388.
VOL. II.

450 A TOUR IN MODERN ROME. [Chap. XIII.
S. Prisca.
As tfae route from faence to tfae cfaurcfa of S. Prisca was
given page 428, it will be unnecessary here to repeat it. The
cfaurcfa, one of the most ancient in Rome, is supposed to faave
been built on the site of tfae faouse of S. Prisca, wfaere it is
furtfaer affirmed tfaat S. Peter fairaself baptized her. It was
consecrated in tfae year 280, by tfae Bisfaop of Rorae Euti-
chianus, after wfaicfa period tfaere is notfaing fartfaer related till
it was restored, about the year 790, by Adrian I. About 1456
Callixtus III. rebuilt it. Finally it was put in the condition it
is in at present, about tfae year 1600, at the private expense of
the Cardinal Benedetto Giustiniani, wfao eraployed tfae arcfaitect
Carlo Lombardi to build an entirely new faqade and restore
tfae remainder. Annexed to tfae cfaurcfa is a small rural con
vent wfaose walls are blended witfa tfae ancient walls of tfae ruin,
supposed to be the remains of tfae house of Licinius Sura,
referred to page 429. ' In order to obtain admittance to the
churcfa it is necessary to raake application at tfae convent,
wfaicfa is occupied by a detacfaraent of tfaree Augustine monks
belonging to tfae convent of S. Maria del Popolo. Tfae convent
after all has raore tfae appearance of a private dwelling tfaan a
religious establishment, and is worthy of being explored for
the sake of a fine view of the surrounding country to be had on
the sumrait, whence, frora a flat roof, furnished witfa a stone
table in the raiddle and stone seats all round, the prospect may
be observed at leisure.
The interior is constructed in tfae form of a triple nave,
divided by ancient colurans, seven on a side, of whicfa a very
sraall portion is visible in consequence of each being for the
most part enclosed within a casing of brickwork, which, extend
ing to the flank wall on botfa sides, is pierced witfa arches that
leave a line of comraunication along tfae side naves. Tfae
quality of tfae colurans, according to Corsi, is as follows, viz. :
tfaree Hymettian, tfaree bigio, one Cipollino, six grey granite,
and one red granite. Tbe ceiling of tfae raiddle nave is an
elliptical vault witfa arched spaces along tfae base for tfae win
dows ; tfae paveraent is coraposed of red tiles. Above the
columns rises an attic, on tfae wfaitewasfaed surface of which
large figures of saints and angels are painted in fresco.

Sect.II.] CHURCHES.— S. Phisca. 151
The ceiling of the side naves is formed partly of the brick
arches above referred to, and partly of plain vaulting in tin;
intermediate spaces ; and in each na\e there is ono lateral
chapel, and a chapel at the fartiier oxtroinity. In the left-
hand nave, aud in the Lateral Chapel the altar is faced
vvith ^allo antico ; luid tho pediment, formed of Carrara
marble, with frieze of verde antico, is supported on a pair of
columns of bigio. Oa each of the side walls is an ancient-
looking picture. The Chapel .vt the extremity is con
tained within a round-topped arch, supported on a pair of
Doric colurans of Carrara. The area is square, and the
vaulted ceUing surmounted by a lantern cupola ; tfae pave
ment is composed of inlaid marble. The altar, without pedi
ment or columns, is faced with verde antico, and the altar-
picture is conteined vrithin a fixture frame of giallo antico. A
comice of Carrara marble surrounds the whole chapel, and the
side walls, vrith the exception of the space on each occupied by
an ancient-looking picture, are sheathed with Sicilian jasper.
One of these pictures represents a mfracle said to faave been
performed by one of tfae early fatfaers of the churcfa, under
whose faands, wfaile administering tfae faoly elements, tfae con
secrated wafer emitted a scintillating pfaospfaoric ligfat, tfaat
proved the means of converting to the Roman Catholic faitfa a
preriously obdurate faeretic, or, as tfae sacristen friar empfaatic-
ally expressed fairaself, " una bestia che non- credeva."
In tfae rigfat hand nave, tfae lateral chapel and the cfaapel at
the exfremity are very nearly similar to those in the left-faand
nave. Tfae Choir, or Tribune, is elevated by a double-brancfaed
flight of several steps above tfae middle nave ; tfae seraidome is
painted in fresco, by Anastesio Fontebuoni, by wfaom also are
two fresco pictures in the lower concave, one of whicfa repre
sents S. Prisca, wfaom the executioner is dragging by the bair
of her head to the place of execution; and tfae otfaer, the
decapiteted corpse prostrate on the ground, and spouting five
jets of blood from tfae veins and arteries of the neck.
The High Altar, placed in the centre of the absis, is
faced with SicUian jasper ; its pediment, of Hymettian raarble,
is supported by a pair of columns, of which one is Porta Sante
and the other breccia coraUina of remarkably fine quahty ; the
2 G 2

452 a tour in MODERN ROME. [Chap. XIIL
altar-picture, representing the baptism of S. Prisca by S.
Peter, is by Passignani.
Tbere is a crypt undemeatfa tfae cfaoir, to wfaicfa is a descent,
at tfae extreraity of tfae middle nave, by a double-branched
flight of thirty steps, enclosed within a balustrade of pavo
nazzetto, with cornice of Hyraettian. Tfae area is oblong,
corresponding in length vrith the breadth of the church, and
tfae vaulted ceiling is painted in fresco, tfaougfa tfae colours,
principally as it would seera on account of darap, are nearly
effaced : tfae paveraent is coraposed of red tiles. Iraraediately
undemeatfa, and corresponding witfa tfae absis above, tfaere is
also faere below anotfaer absis, of wfaicfa the whole of tfae interior
surface is painted in fresco, but tfae colours, like tfae colours
on the ceiling, faardly visible. Within tfae absis is a very plain
altar, under whicfa it is said repose tfae reraains of S. Prisca ;
it is faced witfa different sorts of marble, cfaiefly Sicilian jasper.
Upon tfae wall opposite tfaere is to be observed, within a niche,
an ancient baptismal basin of white raarble, on which an in
scription, for the raost part illegible, is engraved, stating
that it is the basin in which tfae apostle S. Peter baptised
S. Prisca. S. Saba.
Leaving the church of S. Prisca, and pursuing the road by
whicfa we arrived there, until it emerges in the transverse
thorougfafare leading from tfae Gate of S. Paolo to tfae soutfaern
angle of tfae Palatine, anotfaer road proceeds from tfae point of
deboucfaure in tbe same direction southward, and in tfais latter,
about mid-distance between the entrance and the southern
walls of tfae city, tfae cfaurcfa of S. Saba is situated. Of the
church in question I find no account, otherwise than as relates
in general terms to S. Saba, or Sabba, wfao flourisfaed about
tfae year 500, founded several cfaurches in Palestine, and was
abbot of the present cfaurcfa, on the Aventine. It belonged
to the order of Jesuits, until the recent suppression of the
society, wfao obtained it, together witfa a convent attached,
from tfae Gerraan College, in excfaange for tfae establisfaraent of
tfae cfaurcfa of S. Apollinare, occupied by the latter at present.
Tfae approacfa is by an ancient portal, erabedded in a wall

Sect. I L] CHURCHES.-S. Saba. 153
of modern brickwork, through an atrium, such as indicates tho
character of an early Christian church, though nt present it is
a vacant quadrangle, bounded on three sides by inassivo brick
walls, and on tho fourth side by tfae church's gable. Attached
to the western flank is the con^•ent, conspicuous on account of
the loggia or baJcony on the first story, comprising eleven round-
topped arches supported on small columns, which are seen a
long way off fi-om the quarter of the Palatine. The entrance
is through a portico supported by piers of very indifferent
brickwork, that seem to have been substituted for colurans that
stood there at a former period ; tiie ceiUng, as if intended to
be temporary, is composed of rough unpainted boards. At the
extreraity, on the left hand, there is to be observed a very large
ancient white marble sarcophagus, ornaraented on the sides
vritfa bass-reUefe, dirided into compartments by parallel rows of
waved flutings, extending from top to bottom perpendicularly.
The churcfa door is in the centre of tfae portico, and ornamented
upon the jambs and lintel vrith a sfripe of mosaic, wfaicfa, in
some places where it is deficient, has been replaced by painted
imitation. The church is constructed in tfae form of a triple nave,
dirided by columns, seven of each side, that have eridently
been collected from different ancient huildings, and are as
follows : viz. three Hymettian, three bigio, one Porta Santa, one
Cipollino, tfaree red granite, and tfaree grey granite ; the
capitals, witfa tfae exception of one Corinthian aud one com
posite, are Roraan Ionic. Tfae ceihng of the middle nave, like
the ceUing of S. Sabina, consisting of strong bearas, rafters, and
rough hoards, slopes downwards from an apex to the flank
walls, like the roof of a bara : the pavement is composed partly
of red tUes, interspersed with stripes of raarble, and partly of
opus Alexandrinum. Above the columns the side walls are
pierced vritfa a row of very small windows, in casement frames,
hke the vrindows of a cottage.
Tfae ceiling of tfae side naves is composed of unpainted
boards and rafters, slanting at a very smaU angle of depression
towards the flank wall : the pavement is of red tUes. Each
nave contains one lateral chapel, and another chapel at the
extreraity ; and upon the flank walls in each hang suspended
two or three very large pictures, painted on canvas, without

454 A TOUR in modern ROME. [Chap. XIII.
frames. With regard to tfae cfaapels, I faave preserved no
further raeraoranda relating to thera tfaan that the lateral
cfaapels, all sirailar to one anotfaer, are contained each within
an arcfaed recess, of which the soffit is painted in fresco, and
tfaat the facing of tfae altar and of all its appendages are painted
in iraitation of raarble. Eacfa of tfae altars at tfae extreraity is
faced witfa Hyraettian raarble, and eacfa pediraent is supported
on a pair of colurans of tfae sarae material.
Tfae Choir, or Tribune, consists of a spacious absis, of
which the whole interior is painted in fresco.
Tbe High Altar stands isolated under a canopy suspended
frora the ceiling, at the entrance of the choir,' which it alraost
entirely conceals. It is a quadrangular structure of large
diraensions, coraposed of different sorts of raarble, and sur
mounted on the side facing the nave by a triangular pediraent
of Hyraettian, wfaose frieze is painted in iraitation of giallo
antico, and wfaose lower raeraber is extended ou botfa sides
beyond tfae lower angles ; it is supported by two pairs of
Corinthian columns, planted all four in a row, of whicfa tfae
inner pair are bianco e nero di Egitto, containing white speckles
confusedly blended together on a ground of black ; and one
of the outer pair, the other having been replaced by a painted
iraitation, is black and white speckled granite. The capitals
of all, green in colour, appear to be of bronze, but, wfaetfaer
real or painted in imitation, it is not easy, on account of the
iraperfect light, to deterraine. Tfaeir substructure is a low
wall, sheathed witfa raarble and small tablets of porphyry and
serpentine, edged with mosaic, tfaat, extending tfae wfaole
breadtfa, and containing at eacfa side a sraall portal serving for
an entrance, conceals tfae interior of the choir, as above stated.
A circular subterraneous corridor, as in the instance of
S. John Lateran and the church of SS. Quatro Coronati,
extends frora both side naves, by a double descent by eight
steps, entirely round the choir or tribune. It contains, faow
ever, notfaing reraarkable, witfa the exception of a sraall ancient-
looking altar, situated upon tfae apex of a curve iraraediately
in tfae centre. Tliis altar is flanked by a pair of sraall colurans,
wrougfat in mosaic, tfaat support tfae ceiling of tfae corridor, and
above it, instead of an altar-picture, is a small circular tablet
of mosaic.

Sect. IL] CHURCHES.-S. Balbina. 455
S. Balbina.
Returning from the church of S. Saba to the thoroughfare
leading frora the Gate of S. Paolo to the southern angle of tho
Palatlue, the way fi-ora thence to the churcfa of S. Balbina has
been already indicated.* I find no account of tiie history, further
than it was built about tho yoar 336, by the Bishop of Rome
S. Marco, and afterwanls restored and rebuilt at various
periods. Facing towards the road that ascends opposite the
enfrance of the Baths of Caracalla, the entrance to the church
is through a portico, of which the breadth is very considerable,
and the ceiling, slanting downwards frora the gable of the
huilding, is composed of unpainted boards.
Tfae interior of the cfaurcfa is constructed in tfae forra of a
single nave, and tfae ceding is similar to tfae ceilings of tlie
cfaurcfaes S. Sabina and S. Saba, before described, with the
exception that tfae pitcfa is raore lofty, tfae angle at tfae apex
raore acute, the scantling lighter, the rafters ornamented vritfa
carving, and the framework, whicfa is in excellent preservation,
and bears the date 1488, better finished altogetfaer, and curi
ously painted.
On each side is one Lateral Chapel conteined witfain an
eUiptically arched recess ; the alter of the one on tfae left-faand
side is faced vrith rough Carrara marble, and tfae pediment,
composed of stucco, is supported on a pair of pilasters of tfae
same material. Above it, instead of an altar-picture, is a
cmcifix in bass-reUef. On the sarae side of the church beyond
the chapel, conteined within a niche, in the form of an absis, is
a monument, of which tfae principal object is a sarcophagus of
Carrara marble, elevated on a pedestel wrought in the Gothic
style, with raosaic ornaraents in quatrefoil. Upon the lid is a
figm-e, covered with a mantle, in a supine posture, with the
hands crossed upon the bosora.
On the rigfat-faand side the Lateral Chapel is similar to
the one on the other side, with the exception that the marble
facing of the alter is polished in the usual manner. Beyond
the chapel, opposite the monument on the other side, is a sraall
charaber, or vestibule, protected by a gilded grating, tiiat
appears to be used as a baptistery. * See page 411.

456 A TOUR IN MODERN ROME. [Chap. XIII.
The Choir, or Tribune, is elevated by three steps above
the nave, frora which it is dirided by a spacious arcfa, on each
side of whicfa is a painting in fresco. The seraidorae of tfae
afasis at the extremity is painted in fresco, witfa colossal figures,
and the lower concave coloured in imitation of Hymettian
marble. The High Altar stands isolated under a canopy suspended
from tfae ceiling at tfae entrance of tfae cfaoir, and is protected
by a wooden balustrade. It is coraposed for the raost part of
verde antico, pavonazzetto, and Sicilian jasper; and under
neatfa it is a sarcopfaagus of Sicilian jasper, whicfa, according
to tfae following inscription, contains tfae bodies of two raartyrs :
" Corpora SS. Balbinae, V. M. et FeUcissirai M."
SS. Nereo ed Achilleo.
The cfaurcfa above cited is situated in tfae Via di S. Sebasti
ano, on the rigfat-faand or western side, on a spot before referred
to, page 410. I find no fartfaer accounts of it tfaan tfaat it was
originally built about tfae year 542, in tfae reign of tfae Bisfaop
of Rorae Vigilius ; and after various alterations, at different
periods, was entirely rebuilt in the year 1596, at tfae private
expense of Cardinal Baronio. As tfae churcfa stands reraote
frora faouses, and tfaere are few persons to be found on tfae spot
capable of giring inforraation as to tfae abode of the sacristen,
who lives soraewhere at a considerable distance in the city, it is
not very easy, nor, for my own part, was I ever able, to obtain
admittance ; but as the church is protected by an inner door
of iron grating, and the outer door of wood is frequently left
open during the day, a tolerable view is frequently to be had
of the interior tfarougfa tfae former. Tfae entrance in question
is flanked by a pair of colurans of grey granite.
The interior is constructed in the forra of a single nave, and
on eacfa side is one lateral cfaapel, botfa sirailar to one anotfaer ;
tfae pediraent supported on a pair of fluted coldrans of pavo
nazzetto. At tfae extreraity of tfae nave are a fine pair of ara
bones, and there are a pair of fluted colurans of wfaite Porine
marble, and four colurans of Africano, belonging to the faigh
altar. Tfaere is also, according to Nibby, witfain tfae absis that
contains the faigfa altar, tfae pontifical chair on which Gregory

Sect. IL] CHURCHES.— S. Giovanni a Porta Latina. 457
the Great was seated when ho delivered bis tiiirty-tiiird homily,
of which homily a few sentences are engraved on the inarble.
Finally, there is to be seen in this church the following inscrip
tion of Cju-dinal Baronio, in wfaich, deprecating the innovations
and alterations of the ancient edifices practised in his day, and
'witii reference to fais own restoration of tlie objeets of antiquity,
he earnestly implores the protection of his successor, and
beseeches him to allow things to remain as lie finds thera : —
'• Presbyter Card, successor quisquis fueris, rogo te, per glori
am Dei et per merita horum raai-tyrura, nihil deraito, nihil
ininuito, nee rauteto ; restitutera antiquitatem pie servato ; sic
Deus martyrum suorum precibus semper adjuvet !"
S. Cesareo in Pal.^tio.
The situation of the cfaurcfa above cited, on the westem side
of the Via di Sebastiano, opposite the red granite obeUsk that
raarks the site of tfae ancient Porte Capena, was also indicated
page 411. It is supposed to faave been originally built at a
very early period, though there are no certain accounts ofit
prerious to the eightfa century, or of its various restorations
subsequently, till tfae reign of Cleraent VIIL, wfao put it in tfae
condition it is in at present, about tfae year 1600. The entrance
is flanked by a pair of colurans of grey granite.
The interior is constructed in the forra of a single nave, with
one lateral cfaapel on eacfa side, botfa sirailar to one anotfaer ;
and the pediment is supported on a pair of colurans of bianco
e nero. The pediraent of tfae faigfa alter is supported on four
fine colurans of Brocatellone.
S. Giovanni a Porta L.4.tina.
As the position of the Porte Latina was before referred to,
page 41 4, it will be sufficient in the present place to observe that
the church above cited is situated on the eastern side of the road
that diverges near tbe granite obelisk from the Via di S. Sebas
tiano, a very little way within tbe gate. It is supposed to have
been built on tbe spot wbere S. John the apostle, as is recorded
by the traditions of the Roraan Church, was thrown by order
of Doraitian into a caldron of boiling oil, whence he escaped by
a rairacle, and was afterwards banished to the island of Patmos.
VOL. II. 2 H

458 A TOUR IN MODERN ROME. [Chap. XIIL
As tfae cfaurcfa is continually closed, with tfae exception of tfae
festival of S. Jofan, on the 6tli of May, I never faad an opportunity
of seeing tfae interior, tfaougfa, in consequence of tfae relation
tfaat it bears to ecclesiastical history, and on account of the
marble colurans that it contains, I include it in ray category.
The marble columns are cited by Corsi as follows, viz., in the
atrium two Thasian marble, two fluted PenteUc, and two red
granite. In the nave, one red granite, two grey granite, two
granito del Foro, one bigio, two Cipollino, and two fluted
pavonazzetto.

end of vol. II.

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