Carolus Anison Galeus, preceptor generalis preceptoriæ ejusdem S. Antoini prope Albam, terram Petragoricensis Dioceseos et Vicarius in Prioratu S. Antoini de urbe suis propriis expensis posuit. Sedente S^mo domino nostro Clemente VIII. Pont. Opt. Max. anno domini MDXCVI.

The column has now been re-erected, but not inverted, on the east side of S. Maria Maggiore, and the vase and its coin re-interred beneath it.

It appears that Louis XIV. caused the original inscription on the base of the column to be removed, and this has lately been found in the convent of S. Antony, recording that the column was erected in memory of the Christian absolution of Henry the Fourth of France and Navarre.

In front of S. Maria Maggiore, on the right, Via S. Prassede, is

THE CHURCH OF S. PRAXEDES,

erected in 823 by Paschal I., and restored by Nicholas V. in 1450, and more lately by Carlo Borromeo. The main entry from the Via di S. Martino, consisting of the original portico, sustained by two granite Ionic columns, is seldom open. The entrance in use is on the side from the Via S. Praxedes. Sixteen granite columns, with composite capitals, divide the nave from the aisles. Double flights of steps of rosso antico lead up to the tribune. On each side of the altar, over choir gallery, are remarkable columns of white marble, with foliage ornaments. In the middle of the nave is a so-called well, in which Praxedes is said to have collected the remains of martyrs.

The Mosaics are a striking feature of this church. They belong to the time of Pope Paschal I., and, like those in S. Cecilia and S. Maria in Navicella, are interesting as illustrating the low depth to which this art had sunk in Rome at that period.

On the tribunal, our Lord stands on a mound, from which issues the river of life, Jordanes. On his left are S. Paul, S. Pudentiana, and S. Zeno; on his right S. Peter, S. Praxedes, and Paschal, the last carrying a model of the church which he built. He has a square nimbus, which shows that he was alive when the mosaic was executed. Beneath is a lamb with a nimbus, and with six sheep on either side, representing Christ and his apostles; at the extremities, Bethlehem and Jerusalem. Below is the inscription:—

"This holy fabric shines decorated with varied metals in honour of Praxedes, pleasing to our Lord above the heavens, by the care of the Sovereign Pontiff Paschal, nursling of the apostolic chair; who, burying many bodies of saints, puts them under these walls, that by the benefit of their prayers he may merit to enter the gates of heaven."

The oil painting of Praxedes is by Maria Dominico Muratori of Bologna. On the vault of the arch are flowers growing from two pots, and in the centre the monogram of Paschal. On the face of the tribunal are, in the centre of the arch, the Lamb, with three candlesticks on one side and four on the other, allegorical of the seven mysteries; on either side angels and the emblematical figures of the four apostles; then the four and twenty elders casting down their golden crowns, as at St. Paul's. These mosaics are evidently copied from those at SS. Cosmo and Damiano. On the face of the Arch of Triumph is the vision of S. John—our Saviour, with angels, Pudentiana, Praxedes, and the apostles, within the walls of the heavenly Jerusalem, the gates of which are guarded by angels. Other angels approach leading groups of the faithful, below whom are the martyrs with their palms. On the vault of this arch are mosaics similar to those of the tribunal.

The sacristy in the right aisle contains a Crucifixion by the Florentine artist Augustino Campelli, 1581, and a Flagellation by Giulio Romano. The second chapel contains Christ Bearing the Cross, by F. Zucchero, and on the roof the Ascension, Prophets and Sibyls, by D'Arpino. The next chapel has pictures from the life of Carlo Borromeo, and his chair and table. By the main door is a slab of nero-bianco granite, on which S. Praxedes is said to have slept. The second chapel on the right, coming up, contains the Eternal Father, by Borgognone, and a Deposition, by Vecchi. The next is the

Chapel of S. Zeno. Two columns of rare gray porphyry support the sculptured frieze of the doorway, above which are mosaics of heads in two rows: top row, Christ and the Apostles; second row, Virgin and Child, with members of the family of Pudens. Over the altar is a piece of a column, in black and white marble, said to be that to which Jesus was tied at his flagellation. The mosaic on the roof represents the Saviour supported by four angels. Over the altar is a Virgin and Infant, with Pudentiana and Praxedes. Opposite is the Lamb on a Rock, from which flows a stream, with four harts drinking. Opposite the entrance is S. John the Baptist and the Virgin. On the left are SS. Agnes, Pudentiana, and Praxedes, and over the door the throne of God, with SS. Peter and Paul. On the right are James, Andrew, and John. Ladies are forbidden to enter this chapel, under pain of excommunication, except on the first Sunday in Lent, and on Palm Sunday.

The adjoining chapel contains the tomb of Cardinal Cetivej, 1474, on which is his recumbent statue, with reliefs of Paul, Peter, Pudentiana, and Praxedes. The Flagellation is by Francesco Guidi. The chapel at the end contains the reclining figure of the French Cardinal Anchera, 1286; signed Christianus Magister fecit.

In the crypt, beneath the high altar, are some fourth century Christian sarcophagi, said to contain Pudentiana, Praxedes, and others; also a beautiful cosimati altar and a ninth century fresco of the Madonna and Child.

The custodian will here tell you that there is a subterranean communication between this crypt and the Catacombs, but that it is now walled up. This passage exists only in his fertile imagination; the Catacombs do not communicate with any of the churches in Rome.

The first floor of the tower contains remains of a fresco, time of Paschal, illustrating the life of S. Anne.

The Via dello Statuto, on the right of the Via Merulana, contains

A ROMAN VILLA,

discovered on the right in forming this street in 1884–5. Considerable remains of a nymphæum were found, and a beautiful ædicula, with its statues in situ; from this some steps led down into a Mithraic cave. As soon as the building going on here is finished, these remains will be opened to the public.

PRIMITIVE TOMBS.

Not the least interesting discovery in this neighbourhood was that of a number of primitive tombs formed with local stone, shaped like the Campagna huts. It is curious that after upwards of two thousand five hundred years of burial, the remains of the early inhabitants of the Palatine, Cœlian, and Quirinal hills, should be brought to light on the Esquiline, which was the burial-ground till the days of Mæcenas, and be another confirmation of the truth of early Roman history.

THE CHURCH OF S. MARTINO

was erected by Symmachus, A.D. 500, on the site of the Church of S. Silvester, in the time of Constantine. The nave is formed by twenty-four ancient columns, said to have come from Hadrian's Villa. The Confession, beneath the high altar, leads to the more ancient church formed out of part of the Baths of Hadrian. It was here that the Councils of A.D. 352–356 were held, when the acts of the Council of Nicæa were condemned and burned. The landscape frescoes in the upper church are by the brothers Poussin.

From here we can best visit (No. 10 up the lane, turn round to the left)

THE SETTE SALE,

which was a reservoir for the Colosseum. It consists of nine parallel chambers, communicating with each other by arches placed obliquely, to prevent the pressure of the water on the walls. Between this and S. Maria Maggiore was found the Laocoon, now in the Vatican, by Felix de Freddis, as we are informed by the inscription on his tomb in the Church of Ara Cœli. It was found in 1506, in the same niche where Pliny tells us it was admired in his time.

Returning down the lane into the Via Merulana, turn right. Upon our left were

THE GARDENS OF MÆCENAS,

which, we learn from various ancient authors, were situated on the Esquiline. Horace, speaking of them, says: "Now it is possible to live on the Esquiline, for it is a healthy spot, especially to wander on the sunny agger." Suetonius, speaking of the great fire in Nero's time: "This fire he [Nero] beheld from a tower in the house of Mæcenas on the Esquiline." "Here was a common burying-place for wretched paupers" (Horace). Hence it must have been outside the Wall or agger of Servius Tullius, remains of which have been found on the left-hand side of the road leading from S. Maria Maggiore to S. Giovanni in Laterano. Close to this part, and inside the agger, a chamber has been excavated, evidently

THE AUDITORIUM,

or lecture-hall of Mæcenas, the entrance being formed through the agger. It is 24 metres 40 centimetres long, by 10 metres 60 centimetres broad. The wall supporting the roof, in which was the window, is nearly eight metres high. On each side of the hall the walls contain six niches decorated in the Pompeian style. At the farther end of the hall is a sort of tribune composed of seven circular steps in tiers, once faced with marble. From here the author recited. In the circular wall behind these, which forms the end of the hall, are five more niches. The floor is below the surrounding level, probably to keep the building cool during the summer months. Its height was about forty feet.

It may be that in this auditorium Virgil read his "Georgics" to Mæcenas, as he says,—

Or Horace, his Odes recited to Mæcenas' praise,—

The auditorium now serves as a local museum. It is open every Thursday from 9 till 11 and 3 till 5. Permissions must be obtained at the Archæological Office at the Capitol.

N.B.—Owing to the new quarter of Rome being built here, the roads are very much cut up and changed in this neighbourhood.

Retracing our steps towards the Basilica, turn to the right up the Via S. Vito. At the corner is the Gothic Church of the Holy Redeemer, built by a Mr. Douglas, who went over to the Roman Church. Up the street is

THE ARCH OF GALLIENUS,

erected in 262 in honour of the emperor, by Marcus Aurelius Victor. It is plain and unadorned, and only the central arch is preserved.

Passing under the arch, turn to the left, there are some remains of the agger. Beyond, on the opposite side of the street, is the

CHURCH OF S. ANTONIO ABBATE,

where the animals are blessed on January 17th. The round doorway is the only one of its sort in Rome.

To the right we reach the new Piazza Vittorio Emanuele. On our left is

THE NYMPHÆUM

of Alexander Severus, called the Trophies of Marius. It derives this appellation from the marble trophies formerly placed in the two side niches, and thence transferred to the parapet of the flight of steps leading up to the Capitol. This splendidly decorated reservoir was the nymphæum of the Emperor Alexander Severus, and is represented on a coin. It was to the Aqua Julia what the Trevi Fountain was to the Aqua Virgo. A portion of the aqueduct which supplied the water is still standing. Just beyond are

THE TOMBS OF MÆCENAS AND HORACE.

The first consists of a sepulchre of rubble work in a circular form, now surmounted by a cottage; the second, near it, is a stable, with two columns in front. Horace was buried near Mæcenas. Suetonius tells us: "He was interred, and lies buried on the skirts of the Esquiline Hill, near the Tomb of Mæcenas."

These tombs were ruthlessly destroyed by the municipality in 1884. From the square the road leads to some remains of

THE BATHS OF GALLIENUS,

miscalled the Temple of Minerva Medica, from a statue of the goddess discovered here. It is a circular building, 80 feet in diameter, and its walls contain numerous niches for statues; it was surmounted by a lofty cupola, which fell in a short time ago. This building was no doubt the sudatorium of the baths of Gallienus, which stood in his gardens and occupied this ground. In the fragments of chambers adjoining, terra-cotta pipes for the supply of hot water may still be seen.

The road from here leads to

THE CHURCH OF S. BIBIANA,

built in commemoration of her martyrdom. At the early age of eighteen, during the prefecture of Apronianus, she was first scourged, and then stoned to death. The church contains eight antique columns, and frescoes from the saint's life by Cortona and Ciampelli. Her statue at the high altar is the work of Bernini, and is considered to be his masterpiece. The fête of S. Bibiana is the S. Swithin's day of the Romans, who have a saying that "if it rain on this day it will continue to do so for the next forty." We are not superstitious, but we cannot help wishing that the saint will smile upon us. The Church of S. Bibiana was built in the fifth century, on the site of the house where the virgin-martyr is believed to have lived. It was in a great measure rebuilt by Pope Urban VII., and is only open on the Friday after the fourth Sunday in Lent, and on the 2nd of December, the anniversary of the saint.

Passing by the church, the road leads us through the new quarter of the town. Passing the remains of a tower in the Agger, we turn to the right, and pass the railway station through another section of the new quarter. Behind the custom-house is a fine piece of the Agger and the Porta Viminalis. Beyond, the barracks occupy the site of

THE PRÆTORIAN CAMP,

founded by Sejanus, the minister of Tiberius Cæsar, and destroyed by Constantine. The walls consist of brickwork, and have corridors on the inside, decorated with stucco and paintings. The camp was between the Portæ Viminalis and Nomentana, and forms a square projection in the present wall. It was outside the agger of Servius Tullius. The north wall is of the time of Tiberius; the east was rebuilt in the fourth century; the south has been reconstructed out of old square stones, probably material taken from the west or city wall (which has never been found), or from fragments of the Agger of Servius Tullius. To write the history of the Prætorian Camp would be equivalent to writing the history of Rome from Tiberius to Constantine. Here murderers were made emperors, and the empire put up to auction. Hence the Prætorians sallied out to attack the citizens, who in their turn assailed the camp. Here the guilty found asylum, and the innocent death.

Near the camp stood

THE TEMPLE OF FORTUNA PRIMIGENIA.

Its site is now occupied by the Piazza del Macao. Fragments of the temple were found in August 1873, and an inscription to the goddess; also the statue of a female member of the Claudian family.

"Quintus Marcius Ralla, constituted commissioner for the purpose, dedicated the Temple of Fortuna Primigenia on the Quirinal Hill. Publius Sempronius Sophus had vowed this temple ten years before, in the Punic War, and, being afterwards censor, had employed persons to build it," A.U.C. 558 (Livy, xxxiv. 53).

Returning past the station, we come to the open space of the

PIAZZA DI TERMINI,

a rather pleasant garden square, surrounded with trees, in the midst of which spouts up the Aqua Marcia.

Passing along our right, we come to the

BATHS OF DIOCLETIAN, AND CHURCH OF S. MARIA DEGLI ANGELI.

The magnificent bathing establishments, called Thermæ, to distinguish them from the ordinary baths, consisted of a long series of halls, chambers, and courts, all lying on the same level, so that the extent of surface required for laying out had to be artificially formed either by the removal or the elevation of the soil. The thermæ founded by Diocletian and Maximian, and completed by Constantius and Maximinus, constituted the largest edifice of this kind. At present, only the great hall, 350 feet by 80 feet, and 96 feet high, converted into a church by Michael Angelo, exists in a state of tolerable preservation. The original massive granite pillars, 40 feet high, and 5 feet in diameter, though so sunk into the ground (imitation pedestals have been put to them) that their full height is nowhere visible, are still standing; the antique vaulted roof has also been preserved entire. This circumstance is of great importance for the lighting up of this vast space—the masses of light falling upon it at so favourable an angle, that the mind receives the same pleasing impression at all hours of the day and at all seasons of the year.

Several considerable portions of the adjoining hall are still to be seen, but, being included within the buildings of the neighbouring schools and asylums, and partly converted into hay magazines, a clear and complete survey of them cannot easily be obtained.

The pictures in the church were brought from S. Peter's, and the court of the monastery, formed with one hundred columns, was designed by Michael Angelo. Salvator Rosa and Carlo Maratta were both buried here. The Government is forming a new museum in these buildings. On the right of the high altar is Domenichino's S. Sebastian. Opposite to it, Maratta's Baptism of our Lord. The Presentation in the Temple is by Romanelli; the Death of Ananias by Roncalli. In the transept are copies of Guido's Crucifixion of S. Peter, and Vanni's Fall of Simon Magus; S. Peter resuscitating Tabitha, by Mancini; S. Jerome and S. Francis, by Musciano; Assumption, by Bianchini; Resuscitation of Tabitha, by Costanzi; Fall of Simon Magus, by Battoni; S. Basil celebrating Mass before the Emperor Valens, by Subleyras.

On leaving the church, opposite are the remains of the Theatridium belonging to the baths, the space in front being the Stadium.

THE VIA NAZIONALE

commences here, and runs down to the south end of the Corso. The street is traversed by a line of tram-cars, which run down to the Piazza di Venezia. It is the handsomest street in Rome, and is lined by several fine blocks of buildings. It is on the line of the ancient Vicus Longus. Upon the right is the Quirinal Hill; and on the left, the Viminal; the street, artificially raised, occupying the valley between the two hills. A short distance down on the left is the Quirinal Hotel, the largest in Rome, fitted up with every modern comfort, and on one of the healthiest sites in the city. Behind is Costanzi's new theatre.

Just below is the

CHURCH OF S. PAUL'S WITHIN THE WALLS,

the new American Episcopal Church under Dr. Nevin; designed by Mr. George Street in the Gothic style. It has a fine campanile, and a beautiful peal of bells.

The vault of the tribunal in mosaic was designed by Mr. Burne Jones, and represents Christ surrounded by the celestial company, as described in Holy Writ.

THE EXHIBITION OF FINE ARTS.

The new Palace of Fine Arts is on the right, about half-way down. In it is held an annual exhibition of modern works of art of every description. Admission, one lira; Sundays, fifty centesimi. It occupies a space of 22,030 square mètres—the permanent building being 5,280 square mètres; the Crystal Hall, 1,250 square mètres; the gardens, 5,000 square mètres; and the temporary galleries, 10,500 square mètres. The palace comprises two floors, and may be entered from the Via Nazionale, Via Genova, and Via del Quirinale. The main front is 25 mètres high and 60 long. Sixteen statues decorate the top of the façade, the work of Roman artists.

On the top of the pediment is a group, Italy crowning Art, by Adalberto Cencetti, the groups in relief on the face being the Finding of the Laocoon Group, by Filippo Ferrari, and Carrying Cimabue's Madonna in Triumph, by Puntoni.

Signor Pio Piacentini designed the edifice; and the works have been carried out with the assistance of the architect Augusto Fallani, at a cost of two and a half million lire.

On the façade of the entrance is the inscription:—

From Santa Maria degli Angeli we turn to the right. At the corner of the Piazza S. Bernardo is the

NEW MUSEUM OF AGRICULTURE.

Open free to the public, Tuesday, Thursday, and Sunday, from 10 to 3. Opposite is

THE FELICE FOUNTAIN.

The Acqua Felice aqueduct was made, A.D. 1587, by Sixtus V. (Felice Peretti), from whom it took its name. The fountain was designed by Bresciano.

In the centre of the group is seen Moses striking the rock, and the water issuing forth; on the left, Aaron leading the Jews; and on the right, Gideon bringing them to the brink of the stream. Four lions guard the basins below. It is said that the work of the artist was so criticised that he put an end to his life.

Turning down the Via Venti Settembre, on our right is the New Ministry of Finance, in erecting which remains of the Porta Collina in the Servian walls were found. Also remains of

THE FLAVIAN TEMPLE,

erected by Domitian on the site of his parents' house near the Porta Collina. A marble head of Titus was found in the excavations.

"Whatever Domitian's unconquered hand has erected is imperishable as heaven" (Martial, ix. 1). "What of the Flavian Temple which towers to the Roman sky?" (Ibid., ix. 3). The following is amusing:—

"To Cæsar, on the Temple of the Flavian Family.—Jupiter, when he saw the Flavian temple rising under the sky of Rome, laughed at the fabulous tomb erected to himself on Mount Ida; and, having drunk abundantly of nectar at table, exclaimed, as he was handing the cup to his son Mars, and addressing himself at the same time to Apollo and Diana, with whom were seated Hercules and the pious Arcos: 'You gave me a monument in Crete; see how much better a thing it is to be a father of Cæsar!'" (Martial, ix. 34).

THE UNFAITHFUL VESTAL'S TOMB.

Livy (xxii. 57) tells us that this was "near the Colline Gate." We learn from Pliny's "Letters" (iv. 11) that it was "a subterranean cavern." Plutarch, in "Numa," gives the following interesting details:—

"She that broke her vows of chastity was buried alive at the Colline Gate. There, within the walls, is raised a little mound of earth, called in Latin agger; near which is prepared a small cell, with steps to descend into it. In this cell are placed a bed, a lighted lamp, and some slight provisions, such as bread, water, milk, and oil, as they thought it impious to take off a person consecrated with the most awful ceremonies by such a death as that of famine. The criminal is carried to punishment through the Forum in a litter well covered without, and bound up in such a manner that her cries cannot be heard. The people silently make way for the litter, and follow it with marks of extreme sorrow and dejection. There is no spectacle more dreadful than this, nor any day which the city passes in a more melancholy manner. When the litter comes to the place appointed, the officers loose the cords; the high priest, with hands lifted toward heaven, offers up some private prayers just before the fatal minute, then takes out the prisoner, who is covered with a veil, and places her on the steps which lead down to the cell. After this, he retires with the rest of the priests; and when she has gone down, the steps are taken away, and the cell is covered with earth, so that the place is made level with the rest of the mound. Thus were the vestals punished who preserved not their chastity."

The remains of the Colline Gate were found in building the present Ministry of Finance in the Via Venti Settembre. The Via Servio Tullio, on the left, leads to the site of

THE VILLA SALLUSTIANA,

upon the site of which a new quarter is being erected. Clear of the houses is an interesting ruin miscalled the Temple of Venus Erycina.

This ruin is octagonal in form, with a domed roof. The interior is divided into halls, and a vestibule leads into the central hall. The walls have recesses for sculpture. The building was probably a nymphæum.

Besides the palace, baths, and gardens, there was a portico, called Milliarensis, from its thousand columns, in which the Emperor Aurelian used to take exercise on horseback. The buildings were fired by the soldiers of Alaric, who entered the city at the Salarian gate.

From the Piazza S. Bernardo we take the Via Susanna into the Via S. Niccolo da Tolentino. The first turning on the right, Vicolo Fiamme, leads into the Via di S. Basilio, which leads to the

LUDOVISI MUSEUM.

Open every day from 12 till 4, with permission to be had at the consuls or bankers.

The beautiful villa has been cut up into building plots, and a new quarter now occupies its site.

On the left of the entry is the Museum. The principal objects are—1. Hercules. 4. Pan and Olympus. 11. Venus. 14. The Labours of Hercules. 34. A fine mask.

Second Room.—Group of Mars and Cupid, found in the portico of Octavia. 7. Theseus and Æthra, by Menelaos. 9. Satyr. 17. Julius Cæsar. 28. Gallic group, of which the wounded Gaul in the Capitol Museum formed a part. 41. Juno, the finest head of the goddess known. 43. Pluto carrying off Proserpine.

Towards the Porta Pinciana is the casino containing Guercino's beautiful fresco of Aurora driving away Night. A beautiful view is to be had here.

Leaving the Museum, we pass down the Basilio into the Piazza Barberini. On the right, up under the trees, are

THE CHURCH AND CEMETERY OF THE CAPPUCCINI.

In the first chapel on the right in the church is Guido Reni's beautiful picture of S. Michael, and in the third chapel two pictures by Domenichino. But the most interesting part, the cemetery, is beneath the church, though entirely above ground, and lighted by a row of iron-grated windows without glass. "A corridor runs along beside these windows, and gives access to three or four vaulted recesses, or chapels, of considerable breadth and height, the floor of which consists of consecrated earth from Jerusalem. It is smoothed decorously over the deceased brethren of the convent, and is kept quite free from grass or weeds, such as would grow even in these gloomy recesses if pains were not bestowed to root them up. But as the cemetery is small, and it is a precious privilege to sleep in holy ground, the brotherhood are immemorially accustomed, when one of their number dies, to take the longest-buried skeleton out of the oldest grave, and lay the new slumberer there instead. Thus each of the good friars, in his turn, enjoys the luxury of a consecrated bed, attended with the slight drawback of being forced to get up long before daybreak, as it were, and make room for another lodger. The arrangement of the unearthed skeletons is what makes the special interest of the cemetery. The arched and vaulted walls of the burial recesses are supported by massive pillars and pilasters made of thigh-bones and skulls; the whole material of the structure appears to be of a similar kind, and the knobs and embossed ornaments of this strange architecture are represented by the joints of the spine, and the more delicate tracery of the smaller bones of the human frame. The summits of the arches are adorned with entire skeletons, looking as if they were wrought most skilfully in bas-relief. There is no possibility of describing how ugly and grotesque is the effect, combined with a certain artistic merit, nor how much perverted ingenuity has been shown in this queer way; nor what a multitude of dead monks, through how many hundred years, must have contributed their bony framework to build up these great arches of mortality. On some of the skulls there are inscriptions, purporting that such a monk, who formerly made use of that particular head-piece, died on such a day and year; but vastly the greater number are piled up undistinguishably into the architectural design like the many deaths that make up the one glory of a victory. In the side walls of the vaults are niches where skeleton monks sit or stand, clad in the brown habits that they wore in life, and labelled with their names and the dates of their decease. Their skulls (some quite bare, and others still covered with yellow skin and the hair that has known the earth-damps) look out from beneath their hoods, grinning hideously repulsive. One reverend father has his mouth wide open, as if he had died in the midst of a howl of terror and remorse, which perhaps is even now screeching through eternity. As a general thing, however, these frocked and hooded skeletons seem to take a more cheerful view of their position, and try with ghastly smiles to turn it into a jest. There is no disagreeable scent, such as might be expected from the decay of so many holy persons, in whatever odour of sanctity they may have taken their departure. The same number of living monks would not smell half so unexceptionably." Hawthorne gives this graphic description.

TABLE OF EGYPTIAN OBELISKS IN ROME.

RAMBLE VI.

THE PORTA CAPENA—THE VALLEY OF THE MUSES—BATHS OF CARACALLA—S. BALBINA—SS. NEREO AND ACHILLEO, SISTO, CESAREO—VIA LATINA—S. JOHN'S AND THE LATIN GATE—COLUMBARIA OF HYLAS AND VITALINE—TOMBS OF THE SCIPIOS AND CORNELIUS TACITUS—THE COLUMBARIA OF THE HOUSEHOLD OF CÆSAR—ARCH OF DRUSUS—PORTA APPIA—TOMBS OF GETA AND PRISCILLA—CHURCH OF DOMINE QUO VADIS—TOMB OF ANNIA REGILLA—CATACOMBS OF S. CALIXTUS AND HEBREWS—TEMPLE OF CERES AND FAUSTINA—VILLA OF HERODES ATTICUS—CATACOMBS OF DOMITILLA, SS. NEREUS AND ACHILLEUS—BASILICA OF PETRONILLA—CHURCH AND CATACOMBS OF S. SEBASTIANO—TOMB OF ROMULUS—CIRCUS OF MAXENTIUS—TOMB OF CECILIA METELLA—TOMBS, TEMPLES, AND VILLAS ON THE VIA APPIA—THE THREE TAVERNS—APPII FORUM.

THE APPIAN WAY.[17]

"The Queen of Roads."—Statius.

The Appian Way was the great southern road from Rome. It led through Capua to Brundusium, which then as now was the port for the East. It was first made as a regular roadway in B.C. 312. "The censorship of Appius Claudius and Caius Plautius for this year (A.U.C. 441) was remarkable; but the name of Appius has been handed down with more celebrity to posterity on account of his having made the road, called after him the Appian" (Livy, ix. 28). But a road existed here before this, for at least part of the way, evidently to Capua (A.U.C. 414). "They came in hostile array to the eighth stone on the road which is now the Appian" (Livy, vii. 39).

Statius gives some particulars as to how it was made. "First they cut two parallel furrows to indicate the width of the road, and then they cut down between those until they came to the hard bottom, and then began the levelling. As the construction proceeded, the road assumed a slightly convex shape. The middle or top was called the dorsum, or back-bone of the way; or, as it is called in Virgil, "in aggere viæ." Roads that were left in the rough material were said to be munitæ, but when covered with cut polygonal blocks they were called stratæ viæ."

Procopius, the secretary of Belisarius in the sixth century, thus describes the Appian Way:—"To traverse the Appian Way is a distance of five days' journey for a good walker; it leads from Rome to Capua. Its breadth is such that two chariots may meet upon it and pass each other without interruption; and its magnificence surpasses that of all other roads. In constructing this great work, Appius caused the materials to be brought from a great distance, so as to have all the stones hard, and of the nature of mill-stones, such as are not to be found in this part of the country. Having ordered this material to be smoothed and polished, the stones were cut in corresponding angles, so as to bite together in jointures without the intervention of copper or any other material to bind them; and in this manner they were so firmly united, that on looking at them we would say they had not been put together by art, but had grown so upon the spot. And, notwithstanding the wearing of so many ages, being traversed daily by a multitude of vehicles and all sorts of cattle, they still remain unmoved; nor can the least trace of ruin or waste be observed upon these stones, neither do they appear to have lost any of their beautiful polish. And such is the Appian Way."

The road was lined with temples, villas, and tombs; for it was the custom of the Romans to bury their dead on either side of the principal roads leading from the city. It was against the law to bury inside the walls, which was seldom permitted, and then only as a great honour.

"When thou hast gone out of the Capena Gate, and beholdest the sepulchres of the Colatini, of the Scipios, of the Servilii, and of the Metelli, canst thou deem the buried inmates wretched?" (Cicero).

Passing under the Arch of Constantine, down the Via Triumphalis (Via d' S. Gregorio), we turn to the left; passing a rope walk, the first gate on the left admits to a vineyard. The cottage is erected on the site of

THE PORTA CAPENA.

For a long number of years the present Porta S. Sebastiano (Porta Appia) was considered to be the Porta Capena. This error was rectified after the stone which marked the first mile was found (1584) in the Vigna Naro outside the present gate. From it one mile (one thousand paces) was measured backwards, and the result was the discovery of the exact site of the Porta Capena by Mr. J. H. Parker in 1868; but the excavations have been filled in. The remains consist of the sill of the gate, with fragments of the jambs, and the pavement of the Via Appia with the raised footpath on each side of it. The west flanking tower of the gate is under the gardener's cottage. This was reopened in 1877. The gate was crossed by the Aqua Appia (Frontinus), which Juvenal mentions as dripping, and Martial as showering down drops.

The Porta Capena is represented twice in the reliefs of Trajan built on to the Arch of Constantine. In the days of Tullus Hostilius, B.C. 668, Horatius killed his sister outside this gate. "A tomb of squared stone was raised for Horatia, on the spot where she fell" (Livy, i. 26).

We now arrive at the river Almo (Marrana), which flows through

THE VALLEY OF THE MUSES,

under the Cœlian Hill, in which is the Fountain of Egeria, whence flowed the perennial fountain by whose waters Numa caught inspiration from the lips of his lovable nymph. Juvenal describes the spot in his description of the parting of Umbricius and himself: "This is the place where Numa consulted his nocturnal friend the nymph: now the grove of the sacred font is occupied by the remains of Jews." "In the valley of Egeria we descended into caves unlike the true." They strolled from the Porta Capena whilst the waggon was loading. At length Umbricius says: "The sun is getting low—I must depart; for long ago the muleteer gave me a hint by cracking his whip."

"Numa was commanded by the nymph Egeria to consecrate that place and the fields about it to the Muses, where he had often entertained a free intercourse and communication with them; and that the fountain which watered that place should be made sacred and hallowed for the use of the vestal virgins, who were to wash and clean the penetralia of their sanctuary with those holy waters" (Plutarch).

Livy (i. 21) thus describes it: "There was a grove, in the midst of which, from a dark cavern, gushed a fountain of flowing water, whither often, because without witness, Numa went to have an interview with the goddess, and which grove he consecrated to the muses, that their councils might be held there with Egeria." The fountain may still be seen under the Cœlian, over the wall on the left;—there is a bath-house of the middle ages built over it. It is in the grounds of the villa of Baron Hoffmann, to whom application must be made to visit it.

Crossing the Marrana, we take the first turning on the right, Via Antonina. This lane leads to the

BATHS OF CARACALLA.

Admission one lira; Sundays free.

A favourite spot of Shelley's—"among the flowery glades and thickets of odoriferous blossoming trees, which are extended in ever winding labyrinths upon its immense platforms and dizzy arches suspended in the air." So the poet wrote of this spot. But now it is all changed: the hand of the explorer has ruthlessly pulled up the trees, and scraped the wild flowers and weeds from the ruined walls, exposing beautiful mosaic pavements, it is true, but which hardly repay for the loss of nature's verdure.

The magnificent Thermæ of Caracalla display in the clearest and most complete manner the skeleton of an edifice of this kind—these glorious ruins standing, as it were, intact before us.

They were begun by Caracalla in the year 212, enlarged by Heliogabalus, and completed by Alexander Severus; their area being 140,000 square yards—length, 1840 yards by 1476. As many as 1600 persons could, it is said, bathe in them at the same time. The baths, properly so called, were 1720 feet in length and 375 in width, and they were surrounded by pleasure-gardens, porticoes, a stadium, &c. The reservoir was supplied by the Antonine aqueduct, which carried the water from the Claudian over the Arch of Drusus. The principal entrance to the baths was from the Via Nova, one of the favourite promenades of the ancient Romans, made by Caracalla. Among the works of art discovered in the thermæ may be mentioned the Farnese Hercules, the Colossal Flora, the Farnese Bull, the Atreus and Thyestes, the Two Gladiators, and the Venus Callipyge. The bronzes, cameos, bas-reliefs, medals, &c., found in the thermæ are too numerous to mention. The urns in green basalt now in the Vatican Museum, and the granite basins of the Piazza Farnese, formerly belonged to the Baths of Caracalla. The baths remained entire, both as regards their architecture and their internal decoration, until the middle of the sixth century, when the aqueducts were destroyed by Vitiges.