Next in point of height to the Lateran obelisk is the one that stands in the great square of St. Peter's, between two beautiful fountains that are continually showering high in the air their radiant sunlit spray. It is meant to serve as the gnomon of a gigantic dial, traced in lines of white marble in the pavement of the square. Its rosy surface glistening in the rays of the sun, and its long shadow cast before it on the ground, make it a very impressive object. Its origin is involved in mystery, for there is no inscription on it to tell who erected it, or where it came from. This absence of hieroglyphics points to its having been an unfinished work--something having prevented its constructor from recording on it the purpose of its erection, as was usually the case. But as the vacant shadow of the dial and the blank empty lines of the spectrum are more suggestive than any sunlit s.p.a.ces, so the blank unwritten sides of this obelisk give rise to more speculations than if they had been carved from head to foot with hieroglyphics. On account of this peculiarity, some authors have not hesitated to consider it a mere imitation obelisk, constructed by the Romans at a comparatively late period. This idea, however, is refuted by the evidence of Pliny, who regarded it as a genuine Egyptian relic, and tells us that it was cut from the quarry of Syene, and dedicated to the sun by the son of Sesores, in obedience to an oracle, after his recovery from blindness. It is generally believed that it first stood before one of the temples of Heliopolis, was then removed to Alexandria, and finally transported to Rome by Caligula. This emperor constructed a special vessel for the purpose, of greater dimensions than had ever been seen before; and after it had brought the obelisk to the banks of the Tiber, he commanded it to be filled with stones, and sunk as a caisson in the harbour of Ostia, which he was constructing at the time. On arriving at Rome the obelisk was set up on the Spina of the Circus of Nero, which is now occupied by the sacristy of St. Peter's Church. For fifteen centuries the obelisk remained undisturbed on its site, the only one in the city that escaped being overthrown. At last its foundation giving way, so that it leaned dangerously towards the old Basilica of St. Peter's, Sixtus V. formed the design of removing it to where it now stands, a very short distance from the original spot. The record of its re-erection, the first in papal Rome, by Fontana--a work of extreme difficulty and imposing ceremonial magnificence, which was richly rewarded by the grateful Pope--is exceedingly interesting. A curious legend is usually related in connection with it. A papal edict was proclaimed threatening death to any one who should utter a loud word while the operation of lifting and settling the obelisk was going on. As the "huge crystallisation of Egyptian sweat" rose on its basis there was a sudden stoppage, the hempen cables refused to do their work, and the hanging ma.s.s of stone threatened to fall and destroy itself. Suddenly from out the breathless crowd rose a loud, clear voice, "Wet the ropes." There was inspiration in the suggestion; the architect acted upon it, and the obelisk at once took its stand on its base, where it has firmly remained ever since. Not only was the sailor Bresca pardoned for transgressing the papal command, but he was rewarded, and the district of Bordighera, from which he came, received the privilege of supplying the palm leaves for the use of Rome on Palm Sunday--a privilege which it still possesses, and which forms the princ.i.p.al trade of the place.

To me the most familiar and interesting of all the Roman obelisks is that which stands in the centre of the Piazza del Popolo, the finest and largest square in Rome. It is about eighty feet high, carved with hieroglyphics, with four marble Egyptian lions, one at each corner of the platform on which it stands, pouring from their mouths copious streams of water into large basins, with a refreshing sound. Lions in Egypt were regarded as symbols of the sun when pa.s.sing through the zodiacal sign of Leo, the time when the annual inundation of the Nile occurred. They had thus a deep significance in connection with water.

The obelisk was originally erected in front of the Temple of the Sun at Heliopolis, by the great Rameses, the Sesostris of the Greeks, whose personal character and wide conquests fill a larger s.p.a.ce in the history of ancient Egypt than those of any other monarch. From Heliopolis it was removed to Rome, after the battle of Actium, by Augustus, and placed on the Spina of the Circus Maximus, the sports of which were under the special protection of Apollo, the sun-G.o.d, by whose favour it was supposed that the Egyptian victory had been achieved. For four hundred years it acted as a gnomon, regulating by the length and direction of its shadow the hours of the public games of the circus; and then it was overturned during those troublous days in which the empire was rent asunder. Twelve centuries of decay and wreck had buried it from the eyes of men, until it was dug up and placed where it now stands, in 1587, by Pope Sixtus V., to whom modern Rome is indebted for the restoration of many of her ancient monuments, and the construction of many of her public buildings and streets. With the cross planted on its summit, this n.o.ble monument was long the first object which met the traveller's eye as he entered Rome from the north by the old Flaminian way. Brought to commemorate the overthrow of the land from whence it came, it has witnessed the overthrow of the conquerors in turn; and now re-erected in the modern capital, it will endure when its glory too has pa.s.sed away. And out of the ruins of the city of the Popes, as out of the ruins of the city of the Caesars, some future architect will dig it up to grace the triumph of a brighter and freer resuscitation of the Eternal City than the world has yet seen.

The a.s.sociation of fountains at its base with this obelisk seems at first sight as incongruous as the crowning of its apex with a metal cross, for the Christian emblem can never alter the nature of the pagan monument. There is no natural harmony in the a.s.sociation, for there are no fountains or streams of running water in the desert. The obelisk belongs essentially to the dry and parched east; the fountain is the birth of the happier west, bright with the sparkle and musical with the sound of many waters. The obelisk relieves the monotony of immeasurable plains over which a sky of serene unstained blue arches itself in infinite alt.i.tude, the image of eternal purity, and the sun rises day after day with the same unsullied brilliance, and sets with the same unmitigable glory. The fountain, on the other hand, is the child of lands whose mountains kiss the clouds and gleam with the purity of everlasting snows, and where each day brings out new beauties, and each season reveals a fresh and ever-varying charm. But although there is no geographical reason why these two objects should be a.s.sociated, there is a poetical fitness. The obelisk is the symbol of the perpetual past, holding in its changeless unity, as on its carved sides, the memories of former ages; the fountain is the symbol of the perpetual present, ever changing, ever new. The one speaks to us of a petrified old age; the other of an immortal youth. And thus it is in life, each pa.s.sing moment flowing on with all its changes beside the stern, hard, enduring monument of the irrevocable past on which what is written is changelessly written. How different too are the bright sparkling fountains that leap with ever-varying beauty at the foot of the Flaminian obelisk now, from the dull, sleepy monotonous river that, like a Lethe flood, flowed past it in the old days at Heliopolis! Are they not both symbolical of the new and the old world, of the Christian faith, with its progressive thought and varied expanding life, and the stagnant pagan creed, which impressed the soul with the sense of human helplessness in the face of an unchangeable iron order alike of nature and of society?

Another of the great obelisks of Rome is that which stands on Monte Citorio, in front of the present Parliament House. It was brought to Rome by Augustus, who dedicated it anew to the sun, and placed it as the gnomon of a meridian in the midst of the Campus Martius.

Originally it had been erected at Heliopolis in honour of Psammeticus I., who reigned about seven hundred years before Christ. This monarch lived during a time when the national religion had become corrupted, and the whole land had come under the influence of Greek thought and Greek customs. But the obelisk which he erected is worthy of the best period of Egyptian art. It is universally admired for the remarkable beauty of its hieroglyphics. The anonymous pilgrim of Einsiedlen mentions that this obelisk was still erect when he visited Rome about the beginning of the ninth century. It seems, however, to have fallen and to have been broken in pieces, nearly three hundred years later, during the terrible conflagration caused by the Norman troops of Robert Guiscard. Several fragments of it were dug up, one after another, during the sixteenth century. The princ.i.p.al part of the shaft was discovered in 1748, among the ruins beneath the choir of the Church of San Lorenzo in Lucina. These portions were damaged in such a way as to show clearly the action of fire, proving that the obelisk had been destroyed in the great fire of 1084. Pope Pius VI. gathered together the fragments, and with the aid of granite pieces taken from the ruined column of Antoninus Pius, which stood in the neighbourhood, he formed of these a whole shaft, which represents, as nearly as possible, the original obelisk. It is seventy-two feet high, and is surmounted by a globe and a small pyramid of bronze, which, along with its pedestal, increases its height to one hundred and thirty-four feet. A portion of the lines of the celebrated sun-dial, whose gnomon it formed, was brought to light under the sacristy of San Lorenzo in Lucina in 1463.

All the other obelisks in Rome belong to comparatively recent periods, to the decadence of Egypt. None of them are of any great significance to the student of archaeology. Several of them were executed in Egypt by order of the Roman emperors, and are therefore not genuine but imitation obelisks. Of this kind may be mentioned the Esquiline and Quirinal obelisks, which were brought to Rome by the emperor Claudius, and placed in the old Egyptian manner, one on each side of the entrance to the great mausoleum of Augustus in the Campus Martius.

They are both dest.i.tute of hieroglyphics and are broken into several pieces. One now stands on Monte Cavallo, in front of the great Quirinal Palace, betwixt the two well-known gigantic groups of men and horses, statues of Greek origin, supposed to be those of Castor and Pollux, executed by Pheidias and Praxiteles; and the other in the large open s.p.a.ce in front of the great Basilica of Santa Maria Maggiore. Another of these b.a.s.t.a.r.d obelisks occupies a commanding position at the top of the Spanish Stairs, in front of the Church of Trinita dei Monti. It stood originally on the spina of the circus of Sall.u.s.t, in his gardens, and is covered with hieroglyphics of the rudest workmanship, which sufficiently proclaim their origin, as a Roman forgery probably of the period of the Antonine emperors. In the midst of the public gardens, on the Pincian Hill, there is another Roman obelisk about thirty feet high, excavated from the quarries of Syene, and set up by Hadrian originally at Antinopolis in Egypt in front of a temple dedicated to the deified Antinous, the lamented favourite of the emperor. It was afterwards transferred to the imperial villa at Tivoli, near Rome, and subsequently to the grounds of the Church of Santa Croce in Gerusalemme, from whence it was finally taken to its present site. This obelisk has a special interest because it commemorates one of the most beautiful and touching examples of self-sacrifice which the annals of paganism afford. We are apt to judge of Antinous from the languid beauty of the statue of him in the Roman galleries, as simply the pampered sycophant of a court.

But behind his sensual beauty and softness there was an unselfish devotion which the caresses of royalty and the favours of fortune could not spoil. When the oracle declared that the happiness of Hadrian, who was afflicted with a profound melancholy, could only be secured by the sacrifice of what was most dear to him, Antinous went at once and drowned himself in the Nile, and thus gave his life for his imperial friend, who, instead of being made better by the sacrifice, was left altogether inconsolable. The magnificent city founded to perpetuate his memory is now a heap of ruined mounds, and the obelisk that bore his name in Egypt now stands far away in Rome; but time cannot quench the glow of sympathy that kindles in the heart of every one who remembers his story of n.o.ble self-sacrificing love.

There are three or four obelisks that mark the introduction of the Egyptian worship of Isis into the imperial city of the later emperors.

At one time everything Egyptian was fashionable in Rome, and the G.o.ddess of Egypt was domesticated in the Roman Pantheon, and temples in her honour were erected in several parts of the city and throughout the empire. Obelisks, fashioned in Egypt by command of the Romans, were often placed in front of the temples. But these spurious obelisks have little dignity or significance, and suffer wofully when brought into comparison with specimens of the genuine work of old Egypt. The largest and most imposing of these monuments of the new faith of the city is the one that now stands in the Piazza Navona, formerly called the Pamphilian Obelisk, in honour of the family name of Pope Innocent X., who placed it there. It is forty feet high, of red granite, broken into five pieces, and covered with hieroglyphics, the whole style and execution of which are so inferior that Winkelman long ago, although he knew nothing of their import, detected the fact of the obelisk being a mere imitation. It was cut and engraved at Syene by order of the emperor Domitian, who designed it to adorn his villa on the Lake of Albano. From thence it was removed by the usurper Maxentius to the circus on the Appian Way, founded by him, and named after his son Romulus. It is now on the site of the old Circus Agonalis, whose form and boundaries are marked out by the houses of the Piazza Navona.

Surmounted by the Pope's device of a dove with an olive branch, a vain subst.i.tute of heraldry for sacred symbolism, and standing on an artificial rock-work about forty feet high, composed of figures of Tritons and nymphs, disporting themselves amid plashing fountains and marble foliage, the whole subject is incongruous and utterly opposed to the simplicity and majesty of the ancient monuments.

Near the Pantheon there is a pair of obelisks which were brought from the East, and stood together before the temple of Isis and Serapis, which is supposed to have been situated on the site of the Dominican Church of Santa Maria Sopra Minerva. They were found when digging the foundations of the church in 1667, along with an altar of Isis, now in the Capitoline Museum. One of these obelisks was erected by Clement XI. in 1711, in front of the Pantheon, in the midst of the fountain of the Piazza. Its height is only about seventeen feet, and the hieroglyphics on it indicate that it was constructed by Psammeticus II., the supposed Hophra of Hebrew history. This same monarch also constructed its twin-fellow which now stands in the Piazza Minerva in the near neighbourhood. The celebrated sculptor Bernini, when re-erecting it at the command of Pope Alexander VII. in 1660, had the exceedingly bad taste to balance it on the back of a marble elephant, the work of his pupil Ferrata; on account of which absurd incongruity Bernini received from the satirical Roman populace the nickname of "The Elephant." Only one obelisk in Rome was not restored or re-erected by any Pope, viz. that which stands in the beautiful grounds of the Villa Mattei in the Coelian Hill. It was found near the Capitol on the site of an ancient temple of Isis, and was presented by the magistrates to the owner of the villa, a great collector of antiquities. It is said that when it was raised in 1563, on its red granite pedestal, the mason who superintended the work incautiously rested his hand on the block, when the shaft suddenly slid down and crushed it, the bones of the imprisoned member being still held between the two stones.

The foregoing were the last obelisks erected in Rome by the emperors.

After them no more were constructed either in the imperial city or in their native land of Egypt. The language inscribed upon them had come to be superseded by the universal use of the Greek tongue; there was no use therefore in making monuments for the reception of hieroglyphic records which n.o.body could understand or interpret. The sudden craze for the Egyptian idolatry pa.s.sed away as suddenly as it sprang up, and Christianity established itself as the religion of the civilised world. The temples in Egypt and Rome were closed, the altars overthrown, and the objects connected with the material symbolism of paganism were destroyed, and objects connected with the spiritual symbolism of Christianity set up in their place. And thus the obelisk, the oldest of all religious symbols, which was constructed at the very dawn of human existence, to mark the worship of the material luminary, fell into disuse and oblivion, when "the Sun of Righteousness" rose above the horizon of the world, with healing in His wings, dispelling all the mists and delusions of error. The art of constructing obelisks followed the usual stages in the history of all human art. Its best period was that which indicated the greatest faith; its worst that which marked the decay of faith. The oldest specimens are invariably the most perfect and beautiful; the most recent exhibit too marked signs of the decrepitude of skill that had come over their makers.

Between the oldest specimens and their surroundings there was a harmony and an appropriateness which solemnised the scene and excited feelings of adoration and awe. Between the latest specimens and their surroundings there was an incongruity which proved them to be aliens and strangers on the scene, and was fatal to all reverence; an incongruity which the modern Romans have only intensified by raising them on pedestals of most uncongenial forms, and crowning them with hideous ma.s.ses of metal, representing the insignia of popes or other objects equally unsuitable. We see in the oldest obelisks a wonderful ease and an exquisite finish of execution, a maturity of thought and skill which none of the later obelisks reached, and which indicate the high-water mark of man's achievement in that line. There is also "a bloom of youth and of the earth's morning" about them which is quite indescribable, and which doubtless came to them because of the power and reality of faith. They were the fresh natural originals in which a deep primitive spontaneous adoration that dominated the whole nature of man expressed itself; while the specimens that were executed afterwards were slavish imitations, expressing a worship and a creed which had become fixed and formal.

One of the most valuable results of the expedition of the great Napoleon to Egypt, ostensibly for scientific and antiquarian purposes, but really for military glory, was the acquisition of the Rosetta stone now in the British Museum--which afforded the key to the decipherment of the Egyptian hieroglyphics--and of the obelisk of Luxor which now adorns the n.o.ble Place de la Concord in Paris. The history of the engineering difficulties overcome in bringing this obelisk to France is extremely interesting. Indeed, the story of the transportation of the obelisks from their native home, from time to time, to other lands, is no less romantic and worthy of study than the artistic, religious, or antiquarian phases of the subject. It forms a special literature of its own to which Commander Gorringe of the United States Navy, in his elaborate and magnificent work on Egyptian obelisks, has done the amplest justice. It cost upwards of 100,000 to bring the Luxor Obelisk to Paris, owing to the inexperience of the engineers and the imperfection of their method. But it was worthy of this vast expenditure of toil and money; for standing in an open circus unimpeded by narrow streets, and unspoiled by the tawdry ornaments which disfigure the Roman obelisks, it adds to the magnificent modern city the charm of antique majesty. It stands seventy-six feet and a half in height, with its apex left rough and unfinished, dest.i.tute of the gilded cap which formerly completed and protected it. Each of its four sides contains three vertical lines of well-executed hieroglyphics, which show that it was raised in honour of Rameses II., to adorn the stupendous temple of Luxor at Thebes which he constructed. When it lay on its original site, previous to its being transported, it was found to have been cracked at the time of its first erection, and repaired by means of two dove-tailed wedges of wood which had perished long ago. But this defect is not now noticeable. The companion of this obelisk is still standing at Luxor, and has already been described. Both of them show a peculiarity in their lines, which could only be noticed effectually when the pair stood together. This peculiarity is a convexity, or _entasis_, as it is called, on the inner faces. Even to the untrained eye its sides seem not of equal dimensions; and actual measurement shows the irregularity more clearly. This is said, however, to be exceptional to the general rule, and to be foreign to the design of an obelisk in the best period of the Pharaonic art. Still, several magnificent specimens, such as the Luxor and Flaminian obelisks, exhibit it. And they are an ill.u.s.tration of what was a marked characteristic of all cla.s.sic architecture, which shows a slight curvature or entasis in its long lines.

It was early found out that mathematical exactness and beauty were not the same. By making its two sides geometrically equal, the living expression of the most beautiful marble statue is destroyed, and it becomes simply a piece of architecture. It is well known that the two sides of the human face are not precisely the same; the irregularity of the one modifies the irregularity of the other, and thus a higher symmetry and harmony is the result. The two sides of the leaf of the begonia are unequal, and if folded together will not correspond. The same is true of the leaf of the elm and the lime. But when the ma.s.s of the foliage is seen together, this irregularity gives an added charm to the whole. Every object in nature has some imperfection, which indicates that it has a relation to some other object, and is but a part of a greater whole. The intentional irregularity of the windows in the Doge's Palace at Venice enhances the effect of the marvellous facade. By comparing the Parthenon at Athens, with its curves and inclinations, with the Madeleine at Paris, we see how far short the copy comes of the original in beauty and expressiveness, because of the exact formality of its right angles. The ancient Egyptians understood this well; and in their architecture they sought to rise to a higher symmetry through irregularity; and we can see in their frequent departure from upright and parallel lines in the construction of their temples, an effort to escape from formal exactness, and a longing for the n.o.bler unity which is realised to the full in the rich variety of the Gothic. We may be sure that "every attempt in art that seeks a theoretical completeness, in so doing sinks from the natural into the artificial, from the living and the divine into the mechanical and commonplace." The Egyptian obelisk is thus but a type of a great law of nature. In this simplest and most primitive specimen of architecture we have an ill.u.s.tration of the principle which gives its expressiveness to the human face, beauty to the flowers of the field, and grandeur to the highest triumphs of human art.

The obelisks that remain to be described are the two which to us are the most interesting; the pair of "Cleopatra's Needles" which so long stood side by side at Alexandria, and are now separated by the Atlantic Ocean; one standing on the Thames Embankment in London, and the other in Central Park, New York. They were both set up in front of the great temple of the Sun at Heliopolis, about fifteen centuries before Christ, by Thothmes III., and engraved by Rameses II., the two mightiest of the kings of Egypt. After standing on their original site for fourteen centuries, witnessing the rise and fall of many native dynasties, and the establishment of the Greek dominion under the Ptolemies, they were, when Egypt became a province of Imperial Rome, transferred by Caesar Augustus to Alexandria. There they adorned the Caesareum or palace of the Caesars, which stood by the side of the harbour, was surrounded with a sacred grove, and was the greatest building in the city. What Thebes and Heliopolis were in the time of the Pharaohs, Alexandria became in the time of the Ptolemies. And though, being a parasitical growth, it could not originate works of genius, like its ancient prototypes, it could appropriate those which Heliopolis and Thebes had created. The tragic death of Cleopatra, the last of the dynasty of the Ptolemies, had taken place seven years before the setting up of these obelisks at Alexandria; so that she had in reality nothing to do with them personally. For about fifteen centuries the two obelisks stood in their new position before the Caesareum. They saw the gradual overthrow, by time's resistless hand, of the magnificent palace which they adorned; and they themselves felt the slow undermining of the sea as it encroached upon the land, until at last one of them fell to the ground about three hundred years ago, and got partially covered over with sand, leaving the other to stand alone. Then came the French invasion of Egypt, and the victories of Nelson and Abercromby, when Mahomet Ali, the ruler of the land, offered the prostrate obelisk to the British nation as a token of grat.i.tude. The offer, however, was not taken advantage of, for various reasons. At last the patriotism and enterprise of a private individual, the late Sir Erasmus Wilson, came to the rescue, when the stone was about to be broken up into building material by the proprietor of the ground on which it lay. An iron water-tight cylinder was constructed for its transport, in which, with much toil, the obelisk was encased and floated. It was taken in tow by a steam-tug, which encountered a fearful storm in the Bay of Biscay. This led to the abandonment of the pontoon cylinder, which floated about for three days, and was at last picked up by a pa.s.sing steamer, and towed to the coast of Spain; from whence it was brought to England, and set up where it now stands on the Thames Embankment. Its transport cost altogether about 13,000, and was a work of great anxiety and difficulty. Standing seventy feet high on its present site, it forms one of the n.o.blest and most appropriate monuments of the greatest city in the world; awakening the curiosity of every pa.s.ser-by regarding the mysteries revealed in its enigmatical sculptures.

The companion obelisk which had been left standing at Alexandria, after having suffered much from neglect, in the midst of its mean and filthy surroundings, was presented to the American Government by the Khedive of Egypt. But that Government acted in the same supine spirit in which our own had acted; and it was left to the ability of Captain Corringe as engineer, and to the liberality of the millionaire Vanderbilt, who paid the expenses incurred, amounting to 20,000, to bring the obelisk in the hold of a chartered steamer across the Atlantic, and set it up in the midst of New York city. And if the one obelisk is a remarkable sight in London, the other is a still more remarkable sight in New York. There, amid the latest inventions of the West, surrounded by the most recent civilisation of the world, rises up serenely, unchanged to heaven, the earliest monument of the East, surrounded by the most ancient civilisation of the world. "Westward the course of empire takes its way;" and as the old obelisk of Heliopolis witnessed the ending of the four first dramas of human history, so shall it close the fifth and last. The sun in the East rose over its birth; the sun in the West shall set over its death.

It is possible that when all the stores of coal and other fuel which form the source of the mechanical power and commercial greatness of northern and western nations shall have been exhausted, a method of directly utilising solar radiation may be discovered. And if so, then the seat of empire will be transferred to parts of the earth that are now burnt up by the intense heat of the sun, but which then will be the most valuable of all possessions. The vast solar radiance now wasted on the furnace-like sh.o.r.es of the Red Sea will be stored up as a source of mechanical power. The commerce of the West will once more return to the East where it began; and the whole region will be repeopled with the life that swarmed there in the best days of old Egypt. But under that new civilisation there will be no return of the old religion of the obelisks; for men will no longer worship the sun as a G.o.d, but will use him for the common purposes of life, as a slave.

After having thus pa.s.sed in review so many n.o.ble obelisks, a mere t.i.the of what once existed, the conviction is deepened in our minds that no nation had ever devoted so much time, treasure, and skill to the service of religion as the Egyptian. While the Jews had only one tabernacle and one temple, every city in Egypt--and no country had so many great cities--had its magnificent temple and its hosts of obelisks. The spoils of the whole world were devoted to their construction; a third of the produce of the whole land of Egypt was spent in their maintenance. The daily life of the people was moulded entirely upon the religion of these temples and obelisks; their art and their literature were inspired by it. It organised their society; it built up their empire; and it was the salt which for more than three thousand years conserved a civilisation which has been the marvel and the mystery of every succeeding age. Surely the Light which lighteth every man that cometh into the world, shone on those who were thus fervently stretching the tendrils of their souls to its dawning in the East, who raised these obelisks as symbols of the glorious and beneficent sunlight of the world.

CHAPTER VII

THE PAINTED TOMB AT VEII

Rome after a season becomes oppressive. Your capacity of enjoyment is exhausted. The atmosphere of excitement in which you live, owing to the number, variety, and transcendent interest of the sights that have to be seen, wears out the nervous system, and you have an ardent desire for a little respite and change of scene. I remember that after the first month I had a deep longing to get away into the heart of an old wood, or into a lonely glen among the mountains, where I should see no trace of man's handiwork, and recover the tone of my spirit amid the wildness of nature. For this inevitable reaction of sight-seeing in the city, a remedy may be found by retiring for a day or two to some one or other of the numerous beautiful scenes in the neighbourhood. There is no city in the world more favourably situated for this purpose than Rome. Some of the most charming excursions may be made from it as a centre, starting in the morning and returning at night. Every tourist who stays but a fortnight in the city makes a point of seeing the idyllic waterfalls of Tivoli, the extensive ruins of Hadrian's Villa, the picturesque olive-clad slopes of Frascati and Tusculum, and the lovely environs of Albano on the edge of its richly-wooded lake. But there are spots that are less known at no greater distance, which yet do not yield in beauty or interest to these familiar resorts. Chief among these is Veii, whose very name has in it a far-off old-world sound. When the Campagna has quickened under the breath of the Italian spring into a tender greenness, and is starred with orchids and sweet-scented narcissuses, I know nothing more pleasant than a visit to this renowned spot.

Veii was the greatest city of the Etruscan confederacy. When Rome was in its infancy it was in the height of its grandeur. After a ten years' siege it was captured by Camillus; and so stately were its buildings, so beautiful was the scenery around it, and so strong its natural defences, that it was seriously proposed to abandon Rome and transfer the population to it, and thus save the rebuilding of the houses and temples that had been destroyed during the invasion of the Gauls. It was only by a small majority that this project was set aside. Veii never recovered from its overthrow. In vain the Romans attempted to make it one of their own cities by colonising it. Many families established themselves there, but they were afterwards recalled by a decree of the senate, which made it an offence punishable with death for any Roman to remain at Veii beyond a prescribed period. By degrees it dwindled away, until in the days of Propertius its site was converted into pastures; and the shepherd roamed over it with his flocks, unconscious that one of the most famous cities of Italy once stood on the spot. So long ago as the reign of the emperor Hadrian its very locality was forgotten, and its former existence regarded by many with incredulity as a myth of early times. It was left to the enlightened antiquarian skill of our own times, so fruitful in similar discoveries and resuscitations, to find out among the fastnesses of the wilderness around Rome its true position. And although all the difficult problems connected with its citadel and the circuit of its walls have not yet been solved, there can be no doubt that the city stood in the very place which modern archaeologists have determined. This place is a little village called Isola Farnese, about eleven miles north-west of Rome. The way that leads to it branches off by a side path for about three miles from the old diligence road between Florence and Rome at La Storta--the last post station where horses were changed about eight miles from the city. It is situated amid ground so broken into heights and hollows that you see no indications of it until you come abruptly upon it, hid in a fold of the undulating Campagna. And the loneliness of the district and of all the paths leading to it is hardly relieved by the appearance of the village itself.

I shall not soon forget my visit to this romantic spot, and the delightful day I spent there with a congenial friend. We left Rome in an open one-horse carriage early one morning about the end of April.

Pa.s.sing out at the Porta del Popolo, we quickly traversed the squalid suburb and crossed the Ponte Molle--the famous old Milvian Bridge. We proceeded as far as the Via Ca.s.sia on the old Flaminian Way. At the junction of these roads the villa and gardens of Ovid were situated; but their site is now occupied by a humble osteria or wayside tavern.

The road pa.s.ses over an undulating country entirely uncultivated, diversified here and there with copses and thickets of wild figs intermixed with hawthorn, rose-bushes, and broom. A few ilexes and stone-pines arched their evergreen foliage over the road; and the succulent milky stems of the wild fig-trees were covered with the small green fruit, while the downy leaves were just beginning to peep from their sheaths. It was one of those quiet gray days that give a mystic tone to a landscape. The cloudy sky was in harmony with the dim Campagna, that looked under the sunless smoky light unutterably sad and forlorn. Wreaths of mist lingered in the hollows like the shadowy forms of the past; the lark was silent in the sky; and on the desolate bluffs and headlands, where once stood populous cities, were a few h.o.a.ry tombs whose very names had perished ages ago. But inexpressibly sad as the landscape looked it was relieved by the grand background of the Sabine range capped with snow. The village of La Storta, that flourished in the old posting days, had fallen into decay when the railway diverted the traffic from it; and its inn, with a rude model of St. Peter's carved in wood projecting above its door, was silent and deserted. Pa.s.sing down a narrow glen, fringed with wood for three miles from this point, we came in sight of the village of Isola. Its situation is romantic, perched on the summit of a steep cliff, with deep richly-wooded ravines around it, and long swelling downs rising beyond. It is surrounded by two streams which unite and fall along with the Formello into the river called La Valca, which has been identified with the fatal Cremera that was dyed red with the blood of the three hundred Fabii.

The rock of Isola is most interesting to the geologist, consisting of large fragments of black pumice cemented together by volcanic ashes deposited under water. It is literally a huge heap of cinders thrown out by the rapidly intermittent action of some neighbouring volcano, probably the crater of Baccano, or that which is now filled with the blue waters of Lake Bracciano. The whole ma.s.s is very friable, and in every direction the soft rock is hollowed out into sepulchral caves.

By many this isolated rock is considered the arx or citadel of Veii; but the existence of so many sepulchral caves in it is, as Mr. Dennis says, conclusive of the fact that it was the Necropolis of the ancient city, which must therefore, according to Etruscan and Roman usage regarding the interment of the dead, have been outside the walls. The tombs have all been rifled and destroyed, and many of the sepulchral caves have been turned to the basest uses for stalling goats and cattle. An air of profound melancholy breathes around the whole spot.

It seems to be more connected with the dead than with the living world. And the hamlet which now occupies the commanding site is of the most wretched description. All its houses, which date from the fifteenth century, are ruinous, and are among the worst in Italy; and the baronial castle which crowns the highest point,--built nearly a thousand years ago, the scene of many a conflict between the Colonnas and the Orsinis, and captured on one occasion after a twelve days'

siege by Caesar Borgia,--has been converted into a barn. The inhabitants of the village do not exceed a hundred in number, and present a haggard and sallow appearance--the effect of the dreadful malaria which haunts the spot. It is strange to contrast this blighted and fever-stricken aspect of the place with the description of Dionysius, who praised its air as in his time exceedingly pure and healthy, and its territory as smiling and fruitful. In the little square of the village are several fragments of marble and other relics of Roman domination; and the church, about four or five hundred years old, dedicated to St. Pancrazio, is in a state of great decay. The walls are damp and mouldy, and all the pictures and ornaments are of the rudest description, with the exception of a faded fresco of the coronation of the Virgin, which is a fair specimen of the art of the fifteenth century. The service of the church is supplied by some distant priest or friar in orders.

We left our conveyance in the piazza, and took our lunch in one of the houses. We brought our provisions with us from Rome, but we got a coa.r.s.e but palatable wine from the people, and a rude but clean room in which to enjoy our repast. This inn--if it may be called, so--had at one time a very evil reputation. But nothing could be more simple-hearted than the landlord and his wife, with their group of timid children who clung to their mother's skirts in dread of the strangers. They told us that the poverty of the place was deplorable.

Nearly all the people were laid down during the heats of summer with fever; and they were so poor that they could not afford to keep a doctor. Many deaths occurred, and the survivors, emaciated by the disease, were left to drag on a weary existence embittered by numerous privations. At a distance the village on its lofty rock, surrounded by its richly-wooded ravines, looked like a picture of Arcadia; but near at hand the sad reality dispelled the idyllic dream.

Taking with us from Isola a guide, originally a big burly man, but now a sad victim to malaria, we set out to visit the site of the ancient city and the few relics which survive. It takes about four hours to complete the circuit of the walls; but there are four objects of special interest, the Arx, the Columbarium, the Ponte Sodo, and the Painted Tomb, which may be visited in less than three. The extent of the city is surprising to those who have been in the habit of thinking that all the ancient towns in the neighbourhood of Rome were mere villages. Dionysius says that it was equal in size to Athens. Veii was indeed fully larger, and was about the dimensions of the city of Rome, included within the walls of Servius Tullius. It occupied the whole extent of the platform on which it was situated; and as the area was bounded on every side by deep ravines, its size was thus absolutely circ.u.mscribed. Built for security and not for the comfort and progress of its inhabitants, its confined and inaccessible situation would have unfitted it to become the capital of a great nation, as was at one time proposed. Pa.s.sing down a richly-wooded glen by a path overhanging a stream, we came to a molino or polenta mill, most romantically situated. Here a fine cascade, about eighty feet high, plunges over the volcanic rock into a deep gulley overshadowed by bushy ilexes. The scenery is very picturesque, and differs widely from that of the rest of the Campagna. In its profusion of broom and hawthorn bushes, whose golden and snowy blossoms contrasted beautifully with the dark hues of the evergreen oaks, and in the snowy gleam of its falling waters, and the h.o.a.ry gray of its lichen-clad cliffs, it presented features of resemblance to Scottish scenery. It had indeed a peculiar home look about it which produced a very pleasing impression upon our minds.

Crossing the stream above the cascade by stepping-stones, between which the water rushed with a strong current, we entered the wide down upon which Veii stood. No one would have supposed that this was the site of one of the most important ancient cities, which held at bay for ten long years the Roman army, and yielded at last to stratagem and not to force. Not a vestige of a ruin could be seen. In the heart of the city the gra.s.s was growing in all the soft green transparency of spring, and a few fields of corn were marked out and showed the tender braird above the soil. The relics of the walls that crowned the cliffs have almost entirely disappeared. No Etruscan site has so few remains; and yet its interest is intensified by the extreme desolation. It is more suggestive to the imagination because of the paucity of its objects to appeal to the eye. Legend and history haunt the spot with nothing to distract the mind or dispel its musing melancholy. All trace of human pa.s.sion has disappeared, and only the eternal calm of nature broods over the spot; the calm that was before man came upon the scene, and that shall be after all his labour is over.

On a part of these downs overgrown with briars was situated the Roman Municipium, a colony founded after the subjugation of Veii. It did not cover more than a third of the area of the ancient city. Several excavations were made here, which resulted in the discovery, among other interesting relics of the imperial period, of the colossal heads of Augustus and Tiberius and the mutilated statue of Germanicus now in the Vatican Gallery. On this spot were also found the twelve Ionic columns of white marble which now form the portico of the post-office in the Piazza Colonna at Rome, and also a few of the pillars which adorn the magnificent Basilica of St. Paul's on the Ostian Road. No one looking at these grand columns, so stainless in hue and so perfect in form, would have supposed that they had formed part of the Roman Forum of Veii more than two thousand years ago. Those in front of the post-office look newer than the rest of the building, which is not more than sixty years old. They owed their perfect preservation doubtless to the fact that they were buried deep under the dry volcanic soil for most of the intervening period. It seems strange to think of these ancient columns, that looked down upon the legal transactions of Roman Veii, now standing in one of the busiest squares of modern Rome, a.s.sociated with one of the most characteristic and important of our modern inst.i.tutions, of which ancient Rome had not even the germ.

Pa.s.sing through a beautiful copse wood, where cyclamens grew in lavish profusion, forming little rosy cl.u.s.ters about the oak-stools and diffusing a faint spicy smell through the warm air, we came out at one of the gates of the city into open ground. This gate is simply a gap in a shapeless mound, with traces of an ancient roadway pa.s.sing through it and fragments of walls on either side. Where the stones can be seen projecting through the turf embankment they are smaller than usual in Etruscan cities. Sir William Gell found hereabouts a portion of the wall composed of enormous blocks of tufa--three or four yards long and more than five feet in height--based upon three courses of thin bricks three feet in length, that rested upon the naked rock.

Such a mode of wall construction has no resemblance to anything remaining in Rome or in any Etruscan city. It indicates a still higher antiquity; while the brick foundations remind us of the fame which the Etruscans and particularly the people of Veii had acquired on account of their skill in works of terra cotta. The famous Quadriga or brick chariot which adorned the pediment of the great temple of Jupiter on the Capitol at Rome was made at Veii, and was a remarkable proof of the superiority of its people in this species of art. Indeed the name of Veii is supposed to have been derived from its skill in the manufacture of terra cotta chariots. The old gateway through which we pa.s.sed out of the wood was probably the princ.i.p.al entrance into the city, and the one over which Tolumnius King of Veii appeared, standing on the wall, during the famous siege when he was challenged to mortal combat by Cornelius Cossus, as graphically described by Livy.

Beneath this gate there is a remarkable tunnel called the Ponte Sodo, bored in the volcanic rock for the pa.s.sage of the river. It is not, however, visible from this point. You require to descend the steep banks of the river to see it; and a very extraordinary excavation it is, two hundred and forty feet long, sixteen feet wide, and twenty feet high. It was doubtless made to prevent the evil effects of winter floods by the inhabitants of Veii, who had considerable skill in such engineering works. The river sometimes fills the tunnel to the very roof, leaving behind trunks and branches of trees firmly wedged in the clefts of the rock in the inside. It was extremely interesting to stand on this spot and see before me this wonderful Etruscan work, and to lave my hands in the waters of the Formello, which, under the cla.s.sical name of the Cremera, was prominently a.s.sociated with early Roman history. It would be difficult to find a lovelier dimple in the fair face of mother earth than the valley through which the Formello flows. Precipitous cliffs rose from the bed of the river opposite to me, enriched with all the hues that volcanic rock a.s.sumes under the influences of the weather and the garniture of moss and lichen. A perfect tangle of vegetation crowned their tops and fringed their sides; the dark unchanging verdure of the evergreen oak and ivy contrasting beautifully with the tender autumn-like tints in which the varied spring foliage of the brushwood appeared. Bright flowers and gay blossoms grew in every crevice and nook. The shallow river flowed at my feet through ruts of dark volcanic sand, and amid ma.s.ses of rock fallen from the cliffs, and stones whose artificial appearance showed that they had formed part of the ramparts that once ran round the whole circuit of the heights. The sunshine sparkled on the gray-green waters, and followed them in bright coruscations for a short distance into the mouth of the tunnel, the other end of which, diminished by the distance, opened into the daylight like the eye-piece of an inverted telescope. I found in the bed of the river fragments of marble and porphyry, cut and polished, that had doubtless come from the pavement of some palace or temple, and attested the truth of the report that has come down to us, that the buildings of Veii were stately and magnificent. To me there is something peculiarly impressive in the presence of a stream in a scene of vanished human greatness. Its eternal sameness contrasts with the momentous changes that have taken place; its motion with the death around; its sunny sparkle with the gloom; while its murmur seems the very requiem of the past. In this giant sepulchre, into which, like the Gulf of Curtius in the Forum, all the greatness of Etruscan and Roman Veii had gone down, the abundance of life was most remarkable. The vegetation sprang up with a rank luxuriance unknown in northern lat.i.tudes; lizards darted through the long gra.s.s; one snake of considerable length and girth uncoiled itself before me and crawled leisurely away; and the air, as bright and warm as it is in July with us, was murmurous with the hum of insects that danced in the April sunshine.

Beyond the Ponte Sodo the precipices disappear and the ground slopes down gently to the edge of the river. Here the valley of the Formello opens up--a quiet green pastoral spot rising on the right hand into bare swelling downs, without a tree, or a bush, or a rock to diversify their surface. On the sloping banks of the river the rock has been cut into a number of basins filled with water, where Sir William Gell supposes that the nymphs of Veii, like those of Troy, "washed their white garments in the days of peace;" but they were in all likelihood only holes caused by the quarrying of the blocks of stone used in the construction of the walls and buildings of the city. The slopes of this valley seem to have formed the princ.i.p.al Necropolis of Veii.

Numerous tombs were discovered in it; but after having been rifled of their contents they were filled up again, and all traces of them have disappeared. Only one sepulchre now remains open in the Necropolis, half way up the slope of a mound called the _Poggio Reale_. It is commonly known as "The Painted Tomb," or _La Grotta Campana_--after its discoverer, the Marchese Campana of Rome--who got permission forty-five years ago from the Queen of Sardinia, to whom the property then belonged, to dig in this locality for jewels and other relics of antiquity. Instead of closing the tomb, as was done in the other cases, this accomplished antiquarian, with the good taste for which he was distinguished, left it in the exact condition in which he had found it, so that it might be an object of interest to future visitors. Ascending the slope, we entered a long narrow pa.s.sage about six feet wide and about fourteen feet deep cut through the tufa rock.

This was the original entrance to the tomb; and the discoverer had cleared it out by removing the earth that had acc.u.mulated in the course of ages. A solitary crouching lion, carved in a species of volcanic stone, guarded the entrance of the pa.s.sage. Its companion had been removed some distance, and lay neglected on the slope of the hill. The sculpture is exceedingly uncouth and primitive. At the inner end of the pa.s.sage a couple of similar lions crouch, one on each side of the door of the tomb. They were placed there in all likelihood as symbols of avenging wrath to inspire fear, and thus prevent the desecration of the dead. Originally the tomb was closed by a great slab of volcanic stone: but this having been broken to pieces and carried away to build the first sheepfold or the nearest peasant's hut, it has been replaced by an iron gate. The walls around were damp and covered with moss and weeds, and the bars of the gate were rusty.

Our guide applied the key he had brought with him, and the gate opened with a creaking sound. Lighting a candle, he preceded us into the tomb. I cannot describe the strange mixture of feelings which took possession of me,--wonder, curiosity, and awe. This was my first visit to an Etruscan tomb. In Rome I had been familiar with the monuments of a remote past; I had gazed with interest upon objects over which twenty centuries had pa.s.sed. But here I was to behold one of the mysterious relics of the world's childhood. I had previously read with deep interest the graphic account of this tomb, which Mr. Dennis gives in his _Cities and Cemeteries of Etruria_, and was therefore prepared in large measure for what I was about to see.

I found myself when I entered in a gloomy chamber hewn out of a brown arenaceous clay. The floor was a loose mud, somewhat slippery; and on it I noticed a number of vases, large and small, and of various forms.

They were not like the exquisite painted vases which we are accustomed to a.s.sociate with the name of Etruscan, but of the simplest and most archaic shapes, formed out of the coa.r.s.est clay. Some of them had a curious squat appearance, with rude figures painted on them; while others of them were about three feet high, of dark-brown earthenware, and were ornamented with some simple device in neutral tints or in very low relief. They were empty now; but when found they contained ashes and fragments of calcined bones. Just within the door there were two stone benches, on each of which, when the tomb was opened, was stretched a skeleton, which rapidly crumbled under the pressure of the air into a cloud of dust. That on the left was supposed to have been a female; and her companion on the right had doubtless been a warrior, judging from the bronze helmet and breastplate, both much corroded, that were left lying on the bench. He had evidently come by a violent death, for at the back of the helmet was an ugly hole, whose ragged side was outwards, showing that the fierce thrust of the spear had crashed through the face, and protruded beyond the casque. The combination of cinerary urns containing ashes, and of stone couches on which dead bodies were extended in the same tomb, is curious, showing that both modes of sepulture were practised at this period. The skeletons found entire were evidently those of the master and mistress of the household, persons of consideration; and the ashes in the jars were probably the remains of the servants and dependants. On the benches beside the skeletons were a bronze laver and mirror, a simple candlestick, and a brazier used for burning perfumes. The vases were exceedingly interesting, as the first rude attempts of the Etruscans in an art in which afterwards they attained to such marvellous perfection, and the only relics now remaining of the fictile statuary for which Veil was so celebrated.

But my interest in these objects was speedily transferred to a far more wonderful sight, which the candle of the guide disclosed to me.

On the inner wall, which divided the tomb into two chambers, and on the right and left of the door leading from the one to the other, was a most extraordinary fresco. Seen in the dim light of the candle pa.s.sing over the different parts, it had a singularly weird and grotesque appearance. The colours were as fresh as if they had been laid on yesterday; and the thought at first flashed across my mind that I was gazing not upon a painting which had been sealed up for nearly thirty centuries, but upon the rude attempts at art of some modern shepherd or rustic belonging to the village of Isola, who sought thus to amuse his leisure moments. But such a thought was dismissed at once as absurd. No one after a few moments' inspection could doubt the genuineness of the painting. It is difficult to describe it, for it is altogether unlike anything to be seen elsewhere in Egyptian or a.s.syrian, in Greek or Roman tombs. On the right side of the door the upper half of the wall was panelled off by a band of colour, and represented one scene or picture. In the centre was a large horse, that reminded me of a child's wooden toy-horse, such as one sees at a country fair. Its legs were unnaturally long and thin; and the slenderness of its barrel was utterly disproportioned to the breadth of its chest. It was coloured in the most curious fashion: the head, hind-quarters, and near-leg being black; the tail and mane and off-legs yellow; and the rest of the body red, with round yellow spots. It was led by a tall groom; a diminutive youth was mounted upon its back; and a proud, dignified-looking personage, having a double-headed axe or hammer on his shoulder, strode in front. These human figures were all naked, and painted of a deep-red colour. In the same picture I noticed two strange-looking nondescript animals, very rudely drawn, and party-coloured like the horse. One probably represented a cat without a tail, like the Manx breed, half-lying upon the back of the horse, and laying its paw on the shoulder of the youth mounted before it; and the other looked like a dog, with open mouth, apparently barking with all his might, running among the feet of the horse. Interspersed with these figures were most uncouth drawings of flowers, growing up from the ground, and forming fantastic wreaths round the picture, all party-coloured in the same way as the animals.

This extraordinary fresco seemed like the scene which presented itself to the apostle, when one of the seals of the Apocalyptic book was opened. I wished that I had beside me some authoritative interpreter who could read for me "this mystic handwriting on the wall." It has been suggested that the silent scene before me represented the pa.s.sage of a soul to the world of the dead. The lean and starved-looking horse symbolised death; and its red and yellow spots indicated corruption.

It may have been the ghost of the horse that was burned with the body of his dead master; for we know that the tribes, from which the Etruscans were supposed to be descended, if not the Etruscans themselves, not only burned their dead, but offered along with them the wives, slaves, horses, and other property of the dead upon their funeral pyre. The horse in this remarkable fresco may therefore have been the death-horse, which is well-known in Eastern and European folklore. The diminutive figure which it carried on its back was the soul of the dead person buried in this tomb; and its small size and the fact of its being on horseback might have been suggested by the thought of the long way it had to go, and its last appearance to the mortal eyes that had anxiously watched it from the extreme verge of this world as it vanished in the dim distance of the world beyond. The groom that led the horse and his rider was the Thanatis or Fate that had inflicted the death-blow; and the figure with the hammer was probably intended for the Mantus--the Etruscan Dispater--who led the way to another state of existence. The deep-red colour of the human figures indicated not only that they belonged to the male s.e.x, but also that they were in a state of glorification. This is further confirmed by the flowers, which looked like those of the lotus, universally regarded amongst the ancients as symbols of immortality.

It is difficult to say what part the domestic animals were meant to play in this scene of apotheosis. Painted with the same hues as those of the steed, they were doubtless sacrificed at the death of their master, in order that they might share his fortunes and accompany him into the unseen world; their affection for him, and the reluctance with which they parted from him, being indicated by the cat putting its paw upon his shoulder as if to pull him back, and the dog barking furiously at the heels of the horse. But all this is merely conjectural. And yet I caught such a glimpse of the general significance of the picture, of the spirit that prompted it, as deeply impressed me. It seemed as if my own searching dimly with a candle in the inside of a dark sepulchral cave into the meaning of this fresco of death was emblematical of the groping of the ancient Etruscans, by such feeble light of nature as they possessed, in the midst of the profound, terrible darkness of death, for the great truths of immortality. They had not heard of One who alone with returning footsteps had broken the eternal silence of the tomb, and brought the hope of immortal life to the sleeping dead around. These Etruscan sleepers had been laid to rest in their narrow cell ages before the Son of Man had rolled away the stone from the door of the sepulchre, and carried captivity captive; but He whom they ignorantly worshipped had partially lifted the veil and given them faint glimpses of the things unseen and eternal. And these were doubtless sufficient to redeem their life from its vanity and their death from its fear.

Below the fresco which I have thus minutely described is another about the same size, representing a sphinx, with a nondescript animal, which may be either an a.s.s or a young deer standing below it, and a panther or leopard sitting behind in a rampant att.i.tude, with one paw on the haunch of the sphinx, and the other on the tail, and its face turned towards the spectator. The face of the sphinx is painted red. The figure bears some resemblance to the Egyptian type of that chimera in its straight black hair depending behind, and its oblique eyes; but in other respects it diverges widely. On Egyptian monuments the sphinx never appears standing as in this fresco, but crouching in the att.i.tude of reposeful observation. Its form also was always fuller and more rounded than the long-legged, attenuated spectre before us, and it was invariably wingless; whereas the Etruscan sphinx had short wings with curling points, spotted and barred with stripes of black, red, and yellow. This strange mixture of the human and the brutal might be regarded as a symbol of the religious state of the people. We see in it higher conceptions of religion struggling out of lower. In the rec.u.mbent wingless sphinx of Egypt we see anthropomorphic ideas of religion emerging out of the gross animal-worship of more primitive times. In the standing and winged Etruscan Sphinx we see these ideas a.s.suming a more predominant form; while in the Greek mythology the emanc.i.p.ation of the human from the brutal was complete, and the G.o.ds appeared wholly in the likeness of men.

On the wall on the opposite side of the door were two other frescoes, somewhat similar in general appearance to those already described. On the upper panel was a horse with a boy on his back, and a panther sitting on the ground behind him; while on the lower panel there was a huge standing panther or leopard, with his long tongue hanging out of his mouth, and a couple of dogs beneath him, one lifting up its paw, and the other trying to catch the protruded tongue of the panther. All the figures in the four frescoes were painted in the same bizarre style of red, yellow, and black characteristic of the first fresco described; and they had all the same Oriental border of lotus flowers.

They had evidently all the same symbolic import; for the sphinx guarded the gate of the unseen world, and leopards or panthers were frequently introduced into the paintings of Etruscan tombs as guardians of the dead.

Pa.s.sing through the doorway I entered an inner and smaller chamber, whose only decoration was six small round discs on the opposite wall, each about fifteen inches in diameter, painted in little segments of various colours,--black, blue, red, yellow, and gray. What they were meant to represent no one has satisfactorily explained. Above them I observed a number of rusty nails fixed in the wall, and traces of others that had fallen out around the doorway. On these nails were originally suspended various articles of household economy or of personal ornament; for the Etruscan sepulchres were always furnished with such things as the tenants took delight in when living. For a proof of this nothing could be more satisfactory than a thorough study of Inghira