[Sidenote: The Via Sacra.]

[Sidenote: The Velabrum.]

[Sidenote: The Fora.]

[Sidenote: View from the summit of the Capitoline Hill.]

[Sidenote: Gardens of Lucullus.]

[Sidenote: The Subura.]

[Sidenote: Circus Maximus.]

[Sidenote: View of Rome from the Capitol.]

Such is a brief view of the progress of those architectural wonders which made Rome the most magnificent city of antiquity, and perhaps the grandest, in its public monuments, of any city in ancient or modern times. What a concentration of works of art on the hills, and around the Forum, and in the Campus Martins, and other celebrated quarters! There were temples rivaling those of Athens and Ephesus; baths covering more ground than the Pyramids, surrounded with Corinthian columns and filled with the choicest treasures, ransacked from the cities of Greece and Asia; palaces in comparison with which the Tuileries and Versailles are small; theatres which seated more people than any present public buildings in Europe; amphitheatres more extensive and costly than Cologne, Milan, and York Minster cathedrals combined, and seating eight times as many people as could be crowded into St. Peter's Church; circuses where, it is said, three hundred and eighty-five thousand spectators could witness the games and chariot-races at a time; bridges, still standing, which have furnished models for the most beautiful at Paris and London; aqueducts carried over arches one hundred feet in height, through which flowed the surplus water of distant lakes; drains of solid masonry in which large boats could float; pillars more than one hundred feet in height, coated with precious marbles or plates of bra.s.s, and covered with ba.s.s-reliefs; obelisks brought from Egypt; fora and basilicae connected together, and extending more than three thousand feet, in length, every part of which was filled with "animated busts" of conquerors, kings, and statesmen, poets, publicists, and philosophers; mausoleums greater and more splendid than that Artemisia erected to the memory of her husband; triumphal arches under which marched in stately procession the victorious armies of the Eternal City, preceded by the spoils and trophies of conquered empires,--such was the proud capital-- a city of palaces, a residence or n.o.bles who were virtually kings, enriched with the acc.u.mulated treasures of ancient civilization. Great were the capitals of Greece and Asia, but how preeminent was Rome, since all were subordinate to her. How bewildering and bewitching to a traveler must have been the varied wonders of the city! Go where he would, his eye rested on something which was both a study and a marvel.

Let him drive or walk about the suburbs, there were villas, tombs, aqueducts looking like railroads on arches, sculptured monuments, and gardens of surpa.s.sing beauty and luxury. Let him approach the walls-- they were great fortifications extending twenty-one miles in circuit, according to the measurement of Ammon as adopted by Gibbon, and forty- five miles according to other authorities. Let him enter any of the various gates which opened into the city from the roads which radiated to all parts of Italy--they were of monumental bra.s.s covered with ba.s.s- reliefs, on which the victories of generals for a thousand years were commemorated. Let him pa.s.s up the Via Appia, or the Via Flaminia, or the Via Cabra--they were lined with temples and shops and palaces. Let him pa.s.s through any of the crowded thoroughfares, he saw houses towering scarcely ever less than seventy feet--as tall as those of Edinburgh in its oldest sections. Let him pa.s.s through the varied quarters of the city, or wards as we should now call them, he finds some fourteen regions, as const.i.tuted by Augustus, all marked by architectural monuments, and containing, according to Lipsius, a population larger than London or Paris, guarded and watched by a police of ten thousand armed men. Most of the houses in which this vast population lived, according to Strabo, possessed pipes which gave a never-failing supply of water from the rivers which flowed into the city through the aqueducts and out again through the sewers into the Tiber. Let him walk up the Via Sacra--that short street, scarcely half a mile in length--and he pa.s.ses the Flavian Amphitheatre, the Temple of Venus, and Rome, the Arch of t.i.tus, the temples of Peace, of Vesta, and of Castor, the Forum Romanum, the Basilica Julia, the Arch of Severus, and the Temple of Saturn, and stands before the majestic ascent to the Capitoline Jupiter, with its magnificent portico and ornamented pediment, surpa.s.sing the facade of any modern church. On his left, as he emerges from beneath the sculptured Arch of t.i.tus, is the Palatine Mount, nearly covered by the palace of the Caesars, the magnificent residences of the higher n.o.bility, and various temples, of which that of Apollo was the most magnificent, built by Augustus of solid white marble from Luna. Here were the palaces of Vaccus, of Flaccus, of Cicero, of Catiline, of Scaurus, of Antonius, of Clodius, of Agrippa, and of Hortensius. Still on his left, in the valley between the Palatine and the Capitoline, though he cannot see it, concealed from view by the great temples of Vesta and of Castor, and the still greater edifice known as the Basilica Julia, is the quarter called the Velabrum, extending to the river, where the Pons Aemilius crosses it-- a low quarter of narrow streets and tall houses where the rabble lived and died. On his right, concealed from view by the Aedes Divi Julii and the Forum Romanum, is that magnificent series of edifices extending from the Temple of Peace to the Temple of Trajan, including the Basilica Pauli, the Forum Julii, the Forum Augusti, the Forum Trajani, the Basilica Ulpia, more than three thousand feet in length and six hundred in breadth, almost entirely surrounded by porticoes and colonnades, and filled with statues and pictures--on the whole the grandest series of public buildings cl.u.s.tered together probably ever erected, especially if we take in the Forum Romanum and the various temples and basilicas which connected the whole together--a forest of marble pillars and statues. He ascends the steps which lead from the Temple of Concord to the Temple of Juno Moneta upon the Arx or Tarpeian Rock, on the southwestern summit of the hill, itself one of the most beautiful temples in Rome, erected by Camillus on the spot where the house of M. Manlius Capitolinus had stood. Here is established the Roman mint. Near this is the temple erected by Augustus to Jupiter Tonans and that built by Domitian to Jupiter Gustos. But all the sacred edifices which crown the Capitoline are subordinate to the Templum Jovis Capitolini, standing on a platform of eight thousand square feet, and built of the richest materials. The portico which faces the Via Sacra consists of three rows of Doric columns, the pediment is profusely ornamented with the choicest sculptures, the apex of the roof is surmounted by the bronze horses of Lysippus, and the roof itself is covered with gilded tiles. The temple has three separate cells, though covered with one roof; in front of each stand colossal statues of the three deities to whom it is consecrated.

Here are preserved what was most sacred in the eyes of Romans, and it is itself the richest of all the temples of the city. What a beautiful panorama is presented to the view from the summit of this consecrated hill, only mounted by a steep ascent of one hundred steps. To the south is the Via Sacra extending to the Colosseum, and beyond it is the Appia Via, lined with monuments as far as the eye can reach. Little beyond the fora to the east is the Carinae, a fashionable quarter of beautiful shops and houses, and still further off are the Baths of t.i.tus, extending from the Carinae to the Esquiline Mount. This hill, once a burial-ground, is now covered with the house and gardens of Maecenas, and of the poets whom he patronized. It is not rich in temples, but its gardens and groves are beautiful. To the northeast are the Viminal and Quirinal hills, after the Palatine the most ancient part of the city--the seat of the Sabine population. Abounding in fanes and temples, the most splendid of which is the Temple of Quirinus, erected originally to Romulus by Numa, but rebuilt by Augustus, with a double row of columns on each of its sides, seventy-six in number. Near by was the house of Atticus, and the gardens of Sall.u.s.t in the valley between the Quirinal and Pincian, afterwards the property of the emperor. Far back on the Quirinal, near the wall of Servius, were the Baths of Diocletian, and still further to the east the Pretorian Camp established by Tiberius, and included within the wall of Aurelian. To the northeast the eye lights on the Pincian Hill covered by the gardens of Lucullus, to possess which Messalina caused the death of Valerius Asiaticus, into whose possession they had fallen. In the valley which lay between the fora and the Quirinal was the celebrated Subura,-- the quarter of shops, markets, and artificers,--a busy, noisy, vulgar section, not beautiful, but full of life and enterprise and wickedness.

The eye now turns to the north, and the whole length of the Via Flaminia is exposed to view, extending from the Capitoline to the Flaminian gate, perfectly straight, the finest street in Rome, and parallel to the modern Corso. It is the great highway to the north of Italy. Monuments and temples and palaces line this celebrated street. It is spanned by the triumphal arches of Claudius and Marcus Aurelius. To the west of it is the Campus Martius, with its innumerable objects of interest,--the Baths of Agrippa, the Pantheon, the Thermae Alexandrinae, the Column of Marcus Aurelius, and the Mausoleum of Augustus. Beneath the Capitoline on the west, toward the river, is the Circus Flaminius, the Portico of Octavius, the Theatre of Balbus, and the Theatre of Pompey, where forty thousand spectators were accommodated. Stretching beyond the Thermae Alexandrinae, near the Pantheon, is the magnificent bridge which crosses the Tiber, built by Hadrian when he founded his Mausoleum, to which it leads, still standing under the name of the Ponte S. Angelo. The eye takes in eight or nine bridges over the Tiber, some of wood, but generally of stone, of beautiful masonry, and crowned with statues. At the foot of the Capitoline, toward the southwest, are the Portico of Octavius and the Theatre of Marcellus, near the Pons Cestius. Still further southwest, between the Capitoline and the Aventine, in a low valley, are the Velabrum and the Forum Boarium, once a marsh, but now rich in temples and monuments, among which are those of Hercules Fortuna and Mater Matuta. There are no less than four temples consecrated to Hercules in the Forum Boarium, one of the most celebrated places in Rome, devoted to trade and commerce. Beyond still, in the valley between the Palatine and the Aventine, is the great Circus Maximus, founded by the early Tarquin. It is the largest open s.p.a.ce inclosed by walls and porticoes in the city. It seats three hundred and eighty-five thousand people. How vast a city, which can spare nearly four hundred thousand of its population to see the chariot-races! Beyond is the Aventine itself.

This also is rich in legendary monuments and in the palaces of the great, though originally a plebeian quarter. Here dwelt Trajan, before he was emperor, and Ennius the poet, and Paula, the friend of St.

Jerome. Beneath the Aventine, and a little south of the Circus Maximus, west of the Appian Way, are the great baths of Caracalla, the ruins of which, next to those of the Colosseum, made on my mind the strongest impression of any thing that pertains to antiquity, though these were not so large as those of Diocletian. The view south takes in the Caelian Hill, the ancient residence of Tullus Hostilius. The beautiful Temple of Divus Claudius, the Arch of Dolabella, the Macellum Magnum,--a market founded by Nero,--the Castra Peregrina, the Temple of Isis, the Campus Martialis, are among the most conspicuous objects of interest. This hill is the residence of many distinguished Romans. It is covered with palaces. Among them is the house of Claudius Centumalus--so high, that the augurs command him to lower it. It towers ten or twelve stories into the air. Scarcely inferior in size is the house of Mamura, whose splendor is described by Pliny. Here also is the house of Annius Verus, the father of Marcus Aurelius, surrounded with gardens. But grander than any of these palaces is that of Plautius Latera.n.u.s, the _egregioe Lateranorum oedes_, which became imperial property in the time of Nero, and on whose site stands the basilica of St. John Lateran,--the gift of Constantine to the bishop of Rome,--one of the most ancient of the Christian churches, in which, for fifteen hundred years, daily services have been performed.

[Sidenote: Population.]

[Sidenote: Number of houses.]

Such are the objects of interest and grandeur which strike the eye as it is turned toward the various quarters of the city. But these are only the more important. The seven hills, appearing considerably higher than at the present day, as the valleys are raised fifteen or twenty feet above their ancient level, are covered with temples, palaces, and gardens; the valleys are densely crowded with shops, houses, baths, and theatres. The houses rise frequently to the tenth platform or story. The suburban population, beyond the walls, is probably greater than that within. The city, virtually, contains between three and four millions or people. Lipsius estimates four millions as the population, including slaves, women, children, and strangers. Though this estimate is regarded as too large by Merivale and others, yet how enormous must have been the number of the people when there were nine thousand and twenty-five baths, and when those of Diocletian could accommodate three thousand two hundred people at a time. The wooden theatre of Scaurus contained eighty thousand seats; that of Marcellus would seat twenty thousand; the Colosseum would seat eighty-seven thousand, and give standing s.p.a.ce for twenty-two thousand more. The Circus Maximus would hold three hundred and eighty-five thousand spectators. If only one person out of four of the free population witnessed the games and spectacles at a time, we thus must have four millions of people altogether in the city. The Aurelian walls are now only thirteen miles in circ.u.mference, but Lipsius estimates the circ.u.mference at forty-five miles, and Vopiscus nearly fifty. The diameter of the city must have been eleven miles, since Strabo tells us that the actual limit of Rome was at a place between the fifth and sixth milestone from the column of Trajan in the Forum--the central and most conspicuous object in the city except the capitol. [Footnote: Strabo, lib. v. ch. 3.] Even in the sixth century, after Rome had been sacked and plundered by Goths and Vandals, Zacharia, a traveler, a.s.serts that there were three hundred and eighty-four s.p.a.cious streets, eighty golden statues of the G.o.ds; sixty-six large ivory statues of the G.o.ds; forty-six thousand six hundred and three houses; seventeen thousand and ninety-seven palaces; thirteen thousand and fifty-two fountains; three thousand seven hundred and eighty-five bronze statues of emperors and generals; twenty-two great horses in bronze; two colossi; two spiral columns; thirty-one theatres; eleven amphitheatres; nine thousand and twenty-six baths; two thousand three hundred shops of perfumers; two thousand and ninety-one prisons. [Footnote: St. Ampere, _Hist. Romaine a Rome_.] This seems to be incredible. "But," says Story, "Augustus divided the city into eighteen regions: each region contained twenty-two vici; each vicus contained about two hundred and thirty dwelling-houses, so that there must have been seventy-five thousand houses; of these houses, seventeen thousand were palaces, or domus. If each contained two hundred persons, (and four hundred slaves were maintained in a single palace,) reckoning family, freedmen, and slaves, we have three millions four hundred thousand people, and supposing the remaining fifty-eight thousand houses to have contained twenty-five persons each, we have in them one million four hundred and fifty thousand, which would give an entire population of four millions eight hundred and fifty thousand." If Mr. Merivale's estimate of seven hundred thousand is correct, then the Colosseum would hold nearly one in six of the whole population, which is incredible.

Indeed, it is probable that even four millions was under than above the true estimate, which would make Rome the most populous city ever seen upon our globe. Nor is it extravagant to suppose this. The city numbered, according to the census, eighty thousand people in the year 197; and in 683 it had risen to four hundred and fifty thousand. Is it strange it should have numbered four millions in the time of Augustus, or even six millions in the time of Arelian, when we bear in mind that it was the political and social centre of a vast empire, and that empire the world? If London contains three millions at the present day, and Paris two millions, why should not a capital which had no rival, and which controlled at least one hundred and twenty millions of people? So that Pliny was not probably wrong when he said, "_Si quis alt.i.tudinem tectorum addat, dignam profecto oestimationem concipiat, fateatur qui nullius urbis magnitudinem potuisse ei comparare._" "If any one considers the height of the roofs, so as to form a just estimate, he will confess that no city could be compared with it for magnitude."

[Sidenote: The monuments which survive.]

[Sidenote: Games of t.i.tus.]

Modern writers, taking London and Paris for their measure of material civilization, seem unwilling to admit that Rome could have reached such a pitch of glory and wealth and power. To him who stands within the narrow limits of the Forum, as it now appears, it seems incredible that it could have been the centre of a much larger city than Europe can now boast of. Grave historians are loth to compromise their dignity and character for truth, by admitting statements which seem, to men of limited views, to be fabulous, and which transcend modern experience.

But we should remember that most of the monuments of ancient Rome have entirely disappeared. Nothing remains of the Palace of the Caesars, which nearly covered the Palatine Hill; little of the fora which, connected together, covered a s.p.a.ce twice as large as that inclosed by the palaces of the Louvre and Tuileries with all their galleries and courts; almost nothing of the glories of the Capitoline Hill; and little comparatively of those Thermae which were a mile in circuit. But what does remain attests an unparalleled grandeur--the broken pillars of the Forum; the lofty columns of Trajan and Marcus Aurelius; the Pantheon, lifting its s.p.a.cious dome two hundred feet into the air; the mere vestibule of the Baths of Agrippa; the triumphal arches of t.i.tus and Trajan and Constantine; the bridges which span the Tiber; the aqueducts which cross the Campagna; the Cloaca Maxima, which drained the marshes and lakes of the infant city; but above all, the Colosseum. What glory and shame are a.s.sociated with that single edifice! That alone, if nothing else remained of Pagan antiquity, would indicate a grandeur and a folly such as cannot now be seen on earth. It reveals a wonderful skill in masonry, and great architectural strength; it shows the wealth and resources of rulers who must have had the treasures of the world at their command; it indicates an enormous population, since it would seat all the male adults of the city of New York; it shows the restless pa.s.sions of the people for excitement, and the necessity on the part of government of yielding to this taste. What leisure and indolence marked a city which could afford to give up so much time to the demoralizing sports! What facilities for transportation were afforded, when so many wild beasts could be brought to the capital from the central parts of Africa without calling out unusual comment! How imperious a populace that compels the government to provide such expensive pleasures! The games of t.i.tus, on its dedication, last one hundred days, and five thousand wild beasts are slaughtered in the arena. The number of the gladiators who fought surpa.s.ses belief. At the triumph of Trajan over the Dacians, ten thousand gladiators were exhibited, and the emperor himself presides under a gilded canopy, surrounded by thousands of his lords. Underneath the arena, strewed with yellow sand and sawdust, is a solid pavement so closely cemented that it can be turned into an artificial lake on which naval battles are fought. But it is the conflict of gladiators which most deeply stimulates the pa.s.sions of the people. The benches are crowded with eager spectators, and the voices of one hundred thousand are raised in triumph or rage as the miserable victims sink exhausted in the b.l.o.o.d.y sport.

[Sidenote: Roman triumphs.]

But it is not the gladiatorial sports of the amphitheatre which most strikingly attest the greatness and splendor of the city; nor the palaces, in which as many as four hundred slaves are sometimes maintained as domestic servants, twelve hundred in number according to the lowest estimate, but probably five times as numerous, since every senator, every knight, and every rich man was proud to possess a residence which would attract attention; nor the temples, which numbered four hundred and twenty-four, most of which were of marble, filled with statues, the contributions of ages, and surrounded with groves; nor the fora and basilicae, with their porticoes, statues, and pictures, covering more s.p.a.ce than any cl.u.s.ter of public buildings in Europe, a mile and a half in circuit; nor the baths, nearly as large, still more completely filled with works of art; nor the Circus Maximus, where more people witnessed the chariot races at a time than are nightly a.s.sembled in all the places of public amus.e.m.e.nt in Paris, London, and New York combined-- more than could be seated in all the cathedrals of England and France; it is not these which most impressively make us feel that Rome was the mistress of the world and the centre of all civilization. The triumphal processions of the conquering generals were still more exciting to behold, for these appeal more directly to the imagination, and excite those pa.s.sions which urged the Romans to a career of conquest from generation to generation. No military review of modern times equaled those gorgeous triumphs, even as no scenic performance compares with the gladiatorial shows. The. sun has never shone upon any human a.s.semblage so magnificent and so grand, so imposing and yet so guilty. And we recall the picture of it with solemn awe as it moves along the Via Sacra and ascends the Capitoline Hill, or pa.s.ses through the theatres of Pompey and Marcellus, that all the people might witness the brilliant spectacle. Not only were displayed the spoils of conquered kingdoms, and the triumphal cars of generals, but the whole military strength of the capital. An army of one hundred thousand men, flushed with victory, follows the gorgeous procession of n.o.bles and princes. The triumph of Aurelian, on his return from the East, gives us some idea of the grandeur of that ovation to conquerors. "The pomp was opened by twenty elephants, four royal tigers, and two hundred of the most curious animals from every climate, north, south, east, and west. These were followed by one thousand six hundred gladiators, devoted to the cruel amus.e.m.e.nt of the amphitheatre. Then were displayed the arms and ensigns of conquered nations, the plate and wardrobe of the Syrian queen. Then amba.s.sadors from all parts of the earth--all remarkable in their rich dresses, with their crowns and offerings. Then the captives taken in the various wars, Goths, Vandals, Samaritans, Alemanni, Franks, Gauls, Syrians, and Egyptians, each marked by their national costume. Then the Queen of the East, the beautiful Zen.o.bia, confined by fetters of gold, and fainting under the weight of jewels, preceding the beautiful chariot in which she had hoped to enter the gates of Rome. Then the chariot of the Persian king. Then the triumphal car of Aurelian himself, drawn by elephants. Finally the most ill.u.s.trious of the Senate, the people, and the army closed the solemn procession, amid the acclamations of the people, and the sound of musical instruments. It took from dawn of day until the ninth hour for the procession to pa.s.s to the capital, and the festival was protracted by theatrical representations, the games of the circus, the hunting of wild beasts, combats of gladiators, and naval engagements. Liberal donations were presented to the army, and a portion of the spoils dedicated to the G.o.ds. All the temples glittered with the offerings of ostentatious piety, and the Temple of the Sun received fifteen thousand pounds of gold. The soldiers and the citizens were then surfeited with meat and wine. The disbanded soldiery thronged the amphitheatre, and yelled their fiendish applause at the infernal games,-- the gorged robbers of the world, drunk in a festival of h.e.l.l,"

[Footnote: Henry Giles.]--a representation of war as terrible as war itself, compensating to the Roman people the ma.s.sacres which they could not see.

If any thing more were wanted to give us an idea of Roman magnificence, we would turn our eyes from public monuments, demoralizing games, and grand processions; we would forget the statues in bra.s.s and marble, which outnumbered the living inhabitants, so numerous that one hundred thousand have been recovered and still embellish Italy, and would descend into the lower sphere of material life--to those things which attest luxury and taste--to ornaments, dresses, sumptuous living, and rich furniture. The art of working metals and cutting precious stones surpa.s.sed any thing known at the present day. In the decoration of houses, in social entertainments, in cookery, the Romans were remarkable. The mosaics, signet rings, cameos, bracelets, bronzes, chains, vases, couches, banqueting tables, lamps, chariots, colored gla.s.s, gildings, mirrors, mattresses, cosmetics, perfumes, hair dyes, silk robes, potteries, all attest great elegance and beauty. The tables of thuga root and Delian bronze were as expensive as the sideboards of Spanish walnut, so much admired in the great exhibition at London. Wood and ivory were carved as exquisitely as in j.a.pan and China. Mirrors were made of polished silver. Gla.s.s-cutters could imitate the colors of precious stones so well, that the Portland vase, from the tomb of Alexander Severus, was long considered as a genuine sardonix. Bra.s.s could be hardened so as to cut stone. The palace of Nero glittered with gold and jewels. Perfumes and flowers were showered from ivory ceilings.

The halls of Heliogabulus were hung with cloth of gold, enriched with jewels. His beds were silver, and his tables of gold. Tiberius gave a million of sesterces for a picture for his bed-room. A banquet dish of Drusillus weighed five hundred pounds of silver. The cups of Drusus were of gold. Tunics were embroidered with the figures of various animals.

Sandals were garnished with precious stones. Paulina wore jewels, when she paid visits, valued at $800,000. Drinking-cups were engraved with scenes from the poets. Libraries were adorned with busts, and presses of rare woods. Sofas were inlaid with tortoise-sh.e.l.l, and covered with gorgeous purple. The Roman grandees rode in gilded chariots, bathed in marble baths, dined from golden plate, drank from crystal cups, slept on beds of down, reclined on luxurious couches, wore embroidered robes, and were adorned with precious stones. They ransacked the earth and the seas for rare dishes for their banquets, and ornamented their houses with carpets from Babylon, onyx cups from Bythinia, marbles from Numidia, bronzes from Corinth, statues from Athens--whatever, in short, was precious or rare or curious in the most distant countries. The luxuries of the bath almost exceed belief, and on the walls were magnificent frescoes and paintings, exhibiting an inexhaustible productiveness in landscape and mythological scenes, executed in lively colors. From the praises of Cicero, Seneca, and Pliny, and other great critics, we have a right to infer that painting was as much prized as statuary, and equaled it in artistic excellence, although so little remains of antiquity from which we can form an enlightened judgment. We certainly infer from designs on vases great skill in drawing, and from the excavations of Pompeii, the most beautiful colors. The walls of the great hall of the baths of t.i.tus represent flowers, birds, and animals, drawn with wonderful accuracy. In the long corridor of these baths the ceiling is painted with colors which are still fresh, and Raphael is said to have studied the frescoes with admiration, even as Michael Angelo found in the Pantheon a model for the dome of St. Peter's, and in the statues which were dug up from the ruins of the baths, studies for his own immortal masterpieces.

Thus every thing which gilds the material wonders of our day with glory and splendor, also marked the old capitol of the world. That which is most prized by us, distinguished to an eminent degree the Roman grandees. In an architectural point of view no modern city approaches Rome. It contained more statues than all the Museums of Europe. It had every thing which we have except machinery. It surpa.s.sed every modern capitol in population. It was richer than any modern city, since the people were not obliged to toil for their daily bread. The poor were fed by the government, and had time and leisure for the luxuries of the bath and the excitements of the amphitheatre. The citizen n.o.bles owned whole provinces. Even Paula could call a whole city her own. Rich senators, in some cases, were the proprietors of twenty thousand slaves. Their incomes were known to be 1000 pounds sterling a day, when gold and silver were worth four times as much as at the present day. Rome was made up of these citizen kings and their dependants, for most of the senators had been, at some time, governors of provinces, which they rifled and robbed. In Rome were acc.u.mulated the choicest treasures of the world. Her hills were covered with the palaces of the proudest n.o.bles that ever walked the earth, Rome was the centre, and the glory, and the pride of all the nations of antiquity. It seemed impossible that such a city could ever be taken by enemies, or fall into decay.

"_Quando cadet Roma cadet et mundus_," said the admiring Saxons three hundred years after the injuries inflicted by Goths and Vandals.

Nor has Rome died. Never has she entirely pa.s.sed into the hands of her enemies. A hundred times on the verge of annihilation, she was never annihilated. She never accepted the stranger's yoke--she never was permanently subjected to the barbarian. She continued to be Roman after the imperial presence had departed. She was Roman when fires, and inundations, and pestilence, and famine, and barbaric soldiers desolated the city. She was Roman when the Pope held Christendom in a base subserviency. She was Roman when Rienzi attempted to revive the virtues of the heroic ages, and when Michael Angelo restored the wonders of Apollodorus. And Roman that city will remain, whether as the home of princes, or the future capitol of the kings of Italy, or the resort of travelers, or the school of artists, or the seat of a spiritual despotism which gains strength as political and temporal power pa.s.ses away before the ideas of the new races and the new civilization.

The most valuable book of reference for this chapter is the late work of Dr. Dyer, author of the article "Roma" in Smith's Dictionary. In fact this chapter is a mere compilation of that elaborate work, ("History of the City of Rome,") which may be said to be exhaustive. Mabillon and Montfaucon--two French Benedictines--rendered great service in the seventeenth century to Roman topography. Edward Burton and Richard Burgess wrote descriptions of Roman antiquities, now superseded by the writings of those great German scholars, who made a new epoch of Roman topography--Niebuhr, Bunsen, Platner, Gerhard, and Rostell, who, however, have succeeded in throwing doubt on many things supposed to be established. One of the most learned treatises on ancient Rome is the celebrated _Handbuch_ of Becker. Stephano Piale and Luigi Canina are the most approved of the modern Italian antiquarians.

[Relocated Footnote:

[Sidenote: Mausoleum of Augustus.]

[Sidenote: Those who were buried in it.]

"This enduring structure, which survived the conflagrations, the wars, and the anarchies of fifteen hundred years, consisted of a large tumulus of earth, raised on a lofty bas.e.m.e.nt of white marble, and covered on the summit with evergreens in the manner of a hanging garden. On the summit was a bronze statue of Augustus himself, and beneath the tumulus was a large central hall, round which ran a range of fourteen sepulchral chambers, opening into this common vestibule. At the entrance were two Egyptian obelisks, fifty feet in height, and all around was an extensive grove divided into walks and terraces. The young Marcellus, whose fate was bewailed by Virgil, was its first occupant. Here was placed Octavia, the neglected wife of Antony, and Agrippa, the builder of the Parthenon, and Livia, the beloved wife of Augustus, and beside them the first imperator himself. Here were the poisoned ashes of the n.o.ble Germanicus, borne from Syria; here the young Drusus, the pride of the Ciaudian family, and at his side the second Drusus, the son of Tiberius. Here reposed the dust of Agrippina, after years of exile, by the side of her husband, Germanicus; here Nero and his mother, Agrippina, and his victim, Britannicus; here Tiberius, Caligula, Claudius, and all the other Caesars to Nerva. Then the marble door was closed, for the sepulchral cells were full."--Story's _Roba di Roma_.]

CHAPTER IV.

ART IN THE ROMAN EMPIRE.

In my enumeration of the external glories of the Roman world, I only attempted to glance at those wonders which were calculated to strike a traveler with admiration. Among these were the great developments of Art, displayed in architecture, in statuary, and in painting. But I only enumerated the more remarkable objects of attraction; I did not attempt to show the genius displayed in them. But ancient art, as a proud creation of the genius of man, demands additional notice. We wish to know to what heights the Romans soared in that great realm of beauty and grace and majesty.

[Sidenote: Origins and principles of art.]

[Sidenote: Fascinations of art.]

[Sidenote: Development of art.]

[Sidenote: Glory of art.]

The aesthetic glories of art are among the grandest triumphs of civilization, and attest as well as demand no ordinary force of genius.

Art claims to be creative, and to be based on eternal principles of beauty, and artists in all ages have claimed a proud niche in the temple of fame. They rank with poets and musicians, and even philosophers and historians, in the world's regard. They are favored sons of inspiration, urged to their work by ideal conceptions of the beautiful and the true.

Their productions are material, but the spirit which led to their creation is of the soul and mind. Imagination is tasked to the uttermost to portray sentiments and pa.s.sions. The bust is "animated," and the temple, though built of marble, and by man, is called "religious." Art appeals to every cultivated mind, and excites poetic feelings. It is impressive even to every order, cla.s.s, and condition of men, not, perhaps, in its severest forms, since the taste must be cultivated to appreciate its higher beauties, but to a certain extent. The pyramids and the granite image temples of Egypt must have filled even the rude people with a certain awe and wonder, even as the majestic cathedrals of mediaeval Europe, with their imposing pomps, stimulated the poetic conceptions of the Gothic nations. Art is popular. The rude savage admires a gaudy picture even as the cultivated Leo X. or Cardinal Mazarini bent in admiration before the great creations of Raphael or Domenichino. Art appeals to the senses as well as to the intellect and the heart, and is capable of inspiring the pa.s.sions as well as the loftiest emotions and sentiments. The Grecian mind was trained to the contemplation of aesthetic beauty in temples, in statues, and in pictures; and the great artist was rewarded with honors and material gains. The love of art is easier kindled than the love of literary excellence, and is more generally diffused. It is coeval with songs and epic poetry. Before Socrates or Plato speculated on the great cert.i.tudes of philosophy, temples and statues were the pride and boast of their countrymen. And as the taste for art precedes the taste for letters, so it survives, when the literature has lost its life and freshness. The luxurious citizens of Rome ornamented their baths and palaces with exquisite pictures and statues long after genius ceased to soar to the heights of philosophy and poetry. The proudest triumphs of genius are in a realm which art can never approach, yet the wonders of art are still among the great triumphs of civilization. Zeuxis or Praxiteles may not have equaled Homer or Plato in profundity of genius, but it was only a great age which could have produced a Zeuxis or Praxiteles. I cannot place Raphael on so exalted a pinnacle as Luther, or Bacon, or Newton, and yet his fame will last as long as civilization shall exist. The creations of the chisel will ever be held in reverence by mankind, and probably in proportion as wealth, elegance, and material prosperity shall flourish. In an important sense, Corinth was as wonderful as Athens, although to Athens will be a.s.signed the highest place in the ancient world. It was art rather than literature or philosophy which was the glory of Rome in the period of her decline. As great capitals become centres of luxury and display, artists will be rewarded and honored. The pride of a commercial metropolis is in those material wonders which appeal to the senses, and which wealth can purchase. A rich merchant can give employment to the architect, when he would be disinclined to reward the critic or the historian. Even where liberty and lofty aspirations for truth and moral excellence have left a state, the arts suffer but little decline. The grandest monuments of Rome date to the imperial regime, not to the republican sway. When the voice of a Cicero was mute, the Flavian amphitheatre arose in its sublime proportions. Imperial despotism is favorable to the adornment of Paris and St. Petersburg, even as wealth and luxury will beautify New York. When the early lights of the Church were unheeded in the old capitals of the world, new temples and palaces were the glory of the state. Art was the first to be revived of the trophies of the old civilization, and it will be the last to be relinquished, by those whom civilization has enriched. Art excites no dangerous pa.s.sions or sentiments in a decaying monarchy, and it is a fresh and perpetual pleasure, not merely to the people, but to the arbiters of taste and fashion. The Popes rewarded artists when they crushed reformers, and persecuted inquiring genius. The developments of art appeal to material life and interests rather than to the spiritual and eternal. St. Paul scarcely alludes to the material wonders of the cities he visited, even as Luther was insensible to the ornaments of Italy in his absorbing desire for the spiritual and moral welfare of society. Art is purely the creation of man. It receives no inspiration from Heaven; and yet the principles on which it is based are eternal and unchangeable, and when it is made to be the handmaid of virtue, it is capable of exciting the loftiest sentiments. So pure, so exalted, and so wrapt are the feelings which arise from the contemplation of a great picture or statue, that we sometimes ascribe a religious force to the art itself, while all that is divine springs from the conception of the artist, and all that is divine in his conception arises from sentiments independent of his art, as he is stimulated by emotions of religion, or patriotism, or public virtue, and which he could never have embodied had he not been a good man, rather than a great artist, or, at least, affected by sentiments which he learned from other sources. There can be no doubt that, through the vehicle of art, the grandest and n.o.blest sentiments may be expressed. Hence artists may be great benefactors; yet sometimes their works are demoralizing, as they appeal to perverted taste and pa.s.sions. This was especially true in the later days of Rome, when artists sought to please their corrupt but wealthy patrons. The great artists of Greece, however, had in view a lofty ideal of beauty and grace which they sought to realize without reference to profit, or worldly advantage, or utilitarian necessities. Art, when true and exalted, as it sometimes is, and always should be, has its end in itself. Like virtue, it is its own reward. Michael Angelo worked, preoccupied and wrapt, without the stimulus of even praise, even as Dante lived in the visions to which his imagination gave form and reality. Art is therefore self-sustained, unselfish, lofty. It is the soul going forth triumphant over external circ.u.mstances, jubilant and melodious even in poverty and neglect, rising above the evils of life in its absorbing contemplation of ideal loveliness. The fortunate accidents of earth are nothing to the true artist, striving to reach his ideal of excellence,--no more than carpets and chairs are to a great woman pining for sympathy or love. And it is only when there is this soul-longing to reach the excellence it has conceived for itself alone that great works have been produced. The sweetest strains of music sometimes come from women where no one listens to their melodies. Nor does a great artist seek or need commiseration, if ever so unfortunate in worldly circ.u.mstances. He may be sad and sorrowful, but only in the profound seriousness of superior knowledge, in that isolation to which all genius is doomed.

[Sidenote: Great artists labor from inspiration.]

We have reason to believe that the great artists of antiquity lived, as did the Ionic philosophers, in their own glorious realms of thought and feeling, which the world could neither understand nor share. Their ideas of grace and beauty were realized to the highest degree ever known on earth. They were expressed in their temples, their statues, and their pictures. They did not live for utilities. When art became a utility, it degenerated. It became more pretentious, artificial, complicated, elaborate, ornamental even, but it lacked genius, the simplicity of power, the glory of originality. The horses of the sun cannot be made to go round in a mill. The spiritual must keep within its own seclusion, in its inner temple of mystery and meditation.

[Sidenote: Grecian art consecrated to Paganism.]

[Sidenote: Greatness and beauty of Grecian art.]

[Sidenote: Grecian admiration of art.]

Grecian art was consecrated to Paganism, and could not therefore soar beyond what Paganism revealed. It did not typify those exalted sentiments which even a Gothic cathedral portrayed--sacrifice; the man on the cross; the man in the tomb; the man ascending to heaven. Nor did it paint, like Raphael, etherial beauty, such as was expressed in the mother of our Lord, her whom all generations shall bless, _regina angelorum, mater divinae gratiae_. But whatever has been reached by the unaided powers of man, it reproduced and consecrated, and it realized the highest conceptions of beauty and grace that have ever been represented. All that the mind and the soul could, by their inherent force, reach, it has attained. Modern civilization has no prouder triumphs than those achieved by the artists of Pagan antiquity in those things which pertain to beauty and grace. Grecian artists have been the schoolmasters of all nations and all ages in architecture, sculpture, and painting. How far they themselves were original we cannot decide, although they were probably somewhat indebted to the a.s.syrians and Egyptians. But they struck out so new a style, and so different from the older monuments of Asia and Egypt, that we consider them the great creators of art. But whether original or not, they have never been surpa.s.sed. In some respects their immortal productions remain objects of hopeless imitation. In the realization of ideas of beauty which are eternal, like those on which Plato built his system of philosophy, they reached absolute perfection. And hence we infer that art can flourish under Pagan as well as Christian influences. We can go no higher than those ancient Pagans in one of the proudest fields of civilization; for art has as sincere and warm admirers as it had in Grecian and Roman times, but the limit of excellence has been reached. It is the mission of our age to apply creative genius to enterprises and works which have not been tried, if any thing new is to be found under the sun. Nor was it the number and extent of the works of art among the Greeks and Romans, nor their perfection, which made art so distinguishing an element of the old civilization. It was the spirit of the age, the absorption of the public mind, the great prominence which art had in the eyes of the people. Art was to the Greeks what tournaments and churches were to the men of the Middle Ages, what the Reformation was to Germany and England in the sixteenth century, what theories of political rights were to the era of the French Revolution, what mechanical inventions to abridge human labor are to us. The creation of a great statue was an era, an object of popular interest--the subject of universal comment. It kindled popular inspirations. It was the great form of progress in which that age rejoiced. Public benefactors erected temples, and lavished upon them the superfluous wealth of the State. And public benefactors, in turn, had statues erected to their memory by their grateful admirers.

The genius of the age expressed itself in marble histories. And these histories stand in the mystery of absolute perfection--the glory and the characteristic of a great and peculiar people.

[Sidenote: Principles of art.]