[Sidenote: Beauty of the Roman Forum.]

Nothing in Rome, or perhaps any modern city, exceeded the glory and beauty of the Forum, with the adjoining basilica, and other public buildings, filled with statues and pictures, and crowded with people.

The more aristocratic loungers sought the retired promenade afforded by the porticoes near the Circus Flaminius, where the noise and clamor of the crowded streets, the cries of venders, the sports of boys, and the curses of wagoners, could not reach them. The Forum was the peculiar glory of the republican period, where the Gracchi enlightened the people on their political rights, where Cato calmed the pa.s.sions of the mob, where Cicero and Hortensius delivered their magnificent harangues.

[Sidenote: Works of Augustus.]

[Sidenote: Temple of Apollo.]

[Sidenote: Theatre of Marcellus.]

The glory of the Augustan age was more seen in the magnificent buildings which arose upon the hills, although he gave attention to the completion of many works of utility or beauty in other parts of the city. He restored the Capitoline temple and the theatre of Pompey; repaired aqueducts; finished the Forum and Basilica Julia; and entirely built the Curia Julia. He founded, on the Palatine, the Imperial Palace, afterwards enlarged by his successors until it entirely covered the original city of Romulus. Among the most beautiful of his works was the Temple of Apollo, the columns of which were of African marble, between which were the statues of the fifty Danaids. In the temple was a magnificent statue of Apollo, and around the altar were the images of four oxen--the work of Miron, so beautifully sculptured that they seemed alive. The temple was of the finest marble; its gates were of ivory, finely sculptured. Attached to this temple was a library, where the poets, orators, and philosophers a.s.sembled, and recited their productions. The Forum Augusti was another of the n.o.blest monuments of this emperor, in order to provide accommodation for the crowds which overflowed the Forum Romanum. He also built the theatre of Marcellus, capable of holding twenty thousand spectators.

[Sidenote: Pantheon.]

[Sidenote: Thermae Agrippae.]

[Sidenote: Campus Martius.]

[Sidenote: Works of the n.o.bles.]

Nor was Augustus alone the patron of the arts. His son-in-law, and prime minister, Agrippa, adorned the city with many n.o.ble structures, of which the Pantheon remains to attest his munificence. This temple, the best preserved of all the monuments of ancient splendor, stood in the centre of the Campus Martius, and contained only the images of the deities immediately connected with the Julian race and the early history of Rome. Agrippa was the first to establish those famous baths, which became the most splendid monuments of imperial munificence. The Thermae Agrippae stood at the back of the Pantheon. It was fed by the Aqua Virgo, an aqueduct which Agrippa purposely constructed to furnish water for his baths. Many other architectural monuments marked the public spirit of this enlightened and liberal minister, especially in the quarter of the Circus Flaminius and the Campus Martius. This quarter was like a separate town, more magnificent than any part of the ancient city. It was adorned with temples, porticoes, and theatres, and other buildings devoted to amus.e.m.e.nt and recreation. It had not many private houses, but these were of remarkable splendor. Other courtiers of Augustus followed his example for the embellishment of the city. Statilius Taurus built the first permanent amphitheatre of stone in the Campus Martius. L.

Cornelius Balbur built at his own expense a stone theatre. L. Marcius Philippus rebuilt the temple of Hercules Musarum, and surrounded it with a portico. L. Cornificius built a temple of Diana. Asininius Pollio an Atrium Libertatis; and Munatius Plaucus a temple of Saturn. Maecenas, who lived upon the Esquiline, converted the Campus Esquilinus, near the Subura, a pauper burial-ground offensive to both sight and health, into beautiful gardens, called the Horti Maecenatis.

Nunc licet esquiliis habitare salubribus atque, Aggere in Aprico Spatiari, quo modo tristes.

Albis informem spectabant ossibtis agrum.

[Footnote: Horace _Sat._ i. 8.]

Near these gardens Virgil lived, also Propertius, and probably Horace.

The Esquiline, once a plebeian quarter, seems to have been selected by the literary men, who sought the favor of Maecenas, for their abode. Ovid lived near the capitol, at the southern extremity of the Quirinal.

[Sidenote: Mausoleum of Augustus.]

Among the other buildings which Augustus erected, should not be omitted the magnificent Mausoleum, or the tomb of the imperial family at the northern part of the Campus Martius, near which lay the remains of Sulla and of Caesar, and which remained the burial-place of his family down to the time of Hadrian. [Transcriber's Note: Lengthy footnote relocated to chapter end.] He also brought from Egypt the obelisk which now stands on Mount Citorio, and which was placed in that receptacle for monuments--the Campus Martius.

[Sidenote: Imperial palace.]

Tiberius did but little for the improvement of his capital beyond erecting a triumphal arch, in commemoration of the exploits of Germanicus, on the Via Sacra, and establishing the Praetorian Camp near the Servian Agger. Caligula extended the imperial palace, and began the Circus Neronis in the gardens of Agrippa, near where St. Peter's now stands.

[Sidenote: Claudian aqueduct.]

Claudius constructed the two n.o.ble aqueducts, the Aqua Claudia and Arno Novis,--the longest of all these magnificent Roman monuments,--the latter of which was fifty-nine miles in length, and some of its arches were one hundred and nine feet in height.

Nero still further extended the precincts of the imperial palace, and included the Esquiline. The great fire which occurred in his reign, A.D.

65, and which lasted six days and seven nights, destroyed some of the most ancient of the Roman structures surrounding the Palatine, and very much damaged the Forum, to say nothing of the statues and treasures which perished. But the city soon arose from her ashes more beautiful than before. The streets were laid out on a more regular plan and made wider, the houses were built lower, and brick was subst.i.tuted for wood.

[Sidenote: The Imperial Palace.]

The great work of Nero was the construction of the Imperial Palace on the site of the buildings which had been destroyed by the fire. He gave it the name of Aurea Domus, and, if we may credit Suetonius, [Footnote: Suet. _Ner_., 31.] its richness and splendor surpa.s.sed any other similar edifice in ancient times. It fronted the Forum and Capitol, and in its vestibule stood a colossal statue of the emperor, one hundred and twenty feet high. The palace was surrounded by three porticoes, each one thousand feet in length. The back front of the palace looked upon the artificial lake, afterwards occupied by the Flavian Amphitheatre. Within the area were gardens and vineyards. It was entirely overlaid with gold, and adorned with jewels and mother-of-pearl. The supper rooms were vaulted, and the compartments of the ceiling, inlaid with ivory, were made to revolve and scatter flowers upon the banqueters below. The chief banqueting-room was circular, and perpetually revolved in imitation of the motion of the celestial bodies. There are scarcely no remains of this extensive palace, which engrossed so large a part of the city, and which covered the site of so many famous temples and palaces, and which exhausted even the imperial revenues, great as they were, even as Versailles taxed the magnificent resources of Louis XIV., and St.

Peter's obliged the Popes to appeal to the contributions of Christendom.

[Sidenote: Temple of Peace.]

The next great edifice which added to the architectural wonders of the city, was the temple built by Vespasian after the destruction of Jerusalem, which he called the Temple of Peace. It was adorned with the richest sculptures and paintings of Greece, taken from Nero's palace, which Vespasian demolished as a monument of insane extravagance. In this temple were deposited also the Jewish spoils, except the laws and veil of the temple.

[Sidenote: Falvian Amphitheatre.]

[Sidenote: The Colosseum.]

But the great work of this emperor, and the greatest architectural wonder of the world, was the amphitheatre, which he built on the ground covered by Nero's lake, in the middle of the city, between the Velia and the Esquiline. For magnitude it can only be compared with the pyramids of Egypt, and its remains are the most striking monument we have of the material greatness of the Romans. Though not the first of the amphitheatres which were erected, its enormous size rendered the erection of subsequent ones unnecessary. It was here that emperors, senators, generals, knights, and people, met together to witness the most exciting and sanguinary amus.e.m.e.nts ever seen in the world. It was built in the middle of the city, with a perfect recklessness of expense, and could accommodate eighty-seven thousand spectators, round an arena large enough for the combats of several hundred animals at a time. It was a building of an elliptical form, founded on eighty arches, and rising to the height of one hundred and forty feet, with four successive orders of architecture, six hundred and twenty feet by five hundred and thirteen, inclosing six acres. It was built of travertine, faced with marble, and decorated with statues. The eighty arches of the lower story formed entrances for the spectators. The seats were of marble covered with cushions. The spectators were protected from the sun and rain by ample canopies, while the air was refreshed by scented fountains. The nets designed as a protection from the wild beasts were made of golden wire. The porticoes were gilded; the circle which divided the several ranks of spectators was studded with a precious mosaic of beautiful stones. The arena was strewed with the finest sand, and a.s.sumed, at different times, the most different forms. Subterranean pipes conveyed water into the arena. The furniture of the amphitheatre consisted of gold, silver, and amber. The pa.s.sages of ingress and egress were so numerous that the spectators could go in and out without confusion. Only a third part of this wonderful structure remains, and whole palaces have been built of its spoils. [Footnote: Dyer, _Hist. of the City of Rome_, p. 245. Gibbon, chap. 12. Montaigne, _Essays_, in. 6.

Lipsius, _de Amphitheatro_.]

[Sidenote: Rebuilding of the Capitol.]

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

Another great fire which took place A.D. 80,--the same in which t.i.tus dedicated the Colosseum,--and which raged three days and nights, destroyed the region of the Circus Flaminius, including some of the finest temples of the city, and especially on the Capitoline, and created the necessity for new improvements. These were made by Domitian, who rebuilt the Capitol itself with greater splendor on its old site, and erected several new edifices. Martial speaks with peculiar admiration of the Temple of the Gens Flavia. [Footnote: Martial, _L_., ix. Ep. 4, 35. ] He also erected that beautiful arch to his brother t.i.tus which still remains one of the finest monuments of the imperial city. The Odeum, a roofed theatre, was erected by him, capable of holding twelve thousand people. He also made many additions to his palace on the Palatine--so lofty, that Martial, his flatterer, described it as towering above the clouds, and Statius compared the ceiling to the cope of heaven.

[Sidenote: Forum Trajanum.]

[Sidenote: Basilica Ulpia.]

No great improvements were made in the city until Trajan commenced his beneficent and splendid reign. His greatest work was the Forum which bears his name, to which allusion has been made, eleven hundred feet long, in the centre of which was that beautiful pillar, one hundred and twenty-eight feet high, which is still standing. The Forum, the Basilica Ulpia, and the temple dedicated by Hadrian to Trajan, were all parts of this magnificent structure, one of the most imposing ever built, filled with colossal statues and surrounded with colonnades.

[Sidenote: Temple of Venus and Rome.]

[Sidenote: Mausoleum of Hadrian.]

[Sidenote: Hadrians Villa.]

None of the Roman emperors had so great a pa.s.sion for building as Hadrian, who succeeded Trajan A.D. 117. He erected a vast number of edifices, and in his reign Rome attained its greatest height of architectural splendor. The most remarkable among the edifices which he built was the Temple of Venus and Rome, facing on one side the Colosseum, and the other the Forum, on the site of the Atrium, or the golden house of Nero. This seems to have been one of the largest of the Roman temples, erected on an artificial terrace five hundred feet long and three hundred broad. It was surrounded with a portico four hundred feet by two hundred, and another portico of four hundred columns inclosed the terrace on which the temple was built, the columns of which were forty feet in height. The roof was covered with bronze tiles.

Ammia.n.u.s Marcellinus cla.s.ses this magnificent temple with the Capitoline Temple, the Flavian Amphitheatre, and the Pantheon. The next greatest work of Hadrian was the Mausoleum, which is now converted into the Castle of St. Angelo, built on a platform of which each side was two hundred and fifty-three feet in length. From the magnificent colonnade which supported the platform on which it was built, and the successive stories supported by arches and pillars, between which were celebrated statues, this circular edifice, one hundred and eighty-eight feet in diameter, must have been one of the most imposing edifices in the city.

After eighteen centuries, it still remains a monument of architectural strength, and it served for one of the strongest fortresses in Italy during the Middle Ages. I pa.s.s by, without notice, the villa this emperor erected at Tivoli, the ruins of which are among the most interesting which remain of that great age.

[Sidenote: Column of Marcus Aurelius.]

[Sidenote: Arch of Septimius Severus.]

[Sidenote: Baths of Caracalla.]

Under Hadrian Rome attained its greatest splendor, and after him, there was a progressive decline in the arts, since the public taste was corrupted. Still successive emperors continued to adorn the city. Marcus Aurelius, the wisest and best of all the emperors, erected a column similar to that of Trajan, to represent his wars with the Germanic tribes, and this still remains; he also built a triumphal arch.

Septimius Severus erected the most beautiful of the triumphal arches, of which the Arc de Triumph in Paris is an imitation; and Caracalla built one of the greatest of the Roman baths, which, with the porticoes which surrounded it, formed a square of eleven hundred feet on each side--so enormous were these structures of luxury and utility, designed not only for the people as a sanitary measure, but for places of gymnastic exercises, popular lectures, and the disputations of philosophers. The Pantheon was merely an entrance to the baths of Agrippa. The baths of Trajan covered an area nearly as great. But those of Caracalla surpa.s.sed them all in magnificence. Nothing was more striking to a traveler than the painted corridors, the arched ceilings, the variegated columns, the elaborate mosaic pavements, the immortal statues, and the exquisite paintings which ornamented these places of luxury and pleasure. From amid their ruins have been dug out the most priceless of the statues which ornament the museums of Italy--the Farnese Hercules, the colossal Florae, the Torso Farnese, the Torso Belvidere, the Atreus and Thyestes, the Laoc.o.o.n, beside granite and basaltic vases beautifully polished, cameos, bronzes, medals, and other valuable relics of ancient art. To supply these baths new aqueducts were built, and the treasures of the empire expended. Those subsequently erected by Diocletian contained three thousand two hundred marble seats, and the main hall now forms one of the most splendid of the Roman churches.

[Sidenote: Temples and Palaces.]

[Sidenote: General aspect of the city.]

[Sidenote: What a traveler would see in a walk.]