Cathedral Cities of Italy Part 9

[Ill.u.s.tration: LA PORTA MAGGIORE, ORVIETO]

In the troublous times that so often overtook Papal Rome no fewer than thirty-two different Pontiffs found refuge in Orvieto from incipient revolutions. The impregnable situation of the city rendered it safe and immune from attack. Pope Clement VII., who fled here after the sack of Rome by the Emperor Charles V., caused the Pozzo di S. Patrizio to be made. This extremely cleverly constructed well is hewn out of the solid rock for a depth of one hundred-and-eighty feet, and has a double spiral staircase outside the water shaft. The Papal Court naturally followed the Pope, and Orvieto in the days which have gone must have worn a more human air than it does now. One can understand that then its dark, solemn streets resounded with a little gaiety, and its palaces had a greater show of life than they have at the present time. True, the owners now spend most of the year in Rome, and reside in their fortress homes for the summer months only. But even their advent does not, to the stranger, bring much more life into this solemn place. No other word describes the palaces of Orvieto better than the above.

Nearly every one of these fortress palaces has a tower of defence, the walls of which are from eight to ten feet thick. Many of them are connected with one another by underground pa.s.sages, and none have any windows at all accessible from the outside. The lower cla.s.s of inhabitants are quiet and sad-looking. They appear even to this day to live under some heavy mental weight. Maybe generations of suppression and the dominance of an intriguing Court has had an influence that is inbred into the children born now. Then, too, it was so far down hill and up across the opposite slopes to the world beyond! So toilsome a climb to return home! You feel this to-day when you live in Orvieto--feel that this silent city is an island. Can you be surprised, when you think of these adverse influences, that the poorer Orvietans have not quite the gay and friendly air of the peasantry of the plains?

But whatever the people may be, they live in a wonderful old city, and they live under the shadow of a grand Gothic cathedral.

Standing in a fine open piazza with the Palazzo del Papa on one side, the Hospital on another, and the Bishop's palace on a third, this fine church occupies the vantage ground of Orvieto. In the Vatican, one of Raphael's well-known frescoes ill.u.s.trates the miracle of Bolsena. It was to commemorate this that Pope Urban IV. founded the cathedral. The magnificent facade has three porches. The centre one has round arches, and the other two are pointed. Four flat panels are at the bases of the shafts that divide the facade. These shafts end in crocketed pinnacles surrounding the Gothic turrets, which soar upwards beyond the three gables at the top of the facade. The gables themselves rise above the roofs of the nave and aisles. The only fault one can find with this beautiful building, and it is one common to most Italian Gothic churches, is that the facade is "stuck on," and does not really form part of the architectural composition of the building. A glance at the ill.u.s.tration will explain what is meant.

The four panels are justly placed among the masterpieces of Italian sculpture of the thirteenth century. Vasari attributes the designs to Niccol Pisano. This may be, but it is known that Giovanni Pisano and others were the artists who executed them. The first in order begins at the lowest left-hand corner of the north panel, and records the Creation of the World and all beasts and birds. Then follow the histories of Adam and Eve, Cain and Abel, Jubal--making bells, and Tubal-Cain measuring on a scroll with a compa.s.s.

[Ill.u.s.tration: THE FAcADE OF THE CATHEDRAL, ORVIETO]

This completes the first and best panel of the four. Each incident is enclosed by a very beautifully cut and intricate pattern of the vine.

The second panel depicts scenes from the Old Testament; the third, the Tree of Jesse, the Nativity and Life of Christ, with cla.s.sic foliage intervening. The fourth is very good and represents the Resurrection; here figures of a very Greek type rise from Greek sarcophagi. Saints, Virgins, and the Saviour in Glory surrounded by Apostles also find places on this panel. It finishes in the lowest right-hand corner with a most realistic scene in h.e.l.l. Raphael, it is said, came to Orvieto to study these wonderful works.

Immediately above and at the bases of the four shafts are the huge bronze symbols of the four Evangelists. They rest on the _abaci_ of the pilasters which form a sort of drip-course right along the facade. Over the centre porch is a bronze tent, the curtains of which Angels draw aside revealing the Virgin and Child seated. The lights, forming the tympanums of the porches, are thin sheets of alabaster. The columns are spiral and twisted, octagonal and quadrangular. Each is set against a different coloured background of black lava, red, white, or grey marble; and each is covered with geometrical mosaic. The wheel window of the facade is beautified with exceptionally good tracing. It is framed by quatrefoils in panels, with the head of a saint in each. On two sides of these, in recessed rectangular niches, are statues of the Twelve Apostles.

At the top of the frame are canopied niches with a row of saints. The whole of this wonderful front is covered by modern mosaics which do not quite fit in with the severe lines of the architecture. Neither does the scheme of colour in which they are executed take its place with the warmth of the marble as well as it might.

The whole of the main building is constructed in bands of black lava and white marble. Semicircular chapels in the aisles break the monotony of the lower portion of the exterior; while the upper is rendered less severe by the pointed clerestory windows, a dripstone and string-course, and a good cornice.

The interior is one of the best in Italy. It was greatly improved when the colossal statues which stood at the bases of the piers were removed, and the side chapels cleared of their altars and rather meretricious adornments. The ma.s.sive columns of the nave, eight of which are round, four cl.u.s.tered, and two engaged, have capitals that partake of a style far more cla.s.sic than Gothic. Above the round arches they support runs a triforium gallery. This is open in the nave, and covered at the west end, where it follows the slope upwards of the gables of the aisles. At the east end it is carried over the window, being also covered in here.

The windows of the aisles are all filled, or partly filled, with thin slabs of alabaster. The effect of light produced through this thick but comparatively translucent medium is extremely mellow and beautiful.

The short transepts are raised three steps above the nave, and the choir five. A fine red marble bal.u.s.trade separates the latter from the rest of the church. The open stalls in the choir have some extremely good _intarsia_ work. The wooden screen that shuts them off from the nave is a carved ma.s.s of most intricate geometrical design. Under the east window is the bishop's throne, backed and surrounded with more good _intarsia_, in which saints and sainted bishops with their symbols most effectively figure. The walls above and around are covered with fourteenth-century frescoes by Pietro di Puccio and Ugolino, both native artists. In their present faded state they harmonise beautifully with their surroundings, to which the colour of the well-worn red marble floor of the cathedral adds a pleasant note.

The work of Luca Signorelli can be better studied in the Cappella della Madonna di S. Brizio than anywhere else in Italy. This chapel practically forms the shallow south transept. In the magnificent frescoes which adorn its walls one can trace the possible influence of this great painter on the works of Michael Angelo. Two panels of the ceiling came from the brush of Fra Angelico. The north transept is almost entirely occupied by the Cappella del S.S. Corporale. The reliquary containing the "Corporal," or linen cloth of the Miracle of Bolsena, is kept over the altar. This reliquary is a fine piece of silver-gilt work, with two dozen beautiful panels of blue enamel. It was on to this linen cloth that the Blood dropped from the broken Host, and convinced the officiating priest of the Real Presence. Pope Urban IV.

had it brought from Bolsena, and commenced to build this magnificent cathedral as a great shrine in which the sacred relic should rest for ever.

Behind the cathedral, that is to the east, Orvieto, not many years ago, was a ruined, broken-down ma.s.s of insanitary buildings. Gardens now take the place of what was a plague-spot, and the houses of the city as we find it now occupy barely one-half of the area contained within the walls. In this respect modern ideas have decidedly improved Orvieto.

What is left of the old streets is well looked after from the sanitary point of view; and from the artistic, there are not many places in Italy where subjects are to be found in such plenty. The ma.s.sive Torre del Moro is close to the Piazza del Popolo, where stands the ruined church of S. Domenico. This fine Romanesque structure is entered by a flight of steps at the west end; it is built over a ma.s.sively constructed crypt, now used as a granary. The mighty arches of this crypt sustain part of the church, but it does not extend beneath the whole of the fabric. One of the numerous arched gateways which are to be found throughout the city intervenes between it and the little b.u.t.tressed dwelling underneath the east end. From this rises the solid _campanile_. An arcade runs round the whole church. This good feature is composed of round arches, containing small round-headed lights. The outer member of each arch is finished by a broad, flat, square billet, the inner has a cable pattern.

Above is a dripstone and string-course.

Sat.u.r.day sees the piazza crowded with country folk, and it then presents a busy scene. All the rest of the week it is silent and deserted. I was there with my sketch-book one afternoon. A thunderstorm was rolling about in the hills. The air was charged with disturbing electricity.

Swifts flew screaming round the ruined church. A kestrel up in the battered old tower cried to her young. The storm crept nearer. Grand c.u.muli clouds piled themselves higher and higher above the lightning-riven ma.s.s of rain-sodden blackness below. A beautiful swallow-tail b.u.t.terfly, brilliant against the deep purple background, came gracefully sailing across the square into the sunshine. It hovered, now here, now there, like a spirit from another world seeking rest but finding none. Little puffs of wind stirred odd bits of straw and paper about the piazza. Dust began to eddy round and round. A drop of rain fell on to the open leaves of my sketch-book. It was the writing on the wall; so I closed the book and hurried home. For half an hour the heavens emptied themselves on Orvieto. To me a stage-play of some scene in her past was re-enacted in the sky; the pa.s.sing storm seemed so appropriate to the rugged old city.

ROME

With pen in hand one approaches the subject of the Eternal City with great diffidence. The more one's acquaintance with her has ripened, the more does the attempt to write a chapter seem a hopeless task. There are so many Romes--Republican Rome, Imperial Rome, Rome of the Papal supremacy, Christian Rome, Pagan Rome; and then Modern Rome, with a munic.i.p.ality that is fast changing the face of everything. Catering for the tourist in these days of cheap transit does much to alter things. In the end it will defeat its own object, and history will be contained in libraries and museums only. Rome, like London, is fast becoming cosmopolitan. The _pericolo giallo_, or "yellow peril," as the motor post 'bus is facetiously called, rushes through streets where not so long ago solemn processions of the Mother Church wended their way.

Building is going on at present with feverish haste. The "boom" of 1880, which ruined many of the wealthy families who speculated in it, does not seem to have acted as a deterrent to others. The great boulevard projected by the powers that be, slowly grows in length. Despite the outcry against such vandalism, an area that might disclose and yield up unknown archaeological treasures if properly excavated is being levelled in the sacred names of sanitation and opportunism! The picturesque dwellings that lined the banks of Rome's famous river have disappeared, and the yellow waters of the historic Tiber rush along between ma.s.sive walls of stone.

Is it possible amid all these rapid changes to realise what Rome has been and is still? No, not on any of her seven hills, not in her streets, nor on her river embankments, not even in her churches, can this now be done. No: to realise the power and majesty of Ancient Rome one must go out into the Campagna, that desolate plain in which she lies. There, where the stupendous ruins of her great aqueducts stretch away in utter loneliness to the distant hills; there, where once a prosperous people dwelt in plenty, and where the only living things likely to be seen now are a statuesque goatherd and his nibbling flock--there, one may gather an idea of the might of ancient Rome. By Hadrian's Wall, which cuts the Borderland of England, one may do the same; and there are none of her ruined outposts, east or west, where her majesty is not more apparent than in the Eternal City herself.

[Ill.u.s.tration: ON THE PALATINE, ROME]

Up on the Palatine, close to the trees that are seen in the sketch of the Clovis Victoriae, the Etruscan wall of the first Rome is now in course of excavation. Up there, too, are the remains of the first wall of the Roman city built by Servius Tullius. In the Via Merulana part of a great earthwork with a moat outside can still be seen. Long after Carthage had been practically obliterated by her rival, Rome had extended so far, and attacks from outside became of so great a danger to the inhabitants, that Aurelian found it necessary to build a line of defence which the present walls might be said to occupy. From that time onwards the city grew steadily to a magnificence and power which has never been equalled. She ruled the known world. But it was not until Constantine the Great transferred himself and the seat of empire to Byzantium that the turning-point in her fortunes was reached. Well has the great emperor earned that proud t.i.tle! From Milan he issued the decree which gave to the much persecuted Christians equal rights with other religions; and even went further, embracing the faith he had befriended.

Many churches lay claim to be the oldest foundation in Rome. S.

Pudenziana is said to be the church S. Paul founded in the house of his Senator friend Pudens. Recent excavations under S. Clemente have brought to light early-Christian masonry beneath the Republican and Imperial remains, over which the present edifice stands. S. Prisca is another ancient church; and tradition attributes S. Giovanni in Laterano, S.

Pietro, S. Paolo, S. Lorenzo, S. Croce in Gerusalemene, S. Agnese, and SS. Pietro e Marcellino to Constantine's era. The first four of these, with S. Maria Maggiore, were afterwards known as the Patriarchal Churches over which the Pope presided. With S. Croce and S. Sebastiano, they became the seven churches of Rome. In them the Pontiff celebrated High Ma.s.s; and they were the princ.i.p.al churches which drew pilgrims from throughout Christendom. In these seven the high altar presents its back to the congregation, for His Holiness celebrates Ma.s.s with his face to the worshippers. The Papal supremacy really owed its foundation to Gregory the Great. But it was not until two hundred years after his decease, when on Christmas Day of the year 800, Charlemagne was crowned by Leo III., that the "Holy Roman Empire" became an accomplished fact.

Unfortunately for Ancient Rome the Carlovingian period was one of demolition and plunder. Christian zeal cared nought for the beauty of pagan buildings, and many an one was pulled down and a church erected with the material. It was later on however, in the time of the Renaissance, that columns and marble of every sort were used for the adornment of the numerous sacred edifices which sprang up. What was not wanted in construction was ground down to make lime. Banding iron, clamps, bronzes, and every description of metal that was found were thrown into furnaces and melted down. Nothing that could be made use of for building material was spared. The Church could never forget the persecution she had undergone, nor the thousands of martyrs who had died for the Faith. Is it a matter for surprise then--a surprise one must add mingled with great regret--that the glorious buildings of ancient Rome have almost disappeared?

Whichever of all Rome's churches was founded first, there is no disputing the fact that the huge fabric which occupies one side of the Piazza di S. Pietro is the most famous Christian edifice in the world.

Bernini's best work, the grand colonnades on two sides of the square lead up in splendid curves to the great facade of S. Peter's. But, so great is the size of the building, so far set back the dome, that it is impossible to realise the immensity of either from any point of view in the piazza. The first church was founded in the year 90 at the place where so many martyrs had suffered death during the time of the tyrant Nero. The Emperor Constantine commenced afterwards the erection of a basilica on this spot, the facade of which Raphael has handed down in his fresco of the Incendio del Borgo. When Julian della Rovere became Pope Julius II., he wantonly ordered the destruction of the church as it then stood. This was done to make way for a greater with which his own name would be for ever connected; and he employed Bramante to design the new cathedral. Hands once more were laid on the buildings of ancient Rome and the construction was begun from its ruins. Except for some of the columns, the whole of the marble work of S. Peter's was, up to the commencement of last century, abstracted from the same source.

Bramante's designs were never carried out. The many alterations to which they were subjected after his death led to great dissatisfaction, and in the end Michael Angelo was consulted. All he could do was to reserve as much as possible of the great architect's ground plan, and this is, except for the lengthening of the nave and the addition of the facade, as the great cathedral stands to-day.

The immense _travertine_ columns of the facade form part of a portico which is over two hundred feet in length. Above the columns runs an inscription recording that it was put up by the Borghese Pontiff, Paul V. A bal.u.s.trade, broken by pedestals, surmounts the _cymatium_; on the pedestals are extra-colossal figures of the Saviour (in the centre) and the Twelve Apostles. At either end are groups of _barroque_ angels surrounding a circle over which is the Papal Mitre. In one of these circles there is a timepiece. The ceiling of the portico is a fine example of stucco work.

There are five doors which open into the building. The central is of bronze and one of the few things spared by the destroyer Julius when he demolished the old basilica. The doors next to this are those by which one enters the church. In March 1910 the old and very unhygienic leather flaps were removed, and glazed swing-doors have taken their place. The Porta Santa, or door at the north end of the portico, is walled up. It was only opened for the purpose of celebrating a Jubilee, and has been closed since 1825.

Many and repeated visits are necessary to S. Peter's before the size of the vast interior can be in any way grasped. It is only when one is accustomed to the scale of the little human figures walking about and their insignificance in proportion to the whole, that the immense height of even the Corinthian pilasters of the piers becomes apparent. The roof is vaulted, coffered and gilded. It is supported by four piers on each side of the nave. The floor is of coloured marble, and has the measurements of the great churches of Christendom let in with bra.s.s at the spot where each would end if measured from the east. Just inside the central bronze door is a slab of porphyry upon which the emperors were crowned. At the base of each pier, as well as in other parts of the church, the colossal statues of the founders of different religious Orders find a place. The last pier on the right has a bronze figure of S. Peter seated, one foot of which is partially worn away by the lips of devotees.

The dome grows upwards from four ma.s.sive b.u.t.tresses. Niches above their bases contain figures of SS. Longinus, Andrew, Helena, and Veronica, who holds the napkin with the impress of the Saviour's Face. Under the dome is the _Confessio_ of S. Peter, to reach which a double flight of steps leads down. Eighty-nine lamps for ever burn on the bal.u.s.trade which encloses the well of the entrance; and doors of gilded bronze shut off the niche in which the sarcophagus of the Apostle rests. Soaring high up on four bronze columns ninety-four feet from the floor, the great _baldacchino_ rises above all. But so immense is the s.p.a.ce under the dome that one has no idea of the height it attains. It was designed by Bernini, and is made partly of the bronze which covered the roof of the Pantheon.

Nothing at all can be said in praise of Bernini's design. The high altar, at which only the Pope celebrates ma.s.s, is above the _Confessio_ and directly under the cross which forms the apex of this somewhat unsightly ma.s.s of metal. The interior decoration of the dome is not in any way striking. Above the four statues of the already enumerated saints are the _loggie_, containing the sacred relics of the lance which pierced the crucified Saviour's side, the head of S. Andrew, a portion of the Cross, and the "Volto-Santo"--the napkin or handkerchief of S.

Veronica, which wiped the Lord's brow on the way to Calvary. Four mosaics of the Evangelists are beneath the frieze which carries the drum of the dome; and a series of four each are between the sixteen gilded ribs of the vaulting. In the tribune at the east end of the cathedral is the ancient wooden episcopal chair of S. Peter.

Amongst other celebrated things which S. Peter's contains is the Pieta of Michael Angelo in the Capella della Pieta. The great sculptor has inscribed his name on the girdle of the Virgin--the only occasion on which he has done so. Opening out from this chapel is another, in which is a column, said to be that against which Christ leaned when preaching in the Temple at Jerusalem. Adjacent to this is the tomb of the great Countess Matilda by Bernini. The tombs and monuments of many Popes are to be found in other chapels, but none of them possess any real artistic merit. The best is that of Alessandro Farnese, Pope Paul III. It is by Guglielmo della Porta, and was one of the most expensive to erect. In the crypt, which is divided into two parts, the Grotte Vecchie, and the Grotto Nuovo, are the sarcophagi and fragments of sarcophagi of many other Popes, among them being that of Nicholas Breakspeare, the only Englishman who ever attained the dignity. The sarcophagus of S. Peter, already mentioned, is in the _Confessio_, or shrine of SS. Peter and Paul, which is richly ornamented with gold and studded with jewels.

In the Stanza Capitolare, which is part of the sacristy, are some remnants from the brush of Giotto that at one time adorned the walls of the old _Confessio_. The treasury contains a wonderful collection of jewelled crucifixes and candelabra. Among the latter is to be found the work of Cellini and Michael Angelo. The famous sacerdotal robe known as the Dalmatica di Papa San Leone, and said to be that used at the coronation of Charlemagne, is also kept here. Apart from its sacred interest, the great cathedral of S. Peter's cannot be said to raise any feelings other than wonderment at its size and admiration for its grand proportions. The exterior is disappointing, and many and many a visit must be paid to the interior before wonderment reaches admiration. Just as it is possible to gain the best impression of the power of ancient Rome outside Rome itself, so does one grasp the size of the mighty fabric only when some miles away in the country beyond the walls. Climb the lower slopes of the hills near Tivoli or Frascati, and what does one see? Apparently a level plain, out of which rises far away a marvellous dome. From Tivoli, especially, one sees nothing of the city on the Seven Hills. The line of fir-trees beyond Monte Mario is visible, and maybe, the afternoon sun shining on the distant Mediterranean. But save for the great dome there is nothing to indicate to the eye that the Eternal City lies well within the range of vision. Yet in Rome itself, though it is paradoxical to say so, the dome of S. Peter's in no way dominates anything, albeit that it rises above everything else. The enormous monument in course of erection on the Capitoline appears bigger. Each of the seven hills seems to be of greater alt.i.tude. But the former is not so large, and the latter do not reach the same height. Thus, the great church holds her own--but, physically as well as spiritually, one must go outside Rome to realise this.

To return to ancient times, we find an absorbingly interesting link with pre-Christian days sculptured on one of the panels which decorate the interior of the Arch of t.i.tus. The Via Sacra pa.s.sed under this arch, which was erected to commemorate the taking of Jerusalem. The panel in question has figured on it in bas-relief a procession bearing the seven-branched candlestick and tabernacle which were spoils from the Jewish Temple. This is the only known material proof existing of the former object, and may therefore be justly said to be of surpa.s.sing ecclesiastical interest. Through the archway one sees the half-ruined walls of the Colosseum, the greatest amphitheatre in the world. This, too, is of intense religious interest. In the arena hundreds of Christian martyrs were torn to pieces by wild beasts, or butchered to fill the pa.s.sing hours with amus.e.m.e.nt for the Roman populace. Pope Benedict XIV. consecrated the interior after erecting gates outside to preserve it from the demolition which up to his day had been going on for centuries. Small chapels were also formed amongst the lower structural arches, and services held where once the walls resounded to the shouts of bloodthirsty spectators. Close by the Colosseum is another fine archway, the Arch of Constantine. This likewise, has an interest apart from its design. It was put up when the great emperor declared himself in favour of the Christian faith. The devout may ponder over the fact that these two arches, so closely connected with Christianity, are still standing, while nearly every other has long since been razed to the ground.

[Ill.u.s.tration: THE ARCH OF t.i.tUS, ROME]

Away to the south-east of these three buildings the Mother Church of Rome is situated close to the city walls. Here, on rising ground, overlooking the vast Campagna, stands S. Giovanni in Laterano, "omnium urbis et orbis ecclesiarum mater et caput." Dedicated originally to Christ the Saviour, and afterwards in the sixth century to S. John, this fine basilica is of much greater, archaeological interest than S.

Peter's. The present building dates from the seventeenth century. All that remains of the once attached Benedictine monastery is to be found in the very beautiful cloisters, which are a transition between Romanesque and Gothic. The church itself has a fine eastern facade--it orientates to the west--of five arches with an intervening gallery. In the _atrium_ is a statue of Constantine found in his _Thermae_. The interior of the basilica is simple, with a very good _opus Alexandrinum_ floor. The aisles are double, and are separated from the nave by eleven bays on each side. Colossal statues of Apostles and Prophets find places at the bases of the pillars. The transepts and tribune are raised above the body of the church. In the centre, the high altar is situated under an ornate Gothic canopy. This contains a tabernacle, erected partly at the expense of Charles V. of France, to receive the busts of SS. Peter and Paul which were found amidst the ruins of the older church. A few years ago the tribune was extended and beautifully inlaid with mosaic carrying out a design of the thirteenth century. Michael Angelo is said to have designed the flat ceiling of the nave, and there is a wooden figure of S. John by Donatello in the sacristy.

In the Piazza di S. Giovanni in Laterano stands a building that contains the Scala Santa, a flight of steps from Pilate's palace in Jerusalem, which Christ is said to have ascended. They are covered with wood, and may only be ascended on the knees. Light enters through barred windows, and partly illumines the solemn gloom of this deeply interesting place.

At the top of the stairs is the Sancta Sanctorum, on the architrave above which is engraved in Latin: "There is not a place in the whole world more holy." This was the old chapel of the Popes and the only part of the Pontifical palace that the fire of 1308 did not consume. The present Palazzo del Laterano was built on part of the site of that which this fire destroyed. The old palace was the residence of the Popes from the time of Constantine until their migration to Avignon. The building that now enjoys the above t.i.tle is a museum, wherein are many fine pieces of pagan sculpture as well as other interesting antiquities. The baptistery of the Lateran stands to the west of the basilica. The interior of this octagonal building is simple but not well lighted.

Eight porphyry columns support an antique architrave; and eight smaller columns of marble rise from this and support the dome. The font is in the centre of the floor, which is lower than the pavement near the walls. It is of green basalt, and is supposed to be that in which the Anglo-Saxon king Caedwalla was baptised in the year 689. Rienzi bathed in it the night before he summoned the Pope and the Electors of Germany to appear before him for judgment.

Another and more magnificent basilica is that of S. Paolo fuori, which is situated two miles out of Rome on the Via Ostia. It is the grandest of the many basilicas Rome possesses. Constantine erected a _tropaeum_, or sepulchral monument over the spot where Lucina buried the apostle's body; and in 386 the Consul Sall.u.s.trius by the Emperor's order began to build the church, which was known as the Basilica Ostiensis. The little town that arose around this sacred spot was on the banks of the Tiber, and from its position was subject to raids from the Saracens and other marauders who sailed up the stream. John VIII. in the ninth century enclosed the basilica and most of the surrounding buildings within a fortified wall. For fifteen hundred years this grand church has had as venerated a shrine as S. Peter's. The kings of England were its protectors until the Reformation severed their connection with the Roman creed; and sovereigns from all parts of Christendom came here to worship. On July 17, 1823, the pine roof caught fire and fell into the nave. The heat from the smouldering ma.s.s was so great that some of the columns split and the whole fabric was almost entirely destroyed. Pius IX. presided at a great function in 1854, when prelates from all over the world a.s.sisted at the consecration of the restored building. Eighty monoliths of Simplon granite, brought down Lake Maggiore to the river Po and then by sea up the Tiber, sustain the roof of the nave and aisles. A series of Papal portraits form a frieze above them. Magnificent columns of Egyptian alabaster presented by Mehemet Ali, Viceroy of Egypt, support the _baldacchino_ over the high altar. The bases of these columns are malachite, and were given by the Czar Nicholas of Russia.

Many other portions of this n.o.ble church were given by other princes.

The dismay and regret at its destruction were universal. The body of S.

Paul rests in the _Confessio_ beneath the altar. The very beautiful cloisters of the old Benedictine monastery, now a barrack, vie with those at Monreale in Sicily, which are ill.u.s.trated in another chapter.

The n.o.ble _atrium_ at the west end of the basilica is almost complete, and when it is finished and opened out to the river, S. Paolo fuori will once more take rank as one of the grandest ecclesiastical edifices in Italy. Among the other basilicas of Rome, S. Maria Maggiore, or the Basilica Liberiana, is the largest, and commands a fine position on the Esquiline. S. Sabina on the Aventine, that hill which is still almost entirely covered by gardens, is connected with the Dominican monastery that adjoins it. The church possesses a wonderfully carved wooden door and an orange tree in its court which grew from an orange pip that S.

Dominic planted. S. Agnese fuori is close to one of the entrances to the numerous catacombs. Into this church every twenty-first day of January two lambs are brought to be blessed. After the ceremony is over they are presented to his holiness at the Vatican, and then sent to the convent of S. Cecilia-Trastevere. Here the good nuns weave their wool into _palliums_, which are subsequently worn by different metropolitans of the church.

The only Gothic church in Rome is that of S. Maria sopra Minerva. It contains the tomb-slab of Fra Angelico, whose face, rendered in marble, has a very sad and rather austere look. The interior of the church is marble, and it cannot be said that this polished shining surface is desirable for the lines of a Gothic building. Not far from S. Maria is the most perfect pagan edifice in all Rome--the Pantheon. Here again we have a heathen fabric that afterwards became a Christian church.

Boniface IV. consecrated the temple, that Marcus Agrippa had built more than six hundred years previously, to S. Maria ad Martyres. Sixteen huge columns of oriental granite form the portico, and the ancient bronze doors still remain. The interior is a magnificent rotunda lighted by a circular aperture in the centre of the coffered dome. Against the walls, in recesses, rest the sarcophagi of Raphael and other painters. Here too, sleeping his last long sleep, lies King Victor Emmanuel II., to whom all Italians owe so much.

[Ill.u.s.tration: S.S. TRINITa DE' MONTI, ROME]

The church best known to foreigners is undoubtedly that which figures in the ill.u.s.tration, S. Trinita de' Monti. There is nothing about the church itself to call for comment; but its fine position, above the beautifully arranged steps, in the middle of what may be called the "foreign quarter," makes it worthy of note. Close by is the Villa Medici, the French Academy of Rome. At the base of the steps is the flower market. Until recently Italians had a great objection to cut flowers in their rooms--they were supposed to be unhealthy. Through foreign influence this is slowly giving way, and the market is as much patronised by the Romans as by the residents of other nationalities. Not many years ago the foot of these steps used to be thronged every morning by artists' models, who, in the picturesque garb of their native districts, sat here waiting for a day's hire. The few who still do this have moved off to the steps of the Greek church in the Via del Babuino, and the flavour of the Campagna and the mountains they gave to the Piazza di Spagna is now a thing of the past. Everything changes, everything pa.s.ses away. The gaily coloured costumes of the _ciociare_, the peasants from the districts between Rome and Naples--so-called from the _cioce_ or sandal they wear--is now never seen. The exaggerated dress of the flower sellers, who pester the foreigner to buy little faded nosegays, is simply worn for the purpose of extracting _soldi_ and as a subterfuge for begging. Away up in the mountains beyond Tivoli are two villages, Saracenesco and Articoli.