Old Rome Part 5

Below the portico and its chambers stands another row of lower chambers, three of which are said by Marliani to have been found entire in the sixteenth century. Inscriptions found here give the name of Schola to the chambers, and hence they have been called Schola Xanthi, from the name of Xanthus, which occurs in the inscription as a restorer. They were undoubtedly clerks' offices, similar to those behind the portico of the Dii Consentes above them.

[Sidenote: Temple of Vespasian.]

We now turn from the portico of the Dii Consentes to the three Corinthian columns which stand under the large building called the Tabularium. These three columns have now been proved to belong to the ruin of a temple dedicated to Vespasian by his son Domitian. This position of Vespasian's temple agrees with the statements of the Not.i.tia and Curiosum and of Statius. The inscription, of which only the letters ESt.i.tUER now remain, was seen and the whole of it transcribed by a writer of the ninth century, whose MS. is preserved at Einsiedlen.[56] It recorded the restoration of this temple by Severus and Caracalla. The letters ESt.i.tUER stand at the lower edge of the frieze, showing that there was another line above. This upper line was DIVO. VESP. AUG. S.P.Q.R., and referred to the original building of the temple, while the lower line recorded its restoration. The temple was approached by a flight of steps from the road between it and the Temple of Saturn, the uppermost of which were placed between the columns and have been partially restored. The three columns which now remain are the three corner columns of the portico. They have fluted shafts and Corinthian capitals. The letters of the inscription were of metal, and the holes of the rivets which fastened them are still visible. The architrave and cornice are ornamented very richly with the usual mouldings, and there are some most interesting reliefs upon the frieze representing sacrificial implements and the skulls of oxen. A horsetail for sprinkling, and a sacrificial knife with a vase, a patera, an axe, and a high priest's mitre are plainly distinguishable. Another portion of the entablature was pieced together by Canina and is still kept in the rooms of the Tabularium. The walls of the cella were built of travertine faced with marble. Against the back wall stands a large pedestal which supported the statue of the deified Emperor.

[Sidenote: Temple of Concord.]

Next to the temple of Vespasian, we are told by Statius, stood the Temple of Concord. The site is also determined by pa.s.sages in Plutarch and in Dion Ca.s.sius, and by the plan given in the Capitoline map. Excavations were carried out here in 1817, 1830, and 1835 which resulted in disclosing the foundations of the temple, and in finding some inscriptions which attest the dedication of this spot to the G.o.ddess Concord. The temple of Concord was founded according to Livy, Ovid, and Plutarch by Camillus in B.C. 367, on the memorable occasion when the senate after a long and anxious debate, wisely determined to make peace with the Commons by throwing open the office of Consul to the plebeian order.[57]

It was placed near the old meeting-place (Comitium) of the privileged families (gentes), as if constantly to remind them that the newly established concord of the community was under the special sanction of the G.o.ds. When the Temple of Camillus was first restored we do not learn. The earliest notice of a new Temple to Concord is the statement that the Consul Opimius was ordered by the senate on the death of C. Gracchus to build a new temple to Concord. The temple seems to have been a kind of Pantheon or museum, for it was filled with a great number of statues of various G.o.ds, and with curiosities. On the left-hand side of the remaining foundations of the cella are two large pedestals which probably supported two of the princ.i.p.al statues.

Tiberius rebuilt it after his German campaign in A.D. 6 and 7, and dedicated it in honour of himself and his brother. The form of the latest restoration, which seems to have been carried out after the building behind it, the so-called Tabularium, was built, as it is placed so close to that building and must have rendered the decorations on its walls invisible, can be traced by the present relics of foundation walls, and presents a singular deviation from the normal plan of a Roman temple. The p.r.o.naos, or front chamber, is narrower than the cella or shrine behind it, and forms a sort of porch to it. This is an instance of the form of temple called prostylos by Vitruvius, and consisting of a broad Tuscan cella with a narrow Greek portico.[58]

The cella has greater breadth than depth. The bas.e.m.e.nt is of considerable height in front, and some of the steps, Cicero's Gradus Concordiae[59] can be traced, while the enormous threshold of African marble still remains. A coin of Tiberius shows us that the temple had a portico of six columns in the Corinthian style, and a group of three figures embracing, as a symbol of Concord, at the top. One of the bases of the columns is still preserved in the Capitoline Museum, and a portion of the frieze was restored by Canina, showing that the decorative work was of great beauty. The inscription is given in the Einsiedlen MS. of the ninth century, and the temple was still standing in the twelfth century, as we learn from the Ordo Roma.n.u.s, a procession route book. The stones were probably carried away for building purposes in the thirteenth century. Between the ruins of the Temple of Concord and those of Vespasian's Temple, the foundations of a little chapel of Faustina may be seen. The name has been given to it from an inscription discovered here.

[Sidenote: Arch of Severus.]

Close to the ruins of the Temple of Concord stands the triumphal arch of Septimius Severus, composed of three archways of Pentelic marble. The side archways are connected with the central archway by small openings in the intervening walls, and the arched interiors of all three are decorated by square coffers with rosette ornaments. On each side stand four columns of Proconnesian marble with Composite capitals, on the pedestals of which are bas-reliefs representing figures of barbarian captives clothed in breeches and wearing the chlamys and Phrygian cap, and conducted by Roman soldiers wearing the lacerna. The spandrils of the arches are ornamented with the usual figures of Victory and symbols of captivity, in the outlines of the river G.o.ds of the Euphrates and Tigris. Between each pair of outer and inner pillars there are large bas-relief sculptured scenes executed in a very confused and tasteless style. The four lower and narrow compartments show the G.o.ddess Roma receiving the homage of the East, which is personified by a woman wearing a tiara. Behind her, in a long train of carts and carriages, come the spoils of the various nations conquered by Severus. Above this narrow line of figures which runs round below the four compartments above the side arches, are four larger bas-reliefs representing the sieges and victories of Severus in Parthia, Adiabene, and Arabia. On the side towards the Forum is represented on the left hand the raising of the Parthian siege of Nisibis in northern Mesopotamia by Severus after he had crushed his rivals aemilia.n.u.s and Pescennius Niger in Pontus and Syria. The taking of the town of Carrae west of Nisibis, and the march of the Roman army thence against the Adiabenians are also here portrayed. The compartment, on the right hand, looking from the Forum, contains a bas-relief representation of the surrender of Abgarus, king of Osroene,[60] and the siege of the town of Hatra on the Tigris.

[Ill.u.s.tration: Arch of Severus.]

On the other side towards the Capitol and so-called Tabularium, the second campaign of Severus in the East is portrayed. On the right hand the flight of the Parthians from Babylon, the entry of the Romans into that city and the second siege of Hatra are represented. On the left is the wresting of the towns of Seleucia and Ctesiphon from the Parthians, the flight of their king Artoba.n.u.s and the surrender of the Arabians who had joined the Parthian side.[61]

The entablature which surmounts these arches is badly designed and executed, the projections over the columns being far too heavy. Upon the attica above the entablature there are the traces of nails on the corner pilasters which seem to have borne some military ensigns. The whole central s.p.a.ce of the attica is occupied by a long inscription formerly inlaid, as appears from the rivets, with metal. Upon a coin of Severus giving a representation of the arch, a chariot with six horses is shown standing over the attica, and on the four corners were equestrian statues.

From the inscription it appears that the arch was built in the year A.D.

203. The repet.i.tion of the t.i.tle Parthicus, points to the Parthian campaigns of Severus. In the fourth line the name of Geta and his t.i.tles have been erased, as in other ruins of the same date, and the words OPTIMIS FORTISSIMISQUE PRINCIPIBUS inserted in their place. In the middle ages the tower of a church called SS. Sergio e Bacco was built upon the top of this arch, but was removed in 1536 on the entry of Charles V. by command of Pope Paul III.

[Sidenote: Ruins under the road across the end of the Forum.]

Near the Arch of Severus, and also between the temple of Saturn and the corner of the Basilica Julia, the modern road runs over archways. Under the archways some substructions of large peperino stones and other forms of building have been disclosed. These may have belonged to pedestals upon which statues were placed, or in the case of those near the arch of Severus to the later Rostra and Graecostasis, and in the case of those near the corner of the Basilica Julia to the Arch of Tiberius. The round pedestal which stands near the Arch of Severus was possibly the pedestal of the Miliarium Aureum, as it is not strong enough to bear the weight of a heavy statue.[62]

A representation of the Rostra of the Empire which may have stood here is given in the relief on the face of the Arch of Constantine, which looks towards the Coliseum, where three arches are seen, corresponding to the Arch of Severus on the right, and one arch corresponding to that of Tiberius on the left. Constantine is shown in this bas-relief addressing the people from the rostra.

[Sidenote: The Carcer.]

Under the church of S. Giuseppe dei Falegnami, which stands near the Arch of Severus, are two chambers, which are always shown as the ancient prison of Rome, said to have been first built by the King Ancus Martius, and then rebuilt or enlarged by Servius Tullius. The upper of these two chambers is of an irregular shape, but the lower is constructed in a conical form by the gradual projection of the stones forming the sides. This mode of building an arch is of very early date, before the introduction of the principle of the round arch, and is found in the oldest tombs of Etruria, and in well-houses at Tusculum and Caere.[63]

There can be no doubt that this part of the building is of great antiquity. But the proofs that it ever formed a prison are not so clear.

This has been inferred from the striking account of the imprisonment of Jugurtha by Sall.u.s.t, who states that Jugurtha was placed in a cell with water at the bottom, and exclaimed, "Hercules, how cold your bath is!"

Hence it has been thought that the prison must have had water in it, as this chamber has on the floor.

Another proof that this is the ancient prison, called in the middle ages the Mamertine prison, from a statue of Mars or Mamers, or from the Forum Martis near it, has been derived from the statements of many Roman authors, who place the prison on the slope of the Capitol, near the Forum, and speak of an inferior as well as a superior chamber. The prison was probably in this neighbourhood, but the shape of the conical vault is rather that of a well-house. Mommsen has therefore suggested that this was the original purpose of the lower chamber, and that it was used as a cistern for collecting the water from the surrounding slopes. The top of the ancient conical vault is truncated and closed, with the exception of a round hole, by slabs of stone fastened together with iron cramps.

A communication with the arched sewers which run down to the Forum, and also with an archway which reaches up the slope to some large chambers on the north-west under the Vicolo del Ghettarello, has been opened by Mr.

Parker, and these longer vaulted chambers which are of great antiquity, have been taken to be extensions of the original regal prison. But there is no sufficient evidence to show that these arched pa.s.sages were used for any purpose of transit, and they were more probably channels for draining off the water, which would otherwise have acc.u.mulated in the chambers or on the slopes.[64]

An inscription is fixed in the outer wall, recording a restoration of the building by the Consuls C. Vibius Rufinus and M. Cocceius Nerva, as ordered by a decree of the Senate. These two men were consules suffecti before A.D. 24, probably in A.D. 22, the ninth year of Tiberius. But the name of the building is not mentioned in this inscription, and it seems uncertain whether it has not been removed from elsewhere.

There was another and larger prison in this district, and this larger prison was called the Lautumiae. Forty-three aetolian prisoners are said by Livy to have been crucified in the Lautumiae, which must therefore have been certainly much more extensive than the cell which is called the Carcer Mamertinus. Seneca also mentions the request of a prisoner, Julius Sabinus, that he might be removed from the Carcer to the Lautumiae.[65]

There seems, therefore, to be no distinct proof that the conical cell was ever anything more than a water tank, and the name of prison which has been attached to it is probably a mediaeval legend invented to indicate a spot which might be venerated as the prison of St. Peter.

[Sidenote: Tabularium.]

On the side of the Capitoline Hill towards the Forum, a very high and wide ma.s.s of building, now called the Palace of the Senator, and used for the transaction of urban business, stands. This is founded upon an ancient range of masonry of which a considerable part still remains, measuring about 220 feet in length, and 50 feet in height. An entrance has been made from the Via del Campidoglio, and as the wall was cut through for this purpose, the structure of the building may be best observed here. On the inner side red tufa has been used, and on the outer grey peperino, and the blocks are laid alternately lengthwise and crosswise, as in the Servian wall building. A great ma.s.s of masonry of this sort without cement, forms the main substructions of the building. Along the front run the traces of an arcaded pa.s.sage, which anciently led across from one side to the other of the building. The arches were walled up by Nicolas V., in order to bear modern buildings above them. One has now been opened to show the architecture. A pavement of basaltic lava, such as was used in the streets of ancient Rome, has been found in the arcade, showing that it was a public pa.s.sage. The architecture of the building is Doric, which points to an early date, and the capitals and cornice are of travertine. It is probable that another arcade ran above the one now traceable. A high flight of steps leads up into the chambers from the archway now walled up at the back of the Temple of Vespasian. From the architecture it may be concluded that these remains of a large ancient building date from the republican times of Rome, and are almost the only relics of that era. This ruin is generally called the Tabularium, but it has been shown by Mommsen that there is no ground for supposing that the name was ever applied to it in any ancient writings, and that the name is more properly aerarium Populi Romani, or aerarium Saturni, and that it was attached to the Temple of Saturn. Many of the temples in Rome had aeraria attached to them, and it does not appear that any central place of deposit ever had the name of Tabularium alone, without further t.i.tle, especially applied to it. The inscription which has been placed at the entrance, and records the construction of some building, or part of a building by Q. Lutatius Catulus, when consul, was placed where it now stands by Canina. It is supposed by Mommsen to refer to the repairs and alterations of the vaults under the Capitol, which were carried out in pursuance of Sulla's plan of improvements on the Capitol, and after Sulla's death were continued for many years by Q. Catulus.[66]

CHAPTER III.

THE COLISEUM AND ESQUILINE.

[Sidenote: Meta Sudans.]

On the road from the Forum Romanum to the Coliseum, after pa.s.sing through the Arch of t.i.tus, we descend between the platform and ruins of the Temple of Venus and Rome, and the remains called the lavacrum of Heliogabalus, mentioned previously, and, close to the south-western corner of the ma.s.s of substruction on the left, we find a conical column of brickwork about thirty feet high. A large breach on the side towards the Coliseum shows that the centre was pierced with a perpendicular pipe, and the eastern exhibits traces of having been divided into three ledges or stages. This conical building stood in the centre of a circular basin, the ruin of which has been traced out and restored. The shape would of itself point to the purpose which this building served, even if this were not rendered clear by the remains of a watercourse which descended to it from the Esquiline. The name Meta Sudans by which the ruin is known comes from the mediaeval list of buildings known as the Curiosum Urbis, but the earliest authentic authority to which we can appeal for its date is a coin of Alexander Severus, A.D. 222. The pa.s.sage of Seneca in which he gives the name Meta Sudans as being a spot at which the flute-players and trumpeters made a din by their practice, does not give us any information as to its position, and therefore we are not justified in a.s.suming that the fountain was erected in Nero's time.[67] The coins of t.i.tus which represent the Coliseum do not show it. Ca.s.siodorus and other chronologists place the date of the Meta Sudans in Domitian's reign, and this agrees with the coins of t.i.tus and also with the nature of the brickwork, which is of the Flavian era.

[Sidenote: Arch of Constantine.]

Near the Meta Sudans at the entrance of the Via di S. Gregorio stands the Arch of Constantine, which is the most completely preserved of all ancient Roman buildings. The name of Constantine, revered by subsequent ages, seems to have defended the archway from the barbarous spoliation which attacked most of the great monuments of Rome. The most interesting feature of this arch in the history of art is the proof which it gives of the decline of art in the fourth century. Some of the reliefs with which it is ornamented were taken from an older arch, probably that which formed the entrance to Trajan's Forum, and those which are of Constantine's time show a coa.r.s.e and harsh style of execution in lamentable contrast to the flowing and delicate lines of the more ancient work by their side.

Among the sculptures which belong to the earlier and better period are the large reliefs under the central arch and those which are placed on either end of the attica. These four were originally parts of a larger relief which has been sawn into four equal pieces for the purpose of adorning Constantine's arch. The order in which they stood in the original design has been pointed out by Bellori. The first part is that now placed on the inside of the middle archway towards the Coliseum, the second stands on the side of the attica over the arch towards the Caelian, the third on the inside of the middle archway towards the Palatine, and the fourth upon the attica on the same side. When united they represented Trajan crowned by Victory, with the G.o.ddess Roma standing near, a battle between Dacians and Romans, ending in the defeat and submission of the barbarian army. The dress of the Roman soldiers and of the Dacians is similar to that represented on Trajan's column, and quite different from the Roman military habit in the age of Constantine. Beside these four rectangular reliefs the eight circular sculptures which stand over the smaller archways belong to the time of Trajan. They represent hunting scenes and sacrificial ceremonies. One of them, the second from the left, upon the side towards the Coliseum, has a remarkable figure of the Emperor with a nimbus or cloud encircling his head, exactly similar to those represented round the heads of modern saints. The eight large reliefs upon the attica over the side archways are also of the workmanship of Trajan's time, and commemorate some of the exploits of that emperor, among which may be mentioned the construction of a road through the Pontine marshes represented upon the second relief from the left on the side of the attica towards the Coliseum. The reclining figure with a wheel represents the road, and the other figures the surveyors, one of which is perhaps Apollodorus, the famous Greek architect of Damascus. The other reliefs upon the sides of the attica represent interviews of Trajan with barbarian princes, and the common sacrifice of the Suovetaurilia, so frequently depicted on the reliefs of the columns of that emperor, and also on the large marble screens now standing in the Forum Romanum. The remainder of the sculptures belong to the Constantinian era, and contain, viewed as works of art, nothing worth attention. One of them on the side next to the Coliseum is, however, of great interest to the antiquarian, as it represents the rostra of the later Empire and the northern end of the Forum, with the arches of Severus and Tiberius, and the end of the Basilica Julia, and another, on the side towards the Via di S. Gregorio representing the victory of Constantino over Maxentius at the Milvian bridge, is historically valuable.

The figures which stand in front of the attica have the Dacian costume, and have been removed from some one of Trajan's buildings. Upon the side of the central archway can be still seen the traces of nails which fastened some Roman ensigns to the stones. Similar traces of nails are to be seen upon the arch of Severus as before mentioned.

The inscriptions over the smaller arches refer to the decennalia or vicennalia, a festival celebrated after the time of Augustus every ten years of an emperor's reign when he was supposed to have the imperium conferred upon him afresh. The meaning of the expression VOTIS X. VOTIS XX. seems to be that these inscriptions were put up on the "vota" or day when vows were made for the emperor's safety at the beginning of the tenth and twentieth years of his reign. This is not an uncommon signification of the word "vota" in later Latin. The day which was usually called vota was either the first or third of January, and the custom of offering these vows was retained long after Christianity had been nominally made the state religion, so that it is not surprising to find it alluded to on Constantine's arch.[68] The words on the other side of the arch SIC. X.

SIC. XX. may be interpreted as the form of words used in making vows to the emperor. "Sic x. annos regnet; sic xx. annos regnet." "May his reign last ten years more or twenty years."

The larger inscription which is cut upon the attica on both sides shows that the arch was erected in honour of the victory of Constantine over Maxentius, and the union of the empire under one sovereign. It is not, however, certain that the arch was built in the first year of Constantine's sole reign, for not only do the words INSTINCTU DIVINITATIS "by inspiration of the Deity," seem to indicate a more decided leaning to Christianity than Constantine showed at the beginning of his reign, but the t.i.tle of Maximus, which is found in the inscription, does not occur in the coins of Constantine before the tenth year of his reign.

The solid contents of this arch, as may be seen by ascending the staircase which is entered by a door at some height from the ground at the end nearest the Palatine Hill, are mainly composed of pieces of marble taken from other buildings, and it has even been suspected that the plan itself, which in beauty of proportion surpa.s.ses the Arch of Severus, was borrowed, together with the materials, from Trajan's Arch or some older building now destroyed.

[Ill.u.s.tration: The Coliseum, from the Palatine Hill.]

[Sidenote: The Coliseum.]

We now pa.s.s from the Arch of Constantine, with its borrowed ornamentation, to the great ruin of Rome, the Coliseum, or Flavian Amphitheatre. Although two-thirds of the original building have disappeared under the shameful treatment to which the barbarous n.o.bles of the middle ages subjected it, enough still remains to show the arrangement of the entrances, pa.s.sages, and seats of this wonderful construction. The plan of the whole may be best described as consisting of three princ.i.p.al ma.s.sive concentric elliptical arcades. The intervals between each of these are filled in with other arched work containing corridors and staircases, and between the innermost of these three arcades and the wall which surrounded the arena was a triple system of substruction supporting the lower parts of the rows of seats in the amphitheatre. The stone used throughout is travertine, with the exception of some interior work of brick and concrete, and some pumice-stone in the arches. The elliptical shape was probably chosen instead of the circular in imitation of the amphitheatre of Curio, which was composed of two semicircular theatres with their stages between them. The name Coliseum was possibly derived from the great colossal statue of Nero which for a long time stood close to the Flavian Amphitheatre, and when the real history of the amphitheatre was lost, would naturally become the most prominent mark by which it could be designated. This colossal statue was placed originally in the vestibule of Nero's Golden Palace, and was 120 feet high, according to Suetonius. The material was bronze and the artist was Zenodorus. It appears that Vespasian, and afterwards Hadrian, moved the colossus to make room for their new buildings, and that it was finally placed upon the ma.s.sive pedestal of brickwork which still remains on the north of the Coliseum.

That it actually stood upon this pedestal is shown by a coin of Alexander Severus, which represents the Coliseum with the colossus close to it. It is said by Gibbon that the name Coliseum was also given to the amphitheatre at Capua without reference to a colossal statue. The Capuan t.i.tle may, however, have been taken from the Roman.

The major axis of this huge amphitheatre, from one outside wall to the other, measures 602 feet, the minor 507. The princ.i.p.al outer wall is 157 feet in height, and is divided into four stories.[69] Of these the lowest stands on a substruction of two steps, and originally consisted of a row of eighty arches, between which stood half columns of the Doric order.

These outer arches, with the exception of thirty-three archways, have disappeared. Upon these rests a very simple entablature without any of the usual peculiarities of the Doric style, and rather belonging to the Ionic, a mixture of styles not very rare in Rome.[70] The arches are all numbered. These numbers were probably intended to correspond to those upon the entrance tickets and rows of seats, in order that the spectators might find their proper seats with ease. There is a staircase and a vomitorium corresponding to every four arches, and the vomitoria as well as the entrance arches were all numbered to prevent confusion. A ticket for the amphitheatre at Frosinone has been found. It bears an inscription CAN. VI IN. X. VIII., thus giving the position and number of the seat. The arches which stood at the extremities of the minor axis were the approaches to the imperial pavilions. They were ornamented with marble columns and carved work on the exterior, and led in the interior to a large withdrawing-room, from which there was a separate pa.s.sage to the emperor's throne (pulvinar) on the podium. On the Esquiline side the imperial entrance may still be recognised by a slight projection in the substructions, and by the pillars of white marble lying near it, which originally stood on each side. The same arrangement was doubtless made on the Caelian side, where the Emperor Commodus made himself an underground approach. The other two princ.i.p.al entrances at the extremities of the major axis lead directly into the arena, and were probably used for the entry of processions or marching bodies of gladiators, or machines of various kinds.

The entablature of the first story is surmounted by an attica, with projections corresponding to the columns below. Above these stand the arches of the second story, between which half-columns of the Ionic order are placed. The details of the architecture here are in a very meagre style, for the spiral lines on the volutes are omitted, and also the usual toothed ornaments of the entablature. The same remark applies to the third story, the half-columns of which have Corinthian capitals with the acanthus foliage very roughly worked. The fourth story has no arches, but consists of a wall, pierced with larger and smaller square windows placed alternately, and is decorated with pilasters of the Composite order.

Between each pair of pilasters three consoles project from the wall, and above these are corresponding niches in the entablature. The purpose of these was to support the masts upon which the awnings were stretched.

The second and third of the princ.i.p.al concentric walls contain arches corresponding to those in the outer wall. Corridors run between these concentric walls, and on the first and second floors of the outer ring, and the first floor of the inner ring, these circles afford a completely un.o.bstructed pa.s.sage all round. The other corridors are blocked up in parts by various staircases, leading to the upper rows of seats.