Roman Mosaics Part 5

But there is no need for having recourse to such ecclesiastical legends in order to produce a solemn impression in this chamber. Its cla.s.sical a.s.sociations are sufficient of themselves to powerfully affect the imagination. There is no reason to doubt the common belief that this is the identical cell in which the famous Jugurtha was starved to death. The romantic history of this African king is familiar to all readers of Sall.u.s.t, who gives a masterly account of the Jugurthine war. When finally defeated, after having long defied the Roman army, his person was taken possession of by treachery and carried in chains to Rome, where he adorned the triumphal procession of his conqueror Marius, and was finally cast into this cell, perishing there of cold and hunger. What a terrible ending to the career of a fierce, free soldier, who had spent his life on horseback in the boundless sultry deserts of Western Africa! The temperature of the place is exceedingly damp and chill. Jugurtha himself, when stripped of his clothes by the executioners, and let down into it from the hole in the roof, exclaimed with grim humour, "By Hercules, how cold your bath is!" A more hideous and heart-breaking dungeon it is impossible to imagine. Not a ray of light can penetrate the profound darkness of this living tomb. Sall.u.s.t spoke of the appearance of it in his day, from the filth, the gloom, and the smell, as simply terrific.

The height of the vault is about sixteen feet, its length thirty feet, and its breadth twenty-two feet. It is cased with huge ma.s.ses of volcanic stone, arranged in courses, converging towards the roof, not on the principle of the arch, but extending horizontally to a centre, as we see in some of the Etruscan tombs. This peculiar style of construction proves the very high antiquity of the chamber.

This cell played the same part in Roman history which the Tower of London has done in our own. Here, by the orders of Cicero, were strangled Lentulus, Cethegus, and one or two more of the accomplices of Catiline, in his famous conspiracy. Here was murdered, under circ.u.mstances of great baseness, Vercingetorix, the young and gallant chief of the Gauls, whose bravery called forth the highest qualities of Julius Caesar's military genius, and who, when success abandoned his arms, boldly gave himself up as an offering to appease the anger of the Romans. Here perished Seja.n.u.s, the minister and son-in-law of Tiberius, who was detected in a conspiracy against the emperor, and richly deserved his fate on account of his cruelty and treachery.

Here also was put to death Simon Bar-Gioras, the governor of the revolted Jews during the last dreadful siege of Jerusalem, who was taken prisoner, and after gracing the triumph of the emperor t.i.tus at Rome, shared the fate which usually happened to captives after such an exhibition.

From the Tullianum or Prison of St. Peter, we were led through a tortuous subterranean pa.s.sage of Etruscan character, a hundred yards long, cut out of the rock. It was so low that we had to stoop all the way, and in some places almost to creep, and so narrow that a very stout person would have some difficulty in forcing himself through.

The floor was here and there wet with the overflowing of neighbouring drains, which exhaled a noisome smell; and we had to pick our steps carefully through thick greasy mud, which on the slopes was very slippery and disagreeable. We followed each other in Indian file, stooping low, each with a wax taper burning dimly in the damp atmosphere, and presenting a most picturesque appearance. This pa.s.sage was discovered only a few years ago. Numerous pa.s.sages of a similar nature are said to penetrate the volcanic rock on which the Capitol stands, in every direction, like the galleries of an ant's nest. Some of these have been exposed, and others walled up. They connect the Prison with the _Cloaca_, and doubtless furnished means by which the bodies of criminals who had been executed might be secretly disposed of. The pa.s.sage in question brought us to four other chambers, each darker and more dismal than the other, and partially filled with heaps of rubbish and ma.s.ses of stone that had fallen from their roofs and sides. At the top of each vault there was a man-hole for letting a prisoner down with cords into it. A visit to these six vaults of the Mamertine Prison gives one an idea that can never be forgotten of the cruelty and tyranny which underlay all the gorgeous despotism of Rome, alike in the kingly, republican, and imperial periods. Some of the remains may still be seen of the _Scalae Gemoniae_, the "steps of sighs," down which the bodies of those who were executed were thrown, to be exposed to the insults of the populace. The only circ.u.mstance that relieves the intolerable gloom of the a.s.sociations of the Prison is, that Naevius is said to have written two of his plays while he was confined in it for his attacks on the aristocracy; a circ.u.mstance which links it to the Tower of London, which has also its literary reminiscences. After having been immured so long in such disagreeable physical darkness--appropriate emblem of the deeds of horror committed in it--we were truly glad to catch at last a faint glimmer of daylight shimmering into the uppermost pa.s.sage, and to emerge into the open sunshine, from beneath a house at the farther end of the Vicolo del Ghettarello.

A modern carriage-road used to pa.s.s along this way, leading up to the Piazza del Campidoglio in front of the Capitol, and cutting the Forum into two parts, concealing a considerable portion of it. This obstruction has now been swept away, and the Forum is fully exposed from end to end. Below this old road we observe the "nameless column"

of _Childe Harold_, which long stood with its base buried, and was taken for the ruins of a temple. When excavated in 1813 it was found to stand on an isolated pedestal, with an inscription recording that it was erected by the exarch Smaragdus to the emperor Phocas; and the mode in which the offering was made was worthy of the infamous subject and the venal dedicator. Nothing can be clearer from the style of the monument than that it was stolen from the Temple of Vespasian adjoining; for it is an exact fellow of the three graceful Corinthian pillars still standing in front of the aerarium. It was near this pillar, a few years after it was raised, that Gregory the Great, before he became Pope, saw the young Saxon captives exposed to be sold as slaves, and was so struck with their innocent looks and hopeless fate that he asked about their nationality and religion. Being told that they were Angli, he said, "_Non Angli, sed Angeli_." The impression made upon him led to a mission for converting the natives of Britain, which set out from Rome under St. Augustine in 596. Thus does the column of the infamous usurper Phocas link itself on the historic page with the conversion of Britain to Christianity.

Beside the Pillar of Phocas are two large marble screens or parapets, with magnificent bas-reliefs sculptured on both sides. They were discovered about sixteen years ago _in situ_, and are among the most interesting and important objects that have been brought to light by the recent excavations in the Forum. Their peculiar form has given rise to much controversy; some antiquarians regarding them as an avenue along which voters went up to the poll at the popular elections of consuls, designed either to preserve the voters from the pressure of the mob, or to prevent any but properly qualified persons from getting admission; while others believe that the pa.s.sage between the double screen led to an altar. This latter opinion seems the more plausible one, for the sculptures on one side represent the _suovetaurilia_--a bull, a ram, and a boar, adorned with ribbons and vittae, walking in file, which were usually sacrificed for the purification of Rome at the l.u.s.trum, as the census taken every five years was called. The other sculptures on the marble screens consist of a number of human figures in greater or less relief; one of them being supposed to commemorate the provision made by Trajan for the children of poor or deceased citizens in the orphanage which he was the first to found in Rome; and the other, the burning of the deeds which contained the evidence of the public debt of the Roman citizens, which the emperor generously cancelled. But the chief significance of the sculptures lies in their background of architectural and other objects indicating the locality of the scenes represented. They place before us a view of the Forum as it appeared in the time of Trajan, and enable us to identify the various objects which then crowded it, and to fix their relative position. The topographical importance of these reliefs has been well discussed by Signor Brizio and Professor Henzen in the _Proceedings of the Roman Archaeological Inst.i.tute_; and also in a paper read by Mr. Nichols before the Society of Antiquaries in London in 1875. By translating into perspective their somewhat conventional representations of temples, basilicas, and arches, Mr.

Nichols has given us in his monograph on the subject two very effective pictorial restorations of the Forum as it was in the days of Trajan. Both the screens exhibit, very distinctly sculptured, a fig-tree and a statue on a pedestal, which are interesting from their cla.s.sical a.s.sociations. The tree is not the famous Ruminal fig-tree originally of the Palatine and then of the Comitium, but, as Pliny tells us, a self-sown tree which grew in the mid Forum on the site of the Lake of Curtius, which in Ovid's time, as we learn from himself, was a dry s.p.a.ce of natural ground marked off by a low fence, and including an altar. This fig-tree, along with a vine and an olive, which grew a.s.sociated with it, was much prized on account of the shade which it afforded. The figure under the fig-tree, carrying a vine stem on its left shoulder, and uplifting its right arm, has been recognised as that of Marsyas, whose statue was often put in market-places as an emblem of plenty and indulgence. Martial, Horace, Seneca, and Pliny all alluded to this statue in the Forum, which stood near the edge of the Lake of Curtius, and was crowned with garlands by Julia, the daughter of Augustus, during her disgraceful a.s.signations beside it with her lovers at night.

On the east side of the Forum the excavations have been stopped in the meantime, as the modern level of the ground is occupied by valuable houses, and two very interesting old churches, Santa Martina and Sta.

Adriano. Under the part not yet exhumed lie the remains of the earliest of all the Basilicas, the Basilica of Porcia, built by the elder Cato in the immediate vicinity of the Curia, and also those of the famous Basilica aemilia, which probably extended along the greater part of the east side of the Forum. Some of the most important monuments of ancient Rome, known to us only by the writings of cla.s.sic authors, doubtless lie buried in this locality. Under the church of Sta. Adriano, the famous Curia Hostilia or Senate House, attributed to Tullus Hostilius, stood. The original building was destroyed by fire at the funeral of Clodius, through the carelessness of the populace, who insisted upon burning his body within it; but it was replaced by the Curia Julia, which was rebuilt by Augustus, who added to it an important structure, called in the Ancyran inscription Chalcidic.u.m, for the convenience of the senators. Around it stood the statues of men who had rendered important services to the state; and not far off was an altar and statue of Victory, which formed the last rallying-ground of expiring paganism against the dominating Christianity of the empire. In the year 382 the Christian party had removed this altar and statue; and when their restoration was demanded by Symmachus, the request was refused by Ambrose, as opposed to the conscience of the Christian senators; and this decision being ratified by the votes of the a.s.sembly, the doom of paganism, as the national religion, was in consequence sealed. The Curia Julia ceased to serve its original purpose at the death of Caligula, when the consuls convoked the senate in the Capitol instead, to mark their aversion to the rule of the Caesars; and the building was probably burnt down and finally rebuilt in the time of Diocletian. One of the most curious uses to which it was put, was to mark the _Suprema tempestas_, which closed the hours of legal business, by means of its shadow projected on the pavement; a primitive mode of reckoning time which existed before the first Punic war, and was afterwards superseded by a sun-dial and a clepsydra or water-clock erected in the Forum.

Near the Curia under the present roadway must lie the site of the Comitium, or meeting-place of the Roman burgesses. This was far the most important spot in the Forum in the days of the Republic. It was not a covered building, but a templum or a consecrated s.p.a.ce open to the air. In its area grew a fig-tree, in commemoration of the sacred tree which sheltered Romulus and Remus in their infancy; and we read of drops of blood and milk falling upon it as omens from the sky. One of the stones on its pavement, from its extraordinary blackness, was called the tombstone of Romulus, and a number of statues adorned its sides, including the three Sibyls, which gave the name of "In Tria Fata" down to medieval times to this part of the Forum. From its rostra, or stone platform, addresses were delivered by political agitators to open-air a.s.semblies of the people. The Comitium reminds us very strikingly of the munic.i.p.al origin of the Roman empire. In primitive times that mode of government was admirably adapted to the necessities of the city; but when Rome became mistress of the world it was found unfitted to discharge imperial functions. The establishment of the monarchical form of Government overthrew the Comitium, and with it the very life of the Roman city.

In front of the church of S. Adriano--said to be no other than the actual Curia of Diocletian, though greatly altered and partly rebuilt by Pope Honorius I. in the year 630--are some fragments of the Basilica aemilia. This court was erected on the site of the Basilica Fulvia, and superseded by a more splendid building called the Basilica Pauli, which was the Bourse or Exchange of ancient Rome. The building of this last Basilica was interrupted for a long time by the disorders consequent on the a.s.sa.s.sination of Caesar. When finished, it was considered to be one of the most magnificent buildings in the world; and was especially admired on account of its beautiful columns of Phrygian marble. These were afterwards removed to decorate the church of St. Paul outside the gate, where some of them that survived the burning of the old edifice may be seen behind the high altar of the new. Between the Curia and the Basilica aemilia is supposed to have stood the celebrated Temple of Ja.n.u.s, built according to Livy by Numa Pompilius, the closing or opening of which was the signal of peace or war. It was probably at first one of the ancient gates in a line of fortifications uniting the Capitol with the Palatine; and afterwards comprised, besides a pa.s.sage-way through which a great part of the traffic of Rome pa.s.sed, a diminutive bronze temple containing a bronze statue of the venerable deity of the Sabines, whose one face looked to the east, and the other to the west. The bronze gates of the temple were closed by Augustus for the third time after the battle of Actium, and finally shut when Christianity became the religion of the empire.

Procopius saw the temple still standing in the sixth century; and he tells us that, during the siege of the city by the Goths, when it was defended by Belisarius, some of the adherents of the old pagan superst.i.tion made a secret attempt to open the shrine and set the G.o.d at liberty.

One gazes at the wall of earth and rubbish, fifteen feet deep, marking the present limit of the excavations in this direction, with a profound longing that the obstruction could be removed at once, and the rich antiquarian treasures lying hid underneath brought to light.

Few things in Rome appealed more powerfully to my curiosity than this huge bank of _debris_, behind and beneath which imagination was free to picture all kinds of possibilities. On the part that has been uncovered, we see a row of brick bases on which had stood monuments of gilt bronze to some of the distinguished men of Rome; the remains of a line of shops of the third century demolished during the excavations; the pedestal of what is said by some to have been Domitian's and by others Constantine's gigantic equestrian statue; and farther down, rude heaps of masonry, belonging to the substructures of the Rostra and Temple of Julius Caesar. Part of the curved wall of the Rostra may still be seen built of large blocks of travertine; and in front is a fixed platform, where a large number of people could stand and listen to the speaker. This Rostra is specially interesting because it was constructed in the year of Caesar's death, and was intended to mark the design of the great triumvir to destroy the memory of the old oligarchy by separating the rostra or "hustings" from their former connection with the senate and comitia, and make them entirely popular inst.i.tutions. The front of it was afterwards adorned by Augustus with the beaks of ships taken at Actium. The small Heroon or Temple of Caesar behind the Rostra was erected on the spot where the body of Caesar was burned before the house which he had so long inhabited, and in a part of the Forum especially a.s.sociated with his greatest political triumphs. It superseded an altar and lofty column of Numidian marble, at which the people had previously offered sacrifices to the memory of their idol, the first mortal in Rome raised to the rank of the G.o.ds; an honour justified, they imagined, not only by his great deeds, but also by his alleged descent from Venus Anadyomene.

Running down the middle of the Forum is a rough, ancient causeway, with its blocks of lava still in their original position, but so disjointed that it is no easy task walking over them. On the other side is the raised platform of the Basilica Julia of Augustus, extending from north to south, the whole length of the Forum, with steps leading up to it from the paved street. This stupendous law court, the grandest in Rome where Trajan sat to administer justice, and from whose roof Caligula day after day lavishly threw down money to the people, has, by its own ident.i.ty being established beyond dispute, more than any other discovery helped to determine the topography of the Roman Forum. It was begun by Julius Caesar on the site of the older Basilica Semp.r.o.nia, which had previously partially replaced the _Veteres Tabernae_ or shops of early times required for the trades carried on in a market-place, and also the schools for children where Appius Claudius had first seen Virginia reading. Having been partially destroyed by fire, Augustus afterwards completed and greatly enlarged the building. It was used as the place of meeting of the _Centumviri_, a court which we learn from the younger Pliny, who himself practised before it, had a hundred and eight judges sitting in four separate tribunals, within sight and hearing of one another, like the old courts in Westminster Hall. The Basilica is not yet entirely excavated, a large part of its breadth being still under modern buildings. It consisted of a series of plain, ma.s.sive arches built of travertine. The pavement is wonderfully perfect, being composed of a mosaic pattern of valuable marbles, doubtless saved from destruction or removal to build some church or palace by the fortunate circ.u.mstance that the ruins of the Basilica covered and concealed them at an early period. On this pavement and on the steps leading up to it are incised numerous squares and circles which are supposed to have been tabulae lusoriae, or gaming-tables. A few have inscriptions near them alluding to their use. Cicero mentions the dice-players of the Forum with reprobation; and the fact that such sports should have intruded into the courts of justice shows that the Romans had lost at this time their early veneration for the law. The rows of brick arches seen on the platform are mere modern restorations, placed there by Cavaliere Rosa to indicate the supposed original plan of the building.

At the south end of it an opening in the pavement shows a part of the Cloaca Maxima, with the sewerage pa.s.sing through it underneath.

The ancient street between the Basilica Julia and the Temple of Castor and Pollux, is undoubtedly the famous _Vicus Tuscus_, so called after the Etruscan soldiers who belonged to the army of Porsenna, and, being defeated at Ariccia, took refuge in this part of Rome. This street, so often mentioned by cla.s.sic writers, led to the Circus Maximus, and is now identified with the Via dei Fienili; the point of departure from the Forum being marked by a statue of Vertumnus, the Etruscan G.o.d, the ruined pedestal of which, in all likelihood, is that which has lately been unveiled on the steps at the north-east corner of the Basilica Julia. It was considered almost as sacred as the Via Sacra itself, being the route taken by the great procession of the Circensian games, in which the statues of the G.o.ds were carried in cars from the Capitol through the Forum to the circus. In front of the Basilica Julia, and on the opposite side of the way, so numerous were the statues which Julius Caesar contrived to crowd together, that the Emperor Constantine, during his famous visit to Rome, is said to have been almost stupefied with amazement. Some such feeling is produced in our own minds when we reflect that the bewildering array of sculptures in the Roman galleries, admired by a concourse of pilgrims from every country, are but chance discoveries, unnoticed by history, and of no account in their own time. What must have been the feast of splendour of which these are but the crumbs!

Perhaps the most beautiful of the ruins of the Forum are the three marble columns of the Temple of Castor and Pollux near the Basilica Julia. They are the only prominent objects on the south-west side of the Forum, and at once arrest the eye by their matchless symmetry and grace. Time has dealt very hardly with them, battering their shapely columns and rich Corinthian capitals, and discolouring their pure white Pentelic marble. But it has not succeeded in destroying their wonderful beauty; and the russet hues with which they have been stained by the long lapse of the ages have rather added to them the charm of antique picturesqueness. They rest upon a huge mound of broken masonry, in the interstices of which Nature has sown her seeds of minute life, which spread over it a tender pall of bright vegetation. The three columns are bound together by iron rods, and still further kept in position by the fragments of architrave and cornice supported by them. They are forty-eight feet in height and nearly five feet in diameter, while their flutings are nine inches across. Around the bas.e.m.e.nt a large quant.i.ty of broken columns, capitals, and pedestals has been disinterred, some of which have acquired an historic renown on account of the purposes which they have served in the fine arts. Michael Angelo converted one huge fragment into the pedestal of the celebrated bronze equestrian statue of Marcus Aurelius, which he transferred from its original site in front of the Arch of Septimius Severus, where it had stood for thirteen or fourteen centuries, to the front of the Capitol; while out of another fragment Raphael carved the well-known statue of Jonah sitting on a whale, to be seen in the Chigi Chapel of Sta. Maria del Popolo, the only piece of sculpture executed by the immortal painter. The Italian Government has entirely excavated the ruins, and thus set at rest the numerous controversies among antiquaries regarding its true name.

The temple of Castor and Pollux probably dates as far back as the year 487 before Christ, when the dictator Postumius vowed to build a monument in commemoration of his victory at the great battle of Lake Regillus, with which the mythical history of Rome closes. It recalls the well-known romantic legend of the mysterious interference of the Dioscuri in that memorable struggle which Macaulay has woven into one of the most spirited of his Lays. The temple is supposed to have been erected on the spot where the divine Twins announced the victory to the people in the Forum at the close of the day. About twenty feet from the eastern corner of the temple are slight remains of a shallow oval basin, which has been identified as the lake or fountain of Juturna, the wife of Ja.n.u.s, the Sabine war-G.o.d, where the Dioscuri washed their armour and horses from the blood and dust of the fray. It was probably at first a natural spring gushing out of the tufa rock of the Palatine Hill, but being dried up, it became in later times a _lacus_ or basin artificially supplied with water. For long ages afterwards the anniversary of the great battle was celebrated every year on the fifteenth of July by a splendid pageant worthy of the greatness of the empire. The Roman knights, clothed in purple robes, and crowned with olive wreaths, and bearing their trophies, first offered sacrifice in the shrine of Castor and Pollux, and then formed a procession, in which five thousand persons sometimes took part, which filed in front of the temple and marched through the city.

The original building having stood for nearly five hundred years, it began to exhibit signs of decay, and accordingly it was rebuilt upon the old foundations by Augustus, and dedicated by Tiberius. The podium or ma.s.s of rubble masonry therefore which we see beneath the three columns at the present day belongs to the time of the kings, while the columns themselves belong to the imperial period. Caligula used the temple as a vestibule to his palace on the Palatine Hill immediately behind. On the brow of that hill, separated only by the pavement of the modern street, projects a labyrinth of vaults, arches, and broken walls, a mighty maze of desolation without a plan, so interspersed with verdure and foliage that "it looks as much a landscape as a ruin." This is supposed to be the palace of Caligula; and its remains abundantly attest the extraordinary magnificence of this imperial domain, which contained all that was rich and rare from the golden East, from beyond the snowy Alps, and from Greece, the home of art.

The substructions of this mighty ruin are truly astonishing; they are so vast, so ma.s.sive, so enduring, that they seem as if built by giants. Concealed by modern houses built up against the foot of the palace, some of the remains of the famous bridge which Caligula threw obliquely over the Forum can be made out; two of the tall brick piers are visible above the houses, and in the gable of the outer house the spring of one of the arches can be distinctly seen. The bridge was constructed by Caligula for the purpose of connecting his palace with the Capitol, on the summit of which stood the magnificent Temple of Jupiter, so that, as he said himself, he might be able to converse conveniently with his colleague, the greatest of the G.o.ds! It is probable that it served more than one purpose; that it was used both as an aqueduct and a road for horses and chariots from the Palatine to the Capitol. Be this as it may, it must have been a stupendous structure, nearly a quarter of a mile long, and about a hundred feet high, striding over the whole diagonal of the Forum, with a double or triple tier of arches, like the remains of the Claudian aqueduct that spans the Campagna.

The immediate vicinity of the Temple of Castor and Pollux is full of interest to the cla.s.sical student. To the right of it are the remains of the Regia or Royal Palace, the official residence of the early kings of Rome, and afterwards, during the whole period of the Republic, of the Pontifex Maximus, as the real head of the State as well as the Church. Numa Pompilius resided here in the hope that, by occupying neutral ground, he might conciliate the Latins of the Palatine and the Sabines of the Capitoline Hills. It was also the home of Julius Caesar during the greater part of his life, where Calpurnia, his wife, dreamed that the pediment of the house had fallen down, and the sacred weapons in the Sacrarium were stirred by a supernatural power; an omen that was but too truly fulfilled when Caesar went forth to the Forum on the fatal Ides of March, and was carried back a b.l.o.o.d.y corpse from the Curia of Pompey. It ceased to become the residence of the Pontifex when Augustus bought the house of Hortensius on the Palatine, and elected to dwell there instead; and was therefore given over to the Vestal Virgins to increase their scanty accommodation. The _Atrium Vestae_, or convent of the Vestal Virgins, adjoined the Regia, and behind it, along the lower slope of the Palatine, stretched the sacred grove of Vesta, which seems to have been used as a place of privileged interment for the sisterhood, as a number of gravestones with the names of vestal virgins upon them were found in digging the foundations of the church of Sta. Maria Liberatrice in the seventeenth century. The residence of the Pontifex Maximus and of the Vestal Virgins, who were regarded as the highest and holiest personages in the State, gave an air of great respectability to this neighbourhood, and it became in consequence the fashionable quarter of Rome. Close beside the house of the Vestal Virgins was the far-famed Temple of Vesta, in which they ministered, whose podium or bas.e.m.e.nt, which is a mere circular mound of rough masonry, may be seen on the spot.

The worship of Vesta, the G.o.ddess of the household fire, was one of the most primitive forms of religion. It doubtless arose from the great difficulty in prehistoric times of producing fire by rubbing two sticks against one another. Such a flame once procured would be carefully guarded against extinction in some central spot by the unmarried women of the household, who had nothing else to do. And from this central fire all the household fires of the settlement would be obtained. A relic of this prehistoric custom existed in the rule that if the sacred vestal fire was ever allowed to go out it could only be kindled anew by the primitive process of friction. The worship of Vesta survived an old world of exhausted craters and extinct volcanoes, with which was buried a world of lost nations. The Pelasgians brought to Italy the stone of the domestic hearth, the foundation of the family, and the tombstone, the boundary of the fields divided after the death of the head of the family, the foundation of property; and upon this double base arose the great distinctive edifice of the Roman Law, the special gift of Rome to the civilisation of the world. Rhea Sylvia, mother of Romulus, was a Vestal Virgin of Alba, which shows that the worship of Vesta existed in this region long before the foundation of Rome. The origin of the first temple and of the inst.i.tutions of Vestal Virgins for its service was attributed to Numa Pompilius. The first building, as Ovid tells us, was constructed with wattled walls and a thatched roof like the primitive huts of the inhabitants. It was little more than a covered fireplace. It was the public hearth of the new city, round which were gathered all the private ones. On it burned continually the sacred fire, the symbol of the life of the state, which was believed to have been brought from Troy, and the continuance of which was connected by superst.i.tion with the fortunes of Rome. In the secret penetralia of the temple, where no man was allowed to enter, was kept with scrupulous care, for its preservation was equally bound up with the safety of the empire, the Palladium, or image of Pallas, saved from the destruction of Troy, and which was supposed to have originally fallen from heaven. The circular form and the domed roof of the temple were survivals of the prehistoric huts of the Aborigines, which were invariably round, as the traces of their foundations show. With the exception of the Palladium, which remained invisible during all the ages to ordinary mortal eyes until the destructive fire in the Forum, in the reign of Commodus, compelled the Vestal Virgins to expose it in removing it for safety to the imperial court, there was in primitive times no statue or material representation of the G.o.ddess except the sacred fire in the mysterious shrine of the temple. Indeed the Romans, as Plutarch tells us, raised no statue to the G.o.ds until the year of Rome 170. In this respect the religion of the Romans, whose divinities had no partic.i.p.ation in the life and pa.s.sions of men, and had nothing to do with the human form, differed widely from the religion of the Greeks, which, inspired by the sentiment of the beautiful in man and nature, gave birth to art.

The Temple of Vesta, as might have been expected, shared in all the wonderful changes of Roman history. It was abandoned when the Gauls entered Rome, and the Vestal Virgins took the sacred fire and the Palladium to Caere in Etruria for safety. It was destroyed two hundred and forty-one years before Christ, when L. Metellus, the Pontifex Maximus at the time, saved the Palladium with the loss of his eyesight, and consequently of his priesthood, for which a statue was erected to him in the Capitol. It was consumed in the great fire of Nero, and rebuilt by Vespasian, on some of whose coins it is represented. It was finally burnt down in the fire of Commodus, which destroyed at the same time many important buildings in the Forum. The worship of Vesta was prohibited by Gratia.n.u.s in the year 382 of our era, and the public maintenance of the Vestal Virgins abandoned, in spite of the protestations of Symmachus and the forlorn hope of the pagan party. Great as was the reverence paid to the shrine of Vesta, not being a temple in the proper sense of the term, as it was not consecrated by augury, it had not the right of sanctuary. Mucius Scaevola, the unfortunate Pontifex Maximus, was murdered beside the altar by order of Marius, and his blood sprinkled the image of the G.o.ddess; and Piso Licinia.n.u.s, the adopted son of Galba, after the a.s.sa.s.sination of that emperor beside the Curtian Lake in the Forum, was dragged out from the innermost shrine of the temple, to which he had fled for refuge, and barbarously ma.s.sacred at the door. But it is impossible to dwell upon all the remarkable events with which this haunted shrine of Rome's earliest and most beautiful worship is a.s.sociated. Certainly no greater object of interest has been exhumed among all the antiquities of the Eternal City than the little round ma.s.s of shapeless masonry which has been identified beyond all reasonable doubt as the bas.e.m.e.nt of the world-renowned temple, the household hearth of old Rome.

Opposite the Temple of Vesta, at the north-east corner of the Forum, where it ends, is the magnificent facade of the Temple of Antoninus Pius and Faustina, the most perfect of all the Roman temples. There are six splendid Corinthian columns in front and two at the sides, each composed of a single block of green ripple-marked Cipollino marble, about forty-six feet in height and five feet in diameter, with bases and capitals of marble, originally white, but now rusty and discoloured by age; all beautifully proportioned and carved in the finest style of ancient art. These columns were buried to half their height in medieval times; and houses were built up against and between them, the marks of whose roofs are still visible in indentations near their summits. These houses were removed, and the ground excavated down to the bases of the columns in the sixteenth century by Palladio, revealing a grand flight of marble steps, twenty-one in number, leading up to the temple from the street. The excavations at that time were made for the purpose of finding marbles and building materials for the Church of St. Peter's. Two sides of the cella of the temple still remain, formed by large ma.s.sive blocks of peperino, probably taken from the second wall of Rome, which must have pa.s.sed very near to the east end of this temple; for the ancient Roman architects were as unscrupulous in appropriating the relics of former ages as their successors. The roughness of these walls was hidden by an outer casing of marble, ornamented with pilasters, of which only the small capitals now remain. Both the cella and the portico still retain a large portion of their magnificent marble entablature; and the frieze and cornice are richly covered with carvings of vases and candelabra, guarded by griffins, exquisite in design and execution. The marble slabs that covered the whole outside of the temple had been burnt for lime in a kiln that stood in front of the portico in the sixteenth century, and in this lime-kiln were found fragments of statues, bas-reliefs, and inscriptions, which were about to be destroyed in that barbarous fashion.

The temple was originally begun by Antoninus Pius to the memory of his unworthy wife Faustina in the year 142 of our era, but being unfinished at his death, it was dedicated by the senate to both their names. We see it represented in all its magnificence on some of the coins of this emperor. In the year 1430 Pope Martin V. built over its remains a church called S. Lorenzo in Miranda, whose singular ugliness was in striking contrast to the grandeur of the venerable ruin which embraced it. The floor of this church was ten feet above the original level of the temple, and its roof was carried twenty feet above its cornice. It contained several tombs of the Roman apothecaries, to whose Corporation it belonged. No one will regret that it has been removed; the excavations in front of it having reduced the level of the ground far below its doorway, and thus cut off the approach. It is strange to think of the two different kinds of worship carried on at such widely separated intervals within this remarkable building, first a pagan temple and then a Christian church--worship so different in name and yet so like in reality; for the divine honours paid to a mortal emperor and his wife were transferred in after ages to frail mortals such as Saint Laurence and the Virgin Mary. We are reminded by the inscription above the portico of the temple, "Divo Antonino et Divae Faustina," that the government of the Caesars had become an earthly omnipotence in the estimation of the Romans and the subject nations. They looked alone to Caesar for all their good, and from him they feared their chiefest evil. He had become to them their providence or their fate. The adoration offered to him was not a mere act of homage or sign of fealty, but was most truly and in the highest sense a worship as to a divine being.

The view in this part of the Forum, looking down from the Antonine Temple, is most striking and suggestive. It reveals some of the grandest objects of ancient Rome. Immediately beyond is the h.o.a.ry old church of SS. Cosma e Damiano, with mosaics of the sixth century on its tribune, built out of three ancient temples, as Dr. Parker has clearly proved--the round Temple of Romulus Maxentius, the Temple of Venus, and the Temple of Rome. The south wall of this last-mentioned temple, built of huge square blocks of tufa, to which the marble plan of Rome was fastened by metal hooks, may still be seen in the church; and it is interesting as being the last pagan temple which remained in use in Rome. Here was the last struggle of paganism with the unbelief which itself inspired. The G.o.ds of the Pantheon had lost all significance. The worship of abstract qualities, such as Concord and Victory, or of the personification of a local providence in the city of Rome itself, could not satisfy the longing of the human soul. As religion decayed the worship of the G.o.ds was superseded by the worship of the emperor. Their statues were decapitated and the head of the emperor was placed upon them. On the statue of Olympic Jove appeared the bust of the contemptible Caligula; and this incongruous adaptation represented the change of the popular faith from its former heavenly idealisations to the most grovelling fetish worship of the time. This deification of the emperors avenged its terrible blasphemy by the sublime wickedness of those who were so raised above humanity. Here, in this last pagan temple of Rome, converted into one of the earliest Christian churches, we see the darkness and despair of the heathen world preparing for that joyful morning light of Christianity which has transferred the faith of mankind to foundations which can never more be shaken. Immediately beyond in the background are the huge gloomy arches of the Basilica of Constantine, fretted with coffers, suspended in mid-air for upwards of sixteen centuries, in defiance of the laws of gravity and the ravages of time and of human destroyers, taken as a model for churches by Roman architects, though built originally for a law court. In front is the Arch of t.i.tus, with its well-known sculptures of the spoils from the Temple of Jerusalem, spanning the highest point of the Via Sacra. And closing up the view is the grandest ruin in the world, the stupendous broken circle of the Colosseum, rising tier above tier into the blue sky, burnt deep brown by the suns of ages, holding the spectator breathless with wonder, and thrilling the mind with the awful a.s.sociations connected with it.

The Forum lies like an open sepulchre in the heart of old Rome. All is death there; the death of nature and the death of a race whose long history has done more to shape the destiny of the world than any other. The soil beneath our feet is formed by the ashes of an extinct fire, and by the dust of a vanished empire. Everywhere the ruins of time and of man are mingled with the relics of an older creation; and the sculptured marbles of the temples and law courts, where Caesar worshipped and Cicero pled, lie scattered amid the tufa-blocks, the cinders of the long quiescent volcanoes of the Campagna. Nature and man have both accomplished their work in this spot; and the relics they have left behind are only the exuviae of the chrysalis out of which the b.u.t.terfly has emerged, or the empty wave-worn sh.e.l.ls left high and dry upon an ancient coast-line. It is a remarkable circ.u.mstance that the way in which the Forum originated was the very way in which it was destroyed. The cradle of Roman greatness became its tomb. The Forum originated in the volcanic fires of earth; it pa.s.sed away in the incendiary fires of man. In the month of May 1084 the Norman leader, Robert Guiscard, came with his troops to rescue Gregory VII. from the German army which besieged Rome. Then broke out--whether by accident or design is not known--the terrible conflagration which extended from the Capitol to the Coelian Hill, but raged with the greatest intensity in the Forum. In that catastrophe cla.s.sical Rome pa.s.sed away, and from the ashes of the fire arose the Phoenix of modern Rome. The greatest of physical empires was wrecked on this spot, and out of the wreck was constructed the greatest spiritual empire the world has ever known. For the Roman Pontificate, to use the famous saying of Hobbes, was but the ghost of the deceased Roman Empire sitting crowned upon the grave thereof.

CHAPTER VI

THE EGYPTIAN OBELISKS

Among the first objects that arrest the attention and powerfully excite the curiosity of the visitor in Rome are the Egyptian obelisks.

They remind him impressively that the oldest things in this city of ages are but as of yesterday in comparison with these imperishable relics of the earliest civilisation. At one time it is said that there were no less than forty-eight obelisks erected in Rome,--six of the largest size and forty-two of the smaller,--all conveyed at enormous cost and with almost incredible labour from the banks of the Nile to the banks of the Tiber. Upwards of thirty of them have perished without leaving any trace behind. They are doubtless buried deep under the ruins of ancient Rome, but the chance of their disinterment is very problematical. One obelisk, indeed, was exposed a hundred and forty years ago in the square of the princ.i.p.al church of the Jesuits, near the Pantheon; but being found to be broken, and also to underlie a corner of the church and the greater part of an adjoining palace, so that it could not be extracted without seriously injuring these buildings, it was covered up again, and was thus lost to the world. As it is, we find in Rome the largest collection of obelisks that exists at the present day in the world, and the best field for studying them.

Obelisks were dedicated to the sun, which was the central object of worship, and occupied the most conspicuous position in the religious system of the oldest nations. Sun-worship, that which waited upon some hill-top to catch the first beams of the morning that created a new day, is the oldest and the most natural of all kinds of worship. He was adored as the source of all the life and motion and force in the world by the most primitive people; and we find numerous traces of this ancient sun-worship in the rude stone monuments, with their cup-shaped symbols, that have survived on our moors, in many of the old customs which still linger in our Christianity, and in the name by which the most sacred day of the week is commonly known among us. All the benefits conferred upon our world by the sun must have been strikingly apparent to the ancient Egyptians, dwelling in a land exposed to the sun's vertical rays, and clothed with almost tropical beauty and luxuriance. When they watched the ebbing of the overflowing waters of the Nile, and saw the moist earth on which the sun's rays fell, quickened at once into a marvellous profusion of plant and animal life, they naturally regarded the sun as the Creator, and so deified him in that capacity. The origin of all life, vegetable and animal, to those who stood, as it were, by its cradle, when the world was young and haunted by heaven, seemed a greater mystery and wonder than it is to us in these later faithless ages. Long familiarity with it in its full-grown proportions has made it commonplace to us.

Both the obelisk and the pyramid were solar symbols, the obelisk being the symbol of the rising sun, and the pyramid of the setting. The fundamental idea of the obelisk was that of creation by light; that of the pyramid, death through the extinction of light. And this symbolical difference between the two objects was practically expressed by the different situations in which they were placed; the obelisks being all located on the eastern side of the Nile, that being the region of the rising sun, and of the dawn of life; while the pyramids are all found on the western bank of the river, the region of the sunset, with its awfully sterile hills and silent untravelled desert of sand from which no tidings had ever come to living man, where the dead were buried under the shades of night, in their rock-cut cemeteries. It might thus seem, that by placing obelisks in our churchyards in a.s.sociation with the dead, we were violating their original significance, and guilty of adding another to the many incongruities which have arisen from adopting pagan symbols in Christian burying-places. But in reality we find a deeper reason for the a.s.sociation. In some of the oldest sculptures in Egypt, an obelisk is represented as standing on the top of a pyramid; and by this combination it was meant to signify the power of life triumphing over death. And hence the obelisk is the most suitable of all forms to indicate in our cemeteries the glorious truth of the resurrection, life rising victorious out of the transitory condition of death.

And how admirably did the obelisk lend itself to its symbolical purposes! There was a most wonderful harmony between the idea and the object which expressed it. Being composed of the most durable of all materials, the hard indestructible granite, the eternal sun was thus fittingly represented by an object that lifts its stern finger in unchangeable defiance of the vicissitudes of the seasons and the ages.

Its highly polished surface and rich rosy red colour, its sharply defined lines and narrow proportions, combined with its immense height, suggested the brilliancy and hue and form of a pencil of light. Its tall red column flashing in the strong morning radiance, like a tongue of flame mounting up to its source in the solar fire, or like a ray of the halo that rises up on the low horizon of the Libyan desert, when the dawn has crimsoned all the eastern heavens, might thus well be selected as the most suitable object to bring the invisible sun-G.o.d within the ken of human vision and the range of human worship. The poetical imagination may detect a significance even in the difference between the material used in the construction of the obelisk, and that used in the construction of the pyramid, though this may not have been designed by the makers. The obelisks are all formed of granite, the foundation-stone of the globe, belonging to the oldest azoic formation, which laid down the first basis for the appearing of life. The pyramids were nearly all made of nummulitic limestone composed of the remains of organic life; a material which belonged to the latest geologic ages, when whole generations and different platforms of life had come and gone. Thus significantly does the obelisk of granite suggest by its material as by its form the origin of life, as the pyramid suggests by its material and form the extinction of life.

But not only was the obelisk raised in connection with the worship of the sun,--it was also intended to honour the reigning monarch who erected it, and whose name and t.i.tles were engraved upon it along with the name of the sun. For it was a fundamental idea of the Egyptian religion that the king was not only the son of the solar G.o.d, but also the visible human representative of his glory. This was a favourite conception of the ancients. The Incas of Peru regarded themselves as direct descendants of the sun; and the monarchs of the burning Asiatic lands, where the sun rules and dominates everything, a.s.sume the name and t.i.tle of his sons, and clothe themselves with his splendour. The obelisks were thus the symbols of the two great correlative conceptions of the sun in the heavens, and his satellite and representative on the earth--G.o.d and the king. This Egyptian faith, as attested by the obelisks, the oldest of all the creeds, antecedent to the theologies of India, Greece, and Rome, ceased not to be venerated till the advent of Christianity swept all material worship away. It awed, as Mr. Cooper has well observed, the mixed mult.i.tude in Alexandria under the Caesars, as it had done the primitive Egyptians under the oldest Pharaohs. It extended over a s.p.a.ce of more than three thousand years. During all that long period the obelisk was "the emblem at once of the vivifying power of the sun and of the divine nature of the king, a witness for the divine claim of the sun to be worshipped, and of the right divine of the king to rule." Where is there in all the world, in its most ancient cities, in its loneliest deserts, any cla.s.s of objects which has been held continuously sacred for so long a time? The description of the sun itself by Ossian applies almost equally well to his worship as thus represented.

Obelisks as symbols of the sun and of the creative power of nature, were not confined to Egypt. They belonged to the mythology of all ancient nations. There are modifications of them in India, in prehistoric America, and among the archaeological remains of our own country. They were common objects in connection with the a.s.syrian, Persian and Phoenician religions. And it has been conjectured with much plausibility that the image of gold, whose height was threescore cubits, and the breadth six, the usual proportions of an obelisk, which Nebuchadnezzar set up in the plain of Dura, in the province of Babylon, and commanded Shadrach, Meshach, and Abed-nego to adore, was in reality an obelisk after the Egyptian pattern. Such an obelisk was often gilded, and was a.s.sociated with the worship of the king as its material purpose, and with the creation and origin of life as its symbolic meaning. And if this was the case, there was an unusual aggravation in this idolatry; for the Egyptian obelisks themselves were never worshipped, but were always regarded as the signs of the higher powers whose glory they expressed.

The question is naturally asked, Where were the obelisks originally placed? At the present day we find those of them that remain in Egypt, solitary objects without anything near them, and those that have been carried to other lands have been set up in great open squares, or on river embankments in the heart of the largest cities. Fortunately, there is no doubt at all on this point. They stood in pairs at the doors of the great temples, one on each side, where they served the same purpose which the campanile of the Italian church or the spire of a cathedral serves at the present day. Indeed, architects are of opinion that church towers and steeples are mere survivals of the old Egyptian obelisks, which furnished the original conception. The tower corresponded to the shaft of the obelisk, and the steeple to the sharp pyramidal part in which the summit of the obelisk terminated. And though there is usually only one spire or tower now in connection with our churches, there used to be two, as many old examples still extant testify, one standing on each side of the princ.i.p.al entrance after the manner of the Egyptian obelisks. The slender round towers of Brechin and Abernethy, and of Devenish and other places in Ireland, capped by a conical stone roof terminating in a single stone, which were for a long time a puzzle to the antiquary, are now ascertained to be simply steeples connected with Christian churches of the tenth and eleventh centuries. And just as these towers are now left isolated and solitary without a trace of the buildings with which they were a.s.sociated, so the Egyptian temples have pa.s.sed away, and the obelisks are left alone in the desert. But we can reconstruct in imagination the ma.s.sive and lofty buildings in front of which they stood, and where they showed to the greatest advantage. Instead of being dwarfed by the enormous ma.s.ses of the propylons, their height gained by the near comparison.

The obelisks in our squares and vast open s.p.a.ces have their effect destroyed by the buildings being at a distance from them. There is no scale near at hand to a.s.sist the eye in estimating the height; consequently they seem much smaller than they really are. But when seen in the narrow precincts of a temple court, from whose floor they shot up into the blue sky overhead, surrounded by great columns and lofty gates, breaking the monotony of the heavy ma.s.ses of masonry of which the Egyptian temples were composed, and acting the part which campanili and spires perform in modern churches, a standard of comparison was thus furnished which greatly enhanced their magnitude.

Nothing could be grander than the objects a.s.sociated with the obelisks where they stood. The temple was approached by an avenue of huge sphinxes, in some cases a mile and a half long. Drawing nearer, the worshipper saw two lofty obelisks towering up a hundred feet in height, on the right and left. Behind these he would observe with awe four or six gigantic statues seated with their hands on their knees.

And at the back of the statues he would gaze with astonishment upon two ma.s.sive towers or pylons, broader at the base than at the summit, two hundred feet wide and a hundred and twenty feet high, crowned by a gigantic cornice, with their whole surface covered with coloured sculptures, representing one of the great dramas in the reign of a victorious monarch. Above them would rise the tall masts of coloured cedar-wood, inserted in sinkings chased into the wall, surmounted by the expanded banners of the king, or the heraldic bearings of the temple floating in the breeze. Between the huge propylons opened up the great gateway of the temple, sixty feet high, which led into a vast court, surrounded by columns and open to the sky. Beyond were walls whose roofs were supported by a forest of enormous pillars, which seemed to have been raised by giants. Each hall diminished in size, but increased in sacredness, until the inmost sanctuary was reached; small, dark, and awful in its obscurity. Here was the holy shrine in the shape of a boat or ark, having in it a kind of chest partially veiled, in which was hid the mystic symbol of the G.o.d. Like the tabernacle of Israel, the common people were not allowed to go farther than the outer court beyond the obelisks; only kings and priests being permitted to penetrate into the interior recesses, there to observe the ritual ceremonies of the mysterious Egyptian worship.

On the plan of the Egyptian temple were modelled the sacred buildings of the Jews; and the famous pillars of burnished bra.s.s, wonderful for their workmanship and their costly material, which Solomon erected in the court of his temple, called Jachin and Boaz, had their prototypes in the obelisks of the Nile.

The obelisk belongs essentially to a level country; and there is no habitable region in the world so uniformly flat and unbroken by any elevations or depressions of surface as the valley of the Nile. There it produces its greatest effect; its size is not dwarfed by surrounding heights, and comes out by contrast with the small objects that diversify the plain. It forms a conspicuous landmark, a salient point on which the eye may rest with relief as it takes in the wide featureless horizon. In an artificial landscape, where there is no wild unmixed nature, where every inch of ground is cultivated, it is the appropriate culmination of that triumph of human art which is visible everywhere. It was a sense of this harmony of relation that induced the builders of the great cathedrals and temples of the world to place them, not amid varied and rugged scenery, where they might be brought into comparison with nature's work, but uniformly on level expanses of land. There they form the crowning symbol of man's loving care and painstaking endeavour, and give to the artificial landscape, which man has entirely subdued for his own uses, the finishing touch of power.

Obelisks are the most enduring monuments of antiquity, and yet no cla.s.s of objects has undergone such extraordinary vicissitudes. The history of the changes to which they have been subjected reads like a romance. At a remote age, not long after they were erected, most of them were cast down during some political catastrophe, which shook the whole country to its foundations. Under a subsequent dynasty the obelisks seem to have been lifted up to their former places, and regarded with the old veneration. After the lapse of nearly a thousand years, the land was again convulsed by a terrible revolution, the nature of which is still wrapped up in almost impenetrable mystery. A warlike migratory race came from the north-east, and subdued the whole country. This is known as the Hyksos invasion, or the invasion of the Shepherd Kings, and produced the same effects in Egypt as the Norman invasion produced in England. Previous to this period the horse seemed to have been altogether unknown; but after this date it uniformly appears in Egyptian paintings and sculptures. The Hyksos must therefore have been a pastoral race, in all likelihood belonging to the plains of Tartary; and, mounted on horses, they would find little difficulty in overcoming the foot soldiery of Egypt. When they had obtained possession of the country, they burnt down the cities, demolished the temples, and overthrew the obelisks. This disaster, the most dreadful which Egypt had ever known, followed suddenly upon a period of extraordinary prosperity, when new cities were built, and old cities enlarged; works of great public utility were constructed, a mercantile intercourse established with the surrounding nations, and the arts of painting, sculpture, and architecture, favoured by the long peace and the abundant resources of the country, reached their highest excellence. The reversal of all these signs of prosperity was so overwhelming, that the Egyptians of subsequent ages looked back upon this period of subjection under a foreign yoke which lay upon them for five hundred years, with bitter resentment. When the hated dynasty was at an end, the Egyptians obliterated, as far as they could, every sign of its supremacy, chiselled out the names of its kings on their monuments, and destroyed their records, so that few traces of this revolution remain to dispel the strange mystery in which it is involved. They could never bear to hear the detested names of the Shepherd Kings; and this circ.u.mstance throws light upon the pa.s.sage in Genesis which says that the occupation of a shepherd was an abomination to the Egyptians. Under the patronage of the new dynasty the arts which had been destroyed were again restored, the monuments of the suppressed religion were freed from their indignities, and once more reinstated with the old honours, and the whole country was reconstructed. But, while the temples were re-erected, and the old worship established with even greater splendour, there can be no doubt that many of the earlier obelisks, owing to their smaller size, as compared with the other gigantic monuments of Egypt, had been destroyed past all reconstruction; and some of them remain in the land at the present day on the sites where, and in the exact manner in which, they were overturned by the Shepherd Kings.

But greater changes still happened to the Egyptian obelisks after this. Previously they had been devastated and overturned on their own soil. But now they excited the cupidity of the foreign invaders of Egypt, and were carried away to distant lands as trophies of their victories. The first obelisks that were removed in this way were two of the princ.i.p.al ones that adorned one of the temples of Thebes. After the capture of Thebes by a.s.surbanipal, the a.s.syrian king, the famous Sardanapalus of the Greeks, they were transported to the conqueror's palace at Nineveh, and were afterwards lost for ever in the destruction of that city, about sixty years later, or about six hundred years before Christ. The transportation of these enormous ma.s.ses of stone across the country to the seash.o.r.e, down the Red Sea, over the Indian Ocean, up the Persian Gulf, and the river Tigris, to their destination in the palace of Nineveh, nearly two thousand miles, must have been a feat of engineering skill at that early period of the world's history, far more wonderful in regard to the difficulties overcome, without any precedent to guide, and considering the rudeness of the means of transport, than anything that has ever been attempted since in the same line. The example of the a.s.syrian tyrant was followed, after a long interval, by the Romans, who sought to magnify and commemorate their conquests in Egypt by spoiling the land of its characteristic monuments. The Caesars, one after another, for more than a hundred years, took advantage of their victories and the ruin of the unhappy land of Egypt to convey its beautiful obelisks to their own capital to permanently adorn one or other of the various places of public resort. They seem to have set almost the same high value upon these singular monuments which their inventors did. Pliny and Suetonius describe the almost incredible magnitude of the vessels in which these gigantic ma.s.ses of stone were conveyed to Ostia, the harbour town, and from thence up the Tiber to Rome. The huge triremes were propelled by the force of hundreds of rowers across the waters of the Mediterranean. From the quay at Rome they were dragged and pushed, by the brute force of thousands in the old Egyptian manner, on low carts supported on rollers instead of wheels, to their destination, where they were set upright by a complicated machinery of ropes and huge upright beams.

How many obelisks of Egyptian origin existed at one time in the world we do not know. They were undoubtedly very numerous; but many of them were broken up for building materials. The famous column called Pompey's Pillar stands upon a fragment of an ancient obelisk; and tradition a.s.serts that there are many similar fragments of greater or less antiquity under the ruins of the older houses of Alexandria. At present forty-two obelisks are known to be in existence in different parts of the world. Of these, seventeen remain in Egypt on their original sites, of which no less tha