hind. Each of them carries a stick over the left shoulder, which seems to have been for the purpose of conveying his provisions. We may observe a wallet, a vessel for wine, and an apparatus for dressing their provisions."-Grant.

Note 18.-" Aurelius's Column is more generally known by the name of Antonine's Pillar; but an inscription found near it proves it to belong to M. Aurelius, and the relievos are exclusively appropriated to his exploits. They are more defaced than those of Trajan's Pillar; the figures, too, are more prominent, more confused, and inferior in sculpture, in story, and instruction. The most remarkable piece in Antonine's Pillar,' says Addison, 'is the figure of Jupiter Pluvius sending down rain on the fainting army of M. Aurelius and thunderbolts on his enemies, which is the greatest confirmation possible of the story of the Christian Legion, and will be a standing evidence for it, when any passage in an old author may be supposed to be forged."

Note 19.-Temple of Vesta. This elegant little structure, though said by some to be of a date prior to the age of Augustus, has no great evidence to produce in support of its pretensions to such antiquity. It is of a circular form, and was surrounded originally with a colonnade of twenty fluted pillars of the Corinthian order and of Parian marble, one of which nas since perished: the cornice also, and the ancient roof, have shared the same fate. In Ovid's time it was covered with a brazen or bronze roof. The walls are composed of blocks of Parian marble, so neatly fitted together as to look like one continuous mass. The columns are 35 ft. in height; the circumference of the colonnade is 170 ft. It was burnt

in Nero's fire, and repaired by Vespasian or Domitian. It was burnt again in 191, and Julia Pia, wife of Septimus Severus, repaired it. This is, probably, the building still in existence. It was consecrated as a Christian church, and is called S. Stefano delle Carozze, or the Madonna del Sole.

Note 20.-Temple of Fortuna Virilis. This temple is said by some to have been built by Servius Tullius, in gratitude for his exaltation to the rank of a monarch, though originally a slave. But though this building may, perhaps, claim nearly equal antiquity with the one erected by Servius Tullius, it cannot be the very same structure; for Dionysius of Halicarnassus tells us that, shortly after Servius's death, the Temple was burned down, and that his statue carved in wood, and gilt, was the only thing saved from the flames. The front is decorated with four elegant fluted Ionic columns. Of the decorations of the sides, consisting of two pillars (including the angular ones) and five half-pillars, six are still visible; the other side is blocked up by buildings.

Note 21.-Mausoleum of Hadrian. "The Emperor Hadrian," says Eustace, "who delighted in architecture and magnificence, determined to rival, or more probably to surpass, the splendour of Augustus' tomb, and erected a mausoleum which, from its size and solidity, was called Moles Hadriani (Hadrian's Mole). As the Campus Martius was already crowned with tombs, temples, and theatres, he selected for its site a spot on the opposite bank of the river, at the foot of the Vatican Mount; where, on a vast quadrangular platform of sclid stone, he raised a lofty circular edifice, surrounded by a Corinthian portico, supported

by 24 pillars of a beautiful kind of white marble tinged with purple. The tholus, or continuation of the inner wall, formed a second story, adorned with Ionic pilasters; a dome, surmounted by a cone of brass, crowned the whole fabric, and gave to it the appearance of a most majestic temple. To increase its splendour, four statues occupied the four corners of the platform, 24 adorned the portico and occupied the intervals between the columns; an equal number rose above the entablature; and a proportional series occupied the niches of the second story between the pilasters. The whole fabric was cased with marble, and the statues were the works of the best masters. This monument was considered as the noblest sepulchral edifice ever erected, and one of the proudest ornaments of Rome, even when she shone in all her imperial magnificence."

Note 22.-Tomb of Caius Cestius. Though the tombs on the Appian Way have a tendency to the pyramidal form, yet the only actual instance of a pyramid at Rome is the tomb of Caius Cestius, close to the Porta S. Paolo; where it forms a part of the wall itself-Aurelian having drawn his new line of walls so as to cross it. The height of it is 121 ft.; the width at the base 96. It is built of brick cased over with white marble, now blackened by age. In the interior are some paintings on the walls, consisting of five female figures, in tolerable pre

servation.

Nothing is known of this Caius Cestius except from the inscription on the monument itself, which informs us that he was one of the Epulones, whose business it was to prepare the Lectisternia, or banquets for the gods, on occasion of any public calamity or rejoicing.

Note 23.-Tomb of Cæcilia Metella. The Roman tombs usually consisted of a vault, in which the urns and sarcophagi were deposited, with a chamber above, in which the statues or effigies of the dead were placed, and the libations and obsequies performed. Some were places of family interment, others solitary tombs, like that of Cæcilia Metella on the Via Appia. This latter consists of a round tower, resting on a square basement. The circular part is still cased with stone. The original entrance is buried under the soil; but an opening has been made above, by which the interior may be examined. Though the top of the roof has been broken in, enough remains to prove it to have been of a conical shape, the walls converging internally. The sepulchral vault was below the present level of the soil; nor was it till the time of Paul III. that it was opened, when the sarcophagus, now in the Farnese Palace, was found in it. A golden urn, containing the ashes, is said to have been discovered at the same time; but this has disappeared.

The square base of this tower has long since been stripped of its stone covering. The wall of the tower itself, the interior of which is of brick, is twenty feet thick. The cornice is decorated with festoons and rams' heads alternating with each other. The modern name of the tomb, "Capo di Bove," is by some supposed to be derived from an ox's head-the arms of the Gaëtani family, by whom it was converted into a fortress-which was affixed several centuries ago to the side of the tower next the Appian Way.

"There is a stern round tower of other

days,

Firm as a fortress, with its fence of stone,

was

accords much better with what we may fancy to have been the features of the "hominem integrum et castum et gravem," than with any of the busts of Augustus, and is too stern for him, who, according to Suetonius, beautiful at all periods of his life." Then again, it was found on the spot where the statue of Pompey stood, and bears a strong resemblance to the head on his medal, published in the Museo Romano. As to the objection of the globe in the hand, there was, perhaps, nothing very extraordinary in the adulation of marking the extent of his conquests, by putting that symbol into the hands of a victorious general "who found Asia Minor the boundary, and left it the centre of the Roman empire. At all events, so imposing is the stern majesty of the statue, and so memorable is the story, that the play of the imagination leaves no room for the exercise of the judgment; and the fiction, if a fiction it is, operates on the spectator with an effect not less powerful than truth."

Note 31.-Fountain of Egeria. "It seems at least probable that the long dell in which this fountain is situated is the Egerian valley of Juvenal, and the pausingplace of Umbritius, notwithstanding most of his commentators have supposed the descent of the satirist and his friend to have been into the Arician grove, where the nymph met Hippolytus, and where she was more peculiarly worshipped. But the step from the Porta Capena to the Alban Hill, a distance of fifteen miles, would be too considerable; and nothing can be collected from Juvenal but that somewhere near the Porta Capena was a spot in which it was supposed Numa held nightly consultations with the nymph,

and where there was a grove and a sacred fountain, and fanes once consecrated to the Muses; and that from this spot there was a descent into the valley of Egeria, where were several artificial caves. It is clear that the statues of the Muses made no part of the decoration which the satirist thought misplaced in these caves; for he expressly assigns other fanes (delubra) to these divinities above the valley, and, moreover, tells us that they had been ejected to make room for the Jews."- -Grant.

It is probable that the cave now shown may be one of these artificial caverns, of which, indeed, there is another a little higher up the valley, but a single grotto of Egeria is a mere modern invention, grafted upon the application of the epithet Egerian to these nymphæa in general.

ROUTE 134.

FLORENCE TO SIENA.

60 miles. 1st class, 10:25 francs; 2nd, 7-60 francs.

The route from Florence to Empoli is described in Route 131.

EAVING Empoli the railway follows for some time the valley of the Elsa. Passing Osteria, Bianca, Castel Fiorentino (11 miles), Certaldo (15 miles), where Boccaccio resided and where he was buried, we reach Poggibonsi (21 miles), a rapidly growing town of 8,000 inhabitants. Passing through a long tunnel we reach Siena (Hotels: Aquila Nera, Arme d'Inghilterra). ́It is situated

though it may make the expression less heroic, does not make it less natural. Winckelmann admires the statue for expressing the exact contrary of this.

'And first around the tender boys they wind,

Then with their sharpen'd fangs their limbs and bodies grind,

The wretched father running to their

aid

With pious haste, but vain, they next invade :

Twice round his waist their winding volumes roll'd;

And twice about his gasping throat they fold

The priest thus doubly choked-their crests divide,

And towering o'er his head in triumph ride."-DRYDEN.

Note 28.-The Dying Gladiator. He is represented naked, reclining on a shield, with a short sword, and a broken horn by his side, and a cord knotted round the neck. His demeanour is manly, patient, and resigned; he supports himself on his left arm, and seems labouring to suppress the expression of agony. "The great masters of Greece," observes Cunningham, in his Lives of the British Sculptors, "knew that violent action is ungraceful, that it distorts the features, squares out the joints, and destroys, to a certain degree, that harmony of nature which they worshipped: they therefore, in general, discarded gesture, and strengthened the mental expression-witness the resigned agony of the Dying Gladiator-the faint struggle of the vanquished Laocoon-the tranquil woe of Niobe. To every unprejudiced eye, those noble works are, from their dignified serenity, inexpressibly mournful more vigorous action would, I apprehend, diminish the poetic pathos which they embody."

:

Whether this wonderful statue be a laquearian gladiator, which, notwithstanding Winckelmann's criticism, has been strenuously

maintained by the Abate Bracci, who accounts for the cord round the neck, but not for the horn, which it does not appear the gladiators themselves ever used; or whether it be a Greek herald, as Winckelmann confidently

as

serted; or whether we are to take it for a Spartan or barbarian shieldbearer, according to the opinion of his Italian editor, Hobhouse thinks it may fairly be considered a copy of that master-piece of Ctesilaus which represented "a wounded man at the point of death, in which you might see how much of life was yet remaining in him.' Montfaucon and Maffei thought it the identical statue; but that statue was of bronze.

The Gladiator once formed part of the collection at the Villa Lodovisi, and was purchased by Clement XII. It affords another instance of Michael Angelo's skill in restoration he has contributed an arm, a foot, the upper lip, and the tip of the nose.

Note 29.-The Capitoline Venus is supposed to be coming out of the bath, and bears some resemblance to the Medicean. The attitude of this latter statue seems to have been a favourite with the sculptors. Several copies of it are to be seen in the Florentine gallery; and Ovid, as we have already seen, alludes to it in the following lines:

"Ips Venus pubem, quoties velamina ponit, Protegitur lævâ semireducta manu." Art. Amor. ii. 613.

Note 30.-Spada Palace. The great curiosity here is the colossal STATUE OF POMPEY-said to be that very statue at the foot of which " great Cæsar fell," "It is easier to decide that the statue cannot be Pompey's, than to find it an owner among the emperors. By some, indeed, it has been assigned to Augustus; but the face