Old Rome Part 21

The ancient grand entrance to the grounds was at the north-western end of the ruins, on the road towards Tibur, about a quarter of a mile beyond the Ponte Lucano. It seems to have consisted of two large pedestals of white marble, between which the carriage-road pa.s.sed, and which were pierced with arched pa.s.sages for the footways on each side. One of these is still traceable in the Vigna Gentili, and has the remains of a bas-relief upon it, while the other has been destroyed, and its corresponding bas-relief placed in the Villa Albani at Rome. This gateway has been imitated by the architect of the gateway at the old Villa Borghese. It is erroneously called a tomb by Piranesi and Ligorio (see Piranesi, Ant. Rom. tom. ii. tav. 39.)

The modern entrance to the ruins is at the gate of the Villa Braschi, and leads, through an avenue of cypress-trees, in a direction at right angles to the ancient road of approach. The avenue runs across a s.p.a.ce which was formerly a large quadrilateral court, 350 feet by 250 feet, surrounded with porticoes, attached to the theatre which stands a little to the side at the end of the avenue. The ancient road from the Ponte Lucano entered this court at the northern angle. The porticoes have now nearly disappeared, but part of them was remaining in Ligorio's time. They served the same purposes as the great colonnades behind the Theatres of Pompey and Balbus at Rome. The theatre is an oval building, sunk in the slope of the rising ground, the southern side containing the seats for spectators, and the northern being occupied by the orchestra and scena, which has a stage in the form of a long and narrow parallelogram. The plan corresponds exactly to the description by Vitruvius of a Greek theatre, and has, therefore, been called the Greek Theatre by the antiquaries. The Greeks had the orchestra wider and the actual stage much narrower than the Latins. Fragments of the travertine substructions of the scena still remain.

At some distance from this theatre, towards the east, and on the other side of the stream which runs along the Valley of Tempe, is the Latin Theatre, so called because the stage is much broader than that of the theatre just described. Externally it was surrounded with arched porticoes decorated, like the Theatre of Marcellus at Rome, with half-columns, There were probably two tiers of these arches, corresponding to the two divisions of seats. At the sides of the scena there were rooms for the use of the actors and for the machinery, and behind the scena are three rooms, probably corresponding to the three doors in the wall behind the stage.

The spectators' seats are turned towards the south, contrary to the rules of Vitruvius.

Between the two theatres there is a natural rise in the ground, which has been further heightened by the rubbish heaped upon the spot. The ruins here occupy a s.p.a.ce in the form of a trapezium, the largest side of which lies towards the north-west, and the shortest towards the south-west. They are now covered with modern buildings belonging to the Villa Braschi.

[Sidenote: Palaestra.]

The northern angle of these ruins shows the remains of a quadrilateral area surrounded by a covered way; and at the eastern angle there is another smaller court, surrounded with a portico, which has a double row of columns on the south-west side. This court is called the Palaestra by Ligorio and Piranesi, and it is supposed by them that the double portico was intended to be used in bad weather, when the athletes could not take their exercise in the unsheltered part of the court. Several statues of athletes, the colossal bust of Isis, now in the Museo Chiaromonti, and a statue of Ceres, were found here. There is a suite of rooms on the north-west side, intended, perhaps, for anointing-rooms, dust rooms, or sparring-courts. On the southern side there is a s.p.a.cious recess, with niches for statues, and attached to it are two large halls, in the form of a Greek cross, with small recesses at the sides, still retaining some marks of their ancient decorations in stucco and paint. The western angle of these ruins is conjectured to have been the site of the Xystus or covered Palaestra, a cloistered court, with a small square opening in the centre.

The ruins of the Nymphaeum lie on the south side of the Palaestra, and are connected with it by some chambers in which the stucco ornaments are still well preserved, and show what elegance of design and workmans.h.i.+p was bestowed even on the inferior parts of the villa. The curved basin of the Nymphaeum can be traced, though it is now overgrown with trees, and some of the niches still covered with stucco-work remain. The western side of one of the adjacent rooms, now used as a granary, is ornamented with niches, and Nibby thinks that this, which was the back of the Nymphaeum, was arranged so as to present a fountain supplied from the main pipe of the aqueduct. A similar arrangement, he says, may be seen in the remains of the Nymphaeum at Ampiglione. The great vase now at Warwick Castle came from Hadrian's Villa.

[Sidenote: Pcile.]

The Pcile lies to the south of the Nymphaeum. Between them is a reservoir and the remains of a fountain belonging to some building now entirely destroyed.

[Sidenote: Castra.]

The Athenian Pcile, of which this is an imitation, was a portico, the walls of which were decorated with the paintings of Polygnotus and Micon.

From the description given of it by Pausanias, the Athenian building appears to have been a portico with three sides at least, on one of which the battle of Oenoe was represented; on the second, and longest, the wars of Theseus against the Amazons, and the council of the Greek chiefs after the capture of Troy; and on the third, the battle of Marathon. It thus appears that one of the sides was much longer than the others; and this is the case with the ruin in the Villa of Hadrian, which has three sides, one, 640, on the north, and the others, on the east and west, each 240 feet in length. In Ligorio's time, 1550, a part of the porticoes, which were of brick, still remained, and some of the paintings corresponding to the Athenian pattern. It is not certain whether there was a similar wall and portico on the southern side. The wall of the northern side, which is the longest, still remains entire. It had a portico on the exterior, which terminated in two circular buildings; and in the centre was the princ.i.p.al entrance to the Pcile. The present entrance is modern. Both the eastern and western sides are slightly curved. The former contains a recess in the centre connected with the buildings behind. In the centre was an open reservoir of the same shape as the building surrounding it. On the western and southern sides the area of the Pcile is supported by substructions of masonry, against which are built a number of soldiers' rooms commonly called the Cento Camarelle. At the corner towards the south-west is a public washhouse, the tubes of which are still in good preservation.

Attached to the north-eastern corner of the Pcile is a fine building, in the form of a recess, with a semicircular niche turned towards the north, which, from the connection of the Stoic philosophy with the Stoa Pcile at Athens, has been called the Temple or School of the Stoics. It was possibly a hall for conversation and discussion.

[Sidenote: Library.]

Opening from this school, towards the north-east, is a building in the form of two concentric circles. Between the two circular parts there was a ca.n.a.l filled with water. This edifice was probably a swimming-bath. It appears to have been very highly ornamented with precious marbles and sculptures, most of which were taken to Rome by Cardinal Alessandro Farnese, and others to Tivoli by Cardinal Ippolito d'Este. The ruin commonly goes by the name of Theatrum Maritimum. A little farther to the north-east is a quadrilateral court, 200 feet wide, which was surrounded by a portico with Corinthian columns. On the north-west side of this court are the buildings usually supposed to belong to the library, and called the Greek and Latin libraries. They consist of a large number of rooms, more or less preserved, which may have been ante-rooms and chambers for the attendants and librarians. In the centre of the north-western side of the court is a well-preserved Nymphaeum, and on the north-east a long corridor with windows towards the south, which may be called a Helio Caminus, or room for basking in the sun, from its resemblance to the place so called by Pliny at his Laurentine villa. The ruins to the north-east of these, towards the Valley of Tempe, are thought by Nibby to be the remains of a suite of rooms belonging to one wing of the imperial palace, but their plan is very imperfectly known.

[Sidenote: Palace.]

The great ma.s.s of the imperial apartments were farther to the south-east, and were grouped round three large courts of dazzling magnificence. The most splendid of those, which afforded spoil for generations of plunderers, is called by Piranesi, from the richness of its decorative work, the Piazza d'Oro. Round the courts were numberless suites of rooms and several large recesses, a basilica, and a great hall now called Eco Corintio, formerly supported on vast granite columns, and cased with slabs of the choicest marbles.

[Sidenote: Stadium.]

The Stadium lies in a direction at right-angles to the southern side of the Pcile. The curved end is towards the south. Between the swimming-bath and the northern, or square end of the Stadium, are some bath-rooms for the use of the athletes, and on the west side stands a temple surrounded by a sacred enclosure formed by two vast semicircular walls ornamented with niches. On the eastern side are more rooms, and a magnificent quadrilateral covered way.

[Sidenote: Thermae.]

The Thermae stand between the Stadium and the Canopus. Numerous pipes and conduits for water, and also the arrangement of the various parts of the buildings, show that they have been rightly placed here. There seem to have been two distinct sets of bath-rooms, which are generally called the Terme virili and the Terme muliebri by the Italian antiquaries. The northern group of buildings is connected with the curved end of the Stadium, and contains the usual number of halls and an elliptical Laconic.u.m. The Laconic.u.m of the southern wing is circular, and is connected with a grand central hall similar to that in the Baths of Caracalla at Rome.

[Sidenote: Canopus.]

The place called Canopus lies to the south of the Thermae, and close to a ma.s.s of buildings now utterly destroyed, but in Piranesi's time thought to be a vestibule of the villa. The Canopus itself consists of an oblong pool of water or euripus excavated in the tufa, with a row of buildings on the west side, and a magnificent nymphaeum at the southern end, containing a great number of niches for statuary, and holes for jets of water. At the back of the Nymphaeum is a hall called the Sacrarium, in which it is supposed the statue of Serapis stood. A pa.s.sage of Strabo explains the idea which Hadrian had in forming this ca.n.a.l and Nymphaeum. He says that on the grand festival of Serapis, whose temple and oracle were at Canopus, 120 stadia from Alexandria, immense crowds of men and women go down to Canopus from Alexandria by boats on the ca.n.a.l, on the banks of which are pleasant houses of entertainment, where the wors.h.i.+ppers stop on their way to feast and dance.[158] The long, broad pool was intended to represent the Canopic ca.n.a.l, and the rooms ranged along the side, the houses of refreshment. A confirmation of this is derived from the character of the statues found here which were almost all those of Egyptian deities.

[Sidenote: Academy.]

To the south-west of the Canopus rise the immense substructions, 1755 feet in length, which supported the highest terrace on this side of the villa.

They extend as far as the square tower called Rocca Bruna in Ligorio's plan. This terrace and hill are supposed to have been the imitation of the Athenian Academy mentioned by Spartia.n.u.s. There was a gymnasium here, the ruins of which are to be seen in a vineyard at the southern end of the hill, consisting of a large court, a circular temple, and a large recess.

Beyond these there was a large square block of buildings supposed by Nibby to have been used for the students and masters of the School of Art maintained by Hadrian, and beyond this again was a s.p.a.cious Odeum or theatre for musical performances. The raised seat of this is now converted into a vineyard, but the stage is still well preserved. There were, as in the Odeum of Catania, two divisions, and at the top of the central division was a round temple dedicated to the presiding genius of the Odeum; just as in the Theatre of Pompey the Chapel of Victory stood above the seats.

Close to this Odeum are the vast subterranean pa.s.sages supposed to be the Inferi which Spartia.n.u.s mentions. The depth at which these lie is only fourteen feet, but they occupy a trapezoidal area, the longest side of which is about one thousand and fifty feet, and the shortest two hundred.

Most of these corridors are excavated like catacombs in the natural rock.

A brick stamped with the name Cynosarges was found near the aqueduct which runs to the south of the Inferi. There are two other names found in Spartia.n.u.s, the Lyceum, and the Prytaneum, and Piranesi identifies the Lyceum with a ruined portico at a little distance to the south of the Inferi, and the Prytaneum with some more extensive ruins to the south-east.

After Constantine's time, the Villa of Hadrian remained in a desolate state, and was abandoned to the caprices of the imbecile Caesars, who tormented the empire in the fourth and fifth centuries, and to occasional visits from the plundering hordes of Goths, Vandals, and Heruli, who successively ravaged the neighbouring country. In the middle of the sixth century it was completely pillaged and ruined. In the Gothic wars of 546-556 Totila took Tibur after a siege of some months, and revenged himself for the resistance of the Isaurian garrison by putting all to the sword without sparing even the bishop. At the same time Totila broke down all the bridges on the Anio. During that long siege, the Villa of Hadrian with its enormous halls, its vast ranges of rooms, and its advantageous and commanding site at the junction of several roads, offered convenient quarters to the barbarian king and his host. It may be imagined what devastation such tenants would inflict upon the place. In the sixth century the villa fell more and more into ruins; to the disasters of the Gothic wars were added those incurred during the Lombard wars under Astulf. The Lombards were a more savage horde than the Goths, and their object was to destroy the Roman empire utterly, and to divide Italy into dukedoms. These barbarians attacked Rome many times, and ravaged the Campagna, but Astulf distinguished himself above all the rest in these incursions, ma.s.sacring and burning everywhere without distinction. As we hear that he was encamped near Tivoli, we may conclude that the Villa of Hadrian suffered severely in or about the year 755.

The wars between emperors and popes, and the quarrels between the factions in Rome itself which followed, injured Rome perhaps rather more than the cities of the Campagna. But the greatest damage of all was done to the villa by its being made the quarry whence the churches, the monasteries, and the houses of the wealthy Tiburtines were decorated with marbles, columns, and costly stonework, and when these were filled and could hold no more of the innumerable marble sculptures and statues, they were condemned to the lime-kiln and converted into mortar. After the revival of letters and arts in the fifteenth century, the lamentations poured out in the time of Pius II. (A.D. 1458) over the ruins of the villa are most pathetic. "The lofty vaults of the temples are still standing, and the wonderful columns of the cloisters and magnificent porticoes. The swimming-baths and Thermae can be traced, where the water of the Anio once mitigated the summer heats. But the hand of time has defaced all these, and the walls once draped with embroidered tapestry and cloth of gold are now clad with ivy; the thorns and briar grow where tribunes sat in purple robes, and serpents crawl, in their kings' chambers." In spite of the existence here and there of such love of antiquity, the burning of the Tiburtine marbles into lime continued throughout the sixteenth century, and the levelling of the ground for cultivation has gone on even to the present century.[159]

The same fate attended all the other grand monuments of the Campagna.

Rutilius Numatia.n.u.s, writing probably in 417 in the reign of Honorius, speaks of the buildings of Rome and the aqueducts of the Campagna as if they were still uninjured, but he prefers to return to his native home in Gaul by sea, on account of the bad state of the roads on the coast caused by the Gothic devastations.

[Ill.u.s.tration: ENVIRONS OF TIVOLI.]

[Sidenote: Tibur.]

Ascending from Hadrian's Villa to the point where the Anio issues from a valley dividing the aequian from the Sabine Mountains, we find the river winding round a considerable hill, partly clothed with groves of olive, and rising to the height of 830 feet. At the back of this hill the river has forced a pa.s.sage for itself through the limestone rocks which threaten to impede its exit from the upper valley, and falls in a tremendous cataract down a precipitous cliff of 320 feet in height to the lower level. The water is strongly charged with carbonate of lime, which is constantly being deposited in the shape of ma.s.ses of travertine in the channels through which the stream runs, especially where the water, in consequence of the violent agitation caused by its rapid descent, parts quickly with the carbonic acid gas contained in it. The course of the stream is from time to time blocked up by its own formations of stone, and it is forced to open new pa.s.sages for itself. From this cause the city of Tibur, which stands on the hill, close to the point where the river falls to its lower level, has always been subject to violent and dangerous inundations. The great inundation of 1826 proved so formidable that it was at once resolved to divert the course of part of the river and provide it with an artificial outlet. This was effected by boring two tunnels through Monte Catillo on the east of the city, through which any rush of water can be allowed to pa.s.s and fall harmlessly into the lower valley. A part of the river water is always allowed to pa.s.s through these tunnels, and forms at their lower end a magnificent cascade. Another part pa.s.ses under the bridge called Ponte S. Gregorio and then rushes through a fantastic grotto of travertine blocks called by the local guides Grotta di Nettuno, and joins the stream from the tunnels at the bottom of the valley. A third portion of the Anio is diverted just above the bridge into ca.n.a.ls apparently of very ancient date, which, pa.s.sing completely through the centre of the town, are used as the motive power of watermills and factories of various kinds, and then fall again into the main stream at various points of the romantic cliffs on the western hill side. These form the wreaths of "snow white foam" so celebrated as the cascades of the Anio, and explain perfectly the expression of Horace:

O headlong Anio, O Tiburnian groves, And orchards saturate with s.h.i.+fting streams.

But few traces of the ancient walls of the city are left. Nibby is however doubtless right in saying that there can be no question about their course along the northern and eastern sides of the city, where the brow of the hill is steep and perfectly adapted for defence by a wall placed on the edge of the rocky valley of the Anio. The citadel was probably situated in the quarter called Castro Vetere--where the two temples commonly called the temples of the Sibyl and of Drusilla stand, for it is plain that some pains have been taken to isolate this from the remainder of the site. On the western side the limit of the ancient walls is marked by the old gate, and by the fragments of walls which still exist at the point where the direct road from Rome enters the city by the modern Porta del Colle.

The course of the walls then excludes the Villa d'Este, and runs across the hill to the Church of the Annunziata and the Porta Santa Croce and the citadel built by Pius II. on the site of the ancient amphitheatre. From thence the walls pa.s.sed in a straight line down to the river near the Church of S. Bartolommeo. The ancient town did not extend to the right bank of the Anio.

[Ill.u.s.tration: Temple of Vesta at Tibur.]

[Sidenote: Temple of Vesta.]

Two ancient temples are still standing in tolerable preservation at Tibur.

The first of these is a small round temple perched on the very edge of the precipitous ravine through which the Anio dashes. It has been protected against the violence of the furious torrent by ma.s.sive substructions, which apparently existed in ancient times and have often been renewed. Ten of the eighteen columns which formerly surrounded the inner chamber still remain.

The details of this temple are rather peculiar in style, and show an originality of invention very rare in Roman architecture. The columns have Attic bases, but the grooves of the fluting are cut in a style which is neither Doric nor Ionic. They terminate above in an abrupt horizontal line, and reach at the foot of the column quite down to the base without any intermediate cylinder. The capitals exhibit a fantastic variety of the Corinthian order, having the second row of acanthus leaves nearly hidden behind the first, and a lotus blossom as the decoration of the abacus. The frieze is ornamented with the skulls of oxen and festoons, in the loops of which are rosettes and paterae placed alternately. The inner chamber, which is built of opus incertum, is partly destroyed, but the lower half of the door and a window still remain.

From the above description it will be seen that the architecture of the temple appears to belong to the end of the Republican era, but the inscription on the architecture gives us no further hint of the exact date, as the whole of it: with the exception of the words L. CELLIO. L.

F., has disappeared. The most probable conjecture as to the deity to whom it was dedicated is that based upon the fact that Vesta was wors.h.i.+pped at Tibur, as is shown not only by two inscriptions found near the spot, but also by the mediaeval name of this quarter of the town. The form of the temple also confirms such an opinion.

[Sidenote: Temple of Albunea.]

The second temple stands quite close to this round building, and is now consecrated as the Church of S. Giorgio. Its shape was that of a pseudoperipteral temple, i.e. with the side columns half sunk in the walls, raised on a meagre base of tufa blocks. It had a front, with four Ionic columns, one of which still remains, forming a support to the Campanile. An inscription dedicated to Drusilla, the sister of Caligula, was found here, but no reference as to the name of the temple can be drawn from it. A bas-relief, also found on the spot, represents the Tiburtine Sibyl sitting, and in the act of delivering an oracle. Hence it has been thought that we have in the Church of S. Giorgio the Temple of the Sibyl Albunea mentioned by Horace, Tibullus, and Lactantius, and this seems to be the most probable of the various conjectures which have been hazarded on the subject. The Grove of Tiburnus mentioned by Horace was probably on the right bank of the Anio, but further than this it is impossible to determine its exact position. There was also a grove dedicated to Diana.

The Mons Catillus, now Monte Catillo or Monte della Croce, is the height on the right bank of the Anio. The name is at least as early as the time of Servius.

[Sidenote: Villas.]

As may easily be imagined there are numerous remains of ancient villas scattered about the immediate neighbourhood of Tibur, and the local guides, in order to please travellers but without the slightest evidence in support of their a.s.sertions, have dubbed them the Villas of Catullus, Horace, Ventidius, Quintilius Varus, Maecenas, Sall.u.s.t, Piso, Capito, Brutus, Popillius, and other celebrated Romans.

The most remarkable ruins are those to which the name of Maecenas has been attached. The greater part of these have been now unfortunately concealed by new buildings and by an iron manufactory, but a fine terrace and parts of the porticoes still remain on the lofty bank of the Anio. The rest is a mere confused ma.s.s of vaulted chambers and archways. The Via Tecta, or Porta Oscura, as it is sometimes called, by which the road pa.s.ses underneath these ruins, was built, as we learn from an inscription now in the Vatican collection, by O. Vitulus and Rustius Flavos. The materials and style show that it can hardly be of a later date than the first century A.D.

[Sidenote: Tempio della Tosse.]