l'opinion qu'il voulait gagner. Envoyant le mur s'infléchir parce-qu'il a fallu épargner quelques maisons, on croit voir la toute-puissance d'Auguste gauchir à dessein devant les intérêts particuliers, seule puissance avec laquelle il reste à compter quand tout intérêt général a disparu. L'obliquité de la politique d'Auguste est visible dans l'obliquité de ce mur, qui montre et rend pour ainsi dire palpable le manège adroit de la tyrannie, se déguisant pour se fonder. Le mur biaise, comme biaisa constamment l'empereur."—Ampère, Emp. i. 233.
(The street on the left—passing the Arco dei Pantani—the Via della Salita del Grillo, commemorates the approach to the castle of the great mediæval family Del Grillo; the street on the right leads through the ancient Suburra.)
At the corner of the next street (Via della Croce Bianca)—on the left of the Via Alessandrina—is the ruin called the "Colonnace," being part of the Portico of Pallas Minerva, which decorated the Forum Transitorium, begun by Domitian, but dedicated in the short reign of Nerva, and hence generally called the Forum of Nerva, on account of the execration with which the memory of Domitian was regarded. Up to the seventeenth century seven magnificent columns of the temple of Minerva were still standing, but they were destroyed by Paul V., who used part of them in building the Fontana Paolina. The existing remains consist of two half-buried Corinthian columns with a figure of Minerva, and a frieze of bas-reliefs.
"Les bas-reliefs du forum de Nerva représentent des femmes occupées des travaux d'aiguille, auxquels présidait Minerve. Quand on se rappelle, que Domitien avait placé à Albano, près du temple de cette déesse, un collège de prêtres qui imitaient la parure et les mœurs de femmes, on est tenté de croire qu'il y a dans le choix des subjets figurés ici une allusion aux habitudes efféminées de ces prétres."—Ampère, Emp. ii. 161.
"The portico of the temple of Minerva is most rich and beautiful in architecture, but woefully gnawed by time, and shattered by violence, besides being buried midway in the accumulation of the soil, that rises over dead Rome like a flood-tide. Within this edifice of antique sanctity a baker's shop is now established, with an entrance on one side; for everywhere, the remnants of old grandeur and divinity have been made available for the meanest neccessities of to-day."—Hawthorne.
It was in this forum that Nerva caused Vetronius Turinus, who had trafficked with his court interest, to be suffocated with smoke, a herald proclaiming at the time, "Fumo punitur qui vendidit fumum."
Returning a short distance down the Via Alessandrina, and turning (left) down the Via Bonella, we traverse the site of the Forum of Julius Cæsar, upon which 4000 sestertia (800,000 l.) were expended, and which is described by Dion-Cassius as having been more beautiful than the Forum Romanum. It was ornamented with a Temple of Venus Genetrix—from whom Julius Cæsar claimed to be descended—which contained a statue of the goddess by Archesilaus, a statue of Cæsar himself, and a group of Ajax and Medea by Timomacus. Here, also, Cæsar had the effrontery to place the statue of his mistress, Cleopatra, by the side of that of the goddess. In front of the temple stood a bronze figure of a horse—supposed to be the famous Bucephalus—the work of Lysippus.
"Cedat equus Latiæ qui, contra templa Diones,
Cæsarei stat sede Fori. Quem tradere es ausus
Pellæo Lysippa Duci, mox Cæsaris ora
Aurata cervice tulit."
Statius, Silv. i. 84.
The only visible remains of this forum are some courses of huge square blocks of stone (Lapis Gabinus), in a dirty court.
Part of the site of the forum of Julius Cæsar is now occupied—on the right near the end of the Via Bonella—by the Accademia di San Luca, founded in 1595, Federigo Zuccaro being its first director. The collections are open from 9 to 5 daily. A ceiling representing Bacchus and Ariadne, is by Guido. The best pictures are:—
Bacchus and Ariadne: Poussin. Vanity: Paul Veronese. Calista and the Nymphs: Titian. The murder of Lucretia: Guido Cagnacci. Fortune: Guido. Innocent XI.: Velasquez. The Saviour and the Pharisee: Titian. A lovely fresco of a child: Raphael. St. Luke painting the Virgin: Attributed to Raphael.
"St. Luke painting the Virgin has been a frequent and favourite subject. The most famous of all is a picture in the Academy of St. Luke, ascribed to Raphael. Here St. Luke, kneeling on a footstool before an easel, is busied painting the Virgin with the Child in her arms, who appears to him out of heaven, sustained by clouds; behind St. Luke stands Raphael himself, looking on."—Mrs. Jameson.
A skull preserved here was long supposed to be that of Raphael, but his true skull has since been found in his grave in the Pantheon.
"On a longtemps vénéré ici un crâne que l'on croyait être celui de Raphael; crâne étroit sur lequel les phrénologistes auront prononcé de vains oracles, devant lequel on aura bien profondément rêvé et qui n'était que celui d'un obscur chanoine bien innocent de toutes ces imaginations."—A. Du Pays.
Just beyond St. Luca, we enter the Forum Romanum.
The interest of Rome comes to its climax in the Forum. In spite of all that is destroyed, and all that is buried, so much still remains to be seen, and every stone has its story. Even without entering into all the vexed archæological questions which have filled the volumes of Canina, Bunsen, Niebuhr, and many others, the occupation which a traveller interested in history will find here is all but inexhaustible; and, after the disputes of centuries, the different sites seem now to be verified with tolerable certainty. The study of the Roman Forum is complicated by the succession of public edifices by which it has been occupied, each period of Roman history having a different set of buildings, and each in a great measure supplanting that which went before. Another difficulty has naturally arisen from the exceedingly circumscribed space in which all these buildings have to be arranged, and which shows that many of the ancient temples must have been mere chapels, and the so-called "lakes" little more than fountains.
"This spot, where the senate had its assemblies, where the rostra were placed, where the destinies of the world were discussed, is the most celebrated and the most classical of ancient Rome. It was adorned with the most magnificent monuments, which were so crowded upon one another, that their heaped-up ruins are not sufficient for all the names which are handed down to us by history. The course of centuries has overthrown the Forum, and made it impossible to define; the level of the ancient soil is twenty-four feet below that of to-day, and however great a desire one may feel to reproduce the past, it must be acknowledged that this very difference of level is a terrible obstacle to the powers of imagination; again, the uncertainties of archæologists are discouraging to curiosity and the desire of illusion. For more than three centuries learning has been at work upon this field of ruins, without being able even to agree upon its bearings; some describing it as extending from north to south, others from east to west. The origin of the Forum goes back to the alliance of the Romans and Sabines. It was a space surrounded by marshes, which extended between the Palatine and the Capitol, occupied by the two colonies, and serving as a neutral ground where they could meet. The Curtian Lake was situated in the midst. Constantly adorned under the republic and the empire, it appears that it continued to exist until the eleventh century. Its total ruin dates from Robert Guiscard, who, when called to the assistance of Gregory VII., left it a heap of ruins. Abandoned for many centuries, it became a receptacle for rubbish, which gradually raised the level of the soil. About 1547, Paul III. began to make excavations in the Forum. Then the place became a cattle-market, and the glorious name of Forum Romanum changed into that of Campo Vaccino.
"The Forum was surrounded by a portico of two stories, the lower of which was occupied by shops (tabernæ). In the beginning of the sixth century of Rome, two fires destroyed part of the edifices with which it had been embellished. This was an opportunity for isolating the Forum, and basilicas and temples were raised in succession along its sides, which in their turn were partly destroyed in the fire of Nero. Domitian rebuilt a part, and added the temple of Vespasian, and Antoninus that of Faustina."—A. Du Pays.
The excavations which were made in the Forum before 1871 are for the most