the way to the Forum, in which by common tradition St. Peter was confined A.D. 62. The pillar to which he is said to have been chained is still on view, and the well of water is shown which sprang up miraculously for use in the baptism of the converted gaoler and St. Peter’s forty-seven fellow prisoners. It is an appalling place even to-day when the light of heaven creeps down the stairs leading to its subterranean recesses. These were two cellars, one below the other, and access to them was only gained through a small aperture in the roof of the upper cellar, while a similar hole in the floor led down into the cell underneath; neither had any staircase. The upper prison was twenty-seven feet long by twenty wide, the lower, elliptical in shape, was twenty feet long by ten feet wide; the height of the former was fourteen feet and of the latter seven feet. They were used originally as state prisons and lodged only persons of distinction, Jugurtha being among the number. We read in Sallust: “In the prison called Tullian when you have gone a little way down, a place on the left is found sunk twenty feet; it is surrounded by walls on all sides, and above is a room vaulted with stone, but from uncleanliness, darkness and a foul smell the appearance of it is disgusting and terrific.” Livy tells us that this prison was built by Ancus Martius, and like the Cloacae, of large uncemented stones; it was also called “Robur” and seems to be identical with the carcer lautumiarum or the “prison of the stone quarries,” suggesting that after the excavation the empty space was utilised for the construction of a prison. The quarries at Syracuse were used for the same purpose. The Mamertine prison was constantly used for the confinement of the early Christian martyrs. A chapel was eventually built above it, consecrated to St. Peter.
The site occupied by the castle of St. Angelo is identical with that of the tomb, mausoleum or mole erected by the Emperor Hadrian, A.D. 135, for himself and his family. Powerful rulers from the earliest ages have been greatly concerned to raise fitting receptacles for their ashes. The famous pyramids of Egypt are perhaps the most striking illustration of this vanity, and the influence was felt in other countries, especially in Rome. Many fine monuments survive, some in still recognisable ruins, some in ever green memory, perpetuating this desire. We may instance the tomb of Caius Cestius—the only specimen of a pyramid existing in Rome—which still stands near the Porta San Paolo, partly within the walls, partly without, for the Emperor Aurelian ran his wall exactly across it. It is 125 feet high, built of brick cased in white marble, now become black with age; and its chief modern interest is that the English cemetery is close at hand, the last resting place of the poets Shelley and Keats. The Cestian family was distinguished, but nothing very positive is known of this Caius except that he held office as praetor of the people in the seventh century B.C.
Another tomb is that of Bibulus, who was also a tribune. It is still extant and to be found at the foot of the Capitoline Bridge. The tomb of Cecilia Metella is a very beautiful and well preserved monument of circular form, standing on the Appian Way near the Circus of Caracalla; she was a daughter of the Q. C. Metellus who conquered Crete, and was probably wife to Crassus who fell in the Parthian war. The most notable of all was the mausoleum of Augustus, once a magnificent structure, a small portion of which still remains, much built in, and hidden away in the Via Rippeta. It was originally of circular form crowned with a dome and surmounted with a statue of Augustus. Strabo records that “it was particularly worth noticing, built upon immense foundations of white marble and covered with evergreens.” It is probable that the Emperor Hadrian desired to imitate and rival Augustus in the erection of the mausoleum to himself. He was inspired also, it is believed, by his admiration of the magnificent monument erected by Artemisia to her brother and husband Mausolus, who originated the word mausoleum, and was king of Caria 377 B.C. This splendid tomb erected at Halicarnassus was the outcome of her inconsolable grief and ardent affection, which was further displayed by her drinking his ashes dissolved in fluid. This famous monument was counted one of the seven wonders of the world. The statue of Mausolus may be seen to-day among the art treasures preserved in the British Museum.
Hadrian’s work was undertaken A.D. 135 but he did not live to complete it, and it was finished by his successor, Antoninus Pius. The first detailed description of the mausoleum is to be found in the history of the Gothic wars written by Procopius in the sixth century. “Beyond the Aurelian Gate,” he says, “a stone’s throw from the walls is the tomb of Hadrian, a wonderful and remarkable work, built of large blocks of Parian marble, superposed and closely fitted together without cement or clamps to bind them. The four sides are equal, each about a stone’s throw in length, and the height is greater than the walls of the city. On the summit are admirable statues of men and horses of the same material, and as this tomb formed a defence to the city thrown out beyond the walls, it was joined to them by the ancients (the Roman emperors) by two arms built out to it, so that it seemed to rise out of them like a lofty turret.”
To this brief description John of Antioch, the author of a book of antiquities in the eighth century, adds the fact that the mausoleum was surmounted by a statue of Hadrian in a car drawn by four horses and so large that a full grown man might pass through one of the horses’ eyes. And yet he says, that in consequence of the great height of the mausoleum, the horses as well as the statue of Hadrian, seen from below, have the effect of being quite small. This would seem to indicate that the horses were hollow, and if so, they must have been cast in bronze and not made of marble as stated by Procopius, and as were those on the tomb of Mausolus.
Hadrian’s mausoleum was constructed of brickwork and square blocks of peperino-stone laid with such care and exactness that lightning, battles and earthquakes have failed to shake it from its perfect solidity. Inside and outside it was faced with courses of Parian marble. The basement was a square of about 340 feet each way and about 75 feet high. Above this rose a circular tower of some 235 feet in diameter and 140 in height, divided into two or three stories and ornamented with columns. Between these columns were statues executed by the ablest artists of the period; and as Hadrian was devoted to the fine arts and especially to that of sculpture, there can be little doubt that the statues and bas-reliefs which adorned this splendid structure were among the noblest works in Rome. Above the circular tower was a dome or a curvilinear roof which must have risen to the height of some 300 feet. This was probably crowned by the colossal group, above mentioned, representing Hadrian in a chariot drawn by four horses, after the plan of the tomb of Mausolus, its Grecian prototype. Rich friezes girdled it around, some storied with figures, some architectural with heads of oxen and festoons of flowers. On each of the four sides of the square basement was a massive door of gilt bronze and at each of these doors were four horses also of gilt bronze. Between the doors on the basement were large tablets, on which were inscribed the names and titles of the emperors who were buried within it.
The walls were of immense thickness; not filled up in the centre with rubbish, but throughout of the most solid workmanship, as may be seen by a breach made for temporary purposes long after it was built. In the centre were two chambers in the shape of a Greek cross, one above the other, each cased in rich Paconazetto marble and illuminated by two openings which pierced the thickness of the giant walls. Here the ashes of the emperors were deposited, the post assigned to the porphyry sarcophagus of Hadrian being under the large arch on the southern side. Some of the art treasures bestowed upon the mausoleum by its founder are still to be traced. The colossal busts of Hadrian now in the Vatican are supposed to have come from it, and the porphyry basin which forms the baptismal font at St. Peter’s. None of the many other admirable sculptures are in existence with the exception of the Barberini Faun in the museum of Munich.
A word or two about Hadrian and his immediate successors who found sepulture in his mausoleum. The emperor himself was not the first to be laid to rest in his gorgeous tomb. He was preceded by Ælius Verus, whose original name had been L. Ceionius Commodus, and whom he had adopted as son and heir, a gay and voluptuous nobleman whose uncommon good looks recommended him to the Emperor Hadrian, but who was sickly and in failing health. Ælius Verus at his death left an only son Lucius, who later was adopted by Antoninus Pius, and later still shared the imperial purple with the famous philosopher-emperor, Marcus Aurelius.
Hadrian was a man of brilliant parts, a far-seeing and astute statesman, a good soldier, who yet preferred peace to war. He was of restless disposition and a confirmed wanderer, ever on the move through his wide empire, the greater part of which he perambulated, literally, on foot. He visited Britain, and the great wall between the Solway Firth and the Tyne