Foot-prints of Travel by Maturin Murray Ballou (buy e reader TXT) 📖

brilliant indeed as a night picture, mirrored in the clear surface of the beautiful bay.

We find ourselves asking, What is the real life of Italy to-day? The sceptre of Commerce has passed from her; Venice is no longer the abode of merchant princes; Genoa is but the shadow of what she once was. What causes a foreign population to circulate through its cities, constantly on the wing, scattering gold right and left among her needy population? It is the rich, unique possession which she enjoys in her monuments of art, her museums, her libraries, her glorious picture-galleries, public and private, but all of which are freely thrown open to the traveller, and to all comers. The liberality of her nobles and merchant princes in the days of her great prosperity has left her now a resource which nothing can rob her of. Where could money purchase such attractions as crowd the museum of Naples? The marble groups and statues, mostly originals, number more than a thousand, including the Dying Gladiator, the famous group of Ganymede and the Eagle, and that of Bacchus and the Laocooen. Here also we have Psyche, Venus Callipyge,--this last dug up from Nero's golden home at Rome,--and hundreds of others of world-wide fame, and of which we have so many fine copies in America. Rome lies but a hundred and sixty miles north of Naples, and the "Eternal City" has largely contributed to the art treasures of the institution of which we are now speaking, and which secures to the city a floating population annually of several thousands.

One of the greatest attractions of Naples is the partially exhumed city of Pompeii, three leagues more or less away. The drive thither skirts the Mediterranean shore, with its beautiful villas, private residences, convents, and churches, while the destructive mountain is always close at hand. The place in its present aspect is simply that of the remains of an entire city, destroyed and buried by volcanic action nearly two thousand years ago. The movable objects found here from time to time, as the slow work of excavation has progressed, have been removed to the museum at Naples. Quite enough, however, is left upon the spot to form tangible history, and to help the antiquarian to read the story of Pompeii, which was a populous city four or five centuries before the coming of Christ, and which lay entirely buried for some seventeen hundred years. It is about a century since the first effort was made towards uncovering the dwelling-houses, streets, and public edifices, but the progress which has been made clearly proves that the inhabitants were suffocated by a shower of hot ashes, and not destroyed by a sudden avalanche of lava and stones. The dwelling of Diomedes, who was the Croesus of Pompeii, was the first house disentombed. Its owner was found with a key in one hand and a bag of gold in the other. Behind him was a slave with his arms full of silver vessels, evidently trying to escape from the coming devastation when they were suddenly overwhelmed, and must have been instantly suffocated.

In the house of Diomedes, glass windows, six or eight inches square, are found; showing that this article is not of such modern invention as had previously been supposed. The luxurious public baths are yet perfect; while the house where Cicero lived and wrote his speeches, besides a hundred other well-preserved historic objects, are pointed out by the guides. We are shown the Temple of Hercules, the theatres, the open courts, etc. The excavated portion represents about one-third of the whole city; but enough is clearly discovered to show that between thirty-five and forty thousand people here made their homes, and that the place contained all the fine public monuments and resorts that indicate a refined and luxurious community.

An excursion of ten miles along the coast to the eastward will take us to Baiae, where the luxurious Romans were wont to resort for their summer seasons. Here are still to be seen the remains of the villas where once dwelt Julius Caesar, Pompey, Marius, and such other notables as they would naturally draw about them. The eyes can be turned in no direction without our being charmed by a view of exceptional beauty, to say nothing of the unequalled historic interest that attaches to every square mile of territory and to the broad bay close at hand. Horace declared it to be the loveliest spot on earth, and Seneca warned every one who desired to maintain dominion over himself to avoid this fascinating watering-place. It is here that Virgil laid many of his poetic scenes.

A day's journey by railway takes us to Rome, the "Eternal City," which is built on both sides of the Tiber, three or four leagues from its influx to the Mediterranean. We know that this city must at one time have been nearly as populous as London is to-day, but the present number cannot much exceed four hundred thousand. The ruins of Rome--for it is a city of ruins, notwithstanding its many fine modern structures--can give but a faint idea of what the great capital was in the days of its glory. At the zenith of her fame the city was filled with grand squares, temples, amphitheatres, circuses, baths, and public and private palaces, scarcely more than the ruins of which now remain--eloquent, however, in their grim silence. In the days of the Caesars, fourteen grand aqueducts, supported by immense arches, hundreds of which still remain, conducted whole rivers into Rome from a distance of many leagues, supplying one hundred and fifty public fountains, with over a hundred public baths. In those marvellous days, over a hundred thousand marble and bronze statues ornamented the public squares, streets, and fountains, together with ninety colossal statues on lofty pedestals, and over forty Egyptian obelisks were in place. What an enumeration! Yet it falls far short of the facts as illustrated in the text of history and proven by the tangible evidence of numberless ruins.

The Piazza, del Popolo is a famous square in Roman history, in the centre of which is one of those curious obelisks transported from Egypt eighteen centuries ago, where it stood before the Temple of the Sun, at Heliopolis, thousands of years since. On one side of the square there are twin churches, far enough apart to permit the Corso, or Broadway of Rome, to enter the square between them. The Corso has an average width of fifty feet, and is a mile long. It is on this central street that the horse-races take place during the Carnival; and it is here that the finest shops, cafes, and palaces are to be found.

The Piazza di Spagna is another interesting square, about a quarter of a mile from that just described. It covers five or six acres of land, and has a curious old fountain in its centre. From one side of the square a grand, broad flight of stone steps leads up to the elevated ground where stands the church of Trinita de Monti. Lingering on and about these steps the artists' models are seen at all hours of the day, both sexes and all ages being represented among them. Old men of seventy years, with noble heads and flowing snowy beards, bent forms and tattered garments, sit patiently awaiting a demand upon them. Perhaps they could afford better clothing; but they have an eye for artistic effect, and a true sense of the fitness of things. The children, waiting here for the same purpose, captivate our attention by their large black eyes and gypsy complexions. How graceful and kitten-like they are, in their lazy, lolling motions! The young girls are such as are not seen out of Italy, with large, beautifully expressive eyes, gypsy complexions touched with the rose color of health, and forms which would establish a sculptor's reputation could he reproduce them. All of these persons are here for a legitimate purpose; that is, to sit as models, for a given sum per hour, and to this object they honestly adhere.

The favorite promenade of the Romans of to-day is the Pincio ("the hill of gardens"), situated near and overlooking the Piazza del Popolo. It probably derives its name from the Pincii family, whose estate it belonged to in the period of the Empire. Hereabouts, of old, were the celebrated gardens of Lucullus; and here Messalina, wife of Claudius, indulged in revelries. Two afternoons of each week, as well as on all holidays, the king's military band gives a public concert in the Pincio gardens. The walks are kept in scrupulous neatness and order, shaded by groups of trees, and adorned by beautiful beds of flowers. At prominent points, fine marble statues of ancient Romans are conspicuously placed. The paths and drives about these gardens present a gay picture at the closing hours of each day, being the assembling-point of the social life of modern Rome.

The Vatican, which is the Pope's palace, is one of the first and most remarkable attractions for the traveller. We say the palace, but it is actually a succession of palaces. This elegant stone structure, close to the Cathedral of St. Peter's, is three stories in height, and contains a vast number of saloons, galleries, chapels, and corridors, embracing a comprehensive library and a remarkable museum, the whole surrounded by spacious and elegantly kept gardens. Twenty courts, eight grand staircases, and two hundred ordinary ones, are all contained within its walls. It is connected by a covered gallery with the castle of St. Angelo, a quarter of a mile away, and with St. Peter's, which it nearly adjoins. Probably no other building, or series of buildings, in the world contains so much wealth of art and riches generally as does the Vatican at Rome. Its treasures in gold, silver, precious stones, books, priceless manuscripts, and relics, are almost beyond enumeration. All the world--ancient and modern, savage and Christian--has contributed to swell this remarkable accumulation. The two most celebrated paintings, and esteemed to be the two most valuable in existence, are to be seen here; namely, "The Transfiguration," by Raphael, and "The Communion of St. Jerome," by Domenichino. So incomparable are these works of art that no critic of note has ventured to say which deserves to be named first; but all agree that they are the two greatest paintings, as to real merit, in the world. They are colossal in size, and have both made the journey to Paris. Napoleon I. had them both transferred to the Louvre; but they are back again, forming the great attraction of the Vatican. The "Last Judgment," by Michael Angelo, covers one whole side of the Sistine Chapel, one of the very best of this great master's works, requiring hours of study to enable one to form a just conception of its design and merits. Raphael has a series of fifty other paintings within the walls of the Pope's palace.

The most notable ruin in this ancient city is the Coliseum, the largest amphitheatre, and still one of the most imposing structures, in the world; broken in every part, but still showing, by what remains of its massive walls, what it must once have been. History tells us, that, upon its completion, it was inaugurated by gladiatorial combats continued for one hundred days; during which time five thousand wild beasts were killed in contests with Christian slaves, who acted as gladiators. The Coliseum was begun by Vespasian, on his return from his war with the Jews, but was dedicated by his son Titus, and completed by Domitian over eighteen hundred years ago. Ten thousand captives are said to have been slain at the time of its dedication, and it was designed to accommodate one hundred thousand spectators. The present circumference of the structure is about one-third of a mile. From the arena rise the tiers