PORTA FLAMINIA.
(Porta del Popolo.)
Passing through the Porta del Popolo, built in 1561 by Vignola, a short walk under the walls, to the right, brings us to the Muro Torto, a piece of masonry of the time of Sylla, and held to be under the special protection of S. Peter (Procopius, "B. G." i. 13).
VILLA BORGHESE.
Closed on Mondays, Wednesdays, and Fridays.
Turning to the right, just outside the Porta del Popolo, is situated this the handsomest park in Rome, founded by Cardinal Scipio Borghese. The grounds are open to all visitors; they cover a wide extent, and their walks, meadows, and groves are superb and unique in their general attractions. As a promenade for horsemen, pedestrians, and carriages, it shares the honours with its neighbour the Pincio. After an airing on the latter, a turn through the Porta del Popolo into this splendid villa generally completes the evening drive of Romans and tourists. The clatter of hoofs in winter begins at 4 p.m., and in summer at 7 P.M. On Sundays a large crowd is collected within its limits from all quarters of the city, composed of all classes, from the minente and Albanian nurses bearing babies, to the duchesses gliding along in landaus. On those days it becomes the paradise of children, who flock thither with their guardians, and enjoy a rare frolic in gathering wild flowers, rolling on the grass, and breathing a far fresher air than the city affords. In the centre of the villa is the Museum. Open on Saturdays only, from 1 till 4 in the winter, and 4 till 7 in the summer. Catalogues are provided for visitors.
Grand Hall.—1. Diana; 5. Bust of Juno; 9. Augustus. Relief, Curtius leaping into the Gulf. Mosaics of gladiators.
Right Saloon of Juno.—Centre. Juno Pronuba. 3. Urania; 4. Ceres; 5. Venus Genitrix; 20. Relief, Birth of Telephus.
Hall of Hercules.—Centre. Fighting Amazon on Horseback. 21. Venus.
Room of Apollo.—Centre. Apollo. 3. Scipio Africanus; 4. Daphne turned into a Laurel; 13. Anacreon; 14. Lucilla.
Greek Gallery.—The twelve porphyry Cæsars are modern. Porphyry urn from Tomb of Hadrian. 32. Bronze statue of Geta.
Cabinet.—7. The Hermaphrodite; 11. Martius. Mosaics of fishing scenes. Centre. Alcæus.
Cabinet of Tyrtæus.—The Greek poet in the centre. 2. Minerva; 4. Apollo.
Room Nine.—Centre. Boy on a Dolphin. 4. Paris; 8. Ceres; 10. A Gipsy, modern; 20. Venus.
Room of the Faun.—In the centre. 2. Ceres; 8. Faun; 14. Periander; 6. Seneca.
Stairs from the great gallery lead to the second floor.
Room One.—David, Apollo and Daphne, Æneas and Anchises, all by Bernini.
Room Five.—Pauline Borghese, sister of the great Napoleon, as Venus Victrix, by Canova. Pictures—Story of Helen, by Gavin Hamilton.
Passing out of the villa, and proceeding along the ancient Via Flaminia, now Via Ponte Molle (which is traversed by a tramway), turning up the lane on the right, at the top we come to the
VILLA OF PAPA GIULIO.
On the left-hand side, at the corner of the lane, is the Casino, with sculptured cornices and a fountain. Beyond the Casino, and formerly connected with it by a corridor, is the villa where Pope Julius III. best loved to dwell, coming from the Vatican in his barge upon the Tiber. There remain two rooms with richly decorated ceilings by Zucchero, and a fine court with a fountain.
As the road is very dusty and uninteresting, we will take the lane, which conducts us, after a pleasant stroll, to the
ACQUA ACETOSA,
a mineral spring, enclosed in a fountain by Bernini, and surrounded by a small grove. The view of the Tiber here is very fine, particularly when the river has risen. On the opposite bank rises the picturesque ruin, Tor di Quinto, the tomb of Ovid's family. The hill to the right was the site of Antemnæ. (See [page 309].) Below, on the left,
THE PONTE MOLLE
bursts on our sight. It was built by Pius VII. in 1815, on the foundations of the Pons Milvius, "which the elder Scaurus is said to have built" (Marcellinus, xxvii. iii. 9), and near which Constantine defeated Maxentius, October 27th, 312, a victory so graphically depicted by Raphael on the Vatican walls. "Maxentius endeavouring to cross the bridge of boats constructed for the use of his army, a little below the Ponte Molle, was thrown by his frightened horse into the waters, and eaten up by the quicksands on account of the weight of his cuirass. Constantine had great difficulty in finding his corpse" (Aurelius Victor).
Crossing the bridge, the road Via Flaminia, to the right, leads us to Prima Porta, the Saxa Rubra of the ancient Romans, the first halting-place from Rome. On the right, above the Osteria, was situated the Veientina
VILLA OF LIVIA,
(custodian next door to the church), about four miles from the bridge, discovered in 1863. When first excavated, the frescoes and arabesques were found in a good state of preservation, but they have since been greatly damaged by atmospheric influences. Livia was the wife of Augustus, and mother of Tiberius.
"Formerly, when Livia, after her marriage with Augustus, was making a visit to her villa at Veii, an eagle flying by let drop in her lap a hen, with a sprig of laurel (bay) in its mouth, just as it had been seized. Livia gave orders to have the hen taken care of, and the sprig of laurel set; and the hen reared such a numerous brood of chickens, that the villa to this day is called The Villa of the Hens. The laurel grove flourished so much, that the Cæsars procured thence the boughs and crowns they bore at their triumphs. It was also their constant custom to plant others in the same spot, immediately after a triumph; and it was observed that, a little before the death of each prince, the tree which had been set by him died away. But in the last year of Nero, the whole plantation of laurels perished to the very roots, and the hens all died" (Suetonius, "Galba," i.).
Cavaliere Piacentini has discovered (1879), on his farm at Prima Porta, the remains of some baths, which probably were connected with Livia's Villa of the Hens. In the centre is a hemicycle, 29 feet in diameter, the mosaic of which represents circus races, the victor receiving the palm of victory for his horse Liber; and the three chariots racing, Romano, Ilarinus, and Olympio. Surrounding this hall are twelve others, with mosaic pavements of festoons and geometrical patterns in chiaro-oscuro. One pavement, 26 feet by 20 feet, represents the sea, in which are numerous fish; while upon the sea three-winged figures gambol with marine monsters. The boilers for hot water, furnaces for hot air, and pipes for cold water are in a capital state of preservation. Brick stamps show that the building was restored as late as the time of King Theodoric.
Near the bridge over the Fosso di Prima Porta has been found the circular tomb of Gellius, the freedman of the Emperor Tiberius.
The road straight on from the Ponte Molle, Via Cassia, leads to
VEII.
(Mr. Forbes's carriage excursion-lecture at frequent intervals.)
Turn off to the right beyond La Storta, at the tenth mile, for Carriages; pedestrians turn off at the fifth mile, near the Tomb of Vibius Marianus, Via Veientina. The site of Veii is surrounded by two streams, the Cremera and the Fosso de'due Fossi, and is about twelve miles from Rome. The place was captured after a ten years' siege by the Romans under Camillus, B.C. 393.
Descend from the village of Isola, by the side of the brook, to the mill; here the torrent forms a picturesque cascade, 80 feet high, crossed by the ancient Ponte dell' Isola, with a single arch spanning 22 feet. Here was one of the ancient gates, called Porta de' Sette Pagi. Opposite Isola, down the stream, is the Porta dell' Arce. Under the rock of Isola are some mineral springs, and another gate, Porta Campana. In the ravine beyond was the Porta Fidenate. The gates on the other side of the city may be traced by ascending the valley of the Cremera, Porta di Pietra Pertusa; beyond which, on the ancient road outside, is a large tumulus, La Vaccareccia. Porta Spezzeria is higher up, with the remains of a tufa bridge; near by are the remains of an Etruscan columbaria.[20] Beyond is Porta Capenate, under which is Ponte Sodo, a tunnel, 240 feet long, 15 feet broad, and 20 feet high, cut in tufa for the brook to pass through. Further on is Porta del Colombario, near a ruined columbaria. Beyond is the Ponte di Formello, a Roman bridge upon Etruscan piers; close by is the last gate, Porta Sutrina.
The so-called Piazza d'Armi, the ancient citadel, stands at the junction of the two streams.
Under Julius Cæsar, within the walls of the ancient city, an Imperial Municipium was founded. Part of a road, some traces of tombs, and a columbaria mark the site. It seems to have been founded to occupy the commanding situation, as Florus the historian, A.D. 116, asks, "Who now knows the site of Veii?" In the middle ages, for the same reason, the isolated rock was surmounted by a castle. Cæsar Borgia besieged it for twelve days, and destroyed it. Isola is considered to have been the necropolis of Veii, from the sepulchral caves and niches hollowed in the rock.
A pleasant ramble may be had by following the Cremera down to the Tiber, between the sixth and seventh mile on the Via Flaminia, thence to Rome.
Returning beyond La Storta, the Via Triumphalis leads over Monte Mario. On the height overlooking Rome is
MONTE MARIO.
This hill is supposed to take its name from the celebrated Marius, and the slope down to Rome was called the Clivus Cinnæ, from Cinna (Gruter, mlxxxi. 1). In 998, from the victory of Otto III. over the Romans, it was called Monte Malus, hence the bridge over the Tiber was called Ponte Male; by Evelyn, 1650, Mela; now Ponte Molle. The hill took its present name from the proprietor in 1409. It is now Government property, and a fort has been erected on the height. In making the fort the tomb of Minicia Marcella was found. Pliny, jr. (v. 16), speaks of the sweetness and early death of the daughter of Fundanus, consul 107. The inscription says she lived twelve years, eleven months, and seven days. From the height a most glorious panorama of the Tiber valley is enjoyed.
A path through the woods leads down to
THE VILLA MADAMA.
The villa was built by Giulio Romano, and it contains some of his frescoes, representing satyrs and loves, Juno and her peacocks, Jupiter and Ganymede, and other subjects of mythology. There is a fine fresco upon a ceiling, representing Phœbus driving his heavenly steeds, by Giovanni da Udine.
Passing out into the Via Triumphalis by the oak avenue, pausing a while at the top of the hill to admire "the vast and wondrous dome," and continuing our ramble, we descend the slopes of Monte Mario, the ancient Clivus Cinnæ.