How cold it is here! I was forced to run home to-night, nearly at full speed, from the Café delle Belle Arti through the Corso and the Piazza Colonna, to keep warm. The clear, frosty moon threw the shadow of the column of Antoninus over me as I passed, and it made me shiver to look at the thin, falling sheet of the fountain. Winter is winter everywhere, and even the sun of Italy cannot always scorch his icy wings.
Two days ago we took a ramble outside the walls. Passing the Coliseum and Caracalla's Baths, we reached the tomb of Scipio, a small sepulchral vault, near the roadside. The ashes of the warrior were scattered to the winds long ago, and his mausoleum is fast falling to decay. The old arch over the Appian way is still standing, near the modern Porta San Sebastiano through which we entered on the far-famed road. Here and there it is quite entire, and we walked over the stones once worn by the feet of Virgil and Horace and Cicero. After passing the temple of Romulus—a shapeless and ivy-grown ruin—and walking a mile or more beyond the walls, we reached the Circus of Caracalla, whose long and shattered walls fill the hollow of one of the little dells of the Campagna. The original structure must have been of great size and splendor, but those twin Vandals—Time and Avarice—have stripped away everything but the lofty brick masses, whose nakedness the pitying ivy strives to cover.
Further, on a gentle slope, is the tomb of "the wealthiest Roman's wife," familiar to every one through Childe Harold's musings. It is a round, massive tower, faced with large blocks of marble, and still bearing the name of Cecilia Metella. One side is much ruined, and the top is overgrown with grass and wild bushes. The wall is about thirty feet thick, so that but a small round space is left in the interior, which is open to the rain and filled will rubbish. The echoes pronounced hollowly after us the name of the dead for whom it was built, but they could tell us nothing of her life's history—
"How lived, how loved, how died she?"
I made a hurried drawing of it, and we then turned to the left, across the Campagna, to seek the grotto of Egeria. Before us, across the brown plain, extended the Sabine Mountains; in the clear air the houses of Tivoli, twenty miles distant, were plainly visible. The giant aqueduct stretched in a long line across the Campagna to the mountain of Albano, its broken and disjointed arches resembling the vertebræ of some mighty monster. With the ruins of temples and tombs strewing the plain for miles around it, it might be called the spine to the skeleton of Rome.
We passed many ruins, made beautiful by the clinging ivy, and reached a solemn grove of ever-green oak, overlooking a secluded valley. I was soon in the meadow, leaping ditches, rustling through cane-brakes, and climbing up to mossy arches to find out the fountain of Numa's nymph; while my companion, who had less taste for the romantic, looked on complacently from the leeward side of the hill. At length we found an arched vault in the hill-side, overhung with wild vines, and shaded in summer by umbrageous trees that grow on the soil above. At the further end a stream of water gushed out from beneath a broken statue, and an aperture in the wall revealed a dark cavern behind. This, then, was "Egeria's grot." The ground was trampled by the feet of cattle, and the taste of the water was anything but pleasant. But it was not for Numa and his nymph alone, that I sought it so ardently. The sunbeam of another mind lingers on the spot. See how it gilds the ruined and neglected fount!
"The mosses of thy fountain still are sprinkled
With thine Elysian water-drops; the face
Of thy cave-guarded spring, with years unwrinkled,
Reflects the meek-eyed genius of the place,
Whose wild, green margin, now no more erase
Art's works; no more its sparkling waters sleep,
Prisoned in marble; bubbling from the base
Of the cleft statue, with a gentle leap,
The rill runs o'er, and 'round, fern, flowers and ivy creep,
Fantastically tangled."
I tried to creep into the grotto, but it was unpleasantly dark, and no nymph appeared to chase away the shadow with her lustrous eyes. The whole hill is pierced by subterranean chambers and passages.
I spent another Sunday morning in St. Peter's. High mass was being celebrated in one of the side Chapels, and a great number of the priesthood were present. The music was simple, solemn, and very impressive, and a fine effect was produced by the combination of the full, sonorous voices of the priests, and the divine sweetness of that band of mutilated unfortunates, who sing here. They sang with a full, clear tone, sweet as the first lispings of a child, but it was painful to hear that melody, purchased at the expense of manhood.
Near the dome is a bronze statue of St. Peter, which seems to have a peculiar atmosphere of sanctity. People say their prayers before it by hundreds, and then kiss its toe, which is nearly worn away by the application of so many thousand lips. I saw a crowd struggle most irreverently to pay their devotion to it. There was a great deal of jostling and confusion; some went so far as to thrust the faces of others against the toe as they were about to kiss it. What is more remarkable, it is an antique statue of Jupiter, taken, I believe, from the Pantheon. An English artist, showing it to a friend, just arrived in Rome, remarked very wittily that it was the statue of Jew-Peter.