Arches were public buildings,[182] designed for the reward and encouragement of noble enterprises, erected generally to the honour of such eminent persons as had either won a victory of extraordinary consequence abroad, or had rescued the commonwealth at home from considerable danger. At first, they were plain and rude structures, by no means remarkable for beauty or state. But in later times no expenses were thought too great for the rendering them in the highest degree splendid and magnificent; nothing being more usual than to have the greatest actions of the heroes they stood to honour curiously expressed, or the whole procession of the triumph cut out on the sides. The arches built by Romulus were only of brick; that of Camillus, of plain square stone; but those of Cæsar, Drusus, Titus, Trajan, Gordian, &c., were entirely of marble.
The most distinguished of these arches are those of Titus and Septimius Severus. That of Gallienus is a mere gateway, and that of Drusus seems part of an aqueduct; yet, coarse as they are, each has its Corinthian columns, and pediments on a portion of the fronts. That of Constantine was erected after the defeat of Maxentius, and was so contrived that the music for the triumph might be placed in it. When the procession reached the arch, the band began to play, and continued till the whole had passed through.
The arch of Titus is situate on the eastern declivity of the Palatine Mount. It is so rich, that some regard it not as elegant. The entablature, the imposts, the key-stones, are all crowded with sculpture; yet all, according to the taste of Mr. Forsyth, are meagre in profile. It was erected by the senate, in gratitude to Titus for having conquered Judea and taken Jerusalem. It is, therefore, one of the most interesting monuments of ancient Rome; and so sensibly do the Jews still feel the injury, done to their nation, that none of them can be tempted to pass under it.
The triumph is represented on each side of the arch in oblong spaces, seven feet in height, and nearly fourteen in length. The emperor appears in a triumphal car drawn by four horses,—Victory crowning him with a laurel. Rome is personified as a female. She conducts the horses; lictors, citizens, and soldiers, attending. On the opposite side is represented a procession, in which are carried, by persons crowned with laurel and bearing the Roman standards, various spoils taken at Jerusalem; such as the silver trumpets, the golden table, and the golden candlestick with seven branches.
The arch of Severus was erected in honour of the emperor Septimius, and his two sons Caracalla and Geta, on account of victories obtained over the Parthians. We know from history, says Dr. Burton, that he made two expeditions into the East; the first in 195, when he conquered Vologeses; the second in 199, when he took Ctesiphon, and the treasures of king Artabanus. Spartian tells us, that he triumphed after the first expedition; but refused the honour the second time, because he had the gout. His son triumphed in his stead; and it was upon this occasion that the arch was erected.
This triumphal arch consists of three; that is, a large one in the middle, and a smaller one on each side. These arches[183] are not in a very pure style of architecture; but they are rich and handsome objects. Four projecting columns adorn each face, and the entablature bricks around each of them. Above the columns are supposed to have been statues; while, on the top, as we learn from coins, was a car drawn by six horses abreast, containing two persons in it, and having on each side an attendant on horseback, followed by one on foot. The material of the arch is marble; and each front is covered, between the columns, with bas-reliefs. These bas-reliefs illustrate the campaigns and victories, in commemoration of which the arch was erected. But the whole series, says Dr. Burton, is in an indifferent style of sculpture, and presents but a poor idea of the state of the arts at that time. Mr. Wood, however, regards them, though bad in design as well as execution, as contributing to the magnificence of the edifice. Mr. Forsyth, however, is not given to indulge in respect to the architecture; for he says, that the composite starts so often and so “furiously” out, the poverty of its entablature meets you in so many points, as to leave no repose to the eye. Within the arch is a marble staircase, leading by fifty steps to the summit. The arch itself was half buried so late as the year 1803. Several excavations had been made; but the loose soil had slipped down, and quickly filled them up again. Pope Pius VII. was more successful in the attempt than his predecessors had been; and by the year 1804 the whole arch had been uncovered, and laid open down to the bottom.
The site of the temple of Romulus is now occupied by the church of San Teodoro, a small rotunda. The walls are of great antiquity, and marvellously perfect. In regard to the temple of Romulus and Remus, few buildings have occasioned more disputes. It is now the church of S.S. Cosimo e Damiano; the vestibule, several porphyry columns, and a bronze door of which are exceedingly ancient.
The temple of Vesta, erected by Numa, now forms part of the church of S. Maria del Sola. It is of Greek architecture, and surrounded by a portico of nineteen Corinthian columns, on a flight of steps, the whole of Parian marble. The roof was originally covered with bronze, brought from Syracuse; but that has, long since, been replaced by materials much less costly.
The temple of Minerva Medici stands in a garden on the Esquiline-hill; it is round without, but forms a decagon within, and appears to have had ten windows, and nine niches for statues. Here were found statues of Æsculapius, Venus, Hercules, the Faun, and that of Minerva with the serpent.
The church Sa. Maria in Cosmedin is supposed to have been the temple of Puditia Patricia, or Chastity, which no plebeian was allowed to enter. Pope Adrian I. rebuilt this edifice in 728, retaining the cella, and many portions of the ancient temple.