The wonders of the world

by John Loraine Abbott

THE ARCH OF SEVERUS.

The arch of Septimius Severus stands in the Forum, on the eastern front of the Capitol. The soil and rubbish there accumulated was fifteen feet deep, but the ground was excavated under Napoleon, and the whole of this fine monument was thus brought into view. It was erected A. D. 205, by the senate and people of Rome, in honor of the emperor and his sons, on account of their conquests of the Parthians and Persians. This is recorded upon the monument, in an inscription which is still perfectly legible. The monument was constructed entirely of Grecian marble. There is a large and lofty middle arch, and there are two lateral arches. In one of the columns is a staircase of fifty steps, leading to the top, on which there was originally a car drawn by six horses, containing the figures of the emperor and of his two sons, Geta and Caracalla. Geta was murdered by his brother, and the inscription which alluded to both was mutilated by Caracalla, so as to leave out the name of Geta; this obliteration is obvious on inspection. There are on the panels many figures in high relief, representing deeds of war, in which the Romans so much delighted.

THE ARCH OF TITUS.

This, which is one of the most beautiful of the Roman arches, and a view of which is given in the cut on the next page, was erected to commemorate the conquest of Jerusalem by Titus. It stands at the eastern end of the Forum, and the via sacra passes beneath it. It is built of Grecian marble, and has only a single arch, with fluted columns on each side. On the side toward the Forum there is a mutilated figure of Victory standing over the arch. The side toward the Coliseum is the most perfect; and nearly all the cornice and the antæ are preserved. This arch has a peculiar interest attached to it, because it illustrates Scripture history. On one of the bass-reliefs, inside of the arch, a procession are bearing the spoils of the temple—the golden candlestick and the silver trumpets—the only authentic representations of those sacred objects, and perfectly corresponding with the description given by Josephus. The seven-branched candlestick itself was lost in the Tiber, and now reposes amidst its yellow sands.

THE ARCH OF TITUS.

THE CAPITOL.

The modern Capitol is erected on the foundation of the ancient. The huge blocks of peperino stone which underlie the present Capitol rise from the area of the Forum, far below; and it is quite obvious that the modern structure is superimposed. The Capitol hill is the highest ground in old Rome; and the summit of its tower is, as already observed, higher than any other building in Rome east of the Tiber. We ascend to the present Capitol from the west, by a series of marble steps. On the right and left, at the top of the stairs, are antique equestrian and colossal statues of Castor and Pollux, mounted upon high pedestals. In the middle of the area, in front of the Capitol, is the colossal equestrian statue believed to be that of Marcus Aurelius. It is in bronze, and is a most noble specimen of ancient art. The emperor is truly imperial, and the horse is admirable; it can not be exceeded in symmetry and grandeur. This statue, had it not been mistaken for a statue of Constantine, would have shared the fate of other productions of pagan art. It was originally gilded, and the gold is still visible upon it here and there. The head and neck of the horse are copied by modern sculptors, as being the best specimens of the form of this part of the noble animal in existence.

THE MUSEUM OF THE CAPITOL.

This museum is situated in two wings, on the right and left of the Capitoline hill. They do not form a part of the same structure. It is exceedingly instructive, as the statues are very numerous; and we can not doubt that they exhibit faithfully the persons of the ancient Romans, with their features and costumes. Many of the most distinguished Roman emperors, poets, historians, and orators, are represented in marble or bronze; Trajan, Caligula, Hadrian, Nero, Nerva, Julius Cæsar and his murderer Brutus, Cicero, Virgil, Caracalla, and a multitude more. Some of the statues are colossal. There are several parts of an immense statue of Nero, which was designed to be one hundred and fifty feet high, and to rival in altitude the Coliseum itself. In crime and infamy, he was indeed a colossus. His countenance has a groveling, animal expression, very strongly marked in a bust contained in a private museum, where, as if to correspond with the blackness of his character, he is sculptured in basalt, or black marble.