| Crispina. Bust in the British Museum From a photograph by W. A. Mansell & Co. | [Frontispiece] | |
| FACING PAGE | ||
| Livia as Ceres. Statue in the Louvre | [20] | |
| Julia. Bust in the Museum Chiaramonti | [28] | |
| Agrippina the Elder. Bust in the Museum Chiaramonti | [46] | |
| Messalina. Bust in the Uffizi Palace, Florence | [70] | |
| Agrippina the Younger. Bust in Museo Nazionale, Florence | [82] | |
| Octavia. Porphyry Bust in the Louvre | [112] | |
| Poppæa. Bust in the Capitoline Museum, Rome From a photograph by Anderson. | [118] | |
| Domitia. Bust in the Uffizi Gallery, Florence | [130] | |
| Plotina. Statue in the Louvre From a photograph by W. A. Mansell & Co. | [142] | |
| Sabina. Bust in the British Museum From a photograph by W. A. Mansell & Co. | [154] | |
| Faustina the Elder. Bust in the Louvre From a photograph by A. Giraudon. | [164] | |
| Faustina the Younger. Bust (reputed) in the British Museum From a photograph by W. A. Mansell & Co. | [172] | |
| Lucilla. Bust in the National Museum, Rome From a photograph by Anderson. | [184] | |
| Julia Domna. Bust in the Vatican Museum From a photograph by Anderson. | [202] | |
| Julia Mæsa. Bust in the Capitoline Museum, Rome From a photograph by Anderson. | [214] | |
| Julia Mamæa. Bust in the British Museum From a photograph by W. A. Mansell & Co. | [226] | |
| Marcia Otacilia Severa From a photograph by W. A. Mansell & Co. | [236] | |
| Zenobia Enlarged from coin in the Berlin Museum. | [248] | |
| Salonina and Valeria Enlarged from coins in the British Museum. | [262] | |
| Fausta and Flavia Helena Enlarged from coins in the British Museum. | [280] | |
| Ælia Flaccilla and Honoria Enlarged from coins in the British Museum. | [316] | |
| Eudoxia and Pulcheria Enlarged from coins in the British Museum. | [330] | |
| Placidia and Euphemia Enlarged from coins in the British Museum. | [342] | |
THE EMPRESSES OF ROME
INTRODUCTION
The story of Imperial Rome has been told frequently and impressively in our literature, and few chapters in the long chronicle of man’s deeds and failures have a more dramatic quality. Seven centuries before our era opens, when the greater part of Europe is still hidden under virgin forests or repellent swamps, and the decaying civilizations of the East cast, as they die, their seed upon the soil of Greece, we see, in the grey mist of the legendary period, a meagre people settling on one of the seven hills by the Tiber. As it grows its enemies are driven back, and it spreads confidently over the neighbouring hills and down the connecting valleys. It gradually extends its rule over other Italian peoples, bracing its arm and improving its art in the long struggle. It grows conscious of its larger power, and sends its legions eastward, over the blue sea, to gather the wealth and culture of Egypt, Assyria, Persia, and Greece; and westward and northward, over the white Alps, to sow the seed in Germany, Gaul, Britain, and Spain. A hundred years before the opening of the present era the tiny settlement on the Palatine has become the mistress of the world. Its eagles cross the waters of the Danube and the Rhine, and glitter in the sun of Asia and Africa. But, with the wealth of the dying East, it has inherited the germs of a deadly malady. Rome, the heart of the giant frame, loses its vigour. The strong bronze limbs look pale and thin; the clear cold brain is overcast with the fumes of wine and heated with the thrills of sense; and Rome passes, decrepit and dishonoured, from the stage on which it has played so useful and fateful a part.
The fresh aspect of this familiar story which I propose to consider is the study of the women who moulded or marred the succeeding Emperors in their failure to arrest, if not their guilt in accelerating, the progress of Rome’s disease. Woman had her part in the making, as well as the unmaking, of Rome. In the earlier days, when her work was confined within the walls of the home, no consul ever guided the momentous fortune of Rome, no soldier ever bore its eagles to the bounds of the world, but some woman had taught his lips to frame the syllables of his national creed. However, long before the commencement of our era, the thought and the power of the Roman woman went out into the larger world of public life; and when the Empire is founded, when the control of the State’s mighty resources is entrusted to the hands of a single ruler, the wife of the monarch may share his power, and assuredly shares his interest for us. Even as mere women of Rome, as single figures and types rising to the luminous height of the throne out of the dark and indistinguishable crowd, they deserve to be passed in review.
Some such review we have, no doubt, in the two great works which spread the panorama of Imperial Rome before the eyes of English readers. In the graceful and restrained chapters of Merivale we find the earlier Empresses delineated with no less charm than learning. In the more genial and voluptuous narrative of Gibbon we may, at intervals, follow the fortunes and appreciate the character of the later Empresses. But, no matter how nice a skill in grouping the historian may have, his stage is too crowded either for us to pick out the single character with proper distinctness, or for him to appraise it with entire accuracy. The fleeting glimpses of the Empresses which we catch, as the splendid panorama passes before us, must be blended in a fuller and steadier picture. The tramp and shock of armies, the wiles of statesmen, the social revolutions, which absorb the historian, must fall into the background, that the single figure may be seen in full contour. When this is done it will be found that there are many judgments on the Empresses, both in Merivale and Gibbon, which the biographer will venture to question.
For the study of the earlier Empresses the English reader will find much aid in Mr. Baring-Gould’s “Tragedy of the Cæsars” (1892). Here again, however, though the Empresses are drawn with discriminating freshness and full knowledge, they are constantly merging in the great crowd of characters. The aim of the present work is to place them in the full foreground, and to continue the survey far beyond the limits of Mr. Baring-Gould’s work. It differs also in this latter respect from Stahr’s brilliant “Kaiser-Frauen,” which is, in fact, now almost unobtainable; and especially from V. Silvagni’s recent work, of unhappy title, “L’Impero e le Donne dei Cesari,” which merely includes slight and familiar sketches of four Empresses in a general study of the period.
The work differs in quite another way from the learned and entertaining book of the old French writer Roergas de Serviez, of which an early English translation has recently been republished under the title “The Roman Empresses, or the History of the Lives and Secret Intrigues of the Wives of the Twelve Cæsars”—an improper title, because the work is far from confined to the wives of the Cæsars. The work is an industrious compilation of original references to the Empresses, interwoven with considerable art, so as to construct harmonious pictures, and adorned with much charm and piquancy of phrase, if some hollowness of sentiment. But it is so intent upon entertaining us that it frequently sacrifices accuracy to that admirable aim. Serviez has not invented any substantial episode, but he has encircled the facts with the most charming imaginative haloes, and where the authorities differ, as they frequently do, he has not hesitated to grant his verdict to the writer who most picturesquely impeaches the virtue of one of his Empresses. Roergas de Serviez was a gentleman of Languedoc in the days of the “grand monarque.” His Empresses and princesses reflect too faithfully the frail character of the ladies at the Court of Louis XIV. For him the most reliable writer is the one who betrays least inclination to seek virtue in courtly ladies.
It need hardly be said that the present writer is indebted to these authors, to the learned Tillemont, and to others who will be named in the course of the work. But this study is based on a careful examination of all the references to the Empresses in the Latin and Greek authorities, with such further aid as is afforded by coins, statues, inscriptions, and the incidental research of commentators. We shall consider, as we proceed, the varying authority of these writers. We shall find in them defects which impose a heavy responsibility on the writer whose aim it is to restore those faded and delicate portraits of the Empresses, over which later artists have spread their sharper and more crudely coloured figures. One may, however, say at once that it is not contemplated to urge any very revolutionary change in the current estimate of the character of most of them. If a few romantic adventures must be honestly discarded, we shall find Messalina still flaunting her vices in the palace, Agrippina still pursuing her more masculine ambition, Poppæa still representing the gaily-decked puppet of that luxurious world, and Zenobia, in glittering helmet, still giving resonant commands to her troops.