[7] The remainder of the frieze is erected in the gallery above the Courts.
We walk through this court until we reach the Nave; then turning to the left, find ourselves facing
THE ROMAN COURT[8]
On approaching this Court, the visitor will at once notice a new architectural element—as useful as it is beautiful—namely, the Arch, a feature that has been found susceptible of the greatest variety of treatment. Until within the last few years the credit of the first use of the arch as an architectural principle has been given to the Greek architect under Roman rule, but discoveries in Egypt, and more recently in Assyria by Mr. Layard and M. Botta, have shown that constructed and ornamented arches were frequently employed in architecture many hundred years before the Christian era. It is to be observed that architecture and sculpture had no original growth at Rome, and were not indigenous to the soil. Roman structures were modifications from the Greek, adapted to suit the requirements and tastes of the people; and thus it happened that the simple severity, purity, and ideality of early Greek art degenerated, under the Roman empire, into the wanton luxuriousness that characterised its latest period. In comparing the Greek and Roman statues, we remark a grandeur of conception, a delicacy of sentiment, a poetical refinement of thought in the former, indicative of the highest artistic development with which we are acquainted. When Greece became merely a Roman province, that high excellence was already on the decline, and the dispersion of her artists, on the final subjugation of the country by Mummius, the Roman general, B.C. 146, hastened the descent. A large number of Grecian artists settled at Rome, where the sentiment of servitude, and the love of their masters for display, produced works which by degrees fell further and further from their glorious models, until richness of material, manual cunning, and a more than feminine weakness characterised their principal productions; and the sculptor’s art became degraded into a trade, in which all feeling for the ancient Greek excellence was for ever lost. Thus, in the transplanted art of Greece, serving its Roman masters, a material and sensual feeling more or less prevails, appealing to the passions rather than to the intellects and high imaginations of men. The cumbrous dresses and armour which mark the properly Roman style, hide the graceful and powerful forms of nature under the symbols of station and office, creating a species of political sculpture. It is very curious and instructive to notice at a glance the high intellectual expression of the great men of Greece whose busts adorn the Greek Court, and to contrast their noble countenances with the material and sensual aspect of their conquerors, the Romans, who range peacefully close by: much of the past can be gleaned from such a comparison.
[8] See “Handbook to the Roman Court,” by George Scharf, jun.
Plan of the Roman Court.
In the wall now before us we have a model of a portion of the outer wall of the Coliseum at Rome, pierced with arches and ornamented with Tuscan columns. The Coliseum is one of the most wonderful structures in the world, and the Pyramids of Egypt alone can be compared with it in point of size. It is elliptical in form, and consisted outwardly of four stories. In the centre of the interior was the arena or scene of action, around which the seats for spectators rose, tier above tier. The enormous range was capable of seating 87,000 persons. Vespasian and Titus erected this amphitheatre, and the work commenced about A.D. 79. In this vast and splendidly decorated building, the ancient Romans assembled to witness chariot-races, naval engagements, combats of wild animals, and other exciting sports. A very beautiful and highly finished model of the Coliseum restored will be found in the Court, which it will be interesting to compare with the present state of the ruin as seen in the model of the Roman Forum close by. A model also of the Pantheon will be found here. These were all executed at Rome under the superintendence of the late Dr. Emil Braun.
Entering the Roman Court through the central archway, we come into an apartment whose walls are coloured in imitation of the porphyry, malachite, and rare marbles with which the Roman people loved to adorn their houses. This style of decoration appears to have been introduced a little before the Christian era; and so lavish were the Romans in supplying ornament for their homes, that the Emperor Augustus, dreading the result of the extravagance, endeavoured by his personal moderation to put a stop to the reckless expenditure: although it is recorded that the lofty exemplar was set up for imitation in vain.