GOLDEN AGE OF THE FINE ARTS IN ANCIENT ROME.
"The reign of Augustus was the golden age of science and the fine arts. Grecian architecture at that period was so encouraged at Rome, that Augustus could with reason boast of having left a city of marble where he had found one of brick. In the time of the Cæsars, fourteen magnificent aqueducts, supported by immense arches, conducted whole rivers to Rome, from a distance of many miles, and supplied 150 public fountains, 118 large public baths, besides the water necessary for those artificial seas in which naval combats were represented: 100,000 statues ornamented the public squares, the temples, the streets, and the houses; 90 colossal statues raised on pedestals; 48 obelisks of Egyptian granite, besides, adorned various parts of the city; nor was this stupendous magnificence confined to Rome, or even to Italy. All the provinces of the vast empire were embellished by Augustus and his successors, by the opulent nobles, by the tributary kings and the allies, with temples, circuses, theatres, palaces, aqueducts, amphitheatres, bridges, baths, and new cities. We have, unfortunately, but scanty memorials of the architects of those times; and, amidst the abundance of magnificent edifices, we search in vain for the names of those who erected them. However much the age of Augustus may be exalted, we cannot think it superior, or even equal to that of Alexander: the Romans were late in becoming acquainted with the arts; they cultivated them more from pride and ostentation than from feeling. Expensive collections were frequently made, without the possessors understanding their value; they knew only that such things were in reputation, and, to render themselves of consequence, purchased on the opinion of others. Of this, the Roman history gives frequent proofs. Domitian squandered seven millions in gilding the temple of Jupiter Capitolinus only, bringing from Athens a number of columns of Pentelic marble, extremely beautiful, and of good proportion, but which were recut and repolished, and thus deprived of their symmetry and grace. If the Romans did possess any taste for the fine arts, they left the exercise of it to the conquered—to Greece, who had no longer her Solon, Lycurgus, Themistocles, and Epaminondas, but was unarmed, depressed, and had become the slave of Rome. 'Græcia capta ferum victorem cepit.' How poor are such triumphs to those gained by the fine arts! The means by which Greece acquired and maintained such excellence, is worthy of an inquiry. It is generally allowed that climate and government have a powerful influence on the intellect. Greece was peculiarly favored in these two points; her atmosphere was serene and temperate, and being divided into a number of small, but independent states, a spirit of emulation was excited, which continually called forth some improvement in the liberal arts. The study of these formed a principal branch of education in the academies and schools, to which none but the free youth were admitted. To learning alone was the tribute of applause offered. At those solemn festivals to which all Greece resorted, whoever had the plurality of votes was crowned in the presence of the whole assembly, and his efforts afterwards rewarded with an immense sum of money; sometimes a million of crowns. Statues, with inscriptions, were also raised to those who had thus distinguished themselves, and their works, or whatever resembled them, for ever after bore their names; distinctions far more flattering than any pecuniary reward. Meticus gave his to a square which he built at Athens, and the appellation of Agaptos was applied to the porticos of the stadium. Zeuxis, when he painted Helen, collected a number of beautiful women, as studies for his subject: when completed, the Agrigentines, who had ordered it, were so delighted with this performance, that they requested him to accept of five of the ladies. Thebes, and other cities, fined those that presented a bad work, and looked on them ever afterwards with derision. The applause bestowed on the best efforts, was repeated by the orators, the poets, the philosophers, and historians; the Cow of Miron, the Venus of Apelles, and the Cupid of Praxiteles, have exercised every pen. By these means Greece brought the fine arts to perfection; by neglecting them, Rome failed to equal her; and, by pursuing the same course, every country may become as refined as Greece."—Milizia.
NERO'S GOLDEN PALACE.
According to Tacitus, Nero's famous golden palace was one of the most magnificent edifices ever built, and far surpassed all that was stupendous and beautiful in Italy. It was erected on the site of the great conflagration at Rome, which was attributed by many to the wickedness of the tyrant. His statue, 120 feet high, stood in the midst of a court, ornamented with porticos of three files of lofty columns, each full a mile long; the gardens were of vast extent, with vineyards, meadows, and woods, filled with every sort of domestic and wild animals; a pond was converted into a sea, surrounded by a sufficient number of edifices to form a city; pearls, gems, and the most precious materials were used everywhere, and especially gold, the profusion of which, within and without, and ever on the roofs, caused it to be called the Golden House; the essences and costly perfumes continually shed around, showed the extreme extravagance of the inhuman monster who seized on the wealth of the people to gratify his own desires. Among other curiosities was a dining-room, in which was represented the firmament, constantly revolving, imitative of the motion of the heavenly bodies; from it was showered down every sort of odoriferous waters. This great palace was completed by Otho, but did not long remain entire, as Vespasian restored to the people the lands of which Nero had unjustly deprived them, and erected in its place the mighty Colosseum, and the magnificent Temple of Peace.
NAMES OF ANCIENT ARCHITECTS DESIGNATED BY REPTILES.
According to Pliny, Saurus and Batrarchus, two Lacedemonian architects, erected conjointly at their own expense, certain temples at Rome, which were afterwards enclosed by Octavius. Not being allowed to inscribe their names, they carved on the pedestals of the columns a lizard and a frog, which indicated them—Saurus signifying a lizard, and Batrarchus a frog. Milizia says that in the church of S. Lorenzo there are two antique Ionic capitals with a lizard and a frog carved in the eyes of the volutes, which are probably those alluded to by Pliny, although the latter says pedestal. Modern painters and engravers have frequently adopted similar devices as a rebus, or enigmatical representation of their names. See Spooner's Dictionary of Painters, Engravers, Sculptors, and Architects; Key to Monograms and Ciphers, and the twenty-four plates.