It was here that Romulus, in the gray dawning of Rome, built the temple of Jupiter Feretrius. Here the spolia opima were deposited. Here the triumphal processions of the Emperors and generals ended. Here the victors paused before making their vows, until the message came from the Mamertine Prisons below to announce that their noblest prisoner and victim, while the clang of their triumph and his defeat rose ringing in his ears as the procession ascended the steps, had expiated with death the crime of being the enemy of Rome. Over these very steps,—nineteen centuries ago, the first great Caesar climbed on his knees after his first triumph. At their base, Rienzi, "last of the Roman tribunes," fell. And, if the tradition of the Church is to be trusted, it was on the site of the present high altar that Augustus erected the "Ara primogenito Dei" to commemorate the Delphic prophecy of the coming of our Saviour. Standing on a spot so thronged with memories, the dullest imagination takes fire. The forms and scenes of the past rise from their graves and pass before us, and the actual and visionary are mingled together in strange poetic confusion. Truly, as Walpole says, "memory sees more than our eyes in this country."
And this is one great charm of Rome,—that it animates the dead figures of its history. On the spot where they lived and acted, the Caesars change from the manikins of books to living men; and Virgil, Horace, and Cicero grow to be realities, as we walk down the Sacred Way and over the very pavement they may once have trod. The conversations "De Claris Oratoribus" and the "Tusculan Questions" seem like the talk of the last generation, as we wander on the heights of Tusculum, or over the grounds of that charming villa on the banks of the Liris, which the great Roman orator so graphically describes in his treatise "De Legibus." The landscape of Horace has not changed. Still in the winter you may see the dazzling peak of the "gelidus Algidus" and "ut alta stet nive candidum Soracte"; and wandering at Tivoli in the summer, his description,
"Domus Albuneae resonantis,
Et praeceps Anio, et Tiburni lucus, et uda
Mobililius pomaria rivis,"
is as true and fresh as if his words were of yesterday. Could one better his compliment to any Roman Lalage of to-day than to call her "dulce ridentem"? In all its losses, Rome has not lost the sweet smile of its people. Would you like to know the modern rules for agriculture in Rome, read the "Georgics"; there is so little to alter, that it is not worth mentioning. So, too, at Rome, the Emperors become as familiar as the Popes. Who does not know the curly-headed Marcus Aurelius, with his lifted brow and projecting eyes, from the full, round beauty of his youth to the more haggard look of his latest years? Are there any modern portraits more familiar than the pensive, wedge-like head of Augustus, with his sharp-cut lips and nose,—or the dull phiz of Hadrian, with his hair combed down over his low forehead,—or the vain, perking face of Lucius Verus, with his thin nose, low brow, and profusion of curls,—or the brutal bull head of Caracalla,—or the bestial, bloated features of Vitellius?
These men, who were but lay-figures to us at school, mere pegs of names to hang historic robes upon, thus interpreted by the living history of their portraits, the incidental illustrations of the places where they lived and moved and died, and the buildings and monuments they erected, become like the men of yesterday. Art has made them our contemporaries. They are as near to us as Pius VII. and Napoleon. I never drive out of the old Nomentan Gate without remembering the ghastly flight of Nero,—his recognition there by an old centurion,—his damp, drear hiding-place underground, where, shuddering and quoting Greek, he waited for his executioners,—and his subsequent terrible and cowardly death, as narrated by Tacitus and Suetonius; and it seems nearer to me, more vivid, and more actual, than the death of Rossi in the court of the Cancelleria. I never drive by the Caesars' palaces, without recalling the ghastly jest of Tiberius, when he sent for some fifteen of the Senators at dead of night and commanded their presence; and when they, trembling with fear, and expecting nothing less than that their heads were all to fall, had been kept waiting for an hour, the door opened, and he, nearly naked, appeared with a fiddle in his hand, and, after fiddling and dancing to his quaking audience for an hour, dismissed them to their homes uninjured. The air seems to keep a sort of spiritual scent or trail of these old deeds, and to make them more real here than elsewhere. The old horrors of the Amphitheatre can be made real to any person of imaginative mind in the Colosseum. He has but to lend himself to the contagion of the place, and he will see the circle of ten thousand eager eyes thirsting for his blood, fill up the ruined benches and arched tiers as of yore, and hear the savage murmur of human voices, worse than the dull roar of the beasts below. The past still lives in these old walls. It is in vain to say that the ghosts of history do not haunt their ancient habitations. Places, as well as persons, have lives and influences; and the horror of murder will not away from a spot. Haunted by its crimes, oppressed and debilitated by the fierce excesses of its Empire, Rome, silent, grave, and meditative, sighs over its past, wrapped in the penitent robes of the Church.
Besides, here one feels that the modern Romans are only the children of their ancient fathers, with the same characteristics,—softened, indeed, and worn down by time, just as the sharp traits of the old marbles have worn away; but still the same people,—proud, passionate, lazy, jealous, vindictive, easy, patient, and able. The Popes are but Church pictures of the Emperors,—a different robe, but the same nature beneath;—Alexander the VI. was but a second Tiberius—Pius the VII., a modern Augustus. When I speak of the Roman people, I do not mean the class of hangers-on upon the foreigners, but the Trasteverini and the inhabitants of the provinces and mountains. No one can go through the Trastevere when the people are roused, without feeling that they are the same as those who listened to Marcus Antonius and Brutus, when the bier of Caesar was brought into the streets,—and as those who fought with the Colonna and stabbed Rienzi at the foot of the Capitol steps. The Ciceruacchio of '48 was but an ancient Tribune of the People, in the primitive sense of that title. I like, too, to parallel the anecdote of Caius Marius, when, after his ruin, he concealed himself in the marshes, and astonished his captors, who expected to find him weak of heart, by the magnificent self-assertion of "I am Caius Marius," with the story which is told of Stefano Colonna. After this great captain met with his sad reverses, and, deprived of all his possessions, fled from Rome, an attendant asked him,—"What fortress have you now?" He placed his hand on his heart and answered,—"Eccola!" The same blood evidently ran in the veins of both these men; and well might Petrarca call Colonna "a phoenix risen from the ashes of the ancient Romans."
But, somehow or other, I have wandered strangely from my subject. Scusi,—but what has all this to do with the Bambino?
The Santissimo Bambino is a very round-faced and expressionless doll, carved, as the legend goes, from a tree on the Mount of Olives, by a Franciscan pilgrim, and painted by Saint Luke while the pilgrim slept. It is difficult to say which was the worse artist of the two, the sculptor or the painter. But Saint Luke's pictures generally do not give us a high idea of his skill as a painter. The legend is a charming anachronism, unless, indeed, Saint Luke was only a spiritual presence;—but, as the whole incident was miraculous, the greater the anachronism, the greater the miracle. The Bambino, however he came into existence, is invested, according to the assertions of priests and the belief of the common people, with wonderful powers in curing the sick; and his practice is as lucrative as any physician's in Rome. His aid is in constant requisition in severe cases, and certain it is that a cure not unfrequently follows upon his visit; but as the regular physicians always cease their attendance upon his entrance, and blood-letting and calomel are consequently intermitted, perhaps the cure is not so miraculous as it might at first seem. He is borne by the priests in state to his patients; and during the Triumvirate of '49, the Pope's carriage was given to him and his attendants. I was assured by the priest who exhibited him to me at the church, that, on one occasion, having been stolen by some irreverent hand from his ordinary abiding-place in one of the side-chapels, he returned alone, by himself, at night, to console his guardians and to resume his functions. Great honors are paid to him. He wears jewels which a Colonna might envy, and not a square inch of his body is without a splendid gem. On festal occasions, like Christmas, he wears a coronet as brilliant as the triple crown of the Pope, and, lying in the Madonna's arms in the representation of the Nativity, he is adored by the people until Epiphany. Then, after the performance of Mass, a procession of priests, accompanied by a band of music, makes the tour of the church and proceeds to the chapel of the Presepio, where the bishop, with great solemnity, removes him from his Mother's arms. At this moment, the music bursts forth into a triumphant march, a jubilant strain over the birth of Christ, and he is borne through the doors of the church to the great steps. There the bishop elevates the Holy Bambino before the crowds who throng the steps, and they fall upon their knees. This is thrice repeated, and the wonderful image is then conveyed to its original chapel, and the ceremony is over.
The Eve of Epiphany, or Twelfth-Night, is to the children of Rome what Christmas Eve is to us. It is then that the Bifana comes with her presents. This personage is neither merry nor male, like Santa Claus, nor beautiful and childlike, like Christ-kindchen,—but is described as a very tall, dark woman, ugly, and rather terrible, "d' una fisionomia piuttosto imponente" who comes down the chimney, on the Eve of Epiphany, armed with a long canna and shaking a bell, to put playthings into the stockings of the good children, and bags of ashes into those of the bad. It is a night of fearful joy for all the little ones. When they hear her bell ring, they shake in their sheets; for the Bifana is used as a threat to the wilful, and their hope is tempered by a wholesome apprehension. It is supposed to be a distorted image of the visit of the kings and wise men with their presents at the Nativity, as Santa Claus may be of the shepherds, and the Christ-kindchen of Christ himself. However this may be, it is curious to observe the different characters this superstition assumes among different nations and under different influences.
The great festival of the Bifana (a corruption, undoubtedly, of Epifania) takes place on the Eve of Twelfth-Night, in the Piazza di San Eustachio,—and a curious spectacle it is. The Piazza itself, (which is situated in the centre of the city, just beyond the Pantheon,) and all the adjacent streets, are lined with booths covered with every kind of plaything for children. Most of these are of Roman make, very rudely fashioned, and very cheap; but for those who have longer purses, there are not wanting heaps of German and French toys. These booths are gayly illuminated with rows of candles and the three-wicked brass lucerne of Rome; and, at intervals, painted posts are set into the pavement, crowned with pans of grease, with a wisp of tow for wick, which blaze and flare about. Besides these, numbers of torches carried about by hand lend a wavering and picturesque light to the scene. By eight o'clock in the evening, crowds begin to fill the Piazza and the adjacent streets. Long before one arrives, the squeak of penny-trumpets is heard at intervals; but in the Piazza itself the mirth is wild and furious, and the din that salutes one's ears on entering is almost deafening. The object of every one is to make as much noise as possible, and every kind of instrument for this purpose is sold at the booths. There are drums beating, tamburelli thumping and jingling, pipes squeaking, watchmen's-rattles clacking, penny-trumpets and tin horns shrilling, and the sharpest whistles shrieking everywhere. Besides this, there are the din of voices, screams of laughter, and the confused burr and buzz of a great crowd. On all sides you are saluted by the strangest noises. Instead of being spoken to, you are whistled at. Companies of people are marching together in platoons, or piercing through the crowd in long files, and dancing and blowing like mad on their instruments. It is a perfect witches' Sabbath. Here, huge dolls dressed as Polichinello or Pantaloon are borne about for sale,—or over the heads of the crowd great black-faced jumping-jacks, lifted on a stick, twitch themselves in fantastic fits,—or, what is more Roman than all, men carry about long poles strung with rings of hundreds of giambelli, (a light cake, called jumble in English,) which they scream for sale at a mezzo baiocco each. There is no alternative but to get a drum, whistle, or trumpet, and join in the racket,—and to fill one's pockets with toys for the children and absurd presents for one's older friends. The moment you are once in for it, and making as much noise as you can, you begin to relish the jest. The toys are very odd,—particularly the Roman whistles;—some of these are made of pewter, with a little wheel that whirls as you blow; others are of terra-cotta, very rudely modelled into every shape of bird, beast, and human deformity, each with a whistle in its head, breast, or tail, which it is no joke to hear, when blown close to your ears by a stout pair of lungs. The scene is very picturesque. Above, the dark vault of night, with its far stars, the blazing and flaring of lights below, and the great, dark walls of the Sapienza and Church looking grimly down upon the mirth. Everywhere in the crowd are the glistening helmets of soldiers, who are mixing in the sport, and the chapeaux of white-strapped gendarmes, standing at intervals to keep the peace. At about half-past eleven o'clock the theatres are emptied, and the upper classes flock to the Piazza. I have never been there later than half-past twelve, but the riotous fun still continued at that hour; and, for a week afterwards, the squeak of whistles may be heard at intervals in the streets.