Aurelian; or, Rome in the Third Century

by William Ware

I am not surprised, Fausta, that you complain of my silence. It were strange indeed if you did not. But as for most of our misdeeds we have excuses ready at hand, so have I for this. First of all, I was not ignorant, that, however I might fail you, from your other greater friend you would experience no such neglect; but on the contrary would be supplied with sufficient fulness and regularity, with all that could be worth knowing, concerning either our public or private affairs. For her sake, too, I was not unwilling, that at first the burden of this correspondence, if I may so term it, should rest where it has, since it has afforded, I am persuaded, a pleasure, and provided an occupation that could have been found nowhere else. Just as a flood of tears brings relief to a bosom laboring under a heavy sorrow, so has this pouring out of herself to you in frequent letters, served to withdraw the mind of the Queen from recollections, which, dwelt upon as they were at first, would soon have ended that life in which all ours seem bound up.

Then again, if you accept the validity of this excuse, I have another, which, as a woman, you will at once allow the force of. You will not deem it a better one than the other, but doubtless as good. It is this: that for a long time I have been engaged in taking possession of my new dwelling upon the Cœlian, not far from that of Portia. Of this you may have heard, in the letters which have reached you; but that will not prevent me from describing to you, with more exactness than any other can have done it, the home of your old and fast friend, Lucius Manlius Piso; for I think it adds greatly to the pleasure with which we think of an absent friend, to be able to see, as in a picture, the form and material and position of the house he inhabits, and even the very aspect and furniture of the room in which he is accustomed to pass the most of his time. This to me is a satisfaction greater than you can well conceive, when, in my ruminating hours, which are many, I return to Palmyra, and place myself in the circle with Gracchus, Calpurnius, and yourself. Your palace having now been restored to its former condition, I know where to find you at the morning, noon, and evening hour; the only change you have made in the former arrangements being this: that whereas when I was your guest, your private apartments occupied the eastern wing of the palace, they are now in the western, once mine, which I used then to maintain were the most agreeable and noble of all. The prospects which its windows afford of the temple, and the distant palace of the queen, and of the evening glories of the setting sun, are more than enough to establish its claims to an undoubted superiority; and if to these be added the circumstance, that for so long a time the Roman Piso was their occupant, the case is made out beyond all peradventure.

But I am describing your palace rather than my own. You must remember my paternal seat on the southern declivity of the hill, overlooking the course of the Tiber as it winds away to the sea. Mine is not far from it, but on the northern side of the hill, and thereby possessing a situation more favorable to comfort, during the heats of summer—I loving the city, as you well know, better if anything during the summer than the winter months. Standing upon almost the highest point of the hill, it commands a wide and beautiful prospect, especially toward the north and east, the eye shooting over the whole expanse of city and suburbs, and then resting upon the purple outline of the distant mountains. Directly before me are the magnificent structures which crown the Esquiline, conspicuous among which, and indeed eminent over all, are the Baths of Titus. Then, as you will conjecture, the eye takes in the Palatine and Capitol hills, catching, just beyond the last, the swelling dome of the Pantheon, which seems rather to rise out of, and crown, the Flavian Amphitheatre, than its own massy walls. Then, far in the horizon, we just discern the distant summits of the Appenines, broken by Soracte and the nearer hills.

The principal apartments are on the northern side of the palace, opening upon a portico of Corinthian columns, running its entire length and which would not disgrace Palmyra itself. At the eastern extremity, are the rooms common to the family; in the centre, a spacious hall, in the adorning of which, by every form of art, I have exhausted my knowledge and taste in such things; and at the western extremity, my library, where at this moment I sit, and where I have gathered around me all in letters and art that I most esteem. This room I have decorated for myself and Julia—not for others. Whatever has most endeared itself to our imaginations, our minds, or our hearts, has here its home. The books that have most instructed or amused; the statuary that most raises and delights us; the pictures on which we most love to dwell; the antiquities that possess most curiosity or value, are here arranged, and in an order that would satisfy, I believe, even your fastidious taste.

I will not weary you with any more minute account of my new dwelling, leaving that duty to the readier pen of Julia. Yet I cannot relieve you till I have spoken of two of the statues which occupy the most conspicuous niche in the library. You will expect me to name Socrates and Plato, or Numa and Seneca—these are all there, but it is not of either of them that I would speak. They are the venerable founders of the Jewish and Christian religions, Moses and Christ. These statues, of the purest marble, stand side by side, at one extremity of the apartment; and immediately before them, and within the wondrous sphere of their influences stands the table at which I write, and where I pursue my inquiries in philosophy and religion. You smile at my enthusiasm, Fausta, and wonder when I shall return to the calm sobriety of my ancient faith. In this wonder there are a thousand errors—but of these hereafter. I was to tell you of these sculptures. Of the statue of Moses, I possess no historical account, and know not what its claim may be to truth. I can only say, it is a figure truly grand, and almost terrific. It is of a size larger than life, and expresses no sentiment so perfectly as authority—the authority of a rigorous and austere ruler—both in the attitude of the body and the features of the countenance. The head is slightly raised and drawn back, as if listening, awe-struck, to a communication from the God who commissioned him, while his left hand supports a volume, and his right grasps a stylus, with which, when the voice has ceased, to record the communicated truth. Place in his hands the thunderbolt, and at his feet the eagle, and the same form would serve for Jupiter the Thunderer, except only that to the countenance of the Jewish prophet there has been imparted a rapt and inspired look, wholly beyond any that even Phidias could have fixed upon the face of Jove. He who wrought this head must have believed in the sublimities of the religion whose chief minister he has made so to speak them forth, in the countenance and in the form; and yet who has ever heard of a Jew sculptor?

The statue of Christ is of a very different character; as different as the Christian faith is from that of the Jewish, notwithstanding they are still by many confounded. I cannot pretend to describe to you the holy beauty that as it were constitutes this perfect work of art. If you ask what authority tradition has invested it with, I can only say that I do not know. All I can affirm with certainty, is this, that it once stood in the palace of Alexander Severus, in company with the images of other deified men and gods, whom he chiefly reverenced. When that excellent prince had fallen under the blows of assassins, his successor and murderer, Maximin, having little knowledge or taste for what was found in the palace of Alexander, those treasures were sold, and the statue of Christ came into the hands of a distinguished and wealthy Christian of that day, who, perishing in the persecution of Decius, his descendants became impoverished, and were compelled to part with even this sacred relic of their former greatness. From them I purchased it; and often are they to be seen, whenever for such an object they can steal away from necessary cares, standing before it and renewing, as it would seem, their vows of obedience, in the presence of the founder of their faith. The room is free to their approach, whenever they are thus impelled.

The expression of this statue, I have said, is wholly different from that of the Hebrew. His is one of authority and of sternness; this of gentleness and love. Christ is represented, like the Moses, in a sitting posture, with a countenance, not like his raised to Heaven, but bent with looks somewhat sad and yet full of benevolence, as if upon persons standing before him. Fraternity, I think, is the idea you associate with it most readily. I should never suppose him to be a judge or censor, or arbitrary master, but rather an elder brother; elder in the sense of wiser, holier, purer; whose look is not one of reproach that others are not as himself, but of pity and desire; and whose hand would rather be stretched forth to lift up the fallen than to smite the offender. To complete this expression, and inspire the beholder with perfect confidence, the left hand rests upon a little child, who stands with familiar reverence at his knee, and looking up into his face seems to say, 'No evil can come to me here.'

Opposite this, and at the other extremity of the apartment, hangs a picture of Christ, representing him in very exact accordance with the traditional accounts of his features and form, a description of which exists, and is held by most authentic, in a letter of Publius Lentulus, a Roman of the same period. Between this and the statue there is a close resemblance, or as close as we usually see between two heads of Cæsar, or of Cicero. Marble, however, is the only material that suits the character and office of Jesus of Nazareth. Color, and its minute effects, seem in some sort to degrade the subject. I retain the picture because of its supposed truth.

Portia, as you will believe, is full of wonder and sorrow at these things. Soon after my library had received its last additions, my mother came to see what she had already heard of so much. As she entered the apartment, I was sitting in my accustomed seat, with Julia at my side, and both of us gazing in admiration at the figures I have just described. We were both too much engrossed to notice the entrance of Portia, our first warning of her presence being her hand laid upon my head. We rose and placed her between us.

'My son,' said she, looking intently as she spoke upon the statues before us, 'what strange looking figures are these? That upon my left might serve for Jupiter, but for the roll and the stylus. And why place you beings of character so opposite, as these appear to have been, side by side? This other upon my right—ah, how beautiful it is! What mildness in those eyes, and what a divine repose over the form, which no event, not the downfall of a kingdom nor its loss, would seem capable to disturb. Is it the peace loving Numa?'