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Shepherds' huts clustered upon a hill top whose base is washed by a swift yellow river rushing to the sea not far distant. This is the first faint foreshadowing of the existence of Rome which reaches us dimly across the centuries. These shepherd settlers had chosen a site propitious for the foundation of the great city which was to be raised upon those grouped hills by the skilful hands of their descendants, for the necessary building materials lay close at hand in lavish profusion. One of the neighbouring hills, known later as the Janiculum, and parts of another, the Pincian, yielded a fine yellow sand. Beneath the surface soil was volcanic rock, which, in a prehistoric age when the campagna was a sea-bed and waves lapped against Monte Cavo, had been poured out in great liquid streams from volcanoes amongst the Alban hills and at Bracciano. Close at hand in the plain lay immense beds of a chocolate-brown earth with which later builders were to manufacture cement.

The makers of Rome therefore had only to quarry their building stone on the very site of their city, and we can still recognise in the few fragments that have come down to us the rectangular blocks of brown tufa used in the first period of her history. These earliest monuments, the walls of Servius Tullius and the vaults of the Mamertine prisons, were the direct outcome of a period of Etruscan dominion, and one of the first great works undertaken in the growing city, the draining of the swamps of the Forum, Campus Martius and Velabrum, was due to Tarquinius Priscus, the immense cloacae built for the purpose being still in use, and their masonry as strong as when they were constructed about 603 b.c. The two Etruscan kings, Tarquinius Priscus and Tarquinius Superbus, built the first triple shrine on the Capitol dedicated to the three Etruscan gods, Jupiter, Juno, and Minerva, and the primitive Roman temples, consisting of a simple cella with a peristyle, were doubtless Etruscan in character and were decorated with terra-cotta and bronze in the Etruscan manner.

The Romans were born builders and engineers, and in these branches they quickly outstripped their predecessors and instructors. If they were deficient in artistic originality, they evinced a readiness to imitate and a power of appreciating skill and proficiency in the arts wherever they met with them, and their practical and utilitarian spirit taught them how to adopt and improve upon experience and guided them in the choice of right materials.

TEMPLE OF SATURN FROM THE PORTICO OF THE DII CONSENTES

One of the earliest monuments of Rome; originally built in the reign of the last of the Tarquins or the first years of the Republic, but twice reconstructed during the Empire. It served as the Treasury of Rome. The granite columns with marble capitals are of the Ionic order. See pages 30, 181.

A period when the influence of Greece predominated succeeded the first epoch in the building of Rome, and to this time must be ascribed the adoption of the Greek models for public buildings, for circuses, baths, and basilicas. Ionic, Corinthian, and Doric columns were imported into Rome, the latter undergoing some modification to suit the Romans' more florid taste. The temples became Hellenic in style. The small cella was built within an open court surrounded by arcades from which the people assisted at the sacrifices. The altar stood in the open court. Later, windows were introduced into the building, and the openings were filled in with a bronze grating similar to that still in perfect preservation over the door of the Pantheon, or with a perforated marble screen, fragments of coloured glass being inserted in the interstices of the pattern. By the third century there were 400 temples in Rome, but the simple form of the early buildings was hidden with excessive ornamentation, and frieze and cornice were loaded with carving and figures.

The basilica, or kingly hall of justice, was a rectangular building divided into a central portion or nave and side aisles by rows of columns under a horizontal architrave. The columns were in two tiers, the upper one enclosing a gallery which was reached by a flight of stairs springing either within or without the building. The entrances were at the sides, and one extremity, and in some cases both were extended to form a semicircular apse or tribune where stood the judge's seat. A marble screen, the cancellum, separated this portion from the rest of the building, and this constituted the bar to which the accused were brought; just beyond stood the altar, where incense burned; and here, during the persecutions, Christians were arraigned and bidden to throw incense on the fire as a sign of recantation.

These great buildings served as courts of justice and for the transaction of business, and those which stood upon the fora were in some instances so large that several cases could be conducted in them at once. Before the Empire the nave was probably unroofed or covered only with an awning, and the upper galleries were entirely open so that their occupants could at will attend to the proceedings within the basilica or watch the games and events without. Similarly a single rail or low partition only separated the open colonnades below from the Forum. Curtains could be drawn across these to shut out importunate onlookers and to muffle the sounds of street traffic, but it is evident that the basilica precincts were regarded as a place of familiar rendezvous by the idlers in the Forum, as the gaming tables scratched in the flooring of the Julian basilica testify.

A CORNER OF THE FORUM FROM THE BASE OF THE TEMPLE OF SATURN

The column of Phocas, erected in honour of the Byzantine emperor who was the contemporary of Gregory the Great, faces us, and to the right are the columns of the temple to Antoninus Pius and Faustina, now the façade of the church of San Lorenzo in Miranda. The columns are of cippolino marble. See page 32.

The era of thermae or public baths began with Agrippa in 27 b.c., and by the end of the third century eleven such existed in Rome exclusive of the smaller baths or balnae, of which there were 850. Nero, Titus, Trajan, Septimius Severus, Caracalla, Diocletian, were all builders of thermae. These huge edifices were a great deal more than public baths. They were a Roman form of the gymnasia of the Greeks, and the colossal ruins that remain can give but the barest idea of what they must have been at their best. They included immense halls and courts for athletic displays, vestibules, concert rooms, picture galleries and libraries, pleasure grounds decorated with statues fountains and shrubs and surrounded by open porticoes. Feasts, concerts, and entertainments were provided, and pleasant hours could be whiled away within their walls by the gilded youth of Rome. The baths of Diocletian, of which the church of S. Maria degli Angeli is a magnificent fragment, could accommodate 3600 bathers at a time, those of Caracalla 2000. An army of slaves and attendants waited upon the bathers and sped upon their errands along underground passages from one end of the building to the other. Ruins of the thermae of Caracalla and of Titus are still standing. Out of the colossal vaults and walls of Diocletian's baths have been constructed two churches, a monastery, a large museum, and a variety of storehouses, warehouses, stables, and cellars.

Equally remarkable was the Roman system for supplying their city, their thermae, and their 1350 street fountains with pure water.

Appius Claudius was the first to collect the water from springs amongst the mountains in the neighbourhood of Rome and to bring it across the campagna. This was in 313 b.c., up to which date the inhabitants of the city had depended for their water supply upon the Tiber and upon sunken wells. Following in the steps of Claudius, fourteen aqueducts whose united length measured 360 miles were built at various times. They varied in length from 11 to 59 miles and their course lay sometimes under ground and sometimes 100 feet above it, while the amount of water they poured daily into Rome has been estimated at 54,000,000 cubic feet.

Four of these ancient aqueducts are still in use. The Virgo, built by Agrippa in 27 b.c., and now known as the Trevi; the Alexandrina, constructed by Alexander Severus (222-235), probably to supply his own baths, and now known as the acqua Felice; the ancient Trajana, now Paola, and the Marcian, restored by Pius IX. The Marcian was always considered the best drinking water, and the Trevi being a softer water was preferred for bathing purposes.

The amphitheatre alone was, perhaps characteristically, a building of purely Roman origin. Intended for shows and fights of gladiators and wild beasts, these were at first temporary wooden structures. The only stone predecessor to the great Flavian amphitheatre was a smaller building in the Campus Martius, the work of Statilius Taurus in 30 b.c. The Colosseum was begun by Vespasian in a.d. 72, was dedicated eight years later by Titus, and was completed by Domitian. It stands upon the site of Nero's artificial lake, is one-third of a mile in circumference, covers some 6 acres of ground, and is 160 feet in height. It could seat 87,000 spectators, and its staircases, galleries, and entrances are so admirably planned that this crowd of sight-seers must have found their seats and filed out when the show was finished with little delay and difficulty. The numbers of the entrances, cut in stone, can still be seen over each of the arches. The Colosseum is built entirely of travertine, the blocks are fitted together without mortar and are studded with holes from which the greedy despoilers of the middle ages wrenched the metal clamps. In spite of its having been used as a fortress and served as a stone quarry for centuries, it is still one of the most magnificent of the monuments of Rome.

The solidity of the public buildings seems to have been in marked contrast to the flimsy nature of the common dwellings or insulae. In the time of Augustus these numbered 46,600, the domui, or houses of the rich, 1790. The former were roofed with timber or thatch. As land was dear, they were often of several stories and perilously high; many of them were built of unbaked bricks with projecting upper floors, and they were constructed with wooden framing filled in with rush and plaster, so that when a fire broke out in the city whole regions were laid waste in a few hours. As a measure of safety Augustus limited the height of the insulae to 70 feet, and Trajan reduced this again to 60 feet, while a distance of 5 feet between each house was prescribed by the law of the Twelve Tables.

The volcanic tufa used by the earliest Roman builders was discarded gradually in favour of better materials. Peperino, a grey-green volcanic stone from the Alban hills, began to take its place, and was used for the construction of the Tabularium in 78 b.c. and for Hadrian's mausoleum. It was cut in the same way in large rectangular blocks, clamped together during the Republican and early Imperial periods with iron. Mortar was not used till later, and at first served only to level the surfaces of the stones; it came into use for binding bricks together only at a later and degenerate period of architecture. Travertine was adopted towards the first century b.c. It is a cream-coloured stone hard and durable though easily calcined by fire, formed by deposit in running water. It was quarried at Tivoli and on the banks of the river Anio, where it is still plentiful. To the present day the quarries are worked at Tivoli, and the stone is brought to Rome on waggons drawn by immense white oxen which pace majestically along the dusty roads beneath the goad of their wild-looking drivers.

The chocolate-brown earth imported from Pozzuoli or dug from beds in the campagna, is known as pozzolana, and early in the history of Rome her builders discovered that when mixed with lime it made a remarkably strong cement. As such they used it for foundations, for the lining of walls and ceilings. With pieces of brick and stone a concrete was formed which was poured in a liquid state between wooden casings, and when set proved to be one of the hardest and most durable of the materials used. It was the strength of this concrete which enabled the Roman builders to give the vaults of their baths and basilicas such an enormous span; and it could be used for the flooring of upper stories without beams or supports. When especial lightness was required, the concrete was made with broken pumice stone.

TEMPLE OF MARS ULTOR

The temple erected by Augustus in his Forum to the God of War under the title of Mars the Avenger. Only the upper part of the ancient arch of the Forum, now known as Arco de' Pantani, is visible. This represents the first imperial building in Rome. See pages 3, 30.

After the first century b.c. concrete became a favourite building material. The walls so made were lined with stucco and faced without in various fashions, the variety of the facing determining with considerable accuracy the date of the fabric. The earliest facing, of the first and second century b.c., was of irregular blocks of tufa set in cement, and is known as the opus incertum. This was replaced in the middle of the first century b.c. by tufa blocks cut in squares and set diagonally giving the appearance of a network and hence known as opus reticulatum. In or after the first century a.d. this fashion was superseded by a facing of triangular bricks set point inwards, and by the end of the third century bricks were mixed with the opus reticulatum, a style known as opus mixtum. To the casual observer the narrow brown bricks of the ruined buildings of ancient Rome seem to play an important part, but, with few exceptions, they are merely a brick facing upon concrete.

Up to the first century b.c. there was little or no splendour or decoration introduced into the buildings of Rome, and the city of Augustus' inheritance was a city of sober-hued, volcanic rock. When marble was first sparingly used, Livy reprobates it as too showy and extravagant. Notwithstanding, the fashion rapidly spread, first in the embellishment of public buildings, then for private houses as well until in the first century of the Empire it became a common building stone.

For nearly three centuries it was imported into the city in a continuous flow from the quarries of Greece and Egypt. The native Luna marble, the modern Carrara, was not at first worked, but thousands of slaves and convicts toiled in the quarries of the Roman provinces. The great blocks were numbered and stamped with the name of the reigning emperor and shipped off in the great triremes across the Mediterranean to Ostia. Thence the trading vessels were towed by oxen up the river to Rome, their slow progress ceasing with nightfall, when they were drawn up and moored to the banks till next morning, bands of vigiles watching over the safety of their cargoes and restraining their lawless crews from acts of brigandage. At their journey's end, the cargoes were unloaded upon the marble wharf beneath the Aventine; here unused blocks still lie upon the site of the once busy Marmoratum, now a deserted quay beside a deserted river; and the harbour of Ostia, built by King Ancus Martius at the river's mouth, is now four miles inland.

Occasionally a granite obelisk was brought from Thebes or Heliopolis to adorn an imperial circus. That now in the Lateran Piazza is 108 feet in height and weighs 400 tons. Ships had to be built on purpose for the task, and one of these was so enormous that after safely conveying the Vatican obelisk to Rome, it was sunk by the Emperor Claudius to serve as a breakwater for the harbour at Porto. When the laden ships arrived at the Marmoratum the obelisks were hauled on shore by men and horses and then dragged and pushed on rollers along the streets by gangs of workmen. Forty-eight obelisks were once erected in Rome, of which thirty have disappeared and left no trace.

TEMPLE OF VESPASIAN FROM THE PORTICO OF THE DII CONSENTES

Built in honour of the first Flavian Emperor by his sons Titus and Domitian. The three remaining Corinthian columns are of Carrara marble. The Arch of Septimius Severus to the right was dedicated to the emperor and his sons Caracalla and Geta in a.d. 203, to commemorate their Parthian victories. It is of Pentelic marble. The church of Santa Martina in the background is near the site of the Senate House. See pages 31, 32.

While the fashion for marble lasted, no material was considered too rare or too costly. Parian marble, the most beautiful of all white marbles, from the island of Paros; Pentelic marble from Pentelicus; Hymettan marble from the mountains of Attica; rich yellow giallo antico from Numidia; cippolino with its beautiful green waves from Carystos; purple pavonazzo from Phrygia; black marble from Cape Matapan; green and red porphyries from Egypt; alabaster from Thebes; serpentine from Sparta; jasper and fluor-spar from Asia Minor; lapis lazuli, with which Titus paved a chamber in his baths, from Persia, besides countless varieties of the so-called Lumachella marbles and rare and beautiful breccias.

There arose in Rome an army of marble workers, cutters and sawyers, polishers and cleaners, carvers of simple mouldings and of inscriptions, and more skilled sculptors of ornament and of statues and busts.

Coloured marbles were first used in small pieces for making mosaic pavements. This art was introduced from Greece some time in the first century b.c., and in its simplest form was an arrangement of smooth pebbles in a rough pattern on a bed of cement. As the art developed, cubes, lozenges, and hexagons of travertine and grey lava were cut and fitted together in simple patterns. Then cubes of coloured marble were used, and the designs, of figures and flowers, became more elaborate. The floors were prepared with a bed of concrete, covered with several layers of cement; the last layer was carefully smoothed and levelled, and in this the cubes were fitted according to the pattern, and finally liquid cement was poured over the whole to fill in the cracks. When dry and hard the surface was polished with sand and water rubbed on with little marble blocks.

Pavements of the best building period can be recognised by the size of the cubes, about three to the inch, and by the neatness and finish of the work. Two varieties of mosaic can be distinguished, that in which marbles, stones, and coloured glass are cut into cubes only and the so-called sectile mosaic in which elaborate scenes and groups of figures are represented, the coloured pieces being sawn into shapes to fit in with the design. The Tablinum in the house of the vestals and the temple of Jupiter on the Capitol were paved with sectile mosaic. The most brilliant mosaic which came into use during the Empire for the decoration of walls and vaults was made of fragments of coloured marble and glass, the latter specially prepared with acids to make it opaque and to give it a brilliant appearance. The art of mosaic work has never died out entirely in Rome. The Roman mosaic pavements and mosaic wall decoration were copied by the builders of mediæval churches, and even now a mosaic factory is kept up at the Vatican.

Although first used in this way, coloured marbles were gradually employed for the interior decoration of houses, for columns, dados, and friezes. Lucius Crassus, the consul (176 b.c.), was the first so to adorn his house, and Lucullus (151 b.c.) paved his hall with black marble. Later, entire rooms were lined with thin slabs clamped to the concrete wall with iron. Sometimes such marble walls were given a thin coat of stucco and painted. As the passion for sumptuous interiors grew all the decorative arts were put into requisition. Walls were painted in fresco, as we can still see at Pompeii and in the house of Germanicus on the Palatine. Ceilings, walls, and cornices were ornamented in stucco in shallow relief. An extremely hard stucco was made with lime and powdered marble—it was nearly as durable as marble and could take almost as high a polish. It was even used for floors; for internal decoration, plaster of Paris was mixed with it. Mouldings, figures, arabesques, groups and scenes were worked in this stucco and delicately coloured. Examples have been preserved in the Diocletian museum and can be seen in situ in the Latin tombs.

The greatest plans for the building of Rome were conceived by Julius Caesar and Nero. Of Nero's buildings nothing remains except some ruins of his Golden House beneath the baths of Titus, while the designs of Caesar were destined to be carried out by his great successor Augustus. Justly could this emperor boast that he found Rome a city of brick and left it a city of marble. The republican period succeeding the expulsion of the Tarquins, and which his accession brought to a close, had not been so fruitful in public buildings as the epoch immediately following. Of the former, the Tabularium, the tombs of Bibulus and Cecilia Metella, the temple of Fortuna Virilis, and the ruins of the Fabrician bridge, the modern Ponte Quattro Capi, have come down to us. The city, however, was beginning to assume a more majestic appearance. On the accession of Augustus, the Capitol was crowned by the Tarquins' temple to Jupiter, which was to be restored by Domitian. The valley between the Palatine and the Aventine was occupied by the enormous Circus Maximus, built by Tarquinius Priscus and decorated by Julius Caesar, and which has so entirely disappeared that we can only trace its site along the present Via dei Cerchi. The temples of Concord and Castor and Pollux stood upon the Forum Romanum, while the temple of Saturn bounding the steep Clivus Capitolinus which led upwards to the Capitol—the ancient Mons Saturninus—recorded the golden age when Saturn reigned in Italy.

The streets of the city were paved, and beyond the walls the immense Appian causeway crossed the Pontine marshes and stretched onwards towards Brindisi and the east.

In the forty years following Rome was transformed. There arose in the Campus Martius, the Pantheon with the baths and aqueduct of Agrippa, the portico of Octavia dedicated by Augustus to his sister, the theatre of Marcellus and the great mausoleum where the emperor and his kindred were to lie, and which, almost smothered in poor houses, has in modern times served the ignoble offices of a bull-ring and a third-rate theatre. Temples were restored, the Basilica Julia was completed, another Forum built with the temple of Mars Ultor in its midst. Upon the site of Augustus' birthplace on the Palatine hill a great palace was raised by himself and Tiberius, and this district of Rome became henceforth the abode of the Caesars.

THE COLOSSEUM ON A SPRING DAY

The Flavian amphitheatre, called Colosseum from the colossus or colossal statue of Nero which stood on the velia before it. The picture is taken from an orto belonging to the Barberini on the Palatine, looking across the Arch of Constantine. See pages 22, 23, 31.

Augustus and his immediate successors were to witness the golden age of Roman building. After Hadrian came the period of decadence characterised by florid ornamentation, bad taste and workmanship, which culminated under Constantine and his sons.

Following in the steps of Augustus, Caligula and Nero erected palaces on the Palatine. Caligula connected the hill with the Forum, and Nero opened up an entrance towards the Caelian. Vespasian built there the Flavian house which his son Domitian was to dedicate as the Aedes Publica, a gift to the people. Septimius Severus extended the Palatine towards the south by the construction of his Septizonium.

Of the buildings of Tiberius, the columns of the temple of Ceres built into the church of S. Maria in Cosmedin remain to us; of those of Claudius, the beautiful ruined arches of his aqueduct. The Flavian emperors were great builders, and to this period belong the arch of Titus, built in a.d. 70 to commemorate the destruction of Jerusalem, a monument of Rome's best period, the ruined baths erected by this same emperor, and the great amphitheatre and ruins of the temple of Vespasian.

Trajan's great buildings—his forum and triumphal arch, his basilica and library—are represented by a very small excavated portion of the basilica, and the column whose summit marks the height of the hill cut away by this emperor to make a roadway between the Quirinal and Capitol and thus relieve the congested traffic of the city.

The only fragments left of the work of Hadrian are the ruins of a villa near Tivoli, the mausoleum and Pons Aelius, now the castle and bridge of S. Angelo; and behind the church of S. Francesca Romana in the Forum the ruins of the Templum Urbis, the temple of Venus and Rome, with its twin niches for the gods, one turned towards the convent the other looking outwards towards the Colosseum. The gilt bronze tiles from the roof of this temple were removed by Pope Honorius I. to deck the Christian Templum Urbis S. Peter's.

During the following 140 years there arose in Rome, amongst other monuments that have perished, the temple of Antoninus and Faustina built by Antoninus Pius in memory of his wife and now transformed into the church of S. Lorenzo in Miranda, the column of Marcus Aurelius, the triumphal arch of Septimius Severus dedicated to his sons Caracalla and Geta, the baths which bear this eldest son's name, although only begun by him and completed by Heliogabalus and Alexander Severus, the walls of Aurelian which still encompass the city and the thermae of Diocletian. The latest of the imperial buildings were the temple built by Maxentius to his son Romulus, now the church of SS. Cosma and Damian in the Forum, and the baths, basilica, and triumphal arch of Constantine.

A visitor to this city of the Cæsars must have been almost bewildered by what he saw. As he passes through the town great buildings meet his glance on every side, their gilded tiles and white marble walls glistening in the sun and clear atmosphere. Crowds jostle him in the narrow paved roads. He crosses one Forum after another, six in all, and finally reaches the Campus Martius. He pauses upon the steps of temples and basilicas which seem on all sides to surround these busy centres of Roman life. Open spaces are crowded with trees and shrubs, fountains and statues. He can count thirty-six triumphal arches and eight bridges that span the yellow Tiber. He passes theatres and stadia for races and games, columns and obelisks. Occasionally he comes across a giant building, a colossus even in that city of marvels, the amphitheatre of Vespasian or the thermae of Diocletian, or an immense circus where 285,000 spectators are seated waiting for the chariot races to begin; he has noticed groups of charioteers in their distinctive colours, and heavy betting is going on. He has walked from one end of the city to the other sheltered from sun and rain, along covered porticoes, their pavements rich mosaics, and their length decorated throughout with a continuous series of statues and pictures. He has gazed upon the stupendous palaces of the Palatine, and has noticed the streams of people passing in and out of the city gates on their way to the suburbs which extend to Veii Tivoli and Ostia, or to the villas, parks and gardens, villages and farms, which cover the outskirts of Rome to a distance of 15 miles, amongst which great roads lined by marble tombs radiate outwards towards the hills.

With the decay of this mighty city began the era of church building. The origin of the Christian basilica is still a matter of controversy, but the results of careful and recent research[1] go to confirm the view that it was modelled not upon its Pagan namesake the forensic basilica, but upon the private hall found in many of the dwellings of rich Romans of consular or senatorial rank which served for those domestic tribunals for the adjudication of family disputes sanctioned by Roman law. This conclusion has been overlooked from a mistaken belief that the first Christians were recruited from the slaves and poorer classes of the population, but it is now proved that noble Romans and even members of Imperial families early embraced Christianity, and it was more than probable that the domestic basilicas in their houses should be utilised as places of assembly by members of their faith, the gathering of a large body of persons being concealed during times of persecution, by the use of the many entrances common to the Roman house.

The domestic basilica dedicated as a place of Christian assembly, became with the development of the ecclesiastical system, the Roman titulus, the church in the house, and as no public hall was built until after the Peace of the church, these were multiplied as the Christian population grew and numbered 40 by the second century. The Christian basilica was thus in existence and perfected in all its liturgical parts in the first three centuries, and when Constantine built his great extramural churches, he only amplified a type familiar to every Christian.

THE COLOSSEUM AT SUNSET

Taken from the Mons Oppius, one of the two spurs of the Esquiline hill. See pages 5, 11.

S. Maria Maggiore probably existed as a domestic basilica at a time anterior to that of its reputed founders Liberius and Sixtus, and we know that S. Croce and the Lateran were constructed within the Sessorian palace and the house of the Laterani of which they probably formed the halls.

Architecturally also the earliest churches resembled more nearly the domestic hall than the public basilica. The latter were little more than a covered portion of the Forum upon which they stood. They were entered from either side through the open ambulatories which as we have seen were free to all. The extremities were walled up later and prolonged into an apse to increase the space available for legal purposes. The domestic basilica on the other hand was a rectangular building roofed and closed on all sides, its single apse at one extremity facing the main entrance. The central space was surrounded on three sides by porticoes dividing it into portions which became the aisles for the worshippers and the narthex for the use of catechumens. The domestic judge's seat standing in the apse was replaced by the bishop's throne, and the cancellum became the chancel rail dividing this portion, the presbytery of the church, from the rest of the building.

The ruins of the Flavian basilica in Domitian's house on the Palatine (81-96) affords us a ground plan of such a domestic hall, in this instance placed close to the triclinium of the house and not in a direct line with the vestibulum or entrance as was generally the case. Here a fragment of the cancellum can still be seen in situ.

The Christian altar of the earliest churches placed in front of the apse, faced the congregation, and a space before it, beyond the depressed portion or confessio, was reserved for the choir and was surrounded by a marble balustrade. The columns supported a horizontal architrave, above it a flat wall pierced with windows and the plain roof of cedar-wood beams.

The floors were paved with a fine mosaic of marble and green serpentine alternating with slabs of white marble or discs of red porphyry. Tribune, arch, and vault, and sometimes other portions of the walls, were decorated with brilliant mosaics and examples of this work, of the fourth, sixth, ninth, and twelfth centuries, and possibly of the second or third, have happily escaped the ravishing hand of the restorer. In the twelfth century the art of marble working underwent a temporary revival under the influence of a talented family of artists, the Cosmati; and a good deal of their work and that of their school is still to be found in Rome, the carved marble and an inlay of mosaic upon marble being easily recognisable in the decoration of the cloisters of the Lateran and of S. Paul's outside the walls, upon ambones, candelabra, and tombs scattered throughout the churches.

The straight architectural lines of the Christian basilicas and their subdued colouring of floor and apse produce a delicate and harmonious effect, but they were erected during a debased building period and were not designed for strength, and only a few have weathered the storms of the middle ages and escaped destruction beneath the tasteless restorations of the Renaissance.

The new building epoch born in Rome was to be nourished entirely at the expense of the old. Columns and mouldings were transferred bodily from the nearest basilica to furnish the Christian church, and were there arranged haphazard. Simpler still, walls of ancient bricks were quickly run up between the solid columns of a temple; marble casings were torn off to be used as common building stone; statues, carved cornices, and friezes were thrust into lime-kilns which sprang up all over the city wherever the ancient monuments stood thickest; priceless marbles were ground into fragments for making mosaics or were mixed with cement and made into concrete.

When Constantine left Rome to found his new capital the city had already degenerated into a squalid provincial town, and fifty years later Jerome could refer to its gilded squalor and its temples lined with cobweb.

Already the seal had been put upon the old order when Gratian in 383 abolished the privileges of the pagan places of worship, and quickly disaster followed upon the heels of destruction. Twice Alaric despoiled the city and carried off priceless booty. Vitiges tore the marble from the mausoleum of Hadrian and destroyed the aqueducts; Genseric dismantled the temple of Jupiter; Robert Guiscard laid waste the Campus Martius and other parts of the city by fire. Sieges, sacks, earthquakes, fires, and inundations succeeded each other until the old level of the city was in places buried 50 feet beneath accumulated ruin and rubbish.

The scene shifts once more; centuries have slipped by and the city of Rome has become a desolation. Marble columns and granite obelisks lie prone upon the ground, and many more have found graves beneath the soil. Enormous mounds of earth and masonry, disfigured with rude battlements, represent all that is left of the great monuments; crumbling ruins and waste land stretch away to the walls, and without the campagna has become a fever-stricken wilderness.

Military fortresses, watch-towers on the walls, and bell-towers of churches are the only buildings kept in repair. Gaunt wolves snarl and fight over the refuse heaps under the walls of S. Peter's. A gibbet crowns the bare summit of the Capitol, goatherds pasture their flocks on its sides and along the green slopes of the Forum, and thus the hill and the tract of land at its foot have returned once more to their primitive pastoral state and their pastoral names, the "hill of goats" and the "field of cows." Over all broods the ominous silence of terror, bloodshed, and pestilence.

Upon this scene of ruin the Renaissance and modern city of Rome was to come into being, and the mediaeval buildings were in their turn to be destroyed or overlaid with a modern garb, leaving only a few churches and convents, a few towers and palaces, a few cloisters to mark the passing of the centuries.

ARCH OF TITUS

Erected to commemorate this Emperor's destruction of Jerusalem, a.d. 70. It is decorated with reliefs of the seven-branched candlestick and other spoils of the Temple which were carried through the city in the Emperor's triumph. See page 31.

The remains of the imperial city are described by a modern writer[2] lying like a skeleton beneath the modern town, beneath streets, villas, and public buildings; and from the fifteenth century, when Rome, which had only just escaped an extinction as complete as that of her neighbour and ancient rival Tusculum, began once more to rise from the dust, to modern times, all the building materials have been furnished by her ruins. The few monuments that have been preserved owe their safety to their consecration as churches.

Of all the despoilers to which Rome has fallen a victim, none have been so assiduous in their destruction as her own rulers and people. Streets have been paved with building stone, churches and palaces built with ancient materials. Monuments of the utmost artistic and historic value have been destroyed for the purpose, the Colosseum alone being robbed of 2522 cart-loads of travertine in the fifteenth century. The inadequate prohibitions issued at rare intervals proved impotent in presence of a practice so deep rooted and time honoured. Every villa garden and palace staircase is peopled with ancient statues. Fragments of inscriptions, of carved mouldings and cornices, marble pillars and antique fountains, are met with in every courtyard. Even a humble house or shop will have a marble step or a marble lintel to the front door. To the present day no piece of work is ever undertaken in Rome, no house foundation dug or gas-pipe laid, but the workmen come across some ancient masonry, an aqueduct whose underground course is unknown and unexplored, a branch of one of the great cloacae, or the immense concrete vault of a bath or temple whose destruction gives as much trouble as if it were solid rock.

Fortunately for the student and the archaeologist a government official, a "custodian of excavations," now watches all such operations, and all "finds" of importance, fragments of inscriptions and statues, earthenware lamps, bronze or glass vessels, fragments of mosaic, and gold ornaments, are collected and reported.