fell to the lot of a young empire, but lacking in those powers which made Rome what she was. If that country, "the newest born of nations, the latest hope of mankind," which has so rapidly risen to a power surpassing in extent that of ancient Rome, and bears within itself the elements of the decay that ruined the old empire, – wealth, vice, corruption, – if she could overcome the vain notion that hers is an exceptional case, and that she is not subject to that great law of nature which makes personal virtue the corner-stone of national stability and the lack of that its bane, and could look calmly upon the remains of old Rome's grandeur, she might learn a great lesson. Contemplating the patient formation of that far-reaching dominion until it found its perfect consummation in the age of Augustus, (Tantæ molis erat Romanam condere gentem,) she would see that true national greatness is not "the hasty product of a day"; that demagogues and adventurers, who have made politics their trade, are not the architects of that greatness; and that the parchment on which the constitution and laws of a country are written, might as well be used for drum-heads when reverence and obedience have departed from the hearts of its people.
A gifted representative of a name which is classical in the history of the drama, some years ago gave to the world a journal of her residence in Rome. She called her volume "A Year of Consolation" – a title as true as it is poetical. Indeed I know of nothing more soothing to the spirit than a walk through these ancient streets, or an hour of meditation amid these remains of fallen majesty. To stand in the arena of the Coliseum in the noonday glare, or when those ponderous arches cast their lengthened shadows on the spot where the first Roman Christians were sacrificed to make a holiday for a brutalized populace, – to muse in the Pantheon, that changeless temple of a living, and monument of a dead, worship, and reflect on the many generations that have passed beneath its majestic portico from the days of Agrippa to our own, – to listen to the birds that sing amid the shrubbery which decks the stupendous arches of the Baths of Caracalla, – to be overwhelmed by the stillness of the Campagna while the eye is filled with that rolling verdure which seems in the hazy distance like the waves of the unquiet sea – what are all these things but consolations in the truest sense of the word? What is the bitterest grief that ever pierced a human heart through a long life of sorrows, compared to the dumb woe of that mighty desolation? What are our brief sufferings, when they are brought into the august presence of a mourner who has seen her hopes one by one taken from her, through centuries of war and rapine, neglect and silent decay?
Among all of Rome's monuments of antiquity, there are few that impress me so strangely as those old Egyptian obelisks, the trophies of the victorious emperors, which the pontiffs have made to contribute so greatly to the adornment of their capital. It is almost impossible to turn a corner of one of the principal streets of the city without seeing one of these peculiar shafts that give a fine finish to the perspective. If their cold granite forms could speak, what a strange history they would reveal! They were witnesses of the achievements of a power which reached its noonday splendour centuries before the shepherd Faustulus took the foundling brothers into his cottage on the banks of the Tiber. The civilization of which they are the relics had declined before the Roman kings inaugurated that which afterwards reclaimed all Europe from the barbarians. Yet there they stand as grim and silent as if they had but yesterday been rescued from the captivity of the native quarry, and had never seen a nobler form than those of the dusty artisans who wrought them – as dull and unimpressible as some of the stupid tourists whom I see daily gazing upon these glorious monuments, and seeing only so much brick and stone.
MODERN ROME
Acknowledging as I do the charms which the Rome of antiquity possesses for me, it must still be confessed that the Rome of the present time enchants me with attractions scarcely less potent. Religion has consecrated many of the spots which history had made venerable, and thus added a new lustre to their associations. I turn from the broken columns and gray mouldering walls of old Rome to those fanes, "so ancient, yet so new," in which the piety of centuries has found its enduring expression. Beneath their sounding arches, by the mild light of the lamps that burn unceasingly around their shrines, who would vex his brain with antiquarian lore? We may notice that the pavement is worn away by the multitudes which have been drawn thither by curiosity or devotion; but we feel that Heaven's chronology is not an affair of months and years, and that Peter and Paul, Gregory and Leo, are not mere personages in a drama upon the first acts of which the curtain long since descended. Who thinks of antiquity while he inhabits that world of art which Rome encloses within her walls? Those are not the triumphs of a past age alone; they are the triumphs of to-day. The Apollo's bearing is not less manly, its step not less elastic, than it was in that remote age when its unknown sculptor threw aside his chisel and gazed upon his finished work. To-day's sunshine is not more clear and golden than that which glows in the landscapes of Claude Lorraine, though he who thus made the sunbeams his servants has been sleeping for nearly two centuries in the dusty vaults of Trinita de' Monti. Were Raphael's deathless faces more real while he was living than they are now? Were Guido's and Domenichino's triumphs more worthy of admiration while the paint was wet upon them? or were the achievements of that giant of art, Michel Angelo, ever more wonderful than now? No; these great works take no note of time, and confer upon the city which contains them something of their own immortality.
I have heard people regret that so many of our artists should expatriate themselves, and spend their lives in Rome or Florence. To me, however, nothing seems more natural; and if I were a painter, or a sculptor, I feel certain that I should share the common weakness of the profession for a place of residence in harmony with my art. What sympathy can a true artist feel with a state of society in which he is regarded by nine people out of ten as a useless member, because he does not directly aid in the production of a given quantity of grain or of cloth? Every stroke of his brush, every movement of his hands in moulding the obedient clay, is a protest against the low, mean, materialistic views of life which prevail among us; and it is too much to ask of any man that he shall spend his days in trying to live peaceably in an enemy's camp. When figs and dates become common articles of food in Lapland, and the bleak sides of the hills of New Hampshire are adorned with the graceful palm tree and the luxuriant foliage of the tropics, you may expect art to flourish in a community whose god is commerce, and whose chief religious duty is money-getting.
Truly the life of an artist in Rome is about as near the perfection of earthly happiness as is commonly vouchsafed to mortal man. The tone of society, and all the surroundings of the artist, are so congenial that no poverty nor privation can seriously interfere with them. The streets, with their architectural marvels, the trim gardens and picturesque cloisters of the old religious establishments, the magnificent villas of the neighbourhood of the city, and the vast, mysterious Campagna, with its gigantic aqueducts and its purple atmosphere, and those glorious galleries which at the same time gratify the taste of the artist and feed his ambition, – these are things which are as free to him as the blessed sunlight or the water that sparkles in the countless fountains of the Holy City. I do not wonder that artists who have lived any considerable time in Rome are discontented with the feverish restlessness of our American way of life, and that, after "stifling the mighty hunger of the heart" through two or three wearisome years in our western world, they turn to Rome as to a fond mother, upon whose breast they may find that peace which they had elsewhere sought in vain.
The churches of Rome impress me in a way which I have never heard described by any other person. I do not speak of St. Peter's, (that "noblest temple that human skill ever raised to the honour of the Creator,") nor do I refer to those other magnificent basilicas in which the Christian glories of eighteen centuries sit enthroned. These have a dignity and majesty peculiarly their own, and the most thoughtless cannot tread their ancient pavement without being for the time subdued into awe and veneration. But the parish churches of Rome, the churches of the various religious orders and congregations, and those numerous little temples which are so thickly scattered through the city, attract me in manner especially fascinating. There is an air of cosiness and at-home-ativeness about them which cannot be found in the grander fanes. Some of them seem by their architectural finish to have been built in some fine street or square, and to have wandered off in search of quiet to their present secluded positions. It is beneath their arches that the Roman people may be seen. Before those altars
