Pagan and Christian Rome Part 19

Curiosity leads us to inquire where this amount of gold and treasure came from, who it was that concealed it in the rock of the Akropolis, and when, and for what reason. Visconti's surmise that it was hidden there by a wealthy Roman, during the civic wars, and the proscriptions which followed them towards the end of the Republic, is obviously incorrect. No Roman general, magistrate, or merchant of republican times could have collected such a fortune in impoverished Greece. I have a more probable suggestion to make. When Xerxes engaged his fleet against the Greek allies in the straits of Salamis, he was so confident of gaining the day that he established himself comfortably on a lofty throne on the slope of Mount aegaleos to witness the fight.

And when he saw Fortune turn against his forces, and was obliged to retire in hot haste, trusting his own safety to flight, I suppose that the funds of war, which were kept by the treasurer of the army at headquarters, may have been buried in a cleft of the Akropolis, in the hope of a speedy and more successful return. The amount of money carried by Xerxes' treasury officials for purposes of war must have been enormous, when we consider that 2,641,000 men were counted at the review held in the plains of Doriskos.

Whatever may have been the origin of the wealth of Atticus it could not have fallen into better hands. His liberality towards men of letters, and needy friends; his works of general utility executed in Greece, Asia Minor, and Italy; his exhibitions of games and entertainments in the Circus and in the Amphitheatre, did not prevent him from cultivating science to such an extent that, on his arrival in Rome, he was selected as tutor of the two adopted sons of Antoninus Pius,--Marcus Aurelius and Lucius Verus. Here he married Annia Regilla, one of the wealthiest ladies of the day, by whom he had six children. She died in childbirth, and Herodes was accused, we do not know on what ground, of having accelerated or caused her death by ill-treatment or violence. Regilla's brother, Appius Annius Bradua, consul A. D. 160, brought an action of uxoricide against Herodes, but failed to prove his case. Still, the calumny remained in the mind of the public. To dispel it, and to regain his position in society, Herodes, although stricken with grief, made himself conspicuous almost to excess in honoring the memory of his departed wife. Her jewels were offered to Ceres and Proserpina; and the land which she had owned between the Via Appia and the valley of the Almo was covered with memorial buildings, and also consecrated to the G.o.ds. On the boundary line of the property, columns were raised bearing the inscription in Greek and Latin:--

"To the memory of Annia Regilla, wife of Herodes, the light and soul of the house, to whom these lands once belonged."[137]

The lands are described in other epigraphic doc.u.ments as containing a village named Triopium, wheat-fields, vineyards, olive-groves, pastures, a temple dedicated to Faustina the younger under the t.i.tle of the New Ceres, a burials.p.a.ce for the family, placed under the protection of Minerva and Nemesis, and lastly a grove sacred to the memory of Regilla.

[Ill.u.s.tration: Tomb of Annia Regilla (fragment).]

Many of these monuments are still in existence. The first structure we meet with is a tomb of considerable size built in the shape of a temple, the lowest steps of which are watered by the Almo. Its popular name of "Temple of the G.o.d Rediculus" is derived from a tradition which points to this spot as the one at which Hannibal turned back before the gates of Rome, and where a shrine to the "G.o.d of Retreat"

was subsequently raised by the Romans. The Campagna abounds in sepulchral monuments of a similar design, but none can be compared with this in the elegance of its terra-cotta carvings, which give it the appearance and lightness of lace. The polychrome effect produced by the alternate use of dark red and yellow bricks is particularly fine.

Although no inscription has been found within or near this heroon, there are reasons to prove that it was the family tomb of Regilla, Herodes, and their six children. A more beautiful and interesting structure is hardly to be found in the Campagna, and I wonder why so few visit it. Perhaps it is better that it should be so, because its present owner has just rented it for a pig-pen.

Higher up the valley, on a spur of the hill above the springs of Egeria, stands the Temple of Ceres and Faustina, now called S. Urbano alla Caffarella. It belongs to the Barberinis, who take good care of it, as well as of the sacred grove of ilexes which covers the slope to the south of the springs. The vestibule is supported by four marble pillars, but, the intercolumniations having been filled up by Urban VIII. in 1634, the picturesqueness of the effect is destroyed. Here Herodes dedicated to the memory of his wife a statue, minutely described in the second Triopian inscription, alluded to above. Early Christians took possession of the temple and consecrated it to the memory of Pope Urba.n.u.s, the martyr, whose remains were buried close by, in the _crypta magna_ of the Catacombs of Praetextatus. Pope Paschal I. caused the Confession of the church to be decorated with frescoes representing the saint from whom it was named, with the Virgin Mary, and S. John. In the year 1011 the panels between the pilasters of the cella were covered with paintings ill.u.s.trating the lives and martyrdoms of Caecilia, Tiburtius, Valeria.n.u.s and Urba.n.u.s, and, although injured by restorations, these paintings form the most important contribution to the history of Italian art in the eleventh century. We have therefore under one roof, and within the four walls of this temple, the names of Ceres, Faustina, Herodes and Annia Regilla, coupled with those of S. Caecilia and S. Valeria.n.u.s, of Paschal I., and Pope Barberini; decorations in stucco and brick of the time of Marcus Aurelius; paintings of the ninth and eleventh centuries; and all this variety of wealth intrusted to the care of a good old hermit, whose dreams are surely not troubled by the conflicting souvenirs of so many events.

I need not remind the reader that the name of Egeria, given to the nymphaeum below the temple, is of Renaissance origin. The grotto in which, according to the legend, and to Juvenal's description, Numa held his secret meetings with the nymph Egeria, was situated within the line of the walls of Aurelian, and in the lower grounds of the Villa Fonseca, that is to say, at the foot of the Caelian Hill, near the Via della Ferratella. I saw it first in 1868, and again in 1880 when collecting materials for my volume on the "Aqueducts and Springs of Ancient Rome."[138] In 1887 it was buried by the military engineers, while they were building their new hospital near Santo Stefano Rotondo. The springs still make their way through the newly-made ground, and appear again in the beautiful nymphaeum of the Villa Mattei (von Hoffmann) at the corner of the Via delle Mole di S.

Sisto and the Via di Porta S. Sebastiano.

As regards the Sacred Grove, there is no doubt that its present beautiful ilexes continue the tradition, and flourish on the very spot of the old grove, sacred to the memory of Annia Regilla, CVIVS HAEC PRAEDIA FVERVNT.

[Ill.u.s.tration: The Sacred Grove and the Temple of Ceres; now S. Urbano alla Caffarella.]

To come back, however, to the "Queen of the Roads:" among the many discoveries that have taken place in the cemeteries which line it, that made on April 16, 1485, during the pontificate of Innocent VIII., remains unrivalled.

There have been so many accounts published by modern writers[139] in reference to this extraordinary event that it may interest my readers to learn the truth by reviewing the evidence as it stands in its original simplicity. I shall only quote such authorities as enable us to ascertain what really took place on that memorable day. The case is in itself so unique that it does not need amplification or the addition of imaginary details. Let us first consult the diary of Antonio di Vaseli:--

(f. 48.) "To-day, April 19, 1485, the news came into Rome, that a body buried a thousand years ago had been found in a farm of Santa Maria Nova, in the Campagna, near the Casale Rotondo.... (f. 49.) The Conservatori of Rome despatched a coffin to Santa Maria Nova elaborately made, and a company of men for the transportation of the body into the city. The body has been placed for exhibition in the Conservatori palace, and large crowds of citizens and n.o.blemen have gone to see it. The body seems to be covered with a glutinous substance, a mixture of myrrh and other precious ointments, which attract swarms of bees. The said body is intact. The hair is long and thick; the eyelashes, eyes, nose, and ears are spotless, as well as the nails. It appears to be the body of a woman, of good size; and her head is covered with a light cap of woven gold thread, very beautiful. The teeth are white and perfect; the flesh and the tongue retain their natural color; but if the glutinous substance is washed off, the flesh blackens in less than an hour. Much care has been taken in searching the tomb in which the corpse was found, in the hope of discovering the epitaph, with her name; it must be an ill.u.s.trious one, because none but a n.o.ble and wealthy person could afford to be buried in such a costly sarcophagus thus filled with precious ointments."

Translation of a letter of messer Daniele da San Sebastiano, dated MCCCCLx.x.xV:--

"In the course of excavations which were made on the Appian Way, to find stones and marbles, three marble tombs have been discovered during these last days, sunk twelve feet below the ground. One was of Terentia Tulliola, daughter of Cicero; the other had no epitaph. One of them contained a young girl, intact in all her members, covered from head to foot with a coating of aromatic paste, one inch thick. On the removal of this coating, which we believe to be composed of myrrh, frankincense, aloe, and other priceless drugs, a face appeared, so lovely, so pleasing, so attractive, that, although the girl had certainly been dead fifteen hundred years, she appeared to have been laid to rest that very day. The thick ma.s.ses of hair, collected on the top of the head in the old style, seemed to have been combed then and there. The eyelids could be opened and shut; the ears and the nose were so well preserved that, after being bent to one side or the other, they instantly resumed their original shape. By pressing the flesh of the cheeks the color would disappear as in a living body. The tongue could be seen through the pink lips; the articulations of the hands and feet still retained their elasticity. The whole of Rome, men and women, to the number of twenty thousand, visited the marvel of Santa Maria Nova that day. I hasten to inform you of this event, because I want you to understand how the ancients took care to prepare not only their souls but also their bodies for immortality. I am sure that if you had had the privilege of beholding that lovely young face, your pleasure would have equalled your astonishment."

Translation of a letter, dated Rome, April 15, 1485, among Schedel's papers in Cod. 716 of the Munich library:

"Knowing your eagerness for novelties, I send you the news of a discovery just made on the Appian Way, five miles from the gate, at a place called Statuario (the same as S. Maria Nova). Some workmen engaged in searching for stones and marbles have discovered there a marble coffin of great beauty, with a female body in it, wearing a knot of hair on the back of her head, in the fas.h.i.+on now popular among the Hungarians. It was covered with a cap of woven gold, and tied with golden strings. Cap and strings were stolen at the moment of the discovery, together with a ring which she wore on the second finger of the left hand. The eyes were open, and the body preserved such elasticity that the flesh would yield to pressure, and regain its natural shape immediately. The form of the body was beautiful in the extreme; the appearance was that of a girl of twenty-five. Many identify her with Tulliola, daughter of Cicero, and I am ready to believe so, because I have seen, close by there, a tombstone with the name of Marcus Tullius; and because Cicero is known to have owned lands in the neighborhood. Never mind whose daughter she was; she was certainly n.o.ble and rich by birth. The body owed its preservation to a coating of ointment two inches thick, composed of myrrh, balm, and oil of cedar. The skin was white, soft, and perfumed. Words cannot describe the number and the excitement of the mult.i.tudes who rushed to admire this marvel. To make matters easy, the Conservatori have agreed to remove the beautiful body to the Capitol. One would think there is some great indulgence and remission of sins to be gained by climbing that hill, so great is the crowd, especially of women, attracted by the sight.

"The marble coffin has not yet been removed to the city; but I am told that the following letters are engraved on it: 'Here lies Julia Prisca Secunda. She lived twenty-six years and one month. She has committed no fault, except to die.' It seems that another name is engraved on the same coffin, that of a Claudius Hilarus, who died at forty-six. If we are to believe current rumors, the discoverers of the body have fled, taking with them great treasures."

And now let the reader gaze at the mysterious lady. The accompanying cut represents her body as it was exhibited in the Conservatori palace, and is taken from an original sketch in the Ashburnham Codex, 1174, f. 134.

[Ill.u.s.tration: The body of a girl found in 1485.]

Celio Rodigino, Leandro Alberti, Alexander ab Alexandro and Corona give other particulars of some interest:--

The excavations were undertaken by the monks of Santa Maria Nuova (now S. Francesca Romana), five miles from the gate. The tomb stood on the left or east side of the road, high above the ground. The sarcophagus was imbedded in the walls of the foundation, and its cover was sealed with molten lead. As soon as the lid was removed, a strong odor of turpentine and myrrh was remarked by those present. The body is described as well arranged in the coffin, with arms and legs still flexible. The hair was blonde, and bound by a fillet (_infula_) woven of gold. The color of the flesh was absolutely lifelike. The eyes and mouth were partly open, and if one drew the tongue out slightly it would go back to its place of itself. During the first days of the exhibition on the Capitol this wonderful relic showed no signs of decay; but after a time the action of the air began to tell upon it, and the face and hands turned black. The coffin seems to have been placed near the cistern of the Conservatori palace, so as to allow the crowd of visitors to move around and behold the wonder with more ease.

Celio Rodigino says that the first symptoms of putrefaction were noticed on the third day; and he attributes the decay more to the removal of the coating of ointments than to the action of the air.

Alexander ab Alexandro describes the ointment which filled the bottom of the coffin as having the appearance and scent of a fresh perfume.

These various accounts are no doubt written under the excitement of the moment, and by men naturally inclined to exaggeration; still, they all agree in the main details of the discovery,--in the date, the place of discovery, and the description of the corpse. Who was, then, the girl for the preservation of whose remains so much care had been taken?

Pomponio Leto, the leading archaeologist of the age, expressed the opinion that she might have been either Tulliola, daughter of Cicero, or Priscilla, wife of Abascantus, whose tomb on the Appian Way is described by Statius (Sylv. V. i. 22). Either supposition is wrong.

The first is invalidated by the fact that the body was of a young and tender girl, while Tulliola is known to have died in childbirth at the age of thirty-two. Moreover, there is no doc.u.ment to prove that Cicero had a family vault at the sixth milestone of the Appian Way. The tomb of Priscilla, wife of Abascantus, a favorite freedman of Domitian, is placed by Statius near the bridge of the Almo (Fiume Almone, Acquataccio) four and a half miles nearer the gate; where, in front of the Chapel of Domine quo vadis, it has been found and twice excavated: the first time in 1773 by Amaduzzi; the second in 1887, under my supervision. The only clew worth following is that given in Pehem's letter of April 15, now in the Munich library; but even this leads to no result. The inscription, which was said to mention the name and age of the girl, is perfectly genuine, and duly registered in the "Corpus Inscriptionum," No. 20,634. It is as follows:--

DM IVLIALLPRISCA VIXANNXXVIMIDI QCLODIVs.h.i.+LARVS VIXANNx.x.xXVI NIHILVNQVAMPECCAVIT NISIQVODMORTVAEST

"To the infernal G.o.ds. [Here lie] Julia Prisca, freedwoman of Lucius Julius, who lived twenty-six years one month, one day; [and also] Q.

Clodius Hilarus, who lived forty-six years. She never did any wrong except to die." Pehem, Malaguy, Fantaguzzi, Waelscapple and all the rest of them, a.s.sert unanimously that the inscription was found with the body on April 16, 1485, and they are all mistaken. It had been seen and copied, _at least twenty-two years before_, by Felix Felicia.n.u.s of Verona, and is to be found in the MSS. collection of ancient epitaphs, which he dedicated to Andrea Mantegna in 1463. The number of spurious inscriptions concocted for the occasion is truly remarkable. Georges of Spalato (1484-1545) gives the following version of this one in his MSS. diary, now in Weimar: "Here lies my only daughter Tulliola, who has committed no offence, except to die. Marcus Tullius Cicero, her unhappy father, has raised this memorial."

The poor girl, whose name and condition in life will never be known, and whose body for twelve centuries had so wonderfully escaped destruction, was most abominably treated by her discoverers in 1485.

There are two versions as to her ultimate fate. According to one, Pope Innocent VIII., to stop the excitement and the superst.i.tions of the citizens, caused the _conservatori_ to remove the body at night outside the Porta Salaria, and bury it secretly at the foot of the city walls. According to the second it was thrown into the Tiber. One is just about as probable as the other.

How differently we treat these discoveries in our days! In the early morning of May 12, 1889, I was called to witness the opening of a marble coffin which had been discovered two days before, under the foundations of the new Halls of Justice, on the right bank of the Tiber, near Hadrian's Mausoleum. As a rule, the ceremony of cutting the bra.s.s clamps which fasten the lids of urns and sarcophagi is performed in one of our archaeological repositories, where the contents can be quietly and carefully examined, away from an excited and sometimes dangerous crowd. In the present case this plan was found impracticable, because the coffin was ascertained to be filled with water which had, in the course of centuries, filtered in, drop by drop, through the interstices of the lid. The removal to the Capitol was therefore abandoned, not only on account of the excessive weight of the coffin, but also because the shaking of the water would have damaged and disordered the skeleton and the objects which, perchance, were buried inside.

The marble sarcophagus was embedded in a stratum of blue clay, at a depth of twenty-five feet below the level of the city, that is, only four or five feet above the level of the Tiber, which runs close by.

It was inscribed simply with the name CREPEREIA TRYPHAENA, and decorated with bas-reliefs representing the scene of her death. No sooner had the seals been broken, and the lid put aside, than my a.s.sistants, myself, and the whole crowd of workmen from the Halls of Justice, were almost horrified at the sight before us. Gazing at the skeleton through the veil of the clear water, we saw the skull covered, as it were, with long ma.s.ses of brown hair, which were floating in the liquid crystal. The comments made by the simple and excited crowd by which we were surrounded were almost as interesting as the discovery itself. The news concerning the prodigious hair spread like wild-fire among the populace of the district; and so the exhumation of Crepereia Tryphaena was accomplished with unexpected solemnity, and its remembrance will last for many years in the popular traditions of the new quarter of the Prati di Castello. The mystery of the hair is easily explained. Together with the spring-water, germs or seeds of an aquatic plant had entered the sarcophagus, settled on the convex surface of the skull, and developed into long glossy threads of a dark shade.

[Ill.u.s.tration: OBJECTS FOUND IN THE GRAVE OF CREPEREIA TRYPHaeNA]

The skull was inclined slightly towards the left shoulder and towards an exquisite little doll, carved of oak, which was lying on the scapula, or shoulder-blade. On each side of the head were gold earrings with pearl drops. Mingled with the vertebrae of the neck and back were a gold necklace, woven as a chain, with thirty-seven pendants of green jasper, and a brooch with an amethyst intaglio of Greek workmans.h.i.+p, representing the fight of a griffin and a deer.

Where the left hand had been lying, we found four rings of solid gold.

One is an engagement-ring, with an engraving in red jasper representing two hands clasped together. The second has the name PHILETVS engraved on the stone; the third and fourth are plain gold bands. Proceeding further with our exploration, we discovered, close to the right hip, a box containing toilet articles. The box was made of thin pieces of hard wood, inlaid _alla Certosina_, with lines, squares, circles, triangles, and diamonds, of bone, ivory, and wood of various kinds and colors. The box, however, had been completely disjointed by the action of the water. Inside there were two fine combs in excellent preservation, with the teeth larger on one side than on the other: a small mirror of polished steel, a silver box for cosmetics, an amber hairpin, an oblong piece of soft leather, and a few fragments of a sponge.[140] The most impressive discovery was made after the removal of the water, and the drying of the coffin. The woman had been buried in a shroud of fine white linen, pieces of which were still encrusted and cemented against the bottom and sides of the case, and she had been laid with a wreath of myrtle fastened with a silver clasp about the forehead. The preservation of the leaves is truly remarkable.

Who was this woman, whose sudden and unexpected reappearance among us on the twelfth of May, 1889, created such a sensation? When did she live? At what age did she die? What caused her death? What was her condition in life? Was she beautiful? Why was she buried with her doll? The careful examination of the tomb and its contents enable us to answer all these questions satisfactorily.

Crepereia Tryphaena lived at the beginning of the third century after Christ, during the reigns of Septimius Severus and Caracalla, as is shown by the form of the letters and the style of the bas-reliefs engraved on the sarcophagus. She was not n.o.ble by birth; her Greek surname _Tryphaena_ shows that she belonged to a family of freedmen, former servants of the n.o.ble family of the Creperei. We know nothing about her features, except that she had a strong and fine set of teeth. Her figure, however, seems to have been rather defective, on account of a deformity in the ribs, probably caused by scrofula.

Scrofula, in fact, seems to have been the cause of her death. In spite of this deformity, however, there is no doubt that she was betrothed to the young man Philetus, whose name is engraved on the stone of the second ring, and that the two happy lovers had exchanged the oath of fidelity and mutual devotion for life, which is expressed by the symbol of the clasped hands. The story of her sad death, and of the sudden grief which overtook her family on the eve of a joyful wedding, is plainly told by the presence in the coffin of the doll and the myrtle wreath, which is a _corona nuptialis_. I believe, in fact, that the girl was buried in her full bridal costume, and then covered with the linen shroud, because there are fragments of clothes of various textures and qualities mixed with those of the white linen.

And now let us turn our attention to the doll. This exquisite _pupa_, a work of art in itself, is of oak, to which the combined action of time and water has given the hardness of metal. It is modelled in perfect imitation of a woman's form, and ranks amongst the finest of its kind yet found in Roman excavations. The hands and feet are carved with the utmost skill. The arrangement of the hair is characteristic of the age of the Antonines, and differs but little from the coiffure of Faustina the elder. The doll was probably dressed, because in the thumb of her right hand are inserted two gold keyrings like those carried by housewives. This charming little figure, the joints of which at the hips, knees, shoulders, and elbows are still in good order, is nearly a foot high. Dolls and playthings are not peculiar to children's tombs. It was customary for young ladies to offer their dolls to Venus or Diana on their wedding-day. But this was not the end reserved for Crepereia's doll. She was doomed to share the sad fate of her young mistress, and to be placed with her corpse, before the marriage ceremony could be performed.

FOOTNOTES:

[121] See chapter iii., p. 67, of _Ancient Rome_

[122] _De t.i.tulis in quibus impensae monumentorum sepulcralium indicatae sunt._

[123] See Luigi Grifi: _Sopra la iscrizione antica dell' auriga Scirto_, in the _Accademia archeologica_, 1854, v. xiii.

[124] See the _Corpus inscriptionum latinarum_, vol. vi., part 2, nos.

4327-5886.

[125] See Walch: _Ad Gorii Xenia_, p. 98.--Orelli-Henzen: vol. 2, no.

4789, etc.

[126] _Monumenti inediti dell' Inst.i.tuto di correspondenza archeologica_, Supplemento, 1891.

[127] _t.i.tus_, 4.