There was a place upon their
summits destined for flute and trumpet players, in order that the victor
when passing might be intoxicated at the same time by music and praise,
and taste at the same moment all the most exalted emotions.

Facing these triumphal arches are the ruins of the temple of Peace built
by Vespasian; it was so decorated with brass and with gold, internally,
that when consumed by fire, the streams of burning metal that flowed
from it extended even to the Forum. Lastly, the Coliseum, the most
beautiful ruin of Rome, terminates this noble enclosure, which embraces
all history in its compass. This superb edifice, of which only the
stones remain, stript of the gold and the marble, served as an
amphitheatre for the combats of the gladiators, with wild beasts. It was
thus that the Roman people were amused and deceived by strong emotions,
when natural sentiments could no longer soar. The entrance to the
Coliseum is by two doors, one consecrated to the victors, and by the
other were carried out the dead: strange contempt for the human race,
which made the life or death of man dependent upon the pastime of a
public spectacle! Titus, the best of emperors, dedicated the Coliseum to
the Roman people,--and these admirable ruins bear such fine traits of
magnificence and genius, that we are led into an illusion on the subject
of true greatness, and tempted to grant that admiration to the
masterpieces of art, which is only the due of monuments consecrated to
generous institutions.

Oswald did not indulge in that admiration which Corinne felt in
contemplating these four galleries; these four edifices, rising one
upon another; this medley of pomp and barbarism, which at once inspires
respect and compassion. He beheld in these scenes nothing but the luxury
of the master, and the blood of the slaves, and felt indignant at the
arts which, regardless of their aim, lavish their gifts upon whatever
object they may be destined for. Corinne endeavoured to combat this
disposition:--"Do not," said she, to Lord Nelville, "carry the rigour of
your principles of morality and justice into the contemplation of the
Italian monuments; they, for the most part, recall, as I have told you,
rather the splendour, the elegance of taste of ancient forms, than the
glorious epoch of Roman virtue. But do you not find some traces of the
moral greatness possessed by the first ages, in the gigantic luxury of
the monuments which have succeeded them