uilt in the shape of a
septizonium, on the Appian Way; the artificial hill of the Monte del
Grano, believed to be the tomb of Alexander Severus, and his wife and
mother, in the very depths of which the Capitoline sarcophagus and the
Portland vase were found: all these monuments would furnish abundant
material for archaeological, artistic, and historical discussion. My
purpose is, however, to mention only subjects illustrated by recent
and little-known discoveries, or else to select such representative
specimens as may help the reader to compare pagan with Christian art
and civilization. For this reason, and to save unavoidable
repetitions, I pass over the fate of the emperors of the second and
third centuries, and resume my description with those who came to
power after the peace of the church.

[Illustration: Remains of Geta's Mausoleum.]

MAUSOLEA OF CHRISTIAN EMPERORS. The first Christian members of the
imperial family, Helena, mother of Constantine, and Constantia, his
daughter, were buried in separate tombs, one on the Via Labicana, at
the place formerly called _ad duas Lauros_ and now Torre Pignattara,
the other near the church of S. Agnese, on the Via Nomentana.

[Illustration: The Torre Pignattara.]

Helena's mausoleum at Torre Pignattara (so called from the _pignatte_,
or earthen vases built into the vault to lighten its weight) is round
in shape, and contains seven niches or recesses for sarcophagi. One of
these sarcophagi, famous in the history of art, was removed from its
position as early as the middle of the twelfth century by Pope
Anastasius IV., who selected it for his own resting-place. It was
taken to the Lateran basilica, where it appears to have been much
injured by the hands of indiscreet pilgrims. In 1600 it was carried
from the vestibule to the tribune, and thence to the cloister-court.
When Pius VI. added it to the wonders of the Vatican Museum, it was
subjected to a thorough process of restoration which employed
twenty-five stone-cutters for a period of nine years.

The reliefs upon it are tolerably well executed, but lack invention
and novelty. They are partly borrowed from an older work, partly
combined from various sources in an extraordinary manner; horsemen
hovering in the air, and below them, prisoners and corpses scattered
around. They are intended to represent a triumphal procession, or
possibly a military _decursio_, to which allusion has been made above.

It may appear indiscr