Gregorii Mirabilia Urbis Romae: MAGISTRI GREGORII NARRATIO DE MIRABILIBUS URBIS ROMAE (12th/13th cent.)

Here begins the prologue of Master Gregory concerning the marvels which at Rome once were or still are, and of which the traces or present memory even today remains.

Multo sociorum meorum rogatu et praecipue magistri Martini et domini Thomae et aliorum plurium delictissimorum meorum cogor quae apud Romam maiori admiratione digna didici, scripto assignare. Ceterum valde vereor parum conferenti relatione sacrum studium vestrum et lectionis divinae interpolare delicias, et aures summorum doctorum sermonibus assuetas rudi oratione offendere erubesco: quis enim deliciis assuetos convivas aridae et rusticanae cenae praesumat invitare? Hinc est quod cunctabundam manum operi promisso coactus impono, quoniam, dum incompositi sermonis mei nuditatem attendo, saepe sumpturus calamum mentem a proposito revoco.

Much at the urging of my companions, and especially of Master Martin and Lord Thomas and many other of my most delightful friends, I am compelled to assign to writing what I learned at Rome as more worthy of admiration. Moreover, I greatly fear that, by a report contributing too little, I may interpolate the delights of your sacred study and of divine reading, and I blush to offend with a rude oration the ears of the highest doctors accustomed to discourses: for who would presume to invite guests accustomed to delicacies to a dry and rustic dinner? Hence it is that, compelled, I lay my hesitating hand to the promised work, since, while I attend to the nakedness of my uncomposed discourse, often when about to take up the reed-pen I call my mind back from the purpose.

Sed vicit tandem apud me votum consodalium verecundiam meam, qui, ne veritati promissae obviarem, sumpto calamo in manu rudi et minus perita, opus promissum quo melius potui in hunc modum persolvi.

But at length the wish of my companions overcame my modesty; and, lest I run counter to the promised truth, the pen having been taken up in a hand rude and less skillful, I fulfilled the promised work in this manner as well as I could.

Explicit prologus.

Here ends the prologue.

Incipit narratio de mirabilibus urbis Romae quae vel arte magica vel humano labore sunt condita.

Here begins the narration of the marvels of the city of Rome which have been founded either by magic art or by human labor.

1. Vehementius igitur admirandam censeo totius urbis inspectionem, ubi tanta seges turrium, tot aedificia palatiorum, quot nulli hominum contigit enumerare. Quam cum primo a latere montis alonge vidissem, stupefactam mentem meam illud Caesarianum subiit, quod quondam victis Gallis cum Alpes supervolaret inquit, magnae

1. Therefore I consider the inspection of the whole city to be more intensely admirable, where there is such a crop of towers, so many edifices of palaces, as it has befallen no men to enumerate. Which, when I first had seen from the side of a mountain from afar, upon my stupefied mind there came that Caesarian [saying], which once, with the Gauls conquered, when he was flying over the Alps, he said, great

          miratus moenia Romae:
          "Tene, deum sedes, non ullo Marte coacti
          Deseruere viri? Pro qua pugnabitur urbe?
          Dii melius," et cetera.

          marveling at the walls of Rome:
          "Is it you, seats of the gods, that men, compelled by no Mars, have deserted?
          For what city will battle be waged?
          May the gods grant better," et cetera.

Paulo post: Ignavae manus liquere urbem, capacem turbae humani generis, si coiret, et Romam invocans, instar summi numinis eam appellat. Cuius incomprehensibilem decorem diu admirans deo apud me gratias egi, qui magnus in universa terra ibi opera hominum inaestimabili decore mirificavit. Nam licet tota Roma ruat, nil tamen integrum sibi potest aequiperari; unde quidam sic ait:

Shortly after: The cowardly bands left the city, capacious for the throng of the human race, if it should assemble, and invoking Rome, he calls it in the likeness of the highest divinity. Long admiring whose incomprehensible beauty, I gave thanks to God within myself, who, great in the whole earth, there made wondrous the works of men with inestimable decor. For although all Rome should fall, nevertheless nothing whole can be equaled to it; whence someone thus says:

Par tibi, Roma, nihil, cum sis prope tota ruina:
Fracta docere potes, integra quanta fores.

Nothing is equal to you, Rome, though you are almost entirely ruin:
Broken, you can teach how great you would be intact.

Cuius ruina, ut arbitror, docet evidenter cuncta temporalia proxime ruitura, praesertim cum caput omnium temporalium Roma tantum cotidie languescit et labitur.

Whose ruin, as I judge, plainly teaches that all things temporal are on the verge of collapse, especially since the head of all temporal things, Rome, so greatly languishes and slips day by day.

2. Huius urbis portae XIIII sunt, quarum haec sunt nomina: Porta Aurea, Porta Latina, Porta Sacra, Porta Salaria, Porta Marcia, Porta Livia, Porta Collatina, Porta Flaminea, Porta Numantia, Porta Appia, Porta Tiburtina, Porta Aquileia quae nunc sancti Laurentii dicitur, Porta Asinaria.

2. The gates of this city are 14, of which these are the names: the Golden Gate, the Latin Gate, the Sacred Gate, the Salarian Gate, the Marcian Gate, the Livian Gate, the Collatine Gate, the Flaminian Gate, the Numantian Gate, the Appian Gate, the Tiburtine Gate, the Aquileian Gate, which now is called of Saint Lawrence, the Asinarian Gate.

3. Et primum quidem de signis aeneis huius urbis disseram. De primo signo aeneo. Primum signum aeneum taurus est in specie illius, quo Iupiter Europam iuxta fabulam decepit.

3. And first indeed I will discourse concerning the bronze statues of this city. On the first bronze statue. The first bronze statue is a bull, in the likeness of that by which Jupiter deceived Europa, according to the fable.

Hoc autem signum eminens a vallo castri Crescentii tanto pollet artificio, ut inspicientibus mugituro et moturo similis videatur.

Moreover, this statue, projecting from the rampart of the fortress of Crescentius, possesses such artifice that, to onlookers, it seems as if about to low and to move.

4. De secundo signo. Aliud signum aeneum est ante palatium domini papae, equus videlicet immensus et sessor eius. Quem peregrini Theodericum, populus vero Romanus Constantinum dicunt, at cardinales et clerici Romane curiae seu Marcum seu Quintum Quirinum appellant.

4. On the second sign. Another bronze statue is before the palace of the lord pope, namely an immense horse and its rider. Pilgrims call it Theoderic, but the Roman people Constantine; yet the cardinals and the clerics of the Roman curia call it either Marcus or Quintus Quirinus.

Hoc autem memoriale mira arte perfectum super quattuor columnas aereas antiquitus ante aram Iovis in Capitolio stabat, sed beatus Gregorius equitem et equum suum deiecit et quattuor columnas praefatas in ecclesia beati Iohannis Lateranensis posuit. Romani vero equitem cum equo ante palatium domini papae posuerunt. Eratque equus et eques et columnae optimae deauratae, sed pluribus in locis partem auri Romana abrasit avaritia, partem vero vetustas delevit.

This memorial, perfected by wondrous art, of old stood upon four bronze columns before the altar of Jupiter on the Capitoline; but blessed Gregory cast down the horseman and his horse, and placed the aforesaid four columns in the church of Saint John Lateran. The Romans, however, set the horseman with the horse before the palace of the lord pope. And the horse and the horseman and the columns were of the finest, gilded; but in many places Roman avarice has abraded part of the gold, and part, indeed, age has effaced.

Sedet autem eques manum dexteram dirigens tamquam populo loquens vel imperans; sinistra manu frenum retentat, quo caput equi in dexteram partem obliquat, tamquam alio diversurus. Avicula etiam quam cuculam vocant inter aures equi sedet et nanus quidam sub pede equi premitur, miram morientis et extrema patientis speciem repraesentans. Hoc autem opus admirabile sicut diversa sortitum est nomina, sic et diversas compositionis causas suscepit.

However the horseman sits, extending his right hand as though speaking to or commanding the people; with his left hand he holds back the bridle, by which he inclines the horse’s head to the right side, as if about to divert elsewhere. A little bird also, which they call a “cuckoo,” sits between the horse’s ears, and a certain dwarf is pressed under the horse’s foot, presenting a wondrous likeness of one dying and suffering his last extremities. This admirable work, just as it has obtained diverse names, so too has received diverse causes of its composition.

Ceterum peregrinorum et Romanorum super hac re vanas fabulas penitus declinabo eamque originem huius operis assignabo, quam a senioribus et cardinalibus et viris doctissimis didici. Qui Marcum appellant, hanc compositionis causam assignant. Rex Mesenorum, corpore quidem nanus, peritia vero artis nigromantiae prava prae cunctis mortalibus imbutus, cum finitimos sibi reges subiugavisset, regnum Romanorum aggressus est, cum quibus facili eventu plurima bella gessit.

For the rest, I will utterly shun the empty tales of pilgrims and Romans on this matter, and I will assign that origin of this work which I learned from elders and cardinals and most learned men. Those who call it Marcus assign this cause of its composition: the king of the Messenians, indeed a dwarf in body, but steeped, beyond all mortals, in the peritia of the art of nigromancy, after he had subjugated to himself the neighboring kings, attacked the realm of the Romans, with whom he waged very many wars with easy success.

Quippe et robur hostium et aciem armorum arte magica ita prestrinxit, quod hostes virtutem feriendi et arma usum secandi penitus amiserunt. Unde facile superior factus in omni certamine Romanos tantum castris coegit confidere, ad ultimum autem eos arta obsidione circumdedit. Obsessi itaque Romani nullum subsidium sibi reperire potuerunt.

Indeed, he so benumbed both the strength of the enemies and the edge of their arms by magical art, that the enemies utterly lost the virtue of striking, and the arms the use of cutting. Whence, easily made superior in every contest, he compelled the Romans to confide only in their camp; and at the last he surrounded them with a close siege. Thus the besieged Romans were able to find no succor for themselves.

Magus etenim ille memoratus singulis diebus ante lucis ortum extra castra solus egrediebatur avisque a castris quantum clamor auditur appellantis, artem magicam solus in agro exercuit ibique verbis quibusdam secretis et prestigiis potentibus obtinuit, ne Romani ullam virtutem victoriae contra eum possent exercere. Quod cum a Romanis compertum esset et ex multa consuetudine didicissent eum ita a castris exire, quendam militem strenuissimum Marcum nomine adierunt. Cui summum honorem promiserunt, si se vellet periculo opponere ut urbem ab illa obsidione liberaret dominiumque ei libertate urbis pepigerunt et memoriale sempiternum promiserunt.

For that magician aforesaid, on each day before the rising of light, used to go out alone beyond the camp, and, at a distance from the camp as far as the shout of one calling is heard, he alone exercised the magic art in the field; and there, by certain secret words and powerful prestiges, he obtained that the Romans could exercise no virtue of victory against him. When this had been discovered by the Romans, and from much habituation they had learned that he thus went out from the camp, they approached a certain most strenuous soldier, by name Marcus. To him they promised the highest honor, if he should be willing to set himself against the peril, that he might liberate the city from that siege; and they covenanted to him lordship together with the liberty of the city, and they promised an everlasting memorial.

Quibus cum prono favore paruisset, sanctito foedere protinus murum et antemurale ex ea parte, qua rex praedictus exire solebat, noctu perforaverunt, ubi miles memoratus cum equo suo transire posset. Deinde ei consilium suum aperiunt, videlicet ut nocte exiens regem Misenorum a castris egredientem non armis aggrederetur, quibus minime laedi potuisset, set manu raptum intra muros reciperet. Quorum consilio omnino paruit et de nocte media murum exivit.

When he had complied with their request with ready favor, the foedus having been sanctioned, they straightway perforated the wall and the ante-mural on that side where the aforesaid king was wont to go out, by night, where the aforementioned soldier could pass through with his horse. Then they open their counsel to him, namely that, going out by night, he should not attack with arms the king of the Misenes as he was going forth from the camp—by which he could in no wise be harmed—but that, seized by hand, he should take him back within the walls. He entirely obeyed their counsel and in the middle of the night went out through the wall.

Cumque auroram vigili animo exspectaret, cuculus ut assolet cantum emisit, signum scilicet lucis orientis. Quo eques admonitus ascenso equo, regem tunc primum frustra magica arte occupatum conspicit et eo vasto impetu raptus, improviso casu magum manu raptum infra murum recepit. Quem in conspectu populi, metuentis ne si capto fandi moram concederent, se per artem magicam liberaret, sub pedibus equi sui contritum occidit: non enim armis ei quisquam nocere potuit.

And as he awaited the dawn with a wakeful mind, the cuckoo, as it is wont, sent forth its song, a sign, namely, of the light rising. Admonished by this, the horseman, having mounted his horse, sees the king then for the first time occupied in magic art to no effect, and, carried along by a vast onrush, in an unforeseen stroke seized the mage by hand and brought him within the wall. Whom, in the sight of the people—fearing lest, if they granted the captive a delay for speaking, he might free himself by the magic art—he slew, crushed beneath the feet of his horse; for by arms no one was able to harm him.

Deinde portis apertis, rege perempto exercitum perturbatum et in fugam conversum invadunt et occidunt maximaque copia in ea pugna capta et caesa est. Nec ulla spolia tantum Romanorum ditaverunt aerarium, et ob huius beneficii commodum praetaxatum ei memoriale statutum est. Cui equum adhibuerunt, quia veloci cursu profuit, avem, quia nuntia lucis exstitit.

Then, the gates opened and the king slain, they assail the army, perturbed and turned to flight, and kill them, and a very great multitude in that battle was taken and cut down. Nor did any spoils so enrich the Romans’ treasury; and on account of the aforesaid advantage of this benefaction a memorial was set up for him. To it they added a horse, because it had been of use by its swift course, and a bird, because it stood forth as the messenger of light.

Nanum autem sub pedibus equi posuerunt, quia protritus occubuit.

However, they placed the dwarf beneath the horse’s feet, because, having been crushed, he perished.

5. Alia causa compositionis huius signi. Qui vero Quintum Quirinum dicunt, hanc causam assignant. Tempore quo Quintus Quirinus rem publicam rexit, in palatio Sallustiano terra magno hiatu dissiliit, unde ignis sulphureus et aer corruptus exivit, quibus orta gravissima pestilentia magnam partem Romanorum delevit.

5. Another cause of the composition of this sign. But those who call him Quintus Quirinus assign this cause. At the time when Quintus Quirinus governed the republic, in the Sallustian Palace the earth burst asunder with a great yawning chasm, whence sulfurous fire and corrupted air issued, from which there arose a most grievous pestilence that destroyed a great part of the Romans.

Cumque tabe morientium pestilentia cotidie sumeret incrementum, Phoebo consulto didicerunt quod numquam cessaret, nisi aliquis Romanorum se sponte hiatu praefato praecipitaret, praeferens salutem populi suae propriae saluti. Itaque quendam civem Romanorum, generosae quidem stirpis, set aetate et ignavia inutilem sibi et urbi vitam degentem, exoraverunt ut se victimam pro salute universae urbis faceret, ea quidem conditione, quod progeniem eius totam ditarent et in numero potentum susciperent. Qui id omnino renuens, respondit sibi nihil prodesse posteritatis gloriam suscipere si vivus regionem intraret tartaream.

And as the pestilence, with the wasting of the dying, was taking daily increment, with Phoebus consulted they learned that it would never cease, unless some Roman should of his own accord hurl himself headlong into the aforesaid hiatus, preferring the safety of the people to his own proper safety. And so they entreated a certain citizen of the Romans, indeed of noble stock, but by age and idleness spending a life useless to himself and to the city, to make himself a victim for the salvation of the whole city, on this condition, namely, that they would enrich all his progeny and receive them into the number of the potent. But he, wholly refusing it, replied that it would profit him nothing to assume the glory of posterity if, while alive, he should enter the Tartarean region.

Deinde vero, cum in tota urbe nullum penitus invenirent qui ad ullam conventionem huiusmodi victimam vellet persolvere, Quintus Quirinus coram contione totius urbis sic ait: þSaepe in ancipiti casu bellorum pro re publica periculum subivi mortis. Nunc autem, cum nemo reperitur qui salutem populi sui praeferat propriae saluti, princeps ego orbis et urbis huius dominus paratus sum pro salute civium vivus tartareum ingredi aditum, idque coniugi meae et liberis et toti posteritati meae inconcusse servari volo, quod ignavis promissum est.þ Et ascenso equo coram cunctis alacer et intrepidus, tamquam convivium aditurus, se cursu veloci in aditum praefatum praecipitavit. Et protinus quaedam avis in specie cuculi inde exivit et ilico hiatus os suum compressit et omnis pestilentia abiit.

Then indeed, when in the whole city they could by no means find anyone who would be willing on any compact to pay such a victim, Quintus Quirinus before the assembly of the whole city spoke thus: þOften in the two-headed hazard of wars I have undergone the peril of death for the republic. But now, since no one is found who prefers the safety of his people to his own safety, I, the princeps of the world and the lord of this city, am prepared, for the safety of the citizens, alive to enter the Tartarean entrance, and I will that this be kept unshaken for my wife and children and my whole posterity, which was promised to the cowardly.þ And, having mounted his horse before all, brisk and intrepid, as if about to go to a banquet, he at swift speed hurled himself into the aforesaid entrance. And straightway a certain bird in the form of a cuckoo came out from there, and immediately the chasm compressed its mouth and all the pestilence went away.

Liberati itaque a tanta peste Romani ob summum beneficium memoriale ei statuerunt sempiternum. Cui equum, quia eo vectus pro cunctis mactatus est, adhibuerunt, avem vero, quae a specu exivit, inter aures equi statuerunt et nanum, qui cum uxore eius concubuit, pedibus equi supposuerunt.

Thus, having been freed from so great a pestilence, the Romans, on account of his supreme benefaction, set up for him a sempiternal memorial. To it they adjoined a horse, because, borne upon it, he was immolated for all; the bird, moreover, which came forth from the cavern, they set between the horse’s ears; and the dwarf, who had lain with his wife, they placed beneath the horse’s feet.

6. De tertio signo aeneo. Tertium signum est imago Colossei, quam quidam statuam Solis existimant, alii Romae effigiem dicunt. De qua haec admodum miranda sunt, videlicet quomodo tanta moles fundi potuit vel quomodo erigi aut stare mirum est.

6. On the third bronze sign. The third sign is the image of the Colossus, which some suppose to be the statue of the Sun, others say the effigy of Rome. Concerning it these things are very much to be wondered at, namely, how so great a mass could be cast, or how it could be raised or stand is marvelous.

Fuit enim longitudo eius, ut scriptum repperi, CXXVI pedum. Stabat autem haec imago tam immensae magnitudinis in insula Herodii super Colosseum, XV pedibus altior eminentioribus locis et urbe. In manu dextera sphaeram gerebat et in sinistra gladium: per sphaeram mundum et per gladium virtutem bellicam significabat, gladium autem ideo Romani sinistrae et sphaeram dextrae commiserunt, quia minoris virtutis est quaerere quam quaesita servare; unde quidam familiaris philosophiae sic ait:

For its length was, as I found written, 126 feet. Moreover, this image of such immense magnitude stood on the Island of Herodius above the Colosseum, 15 feet higher than the more eminent places and the city. In the right hand it bore a sphere and in the left a sword: by the sphere it signified the world and by the sword martial virtue; and the Romans assigned the sword to the left and the sphere to the right for this reason, because it is of lesser virtue to seek than to preserve things sought; whence a certain familiar of philosophy thus said:

O faciles dare summa deos eademque tueri
difficiles!

O gods, easy to give the summits and to guard the same
difficult!

Quare non ob aliam causam firmiori parti commisere sphaeram et infirmiori gladium, nisi quia minori virtute orbem sibi subiugaverunt quam subiugatum servaverunt. Haec autem imago aenea tota auro imperiali deaurata per tenebras irradiabat. De qua longe ante omnia monstruosum fuit, quod continuo et equali motu cum sole circumferebatur, semper solari corpori faciem gerens oppositam: quare multi eam Solis imaginem credebant.

Quence, for no other cause did they assign the sphere to the stronger part and the sword to the weaker, except that with lesser virtue they subjugated the orb to themselves than they preserved it once subjugated. Moreover this bronze image, wholly gilt with imperial gold, irradiated through the darkness. Of it, far before all, the prodigious thing was that it was borne around with the sun in continuous and equal motion, always bearing its face opposite to the solar body: wherefore many believed it to be an image of the Sun.

Hanc dum Roma floruit quicumque Romam veniebat flexis genibus adorabat, Romae scilicet deferens honorem, cuius supplex venerabatur imaginem. Hanc autem statuam post destructionem omnium statuarum quae Romae fuerunt et deturpationem beatus Gregorius hoc modo destruxit. Cum tantam molem multa vi et gravi conamine non posset evertere, copiosum ignem idolo supponi iussit et sic immensum illud simulacrum in antiquum chaos et rudem materiam redegit.

This one, while Rome flourished, whoever came to Rome adored on bended knees, paying honor to Rome, whose image he, as a suppliant, venerated. This statue, however, after the destruction of all the statues that were in Rome and their defacement, blessed Gregory destroyed in this way. Since he could not overthrow so great a mass with much force and a grave endeavor, he ordered a copious fire to be set beneath the idol, and thus he reduced that immense simulacrum back into ancient chaos and raw matter.

Ex quo tamen caput et manus dextera cum sphaera tanto superfuerunt incendio, quae nunc ante palatium domini papae duabus marmoreis erecta columnis mirandum spectaculum cunctis spectantibus exhibent. Nam cum horrendae magnitudinis sint, mira tamen laus artificis in his apparet. Nihil quippe habet perfecte pulcritudinis humanum caput vel manus, quod his ulla parte desit: miro enim modo ars fusilis in aere rigido molles mentitur capillos.

From which, however, the head and the right hand with the sphere survived so great a conflagration; these now, before the palace of the lord pope, erected upon two marble columns, present a marvelous spectacle to all spectators. For although they are of horrendous magnitude, yet wondrous praise of the artificer appears in them. Indeed, the human head or hand has nothing of perfect pulchritude that is lacking to these in any part; for in a marvelous way the art of casting in rigid bronze counterfeits soft hairs.

Quod si quis defixis luminibus attentius inspexerit, moturo et locuturo simillimum videtur: nullum namque signum, ut aiunt, tanta cura vel impensis in urbe conditum fuit.

But if anyone with eyes fixed should inspect it more attentively, it seems most similar to one about to move and to speak: for no statue, as they say, was erected in the city with so great care or expenses.

7. De ridiculoso simulachro Priapi. Est etiam aliud aeneum simulacrum, valde ridiculosum, quod Priapum dicunt. Qui dimisso capite velut spinam calcatam educturus de pede, asperam lesionem patientis speciem representat.

7. On the laughable simulacrum of Priapus. There is also another bronze simulacrum, very laughable, which they call Priapus. He, with head lowered, as if about to draw from his foot a thorn he has trodden on, represents the appearance of one suffering a rough lesion.

Cui si demisso capite velut quid agat exploraturus suspexeris, mirae magnitudinis virilia videbis.

To which, if you look up at him—with his head lowered, as though about to explore what he is doing—you will see virile parts of marvelous magnitude.

8. De multitudine statuarum. Inter universa opera monstruosa quae Romae quondam fuerunt, magis miranda est multitudo statuarum quae 'Salvatio civium' dicebantur. Haec arte magica fuit consecratio statuarum omnium gentium quae Romano regno subiectae fuerunt.

8. On the multitude of statues. Among all the monstrous works which once were at Rome, more to be wondered at is the multitude of statues which were called 'Salvation of the citizens.' This, by magical art, was the consecration of the statues of all the nations which were subject to the Roman kingdom.

Nulla etenim gens sive regio subiecta fuit Romano imperio, cuius imago in quadam domo ad has consecrata non esset. Huius autem domus magna pars parietum adhuc restat et cryptae eius horridae et inaccessibiles apparent. In hac quondam domo praedictae imagines ex ordine stabant et quaelibet imago nomen gentis illius, cuius imaginem tenebat, in pectore scriptum habebat et tintinnabulum argenteum, quia omni metallo sonorius est, unaquaeque in collo gerebat, erantque sacerdotes die ac nocte semper vigilantes, qui eas custodiebant.

For indeed no nation or region was subject to the Roman empire whose image was not in a certain house consecrated to these. But of this house a great part of the walls still remains, and its crypts appear horrid and inaccessible. In this former house the aforesaid images stood in order, and each image had written upon its breast the name of that nation whose image it bore, and each wore at the neck a silver bell, because it is more sonorous than any metal; and there were priests, ever watchful day and night, who guarded them.

Et si qua gens in rebellionem consurgere conabatur in imperium Romanorum, protinus statua illus movebatur et tintinnabulum in collo eius sonuit et statim scriptum nomen illius imaginis sacerdos principibus deportabat. Erat autem supra domum his imaginibus consecratam miles aeneus cum equo suo, semper concordans motui imaginis lanceamque apud illam gentem diregens, cuius imago movebatur. Hoc itaque non dubio indicio praemoniti, Romani principes sine mora exercitum ad rebellionem illius gentis reprimendam direxerunt, qui saepius hostes antequam arma et impedimenta paravissent praevenientens, facile et sine sanguine eos sibi subiugaverunt.

And if any nation attempted to rise up in rebellion against the empire of the Romans, forthwith the statue of that people was moved and the tintinnabulum on its neck rang, and at once the priest would carry the written name of that image to the princes. Moreover, above the house consecrated to these images there was a brazen soldier with his horse, always harmonizing with the movement of the image and directing his lance toward that nation whose image was moved. Thus, being forewarned by this no-doubtful sign, the Roman princes without delay sent an army to repress the rebellion of that nation, who, more often forestalling the enemy before they had prepared arms and baggage, easily and without bloodshed subjugated them.

Fertur autem in eadem domo ignem inextinguibilem fuisse. De hoc autem mirando opere artifex sciscitatus quam diu duraret, respondit illud duraturum donec virgo pareret. Dicunt autem ingenti ruina militem praefatum cum domo sua corruisse ea nocte, qua Christus natus fuit de Virgine, et lumen illud ficticium et magicum extinctum est iure, cum lux vera et sempiterna oriri cepisset.

It is borne, moreover, that in the same house there was an inextinguishable fire. And concerning this wondrous work, when the artificer was inquired how long it would endure, he replied that it would endure until a virgin should give birth. They say, moreover, that with an enormous ruin the aforesaid soldier collapsed with his house on that night on which Christ was born of the Virgin, and that that fictitious and magical light was extinguished by right, when the true and everlasting Light began to arise.

Credibile est et malignum hostem potentiam fallendi homines deseruisse, cum deus homo esse cepisset.

It is credible also that the malignant enemy had deserted the power of deceiving men, when God had begun to be man.

9. De ferreo simulacro Belloforontis. Fuit etiam ingens miraculum Romae, ferreum simulacrum Belloforontis cum equo suo consistens in aÎre, nec tamen ulla catena superius appensum nec inferius ullo stipite sustentatum. Set magnetes lapides arcus in volsura circumquaque habebantur et hinc et inde in assumptione proportionali trahebatur et sic in mensura equiperata constabat.

9. On the iron simulacrum of Bellerophon. There was also a huge marvel at Rome, an iron simulacrum of Bellerophon with his horse standing in the air, yet hung above by no chain and supported below by no post. But magnet-stones were arranged in an arched convolution all around, and from this side and that it was drawn with proportional attraction, and thus in equalized measure it stood fast.

Erat tamen existimatio ponderis huius circiter XV milia librarum ferri.

Yet the estimation of this weight was about 15 thousand pounds of iron.

10. De balneo Bianei Apollinis. Est etiam valde mirandum balneum Bianei Appollinis quod Romae adhuc est. Hoc autem balneum Bianeus Apollo confectione quadam sulphuris et nigri salis et tartari arte miranda aeneo vase inclusa perfecit perfectasque termas cum una candela consecrationis incendit et perpetuo igne calentes effecit.

10. On the bath of Bianeus Apollo. There is also a very marvelous bath of Bianeus Apollo which is still in Rome. This bath, moreover, Bianeus Apollo perfected by a certain confection of sulfur and black salt and tartar, enclosed in a brazen vessel by a wonderful art, and the perfected thermae he ignited with a single candle of consecration and made them warm with perpetual fire.

Hoc quidem balneum ipse vidi et in eo manus lavi datoque pretio balneari renui ob foetorem odoris sulphurei.

This bath indeed I myself saw, and in it I washed my hands, and although the price had been given, I refused to bathe on account of the fetor of a sulphureous odor.

11. De theatro in Heraclea. Theatrum autem admirabile in Heraclea de monte marmoreo inter monstruosa non pigebit referre. Quod quidem ita sculptum est, ut omnes cellulae mansionum et sedilia universa per girum et exitus omnes et antra ex uno solidoque lapide sculpta sint.

11. On the theater in Heraclea. The theater, moreover, admirable in Heraclea, from a marble mountain, among monstrous things it will not be irksome to recount. Which indeed is sculpted in such a way that all the little cells of the dwellings and all the seats around the circuit, and all the exits and the caves, are sculpted from one single and solid stone.

Universum etiam hoc opus super VI cancros ex ipso monte sculptos innititur. Ubi nullus tam secrete aut solus aut cum alio loqui potest, quod omnes qui in circuitu sunt non audiant. Hactenus de eis quae maiore admiratione digna sunt diximus.

Moreover, this whole work rests upon 6 crabs sculpted from the mountain itself. There no one can speak so secretly, either alone or with another, that all who are in the circuit do not hear. Thus far we have spoken about those things which are more worthy of admiration.

12. Nunc vero pauca subiciam de signis marmoreis, quae paene omnes a beato Gregorio aut deletae aut deturpatae sunt. Quarum unam propter eximiae pulcritudinis speciem primum referam. Haec autem imago a Romanis Veneri dedicata fuit in ea forma, in qua iuxta fabulam cum Iunone et Pallade Paridi in temerario examine dicitur Venus se nudam exhibuisse.

12. Now indeed I will subjoin a few things about the marble statues, which almost all were either destroyed or defaced by the blessed Gregory. Of these, I will first relate one because of its aspect of exceptional pulchritude. This image, moreover, was dedicated by the Romans to Venus in that form in which, according to the fable, together with Juno and Pallas, to Paris in the temerarious judgment, Venus is said to have exhibited herself naked.

Quam temerarius arbiter intuens inquit:

Which, the temerarious arbiter, beholding, said:

Iudicio nostro vincit utramque Venus.

In our judgment, Venus conquers both.

Haec autem imago ex Pario marmore tam miro et inexplicabili perfecta est artificio, ut magis viva creatura videatur quam statua: erubescenti etenim nuditatem suam similis, faciem purpureo colore perfusam gerit. Videturque comminus aspicientibus in niveo ore imaginis sanguinem natare. Hanc autem propter mirandam speciem et nescio quam magicam persuasionem ter coactus sum revisere, cum ab hospitio meo duobus stadiis distaret.

Haec, however, the image out of Parian marble, is perfected with such wondrous and inexplicable artifice that it seems more a living creature than a statue: for she is like one blushing at her own nudity, and she bears a face suffused with a purpureal color. And to those looking at close quarters, blood seems to swim in the snowy face of the image. This one, moreover, on account of its admirable appearance and I know not what magical persuasion, I was compelled to revisit thrice, since it was two stadia distant from my lodging.

Non longe inde sunt equi marmorei mirandae magnitudinis et artificiosae compositionis. Hi autem, ut fertur, priorum compotistarum imagines fuerunt. Quibus ideo equi assignati sunt, quia velocis ingenii fuerunt.

Not far from there are marble horses of marvelous magnitude and artful composition. These, moreover, as it is said, were images of former computists; to whom, for that reason, horses were assigned, because they were of swift genius.

13. Iuxta hos sub duabus fornicibus recubant duae seniorum imagines ex marmore, quarum utraque porrigitur in longitidinem XL pedum. Harum alteram Salomonis effigiem dicunt, alteram vero Liberi Patris imaginem asserunt. Sed qui Bacus dicitur viteam stipitem gerit in manu, qui vero Salomon appellatur sceptrum tenet in manu.

13. Next to these, under two arches, recline two images of elders in marble, each of which is extended to a length of 40 feet. They say that one of these is the effigy of Solomon, and they assert that the other is the image of Liber Father. But the one who is called Bacchus bears a vine-stock in his hand, while he who is called Solomon holds a scepter in his hand.

14. De palatio Cornutorum. Prope has est palatium Cornutorum, ampla quidem et altissima domus in qua quidem multae imagines sunt, sed omnes cornutae. Inter quas quaedam imago, quae longo ceteris maior est, Iupiter Arenosus dicitur, set alii, quibus magis credendum arbitror, dicunt Cornutos quandam familiam fuisse qui illud palatium aedificaverunt: hi autem in urbe viri magni et clari, quoniam in hostes et cives superbi fuerunt et feroces, et Cornuti sunt a civibus suis appellati.

14. On the palace of the Cornuti. Near these is the palace of the Cornuti, a spacious indeed and most lofty house in which indeed there are many images, but all horned. Among which a certain image, which by far is greater than the rest, is called Jupiter Arenosus; but others, to whom I judge more credence should be given, say that the Cornuti were a certain family who built that palace: these, moreover, in the city were men great and renowned, since toward enemies and fellow-citizens they were proud and fierce, and they were called Cornuti by their own citizens.

15. De palatio Diocletiani. Palatium etiam Diocletiani praeterire non possum, ubi urbis opus habetur. Cuius amplissimam magnitudinem et artificiosissimam et admirabilem compositionem scribere non sufficio.

15. On the palace of Diocletian. I cannot pass over the palace of Diocletian either, where it is held to be the city's masterpiece. Of which the most ample magnitude and the most artful and admirable composition I am not sufficient to write.

Hoc autem tam spatiosae magnitudinis, quod illud in maiore parte diei exacte per totum visere non potui. Ubi tantae altitudinis columnas repperi, quod nemo lapillum usque ad capitale potest proicere. Quarum quamlibet, ut a cardinalibus accepi, centum viri vix per annum secare, polire atque perficere potuerunt.

This, moreover, is of such spacious magnitude that I could not exactly survey it throughout in the greater part of a day. There I found columns of such altitude that no one can throw a little stone up to the capital. Of which any one, as I received from the cardinals, a hundred men could scarcely cut, polish, and complete in the course of a year.

De quo loqui refuto, quoniam si verum dixero, veritati obviare videbor.

About which I refuse to speak, since if I speak the truth, I will seem to oppose the truth.

16. De templo Palladis. Templum etiam Palladis opus quondam insigne fuit. Set multo sudore Christicolarum deiectum et longo senio dirutum, cum totum deleri non possit, pars quae residua est horreum est cardinalium.

16. On the temple of Pallas. The temple of Pallas too was once a distinguished work. But, cast down by much sweat of the Christ-worshipers and ruined by long old age, since it cannot be entirely destroyed, the part which remains is a granary of the cardinals.

Ibi magna congeries est fractarum effigierum: ibi etiam armata imago Palladis, adhuc super altissimam testudinem exstans, amisso capite truncata mirandum spectaculum intuentibus exhibet. Hoc idolum in maiore veneratione erat apud veteres Romanorum. Huic adducebantur Christicolae et quicumque flexis genibus Palladem non adorebat, diversis poenis vitam terminabat.

Ibi a great congeries is of broken effigies: there also the armed image of Pallas, still standing upon a most lofty vault, with its head lost and truncated, presents to those looking a wondrous spectacle. This idol was in greater veneration among the ancients of the Romans. To this were led Christ-worshipers, and whoever, with knees bent, did not adore Pallas, ended his life with diverse punishments.

Ad hoc idolum vel simulacrum Hippolitus cum familia sua adductus, quia illud neglexit, equis distractus martyrium subiit.

To this idol or simulacrum Hippolytus, brought with his household, because he neglected it, suffered martyrdom, being torn apart by horses.

17. Palatium autem divi Augusti non praetereo. Haec quidem amplissima domus admodum excellebat, iuxta excellentiam conditoris Augusti. Haec autem domus tota marmorea pretiosam materiam et copiosam aedificandis ecclesiis quae Romae sunt praebuit.

17. But I do not pass over the Palace of the deified Augustus. This most ample house indeed excelled exceedingly, in accordance with the excellence of its founder Augustus. This house, moreover, being entirely marble, supplied precious and copious material for constructing the churches which are at Rome.

De qua quoniam parum restat, pauca dixisse sufficiat. Restat autem inde quaedam particula solii, ubi haec scripta repperi: Domus divi augusti clementissimi; qui cum esset dominus urbis et totius orbis, appellationem tamen domini omnino vitavit.

Of which, since little remains, let it suffice to have said a few things. But from there there remains a certain fragment of the throne, where I found this written: House of the most clement divine augustus; who, although he was lord of the city and of the whole world, nevertheless wholly avoided the appellation of lord.

18. Iuxta hoc palatium est murus quidam ex latere coctili descendens a summis montibus. Qui immensis fornicibus aqueductum sustentat, per quem amnis a montanis fontibus per spatium unius dietae urbi illabitur. Qui aereis fistulis postmodum divisus universis palatiis quondam influebat.

18. Next to this palace there is a certain wall of lateritious brick descending from the highest hills. This, with immense arches, supports an aqueduct, through which a river from mountain springs, over the span of a single day’s journey, flows into the city. This, later divided by bronze pipes, used formerly to flow into all the palaces.

Fluvius etenim Tiberis, qui urbem perlabitur, equis utilis est, set hominibus inutilis et nocuus habetur. Quare a quattuor partibus urbis per artificiosos meatus Romani veteres aquas recentes venire fecerunt, quibus dum res publica floruit, quicquid libuit licuit. Iuxta murum aquaeductus, qui per Portam Asinariam descendit, est balneum Bianei Apollinis, quod una candela consecrationis semel accendit et perpetuo, ut praediximus, calentes effecit.

For the river Tiber, which glides through the city, is useful for horses, but is held to be useless and harmful for human beings. Wherefore from the four parts of the city, through skillfully contrived channels, the ancient Romans caused fresh waters to come, by which, while the Republic flourished, whatever they pleased was permitted. Next to the wall of the aqueduct, which descends through the Porta Asinaria, there is the bath of Bianeus Apollo, which a single candle of consecration, once lit, made perpetually—just as we said above—warm.

19. Prope hoc balneum est domus Aquilea et domus Frontoniana. Sed cui contigit universa palatia urbis Romae sermone prosequi, cum nemini, ut arbitror, universa videre contingat? Nunc itaque palatium Tiberianum, opus quidem mirandum et immensum, praetereo, Neronis etiam palatium et divi Nervae mirabile edificium et Octaviani palatium transeo.

19. Near this bath is the Aquilean house and the Frontonian house. But to whom has it fallen to pursue in speech all the palaces of the city of Rome, since to no one, as I think, does it befall to see them all? Now therefore the Tiberian Palace, a work indeed wondrous and immense, I pass over; Nero’s Palace also, and the marvelous edifice of the deified Nerva, and Octavian’s Palace, I pass by.

Septem etiam solia mirae artis et altitudinis sileo, unde, ut aiunt, Ovidius inquit:

I am also silent about seven thrones of wondrous art and altitude, whence, as they say, Ovid says:

Regia Solis erat sublimibus alta columnis,
Clara micante auro flammasque imitante pyropo.

The palace of the Sun was high on lofty columns,
bright with flashing gold and with pyropus (fiery bronze) imitating flames.

20. De palatio LX imperatorum. Palatium etiam LX imperatorum describere quis poterit? Quod cum ex maiore parte lapsum sit, fertur tamen omnes Romanos huius temporis quod inde adhuc superest pro tota substantia sua non posse dissolvere.

20. On the palace of 60 emperors. Who could even describe the palace of 60 emperors? Although it has fallen for the greater part, nevertheless it is reported that all the Romans of the present time, with their entire substance, could not dismantle what still remains of it.

21. De Pantheon. Pantheon autem brevi transitu praetereo, quod quondam erat idolium omnium deorum, immo demonum. Quae domus nunc dedicata ecclesia in honore omnium sanctorum Sancta Maria Rotunda vocatur, antonomasice quidem a prima et potiore parte, cum sit omnium sanctorum ecclesia.

21. On the Pantheon. The Pantheon, however, I pass over with a brief passage, since it once was an idol-temple of all the gods, nay, of demons. Which house, now dedicated as a church in honor of all the saints, is called Saint Mary Rotunda, by antonomasia indeed from the first and better part, since it is a church of all the saints.

Haec quidem habet porticum spatiosam, multis et mirae altitudinis columnis marmoreis sustentatam. Ante quam conchae et vasa alia miranda de marmore porfirico et leones et cetera signa de eodem marmore usque in hodiernum diem perdurant. Huius domus latitudinem ipse mensus sum habetque spatium CCLXVI pedum in latitudine.

This indeed has a spacious portico, supported by many marble columns of wondrous height. Before it, conches and other admirable vessels of porphyry marble, and lions and the other statues of the same marble, perdure down to the present day. I myself measured the breadth of this building, and it has a span of 266 feet in width.

Cuius quondam tectum deauratum fuit per totum, set immoderatus amor habendi et auri sacra fames Romani populi aurum abrasit et templum deorum suorum deturpavit. Qui ob inexplebilem cupiditatem, dum aurum sitivit et sitit, a nullo scelere manum retraxit aut retrahit.

Whose roof once was gilded throughout, but the immoderate love of having and the accursed hunger for gold of the Roman people scraped off the gold and defiled the temple of their gods. Who, on account of insatiable cupidity, while it thirsted and thirsts for gold, has not withdrawn its hand from any crime.

22. De arcu triumphali Augusti. Prope hoc templum est arcus triumphalis Augusti Caesaris, in quo hoc epigramma scriptum repperi: Ob orbem devictum Romano regno restitutum et r.p. per Augustum receptam populus Romanus hoc opus condidit, videlicet tantae victoriae tantique triumphi perpetuum posteritatis monumentum. Est arcus ipse marmoreus et multiplex, in quo super exstantes longe tabulas lapideas erectae sunt imagines illorum, qui principes militiae fuerunt aut qui strenue pugnando perempti sunt vel aliquid memorandum in hostes gesserunt.

22. On the triumphal arch of Augustus. Near this temple is the triumphal arch of Augustus Caesar, in which I found this epigram inscribed: On account of the world conquered and restored to the Roman realm, and the commonwealth recovered through Augustus, the Roman people founded this work, namely a perpetual monument for posterity of so great a victory and so great a triumph. The arch itself is marble and multiple, on which, upon stone panels projecting far out, images have been set up of those who were princes of the soldiery, or who, fighting strenuously, were slain, or who carried out something memorable against the enemies.

Inter quas imago Augusti maior ceteris, mira arte caelata, praecellit et ubi triumphat et ubi hostes superat, ab omnibus in pictura cognoscendus; praeterea in arcu praefato exercitus undique celatus et undique bella detestanda, quae cum intentius aspicias, vera bella videre existimes. Ibi opere mirabili Actiacum bellum simulatur, in quo Caesar praeter spem victoriae superior factus in certamine Cleopatram biremi quadam fugientem persequitur. Cleopatra subducitur et appositis aspidibus mammis suis in Pario marmore superba mulier moritura pallescit.

Among which the image of Augustus, greater than the rest, chased with wondrous art, excels both where he triumphs and where he overcomes enemies, to be recognized by all in the picture; moreover, on the aforesaid arch, armies are engraved on every side and on every side detestable wars—which, when you gaze more intently, you would think you were seeing real wars. There, by marvelous workmanship, the Actian war is simulated, in which Caesar, beyond hope, having proved superior in the contest, pursues Cleopatra fleeing in a certain bireme. Cleopatra is drawn away, and, with asps applied to her breasts, upon Parian marble the proud woman, about to die, grows pale.

De hoc bello Caesar Augustus summum honorem attigit et hoc modo triumphavit: quattuor albi equi currum aureum, in quo sedebat togam auro et gemmis intextam indutus, trahebant, quos quattuor nobilissimi Romanorum duxerunt et ante eum longo ordine reges, duces ac principes captivi, manus post terga vincti, et innumerabiles alii celeberrimae pompae praeducebantur. Erantque bella eius et actus strenui lingua omnium gentium quae Romae habitabant composita, quae legere et cantare in triumpho populus non cessabat. Praeterea autem et in tabulis victoria eius depicta fuit, ut hi qui laudem eius audire non possent, eam cernerent.

Concerning this war Caesar Augustus attained the highest honor and in this manner triumphed: four white horses drew the golden chariot in which he sat, clad in a toga woven with gold and gems; these were led by four of the most noble of the Romans, and before him, in a long line, kings, commanders, and princes taken captive, their hands bound behind their backs, and countless others were led forth as a prelude to the most celebrated pomp. And his wars and strenuous acts were composed in the tongue of all the nations who were dwelling at Rome, which the people did not cease to read and to sing in the triumph. Moreover, too, his victory was depicted on panels, so that those who could not hear his praise might behold it.

Celebri itaque cantu et inenarrabili iucunditate ipsum in Tarpeiam rupem usque ad Capitolium perduxerunt, ubi ipse arma, quibus in bello usus fuerat et quae hosti manu propria detraxerat, obtulit et in tholis signum tantae victoriae suspendit. Ibique a senatu et patribus conscriptis et populo Romano sibi provincia ultima dabatur, ut fama triumphi et laus tantae victoriae per universum orbem claresceret. Hanc rem gestam, ut praesenti relatione docui, arcus praetaxatus sculptis imaginibus per omnia representat.

Therefore, with celebrated song and indescribable delight, they led him to the Tarpeian rock up to the Capitol, where he himself offered the arms which he had used in war and which he had stripped from the enemy with his own hand, and in the domed halls he suspended a sign of so great a victory. And there by the senate and the enrolled fathers and the Roman people the utmost province was being granted to him, so that the fame of the triumph and the praise of so great a victory might shine forth through the whole world. This deed, as I have shown in the present relation, the aforesaid arch, edged, represents in every respect with sculpted images.

23. Vidi etiam alios arcus triumphales plures, sed huic opere et sculptura valde similes. Quare et de qualitate aliorum dictum est, ubi arcus iste triumphalis descriptus est. Unusquisque etenim bellum victoris et actus eius egregios, arte miranda caelatus, immensum decus priorum praesentibus representat.

23. I also saw several other triumphal arches, but very similar to this one in work and sculpture. Therefore, a statement about the quality of the others has also been made, where this triumphal arch has been described. For each one, engraved with wondrous art, represents to those present the war of the victor and his outstanding deeds, presenting to the present the immense glory of the predecessors.

24. De arcu Pompeii. Est etiam arcus triumphalis Magni Pompeii, valde mirandus, quem habuit de victoria quam obtinuit victo Mithridate et filio eius Pharnace. Hi Romanis per XL annos rebelles fuerunt.

24. On the arch of Pompey. There is also the triumphal arch of Magnus Pompey, very much to be marveled at, which he had for the victory that he obtained with Mithridates defeated and his son Pharnaces. These were rebels against the Romans for 40 years.

Qui ad ultimum pirates effecti Sullam contra eos missum superaverunt et in fugam converterunt. Ad quos postmodum missus Pompeius, ante mensem ultra spem Romanorum felici usus fortuna memoratum Mithridatem cum filio suo et copiis omnino devicit. Postea autem, antequam Romam rediisset, magnam partem Orientis devicit et Romanis tributarios effecit.

who at the last, having become pirates, overcame Sulla, sent against them, and put him to flight. Against them, thereafter, Pompey being sent, within a month—beyond the hope of the Romans—availing himself of favorable Fortune, utterly defeated the aforementioned Mithridates with his son and their forces. Afterwards, however, before he had returned to Rome, he subdued a great part of the Orient and made it tributary to the Romans.

Ubi immensum pondus auri et argenti quaesivit, quod longo ordine Pompeiano triumpho praelatum est. Quod sculptura arcus triumphalis eius usque in hodiernum diem representat.

There he acquired an immense weight of gold and silver, which was borne in long array before Pompey’s triumph. This the sculpture of his triumphal arch represents down to the present day.

25. De columna triumphali Fabricii. Vidi etiam columnam triumphalem Fabricii, quam sibi devicto Pyrrho rege Epirotarum Romani statuerunt. Qua ut arbitror nihil altius habet Roma: est enim columna ista rotunda et cava ad instar epicaustolii.

25. On the triumphal column of Fabricius. I also saw the triumphal column of Fabricius, which the Romans set up for him when King Pyrrhus of the Epirotes had been conquered. Than which, as I judge, Rome has nothing higher: for that column is round and hollow, after the fashion of an epicaustolium.

Sunt etiam aliae quattuor ad similitudinem istius, quas Romani fistulas vocant marmoreas. Quae cum admodum grossae sint, videntur tamen gracillimae ob nimiam altitudinem. Sed in quorum honore fuissent conditae nondum potui cognoscere, at cum favente deo in *** ex hac peregrinatione rediero, denuo quae nunc ambigua sunt et quae penitus latent adhuc maiore mora et exercitatiori indagatione perscrutabor et perscrutata gratanter amicis partibor.

There are also four others in the likeness of that one, which the Romans call marble pipes. Although they are quite thick, yet they appear very slender on account of their excessive height. But in whose honor they had been erected I have not yet been able to learn; yet when, God favoring, I shall have returned into *** from this pilgrimage, I will again, with greater delay and a more exercised investigation, scrutinize those things which are now ambiguous and which still lie utterly hidden, and, having scrutinized them, I will gladly share them with friends.

Nunc autem ad cognita redeo et columnam clari Fabricii redeo. Qui ab hoste Pyrrho approbatus hoc est eulogio descriptus. Cum Fabricius quendam Philippum Pyrrhi medicum domino suo vinctum mitteret, quia vitam domini sui secum pro auro habuit, Pyrrhus legatis Fabricii respondit: "Nimirum hic est ille Fabricius, qui non facilius divelli potest ab honestate quam sol a cursu suo!" Remisitque universum aurum suum, quo Romam emere proposuerat, cum eam viribus capere non posset.

Now, however, I return to things known and I return to the column of the renowned Fabricius. He, approved by the enemy Pyrrhus, is described by this eulogy. When Fabricius sent a certain Philip, Pyrrhus’s physician, bound, to his own master, because he had his master’s life with him for gold, Pyrrhus replied to Fabricius’s legates: “Surely this is that Fabricius, who can no more easily be torn away from honesty than the sun from its course!” And he sent back the whole of his gold, with which he had proposed to buy Rome, since he could not seize it by force.

Unde Lucanus:

Whence Lucan:

Quo te Fabricius regi non vendidit auro.

Wherefore Fabricius did not sell you to the king for gold.

Haec omnia et multa alia egregia facta Fabricii caelata sunt in praetaxata columna.

All these things and many other egregious (outstanding) deeds of Fabricius have been engraved on the praetextate column.

26. De arcu triumphali Scipionis. Est etiam ibi arcus triumphalis Scipionis, qui sibi perempto Hannibale a Romanis est conditus. Hic cum durissimo hoste Romanorum Hannibale equo certamine dimicavit et Hannibalem vinci primus spem Romanis tribuit.

26. On the triumphal arch of Scipio. There is also there the triumphal arch of Scipio, which was erected for him by the Romans when Hannibal had been slain. He fought in combat on horseback with Hannibal, the very hardest enemy of the Romans, and he first gave to the Romans the hope that Hannibal could be conquered.

Habuitque Hannibal domesticum demonem, qui illum cum Scipione monuit pacem facere. Inde datis indutiis ut sepelirentur interfecti, sanctito foedere per triduum, Hannibal colloquium singulare habuit cum Scipione. Cum autem convenissent die quarto, duo mire magnitudinis canes ad locum colloquii Hannibalem sunt secuti.

And Hannibal had a domestic demon, who advised him to make peace with Scipio. Then, a truce having been granted so that the slain might be buried, with a treaty ratified for three days, Hannibal held a singular colloquy with Scipio. But when they met on the fourth day, two dogs of wondrous size followed Hannibal to the place of the colloquy.

Quod cum Scipio novisset, ad colloquium venire noluit. Deinde inito prelio graviter utrimque dimicatum est et coactus est Hannibal de castris suis confugere. Sequenti autem die gravissimo victus certamine ad Lircum regem confugit.

When Scipio had come to know this, he was unwilling to come to the colloquy. Then, the battle having been initiated, there was grievous fighting on both sides, and Hannibal was compelled to flee from his camp. On the following day, however, overcome in a most grave contest, he fled for refuge to King Lircus.

Cum quo iterum victus Hannibal a Scipione, cum se videret non posse evadere, hausto veneno quod gestabat in anulo, dormiendo obiit. Liberati itaque a gravissimo hoste Romani, quem usque hodie detestantur et odiunt, victori Scipioni arcum hunc triumphalem maximo sumptu statuerunt, in quo omnia supradicta et plura sculpta sunt.

With whom Hannibal, again defeated by Scipio, when he saw that he could not evade, having drunk the poison which he carried in a ring, died in sleep. Thus the Romans, freed from a most grievous enemy, whom they detest and hate to this day, set up for the victor Scipio this triumphal arch at the greatest expense, on which all the above-said things and more are sculpted.

27. De pyramidibus id est sepulcris potentum. Nunc autem de pyramidibus pauca subiciam. Sunt autem pyramides sepulcra potentum, mirae magnitudinis et altitudinis, in summitate acutae, figuram hemiconoidis referentes.

27. Concerning pyramids, that is, the sepulchers of the powerful. Now, however, I will subjoin a few things about pyramids. Pyramids are the sepulchers of the powerful, of wondrous magnitude and altitude, sharp at the summit, representing the figure of a hemiconoid.

Quarum prima quam vidi Romuli est. Hanc autem, ante castellum Crescentii sitam prope ecclesiam beati Petri, peregrini mentiuntur fuisse acervum segetis Petri apostoli, quam cum Nero sibi rapuisset, in lapideum collem pristinae quantitatis fuisse conversam. Quod omnino frivolum est, quo peregrini multum abundant.

Of which the first that I saw is Romulus’s. This one, however, situated before the Castle of Crescentius near the church of Blessed Peter, the pilgrims lie was a heap of the Apostle Peter’s grain-harvest, which, when Nero had snatched it for himself, was converted into a stony hill of its former size. Which is altogether frivolous, a thing in which pilgrims abound greatly.

Habet autem pyramis quaelibet concham marmoream undique celatam infra se clausam, in qua corpus defuncti sepelitur.

Moreover, each pyramid has a marble shell, carved on all sides, shut beneath it, in which the body of the deceased is buried.

28. De pyramide Augusti. Vidi etiam pyramidem Augusti prope Portam Latinam ex quadris lapidibus ferro compactis constructam, unde adhuc nulla vetustas lapidem unum divellere potuit.

28. On the pyramid of Augustus. I also saw the pyramid of Augustus near the Porta Latina, constructed of squared stones fastened with iron, from which even to this day no age has been able to tear away a single stone.

29. Sunt autem Romae pyramides multae, sed omnium maiore admiratione digna est pyramis Iulii Caesaris, quae ex uno solidoque lapide porphyrico condita est. De qua valde mirandum est, quamodo secari aut erigi aut stare potuit tantae altitudinis moles. Est enim, ut asserunt, altitudo eius CCL pedes.

29. There are, moreover, many pyramids at Rome, but of all the pyramid of Julius Caesar is worthy of greater admiration, which has been constructed from a single, solid porphyry stone. About this it is greatly to be marveled how a mass of such height could have been cut, or raised, or made to stand. For its height, as they assert, is 250 feet.

Habetque in summitate sphaeram aeneam, in qua cineres et ossa Iulii Caesaris condita sunt. De qua mirando quidam sic ait:

And it has at the summit a brazen sphere, in which the ashes and bones of Julius Caesar are interred. Concerning which, in wonder, a certain man thus says:

Si lapis est unus, dic qua sit arte levatus,
Si lapides plurus, dic ubi congeries.

If the stone is one, say by what art it has been elevated,
If the stones are several, say where the congeries is.

Stat autem eo loco, ut aiunt, quo quidam Iulio occurrit contionem adeunti, deferens ei litteras factae in se coniurationis dolum denudantes. Ubi inter cetera continebatur, ipsum crudeliter obiturum si eo die contionem aut Capitolium intraret. Qui cum litteras suscepisset, latori sic ait: "Nunc cum astronomico hoc sermonem habebo, post contionem litteras vestras videbo". Vocavit itaque obvium sibi astronomicum, qui Caesarem moriturum in Kalendis praedixerat et inquit ei: "Hodie Kalende sunt et adhuc vivo!" Cui astronomicus inquit: "Sunt quidem Kalendae, sed nondum transierunt et utinam mendax reperiar!" Et confestim Caesar inde divertens Capitolium ingreditur.

Stat, however, in that place, as they say, where a certain man met Julius as he was going to the assembly, bringing him letters uncovering the deceit of a conspiracy made against him. Where, among other things, it was contained that he himself would meet a cruel death if on that day he should enter the assembly or the Capitol. When he had received the letters, he said thus to the bearer: "Now I will have a conversation about this with the astrologer; after the assembly I will look at your letters." He therefore called to him an astrologer who met him, who had predicted that Caesar would die on the Kalends, and said to him: "Today is the Kalends and I am still alive!" To whom the astrologer said: "They are indeed the Kalends, but they have not yet passed, and would that I be found a liar!" And immediately Caesar, turning aside from there, enters the Capitol.

Ubi a Bruto et Cassio et eorum fautoribus XXIIII stibiis confossus in Capitolio obiit. Dicit tamen Marius Suetonius, cui magis credo, quod capulis gladiorum fuerit interemptus, unde et vulnus in eo non apparuit: quare in numero deorum eum raptum dicebant. Unde Maro in epitaphio eius ita inquit:

Where, by Brutus and Cassius and their supporters, pierced with 24 stabs, he died on the Capitol. Yet Marius Suetonius says, whom I trust more, that he was slain by the hilts of the swords, whence also no wound appeared on him; wherefore they said that he was snatched up into the number of the gods. Whence Maro in his epitaph thus says:

          Candidus insuetum miratur lumen Olympi.
          Daphnis ego in silvis, hinc usque ad sidera notus,
          Formosi custos pecoris formosior ipse, et cetera.

          The radiant one marvels at the unaccustomed light of Olympus.
          I, Daphnis, in the forests, from here even up to the stars renowned,
          the fair flock’s guardian, fairer myself, and the rest.

Litterae etiam praefatae in se coniurationis inventae sunt in sinistra manu eius. Caesar itaque dominator et dominus orbis terrarum, qui primum libertate depressa sibi usurpavit imperium, parvo rogo in parvum redactus cinerem praedicta aenea sphaera clauditur. Hanc autem pyramidem peregrini 'Acum beati Petri' appellant.

The aforementioned letters of the conspiracy were also found in his left hand. Caesar therefore, the dominator and lord of the whole world, who first, with liberty pressed down, usurped the imperium for himself, having been reduced on a small pyre into a small ash, is enclosed in the aforesaid bronze sphere. But pilgrims call this pyramid 'the Needle of blessed Peter'.

Sub quo magno labore reptant ubi super IIII aeneos leones saxum fundatur mentiunturque mundum a peccatis et veram perfecisse paenitentiam qui sub saxo repere potuerit.

Under which they crawl with great labor, where upon 4 brazen lions the stone is founded; and they lie that one is clean from sins and has completed true penitence, whoever has been able to crawl under the stone.

30. De pharo Alexandrino. Ingens etiam miraculum est pharum Alexandrinum, quomodo super IIII cancros vitreos in mare fundatum est, videlicet quomodo tam magni cancri ex vitro fieri potuerunt et quomodo in mare portati et non fracti et quomodo cementicia fundamenta sub aquis cancris supposita durare possunt. Est etiam valde mirandum, quomodo sub aqua durare potest cementum et quare cancri non frangantur in mari et quare non lubricat sub tanto pondere cementi fundamentum, quod magnum mirum est.

30. On the Alexandrian Pharos. A vast marvel also is the Alexandrian Pharos, how upon 4 glass crabs it has been founded in the sea, namely, how crabs so great could be made out of glass, and how they were carried into the sea and not broken, and how the cementitious foundations, placed under the waters upon the crabs, are able to endure. It is also very much to be wondered at, how cement can endure under water, and why the crabs are not broken in the sea, and why under so great a weight the foundation of cement does not become slippery, which is a great marvel.

Sed dicit Isidorus pulverem quendam huius naturae esse, quod aqua mixtum si soli aut igni apponitur, in pristinum pulverem redigitur, si vero aqua mergatur, solidatur et lapidescit. Set non est huius operis causas aperire mirabilium.

But Isidore says that there is a certain powder of this nature: that, when mixed with water, if it is applied to the sun or to fire, it is reduced into its pristine powder; but if it is submerged in water, it solidifies and petrifies. But it is not for this work to lay open the causes of marvels.

31. Colosseum autem, palatium Titi et Vespasiani, transeo. Quis enim artificiosam compositionem eius et magnitudinem sermone exequi poterit? Iuxta hoc palatium est imago suis, quam Aeneas fetam iuxta vaticinium Priamidis Heleni legitur reperisse, signum videlicet civitatis eo loco aedificandae, quam fata sibi dederant orbi toto imperaturam.

31. As for the Colosseum, the palace of Titus and Vespasian, I pass it over. For who indeed will be able to set forth in speech its artful composition and its magnitude? Next to this palace there is an image of a sow, which Aeneas is read to have found, pregnant, according to the vaticination of Helenus, son of Priam—a sign, namely, of a city to be built in that place, which the fates had given to him to command the whole orb.

De hoc signo Virgilius sic ait:

About this sign, Virgil thus says:

inverta sub ilicibus sus
alba solo recubans, albi circum ubera nati.

the sow turned over beneath the holm-oaks,
white, reclining on the ground; white her young around her udders.

Est autem hoc signum ex Pario marmore candidissimo mira arte perfecto reptantque circum ubera eius nati numero XXX.

Now, this statue is of most bright-white Parian marble, perfected by wondrous art, and her offspring, numbering 30, crawl around her teats.

32. In porticu etiam ante hiemale palatium domini papae est imago aenea illius lupae, quae dicitur Remum et Romulum aluisse. Sed hoc quidem fabulosum est. Nam Lupa quaedam mulier eximiae pulchritudinis antiquitus Romae fuit.

32. In the portico also before the winter palace of the Lord Pope there is a bronze image of that she-wolf which is said to have suckled Remus and Romulus. But this indeed is fabulous. For a certain woman Lupa, of exceptional beauty, was in ancient times at Rome.

Haec Remum et Romulum in Tiberi proiectos invenit et pro suis aluit. Quae ideo Lupa dicta est, quoniam pulchritudine sua et illecebris suis homines in amorem suum rapiebat. Haec autem lupa aenea arieti aeneo insidiatur, qui ante palatium praefatum aquam abluendis manibus ore emittit.

She found Remus and Romulus, cast forth in the Tiber, and reared them as her own. She was therefore called “She-Wolf,” since by her beauty and her allurements she would carry men off into love for her. This bronze she-wolf, however, lies in wait for the bronze ram, which before the aforesaid palace emits water from its mouth for the ablution of hands.

Lupa etiam quondam singulis mammis aquam abluendis manibus emittebat, sed nunc fractis pedibus a loco suo divulsa est.

The she-wolf too once used to emit water from each of her teats for washing hands, but now, with her feet broken, she has been torn from her place.

33. Ante hanc aenea tabula est, ubi potiora legis praecepta scripta sunt. Quae tabula 'prohibens peccatum' dicitur. In hac tabula plura legi, sed pauca intellexi.

33. Before this, there is a bronze tablet, where the weightier precepts of the law have been written. This tablet is called "prohibiting sin." On this tablet I read many things, but I understood few.

Sunt enim afforismi, ubi fere omnia verba subaudiuntur.

For there are aphorisms, where almost all the words are understood.