WHENCE THE ART OF ROME? 283 



tive Jews and Greeks had to construct the aqueducts 

 whose ruins, in segments of arches, stretch over the 

 Campagna, even to the Alban hills. The Thermae or 

 baths of Rome were so extensive that they could 

 accommodate 1500 bathers at once. The buildings 

 were architecturally grand; and the halls and passage 

 ways were filled with elegant statues and Trescoes. 

 The Farnese Bull, now at Naples, once ornamented 

 the baths of Caracalla. The imposing ruins of the 

 luxurious bathing establishment are still to be seen, 

 they are on the Appian Way, about a half mile from 

 the Arch of Constantine. 



Outside of what are denominated the Grand 

 Galleries of Art in Rome, are many collections which 

 embrace meritorious productions. In the Palazzo 

 Rospigliosi of the Quirinal hill is an art hall that has 

 its ceiling ornamented by Guido Reni. The mural 

 painting in brilliant tints represents Aurora strewing 

 flowers before the chariot of the sun-god Apollo. 

 Hie deityship has his head adorned with an abundance 

 of golden hair ; and he is attended with a group of 

 dancing nymphs clad in flowing robes of rainbow 

 hues. The spirited horses are colored in accord with 

 the tints of thin clouds in the background. The 

 picture is one of surpassing beauty, and eminently fit 

 to adorn a palatial ceiling. 



In the center of the Piazza del Quirinal is a foun- 

 tain, beside which stand two colossal horses in rearing 

 attitudes; and giant statues of Castor and Pollux as 

 tamers of the unbridled steeds. 



The Piazza del Popolo, in the north part of the 

 city, has an obelisk with Egyptian inscriptions to 

 ornament a fountain. The monolith is placed between 

 four spouting lionesses. This specimen of massive art 



