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Joseph McCabe - The Empresses of Rome

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Note Images of the original pages are available through Internet Archive See - photo 1
Note:Images of the original pages are available through Internet Archive. See https://archive.org/details/cu31924028299075

THE EMPRESSES OF ROME
CRISPINA
BUST IN THE BRITISH MUSEUM
THE
EMPRESSES OF ROME
BY
JOSEPH McCABE
AUTHOR OF THE DECAY OF THE CHURCH OF ROME
WITH TWENTY-FOUR ILLUSTRATIONS
NEW YORK
HENRY HOLT AND COMPANY
1911

NOTE
The period embraced by this work extends to the fall of the Western Empire, or to the middle of the fifth century. It was felt that a more extensive range would involve either an inconveniently large work or an inadequate treatment. While, therefore, the Empresses of the East have been included down to the fall of Rome, it seemed that the collapse of the Empire in Rome and the West indicated a quite natural term for the present study. The restriction has enabled the author to tell all that is known of the Empresses of Rome within that period, to enlarge the interest of the study by framing the Imperial characters in occasional sketches of their surroundings, and to weave the threads of biography into a continuous story.

CONTENTS
PAGE
Introduction
CHAP.
I.THE MAKING OF AN EMPRESS
II.THE END OF THE GOLDEN AGE
III.THE WIVES OF CALIGULA
IV.VALERIA MESSALINA
V.THE MOTHER OF NERO
VI.THE WIVES OF NERO
VII.THE EMPRESSES OF THE TRANSITION
VIII.PLOTINA
IX.SABINA, THE WIFE OF HADRIAN
X.THE WIVES OF THE STOICS
XI.THE WIVES OF THE SYBARITES
XII.JULIA DOMNA
XIII.IN THE DAYS OF ELAGABALUS
XIV.ANOTHER SYRIAN EMPRESS
XV.ZENOBIA AND VICTORIA
XVI.THE WIFE AND DAUGHTER OF DIOCLETIAN
XVII.THE FIRST CHRISTIAN EMPRESSES
XVIII.THE WIVES OF CONSTANTIUS AND JULIAN
XIX.JUSTINA
XX.THE ROMANCE OF EUDOXIA AND EUDOCIA
XXI.THE LAST EMPRESSES OF THE WEST
INDEX

LIST OF ILLUSTRATIONS
Crispina. Bust in the British Museum
From a photograph by W. A. Mansell & Co.
FACING PAGE
Livia as Ceres. Statue in the Louvre
Julia. Bust in the Museum Chiaramonti
Agrippina the Elder. Bust in the Museum Chiaramonti
Messalina. Bust in the Uffizi Palace, Florence
Agrippina the Younger. Bust in Museo Nazionale, Florence
Octavia. Porphyry Bust in the Louvre
Poppa. Bust in the Capitoline Museum, Rome
From a photograph by Anderson .
Domitia. Bust in the Uffizi Gallery, Florence
Plotina. Statue in the Louvre
From a photograph by W. A. Mansell & Co.
Sabina. Bust in the British Museum
From a photograph by W. A. Mansell & Co.
Faustina the Elder. Bust in the Louvre
From a photograph by A. Giraudon .
Faustina the Younger. Bust (reputed) in the British Museum
From a photograph by W. A. Mansell & Co.
Lucilla. Bust in the National Museum, Rome
From a photograph by Anderson .
Julia Domna. Bust in the Vatican Museum
From a photograph by Anderson .
Julia Msa. Bust in the Capitoline Museum, Rome
From a photograph by Anderson .
Julia Mama. Bust in the British Museum
From a photograph by W. A. Mansell & Co.
Marcia Otacilia Severa
From a photograph by W. A. Mansell & Co.
Zenobia
Enlarged from coin in the Berlin Museum.
Salonina and Valeria
Enlarged from coins in the British Museum.
Fausta and Flavia Helena
Enlarged from coins in the British Museum.
lia Flaccilla and Honoria
Enlarged from coins in the British Museum.
Eudoxia and Pulcheria
Enlarged from coins in the British Museum.
Placidia and Euphemia
Enlarged from coins in the British Museum.

THE EMPRESSES OF ROME
INTRODUCTION
The story of Imperial Rome has been told frequently and impressively in our literature, and few chapters in the long chronicle of mans deeds and failures have a more dramatic quality. Seven centuries before our era opens, when the greater part of Europe is still hidden under virgin forests or repellent swamps, and the decaying civilizations of the East cast, as they die, their seed upon the soil of Greece, we see, in the grey mist of the legendary period, a meagre people settling on one of the seven hills by the Tiber. As it grows its enemies are driven back, and it spreads confidently over the neighbouring hills and down the connecting valleys. It gradually extends its rule over other Italian peoples, bracing its arm and improving its art in the long struggle. It grows conscious of its larger power, and sends its legions eastward, over the blue sea, to gather the wealth and culture of Egypt, Assyria, Persia, and Greece; and westward and northward, over the white Alps, to sow the seed in Germany, Gaul, Britain, and Spain. A hundred years before the opening of the present era the tiny settlement on the Palatine has become the mistress of the world. Its eagles cross the waters of the Danube and the Rhine, and glitter in the sun of Asia and Africa. But, with the wealth of the dying East, it has inherited the germs of a deadly malady. Rome, the heart of the giant frame, loses its vigour. The strong bronze limbs look pale and thin; the clear cold brain is overcast with the fumes of wine and heated with the thrills of sense; and Rome passes, decrepit and dishonoured, from the stage on which it has played so useful and fateful a part.
The fresh aspect of this familiar story which I propose to consider is the study of the women who moulded or marred the succeeding Emperors in their failure to arrest, if not their guilt in accelerating, the progress of Romes disease. Woman had her part in the making, as well as the unmaking, of Rome. In the earlier days, when her work was confined within the walls of the home, no consul ever guided the momentous fortune of Rome, no soldier ever bore its eagles to the bounds of the world, but some woman had taught his lips to frame the syllables of his national creed. However, long before the commencement of our era, the thought and the power of the Roman woman went out into the larger world of public life; and when the Empire is founded, when the control of the States mighty resources is entrusted to the hands of a single ruler, the wife of the monarch may share his power, and assuredly shares his interest for us. Even as mere women of Rome, as single figures and types rising to the luminous height of the throne out of the dark and indistinguishable crowd, they deserve to be passed in review.
Some such review we have, no doubt, in the two great works which spread the panorama of Imperial Rome before the eyes of English readers. In the graceful and restrained chapters of Merivale we find the earlier Empresses delineated with no less charm than learning. In the more genial and voluptuous narrative of Gibbon we may, at intervals, follow the fortunes and appreciate the character of the later Empresses. But, no matter how nice a skill in grouping the historian may have, his stage is too crowded either for us to pick out the single character with proper distinctness, or for him to appraise it with entire accuracy. The fleeting glimpses of the Empresses which we catch, as the splendid panorama passes before us, must be blended in a fuller and steadier picture. The tramp and shock of armies, the wiles of statesmen, the social revolutions, which absorb the historian, must fall into the background, that the single figure may be seen in full contour. When this is done it will be found that there are many judgments on the Empresses, both in Merivale and Gibbon, which the biographer will venture to question.
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