The Mentor: Among the Ruins of Rome, Vol. 1, Num. 46, Serial No. 46 — Context and Discussion
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The Mentor, No. 46, Among the Ruins of Rome
AMONG THE RUINS OF ROME
By GEORGE WILLIS BOTSFORD
_Professor of History, Columbia University. Author of “The Story of Rome,” “A History of Rome.”_
SERIAL NO. 46 DEPARTMENT OF TRAVEL
THE CAMPAGNA · THE FORUM TOWARD THE CAPITOL · THE FORUM FROM THE CAPITOL · THE COLOSSEUM · THE ARCH OF TITUS · THE TOMB OF HADRIAN
Entered as second-class matter March 10, 1913, at the postoffice at New York, N. Y., under the act of March 3, 1879. Copyright, 1913, by The Mentor Association, Inc., New York.
Shortly after sunset the express train, speeding north from Naples, emerges from the mountains and begins winding its way down grade. The expectant visitor to the Eternal City sees below him through the car window a broad expanse of plain, sloping imperceptibly on the left to the sea, in front to the Tiber River. It is an ocean of green, here quietly level, there billowed in ridges or headed up in round hillocks.
This is the Campagna, the broad flat belt which borders the Tiber on the left. At first sight it reveals to us its solitude. In early Roman times it had swarmed with peasants who owned the lands they tilled. As the city grew wealthy the district fell into the hands of lords, who covered it with their luxurious villas, peopled by multitudes of slaves. Still later, when Rome was declining, these villas fell to ruins, the slaves disappeared, and Malaria stalked lonely and terrible over the beautiful country she had made her own. Even now she rules it, scarcely weakened by modern progress. The dwellings of her few wretched tenants are miles apart. Herds of sheep and of fierce long-horned cattle pasture on the abundant grass, and along the well-made roads that span the plain an occasional ox-team wearily drags an awkward cart.
But the Campagna has its attractions. It fascinates imaginative tourists and draws them to its heart. Three or four together, their knapsacks filled with food and drink, often take long trips through this wild region, whose eternal quiet speaks peace to the weary mind, whose delicate, ever-changing tints of sky and field appeal to the taste for natural beauty, whose ruined villas and towns awaken historical memories of the rise of Rome from a little settlement on the Tiber to a worldwide power and a fame that cannot die.
The most impressive features of the Campagna as we view it from the car window or in a stroll along either the old Appian Way or the modern Appian Way, are the ruins of aqueducts. The one here illustrated is the Claudia, named after Emperor Claudius, who completed it. Its sources were more than forty miles distant; while crossing the Campagna the water flowed in a channel supported by a series of gigantic arches. It provided Rome not only with her best water, but her most abundant supply, amounting to more than 400,000 cubic meters daily. All the aqueducts together poured into the city each day more fresh water than the Tiber now empties into the sea.
As we view this work of great utility, we naturally wonder what sort of man was the builder. At the time of his accession he was fifty years old, and had devoted his earlier life zealously to study and writing. Grotesque in manner and eccentric in his habits, he was generally considered a learned fool; and yet he made an admirable ruler. When acting as judge he often slept during the pleas of the lawyers, waking at the close of the trial to give his decision in an equitable and humane spirit. It was unfortunate for the case, however, if he chanced to smell anything good cooking in a neighboring restaurant; for he would adjourn court to refresh himself. He was far more liberal than his predecessors in bestowing Roman citizenship on subject peoples.
To keep the city population supplied with cheap food, he subsidized and insured grain ships at the cost of the government; and his activity in erecting public works is illustrated by the completion of this magnificent aqueduct. It is a fact of great importance that the early emperors, whatever their private characters, almost uniformly devoted themselves to the public good. Personal service to the empire was their chief title to office and the basis on which successive rulers built up their power.
George Willis Botsford opens his 1913 Mentor essay not with a monument but with a train ride: the express from Naples winding down toward the Campagna. The view through the car window becomes a framing device, turning the reader into a traveler arriving at dusk. Botsford’s prose shifts between the panoramic and the particular, describing the plain as “an ocean of green, here quietly level, there billowed in ridges.” This choice of language—borrowing from seascape to describe land—signals a writer attentive to texture and movement. He does not simply list ruins; he stages an approach, letting the landscape speak first.
The Campagna as a Living Palimpsest
Botsford treats the Campagna not as a static backdrop but as a layered historical document. He traces its transformation from peasant smallholdings to slave-worked villas to a malarial emptiness. The phrase “Malaria stalked lonely and terrible” personifies the disease as an active agent, a rhetorical choice that heightens the sense of abandonment. His description of “her few wretched tenants” and “fierce long-horned cattle” reinforces a landscape both beautiful and hostile. The aqueducts, he notes, are “the most impressive features,” and he singles out the Claudia, named after Emperor Claudius, whose sources were “more than forty miles distant.” This specificity grounds the essay in concrete detail rather than vague antiquity.
The Forum: Crowded with Statues and Stories
Botsford’s account of the Roman Forum emphasizes congestion. He reports that at one time “Rome was said to have two equal populations, one in flesh and blood, the other in bronze and marble.” This epigrammatic claim, almost certainly drawn from ancient sources, encapsulates the Forum’s overabundance. He describes the space as an oblong 690 feet long and 240 feet wide, yet notes that it “does not seem to be this large” because of the monuments. The detail of square holes in the pavement for awnings and a network of passages three feet below the surface shows his interest in the practical infrastructure of public life. The story of Marcus Curtius leaping into a chasm in 362 A.D. is presented without skepticism, as a received legend that illustrates Roman values.
Capitoline Hill: Refuge and Quarry
Botsford’s treatment of the Capitoline Hill blends myth and later history. He recounts Romulus’s “Asylum,” a depression where fugitives were granted citizenship, and notes that the hill was “undermined with large and excessive artificial caverns,” mostly from medieval quarrying. This juxtaposition—a sacred founding site hollowed out by later labor—is typical of his method. He also mentions Petrarch’s coronation as poet laureate in 1341 and the siege of 1251 under Brancaleone. These later events anchor the ancient site in a continuous timeline, reminding readers that ruins are not frozen in one era.
Diction and the Rhetoric of Decline
Botsford’s word choices consistently evoke decay and loss. The Campagna is “solitary,” the villas “fell to ruins,” the slaves “disappeared.” He uses “stalked” for Malaria, “weary” for ox-teams, and “wretched” for tenants. Yet he also acknowledges the Campagna’s “attractions” for “imaginative tourists,” who find “peace” and “delicate, ever-changing tints.” This tension between desolation and beauty is central to his descriptive strategy. His sentences vary from short, declarative statements (“This is the Campagna”) to longer, periodic constructions that mirror the winding approach. The essay’s voice is that of a knowledgeable guide who assumes an educated reader, but avoids academic jargon.
Botsford’s essay is best read as a travel sketch that uses historical anecdote to animate ruins. He does not argue a thesis but invites the reader to see Rome as a sequence of transformations—from marsh to forum, from villa to quarry. Pay attention to his verbs: they often imply agency in landscapes and diseases. The Mentor format, with its gravures and short chapters, suits his concise, image-driven style. This is a work meant to be looked at as much as read, and the prose rewards a slow, attentive eye.
There’s something about Botsford lingering on those broken aqueducts that makes me think of quiet afternoons elsewhere, where ruins aren’t the point at all—just old stones holding warmth. I came across The spell of the heart of France: the towns, villages and châteaux about Paris — A Reader’s Guide the same way, half by accident, and it had that same unhurried whisper of places that outlast us.
Anthony Harris
1 month agoOliver Nelson
4 weeks agoNoah Garcia
3 weeks agoCharlotte Miller
2 weeks ago-
Jerry Williams - 1 month ago
The Mentor Among The Ruins Of Rome is a masterpiece of educational travel writing. It transports you to ancient Rome through vivid descriptions and gorgeous illustrations. The way the author connects the ruins to historical events and personalities is brilliant. It's like having a knowledgeable guide walking you through the Forum and Colosseum. A perfect blend of history and visual beauty. Highly recommend for any armchair traveler or history lover. -
Charles Clark - 3 weeks ago
This volume offers a solid overview of Rome's ancient landmarks, accompanied by classic artwork. The narrative is engaging, and the historical facts are accurate. However, the formatting is a bit old-fashioned, and some chapters feel too brief. A good starting point for Roman history, but don't expect in-depth analysis. -
George Walters - 2 weeks ago
The Mentor Among The Ruins Of Rome is a thin publication that provides only a superficial look at the ruins. While the illustrations are nice, the text is overly simplistic and lacks scholarly depth. The 'mentor' persona feels patronizing. I'd recommend a modern guidebook with more archaeological context. This feels like a relic better left on the shelf.
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