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whereby the strength and genius of individuals and families were constantly called into activity, and both families and isolated individuals of foreign race were attracted to Rome. It was no small thing to hold the kings of the earth in spiritual subjection, to be the arbiter of the new Empire founded by Charlemagne, the director of the kingdoms built up in France and England, and, almost literally, the feudal lord over all other temporal powers. The force of a predominant idea gave Rome new life, vivifying new elements with the vitality of new ambitions. The theatre was the same. The actors and the play had changed. The world was no longer governed by one man as monarch; it was directed by one man, who was the chief personage in the vast and intricate feudal system by which strong men agreed to live, and to which they forced the weak to submit.

      The Barons came into existence, and Rome was a city of fortresses and towers, as well as churches. Orsini and Colonna, Caetani and Vitelleschi, Savelli and Frangipani, fought with each other for centuries among ruins, built strongholds of the stones of temples, and burned the marble treasures of the world to make lime. And fiercely they held their own. Nicholas Rienzi wanders amid the deserted places, deciphers the broken inscriptions, gathers a little crowd of plebeians about him and tells them of ancient Rome, and of the rights of the people in old times. All at once he rises, a grand shadow of a Roman, a true tribune, brave, impulsive, eloquent. A little while longer and he is half mad with vanity and ambition, a public fool in a high place, decking himself in silks and satins, and ornaments of gold, and the angry nobles slay him on the steps of the Aracœli, as other nobles long ago slew Tiberius Gracchus, a greater and a better man, almost on the same spot.

      Meanwhile the great schism of the Church rages, before and after Rienzi. The Empire and its Kingdoms join issue with each other and with the Barons for the lordship of Christendom; there are two Popes, waging war with nations on both sides, and Rome is reduced to a town of barely twenty thousand souls. Then comes Hildebrand, Pope Gregory the Seventh, friend of the Great Countess, humbler of the Emperor, a restorer of things, the Julius Cæsar of the Church, and from his day there is stability again, as Urban the Second follows, like an Augustus; Nicholas the Fifth, the next great Pontiff, comes in with the Renascence. Last of destroyers Charles, the wild Constable of Bourbon, marches in open rebellion against King, State and Church, friend to the Emperor, straight to his death at the walls, his work of destruction carried out to the terrible end by revengeful Spaniards who spare only the churches and the convents. Out of those ashes Rome rose again, for the last time, the Rome of Sixtus the Fifth, which is, substantially, the Rome we see today; less powerful in the world after that time, but more beautiful as she grew more peaceful by degrees; flourishing in a strange, motley way, like no other city in the world, as the Empire of the Hapsburgs and the Kingdoms of Europe learned to live apart from her, and she was concentrated again upon herself, still and always a factor among nations, and ever to be. But even in latter days, Napoleon could not do without her, and Francis the Second of Austria had to resign the Empire, in order that Pius the Seventh might call the self-crowned Corsican soldier, girt with Charlemagne's huge sword, the anointed Emperor of Christendom.

      Once more a new idea gives life to fragments hewn in pieces and scattered in confusion. A dream of unity disturbs Italy's sleep. Never, in truth, in all history, has Italy been united save by violence. By the sword the Republic brought Latins, Samnites and Etruscans into subjection; by sheer strength she crushed the rebellion of the slaves and then forced the Italian allies to a second submission; by terror Marius and Sylla ruled Rome and Italy; and it was the overwhelming power of a paid army that held the Italians in check under the Empire, till they broke away from each other as soon as the pressure was removed, to live in separate kingdoms and principalities for thirteen or fourteen hundred years, from Romulus Augustulus—or at least from Justinian—to Victor Emmanuel, King of Italy, in whose veins ran not one drop of Italian blood.

      One asks whence came the idea of unity which has had such power to move these Italians, in modern times. The answer is plain and simple. Unity is the word; the interpretation of it is the name of Rome. The desire is for all the romance and the legends and the visions of supreme greatness which no other name can ever call up. What will be called hereafter the madness of the Italian people took possession of them on the day when Rome was theirs to do with as they pleased. Their financial ruin had its origin at that moment, when they became masters of the legendary Mistress of the world. What the end will be, no one can foretell, but the Rome of old was not made great by dreams. Her walls were founded in blood, and her temples were built with the wealth of conquered nations, by captives and slaves of subject races.

      The Rome we see today owes its mystery, its sadness and its charm to six and twenty centuries of history, mostly filled with battle, murder and sudden death, deeds horrible in that long-past present which we try to call up, but alternately grand, fascinating and touching now, as we shape our scant knowledge into visions and fill out our broken dreams with the stuff of fancy. In most men's minds, perhaps, the charm lies in that very confusion of suggestions, for few indeed know Rome so well as to divide clearly the truth from the legend in her composition. Such knowledge is perhaps altogether unattainable in any history; it is most surely so here, where city is built on city, monument upon monument, road upon road, from the heart of the soil upwards—the hardened lava left by many eruptions of life; where the tablets of Clio have been shattered again and again, where fire has eaten, and sword has hacked, and hammer has bruised ages of records out of existence, where even the race and type of humanity have changed and have been forgotten twice and three times over.

      Therefore, unless one have half a lifetime to spend in patient study and deep research, it is better, if one come to Rome, to feel much than to try and know a little, for in much feeling there is more human truth than in that dangerous little knowledge which dulls the heart and hampers the clear instincts of natural thought. Let him who comes hither be satisfied with a little history and much legend, with rough warp of fact and rich woof of old-time fancy, and not look too closely for the perfect sum of all, where more than half the parts have perished for ever.

      It matters not much whether we know the exact site of Virgil's Laurentum; it is more interesting to remember how Commodus, cruel, cowardly and selfish, fled thither from the great plague, caring not at all that his people perished by tens of thousands in the city, since he himself was safe, with the famous Galen to take care of him. We can leave the task of tracing the enclosures of Nero's golden house to learned archælogists, and let our imagination find wonder and delight in their accounts of its porticos three thousand feet long, its game park, its baths, its thousands of columns with their gilded capitals, and its walls encrusted with mother-of-pearl. And we may realize the depth of Rome's abhorrence for the dead tyrant, as we think of how Vespasian and his son Titus pulled down the enchanted palace for the people's sake, and built the Colosseum where the artificial lake had been, and their great baths on the very foundations of Nero's gorgeous dwelling.

      BRASS OF TRAJAN, SHOWING THE CIRCUS MAXIMUS

      BRASS OF ANTONINUS PIUS, IN HONOUR OF FAUSTINA, WITH REVERSE SHOWING VESTA BEARING THE PALLADIUM

      III

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      It is impossible to conceive of the Augustan age without Horace, nor to imagine a possible Horace without Greece and Greek influence. At the same time Horace is in many ways the prototype of the old-fashioned, cultivated, gifted, idle, sarcastic, middle-class Roman official, making the most of life on a small salary and the friendship of a great personage; praising poverty, but making the most of the good things that fell in his way; extolling pristine austerity of life and yielding with a smile to every agreeable temptation; painting the idyllic life of a small gentleman farmer as the highest state of happiness, but secretly preferring the town; prudently avoiding marriage, but far too human to care for an existence in which woman had no share; more sensible in theory than in practice, and more religious

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