Acton speaks of "the undying penalty which history has the power to inflict on wrong."[11] But how are we to fix a stigma, unless we know the man's motives? How can we know his motives without an estimate of his character? How can either of these be known unless we visualize him as he lived?

Mr. Belloc has made his most conscious and determined effort at visualization in a book which is not historical, but which falls more, though not altogether, into the category of historical fiction. This is the book which is called The Eye-Witness.

It consists of twenty-seven sketches of historical incidents ranging from the year 55 B.C. to the year A.D. 1906. It begins with Cæsar's invasion of Britain, and goes by way of the disaster at Roncesvalles, the Battle of Lewes, the execution of Charles I and the Battle of Valmy to an election in England which was held on the issues of Tariff Reform, Chinese Labour in the Transvaal and other topics. One might say—a gloomy progress.

It falls partly into the category of historical fiction because much of it is sheerly created out of Mr. Belloc's own head. The interlocutors in most of the sketches (where there are interlocutors), the individual who is the eye-witness (when there is one), these are imaginary. Mr. Barr, who was held up in a crowd by the execution of Marie Antoinette and suffered annoyance, the apprentice who saw an earlier royal head cut off, the Christian who was killed in the Arena by "a little, low-built, broad-shouldered man from the Auvergne of the sort that can tame an animal in a day, hard as wood, and perfectly unfeeling," these are characters of fiction.

But in the "stories" that make up the book there is no plot. There is just a glimpse of a past life, sometimes, but not always, at a significant moment. In one of Mr. Wells' stories there is a queer fable of a crystal mysteriously in touch with a twin crystal on another planet. Glancing into this, we get a glimpse of that different world. Mr. Belloc's sketches are such crystals, suspended for a moment at a time in centuries foreign to our own.

He has endeavoured passionately to be accurate in these. A passage from his preface will show how this adverb is justified:

As to historical references, I must beg the indulgence of the critic, but I believe I have not positively asserted an error, nor failed to set down a considerable number of minute but entertaining truths.

Thus the 10th Legion (which I have called a regiment in The Two Soldiers) did sail under Cæsar for Britain from Boulogne, and from no other port. There was in those days a great land-locked harbour from Pont-de-Briques right up to the Narrows, as the readers of the Gaule Romaine must know. The moon was at her last quarter (though presuming her not to be hidden by clouds is but fancy). There was a high hill just at the place where she would have been setting that night—you may see it to-day. The Roman soldiers were recruited from the Teutonic and the Celtic portions of Gaul; of the latter many did know of that grotto under Chartres which is among the chief historical interests of Europe. The tide was, as I have said, on the flow at midnight—and so forth.

The temper of that is the temper of the man who was at the pains, when writing his life of Robespierre, to look up the reports of the Paris Observatory, so as to be able exactly to describe the weather in which such and such a great scene was played that hugely affected the fortunes of Europe. It is the temper, too, of a man with an immense historical curiosity, who will not be satisfied with less than all of the past that can reasonably be reconstructed.

Mr. Belloc desires knowledge and experience of the past so earnestly that he makes imaginary pictures of it, as it were to comfort himself. Some men, in this way, when walking alone, make imaginary pictures of their own futures, often to cheat the disappointments of a narrow life. Too fervid political idealists make pictures of the world's future: you think immediately of Morris and Bellamy and many another. Mr. Belloc is not likely to give way to this temptation.