It has ever been a place of glory, a place of death and a place of shame, but since the great modern changes it is meant to be only the seat of honour, and upon the slope of the Capitol the Italians, in the first flush of victorious unity, have begun to raise a great monument to their greatest idol, King Victor Emmanuel. If it is not the best work of art of the sort in existence it will probably enjoy the distinction of being the largest, and it is by no means the worst, for the central statue of the 'Honest King' has been modelled with marvellous skill and strength by Chiaradia, whose name is worthy to be remembered; yet the vastness of the architectural theatre provided for its display betrays again the giantism of the Latin race, and when in a future century the broad flood of patriotism shall have subsided within the straight river bed of sober history, men will wonder why Victor Emmanuel, honest and brave though he was, received the greater share of praise, and Cavour and Garibaldi the less, seeing that he got Italy by following the advice of the one, if not by obeying his dictation, and by accepting the kingdom which the other had destined for a republic, but was forced to yield to the monarchy by the superior genius of the statesman.
That day is not far distant. After a period of great and disastrous activity, the sleepy indifference of 1830 is again settling upon Rome, the race for imaginary wealth is over, time is a drug in the market, money is scarce, dwellings are plentiful, the streets are quiet by day and night, and only those who still have something to lose or who cherish very modest hopes of gain, still take an interest in financial affairs. One may dream again, as one dreamed thirty years ago, when all the clocks were set once a fortnight to follow the sun.
Rome is restoring to Cæsar the things that are Cæsar's. They are much bigger and finer things than the symmetrical, stuccoed cubes which have lately been piled up everywhere in heaven-offending masses, and one is glad to come back to them after the nightmare that has lasted twenty years. Moreover, one is surprised to find how little permanent effect has been produced by the squandering of countless millions during the building mania, beyond a cruel destruction of trees, and a few modifications of natural local accidents. To do the moderns justice, they have done no one act of vandalism as bad as fifty, at least, committed by the barons of the Middle Age and the Popes of the Renascence, though they have shown much worse taste in such new things as they have set up in place of the old.
The charm of Rome has never lain in its architecture, nor in the beauty of its streets, though the loveliness of its old-fashioned gardens contributed much which is now in great part lost. Nor can it be said that the enthralling magic of the city we used to know lay especially in its historical association, since Rome has been loved to folly by half-educated girls, by flippant women of the world and by ignorant idlers without number, as well as by most men of genius who have ever spent much time there.
COLUMN OF PHOCAS, LOOKING ALONG THE FORUM
In the Middle Age one man might know all that was to be known. Dante did; so did Lionardo da Vinci. But times have changed since a mediæval scholar wrote a book 'Concerning all things and certain others also.' We cannot all be archæologists. Perhaps when we go and stand in the Forum we have a few general ideas about the relative position of the old buildings; we know the Portico of the Twelve Gods in Council, the Temple of Concord, the Basilica Julia, the Court of Vesta, the Temple of Castor and Pollux; we have a more vague notion of the Senate Hall; the hideous arch of Septimius Severus stares us in the face; so does the lovely column of evil Phocas, the monster of the east, the red-handed centurion-usurper who murdered an Emperor and his five sons to reach the throne. And perhaps we have been told where the Rostra stood, and the Rostra Julia, and that the queer fragment of masonry by the arch is supposed to be the 'Umbilicus,' the centre of the Roman world. There is no excuse for not knowing these things any more than there is any very strong reason for knowing them, unless one be a student. There is a plan of the Forum in every guide book, with a description that changes with each new edition.
And yet, without much definite knowledge,—with 'little Latin and less Greek,' perhaps,—many men and women, forgetting for one moment the guide book in their hands, have leaned upon a block of marble with half-closed, musing eyes, and breath drawn so slow that it is almost quite held in day-dream wonder, and they have seen a vision rise of past things and beings, even in the broad afternoon sunshine, out of stones that remember Cæsar's footsteps, and from walls that have echoed Antony's speech. There they troop up the Sacred Way, the shock-headed, wool-draped, beak-nosed Romans; there they stand together in groups at the corner of Saturn's temple; there the half-naked plebeian children clamber upon the pedestals of the columns to see the sights, and double the men's deep tones with a treble of childish chatter; there the noble boy with his bordered toga, his keen young face, and longing backward look, is hurried home out of the throng by the tall household slave, who carries his school tablets and is answerable with his skin for the boy's safety. The Consul Major goes by, twelve lictors marching in single file before him—black-browed, square-jawed, relentless men, with their rods and axes. Then two closed litters are carried past by big, black, oily fellows, beside whom walk freedmen and Greek slaves, and three or four curled and scented parasites, the shadows of the great men. Under their very feet the little street boys play their games of pitching at tiny pyramids of dried lupins, unless they have filberts, and lupins are almost as good; and as the dandified hanger-on of Mæcenas, straining his ear for the sound of his patron's voice from within the litter, heedlessly crushes the little yellow beans under his sandal, the particular small boy whose stake is smashed clenches his fist, and with flashing eyes curses the dandy's dead to the fourth generation of ascendants, and he and his companions turn and scatter like mice as one of the biggest slaves threateningly raises his hand.
GENERAL VIEW OF THE FORUM