“Nor even so was their anger appeased; some among them seeking for us pains, if it might be, yet greater; that the saying might be fulfilled, He that is unjust, let him be unjust still. And their rage against the Martyrs took a new form, insomuch that we were in great sorrow for lack of freedom to entrust their bodies to the earth.
“Neither did the nighttime, nor the offer of money, avail us for this matter; but they set watch with much carefulness, as though it were a great gain to hinder their burial. Therefore, after the bodies had been displayed to view for many days, they were at last burned to ashes, and cast into the river Rhone, which flows by this place, that not a vestige of them might be left upon the earth. For they said, Now shall we see whether they will rise again, and whether their God can save them out of our hands.”
XXVII
The Triumph of Marcus Aurelius
Not many months after the date of that epistle, Marius, then expecting to leave Rome for a long time, and in fact about to leave it forever, stood to witness the triumphal entry of Marcus Aurelius, almost at the exact spot from which he had watched the emperor’s solemn return to the capital on his own first coming thither. His triumph was now a “full” one—Justus Triumphus justified, by far more than the due amount of bloodshed in those Northern wars, at length, it might seem, happily at an end. Among the captives, amid the laughter of the crowds at his blowsy upper garment, his trousered legs and conical wolf-skin cap, walked our own ancestor, representative of subject Germany, under a figure very familiar in later Roman sculpture; and, though certainly with none of the grace of the Dying Gaul, yet with plenty of uncouth pathos in his misshapen features, and the pale, servile, yet angry eyes. His children, white-skinned and golden-haired “as angels,” trudged beside him. His brothers, of the animal world, the ibex, the wildcat, and the reindeer, stalking and trumpeting grandly, found their due place in the procession; and among the spoil, set forth on a portable frame that it might be distinctly seen (no mere model, but the very house he had lived in), a wattled cottage, in all the simplicity of its snug contrivances against the cold, and well-calculated to give a moment’s delight to his new, sophisticated masters.
Andrea Mantegna, working at the end of the fifteenth century, for a society full of antiquarian fervour at the sight of the earthy relics of the old Roman people, day by day returning to light out of the clay—childish still, moreover, and with no more suspicion of pasteboard than the old Romans themselves, in its unabashed love of open-air pageantries, has invested this, the greatest, and alas! the most characteristic, of the splendours of imperial Rome, with a reality livelier than any description. The homely sentiments for which he has found place in his learned paintings are hardly more lifelike than the great public incidents of the show, there depicted. And then, with all that vivid realism, how refined, how dignified, how select in type, is this reflection of the old Roman world!—now especially, in its time-mellowed red and gold, for the modern visitor to the old English palace.
It was under no such selected types that the great procession presented itself to Marius; though, in effect, he found something there prophetic, so to speak, and evocative of ghosts, as susceptible minds will do, upon a repetition after long interval of some notable incident, which may yet perhaps have no direct concern for themselves. In truth, he had been so closely bent of late on certain very personal interests that the broad current of the world’s doings seemed to have withdrawn into the distance, but now, as he witnessed this procession, to return once more into evidence for him. The world, certainly, had been holding on its old way, and was all its old self, as it thus passed by dramatically, accentuating, in this favourite spectacle, its mode of viewing things. And even apart from the contrast of a very different scene, he would have found it, just now, a somewhat vulgar spectacle. The temples, wide open, with their ropes of roses flapping in the wind against the rich, reflecting marble, their startling draperies and heavy cloud of incense, were but the centres of a great banquet spread through all the gaudily coloured streets of Rome, for which the carnivorous appetite of those who thronged them in the glare of the midday sun was frankly enough asserted. At best, they were but calling their gods to share with them the cooked, sacrificial, and other meats, reeking to the sky. The child, who was concerned for the sorrows of one of those Northern captives as he passed by, and explained to his comrade—“There’s feeling in that hand, you know!” benumbed and lifeless as it looked in the chain, seemed, in a moment, to transform the entire show into its own proper tinsel. Yes! these Romans were a coarse, a vulgar people; and their vulgarities of soul in full evidence here. And Aurelius himself seemed to have undergone the world’s coinage, and fallen to the level of his reward, in a mediocrity no longer golden.
Yet if, as he passed by, almost filling the quaint old circular chariot with his magnificent golden-flowered attire, he presented himself to Marius, chiefly as one who had made the great mistake; to the multitude he came as a more than magnanimous conqueror. That he had “forgiven” the innocent wife and children of the dashing and almost successful rebel Avidius Cassius, now no more, was a recent circumstance still in memory. As the children went past—not among
