Their Mass Is Supremely Tasteless, Almost Senseless; That Mob Of Architectural Incongruities Was Not Only Without Collective Beauty, But It Was Without That Far Commoner And Cheaper Thing Which We Call Picturesqueness.

This has come to it through ruin, and we must give a new meaning to the word vandalism if we would appreciate what the barbarians did for Rome in tumbling her tawdry splendor into the heaps which are now at least paint-able.

Imperial Rome as it stood was not paintable; I doubt if it would have been even photographable to anything but a picture post-card effect.

But as yet I wandered in the Forum safe from the realization of its ugliness when it was in its glory. I cannot say that even now it is picturesque, but it is paintable, and certainly it is pathetic. Stumps of columns, high and low, stand about in the places where they stood in their unbroken pride, and though it seems a hardship that they should not have been left lying in the kindly earth or on it instead of being pulled up and set on end, it must be owned that they are scarcely overworked in their present postures. More touching are those inarticulate heaps, cairns of sculptured fragments, piled here and there together and waiting the knowledge which is some time to assort them and translate them into some measure of coherent meaning. But it must always be remembered that when they were coherent they were only beautiful parts of a whole that was brutally unbeautiful. We have but to use the little common-sense which Heaven has vouchsafed some of us in order to realize that Rome, either republican or imperial, was a state for which we can have no genuine reverence, and that mostly the ruins of her past can stir in us no finer emotion than wonder. But necessarily, for the sake of knowledge, and of ascertaining just what quantity and quality of human interest the material records of Roman antiquity embody, archaeology must devote itself with all possible piety to their recovery. The removal, handful by handful, of the earth from the grave of the past which the whole Forum is, tomb upon tomb, is as dramatic a spectacle as anything one can well witness; for that soil is richer than any gold-mine in its potentiality of treasure, and it must be strictly scrutinized, almost by particles, lest some gem of art should be cast aside with the accumulated rubbish of centuries. Yet this drama, poignantly suggestive as it always must be, was the least incident of that morning in the Forum which it was my fortune to pass there with other better if not older tourists as guest of the Genius Loci. It was not quite a public event, though the Commend atore Boni is so well known to the higher journalism, and even to fiction (as the reader of Anatole France's _La Pierre Blanche_ will not have forgotten), that nothing which he archseolog-ically does is without public interest, and this excursion in the domain of antiquity was expected to result in identifying the site of the Temple of Jupiter Stator.

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