In "Quo Vadis" the whole _alta Roma_, beginning with slaves carrying
mosaics for their refined masters, and ending with patricians, who
were so fond of beautiful things that one of them for instance used to
kiss at every moment a superb vase, stands before our eyes as if it
was reconstructed by a magical power from ruins and death.

There is no better description of the burning of Rome in any
literature. While reading it everything turns red in one's eyes, and
immense noises fill one's ears. And the moment when Christ appears
on the hill to the frightened Peter, who is going to leave Rome, not
feeling strong enough to fight with mighty Caesar, will remain one of
the strongest passages of the literature of the whole world.

After having read again and again this great--shall I say the greatest
historical novel?--and having wondered at its deep conception,
masterly execution, beautiful language, powerful painting of the
epoch, plastic description of customs and habits, enthusiasm of
the first followers of Christ, refinement of Roman civilization,
corruption of the old world, the question rises: What is the
dominating idea of the author, spread out all over the whole book? It
is the cry of Christians murdered in circuses: _Pro Christo_!

Sienkiewicz searching always and continually for a tranquil harbor
from the storms of conscience and investigation of the tormented mind,
finds such a harbor in the religious sentiments, in lively Christian
faith. This idea is woven as golden thread in a silk brocade, not only
in "Quo Vadis," but also in all his novels. In "Fire and Sword" his
principal hero is an outlaw; but all his crimes, not only against
society, but also against nature, are redeemed by faith, and as a
consequence of it afterward by good deeds. In the "Children of the