man than the African mosaic, reveals the same contour of countenance, of
brow, nose, cheeks and chin. Furthermore it is difficult to think of any
other Roman in private life who attained to such fame that six marble
replicas of his portrait should have survived the omnivorous lime-kilns
of the dark ages. The Barrocco museum of Rome has a very lifelike
replica[9] of this type in half-relief. Though its firm, dry workmanship
seems to be of a few decades later than Vergil's youth it may well be a
fairly faithful copy of one of the first busts of Vergil made at the time
when the _Eclogues_ had spread his fame through Rome.

[Footnote 8: See British School _Cat. of the Mus. Capitolino_, p. 355;
Bernoulli, _Röm. Ikonographie_, I, 187, Helbig,'3 I, no. 872.]

[Footnote 9: Mrs. Strong, _Roman Sculpture_ plate, CIX; Hekler, _Greek
and Roman Portraits_, 188 a. The antiquity of this marble has been
questioned.]

A land of sound constitutions, mentally and physically, was the frontier
region in which Vergil grew to manhood; and had it not later been drained
of its sturdy citizenry by the civil wars and recolonized by the wreckage
of those wars it would have become Italy's mainstay through the Empire.
The earlier Romans and Latins who had first accepted colonial allotments
or had migrated severally there for over a century were of sterner stuff
than the indolent remnants that had drifted to the city's corn cribs.
These frontiersmen had come while the Italic stock was still sound, not
yet contaminated by the freedmen of Eastern extraction. Cities like
Cremona and Mantua were truer guardians of the puritanic ideals of Cato's
day than Rome itself. The clear expressive diction of Catullus' lyrics,
full of old-fashioned turns, the sound social ideals of Vergil's
_Georgics_, the buoyant idealism of the _Aeneid_ and of Livy's annals