remained of him through after Roman ages, how great was the immediate
effect of his oratory. We can imagine him, in this case of Sextus
Roscius, standing out in the open air in the Forum, with the movable
furniture of the court around him, the seats on which the judges sat
with the Praetor in the midst of them, all Senators in their white
robes, with broad purple borders. There too were seated, we may
suppose on lower benches, the friends of the accused and the
supporters of the accusation, and around, at the back of the orator,
was such a crowd as he by the character of his eloquence may have
drawn to the spot. Cicero was still a young man; but his name had made
itself known and we can imagine that some tidings had got abroad as
to the bold words which would be spoken in reference to Sulla and
Chrysogonus. The scene must have been very different from that of one
of our dingy courts, in which the ermine is made splendid only by the
purity and learning of the man who wears it. In Rome all exterior
gifts were there. Cicero knew how to use them, so that the judges
who made so large a part in the pageant should not dare to disgrace
themselves because of its publicity. Quintilian gives his pupils much
advice as to the way in which they should dress themselves[76] and
hold their togas--changing the folds of the garment so as to suit the
different parts of the speech--how they should move their arms, and
hold their heads, and turn their necks; even how they should comb
their hair when they came to stand in public and plead at the bar. All
these arts, with many changes, no doubt, as years rolled on, had come
down to him from days before Cicero; but he always refers to Cicero as
though his were the palmy days of Roman eloquence. We can well believe
that Cicero had studied many of these arts by his twenty-seventh
year--that he knew how to hold his toga and how to drop it--how to
make the proper angle with his elbow--how to comb his hair, and yet
not be a fop--and to add to the glory of his voice all the personal