And so it is, Urbs Roma, the great mother of cities, the capital of the world, the Imperial metropolis: its white marble-sheathed walls, built and rebuilt so many times, rise suddenly before me. Roma! The boy from the far country, humbled by the grandeur of it all, is shaken to the core. A shiver of awe goes through me so convulsively that it is transmitted through the reins to the horses, one of which glances back at me in what I imagine to be contempt and puzzlement.
Roma the city is like a palimpsest, a scroll that has been written on and cleaned and written on again, and again and again: and all the old texts show through amidst the newest one. Two thousand years of history assail the newcomer’s bedazzled eye in a single glance. Nothing ever gets torn down here, except occasionally for the sake of building something even more grand on its site. Here and there can still be seen the last quaint occasional remnants of the Roma of the Republic—the First Republic, I suppose I should say now—with the marble Roma of Augustus Caesar right atop them, and then the Romas of all the later Caesars, Hadrianus’s Roma and Septimius Severus’s Roma and the Roma of Flavius Romulus, who lived and ruled a thousand years after Severus, and the one that the renowned world-spanning Emperor Trajan VII erected upon all the rest in the great years that followed Flavius’s reuniting of the Eastern and Western Empires. All these are mixed together in the historic center of the city, and then too in a frightful ring surrounding them rise the massive hideous towers of modern times, the dreary office buildings and apartment houses of the Roma of today.
But even they, ugly as they are, are ugly in an awesomely grand Roman way. Roma is nothing if not grand: it excels at everything, even at ugliness.
Lucilla guides me in, calling off the world-famous sights as we pass them one by one: the Baths of Caracalla, the Circus Maximus, the Temple of the Divine Claudius, the Tower of Aemilius Magnus, even the ponderous and malproportioned Arch of Triumph that the Byzantine Emperor Andronicus erected in the year 1952 to mark the short-lived Greek victory in the Civil War, and which the Romans have allowed to remain as an all too visible reminder of the one great defeat in their history. But just at the opposite end of the avenue from it is the Arch of Flavius Romulus, too, five times the size of the Arch of Andronicus, to signify the final defeat of the Greeks after their two centuries of Imperial dominion.
The traffic is stupefying and chaotic. Chariots everywhere, horse-drawn trams, bicycles, and something that Lucilla says is very new, little steam-driven trains that run freely on wheels instead of tracks. There seem to be no rules: each vehicle goes wherever it pleases, nobody giving any signals, each driver attempting to intimidate those about him with gestures and curses. At first I have trouble with this, not because I am easily intimidated but because we Britons are taught early to be courteous to one another on the highways; but quickly I see that I have no choice but to behave as they do. When in Roma, et cetera—the old maxim applies to every aspect of life in the capital.
“Left here. Now right. You see the Colosseum, over there? Bigger than you thought, isn’t it? Turn right, turn right! That’s the Forum down there, and the Capitol up on that hill. But we want to go the other way, over to the Palatine—it’s the hill up there, you see? The one covered with palaces.”
Yes. Enormous Imperial dwellings, two score or even more of them, all higgledy-piggledy, cheek by jowl. Whole mountains of marble must have been leveled to build that incomprehensible maze of splendor.
And we are heading right into the midst of it all. The entrance to the Palatine is well patrolled, hordes of Praetorians everywhere, but they all seem to know Lucilla by sight and they wave us on in. She tries to explain to me which palace is whose, but it’s all a hopeless jumble, and even she isn’t really sure. Underneath what we see, she says, are the original palaces of the early Imperial days, those of Augustus and Tiberius and the Flavians, but of course nearly every Emperor since then has wanted to add his own embellishments and enhancements, and by now the whole hill is a crazyquilt of Imperial magnificence and grandiosity in twenty different styles, including a few very odd Oriental and pseudo-Byzantine structures inserted into the mix in the twenty-fourth century by some of the weirder monarchs of the Decadence. Towers and arcades and pavilions and gazebos and colonnades and domes and basilicas and fountains and peculiar swooping vaults jut out everywhere.
“And the Emperor himself?” I ask her. “Where in all that does he live?”
She waves her hand vaguely toward the middle of the heap. “Oh, he moves around, you know. He never stays in the same place two nights in a row.”
“Why is that? Is he the restless type?”
“Not at all. But Actinius Varro makes him do it.”
“Who?”
“Varro. The Praetorian Prefect. He worries a lot about assassination plots.”
I laugh. “When an Emperor is assassinated, isn’t it usually his own Praetorian Prefect who does it?”
“Usually, yes. But the Emperor always thinks that his prefect is the first completely loyal one, right up till the moment the knife goes into his belly. Not that anyone would want to assassinate a foolish fop like our Maxentius,” she adds.
“If he’s as incompetent as everyone says, wouldn’t that be a good reason for removing him, then?”
“What, and make one of his even more useless brothers Emperor in his place? Oh, no, Cymbelin. I know them all, believe me, and Maxentius is the best of the lot. Long life to him, I say.”
“Indeed. Long life to Emperor Maxentius,” I chime in, and we both enjoy a good laugh.
The particular palace we are heading for is one of the newest on the hilclass="underline" an ornate, many-winged guest pavilion, much bedizened with eye-dazzling mosaics, brilliant wild splotches of garish yellows and uninhibited scarlets. It had been erected some fifty years before, she tells me, early in the reign of the lunatic Emperor Demetrius, the last Caesar of the Decadence. Lucilla has a little apartment in it, courtesy of her good friend, Prince Flavius Rufus. Apparently a good many non-royal members of the Imperial Roman social set live up here on the Palatine. It’s more convenient for everyone that way, traffic being what it is in Roma and the number of parties being so great.
The beginning of my stay in the capital is Neapolis all over again: there is a glittering social function for me to attend on my very first night. The host, says Lucilla, is none other than the famous Count Nero Romulus Claudius Palladius, who is terribly eager to meet me.
“And who is he, exactly?” I ask.
“His grandfather’s brother was Count Valerian Apollinaris. You know who he was?”
“Of course.” One doesn’t need a Cantabrigian education to recognize the name of the architect of the modern Empire, the great five-term Consul of the First War of Reunification. It was Valerian Apollinaris who had dragged the frayed and crumbling Empire out of the sorry era known as the Decadence, put an end to the insurrections in the provinces that had wracked the Empire throughout the troubled twenty-fifth century, restored the authority of the central government, and installed Laureolus Caesar, grandfather of our present Emperor, on the throne. It was Apollinaris who—acting in Laureolus’s name, as an unofficial Caesar standing behind the true one—had instituted the Reign of Terror, that time of brutal discipline that had, for better or for worse, brought the Empire back to some semblance of the greatness that it last had known in the time of Flavius Romulus and the seventh Trajan. And then perished in the Terror himself, along with so many others.