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[344] the ancient Capitol of Rome, rearranged by Michael Angelo. Here we stood before the equestrian statue of Marcus Aurelius, and considered how it might be photographed to advantage. “I do not think,” said Rev. Mr. Longfellow, “that we can obtain a satisfactory picture of it. The face is too dark to be expressive, and it is the man's face that I want; and I suppose you do also.” I asked him how he could explain the creation of such a noble statue in the last decline of Greek art; he said he would not attempt to explain it except on the ground that things do not always turn out as critics and historians would have them. It was natural that the arts should revive somewhat under the patronage of Hadrian and the Antonines. We went into the museum of the Capitol to look for the bust of the young Aurelius, which shone like a star (to use Homer's expression) among its fellows, but we discovered from the earth-stains on portions of it why the photographers had not succeeded better with it. We decided that our best resource would be to have Mr. Appleton's copy of it photographed, and Rev. Mr. Longfellow agreed to undertake the business with me in the forenoon of the next day. The busts of the Roman emperors were interesting because their characters are so strongly
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