My wish was, as I turned from the apartments of Demetrius, to seek the Emperor or Livia, and learn from them the exact truth concerning the reports current through the city. But, giving way to that weakness which defers to the latest possible moment the confirmation of painful news, and the resolution of doubts which one would rather should remain as doubts than be determined the wrong way, in melancholy mood, I turned and retraced my steps. My melancholy was changed to serious apprehension by all that I observed and heard on my way to the Coelian. As the crowd in this great avenue, the Suburra, pressed by me, it was easy to gather that the Christians had become the universal topic of conversation and dispute. The name of the unhappy Aurelia frequently caught my ear. Threatening and ferocious language dropt from many, who seemed glad that at length an Emperor had arisen who would prove faithful to the institutions of the country. I joined a little group of gazers before the window of the rooms of Periander, at which something rare and beautiful is always to be seen, who, I found, were looking intently at a picture, apparently just from the hands of the artist, which represented Rome under the form of a beautiful woman--Livia had served as the model--with a diadem upon her head, and the badges of kingly authority in her hands, and at her side a priest of the Temple of Jupiter, "Greatest and Best", in whose face and form might plainly be traced the cruel features of Fronto. The world was around them. On the lowest earth, with dark shadows settling over them, lay scattered and broken, in dishonor and dust, the emblems of all the religions of the world, their temples fallen and in ruins. Among them, in the front ground of the picture, was the prostrate cross, shattered as if dashed from the church, whose dilapidated walls and wide-spread fragments bore testimony not so much to the wasting power of time as to the rude hand of popular violence; while, rearing themselves up into a higher atmosphere, the temples of the gods of Rome stood beautiful and perfect, bathed in the glowing light of a morning sun. The allegory was plain and obvious enough. There was little attractive, save the wonderful art with which it was done. This riveted the eye; and that being gained, the bitter and triumphant bigotry of the ideas set forth had time to make its way into the heart of the beholder, and help to change its warm blood to gall. Who but must be won by the form and countenance of the beautiful Livia? and, confounding Rome with her, be inspired with a new devotion to his country, and its religion, and its lovely queen? The work was inflaming and insidious, as it was beautiful. This was seen in what it drew from those among whom I stood.