The conservatives at Rome maintained that Cæsar’s conquests in Gaul were the result of wanton aggression--cheap victories over inoffensive savages, wholly unjustifiable and unauthorised. At this point it is scarcely possible to avoid entering upon the much-debated question of Cæsar’s real character. For orthodox Romans Cæsar was the founder of the empire, a person not only of divine descent, but himself divine. All emperors took his name, until that surname of Cæsar, once a mere nickname, came, in half the languages of Europe, to be synonymous with “Emperor.” For the Middle Ages he stood with Constantine, who christianised the Empire, and Charlemagne, who revived it, as the founder of that divinely instituted polity which shared with the Church God’s viceregency on earth. In the eyes of Dante, Cæsar stood very near to Christ, for the poet peoples the frozen heart of his Inferno with three tormented figures who writhe in the very jaws of Cocytus. Along with Judas Iscariot are the two murderers of Julius Cæsar. Though the Renaissance stripped him of much of his legendary greatness, Cæsar remained for the men of Shakespeare’s day the embodiment of imperial pride. Shakespeare himself was too great an artist to make any of his characters more or less than human, but it is evidently Brutus who has the sympathies of the dramatist. In the French Revolution, again, Brutus and Cassius were heroes and glorious tyrannicides. The reaction against early nineteenth-century liberalism brought Cæsar once more into honour, and Mommsen, the prophet of Cæsarism, makes him the hero of his great history. To Mommsen Cæsar was almost divine, the clear-sighted and magnanimous “saviour” who alone saw the true path out of the disorders of his city. From this view again we are apparently now in reaction once more. To the latest critics the greatness of Cæsar and of Mommsen are alike abhorrent, and Signor Ferrero depicts his greatest fellow-countryman as an unscrupulous demagogue who blundered into renown through treachery and bloodshed.