The charms of Livy’s style became the happy conjunction of circumstances under which he wrote, and combined with it to give him that pre-eminence among Roman historians which he never afterwards lost. Events and characters of deepest interest became immutably fixed in the lines in which he had represented them. Henceforth every Roman received from Livy his first youthful impressions of his country’s career, which thus became graven forever in the mind of the nation. It was in vain that the inaccuracy of these relations, and in many cases their direct falsehood, were pointed out by the votaries of truth, or by jealous and unsuccessful rivals; henceforth it was treason to the majesty of Rome to doubt that Porsenna was driven in confusion from her walls, or that the spoils of the Capitol were wrested again from the triumphant legions of Brennus.[g] Such are the estimates placed upon the work of Livy by those who view him from the coldly analytical standpoint of the technical historian. But we must not leave the greatest writer of Latin prose without seeking a more sympathetic interpretation of his influence. Let us turn to the estimate of one who was himself an historian kindred in spirit to Livy--one who approached history from the standpoint of the artist and humanitarian,--M. Taine. Here is his estimate of LIVY AS THE ARTISTIC LIMNER OF THE ROMAN PEOPLE There are three ways of representing character [says Taine]: the author may stop to think and compose a portrait, in a philosophical style, as Thucydides does; one may paint people by their actions, a method followed by Tacitus and the poets; or he may portray them by exposing their opinions in speeches; this is Livy’s and the orator’s talent. The finest of all his portraits is that of the Roman people. Each speech, each oratorical narrative revises and perfects it, and it is easily seen that Livy has not taken it from the ancient authors but that it is entirely his own. In the combat of Horatius Cocles, what pride and what vigour! It is not likely that the Romans in one year had become such unruly republicans. But how well the fable is hidden under a noble passion! Throwing towards the chiefs of the Etruscans savage and threatening glances, sometimes provoking them one after another, sometimes insulting them collectively.“Slaves of insolent kings, forgetting your own liberty, you come to attack that of others!” If this passage is theatrical, it is grand, and eloquence nobly adorns “the beginning of this liberty.”