The Roman work in Palestine seems to exaggerate its peculiar characteristics, so that here one notices these more distinctly than in any other land. A Roman tower in Switzerland, a Roman road in Scotland--certainly they are Roman, but they are not removed from all things Swiss or Scotch by so vast an interval as that which divides Roman from native work in Palestine. It is indeed an invasion of arms, this Roman life--an intrusion of what is, first and last, alien to the spirit of the place. The traveller to-day, to whom the very dust of this land is dear, inevitably feels about the Roman relics an air of obtrusive and uncomprehending indifference. They “cared for none of these things,” or, if they did care a little now and then and try to understand, they did it clumsily and unnaturally. Rome’s policy was that of wide toleration, but her spirit was absolutely unaccommodating. She might allow her provinces to govern themselves and to worship pretty much as they chose, but she herself, in her officials and their works, stood aloof from them and was Rome still. This is to be seen in Palestine in all its good and in all its bad aspects. In those solidly-constructed bridges and mighty aqueducts and imperishable causeways there is the very embodiment of the Roman _virtus_ and _gravitas_, that output of manhood which never trifled nor spared itself, that solemn, business-like reality which is so full of purpose. In this hard _reality_ of Rome there is not only purpose but pitilessness of force to accomplish what is planned. Every Roman road you chance upon seems to be feeling its way with an unerring instinct towards Jerusalem or some other goal, and you know that it will arrive. Just as impressive, on the other hand, is the sense of Rome’s limitations. Her works disclose her seeing a certain length, and you know beyond all doubt that she will get there. But there are very obvious and very clearly defined limits to the length she ever sees or will go. The work of Greece is far beyond the furthest reach of Roman work--the glad spring, the grace of conscious strength that is beautiful as well as strong, the restfulness withal of perfect harmony that is thinking of more than merely utilitarian values; of these Rome knows not the secret. Beside the flight of Greek art she is pedestrian; to the Greek artist she plays at best but the part of Roman artisan. Forceful, massive, successful up to its highest desire, the Roman work is finished and perfect. And it has attained finish and perfection on a lower level than that of any nation that ever yet dreamed dreams or “looked beyond the world for truth and beauty.”