This essay, conceived with the purpose of centering attention upon the poet's actual life, has eschewed the larger task of literary criticism and has also avoided the subject of Vergil's literary sources--a theme to which scholars have generally devoted too much acumen. The book is therefore of brief compass, but it has been kept to its single theme in the conviction that the reader who will study Vergil's works as in some measure an outgrowth of the poet's own experiences will find a new meaning in not a few of their lines.
s lime-kilns of the dark ages. The Barrocco museum of Rome has a very lifelike replica of this type in half-relief. Though its firm, dry workmanship seems to be of a few decades later than Vergil's youth it may well be a fairly faithful copy of one of the first busts of Vergil made at the time when the Eclogues had spread his fame through Rome.
[Footnote 8: See British School Cat. of the Mus. Capitolino, p. 355; Bernoulli, Röm. Ikonographie, I, 187, Helbig,'3 I, no. 872.]
[Footnote 9: Mrs. Strong, Roman Sculpture plate, CIX; Hekler, Greek and Roman Portraits, 188 a. The antiquity of this marble has been questioned.]
A land of sound constitutions, mentally and physically, was the frontier region in which Vergil grew to manhood; and had it not later been drained of its sturdy citizenry by the civil wars and recolonized by the wreckage of those wars it would have become Italy's mainstay through the Empire. The earlier Romans and Latins who