To complete his day, he had resolved to visit the old Appian Way during the afternoon, and, unwilling to return to the Via Giulia, he lunched at a suburban tavern, in a large, dim room, where, alone with the buzzing flies, he lingered for more than two hours, awaiting the sinking of the sun.
Ah! that Appian Way, that ancient queen of the high roads, crossing the Campagna in a long straight line with rows of proud tombs on either hand--to Pierre it seemed like a triumphant prolongation of the Palatine.
He there found the same passion for splendour and domination, the same craving to eternise the memory of Roman greatness in marble and daylight.
Oblivion was vanquished; the dead refused to rest, and remained for ever erect among the living, on either side of that road which was traversed by multitudes from the entire world.

The deified images of those who were now but dust still gazed on the passers-by with empty eyes; the inscriptions still spoke, proclaiming names and titles.

In former times the rows of sepulchres must have extended without interruption along all the straight, level miles between the tomb of Caecilia Metella and that of Casale Rotondo, forming an elongated cemetery where the powerful and wealthy competed as to who should leave the most colossal and lavishly decorated mausoleum: such, indeed, was the craving for survival, the passion for pompous immortality, the desire to deify death by lodging it in temples; whereof the present-day monumental splendour of the Genoese Campo Santo and the Roman Campo Verano is, so to say, a remote inheritance.

And what a vision it was to picture all the tremendous tombs on the right and left of the glorious pavement which the legions trod on their return from the conquest of the world! That tomb of Caecilia Metella, with its bond-stones so huge, its walls so thick that the middle ages transformed it into the battlemented keep of a fortress! And then all the tombs which follow, the modern structures erected in order that the marble fragments discovered might be set in place, the old blocks of brick and concrete, despoiled of their sculptured-work and rising up like seared rocks, yet still suggesting their original shapes as shrines, _cippi_, and _sarcophagi_.

There is a wondrous succession of high reliefs figuring the dead in groups of three and five; statues in which the dead live deified, erect; seats contrived in niches in order that wayfarers may rest and bless the hospitality of the dead; laudatory epitaphs celebrating the dead, both the known and the unknown, the children of Sextius Pompeius Justus, the departed Marcus Servilius Quartus, Hilarius Fuscus, Rabirius Hermodorus; without counting the sepulchres venturously ascribed to Seneca and the Horatii and Curiatii.