0:00:40 > 0:00:44For a people who ruled and civilised an appreciable
0:00:44 > 0:00:48part of the world, those ancient Romans were a modest folk.
0:00:48 > 0:00:51In the matter of art they were rather like the British
0:00:51 > 0:00:53in the matter of music.
0:00:53 > 0:00:56Like us, they had something of an inferiority complex.
0:00:56 > 0:00:59We are for ever protesting that the British are not a musical
0:00:59 > 0:01:03nation but all I can say is that if such be the case we put up with a
0:01:03 > 0:01:09great deal of musical noise and turn out a remarkable lot of composers.
0:01:09 > 0:01:14And so the Romans, what did the great Virgil say about them?
0:01:16 > 0:01:22"Others can be artists, your job, my good Roman, is to govern an Empire."
0:01:23 > 0:01:28And yet, those same good Romans managed to produce Virgil
0:01:28 > 0:01:31himself and a whole host of poets, philosophers
0:01:31 > 0:01:35and historians whose works are still read today by millions.
0:01:36 > 0:01:38In the visual arts,
0:01:38 > 0:01:42they were the authors of the first romantic movement.
0:01:42 > 0:01:45They invented a brand-new functional architecture
0:01:45 > 0:01:50on a scale which the Greeks before them had never thought of.
0:01:50 > 0:01:53Not that the Greeks and Romans were in competition on the matter,
0:01:53 > 0:01:55of course they weren't.
0:01:55 > 0:01:59Any more that Chaucer was in competition with Pope.
0:01:59 > 0:02:02It isn't necessary to depreciate the glory that was
0:02:02 > 0:02:07Greece in order to proclaim the grandeur that was Rome.
0:02:07 > 0:02:10And the converse is equally true.
0:02:10 > 0:02:15Rome 13BC, the Altar of Peace set up by the Emperor Augustus.
0:02:15 > 0:02:19Let's join the crowd around it, no Greek abstractions these
0:02:19 > 0:02:21but living men and women.
0:02:21 > 0:02:25Look at these creators of the Roman Empire, calm, conscious of their
0:02:25 > 0:02:29high destiny, successful but free as yet from the vulgarities of success.
0:02:29 > 0:02:31The flesh and blood of Rome.
0:02:31 > 0:02:34The stern features shine out from the marble.
0:02:34 > 0:02:36Vital intelligent, proudly individual,
0:02:36 > 0:02:40the great Roman art of portraiture at its early best.
0:02:49 > 0:02:51Their names are mostly known to us.
0:02:51 > 0:02:56Agrippa, Emperor Regent, son-in-law of Augustus, garbed as a priest.
0:02:58 > 0:03:00Maecenas, prototype of wealthy patronage
0:03:00 > 0:03:04and incongruously that child, none other than the father of Nero.
0:03:05 > 0:03:09Senators, wives, magistrates, priests,
0:03:09 > 0:03:11pass before us in grave tranquillity.
0:03:11 > 0:03:14As sure of themselves as the artist of his own accomplishment.
0:03:16 > 0:03:18Man as an individual had arrived.
0:03:28 > 0:03:33Greek sculpture at its best has sought to glorify the god in us.
0:03:37 > 0:03:40Roman sculpture came to earth. It immortalised man himself.
0:03:41 > 0:03:44Ordinary men and women in their infinite variety.
0:03:44 > 0:03:48In politics as in art, Imperial Rome was governed by talent
0:03:48 > 0:03:51and opportunity, by successful individuals.
0:03:51 > 0:03:54If you had talent, you could reach the top.
0:03:55 > 0:03:58How they peer at us, risen from the dead.
0:04:08 > 0:04:11It was the prowess of the individual that counted.
0:04:11 > 0:04:15Even an Arabian brigand, Philip the Arab, once became emperor of Rome.
0:04:15 > 0:04:19Flesh and blood. But when you are a Roman and went abstract,
0:04:19 > 0:04:20this happened, Nero as Apollo.
0:04:21 > 0:04:24Utter failure, the individual finally triumphed,
0:04:24 > 0:04:28when a witless or witty emperor made his horse a consul.
0:04:28 > 0:04:31Individuality had taken the bit in its teeth.
0:04:32 > 0:04:36At its best the truthfulness of his art can't be much improved.
0:04:36 > 0:04:41I don't know any starker piece of realism than this Greco-Roman boxer.
0:04:55 > 0:05:00Bitterless truth, flattened nose and cauliflower ear.
0:05:00 > 0:05:03At the same time, the Roman artist, having got his man, tried to
0:05:03 > 0:05:07rescue him from the studio and set him in the landscape.
0:05:07 > 0:05:11Not always a very good landscape but a revolutionary attempt.
0:05:11 > 0:05:15Here's an example of on the Arch of Titus in Rome.
0:05:15 > 0:05:19The loot of captured Jerusalem sweeps past us in triumph.
0:05:19 > 0:05:23Procession and arch are shown in a crude perspective.
0:05:23 > 0:05:26It's the actual scene as it happened, here in the forum.
0:05:26 > 0:05:27It's real, it's new.
0:05:34 > 0:05:35It breathes...
0:05:35 > 0:05:39almost as the canvases of Velazquez breathed 15 centuries later.
0:05:50 > 0:05:53Yes, in his modest way the old Roman succeeded in bringing
0:05:53 > 0:05:55his people out into open-air.
0:05:55 > 0:05:58Aesthetically he was on the threshold of a new world.
0:06:07 > 0:06:09On the threshold but not further.
0:06:09 > 0:06:12Ultimately the Romans failed to achieve the essential
0:06:12 > 0:06:17element of perspective and Leptis Magna in Libya,
0:06:17 > 0:06:19look at the local heroes at Septimius Severus,
0:06:19 > 0:06:20a complete tangle.
0:06:20 > 0:06:25Emperor one way, horses another. Monumental confusion.
0:06:25 > 0:06:28At the same time a sculptor was ever trying new devices to
0:06:28 > 0:06:29bring his marble to life.
0:06:29 > 0:06:33Deep shadows drilled and grooved in the stone to give dramatic
0:06:33 > 0:06:35light and shadow in the African sun.
0:06:44 > 0:06:47Near the dazzling sea at Leptis, the most successful
0:06:47 > 0:06:51example of his art still sparkles
0:06:53 > 0:06:56The adventures of Hercules and the god of wine, the background
0:06:56 > 0:07:00cut away and in shadow is in vivid contrast with the hero of the story.
0:07:00 > 0:07:03See how the figures shine like marble lacework
0:07:03 > 0:07:05against the blackness.
0:07:08 > 0:07:12The sculptor is all the while conscious of environment.
0:07:12 > 0:07:14He often fails to express it but at least he tries
0:07:14 > 0:07:17and the attempt is new and significant.
0:07:21 > 0:07:23He's conscious of background.
0:07:23 > 0:07:27Yes, one of the great discoveries of Greco-Roman art was landscape.
0:07:35 > 0:07:37Look at this country scene from the wall of a Roman
0:07:37 > 0:07:39house on the Moselle.
0:07:39 > 0:07:42It might almost come from 19th century France.
0:07:47 > 0:07:50Here, gathered from the museums of Western Europe
0:07:50 > 0:07:55and Libya is the pick of Roman landscape in painting and mosaic.
0:07:55 > 0:07:58Much of it has a romantic, artificial taste to it.
0:07:58 > 0:08:00Even a touch of theatre.
0:08:00 > 0:08:03It isn't so much nature as a vision of nature seen through
0:08:03 > 0:08:07a window from a comfortable armchair with a sentimental book at hand.
0:08:07 > 0:08:10It's all rather like what we call today the romantic
0:08:10 > 0:08:13movement of the eighteenth and nineteenth century.
0:08:13 > 0:08:16Yes, the Romans contrived the first romantic
0:08:16 > 0:08:18movement in the history of art.
0:09:41 > 0:09:45Another Roman contribution was naive but scarcely less enduring.
0:09:45 > 0:09:50It's a sort of petrified ancestor of our strip-cartoon and news-reel.
0:09:50 > 0:09:53Continuous historical journalism.
0:09:53 > 0:09:57Here's a report of the Emperor Trajan's war in Hungary in AD 113,
0:09:57 > 0:10:00wrapped spirally around his column in Rome.
0:10:00 > 0:10:03The Emperor appears in scene after scene as hero.
0:10:03 > 0:10:05The Hungarians as gallant victims,
0:10:05 > 0:10:0818 centuries before their modern martyrdom.
0:10:08 > 0:10:13Reel one, the Emperor Trajan leads his legions across the Danube.
0:10:14 > 0:10:17Reel two, Trajan holds a council of war.
0:10:23 > 0:10:25Reel three, prayer before battle.
0:10:30 > 0:10:32Reel four, pep talk to the troops.
0:10:36 > 0:10:39Reel five, battle is joined ferociously.
0:10:39 > 0:10:42A Roman soldier holds head of his enemy between his teeth as
0:10:42 > 0:10:43he goes on fighting.
0:10:46 > 0:10:48Reel six, triumph.
0:10:48 > 0:10:51The heads of victims are trailed before the Emperor.
0:10:54 > 0:10:57Last reel, the enemy village is razed to the ground.
0:11:11 > 0:11:13This device was new in art.
0:11:13 > 0:11:17The beholder is carried forward with a headlong speed of actuality.
0:11:17 > 0:11:20Epic sculpture and as Roman as Virgil's Aeneid.
0:11:26 > 0:11:30Portraiture, scenery, narrative,
0:11:30 > 0:11:33three debts we owe to the Roman sculptor and painter.
0:11:33 > 0:11:36Three achievements that have expressed
0:11:36 > 0:11:41the mentality of a people which had its feet firmly on the ground,
0:11:41 > 0:11:43was conscious of purpose
0:11:43 > 0:11:48and environment but was not over-burdened with ideas.
0:11:49 > 0:11:53In another sense the Roman Empire was rather like a successful man,
0:11:53 > 0:11:55who's made good from humble beginnings
0:11:55 > 0:12:00and in his latter years is preoccupied with his autobiography.
0:12:01 > 0:12:03Much of it is pedestrian stuff.
0:12:03 > 0:12:07But it has its moments and at its best is very good indeed,
0:12:07 > 0:12:10within its set limits. It is naively factual.
0:12:11 > 0:12:14Even when most dazzled by the glamour of empire,
0:12:14 > 0:12:18it allows the truth to filter through.
0:12:19 > 0:12:22Take this portrait of that censure, weak-minded fiend,
0:12:22 > 0:12:23the Emperor Commodus.
0:12:23 > 0:12:25Contrast the weak, shrinking face
0:12:25 > 0:12:28with the lion skin of the virile Hercules.
0:12:29 > 0:12:31In that forthright imperialist Vespasian,
0:12:31 > 0:12:33the honest sculpture had a worthier subject.
0:12:33 > 0:12:38Regard his modern counterpart, Cecil Rhodes of the earth, earthy.
0:12:39 > 0:12:42Same empire builders, different empires.
0:12:42 > 0:12:43The Roman sculptor disguised nothing.
0:12:43 > 0:12:47But what if all this artistic output on the ultimate
0:12:47 > 0:12:50frontiers of the Roman world.
0:12:50 > 0:12:53Do we in Britain know much of our art through Romans?
0:12:53 > 0:12:55They gave us our first civil service,
0:12:55 > 0:13:00gave us baths and drains, but when it comes to art it's a sad story.
0:13:00 > 0:13:03We did our best but we shuffled along pretty lamely.
0:13:03 > 0:13:07After all, this isn't the sunny Mediterranean.
0:13:07 > 0:13:10Up here in the north we'd buffled ourselves up to the ears
0:13:10 > 0:13:13in an age-long battle with influenza.
0:13:13 > 0:13:16Not for us the undisguised beauty of clean humanity.
0:13:16 > 0:13:19What thrived in the Mediterranean sun shivered up here.
0:13:28 > 0:13:31The result was hoods and mufflers.
0:13:31 > 0:13:35What meaning had the human form divine in those drear circumstances.
0:13:40 > 0:13:43Our own artists in the Celtic world certainly hammered out
0:13:43 > 0:13:45a glorious decorative art.
0:13:45 > 0:13:48Mirrors, brooches, shields,
0:13:48 > 0:13:51were covered with gorgeous swaying patterns.
0:14:05 > 0:14:08But the human face and form were nowhere.
0:14:13 > 0:14:18Then suddenly, the Romans with their accomplished artistry,
0:14:18 > 0:14:20marble portraits in a Roman country house in Kent.
0:14:25 > 0:14:28A river god, perhaps Father Thames himself,
0:14:28 > 0:14:34from some Mediterranean workshop. We provincials struggled to confer.
0:14:34 > 0:14:36Here we are... Venus having a bath in Northumberland.
0:14:36 > 0:14:38What a Venus, what a bath!
0:14:39 > 0:14:42Or these Tyneside nymphs - very high class.
0:14:42 > 0:14:45Or these heads again from Northumberland, mercy on us.
0:14:49 > 0:14:53When the poor provincial sculptor left mankind behind,
0:14:53 > 0:14:54he was a little happier.
0:15:02 > 0:15:06Very rarely the Romano-British artist achieved something.
0:15:06 > 0:15:09This pop-eyed fellow from Gloucester,
0:15:09 > 0:15:11is perhaps the summit of our achievement.
0:15:11 > 0:15:13But if it weren't for Picasso and our modern
0:15:13 > 0:15:16taste for abstraction, would we still get excited over this head?
0:15:19 > 0:15:22No, the remoter parts of the Empire were buying
0:15:22 > 0:15:25civilization off the peg, in Africa it's the same story.
0:15:25 > 0:15:28Look at these precious heads from Roman Libya.
0:15:32 > 0:15:37Far easier is it to acclaim the Romans as engineers and architects.
0:15:37 > 0:15:41The Empire was after all itself a vast political engine.
0:15:41 > 0:15:45Flinging itself across nations like the great aqueducts which it
0:15:45 > 0:15:48hurled across countless landscapes to supply endless cities with
0:15:48 > 0:15:50extravagant baths.
0:15:50 > 0:15:54In the presence of such engineering as this towering bridge,
0:15:54 > 0:15:57the Pont du Gard, which carried water to Nimes
0:15:57 > 0:16:01and Provence were at the inner most core of the Roman mind.
0:16:34 > 0:16:40What plumbers they were, those Romans. Just look at it.
0:16:40 > 0:16:42But after all, they were much more than that.
0:16:42 > 0:16:47They were, first and foremost, great constructors.
0:16:47 > 0:16:50And as great functional constructors
0:16:50 > 0:16:52their approach was often extraordinarily modern.
0:16:54 > 0:16:56I remember years ago in London
0:16:56 > 0:16:59passing a big, new government building,
0:16:59 > 0:17:02which was to all intents and purposes complete.
0:17:02 > 0:17:04It was also completely banal!
0:17:06 > 0:17:12But no, as I watched along came a train of large lorries laden
0:17:12 > 0:17:15with columns and architraves.
0:17:15 > 0:17:18Architecture was on the way.
0:17:18 > 0:17:24Shortly a fine Neo-Edwardian classical facade was stuck on
0:17:24 > 0:17:26the substantially complete building,
0:17:26 > 0:17:33which was now nine parts engineering and one part art.
0:17:33 > 0:17:36Mixed to taste...and what taste.
0:17:43 > 0:17:46Our Stonehenge, 1,500 years before the Romans
0:17:46 > 0:17:49but not a bad place to see in principle where the Romans
0:17:49 > 0:17:52started from structurally and how far they eventually got.
0:17:52 > 0:17:54This is stone piled upon stone.
0:17:54 > 0:17:58Static architecture in its extreme and simplest form.
0:18:15 > 0:18:17The Parthenon of Athens shows this principle,
0:18:17 > 0:18:21polished by civilization, vitalised by genius.
0:18:21 > 0:18:23Here is static architecture to perfection.
0:18:23 > 0:18:26Perfect balance, perfect tranquillity.
0:18:36 > 0:18:40The Roman added new and courageous flights of fantasy and science.
0:18:40 > 0:18:45He learned to fling vast vaults across wide spaces
0:18:45 > 0:18:46on an imperial scale.
0:18:58 > 0:19:01His domes challenged the skies.
0:19:01 > 0:19:03This mighty dome, The Pantheon,
0:19:03 > 0:19:07in Rome is the ancestor of St Peter's or St Paul's in London.
0:19:12 > 0:19:14Built by the Emperor Hadrian,
0:19:14 > 0:19:16The Pantheon is the very symbol of Rome.
0:19:22 > 0:19:25Here the painter Raphael lies buried.
0:19:25 > 0:19:28In the history of architecture this is a watershed.
0:19:28 > 0:19:31Man had discovered a new and grandiose way
0:19:31 > 0:19:32to put a roof over his head.
0:20:18 > 0:20:22That was merely a beginning. As time went on the Roman engineer
0:20:22 > 0:20:24and architect became ever bolder
0:20:24 > 0:20:27and more original in his use of concrete.
0:20:27 > 0:20:29Towering over the Roman forum,
0:20:29 > 0:20:31stands the immense Basilica of Constantine,
0:20:31 > 0:20:34built in the last days of pre-Christian Rome.
0:20:41 > 0:20:44A fragment now, but once it was roofed
0:20:44 > 0:20:45with a concrete vault
0:20:45 > 0:20:4770ft in span and 120ft above the ground.
0:20:49 > 0:20:53The grandeur of empire had a last found full scale expression.
0:21:01 > 0:21:05Yet, even more imposing are the baths of Caracalla and Diocletian.
0:21:05 > 0:21:08It's in character with the Roman genius that this triumphant
0:21:08 > 0:21:13use of concrete vaulting arose from purely secular enterprise.
0:21:13 > 0:21:18From public baths, godless you might be, but at least as a Roman citizen
0:21:18 > 0:21:22you were expected to be cleanly and you bathed in the grand style.
0:21:34 > 0:21:36Conjure up the fourth century.
0:21:43 > 0:21:47In the 16th century, Michelangelo transformed a wing of the same
0:21:47 > 0:21:50Baths of Diocletian into a church.
0:21:50 > 0:21:53Rome's grandest triumph in the secular building was
0:21:53 > 0:21:56transmuted to serve the Christian tradition.
0:21:56 > 0:21:59In lesser ways too the Roman architect was already
0:21:59 > 0:22:01building the future.
0:22:01 > 0:22:04Amidst the volcanic mud of Herculaneum
0:22:04 > 0:22:06our columns carrying arches,
0:22:06 > 0:22:08which already in the first century AD,
0:22:08 > 0:22:11are the shape of things to come in Medieval Europe.
0:22:19 > 0:22:22Today the Roman landscape bares these astonishing buildings
0:22:22 > 0:22:25with the air of a decayed nobleman.
0:22:25 > 0:22:28"If only you could see what I once saw!" It seems to say.
0:22:28 > 0:22:32"Look at this magnificence." And then points to a ragged ruin.
0:22:38 > 0:22:42The ruins are magnificent. The effort was prodigious.
0:22:42 > 0:22:44For what imagination it needs to conjure it all up.
0:22:44 > 0:22:47Immense shelves of brick and concrete.
0:22:47 > 0:22:51Here and there with surviving scraps of delicate plaster
0:22:51 > 0:22:54stuck on like postage stamps on an envelope.
0:22:54 > 0:22:57Ornament and concrete never did take kindly to one another.
0:22:57 > 0:22:59They don't today.
0:22:59 > 0:23:01But this frail plasterwork breathed a little life
0:23:01 > 0:23:04and grace into all that massive engineering.
0:23:19 > 0:23:21Paintings too came to the rescue.
0:23:21 > 0:23:24They've sometime weathered the centuries better.
0:23:24 > 0:23:27The baths of Leptis Magna in Libya,
0:23:27 > 0:23:29they've been preserved to perfection.
0:23:29 > 0:23:32Hunting scenes and bloodshed sprawled with bold assurance
0:23:32 > 0:23:34across the bolts and domes of the Roman architect.
0:23:36 > 0:23:39It's all a little hard and uncompromising.
0:23:39 > 0:23:43Yet it's all alive in a fearsome, finite fashion.
0:24:11 > 0:24:13Here in Africa amidst these quiet sands,
0:24:13 > 0:24:18Rome seems a long way off and yet is all around me.
0:24:18 > 0:24:20In a way it speaks more eloquently here
0:24:20 > 0:24:23than in the noisy streets of the capital.
0:24:23 > 0:24:27It proclaims our greatest extrovert civilization.
0:24:29 > 0:24:31So then in architecture,
0:24:31 > 0:24:35the Roman world stretching from Europe into Asia and Africa,
0:24:35 > 0:24:40contrived new devices and idioms which are still alive today.
0:24:40 > 0:24:44If I were quarrelling with the Greeks, which I'm not,
0:24:44 > 0:24:49I might observe that for us today that the famous Parthenon is dead,
0:24:49 > 0:24:51in so far as Greek work can never die.
0:24:51 > 0:24:54Whilst the Roman Pantheon is still living.
0:24:56 > 0:24:58I wouldn't dare to say that
0:24:58 > 0:25:00but the idle thought it passed through my mind.
0:25:02 > 0:25:05And then there's the literature.
0:25:05 > 0:25:08How well the literature of the Romans fits in
0:25:08 > 0:25:13with what I've been trying to say about their art and architecture.
0:25:13 > 0:25:14This is not the time and place for me to sit
0:25:14 > 0:25:19and read to you from Virgil's grand epic on the origins of Rome.
0:25:20 > 0:25:26Or his quiet, Miltonic verses of the Italian countryside,
0:25:26 > 0:25:29or the Roman historians acid etching of the Imperial Court.
0:25:31 > 0:25:35But in the written word as in painting and sculpture,
0:25:35 > 0:25:38we have on the one hand the elements
0:25:38 > 0:25:41of what I've called a romantic movement
0:25:41 > 0:25:45and on the other the biographical urge of a successful empire.
0:25:47 > 0:25:50We have too, the beginnings of the novel,
0:25:50 > 0:25:54which is in a measure a mingling of the two streams.
0:25:54 > 0:25:56The modern novel, I suppose,
0:25:56 > 0:25:58goes back more or less in a direct line
0:25:58 > 0:26:04to that Roman-African Apuleius whose gay story, The Golden Asse,
0:26:04 > 0:26:08so delighted the Renaissance and was retold by La Fontaine.
0:26:08 > 0:26:10The Apuleius, who on his travels
0:26:10 > 0:26:14captured the affections of a rich widow at Tripoli
0:26:14 > 0:26:19and was prosecuted for witchcraft by her exasperated relations.
0:26:19 > 0:26:23Probably here in this very building in the Sabratha sun.
0:26:25 > 0:26:29Or there's that other Roman story-teller Petronius,
0:26:29 > 0:26:32whose satirical account of a Roman dinner party
0:26:32 > 0:26:35is still such good robust reading.
0:26:35 > 0:26:40And puts him into the company of Rabelais and Fielding
0:26:40 > 0:26:44and Smollett and even Anatole France.
0:26:44 > 0:26:47All these things helped to bring the Roman world alive.
0:26:49 > 0:26:53Yes, they could be astonishingly like us, those old Romans...
0:26:53 > 0:26:58So like us sometimes as to be almost unlikeable.
0:26:58 > 0:27:01At every turning in the forum or in Tacitus
0:27:01 > 0:27:04we can without prodigious effort see ourselves
0:27:04 > 0:27:07amongst our own ruins and our own errors.
0:27:07 > 0:27:10Now and then too we may see our own triumphs,
0:27:10 > 0:27:13although with foreknowledge of their brevity.
0:27:14 > 0:27:18The Roman poet Virgil, exercised the poet's privilege
0:27:18 > 0:27:20and looked into the future.
0:27:20 > 0:27:21"When you have learned..." he said,
0:27:21 > 0:27:25"..to read the praises of the great and come to understand what
0:27:25 > 0:27:30"manhood is, the waving corn will slowly flood the planes with gold.
0:27:30 > 0:27:34"Grapes hang in ruby clusters on the thorn.
0:27:34 > 0:27:38"Yet even so, traces of our wickedness will linger on,
0:27:38 > 0:27:40"to make us venture on the sea and ships
0:27:40 > 0:27:43"and build walls around our cities.
0:27:43 > 0:27:44"Wars will repeat themselves...
0:27:44 > 0:27:48"and the great Achilles be despatched to Troy once more.
0:27:48 > 0:27:53"The Fates have spoken, the unalterable decree of destiny.
0:27:53 > 0:27:57"This is the pattern of the age to come."
0:27:57 > 0:27:58There spoke the Roman poet,
0:27:58 > 0:28:01who above all others sang of the grandeur that was Rome.
0:28:01 > 0:28:05But he was not dazzled by the brightness of its glory.
0:28:05 > 0:28:09He retains a cosmic and prophetic sense.
0:28:09 > 0:28:12For him, as for our own Shelley,
0:28:12 > 0:28:17faiths and empires gleam like wrecks of a dissolving dream.
0:28:18 > 0:28:20That dream does not end with Rome.
0:28:31 > 0:28:33Subtitles by Red Bee Media Ltd