This book is an illustrated version of the original Dio's Rome by Cassius Dio Cocceianus. “The atmosphere of Dio's Roman History is serious to a degree. Its author never loses sight of the fact that by his labor he is conferring a substantial benefit upon mankind, and he follows, moreover, a particular historical theory, popular at the time, which allows little chance for sportiveness or wit. Just as the early French drama could concern itself only with personages of noble or royal rank, so Dio's ideal compels him for the most part to restrict himself to the large transactions of governments or rulers and to diminish the consideration that idiosyncrasies of private life or points of antiquarian interest might otherwise seem to claim. The name of this ideal is "Dignity" (ογκος is the Greek), a principle of construction which is opposed to a narration adorned with details. However much it may have been overworked at times, its influence was certainly healthful, for it demanded that the material be handled in organic masses to prevent the reader from being lost in a confused mass of minutiæ. Racy gossip and old wives' tales are to be replaced by philosophic reflection and pictures of temperament.”

This book is an illustrated version of the original Dio's Rome by Cassius Dio Cocceianus. “The atmosphere of Dio's Roman History is serious to a degree. Its author never loses sight of the fact that by his labor he is conferring a substantial benefit upon mankind, and he follows, moreover, a particular historical theory, popular at the time, which allows little chance for sportiveness or wit. Just as the early French drama could concern itself only with personages of noble or royal rank, so Dio's ideal compels him for the most part to restrict himself to the large transactions of governments or rulers and to diminish the consideration that idiosyncrasies of private life or points of antiquarian interest might otherwise seem to claim. The name of this ideal is "Dignity" (ογκος is the Greek), a principle of construction which is opposed to a narration adorned with details. However much it may have been overworked at times, its influence was certainly healthful, for it demanded that the material be handled in organic masses to prevent the reader from being lost in a confused mass of minutiæ. Racy gossip and old wives' tales are to be replaced by philosophic reflection and pictures of temperament.”

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