human
March Motive, and here is shown an absolute freedom from Wardour Street Roman music: it is quite as modern as Mr Rôze {48} could be. The next episode appears to be the Conspirators' Music; it is _agitato_, but of a curious Mendelssohnian simplicity, and leads to a naïve Wagnerian theme, in which the characteristic slow turn is used with great effect. This runs into the Cæsar march theme _pianissimo_, with harp effects, leading up to a brilliant coda on the Cæsar _motif_, with a moving bass and full orchestral effects for the close. The prelude to Act ii. is a very emotional piece of music, sometimes dramatic, often melodramatic, but always exciting and comfortably away from any thought of the historic period. The prelude to Act iii. opens with a fine broad theme for the brass, much of which, curiously enough, might possibly have been played on trumpets of Cæsar's time. After this, Mr Rôze naturally takes a rest from his museum researches, and the rest of the prelude is quite innocent of anything that would remind a Roman centurion, if he came to life now, of his past existence: it is most modern in the 1898 manner, and Professor Ebenezer Prout, had Mr Rôze shown him the score, would probably have told him to